No renewal found Free in the US since 1 January 1976, on the registry's reading: registration LP899 of 1947 by Hope Enterprises, Inc., Hollywood was not renewed in the volumes searched. Record.
Bob Hope’s baby photographer plays detective in a comedy where hardboiled confidence keeps giving way to bodily discomfort and romantic confusion.
A baby photographer awaiting execution is an unusually bleak starting point for a Bob Hope comedy. In My Favorite Brunette, Ronnie Jackson tells reporters at San Quentin how his ambition to become a private detective brought him to death row.6 The distance between his ordinary occupation and his imagined one supplies the film with more than a mistaken-identity premise. A photographer needs people to sit still and cooperate. A detective must work among people whose intentions remain hidden. Ronnie wants the authority of the second profession without surrendering the reassuring arrangements of the first. Hope makes that mismatch the centre of the comedy, playing a man who can talk through danger more readily than he can understand it.
Elliott Nugent directed the film for Paramount and Hope’s production enterprise.2 It was released on 4 April 1947.1 Its connection to My Favorite Blonde was that of a sequel in name only.1 The hardboiled detective film supplied the model for Hope and Dorothy Lamour’s comedy.3 Alan Ladd makes an unbilled appearance.3 His presence gives Hope’s performance a point of comparison: Ronnie’s confidence has none of the stillness that might make it convincing.
The production used San Francisco locations.3 It also filmed at the Crocker Mansion in Pebble Beach, then owned by Paul Fagan.3 That investment in place suits a comedy which needs its intrigue to have some substance. Ronnie has entered a world whose evidence he cannot reliably interpret. At 10:09 in the atlas copy, Lamour’s character holds a newspaper clipping showing herself with Baron Montay, a wealthy landowner travelling to Washington. Her claim to have arrived with “the Baron, my husband” produces Ronnie’s response, “Oh, you've got a husband.” The exchange ends with “No.” The clipping promises documentary clarity that the conversation immediately defeats. Ronnie’s romantic interest intrudes at the very moment he ought to be establishing facts.
The film also makes trouble out of the detective’s power to narrate. Possession of the story does not grant Ronnie command of events. At 33:01, a pounding headache turns into an actual knock at the door: “And those kids with the hammer started pounding again. But the thumping wasn't in my head. It was somebody knocking on the door.” A familiar piece of figurative language becomes a small failure of perception. When the visitor enters, Ronnie is still holding his head. The joke brings the narrative voice back to the vulnerable body that produces it, exchanging the detective’s cultivated composure for a man’s difficulty telling pain from interruption.
Physical action keeps exposing the same gap between authority and helplessness. At 53:03, a man in a robe holds a book near another seated with his hands behind his head. A third person lies on the floor. “See, I told you there was no use struggling” precedes an instruction to get the keys. The business is practical, concerned with the means of moving through a room or getting out of it. A confident remark offers little protection against such necessities. The comedy does not abolish the machinery of the thriller. It lets that machinery continue operating while Ronnie struggles to find a position within it that will preserve both his dignity and his skin.
The film’s later circulation includes a listing on a free streaming site devoted to films presented as available without copyright restriction.7 That listing establishes a route by which viewers can encounter the film, not its legal history. Ready availability and a documented search for renewal are different kinds of evidence.
The record: These findings are supplied by the registry rather than independently verified here. Registration LP899 by Hope Enterprises, Inc., Hollywood is dated 20 March 1947. The registry found no renewal in the renewal volumes for 1974 to 1976, nor in the Copyright Office's records from 1978 on; on that reading the term ended on 31 December 1975 and the film has been free in the US since 1 January 1976. The record does not settle the film’s status outside the United States. Rights in material added to later editions also remain outside its scope.
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.
768 shots over 1:26:52 · 275 beats in 102 sequences · 1121 transcript lines · JSON
768 shots over 1:26:52, read from the Internet Archive copy my_favorite_brunette (my_favorite_brunette.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: My Favorite Brunette No renewal found. JSON
Measurements: black-and-white film on its keyframes (0 of 768 shots judged colour), average shot 6.8s long, a frontal face detected in 36% of keyframes. Shots are detected automatically and each is represented by its midpoint frame.
Released 1947 (Internet Archive). Credited cast, film-level, from archive description: Dorothy Lamour. A cast credit does not place an actor in any particular beat.
275 beats in 102 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. 275 of 275 beats annotated, 256 passed the checks, 19 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.
Model synopsis: The beat shows a wide shot of a barren, rocky landscape under a bright sky, followed by a close-up of a handwritten note addressed from Bob Hope to Dorothy Lamour. No people are visible or audible, and no events occur beyond the static display of these two images.
Model synopsis: This beat displays credit text for the film's screenplay and crew over a textured background. No characters, actions, or locations are depicted.
Model synopsis: This beat displays the film's opening credits, listing the music score, song, costumes, editor, makeup, sound recording, producer, and director. No characters, actions, or settings are depicted beyond the text on screen.
Model synopsis: A man in uniform stands on a rocky shore overlooking water and distant buildings; the name 'SAN QUENTIN' appears superimposed over the scene. No dialogue or additional actions are visible in this beat.
1 person observed.
Model synopsis: A man in a jail cell speaks with a warden and a guard while another man stands outside the cell. The dialogue suggests a last meal and a stay of execution that has not been granted.
Named: Jackson (t:1:27). 4 people observed.
“Like a soldier, my boy. Like a soldier. No ketchup?” 1:21 · “This is the worst last meal I ever had.” 1:24
Model synopsis: Two men are in a room; one speaks and gestures while the other listens. A third man in uniform appears briefly as the first man turns away.
Named: Jackson (t:1:53). 3 people observed.
“No word, huh? Well...” 1:48 · “I'll know who to vote for next time.” 1:51
2:08Model synopsis: Three men stand in a dimly lit interior space; one wears a uniform. A line references 'Ford,' suggesting a character name. The setting appears institutional, possibly a police station or office.
Named: Ford (t:2:16). 3 people observed.
“Nice cozy little nook.” 2:06 · “Oh, so that's it, huh?” 2:10
Model synopsis: A man in a white shirt is escorted by uniformed officers through a jail corridor and into a cell while a man in a dark suit speaks to him. The dialogue indicates the man in the white shirt, named Jackson, is being granted a special privilege to speak to the press.
Named: Jackson (t:2:34). 5 people observed.
“Haven't even put in electricity.” 2:24 · “Jackson.” 2:34
Model synopsis: A man named Jackson is in a jail cell, speaking with visitors including a woman and a uniformed officer. The conversation includes reflections on his situation and a mention of a woman being the cause of his troubles.
Named: Jackson (t:2:53). 4 people observed.
“Oh, Mr. Jackson, I think you're wonderful.” 2:53 · “Well, I ain't exactly a cream puff.” 2:59
Model synopsis: A man in a striped shirt stands behind bars speaking to a woman in a dark hat, while a uniformed guard looks on. The transcript includes a description of the woman and questions about how the man met her.
3 people observed.
“Skin like smooth satin.” 3:36 · “Beautiful blue eyes.” 3:38
4:00Model synopsis: A man in a suit and hat speaks to a man behind bars while another man in uniform stands nearby. The speaker describes his past business in San Francisco, mentioning the Trafalgar building and Chinatown.
3 people observed.
“You may not know this, but I wasn't always a detective.” 3:52 · “Before they pinned this murder rap on me, I had one of the sweetest little rackets in San Francisco. A legitimate business? Better than le…” 3:55
Model synopsis: A photographer named Ronnie works in a studio with a woman and a baby, while exterior shots show his studio building and a street scene. The transcript reveals he is trying to make a baby smile after two hours of effort.
Named: Ronnie (t:4:19). 3 people observed.
Model synopsis: A photographer directs a young boy during a studio session while a woman watches. The boy is holding a stuffed animal and making faces as the photographer urges him to look at the camera.
Named: Ronnie (t:4:19). 4 people observed.
“This kid's going to grow up to be a sponsor.” 4:49 · “Even wearing out the lights.” 4:52
Model synopsis: A man in a beret and lab coat speaks with a woman and a boy in a room with photography equipment. The dialogue suggests they are discussing proofs from a photo shoot, with the woman asking when they will be ready and the man assuring her they will be ready by morning.
Named: Mrs. Fong (t:5:22). 3 people observed.
“There you are. Another masterpiece. Sweetums, you're wonderful.” 5:01 · “You're wonderful too, Mr. Jackson. Well, that's because I was a kid once myself.” 5:08
Model synopsis: A child is fed by an adult while a woman and a man observe in an interior setting. The transcript includes exclamations and a comment about food.
4 people observed.
“Hold 'em all! - Give Mr. Jackson back his chair! - Time! Time! Time! - Oh, no! - This is awful! - Oh, oh, oh!” 5:31 · “Doesn't he get meat at home? You happy little gourmet.” 5:37
5:51Model synopsis: A man in a white shirt is seen from behind in a dimly lit room with equipment, while the narrator describes developing photos and hearing Sam McCloud return to his office. The narrator expresses admiration for McCloud and his own aspiration to be a detective.
Named: Sam McCloud (t:5:46), Ronnie Jackson (t:5:46). 3 people observed.
“Sweet, though. Let me see.” 5:42 · “Uh-huh.” 5:45
6:13Model synopsis: A man in a white shirt and dark trousers stands behind a desk in an office, adjusting his tie. The transcript mentions Sam McCloud and Ronnie Jackson, with the speaker imagining his name in big letters as a private eye.
Named: Sam McCloud (t:6:17), Ronnie Jackson (t:6:23). 3 people observed.
“And I had the gun. I'd figured out a way for Sam to hire me, so I started across the hall.” 6:17 · “Already I can see my name in big letters. Ronnie Jackson, Private Eye.” 6:23
Model synopsis: A man enters a detective agency office where another man is seated at a desk with his feet up. Signs on the wall advertise 'Rennie Jackson Photographer for Babies' and 'Cloud Detective Agency'. Dialogue includes references to 'baby' and catching a 'rattler' for Shire.
2 people observed.
“What I didn't see was the small print underneath. Rest in peace.” 6:27 · “Yeah, well, don't worry your pretty little head about it, baby.” 6:35
Model synopsis: A man in a light suit stands holding an object while speaking to another man who is reclining at a desk with his feet up. The seated man, wearing a fedora, listens and responds while holding a book. The conversation concerns partnership and a license received that day.
Named: Ronnie (t:6:55), Sam (t:6:58). 2 people observed.
“Left to talk about over some rainy night in front of a nice warm fire.” 6:48 · “What's on your mind, Ronnie?” 6:55
Model synopsis: A man in a suit speaks about wanting a hard-boiled detective life while another man in a fedora sits at a desk with papers and a glass. The setting appears to be an office with a window and decorative wall panels.
2 people observed.
“Oh yeah, but I was cut off with this kind of life. All my life I wanted to be a hard-boiled detective like Humphrey Bogart or Dick Powell or…” 7:07 · “You don't have those beautiful women coming into the office and those warm fires on those rainy nights. That's the kind of life I want. How …” 7:16
Model synopsis: Two men are in a room; one presents a camera with a keyhole lens to the other, asking for a job. The man with the camera claims he has been kicked out of five hotels.
