I knew I made a mistake taking the train, so I am a member of the RACES, I'm a third year student at the Greek Art Theatre, Carlos Kuhn, and we got to work with Mr. Eleuraz, I got to work with Mr. Caner at the Analogio Festival last year, which was an awesome joy, and this year with Mr. Eleuraz as well, that's for now. Okay, hello, my name is Daphne Scrumbello, I've studied in London acting and performing arts. Well, in London Metropolitan University I did performing arts, and the Bridge Theatre Training Company and acting, and I'd like to thank Ceci for selecting me to be here today, thank you. Hello, my name is Andreas Papalatos, I grew up in York where I received my education. I'm an actor, director, and my second geo-participating in this festival, and thank you for inviting me. First of all, here's Gerd, I'm from Germany, I'm the theatre director and the artistic director of the Teatro Municipale, how do you call this in European cinema? I was in theatre in Germany, I was, that's the older generation, always reacts on that, but I was for a while the assistant of Peter Stein, which is my name is director, and I'm in theatre since nearly 40 years now, so my whole life. Hello, I'm Larissa Redgum, I'm also an actress for quite some time now. I'm always interested though in acting in other languages, that's why I decided to take part in this masterclass, because I also grew up abroad, I did school in Brussels, I'm half anyway, I'm half Czech, so I'm always interested in being able to act in other countries and languages, and it's my wish and goal in general, acting I think takes us to the world, and that's my goal. Thank you, I'm an empty chair, I got in our kissing chair, I come from Tel Aviv, I'm a theatre scholar from Tel Aviv University, theatre department, also an actor, director, translator, dramaturg, and a husband of a Hoover, which is my main profession. I doubt it. I'm a boobah from Tel Aviv, actress, teacher, and his little wife. Hi, I'm Evie, Evie Frauny, I started acting here in Oziathina, and I always was one of my favorite teachers here. Thanks very much. Okay, I'm Yorva Zamidakis, I'm from here, from Greece, I'm theatre director, and I'm also professor here at this university, and I participate the previous year in Analogio Festival with a quad of Beckett, a small part of Beckett, it was an outdoor performance, and this is the reason that Cici had the kindness to invite me again and to work with my graduate students about this scene. We try to create, we use only one translation, but we try to make different versions in the level of the voice, in the energy, in the space, different kind of the injections. And actually we have worked with one or two more versions that we don't present today, but this is my way to create material and to embody the text. Actually for me, because it was only four days, it was a kind of lesson, it's in progress. That's it, thank you. Hello, I'm Mirini Hormuzzi from Greece, and we just project it from this drama school of Athens Conservatory, and so we are going to thank you, you're the owner, for inviting us. I'm your favorite professor. I want to thank you. It's a pleasure to work again with you. And she's your favorite student. She is. All of them. All my sons, yes. Well, my name is Beatrice Polenakis, I am an anthropocritic and writer. She is the president of the Greek Association of Theater Critics, the president. Yeah, he's very modest. My name is Maro Poccia, I am a dramaturg and an anthropocritic member of the Greek Association. And I am the executive director of the Hamaibali Festival. Okay, hi. My name is Constantine Stonvaldi, and I have started the drama here at Athens Conservatory, and your role, she is my favorite and lovely dad. Just a moment. Hi from me also. First of all, also, your role is my favorite teacher. I'm Beatrice, I'm Greek, and I just graduated from the conservatory in Greek drama school. I wish I had as many admirers as you. Thank you. My name is Yavil, I'm originally from Israel, and the last seven years I've been living in the United States, in Massachusetts, where I teach at Iris College. Okay, so everybody's introduced, we can start. The title of this event, I mean the entire event from the beginning of this morning, is Re-Locating Antiboda, and it indicates its purpose. What happens to a stage conception of an ancient play that has been de-contextualized from its natural habitation ground and relocated, like Medea, for instance, in a foreign country. A foreign language is also entrenched in a foreign culture, associations, habits, or what per pier, or here, the colds, a habitus. And this means also socially shaped, mentality, body language, intonation, social structures, et cetera. So this brings up several questions, and I won't delve of that too long, because anyway, I want to give the right to speak to everybody. What is actually translation? Is it an accurate transportation of lexis, of syntax, of rhythm, of rhyme, of reader, of style, of meaning, and so on? And I am just taking a little episode at the Habima Theater, the National Theater of Israel, where we made Medea about 10 years ago. We wanted to use the translator, wanted to use, in Hebrew, considered, wanted to use a British translation by, I think, Peter Schaefer, if I'm not mistaken. And the British agency of Peter Schaefer demanded a royalties of foreign interpretation. So we engaged a Greek scholar at Tel Aviv University, and we asked her, please, compare the original with a translation. What she did, and she says, this is a one-to-one, accurate translation. And I said, there's nothing. Indeed, the British said, there's nothing like that. Even if it's accurate, one-to-one, it is an adaptation. So this brings up what is a translation. Of course, on the one hand, as I said, there is this very lawyer translation. On the other hand, a translation can be understood as an intercultural act, or even an intracultural act, as you did, taking ancient Greek play and translating it again. So actually it's a transportation not of text to text, but of context to context. This one question, the other question is, what kind of text do I translate? Do I approach a translation of a classical text than the same manner in the translation of a contemporary text, or do I try to contemporize the classical text? Another question, what is the purpose of the translation and for whom is it intended? Is it intended for academic scholars, like I think Jeb's translation, which was not, I think, intended for performance, for philologists, for the broad reading public, or is it intended for performance? If so, where? Before what kind of public? So after all, these questions is a good translation, a lawyer rendering of the original, and you know there is this old, and I apologize for the female part of this public, because there is an old, I don't know if it exists only in Hebrew, but there is an old provert comparing a translation to a woman. If it is lawyer, it is ugly, and if it is beautiful, it is disloyal. And... I hope that nobody... I knew this would raise a storm, I don't identify, I just grew up. Or is any translation actually a new word? A new word, because there is, I think one of the, one Israeli poet issued the book of translation, or poet representation, called it a kiss through a handkerchief. And is it really a kiss through a handkerchief, or is it a different kiss? And a boomer kiss. So, I am finished with my introduction. Ladies and gentlemen, each of you, whoever likes from his or her unique viewpoint, how would you define a good translation of a classical romantic word? What is a good translation? Does anybody have an idea? If I may. Because I translate myself. I think that a good translation, a translator has to know both languages, as their primary language. So this way, if you're translating Greek into English, you know the English language extremely well, so you can choose and manipulate the words to suit the Greek. So for me, a good translation is from someone who knows both languages extremely well. And it's first in both languages. And is he allowed, as you say, is he allowed to introduce new forms, or new... No, because then it would shy away from a translation and become something else. For me. Yes, somebody else wants to relate to this question. One, one is a problem, between speaking with these type of folks, is that the Greek language, it's very tight, it's very... Yes, and we have many, many other words in the mix that you can explain the same thing. For me, this is richness of course, but this creates also a big discussion between director and the translator, because for my opinion, the director has to explain exactly what kind of performance he had in mind and to start to work with the translator before organizing the performance and to explain what kind of performance he would like to make and to be in a very, very close cooperation and maybe in the beginning of the work to see what is easy for the actors, what actors do you have. That means it's always a conversation between the... Actually, this chapter... Now, and the last, this translation is a very loose translation. I know that academics say it is not very accurate, but for actors it is beautiful. It flows, it is speechable, it's speakable, it is really vivid. And this brings me to the next question which is directed to the actors here. And I have a small introduction to that yesterday. Oh, sorry, sorry, sorry. I would like to go back to... Well, basically, I had three options. You send me three options of three different translations and I was choosing Johnston, which was quite as we know it. And the Jack translation, I read it and I didn't understand it. And I needed a dictionary, basically. And to prepare for the workshop, I really went... Because there were many words which I just don't know, which I've had interesting. I'd like to say this is the idea of the workshop to have a big distance between the different translations. For me, the question is... Sorry, it's a bit of a different direction than that what you asked. Because you said you speak ancient Greek language. Is it needed to speak the original language? That's my question, because I know... I know, for example, in Germany, when you go to direct... And you get at least ten different translations the publishers offer you. And I know just a very, very small minority of these translators speak ancient Greek. Because these people, they even translate Shakespeare and Mollier, etc., etc., etc. Most of even Peter Stein, who did the famous translation of Oresthea, does not really seriously speak Greek. He learned in school a hundred years ago. So in me, I learned Greek or Greek in school, but it's ages ago. So when I look into the original, I still kind of maybe discover one or two words which I can connect, but most of the translators did not speak the original language, which I'm... And the question is, is this needed? Because, and then I stop. Hergaly, I don't know if anybody knows if it was Hergaly. He did the most famous translation of Ynipus. And he did a big series of Greek. Next question. I'm doing my PhD in acting as a part in dance theater mostly, but I think it's just a small observation. I think the issue here is the whole time dealing between subjectivity and objectivity, originality and innovation. And for me, actually, the question that we have here mostly moves is not the choice between being very few to be original or if I am adapting the original to my own needs as a director. Because I think, as what you said before, every decision, we are always obliged to choose as directors and it's mostly a political act. So I think it's also... We have to think that every translation is also a lack of interpretation because we come with a theoretical framework and even when sometimes we're not conscious