So, hallo zu meinem Vortrag Designing for Laser Cutting. Ich bin vorhin Festi, ich bin der Autor von Boxes.py, ein Boxgenerator. Ich mache Laser Cutting seit jetzt fast zehn Jahren und ich würde sagen, ich habe mir noch sehr, sehr viele Dinge da nicht gemacht, aber ich dachte, ich mache mal jetzt das gute Zeitpunkt, um mal ein bisschen Fazit zu machen und zu gucken, was man so gelandt hat. Bombs Laser Cutting ist interessant.   Nachteil ist, sie sind eben halt Inherenz 2D, das ist einer der Gründe, warum sie leicht zu bedienen sind. Und das heißt, man muss sich irgendwie das überlegen, wie man von den 2D dann zu 3D kommt.  Worüber wollen wir jetzt reden? Der Vortrag ist im Wesentlichen so zweigeteilt. Ich will im ersten Teil so ein bisschen über Engineering. Ich wollte eigentlich auf Englisch reden, oder? Warum rede ich Deutsch? Das ist fivernt. So, der Talk hat 2 Parts. 1. Part ist about Engineering. So, we are talking about Strength and Stiffness, which are one of the major properties. We will talk a bit about Blyworth as a building material, which has special properties that are distinct from many other isotropic materials. And after that, there will be a second part, where we talk about solutions to common problems and what features we can use and how to use them to their best abilities. Short disclaimer, I'm not a mechanical engineer. The talk will not make you one. And so, please don't use this to build something that kills people. If you want to build bridges or something, please study first. So, the first thing that might be of interest is that the things we build are strong enough to not break. There are a couple of different properties that materials or things have, and they can be pretty confusing. We are not going over every. We are only looking at two of them. There are a couple of more, like toughness and hardness, which are related, but not the same. So, Strength is the ability of a piece to withstand forces without breaking. There are basically two things. One is the strength of a thing, and the other is strength for material. Material has strength, which is basically a pressure that they can withstand. And they can withstand it in basically three things, in compression, in tension, in inschirring. And the thing itself can also be bent or torqued. And the stress they can withstand is a pressure, so it's measured in Pascal, which is Newton's per square meter. When you design something, you need to basically look what strength your loads would result in, and then look if your material is strong enough or adjust. And you often want to put a safety factor in that, so you want to make your thing three times stronger than it needs to be. One reason for this is real safety, like in case you miscalculated something. And this other thing is fatigue. A lot of Materials will get damaged over time if they're loaded repeatedly. And so sometimes three is a good number in general, but different applications have basically different ideas on what safety margin is necessary. Or can be afforded a lot of applications like aerospace engineering or Aerospace, which are tight on weight, might choose smaller values. Something that sounds similar, but is different is stiffness. Stiffness is not about breaking, it is about the give a part has, if it is loaded with a given strength. So the general thing is everything is a spring, so whenever there is a force, something moves. Often we can't see that because it's so little, but it does move. The material property that's affecting this is the Young's modulus, or Immodule in German. It's a material property, so basically depending on what material you use, your part will be more or less stiff. The second thing that's important here is the second moment of area, which we will go into in detail. Don't be too shocked. We will be talking about a few formulas, but they are not for you to actually do calculate small, getting a feel of how this all works. The main takeaway here is that stiffness is often more important than strength, because you will often not load your part up to breaking forces, but often, even if things shift around too much, that's no good. So mechanism may no longer work, your gears might be misaligned, it might just feel not great if you touch something and it's squishy, you often want a certain stiffness, even if it won't break. If you don't need any stiffness, you can use fabric, which has no stiffness at all, and it won't break on you, but you can't stand it up. So loads and stresses, when you really think of a thing, there's stresses or forces that a minuscule piece of your part can experience. So these are basically fundamental on the Minecraft cube forces. And there are three of them. One is compression, one is tension, and they are shearing. Shearing is if you basically try to move things past each other. This is often only seen if things actually fail in that way. And it's called sharing for a reason, that's what shears do. So this is typically cutting, but if you have like rebar cutters, they will shear the steel by just pushing it to the side. And there are loads, which basically means forces you put in a part, and that will lead to stresses, but they're not fundamental. One of them is bending, which can lead to all three of the stresses above. And then there's torsion, which means basically twisting apart from both ends. So there's a whole, for bending alone, there's a whole theory. And we will not go into that in detail, but just know there's a lot of more mathematics, and there's a couple of formulas for the easy parts, and there's finite element analysis for complicated parts, but typically we don't need that. We just want to get a quick idea of how this all works. So when we're bending something, there's a bending torque. A torque is basically a force multiplied by a lever, and all the bending forces are like this. And the length of the lever depends on the scenario. We'll look at two very simple, the two simplest ones to get an idea of how this feels. If you don't like bending, you can use a truss. A truss is a construction with beams that are all loaded only in compression or tension. So there are none element is experienced at the bending forces, but then there's trust theory, which tells you how all these forces work, and that's another kettle of fish we are not going into. So here's the simplest thing, that's a cantilever beam, that's basically just fixed on one end, and there's a force on the other end. It's basically the simplest thing, it's just a lever. And this is basically the definition of torque. The torque moment is the length of the beam times the force applied. So, that's all that's this. There's the formula for how much it bends. So, it's the force, the length is cubed, so, that's the reason why long things are very floppy. So, why you can, if you've ever seen a railroad track, that's not has been bolted down yet, they flop around like noodles, although they're like still in this size. This is one of the reasons, because the L is cubed, so they are very floppy, if they're long enough. And there are two other letters that are important. One is E, this is the Young's modulus, that's basically the stiffness of the material. And the other is I, this is the second moment of inertia, that's basically the area of the beam resisting. There's a formula for this, which we'll look later, but it's basically how the beam looks, in what the shape is and how, which size it has. And the bigger it is, obviously the less floppy it is. So, there's a lot of other formulas for other easy cases, like having the load distributed differently, a typical case is having basically the weight of the beam, looking at the weight of the beam, basically the weight being distributed over the whole length and stuff. That's something you look up, if you're interested. We are only interested in saying, well, this is a beam, there's a torque, that's it. Here's another case, there's a beam, there's a load, the difference is now it's supported in both sides. The important thing here is that they're, while they are supported, they are not hold in place, so that when the beam bends, it can twist in the ends without anything resisting. Because if you do that, the stairs changes a lot. So, we can see the bending moment underneath, the bending moment is biggest in the middle, and the maximum moment is only a fourth of that, of the other case. Why is this? It's very simple. If we hold the beam here in the middle, and then we have two forces that pushing it up, and this one in the middle, if we hold onto here, we don't need any force. So, it's basically like, this is a beam that's held in place here, and then pushed up here. So, we have a beam of half the length, but we also splitting up the force into two sides. So, that's the reason why it's only a fourth of the other case, because it's basically the same case, half the size, half the force. And as such, the bending is also a lot less. It's basically the same formula, but instead of dividing by eight, we're now dividing by 48, because of all the smaller forces and lengths. So, what do we want to keep here? There are different types of these bending scenarios. They are basically different by the factor in front, and otherwise, they are basically all the same. It's basically all the lengths, and the lengths differ depending on how the beam is put in place. So, next thing we are interested in is how this second moment of area, or inertia, that's used interchangeably, looks like. And I have brought here a bit more complicated example, but it's basically rectangular cube, with a hole in the middle, that's also rectangular. And basically, we are just subtracting the term from the outside rectangle. We take the box from the outside rectangle and subtract the one in the middle. And the interesting part is that the moment is basically proportional to the width, B, and the height cubed. So, that means, if you're making this twice as height, we get eight times the resistance. So, this makes a huge difference. So, whenever we have a construction that we think looks a bit flimsy, increasing the height will do a lot for us. Like doubling the height will basically make a world of difference. And so, often, even increasing a little bit will be sufficient. This is also, of course true, if you have other shapes, they have other factors in front, but that doesn't really matter. So, for example, if you have a screw and think, well, it looks a bit flimsy, let's take an M8 instead of an M6, that doesn't sound like a huge difference. Yes, it is a huge difference, because the width is also increasing, so it's basically to the fourth power. Basically, doubling the diameter of an axle increases the moment by 16. So, going from M6 to M12 is a huge difference. That's maybe something for all those driving contraptions that are around here. So, if you, there's a lot you can do with just the diameter. So, on the, not quite as good news as what's the next, so there are two, we are still looking at two things. One is the stiffness, and the other one is the strength. And the strength, for the strength, the question is what's the maximal stress that the part can withstand. And the part will fail at that point, that is mostly, that's loaded the most, and the most stress is at the top, very top and very bottom of the bending beam, of course. And the stress throughout is basically the moment, the bending moment divided through the moment of inertia, but it's multiplied by the distance from the center line. So, we're losing one power. So, basically, while this is called Z, it's basically proportional to the height. It's basically the height, the half of the height, depending what shape we have. Some shapes have different, are not symmetrical, so it may be a little bit different, but basically this removes one power for the strength. So, the strength is one power less than the stiffness, but still it's still, at least, quite tragic with the height. So, it's worth increasing the height. So, there's two more things we want to look in here before we move out of this whole theory stuff. Just torsion, which means twisting a piece around from a mathematics point of view, that basically works