Named: Sam (t:7:33). 2 people observed.
“Say, I can be a lot of help to you, Sam. Look. Here's my latest invention right here. A camera with a keyhole lens.” 7:33 · “Takes pictures right through doors.” 7:40
Model synopsis: A man in a fedora sits at a desk while another man in a light suit stands nearby holding a camera; later, the seated man is seen standing by a doorway talking on the phone. The transcript includes dialogue about going to Chicago and leaving a door open for someone to answer the phone.
2 people observed.
“No.” 7:51 · “Oh, but that's too simple. Why don't you give it a little thought?” 7:53
Model synopsis: A man in a suit stands near a desk while another man in a hat enters the room holding a coat. The transcript includes the line 'Well, Steph...'.
Named: Steph (t:8:11). 2 people observed.
“Well, Steph...” 8:11
Model synopsis: A man in a suit stands in an office while another man in a trench coat and hat enters, speaks, and exits. The first man remains alone, looking toward the door after the second man leaves.
2 people observed.
“I could go with you. I've got a coat just like that.” 8:17 · “I can help you out quite a bit in case you're running any keyhole work or...” 8:19
Model synopsis: A man in a suit stands at a desk in an office, then turns to look out a window. He speaks about becoming a private eye and catching criminals, mentioning someone named Rick.
Named: Ronnie Jackson (t:8:40). 1 person observed.
“I ought to go in business for myself.” 8:37 · “Ronnie Jackson the private eye.” 8:40
Model synopsis: A man in a suit stands behind a counter with bottles and pours from one. He reacts with pain after saying 'Smooth. Ow!' and is addressed as 'Squire'.
Named: Squire (t:9:06). 1 person observed.
“Ha!” 8:56 · “Smooth. Ow!” 9:02
9:15Model synopsis: A close-up shows a reflective globe on a stand, with faint reflections of interior elements visible on its surface. No people or spoken dialogue are present in this beat.
9:18Model synopsis: A man in a suit leans over a desk and pours from a bottle into a glass. The scene is indoors, with a filing cabinet and desk items visible.
1 person observed.
9:22Model synopsis: A woman in a dark coat is shown in a medium shot, holding a finger to her lips in a 'shh' gesture. The background includes a wall with posters and a partially visible sign.
1 person observed.
“Shh.” 9:21
9:24Model synopsis: A man in a suit stands in an interior space, looking upward and to his right. No dialogue or on-screen text is visible in the frame.
1 person observed.
Model synopsis: A woman in a dark coat speaks to a man in a light suit inside an office. She asks him to help her as a detective, and he listens while standing near a desk with bottles and papers.
Named: Dorothy Lamour (t:9:33). 2 people observed.
“I suppose you wonder why I act this way.” 9:33 · “Oh no, every girl who comes in here does that.” 9:35
Flagged: name not grounded (Dorothy Lamour)
Model synopsis: A man and a woman are in a private office; the woman speaks urgently while the man listens and invites her to talk. The woman identifies herself as Baroness Montaigne, and the man introduces himself as Sam.
Named: Sam (t:9:48), Baroness Montaigne (t:9:57). 2 people observed.
“Yeah, but look, I'm just... I... Please, Mr. McLeod, please.” 9:43 · “Just call me Sam.” 9:48
10:08Model synopsis: A man in a dark suit is seen entering or exiting a doorway marked 'McCloud Detective Agency'. The setting is an interior office space with wood-paneled walls and signage indicating a detective agency.
1 person observed.
Model synopsis: A man and a woman sit in an office; the woman holds a newspaper clipping showing a photo of her and a man identified as Baron Montay, a wealthy San Dimas landowner en route to Washington. The transcript reveals she claims to have arrived three days ago with the Baron, her husband, though he denies being her husband.
Named: Sloop (t:10:09), Baron Montay (t:10:09). 3 people observed.
“I arrived here three days ago in the Queen of Peru with the Baron, my husband.” 10:09 · “- Oh, you've got a husband. - No.” 10:15
Model synopsis: A woman reports her husband's disappearance from a wheelchair at a dock, fearing for his life if police are involved. A man in a suit listens while smoking and reviewing papers in an office setting.
Named: Dorothy Lamour (t:10:30). 2 people observed.
“I'm in trouble.” 10:26 · “My husband is an invalid.” 10:30
Flagged: name not grounded (Dorothy Lamour)
Model synopsis: A man in a suit holds a cigarette while a woman in dark clothing speaks; she then stands beside his desk and gestures toward him. The woman mentions having no money but offers a ring that can be pawned for five thousand dollars.
Named: Dorothy Lamour (t:11:03). 2 people observed.
“Who's they?” 10:57 · “That's what I want you to find out.” 10:58
Flagged: name not grounded (Dorothy Lamour)
Model synopsis: A woman in a dark coat speaks with a man in a suit inside an office; she asks him to find her husband, and he responds while holding matches. The setting includes a desk with a telephone and papers, and the interaction is framed as a negotiation.
Named: Montez (t:11:15). 2 people observed.
“Look sister five grand is a lot of moolah you don't know anything. I” 11:10 · “We Montez are generous.” 11:15
Model synopsis: A man in a dark suit stands near a sign for the McCloud Detective Agency while another man in a light suit stands at a desk with a woman in a dark coat. The transcript includes lines about not being found and giving an address.
3 people observed.
“What's the matter?” 11:31 · “Listen.” 11:32
Model synopsis: A man and a woman in a private office exchange urgent dialogue before leaving together; another man walks down a hallway as they exit. The woman is instructed to guard a map with her life.
4 people observed.
“As soon as you can.” 11:41 · “I'm going to go.” 11:45
Model synopsis: A man in a light suit speaks to a woman in a dark dress in a hallway; another man in a dark suit stands in the background. The woman enters the hallway, and the man in the light suit gestures toward her while speaking.
Named: Mabel (t:12:26). 3 people observed.
“Oh, it's you, Mabel.” 12:26 · “Come in the studio some night after hours and I'll take your picture.” 12:33
12:46Model synopsis: A man in a suit stands beside a door with a sign, holding the doorframe. A woman is visible in the background seated at a desk.
2 people observed.
12:50Model synopsis: A man in a light suit stands with his back to the camera, facing a window; a woman in a light dress is visible in the background near a doorway. No dialogue or on-screen text is present in this beat.
2 people observed.
13:02Model synopsis: A high-angle shot shows two small figures on a paved surface near a curb and a parked car. One figure stands while the other is on the ground, with a shadowed object nearby.
2 people observed.
Model synopsis: A man in a trench coat stands in a room with a desk and a window, while another man adjusts his coat near a doorway. The transcript includes lines about being a detective and checking a map.
2 people observed.
“Ha!” 13:11 · “Well, what are you waiting for? You want to be a detective, don't you?” 13:12
13:30Model synopsis: A man in a trench coat is visible in a dimly lit interior, holding a small object near a door. No dialogue or on-screen text is present in this beat.
1 person observed.
Model synopsis: A man in a trench coat and fedora adjusts his hat and then kneels on the floor, examining something small in his hands. The setting appears to be an interior room with a window and paneled doors.
1 person observed.
“Smooth.” 13:35 · “Small bullets.” 13:47
Model synopsis: A man in a fedora and coat holds a gun while seated; a woman in a patterned dress stands near a doorway. The transcript includes a line about not needing to pull a gun to kiss someone.
Named: Faye (t:13:57). 2 people observed.
“The Faye.” 13:57 · “You don't have to pull no gun on me to kiss me anytime.” 13:58
Model synopsis: A man drives a convertible through city streets and arrives at a large estate. The transcript describes the journey to an upper-bracket estate and the narrator's reaction to the mansion.
1 person observed.
“I was on my own. A missing husband in a dark-eyed dreamboat up to her gorgeous lips in trouble.” 14:06 · “What a parlay. And oh yeah, that mysterious map. The whole thing just like you'd read it in the detective magazine. I had my car for the add…” 14:11
15:00Model synopsis: Two men walk outdoors in daylight; one adjusts his hat while the other carries a coat over his arm. The transcript includes remarks about the time of day and a whistling sound.
2 people observed.
“Fine.” 14:57 · “It is day, though.” 15:02
15:12Model synopsis: A single frame shows a garden with dense foliage and stone architecture. No people, text, or spoken lines are visible or audible in this beat.
Model synopsis: A man in a trench coat and hat speaks with a doorman at a stone-walled entrance; another man in a suit is visible inside. The dialogue indicates the visitor is expected by Baroness Monte.
4 people observed.
“Allow me.” 15:15 · “Oh, Dr. Landa.” 15:22
Model synopsis: Two men interact in a large, ornate room with columns and candlesticks; one man in a robe speaks to another in a suit while a third figure in a hooded robe stands nearby. A line mentions 'Madame la Baronesse is in her living room,' and one man offers to help another with his coat.
3 people observed.
“Nice cheerful place. What time did they bring the mummies out? Very amusing, sir.” 15:39 · “Madame la Baronesse is in her living room.” 15:44
Model synopsis: A man in a suit adjusts his coat and then holds up a small object while speaking. The setting appears to be an interior with ornate columns and stairs.
Named: Cuddles (t:15:58). 1 person observed.
“Okay, pardon me, sir. You're coming. Yeah, I'm roughing it.” 15:52 · “Here we are.” 15:57
Model synopsis: A man in a suit enters a room and approaches a woman seated at a piano; she speaks to him. The setting is an opulent interior with heavy furnishings and a chandelier.
Named: Miss Monte (t:16:10). 2 people observed.
“To be beside you” 16:05 · “Could I ask for more? Each thrill beside you. Miss Monte? Hello. Pretty song, isn't it? Yeah, it's pretty, but you were so anxious.” 16:10
Model synopsis: A man enters a room through double doors while a woman in a sequined top sings; a second man in a suit is shown seated. The transcript contains lyrics about being beside someone through a storm.
3 people observed.
“I slide beside you through the winter storm.” 16:28 · “I'm forever warm I'm not stealing daydreams” 16:40
Model synopsis: A woman in a shiny dress sits at a desk speaking to a man whose back is to the camera; another man in a suit appears in a doorway. The transcript includes romantic and urgent dialogue, including a reference to 'my uncle.'
3 people observed.
“It isn't any crime to want to be beside you.” 16:51 · “Till there's no more time.” 17:02
Model synopsis: A man and a woman are in a room, speaking closely; the woman mentions her uncle's important mission and his connection to Major Montague. The man questions her about her uncle's enemies and the house they are in.
Named: Dorothy Lamour (t:17:27). 2 people observed.
“Please listen. My uncle came to this country on a very important mission.” 17:45 · “Did your uncle have any enemies?” 18:09
Flagged: name not grounded (Dorothy Lamour)
Model synopsis: A man in a suit leans toward a seated woman in a shimmering dress while another man in a tuxedo stands in the background; the man in the suit then walks away toward a doorway. The woman speaks about feeling watched and the room growing dark, and the man responds by mentioning they were just talking about her.
