No renewal found Free in the US since 1 January 1968, on the registry's reading: registration LP9305 of 1939 by Columbia Pictures Corp was not renewed in the volumes searched. Record.
A newspaper comedy makes remarriage a contest over work, language and the considerable difficulty of getting out of the room.
The person Walter Burns needs back at his newspaper is also the woman who has divorced him. That arrangement gives His Girl Friday its peculiar pressure: every professional compliment can be a romantic advance. Cary Grant’s Walter wants Rosalind Russell’s Hildy Johnson to abandon her plans to marry insurance salesman Bruce Baldwin, played by Ralph Bellamy. He scarcely bothers to distinguish between recovering his best reporter and recovering his wife. Hildy understands his methods, which makes her susceptibility to them more interesting than innocence would have been.
Howard Hawks directed the adaptation of Ben Hecht and Charles MacArthur’s play The Front Page.2 The decisive alteration was to make the reporter Hildy Johnson the editor’s former wife, turning the struggle between an employer and a departing employee into a contest over remarriage.1 The AFI Catalog credits Charles Lederer as writer.2 The Gateway Film Center’s programme description gives a different account, describing the screenplay as “written by Charles Lederer and Ben Hecht”.3 The film makes the play’s newspaper machinery serve a second purpose.
According to the account in Wikipedia, Hawks wanted to break the record for the fastest film dialogue, then held by The Front Page.1 Yet speed alone does not explain the comedy. People speak to keep somebody present long enough for another scheme to work. At 11:30, the conversation about Hildy’s impending marriage lets Walter convert Bruce’s name into an insult about a horse thief he once knew. Bellamy gives the exchange resistance by trying to participate in an ordinary social encounter. Walter is conducting an operation.
At 22:36, the insurance discussion makes Hildy’s position less comfortable than a simple opposition between an honest woman and a dishonest man. She presses Bruce to consider the commission on a large policy for Walter. Her question about how quickly a medical examination can be arranged moves the proposal towards a transaction before Bruce has agreed to it. Russell makes persuasion look like practical intelligence at work. Hildy wants the quieter life Bruce represents on terms that require him to move at her pace. Even their proposed escape gives her something to negotiate.
The newspaper story supplies stronger inducements. Hildy’s pursuit of an interview with condemned prisoner Earl Williams brings her up against official obstruction at 32:07. At 45:42, a man on the telephone reports a jailbreak. Telephones allow events outside the frame to enter as competing accounts. At 53:57, a reporter relays the governor’s attack on the mayor and sheriff. Authority reaches the audience as material being transmitted for rewriting. The crowded room is where danger becomes copy. Hildy’s wish to leave repeatedly meets a task she knows how to do.
The film’s later history contains a different kind of entanglement. Wikipedia’s account identifies a failure to renew the film’s copyright.1 It also notes that the source play remained under copyright for several decades before its protection expired.1 The film’s renewal history therefore cannot stand for the rights history of the adaptation as a whole. A Criterion Blu-ray and DVD edition paired the film with Lewis Milestone’s The Front Page.12 That edition places the altered relationship between editor and reporter within reach of direct comparison. In Hawks’s film, the editor’s professional claim on Hildy can no longer be separated from his claim on their shared past.
The record: Registration LP9305 is dated 30 December 1939; the registry found no renewal. Its reason: no renewal entry found for 1966-1968 in the CCE motion-picture renewal sections. On that reading the term ended on 1 January 1968. The finding concerns the film’s registration and renewal history. The separately protected source play is a distinct part of the rights history.1 The record does not settle every question about the materials incorporated into a particular copy.
Written 6 September 2026 by gpt-6-astra from the registry record, the atlas's own evidence and the sources below, gathered by Qwen/Qwen3.8-Max with web search and questioned by deepseek-ai/DeepSeek-V4-Pro. Numbered notes are the sources; a claim marked unverified has no source yet; times open the atlas at that second. How these are made and checked.
360 shots over 1:31:44 · 140 beats in 28 sequences · 1110 transcript lines · JSON
360 shots over 1:31:44, read from the Internet Archive copy his_girl_friday (his_girl_friday.mp4, 640×480, 29.97 fps). Shot boundaries by PySceneDetect's adaptive detector; each frame links to the Archive's player at that second. Registry dossier: His Girl Friday No renewal found. JSON
Measurements: black-and-white film on its keyframes (0 of 360 shots judged colour), average shot 15.3s long, a frontal face detected in 59% of keyframes. Shots are detected automatically and each is represented by its midpoint frame.
Released 1940 (Internet Archive); copyright registered 1939 (catalog). Credited cast, film-level, from archive description: Cary Grant, Rosalind Russell. A cast credit does not place an actor in any particular beat.
140 beats in 28 sequences, cut automatically at shot boundaries scored on picture change, pauses in speech, topic shifts, on-screen text and cutting rhythm (each beat says why it starts where it does). Each is annotated by a vision-language model from four sampled frames and the transcript lines in it, as observations with evidence; anything the frames and lines do not support is left null. Machine annotation (Qwen/Qwen3-VL-235B-A22B-Instruct), checked automatically: quotes must be verbatim, names must be spoken, "visible" events are sampled to a second model. 140 of 140 beats annotated, 137 passed the checks, 3 flagged.
Passages cut at shot boundaries and annotated by a machine from four sampled frames and the transcript lines in them. Each beat says why it starts where it does and what was checked; sequences are visual groups, not scenes.
0:30Model synopsis: The beat shows a title card crediting Charles Lederer as screenwriter, based on the play 'The Front Page' by Ben Hecht and Charles MacArthur, produced by Jed Harris. No characters or actions are visible.
Model synopsis: A newsroom scene with multiple people at desks; one person speaks on the phone while others work. The transcript includes dialogue about connecting calls and confirming information.
5 people observed.
“Copy, boy. All right. I'm going to kill you.” 1:05 · “Thank you. Happy to have you all right back.” 1:07
Model synopsis: A woman in a hat enters an office and speaks to a receptionist while another woman looks on. A man in uniform stands near a door in the background. The dialogue includes greetings and a joke about someone being in a bad mood.
Named: Hilde (t:1:30). 4 people observed.
“Loyalty. Oh, hiya, skinny. Hello, Ruth.” 1:24 · “What a lazy.” 1:29
Model synopsis: A man and a woman speak in a busy newsroom; the woman then walks away toward a doorway. The man remains behind, watching her go.
3 people observed.
“He's in, Bruce. You'd better wait here. I'll be back in ten minutes. Even ten minutes is a long time to be away from you.” 1:39 · “I just said even ten minutes is a long time to be away from you. I heard you the first time. I like it. That's why I have to say it again.” 1:54
Model synopsis: A woman in a striped suit and hat walks through a busy newsroom, greeted by colleagues. A man in a suit speaks to her as she moves past desks and typewriters.
Named: Jim (t:2:14), Beatrice (t:2:14). 5 people observed.
“Oh, hello, Jim. Hello, Hildy. How are you? Hi, Hildy. Welcome back. Hello, Hildy. How have you been? Good. Hi, Hildy. Hello, Hildy.…” 2:14 · “- Relax.” 2:28
Model synopsis: In a newspaper office, a man in a suit and hat speaks to another seated man, while a woman in a hat and a man in a vest enter and speak. The seated man learns that a governor did not sign a reprieve, meaning a man named Earl Williams will be executed.
Named: Walter (t:2:44), Hildy (t:2:44), Duffy (t:2:52), Louie (t:2:44). 5 people observed.
“What do you want?” 2:37 · “- Hello, Walter. - Hi, Hildy. Oh, hello, Louie. How's the big slot machine, King? Oh, I ain't doing that no more. I'm retired.” 2:44
3:13Model synopsis: Two men are in an office; one is instructed to call the governor to offer newspaper support in exchange for a reprieve. The other man, identified as Duffy, is told to carry out the call while the first man thinks.
Named: Duffy (t:3:15). 2 people observed.
“What are you going to do?” 3:03 · “Get the governor on the phone. I can't. Why not? Can't locate him. He's out fishing. How many places to fish are there? Well, at least two, …” 3:04
Model synopsis: Two men speak in a newsroom; a woman enters and addresses one of them. The setting includes desks, papers, and office equipment.
