Public Reel

Fear in the Night (1947)

No renewal found Free in the US since 1 January 1976, on the registry's reading: registration LP955 of 1947 by Paramount Pictures, Inc., New York was not renewed in the volumes searched. Record.

In DeForest Kelley’s film debut, a nightmare leaves material evidence, turning the search for a murderer into an investigation of the dreamer.

DeForest Kelley made his film debut in Fear in the Night. 2 He plays Vince Grayson, a bank clerk whose most troubling witness is himself. After dreaming of murder, Vince wakes to discover evidence that refuses to stay inside the dream. 2 The premise makes waking up a continuation of terror rather than an escape from it. Vince cannot explain what he remembers as an action he consciously chose. Before the investigation has properly begun, the film has opened a gap between memory and responsibility that no physical clue can close.

Maxwell Shane directed from his own screenplay. 1 Pine-Thomas Productions made the film for distribution by Paramount. 2 The source was Cornell Woolrich’s story “And So to Death.” 2 It was retitled “Nightmare” in 1943, the title used in the film’s credits. 12 Woolrich had written it under the name William Irish. 4 The adaptation’s central resource is not the spectacle of a crime but the difficulty of knowing it. Woolrich’s premise supplies a protagonist who possesses intimate evidence without possessing an explanation. The audience can see something without knowing what it means.

The objects Vince finds after waking matter because they seem to cross a border that should be impassable. A key gives his private experience the weight of an external event. The button he discovers belongs to the ordinary world of clothing and physical contact, not to a separate realm of supernatural signs. Such modest objects are difficult to dismiss precisely because they are so familiar. The mirrored room of the dream extends the same uncertainty into the setting. Recognition becomes a trap. When Vince encounters the place outside sleep, the discovery makes his senses appear to have been telling an intolerable truth all along. 2

Paul Kelly plays Cliff Herlihy, the detective who is also Vince’s brother-in-law. 2 Ann Doran plays Vince’s sister. 2 That family connection gives the investigation a pressure beyond the question of whether a policeman believes a suspect. Vince has to ask someone close to him to accept an account that sounds like an evasion. For Cliff, the difficulty is deciding how far personal knowledge can be trusted against apparently incriminating facts. Their relationship makes the demand for proof more painful than it would be between strangers.

The film’s movement toward hypnosis as an explanation shifts the problem from supernatural visitation to the manipulation of a mind. 2 It offers a mechanism for Vince’s divided knowledge without making that division any less disturbing. His participation in an event need not mean that he understands the agency behind it. The investigation must therefore reach beyond the physical evidence that first makes his dream seem real. Finding the room cannot, by itself, explain what happened there.

Shane returned to the material as writer and director of Nightmare in 1956. 1 That remake gives Fear in the Night an afterlife within its own filmmaker’s work. The earlier film is now freely available for viewing and download on the Internet Archive. 6 Availability alone, however, does not establish the legal history of a particular upload.

The record: Registration LP955 by Paramount Pictures, Inc., New York is dated 11 February 1947. The registry found no renewal in the renewal volumes for 1974 to 1976, nor in the Copyright Office's records from 1978 on; on that reading the term ended on 31 December 1975 and the film has been free in the US since 1 January 1976. This is a conclusion drawn from the registration and the absence of a renewal in the records searched. The record does not settle the film’s status outside the United States. Any separate rights in its underlying story remain outside that finding.

Written 6 September 2026 by gpt-6-astra from the registry record, the atlas's own evidence and the sources below, gathered by Qwen/Qwen3.8-Max with web search and questioned by deepseek-ai/DeepSeek-V4-Pro. Numbered notes are the sources; a claim marked unverified has no source yet; times open the atlas at that second. How these are made and checked.

  1. catalog.afi.com https://catalog.afi.com/Film/25161-FEAR-INTHENIGHT
  2. en.wikipedia.org https://en.wikipedia.org/wiki/Fear_in_the_Night_(1947_film)
  3. variety.com https://variety.com/1999/tv/news/deforest-kelley-dies-at-79-1117503043/
  4. catalog.afi.com https://catalog.afi.com/Film/51938-NIGHTMARE?cxt=filmography
  5. en.wikipedia.org https://en.wikipedia.org/wiki/Pine-Thomas_Productions
  6. archive.org https://archive.org/details/1947fearinthenightmiedoenlanochemaxwellshane
  7. popmatters.com https://www.popmatters.com/185535-fear-in-the-night-2495618520.html
  8. en.wikipedia.org https://en.wikipedia.org/wiki/Fear_in_the_Night

Inside the film

867 shots over 1:10:46 · 330 beats in 147 sequences · 468 transcript lines · JSON

Lands on the beat covering that second.
147 sequences; each is also a heading below.
Check before citing the shot count. A 1:40 shot at 46:50 (shot 636): either a static hold or a run of missed cuts. Treat it as unverified.

Every shot, 867 frames with timestamps and on-screen text

How this page was made

867 shots over 1:10:46, read from the Internet Archive copy Fear_in_the_Night (Fear_in_the_Night.mp4, 540×360, 25.00 fps). Shot boundaries by PySceneDetect's adaptive detector; each frame links to the Archive's player at that second. Registry dossier: Fear in the Night No renewal found. JSON

Measurements: black-and-white film on its keyframes (0 of 867 shots judged colour), average shot 4.9s long, a frontal face detected in 27% of keyframes. Shots are detected automatically and each is represented by its midpoint frame.

Released 1947 (Internet Archive).

330 beats in sequences, cut automatically at shot boundaries scored on picture change, pauses in speech, topic shifts, on-screen text and cutting rhythm (each beat says why it starts where it does). Each is annotated by a vision-language model from four sampled frames and the transcript lines in it, as observations with evidence; anything the frames and lines do not support is left null. Machine annotation (Qwen/Qwen3-VL-235B-A22B-Instruct), checked automatically: quotes must be verbatim, names must be spoken, "visible" events are sampled to a second model.

Beats

Passages cut at shot boundaries and annotated by a machine from four sampled frames and the transcript lines in them. Each beat says why it starts where it does and what was checked; sequences are visual groups, not scenes.

Sequence 1 from 0:00

Frame at 0:08, shot 00:08
1 of 1 shots sampled

1. Beat 1

0:00–0:16 Not yet checked

Model synopsis: The beat shows a single bright point of light against a black background. No people, objects, or text are visible, and no audio is provided.

Evidence, details and a link to share

Sequence 2 from 0:16

Frame at 0:19, shot 10:19Frame at 0:24, shot 30:24Frame at 0:28, shot 50:28Frame at 0:34, shot 70:34
4 of 7 shots sampled

2. Beat 2

0:16–0:35 Not yet checked

Model synopsis: The beat displays the film's title card, "FEAR IN THE NIGHT," against a smoky, dark background across multiple frames. No people, dialogue, or actions are visible or audible in this segment.

Evidence, details and a link to share

Sequence 3 from 0:35

Frame at 0:39, shot 80:39Frame at 0:44, shot 100:44Frame at 0:49, shot 120:49Frame at 0:54, shot 140:54
4 of 7 shots sampled

3. Other

0:35–0:54 Not yet checked

Model synopsis: This beat displays the film's opening credits, listing actors Paul Kelly, DeForest Kelley, Ann Doran, Kay Scott, Charles Victor, Robert Emmett Keane, and Jeff Yorke, and credits William Irish as the author of the story 'Nightmare'. No characters or settings are depicted beyond the text.

Evidence, details and a link to share

Sequence 4 from 0:54

Frame at 0:55, shot 150:55Frame at 1:01, shot 181:01Frame at 1:05, shot 201:05Frame at 1:13, shot 231:13
4 of 9 shots sampled

4. Beat 4

0:54–1:14 Not yet checked

Model synopsis: The beat displays rolling end credits for the film, listing crew roles and names. No characters, actions, or settings are depicted beyond the text on screen.

  • The film credits are displayed on screen, listing crew members and their roles. [frame:1]

“At first...” 1:01

Evidence, details and a link to share

Sequence 5 from 1:14

Sequence 6 from 1:35

Frame at 1:36, shot 331:36Frame at 1:39, shot 341:39Frame at 1:42, shot 351:42
3 of 3 shots sampled

6. Private office

1:35–1:44 Not yet checked

Model synopsis: A woman stands near a mirror in a dimly lit interior space while a voice speaks of seeing a rule and a queer mirror drill. The scene is shot in black and white with high contrast lighting.

  • A woman stands near a mirror in a dim room. [frame:1]
  • The woman leans forward slightly, looking down. [frame:3]

1 person observed.

“Then I saw the rule.” 1:36 · “a queer mirror drill.” 1:39

Evidence, details and a link to share

Frame at 1:49, shot 371:49Frame at 1:55, shot 401:55Frame at 2:02, shot 432:02Frame at 2:08, shot 462:08
4 of 10 shots sampled

8. Private office

1:47–2:09 Not yet checked

Model synopsis: A man is shown in close-up with a tense expression, while a woman stands over him in a dimly lit interior. The transcript indicates the man feels trapped and compelled to act despite sensing danger.

  • The man is shown in a close-up, looking tense and sweating. [frame:1]
  • The woman stands over the man, who is seated or crouched. [frame:2]
  • The man's face is shown in profile, still tense, with the woman's silhouette visible behind him. [frame:4]

2 people observed.

“There was danger there. I knew that.” 1:56 · “I wanted to turn and run, but I couldn't. It seemed as if my brain was handcuffed. And I had to do what I'd come to do.” 1:59

Evidence, details and a link to share

Frame at 2:10, shot 472:10Frame at 2:15, shot 502:15Frame at 2:20, shot 532:20Frame at 2:24, shot 562:24
4 of 10 shots sampled

9. Private office

2:09–2:24 Not yet checked

Model synopsis: A dark interior scene shows two figures moving through a dimly lit space, followed by a close-up of a man's profile. The final frame is nearly black, suggesting a sudden loss of light or a cut to darkness.

  • Two figures move through a dark room. [frame:1]
  • The figures continue moving, one appears to be holding something. [frame:2]
  • Close-up of a man's face in profile, looking upward. [frame:3]
  • 1 more under Evidence and details.

3 people observed.

Evidence, details and a link to share

Frame at 2:26, shot 572:26Frame at 2:33, shot 612:33Frame at 2:37, shot 642:37Frame at 2:44, shot 682:44
4 of 12 shots sampled

10. Private office

2:24–2:45 Not yet checked

Model synopsis: A dark, low-lit interior scene shows two men in close proximity; one appears to be speaking or confronting the other. No objects, text, or spoken dialogue are visible or audible in the provided frames.

2 people observed.

Evidence, details and a link to share

Frame at 2:46, shot 692:46Frame at 2:52, shot 712:52Frame at 2:59, shot 742:59Frame at 3:04, shot 763:04
4 of 8 shots sampled

11. Hallway

2:45–3:05 Not yet checked

Model synopsis: A dimly lit interior scene shows a person moving through a hallway with doors, followed by a close-up of a dark figure. No dialogue or on-screen text is present. The lighting is low-key and shadows dominate the frames.

  • A person walks down a dim hallway past closed doors. [frame:1]
  • The person continues moving through the hallway, partially obscured by shadows. [frame:2]
  • A close-up shows a dark figure in shadow, possibly holding something. [frame:3]
  • 1 more under Evidence and details.

1 person observed.

Evidence, details and a link to share

Frame at 3:06, shot 773:06Frame at 3:12, shot 783:12Frame at 3:20, shot 803:20Frame at 3:23, shot 813:23
4 of 5 shots sampled

12. Private office

3:05–3:24 Not yet checked

Model synopsis: A person is seen in a dark interior, moving near a door and interacting with a doorknob. The lighting is low-key, with strong shadows and minimal visible detail.

  • A person is visible in a dark room, partially obscured by shadow. [frame:1]
  • The person turns, revealing a patterned hat or head covering. [frame:2]
  • The person moves toward a doorway, hand near the doorknob. [frame:3]
  • 1 more under Evidence and details.

1 person observed.

Evidence, details and a link to share

Frame at 3:25, shot 823:25Frame at 3:29, shot 843:29Frame at 3:37, shot 873:37Frame at 3:42, shot 893:42
4 of 8 shots sampled

13. Private office

3:24–3:43 Not yet checked

Model synopsis: A man is shown in close-up and medium shots in a dark, shadowed interior. He appears tense and is seen moving slightly in a dimly lit space.

  • A man's face is shown in close-up, lit from below, with deep shadows. [frame:1]
  • The man's face is shown again, eyes wide, in near darkness. [frame:2]
  • The man is seen in silhouette moving through a dark room with vertical panels. [frame:3]
  • 1 more under Evidence and details.

1 person observed.

