me be the first speaker of the day so I'm not a bunch of nerves the rest of the time. This morning I'm going to tell you all about a hashtag that holds a special place in my heart and how it connects to the work I have done at Hallmark as a type designer. I'm assuming most of you have sent or received the Hallmark card before. For those of you who haven't, it's a family-owned consumer goods company that has been around for over a hundred years. Though they are best known for their greeting cards, they also make stationery, holiday ornaments, gift wrap, small gifts, and home goods. Ten thousand people work at Hallmark worldwide. Nine hundred of those employees work at the company as designers, illustrators, writers, editors, photographers, and lettering artists. Also included in that group are two type designers. In-house type design is not a new concept at Hallmark. In 1964 the alphabet group was formed by the late Myron McVeigh. Back then the purpose of the group was to create custom alphabets for use on phototype setting machines. We still make alphabets but computers and fonts have replaced those machines. Currently our font library has about 8,000 fonts in our collection. 2,500 are proprietary to Hallmark, 7,500 are from retail licensing. One thing I noticed when I started working at Hallmark was a lot of the projects I was assigned had women artists as a lettering source. As I started to see fonts in use on Hallmark products and was posting them on Instagram for my followers to see, I wanted to celebrate the fact that I am part of Hallmark's history of being a place a woman could succeed in the lettering and type design world. Though I constantly make an effort to work with all sorts of folks, I figured showcasing fonts that women have created would not only show my peers and type about the power and capabilities of women in the world of lettering and type design, but students and designers who want to take a type design class but have not had any idea where to start. So with that said, let me talk about some of the projects I have worked on over the years of lettering artists, designers, and illustrators that I really think you should know about. The first Hallmarker I'm going to talk about is master artist Lynn Ginta. I remember the first time we met. She had a whole gaggle of artists came to my desk to say hello. Her work is an extension of her personality, joyous, optimistic, and genuine. I really love her collages and how she incorporates imagery with letters. I recently attended one of her workshops and I must say she makes it look so easy. When I was assigned to make a font based off the word mark she made for Think, Make, Share, Hallmark's creative blog, I was a tad intimidated because I wanted to make sure I made something that she wasn't going to go, wow, that looks nothing like my work. When the project was given to me, I was pretty much told to make a font that looked like these subheads. We started having Lynn letter out the words and numbers needed for the font. The reason I asked her to write words over the letters is so I could see how she connects letters when creating words. Then I scanned them into the computer and used illustrator to sort through them, figuring out how much texture I wanted to keep in the font. These vector files were then put into a font editor. At Hallmark, we are proud glyphs users. When I'm making fonts that connect from letter to letter, I often start with these four lower case letters, N-O-R-N-S. With a lot of connecting fonts, it's ideal that all the letters connect in one way or another. Because Lynn's lettering was so loose, I decided to keep the lower case O's not connected by default. Once I got them into a place where I was thought the spacing between the letters and other connections were working, I started adding in high exits I saw from Lynn's lettering samples, which in her lettering was O-V-N-W. Once I got those basics into a place where I was happy, I proceeded withdrawing the rest of the letters. I also made another set of A to Z so it looks more like lettering typed out. After a lot of work, this is the final result. I made the developer turn on the open type features so all the entrances and exits were shown. I often give the lettering source first dibs on naming the font, but this time Lynn let me name it.  Lynn was absolutely thrilled at the name because she thought it summed up her word and how she makes work, a maker at heart. Barb Mizzic is a co-worker who early on put so much trust and confidence in me when I worked with her on several fonts. She's also one of those amazing artists who's been working at Hallmark pretty much her whole career. Her caring and love she shares of others seeps into her work. When I first started working in the font group, I used to watch her in all paint with watercolors at lunch. She also has a real knack for pattern and form and can letter in so many amazing styles. I recently saw this wonderful card she designed for the line and I just love it.  So back to the fonts. Our co-worker Ali was getting married and we threw a wedding shower. Barb made this adorable branding for the party. As we were enjoying the party, I kept thinking to myself, I want to make this into a font. Because I knew my art director would make me make more than just an all cap style with the intention of working them together when later, top of one another, I decided to make three fonts. This font would have an upper and lower case characters to make it more useful for designers. Because I knew Barb was amazing at drawing letters, I asked her if she could draw out the lower case for me. I had some ideas but I wanted to have her take on it. After some processes and art directing a little, we got the letters to a point where we both love them. Though the font ended up being really cool, what was been awesome about it is how's being used in a way Barb and I have never expected. Designers are always requesting narrow sans serifs that look hallmark. What I did not know is how folks would take the fine version and stroke it. Believe it or not, it doesn't look too bad. Though it adds another expansion project on my list. This is the beauty