All language subtitles for American.Pickers.S27E10.1080p.WEB.h264-EDITH_track3_[eng]

JERSEY JON: So listen to this,
Robbie. I got a website.

ROB: Yeah?
JERSEY JON: And I get a letter

from this woman. She's like,

"Oh, I really like the way you
do work." She likes furniture.

She's like saying all these
flattering things about me.

She's like, "Oh, I like how
you look," because I have some

photos of me in there,
you know? And she's like,

"I'd like to meet you,"
you know?

Here's the thing.

On the return address
on the envelope,

it's from a correctional
facility.

(laughing)

ROB: Jersey...

JERSEY JON: I'm getting
jail mail, dude.

(laughing)

(phone rings)

MIKE: Dani D, what's up?

DANIELLE: Mr. Wolfe.
MIKE: What's going on, man?

How's the weather back there?

I was talking to my sister
the other day.

She said it was
five degrees.

DANIELLE: Well, I have
the heater sitting under

my desk. And if I'm not
sweating, it's not hot enough.

MIKE: So what's this pick
you've been talking about

for the last few days
that's legendary?

DANIELLE: Alright, I'm gonna
send you to a guy who's got

movie props,
Western film stuff.

MIKE: Like Western stuff
from what time period?

DANIELLE: The golden age
of Hollywood, baby.

MIKE: Really?
DANIELLE: Yeah.

I mean, he's got costumes.
He's got wardrobes.

He's also got a few
monster things, too.

MIKE: Dang!
DANIELLE: On top of that,

he got his start with Elvis
back in the day.

This legendary pick
is somebody

you're gonna be familiar with.

MIKE: Are you talking
about Al Fleming?

DANIELLE: Bingo.

(laughing)
DANIELLE: The legendary

Al Fleming.

MIKE: Al was the guy

that we picked a few years back,

and he had an incredible story.

AL: I spent years
at MGM Studios.

I loved every minute of it.

MIKE: The guy worked
in Hollywood

when the Western was still
blowing up the box office.

He was a stunt man,
a special effects makeup artist,

and then got into wardrobe
making costumes.

The guy is a legend.

MIKE: No kidding, I'm going
to Al Fleming's today?

DANIELLE: Hey, Hollywood
loves a sequel.

MIKE: Oh, man!

DANIELLE: I mean, he's been
buying so much more.

MIKE: Really?
DANIELLE: Now he's into

an entirely new type
of collecting.

He's into World War II
memorabilia.

MIKE: Really?
DANIELLE: Yeah.

There's just
so much stuff there.

MIKE: Oh, my gosh. I can't wait
to see. He's such a great dude.

DANIELLE: He's stoked.
He's expecting you.

MIKE: Let him know
I'm excited to see him.

DANIELLE: You got it. Be safe.

MIKE: Talk to you soon.
DANIELLE: Bye.

MIKE: Oh man, this
is so cool. Oh my gosh.

(knocking)

MIKE: Oh, haha!

AL: Mike! How the hell are you,
buddy? Good to see you!

MIKE: It's so good to see you.

Look at it. I'm going to give
you one these anyway.

You know, Danielle
didn't tell me I was

coming here until today. I think
it's been like six years.

AL: When I first met Mike,
we had a lot of fun.

And I thought about the time
he and Frank were here.

I enjoyed it.
The guys were great.

FRANK: We found it!

AL: So I decided to let a few
things go,

and I don't feel bad about it.

MIKE: You've been buying
more or selling more?

AL: Both.

MIKE: I don't think is ever
gonna leave us, is it?

AL: Things are getting
harder to find, though.

MIKE: Oh, I know they are.

Hey, I gotta ask about
this stuff.

AL: Yeah, this is my Elkhorn
graveyard.

Originally what I
was going to do,

I was saving all these things,
I was gonna build

an Elkhorn chair,

and this last summer I got them
all laid out there

and figured
if I built a chair,

it's gonna weigh about three
or four hundred pounds

if this'll stay out here.

MIKE: This one's decent.

MIKE: Al worked in an industry

where they had to make something
out of nothing every single day.

You know so when you look
at his aesthetic

with this pile of antlers,

all of that is still
in his blood.

He wanted to make
something out of them.

That's what's great about him,
and he has an incredible eye.

MIKE: What are you
doing with these?

AL: Oh, gonna sell them to you.

(laughs)
Horn is fun to work with.

MIKE: The uses are endless
when it comes to these antlers.

I mean, you could mount them
just the way they are.

There could be jewelry made out
of them.

There could be lamps
made out of them.

All of a sudden, your home
becomes so much more worldly,

lodgey, more traveled.
All this stuff is timeless.

MIKE: 500 bucks.

AL: You got it.
MIKE: Alright, man

ROB: Alright, send us
the coordinates.

DANIELLE: Alright, have fun.

ROB: Dani's got a great lead
for us.

She's sending us to see Terry.

Terry was a racing promoter.

And once he retired,

he built himself
a complete general store

to house his collection.

ROB: Look what's behind
these houses.

JERSEY JON: I don't think you're
going the right way, dude.

ROB: This is the directions
it's taking me,

right here. Right there. See?

JERSEY JON: Oh, yeah, yeah,
yeah. Look at that place.

ROB: See? Look at that. Dude.

JERSEY JON: That's cool. Wow.

ROB: That looks like
a freaking general store

from back in the day.
JERSEY JON: Dry Pond,

Jot 'Em Down Store.
ROB: Check out that freaking

Nova sitting in the driveway.
Look at this place!

JERSEY JON: Hell yeah.

(laughs)
Nice car.

ROB: Yeah!
JERSEY JON: Damn.

ROB: You must be Terry.
TERRY: I'm Terry.

ROB: How are you doing?
Nice to see you.

You talk to Danielle
on the phone?

TERRY: Talked to Danielle
on the phone.

JERSEY JON: I'm Jon.
TERRY: You're Jon.

TERRY: Good to see you, Jon.
JERSEY JON: Nice to meet you.

ROB: Man, what's up
with the Nova?

TERRY: All original 1973.
It was my father's car.

ROB: '73? Yeah?
JERSEY JON: It's straight.
What motor it got?

TERRY: 305.
JERSEY JON: It's got the...

TERRY: He loves gas.

