(man) ♪ WELCOME TO A SHOW ABOUT THINGS YOU CAN SEE ♪ ♪ WITHOUT GOING FAR, AND A LOT OF THEM ARE FREE.

♪ ♪ IF YOU THOUGHT THERE WAS NOTHING ♪ ♪ IN THE OLD HEARTLAND, ♪ ♪ YOU OUGHT TO HIT THE BLACKTOP ♪ ♪ WITH THESE FOOLS IN A VAN.

♪ ♪ LOOK OUT; THEY'RE DRIVING HARD, ♪ ♪ CHECKING OUT ART IN THEIR OWN BACKYARD.

♪ ♪ RANDY DOES THE STEERING SO HE WON'T HURL.

♪ ♪ MIKE'S GOT THE MAP, SUCH A MAN OF THE WORLD.

♪ ♪ THAT'S DON WITH THE CAMERA, ♪ ♪ KIND OF HEAVY ON HIS SHOULDER.

♪ ♪ AND THAT GIANT BALL OF TAPE, IT'S A WORLD RECORD HOLDER.

♪ ♪ LOOK OUT; THEY'RE DRIVING HARD, ♪ ♪ CHECKING OUT ART IN THEIR OWN BACKYARD.

♪ ♪ LOOK OUT; THEY'RE DRIVING HARD, ♪ ♪ CHECKING OUT THE WORLD IN THEIR OWN BACKYARD, ♪ ♪ CHECKING OUT THE WORLD IN THEIR OWN BACKYARD.

♪ (Mike) ♪ SANTA FE, MY T-- ♪ OH, NO, THAT'S NOT THE RIGHT-- [automated female voice speaking] HELLO, RE-- CONTINUE 500 FEET... ARE YOU THROWING YOUR VOICE AGAIN?

(Don) DEAR TV MAILBAG, DO WE KNOW THE WAY TO SANTA FE?

HI, DON THE CAMERA GUY HERE, AND THE ANSWER IS YES.

BUT NOW THAT WE'RE HERE, CONFUSION DOES SEEM TO REIGN.

(Mike) YOU'RE ON DON DIEGO.

(both) PERFECT.

(Don) NOW THAT ARE BEARINGS ARE BACK, WE'RE BEARING DOWN ON ACTUALLY GETTING THIS SHOW STARTED, STARTED WITH A VISIT TO THE HOME OF RON RODRIGUEZ.

RON'S BEEN CARVING SINCE HE WAS NINE THANKS TO HIS GRANDDAD, THE FAMED FELIPE ARCHULETA, WHOSE WAY WITH WOOD EARNED HIM A PLACE IN THE FOLK ART HALL OF FAME.

(Ron) MY GRANDFATHER WAS A CARVER WHO STARTED THIS ANIMAL STYLE-- MID-'60s.

I WOULD GO OUT THERE IN THE SUMMERS.

YOU KNOW, SCHOOL WAS OUT, SO GO TO TESUQUE.

SO THAT'S WHAT WE DID AS KIDS.

AND I WAS PUT TO DO CLAWS AND TEETH.

LOTS OF--LIKE THE TEETH IN THE CHEETAH HERE.

AS CHILDREN, WE WERE MADE TO HOLD DATE BOARDS, YOU KNOW, IN THE PHOTOGRAPH WITH ALL THE DOGS.

WHATEVER HE FOUND, HE WOULD RIP UP AND PUT THE DATE ON IT, AND YOU WERE MAYBE, LIKE, FORCED TO SIT THERE AND HOLD THE DATE BOARD.

I HAVE ALL THE PHOTOS.

PIECES COME IN FOR REPAIR; YOU CAN REFERENCE IT.

AND HE WAS WAY AHEAD OF THE CURVE.

[chain saw buzzes] THIS IS A LOWRIDER.

IT'S A-- I'VE TRIED TO KEEP TO THE TRADITION, BUT I'M STARTING TO USE MORE METAL AND MORE FOUND OBJECTS.

IT WAS SORT OF A STRICTER, ALMOST A REGIMEN OF JUST WOOD AND PAINT OUT THERE.

AND IT--YOU KNOW, WHEN I BROKE AWAY FROM THE SHOP, I STARTED USING MORE METAL AND MORE-- I USE MOTORCYCLE GAS TANKS AND MAKE ARMADILLOS AND TURTLES.

[chain saw buzzing] THIS IS REALLY TERRIBLE PANELING.

I WANTED IT TO LOOK LIKE A TENT, KIND OF MISSHAPEN, AND SO I WET IT AND REALLY MESSED WITH IT TO GET IT TO BEND.

AN OLD LAMP.

THESE ARE CURTAIN RODS.

THE BIG CHALLENGE FOR THIS WAS TO GET IT TO SPIN.

I MEAN, YOU KNOW, A CAROUSEL NEEDS TO SPIN, IN MY MIND.

