Patsy Kelly inherits a ten-ton truck from her uncle. She goes into the trucking business with friends Mary Brian and Isabel Jewell. On their way to Las Vegas with a load of furniture for a casino, they pick up a weird assortment of hitchhikers and are pursued by guys with a lien on the truck, criminals looking to hijack and some gamblers.
In between disquisitions on wartime road regulation and how to play craps, five subplots crowd each other. There's a runaway heiress, an amnesiac woman, three romances and Betty Compson along for the ride as a spiritualist with a crystal ball. PRC's main house director, Sam Newfield, runs things at a good clip from a script derived from an idea by Edgar Ulmer. Mostly it depends on Miss Kelly's bumptious energy, and she delivers.
Cinematographer Ira Morgan had come down in the world since his glory days of lighting Marion Davies and MGM's hottest stars in the 1920s, with a last hurrah shooting MODERN TIMES with Rollie Totheroh. He was stuck in Poverty Row now, and would stay there until the end of his career in 1957. He would die in 1959, a week after his 70th birthday.
In between disquisitions on wartime road regulation and how to play craps, five subplots crowd each other. There's a runaway heiress, an amnesiac woman, three romances and Betty Compson along for the ride as a spiritualist with a crystal ball. PRC's main house director, Sam Newfield, runs things at a good clip from a script derived from an idea by Edgar Ulmer. Mostly it depends on Miss Kelly's bumptious energy, and she delivers.
Cinematographer Ira Morgan had come down in the world since his glory days of lighting Marion Davies and MGM's hottest stars in the 1920s, with a last hurrah shooting MODERN TIMES with Rollie Totheroh. He was stuck in Poverty Row now, and would stay there until the end of his career in 1957. He would die in 1959, a week after his 70th birthday.