Yeah, audible. Shall we start? Okay, so the next we need to understand is activation energy represented by EA, activation energy. Under this we'll talk about or we understand the relation of equilibrium constant temperature. Like you know, in the beginning only we said that equilibrium constant depends upon temperature. How it depends what is the relation that is what we are going to understand. Two graphs I am going to draw over here. This is the energy axis and this is the progress of reaction or time. Progress of reaction or time. This is also energy. Then we have progress of reaction or time. This is the one graph and other graph is this. This is reactant. This is the energy of reactant. And this is the final product. We have the energy of product. Same thing we have here. Reactive molecules when it starts colliding, when the reaction starts, it will form an activated complex. The energy keep on increasing and finally it forms a very highly unstable complex which we call it as activated complex. The energy of this activated complex is called activation energy. It is basically the minimum amount of energy required for any reaction to process. Okay, so reactant to product. This is forward reaction. Right, so this difference in energy that we have here from this reactant to activation energy. This we call it as activation energy EAF for forward reaction. Similarly, this difference if you see here, it is the activation energy for backward reaction when the reaction goes backward direction. And the difference in between the energy of reactant and product is called the enthalpy of reaction delta H. Is it clear? How do we define enthalpy? Enthalpy of reaction is defined as activation energy for forward reaction minus activation energy for backward reaction. Forward minus backward. Okay, so could you tell me for this graph delta H is positive or negative? You see the enthalpy forward reaction is this much and backward reaction is more, right? This is less than zero, isn't it? Delta H is less than zero means the reaction is what? It is exothermic. Hence, this graph is for exothermic reaction which you can easily understand by looking at the graph itself that the energy of product is lesser than to that of reactant. So this difference in energy will come out exothermic. Okay, and same thing will have over here. This is the activated complex. This is the activation energy for backward reaction and this is the activation energy for forward reaction and difference in these two energy is the delta H the enthalpy of the reaction. Delta H clearly you see Eaf minus Eab delta H is greater than zero. So this graph is for endothermic. Any doubt in this? Now, this is the graphical understanding you must have by looking at the graph you can say what reaction it is endothermic or exothermic. That's one thing. Now, according to Arrhenius equation if you see, according to Arrhenius equation, we can write K is equals to A e to the power minus Ea by RT minus Ea by RT. This is the equation we have Arrhenius equation. Derivation of this we do not have. It is based on some observation. We have this relation. What is this K over here? What is this K? This K is the rate constant. It is not equilibrium constant. Because you see for rate constant and equilibrium constant we have the similar notation K only. So must take care of this. Where it is rate constant, where it is equilibrium constant. Let me repeat this thing again. Rate constant we don't have much to understand over here. It is there in chemical kinetics in grade 12. Here we need to deal with only equilibrium constant. Why we are discussing rate constant then? Because you know rate constant, equilibrium constant K is the ratio of rate constant of forward and backward reaction. Hence we need to see this. But you should know where it is rate constant and where it is equilibrium constant. A is a constant here which we call it as Arrhenius constant or Arrhenius factor. A is a constant. We also call it as pre-exponential factor. Mostly we use the second term pre-exponential factor. EA is the activation energy. R is gas constant. T is temperature. EA is the activation energy. R is gas constant. T is temperature. So if I write down here now you listen to me. This is very important and you know don't get confused. Just listen to me carefully. Kf is the rate constant for forward reaction. This A will be constant e to the power minus Eaf. What is Eaf? What is Eaf? Eaf is the activation energy for forward reaction. Yes, activation energy for forward reaction. Similarly, if I write down Kb backward rate constant for backward reaction. A e to the power minus eab by RT. Is it fine? Activation energy for backward reaction. Again keep that in mind. It is rate constant for forward rate constant for backward. Can we take the ratio of 2? Kf by Kb. What is Kf by Kb? Kf by Kb is the equilibrium constant. I have seen that. Kc and that would be equals to e to the power minus Eaf minus eab by RT. Is it fine if I write this? Fine. I will write this as K1. Let me write this as K1. Eaf minus eab is delta H. So K1 is equals to Ea minus delta H, the enthalpy of the reaction by RT. Is it fine? What is ln K1 from here? If I take ln both sides, ln K1 is equals to minus delta H by RT. If I write this as K1, let me take this as T1 over here so that it will be a no confusion. So K1 is the equilibrium constant at temperature T1 that you assume. Is it fine? Did you understand this? Tell me. Till here it is fine. Clear? No doubt. Very simple expression it is. Similarly, can I write down if K2 is the equilibrium constant at temperature T2, then can we write this ln K2 is equals to minus delta H by RT2? Any doubt in this? Can we write this? Agreed? Tell me. Yeah. This is equation 2 and the previous one, I am assuming this as 1. So 2 minus 1, what we will get here? ln K2 minus ln K1 is equals to minus delta H by R, 1 by T2 minus 1 by T1. Any confusion? Any doubt? Yeah. Tell me. Yeah, I will go back once again. Just a second. Yeah. So we got this. So further we can write this as ln K2 by K1 is equals to minus delta H by R, 1 by T2 minus 1 by T1. And further, if I convert this ln into log, the expression would be log of K2 by K1 is equals to minus delta H by 2.303 R, 1 by T2 minus 1 by T1. This is the relation of equilibrium constant and temperature. K1 is the equilibrium constant at temperature T1 and K2 is the equilibrium constant at temperature T2. Yeah, done. ln is equals to 2.303 log. You see, the relation is ln A, we write 2.303 log A. That's why we will write this in the denominator. Yeah. So this is the relation we have. This relation, we call it as or this equation we have. We call it as Vanthoff equation. Vanthoff equation. Okay. Always keep that in mind. K1, K2 here, it is not rate constant. It is equilibrium constant. Delta H is the enthalpy of reaction. Okay. Now, we have three cases possible. All of you have copied? Done. Three cases possible we have here. Depending on that, we can compare K1 and K2. Case one is for the reaction whose delta H equals to zero. When delta H is zero, we can write log of K2 by K1 is equals to zero, which further means K1 is equals to K2. And this means what? For all those reactions whose enthalpy change is zero, then the equilibrium constant is independent of temperature. Right now, equilibrium constant remains same at all temperature. Constant remains same at all temperature under this condition. It is independent of it. Case two, delta H is greater than zero. Means what? Endothermic reaction. When we have endothermic reaction. What we can write? I am assuming as temperature increases. As temperature increases. Means T2 is greater than T1, I am assuming. You can also assume other way. Just opposite results you will get. So, 1 by T2 is what? Less than 1 by T1. Further, 1 by T2 minus 1 by T1 is what? Is less than zero. Okay. Copy this down. I will go to the next page. Now, you look at this went-off equation because we have to conclude from this equation only. So, went-off equation is what? Log of K2 by K1 is equals to minus delta H divided by 2.303 R. 1 by T2 minus 1 by T1. See, you do not have, you have to memorize this equation. How I have memorized this? Once I write K2 on the top, then corresponding to this, the temperature I will write down first over here. If you write down K1 on the top corresponding to this, T1 you should write down here first. K2, T2, K1 denominator, T1 in the last with a negative sign outside. Okay, like this. So, for, you know, just know what condition we take, T2 greater than T1 greater than 0. 