- 12 years ago
Comedy / Drama (1943) 68 minutes ~ Black & White
Feature:
A dark night in war time, with several black-outs, it's just a night for murder. Susan Cooper, a fast-talking girl reporter, doubles as amateur sleuth solving yet another mystery among Hollywood's famous.
Director: Alexis Thurn-Taxis
Writers: Jimmy Starr (story), Arthur St. Claire (screenplay)
Stars: Glenda Farrell, Lyle Talbot, Ralph Sanford
Feature:
A dark night in war time, with several black-outs, it's just a night for murder. Susan Cooper, a fast-talking girl reporter, doubles as amateur sleuth solving yet another mystery among Hollywood's famous.
Director: Alexis Thurn-Taxis
Writers: Jimmy Starr (story), Arthur St. Claire (screenplay)
Stars: Glenda Farrell, Lyle Talbot, Ralph Sanford
Category
🎥
Short filmTranscript
00:00:00I'm going to have to go back to my office and get some more books.
00:00:02I'm going to have to go back to my office and get some more books.
00:00:04I'm going to have to go back to my office and get some more books.
00:00:06I'm going to have to go back to my office and get some more books.
00:00:08I'm going to have to go back to my office and get some more books.
00:00:10I'm going to have to go back to my office and get some more books.
00:00:12I'm going to have to go back to my office and get some more books.
00:00:14I'm going to have to go back to my office and get some more books.
00:00:16I'm going to have to go back to my office and get some more books.
00:00:18I'm going to have to go back to my office and get some more books.
00:00:20I'm going to have to go back to my office and get some more books.
00:00:22.
00:00:49The order of the fourth interceptor command work is leaving the air to return when the blackout is over.
00:00:55The order of the fourth interceptor command work is leaving the air to return when the blackout is over.
00:01:18How about letting me out of here, Pop?
00:01:19Okay, Mr. Powell, but I wouldn't try driving through the blackout.
00:01:21Oh, don't worry. I'll be where I will have the streetlights are out.
00:01:24Good night, Pop.
00:01:25Good night.
00:01:38Who is it?
00:01:39I could answer that, but it would only lead to bloodshed.
00:01:45Oh, Lady Macbeth, I do believe.
00:01:48You do all your calling in blackouts.
00:01:50How do you like it?
00:01:51Arranged it all by myself.
00:01:53The biggest publicity stunt since Munich.
00:01:55Couldn't you arrange for the Army to have a searchlight sell out motion picture associates?
00:01:59Oh, sure, in Technicolor.
00:02:01Well, come on in.
00:02:02Be careful not to break your neck.
00:02:03I do, it's in the period.
00:02:10Did you come from your office or from a ballroom?
00:02:14It serves you right, Susan, for being so glamorous, so gorgeous.
00:02:18Every time I look at you, things just go black.
00:02:21Yes, I know, with little pink elephants in the background.
00:02:23Oh, get up. You look silly.
00:02:24Now, just a moment.
00:02:25As long as I'm in this position, I might as well take advantage of the situation and propose to you
00:02:29the most beautiful, the most gorgeous...
00:02:31They ought to ration that soft soap as well as sugar.
00:02:34Susan, Susan, will you?
00:02:38Saved by the bell.
00:02:41Hello?
00:02:42What's the use?
00:02:43I thought you might be a little romantic by candlelight, but it might as well blow it out.
00:02:47Oh, yes.
00:02:48Just a minute.
00:02:49Here, it's for you.
00:02:50It's from the studio.
00:02:51Who is it?
00:02:52Who else would it be but Ham Hart?
00:02:53He might hear you.
00:02:55How come he knew I was here?
00:02:57That is the mystery.
00:02:58He's only been calling you here for the last seven years.
00:03:01Hello?
00:03:03It's Hart.
00:03:04Yeah, that's a surprise.
00:03:05What's cooking, Mr. Hart?
00:03:08Yeah?
00:03:10Is that so?
00:03:13Mona Harrison didn't show up on the set tonight, and they can't locate her.
00:03:16In a long time.
00:03:17Hope it's not just an ugly rumor.
00:03:20Oh, have a heart, Hart.
00:03:22I mean, Mr. Hart.
00:03:25Listen, it's tough enough to have to write that stuff about her without having to play bodyguard, too.
00:03:32Well, of course, if you put it that way, Mr. Hart.
00:03:36But it'll go on the expense account.
00:03:39Okay, Mr. Hart.
00:03:41Yes, I will, Mr. Hart.
00:03:44Yes, Mr. Hart.
00:03:47Yes, Mr. Hart.
00:03:50No, Mr. Hart.
00:03:52Hey, you better get some fresh air.
00:03:54What for?
00:03:55You actually said no to him for once.
00:03:57Are you sure you're well?
00:03:58No, I'm sick.
00:03:59I got a person, dame.
00:04:02Well, at least we can do our nightclubbing on the studio expense account.
00:04:05You're not dragging me out to look for Mona Harrison.
00:04:07I'm afraid we might find her.
00:04:08Besides, there might be another blackout.
00:04:11You mean there is another blackout?
00:04:20Well, that's strange.
00:04:21Lights are going on all over Hollywood.
00:04:23You and the civilian defense better get together.
00:04:26Hey, maybe I forgot to pay my rent.
00:04:32A ventriloquist, huh?
00:04:34Say, you been rehearsing with Charlie McCarty?
00:04:36That was the real thing, Joe.
00:04:38Yeah?
00:04:39It sounded like it came from across the hall.
00:04:41Maybe we better go see what it is.
00:04:55Sounded like it came from there.
00:04:57And that's Ellen Smith's apartment.
00:04:58It is?
00:04:59Well, let's see what's going on.
00:05:21It's Ellen.
00:05:24She's dead.
00:05:26Looks like she's been strangled.
00:05:32This is the apartment.
00:05:34Oh!
00:05:35Oh!
00:05:36Something really is wrong up here.
00:05:39Well, if it ain't my old friend Susan Cooper.
00:05:47Just because I solved that swimming pool murder for you, Hoffman,
00:05:50that doesn't make us friends.
00:05:51Who said you solved it?
00:05:52District attorney, remember?
00:05:54I don't remember nothing.
00:05:55Well, I'm glad to hear you admit it.
00:05:57Say, how did you get on the scene of the crime so fast?
00:06:00Or did you commit it?
00:06:01What happened?
00:06:02Why don't you look around, Hoffman?
00:06:03Maybe you came to the wrong house.
00:06:05Oh, so you're in on this, too.
00:06:07Where's the body?
00:06:12Don't nobody go away.
00:06:13You're all suspects.
00:06:19Do you, uh, know anything about this?
00:06:22The switchboard light flashed on Hoffman,
00:06:24and the Smith asked for a line.
00:06:26Well, I didn't think anything about it, so I gave her one.
00:06:30But I didn't expect for a minute she would call the police.
00:06:33Would you?
00:06:34The Smith called the police?
00:06:35Yeah.
00:06:36And just then, somebody grabbed me from behind and covered my eyes.
00:06:42And when he let go, the whole place was dark.
00:06:46Did you say he?
00:06:47Well, I don't know for sure.
00:06:51Hey, that girl is dead.
00:06:53Hoffman, you figured that out all by yourself.
00:06:57And that phone is off the hook.
00:06:59Come on, start talking.
00:07:01Somebody done it.
00:07:02The man's a genius.
00:07:03That's what the chief told me this morning.
00:07:05Don't change the subject.
00:07:07What happened here?
00:07:10When the blackout was over, the light suddenly went out again.
00:07:14Miss Cooper and I heard a scream.
00:07:16We came in here and found Miss Smith just as you see her.
00:07:19What's Miss Smith got to do with it?
00:07:21Nothing, nothing at all, Hoffman.
00:07:23She just happens to be the victim.
00:07:25Smith, so that was her name.
00:07:26I told you that downstairs.
00:07:29I thought the name sounded familiar.
00:07:31Hoffman, you may need Mr. Powell.
00:07:33I can solve this without any help from you.
00:07:36But you can't go, not yet.
00:07:38I got to ask some questions.
00:07:40Now, here's how I got it figured, see?
00:07:42She was in here getting ready to go out.
00:07:44Somebody snuck in and tried to rob her.
00:07:46She tried to call the police.
00:07:48They got scared and murdered.
00:07:49It's an open and shut case.
00:07:51Dear, it's a cinch.