very much the same as everything else. There's a polar moment of area that we are using. It's also power of four, because we are, of course, basically we have, last time we had power of three of the height, and then the width. Now, if you're looking at a circle, for example, with the power of four of the diameter, the problem here is so far we could basically choose which axis we are wanting to bend to. And if the other one is weak, it doesn't matter that much. So, if you have something that's very high and slim, yes, it's not as great as being wider, but it's only linear. Here, things are different, because we are rotating it. So, it's basically the formula for complicated, more complicated shapes are more complicated than just bending. And basically, we want to have as much of a diameter everywhere. So, having a circle is obviously the best shape. Having a square is still good. Having a very slim beam is not great. And the worst things are slotted things. So, if you have a pipe and cut it in length, it can't resist much, because basically, the surface that has to carry all those force has to basically take a 180 twice, and that's really, really bad. What happens, if you actually do that, is that the two sides light against each other, when you bend those. And if it's connected, instead, if you have a tube, basically, they can't slide anywhere. And the forces are going basically as a spiral from one side to the other, both in tension and compression. So, that's something to keep in mind if you're looking at torsion. Another fun thing is buckling. This happens whenever a member in compression tries to evade the force by moving to the side. That's bad, of course, because if you're compressing something, you're basically counting on the area being there, and as soon as it buckles, so it's bending upwards, and then the bowing makes the geometry less stable, of course. So, you're turning compression into a bending moment that can lead to catastrophic failure, if it basically collapses on itself. That's one reason why we can't make these beams as thin as we want to. For one, it makes the torsion stiffness very weak, but it also makes it prone to buckling. That's why a lot of construction beams are using typically IRH-Beams, which are wider on the top and front. And they could, of course, just have a round bar on the top and front to have the area, but making them wide, for one, gives it some stiffness for bending in the other axis, but also prevents buckling. So, having something too slimm is optimizing in one direction, but keeps you weak in others. One thing is, there's no buckling in tension.  So, that's one thing to avoid. And some constructions are using these cranes, for example, that have the tension member only as a wire or a steel bar, which is lighter and doesn't need any additional width to get stiffness. And they have the width only in the compression part of the construction. As we are in bending, there's another fun thing that I ran into. I've not found an English word for this. It's called Schubladen-Effekt. Basically, if you have a drawer that's too wide and too shallow, it will bind up and it binds up, because the lever, if you're pushing there, the leverage for binding up is better than the force for pushing it in. It's something that's used, for example, in F-Clamps, where you screw it in and it locks in place, but if you're losing them, you can move them up and down. And that's also something, if you do constructions where you have sliding things, make sure that the length of your support is long enough to deal with the offset of your forces. So, I did make this nice little clamp for clamping material to the knife table of the laser cutter. The first one was too short. The sliding part was too short and would just not move at all.  It's really amazing how much difference there is being one side of the border or the other. Of course, you can lower friction, that also helps, because that's basically friction against the ratio here, but often you're limited or have already done everything to do that. Good, that's the theoretical part. Next thing to think about is the material we're using. I'm talking plywood here. The plastics are a bit different, but there are not that many easy-to-cut plastics that can be used for construction with laser cutters. Probably sterren, probably, there are a couple more, but they are all not cutting that great. Acrylic that cuts really well is not a great construction material, because it's relatively brittle, which is another material property we're not talking about today, but it makes stuff pretty easily. Wood is a lot lighter than steel, which is another usual building material and something that you will encounter when putting other stuff onto your laser-cuts. Things like screws or ball-bearings or whatever. The main wood is an actually pretty good construction material. It is relatively strong, giving it its weight. The problem is it has the strength only in one direction, and it's very weak in the other direction. This is compensated to some degree by plywood that are glued in two directions, so you have at least half of the strength within the sheet, but you still have the weakness across the sheet. So if you glue the sheet to something, you still only have the weak direction of fiber to fiber to hold it in place. As a result, you need 10 to 20 times the length to get the force into the sheet. Over the length, basically the force can move into the depth of the material. This is, to some extent, better, if you have plywood with a lot of layers, because basically each layer can do this on its own. Not if you're gluing only the top layer, but if you're putting the forces on all sides, basically moving them around. For example, if you want to move the force around the corner within one piece of plywood, you basically only need to move it from one layer to another, which may be only a millimeter, so you only need like 10 millimeters or 20, so you only need a centimeter to actually be able to move this force around the corner. Which is still not nothing, if you're thinking about all the small figure joints we're using, but it's much more doable, if this was a massive piece of wood, that we have to glue to something else, where we would need much more area. So, the next problem is that steel is much harder and much more heavy than wood, that makes it also hard to move forces from a steel part to a wooden part, because the wood doesn't have the strength to actually move the force somewhere. So, you're limited basically by the strength of the wood to take the forces from a steel part. So, the obvious way to do that is to increase the area by using washers or using oversize your steel parts, use an axle that's thicker than it needs to be, so you have at least some area to hold on to. But often that's not desirable, because for one it gets more expensive and then it gets heavier, and if it needs to be moved around, that's bad. One solution can be using dowel bearings. They are like LEDs, they are just too cheap, if they are small and everyone uses them, and I'm not a big fan, but they have their uses and they can be used here to just increase their area, because the outside of the ball bearings is of course much bigger than the inside, and you can still use a thinner axle with that. Another option is to just not use steel. So, basically try to laser cut the pieces you need also from wood or some other material, or use something that's lighter, like some plastic parts. I've got a couple of numbers here, maybe I will not really go over them. The things I always keep in my head is the density of the materials, which is for wood is like 0.3 to 0.8, depending on what you have, populars or relied. Birch is more on the upper side, there's hardwoods that are even heavier. Aluminium is 2.7, these are all kilograms per liter, or tons per cubic meters, if you're building something bigger. Steel is about 8, so that's a huge difference, basically a factor of 10, as I said before, even for heavier woods. We are not going over all the other strength. You can see that steel especially has a huge margin on what strength it can have. Mild steel is not really better than wood, when we're talking about specific strength, so if we count on weight, there are hardened steels that are very, very good, but they are also in pain to work with, so they don't really compare in the sense that you can easily less cut them and put them together, they need heat treatment and all kinds of other stuff. Metallurgy is a black art, we're not going into that. So, what are the tips we can learn from that? One thing is try to keep all your forces within the walls, because the height of your wall is the height of your beam and it is multiplied, or it is taken to the third and fourth power, so second and third power for strength and stiffness, and that's a lot, even for smallish things. If you're looking away from just a single beam, but for larger constructions, it's good to have things enclosed on all sides, basically. We have a box like this, this is relatively strong, but this is for example weak in this direction, because here we're basically relying on the bending of the joints here, so if we had a wall in here, this would be much, much, much stronger. So, often it's worth just putting a wall somewhere and even if you cut a huge hole in them, it still stiffens out things a lot. If it is round, you basically have a triangle-shaped quarter-circles in the corners that will stiffen those out a lot. If you have a larger contraption, there may be parts that you really care about, that they stay in place, and what I would suggest is you basically in your mind grab them and push them around and look for, if you have support for all six dimensions or actually 12 basically moving in this axis, this axis, this axis and then also twisting in all three directions. Und if you have all of them properly supported, it's very surprising how stiff and how stable something can be. I have built a cocktail robot and there's a platform hovering basically in free air and all it compresses is very flimsy, three millimeter arcs, there are six of them, two on each side and one going to the back. And although you can basically bend them with your small fingertips to the side, in combination all those arcs are supporting the platform very, very well and it doesn't move barely at all. Even there's some arm on top that moves quite quickly. So that's the next tip, basically make sure that the stiffness doesn't come from one part that's strong, but from the overall construction, make sure you support all possible forces. And the next thing I would suggest, although we have seen all those formulas, I would rather suggest not to use those. The main problem is you basically have to set up a scenario that you then do the calculation on. So if you need my talk for doing the calculation, you will have even more trouble setting up a proper scenario. So you need to make all kind of assumptions on what are the forces, which are the directions of the forces, which forces I care about. And that's rather troublesome to get that right. Because of these huge powers of these strengths, eyeballing, that works really, really well. And if you're in doubt just at 50%, and then it typically will work out fine. So, that's the theory. Let's look into some of the techniques that can be used with laser cutting. And of course, the first question was, how do we get from 2D to 3D? And the simplest way of doing this is just gluing layers on top of each other. I, for some reason, have not found this box, that should have been in our Hacker space somewhere. So what can you do with that? You can do lips and slots to slot something else in there. You can put mounting features. So if you want to have raised points where you can screw in PCBs or stuff like this, that's all the things you can just glue on top of each other. PCB and Glowshoes, if they are flat, it's probably... I'm a Sweebian, so I'm hesitant of wasting material, but you're still for very thin, low-profile stuff. It's probably easier to just glue up four layers of stuff on top of each other than construct a more complicated thing. This example on the left is a bionet lock for the lid. So basically you put it in and twist it, and then it locks in place. Another way of doing this is just to use a 3D model and put it in a slicer. That's how this thing here got created. That's basically just a 3D model cut up with a...  