the first speaker for the session after lunch. Now bringing the laurels home is something our next speaker is talented at. And his idea, the unfiltered history, unfiltered history tour for vice world news, led India's stalling in what is now the country's most successful year at Cannes Lions. The campaign brought home three grand prikes, titanium lion, and for the first time, the coveted agency of the year title. He had also been recognized as Apex number one CCO by the one show earlier this year. Not resting on laurels and bitten by the entrepreneurial bug, he went on to start an independent creative agency. The now seven month old talented, put your hands together and welcome Mr. P.G. Aditya, co-founder and CCO, talented. His session topic is sneak peek into the talented employee handbook. And I request Mr. P.G. Aditya, wherever you are, please put your hands together for him, co-founder and CEO, talented. His session will be about a sneak peek into the talented employee handbook. All over to you. Thank you. I was spending about 10 minutes thinking of a nice post lunch joke to crack about how everyone is sleepy and I didn't get any jokes. So we're going to get straight into this session. I think from what we kind of told this idea of what it's going to take to create powerful brand stories, seems like a question that keeps a lot of us up at night. But it's also the reason for a lot of us to wake up in the morning and do what we do best. Earlier this year, so I think over the next 10, 12 minutes, I'm going to take you guys through two powerful-ish brand stories that I've been fortunate to be a part of along with some terrific teams. The first of which I was told that was already presented this morning, but it's a campaign so nice it has to be presented twice, which is what I think the gentleman earlier was also speaking about the unfiltered history tour. So I want to take you guys a little bit through that once again and show you all a little bit of a timeline of how those events happened and what it took to create that powerful brand story for VICE. And then I want to talk to you guys about yet another powerful brand story that just went live this morning on today's TOI. So if any of you all have that around, you all do take a look. I'm going to be playing what that is as well, and that one is for Clear Trip. And then I want to wind up the session a little bit by talking you all through, hopefully, some relevant Guyan from our eight-month-old outfit called Talented in terms of what we believe. One of the secret sources are in getting to do this more sustainably and more consistently. By that, I mean building powerful brand stories. So I want to start off with another edition of a campaign that feels like a gift that keeps on giving to all of us in Indian advertising, the Unfiltered History Tour. The British Museum is a public institution dedicated to human history, art, and culture. Come discover over 80,000 works from around the world here in London. You are now viewing the Gregal Shield. Captain James Cook was a British-speaking event. We're now looking at the Gregal Shield, which was taken from our people. The elections in the British museums are premised on a simple idea. I'm proud of what my grandfather stole from yours. The Rosetta Stone was not a discovery neither of the French, neither of the British. It was already discovered and reused in Egypt multiple times. For us, it's not just our well-carved rock. It is a living ancestor. This very important statue is on display in a museum thousands of miles away. I'd say the British Museum is the world's largest receiver of stolen goods. We're launching an interactive tour of some of its most contested artefacts, plus a podcast series featuring voices from the countries they were taken from. There is always a story behind every object that was made in the kingdom, and that is how we told our history. There were two foreign powers in rivaly over Egypt, one of them, one over the other, and they took the worst points of the other. I feel I've received a balanced narrative. For many a series, it was maybe the last time we could really stand up to people who were trying to bully us. We sort of went around the world and took what we wanted, and it makes me feel a deep level of shame. Museums around Europe are slowly realising that exhibiting items taken by force hundreds of years ago from other countries is kind of gross. And it's about time. We can't change the past, but we can change how we engage with it in the present. Now on record, the Unfiltered History Tour is the most awarded campaign from India and international creative festivals ever. It's brought home, like you said, three Grand Prixs at Titanium and the Agency of the Earth title, which I am also extra happy went to an agency from Bangalore. It kind of shows that there's too much creativity and too many opportunities in our country for only one or two cities to bear the burden of them all. And very, very pleasantly surprised by how big a creative force Bangalore is becoming in producing the best work out there. So I'm gonna spend a couple of minutes very quickly on how this all happened, what it took to tell this powerful grand story. First of all, I think it took some very unwarranted initiative from our end. I don't generally prefer the term proactive ideas because it kind of mirrors this implicit power equation that happens between a brand and an agency where our job is to be reactive, to be at the receiving end of questions. The phrase we prefer is briefing the brand back. When we feel we have an idea or a brief that we think would lead to a powerful brand story, it's perfectly fine to have that as an equal relationship and actually brief a brand back on this is what we think you should do. That's precisely how unfiltered kind of happened. It was a moment after seeing this series called Empires of Dirt, which is a show about European colonization on vice. But it wasn't an easy idea to execute even from then. Right from the get-go, you could see that the initiative that the team took to not present the idea, simple things, not present an idea like this as a simple PPT, but actually go ahead and make an entire case film to kind of show how that would come out. That was the way in which the first impression of something like this was made. Secondly, we knew for a fact that there were neither experts on our end nor vice's end about the accuracy, the historical accuracy of the kind of stories that we're seeing. So the real creative director on this in terms of accuracy was a cultural historian called Shalini Vadwana who was brought on board. And you had creative teams who were almost seeking approvals and edits from an actual cultural historian. And that's how those illustrations and those stories got to be kind of told. As we've, and this campaign overall took about 18 months to make happen through different, different cycles of lockdowns both in the UK and in India and our very tragic second wave as well. But despite all of that, some of the stories that were completely unable to forget in terms of the kind of audacity that it took to make the story happen. For instance, just to give you guys an example, lots of museums have done, what do you say, these kind of interactive tech-enabled tours of their collection, but it's done with the permission of the museum, with the approval of the museum using their own money. So if you need it, if you're working on it and if you think that what this artifact needs to be moved from here to here in order for this experience to be made better, that could happen. What do you do when the museum has no idea you're actually doing something? What if you're doing the entire thing under their nose? So there were actually moments where, for instance, one of the artifacts which are called, let's call the Gwegel shield was kind of moved from one location to the other, arbitrarily at the British Museum. And our teams discovered that because they were using Google Earth from India to try to track where different pieces in the museum are, none of us have actually stepped into the British Museum till date. And at that point while it was happening, one of our team members, his name is Kushal Lalvani, he's a brave soul for this, he calls up and we didn't know where this artifact had been moved and therefore we couldn't figure an experience for it. So he called up the British Museum posing as a incoming visitor and he asked them, hey, I'm told the Gwegel shield is moved from here to here, can you tell me where it is? And the people at the help desk, very unassumingly said, yeah, it's in the ground floor and boom, we went into the ground floor to check where it was. So it took efforts like this, of course. I think by the end of it, one of the things that we're definitely happy with is the British Museum obviously has an incredible amount of wherewithal to kind of work through bad PR and not be too frazzled about it, but we've seen humongous number of smaller institutions, private collectors actually start returning their artifacts ever since this campaign went live. Till date, I think over 10,000 artifacts have been returned from around the world to their, from around places in Europe and America to their homelands and we'd like to think that this little piece had something to do with that. Now, I told y'all this took 18 months so one of the things that also happened in those 18 months was as you see on the left bottom that little blue icon. A bunch of us who came up with the campaign and who led the execution, the core team unfiltered, a bunch of us kind of decided at that point that it was time to move on from our agency and we set up an independent creative agency called Talented where we continued work along with our ex-colleagues at Denso on the case study, et cetera and we've seen what it's done in the award circuit since. So I wanna talk to you guys a little bit about what, how we've been continuing, hopefully telling these powerful brand stories in our new adventure as well. Just this morning, those of y'all who subscribe to the TOI, if y'all saw the paper this morning, you would have kind of noticed, I hope, an ambush marketing campaign by Clear Trip against all the e-commerce offers that are kind of going on. It's there on today's TOI, check it out whenever y'all get the time, I'm gonna play a video to illustrate what this idea actually is. Little context that Clear Trip obviously is positioned itself as a challenger brand in the travel ecosystem. I think the almost like the self-image of the Burger King of the travel industry almost. So we knew that we had everyone out there, especially in this time of the year, we are David, the Goliaths, our e-commerce brands that are looking for your share of wallet to be put into things, into things from new TVs, new smartphones, so on and so forth. But imagine if that, instead of buying a new smartphone if you could travel somewhere instead. And we wanted to figure a way to get users to kind of switch their mindset from using your money, using your budget on things, to using it to travel instead. And this was an ambush marketing campaign in today's print edition of TOI, which we kind of went ahead with. This should give you guys a demo of what it is. Okay, so this is the Times of India, today's Times of India. This whole week, it's gonna be filled with e-commerce ads for the first 10 pages. It's just gonna have more and more and more offers and