3 people observed.
“Feel as though I'm being watched.” 18:46 · “And he's been so sweet and kind ever since my arrival. It's getting kind of dark in here, isn't it?” 18:51
Model synopsis: A man in a suit and a man in a tuxedo meet and shake hands while a woman in a shimmering dress stands nearby. The men exchange greetings and mention a coincidence of sharing the same last name, Craig, and a prior meeting on a ship.
Named: Craig (t:19:12), Craig (t:19:15). 3 people observed.
“I don't believe I've had the honor, sir. Oh, uh...” 19:10 · “Mr. Craig. Oh, hi, Mr. Craig. Glad to see you. I'm... What?” 19:12
Model synopsis: Three people stand in a room with ornate decor; one man speaks to a woman while another man enters through a door. A phone call is mentioned in the transcript, and one man is instructed to take a message.
Named: Craig (t:19:35). 4 people observed.
“Craig. Craig.” 19:35 · “Now, where have I heard that name before?” 19:37
Model synopsis: Two men in suits stand in a dimly lit room with furniture and a lamp; one speaks to the other, who is addressed as Mr. McLeod. Smoke rises near a doorway in the background.
Named: Mr. Craig (t:19:52), Mr. McLeod (t:20:03). 3 people observed.
“Excuse me, Mr. Craig.” 19:52 · “All right, sir.” 19:59
Model synopsis: Two men converse in a well-furnished room; one identifies himself as Sam and offers to help the other with detective work. The younger man follows the older one toward a doorway as the older man mentions a surprise.
Named: Sam (t:20:18), Craig (t:20:07). 2 people observed.
“Oh, Craig is the name. I mean, Craig. I was... I was a shipboard and...” 20:07 · “You're a private detective. Oh, yes. Yes, yes.” 20:15
Model synopsis: In a dimly lit room, a man in a suit sits at a desk while others stand or sit nearby; dialogue references a 'Mr. McCloud' and a 'Baron Montaigne', and a character insists he is not a mirage. A man in a wheelchair is present, and another man in a suit walks away from the group.
Named: Baron Montaigne (t:20:37). 5 people observed.
“You pardon us gentlemen? Certainly. This is Mr. McCloud.” 20:34 · “Mr. McLeod, I'd like you to meet... The man in the picture, Baron Montaigne. How do you do?” 20:37
Model synopsis: Two men in suits are in a room with ornate decor; one is seated, the other standing. A transcript line mentions 'Baron Monte's wife,' indicating a discussion about a third person's behavior.
2 people observed.
“Oh, yes, we had a long talk outside.” 21:06 · “As you perhaps know, it is not the habit of a psychiatrist to put on display these skeletons in anyone's family closet.” 21:13
Model synopsis: Two men in suits discuss a woman's mental condition while a third man observes; a fourth man in a tuxedo stands nearby. The dialogue references schizophrenia and changing identities, with one man identified as a Harvard friend.
Named: Mr. McLeod (t:21:51). 4 people observed.
“But she just told me she was his niece.” 21:28 · “Last week she was his little sister. It is not funny, Major.” 21:30
Model synopsis: A man in a suit stands with arms crossed while three other men gather around him in a dimly lit room with artwork on the walls. The dialogue suggests a discussion about a case involving a Miss Montay and her uncle, the baron, with one man suggesting bringing her in to see something called 'the bannock'.
4 people observed.
“I'll try to simplify the case.” 22:04 · “Miss Montay has an obsession that her own life is in danger.” 22:12
Model synopsis: A man in a tuxedo speaks in a dimly lit room while three men in suits listen and react. The conversation involves breaking down someone's fear through therapy and mentions dinner etiquette.
4 people observed.
“No, no, señor.” 22:31 · “It would be too severe a mental shock.” 22:32
Model synopsis: Four men are in a private office; one stands and speaks while others sit and listen. One man mentions filing fingerprints and refers to a mysterious map and a woman's disturbed state.
4 people observed.
“She's only dangerous if she's emotionally disturbed. You must have come across many similar cases in your business, Mr. McLeod.” 22:46 · “Well, I must get back to the office and file some fingernails, I mean fingerprints.” 23:01
Model synopsis: Two men and a woman are present in a dimly lit room with ornate decor. One man speaks to another before a woman enters, and a third man reacts with a look.
Named: Collada (t:23:46). 4 people observed.
“Thank you, Kisnick.” 23:40 · “Now you watch yourself, son.” 23:42
Model synopsis: A man in a tuxedo speaks to two others in a room with a tufted sofa; later, a man in a light suit and a woman in a shimmering dress stand close. A line references a phone call from 'Napoleon.'
Named: Mr. Craig (t:23:54). 3 people observed.
“I was just saying to your friend, Mr. Craig, at any time he's in the neighborhood, he should feel free to drop in and have a julep with us.” 23:54 · “Here we are, alone at last.” 24:10
Model synopsis: A woman in a dark dress stands near a man in a suit in a room with ornate decor; another shot shows a man in light-colored suit from behind facing a woman in a long dress near a fireplace. The transcript includes a line about someone's 'schizo' and a rhetorical question about getting up.
3 people observed.
“Uh-uh, her schizo is about to frighten you.” 24:20 · “Why did I get up today?” 24:24
Model synopsis: A woman and two men are in a living room, discussing a man named Baron Monte who is described as being in danger despite being 'safe'. The conversation is tense, with one man seated and speaking directly to the woman.
Named: Dorothy Lamour (t:24:33). 3 people observed.
“I just spoke to my uncle. That's funny. So did I.” 24:28 · “My uncle, Baron Monte.” 24:33
Flagged: name not grounded (Dorothy Lamour)
Model synopsis: A man and a woman are in a room with a fireplace; the woman sits and then stands while the man speaks to her. The transcript indicates a tense conversation about a forced call and a ring being returned.
Named: Mr. McCloud (t:25:14). 2 people observed.
“Oh, Mr. McCloud. I don't know what to do. I'm at my wit's end. I passed there an hour ago. What's the matter with you? Oh, me?” 25:14 · “You better take the ring back.” 25:24
Model synopsis: A man and a woman argue in a decorated room; the woman accuses the man of being influenced by others and pleads with him to help her. The man initially resists but eventually embraces her as she continues to plead.
Named: Miss Monte (t:25:47). 2 people observed.
“But Mr. MacLeod...” 25:29 · “Now, don't get upset, Miss Monte.” 25:47
Model synopsis: A man and a woman embrace and speak in a richly decorated room; the woman takes an object from the man, who then leaves. A separate shot shows a man in dark clothing walking through a garden or overgrown area.
3 people observed.
“Mama knows best.” 26:33 · “Darling, Promise me you'll guard the map with your life.” 26:36
Model synopsis: A man in a suit and fedora stands on stone steps outdoors, then moves to peek around a corner. He narrates spotting a high window and climbing a hill to observe someone inside who was previously thought to be unable to walk.
1 person observed.
“For my car, when I realized me and my gad had parted company, holster and all, I figured little Miss Screwball must have lifted it when she…” 26:58 · “I started to go back for it, but I changed my mind.” 27:06
Model synopsis: A man in a fedora and suit peers through a keyhole into a room where two men in suits are talking; one of them is on the phone. The man outside holds a small device and appears to be using it to observe or listen. The transcript mentions pulling up a shade, being stymied, and a gadget that will lead to the Rogue's Gallery.
4 people observed.
“But no.” 27:39 · “He pulls up the shade right in my kisser, like it was ladies night in a Turkish bath. I'm stymied, but only for a second. The keyhole. Here'…” 27:40
Model synopsis: A man in a fedora and light coat works at a stone window with a gadget, then looks up startled. He is alone and speaks to himself, mentioning 'Carlotta' and 'Bertie' as if calling out.
1 person observed.
“He pulls up the shade right in my kisser, like it was ladies night in a Turkish bath. I'm stymied, but only for a second. The keyhole. Here'…” 27:40 · “Bertie, quick!” 27:58
Model synopsis: A man in a suit and hat holds a camera near a stone building while another man runs down steps with three others behind him; a car drives away on a tree-lined road. A voice mentions seeing the Baron and taking a picture, then orders gates to be closed.
3 people observed.
“He saw the Baron. He took a picture. A picture. Camera for. I take the hide off. Yeah, right. There he goes.” 28:09 · “More. Close the gates. Close the gates.” 28:18
28:23Model synopsis: Two men stand beside a vintage car parked on a paved area near a stone building with trees. No dialogue or on-screen text is visible in this beat.
2 people observed.
28:25Model synopsis: A vehicle is parked behind a stone gate in a wooded area. No people are visible and no dialogue occurs in this beat.
28:27Model synopsis: A man in a fedora and light coat is visible inside a vehicle, looking over his shoulder. No dialogue or on-screen text is present in this beat.
1 person observed.
28:30Model synopsis: A vintage car is parked under trees in a wooded area. No people or dialogue are visible or audible in this beat.
Model synopsis: Two men in hats are inside a moving car, one driving and the other holding a megaphone; outside, a convertible drives away from a gate while another car follows. A voice urges someone named Tom to accelerate.
Named: Tom (t:28:34). 3 people observed.
28:49Model synopsis: A man in a suit and fedora is driving a car, looking ahead with focus. The background shows a blurred outdoor scene, likely a road or open landscape.
1 person observed.
28:51Model synopsis: A man in a suit and fedora is driving a car with a coastal scene visible through the windshield. No dialogue or on-screen text is present in this beat.
1 person observed.
28:54Model synopsis: A car drives along a coastal road with trees and water visible. No people or dialogue are present in this beat.
28:58Model synopsis: Two men in hats are inside a vehicle; one is driving while the other speaks. The transcript indicates they are taking a shortcut and the driver is told to hang on.
2 people observed.
29:01Model synopsis: A black-and-white shot shows a winding road through a barren, hilly landscape with sparse trees. No people or vehicles are visible in the frame.
Model synopsis: A man in a suit and fedora drives a convertible car along a road, with shots alternating between his face and the moving vehicle. The transcript includes the line 'Too fast for him. Hot rod.'
1 person observed.
Model synopsis: Two men are in a vehicle at night; one drives while the other speaks. The transcript indicates they have lost someone and must turn around.
2 people observed.
“Lost him. Must have taken the other road. Turn around.” 29:28
29:36Model synopsis: A black car is parked on a roadside with trees in the background. Two men in fedoras and suits are inside the vehicle, one driving and the other seated beside him.
2 people observed.
Model synopsis: A convertible car is shown on a road with a driver visible; another car is alongside. A voice exclaims at a 'road hog' and then reacts with surprise. The setting is outdoors on a paved road with trees in the background.
3 people observed.
Model synopsis: Two men are in a car at night; one drives while the other holds a glass. A reaction shot shows one man raising his hand. The transcript includes an exclamation. No names are spoken in the supplied lines.
2 people observed.
“Oh, my God.” 30:04
Model synopsis: A man is seen inside a convertible car at night, with the vehicle parked or moving slowly in an urban setting. Other cars are visible nearby, and the scene is lit by artificial light sources.
1 person observed.
