 The Clyde Beatty Show. The world's greatest wild animal trainer Clyde Beatty with another exciting adventure from his brilliant career. The circus means fun for both young and old, thrills, excitement, snarling jungle beasts. But under the big top, where Clyde Beatty constantly risks death in the most dangerous act on earth, you see only part of the story. Much of the real drama takes place behind the scenes of the circus, where 500 people live as one family, or in far away places of the world. Where this master of the big cats has journeyed, hunting down his beasts in their native jungle. All of this is part of the Clyde Beatty story. This is the story of the bear. Juro had quite a reputation for agility, for cleverness, and for unexpected turns of spirited meanness. Juro was a 600 pound, 7 foot tall brown bear, and he sounded like a possibility for the train bear act I was planning to get together when I returned to the United States from a British Isles tour. So when I learned that Juro was being exhibited as part of a small traveling circus, I watched my chance and one morning in the tiny mountain village of Clonbacan, North Wales, my wife Harriet and I caught the show. Oh, Clyde. Clyde, look! Yes, honey? Isn't it different though, here in the open, and the roundabouts cranked by hand instead of the merry-go-round? And costume-ongers instead of pitchmen? And jellied eels instead of cotton candy. Sure, but the circus is the circus the world over. Oh, yes, Clyde. Yes, it is. There was no tent, only a semi-circle of plank seats on the grassy Clonbacan cricket ground. But there were wide-eyed kids, part of a circus audience, wherever you find it, watching the jugglers, the fire-eater, the tumblers. Then a strange pale yellow-haired young man slipped down out of the plank seat beside us. You'll be Mr. Clyde Beatty, sir, and you'll be Mrs. Beatty, mistress? Yes, yes, that's right. Can you come here, I think, to see Gioro, the great and wonderful brand-bear? That's a pretty reasonable guess. De luck and val, mistress. Oh, I'm afraid my husband and I don't understand words. My meaning was, thank you very much, mister. You seem to know us. Maybe you've seen our Wild Animals show, huh? That may be as may be. I'm said to see things by my own means and my own way. Dream me Tom it is they call me, though Tom Cub may write their names. Oh, Beatty, that's what you've come for. Gioro the bear. And all in on to the great chain for the ring in his nose, that's his fine and famous trainer, John Moffat. Clyde. Clyde, look at his face. Look at the trainer's face. He's been in a scrap already. Oh, his face all clawed and torn. Now John Moffat will tell his lie. What's that, Cub, his lie? Yes, listen. Hi, well, friends. He's not a westman. He's English. Presented is the feature attraction of orphans performing bears. This is Gioro, 600 pounds, measuring four, seven feet in height. The savage bear that escaped last night, as you all know. Skate Clyde, did you hear that? I heard it. Gioro's escape endangered the entire countryside until I located and recaptured him early this morning. John Moffat lies. Gioro is still at large. Well, how can Gioro be at large? That's Gioro right there in the circus room. If you please know it is not. It is a different bear. A different bear, Cub. Substituted, John Moffat could not find Gioro. That muddressed bear is still roaming the countryside. We return to our story, the bear, in a moment. Here is Clyde Beatty. Tom Cobb sat down beside Harriet and me at the open-air welch circus to tell us that the bear Gioro was still at large. Gioro had escaped the night before. That was certain. And Cobb insisted that the trainer Moffat had been unable to find him. And so it substituted another bear in order not to lose the day's circus business. Then Cobb told us we could find him at a pub called the Sun in Splendor and left as unexpectedly as he'd come. Well, by this time Harriet and I had grown pretty curious. So after the performance ended, we made our way up a crooked welch street toward the Sun in Splendor. Well, there's the Sun in Splendor, Clyde. There. See the sign? Oh, yes. End of the block. Clyde, do you think Tom Cobb was really telling us the truth? Well, I noticed a couple of things that seemed to support what he said. That bear we saw performed just now was no great shakes. No. I noticed that. We'd heard that Gioro was