Named: Walter (t:3:43). 3 people observed.
“You too, Louie. Get out of here.” 3:36 · “Well, Walter, I see you're still at it.” 3:43
Model synopsis: A woman in a striped suit and hat stands in an office while a man in a suit sits at a desk; they exchange dialogue about a lamp and time apart. The setting includes office furniture and a telephone, with natural light from windows.
2 people observed.
“There's been a lamp burning in the window for you, honey. Here.” 3:51 · “Oh, I jumped out that window a long time ago, Walnut.” 3:54
Model synopsis: A man and a woman converse in an office; the woman sits while the man stands and gestures. The dialogue references a past marriage, divorce, and lingering feelings.
Named: Hildy (t:4:36), Walter (t:4:36). 2 people observed.
“No, no, Mama doesn't dream about you anymore, Waller. You wouldn't know the old girl now.” 4:36 · “You're repeating yourself, Walter. That's the speech you made the night you proposed.” 4:43
5:47Model synopsis: A man and a woman are in a private office, speaking to each other. The woman mentions a divorce, a honeymoon, and a coal mine story, while the man defends his actions and references a dimple.
Named: Walter (t:5:16), Hildy (t:5:26). 2 people observed.
“Oh, well, I suppose you're right in a way, Walter. Sure, I'm right.” 5:16 · “Latin, I suppose. You must come up and meet my mother. She'd like that, I afraid. Then why on earth did you promise not to fight the divorce…” 5:26
Model synopsis: A man and a woman argue in an office; she complains about his constant contact and mentions a lunch date. He suggests she return to work and proposes remarriage if they can't get along.
Named: Walter (t:6:25), Hildy (t:6:25). 2 people observed.
“Oh, what is the good of... Look, now, look, Walter. What I came up here to tell you is that you must stop phoning me a dozen times a day, se…” 6:25 · “I write a beautiful telegram, don't I? Everybody says so.” 6:25
Model synopsis: A man and a woman argue in an office; she announces she is leaving her job and their marriage, while he reacts with anger and nostalgia. The scene ends with her turning away and him answering a phone call.
Named: Walter (t:7:03), Hildy (t:7:16). 2 people observed.
“Oh, listen, Walter. You are no longer my husband and no longer my boss.” 7:03 · “You're all right, Mr. Burns, for the first time today.” 7:16
Model synopsis: A man in a suit speaks on a telephone while a woman in a hat stands nearby in an office; another man is shown on the phone in a separate shot. The transcript includes dialogue about a proposal, a missed pitch, and a mistaken identity during a phone call.
Named: Duffy (t:8:16). 3 people observed.
“And I still claim I'm as tight the night I proposed to you. If you'd have been a gentleman, you'd forgotten all about it, but not you. Why…” 8:03 · “Sweeney!” 8:13
Model synopsis: In a newsroom, a man and a woman argue while another man is mentioned as unavailable due to his wife giving birth. The woman is addressed as Hildy and is asked to help with a story.
Named: Hildy (t:9:02), Duffy (t:8:16), Sweeney (t:8:40). 4 people observed.
“Jumping, Jehoshaphat.” 8:25 · “What's the matter, Waller? - Sweeney. - Dead?” 8:40
Model synopsis: A man in a suit and a woman in a striped dress and hat stand close in an office; he holds up a ring while she looks at him. The transcript includes dialogue about salary negotiation and an engagement ring.
2 people observed.
“If you won't do it for love, how about money?” 9:18 · “Forget the other offer. I'll raise you 25 bucks a week. Listen to me, you great big bumble-headed bad booze. I'll make you 35 bucks and no…” 9:21
Model synopsis: A woman in a striped suit and hat tells a man in a suit she is quitting journalism to marry and live a normal life; he challenges her decision and mocks her fiancé's profession. The scene takes place in an office with desks and papers visible.
Named: Walter (t:9:58), Hildy (t:9:58). 2 people observed.
“I know you, Hildy. I know what quitting would mean to you. What would it mean? If it would kill you. You can't sell me that, Walter Burns. W…” 9:58 · “I want to go someplace where I can be a woman. You mean be a traitor.” 10:07
11:54Model synopsis: A man adjusts his tie while a woman in a hat stands nearby in an office. The transcript reveals a conversation about an impending marriage and a farewell, with one character calling the other 'Herr Dien.'
2 people observed.
“Uh, Baldwin, Bruce Baldwin. Baldwin, Baldwin, Baldwin. Oh, I knew a Baldwin once. A horse thief in Mississippi. Couldn't be the same further…” 11:30 · “So long, Herr Dien.” 11:59
Model synopsis: A man and a woman stand close in an office, speaking; the man wears a suit and the woman a striped suit and hat. The transcript reveals they are discussing another man the woman is to marry, and the man asks to meet him.
Named: Walter (t:12:31). 2 people observed.
“I'm more or less particular about whom my wife marries.” 12:23 · “Do you mind if I meet him?” 12:31
Model synopsis: In a newsroom, a man in a suit speaks to a woman in a hat and coat, then turns to an older man in glasses. The transcript reveals dialogue about manners and mistaken identity regarding marriage.
3 people observed.
“Thank you very much, Mildred. Oh, I am sorry, Hildy. I suppose Bruce, what's his name? Foreman. Foreman. I suppose he opens doors for you, …” 12:45 · “And when he walks with the lady, he waits for her.” 12:56
Model synopsis: A woman in a striped suit and hat stands in a busy newsroom while two men, one in a light suit and another in a coat holding a hat, speak with an older man. The dialogue reveals confusion over names, with one man identifying himself as Bruce Baldwin and another as Mr. Burns.
Named: Bruce Baldwin (t:13:26), Mr. Burns (t:13:26). 4 people observed.
“Oh, Hilda, you should have told Miss Blanton. Congratulations again, Mr. Baldwin. Oh, no, no. My name is... Oh, excuse me, will you aren't t…” 13:17 · “Mr. Burns. Some other time. I'm busy with Mr. Bruce Baldwin here. I didn't hear what you said. I was going to say. Just mind me. Now l…” 13:26
Model synopsis: A woman in a striped suit and hat speaks with two men in a busy office; one man holds an umbrella. The dialogue references marriage expectations and carrying rain gear.
3 people observed.
“Oh, Hildy, you know, you let me to expect you were marrying a much older man.” 14:02 · “Oh, really? And what did I say that led you to expect that...” 14:02
Model synopsis: Three people walk through a newsroom and enter a diner; one man orders roast beef sandwiches while speaking to a waitress. The dialogue reveals names Hildy and Walter and mentions lunch.
Named: Walter (t:14:19), Hildy (t:14:25), Bruce (t:14:28), Gus (t:14:42). 4 people observed.
“All aboard, a man ought to be prepared for any emergency.” 14:19 · “I'm taking you two to lunch. Didn't you tell him, Hildy? No, she didn't.” 14:25
15:08Model synopsis: Three people sit at a table in a dimly lit interior; one man speaks about marrying Hildy while another man and a woman listen. The transcript includes dialogue about mustard, marriage, and feelings toward Hildy.
Named: Bruce (t:15:05). 3 people observed.
“- Bring some mustard too, Gus. - Yes, sir.” 14:59 · “You two are gonna get mad, huh? How's it feel, Bruce? Feels awful good. Yes, sir.” 15:05
15:37Model synopsis: Two men sit at a table in a crowded restaurant while one speaks about Hildy, a newspaper person who is leaving. The speaker praises Hildy’s unpredictability and talent, and the other man, Bruce, expresses regret at her departure.
Named: Bruce (t:15:29), Hildy (t:15:24). 5 people observed.
“But Hildy's not like that. You can't tell that about her.” 15:24 · “Yes, well, you're getting something else, too, Bruce. You're getting a great newspaper man. No orchids, Walden.” 15:29
Model synopsis: Three people sit at a table in a dimly lit interior, discussing marriage and moving to Albany. One man speaks about giving a woman a home, while another man and a woman listen and respond.
Named: Bruce (t:16:12). 3 people observed.
