 Good evening. This is Peter Lawrence. See, were you being kind as to give your attention tonight to the subject of murder? Were you going to have to do anything? No, really. Just follow the side of story. Just surrender yourselves to strange tales of murder. Listen, my friends, to the mistrained playhouse. For tonight's lesson in murder, we take you backstage to one of those little secondary boulders of theaters. The home of one-night stands, stave grief-pained, half-hearted audiences, and struggling performers. The world of comic street men, chorus girls, and tennis. A world of make-believe, yes, but with a hearty reality of the everyday world in the background. And it's a company in chorus of jealousies, passions, and disappointments. Yes, disappointment. One opens the door of her dressing room, then comes quickly down the iron stairs and crosses to the stage door. The manager of the theater calls out to her. May, May, where are you going? What's with the street clothes? You're on in about 15 minutes. Got me. Oh, wait a minute. Look, Mr. Walton, just let me get out of here. Now, hold on, baby. Take it easy. But I just want— Just calm down. May. What's the trouble? I'm through. I'm done. Oh, another fight with her, huh? Just don't mention that guy to me. May, you've got to use your head. You can't walk out like this. It ain't professional. Oh, please don't hand me that show must go on routine. Is that what you're leaving? Makes no difference. Wait. Hey, Pop. Yeah? Wapped out of Graham's dressing room. I'm gonna ask him to come down here. Well, yeah. Okay. Now, look, there ain't no point in having him— It's gonna be this time, May. I just can't stand working with the guy. He's your husband. He's also a comic. That I can't put up with. Honey, will you tell me what happened? It's just dripping water. Step on his lasty, sis. I see more keys, sis. Oh, every comic's that way. You can't walk out for a little thing like that. I'm not anywhere I'm walking out. Oh, what's that? Guy. Huh? He's got a new thing now. Guy. You think I'm flirting with a tenor in the flashback? Well, are you? Are you kidding? What would I want with a tenor? Well, what makes you think you're flirting with him? This tenor thinks I got talent. He tells all that. By the way, Al thinks the guy's new up with me. Oh, and the whole fight is on account of that? Yeah. But it was just one fight too many. If you think I'm going to let any blackface comic, even if he's my husband's husband... Excuse me, Mr. Walton. Oh, yeah, pop. And Mr. Graham can't come down. Well, why not? He just ain't able to. How come? He's got a knife in his back. He's dead. Uh, Chief? Yes, Mr. Newman? You said you wanted me to take a description of the body here? Oh, yes. Well, I'll get my phone down and get it tied up and dressing down, wearing black face makeup, a wig. Can I come in, Chief? Oh, yes. Come right ahead, Hank. Have you finished the examination? More or less. Yeah? Any prints on that knife? No. Well, they called off the performance tonight. I told him you'd be questioning a lot of people. Yeah. What's the story on this man here? He was a vote-a-villain, blackface comic. Well, of course you can see that. He did an act with his wife. Where is she? Downstairs. She did kind of a break-up when she heard about the guy getting it. I told him to send her up when she found it a little better. I got a few witnesses outside the dressing room here. Do you want to see him, Chief? Well, who's there? Well, the doorman. He found the body. A guy named Walton. He's the manager and the wife when she's ready. All right. Have the doorman. All right. I'll finish that description later. Okay. My name's Pop. Yes, sir. This is the doorman, Chief. Pop Bradford. You do, sir. How do you do? You discover the body here? Yes, sir. Can you tell us how that happened? Sure. Mr. Walton, he's our manager, asked me to come up here until I'm dead from there to come down on stage. Yes, sir. I knocked on the door. When he didn't answer, I opened it and come in and I see him lying on the floor. Pull back that covering, Harry. Would it please? All right, Chief. There we are. Was he in the same position when you found him? Yes, sir. Have you seen that knife before? Sure. You did? Of course. When? In the pop room. I've been there every year. That's the room where they keep stage pop. That's right. Have you got any idea pop who might have done this to him? Nope. Did you hear any disturbance or argument before the stabbing? Nope. And any strangers enter or leave your stage door? Nope. In other words, you don't know nothing about it. Yeah, that's right. All right, Walton. And then we open up. Yes, sir. Don't leave the theater, Pop. Don't leave the theater again. Why should I leave the theater? I haven't paid to work all night here. Yeah, okay. How about manager come in, Harry? Yeah, sure. I'm