offers and offers until you get to Clear Trip's ad on this page. All you need to do is scan this code on this ad and it will turn any other e-commerce deal that you see in any of these pages into a travel deal instead. I'm gonna show you guys how it works. Okay, so you scan the code here in the Clear Trip ad, go to any other e-commerce offer on any of the previous pages, taking this Samsung Galaxy 9,499 and instead I'll get a travel deal. Butterfly mixer grinder offer and instead of that mixer grinder, I could be traveling to Bangkok instead. So the rest of the brands clearly had no idea this was happening to them. So no points for guessing a pattern between the unfiltered history tour and this one. Looks like a lot of us love, we love challenger brands, we love kind of figuring unique creative ways to give them that slight unfair advantage in doing things that are subversive and ambush related. That's of course because it makes complete sense for Clear Trip right now. So in our minds just wanted to tell you guys how we as an agency and as a team, as a creative team and I'm sure a lot of creative teams either on the agency side, on the brand side, wherever, what is the secret sauce to actually building these kind of powerful brand stories? Where exactly do we usually fall short? Those are questions we kind of wanted to ask ourselves before we started up once again and tried doing what we believed was a much, much better version of our industry and our jobs. One of the things we did was, instead of keeping it in the air too much, we wanted to codify a lot of the ways in which we wanted to go about work and what you're seeing in a slightly blurred out version right now is the contents of our agency's employee handbook which will become a public document very soon. But just for this audience, wanted to take you all through one part of this handbook called How We Want To Work With Our Clients. A large, large part of what it takes to build brand, powerful brand stories comes from the relationship that let's say in this case an external creative partner has with the brand team. And while there's a lot of extremely inspiring talk about what that story ought to be, a lot of times human stuff kind of comes in the way. A lot of times, how many of us can genuinely raise our hands that by the time we actually took a piece of work live, it was exactly the same way in which we imagined it when we first thought of it. Any hands who felt like we have had zero creative compromise or any kind of compromise from the beginning point of an idea to the point it's taken live. Then think so. What are the things that actually get in the way? More often than not, it's just stuff that's kind of human, that's very, very psychological. And those are the points that we wanted to kind of write down and codify about the agency-client relationship which in my heart I believe is a beautiful partnership that brought us most of the great advertising that we know. It is not in its best shape in a significant part of our industry right now. So what is it gonna take to actually fix it? Hopefully this document would give us a slight start. So this deck is supposed to be a self-read so the most I'm gonna be able to do is a dramatic reading of the points that you'll see on the slide but hopefully it's gonna make it worthwhile. Over the last decade or two, there've been massive changes to the agency-client relationship. Right from remuneration models to profiles of individuals who occupy client-side marketing teams and we've seen the influx of in-housing, et cetera. It can be argued that over the recent past, agencies haven't moved at the same speed as our counterparts on the client side have. At Talented, we wanna be as fast as our clients. We wanna attract clients that are into the type of work that we do. There will be brands with brave marketing teams that are ready to get in the dirt with us. When a client chooses us, we want them to know that we are committed to putting the smartest and most creative people in the room to get their money's worth. In our line of work, every day these marketing teams are choosing to be our client or not. Do not let a client relationship feel like a subscription that you renew every year. A relationship by itself does not secure a client anymore. Consistently delivering great work does. So how are we gonna go about that? A few points. In terms of simple stuff from getting started, we will view every client as their own special snowflake with immense potential for our work to impact their organization. There will be no one-size-fits-all team structures, cost proposals, or SOPs. While starting out with any new client, we will leave behind the baggage that we may have courtesy of our experience with another client. All clients are the same. That word should not repeat. In return, we will expect clients to not punish us courtesy of a bad experience they might have had with the previous agency. Oh, all agencies are the same. Therefore, I'm going to punish you for a bad experience I've had with someone else. Forming the dream team. This is a point where I think largely creative agencies kind of try to play it under fast and loose, shouldn't be that way. We're happy to be trusted blindly for creative quality, but we believe it's important for every client to judge the aptitude of those working on their brand firsthand. To this end, we will encourage clients to request and view portfolios of talent that we are proposing for their mandate. We encourage passionate debate between core members of the team and the client during cases of disagreement. Let's say when you think a particular talent is the right fit for a brand, despite the client sensing an inadequacy in their portfolio. Getting briefed, very, very small point once again, but different clients go about briefing in different ways. We encourage them to be over-vulnerable and to over-share more news is always good news. Of course, good writing is valued, so written briefs are loved. I'm sure most of us would agree, but we never say no to an inspiring conversation as a substitute. Because some prefer deeply articulating the problems instead. You're encouraged to debate passionately and settle on a briefing process for both teams. Again, very, very, very small point, but let's honestly ask ourselves how much time do we spend on things like this before getting the work started. Our promise, and this is something which I personally had a very hard time dealing with, but do believe it'll be very valuable. In the agency business, our modest operandi and our Achilles heel both happen to be the things that we do in the name of impressing the client. It always works when it's honest.  We will aid each one of our talent to form the vocabulary for confrontation and giving clients tough feedback when needed. Next point, again, fairly interesting, fairly recent, working with in-house teams. In recent years, we believe a lot of great agency folks have done some of their best work with clients who are ex-agency or in partnership with their in-house creative teams. We found this growing breed prefers leaner teams since they're creative people themselves, usually, and prefer interfacing directly with other creators. Our team structures need to become more flexible to what serves the best outcome, and your place in a team will only be decided based on the value that you add, not legacy structures. We've also seen this breed of relationships working directly with in-house teams, littered, however, with creative insecurities, duplication of work, confusion in credit culture. As ground rules, it's important to always understand why are we as an external partner in the room? And what specific skills as an external partner are we meant to add? Creative bandwidth alone will no longer be good enough. Poaching from our clients, sensitive topic, but important still. If we believe that a member of our clients team can be a good fit for a role that we're hiring for, we discourage our employees from speaking with them directly or asking our HR team to get in touch. We all kind of work in high-trust environments. Most of us in media and marketing work in high-trust environments, and backdoor poaching can leave a bitter aftertaste. This is a psychological thing. Instead, we're encouraged to write a JD, give our client context, and request them to simply pass their JD on to the member in their team instead. Our bet is that we will be respected for being upfront, and that team member can, this is the most important one, that team member can be sure about not burning a bridge internally if they decide to pursue the role. We encourage our clients also to pursue the same orders of Randy if a similar scenario happened from their end. And finally, the last three points, valuing our own time. This is specifically important to companies that are younger, think, and take a client building seriously. This is one point that we personally feel is what agencies need to do way, way more off in order to create powerful brand stories. Most of us in our founding team right now have a track record of making our clients shine within their organizations and across the industry. Ever so often, we've helped them overcome internal organizational obstacles, strategize how to sell work that we believe in, or desell work that we don't believe in to their bosses, celebrated them in the press, party together when they got promoted, and sulk together when they didn't. Even help set up interviews for their next job. This is how real a good relationship can be. So while we talk about brand building and brand stories so much, we don't talk enough about client building, which is actually what I think external partners are really, really good at. Client building happens and it can't be faked. It happens after you believe in your client's potential as rare marketing talent and root for them to do well in the real world. We believe great marketers make great brands, not the other way around. So we will always want to work with great marketing talent, even if they're not in swanky offices or with the most popular brand. Our ambition is to eventually extend the talent density that we believe our organization internally should have as a staffing metric to our client teams as well. I wanna end this session with a little shout out to the CMO of ClearTrip, Kunal Dubey, who I believe is one of these rare marketing talents, and he's the one who made this ClearTrip ambush hack happen this morning. There are lots of people like Kunal, there are lots of CMOs, brand managers, who are brave, who are rare marketing talent, and if creative partners, external creative partners, especially, look at them and building them as much a part of the charter as building their brands. I think telling powerful brand stories is going to be a cakewalk for all of us put together over the coming years. Thank you so much. You know, there was good lunch, and there was dessert, and there's Nogaditya, good one, refreshing one. You were like an energy drink for everyone. Very good presenter. Please put your hands together for him. And if you have any questions, you can shoot. We have time for him as well. If not, thank you. Please be there, please be there. I request Mr. Varun Papneja, GMN business director, be served to walk up to the stage and thank our speaker, Mr. Aditya. Mr. Varun, thank you so much. And can you all put your hands together please? Thank you Varun, thank you Aditya.