of our choices, we're still choosing, so that's what I would like to say. Yes, please. Yes, there's one area we have to think of in creating production and that's the audience who you are speaking to and your choices also have to think about that very much. When I did Antigone, strangely, I did an English, but I went into the correct version of Antigone, which is quite close to the original and in English it came over very directly and we really felt that we were going back to the Greek, the original Greek. It's a really strong translation. Right, sir. Right is an adaptation. Yes, well, it is an adaptation. Yes, an adaptation. Sorry, I'm not getting into the translation. Adaptations. I'm assuming we're putting things on stage for an audience and that we have to make choices as to who we are going to as well. What you're saying is that it has the same immediacy with the audience as we presume the original did for the Greek audience. Could I just add one little thing to what Matthias was saying? Ideally, when you're reinventing from one language into another, you need to have a linguist and a poet. If you can't find those two people in one, then you have two. When I'm working from a language which I don't understand, I ask for a literal translation and then I recreate that as if I was the original author writing in my own language. That's interesting. That's a true one. I would like blood in this, in Greece. We have, let's say, about maybe 100 translations or maybe more. What is the difference? Everybody, most of them, they know I should quit. Most of them, not all of them. The difference is if there is a poet behind and in cooperation with a translator. This is my way, how I choose this translation that I choose. I choose because it's the simplicity, the beauty and the poetry. And it's the same text and here is a, for me, for my aesthetic, here is a poem, I don't connect with this poem. You can't say it's a poem, literally. You have to become the poet again, deliver it. I think this is the key point is, for me, translator and the poet at the same time in a conversation with the director. So this brings me to the question that I wanted to ask before. Yesterday, I don't know who of you has been in the symposium. No, it worked for me. Yeah, it worked for me. I also worked for this and I've been for me at the end. It was a very interesting lecture by a Greek scholar called Dr. Vios Diapis, whom you might know, and he spoke about a Canadian translation which is the sister of the English translation that Yagir worked with. A translation by a poet and scholar called Carlson. And he spoke about one, let's say, faculty of her translation which he called a talent text, which is a text, a multi-hybrid text which retains the whole voyage that antiqually, for instance, made from antiqually to today because we didn't receive the text as a complete text. We received parts of it and over the year it was completed, it was changed and so on. And she made up a text which retains all these layers and, for instance, she told a very interesting story which they know that one of the stations that this text or other Greek text made is they wrapped the what do you call it? The papyrus. They wrapped the manias with the papyrus of text. So you found plays around manias which is rather a cover and very interesting but anyway and following that, I want to ask the actors do you find it more interesting to work with a text that is complex, poetic has some layers then a text that is fluid and sits on the tongue and you don't have any problems with it. Yes. I just wanted to comment on that because we almost just said I've talked about the poetry in the text and for me finally the most interesting part working on two difference in English first of all, nothing Greek for once but suddenly the text by Jeb which is from the 19th century in the beginning it frightened me more but I think at the end it was the one I enjoyed more and because exactly it was more poetic and finally on that text we put more movement also Did you find more layers of meaning in it or is it just me let's say the poetry? For me it helped a lot that of course I can read in Greek of course because with the old text I went in some parts to the Greek text to see exactly what I'm saying But did you reveal new things that you didn't find in the Greek? Did he actually open up new wisdoms? At some points yes but also because of the poetic elements somehow I think it came much more strong maybe and how I delivered it I think because I couldn't see it but that's what I felt The modern text was also very interesting but finally I really enjoyed the Jeb texts and sorry just to end this it was very interesting to do both finally because I could feel the difference You signed this wonderful man here and as an artist I believe that the most difficult text is the more interesting being the speaker of English I didn't really give much credence to the modern English because it's second nature to me where with the 19th century translation I really had a concentrate and make it flow out of me like it's my natural language so for me it's the most complex for an actor I think Because there are two philosophies among translators about the text the text that you don't feel it is a translation as if it is original and the other the opposite philosophy is no, you have to feel it is a translation and you have to feel this what the press called this this estrangement also yeah I think that's the whole problem begins because we confuse two different notions one notion is me and the other is imitation so this is due to a major misunderstanding of the question of aristocracy because tragedy is not a meaning it's a tragic action because tragic action that not exists out of the tragedy it is a tragic imitation of a semantic act so that causes the problem because if we follow the second conception imitation and not the meaning that's very interesting what you say, it's something I studied from our back when I studied as a my BA it's similar to an actor wearing a mask some reductions you put the mask on and you have to elevate your performance and you're working under a kind of restriction but you're maybe finding something extra on top of that so maybe Jeff when you're doing Jeff that is rather like wearing a historical mask which allows you to express it more strongly and Jeff was in fact a friend of George so he was writing at a time when there was a strong female voice already in literature putting new ideas forward speaking about the female voice again actors or some any other did you feel that the translation you worked with decked up more or sided with creon or with activity was there any yes please one interesting aspect of that that we discussed with you because so much of the way that they interact is on a public level and in the last minute they shift into a more private conversation the first thing that we thought about that you thought about was who was more comfortable in each scenario and when it comes to public speaking and Tiffany is unnatural because she's furious she's limited at everything that's been happening and so when she takes care to take the people with her and creon is completely not her equal in that respect he is far more comfortable addressing her in private and trying to reason with her or trying to explain to her what's been going on when he tries to speak in public he doesn't have her charisma he doesn't have a conviction he doesn't have her sense of right and wrong because he's a politician and Antigon is not a politician which makes her I think much more equipped to address the crowd as opposed to him who is always hiding behind his status and his public appeal I don't know how many people have heard Oliver Tapplin say that Nelson Mandela played crown in prison in order to explore the nature of the town yeah there's another actress would like to refer to this he's not a politician he's Italian exactly he's Italian so the problem is not who is right or wrong the problem is who has the guts to take up this is a real problem this is a controversy we had yesterday with the who has been yesterday in the performance of what group how is it called? Antigon who is beyond is a tyrant or is a person who is taking extreme measures in an emergency situation one thing he starts the play had the name the protagonist is Crayon and he will have only one scene at least from the beginning he destroyed at the end he's similar to Pantheon in the back eye because his job is to create law and order in a city which has just been torn apart and there's a speech early on where he's saying the war is over we are at peace the sun is shining all that stuff is there but there's just one problem there's a body out there it's not being buried and someone's going to bury it and that's against the law and we've got to have the law that's his argument we have to feel for clear we have to place ourselves within his skin otherwise it's a war curve all that we talk about it's a discussion about democracy I do think just to add very briefly to what Mr Polo Lankis was saying but when we're talking about tyranny the term itself has a history we're not talking the way that we use the term tyrant and at the temporary setting it's much different to the tyrant that we refer to as Crayon yes the principle is the same it is someone who decides without democratic process but it is still a valid political standing back in the day whereas nowadays the tyrant is someone that cannot possibly take power for himself in the 5th century they have the same they have the same what do we mean by tyrant it's the same people of the 2nd century yes but it's a developing notion it's not the same notion starting but there is another thing I'm a very small something like Bomolos or something like another definition of a ruler which is someone who is from the tradition of the dynasty and someone who is not because how does the word matter I would like to get back to the question of translators and this refers to the work you did here not to translation in general the very fact that the Germans were directors worked with Greek actors is in itself an act of translation in addition to the fact that they were neither in Hebrew nor in German but nor in German that worked in English so we have a three fold translation act in what respect does this experience differ from working I'm speaking of the actors now in what respect does it differ from working with the Greek director and the other way and Mr. Zambulakis how does it feel to work on a text in an ancient week but you didn't work in an ancient week so this is no so the first question is really we have here multiple translations so how does it work would you like Matthias to refer to it that means of misunderstandings that's logic you cannot avoid this but you know this before that means when we speak not one of us speaks in his mother language we try to meet somewhere in the middle of so called English and then being confronted with a text which is translated into English etc it's a little crazy where we meet and it's interesting what I enjoyed so much about this process is just to tell you this once we come from very different backgrounds different cultures, different languages different experience with this play which everybody at least pretends to know and after five minutes we can start to work and that is the luxury in theatre that's what I feel is absolute luxury and I don't know other professional world where you can start from zero to that level without knowing each other I don't know your family name, I have it on the paper I will forget it but I know you know that and we start and that is very very interesting and that is very unique in theatre I love this a lot I have worked in different languages I have even directed plays in Hebrew