It is the hour before midnight, on the harsh, gray flat asphalt road along the banks of one of the Great Lakes . A truck races by like a shadow, the moon glowing behind a small house. The car swiftly goes on by, the dim light from the fogy night: --moon penetrating through the fog onto the tuck and house, where a man is standing by the road; -- music is heard coming from the car, Rock & Roll, as this stranger standing by the road, a man in a red plaid shirt, he stands erect, as if he was Paul Bunion; standing in-between the road and the house as a truck races by. "Look here". He said. "The first thing you need to learn is to never bite into a green chile. When we test in the field, we never do that. Look here".

To give you an idea of the depth of the collection, on display is a 1926 Rolls-Royce. Wilbert Grinsven, the curator tells me that there were only two years that Rolls-Royce manufactured cars in the United States. Those years were 1926 and 1927. This car is one of the few Rolls Royce's made here during that time. The auto manufacturer decided that it was not economically feasible to continue manufacturing autos in the US and closed its factory here in the states after only 2 years. Another example of a beautiful old car is a car used in the movie "Driving Miss Daisy". http://auto.howstuffworks.com/1959-chevrolet-fleetside-pickup.htm&rct=j&q=&esrc=s It's no secret that Jay Leno beat out David Letterman when it was time for NBC to replace the retiring Johnny Carson in 1992. But, did you know since the six foot tall comedian started hosting "The Tonight Show" that he rarely takes a day off? One of his many cars can most always be seen parked in his reserved "#1" parking place at the NBC Studio in Burbank. And, on top of doing the show, Jay Leno still manages to perform more than 150 standup comedy gigs a year. The dark figure standing, staring by the street, is noticed by the two men in the front seat of the truck, they stare but keep going, --trees blowing to his right and left, the waves of the Great Lake of Superior, makes a humming sound, and everything else, as if you were in the middle of a hurricane, the stranger stands erect yet, never moving. He sees the eyes of the passenger in the Ford-truck, a small figure, a man of about forty, the driver calls him Skip, and he hears that. The taller man at the wheel, his arms are solid, and frozen to the wheel, is called Amery, for some reason you know he knows that. Once there, Teddie stashed his bike in the storage shed and they mounted the front steps of their new apartment together. She fumbled in her pocket for the key, her hands shaking, some part of her expecting to see the man in his big buy truck and trailer pull up at any minute. He doesn't even know you're gone, she thought, and finally found the key. Skip: "Yes, yes, I saw him! D' did you? He was by the trees, or was it in front of the house...? No, by the road; gee, maybe it was both, he seemed to be in both locations at once. A shadow effect I suppose." . I resumed my mission and approached the Shadow Bar. Shadow Bar is an unusual name that had nothing to do with the building itself. The walls were bright, white stucco with the front of the one-story building evenly divided by a massive black door with a small glass window centered about five feet up from the sidewalk. The few windows in the building were covered with shades and draperies that allowed no glimpse of what was happening inside. It's hard to do anything. It's hard to button your pants or brush your teeth, let alone jump off a three-story building into a pad. This movie was the most physical thing I've ever had to do, and I had to do it with a broken hand. It's the hardest thing I've ever had to do in my life. Constantly having to take hits and fall and run through explosions and get hit and beat up all day. Aside from my hand, I also got 25 stitches making this movie, in various parts of my body -- stuff that had nothing to do with my hand.