taking all the testimony down here. That's fine. Would you come in, Mr. Walton? Yeah. Yeah, sure. This is Mr. Walton, Chief. All right. How do you do? You're the manager here. That's that, sir. Did you know this man who was killed? Yeah. Sure. Good little comic. Yeah, when did you see him last? Alive, you mean? What else? You told me downstairs you didn't see the body. That's right. Well, when did you see him last? During the supper show. How long have you known this man? Oh, on and off for years. They played here three or four times. How'd you get along with him? Fine, but... Hey, look, you don't think that I... Wait, I just asked you a question. You were very good friends. And he had any trouble with any of the other performers or anyone who worked backstage? Well... Thanks a good question. Yes, he did. Who worked? His wife. What was it about? Well, they've always fought more or less, all two acts, too, especially when they're married. What was this fine amount? Well, he was jealous of his wife. She was walking out of him. I found her leaving the theater. That's why I sent for him. What was this jealousy based on? Well, he thought she was going for a guy who sings one of the other acts on the bill. What's his name? Tom Kent, he's a tenor. How'd he do know about this? His wife told me. You say you found her when she was leaving this theater? Yes. Did she use this dressing room, too? No, she was in a room on the other side of the stage. Well, ain't it customary for a man and wife to dress together? Yeah, but like I told you, the grand couldn't get along so good, so I separated. Come in. Um, do you want to see me? Are you Mrs. Graham? Yes, ma'am. Ask him in, please. I'm on the District Attorney. Uh-huh. You know what happened, of course. Yeah. Well, just when asking Mr. Walton here some questions, he, uh, he happened to tell us about a fight you and your husband had. Could you give us a film? I guess so. Well? He thought I was flirting with a tenor. Were you? No. What made him think you were? I don't think they're liable to think anything. They ain't like normal people. And you were walking out on him on a kind of disfine? I guess so. Then why did you... What's the matter? That body on the floor. Well? It's supposed to be my husband? Yes. Why? It isn't him. Huh? Take that wig off him. I told him. There you are, lady. There we are. My husband doesn't have blonde hair? Come here. Go ahead for a cheek. I had him checked to send out an alarm on that guy Graham. Oh, that's fine. I also checked again with the dormant. He swears Graham didn't leave this theater. Well, there are other exits. The stage door is the only way out. That's true, but I sent a couple of detectives searching around backstage here anyway. What did you do with Mrs. Graham? He downstairs in the green room with that Walton guy. I got a cop with him. Chief, why do you suppose a dormant didn't recognize a body here as not being Graham? Well, it was quite a natural mistake when it's like there's makeup on with a wager. Sure. And he's laying on his stomach his face is only partly exposed. Why did Graham bother to put a makeup on this man? Well, it was very simple, Miss Miller. He figured it would take time before the real identity of the guy was found. And that gives him a head start for a getaway. Well, all we got to do is nail Graham and this case is sewed up. We got motive and all. You mean the jealousy angle? Sure, the jealousy. Chief, what are you doing there? I'm just figuring out something. Yeah, what? Well, first of all, I believe the makeup and the dressing gown were put on this man after he died. Huh? You noticed the tear in the back of the robe? Yeah. It was made to slip over the handle of the knife. Oh, yeah. It would also seem that he died immediately. And there's just this one blood stain here on the floor indicating the man didn't move. Yeah. Well, here's what puzzles me. Hey, look over here. And we got a side of the robe. What is it, Chief? Blood stains on the floor and also on the windowsill. Hey, that must be how the guy got out. Graham? Sure. The bees aren't the cursory stains that a man would have on his hands after killing. They're quite pronounced. Yeah, like maybe he was bleeding. Yeah. I don't see how that would be possible. This man was stabbed from behind. No sign of the struggle. Oh, yeah? It could be just a... Hey, what? Hello? What was that? Hey, sounds like the old dormant. Come on. There. That is the dormant. Yeah. Hey. Wait. All the stage lights are out. There's some glass lab hearings here. Sure. Here we are. Here we are. The steps are right here. What do you suppose is happening? I don't know, but it ain't good. Here. Watch your step on these stairs. Yes, we're all right. Let's keep going. All right. Are you okay, Pop? He doesn't answer. Yeah. Stage door's right over this way. I'm