Johnny dollar dollar. This is Raymond Tillerton, Tillerton. Well, what can I do for you, sir? Can you come over here and see me right away? You're in your office at this time of night? No, no, no. What sort of a matter would you like me to investigate, Mr. Tillerton? Well, look, Mr. Tillerton. Right away, please. Well, unless I have some idea about your problem, it's very important. Well, it certainly sounds like it, but I... Well, I'm coming immediately for it, but currently I'm... Now, look, Mr.... Hello. You, Mandel Kramer and the exciting adventures of the man with the action-pact expense account. America's Fabulous Freelance Insurance Investigator, yours truly, Johnny Dollar. The expense account submitted by Special Investigator Johnny Dollar to Eastern Liability and Trust, Home Office, Hartford, Connecticut. Following is an account of expenses incurred during my investigation of the no matter matter. Raymond Tillerton was new to me. I'd never even heard of the man, but Eastern Liability and Trust was an old and generous client. So in spite of the fact that it was after 11 p.m., I put on a shirt and tie, spent Item 1, 470, for a tank full of gas and drove across town to the Kearnsley Arms. It's not the newest of apartment buildings, and after riding up a shaky old elevator, I landed on the fourth floor. It was lighted by a single fly-spec bulb at the far end of a dingy hallway. Now, let's see. Tillerton said 4A, and... Oh, here we are. Kind of light on in there. Mr. Tillerton? He was so badly worried about something. Maybe I can slip this lock with a card. Lock this vintage ought to be a lead pipe sent. There we are. Mr. Tillerton, are you in here? Excuse me, Miss, I must have come to the wrong apartment. Brunette and beautiful. Her brown eyes were wide open, staring at the floor, but they weren't seeing anything. She didn't move. There was no sign of breathing. Her chest was perfectly still.  I didn't touch you, but I looked around for a telephone. Mr. Tillerton? Maybe there's a phone in the bedroom. Let's see. I'll find a light switch in here. There we are. Good. There's a telephone. I'll take your word for it. Well, are you sure? I can see a bit of light around the edge of the tightly-drawn shades. My head felt the silhouette been split wide open. Somehow, I managed to reach over and pick up the phone and call the police before collapsing again this time on the bed. How long I lay there, I'm not sure, but then I wake in and staggered into the bathroom and doused my aching head with some cold water. Now, don't tell me the great Johnny Dollar has to beg for help from us for guys on the force. I said, listen, officer, there's been a murder here. No kidding. A murder? That's right. See for yourself. It's this girl right over here. What girl? She was here, I'm sure, but she was right here in this chair. Who? A girl, I'd tell you, a brunette, a good-looking young brunette. And she was dead, eh? Yes, she... Wait a minute. Where is she now? You tell me, Johnny.  When? Last night when I came here. Yeah? What time? I don't know, sometime after 11. Had a late date with her, eh? I don't know who she was. Oh, she was that kind, eh? Look, when I came in here, she... What's the matter with you? Don't you believe me? So what really happened, darling? A tie went on and dream it all up? No. You sure look it. You see any sign of her around here? No perfume, no cigarette butts with lipstick, no nothing. Sitting right here, eh? Yes. Then how come this lamp isn't on? I don't know. You didn't turn it off, doller? No. Wait a minute, I remember now it wasn't on before. That's why I didn't notice her at first when I came in the door. Well, didn't she let you in? No. Then who did? Nobody, I... No, come off it, doller. I don't know what you're trying to pull off. Okay, how was she killed? You answer me that. There's a bullet just above her heart. You take it out and examine it, eh? So you can tell us what make and model it came from.  When me, I can smell that stuff for two days after it. Listen to me, Orson. Why don't you listen to me, huh? What kind of a gag is this? What are you trying to do, huh? What's this all about? Well? I wish I knew before I left the place. Yes, sir. Apartment 4A is leased by Mr. Tillerton, all right. But what's in your business? Well, that depends. And what does that policeman doing here? And why'd they talk that way to you when he left? And who are you? Don't worry about it. Well, just a minute, young man. Don't you walk out on me. The soda counter gave me a jolt of something to clear my head. Then on to the spirit building to the office of Mr. Raymond Tillerton, who had started all this. I'm Johnny Dollar. Dollar, did you say? That's right, Johnny Dollar, Mr. Tillerton. Well, insurance investigator, aren't you? Sure, and I'm not collecting funeral money for a brunette. When you're what? Don't play it so cool. Let's start with that phone call you made to me. Phone call? To you? Yes, to me. Well, I don't even know your... When, Mr. Dollar? Last night, 11 o'clock. What call do you think I'm talking about?  But I didn't, Mr. Dollar. The only phone calls I made there in New Haven were yesterday afternoon. Oh, they were, hmm? Well, how come I recognize your voice? Wait a minute. Did you say New Haven? Yes, I spent all of yesterday and last night in New Haven. You mean to say that you were to your apartment at the Kearnsley Arms last night? I told you I was in New Haven. Why? Now, look here, Mr. Dollar, will you please tell me what this is all about? I asked you a question. Very well, I was visiting my mother. It was her birthday. Your mother, hmm? Yes. Where does she live in New Haven? A little house at 1034 Coaling Avenue. Why? Why pouncing on me like this? Why all these questions? You don't know? No. I don't understand what this is all about. Believe me, Mr. Dollar, believe me, please. You really mean that, don't you, Mr. Tilletton? Of course I do. I simply don't understand this, Mr. Dollar. Is something wrong? Yes, very wrong. The same one I'd heard on the phone, that I'd heard in his apartment just before the roof fell in on me. Item three is $3 even, train fare to New Haven, and a taxi to the address on Coaling Avenue. It was a large, rapid knife, but very old fashioned home near a busy shopping section, and a kindly, gentle, gray-haired lady invited me in. Yes, Mr. Dollar, I was 87 yesterday.  And it was so nice to have one of my boys with me all day to celebrate. Of course. Raymond's in the insurance business, you know, in Hartford. Yes. He's doing very well, too, and just terribly busy all the time. But he took the whole day off just to come and be with me. That wasn't that nice. Yes, it was indeed. Tell me, when did he leave you, Mrs. Tilletton? Oh, he stayed here with me until after seven. Yes, Mr. Dollar, I was 87 yesterday. Think of that, 87 years old. He stayed here with me until after supper. Only at his dinner, really. You see, he brought me a lovely birthday cake. Wouldn't you like a piece of it? It's very delicious. Oh, no, thank you very much. Point is, he had time. Oh, for what? To get on back to Hartford, to his apartment, to call me, and then... Yes. And what, Mr. Dollar? Nothing. Nothing that you need worry about. Thank you, Mrs. Tilletton. I'm sorry, I pulled up at the curb. As she climbed out of it, stopped me in my tracks. She was a dead ringer for the girl I'd found murdered in Ray Tilletton's apartment. Same age, height, figure, everything. Except that this one was a blonde. Why the big eye, Mr? Is my slip showing? Oh, no, no, Miss, I'm sorry, it's just that... Yes. Um... Are you going into seeing Mrs. Tilletton? Well, I don't know that it's any business of yours, but yes, yes I am. I'm sort of an old friend of the family. Oh. My name's Clara, what's yours? Johnny Dollar, but tell me this. Johnny Dollar, the investigator? That's right. Oh, thank goodness. I want to talk to you, Johnny. Well, that makes us even, then, because I'd like to talk to you. No, I mean about something very important, John. So do I. Well, then, look, there's a little bar and grill just around the corner, Danish place. Maybe over a drink, huh? Why not? Moving into the gloomy interior of Danny's place after the bright sunlight was like suddenly stepping into the middle of midnight. By the time, I'd clumsily stumbled against a table near the door. I know. It's kind of dark in here. Oh, certainly empty, too. The end of the bar sat one lone customer his back tortoise. There was no sign of a bartender. Oh, here, here, Johnny. We can take this table right here. Yeah, all right. What happened? Did they run out of electricity in this place? Certainly looked like it. A little bit of light might help answer a few questions for me. Questions, Johnny? Yes, Clara, like, um... well, like how you happened to show up at Mrs. Tillerton's just as I was leaving. But I told you, Johnny. Because you tailed me down here from Hartford, maybe? Tailed you? Because you figured maybe I'm on to something and you might be better off playing on my side. Johnny, I don't know what you're talking about. Oh, wait a minute. A trap for me? Is that it? And who's the lone customer sitting there at the end of the bar? Friend of yours? Johnny, I don't know what you're talking about. No? All right, then let's put it this way. What happened to the silk blouse with the phony bullet hole above the pocket and the powder burns? And I am keeping an eye on that guy at the bar. Well, Clara? Phony bullet hole? Powder burn? Yes. To make you look dead. Oh, but that doesn't make any sense. Where? When? What are you talking about?  And you are the same girl that I found supposedly murdered. Okay. Okay, so the hair is phony. But this isn't, Johnny. Oh, I see. No, no, don't wrap to your end. Don't move. Make a practice of waving at 25 automatic at people? Yes, when I need to. And right now is one of those times when I... Now, don't move. And don't turn around. Boyfriend. Okay, Tilly. Okay now.  Just keep the gun on, Clara. One of his tables is in blue to the floor. No. Brow is in both from somebody coming up in the back of me is a little too much. But if I turned away from her to take care of him I'd have ended up with a 25 caliber slug in me so I'd chosen the lesser of two evils. Hey, Johnny. When I came to this time the old policeman was bending over me. Hey, Johnny. Hmm? Oh, they really laid one on me, Dollar, huh? Oh. What? I went through your pockets and found your ID. Johnny Dollar Investigator. Yeah. Oh, wow. Officer, did you see them? Did you see where they went? They? Two of them. A girl and a man. No. It must have seen me coming and skipped out the back. The back door is open. No. But I'd heard a shot from across the street knowing that Danny's place was supposed to be closed. Closed? Yeah, sure. Ever since we figured maybe Danny was partners with that guy, Tillerton. Tillerton. That's right. Tilly. The punk that one day we're gonna grab for pushing dope around here. I see. Anyhow, when I heard the shot, well, lucky for you, I'm always keeping an eye on this joint, but maybe it wasn't Tilly that slugged you. No, it was Tillerton, all right, Officer. I could tell by his voice and she called him Tilly. OK. Now we've got to charge against him. If we can find him. He's just leaving to me. Ain't no way, Dollar. I'll see you later. We'll ride back to Hartford. I drove on over to Tillerton's office in the spear building. No, I'm sorry. But Mr. Tillerton hasn't been in this afternoon. I don't doubt it. All right. Miss, thank you. He's out of the office, you know. Outselling insurance. Don't back on that.  You are? Yes. Suppose you tell me why. Well, because of this morning at my office, you said some very strange things. Yeah? Then after you left, I got a call from the superintendent of this apartment.  And that surprised you. Yes, of course it did. And there were all your questions about where I'd been yesterday.  You were checking up on me? You know I was. Well, then you know I didn't lie that I was with her yesterday. Sure, until after supper. But after that, come on, let's have it, Tillerton. Well, I had someone else to see there in New Haven. I stayed in a hotel there. In New Haven? Hmm? Why do you say it that way?  Murder scene? Yes, that brunette. That's the dog. I suppose it's mixed up in the narcotics racket with you, Tillerton. Oh, the word narcotics makes you blanch a little, doesn't it? Yes.  No. And a pretty good job of it too, Tillerton, but it didn't leave me dead. You didn't know that, though, until I showed up at your office.  And there you made another try. But why, Tillerton? Why gun for me? Because you got an idea that I might be under your dope racket? Warren. Well, I wasn't not then, but I am now. Warren, Mr. Dollar. What? My brother Warren, my twin. They call him Tillie. Your brother?  No, no, Mr. Dollar. It was Warren that I went to see last night there in New Haven. Once more. Just once more to plead with him to straighten himself out before it's too late. It doesn't wash, Tillerton. He's dead. To mother? Yes. To mother, Warren is dead. By telling herself that, by believing it, she can reject him. The way that her religion, her beliefs, and her heart all tell her that she must reject him because of all the wrongs that he's done. Now, wait a minute, Tillerton. I've tried to help him, Dollar. God knows I've tried. I've tried to straighten him out. Not only for mother, but for himself. But he only hated me. Why? Because of the money that mother will leave to me and not to him. Don't you see, Dollar? All right, suppose all that is true. As God is my witness. And it's true that your mother's piety and religion are so strong she won't even acknowledge her own son, Warren, because of his sins? Yes, it is true. All right, but it still doesn't explain what's been going on here. The phony murder, the attack on me. But it does explain. Don't you see, it was made to look as though I'd done these things. And even if he aroused a small suspicion on mother's part.  