Ein Tipp für das ist, es ist oft nassig, um das in sich zu nähen.  Man kann es in verschiedenen Dimensionen in unterschiedlichen Dimensionen in sich zu einem anderen hinlegen. Das ist auch etwas, was hier gemacht wurde.   Aber für das ist es okay, in meiner Meinung.  Wir sehen hier ein Lippe auf dem Boden. Mein Lieblingsmethode ist, nur zu benutzen, Locating Pins, das ist etwas, das in Maschinenkonstruktion gemacht ist.  Wenn du etwas dicker hast, kannst du auch nur die Halsen inhalten und sie inhalten, das ist ein Reinforz. Das ist in meiner Meinung die easieste Weise. Ein weiterer Weg ist, zu einfach die Lasercut-Packs zu benutzen, basically have a square hole with one material thickness squared, and then cut small pieces either with a top hat, that locks them, that puts them on the right height or just flush and hammer them in. Another way is to have C-Clamps, basically have a slot on the side and have a C-shaped piece, where the layers are all basically stacked inside, and if you have two of them, they are also located. For stuff that needs a lot of torque, like small gears or pinions, you can also think about putting thicker metal rods, like thicker nails in there to transfer the torque, that can be useful. Finger joints, I guess everyone has seen them already, they are everywhere, so I'm not talking about the obvious stuff too much. You can use them in other angles than 90 degrees, but they lose a lot of glue surface area. So they are much, much weaker, they look cool, but don't rely too much on these kind of finger joints. Also it's not possible to design them in a way so that they create closed surfaces. So we'll always have holes or gaps in between. You can get rid of the gaps on one side, but you can get both sides without gaps, even if you're willing to send off the overhangs. Generally, the smaller the fingers, the stronger the joint, because it increases the glue area, basically gives additional glue area on top and bottom of the fingers. This is useful, because bending like this is the main weakness of these kinds of joints, because that's also bending. We basically have the whole length of one side as a lever to pry them apart. We have the material thickness to withstand that. So, that's a good reason to always have a top and bottom piece. That's one of the reasons why there's this round part on top. It keeps all those together and prevents from bending stresses getting onto those non-90-degrees joints. There are two ways to do these finger joints. One is symmetrical, that's what we are doing here. So we have two sides, basically one with the fingers going out and one with the fingers going in. There's a different way of doing them, which are not shown here, which is basically they're symmetrical, where all the fingers are on the left side and they're going in on the right side. Basically, if you have a part and they have a direction, putting the pieces together, basically with the same side up, they will always fit, because this goes this way and this goes this way, this round. So they will always fit, if you put one on top, it will also work. The technically much better version is using finger holes, that's basically fingers on one side and holes on the other side. That's our arcade, that uses this. For one, it increases the gluing area, so now we are pressing always against material. So we are always, we basically increase the pressure when we are bending it, so it making it harder to pull out. The thing that's a bit tricky is if you want to put two things from two sides at the same place, that can be done, but you basically have to skip half of the fingers on both sides, which can be a bit tricky, whether they are, whether they have an even number of fingers or not. Often it's easier to avoid this and just offset the two walls and have them at different levels. Maybe even one or two material thicknesses apart. So they are basically material in between to connect all the forces. Another way, if you want to cross over walls is to use slots, they are not very stable, slots just means you have slots like this and put the materials together like this. This works really well for one direction, because the thing slotted from above can be fixed to the bottom and so you have a continuous plate on top in the bottom that could flop around, so that you can go back. The problem is the other way around, that those are basically unsupported on top. So if it's upside down, if it's on the side, like for some storage, you make sure that those are the ones that are vertical, so that they can take the load in the right direction. If you put them this way, they will just bend down and be not supported well. You can of course join them in front, with some other piece that connects both directions again. If that's something that's useful or feasible. One thing I really like, but it's actually not that useful, are flat dovetails. The only really serious use case are those rounded boxes, where we have one piece that wraps around and we need to basically join them back in front. They are a good way to create pieces that are bigger than your laser cutter. These are pretty big ones, but they can be made very small, like only 3mm or something. And then if you put them with a lot of pressure, with a lot of, if you make the cut very tight and you combine them with a hammer, they are basically like one piece. They are surprisingly strong. Another thing that just looks fancy is flex. I've done quite a lot with that. Flex works well, if it is constrained to the radius, if you have constrained the maximum radius, you can bend them. So there's a lot of things that use those as hinges and I've never found them that particularly well working. Because of fatigue they will always break at some point. Also, if the problem here also is that the forces in this direction are also created by these very tiny pieces and basically there's very little wood fibers that go in this direction. And if there's some defect in the plywood at exactly that point it will just break. So, it's very fragile. Also, also, in this direction there's no way it's bent too much. It also works reasonably well if you do it in corners, like we saw before, but it's not that great if you allow users to over bend it. That's something you just need to avoid. Hinge hardware, something that can be done with laser cutting works reasonably well. I'm not too much of a fan of those wooden axels because they have a lot of, for one they need to be bigger and the bigger they are, the more torque you get on the axle and the more the high friction matters. So often it's worth doing at least the axle in steel. Some piece of nail is typically sufficient because steel is harder than wood so you don't need anything fancy to make this work. But the axle one works actually pretty nicely. They are a bit more bulky than a metal hinge. But on the flip side they put the forces on a larger area of your surrounding piece so it has its benefits. Gears work reasonably well even if cut from woods. Surprisingly, wooden gears have been used for centuries even if they are typically made of hardwoods and all the gear teeth are filed to perfection. We are limited in what kind of gears we can do because we are only cutting straight down so we are limited to straight gears. If we think we would rather have metal gears we can compensate to some extent by making the gears larger. A larger gear has a larger radius which means the same torque can be transferred with less force and we can also make the gear teeth bigger which also allows transferring larger forces. So if we have the space we can afford it because the gears are much much lighter than the same gear in steel. We can also use Reck and Pinien and what I especially like is adding the gears directly to the things we want to move so we can basically buy a gear and bolt it to somewhere we can just have the thing come with an Reck or come with a gear profile. And it's a way to have relatively huge gears reasonably cheap so in one of my robots I have a 20 cm gear and it's just not an issue. You could do even bigger ones like if you have an I've seen a turntable being done that has 50 cm or 60 cm a ring gear inside there to turn that by a small motor easy doable. There's some discussion whether you want ball bearings or simple axles a lot of commercial gears actually don't have ball bearings but just have like pins in brass in my experience this works fine if you don't transfer huge powers and you basically only need gears if you want to have your output axle being able to support side loads or something like that so if you want to have a pulley which you also can laser cut with easily anhand pull you might want to use ball bearings As we are on the topic of ball bearings in time as we already told there is a great way to increase the contact area with your wooden parts you can layer use multiple layers to create a bearing seat basically have one or two layers with the outer diameter of the bearing and then have another layer with a smaller hole basically preventing the ball bearing to move inside the general rule is only use two ball bearings per axle to not over constrain them and if you really want to have precision you should pretension the bearings against each other so that to basically get out the movement and play from those bearings but that's not a laser cutting thing it's more of a ball bearing thing I thought about using wood wooden bearings basically just put a couple of balls into a recess but I think wood especially the woods we are typically using are mostly too soft for that because if you are using bearing balls they basically create point loads and wood really doesn't like that so you will get if the bearing gets hit you will get dense in your in your rays and that's just not good so maybe there's some ways this can be done but there's no obvious way of making this work that I've seen another thing that's interesting and even more experimental is using springs basically when we talk about springs we are saying cutting springy parts out of the material and using that as springs there are a couple of interesting use cases for for latches and stuff like this but it's very tricky one thing I learned is one way to make these springs have a little bit more gif is narrowing them down from their full either from their full width to a quarter or if they are in the other direction from their full height to half their height this gives about 40-60% more movement for the same stress in the same length there's a very nice document from Bayer which produces a lot of plastics that's most of this is more 3D printing stuff but that's where I found this it's a really nice document for all these bottle caps Fits and whatever another way we can use a torsion bar basically just a strip of material we can in the middle put a latch that twists basically out of plane as we discussed with torsion it's good if this has a more less scarish cross section another thing that I've used is using two buttons if you have an enclosure you can basically put a couple of long springs around one area so you can press the area down and press onto buttons for all springs it's very important to protect them from overextending so you should have a dead stop so that if you use or press the buttons they cannot break it but it will bottom out so why do I have limited success with that many materials will creep creep means the material will give under continued load so this is different from fatigue fatigue requires you to move back and forth all the time creep just means if you're putting under load it will slowly deform and turn into the new shape basically this is particularly bad with wood for some reason and but also several plastics do experience that so one way to deal with that is to basically construct around that so to anticipate that and make sure your stuff still works so this is an example that I also do have