Aaron your confidence is really never wavered with this team and there's a lot of baseball left to be played But to now be tied with the Red Sox in the standings. Just what does that say about the hard work that this team has put in? It's it's a team that has a lot of heart Playing with a lot of confidence But we got a long way to go, you know, we we got a we got to continue it. We got to keep the keep the foot down on the gas and Continue to grind away because it's it's going to be a tough road ahead still but The the group is is a confident group and I think they know what they're capable of Pinching obviously played a huge role here in the second game. What did you think of heel overall? Good, you know had some walks out there, but you know That's a big game out there, you know Red Sox Yankees in August playing for a lot and I thought he was unflappable, you know, he just he really locked in Concentrated on making his pitches and look when he's in the strike zone. He's he's difficult to to hit He's got the stuff to get really good teams out he made some big pitches tonight when he had to and And gave us a really strong outing and put us in position to win another game You called on Wadi Peralta in a big spot there bases loaded You've used him in high-leverage situations lately just how much has your confidence in him increased over the last few weeks a lot a lot You know, we you know ever since we got him early in the year. He's he's had some flashes We love the makeup and the stuff and You know, I know he's not you know, he ain't afraid of a big moment either a big spot he wants the ball and You know, I did a great job for us tonight and set us up big time Go to Jake Siner Voight had what ended up being the winning it in both games today It's getting hot right as you have Rizzo obviously getting ready to make the turn Just how is look making it harder to think about having to put him on the bench more often with Rizzo there Just where are you back with what you think you're gonna do with those guys? We're day by day man Luke Voight's a really good player in this league and a really good hitter And he's come up with some big hits obviously today you know on the weekend and It was great to see him get off a really good swing the other way to tonight to get us on the board so You know you start thinking how you Envision it going in this game will change on a dime So the bottom line is he's in a good spot. He's he's a good player and and we're gonna need everyone Go next to Justin Shackle Aaron you mentioned to Meredith how tough of a game this was with the Red Sox What do you think Kevin feel poised? Well, I think it helps when you're confident in your ability and the reason you're confident in your ability is because it's You got a lot of it. He's got a lot of ability He's got a lot of weapons out there to get big league hitters out with and you know, I think he goes out where out there with knowing that if he executes He's he's gonna have the upper hand and I think he's pitching with that confidence I think he he clearly likes being here and and you know, I Think pitching with this team I think he's having a lot of fun and I think when you combine confidence with going out and playing the game to have fun That's a dangerous combination Brendan Cuddy, please unmute Here and you were 10 and a half back from the Red Sox on July 5th Just what would you say to the people who didn't think you guys have this kind of run this kind of resurgence of Nothing, I mean, I don't really I don't know who said it. So I don't have time for it It's you know, we the bottom line is that's great. We've climbed back in but we got a long way to go and We are we are focused on the task. We are focused on on on the daily grind and you know I like where our clubs at and feel like we're playing with a lot of confidence and playing well, but you know We ain't done Just how impressive was that play by onesie?   He controls the running game really well. He's got a really good move He fields his position. He's a good athlete on the mound and and and that was on display on that play Go next to Dan Martin. All right. You kind of touched on it, but is there a difference? In the mentality what when you're not chasing someone at this point You guys have been chasing for so long now. You're kind of in the in the driver's seat when it comes to the playoff picture I don't look at it that way We we got to play really good baseball if we want to get to where we have to go So whether we're chasing ahead, whatever we got to play well We got what do we have a little over 40 games left? I guess bottom line is you know It's it's nice that we're in a position that we're in control of what we do. We're in control of our season But the bottom line is to really we haven't done anything yet We got to go play well these final 40 plus games to put ourselves in a position to do something special later in the year


Okay, let us move to next few questions This one. This is an interesting question. So, let us try to solve this take some time no, hurry Whatever you do do it properly and try to get some where This is question number 11 That's one hint I want to give if you Displace the lens vertically horizontal distance will not change Okay, so let me solve now Now the first image Here we have focal length f1 for the First one and focal length f2 for the second one. Okay, small D is less than both f1 and f2 Okay, so we have the paddle beam of rays coming from the left-hand side So where it will coincide or where the image will try to get formed Image will be getting formed at the focal length right, so somewhere At a distance of f1, let us say This is where the image is getting formed. So this distance Should be equal to f1 right, so but then There is a second lens Okay, because there is a second lens actually may will not get