 Radio's own show, Behind the Mic. With a switch of a dial, radio brings you tragedy, comedy, entertainment, information, education, a whole world at your command. But there are stories behind radio, stories behind your favorite radio program, and favorite personalities and radio people you never hear of. Stories as amusing, dramatic, and as interesting as any. Make-believe stories you hear on the air. And that's what we give you. The human interest, the glamour, the tragedy, the comedy, and information that are behind the mic. And now presenting a man whose name since the beginning of broadcasting has been a byword in radio, Graham McNamee. Thank you, Gil Martin, and good afternoon, ladies and gentlemen of the radio audience. This afternoon behind the mic brings you the unusual demonstration of a well-known radio actress' dramatic ability. The human interest story is behind shortwave broadcasting. The sound effect of the week. The amusing story of why a radio singer was almost late for her broadcast. And finally, an episode from that old radio favorite, the Eno Crime Clues. One of the things that I marvel at most is the amazing ability of some of radio's outstanding dramatic actresses. I mean their talent for being cool, perfectly normal human beings at one moment, and working themselves into all sorts of emotions as soon as they go on the air. Well, we've brought one of the best of these dramatic actresses of the air here this afternoon. To tell you how she does this, and to give you a few examples of her art. The young lady is Gertrude Warner, now starring five times a week in the dramatic serial, Ellen Randolph. Through the courtesy of the Colgate Palmale Pete Company. Ms. Warner, Gertrude, one thing I think our radio audience would be interested in is this. When you throw yourself into an emotional role, do you let yourself go completely? Well, no, Graham, I don't. I don't know how it is with other actresses, but as for myself, I feel that I must have my mind in control and be mentally clear. Otherwise, I can't enact a part intelligently. I myself am generally very nervous and keyed up before I start playing an emotional scene. I find I can do a better job that way, but I still have to have complete control over my emotions. Do you mind giving us a demonstration, Gertrude, to show how radio actresses can go from one emotion to another? Well, no, Graham. Well, let's hear you give an example of, well, hysteria. All right. In this little scene, a woman has been filed with a gun in her hand beside the dead body of a friend of hers, of whom she was known to be jealous. A detective is giving her the third degree. She's rapidly losing control of her emotions. No. No, I didn't do it. I know it looks bad for me, but I didn't do it. I came in and saw a line there on the floor. I picked up the gun and you found me that way. You don't believe me, do you? You think I killed her? Well, I didn't. I hated her enough to kill her. I'm glad she's dead, but I didn't kill her. I didn't do it, I tell you. I didn't. I didn't. I didn't. How's that, Graham? It's all right, Gertrude. I believe you. You didn't do it. Now, how about an example of hate? Well, here's one of hate and anger together. A woman asks a wife to give up her husband so that she can marry him, and this is the wife talking to the other woman. So, you want me to give up my husband so that you can marry him? As easy as all that? Well, if you think that just because Tom has lost his head over a little snip like you, that I'm going to step out of his life, just like that, you're wrong. Look at you, an over-aggressed, stupid, pasty-faced little girl, wanting something else just because it doesn't belong to you. Well, you're not going to get it. Now get out of here. Get out of my house and don't ever set foot in here again. Okay, I'll leave. How about some happiness for a change? You dramatic actresses are happy once in a while, aren't you? Oh, yes, Graham. Generally, whenever we get a part that lets us be miserable. But here's a happy scene. A brother has just told his sister, a poor young girl, that she's won $50,000 on a sweepstakes ticket. Oh, you're fooling. Don't tease me. Now, stop it. I don't believe a word of it. In the papers? Where? Why, Jack, it's real. I've won it. Why, I'm a millionaire. I can get that coat for mother and new furniture and an automobile and toys for Bobby. I can even give up my job. I can travel. Jack, I'm going to Bermuda. I've always dreamed that someday I'd go there, but this time I'm going. Maybe I'll meet someone there I like. And maybe there'll