00:07:52All you have to do is prove it.
00:07:53I'll prove it, don't worry.
00:07:55Riggs, call headquarters and tell them to send over some help.
00:07:58Okay, get back to your switchboard.
00:08:03And as for you...
00:08:05Yes, teacher.
00:08:06You go to your apartment and stay there until I call you.
00:08:18Don't look now, but we're being shadowed.
00:08:20Don't tell me it's the gorilla.
00:08:22Oh, cut out the wisecracks, you two.
00:08:24Maybe you don't realize it, but you're in a jam.
00:08:27Hmm.
00:08:28This is beginning to make sense.
00:08:30This is going to be good.
00:08:32Why did you do it?
00:08:34Why did I do what?
00:08:35You can't squirm out of it playing innocent.
00:08:37You lured the poor kid in here and got into a fight.
00:08:40Then you two strangled her and drug her across the hall.
00:08:42It's an open and shut case.
00:08:43Well, you omitted one thing, Hoffman.
00:08:45You forgot to say that we called you
00:08:47while the body was still warm.
00:08:48I'll figure that out, too.
00:08:50And when I do, it'll mean the hot seat.
00:08:52Come on, Susan.
00:08:53Where do you think you're going?
00:08:55We're going out and paint the town red,
00:08:57and then we're going to sign a confession.
00:08:58You can't do that.
00:08:59You don't want a confession?
00:09:01Any confession obtained under the influence of alcohol ain't legal.
00:09:05Why quibble?
00:09:07Well, come on, Susan, let's go.
00:09:12See you again, I'm afraid.
00:09:18Good night.
00:09:25Oh, Frederick.
00:09:26Yes, sir.
00:09:28Has Mona Harrison been here tonight?
00:09:30I'm sorry, Mr. Powell, not tonight.
00:09:32You mean she hasn't been here at all?
00:09:34No, ma'am.
00:09:35Well, if she does show up, will you tell her to get in touch with the studio right away?
00:09:38I'm sorry, sir, but Miss Harrison hasn't been in for several evenings.
00:09:41Oh, am I relieved.
00:09:43Look under the table, Freddie.
00:09:44That's where she usually winds up.
00:09:46And be sure to look in the vacuum cleaners in the morning.
00:09:48Certainly, sir.
00:09:55Good evening, Miss Cooper, Mr. Powell.
00:09:57Good evening, Lewis.
00:09:58Right this way.
00:09:59Oh, no, Lewis, we're on business tonight.
00:10:01We're slumming for Mona Harrison.
00:10:03Mona Harrison?
00:10:04Then you haven't heard?
00:10:06Oh, everything about her, except where she's hiding.
00:10:08No, no, I mean the paper.
00:10:10I just bought one.
00:10:11One moment.
00:10:12I'll show you what's in it.
00:10:14Well, what do you suppose she's done now?
00:10:20Here, look at this.
00:10:44Has Joe Powell called in yet?
00:10:46No.
00:10:47Shall I try it?
00:10:48Yes, of course.
00:10:49I want you to keep trying.
00:10:50Yes, Mr. Hart.
00:10:51What's the matter with him?
00:10:52Where is that guy?
00:10:53Don't worry.
00:10:54He'll show up.
00:10:55He always does.
00:11:00Come in.
00:11:01Come in.
00:11:02Well, it's time I heard from you.
00:11:04Now, just a minute, Mr. Hart.
00:11:05I'll do the talking.
00:11:06What's the idea of pulling a corny publicity stunt like this?
00:11:08Either I'm your publicity director, or you're going to tell me what to do.
00:11:12Either I'm your publicity director, or I'm not.
00:11:14OK, you're not.
00:11:15No, no, no, wait a minute, Mr. Hart.
00:11:16You can't do this to me.
00:11:17I got a contract.
00:11:18It's got some clauses in it.
00:11:19Joe's right, Mr. Hart.
00:11:20After all, you're only the producer.
00:11:21Oh, I'm sorry.
00:11:23I'm all upset, I guess.
00:11:25It looks as though Mona's run out on the picture.
00:11:28Even Mona wouldn't do a dirty trick like that.
00:11:31Not with a picture still unfinished.
00:11:33I've got $300,000 sunk in that office.
00:11:35A lot of difference that makes to her.
00:11:37Well, can't you finish the picture?
00:11:38No, the scenes I need are those of her.
00:11:41The picture means a lot to me.
00:11:42If it's a failure, I don't know whether...
00:11:45Hiya.
00:11:46This way, Chief.
00:11:49Sorry to intrude, Mr. Hart, but your call sounded so urgent
00:11:52that I decided to get on the case myself.
00:11:54That's very nice of you, Mr. Williams.
00:11:56Oh, uh, Miss Cooper, Miss Lynn, Mr. Powell.
00:11:59Hello, Chief.
00:12:00I know Miss Cooper.
00:12:01Sure, you know her, Chief.
00:12:02She gummed up that left-in-robbery case from Pittsburgh.
00:12:04Well, you may call it gummed up, but I'd say that she solved it perfectly.
00:12:08It was a nice bit of work, Miss Cooper.
00:12:10Well, where's the...
00:12:11He wants two bodies and one knife.
00:12:12Oh, Thursday Hoffman.
00:12:14Are you two at it now?
00:12:16Someday I'm going to book both of you for disturbing the peace.
00:12:19That's okay by me, providing you execute him.
00:12:23May we all sit down, Mr. Hart?
00:12:24Yes, of course.
00:12:31I thought you might know something about Ellen Smith
00:12:33who was murdered earlier this evening.
00:12:35Oh, then you didn't come about Mona Harrison.
00:12:38I imagine she'll show up when she has enough publicity out of this.
00:12:41Oh, yes, of course, you're right.
00:12:43I was a little worried, though.
00:12:46I learned this Smith girl has been working on this lot lately as an extra.
00:12:51I thought I might pick up something on which to hinge my investigation.
00:12:55I told you, Chief, it's an open and shut case.
00:13:01Ellen Smith.
00:13:03Let me think.
00:13:04Take a look at this.
00:13:05Why, yes, I've seen Miss Smith before.
00:13:08What Mr. Hart means is that Ellen Smith was a guest at Mona Harrison's dinner party last night.
00:13:13Of course, we didn't have anything to eat or drink,
00:13:15but we all had a splendid opportunity to tell Mona exactly what we thought of her.
00:13:19I knew it the minute I saw you and him.
00:13:22They were in the room with the body, Chief.
00:13:24What do you mean, in it?
00:13:25We put it there.
00:13:26Who else was at this party?
00:13:27Well, all of us here, and Ellen Smith, and Mona, of course.
00:13:31Anybody else?
00:13:32Mona's servants.
00:13:33How many servants?
00:13:34She had three.
00:13:35A chauffeur, a maid, and a cook.
00:13:37That's the last I've seen of Mona.
00:13:39Well, the last we saw of Ellen Smith until this evening.
00:13:42And today, Ellen Smith is murdered and Mona Harrison disappears.
00:13:51That gives the case an entirely different complexion.
00:13:54It's just like I figure it, Chief.
00:13:56I know.
00:13:57Open and shut case.
00:13:58Just another robbery.
00:14:00I think we'd all better meet Miss Harrison's apartment an hour from now.
00:14:03Maybe we can find out what happened last night.
00:14:07I'm dead tired to go home and take a shower and change my clothes.
00:14:10I think I'll try that, too.
00:14:12Let's meet at Lyman's for some coffee before we start this inquisition.
00:14:15Mr. Hart, will you and Carol meet us there?
00:14:17Oh, I'd love to.
00:14:19We'll be there.
00:14:20Hey, what's cooking here?
00:14:22Oh, Hoffman, I want you to round up all of Miss Harrison's servants
00:14:25and have them present tonight.
00:14:27Sure, Chief.
00:14:28Check, Chief.
00:14:29Don't forget.
00:14:30All of you.
00:14:31Twelve o'clock.
00:14:44Everyone's here but Hoffman.
00:14:46Oh, he's probably out rounding up clues on a great train robbery.
00:14:49Hoffman!
00:14:53Well, here I am, Chief.
00:14:54Right on the dot.
00:14:55Just like you said.
00:14:57Sit down.
00:15:02What's your name?
00:15:03Alice Jones, sir.
00:15:05I'm the cook.
00:15:06At least I was the cook.
00:15:07What do you mean by that?
