Stansyck has a reputation for tracking down and killing his enemies, no matter how long it takes, so Müller decides to leave town and hide.

He takes an office job recommended by his law-abiding brother, Frederick, but quickly decides that working for a living is not for him.

A chance encounter with dentist Dr. Swangron reveals that Müller looks exactly like a psychoanalyst who works in the same building, Dr. Bartok, the only difference being a large scar on the left side of the doctor's face.

He goes through with the plan anyway, and (except for the office cleaning lady, whose suspicions he manages to lull) no one notices the difference, not even Evelyn or Bartok's patients.

Frederick Müller tells "Bartok" that his brother no longer has to hide, because Stansyck was convicted for "income tax problems" and is scheduled to be deported.

He optioned a novel which had been suggested to him by director Steve Sekely and set up the project at the newly formed Eagle Lion.

He wanted Evelyn Keyes for the lead but she was under contract to Columbia and Harry Cohn refused to loan her out, so Joan Bennett was cast instead.

There is not quite enough logic in the plot to enable it to stand up under scrutiny, but the story moves along briskly, the performances are sound and there is always the promise of more violence just around the corner.