which I do not understand the word of Hebrew and it's possible I did the scene that is the first premiere of Women of Situa in Sri Lanka without understanding one word it's like directing an opera and you did several versions of Ilypus when we speak about translations to come back to that the first production of Ilypus I did was my first in contact with the director on Antique Place and my my basic thesis was it's so far away from us we don't know who they are we don't know what faith is we don't know what the gods is we don't know what the cure is it has nothing to do with our daily life let's be honest it's a way so let's choose translation which focus on this distance this is not as we are I have seen once a production Ilypus on a mobile phone it's kind of directing we talk about Ilypus we don't know really what faith is it's two and a half thousand years old material so let's show the distance and that's for example why I choose this translation of Höllerlin which is the most difficult and most keeps the distance most by language in the German context then we used masks and the whole thing nearly killed us because it was really very, very difficult but this is what I want to say is it depends what you want to do with the play what is the space like this it is a huge stage is it outside, is it inside etc. this even is part of arguments to decide this translation or that translation there's very much to do with not only the audience but the space the distance etc. and what do you want to do with the play you want to say it's now, it's here it's here, I don't believe that or do you say we look for something which is for us very strange exciting, exotic but away from our daily situations yes please of course I believe that there are many, I'm not a translator an academic person or a director and I don't have the experience or the knowledge to talk in an academic way so much but I think that we all feel or think things in tragedy that they are important not even you don't understand in the logical way I don't know if we always have to make it try to understand I don't think that always it's an understanding of course the thing you say now it's very important where what is the purpose we have to be aware of the purpose I'm a translator I'm not an academic person as you said I'm an artist also so as a translator I have to make a goal I have to have a purpose do I have to show the poetic side to insist very much in the poetic side of the play do I have to make a try for the episodes I remember I was in the second year in the drama school in this drama school and we had to work on Antigone with the teacher so I remember and also Volonakis translation in Greek and that's because there is a full strength of power, of beauty, of poetry but then we had to make a try to insist to the relationship of Crem and Antigone so we chose planas we could see another translator another translator we could see, we could feel that the purpose was to insist to the relationship of Crem and Antigone and not to the poetic side also I saw this summer a Netherlands French production of Orestes and Elytra of Iwo Van Thog yeah the chorus part was not that strong the language when the chorus was talking I was looking the third so yeah I didn't find the strength of the poet I didn't find the strength of the philosophy feeling side of the play but the Orestes and Elytra power they had in the relationship was too strong maybe had to go to a small closed black box or a different theater but you always have to be flexible to feel and see which is the purpose of the artists even if the name is translator director or actor it's like a union we have to embrace all each other and find a purpose of working where do we go well the last two years I teach Antigone at the educational program of the Laskaris foundation here in Athens the director of the Laskaris foundations here with us today so I teach students of 17 years old who had Antigone in their school program and I see many many many students translators I have all the texts translated in Greek from different translators I have the answer in Greek text there and depending of the school I mean if the school has students high class students, middle class students but it depends immigrants and so on I present two translations and they choose which one they like they choose the students of 16 years old they choose the translation it's more close to them that's the first second one this year I prepared the opening ceremony at the Sarajevo Winter Festival presenting a fragment of Antigone the third Stasimon with with the students of the music academy of Sarajevo and one Greek actor who had the role to receive the text in us in Greek you know here in Greece Greek actors can sketch in us in Greek if need is and they all know how to compare a translation if they have the answer in Greek the answer in Greek text and the modern Greek translation side by side okay well in Sarajevo the performance was held on the wall that overlook the city and it is almost destroyed from the civil war there were about 1000 people students academics from all 1000 people there in the winter it was cold and at the end of the performance they all said the famous verses from the third Stasimon I was born to love and not I totally agree with what Leandros Colinakis stated before that that verses in modern times has an Orthodox Christianity connotation but that's the evolution of the tragedy I mean in ancient Greek Athens in the classic times tragedy had one role, had one educational political and so on function in modern times tragedy does not belong does not belong to to Greeks anymore or does not belong to Greeks alone, it is universal it is universal so what we do today here I think it's what us in Greeks used to do at the Rodion Theater under Parthenon and what they used to do at all the religious celebration they used to present us in Greek tragedy because sometimes we forget that during all these rituals there are many a tranzer many strangers many people from other countries from other cities from other cities that they used to come in Athens that's the purpose of this workshop that's the purpose of an analogy to bring together people to bring together to bring together cultures and to to underline cultural interfaces and telling that I would like to propose to Yagil to give the permission to these two young young people to come at the closing ceremony today and to perform just a piece of what they did today in front of us up to the actors the actors if they agree you are the first to give the permission if you don't give the permission we don't go on other God will present us one of her points there so he is invited and he takes part in the ceremony and Larissa will also present a Greek text from Antigone in modern Greek she presents the Thebes Tasimon modern Greek and another great actress she presents the same text with Larissa in us in Greek so we have what we did here today in the closing ceremony and maybe maybe that just an idea proposal to present the full production of Antigone and the festival would be glad to collaborate and to participate in a project like that the chapter you got you are the supervisor of this workshop talk to you thank you very much for these suggestions thank you I have one final just a final question because we are speaking about translation you can't finish such a panel without referring to translators and I'm referring to Kuzmarov and our friend from Netherlands and whoever owns it how do you regard the translation of the translation? I read Useless play I loved the play because the play speaks about the strength of a young lady in the 19th century and she tries to convince this baby's father and for this reason I made the translation so I can I ask you when you translate an ancient Greek tragedy what is your purpose? whom do you address what is your final purpose? that's a very difficult question first of all I only speak two loyalties the first loyalty is to the actors the second loyalty is towards the ancient text because I'm the one who is mediated between the ancient text and the modern performance and this is immediately a fight from the very first word and it continues until the very last and then it depends very much on what you want to render when I try to translate the tragedy musicality is the utmost important thing so I try to read the meters I try to feel what it is to change what is when the chorus enters there's a song and the rhythm in the lyrics is going from it's very changing and for me the most important thing is to find some way in the Dutch to get the same kind of rhythm and to get a feeling that words are not only words but these words are words for dancing for choreography to transpose that into Dutch my director cannot work with it in a way at least that he could if he had all these different meters my composer has more material if I'm able to give that than just rendering the words as they are do your personal views political social ethical and so on to interpolate your translation work in this respect as a translator I often be involved in selecting the play that we are going to do and the selection of the titles yes, that's been very important for all the plays that we did during the translation it's very difficult at least for me to think in political terms although I think unconsciously you will always do this but it's not the most important thing this is something that comes out when you start working the most difficult thing maybe for the translator is you can start working on text you make an agreement with the director and everybody who is going to work with it you finish your text and then the rehearsal process starts during that process many decisions are made that were not made when we started so I can try to make a very musical translation and then we decide in between we will have an American composer working with the Dutch tech and he says I cannot work with the Dutch words so please give me a minute and then my work it's gone in a way I mean it's not gone but for that purpose it's not there for different dimensions the chapter for itself I would like to thank everybody who participated in this panel and all of you who endured so long this long good morning and we are you meet in the meeting at the pay to club there is mega on music for the closing ceremony where every one will be presented the words the performance the performance by the Brazilian yes yes yes it happens here after the lunch after the lunch there is a Brazilian performance here whoever wants to see at four is at four that shows at eight at mega on music we discuss and you come at mega with your actors and now we have a family photo all together we have a family photo you come you come professional


