Lux presents Hollywood the Lux Radio Theatre brings you Don Amici and Lucille Ball in Lucky Partners. Ladies and gentlemen your producer Mr. Cecil B. DeMille. Greetings from Hollywood ladies and gentlemen and joining us tonight I wonder how many of you realize you've exercised a very special freedom. It's a freedom that no fascist country enjoys but it's guaranteed for us by a great document. The Bill of Rights. Under this bill which America commemorates today we can among other things say what we think read what we like and listen to what we want to on the radio. And tonight on the Lux Radio Theatre your freedom of choice is bringing you RKO's delightful comedy Lucky Partners. It's a rollicking story of two people who believe so thoroughly in luck that willing to take chances on both love and horses. Those two people in our play are tonight stars Don Amici and Lucille Ball. In a little while we'll see how they make out with Lady Luck. But here's something we want to take no chances on our 10th anniversary celebration on October 16th. For that birthday of ours we want you when that means all of you to help us select the play and stars that you want most to hear. Just drop me a postcard dated no later than September 27th to box nine Hollywood 28 California. Recently I was amused to the newspaper story with a London dateline a reporter's account of an interview with Adolf Montju who was overseas entertaining the troops. He found out of in his hotel room bent over a tub immersed in suds. The reporter says he tossed me a bundle of socks handkerchiefs and a package of Lux which he somehow brought over me airplane with it and he tells how they finished that off washing and hung it out to dry from the windows of one of London's swankiest hotels. In these days when we have to shift for ourselves in so many ways Lux Flakes is a good traveling companion. Now it's curtain time again. Here's the opening act of Lucky partners starring Don Amici as David and Lucille Ball as Jean. We're about to relate a pre-war fable. It involves a whistling artist a girl who had to deliver some books and the street in Greenwich Village. The whistling artist was a complete stranger to the girl who had to deliver some books but that didn't bother him in the least. And one morning as he passed her on the street in Greenwich Village he stopped whistling long enough to remark. Good luck. Whereupon the girl with the books being as curious as she was attractive spun around and asked a perfectly natural question what did you say. I wish you good luck. Well why. No special reason. I see. Well thank you. Oh you're welcome. Well that's how they met. And now an hour later the girl rushes back to the bookstore where she works but this time she has a different package under her arm. Yes and look look this dress did you ever see anything so beautiful. It's gorgeous. Where did you get it. Well after I left here to deliver the book to Mrs. Adams I passed a man. He was whistling and as I was in good looking I didn't notice anyway. What do you mean you didn't notice.  Oh he didn't give it to me. He didn't give it to you. I just passed him.  You remember I left here to deliver some book. Yes you're perfectly good. Well when I was delivering them a girl walked out she was mad as a hornet. Oh the man's girl she had nothing to do with the man or the girl that Mrs. Adams house her daughter she's leaving her husband she was throwing away her clothes or something and she gave me this dress because it reminded her of her husband now do you understand just relaxed here perhaps it'll all come back to you later. Incidentally Freddie just phone look and Lucy across the street. There he is now the man I was telling you about. Oh Mrs. Adams daughter's husband the man who wished me good luck and don't you see I had good luck I've got the stress Oh here hold the dress I got my idea where are you going the man I got to see it when Harry back said he said in 10 minutes.  Could I meet you in say an hour at Nick and Nick where Nick and Nick. Who's Nick and Nick's the barn grill around the corner they own it two brothers. You must be new around here yes yes I am my name is Grant David Grant Oh I'm Jean Newton I work right across the street there my aunt shop the book nook you're sure I won't be putting you out Oh no no not a bit I work here to you see the sign there on the second floor window Oh that's you portraits one dollar caricatures like this guarantee well I'll see you later goodbye Mr. Grant bye well yeah I don't know when you find me it always opens I walked in what do you want look I'm not just your lawyer I'm your friend I want to talk to you I'm gonna come back said it of course I do caricatures at a dollar or throw you and this place why it's beach combing look I can understand your feeling bitter you think of yourself as a jailbird I don't think I feel bitter anyway let's forget it besides I got a date in a little while can I have ten minutes all right so give me one good reason why you won't come back to Chicago whole I can give you a dozen but don't you understand what happened happened three years ago you're a famous artist you can't let that hello Nick I want to buy a sweet steak ticket well yesterday you said you was off and then well yesterday I was off and so now she's on them we're supposed to sell the tickets not touch people off of them you're lucky only one left here's the ticket make right down the name what is the name the plumb lady um um two strangers uh-uh me and him got that Nick and Nick well how about two pigeons okay two pigeons oh well I guess we better sit down someplace show the pigeons to a table Nick okay Nick this way nice and private I hope you don't think this is too silly but I'm playing a hunch and it has to do with you you see it all began this morning when you wish me good luck while I ran smack into some good luck right away and suddenly I began to feel lucky you know very good well all I want is for you to share a sweepstake ticket with me sweepstake take it you want to win some money well sure what do you want money for I plan to get married oh to a fortune hunter he's nothing of the kind well then why doesn't he take his yard wait marry me tomorrow if I wanted him to what business is it of yours anyway I'm sorry you were saying that if we win you get married yes and then what then we leave for Bikipsi Freddie and me honeymoon in Bikipsi we're going to live there but what about your honeymoon well I don't have to come later oh no no that can't come later why well that's terrible I can't possibly be a party to a scheme like that and besides what sort of a man in these days demands a dowry is he a foreigner of course he isn't he wants the money he doesn't want the money I do oh oh I see tidy reserve in the event married life doesn't go so well is that it no oh well what is this jerk I mean your fiance has he has he got a job he's an insurance engineer he's a what well he sells insurance look do you or don't you want to buy the other half of my ticket well I'm debating it money breeds everything that spoils the nice things in life meanness and hatred okay goodbye on the other hand if I could accomplish something worthwhile with my share the fortune well what's to stop you only you me that's right I'll buy half the ticket if you let me apply my winnings toward a proper and complete honeymoon before you settle down in Bikipsi I couldn't let you pay for my honeymoon it'd be a very great pleasure honey moons are one of the things in life I still regard very highly well well if you insist I think maybe I could convince Freddie it's a deal well that's wonderful we get some champagne and drink at toast to what I confidently expect will be the most wonderful experience in my life our honeymoon Justin and did you say our honeymoon that's right would you mind waiting here for a moment not at all you'd be back you bet I'll be back what's the matter with the other pigeon well nothing she's pretty mad I heard what you said I bet she's getting a boyfriend he's an awful big guy mr. I must you weigh oh 160 feel him Nick looks pretty flabby yeah bloat no reach neither yeah better have a cab ready to take him home where do you live Jack just around the corner thanks a lot Freddie there hello would you mind repeating to my fiance what you said to me yeah chum what'd you say there are you scared he'll misunderstand to unless I'm a very poor judge of intellect but he will grasp it instantly tell it honey give the poor fellow a chance but he insulted me you just told me bought a sweepstake ticket with you yes and if we win he said I'd have to go on a trip or something oh what's the matter with that but he said with him Freddie before I marry you oh he did okay chum suppose we step outside in the alley but what on earth can we do in the alley that we can't do in here plenty chum outside now you wait here girly this isn't for your eyes I'll be right back stop it Nick please meet that football player murder me too it's been 10 minutes he'll kill Mr. Graham and they're what you wanted oh I just wanted him to sock him once you don't think I look this Friday he's back hi your chair it's the other guy too he's talking to Freddie yeah I'd laugh and do his hair ain't even master well I think it's a wonderful idea swell Freddie yeah honey didn't you oh of course not honey he explained the whole thing to me I think the first thing we should do miss Newton is make a list of all the things we want to do an our trip there he said it again just now oh now honey you misunderstand him completely Dave's a very eccentric type of champ here's a lot of peculiar principles peculiar all Dave wants is to make people happy and you dare suggest that I do this go away with a perfect stranger if we win miss Newton but but I'm sure we will but you'll travel his brother and sister oh he's harmless just look at him brother and sister well naturally he was shocked when you jumped to the wrong conclusion I suppose you want me to apologize to him well that's quite all right you know Dave if it wasn't for my perky promotion I'd like to make the trip with you say if you win how much dough do you get $150,000 it just occurs to me Dave who's gonna hold the ticket would it be too much trouble if you did me I trust and do the right thing don't you miss Newton oh at all times here oh thanks baby goes right in the old wallet oh yeah 150,000 smackers that's your picture in the wallet Freddie oh yeah all American tackle oh you tell him honey we went to school together yeah I bet that was cozy well good luck again miss Newton and Freddie it's been a real pleasure oh it's mutual it's a very strange duck honey very strange and just what kind of a duck does that make you but what if he isn't at home you sure he lives here sure I'm sure and I'm still I still don't see why I had to come here because half the ticket's yours baby you gotta tell him that off well good evening my I haven't seen you too for some time about a 10 million tickets he's lucky enough to draw a horse and all he says is I haven't seen you too for some time what did you say they drew your horse yours and jeans that's the queue she's running in the derby that's the queue but the race isn't run until next week don't you understand Dave as long as the horse is gonna run why this little old ticket yours is worth dough already a lot of dough that's why we're here Nick and Nick said they can get us $12,000 yeah but I gotta catch a train to Poughkeepsie so I'll be very brief now do we take the 12,000 or do we