A/V Geeks 16mm Lunch 9/19/2025

Hi everybody. This is Skip Alzheimer. Welcome to the AV Geeks Lunchtime streaming show where it is kind of early in the morning after uh the first day at FantasticFest. Um seen a couple movies. We went back to the tiki bar. Um, and yeah, just general hy jinks. It was a lot of fun. But one of the things I got to do today was go to the AGA headquarters. And AGA is the American genre film archive uh headquarters uh which uh is in an old school building in Austin, Texas. And so I went there and uh one of the interesting things that I found there was uh so they've acquired the something weird video masters uh and also they acquired this and these are all the VHS tape labels that they would uh that I guess they printed up and cut and that they would stick on the VHS tapes that they uh sold. And so this is great for me because I used to collect these before I collected films. I would find them. I'd go up to New York and go to Kim's video and they had those for sale. And so I'd buy a bunch of tapes there, then eventually ordered some from their mailer order catalog. But yeah, there's all these great uh things there. I probably could have shot this a little bit slower. Uh the other thing was that uh I was going through the hallway with my friend Ian and so here are posters in the school of different uh Alamo events that happened over the years. And uh special guests that they had and look right there like um it's Oops. Where is it? I had it. Crap. Oh, let me bring it back. Oh, wrong one. Let me bring it back. I'm tired. So, um, all right. Where is it? Sorry, everybody. All right. So, um, this is a show I did very early on, uh, with the Alamo Draft House and it was we actually did a screening in an elementary school cafeteria and, um, they had lunch ladies which were played by PTA members and uh, there were some kids there, the principal was there. Um, and I showed movies about uh Cafeteria Manners and Courtesy. Um, and it was a big hit. It was awesome. And they had uh chicken fingers and they had tater tots and lunch trays. It was really a phenomenal show and I hope to repeat that at some point uh in the future. But um yeah, so that was what I saw today. Um and I thought you'd enjoy it. So today we're going to watch a series of films. Let's see. not a theme this time. This is kind of more of a grab bag, but this is um we're going to watch uh What's in a shadow? We're gonna watch Oops. Um History of Photography, Jeff, a deaf child speaks, and then responsibility. Um but thanks for watching. Uh, I'm going to go to bed because I'm exhausted because I have to get up early tomorrow and do a go to a board meeting and then uh see some more movies and maybe get some uh delicious Texas barbecue. Um, but um, everybody have a great weekend. I hope you enjoy this show. If you like what you're watching or you at least like the idea of what we're doing, hit the thumbs up, hit the like button, and uh we will see you again pre-recorded on Monday because that's when I'm flying back to Raleigh. And maybe I'll have more things to show you. All right, everybody. Um, enjoy. Take care. [Music] Did you ever try to run away from your own shadow? It really can't be done. Your shadow will stick close to you wherever you go. If it's a sunny day, you should make friends with your shadow because it can be a big help in finding directions. Some people think the only way to find directions is with a compass. You probably remember a compass has a magnetized needle that points north. The face under this needle is called a compass rose. Now turn yourself with the compass so that north on the compass rose is under the north pointing needle. You are facing north if you hold it like this. Notice that when you're facing north, east is to your right, west is to your left, and south is behind you. Now, that's important. When you're facing north, east is to your right. West is to your left and south is behind you. But what do shadows have to do with these directions? Well, you might not always have a compass with you, but if you had some sunlight to cast a shadow and a watch or a clock to give you the time of day, you could also find directions. Let's find out how. First, we'll make a shadow diagram. We can record the sun's positions during the day on this sheet. Let's call this a shadowgram. 