conversations.from: human
conversations.value: Provide a plot for a book about Phyllis, Neff, Keyes entitled Double Indemnity.
conversations.from: assistant
conversations.value: Double Indemnity (film): Walter Neff (Fred MacMurray), a successful insurance salesman, returns to his office building in downtown Los Angeles late one night.\nVisibly in pain and sporting a gunshot wound on his shoulder, he begins dictating a confession into a Dictaphone for his friend and colleague, Barton Keyes (Edward Robinson), a brilliant claims adjuster.\nThe story, told primarily in flashback, ensues.\nNeff first meets the alluring Phyllis Dietrichson (Barbara Stanwyck) during a routine house call to remind her husband (Tom Powers) that his automobile insurance policy is up for renewal.\nThey flirt, until Phyllis asks how she could take out an accident policy on her husband\'s life without his knowledge.\nNeff deduces she is contemplating murder, and makes it clear he wants no part of it.\nHowever, he cannot get her out of his mind, and when Phyllis shows up at his own home, he cannot resist her any longer.\nNeff knows all the tricks of his trade and devises a plan to make the murder of her husband appear to be an accidental fall from a train that will trigger the "double indemnity" clause and pay out twice the policy\'s face value.\nAfter Dietrichson breaks his leg, Phyllis drives him to the train station for his trip to Palo Alto for a college reunion.\nNeff is hiding in the backseat and kills Dietrichson when Phyllis turns onto a deserted side street.\nThen, Neff boards the train posing as Dietrichson and using his crutches.\nHe makes his way to the last car, the observation car, and steps outside to the open platform to supposedly smoke a cigarette.\nA complication ensues when he meets a passenger named Jackson (Porter Hall) there, but he manages to get the man to leave.\nNeff then throws the crutches on the railway tracks, jumps off at a prearranged meeting spot with Phyllis, and drags Dietrichson\'s body onto the tracks by his crutches.\nmr Norton (Richard Gaines), the company\'s chief, believes the death was suicide, but Keyes scoffs at the idea, quoting statistics indicating the improbability of suicide by jumping off a slow-moving train, to Neff\'s hidden delight.\nKeyes does not suspect foul play at first, but his instincts, to which he refers as the "little man", pointing to his stomach, starts nagging.\nHe wonders why Dietrichson did not file a claim for his broken leg, and deduces he did not know about the policy.\nKeyes tells Neff of his theory outside Neff\'s apartment, while Phyllis hides behind the door.\nKeyes soon concludes that Phyllis and some unknown accomplice murdered Dietrichson for the insurance money, but needs more proof.\nKeyes, however, is not Neff\'s only worry.\nThe victim\'s daughter, Lola (Jean Heather), comes to him, convinced that stepmother Phyllis is behind her father\'s death.\nLola\'s mother also died under suspicious circumstances, when Phyllis was her nurse.\nNeff begins seeing Lola, at first to keep her from going to the police with her suspicions and then because he is plagued by guilt and a sense of responsibility for her.\nKeyes brings Jackson to Los Angeles.\nAfter examining photographs of Dietrichson, Jackson is sure the man he met was not that old, but at least 15 years younger.\nKeyes is eager to reject the claim and force Phyllis to sue.\nNeff warns Phyllis not to go to court and admits he has been talking to Lola about her past.\nLola eventually tells him she has discovered her boyfriend, the hotheaded Nino Zachetti (Byron Barr), has been seeing Phyllis behind her (and Neff\'s) back.\nWhen Keyes informs Neff that he suspects Nino of being Phyllis\'s accomplice (Nino has been spotted repeatedly visiting Phyllis at night), Neff sees a way out of his predicament.\nHe arranges to meet Phyllis at her house.\nHe informs her that he knows about her involvement with Nino, and guesses that she is planning to have the other man kill him.\nHe tells her that he intends to kill her and put the blame on Nino.\nShe is prepared, however, and shoots him in the shoulder.\nSeriously wounded but still standing, he slowly comes closer and dares her to shoot again.\nShe does not, and he takes the gun from her.\nShe says she never loved him "until a minute ago, when I couldn\'t fire that second shot".\nNeff doesn\'t believe a word she says, and as she hugs him tightly, Neff says, "Goodbye, baby," and shoots twice, killing her.\nOutside, Neff waits for Nino to arrive (something Neff had orchestrated).\nNeff advises him not to enter the house and instead go to "the woman who truly loves you": Lola.\nNino is reluctantly convinced and leaves as told.\nNeff drives to his office and starts speaking into his Dictaphone, as seen at the film\'s opening.\nKeyes arrives unnoticed and hears enough to know the truth.\nKeyes sadly tells him, "Walter, you\'re all washed up".\nNeff tells Keyes he is going to Mexico rather than face the gas chamber, but sags to the floor from his injury and blood loss before he can reach the elevator.\nA weakened Neff tells Keyes the reason he couldn\'t figure the case out was because the guy he was looking for was "too close, right across the desk from you".\nWhen Keyes replies "closer than that, Walter".\nNeff replies that he loves Keyes too.\nAs Neff had done lighting Keyes\' cigars for him throughout the film, Keyes lights Neff\'s cigarette as they await the police and an ambulance.