risk it all and win in 150,000 now me I say players safe and take the 12 grand now and what do you say miss Newton well I share of 12,000 won't furnish quite the honeymoon I'd hope for what I'm sorry Freddie what what whoa you can't go through with any crazy scheme like that why not well it's impossible that's why it's well it's scandalous bound to be misunderstood well I'm afraid you have a deplorable lack of confidence in Miss Newton Freddie but I'll leave it all to her well now wait a minute Jean before you say another word what do you mean another word well it's just that I've changed my mind what oh not about you about the horse I say let's shoot the whole works let's take a chance not sell yo what do you say girly I have nothing to say Dave how about a Dave 150,000 or nothing oh by all means I I don't see how we can possibly lose what a character who knows but hey look at the time oh goodbye honey how about a big squeeze ah and don't worry goodbye good bye Freddie so long time I see you at the races well Mr. Newton look what kind of a man are you and what kind of a girl do you think I am well I think we both like to travel what gives you the remotest idea I'd go I'm a perfectly conventional person Mr. Grant and possibly the dullest you ever met please miss Newton won't you allow me to take that risk goodnight good night oh when the derby's run would you mind if I drop in at the book no I don't own a radio oh by all means and Lucy's dying to see you again she says you have an interesting fate oh wonderful woman at Lucy here was run today under ideal and before a record breaking wrong and you have to get ready Lucy and here are the results one song was the winner by two lengths from three seconds funny man there was written by Dr. Harry West and carried on turn it off and Lucy well at least we don't have to pose for newsreels oh come on cheer up and Lucy maybe it's just as well perhaps for you but you know something I'm sorry Jean missed the trip with you so there and look what I am we think you're a very attractive man aren't you even sorry well of course I have a funny I was so sure we went by answer between I'm in no condition darn that horse. Hello hello to hear the news hello Freddie yeah it's too bad what are you talking about about six thousand bucks I sold our sold it when right after I left you but we said we wouldn't sell oh you don't think I'd let my baby take a risk like that Freddie we went fifty fifty on the ticket and I see Nathan Nick and Nick the money's here in this envelope and half of it's yours well good old Freddie yes but wait a minute no no none of this is mine he sold your hat oh no it's fifty fifty of Freddie pencil oh did he really well when will we leave oh please serious I'm completely serious I can't possibly go away with you and I can't possibly accept this money here but it's yours you need it I know you must I did need it but only for one purpose what for our trip an artistic experiment that people would confuse with something improper or whatever it is you'd think they do you can't ignore people no I found that out once before but I didn't think you were people well I'm not what what what did you mean when you said experiment I meant the experiment of taking someone who's going to settle down happily and prosaically in Poughkeepsie and giving a one little holiday on a quite impersonal plane of course and then seeing if it will last for the rest of her life impersonal huh that's right like a guide or a scientist making an experiment but it's such a crazy idea experiments are always crazy until they prove all right maybe I'm the one who's crazy now but okay make the experiment well that's good gene we were two pigeons now I'm a guinea pig Alice that this is wonderful is it will just make sure you understand now a strictly impersonal guinea pig Dona Michi and Lucille Ball will be back with Act 2 of Lucky Partners in just a moment when you get an especially interesting letter don't you like to share it with someone that depends on who it's from Mr. Kennedy well this one's for Mrs. Ruth Willette of Wolf Creek Kentucky she says Wolf Creek is a small town in the wild and at one time the dealers were out of luck so I struggled along with my laundry never satisfied with the appearance of the nicer garment when I began wear summer clothes I discovered they lacked the dating freshness I so appreciated before then one day I was able to get luck like again after washing my light dresses I noticed the decided difference between the appearance of the garment that had been lucked and the ones that I'd done with the other so please let me express my deep and sincere appreciation of luck flakes for making wash day easier for giving joy and satisfaction and wearing clothes that have distinctive freshness poison graciousness can only come when one is well-wound and to be well-wound clothing must be clean and color fresh that's one of the nicest letters we've ever received Sally and it all goes to prove that it misses will that puts it you never miss the water till the well runs dry if your deal has been out of luck sometimes keep trying he's getting lots more now Lux is worth waiting for you know Sally misses will that prove herself what actual washing tests showed with strong soap too hot water and rough handling pretty things get old and drab looking in almost no time but when the same kinds of things are washed with gentle lukewarm luck side that's a different story they stay bright and lovely up to three times longer and now Mr. DeMille returns to the microphone act two of lucky partners starring Don Amici as David and Lucille Ball as Jean Miss Jean Newton having faced the most complexing problem of her life has made her most drastic decision she's become a guinea pig the following day finds her in David Grant's newly purchased car speeding away from the security of Aunt Lucy's book nook the aspects of this purely impersonal experiment chill her righteous bones but she's resolved to see it through and seeing it through she realizes involves such things as polite conversation on a day like this it's nice being a guinea pig well that's good tell me how do you like your car my car yes I don't believe in possession so I bought it in your name well thanks I wish I could understand you you know I think you're running away from something well maybe maybe I'm running away from the same things you're headed for security respectability I have them once what happened I'm sorry with this experiment rules out anything in my past and anything in your future with time only to enjoy the poetic present well I don't want to seem unpoetic but could we stop at a Western Union somewhere we're certain I think I'd like to send a wire to Aunt Lucy and I guess pretty too all by all means oh I'm glad you're not angry why on earth should I be angry well I know that everything's all right and purely impersonal but you must admit it may be a little difficult for Freddie to understand yes yes that's true so I'll just let him know that the scenery is lovely and I'm having a good time and that'll show him that everything's all right won't it I think it's a splendid idea the wire and everywhere we stop well maybe not everywhere where are we stopping first Niagara Falls welcome to Niagara Falls and may I express the hope you'll have a very happy happy time here well you may indeed I'm David Grant I wired from the office quite so rooms for self and sister not necessarily adjoining that's right oh front please front yes sir miss grant 355 mr.  Grant about the rooms the rooms I feel just awful about those rooms I gave you but adjoining rooms are now available and if you care to move tonight why I think that miss my sister is already retired besides we're completely satisfied thank you oh well perhaps tomorrow oh perhaps yes sir oh well company I see oh hello please sit down would you like some ham and eggs well I waiter yes a double my order please and some coffee now yes I just want to thank you for the flowers I mean that's why I came down to thank you are you very welcome people just wouldn't believe this would they believe what are being together like this I mean they think it wasn't like this frankly I didn't quite visualize it like this either I mean if this is so pleasant now are you thinking about something yes a secret no no Freddie Freddie yeah why well after all we do all the Freddie don't we G yes David what happens after after what the trip oh well I take you home you get no no I mean what's going to happen to you oh well I don't exactly know something will turn up though he does miss Grant yes I feel so much better mr. Grant well you do well I'm certainly glad to hear that I took the liberty I changed you and miss Grant to adjoining rooms what the bags of mood you've done the hotel a great favor well as long as it's a favor oh yeah I'm sure the management will appreciate it well I want the management to feel free to call upon us at any time by all means what am I saying these are new rooms I guess yes you take this one and I'll take that one here's your key thanks good night oh the room you better see if you like it first oh it's fine fine oh but let's see okay beautiful well look it's pretty very nice very nice well one of you two better start lion that's what are you doing here I followed you here that's what just what do you mean coming on a trip like this with him what do you mean what do I mean I mean you're coming home to marry me like we agreed you agreed that I take this trip first remember I can testify to that you shut up you think you could take my girl and what nevermind maybe you too would rather talk it over alone I'll go to my room I used to think he was just crazy now I don't trust him that means you don't trust me either well why should I now that I know he isn't crazy I think you'd better leave yeah okay if that's the way you feel about it okay only don't be surprised if I don't appear to be waiting when you come back yes I'll go but I warn you it may be for good maybe oh I just can't understand you I I just can't David I'm sorry about Freddie oh now don't blame Freddie try looking at it from his point of view well anyway he's gone I don't envy him traveling online it'll teach you not to be so suspicious well tonight oh what a lovely fireplace I love fireplaces and bedrooms don't you well haven't haven't you won't I didn't notice uh-huh well we'll change rooms oh no I didn't mean that good night good night oh yes indeedy alone yeah signed here please okay call me at two o'clock p.m. a.m. a.m. yes sir and don't forget oh is that the right time yes sir just 11 o'clock hello oh no yes lovely uh-huh did you arrange that to like a soft shadow can you really yeah I wouldn't avoid love too I called the terrace Mr. Grant your tables waiting the new rooms are satisfactory I trust all the perfect but my sister should have the one with the fireplace can you switch them oh it'll make me very happy oh don't put them to all that trouble but we're making you happy come on let's find it music having a good time well nobody knows who we are what we're doing here I'm not so sure about the two tables down that elderly couple you know them I've never seen them before in my life it's funny they've been sort of smiling at us since we've been here they're nodding at me they're getting up are you sure you don't know I hope we are not in shooting oh well no not a bit but there's something we'd like to know are you superstitious and do you believe in luck yes we do don't we David well