Hi, everyone. Nice to have you back. We've been really interested in your assignments. And I want to remind you that if you intend to get a credibly badge, you need to do the assignments. And someone contacted me yesterday to say that assignment one was closed, but I've opened it. I think I've opened them all so that you can still reply to them and we'll get them. If that's not the case, let me know. And my email is down here at the bottom, c2cc at conservation-us.org. If you have a problem with your password, you can contact the info address here. And I do have one request. When you do your assignments, please put your name on them because we can always tell who they're from. Although you are getting the computer interface, it does record who you are, but I don't see who you are. Okay. So I'm going to turn this over to Mark Wamling. He is our course coordinator. So go ahead, Mark. Hi, Susan. And welcome, everybody, once again. Our speaker today is Brent Powell. Brent has been involved in the collection of career professions since 1984 and has held positions in museums as well as in the fine arts services industry. He is currently holding the position of a relocation and protection field supervisor at Cruiser Fine Arts here in the Washington, D.C. area. Outside of his employment career, he's been active in the professional development aspects of the industry. Brent was the chairman of Packin from 1991 to 1999 and served a second term from 2008 to 2013. Currently, he is a member of the advisory committee to the Packin Board of Directors. He is the author of the book, Collections Care, an illustrated handbook for the care and handling of cultural objects. I'd like to thank... Thank you for joining us today, Brent. Let me look forward to your presentation. Okay, thanks, Mark, Susan. Mike, I'd like to just go ahead and start... I mean, Mark gave me enough of the background of my experience and stuff, but I'd like to thank you for joining us today. Thank you. Thank you. Thank you. Thank you. Thank you. I have a lot of questions about my experience and stuff, but I've done several webinars over the years on different subjects, and even some with Connections Collections Care a few years ago, so you can always look back on those if you want some more interest of where I'm coming from within the profession. But I got into the profession after I got out of graduate school back in the late 80s I ended up working for a commercial finance service company and then went into the museum side where I actually got, you know, got, learned the ropes and such, which was a Nelson Acre Museum in Kansas City, so any of the mid-western people know that institution. That's where I grew up. So, anyway, you know, I was looking like Mark said, there's other things, but you can always look online or look at my website, which I'll be putting in the handout. And the other parts of my handout will be coming, Susan can explain that. So, anyway, and currently, I've been a consultant here for the last few years, but I'm now actually on the side here in Washington with this project, working at the Air and Space Museum, dealing with the relocation, because one of my experiences, a really large part of my experience over the years is managing new museum relocation. So I'm constantly dealing with equipment and such, and this is what when Mark asked me to do this, I, you know, I started digging through my slides, and that dates me, started going through everything I had and looking for everything. This picture here I'd just like to include because it's from a bunch of images we got for a preparedness conference in Fort Worth, talking about the history of the industry. So, anyway, the subtitle of this talk is handling equipment for the safety of the object and handler in mind. You can read through these, but I'll just talk in general to them. But it's always about getting things safely, handling objects safely from point A to point B. Point A to B could be across the room or be across the world, of course, returning. So we're always there in a collection of care issues, providing the protective care, providing conservation that a lot of times is termed, and we're always dealing with the inherent properties and integrity of the object. But at the same time, the handler's responsibility is to move an object, must be using proper handling techniques to assure their physical well-being from damage. So the handlers are dealing with these things, know how to, you know, use proper equipment and the ergonomics and the OHMS safety issues with this proper equipment will help save them as well. Because, you know, if you've known anybody that's worked in this industry for any amount of time, you'll hear back problem stories or they hurt their back and here's how they did it, so on and so forth. So I'll be addressing this while I'm going through it, because it's always been one of my favorite topics and I've had my share of back operations and I could date back to certain things that I was lifting out and over, like, you know, reaching, you know, one time I threw my back out really bad with lifting a set of bronze and irons out over a storage area just to get them to the point, people putting objects onto pedestals from your left, this sort of thing, you know, it's like you still have that point where you have to physically move the object, but it might be four feet up in the air. They're using your upper back instead of your lower back, all these sort of things, but handling equipment will deal with. So we focus so much on the safety of the object that we sometimes mentally address these physical needs of the hand. So if you've got questions afterwards, because I'll be covering a lot of this, I won't be going into specifics per object, this sort of thing, but I'll be referencing things, I'll be referencing the type of equipment. But look at those things and ask me, feel free, you'll have my contact details and stuff. It's always been one of my favorite things and I'm living proof with my back injuries and as I've gotten older, because I grew up on a farm, we did it, you left it everything, I'm a big guy, you know, that sort of thing, but, you know, as you get older, and I was about 45, then things started falling apart and a lot of it was because of the handling issues. So I had to learn better ways of using leverage, equipment, so on and so forth, so I'm very pro-lifting, quality-lifting materials and pro-ergonomics within the industry. So, by the way, the two months go ahead and enhance the success and knowledge of how properly cared for objects keep staff responsible, healthy, and able to do their job, because I had several staff over the years that, you know, were out, they were pretty much on permanent disability, and so that's when they were senior people, and it was always kind of hard because then I could only give them, you know, management jobs or paperwork jobs to help me out when they were coming back because I shouldn't look to that object. So, anyway, this presentation, Installation of Logic Handling Equipment will address the various equipment types and related handling procedures. So the scenarios that I'm presenting will just address proven practices within the museum and the commercial work environment, because both go hand in hand. When I first got into this industry in the late 80s, there was kind of more of a separation between the two, but now both work hand in hand for collection care, and both have incredible amounts of knowledge that differ from each other, so it's really good to bring the two together. Special focus will also address the current PoHNET standards. Safety training attributes are quite required. I'm getting some feedback now. Is anybody else? OK. Materials used to protect the object is another webinar within itself, but the main focus is going to be on handling equipment. Now, in my earlier document, I put in there about dealing with materials, but the more I wrote this, I was going, you know, I just can't cover the materials. I'll be talking about materials, but I'm not going to address materials as a subject, so there'll be times. So I want you to read the bottom of this slide or bottom of this image, take notes and research specifics. I'll address that in a second, but as we're going through, the facts are the following images are commonly used handling equipment within museums and, of course, commercial companies. All equipment varies in design and function, even though a lot of them are similar, but they all have their specific design and function, and you have to be aware not to push the limit, you know, not to understand the limits, to understand what you're dealing with, because otherwise you'll have something that will go wrong and the machine will break down, your object will get damaged, your potential risk, or the person moving that object and using that equipment could get hurt. So, equipment that we'll be addressing is customized for original