(laughing)
JERSEY JON: He loves gas?

ROB: Terry is my kind of guy.

He's got a 1970s Nova.

All original paint
with a V8 in it.

ROB: My buddy growing up had
one of these things.

All souped-up, big fat tires.

JERSEY JON: Let me ask you
this, is this car for sale?

TERRY: No one would ever pay

for what it would take
to buy it.

ROB: I had a hard time
selling something

that was my dad's too.
JERSEY JON: Yeah, exactly.

TERRY: Since it was my dad's,
there's a lot of sentimental

value to it. I'll probably keep
it the rest of my life.

ROB: So Dani said
you did racing promotions.

TERRY: I've been in that.

JERSEY JON: This is NASCAR
country, isn't it?

TERRY: NASCAR country.
Yes, it is.

JERSEY JON: Have you ever
had any big names?

TERRY: Dale Earnhardt one time.

JERSEY JON: You had
Dale Earnhardt?!

You were racing?
ROB: On your track?

TERRY: Yeah, on a dirt track.
TERRY: Dale Earnhardt

was Rookie of the Year. He raced
against the locals for me.

JERSEY JON: Dale Earnhardt.

TERRY: To define a promoter,
he's a gambler.

He puts an event together
and he gambles

that people show up
to pay the bills

as well as the profit.

Mainly it would be dirt track
racing cars.

I was the manager
of four different dirt tracks.

We would have twelve to fifteen
hundred people in attendance

and I was in love with it.

TERRY: I never had a desire
to drive a race car.

I had a desire to sell tickets.

(laughing)
JERSEY JON: Sure, sure. Right.

JERSEY JON: I love anything to
do with speed.

I'm a motorcycle guy.
I like mechanics.

I like the way things go fast.

It's so cool to go
to a big national race

that's on television,

but it's cooler to go
to a regional race

because it's guys who are local.

These are guys who are building
cars in their garage

that just want to get out there
on Saturday night

and have a good time
and show off their skills.

Dale Earnhardt started in
the dirt just like these guys.

TERRY: Alright, boys, let me
show you the shop here.

We have some racing things
in here.

ROB: Engines?
TERRY: Photos and so on.

JERSEY JON: Oh, man!

MIKE: What's going on
with this? What's this?

AL: I don't know for sure.
That came off

of Merle Haggard's
old railroad car

that he lived in back and forth
when he wasn't on the road.

MIKE: Really?
AL: But I don't know what

he said was a railroad,
I no idea what it was.

MIKE: CRC... So you knew him?
AL: Pretty well, yeah.

MIKE: Really?
AL: He and Buck Owens.

MIKE: What were those
guys like?

AL: Merle, we used to go over...

He had a place out in
the middle of nowhere.

And we'd take our muzzle-loading
rifles and teepees

out there and shoot
muzzle-loading rifles all day.

MIKE: No kidding, you guys would
just be camping out there?

So he'd bust out the guitar
around the fire?

AL: Yeah.
MIKE: Would he, really? Wow.

AL: He'd get a couple of drinks
and he bust out

all kinds of stuff
around the fire.

(Mike laughing)

MIKE: Al's out playing

Lonesome Dove with
Merle Haggard.

I mean, come on!
What a life this guy's had.

I mean, where do you find stuff
like this? Authentic.

MIKE: What do you value
that at? Would you sell that?

What are you thinking?
AL: You tell me.

MIKE: I don't know.
AL: I don't either.

MIKE: I don't know.
AL: Reasonable offer.

MIKE: 125!
AL: Sold!

MIKE: Alright.

AL: See how easy that was?
MIKE: That's so cool.

AL: Let's go inside.
It's getting cold out here.

MIKE: Alright.
I gotcha, I gotcha.

AL: Welcome to my abode.

MIKE: Oh yeah!
AL: My dirty abode.

MIKE: Dang, you do have
more in here, man.

AL: I look at the walls
and this is my life.

And it gives me a warm feeling.
I feel like

I've really accomplished
something in my life.

MIKE: Look at the energy
you exchanged with people on set

and all that. And the fact
that you weren't just on set,

you were creating things on set.

AL: That was fun for me.

MIKE: It's so cool
to walk around

and see all these
photographs on the walls

of all the people
that he worked with

and what they're saying
when they write something.

They all respected him.

He's got so much
to be proud of.

And I'm honored to walk through
this stuff with him.

MIKE: Man, what's this
movie poster right here?

AL: That came from a trash bin

at MGM Studios
back in the '60s.

MIKE: Really?
AL: It's hand painted on linen.

1928.

They had thrown it out.
I went, "That's pretty cool."

MIKE: No!
AL: I was a dumpster diver.

People thought I was crazy
dragging all this junk

out of the dumpsters.
I was going into

prop departments, looking
in the old musty corners

and dragging stuff out.
And they go,

"What do you want that
old crap for?"

To me, it was treasure,
just magical stuff.

I was a junk man.
(laughs)

MIKE: Is it the artwork
for the poster?

AL: No, this is the poster.

MIKE: But how would they
reproduce them then?

AL: That's the one
of the cards.

MIKE: Oh, that's it?
Oh, so this would have been

in a theater specifically
for Gary Cooper in Doomsday

with an all-star cast,

acclaimed, one of the greatest
movies ever made.

I've never seen one
painted like that. Wow.

AL: I just thought it was neat
because Coop was on it.

AL: I got to meet and work
with Gary Cooper a few years

before he passed away. I got
to sit down and talk to him.

As a kid, my heroes were
the Western movie stars

you see on the matinee
Saturday movies.

I mean, I couldn't imagine
meeting these people.

So to me, it's a fairy tale.

I mean, my whole life has been
one adventure after the next.

MIKE: Can I make you
an offer on it?

AL: Yeah, but I won't take it.

That's my favorite poster
for me.

You're making an awful
big hole in the wall.

AL: I put a note on it.
When I kick the bucket,

I'll have my kid call Mike
and I'll give it to him.

He'll own it one day.

MIKE: Alright, alright,
alright. Oh my gosh.

MIKE: Walking into Al's place
is overwhelming.

It's almost like
there was an earthquake

at the Smithsonian and most
of it ended up on Al's floor.

There's stuff everywhere.
There's Native American stuff.

