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[Assistant] Is it beyond the limits of human ingenuity to furnish an explanation which would cover both of these big facts?


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[Assistant] If it were one which would also admit of the mysterious note with its very curious phraseology, why, then it would be worth accepting as a temporary hypothesis. If the fresh facts which come to our knowledge all fit themselves into the scheme, then our hypothesis may gradually become a solution. But what is our hypothesis?


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[Assistant] Holmes leaned back in his chair with half closed eyes.


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[Assistant] You must admit, my dear Watson, that the idea of a joke is impossible.


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[Assistant] There were grave events afoot, as the sequel showed, and the coaxing of Scott Eccles to Wisteria Lodge had some connection with them. But what possible connection? Let us take it link by link.


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[Assistant] There is on the face of it something unnatural about this strange and sudden friendship between the young Spaniard and Scott Eccles.


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[Assistant] It was the former who forced the pace. He called upon Eccles at the other end of London on the very day after he first met him, and he kept in close touch with him until he got him down to Esher. Now what did he want with Eccles? What could Eccles supply?


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[Assistant] I see no charm in the man. He is not particularly intelligent, not a man likely to be congenial to a quick-witted Latin.


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[Assistant] Why then was he picked out from all the other people whom Garcia met as particularly suited to his purpose?


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[Assistant] Has he anyone outstanding quality? I say that he has. He is the very type of conventional British respectability, and the very man as a witness to impress another Briton.


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[Assistant] You saw yourself how neither of the inspectors dreamed of questioning his statement, extraordinary as it was. But what was he to witness? Nothing, as things turned out, but everything had they gone another way. That is how I read the matter. I see. He might have proved an alibi.


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[Assistant] Exactly, my dear Watson. He might have proved an alibi.


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[Assistant] We all suppose for argument's sake that the household of Wisteria Lodge are confederates in some design.


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[Assistant] The attempt, whatever it may be, is to come off we will say before one o'clock.


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[Assistant] By some juggling of the clocks it is quite possible that they may have got Scott Eccles to bed earlier than he thought. But in any case, it is likely that when Garcia went out of his way to tell him that it was one, it was really not more than twelve.


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[Assistant] If Garcia could do whatever he had to do and be back by the hour mentioned, he had evidently a powerful reply to any accusation.


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[Assistant] Here was this irreproachable Englishman, ready to swear in any court of law that the accused was in the house all the time. It was an insurance against the worst.


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[Assistant] Yes, yes, I see that. But how about the disappearance of the others?


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[Assistant] I have not all my facts yet, but I do not think there are any insuperable difficulties. Still, it is an error to argue in front of your data. You find yourself insensibly twisting them round to fit your theories. And the message? How did it run?


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[Assistant] Our own colours, green and white. Sounds like racing. Green open, white shut. That is clearly a signal. Main stair, first corridor, seventh right, green bays.


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[Assistant] It was clearly a dangerous quest. She would not have said, Godspeed, had it not been so. D. That should be our guide. The man was a Spaniard.


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[Assistant] I suggest that these stands for Dolores, a common female name in Spain.


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[Assistant] Good Watson, very good, but quite inadmissible. A Spaniard would write to a Spaniard in Spanish. The writer of this note is certainly English.


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[Assistant] Well, we can only possess our soul in patience until this excellent inspector come back for us. Meanwhile, we can thank our lucky fate, which has rescued us for a few short hours from the insufferable fatigues of idleness.


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[Assistant] An answer had arrived to Holmes's telegram before our Surrey officer had returned. Holmes read it and was about to place it in his notebook when he caught a glimpse of my expectant face. He tossed it across with a laugh.


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[Assistant] We are moving in exalted circles," said he. The telegram was a list of names and addresses


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[Assistant] Lord Haringby, The Dingle, Sir George Follyot, Oxshott Towers, Mr. Hines Hines J.P., Purdeley Place, Mr. James Baker Williams, Fort and Old Hall, Mr. Henderson, High Gable, Reverend Joshua Stone, Nether Walsling,


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[Assistant] This is a very obvious way of limiting our field of operations," said Holmes. No doubt Baines, with his methodical mind, has already adopted some similar plan. I don't quite understand. Well, my dear fellow,


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[Assistant] We have already arrived at the conclusion that the message received by Garcia at dinner was an appointment or an assignation


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[Assistant] Now if the obvious reading of it is correct, and in order to keep the tryst one has to ascend a main stair and seek the seventh door in a corridor, it is perfectly clear that the house is a very large one.


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[Assistant] It is equally certain that this house cannot be more than a mile or two from Oxshott, since Garcia was walking in that direction, and hoped, according to my reading of the facts, to be back in Wisteria Lodge in time to avail himself of an alibi which would only be valid up to one o'clock.


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[Assistant] As the number of large houses close to Oxshott must be limited, I adopted the obvious method of sending to the agents mentioned by Scott Eccles, and obtaining a list of them. Here they are in this telegram, and the other end of our tangled skein must lie among them.


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[Assistant] It was nearly six o'clock before we found ourselves in the pretty Surrey village of Esher, with Inspector Baines as our companion.


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[Assistant] Holmes and I had taken things for the night and found comfortable quarters at the Bull.


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[Assistant] Finally we set out in the company of the detective on our visit to Wisteria Lodge. It was a cold, dark March evening, with a sharp wind and a fine rain beating upon our faces, a fit setting for the wild common over which our road passed, and the tragic goal to which it led us. Chapter 2 The Tiger of San Pedro


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[Assistant] A cold and melancholy walk of a couple of miles brought us to a high wooden gate which opened into a gloomy avenue of chestnuts.


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[Assistant] The curved and shadowed drive led us to a low, dark house, pitch black against a slate-colored sky.


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[Assistant] From the front window upon the left of the door there peeped a glimmer of a feeble light.


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[Assistant] He stepped across the grass plot and tapped with his hand on the pane.


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[Assistant] Through the fogged glass I dimly saw a man spring up from a chair beside the fire and heard a sharp cry from within the room. An instant later a white-faced, hard-breathing policeman had opened the door, the candle wavering in his trembling hand.


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[Assistant] What's the matter, Walters?" asked Baines sharply.


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[Assistant] The man mopped his forehead with his handkerchief and gave a long sigh of relief.


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[Assistant] I'm glad you've come, sir. It's been a long evening, and I don't think my nerve is as good as it was. Your nerve, Walters? I should not have thought you had a nerve in your body.


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[Assistant] Well sir, it's this lonely silent house and the queer thing in the kitchen.


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[Assistant] Then when you tapped at the window I thought it had come again. That what had come again? The devil, sir. For all I know it was at the window. What was at the window and when?


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[Assistant] It was just about two hours ago. The light was just fading. I was sitting reading in the chair. I don't know what made me look up, but there was a face looking in at me through the lower pane. Lord, sir, what a face it was. I'll see it in my dreams.


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[Assistant] Tat tat, watchers. This is not talk for a police constable.


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[Assistant] I know, sir, I know, but it shook me, sir, and there's no use to deny it. It wasn't black, sir, nor was it white, nor any colour that I know, but a kind of queer shade, like clay with a splash of milk in it. Then there was the size of it. It was twice yours, sir.


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[Assistant] And the look of it, the great staring goggle eyes, and the line of white teeth like a hungry beast.


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[Assistant] I tell you, sir, I couldn't move a finger, nor get my breath, till it whisked away and it was gone. Out I ran, and through the shrubbery, but thank God there was no one there.


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[Assistant] If I didn't know you were a good man, Walters, I should put a black mark against you for this.


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[Assistant] If it were the devil himself, a constable on duty should never thank God that he could not lay his hands upon him.


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[Assistant] That at least is very easily settled," said Holmes, lighting his little pocket-lantern. Yes, he reported after a short examination of the grass-bed. A number-twelve shoe, I should say. If he was all on the same scale as his foot, he must certainly have been a giant. What became of him?


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[Assistant] He seems to have broken through the shrubbery and made for the road.


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[Assistant] Well, said the inspector with a grave and thoughtful face, whoever he may have been, and whatever he may have wanted, he is gone for the present, and we have more immediate things to attend to.


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[Assistant] Now Mr. Holmes, with your permission, I will show you round the house.


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[Assistant] The various bedrooms and sitting-rooms had yielded nothing to a careful search. Apparently the tenants had brought little or nothing with them, and all the furniture down to the smallest details had been taken over with the house.


