AV Geeks 16mm Lunch 12-10-2025

Why? You took motion pictures. >> Exactly. And in about 2 seconds, we'll have them on the screen. I don't think [music] many of us realize the years of skill and the labor that go into the making of fine wear. So, for a permanent record, I took this film as I went through the >> Why you took motion pictures? >> Exactly. And in about 2 seconds, we'll have them on the screen. I don't think many of us realize the years of skill and the labor that go into the making of fine wear. So, for a permanent record, I took this film as [music] I went through the >> Why you took motion pictures? >> Exactly. And in about 2 seconds, we'll have them on the screen. I don't think many of us realize the years of skill and the labor that go into the making of fine wear. So for a permanent record, I took this [music] film as I went through the >> Why you took motion pictures? >> Exactly. And in about 2 seconds. >> Hello everybody. This is Skip Alzheimer. Welcome to the Age Geeks Lunchtime streaming show where we are messing with technology again to try to get this everything to work and it is, you know, uninstalling, reinstalling, moving something, updating firmware. Um, I can't say that I'd recommend it. I can't say recommend. I recommend updating software on three Macs and on a scanner at the same time. It is somewhat nightmarish, but there you go. So, I am I did a test and I'm going to re I'm rewinding this so that we we can maybe watch it. Um I don't know, maybe not. This is uh so anyways uh what's going on? So, we're back at the archive. Um, we are um we've got this I think we've got the scanner hooking up to the um this computer. I had to redo the uh system software on this computer. Uh kind of downgrade it. Uh, then I had to borrow a blackmagic box that um, sorry, it's still rewinding. Um, it caught it right in the middle and I thought that I was going to be done with it, but anyways. So, lots of cables. So, what we got going is um, and I'll just show you. Nope. No, that didn't work. I just disconnected the the thing. That's great. That's great. Uh there I am. Okay. I'm not going to do that. Um so we have uh going from over here is a computer uh which is hooked up to the scanner which is right here. uh which then goes to a box which maybe I can hold it up without damaging things which is right here. Uh and then that's going into the computer. Um and then that is being broadcast via OBS. So there there are lots of tubes and pipes and uh every one of these has an opportunity to fail. [laughter] And so, uh, and not to mention the fact that, you know, like [snorts] 16 mm film has splice problems, has sprocket, uh, hole problems, you know, there's all these things that could be happening um, to make us not be able to watch what we want to watch. So, let me go ahead and thread up this. And I mean being offsite afforded us the luxury of being able to uh scan stuff first and then uh know that it has been scanned properly and then sending it to you. And so we might I think in the future we're going to have a blend of that. So we'll have we'll scan a couple of films a day, but ultimately we'll have some that we've already pre-scanned. It's like a cooking show where they put it in the oven and then they pull out one that they already baked. That's the plan. Okay. So, where was it? Let's talk more rock. I know. So, I'm going to go ahead and do this. All right. All right. Here we go. This is Keys to the Library. Enjoy. Here is a large community college. Perhaps it is something like yours. If you are a newcomer to the campus, you will spend a great deal of time in orienting yourself, discovering them of classrooms, the bookstore, the student union, and other points of interest. You may even want to try out the athletic facilities such as the swimming pool. One of the most important units of the campus and one which you will sooner or later find essential is the library. The size, scope, and resources of your library may be widely different from this one, but the methods and techniques of using any library are very similar. All libraries have books, magazines, both current and back issues, pamphlets on current topics, encyclopedias, and other reference tools. Many libraries also have audiovisisual departments featuring photograph records, slides, films, and other equipment. Listening rooms are also considered an essential part of the modern library. The question is how can you a new student use the library to best advantage? In other words, what are the keys with which you can unlock the library's resources? The key to the rooms in the library is a floor plan. Ask for a copy or draw one yourself. Find the card catalog, the reading rooms, the circulation desk, the offices, and the book stacks. The key to the books in the library is the card catalog, which indexes alphabetically all the materials in the library. Suppose you need they came here first by McNichol and you know the author's name. Go to the M tray of the catalog and look for the card listing this author under his last name. Here it is. Now examine this card in detail for a moment to