“This is your chance to have a home and to be...” 16:02 · “Like you said, a human being. I'm gonna make you take that chance. Certainly. Why, I wouldn't let her stay.” 16:05
Model synopsis: A woman in a hat smokes while seated at a table with two men in a dimly lit interior. The transcript includes dialogue referencing Albany, insurance, and a past incident involving a governor.
Named: Bruce (t:16:58). 3 people observed.
“Mighty nice little town, Albany. They've got the state capital there, you know.” 16:36 · “Will you ever forget the night you brought the governor back to the hotel?” 16:44
Model synopsis: Two men sit at a table in a busy restaurant while a waiter serves them and a woman drinks nearby. One man speaks about insurance and helping people after death, and the other reacts with confusion before asking for coffee.
4 people observed.
“Still, look at that. It might have been a good idea if we... If I had taken a little insurance. Well, I honestly feel that way. Yeah, I figu…” 17:22 · “Of course, we don't help you much while you're alive, but...” 17:30
Model synopsis: Two men sit at a table in a restaurant while a waiter cleans a spill; one man speaks about leaving soon and needing time. Another man thanks two people named Gus and John off-screen.
Named: Gus (t:18:23). 5 people observed.
“You're leaving today at 4 o'clock, huh? Mm-hmm.” 18:04 · “That's only two hours. It doesn't give as much time as that. I've got a lot to do. I want to get something off. Look at that. All down over …” 18:06
Model synopsis: Two men sit at a table in a restaurant while a woman speaks. A phone call interrupts the conversation, and the woman declares she is happy.
Named: Bruce (t:18:29), Walter (t:18:33), Hildy (t:18:53). 3 people observed.
“Listen, Bruce, I, uh, let me get that straight. I must have misunderstood you.” 18:29 · “Your mother kicked the bucket. My mother. My mother. Oh, your mother. Oh, well, that relieves my mind.” 18:45
Model synopsis: A man in a suit speaks on the phone while a woman eats at a table nearby. The man gives orders about stopping a train and sending someone on vacation.
3 people observed.
“He's not the man for you, I can see that, but...” 19:19 · “he's got a lot of charm and it comes back naturally his grandfather was a snake.” 19:22
Model synopsis: Three people sit at a table in a crowded restaurant, discussing the Earl Williams case. The conversation reveals that Williams, a man who shot a Black policeman, is scheduled to be executed, and political considerations are influencing the outcome.
Named: Walter (t:19:55), Hildy (t:20:17). 3 people observed.
“Thanks, Gus.” 19:55 · “This is bad business. What's the matter Walter? The Earl Williams case.” 19:55
Model synopsis: Three people sit at a table in a restaurant, discussing a plan to save a man from execution by publishing an interview. One person urges another to write the interview, citing the urgency and moral weight of the situation.
Named: Walter (t:20:44), Hildy (t:20:34). 3 people observed.
“Don't they have to have another expert examine him before they hang him? Sure, a bird named Eggelhoff is going to do it. Well, he'll say t…” 20:36 · “you get the interview with Earl Williams print Egelhofer statement and right alongside of it you know double column run your interview” 20:46
Model synopsis: Three people sit at a table in a restaurant; one man speaks to another while a woman listens. The transcript reveals a negotiation about a story and an insurance policy, with names Walter and Bruce mentioned.
Named: Walter (t:22:36), Ellie (t:22:00). 3 people observed.
“All right, Ellie, you wait. I'm licked. Then Mrs. Sweeney didn't have twins.” 22:00 · “Well, come on, let's forget it.” 22:14
22:50Model synopsis: Two men and a woman sit at a table in a dimly lit interior, discussing a life insurance policy and arranging a medical examination for someone named Mr. Burns. The woman speaks assertively while one man listens and the other responds with hesitation.
Named: Bruce (t:22:37). 3 people observed.
“How big a policy? Oh, 25,000, 50,000. What's the commission on a hundred thousand dollar policy? Around a thousand dollars. What's wrong wit…” 22:37 · “Well, I could get a company doctor here in 20 minutes, but I don't like the idea of this.” 22:48
23:24Model synopsis: A man and a woman are in a tense conversation in what appears to be a restaurant or bar; the woman is preparing to leave and the man is arranging payment and travel logistics. The dialogue reveals financial urgency and a plan to meet at a courthouse press room.
Named: Hildy (t:23:03). 3 people observed.
“I'll go back and change and dress. And after you get the check, you phone me. I'll be in the press room at the criminal court's building. Oh…” 23:03 · “What? By the way, I think you better make that a certified check. What do you think I am, a crook? Yes.” 23:10
23:58Model synopsis: A man in a suit speaks to a woman in a striped coat in a crowded room with tables and glasses; another man in a suit stands nearby. The transcript includes dialogue about signing something and calling Wilcox.
3 people observed.
“I just gave everything I had to Hildy. All I've got left is... Not me. Sign it.” 23:48 · “Oh, all right.” 23:53
Model synopsis: Men in hats and suits are in a press room, talking on telephones and discussing a criminal case involving an alienist. One man is smoking a pipe while another speaks on the phone about a doctor named Eggelhofer.
Named: McHugh (t:24:21), Ernie (t:24:11), Sarge (t:24:21), Jake (t:24:26), Dr. Max J. Eggelhofer (t:24:30), Williams (t:24:36). 9 people observed.
“Say, take that one of you birds with me. You ain't doing anything, Ernie? I'll take two. And one's with a big one. What's the matter with yo…” 24:11 · “Press room, huh? Wait a minute. Hello, Sarge. McHugh talking. Hold the line, will ya?” 24:21
Model synopsis: A group of men in hats sit at a table with telephones and papers in a busy office. One man speaks on the phone while another listens, and a voice reports on security measures ahead of an execution.
4 people observed.
“Figure it out for yourself. He's the guy they sent to Washington to interview the brain trust. Find me.” 24:48 · “You said they were saying that number here's the situation on the eve of the hanging. I'll pick up a little fudge.” 24:53
Model synopsis: A woman in a pinstripe suit and hat announces her impending marriage and departure from the newspaper business, while colleagues react with skepticism and jokes. The scene takes place in a busy newsroom with multiple men at desks and telephones.
Named: Hildy (t:25:22). 6 people observed.
“Is that good? Sure looks good from here. Well, Hildy, when did he get back? Hi, Ernie. Hi, Hildy, glad to see you. Glad to see you, Mat…” 25:22 · “I'm getting married tomorrow. Why? Again? Are we invited to the wedding?” 25:37
Model synopsis: A man and a woman stand in a doorway of a newsroom; in another shot, police officers are near a motorcycle with silhouettes of figures on a wall. No dialogue is present in this beat.
5 people observed.
Model synopsis: A woman in a suit and hat enters a newsroom where men are seated at a table playing cards; she speaks with them while one man holds cards. The transcript includes dialogue about work, a phone call, and a story on Williams.
5 people observed.
“How do you expect us to get any work done?” 26:42 · “Say did anybody phone me?” 26:49
27:57Model synopsis: Two men are in an office; one stands adjusting his tie while the other sits at a desk. The seated man speaks about a beneficiary and alimony, referencing a woman named Hildy.
Named: Bruce (t:27:41), Mr. Burns (t:27:35). 2 people observed.
“No, that'll be about all, Mr. Burns. Everything okay?” 27:35 · “Who's the beneficiary?” 27:48
Model synopsis: Two men are in an office; one stands and speaks while the other sits and listens. A third man is visible in the background, looking toward the conversation. The dialogue references a woman named Hilde and her future well-being.
Named: Bruce (t:28:37). 3 people observed.
“By that time, you'll probably have made enough so that the money won't mean anything to you.” 28:33 · “But suppose you haven't made good, Bruce?” 28:37
Model synopsis: Two men are in an office; one stands while the other sits at a desk. A third man, wearing glasses and a vest, appears in a separate shot leaning on a counter. The transcript includes lines about someone not needing to know something until after the speaker's death.
3 people observed.
“Yes, I'm beginning to realize that.” 29:07 · “The beauty of it is...” 29:10
Model synopsis: A man in a suit sits at a desk with telephones while another man in a suit stands nearby; a third man in a vest and glasses leans on a counter and speaks. The transcript includes dialogue about someone feeling like a heel and a request to see someone.
