Podcasts about lessee

This lecture explores the role of the Supreme Court in the U.S. constitutional system, focusing primarily on the concept of judicial review, which allows the Court to invalidate laws and actions that conflict with the Constitution. It traces the development of this power, notably through the landmark case Marbury v. Madison, and discusses the limitations on the Court's authority, such as case or controversy jurisdiction and specific doctrines like standing and ripeness. The lecture also examines various methods of constitutional interpretation, including originalism and living constitutionalism, highlights key Supreme Court decisions, and analyzes the Court's relationship with other branches of government. Finally, it touches upon ongoing debates surrounding the judiciary, such as judicial activism versus restraint and the politicization of appointments, and mentions some proposed reforms.This conversation provides a comprehensive overview of judicial review in the U.S., emphasizing its foundational role in constitutional law. It explores the historical context, landmark cases, and the interplay between the Supreme Court and other branches of government. The discussion also delves into ongoing debates about the court's role, including judicial activism versus restraint, and potential reforms to the judicial system.TakeawaysJudicial review is the authority of the courts to examine the constitutionality of legislative acts and executive actions and to invalidate them if they conflict with the Constitution. This power maintains the Constitution's supremacy.In Marbury versus Madison, Chief Justice John Marshall declared that it is the duty of the judicial department to interpret the law, and when a law conflicts with the Constitution, the courts must uphold the Constitution as the superior law.Case or controversy jurisdiction requires the Supreme Court to only decide actual disputes between adverse parties. It prevents the Court from issuing advisory opinions or ruling on hypothetical questions.The standing doctrine requires that a party bringing a case have a concrete, particularized injury directly caused by the defendant's conduct and redressable by the court. It prevents courts from hearing generalized grievances.Originalism focuses on interpreting the Constitution according to its original public meaning at the time it was adopted. Proponents believe this constrains judicial discretion and preserves the text's fixed meaning.Living constitutionalism views the Constitution as a dynamic document that evolves to reflect changing societal values and conditions, ensuring it remains relevant to modern challenges. Originalism, in contrast, emphasizes historical meaning.Martin versus Hunter's Lessee established the Supreme Court's appellate authority over state court decisions involving federal law, ensuring uniform interpretation of federal law across the states.Cooper versus Aaron declared that state officials are bound by the Supreme Court's constitutional interpretations and cannot defy its decisions, underscoring the supremacy of federal constitutional law.United States versus Nixon affirmed that the judiciary has the authority to resolve constitutional disputes involving the executive branch and ordered President Nixon to comply with a subpoena, demonstrating that no one, including the President, is above the law.The Supreme Court lacks the power of the purse or sword and relies on the political branches and the public to comply with its rulings. Public acceptance and institutional legitimacy are crucial for its effectiveness and ability to enforce its decisions.Understanding the Supreme Court and judicial review is essential for constitutional law.Judicial review allows courts to strike down laws that conflict with the Constitution.Marbury v. Madison established the principle of judicial review.The power of judicial review is not explicitly stated in the Constitution.Federal courts can only hear actual cases or

Subscribe to The Manila Times Channel - https://tmt.ph/YTSubscribeVisit our website at https://www.manilatimes.netFollow us:Facebook - https://tmt.ph/facebookInstagram - https://tmt.ph/instagramTwitter - https://tmt.ph/twitterDailyMotion - https://tmt.ph/dailymotionSubscribe to our Digital Edition - https://tmt.ph/digitalCheck out our Podcasts:Spotify - https://tmt.ph/spotifyApple Podcasts - https://tmt.ph/applepodcastsAmazon Music - https://tmt.ph/amazonmusicDeezer: https://tmt.ph/deezerStitcher: https://tmt.ph/stitcherTune In: https://tmt.ph/tuneinSoundcloud: https://tmt.ph/soundcloud#TheManilaTimes Hosted on Acast. See acast.com/privacy for more information.

Political theorist William B. Allen, editor and translator of a new edition of Montesquieu's The Spirit of the Laws, and Alison LaCroix, author of The Interbellum Constitution: Union, Commerce, and Slavery in the Age of Federalisms, explored the intellectual foundations—from Montesquieu and beyond—of the U.S. constitutional vision and core values from America's founding through the Civil War. The discussion was moderated by Jeffrey Rosen, president and CEO of the National Constitution Center. Resources: Alison LaCroix, The Interbellum Constitution: Union, Commerce, and Slavery in the Age of Federalisms, 2024 Montesquieu, ‘The Spirit of the Laws': A Critical Edition, edited and translated by W. B. Allen, 2024 The Commerce Clause Alison LaCroix, “James Madison v. Originalism,” Project Syndicate (Aug. 26, 2022) 10th Amendment Andrew Jackson, Proclamation Regarding Nullification, (December 10, 1832) Martin v. Hunter's Lessee, (1816) Preamble to the Constitution Stay Connected and Learn More: Questions or comments about the show? Email us at programs@constitutioncenter.org Continue the conversation by following us on social media @ConstitutionCtr. Sign up to receive Constitution Weekly, our email roundup of constitutional news and debate. Subscribe, rate, and review wherever you listen. Join us for an upcoming live program or watch recordings on YouTube. Support our important work. Donate

Send us a Text Message.Min explores the temple. The Lessee has a fiery reunion. Herrand tries to walk a tight rope. Gnilfiet drinks some soup!Gnilfeit- Krissi Williams Thae Oraen - Gemma Maclean Mair Everyone else- Kier ZhouContent Warning:- Torture- Violence- Lazy Crazy Oversexed Goddess TropeStrange New Worlds And Spaced Out Tales – The Site (snwasot.com)Join the creators of SNWASOT for 'The Fall and Partial Re-Emergence of The Dysfunctional Five' a comedy 'superhero' mini series based on their series one anthology story! Support the Show.

In this episode, political theorist William B. Allen, editor and translator of a new edition of Montesquieu's The Spirit of the Laws, and Alison LaCroix, author of The Interbellum Constitution: Union, Commerce, and Slavery in the Age of Federalisms, join Jeffrey Rosen to explore the intellectual foundations—from Montesquieu and beyond—of constitutional interpretation from the founding to the Civil War. They also discuss historical practice and tradition in interpreting the Constitution throughout the interbellum period, and how this history applies to debates over constitutional interpretation today. This program was streamed live on June 17, 2024, as part of our America's Town Hall series.    Resources: • Alison LaCroix, The Interbellum Constitution: Union, Commerce, and Slavery in the Age of Federalisms, 2024 • Montesquieu, ‘The Spirit of the Laws': A Critical Edition, edited and translated by W. B. Allen, 2024 • The Commerce Clause • Alison LaCroix, “James Madison v. Originalism,” Project Syndicate (Aug. 26, 2022) • 10th Amendment • Andrew Jackson, Proclamation Regarding Nullification, (December 10, 1832) • Martin v. Hunter's Lessee (1816) • Preamble to the Constitution   Questions or comments about the show? Email us at podcast@constitutioncenter.org.    Continue today's conversation on Facebook and Twitter using@ConstitutionCtr.    Sign up to receive Constitution Weekly, our email roundup of constitutional news and debate, at bit.ly/constitutionweekly.    You can find transcripts for each episode on the podcast pages in our Media Library. 

On this day in legal history, September 18, noted jurist and Supreme Court Justice Joseph Story was born. He got a lot of things right, and a lot of things wrong.Joseph Story, born on September 18, 1779, in Marblehead, Massachusetts, hailed from a family with a rich history of involvement in significant events leading up to the American Revolution. Despite initial aspirations in poetry, Story eventually focused on a career in law, spurred by early setbacks in his literary endeavors. His legal journey began under the mentorship of prominent attorneys Samuel Sewell and Samuel Putnam, culminating in his bar admission in 1801.Story's legal career blossomed as he garnered success in the courtroom and formed political alliances with influential figures like Jacob Crowninshield. His notable stint in the Massachusetts and federal legislature between 1805 and 1811 saw him briefly serve as the Speaker of the House for the Massachusetts House of Representatives. His legal acumen was recognized nationally when he successfully argued the landmark case Fletcher v. Peck before the Supreme Court in 1810, a case that marked the first instance of a state law being deemed unconstitutional.Story became the youngest Associate Justice to serve in the Supreme Court at the age of 32, nominated by President James Madison in 1811. Despite initial expectations of a divergent judicial philosophy from Justice John Marshall, Story embraced a vision that fortified the power of the Federal government, often collaborating closely with Marshall. His tenure on the bench was marked by landmark rulings that expanded the Supreme Court's authority and strengthened federal judicial power, notably in cases like Martin v. Hunter's Lessee and Swift v. Tyson.A staunch nationalist, Story vehemently opposed slavery, a stance evident in his ruling in the 1841 Amistad case where he advocated for the rights of African captives. However, his commitment to nation-building led to an incorrect ruling in Prigg v. Pennsylvania, reinforcing the federal Fugitive Slave Law of 1793, a decision that compromised the safety of escaped enslaved individuals and free black people in the north alike. Despite the challenges of circuit duties, Story remained passionate about education, joining Harvard's law faculty in 1829 and authoring seminal legal texts that illuminated complex legal concepts. His dedication to fostering a nationalist vision of federal law left an indelible mark on American jurisprudence, cementing his legacy as a formidable constitutional and legal scholar albeit not one without negative marks. His prioritizing of nation building ahead of the human rights of enslaved and free people is a serious blemish on what could have been a much more impactful public life. If Joseph Story were alive today he would be celebrating his 244th birthday and be super dead.The UK-based Woodsford Group Ltd., a prominent entity in the $13.5 billion litigation finance industry, is planning to sell its portfolio of passive US investments to concentrate on spearheading large-scale lawsuits against corporate malpractices. CEO Steven Friel revealed that this strategic shift aims to fuel the company's growth and reposition it in the market, although the details of the portfolio's size and value remain undisclosed. Woodsford intends to independently identify and organize lawsuits, moving away from merely investing in cases brought forward by law firms.This move comes as a response to a gap in the market created by a 2010 US Supreme Court ruling that restricts the trial of securities cases with significant foreign elements in the US. Woodsford plans to orchestrate these cases abroad, focusing on those that were previously under US jurisdiction. The company aims to initially seek non-litigious compensation for large groups of stakeholders affected by corporate wrongdoings, resorting to funded litigation if necessary. This strategy shift is in line with the emerging trend of substantial secondary transactions in the litigation funding sector, as noted by industry experts.Litigation Funder Woodsford Seeks Portfolio Sale in Market ShiftThe federal prosecutor's office in Muskogee, Oklahoma, is facing difficulties in recruiting attorneys to manage the increasing caseloads resulting from a Supreme Court ruling that altered Indian law jurisdiction. Despite receiving funding to expand from 8 to 159 employees, the office has struggled to attract qualified candidates willing to relocate to the economically challenged area. The 2020 Supreme Court case, McGirt v. Oklahoma, shifted the responsibility of prosecuting crimes on tribal lands to federal and tribal agencies, significantly burdening the Eastern District of Oklahoma, which encompasses a 26-county region within Indian territory.The recruitment challenges are exacerbated by the remote location and the stress associated with adapting to the federal judicial system's stringent criminal procedures. While some attorneys were initially eager to gain federal experience, many found the transition too challenging and left shortly after. In contrast, the neighboring Northern District, home to Tulsa, successfully doubled its attorney ranks to 68 within three years, leveraging the city's appeal. Experts suggest focusing recruitment efforts on local Oklahoma law school graduates to foster long-term retention. Meanwhile, US Attorney Christopher Wilson continues to emphasize the unique opportunities the role offers in hopes of attracting experienced trial lawyers.‘Forgotten' Oklahoma Town Can't Attract Enough US ProsecutorsThe Texas Senate acquitted Attorney General Ken Paxton, a prominent Republican figure, on all 16 articles of impeachment he was facing, allowing him to retain his position. Despite being embroiled in corruption allegations since assuming office in 2014 and currently being under FBI investigation, Paxton managed to secure acquittal with ease. Throughout the trial, he maintained his innocence, dismissing the proceedings as a political witch hunt. The impeachment trial, which revealed deep divisions within the Texas Republican Party, saw Paxton's former aides testify against him, accusing him of corruption and abuse of power, primarily to shield a wealthy donor and conceal an extramarital affair.Former President Donald Trump and Texas Governor Greg Abbott praised Paxton's acquittal, with Abbott commending Paxton's resistance against the Biden administration. However, critics like Senator Roland Gutierrez criticized the verdict, attributing it to a flawed system that enables abuse of power. The trial, which began on September 5, has been criticized by Lieutenant Governor Dan Patrick for its lack of transparency and unnecessary expenditure of taxpayer money. So ends a rare occurrence in Texas politics, with the last impeachment trial of a statewide officeholder occurring in 1917.Texas Senate acquits AG Paxton in impeachment trial, keeps him in office | ReutersThe U.S. Securities and Exchange Commission (SEC) has announced that Lyft has consented to pay a $10 million civil penalty to settle charges pertaining to non-disclosure of a board member's financial interest in a company transaction. Before Lyft went public in March 2019, a director on the company's board facilitated the sale of private shares worth $424 million through a special purpose vehicle connected to them, a detail that was not disclosed in Lyft's 2019 SEC filings. The SEC emphasized that Lyft was obligated to reveal the particulars of the transaction, given its role in approving the private sales. The involved director exited the board concurrent with the transaction. Lyft has neither confirmed nor denied the SEC's claims and has not yet commented on the matter.Lyft to pay $10 mln civil penalty over disclosure failures -SEC | Reuters Get full access to Minimum Competence - Daily Legal News Podcast at www.minimumcomp.com/subscribe

DEAR PAO: Lessor may remove belongings of erring lessee if contract so provides | June 7, 2023Subscribe to The Manila Times Channel - https://tmt.ph/YTSubscribe Visit our website at https://www.manilatimes.net Follow us: Facebook - https://tmt.ph/facebook Instagram - https://tmt.ph/instagram Twitter - https://tmt.ph/twitter DailyMotion - https://tmt.ph/dailymotion Subscribe to our Digital Edition - https://tmt.ph/digital Check out our Podcasts: Spotify - https://tmt.ph/spotify Apple Podcasts - https://tmt.ph/applepodcasts Amazon Music - https://tmt.ph/amazonmusic Deezer: https://tmt.ph/deezer Stitcher: https://tmt.ph/stitcherTune In: https://tmt.ph/tunein #TheManilaTimes Hosted on Acast. See acast.com/privacy for more information.

