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Can we have that last sentence again, Mr Parsons?

Do remember you're being strangled.

You're not apologising for revoking at cards.

- I was afraid of overdoing the scream.

You certainly didn't do that.

It sounded like gargling.

Now then, once more.

Do let yourself go.

- Is that you?

Got the money?

Who are you?

Come out of the shadows.

I can't see your face.

You!

Let me go!

Let me go, I swear I'm innocent.

You're strangling me.

- Hold off a minute.

Fade in 7C will you.

Parsons, that's worse.

Has no producer ever tried to strangle you?

Sorry Mr Caird.

I suppose I just don't come over well on the microphone.

- Oh rubbish.

Hold on, I'll come down and show you.

6A.

I say, 6A, I'm afraid I shall have to hold you up.

I'm going down to 7C.

Sorry about all this delay, Joan.

- That's alright, Julian.

- I don't even get an apology.

This broadcasting business is getting as bad as the films.

- How I love these actors.

- Caird seems pretty jumpy today.

- Does he?

- More like a circus manager than a BBC producer.

- What do you expect, when you write

this kind of stuff for production.

- That's charming of you.

I didn't expect you to appreciate it.

- You didn't write the music did you?

- No.

- I thought not, that seems pretty good.

- The way they keep us hanging about

at these dramatic productions.

- Never mind, Barry, one of these days

you may get a chance to play.

- Hello Caird.

- Hello.

- Sorry you ever tried to produce Fleming's play

now aren't you? - Not at all, why?

- Fleming tells me you're a bit nervous about it.

- I'm only nervous about some of the cast.

That's the last time I ever

take your advice on that subject.

Now listen-

- I've listened to you quite long enough already.

- And I've still got some things I'd like to tell you.

- Sorry if I seem to be messing

your rehearsal about, Rodney.

It's this infernal fellow Parsons.

- Still bad?

- Worse!

- Oh he'll be alright on the night, as they say.

- I hope so.

Joan and Leopold Dryden are safe anyway.

- So they ought to be, they've got jolly good parts.

- Well, I'm sorry, Mr Caird, I'm doing my best.

- Yes I know,

but you really must get more atmosphere into it.

Can't you understand that I want the public

to think they can see the murderer's hands

throttling the life out of you.

- My dear, I don't know why you insisted

on my doing this wretched broadcasting.

- Well, it will soon be over.

- I hope so.

- Anyway, Rodney Fleming can't be ignored as a playwright.

Even if this does seem an unpleasant example of his work.

- You're standing right in front of the microphone.

He's probably listening to all we're saying.

- You're always so right.

- One ought to be gagged all the time

in a building like this.

- What I hate is not being able to see

some of the actors you're giving cues to.

- To me that's the only thing

that makes broadcasting at all possible.

- Alright girls, that's grand.

Lots better.

I do want you to remember, concentrate on your timing.

And that the audience are up there in your mike.

Now you better go and hang your legs on the rack

while I rehearse Miss Becke.

Miss Becke.

- Any grief?

- No, I think its going to be a rather good programme.

- Thank goodness somebody's pleased.

- Why, have you got a snag somewhere?

- This thing Caird's producing.

- Did you introduce it?

- No! But he leaves me with so many of his babies to hold

anyone would think, that instead of being in programme

research, I was in charge of the BBC clinic.

- Poor bloke. Are you ready Miss Becke?

- A flat.

- Yes, one chorus. - Thank you.

- Am I butting in?

- No, not if you go out.

- Sorry, Miss Becke.

- I hope we don't have to go through the play again,

I'm getting hungry.

- Try and remember those few points, Parsons.

Go all out for it.

We'll tone it down if necessary.

Thank you very much, Mr Parkington.

Your music, as usual, was just right.

Goodbye for the present.

Remember the time tonight.

8 o'clock for 8:20.

- My dear, do you know where I put my coat?

- You generally leave it in the taxi.

Oh, there it is.

- My pleasure, Sir.

Oh dear, oh dear.

That's a bit of bad luck, sir.

- What do you mean?

- Dropping your umbrella, bad luck.

- Don't annoy me.

- Excuse me, Mr Parsons, but in future you mustn't bring

your things into the studio.

There's a cloakroom for artists.

- Why shouldn't I bring them in here?

- Those are my orders, sir.

- You leave your things in here, I noticed, Dryden.

- I thought, Mr Parsons, with you in the cast,

we should be rehearsing so long,

that the cloakroom would be closed.

- Leo, I thought you wanted to get out of these studios.

- I do.

- Are you coming in to see the broadcast tonight?

- Yes, I think so.

- Do if you can.

- The only thing is,

my brother might want me to go down to Brighton.

He's managing my new play down there.

- Doing any good?

- Not bad.

Wants a little alteration before it comes to London.

- Well, if I don't see you tonight, good luck.

- Thanks.

I think it's going to be alright, thanks to you, Julian.

- It's only this fellow Parsons I'm still worried about.

- I think you put the fear of death into him.

- We'll see.

Till tonight. - Bye-bye.

- Will you sign our autograph?

- I'm afraid we're rather late.

- Thank you ever so much.

- Here's mine, please.

- Thank you, so kind of you.

- Thanks, awfully.

- Any more?

- Good evening, Mrs Dryden.

- Good evening, Sir Herbert.

- I see that your husband's being pestered

for his autograph. It's a thing I've tried to stop,

but it's the penalty of fame, you know.

- I think my husband enjoys it, Sir Herbert.

- Good evening, Sir Herbert.

- How are you, Dryden?

- Not awfully well, I shall be glad when this is over.

You'll be listening to our play, of course.

- I shall hear some of it.

There's a performance I must attend in the variety theatre,

scheduled at the same time as your play.

Excuse me.

- Huh, Variety.

Extraordinary choice of the Controller,

preferring variety to my acting.

- Yes, he hasn't been educated up to it yet, dear.

- Tell me, how do you arrive at that.

- Oh, my lord.

You know, I think I shall have to get a job with Walls.

