Escape, produced by William N. Robeson, directed tonight by Richard Sanville and carefully plotted to free you from the four walls of today for a half hour of high adventure. Tonight we escape to a deserted sandpit off the coast of Georgia, where terror stalks under the Spanish moss, as Joseph Hergashima tells it in Wild Oranges. What could have appeared more innocent of danger than that barren low-lying shore of southern Georgia? What could have seemed less laden with terror than that lovely little cove so tranquil and well-sheltered, so warmly bathed in late afternoon sun as we dropped the anchor of our catch and prepared our mooring? And yet there was something. First it was an odor of a grove of wild orange trees in late bloom growing defiantly amid the tangled undergrowth of the shore. The scent was strong and exotic and heady, and as I smelled it I felt a vague uneasiness. Then as I watched the shore and Halvard, sole member of my crew, furled the sails, the mirror of the cove was shattered by a movement. First I thought it was a fish leaping and playing in the water, came round a spit of land from an inner bay, and then Halvard was beside me. That's queer, sir. It would have bet there was nobody within miles of here, but there's someone swimming. Yes, it's a girl. She'll be surprised when she discovers us, no doubt. And embarrassed. Oh, she swims well, doesn't she, as if she's been born in the water. Yes, she's seen us. Yes, now she's running away. That sprint would win an Olympic race. Wonder what she's doing here, where she comes from? Perhaps there. Where? Two to three years. There's a house. You can hardly see it. I spotted it a moment ago. Oh, yes, so there is. But it's a ruin, it's rotting away. No one could have lived in that since the Civil War. Well, there may be others back there. Yes, but this coast is deserted. Marked a swamp on the chart. They don't know, sir. It's strange. Very strange. Yes, it was strange. The aroma of the wild oranges was overpowering. Suddenly without knowing why I slipped on a jacket, went to the side and dropped into the tender. Halvard stood by to cast off. He asked no questions and I said nothing. What could I say? I didn't know myself why I was going. I pulled the tender up on the soft sand of the beach and walked up a dim path through the orange grove. The scent of the blossoms was full of such wild sweetness that I picked an orange and tasted it. It was bitter of a pungence that was new and rare and strangely delicious. The dim moonlight only accentuated the ruin of the house. There were other smaller ramshackled buildings scattered about, overgrown with weeds and creeping vines. This had once been a great plantation. Now it lay still and lifeless. Then I saw the light. Around the side where a smaller portico held off the weeds, a single doorway was framed in the pale light of an inner lamp. As I approached I saw a shadow move across it, so swiftly, so furtively that it was gone before I realized it had been a man. Then I saw her sitting on the portico, rocking softly in her chair. What do you want? Nothing. When I came ashore I thought no one was living here. You're from the white boat that sailed in at sunset? Yes, and I'm returning immediately. It was like magic. Suddenly without a sound, you were anchored in the bay. I've robbed you too. Some of your oranges are in my pocket. You won't like them. They've run wild. We can't sell them. They have a distinct flavor of their own. I should be glad to have some on my boat. All you want? My man will get them and pay you. Please don't. Nicholas attends to that. Won't you sit down? My father was here when you came up, but he went in. Well, I should be getting back. I'm sorry to have disturbed you and your father. No. No, it was nothing. Good night then. Good night. That was all. Fragment of commonplace conversation. But it was enough. Now the uneasiness I felt, the strangeness of this place took shape for me. I saw it in her lovely fragile face. I heard it in her voice. There'd been a hidden terror, a hysteria, there'd been a warning in it, and something else, a plea. By the time I got back to the boat, I was completely unnerved and Halvard made matters worse. You find anything, sir? There are people living there. Well, there'll be water then. Maybe we could stay here a couple of days, huh? What do you mean? Well, this is good anchorage, sir. I'd like to unship the propeller and the topside could do with a coat of varnish. No, we're going on south. We'll get into blue water. We'll do it here. And so we stayed. In the light of morning, the strange dread I'd felt seemed foolish, especially when I went ashore and found the girl looking young and fresh and fragile, fishing off the little pier in the inner bay.  