quite a performer. Yes. Yes, that's right. And something else. Did you notice, honey, through the whole performance, the trainer Moffat never once called the bear by name. Maybe that's the way he works, but it's certainly unusual. Yes. Yes, it is, of course, but Clyde. What, honey? To substitute another animal to pretend to have caught Gioro if he hadn't. Well, he might have done that in order not to lose the day's profits, as Tom Cobb said, but Clyde, it would be criminal to let people think they were safe when anybody going up in the hills might be attacked and even killed by Gioro. Sure would. Well, here we are, dear. There's the Sun in Splendor. Come on, let's go in. Oh, there's Tom Cobb. Over there at that table in the corner. There. There past the dartboard. What would it be for a drink, Mr. and Mrs.? We've come in to see Tom Cobb, bartender. Oh, that's it. Then you'll be once in tea. Oh? Why tea? For Dreamy Tom to read what your character and future is out of the tea leaves. Oh, is that what he does? Dreamy Tom Cobb indeed, it is all what he does, tea leaves, unfortunately. We crossed to the dimly lit corner table where Tom Cobb sat watching us approach, a half-marking smile on his face, his fingertips drumming on the table surface. We sat down, but Tom Cobb waited till the bartender had brought the tea before he spoke. Then his head cocked impertently on the side, he said. I'm glad to see you have come, Mr. and Mrs. Beatty. Thank you. You said, Cobb, we'd find you here if we wanted to know more about the escaped bear. Yes, Mr. Beatty. I suppose you spoke to us in the first place because we work with wild animals. Yes, Mr. Beatty. Well then, if the bear is still loose. Yes, Mr. Beatty it is. Well, what do you want us to do? Re-capture it, is that it? Yes, Mr. Beatty. Well, you'll have to give us more details, Cobb. If the bear is loose, it's a danger to the community. But so far, we've just got your word that it is. And that's not very much to go on. Well, I would tell you just how it was from the beginning. That's a very good idea. It was last evening, Juro escaped. We know that. His daughter, John Mofford's daughter Kate, was with Juro when he broke loose. He went for Mofford like he hated him. The bear did and had reason. Reason? Yes. John Mofford know his trainer like you, Mr. Beatty. He has cruel. He beats his bears. All right. Then what happened last night? Juro attacked John Mofford. John Mofford drove him off. And then Juro escaped. Yes, sir. Does anyone know where the bear went? Well, it was coming on dark. And town people see him go up a mountain here about. Vaswin Mountain, Mrs. Beatty. Vaswin Mountain. Yes. And then, Cobb? John Mofford could not find him. So he substituted a ringer, a different bear that he said was Juro. Yes, Mr. Beatty. Here comes Mr. Mofford. Is he coming to talk to you, Cobb? That may be as may be. No, look, Hugh. The game of dart, it is. It interests him so he can be near us and eavesdrop. John Mofford played alone at the dartboard a few feet away, throwing the darts, recovering them, walking back and forth in earshot of our table. But when we had finished our tea, Tom Cobb found a way of talking to us in spite of Mofford. There is things that has been seen in the bottom of tea cups by dreamy Tom Cobb, as would amaze you, Mr. and Mrs. If I may take your cup, please, Mrs. Beatty. So. Oh, of course, if you want to. Now I hold it in my left hand, the cup, and rotate it round three times so. Now, upside down into the saucer, letting the dregs drain the leaves fall in their prophetic places. Look, you know, Mrs. and Mr. The shapes and the tea leaves, just here, the glouring on face of the devil himself. What does the devil's head in the tea leaves mean, Mr. Cobb? An evil person is nearby. I see. You mean John Mofford? Yes, Mistress. And here is a chimney shaped to the cup. The meaning of the chimney is, do what you are about to do with caution. And here, this shape which has the meaning, your delay may cause trouble, do not delay, and the shape which has that meaning in the prophecy of the tea leaves is? Right there. Cobb, we're... My wife and I are pretty practical people, you know. Is there anything that would make us believe what the tea leaves say? Meaning of the letters of the alphabet in the cup is that they be the initials of someone really important to the whole tea leaf reading. And in this