There's World War I,
World War II, cowboy stuff,

jewelry, pottery.

I mean, he lives
in his collection.

And I'm that same way.

When you come in my house,

there's probably about two or
three different coffee tables.

Well, guess what?
You can't see the top of them

because there's a lot
of different things.

MIKE: I know you're into
World War II stuff.

What about any like patches
or anything like that?

AL: Yeah, I do have some
patches over here somewhere.

If I can find them.

MIKE: Dang, man.
AL: If you're lucky.

MIKE: Oh my god, are you
kidding me?

(laughs)
No way!

AL: See, I tried
to categorize this

as all airborne Army Air Force.

MIKE: Oh my god,
it's incredible.

AL: Most of this though
is World War II,

or latest, Korea.
MIKE: Whoa.

MIKE: Al is a collector's
collector.

He's got such elevated things

and such interesting
and historical pieces

that it's amazing to be
at his home here

at this time in his life
when he wants

to sell some of this stuff.

MIKE: What about that one?

AL: This is Flying Tigers

MIKE: This is that lighter
I bought off you. That's cool.

AL: This belonged
to a fighter pilot

that was a member
of the Flying Tigers.

MIKE: Okay. Wow.
AL: This is a China, Burma,
India sign.

His name was Stevenson.
$350 for it.

MIKE: Thank you. I love it.

MIKE: During World War II,
China was our ally.

The Flying Tigers were basically
American pilots

that were volunteers
that went to China

to fight against Japan
during World War II.

AL: And that's a nice hand
painted leather patch too.

MIKE: Yeah. Well, this would go
great with that lighter.

Would you take 200 for this one?

AL: If you talk to me nice.

(laughs)
MIKE: I love you, brother.

AL: Okay, no.
MIKE: I've got that lighter.

I've got it right
on my coffee table

right next to my incense burner.

So this would be cool.
AL: You're the only one

I would've sold that too.
MIKE: Oh my gosh. I love it.

This is going to go great
with it. Thank you.

AL: He's got the lighter.

He ought to have the patch

because it'd make a great
display on it.

It came from the same person.

So it's got a good home.
They're back together again.

JERSEY JON: A lot of photos
in here, man. Wow!

What's the guy, that a jet car
there or something?

What's going on with that?

TERRY: I think it's
Art Afron's, isn't it?

JERSEY JON: Well,
what the heck's he in?
He looks like he's...

TERRY: Bonneville.
JERSEY JON: He's on Bonneville.

TERRY: Bonneville.
JERSEY JON: That's a pretty
cool photo.

World land speed record,
the Green Monster. Wow.

You want to sell that photo?
TERRY: Yeah.

JERSEY JON: I care about
this photo

because it's salt flat racing.

The salt flats is where
some of the most amazing

speed records are attained
to this day

because it is a flat
piece of ground

salt that is dead flat
for miles and miles.

And you could run a vehicle
as fast as it could possibly go.

It's God's country
for racing, for speed.

JERSEY JON: 40 bucks?

TERRY: Alright.
JERSEY JON: 40?

TERRY: 40.
ROB: 40.

JERSEY JON: Thanks, buddy.

MIKE: This is cool.
How about this?

You know what that is,
don't you?

That's for incense.
You put incense.

AL: I think I'd like
to keep it.

MIKE: I burn incense every
morning while I'm reading.

AL: You do?
MIKE: Heck yeah, I do.

I do 40 push-ups,
burn some incense,

read my book,
drink nine cups of coffee,

and then start my day.
Sometimes 12.

AL: And you're wound tight.
MIKE: Oh, I'm already wound
tight.

What's up with this guy?
Who's that?

AL: That's a wax guy.
MIKE: He's got cowboy
look to him.

AL: Well, something funny.
I would go to buy an oddball

piece that I never bought before
and go,

"That's pretty neat."
So I branched out into things

that are interesting
or different

or just things
that I like looking at.

MIKE: How about this Indian?
AL: Probably $350 on that.

MIKE: $300.
AL: $345.

MIKE: Alright, I got you.
What about this, this inkwell?

AL: That's probably
from the 20s or 30s.

MIKE: This is an inkwell
that's been customized

for the gentleman
whose name is on it,

Jack Sinclair. Very cool,
very interesting item.

AL: And that's all
hand forged there.

MIKE: I see that.
What you thinking on that?

AL: Probably a buck and a half.
MIKE: Done.

And then what about these?
AL: Seoul, Korea.

MIKE: Yeah, '47 to '49.

MIKE: The skull and crossbones

on these patches are very crude,

but these are very cool.

AL: What do you think?
MIKE: For the set, 400 bucks.

AL: You got it.
MIKE: Thank you, man.

And then I saw these two, man.

What about the buffaloes?
Look at those.

Those were the ones
that on the bridle.

The Buffalo Bill Museum's
right behind my house.

AL: Oh.
MIKE: So I love anything
like that.

AL: Those are from
the 20s or 30s.

MIKE: Oh, they're amazing.
AL: Probably 150 on those.

MIKE: Alright, I'm doing it.
I'm gonna put those in my case.

AL: Here's what Hollywood did.

Instead of using
flintlock guns...

MIKE: Yeah?
AL: They took a trap door
Springfield,

which was a cap and ball,

where they could put
the blank in there.

MIKE: Oh, okay.
AL: And they made these big

brass hammers to go on it.

And so it could fire.
They didn't have to keep
loading them.

MIKE: Wow, that's cool.

So that was a prop
from the movie?

AL: Yeah. The Last Command
with Sterling Hayden.

MIKE: Well, where did
you get it at?

AL: From a prop man of mine.
MIKE: Would you sell this?

AL: Probably about $400.

MIKE: This is such a cool prop.

You know, this movie was based
on the Alamo battle.

I want to buy this thing.
I mean, this is a big deal.

MIKE: $350.

AL: It's yours.
MIKE: Alright,
thanks man. I love it.

AL: On those days it had
no value other than a prop.

To me it had a lot of value
because it was a real artifact

from this movie they were
gonna destroy. I saved it.

ROB: So Terry, was this
building here that you bought

someplace and relocated it
over here?

TERRY: No. I constructed it.
JERSEY JON: Oh, you built
this building?

TERRY: Built the building here.
JERSEY JON: It's cool.

