Family Theatre presents Danny Thomas and Jim Bacchus. From Hollywood, the Mutual Network in Cooperation with Family Theatre presents It's a Gift, starring Jim Bacchus. And now, here is your host, Danny Thomas. Thank you, Tony LaFranco. Family Theatre's only purpose is to bring to everyone's attention a practice that must become an important part of our lives if we're to win peace for ourselves, peace for our families and peace for the world. Family Theatre urges you to pray, pray together, as a family. And now to our transcribed drama, It's a Gift, starring Jim Bacchus as G.H. Gage. During his lifetime, George H. Gage has made money, not just a dollar here and there, but millions, many millions. It's typical of G.H. as he is called, that the opening of our story finds him manipulating money. As a matter of fact, he's indulging in a whim reserved exclusively for the very rich. And tell me, do you think $100,000 will be enough to establish his home for underprivileged children? Oh, yes, that would be helpful. That's for one home. Well, you see, Mr. Gage... If you need $100,000 to establish one home, could you establish three for $300,000? Right, Mr. Gage, you don't understand. I'll understand you quite clearly, Miss, if you'll just say yes or no. Well, since you put it that way, yes. Oh, that's better. Now, what is your name again? Burton, Jane Burton. Jane Burton. Pardon me. Pardon me. Let me know. I must see Mr. Gage and his lawyers. Oh, no. G.H. G.H. Make them let me through. Pardon me, Miss Burton. And let him through, please. Pardon me. Thank you. Well, G.H., I've seen the newspapers. So what, Bacchus? Is it true? Yes, indeed. There's every little bit of it. But, G.H., it's impossible. One just doesn't give away all one's money. Oh, one doesn't, doesn't one? You just watch. Now, Miss... And Burton? What was that figure we settled on? Well, you said something about $300,000. Oh, yes, yes. That was for three homes for underprivileged children. Now, here's a check for $500,000. Suppose you establish five homes for the little codgers. Oh, thank you ever so much, Mr. Gage. Oh, not at all. Thank you. Next, please. $500,000.  Why not? Who else could dissolve the Gage Enterprises better than G.H. Gage himself? But why? Because money stinks.  Misery? All those millions? Yes. In a lonesome moment, have you ever tried to throw your arms around a $1,000 bill? I never had time for love and marriage. To the world at large, I'm not a man. No, I'm just $92 million. $93,478,000. $623.25, I know. I got your report this morning. But don't you think this move a bit drastic? Drastic?  The only time in my life I've been happy was when I was broke. That's how I'm going to be again. Well, I can tell you the firm of Cornwell, Cornwell and Boggs isn't going to take this lying down. And just what do you think Cornwell, Cornwell and Boggs can do about it? Take you to court. And what will that prove? That you are hopelessly insane. Now as a psychiatrist, Mr. Gage, this strange desire to give away all your money intrigues me. Well, Dr. Sherwood, don't you think this is sort of crazy? What?  Very significant that you should use the word crazy. But to answer your question, it is not crazy at all. The court is interested in determining... The court is not interested at all. The court wouldn't have done anything of Cornwell, Cornwell and Boggs hadn't forced the issue. Please, Mr. Gage, I'm the one who's supposed to be conducting this examination. Oh, I beg your pardon. Yes. Now tell me, Mr. Gage, why do you want to give your fortune away? Oh, this record is really cracked. Cracked? What was that about cracked? You know, we look for word associations in these examinations. Oh, this is going to be a rugged ordeal. Yes. Now to get back to the original question, why do you want to give your entire fortune away? Why? Well, I want to escape from money. In short, I want to be happy. Very significant. Imagine you will find happiness through the simple process of giving your money away. Have you ever tried to give 98 million dollars away, doctor? Oh, no, no, no, of course not. Well, it's far from simple, believe me. In the first place, I had to convert my holdings into cash. So I had to sell an empire. Ever tried to sell an empire, doctor? No, no, I have never sold an empire, Mr. Gage. And just what does all this signify? That I am working hard for my happiness in giving away this money. I tell you, doctor, it isn't easy. A moment ago, you said, I want to escape from money. Doesn't that strike you as a melodramatic and unnatural statement? Have you ever been surrounded by 98 million dollars, doctor? No, no, I have never been surrounded by 98 million dollars. Well, I have, and I began to wonder whether I was a man or a bankroll.  That's right. How did you arrive at this conclusion? Have you ever been pushed into utter loan in this doctor because you own 98 million dollars? No, not ever. Well, I have. I was forever apart. I was different. Too different to be around comfortably. But why give away all your millions? Why not keep one million and give the rest away? If you had 98 car bunkers, would you give away 97 and keep one? Dollars are not car bunkers. Have you ever had... 98 million dollars? No, I never have. Well, I have, and to me, they're worse than car bunkers. But couldn't you just keep one little car... A million? No! No, I have never had one million dollars. Well, if you had, you would know just how dangerous a million dollars can be. Dangerous? That's right. It would be pretty difficult not to make another million if a person had one million to start with. At least it would be for me. And then I'd be right back where I started. Don't you see? I'm trying, Mr. Gage. I'm trying. Well, now look, look. How much money do you look forward to making in your profession? Well, I don't know. I had never thought... Would you ever want to make 98 million dollars?  Of course not. Well, then how can you presume to judge a man who wants to give away something you will never know anything about? Well, it is very... Oh, this is getting completely out of hand. I'm supposed to be conducting this interview. Well, I don't think you're qualified to pass judgment on my sanity, doctor. What? You know nothing of my malady. Namely, 98 million dollars. No, darling. Now look, Mr. Gage. Don't you see why this strikes people as an insane thing to do? You are actually throwing away what other men struggle a lifetime to achieve. Yes, but how many of them have ever had a... If you say 98 million dollars once more... I swear I'll lose my mind. Hmm... A very significant statement, doctor. Your honor... Your honor, as the examining psychiatrist in the case of Cornwell Cornwell and Bogg versus Gage, it is my opinion, after examining the defendant, Mr. George H. Gage, that although his action of giving away his entire fortune, this is quite eccentric. It does not necessarily mark him as mentally incompetent. The defendant therefore should be judged sane. And your honor, might I add, your honor, that if Mr. Gage has any money left, the National Foundation for Psychiatric Study, of which I am a director, would gratefully accept any contribution. I have all the ridiculous decisions. I don't know how you did it, Gage. Those psychiatrists must be crazy. If anybody's goofy around here, I'd say it was you. Me? Yes, you. What could be more idiotic than fighting a court battle to keep a man from giving away his own property? And what for? For a $250,000 retainer from my estate. But $250,000 is a lot of money.  Now you leave my ulcer out of this. Tell me just one thing. Why did you really do it? I told you once. I'm sick of buying everything. I'd like to live a little, maybe even find a few friends that I can trust. Well, $90 million is a whale of a price for a few friends. Well, after being without one for such a long time, the price seems dirt cheap. Do you realize you don't have a dime left? Yes. Do you know what that makes you? Happy. Happy? Why, you fool?  Hello there, Mr. Gage. You're taking a bit of the sun, I see. That's right, officer. Good for you after what you've been through. Oh, I got enough room on that bench, Mr. Gage. Yes, yes. Thank you, officer. I followed your trial pretty close.  It wasn't hard.  Trying to prove a guy silly in the head just because he wanted to give his dough away. All that fuss. Over one. Money. I tell you, Mr. Gage, you got the right idea. I have? Yeah. A few thousand in the book. What more can a man want? Yes, but you see, I don't have any thousand in the book. Oh, come on, Mr. Gage. You surely hold out a few solid stocks here and there. Not a one, no. Real estate, maybe? No, no. How much did you keep? One dollar. One measly buck? One measly buck, the first I ever made. I had it framed on the wall in my office. Don't even have that now. What'd you do with it? Lunch. In a sense, I left the eleven cents for the waitress. A big dipper. You mean you're dead broke? Stony. Well, that makes things a bit different. Look, Gage, later when on public property, what our visible means of support will get you a vacancy wrap. But officer! Now get going and keep moving. I don't want any dead beech in my territory. Hey, mister, could you spare a quarter for a meal? Well, I'm sorry, no. Actually, you probably have more money than I do. Are you kidding? No, I don't have a cent. What kind of a con game are you operating? Look at that suit you're wearing. It's worth two seas if it's worth a dime. Yes, but it's the last and the only one that I own. How come? Well, it's a long story. I hardly think that I... Okay, okay, pal. It's okay. You meet all kinds of sharpies riding the toboggan here on Skid Row. Well, I'm afraid you don't understand. You see... Hey, wait a minute. I ain't you that eccentric millionaire that gave away his dough? Yes, yes, yes, that's me. Hey, I read all about you in the papers, Mr. Gage. I'm glad to make your acquaintance. My name is Charlie Winkler. Well, how do you do, Charlie? How do you do? No offense, but you look hungry, Mr. Gage. Well, I am, and my name is George. Oh, okay, okay, George.  