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Este es un canal dedicado a los cultores del cine vintage; un tributo a los nostálgicos de siempre. Está consagrado a revivir los viejos éxitos de la cinematografía que ya pasó de ser cine, para convertirse en séptimo arte, como así también reivindicar la memoria de muchos actores y actrices injustamente olvidados por los difusores de hoy. Volvamos al viejo cine del barrio donde tantos recuerdos hermosos cultivamos. Muchas gracias por sumarse...Y síganme los buenos...!!
Película considerada de culto. La intención de este ciclo es llevar al mundo de habla hispana películas de terror/sci-fi/suspenso y comedia de los '30, '40, '50, '60, '70 Y '80, en su idioma original con subtítulos; recopiladas de varios sitios de internet, con el propósito de colaborar con la difusión cultural del cine que hoy podemos denominar de culto. No se olviden de dar LIKE y SUSCRIBIRSE y ayúdenme para poder seguir subiendo videos y cliquear "seguir" para saber de próximos estrenos en versión original y subtitulados. ES GRATIS!!
PRESIONA "SEGUIR" PARA ESTAR AL TANTO DE LOS PRÓXIMOS ESTRENOS DE ESTE CANAL.
NUESTRO FACEBOOK:https://www.facebook.com/profile.php?id=100076118118963
Este es un canal dedicado a los cultores del cine vintage; un tributo a los nostálgicos de siempre. Está consagrado a revivir los viejos éxitos de la cinematografía que ya pasó de ser cine, para convertirse en séptimo arte, como así también reivindicar la memoria de muchos actores y actrices injustamente olvidados por los difusores de hoy. Volvamos al viejo cine del barrio donde tantos recuerdos hermosos cultivamos. Muchas gracias por sumarse...Y síganme los buenos...!!
Película considerada de culto. La intención de este ciclo es llevar al mundo de habla hispana películas de terror/sci-fi/suspenso y comedia de los '30, '40, '50, '60, '70 Y '80, en su idioma original con subtítulos; recopiladas de varios sitios de internet, con el propósito de colaborar con la difusión cultural del cine que hoy podemos denominar de culto. No se olviden de dar LIKE y SUSCRIBIRSE y ayúdenme para poder seguir subiendo videos y cliquear "seguir" para saber de próximos estrenos en versión original y subtitulados. ES GRATIS!!
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00:00:28¡Gracias!
00:00:58¡Gracias!
00:01:27¡Gracias!
00:01:38¡Gracias!
00:01:40¡Gracias!
00:01:46¡Gracias!
00:01:50...by order of the 4th Interceptor Command,
00:01:53the work is leaving the air to return
00:01:55cuando se va a ver
00:02:10¡Gracias!
00:02:41¡Gracias!
00:02:41Who is it?
00:02:42I could answer that, but it would only lead to bloodshed.
00:02:47Oh, Lady Macbeth, I do believe.
00:02:50You do all your calling in blackout.
00:02:52How do you like it?
00:02:53Arrange it all by myself.
00:02:55The biggest publicity stunt since Munich.
00:03:00No, no, no.
00:03:27As long as I'm in this position, I might as well take advantage of the situation and propose to you.
00:03:31The most beautiful, the most gorgeous...
00:03:34They ought to ration that soft soap as well as sugar.
00:03:37Susan. Susan, will you?
00:03:40Straight by the bell.
00:03:43Hello?
00:03:44What's the use? I thought you might be a little romantic by candlelight, but it might as well blow it
00:03:49out.
00:03:50Oh, yes, yes. Just a minute. Here, for you, it's from the studio.
00:03:52Who is it?
00:03:53Who else would it be but Ham Hart?
00:03:55He might hear you.
00:03:57How come he knew I was here?
00:03:59That is a mystery. He's only been calling you here for the last seven years.
00:04:03Hello?
00:04:05It's Hart.
00:04:06Yeah, that's Mr. Price.
00:04:07What's cooking, Mr. Hart?
00:04:10Yeah?
00:04:12Is that so?
00:04:13Well, Mona Harrison didn't show up on the set tonight, and they can't locate her.
00:04:18In a long time.
00:04:19Hope it's not just another rumor.
00:04:22Oh, have a heart, Hart.
00:04:24I mean, Mr. Hart.
00:04:27Listen, it's tough enough to have to write that stuff about her without having to play bodyguard, too.
00:04:34Well, of course, if you put it that way, Mr. Hart.
00:04:38But it'll go on the expense account.
00:04:41Okay, Mr. Hart.
00:04:43Yes, I will, Mr. Hart.
00:04:46Yes, sir, Mr. Hart.
00:04:49Yes, Mr. Hart.
00:04:52No, Mr. Hart.
00:04:54Hey, you better get some fresh air.
00:04:56What's for?
00:04:57You actually said no to him for once.
00:04:59Are you sure you're well?
00:05:00No, I'm sick.
00:05:01I got a person, Dane.
00:05:04Well, at least we can do our night clubbing on the studio expense account.
00:05:07You're not dragging me out to look for Mona Harrison.
00:05:09I'm afraid we might find her.
00:05:11But, sir, there might be another blackout.
00:05:14You mean there is another blackout?
00:05:23Well, that's strange.
00:05:24The lights are going on all over Hollywood.
00:05:26You and the civilians' events better get together.
00:05:29Hey, maybe I forgot to pay my rent.
00:05:35A ventriloquist, huh?
00:05:36Say, you've been rehearsing with Charlie McCartney.
00:05:39That was the real thing, Joe.
00:05:41Yeah?
00:05:41It sounded like it came from across the hall.
00:05:43We better go see what it is.
00:05:57It sounded like it came from there.
00:05:59And that's Alan Smith's apartment.
00:06:01It is.
00:06:02Well, let's see what's going on.
00:06:05Let's see what's going on.
00:06:24It's Alan.
00:06:27She's dead.
00:06:29Looks like she's been strangled.
00:06:35This is the apartment.
00:06:38Oh!
00:06:39Oh!
00:06:40Nothing really is wrong up here.
00:06:43Well, if it ain't my old friend choosing Kilsa.
00:06:48Well.
00:06:51Just because I solved that swimming pool murder for you, Hoffman,
00:06:54that doesn't make a strange.
00:06:55Who said you solved it?
00:06:56The district attorney.
00:06:57Remember?
00:06:58I don't remember nothing.
00:06:59Well, I'm glad to hear you admit it.
00:07:01Say, how did you get on the scene of the crime so fast?
00:07:04Or did you commit it?
00:07:05What happened?
00:07:06Why don't you look around, Hoffman?
00:07:07Maybe you came to the wrong house.
00:07:09Oh, so you're in on this, too.
00:07:11Where's the body?
00:07:16Don't nobody go away.
00:07:17You're all suspects.
00:07:22Do you, uh, know anything about this?
00:07:25The Smith boy, I flashed on, Hoffman.
00:07:27And the Smith asked for a line.
00:07:29Well, I didn't think anything about it, so I gave him one.
00:07:33But I didn't expect for a minute she would call the police.
00:07:36Would you?
00:07:37The Smith called the police?
00:07:39Yeah.
00:07:40I just said somebody grabbed me from behind and covered my eyes.
00:07:46And when he let go, the whole place was dark.
00:07:50Did you say he?
00:07:51Well, I don't know for sure.
00:07:53Hey, that girl is dead.
00:07:56Hoffman, you figured that out all by yourself.
00:07:59And that phone is off the hook.
00:08:01Come on, start talking.
00:08:03Somebody done it.
00:08:04The man's the genius.
00:08:06That's what the chief told me this morning.
00:08:08Don't change the subject.
00:08:09What happened here?
00:08:12When the blackout was over, the lights suddenly went out again.
00:08:16Miss Cooper and I heard a scream.
00:08:18We came in here and found Miss Smith just as you see her.
00:08:22What's Miss Smith got to do with it?
00:08:24Nothing.
00:08:25Nothing at all, Hoffman.
00:08:26She just happens to be the victim.
00:08:27Smith.
00:08:28So that was her name.
00:08:29I told you that, Jim.
00:08:30Did?
00:08:31I thought the name sounded familiar.
00:08:34Hoffman, you may need Mr. Powell.
00:08:36I can solve this without any help from you.
00:08:38But you can't go.
00:08:40Not yet.
00:08:41I've got to ask some questions.
00:08:42Now, here's how I got it figured.
00:08:44See?
00:08:44She was in here getting ready to go out.
00:08:47Somebody snuck in and tried to run.
00:08:49She tried to call the police.
00:08:50They got scared and murdered.
00:08:52It's an opening shut case.
00:08:53Yes.
00:08:54Miss Smith, all you have to do is prove it.
