Original subtitles

Narrator: IT'S BEEN 100 YEARS SINCE THE FIRST POWERED FLIGHT.

WE WALKED ON THE MOON...

Neil Armstrong: THAT'S ONE SMALL STEP FOR MAN,

ONE GIANT LEAP FOR MANKIND.

Narrator: REVOLUTIONIZED TRAVEL...

AND WARFARE.

THE STORY OF FLIGHT IS SO FRESH...

Man: WE HAVE LIFTOFF...

Narrator: EVERY OBJECT IS A WITNESS TO HISTORY.

AT ONE OF THE BUSIEST MUSEUMS IN THE WORLD,

THEY AIM TO KEEP THAT HISTORY ALIVE.

Woman: WE'RE CONTRIBUTING TO THE HISTORY

AND CONTRIBUTING TO THE FUTURE AS WELL.

Narrator: FOR THOSE WHO COLLECT...

Man: LOOKS LIKE I HAVE AN OVERCOAT

FROM THE ROYAL AIR FORCE HERE.

Man: GO, GO, GO!

Narrator: TRANSPORT...

Man: IT'S THE WIDEST THING I'VE EVER MOVED.

Narrator: AND PRESERVE ITS THOUSANDS OF TREASURES.

Man: WE HAVE VERY LITTLE TIME TO DO A GREAT DEAL OF THINGS.

Narrator: KEEPING COOL UNDER PRESSURE

IS A JOB REQUIREMENT.

[CLANG]

Man: WHAT WAS THAT?

IT JUST GOT REAL EASY ALL OF A SUDDEN!

Samantha: MY NAME IS SAMANTHA SNELL.

I'M A COLLECTIONS PROJECT SPECIALIST

HERE AT THE NATIONAL AIR AND SPACE MUSEUM.

Narrator: SAMANTHA SNELL MAY NOT HAVE A FANCY TITLE,

BUT SHE HAS A BIG JOB.

SHE'S A GUARDIAN OF OUR NATION'S TREASURES,

HELPING TO OVERSEE 70,000 OBJECTS AND COUNTING.

Samantha: EVERYTHING THAT WE HAVE IN THE AIR AND SPACE MUSEUM

HAS SOME KIND OF STORY.

WE'RE HERE AS CARETAKERS

ON A DAILY BASIS FOR THESE ARTIFACTS,

BUT WE NEED TO PRESERVE THEM AND DO OUR BEST FOR THEIR LONGEVITY,

SO THAT THE AMERICAN PEOPLE CAN COME AND ENJOY IT.

Narrator: TODAY SAM'S AT THE PAUL E. GARBER STORAGE FACILITY

IN SUITLAND, MARYLAND.

SHE AND A TEAM OF SPECIALISTS

ARE LOADING UP A VIETNAM ERA F-100 FIGHTER JET.

IT'S SCHEDULED TO BE OUT ON DISPLAY IN THREE MONTHS' TIME.

Anthony: IT'S GOT TO COME UP ABOUT FOUR FEET.

JOHN, COME UP.

Narrator: CREW CHIEF JOHN SHATZ AND COMPANY

HAVE TAKEN THE FORMER FIGHTER JET OUT OF STORAGE

AND BROKEN IT DOWN INTO THREE SEGMENTS FOR TRANSPORT.

Samantha: ALRIGHT, LOCK IT UP THERE, I THINK WERE GOOD.

Narrator: FIRST UP, THE 9,000-POUND FUSELAGE.

IT'S THE CORE OF AN AIRCRAFT

THAT IN ITS DAY PACKED AN UNPRECEDENTED WALLOP.

THE F-100 SUPER SABRE WAS THE FIRST SUPERSONIC FIGHTER.

OTHER AIRCRAFT HAD EXCEEDED THE SPEED OF SOUND ON A DIVE,

BUT ONLY THE F-100 HAD THE MUSCLE

TO DO IT IN LEVEL FLIGHT.

THE HEIGHT OF THEIR SERVICE WAS DURING THE VIETNAM WAR.

IN 1969, HUNDREDS OF F-100s WERE OPERATING

FROM SOUTH VIETNAM BASES.

THAT'S WHERE JOHN SHATZ FIRST WORKED WITH THEM.

John: SPENT 20 YEARS IN THE AIR FORCE.

SIX AND A HALF OF THAT, ALMOST SEVEN, WAS ENLISTED,

AIRCRAFT MAINTENANCE ON THE F-100 PREDOMINANTLY.

Anthony: BACK OFF JUST A LITTLE BIT. I NEED TO SQUARE YOU UP.

Robert: WE'RE VERY FORTUNATE IN THAT JOHN SHATZ,

THE LEAD RESTORATION TECHNICIAN ON IT,

WAS A CREW CHIEF ON F-100s,

SO THERE IS NOBODY ON THIS PLANET

THAT KNOWS MORE ABOUT AN F-100 THAN JOHN, SO THAT'S PERFECT.

Narrator: THIS PLANE HAS SEEN IT ALL.

DURING THE VIETNAM WAR IT SPENT THREE YEARS AT BIEN HOA,

A MAJOR U.S. AIR BASE 20 MILES OUTSIDE SAIGON

AND THE FIRST TARGET

OF NORTH VIETNAM'S 1968 TET OFFENSIVE.

THESE HIGH PERFORMANCE FIGHTERS

EARNED THEIR STRIPES IN BATTLE...

BUT ALSO REQUIRED A LOT OF CARE BETWEEN MISSIONS.

John: I DON'T KNOW, IT WAS KIND OF A LOVE AFFAIR

WITH THE AIRPLANE,

ALTHOUGH IT CAN BE DOGGY

WITH SOME OF THE MAINTENANCE THAT YOU DO ON IT.

Narrator: THE F-100'S GLORY DAYS MAY BE OVER,

BUT IT HASN'T BEEN FORGOTTEN.

IT'S HEADED FOR A NEW ARENA, AND ONE WITH A SIZABLE FAN BASE.

EACH YEAR SOME SEVEN MILLION PEOPLE

VISIT THE ICONIC NATIONAL AIR AND SPACE MUSEUM

IN DOWNTOWN WASHINGTON...

Child: HOW DID THAT ONE GET UP?

Narrator: ...AND THE NEWEST MEMBER OF THE AVIATION FAMILY,

THE STEVEN F. UDVAR-HAZY CENTER IN SUBURBAN VIRGINIA.

TODAY'S DESTINATION FOR THE OVERSIZED ARTIFACT

IS THE UDVAR-HAZY CENTER'S

STATE-OF-THE-ART RESTORATION FACILITY,

40 MILES AWAY.

AND THE MAN WHO'S JOB IT IS TO GET IT THERE SAFELY,

MUSEUM SPECIALIST ANTHONY WALLACE.

Anthony: I WAS ALWAYS INTERESTED IN AVIATION SINCE I WAS A CHILD.

Man on radio: STAND ON IT.

Man: STAND ON IT. I GOT TO WATCH THIS TRUCK.

Anthony: AND WHEN I WAS IN COLLEGE I CONDUCTED AN INTERNSHIP

DOWN AT THE AIR AND SPACE MUSEUM DOWNTOWN

IN THE CURATORIAL DEPARTMENT.

BUT CAME OUT HERE TO GARBER ONE DAY TO WORK

AND KNEW THAT THIS WAS WHERE I WANTED TO WORK.

Narrator: ANTHONY'S BEEN PLANNING THE TRIP FOR WEEKS.

HE HAS TO.

HE'S NOT SIMPLY HAULING A HEAVY LOAD.

HE'S TRANSPORTING A PIECE OF HISTORY.

Anthony: WE ARE USING THE DROP CENTER,

WHICH IS THIS GUY RIGHT HERE,

WHICH HELPS US WITH TALLER LOADS

LIKE THE ONE WE HAVE ON THE TRUCK RIGHT NOW.

Man on radio: DO WE NEED TO GO LEFT?

GO LEFT.

Carl: STAND BY.

Samantha: EVERYTHING THAT COMES TO US,

ONCE IT CROSSES THROUGH OUR THRESHOLD,

IT IS NO LONGER A WORKING PIECE OF EQUIPMENT, IT IS AN ARTIFACT.