We were carrying the fish to the house when we came on a pale, a few years ago. He started a swift retreat, but too late. Father, wait. This is my father, Litchfield Stoop. Really? Really, you all know I can't strange his day. Father, you must manage yourself better. You know I wouldn't bring anyone to the house who had hurt us. And see, we are fetching you a splendid rockfish. Oh, yes. So you are. We are all alone here, sir. The man is away. My daughter and I, she carried in for me. Nicholas would do it, but he's away, and the father isn't strong. This way. We have no ice. I'm going to put it in water. In here, right there. Thank you. You've been very nice.  Not tonight. We're staying here making repairs. Where do you come from? And where are you going? I've traveled far on maps. I was born here in this house, and I've never been 50 miles away. Oh, that's incredible. You seem like a girl who's been everywhere in the world, and had the best education, everything. My father has many books in there, that's all. You...  Gray-green, like olive leaves, and magnetic. I... I came ashore to ask you about a large water supply. I might fill my casks. Of course, rainwater assistance, for... I'll send my man, Halvard, then. Yes. There's something else in your eyes, in your voice. What is it? Fear? Why, no, of course not. What should I be afraid of? I don't know, but I saw it in your father's face, too. It's only your imagination. Yes. Goodbye, then. Thank you for the fishing. Strange how this girl should upset me so. I tried to resist, but that evening I found myself going back to her. Tying the tender to the little pier I watched as she came to meet me. I'm glad you came. The fish waited! Oh, don't tell me. I'd rather not know. I might be tempted to mention it in the future, and I'm sure it would sound like a fish story. But it was imposing. He's back. Let's stay here by the sea. It's so lovely in the moonlight. All right. Oh, it is nice here. I lied to you today about fear. I suppose I am afraid. I suppose my father has passed some of his fear on to me. Why is he afraid? Well, that's a long story, going back to the First War. Please tell me. He was a young man then, and he didn't go to war. It wasn't that he was a coward, exactly. He just couldn't adjust to it mentally. People mocked him, laughed at him and threatened him. That's when a sort of perpetual fear started. He ran away. He met my mother and married her. They came here. None of us has ever left this lonely place. Never will, perhaps. Your mother? She's dead. Loneliness killed her. Perhaps it's no wonder that I sound timid or afraid. Perhaps I am. Aren't you lonely too? I don't know anything else. But what about you?  Oh, I'm nobody. My name is John Woolfolk. And you do nothing but sail about the world? Nothing. Why? Well, let's say I don't like modern society. Let's say I don't like entanglements. I see. Oh, I didn't mean it. You needn't apologize. I envy you, your freedom. I sit here a great deal and watch the ships far out there on their water roads. You are enviable. Sailing where you like, safe and free. Safe and free. There is something more than you've told me. More behind the sphere in your voice. No. But perhaps I can help. No. No, please. What's that? It's Nicholas. Blowing on the conch I've got to go in. I'll come with you. No. No, please. No. Don't come. You'll be going soon. Tomorrow, perhaps. Then, goodbye. Now I knew the terror I'd only sensed was real. This girl was possessed by fear. This house held some terrible secret. What could it be? Next morning, Halvard suggested we repaint the engines and I agreed. We'd stay another day or two. Later, Halvard went in to fill a cask of water. He came back without the cask and live it with rage.  Next time I'll take the pistol. What do you mean? Where's the cask? He was broke. How?  A huge, whole king brute came out of the house. He told me to get away. Well, I tried to explain that we had permission, but he came at me with a knife, gibbering. Well, I hit him, but it was like hitting an ox. He put his foot on the cask and crushed it. I'll see about this. You be careful, sir. The man's not right. He's dangerous. Plenty dangerous. I went ashore and around to the back door of the house. Millie wasn't in sight. When I knocked a lumbering giant with pig-like eyes came to the door. What do you want? I take it you're Nicholas, the man who broke my water cask.  