TERRY: My love for the General
Store was I grew up

next door to my uncle's
General Store.

So I was somewhat
his adopted son.

And I probably spent
more time in the General Store

than I did at home.
And I got more education

from the people that were
at the General Store

than I did from the school
I started too.

Then I bought the Phillips 66
sign because my uncle's store

was a Phillips 66 station.

JERSEY JON: So what's
inside this building?

TERRY: It's full.
JERSEY JON: Oh my God, Robbie,
look at this. Oh man!

ROB: Wow.
JERSEY JON: Yeah!

Man, you got it packed in here.
ROB: Dude, you got ham cooking.

TERRY: If you're collecting
and you find something

that really appeals to you,
it sets you on fire.

JERSEY JON: Man...
TERRY: The general store

was the information place
of the community

in the 50s when I was a kid.

The farmers gathered
in there at night.

They played checkers.
They gossiped. And of course,

there was a lot of white liquor
drinking around there.

(laughs)

ROB: It's like stepping
back in time.

JERSEY JON: So you're really
passionate about doing this.

I mean, this took a long time.

This didn't happen overnight.
TERRY: It didn't
happen overnight.

ROB: Oh, heck no.

JERSEY JON: The general store
is bulging at the seams.

There's things that survive
in their original packaging.

There's still Moon Pies
in the wrappers.

It is packed like
Spam in a can.

All this stuff is extremely
well preserved.

I mean, this guy is taking it
to a different level.

JERSEY JON: Terry, this thing
is cool, man.

Davy Crockett, they're pins.
TERRY: They're pins.

JERSEY JON: Davy Crockett
was a frontiersman in the 1830s.

He was a real American hero.

He fought in the Alamo.

So anything Davy Crockett
is going to appeal

to a kid reading history books,
reading about frontier life.

And these pins is something
for a kid to really enjoy.

And they're on a nice display
with great graphics on it.

ROB: Check this thing out.
Just pulled it out of the case.

JERSEY JON: Whoa,
Hopalong Cassidy piece.

ROB: Doesn't have the top
to it, but that's in there.

JERSEY JON: Hopalong
Cassidy watch.

JERSEY JON: Hopalong Cassidy
was a fictional cowboy character

from the 30s to the 50s.

Playing on the romance
of the Old West,

Hopalong Cassidy is always
going to be collectible.

Here is a nice display
with a wristwatch.

It's intact, never been worn,
never been touched.

JERSEY JON: It's a juvenile
watch.

What's the group price for this?

TERRY: 150.
JERSEY JON: I was gonna go 125.

TERRY: 150.
JERSEY JON: 150?

TERRY: That Hopalong Cassidy
is a pretty popular thing.

JERSEY JON: 140.
TERRY: Alright.

JERSEY JON: Alright buddy,
thank you so much.

TERRY: Yes, sir.
JERSEY JON: Man,
this is amazing.

What a great opportunity
to come in here.

Really appreciate you
letting us do this.

You got some great stuff here.

AL: I don't think I showed you
this last time, Mike,

but this is another little
cove full of junk.

MIKE: Ooh.

AL: I collect a little bit
of everything.

I like cowboy and Indian,
old weapons,

older military items.

As a kid, I grew up on
a horse ranch in Florida,

and in those days, most
of the movies were westerns,

and my first heroes
were cowboys.

And as I got older, I just
thought it was wonderful

to have a piece
of the real thing

that I could relate back
to my childhood.

And I look at this stuff,
and I enjoy it.

MIKE: This is cool, man.
Here's more antlers.

Four full hides.

There's a lot of this stuff
in here.

You're keeping it
to make things.

AL: Well, see, I built
the costumes for the studio

for years.
MIKE: Yeah.

AL: So I've got boxes
of leather everywhere.

AL: When I was a kid, you know,
I was working in a small town

in Florida. Then Elvis Presley
came to town.

I ended up going
to Hollywood with Elvis.

From then, I've been everything
from an actor, stunt man,

prop maker, to making costumes.

Spent 57 years
in the film industry.

AL: I won an Emmy
for the costumes

on Magnificent Seven.

This was a TV series.
MIKE: Okay.

AL: Probably '86, '87.
MIKE: Wow.

AL: I made all the leather
costumes for that,

all the leather costumes
for the Wild Bill, Jeff Bridges.

MIKE: No kidding.
AL: It was all hand sewn,

was no machining.
MIKE: Wow.

AL: I went back and researched
Hickok,

his buckskin jackets
and all the things,

and made patterns to fit
Jeff Bridges

to actually look
just like Wild Bill.

MIKE: So you were basically
in a lot of these

big actors' and big actresses'
personal space.

AL: Oh yeah, yeah.

I don't know if you see that
old movie poster.

That's an old, I think,
a Roy Rogers poster up there.

MIKE: Look at that.
AL: Pretty bad condition.

MIKE: Roy Rogers Trigger,

the smartest horse
in the movies.

AL: Trigger!
MIKE: Did you ever
work with him?

AL: I knew Roy. We used to
shoot skeet and trap together.

MIKE: Really?
AL: I can tell you a funny story

about Roy Rogers.
If you look at all the old

Roy Rogers movies, there was
a guy called Black Jack O'Shea.

He played all the bad guys.
Well, he was Roy's buddy.

So when Jack retired, Roy bought
him a little shack

along the railroad tracks
down in Tarzana, California.

They started O'Shea's
Trash and Treasures,

which is an antique store.
MIKE: Oh! Really?

AL: So when I first came out
here I was doing stunt shows

on the weekends and I always
stopped by to see Jack

because a lot of the old
stuntmen were there,

all the old cowboys, we'd have
great stories, good whiskey.

MIKE: I can't even imagine.
AL: And so I kept asking Jack,

"I'd like to meet Roy."
He said, "When he comes down

next time I will call you."
So I get a phone call

and he says, "Get your ass
over here, Roy's here."

So I got my best cowboy outfit
over here, down there.

(Mike laughing)
AL: Walked into the little

shack. I'm going,
"Did he leave?" He goes,

"No, he's in the back room."
Says, "Come on."

So we open the back door,
Roy's laying on the bunk bed

back there drunk as a skunk,
just passed out.

AL: I said, oh (bleep).
Grabbed his feet,

we took him out to Jack's
old pickup truck

that had a mattress in the back,

put him in the back
of the pickup truck.

