♪ ♪ ♪
[phone rings]
MIKE: Dani D, what's up?
DANIELLE: Hey Mike, how's my lone wolf today?
MIKE: I am doing good, I finally got out of the traffic
over here, and I'm making my way over to this pick.
DANIELLE: Awesome.
Listen, did you get a chance to read that email I sent you?
MIKE: Uh, Charles Hulcher...
developed the high-speed camera, and...
I'm going to ask for a lady named Betty...?
DANIELLE: Wow, I'm impressed, you actually
had your coffee this morning, didn't ya?
MIKE: [chuckles] way too much coffee.
DANIELLE: This is going to be a really fun pick for you,
I think you're going to like it.
MIKE: I think I'm just a few minutes away,
if you want let them know I'm-I'm close.
DANIELLE: Yeah, I already talked to him. They said walk
in the front door, Betty's going to be waiting for you.
MIKE: Alright, thanks!
DANIELLE: Oh hey, one more thing -
I have 2 appraisers coming in today.
We're going to get the Beatles stuff appraised,
and then we're also going to have one of Robbie's friends
come in and appraise the Paul Stanley artwork.
So cross your fingers, man, let's hope we did okay.
[laughing]
MIKE: Alright cool.
DANIELLE: Alright, I will see you later.
MIKE: Bye.
♪ ♪ ♪
MIKE: Driving up to this building,
you cannot help but notice, the tower on top of it.
MIKE: Betty.
BETTY: Yes.
MIKE: Hey.
BETTY: Hey.
MIKE: I'm Mike.
BETTY: I'm Betty.
MIKE: You talked to Danielle on the phone?
BETTY: It's really nice to meet you.
MIKE: Nice to meet you, yeah.
Did you guys build this building?
BETTY: Mr. Hulcher did. He built-
MIKE: 'Cause I saw on the top when I pulled up,
it was like a lighthouse.
BETTY: Yeah. It had a cupola on top.
MIKE: Ohh okay.
BETTY: And he built upstairs like that so we
could go out there and test our cameras.
MIKE: Really!?
BETTY: Yeah.
MIKE: It was more than an architectural detail,
it was functional.
It was part of Charles Hulcher's vision for his company.
BETTY: We made high-speed sequence cameras.
When Mr. Hulcher first invented this camera,
everybody just went wild over it.
BETTY: Mr. Hulcher invented the camera in about 1952.
MIKE: Okay.
BETTY: Started his business in 1954.
MIKE: And how long have you been here?
BETTY: I've been here since 1957. [laughs]
MIKE: Really!
BETTY: Yes.
MIKE: Good for you, that's awesome!
BETTY: I was Mr. Hulcher's right-hand man.
[laughing]
MIKE: That's awesome. I love that.
MIKE: It is so cool to me, someone that's done
what they loved for so long, that they've
devoted their life to it.
MIKE: So I want to see one of these cameras.
BETTY: Okay.
MIKE: What looks like a very small building
from the front, just opens up and keeps going until
you hit the back of it, and then it explodes
into this huge machine shop.
BETTY: Gary.
MIKE: Hey-hey!
GARY: Hey.
BETTY: Come here.
TODD: Howdy.
GARY: I started at the company about 1969.
The company was building a lot of cameras back then,
a lot of parts, and they needed a lot of
part-time people to make parts.
MIKE: Hey, I'm Mike.
GARY: Yeah.
TODD: Todd.
BETTY: This is Todd.
MIKE: Todd, nice to meet you.
BETTY: Todd.
MIKE: So you guys are still,
still tearing it up back here, huh?
TODD: Yes.
GARY: Oh yeah, still making parts, yeah.
MIKE: Are you really?
GARY: Oh yeah.
MIKE: For your cameras, or what are you doing?
GARY: No, we don't, we actually don't build cameras anymore,
but we do small parts for NASA
and a couple of other laboratories.
MIKE: Wow, really.
GARY: Yeah, oh yeah.
MIKE: So you still have contracts with them.
GARY: Back in the 1950s, Mr. Hulcher worked at NASA.
About that same time, we were still trying to
put a satellite in space.
Frequently launching rockets,
but they were having problems on the launch pad.
They were blowing up.
And Mr. Hulcher said, I can develop a camera that will
take pictures so fast, it'll do stop-action photography,
and you could see where your problems are.
GARY: Finally someone said, 'we'll do it.' The next rocket
launch, it blew up, they went back and looked at the film in
sequence, and they could see exactly what caused the blow-up.
MIKE: Wow!
GARY: Yeah.
MIKE: That's cutting edge.
GARY: Cutting edge, right.
MIKE: Charles Hulcher's vision, his purpose,
his inspiration, was really about forensics.
He created something for the space industry to visually
analyze a problem that the human eye never could.
GARY: A lot of people would think that,
use that movie camera,
you could go back and just pick out a scene and use that.
Not always possible, because it'll most likely be blurry,
gaps in between.
GARY: At each shuttle launch,
they would set up the whole panel of our cameras.
All of them high-speed, 50-75 frames a second.
MIKE: Okay.
GARY: The film on that cameras actually stops
for a millionth of a second, takes the photo,
it advances to the next one.
GARY: So it was absolutely perfectly sharp.
Movie cameras, they're not doing what our cameras would do.
BETTY: When the Challenger exploded...
MIKE: Yeah?
BETTY: They found out what happened by film
that was made with our cameras.
MIKE: Yeah...
GARY: Yeah.
Just so happened they had the cameras there
that day when it blew up.
They went back and looked at the pictures and they could see
where the O-ring was separating,
and it actually caught on fire, yeah.
MIKE: Wow.
GARY: Yeah.
MIKE: So that, that your technology was able
to advance their technology.
GARY: Right.
BETTY: Right.
GARY: Exactly.
MIKE: It is incredible to think about how one man's
vision could revolutionize an industry.
GARY: Back in the 1950s, I guess the news spread pretty fast.
The media wanted one, the Air Force and Navy.
There was such demand for the camera, he retired from NASA,
started the Charles Hulcher Company,
and started building the high-speed sequence cameras.
GARY: Back in the '60s, normal price for
one of them was $2,200.
MIKE: Wow!
GARY: And...
BETTY: About the same as a car then.
MIKE: Oh yeah.
GARY: Yeah.
MIKE: Yeah, absolutely.
You were dealing with very professional people.
GARY: Life Magazine, Sports Illustrated...
MIKE: Ah I didn't even think about that.
GARY: Up to this time, if you're trying to shoot
stop-action of the guy catching a pass, swinging a bat,
or a golf club, it was very little equipment to work with.
