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Bruno, the bear who toils at Gale Henry's studio, is temperamental, and has to be coaxed into acting, generally with food. Here, the director is trying to get Bruno to put his head into the bucket, and is using a nice ripe banana as bear-bait.
pays any attention to it. He's better than most human actors in that respect; he never has to be told not to look into the camera."
'"We're ready for Charlie," called the director, and Joe, at "Curly's" command, sidled obediently to his cage, and pulled the door shut.
"He's insured for $25,000," he went on, as we crossed the lot to the set where the elephant was to work.
Charlie was standing in his cement-floored stable, swaying heavily from side to side, brushing Hies off his huge sides with a switch of straw which he carried in his long pliable trunk. His small eyes surveyed us with sardonic indifference, but he obeyed quickly enough when ordered into the inclosure where he was to work.
"Charlie doesn't take to pictures like Joe does," "Curly" informed me. "Joe loves 'em, but Charhe only works because he has to."
He was carrymg a long stick with a heavy iron prong at the end. I asked about it, because it looked like cruelty to animals.
"He gets his signals with this sticic," he informed me. "Of course I give him his orders too, but for some of his stunts it is easier to make him understand with this."
Charlie Elephant was to pick up from the ground a supposedly unconscious man, and carry him, head downward, across the lot, out of the range of the camera. The actor, looking rather nervous, and not at all keen about dangling at the end of Charlie's proboscis, threw himself on the ground, with an admonition to "Curly" to keep his eye on the brute •for the love of Mike!"
Then came the rehearsal. "Curly" gently tapped Charlie's trunk with the stick, until it lowered to the ground, then he placed it around the ankles of the recumbent man, and struck the trunk lightly from underneath.
"Up!" he commanded. "Lift him up!" Charlie mmchalantly obeyed, lifting the man clear of the ground.
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"Charlie doesn't take to pictures like Joe Martin does," Curly Sleeker said. "Joe loves "em, but Charlie ■works because he has to." Stecker was carrying a long stick xvith a heavy iron prong at the end." He gets his signals -with this — I give him orders, too, but sometimes he has to be reminded! "
"Come on, this way," called his trainer, walking backwards and beckoning to the elephant, "come on, make it snappy — hurry up — "
■With thudding strides that seemed very clumsy and slow, yet which in reality were very rapid indeed, Charlie Elephant paced the length of the lot, and deposited his human burden with a careful nicety on a strip of green grass.
This performance was repeated once more, this time with "Curly" calling directions from behind the camera. But Charlie had his part perfectly memorized. He went through his previous maneuvers, even to placing the man on the strip of grass — a bit not called for in the script
"Charlie doesn't mind the camera now," "Curly" informe " me, as the big elephant padded back into his stable, doubtless pondering on the queerness of human beings in general, "but