Hollywood, California, Monday, April 12th. The Lux Radio Theatre presents Walter Houston, Nan Sunderland and Faye Bainter in Dodsworth. Lux presents Hollywood. Our stars, Walter Houston, Nan Sunderland, Faye Bainter, Gregory Gay and John Caradine. Our guests, Sydney Howard, distinguished playwright, Pulitzer Prize winner and adapter of Dodsworth, and Walter Plunkett, one of Hollywood's best known costume designers. Our producer, Cecil B. DeMille. Our conductor, Louis Silvers. From our stage on Hollywood Boulevard, our stars, our guests and our staff join me in a coast-to-coast greeting. As once again, it's my privilege to say, welcome everyone to the Lux Radio Theatre. This program is brought to you by the makers of Lux Flakes, those tissue-thin diamonds of soap that women everywhere use for their nice things. You undoubtedly have a box of Lux in the house right now, like other Lux Radio Theatre listeners. But have you a package out in the kitchen, near the sink, where you do the dishes? Lux has no harmful alkali, as harsh kitchen soaps often have, to poach and roughen the hands. Just a spoonful does the trick, and it leaves hands smooth and white, so they are as pretty as setting for your rings as the day you were married. So tomorrow and every day after, reach for the familiar blue box of Lux Flakes as you start the dishes. And now, ladies and gentlemen, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. Disregarding traditions has been the secret of many a man's success. Hannibal astounded and crushed his enemies by converting elephants from draft animals to war machines. Louis Pasteur, by taking the virus of rabies and turning it into a cure for rabies, Benjamin Franklin faced the lightning, terror of all mankind before him, and with a key and a kite introduced us to the wonders of electricity. There are those who dare in words as well as deeds, and tonight's play provides the perfect example. The unwritten law of the theatre says that best-selling novels do not always make successful plays. Sidney Howard wrote one of the exceptions that proves the rule when he adapted Sinclair Lewis' novel, Doddsworth, for the stage. A dramatic triumph for three years, it was sold to pictures for the record-breaking sum of $160,000. Walter Houston broke the theatrical legend that actors never stopped acting when he stopped acting to become a city engineer. He brought power and light to St. Louis until he was sure that he could bring power and light to the theatre, which he'd left as an unknown. He returned to become a great star. As we greet Walter tonight, we also welcome the two other stars who shared his Broadway ovations, his wife, Nan Sunderland, resuming her role of Edith Cortwright and Ms. Faye Bainter, who journeyed from New York to be with us as Fran. From the screen version, we have Gregory Gay as Kurt, while John Caradine, a discovery of mine, will be heard as Arnold Israel. Curtentime, Louis Silver's raised baton, the all-familiar words the Lux Radio Theatre presents, and tonight we give you Doddsworth with Walter Houston, Nan Sunderland, Faye Bainter, Gregory Gay, and John Caradine. Our scene is the comfortably furnished library of the Doddsworth Home in Zenith. It's late afternoon, and Fran Doddsworth, smartly dressed for travelling, sits beside the fire, checking over a list of things to be done before her departure. Mary, the maid, listens attentively. Let me see now, Mary. Wasn't there something else? Oh yes, the books on the table. My husband's taking them along. And he's big leather suitcase. Yes, Mrs. Doddsworth. And send all the old magazines to the Salvation Army. Yes, Mrs. Doddsworth. And when my daughter and Mr. McKee get back from their honeymoon, I put all the wedding presents that came after they left in the closet in Mrs. Emily's old room. I'll tell her, ma'am. Oh, Sam, how are you, dear? That's all, Mary. Yes, Mrs. Doddsworth. Well, is everything settled? It's all over. The Revelations Motor Company, Samuel Doddsworth, president and founder, became the property of the United Motors a little over an hour ago. How do you feel? Well, how would any man feel if just sold 25 years of his life? I suppose you feel sort of lost. Well, I knew what I was doing when I sold, Fran, and I know what I'm after from now on. But you mustn't feel lost, though. I mean, that feeling will wear off. Life isn't going to be empty from now on. It's going to be fuller than ever and richer for both of us, Sam. Think, darling, you're free.  Yes, I suppose so. Well, don't look so mournful about it, darling. It's all so exciting to me. But I'm just as keen on this trip as you are, Fran. I'm raring to go. I've always wanted to see London and Paris. But I want much more than a trip out of this, Sam. I want a new life all over from the very beginning.  What's to prevent? Nothing if we start out on a free foot. Well, I'd almost be willing to sell this house so we'd have nothing to bind us here. My good Lord, Fran, it's our home. What I want is to gather some new cells now. Me? Yes, you. Why, if you weren't tied to this deadly, middle-class, Western town... Now, when our friend, now, don't start knocking Zena. I can be free enough without going back on my hometown. Well, I'm thinking of my freedom, too. In Europe, a woman of my age is just getting to where men take a serious interest in her. And I just won't be put on the shelf by my daughter when I can still dance better and longer than she can. I've got brains. God, I still got looks, and no one takes me for over 35 or 30 even. I'm begging you for life, Sam. No, I'm not. I'm demanding it. I see how you feel. All right, I'll enjoy life now if it kills me, and it probably will. We've earned this trip, Sam. It's coming to both of us. You've got plenty to show for all your work. We brought up Emily and Zena married, and I've done my part, Sam. It hasn't always been easy. Sam, I'll love you so much more when you're not just an old horse in a treadmill.  Hello, Mady. Hello, Tubby. Dear. Hollywood Francaise, Bringsy Dights, got a spaghetti. Oh, stop being funny, Tubby. No, I've let him alone, Mady. He's just glad to see us go. Sure. How are you, Fran? All right. Let me take your things, Mady. Thanks. We weren't satisfied just to come to the station with everyone else, Sam. We are going to New York with you. What? That's right. Me and the wife are going to see you off in New York. That's great. Isn't that great, Fran? Yes. I'll run up and close the day. Oh, let me come along, Fran. I won't be in your way. Well, Tubby, old son of a gun, how about a cocktail? No, thanks. What's wrong with you? I think I'll stay sober until after I've given you a hunk of my mind. What have I done? You know darn well what you've done.  We're meant to keep on working till we die and harness. Tubby, I'm out to make a new life for myself. I'm out to learn how to enjoy my leisure. Now, I've retired. I've been doing things that people expected of me always.  If you think I can see my oldest and closest friend turning on ex-patriot power snake because Zenith isn't good enough for his wife. It's not easy, Tubby. Ever since college, I've guessed you looked up to you. You're pretty near everything I am not nor to be, but you'll blame fool when it comes to your wife. You don't know what you're talking about. Time to get Sam to buy back the company? No, I wasn't.  