AND ONCE IT COMES THROUGH OUR DOORS

WE ARE NOT GOING TO BE TREATING IT

LIKE YOU CAN STILL TAKE IT OUT FOR A RIDE.

Narrator: ANTHONY HAS TO CONTEND WITH THE 200,000 CARS

THAT CLOG THE CAPITAL BELTWAY EACH DAY.

[HONKS HORN]

Carl: I'M SORRY, YOU AIN'T GETTING NEAR MY AIRPLANE.

Anthony: ONE OF MY MAIN CONCERNS ALWAYS MOVING STUFF AROUND HERE

IS OTHER PEOPLE ON THE ROAD.

Carl: PHEW! GOOD JOB.

Anthony: I KNOW WHAT I'M GOING TO DO AND WHAT I WANT TO DO.

I DON'T KNOW WHAT THEY WANT TO DO

OR WHAT THEY'RE GOING TO DO.

Man: GOT THE FLASHERS ON, SLOWING DOWN.

Man on radio: OUR EXIT.

Man: GOT IT.

Man on radio: WE'RE GOOD.

[BUZZER]

Narrator: UDVAR-HAZY'S RESTORATION FACILITY

WILL BE THE CREW'S HOME FOR THE NEXT TWO MONTHS

WHILE THEY REASSEMBLE THE F-100.

THE GLOSSY SHOP IS A FAR CRY

FROM THE EARLY DAYS OF THE MUSEUM.

IT STANDS AS A TESTAMENT TO THE VISION AND TENACITY

OF THE MUSEUM'S FIRST CURATOR, PAUL GARBER.

Robert: PAUL GARBER CREATED THE AIR AND SPACE MUSEUM,

PLAIN AND SIMPLE.

HE LOVED AIRPLANES AND AVIATION,

AND HE ALSO REALIZED THAT THIS BRAND NEW TECHNOLOGY

WAS GOING TO BE EXTREMELY IMPORTANT,

BUT NO ONE WAS ATTEMPTING TO PRESERVE IT.

Narrator: SOON AFTER WORLD WAR II

GARBER BEGAN COLLECTING AT A FEVERISH PACE.

HE HAD THE VISION AND HE HAD THE WILL.

WHAT HE DIDN'T HAVE WAS THE MONEY.

HE MANAGED TO SECURE 21 ACRES OF LAND

IN SILVER HILL, MARYLAND.

HE PICKED UP THE BUILDINGS FROM MILITARY SURPLUS.

HE GOT LOCAL CONCRETE TRUCKS TO POUR THE BUILDING PADS

WITH THEIR JOBSITE LEFTOVERS.

Robert: HE WAS A SCROUNGER.

HE CALLED IN FAVORS, AND I'LL GUARANTEE IT,

ALL THE REALLY, REALLY IMPORTANT STUFF HE GOT.

Narrator: AMONG GARBER'S PRIZES:

THE ORIGINAL WRIGHT BROTHERS 1903 FLYER,

CHARLES LINDBERGH'S RECORD-BREAKING

SPIRIT OF ST. LOUIS,

AND THE B-29 SUPERFORTRESS BOMBER ENOLA GAY,

THE FIRST AIRCRAFT TO DROP AN ATOMIC BOMB.

FOR THESE ICONS OF HISTORY,

THE FIRST STOP ON THE ROAD TO PERMANENT CELEBRITY

WAS THE MYSTERIOUS CLUSTER OF PASTEL BUILDINGS

IN SUITLAND, MARYLAND.

AL BACHMEIER WAS A LOCAL MOTORHEAD

WHEN PAUL GARBER HIRED HIM IN 1971.

Al: I WAS HIRED AS A WELDER,

BUT I WORKED FOR THE COLLECTIONS DEPARTMENT HERE

AT THE TIME.

THIS WAS A CARDEX SYSTEM.

I DECIDED THAT COLLECTIONS IS PROBABLY WHERE I WANTED TO BE.

Narrator: AL WORKED WITH GARBER FOR 40 YEARS

DOCUMENTING AND STORING ARTIFACTS.

Al: HE WAS A HARDCORE-TYPE COLLECTOR.

HE DIDN'T TURN ANYTHING DOWN

BECAUSE HE KNEW THAT HE MAY NOT GET ANOTHER CHANCE FOR IT,

THAT IF IT WAS OFFERED TO HIM, HE'D FIND A PLACE TO PUT IT.

BUT IN THOSE EARLY DAYS

LITTLE WAS KNOWN ABOUT ARTIFACT STORAGE AND CONSERVATION.

IN THE MEANTIME THE COLLECTION CONTINUED TO GROW.

NOW, OVER 60 YEARS LATER,

40,000 OBJECTS ARE STILL AT THE PAUL E. GARBER FACILITY.

AND THE RETROFITTED SURPLUS BUILDINGS

ARE BURSTING AT THE SEAMS.

Samantha: THE GARBER FACILITY IS VERY CHALLENGING

TO HAVE PROPER ARTIFACT STORAGE.

I MEAN, WHEN PAUL GARBER GOT THE LAND FOR THE GARBER FACILITY,

HE WAS ALREADY COLLECTING,

SO SO MANY THINGS HAD TO LIVE OUTSIDE FOR A LONG TIME

UNDER TARPS AND WHATEVER ELSE, WHATEVER HE COULD DO.

BUT AT LEAST HE HAD THE ARTIFACTS,

AT LEAST THEY WERE BEING COLLECTED.

WE'VE KNOWN FOR YEARS

THAT WE NEED TO GET OUT OF THE GARBER FACILITY

BECAUSE THE BUILDINGS HAVE OUTLIVED THEIR LIVES.

IT IS TIME, WE ARE PAST OUR TIME,

WE HAVE GOT TO GET OUT.

Narrator: TODAY THE AIR AND SPACE MUSEUM'S THREE LOCATIONS

HOUSE OVER 70,000 OBJECTS.

AND WITH THE GARBER AND DOWNTOWN BUILDINGS PACKED,

IT'S UP TO THE HAZY CENTER'S THREE ENORMOUS HANGARS

TO HELP MAKE THE GROWING COLLECTION

AVAILABLE TO THE PUBLIC.

Samantha: ALL THE ARTIFACTS

WE WERE NEVER ABLE TO DISPLAY DOWNTOWN BECAUSE OF THEIR SIZE

WE'RE ABLE TO DISPLAY HERE.

AND WE CAN STORE THE ARTIFACTS PROPERLY OUT HERE AS WELL.

Narrator: THE UDVAR-HAZY CENTER

HAS OVER 58,000 SQUARE FEET DEDICATED TO STORAGE.

THE TEAM'S MASTER PLAN MUST ACCOUNT FOR A WIDE RANGE

OF SPECIAL-NEEDS OBJECTS.

EVERYTHING REQUIRES PROPER HANDLING.

HARDWARE HAS TO BE UP AND READY,

AND SOME TOUGH DECISIONS HAVE TO BE MADE ABOUT WHAT GOES FIRST.

FOR SOME OBJECTS STILL AT GARBER,

THE TRIP TO UDVAR-HAZY CAN'T COME SOON ENOUGH.

Samantha: I TOOK A LOOK AT WHERE THE ARTIFACTS ARE CURRENTLY STORED

AND WHICH ARE THE ARTIFACTS THAT ARE MOST THREATENED

AND IN THE WORST LEVELS OF DETERIORATION TODAY.

AND I LOOKED AT THOSE AND DETERMINED

THAT THESE ARE THE ONES THAT NEED TO COME OUT FIRST,

SO THEY'RE IN THE FIRST SECTION OF THE NEW STORAGE AREA,

AND THEN I JUST WENT FROM THERE.

THERE'S A LOT OF LOGISTICS

THAT GO INTO PREPARING THESE THINGS TO COME OUT.

Narrator: ONE OF UDVAR-HAZY'S HIDDEN GEMS

IS ITS PRISTINE SPACE SUIT VAULT.

BUT GETTING THE SUITS TO THEIR NEW DIGS

REQUIRED SOME CREATIVE PROBLEM SOLVING.

Samantha: WHEN WE STARTED THE PLANNING

FOR BRINGING THE SMALL ARTIFACTS

OUT TO THE HAZY CENTER FOR STORAGE,

THE BIGGEST COLLECTION THAT WE STARTED WORKING WITH REALLY

WAS THE SPACE SUIT COLLECTION.

