Double Indemnity. When an employee(s) is killed in the line of duty, his/her estate or beneficiary shall receive twice the amount of coverage as specified in Section 18.01.
Double Indemnity. Benefits under this Policy will be doubled if the Insured Person suffers death or permanent disablement whilst traveling as a fare paying passenger on any mode of public transport.
Double Indemnity. Dir. Billy Wilder. Paramount Pictures: 1944. Double Life. Dir. George Cukor. Universal International Pictures: 1947. Dragnet. Created by Jack Webb. Mark VII Productions/Mark VII Limited/MCA TV: 1951-1959. Five Graves to Cairo. Dir. Billy Wilder. Paramount Pictures: 1943. Force of Evil. Dir. Abraham Polonsky. Paramount Pictures: 1948. The Four Feathers. Dir. Zoltan Korda. United Artists: 1939. Gone with the Wind. Dir. Victor Fleming. Selznick International Pictures/Metro- Goldwyn-Mayer: 1939. Jungle Book. Dir. Zoltan Korda. Alexander Korda Films/United Artists: 1942. The Killers. Dir. Robert Siodmak. Universal Pictures: 1946. King Kong. Dir. Merian C. Cooper and Ernest B. Schoedsack. RKO Radio Pictures: 1933. Kiss the Blood off My Hands. Dir. Norman Foster. Universal International Pictures: 1948. Knight Without Armour. Dir. Jacques Feyder. United Artists: 1937. Lady in the Dark. Dir. Mitchell Leisen. Paramount Pictures: 1944. Last Embrace. Dir. Jonathan Demme. United Artists: 1979.
Double Indemnity. The amount of benefit provided in the Schedule of Benefits under Items 1 and 2 above will be doubled if the Accidental Injury for which the benefit is payable occurs under any of the following circumstances:
Double Indemnity. The amounts payable will be doubled if an insured person suffers an injury which is covered under Specific Loss Indemnity as the result of an accident occurring while riding as a passenger in or on, including boarding or alighting from, or being struck by any public conveyance licensed for the conveyance of passengers for hire. is delayed due to weather, earthquake, volcanic eruption, a mechanical failure, an emergency road closure by the police or an accident, provided that the vehicle, common carrier or connecting flight was scheduled to arrive at the departure or return point at least 2 hours (or the required minimum arrival reporting time, whichever is the greater) in advance of the scheduled time of departure or return.
Double Indemnity. We will pay double the Principal Sum Insured on the event of death by Accident if the Insured Person suffers Accidental death as a results of an accident occurs while the Insured Person is riding solely as a fare paying passenger (not as a operator or crew member) in or on, boarding and alighting from any Public Conveyance licenses to carry passengers.
Double Indemnity the Graph of Desire, Metalepsis The “retroactive transmutation of the scene” is, it has already been noted, discernible not only in the cinematic category but also in the filmic objects that constitute it. The relation between the first scene and the penultimate scene of Double Indemnity suggests the metonymic-metaphoric relation between signifiers and the resultant production of the signified theorised with the point de capiton. The film presents a narrative structure in which a scene at the end of the film gives meaning to a scene at the beginning. The film’s opening sequence – a desperate confession in a darkened office – cannot be understood until it is brought into connection with a subsequent scene: the murder and attempted murder of the final flashback.126 There is an indeterminacy to the first scene of Double Indemnity that suggests Lacan’s dialectic of anticipation and retroaction.127 A man enters a building at night, presumably his workplace. He appears to be unwell. There is an unspecified stain on his left shoulder. He speaks into the Dictaphone, ‘I suppose you’ll call this a confession when you hear it’: a line which anticipates its own retroactive determination. He announces that he is Walter Neff. He introduces characters and elements – the Dietrichson case, a murder for which he is responsible – but their meaning is uncertain. He gestures to his shoulder with the line, ‘No visible scars, ‘til now that is’, thereby conferring meaning to the stain, which now becomes a wound. The scene then dissolves into a flashback. Now, fast-forwarding through the film to arrive at the scene which finally produces the meaning of this first one, Phyllis Dietrichson hides a revolver beneath her chair and Neff walks through the door. Their dialogue retroactively modifies preceding events: ‘We were talking about automobile insurance. You were thinking about murder. I was thinking about that anklet’. Finally, as first Phyllis shoots Neff, and then Neff – wounded but not dead – kills her, the 126 Considering a film in this way, it is tempting to designate this juxtaposition the “death drive version” of the narrative, which is to say, the shortest distance between two points. 127 Indeed, Richard Dyer suggests that noir is characterised by an ‘endemic epistemological uncertainty’ (Richard Dyer, The Culture of Queers (London: Routledge, 2002), p. 110). meaning of that first scene has been revealed. As he staggers out of the Dietrichson house (and presumably makes hi...
