 Introducing the 10 evils of Hollywood. All right, everybody. Ready to take this scene. Hey, Jusser, give me a yellow spot on that building. We've got four cameras set up at the point of the Christ, Mr. Andrews. How about the truck? Yeah, we'll make a follow shot with a camera car. Hey, Eddie, get all those people off the streets. We're gonna take it. Now, look, Lou. Yes, Mr. Andrews. Here's your scene. You're supposed to drive this big gasoline truck with a trailer down this steep hill, and when you get to the bottom of the hill, the whole works turns over. You get the idea? Yep. You see, the truck is supposed to be out of control. When it piles up, it catches on fire. The way the story goes, you get thrown clear. Thrown clear, eh? Well, that's nice. Okay, I'm all set. All right, everybody. Here we go. It's a take. Look at that thing drop off that hill. Yeah, this is gonna be good. He's doing at least 65. Look at that bus travel. It's almost to the bottom. Here's the Christ. Watch out! In the 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 complied the strangest fraternity on earth. The Suicide Squad. The movie Stuntmen. The Gad Evils of Hollywood. Ladies and gentlemen, in bringing you this copyrighted radio feature, we are privileged to have as our guest one of the leading stuntmen of Hollywood. Bob 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. Bob Clark is here in the studio right now, and later in the program we will bring him to the microphone. But first, let's follow him through a routine day before the cameras. Seated in the lobby of a hotel in Prescott, Arizona, we find three men in conversation. These three men, each with an important role in the manufacture of a forthcoming motion picture. One is a director, one his assistant, and the other Bob Clark. Ace Stuntman and double for Tom Makes. Let's listen. Bob, I want you to meet my director. Mr. Perry, this is Bob Clark, the stuntman I was telling you about. Glad to know you, Mr. Perry. Hello, Bob. Say, I've heard plenty about you. Yeah? I've heard a lot about you, too. About winning the Academy Award last year and all that. Oh, well, that was just a lucky break. Oh, yeah? Well, what's this picture all about? It's doubling for Tom Makes. Now, here's the general idea. The story brings in the rodeo. It seems that Tom Makes and the boys from his ranch have won every event. You see? The star performers, eh? That's it. The heavy and his gang have learned up about this. They want to win something. Now, the last and final event is a stagecoach race across open country. I see. A thrilling run to the finish. Yep. And here's the finish. They come across the country to the racetrack through the gate and around one lap. I see. Very good. But what's the sense? Well, the heavy and his gang see that they can't win the race, so they rig up a big pole at the gate. It's just high enough to allow the horses to pass under, but it hits the coach and pairs it to split it. Hey, this is getting to be all right. Now, here's what you're supposed to do. Naturally, you're driving this coach that gets smashed up. So, as you near the pole, you leap into the air over it and land on a specially built platform right above the double tree. Okay. And then what happens? Well, the coach goes into a thousand different pieces. Well, you ride the front wheels and the team all around the track to come in first. Well, Bob, what do you think of that? To tell the truth, Glenn, I think someday these script writers are going to reach their objective. Yeah, and what's that? Someday, some way, they'll figure out a way to break a stuntman's neck. Time for the big scene is almost at hand. Bob Clark is now on the location set, and the old abandoned racetrack is buzzing with activity. Hundreds of people mill about. Some adjusting the studio equipment. Others waiting their cues. But all are keenly aware of the danger of the next scene. A man's life is at stake, and this they cannot forget. Finally, a warning whistle is heard, and the director's voice rises sharply above the den. All right, everybody. We're going to take this scene now. Get all those coaches lined up. The camera car is all set, Mr. Perry, and we've got four tripods on the track. That's swell, Glenn. Now, listen, you fellas. Bob Clark is supposed to come in first. And look, Bob, when you hit that pole over the gate, make it look good, hit it hard. I bet I will. How about it? Everybody ready? All set, Mr. Perry. Okay, here we go. All right, boys, take it away. Yes, sir. That looks good. Yeah, it'll make a beautiful scene. Look at the background against those coaches. Well, from third place. Watch him. He'll start coming up soon. Yeah, that's just the way I want it. There he comes. He's passing one of them. Say, this is almost as good as a horse race. He's still coming up. Yeah, they're rounding the hill down there. They're coming toward the racetrack. Boy, look at those horses run. Yeah, Bob's trying to pass the