All right, so I guess this is the annual tradition. I come up and get everyone up to speed on the latest of where the project's at and kind of pick at a few of the features that the project's been working on. So let's dive into it. All right, so first I just wanted to say that this is the fourth year of MesosCon. Which is really impressive. Who was at the 2014 Chicago MesosCon? Anybody? A couple people. All right, who's been to all of them? Two, three, Josh. All of them. That's amazing. And it's been really fun to see to see the MesosCons go from Chicago to Seattle to Denver and now this year in Los Angeles. It's great to keep the tradition going. Again, this couldn't be possible without our sponsors, all of them. You're what helped make MesosCon happen. MesosCon is a community event and without the sponsors we wouldn't be able to do what we do. So a big thank you to you guys. We've got one more MesosCon coming up. It's coming up in Prague. It's our MesosCon Europe. It's October 25th through the 27th. There's a great collection of presentations there. We even had some presentations that we really wanted to accept here in North America that we ended up moving over to the Prague event just because we had so many great selections. So please go check it out. It's the last MesosCon of the year. We had one earlier this year in Asia. It was our second MesosCon Asia and it was really, really impressive. We went from having really two kind of user talks at our very first MesosCon Asia to over 14. So we had 14 different end users in Asia, specifically in China. They were using Mesos in really serious capacity and they all gave presentations about what they were doing. It was really, really impressive and humbling to be there and hear from super large organizations like China Unicom and China Mobile talking about how they're actually taking advantage of this technology internally. It was really, really fun. Okay. A few additions to this year we decided to mix up MesosCon a little bit. So we have a few new additions. One is we decided to introduce tracks. We recognized that a lot of organizations, sorry, a lot of people that were coming, they were coming for specific interests. And as we were sort of surveying what was happening in the Mesos ecosystem, we thought it would be much better to really split the conference up to tracks. So there's a couple of tracks that are on two days. That's the SMAC GPUs and analytics track. You can hear from lots of people that are actually in the field doing SMAC with Mesos, using GPUs, running lots of analytics. There's two whole days of that. So tracks on both days. There's an ops track. We're recovering everything from storage, networking, monitoring, security. Again, there's lots of talks around that. So we split that into two days. There's a DevOps track, which is a bit more focused on microservices, APIs, continuous integration, continuous delivery. And that we're just going to be doing today on Thursday. And then tomorrow there's some tracks that are just tomorrow. There's a Mesos frameworks track. So anybody who's using frameworks, hacking on frameworks, want to build their own frameworks. There's a bunch of presentations around that. And then there's a Mesos internals track, which is really some of the nuts and bolts of some of the new features that are being built in Mesos. Some of the details about how those are being built and how they can be consumed. We also decided to add some longer sessions. We've gotten some feedback that in some presentations, people wanted to get even more hands on. And they wanted to sometimes even be able to use their laptops and play around with things directly in the sessions. So we introduced something new this year that we're really excited about. We called it MesosCon University. They're 90-minute tutorials. They're interspersed without the presentations today. So there's three of them. There's my application is ready for production now what. I think you're going to go through everything from using health tracks to doing some scaling to doing monitoring. There's a bunch of different things you're going to do there. At 2 p.m., there's one all around security, boot scrapping secure Mesos clusters. And then at 4 p.m., there's one around building a stateful DCS service using the SDK from Mesosphere. So again, they're about 90-minute sessions. They might go a little bit over. You should bring your laptops. They'll be fun. And it's going to be a presentation, but there's also going to be a time for you to actually get involved and write some code and get some stuff actually running. And then the last addition was we wanted to put together these town halls. And the basic idea of the town halls was just a place. We noticed as big community gatherings at these Mesos cons, we typically didn't have a great place for people to just get together and talk about the projects always. They were going to presentations and hearing about what was happening, but there wasn't as much community discussion as we really wanted. So we decided this year to introduce town halls. They're 7 p.m. tonight after the booth crawl. There'll be beer. There'll be some snacks. There's going to be three of them, one on Apache Mesos itself, which is also covering some networking and storage, one around DCOS and run around Marathon and Chronos. And so please come to those later and hang out with peers and talk about the technologies and discuss anything and everything.  We've got a ton of different speakers this year. We just highlighted some of the new speakers. We have some brand new speakers that have never actually spoken to MesosCon before, and I thought it'd be fun to highlight them. There's lots of people that continue to get involved in the ecosystem, that can continue to get involved in the product, a bunch of new speakers, and I think that's really great. If I missed anybody, I apologize. We tried to make sure we were just capturing the new ones, but really exciting to see that. All right, now for the last couple of minutes, I'll just give a quick overview of the state of the project, where we're at, and then we'll kick off with the rest of MesosCon. We've done a ton of releases. There's been 12 releases since last year's MesosCon. Some of you might remember that last year, the big announcement was our 1.0 release. We did that, and since then, we've done a 1.1, a 1.2, and a 1.3, so three minor releases since that, and nine patch releases total. So the community's been really busy working on those patch releases and getting those shipped. We've added 13 Committer and PMC members since last year at MesosCon. It's a really, really huge number across tons of organizations, from IBM to Apple. There's been a lot of really great contributions, and we've been excited to add those members to the group. When I was asking the community, when I was asking some folks for other things that they're proud of seeing, this is one of the things they mentioned. They're excited that we continue to have a growth in our active members on Slack, people that are joining in the conversation and the discussion, both from a development perspective, as well as just a user and operations perspective. So it's great to see that growing as well. So I asked a bunch of folks in the community. I said, all right, every MesosCon, I come up here and I kind of talk about some of the new and noteworthy stuff, and what should I talk about? And I got this giant list, and this isn't even all the things that I actually heard. Of course, I don't have time to go through all these things, but it's been really impressive to see the community really doing a ton of work in the last year, and I thought I'd just highlight a couple of them that I think are especially interesting and I wanted to share with everyone this morning. The first couple of ones are all around containerization. So containerization in Mesos has been something that really we started a long, long time ago. When the project first started in 2009, we actually used Solaris Zones and Projects to do our containerization, and we pretty quickly used LXC, which transitioned from there to using C groups and namespaces. We eventually added support for Docker, and in the last couple of years, what we've done is we've taken some of that original C groups and namespaces work that we did and packaged it up into what we call the UCR, the Universal Container Runtime. We had this predicament with the project, which is we were never going to be able to really get rid of all the containerization work that we'd done in the past, because we had really large-scale users who wanted to continue to use that containerization tech that we built, and so we tried to have to figure out what's the best thing for them when they wanted to do things like, say, run Docker images. So Universal Container Runtime, it's pretty cool. It's the original containerization code that was in Mesos, but now you can run containers with a Docker image, with an App-C image, there's code out there for an OCI image, or you can run containers as was before the day as a Docker, without an image at all whatsoever. So this is pretty fun. For organizations that aren't necessarily moving to something like Docker, but still want to get the benefits of containers and container orchestration, they can directly leverage the UCR to do that, and there's a lot of organizations that are doing that. They're just taking their zip files, or they're taking their tar balls, or taking other things, and they're launching their containers. Okay, one of the really cool things that we were able to do because we have this containerization stuff built in directly to Mesos is stuff around nested containerization. So we actually built arbitrary nested containerization. What's that let you do? It lets you create arbitrary nested containers, an outer container, an inner container, an inner container. You can launch a container that starts from a zip file. It can actually then launch a container which comes from a Docker image. That might potentially launch a container which comes from an OCI image, and there's lots of really, really great applications to this. The two big ones that we're excited about are things like Jenkins. When you want to run Jenkins, Jenkins itself might be launching containers. You want those containers to be contained. If Jenkins happens to die, you don't want the orphan containers to be running around on your machine. And the other one which we're excited about, which you'll hear a little bit more about later, is for running Kubernetes on top of DCS and Mesos, where again we can do that in a way where our top level containers don't actually need to be privileged. They can just use capabilities. So it's been really cool to see this tech evolve in Mesos. As part of that, we added support for container attach and container exec. There's lots of interesting stuff there, but this is really then driving a bunch of work that we're excited about, which is standalone containers, which is just going to be the ability to run containers not through the typical Mesos APIs, but just any standalone containers, especially demons, which has been a huge request from the community for a long time is to better support demons. So lots of great work in containerization that's really building up to a bunch of these features. The other area that I wanted to touch on briefly related to containerization is networking and storage. This is one of the areas where I'm really, really proud of the Mesos community because they've really taken a leadership effort along with a bunch of organizations around this. The two big focus areas for us have been around CNI, the container networking interface, and CSI, the container storage interface. And I just wanted to give a shout out to GU and JDF for doing a great job really helping to drive forward the container storage interface. This is super tough work in the industry to actually make changes like this across vendors and users, and it's been really, really impressive and fun to have the project be writing in the midst of it all. Okay, one of the things that I'm especially excited about when it comes to the storage work that we're doing is we're finally building out support for what we've called local and external resource providers. These are third party resource providers that can expose new kinds of resources, can deal with the allocation of those resources, the quota of those resources, so forth and so on. We've talked about this for a long time in the project and it's becoming a reality specifically around storage. So what does this really mean for you guys? It means better integration with third party storage. It means better integration with third party networking and you'll start to see that pretty early on as the work around CSIs is really enabling LVM local storage as well as network attached storage in a much cleaner way than we've been able to do it in the past. Okay, the last one I really wanted to highlight because I think it's really great to see is all the work we've been doing around multi-tenancy. I looked last year at the slides that I presented and that's when we first talked about quota. So we just introduced quota last year and this year we've improved that to not only have quota but have hierarchical quota, hierarchical fair share as well as this concept we call hierarchical reservations or really reservation refinement. So this is really, really powerful stuff. Most organizations are hierarchical in nature and by adding this we've really enabled organizations to delegate these things, to have isolated visibility into these things. It's all authorized and soon frameworks like Marathon and I hope others will actually be able to take advantage of these primitives themselves. All right, so I kind of wanted to end one last slide. I hadn't really done this in the past but I thought it'd be fun to just make some predictions about perhaps what we'd see in 2018. These are a little bit random but perhaps they're also my pet peeves. I'd love to see this stuff done. One is we're really excited to see more work around preemption. We've introduced the concept of revocable resources in the past into MESOS but we're not using it as pervasively as we really wanted to. So I'm excited to see in 2018 I think you'll see revocable resources being sort of front and center feature in MESOS. I think we'll probably see the end to ZooKeeper which I think, yeah, okay, there we go, yeah. There's been a bunch of work around either replacing it with something else and I think actually in the future what we'll see is just nothing. You'll just be able to launch MESOS without any of those third party components and it's just gonna be one less component you have to manage. And I think the last one is there's been a lot of talk from a bunch of people about extending the agents, the launching and containerization to not just work with images but also work with virtual machines.  So that's my real quick kickoff, really excited about as Peter said a bunch of amazing presentations that we have lined up for the next two days, a bunch of really, really great contents. We're really excited to have you all here. Have a great MESOSCon and hope to see you all in Prague.


