The movie starts with a convict escaped from San Quentin on the run, the camera adopting his point of view. This convention is committed to through the first third of the picture, as the convict Vincent Hall(Humphrey Bogart) is picked up by Irene Jensen(Lauren Bacall) by the side of the road and brought to her San Francisco home. She had been a follower of the case against Vincent, accused of murdering his wife and convicted by the testimony of the jealous Madge Rapf(Agnes Moorehead). He plans his escape, and is on his way out when lonely cabbie(Tom D’Andrea) recognizes him. Sympathetic and believing Vincent’s innocence he sets him up with a plastic surgeon(deep black-eyed ruined faced Housely Stevenson). A hallucinatory anesthetized sequence is sinister and defining. The second third has Vincent in face bandages. Driven by necessity and with his new face on, Vincent confronts Madge with evidence she killed his wife(and best friend George Fellsinger(Rory Mallinson)). Homicidal jealousy turns to suicide, if she can’t have him he’ll get the gas chamber. A happy ending seems so far out of reach, and needs to be effected with “Too Marvelous for Words” in Peru, to that happy relief. Bogart is moist-eyed sensitive. Everyone in the picture has that in common, that they’re alone.