Model synopsis: A man in a suit and hat enters a building, uses a wall-mounted intercom, and stands in a hallway looking upward while holding a door. He is audible speaking about Joe and remembering an address.
Named: Joe (t:30:34). 1 person observed.
“I'm going to show how many this is Joe.” 30:34 · “How many this is Joe. How many this.” 30:34
Model synopsis: A man is doused with water from a window at night while another man watches. The scene takes place outdoors near a brick building with string lights visible.
3 people observed.
31:17Model synopsis: A single frame shows a close-up of a paper document inside a dark container. No people, dialogue, or identifiable location are visible.
31:31Model synopsis: A man in a shirt and tie holds a small object while speaking. The transcript suggests a post-bath interaction and mutual admiration between two people.
1 person observed.
“Aha!” 31:24 · “Didn't think you'd do it after that bath we had.” 31:25
Model synopsis: A man is on the phone in a dim office while another man lies slumped at a desk; later, a man in a white shirt stands near a window. The transcript includes lines about calling the state police and waking up with a headache after being knocked out.
3 people observed.
“Well, hello, operator. Get me to state police.” 31:45 · “I'm going to go.” 32:00
33:00Model synopsis: A woman in a plaid coat stands before a door with signage for 'Ronnie Jackson Photographer for Babies'. The scene is interior, with no spoken dialogue or named individuals in this beat.
1 person observed.
Model synopsis: A man in a white shirt and tie stands at a desk, then moves to a door as someone knocks; a woman in a checkered dress enters and finds him holding his head. The transcript indicates the knocking was on his door and that he is addressed as Mr. Jackson.
Named: Mr. Jackson (t:33:10). 2 people observed.
“And those kids with the hammer started pounding again. But the thumping wasn't in my head. It was somebody knocking on the door.” 33:02 · “door it was my door my door in the other room. Oh it's you. Yes here I am Mr. Jackson. My head. How did they come out.” 33:10
Model synopsis: A woman in a checkered dress stands near a seated man in a shirt and tie; the man gestures while speaking. The woman later stands near a doorway as the man turns away toward equipment. The transcript indicates a search for a baby picture and a mention of retirement.
Named: Mr. Jackson (t:33:36). 2 people observed.
“I want my baby picture.” 33:31 · “Oh! Wait a minute! Where are you going? Just a second. Mr. Jackson! Wait! Mr. Jackson! Aha!” 33:36
Model synopsis: A man in a light shirt and tie stands indoors near a sign for a photographer, then the scene cuts to an outdoor courtyard with parked cars. The man speaks about having important things to do and calls out 'Carlotta!'
1 person observed.
“Quiet, I'm thinking. Boy, I've got things to do.” 34:02 · “Yes, sir, important things to do.” 34:06
Model synopsis: A man in an apron is confronted outdoors by three men in suits and uniforms near a car. One man speaks while others stand around, and a line mentions paying pawns.
4 people observed.
“Hey, there he is. That's the fella. Get him.” 34:22 · “watch him he's one of the game all right what you do with a bear and come clean you got the we mean business” 34:25
Model synopsis: Three men stand outdoors in a garden-like setting: one in work clothes and a cap, one in a police-style uniform, and one in a suit and fedora. They converse, with the man in work clothes claiming to be the gardener and the man in the suit asking about residents and requesting entry to the house.
Named: gardener (t:34:41). 3 people observed.
“Watch him, he's got a knife.” 34:37 · “I'm the gardener.” 34:41
Model synopsis: A man in a suit confronts two uniformed officers inside a dimly lit room with ornate decor; he claims he is being framed while they inspect the space. The transcript includes dialogue about a car, a gate, and a 'frame-up' involving people acting crazy.
4 people observed.
“This one I'll show you they're probably all hiding in here stick with me. Oh” 35:09 · “Hey, what's this?” 35:16
Model synopsis: A man in a suit and two uniformed officers are seen outdoors near steps and foliage; one officer gestures while speaking. The transcript includes dialogue about a long drive and a threat involving a punch.
3 people observed.
“Keep moving. You got a long drive back to town.” 35:42 · “I like long drives.” 35:47
Model synopsis: A man in a suit and fedora stands on stone steps with two uniformed officers, holding a book and asking about the eighth U.S. president. The man then says goodbye as he turns away from the officers.
3 people observed.
“I have a father to you. You're not a bad guy for a former. But I'm going to be a citizen. I'm studying for my examination. By the way could …” 36:00 · “Who was the eighth president of the United States?” 36:09
36:22Model synopsis: A person is visible near a stone building with a low wall and foliage, under dappled sunlight. No dialogue or on-screen text is present in this beat.
1 person observed.
Model synopsis: Two men in hats converse outside a stone building at night; one gestures toward a wall while the other listens. The dialogue suggests they are discussing someone returning to search for clues about a person named Carlotta.
2 people observed.
“Well, you know what to do. Sure I know what to do. Not that, you fool.” 36:30 · “Why did he come back?” 36:36
Model synopsis: A person handles a ring in a box, then a man in an apron holds the box while another man in a hat gestures from a window. No dialogue is present in this beat.
3 people observed.
Model synopsis: A man in a suit and hat is seen perched in a tree, then standing by a curtained window, and finally climbing the tree trunk. He speaks about Tarzan pictures, suggesting he is attempting an action he has seen in films.
1 person observed.
Model synopsis: A silhouetted figure in a hat sits near a window with sheer curtains; another figure climbs through the same window from outside. The room has patterned wallpaper and heavy drapes.
2 people observed.
37:43Model synopsis: A man in a suit and fedora stands in a room with curtains and a lamp. No dialogue or other actions are visible in this single frame.
1 person observed.
37:51Model synopsis: A man in a suit and fedora is seen leaning over a table with a lamp and other objects. The setting appears to be an interior room with patterned wallpaper and dim lighting.
1 person observed.
Model synopsis: Two men in hats search a bedroom; one bends over the bed while the other stands near a window. A lamp and ornate headboard are visible; no names are spoken.
2 people observed.
Model synopsis: A man in a suit and fedora is seen in a bedroom, first standing near a bed and then bending over to look into a drawer. The room contains a bed, a nightstand with a lamp, and patterned wallpaper.
1 person observed.
Model synopsis: A man in a hat and coat is seen in a dimly lit room with patterned wallpaper and a bed; he moves near a window while a voice says 'Come on.' The scene appears to be indoors with minimal lighting and no visible clock or date.
1 person observed.
“Come on.” 38:43
Model synopsis: A man in a suit and fedora walks through a dimly lit room with heavy curtains and examines an object he holds. He speaks the words 'Aha' and 'Eureka. Her ring.'
1 person observed.
“Aha.” 38:58 · “Eureka. Her ring.” 39:06
Model synopsis: A man in a suit and fedora examines a torn map showing Seacliff Lodge in Carmel, California. The transcript indicates the location is being identified as a clue.
1 person observed.
“Seacliff Lodge.” 39:11 · “So that's where she is.” 39:13
39:30Model synopsis: A man in a suit and fedora holds a small object and a handkerchief while smiling. The setting appears to be an interior space with curtains in the background.
1 person observed.
“Here. Here.” 39:28
Model synopsis: A man drives a convertible along a coastal road and arrives at the Seacliffe Lodge Sanitarium, which he enters pretending to be a guest. The transcript indicates he is searching for a woman and describes the lodge as ritzy with a golf course.
1 person observed.
“Well, I knew where the doll's my next move is to find her. So I get back into my hot rod special and start out.” 39:40 · “About an hour later, I spot a sign: "Sea Cliff Lodge." So, I go in to locate the girl, pretending I'm just another guest looking for a littl…” 39:40
Model synopsis: Two men speak outdoors near a car and trees; one asks directions to a lodge and about a dark-haired woman. The setting appears to be a roadside or driveway with a white fence and distant water.
3 people observed.
“How do you get to the lodge from here?” 40:07 · “The lodge? That's where I live.” 40:08
Model synopsis: Two men meet beside a car on a roadside; one introduces himself as Oliver J. Crawford and the other as Smithers. They shake hands after discussing playing golf and arranging for a car to be sent.
Named: Smithers (t:40:34), Oliver J. Crawford (t:40:31). 3 people observed.
“Care to play these last three holds? It'll take you right there.” 40:23 · “Okay, but how about my car? They'll send for it. Oh” 40:27
Model synopsis: Three men are on a golf course; one prepares to take a shot while the others watch and converse. The dialogue suggests a wager and references a woman seen the previous night.
3 people observed.
“Care to shoot first?” 40:38 · “Care to make a small wager?” 40:44
41:01Model synopsis: A man in a white shirt and dark trousers prepares to swing a golf club on a course while two others watch. The setting is outdoors on a sunny day with trees and a distant view of water.
3 people observed.
41:04Model synopsis: A single frame shows a plain, light-colored floor with a vertical pole and its shadow. No people, objects, or text are visible beyond the pole and shadow.
41:06Model synopsis: A single frame shows a plain, light-colored floor with a thin vertical pole and its shadow. No people, objects, or text are visible, and no dialogue is present.
41:07Model synopsis: The frame shows a plain floor with a vertical pole casting a shadow; no people or identifiable objects are visible. No spoken lines or on-screen text are present in this beat.
41:08Model synopsis: A single frame shows a plain, light-colored floor with a vertical pole casting a shadow. No people, objects, or text are visible, and no context is provided by transcript.
41:09Model synopsis: A single frame shows a plain, light-colored floor with a vertical pole casting a shadow. No people, objects, or text are visible in the frame.
Model synopsis: Two men walk on a golf course while one speaks about missing a shot and feeling good about his round; a close-up shows a hand retrieving a golf ball from the grass. No names are spoken, and the setting is outdoors on a sunny day.
2 people observed.
“Missed it. A cop must have moved on me.” 41:09 · “Oh, I feel like a pretty good round today myself. You do?” 41:12
Model synopsis: Two men stand on a grassy slope overlooking a coastal landscape; one holds a golf club. A third person is partially visible behind a tree. The transcript includes brief reactions and a comment about avoiding traps.
3 people observed.
41:34Model synopsis: A man in a vest and trousers is seen from behind, holding a golf club on a field. Another man in a white shirt and dark trousers stands facing him, while a third person in a striped shirt is partially visible behind a tree.
3 people observed.
“Right in the cup.” 41:36
41:39Model synopsis: A man in a white shirt and tie stands outdoors holding a cane. The background is a grassy slope with trees, visible in one frame.
1 person observed.
Model synopsis: Two men walk away from a golf green after one misses a putt; a third man in a striped shirt stands near the flag. The dialogue suggests a casual, competitive golf game with light teasing about the missed shot.
3 people observed.
“I'll concede that. Thanks.” 41:47 · “For a minute there, I didn't think you had a ball. Tough luck, old boy.” 41:53
Model synopsis: Three men are on a golf course; one asks about a ball, another points to it on the green, and a third mentions a debt owed by 'Smithers'. The scene is outdoors during the day with trees and a building visible in the background.
Named: Smithers (t:42:17). 3 people observed.
