What's going on everyone Sam here late in sports cards ripping four boxes of 22 Penny mosaic football for James C. So good luck James. Let's do it. Yeah, William Not the next break with the break after is you so there's this there's one box the top strong black baseball Which is quick and then it's you so you're almost there. There's Traylon Berks mosaic Gold Evan Neil 10 of 10 rookie for the Giants. There you go. Nice way to start it some old linemen love There we go Aaron Rodgers and silver at my home swagger red Patrick Mahomes March ace silver blue chips Kenneth Walker Super Bowl prediction. What's your Super Bowl prediction doesn't matter Aaron Rodgers mosaic Silver Jeremy Rucker rookie mosaic Trevor Lawrence. Yeah chiefs could be like chiefs Niners, maybe Chiefs Eagles There's Jay Jedis for the Vikings red Cam Taylor Britt Blue chips Kenneth Walker Mike Ravel That's bucks. Yeah, there you go. Carl. Do you imagine that was a Super Bowl? Pat's and bucks Two seven seeds get in Well now the bucks won't be a seven seed, but Pat Pat Patriots might There's County Pickett got our first auto is Traylon Berks nice one there for the Titans Grats on that first-round receiver Lamar Jackson silver to Montez Adams Okay, nine to 99 nice one there 59 out of 99 Silver DPGA Silver simian rice.  Where's ripping fire? There's Marvin Jones Blue Aiden Hutchinson 79 out of 99 Silver is Justin Fields. Yeah, we pulled some we like I'd say the biggest is probably the Brock Purdy gold auto Forest hold a couple days ago. That's pretty nasty. There's Trayvon Walker mosaic red MPJ and blue James Cook blue chips That is 2038 out of 99 How I feel at the end of the week We played yesterday Killing him he went to every tea every Portis tea box silver Samurai Tor Rookie Call him a baby Sorry, I didn't know that you're such a big baby Pick it debut another one got Tristan works Silver Dallas Goddard and Tony Dorsett overdrive mosaic right box number two Tray Hendrickson There's wow, that's so nasty Tessalation Ray Lewis 14 of 15 My heart just sank a little bit on that one That's so cool. I love the tessellation New product. They just put in this year or new parallel. I should say so cool, man That's a hard one to let go. Yeah. Oh, absolutely. You're making me jealous Geez man That's so cool.   There's Vylus Jones Jr. rookie autograph for the Bears Trevor Lawrence and Mike Williams red Got Heinz Ward mosaic red Josh Pascal Blue Chips Breeze Hall center stage Andrew Luck not numbered that poor guy Tyler B Silver Matt Corral rookie and Marshall Falk overdrive mosaic Malika Willis rookie The Andre Hopkins mosaic red mosaic Barry Sanders Meta mastery is a Peyton Manning silver on the back Must be I mean, I guess they don't see I know Nick Bonito Silver Tyree Killie must not be right or something introduction. I don't know. I don't know why they're not starting the week Well, it's kind of strange to me They must really just not like what they see Take it rookie Isaiah Spiller was Darius Leonard Red Marvin Jones and blue Meta mastery Ray Lewis It's a 99 that is three of nine or no 87 of 99 You've got a while still a Keem Like 20 orders out of you still a Lot of personal tonight y'all I like it's pretty pretty much. I'd say gonna be close to full soon There's Logan Hall rookie auto Fletcher Cox silver Robbie Anderson think the Berks was a black was it make sure Hold on gonna take a look. I hope not that would have been a bad mess No, no, it was a different one. It was a One of the inserts Hold on. I'm gonna take a look make sure it's not Nope, it was not. I'm assuming it was this one right here the introductions, but it's not it looks navy blue It looks black from right there, but as technically a navy blue with the mosaic On the introduction so not a black unfortunately. We're on to a buck number three now James. Good luck, buddy Tyrion Davis price purple bottom of the people's Jones the 49 Oh Jackson's so blue Josh Allen nice to 99 only six out of 99 silver Cam Hayward Roger Craig Bobby Anderson mosaic great took all three minutes for them to score a cut for Burroughs roll passing fantastic God man, come on This elite bills defense that's gonna stop them Shaquille Barrett Alante Taylor red Center stage Archie Manning You've got a while still James. You've got like probably like 30 orders before you because you're further a little bit further up James cook rookie for the bills Auto, I should say Brian Cook mosaic rookie red Darren Waller Silver Antoine Winfield Tyler Murray swagger mosaic Yeah, I saw Patrick unfortunately Daniel Jones Red John Dotson Silver Derek Henry met a master Jamar Chase nice one there Silver Matt Stafford Introduction silver. I've been new year to you to James. Thank you, buddy Appreciate that. We got a gold gold straight fire on the back. That'll be cool pick it rookie Arnold Ebikita Joe Burrow red Introductions Kenny pick it and straight fire gold Justin Herbert. That's nine of ten nice one there congrats on that James That's sweet gold Herbie Could have been dolphin Justin Herbert There's Sam Williams rookie auto for the Cowboys not number Jeffrey Simmons silver Rashad white Blown out here And now it's really concussed. Yeah Blue Robbie Anderson to 99 Silver Matt Corral Davey another gold coming up here. There's a pretty rookie We've got T. Higgins See we've got for the Packers gold Aaron Jones 10 of 10 There you go. Congrats on that another gold for you James Donald driver silver. There's Jordan Davis rookie auto To the Eagles Alan Lazard Yeah, can you still got a while as well? You still got a good amount as well There's a lot of orders and cue tonight just because we we didn't have personals the past few nights so chase young Silver Eli Malik Willis blue chips So it's just a lot that have stacked on top of each other. There's Tom Brady Red Derrick young Richard Dent There's digs with a catch now. There's Adam feeling silver David a job, oh Earl Campbell overdrive We never really turn off the ability to buy but like if it gets to it if it gets to the time where we stop doing Personals they just get pushed to the next day or the next time we do personals. We do usually do group breaks from like 4 p.m. Eastern time to Lawrence Taylor mosaic red Joel batonio Usually do it from about like 4 or 5 p.m. Eastern time to 12 a.m. Eastern time and then do personals from 12 a.m. Eastern time to 2 a.m. Eastern time on most nights when it's not just a personals only There's Christian Watson mosaic rookie silver West welker Herbie Right now it's 843 p.m. At night 843 at night Yeah, hard in there John matchy rookie auto 400 a box Baker Jalen Tolbert Silver Roger Svaldak. Yeah, 243 p.m. In New Zealand. That's wild dude. There's Ray Lewis mosaic Red juju and montage Travis Kelsey 61 out of 99 I'll do it for your break there James. Congrats on all your hits buddy. We'll get those right out to you man


We'll get to it. Okay. Okay. Jokers, I finally watched Joker. It took a while because I didn't really, wasn't really motivated to go see it at the big screen. And I know as a consequence of that, I'm kind of behind the times and, you know, the cultures moved on and people have moved on. But, you know, it's a big cultural phenomena. The movie has grossed a billion dollars worldwide, 335 million in the United States. Those are not small numbers. Those are major numbers. And it's pretty amazing for a movie like this because this is not a superhero movie. I argue it's exact opposite. It's the anti-superhero movie. It is based on, you know, it's a backstory in some way to Batman. But there's no hero in the movie. There's no superhero, any kind of hero or anybody semi-even heroic in the movie.  So it's interesting that it is, and not a good sign I think for the culture, that it has grossed so many dollars and it is done so well as a popular movie. I can understand why this is a movie critics love. I can understand why this is a movie certain people out there in the media and, you know, intellectual world love. But the idea that this movie is a popular hit, I have to admit is scary. Because the movie, and I'm glad I didn't see it on the big screen. I'm glad I waited. I could, I could watch it on my iPad, not get too overly immersed in it. Actually, no, I watched it on the big screen at home. But it, you know, I watched the movie to a large extent, so you didn't have to. But that's all with the good. I mean, the good is, I think to the extent that I understand movie making, I think the movie is very well made. It's very well written. It moves along. It's, it could be unbelievably boring. And there's an accent in which it is. But it does move the story along. It's consistent. It's integrated. It all adds up to one whole. It's good cinematography and it's well shot and well made and certainly well acted. I think, what's his name? Joaquin Phoenix playing the Joker does a phenomenal, phenomenal job at his role. And I think that all the supporting actors do the same. Now, all that said, though, it is an incredibly painful movie to watch. And it's an incredibly painful theme to contemplate. And it says a lot of really, really bad about the world that a movie like this is made, celebrated, and watched to the extent that it has been. Now, somebody says, just go see Taxi Driver. It's the same idea, but a better movie. No, Taxi Driver is not the same idea. It's a very different idea, very different idea. Because Taxi Driver is indeed somebody who's crazy. It is indeed somebody, but it's somebody who becomes a vigilante. Kills people in a sense that deserve killing in the name of justice. And he does it, note in Taxi Driver in a premeditated way. He trains for it. He practices it. He plans for it. He thinks about it. And he goes and he does it. There's little planning here, particularly for the first act of brutal murder. And it's a kind of an instantaneous kind of seeking justice of killing. By the way, lots of spoilers here. So if you don't intend to, if you intend to watch the movie, then you should think about muting the sound. The first act of violence