We drove him over to the ranch
and Dale and all the kids

came up. Years later
when I met him again, I said,

"You know, I met you years ago."
"You did?"

AL: He says, "Oh God,
don't tell anybody that story."

MIKE: Oh my God.

MIKE: Al found his passion

and had the opportunity
at the perfect time in his life

because he used to watch
these guys as a young man

in the movies and then
coming of age being able

to be in the industry
and still see them working.

How amazing is that?
Behind all of these guys,

there were so many people
behind the camera

working really hard
to create the scenes,

create the wardrobe,
do the makeup, the stunts,

all of that for the camera
and the light to shine on them.

There are no self-made men.

There's so many people
working so hard.

Al was one of those guys
for decades.

MIKE: What an honor to know
some of these guys.

That's beautiful, man.
What do value this at?

AL: 45 bucks.

MIKE: I was gonna
give you a 50.

AL: Okay, I'll do that.
MIKE: Alright.

(laughs)
Thank you, buddy. I love that.

AL: Roy was just a super nice
down-to-earth guy

and he loved to get out
with the guys and shoot guns

and tell stories,
and I loved every minute of it.

AL: How about
World War II jackets?

MIKE: Oh wow.
AL: And that one,

you can tell that's been
worn a lot.

MIKE: This is what I love
about Al's collection.

We're jumping from
the Wild West to World War II.

MIKE: Oh my god, yeah,
look at that patch.

MIKE: The jacket is standard
issue. The patch is not.

A lot of artwork like this,
or nose art,

was created by somebody
on the crew or on the base.

All of this stuff was inspired
by a brotherhood

that was spiritual. I mean,
when these guys left,

they had no idea if they were
gonna come back.

That kind of uncertainty

seeps into the fabric.

There are a lot of collectors
out there that care

about the condition
of the jacket.

I'm not that guy.

This is an incredible patch.

I'm buying this jacket
for this one patch.

MIKE: There's nothing
on the back.

So what are you
thinking on this? So basically,

what I'm buying here
is the coat.

You know, it's rough.
AL: It's strictly for display.

MIKE: Yeah. Oh, absolutely.
All this stuff I buy like this

is for display, but I've been
collecting it for a while now.

Like, I mean, what would you
want for this one

in this shape with this patch?

That's the patch. This one...
AL: The patch is where
the money's at.

MIKE: Yeah, this one's gone.
AL: Probably around 350.

MIKE: Yeah?

How about 300?

AL: That's fine.
MIKE: Okay. Thank you buddy.

AL: It's just sitting
out here in a box.

MIKE: Oh my God. I love it.
I love it. I appreciate it.

JERSEY JON: There's a lot
of stuff in here.

I mean, it's amazing how well
everything is preserved.

Look at this,
for example. I mean...

ROB: Dude, I remember buying
those when I was a kid.

JERSEY JON: Look at this,
Space Master paper kite.

JERSEY JON: This child's kite
blows me away.

It's from the 50s.
It's made out of tissue paper.

It has all the iconic
figures of the space age.

JERSEY JON: That is amazing
that it survived.

Because it's so delicate,
it's hard to display.

TERRY: Can you do 60?
JERSEY JON: Yeah, I'll do 60.

Yeah, thank you, man.
I appreciate--

I mean, this is so unusual.
ROB: Terry?

TERRY: Yes, sir.
ROB: Look at that, Jersey.
Monroe Scent.

JERSEY JON: Car fresheners.
ROB: 1954.

Cool thing is it's all intact.

And this is the greatest
fishing lure ever made.

ROB: The fact that these
are spinners,

that's my favorite kind.

Because these things,
fish just bite.

They don't make
stuff like this anymore.

ROB: 130 for the pair.
TERRY: Okay.

ROB: Alright.
Appreciate you. Thank you.

JERSEY JON: Thank you, Terry.
ROB: Terry, I'm looking

at using these lures.

JERSEY JON: What is up
with this?

TERRY: It's an anvil.
JERSEY JON: Yeah.

TERRY: But an anvil salesman,

that was his sample
he took around to show.

JERSEY JON: It's pop metal.
It's very lightweight.

JERSEY JON: I think it's more
of a decorative piece.

I think 30 bucks.
TERRY: $40.

JERSEY JON: $35.
TERRY: Sold

JERSEY JON: Alright, dude.
I like this. Alright, good.

So we're buying stuff.
I love it.

ROB: Look at that.
Harold's smoked sardines.

ROB: These sardine cans
were meant to look like

a book on a shelf,
but when you opened it up,

it had the sardine cans
displayed in this.

TERRY: I'd say that's
the 30s, wouldn't you?

ROB: Oh, at a minimum. $125.
TERRY: Let's go $150.

ROB: $130.
TERRY: Alright, sold.

ROB: That's a round number.
TERRY: Sold.

ROB: Alright. Takes a special
person to buy a sardine can.

You found the special person,
that's me.

TERRY: That's you.
ROB: Hey, Terry.

TERRY: Yes, sir.
ROB: You got this cabinet
back here.

Actually, I think I found
the automotive section.

There's clamps up here,
radiator clamp supports.

You'd be interested
in maybe selling this cabinet?

It says Purilator on it.
TERRY: I probably would.

ROB: Purilator was
an air filter company

that when you saw guys
on the NASCAR track,

that was the company that had
the air cleaner on their car.

This one is in great shape.

It's got the red, the yellow,
and the white, and it's perfect.

ROB: Looks like it's probably
from the late 50s, early 60s,

I would say. It looks like
it was probably

just for air filters.
It's got a bunch of oil filters

and stuff inside it.
I don't really want those,

but it's got great color on it,
that's for certain.

ROB: I don't care
what's inside it.

The cabinet is
the advertising piece.

ROB: Would you do 200 on it?

TERRY: Nah, I don't believe
I'd do that. I'd do three.

ROB: To find it in this
condition? Very unusual.

ROB: How about... Here,
I'll do this for you.

How about 300 and you throw in
the automobile clamp

thing up top?
TERRY: Three and a quarter.

ROB: I'll do that,
three and a quarter.

I could use that clamp piece
in my shop.

I'm always digging around
for a clamp or two.