00:08:55I'll prove it.
00:08:56Don't worry.
00:08:57Great.
00:08:58Call headquarters and tell them to send over some help.
00:09:00Okay.
00:09:01Get back to your switchboard.
00:09:05And as for you...
00:09:07Yes, teacher.
00:09:08You go to your apartment and stay there until I call you.
00:09:20Oh, look now, but we're being shadowed.
00:09:22Don't tell me it's the gorilla.
00:09:24Oh, cut out the wisecracks, you two.
00:09:26Maybe you don't realize it, but you're in a jam.
00:09:29Hmm.
00:09:29Hmm.
00:09:30This is beginning to make sense.
00:09:32This is going to be good.
00:09:33Hmm.
00:09:34Why did you do it?
00:09:35Why did I do what?
00:09:37You can't squirm out of it playing innocent.
00:09:39You lured the poor kid in here and got into a fight.
00:09:41Then you two straggled and drugged across the hall.
00:09:44It's an opening shut case.
00:09:45Well, you omitted one thing, Hoffman.
00:09:47You forgot to say that we called you so you could get here while the body was still warm.
00:09:51I'll figure that out, too.
00:09:52And when I do, it'll mean the hot seat.
00:09:54Come on, Susan.
00:09:56Where do you think you're going?
00:09:57We're going out and paint the town red, and then we're going to sign a confession.
00:10:01You can't do that.
00:10:02You don't want a confession?
00:10:03Any confession obtained under the influence of alcohol ain't legal.
00:10:08Why, Quibble?
00:10:09Well, come on, Susan.
00:10:10Let's go.
00:10:14See you again, I'm afraid.
00:10:22Oh, Frederick.
00:10:30Yes, sir?
00:10:31Has Mona Harrison been here tonight?
00:10:33I'm sorry, Mr. Powell, not tonight.
00:10:35You think she hasn't been here at all?
00:10:37No, ma'am.
00:10:37Well, if she does show up, will you tell her to get in touch with the studio right away?
00:10:41I'm sorry, sir, but the Harrison hasn't been in for several evenings.
00:10:45Oh, am I relieved?
00:10:46Look at the table, Freddy.
00:10:47That's where she usually winds up.
00:10:49Now, be sure and look in the vacuum cleaners in the morning.
00:10:51Certainly, sir.
00:10:58Good evening, Mr. Powell.
00:11:00Good evening, ma'am.
00:11:01What do you think?
00:11:01Oh, no, Lewis.
00:11:02We're on business tonight.
00:11:04We're slumming for Mona Harrison.
00:11:06Mona Harrison?
00:11:07So, Dan, you haven't heard?
00:11:09Oh, everything about her, except where she's hiding.
00:11:11No, no.
00:11:12I mean the paper.
00:11:13I just bought one.
00:11:14One moment.
00:11:14I'll show you what to do.
00:11:16Well, at least the boat she's done now.
00:11:22Dan, look at this.
00:11:50Had Joe Powell called in yet?
00:11:52No.
00:11:52Shall I try again?
00:11:53Yes, of course.
00:11:54I want you to keep trying.
00:11:55Yes, Mr. Hart.
00:11:56What's the matter with him?
00:11:57Where is that guy?
00:11:58Don't worry.
00:11:59He'll show up.
00:12:00He always does.
00:12:05Come in.
00:12:06Come in.
00:12:08Well, it's time I heard from you.
00:12:09Now, just a minute, Mr. Hart.
00:12:10I'll do the talking.
00:12:11What's the idea of pulling a corny publicity cert like this?
00:12:14Either I'm your publicity director or I'm not.
00:12:16Okay, you're not.
00:12:17No, no, no.
00:12:17Wait a minute, Sergeant.
00:12:18You can't do this to me.
00:12:19I got a contract.
00:12:20It's got some clauses in it.
00:12:21Yeah, that's right, Mr. Hart.
00:12:22After all, you're only the producer.
00:12:23Oh, I'm sorry.
00:12:26I'm all upset, I guess.
00:12:27It looks as though Mona's run out on the picture.
00:12:31Even Mona wouldn't do a dirty trick like that.
00:12:33Not with the picture still unfinished.
00:12:35I've got 300,000 sunk in that opus.
00:12:37A lot of difference that makes to her.
00:12:39Can't you finish the picture?
00:12:40No, the scenes I need are those of her.
00:12:43This picture means a lot to me.
00:12:44If it's a trainer, I don't know whether...
00:12:47Hiya.
00:12:48This way, Chief.
00:12:51Sorry to intrude, Mr. Hart, but your call sounded so urgent that I decided to get on the case myself.
00:12:56That's very nice of you, Mr. Williams.
00:12:58Oh, uh, Miss Cooper?
00:12:59Miss Lynn?
00:13:00Mr. Powell?
00:13:01Oh, Chief.
00:13:02I know Miss Cooper.
00:13:03Sure, you know her, Chief.
00:13:04She gummed up that left-in robbery case from Pittsburgh.
00:13:06Well, you may call it gummed up, but I'd say that she solved it perfectly.
00:13:10It was a nice bit of work, Miss Cooper.
00:13:11Thank you.
00:13:12Well?
00:13:13He wants two bodies and one knife.
00:13:15Oh, there's a horseman.
00:13:17Are you two that enough?
00:13:19Someday I'm going to book both of you for disturbing the peace.
00:13:22That's okay by me, providing you execute him.
00:13:25May we all sit down, Miss Hart?
00:13:27Yes, of course.
00:13:33I thought you might know something about Ellen Smith, who was murdered earlier this evening.
00:13:38Oh, then you didn't come about Mona Harrison.
00:13:40I imagine she'll show up when she has enough publicity out of this.
00:13:43Oh, yes, of course you're right.
00:13:46I was a little worried, though.
00:13:49I learned this Smith girl has been working on this lot lately as an extra.
00:13:54I thought I might pick up something on which to hinge my investigation.
00:13:57I told you, Chief.
00:13:58It's an open and shut case.
00:14:04Ellen Smith.
00:14:05Let me think.
00:14:06Now, take a look at this.
00:14:10Why, yes.
00:14:11I've seen Miss Smith before.
00:14:12What Mr. Hart means is that Ellen Smith was a guest at Mona Harrison's dinner party last night.
00:14:17Of course, we didn't have anything to eat or drink.
00:14:19But we all had a splendid opportunity to tell Mona exactly what we thought of her.
00:14:23I knew it.
00:14:24The minute I saw you and him, they were in the room with the body, Chief.
00:14:28What do you mean, Emma?
00:14:28Who else was at this party?
00:14:31Well, all of us here.
00:14:33And Ellen Smith and Mona, of course.
00:14:35Anybody else?
00:14:36Mona's servants.
00:14:37Only servants.
00:14:38She had three.
00:14:39A chauffeur, a maid, and a cook.
00:14:41That's the last I've seen of Mona.
00:14:43Well, the last you saw of Ellen Smith until this evening.
00:14:46And today, Ellen Smith is murdered and Mona Harrison disappears.
00:14:55That gives the case an entirely different complexion.
00:14:58It's just like I figure it, Chief.
00:15:00I know.
00:15:01Open and shut case.
00:15:02Just another robbery.
00:15:03I think we'd all better meet Miss Harrison's apartment an hour from now.
00:15:07Maybe we can find out what happened last night.
00:15:11I'm dead tired from the home and take a shower and change my clothes.
00:15:14I think I'll try that, too.
00:15:15Let's meet at Limas for some coffee before we start this inquisition.
00:15:18Mr. Hart, will you and Carol meet us there?
00:15:21Oh, I'd love to.
00:15:22We'll be there.
00:15:23Hey, what's cooking here?
00:15:25Oh, Hoffman, I want you to round up all of Miss Harrison's servants and have them present tonight.
00:15:30Check, Chief.
00:15:31Chief, don't forget, all of you, 12 o'clock.
00:15:47Everyone's here but Hoffman.
00:15:48Oh, he's probably out rounding his clothes on a great train robbery.
00:15:52Hoffman!
00:15:55Well, here I am, Chief.
00:15:56Right on the dock.
00:15:58Just like you say.
00:15:59Sit down.
00:16:04What's your name?
00:16:05Alice Jones, sir.
00:16:07I'm the cook.
00:16:08At least I was the cook.
00:16:09What do you mean by that?
00:16:11Well, I had it in my resignation just before dinner last night.
00:16:14Were you in the habit of resigning before each meal, Alice?
00:16:16No, sir.
00:16:17I worked for the same family for 15 years.
00:16:20Well, suppose you tell us in your own words just what happened.
00:16:23Welcome me and my niece, Louise.
00:16:25Your niece?