Evidence, details and a link to share

Frame at 3:44, shot 903:44Frame at 3:47, shot 913:47Frame at 3:49, shot 923:49Frame at 3:50, shot 933:50
4 of 4 shots sampled

14. Beat 14

3:43–3:51 Not yet checked

Model synopsis: The beat consists of four dark, indistinct frames showing close-ups of a face in shadow, with no visible environment or objects. No dialogue or on-screen text is present.

1 person observed.

Evidence, details and a link to share

Sequence 7 from 3:51

Frame at 3:52, shot 943:52
1 of 1 shots sampled

15. Beat 15

3:51–3:53 Not yet checked

Model synopsis: A dark, grainy frame shows a blurry, indistinct figure lying on its side, surrounded by scattered bright specks. No dialogue or clear setting is visible in this single frame.

1 person observed.

Evidence, details and a link to share

Sequence 8 from 3:53

Sequence 9 from 3:57

Frame at 3:57, shot 963:57
1 of 1 shots sampled

17. Beat 17

3:57–3:58 Not yet checked

Model synopsis: The frame is almost entirely dark, with only faint, indistinct shapes and a small vertical line of light visible. No identifiable place, people, objects, or events can be determined from this single frame.

Evidence, details and a link to share

Sequence 10 from 3:58

Sequence 11 from 4:32

Sequence 12 from 4:34

Frame at 4:44, shot 1004:44
1 of 1 shots sampled

21. Private office

4:34–4:52 Not yet checked

Model synopsis: A man in a white undershirt sits slumped in a dimly lit room, resting his head on his hand. The scene is static and shows no other people or movement.

1 person observed.

Evidence, details and a link to share

Frame at 4:53, shot 1014:53
1 of 1 shots sampled

22. Private office

4:52–4:54 Not yet checked

Model synopsis: A man in a white undershirt leans over a sink in a dimly lit room, looking at his reflection in a mirror. The scene is shot in black and white with high-contrast lighting.

  • man leans over sink, looking in mirror [frame:1]

1 person observed.

Evidence, details and a link to share

Frame at 4:56, shot 1024:56Frame at 5:05, shot 1055:05Frame at 5:10, shot 1075:10Frame at 5:18, shot 1105:18
4 of 9 shots sampled

23. Bedroom

4:54–5:18 Not yet checked

Model synopsis: A man in a tank top examines his neck in a mirror, reacting to thumbprint marks he claims appeared overnight. He speaks aloud, questioning whether he choked himself in a nightmare.

  • Man looks at his neck in a mirror while holding a glass. [frame:1]
  • Man touches his neck with both hands, showing concern. [frame:2]
  • Man continues to examine his neck, expression tense. [frame:3]
  • 1 more under Evidence and details.

1 person observed.

“Those two thumbprints on my neck” 4:56 · “They weren't there last night when I undressed” 4:56

Evidence, details and a link to share

Sequence 13 from 5:18

Frame at 5:20, shot 1115:20
1 of 1 shots sampled

24. Beat 24

5:18–5:22 Not yet checked

Model synopsis: A close-up shows a hand with a beaded bracelet and a dark mark on the wrist. No dialogue or environmental context is provided in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 14 from 5:22

Frame at 5:36, shot 1145:36Frame at 5:41, shot 1155:41Frame at 5:50, shot 1165:50
3 of 3 shots sampled

26. Private office

5:35–5:57 Not yet checked

Model synopsis: A man in a white tank top is seen in a dimly lit room with a sink and mirror; he adjusts his clothing and looks toward the camera. The transcript contains only the words 'I.' and 'Amen.' with no clear connection to the visuals.

  • man adjusts clothing near sink [frame:1]
  • man looks at mirror while adjusting shirt [frame:2]
  • man stands facing camera with hands on hips [frame:3]

1 person observed.

“I.” 5:35 · “Amen.” 5:48

Evidence, details and a link to share

Sequence 15 from 5:57

Frame at 5:58, shot 1175:58
1 of 1 shots sampled

27. Other

5:57–5:59 Not yet checked

Model synopsis: A close-up shows a hand holding a key with a distinctive triple-ring bow. No other people, places, or actions are visible in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 16 from 5:59

Frame at 6:04, shot 1186:04Frame at 6:16, shot 1226:16Frame at 6:28, shot 1266:28Frame at 6:44, shot 1306:44
4 of 13 shots sampled

28. Bedroom

5:59–6:46 Not yet checked

Model synopsis: A man in a white undershirt is seen in a dimly lit room, examining his hands and clothing, then turning toward a window. He speaks about finding unfamiliar objects and questioning his sanity, suggesting he is trying to reconcile a dream with reality.

  • A man looks at his open palm with a concerned expression. [frame:1]
  • The man turns away, reaching into a closet or wardrobe. [frame:2]
  • The man stands in the center of the room, looking toward the camera with a tense posture. [frame:3]
  • 1 more under Evidence and details.

1 person observed.

“There they were.” 6:01 · “things out of the dream I never seen them before” 6:05

Evidence, details and a link to share

Frame at 6:47, shot 1316:47
1 of 1 shots sampled

29. Living room

6:46–6:49 Not yet checked

Model synopsis: A man in a sleeveless shirt stands with his back to the camera, looking out a window covered by sheer curtains. The scene is dimly lit, suggesting an interior space at night or under low light.

1 person observed.

Evidence, details and a link to share

Frame at 6:51, shot 1326:51Frame at 6:55, shot 1336:55Frame at 6:59, shot 1346:59Frame at 7:03, shot 1357:03
4 of 4 shots sampled

30. Street

6:49–7:06 Not yet checked

Model synopsis: A man in a tank top leans from a window overlooking a street at night. The transcript describes the street below as unchanged from the previous night, with familiar traffic and people.

  • A man leans out of a window looking down at the street. [frame:1]
  • The street below is dark, with parked cars and streetlights visible. [frame:2]
  • A car is parked on the street with its headlights off. [frame:3]
  • 1 more under Evidence and details.

1 person observed.

“The street below look the same as it did last night. The same greasy spoon where I eat now and then.” 6:52 · “The same traffic noises.” 7:00

Evidence, details and a link to share

Frame at 7:07, shot 1367:07Frame at 7:13, shot 1387:13Frame at 7:16, shot 1397:16Frame at 7:25, shot 1417:25
4 of 6 shots sampled

31. Bedroom

7:06–7:27 Not yet checked

Model synopsis: A man in a white undershirt and dark trousers is seen in a dimly lit room with patterned curtains and a framed picture, moving from standing near a window to sitting on a bed. He speaks about feeling ill and unable to face work, indicating internal distress rather than an external threat.

  • Man stands near window, holding a gun. [frame:1]
  • Man lowers gun, looks down. [frame:2]
  • Man turns slightly, still holding gun. [frame:3]
  • 1 more under Evidence and details.

1 person observed.

“There was nothing the matter out there. It was in here with me.” 7:07 · “My stomach was riding a roller coaster.” 7:12

Evidence, details and a link to share

Frame at 7:28, shot 1427:28Frame at 7:34, shot 1447:34Frame at 7:40, shot 1467:40Frame at 7:46, shot 1487:46
4 of 7 shots sampled

32. Bedroom

7:27–7:48 Not yet checked

Model synopsis: A man in a white undershirt sits on a bed in a dimly lit room and makes a phone call. He is audible requesting a phone number, and the frames show him picking up the receiver and holding it to his ear.

  • The man is sitting on a bed, looking off-camera. [frame:1]
  • The man continues to sit on the bed, now looking down at his hands. [frame:2]
  • The man picks up a telephone receiver and holds it to his ear. [frame:3]
  • 1 more under Evidence and details.

1 person observed.

“Oh.” 7:42 · “Give me Fitzroy's 5103.” 7:45

Evidence, details and a link to share

Frame at 7:49, shot 1497:49Frame at 8:04, shot 1508:04Frame at 8:21, shot 1528:21Frame at 8:24, shot 1538:24
4 of 5 shots sampled

33. Private office

7:48–8:26 Not yet checked

Model synopsis: A man in a tank top speaks on the phone, followed by a man in a suit also on the phone, then a uniformed officer and a woman in a hat converse indoors. The transcript includes dialogue about the Fremont National Bank, flu, and a greeting to Jill and Mr. Jackson.

  • A man in a tank top is on the phone. [frame:1]
  • A man in a suit is on the phone. [frame:2]
  • A uniformed officer and a woman in a hat face each other indoors. [frame:3]
  • 1 more under Evidence and details.

Named: Jill (t:8:16), Mr. Jackson (t:8:16), Grayson (t:7:56), Bill Hughes (t:7:49). 7 people observed.

“Fremont National Bank, Bill Hughes speaking.” 7:49 · “Oh, yes, Grayson.” 7:56

Evidence, details and a link to share

Sequence 17 from 8:26

Frame at 8:41, shot 1548:41Frame at 9:00, shot 1559:00Frame at 9:06, shot 1579:06Frame at 9:08, shot 1589:08
4 of 5 shots sampled

34. Bedroom

8:26–9:08 Not yet checked

Model synopsis: A man is shown in a bedroom, appearing unwell and distressed. A voice reports that Vince Grayson is sick and has asked someone else to take his window.

  • A man sits on a bed, holding his head, appearing ill. [frame:2]
  • The room is shown spinning from the man's perspective. [frame:3]
  • The spinning intensifies, showing blurred motion. [frame:4]

Named: Betty (t:8:28), Vince Grayson (t:8:28). 3 people observed.

“Good morning, Mr. Vineyard. Morning, Betty. Vince Grayson just called. He's not feeling well. Will you take his window today?” 8:28 · “Oh, is Vince sick? What did he say it was?” 8:28

Evidence, details and a link to share

Frame at 9:09, shot 1599:09
1 of 1 shots sampled

35. Other

9:08–9:09 Not yet checked

Model synopsis: A single frame shows a dimly lit, indistinct interior space with a faintly visible door or panel. No people, objects, or text are clearly identifiable in the frame.

Evidence, details and a link to share

Frame at 9:10, shot 1609:10
1 of 1 shots sampled

36. Other

9:09–9:11 Not yet checked

Model synopsis: A single frame shows a bright, overexposed rectangular shape against a black background. No people, objects, or text are visible, and no events occur.

Evidence, details and a link to share

Frame at 9:11, shot 1619:11
1 of 1 shots sampled

37. Other

9:11–9:12 Not yet checked

Model synopsis: A single blurry frame from 552s shows an indistinct interior space with no identifiable people or objects. No dialogue or on-screen text is present in this beat.

Evidence, details and a link to share

Sequence 18 from 9:12

Sequence 19 from 9:14

Frame at 9:21, shot 1639:21Frame at 9:29, shot 1649:29Frame at 9:32, shot 1659:32
3 of 3 shots sampled

39. Private office

9:14–9:33 Not yet checked

Model synopsis: A woman is shown in a dimly lit room making a phone call; she dials a number and asks for a specific room at the Hotel Commodore. No names are spoken that identify her or the person she is calling.

  • Woman dials a phone number. [frame:1]
  • Woman holds phone receiver to ear. [frame:2]
  • Woman speaks into phone receiver. [frame:3]

1 person observed.

“Federal 7-6-4-8.” 9:23 · “Hotel Commodore, Vince Grayson's room, please.” 9:28

Evidence, details and a link to share

Sequence 20 from 9:33

Frame at 9:46, shot 1709:46
1 of 1 shots sampled

44. Bedroom

9:45–9:47 Not yet checked

Model synopsis: A dimly lit bedroom is shown with a made bed, a lamp on a nightstand, and a curtained window. No people are visible or audible in this beat.

Evidence, details and a link to share

Sequence 21 from 9:47

Frame at 9:48, shot 1719:48
1 of 1 shots sampled

45. Private office

9:47–9:48 Not yet checked

Model synopsis: A woman is shown holding a telephone receiver to her ear. The setting appears to be an interior space with wood-paneled walls.

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

1 person observed.

Evidence, details and a link to share

Frame at 9:52, shot 1739:52
1 of 1 shots sampled

47. Private office

9:51–9:53 Not yet checked

Model synopsis: A woman in a suit is shown in profile, holding a telephone receiver to her ear. The setting appears to be an interior room with paneled walls.

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

1 person observed.

Evidence, details and a link to share

Frame at 9:58, shot 1759:58Frame at 10:04, shot 17610:04Frame at 10:09, shot 17710:09
3 of 3 shots sampled

49. Private office

9:54–10:11 Not yet checked

Model synopsis: A woman and a man stand in an interior space with paneled walls; the man speaks about checking books and offers money to the woman. The woman remains in frame as the man turns away.

  • The man turns his head away from the woman. [frame:2]
  • The woman remains facing forward while the man is out of frame. [frame:3]

2 people observed.