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[Assistant] A good deal of clothing, with the stamp of Marx and Co., High Holborn, had been left behind.


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[Assistant] Telegraphic inquiries had been already made which showed that Marx knew nothing of his customer, save that he was a good payer. Odds and ends, some pipes, a few novels, two of them in Spanish, an old-fashioned pin-fire revolver and a guitar were among the personal property.


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[Assistant] Nothing in all this," said Baines, stalking, candle in hand from room to room. But now, Mr. Holmes, I invite your attention to the kitchen.


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[Assistant] It was a gloomy, high-ceilinged room at the back of the house, with a straw litter in one corner which served apparently as a bed for the cook.


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[Assistant] The table was piled with half-eaten dishes and dirty plates, the debris of last night's dinner.


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[Assistant] Look at this, said Deb Maynes, or what do you make of it?


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[Assistant] He held up his candle before an extraordinary object, which stood at the back of the dresser.


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[Assistant] It was so wrinkled and shrunken and withered that it was difficult to say what it might have been.


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[Assistant] One could but say that it was black and leathery, and that it bore some resemblance to a dwarfish human figure.


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[Assistant] At first, as I examined it, I thought that it was a mummified negro baby.


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[Assistant] And then it seemed a very twisted and ancient monkey.


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[Assistant] Finally I was left in doubt as to whether it was animal or human. A double band of white shells were strung around the centre of it.


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[Assistant] In silence Baines led the way to the sink and held forward his candle. The limbs and body of some large white bird, torn savagely to pieces with the feathers still on, were littered all over it. Holmes pointed to the wattles on the severed head.


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[Assistant] But Mr. Baines had kept his most sinister exhibit to the last.


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[Assistant] From under the sink he drew a zinc pail which contained a quantity of blood. Then from the table he took a platter heaped with small pieces of charred bone.


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[Assistant] Something has been killed and something has been burned. We raked all these out of the fire. We had a doctor in this morning. He says that they are not human." Holmes smiled and rubbed his hands.


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[Assistant] I must congratulate you, Inspector, on handling so distinctive and instructive a case. Your powers, if I may say so, without offence, seem superior to your opportunities.


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[Assistant] Inspector Baines' small eyes twinkled with pleasure.


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[Assistant] You're right, Mr. Holmes. We stagnate in the provinces.


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[Assistant] Curious, Mr. Baines. Very curious. I should say almost unique.


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[Assistant] Did his companions follow him and kill him? If they did, we should have them, for every port is watched. But my own views are different. Yes, sir, my own views are very different. You have a theory, then? And I'll work it myself, Mr. Holmes. It's only due to my own credit to do so. Your name is made.


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[Assistant] But I have still to make mine. I shall be glad to be able to say afterwards that I have solved it without your help.


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[Assistant] Holmes laughed good-humidly. "'Well, well, Inspector,' said he, "'do you follow your path, and I will follow mine. My results are always very much at your service if you care to apply to me for them.'


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[Assistant] I think that I have seen all that I wish in this house, and that my time may be more profitably employed elsewhere. Au revoir, and good luck.


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[Assistant] I could tell by numerous subtle signs which might have been lost upon anyone but myself, that Holmes was on a hot scent.


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[Assistant] As impassive as ever to the casual observer, there were none the less a subdued eagerness and suggestion of tension in his brightened eyes and brisker manner, which assured me that the game was afoot.


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[Assistant] After his habit he said nothing, and after mine I asked no questions. Sufficient for me to share the sport and lend my humble help to capture without distracting that intent brain with needless interruption. All would come round to me in due time. I waited, therefore, but to my ever-deepening disappointment I waited in vain.


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[Assistant] Day succeeded day, and my friend took no step forward.


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[Assistant] One morning he spent in town, and I learned from a casual reference that he had visited the British Museum. Say, for this one excursion, he spent his days in long and often solitary walks, or in chatting with a number of village gossips whose acquaintance he had cultivated.


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[Assistant] I'm sure, Watson, a week in the country will be invaluable to you," he remarked.


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[Assistant] It is very pleasant to see the first green shoots upon the hedges, and the catkins on the hazels once again. With a spud, a tin box, and an elementary book on botany, there are instructive days to be spent." He prowled about with this equipment himself.


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[Assistant] But it was a poor show of plants which he would bring back of an evening.


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[Assistant] Occasionally in our rambles we came across Inspector Baines. His fat red face wreathed itself in smiles, and his small eyes glittered as he greeted my companion.


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[Assistant] He said little about the case, but from that little we gathered that he also was not dissatisfied at the course of events. I must admit, however, that I was somewhat surprised when, some five days after the crime, I opened my morning paper to find in large letters


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[Assistant] The OcShot Mystery A Solution Arrest of Supposed Assassins


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[Assistant] Home sprang in his chair as if he'd been stung when I read the headlines.


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[Assistant] Apparently, said I as I read the following report.


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[Assistant] Great excitement was caused in Esher and the neighbouring district when it was learned late last night that an arrest had been effected in connection with the ox-shot murder.


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[Assistant] It will be remembered that Mr. Garcia of Wisteria Lodge was found dead on Alkshot Common, his body showing signs of extreme violence, and that on the same night his servant and his cook fled, which appeared to show their participation in the crime.


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[Assistant] It was suggested, but never proved that the deceased gentleman may have had valuables in the house, and that their abstraction was the motive of the crime.


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[Assistant] Every effort was made by Inspector Baines, who has the case in hand, to ascertain the hiding-place of the fugitives, and he had good reason to believe that they had not gone far but were lurking in some retreat which had been already prepared.


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[Assistant] It was certain from the first, however, that they would eventually be detected as the cook from the evidence of one or two tradespeople who have caught a glimpse of him through the window, as a man of most remarkable appearance, being a huge and hideous mulatto with yellowish features of a pronounced negroid type.


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[Assistant] This man has been seen since the crime, for he was detected and pursued by Constable Walters on the same evening when he had had the audacity to revisit Wisteria Lodge.


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[Assistant] Inspector Baines, considering that such a visit must have some purpose in view, and was likely, therefore, to be repeated, abandoned the house, but left an ambuscade in the shrubbery.


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[Assistant] The man walked into the trap and was captured last night after a struggle in which constable Downing was badly bitten by the savage.


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[Assistant] We understand that when the prisoner is brought before the magistrates a remand will be applied for by the police and that great developments are hoped from his capture.


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[Assistant] Really, we must see Baines at once," cried Holmes, picking up his hat. We will just catch him before he starts. We hurried down the village street and found, as we had expected, that the inspector was just leaving his lodgings.


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[Assistant] You seen the paper, Mr. Holmes?" he asked, holding one out to us. Yes, Baines, I've seen it. Pray don't think it a liberty if I give you a word of friendly warning. Of warning, Mr. Holmes?


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[Assistant] I have looked into this case with some care, and I am not convinced that you are on the right lines. I don't want you to commit yourself too far unless you are sure.


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[Assistant] You're very kind, Mr. Holmes. I assure you I speak for your good.


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[Assistant] I believe you mean well by me, but we all have our own systems, Mr. Holmes.


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[Assistant] This fellow is a perfect savage, as strong as a cart-horse and as fierce as a devil.


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[Assistant] He chewed Downing's thumb nearly off before they could master him. He hardly speaks a word of English, and we can get nothing out of him but grunts." And you think you have evidence that he murdered his late master?"I didn't say so, Mr. Holmes. I didn't say so. We all have our little ways. You try yours, and I will try mine. That's the agreement." Holmes shrugged his shoulders as we walked away together.


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[Assistant] I can't make the man out. He seems to be riding for a fall.


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[Assistant] Well, as he says, we must each try our own way and see what comes of it. But there's something in Inspector Baines which I can't quite understand.


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[Assistant] Just sit down in that chair, Watson," said Sherlock Holmes when we had returned to our apartment at the Bull.


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[Assistant] I want to put you in touch with the situation, as I may need your help tonight. Let me show you the evolution of this case, so far as I have been able to follow it.


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[Assistant] Simple as it has been in its leading features, it has nonetheless presented surprising difficulties in the way of an arrest. There are gaps in that direction which we may have to still fill.


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[Assistant] We still go back to the note which was handed into Garcia upon the evening of his death.


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[Assistant] We may put aside this idea of Baines's that Garcia's servants were concerned in the matter. The proof of this lies in the fact that it was he who had arranged for the presence of Scott Eccles, which could only have been done for the purpose of an alibi.