00:16:26This child.
00:16:27She's my only living kin.
00:16:29We've been used to working for policy folks.
00:16:32Real high-toned people.
00:16:34We ain't custom to having folks talk to us like we is trash.
00:16:37My aunt didn't like what she did to me.
00:16:39What was that, Louise?
00:16:41Well, I was helping Miss Harrison to dress for dinner last night.
00:16:44And I merely said shoes would look better with the gown she was wearing than the shoes she had on.
00:16:49Yes?
00:16:50I guess she must have been on edge.
00:16:52I'll say she's on edge of a breakdown, seems like to me.
00:16:55She's always that way, Alice.
00:16:59Your newspaper articles didn't help Miss Harrison any.
00:17:02Well, there's a full idea for some real publicity for you, Joe.
00:17:06Shufra defends Mona Harrison's reputation.
00:17:09Such as it is.
00:17:10Right, Charles, Susie.
00:17:11I'll make a note of that.
00:17:13Hey, we ought to find out more about her.
00:17:15She might have secrets.
00:17:16Could be.
00:17:16Let's get on with us on pleasant business.
00:17:19Every time you two say anything, it's making me more suspicious.
00:17:26Go on, Louise.
00:17:27Well, sir, when I mentioned shoes, she flared up and told me she could dress herself without my help.
00:17:34Then Louise told her to just try to wear shoes on.
00:17:37What happened then?
00:17:38Well, I went to the closet to get them.
00:17:40And before I could open the door, she sprang across the room and clapped my face.
00:17:45And then I start crying.
00:17:46It must have made her more mad, because she pushed me out of the room.
00:17:50Oh, Charles, she come right down to me in the kitchen.
00:17:53Pills were streaming down her face.
00:17:55What did you do, Alice?
00:17:56What in a self-respecting servant would have done.
00:17:59I quit.
00:18:00And I took Louise here right along with me.
00:18:03We didn't even wait for our week's wedges.
00:18:05No, sir, not us.
00:18:06Then you left the house?
00:18:08Yes, sir.
00:18:09Arthur, they had that permission for Miss Harrison to drive us home.
00:18:19Did you take them home?
00:18:21Yes, sir.
00:18:22What's your name?
00:18:24It's Arthur Evans, sir.
00:18:25All right, Evans.
00:18:26Tell us what you know.
00:18:28Well, sir, when Alice and Louise came out all packed,
00:18:32I called Miss Harrison from the garage and asked if I was to take them home.
00:18:36Miss Harrison said yes,
00:18:38and that I could have the night off as she would have to take all of them to dinner.
00:18:42And did you take the night off?
00:18:44Oh, sure.
00:18:44I'm no sap.
00:18:46I know when I'm not wanted around.
00:18:47Just what do you mean by that?
00:18:49Nothing, I guess.
00:18:51Well, I'm just upset at all this bad publicity from Miss Harrison.
00:18:59You seem to take a lot of interest in Miss Harrison's personal affairs.
00:19:03I merely try to be a faithful employee.
00:19:05You took Alice and Louise straight home, of course.
00:19:08Oh, yes, sir, I did.
00:19:08Then where did you go?
00:19:09To Harry's Bowling Alley, near where I live.
00:19:12I met some other boys, and we bowled for a couple of hours.
00:19:16Well, you can check on that.
00:19:18Make a note of that, Hoffman.
00:19:21Don't worry, Chief.
00:19:23I'll pin it on him.
00:19:24That's what worries me.
00:19:27Then did you go straight home?
00:19:29The landlady saw me coming in.
00:19:31She'll verify what I said.
00:19:33You can go.
00:19:35And you, too.
00:19:38Thanks for your cooperation.
00:19:41Well, just a moment, please.
00:19:43Did any of you see Miss Ellen Smith here last night?
00:19:46No, I don't.
00:19:48What about you?
00:19:49I told you I drove the servants home.
00:19:51I don't like the tone of your voice, Evans.
00:19:55That'll be all.
00:20:01Suppose you tell us what you're doing, Mr. Hart.
00:20:04As I remember, we all got here about the same time.
00:20:07I brought Miss Lynn, Susan, and Joe were together.
00:20:10I rang the bell, and Mona answered it herself.
00:20:22Oh, Hamilton, don't.
00:20:26Oh, Carol, my dear.
00:20:29I'm so glad you came along and Hamilton was able to bring you.
00:20:33It'll all take some off my hands for one evening.
00:20:36She doesn't weigh so heavily on mine.
00:20:39Nice going, Carol.
00:20:40Hello, Carol.
00:20:40Hello, Mona.
00:20:42It was nice of you to come, Susan.
00:20:44Thank you.
00:20:45It just goes to prove that you really don't mean all those talky things you write about me in your
00:20:50columns.
00:20:50On the contrary.
00:20:51It really means that when I'm hungry, I don't care what I eat.
00:20:54Oh, these Hollywood culmets are so clever.
00:20:58What a shame the public doesn't read them.
00:21:01Well, I'd say that you both made a birdie on that hole.
00:21:03Now that we've been properly with it, how about some cocktails?
00:21:06Now you're really earning part of your salary.
00:21:08Thanks, Chief.
00:21:09You'll have to do the mixing, Joe.
00:21:11My servants walked out on me a little while ago.
00:21:13Come, Hamilton.
00:21:13You lost that wonderful cook, Alice, you've always been bragging about.
00:21:16Well, it was just to make conversation, because she became quite intolerable.
00:21:23Oh, they did.
00:21:24Ellen.
00:21:24Hello, everybody.
00:21:28Hamilton, this is Ellen Smith.
00:21:30How do you do?
00:21:31She's been working on a lot.
00:21:33She really can act, too.
00:21:35She's a clever child.
00:21:36I wanted you to meet her.
00:21:40Oh, and this is Joe, our publicity director.
00:21:43I have a last name.
00:21:44It's Powell.
00:21:45This is Susan Cooper.
00:21:47Yes, I know, Miss Cooper.
00:21:48I follow your column religiously.
00:21:50Well, thank you.
00:21:52It's flattering to know you have at least one reader.
00:21:54We live across the hall.
00:21:56We feed each other often.
00:21:57Oh, and this is Carol.
00:21:59What's your name?
00:22:00Lynn.
00:22:01It's Carol Lynn.
00:22:03In her own small.
00:22:05You're very generous, Mona.
00:22:07Wish I could say the same for you.
00:22:10Joe, do fix the cocktails.
00:22:12Ribbon and soda, usual tea.
00:22:14Make mine the same.
00:22:15Life can be beautiful.
00:22:17Oh, please make yourself comfortable.
00:22:20Check over there.
00:22:29Did she bring you a cushion?
00:22:31No, but it's not the floor, please.
00:22:36No, thank you.
00:22:39Hamilton, I want you to give Ellen a chance.
00:22:42She's very lovely.
00:22:43I agree with that.
00:22:45Thank you, Mr. Horace.
00:22:47Isn't she charming?
00:22:48And as I said before, she's very talented.
00:22:51You know, she can act rings around some of those would-be actresses that hang around your studio.
00:22:59If I weren't a lady, I'd like to punch her right in your nose.
00:23:03Oh, Mona, darling.
00:23:05I'd like to write a biography of your life.
00:23:09Really?
00:23:11I'm planning a book on Hollywood.
00:23:12So much has been written about the upper crust.
00:23:15I'd like to write a story about a crown.
00:23:20Hey, Mona.
00:23:23Little Goldilocks has been here ahead of us.
00:23:25Bottles are decidedly empty.
00:23:28Oh, it's those awful shivers.
00:23:30I told them to see that everything was prepared.
00:23:37Looks like you're also stuck to the bricks at McComble.
00:23:39It's in it, darling.
00:23:40Oh, that's precious of you, Hamilton.
00:23:42I'm sorry, I can't go.
00:23:44What do you mean?
00:23:44Of course you're coming along.
00:23:45If you read your contract, you'll see that you have...
00:23:48Oh, well, you run along.
00:23:49I have something very important to do.
00:23:51I'll join you later.
00:23:52Oh, don't be too long.
00:23:53I'm starving now.
00:23:55I'll run up and change my goals.
00:23:57Hello, Susie.
00:23:59If you don't mind, I'll wait for Mona.
00:24:01I want to thank her for introducing me to you.
00:24:03Reason to thank her, too.
00:24:04Oh, you don't know how happy you've made me.
00:24:12We all left for dinner.
00:24:13But neither Mona nor Ellen showed up at the McComble.
00:24:16Well, didn't you telephone to find out where Mona was?
00:24:18Yes, I tried all day, but got no answer.
00:24:21Hmm.