Oh, I couldn't do that. You want to eat? Definitely. Well, okay. Ask this guy coming along for two bits. Well, go on, go on. What do you got to lose? That's right. What have I got to lose? Sure, go ahead. Here goes. Pardon me, sir. Could you spare a quarter? He didn't even answer me. Oh, boy. You're going to take some working on. Georgie, first off, don't ever crawl to a man. Oh, I was only being polite. That's much more than he was. How should I have done it? Watch me. I'll tap this guy. Hey, hey, Mac, me and my buddy are starving. You got a couple of quarters you don't need. Oh, bless you, mister. Bless you. How's that, George? Six bits. Boy, we'll have beer without bread tonight. I don't see how you did it. It's a gift, George. Just a gift. Oh, George, my boy. Just take a whiff of this mulligan. It smells magnificent. Yeah, it should be done in a few minutes. Suppose you watch it for a while. Give it a stir with this fork once in a while and keep it from burning. OK. Feels as mighty good to get off my feet. Tell me, Charlie, this place we're in, this, uh, what do you call it? Hobo Heaven. It's a jungle. Otherwise, call the old city dump. They won't let us bums in the new one. Why do all these men gather here, I mean, in this particular spot? Well, for one thing, the law don't mind. For another, there's lots of places to sleep comfortable in all this junk. Well, those two reasons alone are to draw spindle stiffs like honey draws ants. Why do you ask? Oh, just curious. Oh. Oh. Hey, you better give this soup a stir. Oh, yeah. Yes, Charlie. I forgot, I... Yeah, but not so hard. George, not so hard.  Oh, I'm sorry, Charlie. Ah, forget it. We still have bread and beer. That's better than nothing. Uh-oh. Come on. It's gonna rain. Uh, where are we going? Into this packing box. It looks pretty snug. Here she comes. Crawl in. It's right now, Doctor. Yeah. That's not bad. Here, have some bread. Oh, thank you, Charlie. How are those fingers? Yeah, they're sore. Yeah, you burned them pretty bad. I'm kind of a washout, aren't I? Oh, no. Don't get discouraged. Takes a lot of practice to live without work, and you'll do okay. Well, at least I am being accepted for something other than my money, for which I want to thank you, Charlie. Ah, skip it. Say, this place leaks. Yeah, only in spots. Yes, but one of those spots is down my back. You'll have to move a bit to the right. Yeah. I'll make room. How's that? Well, it isn't running down my back anymore. That's good. It's pouring into my shoes. That's not so good. Oh, well, that's the best we can do. There. George. Yeah? Mind if I ask you a personal question? No, no. Of course not.  Awful. Hey, keep it quiet out there. I said keep it quiet out there. You'll have to see what that guy's up to. Smoke. He's got those bums working. Hey, George, what are you doing? Oh, I got a great idea. Great idea. How'd you sleep? A little wet. Yeah, but what cooks, you got these tired old stiff-stackin' junk like their brains was loose. You see that man in the gray suit just leaving the dump? Yeah. Looks like the kind of a swell. Aw, he is a swell. He's a junk dealer. I woke up this morning and I saw all his scraps, so I called him on the phone and I said, Mr. Lewis, how much is scrap metal worth to you? We'll load it onto your trucks. All you have to do is drive it away. What did he say? Well, he said, how much can you get me? And I said, well, a little over eight tons of cast iron scrap. How much did he offer you for that? $50. $50? Well, you took it, didn't you? Oh, no, no, no. What? The market is quoting $25 a ton for cast iron scrap. Eight tons of 25 per ton, that comes to $200. That had meant Lewis had made $150 just for hauling it away. Yeah, so what'd you do? I said I'd make it $100 and, well, we'll do business. $100? Yeah, yeah. And he said, it's a deal. My trucks will be around in an hour. Here's your $100. He really gave you the money, huh? Oh, you bet he did. Fellas, fellas, we'll really eat today. How about it, huh? Oh, we're gonna eat that. But we can't eat a whole hundred bucks, will we? Well, with what's left over, we'll start to really fix his dump up. I'm getting breadbasket. That was an A1 meal. I was about to speech from George. He raised a hundred. Thank you. That's really nice of all you fellas. But, well, what'll I say? Well, tell us why you did all this. I did it because 90% of the rain that fell last night wound up in my shoe. Why have to shoe? No, I'm serious. Wait a minute, fellas, seriously. We have a gold mine here in this dump. We could save our profits every day for a while and really make it a comfortable place to live in. Well, what's the matter, fellas? Did I say something wrong? The boys, me included, think it sounds like work. Yes, yes, but only an hour or so a day. Doesn't it beat going hungry? Well, we know now we could fix things up so that we'd always be warm and dry in the winter and maybe even cool in the summer.  Well, if it's only an hour or two a day. Well, that's all it took today to make $100. Well? Well, what do you think, guys? All right, fine, fine. We'll do the same thing tomorrow. Now, let's all have another beer. Hey, George, you've been a mighty big man. Why do you mess around with characters like us? Charlie, I haven't been this happy 20 years. Boy, maybe those doctors were wrong. Look, George, you've had millions. You've lived in swanky apartments, and now you're in a dump. Knee-deep in bums, how can you be happy? Well, you wouldn't understand, Charlie. You just wouldn't understand. I just guess I wouldn't. Well, tell me, how are you going to fix this mess up? Well, in one year, you won't know the place. And you know something, Charlie? You're going to help me. Me? No, no, no, no.  George, I can't do it. Work in me now. Just don't get along, I tell you. You just wait and see. Yes, send her in, please, Miss Berry. And let's see, where'd I put those facts and the figures? Mr. Gage? Oh, how do you do, Miss Miller? Come in, won't you have a chair? Thank you. Well, I must compliment you on your beautiful offices. Oh, they are nice, aren't they? They were designed by Leach. Beautiful, simply beautiful. It was very nice of you to give me this time for an interview. No, never too busy to talk to the press. After all, you people help our efforts with your publicity. No, I was just trying to find some facts and figures on our company that might help you in this... Oh, here they are. That's the outline for the Cooperative Salvage Company. It's contained right in here. Thank you. Mr. Gage, I remember the big story a few years ago when you gave up that huge fortune to find happiness and friendship. Well, was it really worth it? Oh, indeed it was. I've been very happy and I've found at least one friend. Charlie Winkle? That's right. He's my partner in the Cooperative Salvage Company. Well, let's see. Now, you two started out in that old dump on the east side, didn't you? That's right. He helped a lot of homeless men to help themselves. We collected junk. We sold it to the profit. We built shelters and homes for those men where they could earn their meals, a place to sleep, clothing and so forth, without too much work. And now you have five of these havens, as you call them, don't you? Six. We just opened a new one in San Francisco. Oh, that's wonderful. Now tell me, Mr. Gage, have you missed your contact with money? I mean big money. Well, now, that's a difficult question to answer. You see... Mr. Gage, I got Blake on the phone and... Oh, I beg your pardon, I didn't know you had company. Oh, not at all, Charlie. This is Miss Miller of Slick Magazine. This is my partner, Miss Miller. This is Charlie Winkle. How do you do? How do you do? Hey, I'll tell Blake we'll call him later. You'll have to handle him. Well, I'll talk to him right now. I'm certain Miss Miller won't mind. Not at all. Switch, Mr. Blake's call in here, Miss Berry. Hello, hello, Sam.  