see just what it tells you. The number in the upper left hand corner of the card is vital since it identifies the book and gives a clue to its location in the stacks. This is the call number. The decimal number on the top line classifies the book by subject. This scheme of decimal classification invented by an American librarian Melville Dwey is now used in most libraries. By this system, all fields of knowledge are arbitrarily divided into 10 main classes. It might be well for you to memorize these 10 main divisions. For instance, the book you are seeking is classified in history 900 in the subsection 970 North America. The lower half of the call number known as the author number is used in some libraries in order to bring together all books with the same decimal number into alphabetical order by author. What else does the author card tell you? First the full name of the author and his date of birth. Then the exact title of the book, the place of publication, the name of the publisher and the date of publication. The next line describes the book physically. For example, the number of pages, the its size and illustrations. At the bottom of the card is the tracing or the list of other cards filed in the catalog for this book. If you had known only the title of this book, they came here first, you would have gone to the tea tray of the catalog. Here is the title card. If you had forgotten both the author and title of the book, but remembered that it was something about American Indians, you would look under that subject in the catalog. But wait, this card tells you that books on American Indians are listed under the subject Indians of North America. So you now go to the eye tray of the catalog. Here you will find many books on this subject including the book you want. Notice the subject is typed in red. Now write down the call number 970.1 M2 so that you can find the book in the stacks. Don't trust to memory. Then find the general location of the book stack. Now look along the stacks in numerical order until you find the right section. Here you will find the 970.1s shelved between 960 and 973G. And here in order by number and then by author are all the books in the library on the subject of North American Indians. L1 L2 M1 and The Book You Want 970.1 M2 They Came Here First by Darcy McNichol. Of course, the book may be in circulation. If so, you may find another one equally good on the same shelf. You may have to go back to the card catalog and start again. If you don't find just what you want in books, perhaps there will be some up-to-date brief material available in pamphlets. A card such as this refers you to the card index of pamphlets. Pamphlets are usually filed alphabetically by subject, either in Princeton files such as these or in large file cases like this. The key to magazine articles is the reader's guide to periodical literature and other printed indexes which regularly index many magazines by subject on your subject of Indians. Here is a good article which you should be able to find through the reader guide. Sure enough, by looking in a recent issue of the reader guide under the subject Indians subhead civilization, you find this listing in abbreviated form. It tells you that the article has illustrations and maps, the name of the magazine, the volume number, the inclusive page numbers, and the date, October 1950. Copy down all this information before you ask for the magazine. This is a list of all the magazines indexed in Reader's Guide, but you must find out if this particular magazine is in your library. Here you see that the library does subscribe to natural history. Your library will probably have the back issues bound in annual volumes. Twice a month, reader's guide is published in small paper covered issues like this. Then at frequent intervals, larger numbers include several previous issues as well as new articles. These are called cumulated numbers. Once a year, all the numbers are combined into one large volume. At intervals, these annual numbers are combined into still larger volumes covering from 2 to 5 years. Remember, in searching for current topics in the reader's guide, start with the latest paper covered issue and work backwards looking in every one. For topics relating to a particular period, look in the volumes covering those dates. For example, for articles on the transatlantic flight of Charles A. Lindberg in 1927, you would look in volume 7 covering the years 1925 to 28. Many libraries have a complete file of the reader's guide dating back to the first issue in 1900. Your library may have some of the more specialized magazine indexes such as industrial arts index, education index and international index. The arrangement and method of publication of all these is similar to that of reader guide. The key to brief introductory information on any subject is an encyclopedia. The Encyclopedia Britannica is kept up to date by annual yearbooks. And the same is true of the Encyclopedia Americana. Compton's Pictured Encyclopedia and the World Book feature a simpler, more readable style and many illustrations. The Lincoln