 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, frills, 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, or in faraway 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. Here is Clyde's adventure with Curse the Clown. Harriet and I were in Hollywood making a wild animal motion picture. Harriet was in the big steel training cage on the set, whip in one hand, chair in the other. From outside the cage, George Burt, the director of the picture, was calling instructions. All right now, Harriet. Back away from him as he advances. Just take it as slow as he'll let you. Like this, George? That's swell. No, don't take it sideways. We want your full profile of the camera when we shoot the scenes. And use your whip, Harriet. All right, George. Yeah, that's swell. That's the way you shoot it. Crouched eight or nine feet in front of Harriet was the thing at which she waved her chair and cracked her whip. It slowly advanced as she stepped backward. It snarled, roared. Back now. Back. Stay back. Back there. And then the thing began to talk. The thing was I. Keep going back, Harriet. Bear to your left. Get in range of the safety cage door. Yes, Clyde. You'll need that door when they're shooting the scene, and it's a real lion in here in the cage with you instead of your husband. Oh, Clyde, I think you make a ferocious lion. You scare me to death. Do I, honey? Oh, no. Back. Back down, Clyde. Okay. That's very realistic. That's how we shoot the scene. That's enough. And come on, Harriet. Let's get out of the cage. All right. Well, that was swell. Thanks, Clyde, for pacing the scene out a little. The pleasure was mine. You know it isn't often a man gets a chance to roar at his wife. No, I guess it isn't. You know, George, that was the way Clyde taught me to work the big cat. He'd take the role of the animal and back me across the cage. Well, an animal trainer has to memorize every inch of the cage so he can back across it without looking. You don't take time to look around when you're facing 20 or 30 lions and tigers. Well, this morning, anyway, when we shoot the scene, there'll only be one lion in there with Harriet. Sultan. Yeah. That's one tough cat. Yeah, but it's your best-looking lion, Clyde. A little photograph swell. Sure. Well, I'll get over to the grotto and get Sultan into the portable cage so the grips can wheel him over here for the scene. Okay, Clyde. I started for the other end of the huge soundstage where the second unit of the company had been shooting process shots of Sultan in a plaster-apparance grotto. Halfway down the soundstage, I began to run. Yelts of horror and screams for help had suddenly begun to come from Sultan's grotto. In a moment, Clyde Beatty will return with his story of Curse the Clown. Here again is Clyde Beatty. Yelts and screams broke from Sultan's grotto. I ran, seeing grips, cameraman gaffers, actors milling in confusion at the rim of the grotto. Hearing Sultan's enraged roars blend with the human cries of fright and horror. Then, before I could reach the spot, a man in a ragged clown costume grasped a steel pole and calmly vanished into the lion grotto. Masterson, the assistant director, rushed to meet me. Mr. Beatty! Oh, thank heaven you're here! What's happened? One of the cameraman fell in a few seconds ago and the lion attacked him. And then the guy in the clown suit went to the rescue. I saw that part of it. He's one of the extras! Oh, Mr. Beatty! All right, take it easy, Masterson. Just help me push through the crowd. All right, let me through. Come on, let me through here. Yes! Let Mr. Beatty get through! All of you! All of you! Let Mr. Beatty get through! It was a 12-foot drop from the overhanging ledge into the pit of the false stone grotto. Luckily, I brought my animal whip. I gripped the whipstock, slipped over the ledge and dropped into the pit. But I had no need for the whip. As I regained balance on the uneven grotto floor, I saw the ragged, tall man in clown costume cut off the lion's charge expertly. In his manner, his handling of the steel pole told me he was in command of himself and of the lion. He called to me, still facing Sultan, without turning. If you will help the unconscious man. You can manage the lion. I manage, I manage. Good. And I'll get the cameraman out of here. I went to the unconscious cameraman. Sultan hadn't mauled him. He'd fainted from fear. There