design. Sometimes the original design, you buy it from the manufacturer, you buy it off the shelf and use that term, you know, you go to the warehouse companies and so on and so forth online and look and, you know, here's a warehouse truck or this sort of thing, or even have to equipment like scissorless and forklifts, you can deal with them. When I first got in this, you know, 30 years ago, we made a lot of things to adapt to the forks on the forklift or walkie-stackers up. But we were really bridging the liability of that machine and our liability of handling, but they always tried to overbuild and that's all great, but as years have gone by, we've also got into more complete custom design. I'll show you some really great stuff from the National Gallery in London and my friends over there that built this stuff, designed it out. And when I've had to make it, whether it was when I was in Australia or back here in the States, I had to get somebody to engineer it and I paid almost as much sometimes to get it engineered as I did to get it built because then if we had a problem, the museum or the company I was working with didn't have the liability issues, which occur if something gets damaged, and especially if it's from an equipment use. Because again, each piece of equipment varies in design and function. Proper equipment provides safe object handling, proper equipment provides staff safety. I've said this before, I'll repeat this as I go through because it's just fact. But also again, I'm showing you images and talking. So if you see an image you like, take a note and say like, well, this walkie-stacker, so on and so forth, we could use that or that's a comment he made about this because I didn't want to put a lot of verbiage in here because there's so much to talk about, it's kind of like the material already stopped. So I've just pretty much got images that I'll be talking to the specifics of these pieces of equipment. The other thing is when you're dealing with a vendor that is selling you this equipment, you can always have it brought out to the site and ask them to bring it outside. Especially if you're spending a lot of money like a forklift or hydraulic lift or anything that's going to be quite valuable, need to know this. The other fact is make sure you get the proper training of the staff for these specialized pieces of equipment because that's a liability. I mean, I'm going through some things here at the airspace just the last few days I started and oh my God, there's working 40, 50 feet up in the air, moving an airplane, rigging it down and all the things we've got to deal with. Oh my God, it's nothing simple. So we're going through all this OHS training and people are getting trained and we're getting our certification so on and so forth. But back to the reality of what we're all dealing with and what you're dealing with, your specific institution, and again, I'll be talking about specific institution, is you have your space, you have your needs for the type of equipment, you'll have your space, you're running the equipment through and materials you need to lay down for floor protection so on and so forth, your point loads on your floor loading and so on and so forth, your elevator rating, all this sort of stuff will be run across. But everything geared for your specific needs, like when I do consulting work for an individual museum and dealing with them and they're in particulars and writing manuals for them and stuff, just this last weekend I was down at Crystal Bridges in Bigville, Arkansas and dealing with their things, it was focusing on what they needed, what their staff needed, what their space was, pathways, all this sort of stuff. Everything's kind of like your institution specific, even though a lot of them overlap. You can go down to another museum, so I'm familiar with this carpet. You know, there's a lot of issues in a particular museum. So, let me move on. So, customized tool carts. It's always been one of my favorites. This is one I designed when I was at the National Gallery of Victoria in Melbourne for the relocation of the collection, coming back into two museums, two buildings, I should say, but two different name museums. One was dedicated just to Australian art. It was a new building. The other was dedicated to international art. But we had seven teams. They all had to have equipment. Before, they just had a few carts and they didn't have equipment, marked, anything, so on and so forth. So, came up with the design. You can see that it's a mess inside, but most all tool carts are a mess unless you get somebody that's real fussy about their tool cart, which they should be. But anyway, this one's a mess. But in this cart, you can see the compartments on the top shelf, various things. Bottom shelf, you can see some suction glass, soil tape, roll, this sort of stuff, and Velcro, so on and so forth. But on top, you see this off to the left where the green tape measure is in a pair of gloves. That was a folding lid that we came up with that folded over the top of the equipment storage there. That way, we had a table to work on and then you can directly get it in your equipment. We have it in the door's lock, so on and so forth. When you weren't using the table on top, you simply folded it back over onto that and then you had this large handle opening which also served as a trash bag holder. So, as you're dumping materials, we all know that tape, trash, dirty gloves, all this stuff could go in there.  And it's something that, you know, there's a variety of them out there. There's a variety, and you can go on the back and see a variety of tool carts and stuff. But, you know, then figure out your needs and then go from there. But it's always something customized that is most efficient. And you'll see these things on different carts, now people have actually put tool carts on A-frames or painting frames and different things as we go through here, but anyway. You can buy a lot of this right online, commercial tool carts. And these images might not be too good because I pulled them directly off the website for the company, but there's a lot of stuff that already exists. You can make things out of it.  You can buy those fairly reasonable. And they've actually got them now where you can actually have different type of wheels or casters, but thank you, rubber-made cart. You can't make it that cheap, as cheap as you can buy it. But you can modify it. You can modify it by putting a foam pad in the bottom of the cart top. You can put padded rails around it. You have to foam and cut them so there's padded rails. And you got a little bit better object cart. But here, you can take and add some things online. This one to the left is great because it's got a place for the ladder. It's got the paint shelves and all this stuff. You can adapt some of that because you might not want, you might even put little walls around that so you don't have things fall off the shelves. This sort of stuff. But what I'm trying to get at with this slide and this image is the fact that, you know, commercial tool carts are available. There's things that, the old term or the usual term is called gang boxes.  But they've got gang boxes, they lock up. There's one slide here I've got that is for exhibition. It's really good which is, it'll be coming up as a saying to cart, open cart that you can actually put objects in and lock it up. It's a see-through screen in cart.  One of the things you'll find such a variety and I love looking at what people came up with is work table and supply carts. Of course you can buy commercially by folding tables and such and they're great in their place and you can tie off the locking mechanism with some twill tapes or some sort of banding, you know, just so it doesn't collapse on itself. But most good work tables, one, need to be mobile, need to have locking casters, rollers as you're moving them around. The other thing is like the one here on the left, need to have the surface, be able to have a covering over like a clean, clean white muslin or cotton covering. White, no matter who you talk to as a conservator, storage or up on exhibition, clean white material, covering it with foam core and sections. I prefer using cloth materials just because I can tear them off and replace them and it's cheap. So, things get dirty and you can replace them quite easily, staple them back on, but in your design, figure out a way to make them reusable. You can also use cardboard on top, not archive, I'm just talking about regular acidic cardboard because it's a work surface.  Well, you can replace that by simply putting another layer of cardboard on it. No snacking, we had a big rolling table, similar to like this one on the left, and we'd get up to where we'd have like, you know, 10 or 12 layers of cardboard on it. We thought, well, we'd better replace it.  