这是2.0的一期配合的节目，讲述美国开国第一位最高院首席大法官Marshall的一些重要判例，以及从这些判例中，我们可以理解到底什么是法治？法治如何塑造社会秩序？以及人们到底为什么遵守法治？ 内容包括： 1 上期节目的一些回应 2 法治不是刑法之治，秦法之治 3 Marbury v. Madison 司法到底如何可以在实然社会中起作用？作为既无财权也无暴力权的一极。 4 Burr conspiracy trial 司法的非“民意”权威性，司法如何在民意汹涌时提供审议性价值 5 Fletcher v. Peck 司法通过社会预期的稳定性塑造秩序 6 McCulloch v. Maryland 司法在社会关键时期作出社会抉择塑造秩序 7 Cohens v. Virginia 司法提供contitutional review塑造社会秩序 8 Gibbons v. Ogden 司法技术性划定法律地方主义的边界塑造社会秩序 9 Johnson v. McIntosh 马歇尔当然也会犯错的 10 Worcester v. Georgia 司法面对行政的挑战和不配和也有手续无措的时候 11 Martin v. Hunter's Lessee 司法通过最终的解释权塑造社会秩序 12 Dartmouth College v. Woodward 进一步强调合同的稳定性 13 Ogden v. Saunders 马歇尔首次成为少数派和他的远见 14 Barron v. Baltimore 司法当然也会遭遇过时的问题 希望这期节目对你有所启发。 ［ 世界苦茶 ］ 世界苦茶视频节目：请在油管搜索“世界苦茶”观看视频节目 请在绝大多数非国区搜索“世界苦茶”或“World Bitter Tea”订阅世界苦茶播客 或使用RSS：https://feeds.buzzsprout.com/2189845.rss 加入世界苦茶Newsletter: https://fearnation.club [ 欢迎在Patreon和爱发电支持翻转电台 ] 如果你过去有在Patreon支持其他项目的经验，优先推荐使用Patreon，因为其有按月订阅的制度： https://www.patreon.com/flipradio 如果你从来没有在Patreon支持其他项目的经验，可以在爱发电： https://afdian.net/@flipradio [ 收听翻电 ] 你可以在Spotify, Pocket Casts, Google Podcast, Apple Podcast（非国区），网易云音乐，小宇宙，微信小程序“翻转电台”等平台收听翻电节目。 或使用RSS订阅源地址：https://anchor.fm/s/141e652c/podcast/rss 感谢大家对翻转电台的支持。大家要记得敢于去相信。并敢于分享你的相信。

In episode twenty-two, we will continue our examination of the early Supreme Court and the staggering impact of Chief Justice John Marshall on the Constitutional development of the early Republic. Most of the cases discussed in the episode were decided between 1810 – 1823, the most productive period in Supreme Court history, during this time Marshall and his fellow justices, were at the height of their intellectual and persuasive powers. Cases discussed include: Fletcher v Peck; United States v. Hudson and Goodwin; Martin v. Hunter's Lessee; United States v. Coolidge;  McCulloch v. Maryland; Trustees of Dartmouth College v. Woodard,  and Gibbons v. Ogden 

This was an eye-opening conversation with Shawnee-Lenape Scholar and Author Steven T. Newcomb whose work examines Christendom's legacy of domination and dehumanization that has resulted in the near destruction of thousands of years of spiritual and ecological wisdom developed by indigenous peoples and nations.   We discussed how much of the history and culture of original nations and peoples was systematically smothered and ultimately lost; how cutting a people off from their traditional teachings is a form of domination and dehumanization; how Old Testament religious concepts form a significant part of the backdrop of federal Indian law and policy; cognitive theory and what it has to do with the history of the United States and federal Indian law; how the American Enterprise (i.e. Empire) is predicated on the assumption of the right of domination at its root; the significance of the Johnson & Graham's Lessee vs. M'Intosh SCOTUS case of 1823 - "the cornerstone of property law in the U.S."; how the claim of the right of domination has become the organizing principle of the planet and much more.   Steven Newcomb has been studying and writing about U.S. federal Indian law and policy since the early 1980s, particularly the application of international law to Indigenous nations and peoples. Mr. Newcomb is the Director of the Indigenous Law Institute, the author of Pagans in the Promised Land: Decoding the Doctrine of Christian Discovery, and the co-producer of the documentary “The Doctrine of Discovery: Unmasking the Domination Code.” Mr. Newcomb has worked on Indigenous Peoples issues at the United Nations for twenty years. His work has been published by Wiley-Blackwell of Oxford, NYU School of Law, Fulcrum Publishing, UCLA School of Law, and the Griffith School of Law in Australia. In May 2016, Mr. Newcomb met Pope Francis at St. Peter's Square and Archbishop Tomasi at the Pontifical Council for Justice and Peace regarding the papal bulls of the fifteenth century.   Talkin' Politics & Religion Without Killin' Each Other is part of The Democracy Group, a network of podcasts that examines what's broken in our democracy and how we can work together to fix it.    www.amazon.com/Pagans-Promised-Land-Christian-Discovery/dp/1555916422   vimeo.com/ondemand/dominationcode   originalfreenations.com   www.researchgate.net/publication/368661824_Redthought_Event_200_Years_Since_the_Origin_of_Federal_Indian_Law   www.democracygroup.org/shows/talkin-politics-religion   twitter.com/coreysnathan   post.news/@coreysnathan  

This was an eye-opening conversation with Shawnee-Lenape Scholar and Author Steven T. Newcomb whose work examines Christendom's legacy of domination and dehumanization that has resulted in the near destruction of thousands of years of spiritual and ecological wisdom developed by indigenous peoples and nations.   We discussed how much of the history and culture of original nations and peoples was systematically smothered and ultimately lost; how cutting a people off from their traditional teachings is a form of domination and dehumanization; how Old Testament religious concepts form a significant part of the backdrop of federal Indian law and policy; cognitive theory and what it has to do with the history of the United States and federal Indian law; how the American Enterprise (i.e. Empire) is predicated on the assumption of the right of domination at its root; the significance of the Johnson & Graham's Lessee vs. M'Intosh SCOTUS case of 1823 - "the cornerstone of property law in the U.S."; how the claim of the right of domination has become the organizing principle of the planet and much more.   Steven Newcomb has been studying and writing about U.S. federal Indian law and policy since the early 1980s, particularly the application of international law to Indigenous nations and peoples. Mr. Newcomb is the Director of the Indigenous Law Institute, the author of Pagans in the Promised Land: Decoding the Doctrine of Christian Discovery, and the co-producer of the documentary “The Doctrine of Discovery: Unmasking the Domination Code.” Mr. Newcomb has worked on Indigenous Peoples issues at the United Nations for twenty years. His work has been published by Wiley-Blackwell of Oxford, NYU School of Law, Fulcrum Publishing, UCLA School of Law, and the Griffith School of Law in Australia. In May 2016, Mr. Newcomb met Pope Francis at St. Peter's Square and Archbishop Tomasi at the Pontifical Council for Justice and Peace regarding the papal bulls of the fifteenth century.   Talkin' Politics & Religion Without Killin' Each Other is part of The Democracy Group, a network of podcasts that examines what's broken in our democracy and how we can work together to fix it.    www.amazon.com/Pagans-Promised-Land-Christian-Discovery/dp/1555916422   vimeo.com/ondemand/dominationcode   originalfreenations.com   www.researchgate.net/publication/368661824_Redthought_Event_200_Years_Since_the_Origin_of_Federal_Indian_Law   www.democracygroup.org/shows/talkin-politics-religion   twitter.com/coreysnathan   post.news/@coreysnathan  

What questions do you have for us here on The Crushing Debt Podcast? In today's episode, Shawn & George answer some of the most popular questions they receive, like: My landlord died. Is my lease still valid? Can I shut down my business to avoid paying back business debt? Should I stay in a bad job just because they offer a 401k (or any other benefits)? Should I pay debt or invest the money? Some of these questions are blog posts that you can find at the links below: My Landlord Died, Is My Lease Still Valid? | Florida Landlord Tenant Law (yesnerlaw.com) Can I Avoid Paying Business Debts By Shutting Down The Old Business And Opening A New Business? (yesnerlaw.com) Let us know if you enjoy this episode and, if so, please share it with your friends! Please also visit our sponsors: Sam Cohen of Attorneys First Insurance for Attorneys and Title Companies looking to get a quote on Errors & Ommissions (malpractice) Insurance coverage. www.AttorneysFirst.com.  Mark Purvis to help retirees who are looking for a fun and rewarding project  by capturing wisdom and stories that will bless their families today and for generations to come. www.LegacySpotlight.com.  Or, you can support the show by visiting our new Patreon page: https://www.patreon.com/crushingDebt  To contact George Curbelo, you can email him at GCFinancialCoach21@gmail.com, or follow his Tiktok channel - https://www.tiktok.com/@curbelofinancialcoach  To contact Shawn Yesner, you can email him at Shawn@Yesnerlaw.com or visit www.YesnerLaw.com. 

DEAR PAO: Reimbursement for improvements by lessee | Jan. 27, 2023Subscribe to The Manila Times Channel - https://tmt.ph/YTSubscribe Visit our website at https://www.manilatimes.net Follow us:Facebook - https://tmt.ph/facebookInstagram - https://tmt.ph/instagramTwitter - https://tmt.ph/twitterDailyMotion - https://tmt.ph/dailymotion Subscribe to our Digital Edition - https://tmt.ph/digital Check out our Podcasts:Spotify - https://tmt.ph/spotifyApple Podcasts - https://tmt.ph/applepodcastsAmazon Music - https://tmt.ph/amazonmusicDeezer: https://tmt.ph/deezerStitcher: https://tmt.ph/stitcherTune In: https://tmt.ph/tuneinSoundcloud: https://tmt.ph/soundcloud#TheManilaTimes Hosted on Acast. See acast.com/privacy for more information.

Fresh off being named Colorado State Land Board's 2022 Lessee of the Year last month, Haley has conservation investment expert and ranch broker, Ben Guillon, on the show to discuss what makes a property a good candidate for conservation investment. You don't want to miss this one!Panel: Haley Mirr and Ben Guillon.Need professional help finding, buying, or selling a legacy ranch, contact us:Mirr Ranch Group901 Acoma StreetDenver, CO 80204Phone: (303) 623-4545https://www.MirrRanchGroup.com/

Many of us were not prepared for the GASB 87 reporting requirements for the fiscal year end of 2022. However, we have experts in the field of auditing with PKF, O'Connor Davies, LLP to break down GASB 87 and provide tips to get ready for GASB 94 and 96 for the end of this year!

Are you finding Anderkant confusing and difficult to follow? Well how do you think Min feels?!Min finally makes it to Anderkant and encounters one of it's denizens. Gnilfeit makes gets more involved with the Lessee's plans... H keeps manipulating our hapless hero. Gnilfeit- Krissi Williams Thae Oraen - Gemma Maclean Mair Miner 1 - Adam Robinson Miner 2 - Stuart Bullock @ThisisbardcoreEveryone else- Kier ZhouSupport the show

If you like the show, why not become a patron on patreon, and get access to hours of bonus content!https://patreon.com/NoReturn882Who is 'H'? Who is The Lessee? Who is this enigmatic sister?...Well...actually...if you've been listening to the other stories and bonus episodes...you might be able to figure out the latter... and the former...This episode follows our villain's backstory and begins to unravel the mystery of what they are really up to with the Anderkant Project.Be prepared...it...gets...weird.Content Warning:-Foul Language-Death...lots of death...- Violence...lots of violence...- Mind Control- Extortion- HostageGnilfiet: Krissi WilliamsH/Tran/Min/Billy/Tran/Torriq/Lessee/Teresa/Everyone else: Kier Zhou   Rogue LifeBenny Bowers is a man stuck in an ever-changing time loop: jumping from Film Noir to Paranormal Investigator Reality Show to Viking Drama and everything in between. Join us as he unravels the mystery of what is really happening and how he can finally escape.Rogue Life on Spotify Support the show

If you like the show, why not become a patron on patreon, and get access to hours of bonus content!https://patreon.com/NoReturn882Sounds of movement in the dark spook our trapped pioneers. The Lessee's sister visits with warnings and 'H' finally convinces Min to head into Anderkant...but boy does that Kabouter like to dilly-dally...Gnilfiet: Krissi Williams Rogue LifeBenny Bowers is a man stuck in an ever-changing time loop: jumping from Film Noir to Paranormal Investigator Reality Show to Viking Drama and everything in between. Join us as he unravels the mystery of what is really happening and how he can finally escape.Rogue Life on Spotify Support the show

Episode 055 - Exam Questions 9 Going through more exam questions to help real estate students pass their state exam.   01:00 – Landlord vs. Tenant; Lessor vs. Lessee; Leased Fee Interest vs. Leasehold interest 06:50 – Can and how may an agent receive a bonus from a client? 09:55 – What responsiblities does an agent have for a client that is created by implied agency? Inspection due diligence. 15:20 – May you call a consumer that is on the Do Not Call List? 17:40 – How do you handle a client that owns the property in a trust on a property with noise and construction issues?     A-Ha LINKS   Email info@ahareep.com   Web www.ahareep.com   Facebook https://www.facebook.com/AHA.REEP   YouTube https://www.youtube.com/channel/UCrxAjI5Li4Ll3Epwcyc0i6A

Welcome to the Lease Accounting Insights podcast, a series dedicated to covering common questions related to the implementation of the new lease accounting standard ASC 842. In this episode, BerryDunn's Dawn Patterson discusses lessee accounting for the initial and subsequent measurement of the lease liability and right-of-use asset, as well as accounting for lease modifications.