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[Assistant] It was Garcia then, who had an enterprise, and apparently a criminal enterprise, in hand that night in the course of which he met his death.


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[Assistant] I say criminal, because only a man with a criminal enterprise desires to establish an alibi, who then is most likely to have taken his life. Surely the person against whom the criminal enterprise was directed, so far it seems to me that we are on safe ground.


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[Assistant] We can now see a reason for the disappearance of Garcia's household. They were all confederates in the same unknown crime. If it came off when Garcia returned, any possible suspicion would be warded off by the Englishman's evidence, and all would be well.


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[Assistant] But the attempt was a dangerous one, and if Garcia did not return by a certain hour it was probable that his own life had been sacrificed.


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[Assistant] It had been arranged, therefore, that in such a case his two subordinates were to make for some prearranged spot where they could escape investigation and be in a position afterwards to renew their attempt. That would fully explain the facts, would it not?


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[Assistant] The whole inexplicable tangle seemed to straighten out before me. I wondered, as I always did, how it had not been obvious to me before. But why should one servant return?


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[Assistant] We can imagine that in the confusion of flight, something precious, something which he could not bear to part with, had been left behind. That would explain his persistence, would it not?


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[Assistant] Well, what is the next step? The next step is the note received by Garcia at the dinner.


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[Assistant] It indicates a confederate at the other end. Now where was the other end?


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[Assistant] I have already shown you that it could only lie in some large house, and that the number of large houses is limited.


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[Assistant] My first days in this village were devoted to a series of walks in which, in the intervals of my botanical researches, I made a reconnaissance of all the large houses and an examination of the family history of the occupants.


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[Assistant] One house and only one riveted my attention.


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[Assistant] It is the famous old Jacobian Grange of High Gable, one mile on the farther side of Oxshott, and less than half a mile from the scene of the tragedy.


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[Assistant] The other mansions belong to prosaic and respectable people who live far aloof from romance.


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[Assistant] But Mr Henderson of High Gable was by all accounts a curious man to whom curious adventures might befall.


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[Assistant] I concentrated my attention therefore upon him and his household.


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[Assistant] A singular set of people, Watson. The man himself the most singular of them all. I managed to see him on a plausible pretext, but I seemed to read in his dark, deepest, brooding eyes that he was perfectly aware of my true business.


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[Assistant] He is a man of fifty, strong, active, with iron-grey hair, great bunched black eyebrows, the step of a deer and the air of an emperor, a fierce, masterful man, with a red-hot spirit behind his parchment face.


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[Assistant] He is either a foreigner or has lived long in the tropics, for he is yellow and sapless, but tough as whip-cord.


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[Assistant] His friend and secretary, Mr. Lucas, is undoubtedly a foreigner, chocolate brown, wily, suave, and cat-like, with a poisonous gentleness of speech.


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[Assistant] You see, Watson, we have come already upon two sets of foreigners, one at Wisteria Lodge and one at High Gable, so our gaps are beginning to close.


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[Assistant] These two men, close and confidential friends, are the centre of the household.


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[Assistant] But there is one other person who for our immediate purpose may be even more important. Henderson has two children, girls of eleven and thirteen.


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[Assistant] Their governess is a Miss Burnett, an Englishwoman of forty or thereabouts. There is also one confidential manservant.


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[Assistant] This little group forms the real family, for they travel about together, and Henderson is a great traveller, always on the move.


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[Assistant] It is only within the last weeks that he has returned after a year's absence to High Gable. I may add that he is enormously rich, and whatever his whims may be he can very easily satisfy them.


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[Assistant] For the rest his house is full of butlers, footmen, maidservants, and the usual overfed, under-worked staff of a large English country house.


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[Assistant] So much I learned partly from village gossip, and partly from my own observation.


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[Assistant] There are no better instruments than discharged servants with a grievance, and I was lucky enough to find one.


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[Assistant] But it would not have come my way had I not been looking out for it.


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[Assistant] As Baines remarks, we all have our systems.


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[Assistant] It was my system which enabled me to find John Warner, late gardener of High Gable, sacked in a moment of temper by his imperious employer


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[Assistant] He in turn had friends among the indoor servants who unite in their fear and dislike of their master. So I had my key to the secrets of the establishment. Curious people, Watson.


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[Assistant] I don't pretend to understand it all yet, but very curious people anyway.


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[Assistant] It's a double-winged house, and the servants live on one side, the family on the other. There's no link between the two, save for Henderson's own servant, who serves the family's meals. Everything is carried to a certain door, which forms the one connection


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[Assistant] Governors and children hardly go out at all except into the garden. Henderson never by any chance walks alone. His dark secretary is like his shadow.


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[Assistant] The gossip among the servants is that their master is terribly afraid of something.


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[Assistant] Sold his soul to the devil in exchange for money, says Warner, and expects his creditor to come up and claim his own. Where they came from or who they are, nobody has an idea. They are very violent.


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[Assistant] Twice Henderson has lashed at folk with his dog whip, and only his long purse and heavy compensation have kept him out of the courts.


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[Assistant] Well now, Watson, let us judge the situation by this new information. We may take it that the letter came out of this strange household and was an invitation to Garcia to carry out some attempt which had already been planned. Who wrote the note?


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[Assistant] Who then but Miss Burnett, the governess? All our reasoning seems to point that way. At any rate, we may take it as a hypothesis and see what consequences it would entail.


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[Assistant] I may add that Miss Burnett's age and character make it certain that my first idea that there might be a love interest in our story is out of the question.


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[Assistant] If she wrote the note she was presumably the friend and confederate of Garcia.


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[Assistant] What then might she be expected to do if she heard of his death?


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[Assistant] If he met it in some nefarious enterprise, her lips might be sealed. Still, in her heart she must retain bitterness and hatred against those who had killed him, and would presumably help so far as she could to have revenge upon them.


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[Assistant] Could we see her, then, and try to use her? That was my first thought. But now we come to a sinister fact.


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[Assistant] Miss Burnett has not been seen by any human eyes since the night of the murder.


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[Assistant] From that evening she has utterly vanished. Is she alive? Has she perhaps met her end on the same night as the friend whom she had summoned? Or is she merely a prisoner? There is the point which we still have to decide.


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[Assistant] You will appreciate the difficulty of the situation, Watson. There is nothing upon which we can apply for a warrant. Our whole scheme might seem fantastic if laid before a magistrate.


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[Assistant] The woman's disappearance counts for nothing, since in that extraordinary household any member of it might be invisible for a week.


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[Assistant] And yet she may at the present moment be in danger of her life. All I can do is to watch the house and leave my agent warner on guard at the gates. We can't let such a situation continue. If the law can do nothing, we must take the risk ourselves. What do you suggest?


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[Assistant] I know which is her room. It is accessible from the top of an outhouse. My suggestion is that you and I go tonight and see if we can strike at the very heart of the mystery.


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[Assistant] It was not, I must confess, a very alluring prospect. The old house with its atmosphere of murder, the singular and formidable inhabitants, the unknown dangers of the approach, and the fact that we were putting ourselves legally in a false position, all combined to damp my ardour.


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[Assistant] But there was something in the ice-cold reasoning of Holmes which made it impossible to shrink from any adventure which he might recommend. One knew that thus and only thus could a solution be found. I clasped his hand in silence, and the die was cast.


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[Assistant] But it was not destined that our investigation should have so adventurous an ending.


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[Assistant] And the shadows of the March evening were beginning to fall when an excited rustic rushed into our room.


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[Assistant] It's gone, Mr. Holmes. They went by the last train. The lady broke away, and I've got her in a cab downstairs.


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[Assistant] Excellent, Warner, cried Holmes, springing to his feet. Watson, the gaps are closing rapidly.


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[Assistant] In the cab was a woman, half collapsed from nervous exhaustion,


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[Assistant] She bore upon her aquiline and emaciated face the traces of some recent tragedy. Her head hung listlessly upon her breast. But as she raised it and turned her dull eyes upon us, I saw that her pupils were dark dots in the centre of the broad grey iris. She was drugged with opium.


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[Assistant] I watched at the gate, same as you advised, Mr. Holmes," said our emissary, the discharged gardener. When the carriage came out, I followed it to the station. She was like one walking in her sleep.


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[Assistant] But when they tried to get her into the train she came to life and struggled.


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[Assistant] They pushed her into the carriage. She fought her way out again.


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[Assistant] I took her pot, got her in a cab, and here we are.