where he kills people is an act where they're abusing him and he kills them. He has some sympathy to it. But the difference is with Taxi Driver, he enjoys it. He enjoys it and therefore seeks it out. He enjoys it and then kills a person, kills people, not in the name of any kind of real justice to protect anybody. Remember, Taxi Driver, he falls in love. Here he doesn't fall in love with anybody. So Taxi Driver is also an indication of particular culture. It's a culture of the 1970s. A culture where crime was rampant. A culture where depression was rampant. And in some senses, similar to today, a culture in which people were unbelievably pessimistic and everything was dark and everything seemed to be falling apart and everything seemed like it was horrific and horrible and we couldn't recover. And Taxi Driver works because it appeals to that. You remember all the vigilante movies from Dirty Harry to the ones with Charles Bronson in the 1970s as a response to the horrific violence that was happening all over the United States. Violent rates today are way down. But that same sense of decay, that feeling that things are crumbling, that feeling that things are out of control, that feeling that America is in decline, is there in spite of the relative lack of violence. Alex says he loves his neighbor, he loves his neighbor, but he's not doing any of this to defend her, to protect her. She's not a player. She's not a player in the movie. She's just a projection. But she doesn't have a, she doesn't move the plot along in the way that, in Taxi Driver, the prostitute does. Now he turns into a monster, but Joker is, as somebody says, Joker has a case study about what makes an outcast into a monster. No, it's not. Again, no, it's not. Lots of people are outcast who don't become monsters. And the difference is that Joker is not just a story of a monster and then, you know, the monster is killed at the end. There are lots of movies like that. How people deteriorate, become monsters, and then, you know, something really, really, you know, they do horrific things and then they're caught and they're killed. No. Joker is a social commentary movie. Joker is a movie about the response to the Joker. It's about the response to him becoming a monster. It's the celebration of his monstrosity that is the thing that drives the movie. If he was just a monster and that was, that was it. And he was killed at the end and we went on from there. Then, I don't think it would have been an important movie, but this is an important movie because it's not just about him. It's about the fact that everybody embraces him.  It's the fact that the end of the movie, he is a hero.  He is a hero because he stands up against a man by shooting him. He is a hero because of his nihilism. And it's the final act of the movie almost other than him being heroic, being viewed heroically. Is that he, that is the killing of the child, the Batman, the killing of his parents. His parents who have done nothing wrong other than to be rich. Now, they're somewhat detached from the mayhem, from the poverty and their portrayed as horrible and completely horrific. So it plays into the whole theme of inequality today. Of the rich not caring about the poor and not caring about what happens in the rest of America. But the act of killing them is portrayed as an act of justice. That is the act of justice.   So there's a real glorification in the movie of his monstrosity. Not just by the crowds, but by the movie makers. He is sad.  But he is liberated, free, almost happy, when he kills. When he commits acts of random violence, when he is celebrated as the nihilist monster that he is. Joker is a bad guy. Bad guys die at the end of a movie. Bad guys are not celebrated. Bad guys are not imitated. Bad guys are not, you know, do not inspire the man on the street. Joker celebrates nihilism. It celebrates the lack of control of Joker himself. His inability to control himself.     And then he's embraced. I don't think there's a warning in the movie. I don't think the movie is warning against nihilism. I think the movie is embraced nihilism. It gives no alternative. It gives no counter. The only guy who's count, the only two people in the movie seem to be countering the culture of nihilism are the TV talk show host. He gets butchered and Batman's father. And he gets butchered. And neither one of them is portrayed like a good guy because the guy on the TV host is making fun of a sick person. So he's portrayed as a bad guy.  So no, this is a warning isn't a warning against nihilism. It's an embrace of nihilism. Or just a reflection of nihilism. This is what nihilism is. So absolutely, it's the origin story for Joker in the Batman series. It has to be in the Batman universe. But it's a movie. It stands on its own. And somebody chose to make this movie versus a hundred different other movies. Nobody says you need to make a movie of the Jokers. And you could make a very different movie.  So by the way, it's not Batman who's the bad guy. It's Batman's dad who is the bad guy. So no, I think Joker is philosophically an awful movie. It's not just a shock movie for teenagers, because it's far too philosophical, ideological, meaningful. It's far too clever. I don't think teenagers just went for this because it has a bunch of people getting killed, because the fact is, there's not that much violence in the movie. There's not that much action in the movie. It's a very cerebral movie. It's relatively slow. It focuses a lot on kind of his mental health, or lack of it, and how he was abused as a child, and how it unravels. It's clever in the sense that sometimes you don't know if what is happening is imagined or real, and the movie has to tell you that. No, this is not a movie that I would have thought, oh yeah, young people would go to see this because hell, it's got a lot of action in it and just blow them up. It's not a movie like that at all. It's far too serious a movie. It's far too homemade a movie. It's far too intellectual a movie to just shrug it off as some action movie and not care about it. This is a movie that means something. It means something about the culture. It doesn't mean anything good about the culture. It means a lot of bad about the culture, and it is a movie that's embraced the culture. It's a movie that is embraced, embraced. A culture of nihilism in many respects celebrates it, empowers it, and provides, provides kind of a, not an explanation for the culture because we have no explanation for the culture. We have no explanation for the writing. We have explanation for the we have explanation for the people out there, but it shows how nihilism latches on to the worst, to the sickest, to the most monstrous. I don't recommend the movie. It is not enjoyable. There is nothing to enjoy in it. There is nothing of value there other than, as I said, the cinematography and the acting and so on. And some people, I mean, I go to see movies like that, even though I know it's the theme and everything else is bad, but the theme here is horrible and you walk out of the theater depressed about the state of the world, depressed about the world in the movie. So if you want to be depressed, and if you want no hope because the movie presents no hope, that's what it is. I find it funny people, and I know you don't always like me commenting on the people in the chat, but it's fun because the people in the chat just confirm my view of the culture. And maybe I overemphasize how they are. But isn't it pretty amazing that people in the chat complain about how I'm terrible at my commentary? I'm worthless of political commentary. I'm worthless in cultural commentary. I'm worthless in movie analysis. I'm worthless in pretty much everything. And yet here they are listening to me. Wow.  Really, really, really have no life. Right? That to me again says something about the world in which we live. The world in which we live.  And maybe YouTube just brings out the best in people. Maybe that's it.  Yes, it was. But then from there, it just turns to nihilism. And he says, he says explicitly that he enjoyed shooting them, not in the sense of enjoyed standing up to the thugs, but enjoyed watching them die. And then he manifests it. He manifests. I don't need all your love on the chat. Don't worry about it.  So I'm glad to be a vehicle for their wasting their time. And thank you for beefing up my stats on viewership and on time watch. I just think it's funny. Anyway, it's, you know, it's a philosophically wretched movie. Somebody by answers this on philosophically wretched. That's a good way to say it. And it's a culturally wretched movie. And it says something about the state of our culture that it has been so successful and held both critically and, you know, from from the perspective of of the public. All right. So that is, that is Joker. I don't recommend it. So, you know, I suffered through watching it. So some of you could not. I know that somebody says, disagreeing is trolling. Disagreeing is not trolling.  That's trolling. By the way, with no evidence and no facts and nothing, just you suck. That's trolling. So I know some of you like Joker. And I don't know what to tell you. You should go see a good movie. You should go figure out what good movies look like. And again, Joker is well made. So I can I can sympathize with that. But oh my God, it's it's philosophically, it's a nihilistic movie. What we need today, what I call the new intellectual would be any man or woman who is willing to think, meaning any man or woman who knows that man's life must be guided by reason, by the intellect, not by feelings, wishes, women's or mystic revelations. Any man or woman who values his life and who does not want to give in to today's cult of despair, cynicism and impotence, and does not intend to give up the world to the dark ages and to the role of the collectivist roads. Using the super chat and I noticed yesterday, when I appealed for support for the show, many of you stepped forward and actually supported the show for the first time. So I'll do it again. Maybe we'll get some more today. If you like what you're hearing, if you appreciate what I'm doing, then I appreciate your support. Those of you who don't yet support the show, please take this opportunity, go to www.uranbrookshow.com, support or go to www.subscribestar.com, Iranbrook show and make a kind of a monthly contribution to keep this going. I'm not sure when the next


