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An estimated million construction workers, or 65 percent of the construction industry, work on scaffolds. In a recent Bureau of Labor Statistics (BLS) study, 72 percent of workers injured in scaffold accidents attributed the accident either to the planking or support giving way, or to the employee slipping or being struck by a falling object. All of these accidents can be controlled by compliance with the Occupational Safety and Health Administration standards.
“The Occupational Safety and Health Act of 1970 ( OSH Act ) was passed to prevent workers from being killed or seriously harmed at work. This law created the Occupational Safety and Health Administration (OSHA), which sets and enforces protective workplace safety and health standards. OSHA also provides information, training, and assistance to employers and workers. Under the OSH Act, employers have the responsibility to provide a safe workplace.” OSHA standards are rules that describe the methods employers are legally required to follow to protect their workers from hazards. OSHA standards include requirements to provide fall protection and provide training for certain dangerous jobs.

T wo years before Breathless, before Godard was talking about needing a girl and a gun, 26-year-old Louis Malle unveiled this brash debut: a brilliant, preposterous slice of noir-suspense realism and Highsmithian mistaken identity, imbued with the poetry of romantic despair, mostly voiced directly into the camera by Jeanne Moreau – a captivating kind of choric-fatale, with dark sensuous shadows under the eyes. She is a wealthy married woman, Mme Florence Cabala, who in this era when capital punishment (the "scaffold") was very much on France's statute book, hatches the imperfect crime with her lover, ex‑paratrooper Julien (Maurice Ronet). Chaotically, their paths cross with gamine florist's assistant, Véronique (Yori Bertin), and her teen boyfriend, Louis (Georges Poujouly). They are the younger generation, contemptuous of their elders' imperial adventures and behaviour during the Occupation, but apparently just as cynical and greedy. It ends in violence and with a cop on their trail: Cherrier, played by Lino Ventura (seen in Claude Sautet's recently revived 60s thriller Classe Tous Risques). It is not free of plot-holes – audiences are entitled to ask how a certain grappling-hook could become detached from a rail and fall to the pavement – but what a supremely stylish and watchable picture it is. Visiting the crime scene, the investigating prosecutor (Hubert Deschamps) drolly calls it a classical tragedy, and it does observe the Aristotelian unity of time, unfolding over 24 hours.

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