All language subtitles for Planes.Cranes.and.Rockets.2014.1080p.WEBRip.x265-RARBG2_English

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.