Double Indemnity: The Complete Screenplay

by Billy Wilder, Raymond Chandler, Jeffrey Meyers (Introduction)

On every level -- writing, direction, acting -- Double Indemnity (1944) is a triumph and stands as one of the greatest achievements in Billy Wilder's career. Adapted from the James M. Cain novel by director Wilder and novelist Raymond Chandler, it tells the story of an insurance salesman, played by Fred MacMurray, who is lured into a murder-for-insurance plot by Barbara Stanwyck, in an archetypal femme fatale role. From its grim story to its dark, atmospheric lighting, Double Indemnity is a definitive example of World War II-era film noir. Wilder's approach is everywhere in the brutal cynicism the film displays, the moral complexity, and in the empathy we feel for the killers. The film received almost unanimous critical success, garnering seven Academy Award nominations. More than fifty years later, most critics agree that this classic is one of the best films of all time. The collaboration between Wilder and Raymond Chandler produced a masterful script and some of the most memorable dialogue ever spoken in a movie.

This facsimile edition of Double Indemnity contains Wilder and Chandler's original -- and quite different -- ending, published here for the first time. Jeffrey Meyers's introduction contextualizes the screenplay, providing hilarious anecdotes about the turbulent collaboration, as well as background information about Wilder and the film's casting and production.

Genres: Film, Noir, Fiction, Crime, Drama, Mystery, Media Tie In

150 pages, Paperback

First published January 1, 1944

About the author

Billy Wilder (born Samuel Wilder) was a Polish-born, Jewish-American journalist, screenwriter, Academy Award-winning film director and producer, whose career spanned more than 50 years and 60 films. He is regarded as one of the most brilliant and versatile filmmakers of Hollywood's golden age. Many of Wilder's films achieved both critical and public acclaim.

Reviews

[Dave Schaafsma · Rating 5 out of 5]

In the past 24 hours I have seen two different film versions of James Cain's The Postman Always Rings Twice--the 1946 John Garfield and Lana Turner classic, and the steamier 1981 Jessica Lange- Jack Nicholson version, and loved them both (maybe the Garfield even more, over all). Then I saw for maybe the third time in my life Billy Wilder's film version of Cain's Double Indemnity and it was even better than the Postmans. It made me appreciate that novel more, too, in the process.

Cain's Double Indemnity is one of the great noir novels of all time (as is Postman). It's the story I summarize a bit in my review of the novel, but it's a story of two adulterers killing her boring husband for the insurance money, double the money for their train killing (a "double indemnity" clause). A good man gone straight to hell at the beck and call of a beautiful dame, ain't it always the way (in noir tales, at least).

7 times nominated for an Academy Award in 1944, the film featured Fred McMurray as the love-struck insurance agent, Barbara Stanwyck as the femme fatale, and Edgar G. Robinson as McMurray's boss, Keyes. The screenplay was co-written by Wilder and another noir genius, Raymond Chandler, who I'm told hated working together. Cain was a great structure guy; he knew how to plot a story. Chandler wrote famously confusing plots, though was much and deservedly loved for his poetry and sparkling dialogue. So you have one of the best one-two combinations in noir storytelling ever here; add to Cain's terrific plot Chandler's amazing dialogue, and there you have it, a classic screenplay. No, make that a one-two-three combination with Wilder's touch for telling details--clever work with lighting cigarettes, for instance, as well as brilliant staging and casting, of course. The screen just sparkles with wit, even in the gutter of this tale.

One of the best screenplays of all time, one great film, and this book features gossipy (ahem, film background stories) stuff about Wilder's negotiating all the big egos on the film. Wonderful fun.

[Ali Arabzadeh · Rating 4 out of 5]