Once the sports world found out the Hulcher would do that,
oh my gosh, you know I mean, we started getting orders,
you know, like crazy.
We just couldn't keep up.
MIKE: So all those images, all those memories, you know,
that we all kind of look back through, and reminisce about.
GARY: Yeah. Oh yeah.
MIKE: You were the guy helping with that!
[group laughing]
GARY: Yeah, I was in on that, so yeah.
And we-we had a lot of fun building them, you know.
At one time, there was 30 people here making parts.
Todd's dad, Richard, he was shop foreman.
BETTY: Yeah, he was here...
MIKE: So you kind of grew up around this place.
TODD: Yes, since I was that tall.
[group laughing]
MIKE: Well show me around a little bit, I'm excited.
Let me see how you guys make one of these things.
GARY: Sure I'll give you a...
TODD: Guys, I got to go.
Mike, it was good meeting you.
MIKE: Hey.
Good to meet you too, my friend.
GARY: We would take the blank of aluminum, like sheet metal.
MIKE: Uh-huh.
GARY: Somebody would be making the bottoms,
somebody would be making the tops,
somebody would be working on the set of gears.
MIKE: Okay.
GARY: Eventually, it'll all be welded together.
BETTY: First of all, we made the 70mm which was a wide film.
GARY: Actually had a guy that was a NASA engineer,
that did all of our wiring for us.
BETTY: Then we started making the 35mm because
the 70s were so heavy,
they just couldn't be carried around very easily.
And that's when these sports people got so interested in it.
BETTY: Who was the guy that... that hit-
GARY: Mark McGwire.
BETTY: Yeah.
When he was going to go for the record...
MIKE: Yeah.
BETTY: They would send their cameras to us, to load them,
and set everything, so all they'd have to do was
pull the trigger and take the picture...
MIKE: Really.
BETTY: when they got there.
MIKE: Wow, they relied on you guys that much.
BETTY: Yes, they did.
GARY: Sure, yeah.
MIKE: To hear about this first -hand,
from the people that were actually
there in the place that it happened,
is pretty damn epic.
MIKE: So what's going on with that?
You guys still using this little cabinet here?
GARY: This was our drill cabinet.
MIKE: Yeah, it's really neat.
GARY: Number drills...
MIKE: So there's still drill bits in there.
GARY: Yeah.
MIKE: Are you guys still utilizing this?
GARY: No, we don't use that one anymore.
Most everybody has their own little drill stand now.
MIKE: Did you make this here?
GARY: That was made here, yes.
BETTY: We made everything.
MIKE: No kidding. I see that.
BETTY: [laughs]
MIKE: Well I mean, was that-is that something
you'd consider selling?
GARY: Sure yeah.
MIKE: I mean, that's something that
somebody could still utilize.
It's just got a great look to it.
It's worn, the paint on the sides of it and everything.
I mean, it's not big deal to make back then,
but now it's just got so much age.
Plus, to be honest with you, the story of where it came from.
GARY: True, yeah.
MIKE: If you'd consider selling it, so it's actually 2 pieces,
one stacked on top of the other, I'd pay...
like 250 bucks, for both cabinets, you know.
Like 125 apiece.
GARY: If you take the drill bits out, we can do that.
MIKE: Yeah, I mean, I wouldn't need any of the drill bits.
GARY: Yeah. Yeah.
MIKE: But I would love to have it,
just because it's always been here,
and it's just got a great look to it.
Thank you, my friend.
♪ ♪ ♪
DANIELLE: Oh I'm looking at it right now, so-yeah.
I'll get it sent out, alright, bye.
DANIELLE: Hello.
ROB: Hey, I'm Rob from the Great Escape.
DANIELLE: The music guru!
ROB: That is I.
DANIELLE: Yeah, I've been talking to you, that's great.
ROB: Yes.
DANIELLE: Okay, I have something to show ya.
So this is one of our precious babies right here.
ROB: Oh yes.
DANIELLE: I'll grab the other pieces.
So here's the full collection.
We got this in Pennsylvania from a
lady whose late husband was a radio DJ.
DANIELLE: Check this out.
DENISE: And here's the poster for it.
DANIELLE: This cover didn't make it, because the label thought
the subject matter was too delicate for American audiences.
[gasp!] Clutches pearls.
DANIELLE: If we take this and we find out that it's worth an
exorbitant amount of money, I will contact you,
and make sure to make that right.
But I feel like 1,200 is fair.
DENISE: I'll do it.
DANIELLE: Yeah, oh I'm so excited.
DENISE: Yeah, you got a deal.
ROB: This is a, a whole package from what's
known as the 'butcher cover'.
Which was the Beatles - Yesterday and Today album,
that came out in 1966.
The butcher cover name comes from, obviously,
the shocking picture...
Danielle: [laughing]
ROB: that they decided to put on this release.
When this got sent out to radio stations and reviewers,
they quickly realized they had made a big mistake.
Moms weren't going to want to see this on
their kids record player.
DANIELLE: Somebody messed up in marketing.
ROB: Remember, this is the mid-'60s, and the Beatles.
DANIELLE: It's pretty macabre.
ROB: Yes.
Danielle: [laughs]
ROB: They recalled the record, covered up the butcher with
what's known as the 'trunk cover',
which shows the band and they're sitting on a trunk.
DANIELLE: So they just slapped some glue on it
and put a different picture on the top.
ROB: Exactly.
When it comes to the butcher cover,
there's 3 different versions that we'd be looking at.
What's known as a third state would be a record that had
this covered up, and was peeled off, by a consumer.
DANIELLE: Okay.
ROB: People knew pretty quickly that
this picture was under here.
There was an industry even evolved loosely around peeling
the cover off, you could hold it over your stove-
DANIELLE: What do you mean, industry revolved around it-
like people just trying to figure out different
ways to peel the cover?
ROB: Yes.
Because especially at that time, the glue hadn't set,
it was not terribly difficult to get them peeled off.
DANIELLE: Gotcha.
ROB: The second state has what's known as a
paste-over that was put over this.
You'll see through the cover, you'll see the V
of Ringo's sweater here.
DANIELLE: 'Cause there's so much white on the cover.
Okay.
ROB: Yeah, it's a white background,
you can pretty clearly see it,
especially at an angle or with light.
A first state is what would come directly
from the record label...
DANIELLE: Yeah.
ROB: to a reviewer or to a radio station.
That was done prior to the release in 1966.
Those are your most valuable copies.
DANIELLE: So it was...
ROB: Because they never had the paste-over.
