Lux presents Hollywood. The Lux Radio Theater brings you George Raff, Franchotone, and Lynn Barry in each dorm I die. Ladies and gentlemen, your producer, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. This Hollywood of ours is more than a place. It's an idea. An idea that embraces all America. We plead no special interest and ask no special consideration. We are democracy in action, to provide entertainment for the whole people and by the whole people. Take the case of the Lux Radio Theater tonight. Our stars are George Raff, Franchotone, and Lynn Barry. They hail from New York City, Niagara Falls, and Roanoke, Virginia. And the rest of our cast represent 12 more cities, from the Atlantic to the Pacific, and the families from which they come are rich and poor and in between. The play that brings them all together is the Warner Brothers' success, each dorm I die. It's the story of a man sent to prison for a crime he did not commit, and of the girl and the gangster who give him courage when he needs it most. We were encouraged this week by a letter from a lady in Ohio, which adds another chapter to the adventures of Lux Tarlet soap in faraway lands. It seems that the lady has a daughter and the daughter has a fiancé who's a soldier somewhere in North Africa. One day he developed a desire for oranges and approached an Arab who had some understray, knowing that it's more fun to barter for something than just to buy it. He'd come prepared with a cake of Lux Tarlet soap, which he'd received in a Christmas box. After bargaining for a few minutes, the soldier unwrapped the soap and let the Arab smell it. The Arab immediately offered three times as many oranges as he had before and the exchange was made. Our thanks to the lady for the information. I predict that if that soldier ever meets the Arab after he's tried Lux Tarlet soap, he'll have orange juice for the whole regimen. It's curtain time now for each dorm I die, starring George Raft as they say, Franchotone as Ross and Lynn Barry as Joyce. A hilltop on the outskirts of a great city.  To this car come two shadowy figures, supporting between them the unconscious form of a young man. He's heavy as lead. Get him in behind the wheel quick. Okay. Lift his legs here a little. You got that bottle of liquor? Yeah. Let's close with it and throw the bottle in the back. That's a waste of good booze. Hurry up. Okay, okay. Now release the brake and get out. Here we go. Up off. With an unconscious man at the wheel, the car glides downward. At the bottom of the grade, the traffic light blinks red at the crossroad. The car hurtles toward it faster and faster. Then swerves madly into the cross traffic. To Frank Ross having been found guilty of a crime of manslaughter, it is now my duty to pronounce sentence. There can be no excuse for leniency in your case, as you should be well aware. Since you have as reporter for the Daily Record, often denounced drunken driving is the most ghastly of crimes. A view with which the court agrees entirely. And when such drunkenness results in the slaughter of two young innocent citizens. I didn't kill those people. I wasn't drunk. I wasn't even driving that car. When the accident occurred, you were behind the wheel. The court has found that to be sufficient evidence in spite of the fact. But I tell you, I was framed. I was framed by that eminent public servant district attorney, Hanley, and is equally eminent and equally crooked assistant, Howard Grace. Your Honor, I protest. Framed?  Silence! Silence! Frank Ross, you are hereby sentenced to the maximum penalty the law provides. Imprisonment in the State Penitentiary's Rocky Point, for five to twenty years. Court adjourned. All right, Ross, this way. Five to twenty years. Frank! Frank! This is your day of choice. Five to twenty years. For something I didn't do. Darling, it's not over yet. We're going to fight this. We'll be working for you every minute. We'll get you out, darling. Twenty years. I'll write to you. I'll write every day. And you write too. Please, darling. Sure, sure. Come on, Ross. We've got a train to make. You ought to eat, son. It's on the stage, you know. I don't eat with a carload of ten-cent crooks. I'd rather be hungry. Who's that ten-cent crook? I am, Monaghan.  Yeah, for a while. I'm getting a degree this time. Oh, who's your friend, Monaghan? Name's Frank Ross. Ross? Oh, yeah, I know him. A reporter, isn't he? He's wise, guys. That's always writing about how crooks are yell at. And crime don't pay. I guess the D.A. didn't like that because he knows better. Well, what'd they give you, Mr. Ross? Five to twenty. But I won't be there long. No, you don't say. Going in and out, just like that. Clever boys, these reporters. Say, write a piece about me when you get out, will ya? The name is Stacy. Life Sentence. I like to see my name in the papers. You'll see it in the obituary column.  Why, you scare me, sonny.  He plays too rough. Oh, we got a real killer in the crowd, boys. Ran over a couple of kids so he thinks he's tough. Well, how tough are you, sonny? Listen, yo. Sit down, Ross. Yeah, come on and show me. Cut it out, or I'll let you have it put on you. Now get over there, Ross. Sit down. Let him go, Monaghan.   Where'd you go picking on him for? I don't like reporters any more than I like cops. If I report I hadn't stuck my tan all over the front page, I wouldn't be here. And now I got all the trouble of crashing out. Yeah. Don't forget to send us the date. Yeah, and don't bet that I won't. Keep your arms folded. It's a new arrival, Gordon. Not all new, I see. Hello, Stacy. Hi, Gordon. Man, I have much to say to you. Stay on your good behavior, and you'll get along a lot better. You get into trouble in here, and you'll become second or third grade prisoner, according to your offense. More serious offenses are punishable by solitary confinement. Or as we call it here, the whole. I don't recommend it. Hey, Warden, I'd like to speak to you for a minute. Keep your arms folded. What do you want to say? Well, I'm here on a political frame, but I didn't... The man is legally convicted and sent here. We assume that he's guilty. Feed him accordingly. That's all. All right, men. Left turn. This way, men. Where does it take us now, huh? In the cell? There's such luck, brother. That jute mill. Hey, Pete, ten more men here. Okay, I'll take care of them. Well, if it ain't Stacy again, couldn't bear to be away from old Pete, huh? What's he got this time? A hundred and ninety-nine years. Well, now that's real generous of the judge, huh, Stacy? And just to show you what a nice welcome home you're going to get, guess who's in here doing the book, too? Your old friend, Lippie Julian. Julian? In here? Yeah, I thought that'd get a rise out of you. Hey, Lippie, come over here. You want me? Yeah. You know this fella? Yeah. I guess so. He ought to know me. I gave him that limp the time he tried to double-cross me in the Danimora break. I know you.  Now, boys, don't fight on Mr. Stacy's first day back. Stacy, over to that breaker and get to work. You go with him. Wait a minute. What's your name? Ross. Say, sir, when you're dressing officer, and fold your arms. Are you here? Yes, sir. Go on over there and join Stacy at the breaker. Rest of you, get over there and help stack them face. Stacy, hey, fellas, look who's here. Hello, Mugs. Oh, it's just a visit. Oh, this is Frank Ross, boys, a gentleman of the press. He's a killer, so hang on to your hair. Oh, sorry, we ain't got no typewriters on this machine, nor no yellow ink, Mr. Ross. Well, what do I do? I flap your ears and wish you was a swallow. Hey, Gossky. Gee, it's quite a sea, Stacy. Never mind that now. When did Olympie come in? A month ago. What's he in for? Right her second degree. He's doing life. Look, Gossky, you know it's Olympie on me, don't you? Yeah. Well, it ain't gonna be me. How much time did you get her? A tray. I'm out in two months. Oh, good. Keep your nose clean so there's no slipper. I might need you on the outside. Okay. But listen, don't turn your back on Olympie. He's got a knife stashed and he'll use it. Don't worry. I'll watch him. Stacy, Gossky, what were you talking about? Come on, what were you talking about? Ain't there a rule against talking in this jug? Yeah, you broke it. Let me hurt you. Come here, Olympie. What'd they say? I couldn't hear them, but they was talking. Why, you low-down crawling. Get back! Break it up, you hear? Look out, Stacy! You can do it on my. Where'd that guy?  Get back! Look out, Stacy! Now, get back to your machines, all of you. Go on! Come here, Ross. That was your trip, Olympie, wasn't it? Wasn't it? Well, he had a knife. I don't like to see anybody get cut up.  