A Star Is Born (1937)

Model synopsis: The beat shows opening credits over a night cityscape. No people, actions, or spoken dialogue are present.

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Model synopsis: A title card states the events and characters are fictitious. No people, actions, or settings are depicted in this beat.

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Model synopsis: The beat opens on a night scene showing a snow-covered landscape with a distant farmhouse and a wolf's silhouette, followed by an interior shot of people entering a dark room. Dialogue indicates a family returning home from the movies and greeting each other.

• A long shot shows a snow-covered expanse with a wolf silhouetted in moonlight and a distant farmhouse. [frame:1]
• The scene shows a night view of a snow-covered landscape with a farmhouse and a full moon. [frame:3]
• People enter a dark interior space, one removing a coat. [frame:4]

Named: Frank (t:1:42), Maddie (t:1:36). 4 people observed.

“Well, home from the movies at last. Looks like it, Aunt Maddie.” 1:36 · “Hello, Frank.” 1:42

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Model synopsis: Four people are in a dimly lit room; one seated man speaks while others listen or react. The transcript includes dialogue about Norman Maine and movies, suggesting a conversation about film industry figures.

• A man speaks while seated, gesturing with his hands. [frame:1]
• A woman stands holding a small object, possibly a cake or model. [frame:1]
• A boy stands behind the seated man, watching. [frame:1]
• 1 more under Evidence and details.

4 people observed.

“Mice, that's what it was. Just a lot of mice. There wasn't anybody killed, the whole thing. Oh, well, then I'll stick to these. These don't …” 1:49 · “When that big Clark Norman Maine was in the picture tonight...” 1:56

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Model synopsis: An older woman speaks in a dimly lit interior while others sit around a table; she mentions being ignored and references movie magazines and a horse with a Swedish accent. No names are spoken that can be attached to visible individuals.

5 people observed.

“Too bad I was so busy in the kitchen.” 2:10 · “I didn't hear anybody asking you.” 2:13

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Model synopsis: A young woman is confronted by older family members about her desire to go to Hollywood, while a boy looks on. The dialogue reveals her secret ambitions and the family's disapproval.

5 people observed.

“We're only young once, you know.” 2:30 · “Hollywood!” 2:36

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Model synopsis: A young woman argues with family members about her ambition to become an actress, then leaves the room. The setting is a dimly lit interior with furniture and a staircase visible.

• The young woman walks away from the group and exits the room. [frame:4]

4 people observed.

“I'd be an actress. I would, I tell you, I've always known I could.” 2:58 · “Guys, wouldn't it be wonderful to have a movie star in the family? - Oh, Miss Blodgett, may I have your autograph? - You may not know it, A…” 3:03

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Model synopsis: Two people are in a dimly lit interior, speaking to each other. One person comforts the other, who is upset about relatives and dreams.

Named: Esther (t:4:11). 4 people observed.

“Now, if it was spring, I'd say give her a good dose of sulfur and molasses.” 3:47 · “I thought I'd find you out. Oh, stop that. Now stop crying. That isn't going to do your business. Oh, I'm crying because Aunt Maddie and Ale…” 3:54

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Model synopsis: An older woman and a younger woman converse in a dimly lit interior; the older woman recounts pioneering hardships while the younger woman listens. The dialogue references aging, ambition, and historical struggle.

• An older woman speaks to a younger woman in a dim room. [frame:1]
• The older woman gestures with her hand while speaking. [frame:1]
• The younger woman smiles slightly while listening. [frame:2]
• 1 more under Evidence and details.

2 people observed.

“And the years roll on when they grow old. And by and by they forget everything.” 4:31 · “I want to be someone.” 4:40

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Model synopsis: Two people are in a dimly lit interior, one seated and one standing, engaged in a conversation about hardship and perseverance. One person addresses the other as 'Esther Blodgett' and speaks of enduring extreme weather while pursuing a goal.

Named: Esther Blodgett (t:5:15). 2 people observed.

“Oh, Granny, it must have been wonderful.” 5:11 · “That was wonderful.” 5:14

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Model synopsis: Two women are in a dimly lit interior, one younger and one older, engaged in a serious conversation about dreams and heartbreak. The older woman claims she was once a pretty young girl, contrasting her current appearance with the younger woman's.

2 people observed.

“Yes, I can.” 5:33 · “Could you do it? Could you do it even if it broke your heart?” 5:35

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Model synopsis: An elderly woman speaks in a dimly lit interior, recalling her late husband and her resolve to continue after his death. She mentions burying him herself and carrying on despite personal loss.

1 person observed.

“I was in love with your grandfather.” 6:03 · “When some Indian devil put a bullet through him...” 6:05

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Model synopsis: Two people embrace in a dimly lit interior; one offers money to the other, who initially refuses. The dialogue suggests a farewell and encouragement to pursue Hollywood.

• Victor and Esther embrace in a dim room. [frame:1]
• Victor stands alone in the dark room after Esther has moved away. [frame:2]

Named: Victor (t:6:34), Esther (t:6:37). 2 people observed.

“You know, Esther, then always be a wilderness to me.” 6:37 · “You'll go right out there and break it yourself.” 6:56

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Model synopsis: A woman and an older person are in a dimly lit interior; the woman speaks a promise and the older person threatens consequences if the promise is broken. No names are spoken, and no objects or time indicators are visible.

2 people observed.

“by giving me your word of honor that you will never tell a living soul where you got that love.” 7:21 · “I promise. Remember?” 7:26

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Model synopsis: Two people are in a dark, snowy outdoor setting at night, speaking and preparing to leave. One person mentions kissing their father goodbye and references an Aunt Maddie, while the other encourages them to board a vehicle.

• Two people stand in a dark, snowy outdoor setting. [frame:1]
• One person leans toward the other in a dark, snowy setting. [frame:2]
• Two people face each other in conversation in a snowy outdoor setting. [frame:3]

Named: Granny (t:7:42), cousin (t:8:02). 2 people observed.

“- Help me, Granny. - Oh, I didn't let you do that.” 7:42 · “Thanks. Oh, no. I kissed Dad goodbye. Just a little kiss. He didn't even wake up. I bet you didn't try that on your Aunt Maddie. Oh, Aunt Ma…” 7:47

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Model synopsis: A woman speaks from inside a vehicle at night while a man stands outside in snow. The man is told to speak louder as his eyes are not as good, and he bids farewell.

• The woman is visible again, smiling slightly. [frame:3]
• The man turns away from the vehicle and walks into the snowy night. [frame:4]

2 people observed.

“Goodbye, Granny. Goodbye. I'll be waiting for you in those movie pictures. Don't tell Maggie.” 8:34 · “Now, my eyes are not as good as they used to be, but my ears are all right. So you remember, talk up more than loud.” 8:43

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Model synopsis: Two silhouetted figures are seen in a dimly lit interior, one holding a small light source. One figure speaks farewell to 'Lily' and agrees to leave despite not wanting to.

• Two figures are silhouetted in a dim interior, one holding a small light. [frame:1]

Named: Lily (t:9:00). 2 people observed.

“Bye, Lily! Bye.” 9:00 · “Do you want to go home now? I don't want to. But I will.” 9:08

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Model synopsis: A wide shot of Hollywood with on-screen text describing it as 'the beckoning El Dorado' and 'Metropolis of Make-Believe'. No people or actions are visible in the single frame provided.

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Model synopsis: Two women sit by a pool while others lounge under umbrellas near a cabana. No dialogue or on-screen text is present in this beat.

3 people observed.

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Model synopsis: A blue bus labeled 'LOS ANGELES' and a train labeled 'CITY OF LOS ANGELES' are shown in separate frames on a city street under a clear sky. No people are visible in the frames, and no dialogue or on-screen text beyond vehicle lettering is present.

• A blue bus with 'LOS ANGELES' on its front is shown on a street. [frame:1]
• A train with 'CITY OF LOS ANGELES' on its front is shown on tracks. [frame:2]

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Model synopsis: A front view of a propeller airplane on a tarmac is shown. No people or dialogue are visible or audible in this beat.

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Model synopsis: A street scene with palm trees and a building facade featuring a vertical sign reading 'CHINESE'. No people or actions are visible in the single frame provided.

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Model synopsis: A man in a dark suit and hat walks past a red awning outside a building with ornate architecture. No dialogue or on-screen text is present in this beat.

1 person observed.

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Model synopsis: A woman in dark clothing walks outdoors carrying a suitcase and a folder, with a bus and buildings in the background. No dialogue or on-screen text is present in this beat.

• woman walks on street carrying suitcase and folder [frame:1]

1 person observed.

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Model synopsis: A woman walks on a sidewalk carrying a suitcase, and close-ups show handprints and footprints in cement with inscriptions. A woman with red hair and a dark hat is shown in a close-up, looking down with a slight smile.

• A woman walks on a sidewalk carrying a suitcase. [frame:2]
• Handprints and footprints are visible in cement with inscriptions. [frame:1]
• More handprints and footprints with inscriptions are visible in cement. [frame:3]
• 1 more under Evidence and details.

1 person observed.

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Model synopsis: A woman in a dark dress carries a suitcase on a sidewalk near movie posters and a sidewalk inscription. The scene cuts to a close-up of the inscription and a dim interior shot of the same woman.

• A woman walks on a sidewalk carrying a suitcase. [frame:1]
• A close-up shows a sidewalk inscription reading 'LOVE TO YOU ALL SHIRLEY TEMPLE'. [frame:3]
• The woman stands near movie posters on the sidewalk. [frame:4]

1 person observed.

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Model synopsis: A close-up shows a sidewalk slab with handwritten text and two footprints. No people, dialogue, or time indicators are visible.

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Model synopsis: A woman in dark clothing carries a suitcase and walks past a sidewalk with chalk writing. She is seen smiling in a close-up as she moves through an outdoor setting at night.

• The woman walks on a sidewalk carrying a suitcase. [frame:1]
• Chalk writing on the sidewalk reads 'Jean Maine' and 'Good Luck'. [frame:2]
• The woman smiles while walking, wearing a dark coat and hat. [frame:3]

1 person observed.

“I'm going to go.” 10:45

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Model synopsis: A newspaper classified ad for rooms for rent in Hollywood is shown, with details about weekly rates and location. A voice says 'I'm in.'

1 person observed.

“I'm in.” 11:08

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Model synopsis: A man in a blue sweater sits at a desk with a 'RING BELL for manager' sign, smoking a pipe and speaking with a woman who gestures toward him. The setting appears to be an office with a 'LAUNDRY DESK' sign visible, and dialogue references going into the movie and Beverly Hills.

• Man sits at desk with pipe, looking at papers. [frame:1]
• Woman speaks to man across desk. [frame:2]
• Man continues to smoke pipe while looking down. [frame:3]
• 1 more under Evidence and details.

2 people observed.

“Good afternoon.” 11:17 · “Day, week or month.” 11:20

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Model synopsis: A woman speaks to a man at a desk while holding a pipe; he is seated and wearing a blue cardigan. The setting includes a sign that reads 'LEAVE LAUNDRY AT DESK'.

• Woman leans over desk toward man, holding pipe. [frame:1]
• Woman laughs while holding pipe. [frame:2]
• Man looks up from desk, pipe in mouth. [frame:3]
• 1 more under Evidence and details.

2 people observed.

“All except go more British. I suppose the best way to get a job is to go straight to the studio, isn't it? I have many illusions, you know, …” 11:32 · “Six dollars, please, in advance.” 11:45

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Model synopsis: A close-up shows a typed letter addressed to Miss Esther Blodgett, confirming receipt of her application for extra work and stating that all extra talent is engaged through the Central Casting Corporation at 5504 Hollywood Boulevard, Hollywood, California, by Paramount Pictures Inc. The letter is held by hands visible at the edges of the frame.

Named: Miss Esther Blodgett (frame:1). 1 person observed.

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Model synopsis: A woman in a dark dress and hat stands indoors near a wall with a partially visible chart. No dialogue or action is recorded in this beat.

1 person observed.