MY NEIGHBOR DID A REMODEL, AND THEY WERE TOSSING ALL THIS STUFF.

AND AS YOU CAN SEE, I CAN'T LET-- I CAN'T LET THAT HAPPEN.

(Don) APPARENTLY, THAT'S TRUE.

(Ron) AND MY GRANDFATHER, YOU KNOW, WHO TAUGHT ME HOW TO CARVE, WAS AN AVID RECYCLER OF ABSOLUTELY EVERYTHING.

AND IT REALLY STUCK.

IT'S ALMOST A CURSE.

[chain saw buzzing] THIS IS A GREAT PIECE.

THIS IS A PIECE OF SYCAMORE.

AND AS YOU CAN SEE, IT HAD LOTS OF SHAPE.

I DON'T KNOW WHAT IT'LL BE YET.

I LOOK AT EVERYTHING, AND IT'S NOT WHAT IT IS.

YOU KNOW WHAT I MEAN?

IT'S JUST FROM THE CHILDHOOD.

EVERYTHING IS SOMETHING ELSE.

(Mike) ABOUT THAT TRADITION: WOULD YOUR GRANDFATHER HAVE BEEN USING CHAIN SAWS, OR WAS HE ALL HAND-CARVER?

HE WOULD NOT.

SEE, GRANDPA HAD AN IDEA ABOUT POWER TOOLS.

HE USED HAND TOOLS.

(Mike) YEAH?

HE THOUGHT WE WERE SORT OF SISSIES OR NOT AS TOUGH AS HE WAS, AND WE WEREN'T.

I USE BOTH.

I USE THE POWER TOOLS AND THE HATCHETS AND THE FILES.

[power tool buzzing] ONE OF THE THINGS WE USED TO DO WAS-- AND AT THE TIME, I WAS VERY EMBARRASSED ABOUT THIS.

I WOULD GIVE ANYTHING TO DO THIS NOW.

HE HAD AN OLD TRUCK-- WE'D LOAD THE BACK OF IT WITH ANIMALS AND DRIVE AROUND THE PLAZA.

[laughing] JUST-- JUST LIKE-- AND NOW I'D BE LIKE-- YOU KNOW, I'D LOVE TO BE IN THERE DOING THAT.

I CAN'T COMPLAIN.

I MEAN, LOOK WHERE I WORK.

I WORK UNDER AN OLD APRICOT TREE.

THAT'S MY STUDIO REALLY.

AND I FEEL VERY FORTUNATE TO BE DOING THIS.

I DON'T KNOW WHAT ELSE I COULD POSSIBLY DO.

(Mike) TELEVISION.

(Don) I MEAN, REALLY, HOW HARD CAN IT BE IF THESE WEASELS DO IT?

PUERCO DIABLO.

(Don) RANDY'S BUSY MANGLING THE LANGUAGE, WHILE MIKE'S FACING HIS FEAR OF WAYWARD CHIHUAHUAS.

WELL, KINDA.

RON'S PICS FROM THE PAST WHERE A HOOT TO REVIEW, AS WAS THIS REMINDER OF SANTA FE'S FABLED FRIDGEHENGE WHICH LOOMED LARGE OVER THE LANDFILL FOR YEARS.

WE'VE HEARD IT'S GONE, BUT, HEY, IT'S OUR JOB TO CHECK THESE THINGS OUT.

AND HERE'S MY REPORT: FRIDGEHENGE HAS BEEN DEFROSTED, PROMPTING US TO HEAD BACK TO THE PLAZA FOR A NOURISHING NEW MEXICAN LUNCH.

NOTE THE FULL HOUSE O' HAPPY PLATES.

WE SAID THANKS TO ZACK AT THE RAINBOWMAN FOR ALL THE ASSISTANCE AND THE GREAT PARKING PLACE AND LEFT BEARING NORTH, PAST LOS ALAMOS AND ESPANOLA, ALL THE WAY TO EL RITO WHERE NICHOLAS HERRERA WELCOMED US TO THE LAND WHERE FIVE GENERATIONS OF HIS FAMILY HAVE LIVED.

NICK'S A SANTERO BUT THE RENEGADE KIND.

THE SAINTS HE CARVES TAKE TRADITION AND TURN IT AROUND.

(Nick) I'VE ALWAYS BEEN DOING ART.

YOU KNOW, ART HAS ALWAYS BEEN IN ME, YOU KNOW, SINCE WHEN I WAS A KID.

I USED TO CARVE ON THE DESKS WHEN I WAS KID IN SCHOOL.

I USED TO GET IN TROUBLE.

I MEAN, I WAS A-- I GOT INTO COCAINE.

I GOT INTO DRINKING, AND I GOT INTO A LOT OF THINGS THAT-- YOU KNOW, WHEN YOU'RE YOUNG-- I WAS OUT OF CONTROL.