Stop me and sign one.

That comes very well.

- Are you broadcasting tonight?

- Broadcasting? I'm not broadcasting.

I'm trying to get in as one of the audience.

- Well, cheek. - Goodnight.

- Good evening, any telephone messages for me?

- Not at present, Mr Fleming.

- Right, well if anything does come,

I shall be in 6A listening room.

- Very well, Sir.

- Well, we needn't have hurried so much after all.

- Come on Leo, there's that horror Parsons.

- Hello Parsons.

- Hello Fleming.

I just wondered if there was time to hear

Vernon Bartlett before the play starts.

- And Germany on the other hand has argued

that the one idea of France is to keep Germany perpetually

in a position of inferiority.

And that since there can be no lasting peace

while some countries are treated on a different footing

from others she's justified in doing anything she can

to bring that period of inferiority to an end.

- Here's Hannen Swaffer.

Will you sign my autograph please Mr. Swaffer?

- And mine.

- Do you want me to write Swaffer or Scoffer?

- What are you going to talk about tonight?

- If Sir John will let me, myself of course.

- I haven't had any message about you, sir.

Bannister, you say your name is?

- Yes. Mr Evans promised to leave a pass for me

to go into the variety studio.

- I've no trace of it, Sir.

And Mr Evans will have left by now.

- That's very queer.

- I'll ring up his office, but I'm sure he's gone.

Mr Evans?

- Yes?

Oh yes, I'm sorry. Send Mr Bannister

through to the variety studio.

- I'm so sorry Mr Bannister.

It's very rarely that Mr Evans stays as late as this.

Excuse me.

Yes, yes certainly.

Yes, I'll tell him.

Where's that halfwit gone that I gave that pass to just now.

- Which one?

- Can't you do your job without being told everything?

Letting people wander about all over the building alone.

Where do you expect me to have eyes?

Yes?

No I'm sorry.

Miss Becke's in the variety studio at the moment.

- Leo, for heaven sake, pull yourself together.

Stop prowling about and looking like murder.

- I look like murder because I feel like murder.

- Then for my sake, try and hide your feelings.

- For your sake, hah! I like that.

Whose fault is it?

- I didn't write the letter.

- I say Dryden, what are you doing in here?

You ought to be in the studio by this time.

I'm sorry to hound you Joan dear,

but we've got exactly two minutes to go.

- Sorry Julian. A little domestic debate.

- Here comes Gilly Potter.

Sign my autograph book please Sir.

- And mine too.

- Has Sir John Reith signed it?

- No, Sir.

- Has the Prime Minister signed it?

- No, Sir.

- Then I can't sign it, my boys.

- Henry Hall signed it, sir.

- Who? - Henry Hall!

- Never heard of him.

- I'm so sorry.

No I'm not.

I'm jolly glad I bumped into you.

- Nice of you.

And what are you doing nosing around here?

- I'm looking for variety.

- Well, what's variety to you is not to me.

- Why the deuce aren't we getting those return lights?

- It's only just time.

Ah, here we are.

- Stand by Sea View.

- It isn't a sea, you fat head, it's a river.

- This is the National Programme.

Ladies and gentlemen, tonight we present to you

a broadcast of a radio play entitled "Murder Immaculate".

This play has been specially written for broadcasting

by Mr Rodney Fleming, the author of two plays

now running in the West End of London.

The cast is as follows:

The husband is played by Leopold Dryden.

The wife by Joan Dryden.

The guests by Walter Fotheringay and Emilia Dunne

and the wife's lover by Percy Rhodes.

The victim, the man who is murdered

is played by Sidney Parsons.

And the incidental music

is by the Gershon Parkington quintet.

The play is produced by Julian Caird.

- Now for it.

The fog is getting thicker, it's terrifying.

Don't worry, I know every inch of the river.

- What's that? - Shh.

It's gulls. We've disturbed them.

They rest at night on the barges.

- Better keep closer to the bank.

They'll give us away.

- You can't go in there.

There's a play being broadcast.

I'm looking for variety.

- That's eight floors down.

- Yes, but I've just come eight floors up.

- Then it'll be 16 floors from where you started.

- Ah! How do you arrive at that?

- Quite simple.

- Well, not to me.

- The wharf's just beyond this landing stage.

- I can just see the dark outline of it.

- Hand me the rope will you.

Why do you hesitate?

That's better.

Thanks.

- I'm not hesitating. He deserves to die.

- The immaculate crime.

That's what they'll call it.

- The what? Where are you?

Eight floors up?

No you want eight floors down.

- Who was that?

- Fellow wants to know the way to the variety studios.

Says his name's Bannister.

- Tell him to slide down them.

Hello, BBC, Brighton.

Alright, I'll put you through.

- A Brighton call?

Call for Mr. Fleming.

Will you put it through to 6A listening room, please.

Listen Grace.

I'll wait here in the boat.

The tide is running fast.

Can you manage? - Yes.

- Hello, yes, alright, put him through.

Hello, is that you, Jack?

How's the rewriting going?

Which?

Oh, the first act.

Well, what's your idea?

Sure I'll listen. Go ahead.

- Where's Parkington's return signal.

The light must have failed.

Hold on here.

- Hello.

Still looking for variety?

- Well, the spirit's willing,

but the old legs are getting a bit shaky.

- I'd have thought the other end was your weak point.

- Well, you look pretty good at both ends to me.

- Wait, it must be done quietly.

There must be no scream.

- Don't you worry, it'll be quiet alright.

- Is that you?

Got the money?

Who are you?

Come out of the shadow.

I can't see your face.

You!

Let me go, you're strangling me.

I didn't mean it, let me go.

You're strangling me.

- Here, oh wait a minute. Hello Julian,

my brother calling from Brighton.

He seems to be rewriting my entire play there.

- I'm sorry Rodney.

I thought you might have got worried,

one of my return lights failed. It's alright though.

- Good.

- Dryden, what on earth are you doing up here?

- Feeling pretty ghastly.

Just came out for air.

I shall get through alright.

