 Introducing... Air Devil's Hub! I'm ready for your scene. Eh, what's it all about? Well, you're driving that car over there. And as you approach the drawbridge, it starts to go up. Very interesting. Now what happens? Well, you're climbing along about 70 miles an hour. So you break through the stop gates and go right out onto the bridge. Oh, it gets more interesting all along. Go ahead. This bridge, you see, it's the parts in the middle. And when you get to the opening, you just sail on across. See, how wide will the opening be when I get there? It'll be about 15 feet. Well, that's okay with me. I'll stand by for your signal. All right, everybody. Here we go. Okay. Give him the signal, George. You're taking that bus along. You're not kidding. There goes the bridge. I hope he makes it. 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 Stunt Men. The Daredevil's of Hollywood. Ladies and gentlemen, in bringing you this copyrighted radio feature, we are privileged to have as our guest one of the top-notch Stunt Men of Hollywood, Mr. Kansas Moring. It is through his cooperation that we are able to re-enact some of the highlights of his dangerous profession. And the thrilling scenes you are about to hear are, of course, his own actual experiences. Mr. Moring is here in the studio right now, and later in the program we will bring him through the microphone. But first, let us show you an average day in this Daredevil Stunt Man's life. It is late at night on January 16, 1926. On a special passenger train standing on a side track some 15 miles from Las Vegas, Nevada, a motion picture company has just finished their evening meal. Some are preparing to retire to their compartments. Others stroll along the tracks outside for a breath of fresh air. Several card games are in progress. And again, we find groups gathering for casual conversation. In one compartment are seated the director of the picture, Edward Sedgwick, his assistant, and Kansas Moring. They're going over their plans for the following day. What's the schedule for tomorrow, Mr. Sedgwick? Well, we've got to take that scene of the runaway train. You know, with Kansas here? Is that the one where I'm to climb along the top of the coaches and get to the engine to stop it? Yes, that's the one. Only you're not supposed to get to the engine. The script calls for a man to ride up alongside the cab on a motorcycle. He gets into the engine and stops the train. Where do I fit into the scene? Well, you're doubling for the fellow who plays the conductor. You notice the train is not slowing up as usual for the turns. So you know there's something wrong. Yes, we already have those interior scenes of the conductor. That's right. All we've got to get now is Kansas climbing up on top of the train and making his way toward the engine. That would be a running shot, won't it, Mr. Sedgwick? That's right. We'll have two cameras set up there, just behind the engine, shooting back. How fast will the train be going? Well, it's got to be wide open. I should say about 70. Say, that's going to make quite a stiff breeze up there with the train rocking and swaying around those curves and that rounded roof sounds a little tough. It's not going to be very easy, Kansas. I'll tell you that. Well, that's no novelty. I've never seen one of these train gags yet. It was easy. The next morning, bright and early, we find the crew up and working. A platform just behind the engine is being completed on which we'll rest the cameras. A survey of the track ahead is being made. Kansas Moorling has just finished an inspection of the car roof, so by which he is to go. And now we find him talking with the director. What time have you, Mr. Sedgwick? It's 7.30. We ought to be shooting this any minute now. They've just about got that platform finished. Yep. And when we get those cameras set up, we'll be ready. Now, let's see. I'm to make my way along the top of the car to about the third coach from the engine. Is that right? That's it, Kansas. And that is where the other stuntman gets on from his motorcycle. That'll be about a mile down the track? Yes, just about. So you'd better start crawling up on top when we pass that bridge down there. That'll give you plenty of time. I don't think I'm going to be able to walk very well up there. There's no place for good footing. And the wind will be pretty strong, too. Well, just crawl along in your hands and knees. Take it easy. We'll have plenty of time. Well, I'll stand up and walk if it's possible. Now, look, Kansas, just to make the shot look good, I'd like you to pretend to slip once or twice. You know, grab one of those metal ventilators and hold on. It'll be a nice little thrill. If this thing works out as I think it will, I won't have to do much pretending. Cameras are all set, Mr. Sedgwick. Any time you're ready. Good. Well, let's get this shot, Kansas. Right. I'll watch you for the flag signal. Okay, Monty. Let's get up there on the platform. All right. I'm right behind you. All right, sir. Well, here we are. Well, I guess we're ready. Let's go! I'll say he isn't, but that's Will. I want this fast. There's the bridge. Yes. Now, give Kansas the signal flag. Come on. Oh, there's Kansas. Climbing on top of the coach down there. Hey, he's having a tough time. That wind's about to blow him off. Yeah, he can't stand up. It is our pleasure to present the daring stuntman who made that scene and in so doing came near to losing his life, whose job it is to make such scenes for motion pictures. Kansas Morning, interviewed by Hal Stiles. Well, Kansas, I'll bet you were glad to get out of that spot. Glad is right. And what would have happened if you had let go or if the ventilator had broken completely off? Well, I just wouldn't be here now if that had happened. Say, Kansas, how many stunts do you suppose you've done for pictures? Well, that's a tough one. Let's see, 19 years in the business and three or four stunts a week, well, you figure it out. Well, I'm not very good at mathematics either, but tell me, have you ever been hurt? Oh, just banged up now and then. I've never been seriously hurt. Well, that is really remarkable. Now, tell me, what type of stunts have you done mostly? Well, I guess I've done more horse stuff than anything else. I remember one stunt that was plenty tough. I was supposed to dive a horse over cliff into an immense tank of water. It was back in about 1923 at Universal. Bill Kraft, the director, was in an awful hurry. He was just a minute, Kansas. We're anxious, very anxious to hear about that. But first, let's have a word from our sponsor. Okay, Kansas, now, what about that horse stunt? Well, it was on the lot at Universal Studios, and I was doubling for Hoot Gibson. They had a big chute rigged up to the craft door in it that made a slide. That slide had axle grease on it. The whole thing was about 65 feet above the water. I was on a horse up there, and they were ready to take the shot. You all set, Kansas? Yeah, I'm ready. You got those fire hoses in the bottom of the tank, haven't you, Bill? You know, it'll make the water look rough. Yes, it's been tough. What finally happened? Well, they came out and picked me up, and the horse swam out afterwards. I was just about all in. Well, were you unconscious? No, not quite. But I was fighting to keep from passing out, I'll tell you. The horse had pulled me in the face and the chest, and I was hurting pretty badly. But they did get the scene all right. Oh, yeah. The director was very well pleased. Well, that's fine. Now, Kansas, what is the main reason that you're in the stunt business? There's only one reason. That's money. Well, that's a very good reason. But, uh, look, just what are your plans for the future? Well, frankly, I have no plans. I just keep on doing what I'm doing. That's good enough for me. Well, I guess that's just about the right attitude to take it that. Then I take it that you like this stunt business. Yes, I get quite a bang out of it. You never know what they'll have you doing next. Well, it's an old saying, you know, nothing like variety. Yes, that's right. Every stunt is different. And by the same token, I suppose everyone has his particular appeal. Well, you, we've certainly enjoyed your stories, Kansas, and on behalf of our listeners, I want to thank you very sincerely for coming here. I know that everyone joins me in hoping that we may have you on this program again very soon. And so, in the meantime, good luck. Goodbye.