 Introducing Dead Evels of Hollywood. Here's your scene. You're driving an ambulance down the street, wide open, siren going and a lot of noise. Now, it's supposed to be Christmas time and there's an enormous Christmas tree in the middle of the street. You skid around the corner and smash right into the tree and what I mean, smash it. Don't worry about that, Mr. Hudson. When I get through with that tree, there'll be an evergreen spring for everybody in town. That's the stuff. Drive up the street there and stand by for your signal. Okay, here I go. Okay, everybody, signal, Joel. 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 Evels of Hollywood. Ladies and gentlemen, in presenting this copyrighted radio feature, we are indeed fortunate in having as our guest one of the few stunt girls of the movies, Miss Eileen Goodwin. It is through her cooperation that we are able to reenact some of the highlights of her dangerous profession. The thrilling scenes you are about to hear are her own actual experiences. Miss Goodwin is here in the studio right now, and later in the program we will bring her to the microphone. But first, let's look in on a typical routine day in the life of this charming and attractive young woman. It is a damp, chilly morning in 1933. Heavy clouds of fog roll in from the sea and settle over the sleeping town of Burbank, California. Across the street from the railroad station is a small dimly-lighted café whose windows are beginning to fog with heat from the kitchen. A man is just entering. Yes, sir. Yes, sir. Come right in. What's going to be? Ah, let's see. I want to get something to take out. Give me about 40 ham and egg sandwiches and two gallons of coffee. Huh? I said 40 ham and egg sandwiches and a couple of gallons of java. 40 ham and egg... two gallons of coffee. Hey, what is this? Are you trying to kid somebody? Ah, listen, brother, I've been up practically all night. Nothing makes me more irritable than the loss of sleep. And I get that stuff or do I have to lose my temper? Sure, sure, you can get them, but I'm just kind of wondering what you're doing. Well, don't wonder so much, and give me some fast service. Well, whatever you say. 40 ham and egg sandwiches to go. What did you say? 40? That's a set. 40. No question. Say, there's a lot of people hanging around the station over there this morning, eh? Wonder what's up? It's a picture company. Gonna shoot some scenes here today. Well, you don't say. Movies, huh? That's where all the food's gone. Well, what kind of scenes are they gonna take? Something about a train? Yeah, the main shot is a stunt. You know, dangerous stuff. Oh, sure, yeah. I've heard about them stuntmen. Well, in this case, it's no stuntman. Hey, look. You see that good-looking girl over there talking to the director? Yeah. She's one of the most daring stuntwomen in the business. That's true. She's gonna do the stunt today. The director's probably gone over the gag with her right now. Well, Eileen, what do you think of the location for your scene? Well, it's just Jim Dandy as far as railroad stations go. But the thing I'm interested in is what's the stunt? It's a comedy scene. Now, here's the general idea. You're doubling our heroin, and you've been in a chariot race, you see, and you've won. But instead of stopping at the finish line, you head the horses for the station and come flying in here at top speed. Oh, I see. Do I want to catch a train or something? Yes, that's the idea. But the train is just pulling out when you get here. Then what do I do? You come driving the chariot down the road there, run up on the cement platform right here, and then up alongside the train. There'll be a man on the back of the observation car to pick you up. Hmm, I see. That's going to be quite a bump for the chariot when I hit the platform. That thing is at least two feet high. Yes, I figure the horses will jump up on it, and this chariot you're driving can't do anything else but follow. Well, it could go straight up, you know. I'll admit it'll be a joe hole, right, Eileen? Because the horses will be running at full speed. No, it's the same old story. You never know what'll happen in these stunts until the time comes. Well, at least until then, I'm not going to worry about it. That's the spirit. But I'm sure everything will be okay. Oh, boy, look. Here comes Joe with the coffee and sandwiches. And boy, can I use some of that. All right, come and get it. Oh, boy! And now, three hours later, we find the motion picture company still on the location set. Several minor scenes have already been taken, and now time for the thrilling chariot run is at hand. Eileen Goodwin in makeup and costume sits on the sideline chatting with a few members of the troupe. Matt Ross, the director, is just approaching. Well, folks, we've got one more scene, and we're through. How about it, Eileen? Are you all set? I've been ready for hours, Mr. Ross. The sooner, the better. Good. Get in the chariot and drive down to the bend in the road there, Eileen. I'll give you a signal of two whistles to start your run. And remember, give it all you've got. Okay, but I'm still worried about that platform. It's going to be a real bump. Well, I'll be seeing you. Make it good. Crew's all set, Mr. Ross. They got the signal straight. Yes, sir. All right. Eileen, the signal, Joe. You know that kid's got plenty of nerve to do a gag like this. Look at the way she handles those horses. Yeah, she's really taking out. Okay. And it is our pleasure to present the fearless young girl who made that scene, whose career in motion pictures has been built on her ability to face great danger calmly. Miss Eileen Goodwin, interviewed by Glenn Hardy. Well, Miss Goodwin, that was certainly a thrill. Well, thrilling is a mild word, Mr. Hardy. I can imagine it is, but tell me, how did you happen to get started doing stunts for the movies? I was once in Vodava, and finally I came to Hollywood and began working in pictures. You know, bits and extra work? Yes. Well, the stunts just followed as a matter of course. They were simple things at first. Finally, I was doing all kinds of stunts. I see. Miss Goodwin, what stars have you doubled for in stunt work? Well, let me see. Irene Dunn and Claudette Colbert, Margaret Lindsay, Patsy Kelly, Marlena Dietrich, Ida Lupino, and quite a few more. Do you have a contract with any certain studio? Well, no. I'm on call at all of them. I'm freelancing at present. You know, except for your dark hair, you'd look very much like Jean Parker. Did you ever double for her? Yes, I did once, and it was quite a thrill, too. Well, could we persuade you to tell us about it? Oh, I'd be glad to. That's fine, Miss Goodwin. We're very anxious to hear about it, but first, I know you won't mind if we pause for just a word from our sponsor. All right now, Miss Goodwin, what about the time you doubled for Jean Parker? Well, it was in 1935. An MGM picture directed by David Butler. I had to fall from a fire escape on the third floor of a building. Hey, that was some assignment. Well, it developed later that it truly was. I was to fall and land in a net. Now, you see, you're supposed to back out the window on the little fire escape platform. The idea is that you're repulsing the advances of a man. I understand. I back out the open window and lean against the railing. The railing gives way and I fall. That's the idea, but I want most of that fire escape to fall with you. I've had a few of the bars thought into and I'm sure that it'll work. Okay, I'll go up and get ready. Twenty minutes have elapsed. Time for the dangerous scene is at hand. All eyes are glued to the third-story fire escape with this thought predominant. A slip will cost a life. Okay, ready, everybody? This is it, Miss Goodwin. There she is, backing out good. Nice and slow. Yes, there she is on the platform. Well, here's your scene. Miss Goodwin, and I'd say you were pretty lucky. The fire escape missed me by about a half an inch. Luck has all it saved me there. Well, how did you manage to get out of the way of that falling iron? I looked up just in time to see it coming and made a dive clear. Say, tell me, have you ever been injured while doing stunts for the movies? Oh, yes, a few times, but not ever very seriously. Well, let's hope that your good luck continues. By the way, may I ask what you plan to do in the future? Are you going to stick to the stunt business? Well, who knows? I really don't. At any rate, Miss Goodwin, you have provided us with some very thrilling entertainment, but times come to say goodbye for now. On behalf of our listeners, I want to sincerely thank you for coming here. I know that everyone joins me in hoping that you will visit us again sometime very soon. Goodbye for now, and the best of luck.