- I'm sorry but you must get back to the studio.

You'll be missing your cue.

- I've never done that, Caird.

I remember once when I-

- Tell me all about that some other time.

You're cutting it fine.

- Oh, you want me?

- Yes, I'm looking for variety.

Well, that's five floors down.

- Good, well, I'm gaining on it.

- Are you here as one of the audience?

- Yes, that's what I came for.

- So you have a pass.

- Yes, Mr Evans gave it to me. Bert.

- Mr Evans.

- You call him Mr Evans,

but I've known him a long time. I prefer to call him Bert.

- He should take better care of his guests.

- Yes, I quite agree with you.

It is a bit of a maze to let a pal loose in.

- Hadn't we better inquire?

- Oh, it's quite unnecessary.

- I don't know. I don't agree.

I think it's time we telephoned.

- Oh, very well, if you must.

It certainly won't do any harm.

It's probably foggy down the river.

That will have delayed him.

I hoped every hour

that someone else could be suspected.

Anyone.

- The return light came on just after you left, Mr Caird.

- Yes, I know.

- Well, that's that.

Sounded pretty good to me. - Thanks.

- You missed the strangling scene didn't you?

- I expect that was just as well.

- Oh, I don't know.

I thought Parsons was excellent.

- Really?

- Yes, he died marvellously.

- Did he?

- Thank goodness that's over.

- Yes, but Leo why did you go out of the studio

in the middle of it?

- For air.

- I was terrified you were going to miss your cue.

- Well I didn't, so why make such a fuss.

My father used to say-

- I know everything your father used to say.

I never understood why he only said it to Sir Henry Irving.

- You're very inconsiderate, Joan.

You know I'm not well.

- I'm sorry, Leo.

That play got on my nerves.

- Well, I don't think it went so badly after all.

In spite of you all.

- Of course.

- Hello you're looking rather exhausted.

Everything alright?

- Yes I was just telling them

I didn't think it went so badly.

- No, I thought it was quite charmingly written myself.

- What you want Rodney, is a good hearty flop.

- No chance of that, my lad.

That fellow Parsons put up quite a good show in the end,

didn't he? - Yeah.

Where is he?

I'll have him sent for.

- Come along, my dear Joan, I must get home.

- Oh, no!

- Don't go just yet.

- I don't particularly want to stay

and sing Parson's praises.

- You don't have to sing them.

Why not speak them to him in blank verse.

- Good night.

- Goodbye Mr Caird.

- Oh, by the way, I want Parsons.

Higgins is up on that floor.

He'll be able to tell you if he's still in the studio.

- Right.

- Well, goodnight.

- What about our supper party. You're not going?

- I'm afraid I must.

- Oh, I am sorry.

You know I was rather tough on Parsons at rehearsal.

A word from one of you two would mean a lot to him.

- Think so?

It depends on the word of course.

- Where have you been, Higgins?

- Well I can't, I haven't been away long, Sir.

- You've no right to leave this corridor at all

while this broadcast's been going on. You know that.

- Yes, sir.

- And now you don't know whether Mr Parsons

has gone I suppose.

- No, sir, but I'll find out.

Sir!

Stay here, don't let anyone in on any account.

I must get Mr Caird at once.

- Why must people bring me messages in the studio?

I've had to speak about it before.

- I think the note will explain, Sir.

- And this, ladies and gentlemen, is Miss Elizabeth Welch,

who is going to sing a new song of mine entitled "Lazy Lady"

- Finished?

- Yes.

- Oh, it's ghastly, Caird.

To think that we broadcast the murder.

And that millions of people must have

heard the man actually being strangled.

- No doubt about it?

- None whatever.

A clear case of strangulation.

Done from behind.

- With bare hands?

- Gloved hands I should say.

Well, I'll be getting along.

- I'm just going to see Sir Herbert.

What's that you got there?

- Found it in this ash can, Sir.

Your dear Joan.

It's a unique case.

We know the exact time of the murder

and the exact place also.

- Yes, that's true.

- Mr Caird here, for instance can tell us his

exact movements during those few moments.

The light failed at the control panel

and he hurried downstairs to see if everything was alright.

- I must have passed the door of 7C at the very moment

when the murder was being committed.

- Did you speak to anyone between leaving

the control panel and returning to it?

- Yes.

I met Dryden and I looked in on Fleming

and told him the light failure

had made no difference to the play.

- I'll see the Drydens.

So you see, Sir Herbert, it's all pretty concentrated.

You needn't wait, Caird.

- Thank you.

- Mrs Dryden.

Do sit down, Dryden.

- I prefer to stand.

- Mr Dryden, I only want you to corroborate some statements.

- I don't propose to give you more than a few minutes,

I'm a sick man.

- But this is very serious, Dryden.

- Mr Dryden, tell me, did you see anything

unusual at the time of the murder?

- Why should I?

I left the studio because I felt faint and needed air.

- Exactly!

That's why I asked you if you'd seen anything.

No!

- You didn't?

- Must you use that tone?

- Sorry Mr Dryden, but Mr Caird says he saw you.

And we've got to get all the outside facts correct,

you know.

- Oh, yes. I remember Caird did come

to hustle me back into the studio.

And I did not miss my cue.

- Yes, Mr Caird told me that also.

- You seem to have been discussing me pretty freely.

Any more questions you want to ask

can be asked at my own flat, in my own time.

Come Joan.

- But Leo, be reasonable.

- It's alright, Mrs Dryden.

Sorry to have to worry you both.

- There's no point in keeping him, I suppose.

- No, I'll look him up in the morning.

His memory may have improved by then.

- His behaviour is due to the fact that he's feeling seedy.

Of course he's an actor.

- Yes, that's a nasty complication to any illness, isn't it.

- Well, what next.

- I'll see this man Higgins.

- Your autograph, Monsieur.

- Yes, certainly.

You know, this is getting quite an international hobby.

- Have you been on air? - Been what?

- I mean on the air, all over the world.

- No. I've been on my flat feet, all over the building.

- Wonderful, put that in my book.