Look, I'm no mugged. And I don't like being called one. Oh, you don't like it, huh? Get over to the captain of the yard. You too, Stacy. We'll see if a month from third grade will take some of that guffawry up. Go on, feed it. I'll tell you something for tripping Olympie. It was a nice job, I get it. You had your first day in this hokey-pokey and you're tangled with feet. Trip up his prize rat and you'll lose your privileges for a month. Oh, you got the makings of a swell con. Not me. I'm not staying long enough. Yeah? Well, I'll tell you, do leave us. Let me give you a little advice. You know anything about Olympie, Julian? No, he's just another con to me. Well, remember this if you want to stay healthy. He's a killer. The toughest kind there is, too. The kind who kills a guy because he gets a kick out of it. Yeah? Well, I'll let you worry about Olympie. I got my own trouble. What's that? What's that? Don't look now. Is there a knife sticking in the wall about two inches over my head? I'd say about one inch. Yeah? Hmm. Olympie's aim is improving. All right, you guys. Keep moving, will you? This is supposed to be an exercise period. We're moving. We're moving faster. You'll be getting flat, Stacy. Yeah? You got a cigarette, Ross? Yeah. Thanks. Well, by the way, whatever happened to that plant of yours be getting out of this place. I hear they turned down your pardon, Ross. Yeah? That gives you a year and a half before you can even ask again. Well, the paper's working on a new angle.  Sure. I knew a guy like you once, sir. He's waiting for a new trial, too. He waited 30 years. Did he get it? Yeah, they found him guilty again. Well, hi, Ergoski. Hi, Stacy. Hey, listen, I just got ratted on. What about? They can't have soda you slipped me this morning. They saw me using it. That means the whole. Who ratted? Olympie and his new pal, Feather. Well, what's wrong about soda? Well, you mix it with salt and damp tobacco powder, and it makes snuff. It's forbidden. Have you got it on, Ergoski? Yeah, but Pete's looking for me right now, and I can't get rid of it. Sliver to me. To you. Stacy, they'll put you in the hole. Come on. Come on. You're going out on parole next week, ain't you? You can't afford to go out of circulation now. I need you on the outside. Slip it quick. And here. Keep this knife. Before I come out. I may want it.  Sure. Twice. Been in for 60 days? No. Right here. Nice place. Yeah.  Yeah. I've seen guys go half nuts in here in 30 days. In 60, they go all the way. Well, that's cause they ain't smart. I am. Close the door. Okay, sucker. Stacy's out. He's out of the hole. When did they let him out? An hour ago. I seen him taking him to the office. How'd he look, Red? Like a ghost. His eyes were so shot like... Like the light hurt him. So he's out. Well, we'll find out pretty soon who wins the blood sweep. You got a bet on a deal? Yeah, plenty. You got a bet, Ross? No, I don't bet on one guy killing another. That ain't it. Limpy says he'll get Stacy before he's out of the hole 48 hours. But you got to call the hour. I got two cans of tobacco that says one of them gets it in 12 hours. Look out. Here comes the guard. Hiya, Ross. Hello. Put me in with you. Mind? Why should I? I took that dump there. I didn't know. That was mine. Oh. It's okay. I'll just move your stuff. Wait a second. Leave it alone. Hey. What's that? I told you to leave our stuff alone. You got a knife, huh? Yeah, I got a knife. What about it? Nothing like this. I'll be handy down there. I can't take it. Need anything? Soap? Tobacco? A toothpaste? All right. Listen, Ross. Forget about that shiv. What shiv? Never heard the word before. This shiv. The knife. I don't see any shiv. There you go. You all right? Hello. Hello, Warden. This is Gallagher. Listen, Warden. We've had a killing. In the theater, a killing. We had the men there to see a picture. And all of a sudden, this guy... What? It was Limpie Julian.  Hey, Ross. Yeah? Come on down to the end of the yard. I want to speak to you. Okay. Hey, do you work for Julian any good? Well, they're trying. You've been here for four months. Well, it takes time. A bum rat, wasn't it? I told you that. They're trying. They're trying? You've been here for four months. Well, it takes time. A couple of times. All right. Look, if you could get out, would you be able to crack down the guys who framed you, wouldn't you? Sure. They are not out. I'm in. What do you want?  Sure. All right. Whether you believe it or not, I didn't. I meant to. I was afraid the screens might set him. So I passed the ship on to another guy. He loved Limpie like I did. So Limpie collected him. Okay. But that don't make any difference between us. You saw me with that ship. And you thought I did it. You and I'd be doing the book in the hole, and you'd probably be partying. Forget it. I'm all right. I don't forget it.  Now you're plenty for that, and I'm going to pay. Ross, did you ever figure that I was out? I could find out who framed you and get you sprung? How? I got ten actions. I can find anything out by putting Joe in the right places. So all we've got to do is get you out. That's a cinch, isn't it? Listen, this is no screwy idea. I can get out. If you'll help me. How? Look, you're killing some guy. I knew you tried in the courthouse. I'm doing what? A hundred and ninety-nine years. So no pardon, no parole. I can't pass over these walls in a million years. So the only chance is to get to the courthouse and try it from there. It'd take an army to get you out of that courthouse. A lot of guys have tried it. They tried it alone, and they didn't plan it. Listen, remember Gossky went out a couple of months ago? Well? We figured this out together. I let someone wrap to the warden that I slumped that night in Limpie. I get indicted. Gossky follows the case through the papers and gets me a mouthpiece. He knows the day I'm going to be tried. He knows the court name. He makes all the arrangements. What word do I come in? Well, the only guy I've met that gave me a break without putting the B on me for dough. So now I'm giving you a break. Go to the warden and tell him about me having that night. I told you I wasn't a rat. Look, I'm asking for this. It's my only chance. I won't do it.  Well, somebody did. Then they got to get the right guy. Limpie was killed, murdered. And that still means something to me. Oh, would you listen? Ross! Frank Ross! Yeah? Get over to the warden's office, Ross. You got to visit her. That's just so terribly. I tried to come up a week ago and the week before that, but I couldn't get a pass. Sure, I know. Let me look at you. Frank. Yeah, I look great, don't I? Oh, it's so horrible like this, talking through a screen. I want to say so much and I can't. Is there anything new? Only what I wrote you. You haven't found those guys that put them in the car? Not a trace of them, but we're still working. And a lot of the boys in the AP are working with us. We'll find them, darling. We will. Yeah, I guess so. Oh, Frank, don't give up hope. Please don't. Hope? There's no hope in this place. Is there anything I can do for you? Is there, Frank? Yeah. Don't come back anymore. Frank. Don't come to see me. I can't stand it. Not like this. It only makes it worse. Darling, please, I've got to come out. You'll have to leave me. I'm shooting down at the courthouse. Now, are you sure? I don't want to pull out on my names. Will you give me your word? What's worth to you? Sure. Okay, Stacey, I'll say it with you. Great. But remember this. After this, they may take you in. I'll throw you in the hole. You may have to take a lot of punishment. Don't mind. But don't talk.  That's the tough part of this. I know. You were. Those guys on the paper got any line on who framed you? There's only one lead. You ever hear of Shake Edwards? Yeah, a rat. Well, he was in front of the newspaper office when I came out that night. He was the finger man, I'm sure of it. Shake Edwards, I'll find him. And I'll get you out. Remember that. No matter how bad things look. But if it takes a long time, I'll get you out. Believe me. All you got to do is look up to the tell the warden you saw that knife in my bunk. Well? All right, Stacey. Good luck. So long, fella. Thanks for everything. After a brief intermission, we'll hear George Raff, Franchotone, and Lynn Barry in act two of Each Dawn I Die. And now, greetings to Libby Collins, our Hollywood reporter. Libby, here's what I guess you'd call a leading question. Do you think a woman can really improve her complexion? Well, I not only think she's fine, but I think she's foolish not to try, Mr. Kennedy. It's just a matter of determination. Determination and, uh, lucks toilets up, Libby? Naturally, Mr. Kennedy. There's an unbeatable combination. But improving your complexion is like exercising to reduce your waistline. You start with a flourish, keep out it a few days, and then... I know, Libby, I know. But as a matter of fact, complexion care really is a lot easier. And will women are lucky to have a real beauty soap to help us? Luck soap is that. Pure and mild, truly gentle. Which is why, of course, nine out of ten screen stars use it. Yes, I've heard many a star say she wouldn't be without luck's toilet soap. Screen stars just had afford to take chances with complexion loveliness. And now they should any woman. Because every woman can be attractive if only her skin is fresh and smooth. Just ask any man if there isn't something irresistible about her lovely complexion. Well, ask me, Libby. I'd say yes. Decidedly, yes. Well, screen stars certainly know the appeal of soft, smooth skin. They would agree in the skipping their daily beauty care. Part of Goddard tells me she uses luck's toilet soap every day. Always takes a thorough act of lather facial at bedtime. She smooths lots of the lather well in, rinses thoroughly, and casts with the soft towel to dry. Now that's a very simple care, but it works. I know that from my own experience. And I feel it so strongly I want to say it again. The women with average features can look simply charming. It should just make the most of the look and give her skin a chance to be fresh and lovely. Well, now I'll bring my little sermon to her clothes, Mr. Kennedy, with these words. 