The old man was reaching for the lock when the truck pulled into the alley, and the way he moved, slow, deliberate, a man who had done this particular closing up 10,000 times and was now doing it for the last time without letting himself think that word, made the stranger in the driver’s seat stop with his hand on the door and watch for a moment before he got out.
Wait, because what that stranger did in the next 40 minutes in a narrow alley behind a boot shop in southern Arizona would not find its way into any newspaper and would not be spoken of in any interview, and the only man who saw it clearly enough to tell the whole story would wait 29 years before he told it, and by then Roy Estess was already gone.
>> >> He had been coming to Tucson from California for 3 days, taking the kind of route that only makes sense to a man who drives long distances often enough to know that the most direct way between two points is sometimes the least useful one. He wasn’t in a hurry. The picture was done. The Comancheros, 6 weeks in the Arizona heat, and he was heading back to California in the way of a man who had earned the right to take 3 days about it.
The address was written on a piece of paper he’d kept in the same wallet for 4 years. John Ford had given it to him on a Tuesday afternoon in 1957 between setups on a location shoot outside Flagstaff. Ford handed it over the way he handed over everything important, without ceremony, with the implication that a man who couldn’t understand why it mattered probably wasn’t worth explaining it to.
Ed Estess’s boy, shops on Mesquite Street behind the hardware. Last man in Arizona making real boots. He’d said it once. He didn’t repeat it. Look, before this story goes further, you have to understand what John Ford meant by the word real, because it’s the same word that had been sitting in Wayne’s chest like a splinter for 6 weeks by the time he turned onto Mesquite Street.
The picture had wrapped well overall, but the prop department’s boots had been off. Not wrong enough for anyone in the audience to identify, not right enough for the man wearing them to forget. Lightweight, preformed, the kind of thing a studio accountant loved because it could be ordered in quantity at a discount and would photograph adequately under lighting.
Wayne had put them on every morning for 6 weeks and felt the difference with every step on every surface. He hadn’t made a production of it. He just felt it quietly the way you feel anything that isn’t what it should be. He’d driven past the hardware store twice before he found the alley. The sign above the narrow door was painted wood.
The letters done by hand in black, Estes Boots, S S’t 1921. Below it, a smaller line that looked like it had been added later in a slightly different hand, handmade to order. The sign looked exactly like what it was, something built to last and not concerned with looking like anything else.
He pulled the truck to the end of the alley and got out. Roy Estes was 67 years old, which Wayne didn’t know yet but would have placed within two or three years from the way the man moved. Not broken down, not slow, but carrying a weight that had nothing to do with his joints. He had the hands of a man who had worked leather every day for 50 years, darkened at the creases, precise at the fingertips, still strong in a way that had become automatic and therefore invisible to their owner.
He was turning a key in the door lock when he heard the truck. He turned around. Standing in the alley behind him was a very large tan man in a faded work shirt and canvas trousers and a battered Stetson holding a piece of paper and looking at the sign. “You Roy Estes?” the man said. “That’s right. John Ford sent me.
” Roy looked at him without recognition. “John Ford, film director. We worked together. I know who John Ford is.” Roy considered the the being held out to him. He didn’t take it. “He sent you 4 years ago, looks like.” He nodded at the date on the corner. The large man glanced at the paper.
“Took me a while to get to Tucson.” Roy unlocked the door. He didn’t invite the man in yet, but he didn’t tell him to leave either, which in Roy’s economy of gesture was the same as a welcome. “Come in then,” he said, “though I’ll tell you now, I was about to close.” He wasn’t. He was about to close permanently.
But he said it the way he’d said everything in the past 3 weeks, carefully, keeping the larger fact inside it, not letting it out where it could do anything. Notice what happens in the next 10 minutes. This is where the story could have turned into something ordinary, a man looking at boots, a craftsman showing his work, a transaction. It didn’t.
It became something else entirely, and the reason is a pair of boots that Roy Estes had made 9 years earlier and never sold. The shop was small and smelled of leather and beeswax and the particular dry warmth of an Arizona afternoon. Boots lined three walls, finished pairs on wooden stands, works in progress on the bench, hides rolled and stacked in the corner.