1 by T2 minus 1 by T1 is less than zero. So, this is what? This term is negative. Just we need to understand this K2 is increasing or decreasing. That is what we need to understand. So, this entire term is negative. Once again, I will go back. Negative. I have assumed the reaction is endothermic, right? Delta H greater than 0. So, delta H is positive. Yes. So, this is positive. This is negative. One negative sign already we have. So, negative, negative, positive, which means if temperature increases, we can write log K2 by K1 is always greater than 0, isn't it? Right? Which means what? Which further means that K2 is greater than K1. So, what we can conclude here? We can conclude in endothermic reaction as temperature increases, equilibrium constant KC increases. And temperature decreases, KC decreases. That is what we can say. Any doubt here, guys? No. But the relation is exponential, right? We have seen that. Relation is exponential here like logarithmic relation we have. So, log K we have this side and temperature we have here. So, as temperature increases, K increases, the graph goes like this for endothermic. Keep that in mind. Tell me. Any doubt here? Yeah. Now, what is the third condition left? The third condition is we have delta H less than 0 exothermic, right? So, exothermic reaction generally heat releases, right? So, temperature will decrease. So, if T2 temperature decreases, so this means T2 less than T1, right? So, 1 by T2 minus 1 by T1 is greater than 0. Again, you look at this equation log K2 by K1 is equals to minus delta H by 2.303R, 1 by T2 minus 1 by T1. So, this is positive, right? Delta H is negative, negative, negative, positive. It means log of K2 by K1 is greater than 0. This means what K2 is greater than K1. So, what we can conclude here? In exothermic reaction write down, in exothermic reaction, equilibrium constant, in exothermic reaction, equilibrium constant, equilibrium constant increases with decrease in temperature. No, not always, Prakul. The reaction condition may be different. If temperature you are increasing in exothermic reaction, then maybe you can get the result other way. The reaction condition could be anything. At one temperature, we have certain condition. Then with that temperature, you can decrease the NNPs also. So, based on that, we can have this relation. In general, what we say exothermic reaction if temperature decreases, equilibrium constant increases. So, if you look at the graph here, this is time, sorry, this is temperature and this is log K as log K increases at temperature decreases, right? So, the graph goes this way. You will get here a direct formula-based question, okay? K2, K1 relation, formula-based question you will get. You just need to know the Vantop equation. All value you need to substitute. Delta H, if it is given in Zule, then R value also you will take in Zule, right? Depending upon the value of Delta H, you can take the value of R here, gas constant. You may require some log value to solve this kind of, you know, expression. So, you don't have to, you don't have, you don't bother with that, okay? Because log or anti-log value will be given in the question if it is required. But usually what happens like log 2, log 3, log 5, these values you should know, you should memorize. Based on these values, you can calculate, you can find out the log value. If it is not possible to find out the log value with these three, four values, then it will be given in the question. So, you don't have to, you don't bother about that, okay? Let's see some questions on this. We have a reaction N2 plus 3H2 gives 2NH3. 400 degrees Celsius, Kp value is given, that is 1.6 into 10 to the power minus 4 unit you will have over there. What will be the equilibrium constant at 500 degrees Celsius? The enthalpy change in this process is given minus 25.14 kilocalorie unit you must take care of. Then if you're requiring log value, you can take help of calculator, okay? So, what we'll do over here? Temperature we must take in Kelvin, okay? So, we'll write down log of K2 by K1. Suppose K2 we need to find out, K2 by K1 is equals to minus delta H by 2.303R 1 by T2 minus 1 by T1. So, log of K2 by K1, K2 we need to find out, K1 literally will substitute in the last. Delta H is given in calorie, kilocalorie. So, minus 25.14 into 10 to the power 3 divided by what should be the R value we should take here? Can we take it as 2 approximately 1.98, which is 2? No, 0.0821 is atm liter, right, per mole Kelvin. But delta H is calorie, no. So, R value you also take in calorie. That is 1.98, exact value if you see, approximately 2 we can assume. So, T1 minus T2 is what? T1 is 400 minus T2 is minus 100 divided by T1 plus T2, sorry, T1 into T2. 673 in Kelvin into 773 in Kelvin. You need to solve this. Tell me the value you are getting quickly. When you solve this, the answer you will get, K2 is approximately 1.429 into 10 to the power minus 5, atm to the power minus 2, the unit is. So, here particularly in this particular portion, the Vendorff equation, you will have to use the formula directly. They will ask you questions, all other data will be given, right, all other data will be given, one unknown will be there that you need to find out. You look at this question, one last one and then we will see the Lee Chatelier's principle. At equilibrium, one reaction is given, that is N2O4 gas converts into 2 NO2 gas. This is the reaction given. Observed molecular weight of N2O4 is 80 gram per mole, 350 Kelvin. Find out the percentage dissociation and 204 at the same temperature, 350 Kelvin. Percentage dissociation you need to find out. Could you try this? Yes, done, 15%? Yeah. So, you see what is given over here? This 80 gram per mole is the observed molecular mass. So, if you look at this formula of alpha, first of all, the percentage dissociation means degree of dissociation you need to find out, okay?  This is the formula we have. m is the observed molecular mass, that is 80. This m value is 92, N2O4 we have, I'm sorry, it is 92. N2O4 you can calculate, it is 92. So, it is 92 N minus 1, 92 minus 80 divided by N value is 2, 2 minus 1 into 80. It is 12 by 80. Percentage dissociation is what? 12 by 80 into 100. So, that would be 15, 15 percent we get here. Understood? Simply, you have to use the formula that it add questions you'll get over here, okay? So, one question we discuss on this also. Anyways, so, let's start with the last topic for this chapter, that is Lee Chatelier's principle. Lee Chatelier's principle. Write down the statement, whenever a system in equilibrium, whenever a system in equilibrium, yeah, whenever a system in equilibrium is subjected to, is subjected to change in equilibrium condition, change in equilibrium condition, then the equilibrium, the equilibrium shifts to that direction by which the effect of change is minimized, effect of change is minimized. Copy down this? Yeah, see the simple explanation over here. Suppose you have a pendulum at rest, pendulum at rest. When you take this ball at this position and you leave it, what happens? What happens? This will go back, but it won't stop over here. It will continue to this point and then there will be a two-end promotion, right? Yeah, so this is why it is happening. First thing is that, okay? Because at this position, it was static at equilibrium, isn't it? Once you drag this ball over here, this object over here, right? You disturb the equilibrium state, right? And once you leave it, it tries to gain its equilibrium state again. So it goes till here and then again here and gradually it slows down and attains the equilibrium state