Cathy: WE HAVE A COLLECTION OF ABOUT 280 SPACE SUITS.

THE SUITS HAD BEEN STORED AT GARBER INITIALLY

UNDER VERY CROWDED CONDITIONS.

Narrator: TRANSPORTING 280 SPACE SUITS

OUT THE DOOR AND OVER TO UDVAR-HAZY

POSED A RATHER UNUSUAL CHALLENGE.

Cathy: WELL, WE WANTED TO HAVE THEM ON TRAYS,

BUT GOING ON TRAYS, HOW DO YOU TRANSPORT THEM?

DO YOU STRAP THEM DOWN?

IF YOU STRAP THEM DOWN TOO TIGHTLY,

YOU'RE GOING TO DAMAGE THE SUITS.

Narrator: SO THE MOVE TEAM CAME UP WITH AN UNUSUAL SOLUTION--

COFFIN BOXES.

Cathy: A COFFIN IS FAR BIGGER THAN A HUMAN.

SO YOU COULD GET A SUIT WITH VERY LARGE SHOULDERS

INTO A COFFIN BOX.

Samantha: AND THEY WERE ABSOLUTELY PERFECT

FOR MOVING SPACESUITS

BECAUSE SOME OF THE SPACESUITS ARE FAIRLY HEAVY.

SO THIS WAS A WAY TO MOVE THEM AROUND SAFELY, SUPPORT THEM,

KEEP THEM ON THEIR HANDLING TRAYS

AND THEN PUT IT DIRECTLY INTO STORAGE.

Narrator: THOUSANDS OF OBJECTS LATER, THE MOVE TEAM IS STILL AT IT.

Samantha: THE GARBER MOVE TEAM

ARE MY BOOTS ON THE GROUND EVERY DAY.

I'M IN CONTACT WITH THEM ON A DAILY BASIS,

USUALLY MULTIPLE TIMES A DAY.

Ashley: THESE ARE GLOVES FROM THE ROYAL AIR FORCE.

SO THESE WOULD GO INTO OUR RUBBER SPACE SUIT STORAGE.

Narrator: BUT PACKING IS ONLY PART OF THE JOB.

THIS TEAM IS TRAINED TO SPOT DAMAGE AND DECAY

AND TAKE STEPS TO PROTECT THE PRICELESS ARTIFACTS.

Katherine: I WOULD LEAN TOWARDS AT LEAST PUTTING TISSUE DOWN.

Amelia: THESE GLOVES HAVE A RUBBER MATERIAL ON THE LINING.

AND THAT RUBBER OFF-GASES VARIOUS CHEMICALS.

SO IT'S BEST IF THOSE MATERIALS ARE KEPT TOGETHER IN STORAGE.

Narrator: BUT SOMETIMES, EVEN UNDER OPTIMAL STORAGE CONDITIONS,

THINGS CAN GO WRONG.

Cathy: THE PROBLEM WITH SPACE SUITS

IS THAT THEY'RE MADE OF COMPLEX MATERIALS

THAT WERE NOT CREATED TO LAST FOR A VERY LONG PERIOD OF TIME.

Neil Armstrong: I'M GOING TO STEP OFF THE LEM NOW.

THAT'S ONE SMALL STEP FOR MAN,

ONE GIANT LEAP FOR MANKIND.

Narrator: WHEN NEIL ARMSTRONG WALKED ON THE MOON IN 1969,

HE WORE CUSTOM-MADE GLOVES

FEATURING STAINLESS STEEL FABRIC AND BLUE SILICONE FINGERTIPS.

WHEN THE GEAR WAS PUT ON DISPLAY TO COMMEMORATE ARMSTRONG'S LIFE,

ONE GLOVE DEVELOPED MYSTERIOUS SPOTS ON THE CUFF.

Cathy: THEY SEEMED TO BE SPOTS

WHERE SOMETHING HAD BEEN PAINTED ON.

THE INTERESTING THING

IS THAT IN THE CASE OF NEIL ARMSTRONG'S GLOVES,

IT'S ONLY ON THE RIGHT GLOVE.

Lisa: SO THIS IS WHAT I THINK THE CLEAN WEAVE LOOKS LIKE.

Bill: OK, SO...

Cathy: WHAT WE'RE WORKING ON RIGHT NOW

IS TRYING TO DETERMINE WHAT WAS APPLIED,

WHO APPLIED IT, AND WHEN IT HAPPENED;

AND IT'S PART OF DOCUMENTING THE HISTORY OF THE SUIT.

Narrator: TODAY, CATHY IS MEETING

WITH CONSERVATOR LISA YOUNG AND BILL AYREY,

A REP FROM THE SUIT'S MANUFACTURER,

TO LOOK FOR AN ANSWER.

Lisa: SO TODAY WE'RE LOOKING AT THE COATINGS

ON THE SURFACE OF THE GLOVE.

I MEAN, IT IS WHITER IN THAT AREA.

LIKE, YOU CAN SEE LIKE EVEN AROUND THAT ABRASION.

IT'S LIKE IT ALMOST FLOWED AWAY FROM THE TEAR.

THE WHITE MATERIAL IS CALLED BETA CLOTH.

AND WE'RE USING A NEW PIECE OF EQUIPMENT

THAT WE ACTUALLY GOT IN THE LAB, A 3-D MICROSCOPE.

Cathy: IS THAT THE.... Lisa: YEAH, THAT'S THE TEAR.

Cathy: THAT'S JUST GONNA BE THE TEFLON.

Lisa: THIS IS THE EDGE OF THE COATING RIGHT THERE.

Cathy: NOW WHAT WE'RE THINKING

IS THAT THESE SPOT REPAIRS WERE DONE

TO FREEZE SNAGS THAT HAD OCCURRED IN THE CUFF

AND WHAT WE THINK WE SEE-- WE'RE NOT SURE--

IS LUNAR DUST THAT HAS BEEN CAUGHT UNDERNEATH.

Lisa: THIS IS WHERE I'M SEEING

LIKE THE SWIPES OF THE MOON DUST UNDERNEATH

THAT GOT ON THE FIBERS.

Bill: THAT WOULD TELL ME THAT THIS COATING

WAS ADDED AFTER, POST MISSION,

NOT ANTICIPATING IT WOULD HAVE COME RIGHT TO THE SMITHSONIAN.

Cathy: LUNAR DUST IS VERY STICKY,

VERY SHARP, VERY AGGRESSIVE.

IT WILL ATTACK MATERIALS THAT WE JUST NEVER EVEN THOUGHT ABOUT.

Bill: YOU CAN SEE THE WOVEN FIBERS

CRISSCROSSING EACH OTHER IN THERE,

WHICH IS REALLY PRETTY COOL.

Narrator: AS IT TURNS OUT, THE IMPACTED MATERIALS

WERE METAL FIBERS IN THE SPACE SUITS

WHICH ACTED AS MAGNETS FOR THE IRON-BASED LUNAR DUST.

Cathy: SO, WE'VE DISCOVERED A NEW HISTORY

THAT WE DIDN'T EVEN KNOW ABOUT.

Lisa: BUT IT LOOKS VERY ANGULAR AND...

I MEAN, IT DOESN'T LOOK LIKE NORMAL DUST TO ME.

Cathy: AND THESE ARE THINGS THAT MIGHT SEEM VERY SMALL

BUT ARE VERY IMPORTANT TO MISSIONS TO THE MOON, TO MARS.

SO WE'RE CONTRIBUTING TO THE HISTORY

AND CONTRIBUTING TO THE FUTURE AS WELL,

WHICH IS REALLY EXCITING.

Narrator: BACK AT GARBER, JOHN AND ANTHONY

HAVE BEEN WAITING A WEEK FOR A BREAK IN THE WEATHER

TO MOVE THE NEXT PART OF THE F-100.

Anthony: IT'S ABOUT 10:15 AT NIGHT.

SO EACH STACK, THE STRAP ITSELF.

THIS IS JUST THE EXCESS TIE-OFF, 'CAUSE THIS IS THE ACTUAL.

SO THIS ONE GOES UP, OVER, AND TO THE OTHER SIDE.

