Detour (1945)

Model synopsis: A man sits in the driver's seat of a car at night, speaking with someone off-screen. The dialogue suggests a tense, reluctant interaction during a nighttime ride, with references to destinations and a desire for company.

• A man sits in a car at night, looking forward while speaking. [frame:1]

2 people observed.

“Well here we are I turned down here the next block. Thanks mister. I'll get off there.” 1:24 · “I thought if you had no other might be able to help you out. Push in the Salt Lake and I don't like the ride alone at night.” 1:50

Evidence, details and a link to share

Model synopsis: A man wearing a fedora and a suit jacket is shown in a 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 man in a hat is shown in a dimly lit interior, speaking about music he dislikes and reflecting on past memories tied to a song and a woman named Sue. The transcript includes dialogue about freedom to play music and nostalgia for a club in New York.

• A man in a hat is shown in close-up, looking distressed. [frame:1]

Named: Sue (t:4:19). 1 person observed.

“Hey, turn that off. You turn that thing off. What's eating you now? Yeah, what's eating you? That music, it stinks.” 2:58 · “I used to love that song once. So did the customers back in the old Break of Dawn Club in New York.” 4:10

Evidence, details and a link to share

Model synopsis: A woman in a formal dress stands smiling behind a man in a tuxedo; other men in tuxedos are seated nearby. The transcript includes lines about disbelief at being loved and telling others about it.

• The woman stands behind the man in the tuxedo, smiling. [frame:1]
• The man in the tuxedo looks to his right. [frame:1]
• Other men in tuxedos are seated in the background. [frame:1]

4 people observed.

“I never knew what they could do. I can't believe that you're in love with me.” 4:53 · “You're telling everyone you know that I'm on your mind each place you go.” 4:53

Evidence, details and a link to share

Model synopsis: A man in a fedora speaks about his past job at a small club and mentions a woman named Sue. The scene is a close-up shot of him, with no visible environment beyond his face and hat.

Named: Sue (t:5:56). 1 person observed.

“that you love me. And after all is said and done to think that I'm the lucky one, I can't believe that you're in love with me.” 5:23 · “It wasn't much of a club, really.” 5:45

Evidence, details and a link to share

Model synopsis: A woman in a beret and coat stands near a man in a hat and coat in a curtained room; the narrator reflects on a typical romance. No names are spoken, and the setting appears to be an interior space with minimal furniture.

2 people observed.

“But how we felt about each other, well, there was nothing very unusual in that. I was an ordinary healthy guy and she was an ordinary health…” 6:15 · “which is the old story” 6:25

Evidence, details and a link to share

Model synopsis: A man and a woman are shown in a close-up; the man smokes a cigarette. The transcript includes dialogue about Carnegie Hall, being a janitor, and leaving a place called 'this trap.'

• A man smokes a cigarette while a woman looks at him. [frame:1]

2 people observed.

“Mr. Paderewski, I presume. It's beautiful. You're going to make Carnegie Hall yet, Al? Yeah.” 6:55 · “As a janitor.” 7:01

Evidence, details and a link to share

Model synopsis: A man and a woman argue in a dimly lit interior about marriage and her plan to leave for California. The woman insists she will go to California to try her luck, while the man dismisses the idea as foolish.

• The man and woman stand facing each other in a dim interior. [frame:1]

Named: Al (t:8:10). 2 people observed.

“It's a funny way to talk, darling. Don't you want to marry me? Al, look, I love you. You know I do, and I want to marry you.” 8:10 · “Only after we've made good.” 8:19

Evidence, details and a link to share

Model synopsis: A man and a woman stand close in a dimly lit interior, speaking emotionally about separation and future reunion. The woman asks for a kiss goodnight, and the man agrees before the scene ends.

• A man and a woman stand facing each other in a dimly lit room. [frame:1]

Named: Al (t:9:05). 2 people observed.

“I'll make out all right. Maybe. But what about me? Doesn't it mean anything to you that you're busting up all our plans?” 8:44 · “Al, why can't you see my side of it? I'm young.” 9:05

Evidence, details and a link to share

Model synopsis: A man in a dark suit and bow tie is shown in profile, looking left. The background is dark with a patterned wooden object visible to his left.

1 person observed.

Evidence, details and a link to share

Model synopsis: A close-up shows hands playing a piano. No dialogue or other actions are visible or audible in this beat.

• Hands play the piano. [frame:1]

1 person observed.

Evidence, details and a link to share

Model synopsis: A man in a dark suit and bow tie is shown in profile next to a decorative cabinet. The setting appears to be an interior room with dark curtains.

1 person observed.

Evidence, details and a link to share

Model synopsis: A group of people sit at tables in a dimly lit room with curtains and a piano. No dialogue or on-screen text is present in this beat.

5 people observed.

Evidence, details and a link to share

Model synopsis: A man in a dark suit is shown in profile next to a decorative cabinet, followed by a close-up of hands playing a piano. No dialogue or on-screen text is present in these frames.

• hands play piano keys [frame:2]

1 person observed.

Evidence, details and a link to share

Model synopsis: A man in a suit sits at a table in a dimly lit room with curtains and other patrons; another man stands near a piano while a woman sits at a nearby table. No dialogue or on-screen text is present in this beat.

5 people observed.

Evidence, details and a link to share

Model synopsis: A man in a light shirt hands money to a seated man in a dark suit; the transcript indicates the seated man is named Roberts and has won ten dollars. The scene is indoors with dark curtains in the background.

• A man in a light shirt hands money to a seated man in a dark suit. [frame:1]

Named: Roberts (t:11:26). 2 people observed.