here, right? The same thing happens with chemical reactions also, right? If you change the equilibrium state or any condition of any reaction, suppose if I give you this example, we have a reaction A gives B at equilibrium, right? At equilibrium. What happens if you add some more amount of reactant into it? What happens then? This, you are disturbing the equilibrium state, right? Once you add A so that concentration is changed now. So equilibrium is disturbed. Again, the reaction will move in such a direction so that the change is minimized because it wants to gain, it wants to be in that state, equilibrium state, right? So once you add A, the reaction starts going into the forward direction so that the change is minimized and the reaction will be at the equilibrium state. Yeah, understood. That is what the Leach-Atelier's principle means. Any kind of change if you do in any equilibrium state, the system itself, system means reaction or whatever it is, the system itself react in such a way that that change is minimized so that the equilibrium state will be maintained. Similarly, here if you think of the other way, if you add more amount of B, then what happens? The reaction will go in backward direction, right? So that the concentration of B decreases and the equilibrium maintains. Since we are adding B, got it? Understood? Similarly, if you change pressure, correct? Then also there will be change in shift in the equilibrium state. Any reaction condition you see, whether you are changing pressure, whether you are changing temperature, whether you are increasing the amount of reactant, decreasing the amount of reactant, increasing product or decreasing product or if you add some inert gas into this, any kind of change if you're trying to make into that equilibrium state, that will affect the equilibrium condition and hence the direction of equilibrium changes to maintain the equilibrium state again, right? That is what the Leach-Atelier's principle means, okay? So there are three, four, five, so five or six factors we have here that we need to understand that under this factor, how the direction of the equilibrium changes, correct? If you look at this first case you see over here, the first case we have effect of concentration, effect of concentration, right? Concentration means anything you can think of reactant or product. So what happens if the concentration of reactant increases? By any means, you are increasing the concentration of reactant. Reaction will move in which direction? Forward, right? To decrease the concentration of reactant, it will move in forward direction, right? If product concentration increases or reactant concentration decreases, first of all, reactant concentration decreases. So obviously this reaction wants to go in backward direction so that the concentration whatever you have removed, that has been what? That has been maintained or by any means you have to maintain that equilibrium state. Maybe the equilibrium status has been changed. You may have some different concentration but to maintain the equilibrium, this thing will happen, got it? So if the reaction concentration decreases, it is in backward direction, backward direction, right? Similarly, if we have product concentration, product concentration increases, you are increasing the concentration of product, again backward reaction, isn't it? If you are decreasing the concentration of product, then forward reaction phase. So whatever change you are making in, according to Lee Tattelier's principle, that change must be minimized. Understood? We have other conditions also here like effect of temperature we have, effect of pressure we have, in that we have different different conditions, right? That we'll see next class. This is the last topic we are discussing, okay? So next class we'll finish this off and then we'll start with Inic equilibrium, okay? I will share a few DPPs with you today, okay? You have to finish all those DPPs. Only Lee Tattelier's principle is left that we'll see next class, right? Any doubt you have? So Lee Tattelier's principle, you should leave it now. We will discuss this next class, other questions you can solve. Where it is forward? Okay, fine. Understood? So like, okay, fine. We'll wind up the session here. Okay, we'll see the next class. Inic equilibrium, we'll start next class after finishing this. We'll take half an hour more and then we'll start Inic equilibrium. Okay guys, yeah. Thank you so much. Yeah, bye.


Screen Directors Playhouse, Star Douglas Fairbanks, Production, Raffles, Director, Sam Wood. This is the Screen Directors Playhouse, one of the weekly features on NBC's all-star festival of comedy, music, mystery and drama. Tonight the Screen Directors Playhouse presents one of the all-time favorite mystery figures, Raffles, starring Douglas Fairbanks. Now, ladies and gentlemen, here's the first act of Raffles. I am the so-called notorious amateur cracksman. My name? Well, not naturally, for the years of Scotland Yard. A. J. Raffles. What is crime? What motivates crime? What makes me a criminal? Greed, selfishness perhaps? The spirit of adventure? Very definitely. Loyalty to a friend in need, ever. And then, as in the case of the missing Medici Venus, purely sentiment. This lady claims to have the missing Venus. Hm? Was that you saying, Inspector McKenzie? Here it is, Inspector. Where did you get it? It just came in the post in the ordinary way. I opened the parcel and there it was, and this card was with it. Hmm. I saw your farewell performance when I was a boy. I've never forgotten it. Would you return this painting to dear old Scotland Yard for me? Hmm. I understand there's a reward offered. So, you're Maud Holden, the actress? Well, I used to be. You have no idea why this should have been sent to you? No, none at all, except as he says that he remembers me. When was your farewell performance, Miss Holden? Oh, twenty years ago. 1931. Well, if I might be personal, might I inquire your financial status? Well, to be perfectly honest, since I retired from the stage, I have been a little straightened. Well, then it would seem that the amateur cracksman is, say, something of a benefactor. I don't know what you mean. You'll receive a five hundred pound reward. Five hundred? That's a new light on the cracksman, his tonning Robin Hood. Robin Hood, my eye. He's playing with us. Now we've got to announce that the thing's been quietly sent back. Oh, if only we knew one thing about him. Oh, I know many things about him. He's a man with a sense of humor and a sporting sense. He's never made a big haul, even if he could have. He's never robbed a whole safe. He's just taken one thing. No, no, he's a gentleman that steals for the fun of it. And everything he does tells us something about him. Now, we learned his age today. He was a boy in nineteen thirty-one when he saw Miss Holden act. Now that makes him about thirty now. Yes, a lot of help that is in catching him. We can't arrest every man of about thirty. No, but it narrows the field. Mr. Raffles. It's our past date, sir. Oh, thank you very much. Will you be wanting a taxi, sir? No, thanks. I'm going to walk. And sir, you'll excuse me, sir. What is it? It's these bills, sir. Some of them are becoming, well, the... a trifle exigent, if you'll pardon the expression. Oh, yes. You said the grim total was about, um, two hundred pounds, didn't you? Yes, sir. Well, that's all right then. I'm arranging for that this very evening. Baricloff, where did you put my kitten? That stray alley cat you brought home. Baricloff, that kitten may be a stray to some people, but to me, she's money in the bank. Hand her over. Where is she? Cut the shop with lights. Start searching. Throw off the alarm, someone. Safe is untouched. Great, Scott. Look. What? A kitten playing with a burglar alarm wire. Well, how did he get in Turkey's jewelry store? Must have got locked in.  Pussy, pussy.  