“Funny he shouldn't be there, isn't it? If he was sick, you know what I mean? No, I don't.” 9:56 · “I'd better check his books. Just to make safe.” 10:03

Evidence, details and a link to share

Sequence 22 from 10:11

Frame at 10:18, shot 17810:18Frame at 10:27, shot 17910:27Frame at 10:33, shot 18010:33
3 of 3 shots sampled

50. Street

10:11–10:36 Not yet checked

Model synopsis: A person walks outside during the day, then enters a building where another man is seen indoors. The speaker mentions needing to talk to Betty and going to Cliff's place, where Lil says Cliff is in the garage. The scene includes a storefront with a sign reading 'FOUNTAIN-PRESCRIPTIONS'.

  • A man in a trench coat and hat stands outdoors. [frame:1]
  • A man in a hat looks upward indoors. [frame:2]
  • People walk on a street past a storefront with a sign reading 'FOUNTAIN-PRESCRIPTIONS'. [frame:3]

Named: Betty (t:10:17), Cliff (t:10:35), Lil (t:10:35). 8 people observed.

“I had to get out of my room. Out into the sunshine.” 10:14 · “I had to stay out of the shadows. I knew that tonight, I'd be afraid of the dark. I had to talk to somebody about this crazy thing. Betty…” 10:17

Evidence, details and a link to share

Frame at 10:40, shot 18110:40Frame at 10:47, shot 18210:47Frame at 10:53, shot 18410:53Frame at 10:58, shot 18510:58
4 of 5 shots sampled

51. Workshop

10:36–11:02 Not yet checked

Model synopsis: A man in a coat approaches another man working at a bench in a workshop; the worker is sanding a wooden frame while speaking. The setting is dimly lit, suggesting an interior workspace at night or under artificial light.

  • Vince approaches Cliff in the workshop. [frame:2]
  • Cliff continues sanding a wooden frame while talking to Vince. [frame:3]
  • Cliff turns toward the camera holding the wooden frame. [frame:4]

Named: Vince (t:10:50), Cliff (t:10:50). 2 people observed.

“Hello, Clifton.” 10:49 · “Oh, hi, Vince. How's the boy? Cliff, I want to talk to you.” 10:50

Evidence, details and a link to share

Frame at 11:08, shot 18611:08Frame at 11:15, shot 18711:15Frame at 11:21, shot 18911:21Frame at 11:24, shot 19011:24
4 of 5 shots sampled

52. Private office

11:02–11:26 Not yet checked

Model synopsis: Two men are in a dimly lit interior space; one, wearing a trench coat and hat, listens as the other describes a disturbing dream about killing a man with a steel boar. The conversation is tense, and the setting appears to be a private office or similar enclosed room.

  • A man in a trench coat stands facing another man seated at a desk. [frame:1]
  • The man in the trench coat leans forward slightly, listening intently. [frame:2]
  • The man in the trench coat continues to listen, expression serious. [frame:3]
  • 1 more under Evidence and details.

Named: Cliff (t:11:15). 2 people observed.

“What's the matter, kid? Something on your mind? I need your help. You and Betty have a fight or something?” 11:08 · “Cliff, this is gonna sound screwy.” 11:15

Evidence, details and a link to share

Frame at 11:28, shot 19111:28Frame at 11:31, shot 19211:31Frame at 11:37, shot 19411:37Frame at 11:40, shot 19511:40
4 of 5 shots sampled

53. Private office

11:26–11:41 Not yet checked

Model synopsis: A man in a trench coat and fedora speaks to another man in a dimly lit room; the transcript describes a fight, a button coming off, and locking a body in a closet. No names are spoken, and no time of day or period is established.

  • A man in a trench coat speaks to another man in a dimly lit room. [frame:1]
  • The speaker continues speaking, looking down and gesturing with his hand. [frame:4]

2 people observed.

“During the fight, a button came off in my hand. When I'd kill him, I locked the body in a closet and took the key.” 11:27 · “And then when I woke up...” 11:35

Evidence, details and a link to share

Frame at 11:43, shot 19611:43Frame at 11:49, shot 19811:49Frame at 11:55, shot 20011:55Frame at 12:01, shot 20212:01
4 of 7 shots sampled

54. Private office

11:41–12:03 Not yet checked

Model synopsis: A man in a trench coat and hat speaks to another man in a dimly lit interior, possibly a private office or shop. The transcript reveals the speaker is distressed, mentioning blood on his wrist and asking for help from someone named Cliff.

Named: Cliff (t:11:55). 2 people observed.

“And this morning there was blood on my wrist. I figured maybe I'd scratch myself in my sleep, my ear or my nose or someplace.” 11:42 · “So I just washed it off.” 11:50

Evidence, details and a link to share

Frame at 12:04, shot 20312:04Frame at 12:10, shot 20512:10Frame at 12:16, shot 20712:16Frame at 12:22, shot 20912:22
4 of 7 shots sampled

55. Private office

12:03–12:23 Not yet checked

Model synopsis: Two men are in a dimly lit interior, one holding a small object while speaking urgently to the other. The dialogue suggests the object appeared in a dream and is now real, and the speaker believes he must have been involved in a death.

  • p1 holds a small object and speaks to p2 [frame:1]

Named: Vince (t:12:17). 2 people observed.

“Where'd you get this? I mean, where'd you first get it before you dreamed about it?” 12:05 · “I didn't have it before I dreamed about it.” 12:12

Evidence, details and a link to share

Frame at 12:24, shot 21012:24Frame at 12:36, shot 21212:36Frame at 12:41, shot 21412:41Frame at 12:47, shot 21612:47
4 of 7 shots sampled

56. Private office

12:23–12:49 Not yet checked

Model synopsis: Two men are in a dimly lit interior, one confronting the other about misplaced items and a possible nightmare induced by drink. No names are spoken, and no objects beyond clothing and a hanging lamp are visible.

  • p1 confronts p2 while gripping his shoulder [frame:1]
  • p1 continues to speak to p2, who looks up at him [frame:2]
  • p2 looks up at p1 with a concerned expression [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“You had those things before. You picked them up somewhere, and you misplaced them a long time ago.” 12:39 · “And last night you had a Welsh rabbit or one drink too many? So you dreamed up a nightmare.” 12:44

Evidence, details and a link to share

Frame at 12:50, shot 21712:50Frame at 12:57, shot 21912:57Frame at 13:06, shot 22213:06Frame at 13:10, shot 22413:10
4 of 8 shots sampled

57. Private office

12:49–13:11 Not yet checked

Model synopsis: Two men are in a dimly lit interior, one in a trench coat and hat speaking to another man in a shirt and suspenders. The dialogue suggests a discussion about dreams versus reality, with one man insisting an event occurred because he says so.

  • A man in a hat and trench coat faces another man in a shirt and suspenders. [frame:1]
  • The two men stand facing each other under a hanging lamp in a dim room. [frame:2]
  • The man in the hat looks down while speaking to the other man. [frame:3]
  • 1 more under Evidence and details.

Named: Cliff (t:13:05). 2 people observed.

“And in it, you remember these old things and wove them in it. Oh, no. Now, don't say no. Either you dream a thing or it really happens.” 12:49 · “Don't worry.” 12:58

Evidence, details and a link to share

Frame at 13:13, shot 22513:13Frame at 13:17, shot 22713:17Frame at 13:24, shot 23013:24Frame at 13:33, shot 23213:33
4 of 8 shots sampled

58. Kitchen

13:11–13:35 Not yet checked

Model synopsis: Two men are in a dimly lit interior, one in a trench coat and hat speaking to another in suspenders; dialogue indicates a tense exchange about hiding something and not telling a woman named Lil. The setting appears to be a kitchen or pantry, with shelves of jars visible in the background.

Named: Vince (t:13:20), Claire (t:13:20), Lil (t:13:26). 4 people observed.

“You've just been stretching your nerves thin, kid.” 13:13 · “Claire, Vince, dinner's ready. If I tell you I didn't have these things... Throw those things away.” 13:20

Evidence, details and a link to share

Frame at 13:36, shot 23313:36Frame at 13:44, shot 23613:44Frame at 13:50, shot 23813:50Frame at 13:58, shot 24113:58
4 of 9 shots sampled

59. Private office

13:35–13:59 Not yet checked

Model synopsis: Two men are in a dimly lit interior, one in a suit and the other in a trench coat and hat, engaged in a conversation. One man speaks about not being able to arrest someone for a murder in a dream and suggests getting dinner.

2 people observed.

“You haven't helped me a bit.” 13:35 · “I need one of the knuckles to work. Well, naturally not.” 13:40

Evidence, details and a link to share

Sequence 23 from 13:59

Frame at 14:02, shot 24314:02
1 of 1 shots sampled

61. Living room

14:02–14:03 Not yet checked

Model synopsis: A woman in a white blouse and dark skirt with a tied waist stands with her back to the camera in a dimly lit interior. The setting appears to be a room with patterned curtains and shadowed furniture.

1 person observed.

Evidence, details and a link to share

Frame at 14:06, shot 24414:06Frame at 14:14, shot 24614:14Frame at 14:17, shot 24814:17Frame at 14:22, shot 25014:22
4 of 7 shots sampled

62. Kitchen

14:03–14:23 Not yet checked

Model synopsis: A woman in a kitchen calls out to men to come in for soup, while a man in a robe and another in a suit are seen in a doorway. A woman expresses jealousy over a butcher and questions a man named Vince about his work at the bank.

  • A woman stands in a kitchen holding a pot. [frame:1]
  • Two men stand in a doorway as a woman faces them. [frame:2]
  • A woman looks upward with a surprised expression. [frame:3]
  • 1 more under Evidence and details.

Named: Vince (t:14:10). 4 people observed.

“You men coming in or not? Want your soup to get cold?” 14:04 · “I keep cracking the polish off of that one nail. Are you lucky? Lil's got a rib rose tonight. You know I'm getting jealous of that butche…” 14:10

Evidence, details and a link to share

Frame at 14:24, shot 25114:24Frame at 14:33, shot 25414:33Frame at 14:40, shot 25814:40Frame at 14:47, shot 26114:47
4 of 11 shots sampled

63. Private office

14:23–14:50 Not yet checked

Model synopsis: A woman and a man in a trench coat speak in a dimly lit room; the man checks his watch after mentioning blood. A table with a hat and papers is shown in a separate shot.

  • Vince holds his hat and speaks to the woman. [frame:2]
  • A table with a hat and papers is shown. [frame:3]
  • Vince looks at his wristwatch. [frame:4]

Named: Vince (t:14:23). 2 people observed.

“How are you feeling, Vince? I thought you were sick.” 14:23 · “I was. I just didn't feel well.” 14:23

Evidence, details and a link to share

Sequence 24 from 14:50

Frame at 14:51, shot 26214:51
1 of 1 shots sampled

64. Other

14:50–14:52 Not yet checked

Model synopsis: A man is shown in a close-up shot with a serious expression. The background is dark and indistinct, suggesting an interior setting.

1 person observed.

Evidence, details and a link to share

Sequence 25 from 14:52

Frame at 14:54, shot 26314:54
1 of 1 shots sampled

65. Other

14:52–14:55 Not yet checked

Model synopsis: A close-up of a man's eyes shows reflections of a woman and a man 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

Frame at 14:56, shot 26414:56
1 of 1 shots sampled

66. Beat 66

14:55–14:57 Not yet checked

Model synopsis: A close-up shot focuses on a person's eyes, showing intense expression and reflection. No dialogue or environmental context is provided in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 26 from 14:57

Frame at 14:59, shot 26514:59
1 of 1 shots sampled

67. Other

14:57–15:00 Not yet checked

Model synopsis: A close-up shot of a man's face in dim lighting. No dialogue or other actions are visible or audible in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 27 from 15:00

Frame at 15:02, shot 26615:02Frame at 15:06, shot 26715:06Frame at 15:10, shot 26815:10Frame at 15:16, shot 26915:16
4 of 4 shots sampled

68. Bedroom

15:00–15:20 Not yet checked

Model synopsis: A person is shown lying in bed in a dark room, with a voiceover describing being unconscious and waking up past midnight. No other people or distinct objects are visible.

  • A person is lying in bed in a dark room. [frame:3]

1 person observed.

“I don't know how long I was blacked out.” 15:03 · “I hazily remembered coming to for a moment and falling asleep again. It was sometime past midnight when something awakened me.” 15:12

Evidence, details and a link to share

Sequence 28 from 15:20

Frame at 15:21, shot 27015:21
1 of 1 shots sampled

69. Bedroom

15:20–15:21 Not yet checked

Model synopsis: A man sleeps in bed wearing a white undershirt. The scene is dimly lit, suggesting nighttime, with no other people or objects visible.

  • A man lies asleep in bed. [frame:1]

1 person observed.