Named: Bruce (t:29:32), Walter (t:29:37). 3 people observed.
“Make me feel like a heel coming between you.” 29:32 · “No, no, Bruce, you didn't come between us.” 29:34
Model synopsis: Two men interact in an office; one stands while the other sits at a desk, then they shake hands and speak. One man is instructed to call a woman named Hildy Johnson at the criminal courts building press room.
Named: Bruce (t:29:57). 3 people observed.
“You get it? You get it? You get it? Where is it? Come on. Certified? Sure.” 29:48 · “That's for $2,500.” 29:55
Model synopsis: A woman in a hat stands at a desk holding a phone receiver while men sit around her; a man in a suit sits at a desk holding a phone receiver to his ear. The transcript includes lines about hollering, calling a guard, and checking a certified check.
4 people observed.
“Start hollering.” 30:30 · “I got a dime. Well, what about me? We've been playing for an hour.” 30:37
Model synopsis: A woman in a hat and suit holds a telephone receiver while speaking; a man in a suit sits at a desk, also on the phone. The dialogue concerns a check and a newspaper superstition about placing it in a hat's lining.
Named: Bruce (t:30:51). 2 people observed.
“In your pocket, that's fine.” 30:49 · “Wait a minute, maybe it isn't so fine. Bruce, where are you?” 30:51
Model synopsis: A woman in a hat stands behind a seated man at a desk in an office; another man at a desk holds a hat and speaks. The transcript includes dialogue about a hat bringing good luck and a request to wear it.
3 people observed.
“In your hat.” 31:13 · “It brings good luck.” 31:14
Model synopsis: A man in a suit talks on the phone in an office while another man enters and they interact. The first man hangs up and speaks with the second man before they part ways. A third man is visible in a background window.
Named: Bruce (t:31:45). 3 people observed.
“There you are. I've done it.” 31:34 · “Well, everything all right, Bruce? Oh, yes. Hilde said to tell you she'll get right to work.” 31:45
Model synopsis: A woman in a hat and coat speaks with a man holding papers in a newsroom, then stands with him near a barred gate. The transcript includes a phone call about an interview and money.
5 people observed.
“Hello, Cooley? Hello, Hildy. What are you doing around here? I want an interview with Errol Williams.” 32:19 · “No more interviews. Why not? Sheriff's orders. Besides, the doctor's coming over. Can't do it.” 32:22
32:57Model synopsis: A man in a jail cell speaks to someone off-screen, denying guilt in a killing and claiming it was an accident. The setting is a jail cell with bars and a metal frame visible.
2 people observed.
“So you see, I couldn't plead insanity because I'm just as sane as anybody else.” 32:59 · “You didn't mean to kill that policeman? Well, of course not. It's against everything I've ever stood for.” 33:02
Model synopsis: A woman in a dark coat speaks through a chain-link fence to a man in a plaid shirt; the transcript reveals a conversation about job loss, park visits, and a gun, ending with a mention of roses from Miss Molly Molloy. The setting appears to be a jail cell, with the man inside and the woman outside.
Named: Earl (t:34:09). 2 people observed.
“Sorry about the lipstick girl. Now look after you lost your job.” 33:15 · “Well, there was one fellow. He talked about production for use.” 33:38
35:11Model synopsis: A group of men sit around a table in a dimly lit room, discussing Hildy Johnson's departure and upcoming marriage. One man asks for lights to be turned on, noting the room is too dark to see.
Named: Earl (t:34:55), Hildy (t:35:00), Walter Brunzel (t:35:00), Bill Fenton (t:35:00), Bruce (t:35:23), Mac (t:35:13), Stairway Sam (t:35:17). 11 people observed.
“I guess that's all. I like talking to you. Goodbye, Miss Johnson.” 34:49 · “Goodbye Earl.” 34:55
Model synopsis: A woman confronts a group of men in a newsroom, accusing them of fabricating stories about her relationship with a condemned man. The men, seated at desks with telephones and typewriters, react with amusement and skepticism as she defends herself.
Named: Molly Malloy (t:35:47). 6 people observed.
“Well, well, Miss Molly Malloy. Hello, Molly.” 35:47 · “I came to tell you what I think of you, all of you. Keep your shirt on.” 36:11
Model synopsis: A woman in a hat speaks at a desk while men sit around a table with microphones; the transcript indicates she is recounting a past encounter and being dismissed by others. The setting appears to be a press room at night, with dialogue referencing a trial and a boyfriend's room.
Named: Hildy Johnson (t:37:17). 4 people observed.
“Oh, listen to me, please.” 37:06 · “Sure I was his witness. And what a witness. That's why you're persecuting me. Because Earl Williams treated me decent and not like an animal…” 37:17
37:45Model synopsis: A woman in a dark dress and hat walks through an interior space carrying a coat. The setting appears to be a cluttered office or newsroom with desks and filing cabinets visible.
1 person observed.
37:48Model synopsis: A high-angle shot shows a dimly lit interior with a metal staircase and several silhouetted figures. One figure stands alone in a distant archway while others are near the stairs.
2 people observed.
38:04Model synopsis: A woman stands holding a tray while two men sit in an office; one man is seated in a chair, the other at a desk. The transcript includes dialogue about newspapermen lying and someone being told to leave.
3 people observed.
“What's that?” 37:50 · “They're fixing up a pain in the neck for your boyfriend.” 37:51
38:42Model synopsis: A group of men are gathered in a room with one standing and others seated around a table; one man speaks on the phone while others discuss playing cards. The transcript includes lines about not being listened to and a mention of Hildy Johnson.
Named: Hildy Johnson (t:38:41). 7 people observed.
“Why won't they listen to me?” 38:18 · “*pain*” 38:33
39:33Model synopsis: A woman in a hat and dark coat moves quickly through a newsroom, speaking on the phone while men in suits and hats observe. She reacts to news about a hanging and a sheriff, and others discuss reprieves and election timing.
Named: Bruce (t:39:20), Pete (t:39:50), Roy (t:40:00). 6 people observed.
“Hello?” 39:17 · “Oh, hello, Bruce.” 39:20
40:21Model synopsis: A group of men in suits and hats are gathered in a room with desks and phones; one man speaks about a hanging scheduled for 7 a.m. A character named Pinky is addressed and asked what favor he wants.
Named: Pinky (t:40:34). 5 people observed.
“Now, Beast Theory is, boys, after all, this is a hanging and it's going to go according to schedule.” 40:30 · “7 o'clock in the morning and not a minute earlier. After all there's such a thing as being a manian. All right Pinky. What do you want a fav…” 40:34
Model synopsis: In a newsroom, a woman and a man in a suit discuss a man named Bruce who is accused of stealing a watch; the woman insists he be released while the man refuses. The scene shifts to a nighttime vehicle interior where the woman and man sit, and the man mentions losing his wallet.
Named: Bruce (t:40:49), Hildy (t:40:49), Walter Burns (t:41:24), Diamond Louie (t:41:00), Earl Williams (t:42:11), Molly Malloy (t:42:18). 10 people observed.
“But I'm innocent. I didn't do anything. I never stole a watch in my life.” 40:49 · “And who accused him? Diamond Louie, the biggest crook in town.” 41:00
43:37Model synopsis: A woman delivers an angry farewell speech to a man named Walter, declaring she is quitting journalism to become a homemaker, while in a newsroom setting with other men present. She mentions tearing up a story and a certified check, and later speaks on the phone with someone named Mr. Burns and a doctor.
Named: Hildy Johnson (t:43:05), Walter Burns (t:43:05), Mr. Burns (t:44:05). 5 people observed.
“Is that you, Walter? Oh, I've got some news for you.” 43:05 · “Now get this, you double-crossing chimpanzee. There ain't gonna be any interview and there ain't gonna be any story.” 43:11
Model synopsis: Two men in suits discuss a joint press statement while a third man in a shirt sits nearby; one of the standing men suggests a photo opportunity, and the seated man expresses fatigue and a desire to return to jail.
3 people observed.
