Act 3 of Hamilton by Mary P. Hamlin and George Arliss This is a LibriVox recording. All LibriVox recordings are in the public domain. For more information or to volunteer, please visit LibriVox.org Act 3 Seen, same as in Act 2, in October of the same year. There are flowers about, accentuating the feeling that the woman of the house has come back. The furniture is all placed as at the rise of the second act. On the mantelpiece, upstage end, is a small vase of autumn flowers. On small table above fireplace, large bowl of autumn flowers. On bookcase, center at back, a vase of goldenrod. On bookcase left, a small vase with yellow flowers. And on Hamilton's table, a glass bowl of violets. Washington's chair is placed a little further to left. The chair against wall below door left is removed and placed at left of Hamilton's table. The small chair back of sofa is placed under small table at window on right. A chair similar to the other chairs in the room is placed back of sofa. There are fresh lace curtains at windows. Betsy is discovered on steps at center window, hanging last pair of curtains, assisted by Zekeul, who stands left of steps. She is in the highest of spirits and laughs at Zekeul's fears for her safety. Now Zekeul, catch these curtains when I drop them. I certainly do wish you'd let me come up them steps, step of you, Miss Betsy. Why you dear old Starkey, you stay while you're safe.   When you'll come home last night, I suddenly was glad to see you and Miss Angelica too. And Mars Hampton has been jumping about like a schoolboy ever since. Now, catch. Drops curtain. And remember Zekeul, when you get married and have a house of your own. Me get married? Ha ha, you sure is amusing. Guess if I ever get married, I won't have nothing of my own.  Remember if you have lace curtains, you have clean ones. Enter Angelica Church in street clothes, door upright, apparently coming from the street. Why Betsy Hamilton? Closing door and to center. I called to see if you were up. I see you are. Betsy, up on the ladder. Angelica Church, the next time you have scarlet fever, I hope you'll have it in your own country and not drag me over to England to nurse you. The state of this house is beyond belief. Mounting another step. Betsy, if you're going to mount any higher, you'd better let me come and hold those steps. Goes to steps right of them. Now Zekeul, take those curtains and give them to Mary for the wash. I will do that, Miss Betsy. Moving to door left. I certainly do hope Mars Hampton don't come in and find your risk in your life, your first day home. Exit Zekeul, left. How you can do it, I don't know. I felt the motion of the boat all night. I wouldn't do that if you paid me. If I could afford to pay you, Angelica, I'd employ somebody who knew how. Angelica shakes steps in retaliation. Ah! Angelica, coming down center a little. Where's Amyable? Angelica, I don't think it's fair that you should have a pet name for my husband. Well, I've always called him Amyable because it fits him so much better than Alexander. Where is he? I sent him to walk three times around to common while I took down those curtains. He's a darling. I wonder you can bear to let him out of your sight. Betsy, sitting on top step. I can't, dear. I can't. Oh, I'm so glad to be home. But when I came in here this morning, I couldn't see anything but those dirty lace curtains, so I had to send him out. And then it'll be nice to see him come in again, won't it? Sitting on end of sofa. How do you think he looks? Hail and hearty. Do you? I thought he was looking quite thin and pale. Oh, because you've been away, of course. I'm very sorry, but I think he looks fat and well. I ought not to have left him. You're terribly in love, aren't you? Coming up to latter. I am, Angelica, and I can't get over it. You know Alexander is the most wonderful man in the world. Angelica, back to center. Is he? What about my husband? Well, John Church is a dear old thing, but you couldn't possibly be terribly in love with him, could you? Besides, he's an Englishman. What do you mean, Betsy Hamilton? I am terribly in love with him. I know you are, dear, but you couldn't possibly love John as I love Alexander. And why not? Well, he's a dear, but he has no brains. Now, has he? He has very good brains. For an Englishman.  Besides, he's easier to manage that way. Drop Shawl on head of Sofa. He's very nice and he's very rich, but he isn't Alexander. Well, as I prefer having a husband to myself, it's just as well he isn't. They both laugh. Betsy resumes her work.  I like it. You don't like it and you know it. A daughter of General Shuler doing this kind of work? It isn't right. Well, you know Alexander's salary, don't you? Three thousand dollars a year.  Alexander would rather die than take a penny from anyone. Then why don't you make him give up working for his old country and let him work for himself and for you? Rising and crossing to back of table left. Father says you could make twenty thousand dollars a year easily. He has a lawyer and private practice. Betsy, dusting panes of glass. The life of this Republic is dearer to him than anything else in the world. Oh, dearer than his wife and family, I suppose. Picking up paper. There's no question of that. I know his ambitions and I'm proud to be helping, if it's only in this way. Angelica throwing down paper disgustedly. Three thousand dollars a year? How do they expect him to provide for you? The government ought to be ashamed of itself. Shake steps. Betsy, balancing herself on the top step. Ah, if you get so excited at the bottom of these steps, I shan't need anybody to provide for me. Enter Hamilton, right door, hat and cane. He carries a rose, slamming door behind him. Betsy, Skyler, come down at once. What on earth are you doing up there? Betsy, beaming at him. I wanted to get a good view of you as you came in, dear. Hamilton putting stick against wall right of bookcase at center back. Come down, madam, immediately or I'll come up and fetch you. Putting hat on bookcase. Betsy extending both arms invitingly.  He dashes for the steps. Angelica intercepting him at right of ladder. Now if there's any kissing to be done, you start at the bottom of the ladder. I've left my husband in England and I'm starving to death. Good morning, amiable. He kisses her. I'm coming down. Descends hurriedly. Angelica, laughing, moves to left. I hadn't the heart to refuse her, Betsy. Embraces Betsy fondly. I've been starved so long myself. He kisses Betsy and then gives her a rose he has brought with him. They come down stage together, he being on her right. Angelica also comes down on Betsy's left. Zekeel enters left, removes ladder onto balcony and exits on balcony toward right. Well, my duties as overseer being finished, I suppose I ought to go. But as I only got a glimpse of you last night, amiable, I'm going to stay and share you with Betsy for the next five minutes. Shall we let her? Yes, yes. Let's be kind to her. Sits sofa. Betsy sits on his left. Well, the vanity of these men. Now, tell me all you've been doing since Betsy went away. Sitting on sofa, right of Hamilton. You've only got five minutes, you know. I'll stay ten. Even then, I'm afraid he will have to leave some things out. Ah, those are the things I should like to hear. Well, what have you been doing? Hamilton, his arm around Betsy. Well now, I'll tell you. But pay great attention. These are state secrets. Part of my time has been spent in trying to save this country from rack and ruin. What's rack? Order, Mrs. Church. I know what ruin is. It's a salary your country pays you for saving it. Order in court. If you're the judge, you've no right to be embracing that lady. Betsy is nestling during this. I'm not the judge. I'm only the supporting council. But most of my time. Ah. Hamilton, removing his arm and turning to Angelica. Most of my time has been spent in trying to find the things that Betsy put away before she went away. Betsy, turning him toward her. Why, Alexander, I put everything in its proper place. That's what caused all the trouble. That's why I could never find anything until I had looked everywhere else.  Hamilton, looking at Angelica, then turning to Betsy. You've seen her husband, Betsy? Yes, dear. Has she any right to make that statement? No, dear. Am I like her husband? No, dear. Assuming horror at the thought, Angelica rises. Then the court discharges her with a caution. We will proceed with the next case. Bolt Betsy in his arms and kisses her. For which, I presume, no witnesses will be called. Well, I'll go back to my father. Crossing and taking her shawl. Oh, don't go Angelica. Angelica, turning. Well, I won't, because my father's coming here to fetch me. Moves the door left. But I'll go into the kitchen and talk to Mary and Zekeel. Hamilton makes movement, rises. No, don't leave the bench, Judge. I can open the door of my cell. Exit left, laughing. Betsy. Kisses her fondly, then sits, placing his arm around her. Betsy, fondly.  