از چندلر قبلاً «خواب گران» را خوانده بودم و از وایلدر هم چندتایی فیلم دیده بودم. هردوشان در جایی که ایستاده اند یک جورهایی اسطوره اند. وقتی اسطوره ها باهم بخواهند کاری را انجام بدهند نتیجه اش باید جالب و در این مورد خواندنی باشد.
کتاب اگرچه به خوبی «خواب گران» نیست اما همان حال و هوا را دارد. نکته ی جالبی که درباره روایت آن وجود دارد این است که اگرچه قهرمان داستان در ابتدای کتاب اصل ماجرا را لو میدهد، جذابیت داستان از میان نمیرود و هنوز هم ارزش دنبال کردن دارد. پس جاذبه درام در کجایش است؟ این وضعیت احتمالاً به تعلیق های هیچکاکی هم شبیه است وقتی تعلیق از نادانی نمی آید بلکه محصول چیز دیگری ست.
نکته ی جالب دیگری که درباره کتاب وجود دارد مصاحبه ای است که در انتهای کتاب از بیلی وایلدر (درباره چندلر) چاپ شده است. به معنای واقعی کلمه فوق العاده است. وایدلر همان سختی و بی خیالی و حرفه ای گری که از یک کارگردان هالیوودیِ دوره کمپانی انتظار می رود را دارد و کلی جمله نغز درباره چندلر، فیلمنامه نویسی و کار در هالیوود در همین چند صفحه گفته است.
از روی این داستان (که خودش اقتباسی از یک داستان جیمز ام کین است) یک فیلمنامه ی نما به نما نوشته شده و یک فیلم ساخته شده است. در متن کتاب اختلافات این سه نسخه مشخص شده اند که در نوع خودش جالب و آموزنده است. فیلم طبق معمول اصلاً به خوبی کتاب نیست اما خودش از مشهورهای کلاسیک است.

[Lisa · Rating 5 out of 5]

#11 of 120 books pledged to read during 2021

[Greg · Rating 4 out of 5]

Mid 20th Century North American Crime and Mystery
My Favorites: #21 (of 250) Adapted Screenplay
Raymond Chandler and Billy Wilder re-imagined, for the screen, James M. Cain's novel of the same name, re-imagined from Cain's own novel, "The Postman Always Rings Twice", re-imagined from Cain's own short story, "Pastorale." (But what a story.) So where is Cain for the screenplay? My theory is that Hollywood felt it needed Chandler's flair for dialogue and style. Or maybe just his name? No matter, this is a great screenplay/film. There is only one screenplay in this genre that I liked better and it's coming up shortly.
HOOK - 4 stars:
"Fade In:
Los Angeles-A Downtown intersection
It is night, about two o'clock*, very light traffic. At the left and in the immediate foreground a semaphore traffic signal stands at GO. Approaching it at about thirty miles per hour is a Dodge 1938 coupe. It is driven erratically and weaving a little, but not out of control."
STOP RIGHT THERE. People who write screenplays don't normally write like this. Writers aren't set designers and don't choose a type of car, nor are they directors or camera folks so they don't determine camera angles. This is more like a regular screenplay:
"Fade In:
Los Angeles-Downtown-Night
A car weaves through light traffic."
But, it's Chandler/Wilder. They can do what they want. And shortly, in the screenplay, a man with blood on his clothing begins his confession on a Dictaphone. An almost perfect opening hook here, just a bit too wordy.
PACE - 4: Again, for a screenplay, this one is relentlessly descriptive, as there are extended discussions of set designs. That's for the set decoration folks. Still, it's C/W.
PLOT - 5: You know this plot. Sensational. As close to flawless as a story can be. (After all, it's Cain's third version.)
CAST - 4: Try not to think about Fred MacMurry and Barbara Stanwyck as the scheming couple. Then again, don't, as you can't. (Perfect casting.) But something's wrong in the following exchange, and here it is as written (Neff has arrived at Phyllis' home):
"PHYLLIS [scheming lover-to-be]
...wait till I put something on, I'll be right down. Nettie, show Mr. Neff into the living room.
NEFF [Phyllis' lover-to-be]
Where would the living room be?
MAID
In there, but they keep the liquor locked up.
NEFF
That's okay. I always carry my own keys."
As written, things fall flat. Too on the nose. Too forced. Wouldn't the Maid simply nod at Phyllis and say "Follow me" to Neff? Why not this, focusing on visual cues:
"MAID
(nods to Phyllis, turns to Neff)
Follow me.
(gives Neff a suspicious once-over)
The liquor is locked up.
NEFF
That's okay. I always carry my own keys."
Or maybe even better:
"NEFF
Smart. You wouldn't want insurance salesmen stealing your booze.
(Pulls key ring from pocket as he looks around room, much to the Maid's irritation.)"
My point is I have no idea, really, why Chandler replaced Cain in the first place. And since we have moved from a novel to a visual medium, why not use visual elements as much as possible? There are several other instances in this screenplay that I feel could capture characters better and with fewer words. But overall, these characters fascinate.
ATMOSPHERE - 4 stars: Nice, but again too wordy. "...square-cut overstuffed borax furniture. Gas logs are lit...He paces up and down past a caddy bag with golf clubs..." Screenwriters don't write like this.
SUMMARY - 4.2 stars: This feels more like a shooting script than a screenplay, and I'm reviewing an 'adapted screenplay.' I like Chandler, but I just don't see that he adds MORE to the dialogue (much in the film is lifted right from Cain's novel anyway) nor to the style than Cain could have added. "Double Indemnity" is Cain's creation.