Wayne stopped in the doorway and looked at it the way a man looks at a room when he’s trying to take in its full dimension before he commits to entering. He stepped inside. He went to the nearest finished pair, dark brown, round toe, a simple stitch pattern on the shaft, and picked it up. He ran his thumb along the welt, pressed the sole, checked the stitching at the heel.
“How long on a pair like this?” he said. “Three weeks, four if the hide needs work.” “What’s the hide?” “Cow hide, vegetable tanned. I don’t use chrome tanning, it weakens the grain over time.” Roy said it without special emphasis, the way a man states facts about his own work when someone asks the right question. Wayne set the boot down and picked up another, a different style, narrower toe, a more elaborate stitch.
He turned it over. “What do you get for them?” “95 for the plain ones, 120 for the worked ones. Wayne nodded slowly. He already knew what was coming before he asked it. And the factory boot? Roy’s jaw moved once, barely. $18 at the hardware store, three doors up. He paused. They sell quite a few. Before we go any further, hold this image.
A man who has spent 50 years learning to do one thing exactly right, watching the world pay $18 for a version of that thing that will last three years, and still here, still making them, still doing it the only way he knows how to do it, which is the right way, because the other way is not something he can bring himself to practice, even now.
Wayne set the boot down. He was about to say something when he saw the pair on the shelf in the back corner. They were different from everything else in the shop. Not in style, the same round toe, the same careful stitching, different in something harder to name. They sat in a box, tissue paper folded back, unwrapped. They had never been worn.
You could see it in the leather, that particular unbroken quality of something made with great care and then kept, rather than used. He crossed to the back of the shop. Roy watched him go. “Those aren’t for sale.” Roy said. Flat, immediate, no explanation. Stop for a second and feel the weight of that sentence.
A man who is about to lose his shop, who has been told by the bank that this week is the end, and he has one pair of boots on his shelf that he will not sell. The reason for that is the whole center of this story, and Roy Estes was not going to tell it to a stranger who had walked in off the alley with a piece of paper from four years ago. “Fair enough.” Wayne said.
He didn’t push. He moved back to the front of the shop and picked up another pair. It was that, the two words, and the stepping back, that changed something in Roy’s posture. A man who has been on guard for a long time, waiting for the push that doesn’t come, has to reconfigure himself when it doesn’t.
Roy sat down on the edge of the work stool and looked at his hands for a moment. “My boy made the order,” he said. Wayne looked up. “Before he shipped out, Korea,” he said. Roy’s voice was level, careful. He said, “You make me a pair for when I get back. Something to wear when I’m done with all this.” The shop was quiet. The Arizona afternoon sat outside the door, indifferent and bright.
“He didn’t come back,” Roy said. He said it the way a man says a fact that has been inside him so long it has worn smooth, like river stone. It no longer cut. It just sat there, permanent, part of the landscape. I finished the boots after. Took longer than usual.” He paused. “I’d work for a while and then I’d stop without knowing why.
” Wayne looked at the pair in the corner. He thought about that, the working and the stopping. He understood the working and the stopping. “His name was Ray,” Roy said. “Raymond Lee Estes, 23 years old.” Listen, because what John Wayne said next was the only thing a man could say that wouldn’t make things worse, which was nothing. He was quiet for a moment.
Not the quiet of a man searching for words, the quiet of a man who has enough respect for a grief to let it be what it is. Then he said, “Your father built this shop.” Roy looked at him, recalibrating. “1921. Horse barn before that. He and his brother converted it. And you started here, 14 years old. Summer of ’28.
” Wayne did the arithmetic quietly. “53 years, give or take.” Roy picked up a hide from the bench and set it down again, the automatic gesture of a man whose hands need occupation when his mind is somewhere else. “Though it won’t be 54.” It was the first time he’d said it out loud. He hadn’t planned to say it.
It came out the way things come out when you’ve been holding them too long. Wayne didn’t react quickly. He turned the boot in his hands. “Bank?” he said. “Week’s end. How much?” Roy looked at him with the particular weariness of a man who has been offered sympathy that cost the giver nothing. “I’m not looking for I’m not offering anything.” Wayne said.