I'm not going to argue with you. I came ashore to instruct you to keep your hands off my property and my sailor. Let all water be. I told you I wouldn't discuss the matter. I don't have to justify myself to you. Just remember, keep your hands off. Get me started. What do you mean started? Here, don't get me started. Mine, I want you. Put down that knife. Down that knife. Go away now. Don't get me started. Send back. Get me started. I'm telling you. Nicholas, stop. What is this? What's the matter? Nothing. Nicholas and I've had a little misunderstanding, that's all. It's nothing to worry about. Nothing to worry about, I said. But when I got back to the boat, I couldn't help asking myself why I'd left her with that brute. I just about made up my mind to go ashore again to check up when I saw her waving on the beach. She wanted to visit the boat. I went and got her. There was no hint of terror in her face now. Just shining, girlish wonderment of the polished metal and the gleaming wood of the catch.  But when we reached the heavy swells outside the reef, her face got white and she froze. It's...it's so big. Are you frightened? I'll turn back. I'd rather you didn't. I must learn. I'm not a child. No, we're going back. Before we got to the anchorage, her panic was almost out of control. But safely moored once more, she calmed slowly and said... How strange to be forced back to this place I loathe by my own cowardice. It's not cowardice. The sea is frightening to those unused to it. Come, you must forget it now. How about we'll have tea for us in a moment? Uh, how do you like our boat? It's quite wonderful. Have you nothing else to care for? No place or people on land? None. And you are satisfied? Hardly. All the things most men value were taken from me in an instant. Can you talk about it? Why? I haven't for twelve years. Not to anybody, but... Now? Yes, I...I think I can. You see, we were just married. Only a few days. We were very, very happy. Then, in one instant, she was dead.  So you left everything, taking your revenge on the world. You could put it that way, I suppose. I simply don't want to take a second chance to become involved and be hurt. But that's living. To be hurt, do you think you can escape so easily? I don't know. Oh, I must go. A father will be waiting. Why so suddenly? There's... Oh, yes, I see. That's Nicholas on the beach, looking out here, isn't it? Yes, dinner will be ready. Why do you have a servant like that? That man's dangerous. You mustn't say that. Please don't. Just take me in, please. Now I knew that she, too, was afraid of Nicholas. I could see it in her eyes. Why then did I let her go to him? I don't know. I'm confused, I guess. That night a storm broke, a raging wind and rain, and to match my tortured mood. I hardly slept. Her face was always before my eyes, and by morning I knew that I must do something. I rode the tender in through a drizzling rain. I went up through the orange grove and stopped in the bushes by the house. Someone was coming out of the house, and I crouched down out of sight. It was Millie. I rose and called where. Millie! Oh, it's you. It's coming out to look. I was afraid you'd gone out. The sea is like a pack of wolves. I won't go alone, not without you. What are you saying? That's madness. No, I've got to talk to you, Millie. There's a lot that needs explaining. Things that I have a right to know. No. No, not here. Come. She led me into one of the smaller, ruined buildings, what must have been a store in the days of the Great Plantation. We crouched far back in the dripping shadows of a corner. Now. Millie. Millie, I love you. For the first time in 12 years, I'm living again, and I love you. I know nothing of love. It's easily learned. Well, perhaps if things were different, someplace else, I might care very much. Then I'm going to take you away someplace else. Make things different. Give you the chance. No. It's too late. You came too late. Why, Millie? Why? What is it? What is it you fear? Nicholas. He's nothing. Nothing to be afraid of? Has he been bothering you? He says he's crazy about me. He says I must marry him. Where is he now? No. You mustn't, John. Something frightful would happen. Not frightful. Just unfortunate for Nicholas. You don't understand. He's not, not human. There's something about him. What about him? He came here in April. We were glad to get him. Servants are impossible to get back here in the wilderness. He would work for the smallest wages. Only a few days ago, I found out why he was glad to be here. I was cleaning his room, and I found this. Let's see. Wanted for murder. Iska Nicholas. Homicidal maniac. He knows I found it. He knows. And he's been furious. Then you came, and he ran and hid in the pines. But he told me if I spoke about it, then it would happen to me. And if I left with you, it would happen to Father. You see, he thinks I'm in love with you. He told me to send you