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[Assistant] I shan't forget the face at the carriage window as I led her away.


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[Assistant] I'd have a short life if I'd his way, the black-eyed scowling yellow devil.


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[Assistant] We carried her upstairs, laid her on the sofa, and a couple of cups of the strongest coffee soon cleared her brain from the mists of the drug. Baines had been summoned by Holmes, and the situation rapidly explained to him


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[Assistant] Why, sir, you've got me the very evidence I want," said the inspector warmly, shaking my friend by the hand. I was on the same scent as you from the first. What? You were after Henderson?


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[Assistant] Why, Mr. Holmes, when you were crawling in the shrubbery at High Gable, I was up one of the trees in the plantation and saw you down below. It was just—who would get his evidence first?" Then why did you arrest the mulatto?" Baines chuckled.


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[Assistant] I was sure Henderson, as he calls himself, felt that he was suspected.


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[Assistant] And he would lie low and make no move so long as he thought he was in any danger.


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[Assistant] I knew we'd be likely to clear off then and give us a chance of getting at Miss Burnett." Holmes laid his hand upon the inspector's shoulder.


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[Assistant] You will rise high in your profession. You have instinct and intuition," said he, Baines flushed with pleasure.


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[Assistant] Wherever the high gable folk go, we will keep them in sight.


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[Assistant] But he must have been hard put to it when Miss Burnett broke away.


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[Assistant] However, your man picked her up, and it was all ends well. We can't arrest without her evidence, that is clear. So the sooner we get a statement, the better.


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[Assistant] Every minute she gets stronger," said Holmes, glancing at the governess. But tell me, Baines, who is this man Henderson? Henderson, the inspector answered, is Don Murillo, once called the Tiger of San Pedro. The Tiger of San Pedro


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[Assistant] The whole history of the man came back to me in a flash. He had made his name as the most lewd and bloodthirsty tyrant that had ever governed any country with a pretense to civilization.


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[Assistant] His name was a terror through all Central America.


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[Assistant] At the end of that time there was a universal rising against him.


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[Assistant] And at the first whisper of coming trouble he had secretly conveyed his treasures aboard a ship which was manned by devoted adherents. It was an empty palace which was stormed by the insurgents next day.


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[Assistant] The dictator, his two children, his secretary, and his wealth, had all escaped them.


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[Assistant] From that moment he had vanished from the world, and his identity had been a frequent subject for comment in the European press.


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[Assistant] If you look it up, you'll find that the San Pedro colours are green and white. Same as in the note, Mr. Holmes.


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[Assistant] Henderson he called himself, but I traced him back—Paris and Rome and Madrid to Barcelona, where his ship came in in 86. They'd been looking for him all the time for their revenge,


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[Assistant] But it is only now that they have begun to find him out.


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[Assistant] They discovered him a year ago," said Miss Burnett, who had sat up and was now intently following the conversation.


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[Assistant] Once already his life has been attempted, but some evil spirit shielded him.


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[Assistant] Now again it is the noble chivalrous Garcia who has fallen, while the monster goes safe.


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[Assistant] But another will come, and yet another. Until some day justice will be done. That is as certain as the rise of tomorrow's sun.


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[Assistant] Her thin hands clenched, and her worn face blanched with the passion of her hatred.


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[Assistant] But how come you into this matter, Miss Burnett?" asked Holmes. How can an English lady join in such a murderous affair?


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[Assistant] I join in it because there is no other way in the world by which justice can be gained. What does the law of England care for the rivers of blood shed years ago in San Pedro, or for the shipload of treasure which this man has stolen?


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[Assistant] To you they are like crimes committed in some other planet. But we know. We have learned the truth in sorrow and in suffering. To us there is no fiend in hell like Juan Murillo, and no peace in life while his victims still cry for vengeance.


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[Assistant] No doubt," said Holmes. He was, as you say—I have heard that he was atrocious—but how are you affected?


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[Assistant] I will tell you it all. This villain's policy was to murder, on one pretext or another, every man who showed such promise that he might in time come to be a dangerous rival.


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[Assistant] My husband, yes, my real name is Signora Victoro Durando, was the San Pedro minister in London. He met me and married me there.


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[Assistant] A nobler man never lived upon earth. Unhappily, Murillo heard of his excellence, recalled him on some pretext, and had him shot.


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[Assistant] His estates were confiscated, and I was left with pittance and a broken heart. Then came the downfall of the tyrant.


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[Assistant] He escaped, as you have just described, but the many whose lives he had ruined, whose nearest and dearest had suffered torture and death at his hands, would not let the matter rest.


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[Assistant] They banded themselves into a society which should never be dissolved until the work was done. It was my part, after we had discovered in the transformed Henderson the fallen despot, to attach myself to his household and keep the others in touch with his movements.


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[Assistant] This I was able to do by securing the position of governess in his family. He little knew that the woman who faced him at every meal was the woman whose husband he had hurried at an hour's notice into eternity.


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[Assistant] I smiled on him, did my duty to his children, and bided my time. An attempt was made in Paris and failed. We zigzagged swiftly here and there over Europe to throw off the pursuers and finally return to this house, which he had taken upon his first arrival in England. But here also the ministers of justice were waiting.


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[Assistant] Knowing that he would return there, Garcia, who is the son of the former highest dignitary in San Pedro, was waiting with two trusty companions of Humble Station. All three fired with the same reasons for revenge.


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[Assistant] He could do little during the day, for Murillo took every precaution and never went out save with his satellite Lucas or Lopez as he was known in the days of his greatness.


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[Assistant] At night, however, he slept alone, and the avenger might find him. On a certain evening, which had been prearranged, I sent my friend final instructions, for the man was forever on the alert, and continually changed his room.


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[Assistant] I was to see that the doors were open and the signal of a green or white light in a window which faced the drive was to give notice if all was safe or if the attempt had better be postponed.


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[Assistant] But everything went wrong with us. In some way I had excited the suspicion of Lopez the secretary. He crept up behind me and sprang upon me just as I had finished the note.


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[Assistant] He and his master dragged me to my room and held judgment upon me as a convicted traitoress.


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[Assistant] Then and there they would have plunged their knives into me could they have seen how to escape the consequences of the deed. Finally, after much debate, they concluded that my murder was too dangerous, but they determined to get rid of forever of Garcia.


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[Assistant] They had gagged me, and Murillo twisted my arm around until I gave him the address. I swear that he might have twisted it off had I understood what it would mean to Garcia.


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[Assistant] Lopez addressed the note which I had written, sealed it with his sleeve-link, and sent it by the hand of the servant, Jose. How they murdered him I do not know, save that it was Murillo's hand who struck him down, for Lopez had remained to guard me.


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[Assistant] I believe he must have waited among the gorse-bushes through which the path winds and struck him down as he passed.


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[Assistant] But they argued that if they were mixed up in an inquiry with their own identity would at once be publicly disclosed and they would be open to further attacks. With the death of Garcia, the pursuit might cease, since such a death might frighten others from the task.


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[Assistant] All would now have been well for them, had it not been for my knowledge of what they had done.


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[Assistant] I have no doubt that there were times when my life hung in the balance.


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[Assistant] I was confined to my room, terrorized by the most horrible threats, cruelly ill-used to break my spirit.


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[Assistant] See this stab on my shoulder, and the bruises from the end to end of my arms, and a gag was thrust into my mouth on the one occasion when I tried to call from the window. For five days this cruel imprisonment continued, with hardly enough food to hold body and soul together.


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[Assistant] This afternoon a good lunch was brought me, but the moment after I took it I knew that I had been drugged.


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[Assistant] In a sort of dream, I remember being half-led, half-carried to the carriage in the same state I was conveyed to the train.


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[Assistant] Only then, when the wheels were almost moving, did I suddenly realize that my liberty lay in my own hands.


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[Assistant] They tried to drag me back, and had it not been for the help of this good man who led me to the cab, I should never have broken away. Now, thank God, I am beyond their power forever.


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[Assistant] We had all listened intently to this remarkable statement. It was Holmes who broke the silence.


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[Assistant] Our difficulties are not over, he remarked, shaking his head. Our police work ends, but our legal work begins.


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[Assistant] Exactly, said I. A plausible lawyer could make it out as an act of self-defence. There may be a hundred crimes in the background, but it is only on this one that they can be tried. Come, come, said Baines cheerily. I think better of the law than that. Self-defence is one thing.