“I asked how much?” A long pause. “2,840 two missed payments and the penalty.” Wayne set the boot down on the bench. He looked at the shop, the walls of finished work, the hides in the corner, the tools on the rack above the bench, the shelf with raised boots in their tissue paper. Then he looked at Roy.
“I need a pair made.” he said. “My size, plain toe, dark brown, same leather as these.” >> >> He touched the nearest finished pair. “And I need them before I leave California next spring.” Roy looked at him steadily. “That’s four months.” “I know. I told you the bank.” “I heard you.” Wayne reached into the back pocket of his canvas trousers and brought out a long brown leather wallet.
He looked at Roy. “John Ford told me you make the only real boots left in Arizona.” He paused. “I’ve been wearing fake ones for six weeks. I’d like to try the real thing.” He walked to the door of the shop. The alley outside was narrow. The afternoon light coming down at an angle onto the packed dirt. His truck was at the end, the red paint faded by sun.
Wait. Because this is the moment the whole 40 minutes has been building toward and it doesn’t look like a moment at all from the outside. It looks like a man walking to his truck. He set the wallet on the edge of the pickup bed. He opened it and counted bills onto the truck bed, hundred dollar bills one at a time, flat and deliberate in the October light.
Each one placed with the same care as the last. Roy stood in the doorway of his shop and watched. Across the alley, above the back door of the hardware store, Gus Morales had been stacking boxes of roofing nails on the loading shelf when he heard the truck pull in. >> >> He was 61 years old, had lived in that alley his whole working life, knew every person who came and went from Roy’s shop by sound.
He turned and looked down into the alley. He knew the man at the truck immediately. He didn’t say anything. He stayed where he was and watched. Wayne counted $3,000 onto the pickup bed. He turned to Roy. “That covers the bank and the penalty,” he said. “The rest is for materials.” He paused. “And whatever else needs doing.
” Roy stood in the doorway with his hands at his sides. He was looking at the money on the truck bed the way a man looks at something that has arrived from a direction he stopped watching. “Mr. Wayne,” he said carefully. “I don’t take” “You’re not taking anything,” Wayne said. “You’re making me a pair of boots. I’m paying for them in advance.
” He looked at Roy steadily. “I’ve been waiting four years to give John Ford’s money to the right man. Don’t make me drive back to California and tell him I didn’t.” Something shifted in Roy’s face, not quite a smile, but close. The kind of movement that happens when a man has been carrying something alone for long enough that having another person acknowledge its weight without flinching is itself a kind of relief.
“All right,” Roy said. They shook hands in the doorway of the shop in the narrow alley in the afternoon light. Wayne picked up the wallet from the truck bed. He took a card from his shirt pocket, his production office, a California number, and held it out. “Call when they’re ready. They’ll tell you where I am.” Roy took the card.
Wayne was halfway to the cab when he stopped. He stood for a moment without turning around. Then he turned. He looked at the shelf through the open door of the shop, at the pair of boots in their tissue paper. “Raised boots?” he said quietly. Roy was still in the doorway. He didn’t answer.
“Don’t put them away,” Wayne said. “Let them be seen. Let people ask about them.” He looked at Roy. “A man who makes something that good shouldn’t keep it in the back corner. It’s the best work in this shop.” Roy’s hands came together in front of him, barely the involuntary movement of a man holding on to something. “I’ll think on it,” he said.
Wayne nodded once. He got in the truck. He pulled out of the alley and onto Mesquite Street and headed west. And Gus Morales watched him go from the loading shelf of the hardware store and did not say anything to anyone for 29 years. The next morning, Roy Estes went to the Tucson First National Bank and paid the two missed mortgage payments and the penalty in full in cash.
The teller looked at the bills. She wrote him a receipt. He folded it and put it in his shirt pocket and went back to the shop. He opened the door. He stood in the middle of the room and looked at his walls of boots and his bench and his tools and the hides in the corner. Then he went to the back shelf and picked up Ray’s boots.