Evidence, details and a link to share

Frame at 15:22, shot 27115:22
1 of 1 shots sampled

70. Bedroom

15:21–15:23 Not yet checked

Model synopsis: A man lies in bed wearing a white undershirt, viewed in a close-up shot. The lighting is dim and focused on his face and upper body.

1 person observed.

Evidence, details and a link to share

Frame at 15:24, shot 27215:24
1 of 1 shots sampled

71. Bedroom

15:23–15:25 Not yet checked

Model synopsis: A man lies in bed, eyes closed, wearing a white undershirt. The scene is dimly lit, suggesting nighttime, with no other people or objects visible.

1 person observed.

Evidence, details and a link to share

Sequence 29 from 15:25

Frame at 15:28, shot 27315:28
1 of 1 shots sampled

72. Beat 72

15:25–15:31 Not yet checked

Model synopsis: A close-up shows a dark garment with a white polka-dot pattern and a tied sash at the waist. No people, dialogue, or identifiable location are visible in the frame.

Evidence, details and a link to share

Sequence 30 from 15:31

Frame at 15:33, shot 27415:33Frame at 15:37, shot 27615:37Frame at 15:45, shot 27915:45Frame at 15:49, shot 28115:49
4 of 8 shots sampled

73. Bedroom

15:31–15:51 Not yet checked

Model synopsis: A man lies in bed while another man stands over him in a dimly lit room; dialogue suggests a confrontation about truth and exhaustion. One man is told to take a key to the botany.

  • A man lies in bed, eyes open, looking upward. [frame:1]
  • A man in a patterned robe stands facing the camera, expression serious. [frame:2]
  • The standing man leans over the man in bed, who is lying under covers with a lamp on a nearby table. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“Light out.” 15:35 · “the truth oh not what you think not that green business the real truth but you've been wearing yourself out why you passed out like any neur…” 15:38

Evidence, details and a link to share

Frame at 15:54, shot 28215:54Frame at 15:59, shot 28415:59Frame at 16:02, shot 28516:02Frame at 16:08, shot 28716:08
4 of 6 shots sampled

74. Bedroom

15:51–16:10 Not yet checked

Model synopsis: Two people are in a dimly lit interior, one speaking urgently to the other about a mirrored room and dismissing claims of blood as a phony bill of goods. No names are spoken, and no objects beyond clothing are visible.

2 people observed.

“You must have often had less than that to start out on.” 15:51 · “Find out where they came from and find out what they were doing on me. Find out where that mirrored room is. Forget them once and for all.…” 15:54

Evidence, details and a link to share

Frame at 16:13, shot 28816:13Frame at 16:44, shot 29016:44Frame at 16:47, shot 29116:47Frame at 16:53, shot 29316:53
4 of 6 shots sampled

75. Bedroom

16:10–16:54 Not yet checked

Model synopsis: A man and a woman are in a bedroom; the man speaks to the woman, who is seated in bed, about her fretting and an upcoming pregnancy. The man mentions getting sleep and threatens to take her to a doctor if she continues with 'spooky business.'

  • The man leans close to the woman in bed, speaking to her. [frame:1]
  • The woman sits up in bed, looking at the man who is seated beside her. [frame:2]
  • The man continues speaking to the woman, who listens with a concerned expression. [frame:3]
  • 1 more under Evidence and details.

Named: Clep (t:16:40). 2 people observed.

“That's the kind of trick your mind's been playing on you.” 16:12 · “She's fretted about you for years, ever since your mother died. Right now would be the worst time of all. Now?” 16:21

Evidence, details and a link to share

Frame at 16:56, shot 29416:56
1 of 1 shots sampled

76. Bedroom

16:54–16:57 Not yet checked

Model synopsis: A man sits shirtless in bed while another man in a suit leans over him, holding his arm. The room contains a lamp and patterned wallpaper, suggesting a private interior space.

  • A man in a suit holds the arm of a shirtless man sitting in bed. [frame:1]

2 people observed.

Evidence, details and a link to share

Sequence 31 from 16:57

Frame at 16:58, shot 29516:58
1 of 1 shots sampled

77. Other

16:57–17:00 Not yet checked

Model synopsis: A dark, low-lit scene shows a figure lying on the ground, with a window visible in the background. No dialogue or clear action is present in this beat.

1 person observed.

Evidence, details and a link to share

Frame at 17:01, shot 29617:01
1 of 1 shots sampled

78. Other

17:00–17:03 Not yet checked

Model synopsis: A dark, low-angle shot shows a figure standing over a prone body on the floor. The scene is dimly lit, with strong shadows and minimal visible detail.

  • A standing figure looms over a body lying on the floor. [frame:1]

2 people observed.

Evidence, details and a link to share

Frame at 17:07, shot 29717:07Frame at 17:13, shot 29817:13Frame at 17:17, shot 29917:17Frame at 17:22, shot 30017:22
4 of 4 shots sampled

79. Private office

17:03–17:25 Not yet checked

Model synopsis: A man in a fedora sits at a desk in a dimly lit room with blinds, writing while another person stands nearby; a close-up shows a hand writing on a form. The transcript reveals the speaker is haunted by a nightmare and must find the house where it occurred.

  • A man in a fedora sits at a desk in a dark room with blinds. [frame:1]
  • The man in the fedora writes at the desk while another man stands facing him. [frame:2]
  • The man continues writing, sunlight stripes across the room from blinds. [frame:3]
  • 1 more under Evidence and details.

3 people observed.

“Sleep. I felt I'd never sleep again till I knew the answer.” 17:06 · “I had to find the house where the nightmare took place. I had to know. I have a lovely house.” 17:12

Evidence, details and a link to share

Sequence 32 from 17:25

Frame at 17:31, shot 30117:31Frame at 17:43, shot 30217:43
2 of 2 shots sampled

80. Private office

17:25–17:48 Not yet checked

Model synopsis: A woman is on the phone in a room with patterned wallpaper and a lamp. A newspaper clipping is shown with a 'WANTED' ad for a house with an octagonal mirrored-powdered room.

  • A woman holds a telephone receiver to her ear while looking at a newspaper. [frame:1]
  • A newspaper clipping is shown with a 'WANTED' ad for a house with an octagonal mirrored-powdered room. [frame:2]

1 person observed.

“with a mirror-lined powder room on the second floor.” 17:37

Evidence, details and a link to share

Sequence 33 from 17:48

Frame at 17:54, shot 30417:54Frame at 17:59, shot 30517:59Frame at 18:02, shot 30618:02Frame at 18:06, shot 30718:06
4 of 4 shots sampled

82. Bedroom

17:51–18:09 Not yet checked

Model synopsis: A man is shown in close-up surrounded by distorted faces, then alone in bed reading and later lying face down. The transcript states he has avoided someone named Betty for six days while searching for news of a murder.

  • A man is shown in close-up surrounded by distorted, ghostly faces. [frame:1]
  • The man looks directly at the camera, still surrounded by the distorted faces. [frame:2]
  • The man is alone in a bedroom, sitting up in bed reading papers. [frame:3]
  • 1 more under Evidence and details.

Named: Betty (t:17:56). 5 people observed.

“Six days went by without a lead.” 17:53 · “I scoured the papers. Not one line about the murder. And all week I've been avoiding Betty. I just couldn't face her with this thing gnawing…” 17:56

Evidence, details and a link to share

Frame at 18:12, shot 30818:12
1 of 1 shots sampled

83. Private office

18:09–18:15 Not yet checked

Model synopsis: A man in a shirt and tie stands in a dimly lit room, turning toward a door as someone off-screen asks 'Who is it?' and he replies 'Cliff.' The room contains a desk with a framed picture and a wall sconce.

  • A man turns toward a door after hearing a voice ask 'Who is it?' [frame:1]

Named: Cliff (t:18:13). 1 person observed.

“Who is it? Cliff.” 18:13

Evidence, details and a link to share

Frame at 18:23, shot 30918:23Frame at 18:31, shot 31018:31Frame at 18:41, shot 31118:41
3 of 3 shots sampled

84. Private office

18:15–18:49 Not yet checked

Model synopsis: Two men argue in a dimly lit room; one tries to persuade the other to go for a ride in a new car. The second man resists, saying he does not want to go anywhere.

  • A man in a fedora leans over a desk in a dim room. [frame:1]
  • Two men stand face-to-face, one gesturing while speaking. [frame:2]
  • The two men continue to face each other closely, appearing tense. [frame:3]

Named: Cliff (t:18:18). 2 people observed.

“Hello, Cliff. Hiya, boy. Will you see what I've got downstairs? Come on. Put it on. Let's go. I don't want to go anywhere.” 18:18 · “I want you to see my new second-hand car that I just got in exchange for my old second-hand car.” 18:18

Evidence, details and a link to share

Sequence 34 from 18:49

Frame at 18:58, shot 31418:58Frame at 19:09, shot 31719:09Frame at 19:14, shot 31919:14Frame at 19:19, shot 32219:19
4 of 9 shots sampled

87. Vehicle interior

18:57–19:21 Not yet checked

Model synopsis: Two men stand outside a vehicle while a group of three people sit inside it, conversing. The group agrees to go to Solander Canyon.

  • Two men stand outside a vehicle. [frame:1]
  • Three people are seated inside a vehicle, talking. [frame:2]
  • The three people continue talking inside the vehicle. [frame:3]
  • 1 more under Evidence and details.

Named: Lil (t:19:09), Vince (t:19:09), Betty (t:19:07). 5 people observed.

“Come on.” 18:58 · “Now look Cliff if you think this is going to do any good don't be a grip come on” 18:59

Evidence, details and a link to share

Sequence 35 from 19:22

Sequence 36 from 19:25

Frame at 19:26, shot 32519:26
1 of 1 shots sampled

90. Street

19:25–19:27 Not yet checked

Model synopsis: A white sedan is parked or moving slowly on a street with a building facade visible behind it. No people are visible, and no dialogue or on-screen text appears in this beat.

Evidence, details and a link to share

Sequence 37 from 19:27

Frame at 19:30, shot 32619:30Frame at 19:35, shot 32719:35Frame at 19:38, shot 32819:38Frame at 19:42, shot 32919:42
4 of 4 shots sampled

91. Vehicle interior

19:27–19:45 Not yet checked

Model synopsis: A man in a hat is shown in close-up inside a vehicle, followed by an exterior shot of a car driving on a winding road. The transcript includes a character recalling 'Solander Canyon' and mentioning 'Betty' and 'Sir Landon'.

  • A man in a hat looks forward inside a vehicle. [frame:1]
  • A car drives on a winding road lined with trees and a guardrail. [frame:4]

1 person observed.

“Solander Canyon. It just popped into my head.” 19:28 · “Betty and I always preferred the beach.” 19:33

Evidence, details and a link to share

Sequence 38 from 19:45

Sequence 39 from 19:48

Frame at 19:50, shot 33119:50
1 of 1 shots sampled

93. Road

19:48–19:52 Not yet checked

Model synopsis: A car drives on a road visible through trees and a wooden fence. No people or dialogue are present in this beat.

  • A car drives along a road. [frame:1]

Evidence, details and a link to share

Sequence 40 from 19:52

Frame at 19:55, shot 33219:55Frame at 20:02, shot 33420:02Frame at 20:05, shot 33520:05Frame at 20:13, shot 33720:13
4 of 6 shots sampled

94. Vehicle interior

19:52–20:17 Not yet checked

Model synopsis: Four people are in a vehicle at night, discussing where to stop. One person expresses hunger and agrees to stop at a location suggested by another.

  • Four people are seated in a car at night, with the driver at the wheel. [frame:1]
  • The woman in the front seat turns her head to speak to the man in the back. [frame:2]
  • The woman gestures with her hand while speaking. [frame:3]
  • 1 more under Evidence and details.

4 people observed.

“You know where you're going.” 19:56 · “This road will find just the right spot. Did you ever see anything so stubborn?” 20:00

Evidence, details and a link to share

Sequence 41 from 20:17

Frame at 20:18, shot 33820:18Frame at 20:33, shot 33920:33
2 of 2 shots sampled

95. Field

20:17–20:46 Not yet checked

Model synopsis: A man lies on a blanket outdoors while a woman sits beside him; a car is parked nearby. The transcript includes casual dialogue about marshmallows and affectionate terms.

  • A man lies on a blanket outdoors. [frame:2]
  • A woman sits beside him. [frame:2]
  • A car is parked nearby. [frame:1]

Named: Martha (t:20:32). 2 people observed.

“I'm going to go.” 20:17 · “Ah, this is the life.” 20:29

Evidence, details and a link to share

Sequence 42 from 20:46

Sequence 43 from 20:52

Sequence 44 from 21:10

Frame at 21:14, shot 34221:14
1 of 1 shots sampled

98. Forest

21:10–21:17 Not yet checked

Model synopsis: A man and a woman are embracing and kissing in a wooded outdoor setting. The lighting is dim and the scene is shot in black and white.