Article Six of the United States Constitution establishes the laws and treaties of the United States made in accordance with it as the supreme law of the land, forbids a religious test as a requirement for holding a governmental position, and holds the United States under the Constitution responsible for debts incurred by the United States under the Articles of Confederation. Text. All Debts contracted and Engagements entered into, before the Adoption of this Constitution, shall be as valid against the United States under this Constitution, as under the Confederation. This Constitution, and the Laws of the United States which shall be made in Pursuance thereof; and all Treaties made, or which shall be made, under the Authority of the United States, shall be the supreme Law of the Land; and the Judges in every State shall be bound thereby, any Thing in the Constitution or Laws of any State to the Contrary notwithstanding. The Senators and Representatives before mentioned, and the Members of the several State Legislatures, and all executive and judicial Officers, both of the United States and of the several States, shall be bound by Oath or Affirmation, to support this Constitution; but no religious Test shall ever be Required as a Qualification To any Office or public Trust under the United States. Clauses. Debts. The first clause of the Article provides that debts contracted prior to the adoption of the Constitution remain valid, as they were under the Articles of Confederation. Supremacy. Clause two provides that the Constitution, federal laws made pursuant to it, and treaties made under its authority constitute the supreme law of the land. It provides that state courts are bound by the supreme law; in case of conflict between federal and state law, the federal law must be applied. Even state constitutions are subordinate to federal law. The Supreme Court under John Marshall (the Marshall Court) was influential in construing the supremacy clause. It first ruled that it had the power to review the decisions of state courts allegedly in conflict with the supreme law, claims of "state sovereignty" notwithstanding. In Martin v Hunter's Lessee (1816), the Supreme Court confronted the Chief Justice of Virginia, Spencer Roane, who had previously declared a Supreme Court decision unconstitutional and refused to permit the state courts to abide by it. The Court upheld the Judiciary Act, which permitted it to hear appeals from state courts, on the grounds that Congress had passed it under the supremacy clause. The Supreme Court has also struck down attempts by states to control or direct the affairs of federal institutions. McCulloch v Maryland (1819) was a significant case in this regard. The state of Maryland had levied a tax on banks not chartered by the state; the tax applied, state judges ruled, to the Bank of the United States chartered by Congress in 1816. Marshall wrote that "the States have no power, by taxation or otherwise, to retard, impede, burden, or in any manner control, the operations of the constitutional laws enacted by Congress to carry into execution the powers vested in the general government." United States property is wholly immune to state taxation, as are government activities and institutions. Congress may explicitly provide immunity from taxation in certain cases, for instance by immunizing a federal contractor. Federal employees, however, may not be immunized from taxes, as the tax would not in any way impede government activities. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Section 3: New states and federal property. Clause 1: Admission of new states. New States may be admitted by the Congress into this Union; but no new States shall be formed or erected within the Jurisdiction of any other State; nor any State be formed by the Junction of two or more States, or parts of States, without the Consent of the Legislatures of the States concerned as well as of the Congress. The First Clause of Section Three, also known as the Admissions Clause, grants to Congress the authority to admit new states into the Union. Since the establishment of the United States in 1776, the number of states has expanded from the original 13 to 50. It also forbids the creation of new states from parts of existing states without the consent of the affected states and Congress. This latter provision was designed to give Eastern states that still had claims to Western lands (for example, Virginia and North Carolina) to have a veto over whether their western counties (which eventually became Kentucky and Tennessee) could become states. It would later be applied with regard to the formation of Maine (from Massachusetts) and West Virginia (from Virginia). At the 1787 Constitutional Convention, a proposal to include the phrase, "new States shall be admitted on the same terms with the original States", was defeated. It was feared that the political power of future new western states would eventually overwhelm that of the established eastern states. Once the new Constitution went into effect, however, Congress admitted Vermont and Kentucky on equal terms and thereafter formalized the condition in its acts of admission for subsequent states, declaring that the new state enters "on an equal footing with the original States in all respects whatever." Thus the Congress, utilizing the discretion allowed by the framers, adopted a policy of equal status for all newly admitted states. With the growth of states' rights advocacy during the antebellum period, the Supreme Court asserted, in Lessee of Pollard v. Hagan (1845), that the Constitution mandated admission of new states on the basis of equality. Congressional restrictions on the equality of states, even when those limitations have been found in the acts of admission, have been held void by the Supreme Court. For instance the Supreme Court struck down a provision which limited the jurisdiction of the state of Alabama over navigable waters within the state. The Court held, Alabama is, therefore, entitled to the sovereignty and jurisdiction over all the territory within her limits ... to maintain any other doctrine, is to deny that Alabama has been admitted into the union on an equal footing with the original states ... to Alabama belong the navigable waters and soils under them. The doctrine, however, can also be applied to the detriment of states, as occurred with Texas. Before admission to the Union, Texas, as an independent nation, controlled water within three miles of the coast, the normal limit for nations. Under the equal footing doctrine, however, Texas was found not to have control over the three-mile belt after admission into the Union, because the original states did not at the time of joining the union control such waters. Instead, by entering the Union, Texas was found to have surrendered control over the water and the soil under it to Congress. Under the Submerged Lands Act of 1953, Congress returned maritime territory to some states, but not to others; the Act was sustained by the Supreme Court. The constitution is silent on the question of whether or not a state may unilaterally leave, or secede from, the Union. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