about working in house. You can test out stuff, make something and see how it goes. If something needs to be adjusted, it can be made with made adjusted without little issue. Jeannie has been one of those artists in the studio where I never thought to collaborate with her, but I'm glad I did. The first project we ever did together was taking her lettering and turning it into a font. What I love about working with her is how she unexpectedly opens me up to a new way of looking at what fonts can be. At Hallmark, Jeannie works as a designer and illustrator and is currently an art director for our department. She likes to think in shapes and though her work has geometry to it, it has a fun organic feel. When I came across Jeannie's line of cards for studio ink, I remember that we didn't have a ton of cool looking casual type faces that were smooth in our library. So I decided to do a collection of fonts based off her hand. The hardest part of this font was spacing. When I first showed her what I had during the project, she mentioned that she didn't think it looked anything like her hand. It was then I started to think about the spaces between the letters and her work and I realized that spacing it out really makes the font look like something Jeannie would do. I know this is probably horrifying some designers out there because we're always trained to be not loose on spacing but it just worked for this project so I just went with it. The next lettering artist is one I think you all should know about especially when she's going to be speaking in Kansas City in September at a conference called Made in the Middle. I first met Amber at my job interview and was taken back to how nice and welcoming she was. She was one of the people who was in my department that was my age but we both experienced and lived very different lives and worked in very different ways. Despite us being the same age, I look up to her. I love how the creativity just flows out of her but her appetite for learning is still there. I love how she always reinvents herself. In a way she was part of that reinvention for me in how I think of letters. Now she's a dedicated member of social content for Homeark Baby. I'm super obsessed with what she's doing for them in regards of advertising for social media. While we were still working in the same studio, we got a request from another department to turn this set of letters she drew into a font. They were told we were told that they wanted to focus on making the font look like it was done in chalk. I remember wanting to do some alternative characters for it but the deadline was two weeks and my art director said don't even bother this time. Instead I focused on the texture, something at the time that I was still figuring out. Back in the days when I was using font lab, it wasn't too bad to achieve the texture I wanted and liked. My only real concern was making sure that whatever textures I kept in the font would not crash the work servers. So I did a bunch of tests in a few glyphs to see how large the file would get. Because I knew there'd be some person who would be like I can't use all these points, I made a smoother version. I'm glad I did that because designers use both fonts regularly. The feature of Hallmark is bright and full of amazing women who in my opinion have accomplished more in their young careers than I have. I think about the time I was 26. I had potential but I was a mess and definitely a late bloomer. Livy Long is an extraordinary artist who has accomplished so much since she joined the lettering department at Hallmark in 2014. She just got promoted to senior artist this summer and there isn't a project she doesn't rock on. She's definitely an amazing young person who is sure for herself but never cocky or snotty. Livy does amazing work in and out of Hallmark. Most recently she did lettering from Dana Temanachi's project the illuminated bible. She always has tips for working out, eating healthy and getting me back into yoga. I'm 10 years older than her but I look up to her. Ever since I got hired we had been wanting to work together on a font. Years later we finally got the chance to on a cool connected script project. It was seriously Chris Met working with her. A wonderful exchange of us going back and forth. Though she did a lot of the initial web work I took over once she got these letters done and worked out diacritics and figured out some good solutions for some of the letters she wasn't 100% on. Believe it or not a lot of lettering artists are always requesting I check, adjust or expect me to redraw letters such as the letter lowercase c. I love how Livy uses her own font in her work. These are some of the cards Livy lettered for a line of cards exclusive to Walmart. What she often does to save herself time is to type out some of the words using the font and making adjustments when needed. This speeds up her own process and makes this lettering style accessible to other designers. Allie Smith has been at Hallmark for a few years. She started out as an intern in lettering and got hired after her internship and worked for as a greetings card designer. She has a very fresh take on the wedding and for wedding and holiday and can make the most vibrant colors look modern and fun. She also has a knack for making type look her own. This is some lettering and type treatment she did for a Hallmark calendar. I also cannot count the times I have bought wedding cards from her wedding collection she designed and lettered. Field Smith was a project I pitched to my art director because I noticed we didn't have a lot of mono weight scripts in our library. I was working on one but I wasn't feeling it at the time and after seeing Allie's lettering on the wedding card line I knew it would work really well as a font. I started by collecting a bunch of letters from her. Lucky for me everything she lettered was an illustrator using the line tool so I didn't have to like figure out stroking and glyphs. I just popped the letters in and then just used a noodler extension and figured out adjustments there. Once I got the vectors and glyphs I told her then what letters I needed from her which were