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Model synopsis: A woman in a dark dress stands near a counter in an interior space, speaking to someone off-screen. She requests to register for extra work, as stated in the transcript.

1 person observed.

“I beg your pardon.” 12:36 · “I'd like to register for extra work.” 12:38

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Model synopsis: A woman in a dark suit sits at a desk while another woman in a green dress stands nearby; they speak about Hollywood and being on a books list. The scene shifts to show them standing near a desk with another person visible in the background.

• A woman in a dark suit sits at a desk holding a pen. [frame:1]
• A woman in a green dress stands holding a camera. [frame:2]
• The two women stand near a desk, facing each other. [frame:3]
• 1 more under Evidence and details.

3 people observed.

“How long have you been in Hollywood?” 12:41 · “Well, it's about a month now.” 12:43

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Model synopsis: Two people are seen from behind in a dimly lit interior, one wearing a light blue shirt and the other with blonde hair. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Model synopsis: A woman in a dark suit with a white bow tie is shown in profile, looking off-camera. The setting appears to be an interior space with soft lighting and indistinct background elements.

1 person observed.

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Model synopsis: A woman with red hair in a dark dress is shown in a close-up. No dialogue or environmental context is provided in this beat.

1 person observed.

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Model synopsis: A woman in a dark suit speaks to a woman in green in a switchboard office; a man at a desk is interrupted by a woman standing behind him; a close-up shows a man in a dark suit looking down at papers. A man named Danny McGuire is introduced as a big director.

• A woman in a dark suit speaks to a woman in green in front of a switchboard. [frame:1]
• A man at a desk is interrupted by a woman standing behind him. [frame:2]
• A man in a dark suit looks down at papers on his desk. [frame:3]

Named: Danny McGuire (t:14:27). 4 people observed.

“I can't keep the girls to the switchboard long. They go crazy.” 13:18 · “Every one of those little lights thought it was going to be a star.” 13:22

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Model synopsis: A man in a dark suit and tie is shown in a close-up, looking off-camera with a serious expression. The background is dark and indistinct, suggesting an interior setting with controlled lighting.

1 person observed.

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Model synopsis: A woman in a dark dress asks a man in a suit for a job in a film, and he responds by correcting her about his role and telling her she should have stayed home. The interaction occurs in a dimly lit interior space with minimal background detail.

• A woman looks at a man and speaks. [frame:1]
• The woman looks down, appearing disappointed or thoughtful. [frame:2]
• The man and woman face each other; he holds her hands. [frame:3]
• 1 more under Evidence and details.

Named: Mr. McGuire (t:14:44). 2 people observed.

“Could you possibly use me in a picture, Mr. McGuire? Of course, I haven't had much experience, but I don't think that really matters if you'…” 14:44 · “Now listen, lady. In the first place, I'm not a director. I'm an assistant director. In the second place, if I had any jobs to give away, I'…” 14:53

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Model synopsis: A man in a suit sits at a desk while another man stands nearby; a woman enters a dimly lit room. The transcript includes a voice saying 'Oh, no, look at your darling' and 'Hey, wait a minute.'

• A man sits at a desk with papers and a telephone. [frame:3]
• Two people are seen in close proximity, one in a green garment. [frame:2]
• A woman enters a room with a hanging light and plants. [frame:4]

4 people observed.

“Oh, no, look at your darling.” 15:09 · “Hey, wait a minute.” 15:09

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Model synopsis: A man and a woman are in close conversation in a dimly lit interior; the man appears to comfort the woman as she wipes her eyes. The dialogue suggests an apology and tension over job-related matters.

• The man comforts the woman as she wipes her eyes. [frame:1]

2 people observed.

“Don't do that.” 15:19 · “Gosh, I didn't mean to get tough, but...” 15:22

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Model synopsis: A man offers to buy a woman a drink after she expresses feeling scared and financially strained. The interaction occurs in a dimly lit interior space, with the man gesturing toward her as he speaks.

• The man gestures toward the woman while insisting he will buy her a drink. [frame:4]

2 people observed.

“Looking for a job every day and never getting any nearer to it.” 15:44 · “Well, there's only one thing to do for that feeling when you're tired and sunk and down to your last nickel. Come on, and I'll buy you a dr…” 15:54

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Model synopsis: A person pours rum from a bottle into a glass containing a white liquid. The transcript includes a line addressed to 'George' about rum removing a milk flavor.

• A person pours rum into a glass with white liquid. [frame:1]

1 person observed.

“That's right, George. There's nothing like a little rum that'd take away that milk flavor.” 16:14

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Model synopsis: A man and a woman are seated at a bar counter; the man speaks to the woman, who turns toward him. The setting is dimly lit with bar fixtures visible.

• The woman turns her head toward the man at the bar. [frame:1]

Named: Finley (t:16:29). 2 people observed.

“I'm” 16:25 · “I beg your pardon. Finley.” 16:29

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Model synopsis: A woman and a man are in a dimly lit interior, speaking to each other. The woman speaks assertively about directing future films, and the man reacts with surprise and then agreement.

• The woman is shown in close-up, speaking with an assertive expression. [frame:1]
• The man reacts with a surprised expression. [frame:2]
• The woman leans forward, appearing to emphasize her point. [frame:3]
• 1 more under Evidence and details.

2 people observed.

“And when I find my contact the person I'm going to do is see that you direct every picture I'm in. That's my pal. Of course I'm going to be…” 16:40 · “I'll just insist.” 16:49

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Model synopsis: Two people sit at a table in a dimly lit interior, one speaking about opening a studio and mentioning a bill. The scene includes dialogue about payment and a brief self-reference.

2 people observed.

“I just won't sigh.” 17:02 · “Now that's right. What have you got to lose? Another one of these and we'll open our own studio.” 17:05

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Model synopsis: A man in a suit holds a card while seated indoors. No dialogue or other actions are recorded in this beat.

1 person observed.

Evidence, details and a link to share

Model synopsis: A man in a suit is shown in a close-up, holding his head with one hand. The transcript includes fragmented dialogue suggesting a reaction to someone's behavior or luck.

• A man holds his head with his right hand, appearing distressed or exasperated. [frame:1]

1 person observed.

“Yes.” 17:34 · “You kids, you crazy, don't you?” 17:36

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Model synopsis: A man in a dark suit writes at a desk in a dimly lit interior. The transcript includes brief dialogue about a race and an affirmation.

• A man writes at a desk. [frame:1]

1 person observed.

“- There you go. - First race.” 17:58 · “I guess.” 18:01

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Model synopsis: A man and a woman sit together in a dark, crowded venue while the man speaks about music and his new job. The woman listens, and they discuss staying despite the man's suggestion she go home.

• The man and woman are seated together in a dark venue, surrounded by others. [frame:1]
• The man gestures while speaking; the woman looks down, listening. [frame:2]
• The man continues speaking; the woman looks up slightly, still listening. [frame:3]
• 1 more under Evidence and details.

4 people observed.

“Hey, the program's gonna be swell tonight.” 18:21 · “Hey, why don't you throw your hat in the air or something, can't you? This is a celebration. My job starts tomorrow.” 18:43

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Model synopsis: A man and a woman are seated among a crowd at what appears to be a party or public event. The woman reacts with surprise upon seeing her name displayed, as indicated by the transcript.

3 people observed.

“This is our party.” 19:18 · “Look at all the people. Everybody in the world.” 19:21

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Model synopsis: A man and a woman are seated together in a dimly lit setting; the man appears to be speaking. The transcript suggests the man may have consumed an additional drink.

2 people observed.

“And he seems to have had that one extra cup.” 19:37

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Model synopsis: A man and a woman are shown in a dimly lit, arched space; the woman wears a light gown and the man a dark suit. No dialogue or on-screen text is present in this beat.

2 people observed.

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Model synopsis: A band performs on a dimly lit stage with a curved backdrop. No dialogue or on-screen text is visible in the single frame provided.

1 person observed.

Evidence, details and a link to share

Model synopsis: A man in a dark suit stands behind a seated woman in a light dress; both are visible in a dimly lit interior. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Model synopsis: A man and a woman are seated in a dark venue as photographers take pictures; a man in a hat approaches them. The transcript includes dialogue addressing 'Mr. Mayne' and 'Miss Regis' and mentions photographers and a 'Hollywood boat.'

• A man and a woman are seated in a dark venue, smiling and looking forward. [frame:1]
• A man in a light suit stands and gestures toward the seated couple. [frame:2]
• A man in a fedora holds a camera and points it at the seated man. [frame:3]

Named: Mr. Mayne (t:20:07), Miss Regis (t:20:07). 8 people observed.

“Oh, right out. Come on, Rob.” 20:00 · “Oh, Mr. Mayne. Mr. Mayne. Put your arm on Miss Regis. Oh, this is a Hollywood boat. Oh, afraid of crowds. Go on, go on, get out of here.…” 20:07

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Model synopsis: A man in a suit is addressed by others in a dark auditorium; he is told to sit down as people laugh. The scene includes multiple audience members and a brief wider shot showing a group standing.

• Norman is visible in a medium shot, seated among other audience members. [frame:2]
• A group of people, including Norman, are standing in the aisle. [frame:4]

Named: Norman (t:20:30). 4 people observed.

“- Come back and sit down. Everybody's laughing at you.” 20:30 · “- All right, all right.” 20:30

Evidence, details and a link to share

Model synopsis: Two people sit close together in a dark theater, watched by others behind them; one speaks about a man's screen presence. The scene is dimly lit, with faces partially illuminated.

• A man and woman sit side by side in a dark theater, looking forward. [frame:1]
• The man turns slightly toward the woman, who looks forward with a serious expression. [frame:2]
• The man looks down and to his left; the woman remains still, gazing forward. [frame:3]

4 people observed.

“is he always like that sometimes he has to sleep sometimes oh and he's so wonderful on the screen” 20:59

Evidence, details and a link to share

Model synopsis: A dimly lit scene shows a group of people, including a woman with red hair and a man in a dark suit, in close proximity. No dialogue or on-screen text is present in the frames.

4 people observed.

Evidence, details and a link to share

Model synopsis: A close-up shows a handwritten letter on paper with a letterhead for 'OLEANER STREET, THE MIRAGE HOTEL, HOLLYWOOD, CAL.' The letter is addressed to 'Denny' and mentions 'the money' and 'Everything is going beautifully now.'

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Model synopsis: A man and a woman embrace in a dimly lit interior; the woman then appears alone, looking downcast. The dialogue reveals the man is offering the woman a job as a waitress, not a film role, which surprises her.

• The man and woman embrace. [frame:1]
• The woman is shown alone, looking downcast. [frame:2]

Named: Danny (t:21:41). 2 people observed.

“Hello, Danny. What's the matter? Believe it or not, I got a job for you.” 21:41 · “Danny, that's wonderful. When do I go to the studio?” 21:48

Evidence, details and a link to share

Model synopsis: A man and a woman sit together in a dimly lit room; the man speaks about a waitress job at a party for a film director. The woman listens, appearing pensive, as the man mentions the opportunity to meet influential people.

• The man and woman are seated together in a dim room, the man resting his head on his hand, the woman looking downcast. [frame:1]
• The woman looks up slightly while the man continues speaking, both still seated. [frame:2]

2 people observed.

“Well, it's kind of a picture job if you look at it right. You said it was a waitress. Well, it's waitressing for Casey Burke, the big dire…” 22:12 · “party tonight to kind of celebrate on account of finishing the picture and” 22:23

Evidence, details and a link to share

Model synopsis: A woman speaks with a man in a dimly lit room; she expresses doubt about her appearance for an opportunity, and he reassures her by offering wardrobe assistance. The man is seen from behind, and the woman is shown in close-up and medium shot.

Named: Esther (t:22:45), Daddy (t:22:53). 2 people observed.

“I could make them notice me. Sure you could, Esther. It's your chance.” 22:45 · “All right, Daddy, I'll do it. Oh.” 22:53

Evidence, details and a link to share

Model synopsis: A man in a tuxedo holds a tray of drinks while a woman in a dark dress stands nearby. The transcript indicates a conversation about attending a preview the previous night.