I FLEW OUT OF A YUGO GOING 80 MILES PER HOUR THROUGH THE WINDSHIELD, AND I COULD SEE MYSELF WAY OUT THERE.

YOU KNOW, I CAME OUT OF MY OWN BODY.

AND THEY TOLD MY MOM, "WELL, HE'S NOT GONNA MAKE IT.

YOUR SON'S GONNA DIE," YOU KNOW.

AND ALL OF SUDDEN, I'M HERE; I DIDN'T DIE.

(Randy) DO YOU FEEL LIKE YOU GOT, LIKE, ANOTHER CHANCE?

I GOT A BIG CHANCE.

WHEN I GOT OUT OF THERE, MAN, I FELT LIKE I WAS REBORN AGAIN, LIKE ALL THE EVIL STUFF HAD GOTTEN OUT OF MY BODY.

I WAS LIKE, "MAN, NOW I CAN-- I FEEL GOOD."

WELL, THIS IS MY-- MY GRANDFATHER BUILT THIS HOUSE, PROBABLY, I'D SAY, THE 1890s.

(Randy) YOU WORK IN HERE NOW TOO.

I WORK IN THERE.

I'VE BEEN PAINTING IN THERE.

AND THEN UPSTAIRS, I HAVE ANOTHER PLACE TO PAINT SMALLER STUFF.

(Randy) AND WHEN YOU'RE WORKING ON HERE, DOES THE FACT THAT THIS WAS THE FAMILY THING KIND OF SEEP IN?

(Nick) OH, YEAH, MAN, IT'S KIND OF LIKE GOOD ENERGY COMES IN HERE, YOU KNOW?

I, LIKE, GAIN ENERGY HERE IN THIS PLACE, JUST SEEING ALL THESE TOOLS AND HOW THEY WORK.

(Randy) AH, OH, YEAH.

(Nick) I USE A LOT OF NATIVE COTTONWOOD.

THEY HAVE BIG ROOTS, AND A LOT OF THE PIECES COME OUT OF THE ROOTS.

THIS COLOR HERE IS NATURAL PIGMENT.

IT'S AN EARTH COLOR.

I GATHER THESE COLORS UP IN NORTHERN NEW MEXICO.

AND THE BLACK IS ASH MIXED WITH GUM ARABIC.

(Mike) SO PART OF THIS FOR YOU IS THE-- MAKING THE COLORS AND CONTROLLING ALL THAT?

(Nick) MAKING THE COLORS AND STRAINING THEM.

AND SOMETIMES I DON'T EVEN STRAIN THEM.

I LIKE THE ROUGHNESS.

THE TURN OUT TO BE LIKE A SAND PAINTING.

OKAY, THIS PIECE IS GONNA BE A PIECE ABOUT WHAT'S HAPPENING WITH THE LAND HERE IN NORTHERN NEW MEXICO AND PROBABLY ALL OVER.

AND HERE WE HAVE-- LIKE, THIS ONE I DID LAST YEAR.

IT'S JESUS.

IN THE SIDECAR IS MARY AND THE BABY.

AND THIS IS THE DESK.

THIS IS THE 21ST CENTURY EXECUTIVE.

(Randy) YOUR MIND JUST GOES ALL THE TIME.

(Nick) MY MIND IS, LIKE, ALWAYS-- YOU KNOW, I DON'T HAVE A HARD TIME GETTING NEW ART THERE.

YOU KNOW, IDEAS-- IT'S ALWAYS COMING OUT.

TO ME, THE WORK ON THE CARS IS KIND OF LIKE THERAPY.

SOMETIMES IT GETS TOO INTENSE TO WORK ON THE ART.

YOU KNOW, IT'S LIKE YOU'RE UNDER PRESSURE FOR A SHOW, OR YOU JUST DON'T WANT TO MESS IT UP.

YOU KNOW, SOMETIMES IF YOU PUT TOO MUCH TIME IN A PIECE, YOU-- SOMETHING'S GONNA HAPPEN.

SOMETIMES I'M WORKING ON A PIECE, AND, ALL OF A SUDDEN, I HAVE A CAR PART... [laughs] YOU KNOW, THAT I'M WORKING ON.

SO THAT CAR PART WILL GO INTO THE WOOD PART, TO THE SCULPTURE.

SO, YOU KNOW, I THINK-- YOU KNOW, MY BRAIN'S NOT LIKE A LOT OF-- YOU KNOW, IT'S DIFFERENT, YOU KNOW?

IT'S A GOOD THING.

[engine revs] (Randy) IT DOESN'T SEEM LIKE YOU COULD DO THE ART YOU DO IF YOU LIVED IN SANTA FE, FOR EXAMPLE.

YOU HAVE TO BE-- OH, IF I WAS IN SANTA FE, I'D BE MAKING A BUNCH OF LITTLE COYOTES OR SOMETHING, YOU KNOW--PINK ONES, SO... [laughter] (Don) NO.