But, the thing was it was a cheap way to cover it, it was a cheap way to make it clean. Putting this muzzle on or a white cotton sheeting on, cheap, easy, keeping it clean. With it being white, you can see if something is chipped off of your object or something's dirt on there. You can see things, that's, you know, it's like the old days when white gloves were the preferred gloves. That thing about it was you could see when they got dirty. The blue nitro or black nitro gloves were used today. You don't really see them getting dirty as quickly. But anyway, the other thing with this, like table on the left, you can make compartments. You can have doors on this. You can put doors on it. You can put your equipment storage in there, say your material supply, your tools and stuff. And then making another tool cart, which is part of your table. So those are the ideas. One on the right is inevitable. Quantity materials are sold in rolls. So you need the rolls type system. This is a great simple rack system on the right. And it works quite well. Now you can purchase these already pre-built and stuff, like metal carts or any warehousing company. That's good. But if you have needs, or like on this one here, you've got different types of materials that you didn't, you can make this. If you've got a carpenter shop, they can make them. They can do it cheaply. I've seen people take apart old crates and turn them into rolling roll material storage. And all they did was slap wheels underneath, casters underneath, so on and so forth. While I'm saying, oh, sorry, and then this slide on the right, image on the right, lower left-hand corner is C-bends. C-bends are just a common, large cardboard bin that you can put on a dolly, or make a little flat top dolly, put them on, and roll things around. They're great for materials, because you're not handling, you're just rolling the cardboard box around. At the other point I want to make before I move on, that pertains to most all equipment, is getting the locking casters. Now, you can get 360 degree locking casters, so they swivel around, and then you lock them into place. So they go straight, or they're totally swivel. But it all depends on whether, especially the size of the table or the movement you're making, the car you're moving. But a lot of times I prefer two straight wheels, two swivels. That way I can direct them more. But that doesn't say for a small tool card or something. That's better for me, because I can direct that around easier. But if you're using it to put objects on, rolling up to the space, or you need to go to a 90 degree sweep, move into an elevator, and move it a little bit to the left to roll complete, rolling casters good. But locking them in place when you're working on them, then you're stable, so on and so forth. So, painting and frame carts. Now I'm going to show you a variety of these, and you'll see any place you travel through any electric frame carts. Everybody's got a little bit different ones. That's in there. And they're custom, again, custom made to what you need, and there's a variety. This one on the left, we used at Asian Art Museum, San Francisco, and we built it in-house. And because we used a lot, moved a lot of all-frame items through, you know, what we're doing, permanent collection changeovers and stuff, this worked well, they didn't have the vertical angles inside so you could do some stacking frames. Also, it was small, easy to move.  The one on the right, you can see the white one, is really a traditional old cart with more of a single vertical back. Load things on the front of it, you don't really, you can't load anything on the back because it's the way it's structured.  This is National Gallery in Washington, a cart that I took up years ago and it's just a nice, plain, simple cart. And they have dozens of them around and they're just good carts. But, again, they're the simple means when you're talking about frame carts and such. Then you get into more customization and such. And these two are from the recent visit I had at Crystal Bridges Museum and the thing I liked about them, this is an old, the one on the right, you can see what the moving blanket on.  You can see on the padding on the lower level on both carts, you know, there's that small pad. There's a little ridge block, a little ridging block so you can shove things out if you need, not, you know, helping to keep things from slipping out. But the point I want to emphasize on these two carts, now they've adapted them for other needs. So, the one on the left is a great example of how they've put on an extension that goes up and that way you get larger paintings on it and such. They will support the upper brace or upper support of the painting, catch it being adjusted to fit the size. It's not every day you're going to be using something that's smaller than, say, the four and a half feet, twice the tall center part of the T. But in this house, you can see that opening in the middle and then drape the blanket over it. We've got the pads off the sides. It's just a really great example of a simple cart that's been adapted to help you accommodate the variety of objects. One on the right, the other thing I like about this is that it's customized to be pulled up when you get the image a little closer. You can pull it up and see where the moving blanket, the regular moving blanket you buy is had sewn into the edges. Let me see if I can draw. Anyway, it's the way they've attached it. Oops, it's not working. I'll just leave that arrow alone. I don't want to stop sharing, Mark. Oh, there you go. Right here. There you go, right there. Thank you, whoever's doing that. It's right there. You can see where they've tied this together. It's like sewn like laces into a shoe, but they made it so that they can sew it together and then take it off. You can simply take it off and replace it or wash it. But my experience talking about materials moving blankets is you can wash a moving blanket, but you got to take it to a commercial washer. You can easily, they're about, almost is expensive replacing with new. So what you need to keep them clean, they do get dirty, but if you got some sort of commercial washer, you can wash them in house. They take forever to dry even though you got a dryer, but you also can replace them fairly reasonably. Anyway, these are two really good examples of the painting frame carts that are adapted. Now, we're getting into more specific painting and frame carts, and the one on the left is a really large cart, and it's another national gallery. It's right here in Washington. You can tell that by seeing all the blue crates in the way. But this one is very heavy duty. It's made out of metal. It's got a very strong structural base to it and extra heavy wheels that carry the different loads and such, and a very nice cart. The ones on the right are from our movement, National Gallery, Victoria and Melbourne, where we're moving back into the buildings, because what we do is we load out the items onto these carts, like these big carts. You can see that they're aluminum, but you can see the vertical ribs, as I call them in there, because what we did is we'd load them in storage, put them on the truck loaded, secure the cart loaded cart to the truck, then unload and move the things to the site, and then unload the cart. So we had a lot of these. They were very expensive to build, but they adapted it. So you can see that one large painting in the middle, not a real good example, because it's just sitting on there, but if that one that was being transported, it'd be tied off, added off. You can see it's clear to the left.  But the thing is you could tie to the wrap, ratchet strapping to these vertical bars in the piece, so it was very nice to tie them off and hold them in place. Also on the bottom rail, the front rail, add a opening which if you needed to go vertical with your strapping and you tie it down there. They also had this wonderful, you wanted to tie two carts together, you could tow them, but I never hardly ever towed two together, which was one of those ideas when they designed them. Oh, we put a ring on it and we can tow them. Great idea, not functional. Of course, because you can't control moving around, but these carts had complete swivel wheels, lockable, so on and so forth. They were heavy, but we had enough of them. We could move them back and forth empty because it took three years of moving things to and from sites, but it decreased the amount of time tremendously for handling objects when you have to go from an offsite storage to an onsite storage, so on and so forth, but you have to make sure you can secure that loaded, secured cart to the side of your truck yearly. So there's those issues in design. This is one of my favorite carts, another National Gallery London cart, painting frame cart, and it's because it's got so many varieties of essential things, so whoever's running the pointer if they could point down toward the base of this cart, you can see down below, put it on the bottom in between the