 Introducing their devils of Hollywood. Now listen folks, I want everyone to realize that a man's life depends on this. Now watch your step. The cameras are on set, Mr. Holtz. Okay. So Mr. Holtz, the streetcar is all set. Good. Now look here, Rudy. You're supposed to drive this car down that steep hill. The streetcar comes in front of you and you have any brakes. And that's the story. And that's the way with the car. You couldn't stop that bus and the cow faster. Okay, now we'll signal the streetcar to pull out in front of you. And that's where you'll smash right into the sign. Yeah, I scared into the streetcar. Right. Now how about it? Ready to go? Sure. Let's go. All right everybody, on your call. This is a great quiet for everybody. Quiet. Okay, camera. Come ahead, Rudy. All right, now signal the streetcar. It's dropping off that hill like a rock. Oh boy, it's perfect. There they go. Boy, they're going to come together with a crash. Water shot, water shot. Keep those cameras going. In Hollywood, 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 Stuntmen. The Daredevil's of Hollywood. Ladies and gentlemen, in bringing you this copyrighted radio feature, we are privileged to have as our guest, not a stunt man, but a stunt woman, Miss Ione Reed. Miss Reed is one of the few stunt women of Hollywood. It is through her cooperation that we are able to reenact some of the highlights of her dangerous profession. The thrilling scenes you are about to hear are her own actual experiences. Miss Reed is here in the studio right now. And later in the program, we will bring her to the microphone. But first, let us dramatize for you some of her thrilling experiences. The scene is Miss Ione Reed's fashionable apartment of Hollywood Boulevard. It is 7 o'clock in the morning of April 13, 1932. You busy today? Well, I've got to call it Paramount for tonight, but I'm free until 6. Oh, what's up? Well, we've got a little runaway stuff here to do, Ione. How about it? Runaway in what? Just a bus board. Okay, I love bus boards. Where's the location? Fresh is ranch. And step on it, Ione. We'll be ready to shoot by 9 o'clock. Okay, I'll be there. Bye. In the crisp, fresh morning air, a sport roadster glides swiftly along the highway. Its driver, her pretty face rosy from the cool breeze, is singing a gay accompaniment to the steady purr of the powerful motor. Presently, her destination looms ahead. She turns sharply off the highway and glides smoothly to a stop beside a dozen parked cars. Harry Fuller, the director, approaches with a friendly greeting. Well, good morning, Ione. Glad to see you again. Morning, Mr. Fuller. I hope I'm not late. Oh, just about right. We'll be ready any time now. So you know you have a strange faculty of showing up just right. Never early, never late. Whatever's right. Now, what about this bus board thing? Well, let's walk over to those canvas chairs, and I'll tell you all about it. Righto. Oh, there's who Gibson. Yes, I think this will be one of Gibson's best pictures. Oh, but getting back to the stunt. You're doubling the heroine and dressed in her clothes. Yeah. Now, you see those hills over there? Well, they'll be the background for the action. And that rocky road up there is where the runaway takes place. I see. Well, what's the shot? Oh, it's all very simple. Now, you start the run at the top of the hill up there. Now, it's going to be fast to look good. And I want a lot of nice bumps on those rocks. You know, make it rough. Yeah, but there's some pretty sharp turns in that road. Oh, well, that's just it. And take those turns fast. Throw up a lot of dust. You know the old gag. Well, that's OK. But frankly, I don't like the looks of those horses. They're used to racing. And when they get started, they're hard as it is to start. Oh, you needn't worry about that, I own. Old Bill over there owns them. He says they're easier to handle. Well, maybe. How about the buck boat? Oh, it's right over here. Come on, we'll have a look at it. To me, I've seen that rig before. Well, yeah, sure. It's the one we used in the last picture. You mean the one that was used in the crash scene? Yeah, that's the one. Well, look, Mr. Fuller. The things start together with bail and wire. Oh, yeah. The prop men fixed it up. Well, now, that's just swell. A team of practically wild horses and a rig that's about to fall apart. This ought to be good. Time for the dangerous scene is at hand. Just exactly as the heroine, Ione Reed sits calmly in the buckboard at the top of the hill. The nervous horses prancing with impatience are held firmly by two men. Down below, four cameras are trained on the road. The director and his assistant are giving final orders. All right, all right, everybody. Now this is a take. Now watch everything, especially the cameras, and keep them going no matter what happens. OK, now everybody get set. And let's have quiet, please. OK, sound ready? OK, give them the signal. Look, Harry, those horses jumped 10 feet at the whistle. Camera? Here she comes. Boy, what a ride this will be. Hey, see, look. She can't handle them. It looks like they're running away. Look at her hit those rocks. That rigged in the air most of the time. She keep turning those cameras? She's making a turn. Look at the back end swing. Here she comes, right toward the cameras. Hey, look out! Look out! A wheel came on! A wheel! Stop the