Library is typical of a one volume encyclopedia. Don't forget to consult the index volume of your large encyclopedias. Here, for example, if you are looking for picture writing, you find a reference to pictography. And under pictography, you find that there is material in volume 15. Here in volume 15 of the Americana under the subject of Indians American is the article on pictography which you found listed. The key to words their derivation spelling pronunciation and meaning is the dictionary. Two large unabbridged American dictionaries are Funkin Wagnel's new standard and Webster's new international. They contain information not only about words but about people, places and historical events. The arrangement of the text in the two unabridged dictionaries is different. In the new standard, all words including proper names and places are listed in one alphabet. The most current meaning of each word comes first with other definitions listed in order of use. In Websters, each page is divided into two parts. The less common words are listed below the line and the words in current usage above with definitions of each word in historical order. That is the oldest meaning first. Abbreviations, persons, places, and new words are listed in separate sections in Webster's. You will also find many smaller dictionaries such as the college editions of Webster and the New Standard, the American College Dictionary, Winston's, and others. The key to information about people is a biographical dictionary. For well-known Americans no longer living, look in the dictionary of American biography. For Englishmen no longer living, use the dictionary of national biography. For present-day personalities, there are many sources. For Englishmen, who's who? For Americans, who's who in America? For world personalities currently in the news, try current biography and world biography among many others. Will these keys be helpful in using your library? Remember, learn the location of the rooms in the library. Go to the card catalog to find books or pamphlets. To the reader's guide or other printed indexes to find magazine articles, to the encyclopedia for quick reference, to the dictionary for information about words, to a biographical dictionary for short articles about people. And when in doubt, ask your librarian. The keys are yours. Use them. Your library stands ready to help you whenever you need information or a book to read for pleasure. These words of Thomas Ampus are good to remember. If thou wilt receive profit, read with humility, simplicity, and faith, and seek not at any time the fame of being learned. So, I was like, "What is going on?" Uh, and so I showed you a little bit of the of the optical soundtrack, which is was a variable density soundtrack. And I don't know if you noticed there was this weird like wavy black thing and I think that's what was garbling up the soundtrack. Um I'll have to do more tests to figure that out. But yeah, it it's too bad cuz it got crazier and crazier and crazier. So I have a feeling that the soundtrack was got crazier and crazier. Um, and I thought it was something electronic, which is why I switched over to another channel. Um, so anyways, there's that. Okay, let's spray [clears throat] another film because I got several. This one is Cathedral City. We will see what this is. But I did a test with the film before and the audio was not garble like that and it just seemed like it got worse and worse as the film went through. So there you go. There may be, like I said, Maybe at some point I will have another webcam that won't blank out and you can see what we're doing. Okay, here's Cathedral City. Enjoy. All right, there's a problem. I don't know what is going on. Um, let me I'm going to take this out real quick. Put it back in. Always something. Let's try it again. All right. So, I'm bummed. I'm not sure exactly what's happening now. Um, [sighs] so frustrating. And I don't Hold on. Let me uh pull some stuff real quick. See if I can bring up something to watch as a as a safety. But this is uh incredibly frustrating. Incredibly frustrating. Let's try this. Try this one more time. To the traveler approaching Canterbury, the city is dominated by the great cathedral which rides above the houses, thrusting its towers and pinnacles into the very clouds. 14 centuries [music] ago, St. Augustine bringing Christianity to the pagan Anglo-Saxons established his cathedral [music] here in an old Roman building and nearby was founded an abbey which bore his name. In all medieval cathedrals, the perpetual adoration of God was the duty of the monks and was carried on regardless of the presence of any congregation. The nave, the public part of the building, was separated from the choir by the heavy choir scream. But Canterbury became a famous holy place, especially after the murder of Thomas Beckett. Tales of miracles at the Saint Shrine brought a stream of pilgrims from all parts of England and even from beyond the seas. From the choir, a small procession moves down the wide steps into the nave, advancing towards the group assembled for the pilgrimage