“Of course, I did rather promise to make them some sort of statement when I finished here. You don't mind, will you?” 44:30 · “Well, what do you say to giving them some sort of joint interview?” 44:38
45:05Model synopsis: A man in a suit stands near a large lamp while another man sits in a chair; the transcript indicates a formal proceeding where Mr. Williams is addressed and told he will be executed. The setting appears to be an official room with equipment and furniture suggesting an interrogation or hearing.
Named: Mr. Williams (t:45:08). 4 people observed.
“Oh, I'm awfully sorry. I forgot you were there. No, Mr. Williams, we have some further questions for you.” 44:57 · “Chair, do you mind extinguishing the light, please?” 44:57
Model synopsis: A man in a shirt sits in a chair while a woman in a coat walks away from him; in another shot, a woman stands on a desk addressing a group of men seated at desks in a newsroom. The transcript includes a character named Hildy Johnson saying goodbye and referencing future success and past hardships.
Named: Hildy Johnson (t:45:17). 4 people observed.
“Now who do you feel is responsible for that?” 45:12 · “I am innocent.” 45:15
Model synopsis: A man on the phone reports a jailbreak while others in a newsroom react with urgency. A woman in a hat and coat stands in the doorway as men in hats move around her.
4 people observed.
“Hey, look out! It's a jailbreak!” 45:46 · “What's the matter? What happened?” 45:51
Model synopsis: A woman in a dark coat aims a pistol inside an office while men on motorcycles approach outside. A group of men, including police officers, stand near a building entrance as vehicles with headlights arrive.
5 people observed.
“Go!” 46:16 · “Pull close to getting all the birds. Quick, kill the Johnson.” 46:19
Model synopsis: A woman in a dark suit and hat calls out and runs through a large, dimly lit room with other people present. A man in a dark coat is seen from behind as she runs past him toward a windowed area.
3 people observed.
“Hey, Cooney!” 46:43 · “Wait!” 46:46
47:05Model synopsis: A man and a woman are running side by side in an interior space with columns and large windows. The scene is shot in black and white with motion blur indicating rapid movement.
2 people observed.
47:10Model synopsis: A person is lying on the floor in a dimly lit room with window blinds visible. The transcript contains repeated urging phrases.
1 person observed.
“Come on.” 47:08 · “Come on.” 47:09
47:47Model synopsis: Two men in hats are visible in an office, one standing and speaking on a phone, the other seated and listening. A transcript describes a man named Williams escaping from custody and a tear gas incident involving Sheriff Hartwell’s deputies.
2 people observed.
“Cody!” 47:12 · “Mr. Benicott, give me a rewrite.” 47:24
Model synopsis: A man in a fedora and suit holds a telephone receiver while speaking; another man in a suit approaches him in a newsroom setting. The transcript includes dialogue about a scrub lady, a flesh woman, and a man named Earl Williams being seen boarding a southbound vehicle.
Named: McCue (t:48:30). 3 people observed.
“Look, I'm not... There goes another scrub lady.” 48:27 · “No, it was only a flesh woman. They took her to the hospital. Call you back.” 48:30
Model synopsis: A woman and a man are each shown on the phone in an office setting, discussing an exclusive story and money spent to obtain it. The woman mentions the money was Bruce's and she wants it back.
Named: Hildy (t:48:51), Walter (t:48:51). 2 people observed.
“Walter, Walter, listen. I've got the whole story on how Williams got that gun in the escape and I got it exclusive.” 48:51 · “Yeah, that's right, and it's a pip. It cost me 450 bucks to tear it out of Cooley.” 48:57
Model synopsis: A man and a woman are on the phone in an office, discussing money and a story. The man swears on his grandmother's grave after being corrected about his mother.
Named: Haley (t:49:21). 2 people observed.
“Sure, sure, sure. You'll get it. Now, what's the story?” 49:13 · “I'll send the money right down to you. I swear it on my mother's grave. All right, here's the...” 49:16
Model synopsis: A woman and a man are each on the telephone in what appears to be an office setting. The transcript describes a story about a doctor reenacting a crime with a gun supplied by Peter B. Hartwell.
2 people observed.
“well you get that money down here” 49:25 · “alright alright here's your story the jailbreak of your dreams it seems this expert doctor Egelhoffer the profound thinker from New York wa…” 49:27
Model synopsis: A woman and a man are on the phone in what appears to be a newsroom; the woman is smiling and speaking while the man listens. The transcript includes dialogue about a shooting, a sheriff, a professor, and a character named Hildy.
Named: Hildy (t:50:13), Ed (t:50:05). 2 people observed.
“I tell you, I'm not kidding. I'm not good enough to make this one up. Well, the sheriff gave his gun to the professor, and the professor ga…” 49:58 · “No, Ed. Ain't it perfect?” 50:05
50:47Model synopsis: A man in a suit talks on the phone while another man in a hat stands nearby. The transcript mentions a taxi, a criminal courts building, and counterfeit money being sent to someone named Hildy.
2 people observed.
“Come here. There's a guy waiting in a taxi in front of the criminal courts building. His name is Bruce Baldwin. What does he look like?” 50:30 · “It looks like that fellow in the movies, Ralph Bellamy. Go ahead. Can you handle it?” 50:36
51:08Model synopsis: A woman is seated at a desk with multiple telephones, holding one receiver to her ear. The setting appears to be an office with wood-paneled walls and vintage equipment.
1 person observed.
51:25Model synopsis: A man in a suit and hat speaks on the phone in an office while transcript lines describe a bizarre birth story involving a patrol wagon and a sheriff's rifle squad. No named characters are identified in the dialogue or visuals beyond the speaker.
1 person observed.
“oh hilly are you still here no i'm in niagara fold mcq speaking” 51:13 · “Mrs. Phoebe DeWolf, 61 1/2 South State Street, Colored, gave birth to a Piccaninian patrol wagon with Sheriff Hartwell's Special Rifle Squad…” 51:21
Model synopsis: A woman in a pinstripe suit stands at a desk holding a phone receiver; a man in a light shirt sits at a desk speaking on the phone, flanked by two uniformed officers. The dialogue suggests a misunderstanding about an arrest and a blonde woman.
Named: Bruce (t:51:46). 5 people observed.
“Yeah, the old ship in a... Bruce, I thought you were downstairs and... Get ever born on a man, huh?” 51:46 · “What? Arrested again? What for this time?” 51:50
52:39Model synopsis: A woman is on the phone at a desk in an office at night; she is speaking urgently while others off-screen ask for statements from officials. The transcript includes fragmented dialogue about locating someone, a mayor refusing to speak, and questions about an escape and election.
Named: Hildy Jones (t:52:19), Bruce (t:52:25), Mr Johnson (t:52:34), Emil (t:52:42), mayor (t:52:57), Sheriff Hartlow (t:52:57). 6 people observed.
“Never mind. I know how it happened. Just a minute. Get me all the bones. Hildy Jones.” 52:19 · “Bruce, where are you? 27 precinct. Hold on to me, will you? What are you...” 52:25
53:28Model synopsis: A group of men in suits and hats stand in an office, speaking to one another. One man asks about a red uprising, and another denies its existence.
4 people observed.
“How can an unavoidable misfortune like this have any influence on the upright citizens of our fair city? Mr. Mayor, please, is there a red …” 53:25 · “Hi, Your Honor. Any statement on the red uprising tomorrow?” 53:52
Model synopsis: In a newsroom, a man on the phone relays a statement from the governor criticizing the mayor and sheriff, while others listen. The scene includes multiple reporters and telephones, with one woman standing in the background.
5 people observed.
“The governor says the situation calls for the militia. Give me a rewrite. You can quote me as saying anything the governor says, the tissu…” 53:57 · “He claims the mayor and the sheriff have shown themselves to be a couple of eight-year-olds playing with fire. Yeah.” 54:07
54:42Model synopsis: A man in a suit speaks urgently to others in an office while another man listens; a phone call is referenced and a political maneuver involving a candidate named Sherman is announced. The setting includes telephones and hats, suggesting a newsroom or office environment.
Named: Mayor (t:54:16), Fred (t:54:46), Pete (t:54:46). 7 people observed.