DANIELLE: Aha!
That answers like, so many questions
I've had about all of this.
ROB: In perfect condition, you know,
a first state and a nice original poster,
you're probably looking at about a $20,000 value on this.
DANIELLE: Ohh...
ROB: Unfortunately, what you have here is a third state.
DANIELLE: Are you sure? [laughs]
ROB: Yeah, it's-you can tell, I hate to be the bearer of bad
news, but when you see the residue here from glue,
people would steam them over a kettle to loosen the glue and
peel it off, but there's usually some telltale residue...
DANIELLE: Okay.
ROB: that you'll find.
Also the issues around the edge...
DANIELLE: Yeah.
ROB: are indicative of somebody trying
to make the peel.
DANIELLE: Ohh, I never thought about that, that makes sense,
this part right here.
ROB: Um-hm.
DANIELLE: Okay.
ROB: You know, any record could have some damage on it,
but it shows pretty clearly to me that it has been peeled.
DANIELLE: Okay.
So, this one definitely is a third state...
ROB: In my opinion, yes.
DANIELLE: Okay.
We picked this one thinking it was a first state because the
gentleman worked for a local radio station...
ROB: Um-hm.
DANIELLE: and he got a lot of those promotional items in
and so we assumed that... this...
hah, I'll take responsibility for this...
ROB: That this was one of them.
DANIELLE: I assumed that this would
have been an original.
ROB: Yes.
But that's not the end of the world,
it's still a very desirable record.
DANIELLE: Uughh, okay. Alright.
ROB: Now when you look at your poster here, unfortunately,
you're missing the Capitol logo here,
which is indicative of an original poster,
that would have been from that time period.
DANIELLE: Uuhhmm... my heart. Heh...
ROB: This is likely something from the, from the '70s,
that would have been sold in record stores, or...
DANIELLE: Dang it.
Okay, so you're telling me this is also not original.
And-and I don't, the only reason that I question that is
'cause we have an original letter.
ROB: Okay, yeah let's talk about the letter.
I haven't looked at it too closely.
The letter itself was often photocopied,
I mean, all you have to do is go to a...
DANIELLE: Oh stop.
ROB: Go, go to a photocopy machine.
DANIELLE: How...
ROB: If you look here, the letterhead,
see the 'Hollywood and Vine', the printing here,
and that the 'Executive and General Office', how it's faded.
DANIELLE: Yeah.
ROB: Cut off, almost. An original letter is going to
have a crisp letterhead.
DANIELLE: Ah... ROB: Um...
DANIELLE: I thought for sure this would be legit.
I paid 1,200 bucks.
Will I at least see that back?
ROB: Umm...
I'm afraid on this deal,
you're probably going to lose a little bit.
DANIELLE: Alright, alright.
ROB: As a collection, it's still a nice package
to have all 3 of these together.
I think all together you'd be looking at about $700.
DANIELLE: Hooh...
that's better than nothing, I suppose.
ROB: Absolutely.
DANIELLE: This one felt like such a secure gamble,
I- and I-I wish I had this knowledge before I picked it.
ROB: Well, you'll know the next time you're out there.
DANIELLE: Right. We pay for our education.
At least...
look it's still history, it's the Beatles.
It's a cool story, just even to be in the shop,
you know, to put it together.
ROB: Oh it'll be, it's great to have it in the shop.
DANIELLE: Rob, thank you so much.
It wasn't what I wanted to hear...
DANIELLE: but I appreciate your knowledge.
ROB: You bet. Happy to help.
DANIELLE: I'll walk you out.
♪ ♪ ♪
MIKE: Do you have any of the cameras that I can see?
GARY: Back this way.
MIKE: So what was his background?
Was he a photographer?
BETTY: No.
BETTY: He really wasn't a photographer.
GARY: He was a tinkerer, an inventor.
He had lots of little projects he was always working on.
MIKE: Here's one of your bodies,
this is what you were talking about.
GARY: That's one of the bodies right there.
Not-not complete...
MIKE: Yeah.
GARY: missing a few things.
MIKE: After hearing about the cameras for so long,
I finally get one in my hands.
You can really feel the weight and the engineering behind it.
GARY: That's probably about 1958 or '59.
MIKE: Oh, really it's that early.
GARY: Yeah.
Some of these cameras, we sold to the golf magazines.
MIKE: Okay.
So if I pull this button, it clicks once.
GARY: If you hold the button, you're probably doing...
50 shots in one second.
MIKE: Really!?
GARY: Yeah. That's on film.
MIKE: Okay. If somebody's swinging,
they just... boom. That's...
GARY: And then you're out of film.
MIKE: I'm out of film right then?
GARY: Right then.
MIKE: And then I got to send this back to you.
GARY: Yeah, yeah.
Mike: [laughs]
MIKE: Here's another handheld one.
And what am I doing here?
So this is a sight-finder here.
GARY: Sight-finder.
MIKE: Yep.
GARY: You're, you're riding in a small airplane right now.
MIKE: Okay.
GARY: About 4-500 feet off the ground.
MIKE: Alright.
GARY: And you're picking out things to shoot.
MIKE: Wow.
MIKE: First I'm on a golf course.
Then I'm up in a small airplane.
I love this guy.
MIKE: So it's so cool, because you know I mean,
over the years, obviously,
I've found old cameras before, you know.
GARY: Yeah.
MIKE: But I've never found one of these,
I've never seen one of these, just because it
was so expensive and it was commercial use.
GARY: Yeah.
MIKE: Did you guys design this grip?
GARY: These are WW-2 aircraft machine gun handles.
MIKE: So you guys were buying old surplus,
these old machine gun...?
GARY: Mr. Hulcher bought them from the Navy and
the Air Force, but get them in boxes.
Mike: [laughs] Yeah.
GARY: Although the boxes, they're packed-
they're packed in 1943 newspapers.
MIKE: Yeah. GARY: Yeah.
MIKE: That's cool you were able to repurpose them.
GARY: With the same trigger switch... why not...
MIKE: Yeah, yeah.
The same trigger switch.
GARY: Same trigger switch. Yeah.
[Mike makes machine gun noises}
MIKE: It's still shooting fast, but it's...
MIKE & GARY: [laughs]
MIKE: it's shooting film! That's super cool.
MIKE: I love the way Charles Hulcher's mind worked.
If he didn't need to make it, and he could repurpose
something, then that's what he would do.
GARY: There was one other company that built
a high-speed camera, but it was huge.
Not something you could carry around to a sports site.
Mostly for scientific use in labs.
