WEBVTT 00:00.000 --> 00:17.400 The Cavalcade of America presented by DuPont, maker of better things for better living through 00:17.400 --> 00:18.400 chemistry. 00:18.400 --> 00:37.800 Tonight the Cavalcade of America comes to you on a different day and to many of you 00:37.800 --> 00:38.800 at a different time. 00:38.800 --> 00:43.640 To our old friends and new friends alike, we say the Cavalcade is for you. 00:43.640 --> 00:47.640 If you will write and tell us which Cavalcade programs you have liked best in the past or 00:47.640 --> 00:51.480 would like to hear in the future, it will help us to select the best subjects for our 00:51.480 --> 00:55.800 future broadcasts from among the great number we have under consideration. 00:55.800 --> 01:00.480 Just address your letters or postcards to the DuPont company Wilmington, Delaware. 01:00.480 --> 01:05.260 The Cavalcade of America presents the distinguished American actor Paul Muni in the role of one 01:05.260 --> 01:10.240 of the most renowned players in the history of the American stage, Edwin Booth. 01:10.240 --> 01:14.440 Supporting Mr. Muni are the Cavalcade players in our original radio drama written by Norman 01:14.440 --> 01:20.000 Boston. Our orchestra and the original musical score are under the direction of Don Vouris. 01:20.000 --> 01:25.360 DuPont, maker of better things for better living through chemistry, presents Paul Muni 01:25.360 --> 01:44.240 as Edwin Booth on the Cavalcade of America. 01:44.240 --> 01:50.800 A winter's night in the year 1873. It is three o'clock in the morning. Outside Edwin Booth's 01:50.800 --> 01:55.760 theater in New York City, the storm is still raging. Inside, in the hushed gloom of the 01:55.760 --> 02:00.560 deserted playhouse where Edwin Booth made his home, a figure appears with a lantern 02:00.560 --> 02:06.840 upon the empty stage, then crosses into the wings and on through a heavily beamed door. 02:06.840 --> 02:16.680 Mr. Booth. Mr. Booth, wake up. What? Who is it? It's Gary, sir. You told me to wake 02:16.680 --> 02:25.040 you at three o'clock. Oh, yes. Yes. Help me with my coat, Gary. Yes, sir. Thank you. 02:25.040 --> 02:32.120 Now fetch the lantern, please. We're going to the furnace room. Is anything wrong, sir? 02:32.120 --> 02:43.080 No, Gary, not a thing, except that I'm an old man. Wait. Let me stand here on the empty 02:43.080 --> 02:51.640 stage a moment. Nothing is as lonely as being in the middle of this dark universe. Yes, 02:51.640 --> 03:01.360 Mr. Booth. So strange and silent in the theater this hour of the night, isn't it, Gary? A little 03:01.360 --> 03:12.480 frightening, eh? You'd better take my arm, sir. Thank you. Here they are, sir. Good. Close 03:12.480 --> 03:19.320 the door, Gary. Yes, sir. And you had the furnace man bang the fires as I ordered? You 03:19.320 --> 03:29.880 can see for yourself, Mr. Booth. Yes. Now we'll have those flames roaring soon enough. Gary, 03:29.880 --> 03:39.280 help me drag the trunk over to the furnace. Yes, sir. That's it. Now take that axe and 03:39.280 --> 03:44.440 cut the cords around it. Mr. Booth, you can't. You're not going to burn those cords. Cut 03:44.440 --> 04:00.880 the cords, Gary, or I'll do it alone. Good. Now we'll open it. Ah, but it smells of death, 04:00.880 --> 04:08.440 doesn't it, Gary? These costumes look pretty, eh? They shall look prettier in the fire. I 04:08.440 --> 04:17.520 don't quite understand, Mr. Booth. I've decided to destroy a few ghosts. That is all. The fire 04:17.520 --> 04:26.080 is strong now. It reaches out like little red hands. I've brought many gifts for you. All 04:26.080 --> 04:33.560 these costumes, these colors and capes and plumes. You will make ashes of them. Even the 04:33.560 --> 04:42.480 applause shall go up into the sky and be heard no more. This cloak, you see it, Gary? Yes, 04:42.480 --> 04:52.000 Mr. Booth. It was my brother's. Your cloak, John Wilkes, you shall haunt me no longer. 