8:00 in the morning should be early enough to start. We'll mark the sun's shadow each hour. Our clock is a reference for timing the shadow positions and lengths. This is taking all day, but on film we can compress the time and show it happening faster. [Music] You should experiment with making your own shadow gram. It will be different in different parts of the world and at different seasons of the year. [Music] At 8:00 a.m., our sun's shadow was this line. So, the sun must have been in the opposite direction. The compass needle gives us a north south line on the shadow. Which direction is the sun at 8:00 in the morning? It's east. Now, let's move around to the north side of our shadow so that we're facing south. From here, we can see what the sun appears to do during the day. As we go through the morning hours, the sun seems to move from east to south and climb higher in the sky. [Music] Then at noon time every day, the sun will be observed at its highest point. That's why the shadow line it casts is the shortest one on our shadow grand. And it's lined up north and south. In the afternoon, it's all downhill for the sun. It continues to a point opposite east. [Music] Which direction do you look to see the sunset? Did you say west? Yes. The sun always appears to go down in the general direction of west. Now, why does the sun appear to rise in the east, move across the southern sky and go down in the west? We can answer that if we understand the relationship between the sun and our earth. Let's say this is the sun. It's a big fiery ball, more than 100 times the size of the earth. This is our Earth. The Earth is spinning like a top and turns completely around one time each day. It rotates just like that globe of the world you probably have in your classroom. We'll put you on this globe. Think of the north pole as being at the top and the south pole opposite at the bottom. Then what would your direction of movement be as the earth turns? Eastward. Of course, the earth is always turning toward the east. Once around in 24 hours, one whole day with you coming around into sunlight at dawn. So standing on Earth, in which direction do you look to see the sun appear to rise? The sun will always appear to rise in the general direction of east because that's the direction in which you on the earth are turning. And in which direction do you look to see the sunset? Sunset is always in a westerly direction. Now notice what happens to your shadow as the Earth turns around during the sunlit hours. In the early morning when the sun is in the eastern sky, your shadow would point in the opposite direction. At 12 noon, if you were standing here on this part of the Earth, your shadow would point north. Someone who lives here near the equator might not cast a shadow at all at noon since the sun would be directly overhead. Or for someone who lives south of the equator, the noon shadow would be pointing south. But for everyone, the sun would still appear to rise from the east. During the late afternoon, when the sun is in the western sky, your shadow would point in the opposite direction. [Music] Now, let's see if we've learned anything about finding directions. The zoo is a good place to start because there's usually a map of the zoo grounds. You have to be shown where north is. So, most maps have a north pointing arrow. If you especially wanted to see the children's zoo, how would you find the direction to go from where you are? You're standing at this point on the map. The children's zoo is here. Now, how can you tell in what direction you must go to find it? >> Compare the direction you want to go to the north pointing arrow on the map. The direction you want to go happens to be south. The time is 9:00 in the morning and the sun is shining. Your shadow tells you the sun is in that direction. You know at 9 in the morning the sun is still in an easterly direction. So east is about there. And if east is on your right hand, which way is south? Yes, it's behind you. The direction in which you want to go to find the children's zoo. [Music] If you were at the zoo at 4:00 in the afternoon on a sunny day, could you find your directions? You could find west because that's where the sun would be late in the day. >> And once you know where west is, then you can find any of the other directions, can't you? Yes. Knowing any one direction, you can find each of the others. Remember, if the shadow tells you that east is on your right or west is on your left, then you're facing north and south is behind you. [Music] Why don't you look at the time and find a shadow right now? Then see if you can figure out the direction of north. [Music] Don't try to leave your shadow behind, though. You'll need it the next time you want to find directions. [Music] [Music] The sculptor is ready to begin his work. Different types of sculpture require different types of armatures to hold the clay. Any sturdy upright on a heavy base will serve for modeling a portrait. The cross pieces keep the clay from slipping. Of the various types of plastic materials available, the sculptor has chosen water clay. Handfuls of clay are shaped into long