 Introducing Poles of Hollywood. Now listen, Ben, here's the way I want the shot done. Now this staircase is about to leave the ground. You're the lot of men who are holding onto the mooring line. Everyone let's go but you. Now do you get it? Yeah, I hold onto the line and the ship takes me up. That's it, but be sure you don't hold on too long. Now we'll have a net under you so when you get up about 100 feet, let's go. We'll catch you. 100 feet, eh? Yeah, but not much more than that. You might get hurt. We're ready to go, Mr. Underwood. All right. Everybody, to take places. Everybody, quiet please. There she goes. She's that spot on the ship. It's a beauty. A swell thing, Mr. Underwood. Yeah, it looks all right. They're all turning with it. Ben, hang on. He's leaving the ground. Where does he drop? The answers 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 Stunt Men. 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 Stunt Men of Hollywood, Frank McGrath. It is through his cooperation that we are able to re-enact some of the highlights of his dangerous profession. The thrilling scene you are about to hear is his own actual experience. Frank McGrath is here in the studio right now, and later in the program we will bring him to the microphone. But first, let us give you the true story of how he began his dangerous career in the movies. The role of Frank McGrath is being enacted in this dramatization by the young juvenile star of stage, screen and radio, Buddy Edwards. We take you back 18 years. It is late at night, and a biting wind whistles through lumbering box cars as they follow a struggling locomotive through the gloom. Huddled in a corner of one of these cars are three shivering figures. Two men and a boy. Hey, Buddy, you're pretty young to be riding these rattlers. Yeah, I guess so, but it's better than walking. What's your name, kid? Frank. Frank McGrath. What's yours? Oh, just call me Joe. My pal here is Spike. It's good to have somebody to talk to on one of these trips. I guess it'd get kind of lonesome by yourself. You got any dough, kid? Nah, not a cent. And I could do with a little chow, too. You guys got any? Hey, listen, kid, we ain't had no dough in a month. I even forgot what kind of pictures it's got on it. Where are you heading, Frank? Oh, I don't know. Somewhere. I guess I'll get a job. You mean you'd work? I'm sure. Why not? A lot of guys work. Well, here's when you'll never catch working. I think too much of my energy to capitalize on it. Yeah, you see, kid, we figure like this. A guy's energy is kind of sacred. You know, you got to respect it. Well, I wouldn't think of selling my energy. I guess that's all right for you guys, but I don't look at it that way. All right, looks like we stopped for water. Yeah. So what you been doing, kid? Oh, I've been riding, you know, race jockey down in Caliente. Yeah, what happened? How come you quit? Oh, I was getting too heavy. Couldn't keep my weight down. You got to be light for that, you know. Yeah, that's true. Gee, I'd sure like to have a hamburger. I'm hungry. Hey, thanks. Here you go. There you go, guys. Put your dough in there. Come on. Come on. Get out of there. Come on, kid. He'll give us that sap. Let's get out of here. Hurry up. Finish you guys. Get out of there. Unload, kid. We're right behind you. Okay. Now, ain't that just too kind of a man, eh? He's got such a big heart. Well, he could have picked out a worse place to kick us off. Here's the town. It's not very big, but it's a town anyway. I'll bet there's a hamburger in it somewhere. We're staying on the track, kid. Now, the section this train comes through in a few minutes, and we're taking it. Yeah. We've already got our reservations. Well, I guess I'll be leaving you then. I got to scare up a hamburger. So long. How much are your hamburgers? Ten cents, two for fifteen. Want a couple? No, you guess not. Just give me one, with everything. You bet. Say, uh, what's the name of this town? This is the fair city of Truckee, Truckee, California. We've got five stores, a post office, and a moving picture outfit. I got picture shows almost everywhere nowadays. Listen, son, I'm not talking about a picture show. I mean they're making a picture right here in Truckee. We're giving Hollywood a run for their money, I'm telling you. What'd you do? Just blow in? Yeah. Breakman kicked me off the train. Pretty cool riding the rides tonight, ain't it? Oh, we were in the boxcar. We? Yeah, there were a couple of guys in there with me. We all got kicked off. But you know, I was kind of glad to get away from those birds. What for? Oh, one of them wanted some money. I had a dime, but I wouldn't give it to him. He didn't know it, though. Y'all smothered me. Well, I guess so. There you are, sonny. One with. Oh, boy, that looks good. Oh, hello, Mr. Starling. Have a seat, sir. What are you going to have tonight? Oh, I don't know, Pete. Something light, toast and milk, I guess. Yes, sir. Right away. How's picture coming, Mr. Starling? Oh, pretty good, Pete. I'd like to pick up another man for tomorrow, though. Hey, what about you, young fella? You want a job? Oh, me? Yes, sir. What doing? Working in pictures. I'm production manager of a company. We're down here on location. Oh, gee, that's wonderful. Well, now that you've got a job, how about another hamburger, sonny? Well, uh, I...that is, I... Oh, that's all right. This one's on me. What's the matter, young