tea cup? Look, you. The initials. K, M. K, M. The M would be for Mofford. Yes. And the K, isn't that for Kate? Kate Mofford? Yes, she said Mofford's daughter's name was Kate. That is so, Mr. and Mrs. Mofford's daughter's name is Kate. And here are her initials in the tea cups so plain as never could be missed. I see. Well, then, how much is the tea leaf reading, Cobb? It'd be fashion, sir. I paid the five shilling fee for the benefit of John Mofford who was watching. Then Harriet and I left the sun in splendor. It was clear enough that Cobb hadn't been prophesying from the tea leaves but giving information. And it was just as clear that Cobb's information led to Kate Mofford. Harriet and I went back to the circus grounds and questioned the wiry dark man who cranked the roundabout. Kate Mofford? Do I know her? Lord, let me, do I know her? And she many today helped me crank this mommy roundabout for the give rides to the kitties? Can you tell me where we can find her here on the circus grounds? Well, now, that's clear. It is clear. Kate's not been around the old loving day. We're looking for Kate Mofford hotel keeper. She knows it's here. But she and her father are staying here at your hotel? Yes. Well, can you tell us when Kate Mofford went out? Quarter to Voritwas to hunt the bear. She has no come back here. Quarter to Vor this morning. Let me carry the room at least, darling. The brush is getting thicker and it's awkward for you. But that chair to manage too. Okay. Here you go. Oh, yes. The darn chair legs keep snagging in the brush. Well, the chair will come in handy if we do find Juro. Can you handle the broom through here all right? Oh, yes. The dog on right, the chair will come in handy. Nothing better for warding off an angry bear than kitchen chair legs. And this broom will stick in his mouth. Yeah, that straw will give Juro something to chew on if we find him. Hey, hold it, honey. What? What is it, Clyde? Look here, here on the ground. Sure, sure they are bear tracks, but look. Yeah, where? Here. And here. Oh, yes. A man's tracks with him, going up the mountain. A man leading a chain bear up the mountain. See the relative positions of the tracks, the chain length between them. That man must have been Mofford. Leading one of his bears up here to bring it back down again. As if it were Juro just recaptured. That's my guess. Then Tom Cobb's story is the truth, Clyde. And Juro's still loose somewhere up here. And Clyde. Clyde, what about Kate Mofford? I don't know, Harriet. The woman in charge at her hotel said she left a look for the bear and didn't come back. Left it for this morning. That was 11 hours ago. And now here is an important message. Back to our thrilling Clyde Beatty drama. Harriet and I followed the dual tracks of the bear trainer, John Mofford and the chain bear a quarter of a mile further up Vasrin Mountain. Then sure enough the tracks turned and started back down again by the trail leading into the village. It was proof that the bear being exhibited was not Juro. That Juro was still at large. And then suddenly a hundred yards further up the mountain. Clyde. Clyde, what do you suppose that is? Where Harriet? There. All grown over at the front. But it's an opening. Look, into the mountain. Yeah, looks like the opening of an abandoned coal mine. Clyde. Yeah, Harriet? Clyde, I thought, did you hear anything? I thought I heard something with the wind so loud. Clyde, could it is Juro? Yes, and he's in the abandoned mine. Here's the flashlight. Shine the light ahead of me as we get down the mine shack. Yes, Clyde. What was that? Just shale, honey. Loose shale along the walls of the shack. You notice the breeze? Oh, yes, I do. It's fresh. No carbonic acid gas. No choke damp. It's air is pure. But it seems to be blowing out toward us from down in the mine. That's right. There must be another shaft. Harriet, stop a minute. What? Shine your flashlight off to the right. To the right? That's it. Yeah. Yeah, another cutting, another shaft going off to the right. Clyde, this could be a whole maze, the whole mountainside honeycomb. And it's pretty likely the mine was probably worked out before it was abandoned. Clyde, which branch shall we take? Shall we go straight on up to the shaft to the right? You better get Juro to help us decide. I'll call him. Juro! What's happened? Why doesn't he go? I don't know. An animal usually responds