wheels. Thank you. There's a space in this little compartment just for foam blocks. Now you think, well, that's awfully low and you can go over an entrance or something, it's great, but their floors and stuff can adapt to it. The other one that had the wheels were higher so you get more internal space. Then if you take the arrow clear to the right on the bottom to blow the handle, right there, that's the drawer that they put in. And in that drawer, they had supplies. You never know what you're gonna need. Then of course, the handle right above there is pretty common handle and you got a good grip, you do your choreography, there's a heavy load, you can both put your right hand up, your left hand down or whatever. For the choreography, you're really bracing and holding that weight on this piece. Then of course, then the top of the cart raised up at a telescoping top, moved up and down and that was locked in. It was a great, great, great multiple cart. Yeah, they came up with the design, they used it, they had a lot of made, was constantly being used in the building. Here it is in action, it's just got an open frame on it but it's up in the gallery. And you can see better if you look down at the base again, you can see better that drawer, the handle, you can see how they tied it off, so on and so forth. But these were used daily and very nice. But they spent some money on them, they spent them quality, they're gonna have them for years. There's one thing I always laugh like going back to Nelson Atkins. I started there in 87 when I go back, I was just back a few months ago, talked to him when I'm having, do some work for me, taking images for this new book. And here's some old carts, we still got our stamps on them and here's some old stamps and it was like, well, why wouldn't you keep it? I inherited it when I came there from your previous guy. So quality is maintained and when you do your budgets and stuff for new equipment, if you do your research and you get them out good in quality then people really take effect. Ah, transit crates. Now these are very more common in Australia and they're good for commercial use because again, it's the idea of let's load up the cart, roll it on to the truck or load it up in the gallery, load it on the truck, drive it, take it, support it into the truck, unload it at site and then you've got to make, seem to be handling good things.  You know, I mean, that's why you see a lot of people, commercial companies use C-beds, pack and stack inside the C-beds and put it inside of the truck but you can brace it off, tie it off with a C-bed. These are a little bit more durable because one, they're wooden, they got the wheels, the foam and liner and the next slide shows where they stack inside. But again, the purpose was to load up these, load up this two-dimensional stuff. You could even get three-dimensional stuff in there but you loaded it up and you put the outside door on which as you see and to the left of each, sorry, to the right of each slide, there's the slide lock, piston lock they're called and you can push that in and you put it into your metal plate and it held things in place. But if you're limited to size and then some of these got bigger, so these are about 48 inches wide in length and about 24 deep but in about four foot tall. So we built hundreds of these things. I mean literally hundreds because people would store stuff in. And International Arts Services in Australia who I worked for, my wife and I were probably the owners of that company but we would ship these all over the country. Much like our techs does here with the big names all over the country and you put these things in and you got used to taking them in places and just made so much less headache of handling. So again, collection care or less handling so on and so forth is great. But you can see the one on the left, the wrap painting, bubble wrap, foam wrap, whatever in between the paintings were dividers. That's the thing we came up with, corrugated plastic. Now it's like corrugated cardboard but corrugated sheet plastic because it's more durable. And I'm a huge fan of corrugated materials in any sense and they can be used very similar to cardboard. Not cardboard, the paper corrugate because that folds and cuts and bends differently than the corrugated plastic. But very good for dividers, clean, very sturdy. And I'll last the paper corrugate on, say like an 8-cent mill de-flute corrugate. Anyway, these transit carts are very good. And you can put three-dimensional objects in them, bring the objects and brace them off. But you'd have to do a little tying or you'd have to padding in between the door and this outside wall that came in that you pushed up against it. But there was a way to deal with it. But again, the purpose was not handling the object. Now this next slide, I'm going into the essentials. Dollies, J-bars, two-wheelers, flatbeds, and pallet jacks. Everybody's got them, everybody uses them, but there's varieties amongst them. So I'm going to go through this. You can take your notes to this because sometimes there'll be different things you can do but when you're buying them, buy quality or have quality ones made. Each one of these has wheels on them. Each one of them will last longer.  And so many people, they would, you know, people would come to truck and they'd... Dollies, another shipper would take them away and even our guys would go in the trucks and you'd just pick them up by somebody else. They always would try to buy cheaper dollars because they were buying them by the hundreds. And they were leaving them by the 50s, you know. So it was quite, quite miserable because you couldn't buy quality equipment. But you fix it. So we had this place we called Dolly Graveyard.  But anyway, on the slide on the left is the Dolly, a J-bar, and then a pallet jack. Slide on the right, you see the stair climber, a two-wheeler, and to the immediate right, you see the more standard warehouse two-wheel truck or flat-top Dolly's hanging on. And then the green piece that's angled up in the upper right-hand corner of the picture, oftentimes you'll see it called skate. And what it is is just a Dolly that's got straight wheels on it and put a very heavy load on it. So thanks for the arrow, by the way. So standard Dolly's. Standard Dolly's, the two on the left and the slide, you see the dimensional image, which is really good because when this slide was made, it described each Dolly in, you know, height, width, so on and so forth. So the one on the left with the black stripes on, the rubber wrapping is put on, that's a flat-top Dolly, but it's got the open center. And so that way you can put anything flat on. It's not going to rock. And it's safe. You got like a skid on the crate. You can set that skid to the open area. The one on the right gives you two points of rubber contact. You can set it on there, and that's really nice because then it doesn't slide. So almost all Dolly's you'll see, I mean there are rubber surface, which helps the Dolly grip. You got the friction, solid friction catching. So like the one on the upper right, black top with the blue wheels. That's a real Australian Dolly. Everybody likes him and everybody gets amazed and they're quite expensive, but they're very nice because they're quality. But flat top with a rubber surface, which is a gritted rubber surface, it really grips. And of course you can see in the lower right hand corner this photograph of the Artex crate on a Dolly and you can see crate sitting on the Dolly. And that's I think in this picture. Oh, maybe it's rubber. But so many times you'll see it being like a carpeted instead of rubber. But anyway, Dolly's are worth the money. The quality, bark them so you keep them and take care of them. A lot of times in the sites like on the loading dock or in the storage where like the prep room and stuff in your work room, you can put in hooks on the wall and hang them up, get them out of way or stack them up so there's 20 in a stack and they're all tied down to one of the bottom Dolly and take care of your Dolly. The other thing is if you leave heavy things for a period of time, the wheels flat, where that weight's sitting on these rubber wheels. No matter even how quality a wheel you got, you'll get that flat spot. So then you'll be pushing someone to go, to-ding, to-ding, to-ding, to-ding because it rolls around. Had you all the experience when you went to buy groceries at the grocery store and you're looking to get your shopping cart and you get one of those, it's bad. You're sitting there going around at the grocery store, to-ding, to-ding, to-ding. And it just drives me nuts but everybody stares at you because you know, you got a bad cart. Anyway.  