THE SEVENTH KEY A writer makes a bet that she can change her style - and perhaps her life - overnight Written and produced by Julie Hoverson Cast List Cindy Applegate - Chandra Wade Troy - Matthias Rebne Morgan Mandy - Crystal Thomson Regia - Kristina Yuen Tex - Mike Campbell Lucas - Abner Senires Roarke - Rick Lewis Old Scupper - Julie Hoverson Trooper 1 - Glen Hallstrom Trooper 2 - Franknvox 19 Nocturne theme music:  Kevin MacLeod (Incompetech.com) All other music is from the album "Pursuit of Happiness" by C. Filipe Alves (used under a Creative Commons License, found at www.jamendo.com) Recorded with the assistance of Ryan Hirst of Neohoodoo Studio Editing and Sound:   Julie Hoverson    "What kind of a place is it? Why it's a writer's studio, can't you tell?"   ********************************************** The seventh key The seventh Key is the other play vaguely inspired by the Seven Keys to Bald Pate - The book by Earl Derr Biggars, and the play by George M. Cohan, and the 1970s loosely inspired film The House of Long Shadows. While Murder Ward arose primarily from the catfishing aspect of the story, this one is more obviously the basic plotline - author makes a bet to write something different if given an inspirational place, and then things go awry.  There's a hint that the catfishing is still happening, but maybe it's not. Part of this is simply an indictment of the unrealistic expectations that romance novels give women - we all complain about porn creating unreal expectations for men, then dream about 7 foot tall warrior hunks with long fabio hair and tribal tatoos, and more junk than any man should have, since he would pass out every time from blood loss to the brain. That's why every man in this play is utterly impossible, from Cindy's point of view.  They all prove that reality is terrible.  Originally Tex and Luke were both sort of dudebros, but a last minute replacement put Michael Campbell in for his first session with us, and he sounded too similar to Luke, and wasn't comfortable with a cowboy type accent (my original intention for Tex).  So on the spot we decided Tex was effusively gay - which would be another and different way he could be "completely unavailable" to our lovelorn writer. The multiple endings are also inspired by Seven Keys to Bald Pate, and are more meant to show the many horrible ways a writers mind expects projects to go down in flames, or fall apart, than necessarily to show an actual event.  We all imagine having our book done, then finding it's gone horribly wrong.... ********************************************** THE SEVENTH KEY Cast: Olivia - Host Cindy Applegate (F30s), a writer Regia (F40s), Cindy's publisher Troy (M30s), Cindy's imaginary boyfriend Mandy (F30s), Cindy's sister Tex, Luke, Roarke (M20s/30s, obnoxious) - film crew Old Scupper (M, elder)- crusty old salt Trooper1 and 2 - (M, any) police OLIVIA     Did you have any trouble finding it?  What do you mean, what kind of a place is it?  Why, it's a writer's condo, can't you tell?  MUSIC   SCENE 1.    WRITING AT HOME SOUND     COMPUTER, TYPING CINDY    [muttering as she types, overwrought] ...and  I love you too, my dearest darling. SOUND    PHONE RINGS CINDY    [irritated mumble] Go away, he's about to make an indecent proposal.  TROY    I can no longer contain my passion.  My blood hums for you.  You must be mine! CINDY    [ecstatic sigh] SOUND    PICKS UP PHONE CINDY    [almost an ecstatic sigh] Yes? REGIA    You've been writing, haven't you? CINDY    [still dreamy] Of course.  That's what you want me to do, isn't it? REGIA    Of course.  So.  What's the new one? CINDY    "Rogue of Fate" REGIA    Quick précis? CINDY    Warwick Wellington, handsome and devilish owner of Wellington shipping lines and dabbler in exotic animals hires cat breeder Gloriana Mundy to help him birth a rare white leopard-- REGIA    They hate each other on sight, and yet fall in love, have a steamy sex scene and then argue, never to see each other again, but then the panther-- CINDY    --Leopard-- REGIA    --goes into labour and they have to work together to save the cubs, and realize their attraction is unavoidable? CINDY    [shocked] How-- how did you guess? REGIA    Cindy, you know I'm your friend as well as your agent, right? CINDY    Yes, but what has-- REGIA    It's roughly the same as every plot you've ever written.  In fact I think it's identical to "Never the Twain Shall Sleep" except that was a prize-winning race horse instead of a leopard.  You're kind of predictable.  CINDY    [truly distressed] But - no.  It can't be, I don't--  not on purpose! REGIA    I know.  That's actually the very sad part.  I know, and you know, that you just happen to write that way, and not that you have a formula tacked to the wall that says "page 32, they meet.  At page 230, they quarrel" or anything like that.  CINDY    I don't!  I swear! REGIA    The good thing is that your books always sell.  I'm never going to fault you for that - but I'd love to see what you could do if you ever did break out of this rut.  You're a competent writer, and you'll always have an audience, but you could do more, if you tried something a little different. CINDY    Like what? REGIA    Are you seeing anyone? CINDY    Dr. Mallory said I didn't really need-- REGIA    I meant dating. CINDY    Oh.  [grudging] No. REGIA    You should. CINDY    Men are pigs. REGIA    Which is why your heroes perspire rather than sweat.  Real women like real men.  At least a little bit. CINDY    They're ... messy.  Uncooperative. REGIA.      Yup.  Try it - you might like it. SOUND    PHONE HANGS UP MUSIC   SCENE 2. CINDY    You are the only one who understand me, Troy. TROY    Of course, my proud beauty.  For you are complex and mysterious and most men can't be bothered to see past the ends of their-- CINDY    [cutting him off] Yes, yes.  Troy, you will always love me, won't you? TROY    As long as there is breath in my body. CINDY    Oh, Troy! TROY    Oh, Cindy! SOUND    PHONE RINGS CINDY    Oh, pooh! SOUND    PICKS UP PHONE CINDY    Yes? MANDY    Hey sis.  I guess I caught you at a bad time? CINDY    [irritated] I was just... composing. What do you need? MANDY    I was just going to see if you wanted to come to dinner this weekend.  George and I haven't seen you in ages. CINDY    Who is it this time? MANDY    [overly innocent] Whatever can you mean? CINDY    Please - when you start talking like... like-- MANDY    One of your heroines? CINDY    [pedantic] The way people talked in the 18th and 19th century-- MANDY    I give up!  I will give you the code words.  His name is Rob, and he's a banker.  He's nice.  Cute even - if you don't mind someone a tad... cuddly. CINDY    Stop trying to fix me up - why can't you believe I'm just fine? MANDY    Because you're alone, and if I know you, you're talking to your imaginary boyfriend again. CINDY    You said you'd never-- MANDY     Drop it!  Sorry!  Come to dinner anyway.  We'll tell Rob you have something contagious, and you can just sit and be bored with the three of us.  [beat]  Cody misses his auntie. CINDY    Cody can't feed himself yet.  I doubt he can tell us apart, the way he keeps trying to get into my shirt. MANDY    For a romance writer, you are the least sentimental person I know.  No wonder all your characters are cardboard cutouts. CINDY    They are not! MANDY    Sweetie.  They all use the same 10 lines at some point in their respective narrative - there's an entire website devoted to spotting them and mocking you. CINDY    What ten lines? MANDY    Lessee - "my proud beauty" CINDY    [squeaky gasp] MANDY    "As long as there is breath in my body", "you may take my body but you will never have my heart" - that one from her, whoever "her" is at the moment.  Hmm.  I can forward you the URL if you like. CINDY    No!  And I'm not going to come to dinner.  I'm busy.  Writing.  Something completely different. MANDY     I'll believe that when I read it. CINDY    You bet you will. MANDY    You're on!   CINDY    What? MANDY    I'll bet you one year that you can't write a real novel - even a novella - in the same time that it takes you to rattle off one of your froufrou books. CINDY    One year?  Of what? MANDY    [chuckles evilly]  One year that you come to dinner twice a month and be nice to whoever we invite-- CINDY    Whomever. MANDY    --against one year when I won't even ask you over. CINDY    You're - you're on!  I could use a year of not being nagged. MANDY    But you have to get the first draft done in a weekend - that's how long you told Women's Day it takes you to write one of your books. CINDY    [gasp] How can anyone be so horrid? MANDY    I'm your sister - and yes, that one's on the list too. SOUND    MANDY HANGS UP.  CINDY SLOWLY PUTS DOWN RECEIVER CINDY    Am I really that ... predictable? TROY    A woman is a bundle of senses, with a dash of nonsense. CINDY    Argh! MUSIC   SCENE 3. CINDY    Why didn't you ever tell me? REGIA    [on phone]  I did - you just never heard.  I didn't push it because you always sell so well - to women who like a certain kind of man, a certain kind of story, and a certain kind of resolution.  You always deliver. CINDY    I'm - I'm boring!  This website even says so.  "Good god!  How could I have been so blind" - oh No!  I will never say that again! REGIA    It's not that bad.  Ignore the critics.  Write what you love.  As long as it sells, why worry about it? CINDY    Is money all you think about? REGIA    I am an agent. CINDY    But I want people to like my books, not laugh at them.  I want to write something good.  Something meaningful. REGIA    Oh, man.  I said you should try something different, but, meaningful?  Why such a change? CINDY    Because just surviving isn't living at all.  [defiant] and yes, that's one of the ten. REGIA    Ten? CINDY    Never mind.  Will you help me? REGIA    Help you - with what? CINDY    I need a place to write.  Inspiration.  Atmosphere.  Just for a weekend - enough to rough out a new story.  [definite] Something meaningful. REGIA    Meaningful books are a tougher sell.  I like your books the way they are. CINDY    I can always go back to churning out the same old... crap...later. TROY    During our year of peace. MUSIC   SCENE 4.    OUTSIDE THE LIGHTHOUSE SOUND    WALKING, OUTSIDE, WIND, ONE PAIR OF FEET IS VERY STOMPY OLD SCUPPER     Yar.  The lighthouse heah was decommissioned night on fotty yeahs gone.  SOUND    BIRD NOISE CINDY    Oh, seagulls! OLD SCUPPER    [completely dry] Cahnt see why - being right heah on the beach, and all. SOUND    KEYS JINGLE - OLD CREAKY DOOR OPENS OLD SCUPPER    Cahs it ain't been empty the hul time - we gets renters from time to time who want to paint or try that meditation yahoo, but-- but no one eveh stays more'n a month.  SOUND    THEY GO INSIDE, CREAKY DOOR SLAMS SHUT WITH AN ECHO CINDY    [eep!] OLD SCUPPER    It's all on account o' the ghost.  CINDY    Yes, that's exactly why I came here. OLD SCUPPER    Har har har.  Y'ain't the fust, young lady, to think they cud stand up t' the ghost.  CINDY    I heard it was a woman who committed suicide?  Jumped off the-- OLD SCUPPER    Ain't that romantic, now?  Nar.  She were killed.  And then he killed hisself.  No one atall is dead sure which one itis which haunts the place - or mayhaps it's both of 'em.  CINDY    Well, can't they see?  If it's in a dress--? OLD SCUPPER    Yer head is full o' crap.  It's them movies and the T-V makes it sound like ghosts look just like regular folks.  Bah.  [spookier and spookier] This haunt - or haunts, as the case may be - is just a dark shape which covers the winduhs, making day inta night, and then it lets out such a scream -  a scream to shake down the very heavens.  Them as hears the scream falls inter a deep sleep and when they finally wake up, they find they've done ... terrible things.  Best you come on back befoah dark and stay in town.  Tis not far - just an hour or so afoot. CINDY    No.  I'm fine.  Thanks.  OLD SCUPPER    Suit yerself. SOUND    FEET STOMP OFF.  DOOR OPENS.  CLICK CINDY    Hey! OLD SCUPPER    Ayah? CINDY    What about the electricity? OLD SCUPPER    Yer don' know how t'work a jenny? CINDY    Who's Jenny? OLD SCUPPER    [disgusted noise] Gar.  SOUND    DOOR SHUTS, FEET STOMP AWAY INSIDE MUSIC   SCENE 5. SOUND    TYPING AWAY ON A LAPTOP CINDY    [mutters as she types]  --window high above the pounding surf.  The darkness closes in, the wind echoes through the huge column of stone, and the rocks call out to her.  "Join us."  No, scratch that, "we have the answer to all your pain"-- SOUND    KNOCK ON THE OUTER DOOR ECHOES LOUDLY CINDY    [eep!]  Coming! SOUND    A COUPLE MORE LAPTOP KEYS SOUND    ENDLESS FEET DOWN STAIRS, THEY STOP.  THEN CONTINUE CINDY    Just a minute! SOUND    FEET DESCEND AND FINALLY FADE INTO-- CINDY    Coming! SOUND    DOOR OPENS CINDY    [out of breath]  Hello?  [half wolf whistle, half gasp]  Hell-o! TEX    [very campy] Hello!  Is this the Sutter's Wharf lighthouse? CINDY    [puzzled and disappointed] Yes.  Um.  Is there something I can do for you? TEX    I wanted to make sure before we start bringing in the equipment.  [turns away and gives a huge whistle]  CINDY    Equip... what? TEX    We'll be staying in here, then?  SOUND    FOOTSTEPS INTO ECHOES TEX    [echoey] Hmm.  Not bad.  We're with "In Specter" - you know, the ghost hunting show?  We're doing a spot on the lighthouse this weekend.  Didn't you get the memo?  CINDY    But... but I'm renting the lighthouse this weekend. TEX    You aren't the owner?  CINDY    I-I'm a writer - I came here for some peace and quiet and-- SOUND    SQUEAKY WHEELS APPROACH LUKE    ["dude" yelling from off] Dude, get out of the way!  Got the beers! CINDY    [nearly in tears] -- and atmosphere. TEX    Sorry.  We've had it booked for six months.  You'll have to talk to Roarke.  Our boss. CINDY    Roarke?  That's a nice name.  I gotta make a note-- TEX    You got one? CINDY    A note? TEX    [snorting laugh] No.  A name.  I'm Tex, and this ...studmuffin is Luke. LUKE    [a little off]  Yo! CINDY    Cindy.  Cindy Applegate. LUKE    Oh!  Woah!  Any relation to--? CINDY    [surprised and pleased] Yes - yes, it's me - I'm the writer. LUKE    Writer?  No - you know, the hot actress.  Babelicious!  Smoking!  Awoo! CINDY    Argh! MUSIC   SCENE 6.    OUTSIDE SOUND    PACING ON DIRT CINDY    This Roarke will just have to understand. TROY    You will sway him with your plight.  And your beauty. CINDY    Maybe he'll even be handsome-- TROY    Your eyes devoured those two musclebound-- CINDY    But this Roarke guy is the boss.  He's probably Irish or something.  Fiery.  Passionate. TROY    Who wouldn't be, faced with your loveliness? CINDY    Regia said she arranged everything. TROY    Unless... CINDY    What? TROY    Perhaps she thought the presence of other people might stir your creative juices. CINDY    Maybe... SOUND    CAR WINDOW ROLLS DOWN CINDY    Roarke? ROARKE    [obnoxiously Brooklyn]  OK, I got 5 minutes. CINDY    [vastly disappointed] Oh.  Sure.  Um, my publicist-- ROARKE    I was just on the phone with her.  Someone well and truly screwed the pooch on this one, but we're willing to let you stick around while we work-- CINDY    But I need quiet to write! ROARKE    Tough titty, babe.  You can stay, but only if you let the crew fit you into the show - Your agent said it would be good for your image, all that crap. CINDY    But when will I be able to write? ROARKE    We'll be shooting local color tonight and tomorrow by day - write then.  But at night, you gotta be around in case this ghost shows up.  CINDY    You think I'll really enhance the show? ROARKE    Chicks scream better. SOUND    WINDOW ROLLS UP MUSIC   SCENE 7. SOUND    SEAGULLS, OUTSIDE AMBIANCE, OCEAN, WIND SOUND    KEYBOARD CLICKS CINDY    [Muttering through gritted teeth]  Ensconced on the parapet, I gazed down over the jagged cliffs below, and wondered if perhaps this was the same view - the last view - of the murdered woman so long ago.  Whether the moaning of the wind in the rocks called to her, the way they sing now - even now - in my head. SOUND    A COUPLE OF LAST CLICKS, LAPTOP CLOSES CINDY    [sigh] TROY    It's going well, all things considered. CINDY    Yes.  But it's almost dark, and then-- TROY    He required you be available, not actually present. CINDY    I hope the ghost shows up - then they can get what they want and go.  TROY    Have you considered--? CINDY    What? TROY    That this was much too fortuitous - your arrival followed so closely by theirs?  Perhaps your agent did this a'purpose. CINDY    But why?  She wants me to write-- TROY    Ah, but she also wants you to socialize.  With real people.  CINDY    Well, if I don't get this darn draft done, I'll definitely be stuck socializing - if you can call any of Mandy and George's friends "real".  [shudder] TROY    Would it be so horrible? CINDY    Yes. SOUND    KNOCK ON DOOR TEX    Hey, you up here? SOUND     DOOR OPENS TEX    There you are, pretty lady. CINDY    What do you want? TEX    Making sure you didn't fall off or nothing.  CINDY    [chilling] Nope.  Not yet. TEX    Well.  Dinner's on, anyway.  MUSIC   SCENE 8.    SHOOTING SOUND    WHIRRING OF MACHINERY VOICE    [on P.A.] IN SPECTOR LUKE    OK, so we're here in Sutter's Wharf lighthouse, waiting to see if the infamous screaming shadow will appear.  TEX    And for once, we're not all alone.  We have a guest - famous romance writer Cindy Appleton.  CINDY    [hollow, deer in headlights]  Applegate. TEX    Applegate.  [beat]  Here, honey, wave.  I guess little Cindy ain't exactly hard to scare, huh, Luke? LUKE    [chuckles]  Well, Tex, writing's a pretty lonely business.  And this is a lonely place.  Right Cindy? CINDY    Yes.  LUKE    Yeah.  See, dude? CINDY    It is a lonely business. TEX    Right.  Well, they say the ghost has been known to walk the platform around the light, upstairs.  So we're going to haul ass up there for a while.  Come on. SOUND    LIGHTS SWITCHED OFF ROARKE    That coulda been better. CINDY    I thought ...there would be a script. ROARKE    You wanna write one, go ahead, but we don't got the budget to pay for nuttin like that. CINDY    I'm... sorry. ROARKE    No skin off my ass.  Embarrassing famous people goes over great on TV.  And your agent agreed that, short of actual nudity, anything we shoot of you this weekend will get her ok for air time. TROY    We should get clear of this nest of vipers! CINDY    [trying to be brave]  Well.  You can film me writing for the next half hour.  I have a scene that has to get written. ROARKE    Not bad - use the publicity from the show to push the book.  And vicey-versy.  Not bad at all. MUSIC   SCENE 9. SOUND    DOOR SLAMS, SQUEAK, LATCH CINDY    Well, I can get a little privacy anyway.  SOUND    OPEN LAPTOP, POWER UP TROY    You know I will always support anything you do-- SOUND    HORRIBLE DRILLING NOISE CINDY    What the blazes? SOUND    LATCH OPENS, DOOR OPENS CINDY    What's the-- SOUND    HORRIBLE DRILLING NOISE, LOUDER CINDY    Ahhhhhhh!  [as soon as it ends] What IS that! LUKE    Eyebolts, little dudette.  Can't have the cameras falling if the ghost shows up.  We got permission. CINDY    But the noise! LUKE    Yeah, sucks, don't it.  Oh, well.  Be done soon.  [laughs] Woah! SOUND    DRILLING SOUND    DOOR SLAMS MUSIC   SCENE 10.    TIME PASSES SOUND    TYPING TROY    [voice cutting the music]  Weren't they coming back to get you? CINDY    Hmm?  Maybe they forgot about me. TROY    But it's been hours. CINDY    Has it? SOUND    TURNING DOWN VOLUME OF THE MUSIC CINDY    It is awfully quiet. TROY    It's past one. CINDY    Wow. SOUND    TAPPING A FEW LAST KEYS, CLOSE LAPTOP, REMOVE MEMORY STICK CINDY    I guess I should see.  SOUND    LATCH LIFTS, THEN HESITATES CINDY    They might just be waiting to catch me off guard again. TROY    Don't let them.  You're much too clever.  You can do this. SOUND    DOOR OPENS CINDY    [quiet, echoing] Hello? MUSIC   SCENE 11. SOUND    WALKING AND TURNING ON A CELLPHONE CINDY    Searching, searching... TROY    Perhaps they're filming outside? CINDY    They wouldn't have left all the equipment.  It's all just sitting there...  Even that darn drill.   [gasp]  Drat.  No bars.  Figures.  SOUND    CELL PHONE SLAPS SHUT TROY    Leaving is a very viable option.  Grab your smallest case and we can-- CINDY    But their blasted truck has boxed me in.  TROY    Only about an hour's walk.  According to the ...rustic. CINDY    But if something happened here, wouldn't it have happened to me too? TROY    Then... what? CINDY    I think it's a joke.  They thought it was funny catching me out in front of the camera, and now... TROY    An even more persuasive argument that you must leave this place. CINDY    No.  I can just see it - bedraggled author crawls into town after night in haunted lighthouse, only to find camera crew at local bar.  Yes!  That's where they must be.  Well, I'm not playing. TROY    So you will--? CINDY     Go upstairs and get back to work.  There's still plenty of time before they stagger in. MUSIC   SCENE 12.    POWER TROUBLE SOUND    DOOR SHUTS, DOOR LATCH SOUND    ELECTRIC NOISE, BUZZ-DIP. CINDY    Oh, shi--oot! SOUND    LAPTOP UNPLUGGED, THEN TURNED ON CINDY    Oh, no!  Good thing I have backup. SOUND    LAPTOP BOOTS CINDY    [sigh of relief] SOUND    ELECTRIC DIP, THEN OUT.  POP OF LIGHT BULB CINDY    [eep!] TROY    Now it's truly time to go. CINDY    But how will I get back down and out of here in the dark? TROY    How can you stay? CINDY    Easy.  I write for the four hours I have on battery, and by then dawn will be coming up.  I just sit tight. MUSIC   SCENE 13.    WORKING SOUND    TYPING MADLY TROY    What if it was the ghost? CINDY    Hey, whose imaginary friend are you anyway? TROY    [calming] I help you to express your fears. CINDY    Well, right now, any fears I have are right outside that door, and can stay there.  SOUND    ELECTRIC NOISE RETURNS SOUND    DRILL OUTSIDE THE DOOR - continues until noted CINDY    [Starts screaming] TROY    Shh,  It's going to be all right. Shh.  Calm down.  You need to be calm. CINDY    [down to whimpering] TROY    It's not that bad - the power just came back on and the surge started the drill. CINDY    [gasping] Really? TROY    [uncertain]  It's the only logical answer. CINDY    Logic sucks. TROY    The noise won't go away until you go out there and turn it off. CINDY    No! TROY    What if you're the only one here - that damn noise will drive you mad until you put it right. CINDY    Someone had to turn on the generator. TROY    Really? CINDY    I think so.  So someone has to be out there. TROY    [ominous] Someone. CINDY    You're doing it again!  Shh! SOUND    FOOTSTEPS COMING UP THE STAIRS CINDY    [eep] TROY    Who do you think it is? CINDY    Ssh. TROY    No one but you can hear me, my sweet one. CINDY    [whispered] Oh.  Right. SOUND    FOOTSTEPS GET CLOSE.  DOOR IS RATTLED CINDY    [gasping] TROY    If they were not villains, they'd hail you, wouldn't they? CINDY    Uh-huh. TROY    Bloody hell. CINDY    Uh-huh! SOUND    FOOTSTEPS GO ON PAST TROY    Oh good. SOUND    DRILL IS TURNED OFF CINDY    [huge sigh] SOUND    SOMETHING HEAVY DROPS.  FOOTSTEPS START TO RETURN CINDY    [rapid breathing, trying to stay quiet] SOUND    SUDDEN POUNDING ON DOOR CINDY    [hands over mouth, to keep self quiet] TROOPER    [muffled] Police!  Open up! CINDY    Police? TROY    Can you trust him? CINDY    [whispered] What else can I do?  [up, but shaky] I'm coming. SOUND    SLOW STEPS TO DOOR, LATCH OPENS, THEN DOOR CINDY    Police? TROOPER1    Will you step out here ma'am?  Please keep your hands where I can see them. CINDY    What?  Why? TROOPER1    [calling off]  Found one! CINDY    One what? TROOPER1    Survivor.  Come on. CINDY    I can't leave my laptop!  What do you mean, survivor? TROOPER1    We're just going downstairs - for the moment.  Everything will be perfectly safe. SOUND    FEET SLOWLY DESCEND STAIRS CINDY    Heavens! TROOPER1    Stay to the right here, at the bottom of the stairs - we don't want you walking in the evidence.  Come on. CINDY    I can't! TROOPER2    Hey!  What's the hold up? CINDY    What happened? TROOPER1    That's what we want you to tell us, ma'am.  Now if you would just step this way-- CINDY    No! SOUND    FEET RUN UPSTAIRS, HEAVY BOOTS FOLLOW.  SHE IS GRABBED TROOPER1    [struggling with her] We've tried to be polite about this, but you have to come with us - it's not a request. CINDY    [breathing hard, half whispered]  I've never seen so much blood! SOUND    FOOTSTEPS DESCEND AGAIN TROOPER1    I'm willing to believe that, miss, but we need to find out what you did see.  I mean tonight. CINDY    Nothing.  Before the lights went out, no one was here, and then there was no power, so I worked on battery in my room, and then you turned...them back on... TROOPER1    You didn't hear anything?  Anything at all? CINDY    I tend to be ... lost... in thought - when I write.  And the walls seem pretty thick.  [breath catches]  What... happened? TROOPER1     Don't know.  The bodies are all ... missing.  MUSIC   SCENE 14.    ONE PHONE CALL CINDY    I promise you, I didn't see or hear anything. REGIA    [on phone] Did you tell them that? CINDY    Over and over again.  They won't believe me.  They think I did some awful thing! REGIA    I know a few lawyers.  We'll get this sorted out.  CINDY    But I didn't do anything!  REGIA    Sorry, you caught me in a bad cell zone.  Let me get to a land line and call you back. SOUND    CLICK PHONE OFF CINDY    That's a fine kettle of fish. TROY    They would never convict you - they must see what a lovely soul you truly are. CINDY    People have been wrongly convicted in the past. TROY    Perhaps she will find you a handsome and masculine attorney who, convinced of your innocence, will set you free in the eleventh hour. CINDY     I want to be set free in the first hour! SOUND    DOOR OPENS CINDY    [eep!] TROOPER1    All right, you're free to go. CINDY    I ...am? TROOPER1    Found them.  They're fine. CINDY    But the blood? TROOPER1    Minor accident with a drill.  All cleared up now.  CINDY    So I can - go?  Go back to my writing? TROOPER1    [up close and personal] From the state of you, you need a long hot soak in a scented tub, with candles, and maybe a hot oil massage. CINDY    [breathless, hopeful]  Really?  TROOPER1    [flippant] That's what your agent suggested, anyway.  We can get you to a nice hotel where you can-- CINDY    No.  I'm going to stay right here and finish my new book, and you can't stop me.  [losing her edge]  You can't stop me, can you? TROOPER1    Do what you want.  You'll be all alone - at least for the night.  The crew should be back by mid-morning, though. CINDY    All the more reason to use my time wisely.  Bye, now! TROOPER1    Oh, and watch out for the ghost! CINDY    [gasp!] MUSIC   SCENE 15.    THE HAUNTING CINDY    What time is it? TROY    Nearly 4 am.  Long past the witching hour, now is truly the dead of night.  The darkest hour just before dawn. CINDY    Dawn is at 6:43 a-m today. TROY    Ah!  Then the darkest hour is yet to come. CINDY    Well, I'm a good 150 pages in, anyway. SOUND    SCREECH CINDY    What--? TROY    A night bird, perhaps? SOUND    SCREECH, LOUDER TROY    No, it's-- CINDY    The ghost! TROY    Hide yourself!  Cover your ears! CINDY    No!  The only way to conquer this sort of phantasm-- SOUND    SCREECH CINDY    [losing steam rapidly] Is to... face it down? TROY    You are so brave.  And so beautiful. CINDY    Thank you.  I needed that. TROY    Of course. SOUND    DOOR FLUNG OPEN SOUND    SCREECH CINDY    [Screams - much like she is falling, much like the squeak] MUSIC   SCENE 16.    FALSE ENDING ONE CINDY    [waking up noises, eep] REGIA    See.  Told you she'd be fine.  Cindy-- [trying not to laugh] The look on your face!  It was priceless.  Here, I caught it - see?  SOUND    PHONE BEING OPENED, PICTURES SCROLLED THROUGH CINDY    What are you doing here?  What happened? MANDY    I just won a bet, is what happened.  Now you've got to make nice to every one of George's friends. CINDY    What do you mean?  I still have time-- REGIA    You've been dead to the world for over 10 hours, which brings your window of opportunity to a nice tidy close.  Sorry about that, but you should learn to pace yourself. CINDY    But it's nearly completed - that MUST count for something! REGIA    This file on your laptop?  The one that just repeats the same ten lines over and over.  Very Stephen King, but not really marketable, sweetheart. CINDY    I didn't!  Let me see!  Oh, god, what have I done? MANDY    Yes, that's one of them. CINDY    You rigged it, didn't you? REGIA    What?  Why would I do that? CINDY    The two of you - you were in it together, conspiring to make me ...  to force me to lose! REGIA    [Laughing]  Well, we did hire a couple of guys. MANDY    They were more than ready to help.  CINDY    But why? MANDY    A single woman is an embarrassment.  It's just a fact. CINDY    This is all just to convince me to find a man? REGIA    Pretty much. CINDY    Troy?  Where are you--? MANDY    Troy's not real.  You must realize that. CINDY    [Screams - much like she is falling] MUSIC   SCENE 17.    FALSE ENDING 2 SOUND    TAPPING AWAY ON KEYS CINDY    [mutters]  And she spent the rest of her days locked up in a padded cell, demanding that someone find Troy and get him to come and visit her.  The end. TROY    Most excellent.  You will surely win your bet. CINDY    [melodrama] Somehow, the bet is unimportant, now.  I've really grown through writing this.  I can see that my life will be different - better - if I let myself deal with people on a one to one basis.  If I forge a meaningful relationship with a good man. TROY    Then you will no longer need me? CINDY    I will always need you, Troy! TROY    Oh, Cindy! CINDY    [Screams in ecstacy - still sound much like she is falling] MUSIC   SCENE 18.    THE ENDING REGIA    And that's how it ends.  It's really-- MANDY    Really? REGIA    A steaming heap of poo. MANDY    [very disappointed]  Ohh. REGIA    It'll still sell millions.  MANDY    But she worked so hard-- REGIA    Yeah, yeah.  And it has the huge advantage of being the last thing she wrote.  Lucky we were able to recover anything from the laptop at all - since she took it with her when she made that leap off the lighthouse. CLOSING OLIVIA    Now that you know how to find us, don't be a stranger - we have enough of those already...     