Even only the slightest hint of wrongdoing. And he told me last night that if he were to be out of mother's will, he'd see to it that I was, too. That somehow he'd get me involved in a scandal, in something. That's it, Dollar. That's it. It's the reason for all this. Okay, I'll take your word for it, but why call me in? Because he knew I'd come here alone where the police might have sent a whole squad around, and that would have shown up his trick with the girl. Yes, yes, that must be it. And because of his voice, he knew I'd think it was you. Real good theory, Dollar. What? Well, well, beauty and the beast. My brother, Warren. That's right. And me. And don't make a move, either one of you. So you like our theory, huh, Tilly? Yeah, Dollar. Too bad you're right. Too bad you know. I told you, Tilly. I told you, Dollar, was the wrong pigeon to pick. He'd get wise. So what? You think it's going to do him any good? Not now, baby, not now. Could be you're wrong, Warren. Yes, Warren. Listen to me. Well, what do you think you're going to do? We've got the guns. See? That's right. Including yours, Dollar. From back in New Haven. That cop coming around is all that saved you. But you know what happens now? Suppose you tell me, Warren. Sure, Dollar. Sure, I'll tell you. Oh, why waste the time? First I take care of Ray here with your gun. And you with Clara's gun. But whose prints do they find on them when they find you here? Nobody's but yours. Yours and Ray's. Go ahead, Kelly. What are you waiting for? Maybe for you, Clara. Just let go of me. Well, Mr. Tellerton, it looks like you and I got lucky.  This time she really is dead. Johnny, the chance you took. She had her gun on you when you rushed her. She might have killed you. I'll tell you something, Mr. Tellerton. I've never seen a girl who was really fast on the trigger. And I hope I never do. You know something else? The part I'm really grateful about is that one more dope peddler is out of business. And Warren is, you can be sure of that. Excess account total? 11.45. So forget it. Yours truly, Johnny Dollar. Here is our star to tell you about next week's story. A week. A heist. But with one of the most unusual twists in many a day. Tune in, won't you? Yours truly, Johnny Dollar. Do you like a car with plenty of pep? A car with reserved power for safe passing? Most good drivers do, but they don't like to pay extra for premium gasoline. Listen, in three out of five cars, regular priced Sinclair Dyno Gasoline matches performance of premium gasoline's saves you up to four cents a gallon.  Drive with care. And buy Sinclair Dyno Gasoline. Johnny Dollar is written by Jack Johnstone, produced and directed by Fred Hendrickson. Johnny Dollar is played by Mandel Kramer. Also featured in our cast, Richard Keith, Guy Rep, Arthur Cole, Ethel Everett, Evelyn Juster, Bill Lipton, and Constance Simon. Music supervision by Ethel Huber. Sound patterns by Walter Oppen. Technical supervision by Mike Schuss. Be sure to join us next week. Same time, same station for another exciting story of yours truly, Johnny Dollar. Art Hanna speaking.


And so my son is already starting to display components of boy-like behavior There is a nurture, but there is definitely a nature component as well He's starting to get into things that he knows he shouldn't and he's starting to give the smile like Jack Don't do that.   Okay. I'll remember that Like ooh deaf and so there is some literature on this this whole notion of like oh the differences between the sexes and children is just Societally constrained and that's not true It's not 100% either way But for example, there's some literature that indicates that testosterone exposure in the womb alters play patterns of both boys and girls so Women or little girls who are exposed to more testosterone in the womb are more likely to play with trucks than dolls when they're when they're toddlers when their children and That boys also Girls their prefrontal cortex thickness that whole like you know I should probably listen and do this and plan into my future a little bit more That that starts to thicken and sort of reach its full thickness about 18 months earlier than boys So on top of the fact that we are delayed in puberty, right? Because women reach their full height and sort of full body at a much earlier age than we do We also suffer the fact that there are executive functioning in our brain is about 18 months behind Any girl you meet about the same age and this carries until full maturation in your 20s So we are it's great like you want the cocksure 20 something who certainly can change the world But it's also something that you you see at a young age, and it's it's actually nature It's not like oh, I just didn't care about my kid and let him play with like power tools And that's why he's you know jumping out of airplanes without a parachute like Travis Pastrana or something like that It's it's an element of how we learn we have better Hand-eye coordination, but worse fine motor control Great for doing and learning through activity Poor for sitting in the class and working like this and this is the great debate that originally all the schools for men and Then it became how do you how do you make a school structure that supports women? And now we've done a really good job of that because there are more girls in college and more girls graduating high school So now the opposite needs to be done like Boys are not mean or evil, and they're not just all ADD That we live in a high stimulation environment. We're in a high definition stimulation environment So our dopamine buttons always being clicked click click click click click click. You don't have ADD Your norm is just an elevated amount of dopamine. So all of a sudden sitting in class and paying attention is mind-numbing the boring. Oh my god, so So boring so this this is a camp I want to say it's in North Carolina a time magazine did a notion on on is called the myth of boys It's about a six-year-old article seven-year-old article But it talks about a school in Harlem of all places where it's an all-boys school And they graduate 100% of their people and the principal's talking like you know You got a you got to reach them in a way that that gets them interested in something And so you had these guys who are just dragging their asses They couldn't get they couldn't find something you like and finally let them set up a recording studio And once they had that thing that they were just so interested in everything else came up and they graduated They needed to do something actual hand-eye coordination and get up and move and it wasn't just sitting there and studying Chantigrate all that behavior. So you already start to see that at a young age My son doing things like So he's in the tub and he gets up and he'll reach to the toilet and go crack crack Crack on the toilet seat, but the first time he did that he about flipped out of the tub. I Caught him and he Put him back in the tub. What does he do?  Oh I'm bleeding.  They splinted me and said don't play basketball. What do I do? I split I tied it to the pink. You know when play basketball Ladies and gentlemen, I'm a man. That's of course what I will do and if you look at the And if you look at the longitudinal statistics of men, here's the best part and then I'll move on the next slide which is if you look at the death rates and Depending on the amount of death split between men and women for certain diseases Trauma related is trauma related death. The men are like way up here And there's tiny tiny little bit for women and then you get to like dementia and and Alzheimer's and other Alzheimer's I'm for the dementia and it's all women and there's almost no man I go well This is easy to explain because all the all of their husbands where the guys said hey hold my beer watch this and Killed themselves in this first graph, and then they just kept living and then could I have a devil age dementia later?  You only do that by by doing it So you know You're supportive and you keep a long leash on them. You don't want to be a helicopter parent But it's not a dichotomy. It's not either you're overbearing or you're totally absent and detached There's a middle ground of knowing that we all wanted to explore. I mean you can't help but explore I was in the desert behind my house as a kid coming back with cactus needles in me and a bad sunburn and You know running away from animals and you know all this kind of stuff and and He's gonna want to do that too and your kids are gonna want to do that too And you don't want to stifle that girls want to do it too That's actually I mean if you watch them at the playground girls play just as hard as boys just as hard and on top of that When they're young they're pretty damn strong too. So my playground. There's this like it's a track You hang on it and go like a zipline like you're some sort of a secret agent or a black ops guy And the girls are doing it more than the boys they grab on the kick their legs They go flying on the thing and at some point culturally we go that's that's not allowed That's not lady like and you don't want to stifle either of those because that's gonna set them up for a variety of things later in life


When the narcissist targets the wrong person, when they target someone who is too much for them to deal with, when they target someone who makes their life hell, they prefer to target people who are naive and over-trusting, people who show a lack of experience, wisdom and judgment, but sometimes they do run into people who already know their game, people who know how to deal with them, and when that happens, the narcissist doesn't know how to deal with it, because narcissists are cowards, they run from danger, they can dish it out, but they cannot take it, they don't like it when people do the same thing to them, they see nothing wrong with ruining your life and making you miserable, but when it happens to them, they can't deal with it, which is why they prefer to target empaths, people who are more accommodating, they will bait you in and then they will trap you, but not all empaths are going to put up with it, which is how they often end up targeting the wrong person, because they don't suspect that you could take away your empathy, by realising that they are not deserving of it, when the narcissist targets the wrong person, they may target someone who seems kind and friendly during the love bombing phase, and this makes the narcissist think that they can get away with certain things, but as soon as the narcissist tries to mess with this person, they will confront them, they will question their behaviours, because they're not intimidated by the narcissist, and they're not susceptible to their manipulation, they're not afraid to speak the truth, they might be empaths, but that doesn't mean they're going to let people walk all over them, they will make the narcissist regret targeting them, because they're not going to tolerate the narcissist's manipulation and lies, they might leave the narcissist, or they may even expose them to other people, because the narcissist targeted the wrong person, they thought they had someone who they could manipulate and control, but then they later realised they made a big mistake, when you confront the narcissist on their behaviour, and you expose them for what they are, unless they are completely unaware of their own dysfunction, they will run away, because they are cowards, their bark is bigger than their bite, they may not even try to get revenge on this type of person, but they will use the situation to portray themselves as the victim, they will say that this person is the abuser, you will only ever be weak or an abuser to the narcissist, they see things in black and white, so there is no in between, as soon as you decide to stand up to the narcissist, they will label you as the abuser, but if they know that they cannot manipulate you, they won't want to see you again, narcissists only want to be around people, that they are able to manipulate, which is why you should strive to be the person who sees through them, the person who is not going to tolerate their behaviour, because only then will they realise that they targeted the wrong person, but even then, just because you don't see them, it doesn't mean that they are not plotting behind the scenes, narcissists are very dangerous people, and although they may not confront you directly, they will often take the cowardly route, they will use other people and things to get to you, so that you are unable to trace it back to them, when the narcissist realises that they have targeted the wrong person, they become more covert, they try to cover up their tracks, they destroy the evidence of their actions, which should only further reveal to you what you were dealing with, and it should make you want to distance yourself even more. Thank you for watching, I hope this video resonated with you, please like, comment, share and subscribe, if you would like to donate, my paypal link is in the video description, coaching inquiries you can only accredit an ARC survivor that could UK, thank you for watching and I'll talk to you soon.