here where I have these tubs and they don't rely on them being fully extended they are basically just there to take off shear forces for the shear forces are not seen by the spring itself and also the force that's actually there doesn't really matter it doesn't rely on the strength of the spring it's just there to push these pins back out if you're putting this on top of the enclosure and of course they are also naturally limited in the way they can do they can as you can see they're basically they can't be pulled out but they can also yeah you could trap them and push them in but if you press them from the outside they are basically also limited in what a reasonable person would do to them if you have more time it's getting close flexures are a very interesting topic that I looked into that's basically a mechanism that relies on bending it's super interesting there's been a lot of fuss around this in the maker sphere I've not seen many things that are actually working well there's an open microscope project but they are using 3-Printing there's a lot of very cool and interesting stuff that can be done there but I'm not far enough to give you advice on that other than it's really cool there's a talk and workshop from Emily that you can find but there are mostly mostly indents and stuff like this so if you have a knob you can make it stop in both directions and things like that they are not that advanced as I would like stuff to be so that's something for our next talk in 10 years the last thing there will be a workshop meet up basically as an extended Q&A and a discussion thing at 16.30 which is in half an hour according to my clock in the room next door okay that's it from my side questions we have 5 minutes how is your experience with different kinds of wood or like MDF for example so we are mainly using birch and poplar and I think poplar is actually a pretty good wood the problem is it's very soft on the outside so the main problem is it's lack of hardness so it's good as a construction material but the surface will get damaged easily we have not been using harder woods than birch all at all bare lake I know there are other woods that are for example more springy like ash but we don't really have that and that's the point there's still so much stuff to do even after 10 years thank you you mentioned that a typical slicer can be used to create like a 3D model out of an arbitrary model so how does it work so does it output each individual layer or what is it I've actually not done it myself I just saw other people do it but I think it puts out all the pieces alright so just like a typical SVG yeah in my understanding I've not actually done it myself alright and I don't know what slicer they used but there was I've seen a couple of articles about that but I didn't really look too deeply into that okay interesting thank you any other questions if not there are a couple of samples in front here to look from close feel free to touch them and look at them and if you have can discuss them in the neighboring room in like 30 minutes thank you


So for those of you who missed it, Bam Margera posted a series of pretty troubling videos over on Instagram and he eventually asked Dr. Phil for help. So in this video we're going to be discussing the situation from Bam Margera's perspective as well as Stevevo and Brandon Novak and then finally we're going to ask the question can Dr. Phil help Bam Margera? So stay tuned. What is up everybody? This is Chris from the Rewired Soul where we talk about the problem but focus on the solution and if you're new to my channel what I try to do is take different topics going on in the community or in pop culture try to see what lessons we can learn from them to improve our own mental and emotional well-being. So if you're into that stuff make sure you subscribe and ring that notification bell and real quick for those of you who don't know I've been sharing over on the community tab and on Twitter and on Instagram but I've been doing daily podcasts I know I work my butt off because I love you all so much so not only am I doing daily YouTube videos I'm also doing a daily podcast and all that stuff so make sure that you check it out the links will be down in the description below and follow me on Instagram and Twitter so you don't miss any of the updates alright so yeah let's talk about this Bam Margera situation it actually happened within about the last week or so I was actually out of town with my beautiful girlfriend and my son visiting her family when this went down and a lot of people were messaging me about this especially on Instagram where all this stuff took place so before I jump into this topic those of you who don't know me you might be like who the heck is this guy and how is he qualified in any way shape or form to discuss this subject so allow me to introduce myself hi my name is Chris I'm a recovering drug addict and alcoholic my clean date is June 23rd 2012 so yeah about a little over a month ago I celebrated seven years clean and sober not only that but I worked in addiction treatment for a little over three years and I'm a certified life coach and I specialize in sober coaching alright but aside from that part of my job and part of my own personal experience I have had interventions done on me I have had to do inner interventions for friends for family members as well as a ton of clients who have helped get into treatment as well so I'm kind of well versed on this subject okay so first for those of you who missed it I'm not going to show the whole thing but anyways bam posted a series of videos you can go check it out but they're very concerning and this is why people were worried bonkers so when people say bam might be going crazy maybe they're right let's get to their right let's get to my mom which is the worst part everything she says is negative and she always cuts people off and never lets them finish she's already ready to say what she's gonna say before you're done that means she's not listening ever how many times have I got you out of rehabs and paid for them 25 out of jail numerous you wrecked my $125,000 S-55 Mercedes it was my favorite I could have put you back in jail instantly but you just did a year in jail and I didn't want to do that to you because I'm a nice guy then I had $100,000 deal with Wawa for bam energy shots until they found out that every time Novak would go to Wawa with me and Westchester he would steal a cheap chicken-steaser wrap and they counted how many you stole because they didn't feel like calling the police for $4 I owed them over $5,000 on chicken-steaser wraps and then they canceled my deal so I never even got the hundred grand I've paid for every food drink any bar tap anytime he got caught stealing Xanax I'd have to throw somebody $300 to not call the police the list goes so on and on and on that it's ridiculous even to the point where his mom disowned him I don't want anything to do it I was the last one left so yeah if you want to check all of those out feel free to go check out Bams Instagram I recorded this on my phone about a week ago but I'm pretty sure they're all still up there but yeah as you could see like it's it's super sad and whenever I see this happening I remember the insanity of addiction and it's it's brutal and like I can relate so much like when I was watching bam I felt like I was watching myself like the last intervention that my family had for me seven years ago which ultimately led to me getting clean and sober like it was my mom who was seven years sober at the time she's coming up on 14 years it was my dad and a couple other family members and I was losing it and I was screaming and yelling and calling them all sorts of names and much like you saw what bam was doing to like I passed the blame on to other people like I called my mom names that you should never call anybody let alone your own mother right and I blamed her for this I said had you not been an alcoholic you know when I was growing up I'd be fine right you're the reason I'm this way and you saw a band margera like talking about his mom are we talking about his friends and everything like that and part of my addiction a part of this disease and part of that sickness is thinking if this one thing would change then I'd be fine all of you are the reason why I drink and use and don't you understand if you just treated me the way that I think I should be treated I wouldn't have to drink or use drugs right and like I get it and what we're gonna talk about at the end of this when we're talking about how Dr. Phil's gonna help we're gonna talk a little bit about what BAM's gonna have to do as well but anyways throughout BAM Margera's videos he's talking a lot of crap about Brandon Novak those of you who don't know who Brandon Novak is he was a pro skater friends with BAM and he was deep in his addiction I watched Brandon Novak share his story there's a YouTube video of it somewhere and it is a powerful story like like this dude is in the program and you could tell he's working on his recovery and like I remember listening to him speak I was like dude like that is my jam right there and a lot of you know you know Steve oh he's been sober for a while too but anyways like BAM talks a lot of trash about Brandon and I had to help my best friend get sober after I got sober and it's difficult being the friend of someone who's in their addiction when you get sober because of a few reasons one of them is we have to separate ourselves from that person right like my sobriety has to be my number one priority seven years ago I had a 10% chance of living I wasn't allowed to see my son like my life was a mess so if I don't put my sobriety number one I lose everything so I can't put my friends family members I can't put a job anything above my sobriety or I lose all of that stuff right and for the person who's still in their addiction it hurts like BAM like talks about how Brandon just like dumps him off at a rehab or whatever it is like we have to do that to protect our own recovery you know what I mean and I remember like my best friend who I eventually got you know helped get sober and he actually just celebrated four years sober too but in the beginning it was rough it was rough like because he would just accuse me of thinking I was better than him and he would talk about all the terrible things that I did in my addiction and like he wasn't wrong like I'm sure like Brandon's like yo like you're not wrong about yeah these are the things that I've done but part of our own recovery process is making amends for those things and living in a better way so we don't repeat those mistakes and one of the ways we do that is by staying clean but not long after BAM went on that tirade Steve and Brandon Novak came out and we're like yo dude like proud of you glad you're getting support and everything like that and like that's just the way you got to do it like I remember when my mom and her best friend from a 12-step program were intervening on me and I was like losing it and saying I don't need help I'm fine I could do this and I was screaming and yelling like this was like the pre-intervention before the actual intervention and they kept saying oh oh that's just your disease talking Chris that's your disease talking and I was so mad I'm like what the what do you mean that's my disease talking that's me talking it's me it's Chris it's not the disease talking but later on like I understood like the way addiction works is it takes over the survival part of your brain right the prefrontal cortex is no longer doing its job we're not thinking logically we're just trying to figure out ways that we can continue living the way that we're living by destroying our lives with alcohol and drugs right part of my recovery is separating my my addiction voice the disease voice from like the logical good Chris the person I meant to be right so when I saw Bam talking like that and when I saw you know him say what Brandon Novak has said in the past or even like Brandon and Steve O coming out and support like they get it like that is not actually Bam that is his sickness and if you know somebody who's struggling with the disease