Next question is from Jor-El A. Morales. Can you guys break down the whole back and forth of good fats versus bad fats? Saturated versus unsaturated fats? I thought a macro is a macro. No, a macro is not a macro. Fats are different, just like there's different sugars and proteins even have different amino acid profiles. So good and bad fats, really it's about the balance of fats that you have in your body. Heavily processed oils tend to be worse for you. So these are oils that require a lot of processing to produce. So like grape seed oil, for example, canola oil, these types of fats are quite unstable, require a lot of processing in order to produce. Natural fats are present just as they are.  There's very minimal processing to produce that. The fats in animal fats, I know they get a bad rat, but if you're otherwise healthy, animal fats are perfectly fine. Omega-3 fatty acids and fish are an animal fat. Is there any value to trans fats? Because I've heard nothing but negative. No, trans fats are pretty much bad. They're very minimal amounts occur in nature. And a lot of people in the past, at least we were consuming them in the form of hydrogenated oils that were placed in products that showed no saturated fat, but the way that they accomplished that. Did they inject that in to make it taste better? I really thought the clip that Rachel shared on Instagram of Max really summed it up really well when he addressed this. We asked a similar question to him and there is a camp of law of thermodynamics, calories in versus calories out. And the truth is that just doesn't help the average consumer with behaviors. It's like, okay, yeah, that's the science.  So some of us have a metabolism where it'll burn 2,000 calories even if you lay it in bed. Because your body has to utilize energy to operate and to live. Everybody's is and it ranges in numbers like that from 1,000 up to 3, 4,000 depending on how big you are. You can lay in bed and burn 2,000 calories. So by that science, that means I could technically eat 1,500 calories of mint chip ice cream every day and still lose weight. The truth is there's nothing healthy about that strategy, both not for what's going on in my insides, but also long term in behaviors. And so I think that we try and speak to that a lot of time. It's like, yeah, if the calories are all the same, if it's in the goal is all we care about is losing weight, then yeah, then a lot of these things do equate to something similar when it comes to just losing weight. But as far as how your body utilizes that and what it does for you behavior wise, I mean, that's the things that nobody likes to talk about. Yeah, and the whole good fat, bad fat in the past, it was all about which one raised or lowered cholesterol. So like canola oil and sunflower oil and margarine, they lowered cholesterol. And they did, they did lower cholesterol, but they definitely did not make people healthier. In fact, there was a study done years ago where they lowered people's cholesterol by replacing their saturated fats with these processed fats, these vegetable oils. And everybody's cholesterol did get lower, but their mortality increased. Saturated fats get a bad rap, but the reality is it's a very small percentage of population that has bad effects from having a lot of saturated fat. A lot of us, if our diets are otherwise healthy, saturated fats don't have that effect. It's usually because it's a combo, right? It's usually coming from a processed source. Or that or you're having it with tons of carbohydrates in a calorie surplus. And there's a bit of a bias there because we've been sold so hard that saturated fats are bad that if you took a survey of people who ate a lot of saturated fat, it's typically people who don't necessarily care about their health, which means there's other things involved. But like using me as an example, I ate a ton of saturated fat.  I ate eight to 10 eggs a day. I know that's more about cholesterol, but still it's supposedly unhealthy. I eat lots and lots of saturated fats. My cholesterol levels are borderline too low, in fact, in my totals. I have a good ratio, but my totals are pretty low. But there is a small percentage of people that if they eat a lot of saturated fat, they do get cholesterol numbers and lipid numbers that aren't so good.


On the one hand, the approach could be, try on some of these new strategies in an environment that's already really repetitive. It's already really nurturing, right? So you are bringing in a new thing, but there's some naturally occurring resources that are in that environment. That's why we're calling it nurturing, right? I could say also, well, there's this work party, so I don't get to try it out with a nurturing environment first. So we'd say, what can we do beforehand, during to make it as nurturing as possible? And it literally might be as simple as, okay, when I am in a nurturing environment, when I'm preparing to be in a nurturing environment, what kind of things am I likely to do naturally with respect to my biological needs, my belonging needs, my self-growth needs or interpersonal growth needs and my values or purpose? What are the activities that I naturally kind of do when the environment is nurturing? And that can often point us to what the needs are. We might notice that in an environment that causes us to suffer, that we tend to not eat as well. We eat trash or we skip a meal or we overeat. We might notice we don't move as well, right? We tend to overexercise or under-exercise. We might withdraw or we might engage in really shallow social stuff that just kind of gets us away, but looking at for me, what are the activities that I'm likely to engage in? What are the resources that I naturally contact without even thinking about it in a situation that is safe and nurturing for me? And then how can I bring those to bear then in the situation that's more challenging? It may be spending some time with a friend to pre-party that party and really getting in my skin. It may be making use of a family member who could really help me dress in a way that I feel proud because in most nurturing situations, when they are nurturing, I love to dress up and to really show my confidence and my appearance. That doesn't naturally show up in this other environment. It's more of a suffering environment, but maybe I could resource myself to really be able to do that. Maybe in a nurturing environment, I'm sort of grazing and eating freely. I might intentionally visit the table at the party and make myself have a couple of bites. I say, make myself. Ideally, we'd want it to be kind. We'd want it to be an act of self-compassion.


Gotopas is not there to ask for the right to Gotopas on a beach. It's to say, gender equality means a woman should have the same rights across the board as a man. So if a man can go top for you in a park or walking down the street or in a yoga class or wherever it is, a woman should have the same right. Right now in Venice, it is actually legal to wear a pasty on the beach. But if you show your nipples, a police officer could come over and say, okay, you have to put your bathing suit back on, or I'll find you. If you don't, he'll probably give you three warnings before they arrest you. You'll have a file that will be put in the same file as a sex offender. Men are so conditioned both physiologically and culturally to respond, not just to breasts, but specifically to the nipple. You know, the nipple is the erogenous zone, the source of food, the thing that is sexually responsive. Last year in the Middle East, we had Arabic women who decided to wear skirts above the knees to show their legs to support Gotopas Day, because certainly in their culture, they couldn't take their burqa off. But just protesting enough to show their kneecaps in public was a huge accomplishment. It really reminds me of the Victorian era where women had to wear, you know, collars up to here and full length dresses and gloves and sleeves down to their wrists, because God forbid a man might be titillated. I think a lot of that is still in play. We have to protect women by protecting them from men. One of the people on the commission said to me, you know, so would you be happy if we changed the law to say that men had to cover up? And I said, you know, yeah, that could prove a point. In many cultures around the world, women are topless all the time. I'm from Cameroon. That's where I was born. And I came to United States when I was 18 years old. I feel like this is a free country and, you know, something as small as a nipple should not be an issue. To have men think too, you know, what if we weren't able to take our shirts off anymore? Now maybe they can understand like how we feel and see how there's an equity between men and women. For women, there's this long standing ideal that the most significant thing you can contribute in society is beauty. For some men, because the breasts are considered a sexual organ, there's no way to be flexible about the role of the breast. The movement is great. We have to start somewhere. I personally, as a sex therapist for nearly 25 years, am not encouraged.  We have to start an infancy to undo these negative associations and connotations about sex and just teach humans that sex is a natural, beautiful, and celebratory thing.