• A man in a tuxedo holds a tray of drinks while a woman stands nearby. [frame:1]

2 people observed.

“Did you get to the preview last night?” 23:26 · “I did.” 23:28

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Model synopsis: Two people are in a dimly lit interior space; one man in formal wear speaks while a woman listens. The transcript includes a critical comment about a picture being a 'turkey' and a suggestion it should have been saved for Thanksgiving.

• The man and woman are seen in conversation in a stone-walled room. [frame:1]
• The woman is shown in close-up, looking down with a somber expression. [frame:2]

2 people observed.

“Would you like a lethal order?” 23:31 · “They are very nice.” 23:35

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Model synopsis: A man in a tuxedo and a woman holding a tray of hors d'oeuvres stand in a stone-walled room; another woman sits nearby. The transcript mentions hors d'oeuvres being enjoyed before supper.

• A woman offers hors d'oeuvres from a tray to a man in a tuxedo. [frame:2]

4 people observed.

“Well, you have some hors d'oeuvres. You do like hors d'oeuvres, don't you? I don't think there's anything so enjoyable as hors d'oeuvres bef…” 23:51

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Model synopsis: A man in a tuxedo and bow tie is shown in a close-up against a stone wall. No dialogue or action is recorded in this beat.

1 person observed.

Evidence, details and a link to share

Model synopsis: A woman with styled red hair and a dark dress with a light collar is visible in a medium close-up. The background is dimly lit and indistinct, suggesting an interior setting.

1 person observed.

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Model synopsis: A woman in a dark dress and apron carries a tray of hors d'oeuvres through a room with stone walls while speaking to men in suits. The dialogue references a baby singing a lullaby and the quality of the hors d'oeuvres.

• A woman carries a tray of hors d'oeuvres through a restaurant. [frame:1]
• The woman offers hors d'oeuvres to men seated at a table. [frame:2]

4 people observed.

“But would you like a little hors d'oeuvre?” 24:18 · “They say they're the best.” 24:21

Evidence, details and a link to share

Model synopsis: Two men in tuxedos converse in a dimly lit interior; one is addressed as Oliver and discusses directing, a man named Norman May, and a phone call about Mr. Mean. One man holds a folder and gestures while speaking.

• Two men in tuxedos stand in a dim room; one on stairs, one on floor. [frame:1]
• The man on the floor gestures toward the man on stairs while speaking. [frame:2]
• The man on stairs faces the other man, listening. [frame:3]
• 1 more under Evidence and details.

Named: Oliver (t:24:35). 2 people observed.

“- Hello, Oliver. - Oh, hello, Cassie.” 24:35 · “A male nurse.” 24:43

Evidence, details and a link to share

Model synopsis: A man in a tuxedo is on the phone in a dimly lit office; another man in a hat is also on the phone. The transcript mentions Mr. Norman Maine being apprehended while driving an ambulance with a siren, claiming to be a tree surgeon on a maternity case.

• A man in a tuxedo is seated at a desk, holding a telephone receiver to his ear. [frame:1]
• A woman in a dark hat is seated at a desk, holding a telephone receiver to her ear, with other people in the background. [frame:2]
• A man in a tuxedo is seated at a desk, holding a telephone receiver to his ear, while another man in a dark suit and hat stands behind him. [frame:3]
• 1 more under Evidence and details.

Named: Lindy (t:25:31), Mr. Norman Maine (t:25:33). 7 people observed.

“Hello, Lindy. What's the good word?” 25:31 · “Mr. Norman Maine, America's Prince Charming.” 25:33

Evidence, details and a link to share

Model synopsis: A man in formal wear is on the phone while a woman and another man argue nearby; later, a man at a bar reacts to someone off-screen. The setting is an interior space with stone walls and bar fixtures.

• A man in a tuxedo sits and speaks on a telephone. [frame:1]
• A woman and a man in tuxedos stand facing each other, appearing to argue. [frame:2]
• The woman and man continue their interaction while another man stands behind them. [frame:3]
• 1 more under Evidence and details.

6 people observed.

“Oh, that's fine work, Libby.” 26:00 · “Why can't you forget those dopes at the studio for one night?” 26:07

Evidence, details and a link to share

Model synopsis: Two men in formal wear have a tense conversation in a dimly lit interior space. One man, identified by dialogue as Norman, is being warned by the other about his career and behavior.

• A man in a suit looks down with a somber expression. [frame:1]
• Two men in formal wear stand at a bar, engaged in conversation. [frame:2]
• The man in the tuxedo leans in close to the man in the suit, speaking intently. [frame:3]
• 1 more under Evidence and details.

Named: Norman (t:27:18). 2 people observed.

“Don't make it tougher on me, Norman. I don't want to stand here and preach. But take a look at my side of it. I'm trying to make pictures wi…” 27:18 · “But I hate to see you going the way of so many others. Why don't you get Lloyd's to insure you against me?” 27:32

Evidence, details and a link to share

Model synopsis: Two men in tuxedos are shown in a dimly lit interior, one speaking to the other about professional decline and personal habits. The speaker references warnings, financial assurances, and a prepared epitaph, suggesting a farewell or reckoning.

• One man in a tuxedo speaks to another man in a tuxedo. [frame:1]
• The man named Oliver looks down at a small object held by the other man. [frame:2]

Named: Oliver (t:27:56). 2 people observed.

“What do you mean by that?” 27:53 · “Not being able to remember your lines. Camelaman struggling to cover your hangovers. And all because you have to have a good time. Every …” 27:56

Evidence, details and a link to share

Model synopsis: A man in a tuxedo holds a token reading 'GOOD FOR AMUSEMENT ONLY' and speaks about having a drink; another man in formal wear is shown at a bar and then in a close-up with a serious expression. The setting is a dimly lit bar with other patrons and bartenders visible.

• A hand holds a token that reads 'GOOD FOR AMUSEMENT ONLY'. [frame:1]
• A man in a tuxedo speaks to another man in a tuxedo. [frame:2]
• A man stands at a bar with drinks and other patrons in the background. [frame:3]
• 1 more under Evidence and details.

3 people observed.

“And now I think I'll, um...” 28:20 · “Have a little drink.” 28:23

Evidence, details and a link to share

Model synopsis: A man in a tuxedo speaks at a bar while another man stands at the bar counter; the transcript includes dialogue about ordering drinks. The setting is dimly lit with other patrons visible in the background.

• A man in a tuxedo speaks with an expressive face. [frame:1]
• Two men stand at a bar counter; one appears to be ordering or receiving a drink. [frame:2]

3 people observed.

“Scotch and soda.” 28:34 · “And a little soda.” 28:47

Evidence, details and a link to share

Model synopsis: A woman with red hair in a dark dress holds a plate of food while speaking to a man in a tuxedo. The man responds to her as they stand near a window with shelves visible behind them.

• The woman holds a plate of food and speaks to the man. [frame:1]
• The man looks at the woman and speaks. [frame:2]
• The woman smiles while holding the plate. [frame:3]
• 1 more under Evidence and details.

2 people observed.

“Yes.” 28:55 · “Lovely.” 28:56

Evidence, details and a link to share

Model synopsis: A man in a tuxedo and a woman in a dark dress converse in a dimly lit interior while a server presents a platter of caviar canapés. The dialogue suggests uncertainty and emotional distance, with one character stating they don't know the other and another mentioning someone named Normie no longer caring for her.

• A server presents a platter of canapés with caviar and a garnished orange. [frame:1]
• A man in a tuxedo speaks to a woman off-screen. [frame:2]
• A woman in a dark dress looks at the man while speaking. [frame:3]
• 1 more under Evidence and details.

3 people observed.

“What?” 29:07 · “Which would you take?” 29:07

Evidence, details and a link to share

Model synopsis: A man in a dark suit stands at a bar counter holding a glass; other figures are visible in the background. The transcript includes a line about getting drunk and a partial mention of Scotch.

• A man holds a glass at a bar counter. [frame:1]

3 people observed.

“I think I shall get very drunk indeed.” 29:29 · “Scotch and sil...” 29:38

Evidence, details and a link to share

Model synopsis: A man in an apron works with film reels in a room while another man in a tuxedo stands nearby. One man asks if he can help the other.

• A man in an apron handles film reels near equipment. [frame:1]
• A man in a tuxedo stands near a refrigerator and shelves. [frame:1]

2 people observed.

“Oh.” 29:57 · “Mind if I help you?” 29:58

Evidence, details and a link to share

Model synopsis: A man and a woman converse in a room; the woman is identified as Esther Blodgett and the man as Ming. The man adjusts his collar while the woman stands near a piece of furniture, and dialogue suggests a chance meeting and mutual recognition.

• The man gestures with his hand while talking to the woman. [frame:1]
• The woman smiles at the man. [frame:2]
• The man adjusts his collar. [frame:3]
• 1 more under Evidence and details.

Named: Esther Blodgett (t:30:18), Ming (t:30:19). 2 people observed.

“Esther Blodgett.” 30:18 · “My name's Ming.” 30:19

Flagged: visible event not seen (The man adjusts his collar.)

Evidence, details and a link to share

Model synopsis: A man and a woman in formal wear are in a room with large windows; the man appears distressed while the woman speaks. The dialogue suggests a tense social interaction involving a third person named Norman, with a request to keep voices low.

• A woman in a gold gown stands beside a man in a tuxedo in a room with large windows. [frame:1]
• The man in the tuxedo looks down with a pained expression. [frame:2]

Named: Norman (t:31:33). 3 people observed.

“I'm just trying to be helpful.” 31:23 · “Are you sure there's no other attraction?” 31:26

Evidence, details and a link to share

Model synopsis: A woman in a gold pleated dress is shown in a close-up. No dialogue or action is visible in this single frame.

1 person observed.

Evidence, details and a link to share

Model synopsis: A close-up of a vintage radio with horizontal grilles and a circular speaker, shown in a single frame. No people, dialogue, or environmental context are visible.

Evidence, details and a link to share

Model synopsis: A man in a tuxedo and a woman in a dark dress are in a kitchen, with the man handling pots on a stove and the woman reaching up toward a cabinet. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Model synopsis: A man in a tuxedo is visible in a medium close-up. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Model synopsis: A woman in a gold dress stands near a refrigerator while another woman in dark clothing stands by a cart; a third person lies on the floor. One woman says, "Now see what you've done!" and then "Come on."

• A woman in a gold dress stands near a refrigerator while another woman in dark clothing stands by a cart; a third person lies on the floor. [frame:1]

3 people observed.

“Now see what you've done!” 32:04 · “Come on.” 32:09

Evidence, details and a link to share

Model synopsis: A man in a tuxedo gestures while speaking in a kitchen; a woman in an apron stands with him as he pulls her toward the door. The transcript indicates urgency to leave, but she resists, citing unfinished dishes.

• Man in tuxedo gestures upward while speaking. [frame:1]
• Man and woman hold hands in kitchen, man pulling woman toward exit. [frame:2]

2 people observed.

“Come here.” 32:14 · “Come on, the wolves are on us. We've got to get out of it. Oh, I can't. The dishes aren't finished.” 32:21

Evidence, details and a link to share

Model synopsis: A person stands beside a car at night, speaking with someone off-screen. The dialogue suggests a tense conversation about entering the film industry.

• A person stands beside a car at night, speaking with someone off-screen. [frame:1]

1 person observed.

“I bet I know what you're going to say now.” 32:41 · “Good night.” 32:44

Evidence, details and a link to share

Model synopsis: A woman and a man are in a dimly lit interior, exchanging polite goodbyes after a conversation. The woman thanks the man and says she must leave; he asks if she is angry, and she replies no, adding that she is hungry.

Named: Betty (t:33:20). 2 people observed.

“Thank you very much, Betty.” 33:20 · “I really must say goodnight.” 33:21

Evidence, details and a link to share

Model synopsis: A man and a woman speak near a car at night; the woman is inside or beside the vehicle while the man stands outside. The dialogue includes farewells and a question about seeing each other again, followed by a greeting.