I mean, the Egyptians figured out the leverage factor in the longer the bar and strength. And the thing is with J-bars, they don't vary around the world. There's not much variance and basically a lot of people love American made ones because of the oak handle. The oak solid wood handle. There's different hardwoods that work, of course. But the wheels on them are very well made. There's the steel plate. You can see on the bottom of this where it's going under the crate. Steel plate. I couldn't find the picture. I know our checks have these great pictures of there's an extension you can put on them. And a lot of times that's just made but you can't buy that extension.  But it's leverage. It's all about the leverage they can do. It saves everybody's backs. Again, like on this one, if you put that underneath and one person's pushing down on it, then the dolly can be put underneath the crate. So right there, ergonomics plus, it's an ancient leverage principle. So J-bars. Don't leave home without it. Then commercial two-wheelers. Now commercial two-wheelers, you can buy off the shelf. These two, the one on the left is just pretty standard. The thing is you got to buy a quality one and make sure it's rated for the weights you carry. Because for example, you can go to Home Depot and buy a cheap one. You go home and you start lifting. All of a sudden that steel plate's bending. Why do I know that? Because I've bought it before and I've used them at home and then I have to adapt them or just trash them. Now, the heavier the steel plate and the bracing, you can pick up things. Durable.  Especially with boxes. Box ware, a lot of boxing warehouses. They're their main, their product flow is boxes. The one on the right is a utility. And it's very nice because you actually got second ins and you can tie out the stack. It's like appliance styling. Off and turn.  These are made, they're called stair climbers. And you can go up a set of stairs and they go clunk, clunk, clunk. But the wheels rotate and go up the stairs. Otherwise, with the two regular straight two wheel dowel to the left, you're going to clunk up each step and having to lift it. Stair climbers better. They've came out with more now that have like five wheels. And pretty much inversing over things. I mean, Mark and I were just, Mark recently talked about these things crawling over all different things. Whether you can crawl over a parking curb or so on and so forth, they might have five wheels. Some of them have got new hydraulics and pick up and lift the cart over. So anyway, there's things out on the market that are getting better and better and you keep researching. It might be the perfect need of what you need. Commercial pallet jacks. Now, if you work in a big warehouse and so on and so forth, you're always going to run into the basic principles. Where's the pallet jack at? Where's the big storage? Or is it underneath something? Now, you can buy pallet jacks fairly reasonable, but the factors you got to buy in or you have to consider is the weight capacity of the pallet jack, quality of the wheel running the pallet jack, so on and so forth. But you can get them in longer extensions. You can get them in narrower forks on the pallet jack. It's what your need is. You can go online, pull up the site, or put in your browser pallet jack images. You'll see, oh my god, there's a zillion of these types of pallet jacks. So quality is very essential. So they will break down. Hold on. So anyway, the pallet jacks, the quality will outlast anything. So on this. The other thing is these two both here are weight, have a set of scales on it. A set of scales is very important because you can go and deal with it and it's so good for measuring your load. So oftentimes, I mean, in the old days, we used a platform left with, you know, the bar sliding weight to weight things, trying to get the object up on the actual scale.  But then that's great for documenting the situation and so on and so forth. They're worth the extra money, but again, you got it by quality because I've seen these things break down with somebody weighs something too heavy on it. So four slides, I'm sorry, but commercial flatbeds, commercial flatbeds are pretty straightforward. They come with a wood base. I prefer a wood base on them because you can tie down to them. Also the one on the right, the fiberglass base. So you've got those, those are another commercial. Now we're going to get into more hydraulics and things you can buy commercially. And this is one of my favorite, all-time favorite tools in the museum because I can raise things up on a table, work off of it, unload crates with it in a more ergonomic situation. Also I can take the objects up to the gallery, raise it up, slide them off on the pedestal or at least get them up high enough where when I'm lifting, I can just lift and turn because I've got it up to level. So hydraulic tables, this is a pump table, you can get them electric. This is a foot manual, foot pump table as I should say. But they're great. They're not that expensive. You've got to convince people sometimes the money you're spending on them. But it's very great. Case lifters and left tables. Case lifters are really great. They come under different names. You'll see the same thing on the website. But it's, you put one on each end of the, like say, crating example or a case or a cabinet and you tie them together by the ratchet straps to go to the other one they made up to each other. Then you hydraulic to lift it up and you move it. Organomic pleasure to move crates with these things because sometimes you just can't be lifting crates all day putting a $1. You can, you get the big crates which you can't do. Huge advocate of this. You might not use them all the time but when you've got them on hand you're saving your back, you're saving time you just got to get people used to using them. You got to take the time to strap together and I always got on my staff and said put it together. I don't hear you complain tonight about lifting crates. Your backs are put these on, take it on there and roll it and walk all the way to this long hallway put it on the fray out later move it up to the third floor or whatever without just pushing his cart. So anyway, the red on the left are these case lefters and the next image on the right is the two that are tilted. The reason they were tilted because they were originally glass made for moving glass. They were very heavy duty so we could do tripod wheels on them so we could move around because they were so heavy they would lift up heavy loads and the arrow if you move next to the blue table hydraulic table of course the yellow, larger table these are both hump up tables that they came from different for different uses for different companies the one on the right, the yellow on the arrow is pointing to now it has like, you know, 2,000 pounds capacity. Now, did you use it every day? So when you went to use it, I got what a god said and it was bought and used for that was 20 years used before I got there. Okay, platform lift and stacker lifts now these are very common because like the one on the left with the slide with the number 3 in it the platform. You can simply pump it up by hand or maybe there's a lever bar but it's great. It just lifts things up in place so on and so forth. The one on the right is the motorized battery operated hydraulic stacker it's got the different segments so it's kind of like you're getting close to like the fork lift like a walk behind the fork lift but it's not. It's a stacker and it'll have forks on it you can also put a platform on it to raise things up. It's a company called Big Joe which is great and used for years very quality and you can control the mechanism electronic mechanism you can control so you get a smooth lift and a smooth stop and start because mainly with your fork lifts and your high electronic electronic hydraulic lifting mechanism whether it be a fork lift or be these walkie stackers situations is that jerking motion moving things up and down. So anyway, if you buy quality you can make sure you can get them with merging speeds if you're really concerned about this. Here again, this is a customized frame and stacker. The National Gallery of London, the silver framework that's got the painting attached to it exactly like a painting cart. This is attached to it but then your pallet stacker slides in and lifts it up. Your counter balance of the weight on two is balanced out by the weight in the stacker but you can move that in, lift it up take it to the wall, put it on the hooks on the wall, unstrap it, move it away. Wonderful, wonderful design. And of course you can go to design specific stacker and access support to again National Gallery of London they have all the queen's favorite pieces so it's not like they have a lot of time on their hands, they dream to stuff up, they've just spent the time and money to dream these up which is just amazing with what they came up with. But these large paintings how they statefully handle it and get it there you can see the blue is the axle frame cart. Again, the person in the middle standing with a walkie stacker is standing there