While the concentration was on the kitten, unnoticed, I slipped inside the store and sat myself down beside the safe. It was all I could do to keep myself from beginning to operate on the combination, but since discretion is the better part of valor, I waited until the police left. Then, methodically, I opened the safe and withdrew sufficient diamonds, uncut, the more difficult to identify, just enough to settle my debts. My work was done so I threw the alarm, casually dusting my evening clothes, and nonchalantly strolled out of the store. Oh, yes, yes. I left a note for Inspector MacKenzie. The kitten lives in Cork Street. Let it off lightly. The amateur cracksman. Then I went to the club Croydon to finish off my night of revelry. Cigarettes, mister?  Posing as the cigarette girl. Oh, hello, AJ. Funny. Well, my old sitting rabbit. You two on the town together tonight? I suppose it is a little odd for brother and sister. Won't you join us and add a touch of romance to the proceedings? Yes, AJ, do. Well, I'm sufficiently coaxed. Waiter, a table for three. I'm glad we caught you. So am I. Seems so silly the way we meet four times a week at parties and crowded functions, have one dance together and then get whisked apart. You're too popular, my dear. You're too much of a celebrity. Tonight we'll stick together and nobody shall separate us. Gwen, Bunny, come and join us. I want to meet Mr. Rapples. Oh, tonight we'll stick together and nobody shall separate us. I'm Lady Melrose, Mr. Rapples. And I'm glad to meet you. I'm my husband, and I can't think what she wants to meet you for. No, but I know a personable young man when I see one. Come and sit here, Mr. Rapples. Waiter, bring some chairs and some glasses. Have some champagne, Mr. Rapples. Yes, thank you. My wife lives on it. Why, we have a picture of you and Lady Melrose, Mr. Rapples. Just look at each other if you will. How could I look anywhere else? What a beautiful necklace. That's it. Thank you, sir. Getting that face of yours in the papers again, my dear? Yes. I thought I should have to go through the divorce court to do that at my time of life. Now Mr. Rapples comes along and saves me the trouble. I should be proud to go through the divorce court with you, Lady Melrose. Oh, no, I think that would be going a little too far. You dance with Gwen if you'd like to, but mind you, hurry back to me. Will you, Gwen? Love to. Nice going, Ager. What does A.J. stand for? You know, I've never heard you call anything but that or Rapples. You've got names, haven't you? They couldn't have christened you with initials. Yes, yes, I've got names. What are they? Oh, no, you don't. Why won't you tell me? Because it's the only bad thing a doting mother ever did to me. Oh, is it Archibald? No. Algernon? No. Um, Adolfo. It's no good, Gwen. I've never told anyone. I shall have to look you up in who's who. I lied to who's who. Oh, then it's Ananias. Let's go out on the terrace. What, and be alone. Be very nice. There's been a lot of opportunities before. I thought lately that you deliberately avoided them.  I'm not Lady Melrose. You needn't pay me compliments. It's not a compliment. I mean it, Gwen. Go on. Well, that's all. Let's go outside. AJ, tell me something. What? That shell you never used to have it. Shell? The one you keep going back into. Just as we're getting along beautifully, like tonight and a hundred other times, you just go away. You aren't there anymore. What is it, do I bore you? Never. Well, what then? I don't run after you too much, do I? Of course not. I've tried not to, even though I've sometimes wanted to. But it's silly going on like this, especially when you and Bunny are such friends. If I'm a nuisance or a bore, I wish you'd tell me and then I can stop being one. Gwen, darling. No, no, let me finish. Honestly, AJ, I'd rather know of you. Don't want me. If I get over it, really I would. But sometimes I thought that you will like me and I've grown up more than liking you. But if it's no good, I'd rather that you told me. Gwen, darling, don't cry.  Better than anyone in the world. It's only that... That you don't love me. Is that it? I can't explain, darling. But please believe that I love you. Love you more than you'll ever know. Did you call, sir? Yes, did I wake you? It's quite all right, sir. That means I did. Barocloff, you see before you a changed man. Indeed, sir. Indeed. A changed man and an amazed one. Amazed at life, at himself. I'm going to be married, Barocloff. My congratulations, sir. May I inquire when? Ah, that has not yet been decided. But soon, Barocloff, soon, soon. It must be soon. Everything will be different, Barocloff. I'm going to turn over a new leaf. I've done with the old life of Gehedy and... and, uh... well, with the, uh... the old life. Is that all, sir? That's all, Barocloff, for you. For me, life is just beginning. Rather... Oh, uh... Barocloff. Yes, sir. Did I remember to tell you that she is the most wonderful gal in the world? No, sir. I hoped you'd spare me that. Good night, sir. Uh, one moment. Get me an envelope, will you? Very well, sir. Temptation. These uncut diamonds. Such lovely baubles. To return them... or not to return them. We're fresh out of envelopes, sir. Hmm. Well, in that case, perhaps fate has decreed a decision. I shall place my treasure back in my pocket. Barocloff, hand me my cigarettes. Yes, sir. Now, I empty the packet... and insert the diamond's soap. Farewell, along farewell to all my greatness. Now, append, Barocloff. Yes, sir. Here you are, sir. Inspector Mackenzie. You would never understand why I am returning this. Farewell. The amateur cracksman. When you go into a store, the salesman behind the counter doesn't get you to buy his product by holding up a printed sign. He talks to you. His talk does the job of selling where print won't, because people sell better than paper. Personal contact is a vital factor, whether it's over the counter selling or advertising. Now, the best advertising a manufacturer could possibly do would be to talk with each of his customers. Well, it isn't practical to hop around the country calling it every door, but an advertiser can reach millions of people. Over five million on this program, for example, directly and at once with network radio. Radio gives a manufacturer that important talk with his customers. And he can bring the clarity and force of his products home to you at less cost than with any other method of advertising. Yes, people do sell better than paper. And people sell more economically on NBC radio. And now the second act of raffles, starring Douglas Fairbanks. Something most peculiar about the fantasy of a dream. It takes you to the height of ecstasy, but the very same motion draws you into the very dregs of disaster. Here I was sleeping and dreaming of my life with Gwen, and the happiness and joy, and the disturbing thought kept pounding clear. Somewhere along the line I had made a mistake. I was to be detected. Hard as I tried to lose this feeling of insecurity, the same dream kept recurring. It was as if Satan and the Archangel Michael were locked in desperate struggle for my soul. A.J.?  Morning, morning, morning. A.J., I just had another thought. Were you named after anyone? Anyone famous, I mean? Oh, well, yes, sort of, in a way, I suppose. It isn't Aristotle, is it? No, it isn't Aristotle. You're being very classical so early in the morning, aren't you? Well, I do think a girl has the right to know the name of the man she's going to marry. You'll have to tell the clergyman, won't you? It is true, isn't it? Last night did happen. It wasn't all a dream. If it was, it's a dream we're never going to wake from. What's the time? 8 o'clock. The middle of the night? Whoa, when can I see you? This morning, this afternoon, tonight? No, I've got to go to the Melrose's for the weekend. Oh, put them off. I can't, I promise. Why don't you come too? They asked you, you know. And I refuse, my dear, the paths of matrimony lead but to a job. And today, I remove the shackles of cricket and with complete abandon offer myself to servitude for the insignificant sum of 50 pounds per week to the first taker. What am I bid? Gwen, are you there? Yes, but I'm still trying to catch my breath.  