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[Assistant] To entice a man in cold blood with the object of murdering him is another. Whatever danger you may fear from him,


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[Assistant] No, no, we shall all be justified when we see the tenants of High Gable at the next Guilford Assizes.


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[Assistant] It is a master of history, however, that a little time was still to elapse before the Tiger of San Pedro should meet with his deserts. Wily and bold, he and his companion threw their pursuer off their track by entering a lodging-house in Edmonton Street and leaving by the back-gate into Curzon Square. From that day there was seen no more England.


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[Assistant] Some six months afterwards the Marquis of Montlava and Signor Rulli, his secretary, were both murdered in their rooms at the Hotel Escuriel at Madrid. The crime was ascribed to nihilism, and the murderers were never arrested


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[Assistant] Inspector Baines visited us at Breaker Street with a printed description of the dark face of the secretary, and of the masterful features, the magnetic black eyes, and the tufted brows of his master.


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[Assistant] We could not doubt that justice, if belated, had come at last.


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[Assistant] A chaotic case, my dear Watson," said Holmes over an evening pipe.


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[Assistant] It will not be possible for you to present in that compact form which is dear to your heart


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[Assistant] It covers two continents, concerns two groups of mysterious persons, and is further complicated by the highly respectable presence of our friend Scott Eccles, whose inclusion shows me that the deceased Garcia had a scheming mind and a well-developed instinct of self-preservation.


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[Assistant] It is remarkable only for the fact that amid a perfect jungle of possibilities, we, with our worthy collaborator, the Inspector, have kept our close hold on the essentials, and so been guided along the crooked and winding path. Is there any point which is not quite clear to you? The object of the mulatto cook's return


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[Assistant] I think that the strange creature in the kitchen may account for it. The man was a primitive savage from the backwards of San Pedro, and this was his fetish.


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[Assistant] When his companion, and he had fled to some prearranged retreat, already occupied no doubt by a confederate, the companion had persuaded him to leave, so compromising an article of furniture.


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[Assistant] But the mulatto's heart was with it, and he was driven back to it next day, when on reconnoitering through the window he found Policeman Walters in possession.


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[Assistant] He waited three days longer, and then his piety or his superstition drove him to try once more. Inspector Baines, who with his usual astuteness had minimised the incident before me, had really recognised its importance and had left a trap into which the creature walked. Any other point, Watson? The torn bird, the pale of blood, the charred bones, all the mystery of that weird kitchen


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[Assistant] I spent a morning in the British Museum reading up on that and other points. Here is a quotation from Ekerman's Voodooism and the Negroid Religions.


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[Assistant] The true voodoo worshipper attempts nothing of importance without certain sacrifices which are intended to propitiate his unclean gods. In extreme cases, these rites take the form of human sacrifices followed by cannibalism.


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[Assistant] The more usual victims are a white cock which is plucked in pieces alive, or a black goat whose throat is cut and body burned.


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[Assistant] So you see our savage friend was very orthodox in his ritual. It is grotesque, Watson, Holmes added, as he slowly fastened his notebook. But as I have had occasion to remark,


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[Assistant] There is but one step from the grotesque to the horrible.


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[Assistant] End of chapter two and adventure one of his last bag.


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[Assistant] Harry got the meteor right. I, uh, I couldn't stop him. Connor said we can't save him, so we have...


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[Assistant] This is a basic document with some document text and a chart and a footer with page numbers.


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[Assistant] If I choose themes, you'll notice that office is the theme that's selected. Remember that you can always simply hover and it will tell you office theme.


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[Assistant] Choice didn't change anything about the document because we haven't applied any styles yet.


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[Assistant] But if I go back to my home tab, notice that I have new styles in the style area.


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[Assistant] Let's select the title of the document and click Title to apply the title style to this selection.


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[Assistant] And I'm going to apply a top level heading, heading one.


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[Assistant] I have some other heading ones I want to apply as well. There are actually three of them. Remember, you can hold control to select.


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[Assistant] That my document already looks spiffier. It's a little bit longer. There's a little extra space at the end. I'm going to click at the end and press delete. Notice that we are now back to page one of one.


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[Assistant] I'd like to be able to modify one of the styles and that style is the title. Notice that the title is


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[Assistant] Simply selected the 26 in the spin box here and changed that to a 22 if I knew the size I wanted. Now, the style that I'm using isn't the same as title.


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[Assistant] This is title with a smaller size font. In other words, this style doesn't exist.


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[Assistant] What if I want to use it again? Well, what I'm going to do is right click on the title and update title to match the selection.


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[Assistant] When I do that, the title style now is exactly


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[Assistant] The style that I had changed this format to, in other words.


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[Assistant] The title style is 22 point rather than 26 point.


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[Assistant] If I hadn't done this, then any time I reapplied the title style, it would be 26 point. So to modify a style,


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[Assistant] Simply change the style so it's what you would like it to look like.


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[Assistant] Right click on the style here in the set of styles and choose update to match selection. You can also click modify and change things specifically.


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[Assistant] Modify the name, change specific things about the style, but for what we're doing right now, this works just fine. Let me show you how to create a new style. First, make sure the style you want isn't here. I want a style that is actually like a pull quote.


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[Assistant] So quote would sort of do it, but it's not quite what I want. And again, anytime I have some text selected and I point to really anything, any of the styles that are here,


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[Assistant] I'll see a change, but none of these are quite what I want.


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[Assistant] What I'd like to do is I'd like to have a style that stands out just a little bit differently than any of these. What I'm going to do then is I'm going to select some text and I'm going to format that text. I'm going to change its color.


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[Assistant] And I'm actually going to use a Kinetico gold, which is this gold color right here, gold theme, and it's going to be bold. And italics.


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[Assistant] And I now need to give it a name, and I can't give it a name that already exists. It's sort of nice to know what names are already going to be used.


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[Assistant] Emphasis, intense emphasis, strong, intense quote, quote.


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[Assistant] And of course heading one, heading two, heading three, heading four, and so on. I can modify those as I just showed you, but I can't name something else heading one. Those names are already taken.


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[Assistant] What I'd like to name this style is I'd like to name this style Note. And click OK.


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[Assistant] And notice that the note style has now been added. If I want to make something else a note, and I do, right here, I'll simply select it and choose note.


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[Assistant] And my new note style will be applied to that selected text.


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[Assistant] It's very easy to apply styles in Word, to modify styles in Word, and it's wicked easy to create them. I'm going to save this document so that I can use it in the next movie and I will see you there.


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[Assistant] See, you know exactly what you're doing. You are a master.


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[Assistant] Most people know me from Queer Eye, but I have helped literally thousands of people find their personal style and find a look that makes them feel like the very best version of themselves.


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[Assistant] This class is different from anything I've ever done before. I've never had an opportunity to really comprehensively break down what style is and how the principles work.


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[Assistant] During this class, I will give you the tools you need to truly change your life. That is a bold statement, I know. But it's something that I do every day. It doesn't matter your age, your size, your race, your gender identity. Everyone has great style in them, they just need to find it. And that's what I hope to teach you here today.


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[Assistant] The most pivotal moment in my life that led me to this point right now where I'm able to teach a class on styling


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[Assistant] What happened when I was seven, I went to my granddad's factory, he made denim, and for the first time I understood where clothes came from, how they were created, and how they could make me feel. It was the first time I had


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[Assistant] A huge selection of clothing to try on. And with every piece I tried on, I felt something different. And so I started to experiment with clothes and it made me feel the way I saw Caucasian people on TV. They were able to express themselves. They were happy. They were joyful. They were independent.


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[Assistant] And, uh, and they had a sense of self that I'd never experienced in my home. And so.


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[Assistant] My clothes gave me a window into the world that I could only have dreamt of. That knowledge at seven years old has encouraged me to see style as something that is so important to my life and everybody's lives around me.


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[Assistant] I knew that that was my calling, that I was destined to be a stylist and that's what I wanted to do. I wanted to inspire people. I wanted people to see.


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[Assistant] I started out as a designer at college. I created my own brands. I created three. I styled every one of my brands, every one of my photoshoots, every one of my campaigns myself. Then I started actually styling for a living, which is when?


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[Assistant] I was approached by television networks to start styling for entertainment. I've been styling ever since


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[Assistant] And it's something that I feel so, so passionately about because of how it makes people feel.