00:15:08Well, I handed in my resignation just before dinner last night.
00:15:12Were you in the habit of resigning before each meal, Alice?
00:15:14No, sir.
00:15:15I worked for the same family for 15 years.
00:15:18Well, suppose you tell us in your own words just what happened.
00:15:21Well, sir, me and my niece Louise.
00:15:23Your niece?
00:15:24This child.
00:15:25She's my only living kin.
00:15:27We've been used to working for quality folks.
00:15:30Real high-toned people.
00:15:32We ain't accustomed to having folks talk to us like we is trash.
00:15:35My aunt didn't like what she did to me.
00:15:37What was that, Louise?
00:15:38Well, I was helping Miss Harrison to dress for dinner last night.
00:15:42And I merely said shoes would look better with the gown she was wearing
00:15:45than the shoes she had on.
00:15:47Yes?
00:15:48Well, I guess she must have been on edge.
00:15:50I'll say she's on the edge of a breakdown, seems like to me.
00:15:53She's always that way, Alice.
00:15:57Your newspaper articles didn't help Miss Harrison any.
00:16:00Well, there's a swell idea for some real publicity for you, Joe.
00:16:03Chauffeur defends Mona Harrison's reputation.
00:16:06That's as it is.
00:16:08Right charge, Susie. I'll make a note of that.
00:16:10Hey, we ought to find out more about her.
00:16:13She may have secrets.
00:16:14Could be.
00:16:15Let's get on with this unpleasant business.
00:16:17Every time you two say anything, it's making me more suspicious.
00:16:24Go on, Louise.
00:16:25Well, sir, when I mentioned shoes,
00:16:28she flared up and told me she could dress herself without my help.
00:16:32Then Louise told her to just try the red shoes on.
00:16:35What happened then?
00:16:36Well, I went to the closet to get them.
00:16:38And before I could open the door, she sprang across the room and slapped my face.
00:16:43And then I start crying.
00:16:44It must have made her more mad because she pushed me out of the room.
00:16:48Poor child.
00:16:49She come right down to me in the kitchen.
00:16:51Tears were streaming down her face.
00:16:52What did you do, Alice?
00:16:53What any self-respecting servant would have done.
00:16:56I quit.
00:16:58And I took Louise here right along with me.
00:17:00We didn't even wait for a week's wages.
00:17:02No, sir. Not us.
00:17:04Then you left the house?
00:17:05Yes, sir.
00:17:06Arthur there got permission from Miss Hassen to drive us home.
00:17:17Did you take them home?
00:17:19Yes, sir.
00:17:20What's your name?
00:17:21It's Arthur Evans, sir.
00:17:23All right, Evans.
00:17:24Tell us what you know.
00:17:25Well, sir, when Alice and Louise came out all packed,
00:17:29I called Miss Harrison from the garage and asked if I was to take them home.
00:17:34Miss Harrison said yes and that I could have a night off as she would have to take all of them to dinner.
00:17:40And did you take the night off?
00:17:41Well, sure.
00:17:42I'm no sap.
00:17:43I know when I'm not wanted around.
00:17:45Just what do you mean by that?
00:17:46Nothing, I guess.
00:17:49Well, I'm just upset at all this bad publicity for Miss Harrison.
00:17:57You seem to take a lot of interest in Miss Harrison's personal affairs.
00:18:01I merely try to be a faithful employee.
00:18:03You took Alice and Louise straight home, of course.
00:18:05Oh, yes, sir. I did.
00:18:06Then where did you go?
00:18:07To Harry's bowling alley near where I live.
00:18:10I met some of the boys and we bowled for a couple of hours.
00:18:13Well, you can check on that.
00:18:16Make a note of that, Hoffman.
00:18:19Don't worry, Chief. I'll pin it on him.
00:18:22That's what worries me.
00:18:25Then did you go straight home?
00:18:26A landlady saw me coming in.
00:18:28She'll verify what I said.
00:18:31You can go.
00:18:33And you, too.
00:18:36Thanks for your cooperation.
00:18:39Oh, just a moment, please.
00:18:41Did any of you see Miss Ellen Smith here last night?
00:18:44No.
00:18:45What about you?
00:18:46I told you I drove the servants home.
00:18:49I don't like the tone of your voice, Evans.
00:18:53That'll be all.
00:18:59Suppose you tell us what you did, Mr. Hart.
00:19:01As I remember, we all got here about the same time.
00:19:05I brought Miss Lynn. Susan and Joe were together.
00:19:08I rang the bell and Mona answered it herself.
00:19:17Oh, Hamilton, darling.
00:19:22Oh, Carol, my dear.
00:19:25I'm so glad you came along,
00:19:27that Hamilton was able to bring you.
00:19:30It rather takes him off my hands for one evening.
00:19:33He doesn't worry so heavily on mine.
00:19:35Nice going, Carol.
00:19:36Hello, Joe.
00:19:37Hello, Mona.
00:19:38It was nice of you to come, Susan.
00:19:41It just goes to prove that you really don't mean all those taxes.
00:19:46Anything you write about me in your columns.
00:19:48On the contrary.
00:19:49It really means that when I'm hungry, I don't get where I eat.
00:19:52Oh, these Hollywood columnists are so clever.
00:19:56What a shame the public doesn't read them.
00:19:59Well, I'd say that you both made a birdie on that hole.
00:20:01Now that we've been properly...
00:20:02How about some cocktails?
00:20:03Now you're really earning part of your salary.
00:20:05Thanks, Chief.
00:20:07You'll have to do the mixing, Joe.
00:20:08My servants walked out on me a little while ago.
00:20:10Come, Hamilton.
00:20:11And you lost that wonderful cook, Alice, you've always been bragging about.
00:20:14Well, it was just to make conversation because she became quite intolerable.
00:20:20Oh, there's dear little Ellen.
00:20:21Hello, everybody.
00:20:25Hamilton, this is Ellen Smith.
00:20:28How do you do?
00:20:29She's been working on a lot.
00:20:30She really can act, too.
00:20:32She's a clever child.
00:20:33I wanted you to meet her.
00:20:37Oh, and this is Joe, our publicity director.
00:20:41I have a last name.
00:20:42It's Powell.
00:20:43This is Susan Cooper.
00:20:44Yes, I know Miss Cooper.
00:20:46I follow your column religiously.
00:20:48Well, thank you.
00:20:50It's flattering to know you have at least one reader.
00:20:52We live across the hall.
00:20:53We've seen each other often.
00:20:55Oh, and this is Carol...
00:20:57What's your name?
00:20:58Lynn.
00:20:59Carol Lynn.
00:21:01In her own small...
00:21:03You're very generous, Mona.
00:21:04Wish I could say the same for you.
00:21:07Joe, do fix the cocktails.
00:21:10Bourbon and soda as usual, Chief?
00:21:12Make mine the same.
00:21:13Life can be beautiful.
00:21:15Oh, please make yourselves comfortable.
00:21:17Just over there.
00:21:27Did you bring your cushion?
00:21:29No, but there's lots of floor space.
00:21:34No, thank you.
00:21:37Hamilton, I want you to give Ellen a chance.
00:21:39She's very lovely.
00:21:40I agree with that.
00:21:41Thank you, Mr. Hart.
00:21:43Isn't she charming?
00:21:45And as I said before, she's very talented.
00:21:48You know, she can act rings around some of those
00:21:51would-be actresses that hang around your studio.
00:21:55If I weren't a lady, I'd like to punch her right in the nose.
00:21:59Oh, Mona, darling.
00:22:01I'd like to write a biography of your life.
00:22:05Really?
00:22:07I'm planning a book on Hollywood.
00:22:08So much has been written about the upper crust.
00:22:11I'd like to write a story about a crumb.
00:22:16Hey, Mona.
00:22:19Little Goldilocks has been here ahead of us.
00:22:21Bottles are decidedly empty.
00:22:24Oh, it's those awful servants.
00:22:26I told them to see that everything was prepared.
00:22:32Looks like you're also stuck with the drinks at Macombo.
00:22:35The dinner's on me.
00:22:36Oh, that's precious of you, Hamilton.
00:22:38I'm sorry, I can't go.
00:22:39What do you mean?
00:22:40Of course you're coming along.
00:22:41If you read your contract, you'll see that you're happy.
00:22:43You run along.
00:22:44I have something very important to do.
00:22:46I'll join you later.