[transcript below] Reissue episode of the week! Jack.  In the Box. This was an early comedy romance episode I wrote specifically with A-R-T - American Radio Theater - in mind.  This was recorded with A-R-T in Marge's dining room.  I would like to point out that the title is not "jack-in-the-box" but Jack[period] in the box [period].  It's a subtle distinction, but it does make it mean something a bit different. I also want to point out right away that the whole Chinese suspicion subplot was meant to be silly and a clue to how disconnected from reality Mrs. McGruder is, not serious.  Keep in mind this was written ten years ago and set in the 1940s.  I have nothing but disgust for any frickinh racists who are currently, in real life, harassing people of Asian descent, particularly the elderly.  The transcript is on the page here, and you will note that the first couple of "radio shows" heard in the background in this episode are in the main script, but after that, they got too complicated to write in between lines and I moved them to the end so they could be recorded "of a piece".  The shows are clear parodies of The Shadow, I love a Mystery, and Flash Gordon.  This also marks the first appearance of Tunis the Unstoppable, whom I later used in Bingo the Birthday Clown. I realized recently that I haven't yet included the full text of the opening sequence of 19 Nocturne Boulevard in any of my transcripts.  My apologies, and it will follow.  It originally started out much longer, but I whittled it down until it was just the right length. Platinum Death Ray Forever! ******************************************************** 19 Nocturne Boulevard Opening VOICE:    19 Nocturne Boulevard CABBIE:    Nocturne Boulevard?  Not far.  When you hit Howard, hang a right.  Howard meets Philip at a weird kind of angle, then you cross James and Poe.  You can't miss Nocturne, it's just past the Automat. VOICE:    19 Nocturne Boulevard, your address for suspenseful stories of the speculative, strange, and supernatural.  [VOICE, or OLIVIA]    Tonight's story is [title] [also might include warning about violence or language here] OLIVIA:    Yes.  This is 19 Nocturne Boulevard, won't you step inside?  What do you mean, what kind of a place is it?  Why it's a [episode specific location] ***************************************************** JACK. IN THE BOX.   Cast: Trudy Garfunkel (F/30ish), divorcee, single mom Timmy Garfunkel (M/10), her son MacGruder (F/50ish), landlady Colonel Chutney (M/70), retired WWI colonel Susan (F/20ish), Trudy's co-worker Jack (M), a robot Mockam (any), an alien Pockam (any), another alien   ON THE RADIO: Announcer Horse voice Ralph The Spook Thug 1 Thug 2 Jake Mack Frenchy Snap Harper Amanda Cool Tunis the unstoppable OLIVIA      Did you have any trouble finding it?  What do you mean, what kind of a place is it?  Why, it's a run-down bungalow apartment court, can't you tell?  SCENE 1. MUSIC     CREEPY SCI FI AMBIANCE      VERY ALIEN POCKAM     The interview will be conducted in the unit's assimilated language. MOCKAM     Report, unit X-14. JACK     [very robotic in all scenes with aliens]  Report.  Earth viability as target for invasion-- MUSIC     BREAK   OLIVIA     Oops.  My mistake.  Here's that bungalow court...   SCENE 2. MUSIC     A BIT OF MELODRAMA - VERY 40s AMBIANCE     OUTSIDE.  TRAFFIC NEARBY SOUND     FOOTSTEPS ON GRAVEL.  DOOR OPENS SLIGHTLY OFF. MACGRUDER     [slightly off] Trudy?  Trudy! SOUND     FOOTSTEPS STOP TRUDY     [sigh]  Mrs. MacGruder.  SOUND     FOOTSTEPS SWIVEL IN GRAVEL TRUDY     I'll have the rent on-- MACGRUDER     [slightly off] Oh, no this is ...  When? TRUDY     Friday.  Um, what, then? MACGRUDER     [coming on]  You got a package! TRUDY     What?  I didn't-- MACGRUDER     I was thinking just that.  What's Trudy Garfunkel doing ordering stuff--? TRUDY     I didn't! MACGRUDER     On her little government salary, and I knew she-- I mean, you-- wouldn't, so then I wondered if maybe it wasn't that deadbeat man of yours-- TRUDY     He's not mine- he hasn't been for a long time-- MACGRUDER     --Might have sent something for the boy, so I figured no harm in letting the movers into your place - I hope you don't mind - but I wanted to let you know before you walk in and trip over it or anything.  TRUDY     Thank you for the warning.  SOUND     FOOTSTEPS - BOTH OF THEM TRUDY     You don't have to-- MACGRUDER     I better go come along and make sure, since if I let it into your place and it turned out to be something dangerous, well I'd never forgive myself.  On the other hand, I was just thinking it might just be a vacuum cleaner, so I was just thinking if it was a vacuum cleaner, then I would knock a whole dollar off your rent - each week - if you just let me use it.  [gasps] TRUDY     The box is that big?  I mean big enough for a vacuum? SOUND     FOOTSTEPS STOP MACGRUDER     Lands sakes!  You just have to get a gander at it!  [beat] Well?  Open it. SOUND     A COUPLE OF ALMOST HESITANT STEPS ON STONE, THEN KEY IN LOCK TRUDY     Did the movers say anything when they--? MACGRUDER     Say anything?  Well, I expect they did, but they didn't really seem to speak much English.  Didn't worry me much though - they were big Italian looking fellers, not Chinese at all. SOUND     KNOB TURNS TRUDY     Chinese?  Why Chinese? MACGRUDER     Oh, I heard it on the radio just the other day, about the Chinese.  Not sure what they said, but I'll tell you, you better check your laundry reaaal good. TRUDY     [dubious]  All right. SOUND     DOOR OPENS.  A COUPLE FOOTSTEPS, THEN PULLED UP SHORT TRUDY     [gasps] MACGRUDER     Didn't I tell you? TRUDY     You said a box - I didn't expect a crate!  How'd they get it through the door? MACGRUDER     Crate.  Box.  I said it was big enough for a vacuum.  TRUDY     [joking] Or some Chinese. MACGRUDER     You think so, too?  Well, you better open it now - maybe this is how they plan to invade or do whatever it was the radio was saying about them.  I'll stay with you while you do it, so that I can run back and call the army if they come popping out of there. TRUDY     I really doubt it's a box of Chinese people. MACGRUDER     You better check! SOUND     SCRABBLING AT WOOD.  TAPPING - SOUNDS PRETTY SOLID. TRUDY     I don't know how to open it. MACGRUDER     Here, I'll go and get a hammer.  We'd better get this done quickly! TRUDY     Yes, I'd rather have this sorted out before Timmy gets home. MACGRUDER     [going off] Oh, well, that too - I was thinking that "Love of a Generation" will be coming on the radio real soon. TRUDY     The radio.  Tsch.  [almost chuckling]  Chinese.   SCENE 3. MUSIC     SPACE AMBIANCE      SPACE SHIP MOCKAM     Status of Earth readiness to hold off an invasion fleet? JACK     The earth is fully prepared to repel all invaders. POCKAM     What?  We have seen no evidence--! MOCKAM     Explain.   SCENE 4. MUSIC     40s MELODRAMA SOUND     SQUEAK OF NAILS AS CRATE LID IS PRIED OFF MACGRUDER     What is it? TRUDY     Let me get the lid off before you go jumping in - you don't want the nails to get you.  MACGRUDER     [sniffs]  Well, it doesn't smell Chinese. TRUDY     [takes breath as if to say something, then sighs]  No. SOUND     HEAVY LID FALLS TO FLOOR MACGRUDER     Well, someone sent you a box of excelsior - sure it wasn't your ex husband?  He seems the type to be making a big deal out of nothing. SOUND     ROOTING AROUND IN PAPER SHREDS TRUDY     Every belonging he ever had wouldn't fill this darn thing.  No, the only time he remembers to send us anything is the occasional model airplane for Timmy's birthday - and they're always late. MACGRUDER     You're better off without him.  Just like Ermintrude on Romances of the Great White Way.  She dumped a crumb who would-- TRUDY     I found something! SOUND     METAL CLANG AS SOMETHING IS PULLED OUT OF PAPER SHREDS MACGRUDER     Well...  It could still be a vacuum cleaner. TRUDY     Here - set this down somewhere. MACGRUDER     Hmph.  Well, I can't be standing around here all day, and if there's nothing more in there but scrap metal-- TRUDY     Aha!  Papers! MACGRUDER     Instructions? SOUND      RIFFLE OF MANY PAGES TRUDY     Um... Maybe.  I don't think it's in English. MACGRUDER     Lessee.  I knew it!  Chinese! SOUND      TAPS PAPER   SCENE 5. MUSIC     SPACE AMBIANCE      SPACE SHIP MOCKAM     Which country or continent has the largest potential resistance force? POCKAM     Who do we capture first, in other words? JACK     [strange stuttering noise] Uh, uh, The main army is not that of any surface nation, but a hidden underground force-- POCKAM     Explain!  Underground? JACK     The minions of Tunis the Unstoppable are counted in the millions.   SCENE 6. MUSIC     40s MELODRAMA SOUND     [off] DOOR SLAMS OPEN, FEET RUNNING IN TIMMY     Hey mom!  I'm starvin--  TRUDY     [absently]  Close the door. SOUND     PAGES TURN TIMMY     Whoa!  What in Hi-ho Silver is that? TRUDY     Huh?  [coming out of it]  Oh!  Young man, I should make you march right back outside and come back in like a civilized human being, and not like a--  a-- TIMMY     Bucking bronco? TRUDY     No, that was last week.  Um, a-- TIMMY     Crazy apeman? TRUDY     Fine.  Like a crazy apeman.  But I happen to be busy. TIMMY     If-- TRUDY     Ask like a-- TOGETHER     --civilized human being. TRUDY     [swallows a chuckle] TIMMY     What is it, then, mom?  It looks -- well--? TRUDY     Honestly, I'm not sure.  Grab yourself an apple in the kitchen, and come and help me find a part that looks like this--   SCENE 7. MUSIC     SPACE AMBIANCE      SPACE SHIP POCKAM     [worried] Of what nation is this Tunis the unstoppable?  Has he no enemies on Earth? JACK     [sounding slightly human] He is the secret master of the world.  His armies are legion.   SCENE 8. MUSIC     40s MELODRAMA SOUND     SQUEAKY.  METAL PIECES BEING PUT TOGETHER.  FINALLY SNAPS IN TRUDY     There!  [pause, sigh, gasp] Goodness!  Look at the time!  It's nearly dinner! TIMMY     Ah, bananas!  I missed the start of Ralph Richardson, Thug Breaker! SOUND     SCRAMBLE ACROSS THE FLOOR.  RADIO TUNING IN TRUDY     Don't wanna keep me company in here while I get set to feed you? SOUND     RADIO CRACKLE, WARMING UP TIMMY     Oh, c'mon mom!  Ralph just found the smuggler's lakeside warehouse, and then they caught him and tied him to a piling and the tide's coming in! SOUND     RADIO MUSIC ANNOUNCER     [very tinny] ...that's why Alfalfa-bet is your best bet for breakfast.  Ask any horse what he likes and he'll say-- HORSE VOICE     Alfalfa-Bet! ANNOUNCER     And now, hear the creaking of the piling? SOUND     PILINGS CREAK ANNOUNCER     Hear the lapping of the incoming tide? SOUND     TIDE LAPS ANNOUNCER     But can we still hear Ralph? RALPH     [A couple of manly grunts] TIMMY     C'mon Ralph!  You can get loose!   SCENE 9. MUSIC     SPACE AMBIANCE      SPACE SHIP MOCKAM     [suspicious]  We have seen no evidence of this Tunis the unstoppable. JACK     He is said to be an ancient sorcerer, who is capable of hiding his every movement. POCKAM     That's ludicrous!  Explain this title of Sorcerer! JACK     One who manipulates the ether and the world around him through mental abilities, rather than the use of devices or scientific artifices. MOCKAM AND POCKAM     [gasp]   SCENE 10. MUSIC     40s MELODRAMA SOUND     RADIO BACKGROUND The SPOOK     Of course you could not see me, for I have the cloak of ancient darkness to protect myself! THUG 1     Oh no! THUG 2     You said it.  He's got us.  There ain't no way out. SOUND     MUSIC SWELLS SOUND     CLICK.  RADIO OFF TIMMY     Well, that's a fine how d'you do! TRUDY     It's time for bed, and we've nearly finished putting this... thing... together. TIMMY     I still say it's a robot!  Look, arms, legs - everything. TRUDY     A robot would look as silly as anyone else without a head.  Up, up! TIMMY     [moving slowly off] You'll look through the shavings again, won't you?  See if there's anything else in the box? TRUDY     Aye, Aye, captain.  Now scoot!   SCENE 11. MUSIC     SPACE AMBIANCE      SPACE SHIP MOCKAM     Is this planet Earth very populated with these... sorcerers? JACK     From my research, they are few but very powerful. POCKAM     Bah!  Even such as these cannot withstand our platinum death ray!   SCENE 12. MUSIC     40s MELODRAMA SOUND     [off] DOOR SLAMS OPEN, FEET RUNNING DOWN STAIRS TIMMY     [off]  Mom?  SOUND     FEET STOP FOR A SECOND, THEN COME ON RAPIDLY TIMMY     [panicky, coming on quickly] Mom!  Where'd it go? SOUND     FEET SLIDE ONTO KITCHEN TILES, THEN SKID TO A STOP TIMMY     I- I'm --  Whoops! TRUDY     [very amused] Timmy, you should join us for breakfast.  I would like you to meet...  [considers] Jack.  Jack [searching for a name] Box- Bocscome - Boscome.  Jack Boscome. TIMMY     Sorry to break in like this, sir.  Mom.  Um, pleased... to meet you? TRUDY     [almost laughing]  Well, shake his hand! TIMMY     [whispered] He's not moving - is he OK? TRUDY     [finally breaks down and laughs]  Jack here?  Why he's just peachy.  SOUND     SLAP ON THE BACK.  SFX     WEIRD MECHANICAL NOISES BEGIN.  VERY LOW TIMMY     What'd you do? TRUDY     I just - I must have pushed his switch or something. TIMMY     Oh!  He's--  Oh!  He sure looks ... real with a head and all. SFX     WHIRRING, ETC., GETS LOUDER, THEN OUT JACK     [very mechanical sounding]  I am unit X-14.  I am at your service. TRUDY     Well, he looks real, but he don't sound it. SOUND     [off] KNOCKING AT FRONT DOOR TRUDY     [sigh] That will be Mrs. MacGruder, about the vacuum cleaner.  Or the Chinese. TIMMY      What vacuum cleaner? Huh? JACK     Explain.  What is Chinese.  SOUND     RAPID FOOTSTEPS TIMMY     [fading out under] Oh, Chinese are folks who come from across the ocean and don't talk like us, and they cook good food... TRUDY     [calling back] Timmy, make sure and keep Jack in the kitchen.  I don't know WHAT Mrs. MacGruder would make of him. SOUND     DOOR.  UNLOCKING CHAIN AND BOLT.  DOOR OPENS MACGRUDER     So?  Did you -uh - manage to ... uh? TRUDY     It's just... Well, apparently it's Ken's idea of a joke. MACGRUDER     I thought you said he wouldn't-- TRUDY     It was all filled with random pieces of metal, and when I got to the bottom, there was a note from him.  Tsch.  He said it was supposed to be some sort of .... um, furnace... but it didn't even have all the pieces. MACGRUDER     [suspicious]  Why would he send such a darn fool thing?  Your furnace here is fine, isn't it?  I can always get Bob in to-- TRUDY     No, no!  Um, it was just that... the last time he bothered to stop by, we--we were living in a place with a dicey furnace. MACGRUDER     [after a long moment]  Man like that, you're better rid of him. TRUDY     I'll see about selling the bits for scrap or something.  MACGRUDER     Take your time - you can always burn the crate and the shavings.  [joking, going off]  Save on your furnace worries... TRUDY     [agreeing noise] SOUND     DOOR SHUTS QUICKLY BUT NOT QUITE SLAMMED TRUDY     Whew.  SOUND     HEAVY FOOTSTEPS APPROACH JACK     Explain.  What is a "Ken".   SCENE 13. MUSIC     SPACE AMBIANCE      SPACE SHIP MOCKAM     [sotto] We may need to reconsider the invasion plans. POCKAM     [sotto] I do not agree- MOCKAM     If these sorcerers can withstand our invasion-- POCKAM     I think the information unit is faulty. MOCKAM      That is impossible - the unit must tell the truth.  That is its function. POCKAM     It may not know the truth.  I say we wait until the other units have been retrieved.   SCENE 14. MUSIC     40s MELODRAMA SOUND      CLICK - MUSIC CUTS OUT SFX     TUNING IN RADIO JACK     Explain.  What is--? TIMMY     Shh.  Now this is a really good show.  Jake, Mack, and Frenchy are the B-9 detective agency.  And they're about to go head to head with the crime syndicate. SFX     MUSIC IN BACKGROUND - PARODY OF I LOVE A MYSTERY OPENER - SEE SCRIPT AT END SOUND      KNOCK ON DOOR TIMMY     Mom!  The door! JACK     Mom! SOUND     FOOTSTEPS ON LINO, THEN WOOD.  TRUDY BRUSHES HER HANDS TOGETHER TRUDY     You two.  You should be doing your homework.  I let you put it off all weekend-- TIMMY     But the show!  Besides, Jack here'll help me with it, won't you Jack old boy? JACK     Explain.  What is homework. SOUND     KNOCK ON DOOR AGAIN TRUDY     Yeah.  A big help. SOUND     KNOB, DOOR OPENS A BIT TRUDY     Yes?  Oh!  Susan! SUSAN     Aha!  [chiding] You remember my name!  TRUDY     [realizing] Oh, no...  Last night...! SUSAN     Are you going to just keep me out here on the doorstep while I read you the riot act for standing me up?  You left me high and dry on a Saturday night, with two sailors and only one pair of feet! TRUDY     I-- [thinks] Let me take you to the corner coffee shop - to make it up. SUSAN     What?  Why? TRUDY     Um, Timmy isn't feeling well, so I really don't want to wake him. TIMMY     [off, sickly sounding]  Mommy? SUSAN     [mollified]  So that's it.  [sigh] You better stay.  TIMMY     [off, coughing]  SUSAN     Kids.  I love em, but I'm not sure I could keep em.  You gonna be in to work tomorrow? TRUDY     He's much better than he was.  Just needs rest. SUSAN     OK.  But next time - you could at least call!  See ya manyana! TRUDY     Bye!  [pause, whew] SOUND     DOOR SHUTS, QUICK FOOTSTEPS SFX     RADIO COMES ON - SCENE PLAYS IN THE B/G TRUDY     Thank you honey!  [hug noise] TIMMY     [boy hug reaction]  Moooom!  The shooow. JACK     Explain.  What is sick. TIMMY     Ssh! TRUDY     C'mon Jack, and I'll explain. SOUND     FOOTSTEPS SFX     RADIO RECEDES AGAIN SOUND     FEET ON LINO TRUDY     Have a seat? JACK     As you instruct. SOUND     SQUEAK OF CHAIR TRUDY     [chuckles] You look so darned human, I keep forgetting you're a machine. JACK     I am X-14, designated Jack Boscome. TRUDY     Glad you like the name. JACK     Explain.  What is Like. TRUDY     First sick.  Hmm.  Well, that's a toughee.  Humans, like machines, have lots of parts that all work together - and when one of the parts doesn't work right - like instead of breathing, you start coughing - that's what it means to be sick. JACK     Repair seems the obvious answer.  Explain.  TRUDY     Well, see you might be repairable - like if you broke a spring or something, you could just go in, take out the spring and put in a new one, but it doesn't work that way for living things - If one of our parts starts to break, it has to fix itself. JACK     Processing.  Corollary - Timmy is sick.  Which part is broken? TRUDY     [ashamed] Well, he's not really sick.  That was a lie.  My friend Susan keeps trying to fix me up with guys, and I -- well, I really just forgot, we were so caught up with having you working and all. JACK     Explain.  What is lie. TRUDY     [rueful] Oh, boy...   SCENE 15. MUSIC     SPACE AMBIANCE      SPACE SHIP MOCKAM     Three more units! POCKAM     Three?  Nonfunctional? MOCKAM     Worse - three more we could not retrieve effectively, so destruct function was activated. POCKAM     Only five still functional!  When is retrieval? MOCKAM      It is being done.    SCENE 16. MUSIC     40s MELODRAMA SOUND      POUNDING ON DOOR, FOOTSTEPS, DOOR OPENED QUICKLY TRUDY     [breathless] Yes?  Mrs. Mac-- MACGRUDER     [furious] Don't you Mrs. MacGruder me with that innocent look on your face, young lady! TRUDY     But--! I--! MACGRUDER     I know you have a man in here.  I've seen him through the window.  What kind of a place do you think I'm running here? And you with a child in the house! TRUDY     Oh, but he's-- JACK     [slightly off, sounding less robotic]  Trudy?  Is there a problem? TRUDY     [thinking fast] Mrs. MacGruder, this is Jack Boscome.  He's a-- a [moving closer, whispering]  He's a vet.  Battle fatigued.  Our office sent a memo around, asking for people willing to open their homes to these boys.  How could I say no? MACGRUDER     [much softened] But it's-- TRUDY     He stays in the living room.  On the couch.  He's really good with Timmy. TIMMY     [off]  Jack?  Hey, ask me that question again.  On my homework. TRUDY     See? JACK     [off] What is the capitol of Idaho? MACGRUDER     [resigned] You should have told me. TRUDY     I wanted to wait and see if it was going to work out first.  I didn't want anyone to make a fuss right away - he's still pretty nervous, you know? MACGRUDER     That's why he never leaves the house, eh? TRUDY     Yup.  MACGRUDER     All right.  All right.  No monkey shines, now! TRUDY     Cross my heart. SOUND     DOOR SHUTS TRUDY     Whew. JACK     [coming on, sounding just like a robot] Explain?  What is battle fatigue?  [then softening]  I should probably know.   SCENE 17. MUSIC     SPACE AMBIANCE      SPACE SHIP MOCKAM     They are all disabled.  All but the X-14 unit. POCKAM     All?  But we landed thirty-- MOCKAM     Apparently we both overestimated and underestimated the humans.  Twelve were rendered nonfunctional in assembly, six were completed and placed in government hands and had to be destructed, and eight were never even opened.  POCKAM     Records show these beings are much more curious and greedy than that.  Wait.  What of the other three? MOCKAM      [almost reluctant] They tried to resist retrieval and were destroyed.   SCENE 18. MUSIC     40s MELODRAMA SFX     SCENE 2 PLAYS ON RADIO IN B/G [following line about Death-O-tron] TIMMY     Man, I wish we had a Death-o-tron landship.  I wouldn't have to walk to school any more. JACK     But you are not afraid?  What if Tunis comes here.  His landship will crush this house. TIMMY     [exasperated sigh] Jack.  Tunis is just a story.  Did you really think all this stuff on the radio was true? JACK     Why would it not be true?  Explain. TIMMY      It's ... fun.  Like make believe.  Everyone makes stuff up - you mean you don't have stories where you come from? JACK     I don't know where I come from.  My memories begin when you assembled me.  TIMMY     Oh, hold on [listen to the final part of the scene, then as the announcer comes on].  That's kind of sad.  You're sort of just a kid, too.  [pause] But you learn real fast.   SCENE 19. MUSIC     SPACE AMBIANCE      SPACE SHIP MOCKAM     We must assume this data is correct. POCKAM     I would prefer a second opinion. MOCKAM     Of course, but we cannot take chances.  There is another planet in the Gargon Nebula whose dominant life form hasn't yet left the ground.  They should be easy to conquer and enslave. POCKAM     The Gargon Nebula is light years from here!  We should-- MOCKAM      We are under orders.  No unnecessary chances.   SCENE 20. MUSIC     40s MELODRAMA AMBIANCE     PARTY - SMALL CROWD.  RADIO MUSIC PLAYS IN THE B/G TRUDY     [whispered]  Just stick to the plan.  They all want to meet you.  You remember? JACK     I am unable to forget.  The plan is if the answer to a question is awkward, I ask them what they like on the radio and let them talk. TRUDY     Right.  Everybody here practically lives for one show or another.  You thought Timmy was stuck on his shows- wait until Mrs. MacGruder starts regaling you with the plot from "my fifth husband."  Just don't go thinking anything they say is real. JACK     Timmy explained-- SOUND     DOOR OPENS MACGRUDER     [coming on]  Trudy!  You look lovely.  And this must be-- JACK     Jack Boscome.  MACGRUDER     I hear you were in the army? JACK     I-- [uncomfortable beat, error noise] uh, uh, would rather talk about you.  Do you listen to the radio? MACGRUDER     [fading out] Oh, just occasionally... BRIEF MUSIC - TIME PASSES - SAME SCENE SUSAN     Oh-ho! TRUDY     What? SUSAN     Nothing.  Just Oh-ho.  Can't a girl Oh-ho a friend without someone thinking maybe she just put all the pieces together and realized why said friend is no longer interested in coming out on Saturday nights? TRUDY     Jack?  Oh, he's just-- SUSAN     Living in your house.  Where do I sign up? TRUDY     Oh, that reminds me - I told Mrs. MacGruder he was a vet, and the office set it up.  Don't let on, OK? SUSAN     Oh-ho! BRIEF MUSIC - TIME PASSES - SAME SCENE CHUTNEY     [coming on] You, boy! JACK     Me?  I am Jack-- CHUTNEY     We met earlier, remember? JACK     [almost mechanical sounding]  You are Colonel Chutney.  12th mobile.  Great War.  Medal of-- CHUTNEY     It isn't a test, my boy.  Don't try so hard.  [pause] I wanted you to know that there is someone here who understands your condition and what you've been through.  JACK     Explain? CHUTNEY     I've seen a number of cases - of course, we called it shell shock - but it's all the same thing.  If you ever need to talk to anyone, and don't want to disturb the ladies.  I'm just across the court. JACK     [more and more lost and confused] Talk? CHUTNEY     About your experiences in the war.  Battle fatigue is nothing to sneeze at-- JACK     Oh!  Yes.  Yes, sir. CHUTNEY     [chuckles, then insinuating]  What sort of action did you see? JACK     Sir?  Do you listen to the radio, sir? CHUTNEY     Oh, you can't trust the radio for intelligence.  Everything on it is either so covert no one would recognize it or outright fiction.  Were you with infantry? JACK     [almost panicking, getting more robotic] Sir?  I cannot answer that. CHUTNEY     You can't shock me, son.  JACK     [error noise, very bad] uh, uh, uh, I was slugged, and tortured.  Tied up while the water came in.  Flooded with gas.  [drawing from a radio episode from earlier] CHUTNEY     [shocked] P-O-W?  I am so sorry, my boy.  No wonder.  I won't ask you any more.  Just know that I'm always ready to listen.   SCENE 21. MUSIC     SPACE AMBIANCE      SPACE SHIP MOCKAM     What shall we do with this unit? POCKAM     X-14?  The only logical choice is to vaporize it.  Its memory cells are congested with data from this planet.  It is easier to assemble a new unit than to refresh this one.   SCENE 22. MUSIC     40s MELODRAMA AMBIANCE     OUTSIDE, NIGHT SFX     SOMEWHERE A RADIO PLAYS ROMANTIC MUSIC SOUND     FOOTSTEPS ON GRAVEL TRUDY     You were marvelous.  I was so worried when Colonel Chutney buttonholed you like that. JACK     [almost teasing]  Explain.  What is buttonholed? TRUDY     [chuckles fondly]  Only three weeks, and you sound like any other guy.  And you look so real.  I-- It's nice having a man around the house, you know.  Timmy loves you, and the way you fixed the furnace! JACK     Machines make sense.  Humans are confusing.  TRUDY     Don't I know it!  I- I confuse myself sometimes. JACK     Explain? TRUDY     I can't.  Some things are just inexplicable.  Like ... love. JACK     Explain? TRUDY     I- well... Love is a lot like "like".  Just stronger. JACK     A feeling of attachment and a desire to be near the object of the feeling? TRUDY     More or less.  JACK     As an example, you love Timmy? TRUDY     Yes! JACK     And Timmy loves-- Jake, Mack and Frenchy. TRUDY     [chuckling]  Yes. JACK     Do you think love can be learned? TRUDY     I-- Well, I really don't know. JACK     If this is a topic you do not wish to discuss, we can talk about radio shows. TRUDY     [laughing] No.  It's just a topic that no one finds easy to discuss. JACK      I would like to learn more. MOCKAM     [on filter]  Unit X-14!  Unit X-14!  Prepare for imminent retrieval. JACK     Did you hear that? TRUDY     What? JACK     [sigh, starting to sound more and more robotic] I am a robot. TRUDY     I know, but somehow it doesn't matter. JACK     I may come to understand feelings such as love, but I cannot feel them. TRUDY     You once said you could never lie, and look how that turned out. JACK     I have completed my time with you.  [error noise]  uh, uh, uh, uh, I have no feelings for this world or its inhabitants.  Uh, uh, I will fulfill my mission. TRUDY     Jack, what's wrong? SOUND     FOOTSTEPS ON GRAVEL, AWAY TRUDY     Jack!   SCENE 23. MUSIC     SPACE AMBIANCE      SPACE SHIP JACK     [very robotic]  I am capable of further use. POCKAM     What?  Did you speak out of turn, X-14? JACK     Destroying me-- this unit would be a waste of resources.  Logic dictates utilizing all capabilities. POCKAM     What did they teach this thing down there?  no wonder three units had the self-motivation to destruct themselves. MOCKAM     The unit cites logic.  Let it continue. JACK     This unit has assimilated enough to remain out of the hands of government entities, and to blend into society on the planet below.  MOCKAM     True. JACK     Continued data gathering is always of use. MOCKAM     One unit is not enough to gather all the data we would need for a full scale attack - not in our projected time frame. JACK     If you go to the Gargon Nebula, this unit can continue to gather information for your return. MOCKAM     It might work, at that.  POCKAM     But it will be forty of this planet's years before we would return from the Gargon Nebula!   SCENE 24. MUSIC     40s MELODRAMA TRUDY     [sigh] No, Colonel.  He had a -- a bad relapse and had to -- go back to the hospital. CHUTNEY     [on phone] Too bad.  Good boy, that.  When he comes back... well, a divorcee like yourself could do a lot worse. TRUDY     [trying not to cry]  I-- I know.  I have to go, Colonel, there's someone at the door. SOUND     AS IF ON CUE, KNOCK ON DOOR SOUND     PHONE HANGS UP SOUND      RUNNING FEET, DOOR FLUNG OPEN TIMMY       [off, yelling, happy and excited] Hey mom!  It's a big wooden box! TRUDY     [excited gasp] Huh? END **************************************************** RADIO SCENE 1 ANNOUNCER     --in the underground caves beneath the tiny mining town. MUSIC STING JAKE     Look, Mack!  It's Frenchy! FRENCHY     Ooooh. MAC     Well, dip me in honey and roll me in a haystack!  He's been slugged! FRENCHY     [bad french accent] Jake?  They took the scrimshaw!  I couldn't stop them! JAKE     I know, Frenchy.  Mack, Check that door - see if it's clear.  We'll have to leave Frenchy someplace safe while we go after the Syndicate boys.  If they find him, he'll be tortured, or worse. SOUND     SHAKING LOCKED DOOR MACK     Well boil me fer a rutabaga sandwich, the door won't open! JAKE     What's that noise? MACK      Sounds like someone went and left a faucet running. FRENCHY     Jake!  The floor!  It is water! JAKE     So that's the plan, is it - they'll drown us here like rats! MUSIC STING **************************************************** RADIO SCENE 2 SNAP HARPER     As long as we have breath, he won't rule the world.  Are you with me Amanda? AMANDA COOL     Anything you say, Snap! SNAP HARPER     If we can just get to the central coolant chamber of his death-o-tron landship, Amanda, I think we might be able to-- TUNIS     [on filter] To -- what?  Go on Snap Harper, I am -- powerfully interested. AMANDA COOL     Tunis the Unstoppable!  Snap!  He's found us, but how? SNAP HARPER     He must have listening devices planted in these service crawlspaces.  Blast Tunis's cleverness! TUNIS     I would return the compliment, Snap Harper, but it would be pointless. AMANDA COOL     Oh, Snap! TUNIS     For you are about to die!  Flood the room with gas! MUSIC STING ANNOUNCER     After just a short word from our sponsor, Tunis the Unstopppable will outline his cunning plan for doing in Snap Harper.  But first-- --END--  