I GOT TWO OF THOSE.

AND THEN I'VE GOT TWO COMING FROM THE OTHER SIDE

TO PULL THE WING BACK THAT WAY.

WHAT WE'RE DOING IS WE'RE GETTING READY

TO MOVE THIS WING FOR OUR F-100 SUPER SABRE.

Narrator: ANTHONY HAS THE WING STRAPPED DOWN TIGHT.

BUT THE MAJOR POINT OF CONTACT TO THE TRUCK

IS A PAIR OF 32-YEAR-OLD TIRES.

IF THERE'S A BLOWOUT,

THE STRAPS SECURING THE WING WILL LOOSEN UP.

Anthony: IT GOES UP AND AROUND

AND TAKES IT STRAIGHT BACK TO THE OTHER SIDE.

YEAH, ONE ON EACH.

Lars: OVERKILL IS GOOD.

Anthony: BECAUSE OF THE OVERALL SIZE OF THE WING,

WE'RE ACTUALLY GONNA NEED TO MOVE IT AT NIGHT.

THE ADVANTAGE OF A NIGHT MOVE IS THERE'S A LOT LESS TRAFFIC.

BUT THE DOWNSIDE IS THAT YOU REALLY CAN'T SEE

AS WELL AS YOU CAN DURING THE DAY.

THE WEIGHT ON THE WING IS ONLY ABOUT 7,000 POUNDS.

BUT WE GET INTO SIZE ISSUES, SO 12'8" HIGH, 19'8" WIDE,

THIS IS JUST A SHADE UNDER 20 FEET WIDE

AS WE HAVE IT RIGGED ON THE TRUCK RIGHT NOW.

I'VE GOT GLOW STICKS ON EACH ONE,

SO WE'LL CRACK 'EM BEFORE WE LEAVE.

IT'S THE WIDEST THING I'VE EVER MOVED.

LITTLE NERVOUS, BUT EXCITING AT THE SAME TIME.

WHAT I'M LOOKING FOR IS YOU'RE ON THE RIGHT.

I NEED YOU TO WATCH FOR ANY MERGING TRAFFIC FROM MY SIDE.

Man: ROGER THAT.

Anthony: IDEALLY WHAT WE WOULD WANT TO DO

IS MINIMAL PERSONNEL AND EQUIPMENT AS POSSIBLE,

TO KEEP LINES OF COMMUNICATION CLEAR,

AND MAKE SURE EVERYONE HAS THEIR SPECIFIC DUTY.

Man: ...SWINGS AROUND, HE CAN OPEN UP THE EXIT GATE.

Anthony: SO WHAT WE'RE GOING TO HAVE SET UP

IS WE'RE GONNA HAVE OUR TRACTOR IN THE MIDDLE.

Lars: ANTHONY AND I CAN ONLY SEE ONE AT A TIME.

WE HAVE TO GO BACK AND FORTH WITH THAT MIRROR.

Anthony: AND THEN WE'RE GONNA HAVE

ONE OF OUR ESCORT VEHICLES OUT IN THE FRONT

AND TWO IN THE BACK.

ONE ON THE LEFT AND ONE ON THE RIGHT.

THAT'S WHAT'S REQUIRED BY OUR PERMITS.

WE'RE GONNA HAVE A MARYLAND STATE TROOPER

ESCORT US TO THE WOODROW WILSON BRIDGE.

Trooper: WHERE IS IT YOU'RE GOING?

Anthony: OUR MUSEUM OUT AT DULLES.

Trooper: OH, OK.

Anthony: THE MARYLAND TROOPER DID A WALKAROUND OF THE VEHICLE.

HE'S NOW CALLING IN ALL OUR INFORMATION,

THE PERMIT AND MY DRIVER'S LICENSE

TO VERIFY EVERYTHING'S LEGIT AND READY TO GO.

WHEN HIS OVERHEAD LIGHTS TURN ON,

THAT MEANS THAT THE CHECK CAME BACK

AND WE'RE FINE AND WE'RE GONNA GO.

Trooper: THIS IS GREAT.

THIS IS GREAT!

Man: PRETTY COOL, HUH?

Trooper: THIS IS GREAT.

[SIREN]

Man on radio: OK, ALL THE WAY TO THE THROUGH LANES.

Carl: COME ON OVER.

Man: PULL UP PAST THEM, THEN PLENTY OF ROOM.

Man on radio: YOU'RE CLEAR OF THE LANES.

Anthony: WE ARE JUST EAST OF THE WOODROW WILSON BRIDGE.

WE'RE STILL IN MARYLAND.

THIS IS WHERE WE SWITCH OUR ESCORT

FROM MARYLAND TO VIRGINIA.

Patrick: EVERYTHING'S GOING AS ADVERTISED!

WE'LL HAVE NOTHING HAPPEN TO THE TAXPAYER'S ARTIFACT.

Narrator: CROSSING THE POTOMAC RIVER MEANS CROSSING STATE LINES

AND A MIDSTREAM HANDOFF FROM THE MARYLAND TROOPER ESCORT

TO HIS VIRGINIA COUNTERPARTS.

Anthony: VIRGINIA'S GIVING US THREE ESCORTS

WHO WILL COME WITH US ALL THE WAY TO THE MUSEUM.

SO FAR WE'VE ONLY GONE ABOUT 7 MILES.

WE'VE GOT ABOUT 32 TO GO, AND THEN WE'LL GET TO THE MUSEUM.

SHOULD BE ABOUT A 35-40 MINUTE DRIVE FROM THIS POINT.

Carl: GO, GO, GO!

Man: OK, CARL, LET THEM CONTROL THE TRAFFIC, ALL RIGHT?

Carl: THEY'RE BLOCKING.

Anthony: ESCORT VEHICLE IS TWOFOLD:

ONE IS TO KEEP PEOPLE AWAY FROM MY TRUCK AND MY LOAD,

BUT IT'S ALSO TO ASSIST ME WITH WHAT I NEED TO DO.

Man: YOU'RE CLEAR LEFT. Man: THANK YOU ALL.

Anthony: THEY CAN SPOT THINGS FOR ME THAT I CAN'T SEE.

Man: TO THE RIGHT.

Anthony: IF I NEED TO MOVE OVER,

THEY CAN GO OUT AHEAD AND GET ME THE LANE THAT I NEED

BEFORE I ACTUALLY PHYSICALLY START MOVING OVER.

Man: EVERYTHING LOOKS GOOD.

Anthony: SO THEY'RE A WAY TO KEEP TRAFFIC AWAY FROM ME

AND ALSO TO HELP ME MOVE AROUND IF I NEED IT.

Man: YOU ARE GOOD. BLOCK THE ROAD, BLUE.

Man: THAT'S A NEGATIVE.

EVERYTHING LOOKS GOOD, BLUE.

Man: RIGHT SIDE'S GOOD.

Narrator: AT THE ENTRANCE TO HAZY,

THE ESCORT DEPARTS, AND THE TEAM HEADS FOR THE HANGAR.

Anthony: ACTUALLY IT WAS A LOT EASIER

HAVING THE STATE TROOPER THAN NOT.

SO THAT ENDED UP BEING A VERY BIG HELP.

I NEVER HAD THAT BEFORE,

I KIND OF WISH I HAD THAT FROM NOW ON.

AND THEY WERE A GREAT GROUP OF GUYS.

Narrator: IT'S TWO IN THE MORNING

WHEN HAZY'S HANGAR DOOR FINALLY CLOSES.

ANTHONY POSTED A PERSONAL BEST TONIGHT,

BUT THE JOB'S NOT OVER YET.

THE NATIONAL AIR AND SPACE MUSEUM'S 22 CURATORS

KEEP THE GARBER TEAM BUSY

MANAGING THE FLOW OF NEWLY ACQUIRED OBJECTS.

Al: EVERYTHING THAT COMES IN THE COLLECTION GETS CATALOGUED.

AND EVERYTHING GETS A CATALOG NUMBER,

IT GETS PHOTOGRAPHED.

CURATORS ARE RESPONSIBLE

FOR CHOOSING WHAT COMES INTO THE COLLECTION,

AND WE'RE RESPONSIBLE FOR TAKING CARE OF IT AFTER THAT.