He carried them to the front of the shop, to the display stand beside the window, where the morning light came in from the east. He set them there, open box, tissue folded back, boots facing the door. They were there every morning after that for 26 years until Roy died in the spring of 1987. Every person who came through that door saw them first. Most people asked.
Roy would tell them as much as he felt like telling that day, which was never the whole story, but was always the true part of it. Remember this, because what happens next is where the story opens up into something larger than one afternoon in one alley. The boots Wayne ordered arrived in California in February of 1962.
Wayne wore them on every picture he made for the next four years. He never told anyone where they came from, not publicly. He wore them on set and he wore them off set. And when a wardrobe person on one picture asked where he gotten them, he gave them Roy’s address in Tucson and said, “Tell him John Wayne sent you.
” Three cast members from that picture made the same call within the year. Roy’s order book, which had held eight names the previous autumn, held 31 by the following spring. He never called the orders John Wayne’s doing. When people asked how business had picked up, he said, “Word gets around.” Which was true as far as it went.
Wayne never confirmed any of it, not in interviews, not in any letter that has since come to light. He wore the boots and that was all. The boots were real and they did their work and he got his value from them and Roy got his fair price and that, as far as Wayne was concerned, was a completed transaction. Now, listen because the rest of this story belongs to a woman named June Estes, who was Roy’s daughter and who had not spoken to her father in 11 years by the time he died.
She drove down from Phoenix when she got the call. She let herself into the shop with the spare key the neighbor had kept. She stood in the middle of the room that smelled of leather and beeswax. The room she had grown up knowing, the room her father had spent every day of his working life in. She found three things she didn’t expect.
The first was a pair of boots on the display stand by the front window. She recognized them immediately. She’d seen them her whole childhood, always in the back corner, always in their box. They were out in the open now, in the light. The second was a small card tucked into the tissue paper beside the boots. On it, in her father’s handwriting, “Raised boots, made 1952. He never came home.
” The third was in the drawer of the workbench, a folded piece of paper, a production company card with a California number and a receipt from the Tucson First National Bank dated October 1961, paid in full with a note clipped to it in a different handwriting, one line, “Ed Estes’ boy. John Ford was right.
” She sat with these three things for a long time. She donated them to the Arizona Historical Society in Phoenix the following year. The boots, the card, the receipt and the note. She wrote a short letter explaining what she knew, which was less than the full story, but more than anyone else had put on paper. The display has been in the same case since 1988.
A brass trumpet? No, a pair of dark brown boots in an open box, tissue paper folded back exactly as Roy had them in the window for the last 26 years of his life. Beside them, the small card in Roy’s handwriting, the receipt, the note. Every afternoon the sun comes through the west window of the gallery and falls across the case for about 20 minutes.
The leather catches it the way good leather catches afternoon light, warm, deep with that particular richness that only comes from the right material worked the right way over a long time. Then the light moves on, the way it always does. Gus Morales told his story to the Tucson Citizen in 1990. He was 90 years old.
The paper ran it in the local history section, three paragraphs, no photograph. The reporter called Wayne’s publicist for comment. The response came back, “No comment.” John Wayne died in Los Angeles in June of 1979. He was 72 years old. He never told anyone about the afternoon in the alley on Mesquite Street, as far as anyone has been able to determine.
He wore the boots Roy made him for four years on screen and off, and then the boots wore out the way boots do, and he ordered another pair, and Roy made them, and that was how it went. A quiet, professional relationship conducted entirely through phone calls and shipping, the work passing in one direction and the payment passing in the other, and nothing further needing to be said.
One afternoon in an alley, $3,000 on a pickup bed in the October light, one bill at a time, one sentence spoken quietly in a doorway, “Keep the lights on. That’s all.” And a pair of boots in a window for 26 years facing the door, waiting for the people who would slow down and look and ask what they were for.
If you want to know whether June and her father ever spoke again before he died, there’s a thread in this story that doesn’t quite end here, and I genuinely like to know if you want to follow it. Leave it in the comments. If this brought back a memory or a thought you’d like to share, leave it in the comments.