BETTY: Very expensive.
GARY: Very expensive.
You're talking 10 times what ours cost, yeah.
Mr. Hulcher, he could see how to move
the film faster than anybody.
MIKE: Sure there were other high-speed cameras around
before Hulcher, but they were either too massive,
or they burned through way too much film. His genius was
making one that was both portable and practical.
And because of that, it became the gold standard.
MIKE: This is kind of the bone yard right here,
but do you have any cameras that are
more complete than this?
GARY: Sure, let's go up to the attic.
MIKE: Okay.
BETTY: Tell you what, you all go up in the attic,
it's too hot up there for me.
MIKE: Okay. [laughs] Okay.
[phone ringing]
DANIELLE: Hey, what's up, brother?
ROBBIE (ON PHONE): What's going on?
Are you in the shop?
DANIELLE: Yeah.
ROBBIE (ON PHONE): Okay. This Tom Noonan guy
has been blowing my phone up
about that Paul Stanley stuff.
MIKE: So this is the original piece of artwork that they
drew before they actually made the piece.
WAYNE: Right.
MIKE: Alright, so there's 2 of them, and then...
WAYNE: I have-
MIKE: the other one.
ROBBIE: We'll have to climb up there and get it.
MIKE: We'll have to climb up and get.
DANIELLE: Like what do you mean,
blowing your phone up about it?
ROBBIE (ON PHONE): I don't know if that's good news or if
that's bad news, but he said he's an hour away from you.
He just sent me a text,
he's wanting to make sure you were there.
DANIELLE: Nice. Okay perfect.
So he'll be here in about an hour, I'm here right now, yeah.
I'll be here all day. I just...
I just finished up this appraisal for the Beatles -
Yesterday and Today collection.
ROBBIE: Yeah?
DANIELLE: Yeah. You want to hear some news on it?
ROBBIE: Let's hear the good news.
DANIELLE: No, it's really not good at all, actually.
We took a hit, man.
ROBBIE: What do you mean by 'we'?
ROBBIE: If I was a Beatles guy, I'd have to have this.
DANIELLE: Absolutely. Same.
ROBBIE: I'd just have to have it, you know.
DANIELLE: I really think we could get 2,000.
ROBBIE: Yeah.
ROB: I think all together, you'd be looking at about $700.
DANIELLE: Hooh...
DANIELLE: Yeah, I took a dive. It sucks.
It's not good. I'm about to cry.
I feel bad about myself.
ROBBIE (ON PHONE): Well, don't cry.
Mistakes are made every day, I mean,
hey that's part of picking, that's Picking 101,
that's how you learn.
DANIELLE: It hurts! It hurts! I don't like it!
ROBBIE (ON PHONE): I know it hurts.
Hopefully Tom Noonan can lighten
your day a little bit more.
DANIELLE: Nah, you know what, you're absolutely right.
We'll talk to him about the Paul Stanley stuff.
ROBBIE (ON PHONE): Let me know how things go with Tom.
I got to get back to work.
DANIELLE: Thanks for cheering me up.
I love ya, I'll talk to you later.
ROBBIE (ON PHONE): See ya, sister.
♪ ♪ ♪
DANIELLE: Tom?
Oh... I'm so happy to see you.
TOM: Dani, great to see you. You too.
DANIELLE: Oh please tell me you got good news for me,
because we really took a hit and...
I need a win.
TOM: I've seen the pictures, I really love what I see.
I can't wait to see them in person.
DANIELLE: Okay, let's go. Heh.
DANIELLE: So how long have you been knowing Robbie?
TOM: I've known him for quite a while.
I bought a sign from him, a Griesedieck sign.
And I put it in my brewery.
It's actually a brewery-museum. I'm a collector of breweriana.
DANIELLE: Yeah.
TOM: Beer stuff.
I've been doing it for about 50 years.
DANIELLE: Oh. So you've been knowing him long enough for him
to owe you some money then, right?
TOM: Pretty much, yeah, yeah, yeah...
DANIELLE: [laughs]
TOM: Oh wow, look at this.
DANIELLE: Well, you'll love this one.
TOM: Oh yes.
DANIELLE: This is the Lone Star one.
TOM: This is great. It's concept art.
MIKE: What are these?
WAYNE: Paul Stanley, hand-painted drawings.
MIKE: If you're an advertising collector,
you know who Paul Stanley is.
WAYNE: He made advertisements that
were all mechanical, some 6, 7 feet tall.
MIKE: So how large was this original piece?
WAYNE: Uh, stand about that high.
What do you offer for the 3?
MIKE: 900 bucks.
WAYNE: That's fine.
ROBBIE: That'd work?
MIKE: You want to do that?
300 apiece?
WAYNE: Yeah. ROBBIE: Alright.
MIKE: Okay, brother, thank you.
ROBBIE: Awesome.
TOM: The Paul Stanley Company, you know,
was a motion display company.
Out of San Francisco, founded in like the 1940s.
They operated until about the late 1960s,
and they made these big motion display pieces,
point-of-sale pieces.
DANIELLE: Right.
TOM: They made them for Lone Star, and Hamms,
and even Burgie Beer.
They're very large, kind of hard to move around.
DANIELLE: How large? Like how big are we talking?
TOM: Well some of them were 10 feet tall.
DANIELLE: Whoa!
TOM: Right. I think-
DANIELLE: So basically you'd walk into the grocery store,
and you'd see this monkey on top
of this Lone Star beer can...
TOM: Right. Now this sat on a mass beer stack.
DANIELLE: Yeah.
TOM: So this sat on top of probably all
these cases of beer.
DANIELLE: And it would be, it would be going around.
TOM: It'd be going around.
DANIELLE: Yeah.
TOM: And they would move it around to different stores too.
DANIELLE: Would they have made one of the
monkey and the... on the beer can?
Or would they have made multiples?
TOM: They made multiples.
DANIELLE: Okay, gotcha.
TOM: I believe maybe 10 to 30.
I've seen the Hamms, but I've not seen this one.
A lot of them didn't survive.
That's why I love these.
DANIELLE: It's great that you can have
3 completely separate brands.
TOM: Right.
DANIELLE: Yet they all look like a family.
They feel like a family, you know what I mean, like...
TOM: Right.
DANIELLE: You can tell that the same
Paul Stanley Company did all 3.
TOM: You can.
When I first saw them, I thought they were
watercolor, but they look like color pencil.
They actually have the whirl marks,
and actually how they move.
This is the artist conception of this idea, right?
The brain-child for them to come up with this display
piece that they built and put in a store.