Named: Miss Blathett (t:33:36), Mr. Mayne (t:33:38). 2 people observed.

“Good night, Miss Blathett.” 33:36 · “Good night, Mr. Mayne.” 33:38

Flagged: time_of_day without evidence (night)

Evidence, details and a link to share

Model synopsis: A woman and a man exchange dialogue in a dimly lit interior; the woman speaks at length while the man listens and responds briefly. The scene ends with the man asking to take one more look.

• Woman speaks while looking toward camera [frame:1]
• Woman stands in dim room, gesturing slightly [frame:2]
• Man looks off-camera with slight smile [frame:3]

2 people observed.

“You're lovely.” 34:32 · “Yes, ma'am.” 34:37

Evidence, details and a link to share

Model synopsis: A woman with red hair in a dark coat smiles over her shoulder in a dimly lit interior. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Model synopsis: A man in formal attire is shown in a close-up against a dark background. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Model synopsis: A woman in dark formal attire smiles while standing indoors against a patterned backdrop. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Model synopsis: A man is in bed, speaking on the phone at night. He reacts to someone named Norman calling, discussing giving a woman a screen test.

Named: Norman (t:35:32). 1 person observed.

“Norman!” 35:32 · “What have you done now?” 35:34

Evidence, details and a link to share

Model synopsis: A man lies in bed speaking on the phone while another person is heard off-screen discussing a woman's acting potential. The setting is a dimly lit bedroom with modern furnishings.

• A man is lying in bed holding a telephone receiver to his ear. [frame:2]

Named: Oliver (t:36:05). 2 people observed.

“Oh, no.” 36:03 · “I tell you, Oliver, she's got that sincerity and honestness and a...” 36:05

Evidence, details and a link to share

Model synopsis: A man is shown in bed, first asleep with a clock visible, then awake and speaking on a telephone. A voice off-screen addresses him as Oliver and mentions he is entitled to oppression.

• A man is asleep in bed with a clock visible on a nightstand. [frame:1]
• The man is awake and holding a telephone receiver to his ear. [frame:2]

Named: Oliver (t:36:25). 1 person observed.

“Listen, Oliver, you've worked hard.” 36:25 · “You're entitled to oppression.” 36:27

Evidence, details and a link to share

Model synopsis: A man is seen in bed speaking on the phone while another man in a suit stands beside the bed. The dialogue includes farewells and a comment about color, suggesting a late-night conversation ending with one person preparing to leave.

• A man in pajamas is lying in bed holding a telephone receiver to his ear. [frame:1]
• A man in a suit stands beside the bed, leaning over it. [frame:2]

Named: Oliver (t:36:43). 2 people observed.

“Oliver.” 36:43 · “Good night.” 36:50

Evidence, details and a link to share

Model synopsis: A man is seen in a dimly lit room, first standing at a desk, then lying in bed holding a telephone receiver. A telephone directory is visible on a surface nearby. The transcript contains fragmented exclamations and affirmations, suggesting a tense or urgent phone conversation.

• A man stands at a desk in a dim room. [frame:2]
• A man lies in bed holding a telephone receiver to his ear. [frame:3]

1 person observed.

“There you all are so much!” 37:15 · “Over here, over here, over here. Oh, oh, oh, oh.” 37:18

Evidence, details and a link to share

Model synopsis: A close-up of a printed page, likely a script or program, with dense text and the partial heading 'OLA-OLI' visible. No people, actions, or environmental context are shown in this beat.

Evidence, details and a link to share

Model synopsis: A man in a suit stands in a dimly lit room with a hanging lamp; another person is partially visible in shadow. The transcript includes short affirmations and a question about a telephone call.

• A man in a suit stands under a hanging lamp in a dim room. [frame:1]

2 people observed.

“Of course.” 38:22 · “Mm-hmm.” 38:26

Evidence, details and a link to share

Model synopsis: A man in a robe is seen in a dimly lit interior, speaking about delivering a message at three o'clock in the morning. He walks away from the camera toward a doorway, passing a table with a vase.

• The man stands in a dim room, looking off-camera. [frame:1]
• The man walks away from the camera toward a doorway. [frame:2]

1 person observed.

“Come on.” 38:55 · “And this Plodgett...” 38:57

Evidence, details and a link to share

Model synopsis: A person stands on a staircase in a dimly lit interior. The scene is static and shows no movement or dialogue.

1 person observed.

Evidence, details and a link to share

Model synopsis: A newspaper titled 'Racing Form' is shown in a close-up. No people, dialogue, or action is visible in the frame.

Evidence, details and a link to share

Model synopsis: A woman with red hair, wearing a floral dress, is seen holding a telephone receiver to her ear in a dimly lit interior with a staircase. She reacts audibly to a call, saying 'Hello?', 'What?', 'Oh!', and agrees to attend an event.

• A woman answers a telephone call. [frame:1]

1 person observed.

“Hello?” 39:27 · “What?” 39:28

Evidence, details and a link to share

Model synopsis: Two people are in a dimly lit room; one stands while the other sits on a bed. One person speaks about taking something, and mentions Garbo's assistant.

• One person stands beside a bed where another sits. [frame:1]

2 people observed.

“I'm taking one too.” 39:55 · “And Garbo's assistant.” 39:58

Evidence, details and a link to share

Model synopsis: A woman in a patterned dress sits while a man in a robe stands nearby under a hanging light; the transcript contains the line 'Come on.' No names are spoken. The setting appears to be an interior room with dim lighting.

• A woman sits and a man stands under a hanging light [frame:1]

2 people observed.

“Come on.” 40:10

Evidence, details and a link to share

Model synopsis: A man in a robe is visible on set while crew members adjust lighting equipment. A call sheet from Oliver Niles Productions lists names and call times for a garden set.

1 person observed.

“Oh.” 40:15 · “Move that gobo in. Put the silk on that barrage. No, the achy. Is this light too hot for you, Hanley? Okay, but put that on the back way. Pu…” 40:25

Evidence, details and a link to share

Model synopsis: A woman in a wide-brimmed hat and light dress stands among crew members on a film set while a man gives direction. A crew member in a white shirt and cap reacts with surprise, and the woman looks toward someone off-camera.

• The woman stands with hands clasped while crew members surround her. [frame:2]
• A crew member in a white shirt reacts with wide eyes and open mouth. [frame:3]
• The woman looks toward someone off-camera with a neutral expression. [frame:4]

4 people observed.

“Pull down on that 150. Pull down on that 150.” 40:41

Evidence, details and a link to share

Model synopsis: A man in a light shirt adjusts his glasses while facing a woman in a wide-brimmed hat; another man in a shirt and tie holds a bottle beside her. The setting appears to be outdoors with trees and other people in the background.

3 people observed.

Evidence, details and a link to share

Model synopsis: A film crew prepares for a take on a set, with crew members and actors visible. A voice calls out instructions to 'Mr. Burke' and announces readiness to begin filming.

Named: Mr. Burke (t:41:17), Mr. Martin (t:41:17). 7 people observed.

“Listen, gentlemen, please, if you don't mind...” 41:11 · “This is just a test! Ready, Mr. Martin!” 41:17

Evidence, details and a link to share

Model synopsis: Two men are seated and speaking in a dimly lit interior; one is addressed as Norman. A third person, referred to as 'Miss... What's your name?', is present and later seen from behind embracing another figure. The setting appears to be a film set or studio.

• A person is seen from behind embracing another person. [frame:4]

Named: Norman (t:41:38). 4 people observed.

“Quiet!” 41:32 · “Ready, Norman.” 41:38

Evidence, details and a link to share

Model synopsis: A woman in a wide-brimmed hat and a man in a top hat are shown in close-up and medium shots, with a crew member holding a clapperboard. The transcript includes dialogue about fear and readiness for a film take, naming Esther Blodgett as the subject.

• The woman is shown in close-up, smiling slightly. [frame:1]
• The man in the top hat is shown smiling. [frame:3]
• A crew member holds a clapperboard toward the actors. [frame:4]

Named: Esther Blodgett (t:41:59). 3 people observed.

“But I'm so scared. You better not try it today. Oh, come on. Now, don't be foolish. They all had to go through this.” 41:49 · “Esther Blodgett.” 41:59

Flagged: visible event not seen (A crew member holds a clapperboard toward the actors.)

Evidence, details and a link to share

Model synopsis: A person signs a document for 'Oliver Miles Productions, Inc.' while another woman looks on; a third person stands near a window. Dialogue suggests the signing is controversial within an organization.

• A hand signs a document for 'Oliver Miles Productions, Inc.' [frame:1]
• A woman looks toward the camera with a serious expression. [frame:2]
• A person stands near a window in a dimly lit room. [frame:3]

3 people observed.

“I may as well tell you that my whole organization thinks I've gone a little nuts to sign you.” 42:16 · “Maybe they're right. I've been nuts before.” 42:22

Evidence, details and a link to share

Model synopsis: A man in a suit speaks to a woman seated across a desk in an office; she smiles in response. The dialogue suggests he is evaluating her for public appeal.

• The woman smiles while listening. [frame:4]

2 people observed.

“But I rather believe that tastes change, like eyebrows. And I think that also like eyebrows, tastes are going back to the natural.” 42:29 · “You look like a nice girl.” 42:36

Evidence, details and a link to share

Model synopsis: A man in a suit speaks to a woman seated in a dimly lit room, delivering advice and introducing a press agent named Libby. The woman listens, her expression shifting from attentive to surprised.

• A man leans toward a seated woman and speaks to her. [frame:1]
• The man speaks with a serious expression. [frame:2]
• The man continues speaking, looking down slightly. [frame:3]
• 1 more under Evidence and details.

Named: Libby (t:43:10). 2 people observed.

“Only don't think it's going to be easy.” 42:51 · “Someone else told me that once.” 43:00

Flagged: visible event not seen (The man speaks with a serious expression.)

Evidence, details and a link to share

Model synopsis: A man and a woman sit across from each other at a desk in an interior setting; the man speaks while the woman listens. The transcript includes a question about nationality and a reference to a mountain cabin.

2 people observed.

“Are you a Russian?” 43:35 · “No, I was born in Fillmore, North Dakota. Oh, no.” 43:38

Evidence, details and a link to share

Model synopsis: A woman and a man are seated in an office, engaged in a conversation about her background and aspirations. The dialogue references her desire to be an actress and her father's profession as a farmer, with a comment on social status.

2 people observed.

“I always wanted to be an actress.” 43:54 · “Are you sure there's no Russian in your family? Positive. Positive.” 44:01

Evidence, details and a link to share

Model synopsis: A man and a woman are seated across from each other in an office; the man asks the woman her name, and she replies 'Esther. Victoria.' The setting includes a desk and typewriter, suggesting a formal or professional interaction.

• The man smiles and gestures while speaking. [frame:2]
• The woman sits facing the man, listening. [frame:1]

Named: Esther. Victoria. (t:44:27). 2 people observed.

“What's your name?” 44:25 · “Esther. Victoria.” 44:27

Evidence, details and a link to share

Model synopsis: A man in a suit is seen in a dimly lit interior, followed by a woman seated at a desk. The transcript includes a discussion about a name, 'Esther Victoria Blodgett,' and a need for immediate action.

• A man in a suit reaches toward a door or wall panel. [frame:1]
• The man smiles at the camera. [frame:2]
• The man laughs or speaks animatedly. [frame:3]
• 1 more under Evidence and details.

2 people observed.

“Greatly appreciating your attention in this matter, very truly. Do you know what her name is?” 44:34 · “Esther Victoria?” 44:41

Evidence, details and a link to share

Model synopsis: A man in a suit is seen from behind, then seated at a desk across from a woman; another woman is shown laughing and then speaking at a desk. The transcript discusses naming someone 'Vicky'.

• A man in a dark suit stands with his back to the camera. [frame:1]
• A man and a woman sit across from each other at a large desk. [frame:2]
• A woman laughs while reclining in a chair. [frame:3]
• 1 more under Evidence and details.