04:52.000 --> 05:05.040 You've given me enough grief for two lifetimes. Ah, how slowly you burn. And yet so well, 05:05.040 --> 05:12.400 so royal, Mr. Booth. I can't bear to watch. Next, this satin waistcoat and silk stockings 05:12.400 --> 05:22.200 and these velvet Othello slippers and this jewel studded shirt. Yes, I shall burn them, too. You 05:22.200 --> 05:28.360 can't do that, Mr. Booth. How beautifully you postured in them, John Wilkes. How dazzlingly you 05:28.360 --> 05:40.520 walked with silver spurs. And what is this? This belted purple robe, trimmed with fur. My 05:40.520 --> 05:54.520 father's. I remember he had it for many years. Look at it now. Ancient, musty and torn. My father, 05:54.520 --> 06:02.880 he looked so keenly in this robe, Gary. Yes, sir. It takes me back to the first time I played a 06:02.880 --> 06:12.240 leading role on the stage, the beginning of my life. It was Richard III. We were in Boston. 06:12.240 --> 06:17.120 I was alone with my father in his dressing room just before curtain time. 06:17.120 --> 06:38.840 Well, Edwin, how does your father look tonight? Handsome, huh? Very much like a king, 06:38.840 --> 06:49.880 father. I am that. Every inch King Richard III. Junior Spruce Booth is always ready. Set him 06:49.880 --> 06:59.360 upon a stage and call out the name of the play and you shall have it. Aye, scene by scene. My 06:59.360 --> 07:08.400 conscience has a thousand several voices. Several tongues, father. Simple light of you to be 07:08.400 --> 07:17.520 correcting your father, Edwin. I'm a genius lad. There can't be more than one in any family. 07:17.520 --> 07:30.320 You see these spurs, a mark of genius. My father wore them before me. They'll never be worn by another. 07:30.320 --> 07:38.320 Sir, if I could but try to earn them. Curtain ready to go up, Mr. Booth? You must be bright 07:38.320 --> 07:42.960 the prompt book, my boy. That's your role. Father, why is it always the prompt book? And when shall 07:42.960 --> 07:47.200 I stop throwing lines to others? When I hold the prompt book, father, and the curtain rises, 07:47.200 --> 07:52.800 I become wondrously alive. There's a feeling of flying in my heart. My eyes open up on a kind of 07:52.800 --> 08:00.080 heaven. Is the true feeling, lad? Then I shall drink to it. Aye, to your dreaming. No, father, 08:00.080 --> 08:03.840 not after what happened in Hartford and last week in Providence. You're too great a man for that. 08:03.840 --> 08:10.560 Yes, you can't expect me to storm my way through five bloody acts of Shakespeare without one drink 08:10.560 --> 08:28.080 for each act, can you? There. I feel better. No, I feel faint. Father, what is it? I feel 08:28.080 --> 08:34.480 strangely ill. What's down here? Help me, sir. He helps me. Father. You're on in a moment. 08:35.040 --> 08:41.200 Mr. Booth. Edwin, what's happened here? What's the matter? Shall we hold the curtain? Same thing. 08:41.200 --> 08:45.120 I don't think so, Mr. Scott. He just all of a sudden fainted. Drunk again, that's what. Don't say 08:45.120 --> 08:50.320 that. I'll say what I like. Quiet, quiet. There's a poor house out there. What do we do? I know the line, 08:50.320 --> 08:55.440 sir. Let me go on. I played Richard like all the kings in history. I played with my head, 08:55.440 --> 08:59.600 my heart, my very blood. All right, Edwin. Get into the costume. I'll make the announcement. 08:59.600 --> 09:03.120 The rest of you, come with me to your places in the wings. Tell Edwin to be ready to go on 09:03.120 --> 09:12.160 as soon as I finish. I'll be brief enough. Listen, and somebody pray. Ladies and gentlemen, 09:13.040 --> 09:18.960 owing to a regrettable and unforeseen illness, Mr. Junior Sprootis Booth will be unable to appear. 09:18.960 --> 09:27.600 In his place, our company is proud to present Mr. Edwin Booth, the son of Junior Sprootis Booth, 09:27.600 --> 09:31.600 who will essay in his father's stead the role of Richard Third. All right, I'm ready. 