narrow strips and packed over and under the cross pieces of the armature. It is advisable to use slightly drier clay for the first few strips since the center of the head must support the weight of the outer mass and therefore must remain firm with a wooden mallet. The clay is packed and shaped at the same time. The strips are applied in such a way that they follow the lines and curves of the masses of the head and neck. The sculpture has completed a preliminary three-dimensional structure consisting of skull, face and neck upon which all the later work will be done. Any additional masses such as the hair in this case are now applied to the basic head. The hair strips are made to follow as much as possible the natural direction of hair growth. The main measurements of the model's head and neck will now be taken and marked on the clay. With wooden calipers, the measurement from cheek to cheek is taken and transferred to the clay. The length of the face from hairline to chin is measured with the calipers and in the same way transferred to the clay. Similarly, other essential measurements are made. The height of the forehead. The length of the face from brows to chin. The length of the nose. The distance from nose to chin. The width of the mouth. The width of the base of the nose. The width of the neck, the depth of the skull at the forehead. These and many other measurements are taken and cut into the clay. The basic head has been marked with all the essential measurements of the model. Along the indicated measurements, the clay is carved into flat surfaces or planes which correspond in a general way with the features of the model. The impatient beginner often wants to omit this important operation and go directly to the modeling of the forms. But he will learn that cutting the planes leads him to a more careful study of the model, helps him to keep the parts in proper relation to the hole, and gives him greater control over his work. The large primary planes have been carved out and will now be divided into smaller planes so that flat surfaces are gradually changed to curves. Pieces of clay will be added in some instances as in the case of the eyes. Larger forms will have to be cut down. Working with planes is like building with blocks. Block is built upon block until a solid well organized structure is achieved. Slowly lips, chin, nose and cheeks emerge in more natural rounded form. Both large and small forms have now been produced. But the planes do not yet flow smoothly into one another. The thumb is the sculptor's oldest and best tool. With it, he blends the plane smoothly together by removing the edges where they join. The shapes and forms produced in previous operations are made to flow continuously from surface to surface. During this blending of the forms, the controlled pressure of the thumb works out in still greater detail the contours of face, skull, and neck. Each feature keeps its independent form but at the same time relates itself to the whole head. As he works, the sculptor moves quickly from part to part, keeping each at the same level of completion. The sculptor never forgets that he is making a unified portrait even though at any particular moment he is able to work on only one part. Frequent wetting of the thumb helps it to move more easily over the clay by preventing clay particles from sticking to it. So far the artist has been looking at the model as at any subject of similar appearance. Every model, however, possesses unique individual characteristics. It is for these that the sculptor now looks. This face is classical or Madonnaike, being oval and rather wide at the cheekbones. The lips are somewhat full and the nose moderately strong and turned up slightly in its length. The truly expressive work of the sculpture begins now as he transfers to the clay his personal interpretation of the character of the model. Artists will interpret the same model differently depending upon the kind and degree of sensitivity they possess. The sculptor brings out through slight emphasis those features of the model which he thinks best express her character. The lips are made more full. The size of the nose is increased somewhat. The oval shape of the face is emphasized. The artist has completed those changes called for by his individual interpretation of the model. Every piece of sculpture requires its own particular type of surfacing. The face of a young woman suggests a delicate skin texture. This is produced by lightly working the wet thumb over all the forms. The work is now finished. The result of the sculptor's efforts is not a mechanically faithful copy of the model, but a fusion of her external appearance with her essential personality as it is felt and expressed