30 days of regular luck's toilet soap care is a way to new complexion beauty. There's a tip straight from Hollywood. Right, Libby. And a mighty good one. Lovely ladies everywhere depend on luck's toilet soap, the beauty soap of the stars. And if any one of you ladies hasn't tried this fine white soap yet, why not make a note to get some tomorrow? Now, our producer, Mr. DeMille. That, too, of each door and I die. Siring George Rafters Stacey, Franchotone as Ross, and Lynn Barry as Joyce. From behind the bleak walls of the state penitentiary, a convict in the know can occasionally smuggle a note to the outside world. Such a note was written by Frank Ross. Passing through a dozen pairs of hands, it finds its way at last to the office of the Daily Record. What's the Stacey trial? Have reported photographer there. Big story. Say nothing to anyone. Destroy this at once. Let me see that note, Joyce. It's Frank's writing, Mr. Mason. Stacey trial. What are you talking about? Is Stacey's case up for appeal? No. The only thing I can think of is the trial and the prison itself. But what for? I don't know. All right. There's nothing we can do now except wait. If anything breaks, take a camera and get up there yourself. Yes, sir. That's a story, Frank. I saw you with that knife. I didn't see you're not limping off what I can identify tonight. Right. Fire down there! You got your plans all set? Yeah. Oh. I think that the trial boss is coming along with something. This in the garden park, just blow the courtroom in the valley. Just blow the toilet seat. Call me to the stand. When that happens, I've got a guy out the window to give me a signal. The motor's picked all of a sudden. The gate's open. He's got the truck out. I start walking toward the witness stand. Only I don't stop. Why'd you get in the truck? Oh, I told you it's parked just under the window. Yeah, but that window happens to be three stories up. Did you know that? Sure. I know. So what? You mean you're going to jump? Sure. The truck will be filed with law like a feather. I hope. Just one thing. The window. It'll probably be closed. Who's going to open it? Who? Me, on the way through. You identify this night of the one you saw in Stacey's bunk? Yes. Why didn't you tell me about this before? Oh, I didn't want what Limpie got. Why this sudden courage? It isn't courage. I... I just want to get out of here. Now, I see. I suppose you figure that if you squeal down Stacey, you get a break from the parole board. Got it? Yes. Yes. I suppose you will. I hope it makes you happy, Ross.  Sure, we want him. And to get these guys, we have to deal with rats. But that doesn't mean we like it.  Under guard. Stacey Trial, set for 28. On the 28th day of this month, a notorious gunman and bank robber will stand trial for the murder of a fellow convict. If the verdict go against him in the trial, the sentence of 199 years will be changed as well. Stacey will finish his life sentence in the electric chair. Yeah. If I'm still here, I'll sit in it. Mr. Ross Hart, are you prepared to sum up for the defense? Not just yet, Your Honor. With the court's permission, I should like to put one more witness on the phone. My client himself, William Stacey. While I was standing the traffic, it seemed to be a little hard to move. I realized that. Only to the stand. That happens. I've got a guy at the window with a signal. Truck is parked just below the courtroom. In the alley. Trial and laundry, just below. In the alley. Park just under the window. Three stories. Sure. I know. Three stories. During the process of five to twenty years for manslaughter, I now call William Stacey as witness on his own behalf. William Stacey takes a stand. They call me to the stand. I start walking toward the stand. Only I don't stop. I'll stop walking. Don't stop. Don't stop. Don't stop. Hey, get back here. Stop in there. The window. I told you. I don't know what to say. You testify against Stacey. Bring him to trial. Your newspaper covers a successful prison break with pictures of the criminal escaping, and you know nothing about it. Well, nothing to say, Ross? Nothing. Gallagher, bring Feather Miller in. All right, Feather. This way. Come here, Feather. Yeah, warden. You know this man? Yeah, Ross. Repeat what you told me this morning. Well, I... Go on, Feather. Go on. That was the day he squealed on Stacey. I fought him together in the jute mill, and they were standing behind some bales and they were speaking. And they shook hands, and the day after that, Ross went into your office and he squealed on.  Cut it! Well, Ross, still got nothing to say? That's right. Okay. That break you were going to get from the parole board seems to have backfired, Ross. But I'll give you one more chance. You give me the lowdown on Stacey's escape, and tell me who helped him.  If you don't talk now, you'll do your 20 years, Ross, every minute of it. All right, Gallagher, take him to the hole. You haven't got anything on me. I don't know where Stacey went, but I'm glad he made it. I'm in here in a foamy rat, and I'm not taking a sing from anybody around here anymore. Rules don't mean a thing. Come on.  And I'll flood the first guy's rat or screw that crosses me. Come on! Stacey, do you want me to open it? Wait a minute. Get over there and cover the door. Johnny, you beat it in the bedroom. Right. All right, bud. See who it is. Who is it? It's me, Lockhart. I've got the girl. Lockhart, the girl. Open up. Get in, Lockhart. I brought the girl with me, Stacey. Yeah. Sit down a minute. All right, Groski.   OK, they're young. My lawyer said you wanted to see me. Yes, I do. What about her? I'm Joyce Temple. I work for the Daily Reds. That's no recommendation. I was engaged to Frank Ross. Yeah? Well? Stacey, you've got to get him out. What am I supposed to do? Send him a pair of wings? What's the matter with his old pals on the newspaper? They're smart, aren't they? They help keep him in, can't they? Work in reverse? I don't know what you're talking about. Rosswood. He said he'd keep his trap shut. But he didn't. He tipped off the paper to the courtroom as crummy-wood reporters and photographers waiting for their break. He had to let his paper, though. He's a reporter. Well, being a reporter blew him right into the hole. I hope he ruts there. You think he double-crossed you? Well, I think he's like every otherwise guy. He had to have a pay-off to dummy up. You don't believe that there's anyone, man or woman, that money won't buy, do you? Well, is there? Look at Garski. Look at Bed. Weasel with a punk cigar.  And look at Lockhart. Look at me. I am looking at you. And it's making me sick. What do you mean by that last crack? Now you're out of town, Garski. Go on.  That's right in your line, Stacy. Standing by while your gunman do the dirty work. I'll listen. You listen to me. Frank's been up there for five months waiting for you to help him. Five months in the hole while they try to make him talk. Well, he hasn't talked. But you didn't pay him to keep quiet, did you? No.  He thinks you're his friend. He doesn't know you never heard of the kind of loyalty that money can't buy.  Whoever done anything for me. Frank Ross. He's doing it right now. In the hole at Rocky Point. I met Ross. I thought he was square. But first on the level guy I ever knew. He is. Then I wasn't so sure. What did he tell us paper for? Because he couldn't help it. Because it was a great story. Yeah. All they would have me do was a picture of the truck and the driver. It wasn't a picture that sent him to the hole. There was a convict who saw you in prison and Frank talking. His name is Feather Miller. He told the warden. Feather? Are you sure? I got the story last week. A man who just got out. You know what would happen if Frank talked? Garski's been seen around. He told them Garski helped you. They placed inside of a week. That's why you've got to help him because of what he's doing for you. Put the tape on her eyes. Oh, listen up.  