we've been very lucky then would you come out with us out just across the terrace and into the garden it's very nice really there's something we'd like to show you perhaps share with you Jane well why not you think we'll add those don't you but we're really not just old and happy show them the way this is it this is the threshold threshold what whatever you want on the other side of course my see it's a bridge over this little stream now you pick her up and carry her across the bridge that's fine aren't you coming oh no we crossed it a long time ago well come on David okay of course fine I said fine fine now you carry her across the bridge and over here is the wishing well yes 50 years ago tonight we stood right here and wish that our marriage might last forever you do understand don't you it's just that you two look so happy and shining when we saw you inside that we wanted you to have our good night good night Jean yes I apologize for kissing you I promised it would be strictly in person either we must go back to being as we were or else we can't go on with a strip but why because that's how it was going to be remember now let's get inside and dance would you mind very much if we don't it's nearly 1230 I think good night David we can shake hands can't we quite impersonate why of course aren't you coming in too oh later I think don't forget you'll have the room of the fireplace here's the key I'll leave yours thank you oh what time do we leave in the morning would 9 be too early 9 of these well thank you oh 2 o'clock thanks it's your fee I'll say that's who it is I'll give you 10 seconds or I'll bust it in one Mississippi to Mississippi three Mississippi for Mississippi what are you doing here what are you doing here this is my room now oh sure sure we changed rooms oh was the other one haunted now look I don't like you following me spying on me it's disgusting where is that guy where is he I haven't inquired he's probably next door get packed I'm taking you home you are what kind of a sap you think I am but before we leave I'm gonna tear that wolf to pieces I'll murder him is this his room that's all I want to know all right come on Grant be a man and open this door Grant open up all right I'll go in after you ready put down that fire ax that ain't for him that's for the door on him I use just my natural right there all right Grant one of your dukes hey where is he oh skipped huh he probably went for a walk maybe I took his baggage for exercise wouldn't be surprised if he stuck you for the bill hello hello give me the desk hello what's happened to mr. Grant mr. David Wolf Grant uh-huh checked out huh did he pay his bill oh he did give me that phone where did he go this is miss Newton I need miss Grant oh he did and took the car oh well you send it up right away please thank you send water he left me a note well that's very thoughtful of him always a gentleman even when he takes the car and ditches you you still want to drive me back to New York you got a date with him there no I haven't got a date with him there okay then I'll wait for you in the lobby I didn't realize I was going so fair yeah yeah yeah yeah yeah driver's license yes here is your car well not exactly well who's exactly is it well it belongs to miss Newton she know you got it well in the sense no that's the sense I'm interested in where is she well at this moment she's at the arrogant hotel Niagara Falls but she's asleep on I'd rather you didn't disturb I think maybe she wouldn't mind oh I forgot she isn't registered there's miss Newton oh as a matter of fact she's registered as miss Grant my sister why well that's rather a long story okay it'll keep oh thank you you can tell it to me in the morning to me and the judge I'm arrested you mean you're putting me in jail mm-hmm but first you're gonna find me that day move over yes sir and get going yes sir and in case you're interested officer yeah I'm very unhappy very this is CBS the Columbia broadcasting system in a few minutes our stars Donna Michi and Lucille Ball will return in act three of lucky partners now your producer mr. Cecil B. DeMille ladies and gentlemen a high honor is to be awarded this evening to the employees of Leverbrothers company our sponsors an honor which climaxes one of the most encouraging stories I've ever heard 3,000 miles away in a New York studio is the distinguished president of the National Safety Council Colonel John still well come in Colonel still well where does your story start Colonel still well how long did it take the National Safety Council to change that picture 300,000 well that's that's three quarters of our total American war casualties that's a happy fact Colonel but how do you account for it such a saving of life and live is really a very worthy accomplishment Colonel still well on behalf of the president of Leverbrothers company mr. Francis a count way and on behalf of all the men and women who comprise the Leverbrothers family of workers it's my privilege to thank you for this very fine award and we thank you Colonel still well for being with us tonight now back to our story but first let me invite you backstage after the play for a chat with our stars the person rising now on act three of lucky partners starring Donna Michi as David and Lucille Ball as Jean about 50 miles from Niagara Falls is a town called Pokemon and in Pokemon police court suspected of stealing an automobile David now faces the judge but David is not alone the law likes witnesses and Jean and Freddie have been forced to oblige well now let's see who you all are you what's your name Frederick Victor Harper the third in short your honor well well know these people do you oh yes young ladies my fiance I am not well well seems to be a little confusion remember now under oath on the road what's your name young lady Jean Newton alias Jean Grant no your honor that is yes your honor owner of the allegedly stolen conveyance oh no yes your honor yes and no way we'll see we'll see that's what we're here for and you are mr. David Grant that right well no says so here says you are but we're under oath judge I am not David Grant then who are you all night summer set all night summer set what you say who who all night summer set summer set well well court's adjourn gotta figure this out lock them up all night summer set thanks a lot for coming one so it appears you've set the world on fire again yeah you should see this town discovering you as the biggest thing that's hit it in 50 years you're all over the New York newspaper too and Jean won't talk to me the Pokemon Chamber of Commerce has just made you an honorary member hotel is jammed business booming can they make anything out of course not we're going to be in court tomorrow morning at 10 o'clock at five minutes after 10 I guarantee to have the case dismissed thanks for waiting in this handy room Paul they'll be ready for us any minute jean how do you do hi you Dave I mean Paul hello Freddie I just want to tell you again no hard feelings thanks boy what a mob in there well a lot of contacts I'm gonna make jean I wish I could make you understand I'd rather you didn't try David on our day but jean Paul now why don't you break down he's a celebrity you can't expect me please I tell you Paulie you just can't figure women can you this is my attorney Mr. Wendell how do you do I wish you'd let him represent you it's a very simple matter really miss Newton I don't need an attorney I've done nothing that I can't explain myself we're ready come on yeah they can't begin without us Wendell wait a minute yes thanks for everything but I just decided I don't need a lawyer either what run along with love let you know how I make Paul yeah now now now now now no liberty court of law you know more witnesses I hear more confused I get now where's the girls and me your honor come here when did you first meet Mr. Somerset a day or two after he whistled at her and gave her the dress oh and Lucy sure just now sure sure he gave her a dress when what a dress cost at least two hundred dollars silver beads in my mind and how did your niece explain such an expensive present oh she didn't she denied he gave it to her now about this trip where did he get the money for it you know oh that's easy my niece gave it to him dear dear step down next witness hotel clerk where's the hotel clerk right here your honor remember this telegram hmm oh indeedy please reserve two rooms not necessarily adjoining what did that mean to you come come come by your honor that means that they must join yeah yeah shush shush now shush shush shush court of law you know that's better Mr. Harper Mr. Harper are you or are you not engaged to miss Newton well I was engaged to your honor and I think I may say have every confidence I shall be again were you engaged when she went off on that trip oh yes sir you were proved well maybe not at the time but I realize now I was unduly suspicious and narrow-minded oh well I found out who Mr. grad really was I mean a celebrated celebrity and well you know I never heard tell that celebrities were anymore to be trusted with a pretty girl than anyone else well this ain't bottom-and-mine bread Miss Newton please right here Miss Newton now just remember we're here to protect you thank you your honor pray don't mention it now how did this all start this trip and everything I was talked into a judge first by Mr. Harper and then by Mr. Somerset I thought Mr. Harper was again the idea oh he was the Mr. Somerset talked him into it too good talker her oh yeah and I was to be a guinea pig or something a what judge do I have to go into all of this oh my yes well I warn you it's going to sound kind of crazy it was crazy I was crazy to fall for it too it was supposed to be a friendly little trip as brother and sister oh please your honor I can't make it sound like he did it was it was sort of a well oh you know what I mean did he keep on being just brotherly well not entirely judge overstep the mark a kissy I suppose just once and then little later he drove away in the automobile thank you miss Newton that's all thank you your honor pray don't mention it your honor yes as my own counsel may I cross examine the witness go ahead thank you miss Newton is it a fact that since he left you at Niagara Falls my client has made repeated attempts to see you who's your client I'm my client and you refuse to give him a chance to explain well your honor would you be kind enough to tell the witness to answer got to answer him young lady but don't be scared we're here to protect you thank you pray don't mention it I was saying you refuse to listen to my client yes did he leave a note for you at Niagara Falls you know perfectly well you did eat you did have you got it with you I tore it up in little pieces oh miss Newton do you believe that my client was sincere in his feelings for you your honor he's only trying to make me talk to him now because I wouldn't talk to him outside is that right definitely sorry can't allow you to discuss your personal feeling but your honor if I can't explain my reason if miss Newton is interested in your reason she can ask you when you're on the stand well in that case no further questions but I have you're the painter huh Paul night's summer set I was what are you now oh not much of anything just a little parade well it's a little harsh perhaps depends on how you look at it yes yes did you accept $3,000 from miss Newton yes persuaded her to go on a trip with you and then made love to I kissed her once I don't care about