He knows it as well as I do. Oh, I don't. I don't know anything of the kind. All I know is I'm out to see some of the world I haven't seen and get a perspective on the USA. I might get to know myself at the same time. I might even get to know my wife. Fran, did I remember to tell you today that I adore you? I've been looking for you, Fran. Have you? Wasn't the captain's dinner delightful? It done up quite well, I thought. Where's your husband? I left him out on deck to cool off. The fresh air won't hurt him. He thinks he sees a lighthouse or something. Sorry, it's over, Fran. Sorry, what's over? The voyage. No, not that I've been bored. You've taken excellent care of that major locket. See, it hadn't been for meeting you Britishers, though. Sam says he can't wait to set foot on British soil. Well, neither can I. Oh, but when I do set foot... You'll try your wings? That's very pretty, Major. I hope I don't fall. I've been laying out things for us to do in London. For us to do? Why not? Fran! Oh, was it Sammy Dill? Yeah, Bishop's Light, they call it. Say, if I had a motorboat, I could be a shore in half an hour. A shore in England. I can't believe we've done it. If you keep on across the ocean in a straight line, Sammy Darling, you're bound to strike land sooner or later. I know, but England... That's the most natural part of a Dudsworth. If it were Africa now, where England ought to be. My first sight of England isn't funny to me.  I'd rather dance. Coming, Major Lockett. All right, you two go along. I'll join you after I've calmed down. Oh, hello, Mrs. Courtwright. Bishop's Light. Of course, I've never been across before. I got excited. There's nothing like a first trip to Europe. Yes, especially when you're old enough to know what you're after. What are you after? I'm enjoying Malaysia. You see, I've been doing things myself for a long time now. I thought I'd give things a chance to do something to me. The education of an American. Yes, you might call it that. How long have you given yourself? Six months. Oh, I'll be homesick for then. Yes, I was homesick the first year I came over. Came over? Where from? Michigan. Oh, are you an American, Mrs. Courtwright? Well, I don't know what I am. I used to be a British subject by marriage. I don't know that one can be a British subject by divorce. I expect I'm just a woman who lives in Italy. Italy? Why? It's cheap. Say, what's it like? That depends on what one's after as you'd say.  Much worse. But for a steady thing, give me America. For Americans, that is. Your wife wouldn't say that.  I hope she does. Drifting isn't nearly as pleasant as it looks. Say, if you don't like it, why don't you give it up? One drifts for lack of reason to do anything else. Well, what do you want? What do you suppose any lone woman wants? I guess I've been talking too much again. I'm sorry, Mrs. Gordon, right? Look around, your friend. Piccadilly, London. Sam, please. You know, I can't get over it. Smell it. Sooty. That's the cold smoke. Listen to it, friend. New York may be noisier, but this is deeper. Sam, don't act like a tourist. Come on. All right. Come in, Major Lockett. Thanks. It was a grand evening, wasn't it? It was for me. Well, Sam. Sam, dear, I guess he's not home yet. Sit down, Clyde. It's rather late. Oh, please, Clyde.  Won't be home for hours yet. You can keep me company. I say he isn't likely to come in roaring, is he, and shoot me when he finds me here. Sam. Sam has all the old-fashioned virtues except jealousy. Call it a virtue, do you? Well, when a wife who isn't exactly plain seems to be attractive to other men and doesn't mind when they show her that they are attractive. Oh, quite. Yes, I see what you mean. Clyde, you're not being as amusing as usual tonight. I don't feel amusing. Be informing, then. I'd rather hold your hand. You don't mind? You do it so beautifully. I rather like it. Fran, do me a favor. What? Don't go trekking over to the continent. You belong here, Fran. I need you here. You don't mean that, and I don't want you to mean it. Fran, darling. Clyde, please. Please. There. Does that show you that I mean it? That was a very silly thing to do, Clyde. And I didn't like it. I think you'd better go.  Did you think I wouldn't present it? Sorry. I thought I was doing what is expected of me. I thought civilized people knew where an innocent flirtation stops. Will you go, please? Of course. Fran, you're the most charming and childish misconception of yourself.  You're nothing of the sort. And I'm afraid you never will be. Oh, hello. Oh, hello there, Doddard. You folks just get in? Yes. How was the show? All right. If you like entertainment that ends badly. Good night. Good night. You know, he's not so bad. He's fresh, but he's not so bad. Clyde Downey, what's the matter? What is it? I've never been so furious in my life. What, Locker? Don't you mention that Russell's name? What did he do? He insulted me. How far did he go? I deported him in his place. He said things to me. He said, see, I can't bear it. I supposed up to me to go out and shoot him. Don't joke, sir.  You know, you and I aren't up to this sort of thing. It kind of makes us look like the Hicks we are. Well, it doesn't. It's your own fault for leading him on. So I'm to blame. He must have had some excuse for making a pass.  I've never said anything to embarrass you. I've always been loyal to you. You'll be sorry. You'll be sorry. Fran, I'm tired. I'm tired, too. All right, then. We're both tired. What is it now? We never used to scrap so much at home. I guess we haven't got enough else to do over here. Don't say that. It's England. England's such a strain. I want to go over to France tomorrow, Sam. I don't. I like it here. I don't. Now, I'm just beginning to get on to things in London. I've got a date to look at some aeroplane factories tomorrow. I don't care if you have. Well, France will be so foreign. I want it to be. I want to start all over.  What, that you kicked him out? You've got to take me away, Sam. I don't trust myself. I'm afraid of myself. Afraid, sweetheart? Yes, I am. I'm just a woolly American like you are. And if you ever catch me trying to be anything else, will you beat me? Well, will I... will I have to beat you very long at a time? Sam Sunderland and Faye Benker will continue in Dodge West shortly. But now we take you into a typical luxe home on the west coast. 16-year-old Rosalie is setting the table in the dining room, and young brother Bobby comes in. When he sees his sister, things begin to happen. Let's listen. Mother, please make Bobby stop. What's the matter now? Oh, he's being horrid. Just listen. He got guns in and the toes. Awful to look upon my pretty Irish rose. Now, Rose, you mustn't blame your brother for criticizing your stockings when you have an enormous run like that. But, Mommy, it's bad enough having runs without a boy making fun of them. Who's to blame for your having runs, my pet? Haven't I told you again and again that it pays to stick to luxe? Because luxe cuts down on runs? Of course, Mother's right, as mothers usually are. Luxe flakes do cut down on runs because luxe is especially made to preserve the elasticity that silk has when new. Then the threads can stretch under strain and spring back without breaking. Luxe has none of the harmful alkali found in many ordinary soaps, and with luxe you avoid injurious cake soap rubbing. If you are not already using luxe flakes for your stockings, make a note to buy some tomorrow. Our producer, Mr. DeMille, continues. We continue with Dudsworth, starring Walter Houston, Nan Sunderland and Faye Bainter. One month has passed and the Dudsworths are in Paris. We're in their hotel suite where they've been entertaining some of