What should the tenant do when the landlord dies during the term of the lease?  What if the lease is month-to-month and there is no term?  Can the landlord's heirs evict the tenant to sell the house and cash in on their inheritance? You can find the related blog post here: My Landlord Died, Is My Lease Still Valid? | Florida Landlord Tenant Law (yesnerlaw.com) We have a few listener-related landlord/tenant questions on this week's episode of the Crushing Debt Podcast.  Thank you for sending these to us and keep them coming! We also discuss the CDC Eviction Moratorium - when does it expire / will it ever expire?  You can hear more about the moratorium(s) in Episodes 261, 255 and 239. Did you know about the Protecting Tenants At Foreclosure Act? What happens if your landlord is foreclosed mid-term? Whether you're allowed to stay through the end of the lease term depends on who buys the home. There was a Federal version of the Act which has been mirrored under Florida Law (and become effective upon the expiration of the Federal Act).  You can find Florida's version of the Act here: Statutes & Constitution :View Statutes : Online Sunshine (state.fl.us) We also give a brief Hurricane Elsa update (spoiler: we're fine). If you want to support the show, a great way to do that is to introduce an attorney or title company you know to our sponsor Sam Cohen at Attorneys First Insurance.  You can make the introduction at Sam@AttorneysFirst.com or www.AttorneysFirst.com.  Another great way to support the show is to order my second book (it's a free download) at www.ShawnMYesner.com/BecomeDebtFree 

