Mrs. POSTAL. Yes; and when the sirens went by he had a panicked look on
his face, and he ducked in.
Mr. BALL. Now, as the car went by, you say the man ducked in, had you
seen him before the car went by, the police went by?
Mrs. POSTAL. No, sir; I was looking up, as I say, when the cars passed,
as you know, they make a tremendous noise, and he ducked in as my boss
went that way to get in his car.
Mr. BALL. Who is your boss?
Mrs. POSTAL. Mr. John A. Callahan.
Mr. BALL. Where did you say he was?
Mrs. POSTAL. Yes; I say, they bypassed each other, actually, the man
ducked in this way and my employer went that-a-way, to get in his car.
Mr. BALL. When you say "ducked in," you mean he entered the door from
the street?
Mrs. POSTAL. No, sir; just ducked into the other--into the outer part
of it.
Mr. BALL. I see, out in the open space?
Mrs. POSTAL. Yes, sir; just right around the corner.
Mr. BALL. Just right around the corner?
Mrs. POSTAL. Yes.
Mr. BALL. And your boss passed him, did he?
Mrs. POSTAL. Yes; they went--one came one way, and one went the other
way just at the same time.
Mr. BALL. What did you see him do after he came around the corner?
Mrs. POSTAL. Well, I didn't actually--because I stepped out of the box
office and went to the front and was facing west. I was right at the
box office facing west, because I thought the police were stopping up
quite a ways. Well, just as I turned around then Johnny Brewer was
standing there and he asked me if the fellow that ducked in bought
a ticket, and I said, "No; by golly, he didn't," and turned around
expecting to see him.
Mr. BALL. And he had ducked in?
Mrs. POSTAL. And Mr. Brewer said he had been ducking in at his place of
business, and he had gone by me, because I was facing west, and I said,
"Go in and see if you can see him," it isn't too much people in there.
So, he came and says, well, he didn't see him, and I says, "Well, he
has to be there." So I told him to go back and check--we have exit
doors, behind--one behind the stage and one straight through, and asked
him to check them, check the lounges because I knew he was in there.
Well, he just had to be.
Mr. BALL. The last time you had seen him before he ducked in, he was
just standing outside of the door, was he?
Mrs. POSTAL. No, sir; he was still just in--just off of the sidewalk,
and he headed for the theatre.
Mr. BALL. Were the doors of the theatre open?
Mrs. POSTAL. No, sir.
Mr. BALL. It was closed?
Mrs. POSTAL. It was closed.
Mr. BALL. And you didn't see him actually enter the theatre then?
Mrs. POSTAL. No, sir.
Mr. BALL. You hadn't seen him go by you?
Mrs. POSTAL. I knew he didn't go by me, because I was facing west, and
Johnny, he had come up from east which meant he didn't go back that
way. He had come from east going west.
Mr. BALL. All right, now what happened after that?
Mrs. POSTAL. Well, I, like--I told him--asked him to check everything.
Mr. BALL. Did you ask Butch Burroughs if he had seen him?
Mrs. POSTAL. No, sir; I told Johnny this, don't tell him, because he
is an excitable person, and just have him, you know, go with you and
examine the exits and check real good, so, he came back and said he
hadn't seen anything although, he had heard a seat pop up like somebody
getting out, but there was nobody around that area, so, I told Johnny
about the fact that the President had been assassinated. "I don't know
if this is the man they want," I said, "in there, but he is running
from them for some reason," and I said "I am going to call the police,
and you and Butch go get on each of the exit doors and stay there."
So, well, I called the police, and he wanted to know why I thought it
was their man, and I said, "Well, I didn't know," and he said, "Well,
it fits the description," and I have not--I said I hadn't heard the
description. All I know is, "This man is running from them for some
reason." And he wanted to know why, and told him because everytime the
sirens go by he would duck and he wanted to know--well, if he fits the
description is what he says. I said, "Let me tell you what he looks
like and you take it from there." And explained that he had on this
brown sports shirt and I couldn't tell you what design it was, and
medium height, ruddy looking to me, and he said, "Thank you," and I
called the operator and asked him to look through the little hole and
see if he could see anything and told him I had called the police, and
what was happening, and he wanted to know if I wanted him to cut the
picture off, and I says, "No, let's wait until they get here." So,
seemed like I hung up the intercom phone when here all of a sudden,
police cars, policemen, plainclothesmen, I never saw so many people
in my life. And they raced in, and the next thing I knew, they were
carrying--well, that is when I first heard Officer Tippit had been shot
because some officer came in the box office and used the phone, said,
"I think we have got our man on both accounts." "What two accounts?"
And said, "Well, Officer Tippit's," shocked me, because Officer Tippit
used to work part time for us years ago. I didn't know him personally.
Mr. BALL. You mean he guarded the theatre?
Mrs. POSTAL. On Friday nights and Saturdays, canvass the theatre, you
know, and that--then they were bringing Oswald out the door over there
and----
Mr. BALL. Well, now, was this before they had gone into the theatre
that this officer used the phone?
Mrs. POSTAL. No, sir.
Mr. BALL. It was after?
Mrs. POSTAL. There was not one man walked through this theatre. They
were running.
Mr. BALL. Did the officers go in the front of the theatre?
Mrs. POSTAL. Yes. Definitely.
Mr. BALL. Did you go in?
Mrs. POSTAL. No, sir; I stayed at the box office.
Mr. BALL. You didn't see anything that happened inside?
Mrs. POSTAL. No, sir.
Mr. BALL. Did you see them bring a man out?
Mrs. POSTAL. Yes, sir.
Mr. BALL. How many men had hold of him?
Mrs. POSTAL. Well, I--like I said, the public was getting there at that
time, and the streets, sidewalk and around the streets and everything
and they brought him out the double doors here [indicating]. I
remember, the officer had his hands behind him with his chin back like
this [indicating] because I understand he had been using some profuse
(sic) language which--inside. I'd say four or five.
Mr. BALL. Was he handcuffed?
Mrs. POSTAL. I don't know, sir, because the officers were all around
him and from the rear there and his hands were to his back.
Mr. BALL. They were?
Mrs. POSTAL. Uh-huh.
Mr. BALL. And an officer had hold of him from the side?
Mrs. POSTAL. Yes, sir; this way.
Mr. BALL. With his arm underneath his chin?
Mrs. POSTAL. Yes, sir.
Mr. BALL. Did he have any bruises or cuts? Did Oswald have any bruises
or cuts on his face?
Mrs. POSTAL. No.
Mr. BALL. You didn't see any?
Mrs. POSTAL. No; huh-uh.
Mr. BALL. Was he saying anything?
Mrs. POSTAL. No, sir; as I said, that was my understanding, that is the
reason that they had him like that, because he was screaming.
Mr. BALL. But, you didn't hear him say anything?
Mrs. POSTAL. No, sir. He couldn't possibly say anything the way they
had him.
Mr. BALL. What happened then?
Mrs. POSTAL. That is when I really started shaking. I had never seen a
live mob scene, that----