I read every single one, and I reply to each one personally. If you enjoyed spending this time here, I’d be grateful if you’d consider subscribing. A simple like also helps more than you’d think. >>
John Wayne Walked Into A Boot Maker’s Shop In Arizona 1961 — What Was On That Shelf Stopped Him Cold
The old man was reaching for the lock when the truck pulled into the alley, and the way he moved, slow, deliberate, a man who had done this particular closing up 10,000 times and was now doing it for the last time without letting himself think that word, made the stranger in the driver’s seat stop with his hand on the door and watch for a moment before he got out.
Wait, because what that stranger did in the next 40 minutes in a narrow alley behind a boot shop in southern Arizona would not find its way into any newspaper and would not be spoken of in any interview, and the only man who saw it clearly enough to tell the whole story would wait 29 years before he told it, and by then Roy Estess was already gone.
>> >> He had been coming to Tucson from California for 3 days, taking the kind of route that only makes sense to a man who drives long distances often enough to know that the most direct way between two points is sometimes the least useful one. He wasn’t in a hurry. The picture was done. The Comancheros, 6 weeks in the Arizona heat, and he was heading back to California in the way of a man who had earned the right to take 3 days about it.
The address was written on a piece of paper he’d kept in the same wallet for 4 years. John Ford had given it to him on a Tuesday afternoon in 1957 between setups on a location shoot outside Flagstaff. Ford handed it over the way he handed over everything important, without ceremony, with the implication that a man who couldn’t understand why it mattered probably wasn’t worth explaining it to.
Ed Estess’s boy, shops on Mesquite Street behind the hardware. Last man in Arizona making real boots. He’d said it once. He didn’t repeat it. Look, before this story goes further, you have to understand what John Ford meant by the word real, because it’s the same word that had been sitting in Wayne’s chest like a splinter for 6 weeks by the time he turned onto Mesquite Street.
The picture had wrapped well overall, but the prop department’s boots had been off. Not wrong enough for anyone in the audience to identify, not right enough for the man wearing them to forget. Lightweight, preformed, the kind of thing a studio accountant loved because it could be ordered in quantity at a discount and would photograph adequately under lighting.
Wayne had put them on every morning for 6 weeks and felt the difference with every step on every surface. He hadn’t made a production of it. He just felt it quietly the way you feel anything that isn’t what it should be. He’d driven past the hardware store twice before he found the alley. The sign above the narrow door was painted wood.
The letters done by hand in black, Estes Boots, S S’t 1921. Below it, a smaller line that looked like it had been added later in a slightly different hand, handmade to order. The sign looked exactly like what it was, something built to last and not concerned with looking like anything else.
He pulled the truck to the end of the alley and got out. Roy Estes was 67 years old, which Wayne didn’t know yet but would have placed within two or three years from the way the man moved. Not broken down, not slow, but carrying a weight that had nothing to do with his joints. He had the hands of a man who had worked leather every day for 50 years, darkened at the creases, precise at the fingertips, still strong in a way that had become automatic and therefore invisible to their owner.
He was turning a key in the door lock when he heard the truck. He turned around. Standing in the alley behind him was a very large tan man in a faded work shirt and canvas trousers and a battered Stetson holding a piece of paper and looking at the sign. “You Roy Estes?” the man said. “That’s right. John Ford sent me.
” Roy looked at him without recognition. “John Ford, film director. We worked together. I know who John Ford is.” Roy considered the the being held out to him. He didn’t take it. “He sent you 4 years ago, looks like.” He nodded at the date on the corner. The large man glanced at the paper.
“Took me a while to get to Tucson.” Roy unlocked the door. He didn’t invite the man in yet, but he didn’t tell him to leave either, which in Roy’s economy of gesture was the same as a welcome. “Come in then,” he said, “though I’ll tell you now, I was about to close.” He wasn’t. He was about to close permanently.
But he said it the way he’d said everything in the past 3 weeks, carefully, keeping the larger fact inside it, not letting it out where it could do anything. Notice what happens in the next 10 minutes. This is where the story could have turned into something ordinary, a man looking at boots, a craftsman showing his work, a transaction. It didn’t.