“Where's your ball?” 42:06 · “Right here.” 42:07
Flagged: visible event not seen (The man in the vest walks toward the camera while holding a golf club.)
Model synopsis: Two men stand outdoors discussing a racket and a neighbor named George Washington who plays fife at night. One man gestures while speaking; the other listens and later raises his hand as if to signal or wave.
2 people observed.
“Dollar a hole. Uh-huh.” 42:22 · “Nice racket you got.” 42:25
Model synopsis: Two men are outdoors on a grassy area with trees; one in a white coat grabs the other, who then performs a coordination test. The transcript includes dialogue about being sane and a sanitarium.
2 people observed.
“Hey, you hurry up! Quick, grab them! There they go!” 42:44 · “we gonna see that doctor doctor” 42:53
Model synopsis: Two men argue outdoors near trees and a house, then one man carries the other into a room with furniture. The transcript includes dialogue about seeing a doctor and a pinball hand.
2 people observed.
“Well, I'll practice a little and see you later. Come on. Easy, that's my pinball hand. We're going to see the doctor. It's no use, but I…” 43:16 · “Doctor!” 43:26
Model synopsis: Two men in light shirts and trousers are in a living room with a third man in a dark suit; one is being held by the collar while another enters and speaks. A man named Bart is welcomed to Sea Cliff, and someone asks for a map and complains about being in an awkward angle.
Named: Bart (t:43:47). 3 people observed.
“There's a park missing.” 43:35 · “Welcome to Sea Cliff, Bart.” 43:47
Model synopsis: A woman and a man in a living room are interrupted by another man entering; smoke fills the room as a fourth man appears. The woman apologizes to the man she was with, and they exchange remarks about gender roles before noticing the smoke and the fourth man.
Named: Carlotta (t:44:11), Sam (t:44:12). 5 people observed.
“You got company, ma'am.” 44:09 · “Carlotta!” 44:11
Model synopsis: Two men are in a room; one is seated and speaking while the other, wrapped in a robe, stands nearby. A woman in a dark dress enters and stands near a doorway as the seated man continues to speak.
4 people observed.
“Move ahead and sit down, son.” 44:40 · “you were not gonna have little talk yeah I'll do the talk and you do the set” 44:42
Model synopsis: A man in a striped robe confronts a seated man and a woman in a dark dress in a room with curtains and a window. The transcript indicates a tense conversation about a deal, mineral rights, and a character named Carlotta, with one speaker warning another to stop being inquisitive.
Named: Carlotta (t:45:22). 3 people observed.
“Unfortunately, the Baron turned my offer down.” 45:08 · “You're getting too inquisitive, son, and that ain't healthy.” 45:18
Model synopsis: A man in a wheelchair is confronted by two standing men and a woman named Carlotta in a room with a lamp and doorway. The transcript reveals the man in the wheelchair is Uncle Stafford, and another man refers to him as the 'Baron' while handing him a document.
Named: Uncle Stafford (t:45:41), Carlotta (t:45:56). 5 people observed.
“Uncle Stafford.” 45:41 · “They haven't harmed me.” 45:46
Model synopsis: Two men speak in a room with a curtained partition; a woman in a dark dress appears with a man in a bow tie. The transcript includes a threat about a niece and a reference to chrysanthemums.
5 people observed.
“We have your niece.” 46:07 · “Having Mr. McCloud...” 46:10
Model synopsis: In a private office, a man in a dark suit demands a map from another man, who resists. A third man in a white coat intervenes as the situation escalates, and a woman in a robe is present.
4 people observed.
“Come here, Willie.” 46:27 · “Let's stop fooling around, son.” 46:29
Model synopsis: A man in a white shirt and tie is confronted by others in a room; a woman in dark clothing touches his shoulder as he holds his head. The transcript includes dialogue about a map and a suggestion to cooperate with unseen threats.
3 people observed.
“Oh, it's you?” 47:01 · “Where's the map, son? Oh, is that what you want?” 47:05
Model synopsis: Three men stand in a room while a woman speaks to one of them; the transcript reveals a map is hidden in a water cooler. The location is identified as a ferry building in the dialogue.
6 people observed.
“Go on, chummy. You tell him. All right. I hid the map in a water cooler in my office.” 47:15 · “Oh, he's lying. I've searched his office.” 47:15
Model synopsis: A woman and a man in a white shirt are seated and reacting; an older man in a striped robe and another man in a dark suit stand nearby. Dialogue references a ferry building, a water cooler, and registering people as patients.
4 people observed.
“Yeah, in the ferry building.” 47:35 · “In the water cooler by the newsstand.” 47:37
Model synopsis: Three people stand in a room with one man in a robe; a woman in a robe is later seen kneeling on a bed. No dialogue or on-screen text is present in the frames.
4 people observed.
48:21Model synopsis: A woman in a light robe sits at a table, looking down at an object in her hands. The setting appears to be an interior room with furniture visible in the background.
1 person observed.
48:24Model synopsis: A close-up shows a hand holding a handwritten note that reads 'See James Collins Engineering Facts Corp.' The note is held against a textured fabric background.
1 person observed.
48:28Model synopsis: A woman in a white robe is visible in a room, with a hand resting on a surface; the name James Collins is spoken. The setting appears to be an interior space with furniture visible in the background.
Named: James Collins (t:48:26). 1 person observed.
“James Collins.” 48:26
48:32Model synopsis: A person in a striped robe walks away from the camera toward a door in an interior room. No dialogue or on-screen text is present in this beat.
1 person observed.
Model synopsis: A man in a striped robe is seen in a room with two beds, listening at a door while a woman speaks off-screen. The dialogue mentions a cigarette with a message, a two-hour deadline, and concern about someone named Tony returning.
2 people observed.
“Sam.” 48:35 · “Sam, can you hear me?” 48:37
Model synopsis: A man and a woman in robes are in a bedroom; the woman asks for a hairpin and the man kneels near a couch. The dialogue reveals they are discussing a cigarette and a person named James Collins.
2 people observed.
“Say, have you got a hairpin?” 49:00 · “Sam, this is no time to be thinking about your looks. Here. Oh, good.” 49:01
Model synopsis: A man in a striped robe picks a lock with a hairpin; another man in a robe enters the room as the first man reacts to something off-screen. The transcript includes instructions to enter and play a game, followed by a warning to vanish quickly.
2 people observed.
“It's always so simple. Just put the hairpin in the lock, give it a quick twist and... Well, come on in. Get up, we can play Jack Slater. C…” 49:31 · “Uh-oh.” 49:42
Model synopsis: A man in a robe lies on a bed while another man in a white coat enters holding a tray. The man in the robe speaks about wanting to take a walk, and the man in the coat responds while standing nearby. The scene remains in a private office with two men interacting.
2 people observed.
“Oh, it's you!” 49:54 · “Okay, take me away.” 49:56
Model synopsis: Two men in a room, one in a robe and the other in a suit, interact while discussing physical strength; one man examines the other's arm and suggests feats of strength. The room has barred windows and a door, and the conversation includes joking remarks about muscles and bending bars.
Named: Willie (t:50:24). 2 people observed.
“You just don't know your own strength.” 50:19 · “Boulder dam with legs and look at those shoulders and that arm.” 50:27
Model synopsis: Two men interact in a room with a window showing trees; one wears a suit and tie, the other a striped robe. One man says goodbye to 'Tommy' and mentions buying 'rabbit leaf'.
Named: Tommy (t:51:43). 2 people observed.
“Oh, you're solid spinach.” 51:38 · “I'll buy you rabbit leaf.” 51:41
51:56Model synopsis: A man in a light-colored coat stands in profile, looking toward a window with vertical blinds. The scene is dimly lit with studio lighting, showing no clear time of day or identifiable location beyond an interior space.
1 person observed.
Model synopsis: A man in a striped shirt is visible in two frames, adjusting his collar and gesturing. The transcript includes fragmented dialogue and a call of 'Willie!' at 52:22.
1 person observed.
“He's got to be neat, you know. Yeah.” 52:05 · “Willie!” 52:22
Model synopsis: Two people in robes are in a room; one is near a door and the other near a desk, then they face each other and speak. The transcript indicates they feel trapped and are discussing escape.
2 people observed.
“Did you hear that? - Yes.” 52:26 · “Big detective outsmarted by an imbecile.” 52:29
Model synopsis: A woman in a robe delivers dinner to a man in a striped robe in a bedroom; another man in a robe appears in the doorway. The woman then raises an object over her head as the first man crouches near a bed.
3 people observed.
53:07Model synopsis: A man in a robe stands holding a book while another man sits at a table with his hands behind his head; a third person lies on the floor. A voice tells someone not to struggle and to get keys.
4 people observed.
“See, I told you there was no use struggling.” 53:06 · “Come on. No, get the keys. Huh?” 53:09
Model synopsis: A woman in a robe speaks to a man in a robe in a bedroom, then they walk down a hallway. The transcript indicates they are planning to leave separately and meet in a convertible car.
2 people observed.
“I'll be your nurse patient.” 53:12 · “- Oh, great! - Here's where I get some new clothes.” 53:14
Flagged: visible event not seen (The man and woman walk down a hallway side by side.)
53:38Model synopsis: A man in a robe descends a staircase while a woman in a robe is visible behind him; a whispered 'Shh' is heard. The setting is an interior staircase, likely within a house.
2 people observed.
“Shh.” 53:39
Model synopsis: Two people in robes interact in a hallway; one pretends to be a nurse and the other a patient. They examine an object they find, concluding it is useless for their purpose.
2 people observed.
“- Somebody's coming. - Act like a nurse. - Act like a patient. - Yeah.” 53:43 · “There, there. - Seeker. - Poor nurse.” 53:51
Model synopsis: Two people walk down a hallway while a third person approaches and speaks to them; a line of dialogue identifies one as 'one of us.' A question about the branches of government is asked and answered.
3 people observed.
“When we get to the door, we'll make a break for it.” 54:17 · “How do you do, my dear?” 54:24
Model synopsis: A man in a striped robe and a woman stand near a curtained area while a man in a white coat sits at a table; another man in dark clothes stands nearby. A conversation about the branches of government occurs, with one man answering questions about their functions.
4 people observed.
“What are the three branches of our government?” 54:46 · “The legislative, the executive and the judicial.” 54:56
Model synopsis: A man in a striped robe is seen in a kitchen, reacting to another man in a hat who enters. The transcript includes dialogue about government and a character called 'Cuddles'.
4 people observed.
“What does the executive branch of our government do? It carries out the law.” 55:14 · “Sneaking out stranger? Oh, oh, oh. Oh, it's you. Oh, oh, no. Oh, practicing again. Oh, why don't you leave me? How delightful. Oh, wonderful…” 55:20
Model synopsis: A man in a dark uniform holds a gun while another man in a white coat enters and reacts. The man in white then moves aggressively toward a counter. No names are spoken that identify the individuals.
2 people observed.
“Oh, nothing personal.” 55:51 · “- What's that? - Come here. Where are you? Hey, where? Where?” 55:55
Model synopsis: A man in light-colored clothes runs across a driveway past parked cars while others search nearby. The scene shifts to a wooded area and then to a convertible parked on a hillside overlooking a coastal landscape.