This is a continuation of Episode 501's exploration of a rather arcane bit of legal jurisprudence that has somehow become the target du jour of the right wing, from Matt Gaetz to Newsmax to... well, Matt Gaetz again. That's right, it's an explanation of what critical race theory actually is, and whether it should be banned. (Hint: no) In this episode, you'll learn more about the definitely NOT Marxist postmodern critique of language and legal textbooks, including an in-depth discussion of a case you probably have never heard of -- Johnson & Graham's Lessee v. M'Intosh, 21 U.S. 543 (1823). And if you have heard of the case, then a) you're probably a lawyer or law student, and b) you should thank a critical legal studies theorist! We'll also get in depth with two of the founders of the CRT movement, Mari Matsuda and Kimberle Crenshaw. Learn what their unique contributions to legal scholarship were and are, and decide for yourself whether this is too dangerous for grad students to even read. Finally, we'll delve back into the one-man astroturf unit that is Christopher F. Rufo and learn how he's deliberately misleading everyone about what CRT is in order to stoke a moral panic. This is an episode you don't want to miss & might want to share even with your Uncle Frank! Finally, we do an Andrew Was Wrong on Arrow's Theorem as math professors rise up and storm our studio. Links We first discussed CRT in Episode 501; go check that out if you haven't yet. Andrew definitively stated that he was not a CRT theorist & believed there are right answers in the law in Episode 477 critiquing originalism. Florida's latest law is HB 233 on "intellectual freedom and viewpoint diversity," which kind of contradicts the whole banning CRT thing. Check out Richard Delgado & Jean Stefancic's "Rodrigo's Reappraisal" (2021). You can read Johnson & Graham's Lessee v. M'Intosh, 21 U.S. 543 (1823) for yourself. The Rufo timeline we mentioned was published in the Wall Street Journal, and you can check out the text of Trump's executive order here. You can also read his garbage article in the NY Post... you know what? I'm not going to link that. He's terrible. You should definitely read Mari Matsuda's Public Response to Racist Speech: Considering the Victim's Story (1989) and Kimberle Crenshaw's Mapping the Margins:  Intersectionality, Identity Politics, and Violence Against Women of Color from the 1991 Stanford Law Review. Finally, I would also recommend reading Aya Gruber's "Against Carceral Feminism" (2021). Appearances None! Have us on! -Support us on Patreon at: patreon.com/law –Subscribe to the YouTube Channel and share our videos! -Follow us on Twitter:  @Openargs -Facebook:  https://www.facebook.com/openargs/, and don't forget the OA Facebook Community! -For show-related questions, check out the Opening Arguments Wiki, which now has its own Twitter feed!  @oawiki -And finally, remember that you can email us at openarguments@gmail.com!

To prevent the spread of COVID, the Centers for Disease Control and Prevention (CDC) ordered a prohibition against eviction if the tenant filed an affidavit with the Court and the landlord attesting to five criteria: Tenant used best efforts to obtain all available government assistance for rent or housing; Tenant earns no more than $99,000 in annual income for the Calendar Year 2020 - 2021 (or no more than $198,000 if filing a joint return), or was not required to report any income, or received a stimulus check under the CARES Act; Tenant is unable to pay full rent due to substantial loss of income, loss of hours, lay-off or extraordinary out of pocket medical expenses; Tenant is using best efforts to make timely payments that are as close to the full payment as the circumstances permit; If evicted, the tenant would likely become homeless, move into a homeless shelter, or need to move to a residence shared by other people who live in close quarters. The CDC is also clear in its order that they are not waiving the obligation of tenants to eventually pay the rent that is owed, and that the full past-due rent will be owed to the landlord when the moratorium ends. The declaration form is available here.  The CDC Order was set to expire on January 21, 2021, and was extended. As of this recording it is scheduled to expire March 31. There was a federal court judge in Texas who ruled the order was unconstitutional, but that court battle will likely continue far beyond any expiration of the CDC Order. In this week's episode, I unwrap the CDC's order and talk about ways landlords AND tenants can comply or avoid the order. We have handled a few evictions where the CDC Affidavit has been filed by a tenant (or recommended a tenant file the affidavit) and Courts will have a hearing to determine the order's applicability. What should you know about the CDC's Order?  That's the subject of today's episode! If you want me to speak to your group about the CDC Order, you can reach out to me at Shawn@YesnerLaw.com. If you need to cut expenses or increase income to attempt to generate more money to comply with the order, order my free book "Become Debt Free in Less Than One Hour" at www.ShawnMYesner.com/BecomeDebtFree. Please also refer any attorneys or title companies you know to our sponsor, Sam Cohen at Sam@AttorneysFirst.com or www.AttorneysFirst.com. 