They've been long months without you. It seemed as though you were never coming back. It was dreadful of me to stay away so long. But you know I couldn't help it. You must never, never go away again. I never will, dearest.  I'm going to take away all your savings. There are no end of things wanted for the house. And, of course, I haven't got a rag to my back. Hamilton, laughing unusually. Well, Betsy, we'll pay a visit to the rag shop first, and the house can wait. No, no. We'll do the house first, and I'll wait. But you must have untold wealth hidden away. Why, there's two quarters salary since I've been gone, and no wife to spend it for you. Hamilton, distressed. Betsy, I've had some unexpected expenses recently. But next quarter. Why, it's all right, dear. Everything can wait. Only, I didn't know. I thought you'd been at home busy and hadn't much opportunity of spending. I've had some expensive presents to make. Diplomatic presents, you know. Oh, bribes. Hamilton, glancing at her quickly. I'm afraid it almost amounts to that. That doesn't sound like you, Alexander. I can't bear to think. Knock her. They rise. Now, here's somebody coming to take you away from me, I suppose. Hamilton, embracing and kissing her. This is your day, Betsy, and wild horses shall not drag me from you. Skyler, off stage. Wait a moment, Judge. I'll see if he's at home. Mr. Hamilton at home, Uncle. Zekeel, off. What gradients, sir? Zekeel opens room door and admits Skyler and Chief Justice Hay. Betsy to center, Hamilton right. Jay follows Skyler. The street door is also open. Before Jay enters, Betsy hurriedly removes her apron and throws it to Hamilton, who throws it to Zekeel when Jay has passed down. Zekeel exits right, closing room door, also street door. Skyler, coming to center behind Betsy. Here's Chief Justice Jay, Alexander. I met him on the doorstep. Betsy, off stage, curtsying. How do you do, Judge Jay? Mrs. Hamilton. Bowing near door upright and coming down. I'm delighted to welcome you back. Kisses her hand. Skyler to Betsy. Good morning, my dear. Good morning, Father. Kisses him. They come down. Betsy on his left. Hamilton giving his hand. Judge Jay, it is good of you to honor us with a visit. Jay comes to Hamilton. You've been away. Jay, down right in front of Sofa. Yes, for a month. On my return I went first to General Washington, whom I now find installed in Colonel Frank's house at Germantown. Yes, the place was available as temporary executive quarters. I then came to pay my respects to Mrs. Hamilton and to congratulate you on your having converted Jefferson and Monroe to the support of your bill. Shaking Hamilton's hand. That is gradually filtering through to the other states, eh? Alexander's a wonder. Extends hand. Hamilton crosses the center and takes it. You know, Jefferson and Monroe have without the news of their capitulation as long as possible. They're desperately afraid of what their followers will say. It's amazing. I didn't believe that Jefferson would yield one inch. After all, is he yelling and shouting about the rights of man? Alexander's a wonder. Taking out his snuff-box and taking a pinch. Jay, laughing. What excuse will he make to his constituents? Hamilton. Skyler on his left, Jay on his right, Betsy on his left. He'll just take his pen in his hand and write a cantata and his constituents will lift up their voices and sing. All laugh. Sing what? Handing Hamilton's snuff-box, who does not take any but holds the open box for Jay, who takes a pinch. Jefferson's praises, of course. How did you do it? Bribery. Bribery and corruption. You didn't give Mr. Jefferson your two-quarter salary? No, my dear. I gave him the capital of the United States. Handing snuff-box back to Skyler. But there isn't one. That's what made it so easy. Laughter goes up-center. Ah, if it could only have been in Albany. Jay, with a touch of indignation. Albany? Why put the capital at the other end of the river? It should be in New York. Hamilton, coming down between them, laughing. Let us resign it to Jefferson, on the Potomac. It's a long way from civilization, and the river will carry off the refuse of debate. The representative of the separate states can pour their slander and vituporation into the Potomac until they dam it while the Hudson will remain unrestrained to carry on the business of the country. They all laugh. Hamilton goes back of table, left. Skyler goes towards Sova and sits on left end of it. Betsy, curtsying to Jay. Good morning, Your Honor. I must tell you that my husband has promised this day to me. Are you on business, Judge Jay? Jay, down right. I think I shall not detain you long. Then, my dear. Coming to her by right of table. Betsy, smiling. You said wild horses should not drag you from me. I think the Judge hardly comes under that class. You see, he is controlled by the harness of the state. Ha-ha! Which makes him a very tame horse, indeed. In ten minutes, then, I shall take the reins and drive you away. Exits left, brightly. He follows her to door. You must be proud of your daughter's, General Skyler. Proud. Why, since they've been back, my bosom has so swelled with pride that my foot has sunk into insignificance. Hamilton, taking chair from left of table and placing it left-center in front of table. Will you sit down, Judge? Indicates chair right of table. There was something you wished to say to me. Jay, coming to chair right of table. Yes, uh, yes. What a very pleasant room you have here. I'm beginning to doubt it, Judge Jay. Jay, surprised. To doubt it? Why? Sit's right of table. That is precisely the remark Mr. Jefferson made when he had something unpleasant to say to me. Sit's left-center in front of table, but facing somewhat toward Jay. You are right. I have something that it is not easy to say to you. Do you wish me to go, Judge? No, General, I very much desire that you should stay. Mr. Hamilton, it is sometimes difficult to determine how far a public man realizes the extent of his influence on the character of others.  I am, at any rate, conscious of great responsibilities. That is so. Great and grave responsibilities. No one but yourself can persuade the government to assume the debts of the states. The value of the cooperation of Jefferson and Monroe on that issue cannot be overrated. Yes, the anti-Federalists are with you on that issue as long as they have to be, but it is my belief that they are looking for a loophole a way out. What makes you believe that? Pause. Hamilton waits. I will be frank with you. I've been several times annoyed by the receipt of anonymous letters threatening exposure of some scandal connected with the Secretary of the Treasury. I wish you to remain General Schuyler because I want it understood that my confidence in Colonel Hamilton is unbounded. I have traced these letters to a man named Reynolds. Oh, yes. You know him? Yes. He was recently arrested for perjury in connection with a state case. Do you know anything of the case? No, but the prosecution was made to the Treasury Department, and he wrote to me, making me to use my influence to obtain his release. And you refused? Yes, I refused. Had he any reason to believe that you would help him? Yes, good reason. Why did you refuse? Because I have never used my public office for my private ends. By that I understand that the man has some claim upon you. Yes. It has come to my knowledge that since his arrest, certain papers or letters have fallen into the hands of Senator Monroe and that some information has been passed on to the unscrupulous Giles of Virginia. Enter Zekeel upright. Senator Monroe and Mr. Giles to see you, sir. Jay and Schuyler look toward each other. Hamilton, rising. It looks as if your information were correct, Judge Jay. Kay, rising. I'll take my leave. Excuse me. I ask you both to remain. Show them in, Zekeel. Exit Zekeel. Hamilton places chair back left of table.  Understand, Hamilton. My confidence in your integrity is unshakable. Enter Zekeel, Jay to left. Senator Monroe and Mr. Giles. Enter Monroe and Giles upright. Hamilton, down center and bowing. Gentlemen, you honor me. Exit Zekeel, door upright. Monroe, coming down. I'm sorry if I interrupt you, Mr. Hamilton, but my errand is important. Hamilton meets them center. Giles on Monroe's right. How do, Hamilton? Schuyler shows annoyance at Giles's loud manner. Mr. Giles. Bows. Citizen Jay. Senator Monroe. They bow. How do, Judge? Jay doesn't bow to Giles. Judge Jay called.  Monroe sits right of table. Giles remains standing. Judge Jay called to express his pleasure at your cooperation in connection with the state's debts. Jay sits left of table. Yes, I trust we shall have no reason to alter our decision on that point. Hamilton, standing back of table. I too trust that she will not find it expedient to break your word. It's not a matter of breaking words. It's a matter of public opinion. Oh, I was not referring to you, Mr. Giles. Everybody knows that you would never be guilty of a breach of faith. Ugh!  