This is a concept piece that they drew for the
Paul Stanley Company and to pitch it.
DANIELLE: That's incredible, man.
It's... this is really just the first step,
just one little piece to this huge long process,
of this actually being made into a statue.
TOM: Correct. This goes into another category for collectors,
that it's artwork, and not just an advertising piece.
'Cause it's both.
You know, it's artwork for an advertising piece,
which makes them so unique.
Like this piece here.
DANIELLE: Yeah.
TOM: Right? Now, I've seen this display, in shows.
I've seen this large bear with the Hamms.
The one I've seen though, actually, these are all red,
the bear's got a red scarf,
and these are all different creatures.
DANIELLE: Yeah.
TOM: This drawing might not have been
made exactly the way it is.
And this display piece, there's probably 10 of those out there.
DANIELLE: Oh, the actual large display piece.
TOM: The actual large display piece.
DANIELLE: Okay.
TOM: With the guy spinning around.
This artwork, there's only one of these.
DANIELLE: [gasp] That hits home. That hits home.
TOM: Yeah.
DANIELLE: I want a number on it.
TOM: Now this one is probably the most valuable of the 3,
because of the loyalty of the Hamms collectors.
It's a little rough, but it's amazing that it's still...
DANIELLE: Yeah.
TOM: that it's still even around.
I would say anywhere from the low value of around 700,
and it could go as much as 1,000 in a-in an auction,
because of all the Hamms collectors.
DANIELLE: Okay.
TOM: If you find the guy that owns this actual display,
he has it somewhere in his house and he wants the actual
design of that piece, this guy's living it on this one.
DANIELLE: Awesome.
TOM: Now this one, the Lone Star.
DANIELLE: Yeah.
TOM: Who doesn't like a chimpanzee in a tutu,
on roller-skates, circling around a beer can, right?
DANIELLE: I know, right?
TOM: So in my opinion, this would be 5, $600.
DANIELLE: So a lot of this breweriana stuff
is regional, right?
TOM: Right.
DANIELLE: So I can just imagine what this would
go for in Texas as opposed to Iowa.
TOM: Correct. Right.
If this was in a Texas auction, it would be considerably more.
DANIELLE: Good to know, good to know.
TOM: Now the last one over here...
DANIELLE: Yeah.
TOM: The Hills Brothers.
DANIELLE: Hills Brothers.
TOM: The little bandit.
DANIELLE: Yeah.
TOM: Yeah, I'm not a coffee guy,
but I know some coffee people, so I love this piec.
DANIELLE: Yeah.
TOM: I love it, I mean, it's in great shape.
DANIELLE: The colors. [whistles]
TOM: Look at this little guy.
Now, I saw these little arrows...
DANIELLE: Yeah.
TOM: And I thought, what's he do?
Well down here, the best part, it says,
'figure rotates 360 at 6 RPM.' So basically, he rotates,
and he goes down in the can, so all you see is his hat.
DANIELLE: Yes! Ah!
TOM: I love this piece.
And I have not been able to find this piece
anywhere in terms of being out there.
DANIELLE: The act-yeah.
TOM: The actual piece.
So I do not know if it exists or not.
So this could be rarest of the bunch because...
DANIELLE: Wow.
TOM: it might not even have been produced.
But there's not a lot of coffee collectors out there.
They're not as crazy as us breweriana guys,
but I love this piece.
TOM: Now, this one, I don't believe this display was ever
built. So it's really hard to give a value.
But I think conservatively 4 to $500.
DANIELLE: Alright.
I mean, shoot, we're doing better today
than we did earlier.
So like, conservatively, 1,600 for all of it then, right?
TOM: Yes. I think so.
DANIELLE: I got to tell you like, 1,600 for all of it,
we paid 900 bucks.
TOM: Yes.
DANIELLE: We come out on top.
That's a win and I'm happy with that.
And I'm super stoked you came out.
TOM: Well great, it's great being here and I love
seeing these, and they're even better in person.
DANIELLE: Yeah! Awesome.
♪ ♪ ♪
GARY: It's kind of cluttered.
MIKE: Yeah, I like that.
MIKE: The Hulcher camera started a renaissance in
photography. It evolved from forensics to art.
GARY: This is the camera graveyard.
MIKE: Oh here's the bodies for them. Look at all these.
MIKE: And then had ripple effects in
almost every industry.
MIKE: Whoa!
GARY: You could probably take 2 or 3 of these
and make one good one.
MIKE: This whole process was in-house.
MIKE: Exposure chart.
MIKE: Making every gear and every part of the camera...
MIKE: View finder parts, here we go.
MIKE: And they're the ones who designed
it and built it, all under one roof.
MIKE: Okay, well here.
GARY: Alright.
MIKE: What can you tell me about that?
That's cool.
GARY: It's a Hulcher 70. It was one of our first...
MIKE: Whoa...
GARY: 70mm cameras.
This was probably owned by a newspaper.
MIKE: Why would you end up with this back?
GARY: This thing probably weighs 50 pounds.
[laughs]
MIKE: I know. That's why I got my leg up under it!
GARY: We came out with a smaller,
lighter version of the same camera.
MIKE: So would you allow them to trade this in then?
GARY: No.
GARY: Of all the times when Sports Illustrated or
New York Times or anybody that has our cameras,
after they had them awhile, we often come
out with a new version of it.
A wider version, easier to use version.
GARY: They would actually buy the new camera,
and then they'd eventually send us back and say,
'would you store it for us.'
MIKE: Ohh... okay. And that just went... yeah.
GARY: But then...
then they never asked for it back.
GARY: Could you keep them, dispose of them,
we don't want them anymore.
MIKE: This one's not as heavy.
GARY: Slightly newer version of this one.
MIKE: Okay, so it is- you're right, it is lighter.
GARY: Yeah, it's lighter. Uhh...
MIKE: Love this case.
Says goes to New York, Press, love the old shipping tags, man.
GARY: Sports Illustrated and Life Magazine used them.
MIKE: Wow.
MIKE: A lot of these cameras that shot really important
moments, whether it was sports or news,
are laying on the floor,
in the original box, sitting there
like mechanical time capsules.
MIKE: This was state-of-the-art,
and this was high-speed.
GARY: This was high-speed, yes.
MIKE: What's this gauge on this one here?
Looks like a pressure gauge or something.
GARY: Yeah, film floats around.
If you shoot 75 frames a second,
your film's going to want to float.
MIKE: Ohh...
GARY: So sometimes, they pressurize the box...
MIKE: No kidding!
GARY: To keep-to keep the film flat against the aperture.