of addiction like this is something I try to teach family members all the time please recognize that your loved one is not a bad person they're a sick person they're dealing with an illness all right now that doesn't mean like let them off the hook for everything right like they still need to get well but just know that it is their addiction talking so anyways Bam Margera beg Dr. Phil to help him he says like he connects with Dr. Phil and he like it feels like Dr. Phil like you know talks his language and gives that tough love and everything like that and that's awesome all right but here's the thing Dr. Phil cannot save Bam Margera okay like first of all not only can Dr. Phil not save Bam Margera but like Dr. Phil just you know links people up with like treatment centers like Dr. Phil isn't going to personally treat Bam Margera right but how can all of us learn from this our recovery is our responsibility and when seeing Bam talk I could relate because he has so much anger built up in him right like he was talking about his kids mom he was talking about his mom he has so much anger towards the people in his life and like in treatment he's gonna have to learn different strategies to let go of those things right like when I was working in the treatment center I had I shared my experience a lot because my anger my resentments towards the rest of the world that's what kept me sick I used to drink and use at people right but when I got clean and sober something that my first sponsor taught me was no matter how much I'm trying to change it doesn't mean the rest of the world has to all right so I had to learn how to stay sober no matter what regardless of how anybody treated me or how anybody acted like I had to get myself correct right and it's empowering too because now there's no external circumstances that control my life they don't depict whether or not I'm gonna pick up a drink or a drug because I take 100% responsibility for my actions and this is something like with Ben Margera because he has been to treatment multiple times and like this is all just strictly my opinion based on my experience but he's going to have to realize that treatment is not the cure all right like addiction recovery is a marathon it's not a sprint a lot of people have the misconception that you just go into treatment you get that addiction cure like Malibu and what is that place Malibu something who says they found the cure for addiction or whatever that's not how it works this is something that we work on every single day all right I am seven years sober and my sobriety is something that I work on every single day I don't have these insane cravings or this obsession to get high or drunk but every day I wake up and I remember oh yeah I am a recovering drug addict and alcoholic I need to treat my illness in order to maintain the life that I have and not go back down that road and that's something I do every single day and the last thing I'll say is whenever I see a celebrity battling with their addiction I just know that they're on a really hard road because when you get rich when you get famous when you have all these fans the ego is your worst enemy right you don't think you need anything from anybody you don't think you need to take advice from anybody like you think you are just the person at the top of the world right and recovery takes so much humility I always say the best thing that ever happened to me in my recovery was when I had this moment of clarity when I realized I don't know crap I thought I knew everything but I didn't know a dang thing and I had to start taking suggestions from others in order to start improving my life so I will be following up on this and I do hope the best for BAM and by the way anybody out there if you ever need someone to talk to you like let me know if you have a friend a loved one whatever it is like I'm I'm like I'm much like Dr. Phil I am not going to fix you or your loved one but I will provide you with the resources that I can or have a conversation to hopefully point you in the right direction so be sure to reach out to me on Instagram or Twitter at the rewired soul the links are down in the description below all right but anyways that's all I got for this video if you liked this video please give it a thumbs up if you're new make sure you subscribe and ring that notification bell and a huge huge thank you to everybody supporting the channel over on patreon you're all amazing and a huge thank you to everybody who comes to my website and gets my books and all that other good stuff you're all awesome too all right thanks again for watching I'll see you next time


Screen Directors Playhouse stars Barbara Stanwyck, Wendell Corry, Production, Velma Jordan, Director, Robert C. Audmack. This is the Screen Directors Playhouse, the Thursday night feature on NBC's All-Star Festival of Comedy, Music, Mystery and Drama. Brought to you by RCA Victor, world leader in radio, first in recorded music, first in television, by Chesterfield, the cigarette that has for you what every smoker wants. Mildness. Plus, no unpleasant aftertaste. The cigarette that brings you Bing Crosby and Bob Hope. And by the makers of Anison. Or fast relief from the pain of headache, neuritis and neuralgia. The Screen Directors Playhouse is pleased to present a study in dramatic conflicts. You're about to hear our adaptation of the thrilling drama, Velma Jordan. And starring in their original roles will be Wendell Corry as Cleave Marshall and Barbara Stanwyck as Velma Jordan. Before we present the first act, here's a message from RCA Victor.  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That's a laugh. 25 years of trying to understand people and the tragic conclusion that people weren't born to be understood. Take Cleve Marshall, the assistant DA for instance. It was after office hours and Cleve was sitting around commiserating with himself. The bottle of scotch and me on why he wasn't going home to his wife and celebrate his fifth wedding anniversary. I'm fed up. Have you heard that phrase? You're not married. What happened today? Why have you been for the last few hours? I went down to an antique shop for Pam's anniversary present. She told me what she wanted and where I could get it. It was an old whatnot. I don't see why that should aggravate you. But it does. I like doing things for myself. When it's my wife, my kids, my house. One thing I can tell my father-in-law not to come there so often.  What's that got to do with a what-not? It sounds sort of picky. It's the basis of it really. I drove down and went in. No what-not. The honourable Calvin H. Blackwell retired. Bless his retired soul. I'd just been in this morning and bought it for his daughter Pamela for her anniversary present. Well, she happened to mention to him that she wanted it too. Does it all the time? If I can't get something for her father will. A hour and thirty drinks later I pick myself up and left. As I pass through the door, a very beautiful girl entered. It was the night of May 25th. That's when the file of Thelma Jordan received its first entry. Mr. Scott, I've come to see you about my aunt, Miss Vera Edwards. Twice in the last two weeks our house has been broken into. Ah, it's very interesting. I don't seem to be able to get any satisfaction out of the police. What I meant to say, Mr. Scott, was there are reasons why I have to stay away from them and come to you. My aunt is eccentric and uniforms upset her. What's your name? Thelma Jordan, Miss Edward's niece. Well, Miss Edward's niece, I am not, Mr. Scott, so you can save your breath. I'm Cleve Marshall, Assistant District Attorney. Oh. However, if I can be of any help, a lady in distress, a pretty lady, it distresses my specialty tonight. You can help me and I'll help you. Do I make myself clear? No, not quite. I'm sorry I disturbed you. Oh, you didn't disturb me. I was just about to go out and find myself a dame, if you'll pardon the expression. Good luck and good night. Well, wait a minute. I'm a public servant. I'm supposed to hear your troubles.  You sound very appealing, but I... One drink. I'll buy drinks in place. Honest, I'm harmless and I'm lousy. What do you say? Well, on one condition, that I drive. If you insist, you're the boss. I'm glad you said that. Because I'm no dame, remember? It's our anniversary, Thelma. How long has it been? Three hours? I'm going to buy you an anniversary present. This is the very rich Edward's estate. This is where the poor relative says good night, Cleve. Don't go, Thelma. Pretty Thelma. Thelma with a light brown hair. The minute you walked into that office... I know, I know, but I... No buts and zips, whereas isn't here too far. Party of the first part? I love you. Have I said that before? You have. I have to leave. You can't go. I haven't told you my troubles yet. You'll have to wait. Please, Mr. Marshall. You'll call me Cleve before. One minute I feel like Cleve and the next, Mr. Marshall.  Pretty Thelma. Mr. Marshall or Cleve? I don't know. Maybe I am just a dame and didn't know it. Maybe I like being picked up by a guy on a binge. Can't you believe the things happen when you're in love? What's time of day? I'm sorry I can't say it that conveniently. That's what it is, a binge. No relationship between yesterday and tomorrow. That's all there is. There isn't any more. I'm getting out, Cleve. Good night, and drive home to whoever is waiting for you. If I told you there's no one waiting for me... I wouldn't believe you. Drive carefully. Tony. Oh, you scared me. I told you to stay away from here until I called you. What are you trying to do? Upset the apple cart? I missed you, baby. I was getting awfully impatient about getting my hands in your anti-view resemblance. Stop worrying. I already have the combination to our safe in the library. Well, what are we waiting for? For the right moment. I'm not making a move until I'm protected properly. Everything is working according to the plan. I've already set the notion that the house has been broken into twice by a phantom burglar. Ah, let's see us in your head, baby. You didn't think I was playing nursemaid to a sour old woman for nothing? Tony, what would you say if I told you I had just left the assistant district attorney? And that he's on the make for me? Why are you getting involved with the law? If the time ever comes where I need an alibi, can you think of anyone better? Well, hello, Cleve. Oh, hello, Mr. Jordan. I was worrying about you, whether you got home all right. I managed, you know, drunks and fools. Well, I'm busy. I guess you've forgotten a lot about last night. Apparently you don't like me in the daytime. I guess I got a little out of hand. I apologize. Accepted. So long, Cleve. Phone call for you, Mr. Thelma. Mr. Thompson, that detective... Thank you, Sidney. I'll take it inside the house. Excuse me, Aunt Vera. Who's calling, Thelma? It's all right. There's nothing to worry about. I'm the trace, Sidney. Doctor or no doctor, I work my brandy. Hello, Mr. Thompson? A case of slightly mistaken identity. My secretary informed me that you called and asked me to use the name of Thompson. Hello, Cleve. It's nothing really very important. Just one of those things. 24 hours a day and lonesome. I don't know anyone else in town. In fact, time's been full of emptiness since a certain May 25th. I can cure that. I'll meet you down on the road. Shall we say about 20 minutes? On the road. Well, thanks for calling, Mr. Thompson. After painting scenery that summer, I stayed on at Lake Placid. I got a job at the hotel as a hostess. Then there was Virginia Beach, Saratoga, brought in other people's fun. Then I came here and met you.  Well, if you don't mind it, let's get out of here. Waiter, here's the money for my check. Let's go, Thumb. Yes, of course. Through the back door, please. Well, it was a lovely evening until now. Who did you see? Your wife? No, she's away. Beach. Temporarily or the season? The season. I visited her weekends. It was my secretary. I'm sorry.  