Unless it were made absolutely with your will. Giles, turning. That remark is uncalled for, sir. True. Tell me, Mr. Giles, what have you called for? I have called Citizen Hamilton on business of a private character. Do you wish us to be alone? I think you would prefer it. Zekeul enters upright, announcing. Mr. Thomas Jefferson. Enter Jefferson to centre. Monroe and Jay rise. Hamilton greets him, centre. Mr. Jefferson. You'll excuse me, Citizen Hamilton, but I receive a note from Citizen Monroe asking me to meet him here at this hour. I trust I do not intrude. I told Mr. Jefferson that the business was urgent. Otherwise I assure you I should not have taken this liberty. Hamilton to Monroe. Does your business relate to my public office's secretary of the treasury? It does. Then I am gratified that you are here, Mr. Jefferson. I shall ask you, gentlemen, to allow Chief Justice Jay and General Schuyler to remain. Monroe, stiffly. If you wish it. Hamilton, taking chair from behind sofa and placing it centre. Jefferson shakes hands with Schuyler and then sits. Pray be seated, Mr. Jefferson. Monroe and Jay sit. Hamilton to back of table. Mr. Hamilton, I am compelled to ask you if you are acquainted. It may facilitate matters if I say that I am acquainted with a man of the name of Reynolds.  James Reynolds? I'm not sure of his first name. He is hardly an intimate acquaintance of mine. I believe it is James. You probably know him as Jim. Won't you sit down? Giles does not hear him. Hamilton repeats. Won't you sit down? Indicated large chair left. Giles crosses and sits. Hamilton sits back of table. The man Reynolds has placed in my hand certain letters which show that he has recently received from you considerable sums of money. You are apparently in his confidence, Mr. Monroe. Those letters were brought to us unasked. I see. The letters were also uncalled for. You say you are not intimately acquainted. What was that money paid for? May I be allowed to see the documents in question? Monroe takes them from his pocketbook and hands them to Hamilton. Giles, after Hamilton has looked at a few of them... What was the money paid for? Didn't your friend tell you? I mean, before he was arrested for perjury? He's not my friend. I never saw the man till he came to me on the subject of these letters. Are you sure? Of course I'm sure. Giles crosses his leg uneasily. Looks under seat. That is George Washington's chair. Giles angrily pulls chair round to face Hamilton. There seems to be no doubt that you paid him the money. There seems to be no doubt about that. Mr. Hamilton, I should not be here if I had not been forced by the facts before me. But I cannot disbelieve the evidence of my own eyes. There are your letters proving that the money was paid to Reynolds, and we are compelled to ask you why you paid it. Who compels you to do that? Our sense of duty, Citizen Hamilton. Duty to whom? To the country, to the people, to the citizens of this republic. This is nothing to do with the country or the people. This is my own private affair. We know why you paid the money. Reynolds told us. Who? You know, do you? Yes, we know. Then you haven't come for information, but merely for the love of sport. That money was paid out of the Treasury of the United States. It was paid out of my own personal account. That we shall require to have proved, but you know what it was paid for. Yes, I know what it was paid for, and from what Mr. Giles says, you know also. Opening drawer of table, drawer on right. I do. It was paid to this man that he might buy up the state's paper, the state's debts. Hamilton, stopping opening drawer quickly. What do you mean? That he might buy up the state's debts for your benefit. Hamilton, rising. What? A stock-jobbing gamble. Come, come, Mr. Monroe, you'll have only the man's word for that. The word of a man who was arrested for perjury. Monroe turning to Schuyler. Reynolds gives conclusive evidence that Mr. Hamilton gave him advanced information of the proposed government assumption of states' debts. That he gave him the money to buy up the paper at bargain prices. And that his share in the spoils will be five million dollars. Turning to Hamilton and striking table. Hamilton genuinely surprised. So that's what he told you, did he? That's the reason for the whole thing. And there are the proofs of the money you gave him. Pointing to paper in Hamilton's hands. Hamilton, after a pause, and looking through letters. Thirty dollars, twenty-five dollars, one hundred dollars. Very modest amounts of purposes of speculation. Very. Just as dishonest is still ten dollars as ten millions. You can't dodge Hamilton. I owe it to this country to expose this damned business. You use your official information to rob the patriots who raised the money to save this nation. No, no! Mr. Monroe. He makes them believe their loans will never be paid. And then he hires this man to buy up their claims and hoodwinks us into passing his bill for him. Senator Monroe, we entirely lack proof of this. Gentlemen, let us try to be frank with one another. You have come here today not because you believe me guilty of this accusation. Not because you feel any duty to the public, but because you repent the bargain you made with me to vote for my bill.  Your courage has failed you. And you believe this to be a tremendous opportunity to free yourselves from your promise. Like Jefferson protests. That is the true statement of fact, Mr. Jefferson, whatever you may think to the contrary. You dislike me. You are afraid of me. And this is part of an organized conspiracy to force me to resign and so to end your difficulties. This is not the first time that you have accused me. But it is the first time that I have been unwilling to strike back at you. Time and again you have charged me with dishonesty in the treasury. Three months ago you set the trusty giles on to covertly accuse me of cooking their counts. Within ten days, as you know, after going through endless records, I proved that there was no shadow of foundation for your accusation. And you slunk away whipped and defeated. And now here you are yelping at my heels again and ready to tear me to pieces. This time you are bolder. You come to me with an open accusation of absolute dishonesty. This accusation is based on the evidence of one James Reynolds, an obscure and worthless man. Had I desired to defraud the treasury, should I have been driven to the necessity of uncanneling Reynolds to assist me? Gentlemen, it is not a reasonable accusation. If I felt that you really believed that this was even remotely connected with my office, I should not hesitate to give you proof to the contrary. But you know that what you accuse me of has no foundation in truth. Pause. I admit that I had transactions with the man Reynolds. Movement of interest from others. But they were of a private nature. And I swear that my connection with him is in no way bound up with my public office. I make an appeal to your sense of justice and I ask you gentlemen to drop this investigation. Jay, after a slight pause. In deference to Mr. Hamilton, I think gentlemen, that should close the matter. There is no question of the honor of Alexander Hamilton. Mr. Hamilton has indeed made a very moving appeal. If the facts are not as stated, why not tell us what they are? Because such disclosure would be useless to you and would cause much suffering to some who are very near and dear to me. Jefferson, as if about to rise. Well, in that case, citizen Hamilton. But I don't see how. Do you mean it's a domestic affair? Hamilton, uneasily. In a sense, yes. Something that affects your wife? Hamilton, restraining himself. Yes, sir. Something that affects my wife. There is a moment of embarrassment. Monroe shows that he does not wish to proceed. Giles, rising. Mr. Hamilton, as a trusted representative of the State of Virginia, I feel it is my duty to ask you a few questions. Hamilton looks at Giles hard for several moments and then sits. Great restraint. Yes? In the first place, in what way is your wife mixed up? Hamilton, springing up and striking table, furious. Stop. There shall be no more of this. I am ashamed of the act that has led to this inquiry, that I am more ashamed of my cowardice than begging your charity. You shall have the facts. During the absence of my wife abroad, I became intimate with Mrs. Reynolds. Sensation. It doesn't matter how aware but the thing happened, to my eternal disgrace. Since that night, I have been paying hush money to the man Reynolds. He has never ceased to blackmail me. Taking letters from drawer. Here are his letters with demands from money. They form the sequel to those which you now hold. And here are three or four love letters from Mrs. Reynolds, which I am sure you will enjoy reading. Throwing them on table toward Giles, shutting drawer and moving across to extreme right at the back and back again. Schuyler, rising, thunderstruck. Alexander! Father, I have no