Come on, kid. All right. There's just one thing. Don't talk, kid. You know what's good for you. Don't talk, kid. Don't talk, kid. Don't talk, kid. Don't talk, kid. Don't talk, kid. You know what's good for you. Go ahead, Lockhart. Give me your hand, Miss. How do you like that dame? Walking in here and shooting a...  Huh? And listen.  Well, for the love of...  Johnny. Yes, I see. There's a guy I want to see.  His name is Shake Edwards. I don't know. You leave me, Stacey. I don't know anything about it. I didn't have anything to do with it, don't it, Stacey? I'm waiting, Shake. Who are the guys who stuck Ross in that car? I don't know what I tell you. I... You want me to refresh your memory? Now talk. Don't... Don't, Stacey. Talk. All right. All right. I'll tell you, Stacey. I'll... Go ahead. There... There was two of them. They put Ross in the car on top of the hill and busted the bottle. They put Ross in the car on top of the hill and busted the bottle of booze all over the bank. Who are they? One was Charlie Lang. He skipped out to the coast. He'll never find him. And the other guy? Come on! It was Feather Miller. He's in Rocky Point. Yeah. That newspaper is making things hot. The D.A. sent him away on an old wrap to keep him out of the way. All right. Putting him in a safe. That's all I know. You can't blame me, Stacey. That's all I know. Yeah, Brad. Toskey. Call Lockhart.  I want to see them. In Rocky Point. That's not going to help much, Stacey. We can't get at him. What do we do now, Stacey? We get at him. What do you think? Oh, sure. We just take off the kelly at the prison door and say, please, can I talk to Mr. Feather Miller? It's too hot, Stacey. It's the frozen. We do get the guy. Where's the pay off? The pay off. We get Ross out. That's the pay off. Why don't you take it, Stacey? Yeah, that's what I say.  We'll get paid off with a slug in the belly. And I ain't taking that to Ross nor nobody. Okay. Get out of here. Beat it. There's not a thing you can do, Stacey. Not legally. They never let me get near that Miller guy. All right. So why should I suddenly get legal? I've been doing all right the other way. I don't get it.  You included. Yeah? I always said if I could find one right guy, I'd do anything for him. Well, maybe I got my chance. How? I'm going up to Rocky Point. Myself.  I can reach Miller. You mean you're going to give yourself up? Yeah. You're getting bright. Look, Stacey, I'm your lawyer. But if you pull a stunt like this, I'm through. I don't want anything to do with it. Sure.  Listen to me.  They'll shove you down in the holes of your rock. I'm warning you.  I broke out of that pen once, and I can do it again. They haven't built the jug yet that can hold me. I'm going to give you a little bit more station identification. This is the Columbia broadcasting system. In just a few minutes, George Raff, Franchotone, and Lynn Barry will return in Act 3 of Each Dawn I Die. And now, I don't think you'll find it hard to guess who this might be. Man, what an afternoon. Working right up to six, and now I've got to change and get to the canteen by 7.30. Well, that could be any woman in the country. It might be a famous Hollywood star who's just finished her day's work at the studio and is going to be serving sandwiches at the Hollywood canteen tonight. And whether she lives in Hollywood or Chicago or Cleveland, this busy lady is very likely to say, Oh, I'm glad I'll have time for a good, relaxing, locked toilet soap bath. This I treat myself to a nice new cake. And if it happened to be Barbara Stanwick or Irene Dunn or Marlena Dietrich, for instance, I've always used our complexion soap as a bath soap, too. Lux soap makes a wonderful beauty bath. Busy women everywhere have discovered something. That creamy lux soap lather seems to float away dust and dirt in the twinkling. Leaves my skin fresh and sweet so that I'm sure of dangerous. Yes, active lather does the trick. It's thorough, yet it's gentle, too. When you step from your lux toilet soap bath, your skin feels satin smooth, exquisitely fresh. Women say this fragrant relaxing bath is wonderful as a quick beauty pickup. They enjoy the delicate lux soap perfume, too. A perfume like the fragrance of many lovely flowers. And here's a thrift tip. Lux toilet soap is hard milled. That means each smooth cake can be used to the last thin sliver. Why not get some of this fragrant white beauty soap tomorrow? Now, Mr. DeMille returns to the microphone. I'm going to bring the stars out to the play. But now here's the third out of each door and I die. Sarring George Raft, Franchotone, and Lynn Barry. With a life sentence hanging over him, Stacey walked through the gates at Rocky Point and gave himself up. Stacey's back. Stacey's back. He walked in the front gate like he was going for a stroll. He's a treasure, not Stacey. Stacey's down just carelessly in an armchair. The cigarette dangling from his lips. He's very sure of himself. Cool and arrogant. Why'd you come back, Stacey? I like it here and I got lots of them for my friends. I'm afraid you won't see much of them for quite a while. You know what this means, Stacey? Sure. It means the book and the whole according to the rules. But not that it works out. Now, do I get that push-line cell in solitary or don't I? Anytime you say. Thanks. Oh, by the way, are you still holding Ross in solitary? Yes. Why? Well, I sort of figured you could let him out now that I'm back. I mean... Why are you so interested in Ross? Well, I'm not. But I don't like to see a guy taking punishment for nothing. Did Ross help you make that break? You're still myself all right Stacy what happens to Ross I'll let him out of the hole and you go in okay Stacy I guess you know the way don't you yeah looks familiar what are you doing this time the wardens as the book you never can tell Ross all right Ross come on you're out you're out you've got new tenant for this place hi your Ross oh so they caught up with you they slammed you right back where you belong didn't they yeah well I'm glad I'm glad they got you here sure that's all right take it easy kid come on Ross inside Stacy okay lock it up good and tight I might decide to go for a walk I mean to say you didn't know Ross I thought they caught up to him caught up to him nothing he gave his son with why what for a red you saw him and they tell you no he didn't say a thing yeah watch yourself Pete's looking okay listen everything's set yeah what time three tomorrow afternoon I didn't the Jude mill it's the best place Joe's gonna be on the door at three o'clock they open it for a couple of bales move over and stall around until we get him open to be guns inside how many I don't know but enough wait a minute is this a break yeah it's a break didn't you let him in red I didn't know what he wanted we want every guy in the middle except for the right told you that we need him well you'll have to get along without me to yeah why because I think you're nuts what chance have you got suppose you do bust out of the mill there's still a wall to get over we'll take care of that when we get to that's a great plan run up against a wall and then figure a way out are you with us or not no I'm not even if you had a chance I wouldn't be with you what do you want to do rot in this place I'll rot before I see you send every man out there to get a slug in his head all right Ross but I'm warning you if you know what's good for you don't talk 30 seconds more 36 suppose the guns are late they won't be I start walking to the door and keep your eye on feather Miller if he makes a move safe on top of the machine on an oil engine that goes the door that's a bail the second one but a boy's moving yeah where's Pete over the left all right start over in the bail yeah come on come on tight I got the rope twisted right now get over here screen the bail as much as you can here they are they almost a Tommy down here get it out quick let me up I'll take that hand it over here's Pete quick grab a gun and you're going to run out bail get away from me I'll let you have it why you all I hate get out of the hole keep over through the gate you guys with guns take care of the guards remember get every gun you're going to get out of the pieces before you get to the main game shut up along with you if he tries anything funny put a slug in and then Mr Mason a break in the jute mill at Rocky point prison break get a hold of Jerry tell him to beat it up there Jerry Phillips quick they've got the warden locked in his office they're holding him as a hostage any of them get out yet no the state guards been called they're surrounding