lead coach. And neck and neck. There he goes. He's in the lead. And hit it straight for the gate. He's as big as a telephone pole. Well, he certainly ought to wreck the coaches last speed. We'll know about that in a minute. Here he comes. Stay from that gate, Ben. It is our pleasure to present the courageous young man who made that scene, who makes hundreds of dangerous scenes for motion pictures, whose job it is to cheat death. Bob Clark, interviewed by Glenn Hardy, Well, Bob, that certainly was some stunt, and I'd say you must have been pretty thrilled yourself. Yes, I was. That jump over the pole had to be timed to the split second. What would have happened if you'd missed the little platform built on the front wheel? It would have been curtains, I guess. I see. Bob, I'd suppose that you've had a lot of close calls in your day. Tell me, what would you say was the tightest spot you were ever in? Well, that's a hard question to answer. There have been hundreds of tight spots, but I remember one when we were making Arizona Ames for Paramount. It was one of Zane Gray's stories with Monty Blue. I got in this spot there that I still don't understand how I got out of. It was on location up at Big Bear. We were... Wait a minute, Bob. We're about to forget something. We'll hear another thrilling dramatization in just a moment. But first, a word from the firm who has made this program possible, or a sponsor. Okay, Bob, now what about that tight spot? Well, it so happened that the character I was playing had a very dangerous stunt to do. The director, Jack Rowland and Hal Walker, his assistant, were explaining to me what was to be done and so... Now, this will give you some idea of the stunt, Bob. You see, Mr. Blue is supposed to be a prospector. You're his friend. Well, he tries to build a railroad to the mine so he can ship out his ore. Get the idea? Yeah, but the outlaws won't let him build the track. They stop him at every attempt. I see. So then what happens? The result is he has to haul the ore over about 30 miles of rough mountain road in wagons. It's a slow process, you see. And here's where you come in, Bob. You and Monty are each driving a wagon filled with ore. And the outlaws shoot Monty off his wagon and the horses run away. And what do I do? They shoot you off, too, and you're supposed to fall off the rig. Yeah, but you don't really fall off. You fall into little caves that we've had built specially for the purpose. It's down in the bottom of the wagon, near the front wheel. Then you're supposed to make the horses look as if they're running away. There's a little peak hole there that you can see from. So far, so good. Now here's the gag. I'm making all these winding turns and some of them are pretty sharp. But when you come to the straight place in the road there, turn the wagon over. See what I mean? It's practically done, Mr. Rowland. Well, then we're ready to go. How about it, Hal? Yes, sir. We're all set. All right, everybody. This is the take on your toes. All right, boys. Get up on your wagons and let's go to town on this. Okay, go ahead, Monty. Stop for me. Now get this wagon at that speed. The wagon, the front end fell off. And the horses are... Well, Bob, I must admit I don't understand how you ever got out of that fun. I wouldn't have if the front part of the wagon hadn't broken off. That's the only reason the horses didn't fall on me. Well, why do you suppose something went wrong with the wagon, Bob? That often happens. You see, those wagons and buckboards they use in scenes like that have generally been crashed several times. Yeah. They're repaired, of course, but they aren't as strong as they should be. Hey, Bob, how many times have you been hurt doing stunts? Oh, dozens of times. Well, did you ever think of quitting? A lot of people have asked me that. No, I have no reason to quit. I like the stunt business, and the dough. Well, they tell me that when a stuntman quits and comes out of retirement to do another stunt, it's usually his grand finale. What about that? It's a funny thing, but it seems to work out that way. I've known several stuntmen who quit and later came back only to crack up. Well, how do you feel about your future fate, Bob? Well, I guess it's all in the cards. If I'm supposed to go tomorrow, I'll go. Whether I'm a stuntman, a plumber, or a radio announcer. Uh-oh. I walked right into that one. But how do you arrive at your conclusion? I've seen enough to convince me. For instance, I've known stuntmen who did everything humanly possible in the way of stunts for 20 years or more, and then finally developed pneumonia and go out in a few days. Well, Bob, who knows? There may be something in what you say. But at least there's no doubt at all that we've enjoyed your visit. On behalf of our listeners, I want to thank you for coming here. I know that everyone joins me and hoping that we may have you on this program again and very soon. Goodbye, old man, and the best of luck.