Mystery Street

Synopsis: Vivian, a B-girl working at "The Grass Skirt," is being brushed off by her rich, married boyfriend. To confront him, she hijacks drunken customer Henry Shanway and his car from Boston to Cape Cod, where she strands Henry...and is never seen again. Months later, a skeleton is found (sans clothes or clues) on a lonely Cape Cod beach. Using the macabre expertise of Harvard forensic specialist Dr. McAdoo, Lt. Pete Morales must work back from bones to the victim's identity, history, and killer. Will he succeed in time to save an innocent suspect?
93 min


Yes, operator. I put through the call.

All right, I'm waiting.

- Hi, Viv. | - Hello?

This is Vivian.

- Mrs. Smerrling. | - What?


Rent. For this week and next, okay?

Lovely, dear, lovely. I'll get you a receipt.

What do you mean you can't make it?


All right, I'll hold on.

- If everyone paid as promptly as you... | - Thank you, ma'am.

Is something wrong, Viv?

Nothing I can't handle.

Aren't you working tonight, dear?

What's it to you?

To me, it's cash. Money.

- The stuff you owe me two weeks of... | - Tomorrow, you'll get it tomorrow.

Maybe even with a bonus.

Maybe I'll even move out of this place. | Maybe into some place with class.

Who is he? Do I know him? Go on...

- Hello? What? Just a minute. | - Tell me. Come on.

Anything else?

Yeah. Light costs money.

All I try to do is help and what happens? | I get insulted.


I couldn't help it. | I had to call your house.

Please, honey, you got to.

I'm in a jam.

Listen, you, I'm not interested in | your family, I'm interested in me.

Now, you meet me tonight.

Ten o'clock.

Where I work, The Grass Skirt.

All right. Be there.

So you're out at Hyannis, | so it takes two hours from the Cape, so?

Make it 10:

She's in a jam. Ha.

He don't know what a jam he'll be in.

Messing with that one.

Not working tonight, honey?

Give her the phone again, Al.

Long distance.

Honey, can you try Hyannis 3633 | for me again, please?

It can't still be busy. | I've been calling this number since 10:30.

Listen, nobody talks that long.

Anybody got a yellow Ford | parked out front?

- Well, would you try it again, please? | - Yellow Ford, anybody?

Hey, you got a yellow Ford?

How about you?

- You haven't got a yellow Ford. | Yeah.

You gotta move it, mate, | you're parked in the no-parking.


Parked in the no-parking.

That's the story of my life.

I'm always where I shouldn't be.

I'm also not where I ought to be.

You know, ever since Adam, | man's been crying, "Where am I?"

Where are you?

Where are you?

- Who are you? | - I'm with you, honey.

A woman always knows | where she is, right?

What you need is fresh air.

Yeah. Yeah. Hey, open the window, huh?

No, not here. Fresh air | couldn't get in here with a permit.

How about letting me help you | move that car of yours, honey?

Oh, yeah.

Yeah, you know, we gotta move that.

- How much he owe you, Al? | - Three-fifty.

We need a bottle. | Same thing he's been drinking.

You heard her. Same thing | I've been drinking. Whatever that is.

Where are you?

- How much? | - Nine bucks all together.

Keep the change.

Come on, honey.

You can't go wrong with this one: | Old Ironsides.

Can I see that one on your right arm again?

Sure thing.

- Do you need any help, Miss Heldon? | - No, thanks, Jim. I can manage.

Yeah, that's the one.

- Does it hurt? | Not when you're in the Navy.

Give me the keys. I'll drive. Get in.

My wife's | in the Boston Lying-In Hospital.

- You know where that is? | - Sure, sure, sure.

You take another drink. | Do you good, honey.

She lost the baby.

She's awful, awful sick, my wife.

I... I couldn't take it, I...

So I go out and get tight.

Sure, I understand, honey.

- Got a couple of nickels? | - Sure.

- See you, Harry. | - Okay.

Of course I'm coming out to your place. | What else do you think I'm doing out here?

Well, I am.

Well, meet me someplace.

- Where? How? | - Where is she?

All right, goodbye.

- Hey, what's the idea? | I forgot something.

Well, look. What are we doing | out here on the Cape?

Never mind. I'll tell you later. | Come on, honey.

- Look, you said we were going... | - I'll take you back to Boston.

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Sydney Boehm

Sydney Boehm (April 4, 1908 – June 25, 1990) was an American screenwriter and producer. Boehm began his writing career as a newswriter for wire services and newspapers before moving on to screenwriting. His films include High Wall (1947), Anthony Mann-directed Side Street (1950), the sci-fi film When Worlds Collide (1951), and the crime drama The Big Heat (1953), for which Boehm won a 1954 Edgar Award for Best Motion Picture Screenplay. Boehm was born in Philadelphia, Pennsylvania on April 4, 1908 and died in Woodland Hills, California on June 25, 1990 at age 82. more…

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Submitted on August 05, 2018

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    "Mystery Street" STANDS4 LLC, 2021. Web. 8 Mar. 2021. <>.

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