[Thomas · Rating 5 out of 5]

If you have any interest in noir, screenplays, movies or popular American literature, this script by Billy Wilder and Raymond Chandler is a must-read, like the unparalleled -- but flawed -- novel by James M. Cain. I believe it just may be the best screenplay for a crime movie ever written -- with the Maltese Falcon running either a close second or just barely edging Indemnity out, depending on my mood.

But the best part of this amazing screenplay from an amazing book (with a crappy ending, which the screenplay remedies)? The story of just how much Chandler hated working with Billy Wilder. According to the introduction in this edition, Chandler actually went to movie company execs and demanded that Mr. Wilder not wave his cane under Chandler's nose or assign him arbitrary tasks, like "Ray, open the window, will you?" "Ray, close the blinds, will you?" Chandler was also pissed off that Wilder wore his hat indoors. Honestly, the idea of Raymond Chandler, wry sarcastic tough-guy author from England sitting there stewing while Billy Wilder asks him to open the window -- I mean, hell! Could anyone MAKE this stuff up?

That is not to distract from the point that, despite its weak ending, this is one of the most nearly perfect imperfect crime novels ever written, and the brilliant screenplay by Wilder and Chandler completely remedies the weak ending with a one-two punch that leaves you gasping. When Edward G. Robinson lights that match? Fuck's sake, man. You know it's all over: It's the death of the human soul, people, and little time to mourn it.

The screenplay also crowbars Chandler's brilliance out of the master's main shortcoming, in my opinion -- that being his tendency to write detective novels that linger on incredibly confusing details that, honestly, I don't give a damn about. For all that Chandler is a poetic stylist with no peer, his plots could get bogged down in details and repeated red herrings to the point where I always feel like I have no idea what's actually going on and, more importantly.

Cain was nothing like that. He was straightforward to a fault -- almost to the point of being blockheaded. It seems evident that Chandler thought Cain an inferior writer for this reason. I believe it's Chandler's disdain for Cain that led to his and Wilder's tapping into a breezy, cynical, world-weary tone that was 100% Chandler, 100% Cain, and 100% f#*@!#ing genius. They just don't write 'em like this any more.

Read the novel, see the movie, gape in awe at the genius of it all. This is classic America, A-list noir, the soul of the nation laid open and bloody with a tire iron.

[Sketchbook · Rating 5 out of 5]

A pot-boiler, inspired by the Ruth Snyder-Judson Gray murder, becomes a work of cinematic art, thanks to Billy Wilder & Raymond Chandler. Cain vs Chandler-Wilder, class for filmmaking 101.

[Realini Ionescu · Rating 5 out of 5]

Double Indemnity written by Raymond Chandler and Billy Wilder

Another version of this note and thoughts on other books are available at:

- https://www.youtube.com/playlist?list... and http://realini.blogspot.ro/

This is one of the best films, found on this and other respectable lists:

- http://entertainment.time.com/2005/02...

And Double Indemnity has been present in my preoccupations lately.
Not because I plan a crisscross, to “swap murders” like in Strangers on the Train, Throw Mama from the Train and others.

First of all, I have listened to a play about the writing of the script for the film, with Billy Wilder inviting Raymond Chandler to work together.
The latter refuses, in the first place, then he tries to tolerate the smoking and what he thought was the obnoxious manner of the director.

The director Billy wilder was also unimpressed, from the moment he first saw Raymond Chandler, who “looked like an accountant”.
Raymond Chandler was new in the “Screen Trade” and the first draft, eighty pages long, could not be used.

But the writer was ultimately responsible for the excellent dialogue and the substantial modifications operated on the original material.
What James Cain has written in the novel, could not translate well on the screen and although he opposed the changes, Billy Wilder would eventually understand his mistake.

