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some experiments to conduct and I'd to rent your airship for an evening." So arrangements were made. The price was nominal. He came with a mysterious looking trunk, with several padlocks, to insure his being able to keep his secret. He brought out some boxes as well and we strung up four thousand feet of copper wire. In other words, the ship was to be let up a thousand feet and these four strands of copper wire were to hang from the ship and the terminals were led into the hangar. What he was doing, I never found out except that it was something in connection with radio. He was immensely pleased. He paid me what he promised and left the place. I never heard from him again. If I had it to do over, I would make sure that in assisting him I had not inadvertantly assited a foreign enemy. But that is one of many mysterious things that happen around an airship.
    I conceived the idea that we should make motion pictures of and from the airship. With this in mind I called at the Universal Film Company in Los Angeles and there met Mr. Isadore Burnstein. He in turn introduced me to Otis Turner, his director. It appeared that they had already written a script and would undoubtedly have sought me if I had not sought them first. The result was that we made a contract.
    They first came over to Pasadena and we strapped a camera in one of the rear cockpits. Then a number got aboard and we made a test pictures to see whether or not we could take good pictures out of a moving airship. The picture was excellent. The next day or two we flew out to Universal City and there approached what appeared to be an African Village made of grass huts. Had I known what I was getting into I would not have made the contract for any amount of money. The script I read did not call for stunts! But they followed in rapid succession. We brought the ship to a standstill