00:22:47Oh, don't be too long.
00:22:48I'm starving now.
00:22:49I'll run up and change my gown.
00:22:51Come on, Susie.
00:22:54If you don't mind, I'll wait for Mona.
00:22:56I want to thank her for introducing me to you.
00:22:58A reason to thank her, too.
00:22:59You don't know how happy you've made me.
00:23:02We all left for dinner,
00:23:03but neither Mona nor Ellen showed up at the Macombo.
00:23:06Well, didn't you telephone to find out where Mona was?
00:23:08Yes, I tried all day, but got no answer.
00:23:10Hmm.
00:23:12Can anyone add to what Mr. Hart has said?
00:23:17Hmm.
00:23:18No, that's about everything.
00:23:21Hartman!
00:23:24What's the matter with you?
00:23:25What's the matter with you?
00:23:26What's the matter with you?
00:23:27What's the matter with you?
00:23:28What's the matter with you?
00:23:29Hartman!
00:23:33Chief, I practically had it figured out in my mind.
00:23:37You mean in your dreams, don't you, Hartman?
00:23:39It's an open and shut case.
00:23:41Where is Miss Cooper?
00:23:42Cooper?
00:23:43What happened to Miss Cooper?
00:23:44That's what I'm asking you.
00:23:46Go and see if you can find her.
00:23:47And don't go to sleep on the way.
00:23:50Chief, it's that hot milk the doc told me to drink from my ulcers.
00:23:53Well, from now on, you drink it on your own time.
00:23:55Not on the taxpayers.
00:23:57Miss Cooper.
00:23:58Miss Cooper.
00:23:59Yes.
00:24:28Looking for something?
00:24:31No.
00:24:33Are you?
00:24:34No, I was just climbing the stairs for my health.
00:24:37You ought to do something about that figure, Hartman.
00:24:39Unless you're developing that gas tank in case of a national ration.
00:24:42Shall we go down now?
00:24:44Yes.
00:24:45Would you like to potty your nose?
00:24:46You're a little shiny.
00:24:47Oh, that's just a reflection from my badge.
00:24:50I thought it was the brilliance of your mind.
00:24:53What's the matter with my mind?
00:24:58So, you found her.
00:24:59Right in Mona's bedroom.
00:25:00And she was up to something, too.
00:25:02I was chopping up bodies and stuffing them in a trunk.
00:25:04Is the huddle over?
00:25:06We haven't heard from you yet.
00:25:07Oh, didn't Hoffman tell you?
00:25:08I committed the murder.
00:25:10You couldn't do that.
00:25:11Not without a motive.
00:25:12But I had a motive, Hoffman.
00:25:13I had a wonderful motive.
00:25:15Yeah?
00:25:16Why?
00:25:17Well, you see, Ellen bought a dress exactly like one of mine.
00:25:19Now, you know what that does to a woman.
00:25:20Any woman...
00:25:21Well, we may as well go home for tonight.
00:25:23But I want you all to remain in town in case we need you.
00:25:25Come on, Hoffman.
00:25:28Here's your bag, Susie.
00:25:31I'll take you down to Barney's and you can buy me some onion soup.
00:25:34Oh, no thanks.
00:25:35I'm tired, Joe.
00:25:36I'm heading straight home.
00:25:37Well, can't shoot a man for trying.
00:25:57I'll get it.
00:25:58I'll get it.
00:25:59I'll get it.
00:26:00I'll get it.
00:26:01I'll get it.
00:26:02I'll get it.
00:26:03I'll get it.
00:26:04I'll get it.
00:26:05I'll get it.
00:26:06I'll get it.
00:26:07I'll get it.
00:26:08I'll get it.
00:26:09I'll get it.
00:26:10I'll get it.
00:26:11I'll get it.
00:26:12I'll get it.
00:26:13I'll get it.
00:26:14I'll get it.
00:26:15I'll get it.
00:26:16I'll get it.
00:26:17I'll get it.
00:26:18I'll get it.
00:26:19I'll get it.
00:26:20I'll get it.
00:26:21I'll get it.
00:26:22I'll get it.
00:26:23I'll get it.
00:26:24I'll get it.
00:26:25I'll get it.
00:26:26I'll get it.
00:26:27I'll get it.
00:26:28I'll get it.
00:26:29I'll get it.
00:26:30I'll get it.
00:26:31I'll get it.
00:26:32I'll get it.
00:26:33I'll get it.
00:26:34I'll get it.
00:26:35I'll get it.
00:26:36I'll get it.
00:26:37I'll get it.
00:26:38I'll get it.
00:26:39I'll get it.
00:26:40I'll get it.
00:26:41I'll get it.
00:26:42I'll get it.
00:26:43I'll get it.
00:26:44I'll get it.
00:26:45I'll get it.
00:26:46I'll get it.
00:26:47I'll get it.
00:26:48I'll get it.
00:26:49I'll get it.
00:26:50I'll get it.
00:26:51I'll get it.
00:26:52I'll get it.
00:26:53I'll get it.
00:26:54I'll get it.
00:26:55I'll get it.
00:26:56I'll get it.
00:26:57I'll get it.
00:26:58I'll get it.
00:26:59I'll get it.
00:27:00I'll get it.
00:27:01I'll get it.
00:27:02I'll get it.
00:27:03I'll get it.
00:27:04I'll get it.
00:27:05I'll get it.
00:27:06I'll get it.
00:27:07I'll get it.
00:27:08I'll get it.
00:27:09I'll get it.
00:27:10I'll get it.
00:27:11I'll get it.
00:27:12I'll get it.
00:27:13I'll get it.
00:27:14I'll get it.
00:27:15I'll get it.
00:27:16I'll get it.
00:27:17I'll get it.
00:27:18I'll get it.
00:27:19I'll get it.
00:27:20I'll get it.
00:27:21I'll get it.
00:27:22I'll get it.
00:27:23I'll get it.
00:27:24I'll get it.
00:27:25I'll get it.
00:27:26I'll get it.
00:27:27I'll get it.
00:27:28I'll get it.
00:27:29I'll get it.
00:27:30I'll get it.
00:27:31I'll get it.
00:27:32I'll get it.
00:27:33I'll get it.
00:27:34I'll get it.
00:27:35I'll get it.
00:27:36I'll get it.
00:27:37I'll get it.
00:27:38I'll get it.
00:27:39I'll get it.
00:27:40I'll get it.
00:27:41I'll get it.
00:27:42I'll get it.
00:27:43I'll get it.
00:27:44I'll get it.
00:27:45I'll get it.
00:27:46I'll get it.
00:27:47I'll get it.
00:27:48I'll get it.
00:27:49I'll get it.
00:27:50I'll get it.
00:27:51I'll get it.
00:27:52I'll get it.
00:27:53I'll get it.
00:28:00I'll get it.
00:28:12Come out of there, whoever you are, or I'll shoot!
00:28:32Oh, so it's you, is it?
00:28:36Come on, Lucy.
00:28:37You're supposed to be a writer, not an actor.
00:28:39What luck!
00:28:40Don't be more stupid than necessary.
00:28:42Listen, Hoffman, somebody opened that safe while hiding in the closet.
00:28:46Then when I came out, he tried to choke me.
00:28:48Sure, I know just the guy you mean.
00:28:50He had a long black beard and black piercing eyes.
00:28:52Listen, you dumb cluck, I'm not kidding.
00:28:54Neither am I, and don't call me cluck.
00:28:56That's better.
00:28:57And don't give me no more trouble, or I'll book you for resistant arrest.
00:29:01Listen, what about that fellow that tried to choke me?
00:29:05I think I'll let Sherlock Holmes pick him up.
00:29:07And we'll see if we can get you adjoining rooms at Alcatraz.
00:29:16Get me Mike Graham in the camera department.
00:29:18Yes, Mr. Hart.
00:29:21Mike, Hart talking.
00:29:23Now listen carefully.
00:29:24This is important and confidential.
00:29:27I want you to meet me at the back gate in 45 minutes.
00:29:30Bring along a camera and a roll of film.
00:29:35I figured out a way to get those scenes so that we can finish Mona's picture.
00:29:40Better bring something along for traveling.
00:29:47Have my car and traveling bag brought to the back gate in 30 minutes.
00:30:01You've been stalling me for two hours.
00:30:03You can't do that.
00:30:05Where is Mona Harrison?
00:30:06What were you doing?
00:30:07Where did you put the papers?