hydraulically lifting this up. Great idea. They came up with the idea like let's put our instead of ladders, tall ladders standing on a step ladder laying a ladder up against the wall they came up with these wonderful carts so you can walk up and reach off of them and so you get a walking situation. Susan can you post me on time again please? I know we're getting close. The walk behind forklift let's get into again the hydraulics battery operated situation but this is one we used at the Asian and this thing was old but it I mean it was an amazing machine because we used it for everything because it dealt with that floor load we could move it up down the elevator it was a walk behind it wasn't a sit down left because we just couldn't have the space but we can do a lot with it. We even oftentimes we would convert the forks we had to do some research like you want a picture on the right where we converted the forks instead of being a proper lefting fork in a position we turned them upside down now when we talked to the engineers and stuff we got in this situation where we had to be careful because of the weight load on the tips of the forks and such because it wasn't engineered like that but we got to understanding when we turned them upside down it gave us a different reach so as you can see with any forklift that mast, your center mast the telescope stops sometimes if your forks are down in the usual position you're going to be hitting the ceiling for such with your mast so in this situation we turned them upside down so we could raise the top part of that this is a decorative element outside the gallery but we had to put it together because it was part of the exhibition but we could easily load it and unload it by using the forks converted to this way now you can see on the back of this walk behind you it's actually operated with a cart much similar to you like your Pallow Jacks the hydraulics are in the handle and basically you have to really it's good to get people trained on or get the person that's the most and this goes with forklifts as well get the person that's most sensible and sensitive to how the machine operates to use the operation the weight and the counterbalances are many larger lifts hydraulic lifts is very heavy and you put your weight of your objects you're carrying or moving and in your mechanisms of stopping and starting can be very hard sometimes, very slow and definitely don't go up and down a slope, we had this one we had to take it in a map so we went out to the outside loading dock and it was a slope never back down back down the slope because it could roll on your feet roll on your toes so we kind of had to slide it down, lower it let it drag onto the floor it wasn't a long ramp but it still was a ramp so when we needed to go outside to unload something off the truck that's what we had to do so you have to learn your capacities what they can do in a horrible dock we were looking for the walk behind lifting loads of plywood off the trucks it was a nightmare to see sometimes but we had to train and get a quality machine because if your brakes give out or something you immediately roll over people can get seriously injured with these but they're great because they go into tight quarters we take this one in storage lift out to accept put it on the shelf it's very maneuverable so it worked for our situation where a full forklift would not have worked so standard this is a standard LP what I mean by propane or the liquid protein forklift so it wasn't electric because most of your inside museum is electric powered but this is a warehouse a brand new warehouse they went out and bought a Clark system but this is only about three years old, four years old now but beautiful machine well spent because in their storage they were able to put everything up high on power racking so on and so forth on the left you can see the forks then you can see the the bridge of the back of the forks well this machine and a lot of machines you can get whether it's walking or whatever you can get side motion you can get side movement control you lift something up slide it over a foot and then move into your space but you've got control with sliding to the right and to the left picture on the right shows the controls so I know you can't see it well on this but if you can blow up to some it's better but the different controls and different monitoring systems but this one also had a special special controls for slower so you didn't get the jerkiness as you're lifting and also when you're stopping again it's something if you need this in your situation especially inside galleries when you do an exhibition install you need that general touch okay it's going to cost you another $5,000 to get this mechanism installed inside the foot and so on and so forth oh my god it's like it's a dream and when you're purchasing something like this bring it out and try it out and see how it is sometimes they can adapt the hydraulics on these machines excuse me to accommodate the movement it's all about the oil going into the cylinders and this sort of thing but talk to them about it see what they got and try it out especially again like I said earlier in this talk you've got something you're wanting to purchase and buy you're spending whatever $5,000 to $40,000 whatever you're spending the amount of money on you should bring it out and try it out and most equipment dealers they're going to be more than happy to give you a test drive it's like buying a used car or buying a new car think we're test driving so now we're going to head into the extra large stuff and we're going into gantry trains gantry trains are something you have to know how to use you can train people on how to use them so on and so forth but when you're actually using get the best person in on it this is a huge safety issue it's like on gantry people say well I got to lock the wheels before I lift but when you lift that load up with your chain hoist as you can see in the middle of the green strap when that object lifts it off the ground the weight can shift you have to leave the wheels unlocked and when we did demonstrations whether it's packing or whether this is a picture during an r-tech training session when you lift that object up you can play with it and show how these things will jump and skid and years ago back in early 90s when I was first in the business in Nelson Akings Museum where we were doing a job overseas it was coming from the National Trust in London and working with Fine Arts Express years ago that company called Fine Arts Express we were going into Turkey to bring out a bunch of old Roman statues and stuff they'd never been taken out and so on there was historic site over there whatever but the first thing the guy asked me from Fine Arts Express he was telling me what you experienced with using a gantry I said well they kind of scared me to death because I've got to constantly and he goes that's all I need to hear you're paying attention to the problem and back then we do these training workshops and other situations get somebody to do the training, get the training and then get somebody that specifically is the team leader for when things need to be rigged it's like these two people from Archex here, they're the rigors that years of experience just trust them in the safety factors to mend this instead of just letting everybody and their brother go out and use it the same issue on a forklift everybody wants to ride the forklift everybody wants to drive the forklift why because it's like a big toy just admit it's like a big tractor toy but the thing is you have to have your protocols, your training, your procedures and some people are just better at operating a forklift and machine than others I've had staff curious with me because they were having to move the crates up to the forklift so I had my main forklift person or myself crying the machine and everybody's tired to move it and I say you don't have the touch period and also I'm working with these big machines or the forklift walk behind stackers and stuff you've got to realize the environment so you've got to have that extra radar sense and the people that are just standing there directing traffic and or working with you also need that


