Young Parisian Nana wards off of a boozed-up military officer at a local restaurant, and fellow diner Gaston Greiner is so impressed with her pluck that he decides to make her a performer at his musical theater. Soon, Nana is a star, and the girlfriend of Greiner and two other men. But when he learns that she's been getting around, Greiner fires her. As she tries to reclaim her singing job while dodging yet another suitor, her treachery might get the better of her.

A prostitute sees a friendly sailor as a way out of Havana's grimy underworld.

Young Countess Wilma is forced to wed by midnight or lose her inheritance. Wilma impulsively chooses gypsy vagabond Latzi, offering him a huge sum of money if he'll consent. Swallowing his pride, Latzi agrees to the marriage, but soon Wilma falls in love with young Lieutenant Von Tokay who himself is in love with Latzi's gypsy sweetheart Timka.

Detailing the conflict between a cynical prosecuting attorney turned warden (Huston) and a green young killer (Holmes), whose stretch in the slammer threatens to destroy not only his faith in life but also his sanity, the taut, unsentimental plot about betrayal and revenge proposes that the convicts' sense of honour and justice is not so very different from that of the authorities: 'Someone's gotta pay' lies all too easily on the lips of both vengeful hard-asses like Karloff and self-righteous perpetrators of the law such as Huston. But there's no facile moralising here; rather, the fast pacing, grimly realistic atmosphere, and superb performances summon up a tragic battle of wits and power in which both sides are equally right and wrong, forced to do what their position in life requires them to, and from which the only way out is death. Hawks' later concerns are in full bloom here - pride in professionalism, loyalty and betrayal within the group, the difficulties facing men forced to live without women, responsibility and respect - and his totally assured style is reflected in the quick, naturalistic dialogue, quirky black humour, and the ability to turn potentially risible set pieces - like Huston's first confrontation with a yard full of riotous cons - into electrifying suspense.