Shall we say goodbye? You say it first. No, no, I don't want to. Neither do I. Let's say it together. All right. When I count five, one, two, three, four, five. Goodbye, darling. Good morning, sir. Morning, Barry Cloves. Your tray, sir. Thank you, thank you. Why are the papers with my cereal? Papers? It's bills, sir. Oh. You said you were expecting to rain for some cash to meet with them last night. Yeah. I trust it didn't escape your memory and the excitement of your matrimonial intaglios, if I may be permitted to phrase. Well, it didn't escape my memory, but I'm afraid it was a washout, Barry Cloves.  You've done it before. You can do it again. I should have thought, sir, that if you were contemplating matrimony, it would be, well, as well to start clean. My own opinion exactly, Barry Cloves. And now stop being sordid and go out and start my bar. I'll lay out my work clothes. Dinner jacket or tails, sir? Neither. My overalls. By the way, sir, Mr. Bunny stayed the night. Oh? Came in after you retired. He's in the spare bedroom sleeping. Wasn't feeling very well. Oh. Quite upset. Oh, I'll give him a drink and in a jiffy, he'll be fully recovered. I'll wake him up after my bath.  Hey, Barry Cloves, there's no one here. Well, that's very odd, sir. He said he'd spend the night here, sir. Can't have gone out. Well, there's his coat, sir. Great scum. Barry Cloves. Hmm?  Yes, sir. Over here, sir. On the other side of the bed, on the floor. Mr. Bunny. Bunny. Bunny. Bunny, for heaven's sake. Get the window open. Get... Here, lend me a hand. Up here on the bed with him. Come on. Yes, sir. Is he dead, sir? No, thank heaven we're in time. I can't think. He was behaving strangely, but I never dreamed. Breathe in, Bunny. Breathe in. Breathe. Breathe. Bunny. Bunny. Bunny, wake up. Bunny, Bunny, wake up, old man. It's raffles. Shall I get a doctor, sir? No, no, no. Wait, wait, wait. He's coming round. We don't want any outsiders in on this. Um, get some whiskey. Very well, sir. Bunny. Oh, raffles. Bunny, what in heaven's name were you thinking of? Oh, I'm a thief. Well, one way or another, we're all thieves at times. Now lie down and keep quiet now. I can't. I've got to talk. I've got to tell you. I've written a cheque, raffles. A big cheque and it's no good. What made you do it? Oh, yes, yes. I've been playing a game. Yes, I know I promised you I wouldn't, but Monday morning, raffles, when they get their cheque at the bank, I'll be disgraced and they'll treat me like a common thief. I am a common thief. Oh, now, Bunny. I'll be arrested, raffles. Now, Bunny, I will know I'll never let them do anything like that to you. I'm not asking you to help me. I'm not worth helping. Suppose you let me be the best judge of that, eh? Oh, I don't deserve your friendship. I know what honesty and honor mean to you. Oh, I got myself into this mess. Let me get myself out of it. Oh, now, do no such thing. You just keep quiet now. Take it easy. Tell me, um... how much was the cheque? A thousand pounds. A thousand... pounds. Well, two days isn't much time to find a thousand pounds, is it? Well... Oh, don't you worry, Bunny. You keep quiet and let me think. We'll have to use our wits. Our wits? I should say my wits. Bunny. Yes? Were you invited to Lord and Lady Mel Roses for the weekend? I was, yes. Could you... could you take me with you? Yes, why? Um, I was just thinking I'd like to play some cricket. Oh, that's easy. Easy? Easy. Not this way, sir. Please, sir. Playing cricket and keeping an eye on Lady Mel Roses' emeralds was most difficult. For her emeralds were the answer to Bunny's prayers. Funny about crime, here I was prepared to desert it, and yet I wasn't. Call it loyalty, call it friendship, call it complete idiocy, but a friend in need is a friend in deed. And that recurrent dream of last night suddenly became more than symbolic. Just why was Lord Mel Roses in deep conversation with Inspector Mackenzie? What was he doing down here at the Mel Roses' estate? Why was he so suddenly interested in cricket? I'm sorry to intrude, Lord Mel Roses, but I shouldn't keep you long. Here's my card. What's this? What's this? Scotland Yard?  Have you ever heard of the Amateur Cracksman? Yes, of course. What's that got to do with it? We've had certain information which makes me very anxious to ask you one or two questions. Questions? Questions? What about? Have you given your new telephone number to anyone? Yes, I suppose I have. Did you give it to anybody yesterday? Anyone who wrote it down? I don't remember, no. You didn't see anyone write it on a piece of paper? Quite the thin piece of paper? Piece of paper? Piece of paper? Yes, I wrote it on a piece of paper myself, but I can't think of it. Oh, really? Isn't that beastly a nightclub my wife dragged me to last night? I gave it a bunny. I remember that. Did you by any chance put the paper on anything? A book or anything? A book. My good fellow, what did I be doing with a book in a nightclub? No, I put it on a packet of cigarettes or something. Well, what's it matter? Stolen diamonds were returned in an empty packet of cigarettes which had trace marks with your telephone number. Now, to whom did you say that you gave your number? Bunny Manders. He and his sister are staying here the weekend. Lord Milrose, if it wouldn't have been convincing you too much, I wonder if you'd allow me to stay at your house for a while. Stay at my house? Oh, bless my soul, Inspector McKenzie. That's a little odd, don't you think? Well, how am I going to explain it? Oh, I think we might be able to manage an explanation. I'd rather you didn't tell your guests who I am.  Oh, Raffles, this is Mr... A Cameron. Yes, Cameron, Mr. Raffles. How are you, Cameron? And this is Mr. Bunny Manders. Oh, how do you do? How do you do? Have you got a cigarette on you? I'm afraid I don't smoke. George, what do you mean by making all this commotion? If you don't like music yourself, you might at least be considerate of others. Look at the way I put up with your cricket. I'm sorry, buddy, I'm sorry, but I want you to meet another house guest of ours, Mr. Cameron, my wife. Mr. Who? Cameron, my dear Cameron, one of the Scots, Cameron. You know, you know, we used to go deer stalking together. Oh, how do you do, Mr. Cameron? Great, buddy, this is Mr. Cameron. How do you do? If you don't mind, Mr. Raffles and I are like the breath of fresh air. Are you Mr. Raffles? Aye. Come along, old fellow. That was good of you not to give me away just now before the others. Not at all, Inspector McKenzie. I believe in helping the police when I can. What brings you here? Aren't the cracksmen again, I hope? Oh, yes, yes. I was after the cracksmen the last time we met, wasn't I? You know, I've always had a theory that he was a myth. Invented by Scotland Yard to cover, uh, multitude of, shall we call them failures? No, you're being very hard on us, Mr. Raffles. No, no, the cracksmen exists all right. In fact, I know quite a bit about him. I gave my chief quite a portrait of him yesterday. Really? Well, that was very clever of him. Only the face and the name were missing, but I have an idea I may be able to fill those in before long. I'm going to meet the amateur cracksmen, Mr. Raffles. I'll hook him, clean him, and land him like a fish. Like a fish, did you say? I'm a fisherman, Mr. Raffles. Oh, but you still haven't told me what are you fishing for here, or is that a state secret? I prefer not to deduct the budget. Well, in any case, I feel that it's nothing that need to worry me. Oh, I think you can go about your business undisturbed. Thank you, Inspector. After those reassuring words, I will. Running away from me, AJ? Oh, just for a breath of air. What a wonderful night. In such a night is this, when the sweet wind did gently kiss the trees. Troilers, new things, mounted the trojan walls, and sighed his soul toward the Grecian tents. Hey, what's that? The merchant of Venice, Mr. Bunny. Oh, a Shakespearean scholar, Cameron, as well as a fisherman. Well, a lover of the theatre. You know, the finest performance of the merchant of Venice I ever saw was with Maude