It became something else entirely, and the reason is a pair of boots that Roy Estes had made 9 years earlier and never sold. The shop was small and smelled of leather and beeswax and the particular dry warmth of an Arizona afternoon. Boots lined three walls, finished pairs on wooden stands, works in progress on the bench, hides rolled and stacked in the corner.
Wayne stopped in the doorway and looked at it the way a man looks at a room when he’s trying to take in its full dimension before he commits to entering. He stepped inside. He went to the nearest finished pair, dark brown, round toe, a simple stitch pattern on the shaft, and picked it up. He ran his thumb along the welt, pressed the sole, checked the stitching at the heel.
“How long on a pair like this?” he said. “Three weeks, four if the hide needs work.” “What’s the hide?” “Cow hide, vegetable tanned. I don’t use chrome tanning, it weakens the grain over time.” Roy said it without special emphasis, the way a man states facts about his own work when someone asks the right question. Wayne set the boot down and picked up another, a different style, narrower toe, a more elaborate stitch.
He turned it over. “What do you get for them?” “95 for the plain ones, 120 for the worked ones. Wayne nodded slowly. He already knew what was coming before he asked it. And the factory boot? Roy’s jaw moved once, barely. $18 at the hardware store, three doors up. He paused. They sell quite a few. Before we go any further, hold this image.
A man who has spent 50 years learning to do one thing exactly right, watching the world pay $18 for a version of that thing that will last three years, and still here, still making them, still doing it the only way he knows how to do it, which is the right way, because the other way is not something he can bring himself to practice, even now.
Wayne set the boot down. He was about to say something when he saw the pair on the shelf in the back corner. They were different from everything else in the shop. Not in style, the same round toe, the same careful stitching, different in something harder to name. They sat in a box, tissue paper folded back, unwrapped. They had never been worn.
You could see it in the leather, that particular unbroken quality of something made with great care and then kept, rather than used. He crossed to the back of the shop. Roy watched him go. “Those aren’t for sale.” Roy said. Flat, immediate, no explanation. Stop for a second and feel the weight of that sentence.
A man who is about to lose his shop, who has been told by the bank that this week is the end, and he has one pair of boots on his shelf that he will not sell. The reason for that is the whole center of this story, and Roy Estes was not going to tell it to a stranger who had walked in off the alley with a piece of paper from four years ago. “Fair enough.” Wayne said.
He didn’t push. He moved back to the front of the shop and picked up another pair. It was that, the two words, and the stepping back, that changed something in Roy’s posture. A man who has been on guard for a long time, waiting for the push that doesn’t come, has to reconfigure himself when it doesn’t.
Roy sat down on the edge of the work stool and looked at his hands for a moment. “My boy made the order,” he said. Wayne looked up. “Before he shipped out, Korea,” he said. Roy’s voice was level, careful. He said, “You make me a pair for when I get back. Something to wear when I’m done with all this.” The shop was quiet. The Arizona afternoon sat outside the door, indifferent and bright.
“He didn’t come back,” Roy said. He said it the way a man says a fact that has been inside him so long it has worn smooth, like river stone. It no longer cut. It just sat there, permanent, part of the landscape. I finished the boots after. Took longer than usual.” He paused. “I’d work for a while and then I’d stop without knowing why.
” Wayne looked at the pair in the corner. He thought about that, the working and the stopping. He understood the working and the stopping. “His name was Ray,” Roy said. “Raymond Lee Estes, 23 years old.” Listen, because what John Wayne said next was the only thing a man could say that wouldn’t make things worse, which was nothing. He was quiet for a moment.
Not the quiet of a man searching for words, the quiet of a man who has enough respect for a grief to let it be what it is. Then he said, “Your father built this shop.” Roy looked at him, recalibrating. “1921. Horse barn before that. He and his brother converted it. And you started here, 14 years old. Summer of ’28.
” Wayne did the arithmetic quietly. “53 years, give or take.” Roy picked up a hide from the bench and set it down again, the automatic gesture of a man whose hands need occupation when his mind is somewhere else. “Though it won’t be 54.” It was the first time he’d said it out loud. He hadn’t planned to say it.