was a grilled door in the grotto wall. And through it, I dragged him to safety. Then I went back in. No doubt you will cage the animal now, have bet. I'll have his cage run up to the other end of the grotto tunnel, then open the door at this end and send him through. Good. Good. Yeah, yeah. That is how to do it. It was as if the shabby clown and not myself were the lion trainer. But when Sultan had been run out through the grotto tunnel and caged, the clown would identify himself only as... I am cursed, the clown. But you must have worked wild animals before, the way you had them. I am cursed, the clown. You see? I am nothing but an extra in movies. You see my costume? I am cursed. The clown. Do you mind if I come into your dressing room with your second clown? Sure, George. Harriet's over in the makeup department, getting touched up before we shoot. We got a couple of minutes. Clyde, it's about that guy that jumped in with a lion, that actor. Well, he really isn't an actor. He's just an extra. Go on. Well, it hit me a couple of seconds ago after you told me what happened, yeah? Here. Sit down. Thank you. Well, it's this. In the script, you compete with this all-time European animal training. And our problem has been that using a regular actor in the role, we can't put him in with the animals, we can't. He's scared ten years off of them. And so... So I double his animal fighting scenes. Well, sure. That's how we mapped it out. And when we needed close-ups, we'd use process material of the wild animals in the background. And the actor superimposed later. So they wouldn't have to be together. But Clyde, what I'm thinking about now is that that guy, that guy... What was his name again? The extra? Curz. Oh, it's Curz. That Curz, Clyde, could do the role. And go right in with the animals. And the way you describe him, he sounds like he fits the part. He might at that. But there's one thing that worries me. Yeah, John. But from what you say about him, he may be a little hard to handle. I mean, he might not want the part. You know, sometimes guys who've come down in the world, if they're proud, hang on to their bad luck. So what I'm thinking, Clyde, is, since Curz evidently was a trainer once, I'll talk to him. You two are sort of birds of a feather. You get the idea? Well, I'll talk to him, George, if you think it'll help. You wish to see me? Here, baby. Sit down, Curz. Thank you. Uh, Bert asked me to talk to you. He wants to offer you a part in the picture. Oh, I have a part in the picture, here, baby. I'm an extra. Bert wants to give you a big part. I decline it. Well, that's up to you. But it's the part of a trainer, Curz, a wild animal trainer of the old school. Pleased to thank you, Bert, for me. But I do not wish... The part of a trainer from one of the old pre-war European circuses who tries to catch the spirit, what Hagenbeck, for instance, meant to animal training. Ah! What do they know of Hagenbeck in Hollywood? More than you might think. He was a great trainer. Sure he was. All of us, Curz, that are training the big cats now grew up in Hagenbeck's shadow. I knew him in Vienna. I very good. Then you performed as a trainer in Vienna? Yeah. Well, Curz, think it over. I'm going to have the story department send you a copy of the script. You might decide you want to do the part after all. I've got to get back on the set, honey. Oh, you have time for another cup of coffee. Here you are, dear. The waiter left a little in this container. Harriet, I'm beginning to get worried about Curz. Oh, you are, darling, but he's doing so well. Too well. This morning, when you were in the still department, having still shot of you. Yes. Well, the second unit was shooting the scene where the old-time trainer goes in the cage with a lion. I went over from our set and guessed what was happening. Well, I don't know, Clyde. Well, they'd paced off the scene in the cage, had the lighting all set, everything okay. Yes. And the lions had been led into the cage, and all that was left was to start the cameras rolling. And then Curz had run in through the safety cage and in with a lion. But Burt was half out of his mind. Curz was holding up everything. Oh, why? What was he doing? Fussing with his makeup. Oh, no, Clyde. Yep, he said that now that he was a movie star, he had a look right. Well, he finally got ready, and he started to go into the cage without