Hey Virgo, this is Kelly from House of Virgo, getting ready here to do your next 24 hours love reading. This is for Virgo's Sun, Moon, Rising, or Venus. If you're new to my channel, welcome. Please do hit the like, share, and subscribe button. And all the links that you need to contact me or book a reading, follow me on Instagram. Everything is below the video, so go ahead and check that out. Okay Virgo, so we're going to take a look at the past energy for you and someone that you may be connected with. The current energy here and the future, okay, bottom of the deck, you have a six of cups, so reconciliation, perhaps an apology. There is thinking about the good times, reminiscing about past positive memories, the emotional connection, time spent with somebody, perhaps reunion, a time when you were together or when you met, or the first time you met, or second or third or so on, could be thinking about bringing a gift or receiving a gift. This is a card of innocence, okay, and it's a six, so it represents harmony, appreciation, loyalty, self-sacrifice, responsibility, okay, so that's the overall energy, Virgo. All right, let's take a look at the past, so past magician, the fool, the four of ones, wow, wow, wow, now these could be reversed, okay, but I generally read for the person you might be connecting with or you have in your mind or in your heart at this time, the magician energy in the past, if you're female, dating a male, this person, maybe you called them your magic man, I heard that song, that old song from heart, he's a magic man, I'm not going to sing it because then you might click off the video, but this is a manifestation, it's a one, a new beginning, an initiation, someone taking leadership, having the courage and willpower to manifest their cups, their swords, their pentacles, and their wands, which represents an emotional, that's all the aces right there on the table. The ace of cups of the emotional blessing, the ace of pentacles of the physical thing, like new career, job, the ace of swords with new ideas, overcoming conflicts, having mental clarity, and the ace of wands, like being inspired, okay, passionate, and it looks like somebody in your past either did or was willing to lay everything out on the table, okay, take that risk and the four of wands to connect with you, like the four of wands energy is like a reunion, reconciliation, so perhaps in the past there was somebody whom you were connecting with or is in your heart where you guys, you know, this person traveled to see you or took some kind of, was hopeful about coming into union with you here, marriage commitment, family, meeting family, traveling home, inviting, or going home, inviting you, or you inviting them to meet family members, could have been a celebration or a wedding, attendance, at some type of celebratory gathering, friends, family, let's take a look at the magician here, okay, the king of wands, okay, this very well could have been someone with Mars placement area, Scorpio, or I almost said Libra, so for some Libra, Sagittarius, Leo energy, okay, the king of wands is bold and courageous, powerful, charming, okay, there's also Gemini here, Aquarius, alright, so that's it's in a position of a person who is like taking on the action of the king of wands, you know, to just like get things started, try to manifest things with you, okay, but the shadow said that's a double card here and I wanted to clarify, so there's a bit of obsessiveness this person had for you, or toward you in the past, strong sexual attraction, but there could have been like some blockages like addictions or greediness or envy, like materialism, you know, obsessive behaviors, okay, now it could have been a blockage or it's just how this person viewed you or how they were with you in the past, now let's take a look at this fool, why is this fool card here, because the magician is here first, that's the one and then the fools after that and I feel like this person was all ready to manifest something and then perhaps they left, you know, maybe it came time for commitment of some sort or to get together and then they said no, they turned around and went the other way, okay, they backtracked to the zero, yeah, there was a golden opportunity here for this person and they didn't take it, I feel like your person, they saw it but they went back to zero, they went back to, this person wanted to be free, their freedom, it felt like it was more important to them, yes, they did want to manifest with you, yes, you know, they were, they were being very charming with you, but there might have been some toxicity to this person as well, okay, so I feel like it started and then when the opportunity came to further the connection, they went the other way or they chased after material things instead, so let's take a look at this four of wands, okay, King of Pentacles, yeah, little did they know, I feel like they saw that they could have stability and even financial independence in a union with you or a family thing or whichever, but they chose to be free and chase after that, you know, that glimmering shiny object on the ground, ooh, what's this, ooh, what's that, you know, there might have been a little bit of temptation, you know, this perhaps for them, even though they saw they could have it, it just wasn't enough for them, they wanted that big pot of gold, that golden egg, with the devil card, I feel like there was like some temptation, this person has it in them to be tempted very easily by money or shiny things, whatever that means for you, okay, I do feel like they did, they did definitely see that they could have this with you, but I feel like they didn't feel like they had enough, they would have had enough, they wanted more to be able to give or to present, okay, current energy, four pentacles, four of cups, 10 of cups, this person right now does not want to let you go, but they're not opening their heart, okay, they don't want to let you go, and they're definitely holding on to whatever these shiny objects are that came to them, whether it's like a person, place or a thing, it feels like they're of two minds, you know, don't want to let you go, but don't want to open up, okay, but then something happens here, you got the four of wands and the 10 of cups here, some kind of shift and change, we're gonna see what's going on here, let's look at the four of pentacles, because the four of pentacles is like long-term security, you know, I do feel like this person presently was very focused on those shiny objects, that's like something, yeah, for them it feels like that was something that they needed to do, you know, focus on the finances and the you know, hold on to their money, but at the same time there can be a, there was some kind of blockage about coming towards you, making this change, this transition, material obsession, that's what I was feeling, okay, but I also feel like if you try to, if you try to walk away or move away from this relationship and try to, you know, presently get yourself out of this position, they will try to hold on to you, even though they know that it's probably the best thing for you to do, they're not gonna let you go, very go. Why is the four of cups here? Why is this, you know, they're unfulfilled emotionally, so they fill themselves up with financially, they filled themselves up with financially, does that make sense, they fill themselves up with the money, that gives them a sense of satisfaction, but it's not emotionally satisfying for them, yeah, see, the Wheel of Fortune, it's a person of a gambling problem, it's like they put, they deny love for money, a career at work, whatever it might be, you know, I just feel like, it's like they, like wherever the buried treasure is, they're gonna go looking for that first, it's just material obsession, but also there's a turning point happening, and that's why I was asking, why is this ton of cups here? Something shifts, and I think it's a realization that they've got to get out of this, needing to hoard their money and make this transition to, and I'll be all with the ton of cups, okay, it doesn't have to be work, I mean, money could be career, their work, or their finances, just, that seems to be taking priority, but it feels like, perhaps they, in the past, went after that, and no matter how much they held on, they never had enough, they only had the four, and they're missing their opportunity, and the wheel is turning, and there's a turning point happening presently here for them, the opportunity, because what's greater than money is love, point blank period, that true joy, fulfillment and happiness, right, four of cups is on fulfillment, 10 of cups is total love and support and fulfillment, family, that's what they want, yep, that's where their peace is, I feel like this person's having, like, gaining a new perspective on really what matters most, let's take a look at this wheel of the year, yeah, look, eight of pentacles, they're coming to terms with, like, if they want that love, or want to have that true love, they're gonna have to put effort in, they're gonna have to work really hard at that, and I feel like this, but they still have work, it still seems to be, like, their finances and their careers, still is a priority for them, okay, that's the hangman, hangman is Pisces and Energy, Maybergo Taurus Capricorn, Aries Leo Sagittarius, Aquarius Scorpio, okay, let's take a look, show me the hangman, okay, four of cups again, your person has an issue with emotional availability, they struggle with this, but I feel like they're gonna start putting an effort in and seeing that, they look how he has his arms blocked, you know, when love is being given, deny, deny, deny, but that hangman is giving them this thing where it's like, and looking at their options, looking at their choices, and they're not emotionally satisfied with the choices they've made, and I feel like they're taking a look at this, because again, that hangman energy is, like, getting a different perspective, this person may have, you know, gone out into the world, and left you, or left the love, and just tried to do all the worldly things, and the everyday things, and they were doing it alone, they were left alone, they chose to be alone, they wanted their freedom, but they weren't letting anybody else in, I mean, I feel like they're kind of looking like, okay, you know, what's the point of having all this, if I've no one to share it with? Where's the satisfaction in that? And here, they're coming towards you, albeit slowly, they want to share things with you, they want to share their money, of course, you know, you know, this night, they want to be reliable, they want to work hard for your love and show you, they want to win, they want to win your heart, they'll be communication, how do I do that? I have these ideas, these plans, look at this page, he is not fully grasping that pentacle, that's floating in the air, so it's like all these concepts and ideas, they want to share these things with you, okay, share some news, pentacles always, you know, it relates to tangible things, let's get clarity on the night of pentacles, okay, eight of cups, I feel like they're gonna reach out or they're gonna tell you that, you know, why they were treated, you know, in the future, they're gonna tell you why they pulled away, they look, they're gonna come back with what they've accomplished and what they've earned and they want to show you and if they've been separated from you now, going in the future, they'll be returning because the eight of cups is a temporary separation, they'll be coming back to show you what they've accrued in their life, maybe even offer an engagement or bring you a gift or ring, it's almost like they like left to go find their, it was emotional to them, it's almost as if they were, they left and they're returning to show you what they've discovered, they went on some kind of an adventure, what's the six of wands here for, okay, the sun, oh positivity, yes they definitely want to win you back, going forward, material happiness, material work is very important in this person, they don't want to rely on family to support them, they wanted to go get it themselves and I feel like they do get it and they get what they want but then they're by themselves and now they got to make this transition here to have you as well, if you want them back of course, I just, I'm picking up like an explanation, that's Leo energy there or sharing with you why, why they did what they did, why they had to do that, why they had to go off on their own, look, native pentacles again, yep, to show you, that's a card of show, that's show and tell, okay, the pentacles is here, okay, yeah, they want to share with you, they don't want to be alone in this and I feel like that's the conversation that this person's going to have, it could