I've got to see you often. As often as you like. But be careful. Don't call the house again as Mr. Thompson. Why not? Well, why don't you use the name of Smith or Brown? I'm not Dick Tracy. It's for your sake. After all, this is a small town and you can't afford any talk. I know. Say, you haven't kissed me once, has he? My mistake, Cleve. Get something on the radio. Sure. Why is it when you first meet a woman she's only pretty? After a few weeks, she's beautiful. Sometimes it's the other way around. Not with you.  What do you think? You feel as though she let you down. But you let her down. You should have told her. Can't you say to your wife, don't leave me alone. I'm falling in love with another woman. If it's true, you should have said it. It's true. So you said that first night? No, it's a difference. I'm really drunk now. I wasn't in. Somebody will be coming up here on the mountainside in a moment, as usual. I'm not going down to the beach to see my wife as we can. I can't stand as we can anymore. Don't you think I feel guilty too?  Oh, Cleve, what horrible luck. Just when everything I hoped was going all right for me at last.  Some recuperation. Falling head over heels for a man I can't even be seen with. Parking spots like a couple of teenagers. Head over heels? That doesn't say you love me. I only know I think of you all day and all night.  Like now. What I'll say to you. That I really mustn't see you anymore. And what I'll do the next time you take me in your arms. Isn't it up to me to take the chances? Not entirely. I'm married too. I don't think I heard you right. Just that. I'm married. I'm interested if you feel like telling me. It isn't much of a marriage, not like yours. His name is Tony. What does the last name matter? I met him in Florida a year ago. You still love him? There's so much I want to tell you. Remember I told you once I wanted to be an actress? Well, it was all part of that glamour I thought. Having a certain kind of attention paid to you. The right table at expensive restaurants. Dark blue, tuxedo, black fedora hat. Gold cigarette case. That's a good thing to get married for. A gold cigarette case. I don't expect you to understand. I don't understand myself. It was all shiny until you opened the cigarette case and found somebody else's name inside. To Tony from Dimples or Debbie or someone. And then you ran into him out with them someplace. How long did you stay with him? He stayed with me until my money gave out. Where is he now? I don't much care, thanks to you. Wherever he is, his money gambling him. Beautiful woman. Have you seen him lately? No, and I don't want to. I'll be free of him someday, I suppose, but... Oh, there's nothing to be angry about. Please, you ought to feel sorry for me. You've got to say it differently. But you don't think of him anymore because of me. I've said that. Again. I don't think of him anymore because of you. Or could you... could you manage soon? Right. I'll say I'm going up north to see the state's attorney. We'll take the evening train. People will see us. Then I'll only say I'm taking the train. We'll go in your car. Oh, yes, Cleve, of course. My car. The two of us together. Oh, it's perfect, darling. Perfect. Let's take time out for a message from Bing Crosby and Bob Hope. You got a minute? Oh, sure, Bob. We've got all the time in the world. Don't tell me you own that, too. Oh, never mind that stuff. Get to work with it. Okay. Folks, better-tasting Chesterfield is the only cigarette that combines for you mildness with no unpleasant aftertaste. And you can prove that yourself. Just make our mildness test. Buy Chesterfields and open them and enjoy that milder, mellow aroma. Now light one up, and you'll know Chesterfield's milder because it smokes milder. And Chesterfield leaves no unpleasant aftertaste. That fact has been confirmed by the country's first and only cigarette taste panel. Yes, mildness and no unpleasant aftertaste are what you and I and every smoker want. Hurry up, Dad. Here comes the music. Chesterfield, Chesterfield always takes first place. That milder mild tobacco never leaves an aftertaste. Oh-ho, open the pack and give them a smell. Then you'll smoke them. And here is the second act of the screen director's Playhouse presentation of Felma Jordan, starring Wendell Corey and Barbara Stanwyck. Phase two in the file of Felma Jordan was recorded the night Cleave was to meet Felma and go north for the weekend. Outside a heavy storm was in progress. Inside the house, Aunt Vera believing she'd heard a strange noise in her darkened library, entered with gun in hand. Outlined in the shadows was a figure, rifling her safe. Who is it? Answer me. What are you doing at my safe? I think Heaven you've phoned. You forgot to come at once. Something's happened. Well, tell me what it's all about. No, no, no. Don't talk. Just come. I'll meet you at the side gate. Please, please. Oh, Cleave. Oh, Cleave. I think I know. Tony's shown up. No, no. Why should you say that? Well, if it isn't Tony, what is it? You thought of him first, too. So did I. No, it's Aunt Vera. Well, come on. Talk. What is it? She's dead. What? I was just leaving to get the car out when I heard a shot. I went to the library floor with a gun beside her. The safe opened. Another burglary?  I didn't tell you. It's gone. There's some things about Tony, too. You didn't tell me? I don't know. If he were broke or desperate, maybe I... I don't know. I'm afraid. Come on. Let's go to the house. No, don't go there, Cleave. Why not? You don't seem to understand why I'm afraid. There was a letter I wrote to him once, ages ago. I said Aunt Vera might be his type. She had emeralds. If they find that letter, or it didn't mean anything, did it, Cleave? Just female, nasty. I don't know whether it meant anything or not. I don't know, Tony. Maybe I don't know you either. I suppose I had that to look forward to. I'm sorry, Tony. I know how you feel, but don't you see if it was Tony, they'll suspect me, too. And every place we've been, every phone call we've made. We've been careful. We're not going to let them suspect you. Then tell me what I should do. What you should have done a half hour ago. Go back in, scream, call the police. What are you waiting for? I was hoping you'd tell me to do something else. You didn't do anything else. You didn't change anything in there. A little. How little? I rubbed off all the fingerprints. You what? I was panicky. I didn't know what to do. In case they were Tony's prints. And yours along with them. No, I shouldn't have. But you've been in that room dozens of times. It's natural for your fingerprints to be there. Thoma, where did you remove the prints? The window wearer. He came in. The gun. The safe. Burglars wear gloves on jobs like that. It's standard equipment. That didn't occur to you. No, not until later when I calm down.  What else? I don't know. Did you touch her? No. How was she lying? Face down. You didn't turn her over? How did you know she was dead? I could tell she wasn't breathing. You got to go back there and do it over. I couldn't. Your fingerprints on the safe where you looked. Found the jewels were gone. On the body. I can't. Maybe I wasn't close to her. But I liked her. In that room. It smelled of death. It's... I'm going with you. No. No, I won't let you take that chance. I'll do it. Make more mistakes? No. You wait for me by the side door in case someone comes up. I'll go douse the car lights. If you should get involved in this... I won't get involved. You like to be sure where Sydney is though? His house is dark. Why is the light out in the library? I turned it out after I cleaned up. Was it on when you came in? No, no. Unhurried killer turns the light out when he leaves. Are you sure? No, I'm not sure. Okay, leave it dark. But put your prints back on the switch in case you took them off.  I don't want to handle it. I'll use my pencil. It has been fine. Hers? I never saw it before. Put your prints on it. Now turn her over. Please. Wouldn't that have been your first instinct if you hadn't thought of Tony and the emeralds? Envera, Envera! Turn her over! All right. When Scotsmen were out here, did you tell them where the safe was in this room? Yes. What happened those first two times? The side entrance was broken into. The next time we just heard somebody out back. You didn't think it might be Tony before? No, but... But what? Well, I saw the necklace was gone and I remembered. Not many people knew about the emeralds. All right. Get your prints back on the safe. Put your hands on natural curiosity. Is there anything left in there? Some more papers, it looks like. Papers? A will by any chance? Who is her?  Oh, no, Cleve. No, she can't have. Might be tough for you if she did. Well, what would it look like? I could get it. She'd have told you about it, I guess. Oh, yes. Yes. Anyway, she wouldn't have... Come on. Give me 10 minutes. Then scream and run for Sydney. No, Cleve. It may be days before we see each other. Turn on the hall light and don't forget to take off that coat. What's his bag doing here? Oh, I was carrying it when I... Get it. No. No, let Sydney answer it in the cottage. All right, but I'll listen in. It may be important. She's asleep by now. I'm sorry, Doctor, but there's... What's wrong? He's coming over. When I called you early. How did you know Sydney wasn't on the phone? We haven't time. You've got to leave. Something's happened, you said. That's all he had to hear. That was nearly an hour ago. Where were you? I don't know, please. I called twice the first time he answered. Oh, Cleve, will you go? Which way will he come in? I don't know. Get to the window. Touch the sill fast. All right, that's done. Cleve, the lock on the window has been forced. Did you shut the side door and we came out? No, no. Come on. I lock it after me. My pencil. It's going to be initials on it. I must have left it in the library. Go hurry. Maybe if I put the light on... Don't. We can't afford to let Sydney see it. Just keep looking. I found it here. See, he's at the front door. If Scott gets the case, I'll try to get around. In the meantime, you don't know anything. Leave the fingerprints on the safe. If I haven't been here... It's too late now.  Go on, now hurry. What are you going to do? I'm going out this window. Cleve, the stone, the ground, the salt. You'll leave footprints. Get back upstairs before he turns on this light, too. Miles Scott. Hello, Miles. Let me talk to Cleve. What can I do for you? He isn't feeling well. He was supposed to go up north last night. Can't you leave him alone for one day? Sorry, Pamela. It's important. All right. He's on the beach sleeping.  I'll take it, Pam. It's ridiculous. The short time you have down here, it's Miles Scott. Hello, Miles. Did you ever read the morning papers? Front page, big. Ritual Vera Edwards was murdered, you know her? Bagley. Now her niece Thelma Jordan? No. Do I? Oh, yes. I met her once. You know, my anniversary. We only spoke a few words, that's all. Get yourself together and come on out to the Edwards estate. There's $200,000 involved and are recently rewritten well. All right. Take me a couple of hours. Bye. I'll get going, Pam. You don't love me anymore like Father says. Father knows best. Please don't brush me off like that. You're not yourself lately. I can't keep track of you. For once I have you down here for the weekend. Business before pleasure. You got the car keys? They're in the car. You could have said you were sick, you are. I'm feeling better now. I'll call you from town. I think you were just lying around waiting for an excuse. You won't be lonesome. Your father will be here soon. Cleve, I'm sorry. I asked him for the weekend because I thought you weren't going to be here. When I woke up and you were, what's the use? It's all right. It works out perfectly. I have work and you have Father to complain to. I don't need more, Cleve. Oh, but not. What do you talk about then? It's past talking now. He already knows how distant you are, preoccupied. How little I see of you. I didn't know you so well and love you so much. What? I think as he does, that you're playing around. You have no courage, have you? Father says, Father thinks. All right, I'll say it. There is someone, isn't there? Yes. You know no law? I don't want to talk about her. You don't want to marry her? I'm trying to be very grown up about this, Cleve. What is it?  