when it hears its name. All right. Shine your flashlight into the branch to the right. All right. Clyde, there's a shape, a figure. A figure moving toward us. And it's not Juro. It's a human being. Come on, let's go. Wait a minute. Look here on the mine shaft floor. What is it? A scar. A woman scar. All right now, Cobb. You'd better tell us what you're doing in here in the mine. I was passing. I had vices in the mine, so I come in. You expect me to believe that. Just to, sir. Where did you get in? The opening just behind. This shaft opens to the outside? Oh, yes. Well, then let's get out in the daylight. Now, Cobb. Yes, sir. What happened after Mrs. Beatty and I left the sun in splendor? John Moff would come over to me. Well? He knew what the purpose was in talking to you, and he said he knew you was Clyde Beatty. I suppose he read that in the TV. Oh, now, Mistress, I do not think he did. What did he say about the bear? Oh, he was cute about that. He said his fear was you would report him to the Society for the Prevention of Cruelty to Animals, which is a vast power here in Britain. You mean for beating his bear? Yes. Cobb, what about your part in this? It seems to me you're going to a dickens of a lot of trouble over something that doesn't concern you very much. It does concern me. It does? Kate Moffat. Oh, so that's it? It is. Then you're interested in her? Terrible much. But her father, he don't like that. Harriet, hand me the scarf we found in the mine. Oh, yes. Here you are, Cobb. Thank you. Have you ever seen this scarf before, Cobb? It is Kate's. Kate's. How come you buy it? It was on the floor of the mine. Oh, cutthroat, who found... We went back into the mine. Tom Cobb behind, myself in the lead, kitchen chair in my left hand, broom in my right, against the possible attack of Juro. Harriet was between us with a flashlight. The flashlight threw my shadow black, huge along one jagged wall of the shaft. Here's where we found the scarf. We'll try this shaft branch now. The scarf, Kate Moffat's scarf, was right here at the division. Now, she could have gone either way. Or been dragged on. Yes, I'm afraid that's possible too. Keep the light well ahead, honey. Oh, yes, Cobb. Cobb, you say Moffat mistreats his bears pretty badly, huh? Post the bit in the public houses. And I seen it me on self, him within the bears, and then bought in like spring calves. What about Kate, Kate? Does she work in the show? She does, sir. And is she her father's daughter? I mean, does she mistreat the bears too? I do not know about that. Are you sure you don't, Cobb? Did you get Harriet and me into this because you were concerned about the townspeople? Or was it because you were afraid Kate Moffat was up here with an animal she'd abused? I am afraid for us, sir. That is the truth. And the rest of it is Kate Moffat cruel to the bears, like her father. I do not know about that. All right, Cobb. Oh, look, Clyde. We're coming out to the surface again. But daylight somewhere on the turn and the shaft ahead. Yeah. And I'll be glad to get out of this mine. You were right a while ago, Harriet, when you said the whole mountainside was honeycombed. These shafts lead out of the mine in all directions. Don't you suppose we ought to go back down in the mine again and try to find it? No. No. We won't need to. We won't? Look here. Juro's tracks. Harriet, a girl's tracks with him. The sets of tracks were playing in the silt of the shaft mouth of the abandoned mine. Juro's and a girl's. And that girl would be Kate Moffat. The tracks both took the same direction into a box canyon closed in by rock walls. We followed them until they vanished into the heavy growth of interlocked alders and pines. So the bear and the girl were in this box canyon. But it was strange, except for the birds and insects and the wind in the tops of the trees, there wasn't a sound. And then suddenly we heard... Hi. Hi. That was Juro. It sure was. Come on, let's go. We scrambled and fought our way through the scrub. There was no problem of direction. The canyon was small and the roars and bellows of the bear guided us. Spring promised by the alders we could see a man's arm lifting and falling. It was clear he was wheeling a whip. Tighten this and lift. So teacher... I threw down broom and kitchen chair and broke through the brush. Juro was on a rope tied to an alder. The animal was bellowing and