formed there This is this image, which is the image of the first lens Will behave as an object of the second lens. Okay, so in order to find the Final image distance. I need to use the lens formula for the second lens So 1 by v minus 1 by u is equal to 1 by f2. Okay now We represents the final image. Okay minus. What is you use this distance? Because I am applying lens formula for the second lens right and that distance will be equal to f1 minus D Okay, because f1 is a positive quantity focal length of a convex lens This is equal to 1 by f2 Fine, so I will get v to be equal to f2 times f1 minus D Divided by f1 plus f2 minus D Okay, now This is the final image So maybe final image gets formed over here somewhere and this distance is given as this Okay, but what is asked is the x coordinate. So x coordinate will be what this It's distance from the second lens plus small D. That is the x coordinate, right? So x coordinate will be equal to v plus D Okay, then you'll see that x coordinate will come out to be this Okay, which is in the option third and fourth both have x coordinates Okay, so 1 and 2 they are out of question now. So it is between 3 and 4. All right Now you can play smart here little bit and say that anyways Since the lens is displaced vertically. So vertical displacement of the image will happen Why coordinate will not remain 0 so you can mark option 3 and move ahead. Okay, that that is like Playing smart here and not taking some risk and moving ahead But then if you actually want to find the answer here, then you know, you can find out Like this first of all You have to understand that principal axis for the second lens is Here somewhere. Okay, and object of The second lens is on the principal axis of the first lens because image of the first lens is the object of second So this is the object for the second lens Fine now this object I can treat it like an extended object for the second lens, okay, because What is the object's height objects height is its distance? Vertically from the principal axis Okay, so I can just track where this tip of the object goes After the refraction from the second lens and that is where the image will be Okay, so magnification of the second lens is basically V by U Okay, now V is this and U is what you is F1 minus D So V by U becomes F2 divided by F1 plus F2 minus D This is the magnification, okay This magnification should be equal to size of the image divided by delta, which is the size of the object So height becomes equal to F2 delta divided by F1 plus F2 minus D Okay, now this is the height from the principal axis of the second lens Okay, but why coordinate is what why coordinate is distance from the First principal axis because first principal axis that is a principal axis of the first lens is the x-coordinate Sorry is the y-coordinate All right. So sorry for that This is the height from the second principal axis. So distance from the first principal axis will be H minus delta because delta is a distance between two principal axis Okay, and that's how you get this as the correct option option number three fine So slightly difficult question. So if this kind of question comes in J mains, I know I hope what you have to do You know, you have to leave this type of questions.  Okay, so this question If it if something like this comes it has to be from J advanced, okay? All right. So let us take up other questions So the 12th question is a single slit experiment. Okay and the distance between the First minima on either side is nothing but the width of the central maxima and Width of the central maxima. I hope you remember is lambda d by 2 lambda d by a Okay, so this will be written as 2 into lambda which is 6 into 10 is power minus 7 capital D is 2 Divided by a now a is 10 is power minus 3 Okay, so you will get 2.4 mm So question number 12 option 4 is correct Why are you saying to oh? Guys be careful, okay distance between The first minima on the either side it is saying okay The distance of the first minima is lambda d by a distance between two minima's on either side is To lambda d by a Okay, others. What are you getting question number 13? Poor week retracted its message his message Poor week said they will remain parallel and he said option one is correct See this ray these two rays. They are hitting the First surface along the normal right, so they'll just go straight and Then hit the other surface fine You want me to do this now? Anyone got the answer? No one. Okay. Naman is telling one answer others Okay, let me solve now. What is this angle of incidence? This is 60 degrees So this is also 60 degrees. So angle of incidence is 30 degrees Okay, now it will bend away from the normal right so since prism is the denser medium. So it will bend Like this Okay, it goes like that so this angle is Let us say our Okay, this is I so I can say that 1.44 sign of I is Equal to 1 into sign of R Okay, so sign of R is equal to sign of I is what sign of I sign of 30 which is half Okay, so this is point 72 alright, so R becomes equal to sign inverse 0.72 Okay, now the option is with respect to what angles these rays are making okay, so if I get to know What is this angle then double of this angle will be the answer? Yes or no? Because other ray will also come like this same angle the other ray will also make Okay, so double of this angle will be the answer now. How much is this angle? If I know I and if I know R what is that angle equal to be if I extend this line Like this what I'll get here is that this angle is This angle Getting it now this angle is nothing but R minus I Okay, because total angle is R okay, and This angle is I so this angle will become R minus I okay, so two times of R minus I Is the angle between the two rays? So that will be equal to two times sign inverse of point seven two Minus two times Well, let's keep two common