U.S. military warns of environmental disaster after spill in Red Sea caused by Houthi attacks. U.S. CENTCOM has warned of an environmental disaster following an attack by Yemen's Houthis on a cargo ship that caused an oil slick in the Red Sea. On the 18th of February, the Houthis targeted a UK-owned bulk carrier named Rubimar flagged by Belize. The ship was sailing through the Bab Al-Mandeb Strait, connecting the Red Sea and the Gulf of Aden en route to Bulgaria from Khor Fakan in the United Arab Emirates when it was attacked by multiple missiles. The Rubimar-Abelize flagged but British-owned bulk carrier has been drifting in the Red Sea after it was struck by two missiles. The ship, which is feared to be in danger of sinking, is leaking an 18-mile oil spill and carrying 41,000 tonnes of volatile fertilizer. The 22nd of February attack on the Rubimar inflicted the most significant damage so far on a commercial ship since the Houthis started targeting vessels in November. The Houthis say their attacks on commercial shipping in the Red Sea are in solidarity with the stricken people of Gaza. CENTCOM posted on X that the unprovoked and reckless attack by Iran-backed Houthi terrorists caused significant damage to the ship, which caused an 18-mile oil slick. It has long been feared that the Houthis might extend their actions by disrupting internet traffic and cutting sea cables. 16 small fibre optic lines across the bed of the Red Sea carry about 17% of all international data traffic, including trunk lines connecting Europe with India and East Asia. It was reported on Monday that cables belonging to four big telecom networks, including the Asia-Africa-Europe One, TGN Atlantic, Europe-India Gateway and the CCOM system, have been damaged in recent months. The cause of the damage has not been identified and natural damage happens relatively regularly. Israeli media reports attributed the damage to Houthi actions but Yemen's Houthi controlled communications ministry denied involvement. Iran's Basij militia claims the ground has been prepared for Israel's disappearance. The commander of Iran's Basij militia claims the ground has been prepared for Israel's disappearance as the regime's proxies around the region continue attacks on the Jewish state and its ally, the US. The biggest media giants are Jews. They know that the Islamic Republic of Iran has targeted the existence of the Zionist regime and the groundwork for its eradication has been laid. Gholamriza Salimani stated during a public gathering, the statement comes after Iran vowed its proxy groups will rally around the Palestinian Hamas and eventually defeat Israel. However, the Iranian regime has stayed out of the Gaza war as Israel has vowed to dismantle Hamas. Iran-backed Hamas has since been supported by Iran's proxies in Iraq, Syria, Lebanon and Yemen who have attacked Israel from its northern border and Red Sea coast and US facilities across the region, punishment for Biden's support for Israel's right to defend itself in the wake of the October atrocities. Salimani has repeatedly vocalized the regime's sentiments towards Israel as money is poured into overseas proxies in the war on Israel and the US, a justification of the misplaced budget priorities as the country suffers its worst economic crisis since the founding of the Islamic Republic. In 2015, Supreme Leader Ali Khamenei, who founded the proxy militias as a strategy to eliminate its arch enemy, said the Jewish state must be destroyed in 25 years. The government set up a countdown clock in Tehran and other cities to mark the journey a gesture marked by many Iranians. Colombian soldiers replace fighting drug cartels with a war on Putin. The sound of Colombian Spanish fills a hospital treating soldiers wounded fighting Russian forces according to the Independent. Ukraine's ranks are depleted by two years of war. As it battles Putin's war machine, Ukraine is welcoming hardened fighters from one of the world's longest running conflicts. Professional soldiers from Colombia bolster the ranks of volunteers from around the world who have answered Ukrainian President Volodymyr Zelensky's call for foreign fighters to join his nation's war with Russia. Colombia's military has been fighting drug trafficking cartels and rebel groups for decades making its soldiers some of the world's most experienced. With a military of 250,000, Colombia has Latin America's second largest army after Brazil's. More than 10,000 retire each year, and hundreds are heading to fight in Ukraine where many make four times as much as experienced, non-commissioned officers earn in Colombia or even more. Colombia has a large army with highly trained personnel, but the pay isn't great when you compare it to other militaries, says Andrey Marcias of Bogotá's Externando University, who studies Colombian work for military contractors around the world. Retired Colombian soldiers began to head overseas in the early 2000s to work for U.S. military contractors protecting infrastructure, including oil wells in Iraq. Retired members of Colombia's military have also been hired as trainers in the United Arab Emirates and joined in Yemen's battle against Iran-backed Houthi rebels.


She didn't hear it. Not at first. And this time of night, the labs were deserted. The whole of Site 120 was practically empty. Corridor's dim and silent, offices shut, experimental apparatus crouched in shadowy chambers. There were no anomalies contained on site, so the only people left in the compound were a couple of security staff and a 63-year-old researcher, hunched over a bench full of notes and textbooks, a single desk lamp right against the labs enveloping darkness. She had always been wrapped up in her work, her colleagues said. There was no one to go home to. She had been with the Foundation for many years, many late nights like this, engrossed in the calculations and correlations spread in front of her. And so she didn't hear the noise, not when it started. A soft crackling hiss from the corner of the lab, a sound like wet leaves in a fire, like whispers from a dried-up throat, just at the edge of hearing. It wasn't until she breathed in the smell, faint but thick with rot, that she started from work, turned and noticed the sound. The researcher pulled herself down from her lab stool, that familiar stiffness in her hips and unwelcome reminder of the hours and years she had been in the lab. Absently, she pushed her glasses back up and peered across the darkened room. The noise was still there. A few seconds of listening failed to resolve it into anything readily explainable. She had taken four steps across the lab when the lab behind her blinked out. Swallowed in darkness, she froze. The noise had gone. Her breathing had grown rapid and shallow and she forced two deeper breaths before taking out her phone and switching on the torch. After a moment's hesitation, she turned back to the workbench to see what had happened to the light. As the torch beam swung, the first thing she registered was that there was something different on her pile of work, something foreign, dark, wet, bloody.   It glistened in the torch light. A crimson stain seeping into the paper beneath it. Her throat grew tight. The noise started again. It was thicker somehow. Moist. She looked over her shoulder indecisive. Her brain was blank, reacting without thinking. A thousand of the choices pushed out by the sheer impossibility of that noise. This mangled organ in front of her. Stay here or go there. Almost before she realized, she was walking cautiously across the shadowed room towards the source of the sound. The torch lit up the back wall of the lab, a corner behind the mass spectrometer. A black smear had spread across it. The paint and plaster, bubbling and flaking in a slow, royal. The whispering sizzle was louder. The air was heavy with an oily stink of decay. Close to, she could see the surface of the wall had softened, sagging in wet bulges. She hesitated. The hand shot out of the wall faster than she thought. Its fingers were broad and grey, sticky with black mucus, grabbing her forearm. Instantly her lab coat started to melt and as she yanked her arm away, the sleeve tore off, disintegrating. The fingers snatched at her again and she dropped her phone. As she stumbled backwards, the torch shone out from the floor, lighting the figure that pushed its way through the muddled fleshy wall. It looked like an old man, decrepit and rotten. It was naked, its skin slick and shiny as pitch. Its flesh was withered and decomposing, with missing toes and misshapen feet. A distended gut protruded obscenely from beneath a narrow chest. Arms spread wide in a mockery of greeting. Above a ruined throat, she saw a two wide mouth locked in a rictus grin and eyes. Oh god, those eyes! The thing emerging from the wall before her looked like a man, but its eyes were grey and flat as a shark's. The researcher took another two steps back, reaching behind her for something anything solid to hold. Her breath caught in her throat. The old man stood still, dripping black foulness onto the floor as the tiles began liquefying beneath him. Her phone sank beneath the surface. The torch flickered out. In darkness, she ran. She was panting by the time she reached the lab doors, ruin her age, the extra weight she carried. Every exercise session postponed. As she turned to close the doors behind her, she could see that hideous figure pacing deliberately across the room. Something about its lack of hurry unnerved her deeply. She forced herself to keep running down the corridor, calling for the night guard, hoping he was close. Frank! Frank! After the second turn, she saw him, halfway from the guard station, gun in his hand. What's wrong? Frank dug up to her, as she doubled over, spots in her vision. Frank! Thank god, it's... Her chest was heaving, and she could hardly speak. How could she describe what she had just seen? Slow down, eh? Take a second to... Frank tailed off, and she looked up to see his gaze fixed on the end of the dim corridor. She knew what he had seen. The old man walked towards them, trailing a viscid ooze. When Frank trained the torch on him, his eyes shone avid and empty, 20 feet from them. Hey! Stop now! Frank shouted.  