How are Mary and the kids? Well, that's wonderful. Hey, Miss Miller, watch your master operate. He's terrific. Yes, yes, I know, Sam. That abandoned dump was worthless when we bought it for $10,000. But a new super highway is going in and real estate out that way is booming. Oh, boy, how smooth can you get? Honestly, Sam, no, we can't think of letting it go for less than a million five. Touche. No, no, Sam, that's the going price. One penny less than a million five would be the next thing to giving it to you. Huh? Okay, Sam, it's a deal. I'll have the papers drawn up. Say hello to Mary and the kids. Goodbye. Wow! A million five GH, how do you do it? Yes, Mr. Gage, how do you do it? Well, I'll tell you. Yes? Yes, Miss Berry. Mr. Who's that? Urgent. Oh, very well, send him in. Charlie, do we deal with Mr. Watkins? Never heard of him, GH. Mr. Gage? Yes? You don't remember me, Mr. Gage, but when you were giving away your fortune a few years ago you gave me $100,000 to start a small business. I did? You sure did. Well, out of gratitude, I entered your name as the second principal stockholder. To put it mildly, Mr. Gage, we have boomed. Now, I feel as the other principal stockholder I'd like to buy your share. So, here's my check for $2,250,304.67, the exact worth of your stock. And, oh, thank you, thank you from the bottom of my heart. Well, yes, I know, but... Is something wrong, Mr. Gage? Would you like more? Oh, no, no, no. Not that. I just... Well, thank you, thank you very much, Mr.... Well, Watkins. Harlan Watkins. Oh, well, I have to rush, Mr. Gage. So, goodbye, and thanks again. Not at all. Two and a quarter million. Wow! You were asking if I missed big money, Ms. Miller. I get the point. And at the risk of being redundant, I ask again, how do you do it, Mr. Gage? Well, I honestly don't know. I really don't. I suppose it's a gift or something.  I don't see how you're doing. The old cooperative salvage company ought to be worth everything, being equal to give a couple hundred thousand one way or another about 15 million.  And you don't think I should have waited for consolidated to top Blake's bed? Oh, no, of course not, G.H., of course not. No, you did just the right thing, but... And you always do. Well, gotta go. Nice to have met you, Ms. Miller. Oh, give G.H. a good ride up. Believe me, he deserves the very best. Oh, me. Oh, my. Well, happiness, friendship, and money too. You should be right on top of the world. Why the big sigh? I'm worried about Charlie. Why? He's changed. How? Well, now he agreed too heartily about that sale. He never contradicts me any more. Everything I do is wonderful. He ought to hear him laugh at my jokes. The whole thing makes me wonder. Wonder? Wonder about what? Well, I wonder if Charlie would still be my friend if I was broke again. If I didn't have a dime, I wonder if he would. Oh, me and my millions. It's not... This is Danny Thomas again. You know the title of our little story tonight? It's a gift. Applies to a lot more things than talents or aptitudes. When you think about it, there's nothing we have which isn't a gift. Friends, family, good health, each blessing we can count is something that has been given us by the author of all blessings, our Creator. That's an easy thing to forget when our lives are flowing along smoothly. And yet, if we want, there's a very simple method we can all use to remind ourselves of God's goodness and generosity. The method I have in mind is prayer. Daily family prayer. It only takes a few minutes. If you want to see a big production, you can do it at bedtime just before the kids pile in for the night. It doesn't matter what words you use. Don't worry. Just kneel down. Look around at how much you've got to be thankful for and the words will come. And speaking of gifts, there's a special gift of happiness that comes from family prayer itself. Ask anyone who's tried it. The family that prays together stays together.  From Hollywood, Family Theater has brought you It's a Gift starring Jim Bacchus. Danny Thomas was your host. Others in our cast were Vivi Janus, John Daener, J. Novello, John Larch, and Christopher O'Brien. The script was written by Tom Dixon with music composed and conducted by Harry Zimmerman and was directed and transcribed for Family Theater by John T. Kelly. Here is a Family Theater broadcast as made possible by the thousands of you who feel the need for this type of program. By the mutual network which has responded to this need and by the hundreds of stars of stage screen and radio who give so unselfishly of their time and talent to appear on our Family Theater stage.  This is Tony Lafranco expressing the wish of Family Theater that the blessing of God may be upon you and your home and inviting you to be with us next week when Family Theater will present the Mental Blocks starring James and Jean Cagney. Ruth Hussey will be your hostess. Join us, won't you? Family Theater is broadcast throughout the world and originates in the Hollywood studios of the world's largest network. This is the Mutual Broadcasting System.


The Right to Take One's Self Off from The Shadow on the Dial and Other Essays by Ambrose Bierce This is a LibriVox recording. All LibriVox recordings are in the public domain. For more information or to volunteer, please visit LibriVox.org Recording by Dale Grossman The Right to Take One's Self Off by Ambrose Bierce A person who loses heart and hope through a personal bereavement is like a grain of sand on the seashore, complaining that the tide has washed a neighboring grain of sand out of reach. He is worse, for the bereaved grain cannot help itself. It has to be a grain of sand and play the game of tide, win or lose, whereas he can quit. By watching his opportunity can quit a winner, for sometimes we do beat the man who keeps the table, never in the long run, but infrequently and out of small stakes. But this is no time to cash in and go, for you cannot take your little winnings with you. The time to quit is when you have lost a big stake, your full hope of eventual success, your fortitude and your love of the game. If you stay in the game, which you are not compelled to do, take your losses in good temper and do not whine about them. They are hard to bear, but that is no reason why you should be. But we are told with tiresome iteration that we are put here, for some purpose, not disclosed, and have no right to retire until summoned. It may be by smallpox, it may be by the bludgeon of a black guard, it may be by the kick of a cow, the summoning power, said to be the same as the pudding power, has not a nice taste in the choice of messengers. That argument is not worth attention, for it is unsupported by either evidence or anything remotely resembling evidence. Put here, indeed, and by the keeper of the table who runs the skin game. We were put here by our parents, that is all anybody knows about it, and they had no more authority than we, and probably no more intention. The notion that we have no right to take our own lives comes from our consciousness that we have not the courage. It is the plea of the coward, his excuse for continuing to live when he has nothing to live for or his provision against such a time in the future. If he were not egotist as well as coward, he would need no excuse. To one who does not regard himself as the center of creation and his sorrow as the throes of the universe, life, if not worth living, is also not worth leaving. The ancient philosopher, who was asked why he did not the if, as he taught, life was no better than death, replied, because death is no better than life. We do not know that either proposition is true, but the matter is not worth bothering about, for both states are supportable, life despite its pleasures, and death despite its repose. It was Robert G. Ingersoll's opinion that there is rather too little than too much suicide in the world, that people are so cowardly as to live on long after endurance has ceased to be a virtue. This view is but a return to the wisdom of the ancients in whose splendid civilization suicide was an honorable place as any other courageous, reasonable, and unselfish act. Anthony, Brutus, Cato, Seneca. These were not the kind of men to do deeds of cowardice and folly. The smug, self-righteous modern way of looking upon the act as that of a craven or a lunatic is the creation of priests, Philistines, and women. If courage is manifest in endurance of profitless discomfort, it is cowardice to warm oneself when cold, to cure oneself when ill, to drive away mosquitoes, to go in when it rains. The pursuit of happiness, then, is not an inalienable right, for that implies avoidance of pain. No principle is involved in this matter. Suicide is justifiable or not according to the circumstances. Each case is to be considered on its merits, and he having the act under advisement is the sole judge. To his decision, made with whatever light he may have chance to have, all honest minds will bow. The appellate has no court in which to take his appeal. Nowhere is a justification so comprehensive as to embrace the right of condemning the wretched to life. Suicide is always courageous. We call it courage in a soldier merely to face death, say to lead a forlorn hope, although he has a chance of life and a certainty of glory. But the suicide does more than face death, he incurs it, and with a certainty, not of glory, but of reproach. If that is not courage, we must reform our vocabulary. True, there may be a higher courage in living than in dying, a moral courage greater than physical. The courage of the suicide, like that of the pirate, is not incompatible with a selfish disregard of the rights and interests of others. A cruel requency to duty and decency. I have been asked, do you not think it cowardly that a man leaves his family unprovided for to end his life because he is dissatisfied with life in general? No, I do not. I think it's selfish and cruel. Is that not enough to say of it? Must we distort words from their true meaning in order more efficiently to dam the act and cover its author with the greater infamy? A word means something, despite the meanderings of the lexicographers. It does not mean whatever you