09:31.600 --> 09:35.600 Here, let me fix that wig or it'll come off. Stand still, Edwin. I'll pin the cloak to your shoulder. 09:35.600 --> 09:40.240 Then you won't have to hold it. All right, all right, lad. Here's your chance. Ready? I am, sir. 09:40.240 --> 09:45.600 Bring out the curtain. Edwin, good luck to you. Oh, thank you. Thank you. Go out there, lad. 09:45.600 --> 09:49.600 You're on. 10:03.760 --> 10:10.560 I shall never forget that night, Gary. For the first time my heart told me I was alive. 10:10.560 --> 10:19.440 I felt an awful silence like this empty theater above us. No sense of time, nor space, nothing. 10:20.240 --> 10:27.280 I was alone in the universe, and then after an eternity I seemed to hear somewhere from 10:27.280 --> 10:35.840 afar off the voice of Richard. Now is the winter of our discontent made glorious summer 10:35.840 --> 10:47.840 by the son of York. Yes, it was I. I was speaking lines, Gary, the lines of Shakespeare. I was on the stage. 10:47.840 --> 10:59.840 I won my father's spurs that night, yes, and wearing this very robe. Mr. Booth, sir, please don't burn that robe. 10:59.840 --> 11:07.840 I must, Gary. All my memories into the fire with it. You shouldn't. Into the fire, I say. 11:07.840 --> 11:17.840 Yes, we shall purge by fire and more fire. Come now, what else have we? 11:17.840 --> 11:25.840 There's a setting cloak, Mr. Booth. That cloak, Romeo's cloak. 11:25.840 --> 11:35.840 Let me hold it a moment, for she held it once with me in it in her arms in life. 11:35.840 --> 11:45.840 I played Romeo once to the sweetest Juliet that ever lived. I've played Romeo many times, Gary, 11:45.840 --> 11:59.840 but only once did I find my real Juliet. Her eyes spoke to me as I was rehearsing the play with my company all through one long afternoon. 11:59.840 --> 12:23.840 That will be all. I believe we've had enough rehearsal for today. Oh, Miss Devlin. Yes. Would you stay? 12:23.840 --> 12:31.840 You want to scold me after school, is that it? Oh, no, not at all. You read very well. Oh, some day shall I play opposite you then? 12:31.840 --> 12:39.840 Am I that appealing, Romeo? Oh, yes. Well, that is, we do read well together. 12:39.840 --> 12:47.840 Now, if you put the question to me, am I that appealing a Juliet, I should not know how to answer. Am I that appealing a Juliet, sir? 12:47.840 --> 13:02.840 Yes, and, well, that is, we do read well together. There's so much I should like to say. Yes. But I don't know my cues here. 13:02.840 --> 13:11.840 There are no cues but those of the heart. They're found in no pump book. I can only recite a speech in blank verse, but that would be inadequate for you. 13:11.840 --> 13:21.840 I don't want a speech from Shakespeare. I want a few mere lines from Edwin Booth. I find it difficult, Mary. There are lines in my head, but I've played them too often. 13:21.840 --> 13:31.840 There seems to be no speech for you. Perhaps then it's not the time for speaking. Thus, for my lips by yours, my sin is purged. 13:31.840 --> 13:42.840 Juliet, my Juliet. Edwin. It shall not be easy for you. My work has already taken half my heart. 13:42.840 --> 13:48.840 But there must be a small warm place left for me to dwell in. I should be content as a minor heroine. 13:48.840 --> 14:08.840 You should be all my heroines, and most of all, my Juliet. 14:08.840 --> 14:24.840 But, Gary, it wasn't that the way it is in the play. My Juliet died first. Had I been the true Romeo, I should have been at her side as it was written. 14:24.840 --> 14:39.840 But no, my role was Hamlet. Always Hamlet. I never knew what was happening around me. Life always passed me before I could touch it. 14:39.840 --> 15:07.840 And it was that way with my own wife. I never understood what there was for me to do. I never acted, but that it was too late for action. 15:07.840 --> 15:10.840 Well, Edwin, return to be leaving in a moment. 