3 people observed.
“Hey, boy, you go that way. Hey, I don't see him.” 56:12 · “Stand out, Willie. Let's search the woods. Stand out.” 56:22
56:37Model synopsis: Two people are inside a vehicle; one speaks about having subdued someone and mentions being downhill. The other reacts with a laugh and a comment about details.
2 people observed.
“- Friend. - Oh.” 56:32 · “How'd you get rid of them? You just couldn't stand the details, baby.” 56:35
Model synopsis: A convertible car is parked outdoors near trees. Inside, a man and a woman are seated; the man appears to be demonstrating something with wires to the woman.
2 people observed.
“What are you doing now? I'll show you that trick with the wires. You don't need a key.” 56:50 · “It's great.” 56:54
56:57Model synopsis: Two figures are seen on a grassy hill with trees and a distant horizon. One figure is running away from the other, who is standing still.
2 people observed.
57:00Model synopsis: A convertible car is parked outdoors with a person visible in the driver's seat. The background includes trees and open land under a bright sky.
1 person observed.
57:06Model synopsis: Two men walk across a grassy field toward the camera while a third man stands in the background near trees. A convertible is partially visible with a person in the driver's seat, wearing light-colored clothing.
4 people observed.
57:10Model synopsis: A convertible car is parked on a roadside with a person visible inside. The background shows a distant landscape with hills and a plume of smoke or dust.
1 person observed.
57:12Model synopsis: A man and a woman are seated in a convertible car with the ocean and hills visible in the background. The woman speaks, saying, 'What a time to hit the jackpot.'
2 people observed.
57:14Model synopsis: A convertible car is shown driving on a road with hills and trees in the background. No people are visible in the frame, and no dialogue or on-screen text is present.
57:19Model synopsis: A person is seated in the driver's seat of a moving vehicle, viewed from inside the car. The background outside the window shows a blurred roadside scene, suggesting motion.
1 person observed.
Model synopsis: Three men stand outdoors near a car while one holds a knife; inside the car, a woman and a man are seated, with the man driving. The transcript includes dialogue about a knife, driving, and taking a rough route.
5 people observed.
“You do better with your knife. Shut up.” 57:26 · “What happened?” 57:31
Model synopsis: A man and a woman are in a vehicle; the man announces he is quitting their venture. The woman protests, and he mentions getting a map before ending things.
Named: Sam (t:57:51), Miss Monte (t:57:46). 2 people observed.
“I'm bowing out.” 57:49 · “Sam, you can't. I'm forcing myself.” 57:51
Model synopsis: A man and a woman are in a convertible car; the man is driving and the woman is speaking. The woman mentions rain and asks to put the top up, and the man responds about a missing ring and a phony story.
2 people observed.
“All I know is you came into my office with a phony story and a ring and” 58:06 · “Now I ain't got the ring and I'm stuck with the story.” 58:09
Model synopsis: A man in a striped robe and a woman in dark clothing are in an office; the man speaks about being a detective and having been through rough treatment, then hands a map to the woman. A sign for a detective agency is visible on the wall.
Named: Ronnie Jackson (t:58:26), Miss Monte (t:58:52). 2 people observed.
“Ronnie Jackson photographer for baby. Yeah, that's me.” 58:26 · “Where's Sam McCloud? He's out of town, which is a tough break for all of us, except him. So you've been playing, detective. Yeah, and I'm th…” 58:31
Flagged: visible event not seen (Ronnie Jackson hands a map to Miss Monte.)
Model synopsis: A woman in a headscarf and a man in a robe exchange words in an interior setting; a masked figure then appears. The dialogue suggests a final farewell.
3 people observed.
“All right.” 58:59 · “Goodbye, Sam.” 59:00
Model synopsis: A man in a striped robe speaks with a woman wrapped in a towel in a room; he offers her clothes to change into. The woman questions whose clothes they are, and he replies they are his, directing her behind a screen to change.
Named: Ronnie (t:59:40). 2 people observed.
“Wait a minute, you can't go out like that. You're soaked to the skin.” 59:24 · “Why do women always act like women? Here, here are a few things.” 59:31
Model synopsis: A man in a robe stands behind curtains while a woman peeks over a large object, speaking to him. The dialogue indicates she is expressing gratitude and calling him brave, while he responds with a line about watching the birdie.
Named: Ronnie (t:60:18). 2 people observed.
“I just wanted you to know, I'm not really angry with you. Why not? I'm very grateful for all you've done for me. Even if you were Sam McL…” 60:00 · “From now on, I'm going to stick to watch the birdie.” 60:14
Model synopsis: A man in a suit is seen in a mirror adjusting his tie, then confronts a woman in a robe, and finally embraces her. The woman speaks pleadingly and then provocatively, while the man resists before relenting.
2 people observed.
“But I have no one else to turn to. Won't you help me? No.” 60:29 · “Please oh no you don't what kind of a sucker do you take me for oh?” 60:34
Model synopsis: A man and a woman embrace and kiss in a room, then stand apart as the man speaks urgently about leaving. The woman begins to exit through a doorway while the man watches.
2 people observed.
“What do you want, baby? Darling...” 60:55 · “We've got to find James Collins.” 61:02
Flagged: visible event not seen (The man and woman stand apart, talking near a desk with a telephone.)
Model synopsis: A man and a woman argue in a hallway with signs for a photographer and a detective agency; the woman demands a photo of a child smiling, not crying. The man, identified as Mr. Jackson, agrees to help despite her disappointment.
Named: Mr. Jackson (t:61:27), Mrs. Fong (t:61:37). 2 people observed.
“- Paul, it's you, Mrs. Small. - Mr. Jackson, stop pushing me. I'm sorry.” 61:27 · “- Hurry! - Mr. Jackson, I'm very disappointed in you. - Yeah, I know. - You take a picture of Sonny crying for the first time in his life.” 61:31
Model synopsis: A man and a woman are in a hallway; the man urges haste while the woman objects to a mix-up with a negative. The woman is visible in a close-up at the end.
Named: Mr. Jackson (t:61:27), Mrs. Fong (t:61:37). 2 people observed.
“Here they come! Hurry! Hurry up!” 61:48 · “Come on, let's go while we're still here.” 61:51
1:02:04Model synopsis: A dark interior shows two projected images: one of a cityscape and one of a group of men in a room. No people are visible or audible, and no text or dialogue is present.
1:02:09Model synopsis: A man in a dark suit holding an umbrella stands in a doorway while a woman in a light dress and hat faces away from the camera near a paneled wall. No dialogue or on-screen text is present in this beat.
2 people observed.
Model synopsis: A man in a dark suit and hat stands on a street holding an umbrella, while a woman in a light dress and dark hat is seen from behind. The scene then cuts to an interior where a man sits in a chair watching two women, one in a white gown and another in a dark coat, with a third woman standing in the background.
6 people observed.
“Our next move is to contact Mr. James Collins. His secretary said he had a date that night at a spot called the Pule Dor. From here in, we…” 62:12 · “Montague and his cute little playmates, they were washed up, through, lost in the shuffle. Well, Poulet d'Or was our next stop, but we didn…” 62:21
Model synopsis: The scene takes place in an upscale restaurant where patrons and staff are present. A waiter directs someone to Mr. Collins, who is seated by a window.
Named: Mr. Collins (t:62:59). 8 people observed.
“I guess you only get out of a thing what you put into it an hour later. We were at the pull a door one of those real swanky cafes where they…” 62:38 · “Just a moment White who has been waiting mr. Collins's table. He's expecting us” 62:51
Model synopsis: A man in a tuxedo directs another man to deliver a message to a blonde woman at a table in a formal dining room. A woman in a white dress and a man in a tuxedo walk together through the room as other patrons are seated.
Named: Dorothy Lamour (t:63:05). 4 people observed.
“Oh, yes. Yes, there he is. Hey, George. This way, please. Ah, just a minute, bud. Look, here's a fin. Tell that blonde at that table o…” 63:05 · “Pronto? Certainly, sir. Let's move in.” 63:17
Flagged: name not grounded (Dorothy Lamour)
Model synopsis: In a restaurant, a man in a tuxedo approaches a woman seated at a table and speaks to her while another man stands nearby. The woman responds, and the man shows her a map, claiming his uncle is Baron Monte. The scene includes other patrons and waitstaff in the background.
Named: Dorothy Lamour (t:63:05). 4 people observed.
“Pardon me, sir. You're wanted on the telephone, miss. If you'll excuse me.” 63:22 · “Oh, Mr. Collins?” 63:28
Flagged: name not grounded (Dorothy Lamour)
Model synopsis: In a crowded restaurant, a man in a tuxedo speaks with a woman at a table while another man listens; a separate scene shows a woman in a dark dress standing near a doorway. The dialogue mentions a 'Baron' and an appointment in Washington at the Pilgrim Hotel.
Named: Dorothy Lamour (t:64:17). 4 people observed.
“Where is the Baron? Henry! The waiter said you had a phone call for me. I will check it for you, madam. The Baron had an important appoi…” 64:05 · “Washington in his office at the pilgrim hotel pilgrim hotel someone must keep that appointment someone will but it won't be the right Baron …” 64:17
Flagged: name not grounded (Dorothy Lamour)
Model synopsis: A man in a tuxedo speaks to others at a formal gathering, instructing them to contact police if they do not return within 45 minutes. The group agrees to act, with one man staying behind while others prepare to leave.
4 people observed.
“Our first move is to get the local police. That's it. No, you stay here, Mr. Montey. Yeah, you stay here. These men are killers.” 64:25 · “Yeah, then I'll stay here, too. Oh, come on. Okay. If we're not back in 45 minutes, call the police. All of them.” 64:25
Model synopsis: Two men in formal wear and hats are seated in a vehicle interior; one drives while the other speaks about a coded map and a phone call concerning cryolite. The dialogue references Baron Monte, the State Department, and a potential international conflict over resources.
2 people observed.
“Baron Monte's appointment in Washington Wednesday was with the State Department. Boy, this thing is dynamite.” 64:49 · “Look, Mr. Collins, just how do you figure in this deal?” 64:56
Model synopsis: Two men in tuxedos and hats stand outside a police station at night, discussing cryptobar and uranium. A car is parked nearby, and one man gestures while speaking.
2 people observed.
“cryolite, huh? Well, we can't let them get it.” 65:30 · “a source of uranium.” 65:43
Flagged: time_of_day without evidence (night)
Model synopsis: A man in a tuxedo is seen inside a car at night, with a police station visible outside. A line from the transcript suggests the character suspects a larger conspiracy.
1 person observed.
“You know, I had a hunch this thing was much bigger than it looked.” 66:00
Flagged: time_of_day without evidence (night)
Model synopsis: A man in a suit and hat stands beside a car where another man lies slumped inside. The standing man speaks to the man in the car, who responds, and they discuss a gun that belongs to the man in the car. The scene takes place at night outside a building with a grand staircase.
Named: Mr. Collins (t:66:19). 2 people observed.