a chair. I told him he'd better done well not. I should think so. I told him what the lions had to do to him in there without a chair to shove him off. But he struck a pose right out of the shooting script and said, in my day, we did not need a chair. Took Burt and me five minutes to unsell him on the idea. Well, Harriet, the second unit goes out on location this afternoon. Well, that's right. I've checked the schedule. Curz goes with the unit on location. They're going to start shooting the outdoor stuff up in the mountains tomorrow. I stay here at the studios with the first unit till we finish the lion scene, and then I go on. Oh, I thought we were going to drive to the mountains together. Honey, I'll feel a lot better if you go up with the unit today and keep an eye on Curz. Oh, what do you want me to do? Well, they'll shoot the fight between Curz and Himmie the first thing tomorrow morning. Yes. Now, Himmie can be pretty darn mean. Somebody like our director, Burt, for instance, isn't likely to realize a bear can be just about as dangerous as a lion. No, that's right. Well, let Burt know how many of the best animal trainers have been killed by bears, just so he'll be wary. Tell him how unpredictable a bear is, how it never gives warning before it attacks. All right. And as far as Curz is concerned, now, here's what I want you to do. First of all, tell him to muzzle Himmie, since Himmie's a black bear, a black muzzle won't show. And then, honey, tomorrow morning, when they shoot the scene, I want you to know that. Well, I guess we're about ready to go for a take. Oh. Hey, where's that darn Curz? He'll be right here, George. Oh, hello, Harry. He's bringing Himmie. Now, from what you've told me about bears, I just assumed he didn't bring him too close. Oh, I think things will go all right. Yeah, I hope so. Except Curz is getting pretty far out of hand. He's turned into a regular Himmie. You know, he's beginning to think he's the star of the picture. Oh, here he comes. All right. Mr. Curz is here now. We can go to work. This will be scene 84. Take one. Scene 84, take one. Curz? Yeah, you're here for it. I'm ready. No, no, no. Not so close. Keep that bear away from me, please. Mr. Curz, Himmie's not muzzled. Well, not at all. Mr. Bailey's instructions are clear. Well, not at all. Mr. Bailey's instructions were that you muzzled him with a black muzzle. Oh, now wait a minute, Harry. If we can't show him muzzle, there wouldn't be any suspense in the scene. A black muzzle won't show against Himmie's black fur. Oh, I get it. Well, OK then. If you'll please muzzle him, as Mr. Bailey asked. I do not need a muzzle. Please. Oh, come on, Curz. Now I feel a lot better with the darn thing muzzled. Well, it's lost. The muzzle. Is that the truth? Yeah, Himmie. Yeah, yeah. Well, all right then. We'll have to go without it. OK, the scene is in the Himalayan mountains. And you Curz fight hand-to-hand with a Himalayan black bear. Now let's go for a take. Come on, Himmie. Come on. I keep off your problem. All right. Picture. Hey, Harry. How come the revolver? You won't need those blanks to shoot at any lions this morning. This revolver isn't loaded with blanks, George. Bullet. It's Clyde's idea. In case anything goes wrong. You mean in case Himmie? Yes, George. Just in case. Himmie. We pause for a message from our sponsor. Here is Clyde Beatty. Bert and the usual crew of workmen, technicians, and actors had gone on location in the California mountains. The second unit of the company filming a picture in which Harriet and I were appearing. I had remained at the studio in Hollywood completing scenes with the first unit of the company. About 11 in the morning, the day after the location unit left, we were getting ready to do a few final shots in the cat barn setup on one of the sound stages. And are you going into the cage now with the lion, Mr. Beatty? In a minute, Masterson. There's nothing to worry about. I'm not worried, Mr. Beatty. It's just that while Bert is out on location, I'm in charge. All you've got to do is tend to your technical problems here on the outside. And I'll go into the cage. But excuse me. There's the set phone. Sure. Okay. State 7, first assistant. Yes, he's here. It's for you, Mr. Beatty. Thanks. It was Harriet, phoning from the second unit on location. Curs had been mauled by him during shooting. And in the confusion that