Hi, I'm David Barry. Welcome to this video abstract in which I'm going to give an overview of the work that I've been doing using fractal geometry to analyze my serial structures. The motivation behind this work was to add to the existing audio knowledge showing the links between productivity and morphology and fermentation processes. And of course many reproducible relationships have been derived showing, for example, strong correlations between pellet size and metabolite yield in many processes. The problem or the limitation with these relationships is that they often overlook what's happening at the microscopic level and considering the evidence for a metabolite secretion occurring primarily at high-fold tips, this in my opinion represents a significant emission. Of course there have been a number of studies which have considered what's happening at the at the microscopic level for example, of various image analysis tools have been developed to automatically quantify the high-fold growth unit. The problem here is that in order to quantify the high-fold growth units freely dispersed high-fay have to be present such that the individual high-fay can be isolated and counted. Where larger aggregates are present the morphological parameters used are typically a projected area of circularity and various other interpretations thereof and of course these reveal very little about the underlying branching behavior. It also means that different metrics are used to quantify different morphologies and as such direct comparisons across different morphological classes are typically not possible. Well there have been a number of studies which have shown that filamentous microbes can produce what are approximately fractal structures and the big advantage of fractal analysis from a morphological quantification point of view is that it can be applied regardless of the morphological form that results in a particular process. There have also been a limited number of studies which have shown that branching behavior can influence fractal parameters. So I was interested in exploring this relationship further to see whether fractal analysis could be used to infer branching behavior within mycelial structures in cases where the hyphal growth unit could not be determined directly. Well in order to derive relationships between branching behavior and fractal parameters we obviously have to know what the branching behavior is and as just discussed this can be quite difficult to determine experimentally. So we can work around this by simulating the growth of mycelia. So this results in us having a large number of mycelial structures with known growth parameters and we can then release branching frequency for example with measured morphological parameters. So I used a simple model to simulate the growth of a large number of mycelia and at each stage during their development they were quantified according to two different fractal parameters. First being Lassenarity and the second being something of a term the Fourier fractal dimension which varies according to the shake of the mycelial boundary. So this constituted a training set within which we had known branching behaviors and fractal parameters. Second population of mycelia were then grown with random branching behaviors. They were quantified in the same way at each stage of their development. The fractal parameters that resulted were presented to the training set and an estimate of branching behavior returned. What I found was when averaging over a population of mycelia the estimated branching behaviors correlate them very strongly with the actual branching behaviors. So this fractal analysis represents potentially a very useful tool in morphological quantification and it can be applied regardless of the morphological form that results in a given process. That's everything. Thanks for watching. I hope you find the paper interesting. I hope you find it useful. I will be making the source code I developed available online relatively soon and of course if you have any questions on the paper please do contact me.


Lux presents Hollywood. Lever Brothers Company, the makers of Lux toilet soap, bring you the Lux Radio Theatre, starring Fred McMurray, Valley, and Frank Sinatra in The Miracle of the Bells. Ladies and gentlemen, your producer, Mr. William Keely. Greetings from Hollywood, ladies and gentlemen. It's not often that you can see the film version of a book on the screen that's still on the best-seller list throughout the country. And it's not often that we can broadcast the screenplay of a story that's still being read in thousands, if not millions of homes. But such is our good fortune tonight with Lasky McEwan's current film production of Russell Janney's book, The Miracle of the Bells. And we bring it to you now with three great stars, Fred McMurray, Valley, and Frank Sinatra playing their original screen roles. Many of the scenes in The Miracle of the Bells were filmed on actual location in a typical Pennsylvania mining village. And from such a place, close to the setting of tonight's play as a matter of fact, comes a letter from a good friend of this theatre. She writes, In a town where soot and smoke are almost unavoidable, it's always a problem taking care of your complexion. But with luck soap, I have never had trouble keeping my skin looking fresh and lovely. We appreciate luck soap as much as we enjoy your Monday evening broadcasts, and that's saying a great deal. Well, as one way of saying thanks to this kind listener, we raise our curtain on Act One of RKO's current hit release, The Miracle of the Bells, starring Fred McMurray as Bill Dunnigan, Valley as Olga, and Frank Sinatra as Father Paul. A few moments ago, an eastbound train paused momentarily in a small Pennsylvania town. One passenger got off. While from the baggage car, a coffin was quickly unloaded and placed in an awaiting hearse. You, Mr. Denigin? Yes. I'm the undertaker, Mr. Denigin. Nick Orloff. Might as well ride with me back to coal town. Thank you. You, uh, you the husband of the deceased? No, I'm, I'm just a friend. Quite surprised when I got your telegram. Never had a client from Hollywood before. Uh, the name of the deceased, Mr. Dunnigan, Olga Trescovna. That was her professional name. She was an actress. But she come from coal town, huh? What was her real name? Olga Trocky. Trocky? Stan Trocky's kid? That's right. Three years ago I gave Stan Trocky a first class $100 funeral. You think she paid me? Not a penny, not one cent. What are you stopping here for?  You mean now? Right now. All right, Mr. Orloff. But it was a $90 funeral, not a hundred. She paid you ten, she told me. Here, give me $20 change. Oh, no. What about the extras? Flowers and six pole bearers at two bucks a piece. I'm a respectable businessman. I never cheated nobody. When I say a hundred bucks, it's a hundred bucks. My mistake, Mr. Orloff, not noticing your fine qualities. Now get us to coal town. It's all right, Olga. You'll be home soon. But why anyone should want to come back to this flea-bitten end of the world, I don't know. But that's what you wanted. And it's all I can do for you, kid. Ride with you and tell you that I love you. That's what's driving me crazy. That I waited till now to tell you. I love you, Olga. I guess I loved you the first time I saw your face. I'll never forget how I happened to meet you. I'd heard Tommy Elmore was rehearsing a new review. In as long as I was in the neighborhood. No, no. Wait a minute. Wait a minute. Hold it, hold it. What are you, Danes, trying to do to me? You. You. What's your name? Olga Triskovna. Well, look, Olga, I'm sorry, but I haven't time for beginners. Come back when you've learned something. Mr. Elmore, please. No, no, I'm sorry, but this show's got to go on in four days. Let me try again. Please give me another chance.  Huh? Who's that? Bill. Bill Dunn again. Oh, Tommy, just thought I'd drop in and say hello. Hey, can you get out of here? I'll buy you a drink. Girls meet the world's greatest press agent. Bill, meet the world's worst chorus. Hi, girls. Okay, ladies, take care for an hour. If you've been watching them, Bill, you know I could use a drink. Hey, Tommy, do me a favor, huh? Yeah, shoot, pal. Let the piano player work with that kid. He'll have her dancing like Pablo over no time. You know her? Just like her face. She looks like she needs the job.  Okay. Freddie, see what you can do with Olga. I'll be back in 30 minutes. Thank you. Thank you. Never mind the thanks. Just learn that routine. Oh, I will. I will. That's where it began, Olga. And this is where it ends. In Orloff's Funeral Palace. You're back in Coldtown, baby. Now, if you'll just sit down, Mr. Dunn again. Well, sir, we can give her a fine funeral for $150. Of course, Paul bears will be extra. Get them. Two bucks a piece. Now, about the church. First thing for me to do is fix it up with Father Spinsky. So just make yourself comfortable, Mr. Dunnigan. Be back as soon as I see him. What a sap I was, baby. Walking out of that theater with Tommy Elmore not seeing you again for a whole year. And then only by accident. That tank town and I were at Christmas Eve. And me wondering how to kill time till my train left. I walked down Main Street and there was your picture in the lobby with the rest of the cast. The show was over, but I took a chance you'd still be in your dressing room. You've got a good memory. Oh, come in. Come in. Oh, I wanted so to see you. This is the most exciting thing that could have happened. I wanted to see you to thank you. I've never forgotten how kind you were. Then you finally learned that dance routine, huh? I became so good in the chorus that now I'm a great dramatic actress. It's not a good play and I don't have a good part, but I love it and I'm so grateful to you. But what are you doing now? I'm an advanced man for a road show. Well, I see you're ready to leave. You've got a date, huh? I just wanted to drop in and say hello. Oh, I don't have any date, Mr. Danigan. You're not going anywhere? Just the hotel. I suppose you're with friends. I won't keep you, Mr. Danigan. The name is Bill and you are going somewhere with me. Are you hungry? Yes. Wonderful. There may be some restaurant in town that's still open. Come on, let's find it. Walking with you in the snow, I felt as though I were drunk and didn't know what it was. I didn't know that I'd feel the same everywhere, every time I was with you. We finally found a Chinese restaurant. It was deserted. But old Ming Gao seemed to think we were very special customers. You shouldn't have gone to all that trouble, Ming Gao. But how delicious everything was. After all, it is Christmas. And you say you are strangers here. Who met purely by accident. No, no accident. I believe these things are all written. And we just follow the script, eh? Yes, we follow. Maybe you will tell me something, young lady. Your name. Olga Trocky, Elia Solgatriskovna. Trocky, eh?  