be a moon and maybe... Oh, I'm rich. I'm rich. Gertrude, could you slip me a buck until tomorrow? Well, not until I cash this ticket. I see. And right now, Gertrude, do you feel any of those emotions you went through, hate, happiness, or hysteria? No, Graham. I just feel perfectly normal. Ain't radio wonderful? Well, thank you, Gertrude Warner. Thank you. Ladies and gentlemen, we take you back to a broadcast of this past summer on station KPO in California, where lovely Jane Cousins, NBC songstress, is finishing her program with Beautiful Dreamer. Cousins and a program of songs. Jane will be back on the air next week with more songs for your enjoyment. This is station KPO. Okay, Jane, we're off the air. Nice show. Thanks. You know, I never thought you'd make the show on time, Jane. You just popped in the door when we were about to go on the air. Well, I was lucky. I made it at all. What happened? Before leaving home, I changed my purse but forgot to put my cash in it. I got to the streetcar line, which is several blocks from my home, and felt in my pocket book and found I didn't have a cent. I was so late for the broadcast, I just couldn't go back to get any money. There was a streetcar coming along, and I had to make it. What'd you do? Well, I saw a panhandler selling pencils near the car tracks. So I went up to him and said, I beg your pardon, but I wonder if you could help me out. If I could help you out? Yes. You see, I'm a radio singer. I sing on station KPO, and I'm late for the program. If I don't get that streetcar coming down the tracks, I'll miss my broadcast. Well, but what can I do? Well, I wonder if you could lend me a dime for car fare. Lend you a dime for car fare? Here's a quarter. It's the smallest I got. And Jane, did you give him back the quarter? I did the very next day with a nickel interest. All right. Thank you very much, Jane Cousins, for an amusing behind-the-mic story and for showing us a delightful voice and some very lovely singing. Behind the scenes of broadcasting by shortwave to foreign countries, which is done by the International Division of the National Broadcasting Company, you will find stories as dramatic and with as much human interest as you will find anywhere. And here is Carl Watson of NBC's International Division to tell you a bit about our shortwave broadcast to foreign countries and to introduce those stories. Carl, exactly what is your job? Well, Graham, I'm an announcer for the English Hours in NBC's International Division. And what does the International Division do? The International Division broadcasts special programs to foreign countries. For instance, from 9 to 1 every day, we broadcast in English to England, later in Italian to Italy, then in German to Germany and Switzerland and still later in French. Then from 4 to 1 in the next morning, we change the direction of our beam and broadcast direct to South America, in Portuguese and Spanish and, of course, English. All these broadcasts are picked up all over the world by people who speak these languages. What sort of programs do you send these countries? Well, for one thing, we regularly send news bulletins, every hour on the hour. Then we generally have talks about America in the native language of our listeners and, of course, we broadcast a great deal of good music. The International Division receives a great deal of mail from people throughout the world, doesn't it, Carl? Yes, Graham, and some of these letters are really amazing. Do you mind telling us about some of them? Not at all. Here are some actual letters. From England. I write these few lines to the national broadcasting company in request of another photograph of that great statesman and politician, President Roosevelt. NBC sent me a most beautiful picture of the president on my request for it in 1939. I had this picture framed and I took it with me when I was called to the colors in the Royal Navy. When I joined my ship, this picture was with me until my ship took part in the evacuation of Dunkirk. There it was smashed on one of the occasions when we were bombed. I trust you will answer my request as I treasure that picture and I was proud to display it everywhere I was. I would like to place it above my cot. Sincerely yours, Douglas Glenn, Royal Navy Hospital, Hazlas Gospot, Hans, England. During the early part of the war, we received one letter from a group of French soldiers on the Maginot Line who were bored stiff with an action. They told the most amazing story. Ah, that is enough of this crap game. I'm sick of it. Why don't they come over here? Anything