mostly capitals and numbers. In this instance I didn't have her vectorize everything because she I had enough material to work with that I could easily take her sketches and translate them to look like letters she would make. After getting the lower case in a good place what I did was I used open type to make the her font look more like lettering. So what I did here was I just used a few lines of open type code to just lower lower the entrance and exit of the letters just so it looks like a natural loop. It's been so much fun seeing this font in the wild. Ali's back in lettering with us so thanks to Field Smith font other designers could utilize her work if need be. In this slide another designer Nan Tsinchai made a whole series of Valentine's Day cards and used Field Smith as the lettering. Having this proprietary font around is another way designers lettering artists and type designers can collaborate on work in an in-house environment. While we're on the topic of Nan let's just say she's a Renaissance woman. She's not only a great photographer but she's an amazing fantastic lettering artist and greeting card designer. She's always up for an adventure and exploring and hence become one of my dear work friends. Nan recently shared with me about how she went to college she was pre-med. Her older sister who was also a designer encouraged her to go for graphic design. I was following Nan on Instagram when she was still student so I was excited to have her come at Hallmark as an intern. She was on my list for collaborating on a font for a very long time but the right project never came along until one random weekend when we both happened to be at the office. You see I was hanging up posters around the office for Kansas City Design Week and I noticed Nan was working at her desk. She was working on a poster for an employee event and asked me if I had any suggestions for the hand text. She showed me all her sketches and I saw this amazing print and I told her to try that. She went hmm I think I might and then I left her to finish hanging posters. A week later I saw the poster and thought it would make a fantastic font. So the next time I saw her I asked if she could pitch to letter if I could pitch to lettering to be developed into a font and she okayed it and in about a month later my art director asked me if I wanted to work on her font and I said oh yeah so we got to work. I asked her to just write words and I also asked her to if she felt that it was coming out of her to try a lower case. She came back with three of these amazingly detailed pages of text. I had no problem grabbing from this for the font. One thing Nan and my art director agreed on is that we wanted to take her lettering and make it into a really clean font. So what I did was I took her sketches, I made path and glyphs and then once all the letters were created I figured out the stroking and then made the adjustments. This is the final result of that font. I really love it can be used simply or you can turn on the open type features and you can get all those little details that is something Nan would do. It's working and lettering from all these wonderful women that have completely gotten me out of my comfort zone as a typeface designer. When I first came to Hallmark I mostly wrote letters with a pointed pen. All these women have inspired me to push my styles. I can now draw letters. This job also allows me to try new things and push myself in ways that are completely against my norm. This is something I sketched up when I was in a black letter class with a retired Hallmark artist. I have recently hit the hundred fonts made at work and looking back is definitely like looking at a sketchbook. For me that's what's awesome about being a type designer. There's always room to learn and grow. Though there are days I really miss lettering I often will take on the random lettering project which gives me more ideas for fonts. I thought I would end this talk by talking about a font that completely took me out of my comfort zone and it's called Millie. My art director assigned me this project to create a font like this lettering he did and use a pre-existing Hallmark font as the starting point. So I started making the font and honestly I really wasn't feeling it. It just didn't look right. So I go to my art director and he agrees and asked to see all my process sketches which I showed him the whole pile. I pretty much used the whole sketchbook. He sees all this stuff and goes I really want you to use these as reference and I want you to pretend that you're a lettering artist trying to copy your own style. This was kind of my reaction in my head to that because I was like my goodness these are horrible sketches I don't want to turn this into a font but he asked me to do it so I kept going. So I get it to a place where I'm pretty happy with it and then he goes the spacing is not irregular. Make it irregular and this is what is happening in my head because I'm just like that is not what we do as type designers. But then like after a few days I had a epiphany and I just went okay I'm just going to go for it and make it perfectly and perfect. So this is what I ended up with and it was kind of scary putting it out on the servers because it was so unlike anything I would do personally. I would never make a font with irregular spacing but designers really took it to it. Like this was the first card I saw the first time I saw the font used on a card this is a singing card that they call Anthem. And then my favorite usage is on these anniversary cards. I mean it looks like I unlettered it which is pretty cool. So to end my talk I'm going to say this quote that I love from Margaret Kilgallen. Whenever I hear people talk about how there's too many fonts in the world or that lettering is oversaturated I think that maybe these people aren't looking beyond what they are inspired by. So here's it is. My hand will always be imperfect because it's human. If I spend a lot of time going over the line and over the line trying to make it straight I will never be able to make it straight. You can always see the line waiver and I think that's where the beauty is. Thank you.