“Say, Roberts, you hit the jackpot this time. Ten bucks.” 11:26

Evidence, details and a link to share

Model synopsis: A man in a suit is shown in close-up, looking downcast. The transcript reveals his internal monologue dismissing money as worthless.

• The man is shown in a close-up, looking downcast. [frame:1]

1 person observed.

“So when this drunk handed me a 10 spot after a request, I couldn't get very excited. What was it I asked myself? A piece of paper calling wi…” 11:38 · “It couldn't buy anything I wanted. It couldn't...” 11:45

Evidence, details and a link to share

Model synopsis: A man in a tuxedo stands in a dimly lit restaurant with patrons seated at checkered-tablecloth tables; a woman in the foreground looks toward the camera. A voice says, 'And I thought of something.'

• A man in a tuxedo stands in a restaurant while patrons sit at tables. [frame:1]
• A woman in the foreground looks toward the camera. [frame:1]

5 people observed.

“And I thought of something.” 11:53

Evidence, details and a link to share

Model synopsis: A man in a white shirt is shown at a switchboard, and a woman with blonde hair is shown on the phone in a patterned armchair. The transcript reveals a long-distance call from Al to Sue Harvey in Los Angeles, during which he learns she is working as a 'hashlinger' and promises to come to her.

• A man is at a switchboard preparing to place a long-distance call. [frame:1]
• A woman answers the phone in a patterned armchair. [frame:2]

Named: Sue Harvey (t:12:18), Al (t:12:58). 3 people observed.

“Long distance. I could put a call through to Los Angeles. Miss Harvey.” 12:18 · “Sue Harvey, H-A-R-V-E-Y. The number is Crestview 65723.” 12:23

Evidence, details and a link to share

Model synopsis: A character narrates their decision to hitchhike across the country due to lack of money, expressing skepticism about the romanticism of the practice and foreshadowing danger. The only visual is a map of Oklahoma with labeled towns and highways.

1 person observed.

“No, don't try to stop me. Just expect me.” 13:26 · “The only way I could cross country was to come rides. Or even after hocking everything I only had enough money to eat. Money.” 14:00

Evidence, details and a link to share

Model synopsis: A man in a hat sits in the driver's seat of a convertible car. He is told to ensure the door is closed before they depart.

• Man in hat sits in driver's seat of convertible. [frame:1]

1 person observed.

“Not the backseat.” 15:30 · “Okay, let's go. Make sure that door is closed.” 15:33

Evidence, details and a link to share

Model synopsis: A man in a hat sits in the driver's seat of a car, looking toward the passenger side. He asks the passenger to hand him a box and to hold the wheel while he reaches for it. The transcript discusses the social rules of hitchhiking and the narrator's hesitation to speak to strangers.

• A man in a hat sits in the driver's seat of a car, looking toward the passenger side. [frame:1]

1 person observed.

“You know, Emily Post ought to write a book of rules for guys thumbing rides. Because as it is now, you never know what's right and what's w…” 15:50 · “Hand me that little box in the compartment, will you, pal? Hold the wheel, will you?” 16:03

Evidence, details and a link to share

Model synopsis: Two men in hats drive a convertible on a road through hilly terrain. One man is shown in close-up, gripping the steering wheel and looking ahead.

2 people observed.

Evidence, details and a link to share

Model synopsis: Two men are in a car, one driving and one in the passenger seat, discussing travel to Los Angeles and the driver's hand scratches. The passenger notices the scratches and the driver acknowledges them with a comment.

• Two men are seated in a car, one driving, one passenger. [frame:1]

2 people observed.

“You can drive a car? Sure. Whenever you're tired, let me know. I'll holler.” 17:06 · “I guess at least an hour passed before I noticed those deep scratches in his right hand. They were wicked. Three puffy red lines about a q…” 17:13

Evidence, details and a link to share

Model synopsis: Two men are in a car at night, one driving and one in the passenger seat, discussing a woman the driver recently ejected. The conversation includes references to her being dangerous and the driver showing a scar.

• Two men sit in a car, one driving, one passenger, engaged in conversation. [frame:1]

2 people observed.

“I was tussling with the most dangerous animal in the world. A woman.” 17:33 · “I tossed her out of the car in her ear.” 18:03

Evidence, details and a link to share

Model synopsis: A man recounts a violent childhood incident involving a duel with another boy, resulting in injury and his subsequent flight from home. He then expresses hunger and concern about being perceived as desperate while seeking food.

• The man is visible in a vehicle, looking tense and speaking. [frame:1]

1 person observed.

“Now, give me that box again, will you? Yeah.” 19:03 · “Pain made me lose my head, I guess. I began slashing. Before I knew it, I put the other kid's eye out.” 19:18

Evidence, details and a link to share

Model synopsis: A man speaks in a car at night while another sleeps; the speaker reflects on money, racing, and a woman named Sue. The car interior is dark, and dialogue references a trip, a bookie past, and plans to return to Florida.

Named: Haskell (t:22:56). 2 people observed.

“I'll wait out here for you mister.” 20:16 · “Well, that's why you're... Pascal, make nothing out of it. You make your first million, maybe you can do the same for me. Come on, New York.…” 20:21

Flagged: time_of_day without evidence (night)

Evidence, details and a link to share

Model synopsis: A man in a fedora and coat is shown in shadow, leaning forward in a dark space. A voice-over speaks of being diverted from a chosen path after opening a door.

• A man in a fedora and coat leans forward in shadow. [frame:1]

1 person observed.