to welcome them and to mark their progress around the cathedral with its true character as a religious act. Today, the pious English, as they once were known in Europe, still journey to Canterbury to worship, to admire its glories. Some to join the actual pilgrimage which still takes place on certain days, maintaining a tradition already old when Chauer wrote his Canterbury tales. We welcome you here this afternoon this Cathedral Church of Christ Canterbury. You come as pilgrims. Our pilgrims of course are travelers to some holy place and this indeed is a holy place for for generations past tens of thousands of people have come here to say their prayers of the praise of God. Whether the traveler to Canterbury joins the traditional pilgrimage moving from station to station whether he joins the many groups which wander freely through the great building. He will learn that the cathedral has a real life of its own and that every stone, window, and tomb is bound up with a history of the English church and nation. For centuries, the archbishops of Canterbury, primates of the English church, have sat in St. Augustine's chair for their enthronement. In the choir is the visible sign of this church's title of cathedral, the Archbishop's throne or cathedral. Nearby stands the princely tomb of Archbishop Chicher, one of the 48 Archbishops of Canterbury, buried in the cathedral. In the crypt below the choir, the traveler may see the simple tools and the severe style of the cathedral's early days. The Norman crypt at Canterbury, remarkable on account of its great spaciousness and the fact that it is on ground level, was judged a worthy burial place for the most exalted. In front of the altar, in the chapel of our lady of the undercraftoft, the black prince himself directed that he should be buried. But the prince's wish was of no avail. Behind the high altar in the splendid Trinity Chapel within a few feet of the spot where the shrine of St. Thomas Beckett stood for 300 years, the great hero lies magnificently in tune. The death of Archbishop Beckett, struck down on this spot in the year 1170 by four knights of King Henry II, transformed Canterbury from a comparatively unknown town to a center of European pilgrimage. And this Mercer Lane marked the end of the pilgrim's journey. If those medieval pilgrims could return, they would find that though the cathedral's influence on the city has changed with the passing of the years, the figures and institutions of the city have altered little. There are still the inn that once housed them, the marketplace, the old hospital, the surgeon has succeeded the barber, the policeman, the night watchman, but they are heirs of a long tradition. Life in the cathedral city has a varied pattern reflecting all sides of men. The scholar uncovering the past The students looking to the future and men of affairs busy with the present. It is the center of all the life of its district, urban and rural. In the town itself, the cathedral disappears, but its influence is seen in the names of antique shops, bookshops, and tea rooms, and in the occasional glimpses of ecclesiastical guard. Practically every stone of the cathedral fashioned with such care and skill by master masons was brought from Normandy. It was quarried in calm and brought in small boats and barges across the channel. The craft inheritance of these Norman builders has been handed down to the modern stonemasons, some of whom belong to families continuously employed by the cathedral for centuries. Every day, as soon as the sound of the little bell begins for the chapter, the brethren who are elsewhere in the minstster are to come into the choir. So runs the ancient rule of the Norman Archbishop Landfrank. Obedient to the summons, the clergy gather for morning service. The presenter, for example, who has charge of the choir and the music, and the dean, preceded by his verger, as beffits the dignity of his office, at the head of the cathedral body. Kingful. My God will glory. Glor. of thy servant Lord. For in thy sight shall do man living in justice. Over and closer walks with God using Come and pray. Shine up. lead me to the land. [music] [singing] Freedom. Freedom. [singing] >> [singing] >> Hateful Let me [music] [singing] grow [singing] from my breath. So shall [singing] I walk [music and singing] with God and I Pray. [music] So shall I go? [music] [music] It is largely due to their monastic origin that so many English cathedrals stand apart from urban life in park-like closes. But within these spaces, they do not stand in isolation. They stand side by side with the homes of those who serve them in the silence of the clothes. Side by side with closters where the monks passed much time, with chapter houses where the brethren met daily, and with schools. For although writing and literature had found a home in the monasteries during the dark ages, yet as time passed, intellectual life ceased to be controlled directly by the church, and many secular schools and colleges were founded. At Canterbury, King's School, having existed since the 7th century, is probably the oldest