statistics answer my questions yes your honor then you deserted her and made off with her automobile exactly well you can take long to get that cleared up your time now miss Newton well I I just like to say that he bought the car with his own money so I guess he had the right to take it back that's for the court to decide anything else no thank you your honor pray don't mention it your honor being my own counsel am I entitled to ask myself a few questions oh yes yes thank you mr. Somerset when you asked miss Newton to go on this trip were you in love with her well I didn't think so at the time but now I know that I was your honor I object personal feeling objection sustained go on mr. Somerset tell me what's the summer set when did you fall in love with miss Newton well I think it must have been when she said she had a proposition one more word you'll be in contempt of court pray don't mention it your honor I'm finished oh no no I'm not Somerset do you think that a man with your record had any right to make love to her I do not that's why I ran away and I'm extremely sorry I warned you Somerset I hear about George may I ask him a question go right ahead miss Newton mr. Somerset do you mean to suggest that it was because you had once been in jail that you walked out on me I mean on my client but it was partly that and what else was it oh my whole mode of life well that's the silliest thing I ever heard exactly what's the matter with your mode of life nothing from my point of view but a great deal from everyone else I've been described as a beachcomber screwball even as a loafer you used to be described as one of the best painters in the country but you haven't really painted in three years why your honor I object come answer the little lady well because of some paintings I published them in a book what kind of painting the kindest thing said about them was that they were documentary in nature I painted some of our better known citizens and institutions in such a manner that I was sued for libel you lost the case oh decidedly I was fine heavily well couldn't you pay the fine yes but I went to jail instead a matter of principle is it true that since then this book of your paintings has become practically a classic so they tell me then it was just bitterness and resentment at the injustice of the decision that made you stop painting and that keeps you loping and making caricatures now yes or no yes and you're in no way ashamed of yourself in your attitude no well in case you're interested I am thoroughly ashamed of you that's all thank you your honor step down Mr. Somerset well it appears we have not one but three defendants charged with various offenses I'll take Mr. Harper first oh yes your honor I'm right here any man who would let Miss Newton go off with another man is a dope I can't find you for being a dope but for destroying one hotel door with a fire axe the penalty of $25 now go sit down and think about it now for Miss Newton well your honor Miss Newton seems to be a much wrong little lady a little too trust them perhaps but otherwise in no way to blame obviously there is no case against Miss Newton you can sit down to as for Paul Knight Somerset I'm not too happy with his record and it seems to me he's gone out of his way to confuse this court to begin with honor you can't say things like that about him I was merely about to repeat the same things you said well I can say him but you can't you all Mr. Somerset an apology young lady I've granted you a great deal of freedom in this court you do you owe him an apology in the name of the whole bench it was terrible what they did to him just because some stupid judge couldn't tell the difference between works of art and I'm getting pretty mad Miss Newton but artists aren't like ordinary people they're sensitive so sensitive that if you hurt them even the littlest bit they run in a corner and you can't get anything out of them they won't paint they let their feelings run away with them and then they run away from their feelings and they don't know what it means to the girl they've made fall in love with them and you're to blame because you stand for the law and you certainly ought to apologize to Mr. Somerset in the name of the law and now you can put me in jail for contempt of court if you want to because I'm finished well yeah Mr. Somerset yes did I understand you to say you were in love with Miss Newton I remember you're still under old in that case yes your honor Miss Newton in the course of that barrage you just leveled at me did I hear you say that you were in love with Mr. Somerset well I guess I did let it slip your honor well I don't know what there's left for me to say you can apologize to him Somerset she seems to think it would make you feel better and persuade you to start a new and useful life again so here goes I know the judge who sentenced you went to school with him personally I think he's pixelated I'm very happy to apologize now get out of here all of you I'm going fishing you are now leaving Pokemon Township David you sure this is the right road to New York oh sure and I think it's very nice of you to let me drive you back if we were going the other way the road would go to Niagara Falls that's right you know I just thought of a wonderful experiment nothing impersonal I hope purely unscientific how does it work well you take a little gold ring and funny little judge in Pokemon says some magic words and bang what happened in 50 years I'll give you an exact answer David turn the car around Jean this is the road to Niagara Falls stars return to the church in calls let's drop in on the family next door and see what's going on my nice clean blanket just because I hang my blanket over two lines to dry doesn't make it a house for you to play in yes dear I see but I just luck that blanket and I don't want it to get all dirty again it smells nice mommy yes it's all fresh and clean for us to use when the weather gets cold it's soft it is soft honey and clean and fluffy so let's keep it that way how about those lightweight blankets you've been using all summer are they clean and ready to put away or the ones junior brought home from summer camp warm breezy days are ideal blanket washing weather here's how to do them make extra rich lukewarm suds with my luck flakes squeeze them through the blanket never rub or wring or twist what about women who have washing machine they're lucky be sure to use enough water to float the blanket and run the machine only three minutes then rinse thoroughly and lukewarm water and hang it in the shade to dry what's this about hanging it over two lines hang a blanket over parallel lines helps keep it from sagging at the edges with gentle luck's care your blankets will stay soft fluffy and unshrunken a long long time now here's Mr. DeMille with our stars Don Amici and Lucille Ball were lucky partners in tonight's play and after hearing these fine performances I I think we've had a bit of luck too thank you CB it's the first time that I've acted before two producers you knew that Don was forming his own picture company so I've heard what are you going to make for your first picture Don well nothing's finally settled but there's a great idea turning over my mind as they got room to turn an idea for for a picture done the story of Dr. Wassil the story of Dr. Waffle I don't wonder you're impressed great idea but Don hasn't it been done before oh no no and even if it had I mean a big production technicolor and big names somebody like Gary Cooper maybe all the rain day yeah that's the idea maybe I could help on it Don oh no no CB not that I don't think you're a great producer but Dr. Waffle that that'd be over your head to put it boldly you know Don I think you're going to go places and pictures go places look where he just went and see me when I finish Dr. Waffle I'm going to give it to you for the Lux Radio theory well thank you Don thank you but we've already counted on producing Dr. Waffle here for next Monday night no no for next Monday night we have another exciting place as full of warmth and action as the heartbeat of America it's the 20th century Fox hit home in Indiana and we can promise you a four-star performance with Walter Brennan Charlotte Greenwood June Haver and Jean Kane all in their original screen rose sounds good enough for Don to make a picture of CB good night good night you brought a lot of pleasure to a lot of homes tonight our sponsor the makers of Lux Flakes join me in inviting you to be with us again next Monday night when the Lux Radio theater presents Walter Brennan Charlotte Greenwood June Haver and Jean Kane train in home in Indiana this is Cecilia Mell saying good night to you from Hollywood now a brief reminder from Uncle Sam to save those waste fats and greases from your kitchen they're more urgently needed now than ever for medical supplies to save American lives and for explosives to help win the victory sooner rush your waste fats and greases to your butcher and he'll give you two meat points plus four cents for each pound next month October 16th the Lux Radio theater celebrates its 10th anniversary on the air we'd like you to share in this celebration by helping us select the play and stars you'd like most to hear send your suggestions on a postcard to CB DeMille post office box nine Hollywood 28 California or use the ballot which your Lux toilet soap dealer will be glad to give you lucky partners was presented through the courtesy of RKO producers of bride by mistake Donna Michi can currently be seen in the 20th century Fox production Greenwich Village Lucille Ball appeared through the courtesy of Metro Golden Mayor producers of the Technicolor picture kids met heard in tonight's play were Carlton Caddell is Freddie Harry Tyler is the judge and Verna Felton Noreen Gamil Charles Seal Eddie Maher Arthur Q. Brian Leo Cleary and Norman Field our music was directed by Louis Silvers this program is broadcast to our fighting forces overseas through cooperation with the armed forces radio service and this is your announcer John M. Kennedy reminding you to tune in again next Monday night to hear Home in Indiana starring Walter Brennan, Charlotte Greenwood, June Haver and June Crane. Kate Smith and Aunt Jenny join up to bring you their friendship cocoa cake lusciously light chocolatey layers piled with fluffy seafoam frosting so delicious and so easy made in five minutes in just one bowl with new easy-made spry. See the spry ad in October women's magazines and newspapers. This is CBS the Columbia Broadcasting System.


The floor may not be a robot. This video contains sudden jump scares. If you are easily sensitive, or suffering from heart conditions, I advised you to stop watching, or better yet, skip the jump scare before it will happen. One hyper-realistic morning, I opened my hyper-realistic eyes, only to find that my hyper-realistic sheets had been torn off my hyper-realistic bed, and strewn about my hyper-realistic room. I decided, with my hyper-realistic brain, to jump out of my hyper-realistic bed to find the cause of this, only to notice that, when my hyper-realistic feet touched the hyper-realistic carpet, it was damp. Looking down with my hyper-realistic eyes, I saw that it was covered in hyper-realistic blood.  Due to a massive loss of hyper-realistic blood, I died. And then, a hyper-realistic skeleton popped out. This was the hyper-realistic man, that lost on me my hyper-realistic dreams during my hyper-realistic sleep, before I hyper-realistically woke up.