conversations.from: human
conversations.value: Provide a plot for a book about Walter, Double, Indemnity entitled Double Indemnity.
conversations.from: assistant
conversations.value: Double Indemnity (novel): Walter Huff, an Insurance agent, falls for the married Phyllis Nirdlinger, who consults him about accident insurance for her husband.\nIn spite of his instinctual decency, and intrigued by the challenge of committing the perfect murder, Walter is seduced into helping the femme fatale kill her husband for the insurance money.
conversations.from: human
conversations.value: Provide the first three paragraphs for this book.
conversations.from: assistant
conversations.value: Double Indemnity
  I got home around six, and the Filipino was all ready to serve dinner. I had seen to that. This was June 3, and I should have paid him on the first, but I pretended I had forgotten to go to the bank, and put him off. Today, though, I had stopped at the house for lunch, and paid him. That meant that when night came he could hardly wait to go out and spend it. I said O.K., he could serve dinner, and he had the soup on the table before I even got washed up. I ate, as well as I could. He gave me steak, mashed potatoes, peas and carrots, with fruit cup for dessert. I was so nervous I could hardly chew, but I got it all down somehow. I had hardly finished my coffee when he had everything washed up, and had changed to cream-colored pants, white shoes and stockings, a brown coat, and white shirt open at the neck ready to go out with the girl. It used to be that what a Hollywood actor wore on Monday a Filipino house boy wore on Tuesday, but now, if you ask me, it's the other way around, and the boy from Manila beats Clark Gable to it.
  He left around a quarter to seven. When he came up to ask if there was anything else for him to do, I was taking off my clothes getting ready to go to bed. I told him I was going to lie there and do a little work. I got some paper and pencils and made a lot of notes, like I was figuring up the public liability stuff for the man I talked to in the afternoon. It was the kind of stuff you would naturally save and put in the prospect's folder. I took care there was a couple of notes on the date.
  That was a check on what suit he would wear. We were pretty sure it would be the blue, but I had to be sure, so she was to duck down to the drugstore to buy him an extra tooth brush, and call. No danger of its being traced, there's no record on dial calls. Soon as she hung up I dressed. I put on a blue suit too. But before that I wrapped up my foot. I put a thick bandage of gauze on it, and over that adhesive tape. It looked like the tape was wrapped on the ankle, like a cast for a broken leg, but it wasn't. I could cut it off in ten seconds when I was ready to. I put the shoe on. I could barely lace it, but that was how I wanted it. I checked on a pair of horn-rim glasses, like he wore. They were in my pocket. So was 58 inches of light cotton rope, rolled small. So was a handle I had made, like stores hook on packages, but heavier, from an iron rod. My coat bulged, but I didn't care.
conversations.from: human
conversations.value: Provide two more paragraphs.
conversations.from: assistant
conversations.value: I spent half the afternoon trying to make up my mind whether to tell Keyes. I knew I ought to tell him, for my own protection. It was nothing that would be worth a nickel as evidence in court, and for that matter it was nothing that any court would admit as evidence, because that's one break they give people, that they have to be tried for one thing at a time, and not for something somebody thinks they did two or three years before this happened. But it was something that would look mighty bad, if Keyes found out I knew it, and hadn't told him. I couldn't make myself do it. And I didn't have any better reason than that this girl had asked me not to tell anybody, and I had promised.