Named: Vicky (t:44:53). 4 people observed.

“That's the Victoria Blattin.” 44:50 · “Well that Blodgett's definitely out. Let's see, uh, Esther Victoria, Victoria, Vicky, how about Vicky? Oh, I think that's terribly cute. Let…” 44:53

Flagged: quote not verbatim (Well that Blodgett's definitely out. Let's see, uh, Esther Victoria, Victoria, Vicky, how about Vicky? Oh, I think that')

Evidence, details and a link to share

Model synopsis: A man and a woman are in an office-like interior; the woman is prompted to repeat the name 'Vicky Lester' multiple times. The scene includes a wider shot showing other people at desks and a man entering through a doorway.

• A man enters the room through a doorway. [frame:3]

Named: Vicky Lester (t:45:17). 5 people observed.

“Siesta, besta, sesta, desta, festa.” 45:10 · “- Jester, Hester, Dester, Lester, Vicky Lester. - Oh, I like that.” 45:17

Evidence, details and a link to share

Model synopsis: A man in a suit is visible in a dimly lit studio control room, seated at a desk with a microphone and a clock reading 'ON THE AIR' above him. The transcript introduces a new starlet named Vicki Lester, described as having angelic features and natural talent.

1 person observed.

“Oliver Nile's studio discovers new starlet, a Cinderella of the Rockies.” 45:36 · “Her name is Vicki Lester.” 45:40

Evidence, details and a link to share

Model synopsis: A woman in a light dress stands on a set of stairs while a man in a dark shirt sits nearby; another man is visible in the background. The transcript includes shouted directions about movement.

• A woman walks down a set of stairs on a film set. [frame:2]
• The woman stands with one hand on her hip, looking toward the seated man. [frame:3]
• The seated man gestures with his hand while looking up. [frame:4]

3 people observed.

“Not that way!” 45:56 · “Get the lead out of your feet. Lift them up.” 45:59

Evidence, details and a link to share

Model synopsis: A woman in light-colored trousers and a blouse stands on a stage-like set with one hand on her hip; another woman in similar attire walks away up stairs in the background. The transcript includes two lines spoken during this beat, commenting that something is 'terrible, but it's better.'

• A woman stands on a stage-like set with one hand on her hip. [frame:1]
• Another woman walks away up stairs in the background. [frame:1]

2 people observed.

“That's better.” 46:09 · “It's terrible, but it's better.” 46:11

Evidence, details and a link to share

Model synopsis: A woman in a tan dress stands reading from a book in a room with large windows and framed pictures, while a man in a dark suit sits in a chair facing her. The transcript includes lines about mercy, rain, and speaking through the mouth, suggesting a dramatic or instructional moment.

• A woman stands reading from a book in a room with large windows and framed pictures. [frame:1]
• A man in a dark suit sits in a chair, smiling. [frame:2]

2 people observed.

“The quality of mercy is not strained.” 46:13 · “It drunken as a gentle rain from heaven. Peace.” 46:16

Evidence, details and a link to share

Model synopsis: A man in a white coat gestures while speaking to another man in a white coat in a busy interior space; a woman sits in the background. A line of dialogue questions why a woman must always look surprised.

• A man in a white coat gestures while speaking to another man in a white coat. [frame:1]

4 people observed.

“Does she have to look surprised all the time?” 46:31

Evidence, details and a link to share

Model synopsis: A woman sits in a makeup chair while two men in white coats apply makeup and discuss her appearance. One man suggests giving her a 'Crawford Smith' look, prompting a question from the other.

• A woman sits in a makeup chair while a man applies makeup to her face. [frame:1]
• Two men in white coats converse while standing close together. [frame:2]
• A man uses his hands to stretch the woman's face while she smiles widely. [frame:3]
• 1 more under Evidence and details.

4 people observed.

“Anyway, it's just a rough sketch.” 46:40 · “Pretty small mouth, eh?” 46:42

Evidence, details and a link to share

Model synopsis: A woman in a white head covering and robe is seated while another person applies makeup to her face. The setting appears to be a dressing room or makeup station with bottles and jars visible in the background.

2 people observed.

Evidence, details and a link to share

Model synopsis: Two men are shown in a close-up, one older with receding hair and one younger with a mustache, both wearing light-colored shirts. One man speaks a line that appears to be about giving someone a 'deep-nyeh'.

2 people observed.

“This'll give her that deep-nyeh.” 47:00

Evidence, details and a link to share

Model synopsis: A woman wearing a white headband and cape is shown in a close-up, surrounded by bottles and jars. The setting appears to be a beauty salon or dressing room with cosmetic products visible.

1 person observed.

Evidence, details and a link to share

Model synopsis: Two men in light-colored shirts stand close together; one appears older and concerned, the other younger and smiling. One says they are on the wrong track and that she still looks too bright.

2 people observed.

“We're on the wrong track.” 47:10 · “She still looks too bright.” 47:12

Evidence, details and a link to share

Model synopsis: A scene set in a crowded dining area where a person addresses others about filming, and a woman is shown seated at a table. The transcript includes repeated mentions of 'Acne Trucking Company' and 'Mr. Smith' alongside directives to begin shooting.

• A woman is seated at a table in a crowded dining area. [frame:1]
• A woman in a dark dress with white collar is seated at a table, holding something in her hands. [frame:2]

3 people observed.

“Listen drunk people, we're shooting on the set this morning. Not in the commentary. Now come on, slap into it.” 47:18 · “Acne Trucking Company.” 47:28

Evidence, details and a link to share

Model synopsis: A scene in a large, dimly lit dining room with multiple people seated at tables. One person stands near a table while others are seated, and the room has large arched windows and hanging lights.

3 people observed.

Evidence, details and a link to share

Model synopsis: A man in a plaid coat and fedora sits at a diner counter speaking with a waitress in a blue uniform. The conversation involves a marriage proposal and a phone call to a trucking company, which is misidentified before being corrected to Mr. Smythe.

2 people observed.

“Good morning. What can I bring you, Mr. Mayne? That just shows how long you've been here. Naval bless you.” 47:55 · “How soon are you and I going to be married? I don't know. You'll have to ask my mother.” 48:01

Evidence, details and a link to share

Model synopsis: A woman in a dark dress with a white collar sits at a table, reacting with surprise while holding a spoon; a man in a plaid jacket and fedora drinks from a glass. The dialogue indicates someone named Smith is not present.

• Woman holds spoon near mouth, appears to be eating or reacting [frame:1]
• Man drinks from glass [frame:2]
• Woman reacts with surprise, hands near face [frame:3]

2 people observed.

“Acme” 48:34 · “No, Smith ain't in.” 48:35

Evidence, details and a link to share

Model synopsis: A man in a plaid coat and fedora stands indoors holding a glass. The lighting is dim and atmospheric, with a shadowy background.

1 person observed.

Evidence, details and a link to share

Model synopsis: A man and a woman sit at a table in an office-like setting, discussing a film role and a missed date. The man mentions his search for a specific type of actress for a lead role while the woman reveals she has a small part in a picture.

2 people observed.

“What's all this between you and Smith? I've got a part. It's only one line, but it's in the picture.” 48:55 · “It's ambition that made you break that date with me last night. Well, I had to be here so early this morning and... So did I.” 48:59

Evidence, details and a link to share

Model synopsis: A woman in a dark dress speaks with two men in a formal office setting; one man sits at a desk while another stands beside her. The dialogue suggests a casting decision is being discussed, with one man agreeing to work with the woman if she succeeds.

Named: Oliver (t:49:41), Mr. Niles (t:49:41). 3 people observed.

“Well, you've been through the whole casting directory. I'll work day and night, Mr. Niles. And I'll work with her, Oliver. And I can be mean…” 49:41 · “If she clicks, Oliver, you've got a star overnight.” 49:48

Evidence, details and a link to share

Model synopsis: A man in a suit leans forward over a table toward a seated person while a woman in a dark dress stands behind him, all in a dimly lit interior. No dialogue or on-screen text is present in this beat.

3 people observed.

Evidence, details and a link to share

Model synopsis: The frame displays a title card for a film titled 'The Enchanted Hour' presented by Oliver Miles and starring Norman Maine. No people, actions, or settings are depicted beyond the text on screen.

Evidence, details and a link to share

Model synopsis: A man and a woman sit together in a theater audience, watching a film. A voice speaks about hearing something at the end of the picture.

5 people observed.

“Wait till you hear them at the end of the picture.” 50:32

Evidence, details and a link to share

Model synopsis: A person's hands are shown in close-up, followed by a cinema audience watching a film that includes a title card and a scene with two figures on screen. A character speaks about leaving and being unnoticed by others playing croquet.

• A close-up of hands, one placing a ring on the other's finger. [frame:1]
• A cinema audience watches a film that displays a title card reading 'When the world tripped politely to the genteel music of spinnets.' [frame:2]
• The film on screen shows two figures in a room with curtains and a fan. [frame:3]

3 people observed.

“I'm going to go.” 50:36 · “Do you think we were noticed? By no one. They're much too busy playing at croquet.” 50:58

Evidence, details and a link to share

Model synopsis: A man and a woman are seated together in a dark theater, holding hands and watching a film. The woman speaks about loving the man since their recent meeting, which she describes as the beginning of her life.

• A man and a woman are seated in a theater watching a film. [frame:1]
• The man and woman hold hands while seated. [frame:2]
• The woman smiles while looking at the man. [frame:3]
• 1 more under Evidence and details.

2 people observed.

“I've loved you all my life, but we only met two days ago. I” 51:10 · “That's when my life began.” 51:15

Evidence, details and a link to share

Model synopsis: A theater marquee displays 'PREVIEW TONITE' at night, with silhouetted pedestrians and vehicles on the street below. No people are clearly visible or audible, and no spoken names or events are recorded in this beat.

Evidence, details and a link to share

Model synopsis: A group of people, including a man in a suit and hat and a woman in a dark coat, are seen in a dimly lit interior space, possibly a theater lobby or backstage area, discussing a film featuring Vicki Lester and Norman Maine. The conversation suggests the film is a success and mentions a party at the Trocadero, while one frame shows a person silhouetted in a doorway marked 'EMERGENCY EXIT ONLY'.

• A man and a woman stand talking in a crowded interior space. [frame:1]
• The man in the suit and hat speaks to the woman in the dark coat. [frame:2]
• A man in a suit walks past other people in the background. [frame:3]
• 1 more under Evidence and details.

4 people observed.

“Hey, T.T., you know, I think she's the same type I am, don't you? I think she's sweet. Well, it's Vicky Lester's picture, all right. I thi…” 51:42 · “These producers are so horribly dumb, they won't know how good she is. Well, maybe it's because she's a good girl.” 51:50

Evidence, details and a link to share

Model synopsis: A woman in a green coat and a man in a hat are visible in a dim interior; the scene cuts to an exterior night shot of the Cafe Trocadero with cars and people outside. A voice says 'A star is born' and 'Come on, son.'

• A woman holds a cigarette while looking distressed; a man stands behind her in shadow. [frame:1]
• Exterior night view of the Cafe Trocadero with cars and figures moving outside. [frame:2]

2 people observed.

“Isn't it spilling, running away from people?” 52:29 · “Norman, it's so exciting, so... So new.” 52:31

Evidence, details and a link to share

Model synopsis: A man and a woman stand together indoors near a window; the scene cuts to a night view of a city. The transcript includes remarks about a 'crazy quilt' and a 'coffin'.

• A man and a woman are standing together indoors near a window. [frame:1]
• The scene cuts to a wide shot of a city at night. [frame:2]

2 people observed.

“Wonderful, isn't it? Crazy quilt.” 52:47 · “Amen.” 52:50

Evidence, details and a link to share

Model synopsis: A man and a woman stand together in a dimly lit interior; the man speaks to the woman, who listens. The transcript indicates he is giving her something and expressing hope for her happiness.

Named: Comet (t:52:59). 2 people observed.