When I was a little girl, I think. In a place called Koltown, little Poland. Oh, near Wilkesbury? Yes. Koltown killed my mother, my father, too. My father was very sweet and kind. He played the accordion and sang. And he used to say to me when he had a hangover, which was most of the time, go away someplace, Olga, and sing and dance and act and be happy. So you followed his advice. Except I am nobody. But I'll be ready when my chance comes. I think baby in Hollywood. Not so fast, baby. What you need is a couple of years in stock. How long to learn? I haven't time for all that, Bill. I want to get there quickly.  I'll tell them it came from Bill Dunnigan, who once said, give the kid a break. Well, I think we'd better go, Bill. It's late. Yeah. Let's have the check, Ming. No, no check. Oh, no check. Come on, come on. We ate the whole restaurant. Let this humble meal be my gift to the two guests from far away. Well, thanks, Ming. Merry Christmas. Thank you. Oh, wait. This is for you, Mingau. It's nothing, just a little religious medal. St. Michael, the Archangel. Will you take it, please? I am very grateful. St. Michael, huh? What's his specialty? Fighting for God. He is a very gallant Saint, Bill. I will carry it. And hope for your great success. Good night, Mingau. Well, it stops snowing. Yes. And look up there. Bill, look. Look up there. Are the stars? Yes. You see over there where the V-shaped cluster is? Now just to the right of it. Oh, yeah. See that bright one? Yeah. It's mine. My star. Yours, huh? My father told me that star appeared for the first time the night I was born. Well, could be. Is there every night to remind me of where I'm going? I'm being very silly. I won't see you again for a long time, maybe. Will you accept a Christmas present from a strange lady? My star up there. I'll give you half. Yes, Bill. Half is for you. Why didn't I say something to you then? But no, not a word. Not even where can I write you where you'll be? Oh, no. Old Clammouth just walking along with his heart jumping and never a word. And now I'm in Nick Orloff's funeral parlor, and you in a box in the corner of the room. But it can't end like this, baby. It can't end with Dunnigan the dummy just staring at a box. You see? That didn't take long, did it? Me and Father Spincey got everything worked out fine. And I got hold of a singer, too. Now, let's see. I figure a blanket of roses for the coffin and maybe a nice wreath as a sort of personal tribute from you. Oh, yeah. And the section of the church almost forgot that. Oh, that's bad. You wouldn't want to forget any charges. And a donation for Father Spincey's church. Let's figure out a total of 350 bucks. 350? Well, that's a lot more than that. That ain't much for a service at St. Leo's. St. Leo's? Yes, sir. Biggest church in town. But that's the wrong church. I wanted St. Michael's. I just took for granted that. That old broken down barn? Oh, no. You don't want your friend buried from St. Michael's. Look, Mr. Orloff, where is St. Michael's? Go on. Take a look at it. I ain't worried. Down the street to your left, across from the hotel. Just remember, Father Paul ain't got anything to offer. You'll be back. Oh, that's why I'm here, Father Paul. She wanted to be buried from your church. Now, how much do you charge? I'd better tell you first she wanted a few extras. I'm very proud that this girl wanted to be buried from St. Michael's, Mr. Dunnigan. Please put your money away. I'm sorry, Father. I came in here like a sorehead. It's just a... Well, it's a pleasure to run into a human being again. You ever hear of poverty, Father? Oh, yes. Poverty is an old friend of St. Michael's. Well, I'm down to my last $300. I just thought I'd better warn you. And I've got a favor to ask. Could we have her brought here? I hate the thought of Olga being left in Orloff's place. Well, of course. She belongs here. Let me phone Orloff, and then you must tell me about Olga. I can see you must have loved her very much.  But she'll be here. Thank you, Father. Now, about... how about Olga? Well, I'd met her only twice before I took a job in Hollywood as personal drum beater for the great Marcus Harris. Marcus Harris? Marcus Harris is one of the greatest motion picture producers in America. And at the moment, he was giving birth to a $3 million epic called Joan of Arc. The star of the picture was a girl named Anna Klovena. But Miss Klovena proved quite a problem. She was troubled from the minute she walked into the studio. Then one morning in Harris' office... I refused to perform. I will not put my foot on that set again. I'm leaving, Mr. Harris. Miss Klovena, please. Blast him, Bessie. He's a director.  He wants me to be here before I am awake. He says I must rehearse. I have played Joan in Europe. Chor's Joan. Schiller's Joan. What have I to learn from him? From any of you. Come on, come on, Anna. Don't act like this. You're a great artist. Then I want to be treated like a great artist. Let's go to your dressing room. Let's see if we can't talk this over, huh? So, now you give the order, too. What do you know about art? A push cart peddler is what you wear. And what you still are.  Now, wait a minute. We don't talk like that in America. No. All you talk in America is money, money, money. Oh, but I am finished. I quit. You can quit. I... I'm sorry you don't like me, Miss Klovena. That's all right. I'm sorry you don't like America. But that isn't all right. It's too bad you couldn't see something nice in such a wonderful place. Wonderful. For fools, maybe. For money-grabbers, for peddlers. I am an artist. She'll calm down, Marcus. She'll be back. I don't want her back. I like this country. I won't work with anyone who doesn't like it. Well, you can get somebody else to play the part there. There's no one else available who can play, Joan of Arc. It's too bad Klovena has a great talent. Well, let's walk over to the set and give them the bad news. And that's it, ladies and gentlemen. We're forced to give up the picture. I'm sorry this has happened. Maybe we'll have better luck next time. That's it, boys. Wrap it up. Mr. Klovena! Bill! Bill! Holy Ike, am I dreaming? Hello, Bill. Olga, don't tell me you're in pictures. I was. I just lost my job. I was standing for Anna Klovena. You're working here, too? Yeah. Look, let's get out of here where we can talk.  Not much of a job for a foolish young lady who dreamed of being a star. You know, it makes me happy just to look at you. Say, where can I meet you tonight? Let me cook dinner for you. I've got a sort of apartment and I've been dying to have a guest. No guest? No. I'm glad. What's the address? 1461 Curson Avenue. It's over a garage. 1461? Will it be all right if I get there about 7 o'clock? 7 is fine. Oh, Bill, how good to see you again. More coffee, Bill? Oh, no, thanks. Just tell me the rest of it, baby. There wasn't any rest of it. I kept making the rounds of the studios and sometimes they said come back and sometimes they said don't come back. But whatever they said, it always ended the same way. No job for a new young movie star. Bill, you're not listening. Yeah, I'm listening, baby. I'm listening to a lot of things. Olga, can you act? But you know I can act. How do I know? Because I told you. Oh, that's right. So you did. And I'm much better now. I spend all my spare time reading plays, learning parts, and... Yeah, you're better looking than she is, too. Who? Anna Klobner. You're younger. You're prettier. Bill, what are you talking about? Take it easy, baby. I'm incubating. Bill, you... You don't mean Joan of Arc. Never mind what I mean. Olga, do you know any scenes from the script? Oh, Bill, I know the whole script. Look, I don't want the whole script. I want one scene, one big scene. Now? Yes, now. We've got to work fast. It's one of those things. Yes, Bill. Okay. You're on. The camera's rolling. Action. It... It's a scene where Joan comes into the courtroom. They brought her up from the dungeon. She sees all the great English aristocrats, all the great doctors of theology. They're here to make her confess that she has lied and blasphemed. Then the bishop asks her if she considers herself in a state of grace. And she replies, If I am not, I hope God will put me there. And if I am, I hope He'll keep me there. They want the truth, they tell her. And they ask, When did Satan first command you to slay the English? And Joan answers, The voices of my saints commanded me to fight for France. So I went into battle. And I led the battles. And what were the English doing on the soil of France? Why didn't they keep their blood at home where French swords could not spill it? Oh, whatever you do to me, I will not say what is not the truth. And the truth is, I'm a peasant girl. And I love my mother and father and my brothers. And I would have stayed at home. But God spoke to me through His angel, Michael. And He told me to go out into the world and help my people. I went and I fought. And if I should escape from here, I will continue to fight for them.  I will kneel in the fire and give God my thanks for His kindness to me and my people. Okay, okay, baby. Where's the phone? Was it all right? Yeah, yeah, yeah, it was all right. Mr. Harris, please. It's Bill Dunnigan calling. Yeah, will you please? I don't know if you're sure. Hello, Marcus. It's Bill Dunnigan. Marcus, hang on to your hat. All right, all right, hang on to your pajamas then. Marcus, you don't have to shelve the picture. I found another Anna Clover, no plus. She's young, she's beautiful, she's... Can't she act? Can Hypert's fiddle? Can Joe Lewis fight? Can Bob Fetter pitch? I'm telling you, Marcus, she's great. You've got to give her a screen test first thing in the morning. Sing up. Yeah. Sure, sure, I've got her tied up. I'll give you my solemn word of honor. Yeah, fine. I'll see you tomorrow. Bill. Relax, baby. I'm going to explode. You're going to bed. It's like the time you came into the theater. I couldn't see it first. Just a voice that said, give the kid a break. I don't know why I deserve anybody like you. Yeah, yeah, I've got to get hold of Dolan and talk him into dragging the test. We don't want a shot by some stooge. I'll go and see him now and you're going to get some sleep. I'll never repay you, Bill. By knocking him dead, baby. Tomorrow's the big day. Not as big as now. Oh, Bill, thanks. Good night, all good. Good night. Now, don't worry about anything. I'll see you on the barricades at dawn, baby. The moment will continue with act two of the miracle of the bells. Meanwhile, greetings to Libby Collins, our Hollywood reporter. Fresh from the green grass of Wyoming, Mr. Keely.  