just leaving away. Hey. Hey, look. What is it? The old boy's stretched out on the floor. Hey. The time right now just don't try to move. Stop him. What's wrong? What happened? He hit me on the head. He got away. Who? Al Graham. How do you feel now, Mr. Bradford? I guess I'm a bit better at things. Good. Chief, could I have some more water? Yeah, sure. Here you are. That's fine. Thank you. You're sure you don't want to talk to him, Mr. Bradford? Nope. I'll be all right. I'm just done, that's all. Oh, you put the lights on. Mr. Harrington did that. They've been turned off on the switchboard over there. That's a great figure, yeah. Okay. Yes. We're over here about a certain time. Oh. Okay. Well, how's the old boy? He's much better. I just done a checkup around backstage here to see where Graham might have been hiding. Yeah. I stopped by in the green room. What do you think? What? Mr. Walton, the manager, ain't there. What happened? Oh, he conned that cop I left in charge to let him go out to the bus office. When was this? Well, Chief, as near as I can figure, it's right before the lights go out. That's sweet. Did he go to the bus office? Oh, yeah, yeah, sure. I just called him out there. Well, what about Graham's wife? Oh, she's still in the green room. Oh. They're popped. Yes, sir. Yeah, tell me, Pop, did you actually see the guy who assaulted you? Well, I thought I did. Were the lights on or off at the time? They were off, I guess. Were dark here then when you were slugging? Yeah. Well, Pop, then you don't know for sure if it was Graham or not. Oh, my, sure. But what's your point, Harry? My point, Miss Miller, is that I talked to a cop who stationed out in the alley, and someone did come out there. It was Mr. Walton. Now, I understand Graham was the little guy, and Walton was the little guy, too. Now, Pop, you put a mixed them up, couldn't you? No, but I still say it was Graham. All right. I picked up a pillar on Walton from one of the stage hands, Chief. Yes, what was that? He had a fight with Tom Kent, that tenor guy yesterday, right here on the stage. You sure? Yeah, sure, I'm sure. Three or four people hurt him. Well, I think you should go out the box office and have a talk with him. There's something I want to look into back here, and check with me when you're finished. What's that? It's me. Oh, what's the idea, Walton? Of what? Of sneaking out here. What do you mean? I told you to stay back down to Green Room. That's a business to attend to. Yeah? Like what? To cancel the show tonight. That's not a lot of refunds. I have to take a look through the seats. Why didn't you ask permission? I did, McCut. I mean from the district attorney. Well, I didn't figure we were playing school. Oh, oh, you didn't figure we were playing? Well, well, this ain't playing school. Playing school, Walton? There's a murder mixed up in this. I know that. Now, how did you come out here? To backstage, of course. To the stage door? No, one of the fire exits on the side of the theater. Would the lights on backstage when you left? Yeah. I suppose you don't know nothing about what happened to the dormant. Oh. But what's wrong? Well, the lights were turned out and he was slugged. Oh, is he all right? Oh, yeah, yeah, yeah, yeah. He's all right now. Oh, how did that happen? That's what I'm asking you. Whoever gave a tomb got out the stage door into the alley. Look, are you trying to finish on me? You were seen in the alley? I didn't touch. Well, who did? I don't know. Look, if I was feeding it out of here like you're suggesting, I wouldn't be here now. Would I? Oh, yeah. If you would. How do you figure that? That cop in the alley would have kept you here. There's another cop in front of the theater. He'd have stopped if you tried to leave by the front. You chased that out and decided to stay. Stop talking like a straight man. You're very funny, Walton. Look, what about this fight you had with the tenor? The guy who was killed? Who told you that? One at the stagehand. Okay, so I had a fight with him. Well, that don't make very good character for you. Listen, I had nothing to do with that killing. Well, let us be the judge of that. Come on backstage. I want to finish it. Look, Walton, there's another straight man who'd like to talk to you. The district attorney. The chief is up here in the dressing room, Harry. Oh, that's good. I left Walton down there with that cop. Oh, how'd you make out with him? Well, I think he knows something. Really? Yeah, I'll let the chief pick up from there. Wait a minute. Isn't this the room here? Yeah, sure. That's it. Go ahead. Thank you. Okay. Where's the body? Oh, the chief had it taken to the morgue. Yeah. Where's the chief? I saw him come in here. Huh? You sure? Sure. I was walking him down on the street. Hey. Hey, what is this? I don't know. There's no other way out of here