The President of the United States and Mrs. Reagan. Ladies and gentlemen, the national anthems of the Islamic Republic of Pakistan and the United States of America. Mr. President, Begum Zia, it's a great pleasure for Nancy and me to welcome you to Washington today. Your visit to the United States this week both symbolizes and strengthens the close ties which exist between our two countries. As you will rise today, we'll draw our peoples ever closer. It's vital that those nations commit this is the century of great awakenings in all parts of the globe. And it depends entirely on the leaders of the world, whether mankind will awaken to the horrors of darkness or to a glorious dawn. Well, his words ring true even now. Pakistan will long be remembered. We're proud to stand with you, Mr. President, helping to provide for this tragedy realized in improvement of their lives. Similarly, Pakistan's positive response to peace efforts in the Middle East have contributed to our confidence that our two countries can work together to stand's cooperation in confronting these perplexing problems. We believe that the program of economic and security assistance on behalf of peace and amity of nations. The United States-Pakistani friendship, which stretches back over 30 years, has been tested by time and change. It is endured, and because of the substantial agreement between us on the great issues of peace, development, and security, it grows stronger daily. Underlying our ties, however, is something which is cherished possession. When you leave us and leave the United States next week, Mr. President, we want you to return home secure in the knowledge that the Amerand. Mr. President, Begum Zia, welcome to the United States. Bismillah ar-Rahman ar-Rahim. In the name of Allah, the Beneficent, the Merciful. Alhamdulillahi rabbil alameen. Wassalaatu was-salaam ala khatim an-naveen. Praise be to Allah, Lord of the worlds, and blessing and peace be upon the seal, the warmth with which we have been received, and for the generous hospitality that has already been extended to me, my wife, and the members of my delegation since we arrived in your great country. Mr. President, I am no serious for me. Perhaps this is because of the perpetual freshness, the vibrant dynamism, and the ceaseless, I take it as one of my, as a visit of, a great importance, for renewal and reaffirmation. Renewal of a friendship that has traversed many ups and downs, Mr. President, West and Southwest Asia, from the eastern Mediterraneanity of the countries of this region. This in turn threatens to undermine the whole structure of the international relations upon which the peace of the world ultimately rests. Mr. President, sir, Pakistan's continued commitment found us. Mr. President, nor have we in fact escaped their consequences. The responsibility for providing refuge and a safe haven for nearly three million fleeing the repression in Afghanistan has been shouldered by our people as a humanitarian duty and the spirit of Islamic brotherhood. Nevertheless, the burdens are there, especially for a developing country like Pakistan. But at the same time, I must emphasize that we have borne these burdens ungrudgingly and we will continue to do so, inshallah. We are conscious of the security implications of the great defeat. It was a result of our common concern that our two governments decided on a program to enhance Pakistan's potential to enroll in the region. Mr. President, sir, it's our consistent endeavor to find equitable and humane solutions to the conflicts in our region. This task and by the very can, I'm looking forward to our talks later this morning. We'll bear fruit. Indeed, Mr. President, boring your own words, it would be in the fitness of the things for me to conclude by saying, sir, that you and I have a rendezvous with destiny. I thank you. Emotion, I think, comes in when you like to put before such an august audience because you are being Afghanistan, sir, from 10,000 miles away. I will try and give you a bird's eye view from just 200 miles across the border where we stand today, trying to stop the Russian onslaught, as I always call it. You must have heard, Mr. President, a number of things about Afghanistan, but I will just touch on four aspects very briefly. Why have the Russians come into Afghanistan? I'm sure it must have been debated, analyzed, and eventually some results are moved in. My own analysis and from my own analysis it shows Russia moved into Afghanistan


is that captain Kirk yep you're sucking on captain Kirk he's an attractive dude hey welcome back to our stupid reaction to get it's up Corbin i'm rick and you can follow us on instagram and twitter for more juicy content think of those stuff later follow the twitter account where you go vote on the locate squad fine both on our personal youtube channel slings right down there and there's something on the wing something that's that's what i'm a doctor not a reactor yeah that's uh that's william shatner in uh the uh the twilight zone episode but he doesn't actually say it but yes um anyways today we'll shot stuff as his music today we are doing a movie review of the new film uh rata akeli hi uh which is uh noisette and siddiqui's uh new film so you know we were gonna watch that directed by honey trehan yes right yes uh he we've seen him he's actually big cast dream director but we've seen him work with vishal quite a bit as well yes um but it's also starring uh say her name for me rick i can't it's a beautiful name i would i would love to wait you mean you're referring to well there's a couple so well the co-star is radhika opte yes we've yes we've seen her quite a few times in suckered goms yes and we've seen her in a in a bunch of stuff yes uh and we know it's sacred games we just say it like that you you'd imbeciles um yeah and a whole bunch of other people but uh we're gonna do a tiny little spoiler uh free just because it's new i mean it'll probably be like a sentence or two just we don't we don't like to do it um but uh just since it's new but it's on netflix so it's free so what's you know what's really stopping you um but uh we won't we won't ruin it for you the film follows a small town cop who summoned to investigate the death of a politician uh which gives complicated which gets complicated by the victim's uh secretive family and his own conflicted heart oh sorry i thought it was uh i i saw the casting at the producer i thought it was abhishek our friend but it's a different abhishek uh anyways uh so uh yes uh on netflix uh two hours 30 uh so uh if you haven't seen it go check it rick uh your initial non-spoiler thoughts my non-spoiler semi paragraph is an entertaining who done it murder mystery you'd like to watch during a thunderstorm with expectably strong performances from Nawaz and siddiqui and radhika abte a solid supporting cast very nice score but could have benefited from a shorter runtime yeah i agree that's it yeah uh so yeah if you i i would recommend watching it regardless uh so it's fun if you haven't seen it go watch it uh it's on netflix once again it's free it's Nawaz it's uh rodin d it's Nawaz and radhika man i mean i just go watch them be brilliant yeah that's all they ever do anyways uh so that was our non-spoiler just because that's what we don't like to do a lot of that and so we'd like to get into the nitty gritty so if you haven't seen it go watch it come back if you'd like because you're gonna get spoiled now we're gonna dig in spoiled you naughty little boys and girls uh so yeah i i totally totally agree i actually i really enjoyed the film um i thought it was really captivating the only really thing i could flaw it for is if me personally for a who-done-it thriller i think we've said this before i think it just needs to be tight for a who-done-it thriller to be great uh it just needs to be tight because it keeps up the suspense you know uh of of who it is um and it didn't it didn't drag on like too long it wasn't like oh this is right this is dreadful it's just i mean it's not siddiqui on screen so it was it's a of course enjoyable but that's really the only flaw i could have really found in it uh i thought it was a really entertaining really well done flick noisette and siddiqui he got the girl rick let's give him a pause for noisette and i was thinking about while we're watching it i wonder if i was thinking i was thinking he probably had just wrapped that when we sat down and talked with him and uh that that was possibly what he was referring to because he did he he gets the girl he's the hero in this he's the hero he actually played a very earfon-esque role i feel like earfon would have played this role uh if he was offered it and was healthy at the time sure yeah obviously he would play differently than nois played it but i just like this he stepped into more of the good guy with um a bit of an edge which which was he actually had quite a bit of a little arc his his mom was obviously the humor in this film which i think originally the the the take we got from the trailer was is going to be kind of knives out-ish but obviously knives out has a lot more comedy than this right this is more a tighter tighter clip this is uh strictly a more who done it thriller not too much comedy around it yeah but um i thought nois playing the good guy it was wonderful to see yeah i agree because you kept you kept obviously you're used to him and you could see it at certain points because he obviously has that bit of danger behind his eyes right he always he has that danger like that's why he's so good in the villain roles because he he doesn't have to do anything to just you you to think like something's gonna happen and he could just pop off at any moment so he still has that behind his character but it was a much more sometimes innocent um but obviously very stubborn guy who just wants to get the truth out of this investigation and yes he ended up falling because i think at the beginning he wanted a girl who was like wholesome i think i'd forget what he exact said to his mom he's like i want a girl that's wholesome and like like decent or something like that and then he ended up with a woman who kept calling a whore right right do the whole thing and i really liked the subtle not so subtle message because we know from his book and we know from talking to him and we know from talking from others in the industry there that the transformation that's taking place about what a hero should look like yeah specifically dark-skinned men not being able to play them small dark-skinned men because he's small of stature and i loved the subtle not so subtle the product wasn't fair and lovely but it it was yeah you know and how at the end he puts it in the trash and he it's like you know what i don't need this to get the girl and neither do our heroes in indian cinema yep yeah i love that yeah i thought that was fantastic um so it was obviously lovely to watch nois and of course he was going to be brilliant you know he is probably one of my favorite actors ever of course he's he's just incredible um but obviously can we talk about radhika yes i want to do that right now uh radhika who i think unless i'm wrong i think she's supremely underrated in indian cinema and i know