Mm-hmm. I'm from the western. And wasn't I surprised to see little Peggy Cummins in the role of a hard-riding outdoor girl? She's so dainty and feminine. Green grass of Wyoming is certainly full of action. Those harness races had me on the edge of my chair. Especially the one with Charles Coburn at the reins. You can always count on Charles to give a rare performance. And I think the studio has a find in young Bob Arthur. Oh, he's most appealing as Peggy Cummins, sweetheart. I understand Peggy made a great hit when the company was on location. Mm-hmm, she was entertained by the governor and interviewed by all the papers. She's very lovely with her blonde hair and fresh, fair skin. How about that, John Kennedy? Yes, she's one of Hollywood's prettiest. No wonder everyone fell in love with her. Besides Libby, luxe girls always make a hit. Yes, Peggy Cummins is an ardent luxe girl. She told me that during the war days in England, she used to cherish every sliver of luxe soap. Those luxe soap facials are wonderful for the skin, she said. I didn't want to neglect my complexion care a single day. Screen stars just can't take chances with complexion beauty. And neither should any woman. Luxe facials are so easy and quick and they really work. Tests by skin specialists prove it. In actually three out of four cases, skin became lovelier in a short time. Luxe soap agrees with delicate skin. It's as fine a soap as money can buy. Fastidious women love the luxe soap perfume too. It's such a delicate fragrance. Another reason why fragrant white luxe toilet soap is Hollywood's own beauty soap. Back now to Mr. William Keely. Two of the Miracle of the Bells, starring Fred McMurray as Bill Dunnegan, Valley as Olga, and Frank Sinatra as Father Paul. In the shabby old rectory of St. Michael's Church, the mild little priest, Father Paul, listens attentively as Bill Dunnegan, press agent, continues the story of Olga Treskovna. Well, Father, the screen test was great. Olga was wonderful. And when we started shooting, she was even better. Everyone was raving about her. No gags either, real raves.  It sounds wonderful. Well, that should be Mr. Arlov. Come in. Where do you want the box? Would you carry it into the church, please? I got it uncrated for you. Yes, yes, you may keep the lumber, Mr. Arlov. That don't pay me. There's an extra charge, five bucks. Here, five bucks. Now beat it. You're going to hear from Father Spinsky? Yes, sir. I'm always happy to hear from Father Spinsky. Mr. Dunnegan, it's time for evening devotions. Would you care to come with me? In church? I don't know, Father. Well, please come and see her there. Well, for a minute. And you haven't finished telling me about her? Tomorrow, maybe. Good. And if you'd like, I'll show you the cemetery. This way, Mr. Dunnegan. Some people object to our cemetery being way up here in the hills, Mr. Dunnegan. But at least this is one place where the coal dust doesn't blow and where the flowers are always clean. I, uh, I asked a friend if she'd ever heard of Alcatrazkovna, the movie actress. He said she hadn't. I told her she was very famous. No, Father. They wouldn't let her become famous. But why not? What happened? Well, after two weeks of shooting, Marcus Harris tripled her salary. That's how good she was. But she never changed. There's quite a thing, you know, Father, to jump from nowhere into stardom. And all the time she was getting thinner and more tired. I figured she was just working too hard until one day in her dressing room... I've never worked so hard in all my life. I'm not a good driver, but I love him for it. Oh, I feel as light as air. Clara, does she have a fever? She's awfully hot, Mr. Dunnegan. Oh, you would be too, under those lights all day. Let's have a wonderful party, Bill, when the picture's over. Yeah. Yeah, we'll do that, baby. Poor serious Bill.  How one... one... Mr. Dunnegan, let Father please her medicine. Here, dear. Take this. Here. What medicine is that? Just something Dr. Jennings gave me. Dr. Jennings? I've been using my voice so much lately. All those long speeches. But just think, Bill, only three more days and the picture will be finished. Yeah. Well, I've got to go and see Harris. Be careful, baby. You look so tired, you've frightened me. She doesn't know I've come here, Dr. Jennings. Tell me, how sick is she? She's very sick. She's developed tuberculosis. Tuberculosis? I see. She needs what we call surgical rest. She should have had it long ago. Well, if we could send her to a sanatorium now... I've tried desperately to persuade her, but she's determined to finish this picture even if it kills her. Yeah, I know, I know. But she will get well. There's always a chance, Mr. Dunnegan. No more than that, huh? Thanks for telling me, Dr. I've got to go. No more than that, huh? Thanks for telling me, Dr. And in spite of her illness, Mr. Dunnegan, she finished the picture? Yes, Father Paul, she finished it. I was in her dressing room just before they shot the final scene. I did my best to persuade her to postpone it. But it's just one more shot, Bill. Then it's finished. The whole picture. You're not well, old guy. Talk to Mark as he said we can shoot it tomorrow the next day or next week. Please, Bill, this is so important to me. Please. We're ready, Mr. Skobner. Coming. Come along, Bill. I want you to be there. Sure, baby. Yes, this was the last shot, Father Paul.  Who are here? I pardon you for what you do. I'm young and I do not know much of life. But I know that this little place in which I stand is not the world. There are places I've never seen where men and women are full of sweetness and hope.  Dream on. Dream on of God and goodness. Believe in truth and justice for the word is yours. I will not die. I will not die. When the fire burns me, my soul will remain to sing the glory of God. I will remain as a light. A light for those in the dark. Fire in Jesus. Mercy. The following day, Olga was dead. A few hours later, in Harris's office, I saw a little girl a few hours later in Harris's office. I decided not to release the picture, gentlemen. Sometime, maybe we can remake it when we can find the proper person to play the part again. Marcus, you can't do that. I'm not going to release the picture with a dead girl in it, and that's final. But Olga died to make it. She gave up her life to act in it. Where's your heart, Marcus? Do it for her. I'm sorry, Bill, I can't. If Olga had been a girl in the public at noon and loved, I might be willing to take a chance. We gambled and lost. That's all, gentlemen. Bill, I'm sorry. She was a fine girl. I'm going to take her home, Marcus. Back to Pennsylvania. That's what she wanted. I won't be coming back. You'll be back. It's tough, but it'll pass. Everything does. I don't think so. It can't end like this. Not for her. Father Paul, the picture shelved. Olga's talent and beauty stuck away in a bolt. Buried like we're going to bury her. Those bells, Father. Church bells? Yes, they ring every day at noon all over the world. The Angeles. I guess I never listened. Bells? I knew there was something I'd forgotten. Olga wanted your bells rung at her funeral. I almost forgot her last request. I'll tell the sexton. Father, how many churches are there in Coal Town? Why, we have five churches. Do they all have bells? Yes, fine bells. Mr. Donegan, you're not thinking of the... I'm thinking of a lot of things. Five churches. Okay, I want all the bells to start ringing at eight o'clock tonight and keep on ringing for three days. Three days and three nights. But why? A brain cell moved finally. I've been letting Olga down. I've been sitting around moaning like a beggar on a rainy day. Mr. Donegan is going to cost money, a lot of money. Oh, that'll be taken care of, Father. But you told me that you only... you heard of St. Michael, haven't you? He was a scrapper, wasn't he? Oh, indeed he was. He was the first warrior of Heaven. Well, then what are we worried about? He's on our side, isn't he? Come on, Father, let's get back to town. You want this telegram to go to Hollywood, huh? Yeah, yeah. Let's see if I can read it. Just get it off, will you please? Mr. If I can't read it, I can't send it. Marcus Harris, Excelsior Studios have terrific stunt to save Joan of Arc. Wire $10,000 immediately minors, bank and trust company. That's just a block down the stage. Yes, I know where it is. Just go on. Oh, you know. Must have it by noon. It will pay back 10 million gross for picture. Donegan in great form. That's Donegan. Donegan in great form. Donegan is still world's greatest press agent. Regards Donegan. Who's Donegan? I am. Here, here's five bucks. Now keep the change. Oh, thanks. And phone me at this number in coal town as soon as the answer comes through. $10,000. I'll sure like to see that return message. Yes, and so will I. But just the two of us, do you understand? That's why I didn't phone it in from coal town. There you go. Say, what's that? Them bells. Church bells. Sounds like they're coming from coal town. Yeah, right on the dot, eight o'clock. Huh? Sounds like all the churches in coal town. Something must have happened. That's right, partner. Something must have happened. I'm sorry I was so long getting back to the hotel, but I've been over in Nanticoke. I'm Todd Jones, Associated Press. Tammy, of Nanticoke Journal. And I'm Briggs, Wilkesbury's son. Now, would you mind telling us what this is all about? These bells? Yeah, this whole town is standing and it's here, and nobody seems to know why they're ringing. Well, I'm a little surprised, gentlemen. I didn't think anyone outside of coal town would be interested. Now, who is she? She's an actress. A great actress, gentlemen. She died 10 days ago in Hollywood. Hollywood star? What pictures? Well, as a matter of fact, she just finished Joan of Arc. Hey, wait a minute. I thought I recognized you.  