excuse to make. Giles picks up the letters and crosses quickly and shows them to Jefferson. Jefferson turns away saying no, no. Giles then turns to Monroe. Monroe takes the letters and throws them on the table saying I prefer not. Hamilton comes back of table. Since this accusation has been made, I must insist on you reading all these documents. These are his. And these are hers. They both form part of the plot in which you are now involved. You will find no mention of state debts in them. Her letters are an attempt to drag me into a prolonged intrigue and were necessary for the full effect of his blackmailing. Looking at Giles who is standing center between Monroe and Jefferson. A conspiracy from beginning to end. A conspiracy to discredit Washington's administration and my office. Will you read them or do you condemn me to read them to you? He pulls off the tapes from her letters and is about to read. Betsy heard off left calling. Alexander? A moment of suspense. Betsy enters door left. Alexander? Oh! I beg your pardon, gentlemen. I thought he had gone. The men rise and there was an awkward pause. But this was to be my day with my husband. Won't you let him off till tomorrow? We've been parted so long, you know. Won't you, Mr. Jefferson? She is down left in front of table. Jay moves up center and meets Jefferson and Monroe. They make a group there. Giles moves to right in front of sofa. Schuyler has worked across at back and is coming down left. Hamilton coming by left of table to her rapidly. In a few moments, dear. In a few moments and then I'll come. But you look so tired, dear. So tired and old. I've never seen you look old before. I've grown old in your absence, dear. I'll come in a few moments. Very soon. And we'll look at the shops and you'll be my boy again. Hamilton kisses her hand. Yes, dear. Jay coming to left center. I don't think we need to ask Mrs. Hamilton to withdraw. Our business is over. And I apologize for having kept him so long. You came to take the reins, eh, Mrs. Hamilton? I think I will go before you use the whip. Schuyler has joined Betsy by this time. Jay draws Hamilton away to center. I sincerely regret that you should have been subjected to this. Betsy, down left in front of table, by instinct. Is something the matter, father? Schuyler, on her right, tries to distract her attention. It's all right, my dear. It's all right. Jefferson quietly to Hamilton. Citizen Hamilton, I'm heartily ashamed of having intruded myself into this business. I give you my word that not one syllable of this shall ever pass my lips. I'm sorry. I was misinformed. I apologize. They bow to Hamilton and he follows them as they move toward the door upright. Betsy is conscious of something the matter, and lingers, though you see Schuyler is trying to get her away. Giles, who has been walking restlessly to and fro down right— Wait a minute! Wait a minute! They all stop and turn. Jefferson at door, Monroe following. Hamilton center and Jay center to left, upstage. I don't want to speak before Mrs. Hamilton, but this thing hasn't been brought to a satisfactory conclusion. Jefferson, coming back a few steps. Surely there is nothing more to be said. Mr. Hamilton has met you fairly and straightforwardly. Giles, right center in front of sofa. I have nothing to say against Mr. Hamilton, but— Shhh. Monroe comes down right behind Jefferson. Giles, loudly and pugnaciously. I won't be muzzled. I am a trusted representative of Virginia, and it is my duty to do the best for my state. I think, gentlemen, we will not endeavor to restrain Mr. Giles in the execution of his duty. If Mrs. Hamilton will be good enough to retire— Betsy looks towards Hamilton, rather worried and scared. No, gentlemen. With your permission I shall ask my wife to remain. Sensation. Slight pause. Hamilton moves to chair right of table, but does not sit. Oh, I see. You want to gag me. On the contrary. I am hoping that you will remove the seal from my own lips. You mean you want me to speak out? Yes, I want you to speak out. Giles, slightly taken aback by his tone. Very well. Moves to center. Alexander Hamilton, you don't like me, but I'm going to prove to you that I am your friend. Hamilton glances at him. You don't believe it, but I'm going to prove it to you. What would you say if the newspapers got a hold of this story? Slight movement from Jefferson and Monroe. They exchange a glance of disapproval. Which? My story or yours? Now it's no use getting personal. It isn't my story. It's Reynolds. What would you say if the newspapers came out tomorrow with the story that the Secretary of the Treasury had borrowed this nation's money to speculate with, to buy up the state's paper? Hamilton, looking at his wife, who has started and is being restrained by Schuyler— For the moment, I don't know what I should say, Mr. Giles. It wouldn't be any use trying to get your bill through then, not even with Jefferson and Monroe behind you. Public opinion would be too strong. Jefferson, coming in between Hamilton and Giles. Citizen Hamilton, you must excuse me. I cannot stand by while Citizen Giles continues in this way. I wish to express my regret that a representative of Virginia should behave in such a deplorable manner. Bows to Hamilton. I take my leave. Exit door upright and shuts door after him. Monroe is following, but stops at room door as Giles speaks. Giles, moving across to right back angrily. Well, Jefferson's words don't alter the facts. At least not with me they don't. Jay, left center at back. Is there any danger of the newspapers getting it? Giles, coming to center. There's more than a danger. It's a fact that the advertiser has got the story and is going to publish it in tomorrow's issue unless— Hamilton in front of chair, right of table. Unless— I think it would be better if Mrs. Hamilton— Mrs. Hamilton is your hostess. You said unless. Well, unless, of course, you deny it, which you couldn't very well because there are the proofs that the money was paid to Reynolds, and you can't explain why. Hamilton, after a pause, and sitting— You've gotten me, haven't you? Now, Mr. Hamilton, if you will withdraw your bill, I'll guarantee that the story shall not be printed. Betsy, crossing to Hamilton— I don't know what foundation you have for your false accusations against Colonel Hamilton, but he must not give up that bill. He's worked and slaved and gained the confidence of all the world with that in view, and he must not give it up. Can you bear the alternative, Betsy? I must bear it. Can you bear that I, the Secretary of the Treasury, should be accused of cheating the people? Bear it? Why, of course, because I know it isn't true. Hamilton, rising— How do you know it isn't true? What do you mean? Because I know you, Alexander. Hamilton, advancing to her— Do you know me? Do you? Tell me what you mean. Hamilton, taking her by the arms. Why don't you suspect me? Why do you trust me? Don't. Don't. Tell me what it is. You can prove it isn't true. I can, but I dare not. You dare not? I dare not tell the truth. I did pay certain sums of money. What for? What did you pay it for? To keep from the light something of which I am ashamed, to hide something shameful from you. Schuyler, down-left. Alexander, have you no feeling for your wife? Betsy, go. Hamilton, stepping back from Betsy. Father, it's better that she should know. Betsy. You're not going to drag that woman. Oh! A moment of dead awful silence. Betsy, turning dazed to Schuyler. It's not a woman. He bows his head. She turns to Hamilton and sees the guilt on his face. Oh! Betsy, my girl. Betsy, lifting her head, dazed, but with a sense of pride. Does anyone else know? Schuyler, quietly. Mr. Jefferson, that is all. Betsy, looking at Monroe and Jay. Will they tell? No. Betsy, slowly. Then it need never be known. Then you withdraw your bill. Hamilton, with a great sudden outburst. No! No! I can't do it. I've done with bargains. I've bargained with my conscience long enough. I'm covered with shame and remorse, but I can't stand in the mud and barter what I believe to be America's honor. My bill stands. Get out and tell your story, and I'll tell mine. What will you tell? The truth. Picks up letters. The whole degrading, sordid truth. In tomorrow's newspaper I'll publish every fragment of evidence in connection with my disgrace with this woman. If there is to be dishonor, it shall fall on me and not on this administration. I sacrifice my office. I sacrifice my wife. But, by God, Betsy, I can't sell my country. With a preemptory gesture to Giles. Now go! Giles goes towards door right, and the curtain falls quickly. Picture, Monroe is going. Hamilton's center looking toward door. Schuyler taking Betsy in his arms. Giles is seen going through street door. He glares at Hamilton and bangs the door after him. Curtain. End of Act III. Act IV of Hamilton by Mary P. Hamlin and George Arlis. This is a LibriVox recording. All LibriVox recordings are in the public domain. For more information or to volunteer, please visit LibriVox.org. Act IV. Seen. A room in Hamilton's house the next morning. It is a lofty enter room with very large folding doors center, which, when opened, disclose a large reception room beyond. There are doors down right and left and a window upright. The room is severe in its colonial dignity, very large panels being either side of the folding door and on the walls right and left. The general tone is of a yellowish cream relieved with gray. A harpsichord is on stage down right center and a chair in front of it. Black console tables with a pair of marble vases stand against the walls right and left of center doors at back. Hanging above the consoles in black oval frames are two old-fashioned pictures of flowers. A three-piece Chippendale set T is against the wall left above the door. Lace curtains and blue rep hangings on window upright. When center doors are opened, you will see a large handsome mantel at back with windows right and left hung with red rep curtains.  