want it to mean. Cowardice means the fear of danger, not the shirking of duty. The writer who allows himself as much liberty in the use of words as he is allowed by the dictionary maker and by popular consent is a bad writer. He can make no impression on his readers and would do better service at a ribbon counter. The ethics of suicide is not a simple matter. One cannot lay down laws of universal application, but each case is to be judged, if judged at all, with the full knowledge of all the circumstances, including the mental and moral makeup of the person taking his own life, an impossible qualification for judgment. One's time, race, and religion will have much to do with it. Some people, like the ancient Romans and the modern Japanese, have considered suicide in certain circumstances honorable and obligatory. Among ourselves it is held in disfavor. A man of sense will not give much attention to considerations of that kind, excepting as in so far they affect others, but in judging weak offenders they are to be taken into account. Speaking generally then, I should say that in our time and country the following persons, and some others, are justified in removing themselves, and that to some of them it is a duty. One affected with a painful or a loathsome and incurable disease. One who is in a heavy burden to his friends, with no prospect of their relief. One threatened with permanent insanity. One irreclaimably addicted to drunkenness or some similar destructive or offensive habit. One without friends, property, employment, or hope. One who has disgraced himself. Why do we honor the valiant soldier, sailor, or fireman? For obedience to duty? Not at all. That alone, without the peril, seldom elicits remark. Never evokes enthusiasm. It is because he faces without flinching the risk of that supreme disaster, or what we feel to be such, death. But, look you, the soldier braves the danger of death. The suicide braves death itself. The leader of the forlorn hope may not be struck. The sailor who voluntarily goes down with his ship may be picked up or cast ashore. It is not certain that the wall will topple until the fireman shall have descended with his precious burden. But the suicide, he is the foe man that never missed a mark. He is the sea that gives nothing back. The wall that he mounts bears no man's weight.  The end of The Right to Take One's Self Off by Ambrose Beers J. M. W. Turner's sketchbooks, a sampling from the life of J. M. W. Turner R. A. Founded on letters and papers furnished by his friends and fellow academicians by Walter Thornbury, 1862. This is a LibriVox recording. All LibriVox recordings are in the public domain. For more information or to volunteer, please visit LibriVox.org. When Mr. Ruskin was arranging the Turner drawings, he kindly allowed me to examine the principal sketchbooks that the great artist had left behind. They were, of all ages, from the books of his earliest boyhood to the books of his latest tours. And here are a few of my notes upon them. In a little red book with a clasp, marked June, 1813, I found various scraps of notes about chemistry and several studies for pictures in rivalry of Claude, as usual, very slight. Some of the leaves are smeared by rubbing. The lines are blunt, soft pencil lines. The trees often loop, and some of the bows are mere lank fingers and dark zigzags. Yet, even in these, there is an implication of Turner's great qualities of multitude and distance. Occasionally, too, I came upon useful receipts, such as an experienced traveler would be likely to treasure. There is a receipt for making waterproof with linseed oil and gum elastic, and a prescription for the malty's plague, as if Turner's mind were tending eastward. The symptoms he writes are sickness, debility, shivering, headache, heat, and thirst. Then, delirium, dark spots, and ulcers. The remedies are ametics and purges, lemonade, and spongings with vinegar every two hours. The coarsest lines in the book seem, however, to be modified here and there to realize variety of expression. Then come indistinct verses, something about Anna's kiss, a look back, a toilsome dream, and human joy, ecstasy, and hope, etc. For Turner's verses did not come into shape at all spontaneously, and even at the anvil he was not quick at shaping them. Close by, there is a note of an order of Sir W. Pilkington's, for some harbors of the coast, and some Lieber Studiorum's. Next, I find some dancing nymphs and a clawed-like bridge. Then more chemistry, notes of copal and other varnishes. Then memoranda of anatole, turmeric, dragon's blood, and blues. Lastly, some very noteworthy nine pages about yellows, including orange oxide, naples yellow, and paper makers yellow. Finally, the following scrap I think from Beckman. Potash added to a solution of iron, a brown precipitate falls, carbonate of potash separates, and yellow oxide, which soon becomes a beautiful yellow oxide. The next notebook I examined was a long one covered with parchment and full of beautiful studies of skies stored up for use. There were skies of an orange-purple, skies webbed with gray showers, skies veined with cross currents of interwoven azure, skies of gorgeous red and yellow, skies of transparent gray, blue fogs with looming red suns, red horizons, moons going down, and blood-red treble meteors. And lastly, a glimpse of London with St. Clement's Church indicated by a pencil note. A third book, bound in the cover of a Bible, was full of pencil sketches from Coutance. In one leaf a plot is inscribed, sunshine, and another yellowish gray. The distance in one case is marked with dotted lines, and there are notes of leaves, docks, and rush flowers with their curves and central ribs marked. The verses in this volume turn chiefly on content, and are either vague or pathetic, as thus on scotch independence, a personal estate far beyond purchase, or the grasp of state. Thou give us the humble roof content devoid of fear, and blissful joy to its perhaps lone inmate. Another book contained colored studies for the north coasts and the harbors of England, and compositions in the manner of Claude. The run of the waves and their sweeping leaps are beautifully given in these sketches, but sometimes the shore is left weak, and the sky is finished as being, I suppose, more difficult for the artist to remember. Sometimes hard, dark ridges of color are left to mark the crest of the waves. The seas are of all colors, from dull gray-green to soft blue and almost indigo darkness. In one instance a sail in the foreground has the yellow jewel depth of the finest Kurgorum pebble. I find Dover and Portsmouth among the places sketched. Only the artist seems lazy or self-confident, for there are merely red blots or crisscrosses of gray. In one instance there is more foam than wave, visible, and I remember a beautiful example of the yellow ghost of a fishing boat with a little red man in it. There are other sketches in which the sea rages in the foreground, rolling and leaping, while in the blue distance you see the faint outlines of white chalk cliffs. In the next book we break away from English seas and go sketching in imitation and in rivalry of Claude, Turner's great opponent with nobleman and art collectors. In this book I found recumbent nymphs, receding arcades, vanishing in perspective, long flights of temple steps, forests of masts, forming classical St. Catherine's docks, vet champette after Watteau and Stotherd, arches of Constantine, and acropluses crowning imaginary hills. A book dated 1809 contains notes on the passage of the Simplon, the wonderful gorge of Gondo, Anisola Bela, and hints of the Lago Maggiore. They are untinted paper, which is often used on both sides with an economy worthy of pope. White chalk that still lingers in dust between the leaves marks avalanches and snow effects, and Gondo, especially studded, is outlined with all a map-makers care and fidelity. There are Italian campaniles without end for future use, and gaps between rocks opening out from sunshine into dim whiteness. There are small drawings in mere portions of a page of the Simplon bridges, such as Turner may afterwards have used for Scott's life of Napoleon. There are scraps of bad French, and in one place two English are mentioned. In a green book with red back I found Memoranda of Seaside Houses at Brighton, of embattled towers and Tudor windows, and some miscellaneous seaside effects, very subtle and beautiful in their care and truth. There is a camp on a cliff, and boys and boats innumerable. Among the more subtle thoughts I found the following noted. Foam gray in shadow, the reflection of a bright colored boat on a wet, shiny wall, the reflection of a fisherman's boy form on a done sail, and the interchange of reflections between white and umbery sails. Another sketchbook is valuable for its containing studies of the nude figure made in the Academy Life School, apparently in his middle life, and probably for special objects. Some of these studies are sufficient in themselves to remove the slander that Turner, when he chose, and before his mind began to weaken, could not draw. But still, in many of them there is certainly an appearance of labor, though they are all rather painted than drawn. In one case the mouth is left unfinished, and in several others the faces are spoiled. Among these studies I found a female figure drawing a sword, the whole