their newfound friends. On a balcony high above the city, we find Fran Dudsworth with Arnold Israel, a suavely polished citizen of the world. And what can I do to make myself a part of your Paris, Mrs. Dudsworth? Come to dine again, Arnold. No, you and your husband must come to me now. Tuesday at eight. Kev Altair. Through the carousel and straight over the river. Oh, what a charming address. Where do you call your home, Arnold? I was born in Krakow. I grew up here. I keep my residence in New York, a flat in London, and a villa at Antibes. What an ideal existence. I believe in freedom and variety. So do I. Well, that should cement our friendship. Madame de Penable tells me that you and she are taking a villa on Lake Geneva for the summer. Well, it hasn't been settled. Then you will not return to America with your husband in June? That hasn't been settled either. I expect to be in Geneva in August. Perhaps I... Oh, you must come to see us. I mean, if we are there. I shall be delighted. Rarely delighted. Oh, yes, Mrs. Cortwright. Everyone seems to be going on, say good night. And so must I. It's been a charming evening, Mrs. Doddsworth. I've been happy to celebrate your birthday with you. Oh, I hadn't realized it was your birthday, Mrs. Doddsworth. I wish I hadn't. No woman really enjoys getting to be 35. When you're 40, as I am, you look back on 35 as the most agreeable age. I hope I look as young as you do, Mrs. Cortwright, when I'm 40. You're almost sure, too, my dear. Well, I must get my coat. My dear, don't. What? You're so charming. Be sure you're right. I don't know what you're talking about. Shall we go in? Well, sir, then I went in where Napoleon was crowned and I sat down. And there I was, Napoleon and Sam Doddsworth of Zenith together. Mr. Doddsworth has been telling us his impression of Paris. Oh, yes? The manufacturer of automobiles comes into contact with Gothic permanence and finds that... Ah, right. That's what I like about sightseeing.  Of course, Fran says it isn't a thing to do, but I like it. What do you say, Kurt? Paris? Oh, I detest it. For me, it's a motion picture made by lunatics. I have listened while an American automobile magnet, an Austrian travel legend, and an international banker had explained Paris to me. Apparently, yes. No, I go on. Good night, my dear, Fran. Good night, Madame de Bonovo. Good night, courtier. Thanks for my sweet flowers. Call me up tomorrow. Maybe we can dance somewhere for tea. Good night. Good night, Kurt. Good night, Arnold. Good night, Mr. Doddsworth. Oh, you going to Mrs. Courtwright? I must. I stole a bit of your letter paper to write my Italian address on. Here it is. Come and see me. Say, we'd love to, Mrs. Courtwright. Please do. Good night. Good night. You like that woman, don't you? Well, you thought she was the most distinguished looking woman on the boat. She seems to frump in Paris. Though, you know, I'm always glad to see any of your friends, and even the not particularly amusing ones. I think I'll go to bed. Coming? Yeah, say, Fran. Yes? Haven't we had about enough of Paris? My dear, Sam. Unfasten this shoulder strap. Will you move here? No, I mean, isn't about time we thought about going back home. Home? Yeah, I don't see much percentage just sitting here on my rear end. Got some business I want to attend to. I'd like to see how Emily's getting along with her honeymoon, and I'd like to be in New Haven for my class reunion. Sam. Yeah?  What, without you? Yeah. Get yourself a new lease on life, then come back and join me. Why don't you? Oh, no. I wouldn't want to go home without you, Fran. Well, I can see you aren't enjoying Paris. I'm only thinking of your pleasure. If you thought of mine, you wouldn't ask me to leave here when we're meeting such nice people. I don't think they're so nice. Well, we needn't go into that again. Well, I don't. I don't see what you see in. Now, this Arnold Israel may be all he says he is internationally and financially, but he certainly is no Barney Baruch. Sam. Mrs. Panabo, well, she may be all right, but I hate to think who pays the bill when that young Austrian curt takes you out. Arnold Israel happens to be one of the most distinguished living financiers. Yeah. Renee. And it is Madame de Panabo. Not Mrs. is a true woman of the great world here. Court may be poor, but he holds one of the oldest titles in Austria, and they all belong to the most amusing and exclusive crowd in Paris. Fran, do you think the real thing in Paris would hang out with a couple of hicks like us? Hicks? All right. Now, what else are we? I'm just an ordinary American businessman, and I married the daughter of a zenith brewer who seems to be flying pretty high these days. I suppose you know what you mean by that. Well, why won't you sit at a sidewalk café with me? Because smart people don't. I'm not smart. Now, let's have the one about the great motor magnet and all he's done for the automobile industry. You may be the most impressive man in zenith, but you're not in zenith now, you're in Paris now, and I'm sick and tired of apologizing to myself. Have you been apologizing to this crowd for me? Hello? Yes? Yeah, I'm sorry, all right. Well, we've been making so much noise, someone's complained. Oh, how humiliating. Yes, isn't it? All right, go ahead. Pipe down, but go ahead. I'm waiting. You are hopeless. If you have the mistiest notion of civilization here... Well, maybe I don't think so much of it, though. Maybe clean hospitals, concrete highways, and no soldiers along the Canadian border come near my idea of civilization. There are 20 million automobiles in America. I've contributed something to every one of them from my own personal civilization, and if that isn't more, the knowing how to order dinner as your friend the madam... Don't call the madam. All right, all right, all right. Let's not go into that again. I'm going to get out of this town and back to doing something and take you along. I'm not going, Sam. Oh, yes, you are. I think we need a vacation from each other. Well, I don't feel that way about it. I've... taken a villa with... with an aide of a novel in Switzerland. Well, I think you might have told me. I've got my own money. Fran. What? Fran, my darling, you're... you're not drifting away from me. I hope not. Well, you and I, Fran, after 20 years, all right, I'll give it up. I won't go home. You've got to go. I can't stand being torn this way any longer. I'm suffocating. I'm sorry for everything mean I've said, but if we're going on together, I've got to be left alone this summer.  If it's going to make you any happier, but remember that I did make a real home for you and I'll do it again. But you've got to let me have my fling now because you're simply rushing at old age, Sam. And I'm not ready for that yet. What are you looking at? Shipping news. I just thought I'd see the first boat I could catch. Look at this. Sam Doddsworth's home. Sam Doddsworth's home. Said he had a class reunion. Sam Doddsworth and she's not with him. Well, why should I say anything I didn't think? You didn't think what would make me think? Well, maybe I don't care what you think. Well, you'd better care what I think. Hello, Dad. Hello, Tubby. Matey's here. We've been waiting for you. Sam. Tubby. Was it fun in you, Haven? Did you have a good time? Had a wonderful time. Oh, what is this? A heat wave or just a hangover? It's Sam. I'm going home. I'd go ahead. Sit down, Tubby. You should have been a cable from your mother. Well, I can telephone. No, no, don't bother. If a cable had come that has sent it out, wouldn't they? Well, don't be cross, Father. I'm not being cross. In the old days, I wouldn't have to ask if there was a cable. Then lay it out on my table for me. The way things are run around this house, I can't find anything of mine. Well, I know things aren't the way they used to be, but please don't be difficult. Well, why shouldn't I be difficult when a man's made to feel more homeless than his own house than he did in Paris? I'm sorry. You feel that way? It's true. Only I'm not being difficult. Where's my mail? There isn't any. No mail? My mail should be laid out on that table. But, Father, if it hasn't been it... Your mother always had my mail laid out on that table. No cable, no mail. Is that the trouble, Sam? What? No cable and no mail. No. Have a cigar, Tubby? Anything, Sam? Anything? All right, where are the cigars? Why, Harry smokes cigarettes. I'll order some. No, don't bother.  