in England. Within the precincts of a cathedral, we can study the traces of nearly every kind of English architecture. From the most simply domestic, the most gorgeously ecclesiastic to the most utilitarian. On the site of part of the old infirmary is the school where the chisters of the cathedral choir are educated. These boys do the same sort of lessons, have the same sort of hobbies as boys in other schools. They are ordinary boys who happen to have good voices and to love singing. Of course, special attention is paid in a choir school to the teaching of music and singing. And in this way, such schools recall the great part that the church has played in the history of music. The origins of western music are closely connected with religious ceremonies and festivals. By the 15th century, the church had brought music to a fine art. But this music was entirely coral. Its effects were achieved purely by voices. kind to be replaced by voices accompanied by instruments. >> We'll do the Perry anthem. It's in the Green Books, page 22. I'll play two bars before you come in. >> [music] [music] >> I didn't hear a decent crescendo on the word glad and I didn't hear a good D on the fourth beat. What a nice crisp D. The bar come in now two beats. One, two. [music] [music] >> [music] >> will [music] the Lord. The sound of voices in prayer and song rings through the cathedral as it has always done. Beyond its precincts, the light of the city is stilled as darkness falls. Cathedral and city, each separate, each linked to the other by a long chain of past experiences. Canterbury, part of the heart of England. >> [music] [music] >> are [music] [music] my [music] Heat. Heat. [music] [music] Everywhere. [music] [music] Hallelujah. [music] >> [music] [music] >> Uh some people in the comments talked about Monty Python capturing British Protestantism, you know, Church of England type of stuff. and uh how incredibly dry it is. It is super dry. So yeah, sorry about that. But you know, not really like I didn't make the film, you know, I'm just showing you and I'll try to space them out. Uh this next film might be religious. I don't know. We're going to find out. Um, so I'm not rewinding on this machine for you for your benefit. Um, because that's its own thing. But, uh, we will be rewinding the, uh, our rewinds. Uh, so we'll do that off camera. Anyh who, what is this one called? This is Kyoto story. We will see how this goes. And I am going to do the thing that I did before. which is I'm going to pull this and then put it back in. Hopefully that will reset. Uh and I'm going to try again to do a little bit something different. We'll see. Um [snorts] all right, here's uh Kyoto's story. Enjoy. >> [music] >> Heat. Heat. [music] >> [music] [music] >> I've seen a lot of the world in my 22 years, but never anything like Kyoto. It's strange, but this place is untouched. While the rest of Japan was bombed to shambble, you'd think the temple roofs were made with a with a waffle iron. And that beautiful Tori arch standing against the sky like it was carved out of ice cream. Someday the folks back in Boise would see it if my exposure was right. >> [music] >> It's the Japanese theater that really gets you. You have to blink your eyes to believe it. Ever shuffle back through the centuries in a pair of sandals. [music] [music] The villain of the piece strutdded around like a king-sized goblin. And I nailed it. Yes, I tried to catch Kyoto to freeze its loveliness on film. I caught the little things and the big. Then I caught a specimen of bird common to these parts. I went over to apologize to the young fellow. Told him I hoped the camera would recover sufficiently from its shock to go on and face the future. I liked Bill right off. He was something of America transplanted and it felt good talking. Felt like a letter from home. He offered me a lift and I accepted gratefully. When he asked what I did in Japan, I told him. >> A missionary? >> That piece of information almost stalled the engine. I guess Bill had never seen a real live missionary before. I hoped it wouldn't affect his driving. Soon I found myself trying to explain just what we missionaries were doing here in Japan. You know, that's never an easy thing to do. But in a way, talking to Bill was like, well, reporting back to America. So, I began enthusiastically with Doshisha. I described the school as best I could. Located near Kyoto, 8,000 enrollment, 10 missionaries, and the staff. But as I talked, I wondered if I weren't spoiling another picture by stepping into it with statistics. Yet, how does one describe a primary school class in English? Describe it as it actually occurs at Toshisha. [music] What words convey the desire those kids have to learn? Their politeness, their rare and infectious good humor. I found myself talking about the theological school library at Doshisha, number of volumes, some of the titles and authors. But how does one tell of the satisfaction that books bring to the hungry minds of ministers to be and leaders to be? Back home, I remember our pastor saying something about uh mission work with