“But from then on something else stepped in and shunted me off to a different destination than the one I had picked for myself. The one I pu…” 23:34

Evidence, details and a link to share

Model synopsis: A man in a hat speaks directly to the camera, recounting a story about Haskell's death and his decision to hide the body and flee. He mentions witnesses, the police, and needing money for gas.

• A man in a hat speaks to the camera about Haskell's death and his own actions afterward. [frame:1]

Named: Mr. Haskell (t:23:46). 1 person observed.

“Mr. Haskell, what's the matter?” 23:46 · “But I know what you're gonna hand me even before you open your mouths.” 23:55

Evidence, details and a link to share

Model synopsis: A man drives a car at night while narrating his guilt over leaving a dead man's body and money behind. He is stopped by a police officer on a lonely road, then continues driving until he reaches a California state inspection station as the rain stops and the sun rises.

• man sits in car at night, looking forward [frame:1]

2 people observed.

“Besides, it was stupid of me to leave all that money on a dead man. Not only that, I'd have to take his driver's license in case I was stopp…” 25:24 · “Hey you this your car. Don't you know better to leave a car that we'll have way in the middle of the road.” 26:13

Evidence, details and a link to share

Model synopsis: A man in a car is questioned by two uniformed officers at a roadside checkpoint. The officers ask about luggage and verify his identity as Charles Haskell, Jr., while he states he will only be in the state briefly.

Named: Charles Haskell, Jr. (t:27:50). 3 people observed.

“Hello. Carrying any fruits or vegetables? Any livestock or poultry? No.” 27:41 · “driver's license please. Anything in the baggage compartment? What's baggage? Charles Haskell, Jr. Aids, 30 brown eyes, dark hair, identifyi…” 27:50

Evidence, details and a link to share

Model synopsis: A man drives a car at night, visibly exhausted, and decides to stop for sleep. He speaks about needing rest and mentions police presence as a factor in his decision.

• A man drives a car, seen from behind, with a rearview mirror showing his face. [frame:1]

1 person observed.

“Right you go now.” 28:16 · “I couldn't drive any farther without some sleep. Cops and no cops. I knew I had to hit the hay and hit it hard. I was dead tired.” 28:25

Evidence, details and a link to share

Model synopsis: A man in a striped robe sits at a desk with a suitcase, reacting to the death of Mr. Haskell and planning to assume his identity to escape. He reads Haskell's personal effects, learns he was a con artist posing as a hymnal salesman, and decides to drive to a large city to disappear.

• The man sits at a desk with a suitcase, appearing distressed. [frame:1]

Named: Mr. Haskell (t:29:16). 1 person observed.

“Mr. Haskell, he can't die.” 29:16 · “There was no time to lose. Every minute I had to be Charles Haskell was dangerous.” 30:17

Evidence, details and a link to share

Model synopsis: A man in a suit stands beside an open-top car at a roadside stop. He speaks about pulling up for water and noticing a woman, though she is not visible in the frame.

• A man stands beside a parked convertible car on a roadside. [frame:1]

1 person observed.

“I pulled up for water.” 32:27 · “There was a woman.” 32:29

Evidence, details and a link to share

Model synopsis: A man sits by a car with its hood open on a desert roadside while a woman with a suitcase walks toward him. The man calls out to her, offering a ride.

• man sits beside car with hood open [frame:1]
• woman walks toward car carrying suitcase [frame:2]

2 people observed.

“Hey, you! Come on if you want a ride.” 32:35

Evidence, details and a link to share

Model synopsis: A man sits in the driver's seat of a car parked at a roadside stop, looking out the window. The background shows a flat, arid landscape with sparse vegetation and a utility pole under a bright sky.

• A man sits in the driver's seat of a car, looking out the window. [frame:1]

1 person observed.

Evidence, details and a link to share

Model synopsis: A man and a woman are in a convertible car; the man is driving and the woman is in the passenger seat. The transcript describes the man noticing the woman’s appearance and age, and her disheveled look.

• The man and woman are seated in a convertible car. [frame:1]
• The woman is shown in profile, looking ahead. [frame:2]
• The man glances at the woman while driving. [frame:3]

2 people observed.

“- How far are you going? - How far are you going?” 33:25 · “I surprised and I turned my head to look her over. She was facing straight ahead, so I couldn't see her eyes. But she was young, not more th…” 33:29

Evidence, details and a link to share

Model synopsis: A woman named Vera is introduced in a car during a conversation with a man; she states she is going to Los Angeles. The setting is a vehicle interior with a road visible through the windshield.

• The woman turns to face the man and asks how far he is going. [frame:1]
• The man and woman are shown together in the car; she says she is going to Los Angeles. [frame:2]

Named: Vera (t:33:59). 2 people observed.

“Yet in spite of this, I got the impression of beauty. Not the beauty of a movie actress, mind you, or the beauty you dream about when you'…” 33:45 · “Then suddenly she turned to face me. How far did you say you were going? Los Angeles. L.A.? L.A.'s good enough for me, mister. That's wh…” 33:59

Evidence, details and a link to share

Model synopsis: A man and a woman are seated in a vehicle interior; the man speaks while driving. The transcript mentions Phoenix and a girl falling asleep in the car.

• A man and a woman are seated in a car; the man is driving and speaking. [frame:1]

2 people observed.

“Where you coming from? Oh, back there. Needles? No.” 34:24 · “Oh, sure. Phoenix. You look just like a Phoenix girl. And the girls in Phoenix left that? The girl must have been pretty tired because she…” 34:29

Evidence, details and a link to share

Model synopsis: A man and a woman are in a car; the man is driving and looking at the woman, who appears to be asleep or resting. The transcript reveals the man's internal monologue about his changing feelings toward her and his plans after reaching Los Angeles.