00:30:08I ate them.
00:30:09I was hungry, and the food in jail is awful.
00:30:13Put that down.
00:30:14Calendar.
00:30:15Can't I even have Thursday?
00:30:16No, you can't.
00:30:17Oh, come on, Susie.
00:30:19Kid.
00:30:20Who killed Ellen Smith?
00:30:21I won't tell anybody.
00:30:22Honest, I'll keep it a secret.
00:30:24Come on.
00:30:28Hello, Chief.
00:30:29Cooper, to what do we owe the pleasure of this early morning call?
00:30:32It's the stupidity of this mastermind.
00:30:34Oh, so now you admit I got a mastermind.
00:30:36I'm glad to hear you say that.
00:30:38That makes us unanimous.
00:30:39What's this?
00:30:40It's a desk report.
00:30:41On her.
00:30:42I spent the night in your steel hotel.
00:30:45Service is very bad.
00:30:46Oh, really now, Miss Cooper?
00:30:48You think she's kidding?
00:30:49Where do you think I found her?
00:30:50Well, according to this, in Miss Harrison's bedroom.
00:30:53I never knew Hoffman could write.
00:30:55You're charged with illegal entry, resisting arrest, abusing an officer, and robbery.
00:31:00I can't believe the robbery charge.
00:31:03Just what were you after, Miss Cooper?
00:31:07I, uh, I was after some clothes for Mona Harrison.
00:31:10Since when does Mona keep her clothes in a safe?
00:31:13Well, haven't you heard?
00:31:14That's why they're keeping everything, since the rashes.
00:31:17How's your sugar?
00:31:18Oh, I got two pounds up in the attic.
00:31:20Hey, wait a minute.
00:31:21What are you trying to do?
00:31:22Get me in trouble with the FBI?
00:31:24Sit down, Hoffman.
00:31:25But if she squeals on me, Chief.
00:31:29Say you went back after some clothes for Miss Harrison.
00:31:33Yes.
00:31:34Then I take it that she's not missing after all.
00:31:37No.
00:31:38That was just a publicity stunt cooked up by Joe Powell.
00:31:42Well, he don't believe me.
00:31:43Call him.
00:31:45That's just what we're going to do, Miss Cooper.
00:31:48Hoffman.
00:31:50OK, Chief.
00:31:52Get Mr. Powell on the phone.
00:31:53OK.
00:31:55Well, I hope you're telling the truth, Miss Cooper.
00:31:58Because if you're not, it won't go easy with you.
00:32:02He what?
00:32:04Yeah, I got the dog pound.
00:32:06What's his number?
00:32:07You better be careful.
00:32:08You know what'll happen to you if they catch you barking?
00:32:10Put out the wisecracks and tell me the number.
00:32:12State one, one, one, two, one.
00:32:20Hello?
00:32:22Hello?
00:32:23That you, Powell?
00:32:24This is Hoffman, Detective Bureau.
00:32:26We got that Cooper gal here.
00:32:28Yeah, Cooper.
00:32:29You know Cooper.
00:32:31Say, she tells us Mona Harrison ain't missing after all.
00:32:35Hold it.
00:32:36You always tip on her hand.
00:32:38Give me that phone.
00:32:40Hello, Powell?
00:32:42Miss Williams.
00:32:44Say, I want to congratulate you.
00:32:46That was quite a publicity stunt you pulled.
00:32:50Thanks, Williams.
00:32:53No hard feelings, I hope.
00:32:57That's fine.
00:33:01Say, I'd like to speak to Susan.
00:33:05He'd like to talk to you.
00:33:07Tell him I'll call him as soon as I leave here.
00:33:11Miss Cooper says she'll talk to you later.
00:33:15What's that?
00:33:17Oh.
00:33:20Well, just a second.
00:33:22I think you better talk to him now.
00:33:26Hello, Joe, darling.
00:33:28Oh, I hope you're not angry at me for spilling the beans about Mona.
00:33:33Oh, Joe.
00:33:35Oh, that's sweet of you.
00:33:38Yes, I did.
00:33:40Unless you come down and bail me out, I'm stuck.
00:33:43Unless you come down and bail me out, I'm stuck.
00:33:46Okay, then you're stuck.
00:33:49Ah, who cares?
00:33:52Do you realize the spot you put me in?
00:33:54Suppose Mona doesn't show up.
00:33:55What then?
00:33:57Why, for two cents, I'd wring your neck so tight.
00:34:00Of course I'll marry you, darling.
00:34:02Just as soon as you bail me out of this Bastille.
00:34:06Yes.
00:34:08Yes, dear.
00:34:09Oh.
00:34:11Yes, darling.
00:34:13All right.
00:34:14He wants to tell you he'll send the money right down.
00:34:19Do you want us to release her?
00:34:22Very well.
00:34:25Yes.
00:34:27Right away.
00:34:29Here we go, Miss Cooper.
00:34:30Thanks.
00:34:31And don't make my bed up.
00:34:33I won't be using it again tonight.
00:34:39Cut that out.
00:34:45Come in.
00:34:49Hi, Mr. Hart.
00:34:50Have a nice trip?
00:34:51No thanks, Joe.
00:34:52I just had one.
00:34:53What a sense of humor.
00:34:55Where'd you go, Palm Springs?
00:34:56Yes, yes, I went to Palm Springs.
00:34:58I felt I needed a rest.
00:34:59After the Smith girl's murder and Mona's disappearance and all that,
00:35:03I just felt I had to get away to figure things out.
00:35:05Yes, certainly is funny.
00:35:07Police haven't turned up a thing on Mona.
00:35:09No, and I saw in the papers where they hadn't made any progress on the Smith case either.
00:35:13Too bad about her.
00:35:14She was a lovely child.
00:35:16Well, looks like we're throwing 300,000 bucks right out the window.
00:35:19It's tough luck, too.
00:35:20Another day here and we would have had the picture right in the bag.
00:35:30Joe, we're going to finish the picture.
00:35:34You can't do that.
00:35:36Not without those shots of Mona.
00:35:38Well, I was resting.
00:35:40I felt I had to get out of Hollywood to find a way out.
00:35:44I've always given you credit for being a great producer,
00:35:47but if you've got this one worked out, you're a genius.
00:35:50This is confidential, Joe.
00:35:52If it ever got out...
00:35:53Your business is your business.
00:35:55My business is telling it to the public.
00:35:57That's just what I don't want you to do this time.
00:36:00Well, you're paying me what is humorously called a salary,
00:36:03so if you say forget it, I'll forget it.
00:36:05I remembered some old scenes from some of Mona's earlier pictures.
00:36:08By inserting them, it'll give us exactly what we want.
00:36:11You've certainly got a better memory than mine.
00:36:13I don't remember any old scenes.
00:36:15You'll just leave that to me, will you?
00:36:16Of course I will, Mr. Hardman.
00:36:18All right, then you go right ahead with your publicity campaign.
00:36:20Give it everything you've got.
00:36:22Spare no expense.
00:36:23This will probably be our last Mona Harrison,
00:36:25so I'm hoping to clean up on it.
00:36:26What do you mean, the last Mona?
00:36:28I'm fed up with her temperamental actions.
00:36:30I'm going to use the absence clause to cancel her contract.
00:36:41Miss Cooper?
00:36:42Okay.
00:36:43Yes, have her come right in.
00:36:45It's Susan Cooper.
00:36:47She ought to be barred from the lot.
00:36:49I'd just as soon she didn't learn about what I just told you.
00:36:52I didn't like what I saw in the papers about her trying to rifle Mona safe.
00:36:57Come in, Susan.
00:37:00Ah, my little bride-to-be.
00:37:02Come into my aching arms and see what Pappy's got for you.
00:37:05The nub shall permit, no less.
00:37:07A dollar down and you keep paying for the rest of your life.
00:37:10All it means is your moniker on this dotted line.
00:37:12Are you kidding?
00:37:14Am I kidding?
00:37:15Certainly I'm not kidding.
00:37:16Didn't you tell Williams and Hoffman you were going to marry me?
00:37:18Didn't you say you would if I bailed you out?
00:37:20Listen, Romeo.
00:37:21The law says that any confession gained under duress may be barred as evidence.
00:37:25But what's good enough for the American courts is good enough for Susan Cooper.
00:37:30Oh, Mr. Hart, I'm sorry.
00:37:31I'm terribly sorry for your sake about the bad news.