by the artist. The clay portrait is now ready to be cast or fired. [Music] [Music] [Applause] [Applause] The world of photography, past and present, beckons us to Eastman House in Rochester, New York. Here, through unique and unusual exhibitions that span more than 100 years, visitors can explore the growth and development of this revolutionary art and science. for photography is today an important and many times indispensable tool in every branch of human endeavor. Trophies of the the walls of the house built by George Eastman and now an educational memorial bearing his name. Man's efforts to reproduce the world around him are ages old. This 17th century volume contains the earliest known illustration of the camera obscurer. It had a small opening through which the image of an outside scene was cast on a screen inside. Man's next search was for a substance sensitive to light to retain the fleeting image. In this device, it was traced on thin paper. The Dgerype technique of making photographs on metals developed in the early 1800s brought the camera age into being. In Dair's process, a copper plate was made sensitive to light exposed in a camera and then developed with mercury fumes. This is the world's first photograph taken in 1826 showing a courtyard. It was made by Dair's collaborator Neps. Next came Talbot's negative positive process of making photographs on paper. William Henry Fox Talbot perfected the negative plate from which any number of positive prints could be made. As photography took root in the public's imagination, studios sprang up to do a flourishing business in picture portraits. Expert as the photographers might be, the portraits were a tedious task. The negative plates in the camera sometimes required up to 8 minutes of exposure during which the subject was required to remain completely rigid. A brace helped keep the head motionless. In the days before electricity, the sun and reflectors provided the photographer with the only effective method of lighting his subject. Ready? Now, he removes the camera's lens cap to expose the plate. When the cap was replaced, the young lady could sigh with relief and wait for the prints that looked just like this. The new art of photography was utilized in many clever inventions. The megalithoscope, which appeared in 1862, was one of the most unusual. This photograph of St. Peters in Rome is illuminated by mirrors mounted on the open doors. Day becomes night when they are closed, permitting only pin holes of light to enter from the back. Stereoscopic or three-dimensional photography dates back to 1838. Two photographs taken from viewpoints equal to the distance between the eyes produce an amazing illusion of depth when seen together. From the first viewer to the later models of granddad's day, stereoscopic pictures have fascinated young and old. One snow parlor was complete without them. And today, three-dimensional photography has won a new popularity. Back in the pioneer days of landscape photography, the cameraman had to carry his own portable room with him wherever he went. A new technique, the collodian process, had made both a dgeraype and talbotype methods obsolete. It required, however, that negatives be exposed and developed while wet. The operation was often a twoman undertaking, for it took hours to set up the tent and the complicated apparatus for the dark room. By the time everything was set, the sun might have disappeared. When all was ready, the photographer went into the tent, which had an opening permitting only infrared light to enter. Then he would coat a glass plate with collodon, a mixture of gun cotton, ether and alcohol to make it sensitive to sunlight. The plate was placed in the camera immediately for it remained light sensitive only while wet. Although awkward and difficult, the collodian process gave brilliant results when developed and was extremely popular from 1851 to 1881. With the invention of the revolutionary dry plate process, bulky equipment gave way to small secret cameras. They were disguised as common objects so that candid pictures could be taken. Cameras were even made to resemble revolvers. Pulling the trigger released the shutter. The cylinder held 10 tiny negative plates. General Oscar N. Soulberg, director of Eastman House, demonstrates another of the secret cameras. This one cleverly concealed in the head of a walking stick. An intricate and ingenious series of cogs and wheels enabled the owner to take several pictures without reloading his cane camera. One of the tiniest spy cameras was secreted in a necktie. Still another was this camera hidden in a 19th century vest pocket watch. It too was made possible by the dry plate process. Photographers could buy ready-made plates, expose