The play about the writing of the script has a lot of tension and it is inspired by real events and the much publicized commentary, complaints offered by both sides, with accusations of lack of respect, because Raymond Chandler was not invited for the awards or the press conference and the response from Wilder:
- How could we invite him?
- He was under the table at Lucy’s

When he worked for the script, Raymond Chandler was a recovering alcoholic and the stress of this task brought him back to drinking.

The narrative of the film is stupendous and the work of Billy Wilder and Raymond chandler has made film history.
Walter Neff is an insurance salesman who meets the beautiful Phyllis Dietrichson, played by Barbara Stanwyck.

TIME Magazine considers her performance outstanding and one of the most notable, in one of the most acclaimed films ever.
Phyllis tries to convince Walter to have an accident insurance made for her husband, without the spouse knowing about it.

At first, the man is rejecting the idea, somewhat outraged by what would be a serious crime, with a term of many years in jail.
But seduced by the beauty of the woman, Walter is the one to concoct a plan that would not just mean the end of Mr. Dietrichson, but a daring insurance claim

He explains that in the case of very unlikely accidents, the insurance company pays twice the usual amount.
Trains are considered very safe and therefore a death during a trip on one would represent the jackpot:

- A Double Indemnity

Of course, they have to be very careful, plan all the details in advance and stick to the plan, because the alternative is the gas chamber.
So he explains to his lover and would be partner- at least in Walter’s imagination- what needs to be done.
They will have to keep away from each other and do everything so that his (former) friend at the firm would not figure the plot out.
Barton Keyes, played very well by Edward G. Robinson- an actor that I heard was born in my country- is a specialist and knows when a claim is false.

Without a spoiler alert, I will stop giving details long before the denouement of the movie, which I will only say differs from the play I listened to a few months ago.
But when the case arrives at the insurance company, foul play is suspected, but not by Keyes, but by an executive.

Who thinks they are dealing with…suicide.

Excellent classic that made history, even if it did not win any of the Academy Awards it was nominated for.

[P Pajouhesh · Rating 3 out of 5]

در واقع امتیاز: 3.5/5
يک امتيازش برای تولیدِ کتاب عاشقانه و نه رفع تکلیفش؛ با مقايسه‌ی متن چندلر/وایلر، افزونه‌های نسخه‌ی نهايی فیلم‌نامه و نسخه‌ی نهايی فيلم به شکل مجزا و مشخص، انگار تصحیح انتقادی دیوان شعری کلاسیک ولی در عین حال بدون ایجاد مزاحمت اخلال در خواندن.

[Michael · Rating 4 out of 5]

Good pacing, good dialogue. Chandler's femmes aren't usually such black widow cliches, which makes the ending fairly predictable, but he creates effective ambiance throughout.

[Susan Molloy · Rating 5 out of 5]

This is an outstanding story that I enjoy.

[Pranit · Rating 3 out of 5]

A screenplay/script which didn't stand the test of time. Worth a try. as it is well-written. Fans of old-time classics will appreciate it more!

[Rêbwar Kurd · Rating 4 out of 5]

غرامت مضاعف (Double Indemnity)، شاهکاری‌ست از بیلی وایلدر که بر پایهٔ داستانی از جیمز ام. کین ساخته شده و با همکاری فیلمنامه‌نویس افسانه‌ای ریموند چندلر به یکی از تاریک‌ترین و ماندگارترین فیلم‌های نوآر تاریخ سینما بدل شده است. این فیلم نه فقط یک جنایت و معما را روایت می‌کند، بلکه فروپاشی تدریجی اخلاق، تسلیم در برابر وسوسه، و شکستِ مردی‌ست که تصور می‌کرد کنترل اوضاع را در دست دارد.

فیلم در آغاز، با صدای خسته و بریدهٔ والتر نف (فرد مک‌موری) شروع می‌شود که در تاریکی شب وارد دفتر کارش می‌شود تا اعترافاتش را در ضبط صوت بگذارد. از همان ابتدا می‌دانیم که همه‌چیز به خطا رفته؛ اما نه چگونه، و نه چرا. وایلدر در همان دقیقه‌های اول، به ما نمی‌گوید «چه می‌شود»، بلکه می‌پرسد: چطور کسی به آن‌جا می‌رسد؟

والتر نف، یک فروشندهٔ بیمهٔ معمولی‌ست، که وارد بازی‌ای می‌شود بزرگ‌تر از خودش؛ با زنی کشنده و موذی به نام فیلیس دیتریکسن (با بازی حیرت‌انگیز باربارا استنویک)، زنی که با نگاهی خاموش و صدایی نرم، نقشه‌ای برای کشتن شوهرش می‌چیند، و والتر را ــ که دلش برای هیجان تنگ شده ــ طعمهٔ نقشه می‌کند.