00:37:34Bad news?
00:37:35What bad news?
00:37:37Oh, don't.
00:37:39Did you of all people haven't heard about Mona?
00:38:00I can't believe it.
00:38:02Why do you say that?
00:38:04Oh, nothing, nothing, Joe.
00:38:06This makes me feel awful.
00:38:09Let's iron it for you.
00:38:11Half the people in Hollywood would gladly have strangled her.
00:38:14But when it actually happens...
00:38:17That really puts the kibosh on the picture.
00:38:20$300,000 right in the ash can.
00:38:23I'm not so sure.
00:38:25Come in.
00:38:30Your secretary said you wanted this film delivered to you personally, Mr. Hart.
00:38:33Oh, yes.
00:38:34Just put it in that closet right over there, please.
00:38:37Yes, sir.
00:38:51Special film for the War Department.
00:38:54Of course you know there'll be an inquest.
00:38:58I'm afraid so.
00:39:00But of course there could be some mistake.
00:39:03Yes.
00:39:04If Hoffman has anything to do with it, it'll probably turn out to be two other people.
00:39:08Yes, you and I.
00:39:10I hope the police are positive in their identification.
00:39:29Is Mr. Jimmy Starr here?
00:39:31Yes, sir. I'm here.
00:39:33Mr. Starr, you are a columnist, I believe.
00:39:36I wish I could make my boss believe I am.
00:39:38Now, in your experience as a columnist,
00:39:40you would have become personally acquainted with the deceased?
00:39:43I knew Mona Harrison very well, over a number of years.
00:39:47Is there any doubt in your mind that this is Mona Harrison?
00:39:50No, I don't believe so.
00:39:52Thank you. That is all, Mr. Starr.
00:39:56Mr. Hart, you better give me your keys.
00:39:58Your car is parked in front of a fireplug.
00:40:00It is not. I parked it way up the street.
00:40:02Well, maybe you didn't set your brakes.
00:40:04It's in front of the plug now. You might get a ticket.
00:40:07All right. Many thanks.
00:40:26Mr. Edwin Shallard, please.
00:40:28Yes.
00:40:31Mr. Shallard, with your intimate knowledge of Hollywood celebrities,
00:40:35you would be in a position to know Mona Harrison very well?
00:40:39Yes, I would.
00:40:42I'd say without hesitation that if that isn't Mona, I'm badly mistaken.
00:40:46Thank you, Mr. Shallard.
00:40:56Mr. Erskine Johnson, please.
00:40:58Yes.
00:41:00Mr. Johnson, you conduct a column and a radio program, I believe.
00:41:05That's right.
00:41:06And on your radio program, picture stars appear from time to time.
00:41:10Yes, the program concerns personalities.
00:41:13I occasionally present them on the air.
00:41:18Miss Harrison appeared only last week.
00:41:22Miss Harrison appeared only last week.
00:41:25You're sure of this identification?
00:41:27Positive.
00:41:29That's all.
00:41:32Here, Chief.
00:41:35Mr. Harry Crocker, please.
00:41:37Right here.
00:41:38Mr. Crocker, your experience as a columnist should place you in a position
00:41:42to make a positive identification of Mona Harrison.
00:41:45It does. And furthermore, I lunched with her just a day or two before her disappearance.
00:41:49And this body?
00:41:51Unquestionably, Mona Harrison.
00:41:53Thank you. That's all.
00:41:55I think that is sufficient identification.
00:41:57There's still some doubt in my mind.
00:41:59I only feel that way because I...
00:42:00He feels that way because he knows who done it.
00:42:02How do you like that? Priority on brains.
00:42:04That's all as far as the police are concerned.
00:42:06OK, Williams.
00:42:08I would like to have everyone come here for a moment, please.
00:42:14Now I'm going to ask each of you to confirm your identification.
00:42:19Yes, that's Mona.
00:42:22Definitely.
00:42:23I'm absolutely sure.
00:42:25There's no doubt in my mind.
00:42:27I'm positive.
00:42:29Well...
00:42:31That's Mona.
00:42:33I can't change my mind.
00:42:36Yeah, that's Mona.
00:42:38That is all. Now, thank you.
00:42:41Go ahead, Hoffman.
00:42:43I brung in that Carol Lynn like you said.
00:42:45I see.
00:42:46Know what I think, Chief?
00:42:47Go ahead.
00:42:48Well, it's an open and shut case.
00:42:50Just a little fancy deduction, that's all.
00:42:52You stick to plain deduction, Hoffman.
00:42:54It'll get you a lot farther.
00:42:56You're always kidding, Chief.
00:42:58Well, go ahead, but make it brief.
00:43:00I want to get through with questioning Miss Lynn.
00:43:02OK, Chief, I'll let you have it straight from the hip.
00:43:04Uh, let's see.
00:43:06I want to get through with questioning Miss Lynn.
00:43:08OK, Chief, I'll let you have it straight from the hip.
00:43:10Uh, I mean shoulder.
00:43:12First, Mona Harrison's dead, is that right?
00:43:14Right.
00:43:15Second, somebody done it.
00:43:16Splendid.
00:43:17For a motive.
00:43:18Third, the marks on Mona Harrison's throat were different from those on Ellen Smith.
00:43:23So I figured the murders were done by two different people.
00:43:26That's the smartest thing you've figured out yet.
00:43:28That's practically what I've decided myself.
00:43:30Well, sometimes it takes me a little while to figure things out.
00:43:33But when I do, I'm pretty near right.
00:43:35So go ahead with what you were saying.
00:43:37Just one more point.
00:43:38Number four.
00:43:39Ellen Smith was strangled by a man, but Mona was strangled by a woman.
00:43:44How do you figure?
00:43:45Well, the autopsy shows that Ellen Smith's neck was broken.
00:43:48No woman could have done that.
00:43:50Mona's neck wasn't broken, but there were scratches and traces of fingernail polish.
00:43:55The medical examiner told us that.
00:43:57You know, Hoffman, there are times when I wonder why I keep you on the force.
00:44:00And then you suddenly come up with something really worthwhile.
00:44:03Thanks, Chief.
00:44:04But that ain't all.
00:44:05I've narrowed it down to two suspects for you.
00:44:07Who?
00:44:08Hamilton Hart, for one.
00:44:10Who else?
00:44:11And Susan Cooper.
00:44:12Ridiculous.
00:44:14Bring in Miss Lynn.
00:44:23Here's Miss Lynn, Chief.
00:44:25Sit down, please.
00:44:29I'm sorry to inconvenience you this way.
00:44:32May I ask why you had me brought here?
00:44:34Let me see your fingernails.
00:44:36See, Chief?
00:44:37Red nail polish.
00:44:38I suppose every girl in Hollywood doesn't wear it.
00:44:41That'll be enough, Hoffman.
00:44:43Miss Lynn, Mona Harrison was in love with Hamilton Hart, wasn't she?
00:44:48I... I couldn't say exactly.
00:44:51But she was very fond of him.
00:44:54I don't know anything about Hamilton Hart's private life.
00:44:57But it's possible, isn't it?
00:45:00Well, yes, it's possible.
00:45:04Hamilton Hart might have had a motive for murdering Mona Harrison.
00:45:07Oh, no.
00:45:08No, that's foolish.
00:45:09Why, he couldn't possibly have.
00:45:12You might have wanted to kill her yourself.
00:45:15Oh, no.
00:45:16Why, there are 59 people in Hollywood.
00:45:18I'd have wanted to.
00:45:19But that doesn't mean that any of them did.
00:45:22If nobody did, how come she's dead?
00:45:24Oh, I know, but...
00:45:25Oh, but you know it wasn't you or Hart.
00:45:27I know it wasn't him.
00:45:28Because it was either you or Susan Cooper.
00:45:30Oh, man's mad.
00:45:32I'm sorry, Miss Lynn.
00:45:33I'll handle this, Hoffman.
00:45:34Oh, but...
00:45:36Okay, Chief.
00:45:37There's just one more question, Miss Lynn.
00:45:40Have you any idea where Mr. Hart went when he left town the other day?
00:45:45I don't, Mr. Woodings.
00:45:48Honestly, I... I don't know.
00:45:50I'm sorry to have troubled you.
00:45:52My car is just outside.
00:45:53The driver will take you home.
00:45:55Good evening, Miss Lynn.
00:45:56Bye.