Ranger Bill, warrior of the woodland, struggling against extreme odds, traveling dangerous trails, fighting the many enemies of nature. This is the job of the guardian of the forest, Ranger Bill, pouring rain, freezing cold, blistering heat, snow, floods, bears, rattlesnakes, mountain lions. Yes, all this in exchange for the satisfaction and pride of a job well done. Hello, boys and girls. I'm sure you recognize that sound you just heard. In fact, you can still hear it a little bit, I guess. It's thunder. And you know what that means? Rain. Well, rain has a great deal to do with the adventure we're going to tell you about today. Rain and what happened after. As you know, I'm a forest ranger out here in the West. My job is an interesting one. Sometimes I'm called a natural resources conservationist. Those big words just mean I look after the trees, the meadows and the animals. And my territory is in what people used to call the Wild West. Of course, it isn't too wild anymore, except when nature goes on a rampage, which is exactly what happened in today's story. It seems it rained and rained and rained until, but I see I'm getting ahead of myself. The name of the story is, they called him a coward. Take a look high in trees, fellas. That red-headed woodpecker. Not see too many like this around here. They come up north in early spring. Oh, we're lucky to have Gray Wolf take us on these nature hikes. Yeah. Swell getting out of school. Hot little school building out in the woods. Yeah, it's still part of our school work. Yeah. Gray Wolf knows everything there is to know about the woods. Uh-huh. What's that? Don't you like the woods? Not especially. You're new in town, I know. Your name's Jerry, isn't it? Yeah. I guess you just moved here. What's your dad do? He's dead. He died in a big fire. My mother works at the railroad lunchroom. And moved here because she got the job here. Anything else you want to know? I'm sorry, Jerry. I didn't realize that... Hey, boys! Put down roads! Schoolhouse on fire! Come on! Schoolhouse on fire! Wow! Look at that! Look at those flames! Come on, Jerry, let's hurry! You gotta help those kids out of that schoolhouse! Come on, let's run! Good work, boys. Move fast, but don't make children scared. Take their hands. Two by two. That's it. Two by two. Hey, teacher. All children out safe. Good. Children all okay. Now we just have to let old schoolhouse burn down. Henry, good work. Good boy. Keep head. Keep cool. Grave, help keep out little children. Hey, where's Jerry? I asked where Jerry? He not run when I call for help. He not run when you run. He ran all right, but he ran the wrong way. He ran away because he was scared. I can see his hand hurt nothing like it in all my born days. Here you have this young fella, almost a man groaned. How old is he? Fifteen. He's in school with me. Almost a man groaned. And when all them little children was in that there schoolhouse with the flames of war in the region, what'd this here Jerry do? He run away. I know. Worse than that, he run plumb away. Runs fur away. He's been gone for three days now. Everybody's out hunting up hill down there. I just hope that he's all right, that's all. Covered just about every possible place to look for. Hey, stop it. What? That big packing box. Put there by the wall. Looks as if it's over there. No, sooner's had than done. Over we go. And here we are. Now just bend down, take a good look inside this here packing box. And we'll comb my whiskers and call me a dude if it ain't. It's Jerry. Did you enjoy your meal? Yeah, thanks. We'll give you some more in a little while. I guess you didn't have too much to eat for three days. No. Jerry, Bill and the sheriff and some other good folks have asked me to talk to you. Well, I'm what they call a psychiatrist. I'm a doctor except I don't treat you for stomach aches. I'm here to help you when you're worried or unhappy or scared. Well, what I'd like to do with your permission is sort of talk things over with you from time to time. I think maybe we can work things out so you won't be, well, so quick to get away from things. And Bill and Henry and Gray Wolf and Stumpy are all ready to help you do this. In fact, they've invited you to go out and stay with them for a while. And in that way, all of us can help to make things better as far as you are concerned. Does that sound like a good idea to you, Jerry? If you say so. Oh, good. As a matter of fact, they're waiting for you right now. Let's go out there right this minute. My car's outside. In fact, that's the first time, the very first time ever played it. What's the matter? Don't you especially hanker after harmonica music? Well, I... Well, we come out here today to study and observe the critters of the forest. We can just forget about the music. All right. Well, let's get on with our bird-watching. Maybe I better explain. I ain't exactly as technical as Gray Wolf, but... Now, you take that there bird sitting up there and that there tree up there. You see her? Sure. Now, you might think that there bird was robbing. But she ain't, Jerry. No, sir, she ain't. That there bird is South American Willie Walliface. Funny thing about them is South American Willie Walliface is they fly backwards. Oh. Yep. The South American Willie Walliface flies backwards because it don't care where it's going, but it likes to see where it's been. I heard that one before. Maybe so, maybe so.  Well, all of us, Bill, and Gray Wolf, and Henry, we all have been trying to get you to feel a little... I know. It's no use. I don't belong here. I don't belong anywhere, I guess. I'm just scared of everything. No, nonsense. Well, Jerry, you're every single bit just as... Hey, look there. Cute little rascal. Look at him, sending himself, giving us a once-over. Oh, curled up there and just enjoying life is pretty scab-y. Oh.  Oh, Jerry, Jerry, Jerry. Well, you're right. Plenty slow, Jerry. These good horses. Anyway, I'll tell you what to do. Yes. Horse smart. Horse no one rider is. Well, rider's new rider. Like me. The whole reign's easy. Not tight. This horse, Indian train. Everybody ride Indian horse. Gets to be a good rider. Now sit up straight. Now I'll show you how we go to the left. Press horse side with left knee. Turn wrist a little bit to the left. There, see? Easy. Now you turn wrist straight. Don't press with me, see? Now we go straight. Horse no. You make good rider, Jerry. Two or three lesson, you beat me. I learned to ride when I was five years old. No saddle. My father lift me on pony's back. Show me to ride same way I show you. Everybody learned to ride out here in the west. You like it? I'm no good at it. I teach you. Now you stop. You do what I do. Pull back on reins, slow and easy. No need to say anything. Now, see? Easy. Now when we start you move hand forward a little bit. And talk horse talk. Horse talk? Sure, like this. See? Now I'll show you what to do to make horse skill. Well first you... No, no Grey Wolf. Please let me off. Let me get off and walk home. Please Grey Wolf, horses scare me. I want to get off and walk. I'm scared. Her is hot. We need a rain. We'll be there in a minute or two. Henry, I don't think... I can't even hear you boy. We walked about a mile and a half on a broiling hot day just to go swimming. We got our swimming trunks on.  But Henry... You can't swim, can't you? Yeah. Well then, there's the old swim at all. Just like the pictures in a bus. Ha, that'll look good now. I don't think I would. Hell, here goes nothing. That's right, you'll like it. Swam there a million times. There Jerry is one of the finest views in the whole world. That's what I always say. Three states. How high are we? Oh, not so very high. Three, four thousand feet. The first time I brought Henry up here when he was a little shaver he wouldn't believe we were looking at three states. He thought they should have been different colors like on the map. I see. Well, time to start back. What's wrong? Nothing to get startled about, Jerry. It's just that I haven't been watching the times a lot later than I thought. Practically dusk now. By the time we get down to the timber line there, it'll be dark. It's dark. Do you know the way home? Sure. Let's get started, huh? Getting to enjoy life out here in the West, having fun, I mean? I don't know. I'd like to see you have a good time. We like to have you with us, Jerry. Why? Well, because we like you, that's why. How can you? How can we what? How can you like a person that's afraid of everything? It seems the older I get, the more of a scaredy cat I get. I know what you and Stumpy and Grey Wolf and Henry are trying to do. You're trying to help me learn how not to be scared of things. But no matter what you do, no matter what you do... We like you, Jerry, and that means we're going to keep on liking you. And if you'll just... Bill! Great horned owl. Yeah, watch him fly. Not a sound, see? Comes drifting along out of those trees just like a shadow. Quietest fly in the world. Wonderful sight, old Mr. Owl. Bill, it's dark under those trees. I don't like the dark, especially in the woods. I wish we were back home. I wish we were back home. It's time to climb into the haze. This year, hot weather gets the fellow all discombobulated. Hope she ain't too hot-sleeved. I'm tired. Me too. How about you, Grey Wolf? I always ready for bed when time come. Go to bed early, get up early. That's my motto. Me too. How about you, Bill? Sure enough. Grey Wolf, have you taken a look at the barometer on the porch? Yes. Not good. Good what? The barometer dropped. Did you bust it? When did you drop it, I mean? No, big rain come, I think. I agree. Big bad rain, or else I miss my guests. Well, everybody accounted for it before we aimed for bed. Where's Jerry? He's asleep. I just looked in on him a minute ago, and there he was sound asleep. Sound asleep.  