MIKE: There's a lot going into this.
MIKE: They weren't just mass -producing cameras.
They were customizing them based on
the client and their needs.
MIKE: Look at the lens on that thing, man.
So you're like this.
GARY: Yeah, that about right.
MIKE: Look at that, there's a chain drive in here.
What about this thing, what's this?
GARY: Probably an old prototype.
MIKE: Really.
GARY: Yeah.
MIKE: Your hand goes into that with the leather.
I love how primitive that is.
So this would have been like...
GARY: Yeah.
It's important to keep both eyes open.
MIKE: It's like getting a personal tour into
the mind of Charles Hulcher.
MIKE: It's like a bomber, man.
GARY: Yeah. This was...
MIKE: Look at this thing!
Is it a bomber sight?
[machine gun sfx]
GARY: It might have came off a bomber.
MIKE: That's what I'm saying, I mean...
GARY: Yeah.
MIKE: You were saying that he repurposed stuff.
GARY: He repurposed a lot of stuff, yeah.
Quite a few of them that we used in the Arctic,
we put heaters in.
MIKE: Put heaters in the camera?
MIKE: Different sights, different setups,
different features, different accessories.
MIKE: Now this is manageable.
GARY: Yeah, so this...
MIKE: That's real light.
I'm seeing the evolution as we walk across the attic.
GARY: Every day we get a different request.
MIKE: Yeah.
GARY: Can you build a camera to do this.
MIKE: Yeah. And that had to be challenging.
GARY: Yeah.
MIKE: Like I mean, it's just like,
not the same thing all the time.
GARY: No. The Highway Department,
with their crash dummies, tested cars.
MIKE: Oh yeah, yeah...
GARY: Yeah, we sold them several cameras.
MIKE: Oh when they would crash their car into the wall.
GARY: Yeah if, if we could get like 100 pictures
before it actually crashed...
MIKE: Yes, they could design the car better that...
GARY: And you could see the dummy
doing all kinds of, you know.
MIKE: Oh yeah.
BETTY: What was the man that wanted the camera to set out
in the woods and take pictures of Big Foot or something?
GARY: Yeah, we-we had a request one time,
the guy was trying to capture shots of Big Foot...
in the woods.
MIKE: Ugh!
GARY: I don't know whether you've ever heard of
Heinz Kluetmeier.
He used to be the chief photographer
for Sports Illustrated.
And he used these cameras for years.
MIKE: Photographers like Heinz Kluetmeier,
this guy was shooting Muhammad Ali, A.J. Foyt.
If you're a fan of his work, this is his camera.
MIKE: So these cameras transcend just people
collecting cameras, it starts getting into the
imagery and the art of it.
MIKE: I've got a guy that I can take pictures of this stuff and
I could send that off to him. He's knowledgeable on price.
GARY: That'd be great.
MIKE: Collectors, enthusiasts, people that are passionate about
photography are not going to have the opportunity
to run into one of these cameras.
You're not going to find something like
this at a junk shop.
MIKE: So you think this was one of the first
ones you guys ever made.
GARY: Probably.
MIKE: Because a lot of the ones that were really significant and
incomplete are sitting in the attic up here at Hulcher.
MIKE: I'm going to send some of this stuff off to him.
♪ ♪ ♪
BETTY: This used to be Mr. Hulcher's office.
Now it's archives.
MIKE: Sequence photography is common now.
But back in the '50s, these images were revolutionary.
MIKE: Oh look at that.
BETTY: Yeah.
MIKE: So that's one of you guys' cameras...
it was taken...
BETTY: Yes.
MIKE: used to, to take that shot.
GARY: Right. BETTY: Yes.
MIKE: Wow.
GARY: It made the cover.
MIKE: That's so beautiful. 1955.
Man, don't you wish you just turn back the hands of time.
BETTY: Long time ago.
[laughs]
MIKE: Turn them back. There's another one.
Oh that's the same one.
GARY: Same one. It-it...
MIKE: Okay. Oh this is actually the magazine.
GARY: Actually the magazine cover.
BETTY: Right.
MIKE: Oh the staff copy.
BETTY: Yeah.
MIKE: Physically seeing the images that these cameras
made as magazine covers, newspaper headlines,
and stop-motion photos of famous sports figures,
really pulls it all together.
BETTY: At this time, nobody could take a picture like this,
because there weren't any other cameras around...
MIKE: Yeah.
BETTY: to take a picture like that.
MIKE: So it just changes the landscape.
BETTY: Yeah right.
MIKE: But see, look at the cameras those guys are using.
What would you consider that-what's that called?
GARY: Just a press camera, more of less.
BETTY: These cameras were speed graphics.
You take one picture a second.
MIKE: These are really neat.
Obviously these photos have been published before,
because you know, it's a professional photographer
covering the game.
MIKE: Baseball was the perfect vehicle for
this technology to be shown to the masses.
MIKE: 'Outfielder Dusty Rhodes crashes left field wall in vain
attempt to grab double.'
MIKE: A pitcher winding up to throw a strike,
someone sliding into home,
a batter in sequence hitting a homerun.
All of these moments were being captured,
giving the public a view of their heroes
like they had never seen before.
MIKE: What about stuff like this,
would you have any consideration of
selling any of these?
GARY: Sure.
MIKE: You've got 8 of them, and then you've
got this picture here.
I'd be interested in them for like 30 bucks a card,
and then I'd have to frame it, and you know,
presented that way, I think they might be,
after I frame it, like $75, to- to the right person, you know.
So like for the pile here... um...
like 250.
GARY: What do you think?
BETTY: I think that's fair, yeah.
GARY: I would rather see them go to somebody that could keep,
you know, keep them better than we are.
BETTY: Right, right.
GARY: To see him get excited about it, excited me.
I'm thinking, finally somebody is recognizing our product
and what people can do with it, you know.
I just, it kind of got to me.
GARY: We would do that.
MIKE: Okay. BETTY: Yes.
MIKE: Alright, thank you.
GARY: Deal.
MIKE: Well look at that, that's really cool.
Wow... who's that?
You guys know who that is?
Or was it just like a promotional photo?
GARY: Yeah.
BETTY: When we advertised our cameras,
we put things like this in magazines and newspapers.
MIKE: So you guys shot your own stuff though, I assume.
BETTY: Right.
MIKE: Since this came out of your archives and it's a
promotional piece, you know, this has, this has value to me.
I mean, I love this.
BETTY: Um-hm.
MIKE: I don't know what you guys are going to do with this,
but I-I'd be interested in buying that. 75 bucks?