Holden as Porsche. I imagine she was a bit before he had time, Mr. Bunny. Oh, no. As a matter of fact, Raffles and I saw her together. He took me to a farewell performance when we were kids. Yes, she was wonderful. Whatever became of her dead, I suppose. No, I don't think so. I heard of her only the other day. Well, if you ever see her, I wish you'd tell her that she has a great admirer than me. Me too. Ah, you, of course. Oh, Mr. Raffles, may I see you in a moment? You coming, Lady Melrose? Excuse me. Mr. Raffles, where on earth did George get hold of that dreadful man, Cameron? Do you know who or what he is? Well, I don't think it's fair they're keeping you in the dark like this. That man's a detective. What? What's he doing here? Why, you think perhaps he suspects an attempt on your necklace? My necklace? Oh, nonsense. Nobody's going to steal it. I agree. After all, I imagine that you keep it in a safe. No, we've got one, but I don't believe in safe. I keep it in my bedroom. Oh. Well, uh, do you think I shouldn't? Oh, it'll be all right with the detective here. You'll probably sleep outside your door all night. Oh, he'll do no such thing. Well, he has to be where the emeralds are. Then I'll send them to the safe and he can sleep in the library. Good, good. And yet, well, if there are thieves, the safe is probably the first place they'd go to, isn't it? That's just what I've always said. Then I'll keep them in my room.  No. Well, you can't have it both ways, or, or can you? Yes, I think I can. I've got an idea. Mr. Rappel, I'm a very wily old woman. George? Yes, what do you want? George, I'm going to bed. I want you to come up and get my dual case and put it in the safe for me. What's that? Have you ever done that in your life before? There's always a first time. Let's go. Good night, Mr. Rappel. Uh, good night. Good night. Sleep well, Lady Melrose. Uh, Mr. Rappels, a moment, please. Yes, Inspector. Uh, just, sir, a picture of you and Lady Melrose. Were you at the nightclub with Mr. Bunny last night? Um, yes, yes, of course. Anything wrong? No, of course not. I was just asking. Um, you got a cigarette? Yes, yes. Oh, I'm sorry I've smoked my last. Well, I'll say good night. Well, I'll, uh, come up with you. Splendid. Are you sleepy? Uh, how are you? Well, I'll probably read for a bit before turning in. I suppose your work keeps you pretty tired, doesn't it? It does.  And, uh, what's up, Mr. Rappel? Dodging you, fellas. Good night, Mr. Inspector. The third act of the Screen Director's Playhouse presentation of Rappels starring Douglas Fairbanks will continue after a brief pause for station identification. This is the Screen Director's Playhouse, one of the weekly features on NBC's All-Star Festival of Comedy, Music, Mystery and Drama. Brought to you by RCA Victor, world leader in radio, first in recorded music, first in television, and by Anderson, for fast relief from the pain of headache, neuritis and neuralgia. Now we continue with the third act of Rappels, starring Douglas Fairbanks.  To steal for the honor of a friend, um, that is debatable. When the friend is the brother of the woman you love, the debate ceases to exist. Bunny needed help, and I'd given my word. And now, as I watched Lord Melrose carefully open the walls safe in the library, and deposit an empty jewel case alertly eyed by Inspector McKenzie, a feeling of complete confidence overcame me. This job was going to be far easier than I had imagined. It was as simple as ABC. All I had to do was wait for Lady Melrose to fall asleep, and then enter her bedroom, and the emmels were mine. As the lights in the library dimmed, and the stillness of the eerie country night crept in, I opened my door and received the shock of my life.  Before I could follow, Gwen came towards me. Alone at last. Do you realize that we've been engaged for over 24 hours, and I've seen so little of you? I know, darling, but right now I... There seems to be a conspiracy to tear us apart. Mr Cameron, Lady Melrose, I've just had glimpses of you. Darling, once this weekend is over, it'll be different. Utterly and completely different, I promise you. Do you love me? More than you'd believe. And now, good night, darling. Good night, AJ. It isn't amphiterine, is it? No, dear. I didn't have to wait too long for the unidentified thief to leave in Lady Melrose's room. Naturally, I was annoyed at this unexpected interference. But then I realized I could use this new turn of events to my advantage. As he passed my hiding place from behind, I handed him a judo cut on his neck.  With my free hand, I jerked Lady Melrose's emeralds from his pocket, pulled his cap over his face, kicked his feet from under him. As he fell, I ducked into the bathroom window, into the door. In a moment, he was on his feet, running for the window. That was when all he did broke loose. I haven't taken nothing straight, I haven't. Well, you're an old friend. You waters these for you, aren't they, crushy? I took nothing, Inspector, search me. Aye, that I will. Well, Inspector, you weren't far wrong. I congratulate you. I think we're both to be congratulated, Lady Melrose. He didn't get the thing. Is this the cracksman fella? Who's that? This chap? No, he's pretty measly looking. Oh, I see, what about my wife? Bless my soul. Well, congratulations, Inspector. Uh, Rapples.  What did you find in his mouth? Nothing. He didn't get a thing. Oh, well, that's to your credit, isn't it? Although I must say, I'm a little disappointed in your cracksman. Oh, this isn't a cracksman. No? No, crushy and I are old acquaintances. I've been responsible for several little, uh, holidays of his. Oh, just an old lag, eh? Aye. A little like going after salmon and landing a minnow, isn't it? The salmon is still in the stream, Mr. Rapples. And I'm still a fisherman. I've always heard of Fisherman's greatest quality as his patience. Well, the leadership is sleeping peacefully, thank goodness. And Mr. Slaptrue, the whole thing, always does. Oh, splendid, splendid. I'm so glad she didn't wake him. Yeah. Do you have a cigarette, Rapples? Uh, yes, of course. Here. It's a nice, rich watch you're wearing, Mr. Rapples, and that charm bracelet, I've seen it before. Oh?  Oh, this watch and bracelet haven't any value. No, they after me. A great value, Mr. Rapples. You'll hear from me again. I'll be half in no time. Come on now. Get a move on, you crochet. You're pressed early. I've got to go to town on that business of yours, Bunny. No. What earthly excuse are you going to take to Old Melrose? Never you mind. I'll look after that at breakfast. Can I come to town with you? No. Why not?  There's nothing to worry about. It'll be all right. I'll have the money for you this evening. Are you sure? As sure as if it were in my pocket now. I want to talk to Gwen before I leave. You decent, darling? AJ, come in. Darling, I have a problem, a difficult one. All right, I'm good at problems. Come on, now tell me. Well, a man loves a gal. She's radiant, fine, straight, untouched. He isn't worthy of her. In every possible way, he's most unworthy. For all that, he loves her. Darling, I hope she loves him. She does. That's the problem. It isn't a very hard problem. Oh, yes it is. Because, you see, he wants to lead a new life for her sake. But he's found he can't do it. The taint is still there. On the first possible excuse, he's gone wrong again. Oh, the excuse was good enough, I suppose, but just the same... If she loves him, she must want to help him. Ah, but he can't disillusion her, don't you see? Goodbye, Gwen. I'm going away now. You sound as if you weren't coming back. I'm not. Oh, please don't say such things. Oh, Gwen, my darling, I love you. I shall always love you. You've made me realize everything I've lost in life. But it's too late now. Dearest. It's Lady Melrose. Oh, they've robbed me in my sleep. My emeralds. What's going on here? My emeralds, they've taken them from me. But, my lady, they're safe. They've not been touched. They weren't in the safe, but in my bedroom. Mr. Apples, you promised to protect me. Where were you? Yes, Mr. Apples. Where were you? Where was I? When? When the alarm went off, Mr. Apples. Where were you then? Why, in my room, in my room, writing letters. Oh.  