“All yours from now on.” 52:56 · “Comet, you're a success.” 52:59

Evidence, details and a link to share

Model synopsis: A man and a woman are in a dimly lit interior, speaking closely; the woman urges the man not to give up, calling him Norman. The man expresses fear and disbelief at her words.

• The woman looks up at the man with concern while speaking. [frame:1]
• The man leans toward the woman, his face close to hers, showing emotional intensity. [frame:2]

Named: Norman (t:53:48), Esther (t:53:48). 2 people observed.

“You can't throw away your life the way I've thrown away mine.” 53:38 · “Norman, you can.” 53:48

Evidence, details and a link to share

Model synopsis: A boxing match is shown in a ring under spotlights while spectators, including a man and a woman, watch from the audience. The woman smiles and the man appears tense as they observe the fight.

• A boxing match is underway in a ring with a referee and two boxers. [frame:1]
• A man and a woman in the audience watch the match; the woman smiles, the man looks tense. [frame:2]
• A close-up of a boxer in red shorts throwing a punch. [frame:3]
• 1 more under Evidence and details.

4 people observed.

“I'm going to go.” 54:05

Evidence, details and a link to share

Model synopsis: A shirtless man is visible in a dimly lit space with a dark background and a horizontal bar across the frame. No spoken dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Model synopsis: A man and a woman are shown in a close-up, both looking off-camera with expressions of surprise or alarm. The lighting is dim and focused on their faces, suggesting an interior setting.

2 people observed.

Evidence, details and a link to share

Model synopsis: A boxing match concludes with one fighter knocked down and the referee intervening; a man and woman are shown in close-up afterward. The transcript confirms a fighter was successfully hit.

• A boxer in red shorts stands over a fallen opponent while a referee intervenes. [frame:1]
• Two boxers lie on the ring floor as the referee stands over them. [frame:2]
• The standing boxer in red shorts is held back by the referee. [frame:3]
• 1 more under Evidence and details.

5 people observed.

“He got him! He got him! He certainly did.” 55:05

Evidence, details and a link to share

Model synopsis: A crowd of people is gathered under a sign reading 'HOLLYWOOD AMERICAN LEGION BAND'. The scene is dimly lit with overhead lights and appears to be outdoors at night.

Evidence, details and a link to share

Model synopsis: A crowded arena surrounds a boxing ring under bright lights. No individuals are named or speaking in this beat.

1 person observed.

Evidence, details and a link to share

Model synopsis: A man and a woman are shown in close proximity during a dialogue about marriage; the woman smiles while the man looks serious. The conversation includes proposals and plans to elope, as stated in the transcript.

• A man and woman are shown in close-up, facing each other. [frame:1]
• The woman smiles while looking at the man, who appears serious. [frame:2]

2 people observed.

“Norman. What? Would you do all that for me if I said I'd marry you?” 55:30 · “We're going to be married.” 55:43

Evidence, details and a link to share

Model synopsis: A man in a suit sits at a desk while two other people stand beside a woman; later, a man holds a paper as others look on. The transcript reveals a conversation about a studio decision and a secret wedding announcement involving 'Vicki Lester and Norman Maine'.

• A man sits at a desk and speaks. [frame:1]
• The man at the desk smiles. [frame:2]
• Two men and a woman stand together, smiling and holding hands. [frame:3]
• 1 more under Evidence and details.

4 people observed.

“What's the matter?” 56:03 · “Trying to decide whether it's good for the studio.” 56:05

Evidence, details and a link to share

Model synopsis: Three people are shown in a dimly lit interior, discussing an elopement that will involve military escort and bombing planes. One man holds a paper and speaks while the other man and woman react.

• Three people stand together, one holding a paper. [frame:1]
• The man in the patterned suit speaks animatedly. [frame:2]
• The man and woman look at each other with expressive faces. [frame:3]

3 people observed.

“slipped quietly through the portals of holy matrimony.” 56:25 · “How does it sound?” 56:28

Evidence, details and a link to share

Model synopsis: Three people are in a room with a desk; one man speaks while another listens and a woman stands nearby. A seated man at the desk appears to be handling paperwork as the others converse.

• The seated man at the desk continues working with papers. [frame:3]

4 people observed.

“Don't you think we can work this thing out better alone? No sense in bothering the happy couple with all the details.” 56:44 · “I'll see to it that you get a carbon copy of the whole layout. I can hardly wait.” 56:49

Evidence, details and a link to share

Model synopsis: Two men are in a private office; one seated at a desk gestures while speaking, the other stands and listens. The dialogue references a character named Vicki and discusses plans for a wedding instead of an elopement.

• A man seated at a desk gestures toward a standing man. [frame:1]
• The standing man looks down at his hands. [frame:2]

Named: Norman (t:57:09). 2 people observed.

“That's a charming match.” 57:04 · “Norman's all right. And if you'll pardon my pointing. Vicki's businesses are wrong.” 57:09

Evidence, details and a link to share

Model synopsis: Two men are shown in separate interior shots, one seated at a desk and the other gesturing while speaking. The transcript discusses an unconventional wedding venue, suggesting a beach with bridesmaids in bathing suits and schoolchildren spelling 'love'.

• A man in a suit sits at a desk holding papers. [frame:1]
• A man in a suit gestures while speaking. [frame:2]

2 people observed.

“Customary place, I believe, is a church. - Nah.” 57:28 · “The beach.” 57:35

Evidence, details and a link to share

Model synopsis: Two men are in a private office discussing a large public event; one man gestures while speaking about a parade with police escorts and confetti. The other man listens, seated at a desk with papers and a lamp.

• A man in a dark suit sits at a desk with papers and a lamp. [frame:1]
• A younger man in a patterned suit stands and gestures while speaking. [frame:2]
• The younger man leans forward and points while speaking. [frame:3]
• 1 more under Evidence and details.

2 people observed.

“It's a novelty, but is it big enough?” 57:48 · “Why not the city hall?” 57:51

Evidence, details and a link to share

Model synopsis: A wedding ceremony is in progress, with vows being exchanged between a man and a woman. A man is seen behind bars in a jail cell, and a woman in a fur-trimmed coat is shown in close-up.

• A man is seen behind jail bars. [frame:1]
• A woman in a fur-trimmed coat is shown in close-up. [frame:2]

Named: Esther Blodgett (t:58:29), Alfred Hinkle (t:58:18). 3 people observed.

“And now if any man can show just cause why these two may not be lawfully joined together...” 58:09 · “Alfred Hinkle. Take this woman as your lawful wedded wife.” 58:18

Evidence, details and a link to share

Model synopsis: A wedding ceremony is conducted indoors by a Justice of the Peace; a man and woman stand before him as he speaks. The officiant instructs someone to place a ring on the woman's finger and then pronounces the couple married.

Named: Justice of San Bardo Township (t:58:46). 4 people observed.

“Place the ring on her fingers.” 58:39 · “Hurry, please.” 58:41

Evidence, details and a link to share

Model synopsis: A man is visible behind bars, pressing his face and hands against the metal grating. No dialogue or on-screen text is present in this beat.

• A man presses his face and hands against jail bars. [frame:1]

1 person observed.

Evidence, details and a link to share

Model synopsis: A man in a suit speaks in a dimly lit interior while another man with a mustache stands nearby. The transcript indicates a command for silence and a statement about exercising an official prerogative.

3 people observed.

“Quiet!” 59:00 · “And now I must exercise my prerogative of office.” 59:05

Evidence, details and a link to share

Model synopsis: A man in a suit speaks to a woman in a feathered hat while another man looks on; they are indoors, and the dialogue suggests a formal occasion like a marriage license signing. The woman denies prior acquaintance with the man who questions her, and she states this is her first time in San Vardo.

Named: Mrs. Hinkle (t:59:11), Mrs. Hinkle (t:59:11). 3 people observed.

“I hope you'll be very happy, Mrs. Hinkle. Thank you.” 59:11 · “Thank you, sir. Thank you very much.” 59:15

Evidence, details and a link to share

Model synopsis: Two men exchange words and gestures in a dimly lit interior space; one man is seen from behind walking away through a doorway. A transcript line mentions 'Mr. Hinkley' and references escaping from someone named Libby.

• A man in a dark suit shakes hands with another man holding a woman. [frame:1]
• A man walks away through a doorway, seen from behind. [frame:2]

Named: Mr. Hinkley (t:59:31). 4 people observed.

“You know, your face is familiar too, Mr. Hinkley.” 59:31 · “Goodbye. - Goodbye. - See you again. - Goodbye. - No, I don't. Come here, please.” 59:37

Evidence, details and a link to share

Model synopsis: A man in a fedora is confronted outdoors by others; one line mentions a knife between his shoulder blades. Another man in a dark suit appears to restrain him while others observe.

• A man in a dark suit appears to restrain Jules. [frame:4]

5 people observed.

“Hello, Jules.” 59:50 · “If you will be kind enough to glance between my shoulder blades...” 59:54

Evidence, details and a link to share

Model synopsis: A vintage convertible is parked on a street next to a building with bare trees. No people or dialogue are visible or audible in this beat.

Evidence, details and a link to share

Model synopsis: Two men converse outside a building, then the scene cuts to a courtroom where a man in a suit stands before a judge, and another man in a hat speaks into a phone. A transcript line references 'People versus Forky Washington' and a call to the Los Angeles Tribune.

• A man in a suit stands before a judge in a courtroom. [frame:2]
• A man in a hat speaks into a telephone receiver. [frame:3]

Named: Forky Washington (t:60:30). 5 people observed.

“There go a couple of rats I raised for mice.” 60:18 · “People versus Forky Washington.” 60:30

Evidence, details and a link to share

Model synopsis: A man on the phone reports a marriage between Norman Maine and Vicki Lester to Johnny, while a judge is shown in a courtroom. The final frame is dark and indistinct.

• A judge is seated in a courtroom. [frame:2]
• The screen is dark with no discernible image. [frame:3]

Named: Matt Libby (t:60:47). 2 people observed.

“Johnny? This is Matt Libby. I got a flash for you.” 60:47 · “Norman Maine and Vicki Lester were married at 2:30 this afternoon. Vicki Lester?” 60:50

Evidence, details and a link to share

Model synopsis: A person is seen inside a vehicle and another in a kitchen; outdoor scenes show a desert and a forested mountain area. Spoken lines reference wanting a horse and making a 'wahoo' sound.

• A vehicle is seen driving across a desert landscape. [frame:1]
• A forested mountain area is shown with trees and rocks. [frame:2]
• A man is visible inside a vehicle, looking out the window. [frame:3]
• 1 more under Evidence and details.

2 people observed.

“Oh, give me a horse, a great big horse, a great big buckaroo.” 61:17 · “Let me wahoo, wahoo, wahoo!” 61:47

Evidence, details and a link to share

Model synopsis: A vehicle and a trailer are parked in a wooded area. A person is audible but not visible, exclaiming "Wahoo!".

1 person observed.

“Wahoo!” 61:57

Evidence, details and a link to share

Model synopsis: A man in a hat is visible inside a vehicle at night. He speaks the line 'Come on.'

1 person observed.

“Come on.” 62:08

Evidence, details and a link to share

Model synopsis: A woman in a light shirt and apron stirs a bowl while seated; a man in a dark hat and coat leans forward intently. The transcript includes exclamations of "Wahoo!" and "A Wahoo."

• woman stirs contents of a metal bowl with a utensil [frame:1]
• man leans forward with intense expression [frame:2]

2 people observed.

“Wahoo!” 62:20 · “A Wahoo.” 62:23

Evidence, details and a link to share

Model synopsis: Two people are in a confined interior space, likely a train compartment, where one speaks about being gifted and suggests getting acquainted; they then kiss. One asks about time for a shower before dinner.

• The two people kiss. [frame:2]

2 people observed.

“But I think I've stripped a gift.” 62:28 · “Well, sit down, won't you, and let's get acquainted. We'll probably be seeing quite a bit of each other from now on.” 62:29

Evidence, details and a link to share

Model synopsis: A man and a woman are in a dimly lit interior space, possibly a kitchen or bathroom, searching for items like a shower, soap, and a washcloth. The woman handles a pot while the man, shirtless, appears to be looking for something; their dialogue suggests confusion and casual domestic interaction.