Ornaments on mantel and vases on small tables. The doors are closed. General Schuyler discovered standing in center of room dejectedly with newspaper clutched in hand, boy calling, paper, heard through window, boy calls, federalist, federalist, Philadelphia evening sun, confessions of Alexander Hamilton. Schuyler goes and slams down window, returns to center and looks at newspaper. Enter Angelica down on right. She has evidently been crying. She goes up to her father and kisses him sympathetically. He instantly puts paper behind back. Where's Betsy? Angelica, right of him. Still in her room. I wish Alexander would come. He's still locked in his study. He's been writing since early morning. Can't you get him out? I've tried. I told him there were people waiting to see him. He called out, let them wait. But this room, pointing to doors upstage, is full of men, senators, congressmen and heaven knows who besides. It's not like him to run away. He won't run away. The thing's done. He's got to face the music. He'll face it. How does Betsy seem now? She's so deadly calm. I wish he'd cry or rave. Be more human. She's determined to go. Yes. I can do nothing with her. Schuyler looking at paper. It's a bad business. A bad business. Putting paper behind him quickly. You needn't hide that paper. I'm not ashamed of it. Schuyler surprised. You're not. Angelica coming to him. Schuyler, isn't he wonderful? Who? Alexander. Well... Oh, I wish you were my husband. I should be proud of him. Angelica, if you'd only been a man, if you'd been my eldest son instead of my eldest daughter, I'd have taken you by the hand and called you a fine fellow. She takes hands with her. But those are hardly the proper sentiments for a young married woman. If you were my husband, I'd show him how a woman can forgive. But he isn't your husband, and that makes all the difference. Don't be hard on Betsy. It's easy enough for one woman to forgive another woman's husband. Enter Ezekiel. Door left. Speak of Mullenburg, and Mr. Mohus has just come. Did you say Mr. Hamilton was engaged? Yes, but they said, like the others, that they'd wait, and showed him into the room with the rest of them. Very well, Ezekiel. They're going to do nothing to Marcia Hampton, is they, sir? No, no, no. Ezekiel going out. Well, I done wish they wouldn't all stand round waiting for him. Exit left. Angelica, upstage right. I'm glad I'm not your eldest son after all, father. What is it now, Angelica? Angelica, indicating toward inner door. Those are fair samples of men. I'm glad I'm not one of the tribe. I'll wait in a round to kick a man when he's down. Crossing in front to left. Enter Betsy, door right, dressed for the street. Oh, there you are, Betsy. Going out. Assumed brightness. Yes, I'm going, father. Has Alexander come down? Not yet. Where are you going? I'm going to Albany, father, to wait for you. I'm going home. Won't you stay and see him? Things for him will go on just as if I had not come back from Europe. That is all. He can resume that life. The coach for Albany leaves at noon. You'd better see him, Betsy. I've seen the morning paper. And so have I. Read every word of it, twice. Well, if your sister's determined to go, you'd better get your things together, Angelica, and go with her. She can't go alone. Why don't you go with her? I can't leave Alexander at a time like this. Well, neither can I. Betsy's the only one who can leave him, so she must go alone. Come, come, Angelica. You mustn't talk like that. Betsy, coming to Skylar. Don't, father. I'd much rather go alone. I can't bear to see you speak to anybody. I'm so ashamed. I can't face even you. Going toward left. Angelica, stopping her center. Betsy, take off that hat and stand by him. Are you going to leave that man? Yes. Good. He doesn't need you. He never needed you less. If you can't appreciate his courage and bravery, you are no fit mate for him. God knows there are few enough men who are willing to sacrifice everything for the truth. If you're going, go. Go and join those men in there who are all willing to take a peck at him. Angelica. I know. Alexander's done a wicked, disgraceful thing. That's what makes the difference between a human being and a whitewashed saint.  Enter Ezekiel, left. Well? It's a lady called Miss Betsy. Betsy, interested. Who is it? Ezekiel, lamely. It's Miss Reynolds, ma'am. What? What? Tell her Mr. Hamilton is out. She wants to see you, Miss Betsy. Angelica, indignant. I never, in all my life. Schuyler, about to go toward left. I'll soon settle her. Wait a moment, father. I'll see her. Ezekiel, going. No, no, Ezekiel. Betsy, firmly. Show her in, Ezekiel. Ezekiel exits left. Do you mean to say you're going to see that, disgraceful woman? Yes. Will you and father go away, please? But why? Why do you want to see her? I want to see what she looks like. Perhaps there's something of the human being in me, too. Come on, Angelica. Angelica crosses to right and opens door. I've got two daughters and your dear mother at home, and I'll be hanged if I understand the first thing about women. Excellent Angelica and Schuyler.  Enter Ezekiel with Mrs. Reynolds. Mrs. Reynolds. Mrs. Reynolds enters, pretty and amure. She waits for Ezekiel to go, looking to see that he's gone before she speaks. Ezekiel goes off. Betsy stands looking at Mrs. Reynolds. You're Mrs. Hamilton, aren't you? Mighty nice of you to see me. What do you want? Why, of course. You've seen the newspaper. Yes. Mrs. Reynolds, with conscious pride. Yes. It's made quite a stir, hasn't it? I came because I thought you might feel badly about it. I thought you might feel angry with him. With whom? Why, with Mr. Hamilton. I don't see how anyone could. He's so nice, but... What is it you want to say? Well, I wouldn't like you to be cross with him. You mustn't blame him, because it wasn't his fault. Whose fault was it? Well, it was mine in the end. But at first, it was Reynolds's. Reynolds? Yes, Reynolds arranged it. Because some of his friends, political gentlemen, wanted to get Mr. Hamilton talked about. And, of course, when I went, I hadn't an idea what he was like. And when I found he was so nice, I half-wished I hadn't said I'd do it. But I'd given my word, you see. And then you were away, and I'd never seen you. Coming closer to look at her. You're pretty, too, aren't you? Only in a different way for me, and older. Don't you hate to think of growing old? Mrs. Reynolds, have you no sense of right and wrong? Oh, yes, I know. I know what I'm doing wrong. But, you see, I have nobody to keep me straight. A little to centre. Do you realise that you have broken this home and ruined a man's life? Isn't the thought of that enough to keep you straight? Mrs. Reynolds, turning and coming back. Oh, you're not going to leave him. You can't do that. That's why I came, because I thought you might be cross with him. Have you no decency? Your name flaming in the newspaper. Your shame on the lips of every man and woman in the city. Well, yes, of course it is bad in a sense. But then it's different for me to what it is for you. Because it does give me a sort of a position. You see, I've never had any position before. And now my name being in the paper, coupled with Alexander Hamilton. Betsy. Stifled. It'll make Reynolds behave a good deal better to me, I know. A mean old thing. Of course you're good, with a good husband, and you don't understand. I suppose everything depends on the way you're brought up, doesn't it? I don't mean to be wicked. I wish I wasn't. Good morning, Mrs. Reynolds. Mrs. Reynolds, naively. Oh, that means I'm to go. But you won't leave him, will you? We have nothing more to discuss. Mrs. Reynolds, coming beside her and placing hand on chair. Mrs. Hamilton, I didn't want to come here today and face you. It took some courage, I can tell you. But when I saw his confession this morning, I reckon that took some courage, too. I knew he'd come home, and that you'd see it all in a paper. And I made