except... Hey, look, that window's open. Yeah. Something's screwy here. Chief. Oh, chief! Yes, hang on. What? Where are you? I'm on the road here on the fire. What in the world is he doing down there? I'm on the road. Oh, okay. See, I got a scare for him. Me too. I've been doing a bit of exploring. Well, we didn't know what happened here. Let me give you a hand. Oh, it's all right. I'll make it. There we are. Chief, look at you. You're covered with dust. That's all right. It shouldn't rush right off. Yeah, I'll help you. All right, thanks. I got walked from downstairs, chief. I think you'll want to talk with him. I'm sorry, Harrington, but I don't believe I will. Huh? Where? I'm releasing all the suspects in the case. What? Chief, did you find the murderer? No. I believe I can. Oh, chief, I don't get you. You will. Let's get downstairs. I'm right over here, Mr. Graham. The, uh, the attorney wants to talk to you. Small question? No, I don't think so. Uh, chief, uh, here's Mr. Graham. Oh, that's fine. Oh, chief, that brings them all together. Yes. Well, what happens now? I'm letting you go home, Mr. Paul. What's about time? Can it go for me? Yes, Mr. Graham. You can grab a powder too, Pop. These are my working hours. Nice day. Oh, OK. We're going to concentrate on our search for Graham. Oh, I must ask you all to be available for questioning again in the morning, though. Sure. OK. If you should find Al, I wish he'd let me know. I won't sleep much, anyhow. Yes, we will, Mr. Graham. Now, come on, Mr. Miller. Harrington. All right. Well, can I go back out to the bus stop? Yes, go right ahead, Walton. Here, I'll get the door. Thanks. Go ahead. Yeah. After you, chief. Well, now where do we go? Back into the theater. Huh? But this time we're using a fire escape. The level we want. OK, chief. Now we get in through this window right here. Are you up to window climbing, Mr. Miller? Sure. What's in here, chief? Isn't Graham's dressing room right above this? That's right. I'd better go in first. Here we are. Um, give me your hand, Mr. Miller. Right. You making a hand? Yeah. Sure. How about a light in this place? No. No, we don't have to go in. We'll stand over here and hide in this pit. All right. Oh, I better call in the window first. OK. Why are we here, chief? You looking for something? No. No, we're waiting for something. I don't know. Uh-huh. Look, what is this thing? I honestly don't know. But whoever it is shouldn't be alone, chief. Where'd they come in from? That door leading out of this thing. Huh? Have your flashlight in there. It will be easy. Whoever it is shouldn't be on my head. Really? I miss you. Well, thank you. Watching Tom Bradford in the act of removing Graham's body enabled us to obtain a confession from him to the killing of both Graham and Tom Kent. Because of a mental condition, he wasn't sent to the electric chair. However, he will spend the rest of his life in a state institution. You know, chief, that old guy sure had me fooled. Why don't you tell her you're pregnant? Well, Harrington, as I told you in the property room when we were waiting for someone to appear, I didn't know for certain who that person would be. But you did know Graham's body was there. Yes, Mr. Graham. I discovered that earlier as a result of examining those bloodstains I'd noticed near the window in Graham's dressing room. I followed that trail out of the window and down the fire escape and into the prop room. And there I found Graham's body stuffed into a large covered box. Oh, the body had been dragged there. Yes. But I wasn't certain who had done it. And that's why I suggested our leaving the theater. I knew this hiding place could have best be a temporary one. And I felt that, given the opportunity, the killer would attempt to move it to a more permanent spot. Which he tried to do. Yes. How about the motive for the killing, Chief? Well, we learned that when the old man confessed. It seems that in his younger days the Norman had been a singer. Quite well known, as a matter of fact. In Tom Kent, the tenor, knew this and used to kid the old man about the croaking attempts he made to sing that stage. Bradford developed a great hatred for Kent. And in his warped mental state, he conspired to get revenge. He overheard in the argument that Graham would leave the theater earlier that evening after the supper show over Tom Kent. And so, Bob Bradford decided to take advantage of it. He saw Al Graham leave the theater. They then told Kent that Graham wished to see him in his dressing room. And when Kent came there, the old man let him have it. Yes. But while he was fixing up the body, Graham came back. That's right. So the old man killed him as well. And that, pupils, Christopher Hyde's murder listener in a mystery playhouse. Thank you, Mr. District Attorney for presiding over our cast this evening. Thank you.