Detective, indeed. I believe it was you who stole it. Have you searched? Who told you I was a detective, Lady Melrose? Do you think I don't know detectives' feet when I see them? Oh, you were so right, Mr. Apples, in everything you said. But I did think you'd protect me. Can you go back to bed, my dear? You're all upset.    That's a very liberal reward, Lord Melrose. Ah, it's too liberal. I'll get the jewels back for you without it. Now, nobody's to leave this house. What's that, Inspector? Everyone will have to be searched. Well, I won't have it. I won't have my guests suspected. I'll let the necklace go. It's too late for that, sir. The matter's in my hands now. Mr. Apples, we'll begin with you. Interesting the places one can think of hiding stolen jewels in a moment of stress. As Mackenzie searched me from my handkerchief in my breast pocket, I removed the emeralds and quickly transferred them into his pocket. It stood to reason he wasn't going to search himself. When his fruitless mission was completed, I sidled up to Mackenzie and deftly transferred the gems to my own person, where they belonged. Temporarily, at least, I was safe. AJ, I've got to talk to you. What is it, darling? There's something going on that I don't understand. Oh? AJ, what is it?  I know that. And I've been talking to Lady Melrose. I know that you told her the safest place for her emeralds was in her bedroom. AJ, what does it all mean? Please, darling. Tell me. Please, tell me. Tell me that it isn't what I... What I... I'm afraid of. AJ, it wasn't you. Gwen, if you were anyone else in the world, I'd deny it. I can't lie to you. Oh, no. No. Darling, there's nothing you can be thinking or feeling that I haven't pictured and dreaded your feeling about me. That's why I kept away from you. Drew into my shell, as you call it. I haven't any right to love you. Then the other night when I took you in my arms, because I couldn't help it any longer, I thought all of that was over and done with forever. But it isn't always quite so easy, you know. Things happened and... well, there was a reason. A very good reason. Now, what are you going to do now? Well, there's only one thing left. Finish my last job. And then, who knows? Oh, Mr. Eppels. Yeah, those bags. Were you intending to leave here? Quite. That is with your permission, of course. Uh-huh. You may leave. There is no reason to hold you in custody. Thanks, Inspector Mackenzie. So, uh, wouldn't you like to search my bags first, or me? No, I don't think that'll be necessary. That's surprisingly good of you. Well, goodbye, Gwen, dear. Goodbye, AJ. Goodbye, Inspector. And good luck with your salmon fishing. I'm thinking of trying a new bait, Mr. Eppels. Be sure and get a big hook. You know, Mum, I like that man. So do I. Oh, too bad. You're letting him go, Inspector? Aye, just that. I've got a scheme. I'm going to take the burglar crochet out of the village jail and get him to London. And when I've got him there, I'm going to see that he escapes and then follow him. By show? This isn't the first time that I've set a thief to catch a thief. Now, here's a word from RCA Victor. Any RCA Victor television owner can get the RCA Victor factory service contract. This service contract gives you installation and service by RCA's own factory-trained technicians. It gives you coverage of parts and tubes for an entire year, including the big picture tube. Or if you're set needs attention and you haven't provided for this protection through the RCA Victor factory service contract, simply call the RCA service company branch nearest you. They'll gladly dispatch RCA specialists to your home on a time and material basis. So remember this. Any RCA Victor television owner can get RCA factory service. And you'll see why RCA Victor is America's fastest-selling television when you look at the Regency. You'll see sharp, clear pictures, million-proof performance, superb styling. It's a magnificent television console at a new low price, the RCA Victor Regency. Now, Act 4 of Raffles, starring Douglas Fairbanks. Oh, Mr. Raffles, you're back home, sir. A boring weekend, I take you. No, not exactly boring, Barakloff. Any messages, any letters? These, sir, bills, bills, bills. All bills better look at them. I was afraid so, sir. Barakloff, I want you to go out. I want you to go to the airways office in Haymarket and get me a ticket on the Tua Cart Payne for Amsterdam. Here's a tenner. I'm sorry to send you out in this rain, but hurry. Oh, excuse me, sir, the door. AJ. Go in. Oh, Barakloff, on your way. Yes, sir. Are you alone? There's something I've got to tell you. Crochet has escaped. So? Mackenzie let him escape to come to you. What? He said a thief to catch a thief, he said. Oh, I see. Oh, you'll have to get away. I don't care what you are or what you've done. I only know that I couldn't stand it. Thinking of you behind bars, dressed in a convict suit. You've got to get away. No, Gwen, why do things always have to happen too late? You and I, if only we'd met in... in time. Yes, but you'd have been a baby then. Bunny's kid sister.   Same eyes. Perhaps if I'd known you then, I might have been able to be worthy of your trust. AJ, I've always loved you from the beginning, the first time we met. Even then, it was too late. It's always been too late for us. Don't let them in. Don't let them in. It's all right. It'll be all right. I'll hide these emeralds under the tobacco. Hurry. Darling, your eyes are all red. You'd better go in the spare room. Yes, AJ. Oh, my darling. Well, the fisherman. Aye. What can I do for you, fellow sportsman? Come in, come in. Thank you. Let me give you a drink. Oh, thanks. It's wet enough outside. Do you mind if I help myself? No, and go right ahead. Uh, Crochet's escaped, Mr. Apples. Has he now? Has he? Well, that sounds very careless of you. Was the line not strong enough, even for a minnow? What were you using, a string and a pin? He's here. Somewhere in this block of flats. Is he? I must look out for him. I'm looking out for him. I've got the place surrounded. And there's nothing to worry about. But the emeralds inspector? I'll get them as soon as I've got Crochet. Oh, has he got them? He knows who has. Ah. Do you mind if I take a look around these rooms? For Crochet? By all means. Thank you. Do you mind if I read my letters? By all means. That's a nice vase, this. Yes. Not big enough for Crochet to hide in, though. Uh, your bedroom? Oh, allow me to show it to you. After you. Ah, you've got a lot of suits. And a lot of bills, too. Does this door lead to the bathroom? Yes, yes, go in. I'm not bathing now. Ah, empty. That other door? That is the spare room. May I see it? At the moment, it is occupied by a lady. Her name is not Crochet. Well, I'm a man of the world. You can trust my discretion. How do you do, Inspector? Uh, hello. Dreadful rain, isn't it, Inspector? For so fine down in the country, too. Aye. That's a fine clock you have, Mr. Raffles. Would you like to look at the works? No thanks. I'll, uh, I'll just sit down on this couch. Do you mind a pipe? No, no, no. Not at all. We'll, uh, we'll sit down beside you. Oh, my. I've forgotten a pouch. Might I use some of your tobacco? It's, uh, not very good.  I've got some of the best cigars you've ever tasted. Here, here's one. Thank you. I'll smoke this after dinner tonight. Take another for now. No, I'd rather have my pipe. Oh, look out. My, my cigarette is burning the couch. Oh, well, I'll put it out for you. While you're doing it, I'll fill your pipe for you. You don't mind. I'll fill my own pipe. With pleasure, Inspector. We've spotted Crochet, Inspector. All right, I'll come along. You better put somebody outside Mr. Apples' door in case. In case? In case Crochet tries breaking in that way. We want to give you every protection, Mr. Apples. Uh, thank you. And in case Mr. Apples tries breaking out. What are you going to do, A.J.?  