  • A man and a woman are kissing while embracing in a wooded area. [frame:1]

2 people observed.

Evidence, details and a link to share

Sequence 45 from 21:17

Sequence 46 from 21:20

Frame at 21:21, shot 34421:21Frame at 21:29, shot 34621:29Frame at 21:32, shot 34721:32Frame at 21:38, shot 34921:38
4 of 6 shots sampled

100. Forest

21:20–21:39 Not yet checked

Model synopsis: A man and a woman stand close in an outdoor setting; the man speaks to end their relationship. The woman listens, visibly upset, as he urges her to move on and find someone else.

  • Man and woman stand facing each other in a wooded area. [frame:1]
  • Man speaks to woman, gesturing with his hands; woman looks at him with concern. [frame:2]
  • Man continues speaking; woman’s expression shows distress. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“Just forget about me, will you? What is it?” 21:21 · “Did I do something? No, it's not your fault. It's just that... Look, we're through. There's nothing we can do about it. Don't call me o…” 21:25

Evidence, details and a link to share

Sequence 47 from 21:39

Sequence 48 from 21:43

Frame at 21:45, shot 35121:45
1 of 1 shots sampled

102. Other

21:43–21:47 Not yet checked

Model synopsis: A woman with dark hair and a light blouse is shown in a close-up, looking off-camera with a neutral expression. The background is out of focus and indistinct, suggesting an interior or shaded outdoor setting.

1 person observed.

Evidence, details and a link to share

Sequence 49 from 21:47

Sequence 50 from 21:48

Frame at 21:51, shot 35321:51Frame at 22:00, shot 35422:00Frame at 22:15, shot 35522:15
3 of 3 shots sampled

104. Road

21:48–22:23 Not yet checked

Model synopsis: A man comforts a woman outdoors near a car as rain begins; they prepare to leave. The scene ends with a wide shot of the car parked in darkness under trees.

  • A man embraces a woman seated outdoors near a car. [frame:1]
  • The man and woman stand together, holding hands, looking toward the camera. [frame:2]
  • The car is shown parked alone in darkness under trees. [frame:3]

Named: Betty (t:22:02). 2 people observed.

“Nail, Nail, you're a big girl now. I can't help it. You know what lightning does to me. We better go. Hey, kids, it's going to rain.” 21:51 · “Oh! Holy smoke, you didn't have to take me seriously. Yes, Betty, come on and go.” 22:02

Evidence, details and a link to share

Sequence 51 from 22:29

Frame at 22:34, shot 35822:34Frame at 22:39, shot 36022:39Frame at 22:46, shot 36322:46Frame at 22:54, shot 36522:54
4 of 8 shots sampled

107. Vehicle interior

22:32–22:56 Not yet checked

Model synopsis: Four people are inside a car at night; one man drives while others look concerned. The transcript indicates the windshield wipers are not working, and someone suggests they should have tested them before buying the car.

  • Four people are seated in a car, looking tense. [frame:1]
  • A car is seen parked or crashed in a wooded area outside. [frame:3]

4 people observed.

“Now, the wipers won't work.” 22:32 · “You should have tried them before you bought it, dear.” 22:32

Evidence, details and a link to share

Frame at 22:56, shot 36622:56Frame at 23:00, shot 36823:00Frame at 23:04, shot 36923:04Frame at 23:10, shot 37123:10
4 of 6 shots sampled

108. Vehicle interior

22:56–23:12 Not yet checked

Model synopsis: A man and a woman are in a vehicle at night; the woman is distressed and asks to stop, while the man agrees. The frames show them from inside the car, with darkness outside and no visible buildings.

  • The view from the car window shows darkness and no visible structures. [frame:4]

2 people observed.

“I can't stand anymore. Stop at the first place you come to and let's get out of this.” 22:57 · “All right, baby. Now calm down.” 22:57

Evidence, details and a link to share

Frame at 23:13, shot 37223:13Frame at 23:21, shot 37523:21Frame at 23:29, shot 37823:29Frame at 23:35, shot 38123:35
4 of 10 shots sampled

109. Vehicle interior

23:12–23:36 Not yet checked

Model synopsis: Two people are in a vehicle at night, looking ahead as one speaks about recognizing a bridge and a cutoff ahead. The scene is dark, with only the road and their faces faintly visible through the windshield.

  • The man and woman are both looking forward, appearing alert. [frame:3]

2 people observed.

“That bridge. I've seen it before. But when? There's a cutoff a little ways ahead, just around the turn. There's a big house up there, I thin…” 23:13

Evidence, details and a link to share

Sequence 52 from 23:40

Frame at 23:44, shot 38523:44Frame at 23:50, shot 38723:50Frame at 23:53, shot 38823:53Frame at 23:58, shot 39023:58
4 of 6 shots sampled

113. Vehicle interior

23:42–23:59 Not yet checked

Model synopsis: Two people are in a car at night; one is driving while the other gives directions. The driver appears tense as they approach a location marked by two big posts.

2 people observed.

“Are you gonna get us more lost than ever? No, keep going. You'll come to it. Two big posts and then turn the car between them.” 23:43 · “I didn't know myself how I knew that. But the closer we came, the heart of my heart pounded.” 23:43

Evidence, details and a link to share

Frame at 24:00, shot 39124:00
1 of 1 shots sampled

114. Vehicle interior

23:59–24:01 Not yet checked

Model synopsis: A man in a dark hat and suit is shown in a close-up, looking forward with a serious expression. The lighting is dim and focused on his face, with the background mostly in shadow.

1 person observed.

Evidence, details and a link to share

Sequence 53 from 24:01

Sequence 54 from 24:03

Frame at 24:05, shot 39324:05
1 of 1 shots sampled

116. Vehicle interior

24:03–24:06 Not yet checked

Model synopsis: Four people are seated inside a vehicle at night; one drives while the others sit in the back. The scene is lit by interior vehicle lighting, showing no external environment.

4 people observed.

Evidence, details and a link to share

Sequence 55 from 24:09

Frame at 24:10, shot 39524:10
1 of 1 shots sampled

118. Forest

24:09–24:11 Not yet checked

Model synopsis: A single frame shows a dark, wooded outdoor area with a tree trunk and shadowed ground. No people, objects, or text are clearly visible, and no events occur.

Evidence, details and a link to share

Sequence 56 from 24:12

Frame at 24:14, shot 39724:14
1 of 1 shots sampled

120. Private office

24:12–24:15 Not yet checked

Model synopsis: A man in a hat is seen from behind, looking out a window at a dimly lit building at night. No dialogue or on-screen text is present in this beat.

  • A man in a hat looks out a window at a building in the dark. [frame:1]

1 person observed.

Evidence, details and a link to share

Frame at 24:16, shot 39824:16
1 of 1 shots sampled

121. Other

24:15–24:17 Not yet checked

Model synopsis: A man in a fedora is seen from behind, looking toward a dimly lit area with distant lights. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Frame at 24:23, shot 40124:23
1 of 1 shots sampled

124. Other

24:21–24:24 Not yet checked

Model synopsis: A man in profile, wearing a hat and coat, is shown 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

Sequence 57 from 24:24

Sequence 58 from 24:27

Sequence 59 from 24:30

Sequence 60 from 24:33

Frame at 24:34, shot 40524:34
1 of 1 shots sampled

128. Forest

24:33–24:36 Not yet checked

Model synopsis: A single frame shows a dark, outdoor scene with trees and a faintly lit path or structure. No people, objects, or text are clearly visible, and no dialogue or events are recorded in this beat.

Evidence, details and a link to share

Frame at 24:36, shot 40624:36
1 of 1 shots sampled

129. Forest

24:36–24:37 Not yet checked

Model synopsis: A single frame shows a dark, outdoor scene with a vehicle partially visible under trees. No people, text, or audible elements are present in this beat.

Evidence, details and a link to share

Frame at 24:49, shot 41024:49
1 of 1 shots sampled

133. Road

24:48–24:51 Not yet checked

Model synopsis: A white car is parked on a wet road surrounded by trees and bushes. The scene is shot from a high angle, partially obscured by foliage.

Evidence, details and a link to share

Frame at 24:53, shot 41124:53
1 of 1 shots sampled

134. Road

24:51–24:55 Not yet checked

Model synopsis: A car drives down a tree-lined road. No people or dialogue are visible or audible in this beat.

  • A car drives toward the camera on a road. [frame:1]

Evidence, details and a link to share

Sequence 61 from 24:55

Frame at 24:56, shot 41224:56Frame at 24:59, shot 41324:59
2 of 2 shots sampled

135. Vehicle interior

24:55–25:00 Not yet checked

Model synopsis: Four people are inside a vehicle at night; one speaks a line suggesting urgency. The interior is dimly lit, and the driver is focused on the road while others appear tense.

  • A man in the passenger seat wipes his face with a handkerchief. [frame:1]
  • A man in the back seat turns his head to look behind. [frame:2]

4 people observed.

“Let's make a dash for it.” 24:57

Evidence, details and a link to share

Sequence 62 from 25:00

Frame at 25:01, shot 41425:01
1 of 1 shots sampled

136. Road

25:00–25:02 Not yet checked

Model synopsis: A car drives toward the camera on a narrow, tree-lined road at night. The scene is dark and lit only by the car's headlights and ambient moonlight.

  • A car drives toward the camera on a dark road. [frame:1]

Evidence, details and a link to share

Frame at 25:03, shot 41525:03
1 of 1 shots sampled

137. Road

25:02–25:04 Not yet checked

Model synopsis: A car is parked on a dark, tree-lined road at night with two figures standing beside it. No dialogue or on-screen text is present in this beat.

Evidence, details and a link to share

Sequence 63 from 25:04

Frame at 25:13, shot 41625:13Frame at 25:24, shot 41725:24
2 of 2 shots sampled

138. House exterior

25:04–25:25 Not yet checked

Model synopsis: A group of people stands outside a house at night; one man looks upward. The transcript indicates they are trying to enter but find no one home.

  • Three people stand outside a house door; one knocks or peers. [frame:1]
  • A man in a suit and hat looks upward at night. [frame:2]

4 people observed.

“There doesn't seem to be anybody home.” 25:21 · “I wish we could get in.” 25:23

Evidence, details and a link to share

Sequence 64 from 25:25

Sequence 65 from 25:28

Sequence 66 from 25:30

Frame at 25:31, shot 42025:31
1 of 1 shots sampled

141. Other

25:30–25:33 Not yet checked

Model synopsis: A man in a fedora and coat is visible in a dim outdoor setting. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Frame at 25:34, shot 42125:34Frame at 25:37, shot 42225:37
2 of 2 shots sampled

142. Forest

25:33–25:38 Not yet checked

Model synopsis: A man in a hat is shown in two frames, bending over in a dark outdoor setting. No dialogue or on-screen text is present in this beat.

  • man in hat bends over [frame:1]
  • man in hat remains bent over, head turned slightly [frame:2]

1 person observed.

Evidence, details and a link to share

Sequence 67 from 25:38

Frame at 25:39, shot 42325:39
1 of 1 shots sampled

143. Private office

25:38–25:40 Not yet checked

Model synopsis: A man in a fedora and suit is shown in a close-up, looking downward. The setting appears to be an interior space with vertical paneling in the background.

1 person observed.

Evidence, details and a link to share

Sequence 68 from 25:40

Frame at 25:41, shot 42425:41
1 of 1 shots sampled

144. Other

25:40–25:43 Not yet checked

Model synopsis: A man in a fedora and coat is visible in a dark setting, looking down at his hands. No dialogue or additional context is provided in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 69 from 25:43

Frame at 25:47, shot 42625:47
1 of 1 shots sampled

146. Other

25:46–25:49 Not yet checked

Model synopsis: Two men in hats and coats stand facing each other indoors; one holds a small object. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Frame at 25:49, shot 42725:49
1 of 1 shots sampled

147. Private office

25:49–25:50 Not yet checked

Model synopsis: Two men in hats and dark suits stand facing each other indoors. One man gestures with his hands while speaking; the other listens with a serious expression.

2 people observed.

Evidence, details and a link to share

Frame at 25:51, shot 42825:51
1 of 1 shots sampled

148. Other

25:50–25:53 Not yet checked

Model synopsis: Three figures stand near a door in a dimly lit interior; one man faces the door while another stands beside a woman. No dialogue or on-screen text is present in this beat.

3 people observed.

Evidence, details and a link to share

Frame at 25:54, shot 42925:54
1 of 1 shots sampled

149. Sidewalk

25:53–25:54 Not yet checked

Model synopsis: A group of three people stands near a door in a dimly lit exterior setting. One person is opening the door while another watches from the side.

  • A person opens a door while two others stand nearby. [frame:1]

3 people observed.