“You can quote him as follows:” 54:13 · “It is a lucky thing for the city that next Tuesday is election day, as the citizens will thus be saved the expense of impeaching the mayor a…” 54:16
55:22Model synopsis: Three men in suits and hats stand in an office, one holding a document and speaking urgently about a reprieve for Earl Williams; the governor is unreachable, and the speaker accuses the situation of being politically motivated. The setting is an interior office with bookshelves and a desk lamp.
3 people observed.
“Are you Sheriff Hartwell? I'm here. What is it? You're a hard man to find, Sheriff. I have a message here from McGovern. It was a reprieve f…” 55:17 · “Who else was there when he gave you this? Nobody. He was out fishing. Get the governor on the phone. No, he's not there. He's out duck shoot…” 55:33
Model synopsis: Three men in suits and hats stand in an office, discussing a press statement and a job offer while one holds a document. One man is on the phone, reacting to news about someone named Williams being surrounded.
Named: Fred (t:55:54), Harville (t:56:03). 3 people observed.
“- Fred, we've got to think fast. What are we going to tell the reporters? - Tell them the party's through in this state on account of you.” 55:54 · “Yes, yes, this is Harville.” 56:03
57:26Model synopsis: Two men in suits and hats are in an office-like interior; one hands money to the other while speaking. A phone conversation is referenced in the transcript, and instructions are given about going to an address and staying quiet.
Named: Pettybone (t:57:12), Fred (t:57:39), Olsen (t:57:23). 4 people observed.
“Yes, but how do I know that... Come here and see me in my office tomorrow. What's your name? Pettybone, what's yours? Pettybone? Not re…” 57:12 · “Now take good care of you. Just tell them French sent you.” 57:23
57:50Model synopsis: Two men are in an office; one is on the phone giving orders to shoot to kill, while the other listens. A voice greets someone named Hildy off-screen.
2 people observed.
“Shoot to kill.” 57:48 · “That's the orders.” 57:49
Model synopsis: A woman in a dark suit confronts a man in a fedora and suit inside an office; she accuses him of double-crossing and asks about money. The man responds defensively while standing near a desk with a telephone and lamp.
2 people observed.
“You double-crossing hyena. I'd like to take you... What's the matter? Don't give me that innocent stuff. What did you put on Mr. Baldwin thi…” 57:58 · “If she tries anything else, she'll have to stay right here in this area. I don't mind. And you two, and it won't be on a phony charge eith…” 58:10
Model synopsis: A man in a suit and hat speaks to a woman in a dark coat in an indoor setting; the transcript indicates a negotiation over a receipt, a scarf, and a wallet. The woman is visible in one frame, standing near a desk with a telephone.
2 people observed.
“All right, you can't blame a guy for trying.” 58:19 · “- You better give me a receipt. - I'll give you a scarf. - I've got plenty of them. - Oh.” 58:22
58:45Model synopsis: A man and a woman stand on a city sidewalk near a building entrance; the man takes an object from the woman and speaks about taking it to the police station. The transcript includes dialogue about a financier, brass knuckles, and Alcatraz, with a call for someone named Louie.
2 people observed.
“But you better tell that financier to be more careful in these hard times, you know what I mean? Sure. Unload him a pair of your brass knuc…” 58:34 · “Now, don't talk that way, Hildy. Here, I'll take that. I'll take it to the station.” 58:34
58:59Model synopsis: A woman in a dark suit stands at a cluttered desk in an office, reaching for something. The scene is lit by a large overhead lamp and shows typewriters and papers on the desk.
1 person observed.
Model synopsis: A woman in a dark coat holds a telephone receiver while a man in a light shirt and dark trousers enters the room and tells her to drop the phone. The woman appears startled and looks toward the man as he approaches.
2 people observed.
“Hello operator Hildy Johnson. Will you get me?” 59:02 · “Drop that phone.” 59:05
Model synopsis: A man holding a gun confronts a woman in an office while speaking to her. The dialogue suggests a tense standoff over a story and trust.
Named: Earl (t:59:15). 2 people observed.
“Put that gun down, Earl.” 59:15 · “You don't want to shoot me, Earl. I'm your friend, remember?” 59:18
Model synopsis: A man holding a pistol speaks with a woman in a newsroom; he claims he does not want to kill anyone but is stopped from leaving the room. The woman insists he will be left alone and will not be allowed to get others involved.
Named: Erlone (t:59:47). 2 people observed.
“Sure you could, Erlone. You don't want to do that.” 59:47 · “No, you're right. I don't want to kill anybody. Wait a minute.” 59:52
Model synopsis: A man and a woman are in an office; the man speaks while the woman listens and then moves away. The transcript includes dialogue about fear, death, and exhaustion.
2 people observed.
“I'm awful tired. I couldn't go through. - That shot, they'll lower your head. - I don't care.” 60:16 · “I'm not afraid to die. I was telling the fellow that when he handed me the gun. He was waking me up in the middle of the night.” 60:21
1:00:53Model synopsis: A woman is on the phone in an office at night, urgently requesting Walter Burns and mentioning she has captured Earl Williams. She is interrupted by Molly Malloy at the door.
Named: Bruce (t:60:46), Walter (t:60:46), Molly Malloy (t:60:59), Earl Williams (t:60:46). 5 people observed.
“Get me Walter Burns, quick. Tell him I need him.” 60:39 · “Oh, but Bruce, please. I know I said I'd be down 20 minutes, but something terrific has happened. Hold on. Walter, Hilde, come over here rig…” 60:46
1:01:24Model synopsis: Two women are in a tense conversation in an interior space; one is pleading for information while the other resists but eventually reveals a location. The scene ends with a man named Robert being mentioned as present.
Named: Molly (t:61:16), Robert (t:61:33). 3 people observed.
“Where is everybody? They're not here. They've all gone. Oh, please tell me where they've gone. Please tell me.” 61:16 · “All right, Molly, I'll tell you where they are. They're down at Center Street. Center and Fourth.” 61:16
1:01:56Model synopsis: A man and a woman are in a dimly lit interior space; the man speaks urgently while the woman listens. The transcript includes dialogue about roses, reporters, and an attempt to escape through a hole.
Named: Molly (t:61:40), Mr. Curley (t:61:52). 3 people observed.
“- Hello, Molly. - How did you get in here?” 61:40 · “I didn't mean shooting. Really, I didn't. Be quiet. You believe me, don't you, Molly? Sure, I believe you.” 61:43
Model synopsis: Two men in hats stand near a door in a dimly lit interior; a woman is urged to hide in a desk. One man speaks about the locked door and tells the woman to get into the desk.
Named: Lydia (t:62:14). 3 people observed.
“Hey, who locked the door?” 62:12 · “Oh, it's too late. No, it isn't. Oh, get in this desk. Come on, Lydia.” 62:14
Model synopsis: A woman in a pinstripe suit enters a newsroom where men are on the phone; one man asks about another named Williams. A second shot shows the newsroom with people working, one on the phone, and a woman at a desk.
7 people observed.
“All right, all right, I'm coming. Oh, what are you trying to do? Kick the building down? You're getting kind of exclusive, ain't you?” 62:29 · “Yes, false alarm. They surrounded the house all right, but they forgot to tell Williams, and he wasn't there. Halloween going on outside.” 62:58
Model synopsis: Three people are in a newsroom discussing the possible location of a man named Williams, suggesting he might be in the building. One man gestures toward a window while another stands at a desk with phones, and a woman in a striped suit observes.
4 people observed.
“I've got a hunch Williams is anywhere they've been looking for him. He might be right here in this building somewhere.” 63:45 · “Sure, sure. Hanging around like a duck in a shooting gallery.” 63:50
Model synopsis: A woman in a striped suit stands and gestures while speaking to a group of men in hats in a newsroom; the transcript reveals an argument about a missing murderer and a reporter's attempt to leave. The scene includes seated and standing figures, telephones, and a door marked 'PRESS'.
6 people observed.
“Wouldn't it be funny if he's in this building somewhere?” 64:10 · “Say, Hilly, if I know you, you seem pretty anxious to get rid of us.” 64:10
Model synopsis: A woman is pressured by two men in a press room to reveal the location of a man named William; she refuses and offers to give them a true story instead. The scene shifts to show men outside looking into the press room through a window.