minus 30 degrees Okay, so that is our option number three is correct over here fine Any doubt on this question guys type in yes or no quickly. I'll move to the next one Okay, all of you got 14th a diminished image of an object is to be obtained on a screen One meter from it. This can be achieved by placing Convex lens of focal length less than point two five meter concave lens now first of all this is Getting formed on the screen right so since it is getting formed on the screen it has to be a real object Okay, so plain mirror creates a virtual object. Sorry virtual image So since it is formed on the screen it has to be real image So plain mirror is not possible even convex mirror forms virtual image Even this cannot be put on the screen right and then concave lens also Will create a virtual image so it has to be option three only Okay, now let's talk about the 15th one and I Specialist prescribes practicals having combinations of convex lens of focal and 40 in contact with the concave The power of the Combination so you can see that similar concept was tested in J earlier also So simply you need to write down the combined power as one by F1 should be in meters plus One by F2 now you have to take care of the science also it is a concave lens So minus of point two five you have to write Okay, so I think you'll get What minus one point five? Okay, this is equal to four and this is ten by four so Yeah Okay, so let's quickly move to the next few questions So you might be seeing that majority of the questions are straight forward from this chapter but Sometimes questions get twisted. So there is a high chance that an easy question will come from this Particular chapter. I mean these two chapters. So make sure you Do good amount of practice because high chance that? You know if you do some practice, you will get the Answer in the exam This is not Okay, all of you getting question 16th answer as pi As an option number three It's a single slit experiment of Okay, let me solve question number 16 those who have got 16 can move to question number 17 parallel monochromatic beam of light incident on a narrow slit So this is the narrow slit it incident here diffraction pattern is formed Here in this screen, okay At the first minimum of the diffraction pattern the phase difference Between the rays coming from the two edges of this slit is what? Now first minima location You should know Suppose this is distance y. Okay. This ends y should be equal to lambda d by a where a is the Width of the single slit, okay Similar expression comes for the maxima in the double slit experiment, but for single slit experiment This is what the case is okay minima happens to be at a distance of lambda d by a Okay, now we need to find the phase difference between the rays coming from the two edges of this slit, okay now Let's connect these two rays. So one is this one and Other one is this so we need to find the phase difference between these two Okay, now we know the standard procedure of finding the phase difference, right? You drop a perpendicular on All right, so we are live. All right. So there is a standard way to find the You know phase difference or path difference. You just drop a perpendicular like this and This is the path difference. This is delta x okay now In order to find delta x what we typically do is we connect this line like that Okay, and then, you know, right this this is the angle theta Then even this angle is theta. So delta x is This distance which is a sign of theta, okay? And if theta is very less then delta x I can also approximate it as a tan of Theta fine. So this is delta x now corresponding to this delta x The phase difference is 2 pi by lambda into delta x so 2 pi by lambda Into delta x which is a tan theta now tan theta is what y divided by this distance, which is d Okay, y is what lambda d by a Divided by d which is tan theta. Okay. Now you see that Lambda get cancelled a get cancelled and d get cancelled. Okay. So phase difference is 2 pi Okay, so 16th option number 4 is correct Many of you have said 3 right Okay, so I guess you have tried question number 17. Also, let's see how we can go about it Now this kind of question where it there is no definitive Option as in it doesn't talk about Distance being 5.4 centimeter or 20 centimeter like that. It doesn't talk about a definitive statement, but it just tries to You know find out the estimate of it where exactly it will be between which and which point This can be done best by using ray diagram. Okay Now, let us see how we can utilize ray diagram to answer this question We have concave mirror, which is placed on the horizontal table This is the horizontal table. So we have a concave mirror like this this is the concave mirror and axis is Vertically upwards. Okay. So this is the axis. Oh is the pole and C is the center of curvature. So let's say C is here Okay, a point Object is placed at C only. So there is an object here. Okay, so the image will be where right now Image will be at C only Okay, because whatever ray that comes out of C will hit the mirror normally. So the ray will retrace its path Okay, now we are filling The mirror with water. Let us say this is the water Okay, so if I fill this with water What will happen here is that the ray that was normal to the mirror Suppose this ray if it keeps on going Then it will hit the mirror Normally and the ray will just reflect back But what will happen now because of the refraction the ray will bend towards the normal, right? So if I zoom this I will get a situation like this suppose Ray is coming like this this is the normal to the Water-air interface so light will just bend Towards a normal like this. Okay, and this is the Path for the normal this thing. This is the path for the As in This is the path where it hits the mirror normally. Okay, now it will hit like this. Okay, so