در نگاه نخست، همه‌چیز «قابل مدیریت» به نظر می‌رسد. یک بیمه‌نامهٔ جعلی، یک مرگ ساختگی، یک شریک جرمی بی‌هیجان. اما فیلم از همان ابتدا نشان می‌دهد که آن‌چه در قتل پیچیده است، نه برنامه‌ریزی، که احساساتِ خاموشِ بعد از آن است: شک، بی‌اعتمادی، وسواس، ترس، و سرانجام نابودی.

رابطهٔ والتر و فیلیس، نه عشقی واقعی‌ست و نه حتی شهوتی پایدار؛ آن چیزی‌ست که در جهان فیلم نوآر بیش از همه می‌بینیم: همدستی در سقوط. آن‌ها با هم به قهقرا می‌روند؛ نه برای رهایی، که برای اثبات اینکه می‌شود از قانون عبور کرد ــ و اشتباه می‌کنند.

یکی از زیبایی‌های فیلم در شخصیت بارتون کیز است، با بازی ادوارد جی. رابینسون؛ کارآگاه درونی شرکت بیمه، که شاید تنها صدای وجدان در تمام فیلم باشد. رابطهٔ او با والتر، تصویری پدرانه و متقابل از اعتماد است؛ اعتمادی که آرام‌آرام، در برابر چشمان ما فرو می‌ریزد.

بیلی وایلدر، در اوج توانایی کارگردانی‌اش، با استفاده از سایه‌ها، پنجره‌ها، و فضای بسته، جهانی می‌سازد که هیچ چیز در آن روشن نیست. در تاریکی اتاق‌ها و نگاه‌های دوپهلو، شخصیت‌ها بیشتر در سایه هستند تا در نور؛ چرا که حقیقت، هرگز مستقیم نمی‌تابد.

غرامت مضاعف فیلمی‌ست دربارهٔ لحظه‌ای وسوسه، و تاوانی که تا پایان عمر باید برایش داد. دربارهٔ آن خط باریکی‌ست که ما را از سقوط بازمی‌دارد، و اینکه وقتی از آن عبور کردیم، دیگر هیچ‌چیز قابل بازگشت نیست. این فیلم، اگرچه در دل ژانر جنایی شکل گرفته، اما سرانجام، به تراژدی‌ای تمام‌عیار بدل می‌شود؛ تراژدی انسانی که سعی می‌کند نقش خدا را بازی کند، و فراموش می‌کند که خودش، تنها مهره‌ای‌ست در بازی مرگ و اخلاق.

در پایان، آن اعتراف نیمه‌جان در دفتر بیمه، تنها چیزی‌ست که برای والتر می‌ماند؛ مردی که نه برای پول، نه برای زن، که برای توهم کنترل، همه‌چیز را باخت. و در دنیای وایلدر، هیچ‌چیز تلخ‌تر از این نیست: اینکه گمان کنی هوشمندی، و درست در لحظه‌ای که باید برگردی، دیگر هیچ راهی نیست جز سقوط.

[CJSFilms · Rating 4 out of 5]

They should really turn this into a movie

[Jim · Rating 4 out of 5]

Would love to know who came up with improved ending, Wilder or Chandler, who didn't like each other.

[Jackson]

What is it about anklets?

[Jack Herbert Christal Gattanella · Rating 5 out of 5]

"I love you, too." - Neff to Keyes

Could this be among a handful of the "perfect" screenplays in existence? I remember in college the two that got brought up a lot (outside of The Godfather of course) were Back to the Future and Chinatown. But I think Double Indemnity has to stand tall among the top, top examples of how to craft a story without an inch of fat, without a missed beat, and that it's at times as much of a *comedy* as it is a murder mystery... or I should say it's not exactly a mystery to US, as we're seeing it unfold from the perspective of the killer, Walter Neff insurance man.