up my mind that you should know it was all a planned thing. I was set on to get him, anyway. But when I saw him and spoke to him, and he thought I was in trouble and was so kind to me, I just fell in love with him. And I didn't mean to let him go. How can you stand there and tell me that? Because I don't want you to be hard on him. He's a good man. But I made up my mind that he shouldn't get away from me. So he isn't a blame, is he? Enter Skyler and Angelica hurriedly right. Angelica goes up to right-center at back. Skyler remains at door. Alexander has left his room. I think it would be better if I let this young woman out by the side door. This way, please. Mrs. Reynolds, crossing, turns to Betsy. You won't leave him, will you? Please go. If you only knew more about women, you'd forgive him. Mrs. Reynolds exits with Skyler. As she notices Skyler's forbidding expression, she assumes a nonchalant swagger as she exits. Betsy sinks into chair, weeping. Angelica coming down to Betsy. Did you hear what that woman said? Yes. I think God put those words into her mouth for you to hear. Enter Hamilton left. He carries the bill on which he has been working. After a moment's pause. Alexander! Betsy! Hamilton puts his hand up and silences her, looking at Betsy as though to say, let Betsy speak. Betsy avoids looking at him and goes off right, hurriedly, as though she feared she might break down. Angelica, going to him in tears. Oh, Alexander! You've wronged her cruelly. But you stuck to the truth. Hamilton, taking her hands. It's a great price to pay. But it was the only way. The only way for me. But, oh, Angelica. I've lost Betsy. They move away a little to left together. Enter Skylar, door right. Alexander, you've got to see these people. There's a whole crowd waiting for you. The wolves are clamouring at the doorway. Well, they'll die of overfeeding. Who are they? Jefferson, Monroe, Madison. Ha! Ha! Ha! Of course. John Jay, Robert Morris. John Marshall, Robert Livingston, and others besides. My friends, too. My friends of yesterday. Well, they are right. Have you seen them? Not yet. Zeke, you're trying to get rid of them, but they seem to be waiting with grim determination in there and won't be moved. In here? Going toward doors at back. Well, we'll meet them this way. Turns at doors. You, dear friends, have been my allies. They come to him on either side. I release you. They'll stand alone. Not very strong, morally or physically, but we won't lose our courage. Angelica, dear girl, you have been too good, too indulgent to me, not fair to Betsy. Coming down a step or two with her.  She will need it, at first. Angelica goes towards door right. You'll stay, Father? Skyler, Testily, to cover his emotion. Get out, get out. Why should I run away? I'm not a senator, thank God. Exit Angelica, right. Hamilton, with hand on door-center. Father, after this I shall disappear. I shall probably go back to the West Indies where I was born. I will write to you. You will hear from me, but you won't see me. Here's an end to the Federalist Party, and an end to my ambitions. My home is in ruins, but the honour of my office has been saved. Breaking down. His head drops for a moment on his arms as he holds the handles of the doors. During that moment, Betsy enters. She has taken off her outdoor clothes. She comes forward to Hamilton without stretched arms. Alexander? Hamilton turns to her, amazed. Comes down and folds her tenderly in his arms. Betsy? I thought I could be proud and hard, but I can't, dear. I can't. Hamilton, kissing her fervently. My dear one. Kisses her again. Then, to Skyler, who has come down right of them. Father, will you take Betsy till this? Indicating toward centre doors. Is over? No, Alexander. Let me stand by you. Hamilton kisses her hand, and she moves down right. He becomes a different man, and going up he throws open the great centre doors. The room beyond is brilliantly lighted, and the entire scene is lighted up. There is a murmur of conversation. The room beyond is filled with men, about a dozen or more. Some are seated. Present are Marshall, Morris, Jay, Jefferson, Monroe, Livingston, Madison, Muhlenberg, etc. Gentlemen, good morning. He bows, and they bow to him. I regret that it was necessary for me to keep you waiting, but the publication of the morning paper did not immediately relieve me of my duties as secretary of the Treasury, and I had pressing work. But now gentlemen, I am here for your consumption. Comes down right. Jefferson comes down centre, Monroe behind him to left, Jay to right inside doors. Others form group in centre of doors. Colonel Hamilton, you see before you political adherents and political opponents, friends and foals, but I have been requested to act as a spokesman, and to express... Mr. Jefferson, I know how painful must be the duty which has fallen upon you. Let me relieve you of it. I am glad you are here, both friends and foals. I know the object of your visit. You have come in advance of President Washington's orders to relieve me of my office.  I am pained and ashamed at this inglorious end of my career, but at least I must still have the courage of my political opinions. Since early morning I have been working to clarify this document. It is the bill of the government assumption of states' debts without which this country has no honour. It will now be ignominiously defeated, but it is my conviction that the sense of justice of my opponents will one day compel its adoption, so Mr. Jefferson, I deliver it into your hands for safekeeping. Hands document. Jefferson, without taking document. Alexander Hamilton, you have mistaken our mission. I have been asked to tell you that every man in this room, every man in the cabinet, every man in the Senate is anxious to take you by the hand. Monroe, coming forward and taking his hand. Their admiration for your courage has overwhelmed their knowledge of your indiscretion. You need have no fear for your bill now, Colonel Hamilton. Your action will swing the whole country. I trust I know how to appreciate courage and how to acknowledge defeat. Retires to left. Enter at the back from left two military aides. They remain in outer room and salute Hamilton. Colonel Lear follows them and comes down center. Here's Colonel Lear. Colonel Lear, you come from President Washington. Lear, saluting. Colonel Hamilton, I have the honour to announce that President Washington has left the executive mansion and is now on his way here to express to you in person the high opinion he holds of your integrity. Salutes and Retires to Jay. Citizen Hamilton. Our political opinions may differ in the future as in the past, but my impression of your conduct in this matter will remain glowing and unchangeable. It is the braver thing a man ever did. Your vindication of the honour of the Secretary of the Treasury, the servant of the nation at the expense of the honour of Alexander Hamilton, the man, is a display of personal courage. There will rouse the admiration of the world. Citizen Hamilton, I am proud to take your hand. Shakespeare, by the hand, there is a buzz of approval. Mr. Jefferson, Mr. Monroe, gentlemen, I am deeply moved by the expression of your sentiment toward me, but your decision to support this bill has stirred within me a still deeper feeling. By that decision you have established the credit and the honour of the United States. You have opened the floodgates of prosperity, a prosperity that will reach far beyond our present vision, a prosperity that will one day make America the market of the world. This is what I have striven for, and so, gentlemen, I tender you my felicitations and my thanks.


Hi everybody, Joe for jazzybyscasebreaks.com doing the team random that'll fill up Cosmic Chrome Picker Team 3. You're either guaranteed a team or a box. If your name's on top, you'll get a sealed Cosmic Chrome Hobby Box. The rest of you will get teams. In the next break, Picker Team 3 coming up with the next video. Point is, everyone's guaranteed something as long as you're in here. Big thanks to this group right here for making it happen. Let's roll it and randomize it and we'll match it up with a box or a team. Let's roll it and randomize it. Snake Eyes, two times, easy. One and two. Rex on top, there you go Rex. Rex down to Steven. I won't see you in the next break Rex, but you will get a Cosmic Chrome Box going your way. You can rip it if you want to. You can sell it if you want to. You can save it if you want to. It's yours, we'll send it to you sealed. Congrats, Ed, congrats. You got the Tiger, Steven with the Yankees, Barry with the Orioles, Jeremy with the Red Sox, Corey with the Cubs, Matthew with the Guardians, Rick with the Pirates, David you got my Dodgers, Sean with the White Sox, Matthew with the Mets, Chris with the Giants, Craig with the Marlins, David with the Rockies, and Steven with the A's. There you go, gang. I'll see you in the next video for the Pick Your Team 3, break. JaspysCaseRakes.com.