No mail, no cigars, no cable. Father, I'm sorry. Things aren't the way they used to be. But Harry and I are living in this house now. And I wish you'd stop speaking of mother as though she were dead. I'm not speaking of your mother as though she...  Well, her mother's coming home. She's dead. She's coming any time now. I wrote her over a week ago. I told her to come back. I'm just waiting for her to cable. Tell me what the boat is. Oh, Mr. Doggworth. Yeah, what's the matter with you? Here's a cable for you. It came this afternoon. Thank heaven.  What's the matter, Sam? Is your mother coming? No, it's nothing. This is not from your mother. Go outside, Tubby. Huh? Oh, sure. Come on, Tubby. Yeah. So long, you old horsey. Sam, what is it? She's... She's not coming, maybe. I guessed as much. What does she say? One few more months, Europe. Hope you're having good time, home. Not one word about me going over. No, she's thoughtless. No, she's not, maybe. She's scared. Scared? Of what? Of growing old. Sam, those people she's with, the one she mentioned in her last letter, do you know them? Yeah, sure. Like them? They're all right. Who's, uh, Arnold Israel? Israel. Well, he's one of those custom-built internationals you see in the road of graveyard section every Sunday. Oh. Well, give us a kiss now. Hey, will you lay off those European liberties with my wife? Oh, come on, Tubby. Hello. Uh, telegraph office. Hello, uh, Samuel Doddsworth speaking. Take a cable. Going to Mrs. Doddsworth. Same address as my last. Ready? Sailing Aquitania Wednesday. Meet me Ritz, Paris. Love. Sign Sam. And take another. Going to A.B. Herd Agency, London. Sailing Aquitania Wednesday. Stop. Using utmost discretion, ascertain day-to-day address of Arnold Israel, Paris. Keep me informed, wireless. Sign Doddsworth. Send them both straight. Yeah, repeat them, will you? Well, friend, this looks natural. This week was as cool as anything in Paris, so I took it again. You must be tired from your trip. How long is it from, uh, Lake Geneva? Oh, I've come much further than that. I've come all the way from the Ritz. The Ritz, huh? Yes, I was alone, of course. What are you looking at, Sam? Did I remember to write you that I adore you? I know. I don't believe that you did. Do you? Why do you keep looking at your watch? I'm expecting a caller. At this time of night, who? At Schirrberg, I sent a man a telegram to meet me here. He's late. I'll give him ten minutes more. Oh, very mysterious. I've never seen you like this before. No, I've never seen you like this, either, friend. Well, if we have to stay in this stifling room, how's Emily? Everybody's very happy. She's fine. She's going to, uh... an island, say, winemann. I'll wait in the bedroom. No, no, wait. I'd rather you stay. Steady, darling. Sit down. Come in. Arnold. Good evening. I tried to reach you on the telephone, but you know I was coming. Yes, and you came from Biritz, too, didn't you? I wanted to see you two face-to-face. I know the whole story. I never heard anything so outrageous in my life. Suppose Arnold was in Switzerland. What if he was in Biritz?  You don't know how insulting I'm going to be if you don't stop this play-acting. Play-acting? I know where you've been, and I know who you've been with. Now, what I want to know is, are you coming home with me or staying here in Europe? Sam. You wouldn't put matters so bluntly if you understood those words. I understand, I understand. I'm sure that you and Kurt and Madame de Ponable have given her things she wanted and never got from me. But I'm interested in what I need and what. And that happens to be peace of mind. What if you bring yourself to see matters reasonably? I crossed the Atlantic to be reasonable. Fran, I've loved you and been married to you for 20 years. I'd like to hang on to you if I can. You want to marry each other? My dear man. No, we don't. You want to divorce me? I can tell you if she doesn't. Why should I want to divorce you? You're my husband. Couldn't very well divorce me if I weren't. You can laugh. So I can do worse than that. That much having been cleared up, what have you to suggest? Fran and I try and forget what's happened. Start out on a long hike tomorrow, the Tyrell, Italy, any place. Then sail home in October. No, Sam, no. No, not just yet.  I told you where I stand. You're trying to take my youth away from me and tie me down to being an old man's wife. You're trying to take my happiness away. The only romantic happiness I've ever known. Fran, please, that was unnecessary. Listen, I didn't call you in here to defend me.    I knew we'd all end by looking like fools. I'll go now if you will excuse me. Sure, I'll excuse you. I hope you achieve your peace of mind. Good night. Thank you. Good night. Now I'm going to see this thing through if I can. I'm ready to wipe the slate clean if you are. Well, when do we start? Where do we go? Wherever you like. Till we go home in October. Zena, in October. Well, you'll be wanting to go home. Emily's having a baby in October. Emily a baby? She didn't tell me? No, she left that to me. Well, how is she? Is she well? She's fine. I'm going to send her a cable. Think of Emily. Well, you see, we've got to behave ourselves because we'll be a couple of old grandparents in October. Grandparents. Station identification. This is the Columbia Broadcasting System. KMX, the Columbia Station, will thank you. The last chapter in our story of Dodgworth starring Walter Houston, Nan Sunderland, and Faye Bainter is revealed shortly. For his many contributions to the American stage, theater lovers owe a great debt of gratitude to the playwright from whom we now hear, Sidney Howard. Besides Dodgworth, he has given us the Silver Cord, the late Christopher Bean, Yellow Jack, and the Pulitzer Prize winner. They knew what they wanted. His latest play, The Ghost of Yankee Doodle, will open the fall season of the New York Theatre Guild. Mr. Howard is in Hollywood, writing the screen version of Gone with the Wind, for David O. Selznick. He honors us with his first appearance before a microphone. Ladies and gentlemen, Mr. Sidney Howard. Thank you, Mr. DeMille. As the man responsible for tonight's play, Mr. Howard, what made you select Dodgworth to dramatize? Well, I wanted to do a job with Sinclair Lewis. Any job. You see, I'd just done a screen adaptation of another book of his, Aerosmith. And I was spending the summer in Cornish, New Hampshire, just 20 miles from where Lewis lives in Vermont. And Red suggested we turn Dodgworth into a play, and that was the end of that vacation. I've heard Sinclair Lewis has a disposition