That's right. Bill Donegan, super duper press agent. Bells, huh? This isn't a news story. It's a publicity star. Oh, wait a minute. Didn't Marcus Harris ever hear of paid advertising? Okay, boys. I'll admit I was trying to pull a fast one, but not for the reasons you're thinking. Hey, Al, how about a bottle of scotch and some glasses? Sure, right away, Mr. Donegan. Everything I've told you is true, as far as it went. How about listening to the whole story, at least until the bottle runs out? The AP doesn't print publicity stories, Donegan. What I want to know is who's paying for three days and nights of bell ringing? I am, with the eight of four bad checks, which I have simply given the trusting clergy of coal town, including Father Spinsky of St. Leo's. I've wired Marcus Harris for $10,000. If he sends it, fine. If he doesn't, our next session will be in the coal town jail. Why wouldn't he send it? A gag like this? Because when Olga died, Harris decided not to release the picture. I'm doing all this on my own. I figured that ringing the bells would be news, and with any luck it had caused so much talk that Harris had to have to release the picture. And what's your interest in the picture, Donegan? Mine? I knew Olga. I don't want to see her talent buried. She died for it. You want to hear why she felt it was worth dying for? Go ahead. I can't get a train for an hour. On the day she finished the picture, Olga collapsed. The next morning at daybreak, the hospital sent for her. Bill, will you promise me something? Sure, sure, anything. I want... I want to be buried in coal town from St. Michael's church. Olga, please don't talk like that. And I want them to ring the bell for me. They didn't ring it for my father. Don't forget. St. Michael's. Bill, the picture... is it really good? It's wonderful. You're great in it, Olga. I hope it's true. Because I didn't play Joan alone. A lot of people played her. People you've never seen or heard. My father and all the other poor, sad people of coal town. You better not talk, baby. I want you to know and remember why I did it. Why I kept until this happened. It's because of all those poor people. The people I came from have hopes and dreams that never get a chance. They just work and die. And all the nice things inside of them never come out. And Bill, I came out of them. When they hear me, they know it's their own heart speaking. And when they see my name shining in all the theaters, it'll be something of their shining. Oh, Bill, I'm so happy. I did my job. Olga. I like them, Olga. They're ringing your name, baby. Throughout the town, throughout the state, throughout the nation. Father Spinsky, eh? Has the telegraph office called me yet? No, sir, not yet. Okay, tell them I'll be right down.  Oh, I think I have an idea, Father Spinsky. Why, they tell me the entire nation has heard about the bells, the newspapers, radio. Anyway, as far as coal town is concerned, it seems everyone wants to attend services for Mistress Kovner. That's fine, Father. And it's obvious St. Michael's Church couldn't possibly accommodate them all. Bill, Bill. Well, good morning, Father Paul. Bill, the most unusual thing has happened. I mean, just a little while ago, over a hundred people. They came to view the coffin, and they stayed for mass, all of them in my church. Exactly, Father Paul. I was just telling Mr. Dunnegan, your little church will be greatly over-texted. By the sightseers are flooding the town already. Mr. Dunnegan, I'm sure you'll agree it would be far wiser to move Olga Traskovna to St. Leo's Church and let us conduct the service. Perhaps it would be better, Bill. No, Father Paul. Olga's going to be buried from St. Michael's. I had hoped not to be forced into this position, Mr. Dunnegan. I came here to be of service. However, at Mr. Orlost's suggestion, I wired your bank regarding the check you gave me for ringing the bells of St. Leo's. They tell me the check is worthless. Well, if you'll just give me a little time, it'll be covered, Father. I shall phone your bank at noon. If the money is not in your account, our bells will stop ringing. And I shall inform my fellow pastors of your swindle. Good day, Mr. Dunnegan. Till noon, he said, three hours. You know, Bill, St. Leo's is a very fine church. And Father Spinsky is really a very good man. I mean, run out in St. Michael's? No, Father. Father, how much is the fare to Nannacoke? Well, it's ten cents. Well, a dollar ought to cover it then, huh? But I don't understand that. Look, Father, don't make it too difficult, will you? I'm putting the fight on you for a buck. Oh, of course, here. Thanks. Well, will that be enough? Well, not quite. I need about four thousand more. But I may be able to pick it up in Nannacoke. I'll see you later. Ah, she's coming in now, Mr. Dunnegan. Yep, yep, it's from Hollywood. Well, what does it say? What does it say? Uh, have sent five thousand dollars as requested. Huh, cut you down, didn't they? I expected it. What else does it say? Money is settlement in full for your unexpired contract. Never mind about saving picture. My decision still stands signed Harris. Oh, thanks. Oh, if there should be any other wires, you can phone me at the coal town hotel. Yes, sir. Uh, go in there now? Yeah, right from the bank. I've got a little session coming up with some newspaper reporters. Well, Harris came through with the money, huh? Yeah, but he's still not sold on releasing the picture. I need something big, boys. I've got to get him boiling over. If we could only get some new angle to hand your papers. Oh, the bells are still ringing. Yeah, but that's no longer news breaks. We've got to cook up some fresh headlines. Boys, you can all calm down. The party's over. What's the matter, Senator? I've just seen Watson. Who's Watson? President of the coal mines. That's all. Biggest man in town. And the maddest. The miners aren't working. They're all steamed up over the bells. Well, Watson can't stop the bells, can he? I think he can, Bill. Well, there must be somebody more important than Watson. Well, the governor maybe. And there's always the president. The governor. That's it. Any of you boys know him? Well, I don't know the governor, Donigan, but I know his secretary. It's my wife's cousin. Grab a phone and put a call in for him.  I thought you'd like to see the newspapers, Mr. Terrace. Take a look at this. Headlines, too. Pennsylvania Governor issues proclamation. All denominations to observe stars funeral. Now here's the globe. Nationwide morning accorded Olga. And you know what the journal says? Never mind. Never mind. I've never seen a campaign like this in all my born days. Too bad it's all for nothing. For nothing? I just this minute hung up the phone. Genevieve James is available. What's it to do, Joan of Arc? Well, that is news, isn't it? You know, Dolan, I was almost hoping we could go ahead as Donigan wanted, but naturally this changes everything. We'll remake the picture with Genevieve James. I'll get a telegram off to Donigan right away. And what's that telegram, Bill? From Hollywood, isn't it? Yeah, yeah, it's from Hollywood. Marcus Harris? Uh, no, no, no. It's another studio. They want to hire me. They think I'm pretty good. Ah. Well, I'm going to get some sleep. Coming up? I'll go for a walk. Good night, boys. And, uh, thanks for a swell fight. Anytime. Well, baby, the bells are still ringing.  But I didn't do so good, baby. They're going to remake the picture. So you can quit shining. It's no dice. I've let you down. Way down. We pause now for station identification. This is CBS, the Columbia Broadcasting System. In a moment, we'll bring you Act Three of the Miracle of the Bells. Our guest tonight, Paramount starlet Gene Ruth, is just 20 years old and already an accomplished actress and dancer. I understand, Gene, you've spent almost as many years in the theater as you have birthdays. Yes, Mr. Keely. Both of my parents had been in show business nearly all their lives. So I was literally raised in the theater. And now you're well on your way to a movie career. Does the picture business come up to your expectations? It's even more fascinating than I'd hoped for. Take Last Wednesday Night's premiere of The Emperor Waltz. It was such fun seeing all those famous stars. And the picture. I got a special thrill out of that because I saw so much of the actual filming. And besides, being Crosby has one of his most romantic roles in The Emperor Waltz. Wasn't he terrific? I loved those scenes where he sang to Joan Fontaine. Well, evidently Joan loved them too. Because every time Bing sang to her, she literally wilted into his arms. I saw you, Mr. Kennedy, at the premiere. You were applauding like mad. I had a wonderful time, all right. Remember that scene where Bing and Joan are in the canoe? Oh, that was beautiful. And in Technicolor, Joan looked simply dazzling. That brilliant sunlight was a test for any star's complexion. Try this fine white soap. You'll enjoy its rich, creamy lather, its delicate flower-like perfume. Here's your producer, Mr. Keely. Our curtain rises on the third act of The Miracle of the Bell, starring Fred McMurray as Bill Donegan, Valle as Olga, and Frank Sinatra as Father Paul. Marcus Harris, the producer, has decided to remake Joan of Arc, and Bill Donegan's frantic efforts to bring Olga before the world have failed. But in cold town, the bells still ring out, and in the humble little church of St. Michael, the funeral service is about to begin. Never before has the church been so crowded and outside, great throngs struggle to get in. Then, suddenly within the church, a strange sound is heard, a rumble almost like a distant earthquake. Transfix the people's stare before them, for the holy statues around the altar are moving. The statue of St. Michael, the statue of Mary are turning. Until now, they face the coffin of Olga Trascola. They're moving. The statues, look at them, they're moving. The statues are turning, but you are turning toward her. They're looking at her coffin. It's a miracle. A miracle. They're looking at her coffin. They're looking at her coffin. Excuse me. Excuse me, please. You're the section, aren't you? Where is he? Where is Father Paul? He went down there, Mr. Dunnigan, down to the basement. Father Paul. Father Paul. I'm here, Bill. Father Paul, I saw it. I was in the back of the church when it happened. I saw the statues turn. Yes, I know, Bill. That's why I came down here. Look, Father Paul, I started this thing. I started the bells ringing as a gag and asked them to release Olga's picture. But I didn't do that upstairs, so I have nothing to do with it. I know, Bill. I know. The statues turned by themselves. They turned and looked at Olga. Look, Bill, look at this post. You see? The ground is broken around this post. What? The ground, Bill. It's broken and all the way across to the base of the other post. The statues are directly above these posts, and the posts support the statues, Bill.  