for the mirror the object is Object appears to be somewhere there at the top beyond C Okay, then only light will you know appear to bend towards a normal So the image is slightly away from the C. Okay, so that is why when image is slightly away from C The object will come Closer to the as in between O and C it will go Right, so it will be a real image located between point C and O all right, so this actually Will be solved best if you are able to Analyze the ray diagram. Okay, because there is no definitive statement over here. You just have to just you know Evaluate the options. Okay, all of you clear about this any doubt type in yes or no All right. See anyways, this is getting recorded. So you can always refer this any moment So what is the answer for 18th again? It is an theoretical question, right? It's a theoretical one All right, should we solve now? Fine question number 18 first of all yellow light will be like of the order of 500 Nanometers right and This is a wavelength of yellow light and wavelength of X ray is like Think one two hundred Armstrong Okay, or whatever it may be you know that the wavelength of X ray is very very less than The wavelength of yellow light or frequency of X ray is very high compared to the frequency of yellow light. Okay now in the Young sorry in the single-state experiment or In fact in the double-state experiment also both of the cases the assumption is that the the size of slit is Comparable to the wavelength Okay, now if you use X ray the wavelength is so less that for X ray It is not a small hole It's not a small hole where you can see it say that it's a single-state experiment Right, it's not a narrow opening for X ray. It is like, you know a huge opening So there will be no fringes that will be observed So that is my option number four is correct over here Okay, because light will bend From the edges or diffraction will happen only when wavelength is comparable to the size of the hole Okay Now to the 19th one 19th. What do you think is the answer? Okay, now this is a thin slice of the cylinder Thin slice that cut out of the cylinder. So this cylinder actually it's a part of cylinder that comes out of your screen Okay, so When you look at this ray, okay And if you look at all the rays suppose are hitting along the line Which line is coming out of your screen then all of these line Will be similar right they will encounter same amount of path difference They will have any you know refraction over here Like like this it will go and then it will Simply bend away from the normal and then reflection will happen So all the lights which are in this line the line which comes out of your screen will encounter this scenario Fine, so there is a line symmetry over here Fine, so there is a line symmetry does not a circular symmetry. So that is why it will be straight the fringes will be straight Okay so these are I think These are not numerical. So you just have to know actually some concepts to solve these theoretical ones But it is very easy to go wrong in these theoretical questions because You know you can think in any direction. So it becomes tricky at times Whereas numerical you'll get a definitive answer. Oh You're saying option D fringe is spacing is spacing Increases as we go outwards see outwards means you are Coming out of the screen. Okay, if it is straight Then there is no question of spacing when you are coming out of the screen because along the same screen same Along the one straight line. There is only one fringe. Okay In last option, it was not clearly written whether it is a straight or a circular Fringe they are talking about when they talk about spacing Okay, good that you have answered the second one Initially in a compound microscope the intermediate image. We know intermediate image is inverted real and magnified So this is just knowledge-based question. If you have studied Your NCRD properly Then you'll get it immediately Question number 20 Are you able to read it properly because the font size became very less a Should I upload it again? So 20th question is on the lens maker formula So we have this formula 1 by f is equal to mu 2 by mu 1 minus 1 multiplied by 1 by r1 minus 1 by r2 Right, so yes. Okay. Okay fine Legible Now it is fine Anyways Fine, so we have a concave lens which has effective index 1.5 So basically mu 2 is refractive index of the material which is 1.5. Okay, so same radius of curvatures were there All right in the concave lens So it was like this This is the concave lens, right? So So basically for this Rates of curvature if you take minus r and for that side you have to take it as plus r Okay, so r1 is minus r and r2 is plus r Okay, so When you immerse in a medium of refractive index 1.75 then what will happen? Let's say 1.75 minus 1 1 divided by minus r minus of 1 divided by r Okay, so this will become equal to 1.5 minus 1.75 to minus 2 by r Okay, so this is 1 by f Fine, so you are getting focal length as positive. So f is Greater than zero so focal length is positive means what it means that when parallel rays come and hit this lens It will get converged forward then only you'll say that focal length is positive, right? So it becomes a converging lens Okay So concave usually is diverging but when the mediums refractive index becomes more than The material refractive index the same Diverging lens becomes or it will act as a converging lens. Okay, so it becomes a converging lens So option 3 and 4 they are out of question Okay All of you answered third for this Focal length is 1.75 divided by 0.25 Into r divided by 2. Okay, so this is This is 4 into point eight seven five times r Which is 3.5 times r Okay, so question 20 option 1 is correct How do you know r1 is minus r? See r is geometrical property if it is a concave lens, right? So this side should be like this Okay, so central curvature will be on the left hand side Okay, so if central curvature on the left hand side your amazing distance from here You are moving against the incident rate, right? So for concave A Surface radius center curvature is this side, right? But that is a reason why radius of curvature of this side is negative You we are using sine convention All right