TERRY: Some of those
are old-timey clamps too.

ROB: That's alright, though.
They got those cool

old school ones.
I like this stuff.

TERRY: Yeah,
it's the old school clamp.

ROB: Yeah, like 1940s.

MIKE: The whole collection
you have is museum quality.

AL: This is one
of Graham Greene's shirts

from Dances with Wolves.
MIKE: Really?

God, that's one
of my favorite movies, man.

AL: I got that directly
from Graham.

MIKE: No kidding.
So when actors are doing film,

is it unusual for them
to acquire things like that?

Like, how do they get
that stuff?

AL: You know, some of them,
like McQueen,

they always got
all the costumes they wore.

MIKE: So did you know McQueen?
AL: Yeah.

MIKE: No kidding.
Like, what was he like?

AL: I can tell you
a little secret story

if you want to hear it.
MIKE: I want to hear

any stories about Steve McQueen.

AL: Well, we were doing
a film called The Getaway.

Steve McQueen, Ali MacGraw,
Sam Peckinpah, director.

We were shooting
in San Marcos, Texas.

And I was doing special
effects makeup on the show.

And that first morning, he says,

"Hey Al, come along
and meet him."

MIKE: So you were going
to do Steve McQueen's makeup?

AL: Yeah. So I was all excited,
you know?

I go over there,
and he's in a motorhome.

He's got his entourage
that traveled with him.

And in the motorhome,
a lot of people know

he's got two little spotlights
over the kitchen table

that barely light it up.
MIKE: Yeah.

AL: He goes, "Go ahead
and start your makeup."

I said, "Steve, it's too dark
in here, I can't do it."

"I want you to do it now."
I said, "Well, it's a prosthetic

job where the bullet hit."

I said, "I can't do it
because there's no lighting.

If I make one mistake, we got
to start all over there."

So I said, "Come on over
across the walkway.

Makeup trailers over there,
we're all set up, do it."

And I started walking.
He grabbed me, he goes,

"I want you to do it now."
And I said, "Steve,

you got one more poke."

And he looked at his buddy,
they're laughing,

he went like that.

And I open-handed knocked
him on his ass.

MIKE: Oh, you just
smacked him down?

AL: Yeah, yeah.
He fell back into the booth.

MIKE: Yeah!
AL: And he said,

"You SOB, you're never
going to work again.

Your career's over!"
I didn't have a job

when I got this job,
so I'm walking over

and I'm packing my stuff away.

And Ali MacGraw comes in.

She goes,
"Al, what are you doing?!"

I said, "Steve just fired me,
so I'm packing all my crap

and I'm out of here."
She goes,

"You can't leave.
I want you here

to do my effects
when it comes up,

and I won't work
with anybody else."

And I said,
"Well, Steve fired me."

She says, "Don't go any place.

I'll be right back."

So she come back with
Sam Peckinpah, the director.

He goes, "Okay, she told me
the story."

He says, "I've been wanting
to hit that son of a bitch

since the first time I met him."

He says, "You're not fired,
stay here.

We'll fly somebody
in just to do Steve."

MIKE: Oh my gosh.
AL: So time progressed.

And every morning
I'd go to work,

I'd stop by and go,
"Morning, Mr. Steve McQueen.

How are you, Mr. McQueen?"
Just...

MIKE: You were egging him on?
AL: Yeah.

And I got to give him credit,
though. About halfway

through the film, he goes,
"I owe you an apology."

He says, "I was totally
out of line.

I was unprofessional. You did
what you're supposed to do."

And he said,
"Will you shake my hand?"

I said, sure, sure.
We became friends after that.

MIKE: Really?
AL: I rode Baja with him

and everything. He's a good guy.
MIKE: Oh my gosh.

AL: He's a real good guy.

AL: I gotta give him credit.

He manned up and apologized.

So I respect the man totally.

MIKE: This is what happens
when you ask a stuntman

to be a makeup artist.
I mean, it's just insane.

But it's so cool that he held
his ground. He went toe to toe.

I'm in the presence
of greatness.

He's a man's man.
He's a woman's man.

He's a dog's man.

He's everything a man
should be and more.

JERSEY JON: Pretty amazing
history here.

ROB: Look at that one.
TERRY: Here's some photos

from donkey basketball.
JERSEY JON: Donkey basketball?

TERRY: Yeah. I got the book
in donkey basketball.

JERSEY JON: So guys
riding donkeys...

TERRY: Ride donkeys.
JERSEY JON: And try to make
baskets.

I think I remember this
in high school.

They came to my school one year.

TERRY: And I booked 200
one night events

in 14 different states.

TERRY: What is Donkeyball?

You have eight donkeys,

four donkeys at each end
of the court, two teams,

and they have to be riding
the donkey when shooting,

but the donkeys are trained
to throw them off,

chase them, bite them.

It was a fundraiser
for the schools.

Usually, one of the teams
had to be made up

of the teachers,
and kids would buy a ticket

to see the teacher thrown
from the donkey,

and a lot of times,
the principal would be

what was referred to
as the pooper-scooper,

if the donkeys
had an accident on the floor.

They'd pack the gym out
every night.

ROB: So I gotta ask a question,
because I collect photographs.

TERRY: Oh, you do?
ROB: I got a lot of,

I probably have
8,000 photographs of things

that intrigue me.
Would you be interested

in selling one
of your donkey pictures?

TERRY: Well, you're getting
pretty personal now.

ROB: I know.
TERRY: That makes it
very expensive.

(laughing)
ROB: I know. I get it.

I get it. But it's just a cool
story to tell. I love that.

TERRY: I don't know.
What kind of value

would you place on that?

ROB: $100 bucks.

TERRY: Sold.
ROB: There you go.

JERSEY JON: That wasn't
too hard.

TERRY: Let me tell you
the name of the donkey.

JERSEY JON: You know
the names of the donkeys?

TERRY: Oh yeah.

MIKE: What's the deal
with the Oscar?

What's the deal with that?

Ah. Oh my god,
that's got some weight to it.

AL: Okay, in 1928,

they were trying to get a design
for an award to give to actors.

Well, this is one
of the prototypes, the Oscar.

MIKE: This is the prototype
for the Oscar?

AL: Yeah.

MIKE: Who has a prototype

Oscar in their house?