be a work partnership, they want to work with you or share the wealth, share their plans and the things that they want to do going forward, I'm not seeing all, you know, the cup of energy is, you know, the fours and the eight which is the separation, okay, so there's a little, there's a little bit of, there's definitely passion and obsession but there's a little bit of lacking the emotion and I think that that's one specific thing about your person is that there's an, there's emotional unavailability, although the Six of Cups is here, there may be an apology about this or, you know, coming in to connect with you, this is a card of innocence and sincerity, I do feel like your person does have genuine feelings for you, sincere feelings for you but I just kind of get a sense that they just, I don't know, they just don't have it in them to connect on that level, they're very career focused, let's go to look at how this person feels for you Virgo, what their, their emotions are, you'll have a lot showing up here, they appreciate you definitely and they want to be loyal to you and responsible, especially as responsible, maybe they were irresponsible in the past, I wish I had treated you better, they would tell you, you wanted love, they were off on an adventure, they wanted to go get their money or go get their, their wealth, maybe they left you, they weren't ready for that or, you know, get their something, they were after that, you know, like I said, chasing that, chasing that waterfall, that song, is that the song, waterfalls from TLC, just being near you is intoxicating, they would tell you I feel you leaving me behind, Virgo, some of you probably, they felt like they left you, but they could feel you just standing there and just saying bye, you didn't chase after them or try to force them into anything, you just, bye, good luck, the timing just wasn't right for us, yeah, this person was going after, they were chasing after some kind of waterfall, I replay our conversations over and over, yeah, they haven't stopped thinking about you, things that you both shared or conversations that you've had or the nicknames you had for each other or the things you said to one another, my life is not as together as it seems, they're coming back like they went after that big pentacle and they're coming back with the small one, okay, but they want to share whatever they were able to get with you, I just get a sense that they weren't able to get what they wanted to get, they were able to get maybe a piece of it, but it's lonely out there, that fool card is all by himself, so they're coming back to say, hey, guess what, I wasn't able to do what I wanted to do and I'm sorry that I left you to go and maybe they went away to college or they took a job and relocated somewhere because it was better money, but it just seems like it didn't really, whenever they were going after, didn't pan out the way they hoped, this person loves you unconditionally, Virgo, I want to be more than friends, so maybe you were friends, they want more or maybe the relationship only got to a friendship place and now they want more, I know that I crossed the line with you, Virgo, this person, for you that was a big line because they had to choose either you or their waterfalls and they chose their waterfalls and that hurt you because you feel like you're worth more than that because you know that you are, I know you know that you are, but you're patient and kind and you want this person to be happy and maybe you let them go to go do that, but they're out, they're out there by themselves, I know I messed up everything, I left you before you could leave me, yeah, Virgo, you came closer than anyone, that's why they're coming back around, Virgo, you want them back, take them back, if you don't want them back, then you don't want them back, it's truly up to you, let's take a look here and see what your angel wisdom messages are, it's interesting, very interesting, they're coming back, it's definitely a six of cups, it's definitely a reunion, ten of pentacles, of course, financial security for yourself and your family, I do feel like that's what this person was doing, going out into the world and not committing to you or being with you or whatever because they were seeking their own financial security, it was something to do with money, I feel like they had wishes and hopes and things that they wanted, but something about them needed to have this stability, this financial stability, inheritance or retirement, peace and contentment and life, honoring family traditions, pride in the family tree, passing on knowledge and that ten of pentacles is like leaving a legacy, this person had nothing to offer you, they didn't feel they had anything to offer you, but it just feels like to me, you just wanted their love and kindness and that emotional bond and that connection and they wanted that too, but they weren't able to do that, they wanted to come in with something more stable, they might have been very unstable, there's a magician again, magic is alive in your life, what you need to be a successful manifest if you believe it, you can do it, okay? This person is definitely your magic man, that's what I'm going to title the videos and I know if you're a male listening, it's your magic female or whatever the energy is, divine, masculine or feminine, but this person, they have that magician thing about them, like they have to make things happen in their life, it's a drive, they have to turn their visions into reality, they're quite inspired, action oriented, but then we have the Nine of Air, unfounded fear, expecting the worst, thus creating self-fulfilling prophecies, allowing worry to grow out of proportion to the situation, sleepless nights, refocus your thoughts, Virgo, that's for you, okay?    Good fortune, they come back and tell you, hey, I went out looking for work and I got a new job and you know, I'm coming back home or you know, I'm going to could be moving, relocating, they got a new contract or something's going very well for them and they're coming back to share this with you, give you a piece of the wealth, whatever it was that they went after. Yeah, I mean it just feels like this person, I forget what I was going to title this, but this person just put, they put all these worldly things in front of the relationship, you know, and like I said, I'm reading for what their energy is and of course you have free will, this is a general reading, you obviously if you listen to this, you do whatever you need to do or get counsel however you need to in regards to this if it resonates and if this happens to you specifically, but I'm just trying to pick up the energy and the messages for the person that you've been connecting with or if you understood what was going on and you're like, yeah, or you're not sure, this may be for you, so I'm going to leave it there for you Virgo, I hope that that was helpful in some way, I wish you all the best, please do hit subscribe and like on the video, I greatly appreciate it and I will speak to you all soon, alright, take care.


From the archives of the greatest dramas in radio history, we proudly present Hollywood. Radio Theatre brings you John Caulfield, William Holden, and Billy DeWolf in Miss Susie Sleggos. Ladies and gentlemen, your producer, Mr. William Keely. Greetings from Hollywood, ladies and gentlemen. Our play tonight is essentially a story about young people, medical students to be exact, their sweethearts, and their classmates. So in producing the screenplay, Paramount used an exceptional array of youthful talent, and we've done the same. Start in our cast, for instance, is one of Hollywood's happiest discoveries, John Caulfield, playing the same role she played in the picture. Also, William Holden, who soared to immediate stardom with his first appearance on the screen, and Billy DeWolf, playing his original screen role. Our story opens at Miss Susie Sleggos' boarding house, a home away from home for generations of prospective men and wife. We take you there now, with the first act of tonight's play, starring John Caulfield as Brett, William Holden as Pug, and Billy DeWolf as Ben. Our curtain rises on Miss Susie Sleggos. After her parents died, people thought Miss Susie would be lonely in the big house on Laurel Street. But that was the year the medical school opened, and students were searching for places to live. By 1910, the house on Laurel Street was known to two generations of doctors as Miss Susie Sleggos. Is this Miss Susie Sleggos' boarding house? It sure is. Step right in, doctor. Doctor, I hope you can say that four years from now. Oh, I will. See those pictures on the wall? I call all of them, doctor, when they came here and when they left, too. Well, maybe they were younger than I when they started. That don't mean nothing. And then there was all doctors in Goodwin's, too. Now, if you come upstairs, doctor, I'll show you the roof. A wonderful room. Say, that's it, huh? Those buildings out there? Yes, sir. That's the medical school. You've been wanting to come here for a long time, haven't you? That's taken me seven years. Four years of pre-med and three years trying to get the money to come here. Oh, uh, dinner bill in ten minutes. First night, Miss Susie likes to have all the boys down on time. Oh, I'd better get washed up, then. Oh, uh, where's the bathroom? Into the hall. Here, I'm laughing there. That's Mr. Ben. He's a third-year man. He's in there with the new boys now. Come along, I'll show you. Oh, come in, young man. Come in. Oh, I didn't mean to interrupt. I didn't know you were taking a bath. As I was saying, gentlemen, you'll soon discover that four years in the penitentiary is a picnic compared with four years in medical school. Even in a bathroom, you can't relax. Look about you. Every wall covered with anatomical drawings. The artistic efforts of your predecessors. I turn my head to the left and contemplate the complexities of the spinal column. On my right, a highly accurate reproduction of the human heart.  Now, what about the girls in this town, Ben? Ah, Mr. Abernathy, a most interesting and vital subject. Let me introduce you to your new love, Little Elyse, the sweetheart of the school. Well, look up there on the ceiling. Now, there is really a work of art. A life-size drawing and resplendent color of the woman of your dreams. You would study medicine. From now on, when you look at a woman, that's what you'll see. No more rosy lips and sparkling eyes. From now on, every woman will be Little Elyse. A heart, a kidney, a spleen, blood vessels, tibia, sphibulis. Oh, it's awful. But what are you laughing at? Well, if medicine's so tough, what are you doing here? Jump and sunfish. You don't think I'd be anything but a doctor, do you?  We're going to be late for dinner. My dining room, gentlemen. Miss Susie will be in in just a moment.  Uh, cadavers. Ah, yes, cadavers, cadavers, cadavers.  Six days a week for six months with meths glaring over your shoulders. Who's meths? Professor of anatomy and a killer.  I'd better have a look.  Say, ah. Ain't no third-year man going to look in my mouth. Well, hush up now. Here she comes. Good evening, gentlemen. Miss Susie, these fellows claim they all belong.  No, thank you, Ben. You know how I like to guess.  I look forward to having you here. That's right, ma'am, and thank you. You do look like your father, don't you? And you? You're Clayton Abernathy. Yes, ma'am. Now, which is a boy from China? Oh, it's you. You're Albert Ray. Yes, ma'am. And you're Irving Aaron. That's right.  At least the last of you, the boy from Vermont. You're St. George's Princess. St. Whit? Well, fortunately, Miss Lego, most everybody calls me pug. Thank you, Miss Susie. I like old times having you in the house again. You mean my merry laughter ringing through the halls, Miss Susie? No, dear.  