BETTY: Sure.
GARY: We'll do that. 75, yeah.
MIKE: I love this. I absolutely love this.
GARY: Let me show you what we used in some of our ads too.
MIKE: Okay.
GARY: Yeah. This is just a couple of photos of our model.
MIKE: Oh yeah...
BETTY: Now that was, I didn't have a camera in that one,
Mr. Hulcher... [laughs]
MIKE: That's you?
BETTY: pictures.
MIKE: That's you?
BETTY: Yes it is.
MIKE: Alright. So where-
BETTY: He used me to hold the cameras to put
on brochures and send to people.
BETTY: Somehow or other, Mr. Hulcher got in his
mind that I could be a model. [laughs]
GARY: This was, at one time, our most popular cameras.
MIKE: I can see why.
[group laughing]
MIKE: Betty, you were...
BETTY: He took lots of pictures with me and the camera.
[laughs] There must have been a million pictures with me over
here, I didn't realize there were so many.
MIKE: You had a lot of hats here at the company.
BETTY: I did.
MIKE: I noticed you got another baseball picture over here,
what is this one?
BETTY: This is the 1959 World Series.
COMMENTATOR: Charlie Neal hits one to left field
seats for a homerun.
But it's Al Smith that takes the shower.
BETTY: Al Smith was going up to catch it,
and this man had a Coke or a beer or something...
MIKE: Oh and a beer dropped on his head.
Yeah...
[laughs]
BETTY: and he got so excited that he was going to catch the
ball, that he just covered the player with whatever it
was in the cup.
MIKE: Oh my gosh!
[laughing] Yeah he did.
MIKE: This was at a point in time where
technology met the innocence of an age.
Like the moment the beer got spilled on the outfielder.
The novelty was the fact that they had
10 images of it happening.
MIKE: That's incredible.
What are you going to do with this one?
BETTY: We'll sell it.
MIKE: 200 bucks.
BETTY: This has been published a lot,
so if you want to buy it, that's great.
MIKE: Yeah, because it's already framed and everything.
BETTY: Okay.
MIKE: And the fact that it was hanging in this
company is amazing.
[phone ringing]
MIKE: Alright Dan, we're up here in the
attic where the cameras are.
MIKE: These cameras went out, and they had these bold,
beautiful, famous, incredible lives,
and then they came full circle back to the place
that they were manufactured, and this is where
they've been resting on the floor of this attic.
DAN (ON PHONE): What's so interesting about the Hulcher
cameras and his place in camera history,
is that he was ahead of his time and was producing cameras
that could record images at the fastest rates possible.
DAN (ON PHONE): In the '50s, he was producing cameras that
could record at 50 frames per second.
By contrast, a professional Nikon at the time,
topped out at 5 frames per second.
DAN (ON PHONE): So really, these Hulcher cameras were
able to capture images that were never seen before.
GARY: To hear this guy on the phone,
excited about our cameras,
that kind of got me excited, you know.
MIKE: Which camera do you want to talk about first?
DAN (ON PHONE): How about that Model 100A?
MIKE: Alright. The Model 100A, we gotcha.
DAN (ON PHONE): Gary, is that camera complete
and working, do you know?
GARY: I doubt it's working.
I haven't looked inside of it in years.
DAN (ON PHONE): That's kind of a classic,
say early '60s on that.
I just happen to see the serial number was number 5,
so clearly that's one of the first made of that.
The 100A increased the frames per second from the 50 maximum
that the 100 did, up to 75 now, so it was a further
improvement on the speed of that camera.
GARY: I was surprised that he knew so much
about the Hulcher cameras, really.
DAN (ON PHONE): I would suggest in the market place today,
that would sell in the 4 to $600 range.
Coming right from the Hulcher factory itself and having the
early serial number makes it a little bit more desirable.
So perhaps a little bit more than that.
MIKE: Okay, that's fantastic.
What's this one Gary, what is this?
GARY: This...
BETTY: That's the 102.
MIKE: Here, you want to hold the phone for a second?
I've got the camera.
Dan, did you get photographs of this camera?
DAN (ON PHONE): Yeah Mike.
In general, that type of camera would sell
in the 3 to $400 range.
MIKE: Gary said that it was shipped from...
Sports Illustrated Magazine, back to the factory here.
How many years ago, you think?
GARY: Probably 30 years ago.
Basically they built new cameras from us,
and got tired of storing the old ones,
so they shipped them back to us.
They didn't want them back.
DAN (ON PHONE): Got it.
You know, from a camera collecting standpoint,
the fact that it was with Sports Illustrated,
that you have the case, it looks complete,
it has a premium over a standard model.
I'd suggest the value is probably around the $500 range.
MIKE: Okay. Awesome, man.
DAN (ON PHONE): The most exciting camera I saw in the
pictures was the prototype camera.
MIKE: Okay, alright well that's down here on the
other side of the attic.
DAN (ON PHONE): The most exciting camera I saw in
the pictures was the prototype camera.
MIKE: Alright.
DAN (ON PHONE): So the story is that while working for the
National Advisory Committee for Aeronautics,
that Hulcher developed a prototype to study rocket
launches in slow motion to find out why they exploded.
GARY: Yeah. That-that is a true story.
BETTY: That's the story.
GARY: But it was not this camera we're holding now.
DAN (ON PHONE): Okay.
GARY: This-this prototype was called a Hulcher 100.
It was a huge heavy camera.
DAN (ON PHONE): So if it's not that very original first
prototype, you know, prototypes can be challenging to value.
MIKE: What can you tell us about this, Gary?
GARY: It was here when I got here.
I started working here 57 years ago,
and this was here at that time.
All of our early cameras were made out of sheet metal.
They were bent up and put together with screws.
That's before we had any welding capabilities.
This looks like it could be a combination
of casting and sheet metal.
MIKE: What is this advancing?
The film, right?
GARY: Feels like it advances the film, yeah.
MIKE: So the grip is actually advancing the film,
like you turn the grip like you would a throttle
on a motorcycle.
GARY: It's larger than 70mm. That, it looks-
DAN (ON PHONE): Oh that's interesting.
GARY: Yeah.
MIKE: Listening to Dan's voice, you can obviously
hear his passion and excitement.
He's actually talking to people that built the Hulcher camera.
A camera that he's been collecting for
a number of years.
This is like me being able to talk to George Hendee and
Oscar Hedstrom - the creators of the Indian motorcycle.
DAN (ON PHONE): What is the frame rate per
second on that camera?
GARY: I don't think it was anything to do with high-speed,
because I don't know how fast you could turn this handle,
but it does have the motor, the motor's right inside the camera.