There wasn't any miracle. You see, there are a lot of old mine shafts under here, and the earth isn't too solid. The movement of the two posts made the statues turn, Bill. That's it, huh? Yes. I rushed down here because I was worried about the flooring of the church. All those people up there, why, our floor isn't used to such crowds. What are you going to do, Father Paul? Why, I'm going to tell them the truth. You know the truth? Yes, Bill. Father, wait. Let's tell them, Bill. It's my duty. It's your duty to take the light out of their faces, is it, Father? I saw them when it happened. I saw those poor, bitter faces shining as if someone had turned a light on inside them. And I heard them praying and giving thanks.  Bill, you don't seem to understand. I... Look, Father, I'm not thinking of putting over a movie now. Whoever turned those statues wasn't trying to sell a picture for Marcus Harris. I tell you, Father, God was trying to say, life's all right. It's not as bad as it seems. And I'm up here watching and trying to help. And even if he didn't say it, Father, can't you see it's in their hearts now?  And if God doesn't speak like that out of heaven, he'll be speaking out of people's hearts. And what's the difference where he speaks from? Your job isn't to hide his word, is it? No, Bill. It isn't to hide his word. The saints came to Joan of Arc because she wanted to help someone. The people of France. Olga wanted to help someone just as much. The people of Coal Town. Give her the chance, Father Paul. Come with me, Bill. We'll go up now. My... my dear friends. Something strange and wonderful has happened. The faces of the Blessed Virgin and Saint Michael have turned to look on one who lies among us in a coffin. I will not speak of what has made the statues turn. Others will tell you the answer to that later. I speak to you of no other miracle than the miracle of the Olga Trockies of the world. Of those who live and dream only to bring heaven into our lives. Even if it is no more than a smile of fellowship or a moment of beauty. Olga died for this. For the beauty and the tired and lonely hearts of her people. Let us pray for her. In nominate but she had fully experienced a sanctity. Enjoy your meal. Mr. Harris, for something tremendous has happened. There's a modernist paper reporters out there, and they want you to... What's happened? What are you talking about? The miracle, Mr. Harris. What miracle? In Coal Town. A miracle has happened to Olga Piscogne. I won't hear such a bunk. It's sacrilegious. And if Dunnegan thinks... It isn't Dunnegan. Two huge statues at the altar. Turn to look at Olga and her coffin. What do you mean it isn't Dunnegan? Do you think for one moment the Almighty is interested in selling my movies? And you believe it? The whole country believes it, Mr. Harris. This time, Dunnegan's gone a little too far. When a press agent starts fooling the people about religion, I'm through with him. But the statues turned, Marcus. Hundreds of people saw them turn. Then he paid somebody to have them turn. Don't you believe in miracles, Marcus? You just made a picture about one. Joan of Arc? Yes, I believe in miracles. I was brought up to believe in God-ended miracles. But I won't stand for press-agent miracles. Report us, huh? Fine. I'll tell them that Dunnegan is the biggest faker in America. I've turned on your radio, Mr. Harris. Can you listen in for just a moment? They're talking about it on the radio. Turn it up, Eddie. All right, Marcus. Listen. Here will be that of the distinguished correspondent Lawrence Hunter here in Coal Town to report on this amazing happening. The whole country is asking, did a miracle happen in Coal Town? But here nobody asked that question. Every man, woman, and child believes that the grace of God has touched them. To them, a miracle has happened. Something so wondrous that it has torn the bitterness and the doubts from the hearts of the people and brought them back to God. Whether this is a miracle or not is up to the church authorities to decide. But I do know this. When Olga Treskovna was brought home, a wonderful thing happened. And everyone here is convinced that somehow divine providence is blessing Coal Town and the people in it. What a day this has been, Bill. What a wonderful day. Look at those telegrams on my desk. How am I ever going to answer them all? And tomorrow there'll be more. You don't answer them, Father Paul. You get a secretary. She answers them. Oh, no, no. They were written to me. Look, we are being given a new organ by Mr. Watson. Others are giving us a new roof, stained glass windows and, look, Bill, all this money for the poor. And the world has come to St. Michael's to pray. I must thank you, Bill. Thank me. Isn't that a little funny coming from you? You mean you still believe in the miracle? I've been standing in the church most of the day, Father. I haven't tried to plant one line of newspaper copy. Do you remember when I told you how I couldn't tell Olga what I felt? Well, this is the second time in my life that I've been dumb. I can't tell the world about it. That's why I know it's real. Because I'm no good at selling anything that's real. Well, I guess I'm through here. Through? Oh, no, Bill. No, Bill, you're just beginning. Marcus! Bill, I'm happy to see you. Hello, Marcus. Hello, Dolan. Father, this is Mr. Harris and Mr. Dolan, straight from Hollywood. My special plane. I'm very glad to know you. Father, Bill, I'm a man who knows when he's licked. You win. You, Bill, and Father Paul, St. Michael, Olga, and a couple of statues. Have decided to release the picture as quickly as possible. Thank you, Marcus. We're going to put Olga Trescovna in pictures in every city in the country. And I'll tell you what she's going to do. Olga's going to build a hospital for Coldtown, the best that money can buy, a clinic for her people, for the study of this disease from which she died, so that someday there will be no such disease and people won't be dying from it because Olga Trescovna died for them, worked and died for them. This is a great thing you're doing, Mr. Harris. It's beyond anything any of us has dreamed. Maybe. I don't know how all this started, but in my religion, when something happens that makes the world a little better than it was before, we know that God has had something to do with it, and we don't ask questions. In my religion, too, Mr. Harris. And Bill, when they hear me, they'll know it's their own heart speaking. And when they see my name shining in all the theaters, it'll be something of their shining. I'm so happy, Bill. I did my job. I can't imagine a better Memorial Day tribute to our audience than the miracle of the bells. And our thanks go now to the stars who made tonight's play such an unforgettable event, Fred McMurray, Vallée, and Frank Sinatra. Fred, you just got back in time from the Chicago premiere of the picture. That's right, Bill. And Frank and I both were there. And I understand it was a sellout. Yes, Mr. Keely, which was mighty gratifying since the proceeds went to the National Cancer Drive. And where were you, Vallée, during all this? Working at the studio, but I wish I could have been there. Well, at least we had you for the radio premiere. And it's a great pleasure having you back so soon again on Luxe. Well, it's a pleasure for me, Mr. Keely. I love radio.  How did you learn to speak English so well? Oh, I have a good voice, Coach. And I go to movies a lot.  I wish I could have studied English that way. Say, you know, if you don't watch out, Lita, you're going to have a lot of English students playing hooky. Well, I'm sure, Vallée, many actresses could learn a lot by seeing your excellent performance in the role of Mrs. Paradine. And I love it, though, Selznick's production, the Paradine case.  Yes, and I like those typical Alfred Hitchcock touches.  And I'm not surprised, Vallée, at the success of your American pictures after your many, many screen hits in Italy. But tell me, do the screen stars of Italy depend on Luxe soap as they do in this country? Well, every actress knows how important a good soap is to her complexion, Mr. Keely. Mr. Keely, what's Luxe presenting next week? And tonight we bring our audience a spine-thrilling story of the West with Columbia Pictures' current hit, Relentless. And our stars are Robert Young in his original exciting screen role and the lovely Claire Trevor for Romantic Interest. A mighty exciting picture, Bill. Yes, and as its title implies, an action-packed story of the chase in which an innocent man relentlessly pursues the murderer of whose crime is accused. You ought to keep your audience at plenty of suspense, Bill. We'll be listening. Good night. Good night. Thanks for brightening our holidays. Leave a brother's company to makers of Luxe toilet soap. Join me in inviting you to be with us again next Monday evening when the Luxe Radio Theatre presents Robert Young and Claire Trevor in Relentless. This is William Keely saying good night to you from Hollywood. Today, thousands of alert young women who are high school or college graduates are choosing the career of nursing. The student nurse receives invaluable education that can qualify her for a score of useful profitable jobs. If you can qualify for the career of student nurse, go to your nearest hospital tomorrow for full information. Fred McMurray will soon be seen in the NASA production, Innocent Affair. Frank Sinatra appeared by arrangement with Metro Golden Mayor, producers of Irving Berlin's Technicolor musical, The Easter Parade starring Judy Garland and Fred Astaire. Heard in our cast tonight were William Johnstone as Marcus Harris, Herbert Butterfield as Orloff, and Veronica Pataki as Klovna. Our music was directed by Louis Silvers, and this is your announcer, John Milton Kennedy, reminding you to join us again next Monday night to hear Relentless with Robert Young and Claire Trevor. Stay tuned for My Friend Irma, which follows immediately over most of these stations. This is CBS, the Columbia Broadcasting System.