And now, I'd like to say it's a very great pleasure to have you all here. There's only one thing I ask that you do not fail. None of my boys has ever failed. Ready, Hyzer? Yes, ma'am.  The glass is there. And please join us, Hyzer. Yes, ma'am. To your future. Now you've met them all. Oh, not Gilberton, son. That's right, Otto. Why, I've darkened Otto's door with you, I don't know. But you have completed three months of study and I promised you a little reward. Between these refined walls, you'll discover the best beer in Baltimore, right, Otto? Of course, I ain't. Well, fill them up. I don't know, Mr. Ben, if I am happy to meet these friends of yours or not. Look at their faces. Professor Metz? Oh, he is a very brilliant man. He certainly is. The trouble is, we aren't. Did I hear someone mention Professor Metz? Lies. Lies, come here. You fellas all know Lieshow. Oh, you've got that introduction wrong, my friend. Not Lieshow. Elijah Howe Jr., son of the position in chief. Son of the professor of medicine at this institute of learning. Where's that bottle, Otto? And what's the matter with you outside of being a little drunk? What's the matter with me? Metz put me on probation today. He won't stand for sloppy work from Dr. Howe's son, he said. That's all I hear, Dr. Howe's son. Oh, you boys. When will you learn that life is for enjoying? What good it does to know everything if you have no pleasure in life. That's the way it is, Otto. No work, no MD. Oh, but not all the time work. Your father's silent. He too stood in this cafe many times. He found time to enjoy himself. He was a fine doctor. He was a fine doctor. He died last April, fat-heart. Hadn't had a vacation in 12 years. Well, if you permit, leave a drink to him. Hey, Pug, you've been asking me to point out Dr. Faber to you. Well, there he is. With the cigar, he's sitting with Metz. Oh, so Dr. Metz is here, is he? Yes, sir, that's Faber, the best surgeon in the country. If he left the school, I'm going to have a little talk with the eminent Dr. Metz. I've had just about enough to drink.  Get him out, please. Tell that little mouseface. You're coming with me. Just as soon as I've told him off. Professor Metz. We were just leaving, Professor Metz. I got one thing to say to you, Professor Metz. Hey, you guys, let go of me. What kind of nonsense is this? This is a C2H50H. Lies, wake up. He's south. C2H50H. Well, how can we unsalasen him? He'll sleep it off. He'll be fine in the morning, won't you, Lies? Lies. But he was going to help me with my geometry tonight. Now you have got me in a pickle. I have. Well, if he hadn't been out with you. Well, I wasn't the only one with him. It's very clear you felt responsible for your fault, won't it? I'll probably flunk. Well, I... I wish I could help you. You will? You're sure you don't mind? Oh, that'll be simply immense. Immense? Well, don't stand there. Hurry.  I'll get my... Angle R equals angle S. Now, AD is perpendicular to PR. You know why? Uh-uh. Because a line perpendicular to one of two parallel lines is perpendicular to the other. Right here, see? Yes, I see. But what do you do in Vermont in the winter? I, uh, get ready for the summer. Now then. Oh, it must be fun on a farm. Oh, yeah. Great. All you have time for is to eat and sleep. But I love to eat and sleep. Now look. AP equals PR. Now, therefore, AP equals AR. QED. Well, that's your last problem. You understand them, Miss House? No, I'm too dense. I just ask people to explain them, because then they end up by doing them for me. Can you two-step? Certainly I can two-step. Let me see you. Now? I bet you can two-step like I can. Look, look, I'll show you. Oh, oh, father, this is a friend of Lies. He's helping me with my geometry. So I see. Well, I think I'd better be going. Homework of my own, you know. Uh, good night, Dr. Howe. I'll show you to the door. First-year student, don't you? Yes, sir. He lives at Miss Susie's, father. You're a fortunate young man. I have an old friend in that house. Is she still in good shape? Uh, little Lies? I did her liver. Huh. Nice liver, sir. Thank you. I was working on that the week I met Margaret's mother. And the first lace cat that got ever wore was made by Miss Susie. Well, good night, sir. Good night, Mr. Prentice. Oh, good night, Miss Howe. Give my regards to Miss Susie. I will, sir. Father. Hmm? Father, isn't he a man? Yes, the very first and least cat you ever wore. And it wasn't so long ago that that was it. Oh, you. Hey, you fellas. I just saw the bulletin board. Come on, if you don't want to miss it. Why not? Weber's going to operate jump and catfish. You call us to step to me, too. You mean we can watch? Yes, I just got permission. Well, what's a callus? It's a callus. What did you say it was?   Students in the gallery, I am now exposing the cystic artery. Here, the operator must exercise great care. Should the hepatic artery be mistaken for the cystic, it might be fatal. We are now prepared to remove the gallbladder entirely. Return 95, doctor. Alt 150. I vote on a clerk. See what I mean, Frank? See the patient's in shock. She's going to die? Could be. Oh, how can he stay so calm? Doesn't he know that the breathing is getting more shallow? Clamp. Clamp. Clamp. Clamp is down to 80. Faber's worried. Clamp. Look at him. Look how fast he's working now. He's got to get out in a hurry. He's got to get out. Clamp. Clamp. She hasn't got a chance. She... Pug. Where are you going? I'm getting out of here. Pug! What happened, St. George? What's wrong? I just left an operation, Miss Suzy. I ran out. Is that all? Take some people months to get used to surgery? A woman was dying and I ran out. I'll never get over it, Miss Suzy. Oh, the what? Well, when I was a kid back home, Doc Carson used to take me out on his round. One day, we visited a farmer wearing the outs outside of town. Heart trouble. Doc had to go back to town for prescription. He left me alone with the man and he was dying. Gasping for air. He needed help to live. Just a little help. And I couldn't give it to him.  Then all of a sudden, I couldn't stand it anymore. I ran away from him, same as I ran out of the operating room this afternoon. We all get frightened, St. George. But I've never been afraid of anything in my life, Miss Suzy. It's just that I couldn't bear to see that woman die. Supposing I'd been the surgeon instead of Faber and I felt that way. You suppose that Dr. Faber has never felt that kind of fear? I tell you, Faber's the finest man in the world. Here, I wish I'd have been there. The gush down his job I ever saw. Before I left, the nurse was saying that woman'd be going home in three weeks. What a mess! Then she didn't die. He doesn't seem so. Faber saved her. Oh, I should have known. So, Doggone sure of himself. He wasn't helpless, was he? He really knew, didn't he? Yes. He really knew. And someday, so will you. Oh, by the way, Mrs. Wingate telephoned. Mrs. Wingate? The Dean's wife? Don't be alarmed. Just to leave word for all you boys, there'll be a dance at their home on Christmas Eve. Holy smoke! It's almost Christmas, isn't it? Oh, thanks, Miss Suzy. Thanks. Get out of the car, this is the Wingates. Father, do I look exactly right? Of course you do. Why? This is my first real party, and a mother thinks I'm still a baby. Well? She choked up the front of my dress with a tool because she said it was too low for a young girl to wear, and I think it looks tacky. Looks fine to me. That's because I took the tool off. Oh. Well, do you think it's all right? On one condition. Be sure to sew it back on before your mother sees it. Can we go in now? Father, would you answer an important question? I'll try. Suppose a man wants to kiss me. Should I let him? Well, not unless you want him to, Gret.  You see, kisses are to love like thermometers are to fever. You can't tell how bad you've got it without them. You're really wonderful, Papa. Well, thanks, Gret. I guess we can go in now. Good. Oh, Gret, about kisses. Yes. Like thermometers, if you use them too much, they tend to become inaccurate. I'll remember, Pa. Thanks. I was just fixing my hair. Why aren't you in there dancing? Well, you see, I just got... This is the first time I've had my hair up. Oh, maybe that's why you look the way you do. How do I look? You look, uh... Well, you look like a field does it. First thing in the morning when the sun just hits it. Oh, all wet and cold? Oh, no, no, I didn't mean that at all. Oh, have you a dance program? Well, no, do I need one? Oh, yes, of course, here. Oh, well, there's someone's initials on this. MH. Who's MH? Me. Well, who are you? Oh, fine. I know you. Think hard. My brother's a friend of yours, and I'm dumb at geometry, but very good at the two steps. Oh. Well, it's about time. Well, you've certainly grown up, but you sure act just the same. You don't mind, do you? Oh, no, no, not at all. I think it's simply immense, Ms. Mal. Do you think I'm forward? Well, I... You shouldn't worry. My character will improve with age. Everyone says I'm just like my mother, and you ought to see how dignified she is. She's a perfect doctor's wife. Is that what you want to be? That's what I'm going to be. Well, what's so funny about that? You decided to be a doctor, didn't you? Well, I decided to marry one.  I sure feel sorry for the man you decide to hook. Oh, I expect you'll wriggle a little, but it won't do you any good. Me? Mm-hmm. Oh, now, let's concentrate on the dance, huh? Oh, let's not dance. Let's sit this one out. Now, listen, lady, I'm just a poor medical student. Oh, I don't care. That's the way all doctors begin. I'm young. I'll wait. I left the party sort of early, Dan. And I've been waiting up to see you, Lange, about your studies. Oh, yes, it seems I've disgraced you properly this time. I want to find out why your marks are so low and how can you can improve them? Forget about me. Well, how can I forget about you?  What's that got to do with your record? Everything. They all think of me as your son. Nobody lets me be myself. When you all about that and you decided to take medicine. I didn't decide to take medicine. You decided that form. Now, wait a minute, Lange. You even gave me your name.  And if I'm at fault, it's for letting you get that way. You think it's a cinch being the son of a famous man? Nothing's a cinch, and you better learn that now. If you've decided you don't like medicine, get out of it. And if you feel that living under my shadow is too great a handicap, get out of that too. All right, dad, I will. Looks like we're home, Pug. Thanks for all the dances. Oh, thanks for letting me walk you home. I'd like to ask you in, but it's awfully late. Yeah. Well, good night, Grin. Good night, Pug. Pug, we are under the porch light. We are? Oh, does that mean something? It's supposed to when mistletoe is tied to it. Oh, I'm not very bright, am I? I'm waiting, Pug. Thanks, Grin. Thank you, Pug. You know something? Father was right. Father can go to the devil. Lange! And with a suitcase. I'm leaving his happy home. You've had a row with father. Even you can't fix it. Where are you going? I don't know, only that I'm not going back inside this house. Why don't you go to Miss Susie's with Pug? That would be all right, wouldn't it? I guess so, or sure. Well, just for the night, if you don't think Miss Susie would mind.  