The grinning cadaver kept coming. 15 feet, 12! Frank fired three shots, two hits to the chest. The old man stopped, gradually crumpling forward. The researcher led out of breath. The glistening corpse sank into the floor. Swallowed by the slime it had generated, she felt sick with shock. What the f*** was that? Frank started towards the blackened floor, but she held his sleeve. Wait! It's... I think it's some kind of acid. Her voice was hushed. Her throat felt raw. We need to call someone. Frank pulled out his radio, but paused, his thumb over the button. Not until I'd know what to report. Suddenly, she didn't want him to move away, not even a few feet. Please, she said, stepping into Frank's path. There's nothing like this in the database. There's nothing. We need an MTF. Hey, don't tell me my job, said Frank, sounding peaked. First, I need to... No! She was gripping his sleeves. Frank, I know dimensional anomalies, and this was from one. I saw it step out of a wall. Frank tried to shrug her off, but pushed too hard. She felt awkwardly, a wrench of pain from her ankle. Tears sprang to her eyes, and Frank was instantly regretful. Oh god, I'm sorry. I didn't mean... He cut off, as a glob of black mucus landed on his radio, setting it fizzing. Frank dropped it like he had been stung, and glanced upwards. The next drop landed in his right eye. The researcher scrambled backwards as Frank roared and clutched his face. She could hear the hiss as the corrosion ate at his eye socket from the inside. Then she saw that grinning face emerge from the dark patch on the ceiling, and the old man dropped onto Frank's back. One hand slid into the muscles of his shoulder, like it was dough, and Frank's roar became a scream. As he crashed into the wall of the corridor, she saw the other hand sink into Frank's throat, and tear, and the scream was abruptly cut off. Frank started to collapse into the wall, as it darkened around him. The last thing she saw was those eyes locked on hers as they sank back into the blackness. Empty eyes, but somehow full of promise. Her heart pounded, and the taste of bile was in her throat. She tried to stand, but she was lightheaded, and her ankle was throbbing. She had to run. She had to run. Every second not running was death. Dragging herself up on a cabinet, she tried to think, eyes flicking between the ruined radio and the pocket bruises on the wall and floor. Run? Where? Guards off a steel arm. She forced herself forward, gasping at the pain in her foot. Her lungs burned. Every shadow in the halfway hallway loomed like a threat. Not much further now. Don't look behind. Each step was a battle, trying to move faster, to stop her leg from buckling. Forward momentum was the only thing keeping her upright. She rounded the last corner, saw the guard station at the end of the hall. It looked empty. She couldn't make it. With a grunt of effort, she pushed herself to a final run, closing the final yards and crashing through the guard room doors. Her first step inside sank shin deep into the frothing muck that used to be the floor. She fell, and her hands were caught too. Skin burning as they were sucked deeper into the ground. Looking up, she could see the console with the alarm button just out of reach, and she wailed in sick despair. It was the last sound she made before the world was consumed by night. Death did not come. She was submerged in a lake of pitch. But somehow, the researcher could still breathe, could still think. Was she falling? She couldn't tell. All feeling it vanished. Her skin no longer stinging, although the blood still pounded in her ankle. She stayed there suspended for minutes, unsure of the passing of time, of what this meant. Then the gloom lightened, blurred, and resolved into a tiled floor. The gray light showed her room she didn't recognize, but which was somehow familiar. Dust, dead leaves, and scraps of metal were strewn across the floor, and one of the walls had buckled in on itself. She pulled herself over to the door and looked out into a dilapidated hallway, mold and rust covering the ceiling, and the floor contorted like a writhing snake. There were no lights, but the hall was lit by a gray-green glow, a sticky aurora undulating sluggishly across every surface. She'd been right. It was a dimensional anomaly, probably controlled by that thing. The researcher felt desperate. Probably it had made this place, or had lived here for years, so it would know every inch. But if she had fallen into it, that meant there was a way out. She just had to keep moving, and she would find it. She limped into the corridor, clambering over collapsed furniture, and wiping plaster dust from her hands. The familiarity of the place snatched at her thoughts, but she tried to ignore them. Keep going forward. Look for an exit. Don't think about what might be behind you. Don't think about Frank. Don't think about that grin, those eyes. A metallic buzzing grew louder, and she realized that it had been there since she arrived in this place. She tried to move faster. A gust of wind blew around her, fettered. Her heart was racing again. This place was familiar, but how? She needed a stop just for a moment. She grabbed the door handle, relief flooding her when it opened. She walked into her old apartment, and spun in confusion. This was impossible. The disarray of the halls was gone. Everything here was in its proper place, but nothing about this place was proper. She had left this apartment 20 years ago. The building had been torn down. The researchers sped across the room. The need to rest forgotten. Everything here was hers. Her books, her furniture, the windows show the same view, an incongruously bright day. How? She raced to the bedroom, her bed made. Everything neatly put away. She opened the closet, and the corpses fell out onto her. It was a mountain of decomposing limbs and organs, limp and sick. They slithered down her under the weight of the pile, trailing gore.  A bloated hand pawed at her leg as it fell, and she felt something slippery and soft under her feet as she stood. This assemblage would have taken dozens of bodies, she thought, still gagging. As it slumped further, it exposed the face she recognized.  Her eyes scanned the line of his body and saw his leg twisted viciously upwards. Exposed bone protruding with the foot had been ripped off. She was trying to hold in a scream when she heard movement from the back of the closet. Without thinking, she ran. Behind her the sounds of sinually limbs pulling themselves clear of the corroded wall. She bolted for the door to her apartment, ankles screaming at her. She could feel the old man into the room, only a few steps back. The metallic buzz constricted around her as she emerged. Staggering down the hallway, realization overwhelmed her. This wasn't some old hospital or school. Her apartment had given her the answer. It was twisted, corrupted, but this was site 120. She couldn't think about why that was. What it meant right now was that she might know a way out. She took another left turn, skidding on the wet floor and crashing her head on the opposite wall. Her ears rang. The footsteps behind her were louder, closer.  One more corridor and she should be back to the guard room.  The footsteps grew closer. She could hear the drip of achor. Her vision grew dark.  The guard room was just ahead. She was exhausted. She couldn't make it. The floor beneath her started to bubble. With a yell, she crashed to the guard room doors again, pushing through the oily puddle behind them and servicing in the real site 120. The ghoul was still behind her. She fell hard on the console and slammed her hand down on the alarm. Claxons blared and the emergency light flashed. She turned, pushing herself as far as she could into the corner of the console, but the old man had halted in the middle of the room. It was staring at the light. She heard a new noise, like a deep growl. Suddenly she realized that the corpse before her had a lump of new flesh in its throat, bloody and ragged. Frank's throat, she realized and her stomach dropped. She looked again at the old man, seeing its misshapen carcass patched and scarred. The old man was still transfixed by the light. Its growl built in intensity. Her mouth went dry. The thing looked at her with its dead eyes. No. It said, like a sigh, Anna. She made no sound. Her mind was screaming. The old man took another step towards her. Another step. Five years, eleven months, twenty-one days, and twenty-five more years after that, falling apart, rebuilding itself, rebuilding its world. For her, it held up its left hand. She could see the mark where the ring had been. She couldn't move, couldn't breathe, couldn't think. The old man reached towards her, tenderly holding her cheek. Her skin puckered and liquefied, flesh dripping from her face. It brought its grinning mouth to hers and kissed her, and her teeth became hot wax, fusing and corroding. She screamed then. The old man pressed his kiss harder into her open mouth, his swollen gray tongue melting hers, and filling her throat with molten muscle and caustic jelly. The last thing she felt was the weight of the two of them sinking into the floor, locked in a final burning embrace. End of file. To learn more about the SCP Foundation, subscribe to SCP Orientation today and turn the notification bell on so you don't miss any of our videos.