Narrator: BUT SOMETIMES CURATORS FACE A FAMILIAR DILEMMA.

THEY'VE GOT TOO MANY OF ONE THING

AND NEED TO DO A BIT OF HOUSEKEEPING.

MUSEUM SPECIALIST JEN LEVASSEUR HAS COME TO GARBER

TO MAKE SOME TOUGH DECISIONS ABOUT HER COLLECTION.

SHE SPECIALIZES IN THE EVERYDAY PERSONAL ITEMS

USED BY ASTRONAUTS.

Jen: ONE OF THE THINGS THAT'S INTERESTING ABOUT MY JOB

IS THAT THE ITEMS IN MY COLLECTION

ARE THE THINGS THAT ASTRONAUTS USE

THAT ARE VERY MUCH LIKE THE THINGS WE USE HERE ON EARTH.

WE'VE GOT OUR HOT DOGS.

THEY SEEM TO STILL BE VACUUM SEALED,

BUT I WOULDN'T WANT TO TRY.

ESSENTIALLY ASTRONAUT DIETS CONSISTED

OF ABOUT 2,500 CALORIES, SOMETIMES MORE,

BASED ON THE LEVEL OF ACTIVITY

THE ASTRONAUT WOULD NEED TO DO THAT DAY.

JUST BECAUSE THE FOOD WAS AVAILABLE

DID NOT ALWAYS MEAN THEY ATE IT.

ALL OF OUR DRINKS.

THESE ITEMS DON'T HAVE NEARLY AS MANY IN OUR COLLECTION,

AND THAT'S WHEN WE NEED TO DETERMINE

JUST THE RIGHT NUMBER OF THINGS

THAT MAKE SENSE FOR US TO MAINTAIN.

YOU CAN ACTUALLY TELL WITH SOME OF THE COFFEE--

THIS ONE DOES NOT HAVE ANY CREAM IN IT,

BUT THAT ONE DOES HAVE CREAM.

SOME OF THE THINGS WE CONSIDER

ARE HOW LIKELY IT IS SOMETHING MIGHT GO ON DISPLAY.

WHAT AN ASTRONAUT COULD ACTUALLY DO WITH THIS

IS THEY COULD SQUIRT HOT WATER INTO THIS,

IN THIS CASE, SPAGHETTI.

IF WE WANT TO HAVE SOME AVAILABLE

FOR LOAN TO OTHER MUSEUMS,

BUT ALSO IF THERE WERE ANY REASON

THAT SOMEONE MIGHT WANT TO COME AND STUDY THE ITEM.

I THINK THIS ONGOING FASCINATION WITH ASTRONAUTS IN PARTICULAR

IS THAT THEY ARE THESE REPRESENTATIVES

WHO'VE HAD THIS EXPERIENCE.

THEY REPRESENT ALL OF HUMANITY IN THESE EXPLORATION PROJECTS.

Samantha: EVERYTHING THAT'S ON THE TABLE

SHOULD HAVE A CONDITION SURVEY THAT THEY'VE ALREADY DONE.

Jen: GREAT. THANK YOU SO MUCH. Samantha: THANK YOU.

Narrator: EARTHBOUND HUMANS TAKE A LOT FOR GRANTED.

IN SPACE, DAILY DUTIES CAN TURN INTO THE STUFF OF NIGHTMARES.

Jen: WHAT WE HAVE HERE ON THE TABLE NOW ARE WHAT,

AT LEAST ACCORDING TO THE LABEL ON THE PACKAGE HERE,

SAYS "DEFECATION COLLECTION DEVICE."

THIS WAS NASA'S SOLUTION

TO HOW AN ASTRONAUT WOULD COLLECT THEIR BOWEL MOVEMENTS.

ESSENTIALLY ITS CONSTRUCTION IS

IT'S FAIRLY SIMPLE, PLASTIC BAG.

AT THE TOP OF THE BAG IS A CIRCULAR PORTION,

AND THERE'S AN ADHESIVE THAT GOES

AROUND THE CIRCULAR PORTION HERE.

THIS PAPER WOULD BE PEELED OFF,

AND THE ASTRONAUT COULD LITERALLY STICK IT

TO THEIR BACKSIDE.

THE MAJOR PROBLEM IS THE FACT THAT THERE'S NO GRAVITY,

NO GRAVITY OR ANY KIND OF ASSISTANCE

TO KEEP THE FECAL MATTER AT THE BOTTOM OF THE BAG.

IT WASN'T UNCOMMON FOR SOME TO ESCAPE THE BAG AS WELL.

Woman: IF YOU POOP IN THAT,

THE POOP DOESN'T JUST GO TO THE BOTTOM.

IT FLOATS IN THERE.

Jen: AND SO IT DID SOMETIMES GET LOOSE

AND FLOAT AROUND THE CABIN.

[LAUGHTER]

Woman: OOH! Child: OOH!

Jen: ASTRONAUTS WERE NOT KEEN ON A LOT OF THESE THINGS.

IT'S HIGHLY PERSONAL,

SO SOME OF THE DIFFICULTIES THAT THEY HAD DURING THE MISSIONS

WEREN'T OFTEN TALKED ABOUT UNTIL YEARS LATER

WHEN ASTRONAUTS STARTED WRITING THEIR MEMOIRS

AND TALKING ABOUT REALLY THE NITTY-GRITTY

OF BEING IN SPACE.

Narrator: CURATORS ACQUIRE TO HELP INTERPRET THE PAST.

BUT THEY ALSO WANT TO HELP KEEP FUTURE ASTRONAUTS

ALIVE AND HEALTHY A HUNDRED YEARS FROM NOW.

Jen: WE MAY NEVER REALLY GET TO KNOW

WHAT THAT SENSE OF WEIGHTLESSNESS

AND AWE AND WONDER AT SEEING EARTH FROM AFAR,

WHAT THAT'S REALLY ABOUT.

BUT THEY'RE THE ONES THAT ARE WILLING

TO TAKE THAT INCREDIBLE RISK

THAT I THINK IS ALWAYS GOING TO EXIST

IN THIS PROCESS OF SPACE EXPLORATION.

Narrator: BACK AT THE RESTORATION SHOP, JOHN SHATZ AND HIS TEAM

HAVE THREE DAYS TO REASSEMBLE THE F-100.

Will: THE GOAL TODAY IS TO TRY TO INSTALL THE ENGINE,

AND BEFORE WE CAN DO THAT I HAVE TO MAKE SURE

THAT THESE RAILING SYSTEMS ARE CLEARED THROUGH HERE AND SMOOTH.

I'M GOING TO TRY TO MAKE IT SO THAT IT'S STRAIGHT ENOUGH

THAT WE CAN ACTUALLY SLIDE IT IN,

BECAUSE THIS IS GOING TO BE AN OBSTRUCTION

THE WAY IT'S SET UP RIGHT NOW.

John: I'M GETTING ALL OF THIS STUFF OUT OF THE WAY

SO WHEN THE ENGINE GOES IN,

WE DON'T HAVE ELECTRICAL CABLES AND HYDRAULIC LINES SNARLING.

Narrator: JOHN'S PREPARED FOR A FEW GLITCHES.

THE F-100'S BEEN IDLE FOR THE PAST 32 YEARS.

John: THE INSTALLATION ITSELF IS PRETTY STRAIGHTFORWARD.

IT'S THE LITTLE STUFF THAT GETS YOU.

BASICALLY THE NEXT STEP IS TO GET THE ENGINE OVER THERE

LINED UP WITH THE ENGINE BAY,

AND THE DOLLY THAT IT'S ON HERE RIGHT NOW IS ADJUSTABLE,

SO IT CONTAINS A CERTAIN AMOUNT OF ROLL,

A CERTAIN AMOUNT OF LEFT AND RIGHT.

SO IF YOU'RE WELL WITHIN THE BALLPARK,

THEN THERE'S NO PROBLEMS

WITH GETTING IT LINED UP AND MOVING IN.

Carl: I PICK THINGS UP.

John: JA?

IT'S SLIGHTLY HEAVY.

Man: ON 19.

John: 5...6...7...8.

ALRIGHT, RAMMING SPEED.

Man: THIS IS RAMMING SPEED.