away. He said you must leave today. Millie, I should have realized. He says I must not be away for longer than an hour. I must go. Look, Millie, you'll take us a couple of hours to get the boat ready. I'll come for you tonight at eight. Now, tell him you saw me, and I promise to go, and act quietly. Say you, well, say you've been upset. You'll give him his answer tomorrow. Then at eight, bring your father and walk out to the whore. That's all. But do it without hesitation or preparation. Oh, don't let him hurt us. Oh, please, don't. Not now. He's finished, Millie. But do as I say. It won't be long, hardly three hours. And then, freedom. Now that I knew, now that there was to be action, I felt better. Talvid and I got the catch ready for sailing, and at eight o'clock, we tied it up to the little pier. The storm had abated slightly, but it was still raining. I got up on the dock and waited for Millie. Ten minutes passed. Then twenty. Something was wrong. I told Halbert to wait there with the tender. Then I walked slowly up to the house. It was dark. I went up to the side portico to the heavy door. A tiny crack of light showed under it. I pushed it open. The light came from a parlor to the right. I looked in. On the floor lay a body, old Litchfield Stoke. He was dead, crushed. His arm twisted grotesquely under him. It was not a sound in the house. Slowly I walked through the downstairs rooms. Nothing. And back in the hall, I heard a slight creak. Upstairs, someone had moved. Was it Millie, alive? Or Nicholas, lying in wait? I grew slowly up the stairs. I did not use my flashlight. It would have made me a target for his knife. The upstairs hall was pitch black, and still there was no sound. I inched my way along the wall slowly. Then I stumbled on a loose board. The pistol flew out of my hand, but the stumble saved my life. The same instant I felt Nicholas lunge. Heard the knife sing as my iron thud into the wall felt his great bulk smashing on my shoulders. My gun was somewhere on the dark floor. His knife was embedded in the wall. Now he was grappling hand-to-hand, rolling on the floor, kicking, tearing, gorging, crushing. My strength and wit against the massive bulk of a maniacal killer. I... How many minutes did that unequal struggle last? I... I don't know. Seemed an hour. Several times as if by common consent we rested for minutes at a time locked in tight embrace. Once we rolled apart in late panting, the breath aching in my throat. Then I heard him groping along the wall, searching for the knife or the gun. I threw myself on him again, but it was too big, too furious. I felt my strength ebbing away. His fingers were closing over my throat.  Roll him off! I... I staggered daisily to my feet and looked up. He'd fallen through the banister down the stairwell. Nicholas had landed on the bottom. He lay there on the stairs, sprawled his head at a grotesque angle, but he was not dead, only stunned. I leaned against the wall, looked at him stupidly. There was something, there was something I was trying to remember. What was it? Then she came down the steps and I remembered. Millie. I had to walk right past him. There was no other way. Right past his head and my skirt. I think we better go away. It's quite impossible here with him in the hall. You have to pass so close. Millie, yes. We'll leave at once. I must tell you about my father. You know, in Virginia the woman tied an apron on the door because he would not go to war, and he was afraid on his mind, and he was afraid of the slightest thing. Yes, yes, I know, but we must go. Things upset him, so he had no strength.  But now I heard something. Nicholas had gotten up. He stood there and stared for a moment at us. Then he started slowly up the stairs. He was going for the knife. Millie, we've got to go. I was to meet a man. We were going away someplace where it'd be peaceful. It was the clock. But Nicholas suspected, you see, he asked why father had put on his heavy winter clothes. Then when I tried to go out, he pushed me. Millie. And you know what father did then? He came up and he said, don't do that.  