drawn with yellow and black chalk, and a figure seated on a rock, cleverly and sharply delineated. The highlight especially powerfully touched. Then there are several studies of a female figure as Andromeda, with her head hanging down and her arms up. There is a side view, a front view, and a back view. Some of the leaves are purposely reddened. In a book containing a sketch of Carnovan Castle, I found a pen outline and many boat effects, smoke rising against sails, and sails cutting against white, yellow chalk suns. Of all Turner's sketchbooks that I saw, I think none interested me more than one full of sketches made at Rome, and chiefly in the Vatican galleries. They show the intense delight the artist must have felt in the classic city, where he found on every hand ample materials for the war he was ever carrying on with Claude. What he had so long only dreamt of, now he saw, he now could realize the visions of his school days, of those hours spent in academic and architectural study. His comprehensive mind filled itself with booty. His great memory stored itself with facts. His notebooks are gorged with classical detail, with drawings of statues, bar reliefs, and inscriptions to be used hereafter in the foregrounds of classical pictures. That greedy accumulativeness that made Turner amass money made him also, in his intellectual tendency, accumulate facts. He could not refrain from taking ten or twelve views of London Bridge. It was a pain to him to have to break his charitable store by giving away a shilling uselessly. Such are the inconsistencies of man. Under notes of my locanda, the Speranzella strata, Speranzella, and directions of the Corona Giferro, or somewhere where an English waiter is to be found, most important to the non-Italian, I find addresses of friends, as Captain Graham, via Gregoriana, and lastly, after the proper Italian sentences to address to the custodes of picture galleries, what can I see in this palace, and a caricature of himself, I come to studies of the Campania, of the aqueducts, and the Alban Hills. But besides this, I found a legion of classic ornaments from the Vatican, drawn hastily in pencil, generally only a part finished from one of time, but the part finished, always sufficient for the painter's use, and generally numbered, so as to be able to find it again. Among the objects selected, I found priapi, sadders, vases, griffins, baccant, sippy, tombs, masks, leafage, apolino, psyche, female heads, and many inscriptions, copied carefully in printed letters. I also found a few notes on pictures and statues, with sometimes remarks on colors. In one instance, Turner's mind seemed to have turned to architectural reflections. He says, sensibly, of St. Peter's, The part by Bernini is good in the arrangement of the columns, but being very large, they convey the idea of greatness away from the façade of the building. While in the upper corner, the most favorable view, the columns are cut by it, and the cupola has no base, so that the dome, when approaching the steps, becomes secondary to the horizontal parts, etc. The next notebook I met with contained notes of a sea journey between Marseille and Genoa. There was the Isle Margart, and Tibbys and Nice, boats with Lantine sails, and sketches of Genoa. After this I came upon one with drawings of London Bridge, interesting Indian ink skies, and notes of scenes on the banks of the Thames, studies of sails, and memoranda of a fake champette, and of ladies' dress, caps, sleeves, black bow, black bodice, grey body, and yellow band. This book is full of details of form and color, water carts, haymakers, boys wading round boats, fishermen making love, travelling gypsies in red cloaks, green lanes and poplars sunlit that shed radiance like lighted tapers. Here and there are bursts of wood nymphs and other classical furniture, but the most important and laborious efforts in the book are views of London Bridge with St. Paul's and the Monument showing at various experimental distances. Now he tries the dome over the widest arch. Now he crowds the balustrades with people, and introduces a hulk, barges, and the boats at the tower's stairs. Now he brings in bales for composition, and detains passing sails to break the lines of the arches, or to vary their outline. Now he comes nearer and tries a wharf, a tower, some additional roofs, or a dark steeple, striping the light. Still he seems unsatisfied. Either his acquisitiveness could never have enough views of a bridge that publishers and engravers often want plates of, or else he cannot get the bridge to look quite as beautiful as he could wish it to look. He changes the boats. He lifts St. Paul's to try it in all sorts of combinations. He moves the wharfs, the shot tower, yet nothing seems to satisfy him, so greedy is he of all its possible variations. The next book contains jottings of expenses and sketches of classical subjects, Glaucus and Scylla, Daito and Ineus, Ulysses and Darius, and a sketch of the Polyphemus with the giant hurling the stone. Sometimes in these books we come upon a flood of sea sketches and shore studies, fish being packed or sold, steamers, notes of the moon's colors, slight sketches in color, the tones sometimes touched in with colored chalk, lightning, dismantled vessels, vermilion suns and indigo seas, waves spitting round piles or combing upon the shore, lifeboats, in fact all that could indicate a passionate observer and lover of the sea. Then perhaps come Roman details and a list of Lord Egremont's pictures, then warm, cold, gray skies and Naples yellow suns. In a book containing notes of Gothic ornaments from Yorkminster, the internal anatomy of a boat, and some pencil skies marked W. Turner, 64 Harley Street, I found some verses on love, which show that the heartache of earlier youth had not yet quite gone. The verses are, Man like the easy bark which sailing on the treacherous sea, seeking the bubble pleasure, and again, cares like waves in fell succession, frown destruction or his day, which I take to be very incoherent utterances of a great heart sorrow. End of J. M. W. Turner's sketchbooks, a sampling from The Life of J. M. W. Turner R.A., founded on letters and papers furnished by his friends and fellow academicians by Walter Thornbury, 1862. Read for LibriVox by Sue Anderson


This one's for Saitika's audience on YouTube, it's called Brighter Over There, this is one of mine.


Anyways, I haven't driven in so long, so post-insurance because I just couldn't, like, I was nervous. I'm gonna go meet my friend Armando at his place and we'll see where the day takes us. Welcome to A Week in My Life in Los Angeles. Good morning! So we are on our way to Disneyland. Are you excited? So excited! This is my friend Armando. This is Remy Kyle. Hey. Gang's all here. I'm actually really excited. I've never been to Disneyland before. I've only been to the one in Florida, so it should be a fun time. So excited. Also, sorry I didn't vlog last night, but I'll put in some clips here. One charge at a time. Yeah. It was giving a very... I need to speak fast. She's like... I'm an interesting person and I saw one of the best spots to see them based off of, like, a staff employee. Do you know, like, where they come from? Bubblegum. All right. We'll check in with you guys later. So much, like, just on the East Coast. That was, like, really enjoyable. Now I'm at Sweet Green. Gonna get something for lunch. And then I don't know what I'm doing for the rest of the day. We will see. I will keep you posted. Get my day started. Beach. Um, I really want to wash my hair today and I didn't bring anything to, like, do a wash and go and I kind of want to do a wash and go. Like, gel, foam, something from Marshall's and wash my hair later. But, uh, let's get this day started. It is Friday, September 1st. It's gonna be a good day, good month, good year. All right. I'll catch up with you guys in a bit. We're on our way to year one. This is my little rental car. It's really nice. We're gonna get these silver pants off the mannequin. It's gonna be a buy. We have to do it. We have to do it for Beyonce. It really feels so blessed with my little blazer and our little beard. Since my body, take a nap. I also start my period. I'm gonna take a nap and then I'll check in with you guys later. Maybe we'll go on a hike. It's, like, kind of cool out. So it actually might be a really nice, like, hiking day. But we'll see. I'll catch up with you guys in a bit.  My friend and I ended up rescheduling for tomorrow. So we're gonna do brunch tomorrow. But look at the swimsuit. I feel so cute in it. It's like a little diaper-y in the back, but that's fine. I am still obsessed and I'm ready for our pool day. Day party by, like, Tal, which is great. Do the Hollywood hike. I think that should be fun. I'm gonna go grab the car. And yeah, hopefully we can do the pool day tomorrow before I have to check out. Maybe just, like, a quick little pool moment. Yeah, this has been a very crazy trip to say the least. I need to find the secret spot to view the Hollywood sign. Hopefully it works out, but I'm excited to take you along on the adventure. Yay! Totally should have, but we'll see if we can get some selfies or someone to take some photos of us. But it's just so nice and so beautiful to be out in nature like this. Like, ooh! Am I turning into an LA girlie? We have, like, some nice, healthy food.