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[Assistant] Because I saw the impact style had on my own confidence, my own self-esteem, I knew that there were many of the people out there that probably felt the same way I did. And I knew that I'd learned so many lessons of my own along the way over those decades that I could help


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[Assistant] I was about to say something so inappropriate. Do you know, I'm just going to say it. I have got so many people laid. That is a blessing. Like the fact that I have encouraged people to date, to get what they want, I'd like to get a job.


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[Assistant] To get laid is amazing. Like I never thought that that would be my lot in life, but I have people coming to me constantly or DMing me constantly or emailing me constantly saying, finally,


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[Assistant] I'm comfortable dating again. I'm comfortable applying for that position at my job that I never would have applied for before because I feel the confidence that I never thought possible just because of clothes. Just because of great style.


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[Assistant] I think a lot of the time people are hesitant to believe that


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[Assistant] Style can impact their life so greatly and I do usually find a lot of resistance to that, especially in the job I do on TV. However, it takes one look, it takes one outfit change and for them to look at themselves in the mirror and realize that they have a future laid out for themselves that was different to what they had planned.


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[Assistant] That's the moment that they realize, oh my clothes really do matter. Many of us don't have the luxury of playing with style as I have done for 20-something years.


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[Assistant] I want to be able to share that information with you, to share my mistakes and to share my advice so that you can feel wonderful.


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[Assistant] Everyday, I now know that people are still struggling with just the very basic style.


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[Assistant] I want to take this opportunity to really lay out some fundamentals that are going to help everyone of you.


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[Assistant] This class is very comprehensive. I'm going to talk to you about the basics, really breaking down exactly how style works. I want to talk to you about the rules.


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[Assistant] I want you to understand just how important clothes are for you and what you want for your life, how that can impact your life.


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[Assistant] I will be sharing with you the tool to create a style that works for you personally and by the end of this class you will see a true change in the way you carry yourself.


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[Assistant] I am a great example of living very much authentically even though everybody said I shouldn't be. I go against the grain. I am, uh, Muslim. I am South Asian. I am an immigrant. I'm here in America as a gay man.


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[Assistant] And many people say you don't belong on TV. You don't belong representing our people so publicly.


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[Assistant] That's not the way I felt. I felt so strongly about what I wanted to convey and I convey it no matter who tells me otherwise. I want you to feel the same in every walk of life.


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[Assistant] I'm Tan Brance, and this is my Masterclass.


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[Assistant] Now that she can stand up, Jessie can reach her mother's milk on her own.


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[Assistant] Our next task is to create our own custom styles. Part of creating styles is providing them with names.


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[Assistant] This is not a trivial choice for a couple of reasons. First,


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[Assistant] The names that we give to styles appear visually in the interface. If I create a style and I name it My First Style that might be accurate


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[Assistant] But that name's going to kick around in the interface of this document and any other document that's created using that style.


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[Assistant] So you don't want cute names or even clever names, you want solid descriptive names that allow your users to figure out how a style should be used. I say your users as if they're different people, but some of the documents I found most confusing were documents I created 20 years ago when my best practices weren't yet developed.


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[Assistant] First, if you intend a style should be used as a title, then put the word title somewhere in its name. You can't name a style title, that style name already exists in every document, but you can include the word title. If you intend to use a style as a heading,


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[Assistant] as body text you could either use body or normal but typically when you create a custom style on your own you don't name it normal


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[Assistant] You name it body because normal is reserved for the default normal style.


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[Assistant] And earlier I created a style called note. I also use words like tip and warning because I use them in documents, in handouts, as tips. I use them in user guides as warnings, for example. These are my style names.


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[Assistant] What if you were creating some new styles that were going to be used in documents produced in your department and you happen to work in the finance department?


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[Assistant] What might those style names for a document for the finance group look like? Well first, how about finance title? Finance heading one.


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[Assistant] Or you might simply use FIN for finance or FN for finance. Whatever the abbreviation is for finance in your organization, go ahead and use it.


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[Assistant] When I name styles in this way, if I go take a look at a list of styles in my document or a list of styles that are saved in a template, they are in alphabetical order with the styles that I've created for a special purpose, all listed consecutively. One more thought.


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[Assistant] If I know I'm going to use these styles not for all finance documents, but for annual reports, then I might not name them finance title, finance heading, I might name them


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[Assistant] Report title, report heading, and so on.


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[Assistant] You choose names for your styles that are descriptive in terms of their usage and also relatively brief so they're not taking up a lot of space.


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[Assistant] The easiest way to incorporate print into your current wardrobe and to ease your way in is by finding a print that you can put under something. Ordinarily, one would assume while you're wearing a suit you'd wear a plain shirt underneath. If I weren't comfortable with print I would put


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[Assistant] In a bag, a handbag that you're using, in a scarf that you're using, just add one element of a print or a pattern that's going to add


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[Assistant] To say that most neutrals are universally appealing. Most colors you can find a shade within that color that is universally appealing. Sometimes that's not the case with a print. Don't be so disheartened if not everyone loves your print. As long as you know that it's a print that makes sense for you and that makes you feel good, go with that print.


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[Assistant] A lot of people think that you can't mix prints. You can. You can maybe go too bold. I want to show you how to simplify it and make it very much manageable for you. There are certain prints that are classic, that are simple, and these are your foundation prints. A stripe. A polka dot. An animal print.


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[Assistant] And a floral, I'm wearing this myself. This is a very toned down version. You can go a lot more extreme with your floral, but still it's a classic print. Now that you're aware of your classic prints, you can then layer on other prints that I want to show you how.


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[Assistant] We're gonna take a stripe t-shirt, a simple print, and then I'm gonna work in a geoprint. A geoprint is a geometric print that repeats over and over again. It's a more contemporary print. And so, I'm gonna take this shirt,


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[Assistant] And that's a way you can mix your prints. One more example.


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[Assistant] Again, it's a more contemporary print. It's been around for probably a hundred years as opposed to some of the others which have been around for a few hundred years. And so, we take the plaid.


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[Assistant] We put it under this so you show just a tiny bit of clashing prints, mixed prints. It's a chic way of showing that you know exactly what you're doing with your style because you've gotten to the point where you can mix bold prints. I want to give you another example of this.


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[Assistant] I've pulled out a paisley which is on its own a lot of luck. I understand that you may not want to go from solid colors to a paisley. There's a way of toning this down. You can put a sweater over it


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[Assistant] A jumper over it, a blazer over it, and that calms the print down. Or, if you're already wearing prints and you wanna step that up even further, you can add another print to this.


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[Assistant] Just have a kiss of the paisley in the collar, wear it under a stripe, and you've found a way to mix prints by mixing


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[Assistant] A more contemporary print with a classic print. If you're worried that you've gone too far with mixing prints ask yourself


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[Assistant] Is there a classic print involved with this look that I have? If not, maybe these two clashing prints are very bold. And...


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[Assistant] If those two bold prints are working against each other, is there a way you can use them where you tone it down? For example, could their colors be somewhat similar so it works together? If they are two very bold clashing prints that aren't basic prints, simple prints,


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[Assistant] A really simple way of incorporating something new into your wardrobe without going super bold is changing up simply the textures of the fabric you're wearing. So, for example, if you are always wearing a button-up shirt and you are wearing a simple cotton, let's say to work, instead of just going for a cotton button-up,


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[Assistant] You've always worn a simple overcoat that's in a beautiful wool fabric, and that's the kind of coat you always go for, but you want to step out of your comfort zone, go for something that's a different fabric, go for something that's a little more, who knows, a fleece.


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[Assistant] A shearling. Go for options that you haven't worn before, but are very similar silhouettes to the silhouettes you already own. So you're not investing in something crazy jarring for you, you're not changing who you are, you're not changing into a costume, you're just changing simple pieces that you already wear, you're just changing out the fabric, so it's still very much your outfit, but a very different version.


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[Assistant] In my opinion, there's no fabric or texture that you need to stay away from. If it doesn't feel like it speaks to who you are and the vibe that you're going for, remember, you come up with that rule as to who you want to be. Don't necessarily deviate from that. Don't be this lady if that's absolutely not you.


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[Assistant] If you find that you've already embraced texture, you've worn that fluffy coat, you've worn that chunky knit sweater, but you want to step out of your comfort zone even further, start to then really mix your textures. There's no right way or wrong way to mix textures. It's just about playing what feels right for you. If, for example, you ordinarily wear


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[Assistant] An overcoat that has a beautiful texture of wool. But, normally you'd wear a very simple plain t-shirt underneath and a pair of jeans. Great. However, if you want to switch things up, you could wear another bold texture underneath.