00:24:22Can anyone add to what Mr. Hardest said?
00:24:26Hmm.
00:24:28No.
00:24:28It's about everything.
00:24:31Hoffman!
00:24:34Oh, Chief, I practically had it figured out in my mind.
00:24:38You mean in your dreams, don't you, Hoffman?
00:24:41Ah, it's an open and shut case.
00:24:43Where's Miss Cooper?
00:24:44Cooper?
00:24:45What happened to Miss Cooper?
00:24:46That's what I'm asking you.
00:24:48Go and see if you can find her.
00:24:49And don't go to sleep on the way.
00:24:52Ah, Chief, it's that hot milk that Doc told me to drink from my ulcers.
00:24:55So from now on, you drink it on your own time.
00:24:57Not on the taxpayers.
00:24:59Fine, Miss Cooper.
00:25:00Cooper, Miss Cooper, here.
00:25:02Yes.
00:25:31Looking for something?
00:25:34No.
00:25:36Are you?
00:25:37No, I was just climbing the stairs for my help.
00:25:39You ought to do something about that suit, you're Hoffman.
00:25:41Unless you're developing that gas tank in case of a national ration.
00:25:45Shall we go down now?
00:25:46Yes.
00:25:47Would you like to put it on your nose?
00:25:48You're a little shiny.
00:25:50Ah, that's just a reflection from my badge.
00:25:53I thought it was the brilliance of your mind.
00:25:56What's the matter with my mind?
00:26:00So, you found her.
00:26:01Right in Mona's bedroom, and she was up to something, too.
00:26:04I was chopping her bodies and stuffing them in a trunk.
00:26:07Is the huddle over?
00:26:08We haven't heard from you yet.
00:26:10Oh, didn't Hoffman tell you?
00:26:11I committed a murder.
00:26:12You couldn't do that.
00:26:13Not without a motive.
00:26:14But I had a motive, Hoffman.
00:26:16I had a wonderful motive.
00:26:17Yeah?
00:26:18What?
00:26:19Well, you see, Ellen bought a dress exactly like one of mine.
00:26:21Now, you know what that does to a woman?
00:26:23Well, we may as well go home pretty much.
00:26:25But I want you all to remain in town in case we need you.
00:26:27Come on, Hoffman.
00:26:30Here's your bag, Susie.
00:26:33I'll take you down to Barney's, and you can buy me some onions, too, huh?
00:26:36Oh, no, thanks.
00:26:37I'm tired, Joe.
00:26:38I'm heading straight home.
00:26:39Well, ask you to the man for trying.
00:26:41Thank you.
00:27:23Thank you.
00:27:44Thank you.
00:28:12Thank you.
00:28:15Thank you.
00:28:22Thank you.
00:28:53Gracias por ver el video.
00:29:00Gracias por ver el video.
00:29:30Gracias por ver el video.
00:29:54Black Pierce and I...
00:29:55Nothing you've done, Clark. I'm not kidding.
00:29:57Neither am I, and don't call me Clark.
00:29:58That's better.
00:29:59And don't give me no more trouble, or I'll book you for resistant arrest.
00:30:04Listen, what about that fellow that tried to choke me?
00:30:07I think I'll let Sherlock Holmes pick him up, and we'll see if we can get you adjoining rooms at
00:30:12Alcatraz.
00:30:13Thank you.
00:30:18Thank you.
00:30:19This will be Mike Braham in the camera department.
00:30:21Yes, Mr. Hart.
00:30:24Mike, Hart talking.
00:30:26Now listen carefully.
00:30:27This is important and confidential.
00:30:30I want you to meet me at the back gate in 45 minutes.
00:30:33Bring along a camera and a roll of film.
00:30:37I figured out a way to get those scenes so that we can finish Mona's picture.
00:30:42Better bring something along for traveling.
00:30:49Have my car and traveling bag brought to the back gate in 30 minutes.
00:31:03You've been stalling me for two hours.
00:31:05You can't do that.
00:31:07Where is Mona Harrison?
00:31:08What were you doing?
00:31:09Where did you put the papers?
00:31:10I ate them.
00:31:11I was hungry, and the food in jail is awful.
00:31:15Put that down.
00:31:16Calendar.
00:31:17Can't I even have Thursday?
00:31:18No, you can't.
00:31:19Oh, come on, Tuesday, kid.
00:31:21Who killed Ellen Smith?
00:31:23I won't tell anybody.
00:31:25Honest.
00:31:25I'll keep it a secret.
00:31:26Come on.
00:31:30Hello, Chief.
00:31:31Hubert.
00:31:31What do we owe the pleasure of this early morning call?
00:31:33Oh, to the stupidity of this mastermind.
00:31:36Oh, so now you admit I've got a mastermind.
00:31:39I'm glad to hear you say that.
00:31:40That makes us humana.
00:31:41What's this?
00:31:42It's a desk report.
00:31:44On her.
00:31:44I spent the night in your steel hotel.
00:31:47Service is very bad.
00:31:48Oh, really now, Ms. Cooper.
00:31:50You think she's kidding?
00:31:51Where do you think I found her?
00:31:53Well, according to this, it's in Ms. Harrison's bedroom.
00:31:55Yeah, I never knew Hoffman could write.
00:31:57You're charged with illegal entry, resisting arrest, abusing an officer, and robbery.
00:32:02I can't believe the robbery charge.
00:32:05Yes, what were you after, Ms. Cooper?
00:32:09I, uh...
00:32:10I was asking some clothes for Mona Harrison.
00:32:12Since when does Mona keep her clothes in a safe?
00:32:15Well, haven't you heard that's where they're keeping everything, says the ratchets.
00:32:19How's your sugar?
00:32:20Oh, I got two pounds up in the attic.
00:32:22Hey, wait a minute.
00:32:23What are you trying to do?
00:32:24Getting in trouble with the FBI?
00:32:26Sit down, Hoffman.
00:32:27But if she squeals on me, Chief...
00:32:31Say you went back after some clothes for Ms. Harrison.
00:32:35Yes.
00:32:36Then I take it that she's not missing after all.
00:32:39No.
00:32:40I was just a publicity stunt hooked up by Bill Powell.
00:32:44Well, you don't believe me calling.
00:32:47That's just what we're going to do, Ms. Cooper.
00:32:50Hoffman.
00:32:52Okay, Chief.
00:32:54Get Ms. Powell on the phone.
00:32:56Okay.
00:32:56Okay.
00:32:59Well, I hope you're telling the truth, Ms. Cooper.
00:33:03Because if you're not, it won't go easy with you.
00:33:07You what?
00:33:09Hey, I got the dog pound.
00:33:11What's his number?
00:33:12You better be careful.
00:33:13You know what'll happen to me if they catch you barking?
00:33:15Put out the wisecracks and tell me the number.
00:33:17Say one.
00:33:19One.
00:33:19One.
00:33:21Two.
00:33:21One.
00:33:25Hello?
00:33:25That you, Powell?
00:33:27This is Hoffman, Detective Bureau.
00:33:30We got that Cooper gal here.
00:33:32Yeah, Cooper.
00:33:33You know Cooper.
00:33:35Say, she tells us Mona Harrison ain't missing after all.
00:33:38Hold it.
00:33:39You always tip our hand.
00:33:41Give me that phone.
00:33:43Hello, Powell.
00:33:45Ms. Williams.
00:33:47Say, I want to congratulate you.
00:33:50That was quite a publicity statue, Powell.
00:33:52Well, I...
00:33:54Uh...
00:33:56Oh...
00:33:57Oh...
00:33:57Thanks, Williams.
00:33:59Uh...
00:33:59No hard feelings, I hope.
00:34:03Uh...
00:34:03Uh...
00:34:04That's fine.
00:34:05Ha-ha-ha.
00:34:07Oh, say, I'd, uh...
00:34:08Like to speak to Susan.
00:34:11He'd like to talk to you.
00:34:13Tell him I'll call him as soon as I leave here.
00:34:17Uh, Ms. Cooper says she don't talk to you later.
00:34:20What's that?
00:34:23Oh.
00:34:26Well, just a second.
00:34:28I think you'd better talk to him now.
00:34:32Hello, Joe, darling.
00:34:34Oh, I hope you're not angry at me for spilling the beans about Mona.
00:34:38Oh, Joe.
00:34:40Oh, that's sweet of you.
00:34:43Yes, I did.
00:34:45Unless you come down and bail me out, I'm stuck.
00:34:48Okay, then you're stuck.
00:34:51Ah, who cares?
00:34:54You realize the spot you put me in?
00:34:56Suppose Mona doesn't show up.
00:34:58What then?
00:34:59My patoo says I'd wring your neck so tight.