NO PINK COYOTES HERE, JUST PLENTY OF LINKS TO HERRERAS GONE BY, INCLUDING ONE WHO ASKED NOT TO LEAVE.

(Nick) WELL, I ASKED MY MOM ONE DAY-- I GO, "WHERE DO YOU WANT TO BE-- YOU KNOW, WHEN YOU PASS AWAY, WHERE DO YOU WANT TO BE BURIED?"

AND THEN SHE GOES, "WELL, I DON'T WANT TO BE AT THE CEMETERY."

SHE GOES, "I WANT TO BE RIGHT HERE BY THE STUDIO."

"OKAY," I TOLD HER.

"RIGHT ON."

AND I ROLLED HER OUT HERE ONE DAY WHEN I ASKED HER, AND I HAD A SHOVEL, AND I STARTED DIGGING THE HOLE.

SHE GOES, "OKAY, NICK, TAKE ME BACK IN THE HOUSE."

[laughter] "I'M NOT DEAD YET."

(Don) NOW, THAT'S A HARD ACT TO FOLLOW, SO WHY EVEN TRY?

UNLESS, OF COURSE, YOU'VE GOT A WORLD RECORD HOLDER OF YOUR OWN TO SHOW OFF.

IT IS THE WORLD'S LARGEST BALL-- UNLESS YOU'VE SEEN A BIGGER ONE.

OH, MAN, THAT'S HEAVY, MAN.

I LIKE THAT.

LA PELOTA ESTA MUY BONITA.

ESTA NEGRITA.

(Don) WE LIKE THE SOUND OF THAT, AND WE LIKE EL RITO, BUT IT'S DEFINITELY LACKING IN LODGING, WHICH MEANS MORE SCENIC DRIVING AHEAD.

WHERE IN THE LAND OF ENCHANTMENT WILL WE LAND?

IF THEY DROP THAT POSTCARD, WE'LL SEE SOON ENOUGH.

[train chugging] [whistle blows] AS YOU CAN SEE, OUR ACCOMMODATIONS CAME COMPLETE WITH AN OUTDOOR RECREATION CENTER, SO WE'RE WHOOPIN' AND HOLLERIN' AND SCHOOLIN' PRESCHOOLERS TOO.

BUT NEVER UNDERESTIMATE THE POWER OF HOME COURT ADVANTAGE.

WE REBOUNDED QUICKLY FROM THE TRAUMA IN CHAMA, ROLLED THROUGH TOWN, AND TURNED TO THE WEST.

DESTINATION: THE NAVAJO NATION WHERE SEVERAL NATIVE AMERICAN ARTISTS AND, NO DOUBT, SOME NEW LANGUAGE BARRIERS AWAIT US.

AT LEAST, WE'LL HAVE SOME HELP.

JASON BEASLEY'S A VERY NICE GUY WITH A REALLY BIG TRUCK WHO'S MADE ARRANGEMENTS FOR US TO MEET MAMIE DESCHILLIE.

LIKE MANY OF THE NAVAJO PEOPLE, MAMIE ESCHEWS HAVING HER PICTURE TAKEN, SO SCORE ONE FOR JASON ALREADY.

(Jerome) SHE SAID SHE JUST STARTED, UNTIL ABOUT-- ABOUT A LITTLE OVER 20 YEARS AGO ABOUT, CUTTING OUT ANIMALS AND MAKING DOLLS.

USUALLY, SHE BRINGS A MAGAZINE HOME.

SHE LOOKS THROUGH IT, AND, "OH, THIS IS WHAT I WANT TO DO."

THAT'S HOW SHE'S BEEN DOING IT, LOOKING THROUGH MAGAZINES AND AT THE ANIMALS OUTSIDE OR SITTING AROUND IN THE AREA.

(Jason) MY FATHER IS PRETTY MUCH RESPONSIBLE FOR IT.

HE--HE HAD A TRADING POST IN FARMINGTON, AND HE ALWAYS COLLECTED UNUSUAL THINGS.

AND HE ASKED MAMIE TO BRING SOMETHING IN THAT SHE REMEMBERED PLAYING WITH AS A CHILD.

AND SHE BROUGHT IN A NAVAJO MUD TOY.

HE LIKED IT, AND HE PUT IT IN HIS SHOWCASE TO HELP ACCENT THE JEWELRY.

EVENTUALLY, HE ASKED IF THERE WAS ANYTHING ELSE THAT SHE REMEMBERS PLAYING WITH, AND SHE SAID, "WELL, MY MOM WOULD MAKE ME PAPER DOLLS, OR, LIKE, CARDBOARD DOLLS."

YOU KNOW, THEY DIDN'T HAVE A WAL-MART TO DRIVE DOWN AND BUY TOYS, SO WHATEVER MEANS THEY HAD-- THEY CUT THE CARDBOARD, AND, YOU KNOW, SHE MADE DOLLS.