  That night I came back in the office to work. As soon as Joe Pete made his eight o'clock round on my floor I went to Keyes's office. I tried his desk. It was locked. I tried his steel filing cabinets. I tried all my keys. They didn't work. I was about to give it up when I noticed the dictation machine. He uses one of them. I took the cover off it. A record was still on. It was about three quarters filled. I made sure Joe Pete was downstairs, then came back, slipped the ear pieces on and started the record. First a lot of dumb stuff came out, letters to claimants, instructions to investigators on an arson case, notification of a clerk that he was fired. Then, all of a sudden, came this:
conversations.from: human
conversations.value: Add another sentence about locked.
conversations.from: assistant
conversations.value: I spent half the afternoon trying to make up my mind whether to tell Keyes. I knew I ought to tell him, for my own protection. It was nothing that would be worth a nickel as evidence in court, and for that matter it was nothing that any court would admit as evidence, because that's one break they give people, that they have to be tried for one thing at a time, and not for something somebody thinks they did two or three years before this happened. But it was something that would look mighty bad, if Keyes found out I knew it, and hadn't told him. I couldn't make myself do it. And I didn't have any better reason than that this girl had asked me not to tell anybody, and I had promised. 
  That night I came back in the office to work. As soon as Joe Pete made his eight o'clock round on my floor I went to Keyes's office. I tried his desk. It was locked. I tried his steel filing cabinets. They were locked. I tried all my keys. They didn't work. I was about to give it up when I noticed the dictation machine. He uses one of them. I took the cover off it. A record was still on. It was about three quarters filled. I made sure Joe Pete was downstairs, then came back, slipped the ear pieces on and started the record. First a lot of dumb stuff came out, letters to claimants, instructions to investigators on an arson case, notification of a clerk that he was fired. Then, all of a sudden, came this:
conversations.from: human
conversations.value: Provide the last three paragraphs.
conversations.from: assistant
conversations.value: The bleeding has started again. The internal bleeding, I mean, from the lung where the bullet grazed it. It's not much but I spit blood. I keep thinking about that shark.
  I'm writing this in the stateroom. It's about half past nine. She's in her stateroom getting ready. She's made her face chalk white, with black circles under her eyes and red on her lips and cheeks. She's got that red thing on. It's awful-looking. It's just one big square of red silk that she wraps around her, but it's got no armholes, and her hands look like stumps underneath it when she moves them around. She looks like what came aboard the ship to shoot dice for souls in the Rime of the Ancient Mariner.
  Mildred Pierce had gorgeous legs, a way with a skillet, and a bone-deep core of toughness. She used those attributes to survive a divorce and poverty and to claw her way out of the lower middle class. But Mildred also has two weaknesses: a yen for shiftless men and an unreasoning devotion to a monstrous daughter.
conversations.from: human
conversations.value: Reverse the sentences.
conversations.from: assistant
conversations.value: But Mildred also has two weaknesses: a yen for shiftless men and an unreasoning devotion to a monstrous daughter.. She used those attributes to survive a divorce and poverty and to claw her way out of the lower middle class.
  Mildred Pierce had gorgeous legs, a way with a skillet, and a bone-deep core of toughness. She looks like what came aboard the ship to shoot dice for souls in the Rime of the Ancient Mariner. It's just one big square of red silk that she wraps around her, but it's got no armholes, and her hands look like stumps underneath it when she moves them around. It's awful-looking. She's got that red thing on. She's made her face chalk white, with black circles under her eyes and red on her lips and cheeks. She's in her stateroom getting ready. It's about half past nine.
  I'm writing this in the stateroom. I keep thinking about that shark. It's not much but I spit blood. The internal bleeding, I mean, from the lung where the bullet grazed it.The bleeding has started again