Evidence, details and a link to share

Sequence 70 from 25:54

Frame at 25:56, shot 43025:56
1 of 1 shots sampled

150. Private office

25:54–25:57 Not yet checked

Model synopsis: A silhouetted figure in a hat stands in a doorway, backlit by a bright window. The scene is dark and high-contrast, with no visible facial features or identifying details.

1 person observed.

Evidence, details and a link to share

Frame at 25:59, shot 43125:59
1 of 1 shots sampled

151. Private office

25:57–26:00 Not yet checked

Model synopsis: A dimly lit interior scene shows three figures: one woman visibly distressed and held by a man, while another man in a hat stands nearby. No dialogue or on-screen text is present in this beat.

3 people observed.

Evidence, details and a link to share

Sequence 71 from 26:00

Frame at 26:02, shot 43226:02Frame at 26:04, shot 43326:04Frame at 26:06, shot 43426:06
3 of 3 shots sampled

152. Sidewalk

26:00–26:07 Not yet checked

Model synopsis: A man in a suit and hat stands outside at night, then walks toward a house entrance. A voice calls out to him, asking if he will stay out all day and to come inside.

  • A man stands outside at night, looking downcast. [frame:1]
  • The man remains standing, expression unchanged. [frame:2]
  • The man turns and walks toward a house entrance. [frame:3]

1 person observed.

“Ed, are you going to stay out there all day? Come on in.” 26:02

Evidence, details and a link to share

Frame at 26:08, shot 43526:08Frame at 26:11, shot 43726:11Frame at 26:18, shot 44026:18Frame at 26:23, shot 44226:23
4 of 8 shots sampled

153. Private office

26:07–26:26 Not yet checked

Model synopsis: Two women and two men are in a dimly lit interior; one man turns on a light, revealing the group and a staircase. A voice mentions 'Your brother Vince, the great Joker.'

  • A figure stands at the top of a staircase, illuminated by a spotlight. [frame:4]

Named: Vince (t:26:19). 4 people observed.

“Let's have some light.” 26:08 · “Not that one.” 26:11

Evidence, details and a link to share

Frame at 26:27, shot 44326:27Frame at 26:33, shot 44526:33Frame at 26:35, shot 44626:35Frame at 26:42, shot 44826:42
4 of 6 shots sampled

154. Private office

26:26–26:44 Not yet checked

Model synopsis: Two women and two men stand in a dimly lit interior space with a staircase; one man speaks to the group about finding shelter from the cold. The group then moves toward a door.

  • The group stands together in a hallway near a staircase. [frame:2]
  • The group moves toward a door. [frame:4]

4 people observed.

“Hello, anybody home? Don't do that!” 26:27 · “It's cold, he's shaking. So are you. Let's find a place to dry out before you catch cold.” 26:30

Evidence, details and a link to share

Frame at 26:45, shot 44926:45
1 of 1 shots sampled

155. Bedroom

26:44–26:46 Not yet checked

Model synopsis: A man and a woman are seen from behind in a dimly lit room; the man appears to be holding the woman. The setting includes a bed and patterned wallpaper, suggesting a private interior space.

2 people observed.

Evidence, details and a link to share

Sequence 72 from 26:46

Sequence 73 from 26:59

Frame at 27:06, shot 45327:06Frame at 27:15, shot 45427:15Frame at 27:18, shot 45527:18
3 of 3 shots sampled

159. Living room

26:59–27:18 Not yet checked

Model synopsis: A group of people, including a man in a fedora and a woman in a coat, enter a dimly lit interior space and discuss their presence there. One man moves toward a fireplace, which is noted to be gas-powered, as they prepare to rest.

  • A group stands in a doorway, looking into a room. [frame:1]
  • The man in the fedora gestures while speaking to the woman in the coat. [frame:2]
  • The man in the suit walks toward a fireplace. [frame:3]

4 people observed.

“Looks like they've been away a long time.” 27:03 · “Your being a detective comes in handy. In case anybody shows up, we won't get into trouble for crashing in like this. Yeah, yeah.” 27:07

Evidence, details and a link to share

Frame at 27:19, shot 45627:19Frame at 27:26, shot 45927:26Frame at 27:38, shot 46327:38Frame at 27:48, shot 46627:48
4 of 11 shots sampled

160. Living room

27:18–27:49 Not yet checked

Model synopsis: A man and a woman are in a dimly lit room with a fireplace; the woman speaks to the man, who then moves toward a lamp. The transcript indicates she offers to get tea from the kitchen.

  • A man stands near a fireplace in a dim room. [frame:1]
  • The woman stands beside the man near the fireplace. [frame:2]
  • The man moves toward a lamp while the woman remains near the fireplace. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“Come on, Daddy, share the warmth.” 27:41 · “I'll scout the kitchen. Some hot tea wouldn't hurt you a bit.” 27:44

Evidence, details and a link to share

Frame at 27:50, shot 46727:50Frame at 27:53, shot 46827:53Frame at 27:59, shot 47027:59Frame at 28:02, shot 47128:02
4 of 5 shots sampled

161. Bedroom

27:49–28:04 Not yet checked

Model synopsis: A person lies in bed while another man, addressed as Vince, stands in a doorway holding a fire extinguisher. The room is dimly lit with patterned wallpaper and a round light fixture visible.

  • A man in a suit walks through a doorway holding a fire extinguisher. [frame:1]
  • The man stands in the doorway holding the fire extinguisher while a person lies in bed. [frame:3]

Named: Vince (t:27:55). 2 people observed.

“Better already.” 27:52 · “Vince, why don't you come over here with the fire?” 27:55

Evidence, details and a link to share

Frame at 28:20, shot 47728:20Frame at 28:27, shot 47828:27Frame at 28:34, shot 47928:34Frame at 28:37, shot 48028:37
4 of 4 shots sampled

163. Living room

28:18–28:38 Not yet checked

Model synopsis: A man in dark clothing moves through a dimly lit interior, ascending a staircase and entering a hallway. The setting includes a large circular window and a wall-mounted mirror.

  • A man stands at the top of a staircase near a large circular window. [frame:1]
  • The man descends the staircase. [frame:2]
  • The man walks down a hallway past a wall-mounted mirror. [frame:3]
  • 1 more under Evidence and details.

1 person observed.

Evidence, details and a link to share

Frame at 28:40, shot 48128:40
1 of 1 shots sampled

164. Living room

28:38–28:41 Not yet checked

Model synopsis: A person is seen from behind, leaning into a doorway in a dimly lit interior. The scene includes a wall-mounted portrait and a sconce, suggesting a domestic or formal setting.

  • A person leans into a doorway. [frame:1]

1 person observed.

Evidence, details and a link to share

Frame at 28:58, shot 48428:58Frame at 29:03, shot 48529:03Frame at 29:06, shot 48629:06Frame at 29:10, shot 48729:10
4 of 4 shots sampled

167. Hallway

28:53–29:13 Not yet checked

Model synopsis: A man in a suit walks down a hallway lined with mirrors, viewed from behind and then from the front. The hallway is dimly lit with chandeliers and patterned wallpaper.

  • man walks away from camera down hallway [frame:1]
  • hallway with mirrors and chandeliers shown empty [frame:2]
  • man's face shown in close-up, looking off-camera [frame:3]
  • 1 more under Evidence and details.

1 person observed.

Evidence, details and a link to share

Frame at 29:15, shot 48829:15Frame at 29:18, shot 48929:18Frame at 29:27, shot 49129:27Frame at 29:30, shot 49229:30
4 of 5 shots sampled

168. Hallway

29:13–29:31 Not yet checked

Model synopsis: A man in a suit walks through a hallway lined with mirrors, his reflection multiplying in the glass. The scene is shot in black and white with high-contrast lighting and no dialogue.

  • man walks forward through mirrored hallway [frame:1]
  • man continues walking, reflections multiply [frame:2]
  • man turns slightly, revealing side profile in mirror [frame:3]
  • 1 more under Evidence and details.

1 person observed.

Evidence, details and a link to share

Frame at 29:33, shot 49329:33
1 of 1 shots sampled

169. Hallway

29:31–29:34 Not yet checked

Model synopsis: A man in a dark suit stands in a hallway with mirrored doors, his reflection visible. The scene is lit by a chandelier and appears to be indoors.

1 person observed.

Evidence, details and a link to share

Sequence 74 from 29:34

Sequence 75 from 29:41

Frame at 29:43, shot 49629:43
1 of 1 shots sampled

171. Hallway

29:41–29:44 Not yet checked

Model synopsis: Two men stand in a hallway with mirrors; one faces the camera, the other has his back turned. The hallway is dimly lit with overhead lights and lined with mirrors reflecting their figures.

2 people observed.

Evidence, details and a link to share

Frame at 30:23, shot 49830:23Frame at 30:24, shot 49930:24Frame at 30:34, shot 50130:34Frame at 30:39, shot 50230:39
4 of 5 shots sampled

173. Private office

30:22–30:42 Not yet checked

Model synopsis: A man in a suit is shown in close-up across multiple frames, with a shot of a safe door between them. The transcript mentions a blowtorch and a bluish light reflecting on a face, suggesting a past event involving the safe.

1 person observed.

“That's what he was crouched in front of that night. He must have been using a blowtorch. That's what made that bluish light.” 30:29 · “It made her face stand out in the reflections like a mask.” 30:39

Evidence, details and a link to share

Frame at 30:53, shot 50330:53
1 of 1 shots sampled

174. Hallway

30:42–31:03 Not yet checked

Model synopsis: A man in a suit is visible in a hallway, speaking urgently as another man walks away in the background. The transcript includes a fragmented recollection and a plea to stop an action.

  • A man in a suit stands in a hallway, looking toward the camera. [frame:1]

2 people observed.

“That must be the one I propped him up in after I...” 30:43 · “No, don't! Yeah, give me a chance. Cut it out.” 30:53

Evidence, details and a link to share

Frame at 31:06, shot 50431:06
1 of 1 shots sampled

175. Hallway

31:03–31:09 Not yet checked

Model synopsis: Two men in suits stand side by side in a hallway. The scene is lit with high-contrast studio lighting and shows no visible text or dialogue.

2 people observed.

Evidence, details and a link to share

Sequence 76 from 31:09

Frame at 31:10, shot 50531:10
1 of 1 shots sampled

176. Other

31:09–31:11 Not yet checked

Model synopsis: A dark, indistinct figure is seen against a light wall in a dimly lit interior. No names, dialogue, or clear objects are visible in this single frame.

  • A dark figure is visible against a light wall. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 77 from 31:11

Frame at 31:13, shot 50631:13Frame at 31:19, shot 50731:19Frame at 31:23, shot 50831:23
3 of 3 shots sampled

177. Private office

31:11–31:25 Not yet checked

Model synopsis: A man examines a wall with a dark stain while another man looks on; dialogue suggests the stain is dry blood from someone who was hurt and is now dead. The scene takes place indoors with dramatic lighting and close framing.

  • Man p1 leans toward a wall, examining a dark stain. [frame:1]
  • Man p2 looks downward with a serious expression. [frame:2]
  • Man p1 turns his head slightly, still near the stained wall. [frame:3]

2 people observed.

“Dry blood.” 31:15 · “Someone who was hurt was in here. Somebody who is dead.” 31:17

Evidence, details and a link to share

Frame at 31:26, shot 50931:26
1 of 1 shots sampled

178. Beat 178

31:25–31:27 Not yet checked

Model synopsis: A man in a suit is shown in a close-up, looking downward with a serious expression. No dialogue or environmental context is provided in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 78 from 31:27

Frame at 31:28, shot 51031:28
1 of 1 shots sampled

179. Private office

31:27–31:29 Not yet checked

Model synopsis: A man in a dark suit embraces a woman from behind in a dimly lit interior. The scene is shot in black and white with high contrast lighting.

  • A man embraces a woman from behind. [frame:1]

2 people observed.

Evidence, details and a link to share

Sequence 79 from 31:29

Frame at 31:34, shot 51131:34
1 of 1 shots sampled

180. Hallway

31:29–31:38 Not yet checked

Model synopsis: Two men stand in a narrow, dimly lit corridor with mirrored walls; one man gestures toward a door while the other faces him. The setting appears to be an interior hallway, possibly in a hotel or apartment building, with no visible time-of-day indicators.

2 people observed.

Evidence, details and a link to share

Frame at 31:41, shot 51231:41Frame at 31:48, shot 51431:48Frame at 31:54, shot 51731:54Frame at 32:00, shot 51932:00
4 of 8 shots sampled

181. Living room

31:38–32:02 Not yet checked

Model synopsis: Two men in suits are seen in a hallway with mirrors; one is visible in a close-up. The scene cuts to a dimly lit room with a table set for tea and a woman seated. A voice calls out names and invites them to tea.