AND SO SHE BROUGHT ONE OF THOSE IN, AND MY DAD RECOGNIZED IT WAS PRETTY GREAT FOLK ART.

[speaking native language] (Jerome) SHE SAYS SHE DIDN'T GO TO SCHOOL ON IT--FOR IT.

SHE JUST LEARNED IT ON HER OWN FROM JACK BEASLEY.

(Mike) WHAT--SHE PUTS HAIR ON THIS, PUTS THE COAT ON.

I MEAN, THERE'S A LOT OF TIME THERE.

MM-HMM, THAT'S REAL YARN THERE, THE WOOL.

IT'S NOT--NOT FROM CHINA.

[laughter] (Jason) I THINK SHE'S ONE OF THE LAST TRUE FOLK ARTISTS.

YOU KNOW, THERE'S NOT VERY MANY PEOPLE LIKE HER, GROWING UP ON THE RESERVATION AS A SHEEPHERDER, AND IT'S JUST KIND OF FASCINATING.

I LOOK AT HER WORK, AND IT JUST MAKES ME SMILE, 'CAUSE, YOU KNOW, IT'S-- YOU KIND OF UNDERSTAND IT AND WHERE SHE'S COMING FROM.

I'VE DECORATED MY WHOLE HOUSE WITH IT.

I HAVE MAMIES IN MY LIVING ROOM, IN MY KIDS' ROOMS, AND THEY-- KIDS REALLY RELATE TO IT.

YOU KNOW, THEY REALLY LIKE IT.

(Mike) EARLIER IN HER LIFE, SHE WAS A HERDER, BUT NOW SHE'S AN ARTIST.

(Jerome) MM-HMM, SHE'S AN ARTIST.

(Mike) HOW DOES THAT--DOES SHE FEEL ABOUT BEING AN ARTIST?

[Jerome speaking native language] [speaking native language] (Jerome) SHE SAYS SHE-- WELL, SHE'S VERY PROUD OF IT.

SHE KNOWS HER ARTWORK THAT'S BEEN RECOGNIZED, AND SHE LIKES IT.

(Don) SOME YEARS AGO, MAMIE TOOK PART IN A WALK TO WASHINGTON, D.C.

THESE DAYS, SHE MOSTLY KEEPS CLOSE TO HOME HERE IN FRUITLAND.

NOW, FOR SHEER SIZE, THE NAVAJO NATION KNOWS NO EQUAL.

WE FOLLOWED YOUNG MR. BEASLEY THROUGH MILES AND MILES AND MORE MILES OF DUSTY RESERVATION ROADS ON OUR WAY TO SEE JOHNSON ANTONIO.

THAT'S HIM HOISTIN' THE HORSE.

[grunts] WOW.

WHOA.

(Randy) THAT'S A GOOD TV MOMENT.

(Don) NO SMALL FEAT, BUT NEITHER IS THE SUCCESS HE'S FOUND LATE IN LIFE CUTTIN' COTTONWOOD CHARACTERS COLLECTORS CLAMOR FOR.

(Randy) 1986.

THAT WAS 22 YEARS AGO.

(Johnson) YEAH, I WORKED ON THE RAILROAD: AT CALIFORNIA, ALL OVER THE STATE TO TEXAS, CHICAGO, ILLINOIS, ALL OVER.

AND THEN WHEN I MAKE RETIRE ON RAILROAD, I GOT NOTHING TO DO AND NO JOB, NOTHING, SO I JUST STARTED UP JUST CUTTING WOOD.

[file rasping] NOT THE WET ONE.

THE DRY IS GOOD FOR IT AND I STARTED TO-- TOYS, EVERYTHING LIKE THAT.

THE TOYS, BUT-- BRING WHOLE BUNCH OF LITTLE ONES AND BIG ONES AND THIS SIZE AS I GO EVERY-- ABOUT THIS SIZE, 30 INCHES.

AND YOU USE THOSE TOOLS EVERY TIME, NOTHING MORE THAN THAT?

YEAH, I USE JUST THESE TO CARVE THE WOOD.

THESE--AND MAKE A HOLE BETWEEN HIS LEGS HERE.

AND THIS ONE HERE, WELL, MAYBE JUST A TRIM DOWN.

(Mike) YOUR KNIFE'S LOOKING A LITTLE RUSTY THERE, A LITTLE TOUGH.

IT'S HARD.

I GET TIRED.

AND MY ARM GETS SORE HERE, MY FINGER.

BUT 30 YEARS I LIVE HERE.

I LIKE IT.

I DON'T LIKE IN TOWNS.

TOO MUCH TROUBLE IN TOWN GETS YOU.

AND ONE GUY CAME TO HERE ABOUT THREE OR FOUR YEARS AGO FROM JAPAN.