10 p.m. B-U-L-O-V-A, boulevard watch time. Men, here's exceptional value. A handsomely streamlined boulevard Alden, 15 jewels, extremely dependable. Only $24.75. W-E-A-F, New York. Washington calling counterspice. Washington calling counterspice. The Blue Network presents Phillips H. Lord, counterspice. Counterspice is dedicated to all government undercover men. An invisible army which protects our men on the fighting front, in our industries and secrets on the home front. Imagine chief counterspice of them all as David Harding. One of the methods enemy spies have been using recently to enter the country is to try and fly over our borders at night and drop by parachute in some wild section of a border state. In old Mexico, way back in the sandy hills, is a ranch on which is a modern airplane. The ranch is about 90 miles south of Juarez and is well hidden in the hills. Tonight, a Gestapo agent has arrived at the Mexican ranch from where he'll be flown over the border and dropped into Texas. The airplane has been pushed out. There's about to take off from the ranch. Yeah, I need to take off at the Texas border, Herr Borger. This is a case. Put it in the cockpit. Yeah, what is it? Do not go yet. Why not? A very unusual thing has just happened. Yeah, yeah. No one ever comes this far from the main road, but the ranch house has just arrived. Counselor Carlos Costello. Costello? He is taking a long trip by horseback for his health. See, senior, make him leave. We do not want this place to scabot. Oh, but I have a very interesting thought.  You are going to take a little ride under the moon in the sky. I invite him to go with you. Yeah. When you cross the border, you will fly very low. It will be very unfortunate, but his feet and hands will be tied very tight. The door of the airplane will open. He will fall out. He will be killed. He will find him with his hands and feet tied and dead on American soil. Ah-ha. I see. There will be quite a strain between the Mexican and the United States governments. A prominent government official murdered on American soil. Yeah, yeah, hello. It is a good thought.  They picked the right man.  If you get stuck, we shall hear about this. You shall be rewarded. Please, not by medal. I prefer my rewarded money. Go, hello. Invite the official to join us. Then we will see what happens. They are so glad you could take this little flight with us, Counselor. Ah, so beautiful. I was never in an airplane at night. With the moon.  You are there, Counselor. They have crossed the border between Mexico and the United States. No. Is it not against the law? Oh, I am sure no one will object by they have such a distinguished gentleman of the Mexican government. What is the meaning of this? Oh, you did a health worker. Yes, sir. Tie his feet when I tie his hands. You're bold. Who are you? Just a gestapo, if you would like me. No. Why are you kidnapping me? They are going to open the doors of the plane, and you are going to fall out. No, you cannot. You will be found on American soil in a very delicate international situation should result.  All my bones will be broken. They will know I was thrown from an airplane.  They will fly very low, so you will not be killed, but your body will not be mangled either. Drop as low as you can. So in Mexico, like the United States, you belong to Germany. And you will be glad that you are dead. You beak! Laugh! Laugh! Now, Chancellor, I shall open the door, and we will make ready for your big experience. Yes, sir. Me put them. They quieted at me. They brought me the hospice. What are you doing? Train to Fulma. I cannot fight. I am tired. Therefore, I must pray. Pray to whom? Ful superstition. I will not hear such dribble. There are no no fans. Here, why do you have a crayon in your hand? Give me that. Please, senor. Give me a chance to leave. Now I shall push you through the door.  Hala, gone! So, here's it. Put the blame back on the cost. This is Harding speaking. I'm the testing laboratory of the Walker Optical Company. In an hour, I shall take a plane for Washington. Set up my appointment for me at three o'clock with Colonel Marvin. Tell emergent. Emergency. Yes, sir. You wish me to continue, Mr. Harding? Ah, yes, Mr. Walker. And this is a grave emergency. Now, those light bulbs you have lined up over there. Are they lit now? Yes. But naturally, as they are high-frequency lights, you cannot see them with your naked eye. Ah, I see. You cannot see the light, Mr. Harding, unless you are wearing this green, hypey lens in your glasses. This is a 5-3-1. Now, look through it. All right. Yes. As I can see, the left light's burning, but I can't tell whether the one on the right is burning or not. Well, you would need another specially colored lens to see that one. In other words, Mr. Harding, these high-frequency lights can be burning, but you cannot see them unless you are wearing specially prepared lenses. Well, Mr. Walker, as I explained to you, this is a case of great emergency. It involves an international incident with Mexico. I see. How soon could you make me 12 pairs of each of these two different lenses? I believe by 8 in the morning, Mr. Harding. Good. I'll have a Navy plane waiting off Pier 3 and a government car here to deliver them to the plane at 8 sharp in the morning. Right now, I'm going to fly to Washington. What can I do for you, Mr. Harding? Well, Colonel Marvin, we've known for some time that certain Gestapo agents have been getting into this country by flying over the border from a ranch in Mexico. Now, they're landing in a deserted section of Texas, where they usually stay for several days before leaving for different parts of the United States. In other words, you've allowed them to enter this way because you know how they're entering, and that's better than stopping this route and forcing them to find some other method which may take you months to discover, that it? Exactly, Colonel. Harding, you know we'll do anything possible to help you. Now, Colonel, tomorrow night I'd like to have about eight Army planes from Field A-46 fly all over the state of Texas and into Louisiana. I'll be at field headquarters in Texas with a map to get their reports. What information are you looking for, Harding? Now, one house which we recently rated had up the chimney a high frequency light. Well, that light can't be seen at night when you're flying over the house unless you have a certain colored lens in your glasses. I feel sure that there are a certain few houses for let's say 200 miles in Texas which have these lights hidden up the chimney. I see. Now, the pilot who's flying these foreign agents in wears these special colored glasses. You can see these high frequency lights placed in the chimneys and these help keep him on his course. And you want to locate every house which has such a light, huh? Yes, and it's vital. I'll have a plane ready to leave in two hours, Harding, and I'll fly down with you to see that you have everything you need. Thank you, sir. Our colonel, if we can have the houses which have these invisible lights spotted from the air, we'll know the exact route the plane's flying which brings in these spies. Right to the ranch where they land is safer a few days. When that time comes, we'll be able to make a mass raid. I see, yes, yes. But, Harding, what are we doing about that prominent Mexican official found tired and murdered on American soil? That's a very embarrassing situation. Well, colonel, there's something about that murder that I can't tell us yet. I want to check in certain additional facts before I speak. All right, Harding, you're doing a wonderful job and I'll see that eight army planes will be flying over the designated section of Texas tomorrow night. Thank you, sir. Just look at this chart, Mr. Harding. That last report mentioned this house. Southwest, square 411. Let me have that other chart, Kelly. Yes, sir. Yes. Notice how this route's beginning to shape up. Come in. I'm flying over Sanville, chart square TS4, chart square TS4. Here's the square he's talking about, Kelly, this square. North-east beam intersection, main highway, two miles from Conor. Can you locate on your chart? Yes, yes. This house right here. 42P. We have located it. 42P signing off. I've got that mark. Your signal, I don't tell you the upper frequency. Yes, sir. 42R. Come in, 42R. Come in, 42R. Chart square. I've got that one too, it's right here. Cross check with field light. Southeast, 2R signing off. Kelly, these houses being spotted are on a perfectly straight line from the border right to the ranch we've been suspecting. Now tomorrow night we'll fly this route. Check all of the houses we're marking and go right to their landing field. I'll bring a short wave set along with you in your suitcase. We've seen every light the pilots reported last night, Mr. Harding. As we should spot that ranch in their landing field most any minute. Yes, sir. Kelly, I'm going to tell you something that nobody else knows. It sounds pretty serious, Mr. Harding. You know that high Mexican official found murdered on American soil? Yes, sir. Well, he was murdered by members of this fire ring we're after right now.  