00:45:59Hoffman, I want you to shadow Hamilton Hart.
00:46:02But, Chief, I...
00:46:03You're wasting time, Hoffman.
00:46:05You get on Hart's trail and stay on it until I take you off.
00:46:08But, Chief, I was figuring...
00:46:09Do I have to?
00:46:10No, you don't have to.
00:46:12See you later, Chief.
00:46:28© BF-WATCH TV 2021
00:46:58© BF-WATCH TV 2021
00:47:28© BF-WATCH TV 2021
00:47:58© BF-WATCH TV 2021
00:48:28© BF-WATCH TV 2021
00:48:58© BF-WATCH TV 2021
00:49:28© BF-WATCH TV 2021
00:49:37Hey!
00:49:39Now, Mickey Mouse!
00:49:40What are you doing here?
00:49:42I was leaving. In fact, I am leaving.
00:49:44Susan, wait a minute.
00:49:46What do you make of it?
00:49:48Well, I don't know. What do you make of it, Mr. Bones?
00:49:50Of course, that couldn't be Moon.
00:49:52Oh, certainly not.
00:49:54Well, I'll see you one of these evenings when you get through work.
00:49:58Maybe I'll let you take me out and buy me a cocktail.
00:50:00Susan, wait a minute. Sit down.
00:50:05You're going to have a nervous breakdown or I will if you keep this up.
00:50:08You know very well that was Mona.
00:50:11Suppose I do. What does it prove?
00:50:13It simply proves there's something fishy about the whole business.
00:50:16I saw you fishing for hard ski this morning to double cross me.
00:50:21I'm sorry, darling, but you've been trying to double cross me from the very beginning.
00:50:24What's fair for one is fair for...
00:50:26Oh, bullet, Susan. If I weren't so much in love with you, I...
00:50:29You are sweet.
00:50:31You know, I can just see us 50 years from now.
00:50:34A lovely little cottage.
00:50:36Big open fireplace.
00:50:38You and I sitting in front of it.
00:50:41Trying to give each other a hot foot.
00:50:45Oh, on the level, Joe. If we could just work together.
00:50:48Nothing would suit me better, Sue.
00:50:51All right, then you wind up that film and let's talk.
00:51:18What do you think, Joe?
00:51:21I think we're partners.
00:51:23All right, Susan, I'll give it to you straight.
00:51:25Those were shots of Mona.
00:51:27They weren't cut out from any old pictures.
00:51:29They were new. They've just been made.
00:51:31How do you know that?
00:51:33I checked at the laboratory this morning when I came back from the morgue.
00:51:35That means that Hart got them someplace while he was out of town.
00:51:38That's just it.
00:51:40Just what?
00:51:42The coroner said that Mona had been dead for a week.
00:51:44Have you any idea where those shots were made?
00:51:46No, there's nothing outstanding about the background that I could see.
00:51:51Do you notice anything particular? Anything special?
00:51:53Well...
00:51:55There was a bridge.
00:51:57And a public building. There might be a courthouse.
00:51:59Yeah, but that could be anywhere.
00:52:01Yes, it could be.
00:52:04Joe, it seems to me that when Mona first came to Hollywood,
00:52:08she had a different name.
00:52:10Why, Jingo, you're right.
00:52:12I figured out that Mona Harrison moniker myself.
00:52:14Why didn't I think of that before?
00:52:18If you could remember her right name, that might give us a clue.
00:52:20Well, it was some corny name like Upsets or Koussevitzky or Jones or...
00:52:24What's that a clue to?
00:52:26Nothing.
00:52:28Then again, it might be the clue to the whole mystery.
00:52:30Anyway, we ought to find out.
00:52:32Well, I've got the information in my files.
00:52:34Oh, look it up for me like a darling, will you?
00:52:36Why, sure, Susan.
00:52:38Aren't you coming along?
00:52:40You're not suspicious already.
00:52:42Oh, no, of course not, dear.
00:52:44No, mister, I have to phone my editor.
00:52:47I'll have him check in every once in a while.
00:52:49He has an annoying habit of trying to keep me off the payroll.
00:52:59Hello?
00:53:01Hello, this is Susan Cooper. Will you give me the boss?
00:53:11Well, okay, okay, boss.
00:53:13Go ahead, fire me.
00:53:16It's a story that's broken in Hollywood in years.
00:53:18How do I know?
00:53:20Well, I don't yet, but I will any minute.
00:53:24Okay, there are a dozen rags that will pay me plenty for it.
00:53:30Well, now you're running on synthetic rubber.
00:53:46Mr. Hart's office, please.
00:53:50Hello, Sue.
00:53:52Yeah, I found it.
00:53:54Her real name is Martha Halverson.
00:53:58Martha Halverson, got it?
00:54:00What?
00:54:02What's that?
00:54:04Oh, Susan,
00:54:06certainly I'm not going to double-cross you.
00:54:08Oh, it's all right.
00:54:10It's all right.
00:54:12It's all right.
00:54:15I won't double-cross you.
00:54:17Well, you don't have to get so upset about it.
00:54:19Martha!
00:54:22Oh!
00:54:42I'll give you just five minutes.
00:54:44If you're not here by then, I'm going without you.
00:54:52Okay, Joe.
00:54:54I don't know what you're up to,
00:54:56but here goes.
00:54:58Okay, Joe.
00:55:00I don't know what you're up to,
00:55:02but here goes.
00:55:05Okay, Joe.
00:55:07I don't know what you're up to,
00:55:09but here goes.
00:55:12Okay, Joe.
00:55:14I don't know what you're up to,
00:55:16but here goes.
00:55:42I don't know what you're up to,
00:55:44but here goes.
00:56:12See if Joe Powell is...
00:56:14Is he?
00:56:16Never mind. I'll go over there.
00:56:26What's the idea of stealing that key
00:56:28off my ring?
00:56:30If you think I'm going to stand for that...
00:56:34Joe!
00:56:36Joe!
00:56:38What's the matter?
00:56:41What's the matter?
00:56:51Oh, boy.
00:56:53I certainly don't want to go through anything like that again.
00:56:55Come on, Joe.
00:56:57Stop talking.
00:56:59Why did you steal my key?
00:57:01Why did you try to choke me?
00:57:03Why did I...
00:57:05Say, I don't even know what you're talking about.
00:57:07You mean you didn't do it?
00:57:10In a minute, I'm going to have you thrown out of this studio bodily.
00:57:12Now cancel your contract.
00:57:14Wait a minute, Mr. Hart.
00:57:16If you didn't do it, then where's Susan?
00:57:18Wasn't she in your office?
00:57:20What time is it?
00:57:22One question at a time.
00:57:24I don't know where Susan is, nor do I care.
00:57:26Unless...
00:57:28Say, did you happen to tell her about Mona?
00:57:30I mean, about finishing the picture?
00:57:32Well, as a matter of fact, Mr. Hart,
00:57:34we did see the film.
00:57:36I came over here to check on Mona Harrison's real name.
00:57:38Susan knows as much about it as I do.
00:57:40So whoever tried to get me
00:57:42is probably after her, too.
00:57:44Well, that's possible.
00:57:48But if I know Susan,
00:57:50she's found out where Mona is.
00:57:52And with that murderer after her...
00:57:54Listen, Mr. Hart,
00:57:56this is a matter of life and death.
00:57:58You've got to tell me where Mona is.
00:58:00Mona, why, uh...
00:58:02Well, come on now, there's no time to waste.
00:58:04You've got to take me to her.
00:58:07Come on, Operator.
00:58:09Hello. Hello, Operator.
00:58:11Get me two tickets for Reno.
00:58:13All of them.
00:58:15Now, listen, Ham, you listen to me.
00:58:17And don't call me Ham.
00:58:19Now, Carol's waiting outside in my car.
00:58:21If we go to Reno...
00:58:23What are we waiting for? Come on, Ham.
00:58:25I mean, boss.
00:58:34Hello, Chief.
00:58:37This is Hoffman.
00:58:39Say, I guess Hart's going to get a divorce.
00:58:41Yeah, a divorce.
00:58:43Him and Powell are heading for Reno.
00:58:48Besides everything else I've called you,
00:58:50you're feeble-minded.
00:58:52This may be the break we're waiting for.
00:58:54And you think Hart's going to Reno for a divorce?
00:58:58He isn't married, stupid.
00:59:00Okay, Chief.
00:59:02I'll be waiting at the depot.