fella? You troubled with the shorts? Yes, sir. You see, I just got into town. Yes, yes, I understand. I've been there myself. Give me a tip on steak, Pete, on me. Oh, thanks a lot, Mr. Starling, but really, I'm not very... How are you drinking, sonny? Milk, I guess. Oh, but... Well, young fellow, when we finish eating, I'll get you a room up at the hotel. Good night's sleep, and you'll feel like working in the morning. Oh, gee, that's great. But I... Oh, no, don't worry about anything. I'll take it out of your cell. That's all right, isn't it? Yes, sir. It's practically perfect. And so, for the moment, we'll leave our young stuntman in the making. What thrills await him on the morrow, we'll learn in just a minute. But first, a word from our sponsor. It's now early morning. The entire picture company is on the location set. Young Frank McGrath thrilled that he is to have a part in this romantic business of making a motion picture, and at the same time rather embarrassed because of the woman's costume in which he has been made up. Looks with wide-eyed wonderment at the strange things about him. Cameras are being set up. Platforms are moved about. Confused but delighted, young McGrath steps out of the way of one group only to block the path of another. His friend of the night before is just coming on the set. Frank greets him with genuine pleasure. Oh, hello, Mr. Stoiling. Hello. You guy feels silly in this woman's dress. I don't know what to do with myself. Well, how are you, young fellow? You're not a bad-looking girl. Come on over here and I'll show you what to do. Or rather, I'll show you the man who can tell you. Well, these fellas sure do work fast, don't they? Everybody works fast in the picture business, young fellow. It's a big job. You have to work fast. Oh, Mr. McGowan, you busy? Can I see you a minute? Oh, hello, Charlie. Oh, I'm not very busy right now. This is Mr. McGowan, young fellow, the director of this picture. He'll tell you what to do. Hello, Mr. McGowan. I'm Frank McGrath. Hi, sir. This is the boy I was telling you about, JP. You can use him on that tree game. Oh, yes, son. Come over here and sit down. I'll explain everything. Yes, sir. Now, Frank, you see that big tree out there? That big, uh, high one? That's the one. It's about 100 feet high. Yeah, it's all of that, all right. Now, here's the idea. You dressed as this woman. You're supposed to be in the top of that tree. Uh-huh. The man chopped the tree down and it falls into the lake. You see, it's chopped almost in two now. Yes, sir. I see. But, uh, what happens to me? Well, you ride the tree down as it falls. And just before it hits the water, you jump clear. The water's plenty deep, Frank. But we don't think there's much danger. Of course, you might get scratched up a little. Oh, I don't mind that, but leave me. That's a high tree. Well, would you like to try it? Sure. I'll try anything once. That's the way to talk, boy. But look, I want you to be sure about this scene. You're positive you want to do it. You don't have to, you know? Well, I'm a pretty good swimmer and diver, Mr. McGowan. I don't see any reason why I couldn't do it. Anyway, I'd like to try. Well, I'll set, Mr. McGowan. Well, just a minute. Well, boy, if you've gotten herb enough to try it, I've gotten herb enough to let you. Get up on the top of that tree and we'll make the picture. Now, ride down the tree down as far as you can, Frank. And be sure that you jump clear. All right, everybody. This is the take. Quiet, please. Quiet, please. All right, everybody. This is it. Quiet. Well, it's with the axis. Get set there. All right, let's go. The kid got up there and he's all set. Waiting to go. Yeah, a funny game. All right, man. Start. There she starts. Man, what a sight. Fallen. Fallen faster. The kid's getting ready to jump. Big limbs. Missed my head about... about an inch. Did you get the picture? I'll say we got the picture. And I got a protege. Boy, I'm taking you to Hollywood. You've got a job as long as I have. Ladies and gentlemen, it is our pleasure to present in person Frank McGrath, whose true experiences of entering the movies and becoming a picture stunt man have just been dramatized. Frank McGrath, interviewed by Hell Style. Well, Frank, that was a splendid story and you've actually been in pictures ever since. That's right to this very day. Well, tell me, what is your job now? I do all of Warner Baxter's stunts. In fact, I have a contract with him for seven years. We're signed with 20th Century Fox. Well, it was certainly a lucky night for you when you walked into that little cafe. It certainly was. Things have been breaking for me ever since. I couldn't have a kick coming. Well, now that's fine. And I understand you've been offered several good parts and pictures. What about that? Oh, I've been offered a few, but I'd rather stay more or less in the background and just work with Mr. Baxter. Well, Frank, we've enjoyed your story more than we can possibly say and I believe it's an inspiration to many young fellows who would like to come to Hollywood and perhaps duplicate your success. My advice to them is to stay at home. The odds are much against them here. I can understand that too. At any rate, on behalf of our listeners, I want to thank you sincerely for coming here and I know that everyone joins me in hoping that we may have you on this program again very soon. Goodbye, old man, and may your good luck continue.