them anytime, and develop them at their leisure. Photography now belonged to the millions. At the Dryen Gallery, the history of American photography becomes as well the history of the American nation. A pageant in pictures of progress unmatched since the beginning of time. A new photograph is mounted in the priceless collection by the curator of Eastman House, Dr. Bulmont Newh Hall. With his photographic buggy, Matthew Brady made many of the museum's fine Civil War pictures. Wagon dark rooms enabled cameramen to travel with the armies of the North and South. Union volunteers reporting for duty. Confederate artillery poised for battle. Confederate cannons, fortifications, and tents in Atlanta. And one of the best known photographs of the period, President Lincoln visiting General Mlelen at Antidum. History has come alive through the lens of the camera. Here at Eastman House is the story of still photography, a magic medium preserving in exact details and for generations yet to come, the camera chronicle of a people and their times. [Music] The sounds that you hear, my voice, the children shouting and laughing, the sounds of traffic, these are all common place to you and me, but they're not common everyday experiences to these children. Most of them are severely deaf and can hear nothing of any of this. Some of them can hear a little, but the sounds are distorted and mostly unintelligible to them. Amy, do you want to jump? >> Do you want to jump? Do you want to jump? >> Okay, go around. >> Go around. Yes, that's you. >> Educating such children is considered very difficult, if not impossible. But here at the Oral Education Center of Southern California, a group of dedicated teachers is doing just that. Nearly the impossible. >> Good. [Music] Ready. Okay. Okay. Good. Listen. Going to feel for the music. Feel the music. Wait. [Music] There. >> Because they are visually oriented, deaf children have difficulty understanding time. We who here have no trouble understanding yesterday or tomorrow or that words must be said in a certain order. For these children, however, a sense of time and space must be developed for them. Among the best ways of accomplishing this are dancing and exercise. This stage is virtually one huge loudspeaker specially constructed with speakers attached to the bottom facing up. When the children sit on it, they can feel the music, the beat and dynamics of sound. [Music] They are encouraged to move in response to the music, to the sensations they feel. [Applause] [Music] [Applause] [Applause] [Music] With smaller children, drawings help them understand the ideas behind the movements. And I tie my scmp around my neck like a cowboy bandana. And I'm happy cowboy galloping over the galloping galloping over the lights. I wave >> different like a wave >> riding up and down on the ocean blue. >> Dancing for fun is also important for these youngsters. Before long, they will be teenagers and want to share the pleasures of their hearing friends. Even more important, these activities are related to the development of language and speech skills. And regardless of intelligence or native ability, a child cannot progress in learning without language and the ability to communicate. The vocabulary of deaf children is limited. Their capacity to learn trapped by their inability to hear and to express what they know or what they do not understand. The hearing child learns by imitation. At the oral education center, visual and tactile methods are used to teach language with the children imitating what they see and feel. >> What's that? >> In this special project, Yael is learning fundamentals of language structure. >> The plastic pieces represent objects and actions. Repeatedly performing the actions called for by the arrangement of the pieces provides Yael with a basic understanding of the relationship and order of words in a sentence. remember. >> Mhm. Okay. Color >> success puts her one step closer to intelligible language and speech. >> Yeah. Look. What does it say? Mhm. >> That's right. >> Look, look. Look. >> That's right. >> Okay. >> You do it. Right. >> You do it. [Music] >> Teaching the children to speak effectively is heavily emphasized at the center. >> And here too, visual and tactile techniques are used. I >> E. >> Good. I >> E. >> Feel O. >> Very nice. What's your name? >> Okay. Very good. Give me Amy. >> A. >> Feel this. A me. >> A B. >> Wait. Feel me. A me. >> A B. A me >> a me >> rose >> rose. >> Very nice. How old are you? >> Six. >> Say I'm six. >> I'm six. >> I'm six. >> I'm six. >> Very nice. Okay. I want you to count for me. One. >> One. >> Let's feel it. One. >> One. >> Two. >> Two. With older children, reading is combined with speech training. They look at the