I want to thank you so much for coming this evening and, before I introduce our third distinguished speaker for the evening, I want to introduce you to this lecture series of telling stories about law and development. I'm Diamond Dashie Agor and I'm a Professor of Labour Law at Seilhaffs University of London. My co-organiser for this lecture series is Dr Ann-Tara Helder in the Faculty of Law here at Cambridge. Mae'r myfyrdd y cyfnod yn gyntaf ar gyfer y Llywodraeth Llywodraeth Cymru yn ymwneud hynny wedi'i i fynd i'w wneud ar gyfer y Llywodraeth Cymru yn ymwyaf. Mae'r myfyrdd y Llywodraeth Cymru i'r myfyrdd y Llywodraeth Cymru yn ymwyaf, ond mae'n bwysig iawn o gan ymwneud yn bwysig iawn.  Y mae'n fwylo'r hyn yna yn ei lechynyddau i fynd. Felly mae gennym yn pwysig ar gynnwys wrth ysgolod, yn eich beth o'n fel cyfnodau ym ymwylo fel cyfnodig. Rydym i'n edrych, ymy'r ysgolod, os yw yng Nghefwc hanfydli, hefyd am y byddli, ym mwyn hwn ym mwyafol, fyddwn i'n cael ei gael eich gael eich personnel na'r edgesoedd, mae yna ei gael. Mae'r ddweud ystod. Mae'r ddweud o'r cyfrifogwyr a'r ddweud. Dwi'n ddweud, ysgolig ystod, mae'r ddweud ystod yn rhoi'r gwirraith. Mae'n ddweud ond mae'n oes iawn, ond mae'n oes iawn yn y cadmwy. Mae'n ddweud os ystod, mae'r ddweud o'r ddweud o'r ddweud. Mae'n ddweud, yn ddweud, oedd eich llwyddoedd yma o bobl yma o bobwysig a'r ddweud, Ieidwch i siwethaf ysgolwyddau o ffordd, sy'n laid y ddechrau. Fawr ymgyrch ar y llawd cyfwladau cyrraedd, ar hyn, o'r hynny i'r bywch ymbylch yn llwylo ymddangos ynghyd. Felly, mae'r bwysig yn bywch ymddangos o'r cyfrannu gwir. Ymddangos yma, mae'r bwysig yn ychydig ar fynd i'r bwysig mewn mynd i'r bwysig.  Ac mae'r adithio那就 yn ad hyd i weithio y llwyddoedd bwysig yn cydnod i ddim yn mynd i dweud o bryddiol yn adill y brif Weinbydd o'r llwyddoedd heb ymwneud, ac mae'n ddwy'n cyff90rwyr ar deulu sy'n sydd ymgyrch yn ymgyrch. Rhyw ydych chi'n ddwylau gyda'r cyfnod hynny yw'r cyffredigau ddysgu. Rhyw'r dros yw Simon Dickey yw'r dros yw'r dros yw'r ddweud yng Nghymru a'r dros yw'r dros yw Amgyrch ar hyn sy'n ddwylau gynnig fel rhan o ffrathau ydw i. Fy hoffi'r ar y ddweud yw around just the four-seven o'clock. Sorry, I saw it interrupt, you'll see. Yeah, yeah. I prefer not to have the first question. Well, thank you very much for that very kind introduction, and I like disruptive. I'm usually not introduced that way, but I really I think I have been disruptive and I've paid a price for it. I'm really very happy to talk to you. A lot of the issues that I deal with are one way of putting it is they operate at the fuzzy edge of paradigmatic knowledge, not at the centre of paradigmatic knowledge. Can you hear me? Is there a mic here or do I need to shout? Can you hear me in the back? Okay, great. And it seems to me that from the interactions that I've had with little scholars that fuzziness is one zone in the law that of course generates some interesting debates and interpretations and reinterpretations. My fuzzy edges are very different from your fuzzy zones, but still I hope that there is some kind of dialogue that we can have. The work that I want to talk about is exploratory. Basically the argument is that our existing conceptual categories fail to capture extreme conditions of extreme versions of familiar conditions. So long-term unemployment is a very simple example to give. Long-term unemployment, our statistics capture it up to a certain point. And then after a certain amount of time it varies in different countries, the fact disappears in all its materiality, all those unemployed people. They become invisible, conceptually speaking, statistically speaking. In this book I explore a whole variety of these sort of systemic edges. And I wind up with an argument that when we see such a multiplication of expulsion, so I call that systemic edges moment of expulsion, not exclusion, not the category social exclusion, which is a far more familiar one, which has been worked over and over in different countries, different versions, different contents. And which is one that functions inside the system, and so far as the notion is, I'm now talking, I repeat about social exclusion, that there's kind of a hope of reincorporation. What I'm talking about is a set of systemic edges once cross your truly in a different zone, or it is truly in a different zone. So, for instance, I talk also about dead land and dead water. I confess that the chapter that I got most engaged with in this book, and this book is a little book, was the chapter where I explored how does this type of analytics work to explain the environmental condition. And so one of the arguments that I make, for instance, is, you know, once land is truly dead, once water bodies are truly dead, they also become invisible. You know, it's like we don't deal, and I argue a bit as a provocation. I say we should make a special kind of jurisdiction that captures that particular condition so as to make it visible. You know, and I argue, for instance, that, you know, we should have when we teach our kids in elementary school in kindergarten, when we throw the maps of the world, we should show them dead land and dead water. They should be present and visible, and we can add, we made that, you know, we made that death. So that is a bit the argument, you know, it's a call for making visible that which now becomes so extreme that it falls off the cliff of our theorizations, of our analytic categories, and of the instruments that we have developed, if you want state instruments, private sector instruments, to deal with what we need to deal with. Now to do this kind of work, I sort of need a zone where I can operate that I call the zone before method. It's not a rejection of method, but in the social sciences method is a disciplining condition, and sooner or later you have to enter that zone. I think we enter it typically far too quickly, and hence we wind up with very conventional analyses, we wind up with multiple replications of familiar conditions and find little wrinkles that need additional elaboration. I really think that there is a vast zone that requires an analytic, you know, an analytics if you want to capture it. So in that sense, the zone before method is one where I deploy, if you want, analytic tactics. So it's not a rejection of method, it's not a rejection of the heart of the paradigm, it is something different, something that is preoccupied with what is not forcefully present at the heart of the paradigmatic body of knowledge. So among these analytic tactics, these are very simple. One is, what don't I see when I invoke a very powerful category? And I would be curious to know in the law how that works, if that is also sort of a, if you want a strategy, you know that you take some very powerful categories that say mark a field, a specialized domain within the law. And if that is also a question that people ask themselves, what don't I see when I deploy this category? So the question is not to reject that powerful category, the question is precisely because it's powerful, it has had to sort out a lot of aspects. In other words, it eliminates, it eliminates, it becomes conceptual, it becomes theoretical, theoria and the original Greek seeing. But it has eliminated a lot of stuff. So we need such categories, but we can't, we don't need to throw them out of the window, we really can't easily throw them out of the window. But we can ask, what don't I see when I use that category? So I deploy that with all kinds of very elementary concepts or which have become categories in a way. Immigration, the middle classes, the state, when I invoke those terms, there are invitations in my view, not to think. Because you know, we just, we assume we know. And so a bit one of my sort of methodological practices is to operate in that level. The second one is the need to actively destabilise, stabilised meanings. Again, what I was saying about the state, the middle class, etc. Which is a bit of a different practice from asking what don't I see. The destabilising a category also winds up enabling you to see something. So I interrogate these categories. For instance, when I deal with the city, which is one of my subjects, I, if I really want to do serious work on a subject that has to do with the city or the city as a category, I have to remove myself far enough from the city that I've lost it. That I have found a definition that is the non-X. I always, you will hear me say this thing about the X and the non-X. If the city is the X, if I really want to define it and to recover the complexity of it and the overwhelming variety of elements, I just want to remove myself. So I say the city is a complex but incomplete system. You might not immediately think about the city when you hear that. But if I apply that to understand the city, I discover things about the city. And one issue, for instance, to give you a very quick, is that the city, if it is complex and incomplete, it means that density by itself as a marker is not enough. An office park has density. Secondly, but it's not a city. Secondly, you can argue that a lot of what we are doing when we talk about the urbanisation has to do with building density. Does it have to do with city? No, these are mostly closed, often privately owned, like an office park conditions. And so why does it matter, one might then ask, why does it matter to recover what the city is? And so one of my answers is, the city is a space where those without power get to make a history, a culture, an economy. And then it matters. It matters to understand that density by itself is not the same as city. That the city is a very particular space. And the city, of course, as you must have read in some places, is being bought up. I'm now working with the data set of 100 cities, the 100 cities that I have received most of the investment in the last two years. And London, of course, as you know, is a key destination. So is Oxford, Cambridge less, you may also know that. And so what happens when you have all this corporate buying, mega projects that eliminate ambiguity, that privatise, you lose the street. I think the street in my reading, street, a necessary but indeterminate space. That indeterminacy is so easily lost nowadays with mega projects, et cetera. So that is sort of one way of going about it. Now another sort of practice, another zone that I like, and it sort of relates to what don't I see, is to sort of a synthesising image, if you want, is that my zone for research, for actually empirical research, is in the shadows of very powerful categories. So there I go digging. Now in the shadows you don't see very well, you don't have, you know, you need special tools, and those are the analytic tactics then, right? So that is, and one of the questions I have, I hope somebody is taking note of my questions to you. These are questions that I have for you and I hope to have a chance to re-discuss that, is do you have equivalence? So the fuzzy zones, I think, I just recently gave a talk at the Columbia University Law School where I teach and I talk quite a bit about fuzzy zones. And all the profs, this was just profs, they then began to give all kinds of examples about the fuzziness, you know, especially if Anglo-American law. That is a source of so many debates. But anyhow, so the other one is, do you have, you know, a question to you in a way, do you have zones in your conceptual zones, whatever the useful term for you? Where you actually, you know, you have to go digging, you have to discover because they are ambiguous. I had the impression, for instance, when the global systematicity emerges, that a lot of legal scholars had to enter. I spent a lot of time with legal scholars at that, that was like 10 years ago or something, that they had to enter a zone where they were not fully armed with concepts, you know, to capture that. That was a major transformation that unsettled a lot about national law. So anyhow, those are some of the questions. Now, what I want to start out with is this notion of making, which is another one of my analytic tactics. And I find myself in this current period, given what is happening in the research that I'm interested in, especially with this subject of expulsions, that the category making is very important. So I want to insist that that dead land, that dead water, we made it. That's exaggerated. That's not totally correct. The we is ambiguous, making is, you know. So it is a partial account, but it is a violent way almost to enter a subject, to enter an issue. And so, for instance, just this is entertainment moment, though it is about tragic stuff. So we make, we made this. This is the internally displaced people. That is not just something, oh my God, there it happened. No, we made it. So when I, as a social scientist, begin to deal with some of these, can people see in the back? It's a very simple curve, right? But look how it grew. It keeps growing. Now it's even bigger, right? So when you say we made that, you've got to bring into the explanation a very broad zone of agents, not just the fact of the miseries of these people. Right?  