| Cast overview, first billed only: | |||
| Preston Foster | ... | Det. Bill Crane | |
| Patricia Ellis | ... | Kathryn Courtland aka Mrs. Sam Taylor | |
| Frank Jenks | ... | Doc Williams | |
| Thomas E. Jackson | ... | Strom (as Thomas Jackson) | |
| Bill Elliott | ... | Chauncey Courtland (as Gordon Elliott) | |
| Roland Drew | ... | Sam Taylor | |
| Barbara Pepper | ... | Kay Renshaw | |
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Joe Downing | ... | Steve Collins (as Joseph Downing) |
| Archie Robbins | ... | Frankie French (as James Robbins) | |
| Al Hill | ... | Spitzy | |
| Morgan Wallace | ... | Layman | |
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Brian Burke | ... | Johnson |
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Donald Kerr | ... | Greening |
| Don Brodie | ... | Taxi Driver | |
| Rollo Lloyd | ... | Coroner | |
Believing that the body of Alice Ross, found hanging in a disreputable hotel and pronounced as suicide by Police Lieutenant Strom (Thomas E. Jackson) and Police Inspector Layman (Morgan Wallace) might be that of wealthy Kathryn Crawford (Parricia Ellis), private detective Bill Crane (Preston Foster) and his assistant "Doc" Williams (Farnk Jenks) hurry to the scene, Shortly after their arrival, the body disappears and the morgue keeper is found killed, Strom and Layman suspect that Crane had something to do with both incidents. Before Crane gets the case unraveled, he gets knocked in the head with a bottle by a pretty blonde, arouses the ire of a jealous band leader, Sam Tayolr (Roland Drew), and traces the missing body to a cemetery and returns it to the morgue. Written by Les Adams <longhorn1939@suddenlink.net>
Part of the Crime Club series, and based on an original by Jonathan Latimer, this nifty little mystery is often cited as a model of 30s B-movie adeptness. It was directed by the unjustly forgotten Otis Garrett (who died young), a former editor who uses flash-pan edits and other visual tricks to maintain a breakneck pace -- so fast that it's pretty difficult to follow the complex plot. Although a bit too reliant on dialog scenes, there are enough effective wisecracks, bizarre demimonde characters (shifty undertakers, dour taxi drivers, carefree taxi dancers) and risqué asides (apparently, the production code enforcers often neglected these low budgeters) to raise the quality well above the norm. One side benefit is an appearance by a young Barbara Pepper, sassy and sardonic as ever, but surprisingly lithe and seductive. Soon-to-be-famous Stanley Cortez provided the cinematography.