words and lipre as the teacher speaks the words. >> Then they express the words themselves. >> We went to the post office. We went >> to the post office. >> We saw >> lots of mailboxes. >> Look, lots of mail. An interesting experience they have had is the basis for a lesson, >> taking advantage of concepts and vocabulary they discovered on a field trip to the post office. >> Right here, this mailman showed us >> some letters. >> Letters. >> Letters. >> Good. Look at all the packages. Good. Deanna and Mark >> are standing by a hand truck. >> Come on, everybody. Deanna and Mark >> are standing >> by a hand truck. >> You remember the hand truck? Bridget, can you read this one? >> What did it say? [Music] the post office. >> Reading is complicated for nearly all children. It is particularly difficult for a deaf child. >> The average deaf high school graduate reads at a third grade level. Many of these youngsters have already attained that level as a result of intensive training with special approaches. >> Good. Look, you see this day? It's all over. I'm going to cross it out. It's passed. What day is that? It's all over. I crossed it out. >> Is it yesterday? >> Today, or tomorrow? Which one is it? >> Yesterday. >> When I count to three, I want you to tell me what you think that day is. If it's yesterday, today, or tomorrow. Okay. When I count to three. Three. One, two, three. [Music] >> Okay, we're going to count. Going to get some mice. >> Here's two mice. >> I have two. >> With the attainment of language and speech, other subjects are open to them. >> They are no longer trapped in a silent world. >> We got one mouse. >> One. One. >> You get four. >> Four. Look. [Applause] Try. Four. >> Three. Going to do three on three. >> Now we'll do five. Five. >> I got five mice. Here are five. >> Yeah. Your turn. It's your turn. I want you L to take two. You get two. Two. That's two. Good for you. I want you to take three. You take three. Stephanie will take three. >> Good. Look, there are there are three. Yeah. Can you take one? >> Find one mouse. >> One. Here's one. >> Can you find four? >> Four. [Applause] four >> and do our paper. >> Here are the numbers. Okay, take one sticker. Good. >> It's your turn. Okay, take two stickers. >> Two. >> That's right. There are there are three. Find three stickers. That's three. Good. Stephanie's turn. Stephanie, what number? >> Okay, take four stickers. Wait. >> Pick one more sticker. That was four. Good for you. We're going to talk about balance. Remember the balance. >> Recent tests conducted at the school indicate a tremendous improvement in the children's general academic skills. >> When they entered, most of them scored in the lower 30% on standard national tests used with all elementary school children. After their first year here, many were scoring in the upper 25% and some in the top 1%. eraser. I can balance this eraser and I can turn it upside down and balance it. Right. Can you balance an eraser? Here are some erasers. Let's see who can balance an eraser. >> Beautiful. That was really fast. See? Okay. Now, let's turn it over and balance it on the other side. What? >> You can balance it on the other side. >> Beautiful. Remember, we balance things in the middle. We don't balance it on the end or on the end over here. We balance in the middle. >> In the middle. Okay. I want all the erasers. Okay. >> One more. No, we're not going to balance erasers anymore. Let's balance spoons. >> There are about 3 million children in the United States who have a hearing loss that impairs their learning in regular classrooms. >> The capacity to learn is there, but they cannot learn by themselves. The knowledge and techniques are available, but few schools like this one bring all of it together. better. >> The Oral Education Center is the educational affiliate of UCLA's Hope for Hearing Foundation. >> The foundation supports scientific research in the field and makes available to the center medical, educational, and technical skills from UCLA. >> Thank you. >> That's not quite the middle. Look, that ends shorter and that ends longer. this part of the spoon. >> Can you balance it upside down? >> Can you balance it upside down? >> No, it won't work that way. >> It's not working. >> The achievement of these children and their teachers is spectacular. They're learning math, the principles of science, and they're learning how to read. But most important of all, they're learning how to speak and developing the language skills that will help them function fully in the speaking, hearing world of you and me. >> Six. >> Look at it. I'd like to tell you some things about I know Hank Evans came to Lincoln High School from L school student and we were glad to have another