Now, Roma Wine, R-O-M-A. Made in California for enjoyment throughout the world. Roma Wines, present. Suspense. Tonight Roma Wines bring you Mr. Robert Young as star of the High Wall. A defense play produced, edited and directed for Roma Wines by William Spear. Suspense, Radio's Outstanding Theatre of Thrill. It's presented for your enjoyment by Roma Wines. That R-O-M-A, Roma Wines. Those excellent California wines that can add so much pleasantness to the way you live. To your happiness and entertaining guests. To your enjoyment of everyday meals. Yes, right now a glassful would be very pleasant. As Roma Wines bring you Robert Young in a remarkable tale of... Suspense. I woke up in bed. Nothing strange about that except that it was a hospital bed. I couldn't imagine how I got there. I didn't remember any accident. I didn't feel sick. Why the hospital? I laid there trying to puzzle it out. Last night was Christmas Eve. I was stopping at the Beacon Hotel in Boston. I was going to get up early this morning and go to Fitchburg and find Helen, my wife. After three years of separation it would be nice to be with her again on Christmas Day. I turned in bed and looked out of the window. Christmas. Why it was summer. There were trees and grass and flowers and bloom. I guess I twisted around or something because the next thing I knew a girl was leaning over me smiling. Hello there. Feeling better? I guess so. Am I supposed to be sick? Well, no. Not if you feel all right. We were beginning to get worried about you. You didn't seem to want to wake up. We? Who's we? Oh, Dr. Dunlap and all of us. What happened to me? Why am I in a hospital? You've been very ill. Don't try to think about it, Mr. Lewis. Just get well. You're Amy, aren't you? That's right. Good for you. Amy. How did I know her name? Why was her face so familiar to me? I tried to think and suddenly I remembered. I'd been dreaming about her. One dream I was up to my neck in quicksand and she was trying to save me. She was crying and her tears fell on my face and she kissed me. That would have to be a dream, wouldn't it? Still as I looked up into her eyes, it seemed very real. I could almost feel her lips. I dozed off thinking of her and when I woke up, Dr. Dunlap was standing beside my bed. Well, Mr. Lewis, Miss Adams tells me you're bright and snappy this morning. Yeah. Any reason why I have to stay in bed? Well, none at all. If you feel able, we'll get your clothes and Miss Adams will take you down to the Solarium and you can sit in the sun. Now, how's that? The Solarium was a big blast in Buranda where the patient sat around and took it easy. Played cards, read, and talked. It was quite a crowd when we walked in but nobody seemed to notice us. Amy, Miss Adams, introduced me to a girl who ran the newsstand. Her name was Ella. She sold cigarettes, candy bars, magazines. I sat down over to one side and looked the people over. Nobody seemed very sick but they said silly things and laughed a lot. One man acted like he was catching a ball and throwing it to second base. Then he'd argue with the umpire where a bad decision and suddenly it hit me like a smash in the face. This wasn't a hospital. It was an insane asylum. I jumped up and Amy put her hand on my arm. Dr. Dunlap appeared out of nowhere and pushed me back into the chair. I'm not excited. I just found out where I am. That's all. Let's go up to your room and talk it over. Talk what over? I'm in the wrong place.  Get me out of here! Mr. Lewis, please, you're making a disturbance. Go along with... Let loose! Doctor, I can manage. Then please do it. We'll have a riot here if he doesn't quiet down. Mr. Lewis, you don't want to get me into trouble, do you? We were getting along so nicely. When she put it that way, I let them take me out of there and up to my room. But then I put up an argument, demanded to see the head man. Amy backed me up too. She said she was sure I was okay and didn't belong in such a place. Dr. Dunlap hit the ceiling. They had a battle with Pip. He slammed out of the room and she had a fit of crying. But the net result was that I was taken to the office of Professor Byrd, the man who ran the asylum. He was a strange little guy with a head cocked at one side like he was listening to something. Nobody else could hear. Oh, Mr. Lewis, feeling better? Why does everyone ask me that? Yes, I feel great! Good. Do you remember me? Should I? Not necessarily. What seems to be the trouble? You just made a mistake. That's all. Got the wrong fellow. I don't belong here. Well, that's strange. Your commitment papers seem to be in order. I don't care about that. Listen to me. Here, here, Mr. Lewis. Let's discuss this calmly. We're not in the habit of picking people off the streets haphazardly. Someone had to sign you in. Who was it, your parents? My folks have been dead for years. Your wife, perhaps? She doesn't know I'm back in America. Probably thinks I'm dead. Come on, Professor. Stop stalling. You've got it all on that paper. Never mind this paper. Tell me about yourself. Were you in the war? No, they wouldn't take me. Blood pressure or something. I went to Burma for the international oil company. Oh, how was it in Burma? Pretty rugged. I was there for three years. I'd be there yet, only I fell in front of a bulldozer and got my leg crushed.  