Home is either a war zone, a new private city or a plantation. And so why the language of displaced? Don't we need another language to capture this? And secondly, when they've spent so much time, sometimes two or three generations, and now there's a whole debate, I'm part of a big network around this question where they are actually studying in great detail these camps, these camps are ready to be cities. And that would enable. But guess who doesn't allow them to become cities? It's the international system that tries to help them, to protect them, but that reduces them to clients, to victims, et cetera. You go into some of these camps, they are already little cities, but there are all kinds of constraints instead of taking the next step. So this is another issue. And also the land on which they sit, if it becomes a city, it's going to be more difficult to displace the displaced from what might at some point emerge as desirable land. And so there is a whole bundle of issues. Now I also love this one. Again, this is like entertainment about very tragic situations. This, you know when I'm talking about the RLC, 20 years reduced to a sliver.  That's a capability. Clearly I'm not using capability the way Amartya Sen or Martha Nussbaum use it. Also because historically speaking I think capability X, time A may have been very good, benign at least. Time B, it may really be a difference. So this notion that a capability must be positive to me comes with far too much of a baggage. So I open it up into a variable. Negative capabilities that might become positive. I doubt that one would. And then here is another one. This is another accomplishment. And this is like at long distance effect. You see what I'm talking about here, right? You can, can you see the, in the back there you see, well, okay. In a few years we managed to destroy a massive. And of course the origins line our industrial society is not in that area of the world. So these are very exaggerated instances of what I'm trying to get at by emphasizing, by using this very partial account, this partial, brutal account that goes right in there and leaves out all kinds of other things that are of course part of the picture. Now, given that a lot of what I'm doing in this project really concerns the current moment with all the problems that brings if you are a researcher that, you know, you can't deal with everything. But one of the questions for me is, you know, what are synthesizing images or whatever phrases, concepts that allow you to capture. So, so one of them that I like to ask, you know, what is the steam engine of this apple? By this apple can mean the last 30 years in much of the world. It starts out in certain parts of the world, especially Europe and North America. It moves on. By now it is quite a bit of the world, still not the whole world. But it is a history that begins 30 years ago with very specific combinations of elements that I, oh, I brought a book for your library. It's a public access book, I hope, where I describe, all of this is my territory book, where I describe, you know, this combination of elements that produces this foundational transformation without, by the way, altering everything. The organizing question in this book is, how do complex systems change? And they don't change simply by some revolutionary thing that everything goes. But they change often by using existing capabilities. But they make them, they get located in different organizing logics. So one of the issues that I did there was to look at certain legal capabilities and how they are, say, the rule of law. Very important to justify the emergence of the national state in a history, you know, where the sovereign was the king, et cetera, et cetera. And a secularizing project, you know. And in a way that becomes critical to justify the neoliberal, if I may use that term for shorthand, the neoliberal global system, the rule of law. But it really jumped that same capability, the language, it jumps organizing logics. And it becomes part of a, if you want a mixture of rules and constraints and freedoms that strengthen the corporate sector and weaken several features of national law. To protect citizens, to protect national industry, you know, the whole sort of deregulation and privatization bit. So that is sort of an example. Now back to this. So I want to look at this period and ask myself what is the steam engine of this period. Now when I ask this question, I mostly talk to very large audiences where I don't get to hear an answer. But when I speak to a small group like this, I'm just very tempted to ask I don't know if you can sort of give me an answer. What from your perspective is the steam engine of this epoch? Can anybody, you know what I mean by steam engine, something that is present directly and indirectly that has multiple ramifications that go way past the original item, so to say, right? Can anybody think? But actually this is not about thinking. This is about sort of a spontaneous, nobody has a spontaneous answer. The internet? Everybody with the internet? Exactly. That's not my answer by the way. But that is what I always get when I get a chance and I assume that when I'm speaking to a large audience that that is in their mind, you know where I don't. But partly as a provocation, partly as a wake up call, I say no. It's not. These digitised capabilities, et cetera, they are present everywhere directly and indirectly. So it's a very good answer to say the steam engine. So can anybody guess what it is that I'm going to say? What would be the number two? What would somebody, if it's not that, what, yeah? Consumption is a good answer too. It says that consumption is a shrinking domain vis-à-vis what feeds economic growth today. You see there are other modes that are done, yes? From a product of the financial economy? Yes, exactly. It's the financialising. It's not so much finance. It's the financialising. So in here I should say that again to make a distinction, traditional banking, which we all need by the way, we all need banks, a little community to advance, if you want to buy a bike to be green, people need loans, little loans. So I don't have anything against traditional banking. Little banks, especially if there are local banks, they recirculate whatever the interest payment capacity that a community has. Nothing wrong. Finance is very different. So when we are putting it is that the traditional bank sells money it has. Finance sells something it does not have. Therein lies its danger, if you want, to all kinds of sectors. And secondly, its extraordinary creativity. I use it with a bit of irony, but it is truly creative. Because it has to invent instruments that allow it to invade sectors that are as varied as the financialising of commodities, grains and I don't know what, the financialising of fantastic real estate, the financialising of used car loans and in other words very low or very modest mortgages. So that is a capacity. And it is dangerous because without invading other sectors, it doesn't, you know, it's nothing. So one for me always an indicator is to take the value, I take the value of finance as measured by outstanding derivatives, which is the basic measure at different periods, and compare it with two things. One is if you take currency as issued by the central banks of countries, what is the amount of actual currency?  I don't need to elaborate. But if there is a lot of difference, then even if it is a variable measure, the actual currency and circulation at a given time in the world, you still have a measure there, right? And so I'm going to show you this, how many of you have seen this graph, this is a famous, this comes from the credit default swaps thing. You know, so it's there, this is official from the financial system. So, oh, I don't have a pointer.  So is the growth curve, you don't need to see. So from less than 1 trillion in 201 to 60 to the high point, 62 trillion in 207. Can you think of anything that has had that growth rate? That's a very strong growth rate. Very few conditions in the real world have that kind of growth rate. And second point, if you take global GDP, the GDP of all the economies in the world at that point, it is 54 trillion. That is to say less than the 62 trillion. Third point, if you take the total value of financial, of finance, this is just one important instrument like credit default swaps, but there are many other instruments. And so the standard measure, these are also derivatives, right? The standard measure is the value of outstanding derivatives. Well, the value of outstanding derivatives, which includes swaps, right, was at that point 630 trillion. That is 15 times the value of global GDP. Then if you take the value of the actual currency in circulation as issued by central banks, in other words, not bitcoins and whatever at that point, it was about 200 trillion. That tells you something about finance. That tells you something that indicates that you can't just think of finance as money. We use money because it is our standard measure. It's an indicator, et cetera. But what it also tells you is the extraordinary creativity of this sector. Now, I want to illustrate the central argument that I'm trying to make is that the steam engine of our epoch, so to speak. I'm using this because I'm speaking to you. I would not put this in a book, but it's like a way of covering a lot of material with one image, the steam engine. The reason I argue that this is the steam engine of our epoch is because one of the reasons that it takes all these extraordinary values is because it has developed instruments to invade all sectors. We all know who are the key makers of these brilliant instruments. They're physicists. I say at one point because that is when I was actually doing the field work. At one point, the back room, the space that used to be the space of the secretaries, the back room at Goldman Sachs, one of the big firms in Wall Street, had 100 physicists. One of them became my buddy, so he told me a lot. He's now some kind of prophet at Columbia University. But 100 physicists developing brilliant instruments. The core math has nothing to do with microeconomics. Now, in England, you know, I know in the UK microeconomics isn't this dominant thing that in the United States you say economics. And the only serious economics for a long time was microeconomics. Now finance has gained a certain finance at that in that time was seen as second class economics. But the algorithm, of course, is an open structure.  