the prison hello hello Jerry get a car and meet me downstairs we're going up to Rocky Point wait a minute Joyce I didn't say you I'll call you as soon as I get there crazy all of you put up those guns they'll call those men back out of the yard I'm giving the orders warden you're going to call the main gate and tell them to let it through you're digging your own graves you do as we say you're digging yours listen big shot you somewhat a couple of your guards just got I give that order and quicker I'll blow your hair all over the ceiling go ahead and kill me you're still can't get away with this all right one Joe I'm going down to the yard if those gates aren't open in 10 minutes knock them on yeah a pleasure we see it your warden warden well let's install for time they can't win I'm glad you're not in on this Ross you're using your head I'll make my own break when I'm ready I got the keys Stacy what goes we've got the warden we're holding him in the office some picnic huh who's running deal come on Ross with you in the office yeah and listen I got two guys watching something you said you wanted to see him yeah I do you got a gun red yeah give it to me I'll be in the warden's office it's better and bring him in there how's it going fellas having fun they went down the yard he's going to stall the warden over there listen Stacy you've got brains tell these guys they haven't got a chance let's take it up later Ross I've got some business to take care of they got the state guard all over the place even if they open the gates now they'll never save it hi your warden I suppose this break was your idea Stacy no but as long as it happened I figured I'd play along and you're through you might as well hand over those guns shut up I will finish you right now you better not show you'll need him for dickering later on get up to that window see what's happening you want to yet you make out where out through the back door where they carry the steps all you got to do is pick the screws off the wall get some rope from the twine there and lamp over it's too late for that dales plans didn't cover the back door no too bad I wasn't around to help close that door wait a minute let me through let me in come on in red you're here Stacy oh hello feather how are you look Stacy I'm not on in this I want to get out of here go over there and sit down come on it's up to you you know any prayers no bother the Sam they won't do you any good now warden come here well sit down and write a note tell them we'll release you if they give us a chance to come out alive my orders in case of Ryan are to keep firing regardless of the safety of any official or guard those orders will stand okay Joe here what he wants here's a chance to be a hero Joe get out the back and across the rivers in charge of that twine no on the ceasefire and we surrender I ain't going I'll be killed you'll be knocked off in here to know I won't do it I'll open the door for you beat it no listen Stacy come on now I told you Stacy you can't get out there you yeah looks like they don't want to play what's the matter you hit yeah how bad bad enough I guess come on pick him up put him on the couch dollar don't move me isn't there anything I could do not a thing it doesn't make much difference anyway hey wait where's that feather guy you want him Stacy where is he feather come here hurry up I haven't got any time to waste funny yet an hour ago I had a hundred and ninety nine years to do now I got no time get over here feather hold on where I can see him what's the matter Stacy hand me a gun before well right caught up with you at last they done nothing don't shoot me Stacy I ain't done anything I know I know Gordon is a bird wants to sing about Royce he gets snapped I don't know what you mean Stacy I was just a sample feather off by an inch the next time I won't miss listen Stacy I don't know what you're talking about come on come on no don't shoot don't you're ready to talk yeah yeah okay warden this is a confession and it's going to spring oh remember okay start sing frame Ross I did but I didn't mean to have nobody get killed how did you frame I knocked him out and then drove him off for a couple hours and planted the liquor in the car here and started the car down the hill and jumped out yeah but I didn't mean anybody get killed shut up hit enough for one plenty okay let the wrap go you can go in Ross Stacy wants to see you thank you what may I go with him to you miss Temple I just like to thank him for what he's done very well go ahead Stacy it's me Ross Ross yeah who's that with you your girl huh I wanted to thank you get it you want to get out of us in a couple of days that's that's great I'm going out to my way but you can pull through this if you want to try Stacy will you know I'm glad for one thing I finally met a square guy so long Stacy funny I was saying just a couple of days ago they haven't built the jug yet that can hold me I was right wasn't I exciting is the word for each door and I die and exciting is the word too for the performances given by George Raft Franchotone and Lynn Barry and here they are at the footlights now thank you CB and glad to be back with you again that's good George because I have an assignment for all three of you starting tomorrow what's the name of the play CB that isn't the play front Joe it's a victory garden when George Raft growing vegetables is something I'd like to see what's wrong with that Lynn I've got a lemon tree in the backyard right now now look George if you're a little shorter space I got an idea you can take care of my gardener I'll give you half of stuff just think of all that good spinach spinach are you kidding I'll throw in a few eggs I got some chickens to watch you're awful in wait till I've got a garden how do I find out what and when to plant Mr. DeMille well you you can write to victory gardens Washington DC or get it from the newspapers or magazines Lynn now George I'll make you an offer you take care of my garden and you can have all the food you can use at your house and I'll give you a cow to all that's pretty generous CB I accept what kind of a garden have you let's see there's about ten acres of corn about ten acres of squash about ten acres of potato and there's about a hundred wait a minute the deal is off but I haven't told you about the carrots and the peas and the beans and the cabbage yet nice little garden you have there for it it's really a farm franchise you eat some of my vegetables at the Paramount Commissary I'd like to urge everyone who can plant a garden to do so but it's it's a little let's not be grim about it because it's a lot of fun there's no reason under the sun why everyone can't sell part of his own food problem in his own backyard and have a good time doing it but if I'm going to plan a garden I'd better get in an extra supply of luck toilet soap I'll bet it feels better than ever after a day in the garden and your complexion will certainly need the right care by the look of things you and luck soap have been very happy together Lynn well what's on the fire for next week CB something very unusual French off because next Monday night one of Hollywood's newest finds will star in one of our plays before he appears on the American screen his name is Pierre or month and within a few weeks you'll hear a great deal about his screen performance in the new Metro Golden Mayor picture assignment in Britain it he came to watch the play tonight to see how we do things so right now I'd like to have you all meet Mr. Pierre or month thank you very much in the middle I think you have forgotten the most important thing however oh yes of course of course ladies and gentlemen next week in the Lux Radio theater this fortunate young man is going to play opposite Miss Lana Turner you see what I mean before the war Pierre was one of the big stars on the stage and screen in France on the day war was declared he reported to his command in the French tank car I'll ask Pierre himself to tell us the story of what happened to him after that tragic month of June 1940 when France fell to the Nazis well most of my comrades were taken prisoner but I was lucky enough to escape I went to Morocco and then to Lisbon and then I caught a boat the United States and when in New York Harbor I saw the Statue of Liberty life began again for me and three days after I was signed by Miss Catherine Cornell and I had the great privilege of appearing with her and then came Hollywood I'm sorry our audience couldn't follow your career from the beginning but suppose we start now by taking a scene from next week's play so that that scene in the police commissioner's office all right ready ready a man called Jean Pelletier is under arrest in the dim light of the police station he faces his accusers they have told you that my name is Jean Pelletier that is true they have told you I am a criminal