Abrams, John, 41–42 Absalom, Absalom! (Faulkner), 2 Across the Pacific, 221 Allen, Lewis, 272 All Through the Night, 221 Altman, Robert, 176 Anderson, Charles, 271–72 Anderson, Edward, 204 Angels with Dirty Faces, 212 Archibald, William, 272 Asphalt Jungle, The (book/Burnett), and High Sierra, 117–22, 188–89 Asphalt Jungle, The (film), 98, 210 “Assistant Murderer, The” (Hammett), 34, 37 Astor, Mary, 217, 222 As You Like It (Shakespeare), 227 Bacall, Lauren, 232, 233, 234, 235 Barzun, Jacques, 128, 152 Bassett, Mark, 126, 154 Beat the Devil, 218 Before the Fact (Cox/Iles), 188 Belasco, David, 108 Bennett, Joan, 253 Benson Murder Case, The (Van Dine/Wright), 176, 177, 179 “Berenicë” (Poe), 135 Bergman, Andrew, 211 Bergman, Ingrid, 218, 269 Berkeley, Anthony. See Cox, A. B. Big Sleep, The (book/Chandler), 32, 185, 196; blackmail in, 43–45, 47–48, 49–50, 52–53; and The Long Goodbye, 56–64; conflict between personal and professional life in, 51–52, 54–55, 92, 95–96; Marlowe as his own boss in, 48–49, 51–52, 55, 91; parallels between Marlowe and Chandler in, 40, 41–42; personal freedom as portrayed in, 42–43, 45–46, 48–49, 53–54, 55, 91; sexuality in, 47, 51; wealth as portrayed in, 40–41 Big Sleep, The (film), 200, 203, 229–38, 249 Black Angel, The (Woolrich), 127, 152, 155 “Black Cat, The” (Poe), 73, 186 Black Curtain, The (Woolrich), 152 Black Mask magazine, 31, 71 Black Path of Fear, The (Woolrich), 152 Blackton, Gloria, 128–29, 152 Blackton, J. Stuart, 128 Blackton, Marian, 128–29 Blue Dahlia, The, 70 Blues of a Lifetime (Woolrich), 124–28, 129–30, 148, 150–51, 154, 169–70 Body Heat, 203 Bogart, Humphrey, 206, 252; in The Big Sleep, 229–36; in High Sierra, 210, 211, 212, 214, 215, 216–18; in The Maltese Falcon, 222, 229; persona of, 214, 217–19; in The Petrified Forest, 211–12 Bond, Ward, 225 Borges, Jorge Luis, 183 Borzage, Frank, 205 boss: beating versus becoming, in Double Indemnity, 75–77, 78, 91–92; as better man, 160–61, 168; in High Sierra, 103–5; necessity of, in High Sierra, 97, 115–16; Philip Marlowe as, 48–49, 51–52, 55, 91, 186, 202; Sam Spade as, 32–33, 36–37, 91; satisfactions of being one’s own, 33–34, 36–37, 38–39, 77–78, 168, 274–75; time as, 115–16, 122; in Woolrich’s “Three O’Clock,” 131. See also conflict of interest between personal and professional life Boyer, Charles, 232 Brackett, Charles, 241 Brackett, Leigh, 231 Index Bramah, Ernest, 183 Bride Wore Black, The (book/Woolrich), 130, 169 Bride Wore Black, The (film), 129 Brooks, Richard, 217–18 Brown, Clarence, 205 Brynner, Yul, 205 Burnett, W. R., 97, 188–89; career path of, 97–98; influences on, 190; as screenwriter, 98, 210. See also High Sierra Butterfly, The (Cain), 194 Cagney, James, 215 Cahn, Edward, 210 Cain, James M.: compared with Hammett and Chandler, 69–71; Fitzgerald as influence on, 193–95; on Hemingway, 190–91; inverted detective stories of, 188; parallels between fiction and life story of, 70. See also Double Indemnity “Canary” Murder Case, The (Van Dine/ Wright), 176, 177 Camus, Albert, 9 Capote, Truman, 272 Carmichael, Hoagy, 206 Carné, Marcel, 8, 215 Carpenter, John, 272 Carroll, Leo G., 269 Carroll, Lewis, 33 Casablanca, 206, 218, 232 Cerf, Bennett, 199 Chandler, Raymond, 224; career path of, 31–32, 39; compared with Cain and Hammett, 69– 71; on detective work, 45; essay on detective fiction, 179–83, 185, 189–91, 201; on film version of The Big Sleep, 238; Fitzgerald as in- fluence on, 195–97; Hammett as inspiration for, 39, 171; parallels between fiction and life story of, 39–41, 42, 55–56, 58, 59–60, 64–65, 70; as screenwriter, 70, 209; as screenwriter for Double Indemnity, 70, 240, 241, 242–51; and wife’s illness and death, 58, 59–60. See also Big Sleep, The Chartier, Jean Pierre, 8 Chicago mobs. See gangsters; Little Caesar Children of the Ritz (Woolrich), 128, 195 Christie, Agatha, 175, 180 cigarette, significance of, in film, 249 Citizen Kane, 208 City Streets, 211 Clayton, Jack, 205, 272 Clemm, Maria, 146 Clurman, Harold, 129 Coen brothers, 203 Colorado Territory, 212, 215 Confidential Agent, The (Greene), 232 conflict of interest between personal and professional life: in Burnett’s fiction, 189; in Cain’s fiction, 95–96, 189, 191; in Chandler’s fiction...