Or, fortunately, they didn't have to, huh? Did your wife know you were hot? Funny you should ask that. No, she didn't. You see, we used to go to dances a lot. I see. You didn't fancy yourself for the crutch. Does anybody? But after you were discharged from the hospital in San Diego. Did you communicate with her then? No, I wanted to surprise her. She thought I was still in Burma. I took a train for Boston, arrived on December 23rd at Thursday. Yes. So I went home, looking for Helen. She wasn't there. Somebody else lived in the house. She'd sold it. Knocked me a twister. I was born in that house. My grandfather built it. And it was gone. Where was your wife? Helen? She was in Fitchburg working in a defense plant. But I didn't find that out until I ran into an old pal of mine that night. He almost keeled over when he saw me because everybody thought I was dead. You know, not hearing from me for more than a year. And did you go to Fitchburg to see your wife? No, I didn't want to see her right then. Why not? Oh, I was upset, I guess, about her selling the house. Besides, I'd been away more than three years. One day more wouldn't hurt. So I checked into a hotel, the Beacon House, room 305, I remember. I stretched out on the bed and tried to think things out. Yes, yes. You were lying on the bed and... Huh? Oh, well, I fell asleep, that's all. I see. No use telling him how I laid there, thinking of Helen and wishing I'd gone on to Fitchburg. How I kept seeing her face like a great big painting on the ceiling. He'd think I was nuts if I told him how I could smell that queer perfume she used. And the feeling I got that she was there in the room with me. And how long did you sleep, Mr. Lewis? I don't know. What woke me up was a... someone knocking on the door. I got up and opened it and that's all I remember. Who was it at the door? I don't know. It's just like... like the lights went out. I don't remember a thing. Until I woke up here this morning. I see. You know where you are? No.  This is the Flowerdale Hospital for the criminal insane. Criminal insane? I'm not insane and I'm not... I've had a blackout, that's all. Does that make me a criminal? Oh, no, it's the other way around. The crime caused the blackout. Crime? What crime? What did I do? I can't tell you that. I'll say you can't. You've got the wrong man. And you're afraid to admit it. I wish that were true for your sake, Mr. Lewis. However, I attended your trial. The state called me as an authority on mental diseases. It was of my suggestion that you were sent here for treatment. How? How long do I have to stay? Until I'm convinced you are no longer a menace to society. All right. Give me a test. I'll get out of here in a hurry. I've just given you a test. And you failed badly. Why? Because I can't remember being in trouble? Well, that could happen to anyone. No, not in your case, Mr. Lewis. Your mind has drawn a certain curtain across something it doesn't want to remember. The crime you committed is better than your subconscious mind. Until you can remember everything that happened from the time you opened that door down to the present moment, I shall have to detain you. When you remember your crime and the reason you committed it, you can walk out of here a free man. But you're pretty sure I won't do it, aren't you? Okay, I'm going to fool you. Dr. Don Lammus Adams, your witness is to what he said. Understand, Mr. Lewis. I'm interested in reasons. You'll get everything.  I'll be on the street tomorrow. Come on, Mr. Adams. Outside in the corridor, I felt so relieved. I threw my arms around Amy and gave her a big kiss. Then we walked hand in hand toward the stairway. We met a couple of nurses, and Amy stopped to talk to them. I walked back to Professor Byrd's office and listened to the door. He and Dr. Don Lammus were still talking about me. I heard them mention my name. I opened the door real easy, so they wouldn't notice it. Well, he's been a walking zombie. He couldn't talk, had to be fed bathed and put to bed like a child. I'm really very encouraged. It wouldn't surprise me a bit if he recovered. Don't be absurd, Don Lammus. That case is never a cover. You'll struggle a few weeks, try to remember, then chuck it. Oh, by the way, I think I ought to know. What did he do? Well, understand, I don't want it noisy around. But you'd better tell his nurse that he's dangerous. Especially when he thinks he smells perfume. Oh, yes. Yes, he did mention perfume. For your information alone, the man's a killer. Really? A rattlesnake. He strangled a woman with his hands, and he'll do it again. Here, read his history. That's all I heard. Because Amy picked that moment to come and get me. But I'd heard enough to realize that something was terribly wrong. Me? A killer? Why never heard anyone in my life? I'd been framed. Somebody had committed a murder and pinned it on me because I'd lost my memory and couldn't defend myself. The only way to get free was to recall everything that happened. Every single thing from the moment I opened that door. What if I couldn't remember? What if I never remembered? It meant being kept here, locked up for life. For a crime I didn't commit. Nice spot for an innocent man. For Suspense, Roma Wines are bringing you as star Robert Young in The High Wall. A radio drama by Bradbury Foote from his play of the same name. Roma Wines' presentation tonight in Radio's Outstanding Theatre of Thrills. Suspense. Between the acts of suspense, this is Truman Bradley for Roma Wines. We Americans are noted for taking the job home with us.  