Although Chief Justice John Marshall had to recuse himself from this case for a conflict of interest, Martin v. Hunter's Lessee serves as a bright spot for the federal judiciary where they finally see that they can apply the acts of judicial review to entire state governments, not just the legislature or executive branches. While the case is pretty soundly cut and dry, there remains a lot of doubt about how to go about the decision. Listen to find out more! --- Support this podcast: https://anchor.fm/aaron-larson2/support

What do you do best? If you own investment property and your answer is anything other than "property management" then this episode of the Crushing Debt Podcast is for you. In today's episode, I interview Mark Sorokurs of Central Pinellas Realty and Collman Properties. I've known Mark about five years and he's been in real estate for about eight years now after "retiring" from IT in 2012. Mark and I discuss: What is property management? Why would someone need or want to hire a property manager? How do property managers save their clients money? How property managers can help find and screen tenants? The impact of COVID on finding (and removing) tenants? What happens when things go wrong with a tenant? What happens when the tenant owes more at move-out than the amount of the security deposit? Craziest property management story, and more! You can reach Mark at www.centralpinellasrealty.com, www.collmanproperties.com, and office@collmanproperties.com.  You can pick up a FREE digital copy of my latest book at www.ShawnMYesner.com/BecomeDebtFree  Remember to refer our sponsor to an attorney or title company you know - Sam@AttorneysFirst.com or www.AttorneysFirst.com

To help navigate uncertain times, hear PwC leasing specialists discuss lease rent concessions as companies look ahead to their March 31 reporting.If you’re unsure about how COVID-19 might impact your financial reporting, you're not alone. This podcast is the next episode in a series that will address questions surrounding the impacts of COVID-19 on your financial statements. Heather Horn is joined by John Bishop, a partner, and Suzanne Stephani, a director both from PwC’s National office. In this episode, we’re focusing on questions related to how rent concessions should be accounted for from both a lessee and a lessor perspective.Topics include:1:12 - Overview of rent concessions. We begin by giving background on common types of rent concessions. 6:01 - FASB relief on rent concessions. In response to preparers concerns, the FASB recently provided some relief. John fills us in on the details. 10:30 - Lessee accounting for rent concessions as a modification. The FASB's relief is structured as an election. Now companies are trying to decide whether to make the election. Suzanne walks through the various considerations. 12:46 - Rent concession and force majeure clauses. Here we discuss the alternative if a lessee chooses not to treat a concession as a modification. Suzanne helps us understand what this means. 24:40 - Lessor accounting for rent concessions and collectibility. We close the episode by turning to the lessor. John explains what the FASB’s relief means for lessors and answers some common questions.John Bishop is a partner in PwC's National office and the co-leader of the financial instruments team. In this role, he leads the group in advising the firm’s clients on a wide array of accounting and reporting matters. John specializes in the accounting for derivatives, financial instruments, financing transactions (e.g., securitizations and leasing) and M&A transactions. Suzanne Stephani is a director in PwC’s National office with more than 20 years of experience assisting companies in resolving complex accounting issues. Suzanne specializes in the accounting for debt, preferred stock, leases and cash flows. Heather Horn is PwC’s National office thought leader, responsible for developing our communications strategy and conveying firm positions on accounting and financial reporting matters. She is the engaging host of PwC’s accounting and reporting weekly podcast and quarterly webcast series, as well as periodic webcasts for the power and utilities industry. With over 25 years of experience, Heather’s accounting and auditing expertise includes financial instruments and rate-regulated accounting.

This week’s guest on The Crushing Debt Podcast wants you to attain financial independence or less outside of the Wall Street Casino.  He is the host of the Income Hacker podcast, Ryan Wright. You can go to his website - www.DoHardMoney.com/Crushing-Debt-Podcast for a free copy of his book “How to Get More Money Than You Can Handle” and check out his Real Estate Guide to Finding Deals. Ryan and I also discuss: The beginning of his career  How he became a real estate investor How today, he owns no “plexes” How he provides his tenants with a “performance bonus” His mindset around money and investing. Plus, you’ll hear Ryan say something that has never before been said on the podcast! You can connect with Ryan on: LinkedIn at Ryan G Wright Twitter at @DoHardMoney Instagram at @DoHardMoney  Please also remember to visit our sponsor at www.EasyStartUpFunds.com for another source of funding for your real estate deals (and almost any other venture). Please support the show by subscribing wherever you listen to podcasts (its free), and contact me with questions at Shawn@YesnerLaw.com or www.YesnerLaw.com.

This edition of The quarter close provides timely accounting and reporting information that can help you prepare for your year-end reporting. Topics include:A summary of the FASB’s delay of effective dates for certain major accounting standardsReminders relating to adoption of the new credit losses standard and some areas of focus post adoptionAdditional insights about accounting for leases incentives, lease remeasurements, terminations and modifications, principal versus agent assessments under the revenue standard, standard setting and regulatory updates, and moreEpisode detailsAccounting hot topics0:47 - FASB delays effective dates for certain major standards2:48 - The new credit losses standard: adoption and moving ahead7:16 - Lessee accounting for lease incentives 11:51 - Lessee accounting for remeasurements, terminations, and modifications 14:38 - Principal versus agent assessments under the revenue standard18:37 - Share-based consideration payable to a customer 20:14 - The EITF addresses accounting for equity securities 22:22 - The latest on the FASB’s goodwill project SEC and regulatory update24:01 - Non-GAAP measures25:30 - Considerations for critical audit matters27:53 - PCAOB leadership changes28:25 - Digital taxes30:12 - Corporate governance insights32:48 - Wrap-up

As most calendar year public companies head into their first year-end close for the new leasing standard, we discuss some frequently asked questions around the ongoing accounting for operating leases. Listen as Suzanne Stephani and Marc Jerusalem, directors in our National office, join Heather Horn to take a closer look at some of the more common questions. Topics include:1:01 - Lessee payments. We start with new leases and take a look at how to account for the payments that lessees make to get the asset ready for use.4:54 - Lessor reimbursements. Next, we discuss common questions on how lessees account for reimbursement of those payments from the lessor.10:59 - Ending a lease: termination accounting. Marc and Suzanne talk about what should companies be thinking about when a lessee is required to make a termination payment.11:53 - Ending a lease: modification accounting. Some terminations are not so straight forward. Marc explains the accounting considerations for situations when a lessee continues to use the asset for a shortened period of time after the lease termination is agreed upon. 15:50 - The statement of cash flows. We wrap up by discussing how operating leases should be presented on the statement of cash flows.About our guestsSuzanne Stephani is a director in PwC’s National office with more than 20 years of experience assisting companies in resolving complex accounting issues. Suzanne specializes in the accounting for debt, preferred stock, leases and cash flows. Suzanne is also the lead producer and director of PwC's popular quarterly accounting and reporting developments webcast. Marc Jerusalem is a director in PwC’s National office specializing in the new leasing standards (ASC 842 and IFRS 16). As a global leasing specialist, Marc consults with clients on complex lease accounting issues and is a contributor to many PwC National Office publications, including the Leases accounting guide. About our hostHeather Horn is PwC’s National office thought leader, responsible for developing our communications strategy and conveying firm positions on accounting and financial reporting matters. She is the engaging host of PwC’s accounting and reporting weekly podcast and quarterly webcast series, as well as periodic webcasts for the power and utilities industry. With over 25 years of experience, Heather’s accounting and auditing expertise includes financial instruments and rate-regulated accounting.

In this week’s episode of The Crushing Debt Podcast, I’m joined again by our associate attorney Lauryn as we discuss a few different topics, including a few listener questions. What is a TRIM Notice? Lauryn’s first hearing (solo) as an associate attorney How we helped two different clients eliminate garnishments How we scared off a creditor with one letter Listener Question - how a lien can be removed from property. Listener Question - how to evict mom (written lease expired, tenant refuses to leave, and has done damage to the property). What questions do you have that we can answer around debt, foreclosure, landlord / tenant questions, property taxes, IRS debt, bankruptcy, or garnishment? Please contact us at www.YesnerLaw.com, me at Shawn@YesnerLaw.com or Lauryn at Lauryn@YesnerLaw.com.  

In this week's episode of The Crushing Debt Podcast, I talk about a Federal law that went away, came back in the form of a Florida law, and now is back as a Federal Law - The Protecting Tenants in Foreclosure Act. The federal version of the law allowed a tenant to remain in his lease if the house was taken in foreclosure, except under certain circumstances. The Florida version of the law required a 30-day notice by the creditor (less tenant friendly than the federal version). The new federal version brings back some of those more tenant-friendly provisions, with a few changes. If you buy foreclosure properties and have questions about the law, please contact me at Shawn@YesnerLaw.com or www.YesnerLaw.com.

In this episode Andreas Ohl, a partner in PwC's National office, joins Heather Horn to discuss "day 2" lease accounting considerations. After spending so much effort just to adopt the new standard, some companies may not have begun to evaluate what comes next. Andreas introduces a concept some companies may not have on their radar: how do you assess the new lease right-of-use asset for impairment.Tune in to learn five things companies should know about the subsequent accounting by lessees for right-of-use assets, including:0:40 - An overview of the accounting guidance for the impairment of right-of-use assets1:25 - Unit of account considerations and the implications this determination has on the lessee's accounting2:25 - A discussion of how to group assets to be tested for impairment, including the related available policy election.8:30 - Impairment of right-of-use assets, including a discussion of triggering events and an overview of the two step impairment test11:17 - Common questions and answers relating to impairment testing of right-of-use assetsFor more information, read our In depth, FAQ: Lessee accounting for right-of-use assets in operating leases.

On October 29 & 30, 2018, I have the honor of speaking at the Buy It, Rent It, Profit! Multi Family Summit at the Holiday Inn Westshore.   In this week's episode of the Crushing Debt Podcast, I speak to the host of the event, best-selling author, real estate investor, and thought leader in property management and multifamily housing, Bryan Chavis. While this month's event is at the end of October, 2018, Bryan's intent is to promote this seminar throughout Florida, and later across areas of the United States, so please look for us even if you miss this month's event. You can find more information at: www.BuyItRentItProfit.com www.BryanChavis.com www.LandlordAcademy.com Bryan has written two books: Buy It, Rent It, Profit! and the Landlord Entrepreneur, both available through Simon & Schuster. For more information, or to connect with me or Bryan, please visit www.yesnerlaw.com or Shawn@Yesnerlaw.com.  Hope to see you at the end of October!

Showsuite’s Karamjit Singh on the similarities and difference between HDB & private home ownership.

Rev. William A. Johnson, October 8, 2017

Making Places Safe Crime needs a place to happen. Making Places Safe from crime puts focus on the where question. It is far easier to develop a security plan for a single place than to figure out answers to innumerable questions about who, what, when, how, and why crime might occur. A rising trend in criminal activity may require some level of intention and action to address the contributing risk factors. Making Places Safe Some places are inherently safe. Without any thought, action, or intention required to make them that way. This does not mean that these places are 100% guaranteed safe. Yet, most would agree that it's reasonably safe. These fortunate places usually have several things in common: Historically safe geographic area & neighborhood. The nature of the premises is low-risk (e.g. single-family home versus 24-hour store). Daily activity & visitor traffic is low-risk. The occupants or users of the place keep it reasonably safe. Some places can be made reasonably safe by using basic security methods or compliance with regulations: For example, minimum standards set forth by building codes, city planning, or business license. Private places can limit or restrict access, enforce rules, and use counter-measures like video surveillance, alarm systems, and warning signs. Shopping center common area lighting and landscaping can meet minimum city planning CPTED standards. Residential structures can meet minimum building code standards with adequate door and window security features & fire safety devices. Nightclubs can meet minimum standards by complying with fire marshal building capacity, permitted use regulations, licensing & permits, alcohol service training. What happens if circumstances change and compliance with minimum standards no longer provide adequate security? A good place to start is to make a new crime risk assessment as a basis for modifying the original security plan. A reasonable security plan addresses the specific circumstances of the property necessary for reducing the crime risk. No security plan is perfect, but a clearly defined plan shows a positive response to making places safe. The security plan must be property-based. Every place is different when you consider location, design, size, layout, intended use, traffic, demographics, and activity. A corporate-wide security plan may not be adequate to address the factors identified in the local crime risk assessment. A security plan must be clearly defined and articulated for making places safe. It should leverage facility design, and use of hardware, equipment, personnel, and procedures to the extent necessary to make the property reasonably safe. A security plan does not have to address a temporary activity center that elevates the crime risk if it can be eliminated as a component of the property. A security plan should be dynamic enough to assign different levels of priority for the protection of people or property by variables in day-of-week and time-of-day. How to make places safe for people and property are core objectives at Crime SchoolTweet This Who is responsible for making places safe? It's a question of who has the duty, control, authority, or undertakes by agreement. The duty for making places safe can be a complex legal question especially when disputed. In future episodes, we will interview attorneys and property management experts about the legal concepts of duty, negligence, liability, and the sometimes cooperative responsibility for making places safe. Here is a list of who typically has responsibility for making places safe (in order of precedence): A property owner (e.g. private or public entity). Property manager. Tenant. Lessee. Contractor. Property user. Some combination of the above. A security plan is a blueprint for making places safe

Part 3 just checks out one game - but when you realize that it's Marvel Versus Capcom 2, you can understand why it takes about twenty minutes to go through all the burly, sweaty manliness that is contained inside.If you are a fan of comic books, you might want to skip this one; Johnny and Robbie know next to nothing about them, and confuse "X-Men" with "Ultimate X-Men" or something shameful like that, and can't figure out why they're trying to slip in TWO Wolverines. But Marvel Versus Capcom 2 is a beartacular filled with bears and bearishness. Just exactly who is hot in this game? Lessee. Thanos? Maybe? Wolverine definitely qualifies. Sabretooth, yep. Zangief, of course. ("His big, burly shoulders are good to... HUG ya!") When ANAKARIS was alive, perhaps? Juggernaut! Gay Russian Colossus! M. Bison! The Hulk! Sadly, the Marvel fan seems to be much more on the bearish side than the Capcom side - apparently they didn't take enough characters from Saturday Night Slam Masters.