Starring Franchotone in Men in White on the Cavalcade of America, sponsored by Dupont, maker of better things for better living through chemistry. Tonight, Dupont brings you Men in White by Sidney Kingsley, a radio adaptation of the Pulitzer Prize-winning drama of a brilliant young intern in modern medicine, one of the army of students, nurses and doctors who dedicate their lives to the relief of human suffering and the preservation of human life. On the Cavalcade of America, Men in White starring Franchotone. This is the present, the place, the staff lounge of a great metropolitan hospital. Sweetheart, lend me your white tux fast for tonight, will you? I've got a date. The answer is no. Is there a drink in my room? I told you the answer. Well, I guess you can have the vest. Thanks, old man. You'll find a nice cold bottle of ginger ale on my dress. Ginger ale? Why, you stinker.  You can't have the vest here, hear me? What's going on here, Dr. Bradford? That bum, that stinker. Oh, Dr. Hochberg. Sorry, you see, Shorty and I... Shorty? Dr. Otis. Oh, I see. And I was an intern with all of each other, Dr. But I don't think it had any appreciable effect on our work. Thanks, Dr. Hochberg. Say, have you seen George Ferguson about something I wanted to ask him? I thought I'd find him. Oh, here he comes now. Hello, Dr. Hochberg. Hello, Pete. Hi, George. You wanted to see me, Dr. Hochberg? Oh, mine can wait. Dr. Brad, they had something. Oh, yes, George. That little girl in 218 is coming out of the ether nicely, but I was worried about that insulin before the operation. Why? How much did you give her? Forty units. Well, twenty would have been enough. I know. Dr. Cunningham ordered it. Cunningham? Well, you should have told me before you gave it to her. I'm not going to have patients going into shock on the operating table. Cunningham or no Cunningham, you understand? Okay, okay. I'm going up now and have a look at 401. Will you come along, Dr. Bradley? Oh, thanks, Dr. Say, I was interested in what you were saying about Dr. Ferguson. Yes, nurse. There's a Miss Hudson waiting to see you. Oh, send her in, will you? Yes, sir. You can go in, Miss Hudson. Thank you. Darling, where have you been? I'm sorry, Laura. I couldn't help it. Emergency operation accident case. Let me look at you, George. Your eyes are tired. I didn't have much sleep last night. It was a pretty sick house. You're overworked, and I don't like it one bit. You know, I don't seem to get a kick out of life anymore unless you're around. And that's not very often, is it? Darling, we'll make up for it all. Later on, honestly. I don't know if we can, George. Last night, for instance, it's gone now. You see, dear, the way I feel if I had you every minute from now on, it wouldn't be enough. I feel that way, too, darling. I wish I lived all my life with you. I wish I'd been born in the same room with you and played in the same street. I'm glad you missed them. They were ordinary and gloomy. They might have touched you. Changed you. Touch me now, George. Change me. Tell me what it's all about. Listen, dear, about seven months ago there was a boy here who'd been blind from birth. We operated successfully. Then one night, I showed him the star for the first time. He looked at him a moment and began to cry like a baby because he said they were so wonderful and he might never have seen them. When I look at you, Laura, I get something of that feeling. I can't tell you how large a part of me you've become, Laura. You're... Dr. Ferguson. Oh, blast it. Someday I'm going to... Don't move. There's no use for it. It's my call off my knees. No, no, no. Come on. I'm here for you, young lady. Oh, you spoiled it. Dr. Ferguson. Dr. Ferguson speaking. Yeah. Oh, yes, sir. Yes, doctor. I'll be ready. I'll tend to all that. All right. Laura. All right, go. Go to work. Laura, dear, I... We are going to make up for last night. I want to go to that cute little place where the food and music were so good. Remember? Then a long drive up the hub... Laura, I've got some bad news. You won't be upset with him. What? I can't make it tonight. I've got to stay in. Not again, George. Reflect your skull. I can't possibly get out of it. I'll wait. Better not. No telling what time it may be. Oh, I was planning so much on tonight. But it's not just tonight I'm thinking of. It's all the nights after we're married. We can't go on this way, then, never seeing one another except between operations. What do you expect me to do? Look, I want to be with you, but I can't. That's all. I can't. I understand, darling. But later on, we're going to arrange our lives like human beings. You can open up an office and have regular hours, specialized. If I go on with this research job with Hockberg, darling, I won't be able to go into practice. Not for a long time. You know, I've known Hocky since I was a little girl. I was getting to hate him. He's a slave driver. He's a great doctor, Laura. I'm lucky to be working with him. Maybe so. But I couldn't go on this way, George. I just couldn't. I'd rather break off now and try to forget you. You don't know what you're saying, Laura. I mean it.  Dr. Ferguson. They're calling you, George. Dr. Ferguson. Yes, operator. Dr. Ferguson, speaking. Yeah. Soft 218 will call Dr. Cunningham at this case. I know, but... She asked for food before she went unconscious? No. No moral insulin. Absolutely not. I'll be right down. I have to go now, Laura. Please, don't worry. Things will straighten themselves out. No, they won't. Laura, I'll see you tomorrow night. You're right. Yes. Think it over, George. We'll have to come to some decision. Oh, Laura, will you please... I mean it. Absolutely. All right. Dr. Ferguson. All right, Laura. That's what's happened to him. Complete collapse, Dr. Cunningham. Just a few minutes ago. All right. See the chart, please. You're done. Hmm, thank you. Thank you. Dr., the pulse is damaged. Oh, that's late. Hmm. May I have my stethoscope, please? Diabetic coma, just as I suspected. The mental illness is one. 40 units of 50 grams of glucose. But... Dr. Ferguson told that insulin... Ferguson? This is my responsibility. 40 units, quickly. Yes, Dr. Cunningham. Please hurry, Dr. Cunningham. Oh, Dr. Cunningham. Evening, Dr. Ferguson. Insulin, please, now. Dr. Cunningham, you'll... pardon me, I hope. But there's an insulin contraindicator here. Contraindicator? It's our last chance, man. Dr., I mean no offense. But I know this case history, and it looks to me like diabetic shock, not coma. It's out of the question, my dear fellow. Well, but the whole clinical picture's so clear. And look at the patient. Pale, cold, temperature subnormal, complained to hunger, sudden onset.  Nice to fair that on. Dr. Cunningham, please. Call in Dr. Hochberg. He's in the house now. Ask him. There's no time.   You will not book this interference. I'll have you brought before the medical board, too. By all means. You're not going to inject that insulin, because there it goes on the floor. Oh, sir, please.  Put the bed in shock position. Yes, doctor. Look, go solution quick. 30 cc syringe. Yes, sir, right away. No, never mind. Too late for that. Adrenaline. Yes, doctor. Hurry, please. Here's the hypo, doctor. Swap that on, will you? Very, doctor. Well, you'll be nice. Half an hour. Why? I wish you'd stay on a little longer and watch the patient with me. Hope you didn't have anything more important on for the night. Doctor, the most important thing in life to me right now is to keep this little girl alive. Well, let me look at you. What's your name, nurse? Denim. Barbara Denim.  Thanks, Barbara. Supposing you're wrong. Or even if you're right, if she dies, you... I know, nothing we can do now, but wait. Well, I did a clean up this mess. Well, you're, you're trembling, Barbara. This is my first case for the sixth child. I got to like her an awful lot. I did. Yes, I'm not a very good nurse. You're going to be a swell nurse. Doctor John. How do you feel, baby? What happened? Nothing. You just fell asleep. That's all. Close your eyes on him and sleep some more. Bring the bed down, Barbara. Well, what's your name? Barbara. Barbara, don't. Sorry for that. Then don't try to help it. Go ahead.  Coming to Franchotone in Men in White. Presented on the cavalcade of America, sponsored by DuPont. Laker of better things for better living through chemistry. As our play continues, several months have passed. Dr. Ferguson. That thing's been saying the same thing all day. Dr. Ferguson. I do not like him to stay away from the house so long. Wonder where he is. Haven't you heard, Denon? Wedding rehearsal. Funny. I never thought of him as being engaged. Surely you've met the rich and beautiful Laura Hudson. Oh, well, of course I knew they were friends. I've seen her a bunch. Isn't her father the new head of the hospital board of trustees? Why else is Dr. Ferguson suddenly so important around here? It's not true. He loved Laura Hudson. He told me so. It never works out, you know, doctors and nurses. Come on and confess, Denon. You had a crush on Ferguson, didn't you? No. And I think you're terrible. All of you. I wish I'd never come to work in a hospital. Now, honey, come off it. We didn't know it was that serious. We didn't mean anything, Denon. I know. Yeah, yes. You'd better get some sleep if you ask me. You've been looking like death on wheels lately. What is it? I don't know. It's feeling a funny pain. I guess it's nothing really. It isn't. In the old days, when the hero married the other girl, and got brain fever and told all while in a delirium. So I'd watch my health if I were you, Denon. What do you mean by that? Nothing. Just that. All right, dear. Tell them to stop that thing, nurse. Yes, doctor. I'll take care of whatever it is as soon as I get my streak closed off. Yes, doctor. Oh, here comes Hockbird Laura. As mad as I had her. Brace yourself. You can't frighten me. Good afternoon, Laura. Hello, Hockey. George, this is not like you staying out like this, collecting your work. Well... I'll have a heart, Hockey. It was our wedding rehearsal. Well, I'll forgive you this time. But no more wedding rehearsals, understand? I hope not. George, I heard something this morning. I didn't know quite what to make of it. You still want to accomplish something in medicine? Certainly. You mean that? I do. You love George, don't you, Laura? You know I do. Of course you do, and you want to help him. But that's not the way, Laura. Nobody can help George but himself. Not your father, Laura, nor anyone else. Nothing can help him, but hard work. He cannot buy this. He must earn it. That staff appointment they talked to you about George. You're not ready for it. But it's not as if I'm going to drop my studies. I intend to keep on. Of course, Hockey. My dear child. After all, George has worked so terribly hard till now. If it's going to make things easier... There are no easy roads in medicine. I'm counting on work, doctor. Hard work. Yes, ten years of grueling, grinding work.  