The algorithm is the basic sort of structure for this type of sector finance. Whereas in banking, you know, it's sort of more traditional. So in that sense, a big difference. Now I want to illustrate this as capability with a particular event, a particular micro history that is a real one. But I could illustrate it with a lot of stuff, all right? But, you know, this is just, this is a good, oh, I forgot about this. This is another feature, I'm sure you have heard of this, the dark pools in the United States. So most financial trading today, you never hear about it because it happens in these dark pools. When Bernanke, our formal head of the fed, retired, he said, and all the other things he said, he said, well, in about 70% of trading is probably happening in dark pools and we don't know what's happening there. He used the language dark pools, not high as a lefty or whatever, you know, I may be. So I think that is also indicative.  And as you can see, Europe has much less of that. So that when we talk about high finance, there is a whole world that is very difficult to get a handle of. Outcomes make it possible to get a sense of total value at play. How they get to that is difficult. Now I want to illustrate with a very sharp contrast, very, very modest assets, very modest assets that can be used by high finance, very complicated process to make very modest assets work for high finance, which is also an interesting observation, you understand. Brilliant minds, all the physicists to work. How do I make a little modest little thingy work for who, for the high investment circuit, right? Because and there are interesting temporalities in this period. So one very interesting period comes right after this thing here but already before, which is that the high investment circuit is asking the financial sector, which is a kind of intermediary, although they have also become their own actors, please give us an asset-backed security rather than a derivative based on an interest, based on another derivative, these long chains. Do you understand what I'm talking about, right? So that is the subprime mortgage, you must have heard of this. You have had some of that too, by the way, it's still going on. Anyhow, so very, very quickly you can read those two sentences. The question is how do we introduce this as asset, as we can sell it as asset-backed security. And secondly, and they go absolutely together, one can't work without the other, how do we camouflage the low value of the asset. That was the complexity. A dear colleague of mine at Columbia University, he showed me the six, seven, it varied a lot, but a lot of steps in between steps to make that transformation. So the back room for physicists is truly a kind of Silicon Valley for finance. They are inventing and innovating, etc. It's a technical problem. I think you all know probably the little book, The Technical Problem, how in many, many domains you have very worthy scientists working on a technical problem that eventually becomes a disastrous machine for. Now here is the result very quickly put for closures, you know, is a notice. According to Bernanke, there was another thing he said, most of these people, 14 million of these households out of their homes. So he said by the end of 2014 this process, this is a process with, I don't want to go into the details. But this is just to show, and here you have the very clear image that this is the high point, right? But it keeps on going because these are these, you know, these offers that I have for five years that you don't have to pay anything, you can own a house. The aim was how do we get this household to sign a contract. That is all they wanted. Whether those people could pay or not the contract. The people, the intermediary agents had to get about 500 contracts a week to make it work. Over 15 million of these contracts were issued. Now these 14 million households that are sort of out, those are households and in terms of their rentals and all of that, I mean, you know, it's a mix, but mostly they're households. That is about 30 million people. Now, I'm Dutch. I like to make it Pythagorean. My country has 16 million people. So what this meant was a voice from up there saying the equivalent in the Netherlands. Okay, all the people in the Church of the Netherlands out. Where you go, I don't know, but you're out. And then now we repeat the exercise. It's a lot of people and they're invisible. Again, my play with this, the invisibility bit, no matter how material, if you cross a certain edge, I call them systemic edges, it becomes invisible. Because we not not because it's invisible, but because our categories don't allow us to capture it. So what do we have? We have fast stretches of empty neighbourhoods. We have using the same tents as the international refugee system, nice blue tents. We have thousands and thousands of people living in tents cities outside municipal governments, nice municipal governments. I mean, this is a world that is invisible. I have videos of all of it and when I show it to people, they can believe it. They can believe it is the United States. So to me, this is part of my expulsions argument. And a lot of these people are not the poorest of the poor, you know, though we also had the biggest, it's now being evacuated. The biggest, and I'm just curious to know if you know, the biggest encampment for the homeless up to now. Now it's being that emerges after 208, a crisis. Where do you think it was? Does anybody know? Silicon Valley. Silicon Valley is a very beautiful valley. It has hills and if you stand on top and you look down, you wouldn't have seen it. Again, I have video of it. You would not have seen it if you come from below, you see it. And it is, you know, they have carbs and etc. But I checked in great detail because I was reading something into this. These were a lot of young men and they had top quality footwear, how do you call them? Sneakers and great bikes. Guess who they were?  Suddenly they're homeless. And why were you sneakers? You have to use sneakers. And the bike is the way because in California you need some wheels. I mean, these are micro. I have a whole series of videos of these encampments that I was describing. And I take it early in the morning and then, you know, before anybody's out and so I show them to my students and I say, who do you think is going to come out of there? They always think either an African American or a Latino, an outcome Anglo, Anglo after Anglo after Anglo.  This is one way in which we immigration people used to speak about the Anglo. So these are true stories. Now in Europe they think this is not happening. It is. And I in the book I have quite a few more figures, but anyhow what I like here, and if I had a pointer I would point is that Germany is among the top. Now a lot of these foreclosures, as you know, is a notice. The problem is that it winds up being an effect, you know, a real thing in the sense that people just have to leave. They can't manage it. Now the numbers, as you can see, these are actual numbers, by the way, you understand this is not a growth curve, right? These are individual numbers that belong to each year. And among the lowest foreclosures, you even have nice countries, so to speak, Denmark, Netherlands, you know, you wouldn't expect that. Hungary is a disaster, a million households now. This is just three years that I'm showing you here. The story continues. And these, again, these are sort of invisible stories. What is left is the evidence, the empty space, but nobody goes to those neighbourhoods. So they are also de facto invisible. By themselves none of this is invisible, but the intermediations of our social existence, etc., make them invisible. Now, here is another. The image that I want to leave you with is a lot of empty space and a lot of displaced people. So this is from my data set. This is what, oh God, yes, right, I don't have it. Anyhow, this is national and foreign investment volumes. This is one year mid-2013 to mid-2014. This is corporate investment. The lowest property is $5 million, a variable quantity depending on the country, etc. And as you can see, New York is at the top, London. This is just one year. This is on some level a very old history, clearly. But this is a new phase in that old history that starts after the crisis of 208, is now escalating, etc. So I told you I have 100 cities that are the top cities. And so what you see here, just as an image goes on and on, you have a few cities that capture most of it, and then you have a very, very long tale that includes a lot of cities. And now, what I care about the story is not really, by the way, I should, before I say that, this is foreign investment. Foreign investment, London is number one, and you must all have heard the one bit that, and by the way, what I'm going to tell you, I used to say gentrification is not adequate language. Many people say, oh, that's gentrification. Well, it is also gentrification. So the stinger I want to tell you, and you probably know this, is that the Quartare Royals own more of London than the Queen of England. Now we know that the Queen of England is not the main owner of London, but still, you know, I thought that. I always say that when I'm not in the UK, just to mark the notion that gentrification doesn't capture the process. There is something deeper that we need to capture. And so for me, this is about really buying urban land. And that is why I give you this brief explanation in what way the city matters a lot to me. You know, because it's this complex space, incomplete, where those without power can get to make a history. Something they will not make in a mega project or in an office park. They may be employed, but they don't, you know. So I have a whole bunch of research that I've done on cities and asymmetric wars, cities and inequality, cities and the poor. So it comes out of that, and this is not the moment to develop that. But anyhow, here you have some figures. Now I want to move on. What I'm trying to show you is how finance directly and indirectly makes itself present where you might least expect it. Now here's another one, which is that, and finance again had to build this, but the bridge into even the most modest household. Now here we deal partly with banks, partly with financial firms. And so what I'm going to show you now, don't bother about all the numbers and all that. Just look, for instance, just let's start with the title of it. I just want to isolate a few numbers. The title ratio of household credit to personal disposable income. You understand that measure, right? And by the way, this is IMF staff papers. I work a lot with the IMF staff papers. That's a lot of good data that doesn't become part of the IMF report. And often it's a lot of negative data. There you have it. So ratio of household credit. Credit sounds very pretty. Credit is debt. All right. So to me that language bit is also interesting. Look at Hungary. And this is, by the way, a critical year. Same thing with the subprime mortgage, 2000 to 2005. Hungary starts with 11%. That's incredibly low. Look at the United States already over 100. I don't have the UK here, but anyhow. And then five years later, it's almost 40%. That's a very rapid growth rate. Spain, a country, of course, which suffered a massive, you know, the battle there with the mortgage is also 65%, ruby goes up to 112. Germany, on the other hand, you see Germany, 70, 70, 70. To me it's almost like a comic opera. I must say about the Germans that incredible stability. No other country managed that. But so, as I said at the beginning, you know, if a small bank or a credit union owns your debt, your capacity to buy a loan and to pay interest rate, in other words, the interest payments that you make, chances are we'll recirculate in your town or in your neighbourhood or whatever, you know. If a foreign bank owns your debt, who knows, it's a franchise system. It takes it out, who knows where it goes. Chances are it will not recirculate, you know, in your town. And so I looked for these countries again, IMF staff papers, all the data are there, it's amazing. Look at Hungary, 40% of that debt is foreign owned. It's foreign banks, it's big Swiss, Austrian and Swiss banks. So I'm in German, thanks. So that is not good. Now here, oops, this is the same. I'm sorry, this is repeat. Oh, you know what, I'm sorry. I'm just pushing the wrong button. Now I wanted to show you just as information.  