Yes. Well, that is null. It wasn't the body of a high Mexican official. But his papers, he was identified. I did the identifying. And who was it? It was one of our own counter spies, Kelly. Tato Zalli. Tato? Yes. I was working with the Mexican authorities. We suspected this Mexican ranch so the Mexican conflict was taken into our confidence. He went into hiding for a few days. And Tato, posing as a counselor, visited the ranch. But he was evidently surprised by them and he dropped out of a plane. Good Lord. But how do you know he was dropped from the plane, Mr. Harding? No trick. When Scott only got a pencil from his boat and hit it in the palm of his hands. While his hands were tied together, he was able to write on the palm of one hand the word air. There's the landing field, Mr. Harding. Yes, there's a large ranch house, the two barns. Ah, it's barren all right. Tato. We'll land and I'll have the pilot take off immediately. Hold it in. Land as far as in the house as you can. We'll hide the suitcase with the short way set out in the field. Perhaps they won't hear us land. We can get to the house before they know we're here. What do you want? Who are you? BR2. We want to stay a couple of days. My name is Mr. David. This is Mr. Kelly. Where did you come from? Hacienda Pedro over the border. We've been traveling a long time. We want to rest a day and then go on. Yes. I have a room for you. You can have food here too. Are you empty now or do you have any more guests? We have an Italian and oh and a Japanese. I did not want to take him in but we are on the orders. And your husband? He is out in the barn. He will meet him when he comes in. Is the Japanese of the Black Dragons? Yes. And the Italian of the Obra? Yes. I'll hit her. I'll hit her. Now I ask, or one must be most careful in our work, do you expect any more guests tonight? Not for several days. You wish to go up to your room now? Just to clean up. Then I think I'll take a walk around and get a look at things. After you are washed you will find my husband in the barn. You will again identify yourself to him. 42B calling 42B calling 42B calling from field at location specified. Locate for me immediately German couple about 60.  Check my file numbers for names of couples already examined. Fly this couple to our present location. 1130 tomorrow night. Check. Report sufficient. That is all. All right Kelly, close the case, slip none of the bushes again. Yes, that Nazi woman in there was a brutal looking character. Well let's get right back to the house. I don't want them to notice that we've been gone too long. What did you think of our husband? I'll answer that a little later. If I'm not mistaken, I've got a complete report on him in Washington.  Aren't they all? Would they be Nazis if they weren't? Well, if you weren't in on the inside of things though, you could stop at the ranch and not guess anything was wrong. Oh yes, they're clever. What was that? Quick, get back to the house. Where is everybody? I heard footsteps upstairs. Let's get up there. I was in a Maya room at the other end of the house. I heard a scream from this room. I come running. This Italian guy got here just at the same time. I, uh, I was at the other end of the house in a Maya room. You'd better fix your collar. It looks like someone had grabbed it and turned the button off. Here comes my husband. He'll be very angry. Where were you may I ask when this happened? And the other gentlemen? We were walking toward the house. We heard the scream. We ran in here as quickly as possible. Very pleasant, that'll avoid. What just happened? Why did one of you scream like that? By your standing side of the neck? Oh, I see. He was evidently stabbed in the back while he was sleeping. I am not angry because the Japanese is killed.  Who did it? None of us seems to know. Did you? I was at the other end of the house in the Maya room. And you? I would not have done it inside the house, you know that. You too? No. Oh, we were outside walking toward the house. You left me 20 minutes ago. There have you been since. Why did you not come right back to the house? Because we were all cramped up from traveling. We wanted to stretch our legs, take a little walk. So, if I was so many ways it could have been done to leave no telltale. It's a river out of a plain. Yes, like possibly you would do with a Mexican. Thank you to say that. Hello told me of it, the house he underpaid row in Mexico. They all thought it very clever. That man hello talks too much. Here, let me get him up on my shoulder. I will take him out and bury him in the field. Gladly. Yeah, come with me. They'll bury him to leave no traces. I will go with you and hold a lantern. Do you too wish to come? Not interested, thank you. Kelly, will you do me one favor? What, sir? Kick me just as hard as you can. Why? Well, the minute I saw that chap had been murdered, by habit and instinct I started to ask questions. I knew the Italian had killed him. And all I had to do was ask about three more pointed questions, and there'd have been plenty of trouble. Come to think of it, you're right. You didn't think the woman killed the chap's spy? I think they were all in on it. It was planned before we got here. But that teaser you put off, Mr. Harding, you got results, didn't you? Yes, he fell for it. He's the one who thought Zolley was the Mexican official and threw him out of the plane. What's our next move? Just sit tight until the army plane arrives at 11.30 tomorrow night. Mr. Harding, that's the army plane, all right? Yeah. Take these glasses. Get signaled with the invisible light, just to the right of the moon, see? Yeah, good. Good. Now we've got to work fast while the plane's landing. The German couple and the Italian are in the sitting room. Let's go in. And your leave? I will be leaving in the morning. For the American money, which I will supply you with. If you two gentlemen don't mind my intruding, and if it's all right with you, madam, I'm going to have to ask you all to get your hands up. We both have you covered. You won't have to do much persuading for me to put a bullet right through you. Mr. President, I beg you. Please help me, sir. I'm an enemy for the love of your time.  We don't operate like your Gestapo, Berger. We give them a chance, according to our laws. Why do you call me Berger? That is not my name. The name I have you listed by in Washington. You forget your activities in the boon before the war broke out. And, incidentally, the Mexican government official you threw from the plane wasn't the Mexican consular. I don't know what you're talking about. He was an American counter spy, one of my assistants, posing as a consular. I'll promise you, Berger, you're going to pay for that and pay plenty.  I'll give you money. I'll tell you all I know. Enough of that. An army plane just landed outside. Now march out that door to the plane and keep your hands up. Mr. Harding, that's a sweet old couple the plane brought down. Yeah, motherly looking soul, isn't she? You wouldn't think that this couple who just arrived and the other couple who we took out to the plane were both German. Some Germans who are not Nazis. Well, I'll let them finish looking around the house and we'll leave in the army plane with those others we're taking with us. Then, I believe we have seen it all, Mr. Harding. It is quite a please. Now, do you too feel that you can live here and pretend to be Nazis? And run this place for the spies who come over? Yeah. Mama is a great actress when she needs to be. But so is Papa. I will run to house and he will look after the outside and deliver the radio station to send you the information. Good. Now, as soon as the spy arrives, we shall want his complete description, something that he's touched so we can get his fingerprints, knowledge of where he's going and any information about what he has in his bag. We shall see you have it all, eh, Papa? We shall do everything.  You too must have had a terrible experience from the report. We lived just outside of Hamburg. We were happy and our two boys had graduated and were the ministers of the German Lutheran Church. It was in the middle of the night. Oh, Papa. The Gestapo broke in the front door and dragged our two boys out of bed. Then they came and got numbering me. You forgot. They beat our boys because they were ministers of the church. They dragged them outside. They tied our boys to the fence. They made us watch. The Gestapo stepped back and took aim and shot them for youngest boy Hans. He did not die. So the little Gestapo put a pistol to his head, spit at him, and fired. The little Gestapo tore the crucifix that Hans bore around his neck. He threw it on the ground, stepped on it. Then he raised his arm at the Nazi salute and said, Heil Hitler, the fear of the rude world! He left Germany. Mama and me. It took us four months to escape across the border, but we did it. Now we are in this country. God bless it. Then you know what it means to have the Nazi rule. We are here for a step. Somebody's coming. Careful, there may be trouble. Ja, komm in. I am a traveler, X-4 from Mexico. From the Hacienda Pedro. You have arrived at the right place, X-4. Good. Our plane was forced down. I had to come the last hundred miles by motorcycle.  The fear of the rude world. I remember. I shall show you to the room. What, these men? We don't ask questions like that around here. Yes, you are right. Take my bag. Ja, Mama, bring your light from the mantel. We will show this gentleman to his room. Ja, Papa. This way, please. I don't think, Kelly, that we're needed here anymore. No. Let's go to the plane. Look how bright the stars are tonight, Mr. Hardy. Yes, Kelly. Well, they're one of the things in this world that are permanent. Permanent like the faith of Christian people. At the time of the Crusaders, barbarians tried to crush faith from the face of the earth. But the Christians rose up and pushed those hordes right back into the sea. Well, a great Christian army has risen again. And Nazism will be wiped from the face of the earth. I have spread a great army of counterspies. Men whose names may never be known or their deeds ever revealed. But twenty-four hours a day, seven days a week, these counterspies are the guardians of our home front. Counterspies will not be heard next week, June 29th. Starting Monday night, July 6th, counterspies, a Philip Sakes Lord production will be presented at a much more convenient time. 8 to 8.30 p.m. Eastern wartime, 7 to 7.30 p.m. Central time, 6 to 6.30 p.m. Mountain time, 5 to 5.30 p.m. in the Pacific time zone. Tell your friends, invite them to listen to these exciting, dramatized cases. Make it a date for Monday, July 6th at the new hour. Join the 10% Club, whose membership is composed of all patriotic Americans who are voluntarily putting 10% of their income regularly into war bonds and stamps.  Arrange to buy war bonds on a regular basis to the extent of 10% or more of your present income. Or, authorize your employer to deduct 10% or more from your regular salary or wage check. Your government is making special efforts to have everyone a member of the 10% Club join today. I originated in New York. You are listening to the Blue Network.