  • Two men stand in a hallway with mirrors. [frame:1]
  • One man walks forward, partially obscuring the other. [frame:2]
  • A woman sits at a table with tea service in a dim room. [frame:3]
  • 1 more under Evidence and details.

Named: Ben (t:31:39), Claire (t:31:39). 6 people observed.

“Ben, Claire, come on down and have some tea.” 31:39

Evidence, details and a link to share

Frame at 32:03, shot 52032:03
1 of 1 shots sampled

182. Private office

32:02–32:05 Not yet checked

Model synopsis: A man sits at a table with a lamp and a bottle while another man sits in a chair nearby; a third man stands behind the table. The room has patterned wallpaper and dim lighting.

3 people observed.

Evidence, details and a link to share

Sequence 80 from 32:22

Sequence 81 from 32:25

Sequence 82 from 32:27

Sequence 83 from 35:37

Sequence 84 from 37:45

Sequence 85 from 38:03

Sequence 86 from 39:35

Sequence 87 from 39:55

Sequence 88 from 40:17

Sequence 89 from 40:36

Sequence 90 from 40:55

Sequence 91 from 41:00

Sequence 92 from 41:05

Sequence 93 from 41:32

Sequence 94 from 43:35

Sequence 95 from 43:51

Sequence 96 from 44:05

Sequence 97 from 44:08

Sequence 98 from 44:13

Sequence 99 from 44:19

Sequence 100 from 44:21

Sequence 101 from 44:24

Sequence 102 from 44:26

Sequence 103 from 44:29

Sequence 104 from 44:49

Sequence 105 from 44:52

Sequence 106 from 44:59

Sequence 107 from 45:06

Sequence 108 from 45:15

Sequence 109 from 45:18

Sequence 110 from 45:37

Sequence 111 from 46:36

Sequence 112 from 46:47

Sequence 113 from 50:16

Sequence 114 from 50:34

Sequence 115 from 51:26

Sequence 116 from 51:50

Sequence 117 from 51:56

Sequence 118 from 53:38

Sequence 119 from 54:22

Sequence 120 from 54:29

Sequence 121 from 57:13

Sequence 122 from 57:14

Sequence 123 from 57:38

Sequence 124 from 57:54

Sequence 125 from 57:58

Sequence 126 from 1:01:54

Sequence 127 from 1:02:27

Sequence 128 from 1:02:36

Sequence 129 from 1:02:42

Sequence 130 from 1:03:04

Sequence 131 from 1:03:07

Sequence 132 from 1:04:40

Sequence 133 from 1:04:44

Sequence 134 from 1:04:53

Sequence 135 from 1:04:59

Sequence 136 from 1:05:05

Sequence 137 from 1:05:10

Sequence 138 from 1:05:13

Sequence 139 from 1:05:18

Sequence 140 from 1:05:24

Sequence 141 from 1:06:01

Sequence 142 from 1:06:16

Sequence 143 from 1:06:26

Sequence 144 from 1:06:48

Sequence 145 from 1:09:35

Sequence 146 from 1:10:36

Sequence 147 from 1:10:38

Transcript

Machine transcription of the Archive copy's audio with Whisper large-v3-turbo (temperature 0); the model heard it as en. 468 segments kept, 204 dropped as the kind of hallucination the model produces over music and silence. Each timestamp links to the Archive's player at that second. This has not been checked against the film and can be wrong.