My favorite recipe for adding enjoyment to food is a glass of tempting Roma California Sherry before dinner. Designed by the goodness of nature and the skill of man to make food taste better, Roma Sherry is the perfect first call to dinner. As you pour the golden amber goodness of Roma Sherry into a glass, enjoy its fresh, full fragrance. Then sip Roma Sherry. Savor with your tongue the happy miracle of sun, grape, and cask that give Roma Sherry the pleasing nut-like taste so many millions prefer. Yes, the simplest dinner becomes more enjoyable when introduced by Roma Sherry. Prove that yourself. Enjoy Roma Sherry before your dinner tomorrow. For Roma, America's favorite wine costs no more than ordinary wines. So insist on Roma, R-O-M-A, Roma Wines. Remember, more Americans enjoy Roma than any other wine. And now Roma Wines bring back to our Hollywood soundstage Robert Young in the High Wall, a tale well calculated to keep you in suspense. When I promised Professor Byrd that I'd give him the whole story the next day, I was absolutely sure I could do it. But I couldn't. I couldn't remember a single thing that happened during that lost time. Absolutely blank I was.  Then, after about three months, I gave up. Just like Professor Byrd said I would. Chucked it. When I did, a great feeling of relief came over me. It was like a heavy weight had been lifted off my chest. Amy noticed the change in me and I told her the reason one night very late when she came in. She didn't like it a bit. Bob, no, you mustn't give up. Don't stop trying. Amy, there must be some easier way to get out of this place. Escape, you mean? You can't do it, Bob. There's a high wall. Yeah. Well, there is another way. A sure way. I can go out feet first. Feet? Bob, Bob, you wouldn't do that.  If there's no other way to escape, I'll go out, like I said, in a box. Suddenly she was crying like a kid. Helen used to cry like that. It never struck me before, but Amy was a lot like Helen. As I watched her, it almost seemed like she was Helen. I guess I got a little mixed up because I put my arm around her and lifted her face up to mine. For a second, I seemed to be holding Helen. Then I got things straightened out in my mind. I stepped back. Sorry, Amy. I guess I got a little out of line. That's all right, Bob. I wouldn't want you to think I was... well, you know... No? Why not? Well, you're going to be Mrs. Dr. Dunlap. No, that's off, Bob. There's somebody else. Oh, who is it? She didn't answer. Didn't have to, I knew. She stood there looking like she expected me to do something about it, but I didn't. Then she beckoned to me and made a hush sign and I followed her out of the room. The ward was quiet. Everyone was asleep.  As you know, this is liable to cost me my job. Look at that moon. Bob, you wouldn't really do anything to yourself, would you? Why not? I'm not doing myself or anyone else much good, locked up in this place. Bob, dying isn't the answer. Yes, it is, Amy. Dying is the answer to everything. Oh, Bob, don't talk like that. You know, in Burma once in the jungle, I saw a snake right close to me. A king cobra it was. I stood perfectly still, hoping it hadn't seen me. I didn't breathe. Then finally I couldn't stand it anymore. I made a quick jump, but he got me right through the leg here. It was a swell chance to die, but I didn't want to. I crawled through the jungle to a first aid station and I managed to pull through. For what? I'd have been better off to die right there. Oh, no, no. I kept on talking like that, hardly knowing what I was saying, because I had a queer feeling that I was telling it to Helen and letting her know what I'd gone through for her. Helen always wanted security. And I went out there to get it for her. Those oil companies paid big money. Bob, if you could only remember who it was when you opened that door. Yeah. What's that perfume you're wearing? What? Perfume? You know we aren't allowed to use perfume. Funny, I could swear. Lean closer. Of course you are. It's that same stuff that... Go on. Why don't you? What? Kiss me. I want you to. Sorry to interrupt, but we do have rules here. Hold it, Dr. Dunlap. The light isn't necessary.  That's all right, but don't throw the hooks into Amy. It wasn't her fault. Never mind, Bob. I can defend myself. Go along. I knew she could handle him, so I went up to my room. Besides, I had something on my mind. While I was holding Amy in my arms, I had a... a vision, I guess you'd call it. I saw Helen. She was lying on the bed. The doctor was bending over her. The room was crowded with people. Everyone was tense, frightened. Then the doctor straightened up and said, She's dead. Helen, my wife was dead. I remembered it now distinctly. But that was all. I couldn't remember how or why it happened. It was just like a photograph. Nothing led up to it, and what happened after was perfectly blank. But the fact that Helen was dead didn't seem like a surprise, exactly. After a while, I heard Dr. Dunlap come up and lock me in. He hesitated outside the door like he wanted to come in and ball me out. Then he went away. The next thing, Amy was shaking me, trying to wake me up. Bob! Bob! What's the matter? We're sunk, Bob. He was furious. I'm discharged, and you're going to be put in another ward. Loud? He can't get away with it. I know how you can escape. What? How? Ella quit her job. She's leaving in the morning. Her car will be parked in the driveway outside the solarium.  Grewy, how would I get outside? The solarium door's always locked. That's it. Ella's going to unlock it before she turns in her keys. Yeah? But I'd be seeing her. No, no. They'll all be in church. It's Sunday, Bob. The minute they start to sing, open the door and slip out. Oh, Bob, it's the chance of a lifetime. Ella leaving makes it easy. She'll drive right through the front gate, and they won't even stop her. Oh, Bob, say you'll do it. I can't go away and leave you here. Well, what did I have to lose? Besides, she started to cry and carry on, so I said, all right. The funny part of it was, it did work. I'll bet we were 50 miles from the asylum before they knew I was missing. Ella picked up Amy at the edge of town and hit for the open road. We kept going. The girls got me a hot dog at a roadside stand. We kept on. We began to wonder where we'd spend the night. I didn't know where I was, but Ella said she knew of a little motel, one of those places where they don't ask any questions. It was late before we found a place. We took two bungalows, the girls and one, me and the other. I got them settled for the night and then started to leave. Amy followed me outside. Bob, where are you? Here. You forgot something, Bob. Oh. Oh, Bob. You're sweet. Why are you trembling like a leaf? Scared? It could be that. We've been very lucky all day. Yes. But I think we'd better split up tomorrow. Oh, no. Don't you see? They're only looking for me.  