Hey, it's Bridget, welcome to Sunday Morning Coffee with Bridget. So I have to tell you, I was originally going to do a video today, however, my YouTube is just not cooperating. So I thought I would do a meditation actually for you. I think that this is a great opportunity for that. It also kind of lends to the topic that I wanted to talk about anyway. So I hope that you will enjoy this meditation. So the way that I do meditations is I will channel in the energy. So if you're new to receiving energy, then this will be new for you.  That's how it works. Some people can have healing experiences during these guided meditations and visualizations and others can just simply be calm, feel at peace and finally get some sleep. Whatever it does for you is exactly what is needed at this time. So settle in, get comfortable, whatever you're sitting on or lying on. Just make sure you're comfortable because it's really important for your physical body to be part of this experience, to be able to fully receive. You must be in your body. I know that's contradictory to what some spiritual teachers have been talking about.  And all of those things have their place and their time, although is there actually time anyway? Oh, that's a whole nother conversation.  I will honor it, your body, your beautiful, bold body that has carried you all this way all this time. The bumps, the bruises, the scars, the imperfections, they're like roadmaps or history books to show where you've been, where you've traveled, how you've lived, and the experiences that you've had, some painful and some joyful. Oh, those tattoos, oh, I see those tattoos, baby, oh, yes, I do. Your body expresses oneself. It is not intended to be judged, so hopefully during our time together, there will be some softening of that inner critic, of that self-sabotaging mindset that keeps you separate from your beautiful, amazingly miraculous body.  And if that's uncomfortable for you, if that feels weird, it's okay. Allow the discomfort by recognizing that that is exactly how you feel in this moment. These are meant to be information, not to be pushed aside or stuffed into that belly hidden deep in that belly area, but to flow and to move, and that's it, nothing more. It's not intended to dictate or control you, a common misperception indeed.  We got your back, we got your back, feeling the warmth of energy at your back, softening the shoulders, letting the shoulder blades fall into position in a comfortable state. Not on hypervigilant high alert, but softening the shoulders. You might even want to roll the shoulders back a little bit or stretch your arms a bit as you are just breathing in and exhaling out, noticing your body and how it is moving with these simple tasks, breathing in and exhaling out, feeling the shoulders, awareness to that meridian across the shoulders. It is where you hold your burdens. It's where you carry the weight of the world. It is where you give yourself permission now here in this now moment to soften the body at the shoulders while the breath flows into the belly like a well feeling it, expanding it, yes, making it a bit awkward or uncomfortable at times, but let the diaphragm just be part of your exhale. Oh, yes, in particular, I'm going to ask you to focus on the exhale. Oh, I know you may not have even closed your eyes yet. That's fine. Stare at the ground, soften your eyelids if you'd like. It's your body, your choice as you breathe in. Focus on your exhale, release the air with intention. Breathe out, open your mouth and let the air come out. If you're not comfortable doing that, I ask that you try, I ask that you trust, I ask that you do make some noise and if you feel uncomfortable, good. This is a safe place to be uncomfortable with the body. Exhaling out, don't listen to how you sound. That is a form of judgment coming into the mind and the brain taking control of things as it often does. This is about your body, precious one. This is about your breath.  I'm aware that my lungs are holding. My lungs are kind of frozen. They feel a little stiff and I would love for them to soften, to feel a beautiful energetic. So I'm going to bring in some pink light energy as you're breathing in. Feel free to receive this energy or to adjust or mute the color as is appropriate for you, determined by your higher self. Utilize now your brain and the function of imagination and visualization. Use your mind. Give your mind the job to imagine the color, what color comes in. Light, pale, baby pink is what I see. Oh, no, no. It is non-gendered. It is about love, the natural energetic of love in the air, in the breath that you take, in the breath that you are capable and competent to receive without even thinking your breathing. Right now you are thinking about your breath. Or perhaps you are going through a litany of uncomfortableness, a list of what you're uncomfortable about right now in your physical body. And I ask for you to be aware and to set that aside, simply focusing on the feeling of the breath coming into the body. So you notice your body, pay attention to your body. The miraculous systems that move you in a rhythmic fashion that keep you alive so that you can do all of the things and none of the things on this day, breathing in, exhaling out, feeling into the base of your spine now, the base of your tailbone, the very bottom of your root, your sits bones, your butt, the very bottom of you. If you're sitting, you will feel this. Let your pelvis soften and relax, your legs fall to the side to find a comfortable posture. Allow yourself to soften the back so the spine is comfortable, fluid in its motion. You can move, you can wiggle, you can stretch as you are comfortable in doing, finding a balance between discomfort and the noticing of things for judgment and the discomfort in the responding to the requests of your beautiful body. And it's asking of you, don't hold it so tight, don't hold the base of the spine so rigid, soften it, let the body curl a bit, let the pelvis come forward a bit to face up to tilt up a bit so that that sun shock or energy of your belly, of your solar plexus can receive and amplify this good positive healthy energy that you are breathing in, that soft pink loving light coming into the body now. As you are noticing your root chakra, letting this energy of this pink move through wrapping in a spiral fashion around your spine down into the pelvis, into the base of the pelvis, into that beautiful triangle point, rich red maroon brick red earth energetic, pointing downward to this lifetime now to the here now present through the base of the body, the energetics of who you are, your energy being your energy essence, your grid systems now working with the body, recognizing the holding of the body, the holding in a gentle way as a mother would hold a baby, an infant, and then with a motion of leaning or swaying, rocking forward and back or side to side, whatever feels best for your body, check in with your body, ask it, how would you like to move so that this energy of the rich red brick maroon earth is holding the center point of you so that you may blend the light soft pink energy that's spiraling down your spine past your solar plexus that yellow golden sun chakra and down into the pelvis to fill the belly with a pink, a soft light, beautiful, gentle and genuine. Oh, so genuine that energy filling that sacrum area filling that pelvis as you sway softly side to side or forward and back, gentle movement, somatic, rhythmic, simple, easeful energetics, combining the flow of the pink loving energy with the rich red root to ground not keep you keep you stuck but rather to steady you in a centering point at the base of that spine breathing in filling the lungs now with the energy allowing yourself if it's comfortable for you to draw that energy from the root up in from the pelvis up in to fill the chest cavity with that red rich luscious energy of earth that supportive strong very centered stable energy coming into the heart space now blending with that light pink that rich red and the light pink the rich red and the light pink together creating a supportive internal structure for you here now for you here in your body to love your body with the life force that you have been created to connect to and through through the earth essence earth is about manifesting is about support it is about walking your path you need this energy it is essential and you have been missing it my dear because you have not fully been able to allow yourself to know your body and the wisdom of when there is discomfort in the body how to manage it not to numb it as you breathe your breath it brings in exactly the medicine you need it brings in the awareness it brings in strength breathe it in now breathe and connect with the strength that makes you human that makes you a person that draws into your body the incredible power of stability of strength of wisdom of grace and gentleness impassioned kindness for the body that you are now at this point at this stage at this state of your life embrace this body be in be with partner this body be in relationship to and with this body fall in love again with this body embrace the life you are gifted now as you are walking this path into this day embrace this body as it is showing up here and now for you breathe in give it breath breathe in give it life breathe in breathe in fill yourself with hope and optimism and the powerful integrity as you step into this day with loving knowing loving knowing strength and stability in your body be here now be here now come back home to your body she will forgive you they will forgive you the body she her his him them they all your body will embrace you when you come home come home to your body and start to love again start to love again this is how this is the way embodied nice gentle breathing letting your breath flow in a way that works for you so that the pink light energy the rich red red energy can come together to support you and to amplify inside your body to bring the energy essence of who you are as a soul into the body once again to reunite with the body and devotion in beautiful partnership relationship and connection this is the truest form of love this is how you source your strength how you feel stable and steady is this right here this so give yourself some time in this space if you have the ability to do that after this meditation I'd encourage you to journal or write maybe even write a little to your body maybe you have some things to talk about maybe you feel as though you need to make amends and ask for grace from your body I promise you your body will forgive you and will welcome you with open arms once again your body truly unconditionally loves and that's what you've been looking for outside of it all along this is Bridget thank you for listening to the Sunday morning coffee episode this is my podcast you can find it on above life channel on youtube I am an intuitive life coach and a psychic medium you can request private session work with me by checking out the description to this video and scheduling your own appointment I hope that we've inspired your spirit today and filled you with hope and encouraged you to live your life this my friend is your life after all and you get the incredible gift of the opportunity to live it so just live it