Not before. Ten years? You're asking me to give up the man I love for ten years? I'm sorry, Laura. It's George's life from yours. You were right to decide for yourself. Oh, by the way, George, you'd better hurry. We're going to operate shortly. New case just came in on the surgical service. One of our own nurses. What's her name? That nice little girl up in Pediatrics. Oh, yes, Denon, Barbara Denon. Remember, Pediatrics. Oh. Yes, I remember. Poor child, sepsis. Oh. That's awful. Is she bad? Temperature 105, blood count way up. Well, we'll see what we can do. Meet me up there. Well, Laura... See you tomorrow morning, darling. I have some shopping to do. See you then. Yes, George. You ought to be ashamed of yourself, young lady. Oh, now, Hockey. I know it was terribly important. Because of your wedding. But do you realize upstairs there's a girl lying unconscious? There will be no wedding for her if she develops a blood clot. Don't you realize what George's work means? Of course I do, Hockey. No. No, you don't. Would you like to see, perhaps? Yes. Why not? Dr. N. Yes, Dr. Ockerton. Take Miss Hudson here upstairs. See that she gets a cap and gown having the operating room in about 20 minutes. This gown seems awfully wrinkled. They're never pressed. That would unsterilize them. Oh. My first operation. You're not nervous, are you? Why, no. No, of course not. That's more than I can say. First operation I watched, I fainted. Dead away. Smash, smash, smash. Yes, sir. Oh, hello, Laura. Hello, Hockey. George. What are you doing here? Surprise. It was Hockey's idea trying to impress me with your work. Stand over here in the corner. Don't come near us. We're getting clean. We're full of contamination. Oh, am I? Well, how do you feel, Laura? Great. Basin-ness. How do I look? Very becoming. Think so, George? Yes, very. You can look around, but keep out of the way. Don't touch anything.  All right, nurse. Go on. Yes, doctor. Is he Dr. Ferguson? Yes, doctor. Order late. Order late. Yes, sir. Bring the patient in. Oh, is she doctor? George. Yeah? What are they going to do to me? There's nothing to be afraid of, Barbara. You won't let them hurt me. No, of course not. Will you be there? I don't know. All right, take her on in. I love you.  We're wasting time here. George. Yes, Laura. What was that all about? Laura, I'm sorry. I should have said something. I didn't know. George, who is that girl? Stand away. Look, you mustn't touch me. Laura, you want sterilized my gown. Nurse? Nurse? Yes, doctor. Sterile gown gloves. Laura, you must be more careful. You know, John... George, why did that girl say she loved you? Dr. Ferguson, the patient is draped and ready. All right, I'm coming. If you want to watch me, you better go over there. I'll get a stool for you. Mask? No. No, don't bother. I've had enough. I've had enough. Here, you get busy. You... What's the matter? You look... You feel ill? Take her out in your window. Give her some more. No, no, I'm fine. I can walk out of here all by myself. What's the matter with her? First operation. What else? She's got a long way to go yet. George, please. I need doctor in. All set. I need doctor Ferguson. Ready. Clam City. Scalpel. It's getting temperatures down this morning. I know. Nurse tells me you watch the case all night. That's very nice. Excellent book, yes. You should read all the pushing reports. I told myself I was going to once. George, you must pull yourself together. Why don't you call Laura? I could explain. There's nothing to explain. What are you going to do? I don't know. I don't know. I've got to think this thing through. All right, George. Call me if I can help in any way. Thanks. George. No, it's you, Laura. I had to come back, George. I had to talk to you. Get things straight. Do you love that girl, George? No. Then what? She was lonely, Laura. I tried to help her.  What are you going to do about it? I'm going to marry her if she'll have me. But why? If she'll never be able to work in a hospital again. Someone's got to help her find a new life for herself. Why does that have to be you? You heard what she said. She said she loved you. Well... Come in. George, I thought I... Oh, hello, Laura. Hello, Hockey. George. I just didn't just die. What? Nothing you can do, George. Embolism and the collapse died instantly. Don't, George. Don't torture yourself, darling. It might have happened to anybody. I tried everything. Heart stimulants, general and all useless. A little blood clot in the brain, and we're happy. Thought the years, I spent in medicine. I couldn't help it all. What's the use? What good is it all? Why go on? Medicine takes everything from you. When you need it most at leisure. Help us. We don't know anything. We're just guessing. We've been doing a little work on embolism. Getting some results. Knowledge is slow. Slow. We'll all be dead before it gets here. There isn't a man in medicine who hasn't said what you said and meant it for a minute. You're right, George. We are groping in the dark. But our answers today are closer than they were 20 years ago. In 20 years from now, they'll be still closer. That's what we're here for. But in the end, our reward is something richer than simply living. Maybe it's a kind of success that the world out there can't measure. Maybe it's a kind of glory, George, question as much as we will when the test comes. We know. Don't we, George? Yes. Now, we'll reduce that fracture as soon as you're ready. Schedule appendix of 10. Cast the cultivator immediately out. Yes, doctor. Oh, darling, I'm sorry. George, let's get away from here. Let's go someplace where we can talk this thing over quietly and sing. We are operating this morning, Laura. Oh, George, I know, but... Oh, Laura. This is where I belong. Yes. Yes, I guess you're right. You see. I understand.  Give me a ring. I'll be around. Maybe someday we'll get together anyway. Dr. Ferguson. Dr. Ferguson. They're calling you. Yes. Dr. Ferguson. Work hard. So long. Dr. Ferguson. Yes, operator, Dr. Ferguson speaking. Oh, Mrs. Dandrea. Sure, your boy's all right. Yes.  You mustn't. He's all right. We'll take care of him.  Don't cry. Yes, he's going to live. Ladies and gentlemen, you have been listening to the Cavalcade of America sponsored by Dupont, starring Franchotone in Men in White. Tonight, there is but one thought in the mind of every American. Victory. The victory we mean to have. That victory will depend in some measure, perhaps in large measure, upon America's technical skill, upon the kind of expert knowledge we have spoken of so often on the Cavalcade, as know-how. We'd like to tell you tonight of a Dupont contribution to industry, which, modest as it may be in itself, is a typical and striking example of this expert know-how. Not many people know it, but the X-ray is as valuable today in industrial production as it is in medicine. Many manufacturers X-ray virtually all of the castings they buy, using X-ray equipment in some instances, operating at voltages as high as a million volts. Used with such equipment, the latest Dupont X-ray film is so fast that a camera today can pier through four inches of solid steel in two minutes' time. X-rays disclose hidden defects in wells and castings. Practically all parts of an airplane that might fail and give way in flight, not only the motor parts, but structural parts as well, are examined under X-rays. Gigantic metal accessories like the penstocks of the Grand Coulee Dam are X-rayed on the spot by portable machines to check the welding of the steel seams. X-ray scrutiny of welded seams is of extraordinary value, too, in high-pressure retorts and pipes in industry. The cracking of petroleum to make gasoline, for instance, is carried out at enormously high pressures. The retorts in which the cracking process goes on are made by rolling steel plates from two to six inches thick into cylinders and welding the seams. These seams are examined for interior faults with X-rays. In medicine, the perfect X-ray film shows the retgonologist a wealth of detail and makes possible an accurate diagnosis. In industry, the metallurgist or inspector with perfect X-ray film can detect flaws which might lead to disastrous results. X-ray film is an outstanding example of the exact skill placed by science at the disposal of American industry. Improving DuPont X-ray film is also an example of the work DuPont Chemists is doing today in order that we may continue to serve a world of our own making with better things for better living through chemistry. And now some news about next week's Cavalcade. Our star is the famous radio and screen personality, Orson Well. Our play is a radio version of the RKO comedy drama, The Great Man Votes. America has answered the treacherous attack of the Japanese by declaring war to the victorious end. It is going to cost billions and billions of dollars to guarantee victory for our democracy. By United States defense bonds and stamps, as many as you can. Get them at your bank, post office, or savings and loan association. Don't forget next week, Cavalcade presents Orson Well in the exciting comedy drama, The Great Man Votes. On tonight's program, the orchestra and the original musical score in the direction of Don Burry. On the Cavalcade of America, your announcer is Clayton Collier, sending best wishes from DuPont. This is the red network of the National Broadcasting Company.