He's probably figured it out by this time. If we travel together, we're sure to be caught. No, no. If we separate, I'll never find you again. Bob, don't you want me? Amy, don't talk like that. If you're still thinking of Helen. I'm not. She's dead. Oh. You know. Of course. But who told you? Dr. Dunlap. Funny. Never mentioned it to me. What else did he tell you? Oh, Bob. She isn't here anymore, and we are. I pulled away from her and walked across to my bungalow. I guess she thought I was sore. Bob. I wasn't. It was just that I... I knew I couldn't make her understand. It was something I couldn't explain to anyone. Helen wasn't gone. She'd never be gone, not to me. I opened the door and went in. Bungalow was a crummy little place. Reminded me of that hole I lived in in Burma. I was groggy from driving all day. Amy had started me thinking of Helen. I laid there on the bed remembering things. The night I met Helen. The first time we danced together. Our wedding. Our honeymoon at Jack Pomeroy's cottage in the Berkshires. I didn't know Jack very well then. But she did. Those were happy days. What you don't know doesn't hurt you. I was happy afterwards too.  She called it starting over from scratch. But I never should have gone away. That's what did it. She couldn't take it. Well, I'll go up to Fitchburg tomorrow and patch things up. Someone's knocking at the door. That's funny. Nobody knows I'm back in town. Who told you I was here? What? Come in. Bob, listen, I was talking to Ella and she thinks you're right. Oh, I get it. I met Sam Bradley today. He must have phoned you. Bob, you're half asleep. Or maybe you phoned Jack Pomeroy. What in the world? Sir, you and Jack want to beat me to the punch. No. Why didn't Jack come with you? Didn't he have the guts? Easy now, Bob. Let's sit down and talk. Get away from me. Very well. I'll have to call Dr. Dunlap. Get away from that phone. Sit down. Better sit down. Merry Christmas, Helen. That's it. All right. I'm sitting. What did you say you'd call? Dr. Dunlap. Is that a new one? Or Dr. Hoffman. He'll give you a nice cold bath. That's supposed to be funny. What do you want here, anyway? You've been sick. I thought you might need me. Need you? I never needed you. I know it now. All right, all right. Then maybe I need you. And that's a lie. Because I happen to know what the score is. Sam Bradley told me, what about my home? Somebody else is living in it. It's not a big deal. I'm fighting snakes and mud and slime, sweating it out in swill piles and wondering if I'll ever see daylight again. And you're here in Boston having the time of your life on my money. You didn't want me to come back. But me, like a fool, I used to drop off to sleep thinking of you and then pick you up in my dream. I could hear you laugh, see you dancing, smell the perfume in your hair. I talked to you and you answered me. We planned things we do when I got back. And all the time you were hoping I'd never come back. Bob, dear, don't cry. Don't cry. Come on, let's go talk to Ella. Sit down. I'm only trying to help you. You helped me end up.  I've got to go through with it. Bob, I love you. Oh, not frightened, huh? You won't hurt me, Bob. I love you. The last time you begged for mercy. Bob, Bob, I'm Amy. This is Amy. I'm Amy. Don't do it. Bob. I was pressing my fingers into her throat. She died game this time, didn't kick or make much of a struggle like she did before. It was almost like she wanted me to do it. And yet, as long as she lasted it, she seemed to be begging me with her eyes not to do it. It didn't take long. Then she went limp and I let her fall to the floor. When I let go of her, I kind of lost track of things. Now, the blackout. I woke up about a week ago. It's taken me this long to get things straightened out. It's winter now. My nurse tells me. I think she's lying, but I can't prove it. You see, there's no window in my room. The walls are padded. And the furniture's nailed to the floor. Suspense. Presented by Roma Wines, R-O-M-A. Made in California for enjoyment throughout the world. This is Truman Bradley for Roma Wines. The easiest way I know for a woman to win compliments for her cooking is to serve Roma California Burgundy regularly with meals. The tempting fragrance and robust taste of red Roma Burgundy harmonize perfectly with a juicy steak, oven-brown roast, or sizzling chop. And you just don't know how delicious spaghetti or hamburger can be until you enjoy these savory dishes with good Roma Burgundy. For Roma Burgundy brings out the full, rich flavor of hearty foods, makes dining more enjoyable, more friendly. Try Roma Burgundy with your dinner tomorrow. When you buy Roma, you enjoy America's favorite wine. Yet Roma, R-O-M-A, Roma wine costs no more than ordinary wines. And may I suggest Roma California Champagne as the perfect touch of smartness for bridal shower or reception? Roma Champagne is ideal, too, as a going-away gift for the bridal couple. Robert Young may soon be seen in the Hal Wallace Paramount production The Searching Wind. Next Thursday, same time, Roma Wines will bring you Hume Cronin as star of Suspense Radio's Outstanding Theater of Drills. Produced by William Spear for the Roma Wine Company of Fresno, California. This is CBS The Columbia Broadcasting System.