5 people observed.
“What are you asking her for? She don't know where he is.” 65:16 · “I'm the only one that knows. Where is William? Try and find out. Come on, Molly, talk. Talk? Talk?” 65:19
Model synopsis: A woman is restrained by two men in a newsroom while another man gives orders. A separate scene shows a person falling or being thrown from a window at night.
Named: Walter (t:66:18), Louie (t:66:18), Mrs. Baldwin (t:66:18). 6 people observed.
“She's dead.” 65:58 · “Well, she isn't killed, she's moving.” 65:59
1:07:32Model synopsis: A woman and a man argue in a newspaper office while discussing a captured man and a major news story. The man insists the story is a career-making revolution, while the woman resists, wanting to leave.
Named: Hildy (t:67:37), Walter (t:66:41). 2 people observed.
“Where do you think you're going? I'm going after mother and I'm going to get Bruce out of jail. Walter, why did you have to do this to me?” 66:41 · “You've done something big, Hilda. You've stepped up into a new class.” 67:37
Model synopsis: A man on the phone directs others to contact wrestlers while a woman reads at a typewriter; another man enters the office and is told not to speak. A third man appears, holding a wallet and tickets, and insists on taking money and a check.
4 people observed.
“I'm paid. That's why I sent the whole front page out.” 68:53 · “Get hold of Butch O'Connor. Time to come up here right away with half a dozen of his wrestlers.” 69:01
Flagged: quote not verbatim (I'll take that money, Hilary. ... I'll give it.)
Model synopsis: A man in a suit and hat holds a telephone receiver while seated at a desk; a woman in a suit and hat stands beside him, looking at papers. The transcript includes dialogue about a prank and someone named Bruce.
Named: Hildy (t:70:04), Bruce (t:70:04). 3 people observed.
“Say, there's something funny going on. What are you doing? Just wanted to look at it. Kill the other. Bob, what did you say?” 69:56 · “Hildy, I'm taking the 9 o'clock prank. Sure, sure. Did you hear what I said? I said, I'm taking the 9 o'clock prank. Oh, Bruce, I put it …” 70:04
Model synopsis: A man in a suit and hat sits at a desk with telephones while speaking; another man and a woman stand nearby in what appears to be a newsroom. The dialogue centers on a question about not wanting to come along, followed by an instruction to remove pictures.
3 people observed.
“Better alone, will you, buddy? Will you do me a favor, Bruce, please? I just want you to answer me one question. You don't want to come with…” 70:13 · “No.” 70:23
Model synopsis: A man in a suit and hat sits at a desk with telephones, speaking urgently. A woman in a hat types at a typewriter nearby while another man stands behind her. The dialogue suggests a conflict over a woman's loyalty and career, with accusations of spying and emotional manipulation.
Named: Walter (t:71:27), Hildy (t:70:28), Bruce (t:70:40). 3 people observed.
“Oh, well. If you'll ever love me, Hildy. Now look here, my good man. You shut up, Burns. You're doing all this to her. I know that. She want…” 70:28 · “Now, let me ask you, Mr. Whatever your name is. For a man like him? No, I am not. But, Bruce, can't you see that something's happened? Wait,…” 70:40
Model synopsis: A man in a suit stands behind a woman at a typewriter while another man is seen lying on the floor. A voice gives instructions over the phone and asks about a taxi for Bush and his gang.
4 people observed.
“- Don't stop building, keep it coming as fast as you can. Get back in there, you mock turtle.” 71:44 · “Hello Duffy, did he tell Bush and his gang to take a taxi as a matter of life and death?” 71:50
1:12:03Model synopsis: A man in a suit stands in a dimly lit room with a window showing city lights at night. He speaks about holding up for 50 minutes and handling others who will return to phone.
1 person observed.
“Good, stay on this wire. Push it on his way over. All we gotta do is hold up for 50 minutes.” 71:54 · “The boys will be back. They'll be coming in here to phone. I'll handle them.” 71:57
1:12:27Model synopsis: A man and a woman are in an office; the man stands holding papers while the woman sits at a typewriter. The transcript includes dialogue about a news story and mentions of Bruce and Earl Williams.
2 people observed.
“- How's it coming, honey? - Oh, all right, I guess.” 72:15 · “- Where's Bruce? - Oh, he went out. - Is he coming back here? - Certainly. What have you got so far? Let me hear it.” 72:17
Model synopsis: A man in a hat stands at a locked door while another man and a woman sit at a desk with typewriters. The dialogue suggests confusion over who is behind the door and mentions a 'tribune'.
3 people observed.
“What's the idea of locking this door?” 72:41 · “Who's that? - Benzinger. That's his desk. Open that door, window!” 72:44
1:13:47Model synopsis: A man on the phone speaks with Mr. Burns while another man and a woman sit nearby; the man on the phone later offers a job to a poet named Benzinger. The scene includes dialogue about a newspaper story and a poem, with references to Shakespeare and war correspondence.
Named: Mr. Burns (t:72:55), Benzinger (t:73:50), Hildy (t:73:04). 3 people observed.
“Hello, Mr. Burns. Well, quite an honor having you come over here. Hello, Benziger.” 72:55 · “How'd you like to come and work for me? What? Yes, we can use a man like you.” 73:35
1:15:07Model synopsis: A man and a woman are in an office; the man stands while the woman sits at a typewriter. The man speaks about handling someone named Benzinger and mentions Bruce leaving on a train. Louis enters, announcing himself.
Named: Louis (t:75:31). 3 people observed.
“Now listen, that fella Benzinger's on his way over to see you right now. Handle him with kid gloves. Put him to work writing poetry.” 74:44 · “No, no, we don't want him. Just stall him along until the extra's out, then tell him his poetry smells and kick him downstairs. Double-cros…” 74:49
1:15:53Model synopsis: A man in a fedora is confronted by a woman in a dark coat who grips his shoulder; another man in a suit stands nearby. The transcript describes a car crash with police, a missing woman, and accusations of handing her over to authorities.
3 people observed.
“Holy smokes, what's the matter with you? Where's the smoke? What'd you do with it? What happened? You been in a fight? Down Weston Avenue. W…” 75:35 · “We run smack into a police patrol, you know what I mean? We busted it in half. Was she hurt? Look, where is she? Tell me. Can you imagine…” 75:44
Model synopsis: A man in a suit speaks to a woman seated at a desk in an office while another man stands nearby; the dialogue suggests a murder has occurred and the speaker takes responsibility. The woman reacts with distress, calling him a murderer, while he urges her to consider the newspaper's needs.
Named: Hildy (t:76:23). 3 people observed.
“Well, it's fate, Hildy. What will be, will be.” 76:23 · “I killed her. I'm responsible.” 76:32
Model synopsis: A man and a woman are in an office, both holding telephones and speaking urgently. The woman is on the phone with a hospital, asking about an old lady and a person named Butch, while the man listens and reacts.
Named: Hildy Johnson (t:77:01). 2 people observed.
“- I can't get out of here. - We can do more here. Now be calm.” 76:50 · “Well, Butch, where are you? Oh, no, Mission Hospital Receiving Room, please. Well, what are you doing there? Haven't you even started? He…” 77:01
Model synopsis: A man in a suit and hat speaks on a telephone while a woman in a dark dress also uses a phone nearby; the man later stands up and gestures. The transcript includes shouted dialogue about duty, a woman, and a hospital, ending with a hang-up and a search for someone named Duffy.
2 people observed.
“Well, you can't stop for a day now! Community hospital, give me the receiving line, please.” 77:17 · “You're gonna let a woman come between this after all we've been through.” 77:23
1:18:21Model synopsis: Two men in suits and hats stand in a wood-paneled room, one speaking urgently to the other about moving a desk and enlisting help. The speaker mentions a hospital and a potential fire as a distraction, while the other agrees to act.
Named: Louie (t:78:10). 2 people observed.