followed, him he had escaped. We started immediately for the mountains. Yeah. Oh, Mr. Beatty. Sorry, Masterson. I guess that was passing a little close to the edge of the road. We're almost there now. But these roads are dangerous here in the mountains, Mr. Beatty. No, but from what my wife said on the phone, there's a danger worse than mountain road driving to think about. There are campers up here in these mountains, and him he's loose, and he's not in a good mood. But by the time Masterson and I reached the location unit, him he had been recaptured. Harriet brought me up to date on all that had happened. And then Curs insisted the muzzle was locked. Yeah. Yeah, he would, the grandstand. So not wanting to delay any longer, George started the scene. Of course Curs rocked him up a little too much. And all of a sudden, him he knocked him over and began to bite him. And that was when Curs realized how far he'd gone. He began to beg me not to shoot. He said he couldn't let me shoot a valuable bear on his account. And all the time the bear was mauling him, Clyde. It was tragic, pathetic. Curs made such a ridiculous figure, groaning as the bear bit him at the same time, pleading with me not to interfere. I would have shot, but I was afraid of hitting Curs, or one of the cameramen. Mm-hmm. Must have been a regular melee. Well, everybody ran in every direction. And then suddenly, he left Curs and dashed off into the brush. Well, how did you recapture him? No, we formed a search party. One of the men sighted him in a dry wash. It wasn't far, so the men carried the cage up, and we drove him into it. Say, Clyde. Yeah, George. Clyde Curs is a little bit chewed up. And he's just got the one scene up here in location. How would you like to do it for him? Well, it's all right with me, if it'll work from your standpoint. But we got film of him with him this morning. So if you put on his costume, and we shoot fairly long shots, it'll be all right. OK, then. Good. We're going to the wardrobe tent and get ready. Right? Take two. Everything ready, Jim? Yeah, Mr. Burke. And let's go for the take. Well, now that he needs to be up to date. Forget it. It'll be all right. Quiet, please, everyone. Here's the date. All right. Picture. The mountain clearing, supposedly a clearing in the Himalayan mountains, was lighted with the double brilliance of the natural sun, and the deflected suns of the aluminum foil reflector baffles. Back from the clearing at careful distances, the picture crew members watched. The cameras were turning, and I walked into the clearing. At the same time, Himmy was released from behind a screen of bamboo. I played the scene in silence. Curs would later dub his voice into the soundtrack with the growls of Himmy. And then suddenly, Himmy, charge me! Come on! The doctor looked you over while you were unconscious. What do you find? I'm afraid Himmy broke one of your ribs, darling. Nothing worse than that? Well, not that he found. Good. Well, I ought to be out of this place then by tomorrow. What is this, anyway? It was the equipment tent. They didn't bring a hospital tent up here on location. So they cleared this one out and put the beds in. Beds? Oh, there's the other one. On the other side of the screen. Oh, I see. So what about Himmy? I shot. I know. I heard, just as I was passing out. When Himmy hugged you and I saw he was crashing you, I shot. My first shot missed, but the second one stunned him. Only stunned him? Yes. He'll be all right, Claude. And now... I'm going to let you rest. Try to sleep. All right. I'll look in on you later to see how you are. Oh, Harriet. Yes? It's hot in here. Would you pull out the screen as you go so the air can circulate? Of course. Harriet removed the screen from the makeshift hospital ward and then I saw that the other bed in the tent with mine was occupied. The occupant was lying motionless and staring above him. Finally, he spoke. I have heard from here behind the screen what has happened here, Betty. I am responsible. Oh, forget it, Curse. Right, right. Here, Betty, the days of the old time, the days of the old style are gone. We live on in the flesh, a few of us. Ah, but the spirit left us from the old times. It makes us fools, here, Betty. It makes us all clowns. Ah, well, may the flesh also. It will soon be gone. Production on the picture was delayed and I had to send Harriet to Florida at