“Hey, mr. Collins we're here. Oh” 66:19 · “Keep, keep cool, Ron. Ronnie, keep cool. The murder weapon. Yeah. Pardon me.” 66:29
Flagged: time_of_day without evidence (night)
Model synopsis: A man in a suit and hat speaks near a car outside a building with police officers present; one officer stands by the door while another approaches the car. The transcript includes lines about rejecting blind dates and a sudden shift to calling someone, followed by silence and a call to 'Hey, you.'
4 people observed.
“I don't care if she has got a girlfriend. I'm going home and hit the hay.” 66:47 · “I just don't go for any blind dates. I'd rather be caught dead.” 66:51
Model synopsis: A man in a tuxedo speaks with a police officer outside a building entrance; the officer examines a document while the man gestures. The dialogue suggests a dispute over a car and the man's claim of not driving.
2 people observed.
“Who, me?” 67:08 · “you don't expect to get away with this to you but i said i didn't do what i didn't do it” 67:10
Model synopsis: A man in a tuxedo speaks with a police officer on a city street at night, then flees as the officer shouts a warning and pretends to shoot. The street is wet and lit by building lights, with a vintage car parked nearby.
2 people observed.
“Besides, some of my best friends are drunks.” 67:35 · “Well, I've got to go now. It's been fun.” 67:39
1:08:03Model synopsis: Two uniformed police officers enter a building through a doorway. The scene is shot in black and white with dramatic lighting and includes a stone balustrade in the foreground.
2 people observed.
1:08:08Model synopsis: A car is parked on a dark street at night next to a lit streetlamp. The scene is empty of people and shows only the vehicle and street fixtures.
Flagged: time_of_day without evidence (night)
Model synopsis: A man and a woman are shown in a restaurant setting, followed by a scene of a car at night. The transcript mentions a character named Carlotta and references a map and a murder suspect named Ronnie Jackson. The dialogue implies a plan to travel to Washington and obtain money.
Named: Carlotta (t:68:17). 5 people observed.
“Well, that takes care of him.” 68:12 · “He's a real help to us, that boy. What about the girl?” 68:14
Model synopsis: A character narrates a flight eastward, mentioning Carlotta and arriving at the Pilgrim Hotel; frames show a newspaper headline about a murder, a pawnbroker’s shop interior, and an airplane in clouds. The narrator mentions playing cagey and getting airsick, and names Ronnie Jackson as part of the payoff.
4 people observed.
“plane headed east, and by midnight we were playing tag with the Rockies.” 68:50 · “Carlotta was very sweet. She looked after me like a mother.” 68:50
Model synopsis: A group of people are seated inside an aircraft cabin; one woman gestures while speaking. An exterior shot shows a United Air Lines plane on the tarmac.
4 people observed.
Model synopsis: A white taxi cab is parked outside a hotel with a sign reading 'PILGRIM HOTEL TAXIS'. Several people are visible near the entrance, including a woman in a light coat and hat walking toward the hotel. A man in a dark suit stands near the taxi sign.
4 people observed.
1:09:33Model synopsis: A group of people in 1940s formal attire walk through a decorated interior space. No dialogue or on-screen text is present in this beat.
5 people observed.
1:09:43Model synopsis: A man in a suit and hat stands indoors while another man in a hat is visible behind him; dialogue suggests a social interaction involving a room and a character named Barry. No explicit time of day or period is established.
Named: Ron (t:69:40), Barry (t:69:45). 4 people observed.
“Suppose they haven't got a room near my uncle sweet. You just toss that smile on him honey and give us a joy.” 69:35 · “Thanks, Ron.” 69:40
Model synopsis: A woman in a white hat and two men in suits and hats stand at a hotel front desk; one man speaks with the clerk while the woman looks on. The transcript reveals they are requesting rooms, mentioning names like Hennessey, Mackay, Kelly, and Schultz, and referencing a 'Mr. Dawson' from the State Department.
Named: Ron (t:69:40), Barry (t:69:45), Dawson (t:70:02), Hennessey (t:70:13), Mackay (t:70:13), Kelly (t:70:19), Schultz (t:70:19). 11 people observed.
“I guess old Shortland Brad joins him later.” 69:52 · “Oh, I'm Mr. Dawson of the State Department.” 70:02
Model synopsis: A group of men in suits and hats gather around a table in a formal room; one man speaks while another holds a small object. A woman in a headscarf stands among them as dialogue references a convention and a detective's appearance.
5 people observed.
“I thought you said you didn't have a roof.” 70:23 · “Well, you see, if you were with the convention, I could probably... Oh, yeah, yeah, sure. We're with the convention.” 70:26
1:10:37Model synopsis: A sign lists today's events including a luncheon and tours for the Police Detectives' Benevolent League. No people or actions are visible in the frame.
Model synopsis: A man in sunglasses and a suit speaks to a group of men in hats and suits in a room with ornate walls; a woman in a white head covering stands behind him. The transcript reveals he is not a detective but a stool pigeon and mentions other hotels.
6 people observed.
“Well... I'm not exactly a detective, I'm more of a stool pigeon.” 70:41 · “They're at the other hotels, you know, I thought...” 70:46
Model synopsis: A newspaper headline about a killer is shown, followed by a group of people in a formal interior preparing to leave. One person speaks about tea and crumpets while others say goodbye.
6 people observed.
“We must be off, old boy. Chilly old pip-pip, taphole and all that sort of rots. Come, Deborah, come.” 70:56 · “Yes, we mustn't be late for tea. - Now, I hate soggy crumpets, you know. - So do I. - Well, step up. - Goodbye, gentlemen.” 71:01
Model synopsis: A man and a woman stand outside with luggage while a man in a suit holds a newspaper; dialogue indicates they are discussing a murder accusation and the woman's frustration. The setting appears to be a public entrance, possibly a hotel or station, with other people in the background.
4 people observed.
“Just read all about it. Police, capture, killer.” 71:09 · “They got me. New York Gang Slayer Jail. It's a New York murderer he's yelling about. Oh yeah sure and I'm just a San Francisco murderer.” 71:14
Model synopsis: A man in a fedora and coat stands near a 'WANTED' sign for hotel staff; dialogue reveals he is being sent to deliver ice water to room 14C. The sign lists positions including bellboys, chambermaids, and waitresses.
1 person observed.
“Did you hear that bell ringing?” 71:38 · “It just rang for ice water in 14C. And who do you think is going to bring it up?” 71:43
1:11:51Model synopsis: A close-up of a semicircular wall clock above a door frame is shown. No people or spoken dialogue are visible or audible in this beat.
1:11:52Model synopsis: A door marked 'EMPLOYEES ONLY' is shown in a single frame. No people, dialogue, or actions are visible or audible in this beat.
1:11:54Model synopsis: A man in a tuxedo and bow tie walks through a doorway carrying a tray with a covered dish. The setting appears to be an interior hallway with plain walls and a light switch visible.
1 person observed.
1:11:58Model synopsis: A man in a suit and hat walks down a carpeted hallway carrying a briefcase. The hallway has closed doors and wall sconces, and the lighting is from studio fixtures.
1 person observed.
1:12:00Model synopsis: A man in a tuxedo and glasses holds a silver tray with a pitcher. The setting appears to be an interior room with a door in the background.
1 person observed.
1:12:06Model synopsis: A man in a tuxedo jacket and glasses peers through a keyhole while calling out. He asks if it is acceptable to proceed, addressing someone as Major Montague.
Named: Mr. Dawson (t:72:03), Major Montague (t:72:10). 2 people observed.
“Hey!” 72:02 · “Hey! Hey, Mr. Dawson! Boy, bring us back! Mr. Dawson, I want to talk to you! Which way, huh?” 72:03
Model synopsis: A man in a hallway asks for help with bags, mentioning a blonde in room 14A who is 'on fire,' while another man holds a tray with a pitcher. Two men bend over a suitcase in the hallway as a third man carries a bag away.
5 people observed.
“Hey, boy. Give me a hand with these bags. No, but this ice water. There's a blonde in 14A who's on fire. Cut the comedy and get these ba…” 72:13 · “Okay, so I got that.” 72:24
Model synopsis: Two men enter a room carrying luggage; one is instructed to place bags in a room with a portfolio. A third man, identified as Simon, is present in the room with others.
Named: Simon (t:72:45), Tony (t:72:32), Farron (t:72:56), Mr. Dawson (t:72:57). 7 people observed.
“All right, Tony.” 72:32 · “That portfolio... The office is in there, Simon.” 72:45
Flagged: quote not verbatim (That portfolio... The office is in there, Simon.)
Model synopsis: A man in a suit and apron stands at a desk while a woman in a dress and headscarf gestures toward him; they exchange dialogue about Washington and opening a window. The setting is an office with a desk, lamp, and patterned curtains.
2 people observed.
“Nice having you with us again, Baron Monte. Will you be in Washington, Lord?” 73:01 · “Not long. Days, perhaps.” 73:05
Model synopsis: A man in a suit stands in a room while another man in a sweater runs past him; a third man in a uniform enters with a bag over his head. The transcript includes dialogue about attending to someone and mentioning 'the other boy.'
3 people observed.
“Coming, coming.” 73:25 · “Yes, sir. Yes, sir.” 73:26
1:13:40Model synopsis: Two men stand in a room with furniture while a third man sits in the background. No dialogue or action is described in the transcript for this beat.
3 people observed.
Model synopsis: A hallway with a fire escape sign is shown, followed by a view through a keyhole of four men in suits standing in a room. One man speaks lines that suggest a confrontation or taunt, including 'Okay, sucker' and a comment about pride.
4 people observed.
“Okay, sucker.” 73:48 · “Oh, I've been proud of me. I tell you not kiss me. He never proud of anybody.” 74:00
1:14:12Model synopsis: A man in glasses and a sweater stands at a door, his shadow cast on the wall. No dialogue or other actions are visible in this single frame.
1 person observed.
Model synopsis: A man in a tuxedo enters a room and is joined by two other men; one of them holds a hat. A transcript line mentions Barron as a stubborn man who won't talk about a code.
4 people observed.
“Don't name it.” 74:32 · “Barron's a stubborn old man.” 74:37
1:14:50Model synopsis: A man in a suit stands in a doorway while another man in a suit sits at a table reading. The room contains a lamp, a framed picture, and a curtained doorway.
2 people observed.
Model synopsis: Two men in suits interact in a room; one offers walnuts to the other while urging secrecy. The interaction escalates to a physical embrace and then to the exchange of a small object.
2 people observed.
“Well, if it ain't Johnny... Shh!” 74:57 · “We're friends, pals, remember? Sure. I like you. Let's go tell the fellas. No, Willie, no. They'd ruin everything. We're friends. Let…” 75:02
Flagged: visible event not seen (One man hands a small object to the other while holding walnuts.)
Model synopsis: Two men in a room exchange a small object while speaking in hushed tones; one man gestures toward the door as the other turns to leave. The dialogue includes references to coconuts and leeching nuts, suggesting a coded or humorous exchange.
2 people observed.