“Yes, boss. Louie, it's up to you. Anything you say, boss. Well, beat it up. Get a hold of some guys. Who do you want? Anybody with hair…” 78:10 · “Is it important? Listen Lou, you're the best friend I got. I like you too, boy. All right, then don't fail me. Get enough people to move tha…” 78:20
Model synopsis: A man in a suit and hat stands in an office while a woman reads papers; he later points at the camera. Dialogue includes demands to help lift something, a threat to find Mrs. Baldwin, and an accusation of breaking in.
2 people observed.
“Hey, come here, see if we can lift it.” 78:43 · “I'm gonna find Mrs. Baldwin.” 78:43
Flagged: visible event not seen (Man points at camera.)
Model synopsis: A man in a suit and hat stands in a crowded office, gesturing while speaking to a group of men and one woman. The transcript indicates an argument about an accident and accusations, with someone being told to leave.
8 people observed.
“You can't bluff me, Burns. I don't care who you are or what paper you read at the wrong. Look, let go of me, will you? Hang on to her, boys.” 79:05 · “Oh, look, I don't know anything really, and there's been an accident. Johnson, there's something very, very peculiar going on here.” 79:17
Model synopsis: A woman is confronted by men in a room after being found with a gun; she claims she was given it for protection, but it is identified as the one used by Earl Williams. The group demands to know Williams's location, and she deflects by mentioning a hospital visit.
Named: Hildy (t:80:00), Burns (t:79:32), Johnson (t:79:32). 8 people observed.
“Oh, you will, eh? You keep that door closed and don't let anybody in or out. Now, we'll see about this. Come on, Pinky. Give them the third…” 79:32 · “Where did you get this gun? I've got a right to carry a gun if I want to. Not this gun. I can explain that hard well. When Hildy told me…” 80:00
Model synopsis: A man in a suit confronts police officers in a newsroom while a woman stands nearby; another frame shows a woman greeting someone off-screen as officers prepare to enter a room. The transcript includes dialogue about arresting individuals and impounding property from the Morning Post.
Named: Mother (t:81:23). 6 people observed.
“Johnson, you're under arrest. What? And you too, Burns. Who's under arrest? Listen, you insignificant, square-toed, pimple-headed spy. Do yo…” 80:40 · “Is this your desk? No. Yes. What are you afraid of, Hildy? I dare you to move this desk out of here. Oh, you do? Yes, go ahead and try it. A…” 80:58
Model synopsis: A woman accuses a man of kidnapping her in a crowded office; he denies knowing her. Police officers and other men are present as the accusation and denial unfold.
Named: Burns (t:81:36). 7 people observed.
“What's the idea here? This lady claims she's been kidnapped. What? They dragged me all the way down the stairs. Just a minute.” 81:30 · “Did this man have anything to do with it? Why, he was in charge of the whole thing. He told them to kidnap me. Excuse me, madam. Are you ref…” 81:36
Model synopsis: A group of people, including police officers, are gathered in a newsroom; one man is on the phone while others react to a situation involving someone behind a desk. A woman in a striped suit appears concerned as a man in a suit gestures toward the desk area.
6 people observed.
“What was that? He's in there! Give me the desk. Give me that phone. What a break.” 82:20 · “Stand back everybody! Get your guns out! He's harmless. Don't take any chances. Shoot right through the desk. He can't hurt anybody. You've …” 82:20
Model synopsis: In a press room inside a criminal courts building, a man named Williams is captured while hiding in a desk; others, including a man with a gun and a woman, are present. The scene includes dialogue directing the capture and a count before the man emerges.
Named: Williams (t:82:40). 6 people observed.
“No, you don't. You want to see a scoop? In a minute. Now, everybody. Hold the wire. Aim right at the center. That's not it. All right. Towe…” 82:40 · “One. Ready for an emergency. Two. Any second now. Three. Up with it. I got you, Williams. Go ahead. Shoot me. Come on, there. Earl Williams …” 82:52
Model synopsis: A man is found unconscious under a desk; police and reporters gather around him. A man on the phone directs others to turn Williams over to the sheriff and put cops on the scene.
6 people observed.
“Don't try any funny stuff. Williams was unconscious when they opened the desk.” 83:04 · “Turn Williams over to the sheriff. Put the cops on these people.” 83:04
Model synopsis: A man on the phone in an office is confronted by others as he speaks with someone named Gary and then Fred, while a sheriff traces a call. The scene includes a police officer and several civilians in what appears to be a newsroom or police station.
Named: Gary (t:83:36), Fred (t:83:41), Pete (t:83:41). 8 people observed.
“The sheriff is tracing a mysterious telephone call which gave way William's hiding place. Where's the old lady? Where'd she go? She went out…” 83:20 · “Hello, Gary. Give me the warden's office, quick. Ah, well, you're gonna wish you'd never been born. Oh, am I?” 83:36
Model synopsis: A man at a desk speaks on the phone while others stand around him; a man named Pettipone enters with a reprieve and is accused of being an imposter. The scene takes place in an office where a man named Hartwell claims to have captured important people and demands a confession.
Named: Hartwell (t:84:11), Hilday (t:83:52), Pettipone (t:85:04). 6 people observed.
“You forget the power that always watches over the morning post, my boy.” 84:11 · “I just captured a couple of important birds, and I want you to take the confession.” 84:27
Flagged: visible event not seen (Hartwell speaks on the phone while seated at a desk.)
Model synopsis: A man named Pettipone presents a document claiming Earl Williams has been reprieved; others react with disbelief and accusation. A man identified as Walter orders Pettipone to be taken to the warden's office to deliver the reprieve.
Named: Pettipone (t:85:04), Walter (t:85:04). 5 people observed.
“What do you mean by coming in here with a cock and bull story like that? Frame up. He's an imposter. Arrest him.” 85:04 · “man Williams has really been reprieved. I'm personally tickled to death, aren't you, Pete?” 85:34
1:27:05Model synopsis: A man in a suit and hat holds a telephone receiver while a woman in a dark suit stands beside him in a newsroom; a third man is visible in the background. The transcript includes dialogue about jailbirds, a town, and calling someone named Duffy.
3 people observed.
“Wait till those two future jailbirds read the morning post tomorrow. Tight squeeze, though. Give me Duffy. That's the worst town we've be…” 87:02 · “What?” 87:08
Model synopsis: A man and a woman are in an office; the man urges the woman to leave while he takes a phone call. The woman answers the phone and speaks to someone at the police station.
Named: Walter (t:87:10), Hildy (t:87:27). 2 people observed.
“Look honey, can't you understand?” 87:50 · “I'm trying to do something noble for once in my life. Now get out of here before I change my mind. Come on.” 87:52
Model synopsis: A man in a trench coat speaks on the phone while two uniformed officers stand nearby; a woman at a desk also speaks on the phone while a man in a suit stands behind her. The transcript includes dialogue about counterfeit money and a name, Duffy.
Named: Duffy (t:89:10). 6 people observed.
“For having counterfeit money. Counterfeit money? Hold on a minute, Duffy. Well, where did you get it?” 89:10 · “I gave it to you.” 89:17
1:30:26Model synopsis: A man stands holding a telephone receiver while a woman sits at a desk, dabbing her eyes. The transcript reveals a conversation about marriage, a jail release, and a planned trip to Niagara Falls with a stop in Albany.
Named: Judy (t:89:43). 2 people observed.
“Honey, don't cry, please. Oh, come on, I didn't mean to make you cry, honey. What's the matter with you? You never cried before.” 89:36 · “Of course she's not quitting. She never intended to. We're going to get married.” 90:29
Model synopsis: The final beat shows end credits rolling, listing actors and characters. No characters are visible or audible; the scene is a static display of text.
Machine transcription of the Archive copy's audio with Whisper large-v3-turbo (temperature 0); the model heard it as en. 1110 segments kept, 112 dropped as the kind of hallucination the model produces over music and silence. Each timestamp links to the Archive's player at that second. This has not been checked against the film and can be wrong.
Every free film of 1940 with a copy
By the average clip vector of the keyframes; a measurement, not a judgement
Misbehaving Husbands 
Boys of the City 
British Intelligence 
Doomed to Die 
Disorder in the Court 
Brideless Groom 
Sing a Song of Six Pants 
Penny Serenade 
Bowery at Midnight 
Great Guy 
My Favorite Brunette