rather than sit here in this infernal hole waiting for things to happen. What is the use of complaining? We all feel the same way about it as you do. We've been here four months. But I would not give to see my little German again. Here's a picture, look. Yes. Very nice. Maybe you don't think I would like to see Louise. Four months. It's a long time not to see one sweet out. What are you doing, Henry? We're trying to get the French out from America. I want to hear what the latest news is. News? What news is there? Shh, quiet, quiet. Associated Press Bulletin. It is reported that the French High Command has decided that all soldiers of the class of 1900-19 who have been on the Maginot Line for more than three months shall be granted ten days leave beginning November 1 or three days from now. No, no, don't. You hear that? We have to get ten days leave. Suck it, Blair, can you imagine? We hear that from America before we are told by our own officers. I hear your broadcast from the home of a friend. For an antenna, we use the steel springs underneath the bed. And in this way, hear your station very well on all the wavelengths at your disposal. With most friendly greetings, Wilhelm Königsberg, East Prussia, Germany. For obvious reasons, Graham, you can see that the complete name of the writer of that letter has been omitted. Yes. Well, thank you, Carl Watson. Thank you very much for bringing us a fascinating side of radio. The sound effect of the week. Each week behind the mic presents some unusual sound effect which was used on a program of the past week and tells how it was done. On the Grand Central station program, two sound effects were used. Here is the first of them, the sound of a baby crying. And here is the one used later in the program, a man in delirium tremens. Now, what makes these sound effects interesting is this. The first sound, a baby crying, was made by playing a record at its usual speed of 78 revolutions per minute. And the second sound, that of a man in delirium tremens, was made by playing the very same cry baby record a little less than half speed. Now the baby cry. And now the deep tease. The same record at half speed. And the mic salutes a program you love. We in radio believe that radio has a tradition of which it can well be proud. A tradition of good programs that linger fondly in our memory. And so each week, we bring you a star or a part of a program you used to hear, a program you loved. And this afternoon behind the mic salutes one of radio's great series of mystery dramas, Eno Crime Clues by Stuart Sterling, the pen name of the well-known fiction writer, Prentice Winchell. The Eno Crime Clues were on the air from 1933 to 1936 and had millions of loyal listeners who each week eagerly awaited the further adventures of those two brilliant detectives, Spencer Dean, played by Clyde North, and Dan Cassidy, played by John McBride. This afternoon with the original cast, including Arlene Blackburn, Mark Smith, John Mitchell, and John Brewster, we recreate the Eno Crime Clues broadcast with one of the best of the Eno Crime Clues episodes, especially condensed for this program by its author. The Eno Crime Clues. Eno Crime Clues, another thrill-a-minute manhunter mystery-tommy talk by Stuart Sterling, a punch-packed radio riddle to test your skill as an amateur criminologist. Listen closely. When you hear the single stroke of the Crime Clues gong, you should be in possession of sufficient evidence to point your finger at the guilty person and say with Spencer Dean, you are the murderer. So match your wits now with the manhunter and see how good a sleuth you are. We pick up the trail tonight with Spencer Dean and his good right-hand Dan Cassidy in a combination bowling alley and billiard academy on one of the less respectable streets of Manhattan's west side. The manhunter is at a window looking out into the street. Dan is trying a three-cushion bank. That tears it. Just blew another setup, Spence. There's jumpy Danny. Well, why wouldn't they be? Waiting to find out if this Lorraine Jett is going to show when we never saw the day with our lives and don't know for sure if she's heading this way. Now that phone number is scribbled on the pad. Back at the hotel she checked out of this noon. That indicated a special interest in the club's swanee, Danny. Well, it would have to be special to drag her down here to that honky-tonk across the street. Now, why would a nice little mouse from the country go for a root-of-tooth joint like that? One man's guess would be that Lorraine plans to come here to meet