His lips shook a little. But he said it. That's the important thing. Yes, yes, of course. Your father was a brave man. Now come, that man is waiting for you. There's no time to lose. Father said take your hands off my daughter. Nicholas killed him, of course. Crushed him like a little mosquito. But it was a brave thing to do. I couldn't wait any longer. I had to risk whatever injury it might do to her mind. I could hear Nicholas coming back. I swept her up in my arms and carried her out into the night down the path to the little pier. Behind me I could hear Nicholas crashing through the brush like a giant animal in pursuit. Are you all right, sir? Yes, but done in, but all right. Here, help me get her in the boat. Yes, sir. There. Somebody's coming. It's Nicholas. He's got a knife. Good. They've wanted to get back at him. You get in, sir. I'll take care of him. Halvard went to intercept Nicholas on the path. I heard them meet and struggle for a moment. Then a stoop figure came walking slowly onto the pier. He was prepared to shove the boat out into the water and then... All right, sir. It's me. Oh, Halvard. Where's Nicholas? He stopped him. He was all pumped up. Are you hurt? No, just a scratch. He missed his knife at first and the dark. It's nothing. Good. Let's get away from here then. I held Millie in my arms as Halvard rode to the catch erratically, I suppose, because of the storm. We were ready to cast off in two minutes. The obstacle would be the narrow passing out of the cove. In this storm, it would be dangerous. Very dangerous. I started to take Millie into the cabin. No! There's Nicholas! In the doorway! Nonsense. Nicholas is dead. You're on my boat, Millie. You're safe, Millie. Safe? With John Wolfo? I am John Wolfo. But he... You didn't come. I did, Millie. And you're safe. Come. I want to stay here. All right.  I'm going up front to take soundings. In this van, you won't be able to hear me if I call. No, but you can hear me. Remember, we've only three feet clearance. You'll have to hold it steady through the passage. I'll manage it. Halvard, this is no time for pretense. How do you feel? All right. I've taken knives before. All right. We'll fix it as soon as we get outside. Now, let's go. Turn over the engines. Pull up anchor. The boat headed into the tearing wind of the storm, sped swiftly toward the narrow inlet. A foot too far on either side, and we would hit. In this sea, there would mean death for us all. I stood far up on the bow, taking soundings, feeling out the passage. Far! The howling wind carried my call back to Halvard. The boat veered. I realized he must have lost a lot of blood. Halvard! Halvard, steady her! Slowly, haltingly, it came around. Three and a half! Steady now! But it was anything but steady. The boat waved and swung as if an amateur hand were on the wheel. In a moment we might hit. Three and a quarter! We were in the passage. Hold steady, Halvard! Steady! For just another moment! Just one moment! Three and a half! Good boy, Halvard, I called. But when I went back, it was not Halvard at the wheel. It was Millie. Millie, her hands steady, her eyes washed clear of any madness. Millie with a tight little smile on her face, but no fear. And Halvard lay rolling with the swells in the bottom of the cockpit. I'm afraid dead, John. He was wounded worse than you thought. Halvard dead? He was wounded worse than you thought. Halvard dead? He told me to take the wheel. Said it was life or death. Then he... slid down like that. When? When was this? Back there in the passage. Just when you said three and a half. I'm afraid I wasn't very good. But I held on. Oh, Millie. You were wonderful. No. Not yet. But I'll... learn, John. I'll learn. Escape is produced by William N. Robson and was directed tonight by Richard Sanville. You have just heard Wild Oranges by Joseph Hergersheimer, adapted for radio by John Dunkel, with Paul Freese as John Wolfoak, Jeanette Nolan as Millie Stopes, Bill Conrad as Halvard, Jack Krushen as Nicholas, and Sherry Hall as Litchfield Stopes. It's been conducted by Sy Fuhrer. Next week? You've planned it very well. She's dead. And you feel no remorse. Your escape has worked out perfectly. There's nothing to worry about. Except perhaps an unexpected Christmas present. Next week we escape with John Collier's grim story back for Christmas. Good night, then, until this same time next week when, once again, we offer you a cake. This is CBS, the Columbia Broadcasting System.


Nothing I would say to this man he will believe because he's got to a point where he's sealed this is his way and that's it but in his arguments is literally making up a bunch of verses which they don't exist and then he gets mad. Except if they do exist and I can show that they do. Yeah you keep saying that but but you see this moment right now. I keep inviting you to have a written conversation so that I can show you all the citations you're asking for. I'm talking about the natural world. I'm not talking about the history of what happened with certain prophets. I'm talking about the natural world. We can talk about that at a later time. What we were actually talking about is the things that are in the Quran. If I said they're there they're there and that you said they're not there because you don't know anything.