00:35:02Of course I'll marry you, darling.
00:35:05Just as soon as you bail me out of this bad deal.
00:35:08Yes.
00:35:10Yes, dear.
00:35:14Yes, darling.
00:35:16All right.
00:35:17He wants to tell you he'll send the money right down.
00:35:22Do you want us to release her?
00:35:25Very well.
00:35:28Yeah.
00:35:30Right away.
00:35:31Give me a go, Mr.
00:35:32Okay.
00:35:33Thanks.
00:35:34And don't make my bed up.
00:35:35I won't be using it again tonight.
00:35:40Cut that out.
00:35:47Come in.
00:35:51Hiya, Mr. Hart.
00:35:52Have a nice trip?
00:35:53No, thanks, Joe.
00:35:54I just had one.
00:35:55What a sense of humor.
00:35:57Where'd you go, Palm Springs?
00:35:58Yes, yes.
00:35:59I went to Palm Springs.
00:36:00I felt I needed a rest.
00:36:01After the Smith girl's murder and Mona's disappearance and all that, I just thought I had to get away to
00:36:06figure things out.
00:36:08Yes, certainly is funny.
00:36:09Police haven't turned up a thing on Mona.
00:36:11No, and I saw in the papers where they hadn't made any progress on the Smith case either.
00:36:15Too bad about her.
00:36:16She was a lovely child.
00:36:18Well, looks like we're throwing 300,000 bucks right out the window.
00:36:22It's tough luck, too.
00:36:23Another dare, and we would have had the picture right in the bag.
00:36:27Thank you.
00:36:34Joe, we're going to finish the picture.
00:36:36You can't do that.
00:36:38Not without those shots of Mona.
00:36:40I was wrecking.
00:36:42I felt I had to get out of Hollywood to find a way out.
00:36:46I've always given you credit for being a great producer, but if you've got this one worked out, you're a
00:36:51genius.
00:36:52This is confidential, Joe.
00:36:54If it ever got out, your business is your business.
00:36:57My business is telling it to the public.
00:36:58That's just what I don't want you to do this time.
00:37:02Well, you're paying me what is humorously called a salary, so if you say forget it, I'll forget it.
00:37:07I remembered some old scenes from some of Mona's earlier pictures.
00:37:11By inserting them, it'll give us exactly what we want.
00:37:14You've certainly got a better memory than mine.
00:37:15I don't remember any old scenes.
00:37:17You'll just leave that to me, will you?
00:37:18Of course I will, Mr. Hart, but all right.
00:37:20Then you go right ahead with your publicity campaign.
00:37:23Give it everything you've got.
00:37:24Spare no expenses.
00:37:25This will probably be our last Mona Harrison, so I'm hoping to clean up on it.
00:37:28What do you mean, the last Mona?
00:37:30I'm fed up with her temperamental actions.
00:37:32I'm going to use the absence clause to cancel a contract.
00:37:43Yes, Cooper?
00:37:44Okay.
00:37:45Yes.
00:37:46Have her come right in.
00:37:48It's Susan Cooper.
00:37:49She ought to be barred from the lot.
00:37:51I guess as soon as you didn't learn about what I just told you.
00:37:54I didn't like what I saw in the papers about her trying to rifle Mona's face.
00:38:00Come in, Susan.
00:38:02Oh, my little bride-to-be.
00:38:05Come into my eking arms and see what Pappy's got for you.
00:38:08The nuptial permit, no less.
00:38:10A dollar down and you keep paying for the rest of your life.
00:38:12All it needs is your moniker on the dotted line.
00:38:15Are you kidding?
00:38:16Am I kidding?
00:38:17Certainly I'm not kidding.
00:38:19Didn't you tell Williams and Hoffman you were going to marry me?
00:38:21Didn't you say you would if I bailed you out?
00:38:23Listen, Romeo.
00:38:24The law says that any confession gained under duress may be brought as evidence.
00:38:28Well, but good enough for the American courts is good enough for Susan Cooper.
00:38:32Oh, Mr. Hart, I'm sorry.
00:38:34I'm terribly sorry for your take about the bad news.
00:38:36Bad news?
00:38:37Not bad news.
00:38:39Oh, don't.
00:38:41And you of all people haven't heard about Mona.
00:39:02I can't believe it.
00:39:04Why do you say that?
00:39:06Oh, nothing.
00:39:07Nothing, Joe.
00:39:08It just makes me feel awful.
00:39:12I'll find it for you.
00:39:13Perhaps the people in Hollywood would gladly have strangled us.
00:39:16Well, it actually happened.
00:39:20That really puts the kibosh on the picture.
00:39:22$300,000 right in the ash can.
00:39:25I'm not so sure.
00:39:28Come in.
00:39:32Your secretary said you wanted this film delivered to you personally, Mr. Hart.
00:39:35Well, yes.
00:39:36Just put it in that closet right over there, please.
00:39:39Thank you, sir.
00:39:53Special film for the war department.
00:39:56Of course you know there'll be an inquest.
00:40:00I'm afraid so.
00:40:02Of course, there could be some mistake.
00:40:06If Hoffman has anything to do with it, he'll probably cannot see two other people.
00:40:10Yes.
00:40:10You and I.
00:40:12I hope the police are positive in their identification.
00:40:32Is Mr. Jimmy Starr here?
00:40:33Yes, sir.
00:40:34I'm here.
00:40:35Mr. Starr, you are a columnist, I believe.
00:40:38I wish I could make my boss believe I am.
00:40:40Now, in your experience as a columnist, you would have become personally acquainted with the deceased.
00:40:45I did Mona Harrison very well, over a number of years.
00:40:49Is there any doubt in your mind that this is Mona Harrison?
00:40:53No, I don't believe so.
00:40:54Thank you.
00:40:55That is all, Mr. Starr.
00:40:58Mr. Hart, you better give me your keys.
00:41:00Your car is parked in front of a fire plug.
00:41:02It is not.
00:41:03I parked that way up the street.
00:41:04Well, maybe you didn't set your brakes.
00:41:06It's in front of the plug now.
00:41:07You might get a ticket.
00:41:09All right.
00:41:09Many thanks.
00:41:29Mr. Edwin Schellert, please.
00:41:32Yes.
00:41:34Mr. Schellert, with your intimate knowledge of Hollywood celebrities, you would be in a
00:41:39position to know Mona Harrison very well.
00:41:43Yes, I would.
00:41:45I'd say without hesitation that if that isn't Mona, I'm badly mistaken.
00:41:50Thank you, Mr. Schellert.
00:41:52Thank you, Mr. Schellert.
00:42:03Mr. Eskin Johnson, please.
00:42:05Yes.
00:42:07Mr. Johnson, you conduct a column and a radio program, I believe.
00:42:12That's right.
00:42:13And on your radio program, picture stars appear from time to time.
00:42:17Yes, the program concerns personalities.
00:42:20I occasionally present them on the air.
00:42:25Mr. Harrison appeared only last week.
00:42:28You're sure of this identification?
00:42:29Positive.
00:42:31Thank you.
00:42:32That's all.
00:42:35Here, Chief.
00:42:36Thanks.
00:42:38Mr. Harry Crocker, please.
00:42:40I'm right here.
00:42:41Mr. Crocker, your experience as a columnist should place you in a position to make a positive
00:42:46identification of Mona Harrison.
00:42:48It does.
00:42:49And furthermore, I've answered it just a day or two before this appearance.
00:42:52And this body?
00:42:54Unquestionably, Mona Harrison.
00:42:56Thank you.
00:42:57That's all.
00:42:58I think that is sufficient identification.
00:43:00That still comes out in my mind.
00:43:02I only feel that way because I...
00:43:03He feels that way because he knows who done it.
00:43:05Oh, honey, I like that priority on dreams.
00:43:07That's all, as far as the police are concerned.
00:43:09Okay, Williams.
00:43:11I would like to have everyone come here for a moment, please.
00:43:17Now, I'm going to ask each of you to confirm your identification.
00:43:23Yes, that's Mona.
00:43:26Definitely.
00:43:27I'm absolutely sure.
00:43:29There's no doubt in my mind.
00:43:30I'm positive.
00:43:32Well?
00:43:34That's Mona.
00:43:37That changed my mind.
00:43:40Yeah, that's Mona.
00:43:42That is all.
00:43:43I thank you.
00:43:49Go ahead, Hoffman.
00:43:51I brung in that carol in like you said.
00:43:53I see.
00:43:54Know what I think, Chief?
00:43:56Go ahead.
00:43:57Well, it's an open and shut case.
00:43:58Just a little fancy deduction, that's all.
00:44:01You stick to plain deduction, Hoffman.
00:44:02It'll get you a lot farther.