- I didn't do it, sir. I swear I didn't do it.

- But no one has suggested that you did.

The inspector's asked me just as many questions.

- Now Higgins, this is your statement.

You left your job to go and keep an appointment

with one of the girls in the restaurant on another floor.

But eventually you changed your mind

and didn't keep your appointment.

- Yes Sir, you're right. But only because-

- Yes, yes, I've got all that.

As a married man, your conscience has been worrying you

lately about this girl so that's why

you didn't keep the appointment.

- Yes, Sir.

- Alright, Higgins.

- Thank you, Sir, thank you very much.

- I'll see the girl in the morning.

Check up on Fleming's telephone call.

No strangers wandering around on that floor I suppose?

- Not that I know of.

Now wait a minute. I met a stranger,

I took him down to the variety studio.

Oh, put me through to Mr Evans' home number.

Mr Evans still in his office?

Very well then, put me through to him.

- Speaking.

Oh certainly, Sir Herbert, I'll be with you in a second.

- Who's Evans?

- Programme research.

Stranger I met said that he was a friend of his.

Curious that he should still be in his office.

- Am I interrupting?

- No, no. Come in.

This is Inspector Gregory of Scotland Yard.

- Good evening.

- Nothing wrong I hope?

- Only that an actor was murdered in the studio tonight.

Sit down, won't you.

- Murdered? Who?

- Sidney Parsons.

- What did the Drydens say?

- Sir Herbert told me he met a friend of yours tonight,

wandering about on his own.

- Oh, Bannister. That idiot.

I really hardly know him.

- Can you give me his address?

- I think I've got it in my office.

I'll get it.

- I'll come with you, Mr Evans.

- Would you like me to wait, Inspector?

- No thanks, Sir Herbert, can't do any more tonight.

- By the way, Mr Evans, What made you ask what the Drydens

said when they heard the news?

- Oh, Dryden is so dramatic, even at a tea party,

I wondered how he'd behave in a real situation.

- I see.

Goodnight, Sir Herbert.

- Goodnight.

- Goodnight everybody, goodnight.

- Sorry, Mr Caird.

- Oh that's alright.

I suppose I'm jumpy this evening.

- I saw the light coming through

and thought perhaps you'd forgotten it.

It's well after midnight.

- Oh well.

- Goodnight, Sir. - Goodnight.

- What do you think you're doing?

- I might ask you that question.

- A little detective work.

What's your explanation?

- About the same.

- I've discovered the murderer's gloves.

- How do you know the murderer wore gloves?

- Inside information.

- Really?

- Whose gloves are these?

- Dryden's.

- That's the answer.

- Are you seriously suggesting

it was Dryden who committed the murder?

- I'm convinced of it.

- What about Higgins?

You found the gloves in his cupboard.

- He hasn't the strength to clean out a studio,

let alone murder a man.

You know Joan knew Parsons.

- You leave Mrs Dryden out of it.

- I shouldn't be too anxious to protect the Drydens

if I were you.

What about yourself?

Funny your leaving the control panel

just at that moment wasn't it?

- Just about as funny as that you should

happen to be working here late tonight.

You're not usually so fond of midnight oil.

What were you doing here tonight?

- No, Mr Dryden's ill and can't see anyone.

I tell you: No!

I refuse to be pestered like this.

- A gentleman to see you, Madame.

- Tell him I can't see him.

- Sorry to intrude, Mrs Dryden.

- Oh, it's you.

I thought it was another press man.

- It's your husband I really want to see.

- I'm afraid that's quite impossible.

He's still very ill.

- Oh.

Perhaps you can help me, Mrs Dryden.

Did you know Parsons?

- Merely as a small part actor.

- As an acquaintance, so to speak.

- Yes.

- Mrs Dryden, since last night

I've been making a lot of inquiries

and I understand you and your husband

had a quarrel before the broadcast.

- That's not entirely unknown

between happily married people.

- Then you did have the quarrel?

- Yes.

About a letter I received that irritated my husband.

- Who was the letter from?

- Some unknown admirer.

I don't even know his name.

- Then what about these letters?

Written by you and found in Parson's flat.

- I swear these letters had nothing

to do with the quarrel last night.

- Did your husband know about these?

- No, Inspector, nothing. Do believe me.

I only lied to you because he must never know.

It has no bearing on the case. Please believe that.

- It's probably for me. Do you mind?

Yes, yes speaking.

- There's one of the BBC officials here

to speak to you, Inspector.

- Alright, tell him I'll be over in a few moments.

I'm going back to the yard.

- Inspector, swear you won't

tell my husband about those letters.

- Mrs. Dryden in a case of this kind, it's very difficult

to know what private affairs may have to be disclosed.

Oh, Mr Evans.

Well, what's your news.

- Simply this, Inspector.

I can put you on a short cut.

Leopold Dryden's your man.

- That's a pretty serious accusation Mr. Evans.

- I don't care how serious it is.

Dryden's one of those vain, jealous men

who would commit a murder.

- Jealous of whom?

- His wife. He treats her disgracefully.

She's a great friend of mine. And he isn't.

- So I gather.

I presume your accusation's

based on something more than this.

- It's based on finding these.

In a cupboard used for cleaning materials outside studio 7C.

I broke it open when the studio was deserted.

- Dryden's?

- Anyone who knows him will swear to that.

Caird recognised them at once.

- Caird?

- Yes, he was prowling round.

Fancies himself as a detective, apparently.

- Caird, I see.

That's a very interesting piece of information Mr. Evans.

By the way, there's one point I forgot to ask you.

Did Mr Caird know that you were working

late in your office last night?

- No!

- Thanks very much.

- I may be able to give you more cast iron proof later.

- That's very kind of you. Goodbye for the present.

- The Commissioner wants to see you, Sir.

- I've got a certainty for the first race,

remind me when I come back.

- Hope it's better than yesterday's.

- Evans, my dear old man. What brings you here?

- Very much the same thing that brings you I suppose.

- Well, I don't know what that is.