It came out the way things come out when you’ve been holding them too long. Wayne didn’t react quickly. He turned the boot in his hands. “Bank?” he said. “Week’s end. How much?” Roy looked at him with the particular weariness of a man who has been offered sympathy that cost the giver nothing. “I’m not looking for I’m not offering anything.” Wayne said.
“I asked how much?” A long pause. “2,840 two missed payments and the penalty.” Wayne set the boot down on the bench. He looked at the shop, the walls of finished work, the hides in the corner, the tools on the rack above the bench, the shelf with raised boots in their tissue paper. Then he looked at Roy.
“I need a pair made.” he said. “My size, plain toe, dark brown, same leather as these.” >> >> He touched the nearest finished pair. “And I need them before I leave California next spring.” Roy looked at him steadily. “That’s four months.” “I know. I told you the bank.” “I heard you.” Wayne reached into the back pocket of his canvas trousers and brought out a long brown leather wallet.
He looked at Roy. “John Ford told me you make the only real boots left in Arizona.” He paused. “I’ve been wearing fake ones for six weeks. I’d like to try the real thing.” He walked to the door of the shop. The alley outside was narrow. The afternoon light coming down at an angle onto the packed dirt. His truck was at the end, the red paint faded by sun.
Wait. Because this is the moment the whole 40 minutes has been building toward and it doesn’t look like a moment at all from the outside. It looks like a man walking to his truck. He set the wallet on the edge of the pickup bed. He opened it and counted bills onto the truck bed, hundred dollar bills one at a time, flat and deliberate in the October light.
Each one placed with the same care as the last. Roy stood in the doorway of his shop and watched. Across the alley, above the back door of the hardware store, Gus Morales had been stacking boxes of roofing nails on the loading shelf when he heard the truck pull in. >> >> He was 61 years old, had lived in that alley his whole working life, knew every person who came and went from Roy’s shop by sound.
He turned and looked down into the alley. He knew the man at the truck immediately. He didn’t say anything. He stayed where he was and watched. Wayne counted $3,000 onto the pickup bed. He turned to Roy. “That covers the bank and the penalty,” he said. “The rest is for materials.” He paused. “And whatever else needs doing.
” Roy stood in the doorway with his hands at his sides. He was looking at the money on the truck bed the way a man looks at something that has arrived from a direction he stopped watching. “Mr. Wayne,” he said carefully. “I don’t take” “You’re not taking anything,” Wayne said. “You’re making me a pair of boots. I’m paying for them in advance.
” He looked at Roy steadily. “I’ve been waiting four years to give John Ford’s money to the right man. Don’t make me drive back to California and tell him I didn’t.” Something shifted in Roy’s face, not quite a smile, but close. The kind of movement that happens when a man has been carrying something alone for long enough that having another person acknowledge its weight without flinching is itself a kind of relief.
“All right,” Roy said. They shook hands in the doorway of the shop in the narrow alley in the afternoon light. Wayne picked up the wallet from the truck bed. He took a card from his shirt pocket, his production office, a California number, and held it out. “Call when they’re ready. They’ll tell you where I am.” Roy took the card.
Wayne was halfway to the cab when he stopped. He stood for a moment without turning around. Then he turned. He looked at the shelf through the open door of the shop, at the pair of boots in their tissue paper. “Raised boots?” he said quietly. Roy was still in the doorway. He didn’t answer.
“Don’t put them away,” Wayne said. “Let them be seen. Let people ask about them.” He looked at Roy. “A man who makes something that good shouldn’t keep it in the back corner. It’s the best work in this shop.” Roy’s hands came together in front of him, barely the involuntary movement of a man holding on to something. “I’ll think on it,” he said.
Wayne nodded once. He got in the truck. He pulled out of the alley and onto Mesquite Street and headed west. And Gus Morales watched him go from the loading shelf of the hardware store and did not say anything to anyone for 29 years. The next morning, Roy Estes went to the Tucson First National Bank and paid the two missed mortgage payments and the penalty in full in cash.
The teller looked at the bills. She wrote him a receipt. He folded it and put it in his shirt pocket and went back to the shop. He opened the door. He stood in the middle of the room and looked at his walls of boots and his bench and his tools and the hides in the corner. Then he went to the back shelf and picked up Ray’s boots.