I witness the use at six. You know at six they are twin sisters who for their 32 years on this planet did just about everything together. But what they have now done together well it tops everything else. Kim and Danielle were born on the same day and now as grown women they are giving birth the same day. In the same hospital one room apart. The odds of twins giving birth the same day pretty staggeringly against it. Here's New Jersey reporter Tony Yates. We always said we wished it would happen growing up once we raised our kids together and grew up together but we didn't think the actual same day would happen. Twin sisters Kim Abraham and Danielle Grant by pure coincidence made April 28th a most incredible day. Kim giving birth to Erin, Danielle welcoming Roman, just a room and hours apart at Ocean Medical Center. So we were texting each other from the room and FaceTiming each other. Yeah. Trying to keep it like she was there and my daughter was born.  We're in group messages so after I deliver I'm looking at that and she's telling she's like of course I want Danielle help you. It's been an uncanny nine months for the sisters. Danielle has a two-year-old daughter but Erin is Kim's first. So Danielle would flying over to Kim's house to celebrate Kim's positive pregnancy test. So I made her take one and then it was positive. It was positive. So we were so excited for her but then I was so surprised for myself. So it kind of stole away from that. I was like oh my god. They broke the news to their mom by dressing little Reagan in blue. Kim said well maybe you'll get to see more blue because Reagan's going to be a big cousin. So I was all excited and Danielle said and a big sister and so then it was you know are you kidding me? And so begin a childhood wish come true unfolding with family and their medical teams. I've been a nurse for a very long time and I've worked in many places. Never have I ever seen this so it's very unique. Everyone happy, healthy and grateful. In Brick, 28th Channel 7 Eyewitness News. That's just awesome. I love the shot of the big sister slash cousin looking at her two little ones now like. And then they took the pregnancy test the same day. So great. Awesome. Congratulations.


This module is specifically related to the issues of research and publications when it comes towards reporting the research results. This is very important that once we have completed the complete research project, how we are going to report that. Psychologists do not fabricate data is the first and foremost important thing to understand. Psychologists discover significant errors in their published data that take reasonable steps to correct that, such as error in correction, retraction, irratum or other appropriate publication means. Let's say that data is published and it's open to everyone, it's an open access and everyone could read that and in that information you later on assessed that there was a problem. So it's your ethical responsibility, it's the ethical responsibility of that researcher, that psychologist to immediately inform that publication agency, the journal or the newspaper that this error has been done. So if we don't do this, then that research may lead towards many other researches in which the data will be used and the harmful effects of that data's fabrication, due to the genuine incorrectness of that data, we will have to see the consequences later on. Now let's say that where is the fabrication? Fabrication is that which is very much important to understand, at times generally the inexperienced researcher, sometimes the student of psychology if I carefully say and maybe some professional researchers. They tend to do that they fabricate the data to get results which are appropriate for them and they can quickly publish them. This is one of the highly unethical practice which has ever been seen in world of ethics because if you fabricate data and you generate research which is not actually true, it's a big crime. So we produce such results, we give such statements, we direct such hypotheses which actually exist. Then plagiarism, plagiarism is something I think that every individual who is related to academics or research is well aware of the term plagiarism and today a lot of softwares have come which are not very good, but still people have many ways to reduce that plagiarism in an unappropriate manner. But psychologists do not present portions of another works or data as their own even if the other work or data sources is cited occasionally. We cannot do this by presenting any other work as our own work and not citing it and not giving it due credit. In fact, we can rewrite its work and credit its source and honour it in our work. And that would not be considered into plagiarism. But if we all together copy some total content and we claim that this is being written by us either it's a research paper, either it's a journal, either it's a research report or either it's some paper or a thesis maybe, it's highly unethical. Then talking about the publication credit. This is something very important to understand what does the publication credit means. Psychologists take credit and responsibility including authorship credit only for the work they have actually performed or substantially contributed. If there is any research work that you have never done, which you have never parted in, which you have never been a part of, neither write-up, nor its data collection, nor its supervision, and you have carried it as your own work, your name as an author is reflected in the publication, this is called unethical, this is called a crime and this is taking an undue publication credit. Principal authorship and other publication credits accurately reflect the relative scientific and professional contributions. And I would like to share this with students that if a work is primarily being done by a student, the first author should be the student always and the second author should be the supervisor. However, in some institutions this is required that if after a certain period of time, let's say six months and one year, the student is unable to do work, they may have this condition that the student may lose the right of being the first author, but still he would be the second. But this is need to be very carefully seen that if the student has