• A man searches for something while holding a pot. [frame:1]
• A woman stirs or handles something in a pot at a counter. [frame:2]

Named: Esther (t:63:16). 2 people observed.

“I never can remember where that thing is.” 62:53 · “Hey, Esther, there's no soap.” 63:16

Evidence, details and a link to share

Model synopsis: A man looks upward at a light in a dark room while a woman in a light-colored shirt speaks. The transcript includes dialogue about operating a device and praying for rain.

• A man looks upward at a light in a dark room. [frame:1]
• A woman in a light-colored shirt is visible, looking off-camera. [frame:2]

2 people observed.

“What?” 63:39 · “What do I do to make this thing work?” 63:40

Evidence, details and a link to share

Model synopsis: A man and a woman are in a dimly lit interior space; the man is shirtless and holding a towel while speaking, and the woman is seated and responding. The man asks her to close a door.

• Man looks upward with mouth open, holding a towel. [frame:1]
• Woman speaks while seated, looking toward the man. [frame:2]
• Man turns toward camera, holding towel, with serious expression. [frame:3]

2 people observed.

“I can't reach it. I can't get my hands up.” 63:48 · “If you're going there with your arms down, you'll never get your back.” 63:52

Evidence, details and a link to share

Model synopsis: A woman in a light-colored blouse is shown in profile against a dimly lit interior background. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Model synopsis: A person is seen from behind holding a microphone in darkness, then walking through a doorway into a dim room, followed by an exterior shot of a mountainous landscape with trees. No names or dialogue are provided in the transcript for this beat.

• A person holds a microphone in darkness. [frame:1]
• A person walks through a doorway into a dim room. [frame:2]
• An exterior shot of a mountainous landscape with trees is shown. [frame:3]

1 person observed.

Evidence, details and a link to share

Model synopsis: A woman urges a man named Norman to go outside and flag down a passing car for help; he reluctantly agrees. The car stops, and a man inside speaks with them, explaining he cannot offer assistance because he is far from town and busy.

• Norman exits the vehicle and approaches the car, while another man stands nearby. [frame:3]

Named: Norman (t:64:23). 4 people observed.

“Norman! Norman, here comes the car.” 64:23 · “Here, quick! - Quick what? - Quick, go out and stop them and ask for help.” 64:27

Evidence, details and a link to share

Model synopsis: A woman in a light blouse stands in a doorway while two men talk inside a vehicle at night; one identifies himself as Norman Maine and the other as Judd Baker. The conversation reveals they are stranded, short of food, and discussing the situation.

• A woman stands in a doorway while two men talk inside a vehicle. [frame:1]
• Two men are seated in a car at night, engaged in conversation. [frame:2]

Named: Judd Baker (t:65:13), Norman Maine (t:65:09). 3 people observed.

“- Don't you like the country? - No.” 64:57 · “My wife can't shoot. Well, you're sure up against it. Sorry I can't do anything for you. Wait, listen. I'll be frank with you.” 65:03

Evidence, details and a link to share

Model synopsis: A newspaper clipping titled 'CINEMA SIDELIGHTS' by Artie Carver is shown, featuring a photo of a man in glasses and text about a male star who stopped drinking. A voice says, 'I'm going to go.'

2 people observed.

“I'm going to go.” 65:30

Evidence, details and a link to share

Model synopsis: Two men are in a private office; one sits at a desk while the other stands beside it. The transcript reveals a conversation about publicity, a person named Maine, and a mention of 'Vicki' and 'Libby'.

• A man in a light suit sits at a desk writing while another man in a dark suit stands beside him. [frame:2]
• A newspaper clipping titled 'CINEMA SIDELIGHTS' is shown with text about a male star and a bride. [frame:1]

2 people observed.

“I got my prestige to look out for.” 65:42 · “And they left themselves sick when I even tried to get a decent mention of Maine.” 65:47

Evidence, details and a link to share

Model synopsis: A man in a dark suit speaks in a dimly lit interior. He expresses that exhibitors, critics, the public, and himself dislike someone, then asks who likes it.

1 person observed.

“Well...” 66:02 · “The exhibitors don't like him, the critics don't like him, the public don't like him, and I don't like him.” 66:04

Evidence, details and a link to share

Model synopsis: A man and a woman stand close together in a garden at dusk, speaking about a beach house and a castle they plan to live in. The man mentions checking the studio and has another surprise for the woman.

• Man and woman stand facing each other in a garden. [frame:1]
• Man embraces woman; they look at each other closely. [frame:2]

2 people observed.

“Oh, but, darling, this is almost too long.” 66:20 · “We were going to live at the beach house. Oh, we'll still keep the place at Malibu.” 66:25

Evidence, details and a link to share

Model synopsis: A person is visible near a pool surrounded by trees and foliage. The scene includes a swan on water and a poolside table, with a person speaking about leaving.

1 person observed.

“I'm going to go.” 66:43

Evidence, details and a link to share

Model synopsis: A woman in a light-colored suit stands by a pool, then embraces a man in a suit; they are later seen walking away through foliage. The transcript includes affectionate dialogue and a sudden interruption.

• Woman stands by a pool looking up. [frame:1]
• Man embraces woman by the pool. [frame:2]
• Man and woman walk away through dark foliage. [frame:3]
• 1 more under Evidence and details.

Named: Norman (t:67:00). 2 people observed.

“Oh, Norman, it's lovely.” 67:00 · “So are you, lovely.” 67:03

Evidence, details and a link to share

Model synopsis: A man in a patterned suit and hat directs a couple posing by a pool for photographs. The couple, a man and a woman, are positioned for a photo as another person stands nearby with a camera.

• A man in a suit and hat smiles at the camera. [frame:1]
• A man and woman embrace near a pool. [frame:2]
• A man bends over near a pool while a woman stands nearby. [frame:3]
• 1 more under Evidence and details.

4 people observed.

“That's it.” 67:17 · “Their honeymoon never ends.” 67:20

Evidence, details and a link to share

Model synopsis: A man in a suit sits while a woman in a uniform stands beside him near a pool; another man in uniform walks nearby. A producer is mentioned in the dialogue.

4 people observed.

“Now let's go after something different. You sit down and she'll stand up.” 67:33 · “Pretty radical, isn't it? Yeah, but in a nice way.” 67:38

Evidence, details and a link to share

Model synopsis: Three people stand outdoors in formal attire; one holds a hat. The setting appears to be a garden or patio with chairs and foliage.

3 people observed.

Evidence, details and a link to share

Model synopsis: A man in a suit shakes hands with another man while a woman in a light dress and gloves stands beside them. The woman smiles as the men greet each other by name.

• A man in a light suit shakes hands with another man in a dark suit while a woman stands beside them. [frame:1]
• The woman smiles broadly while looking toward the men. [frame:2]

Named: Vicky (t:67:57), Oliver (t:67:58). 3 people observed.

“Vicky, how well you're looking.” 67:57 · “Hello, Oliver.” 67:58

Evidence, details and a link to share

Model synopsis: Two men in suits stand facing each other outdoors. No dialogue or on-screen text is visible in the frame.

2 people observed.

Evidence, details and a link to share

Model synopsis: Two men in suits speak outdoors near a woman seated by lounge chairs; one holds a camera. A man named Oliver is addressed, and another named Otto is told his 'camera-smashing days are over.'

• Otto holds a camera and speaks. [frame:1]
• Oliver and Otto stand together outdoors. [frame:2]
• Otto holds the camera again, looking toward someone. [frame:3]
• 1 more under Evidence and details.

Named: Otto (t:68:13), Oliver (t:68:09), Miss Lester (t:68:18). 3 people observed.

“Well, come on, Oliver. Let you and me get exclusive. See you later, Vicki.” 68:09 · “Don't worry, Otto. My camera-smashing days are over.” 68:13

Evidence, details and a link to share

Model synopsis: Two men in suits are seated outdoors, discussing dividends and stock sales. One man gestures while speaking; the other listens and responds affirmatively.

2 people observed.

“Well, I'll have her.” 68:23 · “Very pleasant. I think we'll show two million on the next quarter.” 68:26

Evidence, details and a link to share

Model synopsis: A man in a suit sits and speaks during a conversation. The dialogue references a film's success and a character named Vicki becoming a star.

• A man in a suit is seated and speaking. [frame:1]

1 person observed.

“That was a little too quick, Oliver.” 68:51 · “Might have enchanted horror was a smash hit, wasn't it? Well, it made Vicki a star overnight.” 68:54

Evidence, details and a link to share

Model synopsis: Two men sit at a table outdoors near a pool, discussing business and one's career performance. One man questions if he is slipping, while the other responds that he has slipped.

• Two men sit at a table outdoors near a pool. [frame:1]

Named: Norman (t:69:01). 2 people observed.

“Let's talk about business at the office, Norman.” 69:01 · “Beautiful pool you have here. Beautiful. Oh, now, let's talk about it here. Here.” 69:04

Evidence, details and a link to share

Model synopsis: Two men sit outdoors at a table, one speaking to the other about fan mail and theater critics. The conversation references Norman's recent performances and public reception.

• Two men sit at a table outdoors, engaged in conversation. [frame:1]

Named: Norman (t:69:30). 2 people observed.

“Norman, Norman. Fans will write to anybody for a photograph.” 69:30 · “It only cost three cents for a stamp.” 69:33

Evidence, details and a link to share

Model synopsis: Two men discuss a film contract and casting plans; one mentions a script for Esther and a separate project with Pemberton. One man decides to leave after the conversation.

2 people observed.

“Let's call off the contract. No hard feelings.” 69:59 · “We're not quitting, either of us.” 70:02

Evidence, details and a link to share

Model synopsis: A newspaper clipping about a contract involving Norman Maine and Niles is shown, while off-screen dialogue includes someone taking a message for Miss Lester. No named individuals are visually present or explicitly identified by name in the dialogue.

• A newspaper clipping about Norman Maine and Niles is displayed. [frame:1]

Named: Miss Lester (t:72:07). 2 people observed.

“No argument.” 71:05 · “No. Oh, Miss Lester isn't home yet.” 72:07

Evidence, details and a link to share

Model synopsis: Two men are shown in separate shots talking on telephones in what appears to be an office setting. One man is identified by name as Norman during the conversation, and the other is addressed as Artie.

Named: Norman (t:72:18), Artie (t:72:27). 2 people observed.

“Oh, is that you, Norman?” 72:18 · “Say I hear you through with Oliver Niles.” 72:27

Evidence, details and a link to share

Model synopsis: A man in a suit is seen on the phone at a desk, then another man in a suit is shown on the phone in a different room; the transcript reveals a conversation about a contract settlement and a request for an interview with someone named Vicki. No names are spoken that can be attached to the visible individuals.

2 people observed.

“Say, what kind of a settlement did you make on your contract?” 72:35 · “There was no money involved.” 72:40

Evidence, details and a link to share

Model synopsis: A woman with red nail polish is seen smiling and embracing someone in a dark setting. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Model synopsis: A close-up shows a floral pillow, a tipped-over cup, scattered white balls, and a small mirror on a dark surface. No people or dialogue are visible or audible in this beat.

Evidence, details and a link to share

Model synopsis: A woman speaks to a man in a dimly lit interior, then they walk away from the camera toward a doorway. The dialogue suggests a domestic interaction about plans for the evening.

• A woman leans close to a man and speaks to him. [frame:1]
• The man and woman walk away from the camera toward a doorway. [frame:2]

2 people observed.

“Amen.” 73:12 · “I didn't mean to be late, darling, but Casey wanted to...” 73:14

Evidence, details and a link to share

Model synopsis: A man and a woman are in a dimly lit room; the woman, wearing a headscarf and apron, speaks about cooking and marriage while the man listens and then walks away. The dialogue suggests a domestic setting with servants absent, and the man exits the room as the woman remains seated.

• The man turns and walks away from the woman. [frame:2]
• The man exits the room, leaving the woman seated. [frame:3]

2 people observed.