that is true on March the 14th 1921 I was involved in the robbery of a bank messenger but they have not told you I was also involved in his murder I am confessing now because because I can't go on knowing that I helped to murder a man I have lived with my thoughts for 15 years I can't live with them any longer you may have recognized the play by now it's Crossroads the Metro-Goldwyn mayor dramatic hit our stars will be Lana Turner and Hollywood's latest discovery Pierre O'Mont CB if it's like the sample you just gave us I'll take a full order and good night and good luck to you Pierre thank you very much good night good night good night don't forget that victory garden our sponsors the makers of lux toilet soap join me in inviting you to be with us again next Monday night when the lux radio theater presents Lana Turner and Pierre O'mont in Crossroads this will be the mail saying good night to you from Hollywood George Raff will soon be seen in the Warner Brothers picture background to danger Franchotone's next picture is the Paramount production five graves to Cairo Lynn Barry appeared tonight through the courtesy of 20th Century Fox studio and will soon be seen in their Technicolor production hello Frisco hello heard in tonight's play where Norman Field is warden Dick Ryan is feather and Leo Cleary Art Gilmore Mac Gray Stanley Farrar Griff Barnett Charles Seal Cliff Clark Crayon Denton Ken Christie Eddie Maher Tyler McVeigh Boyd Davis Warren Ash and Fred McCarre our music was directed by Lewis Silvers and this is your announcer John M. Kennedy reminding you to tune in next Monday night to hear Lana Turner and Pierre O'mont in Crossroads before the war three out of four Americans didn't get enough vitamins with food shortages and rationing you're more likely than ever to be vitamin deficient so for extra vitamins get them follow these two simple rules rule one


Hi everyone, Joe for jazby's casebreaks.com with another box 2022 Panini National Treasures FIFA road to world cup soccer pick your team number 53 big discount right there. Thanks everybody Who took advantage of that? I think I wrote pick your team 5-3 right there You kind of see it's sort of hard to see but it's right there. It's the only box we have left So big thanks to everyone finishing this off. Hopefully we'll be able to get some more at some point Thanks to the people who bought their team straight up Joel with that last pot mojo, Switzerland, and there were just two Big clubs big teams that were in a number block France and England. We did that randomizer in a different video All right Now let's see what could happen here Yeah, let me know how that What pricey got off of that James All right. Good luck everyone. We're gonna lead off with 20 out of 99 Yuri Tillman's For Belgium. It's gonna be for Todd. We got Casper Kosolowski 3 out of 99 for Poland. It's gonna be for CJ and we got legendary citrus That's car Carlos Puyol. I thought it's Carlos Puyol. Oh, he thought that it had a oh in there But I guess it's Carlos Puyol Carlos Anyway Goes to Spain. Yeah, he played his entire career at Barcelona. I Always thought it was a win. Oh, but yeah, he's pretty good Posted notes here. All right that'll go to Rob Clements and Spain nice Espana plenty of time to redeem it as well. You have until 2024 Next up is Lucas Martinez Cuarta 66 out of 99 for Argentina Alan With the world champs There's 37 out of 49 Memphis to pie. That's in coup with the orange Then we got CR 7 74 out of 99 Cristiano Ronaldo, I like that little texture right there in the colossal material Alex with Portugal 12 out of 25. That's Alan Shear For the three Lions 12 out of 25. So that's a number block team to go by that digit right there England 2 That'll be for Alex. There you go, Alex a couple more to go here. We have Dennis Priet prodigy dual relic an autograph 47 out of 49 Belgium Todd and there's legendary signatures a Fabio Canavaro 9 out of 49 for Zazuri that goes to Rob Clements and Italy. All right, and last but hopefully not least No, not least at all that's Landon Donovan National Archives Inc. 49 out of 49 my team USA legend former LA Galaxy my galaxy supporter World Cup analyst, I guess he was on that he was on the desk during the World Cup That's Matt Johnson and the United States There you go ladies and gentlemen Nice finish there. I'm Joe for jamescasebreaks.com. Thanks for watching. Thanks for breaking with us I'll see you next time for some more soccer. Bye. Bye


from our studios in the heart of Silicon Valley, Palo Alto, California. This is a CUBE Conversation. Hello everyone, welcome to this special CUBE Conversation here in Palo Alto, California at the CUBE studios at the CUBE headquarters. I'm John Furrier, the host of the CUBE. We're here at Dustin Kirkland, product manager at Google, friend of the CUBE in the community with Kubernetes. Been on theCUBE, CUBE alumni. Dustin, welcome to the CUBE Conversation. Thanks, John. It's a beautiful studio. I've never been in the studio. On the show floor a few times, but this is fun. Great to have you on. Great opportunity to chat about Kubernetes, of which you do a lot of some product management work at Google, but really more importantly on this conversation is about the fifth anniversary, the birthday of Kubernetes. Today we're celebrating the fifth birthday of Kubernetes. Still a toddler. Absolutely. Still growing. You think about how, you know, Linux has been around for a long time. OpenStack has been around these other big projects that have been around for, you know, going on decades in Linux's case, and Kubernetes has grown so fast, but it's only five years old, you know? You know, I remember at an OpenStack event in Seattle many, many years ago. I think it was six years ago, CUBE's on its 10th year, so we're going to have these lookbacks moments. This is one of them. I was having a beer with Lutucker, JJ. Kismatic was like one of the first companies at the time, didn't make it, but we were talking about OpenStack. I was like, this Kubernetes thing, this is really hot. This paper, this initiative, this could really be the abstraction layer to kind of bring all this, you know, cloud native. Wasn't thought of at the time, but it was like more of, you know, OpenStack, trying to move up the stack. And it turned out it ended up happening. Kubernetes then went on to change the landscape of what containers did. Docker got a lot of credit for pioneering that, got the big VC funding, became a unicorn, and then containers kind of went into a different direction because of Kubernetes. Very much so. I mean, the modernization of software infrastructure has been coming for a long time, and Kubernetes sort of brings it all, brings it all together at this point. But putting software into a container, we've been doing that in different forms for a lot of time, for a long time. But once you have a lot of containers, what do you do with that, right? And that was the problem that Kubernetes solves so eloquently and has, you know, now for a couple of years, and it just keeps getting better. You know, you mentioned modernization. Let's talk about that, because I think the modernization theme is now pretty much prevalent in every vertical. I'll be in DC next week for the Amazon Web Service Public Sector Summit where modernization of governments and nations are being discussed. Education, modernization of IT, we've seen it here. The media business that we're participating in is about not where you store the code, it's how you code, how you build. Is a mindset shift. This has been the real revelation around the DevOps movement, infrastructure as code, now called Cloud Native. Share your thoughts on this modernization mindset because it really is how you build. Yeah, I think the cross-pollination, actually, across industries, and we see that even just in the word containers, right, and all the imagery around shipping and shipping containers. We've applied these age-old concepts that have been, I don't know, perfected, but certainly optimized over decades of, actually, centuries or millennia of moving things across water in containers, right? But we apply that to software and boom, we have this step-function difference in the way that we manage and we orchestrate and administer code. That's one example of that cross-pollination. And now you're talking about optimizing governments or economies, but being able to maybe then apply other concepts that we've come a long way in computer science. DevOps is a good example. Applying DevOps principles to non-computer fields. Just think about that for a second. And it's mind-blowing. And if you think about also the step-function you mentioned, because I think this actually changed a lot of the entrepreneurial landscape as well, and also has shaped open source. And big news, this quarter is MapR is going to shut down this Hadoop, one of the big Hadoop players. Cloudera