she's respected obviously because everything she does is amazing but she's not at that she doesn't have the name recognition um that like dupika priyanka uh all those huge stars do preach brother but she should preach because she's one of the most talented actresses we've seen out of india i i remember i think our first exposure to her was in andahan yes and i remember thinking wow this girl's good yeah and she's never failed to be anything but fantastic in this there were moments in this i got i got frustrated i got angry because in my mind i'm thinking okay she's she's a working actor yeah yeah she's fantastic and respected but if she doesn't become a household name and eventually in the echelons of taboo and many times in this we've already mentioned his name her screen presence and her ease and her captivating nature with her look yeah was oozing irfan khan yeah 100 just oozing she's that level i think she could i think given enough work and given enough exposure the sky's the limit for her as far as being one of the best actresses india's ever seen oh 100 she's everything we've ever seen her in she one she she has such an interesting beautiful look about her she's yeah lover she's not a normal looking woman i would say that in the nicest way possible uh uh because i just so uniquely look at she's unique looking um and but obviously her talent obviously we saw her in andahan but we also saw her in sakura gams where and that short film we saw yeah and i think there's one more but i could be wrong but everything we've seen her and she's just been powerful and really really incredible uh great the screen presence she has she she's perfect to go opposite nois yeah i didn't you love watching them together yeah uh it was great uh watching them but also i thought the entire cast in this was really really good i thought the uh the um what's her name the um the mom i believe her name is right mm-hmm uh i thought she did really she did really really well as well uh as the young girl who who died i thought did yes uh that yeah i killed yes the girl did i felt um there was one point i remember i almost wrote it down but i knew i would remember it um it was when toward the climax scene when the daughter stands up and screams and throws her drink on the ground and is crying when the mother comes over yeah the tears are coming and i i uniformly felt that there was an emotional availability from everybody in the cast everybody that this was this been this could have been a play the level of king roger right yeah and uh i want to give a special shout shout out as well to whatever stunt person did the burn fall oh yeah it's so good well that whole moment was great that that was great but that burn fall a total full consumption burn with a fail a fall not just downstairs but from a balcony to a stair down a stair and then a run that was lovely stunt work yeah beautiful yeah work but also a fantastic moment and at that moment i thought that the uh noah's partner was gonna die i thought that was guy was gonna come out and kill him just out of a corner or something i thought so i thought he was gonna die but then he was going through stuff and then somebody just started pouring stuff stuff on him and i actually thought it was that stuff that he poured on the people in the game right yeah um but then obviously he wasn't reacting to it so i'm like uh oh and then you just heard the match and then you saw his face and i was like yeah yeah throw it i also enjoyed you know for a murder mystery uh i i couldn't predict how it ended i thought i could i thought i knew who the guilty person was but i love that it was a believable premise i liked how they revealed it with the retelling of it and flashback yeah and and it was interesting and making it uh making sure um the director made it so that um it made didn't make the audience feel dumb like you know this is a flashback at this moment sometimes they can do it sometimes they can't uh this time i thought he did a really good job um of doing that and what was i gonna oh yeah uh the end i actually liked the the whole message of uh and it happens so much in indian series that we've seen because it's a through line the abuse towards women in these series so and we know it's it's a big problem uh throughout parts of india uh of just the way women are treated uh in general um not obviously i'm not saying everybody i'm not because i know i'm going to yell that for saying this but it happens and it's a it's a it's a big issue uh which is why it's depicted so much but the fact that this was uh this man raped a minor and then she killed him which was yeah and apparently as well was involved in sex trafficking in addition to what he did to her yeah yeah so the whole the whole message behind it of uh of that and obviously getting that talked about more because obviously it's an issue that needs to be resolved and needs to be well yeah swiftly i i thought it was good that they they um showed no was it his character letting her know when he found out that she was actually the guilty person that he immediately assured her you're gonna be okay i know the story we're gonna make sure that this is done up as a self-defense and you're not gonna go to prison for this because you've been abused and i if there's even one young lady who could see this and and potentially feel a sense of relief that wow maybe maybe if i do say something i i'll justice will be served yeah sadly there's too many stories of abuse happening and a daughter tells a dad like a daughter telling a dad that you know my my uncle molested me and the dad immediately takes the uncle's side so there's a there's a lot of scenarios where you go to the police and we've seen it in some of the films where they go to the police and the police say well maybe it was in pink the first time we ever saw it the well maybe that happened maybe it didn't you know it's your words against his and he's of a better standing family than you so yeah and it's tough and it's obviously not just an indian issue aware no it's a world issue it's a world issue yeah um but yeah so i thought that was great and i thought the director uh honey um say i say the last name triva triva triva right triva right yes uh who well he was a casting director on sushi ria don't know sushi aunt he was a casting director on tombad uh i wonder i think this was his directorial debut cinematically or at all well well then hat then hats off very very solid debut yeah he's been a casting a huge casting director for a long time uh uta this is his first time take on the helm uta bun job delhi belly uh he's the holiday uh detective bum bum keshi uh talvar so he's been a casting director for an awful long time but yeah the only director credit is this one well then holy a little more needs a little bit more needs to be said because if it had been an experienced director my thought would have been solid turnout nothing to really rave about but i'm very satisfied with your with your finished product for a first outing yeah that's impressive very very well that very impressive because it looked like an experienced director yeah it did a hundred percent the fact that the way it was all constructed to get i don't know if he wrote it as well if he was part of the writing team very nice very nice no okay yeah my only critique my only critique and it's just for mine and it didn't even annoy me it was just a thought i was like you know what you might get some accessibility and maybe not potentially cause some people to get a little bit slow if the if the runtime had been clipped to more like a two hour runtime the two thirty five two thirty five yeah that's what i would have done and that's the only critique and but that's also because it's a a um uh who done it thriller just because right it's better to have a quick flip you need that you need that suspense and that the suspense uh obviously if it's slow at points it dissipates at certain points and most of the time it wasn't obviously it helps when you have cast who can carry the film and make you interested regardless yeah i said i said that to indrani when she asked me what if i it was enjoying it and i said well and i said all the things about the film that i like and i said but the bottom line is this you could watch radhika and Nawazid and siddiqui just sitting on the toilet they're so freaking interesting yeah and so natural yeah that just just watch them breathe 100 yeah i agree it was one it was wonderful to watch it felt like we hadn't seen Nawaz in a while so that was yeah it was nice it was nice to see him again uh yeah i am rooting for her uh so obviously let us know what's next Nawazid and siddiqui film we need to watch because we'll watch them all by the end of i want to watch everything i'm telling you but i believe she has the capacity to reach the levels and the respect of an earphone con 100 but let us know of hers what is her best work that we have yet to see i know she's on netflix all the time she does tons of netflix stuff but let us know what is her best because we'd love to explore her more and get her the acclaim she deserves but let us know what you thought of the film down below and let us know what we should watch next


The Equitable Life Assurance Society presents This Is Your FBI This Is Your FBI The official broadcast from the files of the Federal Bureau of Investigation Presented as a public service by the Equitable Life Assurance Society of the United States and the Equitable Society's representative in your community Are you covered by Social Security? Then please listen carefully. Public opinion polls by the Equitable Life Assurance Society show that millions of Americans know little or nothing about their Social Security. Yes, according to these Equitable Society surveys, you may be failing to safeguard rights worth thousands of dollars to you and your family. Therefore, as a public service, the Equitable Life Assurance Society will devote this program's entire middle commercial, due in just 14 minutes, to information on Social Security. Information that may mean money in your pocket. Tonight's FBI file, the jewel-laden jockey. Us who see stories in their daily newspapers about new crimes which have just been committed and who conveniently skip over those items because crime is unpleasant and affords them no escape from reality. It is not important that you read every article about every criminal, but it is important that you as a citizen be cognizant of the current situation, that you be acquainted with some of the shocking facts about the crime waves. Those facts, like the one which tells you that there are 36 murders committed every day in this country, are vital to you because, if enough of your fellow citizens learn them, they will act. They will see to it that your local police force is given the weapons it needs to fight the crime wave and to fight it to a successful and speedy conclusion. Tonight's file opens at a small half-mile race track in a Midwestern state. Pop Campbell, one of the trainers, is standing at the rail with his daughter Betty. It is 6.30 in the morning, just getting light, but already there are horses on the track getting their morning work out. Jupiter's boy, isn't it, Pop? Yeah. I caught him in 52 flats. Ah, he's the one to beat this afternoon. Ah, we can beat him if Scotty gets here to ride. Wonder what happened to Scotty? He's never done this before. He knew Black World was going to day. Pop, Whitey's waiting for you.  