He carried them to the front of the shop, to the display stand beside the window, where the morning light came in from the east. He set them there, open box, tissue folded back, boots facing the door. They were there every morning after that for 26 years until Roy died in the spring of 1987. Every person who came through that door saw them first. Most people asked.
Roy would tell them as much as he felt like telling that day, which was never the whole story, but was always the true part of it. Remember this, because what happens next is where the story opens up into something larger than one afternoon in one alley. The boots Wayne ordered arrived in California in February of 1962.
Wayne wore them on every picture he made for the next four years. He never told anyone where they came from, not publicly. He wore them on set and he wore them off set. And when a wardrobe person on one picture asked where he gotten them, he gave them Roy’s address in Tucson and said, “Tell him John Wayne sent you.
” Three cast members from that picture made the same call within the year. Roy’s order book, which had held eight names the previous autumn, held 31 by the following spring. He never called the orders John Wayne’s doing. When people asked how business had picked up, he said, “Word gets around.” Which was true as far as it went.
Wayne never confirmed any of it, not in interviews, not in any letter that has since come to light. He wore the boots and that was all. The boots were real and they did their work and he got his value from them and Roy got his fair price and that, as far as Wayne was concerned, was a completed transaction. Now, listen because the rest of this story belongs to a woman named June Estes, who was Roy’s daughter and who had not spoken to her father in 11 years by the time he died.
She drove down from Phoenix when she got the call. She let herself into the shop with the spare key the neighbor had kept. She stood in the middle of the room that smelled of leather and beeswax. The room she had grown up knowing, the room her father had spent every day of his working life in. She found three things she didn’t expect.
The first was a pair of boots on the display stand by the front window. She recognized them immediately. She’d seen them her whole childhood, always in the back corner, always in their box. They were out in the open now, in the light. The second was a small card tucked into the tissue paper beside the boots. On it, in her father’s handwriting, “Raised boots, made 1952. He never came home.
” The third was in the drawer of the workbench, a folded piece of paper, a production company card with a California number and a receipt from the Tucson First National Bank dated October 1961, paid in full with a note clipped to it in a different handwriting, one line, “Ed Estes’ boy. John Ford was right.
” She sat with these three things for a long time. She donated them to the Arizona Historical Society in Phoenix the following year. The boots, the card, the receipt and the note. She wrote a short letter explaining what she knew, which was less than the full story, but more than anyone else had put on paper. The display has been in the same case since 1988.
A brass trumpet? No, a pair of dark brown boots in an open box, tissue paper folded back exactly as Roy had them in the window for the last 26 years of his life. Beside them, the small card in Roy’s handwriting, the receipt, the note. Every afternoon the sun comes through the west window of the gallery and falls across the case for about 20 minutes.
The leather catches it the way good leather catches afternoon light, warm, deep with that particular richness that only comes from the right material worked the right way over a long time. Then the light moves on, the way it always does. Gus Morales told his story to the Tucson Citizen in 1990. He was 90 years old.
The paper ran it in the local history section, three paragraphs, no photograph. The reporter called Wayne’s publicist for comment. The response came back, “No comment.” John Wayne died in Los Angeles in June of 1979. He was 72 years old. He never told anyone about the afternoon in the alley on Mesquite Street, as far as anyone has been able to determine.
He wore the boots Roy made him for four years on screen and off, and then the boots wore out the way boots do, and he ordered another pair, and Roy made them, and that was how it went. A quiet, professional relationship conducted entirely through phone calls and shipping, the work passing in one direction and the payment passing in the other, and nothing further needing to be said.
One afternoon in an alley, $3,000 on a pickup bed in the October light, one bill at a time, one sentence spoken quietly in a doorway, “Keep the lights on. That’s all.” And a pair of boots in a window for 26 years facing the door, waiting for the people who would slow down and look and ask what they were for.
If you want to know whether June and her father ever spoke again before he died, there’s a thread in this story that doesn’t quite end here, and I genuinely like to know if you want to follow it. Leave it in the comments. If this brought back a memory or a thought you’d like to share, leave it in the comments.
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