Welcome to Toffy TV, there's three things, Waffa 2, Everton 3 and Vicarage Road today in the Premier League, what a result for Everton, tune him down and come him back to win 3-2 and winning the first time they've done it in over two years, gone behind in a Premier League game and come back to win the game and a tough place to go and do it and an absolutely brilliant result. The first thing you want to talk about is that it's the character of the team. It hasn't always been, well, we haven't seen much of the character of the team and today doesn't right any wrongs by the way in terms of that the corners turned and you're going to see fantastic character. It's been called into question a few times lately and rightly so, certainly or not lately but this season, certainly Liverpool in the FA Cup, the character of some of them players needed to be questioned, certainly the stupidity shall we say or the unprofessionalism in that final minute of injury time against Newcastle you could question it although the previous 93 have been good. But today what it will do, a win like that, they did stick out at Everton and whether the 10 days on the training ground or the 10 days since the last game, working with Carlo for a bit longer, you know, has started to seep into them, that even a 2-0 today, when he was 2-0 down, he still tried to play the football, he still tried to have a measure of control, he still tried to attack and you know, we still worked hard. It wasn't great, don't get me wrong, I'm not standing here saying what a performance, it was amazing because it wasn't but it was a good battling display but also I thought the football we played at times was excellent and you know, I've said on our shows over the last 10 days or so that because the way we play with a 4-4-2 you can really see where we need to improve. It makes it very easy to see, you know, centre midfield, we need better players or we need to, you know, upgrade the right hand side, you know, Walcott's done well today in the end and scored the winner but can we do better in that area yet can we do better with Shidabee at right back, got loads of really good quality Shidabee, other things he gets caught out with, you know, upgrades there so that's, you know, it makes it very easy but today what I thought we did was the character of the team was really good. We carried on playing, yet he mean has come up big in injury time for us and the first I've got us two goals and then we've came out in that second half being nice and tight at the back, worked hard and gone for it and carried on trying to play the way we do and that's one of the big things that top managers do with their teams is that always continue to believe in what you're doing. I'm sure a lot of managers try to do that, some managers maybe haven't got the gravitas that Carlo Antelotti's got in terms of carrying on, believing what I'm telling you and, you know, he's got that because he's basically the most successful coach in the world, you know, one all sort or certainly he's in the top three. Fantastic manager and it's a, you know, we are lucky to have him, let's be honest about it, but the players can take everything on board now that he says and really build on it and what that'll do for the character and the strength of the character is even when we go behind now that will be in the memory bank. We've attunaled on and offered them and come back on one, we can still win this, we lost to we were with 10 men, 10 men, he ended up playing what was a 70, there was another 26 minutes that portion played after he dismissed Fabian Delph, so we've done incredibly well and it's brilliant for the character and the strength of character and I'm delighted with that today and let's hope we carry on with that now, let's build, let's use today as a build and block as well. I don't want to talk about today is Richard Jarlison, I don't think he had a brilliant game by any set of imagination, but the one thing you get off Richard Jarlison is his work right and effort. You know, obviously he's caught the news this week because people believe that Barcelona had bid for him, there was no bid for him and are the interested in him possibly because he's a very good player, plays for Brazil, 22, hard working, scores goals, assists goals, you know, powerful runners. All the things that top clubs like him play is, but he was happy to sign a new five year deal in October, November, whenever it was, November wasn't it, or December actually, it was just before the derby, so he's happy with the club. Now people were worried when Michael Silver was dismissed because what would that be like, but the lad is just focused on being a better footballer, he loves it at everything, you know, and today come out, like I said he didn't have his greatest game, but he was key in terms of taking the fight of them, and particularly when it went down to 10 then, look at his contribution for the winner, carrying the ball in the 18-90 minutes, sprinting down that line, using his strength, go ball to Moise Keane, if Moise Keane doesn't connect properly with it and ends up getting himself an assist, but it was brilliant by the Charleson, back defending in the 94th minute, heading things away, you know, absolutely brilliant effort from him, and as a ffang base, we love him, and we should love him because he's brilliant, so delighted with him today, even though, like I say, you know, it wasn't his greatest game forever, and of course it wasn't, but he's the kid to batler, and with loads of quality, so made up with the Charleson's performance today as well. And then obviously, aims for the rest of the season is me 0.3, I'll just keep this brief because obviously, you know, there's still a portion to go, but for me, aims for the rest of the season, keep getting asked this, what should we do, what should we be looking to do now? Europe, for me, Europe is still a possibility tonight, we're in 90th place, we are, my United and Wolves are playing now, so, but at this moment in time, we're 1.6th and we're 2.5th, 2 points off Sheffield United and 5th, Sheffield United are being great, but still, you know, so it's not like they're a big powerful side, they're a good side, but you know, so for me, Europe is very much still well, well on the cards regardless, and what we have to do now is make sure that we stick match results of the teams above us, obviously, and try to really establish the way we're playing, try to take everything on board that Antielotti's doing, you know, and it's a chance for players to shine. For him, over these next, you know, it's February 1st, for him, now over the course of the next three and a half months till the season finishes, he's going to be assessing everybody, are you going to be part of me? My team, what it takes to be part of the first team squad regularly, can Tom Davies improve? Do we need to look her alone for him maybe next season? To Germany is something like that, or can he just get his confidence up and keep playing? All of these things, the manager will focus on between now and the end of the season, but there is a good core of young players, there, Holgate, Mina, Dean, Gomez, a Wobie, Retialis, and Calvert-Lewin, Moise Keane, all good players that you can mould with it, you know, and put some better quality in there as well will make this team much better. We've got a well-class manager and, you know, the centre back in there, so they're the aims, but Europe is very much on, and if we can get into the Europa League, the kickbacks from partnerships and sponsorships, plus the group stages of that is worth around 12 million, it all helps with FFP, and they spread Neverton's name around Europe and making us a more attractive brand. All of that has to be taken into consideration, and all of that has to be Everton Football Club, and Carlo Montiolotti aims between now and the end of the season, but many more days like today will be lovely. That is it from my three things. Make sure you give Peds reaction and playwriting videos a watch. They should be interesting. Give the video a like, subscribe if you haven't. Join us on Patreon if you want more videos. Thank you very much for watching and for taking the time to watch. Have a great weekend. See you later.