“- Open that chair. - I hate them. - I do. - They don't let me here. - And they will soon.” 75:25 · “Yeah. Shhh. Look, just forget that you ever saw me.” 75:30
1:15:51Model synopsis: A man in a pinstripe suit stands at a closed door, reaching for the doorknob. The transcript contains two short spoken lines: 'Bye-bye.' and 'I believe.'
1 person observed.
“Bye-bye.” 75:47 · “I believe.” 75:48
1:15:55Model synopsis: A man in a pinstripe suit stands indoors holding a small object. The setting includes a paneled wall and a closed door.
1 person observed.
1:15:59Model synopsis: A man in a suit stands in a room with a desk lamp and two doors. No dialogue or on-screen text is present in this beat.
1 person observed.
1:16:07Model synopsis: A hallway with a side table, lamp, and curtained doorway is shown in a single frame. No people, dialogue, or actions are visible or audible in this beat.
Model synopsis: Five men in suits are gathered around a table in a room with curtains and a door; one is seated and writing while the others stand and speak. The transcript contains overlapping dialogue with hushed tones and interruptions, including a line about 'Kraken nut' and someone being told to sit down.
5 people observed.
“Hey, you know who I just seen? Shh.” 76:11 · “Shh, quiet. What are you doing?” 76:18
Model synopsis: In an office, a man examines documents while a woman in a striped uniform and apron interacts with a recording machine. The man then crouches beside the machine as the woman looks on, and another man bends over a desk nearby.
4 people observed.
“Any luck? Oh! Shh!” 76:43 · “They're too smart to put anything on paper. Uh-huh.” 76:50
Model synopsis: A woman in a maid's uniform stands in a room holding a shoe; several men in suits are seated or standing nearby. A man in a suit walks toward a doorway, looking into an adjacent room.
6 people observed.
“I don't know.” 77:34
Model synopsis: A woman in a chambermaid uniform is present in a room with several men; dialogue suggests a plot to dispose of her. One man, addressed as Carl Lottor, is instructed to handle the situation while another man questions her about a Mr. Jackson.
Named: Carl Lottor (t:77:45). 4 people observed.
“Well, Carl Lottor.” 77:45 · “A chambermaid now, huh? You see, she's dangerous. We've got to get rid of her.” 77:55
Model synopsis: A man in glasses lies on the floor next to a record player while another man stands over him; later, a man holds papers and speaks to a woman in a striped dress and apron in an office. The transcript includes dialogue about being too smart, being alone, and repeating an offer concerning a map.
Named: Carla (t:78:37). 4 people observed.
“He never knew when to keep his mouth shut.” 78:22 · “You were too smart for him. Now I'm alone and...” 78:24
Model synopsis: A man in glasses and a suit lies near a record player while another man speaks about a code for uranium deposits. A woman in a striped dress stands with her back to the camera as two men face her in an office.
Named: Carla (t:78:37). 4 people observed.
“There seems to be something missing here. The code. You get me the code to the uranium deposits in San Dimas, and I'll let you both go. Y…” 78:50 · “My uncle and me? Yes. I see. Otherwise? Well, you know what we did to Mr. Collins.” 79:00
Model synopsis: A man in a suit and glasses is on the floor, interacting with a cord and a piece of furniture. He speaks while gesturing, and another person is addressed by name in the transcript.
Named: Collada (t:79:21). 2 people observed.
“What do you mean "we"?” 79:09 · “I did.” 79:10
Model synopsis: A woman in a striped uniform stands between two men in a room with bookshelves while one man kneels on a rug examining a wire. The transcript includes dialogue questioning who killed Mr. Collins and references a 'baby photographer' and 'phony detective.'
3 people observed.
“Well... Did you really kill Mr. Collins? Well, who do you think did it? That baby photographer? That phony detective?” 79:33 · “How do you like that? Such a neat job, an artistic job, and she thinks an amateur did it. Yes, yes. Stop taking vows. I'm not taking any vow…” 79:42
Model synopsis: A woman in a striped dress and cap speaks in distress while a man in a suit and glasses holds a gun. Other men enter the room as one threatens with a weapon and demands a map.
5 people observed.
“Kisnet, I can't believe that” 79:57 · “I killed Mr. Collins. But I did! I killed him! I killed him! I killed him! How often do I have to see? That doesn't... That doesn't... St…” 80:00
Model synopsis: A man in a suit holds several men at gunpoint in a room while speaking to them; a woman stands near a doorway. The men are ordered to back up against a wall as the armed man threatens them with bullets.
7 people observed.
“All right, yeah. Come on. Easy does it, fellas. I got a bullet in here for each of you. And one left over in case I can still hear breat…” 80:36 · “- All right. Will you be all right? - All right, this is my type of work. Light up against the wall. Hurry up, I got you covered. Back up, a…” 80:49
Model synopsis: A man in a suit holds a gun while addressing a group of men in an office; one man raises his hands in surrender. The speaker references a record and instructs the men to 'swing' while another man is named as 'Willie'.
6 people observed.
“Okay, then I'll back up. Now, come on, fellas, be sensible. The least you can do is put your hands on... Aha! Aha! Why didn't I think of …” 81:04 · “See this record? It's a little swing number. And you guys are going to do the swinging. Willie. What about Willie? Give it to me, Charli…” 81:17
Model synopsis: A man in a tuxedo holds a record and threatens to break it while standing near a window; later, he is seen on a chandelier and then on the floor surrounded by others. The transcript includes shouted commands and a mention of 'Ray Molin' and 'Willie'.
Named: Willie (t:81:59). 6 people observed.
“Why, you coward, using your feet, huh?” 81:31 · “Sorry. Get after him. Get that record. Get after him. Get that record.” 81:35
Model synopsis: A man in a suit and hat enters a room where a woman in a striped dress and apron stands near a seated man being restrained; another man in a suit is present. A voice identifies himself as Lieutenant Hennessy, and someone expresses relief at seeing him.
Named: Hennessy (t:82:13). 7 people observed.
“What's going on in here?” 82:10 · “Hump!” 82:12
Model synopsis: A group of men and one woman are gathered in a room; one man is identified by speech as Ronnie Jackson, wanted for murder. A record is requested to be played to reveal the killer, and someone notes the door is locked.
Named: Ronnie Jackson (t:82:27). 6 people observed.
“Why, the young fella's a little mixed up, officer.” 82:25 · “I want you all to meet Ronnie Jackson, who's wanted by the state of California for the murder of one James Collins.” 82:27
Model synopsis: A man in a light suit and bow tie operates a recording machine in a room with several other people, including a woman in a striped dress and apron. He plays a record that he claims clears him of murder and exposes a conspiracy, but then says it is not the right record and accuses someone of switching it.
Named: Ronnie Jackson (t:82:47). 6 people observed.
“Not all I'll show you. I'll fix these characters. The man's plum crazy. Wait, you hear this? I'll send all these guys to the cooler. That's …” 82:47 · “The record you're about to hear not only clears me of a murder charge, but also exposes a tremendous international conspiracy.” 83:03
Model synopsis: In a room with several men in suits and hats, one man demands a map and calls out 'Carlotta' repeatedly; another man is then seen being led through a doorway into a hallway where he confronts two others. The scene ends with a man in a bow tie standing in the hallway.
Named: Carlotta (t:83:33). 7 people observed.
“Give me that map. But it's not his. It's the Baron Monte's. Ask her. Ask Carlotta. Carlotta. Carlotta.” 83:33 · “- Carlotta! - Carlotta!” 83:39
Model synopsis: A group of people are inside a jail cell, with one man gripping the bars and another seated nearby. A woman sits outside the cell, looking toward the man at the bars. The transcript mentions a trial and someone named Carlotta not showing up.
4 people observed.
Model synopsis: A man in a jail cell is examined by a doctor while another man and a woman sit outside the cell; a warden approaches the cell door. The dialogue indicates they are preparing for an event and the man in the cell is named Ronnie Jackson.
Named: Ronnie Jackson (t:84:08), warden (t:84:25). 5 people observed.
“Hey! Reminds me. Yeah, we're late. You're late. In about five minutes, I'll be the late Ronnie Jackson.” 84:08 · “We got tickets for this thing. Oh, fine. Remember, I'm doing this without a rehearsal.” 84:15
1:24:49Model synopsis: A man in a striped undershirt stands inside a jail cell while two uniformed officers and a man in a suit stand outside; one officer speaks to the man in the cell. The transcript includes fragmented lines suggesting coercion and distress, including a reference to 'Daddy Jackson' and a child's prayer.
4 people observed.
Model synopsis: A man in a suit sits while another man in a white shirt embraces a woman; a man in a white coat stands nearby. The group is indoors, and dialogue indicates a reunion after a trial.
Named: Carlotta (t:85:13). 5 people observed.
“Where are we?” 85:12 · “Well, look. Carlotta. Carlotta. You double-crosser, why didn't you come to my trial? Where have you been? Ronnie, Ronnie, you're free. …” 85:13
1:25:33Model synopsis: A man in a light shirt sits at a table while three others stand around him; one woman leans in to speak. The setting appears to be an interior room with a window showing a street scene outside.
4 people observed.
1:25:41Model synopsis: A man in a white shirt sits while two others stand beside him; one man in a suit shakes his hand. A woman leans over the seated man, looking at him. The setting appears to be an interior room with a window showing an outdoor scene.
4 people observed.
Model synopsis: A man in a white shirt sits while a woman in dark clothing leans toward him; another man in a suit enters and speaks; a uniformed man reacts; the woman and seated man are shown together again. The transcript includes dialogue about an execution being called off.
Named: Dorothy Lamour (t:85:52). 4 people observed.
“I think you'd better stick to taking baby pictures. Oh, I forgot to tell the executioner. It's all off. Harry! It's all off.” 85:52 · “Off?” 86:01
Flagged: name not grounded (Dorothy Lamour)
1:26:09Model synopsis: A man in a suit is visible in a dimly lit interior, leaning over a wooden chair. No names, dialogue, or time indicators are present in this beat.
1 person observed.
1:26:12Model synopsis: A man in a light shirt and dark trousers stands in a doorway, partially visible from the side. A wooden chair is visible behind him in a plain interior space.
1 person observed.
1:26:15Model synopsis: A man and a woman are shown in a medium shot; the man speaks about someone taking any kind of part. The woman is visible behind him, looking off-camera.
2 people observed.
Model synopsis: A woman in dark attire embraces a man in a light shirt; the scene cuts to a title card reading 'A CALIFORNIA NATIONAL PRESENTATION'. No named characters are identified in the dialogue or visuals.
2 people observed.
“Off?” 86:21
Model synopsis: The beat displays the film's cast of characters credit screen. No people are visible or audible; only text listing actor and character names is shown.
1:26:52Model synopsis: The frame is entirely black with no visible content. No events, people, or objects can be identified from this single frame.
Machine transcription of the Archive copy's audio with Whisper large-v3-turbo (temperature 0); the model heard it as en. 1121 segments kept, 215 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 1947 with a copy
By the average clip vector of the keyframes; a measurement, not a judgement
Fear in the Night 
The Red House 
Angel and the Badman 
Dishonored Lady 
Doomed to Die 
Misbehaving Husbands 
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