15:10.840 --> 15:12.840 I shouldn't let you go by yourself. 15:12.840 --> 15:20.840 No, you couldn't nurse me anyway. All I need is some rest. I'll be ready to assume my duties again, such as they are. 15:20.840 --> 15:26.840 Oh, but they are important to me. Suppose I cancel the Hamlet tour and we'll go off together, eh? 15:26.840 --> 15:32.840 Oh, but you can't. Your tour's scheduled. You can't run away from your audience, not Edwin Booth. 15:32.840 --> 15:39.840 I shall become ill then. Better. I shall arrange to cut the tour and return home a month earlier. There. 15:39.840 --> 15:46.840 Whenever you're through, my darling, I shall be there waiting, just like a minor heroine. 15:46.840 --> 15:53.840 Oh, Mary, I really shouldn't let you go. Somehow I shouldn't, I shouldn't leave you. 15:53.840 --> 16:03.840 Goodbye. Play well, my dear. I shall be with you, somewhere in the applause, near you somehow. 16:24.840 --> 16:33.840 She left me that way, and I didn't know she was going off to die. 16:33.840 --> 16:43.840 And while I strutted the stage like a fool, she was like patience on the monument, smiling at grief. 16:43.840 --> 16:57.840 I never saw her alive again. She died, and then they told me. I was, I was even late for her death, Garrett. 16:57.840 --> 17:06.840 I was late for all my cues, Garrett. All my cues. Now hand me that book there. 17:06.840 --> 17:16.840 Oh, no, Mr. Booth, no. All your notices are in this book. Thousands of clippings. It's your history, sir, the record of your art. 17:16.840 --> 17:23.840 My art, Garrett. My art. Was it me? Was it Edwin Booth? 17:23.840 --> 17:29.840 Or had I become the part I played and was the applause not for me, but for Hamlet? 17:29.840 --> 17:36.840 And was it really for Hamlet? No, it was for himself that each person wept and wondered. 17:36.840 --> 17:43.840 I made them each a Hamlet to suffer and die and be born again. 17:43.840 --> 17:51.840 That is the art of the player, Gary, and it is too real for even this fire to consume her. 17:51.840 --> 17:55.840 I shouldn't have let you, sir. I shouldn't have let you do it. 17:55.840 --> 18:01.840 Enough of this talk, Gary. What else have we there in the trunk? 18:01.840 --> 18:09.840 Those sandals. The cursed sandals of my brother John Wicks. 18:09.840 --> 18:18.840 There was the weight that pulled me down. There was the curse that blotted out my sun, my moon, and stars forever. 18:18.840 --> 18:25.840 God have mercy on your soul, John, for I have none. 18:25.840 --> 18:32.840 Caesar was the play. I was Brutus and you were Antony, John Wicks. 18:32.840 --> 18:52.840 That night when evil darkened my sky like a great cloud. 18:52.840 --> 18:57.840 But here I am to speak what I do know. 18:57.840 --> 19:03.840 You all did love him once, not without cause. 19:03.840 --> 19:07.840 What cause withholds you then to mourn for him? 19:07.840 --> 19:13.840 Judgment, thou art fled to Brutus' base, and men have lost their reason. 19:13.840 --> 19:17.840 Now, wait a minute. Listen, listen everyone. Now listen to me. 19:17.840 --> 19:23.840 Southern blood is the rich red blood of the pioneers. It's drenching this soil now. 19:23.840 --> 19:31.840 John Wicks, you fool, have you lost your mind? Blood, blood is being spilled by that abolition ape, Abraham Lincoln. 19:31.840 --> 19:39.840 Drive him from the White House, I say. The day of judgment is at hand, I tell you. Abraham Lincoln is a traitor. 19:39.840 --> 19:43.840 Stop it, you're a mad man. I won't have any speeches for those of the text, do you hear me? 19:43.840 --> 19:46.840 I have a speech to make and by heaven I'll make it. 19:46.840 --> 19:51.840 By heavens you won't? The President of the United States will not be desecrated in this house. 19:51.840 --> 19:54.840 Bring down the carton. What? 19:55.840 --> 20:01.840 Why'd you stop me? I didn't yet, but I shall now with my hands I'll tear your lying tongue from your mouth. 20:01.840 --> 20:03.840 Stop it, somebody. 