horses, then. Stop! Stop the horses! Ladies and gentlemen, it is our pleasure to present the courageous young lady who made that scene, whose job it is to make thrilling scenes for motion pictures. Miss Ione Reed, interviewed by Hal Stiles. Well, Miss Reed, that was certainly a thrill. Tell me, were you hurting that upset? No, I managed to hit the ground just right and everything was OK, but it was caught a bump. I should imagine it was. Then it developed that you were right about those horses. Yeah, and the buck boat, too. Now, because of that accident, didn't they have to make the scene over again? That's right. I passed the camera so fast they couldn't tell what it was. And how about the second time? Well, it was about like the first. Only we didn't turn over. They got the shot all right that time. I don't imagine you enjoyed riding in that buck board with it all tied up with bailing wire, did you? No, I didn't. But the fun part of it was that I had to use it the next day in a much more difficult scene and those crazy horses, too. A more difficult scene? Well, at least a more dangerous one. This time the shot was to be on a mountain road with hairpin turns around banks all along the way on the right-hand side was a... Well, it was a sheer drop of three or four hundred feet. And here I was supposed to drive those crazy horses with that rig hanging together by wire. It was up at the time... Just a minute, Miss Reed. We're all very anxious to hear about that, but if you don't mind, first, I think we have a word from our sponsor. Now then, about that mountain road. What on earth happened this time? Well, I'd been telling the director I didn't want to use that outfit on a dangerous run like that, but somehow or the other, he talked me into it. Then, too, I figured if worse came to worse, I could always jump out. But the way it wound up, there wasn't much I could do. They had the cameras set up on a bank just above one of the turns. We were all in a huddle there trying to get started. Now look, I own. All you've got to do is make a good run with the buck board down this road. Take the turns as fast as you think best. But for the lover, Mike, stay over to the left. Well, I'm perfectly willing to stay over to the left, but how about them horses? I don't know what's on their mind. They might take a notion to do a swan dive off that field. Well, I think everything will be all right. Just keep to the left as much as you can. If things get too tough, you better quit the rig in a hurry. Yeah, but I'd hate to quit it in midair. It's a long way down there. You're right about that, but, well, you've always been able to take care of yourself before. You can make it all right. Well, at least I can try. Let's get going. That's the stuff. Okay, everybody, let's take it. All right, come on. Drive on up there, Ion. I'll give you the signal to start. Okay, come on. Get it up there, fellas. Come on. Come on, boys. Come on. How about cameras? Sound okay? All right. Now I want this on the first take, understand? No slip-ups. Whatever happens, get it. Hey, George, lower your mic boom a little. Hey, give me a little reflector out there in that turn. It's a little darker in that spot. Okay, here we go. Give me the signal, Joe. Roll them. Here they come. Now say they're coming. Look at that turn. Keep to the left, Ion. Keep to the left. There she goes behind the curve. Keep those cameras going. She's coming to that. Now she's coming to the sharp curve. Watch this. Watch this. Look at that. Look at that. There's a vector in front of the round. One wheel is over the bank. Pull into the left, Ion. Well, Miss Reed, I see what you meant when you said something about a more dangerous scene. That was terrific. In fact, I haven't gotten over it yet. Well, it was a long time before I could get over it. That was really a tight spot. I would imagine it was, and I suppose it was a lucky thing that a wheel didn't come off this time. Well, if it had, I don't guess I'd be here to tell about it. Tell me, why didn't you jump when the buck board was about to go over the bank? Another three seconds, and I would have. I was on the edge of the driver's seat ready to go. Well, I hope you didn't have to make that scene over again. No, it turned out all right. Of course, that business about the back end hanging over the edge of the cliff was... Well, it wasn't in the skip, but it looked so good. Well, it was even better than it was supposed to be. I see. Now, tell me, Miss Reed, I understand there are quite a number of stunt men in the business, but only a very few stunt women. Is that right? Yeah, that's correct. I should say there are, well, there are only about four or five girls in this business. And do most of them specialize in some particular line? Yeah, they do. Some are swimmers and divers. Some do riding and horse work, and some do just everything. How about yourself? What do you do mostly? I do everything but airplane stunts. I don't like airplanes. Why, it would seem to me that after what you just told us, airplane stunts should be child's play. But enough for the moment, I see that our time is about up. You certainly entertain us, Miss Reed, and on behalf of our listeners, I want to thank you sincerely for coming here. I know that everyone will join me in hoping that we may have you on this program again very soon. Thanks again, and the best of luck.