నోඈయండియినోదానిసిం హరంటితికిగాక్గ హరామికినే సినిదిం ఆమి ఆమాయాక౟ి సికదికి కింట్కో మికమాకంటిక్టం. Thank you so much. It's the first week we have a full week of time. Yes, when we had them holidays. There's another holiday coming up sometime next week in a democracy day on June 12th. So many holidays in June. Well, let's just move on to the business of the day. So good morning once again. Let's talk about this whole fuel subsidy matter in the wake of it all. Label unions and demanding a revert to the status quo while negotiations are continuing tomorrow and needs demand for a view of wages for workers and a pending strike on Wednesday. Are these steps in order really Mukta? I mean, you know it's really about to kick right. They would definitely respond. And I think they responded well. Unity because we are saying that the government is meeting with the trade union congress and normally the trade union congress and the labor congress all meet together with the government. So hopefully we expect that the government should reach out to the largest trade organization is the Nigerian labor congress and see how they can resolve these issues. Will they reverse back? I don't think so. I don't think so. If you hear what they are saying we are not taking off reversing back but we are looking at policy that will reduce the hardship on Nigerians. That's what the government is looking at. And if I hear correctly what you said in your introduction and the government also is looking at tax holiday for workers. They are looking at other things. I think for me that's a good thing. I'm on their bookie for the removal of subsidy for over 15 years and I've been saying that subsidy is doing this economy no good. So finally if we have a president after taking the bull by the horn to do that we have to support him even if the way he went about it most of all we say okay, the speech you didn't have to do it the way you did it but definitely we had to do it. And we must not forget that the three presidential aspirants the three major presidential aspirants the EPC, the PDP and the labor party as always agreed on one thing they all agreed on during their campaign what that subsidy will go. So subsidy have gone and I think it's the right decision, okay but now we need to begin to look at subsidy payment in the productive area. There's no government that does not subsidize for its citizens and I like what De La Lac is saying if they are going to subsidize subsidy subsidizing the area of tax that would be fantastic because that is mean you are subsidizing from the productive sector of the Nigerian economy which is good. So that way okay, subsidy should be there or it should be in the productive sector where we will see results not in the consumption sector because what we are doing is like a man you are earning your salary and all of your salary you keep on spending it on consumption without investing it's good because our main cash guys we need to begin to invest it and then government can in turn take a bite in the productive sector of the economy by subsidizing that sector then it has an effect on the generality of the economy that's what we are seeing minimum wage alone will not do the magic that's what might be incrementing minimum wage alone will not do the magic but with what they are trying to put on ground now our main change is that we are using the growth sector in the era of machines that have been imported we look at software for manufacturers that could assess the effects at the unified good rates that were attract for foreign investors so those are part of the subsidy gift to the economy that is beneficial to everybody subsidizing the energy sector we are seeing that play out in other economies of living, Ghana, our neighbor here the united kingdom that we crave for productive subsidy, not consumption subsidy. All right, fine. Mokta, a whole lot has been said, but I have a concern really now. They are constituting committees, triaportite committee, which is going to include states, organized labour and the private sector to study the dynamics and come out with specific numbers. But how far can this go because committees would meet and labour is saying they are actually going on strike on Wednesday. Can we afford, as in Nigeria, afford another labour strike at this particular time? No, we cannot afford a labour crisis at this time. We have security challenges and we don't want to put them to a very peaceful thing that we are trying to do here. I think the best thing is to labour to give the government time, engage the government. But even if you say auto government was, this is what we are saying. This is what government should be doing without incrementing this price at this time. So in the boss field that you are putting them on the corner because you are supposed to engage them before, on all these things before you would have removed the subsidy. So it wouldn't cause the kind of tension, hardship that is causing. That's what we are saying. What the government is doing now is what they should have done. Immediately they came to power. The Mr. President would have made this speech like, we are going to be her meeting with stakeholders regarding the removal of forced subsidy. We start with the Nigerian Labour Congress. We are contributing with the private sector. That is the way to go. That is, if you say that you are going to be a government, that people are going to be a listening government, an engaging government, that is what you should have done first. But they are saying that it's never too late. It's late than never. So definitely let's see how I think is the right thing. But Labour should exercise patience and get themselves involved in this negotiation too. And I hope the government itself also are not trying to cause confusion within the Labour Union to cause divide and rule and then you cause commotion between TUC and NLC. I don't think that would be the right thing for the government. I think the government, if