as fiery as his hair. How did you find him to work with? Well, I don't know how fiery his disposition is, but he certainly puts fire into his work. I was writing the play over in Cornish, and whenever I'd strike a snag, I'd drive over to see him. We'd sit in his lawn in front of the loveliest view in Vermont, and he'd loop his long legs around the trunk of an elm tree and roll off ideas much faster than either of us could remember them. That's the way Lewis works, and there's no swank about him either. His typewriter sits right alongside of his bed, and when he's on a novel, he starts at daybreak and keeps at it for 16 hours of the stretch. And with that, he finds time to read at least one detective story a day. You might gather from this that I have considerable affection and admiration for Lewis. Yes, but what about Dodgworth? Well, I finished up my first draft and went to New York where Lewis was reading proof on a novel. We locked ourselves up in a hotel for two days. I'd read a speech aloud while Lewis paced up and down. He'd turn on me and say, that's terrible. Nobody'd ever say a line like that. Then I'd tell him it came right out of his book, word for word. I don't care he'd say, now it's coming out of the play. And it was always his own speech he was hard on. You see, he wouldn't believe that what he'd written in the novel could be good in the play. It was good, though. Who deserves the credit for picking Walter Houston as Dodgworth? Well, very immodestly, that was my idea. And about the best idea I ever had in my life. And now, Mr. DeMille, let me congratulate the Lux Radio Theatre on its fine treatment of plays for radio. It's a new field of writing, and these programs set an example that all air shows might well follow. I'm pleased that you've got another play of mine in on it. Thank you. Thank you, Mr. Howard. We'll have more plays of yours. Once again, Dodgworth, starring Walter Houston, Nan Sunderland and Faye Bainter. October and friend Dodgworth and Sam are still in Europe. It's early evening as we find them standing at the window of their hotel room in Berlin, gazing into the faintly luminous darkness. Fran breaks along silence. I love Berlin, don't you, Sam? I love you, Fran. Oh, Sam, darling, will you let me thank you for all the lovely places you've taken me?  Yes, Sam.  By helping me to forget Arnold Israel. Sam, haven't you anything to say to me? Well, what is it to say? Well, after I've just opened up my heart to you, it's a little embarrassing for you to stand there and say nothing. It makes me feel self-conscious. Self-conscious? I guess that's my trouble, Fran. I've lost my bearings. I don't know where we're heading. I think I'll call Emily and hear how the baby got through his first day. Oh, but there isn't time. Court's coming to take us out to dinner and you're not even dressed yet. Well, Court can wait. It isn't polite. And Sam, I know how thrilled you are over Emily's baby, but you mustn't tell Court. Why not? Because he thinks of me as young. And I am. I am. Fran, come in. Hello. Hello, Court. Well, is that wife of yours ready for us, Sam? I take you to a new restaurant for dinner. A very gay restaurant where only the smartest Berliners know to go. And, uh, dance after? If you can make Sam get dressed. I'm sorry I didn't feel like getting dressed, but, well, I guess I'll let you two go without me. No, Sam. You must come with us. What fun do you think it is for me to sit up all night watching you two dance? Oh. Oh, don't speak so crossly, Sam. You should be happy to see Fran happy. Well, I didn't mean to snap. But I've just had some pretty important news from home. News?  But I'd like to sit by myself and think it over. Well, Sam does want to be left alone tonight. But I want to go out. I want to. All right, go ahead, Kurt. You and Fran run along. I'll be all right. Come in, Court. I can't go to bed tonight. I've been having too much fun. I do not like coming in here so late. I do not think that Sam would like it. Sam's dead to the world. Don't talk loud, that's all. But, Fran, dear...  There isn't much time left. Oh, darling. Darling, Fran. You know I love you, Fran. You know that? Have you not been happy with me here in Berlin? Oh, yes. I've been terribly happy. I've loved it. Court, you know I have. I think you could love me, Fran. I think you could. There's no good talking about that. There's nothing we can do about it, is there? No. No, you're married to Sam. I can't ask you to be my wife. Court. You want me to marry you, Court? Does that surprise you? Oh, Fran. Why are you not free? If I were free, Court... Oh, my darling. Don't. Please don't. Forgive me. I'm not angry. Oh, my dear. Will you not say a more kind word, Fran? Some other time.  Oh, Court. Good night, Court. Good night. If I were free... Is that you, Fran? Oh, hello, Fran. I... I didn't know you'd come in. I didn't know you were awake. I'm sorry. It's pretty late. Oh, not that I mind... No. Well... Fran, wait. I've just been looking at sailings. How about it, Fran? Let's get out of this. Sam, please. Why are you always so anxious to go home? I'm sick of it. I'm taking no more chances on another Arnold Israel. Now, I know this friendship for Kurt is harmless enough, but you might get fascinated. You think I might? You really think I might? Of course, and Court loves me, and I'm going to marry him. I only decided to just now, this minute, since I found that you were listening at the door, the great Dougsworth, great prowling elephant. I'm sorry, Court didn't say to punch your head for spying on me. I wasn't spying. I didn't hear anything. You've never known anything about me, not what I had on, nor what I thought, nor the sacrifices I made. Look out now. I'll be happy with Court. I'm fighting for my life. You can't drag me back. Fran! Can you get your divorce here? What? Your divorce? I suppose so. I wish you'd wait for a couple of months. Why? I'd like you to feel absolutely sure about Court. Well, that's my funeral now, isn't it? Yes, I guess so. I'll have to get used to that idea if I can, and I guess I can. American Express office, Naples branch. Yes, Senor, I will attend to it. Hello. Any mail for Dougsworth? Not a thing today, Mr. Dougsworth. Well, I guess I'll have to wait a few days. Maybe I'll get a pleasant surprise. What have you got to offer in the line of excursions? Well, we have a tourist party just starting for Herculaneum and Pompeii. I've been there. Oh, well, there's a drive around to Malfi in Sorrento. I've been there, too. Would you like pay estum, sir? What's pay estum? Greek temple, sir, in excellent preservation. That's more than I am. All right, I'll take a chance. Get me a car. How many in the party, sir? One. Yes, sir. Mr. Dougsworth. Hmm? Do you remember me? Mrs. Cortwright, well, isn't this great? Sit down if you've got a moment. Well, time is something I have nothing else but. How's Mrs. Dougsworth? She's fine, thanks. I haven't got her along with me this trip. She doesn't like traveling? Does anybody? Well, I don't know. I suspect most people travel to get away from themselves. Well, I've been at it two months now. I'm glad to hear why. Alone? Oh, I'm getting used to it now. I don't want to intrude to be impertinent, but well, I'm sorry. Well, I guess a pretty ordinary story. My wife's younger than I am and livelier. Hmm. I oughtn't to be undressing in public like this. I never did that before, either. Will you keep on traveling now? Yes, I've got to stay over and be on hand for the divorce. Where? Berlin. Berlin.


