Original subtitles

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.