been working and he is interested to get the work being published, you cannot just take the right of the student and you cannot just deprive him from that publication credit. So the researchers needs to understand that they just can't take the credit of the students on their own. Duplicate publication of data is another important thing. Psychologists do not publish previously published data as original data. You have worked on one data, given research findings and then you use that data again after four or five years. This is unethical. But only republish it with proper acknowledgement. Like you saw a health status, you did a health survey in Pakistan and you did a health survey again five years later. Now you are using again the five years old data to compare that with the new data. So you can acknowledge that the data set is five years old and we are comparing them with one another and we are seeing that what disparity is coming in health status or what improvement is coming. So without publication credit, we just can't duplicate publication of data. Reviewers who review the material submitted for publication, grant, or research proposals review respect of confidentiality and the rights of those who are submitting those journals. They just can't pressurize their work. They just can't publish their work with their own name. It's very, very unethical that you have a manuscript review. We research grant I, you copied it yourself and submitted it to someone else in your name. Students may sound that very surprising that would this be a possible thing to do ever? But yet there has been incidences in past in which these things has been done. And to avoid them, these are also being included now in code of ethics. That we can't present someone's work in the process of review like this. Then coming towards the sharing research data for verification. After research results are published, psychologists do not withhold the data on which their conclusions are based. If that research data from you, a journal, a reviewer, an expert, an external examiner asks for it, you are bound to provide those data on which you have done substantial research. Psychologists who request data from other psychologists to verify the substantive claims through re-analysis may use the shared data only for the declared purposes. If a researcher claims that the results of my research are not what you are saying, you share the data with me, I will compare them with mine. So the data could only be used for that very purpose rather than to generate new research. So this is very much important that we use the data for the purpose only. Then requesting psychologists obtain prior written agreement for all other uses of data. So to ensure that we need to have a consent from that person in writing agreement from that person that he or she will only be using the data for the purpose he is claiming for. So this is very important that we do publication, duplication of credit and similarly for data management, if we borrow data from someone, we verify it and we keep all ethical practices under consideration.


We're gonna go ahead and start this week's episode off with a little humble brag. Last week in my episode, I told you to take Dustin Fourier over Connor McGregor. I also told you to take the Buccaneers plus the three and a half. I also told you to take the over in that game. And I also told you to take Kansas City minus the three. Did they all hit? They most certainly did. Did we all cash? I hope we did. Speaking of humble bragging, I have a guest coming on next. He is awesome. He was part of the fab five. He just launched in Michigan and we're ready to talk. That's right. I have Chris Weber. Fandall Sportsbook just launched in Michigan. How exciting is this for your home state? So many people are happy, especially sports fans. And you know, I don't know if any better sports fans been in my state, my home state of Michigan. If you could put money right now on the team to win it all, who are you picking to win the NBA finals? Oh, that's tough. That's so tough. Well, I just say this. I think that if LeBron goes to the championship on this beat, it's 11 at the time.  So I think anytime you can bet the guy like LeBron James, their character, what they've done, their track record, their resume, their heart, their soul, their work ethic, all those good things, then, you know, I tell you this, I wouldn't bet against LeBron. This is kind of piggybacking off that last question. But if you had to pick someone to win the MVP at this very moment, who are you putting your money on? I think it's going to come down between LeBron and KD. I'm not gonna hold it. Oh, LeBron, LeBron. I just want to make sure I didn't get him to bet on me. Look, I'm not holding you to any of these bets. I'm going to go ahead and just assume that you might know a little bit more about basketball than I do. And probably more than most people. Next, I got kind of a more of a fun question. Do you have any fun stories about locker room bets that you can and want to share with us? I have a great story. Jay Williams, my man. Jason Williams, white shark. And I went, this is a good story. I don't know if it's a good story, but it was funny as hell, man. So I lose, I went to bet from the bottom of it. I leave that all the time. This so-and-so. It hit me $5,000 in nickels. Oh my gosh, nickels? This is a true story. In the Sacramento Kings, I had to, he rolled it in. I didn't, he was like, this is your money because he was mad that he lost the bet. He was pissed. And so he then put them in the back of my car, had some people load it up and it gave me a flat tire in the back. That is the honest truth. And imagine this. Imagine going to the bank and then cashing it and then putting them in. Just imagine how- Oh my gosh. Yeah, so I didn't think of that too just now because we're talking about this, but Jay Williams paid me $5,000 worth of nickels and it caused a whole bunch of trouble that day. At least you had the money to fix the tire. I mean, you probably had it anyway, but you had it on hand in straight cash, I guess, as far as the nickels go. All right y'all, that's all I have for this week. Thank you so much to Chris Weber for joining me today. Hopefully y'all got some good bets and some good tips out of that and let's make some money.