• The man drives the car while looking at the woman in the passenger seat. [frame:1]
• The woman rests with her head tilted back; the man looks at her with a serious expression. [frame:2]

Named: Sue (t:34:59). 2 people observed.

“It wasn't that this girl still worried me. I'd gotten over that funny feeling I had when she looked at me, which I put down as just my jangl…” 34:50 · “clothes and the test was gone out of her. She seemed harmless enough. And instead of disliking her, I began to feel sorry for her.” 34:59

Evidence, details and a link to share

Model synopsis: A man in a hat sits in the driver's seat of a car with a body in the passenger seat; he claims to be Charles Haskell and offers a driver's license as proof. Another man, audible but not visible, accuses him of lying and says the wallet makes his situation worse.

• A man in a hat sits in the driver's seat of a car with a body in the passenger seat. [frame:1]
• The driver looks toward the passenger side while speaking. [frame:2]

Named: Charles Haskell (t:35:29). 3 people observed.

“That's my name, Charles Haskell. I can prove it. It's my driver's license.” 35:29 · “Save yourself the trouble, mister. Having Haskell's wallet only makes it worse.” 35:29

Evidence, details and a link to share

Model synopsis: A man and a woman are seated in a car; the woman appears to be confronting the man. The transcript indicates the man realizes Vera is the woman Haskell mentioned and that Haskell is alive and in the car with him.

• A woman and a man are seated in a car, facing forward. [frame:1]

Named: Vera (t:35:59). 2 people observed.

“and it all came back to me. All the talk about dually and scars and scratches. There was no doubt about it. Vera must be the woman Haskell h…” 35:59 · “She must have passed me while I slept. Well? Well, I'm waiting. My goose was cooked. She had me.” 35:59

Evidence, details and a link to share

Model synopsis: Two people are seated in a convertible car, one driving and the other in the passenger seat, with the driver looking forward and the passenger looking at the driver. The setting appears to be outdoors during the day, with trees visible in the background.

2 people observed.

Evidence, details and a link to share

Model synopsis: A man in a fedora and jacket speaks directly to someone off-screen, recounting how he picked up a woman named Vera and confessed to her about a killing, which she disbelieves. The setting appears to be dimly lit and confined, with no visible windows or clocks.

• A man in a fedora speaks directly to someone off-screen, recounting how he picked up a woman named Vera and confessed to her about a killing. [frame:1]

Named: Vera (t:36:29). 1 person observed.

“There was nothing I could say. It was her move. Vera, whatever her name was.” 36:29 · “It was just my luck picking her up on the road.” 36:35

Evidence, details and a link to share

Model synopsis: A man and a woman are in a car, engaged in a tense conversation where the man insists on his innocence and the woman expresses disbelief. The setting is a vehicle interior during daylight, with no visible landmarks to establish a specific location.

2 people observed.

“I told her everything, but she didn't believe my story. I should have saved my breath. That's the greatest cock and ball story I ever hear…” 36:56 · “So he fell out of his car. Say, who do you think you're talking to, a hick? Listen, mister, I've been around, and I know a wrong guy when …” 36:56

Evidence, details and a link to share

Model synopsis: Two people are in a car, one driving and one in the passenger seat, engaged in a tense conversation about money and a man named Charlie Haskell. The dialogue suggests suspicion and accusation, with one person threatening to turn the other in to the police.

• A man and a woman are seated in a car, facing forward. [frame:1]
• The man turns his head to look at the woman while she looks ahead. [frame:2]
• The man turns his head to look forward again, the woman remains in profile. [frame:3]

2 people observed.

“It won't do me any good having you pinched. The cops are no friends of mine.” 37:27 · “He told me he was going to bet $3,000. on a horse named Paradisicle on Wednesday at Santa Anita.” 37:57

Evidence, details and a link to share

Model synopsis: A man and a woman are in a car; the man warns the woman not to argue or she will end up in jail, while she insists she is not a murderer. The man claims Haskell killed himself and that he took Haskell's belongings for a reason he explained.

• The man and woman are seated in a car, facing forward. [frame:1]
• The man and woman remain seated in the car, with the man looking ahead and the woman looking at him. [frame:2]

2 people observed.

“Don't get sore. I'm not getting sore. But just remember who's boss around here.” 38:27 · “If you shut up and don't give me any arguments, you'll have nothing to worry about.” 38:27

Evidence, details and a link to share

Model synopsis: A man and a woman are in a car, arguing about what to do with a vehicle they are driving; the woman suggests selling it to avoid police investigation. The man appears to be driving while the woman speaks, and they plan to stop at a store before heading to Los Angeles.

2 people observed.

“I'm not a mourner. I like Taskel even less than I like you.” 38:57 · “Sure, I scratched him. So you did.” 38:57

Evidence, details and a link to share

Model synopsis: A man and a woman are seated in a convertible car; the man drives while the woman looks at him. The setting appears to be outdoors on a road during daylight.

2 people observed.

Evidence, details and a link to share

Model synopsis: A man and a woman check into an apartment under false names; the woman insists on taking the bedroom while the man is told to keep windows shut. The narrator reflects on growing distance from a woman named Sue despite arriving in Hollywood.

• The man and woman stand at a desk with a clerk, checking into an apartment. [frame:1]

3 people observed.