For Elijah's house, son, we're a friend of mine. Come on, Lange. Thanks, Pug. There's no noise, Lange. The stairs are over here. Okay. I'll take your bag and... They do? Yes, ma'am. You'll find her out for your guests in a linen closet. Oh, yes, ma'am. But how did she know I was... Don't ask me. I guess Miss Susie knows everything. Merry Christmas, Lange. Yeah. Merry Christmas, Pug. As John Caulfield, William Holden, and Billy DeWolf will return with act two of Miss Susie's Legals in a moment. Of all the libraries in the United States, it is interesting that the greatest one was provided originally for the use of congressmen. Until just before the turn of the century, the library was in the Capitol building. But the continuous addition of new volumes required new and larger quarters. So in 1897, the first separate permanent home for the Library of Congress was completed. By law, all books copyrighted in the United States must be sent to the library. So by 1939, $8 million more was spent for an annex. Today, with 55 million items, including 14 million books, more than 18 million manuscripts, and huge files of maps, prints, photographs, and reels of microfilm, the Library of Congress must grow again. By the early 1970s, a new addition will provide for the old and the 17,000 new items received each week. What started decades ago as a simple reference room for Congress has grown into the largest library in the world. Here's your producer, William Kealy. We continue with Act II of Miss Susie Sleggles, starring Joan Caulfield as Gret, William Holden as Pug, and Billy DeWolf as Ben. For the boys at Miss Susie Sleggles, the months have flown by. Now, on the eve of second-year examination, the lamps burn far into the night in the House on Lottel Street, and the lamp that burns longest is in the room of Elijah Howell Jr. It's no use, fellas. I'm too far behind. The funny part is I'd really like to make the grade. Now that you've made your little speech, we'll continue. As I said before, Dr. Bowen should ask you something about diseases of the liver. Well, there's hypertrophic bilary cirrhosis. And what else? Pix disease. That's not exactly cirrhosis. What else? Well, there's, uh... What about hemochromatosis? Oh, yeah, I forgot. Well, what are the microscopic appearances of the liver in this disease? I don't remember. You do remember? Well, there's fibrosis in the... And the pigment is found in the portal spaces. Also in the perinchymal cells, you remember. Oh, stop telling me I remember because I don't. I'll go on. Get to bed. We'll get to bed after you've learned about livers. Now, get this. Microscopically, the pigment is deposited first in the sinusoidal endothelium. Then in the lining epithelium of the small bile duct. Understand? Lining epithelium of the small bile duct. It's after two o'clock. You've got to get some sleep. I've got an exam in the morning, Miss Susie. But you don't know now, my dear. You're not going to learn by morning. Lige, have you seen your father lately? No, Miss Susie. I'm sorry because your father really... I'd rather not talk about the great Dr. Howe, Miss Susie. All right, but I want you to promise me something. Howe is making you a hot milk punch. I want you to drink it and go straight to bed. Will you? But I... Yes, ma'am. Thank you. There's one thing you're not counting on that's going to help you tomorrow. What's that, Miss Susie?  Good night, Lige. News, I pass. We all made it. I, uh, second-tier exams. I remember they seemed mighty important to me at the time. Oh, God, well, what's the matter with you? Oh, nothing. I just got my appointment, fellas. That's all. What? What? Right here. Oh, very neat. That's good. Not everyone gets appointed here. One-and-twenty, the dean said. Ah, great scholar, the dean. Otto, set him up while I call my girl. Oh, uh, who's got six-bit? What, again? Yeah, we have to pay every time you call your girl. Oh, that's not quibble, fellas. It costs money to telephone long distance. Now, please, I'd like six-bit. Oh, I see. I got you a beer. Well, that's better. As soon as we're married, you fellas, can drop around on Saturday nights and drink a little beer with us. Maybe we'll even let you play with a kid.  Waiting for me faithfully all these years. Well, I'll be right back, fellas. Hey, guys, what do you say we share an eight-bench girl? Hey, look, if he's trying to talk to her on the phone. Oh, just a little background music. Come on, Bert. Get at the piano. I don't even know. Three, one, see. Hey, fellas, here he comes. Well, how'd you like the song, Ben? I didn't speak to her. Well, then where's your six-bit? I talked to her mother. She got married last week. So a guy with a job in the bank, a very good friend of mine, Pinky Busterson. Oh, gosh, Ben, I... Wednesday afternoon, three o'clock, church wedding. I guess it takes too long to become a doctor. Too long to expect a girl to wait for her. For the guy who works in a bank. Otto, give me a drink. Well, I apologize, Ben. I'd come home drunk, too, if I were you. Imagine my Pinky Busterson. I used to play mumble-de-peg with him. Feed him every time. Every single time. I'm sure you did, dear. How does his cold cloth feel? Oh, wonderful. Wonderful. Now what, Miss Susie? What? Pinky hasn't got a hair on his head. Bald as a billiard bald. And I'm gonna be the gushed-down, distressed occupier she ever saw.   Now, gentlemen, as third-year students, you'll start work in the clinic today. There, you will have your first opportunity at diagnosis. Just remember that without diagnosis, the rest of medicine is well-nourished. What is it? A message from Mr. Prentice, doctor. He's wanted immediately in the dean's office. The dean? Run along, Prentice. Come to the clinic as soon as you're through. But the nurse said that it... Why, Greta? Hello? Where's your father? Do you like my new suit? Yeah, yeah, I like it fine. Where's your father? I don't know. But he sent for me. Oh, I did. You mean to tell me... just to show me a dress or something? It's not a dress. It's a suit. Look, I'm in class. The clinic, way on the other side of town. Don't yell at me. But you ought to know better than that. I do know better. If you'd come around and see me once in a while, I wouldn't have to take such desperate measures. Oh, Greta, I've been awfully busy. I haven't seen you in two months. If you think I'm silly or boring, just say so. I don't think you're silly. I... I think... Well, you know what I think of you. But can't you see, Greta? I'm just a farmer with fancy ambitions to become a doctor and with no reason to think I'll make good at it. And it just so happens that you're Dr. Howell's donor. What difference does that make? What difference? What difference? Oh, hello, British. Excuse me, Dr. Howell. I gotta get back to the clinic. Goodbye, Greta. Every time I see that young man, he acts as if he just dropped a bank. Is he sweet on you? No, he isn't. And I'm just beginning to sympathize with Lodge. I'm very sorry, Papa, but it's a lot of trouble having you for a father. Where did Dr. Bowen go? Oh, I couldn't say it's a friend. Oh, your friend said they'd see you at lunch. Oh, oh, thanks. Hey, what's this little boy doing here? Well, I can't convince him that the clinic's closed. Really, Sonny, it's no use waiting. What's the matter, kid? Got a bellyache? It ain't me, Mr. It's my dog. Oh, what's the matter with your dog? Well, his automobiles ran over him. Well, the thing to do is to take him to a veterinary. Oh, I did, but he said he hurt so bad he wouldn't even try to fix them. So you came over here?  Look, I'll tell you what.  Now, right in back of this building is a sign that says Experimental Laboratory. I'll be there. Can you remember that Experimental Laboratory? Now, go on, run. I'll be right back, Mr. Thanks. St. Nurse, call Miss Susie's. Will you tell Lige how to get over here at the X-Lab? Oh, could Bert come, too? Bert? Oh, do you know him, huh? Sort of. Yeah, Bert, too, by all means. Oh, thanks. Oh, what if Dr. Faber needs the laboratory? Oh, he won't be needing it. He's lecturing. Hurry now, hurry. Hey, young man. I'm waiting for my dog. Oh, do you work here, too? Oh, now and then. My name is Dr. Faber. What's your... Dog? You said dog. He was run over. They're fixing him inside there. I see.  Oh, I'll be quiet. You keep waiting out here. They're deterring the spleen. Yeah. I'll have to remove it. Agreed? I think you're right. You'd have better chance if we gave him saline. Right away, too. Sponge. Ligature. Tie. Lige. Saline started. Yeah, last much longer, Bert. Forceps, Bert. Sponge. Come on, come on. What are you waiting for? Sponge. Okay. Now the scissors. The paticle seems okay. No other blood vessels need time. All right, let's get out in a hurry. Suit your lige. I said suit. Look. Dr. Faber. You've got very little time. I suggest you don't waste it on me. Yes, sir. Suit your lige. Suit your...  He'll recover. I've cleaned up everything, Dr. Faber. Well, if you're waiting for me to make excuses for using your laboratory, I haven't any. Prentice, did I understand you correctly before? You do not want to become a surgeon? No, sir. You aspire to the prescription of pills, cough medicines, and powdered frog legs, is that it? No, sir. I want to be a surgeon, all right, but... You just said that you didn't. I meant if I can. Well, what's to stop you?  My hands are sort of big, sir. Big and blunt, eh? That's a legend perpetuated by surgeons with long, thin fingers. That dog just now. I suppose you think it was smart to move so fast in an operation of that kind. No, sir. Well, it was. That saline transfusion was good, too. But you have a great deal to learn, Prentice. Watch all the operations you can. Critically, not passively. End of next year, if you still want to be a surgeon, drop round and see me. I certainly will, Dr. Faber. Thank you. Dogs in my laboratory. Dogs. Can't you bicycle any faster than this? Huh? Oh, sure, sure. Dogs gonna be fine, Gret. A successful spleenectomy in 11 minutes. That's wonderful, Pug. Watch the puddles. I remember one summer I won a cucumber picking contest. I have big hands, see? But these same hands will move the spleen in 11 minutes. Hmm? Come to think of it, Kelly has blunt fingers, and he's one of the finest surgeons in the world. Pug, it's raining. It's raining hard. Not that I'm comparing myself to Kelly, but after all... I said it's raining. And Faber isn't a type to hand out compliments right and left either. Now it's pouring. As a matter of fact, I'm told... Pug! Huh? What's the matter? You great big baboon.  But, Gret... And then you keep me out riding a bicycle in the pouring rain until my hair's all striving down, and I'll probably catch my death of cold. Well, goodbye, Mr. Prentice. I don't want to talk to you. Oh, please don't be angry, Gret. How do I know it was going to rain? I'm going home. Oh, yeah, you can't go home in this storm. Gret, watch out. The road's slippery. Gret, that puddle... Oh! Oh, gee, Gret. You're mud all over. Well... Oh, at least you're becoming a little more observing. As for getting mad at me for all that medical talk, well, you're going to have to listen to a lot of operations when you're married to a surgeon. Oh, I am. What did you say?   You said I'd wriggle some, but it wouldn't do any good. I never said anything of the kind. Hey, there's a mud on your face. I could have hacked your...  