 Introducing South Hollywood. Those cameras set. Hey Bill, tell those extras to move back a little. I'm ready anytime now, Mr. Williams. Okay Frank, I guess we're ready to go. You've got it straight, haven't you? Yes. You want me to take off, circle once, and fly through the open door of the hangar and crack up against the back wall. Is that right? That's it. And Frank, I want that crash as close to the cameras as possible. Okay, I'll do my best. Well, I'll be seeing you. So long, Frank, and a lot of luck. Tell me this boy will crash him any way you want. And so far, he's always been able to walk away from us. The motion picture capital of the world, we bring you the thrilling true life experiences of those men behind the scenes. Those daring unsung heroes whose breathtaking adventures on the screen have thrilled millions. Whose daily jobs bring them face to face with death. Those men who comprise the strangest fraternity on earth. The Suicide Squad. The movie Stuntman. The Daredevil of Hollywood. Ladies and gentlemen, in bringing you this copyrighted radio feature, we are indeed fortunate in having as our guest a man who is recognized throughout the world as one of the greatest stunt flyers of our day, Frank Clark. It is through his cooperation that we are able to re-enact some of the highlights of his dangerous profession. The thrilling scenes you are about to hear are his own actual experiences. Frank Clark is here in the studio right now, and later in the program, we will bring him to the microphone. But first, let us learn something of his hazardous profession. We take you back to the summer of 1920. The scene is the police station in Los Angeles, California. Two men from Fox Studios are talking with the chief of police. Tell me, gentlemen, what is this permit you want, the one you spoke of on the phone? Well, it's sort of an odd request, chief. We're making a picture called Stranger Than Fiction. It has a lot of stunts in it. I see. Now, one stunt in particular has to do with flying an airplane off the top of a building. You know, right downtown. Have you selected the building yet? Oh, you handled that, didn't you, Thomas? Yes, we selected the new Los Angeles Railway building at 11th and Broadway. They haven't quite finished constructing the building yet, but that won't matter. We won't need the streets roped off or anything of that sort. We merely want permission to do the scene. Well, now let's see. I don't exactly know what we can do about that. Have you seen the owner of the building? No, I wasn't able to locate him. But I've made arrangements with his agent. I see. Well, frankly, this department can't give you permission, Simmons. But as long as there are no complaints, well, we won't stop you. That's fair enough, Chief, and I want you to know that we appreciate it. We certainly do, and we'll take every precaution against accidents. All right, gentlemen. And if you need any of my men to handle the crowds, just let me know. That's very nice of you, and thanks again. Well, we must be going. Next time you'll buy the studio, drop in and see us, will you, Chief? Sure thing. Well, goodbye, gentlemen. Let me know how you come out, will you? And so to take off an airplane from the top of an 11th-story building in the heart of Los Angeles, in the heart of the business section, the studio calls in one of Hollywood's ace stunt flyers, Frank Clark. It is now Tuesday night. The entire area at 11th and Broadway is ablaze with lights. A special runway atop the building has been constructed. Thousands of people throng about the sidewalks. But no one except the studio crew is allowed on top of the building. The dismantled airplane has been hauled up from the street by means of heavy blocks and cables. It now rests on the runway, ready and waiting. Frank Clark relaxes in a canvas chair talking with the director. Well, Frank, they'll be ready any minute now. Yes, I see they've only one more light to set up. There you know, it's going to be an awful short run. Are you sure you can get off the plane all right? You bet. If I can get over the edge without scraping the tail of the ship, I think everything will be okay. How do you plan to get your speed? Well, we can have some men hold the ship back until I get the motor wide open. I'll give a signal and they can turn loose. You ought to take right off. We take off in cow pastures that way. Okay. Well, let's get set for the takeoff. Cameras and sound ready. Oh, just a minute. Are you Mr. Simmons, the director? Yes, officer, what's the trouble? Well, the owner of the building has made a complaint and I'm afraid we can't allow you to do this. Why, man, we've got to do it now. The expense of this thing is terrific. I'm sorry, Mr. Simmons, but those are my orders. I'll have to sit right here with the chair plane and see that it doesn't