“From now on, you and I are like the Siamese twins.” 40:00 · “A few hours later we were in Hollywood. I was recognizing places Sue had written about.” 40:31

Evidence, details and a link to share

Model synopsis: A man in a suit and hat and a woman in a striped blouse stand facing each other in a room with plain walls. The transcript includes dialogue about inventing something, a joint, and taking turns in the bathtub.

• A man and a woman stand facing each other in a room. [frame:1]

2 people observed.

“You know how to work it?” 41:44 · “I invented it.” 41:49

Evidence, details and a link to share

Model synopsis: A woman in a robe lies on a patterned couch while a man in a shirt stands near a door in a dimly lit room. The transcript includes dialogue about feeling clean and comments on maintaining a 'school girl complexion.'

• A woman lies on a couch holding a cigarette. [frame:1]
• A man stands near a door with his back to the camera. [frame:2]

2 people observed.

“Boy, oh boy. It sure feels good to be clean again. I must be ten pounds lighter. You must be.” 42:17 · “Well, bitch and rides isn't exactly the way you keep your school, girl complexion.” 42:27

Evidence, details and a link to share

Model synopsis: A man in a white shirt is seen from behind, gripping a window frame or blind, while a woman in a robe lies on a bed speaking. The dialogue suggests a tense confrontation about a past event and a drink offer that was not meant to be accepted.

• A man grips a window frame or blind from behind. [frame:1]
• A woman lies on a bed, speaking and gesturing with her hand. [frame:2]
• The man remains gripping the window frame, unchanged. [frame:3]

Named: Roberts (t:42:55). 2 people observed.

“I wish that guy with the sacks would give up.” 42:34 · “I didn't want to give you a drink. I wouldn't have offered it.” 42:50

Evidence, details and a link to share

Model synopsis: A man and a woman are in a bedroom; the man speaks to the woman, who is lying on a bed, about a death and insists he did not kill the person. The woman appears distressed and the man attempts to console her.

• The woman is lying on a bed, looking distressed. [frame:1]
• The man stands and looks at the woman with a concerned expression. [frame:2]
• The man leans over the woman, who is on the bed, and speaks to her. [frame:3]
• 1 more under Evidence and details.

2 people observed.

“So cheer up.” 43:08 · “Oh, is your conscience bothering you?” 43:13

Evidence, details and a link to share

Model synopsis: A character speaks about being out of liquor and wanting to get tight, while a bottle sits on a table. The dialogue suggests tension and personal trouble, with a reference to a corset and a wish to be tied.

• A bottle of liquor sits on a table. [frame:1]

Named: Roberts (t:44:13). 2 people observed.

“We're out of liquor, Roberts.” 44:13 · “I felt like getting tight tonight.” 44:18

Evidence, details and a link to share

Model synopsis: A woman in a robe sits on a bed while a man in a white shirt stands nearby; dialogue suggests tension between them. The setting is an interior room with furniture and wall decor visible.

• A woman sits on a bed wearing a robe. [frame:1]
• A man stands in the room, facing the woman. [frame:2]

Named: Roberts (t:44:52). 2 people observed.

“If I had your troubles, I'd stay sober.” 44:39 · “And I've got the key to that door.” 44:41

Evidence, details and a link to share

Model synopsis: A woman in a robe sits on a couch while a man in a white shirt stands nearby; dialogue suggests a tense conversation about life choices. The setting is an interior room with furniture and a lamp visible.

• A woman in a robe sits on a couch looking toward a standing man. [frame:1]
• A man in a white shirt stands in a room with furniture. [frame:2]
• The woman remains seated on the couch, now looking forward. [frame:3]

Named: Roberts (t:45:08). 2 people observed.

“Shit.” 44:58 · “But life's like a ball game.” 45:02

Evidence, details and a link to share

Model synopsis: Two people in a dimly lit room discuss death, fate, and their mutual dislike while surrounded by personal items. One person, wearing a robe, stands near a bed as the other speaks about escaping and selling a car.

• A woman in a robe stands in a bedroom near a bed and lamp. [frame:1]
• The woman remains standing, looking toward the camera or off-screen speaker. [frame:2]

Named: Roberts (t:47:33). 2 people observed.

“People themselves out trying to fuck fate. Now take you for instance.” 45:22 · “You're lucky to be alive.” 45:26

Evidence, details and a link to share

Model synopsis: A woman in a robe speaks to a man seated in a room, then the man stands with his back to the camera. The dialogue indicates she is locking him in and threatens police involvement if he leaves.

• A woman in a robe stands beside a seated man, speaking to him. [frame:1]
• The man stands with his back to the camera, facing a wall. [frame:2]

Named: Chris (t:48:54), Roberts (t:48:06). 2 people observed.

“I'm going to bed.” 47:55 · “Good night, Roberts. Don't try and sneak away during the night. All the doors are locked.” 48:06

Evidence, details and a link to share

Model synopsis: A woman sits on a bed holding a shoe, a man reads a paper at a desk, and a woman speaks on the telephone. The transcript includes fragmented dialogue and counting, ending with 'Hello' and 'Amen.'

• A woman sits on a bed holding a shoe. [frame:1]
• A man reads a paper at a desk. [frame:2]
• A woman holds a telephone receiver to her ear. [frame:3]

3 people observed.

“Oh, Chris, forgive me.” 48:54 · “Six. Five.” 49:04

Evidence, details and a link to share

Model synopsis: A woman is seen from behind at a vanity in a dimly lit room, speaking on the phone. The transcript includes her dialogue about a relationship and a character named Vera, followed by an off-screen sound and a shift to a conversation with someone named Mary about dealers and time.