someone. Ah, romance rears its lovely head, eh? It might be, Danny, it could be, but taking another shot in the dark, I'd say it was her brother. Well, he's hardly the flower of the family tree. Fact is, he's been blooming in Leavenworth. Oh, he's a con, eh? In the federal pen? Until three days ago. Four of those broke out last Wednesday. You remember, they killed a guard in the getaway? I see. Well, that's why the kid didn't tell her folks where she was going. Why, it's doubly important to get hold of her before she's tangled up helping her brother escape. You know, it's queer a nice little feral like that that'd have a stir bump for a brother? Well, authorities don't give him a very effective buildup at that. I'm wired for his description. Those gentle, 32, 6'1", 130 pounds, sandy hair, bad teeth, very short-sighted, wears thick-lensed glasses. Convicted Chicago, May 1935, counter-fitting. Well, we ought to be able to spot that mug a mile away with those thick glasses. Oh, in any case, Danny, we've spotted the girl here. Oh, that streamlined honey in the blue-tailed suit? Yeah. Wow. Ash-blonde hair, 5'4", and a worried look on her face, Danny. She's heading into the squarmy, Spence. Let's go. No, no, no. You might get her in bad jam if we crash right in after her. We'll wait a bit. Okay. A little early for the show, honey. Well, that's all right. I'm just waiting for someone. Couldn't find a better place, sugar. Bring you a nice cocktail? No, thank you. Just some coffee, please. No cream of sugar. Oh, Black Joe coming up. Yes, ma'am? Hey, rum nose. Easy on that downbeat, Clint. You boys got long ears. Well, I just wanted to tell you rum nose is sisters' ear. Copacetic, Clint. Tell her I'll be out in a couple of minutes, will you? And don't bust in my office again without knocking, yeah? Sorry, boss. I'll tell her rum or pal. You sure this sister of yours will level on this thing, rum nose? She'll do anything I tell her to, Skipper. You'd better. I wouldn't want to have to send you back to the pen with a chair up hanging over here for snapping the switch on that guard. There's 20 plates for the 20s from the safe deposit vault. That's why I sent for Lorraine to meet me here. I know you wouldn't want to show your purse around that vault. No more in your wood where the cops have here. So it's up to sister. Yeah, but I'll have to fool her. Lorraine's strictly in the up and up. I'll tell her she's going to get evidence that will clear me of that counter-fitting rap. Oh, she is in a way. You'll stay here until she gets back with the place. Yeah? Here in your office? I can't stand being cooped up no more. I had my belly full of that. We'll fix it so you can get a little fresh air, rum nose. First get sister started. You just go to this safe deposit vault and use this key, kid. That's all there is to it. I won't do it, Charlie. I know what'll be in that package you want me to get. Now I told you. I know that counterfeit money ring that got you in trouble before. I came down here because you told me you needed help. I do too, what I mean. If you don't get that stuff, my number will be up. Here, take the key. Sit right here, think it over a while. You'll do it for your brother. Hey, Sprintz. Yeah? The club's swanies going ritzy. They got a doorman now. Yeah, so I noticed. That's odd, Danny. Very odd. How do you like the carcic overcoat on that big bruiser? I'll keep an eye on them if we run into any rough stuff over there. Well, I hope there won't be any, Danny. But if there is, we want to be in it. Let's get underway. Okay. Evelyn, gentlemen, just in time for the first show. Hey, you got big doings, hey? Hey, you got yourself bundled up right warm for the swany river, friend. It's cold out here all right, sir. But we got the hottest show in town inside. There's the girl, Sprintz. Yes, I see. Over at that corner table. Now, if we can only spot her brother. You mean to tell me you didn't mark him outside there, Danny? What, that doorman? Yeah. He couldn't be rumnosed in it. I think you think so. Well, that wire said he weighed around 130. I know. Well, that Cossack must top 250. That's padding under the uniform, Dan. That fur cap hides Jenter's prison-cropped hair. I see. He simply removed his glasses and used the sun lamp for a few minutes to kill the worst of the prison-fowler. You know, it's not such a dumb spot for a breakaway convict to hide either. Right out there on the street where nobody would think of looking for him. But tell me, how the devil did you recognize him, Sprintz? He shouldn't talk out of the corner of his