HE CAME HERE, TAKING PICTURES OF ME AND THEN MOVIES LIKE THAT, SO... (Mike) MUST MAKE YOU VERY PROUD?

YEAH?

YEAH.

YOU KNOW, HE NEVER SPEAK ANY ENGLISH.

HE JUST: [imitates Japanese] LIKE THAT.

[all chuckle] I DON'T UNDERSTAND IT.

(Don) NOW, IF JOHNSON AND MAMIE ARE ANY INDICATION, MAKING ART IS GOOD FOR YOUR LIFE SPAN.

IN FACT, LET'S SEE THAT HORSE THING AGAIN... [grunts] WOW.

WHOA.

(Don) THOUGH, WITH SO MUCH DUST IN THE WIND, IT'S HARD TO SAY JUST WHAT WE'RE SEEING AT ALL.

NOW THAT WE'VE LEFT JOHNSON'S, THERE'S MORE BACK OF THE TRUCK, MORE CANYON LANDS, AND NO SIGN AT ALL OF THE FAMILY WILLETO, JUST WHAT'S LEFT OF THE OLD TRADING POST WHERE CHARLIE WILLETO'S WORK FIRST STARTED TO CATCH SOME ATTENTION.

(Jason) IT'S NOT ALWAYS EASY TO CATCH 'EM.

YOU KNOW, LIKE, MOSTLY, THEY DON'T HAVE TELEPHONES.

THEY DON'T HAVE POWER OR ELECTRICITY.

THEY HAUL THEIR WATER IN, YOU KNOW.

SO SOMETIMES, IT'S HIT AND MISS.

(Don) WE DON'T BLAME JASON A BIT, BUT WE CAN TAKE A HINT.

TODAY'S GAME CALLED ON ACCOUNT OF GRIT.

EVERYONE TO THE SHOWERS.

boing!

(Randy) IT'S SUNNY, THE BIG MAN.

(Mike) SUNNY?

(Randy) WELL, IT SAYS SO RIGHT THERE.

(Don) ONE THING WE'VE LEARNED DOING THIS SHOW: WHEN IN DOUBT, FIND A MUFFLER MAN AND, HOPEFULLY, GIVEN THE CONDITIONS, ONE THAT'S BOLTED DOWN WELL.

(Randy) YOU KNOW, SUNNY'S GOT THE CLASSIC POSE.

I THINK A LITTLE EXTRA CHISEL.

YEAH, THE JAWLINE LOOKS A LITTLE.

GOT THE BIG, DARK HAIR.

IT LOOKS GOOD.

IT LOOKS REALLY GOOD.

(Randy) I DON'T KNOW; I'M JUST WATCHING HIM ROCK, AND IT IS KIND OF EERIE TO THINK-- YOU KNOW, HOW MANY POUNDS DOES A MUFFLER MAN WEIGHT?

LET'S FIGURE OUT THE VELOCITY OF A FLYING MUFFLER MAN.

AND HOW SQUISHED WOULD YOU BE WHEN HE LANDED ON YA?

(Don) I CAN SEE THE HEADLINES NOW: "CAMERA GUY KILLED; PRODUCERS INCONVENIENCED."

BUT NO SUCH LUCK.

WE EMERGED INTACT AND, FUELED BY SOME REGIONAL CHIPS, ARE MAKING TRACKS FOR THE FOUR CORNERS, AMERICA'S ONLY SUCH GEOGRAPHIC PATCH.

WE'RE THINKING, LET'S PLAY CATCH IN FOUR STATES AT ONCE, UNTIL WE REALIZE IT'S TRIBAL LAND, SO TV MEANS "I OWE YOU," AND WE SUSPECT "VIEWERS LIKE YOU" WON'T WANT TO PAY FOR THAT, SO HOW 'BOUT SOME ACTION-PACKED SNAPSHOTS INSTEAD?

WITH THE CORNERS NOW JUST A CHILLY MEMORY, WE EASED INTO "AZ" FROM THE NORTH... (Mike) SO WE'RE JUST BASICALLY MAKING THIS LONG RUN DOWN.

(Don) CHARTING A NONPOPULOUS COURSE TOWARD THE PAINTED DESERT AND PETRIFIED FOREST, BOTH OF WHICH ARE NOT ON THIS SHOW, SO YOU'LL HAVE TO SEE 'EM YOURSELF.

BUT STEWART'S ROCK SHOP, JUST OFF I-40, DECKED OUT WITH DINOS AND DAMSELS, MOST CERTAINLY IS.

(Charles) JERRY SEINFELD COME BY HERE-- CAME BY HERE, AND HE BOUGHT A $3,000 METEORITE.

I STARTED THE SHOP OFF-- I MOVED THIS TRAILER HERE AND STARTED OFF ONE-- JUST ONE ROOM, JUST LIKE IT IS.