I was actually shown the film not in screenwriting class but in garden-variety Film as a Medium (where they also show Citizen Kane, of course). I was glad I saw it in that setting, but then seeing it again and again the story contains it all: a compelling (anti?)hero, the proverbial 'Femme Fatale' in Phyllis, and Keyes as the guy sorting it out, or trying to.

What makes it work so well to is that a more 'conventional' story might have Keyes as the main character, in the more typical trying-to-figure-it-out sort of way. But Wilder and Chandler, taking off from one of the top dogs of fatalistic American fiction of the period, put it into a more difficult place: though we know from the start things are screwed for Neff, we're on his side really. This goes against the grain of the typical Hayes Code approach of not really siding with the bad guys. While the code is still enforced by having the killer(s) brought to justice/killed by the end, the Crime-Doesn't-Pay aspect is outweighed by the existential loss of it all (another great example of this, of a character who thinks in full logical terms but doesn't get the emotional and accidental bumps in the story road is in Kubrick's The Killing).

Dialog that will always be fresh, and maybe even fresher today than it was in 1944, this is something you can easily read in one sitting, and the descriptions reveal how great these writers were in making sure you could see everything going on to such a point that if one could follow the script close enough it'd be an impossible film to f*** up (and with Fred MacMurray, Barbara Stanwyck and Edward G. Robinson they sure didn't). Though I might only slightly prefer a few other Wilder films - Sunset Blvd (which seems like a more "Hollywood" version of this story), Some Like it Hot and the Apartment - being #4 in the ranking doesn't make it any less of a work of master artists working at the top of their storytelling game.

[Steven · Rating 5 out of 5]

Wilder and Chandler’s collaboration produced a great screenplay, one that you can appreciate even more if you read the novel concurrently as I just did. The screenplay - and the movie - make several improvements over the novel while sticking to the characters and the basic plot, but it is also fascinating to see the choices the screenwriters made and how that creates a completely different feeling between the two versions. And I’m not just referring to the most obvious changes - the beginning and the ending scenes, which change our entry to the story as well as our sense of the conclusion, but more subtle changes, such as Phyllis reaction in the car after the murder: in the novel she is in freakout mode but in the screenplay she is calm, “perfect.”

My favorite change, though, is the first scene between Walter and Phyllis, because that is where the screenplay puts the focus on the characters in a way that the novel doesn’t; in fact, in the novel, Cain completely misses the opportunity to create tension and dramatic interaction between them. Wilder and Chandler do not. Wilder has Phyllis on the stairs in a towel with Walter ogling (and fetishizing her ankle bracelet) and then the great back and forth double-entendre dialog section written by Chandler - none of which is in the novel, that was all new for the screenplay and way better than any dialog that Cain wrote. With that whole scene we dramatically sense - in a way that just isn’t in the novel - the connection that drives Walter to get on that trolley car (Keyes metaphor) with her. That complete sequence, from when Walter first pushes passed the maid to get in the front door, until it ends with Phyllis watching through the peephole, is just brilliantly done. Compare it with the same scene as written in the novel and you can learn a fair bit about how to juice up a scene.

[Robert Marsh · Rating 5 out of 5]

Like the movie itself, I never get tired of this script. I reread it at least once a year. It's too bad Raymond Chandler hated the movie biz so much -- Because oh, man, could he write crisp, crackling dialogue. As much as he hated working with Chandler, Wilder at least gave him that much. Brilliant! Watch the film. Read the screenplay. Then steal what you can for you own script. You'd have Chandler's blessing.

[Matt · Rating 5 out of 5]

I really hope that one day someone decides to dramatize the making of this movie.

Wilder is a German who has lived on the run since all hell broke loose in Berlin, and he's pacing up and down, swinging a cane, gesticulating.

Chandler is drink-sodden, wounded poet, spent lots of time in England, generally morose, hates Hollywood, hates Wilder.

Then they make a stone cold masterpiece.

[Corey · Rating 5 out of 5]

Brilliant.
“I have a friend who’s got a funny theory. He says when two people commit a murder they’re kind of on a trolley car, and one can’t off without the other. They’re stuck with each other. They have to go riding clear to the end of the line. And the last stop is the cemetery.”

[Jon P. · Rating 5 out of 5]

This screenplay reads almost as good as the movie plays. Chandler an absolute American treasure!

[Billy · Rating 5 out of 5]

I highly recommend the mapping of Chandler's California Homes.

[Shawn · Rating 5 out of 5]

I usually don't like things in screenplay form. But this was excellent.