Okay, Whitey, let him run! Letting him out. Yeah, honey, I told him to. Doesn't look like that. Angle's bothering him at all. No. No, I think it's going to be okay. I hope so. Excuse me. Uh-huh, uh-huh. Yeah? You, Pop Campbell? Uh-huh. I'm a friend of Scotty's. Well, uh, he ain't around. Yeah, yeah, I know. You brought his tight bag here, didn't you? Well, yeah, that's right. He wants me to pick it up. What for? I don't know what for. He just said he wanted me to pick up his tight bag from Pop Campbell. Where is Scotty? In town. Did he give you a note? He said I wouldn't need a note. You do before you get the bag for me. I'll look, Pop. Go away, Mr. Go away. I'm busy, I'm busy. Okay, I'll go. But I'll be back. Pop! Pop! He didn't send me. Hmm? He just worked in 51-4 breathing. Yeah. Well, aren't you pleased? Oh, yes, sure, honey. I've just been thinking about something else. That man who wanted Scotty's bag? Yeah. I was just wondering what could be in that bag. It made him want it so much. Later that morning in the local FBI field office, special agent Jim Taylor approaches the desk of agent Bruce Bedford. Hi, Bruce. Oh, hello, Jim. Boss just called said I should check with you. Yeah, he wants us to work together on this case that just came in. What is it? Well, so far as we know, it's murder. Where did it happen? On the train from Chicago sometime last night. How much do we know? Oh, enough to start on, but not enough to get very far away. Sounds familiar. Yeah. Who was killed? Manly Richard Scott. He was a jockey. At one time he rode at some of the big tracks, but he's ridden mostly at county fairs and half-mile tracks around this part of the country. I see. Whoever killed him probably used a silencer on his gun because the porter claims he never heard any shot fired. When was the body discovered this morning in his compartment? A little odd, but for a small time a jockey like that had traveled in a compartment. Scott liked to live as well as he could, according to what I found out so far. Why was this office given the case? Because Scott was en route to the city. Probably to ride out of Whitman Park. Racing starts out there today. Yeah, that's right. Yeah, that's probably where he was headed. Anything else in the report on Scott? Yes, his bag was rifled and his clothes were scattered all over the compartment. There was an address book found in Scott's clothes that may prove to be an interesting collection of names. Why? Well, two of the names were people here in town and both of them are suspected by the police of being fences. We're stolen jewelry. Well, how about the other names from out of town? They're being checked now. Mm-hmm. How about the bullet that killed Scott? We're shot from a 38. It's being checked at the unidentified ammunition file right now. Rose, as soon as we get a report from either source, we'll go to work. Oh, quiet, boy, quiet now.  He hated to be combed. The only knew how pretty it made him. Well, I hope he looks this pretty this afternoon. Ah, he will, Pop. He's going to win us a nice purse, aren't you, boy? Golden image goes tomorrow. How far? Six. You don't seem to like to win at six. Oh, I think maybe against these horses down here, she'll do better. If we win a purse, maybe we can claim another horse, huh? Well, honey, we can't carry more than two in the van unless we move our stuff out. I'd like to claim Jupiter's boy. I think we could do something with that horse. Well, Radford knows his business, honey. If he's dropping his horse in that kind of a race, he... Hey, that's Golden Image. It doesn't matter with her. It sounds like there's somebody in her stall. Somebody she don't know. I'll go see her. Oh, wait, I'll come with you. Did you see a man run out the back way? Yeah. I'm going after him. No, no, nobody, come back here. But, Pop, maybe he stole something. I don't care if he did. I don't want you getting hurt. Now, come on back here. I said it. Come on. I said it. I said it. Come on. I said it. Don't look like he harmed Golden Image. Not anyway. Oh, take it easy. Pop, look. That bag. Yeah. It's not spread all over the floor. Pop. That's it. Let's tell a police about this. Yeah. I think I will. Now, did you get anything back yet on your queries? Yes. I just got the report back on Scott's head risk. Oh, what about those names of Montetown? Almost every one of them is a suspected fence. Hmm. Sounds like Scott was mixed up in something more than horse racing. Hmm. In fact, we know he was. One of the suspected fences admitted that Scott worked with him. And what was his job? Well, Scott used to be the messenger for a whole flock of dealers and stolen jewelry. It was easy for him to carry it without suspicion. Well, that establishes the motive for the murder then. Yeah. The killer undoubtedly knew that Scott was carrying some jewelry to deliver to someone here in the city. Now, how about checking those two names that were in the book from here in town? Oh, I just finished talking to them. Huh? They admitted knowing Scott, but denied that they were expecting him to bring anything to him. Mm-hmm. Scott was traveling with only one bag. I wonder where the rest of his stuff is. Oh, I called the Ritchie State Fairgrounds for Scott Road last week. They checked on that for me. What'd they find? Well, Scott ordinarily traveled with a man named Pop Campbell and his daughter Betty. Who were they? Campbell's what they call her gypsy around the racetracks. He owns two horses, trains them himself, and lives on whatever the horses win. I see. Now, Scott was his jockey. Ordinarily, the three of them traveled together right with the horses. Well, this time, Scott came by train. I wonder why. I don't know, Bruce. But we can find that out easily enough. Let's go out to Whitman Park and talk to Pop Campbell. This is pretty interesting back here. I've never been behind the scenes at a racetrack. See those horses, they're walking around in there? Yeah. They're cooling them off. They've already raced this area. Kind of like unwinding them? Yeah. That's about it. Oh, that's table 423 over there, Jim, where that girl is standing. Oh, yeah. Hello there. Hello. My name is Taylor. We're Special Agents of the FBI. They're my credentials. I see. This is Special Agent Bedford. I'm Betty Campbell. How do you do? You're Pop Campbell's daughter? That's right. Is your father here? No, he's not. Do you know where we might reach him? No. He went into town. I'll pick him back soon, though, if you want to stick around. Well... Is it about that man this morning? What man, Miss Campbell? The man who tried to steal something from the stable. No, no. As a matter of fact, we didn't know anything about that. We wanted to ask him a few questions about a jockey named Richard Scott. Maybe you can help us, Miss Campbell. Sure, I'll try. I know this guy pretty well. Is he in trouble? He was killed last night. I'm sorry. I'd have to break the news to you this way. How did it happen? We don't know all the details yet ourselves, Miss Campbell. How can we help you, Mr. Taylor? Well, the first thing Mr. Bedford and I would like to do is take a look at that tack bag that Scotty shipped down here in your van. Sure. It's right inside that door. That's what the man who broke in was looking through and we scared him away. Here you are, Mr. Taylor. The bag is... What's the matter, Miss Campbell? The bag. Yes? It's gone. Is Scotty here? You'll pop Campbell? Yeah, that's right. I got his message asking me to come by here. Come on in. Thank you. He'll be with you in a minute. Tell him I'm in a hurry. I got to get back to the track. Hmm? I said hello. You're the man who was at the track this morning. Yeah, that's right. What are you doing here? I live here. But I got a message from Scotty to bring his tack bag here. Me and my partner here left that message for you. Oh, I get it. Well, I still ain't giving you this bag. We don't want it anymore. We've already gone through the bag, Pop. So you're the one who was at the stable this morning? Yeah. We didn't find what we wanted. That's why we had you come here. What were you looking for? Scotty had a package in that bag, and we think you know where it is. I never looked in Scotty's tack bag in my life. How would I know? Look, Pop, take my advice, huh? You'd better tell us what we want to know. It'll work out nicer for you. How can I tell you what I don't know myself? Now, look, Johnny, let me handle this. Where's the package, Pop? I told you, I don't know.  Let him get up by himself, Johnny. Maybe now he'll remember. We will return in just a moment to tonight's file which shows how your FBI provides national security. Now an important message about social security, your social security. Do you know how to get the most out of it? What steps you should take to safeguard your rights? A great many people don't. That's why the Equitable Society offers all listeners to this program without charge a special service on social security consisting of three steps. First step, full information. When you have a question about social security, put it up to your Equitable Society representative. He knows the answer. For instance, you may be surprised to learn that a person doesn't have to be 65 to be eligible for benefits or that your rights under social security may be worth from $12,000 to $18,000 depending on your age, salary and other factors. Why be ill-informed or misinformed about such a valuable asset? Get all the facts. See your Equitable Representative. Second step, an immediate checkup on your position under social security. In any account, there's always danger of mistakes being made and some of them cannot be corrected after four years. To protect your rights, the Social Security Administration advises you to make regular checkup on your account. The simple way to do this is to get a special form from your Equitable Representative, a form approved by the Social Security Administration. This checkup is doubly important because after you've made it you're ready to profit from the final step of this service offered by the Equitable Life Assurance Society. That step is to help you build social security into full security. After you've found out where you stand in social security your Equitable Society Representative will show you how a comparatively modest investment in life insurance will build social security into full security. He'll show you how life insurance and social security working as a team can give you and your family a future free from money worries. There's no charge for this service so see your Equitable Society Representative or write care of this station to the Equitable Life Assurance Society. That's E-Q-U-I-T-A-B-L-E. The Equitable Life Assurance Society of the United States. And now back to the FBI file, the jewel-laden jockey. With a murder taking place every half hour, day and night, throughout the year there are a necessity of variety of motives which lead to the crime. Some murders are committed because of an overwhelming desire for revenge