- Don't you read the papers?

- Yes, but the lunchtime scores aren't out yet.

- There was a murder last night, at Broadcasting House.

And you're suspected.

- What?

- Yes, accused.

- But just a moment, old boy,

tell me, how do you arrive at that?

- I don't.

- But listen, you can't go away and leave

a pal in the shadow of the gallows so to speak.

- They want to question you about your movements

at Broadcasting House. What you saw, et cetera.

- An alibi?

- Yes, have you got one?

- No.

Yes, I have. Yes.

I've got a nice little bit of alibi too.

Oh, but I've forgotten her name.

And I've been paging her all morning.

- That's all right, they won't allow you to see her in jail.

- Jail?

- Good. Now I suppose even you would advise an arrest?

- I don't feel satisfied, Sir.

- Don't you realise we've got to make a move?

This case is creating a lot of interest.

The Home Secretary wants to see me about it today.

- Yes, Sir, but if you'll-

- Now listen to me Gregory.

There are several people without definite alibis,

but there's nothing else against them.

Now Dryden's different.

His is the vaguest alibi.

He quarrelled with his wife immediately before the murder.

And it transpires that his wife

was being blackmailed by Parsons.

The words on the bit of burnt script were "your dear Joan",

which suggests that Parsons was attempting

to blackmail Dryden also.

Now you come along with the discovery of Dryden's gloves,

near the place of the crime.

- Yes Sir.

- Then you agree to an arrest?

- Well, give me a little more time, Sir.

- Why?

- I can't say exactly Sir.

- You're not going to tell me you've got a hunch?

- No Sir, I wasn't, but I'm afraid

that's what it amounts to.

- Then get rid of it.

They're not enrolling men with hunches

in the new police force.

I shall have to have Dryden arrested.

- Let me check up on this new evidence first Sir.

- Of course, you must.

- Then you won't do anything till then?

- I'll try to avoid it for a few hours,

but you must get busy.

- I won't waste a second, Sir.

- You see, radio drama depends almost entirely

upon the proper use of the technique of multiple studios.

These switches control the light cues

in the various studios

and by turning these knobs from left to right

you control the output of each separate independent studio.

You'll see at once, that's the only way a radio

dramatic producer can get aural perspective.

- Yes, yes, I'd hate to contradict you.

Now, what was the light that let you down?

- That one.

- I suppose nobody else could vouch for the fact that it

really was the murdered man's voice

delivering the death speech?

- Mr.Caird, wasn't that play recorded on the Blattnerphone?

'Cause if so, we can hear the dead man's voice

as often as we like.

- I never thought of that.

- I wonder if the murderer did.

Now what is this Blattnerphone exactly?

- It's a steel tape on which we record programmes.

Mostly for empire relay.

- Ah, that's interesting.

Can we hear it now?

- I expect so.

Ridgewell, run down to the Blattnerphone room

and see if they can put it through for us now will you.

And if Mr Fleming's in the building

tell him we'll be in listening hall no. 1.

- The Inspector rang up, Sir,

to say you'll soon be leaving the BBC.

- I'm very glad.

Because I shall be delighted to leave this BB chair.

Is that you? Got the money?

Who are you?

Come out of the shadow. I can't see your face.

You!

Let me go, you're strangling me.

I didn't mean it.

Let me go!

You're strangling me.

Is that you? Got the money?

Who are you?

Come out of the shadow, I can't see your face.

You!

Let me go, you're strangling me.

I didn't mean it.

Let me go, you're strangling me.

- Do you hear that slight tapping sound?

- Yes, what is it?

- That? - Is that you?

- Oh, that's surface noise on the steel tape.

- I don't think so, Mr Caird.

I think it's a watch,

worn either by Parsons, or the murderer.

Let me go, you're strangling me.

I didn't mean it.

Let me go.

You're strangling me.

- Isn't that enough, Gregory?

I can't stand any more.

- Yes, I've been to more cheery parties,

I must say.

- That'll do for the present, Mr Ridgewell.

I'd like a few words with Mr Fleming, if you don't mind.

- Oh, certainly.

Come to my office, when you're through.

- I've not been able to trace the young lady

you spoke of this morning, Sir.

- It's frightfully urgent.

- Yes, Sir?

- Yes, she's got to be my alibi.

- You don't say Sir?

- I do say.

What I've come here for now is to see Inspector Gregory.

- I believe he is with us, Sir.

- Oh good.

- Mr Caird, Mr Bannister would like

to speak to Inspector Gregory.

Boy, will you take this gentleman to Mr Caird's room.

- Right this way.

- You and Mr Caird corroborate each other perfectly.

- Not too perfectly, I hope.

That would be horribly suspicious.

But whoever did it Inspector,

I can assure you we didn't do it together.

I refuse to share a gallows with Julian Caird.

- I just want to make sure of the time and length

of the telephone call.

- I can't be quite certain of that.

Except I remember Julian popped his head in

while I was speaking and murmured something about lights.

Of course you can check that out with the exchange.

- And your brother was discussing your play

which he's managing at Brighton?

- Yes, I think so, all the time.

No, wait a minute, he did mention something about weather

but only with regard to the box-office.

- Thanks.

- But one can't let an alibi slip through one's fingers.

- No.

- Especially when she happens to be

a nice little bit of alibi.

I mean, I know for a fact that at the very time.

I say, old boy, is that necessary?

- You know, I don't know a thing about it.

Why don't you tell Gregory, he's just coming up.

- Yes, why not tell me.

- Well, I was just telling Mr Caird.

I'm looking for an alibi.

Have you got any ideas?

- Are you supposed to be amusing me or yourself?

- No, I'm dead serious.

You don't really suspect me, do you?

- I don't know who you are, but I don't see why I shouldn't.

- I thought you expected him, it's Mr Bannister.

- Oh, Mr Bannister.

I shall have to ask you a few questions.

Will you sit down?

- Yes, certainly, let's both sit down.

- Where were you during the broadcast play last night?

- Round about the building, you know.