mouth, confession. You ought to use that sun lamp on his ears so they'll match the rest of his skin. Let's get a table close to the girl. Table waiting for you. What's the matter, Clint? Something sour. I talked to the dame and she's wise. She gave me back the key to the safe deposit. Told me to turn it over to rumnosed. She's still at her table? Yeah. Thinks I'm going to get rumnosed for her. She don't know it stewed you not front. Say, boss, she'll squeal to the cops about them plates. What do we do? Do. Let Tommy talk to her. Tommy? Yeah. Just a little whisper in her ear, eh? Show, show. Let's leave him, Sprintz. Let's give her a head start, Danny. I don't like the way that manager's been eyeing us. We wouldn't want to get that girl in wrong. Seem none that girl. Get it. Come on. All right. Who shot you, kid? Who was it, Lorraine? The man. The man runs the club. Who was that shooting? Oh, say, the poor babe. I'll get a doctor. It's too late. She's gone. Terrible. Awful. You run this hole in the wall, don't you? That's my job. Yes, sir. Yes, this poor girl who shot her. She said the man who runs the nightclub. Yes. Well, she couldn't have meant me. I didn't shoot her. Besides, I don't really run the club, Swanee. I just work for Cole John McCorkle. Dan, get McCorkle. Drag him out here. Okay. Where am I playing the vlog? Right down the hall. Name's on the door. Make a snappy, Danny. All right. All right. Come on. Come on. Get out there. Don't shove me around, Gumshoe. Watch yourself, John. These mugs claim to dame squawk before she died. What do I care if she did? You'll care plenty. She said you did it. Don't be a fathead. I've been in my office every minute. Where would I hide a Tommy gun? Well, we'll take you both in. It's a sense one or the other of you did it. There's a missing witness who can tell us what we want to know, Danny. Who, Spence? That doorman. Well, maybe they knocked him off, too. No, no, no. Only one burst of the machine gun. I've got the girl. You find Rumnose. He'll be hiding down the block somewhere. Bring him here. He's got to tell us who killed his sister. Okay. Who held the Tommy gun that killed Lorraine Jenter? Where was it hidden? You know? Listen now and see how good a sleuth you were. Tricks her out. Break her back. I don't know nothing about no killing. I heard the shot, so I hot-put down the block. What sort of a man are you, Jenter? To stand by and see your sister shut down and not do anything about it. My sister? Yes. There she is, right at your feet on the sidewalk. Can't you see? Lorraine. I can't see nothing without my glasses. Lorraine. Tough break, Rummy. Don't do no talking now. We'll get her mouthpiece for you. I didn't mean to do it, Lorraine. I couldn't tell. They made me take my glasses off. I didn't know. You want me to shut up, eh? Keep still. You think I'll keep still? Which one? Shutter. I shutter. Cole John said it was just a little job I had to do. Knock off a dame. He didn't say who it was. He said I had to do it or else he'd turn me in. They framed J. Why'd you hide the gun? You've still got it with you, haven't you, Rumnose? Sure, I've got it under my overcoat. Look out, Rumnose. Oh, don't be aiming at it, me. Drop it, General. I'll drop you. You made me kill her. Maybe the Lord can't do nothing to you, too, but I can. I got Jenner. But Lord, he got those other two spent. Better this way, Denny. We'd never have to convict them for instigating her murder. You figured this was going to happen, eh? I had an idea. Jenner might want to see things squared up. Call her rain. Gentlemen, if you enjoyed Eno crime clues, drop a line to behind the mic and let the cast know about it. They'll be glad to hear from you. January 1st will be the 15th anniversary of my first broadcasting of the Rose Bowl football game at Pasadena. And I'm going to be in California to talk a little on this year's Rose Bowl broadcast. I'm going to leave for California a little early. And therefore, for the next two weeks, behind the mic we'll have another master of ceremonies, Ben Grower. I'll be back, I'm glad to say, for the January 5th broadcast. But until then, Ben Grower will carry on. And so be sure to listen next week when behind the mic we'll have as guests those old favorites, the Mills Brothers. An absorbing human infrastory is told by Cheerio and more of the glamour, the comedy, and the drama that are found behind the mic. This is Graham McNamee speaking. Good afternoon all. The mic is written by Mort Lewis, original music composed and conducted by Ernie Watson. This is the National Broadcasting Company.