away from the crime scene. The result was one of the more suspenseful scenes in the film, but was not in the original script. MacMurray was surprised when he first saw it onscreen: "When I ... turned the key I remember I was doing it fast and Billy kept saying 'Make it longer, make it longer,' and finally I yelled 'For Chrissake Billy, it's not going to hold that long,' and he said 'Make it longer,' and he was right." Wilder managed to bring the whole production in under budget at $927,262 despite $370,000 in salaries for just four people ($100,000 each for MacMurray, Stanwyck, and Robinson, and $70,000 – $44,000 for writing and $26,000 for directing – for himself). Music The score to Double Indemnity was composed by Miklós Rózsa, whose work on Wilder's previous film Five Graves to Cairo had been his first real Hollywood engagement for a major studio. Wilder had praised that work and promised to use Rózsa on his next film. Wilder had the idea of using a restless string tremolo (as in the opening to Franz Schubert's Unfinished Symphony) to reflect the conspiratorial activities of Walter and Phyllis against her husband which Rózsa felt was a good one (and the symphony is actually used with a very melodramatic effect in the scene with Lola and Walter in the hill above Hollywood Bowl, 1:23–1:26). As work progressed, Wilder's enthusiasm about Rózsa's score only grew, but the studio's Musical Director Louis Lipstone was of a different mind; he and Wilder previously clashed over some post-production cuts he had made to the Five Graves score which created problems with the music's continuity and logic. Now the two were coming to loggerheads again. When it came time to record the score for Double Indemnity, Lipstone made no secret that he despised what Rózsa had done, to which Wilder finally turned to him and snapped "You may be surprised to hear that I love it. Okay?" Lipstone then disappeared and was not seen at the sessions again. He later summoned Rózsa to his office and reprimanded him for writing "Carnegie Hall music" which had no place in a film. Rózsa took this as a compliment, but Lipstone assured him it was not – and suggested he listen to the music from Madame Curie to learn how to write a proper film score. When Rózsa pointed out that Double Indemnity