A Scream in the Dark (1943)

53 or 55 mins | Mystery | 15 October 1943

Full page view
HISTORY

The working title of this film was The Morgue Is Always Open. According to HR news items, Marie McDonald was borrowed from Paramount for the production, and Donald Woods, who was originally signed to play "Mike Brooker," was replaced by Robert Lowery when Woods had to drop out of the film because of "previous commitments." According to the MPAA/PCA Collection at the AMPAS Library, a 24 May 1943 version of the script was rejected by the PCA because of the "suggestion of a sex affair" between "Muriel" and "Gerald Messenger," and between "Stella" and "Messenger," and because of the suggestion that Muriel was guilty of bigamy. After a conference between Republic and PCA officials, the story was approved. ...

More Less

The working title of this film was The Morgue Is Always Open. According to HR news items, Marie McDonald was borrowed from Paramount for the production, and Donald Woods, who was originally signed to play "Mike Brooker," was replaced by Robert Lowery when Woods had to drop out of the film because of "previous commitments." According to the MPAA/PCA Collection at the AMPAS Library, a 24 May 1943 version of the script was rejected by the PCA because of the "suggestion of a sex affair" between "Muriel" and "Gerald Messenger," and between "Stella" and "Messenger," and because of the suggestion that Muriel was guilty of bigamy. After a conference between Republic and PCA officials, the story was approved.

Less

SOURCE CITATIONS
SOURCE
DATE
PAGE
Daily Variety
23 Sep 1943
p. 3
Hollywood Reporter
30 Mar 1943
p. 3
Hollywood Reporter
22 Apr 1943
p. 4
Hollywood Reporter
22 Jun 1943
p. 5
Hollywood Reporter
24 Jun 1943
p. 4
Hollywood Reporter
28 Jun 1943
p. 3
Hollywood Reporter
2 Jul 1943
p. 11
Hollywood Reporter
23 Sep 1943
p. 3
Motion Picture Herald
30 Oct 1943
---
Motion Picture Herald Product Digest
11 Sep 1943
p. 1531
Motion Picture Herald Product Digest
30 Oct 1943
p. 1605
Variety
13 Oct 1943
p. 10
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Art Siteman
Asst dir
PRODUCER
Assoc prod
PHOTOGRAPHY
ART DIRECTOR
Art dir
FILM EDITOR
Film ed
SET DECORATOR
Set dec
COSTUMES
MUSIC
Mus dir
SOUND
SOURCES
LITERARY
Based on the novel The Morgue Is Always Open by Jerome Odlum (New York, 1944).
LITERARY SOURCE AUTHOR
DETAILS
Alternate Title:
The Morgue Is Always Open
Release Date:
15 October 1943
Premiere Information:
Brooklyn, NY opening: week of 7 Oct 1943
Production Date:
28 Jun--early Jul 1943
Copyright Info
Claimant
Date
Copyright Number
Republic Pictures Corp.
7 September 1943
LP12276
Physical Properties:
Sound
RCA Sound System
Black and White
Duration(in mins):
53 or 55
Length(in feet):
4,935
Length(in reels):
6
Country:
United States
PCA No:
9503
Passed by NBR:
Yes
SYNOPSIS

Reporter Mike Brooker must finish one more assignment before he can quit the newspaper and open his own private detective agency with his pal, photographer Eddie Tough. Mike is at New York City's 99th Street morgue waiting for the sister of rich Mike Carter to identify his corpse, but when she does not show up, Mike quits without finishing his story. Mike and Eddie then move into the office found by Mike's girl friend, Joan Allen, who is the police chief's secretary. Two weeks later, Joan sends Mike his first client, Leo Starke. Leo states that his wife of five years, Muriel, is Mike Carter's sister, and that she disappeared shortly after learning about her inheritance. Leo wants a divorce because he believes that Muriel has run off with a fortune hunter, Gerald Messenger. Mike tracks down Muriel and Gerald with the help of Gerald's former girl friend Stella. Mike and Eddie then take a compromising photo of Muriel and Gerald together, which induces Muriel to agree to give Leo a divorce. After Leo files for divorce, a man named Norton approaches Mike and says that the woman in the newspaper story about the Starkes's divorce is actually his wife Muriel, who ran away. Before Mike can locate Muriel again, Norton is killed. When Stella informs Mike that he can find Gerald and Muriel through an ex-convict named Benny, who once hired Gerald, she, too, is murdered. Mike finds Gerald, who maintains that he had nothing to do with Stella's death, but before he can name her killer, he is shot to death. Meanwhile, a man named Sam Lackey contacts ...

More Less

Reporter Mike Brooker must finish one more assignment before he can quit the newspaper and open his own private detective agency with his pal, photographer Eddie Tough. Mike is at New York City's 99th Street morgue waiting for the sister of rich Mike Carter to identify his corpse, but when she does not show up, Mike quits without finishing his story. Mike and Eddie then move into the office found by Mike's girl friend, Joan Allen, who is the police chief's secretary. Two weeks later, Joan sends Mike his first client, Leo Starke. Leo states that his wife of five years, Muriel, is Mike Carter's sister, and that she disappeared shortly after learning about her inheritance. Leo wants a divorce because he believes that Muriel has run off with a fortune hunter, Gerald Messenger. Mike tracks down Muriel and Gerald with the help of Gerald's former girl friend Stella. Mike and Eddie then take a compromising photo of Muriel and Gerald together, which induces Muriel to agree to give Leo a divorce. After Leo files for divorce, a man named Norton approaches Mike and says that the woman in the newspaper story about the Starkes's divorce is actually his wife Muriel, who ran away. Before Mike can locate Muriel again, Norton is killed. When Stella informs Mike that he can find Gerald and Muriel through an ex-convict named Benny, who once hired Gerald, she, too, is murdered. Mike finds Gerald, who maintains that he had nothing to do with Stella's death, but before he can name her killer, he is shot to death. Meanwhile, a man named Sam Lackey contacts Mike and Eddie and insists that he is Muriel's real husband. Lackey's face looks familiar to Joan and she searches through police records and discovers that he is Benny. After Joan then learns that Muriel Starke is actually Muriel Norton, a headless corpse in the morgue is then identified as Mrs. Muriel Carter Starke, Mark Carter's sister. While Mike is eluding the police, who believe that he is involved with the murders, he finally locates Muriel, Starke and Lackey. He learns that Starke killed his wife, then, after finding out about Carter's death, hired Muriel to impersonate his wife in order to get the inheritance. After signing the inheritance over to Starke, Murial agreed to the divorce, but they had to arrange for Lackey to kill Norton, Stella and Gerald when they learned too much. Mike and Eddie tussle with the culprits and are about to be overwhelmed when Joan arrives with the police. During the ensuing struggle, Starke, Muriel and Lackey are killed. Later, Joan gives Mike a congratulatory kiss but is interrupted when the chief of police attempts to hire him to find his wife.

Less

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

TOP SEARCHES

The Long Haul

Onscreen credits contain the following written acknowlegment: "The producer gratefully acknowleges the assistance and facilities made availabe to the producer by Leyland Motors Limited." Tom Morahan's onscreen credit reads ... >>

The Terminator

A full-page advertisement in the 24 Feb 1984 DV announced the recent start of principal photography, referring to the film by its working title, Terminator. ... >>

That Forsyte Woman

The working title for this film was The Forsyte Saga . According to a pre-release news item in Time magazine, M-G-M decided to change the title ... >>

Pretty Baby

The summary and note for this entry were completed with participation from the AFI Academic Network. Summary and note were written by participant Jeremy Carr, Visiting Research Fellow ... >>

The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.