Narrator: THE ENGINE IS LINED UP AND READY TO GO.

WILL'S JOB IS TO ADJUST THE DOLLY

SO IT CAN SLIDE INTO THE FUSELAGE.

John: OK, LET'S SEE WHERE WE ARE HERE.

Will: HOW ARE YOU LOOKIN'?

John: ABOUT ANOTHER INCH.

Will: ANOTHER INCH?

AM I GOING THE RIGHT WAY?

THE OTHER WAY.

IS IT WORKING?

John: YEAH.

Will: BRINGIN' HER IN.

John: WELL, AS YOU CAN SEE, MOVING UP ON IT, ALIGNING,

TRYING TO KEEP EVERYTHING OUT OF THE WAY,

UNFORTUNATELY IN A COUPLE OF CASES, WE HAD A SNAG.

Carl: GIVE ME A QUARTER-INCH DRIVE RATCHET.

John: WELL, YOU'VE GOT A LOT OF HOSES IN THERE THAT BECOME STIFF

AS CERTAIN THINGS HAVE GOTTEN INTO POSITION

FROM SITTING AROUND ALL THOSE YEARS.

IS THAT LINED UP OVER THERE?

Will: BRING THE AFT UP?

John: YEAH.

Will: COMING UP.

John: OK.

Will: I FEEL I'M JUST GOING AROUND IN CIRCLES.

EVERY TIME I START PUTTING PRESSURE ON IT

AND TRY TO PUSH THE ENGINE IN THERE,

IT SKIPS, LIKE A TOOTH.

IT'S GOING AS HARD AS IT CAN,

AND I'M PUTTING A LOT OF PRESSURE,

SPINNING THIS THING UP,

AND I'M STRIPPING THE GEAR, SO TO SPEAK.

[CLANG]

WHAT WAS THAT?

IT JUST GOT REAL EASY ALL OF A SUDDEN.

Narrator: THIS MORNING AT THE UDVAR-HAZY CENTER,

SAM'S TEAM JUMPS INTO GO MODE

WHEN THEIR TRUCKLOAD OF ARTIFACTS

REACHES THE LOADING DOCK.

Samantha: WELL, IT'S 8:55 IN THE MORNING.

WE ARE OFF-LOADING OUR PENSKE STRAIGHT TRUCK

WITH TEXTILES FROM OUR COLLECTION

BACK AT THE GARBER FACILITY.

IN TOTAL, IT'S PROBABLY ABOUT A HUNDRED ITEMS

THAT ARE GOING TO BE COMING OUT.

Narrator: A HUNDRED TEXTILE ITEMS

MIGHT FIT EASILY ON THE DISCOUNT RACK AT THE MALL.

BUT HERE, THAT NUMBER FILLS UP A FREIGHT TRUCK.

THAT'S BECAUSE THIS BATCH OF CLOTHING WAS DESIGNED

FOR A DIFFERENT RUNWAY.

JACKETS, TROUSERS, OVERCOATS, FLIGHT SUITS,

DRESSES, HATS, LONG UNDERWEAR...

IT'S ALL HERE, AND IT'S ALL BEEN INDIVIDUALLY PACKAGED

AND PREPPED FOR STORAGE.

EXPOSURE TO DIRT AND HUMIDITY CAN HARM ARTIFACTS,

SO SAM AND THE TEAM MOVE QUICKLY.

AND IN THE SPIRIT OF PAUL GARBER,

THEY'RE STILL IMPROVISING.

THEY'VE RESURRECTED THE ORIGINAL COFFIN BOXES

THEY USED TO MOVE THE SPACE SUITS.

MANY OF THE ITEMS IN THIS SHIPMENT

FALL UNDER THE WATCH OF CURATOR ALEX SPENCER.

HE'S HERE TO CHECK OUT A FEW OF THE UNIFORMS

IN HIS COLLECTION OF 15,000 ARTIFACTS.

Alex: THE MATERIAL HERE THAT YOU SEE

IS THE LITTLE BARRIER THAT THEY PUT

SO THAT THERE'S NOT A REACTION

BETWEEN THE WOOL AND THE BRASS OF THE INSIGNIAS

TO HELP PRESERVE THEM AND PREVENT CORROSION.

Narrator: MAINTAINING A 60-YEAR-OLD OVERCOAT

ISN'T EASY UNDER THE BEST CIRCUMSTANCES.

THE STORAGE FACILITY AT UDVAR-HAZY MUST PROTECT IT

FOR FUTURE GENERATIONS TO RESEARCH AND ENJOY.

FOR ALEX, THE MISSION IS CRITICAL.

Alex: IT'S HARD FOR AN INDIVIDUAL, A VISITOR,

TO RELATE TO AN AIRCRAFT SOMETIMES.

IT'S SOMETHING THEY DON'T ENCOUNTER

IN THEIR EVERYDAY LIFE, OF COURSE.

SO IF YOU CAN BRING IN THE PERSONAL OBJECTS...

IT HUMANIZES THE STORY, THIS IS HOW THEY GO TO WAR.

...WE'VE BEEN DEALING WITH AT GARBER FOR ALL THESE YEARS.

Narrator: THE F-100'S FUSELAGE IS IN POSITION AND SECURED.

NEXT STEP IS TO PLACE THE AFT SECTION.

BUT JOHN SHATZ DOESN'T LIKE WHAT HE SEES.

John: THE AFTERBURNER THAT'S ON THE AIRPLANE RIGHT NOW,

IT'S IN THE FULL AFTERBURNER POSITION

OR THE MAXIMUM THRUST POSITION.

Narrator: AFTERBURNER GIVES THE F-100 THE THRUST NEEDED

FOR QUICK TAKEOFFS

AND SUPERSONIC FLIGHT.

TO LOOK AUTHENTIC ON DISPLAY,

IT SHOULD BE COMPLETELY CLOSED DOWN.

Will: WE'RE TRYING TO CLOSE THIS CONSTRICTOR OFF.

SO IT ACTUALLY...IT CLOSES UP LIKE A CLAMSHELL.

ALL THIS CLOSES UP INTO A SMALLER HOLE.

WITH THESE CYLINDERS HERE,

WE'RE TRYING TO ACTIVATE THESE CYLINDERS

TO PUSH AGAINST THESE LEAVES HERE

AND ACTUALLY CLOSE OFF THE CONSTRICTOR.

Narrator: BUT THE CYLINDERS HAVEN'T MOVED FOR OVER 32 YEARS.

John: AH, BASICALLY THE PISTON SEALS HAVE DRIED OUT.

YOU CAN SEE WHERE THEY STARTED TO MOVE OUT THERE.

SEE, LIKE DOWN HERE IT HASN'T MOVED ALL THAT MUCH,

SO WHAT WE'VE GOT IS A SITUATION WHERE THEY'VE STARTED TO BIND.

Narrator: THE DRIED-OUT SEALS HAVE LOCKED UP THE CYLINDERS.

JOHN DECIDES TO PUMP NITROGEN GAS

DIRECTLY INTO THE AFTERBURNER TO TRY AND FREE THEM.

IT'S A LONG SHOT AT BEST,

AND HE'LL NEED A SPECIAL FITTING TO HOOK UP THE GAS.

Will: WELL, WE'VE GOT TO MAKE A PNEUMATIC FITTING

THAT WILL FIT ON THIS END HERE

SO THAT WE CAN USE THAT NITROGEN TANK

TO CHARGE UP THESE CYLINDERS HERE.

SO WE WANT TO CLOSE IT OFF HERE.

WE DON'T HAVE A FITTING FOR IT,

SO WE'RE GONNA HAVE THE MACHINIST MAKE A FITTING.

Narrator: THE SHOP'S MACHINIST, GARY GORDON,

IS EQUAL PARTS MECHANIC, INVENTOR AND ARTIST.

Gary: WELL, WE'RE JUST TRYING TO GET A SMALLER PIECE

TO MAKE THIS FITTING FOR JOHN.

Narrator: DURING RESTORATION,

JOHN KEEPS THE ARTIFACT'S CURATOR IN THE LOOP

ON THE TEAM'S PROGRESS.

Robert: DURING A RESTORATION, IT'S A GIVE AND TAKE.

