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Rita Hayworth was going to star in this movie, but Hayworth requested script revisions, and went on suspension to avoid making it.
First of a three-picture contract with Columbia for Lucille Ball at $85,000 per film. The other two were The Fuller Brush Girl (1950) and The Magic Carpet (1951).
"Screen Director's Playhouse" broadcast a 30 minute radio adaptation of the movie on May 19, 1950 with Lucille Ball reprising her film role.
The underlying story in this film is the ongoing housing shortage in the U.S. after WWII. This was caused by several factors, among which were little new construction during the Depression and practically none during the war, and a sudden demand after the war as nine million servicemen were released from duty in 1945-46., along with well-paid war workers who had saved up and could afford a home for the first time. The shortage would not abate until the end of the 1950s.
The $5,000 bet Peggy Donato makes equates to over $57,000 in 2021. And the $1.50 for the phone call to Los Angeles Gleason and Kilcoyne make would equal over $17 in 2021 - and for only three minutes to boot.
"[Dick and Peggy are about to have a drink. Ellen enters, dressed in a trenchcoat and fedora, with an unlit cigarette dangling from her lip, acting the part of the tough moll. She is followed by her "gang," similarly garbed, consisting of her father, Ralph, and another man] Ellen Grant: [to her "boys"] Gimp! Louie! Fingers! [to Peggy] Ellen Grant: Musclin' in on my organization, huh? Hijackin' my key man. You're in a jam, sister! Dick Richmond: Listen, Ellen, I made a deal. Ellen Grant: [slaps him twice, knocking him over] Shut up, ya rat! So ya tried to shake me for this tahmata, huh? Peggy Donato: [to Dick, angry and upset] What is this? You said she was only a front! Ellen Grant: Just a front? So that's the pitch! Dick Richmond: [getting up off the floor] Please, Ellen, you'll only get hurt if they... [Ellen slaps him across the face hard several times] Ellen Grant: [menacingly] Are you tryin' to threaten me? [to Peggy] Ellen Grant: Look sister, you're leavin' here without this lug, or ya ain't leavin' at all. [shoves her onto the sofa] Ellen Grant: Now what's it gonna be? Peggy Donato: I paid fifty grand for him! Ellen Grant: OK, boys, reason with 'er! [they start toward Peggy] Peggy Donato: Wait a minute; that stuff went out years ago. Ellen Grant: Well I'm bringin' it back! Dick Richmond: Ellen, for heaven's sake... [she slaps him with the back of her hand, knocking him to the floor again] Ellen Grant: OK, boys, what're we waitin' for? Peggy Donato: No, no don't shoot. That's not the way to settle things. We'll have every cop in town after us. [Peggy's boys file in silently behind Ellen] Peggy Donato: After all, he's not the only key man in the business, there are lots of good operators. Ellen Grant: I thought you'd come around. They always do when the chips are down. Dick Richmond: [watching Peggy's boys approach] Ellen, you haven't got any chips. [she slaps him again] Ellen Grant: I'll get to you later. [to Peggy] Ellen Grant: And if you ever try to cross me again, you're gonna wind up with a lead girdle! Light me up, Gimp! [All four of Peggy's boys offer Ellen a light, and she finally realizes the worm has turned] Peggy Donato: The rod, Bright Eyes. [Ellen hands Peggy the "gun" she has had concealed in her pocket, which turns out to be the insides of a pencil sharpener]"
"Hood: [answering the phone] It's Dick. Are you in? Peggy Donato: I'm always in for Dick."