• A woman is seated at a vanity, holding a telephone receiver to her ear. [frame:1]

Named: Mary (t:50:04). 1 person observed.

“If this were fiction, I would fall in love with her, marry her and make a respectable woman of her, or else she'd make some supreme class A …” 49:40 · “But Vera, unfortunately...” 49:57

Evidence, details and a link to share

Model synopsis: A man and a woman are in a car, discussing selling it and adopting false identities. They arrive at a used car lot and speak to a salesman.

• The man and woman are seated in a car, visible in a street scene with buildings and palm trees. [frame:1]

Named: Farrah Haskell (t:51:04). 3 people observed.

“Do I rate a whistle? You sure do, but let's go.” 50:20 · “I spent 85 bucks in two hours preparing bait and all you can say is let's go.” 50:36

Evidence, details and a link to share

Model synopsis: A man and a woman are in a car; the man holds a hat and looks at the woman while she speaks. The transcript mentions a car's value and a motor inspection.

• A man holds a hat while sitting in a car next to a woman. [frame:1]
• The woman looks at the man while speaking. [frame:2]

2 people observed.

“Well, if it's in good mechanical condition, it should blue book for about $1,600.” 51:40 · “Tony, take a look at this motor. $1,600. Are you kidding?” 51:45

Evidence, details and a link to share

Model synopsis: A man in a fedora sits in a convertible while another man inspects the car; they are in a lot with many parked vehicles. The transcript indicates they are negotiating over the car's price and considering insurance.

• A man in a fedora sits in a convertible. [frame:1]
• A mechanic inspects the car's engine while the man in the fedora watches. [frame:2]

2 people observed.

“Well, maybe 1850. Before I let it go for 1850, I'll wreck it and collect the insurance first.” 52:01 · “This motor's seen a lot of driving.” 52:10

Evidence, details and a link to share

Model synopsis: Two people negotiate a car sale, discussing papers, price, and insurance; one is identified as Mr. Haskell. The scenes shift from a car's interior to an outdoor setting and then to an office interior.

• A man in a checkered jacket reaches into a car's glove compartment. [frame:1]
• A man in a suit talks to a woman seated in a convertible car parked outside a house. [frame:2]
• Two men in suits and hats sit at a desk in an office, discussing papers. [frame:3]

Named: Mr. Haskell (t:53:04). 4 people observed.

“from his price. OK it's a deal. All right come on we'll find the papers I have the ownership papers on here with me. Look there in the meant…” 52:25 · “New York, huh?” 52:54

Evidence, details and a link to share

Model synopsis: A man in a suit and hat sits at a desk while another man and a woman stand nearby; the transcript shows a conversation about car insurance papers and a decision not to sell the car. The setting appears to be an office with filing cabinets and a calendar visible.

• A man in a suit and hat sits at a desk, looking concerned. [frame:1]
• The same man holds papers and looks up, speaking about insurance papers. [frame:2]
• A woman stands behind a desk between two men, holding papers, as one man speaks to her. [frame:3]

Named: Mrs. Pascoe (t:53:27). 3 people observed.

“Aren't all the papers there?” 53:08 · “I don't see any.” 53:13

Evidence, details and a link to share

Model synopsis: A man and a woman are in a car, discussing the car's ownership and a plan to eat at a drive-in. The woman, Vera, insists the man, Roberts, is not going anywhere, and they pull into a drive-in where she orders food.

• Vera and Roberts are seated in a car, talking about the car's ownership and a drive-in. [frame:1]

Named: Vera (t:53:42), Roberts (t:53:42). 2 people observed.

“You got me out of a tight spot, Vera. But I still don't understand all this. You will in a minute. I almost threw away a gold mine. 1850 isn…” 53:42 · “There's a drive-in in the next corner. Pull in there and we'll get a bite to eat.” 54:05

Evidence, details and a link to share

Model synopsis: A man and a woman are seated in a car; the man speaks firmly to the woman, telling her he will no longer comply with her demands and instructs her to read a newspaper. The woman looks at him with a serious expression.

• A man and a woman sit in a car, facing each other. [frame:1]

Named: Vera (t:54:31). 2 people observed.

“Get this, Vera. I've been pretty patient so far. I've done everything you asked me to do, but no more. Shut up.” 54:31 · “You can have the dough we get from selling the car. But you're not going to keep me a prisoner. It's a good thing I bought the paper. Take…” 54:39

Evidence, details and a link to share

Model synopsis: A newspaper article is shown, detailing the critical condition of Charles J. Haskell, Sr., and efforts to locate his son. No people, actions, or dialogue are visible or audible in this beat.

Evidence, details and a link to share

Model synopsis: A woman and a man are in a tense conversation beside a car. The woman refuses something while the man insists, and she interrupts him with 'Excuse me.'

2 people observed.

“No. Yes. No, I won't do it.” 54:57 · “Yes, you will.” 54:57

Evidence, details and a link to share

Model synopsis: A woman in a uniform stands beside a car at a gas station while a man sits inside; she speaks to him. The scene is set at a gas station with visible signage and a vehicle interior.

2 people observed.

“Blow the horn when you're through.” 55:09

Evidence, details and a link to share

Model synopsis: A man and a woman are in a car, discussing a plan to impersonate a son to inherit from an elderly father. The woman, named Vera, is told she resembles the son and that relatives won't recognize her after many years.

• The woman and man are seated in a car, facing each other. [frame:1]

Named: Vera (t:55:14). 2 people observed.