Evans the opening day of and Hank was in the midst of >> Jane Cox here. >> Henry Evans >> here. >> You're Vera Evans brother, aren't you? I had ver >> Yeah, I'm her brother. But can't I be just plain Hank Evans? >> Lloyd Smith >> here. Hank Evans had a right to expect that he'd be treated as an individual, not just as Ver Evans younger brother. But it's the things that come out after you've known a person a while that really tell you about him. About the third week of school in Miss Jackson's English class, Hank decided >> very important to discover why Shakespeare induced the ghost into Now just come over now. Just a minute. Will you please follow through on chapters 9 and 10 just as you did chapter 8 today and be ready to discuss that now chapters nine and 10 go >> oh why don't they let us out of class on time I've got to go clear over to the other side of the building I know what you mean I got the same >> Miss Jackson I'm sorry but I didn't get the complete assign assignment for tomorrow. There was so much noise in the hall. >> I know, and I'm sorry. It's chapters 9 and 10. Read them and be ready to discuss them tomorrow. >> Chapters 9 and 10. Read and be ready to recite in class as we have been doing. Is that it? >> That's it. And I promise not to wait until the end of the period to make the assignment next time. >> Thank you. >> I'm glad that's done. homework in every class with Miss Jackson's. It's a wonder she didn't say. She did say something about two chapters. But what and what two chapters? You >> all finished with it? >> Yeah. All I can get. I think I was supposed to do some English, but I don't know. >> And you better find out. >> Oh, gee whiz. How can I? She threw some stuff at us right at the end of the hour. Nobody could have got it if I didn't. >> They might have. Why don't you call someone? >> Oh, all right. I'll call Lloyd Smith. Maybe he'll know. >> 2903. >> Lloyd Hank. Hey, what did Miss Jackson assign for class tomorrow? >> Well, she said to read chapters 9 and 10. I guess she meant so we could decide on them just as we have been doing. Anyway, that's what I'm going to study. >> But you don't for sure. >> Well, thanks, Lloyd. Goodbye. >> Chapters 9 and 10. Maybe if it's not 9 and 10, well, then I've read them for nothing. Besides, I've done enough work for one night. >> Perhaps Hank wasn't entirely to blame that he wasn't prepared for English class the next day. But Beverly Anderson was prepared. She had taken it upon herself to make sure what she was supposed to do. Lloyd Smith could contribute to the class discussion, too, because he had learned that you can't let things slide and expect to keep up. And Hank, oh, he had a couple of bad moments. He hardly knew what was being talked about, but he managed to avoid being called on to recite and know himself was the wiser. I could unfold this slip of paper right now and see whether we, the teachers and I, have been wrong. And Hank Evans has been right. Does it make any difference if you let things slide once in a while? But let me tell you another incident in Hank's career. He and Lloyd Smith used to get their lessons together. It was an even up proposition. Neither one of them did more work than the other. >> Quantity x - 3 * quantity x - 5. Hey, look here, Lloyd. This isn't going to prove out. We've got a mistake somewhere. >> Well, maybe it's up here in this first substitution. Hey, how'd that five get in there? >> Hey, that's it. How'd we miss that? Well, >> it's going to factor now. >> Mistakes. And that finishes the problems, too. >> Yeah, I soon can copy him over. >> Over? What for? >> Well, I figured all over the place. Mr. El never be able to find my answers. >> I'll draw a circle around the answers. He wants to see how we got them, doesn't he? >> Well, sure. I intended to put in all the figuring, but but like there where you marked out all that stuff. Don't you want to copy it over so it'll look better? >> Ah, is this art or algebra? I got all the answers and they're all right. That's all I care about. >> Well, I think I'll copy mine. Suit yourself. It may not be quite fair to say that this attitude toward his work was what you remembered about Hank Evans. Hank was friendly, intelligent, popular, and had away with people. Most of the time, he was an asset to Lincoln High and to himself. But there were times. >> Hey, did you get your theme finished? >> Yeah, I think it's going to be pretty good. I've only got about four more pages to type. >> To type? Boy, they're supposed to be handed in this morning, >> but Miss Graby said they were due on the 27th. >> I've got news for you, boy. This is the 27th. Wednesday the 27th. But we always hand themes in on Friday. I didn't look it up. I just naturally thought