And here, ribbon shorts. I know. That's my trouble. I know it. Do you want to marry her? I married to you, the children, and the years. I haven't answered my question. You can't divorce a child. That isn't what I want to hear. Cleve, please don't leave me. Miles is waiting. So is she. If you would like to know a quick, easy way to ease the pain of a headache, neuritis or neuralgia, then by all means try anisin. 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You are listening to the Screen Directors Playhouse, the Thursday night feature on NBC's All-Star Festival brought to you by RCA Victor, world leader in radio, first in recorded music, first in television, by Chesterfield, the cigarette that has for you whatever smoker wants, mildness, plus no unpleasant aftertaste, and by the makers of anisin for the fast relief of headache, neuritis, and neuralgia. The Screen Directors Playhouse presentation of Thelma Jordan, starring Barbara Stanwyck and Wendell Corey, will continue in just a moment after a brief pause for station identification. This is the Screen Directors Playhouse. We continue with the third act of Thelma Jordan, starring Wendell Corey as Cleve Marshall and Barbara Stanwyck as Thelma Jordan. June 7th entry, file of Thelma Jordan. The Edwards estate was overflowing with reporters, police, and the usual thrill-seeking spectators. Beneath the library window and the rain-sucked flowerbed, a lab man was digging out a footprint. Obviously, whoever left it wasn't too much of a hurry to use a regular exit. Meanwhile, as DA, I was interrogating Miss Thelma Jordan. I've told you all I can think of, Mr. Scott. When I was in trouble, I naturally thought about Vera, my mother's sister. I had nowhere else to go. Without funds. I think after a while, she was glad. I did little things for her, fixed her hair in new ways, and read to her. I was companionship she hadn't had for a long time. So she changed her will. That's what you keep telling me, but I had no knowledge of that. You know to whom the money was bequeathed and the original will? I didn't even know there was a will. To the county. There was to be a park in Heronah. I'm sorry about that. It's not my fault. Don't be sorry. There may still be that park. In your dealings with me, you're questioning your suspicions. Don't be sarcastic. I'm not a criminal. Don't treat me so. You almost have me apologizing, but I'll control myself. Cleave. May I speak to you a minute? Sure. You'll wait for me in the sunroom, Miss Jordan? Very well. What do you think, Cleave? It's too early. What about those footprints in the library window? I don't think they were the burglars. I don't think there was a burglary. And Cozier up. So we can get out of it. Sunroom over there. Do my best, Scott. Cleave. Be careful. They're going to arrest me, aren't they? Scott isn't going to make a mistake like that. Don't lie. But why? What happened? I don't know too much myself, except whoever was here last night at a parent who wasn't Tony. But how? I haven't even told him about him. You didn't have to. He called you this morning from Chicago. Tony? Why? It's a good thing to establish an alibi. Another thing. Aren't he dead? Nice fat will. Wouldn't he be interested in that? Want to pick up again? That still doesn't mean anything. There are planes. He could have made it by this morning. That's what Scott's getting the final reports on now. He's had the Chicago police under for hours. If this alibi is good... What else did they find out about him? Well, one thing that you're not married to. I was ashamed. I couldn't tell you the truth. Why did you have to tell me? I don't know. You forced me. It was always your wife, your strings. I'm sick of it. All right. My wife, my strings. I know. I know. That's what makes the whole thing so... Oh, Cleve, we haven't time to quarrel. How do I make it possible? Anything. A lawyer first, I guess. But I haven't any money. I'll take care of him. He's a man of San Francisco. Kingsley and Willis. He's the best. You have to do more than that. What more? You know how my hands are tied. Things are too close now for comfort. Cleve. Suppose the district attorney turns it over to you. He won't. He's not going to let a thing like this get away from you. That's what I mean. He'll be after me. You won't. I'll take the case myself against you. How better could you protect me? Hold it up. Demand more evidence. In the meantime, they'll find out who did it. In the meantime, anything can happen. Be careful, Scott. I don't know a sign confession. I'm surprised. Mr. Marshall has been very kind to me. That's because he doesn't know everything about you that I do, Miss Jordan. I've just been talking to an old friend of yours in Chicago, Mr. Tony Laredo. He says he'd like to help you out, but he's fresh out of money right now. Help me? In what? We were arresting you for murder. There was a burglary last night. Jewels are missing. I will find them around. There was a phone call last night. I've been sort of saving it. Tell us, isn't it? I'm sorry, Miss Jordan. That man who's been calling you up lately, who you pretend is a lot of different names. A number of my friends call me. That man you meet down at the gate or on the road? That's just calling Mr. X. Well, he phoned first a few minutes after nine and I hung up. When he phoned back, I waited and you answered his ring, Miss Jordan. Some things happened, you said. Come at once. I didn't think much of it at the time, but I do now. And so will it, jury. Since 40 minutes later, you were pretending to be asleep. Why, Miss Jordan? I won't say anything until I see my lawyer. Uh-huh. Well, shall we go? May I get my purse and a coat? You may get nothing. Well, Mr. District Attorney, so you got it indicted. Yes, finding those emeralds helped, Mr. Willis. Well, I wish you luck. Good day. Good day. Sergeant, there goes the slickest lawyer in the country. Who's he, boss? Oh, hi, Cleve. Jordan's lawyer, Willis. Kingsley Willis? You got him? Yeah, Cleve, worse luck, but I'll handle him. Come on, the office. Oh, I meant to tell you, your secretary's been looking all over for you. Your brother's been calling important, she said. No, okay. Miss Desmond, get my brother on the phone, will you please? I'll wait. You know, I've been thinking, if you don't feel up to handling this case... No, but I like it. I like front pages. Well, I just thought I'd ask. Hello, Alex. How are you, boy? How's the ambulance chasing? The Jordan case? Well, sure, but she's got a lawyer. What? You're kidding, Alex. You wouldn't.  You know what a case like this means to me? You double-crossing. I put him through school. I made him a lawyer. It's all my fault. Well, I might be mad with you, if you'll tell me. I'm out. Disqualified. Kingsley Willis hired my brother for his defense staff. How's that for a shrewd move, huh? I'm sorry, boss. Well, eager beaver, here's your big break, and you better be up to it, boy, because we're going to get her. We've got to get her. Thanks, Maidren. The DA is too popular in this town. Carries too much weight with jurors. This cleave marshal, on the other hand, we haven't so much to worry about with him. You thought this all up yourself? No, to be honest, I give credit what credit is due. Your Aunt Vera's friend, Anonymous. The one that sent me 5,000 on account to defend you. Here's the letter. Dear Mr. Willis, a smart move would be to disqualify the district attorney by hiring his brother for your defense staff. Friend Anonymous has quite a grasp of things, wouldn't you say? You did take the idea. I like it. It enables me to kill two birds with one stone. It gives me local assistance, which I need. Small town jurors, hate outsiders, you know. And a pinch-hit prosecutor. And marshal's not so sure that you're guilty, I could tell. You haven't asked me once if I'm guilty. Why should I? I don't want to know. But aren't there certain things you should know to protect me? Miss Jordan, there are two types of criminals. The conscious and the unconscious. The latter we sometimes call the split personality. Schizophrenia. That's when the left hand never lets the right hand know what it's doing. Yes, go on. I don't mean that you're schizophrenic, but that we are together. I'm the right hand, I must never know what the left hand has done or is doing. If I should know, I might start feeling guilty and acting guilty. Oh, now are you satisfied? I suppose. And especially in a case like this, when we have so many lawyers on our side. Well, haven't we? Only a lawyer would have thought of that trick. If you're finished with me now, Mr. Willis, I... Tell me, there's just one thing I'd like to know. Who is he? Is he Mr. X, the one they're looking for, the footprints, the telephone call? Split personality, remember? The left hand never lets the right hand know. Mm-hmm, okay. I just wanted to know how we stand that, huh? Just how much we can count on him. We can count on him. Why did you come here to the office, Pam? I've got to see you, Cleve. I haven't been seeing her lately, if that's what worries you. I haven't been home lately because I've been busy. Getting a jury for this trial hasn't been easy. Cleve, I went to the bank this morning. I have the teller record my balance in my new book. I see. $5,000. Did it cost you that to get rid of her, Cleve, or is that just the beginning? The beginning, the end, I don't know. Pam, please stay out of this. It's my problem, too, if she's that kind of woman. The money wasn't for black men, if that's what you mean. She's in trouble. I had to help her. Not the usual kind. No. Something else. And you believe her, of course. Yes, I believe her. She's not just taking advantage of the fact that you're married, the children, your position. What are you driving at? Maybe you ought to find out something more about her, Cleve. We could.  He'd what? Darling, I didn't approve. I haven't spoken to Father Saints. Do you know who she is? No, Cleve. Cleve, all I want to do is help. All right, Cleve. Goodbye, Miles. Cleve. What's on your mind, Scott? Cleve, you don't seem to have your mind on this Jordan case. And that's the biggest chance you've ever had. I have my mind on it. You wanted more evidence, and we gave it to you, the Emerald Necklace.  That's right. Well, that's different. I'm sorry. In the meantime, don't mouth this case. You must always keep the jury with you. Remember, prosecuting a woman is different. It's much more delicate. I'll do my best. You, uh, wouldn't like to go over your opening speech. You'll hear it in the morning. See you in court. I remind you, ladies and gentlemen, of the long and arduous procedure of jury selection we have just been through. During that time, to each prospective juror, I put the same question. Do you believe in capital punishment? You particularly 12 said that you did. Otherwise, you wouldn't be here. But perhaps you had mental reservations. Perhaps you were not completely honest and said to yourself, she isn't guilty, and I won't have to recommend death. But you will, Mrs. Asher. And you'll have no qualms, religious, humane, or otherwise about this death penalty. Watch, Mrs. Asher Thelma. Yes, Mr. Pellis. He's antagonized her. He couldn't have picked out our jury. Better if he tried. Mrs. Asher, she hates him. Uncharitable and Christian. You ought to thank Mr. Marshall in your prayers sometimes. I will. I may have handled some things wrong. I'm sorry about Mrs. Asher, but I've been playing up to her lately. Yeah, and she knows it. Okay, stop writing me. I didn't ask for this case. I got all the evidence in, didn't I? We'll cook her on that. She's clever combatting it. Did you get that this morning? The gun on the necklace could have been hidden in the smudge spot with a fleeing bandit. Till he could come back for them later, he'll believe that except Mrs. Asher. Anyway, Cleave, this afternoon's your big chance. When you get Thelma Jordan on the stand with that new ammunition you've got, then you can really tie into her. Don't worry. Let her try and explain the way her passed. That's all, brother. How are you going? Miss Jordan, I want to talk to you. My lawyer said not to talk to anyone unless he was here, Mr. Marshall. Legally, she doesn't have to, Mr. Marshall, but I'd advise you to, dearie. He may offer your leniency to confess. Oh, Cleave. Cleave, I've waited for this. And Court, when you look at me with such hate or don't look at me... I have to do that. Sometimes I think that hate is real and I can't bear it. Why do you think it might be real? The evidence. It has piled up, hasn't it? So do. But I don't believe anything I don't see. I thought maybe that was why you were here, losing confidence in me. There's no guarantee that this is going to turn out all right. It's not too after all you've done. I know the chances you're taking. I'm frightened, too. Of anything special? Being on the stand. The way you're going to have to go after me. If you tell the truth, there's nothing to worry about. How about you, me, Sydney coming in?  