MIKE: Do you think you guys made this?
GARY: I just can't say.
GARY: Some of the things in the camera,
were some of the same things that we use in other cameras.
Some of the rollers, some of the spools, the gearing inside.
MIKE: The sight is very similar to the sights
that you guys continued...
GARY: Yes, yes it is.
MIKE: later throughout your run.
I'm telling you, here's a guy that's been doing this forever.
He's very curious about this camera.
He's like a duck on a June bug.
DAN (ON PHONE): [laughs]
GARY: It looks like something that Mr. Hulcher
would have come up with.
The ingenious way the inside is made,
it's unlike any cameras that we have right now, or have made.
But I've still yet to figure out how it works.
DAN (ON PHONE): Even though there's not a lot of background
on it, to me that's still an exciting model.
It would be exciting to a collector.
MIKE: Well I'm glad I-I, you know what,
[laughs] I-I just pulled it off the shelf because
it had a leather strap.
Betty: [laughs]
MIKE: I was like, oh that's a leather strap, that's neat.
GARY: Yeah.
MIKE: You know, that's how much I knew about it.
[laughs]
GARY: The 2 we know exactly where it came from,
did we build it, did Mr. Hulcher design it.
I would prefer it stay here with the company.
BETTY: Mr. Hulcher insisted on having paperwork.
Where those records are right now, I'm not sure.
MIKE: Yeah.
What about drawings, did you guys actually
keep all those drawings?
BETTY: We did have drawings.
We had drawings of all of it.
MIKE: Oh wow.
GARY: I would love to find a drawing on this.
DAN (ON PHONE): To me, the drawings are more attractive
even than the cameras themselves,
just because it shows the mind working and the origins of the
build of these cameras, and the progress.
Anything that's super unique to a collector such as a prototype
or drawings, or you know, kind of the inside story of a camera
factory, is pretty highly desirable.
GARY: We kept drawings of all of our cameras.
They're still here somewhere.
DAN (ON PHONE): I would suggest that those are as highly valued,
if not more, than some of these
cameras we've been looking at.
MIKE: That's awesome.
GARY: They started talking about how much our drawings could be
worth, I thought, I'm going to start looking for them.
MIKE: I'm going to give you Dan's number.
GARY: Okay.
MIKE: And you guys can kind of go back and forth.
DAN (ON PHONE): Sure, terrific.
MIKE: Alright, buddy, thank you so much.
BETTY: Bye.
GARY: Thank you, appreciate it.
MIKE: Bye-bye.
BETTY: Thank you.
DAN (ON PHONE): Alright then, nice to meet you. Take care.
MIKE: Okay.
GARY: Bye.
BETTY: It is great to know that people out there really
appreciate our cameras as much as we do.
MIKE: So Gary, after listening to Dan talk about the cameras
and being educated by you and Betty all day long,
I keep falling back to what I do.
So I'm a story guy.
You have documentation on this camera,
that it came from Sports Illustrated.
GARY: Right.
MIKE: You told me it's probably from the 1950s period.
It was shipped to you, what like 30 years ago?
GARY: Possibly yeah.
MIKE: So they used this camera for that many decades.
GARY: They used it for a long time, yeah.
MIKE: Okay.
GARY: Yeah.
MIKE: That interests me.
MIKE: It's one thing to talk about the cameras
and imagine the photographer and the company
that used them. But when you
see them in the original shipping crate,
you can touch it.
So it's hands -on history.
MIKE: And then the box itself, I mean, I look at the box,
like the lid and all the places that it's been,
it's been shipped all over the place,
all over the world really, you know.
Still has the leather handle on it, leather straps.
The box has got the look.
I guess from a collector's standpoint,
I connect with this more.
So this one he said was worth around 500 bucks.
That was like a retail number on it.
GARY: Right.
MIKE: Obviously it's not working,
but to a sports enthusiast or something,
this would be the big deal.
What would you guys feel comfortable
selling the camera for?
Because you know, One, it doesn't have a lens;
and Two, it's not like somebody's going to
go out and use it to shoot again.
It's-it's really more of a piece of history from your
company that's a collector piece, you know.
GARY: She would give it to you.
Betty: [laughs]
MIKE: Yeah.
BETTY: What, 300?
GARY: Uh, 250.
MIKE: Now this is going to go somewhere else,
somebody else is going to own this.
But me, I get the best part of all of it, I get to find it,
experience it, and really connect to each piece.
MIKE: I would do the 300.
BETTY: Okay.
GARY: You would. Yeah.
MIKE: You want to do that?
We'll do the 300. Okay.
BETTY: Okay.
MIKE: $300.
BETTY: 300.
MIKE: Thank you very much.
GARY: 30.
Betty: [laughs]
MIKE: I appreciate it.
I love it. I absolutely do.
MIKE: Today was so much more than
I thought it would be.
Walking in the door, I had no idea how this one camera
company was instrumental in changing and
touching so many different industries.
MIKE: Alright, I'm going to grab this one.
BETTY: Mr. Hulcher would have loved him. [laughs]
GARY: He would have loved Mike, yes oh my gosh.
BETTY: He... yeah.
He would have loved Mike.
[honks horn]
MIKE: See you guys!
BETTY: Bye!
GARY: See ya!
MIKE: Thank you!
GARY: See ya, Mike!
BETTY: Bye!
[phone ringing]
ROBBIE (ON PHONE): What's going on?
DANIELLE: Guess what...
ROBBIE (ON PHONE): I'm sitting on the edge of my seat,
what are you talking about?
Danielle: [laughs] So the news is that we actually
came out on top. 1,600.
ROBBIE (ON PHONE): Apiece?!
DANIELLE: No, what?- why did you have to say that!
Now it's not as exciting.
ROBBIE (ON PHONE): [laughs]
DANIELLE: Uugghhh...
You took the wind out of my sails, man. It's 1,600 total.
ROBBIE (ON PHONE): Ohh... that's-that's still good.
Yeah, I mean, what did we pay for them, 300 bucks apiece?
DANIELLE: Yeah-9, yeah, 900 bucks for the total.
ROBBIE (ON PHONE): Ah, there you go.
DANIELLE: Yeah.
ROBBIE (ON PHONE): See? It all balances out. Woo.
DANIELLE: Dude, I know, you're right.
I stress sometimes, that's it, but you're right.
ROBBIE (ON PHONE): Everything evens out for a reason.
DANIELLE: Love ya, I'll talk to you later.
ROBBIE (ON PHONE): Alright.