- Yes, but at the actual time of the murder

which floor were you on?

- I should think it's fairly safe to say all floors.

- Must have been some special reason

for you to ask for a pass last night.

- How do you arrive at that?

- Mr Bannister, might we have a talk

some other time during the day?

- Certainly.

I'll be able to squeeze you in.

I've got a frightfully busy day in front of me,

because I'm going alibi hunting.

But I'd do anything for you.

I've taken a fancy to you. I like your tie.

- Couldn't stand much more of that before lunch.

I must get him locked up for something, poor fellow.

Where did I leave my hat and coat?

- In the dramatic control room I expect, I'll send for them.

Ridgewell?

Tell Higgins to bring Inspector Gregory's

coat and hat to my office, would you?

Thanks.

- So Higgins didn't do a bunk then?

- No, but he's got the most lovely black eye.

- That was done either by his wife

or the girl in the restaurant.

- So his alibi is genuine?

- Absolutely.

And you should have heard what his wife said to that girl.

- Oh, come in.

- Thanks, Higgins.

- Do you want me any more, Sir?

- Yes. Take your wife to the pictures tonight.

- I'm getting a bit tired of Clark Gable.

I'd rather have a drink instead.

- No, it must be the pictures.

- Very well, Sir. If I must.

- So long, Caird. I'll ring you after lunch.

Right you are.

Cab!

- Here you are, Sir. All about the BBC killer.

Actor bloke done it with his hands.

What's the matter, Sir.

- Gordon Richards on the first winner and I didn't do it.

Victoria, Brighton side.

Quick as you like!

- You know, I can't understand Gregory.

- No, the best detectives can't be understood.

- Yes, but you would have thought he'd have

given us some idea he was going to arrest Leo.

- I say, this is grand news, isn't it?

- Oh, you must know each other.

Mr Fleming, Mr Bannister.

- How'd you do. - How are you.

- Talking about the arrest?

- Yes, I think it's grand.

- It doesn't happen to strike us quite like that.

- It isn't very nice being suspected.

'Cause I did know I hadn't done it. Didn't you?

- You know it's my belief this arrest is just a bluff

to make the real murderer feel more secure.

- Oh, I say! You don't think that do you?

- I certainly do.

- Good Lord!

Well then I must go on looking for my little bit of alibi.

Oh, I say, look. There she is.

Hello, hello, hello!

- Do you mind going away?

- Do I mind?

Do you realise you nearly had my head in a noose?

- I shall call for help.

- You can call for what you like after you've helped me.

Come on.

- But you don't understand.

- Joan dear, we know what you're going through,

but Leo's in no real danger.

- My dear Joan, they always make an arrest.

Just to put the real criminal off his guard.

- Then why choose a man like Leo,

who's so much in the public eye?

That's exactly why.

- Scandalous! It'll probably ruin him.

An unknown person would have caused less sensation

and been sooner forgotten.

- The great thing to impress upon Leo

is that he must tell the truth.

- But he has done, Rodney, so far as he's told anything.

- About the letter from Parsons?

- Not yet, but he will.

If only I hadn't been such a fool as to show it to him,

it wouldn't have been so bad.

- They'll have someone within 24 hours

that none of us ever dreamed of.

Probably somebody who sneaked into Broadcasting House.

After all, Parsons was a professional blackmailer.

You may not be the only victim, Joan.

- Yes, that's true.

- I'm so glad it was you and Julian who called,

and not Evans.

Why Evans?

- He rang up three times today.

Was almost insulting the last time I put him on.

I suppose you hate him. Most people do.

He rather interested me once.

- What's he coming here for?

- I don't know. I wish he wouldn't.

- I'll put him off.

If that's Evans, I'll deal with him.

- Cue for hero to rescue oppressed heroine.

Go ahead Julian, do your stuff.

- Right you are.

Hello Evans, anything I can do?

- No, I called to see Mrs Dryden.

- She's had a bit of a shock, you know.

- And she's glad to see you and doesn't want to see me?

- I was only trying to give you a hint.

Of course if you won't take it.

But the truth is, she's too tired to see anyone

and asked me to tell you so.

- Too tired with that row going on?

What do you take me for, a perfect fool?

- There are very few perfect things in life.

Oh don't be absurd.

We can't have a fight on her doorstep.

- No. Of course if she can stand a party,

and can't even see me.

- Oh, it's not a party, Evans.

It's only Rodney Fleming.

- Fleming?

- Yes, there's nothing like music

for driving out the devils of depression.

- Oh, alright, Caird. You win.

- I'm coming your way.

- Not asleep yet?

- I don't feel as if I shall ever sleep again, Rodney.

- Anyone would think that your innocent husband

were on the gallows instead of being dramatic

in a nice, comfortable jail.

Personally I think it will do him good.

- Oh, Rodney!

- I wish to goodness I hadn't had that telephone call.

- You ought to thank heaven

you've got such a cast-iron alibi.

- They might have arrested me and spared you all this worry.

Besides it would bring good publicity.

- It wouldn't have spared me much.

- Joan, do you, do you mean that?

- Do you imagine it's essential for my happiness

to have my husband or a friend suspected of murder?

- Sorry to have taken up so much of your time, Mr Fleming.

- That's alright, Inspector.

I'm sorry I can't give you the exact time I rang up.

I suppose you can accept the time

given by the exchange in these cases.

It was certainly a six minute call.

- Yes, that's alright.

This line of inquiry hasn't produced much I'm afraid.

Still one has to keep following things up.

- Would you like this copy of the new script

that I discussed with my brother on the telephone?

- Yes thanks.

Something to read on the train.

- By the way, you didn't hear any winners

on the way down, did you?

- What?

- You didn't hear any winners on the way down?

- No, no. Never touch them.

- Oh, sorry. - Goodbye Mr Fleming,

- Goodbye Inspector.

- Usual to knock before you come into a room, Gregory.

- Sorry, Sir.

- You're not going to tell me again I was premature

in arresting Dryden?

- No, Sir. - Good.

- But I still think there's insufficient evidence.