roaring. But in rage and sympathy, not in pain, John Morford was wielding an animal whip. But it was not Juro. He was striking. He was beating his own daughter. Look what you've done, Kate. Wrote the great beat. All right, Morford. Drop that whip. Drop it before I knock it out of your hand. Knock it out of my hand, will you? I sure will. Come on, look up, look up. He's going to hit you with a whip. Oh, no, he knocked Kate back. Give me that whip. Give me that whip. Kate, your hand's off my whip, you... There. Now, I'll keep this, Morford. Are you all right? Are you all right, Kate? Oh, what a terrible thing. Poor girl. You're a credit to the animal training profession, Morford. Beating animals is bad enough for a man who beats his own daughter. I suppose great, Mr. Beatty. You'll report me to the society for the prevention of cruelty to animals. You're right, Morford. I will. I'll break up your bear act if it's the last thing I do. But there's a worse charge against you than bear beating. You'll be lucky if you don't serve a prison term for what you've just done to your daughter. See you again, though Tom Cobb is not here. Three cups, bartender, for Miss Morford and for my wife and myself. Yes, sir. Tom Cobb said he'd come here to the sun and spend her meters. Oh, I mustn't see him. Why not, Kate? Oh, I just mustn't ask Clyde. I think Kate means he mustn't see her. She's been crying. She doesn't look her best. Tom said, you see, I must leave my father and come to him. But it's hard to leave one's father. Of course it is. Tell us, Kate, why was your father angry with you? It was because I started with Jura. Against your father? Yes. Father thinks of these animals as enemies. It's the bears against themselves. And I believe that to be the right thing till I met Tom Cobb. Here's the tea. Thank you, bartender. Drink your tea, Kate, and you'll feel better. Yes. But then I'm a girl. I don't want to see Tom. Not now. Before you go, Kate, I'd like to know what happened last night and today. Jura escaped last evening. He attacked father and father beat him most. Then he got away. Yes, we know that. Jura went up that swing mountain and father couldn't find him. So your father substituted another bear in Jura's place? Yes. But I went this morning to look for Jura and I found him. But I didn't bring him back. Why didn't you? I couldn't because the whipping father would give him when I brought him back. You see, Tom Cobb has opened my eyes. Mr. and Mrs. Beatty. Yes. Yes, we do see. Kate Morford finished her tea and left the sun in splendor. In a few minutes, Tom Cobb came in enjoying it. What are your plans, Mr. and Mrs. Beatty? Oh, we'll be leaving your country, Tom, after we've given our testimony against Morford to the Humane Society headquarters in Cardiff. And you will know by the bear and your visit has been a waste. Well, we won't buy Jura for our circus. We don't use whip-broken animals. But I'd hardly say our time's been wasted. It has not been for us here. Only there's little we can do in return. Perhaps a final tea leaf reading, Tom. Very well, Mr., if you would like. The tea leaves form an arch in this cup. Just here. And the meaning is there's a parallel of binding the owner of this cup to another. And their love will be blessed, and it will prosper. And that is my prophecy and final wish for you, Mr. and Mrs. Beatty. But, Tom... Yes, mistress? Kate Morford was here and had tea with us. And the cup in which you've just read the tea was Kate's cup. In a moment, Clyde Beatty will be back to tell us about our next story. But now, once more, here is Clyde Beatty. One of the more pleasant duties of a circus owner is traveling to far-off places in search of performers for the show. A few years ago, Harriet and I were in the Melee Peninsula preparing to return to America with a boatload of wild animals. Before leaving, we found we not only had our jungle performers aboard, but a fabulous troupe of Melee dancers as well. I'll tell you about it when next we meet in a dramatic tale entitled The Princess and the Tigris. All stories are based upon incidents in the career of the world-famous Clyde Beatty and the Clyde Beatty Circus. The Clyde Beatty show is produced by Shirley Thomas. The bear was written by William Pfeifey. All names used were fictional and any resemblance to persons living or dead is purely coincidental. This is a Commodore production.