 Introducing Fair Devils of Hollywood. Okay, Art, we're about ready for your scene. Wardrobe! Hey, Wardrobe! Get Art fitted out in that woman's dress. Step on it, Art. I'll be ready in two seconds, Mr. Graves. How about some cells, Mr. Graves? Yeah, have him catch a couple of the action. Joe, you get a pen shot on this. Prop, man. Hey, prop! Yes, Mr. Graves! Bring over the baby buggy. We're about ready to go. Yes, sir, right away! Well, I'm all set, Mr. Graves. That's fine, Art. Now look. You're a woman pushing your baby across the street. When you get about halfway across, the car full of gangsters makes the corner, goes into a skid, and knocks you on your ear. How's that? Well, that's good enough for me. I'm fatted like a football player. What do I do with a baby buggy? What happens to the car? The car will go into out of control and crash. Just shove the buggy clear before the car strikes you. Okay, let's take it. All right, everybody, here we go. Okay, roll them! Go ahead, Art. Signal the car, Joe. Here they come. Wood, 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 Stuntman. The Dead Evils 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 stuntmen of Hollywood, Slim Talbot. 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. Slim Talbot is here in the studio right now, and later in the program we will bring him to the microphone. But first, let us dramatize one of his daily jobs. It is the early spring of 1937. On the huge lot of 20th Century Fox Studios, thousands of people are going their various ways, each concerned with his part, big or small, in the operation of this private city. Here we find represented every trade, every profession, streets with regulated traffic, shops, offices, cafes, a lumberyard, a nursery and greenhouse. As we approach a large machine shop filled with workers, we see a man entering a side door. He makes his way to the forming bench. Hi, Mr. Tyler. Hello, Wilkins. Say, I've got a gag here I want you to rig up for me. Sure, sure. What's it going to be this time? Right, it's the stagecoach thing. We're going to use it in Jane Withers' new picture, Wild and Woolly. Come out here on the ramp and I'll show you what I want done. Sure, Mr. Tyler. Now, here's the idea. We want a gadget that we can flip that will throw off both rear wheels, you know, at the same time. Yeah, I see. And you'd better put a couple of rollers on the axle so the thing will be easy to handle. You see, the coach will be running pretty fast when those wheels come out. Okay, Mr. Tyler, I'll have it fixed up for you. When can I get it? Well, I'll be ready first thing in the morning. That'll be swell. And look, Wilkins, if necessary, keep a couple of boys on it tonight. We've got to have it in the morning without fail. Yes, sir, I'll see as it's done. Oh, by the way, who's going to drive this thing? We've hired a stuntman to do it, Slim Talbot. He'll be doubling for Lon Cheney Jr. It's quite a gag, all right. Well, I'll be seeing you, Wilkins, sir, I sure won't. So long, Mr. Tyler. We now find the motion picture company on the location set. The scene is the Sherwood Forest near Hollywood. A winding dirt road leads down its steep hill and loses itself in a maze of wood. At the foot of this hill, we find a score of men busily engaged in setting up and adjusting the equipment. Louncing comfortably in portable chairs, Slim Talbot and the director are making their final plan for the scene. Well, Slim, we'll get you spilled first. Then we can spend the rest of the day making those runs. Say, there are four good-looking horses hitched to that coach. Yeah, and they're plenty fast, too. Yeah, and that reminds me, is that coach got any break? Yeah, it's got them, but they don't work very good. They're all set for the stagecoach shot and sugar. Good. I'll be right there. Now, look, Slim, when you come over the hill, make it look good. Skid the back end around on the turn. Throw up a lot of dust. You know, the old pepper. Yeah, I'll put plenty of pepper in it. We'll be pinning you all the way down the hill. Drop the wheels right at the foot of the slope and slide out of the scene. I've got a couple of pickup men down the road there to stop the horses if they happen to act up. Okay. Now, let's take it. Steaks up in the air away, Dave. Ooh, there, take it easy, boys. Okay, Mr. Kogurt, give me two whistles when you want me to start. Okay, Slim. All right, everybody, get set for a take. Move your mic boom in a little closer, Johnny. Drop it. Hey, Harry, heat up that hill a little. Angle of silver right in there. Give me the hot side. It's dark under those trees. You want a pan shot in this, aren't you, Mr. Kruger? Yeah, all three cameras. Well, how about it, everybody? Camera all set? Okay, here, Mr. Kruger. Okay for sound? Okay, this is it. Quiet, everybody. This is the pan shot. Quiet. All right, stand him turning. Give Slim two whistles, Johnny. Yeah, I can hear him coming already. There he comes over the hill. There's he coming. Look at those horses run. Now keep those cameras going. Look at