All right guys welcome back up next we have our unannounced speaker sock He's been involved for a couple years now, and actually before he comes on stage Anthony would like to have a word. So here you go Okay Next guy haven't promoted him at all nobody here or very few of you do you know who he is most you don't The and I'm gonna put pressure on him because I think he I think he can do it I think this is gonna be the most unexpected and surprised speech at the event He's gonna be right off the bat hitting home run and I think potentially one of the best speeches ever given at the event. I am very I have very high expectations Not to necessarily put that on him maybe but just because I know him at this point And I know his ideas really well from talking to him in person over the past year and a half and from reading What he has to say on various forms we post on His topics gonna be relationships and then a few other things branching off from that And that sounds so generic, but this is like so contrary To what you see elsewhere in in anything and in say general dating advice or even like hardcore PWA stuff It's totally Either not mentioned at all or it's complete opposite of what you see on the mainstream So sock short for Socrates is I think very has very contrary ideas to What we accept on a very broad scale in society today no matter where you go The ideas are essentially right by my judgment I think they are Outstanding and if you apply them to your life and the context he gives you it's it's me badass So that said welcome sock the stage. Thanks, man. I appreciate it coming Hi guys, I'm actually really pleased to be here particularly proud from a number of reasons You know my my personal path has been kind of one in which I've stumbled tried failed But it's one in which I was not satisfied with by maintaining the current patterns of behavior And what I did is I decided to find other men find friends and To kind of put myself back together to look at where I wanted my life to go and to basically self-educate And when I say self-educate, I mean steal. I took anything Everything transferred information from one realm and put it into another and that has been a evolving process Some stuff that I started when I was very young to to the current date and it's it's been very insightful for me And it's been successful. My name is sock short for Socrates It's one of many names and identities that I go by and identify with and that's really less important than who I am Who I am is quite literally as I stand here before you. I could be your father More likely I could be your older brother without a doubt I could be your friend, but the bottom line is and most importantly to me is the fact that I can be you in many many ways I've I'm not an expert in my field. I'm not a commercial operator I'm a ranked amateur. I've gotten good at what I do Particularly proud of that, but the the issue is that I tried I stumble I make mistakes and I evaluate those aspects and I apply Reasoning to what I do and some insight to what I've done and why and today What I'm going to try to convince you guys of is that it's going to be a contrarian point of view And for a lot of the men's men's organizations men's community is that there's some very very strong Positive aspects to interpersonal relationships with women. I'm going to use some really vulgar language I'm going to talk about commitment. I'm going to talk about monogamy All right, and I'm going to say them in positive aspects. All right, I will try to not use that so much I'll use other terms. You're probably more frank with but it's it's an aspect of the community I think fails in a number of ways So a large portion of my speech today is literally going to be about the positive aspects on being in Relationships with women and that means a committed one I'm going to be looking at several technical skills on relationship development Skills you're going to need in having relationships and primarily those are going to be filtering screening abilities your ability to create boundaries And then the the other interesting one is I'm going to talk about your brand identity your social Relationship brand. What are you offering to other women? What do you offer a offering to those relationships with people? You do have then I'm going to actually look on a very critical skill I think it's the essential and that is the aspect of critical confrontations the ability to actually have a Confrontation that has positive results. There's ways in which to do that. There's ways not to do that. Trust me I've made a lot of foul ones. Okay, and so there's a lot of this is from experience then I'm going to move on from that is that the aspect of Being able to have relationships at times You're going to need to know how to end them and then why to end them And so we're going to cover that and then for a little bonus that are really kind of out there I'm going to actually give a kind of a small brief talk and some very basic ideas on that very notion That's tap very taboo on getting your ex-girlfriend back Don't want to do it in every case There are some positive aspects to do it and some things you're going to want to take into account on Why and when to do certain aspects when you evaluate it? All right Getting back to the main purpose of the talk is is literally about the positive roles of Interpersonal relationships and intimate relationships with women particularly in committed relationships now a lot of you are going to be younger You can practice these skills without being in a relationship You can actually practice having relationships without being in the committed one you do it with your friends You do it with your family you do it with your co-workers your bosses Anybody you have a relationship with these these skills pertain their transferable skills And if ultimately you want to have a relationship you want to have a wife you want to have a better quality life Having these skills in your pocket is vastly better than trying to learn it on the job under fire Trust me you're going to make vastly different decisions different reactions And you're going to behave differently in the heat of a moment You don't want to be learning in that case because it's going to cost you dearly and it's going to be more than emotional It's going to be more than financial it can change your life and in many ways Behavioral patterns such as these affects greater society on a whole how we go through life interacting with people Reverberates through communities a reverberates through societies how we regard women how we regard ourselves in culture as Men as men and women those relationships spawn off and unfortunately when I bring up the term spawning We can also talk about children You know, what are your relationships with children? What type of man were you for for the mother of the child? What type of father were you to that child and these are relationships that will then get projected so a lot of times I'm going to be kind of flipping. I'm going to be derogatory in cases, but it does not mean I'm not being serious The other aspect is this is a serious aspect, but this should also be fun It's probably one of the most important investments.  All right One of the most important aspects of being in a relationship is that you have to be in one to really understand them Knowing can tell you what it's going to be like. You can't kind of project accurately What being in a relationship is truly like and tell you're in it and on the community side to be very much like a keyboard Jockiest telling you what's you going to do when he approaches a girl? What lines he's going to use and how it's going to be scripted out. That's great for practice It's good to have that idea and fall back It's good to have a plan, but I'm telling you the shit's going to hit the fan as soon as you get out there You're going to make decisions situations are going to change Context they're going to change anxieties are going to perform and Context is in ways in which you're not going to be able to fathom or imagine are going to come up And you're going to have to make decisions and react to certain aspects Judgment calls so forth that you're not going to be able to anticipate and you're going to make errors and The issue is you're going to want to have some practice in doing is maintaining these the better skill proper skills You have the better you're going to be able to perform and they're fairly basic in many aspects The other aspect to being in relationships. I think is one of the biggest failures of the men's community We focused in on getting the girl, but not what to do once you get her other than fucking her And I think that there's a terrible terrible letdown because I don't think that's what most people want And it's why with the men's population tip of good community groups tend to actually lose its members Because one of the aspect is I don't think guys go out with the intent of actually going out and getting a girlfriend They end up with one worse yet They end up with a wife, you know and then you find out not only do they end up with a wife But they end up with a child mortgage payments everything else and that doesn't work and then you have catastrophic loss You have you know people are getting hurt another aspect on Interpersonal relationships is it's going to be probably the second most important investment you make in your life The first is what you're doing right now.   I think we should be able to look for certain things enjoy our lives enjoy Is other people's company and actually look to get the best that we can for our value and our work And I think too many times men are sold short by not only themselves Culture and society are teaching you to sell yourself short and I'll cover a little bit that later on