I don't know. I do. Ends up. What do you want, Crochet? I want those sparklers, so end them over. Mr. Crochet, if I were to hand over those jewels, it would do neither of us any good. The police are after both of us. They know you're here. Oh, yes, I don't think. You don't get away with that.  All right, then. Go ahead and shoot. But do you know, Crochet, what'll happen to you? Have you ever heard a man condemned to death? I have. You can hear your heart going like a piston at the bottom of your throat. And you try to swallow, and you can't. Because that's when you begin to feel the rope around your neck, and the trapped door under your feet.  May the Lord have mercy on your soul. Pray with me, Crochet. Yes. Why, you've got my gun. Imagine. Come on. You're going to get out of here. I shan't be long, Gwen. And if anyone comes, you let me know. In the bedroom, Crochet. Now, how'd you get into my flat? From the roof by rope. Then start climbing. The rope's gone. The police are downstairs. Don't worry. Follow me through this window. Down that pipe, it leads into a passage. After that, you're on your own.  A real pal. Well, do a pal a good turn before you go. Reach into that medicine cabinet and get the bottle labeled chlorophone. Lord love you, Governor.  Let me have a look. Crochet got him. No. No, he's not dead. He's been put out with something. AJ, please. Please talk to me. Please. Where am I? In your bedroom. Where's Crochet? Knobbed, as we expected. Oh, I'm so glad you've got him. I'll enter the door.  I say, what's going on here? Who are you and what do you want? I might ask the same question of you. Oh, well, I'm a police inspector. Oh, I beg your pardon, sir. I'm Mr. Raffles' man. I've been out to get these air flight tickets for him. Air flight? I'll hand them over. Not without permission of Mr. Raffles. Mr. Raffles, do I have your permission to examine these tickets? Inspector Mackenzie. Oh, I very definitely yes. Surely I have nothing to hide. Oh, we shall soon see. Come on, hand them over, man. Yes, sir. With great reluctance. Well, Amsterdam. Hmm. Oh, well, hello, Raffles. The room is getting awfully crowded. Hello, Melrose. Bunny, too. Well, come on. Inspector, what's the meaning of this dragging us up to town? You got the necklace or what? I'll have it in just a moment, your lordship. Where are the emeralds, Mr. Raffles? How would I know? Because you lifted them and because you're the amateur cracksman. Well, it's the first time I've heard that said. Now, dear see, that is true, isn't it? Now, what was your air flight to Amsterdam for, Mr. Raffles? Amsterdam is the dual market of Europe. Mackenzie, if I took you seriously... Inspector, there must be some mistake. Oh, Mr. Bunny, well, perhaps there is. And how about you? Me, the amateur cracksman. Perhaps you'd care to confess? Me?  That's right. You wrote it on a packet of cigarettes. That packet, with the imprint of the number on it, came to Scotland yard yesterday morning, containing uncut diamonds stolen by the amateur cracksman, seeing he was returning. But for those words, my... Oh, yes, yes, perhaps there were. No good, Bunny. You mean... You mean... Hey, Jay. It's all right, Bunny. No, hey, Jay, how could you have been such a fool? Supposing I did need the money. Supposing I did go to jail. Do you think I'd ever have let you if I'd known? I asked you to help me, but I didn't mean...   What's all this? What is all this, Bunny, jail? I don't understand. I think I do. A.J. Oh, A.J. Darling. Are you the amateur cracksman, Mr. Apples? Yes. And here are your emeralds. With one provisor. There are no provisors. Lord Melrose, you offered a thousand pounds reward. Am I correct? Correct. Bunny, and these emeralds to Lord Melrose, and you are the recipient. No, one moment. Out of my way, Inspector. I'm in a hurry. Stop the man. Stop him. Twenty-four hours, man.  What are you doing here in my flat? I've got something to tell you. What? What is it? You mustn't cry, ever. What did you come to say? That. And I love you. Oh, A.J. Are you all right? Yes. What are you going to do? That's something that I've never known. Do we meet again? If fate is more than usually kind. You shouldn't have come here. They'll be watching for you. I know. But I had to tell you three things. Three? One, you mustn't cry. Two, I love you. And three, um, what was the third? I won't cry. And I love you too. And... I can't remember. Couldn't have been important. I'm leaving through this window the way I came. Goodbye, my darling. Goodbye, A.J. Oh, that was it. What? The third thing. A.J. A donor. But don't hold it against me. And now here's a word from the makers of Anison. Every day you hear more and more about an incredibly fast way to relieve the pains of headache, neuritis, and neuralgia. It's Anison. A-N-A-C-I-N. Now the reason Anison is so wonderfully fast acting and effective is this. Anison is like a doctor's prescription. That is, Anison contains not just one, but a combination of medically proven, active ingredients in easy to take tablet form. Thousands of people have received envelopes containing Anison tablets from their own dentist or physician, and at this way discovered the incredibly fast relief Anison brings from pains of headache, neuritis, or neuralgia. So the next time a headache strikes, take Anison. A-N-A-C-I-N. Anison in handy boxes of 12 and 30. Economical family size bottles of 50 and 100. Ask for Anison at any drug counter. Next week the Screen Directors Playhouse presents another great motion picture story. Our adaptation is No Man of Her Own, starring Barbara Stanwick and Lyle Betka. And now here again is tonight's star, Mr. Douglas Fairbanks. Thank you. It's always a great pleasure to return to the Screen Directors Playhouse and particularly tonight, for it's a very rewarding to be on the same stage with one of Hollywood's brightest talents. Ladies and gentlemen, I refer to the very brilliant writer and distinguished director, Mr. John Fowler. Thank you, Doug, for those extremely kind words. And thank you too for your outstanding portrayal of Raffles tonight. How I wish that our good friend Sam Wood, who directed the picture, could have been here to share the enjoyment. Yes, Sam was a very great man. His memory occupies a very special niche in Hollywood's Hall of Fame. He was a master not only of drama, but also of comedy. He certainly would have enjoyed your latest and very funny picture, Mr. Drake's Duck, in which you not only starred, but also produced. Well, thank you. When talking of producing, John, you leave most men far behind. Let's see, is it six or seven now? Oh, I produce more than six or seven pictures. Well, I wasn't referring to the pictures. You're seven beautiful children. Seven lovely children. Douglas, for the Screen Directors Playhouse, please come back and visit us again soon. Good night. Thanks, John. Good night. You have been listening to the Screen Directors Playhouse, brought to you by RCA Victor, world leader in radio, first in recorded music, first in television, and by the makers of Anison, for fast relief from the pain of headache, and uralgia. Raffles was presented through the courtesy of Samuel Goldwin, who is new as production. I Want You, starring Dana Andrews, Dorothy McQuire, Farley Granger, and Peggy Dowell, will soon be released. Douglas Fairbanks is being seen these days in his own production of Mr. Drake's Duck, released by United Artists. John Farrow directed the Paramount Picture Submarine Command, starring William Holden, William Bendix, and Nancy Olson. Included in tonight's cast were Al Maloton, Norma Barton, Ben Wright, Donald Morrison, Paul Freese, Dan O'Hurley, Ramsey Hill, and Alec Harper. Raffles was adapted for radio by Jack Rubin. Screen Directors Playhouse is under the production supervision of Howard Wiley. It is directed by Bill Karn. Portions of tonight's broadcast were transcribed. This is Jimmy Wallington speaking, and inviting you to listen again next week when the Screen Directors Playhouse presents No Man of Her Own, starring Barbara Stanwyck and Lyle Betka. This is NBC, the national broadcasting company.