you are taking sitting with TUC today, I expect them to be sitting with Labour to collect what Labour's demands are because Labour is the largest Labour. We are talking about Labour saying they are going to strike and electricity workers are saying they are going to join them. A lot of people are going to join them. So when you look at the TUC, you see that the people that I have always thought that the major challenge of why we are here today because they are the ones that have been contrasting that subsidy must not be removed, subsidy must not be removed, the trade union Congress, Nupen and Pankas. So they have been the cause of the challenges that we are having now. So it would be good for the government to extend an olive branch to Labour, go and meet them and see how we can collect more strike is going to be more disastrous for us at this moment because the academic staff investing will join the Nigerian Medical Association will join. So it's more engaging for government to engage the Nigerian Labour Congress and then get the TUC also all involved and come out with a common template and both of them work towards one goal on reducing the suffering on the Nigerian because actually it's only a foolish man that will say that Nigerians are not hard hit by this inclement especially with the percentage. But again I can say we are going to a major surgery in this economy and that's surgery. You know when you postpone a surgical and they say that you are at risk. So that's why we have postponed the subsidy in top ten. So we are at risk. Okay Mokhtar, just before we leave this topic now just one final question. You expressed excitement about the tax holiday and of course the federal government is saying that it has actually mentioned the increase of minimum wage to a living wage in the president's inaugural speech but my question right now would be just how can that go when we talk of palliatives of assault because not all Nigerians will actually benefit from tax holidays. What kind of palliative would actually go around that will affect even those in the need to gritty? Definitely you think when you talk about tax holidays and if we have gotten everybody into the tax bracket the informal sector then you would have no what benefit this would have been to Nigerians because we are only looking at the formal sector because that is the sector that is highly taxed we have not been able to come up with ten ways to get the informal sector which would have added up to like 70 to 80% to our tax revenue and also improve our GDP so that's one work that this current administration would need to do so you would have seen the effect of a tax holiday so but I think that's work in progress now increment the minimum wage tax holiday it's not the only way out of the current challenges it's not just the only solution government will need to do for that like I have said there are subsidies in other areas most of the subsidies that can benefit every Nigerian has to be the subsidy that has to do with putting food on the tables of Nigeria you and I know so agriculture must be there must be there either support for farmers in terms of them getting credit to then the transportation subsidy also we need to come up with that and I'm not talking about just going to bring impulses and say take civil servants or take farmers or reduce costs means when there's subsidy I'm talking about looking at the value chain then you talk about infrastructure good food so that maintenance of these vehicles and all that so again the major challenge that we have that is causing our problem in this country even if you look at that is the exchange rate, that's what is driving inflation how do you address that if you address that you bring that inflation and you bring that cost of living alright thank you so much I'll just take a quick break we'll be looking at the issue of unifying our multiple exchange rate and what it means to Nigerians and of course in the country in the moment business insight returns shortly don't go away


Hi and welcome to the session. I am Asha and I am going to help you solve this question of your textbook which says write the degree of each of the following polynomials. As we know the highest power or the exponent of the variable in a polynomial is called the degree of the polynomial. Therefore, let us write it down degree of a polynomial the highest exponent of or the highest power of the variable. This is the key idea of which you should be aware before finding the solution of this problem. Let us now start with the first one. First is 5x cube plus 4x square plus 7x. Now here on observing this algebraic expression we find here that the variable in this polynomial is x, exponents are 1, 2 and 3 and the highest exponent is 3. Therefore, the degree of this polynomial is equal to 3. So this completes the first part and now proceeding on to the next one where we have to find the degree of 4 minus y square. Now here the variable is y and the highest exponent of y is what is the exponent of y. Here there is only one term which contains y and the highest exponent is 2. Therefore, degree of this polynomial is 2. So this completes the second part and now proceeding on to the next part which is 5t minus root over 7. So this is a polynomial with variable t. Highest exponent of t is 1. Therefore, degree of this polynomial is equal to 1. This completes the third part and now proceeding on to the last one which is 3. Now 3 can be written as 3 into x raise to the power 0 since x raise to the power 0 is equal to 1 and 3 multiplied to 1 gives 3. Therefore, writing 3 as 3 into 1 and in place of 1 writing x raise to the power 0. Now on observing this monomial we find that here the variable is x and its degree is 0 since exponent of x is 0 and this polynomial exponent of x is 0 and hence the degree of this polynomial is 0. So this completes the fourth part and hence the solution. So hope you enjoyed this session. Take care and have a good day.