Like this? Yeah. That's better. Forehead, too. Got all the mud off? Uh-huh. Pug, I'm still holding my face up. Oh. Oh, yeah. Here, blow. Party? Oh, you. Now what? Please, Mr. Pratt, give me a kiss. Oh. Oh, sure, Gret. I certainly will. Act three of Miss Susie Sleggle, starring Joan Caulfield, William Holden, and Billy DeWolf in a moment. We return you now to William Keely. Act three of Miss Susie Sleggle, starring Joan Caulfield, William Holden, and Billy DeWolf in a moment. We return you now to William Keely. Act three of Miss Susie Sleggle, starring Joan Caulfield as Gret, William Holden as Pug, and Billy DeWolf as Ben. Act three of Miss Susie Sleggle, starring Joan Caulfield as Gret, William Holden as Pug, and Billy DeWolf as Ben. The first day of Easter vacation at the medical school. That means open house at Miss Susie Sleggle. Not only for the students, but for all Miss Susie's boys. Oh, Lodge. Oh, hello, Gene Winkett. Isn't your father coming? I really don't know, sir. Yes. Hi, sir. Where are you? I'm dry as a chip. Coming, sir. Coming. You take it easy now. You're getting too old to drink so fast. Where is Miss Susie, either? She's upstairs, Mr. Byrd. Byrd? Byrd Riggs. Well, he wasn't feeling too good. She wanted to visit with him a while. Hey, don't move, byrd. Have you babies think you work hard while you try being resident physician? Thanks, Izer. Oh, how are your spots? Never mind my spots, Mr. Bin. Just cause you're wearing that little white suit. Izer, you'll join us, won't you? Thank you, sir. Got myself a cup already. Still the same cup? Yes, sir. The one you give me in 18, 9 or 4. And still taking it straight, I notice. Three fingers even, sir. How can you tell, Izer? Several cup isn't transparent. I can't see, Mr. Byrd. But our judge is fine. And sometimes you miss judges. Yes, sir. But when I miss judges, nobody dies from it. Well, boys, happy Easter. Happy Easter. And a solemn tribute to the little lady on the third floor. Are you ready? Yes, sir. Yes, Izer? There's somebody we've seen before on this live. OK. I'll go right in. Hello, Lyce. Dad.  Lyce, we miss you. Oh, I'm glad to see you, Dad. Very glad. Except I'm not coming home to live in case you come here. Why not? Well, at home, I'm your son. Here, I'm on my own. Lyce, I noticed you didn't apply for an internship. I'm planning to go into pathology, Dad. Pathology? Oh, now, Lyce and Lyce, I always figured you... I know you did. But I like pathology. Sorry, boy. Of course.  I should have realized that years ago. We can be friends again, can't we? Dad, of course. You know, we should have sent you to Miss Susie's in the first place. Well, let's join the other. Good afternoon. Did the singing bring you down, Miss Susie? I'm glad you're here, Doctor Howe. I'm afraid, Bert, I'm afraid he's quite ill. Doctor, could you go up and see him? Of course, Miss Susie, by the way. Oh, Ben, you'd better come with me. I'm sorry to tell you, boys, but it has the theory. The rest of you will have to have protective injections at once. You've had four other cases at the hospital. Oh, Ben, he'll need a nurse to make arrangements. Yes, sir. There's no need of that. We'll look after him. The theory is a dangerous disease, Miss Susie. Elijah, how do you think I've lived near doctors for 23 years without learning which diseases are dangerous? Uh, no, ma'am. All right, then. You hide there in the boys and take care of him.  Bert is very sick. He's begun to affect his heart. Oh, Miss Susie, I think you'd better notify his family. Bert has no family here. His parents are missionaries in China. There's no one? Oh, there's a girl, Doctor Howe. Bert seems very fond of her, sir. A nurse at the hospital. Man's summer. Better let her know then. Now listen carefully. I'll tell you exactly what I want done. Thanks for calling me, Mr. Prenas. He's sleeping now. We're doing everything we can, ma'am. I know. I'll go back to his room. No, no, it's 10 o'clock, Elijah. I'll take over. Call me if you need me, Pog. Sure. He's awfully sick. This is the worst time. You'll be with him all night? Till four. He thinks a lot of you take good care of him. I will. I'll telephone as soon as I get off duty. Now, don't worry, ma'am. He's going to be all right. Sure. But you, Pog... Thought you were asleep. My pulse is lower. Do you know what that means? But you're not supposed to be talking. You saw that dip theory hard in the lab. Nobody could live with a heart like that. You've got to be quiet. Remember what the book says, Pog? A very slow pulse when feeble heart sounds make a fatal termination certain. The book's right. Pog, pervert, if you don't rest up. Have you ever been afraid to die, Pog? It's not that I'm afraid. But not now. Now when I've just begun to live. You're not going to die, Pog. Can you help me? Can't you do something, Pog? Pog, Pog, where are you going? Don't... Don't leave me, Pog. Don't leave me. That you, Pog, anything wrong? I said, is anything wrong? Lies, I... I... It's all right, Pog. Lies, leave me Lies. How is he? How is... You don't know? No, what? You've died just before noon. Pog, you're wanted in the dean's office. So you told him? Nobody told him anything. He's called in all fourth-year students. There have been eight more cases of diphtheria right here in the hospital staff. You follow us up to help out in the outpatient department. And a lot of help, I'll be. If I were you, I'd get over there right away. Except those of you whom I've assigned to outside maternity duty may have to work without an intern. Well, you wanted to be doctors. Now get to work. What did you get, Pog? Obstetrics. You're lucky, Steve. Well, what's the matter? Don't you like it? Nothing's the matter. Well, that's what you want, isn't it? Is it? Will you be seeing Dr. Rice? Naturally. Well, tell him he'll have to forget about me. Tell him to get someone else. Pog! All right, then don't. I'll tell him myself. Pog, darling, what's wrong? Nothing's wrong. You shouldn't have called me up, Greta. I... I don't know why I said I'd come over. But I want so very much to help, to understand. Please tell me. I don't want to talk about it. Please, Greta, leave me alone. Do you only want me to be around when you're proud of yourself? To be glad with you when things are going fine? Is that what you think love is, Pog? Anybody could do that. I wanted to be your wife. I'm sorry, Greta. Goodbye. Pog! If you want, Miss Susie. That king? That's right. I'm leaving. The hospital just telephoned for you. I told Hyzer to tell him I'm not going. But they called again. They need you. Don't you know a doctor can't accept or refuse calls according to the way he feels? I'm not a doctor. Whatever it takes, I haven't got. They ought to be glad I'm leaving. You're thinking of Bert? Certainly I'm thinking of Bert. No one could have helped him. Not even Dr. Howell. You know that. Yes, I know that. But the one he wanted the most wouldn't have run out and left him. I did. You couldn't have helped Bert. But you can help some poor woman who's waiting for a doctor. I'm not going. I'm afraid you'll have to. I told them you'd be there. You did what? I told them you were on your way. After tonight you can leave if you want to. But not now. Supposing I can't help that woman, Miss Susie. Supposing it's the same as it was with Bert. But it won't be the same and you will be able to help her. They sent a nurse on her head. Here's the address. Now get over there. But Miss Susie... And you'd better hurry, St. George. I said a nurse would be here. I didn't know it was you. I heard you'd left town. I came back. Bert wouldn't have wanted me to quit. Not at a time like this. Did you bring the clinical record? Yes. The woman's 34. This is a third child. No complications. The family's inside. If you're ready, I'll clear them all out. Go ahead. I'm as ready as I'll ever be. Everything's all right, isn't it? Isn't it? Oh sure, Mrs. Johnson. Everything's going to be fine. Ma'am, come here. Yes. You're sure those clinical records showed no complications? I know. Well, something's wrong somewhere. Child's heartbeat is very slow. Circulation's blocked. Well, I'm all ready if you have to intervene. I wouldn't help. Ain't nothing going to happen to the baby, doctor. Doctor, tell me. Please, Mrs. Johnson, we'll do everything we can.  I'll phone the hospital for an intern. How do you know they got one to spare? Besides, there's none at any time. It's prolapse cord. Operate? Do I have any choice? No. Get the father in here. Show him how to give ether. Yes, doctor. And don't frighten him. Mrs. Johnson? Now don't worry, Mrs. Johnson. Everything's going to be all right. You're going to be fine. And so will your baby. You're sure there ain't nothing wrong with the baby? You're sure, doctor? Oh, the baby's fine. So is your wife in case you're interested. Oh, sure. Sure I am, doctor. Why do they always worry about the baby first? I don't know, but they do. You stay with her, Mr. Johnson. She'll be waking up soon, and she'll want to see you. You're going to be a fine doctor. You're going to be a fine nurse. I'll need to be. I'm going away, Pug. Home? Well, in a funny kind of way, I'm going home. I'm going to China. China? I want to live where Bert and I would have lived, to do the things we planned to do. They've accepted me at a mission hospital. You... You're not afraid. No, Pug. I'm not afraid. That's right, man. I'm not either. Not anymore. There you are, Miss Susie. Our class picture. Best-looking group of doctors you ever had, Miss Susie. Camp's waiting, boys. Don't want to miss your train. I... I can't believe it. Your doctor is now. You're leaving me. Now, now, Miss Susie. It's all right, gentlemen. She's entitled to a good cry once a year. I just want to say I'd loved having you here, each one of you. Thank you for never having disappointed me. Thank you for... for liking me. Come back and visit us as often as you can. High as a me and little Elise. Asylas, give my love to your mother. I will, Miss Susie, and... thank you for everything. Clayton. Good luck, Clayton. Thanks, Miss Susie. Be sure you write me as soon as you get to London, Irving. I... I will, Miss Susie. We'll wait for you in the cab, Pug. I don't keep it waiting. St. George. Goodbye, Miss Susie. Oh, in case you see Margaretta Howe, tell her that if she doesn't mind, I'd like to see her when I get back. I'll tell her. Oh, I'm glad you're going to be with Dr. Faber. I couldn't bear to lose all of you at once. You won't lose me, Miss Susie. Anything I ever may amount to, you will have pardon. And that's true of every doctor that ever walked out of this house. Thank you. I'll miss you, Mr. Pug. Goodbye, Hyzer. Can I come, fellas? So long, Pug. Hey, hey, wait a minute. See you at the station. Hey, wait for me. Hey! Can I give you a lift, Doctor? Grant. I just thought I'd drive you to the station. Oh, Grant, you're the last person in the world I expected to see. We... we better hurry. And the one I wanted to see the most. I... I hope you're not going to miss that train. Don't blame me if you haven't much use for me. We better get going. I wouldn't blame you at all. Oh, Pug, I... Grant! Have I any chance at all?   Go, Miss Susie. Still think I did wrong, phoning Miss Grant? No, I guess you did all right. I guess you did fine. Who's that down the street, Hyzer? Looks like a new student. Well, take good care of him. Excuse me, sir. This Miss Susie Slago... It sure is. Why, uh... I'm looking for a place to live near the medical school. I'll take your bag, sir. Step right in. I'm not glad to have you with us. Doctor? Back with our curtain calls in just a minute. Here's Mr. Keely at the microphone. We're grateful to Miss Susie Slago for bringing together the night's delightful stars. Joan Caulfield, William Holden, and Billy DeWolk. Incidentally, Billy, how do you like radio? It was very nice to appear in Susie Slago, sir. Oh, it's so embarrassing. I just paid $17.50 to have those fixed. How was that again, Billy? I said I wouldn't have missed participating in tonight's show. Well, I think we got the idea, but what happened to your voice all of a sudden? Well, last week I listened to Lauren Bacall blow her whistle on the air, so I thought I'd whistle back at her. Oh. You're giving her DeWolk call, huh? You know, you ought to get a job as an announcer, Billy. Instead of singing commercials, we could have whistling commercials. Do you think I'd be useful in selling soap? Well, at least you'd be whistling while you work. Good night. Good night. Good night and many thanks for Susie Slago. This is William Keely saying good night to you from Hollywood. American Forces Radio and Television Service.