Griffith Jones is released from prison. Waiting in a convertible is snazzy blonde Zena Marshall, who's looking for a man like him. Her husband is being blackmailed and she wants someone to break into the blackmailer's apartment and steal the incriminating letter. Here's fifty pounds and show up at our apartment later to discuss the details. Jones agrees, and then goes to the insurance agency he works for. He reports to his new boss, Hazel Court, where the loot he went into prison undercover to locate is, tells her to get his fingerprints and record erased before it becomes annoying, and kisses her.
When he gets to the meeting, Miss Marshall gives him a drink. He falls asleep and wakes to discover a dead brunette. He flees, investigates, and reports occasionally to Miss Court, mostly to flirt and inform the audience what is going on.
It's not a particularly deep B movie, but it moves at a good pace, with efficient direction by Charles Saunders and workmanlike black&white camerawork by Hone Glendinning -- I'm more used to his Technicolor work for James Fitzpatrick's TRAVELTALK series for MGM. There's little in this movie that will astonish anyone. It is simply another unassuming second feature that gets its story told in an hour. Good enough.
When he gets to the meeting, Miss Marshall gives him a drink. He falls asleep and wakes to discover a dead brunette. He flees, investigates, and reports occasionally to Miss Court, mostly to flirt and inform the audience what is going on.
It's not a particularly deep B movie, but it moves at a good pace, with efficient direction by Charles Saunders and workmanlike black&white camerawork by Hone Glendinning -- I'm more used to his Technicolor work for James Fitzpatrick's TRAVELTALK series for MGM. There's little in this movie that will astonish anyone. It is simply another unassuming second feature that gets its story told in an hour. Good enough.