Friday was the 27. >> How'd you ever let a thing like that slip your >> For probably the first time, Hank couldn't make anyone see how reasonable his error had been. Miss Granby asked him to see her after class. >> Hank, I've wanted to talk with you for some time. >> I have your theme here. The one that came in two days late. But I told you. Please, Hank, let me finish. This is an excellent theme. It's well written, and for once, you've taken the trouble to make it neat. But it was late. >> Miss Grant, >> there's more, Hank. Not all we asked for is here. A part of the assignment was to make an outline for the theme, too. >> An outline? >> You knew you were supposed to make an outline. Why didn't you? >> I didn't think it was important. If I can write a good theme without making an outline, why do I have to? That's not the point, Hank. I can teach you how to punctuate and to spell and how to write themes, but more important, you must learn to face responsibility. While you're a student at Lincoln High, it's your job to know what the lesson is, how it's to be done. I can't make you respond. That you have to do for yourself. That's all, Hank. Thank you. That's appreciation, huh? My responsibility, she said. My sister Vera always made straight A's and everybody thinks I've got to be just like her. All the teachers who taught Vero will be on my neck no matter what I do. Well, maybe Hank Evans did get something from that talk because after that he took special pains to find out the what, when, and how in Miss Granby's classes. But people don't change completely as a result of one conversation over one assignment. Often it takes something big to convince a fellow he's on the wrong track and really needs to mend his ways. Maybe this is the something big for Hank Evans. What is it? Didn't I tell you? This is one vote in the school election. But there's one story about Hank before I tell you about election. Last year, Hank Evans went out for the debate team. He and Beverly Anderson were selected for the affirmative against Wilson High. In the practice session, Hank and Beverly were pitted against Lloyd Smith and Elsie Taylor. >> Since our opponents have failed to establish any basis for a change, we must realize that this contention should stand as stated. >> Fine job, Hank. I wish I could make things sound as good as you do. >> Oh, it was nothing. Nothing. At least Bev doesn't think so. >> Well, what's the matter? Don't you like the way your partner mowed us down? >> Oh, sure. He's great with his gift of gab, but all the facts are in my file box. >> Well, Bev's a great one for facts. You ought to see inside that file box. It's full of resolutions and quotations. >> Well, all I can say is somebody's going to get wise that his arguments are I like to be prepared. >> Oh, that's a good scout. Hey, I'm rich. Come on, I'll buy you all a soda. >> Good deal. Let's go. >> Hank didn't make many notes or collect many facts. He didn't think it was worth doing. And the idea that he wasn't doing his share didn't even occur to him. Not until a debate tournament got underway. Then, not being of his facts and faced by students from Wilson who knew their facts, Hank began to suffer from a strange terrible malady with his ability to make his argument evaporated. It was pretty bad. He knew that he had let Beverly down. And not just Beverly, but the school. The tournament was lost. Of course, Lincoln lost because of Hank Evans, the guy who could have prepared himself, but didn't. Could he be trusted again? Another test was coming up very soon for Hank Evans. Not an ordinary test. It might be better to call it a judgment of Hank by his fellow students. Hank was nominated for president of the student body and the other candidate was his friend Lloyd Smith. The election was held this morning during the first period. >> For president, Hank Evans and Lloyd Smith. Vote for one. He's friendly, popular, good-looking. Give outs outsiders a goodation of the school. Lloyd Smith. Dependable, always responsible. He never lets you down. Evans or Lloyd Smith? Vote for one. Which one? >> Each of the boys had something to recommend him. His followers. The election was going to be You sure? >> We checked a couple. >> Doesn't your constitution provide for an absentee ballot? >> Yeah, but was anybody absent? >> Well, let's have Miss Jenkins check to see if there are any absentees this morning. If there were, they should be allowed to vote. >> There was only one person absent this morning, and his vote will determine who will be elected. How was he voted? For Hank, the more popular one, or for Lloyd, the more responsible one. Here it is, the one vote that decides the election. Is it for Hank or for Lloyd? How would you vote?