Hello in this lecture we will work a problem in which we will add a new partner to an existing partnership in a prior lecture we talked about having a partnership sell a partnership interest to another partner so one partner leaves another partner comes in and this section we will talk about having the same partners there and then adding a new partnership so the question will be here this will give us the information we're going to put that information into a worksheet like so populating the blue areas we will then record the journal entry in this section of this blue area here with the debits and the credits for the journal entry we're then going to post that to a quick worksheet here so that we can see what happens in context in relation to some other accounts being cash assets liabilities equity this is where we're going to focus because of course the equity part of a partnership is the partners so we got the partners here their capital accounts then we have revenue and expenses in this worksheet we could see that we are in balance by the assets or the the debit balance accounts not having brackets or being positive numbers for excel minus the credits means that they add up to zero so the debits minus the credits equals zero therefore we're in balance going to be a quick way for us to see and analyze what happens within context we will then post our information here and see what happens to the ending trial balance as we go we also have the accounting equation over here as we can take a look at assets equal liabilities plus the equity and see what changes happen to the account equation as we work through this problem all right so we've got the partnership as a new partner well first let's take a look at the ratio so we have the original partners being m b and l they share their partnership profit and loss with a three to five ratio so first thing we want to do is break out that three to five ratio we might be thinking why don't we just call it percentages and there could be some situations where percentage is not exactly even and a ratio is more precise therefore ratios can be a good way to post this information or record this information we need to know how to convert this ratio format to some type of percentage so the way to do that i'm going to go over here to m and we're going to say that this equals m's portion which is three out of the total three plus two plus five is ten so divided by we can even do that by divided by three plus two plus five so three over ten three divided by ten thirty and we if we want to make out a percent we can go to the home tab we can go to the numbers group we can percentify it to thirty percent b gets two out of the total of ten so we can say that equals two over the total of three plus two plus five and that will equal i forgot the divide sign divided by and that will equal 20 percent and if we go to the home tab numbers group percent make that a percentage and then l of course has five out of ten so we're going to say this equals five divided by the three plus two plus five brackets that will give us 50 percent once again we can go to the home tab numbers and percentify that and then if we add these up the 30 plus 20 plus 50 100 if we total that up in the total column that'll verify that we are at 100 percent equals s u m we're going to sum up or add up these three columns the 30 plus the 20 plus the 50 we'll add up to one yeah because we need to fix the cell and put that to 100 so we're going to go to the home tab numbers and 100 percent so it happens to work out evenly three to five ratio means that we're having 30 percent m 20 percent b 50 percent l now what we want to do is implement or add r to the partnership so r is going to come into the partnership and r is going to get we agreed on the partnership agreed on we should say that 25 percent interest to r in exchange for r paying the partnership 140 thousand dollars so r is going to pay 140 thousand and we are going to give the partnerships going to give r a 25 interest so let's see what that will look like so before we post any more of this worksheet let's take a look at what we have in terms of a chart of accounts over here so if we look at the chart of accounts we are seeing that we're going to put r basically on the books r's paying cash so if we start to think about the journal entry we could say well our first question is always is cash affected yeah that's affected we know that's going to do something to cash so cash is going up for the partnership because the partnership is receiving cash and so we're going to copy the cash and cash has a debit balance we're going to make cash go up by doing the same thing to which in this case will be another debit so that much we know so i'm going to copy that i'm going to put that on top in our journal entry we're going to say we're going to debit cash in i46 right click paste it 123 not here pasting the values only and then of course we said that the partner is going to pay the partnership 140 thousand so the partner is going to pay the partnership 140 thousand who's the partner that is is coming into the partnership r r is the new partner so we would need to increase r's capital account in order to allow r into the partnership so we know that we're going to credit r's capital account because r is going to have if r's paying and and being implemented a 25 interest we need to increase the capital account so capital counts you can see all have credit balances we need to go make it go up we're going to do the same thing to it which is another credit so we know we're going to credit r's capital so i'm going to copy that and i'm going to paste it right here in i47 right click and paste 123 now we know it's going to be a credit but the trick is that we're not sure it's going to be 140 thousand because the problem said we're going to give a 25 interest for the 140 thousand therefore what we need to do is figure out what is a 25 interest in the partnership and we know that the total equity represents assets minus liabilities so in this case the cash of 550 minus the liability of 10 is of course 540 equals the equity of 540 so you would think that at this point in time a 25 interest would be 540 thousand times 0.25 25 percent interest so you would think we put them on a book at 135 but we have to add to that the fact that there's cash cash came in on top of this so cash is going to go up which increases the book value so let's think about that in terms of our worksheet over here try to see what we need to record in terms of the capital account for r so if we think about what we have so far this is our total capital this is what's recorded on the trial balance for capital for mb and l partners and we know that another 140 thousand is going to be implemented into the partnership when r comes into the partnership therefore the capital account the net assets are going to go up by of course 140 therefore we're going to add this up we're going to say this equals the original net value of the partnership plus the 140 thousand that the new partners now implementing gives us a total of 680 thousand then we're going to say that's now the new value of the partnership and we are now adding the new partner at 0.25 25 percent we're going to give a 25 percent of the book value or the total equity section which represents the book value of the company to the new partner so 25 percent if we want to see that in the form of a percent of course home tab numbers group and percent it and that means that the new partner needs to be on the books at this uh 680 times the 25 percent so the new partner is going to be on the books at 170 so that's the answer to this question over here we're going to put the new partner on the books at a credit negative in this worksheet 170 thousand all right so that we have that now of course we have this other issue in that the debit doesn't equal the credit so the credit is higher than the debit by 30 000 and the reason for that is of course if if we're going to put the new partner on the books for 170 and they only paid 140 then the other three partners are going to have to split the difference so we're going to have to have a debit of 30 000 what account will that 30 000 go to well it's going to go to m b and l do they necessarily like this uh this situation no because their capital accounts are going to go down we're going to debit their capital accounts reducing their capital accounts because they basically are giving more of their interest to r than what r is paying now you might be thinking why why would why would they do this why would they allow uh r to have a 170 interest when r only