And on top of that,
slapped Steve McQueen

to the ground? Al Flemming!

MIKE: Whoa.

AL: The woman gave that to me
as a joke.

She says, "Hahaha,
you want an Oscar?"

I went, "Yes." I said,
"I'll never win one."

(Mike laughing)
AL: And she goes,

"Here, you can have this."
And I never realized

it was until I started
screwing around with it

and saw that scratching
on the bottom of it.

MIKE: Base style,
RS number two,

November 27th, '28.

What do you value that at?

AL: That actually should go
to the Hollywood Museum

down there, really.
Because it's something

that should stay
within Hollywood, I think.

MIKE: For sure. Look at that.
Oh my gosh.

What a piece of history!
AL: That is a piece of history.

ROB: So I gotta ask...

there's a couple signs.
I'm a huge advertising guy.

The one I like the most
is the Borden's.

JERSEY JON: Yeah,
it's embossed too, Robbie.

ROB: Yeah,
that's why I like it.

TERRY: When it has animal
on it,

makes it more valuable,
doesn't it?

ROB: 100%.
JERSEY JON: Yeah.

ROB: We talk about buying
character signs all the time.

The better the character,
the more valuable the piece.

ROB: That's painted metal,
not porcelain.

TERRY: This sign,
actual value-wise,

what would it be, $500?

ROB: I think it's got a value
of about $800 to $900.

TERRY: $800 to $900?
ROB: Yeah.

I'd be a player at $600.

TERRY: I believe I'll hang on
to it. That's a good offer.

ROB: You gotta
step up to the plate.

JERSEY JON: Right.
We're here to buy.

TERRY: If I was to sell
something off of the side

of the store, it'd leave a hole,
so to speak.

ROB: What about this Gillette
tire sign on the other side?

It's got polar bear on it,
right here.

It's got a big whammy
right on the bear.

TERRY: I probably
let that one go.

TERRY: Being on the rear
end of the store,

it's not as visible.

ROB: That's an embossed one,
but it's got a great look.

ROB: The Gillette tire sign
that's on the back.

It's got a polar bear on it,

and it's not the greatest shape.

But it's a good piece.

JERSEY JON: Little rough
here, Robbie.

ROB: That's rougher
than a corn cob, isn't it?

JERSEY JON: 1972.
ROB: '72, yeah.

Would you do, uh, $325?

TERRY: I'd like
to start about 5.

ROB: Yeah.
JERSEY JON: Oof.

ROB: It's tough
and it's a '70 sign.

TERRY: Yeah, I know
that and it's not perfect.

ROB: Yeah.
TERRY: Would you go 4?

ROB: 375.

TERRY: I'd like to have 4
out of it.

I just never did like
odd numbers like that.

I like those even numbers.

TERRY: I wouldn't have sold it
had it been off of the side

of the store, but I was
satisfied price-wise.

JERSEY JON: Terry.
TERRY: Yes, sir.

JERSEY JON: Look at this.
It's got like the clothing

department here. Look at these
Lee jeans, size 29 by 31.

That's for somebody
really small.

Pointer brand jeans,
34 waist. There you go.

Here's kids' jeans.
Mavericks, DC brand.

All this stuff is made
in the USA, too.

TERRY: Oh, yeah.
JERSEY JON: This is dead
stock denim.

Unused inventory from the 70s,

some maybe even to the 60s.
You rarely see that.

JERSEY JON: You've got other
ones up here, too.

These are overalls.
TERRY: Red Camel.

JERSEY JON: Brand new,
old stock.

JERSEY JON: You got another set
up there, too.

These are Oshkosh 28 by 33.

Here's another set of Lee. Yeah.

JERSEY JON: I love denim.

JERSEY JON: I didn't
see these. Whoa.

JERSEY JON: What really
intrigues me whenever I see

any work wear or denim

is that designers
who are making clothing

use vintage products
to inspire them

to make their denim.

JERSEY JON: Let me make
you an offer.

One, two, three,

four pairs of overalls
right there.

TERRY: Overalls are what,
$50 a pair today?

JERSEY JON: Ah, well,
because they're kids sizes,

gonna be hard to get that kind
of money for them.

One, two, three, four, five.

I'm thinking like 225.

TERRY: Make it 250,
take them with you.

JERSEY JON: 250?
TERRY: Yeah.

JERSEY JON: You know what?
I'm not gonna argue
with you, buddy.

Thank you so much, man.
I really appreciate it.

JERSEY JON: Woo!
There's so much stuff here.

I mean look at this axe,

Estwing, embossed leather case.
It's brand new.

JERSEY JON: The Estwing company
makes a high-quality product.

They have a beautiful way
they use a forged handle

that incorporates the head.
It's very strong.

JERSEY JON: Then I found
this piece.

Carborundum is a store display
advertising thing

for a sharpening stone.

TERRY: People come in
and sharpen their knives.

JERSEY JON: Yep. This is used.

TERRY: $75 for both of them.

JERSEY JON: 65 bucks.
TERRY: Alright, sold.

JERSEY JON: Alright, I'm not
done with you yet. I love this.

TERRY: Oh, the kiddy boots.
JERSEY JON: Yeah!

TERRY: That's got to have
some age to them.

JERSEY JON: Oh, that is
so neat.

Look at it. Play boots,
adjustable straps.

So they're plastic boots.

JERSEY JON: The cowboy boot
display is so cool

because they're kids'
cowboy boots.

I mean,
they're just adorable.

JERSEY JON: It's been patched
up a little bit with some tape,

but it's still there.
TERRY: I believe about $50.

JERSEY JON: You think
about 50 bucks?
TERRY: Yeah.

JERSEY JON: You know what?
That's exactly what

I was thinking, too. Alright,
buddy. Thank you so much.

Very, very good.
ROB: Check these things out.

JERSEY JON: Ah, cool.
That display is nice!

ROB: I know.

ROB: When I walked into
a general store

when I was a kid,
it was all about the soda,

the lollipops,
and the pocket knives.

ROB: There's another one.
JERSEY JON: That is great.

ROB: When I was seven years old,

my dad gave me a pocket knife.

It was a rite of passage.

It just takes you back
to a time.

When I see these pocket knives,
I think about my grandkids.

I think about my children.

JERSEY JON: Is it broken
on top, Rob?