20:03.840 --> 20:07.840 Here, here, I'm talking to both of you. Mr. Boo. 20:07.840 --> 20:11.840 My hands weren't held now, brother. I teach you in blood. 20:11.840 --> 20:15.840 Never mind the brother. I am a patriot first. 20:15.840 --> 20:20.840 Stop your babbling, you fool. You're a mad man, not a fool. Get out of this company. 20:20.840 --> 20:28.840 Good, good. I have other things to do, not with words, but by deed. 20:28.840 --> 20:51.840 We shall hear about the name Booth very soon. 20:51.840 --> 20:58.840 I never saw him again, Gary. He went away. I didn't know where. 20:58.840 --> 21:07.840 The months went by and I dreaded the days and nights. I feared something would happen. 21:07.840 --> 21:12.840 And on one frightful day, Gary, my world came to an end. 21:12.840 --> 21:25.840 Unexpectedly, silently, without flood or earthquake, but by a simple act, my star was taken out of the heavens forever. 21:43.840 --> 21:45.840 What are the bells ringing for today, Patrick? 21:45.840 --> 21:49.840 It's holy week, sir. A special week for the bells, it is. 21:49.840 --> 21:52.840 Oh, yes. Is that the theater ahead? 21:52.840 --> 21:57.840 Oh, it is, Mr. Booth. And with that crowd in front of it, you'd think it was a place for drinking. 21:57.840 --> 22:02.840 It's a place for worship. The worshippers have a way of changing their God. 22:02.840 --> 22:07.840 Right you are, Mr. Booth. I was remembering to tell the old lady that. 22:07.840 --> 22:12.840 Here we are. Whoa, whoa, that. 22:12.840 --> 22:14.840 Call for me at 5.30, will you, Patrick? 22:14.840 --> 22:18.840 5.30 it is, sir. 22:18.840 --> 22:21.840 Good afternoon, gentlemen. Good afternoon to you all. 22:21.840 --> 22:24.840 Come on down from that carriage, you. 22:24.840 --> 22:25.840 We mean you, Booth. 22:25.840 --> 22:26.840 What? What does this mean? 22:26.840 --> 22:28.840 We'll show you, with a rope. 22:28.840 --> 22:31.840 But I don't understand. Gentlemen. 22:31.840 --> 22:33.840 Assasin, don with it, Booth. 22:33.840 --> 22:37.840 Pull him down. Let me through, please. 22:37.840 --> 22:39.840 Wait a minute, Mr. Not so fast, please. 22:39.840 --> 22:42.840 Excuse me, let me through, if you please. 22:42.840 --> 22:44.840 Don't let him get away. 22:44.840 --> 22:46.840 Pull him out. 22:46.840 --> 22:48.840 What's going on, Stanley? 22:48.840 --> 22:52.840 Mr. Booth, we've had to cancel this afternoon's performance. 22:52.840 --> 22:55.840 Cancel? That's impo... Is anyone ill? 22:55.840 --> 22:57.840 What was happening? 22:57.840 --> 23:00.840 Well, the point is, it's all very sudden. 23:00.840 --> 23:03.840 Haven't you heard? 23:03.840 --> 23:05.840 What's happened? Speak, man. 23:05.840 --> 23:07.840 Those bells, sir. 23:07.840 --> 23:09.840 Haven't you heard? 23:09.840 --> 23:11.840 The President. 23:11.840 --> 23:13.840 Mr. Lincoln is dead. 23:13.840 --> 23:19.840 Tell me, Stanley, there's more. 23:19.840 --> 23:23.840 He was shot and killed by John Wilkes Booth. 23:23.840 --> 23:24.840 Aye, John. 23:24.840 --> 23:25.840 Mr. Booth. 23:25.840 --> 23:27.840 What are they waiting for? 23:27.840 --> 23:30.840 I'll explain. 23:30.840 --> 23:33.840 The crowd is wild. 23:33.840 --> 23:37.840 They've mistaken me for someone else. 23:37.840 --> 23:39.840 I'll explain it to them. 23:39.840 --> 23:41.840 I'm Edwin Booth. 23:41.840 --> 23:43.840 Edwin Booth. Don't they understand? 23:43.840 --> 23:46.840 Better not leave by the stage door, Mr. Booth. 23:46.840 --> 23:48.840 Go out by the front of the house. 23:48.840 --> 23:50.840 I'll go with you, sir. 23:50.840 --> 23:54.840 No, Stanley, I'll go myself. 23:54.840 --> 23:56.840 I must go myself. 23:56.840 --> 23:59.840 I must face this alone. 24:17.840 --> 24:20.840 You burn well, John. 24:20.840 --> 24:23.840 Fire becomes you. 24:23.840 --> 24:26.840 Fire has touched you before. 24:26.840 --> 24:29.840 Was it not a barn, they said, fire, too? 24:29.840 --> 24:34.840 Your hiding place before they shot you down? 24:34.840 --> 24:40.840 These little hands of fire give you your last applause. 