“No one could possibly get away with an act like that. It'd be wise to me in a minute. Don't be, Yala. You look enough like him. The same…” 55:14 · “Oh, grow up, Vera. Don't you think a father knows his own son?” 55:14

Evidence, details and a link to share

Model synopsis: A man and a woman are seated in a car, arguing about a plan involving stolen identity and wealth. The woman insists the man has resources to pull it off, citing a fortune of over 15 million, while he refuses to participate.

• The man and woman are seated in a car, facing each other in conversation. [frame:1]
• The woman speaks intently to the man, her expression serious. [frame:2]

Named: Vera (t:55:40). 2 people observed.

“Eat. I'm not hungry. And I won't do it.” 55:40 · “It's not as tough as it sounds. Remember, you've got all kinds of identification. His car, letters, license...” 55:40

Evidence, details and a link to share

Model synopsis: A woman named Vera speaks intensely to a man in a car, demanding a 50-50 split of an inheritance tied to the identity of Charlie Haskell. The man, identified as Roberts, urges her to lower her voice as they are in public.

• Roberts and Vera are seated in a car, facing each other. [frame:2]
• Vera continues speaking, her expression intense. [frame:3]
• Roberts looks away, appearing troubled or resigned. [frame:4]

Named: Vera (t:56:04), Roberts (t:56:09). 2 people observed.

“I think you will. Look, Vera.” 56:04 · “But not that. So forget it. Or find yourself another stooge. You sick. You'll be fixed for the rest of your life as Charlie Haskell. Yo…” 56:09

Evidence, details and a link to share

Model synopsis: Two people sit at a table in a dimly lit room, playing cards while discussing a man named Haskell's expected death. The conversation reveals tension and preoccupation, as both characters are mentally elsewhere despite the card game.

• Two people sit at a table playing cards. [frame:1]

2 people observed.

“We'll wait till we read that old man Haskell's dead. Then you show up.” 56:35 · “But as much as I insisted I would have no part of her scheme, Vera was taking it for granted I would.” 56:48

Evidence, details and a link to share

Model synopsis: A man and a woman sit at a table in a dimly lit room, discussing the consequences of being caught with a car and the possibility of a murder charge. The woman urges the man to sell a bus to clear their situation, while he expresses doubt and fear.

• The man and woman sit at a table with drinks and a bottle, engaged in conversation. [frame:1]
• The woman looks down, appearing contemplative or distressed. [frame:2]
• The man looks concerned or anxious, speaking to the woman. [frame:3]
• 1 more under Evidence and details.

Named: Vera (t:57:18). 2 people observed.

“I'll realize if I'm caught.” 57:08 · “They'll want to know where I got the car and stuff. And they'll have me on a murder charge. You're smart. You won't get caught. Try not for…” 57:09

Evidence, details and a link to share

Model synopsis: A woman and a man are in a dimly lit interior, speaking about legal consequences and a rope. The woman is visible in frame 1, the man in frame 2, both shown in close-up.

• The woman is visible in a close-up, looking toward the man. [frame:1]
• The man is visible in a close-up, looking toward the woman. [frame:2]

2 people observed.

“Even if you did tell the cops I was in on it with you, what could they do to me? They might give me the same medicine they gave you. Yeah…” 57:49

Evidence, details and a link to share

Model synopsis: A woman and a man are in a dimly lit interior, speaking about money and risk. The man advises against greed, referencing Caesar, while the woman appears to be listening or responding.

• The woman is speaking to the man, looking concerned. [frame:1]
• The man speaks earnestly, gesturing slightly. [frame:2]
• The woman turns her head slightly, listening or reacting. [frame:3]

Named: Roberts (t:58:21). 2 people observed.

“But I'm on my way out. Oh.” 58:01 · “I'll be doing, we'll be rushing it. All right. But think of the 1850 you'd lose. You'd kick yourself along the block, but it'd get away fr…” 58:05

Evidence, details and a link to share

Model synopsis: A man and a woman are in a tense conversation in a room with a table and bottles. The man stands while the woman leans on the table, and dialogue suggests a threat involving calling the police.

• A man is shown in close-up, speaking with a serious expression. [frame:1]
• A man and a woman stand in a room with a table between them; bottles and glasses are on the table. [frame:2]

2 people observed.

“I'm really doing you a favor.” 58:48 · “Suppose I call the cops.” 59:05

Evidence, details and a link to share

Model synopsis: A woman holds a telephone receiver while speaking threateningly to a man; the man listens with a serious expression. The dialogue suggests a confrontation over a crime, with the woman warning she will implicate him if arrested.

• The woman holds a telephone receiver and speaks threateningly. [frame:1]
• The man listens with a serious expression. [frame:2]
• The woman continues speaking into the receiver. [frame:3]
• 1 more under Evidence and details.

2 people observed.

“You heard me. But I'm warning you. If I'm pinched, I'll swear you were in on it.” 59:16 · “I'll say that you help me. If I fry, I'll get even with you. You wouldn't dare, you kid! Yeah?” 59:20

Evidence, details and a link to share

Model synopsis: A woman holds a telephone receiver to her ear in a dimly lit interior. No dialogue or other actions are visible or audible in this beat.

• A woman holds a telephone receiver to her ear. [frame:1]

1 person observed.

Evidence, details and a link to share

Model synopsis: A man in a light shirt is shown in a close-up, looking off-camera with a serious expression. The lighting is high-contrast, with deep shadows on one side of his face.

1 person observed.

Evidence, details and a link to share

Model synopsis: A woman speaks intensely in a dimly lit interior, demanding a phone number from the Hollywood police station while recounting a tense conversation about identity gaps. No names are spoken, and no objects beyond her face and earrings are visible.