Inner Sanctum Mysteries Good evening friends of the creaking door. This is your host to welcome you in the Inner Sanctum.  Friends, if you ever walk through a cemetery at midnight and see a girl whose hair is on fire and who's carrying her head under her arm, you know what to tell her don't you? We'll just say, keep a cool head on your shoulder and run like crazy. Right fellow ghouls, you know what's going to happen now don't you? That's right, you're going to scream your little heads on and love it. Ready? Go. And let's hear our star Agnes Smallhead in the role of Claudia tell us the story in her own words. At exactly midnight I saw him for the first time. My headlights picked him up when he hailed me along a lonely stretch of road near my home. I wouldn't have stopped, but the storm was so fierce I felt sorry for him. I drew up to the side of the road. Thank you. Going far? No, not far. Where to? I'll let you know. Where? There on the side. Tombstone. Oh, there's a cemetery where I picked you up. Yes. Birch lawn. He said nothing for a few minutes. In the reflection of the dashboard light I saw his face for the first time.  I realized he was staring at me. I've seen you before. I don't think we've met. I know you. Are you sure? Yes. I'd never forget someone so beautiful. Really? Your Claudia Dale. Why, yes. You're married to Howard Dale. Yes, that's right, but I don't seem to place you. No, you wouldn't. I know quite a lot about you. Do you really?  How do you know that? He died eight years ago. A suicide. Who are you? Don't know me. Be careful, you're speeding. I'm sorry, I didn't realize. You're trembling. How do you know so much about me? I just know. Really? I suppose you have second-sight or some such rubbish. It's not rubbish. Well, then tell me where I'm coming from. Pittsfield. You dare.  You couldn't get that. Would you care to know more of yourself? No, I... I don't find your little trick particularly amusing. Besides, what else do you think you can tell me about myself? Your future? No. Your present husband is dead. Howard! Murdered. Oh, you're lying. You'll find his body on the floor near the piano of your living room when you get home. There are two bullets in his head. You get out of this car. You hear me? Get out. I suppose that this is where I wanted to go. Good night. And thank you, Mrs. Dale. He vanished in the shadows on the side of the road. And then I noticed something white and shining clearly at the spot where he disappeared. I looked closely. It was another tombstone in another cemetery. Madly for home fighting the hysteria that seized me, the night light was burning in the living room. Nothing he had said could be true. Howard would take me in his arms and kiss me when I stepped into the house. Somehow I managed to get my key in the lock. I ran into the living room. Behind you, I've got a gun. A gun? Get away from the body. Sit down. Don't touch me. I said sit down.  You don't have to scream for the police. Here's my badge. Detective Sergeant Quinn, homicide. Yeah, drink this. What is it? My husband. You sure? About 20 hours ago? Four yesterday morning. Oh, you know. One of the bullets went wild, hit that clock on the metal. Where were you yesterday morning? Pittsfield.  Look at these things. I took them out of his pocket. They all his? It was a snake ring. There were no rings. But he had one. It was quite valuable. He was never without it. I gave it to him. All right. Now look. Did he wear it on the third finger of his left hand? Yes. Yes. There's a mark, but no ring. When did you come here? I drove in behind you. You left the front door open. I think I know who killed him. Who? A man I met on the road coming here. He knew my husband had been murdered. He did. He even said his body would be near the piano. Why did you see this guy? Or 20 minutes ago, I picked him up on the road. Where? At Birchland Cemetery. What's his name? I don't know.  I never... You don't believe me.  You heard me. I told you I was in Pittfield. Why did you go there? Martha was ill. Were you there at four yesterday morning? Of course. Don't lie. Stop shouting at me. I told you who killed him. What are you trying to do to me? Isn't it enough to come home and find Howard like that without you? Have a scotch landing. I'm leaving. Sit down. Don't go yet. You? Yes. But you please sit down. Yes. Are they making it difficult? Oh, it's a nightmare. Who are you? I'll tell you later. Why'd you come here? To talk to you. I knew I'd find you here. Oh, yes. If you knew. You're not so skeptical now. No. What did you want to tell me? That you're the most beautiful woman I've ever seen. That I love you. I've loved you since I first saw you seven years ago when you came here to live with your husband. Is that why... Why I killed him? Is that what you were going to say? Yes.  