00:44:04You're always kidding, Chief.
00:44:06Well, go ahead.
00:44:07But make it brief.
00:44:08I want to get through with questions.
00:44:09You just win.
00:44:09Okay, Chief, I'll let you have it straight from the hip.
00:44:12Uh, I mean children.
00:44:13First, Mona Harrison's dead.
00:44:15Is that right?
00:44:16Right.
00:44:17Second, somebody done it.
00:44:18Lend it.
00:44:19For a bullet.
00:44:20Third, the marks on Mona Harrison's throat were different from those on Ellen Smith.
00:44:25So I figured the murders were done by two different people.
00:44:28That's the smartest thing you've figured out yet.
00:44:30That's practically what I've decided myself.
00:44:32Well, sometimes it takes me a little while to figure things out.
00:44:35But when I do, I'm pretty near right.
00:44:37Well, go ahead.
00:44:38What's your saying?
00:44:38Here's one more point.
00:44:40Number four.
00:44:41Ellen Smith was strangled by a man.
00:44:44But Mona was strangled by a woman.
00:44:46What do you figure?
00:44:47Well, the autopsy showed that Ellen Smith's neck was broken.
00:44:50No woman could have done that.
00:44:52Mona's neck wasn't broken.
00:44:54But there was splashes.
00:44:55And traces of fingernail polish.
00:44:57The medical examiner told us that.
00:44:59You know, Hoffman, there are times when I wonder why I keep you on the porch.
00:45:02And then you suddenly come up with something really worthwhile.
00:45:05Thanks, Chief.
00:45:05Well, if that ain't all, I've narrowed it down to two suspects for you.
00:45:09Oh.
00:45:10Hamilton Hart for one.
00:45:12Hold up.
00:45:12And Susan Cooper.
00:45:14Ridiculous.
00:45:15Put it.
00:45:16Bring in Miss Lent.
00:45:25Here's Miss Lent, Chief.
00:45:26Sit down, please.
00:45:31I'm sorry to inconvenience you this way.
00:45:34May I ask why you had me brought here?
00:45:36Let me see your fingernail.
00:45:38See, Chief?
00:45:39Red nail polish.
00:45:40Oh.
00:45:41I suppose every girl in Hollywood doesn't wear it.
00:45:43That'll be enough, Hoffman.
00:45:45Miss Lent,
00:45:46Mona Harrison was in love with Hamilton Hart.
00:45:49Wasn't she?
00:45:51I...
00:45:51I couldn't say exactly.
00:45:53But she was very fond of him.
00:45:56I don't know anything about Hamilton Hart's private life.
00:45:59But it's possible, isn't it?
00:46:02Oh, yes, it's possible.
00:46:06Hamilton Hart might have had a motive for murdering Mona Harrison.
00:46:10Oh, no.
00:46:10You know, that's foolish.
00:46:11Why, why, he couldn't possibly have.
00:46:14You might have wanted to kill her yourself.
00:46:17Oh, no.
00:46:18Well, there are 59 people in Holland if wanted to.
00:46:22But that doesn't mean that any of them did.
00:46:24If nobody did, how come she's dead?
00:46:26Oh, I know, but...
00:46:27Oh, but you know it wasn't you or Hart.
00:46:29I know it wasn't him.
00:46:31Because it was either you or Susan Cooper.
00:46:33Oh, man's mad.
00:46:34I'm sorry, Miss Lent.
00:46:35I'll handle this, Hoffman.
00:46:37Oh, but...
00:46:38Okay, Chief.
00:46:40There's just one more question, Miss Lent.
00:46:43Have you any idea where Mr. Hart went when he left town the other day?
00:46:48I don't, Mr. Woody.
00:46:50Honestly, I...
00:46:51I don't know.
00:46:53I'm sorry to have troubled you.
00:46:55My car is just outside.
00:46:56The driver's at you home.
00:46:57Good evening, Miss Lent.
00:46:58Bye.
00:47:04Hoffman, I want you to shadow Hamilton Hart.
00:47:06Now, Chief, I don't waste any time, Hoffman.
00:47:09You get on the back's trail and stay on it.
00:47:11Until I take you off.
00:47:12But, Chief, I was figuring it.
00:47:13Do I have to...
00:47:14No, you don't have to.
00:47:16See you later, Chief.
00:47:17Thank you.
00:47:50Thank you.
00:47:56Thank you.
00:47:59Thank you.
00:48:18Thank you.
00:48:19Thank you.
00:48:33Thank you.
00:48:34Thank you.
00:48:36Thank you.
00:48:37Thank you.
00:48:38Thank you.
00:48:40Thank you.
00:48:41Thank you.
00:48:43Thank you.
00:48:44Thank you.
00:48:45Thank you.
00:48:46Thank you.
00:48:47Thank you.
00:48:47Thank you.
00:48:47Thank you.
00:48:47Gracias.
00:49:17Gracias.
00:49:47Gracias.
00:50:17Gracias.
00:50:32Gracias.
00:50:39Hey.
00:50:41Now, Mickey Mouse?
00:50:43What are you doing here?
00:50:44I was leaving.
00:50:45In fact, I am leaving.
00:50:46Susan, wait a minute.
00:50:48What do you make of it?
00:50:50Well, I don't know.
00:50:51What do you make of it, Mr. Bones?
00:50:53Of course, that couldn't be Mona.
00:50:55Oh, certainly not.
00:50:58Well, I'll see you one of these evenings when you get to work.
00:51:01Maybe I'll let you take me out and buy me a cocktail.
00:51:03Susan, wait a minute.
00:51:04Sit down.
00:51:08You're going to have a nervous breakdown or I will if you keep this up.
00:51:11You know very well that was Mona.
00:51:14Of course I do.
00:51:15What does it prove?
00:51:16It simply proves there's something fishy about the whole business.
00:51:19I saw you fishing for heart's key this morning to double-cross me.
00:51:23I'm sorry, darling, but you've been trying to double-cross me from the very beginning.
00:51:27Now, what's fair for one is fair for one of Susan.
00:51:29Susan, if I was so much in love with you, I...
00:51:31You ought to agree.
00:51:33You know, I can just see us fifty years from now.
00:51:36A lovely little cottage.
00:51:39Big open fireplace.
00:51:41You and I sitting in front of us.
00:51:43Trying to give each other a hot foot.
00:51:47Oh, on the level, Jill.
00:51:49We could just work together.
00:51:50Nothing would suit me better, Sue.
00:51:52Well, all right then.
00:51:53You wind up that film and let's talk.
00:52:20What do you think, Jill?
00:52:21Come on, now.
00:52:22Be honest.
00:52:22Remember, we're partners.
00:52:24All right, Susan, I'll give it to you straight.
00:52:26Those were shots of Mona.
00:52:28They weren't cut out from any old pictures.
00:52:29They were new.
00:52:30They've just been made.
00:52:32How do you know that?
00:52:33I checked at the laboratory this morning when I came back from the morgue.
00:52:37That means that Hart got them someplace when it is out of town.
00:52:40That's just it.
00:52:41Just what?
00:52:42The coroner said that Mona had been dead for a week.
00:52:46Have you any idea where those shots were made?
00:52:48No, there's nothing outstanding about the background that I could see.
00:52:52Did you notice anything particular?
00:52:54Anything special?
00:52:55Well, there was a bridge and a public building that might be a courthouse.
00:53:01Yeah, but that could be anywhere.
00:53:03Yes, it could be.
00:53:06Jill, it seems to me that when Mona first came to Hollywood, she had a different name.
00:53:12Why, Jingle, you're right.
00:53:14I figured out that Mona Harrison Monica myself.
00:53:17Why didn't I think of that before?
00:53:20If you could remember her right name, it might give us a clue.
00:53:23Well, it was some corny name like Upset or Kuzovicki or Jones or...
00:53:27What's that a clue to?
00:53:28Hmm, nothing.
00:53:30Then again, it might be the clue to the whole mystery.
00:53:32Anyway, we ought to find out.
00:53:34Well, I've got the information in my files.
00:53:36Oh, look it up for me like a darling, will you?
00:53:38Why, sure, Susan.
00:53:40Um, aren't you coming along?
00:53:43You're not suspicious already.
00:53:44Oh, no, of course not, dear.
00:53:45Right.
00:53:46No, I have stolen my etiquette.
00:53:48You know, if I don't check in every once in a while, he has an annoying habit of trying to
00:53:51keep me off the payroll.
00:54:02Hello?
00:54:03Hello?
00:54:03Hello, this is Susan Cooper.
00:54:04Will you give me the boss?
00:54:13Well, okay, okay, boss.
00:54:15Go ahead, fire me.