leave. Hey, Tommy, come here a minute. Seems like we've hit a snag. Yeah? What's up? The owner of the building must have made a complaint. This officer says we can't take her off. Just hold everything for a moment. I'll go downstairs and get him on the floor. Okay. Okay, everybody, stand by, relax. Stand by, Frank. We'll be tied up a few minutes. Well, it certainly is a tough break, Mr. Simmons. Oh, Thomas will fix it some way. I'm afraid something like this will happen. Oh, don't worry. We're going to take this shot if we have to buy the building. Well, complications have arisen. However, motion picture companies have a way of quickly solving their problems and we'll learn what happened in this case in just a moment. We pause briefly to hear a word from our sponsor. Now, continuing our story, while Thomas is frantically attempting to contact the owner of the building by telephone, we see a tall man in cowboy boots and a 10-gallon hat unsteadily dismount from a motorcycle in the alleyway and sneak by the police guard stationed at the stairway on the main floor. He finally makes his way to the roof of the building and... What's my old pal doing up here, huh? Sometimes, as though you have a friend here, Frank. Yeah, that's Slim, the village cutter. Hi there, Slim. Oh, don't you move, Frank. They ain't gonna kill my pal. No serious. So, they're trying to knock off my pal, huh? Gonna break my pal's neck, huh? Where are they? Who's the guy? I'll fix them both. Take it easy, Slim. Everything's under control. I'll say it is. What's your matter? What's your matter? What's you're gonna do with this crate, huh? Well, I'm going to fly it off this roof if we can get permission. Ooh, and it won't break your neck. Well, I think I can make it all right, Slim. Okay? Okay? Then you've got permission. That's nice of you, Slim, but that policeman's sitting over there. What about him? Oh, there you go, worryin' again, Mr. Shimmer. I'll fix him. Mr. Policeman, why don't you let my pal do a little flyin'? There's the greatest flyer on the... Oh, go on, will you? You're in no condition to talk. Now, beat it. Oh, wise guy, huh? Go on, I tell you, or I'll run you in. I'll leash you in, officer. Let me tell you something. You'd have to be triplets to run me in. Oh, you think so, eh? Well, we'll see about that. Come on, now you're going in. Just a minute, Lord, for just a minute. This fellow's a friend of mine. He's harmless enough. Do you mind your own business, Frank Clark? I know what I'm doin'. You stick to flyin', Sammy. Come on, come on, now you're going down to the cave. You see what I mean, Frank? I get the idea, Frank. I'm taking the policeman away so we can shoot the scene. Not a bad idea at all. What do you think about it? Do you want to take a chance on it? I'm in favor of it. I think we could square it with the owner later. Okay, now, whatever you say. We'll have to step on it, though. That cop's gonna be back in a few minutes. Okay, we'll take it. All right, everybody. Let's go. Hit your arse, Pete. Hey, Mike, clear that runway. Okay, Frank. Do your stuff. It is our pleasure to present the courageous man who made that scene. Who has made dangerous airplane scenes for the movies for years. Frank Clark, interviewed by Glenn Hardy. Well, Frank, that certainly was a thriller. Tell me, would you want to do that scene again? No, I'll say not. One of those in the lifetime is enough. Well, you were really weaving in and out between those buildings, weren't you? Yeah, it was something like threading a needle. In some places, I had to lift the ship up on one wing to get through. And what about old Slim, that fellow they arrested? What happened to him? Well, it was a funny thing. After I got into the air, I headed out to the field at Wilshire and Fairfax and landed. Yes. I had no more than touched the ground when here came Slim on his motorcycle. The officer let him go after all. Well, I wonder how he managed it. Well, it's always been a mystery, I guess. No one ever knew. Slim didn't even know himself. I suppose a lot of amusing things happen in your business. Yeah, that's right. I understand you've been flying for the movies for a long time, Frank. How about it? Yes, I started back in the real old days. You know, wing walking and things like that. Yes, but tell me, what are some of the pictures you've worked in? Oh, I've worked in practically every picture that had anything to do with flying. I did that stuff in Devil Dogs of the Air, Hell's Angels, and Susie, and quite a number of others. Well, you did great work in those pictures, Frank, and I'm certainly sorry that our time is just about up. However, on behalf of our listeners, I want to thank you sincerely for coming here. I know that everyone joins me in hoping that we may have you on this program again very soon. Thanks again, old man, and happy landing.