Well, hello, my friends and welcome back to my channel. Today, we're gonna be doing another stitch fix haul. I hear you guys. I will link my other one up above. I didn't try on quite a bit from the last one just because I knew I didn't like it.  But the reason I like stitch fix is that you can kind of pick and choose what you're looking for. However, I already saw the items that the stylist sent me which I like some of them but I'm kind of disappointed in others and the reason I'm a little disappointed is because I asked for just blazers and just outdoor like jacket fall weather things that I could possibly wear in the office with a lighter weight top. So I already have the lighter weight tops. I was just looking more for jackets and I got one in each category that I asked for and then all the rest is just kind of you know any who but I'm gonna go through it anyways with you guys and I got a pair of jeans as well which is great but like I probably got like 10 pairs of jeans. I don't need any more jeans so let's just get into this thing. So here is my little bundle of goodies. Thankfully it's all team neutral which is great so I'm glad that the new stylist you know listened to that which is awesome and yeah my box was unfortunately soaking wet when I got home like I just got home from work now. So let's break open this bad boy and then I will tell you about what the items are. Hold on I thought I got a haha here it is okay. I want to like let you know what the prices are and then also the name of the items too so if you guys are you know interested or whatevs. Oh this is actually not so bad. Okay first thing is the e-zide textured print top. This is from 41 Hawthorne in black and the cost is $58. Here we go. It's kind of hard to see. Hold on let me do this. It is textured. There we go it's kind of showing up a little bit better. To me this is way too sheer like I can see through this. I can see the camera viewfinder. Um it's not really my style with this kind of Aztec-y print. I like some prints but just you know I'm so particular that meh. So I'm gonna take a hard pass on that. The next item is called the Nicole textured pullover. It's a sweater and the brand is Pink Clover and online this looked super bright. Actually it's looking a lot brighter in person here but it's not that bad. I'm gonna try this one on though. I'm gonna try it on because I like I don't know I like the knit of it. It's kind of nice and I like a scooped or like I like a neck like this. I don't like the big like scoopy doopy necks. I don't mind like a v-neck once in a while but we're gonna put this in the ye to try on. Oh and this is what I'm really excited about. This is the Melanie knit tunic blazer by French mauve. Oh I didn't tell you the price of the Nicole. This one is $43.95 and then this is the Melanie knit tunic blazer. Let's see it by French mauve. I think I already said that and this is $88. I did ask for ones that had stretchier arms because as you can see I love to like roll my sleeves up a little bit more. So I'm definitely gonna try this on. I like the fabric so far and oh there are pockets. How fancy. Nice so I'm trying to figure out something to wear to my reunion which I'm not from like a fancy high school or anything so I have my 20 year reunion coming up in just a couple of months and I was thinking about just wearing like a basic top, a blazer and some jeans and like some flats and just call it good um like kind of dressed up but not really I don't know dressed up for me but anyway I love that color. I think that's gonna be hopefully nice and then the next item is the Harper Denim jacket also by Liverpool. Did I say Liverpool already? No I did not say Liverpool. Sorry I am losing it. Woo all right so this is in the Olive and this is $98 and let me show y'all. Hold on I just need to make sure there's not a dog directly behind me when I pull back like this. Um this is kind of something I asked for. It's a little hard to be honest. Um I don't know I'm gonna try it on but I don't know I wouldn't grow well I would grab it in a store. I would actually grab this in the store and possibly try it on but I like that it has kind of like more of a mandarin collar neck and it doesn't have you know uh I don't know it's just interesting but it does have quite a bit of stretch in it which I kind of like no no let's try them on and then I got jeans. I ain't trying these on because I don't want another pair of jeans. Um I think I need to be like really specific and say just send the items that I'm looking for because I want to try them on um but anyway these are from Blank NYC and they're the Mary Ann high-waisted skinny jeans which I love a high-waisted skinny jean but to be honest I do not need any more jeans and these are $88 I will show you guys they're just like a nice little so they have like a little thing on the butt there um yeah I mean they're nice and stretchy they remind me a lot of my um the ones I'm wearing right now the cut from the cloth ones that I always like to get. I love the color of these but you know I don't need any more jeans I would rather spend oops my $88 on something that I don't already have so now let's try some things on. So first up I'm gonna try this bad boy on. All right this is already a no and I'll tell you why. Okay so let me pick this up vloggy style. All right so you know when you like wear a little bit of makeup I just wear a tinted moisturizer but still it will rub off you know how you get that like weird thing up here this is gonna that's gonna kind of bother me because it's just gonna rub and then even if you're not wearing makeup it like kind of rubs against and then like creates kind of like an oily stain um but otherwise I think the fit is great um it's nice and stretchy which I like but this collar situation it's a no go for me guys but let's move on to another item. I know this is a little weird I'm wearing my little tank top underneath this but I would normally wear just like a regular tank anyway this one's just a little bit thicker but I think it's fine for try on purposes um yeah I don't know I kind of I don't mind this I like that it's a little bit longer here I'll show you hi hello um it's a little longer which I think is nice and um which one was this this is the pullover this is this is $43.95 so it's really not that bad um considering you know their prices are sometimes a little bit high um I think I might keep this one I think I might keep it so we got one more to try on guys I really like this one okay this is the Melanie knit tunic blazer as you can see like it's super stretchy and um it's a three-quarter sleeve which I really like it's got this like little cuff which is good um and I really like it I like the color I like the stretch fabric it's a little longer in the back which is nice and then it's got some little pockets so I would love it if it wasn't like a total shawl collar like this I like a little bit more of a structured collar like a notch or a peak lapel um but I really but I like this I think this is gonna work really well for the reunion um I might get one more stitch fix box before my reunion it's in October and um see how that goes but I think the winners are this and the sweater so I'm gonna end the video here I'm not trying on the black shirt because I just know I it's an it's a no from me anyway but I'm gonna end the video here thanks so much for watching my little try on and my second stitch fits fix my second stitch fits fix box oh gosh it's been a long day y'all if you were interested in stitch fix I will leave a link down below so you can check it out I believe if you sign up under that link that you get some sort of credit so make sure to do that if you're interested because there is a styling fee I believe is 20-25 dollars or something like that um and then if you choose to buy anything you get the 25 dollars in credit um like towards your purchase but you have to you know clearly buy something out of the box um so anyways definitely check out that link if y'all are interested so I am gonna get finally gonna go grab something for dinner package up all of my things I'm not going to keep and check out of my stitch fix app so I will see y'all in my next video bye guys well folks it's time to kick it old school so you can feel cool give it to me baby