Woman's Vengeance, A Double Life, Ride the Pink Horse, Singapore, The Web, Strange Holiday, Temptation, Time Out for Murder and three Mr. Moto pictures with director Foster, one of which, Mysterious Mr. Moto, was based in London but filmed in Hollywood. Juran and Herzbrun, in turn, hired Russell A. Gausman and Ruby R. Levitt, both contract set decorators at Universal-International Pictures, who had freshly worked on Fontaine's first Rampart Productions film, Letter from an Unknown Woman. Gausman, a long-time collaborator of Herzbrun, had also worked on the Lancaster films Brute Force, The Killers and All My Sons, as well as on Ivy (with Fontaine), The Naked City (with Hellinger), and the film noir Secret Beyond the Door (with Fritz Lang). Levy, on the other hand, was relatively new in his position, but had worked on Letter from an Unknown Woman and on the film noir Smash-Up: The Story of a Woman. The art directors and set decorators recreated thirty blocks of London's East End waterfront district on Universal-International Pictures' Sound Stage 21. The sets included wharfs, cobblestone streets, old buildings exteriors (including houses, storefronts, corner buildings and a railway station), a court, a pool hall, two apartments, a train with passenger wagons and a prison depicted with multiple rooms and cells, all of which were interchangeable through a monorail crane on rollers. This made up a total of thirty-two different settings and twenty different street combinations. One setting was used to arrange a twenty-nine block chase sequence when Lancaster's character is on the run. A number of stock crew were hired by Universal-International Pictures, many, like hair stylist Carmen Dirigo, makeup artist Bud Westmore, soundmen Leslie I. Carey and Corson Jowett and special effect photographer David S. Horsley, resumed their positions from their work on All My Sons. Most of the time, these positions went unnoticed and unappreciated, but Norma Productions made a point of thanking them by dividing twenty percent of the film's profits amongst the personnel and sent everyone gift baskets once the production wrapped. Lawsuit On March 1, 1948, two weeks before filming was scheduled to start, lawyer-turned-agent-turned-producer Charles K. Feldman filled a $1,000,000 damage lawsuit against ten people and companies associated with the production of the film: Universal-International Pictures, Norma Productions, Eagle-Lion Productions, Phil Berg-Bert Allenberg (Berg was Fontaine's agent, who had little to do with the film but was reputable enough to attract more attention