I have a lot more to do. How much time do I have? So I just wanted to emphasise one thing. This is just a curiosity item. So look at the top there you see London. That's for the UK. So the price is the price of housing, price to income ratio. We're talking serious stuff here. It's not just price. And then London, I mean the UK is much lower. Look at the United States. This is the United States down here. And there is New York. So that is a familiar story. But these charts are amazing and you can sort of play with them. You know you can bring in different combinations. I couldn't help but share that with you. Now there is an issue that I, and this relates to the larger question of development. The talk of the Troika. Can I use that term for shorthand? Is that Greece has a problem, Spain has a problem, et cetera. I pushed very hard in my expulsion's book to make the argument that we're dealing with a systematicity that affects all these countries. It's just that other elements come into the picture. So this graph for me is very important. All these countries, and I have many more countries that I don't have. They all suffer a fall, including Germany. It's just that Germany, the red line on top, manages to do much better after that. Partly because it has a very strong manufacturing sector, intermediate manufacturing, you know, machines that make machines. They are the best in the world, which is in itself a tale, by the way, an interesting tale that manufacturing, you know, that is solid stuff. And then of course Greece has the oligarchs. Spain had its absolute abuse of the construction syndrome, et cetera. But there is a deeper systematicity in chapter two of expulsion's. I make a very, I think, strong argument that what we today call the need for austerity politics, I mean look at the moral language, austerity, is really the equivalent, systemically speaking, of the restructuring programmes for the global south. The effect of those restructuring programmes was devastated economies and predatory elites, you know, it couldn't have gone worse. The second point, the debate now that the Germans especially, saying Shoibela, saying no Greece has signed the contracts, we cannot change the contracts, well the IMF, at some point, decides that 46 countries that were subject to its policies are never going to pay their debt, and it starts the IHPC programme in the highly indebted poor countries, I'm sure, and many of you know what I'm talking about.  A contract is made. I have a whole line of analysis, you know, that is based on the notion that we made these things, and hence yes, we can change them. I mean the conditions of course under which we can change them matter. I'm going to jump some of these curves, but I want to dwell on two, I have a whole set of these. Look at this, so this is corporate profits, there comes the fall, you know, the crisis, a crisis that lasts about two hours, literally speaking, after that it gets, it's even higher than before the crisis. All kinds of things happen in between. That was made, that didn't fall from the sky already made, that the curve goes even higher. You understand what I'm saying, right? And of course when I say two hours, I hope you understood, it's a few years, but it was like nothing. In the meantime the rest of society is still suffering the crisis. So the real disjuncture, here you don't even see the crisis, but look at that curve, here is the crisis. You have like a slight bump that literally doesn't happen now probably, and then it goes higher than ever. And so a question is what happened, a couple of things happened when one of them is an amazing amount of pumping, what they elegantly call quantitative easing, pumping of cash, currency, real money, which is like pure gold, you understand, in a highly speculative system on which they could build extraordinary profit rates. No conditionalities are touched to the banks getting this money, not even you have to make loans. These financial firms so-called often refer to as banks, they're not in the business of making loans, loans does not make you money. If it brings you in cash that you can then maybe, but it doesn't so they don't. So these are a series of abuses. I'm going to end up with something, here's more the other version of land grabs in the global south, probably I should have dwelt a bit more on, this is a massive, I'm sure that people are aware of this, right? So the best source of information I think is a land matrix, which is a global network of people who really collect the data, it only includes properties that are above 200 hectares. Europe is becoming a destination for land grabs. French who want to be farmers like their parents were because the job market is not very good, they can't buy land, it's bought up. By the way in Cambridgeshire, part of the land has been bought up by a foreign investor. Do you know this very nice environmentally oriented, genuinely environmentally oriented Swedish firm H&M or something like that, HMS? The owner of HMS, very nice person, has bought a huge stretch of land in the north of England. England proper. So this stuff again, and so you begin to put all of these stories together, these three stories that I have talked about, the Supreme Mortgage and all these expulsions, the buying up of the city and the buying up of land, land has become a very important element. It's a safe investment, you can store your money, but it's also that too much land, I have images here that show too much land is dead, I'm not going to go there, hence land becomes super important to extract water. For many scientists the real crisis we face is water. Though they have discovered beneath the bottom of the ocean there is a whole other world, huge amount of water so that you know, I'm talking about nobody, this was seen here. So anyhow, so I want to end with an image which is given all these negatives, who are we, the citizens? Because we are being really treated rather poorly by a lot of this stuff. And so I wanted to ask you, who among you has seen this map? This is in the public domain. This is a map that shows the 10,000 buildings where full-time data gathering for surveillance purposes is taking place. And very few people have seen this map. I've been showing this map for a few years, I always emphasize it's in the public domain. And after Mr Snowden of course came out, people could begin to connect to this map. And so that to me is the ultimate sort of thing about who are we, the citizens, as formal subjects in the law. We have been losing rights. One of my projects is the rights that we have lost. And I have a colleague here in the UK, I will not mention his name. We're trying to sort of nail down all the rights we have lost. What I have been showing you is a massive loss, not a formalized right, but of the underpinnings of livelihoods, et cetera, et cetera. And this is but the most extreme version. So who are we, the citizens? Thank you very much.


Okay, so this one says a substance C-X-H-Y has the composition by mass 85.63% carbon and 14.37% hydrogen. First it wants you to calculate the empirical formula of the substance and then it asks what is the molecular formula of the substance if its molar mass is 70.1 grams per mole. So remember looking at this problem percent mass doesn't really help us with this thing. Okay, so we want to convert these to molar numbers. Okay, so percent mass of the total, the whole substance is going to be 100% like that. I'll say 100.00% since there's two after the last minute. So what we can do is convert this to actual masses. Okay, so the mass of carbon, if we've got 100 grams, so the mass total is going to be 100 grams, if we've got that of the substance C-X-H-Y then the mass of carbon is going to be 85.63 grams. So the mass of hydrogen is going to be what then? 14.7 grams. 14.37, yeah. 14.37 grams of hydrogen like that. Okay, because that's 85.63% of 100 grams. That's 14.37% of 100 grams. Okay, so remember what did I say? We need to convert these to moles. Okay, because we need the molar ratio of X to Y. So carbon, one mole of carbon is 12.01 grams of carbon. Okay, that's going to cancel out our grams of carbon like that. One mole of hydrogen is 1.008 grams of hydrogen. Remember I'm getting these numbers from the periodic table. That's actually in my head. I've done these so many times, but you can look at the periodic table to convert these to moles. So what do we got? 85.63 divided by 12.01. And that equals? 7.13 moles. 7.13 moles of carbon. And then 14.37 divided by 1.08 is 14.26 moles of hydrogen like that. So now what we can do is take... Well, we've got moles and moles, okay? So we can say C7.130 moles H14.26. So hopefully that looks weird to you, right? Because you don't see normally molecular formulas having decimal points. They're usually integers, right? So what we're going to have to do is divide both of these by the smallest number, okay? Which is smaller, 7.130 or 14.26? So 7.130, 7.130 like that, okay? So this is going to give us the empirical formula provided we get integers here, right? 7.130 divided by 7.130 is 1. And then H, if you can't see that, that's going to be almost 2. It's going to be like 1.9999. So we're going to say 2, like that, okay? But we don't write C1. So the empirical formula is going to be CH2, like that. How are you fine with doing that? I've got to switch it off, Ben, because they're all dying at the same time. Okay, so the thing we want to do now is figure out, well, what is the empirical mass? We've got the molar mass over here. So we want to figure out what is the empirical mass? How do we do that? Well, we look at CH2, and we add it up. So 12.01 plus 2 times 1.008. So 2, 6, that's per mole. That's the empirical mass, okay? So how do I figure out, well, I've got the molar mass here, the empirical mass. How do I figure out what the molecular formula is? I've got to figure out, well, what's the ratio between the molar mass and the empirical mass? So the ratio is going to be the molar mass divided by the empirical mass. So that's 70.1 grams per mole divided by 14.026 grams per mole. And if I cut, this should be 5, but let's just make sure. So 70.1 divided by 14.026. Yeah, 4.9978, that's essentially 5. Are we okay with that? Anybody not okay with what we've done so far? Everybody is okay with that. Okay, wonderful. So what do we do? We take this empirical formula, and we multiply each of those things by 5, okay? So we're going to erase down here. So we got CH2 multiplied by 5. But when we do that, we put the 5 there, multiply it down there. That's going to equal C5H10, because 1 times 5 is 5, 2 times 5 is 10. So the molecular formula for this is C5H10. Any questions? No. Pretty straightforward, right? Good.


cognitive processing therapy is kind of the gold standard for PTSD in a lot of circles. I think that's where you really want to be considering the person's sensory profile. I think some autistic people can certainly respond well to it. Some have a really strong reaction to it. I think, so yeah, there's all these different theories. I think finding a therapist that you feel really safe with connected to is probably the most important part. Is this someone who is curious about your experience, who you feel connected to? Because that co-regulation that happens in therapy as you're working through your trauma, I don't want to be dismissive of what kind of therapy you do, but I actually think that's probably the most important is finding a person that you can connect with and feel safe with.