that thing rock. This is great so far. Boy, watch that back end swing. He's really stepping on it. Look at that. Now here he comes. He's going to release the wheels. Here's our shot. Watch him now. He's pulling the cable. Ladies and gentlemen, it is our pleasure to present the courageous man who made that scene, who day after day makes such thrilling scenes for motion pictures. Slim Talbot, interviewed by Glenn Hardy. Well, Slim, that was some spill, all right. Yeah, and it made a swell picture, too. And you didn't have to do it over again? Yeah, I had to do it again. You see, they only photographed the upset of a force of habit. The story we were filming at the time called for just the wheels coming off. So the next time, that's all that happened. Well now, Slim, here's a question that you might think silly, but I have a reason for asking it. How do you happen to be in the stunt business? Do you enjoy the thrill of danger, or just what is it? Well, to tell you the truth, I like about the stunt racket is the money. That's what I enjoy. I see, and I guess that's a good reason. Now, look, Slim, just before we went on the air, you were telling me about something that happened over on Hollywood Boulevard. Oh, yes, you mean about falling out of that speeding car? Yeah, that's the stunt. I see our producer has dramatized it. Do you mind if we put it on? It's okay with me. Fine. Ladies and gentlemen, we will present another thrilling dramatization in just a moment. But first, a word from our sponsor. Okay, Frank, will you stop the scene, please? It is a summer day in 1933. The Universal Studio is making a picture called They Had to Get Married with Slim Somerville and Zezu Pitt. Arrangements have been made with the police department to race two automobiles up Hollywood Boulevard at 65 miles an hour. There is considerable traffic on the wide street, and at a point where the run is to begin, we find people attracted by the movie equipment being urged by policemen to move on. Okay, you fellas, on the camera car. Are we all set? We've got to change the lens on the camera, Mr. Kellogg. You'll be ready in a minute. All right. Now, look, Talbot, you're standing on the running board of this car. It overtakes the other one. And when you get up alongside, you do a transfer. You got the idea? Yeah. Now, these both goes, and the other car pushed me off, and I do a fall in the street. That's right. We'll be right behind you in the camera car. And for Pete's sake, watch that traffic. Don't get run over. Well, those motor cops will spread the traffic pretty well. They'll be just ahead of us making a hole. Yeah, we're lucky to have that cooperation. It's mighty nice of them. Okay, Mr. Kellogg, we're all set. Well, here we go. On your toes now, everybody. We'll be shooting all the way down. So you can do your transfer when you get up enough speed. But Talbot, wait until you're making about 65, will you? Okay, Mr. Kellogg. Well, take her off, Del. Okay, Dom. Now, let's get going. Those guys are really taking out. Look at them weave through the traffic. Yeah. It's okay. Stay right on the tails, Dom. All right. Stop turning those cameras. Watch him go around that street car, Del. Well, Slim's getting ready to make the change. Pull up a little closer, Dom. He's on the running board. There he goes. He made it. Now they're going to push him off. Watch this. Watch this. Good grief. They've got that stuff wide open. There he goes. Look at that guy turn. Slim, now there was a thump. Were you hurt on that one? No, not much. I had a little padding under an overcoat I was wearing. Of course it was scratched up pretty bad, but it wasn't really tough on me, no broken bones. It was almost a miracle that you weren't hurt falling out of a car going 65 miles an hour is pretty serious business. Tell me, Slim, will you do any kind of a stunt or have you ever turned one down? Well, I won't commit suicide. I'll do anything I figure is possible. But sometimes these movie writers get some screwy ideas, and I don't mean maybe. Well, they, Slim, what are your plans for the future when you get tired of the stunt business? Well, I'd like to have a ranch. You know, a lot of cattle and horses. My wife and I are figuring on that. Maybe it won't be very long until we can do it. Well, tell me, Slim, do you feel any different about life in general? I don't understand just what you mean. Well, you risk your life for a livelihood. Aren't you afraid of being killed? Well, I don't want to die any more than the next fellow. But I've just more or less by accident gone into this stunt racket. And even so, I'll probably live longer than you radio announcer. Well, Slim, I see that our time is getting short. We've certainly enjoyed your visit. And on behalf of our listeners, I want to sincerely thank you for coming here. I know that everyone joins me in hoping that we may have you on the program again very soon. And remember, when you get that ranch, don't forget to invite me out. I like ranches too. I sure will. Thanks again, Slim. Goodbye and good luck.