A LOT OF DISCUSSION GOES BACK AND FORTH

BETWEEN THE RESTORER AND THE CURATOR

AS TO WHAT WE CAN AND CANNOT DO,

AND SOMETIMES YOU MAKE A DECISION

WHERE IT'S JUST TOO EXPENSIVE OR WE CAN'T FIND THE PARTS

OR WE CAN'T MANUFACTURE THE PARTS.

John: THIS IS WHY WE HAVE FLEXIBLE HOSES.

Gary: THAT'S EXACTLY WHAT I THOUGHT.

Robert: WE CURATORS KNOW A GOOD DEAL ABOUT THE AIRCRAFT,

BUT WHEN IT COMES FROM THE TECHNICAL SIDE,

I UNDERSTAND JOHN KNOWS FAR MORE ABOUT IT THAN I.

John: SO WAS THAT A TWO- OR FOUR-BURRITO JOB YOU JUST DID?

Gary: I'LL SETTLE FOR ONE TODAY, JOHN.

John: OK, YOU'RE ON. YOU'RE EASY.

Gary: GOOD. I TRY TO BE.

John: YEAH, WE'LL GO FROM THERE.

Carl: ABOUT 100.

John: GARY GORDON DID THE INITIAL FITTING,

AND WE APPLIED PRESSURE,

AND OF COURSE WE HAD A BYPASS, WHICH GAVE US BACK PRESSURE,

AND NOTHING WAS HAPPENING.

Carl: MORE?

John: YEAH.

RATS!

Gary: WELL, THERE GOES MY BURRITO.

Will: I CAN'T FEEL ANYTHING ON TOP.

John: THAT'S THE AFTERBURNER CONTROL VALVE.

Will: THERE'S NO AIR COMING OUT OF THIS.

[EXHALES]

AW, MAN.

John: I WAS COUNTING ON THIS THING BEING CLOSED.

Will: IT'S RIGHT AROUND THE RING HERE.

Gary: HOW ABOUT IF WE BLOCK THIS ONE OFF UP HERE?

John: WELL, WERE BACK AGAINST THE SAME THING, GARY.

IT'S CALLED ANOTHER FITTING.

Gary: WELL, IT DON'T MATTER.

John: SO HE MADE ANOTHER PIECE THAT ALLOWED THE METER TO FLOW.

Will: GIVE IT A TRY AGAIN?

John: YEP.

AND WE APPLIED ABOUT 800 PSI.

[GAS HISSING]

SHUT IT DOWN.

Gary: IT AIN'T GOING.

John: NOPE.

BUT IT WAS LEAKING SO BADLY THAT WE HAD TO DISCONTINUE IT.

WE MIGHT HAVE TO TRY AND MANUALLY CLOSE IT,

AND THAT'S NOT GOING TO BE EASY.

Narrator: WHILE JOHN AND HIS CREW WRESTLE WITH THE F-100,

SAM AND THE GARBER MOVE TEAM

CHECK THE UNIFORMS INTO THEIR NEW QUARTERS.

Samantha: WE'VE ALREADY RECEIVED THE BARCODES

FOR ALL THE DRAWERS IN THIS ONE...

Narrator: SAM BRINGS ALEX SPENCER UP TO SPEED

ON THE NEW SYSTEM.

Samantha: WE CAN GO THROUGH AND START LABELING,

GET READY TO ACCEPT THE NEXT COLLECTION.

Alex: GREAT, OK, GOOD.

Ashley: 1989-0-0-6-5.

Alex: THE COLLECTION IS CONTINUALLY GROWING;

IT'S NOT A STATIC COLLECTION.

THERE IS THE OCCASION THAT DOES HAPPEN

WHERE YOU GET A PHONE CALL OUT OF THE BLUE

FROM SOMEBODY THAT SAYS THEY HAVE SOMETHING AND...

AND IT'S SOMETHING, YOU KNOW, FROM WORLD WAR I OR...

OR WORLD WAR II THAT YOU DON'T HAVE,

AND YOU GO AFTER THOSE,

BUT YOU CAN'T PLAN FOR THOSE KIND OF THINGS.

AS I'M DOING MY JOB

I HAVE TO KIND OF KEEP UP WITH CURRENT EVENTS

AND WHERE THINGS ARE HAPPENING

AND WHAT'S GOING ON IN THE WORLD

THAT'S PARTICULARLY RELATING TO AVIATION.

Narrator: A DONATION OFFER FROM A FORMER MARINE CORPS OFFICER

HAS CAUGHT ALEX'S EYE.

Alex: THIS IS ACTUALLY THE FIRST E-MAIL

THAT I GOT FROM CAPTAIN DWYER

CONCERNING THE POTENTIAL OF HIS DONATION.

HE INCLUDED A COUPLE OF PHOTOGRAPHS

AS WELL AS A SHORT BIO

OF HIS FLYING CAREER WITH THE MARINE CORPS.

WITH THIS COLLECTION OF MATT DWYER'S THINGS,

HE WAS AN OSPREY PILOT,

SO AN OSPREY IS A FAIRLY NEW AIRCRAFT;

IT HASN'T BEEN IN USE FOR THAT LONG.

WE HAVE A PROTOTYPE EXAMPLE OF IT IN THE COLLECTION,

BUT WE DON'T HAVE AN OSPREY ITSELF.

Narrator: THE V-22 OSPREY LANDED ON THE SCENE IN 2007,

DESIGNED TO GET TROOPS AND THEIR EQUIPMENT

IN AND OUT OF COMBAT ZONES.

IT HAS UNIQUE ROTORS THAT ALLOW IT

TO TAKE OFF, HOVER

AND LAND LIKE A HELICOPTER,

THEN TILT FORWARD LIKE PROPELLERS,

TO FLY AS FAST AS AN AIRPLANE.

ITS INNOVATIVE TECHNOLOGY

AND INVOLVEMENT IN THE POST 9/11 WARS

MADE OBJECTS RELATED TO IT

OF PARTICULAR INTEREST TO ALEX SPENCER.

Alex: HE INCLUDED HIS STANDARD PAIR OF DESERT FLYING BOOTS.

HERE HE ALSO INCLUDED HIS LEATHER SHOULDER HOLSTER.

SO WHAT WE HAVE HERE IS CAPTAIN DWYER'S FLYING HELMET.

Narrator: EVERYTHING MATT DWYER HAS DONATED

WILL HELP ALEX TELL THE OSPREY'S STORY.

Alex: THIS PROVIDES HIM OXYGEN.

IT ALSO HAS A MICROPHONE ON THE INSIDE

SO HE CAN DO HIS COMMUNICATIONS AND TALK TO PEOPLE.

FIRST OFF IT PERSONALIZES THE EVENTS,

AND THEY CAN TELL YOU WHAT THEY DID,

AND WHERE THEY WERE AT

WHAT KIND OF ACTIONS WERE TAKING PLACE--

WHAT IT WAS LIKE TO BE IN COMBAT,

WHAT WAS THE SOUND OF COMBAT.

THOSE ARE ALWAYS A BONUS TO HAVE

THAT BRING THE STORY

OF WHAT THEY'RE LIVING AND DOING

TO LIFE FOR ME PERSONALLY,

BUT THEN HOPEFULLY IT CAN BE TRANSLATED AS WELL

ONTO OUR EXHIBITS DOWN ON THE FLOOR.

THESE ARE THE MANUALS AND CHECKLISTS.

WE WANT TO BE ABLE TO CONVEY THAT TO OUR VISITOR.

IN THIS POCKET IT LOOKS LIKE HE INCLUDED A SMALL MEMORANDA BOOK

WITH NOTES FOR FLYING ORGANIZATION,

PLACES THAT HE WAS FLYING IN AND OUT OF.

WITH WHAT I'M DOING NOW,

I CAN ACTUALLY PLAN WITH MY COLLECTING.

I KNOW WHAT'S OUT THERE, I KNOW WHAT'S GOING ON.

I KNOW THESE ARE IMPORTANT EVENTS THAT WE'RE LIVING IN

IN THIS DAY AND AGE,

SO WHY DON'T WE GET IT NOW

AND THEN WE'RE NOT HAVING TO SCRAMBLE

AT A LATER DATE AND TIME.

Narrator: THEY'LL HAVE TO WAIT FOR THE OSPREY.