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[Assistant] If you keep it a very similar color or color story to what you already have as your main piece, it doesn't look as jarring. So the textures work against each other, but in the most beautiful way. It's adding an extra point of interest to your outfit.


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[Assistant] There are certain pieces that really do make it so easy to incorporate texture, and that is leather and suede.


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[Assistant] Yes, I know this is a very bold color. Yes, I know that you may not want a brown. You may want to go for black. This is purely for fabric choice. Go for whatever color you want, but leather and suede is the easiest way to incorporate texture.


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[Assistant] The reason these are the easiest is because they've been around for so, so, so long. These are what you would find in a capsule collection. So, you know that they've been around for decades upon decades and they go with pretty much everything.


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[Assistant] I've heard many times that you can't mix leather and suede. It's not a rule. Move on. You can wear leather and suede together, it looks gorgeous.


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[Assistant] That couldn't be further from the truth, and that's the case with fur too. If it's not real fur, it's not chic.


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[Assistant] That's actually incorrect. Some of the biggest designers on the planet, one of them is Sala McCartney. She uses no real leather, no real fur. It's still a designer piece. It's still beautifully done, so well executed. I promise you, you can find wonderful faux leather and faux fur. Can I bring my leather jacket out? It's a really good example. It's here.


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[Assistant] I pulled in my moto leather jacket that you'll recognize from my capsule wardrobe. This is a way of adding texture. Really simple way of adding in texture. Everything else is super flat and then I add one point of texture which is leather. This jacket I've had for so many years and it still looks so fresh.


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[Assistant] The reason is because I take care of my leather. The way I keep it looking super fresh is I moisturize my leather. This is real leather. Leather is skin. If your leather starts to look a little bit dated, let's say for example,


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[Assistant] This leather, if it starts to look like it's a little too vintage and it looks like it's seen much better days, if you add a really good moisturizer that you would put on your face the whole thing, it's going to freshen it right up. I put moisturizer on this maybe


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[Assistant] Probably every six months, seven months and it looks brand new and I've had it for over a decade.


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[Assistant] Hello, please take a seat. I have your test results here, and it's good news. The blood test came back clear. There is no indication of any digestive issues.


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[Assistant] Many people who suffer from stress fail to recognize it. You told me you often work long into the night, right?


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[Assistant] That doesn't matter. You could have been suffering from stress for 20 years without knowing it. And now it's catching up to you.


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[Assistant] Those are common consequences of stress. And if you don't sleep well, then of course you will feel fatigued. I'm going to prescribe some special sleeping pills for you.


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[Assistant] They have a soft, gentle effect and are made from natural ingredients, so your stomach should tolerate them fine and there shouldn't be any negative side effects. Take one with your dinner and come see me after a month. If there is no improvement, I'll give you something stronger.


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[Assistant] That's not all. You should try and work less. Is there any way you can decrease your workload?


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[Assistant] I recommend you think about delegating some responsibilities to someone else. I'm not asking you to retire, just to slow down a bit. It's for your own health.


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[Assistant] Question 1. What do we learn about the man from his test results?


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[Assistant] Question 3. What does the woman say she will do for the man?


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[Assistant] Question four. What does the man say about the industry he is engaged in?


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[Assistant] Today on People in the News, our guest is John Williams. The name may not sound familiar to you.


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[Assistant] But John was once an acclaimed basketball player.


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[Assistant] John, you stunned fans by leaving the sport at just 25. Why did you retire so early?


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[Assistant] Most people wouldn't be able to resist the lure of such a high salary.


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[Assistant] When you left the sport, there was speculation that you were having issues with your teammates or even an injury.


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[Assistant] Okay, that was 20 years ago, and you're back in the news. You've created a foundation that works to get more kids playing team sports. Why?


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[Assistant] Kate Atkinson was born in York, England in 1951. She worked hard to gain her credentials as an author.


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[Assistant] She studied English literature at University in Scotland. After graduating in 1974, she researched a doctorate on American literature.


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[Assistant] Later, she taught at the university she graduated from and began writing short stories in 1981.


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[Assistant] She began writing for women's magazines after winning the 1986 Women's Own Short Story Competition. Her first novel, Behind the Scenes at the Museum,


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[Assistant] The book is set in Yorkshire and has been adapted for radio, theatre and TV.


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[Assistant] The first was called Nice, and the second Abandonment.


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[Assistant] Performed as part of the Edinburgh Festival in August 2000 Whatever genre Atkinson writes in


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[Assistant] Her books touch on the themes of love and loss, and how to carry on.


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[Assistant] Her books tend to be populated by odd, sometimes sinful, and generally flawed eccentrics, who become credible by virtue of being so fully realized.


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[Assistant] Her books have frequently been described as comedies of manners. That is to say


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[Assistant] Communies that represent the complex and sophisticated code of behavior current in fashionable circles of society.


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[Assistant] Where appearances count more than true moral character.


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[Assistant] A comedy of manners tends to reward its clever and deceitful characters rather than punish their bad deeds.


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[Assistant] The humor of a comedy of manners relies on verbal wit and playful teasing.


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[Assistant] Questions 12 to 15 are based on the passage you have just heard. Question 12.


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[Assistant] Why does the speaker say adaptability is an important skill to exercise in the workplace?


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[Assistant] What does adaptability enable us to do, according to strategy consultant Dory Clark?


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[Assistant] What do we learn about today's work culture from the passage?


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[Assistant] Question 15. What are employees with adaptability able to do when changes occur?


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[Assistant] Recording 1. What makes humans different from other species?


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[Assistant] Some philosophers argue it's morals or ethics.


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[Assistant] But I argue that the main difference is our desire to combat routine.


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[Assistant] This makes being creative a biological mandate.


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[Assistant] As what we seek in art and technology is surprise, not simply a fulfillment of expectations.


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[Assistant] As a result, a wild imagination has characterized the history of our species.


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[Assistant] We build intricate habitats, devise complex recipes for our food.


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[Assistant] Communicate with elaborate signs, symbols and sounds.


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[Assistant] And travel between habitats on wings and wheels of our own design.


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[Assistant] To satisfy our appetite for novelty, innovation is key. But who innovates?


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[Assistant] Now, many people, both laymen and experts, believe that only geniuses innovate.


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[Assistant] And the resulting war against the repetitive is what powers the massive changes that distinguish one generation from the next. The drive to create the new is a trait of being human.


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[Assistant] We build cultures by the hundreds and tell new stories by the millions.


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[Assistant] We create and surround ourselves with things that have never existed before, while animals do not. But where do our new ideas come from?


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[Assistant] According to many, new ideas come from seemingly nowhere to great minds.


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[Assistant] From this perspective, new ideas are almost like magic.


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[Assistant] However, the reality is that across the spectrum of human activities, prior work propels the creative process.


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[Assistant] But it's really the result of developing the ideas of others further.


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[Assistant] This happens in technology, where one invention enables or inspires further inventions.


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[Assistant] And it happens in the arts as writers, composers, and painters use the work of previous artists in their own work. The human brain works from precedent.


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[Assistant] We take the ideas we've inherited and put them together into some new shape. What is a true creator?


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[Assistant] Is a creator a genius who makes something out of nothing? No.


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[Assistant] Creators are simply humans who use what they inherit, who absorb the past and manipulate it to create possible futures.


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[Assistant] Thus, humans are creators as a rule, rather than as an exception.


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[Assistant] Questions 19 to 21 are based on the recording you have just heard. Question 19.


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[Assistant] What view of many dog owners wins support from researchers studying dog cognition?


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[Assistant] Question 20. Why can dogs detect their owner's abnormal odor, according to the speaker?


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[Assistant] First video is to tell you what's coming, uh, to give a kind of outline of what is reasonable to learn about ordinary differential equations. And, uh, a big,


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[Assistant] Videos on first order equations and videos on second order equations. Those are the ones you see most in applications and those are the ones you can understand and solve when you're fortunate.


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[Assistant] So first order equations means first derivatives come into the equation. So we, here's a,


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[Assistant] That's a nice equation that we will solve, we'll spend a lot of time on. The derivative


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[Assistant] Is, that's the rate of change of y, the changes in the unknown y as time goes forward are partly from


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[Assistant] That's the idea of a differential equation that it connects the changes with the function y as it is. And then you have inputs called q of t, which continue to


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[Assistant] Which produce their own change. They go into the system, they become part of why, and they...