Merge with Hortonworks fired their CEO. The founder, Mike Olson, has retired. Some say forced out. I don't think, so I think this is more of his time. Amar Adal is still there. Open source is a business model. Can we be the red hat for Hadoop? The red, not really kind of the viable, but it's evolving. So open source has been impacted by this step-function. There's a business impact. Talk about the dynamics and the step-function, both on the business side and on how software is built, specifically open source. You know, you and I have been around open source for a long, long time. I think it started when I was in college in the late 90s and then through my career at IBM. And it's interesting how on the fringe open source was for so long, and so much of my IBM career and then early time I spent on site at Red Hat. It was something that was, it was different. It was weird. It was very much fringe worthy, right? But now it's the mainstream and it's everywhere and it's so mainstream that it's almost the de facto standard to just start with open source. But you know, there's some other news that's been happening lately that you didn't bring up, but it's a really touchy aspect of open source right now. And that's on some of the licenses and how those licenses get applied by software, especially databases, when offered as a service in the cloud. That's one of the big problems I think that we're working with in the open source. Summarize the news and what it means. What's happening? What's the news and what's the real business or technical impact to the licensing? What's the issue? What's the core issue? Yeah, so without taking judgment, any way, shape, or form on this, the TLDR on this is a number of open source databases. Most recently, Cockroach, DB, have adopted a different licensing model that is non-standard from an open source perspective. And from one perspective, they're adopting these different licensing models because other vendors can take that software and offer it as a service. And in some cases- Like Amazon. Like, sure, you said it. And offer it as a service and maybe contribute, maybe pay money to the smaller startup or the open source community behind it, but not necessarily. And it's, in some ways, it's quite threatening to open source communities and open source companies. In other cases, it's quite empowering. And it's going to be interesting to see how that plays out. The tension between open sourcing software and eventually making money off of it is something that we've seen for at least 25 years. And it continues to go on today. And this is, to me, a real fascinating area that I think is going to be super important to keep an eye on. Because you want to encourage contribution and openness. At the same time, you look at the scale of just the Linux Foundation's numbers. It's pretty massive in terms of now the open source contribution when you factor in even China and other nations. It's on exponential growth. So is it just open source? Is the model not necessarily a business model? So this is the big question no one knows. I think we've crossed that and open source is the model. And this is where me as a product manager has worked around open source. I've spent a lot of time thinking about how to create commercial offerings around open source. I've spent 10 years at Canonical, the first half of which as an engineer, the second half of which as a product manager around Ubuntu, building services, commercial services around Ubuntu. And I learned quite a few things that now apply absolutely to Kubernetes as well as to a number of open source startups that I've advised. And kind of given them some perspective on maybe some successful and unsuccessful ways to monetize that open source. Okay, so Dustin talk about, let's get back to Kubernetes. So I think this is the next level talk track is as Kubernetes has established itself and landed in the industry and has adoption, it's now an expansion mode. So land, adopt, and expand. We've seen adoption, now it's an expansion mode. Where does it go from here? Because if you look at the tail signs, things like service meshes, serverless. So you've got some interesting trends that are going to support this expansionary stage of Kubernetes. What is your view about this next expansionary wave? What comes next? Yeah, I think the next stage is really about democratizing Kubernetes for workloads that, you know, it's quite obvious when Kubernetes is the right answer at the scale of a Google or a Twitter or a Netflix or, you know, some of these massive services that it is obviously and clearly the best answer to orchestrating containers. Now, I think the next question is how does that same thing that works at that massive scale also work for me as a developer at a very small scale? Helps me develop my software, my small team of five or 10 people. Do I need a Kubernetes if I'm a five or 10 person startup? Well, I mean, not the original sort of Borg vision of Kubernetes. It's probably overkill. But actually the tooling has really advanced and we now have Kubernetes that makes sense on very small scales. You've got things like K3S from Rancher. You've got micro-Kates from my colleagues at Canonical. Other ways of making shrinking Kubernetes down to something that fits perhaps on devices, perhaps at the edge beyond just the traditional data center and into remote locations that need to deploy and manage applications. On the Kubernetes clustering and some of the tech side, you know, we've seen some great tech trends as mentioning Cloudera and Hortonworks and MapR. Let's take Cloudera and Hortonworks. I remember back in the old Hadoop days when it was booming, people say, oh, they were so proud to talk about their clusters. I stood up all these clusters and then I would ask them, well, what are you doing with it? Well, we're storing data, I think. So it became kind of this use case where standing up the cluster was the use case and they're like, okay, now let's put some data in it. So the question for you is, with Kubernetes it's a little bit different. We're not seeing, they were seeing real use cases. What are people standing up Kubernetes clusters for? What's specific besides saying I've done it? Yeah. What's the main use case that you're seeing that has real value? Yeah, actually, you just jogged to mine of really funny memory back in those big data days. I was a CTO of a startup, we were encrypting data and we were helping encrypt healthcare data for healthcare companies. And the number of healthcare companies that I worked with at that time who said they had a big data problem and they had all of, I don't know, three terabytes worth of data that they needed to encrypt it was kind of humorous sometimes. Is that really a big data problem? This fits on a single disk, you know? But yeah, I mean, it's interesting how that works. But the hype of the tech was preceding the reality. The needs. The needs. So it's Kubernetes, so I have a Kubernetes cluster for blank, fill in the blank. What are people saying? Yeah, it's largely about the modernization. So I need to modernize my infrastructure. I'm going to adopt a platform that's probably not the old Java WebSphere type platform or something like that. I'm investing in hardware. I'm investing in software, middleware. I'm investing in people. And I want all of those things to line up with where the industry is going from a software perspective. And that's where Kubernetes is sort of the cornerstone piece of that. Linux, of course, that's pretty well established. Right? So in this continuous delivery and integration piece of it is that the pipelining, where's the fit on the low-hanging fruit use cases of Kubernetes? Just development process or? It's the operations. It's the operations of now I've got software that I need to deploy across multiple versions, perhaps multiple sites. I need to handle that upgrade ideally without downtime in a way that you said service mesh, in a way that meshes together, it makes sense. I've got to roll out new certificates. I need to address the security vulnerability. These are all the things that Kubernetes does such a better job at than what people were doing previously, which was a whole lot of for loops, shell scripts and SSH pushing tar balls around, maybe devs or RPMs around. That is what Kubernetes actually really solves and does an elegant job of solving as just a starting point. And that's just the beginning. And without getting vendor here, Anthos is the thing that we at Google have built around Kubernetes that brings it to enterprise. The other day I did a tweet, I called it Anthem, I was typing too fast. I got a lot of crap on Twitter for that. You mentioned Anthos. Multicloud has been a big part of where Kubernetes seems to fit. You mentioned some of the licensing changes. Cloud has been a great resource for a lot of the new web scale