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Can you write an overview of the whole code? It's loading for, writing for so long. And JGPT became slower, much slower, clear. Yeah, I'm using this voice wave JGPT voice control thing. So you wanna say, yep, it should send a message when it's clear, it should clear the text window clear. And it actually works most of the time. If I speak properly into the microphone, clear. Okay, now it doesn't, clear, clear, clear. Okay, this is still generating forever. So that's what the application currently looks like. It's loading some EEG data from file. Can check it out in EEG noise removal spectrum on the page. This is the same data has a seizure in it. That's the quiet after the storm, after the seizure. You can scroll through it in the EEG. It's on IEG.org. I think anyone can download, I think it just requires a basic registration. This particular data set has seizures in it. That's what they look like. It's really EEG. I know sometimes things like this look a bit fakeish, but no, those are seizure spikes. Check them in here. Try and reduce noise in it, which this tool does that using wavelet transforms. But now we're trying to turn this into music for various reasons. Well, one possible use case is being able to review EEG just by listening to it. And you don't want to be listening to sinus noise because it's annoying, noisy. It will just sound like noise. So you might as well turn it into music. Well, when I say music, it might not be perceived as music, but instead of sinus, it's actually using musical notes. So notes like this, it's just for testing. So actual F sharp six or G six at this code, which GPT-4 generated for us will actually do a conversion using an interpolation. That's the general idea. I'm getting all sorts of errors with it. Many to the fact that the frequency components are not been directly translated into a musical note because it will be essentially outside the range of a typical piano, for example, now we're using a grand piano. So that interpolation, well, it does work by the generating this. The algorithm cannot find these particular notes. I'm not sure if it's because they're not defined here. We're having this AVA error as well, which is meant to prevent ascending the same thing multiple times. So let's solve this one first. That's the error in description. Actually don't have the function clear, clear. This doesn't work. Clear, right, it did work. It's a hit and miss. It must be my pronunciation, that the bot is not picking up. So are we trying to define our own debounce function that we have a debounce available somewhere already? And in the use of the function, we have debounce update data, convert to music in the 500 millisecond delay. That looks good. Also, data slider, okay, that error is gone. I'm still getting the buffer note. So the notes would not play. Yeah, so the idea is that this EG, real EG will be translated into musical notes. Let's reduce the window size for a sec. So as you scroll through the EG file, it will convert it to, well, music. I'm not saying it will sound like music, but it will be converted to actual musical font called Grand Piano. So it will be converted into something like this. But we're having all this errors coming through. Audio context was not allowed to start. We'll try to resolve it both by using GitHub co-pilot and GPD4, modern browsers, security. Yeah, I like how GitHub co-pilot already gives a resolution. Yeah, GPD4 does the same. And more. This is some sort of browser feature. They generate the update that was it main, main JS. Yeah, we need to handle an audio context because I'm getting this warning that the audio context is not allowed to start. Unless there is an interaction with the page, let's make the window size smaller again. Try this again, the main problem is that, well, we can't hear those notes. That's obviously because of this comment here. The path of a note is not found. Yes, I thought we're not using the web media anymore because that was generating a file. Right, so it sounds like we won't be able to bypass security of modern browsers and we kind of don't want to anyway. So we'll have to implement this. This at least should get rid of this audio context warning thing. The music is still running. It's reduced the window size. We should already play some notes. It's not doing it. I can't hear anything and get the following. Yes, it's Grand Piano. Well, I mean, that's what's called Grand Piano. It should have a wider range of notes. I'm pretty sure it's working okay because we have this button for testing is actually playing some. We need some troubleshooting. It's doing a 1D linear interpolation. So we have a window size of 10, selecting another region of the EG. The notes are B5, it's generated twice. It's playing okay. This audio context thing is not being used correctly. You regenerate all AGS. Yes, this is updated. JavaScript loading Piano, loading this Grand Piano. So it should have all the keys that error that we were getting should go away. Fetching EG, updating the data that's happening when you're scrolling, plotting the data, converting to music, using another function. It should be legit. And the bounce function should prevent the user from clicking too many times. You know, the piano is working, the EG is working, it's loading okay, but we're still having this issue with the buff not found. Avoid re-initializing the piano or the audio context multiple times. Okay, how do I actually do that? And that this if condition window piano buff is not, so that message is actually coming from the goal. So it's good to know, play next note, document get, and then buy it D, it should be the same. Document event list, load it, load Piano, debounce. Now still skipping and the piano is still working. We have B5, I need that prompt. That's a comment, try co-pilot as well. So doing explain this, so it has the access of that prompt into co-pilot as well. The issue might be that the audio data for the note B5 has not been loaded when you are trying to play it. It's not finished loading, but ensuring the piano sound is fully loaded before trying to play note. But that code is actually working, that's what I said in a window piano play B5 is working okay. Yeah, get up co-pilot, doesn't have the context. Yeah, GPT-4 is not giving an answer, but at least it understands what I'm trying to do. Yeah, let's do some more troubleshooting. Yeah, I'm going in circles, it does have C6. So now we're doing B5, it's to C6. Yeah, I'll load it. Now the sound phone is okay, loading is okay. To restructure this code. Should be playing this tones. Yeah, let's start a new chat quickly. Do we have the prompt at the bottom as well? Just continue. Yeah, I have notes working and work okay. I'm going to continue with debugging. Yeah, that's probably the best advice. Probably going to get penalized for long prompts. Probably going to get a timeout. It is simply an issue of how we actually using this JavaScript for playing sounds. Try to understand what's the difference between the mean JS and the regular JS. So this is using a million note numbers. Okay, we also got a timeout from GPT-4. As expected, there's no option to regenerate though. You can install SoundFont player via NBM or included directly in your HTML. Loading an instrument, JavaScript copycode SoundFont. Instrument, AC, Clavinet, then Function, Clavinet.


All right, let's play this All right, cool So like you said, this is a little very rough stages and that's okay I think you are definitely good to go in terms of clear You know clear beats and everything. I think the only tweaks that I would do are at the beginning. So right now you have Wing goes up creature comes in at the same time So all I would do is it's gonna be super picky take this stone and move it over here So that the tip of the wing is always clear and a clear silhouette at all times I know this is super picky And then I would delay the entrance of the dragon So that way we just see this and then the wing is moving Then it can always go go down to this like you can come up a bit flutter and go down a bit here Then it comes in That way, you know, we have like the audience sees all of this. Oh, what is this? Okay, what's that and then it moves and it definitely will move over here going Oh, no, there's blood and it's moving a bit and it's trembling and you could have a little bit of You know like all your detailed stuff you're gonna put in Trembles the head, you know, the jaw opens. It's in pain Then the creature comes in was that way we had enough time. This doesn't have to be long Right, you can just do quick little move in after a second or so creature comes in You know and in terms of this I Probably wouldn't do a flap here if you're going starting in specifics Also, watch out your path feels like it's going down and then this just make sure it's on an actual motion path Or at least legal in space. This feels like it's crabbing a bit right at the beginning there And then I'm here. I will keep it a level here So legs will be technically like this just like a nicer glide And then I would do the flaps around here ish to break for a stop So this is more of a glide in Lean back, then you flap for a stop flap flap flap flap flap That's cool timing wise watch out. It feels like you're coming to a stop here Especially here you're going forward stop and then you shoot forward So as you continue forward with the shot to smooth it out watch out that the momentum is all Boom boom and slows down through here Since it is now on the ground on this friction and all that good stuff So watch out for that then it gets to here, which is cool And I would just pump that up, you know, like the wings would be further back And you can have a bit of a roar forward kind of It's the bigger like get out of here mama is pissed or papa is pissed or whatever it is, right?  Let's see. Let's pretend it's all done and then a turn It's actually cool It's slower imagine still kind of looking than a faster look over here. It's actually really cool I wouldn't change that timing there. It's nice Then you can always do this and then by now I would slow it down a tiny bit because it's kind of looking at it Not that it needs to understand what's going on. It knows what's going on But I was just in terms of contrast and texture turned and here step step slow Then use that time that you that you added here and take it out Of here so it's turn Step step hold a bit. It's looking at a stepping which is just slower Then you speed up because he wants to get there Then it does all of this here The tricky thing about this one just watch out because you're going behind the kid which is cool But then you go in front of it and there's a lot of movement the horns are moving the head is moving And we almost miss the the the kid going up here the baby whatever it is So ideally personally what I would do is I wouldn't go further than this You can always go like that and then go back again But like to me it seems like you want to go and be very clean in your silhouette So that if it's here and sniffs maybe the top it turns the head towards us a bit And when that goes up You have This moment you mean like there's so much covering We kind of see it here, but I think if you keep this all within this area You know and the head is up here The other head is here horns out, you know, and then it's very clear You can then you can almost have you know, it dies and the muscles relax and everything and it starts to The neck and everything in this section starts to go down And then it's completely flat except the head slides off the parents Head and then plop and as it slides off it can the bigger one can go a bit screen left Give it a bit more room because it can't believe. Oh no, it's actually dead Then it plops and then imagine let's see here you're here So this would be head here, but imagine this would be this head will be here That makes sense. No that's just kind of Shift it back by this much And then it can do this and do it I know probably give this another second So once it goes down I would do this Hold a bit go back a bit or go up in a bit of a faster move I know we're getting kind of the human behavior, but I just push this a bit more So it goes Just it's not also swimming and I know this is still rough But I would just look at cleaner silhouette and keep this like I said for the back So it can plop down and slide down the face Then it would do this and go up a bit faster and hold a bit And then go And I think Yeah, I'll keep it as a second a second longer Because then you can almost do a full on roar And then you can almost show how it stops the roar and brings the head down Again this is another beat and I sure if you need it But it could be an interesting contrast of Roar Because get out of here Versus roar and pain And then end it with head going back Mouth closed and just having that sad head down Looking at a dead child Just for contrast and you can end it almost on that on that head Looking at a dead child Just for contrast and you can end it almost on that on that sad note versus another Roar But I mean can easily also just end it here and that's the pain the pain of loss That would be the way to cut it. That's kind of up to you And then switch out you got this This arrow goes and tired and tired. I need to let him All right, that's it for that. Thank you All right, there's an email you can sign up You can start whenever you want. You can submit whatever you want. You get 16 submissions Either way a like and subscribe would be awesome. All right. Thank you


Freedom of Speech The First Amendment from the U.S. Constitution gives citizens the right to say or write anything they want without being afraid of getting in trouble with the government. There are legal limitations, such as saying something that may cause people to want to become violent or harm others to get what we want.