- Oh, I see.

You're not going to tell me,

you're just going to let me know.

Where have you been since we last talked?

- Brighton, Sir.

- Racing?

- Checked up on the telephone call.

- Anything transpired.

- No, Sir. Fleming's alibi is cast-iron.

- What are you going to do now?

Call in a clairvoyant?

- Well, that's certainly an idea, Sir.

Because the more I think about this case

the more worried I am.

- What is going on in your mind?

- Well, there's a thing at Broadcasting House

called a Blattnerphone. It records on a steel tape

and it's possible to hear the man Parsons

murdered as often as you like.

- Well, you can't arrest this Blattner,

whatever you call it.

- No, Sir, but it might arrest the murderer.

- What do you want?

- Permission to have a reconstruction of the crime

with all the suspects.

- Suspects?

- Well, people who have been questioned.

- It's unusual at this stage.

- It's unusual to have an opportunity of this kind Sir.

Let me try it.

- Alright. When?

- Tonight.

- Well, you'd better do it at once,

and as quietly as possible.

You may not mind being laughed at, but I do.

- Naturally, Sir.

- Alright. I'll arrange at once to have all the susp,

People you mentioned there. - Thank you, Sir.

- Get me the BBC.

- Anything new?

- Gordon Richards did win.

- Do you realise we've got a murder case on?

- Yes, Sir.

Dryden's arrest appears to have stopped

the clue enthusiasts.

- The arrest seems to have gummed up the whole works.

- I've just been combing out the other suspects again.

- Suspects?

Evidence, man, evidence.

- Sorry, Sir.

By the way, Bannister's outside with a girl.

Wants to see you.

- Found his alibi, has he.

I suppose I better see him.

Some people won't be convinced we don't suspect them.

- Hello, Mr Gregory. I've got it, I've got it.

- That's very likely I should think.

- How do you do?

- Oh, dear, I don't know what all this is about.

- Now, let me see, Miss um?

- Levine, Poppy Levine.

Now then, tell the gentleman all you know about me.

- There's nothing to tell.

- There's nothing to be afraid on, Miss Levine.

Mr Bannister tells me that you were

talking to him at the time of the murder.

- But I don't know the time of the murder.

- Oh, I say, be fair.

Haven't I tried to drum it into you?

- This is chiefly for Mr Bannister's satisfaction

Miss Levine. Do you mind answering a few questions.

- Alright.

- Where did you first meet Mr Bannister?

- Well, really.

- Go on, Poppy.

Mr Gregory won't think you're being rude.

- On the sub-basement floor.

- How do you arrive at that?

- Did you meet him again later on?

- Yes. - When?

- The time of the murder.

I forget what time it said.

- Well, I don't think there's any need

to bother either of you any further.

Miss Levine can leave her address

at the office as she goes.

- Oh, I've got that.

And I've booked a room there myself as well.

- Good. Well, thank you very much, Miss Levine.

- Thank you, constable.

- No, no, no.

- I told Mr Bannister it was no good my coming.

Anyway, why should I try to find the murderer

of a little rat like Parsons?

- Just a minute, Miss Levine.

- What now?

- You knew Parsons?

- Only slightly.

- When and where?

- In the touring company, years ago.

- You know, you're undoing all the good

you've done by exaggerating.

- What was the company?

- Oh, dear, I don't know.

- Come now, you must remember the play.

- I think it was called "We're on the Rocks"

If it wasn't called that, it certainly should have been.

- Who was in the company besides Parsons?

- That's what struck me as being so funny.

Mrs Dryden was.

Of course she wasn't Mrs Dryden then.

- How was she in the company?

- Before she was married, soft pate.

- Oh yes, of course.

I always forget these old English customs.

Was she a friend of Parsons?

- Oh Lord, no. Nobody was.

She was supposed to be a bit gone

on another fellow in the cast.

- Dryden?

Oh, no, of course not.

He couldn't be Mr. Dryden then. He was married before.

- Can I go now please, sergeant, Mister?

- Yes, leave your address in the office would you.

- Shall I leave mine?

- No, just leave.

See that kid leaves her address in the office.

I'm going to see Mrs Dryden again,

before I go to Broadcasting House.

- I resented being turned away by Caird.

Especially when Fleming was here.

Neither of them are my sort.

- Perhaps it's because they're not

that I prefer having them here at a time like this.

- How can you say that?

When you know I'd do anything to help you.

- At the moment, Herbert, the one thing

I want you to do is to leave me alone, please.

- Inspector Gregory, Madam.

- Afternoon, Mrs Dryden.

Oh, good afternoon, Mr Evans.

- I must go Joan.

A crowd would be even more trying.

- Sorry to but in, Mr Evans.

Did you get a message from the Yard?

- Yes. Can I help you further?

- I'm organising a reconstruction of the crime tonight

and I'd like you to be present.

- I think it's preposterous.

- Why? Something may come of it.

- I didn't know these methods were allowed.

- Well, you know now.

- There's no need to be offensive, Inspector.

- I'm not going to be.

But I may be, if you're not there.

- Well, I'll think about it.

Good afternoon, Joan.

- Mrs, Dryden, would it be troubling you

to come to Broadcasting House?

- Have I any choice in the matter?

- Oh, believe me, I'm doing all I can.

I've just called in case you may have remembered something

that may help your husband.

- Yes, you've just come as an old friend, I'm sure.

- A lady wants to speak to you on the telephone, Madam.

- What name?

- She wouldn't say, Madam.

- Poppy Levine for a quid.

- Put the call through to the other room.

I won't be a moment.

- I thought I'd better ring you up and let you know.

I hope I haven't done anything out of place.

You know what Scotland Yard is.

It's ever so difficult to keep a secret.

- Well, have these plans given you any idea

of the geography of Broadcasting House?

- No, Sir.

- Good, I thought not.

Anyway, there'll be May, myself and the two fellows

up in the studio with Dryden.

Your chief job will be to stay down

and see that all the entrances are guarded.

- If he makes a bolt for it, what?