Hi everybody it's Sam here, thank you for watching my tutorial today. So I'm going to show you how to make this framed center panel card or panel frame card. I'm not entirely sure, I was playing around with score lines, I've made the center panel before, I've done them in six by six, five by seven, I've got a playlist with them all on. But I was looking back at all tutorials and I've redone this one and I cut a triangle section out of here and I shared that in the Facebook live and then from there I decided to gut the whole section so you created a frame. These but then additions that I added on at the end and those are my edge borders. So if you take them off, imagine they're not there, you just have this decorative cardstock which I'll talk about in a moment. When it folds flat that size there is six by six so it will fit into a six by six envelope. I'm going to give you the measurements for this six by six size today but I'm going to make a five by seven version as well so you'll have the two to choose. But it's just a really lovely way to really show off and frame that topper in the middle and I've used the blossom stamps and dyes from the latest or I think it's not the latest anymore but it's Simply Cards and Paper Craft Magazine. Again I'll show you that in a moment but it's just really really pretty. So by adding your edges it does extend the width of the cards you will then need to make a larger envelope. If you've got your like envelope punchboards and things like that you can and then you have space in the middle here to be able to write your message. I've got some pencil lines there that I need to rub out when I just finish off the back of that. But again I'll just bring it up there you can see all that beautiful detail and it just turned into a really really pretty card especially with these bows on the ends there so let me show you how to make it. So this is the magazine it's issue 215 of Simply Cards and Paper Craft. There may I think there's now a newer one out from this one and there's the blossom dyes and then there's the stamp set so I've stamped this one here and you can see I've done all of these ready for today's card so I just I'm going to stick a few more within the frame as well because I did talk about that in the the live. I've got my dragonfly there as well so I've gone ahead and the dragonfly is from my own stash. Some people are saying it's from the work some people are saying it's a card making magic but it's this one here it's really pretty with the holographic card. So yeah so that is the stamp like I said I will share as always everything in the description box below and then for the sentiment on this one here I put flowers bloom all for you and that's this one here and then for this one I'm going to do high because I just need a few more cards to send out to people so I just thought that one worked really well. That's the dragonfly that I just spoke about and then for the edge I used my bow from my six by six excellent edges but if you've got the five by sevens you can use them as well and then for the topper ovals I've used the tonic studio oval dies.  This one here I used the free download from magazine so I downloaded the papers and then I printed one of the patterns onto 300 gsm cardstocks that's what this is this is printed straight on so that was one option and it's really nice if you don't want to have to do mats and layers but I just thought for people that maybe don't have the downloadable papers and they just have plain you know colored cardstock and they want to add other pattern papers that they have I'm going to talk through the mat and layer sizes. I will put the size of this mat and layer if you want to do it in the six by six in my block okay so first of all sorry I'm trying to get across the two sizes in this tutorial so I'll be going back and forth so this one here for the five by seven is a piece of nine by seven and you just want to score two and a half three and a half five and a half and six and a half okay then for the six by six you will want a piece of cardstock that's 10 by six and you want to score at three four six and seven okay three four six and seven really easy scoring for both of those cards okay so next you want to pop your cardstock so it's portrait orientation with your router along the very bottom just mark at one inch and six inches and then on that score line then the next score line up so one inch is one inch and six inch and just join those lines up just do it lightly so you can rub this out like so and then along this side you're going to come in one inch and along the bottom you're going to come in one inch and again just join that up so this is going to be a slightly thinner kind of piece that you're cutting out so we're now going to gut this section here but I think the one inch frame if you go start going any thinner with the frames then I think you're going to start to really weaken the card however if you back it with acetate or vellum that will start to add strength again and I'll talk about that in a moment because it was something I literally just done right at the very end of the live and many people really liked that effect so we'll talk about that in a moment again on the opposite side you just want to mark at one and six and again on that first score line and just join those up and then again you're going to come in one inch and again up here just come in one inch and join that is up and then again I'm just going to scribble over there now for the six by six it's exactly the same so I'll just open this up but tender haven't got this border at the end so here's the end of my card you can see my pencil lines are already there at one and five and then I would have come along this score line here and you can see I've marked where the cut line is one and five join those up so I've just basically done these markers here joined them up down there and then along here I've come in one and come in one joined them up and you can see there I've just taken out that section so it's the same one inch markers but you're just working on the six by six size once you've done that you want to cut those middle sections out now during the live I just stabbed my scissors and just started slipping it out so if you don't have a cutting knife if you don't have a trimmer if you don't have a digital cutting machine even a die you might not have a rectangle die because I did also mention you could pop a rectangle die in this section but one side of it up to that score line and run it through to cut it out this is just a really quick easy way just kind of in the middle go out to all four corners and then join it up but I'm going to use my metal ruler and my cutting knife and I'm just going to go around and remove those pieces where the score line section is I like to remove the score line so I'm going to take that out completely okay so those have been removed then I'm just rubbing away the pencil lines there most of the other lines have been cut away okay so now you'll see we have this shape okay and I did also mention as well during the live I think you could make two of these and stick them back to back so you have kind of like a square in the middle here you could have things dangling you could do all sorts but I just want to quickly mention about the vellum so I've got this beautiful piece here now you could easily pop some vellum or some embossed acetate you could turn it into shaker windows there's so much you can do with that so if you do want to fill that space then what I would suggest you do is just cover that section there on the end and then just obviously you know fold fold it around if it's acetate then I would literally just sit it just on that side there um so it's literally just running flush with that section with that side bit there but yeah I think it's um it's a really fun style when you cut those sections out so now I'm going to add this mat layer so this is what I didn't do with the six by six and I will pop the sizes for the six by six in my vlog but this middle mat and again it's just that leftover card from the six by six so this is one and three quarters by six and three quarters and that's going to go there and then I want to make a C shape to go around these two sections here so I've cut two pieces of cardstock which are again six and three quarters but this time the width is two and a quarter and this time I want to come in three quarters of an inch along this side and then from the bottom here so just three quarters of an inch and again on the opposite side and I'm just going to join up those lines and then just on one side I'm going to come in three quarters and again down here add up now if you've got a directional paper then because what I'm going to do next I'm just going to pop this over this one that should be that way I'm just going to cut this piece out now because mine's a non-directional it doesn't matter but if yours is make sure they're both at the right way now and then you'll have pattern to pattern that way when you cut this out you will have one which will be able to go on that side and one on that side but yeah if it doesn't matter about the direction then you won't need to worry about that so again pop it in your trimmer if you're using a die it's entirely up to you but I'm just pinching that so my cardstock doesn't move off to one side and then I'm just going to cut this one separately just draw on a quick pencil line just to join those two up so I can follow that a bit easier there we go keep those for some other projects and now you will have two perfect matte layers for your side panels there so just before I stick these ones down I'm actually just going to place my topper and my decoration because I want a couple of them going into this area and I just think it'd be quite good to have the end underneath this cardstock so it's just kind of hidden so from the back it looks nice and neat so I'm just going to like clip it over the end and then under the rest of the flower so it kind of fills some of that space so I've got one there I'm going to have one maybe not so long and just have that just underneath the end there but the rest of it's kind of coming over and into that space and then I've got these ones here and I've popped some foam on this one so similar to how I done the one during the live I've got foam there as well so that one's going to go kind of up there and then again I've got another smaller piece which is going to go there and then I cut the flower on its own to go there and I'm thinking now actually I may have a bit more running along the top just fill this one up a little bit more and then I could always have that down there but I quite like that arrangement and I've always got that little extra there which could always come out of that corner and then my dragonfly could also be on this rather than on the top like I did on the other one we shall see but now I'm kind of I would just play around I always like to position everything before I kind of completely commit and stick to my mats and layers but it's if you do want to kind of stick anything under then I would do it like that because then when you flip this over it's going to be really neat on the back as well but I'm really happy with that I'm not going to add the edge dyes to this I just want to show you it like it is because not everybody's going to have those edge dyes anyway and I just want you to see just how beautiful it looks you know as it is okay so that's everything stuck down I think it looks absolutely stunning it just shows off those stamps so well and then again if you do want to back it you can see it will still look lovely with images within that space you can also add a strip down here if you want I'm not going to I quite like that white space but again I would do three quarters by six and three quarters and then on the back I've just popped one of those extra stamped images and you can just see how neat everything is on the back there as well so I'm just going to finish it off now with some of my I'm going to use the morning dew or was it no actually I'll use the gray which is the gray mist and this is the new vo jewel drop it just leaves a little bit of color gray color obviously I'm just going to pop just a few you could obviously put little you know gems here if you wanted some sparkle I'm just going to pop just a few just a little bit of interest I think that I do in the centers of the flowers I just used my gel pen here the jelly roll it's the Secura one and it's the 10 number 10 but now if I just bring that up you can see and they will dry completely clear and just leave a very slight kind of shade of gray okay so I've just brought over the six by six again just so you can see the difference between the two I think they both look equally stunning I really am pleased with these I think they look absolutely beautiful again I think they'd work really well for masculine makes as well because I imagine in the topper you could have a hobby so whether it be like a racing car or a motorbike or something it could be a lovely country scene maybe a fisherman and the pond you know you could stamp a lovely image in that I just love how it's framed within that section there so yeah I hope you've enjoyed this tutorial today like I said all the other measurements for the mats and layers for the six by six will be in my blog I'll link the magazine and anything else that I can in the description box below if you've enjoyed today please check out some of these videos that are popping up now you might want to watch those next and if you haven't subscribed please do so and you'll be notified every time I upload a new video thanks for watching and I'll see you again soon bye