THEN I MOVED ANOTHER TRAILER, AND THEN I BUILT A WORKSHOP BACK THERE.

(Mike) THIS IS ALL PETRIFIED WOOD, RIGHT?

(Charles) YES, SIR.

(Mike) NOW, HOW DID YOU-- WHERE DID YOU-- IT WASN'T GROWING HERE, RIGHT?

YOU FOUND IT SOMEWHERE.

(Charles) YES, YOU HAVE TO DIG IT UP.

YOU DON'T KNOW IF IT'S WHERE YOU'RE DIGGING UNTIL YOU FIND IT.

YOU CAN'T USE, LIKE, A METAL DETECTOR TO FIND IT WITH.

BUT WE SELL A LOT OF STUFF, SEE, 'CAUSE YOU GOT VERY FEW ROCK SHOPS THAT ACTUALLY SELL METEORITES.

YOU GOT VERY FEW ROCK SHOPS THAT SELL GOLD NUGGETS OR VERY FEW THAT SELLS GREEN PETRIFIED WOOD, FOR INSTANCE, WHICH IS ONLY ONE TREE OF IT.

(Randy) DID YOU ALWAYS LOVE ROCKS AND THIS KIND OF THING?

(Charles) NO, I DON'T LIKE ROCKS NOW.

MY WIFE IS THE ROCK LOVER.

[chuckles] I LIKE MAKING MONEY.

[Randy chuckles] SO WHAT'S THAT AGAIN?

SOMETHING THEY CAN SEE FROM THE ROAD...

RIGHT.

SOMETHING THAT'S MOVING.

RIGHT.

SOMETHING THAT'S LIT UP AT NIGHT.

AND ONE MORE THING: SOMETHING THAT THE LIGHTS BLINK ON IT TO DRAW THEIR ATTENTION.

SEE THEM LIGHTS ALL AROUND THERE?

(Mike) YEAH.

[sniffing] (Randy) WHAT'S YOUR WIFE SAY ABOUT ALL THESE THINGS YOU PUT OUT?

(Charles) WELL, I HAD TO PROVE IT TO HER FIRST.

BUT SHE STILL THOUGHT I WAS A LITTLE CRAZY UNTIL I BUILT IT.

WHEN I BUILT THAT ONE, SHE ALLOWED ME TO BUILD THE ONE ON TOP UP THERE.

AND THEN STARTED TO HAVE ALL THESE DOGGONE OPERATIONS, MEDICAL PROBLEMS, SO THAT SLOWED ME DOWN.

I DIDN'T GET NO MORE BUILT.

WAIT A MINUTE.

SHE THOUGHT YOU WERE A LITTLE CRAZY?

YES.

[scoffs] (Randy) NOW, IS THAT A PARTICULAR DINOSAUR FROM SCIENCE?

(Charles) A LONG NECK.

[all chuckle] (Randy) YOU MADE THAT?

YES.

HOW'D YOU MAKE THAT?

IT WAS MADE OUT OF CEMENT AND WIRE, AND ALL THAT'S DONE HYDRAULICALLY.

WHEN IT GET UP SO HIGH, IT CLICKS A DEAL, AND LET IT DOWN, AND WHEN IT'S DOWN SO LOW, IT KICKS ANOTHER SWITCH AND RAISES BACK UP.

NOT MANY PLACES, ALMOST NONE HARDLY, GOT MOVING THINGS YOU CAN SEE FOR FREE.

(Don) AND SPEAKING OF THINGS THAT MOVE THAT YOU CAN SEE FOR FREE OUT HERE, WELCOME TO STEWART'S OSTRICH MANIA.

CHARLES SAYS THEY DO NOT HAVE TEETH, SO HOW CAN THEY BITE?

NOTE MR. MURPHY STEPPING UP STRONG AFTER THAT CHIHUAHUA THING.

(Randy) CONFRONTING YOUR FEARS.

(Mike) AH!

THE HECK HE DOESN'T BITE.

(Don) THOUGH WE BOUGHT NO HIGH-DOLLAR METEORITES, WE DID TAKE ADVANTAGE OF THE FREE SAMPLES ALL VISITORS GET AND ONE FREE OSTRICH EGG FOR ALL TO SHARE.

MAYBE WE'LL COOK IT UP DOWN AT THE WIGWAM.

YUP, HOLBROOK'S RIGHT DOWN THE ROAD, AND ROUTE 66 RUNS RIGHT THROUGH IT, RIGHT PAST THIS RETRO CLASSIC, ONE OF JUST THREE WIGWAM VILLAGE MOTELS STILL STANDING.

AND THIS ONE'S RUN BY THE SON OF THE MAN WHO BUILT IT.

(Mike) YOU GREW UP HERE, RIGHT?

(John) YES.

YES.

OH, YES, IT WAS REALLY-- IT WAS VERY BUSY.