farmers. Does that still go on? Encouraged by the question, I tried to give Bill a verbal picture of our rural evangelism program. I tried to take him out into the field, so to speak, with a fellow like Bill Mcnite. Tried to show him how we endeavored to increase the efficiency of the Japanese farmer so that desperately needed food could be raised to help his country and himself. [music] Bill said it was interesting, but I could tell I'd only half got him into the fields with Mc Knight. I might tell him about the children, I thought. Yes, tell him about those wonderful kids at Glory Kindergarten. I explained that Glory was founded in 1889, first kindergarten in Japan, and I described the whale of a time those tots had in the playground. But if only I had known how, I could have made that little glory classroom come to life. I'd have taken Bill on tiptoe to a corner of the room, as I've often done, and quietly watched. We'd have stood in the shadows and observed the children learning the names of autumn fruits and flowers. [music] I was enjoying the ride with Mr. Grant, though he seemed to be trying awfully hard to find the right words, like when he told me about Coobe College, >> founded in 1875. We have 11 missionaries on the staff. It's a school for girls, Bill. Uh that is, it's so much more than a school in our American sense of the word. It's well Japanese girls, their world broken by war, destitution, tragedy, learning that there's something left worth caring for. You see, Bill, for people like these, dress making isn't just domestic science. It's it's a rebirth of interest in oneself, a sign of getting well. >> [music] >> We're trying to provide these girls with the recipe for establishing Christian homes. The way trees are planted in barren places for the prevention of floods. That's it, Bill. Christian homes are the roots we plant in the wasteland. They're the top soil from which a sane and happy nation grows. I guess the old ways are dying out. I I mean the old Japanese customs. >> I told him about our classes in Japanese etiquette at Kobe. Told him if he ever got up that way to bring his camera up. I thought Bill would enjoy it, so I tried describing one of those incredibly melodramatic plays the girls give at Kobe to practice conversational English. These were original productions, little things the girls cooked up with just enough ham in them to make them delicious. But here again, Bill had only my words to go on. But I could see those faces. I could hear those cascades [music] of heartwarming, spontaneous laughter. I wonder how you go about describing the rhythmic cadence of a hundred girls exercising against the backdrop of multicolored mountains and soaring sky. [music] We were nearing home when I told Bill that everywhere and always we missionaries endeavored to develop national leadership to help the Japanese to help themselves. That was an ideal for our people, not only here but in every corner of the world. And so ended my report to Boise, Idaho. Well, looks like the end of the line, Mr. Grant. >> It's that house ahead, number one. >> I watched the neighborhood kids flock around him. That sounds funny, but but it was as though their dad had come home after a long trip. He invited me in, but I excused myself. I was overdue at the barracks. We said goodbye, and I wondered if Bill had his picture of what a missionary does. I was afraid it would always remain a blurred page in his album. Next morning, Jean and I began our day as usual. Our trusty philosophies were pouring the ground in front of number one, Aukai Road, and with customary flourishes and alarms, we pedled off to work. We paid our regular calls on old friends along the way. As usual, I paused to evaluate the weather with Hedo, the venerable fellow who braided straw rope at the roadside. [music] And regular as clockwork, we met two of our favorite neighbors, the charm sisters, Jean called them. They were always overjoyed to see us on the bridge because it meant they weren't late for school. Soon we plunged into the center of Kyoto. And yet, even at the heart of commerce and [music] concrete, we found the color, the charm, the graceful good humor that is never lacking in Japan. [music] Gene and I taught classes in different buildings at Doshisha, so we parted company at the main gate. My bicycle was well aware of my schedule, and it picked its way confidently among the buildings. It set its sights on the middle school for girls, where I had an 8:00 class in English. Calling the road was of course first in the order of the day. One girl brought me a note explaining her neighbor's absence. I filed it away for future reference. About a week later, I checked in a shipment of Idaho potatoes down at the depot. Oh, it made me hungry and homesick. Got me thinking about Boise and reminded me of my role of films. It should have been developed by now. I picked up my prints at the Photoshop next morning. M. Not bad. Not bad at all. Uh-uh. I knew somebody who ought to see that one. [music] Mr. Grant had a visitor. pretty little girl. I guessed she was one of his students. Everybody bowed