00:54:16But if you do, you'll miss the biggest story that's broken in Hollywood in years.
00:54:21How do I know?
00:54:23Well, I don't yet, but I will any minute.
00:54:26Okay.
00:54:27There are a dozen rags that'll pay me plenty for it.
00:54:29Thank you.
00:54:32Well, now you're running on synthetic rubber.
00:54:36Yeah.
00:54:55Mr. Hart's office, please.
00:54:59Hello, Sue.
00:55:00Yeah.
00:55:01I found her.
00:55:02Her real name is Martha Halverson.
00:55:06That's Martha Halverson.
00:55:08Got it?
00:55:09What?
00:55:11What's that?
00:55:13Oh, Susan.
00:55:15Certainly, I'm not going to double-cross you.
00:55:18You don't have to get to what's here about.
00:55:20What could I?
00:55:21What could I?
00:55:43¡Suscríbete al canal!
00:56:13¡Suscríbete al canal!
00:57:14¡Suscríbete al canal!
00:57:15¡Suscríbete al canal!
00:57:19¡Suscríbete al canal!
00:57:31¡Suscríbete al canal!
00:57:39¡Suscríbete al canal!
00:57:43¡Suscríbete al canal!
00:57:53Oh, boy.
00:57:55I certainly don't want to go through anything like that again.
00:57:58Come on, Joe.
00:57:59Stop talking.
00:58:01Why did you steal my key?
00:58:03Why did you try to choke me?
00:58:05Why did I...
00:58:06Say, I don't even know what you're talking about.
00:58:09You mean you didn't do it?
00:58:10In one more minute, I'm going to have you thrown out of this studio bodily.
00:58:14Now, cancel your contract.
00:58:15Say, don't wait a minute, Mr. Hart.
00:58:17If you didn't do it, then...
00:58:19Where's Susan?
00:58:20Wasn't she in your office?
00:58:21What time is it?
00:58:22One question at a time.
00:58:24I don't know where Susan is.
00:58:25Nor do I care.
00:58:27Unless...
00:58:28Say, did you happen to tell her about...
00:58:30About Mona?
00:58:31I mean, about finishing the picture?
00:58:33Well, as a matter of fact, Mr. Hart, we did see the film.
00:58:37I came over here to check on Mona Harrison's real name.
00:58:41Susan knows as much about it as I do.
00:58:43So whoever tried to get me is probably after her, too.
00:58:47Well, that's possible.
00:58:51But if I know Susan, she's found out where Mona is.
00:58:56And with that murderer after her...
00:58:58Listen, Mr. Hart, this is a matter of life and death.
00:59:00You've got to tell me where Mona is.
00:59:02Mona, why, uh...
00:59:03Well, come on, others.
00:59:03Don't try to wait.
00:59:04You've got to take me to her.
00:59:06Take me to her?
00:59:06Why, it's all the way to Reno.
00:59:08Reno?
00:59:12Come on, operator.
00:59:14Hello.
00:59:15Hello, operator.
00:59:16Get me two tickets for Reno.
00:59:18All of them.
00:59:18Now, listen, Ham.
00:59:20You listen to me.
00:59:21And don't call me Ham.
00:59:22Now, Carol's waiting outside my car.
00:59:25If we're going to Reno, then what are we waiting for?
00:59:27Come on, Ham.
00:59:27What I mean for, but...
00:59:38Hello, Chief.
00:59:39This is Hoffman.
00:59:41Say, I guess Hart's going to get a divorce.
00:59:43Yeah, a divorce.
00:59:45Him and Powell are heading to Reno.
00:59:50Besides everything else I've called you, you're feeble-minded.
00:59:54This may be the break we're waiting for.
00:59:56And you think Hart's going to Reno for a divorce?
00:59:59Huh.
01:00:00He isn't married.
01:00:02Stupid.
01:00:03Okay, Chief.
01:00:04I'll be waiting at the depot.
01:00:08Thank you.
01:00:27Have a great सk accuracy of you.
01:00:29Hey!
01:00:37Hey!
01:00:41Hey!
01:00:51Hey!
01:00:52Hey!
01:00:53Hey!
01:00:55Hey!
01:01:01Hey, get over.
01:01:04You might put me on the wall.
01:01:21Well, I'm a chauffeur.
01:01:23Hey.
01:01:24Hey, why don't you try to run me off the road?
01:01:26Why have you been following me?
01:01:28I want to talk to you.
01:01:30Yes?
01:01:31I...
01:01:33I followed you because...
01:01:38Because I...
01:01:46I, uh...
01:01:47I want to see Martha Halverson.
01:01:48Uh, you mean Marie Halverson?
01:01:51Oh, yes, that's right.
01:01:52I forgot it is Marie.
01:01:54Uh, who shall I say?
01:01:55Well, you won't have to announce me.
01:01:56Just give me the number per room.
01:01:58I'm an old friend.
01:01:59Well, I'll have to let her know you're coming up.
01:02:01Oh.
01:02:03Well, then tell her that...
01:02:04Susan!
01:02:07Are you all right?
01:02:08You got here okay?
01:02:09I got here okay.
01:02:11Oh, did you expect something to happen to me?
01:02:14He certainly did.
01:02:15And by the way, how did you hear about Reno?
01:02:18Uh-huh.
01:02:18Well, he feels like this.
01:02:19If I could ever really break down a marriage, though, he'll be my seventh husband.
01:02:23And it was right here in Reno I divorced the other six.
01:02:25He's a sweet boy, too.
01:02:27A rat.
01:02:28Well, cut out the comedy.
01:02:29You had inside information.
01:02:30Well, you had the same information, only I used my head while you used a projector.
01:02:34I don't get it.
01:02:35Neither do I.
01:02:36You remember that scene where Mona comes down a flight of chairs and the bridge where she
01:02:40draws the rain into the river?
01:02:41Yeah.
01:02:42You walk right down the street and you'll see them both.
01:02:44That's half the women in America.
01:02:46That's very new.
01:02:47Come over here.
01:02:48I want to talk to you.
01:02:49What do you mean?
01:02:50Excuse us, Joe.
01:02:51You and Carol, mute yourselves.
01:02:56Susan, any adverse publicity, and I stand to lose $300,000 invested in Mona's picture.
01:03:02So I admit you've got me on a spot.
01:03:05But I figured if we could get together and make a deal...
01:03:08Oh, Harold, I could use a little mistake.
01:03:11Because I don't think Joe will ever be contented with anything that's the best.
01:03:14But it's no deal, Mr. Hart.
01:03:16You seem to forget we're mixed up in a murder.
01:03:19Look, Chief, it's a reunion.
01:03:21That isn't funny, Hoffman.
01:03:23It's a junior G-man.
01:03:25Well, he brought a friend.
01:03:28He ain't no friend.
01:03:29He's a Reno detective.
01:03:31Hey, how about you can be the dummy?
01:03:33That doesn't seem natural.
01:03:34Never mind the repartees, Cooper.
01:03:36What's going on here?
01:03:37Why the gathering of the Klan?
01:03:39Why, we were worried about Susan.
01:03:41Oh, speak for yourself, gentlemen.
01:03:44I'm here on a vacation.
01:03:45Could you give me a room in the back?
01:03:47Yeah, inside or not.
01:03:49Don't get personal.
01:03:55Oh, it's Mona.
01:03:57It's Mona Harrington.
01:04:08Mona.
01:04:09Mona.
01:04:10What's the idea of hiding out on us?
01:04:12Oh, go away.
01:04:14Let me alone.
01:04:14Now, come on, Mona.
01:04:15Now, what's the lowdown on this deal?
01:04:17How have you left me alone?
01:04:19You heard her, Powell.
01:04:20Besides, Mona Harrison's dead.
01:04:22How would she be walking around?
01:04:23What's the strange about that?
01:04:24She's been doing it for years.
01:04:26Oh, yeah?
01:04:27Now, look here, Powell.
01:04:28Enough, Hoffman.
01:04:30Is this Mona Harrison, Mr. Hart?
01:04:32Why, yes.
01:04:34And does that satisfy you?
01:04:36Not quite.
01:04:37Oh, go away.
01:04:38Pardon me, gentlemen.
01:04:44Okay.
01:04:46I think this will stir things up.
01:04:48So find confession from Arthur.
01:04:49Mona's shelter.
01:04:51Knowing I am dying, I must tell the truth.
01:04:53I murdered Alan Smith and Mona's twin sister.
01:04:56Hey, gee, you see?
01:04:58There's two of them.
01:04:59Hoffman, stop mumbling in my ear.
01:05:01This is the first time I ever knew Mona had a twin.
01:05:03Well, according to this, your sister came to Hollywood the day of the murders and demanded money.