I USED TO WAIT IN THE SAME KIND OF VEHICLES THAT YOU SEE PARKED AROUND HERE, THESE VINTAGE AUTOMOBILES.

AND WE PUMPED AN AWFUL LOT OF GAS OUT THE TEXACO STATION HERE THAT WE HAD FOR MANY YEARS.

THEY COME A LONG WAYS TO STAY HERE.

THEY CALL US UP DIRECT ON THE TELEPHONE FROM TOKYO AND FROM BERLIN; FROM ROME; FROM SAO PAULO, BRAZIL; SYDNEY, AUSTRALIA; LONDON A LOT.

VERY OFTEN, PEOPLE COME IN AS ADULTS NOW, AND THEY TELL US THEY REMEMBER HAVING STAYED HERE WITH THEIR PARENTS FROM THE AGES OF FOUR TO SIX YEARS OLD.

AND THEN, ON THE OTHER SIDE OF THE COIN, WE HAVE PEOPLE COME IN JUST AS OFTEN, AND THEY TELL US THAT THEIR PARENTS WOULD NOT LET THEM STAY IN A WIGWAM SOME 30 OR 40 YEARS AGO, AND THAT'S WHAT THEY'RE HERE TO DO.

(Mike) THAT'S PRETTY GOOD.

"DAD WOULDN'T LET ME STAY IN THE WIGWAM, SO..." (Randy) BEEN NURSING A GRUDGE ALL THESE YEARS-- YOU'RE ABLE TO ACTUALLY MAKE-- MAKE A DREAM COME TRUE.

[chuckles] MAKE IT RIGHT.

I GUESS SO.

YEAH, I HOPE SO, YEAH.

(Randy) DIDN'T OPRAH MAKE A STOP HERE?

(John) UH, YEAH, SHE DIDN'T HAVE ANY PRIOR ARRANGEMENTS.

AND SHE CAME IN WITH AN ENTOURAGE OF ABOUT 18 PEOPLE.

WELL, YOU KNOW, EACH ONE OF THOSE FOLKS ARE USED TO HAVING THEIR OWN ROOM; YOU SEE WHAT I MEAN?

AND SO SHE JUST SPENT SOME TIME HORSING AROUND WITH MY SISTER AND DOING SOME FILMING, AND THEN SHE SENT HER HELICOPTER BACK TO TAKE AERIAL SHOTS DURING THE NIGHTTIME OF THE PLACE, YOU KNOW.

(Randy) WE'RE NOT GONNA SEND OUR HELICOPTER BACK, THOUGH, TONIGHT.

(Mike) NO PUBLIC TELEVISION HELICOPTERS WILL BE-- (John) WE GET SOME VERY INTERESTING PEOPLE ASIDE FROM OPRAH.

LYNDA CARTER, SHE CALLED UP HER RESERVATION LAST WEEK.

AND--AND THEN WE HAVE SOME-- (Randy) WONDER WOMAN?

(John) YES.

YEAH, THAT ONE.

(Don) WONDER WOMAN.

(Mike) HEY--HEY, WONDER WOMAN IN A WIGWAM IS ACTU-- WONDER WOMAN IN A WIGWAM IS ACTUALLY KIND OF A FANTASY OF MINE.

(Don) THINGS ARE GOING DOWNHILL FAST, AND IT'S BEEN A LONG DAY.

THINK I'LL SLIP AWAY FOR A LITTLE TEPEE TIME OF MY OWN.

[knock on door] (Randy) ROOM SERVICE.

(Don) OH, UM, I'LL BE RIGHT BACK, DEAR.

UH, MISS CARTER IS HERE TO SEE YOU.

(Don) QUICK.

(Don) AND I AM DON THE CAMERA GUY SIGNIN' OFF.

(Don) JUST MY LUCK.

(female announcer) DVDs, T-SHIRTS, AND A COMPANION BOOK FOR THIS SERIES ARE AVAILABLE BY CALLING: TO LEARN MORE ABOUT THE SITES AND ARTISTS FEATURED ON THIS EPISODE AND TO GET MORE INFORMATION ABOUT THE SHOW, GO TO RAREVISIONSROADTRIP.COM.

Captioning by CaptionMax www.captionmax.com OKAY, SO... (Randy) OSHA SAID THIS WAS OKAY?

[engine revs] [laughter] [engine revs] (Don) YEAH.

YES.

WHOA.

ARE YOU SURE THOSE WEREN'T TEETH?

(Mike) PUT IT IN YOUR HAND AND DO IT.

YEAH, I DID IT.

(Don) SO CALL ME.

I'LL BE AT THE HOLIDAY INN TONIGHT, UH, HOLIDAY INN EXPRESS IN GALLUP.

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(male announcer) AND BY FRED & LOU HARTWIG, GENEROUS SUPPORTERS OF KCPT AND PUBLIC TELEVISION, URGING YOU TO BECOME A MEMBER TODAY.