24:40.840 --> 24:46.840 And take you out of my life forever, John Wilkes. 24:46.840 --> 24:50.840 You are beautiful in ashes. 24:50.840 --> 24:55.840 Well, come, Gary. 24:55.840 --> 24:59.840 You are finished now. 24:59.840 --> 25:21.840 Close the door of the furnace. 25:29.840 --> 25:52.840 The Cavalcade of America thanks Paul Munie and the Cavalcade players for their performance of Edwin Booth. 25:52.840 --> 25:56.840 And now Dupont brings you news of chemistry at work in our world. 25:56.840 --> 26:04.840 For centuries, the only cooling agent known to man was natural ice, later manufactured ice. 26:04.840 --> 26:09.840 Then 20 years ago, the home-sized mechanical refrigerator made its appearance. 26:09.840 --> 26:17.840 Using it, 30 million American families today manufacture their own cold cheaply, efficiently, and hygienically. 26:17.840 --> 26:23.840 The main spring of your mechanical refrigerator is a chemical fluid called a refrigerant, 26:23.840 --> 26:29.840 which circulates in the system, absorbs heat, and carries it to the outside air. 26:29.840 --> 26:37.840 Spectacular progress in refrigerating engineering has gone hand in hand with chemical research on new and better refrigerants. 26:37.840 --> 26:43.840 The result of this research is Freon refrigerant, efficient and safe. 26:43.840 --> 26:51.840 Today, stores, office buildings, theaters, railroad trains, buses, and homes are air-conditioned with Freon. 26:51.840 --> 26:59.840 Printers depend on Freon air conditioning to eliminate variations in humidity that would throw their fine multicolor printing out of register. 26:59.840 --> 27:05.840 New airplane factories are being air-conditioned throughout so that constant temperature may be maintained 27:05.840 --> 27:10.840 and tolerances of ten thousandths of an inch achieved on engine parts. 27:10.840 --> 27:19.840 With quick frozen foods, we now have corn on the cob in midwinter, and fish comes to us with the precious vitamins intact. 27:19.840 --> 27:24.840 Aided too by another chemical contribution, cellophane cellulose film for packaging, 27:24.840 --> 27:30.840 the frozen food industry is rapidly becoming a potent force in our national food supply. 27:30.840 --> 27:34.840 The laboratory story of Freon refrigerant is a thrilling one. 27:34.840 --> 27:37.840 It was known that such a compound existed. 27:37.840 --> 27:44.840 There was only one known way to make it, however, and it cost anywhere from five to fifteen dollars a pound. 27:44.840 --> 27:50.840 Then one day, a young DuPont chemist scribbled a curious chain of symbols on a pad. 27:50.840 --> 28:00.840 Beginning with charcoal, sulfur, common salt, and fluorospore, he had mapped a new trail to a laboratory curiosity, dichlorodifluoromethane. 28:00.840 --> 28:04.840 Mechanics worked all night making the apparatus for his experiment. 28:04.840 --> 28:07.840 In the morning, it was ready. 28:07.840 --> 28:09.840 The first day, no results. 28:09.840 --> 28:18.840 The second day, down from a slim steel tube fell 22 drops of Freon, just 22 precious drops. 28:18.840 --> 28:27.840 Today, those 22 drops have become millions of pounds a year, and the price has been reduced to less than one-tenth of its original cost. 28:27.840 --> 28:37.840 And Freon safe refrigerant has been added to DuPont's diversified list of better things for better living through chemistry. 28:37.840 --> 28:45.840 Next week, the Cavalcade of America presents an original radio drama by one of America's most distinguished playwrights, Maxwell Anderson. 28:45.840 --> 28:48.840 It's a story of John Keats and America. 28:48.840 --> 28:52.840 We hope you'll join us on Cavalcade at the same time next week. 28:52.840 --> 28:58.840 On the Cavalcade of America, your announcer is Clayton Collier, sending best wishes from DuPont. 28:58.840 --> 29:13.840 This is the National Broadcasting Company.