That I'm going to handle another way. What other truth can't you tell me? I don't know. There are things I'm going to have to ask about your past. Oh, that's no mystery. I already told you. The prim repressed hostess in a hotel. Yes, that's right. Then these pictures must be of another film of Jordan. Gambling raid photos. Scott got them from the Florida police. That blonde in the corner gave a phony name, is it you? No. That's not very convincing. It's not me, Cleave, as I was once made, but not now. In the case of Tony, I told you but not now. The past has predated to the future. Did you ever hear that, Miss Jordan? For whose benefit have you changed? So she'd leave you her money? Perhaps we should call you Sarah Bernhardt, Jordan.  Stop it, Cleave! You can't tell me stop it, Cleave and Court. That's why I'm petrified with fear of going on the stand. I've just begun. No more false facts. Coincidental but still facts. Your shiny life with Tony Laredo. Odd that wherever it's shown there were bits of blackmail, minor thefts, bar and brawls, quarrels. Rumors only, you said. You can't hold that against me. The jury will. Oh, Cleave, Cleave, look at me. I'm not like that. I'm not. Unfortunately, if jury doesn't look at you like I do. Darling, I can take the witness to him. What are we going to do? We?  I'll arrange a fast call from Mr. X to Mr. Willis. Does the defense desire to call further witnesses? There are no further witnesses, Your Honor. One moment. The prosecutor has an objection. I should like to argue for a right to cross-examine Thelma Jordan. Right? What right? What law book did you study from? I said to argue the right. How can you argue the right of something that doesn't exist? The defendant takes the stand to be examined by me, then you'll have the right to cross-examine, not otherwise. Believe me, there's nothing I would like better than to put my client on the stand. But to subject her to this prosecutor whose vitriolic attack on this woman is one of the... The personalities of the prosecution of the defense should be kept out of this Your Honor. Will you please tell him once and for all? Mr. Marshall, as I'm sure you know, there is no law which requires a defendant to take the stand. She does not have to prove her innocence. Guilt must be proved against her. Ladies and gentlemen of the jury, you have reached a verdict. We have, Your Honor. Defendant will rise and face the court. The jury, find the defendants. Not guilty. Well, the tramp got away with it. Don't take it so hard, Cleve. It's only a lawsuit. Next time you'll have had the experience. Cleve, I'm sorry. You look so tired. Now that it's over, couldn't we talk soon? I'll call you tomorrow, Pam. Excuse me. Oh, Willis, congratulations. Thanks. The best man won, didn't we? I don't know what you mean. Maybe. Maybe I'm wrong. Why don't you answer it, Thelma? Why, Thelma? Just people calling to say they're glad. Then at least take it off the hook. I'd like to know who this anxious guy is. Hello? Yes, Cleve. Yes, uh... Yes, yes, they've gone. You're calling from the corner? You know, you can't come here. No, it's not safe. No, Cleve. I'll, uh... I'll meet you somewhere, or I'll let you know in a few days. Did he ask you if I was here? No. Why did you have to come here? Are we supposed to meet afterwards? Has anything happened to change our plan? Our plan was a long time ago. Oh, not so long. My memory's not too short. Except I gather our plan has changed. That's why I came back the first time. I didn't like that stalling. I don't like this... I'm not stalling. I just don't want to face him. For him to face me, which? Please, don't let him find us here. Why don't you tell me that night you were in love with him? I wasn't. It was Scott you were supposed to go after. Suddenly, there was a guy named Marshall. It just happened that way. Wasn't it better the way it turned out? Sure. An assistant district attorney. Mary, good kids. It's always a kind. I'll just say you're not in love with him. I'm not. He's in love with me. You find that hard to resist. I'm in love with you, too. Especially now. Now that you're rich? Yeah, I suppose that does make a difference. But you brought that on yourself. I only asked for emeralds. Instead, I wind up with a life-long annuity. You think I'm going to let that get away from me? I'll sign it over to you. Everything. Any deal you want. But we're finished. I'm not going away with you. No, that might look like complicity. Later, if you're so anxious to get away from me. But you'll change your mind. Come on, man. I'll help you change it now. Tony, don't... Go on. Get rid of them. Yes. Stay here. I'll take him into the library. I don't care how. Just get rid of him. Then we're leaving. You and me. Keep in mind the district attorney would still like to know about those footprints. Who is Mr. X? I was worried. I had to come. Come with me, Cleave. Into the library where I've told you so many lies. What is it? What happened? Tony's come after me. I'm going away with him. I don't believe that. You don't believe anything. You don't see. I'm going to talk about the trial. That's over. Why is Tony here? He's part of it. He's all of it. I've always loved him. That's not true. You're lying. No, no. Listen to me. We've never had much time together. We haven't now. You must have known except you didn't want to know. That's why you called Willis and told him not to put me on the stand. You knew I'd break down. Okay. I killed her. Right from that corner. But Tony, I came out here with that plan. Don't let me interrupt. You could have helped Tony. It isn't easy. She had a gun when she found me at the safe. I'd like to say I didn't intend to kill her. But when you have a gun, you always intend if you have to. But you were the fall guy, Cleave. Right from the beginning. I suppose, as you said, I must have known you killed her all alone. Well, I did think it was Tony. From Chicago, I killed Aunt Vera? Whatever the angle, get out of her life and stay out of it. You don't seem to understand. We started this together. We finished together. You've got your chance, Laredo. Take it. Otherwise what? Thelma's been acquitted and can't be tried again. But you can for complicity. And you? Why would that put you, Mr. X? Let it go, Cleave. Don't you see? That's a convenient part about a fall guy. Once you've got him hooked, you've always got him hooked. Tough luck. It was supposed to be Scott who could destroy evidence, but you were so anxious. Is that true, Thelma? Of course it's true. You pigeon! Frank, my skull, will you? Get your things, Thelma. And after a nice trip, I thought we'd go to Europe, Paris, and the way of the hour. How would you like that? As far away as possible. Sure. Give me a light. I don't have any matches and I'll use this dashboard lighter. You were right. It was hard, but it's better this way.  What's your hurry, baby? We're doing 70 now. Faster! He's lucky to get off like he did. Yes. He only lost his wife and home. You'll get them back. Here's your lighter. Nice and red hot, isn't it? You won't go away from it. No. No, I won't leave you. Never! We'll never leave each other! Never! Never! Never! Lorraine is dead, but she's still alive. For how long, I don't know. More to say. What about this, Tony? How many confessions do you want? It was no accident. No accident, Mr. Scott. Now you've got two confessions. Welcome. He's confessed everything, Cleve. Except who Mr. Axe is. Why don't you tell him? I love him. That's why. Back in a few minutes. I couldn't go on with him, Cleve. You did that for me. I'm glad it's over. All my life was struggling for good and for bad. Save your strength, Tony. Willis said I was two people. He was right. You don't suppose they could... Just let... half of me... Doctor! That's over, Cleve. Let's go. Thanks for leaving us together. For an hour or so. Tony talked. I guess you know what it means. Disbarment, no more law practice anywhere. I'm sorry I'll have to report it. I already have. Cleve, I... I've always liked you. Scott, would you phone Pam? I already have. I just wanted to tell her I'll get in touch with her later. That's what she said, too. Later. But she'll get over it. So long. I'll be seeing you, Cleve. Miles Scott, investigator of human beings. Maybe if I get to live to a hundred, I'll understand one of them. So we close the file on that. Our stars, Barbara Stanwyck and Wendell Corrie, will return in just a moment with this week's guest screen director. Next Thursday, the screen director's playhouse brings you two more great stars. Bob Hope and Rhonda Fleming. And our adaptation for the first time on the air will be The Great Lover. The following week, on the evening of Hollywood's Great Academy Awards, we are proud to present Academy with a remarkable, romantic drama next time we love. Now here again are tonight's stars, Wendell Corrie and Barbara Stanwyck. The motion picture set is the director's canvas. Here, he is the guiding artist. The camera is his brush, the actors his colors and under his sure stroke there can be excitement, drama, pathos and laughter. Ladies and gentlemen, the director of the file on Thelma Jordan is certainly a major artist of his craft. Naturally, I speak of my friend, Robert C. Audmack. I go along with that, Barbara, when a man can draw such vivid portrayals as the killers, dark mirror, spiral staircase and many others equally exciting, well, it's a great privilege to be associated with Robert C. Audmack. Barbara, Wendell, thank you very, very much for your kind thoughts. When the director is surrounded by his fine artist yourself, well, his job is not too difficult. I can only say I really enjoyed making this picture with you and I look forward to the day when I can again work with you. And may I speak of generosity for a few seconds. There is a way we can all express it. I speak of the Red Cross Drive, which is now in progress. Will you open your hearts in your purses? Give so that the Red Cross can give. Thank you. Even a little can mean so much. Don't let them down. Remember, don't let your window be bare. Dress it with a Red Cross seal. Good night, everyone. Well, Majority was presented through the courtesy of Hal Wallace Productions, whose current release is the Paramount Picture September Affair starring Joan Fontaine and Joseph Cotton. Wendell Corey may currently be seen in the Nat Holt production for Paramount, The Great Missouri Raid. Robert C. Audmack has just finished the whistle of Kate and Falls for the Red Cross. Included in tonight's cast were Bill Conrad, Hi-Avaback, Ralph Moody, Stan Waxman, Peggy Webber, Ruth Parrott and Jack Carroll. Selma Jordan was adapted for radio by Jack Rubin from an original story by Marty Holland. Screen Directors Playhouse is produced by Howard Wiley and directed by Bill Carn. Portions of tonight's broadcast were transcribed. This is Jimmy Wallington speaking and inviting you to listen next week when we present for the first time on the air, The Great Lover starring Bob Hope and Rhonda Fleming. The Thursday Night feature on NBC's All-Star Festival of Comedy, Music, Mystery and Drama. Listen tomorrow evening to the one and only Duffy Stavren, the Friday Night feature of the All-Star Festival. Saturday, enjoy yourself with Dennis Day and Judy Canova. They're on NBC.