or a temporary emotional instability or sheer unadulterated hatred of people. None of those murders can be condoned. But of the different classifications the most socially reprehensible is the venal murder. The killing of a fellow man for profit such as the murder in tonight's case from the files of your FBI. Those murders are the most difficult to solve because they are usually committed by professional criminals who take pains to cover up their tracks. Sometimes they cover up so well that it seems for a while that they will be successful as if they will escape without paying their just debt to society. Tonight's file continues in the local FBI field office. Bruce, we got a break on that Scott murder while you were out. Oh, good. What happened? The Chicago police picked up a jewel thief named Paul Harrison. How does he fit into this picture, Jim? He was supposed to meet Scott yesterday at the railroad station in Chicago and give him some jewelry to bring here. Oh. But Harrison missed the train. And the Chicago police picked him up. Yeah, that's right. Now, Scott stayed on the train and left the station, undoubtedly, thinking that Harrison was aboard. Then, when he heard a knock on his compartment door, he probably opened it, thinking that it was Harrison. Yes, that sounds like what happened, Jim. Whoever it was who killed Scott certainly knew in advance that he was supposed to be carrying those jewels. Yeah, this was a double class of some kind, I think. Was all the jewelry recovered with Harrison's arrest? Yes, every bit of it. But that doesn't end our job in this case, Bruce. Even though Scott was mixed up in crime, we've still got to find this killer. You ain't got to stay out. Give me that glass of water on that table. Come on, Pop, come around. Get with it, will you? Now, let me take over for a while, huh? Okay. Pop. Pop, are you waking up now to hear me? Yeah. Then listen to me, huh? I don't like to see Al keep hitting you. But we've got to find out where that package is. I told you, ask Scotty. He'll tell you, he never give me any package. We can't ask Scotty, Pop. He's dead. What? He had an accident on the train. What happened to him? Take one guess. Now, you wouldn't want the same thing to happen to you, would you? No, no. Now, look, Pop. You were train horses for a living, right? Yeah. Okay, we do this relatively. You don't like your job to be any tougher than it has to be, so neither do we. Now, why don't you stop all this and tell us where the package is? I don't know. Why do you keep saying I don't know? Because, because it's true. Look, Johnny, let me start again. It's up to you, Pop. Do you want him to? How can I tell you what I don't know? Okay, I'll go to work again. I just finished making a half a dozen phone calls trying to find some of Scott's close friends. Good. Maybe we can get a lead from one of them. Oh, Miss Campbell's on her way in here. Maybe she's got some news. What's she doing here? I don't know, Bruce. The receptionist just crawled in and asked if it was all right to send her in. I think we ought to go back to the track, Jim. Why? You've got some kind of a lead out there? No, but maybe some of those jockeys can give us some dope on Scott, huh? Yeah. I don't seem to be able to locate anybody who knows much about him. May I name Mr. Lewis? Oh, yes, Miss Campbell. Please do. I think Pop's in trouble. Why? What's happened? Black world, one of our horses, was in the fourth race and Pop didn't show up. Oh. After the race, I weren't looking for him. Does he always state the track during the races? Sure. When we have a horse running, he does. I looked all over for him, finally in the kitchen where all the horse people eat. I got Pop's message. What message was that? He told the man behind the counter to tell me that he'd be back in time for the race. That was after we spoke to you, wasn't it? That's right. He might have just been delayed someplace. I wouldn't be too concerned. But the counterman told me that Pop said he was going to meet Scotty. He what? You see? He didn't know that Scotty had been killed. Looks like it sounds like a trap to get him into town. Yeah. Miss Campbell, do you have any idea where he might have gone when he left the track? Yes. He got a lift with George Barrow. Who? He's a trainer. He's got a public stable. Oh, I see. And did Barrow return to the track? Yes. I asked him where Pop was and he said that he let him out at main in seventh and that Pop said he was going to catch a street car from there. Seventh, but Barrow didn't see what street car your father took, did he? No. It seems to me the first thing we've got to do is find out who we're looking for.  Right. What for, Mr. Taylor? Mr. Bedford will help you look through their file of pictures and see if you can pick out the man who came to see you. I'm going out to the track, Bruce. I'll meet the two of you out there. Hello, Bruce. Where's Miss Campbell? She's pretty shaken, Jim, so I took her over to their van. You promised she'd try to get a little rest. She identified the man who came out here this morning. Now, who is it? Hal Edwards. Edwards Edwards. I remember him, but I thought he was doing time. So did the police, but we checked, and he's out on parole. All right. Now, the one of ours, huh? Yeah. How did you make out? No, I'm waiting now to talk to that counterman that Miss Campbell told us about. The one who knew Pop was going to meet Scotty. Yeah, that's him. He's coming down to see me as soon as they can locate him. Bruce. Hmm? Miss Campbell made a positive identification on Edwards, didn't she? I mean, there's no chance of her being raw. None at all, Jim. Mr. Taylor? Yes, that's right. I'm the counterman that Pop Campbell talked to. Oh, good. Did you hear him say where he was going by any chance? He said he was going to meet Scotty. Wait. Well, I think I heard him say 7-Eleven, Wyoming. 7-Eleven, Wyoming. I remember the number because it's so easy. Yeah, or you wouldn't remember whether that was Wyoming Avenue or Wyoming Street, would you? No, sir. That's all I remember. There's also a Wyoming place up on the north side, Jim. That's right. There is. The only thing we can do is check all three. Oh, thanks very much, sir. You're welcome.  Let's go. Well, check this one off, Bruce. No luck, huh? No, Dr. Logan lives in this house. Suppose we try 7-Eleven, Wyoming Street now. That's right in the neighborhood, isn't it? That's right. Okay, let's go. Wyoming Street isn't the answer either, Bruce. Who lives in this house? Twenty women. It's a girl's boarding house. Well, that doesn't leave us much choice. That's right. Wyoming Place is the only other possibility. Come on. Bruce, this can't be the right place either. It's a minister's home. Well, it's not Wyoming Avenue, Wyoming Street, or Wyoming Place, but it has to be in a dress, doesn't it, Jim? Yes, I should think so. Hey, wait a minute, Bruce. Why didn't we think of this before? Head back into town. Boys, I should bring the old guy around again, Johnny. I'll just let him stay where he is. Well, he can't tell us nothing while he's out. I don't think he knows, Zala. I think he's leveling with us. If he knew, he'd have talked by now. You mean we did all this for nothing? Well, that's the way it goes. You win one, you lose one. I ain't win one in six months now. Don't let it get you down. We'll get lucky with something else. What do we do now? Blow? Not yet. Why not? We can't just walk out, leave the old guy the way he is. He won't come, too, for a couple of hours yet. But when he does, he goes right to the cops. So what? He'll be gone by then. I, uh, just as soon we had more stock than that. Oh. I took the silencer off my gun. Put it back on. It's Jen. And forget the silencer. He'll give it all over the hotel.  Yeah. Just look out in the hall. See if it's empty. Okay. What's the right way you are? Not that gun, Edwards. How are you? Thanks for the FBI. We have a warrant here. You better call the doctor, Bruce. Campbell, look like you're taking a bad beating. Okay, Jim. We'll take these two downtown and book them. You've got nothing on us. Nothing but the murder of Richard Scott. I just guessing, Al. The porter on the train that Scott was killed on can identify both of you. When he does, you'll take another train ride. This time, the government will buy your tickets. Edwards and his companion, Johnny Russell, were convicted in federal court for theft from interstate shipment. They were given long prison sentences, then turned over to a local court for prosecution for the murder of Richard Scott. The idea which came to Special Agent Taylor after he and Agent Bedford had failed to locate the wanted criminals at Wyoming Avenue, Wyoming Street, and Wyoming Place was that there was a Wyoming hotel and that 7-Eleven, Wyoming, could mean Room 7-Eleven. When that proved to be correct, the case was closed and thus another murder was prevented by the quick, thorough work of your FBI. This case was opened and closed within a period of 15 hours, from 9 o'clock one morning to midnight that evening. Some cases work out that way. Others drag on and the development of clues sometimes takes months and even years. But no matter how long a period elapses, your FBI stays on the job until a clerk in the record section takes a rubber stamp and marks the file. Marks it convicted. We will tell you about next week's exciting case from the files of your FBI. Now a quick review of the special three-point service offered by your Equitable Society Representative to help you get the most out of Social Security. First, he gives you a clear picture of what Social Security can accomplish for you. Second, your Equitable Society Representative supplies you with a special form approved by the Social Security Administration for checking up on your position under Social Security. Third, he shows you how easy and inexpensive it is to build Social Security into full security. Don't fail to take advantage of this special service offered without charge by your Equitable Representative and the Equitable Life Assurance Society of the United States. Next week we will dramatize another case from the files of the Federal Bureau of Investigation. A behind-the-scenes glimpse into the home life of a hold-up man. It's subject. Impersonation. It's titled The Henpecked Hijacker. The incidents used in tonight's Equitable Life Assurance Society's broadcast are adapted from the files of the Federal Bureau of Investigation. However, all names used are fictitious. And any similarity thereof to the names of persons living or dead is accidental. Tonight the music was composed and conducted by Frederick Steiner. The author was Jerry Lewis. The composer was William Woodson. And Special Agent Taylor was played by Stacey Harris. This is your FBI is a Jerry Divine production. This is Larry Keating speaking for the Equitable Life Assurance Society of the United States and the Equitable Society's representative in your community. And inviting you to tune in again next week at this same time when the Equitable Life Assurance Society will bring you another thrilling story from the files of the Federal Bureau of Investigation. The Henpecked Hijacker on This is Your FBI. This is ABC, the American Broadcasting Company.