On this card you'll find my name, address, and telephone number. Do you really believe I'd phone you? Oh, yes. There'll come a time when you'll want love. Good night, Mrs. Dale. Get me a police headquarters. Hurry, please. Thank you, Mrs. Dale. Would you mind coming down to headquarters, Mr. Bagman? Not at all. Did she tell you I murdered her husband? Yes, because I thought she would. I didn't sleep a wink that night. Twice I got out of bed and drove to police headquarters. The lights were blazing in Quinn's office, but I didn't go in. The third time, I couldn't bear waiting. I went in. Oh, Mrs. Dale. Well? I'm glad you stopped by. We checked everything Dragman said. Seems he was in the same bar and grill where you met him tonight when your husband was killed. What about the things he said to me in the car? How could he know about the murder before you or I? I don't know. Perhaps he does have second sight. He's an odd-looking fellow, isn't he? But you can't arrest a man for murder because of that. He's criminally insane. I know he is. My dear Mrs. Dale, I... He is! I know... What's the use? I had loved Howard. I was determined to find the man who murdered him. I went to Darth Dragman's home. I was about to ring the doorbell when... Don't ring, Mrs. Dale. The door is open. You... You were expecting me? Yes. I was expecting you.  I don't know what to think anymore. Do you want me to find the person who murdered him? Yes. More than anything in the world. I have strange gifts, Mrs. Dale. I'll... I'll find your murderer for you... On one condition. What's that? That you marry me. I felt my body turned to ice. I knew I was talking to a man. I was sure I was talking to the man who had murdered my... Or maybe you think that Claudia doesn't have the courage to trap this... Homicidal Romeo. Well, we'll let our star Agnes Morehead on the roll of Claudia tell you. Go ahead, Claudia. Shock him into the shakes. Two weeks later, I married Darth Dragman. He was the strangest man I ever knew. He would disappear for days at a time and then suddenly turn up without warning. He had all the money he wanted, yet I never knew where it came from. There was a closet in his room which was always kept locked and bolted. I knew from the way he acted about it that the closet contained the answer to all the things I wanted to know about him. One night, while he was away, I obtained tools and tried to force the lock. Good evening, Claudia. You didn't expect me back, did you? No, I... I knew you'd try to open that closet someday. Why do you keep it locked? So that no one but me could know what's in there. Not even me? You in particular. I won't attempt to open it again, will you, Claudia? No. Forgive me for striking you. But I'm not quite myself tonight. I sometimes do things I regret when these moods come upon me. Yes, of course. It's something few people know, but a person who has extraordinary powers carries an extraordinary burden. You mean your gift of prophecy? Yes, yes. I didn't care to mention it. It seems to upset you so. I said it doesn't frighten me any longer. Did you read any newspaper about a woman's body being found in the river? She'd been murdered. Yes, it was. In this evening's paper, they don't know who she is. I can tell you who she is.  I could have told you three days ago that she'd be murdered. How do you know these things? I see them in a sort of vision. Just now I'm seeing another vision. It's a house three, four, six harbour street down near the waterfront. A young woman lies in bed reading. She's very attractive. In an hour, she'll be dead. And when the police come, they'll find her body decapitated. God! While you were gone, Martha Wallstone telephoned. She asked me to come up immediately. Why didn't you go? I was waiting for you to get home before I left. You want to leave immediately? If you don't mind, it's really an emergency. It took only a few minutes to get to the waterfront. I found the house of three, four, six harbour street. I went in. The lamp in the bedroom was burning. I looked at the bed. All right, Mrs. Dale. They can sit up now. Detective Quinn? Yes. I hardly expected to find you here. I came because God's dragon predicted this would happen. No, Mrs. Dale. You still don't believe me.   