All right, Jerry, there it is. Teeny-weeny is a little bit of a baby garter snake. Gettlesnakes wouldn't hurt a flea. But I'm afraid of snakes. Oh, kind. Don't make me go near it.  I don't like to get near them. No. Now we know what's going on. This good horse is easy to ride. Just kick back heels and horse go fast, fast, fast. Horses are so big. I'm scared when they come close to me. I don't like to get on them. They go so fast, so big.  The water's not so deep. Wow, why so far? Swimming's fun. You dive when I count three now. It's easy to swim. It's fun to swim. All the boys like to swim, like to swim. No, no, not me. Water makes me shiver. I can swim. I don't want to. I don't want to swim because I get frightened. Now we'll go through these dark woods, Jerry. Nothing to be afraid of in the wood at night. Dark woods are friendly places. Here we go into the dark woods. Into the dark woods, into the dark woods. No, I get scared of the dark. There's a little teeny weeny garter snake. Now we make horse go fast to this good horse. Let's swim this afternoon. Swimming's fun. Swimming's lots of fun. We'll walk through the dark woods. The woods are friendly places. The woods are friendly. No, no, I'm afraid. I'm afraid. I'm scared. The shore is raining. Equinoctal rain. Equi, what's your order? Boy, look at it, will you? Yeah. Jerry's showing any progress, do you think? Poor fellow, he tried and tried all of us, but nothing seems to help. Dr. Grant, that psychiatrist, he's a try, but even he can't... Seems like we've tried everything. No, Henry, not everything. I began to think we started in the wrong way. There's one thing we haven't tried and maybe that's what we should have started with. In fact, I think the very next thing to do is... Hey, hey, emergency signal on the state radio. I'll get it. Bill here, okay, to go ahead, over. Bill, big trouble. The river has risen over the bottom lands, still rising. All inhabitants of the area evacuated except one house. A house in confluence of river and bitter crates. Hey, I know that house. I've... Parents and children are trying to rescue their two small children. Parents in hospital now. Children still marooned in house, surrounded by flood water. Need help. Urgent. Repeat. Urgent. Over. Okay, Cal, we'll get those children out, over and out. You heard all that, fellas? Now let's get ready, all of us. It's dark, we'll need flashlights. Ray Wolf, you get the horses ready. With all the flood water, we can't use the jeep. Henry, get several coils of rope. Stumpy, get heavy gloves and the snake bite kits. Those bottom lands flooded every bushel ever rattler or cottonmouth in it. Hey, Bill! What about Jerry? He'd better stay here. We'll be finding snakes and horses and water and darkness. He's afraid of all of them. Now, let Jerry stay here. No, Terry! I heard what you said. It's true. I am afraid of all those things. But I'm more afraid to stay here all by myself. So I'm going with you. Can't be very far now. Right around this bend, I think. It's hard to see or the dark. You all right, Jerry? I'm all right. Good. Water gets any deeper. The horses will have to swim. Hey, try not to let your horse press against those tree branches. Bell says... I know. The ground's rising. We're up on higher ground. It's almost right into Bill, the rest of them. Hey, what are we stopping for? This is as far as we can go with the horses. The mirror of the land dips down into the bottom. Hey, house over there. Hundred yards, maybe. Light and window of house. Children still there. Yeah! Look at them! Billows, a range in water! What are we going to do now, Bill? We'll inflate the life raft. Spread it out and get it ready, Grey Wolf. I know. And we'll each take poles or a paddle. Let the current take us down to the house. Once we get there, we'll get the two youngsters up. Then let the current take us to where we can touch solid ground again. That's a good idea. Rubber boat all spread out. All right. Puncture the compressed air capsule. I figure it'll take all of us polling and paddling to guide the boat. All of us, that is, except Stumpy Hugh and Grey Wolf and Henry, climb in and get set. All right.  You'll be back before too long. Jerry? Yes, Bill. All right, Bill. Good. I'll get in here. Everybody ready now? All right, Bill. Remember, keep aiming for the house. All right. I'll shovel. There. Now keep paddling and pulling all the time. See you later, Jerry. Just about halfway there. Hard to see in the dark. The good thing is, I left that lamp in the window. He could steer by it just dandy. I think we're just about in time, Bill. We're in coming down harder than ever. This old tree. Look out. Expert strong swim. I could make a go of it in this country. That rolls me out. Not water, animal. Swim okay, but I go swim good. You good swimmer, Bill. I was. When I got pitched out of that boat, I banged my arm somehow. I don't think it's broken. Right now it's numb. You're so quiet. Terrible. Can you hang on to the tree, okay, Bill? Oh, sure. It only takes one arm for that. I'm sure I'm not going to be any good for much else. At least hang on to the branches of this tree. There you go. Pass through the monkeys. Well, all right. Let's not help two little ones at house. Do we have those long ropes we board with this? I think they sank when that boat went down. Or else maybe we're not great. We're helpless. There isn't a single thing that we could do. Tree move a few inches. That fast current. It's gradually uprooting this tree. What are we going to do? Maybe she'll hold. Maybe she won't. The only thing we can do is... She doesn't even know we're in trouble. She's here. We're shown she's here for a second. What do you say? I know. I know, Henry. What do we do? Let's hang on. Oh, Jerry. But Jerry. I'll just hang on to a branch here.  Jerry! Don't worry about me. I suppose I should have told you. I can really swim okay. I got medals and junk to prove it. Now then, Bill. Here. I got a coil rope here. Turn around my waist. Just a second. There. It was tied to the palm of one of the saddles. Bill, pass the one end of this rope around me. Right below my arms. Great. Good. I know. Right. Now, what are you doing there? I'll pass this whole coil rope twice around this big branch. You finished the gray wolf? Not too tight. That's just right. You take the coil rope. As I swim toward the house, you pay it out gradually. In this current, we don't want to have too much slack. Jerry, are you sure that you can... I'm sure, Bill. I'm going to swim down to the house.   Okay? You ready, gray wolf? Yes, but I... Okay. Here I go. You'll be ready with the rope. Come on. There he goes. Rope a lot. Fast. Current taken fast. He's a good swimmer. Swim like Otter, the best I ever... Huh? Watch out! Rope goes slack. You've got to see what happened. Do you think he... Yeah. Jerry's signal. Two jerks on rope. Now I pull. Oh, which I could. Sam! I've got all that black water. Hey! I can see him! I can... Yeah! He pulled him, gray wolf! Pull him! It looks to be... Henry, Charlie. What? Here, Stumpy. Do you take the one? I'm sure we are! And I was cheated! Henry, you take the other one. Here. They're both okay. They're the best little kids I ever saw. Gray Wolf! Yeah, Jerry. Please listen. I'm going to swim to the shore. To the high ground where the horses are. What? I'll keep the rope around my waist. And when I get there, it's when I get on shore, I'll fasten my end of the rope to saddle horns of a couple of saddles. In the meantime, you tie yourselves to this end of the rope. I do. Then what, Jerry? When I give the signal, two jerks on the rope. Just like before. I'll start the horses, and we'll have you hauled out of here in about one minute flat. How do you know which way to swim? All I've got to do is keep upstream. Get shallow pretty soon. Besides, when the horses hear me, they'll whinny. I'll make it, Bill. You'll see. Jerry, I don't know how. We can never fight. Tom, I'll get my breath back. Here I go. A couple of shakes from a lamb's tail. Now there he goes. There he goes. The boy was afraid of everything. The boy we call the cow. What a best picnic I ever went to. I'm glad you'd come along, doctor. You want to go swimming with us later? Yeah. And Jerry's teaching me how to dive. Pah, is he good? I swim like a rock, but I'll go long. Jerry, how did all this happen? Well, one day I happened to find a book in Henry's bookcase. I just started reading it. It seemed like I just couldn't stop reading. I see. What was that book, Jerry? It's this book. It's right here. I carry with me all the time. My pocket. Here. The Bible? Yes, sir. The Bible has been used to change many young lives, even more radical changes than Jerry.   I hope you already know this. Well, see you next week for more adventure with...