paid 140 why wouldn't they make you know that that even out and the reason there could be multiple reasons for it maybe the partnership is thinking that not all the assets are represented properly really within the the financial statements there could be intangible assets or liabilities that aren't really represented in terms here it could also be that they think that r is is coming in to the partnership with a lot of their own personal assets that will increase revenue in the future and therefore it is worth allowing r on the books and giving a larger portion of the interest than r is paying into the company because of the potential future growth just based on who r is and and that could be a reason as well but in any case that's what's going to happen and therefore we're going to have to reduce these capital accounts for the other three partners how are we going to do that we're going to do it in accordance with their profit sharing ratios which we decided were 30 20 and 50 so we decided that we're going to have to allocate the difference so i'm going to calculate that difference again we're going to say this equals the i'm going to do it this way the 170 that we're going to allocate to the new partner r minus the 140 that are put into the partnership which gives us that 30 000 that we're going to have to reduce the existing capital accounts by for m b and l so we're going to do that through this percentage ratio so we're in here for m we're going to take that 30 000 times m's 30 percent tab so we're going to reduce uh m's by 9 000 and then for b we're going to say this equals the 30 000 times the 20 percent for b so we're going to reduce b's capital account by six and then for l we're going to say the 30 000 times the 50 percent and into we're going to reduce his capital account by 15 if we add those up adds up to the 30 so this is how we're going to reduce that 30 that's the plug that we need for our journal entry so let's calculate what the new capital account will then be we know that r is going to be on the books for 25 percent which we said was the 170 over here so this is just the 170 and then m is going to be on the books for their current capital account minus the part of that 30 000 that they're going to have to eat in order to bring r in and we're going to say b's capital account is going to equal the 124 2 minus b's portion 6000 of that 30 000 they're going to have to eat and then we're going to say that l is going to equal the original of 264 6 minus the 15 000 at the 50 percent that l is going to have to eat and therefore this is going to be our new allocation if we add those up it's going to add up to 680 so i'm going to sum this up and add these up here and that should add up to 680 so at the end of the day as we post our journal entries r should be on the books at 170 m should be on the books at 142 2 b 118 2 and l 249 6 let's see if that's what happens when we do this so we're going to go back to our journal entry and we'll post our journal entries here and we said we were left with these debits that need to happen which was 30 000 we now know that we're going to break that 30 000 out between m 9 b 6 l 15 so i'm going to say m b l i'm just going to copy all of them i'm going to highlight right click copy put our cursor in i 48 right click paste 123 then for the debits remember they have to be debits because we need more debits in order to make this balance we're going to say this equals the nine for m enter and this equals the six for b enter and this equals the 15 enter so there's this is going to be our journal entry is it in balance let's see well the debits add up to 170 the debits minus the credits add up to zero so that we are in balance here now note that also i i have this credit up here and under a perfect world we would like to have all the debits on tops and the credits on the bottom again i want to point out that if it helps you to either build the journal entry and or to go back and audit what you have done later on i would abandon the rule of having debits and on top and the credits on the bottom however if you're putting this into a computer system into some kind of system that's that's required to have it in that format or if you have someone that's very picky that's going to review the format then you may want to uh put all the debits on top all right so let's post this out then we're going to post this over here and see if it does what we wanted to do what we wanted to do or what do we expect it to do we expect these capital accounts to line up with this information here all right so we're going to post cash first i'm going to go to 046 i'm going to say this equals and point to that 140 that's a debit this is a debit it's going to make the debit go up in the debit direction to the 690 we're then going to post ours capital accounts so here's ours capital account here here's ours capital account here here's the blue area related to ours capital account and we're going to say this equals and point to the 170 bringing the balance up from zero to 170 then we're going to post m's capital account so here's m's capital account here's m's capital account here it's a credit we're going to debit it that'll make it go down so we're going to say this equals the 9 000 that should make this go down to


Obviously just talking about the incident itself we know we lost consciousness for a period Can you remember much about the sort of, you know, before and after the sort of period of, you know, that sort of You know, I couldn't remember much when, you know, when I first got asked that question, but, you know, when I saw it back I remember obviously I just remember reading The Keeper, shaping up to play it out And I read it early, sort of, knew I was going to win it, that was the thing, I knew it, you know It's not like it was a header that couldn't be won, I knew I was going to win it So just went for it, and then, you know, the rest was sort of just coming round in the ambulance And then, you know, I asked Dale for the physio, what had happened, and he was like Well, you asked me that two minutes ago, so I was like, I must be in a bad way then, you know So, but no, other than that, you know, and then you start to realize the severity of it And I was still in good spirits, I was, you know, I think it was the atmosphere of the game And how much it got me in a good spirit, in a good positive mood For some reason, even though I was concussed, even though I was, you know, been knocked out I was still in a good mood, and still, I wanted to get back out there really, so, you know But got to the hospital, done my brain scan, it was fine, and my friend and my fiance was there So it was just, then it started to, you know, the adrenaline comes down And you start to realize, you know, it's sore, and you might have done something to your face But other than that, it was just itching, as soon as that, it seems like something else clicks It's itching to get back again, so, that's what I could remember really And then you start seeing the highlights, and you start, it all starts sort of flooding back And then the concussion after, obviously hit me for a few days, but Other than that, it was okay So you don't, obviously, remember anything on the pitch? Was it just a case of remembering Actually the ambulance ride to the hospital, and the hospital checks afterwards? Yeah, so from when the actual collision happened, I couldn't remember anything up till the Probably, so when it happened, about maybe 20 minutes after I really started to remember What, you know, what you're doing, and then what you can actually remember stuff So everything else was a blank before that And yeah, it was just, it was a bit surreal, first time I've been obviously knocked out and Concussed, but, you know, hopefully happy the only time, if I'm being honest


Well, it's winter and deer are on the winter range. What is winter range and why are they there? Deer are able to digest fibrous materials. They're browsers. They like to eat this year's growth off of woody shrubs and other kinds of plants. The part off of the shrub that is really the highest nutritional quality is the part of the plant that grew this year and that's the part that the deer will select for their best quality diet. And it comes off of plants like bitter brush and sage brush and service berry, choked cherry and yes, those decorative plants that you've planted in your yard. Now in the summertime, food's easy for a deer and in wintertime it's not the case where they were and that's why they're not there anymore. That's why they've moved, they've migrated to winter range, the place in their habitat where they're able to find that high quality feed that they need to subsist to the winter. Now as it happens, a lot of times the towns and other places where we humans live and have planted shrubbery is a place where a deer really finds that high quality nutritional feed that he needs to the winter. It's become his winter range. So the next time that you've got a deer out in your shrubbery, just think about the fact that he's really out there shopping for the highest quality produce he can find. From the University of Wyoming Cooperative Extension Service, I'm Eric Peterson.