- When did you come down from Oxford?

- Two years ago.

- Good, put him in charge of a locked door.

Come on, let's scramble.

- Everything all set, Inspector?

- Yes, I think so. Oh, one thing.

You've arranged with Mr Ridgewell, your assistant,

to be up at the control panel

to show me the various signals.

- Yes, I've just left him there.

- As a matter of form, I think you'd better give

Herr Weiskopf your watch.

- Oh, very well.

- I say, you know it really is a bit thick.

You've ruined my theatre party.

Do get a move on. I simply must see the last act.

- You may get quite a good one here.

Do you mind giving Herr Weiskopf your wristwatch?

- Oh, Uncle, how much do you give me on this?

- This is outrageous.

These are not decent police methods.

- That's for me to decide, Mr Evans.

May I have your wristwatch please?

- Leo, old chap.

- Mr Dryden's watch, Sir.

- I say, this is most desperately serious.

Come on, don't be frightened.

I'm taking Miss on a honeymoon tomorrow.

- Do you mind if I have your watches, please?

- But she hasn't got a watch Inspector.

- But I shall have one tomorrow night, and how!

- Leo!

I didn't know you'd be here.

- My dear, I'm sorry you have to be.

- Well, we're all here. Can't we get on?

- Yes, I should think so.

First of all I'll introduce Mr Weiskopf,

who's from Switzerland.

- Good old winter sport.

- Mr Weiskopf probably knows

more about watches than anybody.

As most of you know, the broadcast play during which

the murder took place was recorded on a steel tape.

There was also recorded a tapping sound

which might be the ticking of a watch.

I propose to let Mr Weiskopf hear each of your watches

in turn through this microphone,

which is the one Parsons used.

Is anything wrong with your watch, Mr Evans?

- No, I don't think so.

- Perhaps it needed winding.

Yes, seems to be going now.

We're going up to the control panel,

when I switch on the signal light

the detective here will hold each watch

in turn up to the microphone. Come on.

Show me the switch, Mr Ridgewell.

- This one, Sir.

- Thank you.

- Number one watch.

Number two watch.

Number three watch.

- I pulled off a double today.

- I got a certainty and forgot to back it.

I don't know how you do it.

- Well, just you have a look at this.

Number five watch.

- I say, don't you want to hear these watches?

No, not particularly. - Number one watch.

- Well it's no business of mine,

but isn't it playing it a bit low down?

- Don't you worry Ridgewell, I know what I'm doing.

If I can get them sufficiently rattled down there,

I can get the proof that I want.

Number four watch.

- That's a good make-up, May.

- Yes, whiskers are always safe.

To an Englishman they mean foreigner.

- Sir, do you want to hear them again?

- No, I'll come down.

- Well, I've never heard watches tick better.

- You know, you're not looking too good, old boy.

I should sit down if I were you.

- Well, what's the next trick?

- Well, the test's been very successful.

Mr Weiskopf's identified the watch worn by the murderer.

- Identified it?

- Well that lets me out because I was wearing

my Ingersoll on the night of the murder.

- With Mr Weiskopf's help I'm going to show you

how the crime was committed.

I shall impersonate the murderer,

Mr Weiskopf here will be the murdered man.

That is the actual script held by Parsons.

Mr Caird, will you go through your actions

exactly as you did on the night of the murder?

Mr Ridgewell on the panel will work the light

which gives the signal for the death speech.

These curtains were drawn on the night of the murder

but now you can see exactly what happened in the corridor.

As I'm impersonating the murderer you'll find me exactly

where he went after he committed the crime.

Ready, Mr Caird?

Yes.

- Right, then go ahead.

Leave the room as you did on the night of the murder.

- Is that you? Got the money?

Who are you?

Come out of the shadow.

I can't see your face.

- From the marks on the body I should imagine

the murderer came up from behind.

And gripping him by the throat forced him

to the ground and quietly strangled him.

I say, would you mind lying down, old man.

Parsons was a weak sort of fellow,

so there'd hardly be any struggle.

He then goes quickly through his pockets

and finds Dryden's gloves which Parsons had probably stolen.

Now watch what the murderer did.

He bends over and picks up the script

which is lying beside Parsons and finds on the back

a message referring to Mrs Dryden.

You will find me where the murderer went

after attempting to destroy this incriminating evidence.

- Now, ladies and gentlemen, you will follow in this order.

Mr Fleming, Mr Evans, Mrs Dryden, Mr Dryden,

Mr Bannister, Miss Levine.

- Well thank goodness we can smoke out here, anyway.

- Ooh.

- Mr Fleming, I propose to put you under arrest

for the murder of Sydney Parsons.

- What? You can't do that.

I've got a perfectly good alibi.

- Extremely ingenious one.

A six minute telephone call during which

only your brother spoke, as he was reading

a re-written scene to you out of your play.

- That's very ingenious of you.

Perhaps you'd explain exactly why

I should want to murder him.

- You murdered him because he was blackmailing

not only Mrs Dryden but he was blackmailing you.

The letter on the back of the script

was meant for you, not Dryden.

He was bleeding you separately and for the same thing.

A liaison that existed between you and your dear Joan,

Mrs Dryden, when you were on tour some years ago

in a play called "We're on the Rocks..."

Perhaps this may help you.

You were acting under another name,

- I don't want to hurt anybody,

unless perhaps it's you Evans.

Leo, you've been a great friend of mine

and so have you Julian.

And for a Detective Inspector, you're not so bad.

But I'm not leaving this building with handcuffs on.

Now the first one of you who moves forward,

I'm going to shoot and I'm going to shoot him dead.

- Come on, after him!

Look out.

Come on after him.

- Don't move!

Where does this staircase go to?

Upstairs, where do you think.

- Rodney, don't go in there! Rodney!

Don't touch, it's certain death.

- It is.

- We're apologising to listeners for a few moments delay,

owing to a technical hitch.

This is the National Programme.

Tonight we present the variety programme,

which was heard by listeners

on the London Regional wavelength last night.