• Woman speaks intensely, face visible in close-up. [frame:1]

1 person observed.

“I want the number at the Hollywood police station.” 59:47 · “Now let's talk this over. This was early in the evening and the conversation while hectic was at least pitched low. But as the minutes passe…” 60:00

Evidence, details and a link to share

Model synopsis: A woman sits in a dimly lit room, speaking about a scar on Haskell's forearm and his father's knowledge of it. The scene is confined to a single shot with no visible movement or additional characters.

1 person observed.

“I didn't even know what my middle initial stood for. I also pointed out that the real Haskell had a scar on his forearm.” 60:30 · “His people never saw that scar. He told me he ran away right after putting out the kid's eye. Yeah, but his father knew he was cut.” 60:37

Evidence, details and a link to share

Model synopsis: A man and a woman argue in a room; the woman threatens to call the police while holding a glass, and the man resists. The dialogue reveals a plot involving a scar, a dead father, and potential extradition.

• The woman holds a glass and stands close to the man, who looks at her with concern. [frame:1]

Named: Vera (t:60:45). 2 people observed.

“His people never saw that scar. He told me he ran away right after putting out the kid's eye. Yeah, but his father knew he was cut.” 60:37 · “The old man's dead or will be, I hope by tomorrow morning's papers. Anyway, you can cut yourself a little, couldn't you? Boy, for that kind …” 60:45

Evidence, details and a link to share

Model synopsis: A woman and a man are in a room; the woman asks the man to open a window, which he eventually agrees to do after some tension. The dialogue suggests discomfort and a power dynamic between them.

2 people observed.

“It hurt me.” 61:43 · “I'm sorry, but... It's hot in here. Open up the window. It's not hot.” 61:44

Evidence, details and a link to share

Model synopsis: A woman in a long dress is seen from behind, opening a door in a dimly lit room. No dialogue or on-screen text is present in this beat.

• A woman opens a door. [frame:1]

1 person observed.

Evidence, details and a link to share

Model synopsis: A man demands that Vera open a door while holding a phone; she appears with the phone in hand. The man threatens to break down the door and the phone if she does not comply. No names are spoken that identify the man, and Vera is named only by the man in the transcript.

• A man stands facing a door, speaking. [frame:1]
• Vera appears in a doorway holding a telephone receiver. [frame:2]
• The man leans toward the door, appearing to push or kick it. [frame:3]

Named: Vera (t:62:10). 2 people observed.

“Here, open the door. Here.” 62:07 · “Vera, open the door. Don't use the phone. Listen to me. I don't like you, Roberts. You're no gentleman, see? You hurt my hand, and I'm goi…” 62:10

Evidence, details and a link to share

Model synopsis: A man in a white shirt is shown leaning forward with his head down in a dimly lit interior. No dialogue or on-screen text is present in this beat.

• A man leans forward with his head down, appearing distressed or exhausted. [frame:1]

1 person observed.

Evidence, details and a link to share

Model synopsis: A man in a light shirt and dark trousers is seen from behind, leaning forward against a door frame in a dimly lit room. A lamp on a side table illuminates part of the wall and a small statue sits on a surface to the left.

• A man leans forward against a door frame. [frame:1]

1 person observed.

Evidence, details and a link to share

Model synopsis: A man in a white shirt speaks in a dimly lit room while a second frame shows a hand gripping a bedpost above a person lying down. The transcript includes a monologue questioning belief in accidental events and a killing.

• A man in a white shirt looks down and to the side while speaking. [frame:1]
• A hand grips a bedpost above a person lying on their back. [frame:2]

2 people observed.

“The world is full of skeptics. I know. I'm one myself.” 62:57 · “In the Haskell business, how many of you would believe he fell out of the car?” 62:57

Evidence, details and a link to share

Model synopsis: A man reflects on having killed Vera in a quiet room, fearing discovery and contemplating the destruction of evidence. He acknowledges that physical objects and witnesses from their shared life could testify against him.

• Vera is lying motionless on the floor. [frame:1]
• A man's hand rests on Vera's shoulder as she lies on her back. [frame:2]

Named: Vera (t:63:46). 2 people observed.

“Vera was dead. And I was her murderer.” 63:46 · “What evidence there was around the place had to be destroyed.” 63:57

Evidence, details and a link to share

Model synopsis: A man stands in a dimly lit interior, speaking in voiceover about guilt and flight after a death. He mentions being unable to return to New York or Hollywood and references a woman named Sue.

1 person observed.

“I was cooked. Done for. I had to get out of there.” 64:27 · “While once I'd remained beside a dead body, planning carefully how to avoid being accused of killing him, this time I couldn't. This time…” 64:32

Evidence, details and a link to share

Model synopsis: A man in a suit and hat walks through a corridor with a nurse visible in the foreground; the transcript includes lines about praying for someone's happiness and urging action. No named characters or specific time of day are established.

• A man walks down a corridor past a nurse. [frame:1]

2 people observed.

“All I could do...” 66:14 · “was pray she'd be happy.” 66:16

Evidence, details and a link to share

Model synopsis: A man in a suit and hat stands alone on a dark street at night, looking toward a distant car. He speaks about being implicated in a murder and reflects on fate while the police search for a dead man.

• A man stands on a dark street near a lamppost and storefront. [frame:1]
• The man turns away from the camera, looking toward a distant car on a dark road. [frame:2]

1 person observed.

“I was in Bakersfield before I read that Vera's body was discovered. That the police were looking for Haskell in connection with his wife's …” 66:29 · “The police were searching for a dead man.” 66:44

Evidence, details and a link to share