BUT IN THE MEANTIME, CAPTAIN DWYER'S GEAR

WILL HEAD TO GARBER FOR PROCESSING.

Will: I CAN'T HEAR A THING YOU'RE SAYING.

Patrick: WE'RE GONNA COME IN TWO FEET.

Will: ALRIGHT.

Carl: COMING IN.

Will: COMING IN.

Narrator: THE F-100'S STUBBORN AFTERBURNER WON'T CLOSE,

BUT THEY'VE GOT JUST ENOUGH ROOM TO SLIP THE AFT SECTION OVER IT.

Patrick: JOHN WANTS UP, FRONT AND BACK.

Will: COMING UP, FRONT AND BACK.

STOPPING!

John: BRING HER IN AGAIN.

Patrick: FRONT END UP.

Will: FRONT END COMING UP.

Patrick: HOLD. Will: HOLDING.

John: WELL, WE WERE KIND OF HOPING

THAT THE AFTERBURNER ACTUATORS WOULD WORK

SO THAT WE COULD CLOSE THE AFTERBURNER

DOWN TO A NORMAL POSITION.

Patrick: COMING FORWARD.

Will: COMING FORWARD. WE'RE HANGING UP ON SOMETHING.

Patrick: WE'RE HANGING UP ON SOMETHING ELSE.

John: THE PROBLEM IS NOW, OF COURSE, THE AIRCRAFT

WILL APPEAR WITH THE AFTERBURNER IN FULL-POWER POSITION,

FULL OPEN POSITION.

Will: SOMETHING'S HOLDING UP. IT'S HUNG UP ON SOMETHING.

John: WHICH, FOR ANYBODY WHO'S WORKED ON THE AIRPLANE

OR HAS FLOWN THE AIRPLANE, WILL RECOGNIZE THAT RIGHT AWAY.

Will: I HATE TO TELL YOU GUYS THIS,

BUT I'M ABOUT GETTING CLOSE TO BOTTOMING OUT.

John: AT THIS POINT IN TIME

THERE'S NOT REALLY MUCH WE CAN DO ABOUT IT.

Narrator: AFTER THE F-100 IS FULLY REASSEMBLED,

THE TEAM WILL ADD THE FINAL TOUCHES TO ITS APPEARANCE,

TRACES OF AN ERA GONE BUT NOT FORGOTTEN.

Robert: THE DECISION ON HOW AN AIRPLANE APPEARS

IS THE RESPONSIBILITY OF THE CURATOR.

NOW THE CURATOR WILL WORK WITH THE RESTORATION STAFF

TO MAKE SURE THAT IT WORKS,

BUT BASICALLY WE WANT THE AIRPLANE

TO LOOK AS IT DID TRUTHFULLY AT A CERTAIN POINT IN ITS CAREER.

IN OUR CASE WITH THE F-100 WE'RE VERY FORTUNATE

IN THAT THE PAINT THAT'S ON IT

WHEN WE GOT IT FROM THE MICHIGAN AIR GUARD IN THE MID '70s

IS THE SAME CAMOUFLAGE PAINT IT HAD ON IT

WHEN IT WAS SERVING IN VIETNAM.

ALL WE HAD TO DO WAS CHANGE A FEW OF THE MARKINGS

TO BRING IT BACK TO WHERE IT WAS

WHEN IT WAS FLYING DURING THE TET OFFENSIVE IN 1968.

John: SO, WHAT WE'VE DONE WITH THE AIRPLANE

IS CHANGED IT TO APPEAR AS IT DID AT BIEN HOA.

SPECIFICALLY IN THE GARB OF THE 19th SQUADRON.

IT'S DESIGNATED BY, YOU KNOW,

THE TAIL PAINT AND THE TAIL NUMBERS

AND THE PAIR OF DICE ON THE NOSE GEAR DOOR.

HAND ME THAT.

Man: CALIBRATED BAR.

COME OUT OF THERE, YOU RASCAL!

Samantha: IT'S FANTASTIC,

BUT THEY'RE LIKE A WELL-OILED MACHINE,

ALL THESE GUYS WORKING TOGETHER,

AND THEY'VE BEEN DOING THIS FOR A LONG TIME.

THEY CAN DO A LOT WITHOUT USING A LOT OF WORDS,

AND EVERYBODY'S PAYING ATTENTION

AND BEING AS CAREFUL AS THEY CAN.

Man: CARRIAGE IS OUT, JOHN.

John: WE MADE IT.

[LAUGHS]

[BUZZER]

Narrator: THE F-100 IS ON THE FINAL LEG

OF ITS JOURNEY TO UDVAR-HAZY.

IT'S A HALF-MILE TOW

FROM THE RESTORATION LAB TO THE MUSEUM HANGAR.

FOR JOHN AND HIS CREW, THE JOB ISN'T OVER

John: WELL, HOPEFULLY THIS THING AND ITS 40-YEAR-OLD TIRES

WILL MAKE IT FROM HERE TO THE NORTH ENTRANCE

WHERE WE CAN PARK IT.

THAT'S THE PLAN FOR THE DAY.

THERE'S A FEELING OF RELIEF WRAPPED UP WITH NOSTALGIA.

MOSTLY IT'S JUST RELIEF.

YOU KNOW, IT DOESN'T LOOK LIKE MUCH

SITTING OUT HERE AS ONE AIRPLANE

WITH ALL THE BITS AND PIECES,

BUT YOU'VE SEEN SOME OF THE STRUGGLE WE WENT THROUGH

GETTING SOME OF THAT STUFF REASSEMBLED.

I'M RELIEVED.

I THINK I'LL CELEBRATE

WITH A DOUGHNUT AND A CUP OF COFFEE.

Narrator: IT'S BEEN A LONG RIDE FOR THE HUN, AS IT WAS CALLED.

IT'S LOGGED THOUSANDS OF MILES IN SERVICE,

ENDURED A WAR ON THE OTHER SIDE OF THE WORLD,

AND ALL THE WHILE SETTING A NEW STANDARD

FOR AVIATION INNOVATION.

FOR NOW, JOHN SHATZ AND HIS TEAM WILL TAKE A MOMENT TO CELEBRATE.

THEN THEY'LL GET TO WORK ON THE NEXT ASSIGNMENT.

John: THE GROUP THAT'S HERE RIGHT NOW,

I THINK IT'S ALL ONE MIND.

WE'VE GOT SOMETHING TO PRESENT. WE CARE ABOUT WHAT WE DO.

SOME OF IT CAN BE EXTREMELY SENSITIVE

WHERE YOU THINK, "DO I TOUCH THIS?"

AND THAT'S, THAT'S REALLY WHAT MAKES IT INTERESTING.

Al: YOU TAKE A LOOK AT THIS STUFF

AND YOU WONDER, GEEZ, HOW IN THE WORLD

CAN SOMETHING THAT BIG JUST GET UP IN THE AIR?

WHAT HOLDS IT UP? HOW DOES IT WORK?

I GOT TO UNDERSTAND 'EM, I GOT TO WORK ON 'EM,

I HAD THE BEST LIFE I COULD EVER THINK OF BECAUSE OF IT.

Samantha: IT'S A COLLECTIVE EFFORT, IT'S A TEAM EFFORT.

IT'S DOWNTOWN, IT'S GARBER,

IT'S HAZY, IT'S EVERY DEPARTMENT, YOU KNOW,

WORKING TOGETHER TO MAKE A FINAL PRODUCT,

TO SHARE WITH THE PEOPLE OF THIS COUNTRY

AND PEOPLE FROM ALL OVER THE WORLD.

Narrator: PAUL GARBER LIVED TO SEE THE NATIONAL AIR AND SPACE MUSEUM

BECOME ONE OF THE MOST POPULAR IN THE WORLD.

HIS PROPHECY, THAT THIS NEW AND EVOLVING TECHNOLOGY

WOULD TOUCH EACH OF OUR LIVES,

INSPIRES THE MILLIONS WHO VISIT EACH YEAR.

AND FOR THOSE BEHIND THE SCENES,

DEDICATED TO PRESERVING AND CARING

FOR THESE NATIONAL TREASURERS,

GARBER'S VISION STILL BURNS BRIGHT.