01:05:07Otherwise, she threatened to expose the fact that you and Arthur were secretly married.
01:05:11Yes, that's how it was.
01:05:15Arthur Marie called.
01:05:18He lost his head and killed her.
01:05:23So he lost his head and killed her, huh?
01:05:26Yes, yes.
01:05:27And to protect you, he sent you up here to hide out while we covered up or took the rat
01:05:31that's in me.
01:05:32Yes.
01:05:33That's it.
01:05:35I won't stay, but he wouldn't let me.
01:05:38Our little Mona was married all the time.
01:05:40No wonder she wouldn't give anyone a tumble.
01:05:42But how does Ellen fit into the picture?
01:05:44Oh, that's a sitch.
01:05:46Ellen was in on the blackmail with Mona's sister.
01:05:48Planted, Hoffman.
01:05:49You ought to be promoted to a flatfoot for such a deduction.
01:05:52Yeah?
01:05:53What's wrong with her?
01:05:54Everything.
01:05:56Ellen remained behind the night of the dinner party fizzled.
01:05:58And she saw Arthur with a body.
01:06:00She got scared and ran.
01:06:02But she was afraid to go home or to tell the police because she knew Arthur would be looking for
01:06:06her.
01:06:06But she did go home the night of the blackout and started to call us.
01:06:11Arthur was waiting in the apartment.
01:06:13Yes, he was my husband.
01:06:15And I know I shouldn't say it, but it's true.
01:06:20Every word of it.
01:06:22Well, Miss Cooper, again, it seems the police department is indebted to you.
01:06:26The murderer is dead.
01:06:28And we've got Mona as the accessory.
01:06:30I should be pulling this on Hoffman, not you.
01:06:33But you have things just a little bit reversed.
01:06:35The accessory is dead.
01:06:37The murderer is still very much alive.
01:06:39What?
01:06:40Oh, she's going to be a wise guy now and cook up some wise yard.
01:06:44Why don't you let the police handle things?
01:06:46I'm afraid they might put you on it.
01:06:48She's insane.
01:06:49If anyone's insane, it's you.
01:06:51Why, look.
01:06:51Hey, go on.
01:06:52Hey, go on.
01:06:54Hey, go on.
01:06:54Hey, go on.
01:06:55Hey, go on.
01:06:55That would be enough, Mona.
01:06:57Why, she's got to call me, crazy.
01:06:59I'll tear her feet.
01:07:00Oh, oh, oh.
01:07:01Time, your name is a witness?
01:07:03Cool.
01:07:05Give her a pen, will you?
01:07:10Sit here, Mona.
01:07:16Find your name to that.
01:07:21See that?
01:07:21She's got a pen in her right hand.
01:07:22I don't get it.
01:07:23Well, neither did I until I saw those pictures.
01:07:25You remember the scene where Mona throws the ring into the river?
01:07:28She did it with her right hand.
01:07:29Now, I know Mona well enough to know she's left-handed.
01:07:31It isn't true.
01:07:32It isn't Mona, but her sister.
01:07:33That's right.
01:07:34Mona's dead.
01:07:34This is Marie.
01:07:35Oh, yeah?
01:07:37Who told me Mona's real name?
01:07:38I remember the story about her having a sister.
01:07:40A psychopathic case.
01:07:43She always kept her...
01:07:45Lucy, dear, come in me.
01:07:46Don't attack me.
01:07:47You're going to attack me.
01:07:48I'm going to have you go.
01:07:51Oh, dear.
01:07:51Hopper.
01:08:08Oh, dear, poor kid.
01:08:09That's a tough break.
01:08:10Yes.
01:08:19Carol, are you all right?
01:08:20Yes, much better.
01:08:22Thank you.
01:08:22You're so hard here that she's still drawing.
01:08:25Well, Chief, I guess I'm just up the case.
01:08:27Thanks to Susie.
01:08:28Yeah, thanks, Susie.
01:08:29You did a swell job.
01:08:31Well, I'm too honored to hear you say that, Hoffman.
01:08:37What were you going to say, Hoffman?
01:08:39I, uh...
01:08:41I...
01:08:42I forgot.
01:08:44One thing still puzzles me.
01:08:46How did you know it wasn't Mona before she picked up the pen?
01:08:50I just played a hunch.
01:08:52Hoffman didn't write that confession.
01:08:53I did.
01:08:54He died without saying a word.
01:08:57Carol, friend.
01:08:58I'm beginning to appreciate you more every minute.
01:09:00I am, too.
01:09:01Oh, that's swell of you, fellas.
01:09:03But there's one thing I'd like you to explain to me, Mr. Hart.
01:09:06How did you know that the girl you fought with Mona was in Reno?
01:09:10Well, uh...
01:09:11Between the time I called Joe at your place...
01:09:13And we went out to Mona's place for questioning...
01:09:15She called me from the railroad station.
01:09:18She asked me to go to her safe and get some letters.
01:09:20But before I'd agree...
01:09:22I made her promise...
01:09:23That I could come to Reno and shoot the rest of those scenes.
01:09:25Did she tell you why she was leaving town?
01:09:27Oh, she was having some trouble with a boyfriend.
01:09:29Said she was on the verge of a nervous breakdown.
01:09:31Ah, then it was you who tried to strangle me that night.
01:09:35Hi.
01:09:36Say, what is this, a frame-up?
01:09:38Oh, she's kidding you, Hart.
01:09:39She didn't even know that with a chauffeur.
01:09:41Well, Joe, may I give you a lift back to Hollywood?
01:09:44You certainly may, baby.
01:09:45So, Hoffman and I have to stay here to clear up some details.
01:09:48Well, now, it's a splendid opportunity for you to divorce Hoffman from his badge.
01:09:51Listen, nobody's taken my badge away...
01:09:54Not till I've had time to lock you up some fine day for life.
01:09:57Ah, that sweet of you, Hoffman.
01:09:59But you're a little bit late.
01:10:00I've already promised Joe.
01:10:01Oh, hey, is that gal screwy or am I?
01:10:08Yeah.
01:10:10Yeah.
01:10:11Well, here's the payoff, boss.
01:10:14The chauffeur was married to this demented sister.
01:10:16They'd been blackmailing Mona for years.
01:10:18And when she clamped down on them, Marie tilted death.
01:10:21So to protect her, the chauffeur killed the Smith girls.
01:10:25And then attempted a few other murders.
01:10:28Yeah.
01:10:28How about it, Susie?
01:10:30Don't worry, the boss will hear you.
01:10:32Well, there's your story.
01:10:33Now, how about that, Ray?
01:10:35Yeah.
01:10:36But we could be different, Susan.
01:10:37We could get married here in Reno.
01:10:39No, Joe, no.
01:10:41I mean, yes, boss.
01:10:42Yes.
01:10:43Oh, you're a piece.
01:10:44Look.
01:10:45Ah?
01:10:46Ah, I think nothing of it.
01:10:47As a certain fellow mine would say, it's just an open and shut case.
01:10:50You know, what?
01:10:52Well, I ought to give up, but I don't speak.
01:10:55We've got to get back to Hollywood.
01:10:59Order of the 4th Interceptor Command.
01:11:01The Hollywood Network is now leaving the air.
01:11:04We will retrain when the blackout is over.
01:11:07Another blackout.
01:11:09Let's go through that business all over again.
01:11:11Yeah, but let's get to the beginning.
01:11:12And go on right from here, together.
01:11:15You really think it will out?
01:11:16Do I?
01:11:17Very.
01:11:19Why all the illumination, brother?
01:11:22Don't you know there's a blackout?
01:11:24Turn out those lights.
01:11:25See here, I'm a guy to the civilian defense.
01:11:27But to me, you're just a bundle of nerves.
01:11:30Do you turn out those lights or do I help?
01:11:32Oh, okay, Uncle.
01:11:34Right.
01:11:35Hey, you in a second-story window.
01:11:36Turn out those lights.
01:11:39Well, Susan, now that I've got that settled, I...
01:11:41Hey, well, Susan, wait a minute.
01:11:45Susan, I...
01:11:46I want to ask you something.
01:11:48The answer is still no.
01:11:50There'll be some up there in that camp if you don't come to see me sometime.
01:11:54You mean you're in this case?
01:11:55Sure, honey.
01:11:56And before I go, I thought...
01:11:58Oh, no.
01:11:59I've always been crazy, buddy.
01:12:01I didn't even look for them.
01:12:02I'm trying to worry you again.
01:12:04I don't know.
01:12:06I'll be there for your life.
01:12:12I'm hiding nothing.
01:12:14Oh, no.
01:12:43¡Gracias!
01:12:54¡Gracias!
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