ROB: Yeah, this piece
got broke.

JERSEY JON: You missing
one knife?

TERRY: I wouldn't take less
than $300 for both of them.

ROB: $250.
TERRY: I'd go 3.

That Barlow, you wouldn't find
a complete display like that.

ROB: Shake the man's hand.
JERSEY JON: Ah.

Yeah, we got to get them.
They're nice, man.

You're right. The Barlow
display is awesome.

JERSEY JON: It's pretty amazing
this stuff survived.

It's just another example
of how well

Terry preserved everything
in here.

And this is just a testament
to Terry's ambitious project.

ROB: Terry,
what a heck of a day.

JERSEY JON: He put this
beautiful general store

all together
in a wonderful building

to help preserve history.
It's an amazing accomplishment.

ROB: Appreciate you, my friend.
TERRY: Appreciate
you coming by.

JERSEY JON: Nice meeting you,
my friend.

TERRY: Yes, sir.

TERRY: I have never sold
anything until today.

When they complimented me
on the condition

of the various items,

it certainly made me feel good.

And it was a very
enjoyable experience.

(honking)
ROB: Come see us in LeClaire!

AL: I've got a cowgirl
collection over here.

MIKE: Let me see that.
What's going on with that?

Put it over here. I think
this is the only spot

in the house where
we can look at stuff.

AL: It's a very historical
rodeo thing.

One of the ladies
who actually started

the women's rodeo in the 1880s.

This is her entire collection.
She was the lady

that started
the Rodeo Cowgirls Association

back in the 1920s.
This is her scrapbooks.

MIKE: Wow.

AL: Newspaper clippings,
first-edition books.

MIKE: Oh, this is her right
here? Bertha Blancett.

AL: She was actually the first
lady in rodeo to ride a Bronco.

MIKE: To professionally
ride in a rodeo?

AL: To professionally
ride in, yeah.

MIKE: Wow!
AL: And that was unheard
of in those days.

MIKE: Oh my gosh, absolutely.
AL: So she was a tough old gal.

MIKE: Wow, look at all this.

Where'd you get this stuff at?

AL: A guy bought
a storage unit.

This was in it.
And he called me and said,

"You buy cowboys stuff,
do you buy photographs?"

MIKE: Wow, these are so great.

You know where I went to
and it was the most

badass thing, man?

You been to the cowgirl
hall of fame?

AL: Yeah.
MIKE: Did you all those outfits
in there?

Did you see Annie Oakley's
in there?

AL: Yeah.

MIKE: My daughter Charlie and I

went to the Cowgirl Hall of Fame

in Fort Worth, Texas,
a couple years ago.

It was a place
my daughter wanted to visit.

It was on her list.

And I remember seeing

some of Bertha Blancett's
things in there.

MIKE: Dang, this is incredible.

And there's so much history
here.

MIKE: Women like
Bertha Blanchett

forged the path,

struck the iron
for so many others.

If you're a woman in riding
and rodeo right now,

Betha Blancett's history
is part of your history.

So it's so wild to see a box

of all these personal images
of hers.

AL: A lot of these things
are other ladies

that were in the rodeos
and were friends of hers.

Look at them jumping
over that car.

MIKE: Oh my gosh.

AL: These were the gals
that went out there

and busted their tail
and had to prove themselves

to the old tough cowboys
that they were worthy

of going out there
and becoming rodeo stars.

MIKE: Yeah. Exactly.

It is interesting that a lot
of these photos

have the names
of the people in the photos.

AL: Yeah, and some of them
have it on the back

if they don't have it
on the front also.

AL: It's just good
early stuff about rodeos.

MIKE: So what are you going
to do with all this stuff?

I'd be interested in this.
Are you interested
in selling this?

AL: I was going to try
to get it to somebody.

Probably you'd be a good one
to get it,

because I thought it
should be kept together.

MIKE: Absolutely.
AL: Because this is

the beginning
of certain rodeoing.

MIKE: Well, absolutely.
And I think also, too,

I look at it, the images and how
personal a lot of the stuff is.

To me, it'd be an amazing book.

You know what I mean?
Do the research.

AL: I'm too old to be taking
on a project like this.

MIKE: Yeah.
AL: But it has to be done

because I've never found
a complete archive

of early cowboy stuff
that hasn't been published.

MIKE: Absolutely. What are you
thinking on this stuff?

AL: To you, I'd go $1,000 on it.

I think that's a good price.

MIKE: I think it is too,
and I think there's

a responsibility that comes
with it.

I'm game for it.
I'm up for the task.

AL: Okay.
MIKE: I truly am.

AL: We're saving a piece
of history that otherwise

would probably be thrown out,
burned, lost.

MIKE: Absolutely.

AL: Any of this stuff,
I feel like I'm preserving

the history of it
for whoever comes next.

And it's a hell of a book.

I look forward to see
what he does with it.

MIKE: Well, you've got me
excited about it.

AL: Good.
MIKE: This needs to be
moved forward.

I want to be the guy that
puts it in its right place.

So whether that's
the Cowgirl Hall of Fame,

or connecting it with maybe
a family member,

I understand
the responsibility of owning it.

MIKE: Alright, we got
the rest of the antlers.

MIKE: This is one of the things
I love about my job,

you know,
circling back with guys

that over the years
have become my mentor.

You know, every time I come
to Al's house,

I want to stay there
for a month.

You know, it's like
I just want to be an apprentice.

I'm such a sponge.
And he's just

got so much knowledge,
and I love that about him.

If his stuff
is going to go somewhere,

he wants to choose where,

and I'm honored he chose me.

MIKE: You have got such
an incredible eye.

Thanks for sharing
your stories with me.

AL: Great seeing you, Mike
MIKE: Oh my God,

I love spending time with you.
AL: Come by any time.

MIKE: The next time I come
through, I'm gonna crash here.

The last time we met,

I've thought about you
so many times since then.

AL: Mike Wolfe is welcome
at my house any time of the day,

like a brother, because I feel
a connection between Mike and I.

And I think we could have a lot
of fun

BSing each other about
adventures in collecting,

and learn a lot
from each other.

So I hope he stops by
as often as he can.

MIKE: See you down
the trail, buddy!

AL: Have a good one,
Mike. Be safe.