“but it's the servants' night out. We haven't any. We have. We have.” 73:37 · “I fixed a little snack with my own lily white hand.” 73:40

Evidence, details and a link to share

Model synopsis: A woman adjusts her hair in a mirror while a man stands nearby; later, the man leans over a table as the woman stands beside him in a room with furniture and a lamp. Dialogue includes apologies and comments on appearance.

• Woman adjusts her hair while looking in a mirror. [frame:1]
• Woman continues adjusting her hair in the mirror. [frame:2]
• Man leans over a table while woman stands beside him. [frame:3]

2 people observed.

“I'm sorry.” 74:15 · “How's it look?” 74:20

Evidence, details and a link to share

Model synopsis: A woman in a blue dress holds a small object to her mouth in a dimly lit room. She speaks, remarking that her mouth is not big enough.

• A woman holds a small object to her mouth. [frame:1]

1 person observed.

“Huh?” 74:33 · “I'm afraid my mouth's not quite big enough.” 74:45

Evidence, details and a link to share

Model synopsis: A man in a suit speaks to another person whose back is to the camera; he mentions taking measurements immediately. The setting appears to be an interior room with dim lighting and curtains.

2 people observed.

“I'll measure it next time. We'll make them decide.” 74:49 · “It's a little hard to lift.” 74:53

Evidence, details and a link to share

Model synopsis: A man and a woman are shown in close proximity in one frame, and in another frame the man stands while the woman sits at a table with food. The transcript includes repeated use of the word 'Amen' and references to rushing home, changing costume, and being hungry.

• A man leans close to a woman's face. [frame:1]
• A man stands holding a plate while a woman sits at a table with food. [frame:2]

2 people observed.

“Amen.” 75:05 · “That's why I rush home with Aunt Pelle.” 75:14

Evidence, details and a link to share

Model synopsis: A man in a suit helps a woman in a light-colored dress with her back; she reacts with relief or emotion. The dialogue includes requests for help with her dress and remarks about breakfast and zippers.

2 people observed.

“Mama, will you unhook my dress? I can't breathe.” 75:41 · “I made you breakfast.” 75:48

Evidence, details and a link to share

Model synopsis: A man and a woman are shown in a close embrace on a dimly lit stage or set with curtains; the transcript suggests a romantic context involving a 'guy on your list' and someone being 'in love with' him. No names are spoken in the supplied lines, and no time of day or period is established.

• A man and woman are embracing on a stage with curtains. [frame:1]

2 people observed.

“Don't look now, but” 76:08 · “guy on your list.” 76:12

Evidence, details and a link to share

Model synopsis: A man and a woman are in a close embrace indoors when a doorbell rings; the man says he will answer it. The scene includes ambient rain sounds and dialogue suggesting reluctance to answer the door.

• The man and woman are embracing in a close-up shot. [frame:1]

Named: dear (t:76:39). 2 people observed.

“The doorbell.” 76:30 · “Maybe they'll go away.” 76:32

Evidence, details and a link to share

Model synopsis: A man in a light suit stands near a doorway in a dimly lit interior room, holding an object. The room contains furniture and a bookshelf, suggesting a private space.

1 person observed.

Evidence, details and a link to share

Model synopsis: A man in a suit delivers a package to a doorway where another man answers; the delivery person identifies himself as the recipient's husband. The recipient, Ricky Lester, responds with skepticism before confirming his presence.

Named: Ricky Lester (t:76:49), her husband (t:76:55). 2 people observed.

“Does Ricky Lester live here?” 76:49 · “I got a package for him.” 76:50

Evidence, details and a link to share

Model synopsis: Two men are shown in close-up, one in a dark uniform and cap facing another in a light suit. The man in the suit looks down while the other looks at him, suggesting a moment of confrontation or serious conversation.

2 people observed.

Evidence, details and a link to share

Model synopsis: Two men are shown in a dimly lit interior, one facing the camera with a serious expression while the other is seen from behind. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Model synopsis: A man in a suit speaks to a seated woman in a dimly lit room; he mentions a benefit at the Shrine Auditorium and an academy dinner. The woman is holding papers and the man stands near a table with documents.

• The man walks into the room and approaches the seated woman. [frame:1]
• The man stands beside a table covered with papers while speaking to the woman. [frame:2]
• The man looks directly ahead with a serious expression. [frame:3]

Named: Artie (t:77:48), Harlow (t:77:49). 2 people observed.

“I'm going to go.” 77:12 · “They want you for a...” 77:26

Evidence, details and a link to share

Model synopsis: A woman in a light-colored blouse with a dark bow sits and speaks while a man in a suit stands close to her. The dialogue suggests they are discussing something they wish to avoid and a decision to have a drink.

• The man stands close to the woman as she speaks. [frame:2]

2 people observed.

“I told him I'd try.” 77:54 · “Don't talk about those.” 78:01

Evidence, details and a link to share

Model synopsis: A woman in a light-colored blouse with a dark bow tie is shown in a close-up, looking slightly off-camera with a neutral expression. She is indoors, and no other people, objects, or on-screen text are visible in the frame.

• A woman is visible in a close-up, looking slightly off-camera. [frame:1]

1 person observed.

“No.” 78:16

Evidence, details and a link to share

Model synopsis: The frame is entirely black; no visual content is present. No dialogue or on-screen text is provided for this beat.

Evidence, details and a link to share

Model synopsis: A dimly lit stage or theatre interior is shown with silhouetted figures and a large screen or backdrop displaying indistinct text. No people are clearly visible, and no dialogue or on-screen text is legible.

Evidence, details and a link to share

Model synopsis: A man and a woman sit at a table in a crowded hall with other formally dressed guests. The setting appears to be a formal dinner or awards ceremony with a stage and orchestra visible in the background.

4 people observed.

Evidence, details and a link to share

Model synopsis: A man in a tuxedo speaks at a formal dinner while a woman in a dark dress listens; the transcript announces an Academy Award being presented to Vicky Lester for her role in 'Dream Without End'. The event is an awards ceremony honoring contributions to the motion picture industry.

• A man speaks at a dinner table while a woman listens. [frame:1]

Named: Vicky Lester (t:79:23). 2 people observed.

“the annual dinner of the Academy of Motion Picture Arts and Sciences.” 78:47 · “We now pay honor to the ladies.” 79:05

Evidence, details and a link to share

Model synopsis: A man and a woman stand on a stage facing an audience in a dimly lit venue. The audience is visible in the background, and the stage has minimal props.

3 people observed.

Evidence, details and a link to share

Model synopsis: A man in a tuxedo holds a microphone and an award on a stage while a woman in a black dress sits beside him; an orchestra is visible behind them. The transcript includes a question addressed to 'Miss Lester' and a statement that 'this says it all for us.'

• A man in a tuxedo holds a microphone and an award on stage while a woman in a black dress sits beside him. [frame:1]

Named: Miss Lester (t:79:52). 3 people observed.

“What more can we say, Miss Lester?” 79:52 · “This says it all for us.” 79:54

Evidence, details and a link to share

Model synopsis: A woman in a dark dress speaks into a microphone on a dimly lit stage while applause is heard. She delivers a speech about being unable to find words to express her feelings, ending with a self-referential comment about the speech being pretty.

1 person observed.

“Ladies and gentlemen,” 80:12 · “When something like this happens to you,” 80:15

Evidence, details and a link to share

Model synopsis: A man in a suit stands on a stage addressing an audience, while a woman in a dark dress holds an award statuette. The transcript includes lines about congratulating someone and dismissing the value of awards.

• A man stands on a stage facing an audience. [frame:1]
• The man gestures while speaking to the audience. [frame:2]
• A woman holds a statuette and looks toward the speaker. [frame:3]

3 people observed.

“You said the right thing.” 80:42 · “I want to be the very first one to congratulate you. Well, that's a not-valuable little piece of brick a right.” 80:44

Evidence, details and a link to share

Model synopsis: A man in a suit speaks at a podium holding an award statue; a woman in a dark dress holds a similar statue; two other men in formal wear are shown in reaction shots. The speaker requests three statues for worst performances, claiming he earned them.

• A man stands at a podium holding an award statue. [frame:1]
• A woman holds an award statue while looking toward the speaker. [frame:2]
• A man in a suit looks on with a serious expression. [frame:3]
• 1 more under Evidence and details.

4 people observed.

“What I want's a special award.” 81:03 · “I want to set you for the worst performance of the year.” 81:08

Evidence, details and a link to share

Model synopsis: A man in a tuxedo and a woman in a dark dress are shown in a dimly lit venue with other guests; a man in a suit speaks while standing. The transcript includes fragmented lines about music and a choice regarding 'him'.

• A man in a tuxedo sits at a table with a woman in a dimly lit restaurant. [frame:1]
• A man in a suit speaks with a serious expression. [frame:2]
• A man in a suit stands and turns away from a table with flowers. [frame:3]
• 1 more under Evidence and details.

4 people observed.

“Talk to music.” 81:28 · “What I'm here to find out is...” 81:30

Evidence, details and a link to share

Model synopsis: A man in a dark suit and striped tie is shown in a close-up, looking off-camera with a serious expression. The background is dark and indistinct, suggesting an interior setting with shallow depth of field.

1 person observed.

Evidence, details and a link to share

Model synopsis: A woman in a dark dress is shown in a close-up against a dark background. No dialogue or action is visible in this single frame.

1 person observed.

Evidence, details and a link to share

Model synopsis: A man and a woman stand together at a crowded event; another man approaches them. The woman holds a trophy. A third man is seated at a table, looking away.

Named: Oliver (t:82:08). 4 people observed.

“Tell me, darling, let's go and sit down.” 81:46 · “Come on, Norman. Get the ladder.” 81:55

Evidence, details and a link to share

Model synopsis: Two women and a man are in a crowded formal setting; one woman holds an Oscar statuette and is being congratulated. The scene is lit for a formal event, with guests in evening wear visible in the background.

• A woman in blue leans toward a seated woman holding an Oscar statuette. [frame:1]
• The seated woman looks down at the Oscar statuette. [frame:2]

3 people observed.

“My dear.” 82:10 · “Do let me congratulate you.” 82:11

Evidence, details and a link to share

Model synopsis: A man in a suit sits at a table with a drink and a statuette; a voice requests a drink. The setting appears to be a formal event with dim lighting and other guests in the background.

1 person observed.

“Somebody give me a drink.” 82:24

Evidence, details and a link to share

Model synopsis: A woman with red hair sits in a dimly lit interior, holding an object. A voice says 'Come on.'

• A woman sits holding an object in a dim room. [frame:1]

1 person observed.

“Come on.” 82:35

Evidence, details and a link to share

Model synopsis: A single dark frame shows an indistinct, blurry view through a gap or opening, with no identifiable people, objects, or setting. No dialogue or on-screen text is present.

Evidence, details and a link to share

Model synopsis: A man and a woman converse in a dimly lit room; the woman is seated and appears emotional. The dialogue suggests a reunion after a tour and includes a comment about her crying.

Named: Vicki (t:82:54). 2 people observed.

“Oliver, nice of you to come to my dressing room. Vicki, how are you? I've missed you. Everyone's missed you. Have a nice trip.” 82:54 · “Miss Lester, if I may talk sharp, you are a nutter.” 83:10

Evidence, details and a link to share

Model synopsis: A man in a suit asks a woman in a blue dress about someone named Norman. The woman is visible in a close-up, listening or responding.

2 people observed.

“How's Norman?” 83:22

Evidence, details and a link to share

Model synopsis: A woman in a blue gown and a man in a suit are in a dimly lit room, discussing another man named Norman who has left the studio and entered a sanitarium to stop drinking. The conversation is serious and the setting appears to be a private interior space.

• The woman is standing while Arthur is standing near a doorway. [frame:1]
• Arthur is shown in a close-up, looking serious. [frame:2]
• The woman and Arthur are seated together on a sofa. [frame:3]
• 1 more under Evidence and details.

Named: Arthur (t:83:30). 2 people observed.