that time the location of our winter quarters to supervise preparations for the opening of the circus season. Then, just as we were ready to start filming again, another stumbling block appeared. Curse. What now? He won't continue on the picture. He won't. He is disillusioned with himself. He rebels in gloom, Klein. In short, he is once again Curse the clown. And you mean, George, he won't finish playing the role of the old time animal trainer? No, he doesn't. He may argue with him, but no. He says he has failed me and he cannot go on. The fact that I've already shot half the picture with him in, it doesn't seem to bother him. Well, what are you going to do? I have no idea. I'm licked. Why don't we take Curse to dinner tonight, to the Brown Derby, maybe? Do you think I've invested enough in him already? Look, this just might pay off, George. All right, but I can tell you now, it's no use. You won't be able to persuade him to change his mind. I'm not going to try. Well, see, our old animal trainer's a little nuts. Well, let's get on our way. Before we leave, I want to make a phone call. What's the name of that place that can supply you with actors? Or what? You know, where they, uh... Oh, you mean central casting? Yeah, that's it. You remember their number? Oh, it's in the book on my desk. Fine, just won't take the minute. Clyde! Betty, old man, are you sure you're feeling all right? Just humor me, George, and I never get violent. Why don't you get your car out of the lot and I'll meet you in the front? Anything you say, Napoleon. I'll tell Josephine you won't be home so late. Central casting, this is Clyde Beatty. I need a legitimate V&E's, accent, appearance, the works. About 65 years old, but absolutely must be legitimate. Man or woman, make it a woman. That'll help. Well, then, Kurz, if that's absolutely your final decision, you just have to let it stand. Huh? It is? I'm unworthy to go on. Well, then, thank you for coming here to dinner with me and Clyde, and I've got to run. I'll leave you two animal trainers to talk shop over your coffee. Goodbye, then, Kurz. I'm sorry I had to end like this. Well, I also am sorry, Herbert. So long, Clyde. See you on the set in the morning. Yeah, sure, sure, George. Ah, Herbert, you are Herbert, the picture director. Yes? Do I know you, madam? No, no, no. But I recognize you from your photograph I have seen. I see. I have read you are making now the animal picture. Yes, yes, that's right. Ah, I must meet the animal trainer. I am great admirer. Well, madam, I'm sorry. Ah, but he is here. He sits here. I see. Ah, madam, really, I... I must speak to him while I admire him. It's all right, George. Well, I'm sorry, Clyde, but... I guess you get used to the public being interested in you. Who is this young man to whom you speak, Herbert? Well, that's Clyde Bailey. No, no, well, it is no matter. I come to speak to the great trainer, the great trainer. Herbert, I have seen you in Vienna. I admire you. Well, don't be mad at me, you are kind. I have seen you in the old, old time. And I have to come, Herbert, so rudely, to tell you how happy we are to see you again in the movie you are making. Well, don't get mad at me. Come on, George, these two have got things to talk about. Well, Herbert. Huh? I will be on the set tomorrow morning. What's that? Well, fine, fine. Yes. I'll have to hand it to you, Clyde. You're a clever girl. Psychology, George. An animal trainer is just a man. When a woman starts telling him how great he is, he forgets what sharp teeth those cats have. Clyde Bailey will return to tell you about his next adventure after this message. And now here is Clyde Bailey. Superstition is usually harmless, but it can be a pretty serious thing when it gets out of hand. Our next story deals with our experiences one summer when some of the performers thought our show was being hounded by a jinx. And the things that happened one rainy night in Iowa almost made me agree. You'll hear the whole exciting story jinx of the big top the next time we get together. All stories are based upon incidents in the career of the world famous Clyde Bailey and the Clyde Bailey circus. The Clyde Bailey show is produced by Shirley Thomas. Curse the Clown was written by William Fifield. All names used were fictional and any resemblance to persons living or dead is purely coincidental. This is a Commodore production.