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[Assistant] Grow, decay, oscillate, whatever y of t does. So that, that is a linear equation with a right hand side with an input, a forcing term. And here is a nonlinear equation.


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[Assistant] The derivative of y, the slope, depends on y, so it's a differential equation. But f of y could be y squared.


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[Assistant] Or y cubed, or the sine of y, or the exponential of y, so it could be not linear. Linear means that we see y by itself.


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[Assistant] Here we won't, well we'll come pretty close to getting a solution because it's a first order equation. And the most general first order equation, the function would depend on t and y.


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[Assistant] The input would change with time. Here the input depends only on the current


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[Assistant] I might think of y as the


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[Assistant] As money in a bank, growing, decaying, oscillating, uh, or I might think of why as the, as a distance, uh, on a spring, lots of applications coming. Okay.


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[Assistant] So those are first order equations and second order have second derivatives. The second derivative is the acceleration.


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[Assistant] It, it, it, it tells you about the bending of the curve. Uh, if I have a graph.


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[Assistant] The first derivative we know gives the slope of the graph. Is it going up? Is it going down? Is it a maximum?


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[Assistant] The second derivative tells you the bending of the graph, how it goes away from a straight line.


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[Assistant] So, and that's acceleration, so Newton's law, the physics we all live with, would be acceleration is some force. And there is a...


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[Assistant] In Newton's law, the acceleration is multiplied by the mass, so this includes a physical constant here, the mass. Then there could be some damping.


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[Assistant] If I have motion, there may be friction slowing it down. That depends on the first derivative, the velocity. And then there could be the same kind of force term.


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[Assistant] That depends on why itself. And there could be some outside force. Some, some other, some person or, or machine that's make, creating movement. At external forcing terms.


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[Assistant] So that's a big equation and let me just say, at this point,


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[Assistant] If we get these to be nonlinear, the chance at second order has dropped. And the further we go, the more we need


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[Assistant] Coefficients, m, b, and k. So that, that, that's really the problem that we can solve as we get good at it, is


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[Assistant] A linear equation, second order let's say, with constant coefficients.


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[Assistant] That's pretty much pushing what we can, uh, hope to do explicitly and really understand the solution. Because,


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[Assistant] So linear with constant coefficients, that, that's, say it again. That's the good, that's the good, good equations. And,


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[Assistant] I, I think of solutions in two ways. If I have a really nice function, like a exponential.


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[Assistant] Exponentials are the great functions of differential equations. They're great functions in this series. You'll see them over and over.


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[Assistant] Exponentials, say f of t equal e to the t, or e to the


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[Assistant] Omega t, or e to the i omega t, that i is the square root of minus one. In that, in those cases, we will get similarly,


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[Assistant] Nice function for the solution. Those are the best. We get, we get a function that we know like exponentials, and we get solutions that we know.


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[Assistant] In that case, the solution probably involves an integral of f, or two integrals of f. We have a formula for it.


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[Assistant] That formula includes an integration that we would have to do either, uh, look it up or do it numerically.


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[Assistant] And then, when we get to completely nonlinear functions,


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[Assistant] Then we're going to go numerically. So really, the wide, wide


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[Assistant] Part of the subject ends up as numerical solutions, but


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[Assistant] You've got a whole bunch of videos coming that give...


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[Assistant] Consists of just a single resistor, a single spring, uh, in a, in, in reality,


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[Assistant] We, we have many equations.


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[Assistant] And we need to, how, we need to deal with those. So y is now a vector, y1, y2, to yn, n different unknowns, n different equations. That's n equations, so here this is an, that is an n by n matrix.


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[Assistant] Constant coefficients, so we'll be able to get somewhere, but it's a system of n coupled equations. And so is this one with the second derivative.


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[Assistant] Second derivative of the solution, but again, y1 to yn, and we have a matrix, usually a symmetric matrix there, we hope, uh, multiplying y. So again, linear constant coefficients,


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[Assistant] But several equations at once, and that will bring in the idea of eigenvalues and eigenvectors. Eigenvalues and eigenvectors is a key bit of linear algebra that makes these problems simple because it turns this coupled


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[Assistant] Problem into N uncoupled problems. N first order equations that we can solve separately.


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[Assistant] Or n second order equations that we can solve separately. That's the goal with matrices is to uncouple them. Okay, and then really the big reality of this subject is


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[Assistant] And there's a lot to learn about that. A lot to learn. And MATLAB is a first class, uh, package that


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[Assistant] Solve that gives you numerical solutions with many options. One of the options may be the favorite.


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[Assistant] Parallel videos explaining the steps toward numerical solution.


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[Assistant] Those steps begin with a very simple method. Maybe I'll put the creator's name down. Euler.


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[Assistant] So you can know that because Euler was centuries ago, he didn't have a computer, but he had a simple way of


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[Assistant] And now we've left Euler behind. Euler is fine, but not at, not sufficiently accurate. ODE four, five, that four and five indicate a much higher accuracy.


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[Assistant] Much more flexibility in that, in that package. So starting with Euler, uh, Cleve Muller will explain several steps that reach, uh, a really workhorse package.


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[Assistant] Chalk and blackboard series, where I'll find solutions, uh, of an exponential form.


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[Assistant] I would like to conclude this series by reaching partial differential equations. So I'll just write some partial differential equations here so you know what they mean, and that's a goal which we, I hope to reach. So one partial equa- differential equation would be du dt, you see partial derivatives, is


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[Assistant] du, d- second derivative. So I have two variables now, time, which I always have, and here is x in the space direction. That's called the heat equation.


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[Assistant] Partial differential equation, so PDE, as distinct from ODE. And shall I write down one more? The second derivative of u.


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[Assistant] Is the same right hand side, second derivative in the x direction. That would be called the wave equation.


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[Assistant] So this is, this is like the first order equation in time. It's like a big system. In fact, it's like a infinite size system of equations, but first order in time, or second order in time, heat equation, wave equation.


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[Assistant] The Laplace equation. Well, if we get there.


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[Assistant] So those are goals for the end of the series that go beyond


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[Assistant] Some courses in ODEs, but the main, uh, goal here is to give you the standard


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[Assistant] Differential equations that we can solve and understand. Well, I hope it goes well. Thanks.


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[Assistant] Well, because you ate all those acorns, peep. You can't eat bread on a full stomach. You have to save it.


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[Assistant] Ah, for a rainy day. If you find something you don't need right away, you save it for a rainy day. It's an old bit of duck wisdom. Time honored.


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[Assistant] It's my wisdom, okay? And my wisdom says...


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[Assistant] That bread must be saved for a rainy day. You just don't want to share it. How can you say such a thing? I share everything! Hey! Get lost! That's my water, okay?


[User] Please transcribe this text

[Assistant] Like uhm, well you're just wrong, okay? I'm, uh, sharing duck. Do you promise? Do you promise to share the bread?


[User] Please transcribe this text

[Assistant] Yeah, yeah, yeah, yeah. But not until it rains, okay? I'm not messing with Duck Wisdom. Hmph!


[User] Please transcribe this text

[Assistant] You were worried about nothing, peep. I think I'll just try a tiny bite.


[User] Please transcribe this text

[Assistant] Well I'm an army of one. Now put down the bread!


[User] Please transcribe this text

[Assistant] We've got to find something that will protect my bread. Hmm. Ah!


[User] Please transcribe this text

[Assistant] Love the color. Great. It's all yours. Okay ants, you heard the duck. Yeet.


[User] Please transcribe this text

[Assistant] Just keep your feet off the furniture, okay? And you said I never share.


[User] Please transcribe this text

[Assistant] It's a duck's world, my friend. I just call it like I see it. Are you hungry? I am.


[User] Please transcribe this text

[Assistant] In this next module, I'm going to give you a few more tricks for cutting clutter. These are small things, but good little tips.


[User] Please transcribe this text

[Assistant] So I'm going to review three things, how to eliminate negatives to get rid of nots from your sentences, how to get rid of superfluous uses of there are and there is, and how to omit needless prepositions.


[User] Please transcribe this text

[Assistant] So starting with eliminating negatives. This is a great little tip that you may not have ever thought of before.


[User] Please transcribe this text

[Assistant] But things like, she was not often right. There's a way to turn that into a positive. You can say, she was usually wrong.


[User] Please transcribe this text

[Assistant] Whenever you encounter a not in your writing, see if you can turn it into a positive. You can almost always do it, and it's usually much clearer when you use the positive construction.