applications from all kinds of companies. Now IT with serverless, you're seeing a lot more of these capabilities. How do you see the next shift with data state coming in? Because you've got stateless data and you've got stateful data. This has become a conversation point. Yeah, I think Kelsey Hightower has said it pretty eloquently as he usually does around the serverless movement. It lets developers focus on just their code and literally just their code. Perhaps even just their function and just their piece of code without having to be an expert on all of the turtles all the way down. That's the big difference about serverless. Having written a couple of those functions, I can really invest my time on the couple of hundred lines of code that matter and not choosing a distro, choosing a Kubernetes, choosing all the stack underneath. I simply choose the platform where I'm going to drop that function, compile it, upload it, and then riff and rev on that. Fifth anniversary of Kubernetes. We're riffing on Kubernetes. Dustin Kirkland here inside the KubeCube alumni. You were recently at the KubeCon in overseas in Europe. Barcelona. Barcelona, great city. Kube's been there many times. Stu was there covering for us. I couldn't make this trip, unfortunately. Had a couple of daughters graduating, so I didn't make the trip. Sorry, guys. What was the summary? What was the takeaway? What was the big walk away from that event? What synthesized the main stories? What were the most important stories being told? Big news, big observations. It was a huge event to start with. It was at Fira Barcelona. It didn't take over the whole space, but I've been there a number of times from Mobile World Congress. This is KubeCon in the same building that hosts all of Mobile World Congress. So I think 8,000 attendees was what we saw. It's quite celebratory. I think we were doing some pre-fifth birthday bash celebrations. Key takeaways. Hybrid cloud, multi-cloud. I think that's the world that we've evolved into. There was a lot of tension, I think, in the early days about must stay on-prem, must go to the cloud.  I think the chips have fallen and it's pretty obvious now that the world will exist in a very hybrid multi-cloud state, ultimately. There's going to be some stuff on-prem that doesn't move. There's going to be some stuff better hosted in one or more public clouds. That's the multi-cloud aspect. And there will be some stuff at the edge in remote locations, in vehicles, on oil rigs, at restaurants and stores and so forth. What's most exciting from a trend statement? What's getting you excited from what you see on the landscape out there? Yeah, so tying all of that to Kubernetes, Kubernetes is the thing that basically normalizes all of that. You write your application, put it in a container and expect to Kubernetes to be there, to scale that, to operate that, to upgrade that, to migrate that over time. From that perspective, Kubernetes has really ticked all the boxes and you've got a lot of choices now about which Kubernetes you're going to use and where. Beyond Kubernetes, a lot of variety of projects. You've got Kubeflow, you've got service meshes out there, a lot of different projects. What's a dark horse? What's something that's out there that people should be paying attention to that you see emerging that's notable that should be paying attention to? I think it's a combination of two things. One is pretty obvious and that's AIML is coming like a freight train and is sort of the next layer of excitement I think after Kubernetes becomes boring. Which hopefully if we've done our job well, that Kubernetes layer gets settled and will evolve but the sort of the hockey stick hopefully settles down and it becomes something super stable. The application of machine learning to create artificial intelligence, conclusions, trends from things, that is sort of the next big trend. And then I would say another one if you really want the dark horse, I think it's around communications and I think it's around the difference in the way that we communicate with one another across all forms of media, voice, video, chat, writing, how we interact with people, how we interact with our tools, with our software and in fact how our software interacts with us and our software interacts with other software. That communications industry is ripe for some pretty radical disruption and you know some of the organizations in there doing that, it's early, early days on those changes. Final point, you mentioned earlier in our conversation here about how DevOps is influencing and impacting non-tech and computer science related. What did you mean by that? Well, I think you brought up unexpectedly in that you were looking at the way some other industries are changing and I think that cross-pollination is actually quite powerful. When you take and apply a skill or an expertise you have outside of your industry but it adds something new and interesting to your professional environment, that's where you get these provocative operations, these really creative, innovative things that no one really saw coming. DevOps principles apply to other disciplines. Agility, taking down waterfall-based processes. That's one phenomenal example. Imagine that for governments, right? To remove some of the pain that you and I know, I've got to go and renew my license, my birthday's coming up, I've got to go and renew my driver's license. You know how much I'm dreading going to the DMV? Root canal, driver's license, all the same. Exactly, how waterfall is that experience and could we be more agile, more DevOps-y in some of our government process? The U.S. government's procurement practices are based upon 1990 standards. They still request a manual, a physical manual for every product they buy. Who does that? I know that there are organizations trying to apply some open-source principles to government but think about just democracy and how being a little bit more open and transparent in the way that we are in open-source code, the ability to accept patches. I have a side project, a passion for brewing beer and I love applying open-source practices to the industry of brewing and that's an example of where I use professional work to complement a hobby. All right, we've got to bring some cube beer. Can we private label some cube beer? If you like sour beer, I'm into sour beer. I hope that's okay. We like to get the IPAs, double IPAs for us. Final question for you, five years from now, Kubernetes is going to be 10 years old. What's the world going to look like when we wake up five years from now with the impact of Kubernetes? Yeah, I think, I don't think we're struggling with the Kubernetes layer at that point. I think that's settled science and as much as Linux is pretty settled science. Yes, there's a release and it comes out with incremental features and bug fixes. I think Kubernetes is settled science, management of those containers is pretty well settled. Five years from now, I think we end up with software, some software that's writing software and I don't quite mean that in the way that sounds scary and that we're eliminating developers, but I think we're creating more powerful, more robust software that actually creates that software and that's all built on top of the really strong, robust systems we have underneath. Automation to take the heavy lifting but the human creation still keep part of it. Humans are in the loop. We're many decades away from humans being out of the loop on creative processes. Dustin Kirkland, he a product manager at Google, Kubernetes, Guru also, Cube alumni here in the studio, talking about the Kubernetes 50 year anniversary. Of course, the Cube was president in creation during the beginning of the wave of Kubernetes. We love the trend, we love cloud, we love talking about tech. I'm John Furrier here in Palo Alto. Thanks for watching.


The man that could be at Bradford City next season and the man that has given the Bantams a two-goal lead here against Carlisle United. This is the way that Bradford City wanted to close out. It's disappointing season. You're looking to sit me up at the Carlisle. Carlisle, it's a lie, but they're after me. Thank you, Schwick, Scott. Played against the ball, against the box. Lovely little three-ball to Walker on the end of the finish. What's the... Colin Compton, by and Bocca, now right across the keeper. Two-nil, which is a lovely desire. So, front-touch the ball, two-nil off. Great finish by Graeme. Mark Hughes is Bradford Army. We're getting used to hearing that now. And Abba Issa has maybe just been told to go back down into his seat. We'll have to wait a little longer for his introduction. But Jamie Walker here, making his presence known, and he is one of those players that if he stays at Bradford City, he will be a hero. There is absolutely no doubt the fans love him. He understands it.