Hey Psych2Goers and welcome back. Thank you so much for your immense love and support, enabling us to make yet another exploration into everyday psychology. So let's begin, shall we? Have you ever had a sneaking suspicion that someone might be trying to get the upper hand? Do you only hear from that one friend of yours only when they need something? Does your supervisor often push you to stay that extra hour? Perhaps it's even your partner who insists you buy them that new makeup kit they've been eyeing. No matter the relation. Being used by someone is downright outrageous. We here at Psych2Go understand that it's hurtful and we want to remind you Psych2Goers of your worth. It's important to remember that you're not responsible for the actions of others, but you are in full control of how you react to them. So here are eight signs that someone might be using you. Number one, they're only there if they need something. Do you have a classmate or a colleague who only reaches out to you when they need help completing an assignment or for other favors? If so, you were successfully used by them. And no, there is no other way to put it. You might also argue that humans are social animals and occasionally reaching out for help isn't always done with malicious intent. True, but if it's happening more often than not, it might help to review your argument and their intent. The flip side to this is that when you're in the position to help others, they don't typically reciprocate the same support back. Two, they don't follow through on promises. Do they often go back on their own word? Are they the infamous more talk and less do type? It can be frustrating to rely on someone only to have them not follow through with a promise. These patterns of activity are very damaging to relationships. The constant undermining of trust cements the fact that they see you as someone they can use. Ouch. Three, they make you watch what you say. Do you find it hard to express yourself freely around someone in particular? Has it become increasingly difficult to say no to their requests with time? New York City's life coach, Julie Malayo, noted that this is due to the invisible power play position that we hold in such relationships. Users send messages that denying their requests might spell doom for you. Malayo writes, and this is how they manipulate you. Using fear as a tool to control is absolutely not healthy in any relationship.  Number four, they always assume that you're paying. Are you the only one to foot the bill when out with them? Do you do it by choice, or has it always been expected so?  If they're always expecting you to cover expenses, small and large, they might be taking advantage of you financially. Number five, they're only nice when they need to be. Usually they look right over you, no? But wait, do they suffer from out of the blue bouts of clinginess and niceness to you? It's like you were best of buddies. How someone reacts around you can say a lot about their personality. Don't get us wrong, it's totally normal to notice fluctuations in behavior due to mood or circumstances. But if you can think of someone in your life who only shoots you a smile when they need something, yet are radio static otherwise, it might be a sign they're only out to use you. Number six, your loved ones are worried. I told you so. This is the most dreaded phrase, right? Friends and family tend to see past the blinders you have in your relationships. They notice subtleties that you don't pick up or dismiss altogether, entitling themselves to the luxury of that particular phrase. If a family member or close friend has pointed out toxic or controlling behavior in your relationship with someone else, then it might be worth delving into further with your best interests at heart. Their suggestions can help you see clearly. Number seven, they never say thank you. Do you constantly put them first with little or no gratitude expressed in return? If you can count on one hand the number of times they've said thank you, stop right there. It's hurtful and a prime example of being used. Period. Not receiving gratitude after altruistic acts are not only damaging to relationships but may even lead to thinking that maybe your own actions weren't such a big deal after all, that they were expected. This can only lead you further down the dark road of manipulation. And number eight, you begin to dislike them. To like or not to like? How many times have you faced this predicament? Did someone in particular come to mind? This is completely normal as it helps us mold our lives into one that is healthy and ideal for us. But if you begin to feel resentment when you think about that certain someone, it's likely not for no reason. Dr. Kim Chronister, PSYD, said that resentment is often accompanied in one-sided relationships. Relationships are a two-way street and similar care should be given to stop resentment from manifesting. We are here to remind our community that everyone has the right to be treated with respect and love. Nobody deserves to feel used or taken advantage of. If the signs remind you of someone's behavior towards you, fret not. Reviewing your relationship and confiding in your near dear ones might be a good place to start. Do any of these signs describe someone you know? Let us know in the comments below. If you found this video insightful, be sure to hit the like and subscribe button and share it with unsuspecting friends to help free them from the talents of being used. Thanks for watching and we'll see you next time.


Hey everybody, Dr. O here. Let's talk about the six major bone shapes. So let's start with long bones. So long bones are going to be long and thin. So these are going to be the bones of your arms and legs, your upper and lower extremities except for your carpal bones in your wrist and the tarsal bones in your ankles. So your humerus, radius, ulna, metacarpals and phalanges there in your arms, femur, tibia, fibula, metatarsals and phalanges in your lower extremities are going to be long bones. So long and thin. I was just going to order next. We have flat bones. So flat bones are going to be flat. The two surfaces generally run parallel to one another. You see the sternum has a great example there. The bones of the skull, your ribs, these would also be good examples of flat bones. So long bones, think extremities, flat bones, think your skull and then your thoracic cage there. Irregular bones are just like, I have no idea what to call this shape. So we're going to call it irregular. They have very complex irregular shapes. So the example they give here is a vertebrae. Like I don't know how I would describe that. So it's irregular. The bones of your pelvis, your coxal bones, your ilium, ischium and pubis would also be classified as irregular bones. Short bones, like the name implies, they're going to be short.  The key examples here are going to be those eight carpal bones in your wrist and the seven tarsal bones in your ankles. And you have sesamoid bones. So sesamoid bones are unique because they're bones that develop inside of tendons. So tendons are supposed to attach a muscle to a bone, but sesamoid bones grow in some of these tendons. Their job is to protect the tendon from being compressed. They generally, they also can help kind of change directions. The key example, the only one I'll ask you to know about a sesamoid bone is the patella there, your kneecap, but they can also develop near your thumb, anywhere other places in your hands and your feet as well. So a sesamoid bone is a bone in a tendon. The patella is the only example I'll ask you to know. The six ones not on here, they're called sutural bones. So like the name implies, these small little irregular bones that can develop in sutures between your cranial bones would be called sutural bones. So long bones, think arms and legs, flat bones, think skull and thoracic cage there, irregular bones. You have vertebrae in your pelvis, short bones, think wrists and ankle bones, sesamoid bone, the patella is the only one I'll ask you to know. And then just remember sutural bones are bones that can develop inside a suture. All right, those are the six major bone shapes. I hope this helps. Have a wonderful day. Be blessed.