and bowed like they always do out here. I showed him the pictures and waited, trying hard to keep a straight face. Good heavens. [music] When he grew serious again, he picked up a note the little girl had left. He said her name was Maro, that she used to be one of his students. I could tell he was anxious for me to read it. I wondered why. Tea was served then, and I was grateful. It meant that Bill would stay a while, and I'd have another opportunity, a second chance to show him what missions mean. But thanks to Maro's note, this time the report could be translated into human terms. The note told a story about this girl called Maro. She had been absent from school, sent her address with a friend, and Grant went to her house to find out what was wrong. The family was poor, terribly poor. Grant knew their history. Father killed in the war, mother tubercular. And now he learned Maro had been forced to drop out of school and find work. She was asleep in the inner room, for she worked from dusk to dawn at a glass factory on the edge of town. Grant arranged to go along with her to her job. He simply couldn't reconcile himself to the fact that Maro, so fine a girl so innately intelligent, would have to give up her education. He had no idea of what he could do to help. But they looked to him with such confidence. They were so sure he'd think of something. He had to go along. Inside the factory, I stood a gas floating in a black corner of space unknown to the sun. A drift on a fragment of hell. My ears were choked with the racket of clanging machinery. I saw ghostlike figures silently at work. There was no room for laughter, for silence, for sanity. I thought of Maro asleep all day and working here all night. How could she help but wilt and die of it? [music] Grant found the foreman and politely convinced him that Marico was too delicate [music] for such work. She would not be back. He looked after the family for a few days and then took Marico to a neighborhood bookshop. He got her a job there as a sales girl. If the child couldn't attend school regularly, at least she could spend her days in the warm, friendly company of books. And when there was time, she could study. Rico loved it. [music] [music] The note went on. It told about Yuki Chan, Marico's little sister. Grant remembered that when he visited the family, the younger child had kept her eyes cast [music] down. It could have been politeness. Those people were like that. It could have been politeness. But Grant decided to go back and have another look. No, no, it wasn't politeness. It was traoma. The child was going blind. Was she being treated? What was being done for her? Nothing. No money. Nothing. He took Yukichon to the school clinic where the doctor could at least look at her eyes and make a diagnosis. Grant's worst fears were confirmed. Traoma, advanced stage. The doctor had virtually no medicine. But even if he had, it couldn't help Yuki Chan. It would take sulfur, rare and precious sulfa. Sulfa or the loss of sight for the child. Grant got the sulfa from his headquarters in the states. Got enough for a dozen Yuki chants. I knew then that missionaries meant >> bringing hope to the hopeless bill. Only God's help and the help of Christians at home make it possible. I didn't give Yuki Chan back her sight. God gave it to her and your folks in Boise. Their giving and their prayer made it possible. Christianity is a rock in a sea of despair. Like the neighborhood house at Osaka rising out of the slums. Can you understand what it means to destitute mothers, war widows to come here? They've learned that something is left in the world now that the bombers have passed. Christ is here and he holds out his hand to the helpless. He loves them and their poor, hungry, sacred children. His love gives them life. >> His love gives them life. Missions are people, Bill. The Marikos and Yuki Chads. The mother at a pyramid of Pablum who wraps her measure of Christian generosity in a shawl and goes away knowing that God is in the world. What do missionaries do? We seek out the forgotten little people of the world and make them know that he has not forgotten, that he cares. We encourage them to try again, to scrimmage with circumstance, to hold up their heads and go forward. We wait to hear their peels of laughter, Bill, because they are the bells which toll our victory over bitterness and despair. What do missionaries do? We bring Christ in his church. Fellowship with Christians across the world. We bring light where there was darkness. We plant the seed of substance in the void. I said goodbye knowing I'd see him again. It was late and I'd overstayed my time. I knew he had work to do. Work to do for all of us everywhere. For all of us who believed in a better world. I wondered how many human beings had found new faith here at number one Asukai Road. I knew one person who had. So help me God. [music] All right. Uh, people are showing up to watch Gremlins, too. Uh, thanks for watching and I will see you tomorrow and we'll try to work out more tech kinks. Um, everybody have a great rest of your day. Take care.