00:59:06Come on, let's go.
00:59:37Help me!
00:59:39Help me!
00:59:41Help me!
00:59:46Help me!
00:59:48Help me!
00:59:50Help me!
00:59:52Help me!
00:59:58Hey, get over here!
01:00:02Can you kind of push me off the rock?
01:00:04Help me!
01:00:06I. Want to
01:00:22try to run me off the road like you've been following me I want to talk to you. I.
01:00:31I followed you because. Because I.
01:00:36I.
01:00:44I want to see my family. You mean the. Yes I forgot it is
01:00:50a very. Shall I say when you won't have to announce me just give me the number of
01:00:55her room I'm an old friend well I'll have to let her know you're coming. Well then
01:01:01tell her that. I know all right you got
01:01:06your OK. OK. But you expect something to happen to me he certainly did and by the
01:01:12way how did you hear about Reno. Like this if I should ever really break down
01:01:18a marriage or he'll be my seventh husband and it was right here in Reno I divorced
01:01:22the other six sweet boys to. Cut out the comedy you had inside information and you
01:01:28had the same information only I used my head but you used to project it I don't get
01:01:32neither do I you remember that scene when Mona comes down
01:01:35a flight of stairs and the bridge where she throws the ring into the river. You walk
01:01:39right down the street you'll see them both half the women in America but Reno come
01:01:45over here I want to talk to you. Excuse us don't you want to amuse yourself.
01:01:53So. Any adverse publicity and I stand to lose three hundred thousand dollars
01:01:58invested in Mona's picture so I admit you've got me on the spot but I figured if
01:02:03we could get together and make
01:02:04a deal. I could use a little mistake because I don't think Joe ever be contented
01:02:10with anything but the best but it's no deal Mr you seem to forget when it's up in
01:02:14a murder. Look chief it's
01:02:18a reunion that isn't funny often. The junior G man. He brought
01:02:24a friend he ain't no friend he's
01:02:27a Reno detective Hey I want you to be the dummy but I'm being natural never mind
01:02:32the repartee Miss Cooper what's going on here why the gathering of the clan why we
01:02:37were we were worried about Susan Oh speak for yourself gentlemen I'm here on a
01:02:42vacation could you give me
01:02:43a room and
01:02:44a bath inside or out. Don't get personal.
01:02:54Mother.
01:03:08What's the idea of hiding out on it. Go away let me alone come on what's the low
01:03:13down on this deal. You heard her follow the fact that Harrison's dead how could
01:03:19she be walking around what's the strange about that you've been doing it for years
01:03:23oh yeah now look here I'll be enough often. Is this Mona Harrison Mr Hart.
01:03:30Why yes. That satisfy you not quite. Go away pardon me gentlemen.
01:03:44I think this will clear things up the science and fashion from office. Knowing I am
01:03:49dying I must tell the truth I murdered Ellen Smith and Mona's twin sister. You see
01:03:55there's two of them often stop mumbling in my ear this is the first time I ever knew
01:03:59Mona had
01:04:00a twin according to this your sister came to Hollywood the day of the murders and
01:04:03demanded money otherwise she threatened to expose the fact that you were not there
01:04:07we're secretly married. Yes that's how it was. Often Maria
01:04:13called. He lost his head and. Killed her.
01:04:21So he lost his head and killed her. Yes yes to protect you we sent you up here to
01:04:26hide out while he covered up or took the rap if any yes that's it I
01:04:33want to stay but he wouldn't let me. Our little Mona was married all the time no
01:04:38wonder she wouldn't give anyone
01:04:39a tumble but how does Ellen fit into the picture oh that's
01:04:42a sick Ellen was in on the blackmail with Mona's sister splendid Hoffman you ought
01:04:47to be promoted to
01:04:48a flat but for such a deduction yeah what's wrong with everything Ellen remained
01:04:54behind the night of the dinner party fizzle and she saw Arthur with
01:04:57a body she got scared and ran but she was afraid to go home or to tell the police
01:05:02because she knew I would be looking for but she did go home and out of the black
01:05:05out and started to call us. Arthur was waiting in the apartment yes he was my
01:05:12husband I know I shouldn't say it but. Every word of it.
01:05:20Well it's going to get it seems the police department is indebted to you murder is
01:05:25dead and we've got more of the accessory I should be pulling this on Hoffman not
01:05:30you but you have things just a little bit reverse the accessory is dead the murder
01:05:36is still very much alive or she's going to be
01:05:39a wise guy now and cook up some wild yard why don't you let the police handle
01:05:43things I'm afraid they might put you on it she didn't say that anyone can say it's
01:05:48you.
01:05:48Why you.
01:06:02Give her
01:06:02a pen when you. Get here more.
01:06:13Time you know that.
01:06:18She's got
01:06:19a pen in her right hand I don't get it when I did it I until I saw the pictures you
01:06:23remember the scene where Mona throws the ring into the river she did it with the
01:06:26right hand now I know Mona well enough to know she's left handed. This is Mona but
01:06:30her sister that's right Mona's dead this is Marie Oh yeah who told me Mona's real
01:06:35name I remember the story about her having
01:06:37a sister a psychopathic case. She always kept her.
01:06:44Don't touch me.
01:06:48Oh.
01:07:05On the poor kid that's
01:07:07a tough break.
01:07:08Yeah.
01:07:16Carol are you all right yes much better thank you so hard to.
01:07:22Well see if I guess that was up the case thanks to Susan Yeah thanks Susie you did
01:07:27a swell job well I'm glad to hear you say that.
01:07:31Hoffman. What were you going to say off when I.
01:07:40I forgot. One thing still puzzles me how did you know it wasn't Mona before she
01:07:46picked up the pen I just played
01:07:48a hunch I didn't write that confession I did. He died without saying a word
01:07:54girlfriend I'm beginning to appreciate you more every minute I am too honest well
01:07:59if you fell out of it but there's one thing I'd like you to explain to me Mr
01:08:03Hart how did you know that the girl you thought was Mona was in Reno well between
01:08:08the time I called Joe at your place and we went out to Mona's place for the
01:08:12questioning she called me from the railroad station she asked me to go to her safe
01:08:16and get some letters but before I agree I made a promise that I could come to Reno
01:08:21and shoot the rest of those scenes that you tell you why she was leaving town oh she
01:08:25was having some trouble with
01:08:26a boyfriend said she was on the verge of
01:08:28a nervous breakdown. Then it was you who tried to strangle me that night I say
01:08:34what is this
01:08:35a frame up oh she's kidding you hard she knows it was the show for. Me I give you
01:08:40a lift back to Hollywood you certainly may be the Hoffman I have to hear it to clear
01:08:44up some details when I was splendid opportunity for you to divorce Hoffman from
01:08:48his bed with nobody's taken my badge away not till I've had time to lock you up
01:08:53some fine day for life and that's sweet of you Hoffman but you're a little bit
01:08:57late I've already promised Joe. Is that girl screwy or am I.
01:09:06Yeah. Well here's the payoff for the show but was married to this demented sister
01:09:14they've been blackmailing Mona for years and when she clamped down on them very
01:09:18choked to death so to protect her the chauffeur killed a smith girl and attempted
01:09:23a few other murders. Yeah how about it Susie going to bustle here yet well there's
01:09:30your story now how about that right yeah but we could be different Susan we could
01:09:35get married here in Reno no Joe no I mean yes boss yes I you're up he
01:09:42looked. I think nothing of it as
01:09:45a certain pal of mine would say it's just
01:09:46an open and shut case. I ought to give up but I don't suppose we've got to get back
01:09:53to Hollywood.
01:09:57But around the fourth intercept the command the Hollywood network is now leaving
01:10:01the air we will retrain when the blackout is over. Another blackout to go through
01:10:07that business all over again yeah but let's get the beginning and go on right from
01:10:11here together. You really think it will do I. Why all
01:10:17the elimination brother don't you know there's
01:10:20a blackout that I don't like to hear a guy to the civilian defense but to me you're
01:10:25just
01:10:25a bundle of nerves do you turn out those lights or do I have all the OK I'm told
01:10:31that I. Don't like. Those now that I've got that said
01:10:38it was Susan wait
01:10:39a minute. Susan I I want to ask you something the answer is still
01:10:46no I don't some up there in that camp if you don't come to see me sometime.
01:10:53Sure honey and before I go I thought you know I've always been crazy about it you
01:10:58know.