Now I suppose you're going to accuse him of this murder, too. Yes, this, and heaven only knows how many others. Mrs. Dale, don't you realize that you haven't got a single piece of evidence to back up your contention? Well, I'll get the evidence tonight. Will you let me have a gun? No. Well, will you be near my house? I'll need protection. Now, after all... Look, look, I do to convince you what he is. I've risked my own life, and I'm willing to risk it again. He's a monster. Are you going to wait until he murders me before you believe what I say? All right. I'll give it a try. I'll come back to your house with you. If you want me for an emergency, smash the windowpane. We drove back together. I dropped Detective Quinn on the corner. The house seemed deserted when I came in. I wasn't taking any chances. I went to the kitchen, got a knife, hid it in the folds of the long sleeved gown I was wearing. I went into Garth's room. He wasn't there, but the closet door was open. What I saw in there nearly made me ill. Clothes. Garth's clothes. Some of them bloodstained. I forced myself to examine them. Then I found something that made my heart beat faster. A little jewelry case. I'll take that case. Give me that jewelry case, please. No, no, don't take it. I get away from that window, Claudia, do as I tell you. Oh, no, don't, don't shoot Garth. You were so anxious to see what's in that closet. Well, now you have. Sit down. What are you going to do?  You? No. You. You're insane. I've written out a confession for you to sign. What will happen if I don't sign it? I credited you with more imagination. Would you like to hear us? Yes. Yes, read it, please. Sit over here away from that window. Yes. I, Claudia Dale, murdered my first husband, Willard Banks, for his insurance by administering poison. My first husband? Yes, Claudia.  I've got all the details here.  Shall I go on? No, you know it's a lie. Will you sign it? Of course not. Just what is your game anyway?  You've been very successful before. There's no reason why you shouldn't succeed again. Go on. Go on. Shoot. You put me in a very difficult position, Claudia.  I should prefer to see you live. Because I love you. But I shouldn't hesitate to murder you. You love me? Yes. Yet you haven't taken me in your arms once since I've known you. The right time hasn't arrived. And what do you consider the right time? When I feel that you understand me. When I feel that you who murdered two men would understand my deep and strange desires. You really believe I'm a murderer? Yes. But that's why I love you. Then the time is now. The time? To take me in your arms. Claudia. He still held a gun. It wasn't more than two inches from me. I turned my lips up to him. I twisted my body to get out of the range of his revolver. When I felt his lips touch mine, I slowly let the knife slip into my hand. Slowly, caressingly, I drew my hand up toward his neck. Then I plunged the blade in. Claudia! Bring that was missing from my almond body. Now do you believe me? Realize that you with the district attorney must know all the facts. And there they are. Thank you. There are a few points in the story that interest me particularly. First, the confession that he asked you to sign. What about it? The confession says that you were not in Pittsfield at 4 a.m. when your husband was killed.  Then you gave her some medicine to impress the time on her. She thought it was 4.15 and went back to sleep. Well, God was very clever at things like this. He had the extraordinary brilliance of the insane. Just one question. Was that the way that you murdered Howard Dale? Ah, murdered him. The ring from him. He never had the ring. You put it in the jewelry box. I can't believe what you say. God was a homicidal maniac. He predicted the death of the people he murdered. Mrs. Dragman. Don't you know yet... Know what? God, Dragman was a detective working out of my office. That's how he knew about those deaths. He was put on the case because we suspected you of murdering your first husband as well as your second. Yes.  It's extremely daring and clever of you to murder him. And you never would have gotten away with it if he hadn't kissed you. He kissed you because he fell in love with you.  Well, friends, that just goes to prove you should ever pick up hitchhikers who come out of cemeteries at night. I'll bet you'll guess tomorrow for our story. Well, it's taken from a famous quotation that Harry the Hangman uttered during a nightmare. Quote, Never steal the rings of people you murder on a condo. That's robbery. Well, friends, it's time once again to close that creaking door. Until next week at the same time, when we'll be back with a little hunk of horror. You'll be sure to listen, won't you? Until next week, then. Good night. Pleasant dreams.