"Television: the revolution," ([1944])

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"ENTER THE NEW ART —" 153 there's a curtain-time—that 'this is it'—keeps us on our toes. When we're up against a real dead- line, there's no time to fool around. Say, look at the time! Dead-line, here we come!" Then, into the mike. a One minute! Stand by, every- body!" The whole clover-leaf is alerted. We feel the tingle of anticipation flashing in on the tele- phone wires from the outlying sound-stages. Everybody's ready. The stars—many of them familiar faces from motion pictures—are in their places on the various sets, waiting for the "on-the-air" signal. The monitoring screens on the control console are lighted with views from the cameras on different sets. The producer slips the paper clip off his script, checks his stop- watch. Just a few more seconds. . . . "Channel one. Music." The engineers nod. Pause. "Roll 'em!" The producer flashes a cue light. There is a tympani roll, a dramatic flourish of music as the center screen on the control room console fades in a series of trick-titles, announcing the evening's broadcast: an original mystery drama,