  1. 1:01 At first...
  2. 1:31 All I could see was this face coming toward me.
  3. 1:36 Then I saw the rule.
  4. 1:39 a queer mirror drill.
  5. 1:48 And somehow, I was inside it.
  6. 1:56 There was danger there. I knew that.
  7. 1:59 I wanted to turn and run, but I couldn't. It seemed as if my brain was handcuffed. And I had to do what I'd come to do.
  8. 4:23 It's a dream.
  9. 4:56 Those two thumbprints on my neck They weren't there last night when I undressed But it couldn't be It was a nightmare Talk about your realistic dreams I couldn't have done it to myself Choked myself without waking up
  10. 5:27 Must have scratched myself.
  11. 5:35 I.
  12. 5:48 Amen.
  13. 6:01 There they were.
  14. 6:02 The Bummer.
  15. 6:03 And that odd shaped key
  16. 6:05 things out of the dream I never seen them before
  17. 6:09 I didn't have them when I undressed last night.
  18. 6:11 I'm going to go.
  19. 6:19 That button wasn't mine. The key wasn't mine.
  20. 6:23 But if they were there, it must have happened.
448 more segments
  1. 6:27 The dream.
  2. 6:28 The struggle, the murder, everything. But how?
  3. 6:32 If something like that happened and I not know it, was I going insane? No.
  4. 6:39 A jackhammer started pounding inside my head. I had to see if the outside world was still there.
  5. 6:52 The street below look the same as it did last night. The same greasy spoon where I eat now and then.
  6. 7:00 The same traffic noises.
  7. 7:02 The same characters, hounding around.
  8. 7:07 There was nothing the matter out there. It was in here with me.
  9. 7:12 My stomach was riding a roller coaster.
  10. 7:15 I was sick.
  11. 7:17 I couldn't face going to work.
  12. 7:20 I'm going to go.
  13. 7:42 Oh.
  14. 7:45 Give me Fitzroy's 5103.
  15. 7:49 Fremont National Bank, Bill Hughes speaking.
  16. 7:56 Oh, yes, Grayson.
  17. 7:59 What seems to be the trouble?
  18. 8:04 Oh, it could be the flu.
  19. 8:11 All right, all right. Goodbye.
  20. 8:16 Good morning, Jill. Good morning, Mr. Jackson. Isn't that a lovely morning? Lots of things I'd rather do than work today.
  21. 8:28 Good morning, Mr. Vineyard. Morning, Betty. Vince Grayson just called. He's not feeling well. Will you take his window today? Oh, is Vince sick? What did he say it was?
  22. 8:53 The more I tried to figure it out, the thicker I got. Suddenly, the room started spinning.
  23. 9:23 Federal 7-6-4-8.
  24. 9:28 Hotel Commodore, Vince Grayson's room, please.
  25. 9:48 He doesn't answer?
  26. 9:56 Funny he shouldn't be there, isn't it? If he was sick, you know what I mean? No, I don't.
  27. 10:03 I'd better check his books. Just to make safe.
  28. 10:08 Miss, would you like to take this money or should I try another bank?
  29. 10:14 I had to get out of my room. Out into the sunshine.
  30. 10:17 I had to stay out of the shadows. I knew that tonight, I'd be afraid of the dark. I had to talk to somebody about this crazy thing. Betty. I'd get sympathy from Betty. What I needed was an explanation.
  31. 10:35 Cliff. My brother-in-law. He ought to be able to figure out something. I got to Cliff's place just before dinner. My sister Lil told me he was out in the garage.
  32. 10:49 Hello, Clifton.
  33. 10:50 Oh, hi, Vince. How's the boy? Cliff, I want to talk to you.
  34. 10:56 Be with you as soon as I finish sanding it.
  35. 10:58 exact reproduction of Martha Washington's bed.
  36. 11:08 What's the matter, kid? Something on your mind? I need your help. You and Betty have a fight or something?
  37. 11:15 Cliff, this is gonna sound screwy.
  38. 11:18 Last night I dreamed I killed a man. I don't know who or where it was supposed to be.
  39. 11:24 I stabbed him with a steel boar.
  40. 11:27 During the fight, a button came off in my hand. When I'd kill him, I locked the body in a closet and took the key.
  41. 11:35 And then when I woke up...
  42. 11:38 Well, look...
  43. 11:42 And this morning there was blood on my wrist. I figured maybe I'd scratch myself in my sleep, my ear or my nose or someplace.
  44. 11:50 So I just washed it off.
  45. 11:52 That was before I saw these.
  46. 11:55 You're all in pieces, aren't you? Cliff, you've got to help me. You don't know what I've been going through all day.
  47. 12:05 Where'd you get this? I mean, where'd you first get it before you dreamed about it?
  48. 12:09 Don't you understand what I've been telling you?
  49. 12:12 I didn't have it before I dreamed about it.
  50. 12:15 I never saw it before then.
  51. 12:17 Then when I wake up, it turns out real. Now look, Vince. I've warned you before. You're working too hard. Don't you understand? There's a door somewhere this very minute this key belongs to. There's a man propped up behind a dead. And I don't know where nor who he is or how or why it happened. Only that I must have been there. I must have done it. Or why would it come to me in my sleep like this? And these things... Now look...
  52. 12:39 You had those things before. You picked them up somewhere, and you misplaced them a long time ago.
  53. 12:44 And last night you had a Welsh rabbit or one drink too many? So you dreamed up a nightmare.
  54. 12:49 And in it, you remember these old things and wove them in it. Oh, no. Now, don't say no. Either you dream a thing or it really happens.
  55. 12:58 Don't worry.
  56. 13:00 If you dream that you had a fight with a guy and ram something in him,
  57. 13:04 You'd wake up.
  58. 13:05 It happened, Cliff. If I tell you, it happened. You dreamed it.
  59. 13:08 I had those things before.
  60. 13:13 You've just been stretching your nerves thin, kid.
  61. 13:16 That's your answer.
  62. 13:18 That's all you can tell me, huh?
  63. 13:20 Claire, Vince, dinner's ready. If I tell you I didn't have these things... Throw those things away.
  64. 13:25 Unlock.
  65. 13:26 Not a word of this to Lil.
  66. 13:29 You understand?
  67. 13:30 She's been worrying about you enough already.
  68. 13:35 You haven't helped me a bit.
  69. 13:40 I need one of the knuckles to work. Well, naturally not.
  70. 13:43 You expect me to arrest you for murdering a man in your dream? Well, the rest will have to happen in a dream, too. Because I'm off duty when I'm dreaming.
  71. 13:54 Come on, kid.
  72. 13:55 Let's get some dinner and smile for a little, will you?
  73. 14:04 You men coming in or not? Want your soup to get cold?
  74. 14:10 I keep cracking the polish off of that one nail. Are you lucky? Lil's got a rib rose tonight. You know I'm getting jealous of that butcher. Vince, why did you tell me you've been working hard at the bank all day? Because I did...
  75. 14:23 How are you feeling, Vince? I thought you were sick. I was. I just didn't feel well. I kept calling your room all day. No one was there. Mr. Billio got suspicious. Can a guy take a day off? I just didn't feel like going to work, and I wasn't sick enough to stay in my room. Now, why does everybody have to make such a big thing of it?
  76. 14:40 See ya.
  77. 14:42 The blood. I washed it off.
  78. 15:03 I don't know how long I was blacked out.
  79. 15:12 I hazily remembered coming to for a moment and falling asleep again. It was sometime past midnight when something awakened me.
  80. 15:33 Perfect.
  81. 15:35 Light out.
  82. 15:36 You certainly did.
  83. 15:38 the truth oh not what you think not that green business the real truth but you've been wearing yourself out why you passed out like any neurotic
  84. 15:49 Take the key to the botany.
  85. 15:51 You must have often had less than that to start out on.
  86. 15:54 Find out where they came from and find out what they were doing on me. Find out where that mirrored room is. Forget them once and for all. Forget them. I can't. They're my only clue to what happened. Nothing happened. Just selling yourself a phony bill of goods. Just as phony as that idea that the nail polish was blood.
  87. 16:12 That's the kind of trick your mind's been playing on you.
  88. 16:14 Oh, it can't be bad. And don't crack the Lilla about this nonsense or I'll...
  89. 16:20 Well, just don't cry.
  90. 16:21 She's fretted about you for years, ever since your mother died. Right now would be the worst time of all. Now?
  91. 16:29 What do you mean?
  92. 16:31 Well, I wasn't going to tell you until later.
  93. 16:35 Belle's gonna have a kid.
  94. 16:38 Well, that's fine.
  95. 16:40 That's great, Clep. Okay. So now you know, so forget it.
  96. 16:43 If you were half on that...
  97. 16:46 Spooky business, so help me. I'll drag you off to a doctor.
  98. 16:52 I go out, get, try and get some sleep.
  99. 17:06 Sleep. I felt I'd never sleep again till I knew the answer.
  100. 17:12 I had to find the house where the nightmare took place. I had to know. I have a lovely house.
  101. 17:37 with a mirror-lined powder room on the second floor.
  102. 17:53 Six days went by without a lead.
  103. 17:56 I scoured the papers. Not one line about the murder. And all week I've been avoiding Betty. I just couldn't face her with this thing gnawing at my brain.
  104. 18:13 Who is it? Cliff.
  105. 18:18 Hello, Cliff. Hiya, boy. Will you see what I've got downstairs? Come on. Put it on. Let's go. I don't want to go anywhere. I want you to see my new second-hand car that I just got in exchange for my old second-hand car. Please, Cliff, I don't want to go anywhere. What are you trying to be, a groundhog? Lil and I taking a ride in the country. A little picnic. Listen, I'm all right.
  106. 18:40 the devil's out on me if that's what you're doing.
  107. 18:42 Now, look, do you want a little to worry any more than she is after what I told you about her?
  108. 18:49 Come on.
  109. 18:58 Come on.
  110. 18:59 Now look Cliff if you think this is going to do any good don't be a grip come on
  111. 19:07 Hello, Betty. Hello, Vince.
  112. 19:09 Hiya, Lil. I'm fine. Vince, I want you to know this wasn't my idea. What do you mean? I'm glad you picked me up. Well, where should we go, kids? Anywhere. I don't care.
  113. 19:18 How about Solander Canyon? All right.
  114. 19:28 Solander Canyon. It just popped into my head.
  115. 19:31 Why?
  116. 19:33 Betty and I always preferred the beach.
  117. 19:36 Something made me say, "Sir Landon."
  118. 19:38 Somehow it seemed important.
  119. 19:41 Oh, my God.
  120. 19:54 I'm...
  121. 19:56 You know where you're going.
  122. 19:57 Nope.
  123. 19:58 But I got a hunch further down
  124. 20:00 This road will find just the right spot. Did you ever see anything so stubborn?
  125. 20:04 I'm sure that the ants here are just as friendly as the ants farther down.
  126. 20:07 Now what's wrong with that place over there?
  127. 20:09 Nothing, but, uh... Well, stop then!
  128. 20:12 It's getting late, and besides, I'm hungry. Okay, okay, my love. That's just what I was going to do.
  129. 20:17 I'm going to go.
  130. 20:29 Ah, this is the life.
  131. 20:32 Toss me another one of those marshmallows, will you, beloved? As I wish, Martha. Plop!
  132. 20:39 Mommy, you're wonderful. Uh-huh. Just as long as the marshmallows last.
  133. 20:53 Vince, are you coming back to work tomorrow?
  134. 20:56 I don't think so.
  135. 20:59 Mr. Billio asked me to go out with him yesterday. Why didn't you go? Why tell me? Vince. What is it? What's the matter?
  136. 21:21 Just forget about me, will you? What is it?
  137. 21:25 Did I do something? No, it's not your fault. It's just that... Look, we're through. There's nothing we can do about it. Don't call me out. Don't pay any attention to me. Get somebody else. Get anybody.
  138. 21:42 It'll be better for you.
  139. 21:51 Nail, Nail, you're a big girl now. I can't help it. You know what lightning does to me. We better go. Hey, kids, it's going to rain.
  140. 22:02 Oh! Holy smoke, you didn't have to take me seriously. Yes, Betty, come on and go.
  141. 22:32 Now, the wipers won't work. You should have tried them before you bought it, dear. All right. All right.
  142. 22:57 I can't stand anymore. Stop at the first place you come to and let's get out of this. All right, baby. Now calm down.
  143. 23:07 No houses around here.
  144. 23:13 That bridge. I've seen it before. But when? There's a cutoff a little ways ahead, just around the turn. There's a big house up there, I think. You know this section? Have you been here before? There's a cutoff.
  145. 23:43 Are you gonna get us more lost than ever? No, keep going. You'll come to it. Two big posts and then turn the car between them. I didn't know myself how I knew that. But the closer we came, the heart of my heart pounded.
  146. 23:57 And the more frightened I got.
  147. 24:06 There they are. Turn quick between those posts like he told you.
  148. 24:57 Let's make a dash for it.
  149. 25:21 There doesn't seem to be anybody home.
  150. 25:23 I wish we could get in.
  151. 25:44 Thought there'd be a key someplace. Yes.
  152. 26:02 Ed, are you going to stay out there all day? Come on in.
  153. 26:08 Let's have some light.
  154. 26:11 Not that one.
  155. 26:12 What is this a rib? How do you know so much about this place? It's a rib.
  156. 26:19 Your brother Vince, the great Joker.
  157. 26:27 Hello, anybody home? Don't do that!
  158. 26:30 It's cold, he's shaking. So are you. Let's find a place to dry out before you catch cold.
  159. 27:03 Looks like they've been away a long time.
  160. 27:07 Your being a detective comes in handy. In case anybody shows up, we won't get into trouble for crashing in like this. Yeah, yeah.
  161. 27:13 Let's see what gives with the fireplace. That's a break. It's a gas log. Hunk yourself down. Dry out. Before you catch a chill. Oh, I am tired.
  162. 27:41 Come on, Daddy, share the warmth.
  163. 27:44 I'll scout the kitchen. Some hot tea wouldn't hurt you a bit.
  164. 27:52 Better already.
  165. 27:55 Vince, why don't you come over here with the fire?
  166. 29:36 This is the place.
  167. 29:38 This isn't.
  168. 29:39 place alright.
  169. 29:41 Yeah.
  170. 29:45 Wipe it, bro.
  171. 29:51 Have you got it?
  172. 29:56 What are you two doing up there? Keep her downstairs. Keep her downstairs. Be on a minute, Lou. Watch the tea in the kitchen. I got some water boiling. All right, but I wish you'd stop poking around.
  173. 30:14 Look.
  174. 30:29 That's what he was crouched in front of that night. He must have been using a blowtorch. That's what made that bluish light.
  175. 30:39 It made her face stand out in the reflections like a mask.
  176. 30:43 That must be the one I propped him up in after I...
  177. 30:53 No, don't! Yeah, give me a chance. Cut it out.
  178. 31:15 Dry blood.
  179. 31:17 Someone who was hurt was in here. Somebody who is dead.
  180. 31:39 Ben, Claire, come on down and have some tea.
  181. 32:13 I'll take these back to the kitchen. I'll take them.
  182. 32:17 The rain ought to let up soon. Meanwhile, catch yourselves a nap. Mm-hmm.
  183. 32:33 Close it. I don't want them to hear this.
  184. 32:50 Now let's hear about another dream. You think I lied, don't you?
  185. 32:56 didn't you? You know where the key was from a dream, didn't you? Oh, that fumbling around didn't fool me. You even knew where the light switch was from a dream? Oh, no.
  186. 33:05 If you weren't Lil's brother, I'd push a lion face out to the back of your head. But I tell you, Cliff, I'd take hand to me for help. She didn't have guts enough to come clean. To say, Cliff, I went out to such and such a place in the canyon last night and killed a guy. Such and such a guy for such and such a reason. But I tell you, Cliff. No, you had to cook up a dream.
  187. 33:21 I can respect the guy no matter how rotten a crime he's committed, who'll own up to it. I can understand a guy who'll deny it flatly.
  188. 33:26 But a guy that'll come to someone trading on the fact he's married to his sister, abuses common sense, and make a fool out of him like you did to me. But I didn't. I got no use for him.
  189. 33:34 It's lower than the lowest route we ever brought in for a knife and somebody in an alley.
  190. 33:37 Look, I found this key in my pocket when I woke up. I found this button playing on my sympathies.
  191. 33:44 Getting me to think in terms of doctors and medical observation. Was that it? Was it? No, I... Cliff, I swear to you, I... Some dream, that was. Well, that dream's over with. The baby's awake now. I'm going to get the facts out of you, and whether they go any further than me or not, that's my business. But at least I'm going to have them. How can I tell you what I don't know? What were you doing here that night? What brought you here? I was never here before. I never saw the place till the day when I came here with you and Lil. Who was the guy you killed? What was his name? I'm in agony already without... Are you going to answer me? Are you? I can't. You're asking me things I can't answer.
  192. 34:14 My dear, whoever watches over us at night when we're unconscious. Who was the guy? Why did you kill him?
  193. 34:19 Why? I've handled close-mouthed guys before. You're going to tell me or I'm going to half kill you with my own hands. Why?
  194. 34:29 Get over there.
  195. 34:30 What is this?
  196. 34:31 I'll ask the questions. What are you two doing in here? You came in out of the rain. That suit you? Yeah.
  197. 34:36 Not yet.
  198. 34:38 Identify yourselves and be quick about it.
  199. 34:42 Help yourself.
  200. 34:49 Yeah.
  201. 34:52 Thanks early headquarters homicide division, huh?
  202. 34:57 How about doing a little identifying yourself? Well, I'm a deputy attached to the county sheriff's office out this way.
  203. 35:02 Torrance is the name. My brother-in-law.
  204. 35:04 Vince Grayson, how do you do?
  205. 35:05 I'm detailed to keep an eye on this place. I was home having a little bite to eat, then I'm way back to the station.
  206. 35:10 Say, how'd you get in here? I thought I had it locked up. My key was under a flower box on the porch. It was? Yes.
  207. 35:14 Must have been a spare. I have the original. We didn't know there was a second one.
  208. 35:18 What do you mean, you're detailed to keep an eye on this place? Didn't you know?
  209. 35:21 There was a murder committed here last week. There was?
  210. 35:25 I'd like to hear more about that. Sounds interesting.
  211. 35:30 Let's go.
  212. 35:38 Nothing. This place belonged to a wealthy couple named Belknap.
  213. 35:43 Husband frequently goes along business trips. He was away when it happened Mexico.
  214. 35:48 In fact, we haven't been able to notify him yet.
  215. 35:52 His wife was a pretty little thing.
  216. 35:54 Was kind of flirting.
  217. 35:57 There's a young duck she used to run around with. His name was Bob Klune. Why is he?
  218. 36:01 Milkman found Mrs. Belknap about daybreak Monday near a road that leads over here. Did it?
  219. 36:07 Dying, unconscious, both legs broken, skull fractured, insides all busted up.
  220. 36:11 uh...
  221. 36:14 Kind of gets him, doesn't it?
  222. 36:16 Things like this are new to him, I guess. What did it happen?
  223. 36:19 I did it to her.
  224. 36:20 We found a car.
  225. 36:21 blood and hair in the tires
  226. 36:26 Bob Plum's car. Well, then Warner, that's my chief, he'd come over here and have a look around.
  227. 36:31 He finds a safe busted in the mirror room upstairs.
  228. 36:34 Take you up and show if you want.
  229. 36:36 New room, eh?
  230. 36:38 Well,
  231. 36:39 That gave us a case.
  232. 36:41 Clue knew that Belknap got a lot on his safe when he left for Mexico. He came here, started to heist it, and Mrs. Belknap caught him.
  233. 36:47 She ran out afraid he'd kill her. He got his car chased her down the road and ran over. Pretty brutal.
  234. 36:52 All of a sudden, life was swell again.
  235. 36:54 I don't know how to drive, I kept thinking.
  236. 36:57 Cliff knew that too.
  237. 36:59 Out of smoke, kid. Anyway, that's a case we thought we had until Wednesday morning. Thought you had. We sent out an alarm for Kloon. Then Wednesday, Mrs. Belinac came too. The first thing she asked was, is Bob all right? He didn't kill Bob Kloon, did he? He? Yeah. What she told us sent us hot footing right back here. We find Kloon's body propped up behind one of those mirrored doors upstairs. Been stabbed with an awl. She died that night. Well, it went our case.
  238. 37:27 Did you get anything on the real killer? Practically everything except the guy himself. All the dope's over at my chief's office. I was just on the way over there. Are you interested? It's right up my alley. Might be able to even help you find the killer. Glad to have you come along. I'll have to tell the girls. We'll be gone for a while.
  239. 37:48 Shouldn't let it get you, kid. This is just routine with us.
  240. 37:53 I know. It's just that I'm not used to this kind of discussion, I guess. Yeah, I can understand that.
  241. 37:59 I was a little bit squished myself when I first started on the job.
  242. 38:04 They're both asleep. I left the note. Come on, Vince.
  243. 38:11 I'll stay here. Come on, Vince.
  244. 38:16 funny I didn't see anything in the LA papers about it Captain Warner they've been playing ball with us we had an idea if the killer didn't read about us finding the bodies he might come back to take a look maybe to find out what happened to mrs. Bell now here's a description she gave us before she died
  245. 38:45 The killer was about 24.
  246. 38:47 medium build,
  247. 38:49 light brown wavy hair, worn rather long.
  248. 38:53 His eyes were fixed and glassy as though he was...
  249. 38:57 mentally unbalanced.
  250. 38:59 You got any pictures on them? Mrs. Belknap. Clune, I mean. We had some photographs taken in the morgue. Let's have a look.
  251. 39:08 Got any ideas? Nothing in particular. Just thought it might tie in with something at our office.
  252. 39:14 Take a look, Vince.
  253. 39:16 Oh no, you might even know these people.
  254. 39:19 It was them all right. The faces and the dream. That woman and the man I killed. Now I knew there was no escape. I was a murderer. I?
  255. 39:32 I...
  256. 39:36 I'm.
  257. 39:48 Out like a light. What do you suppose did? Those death pictures? Things like this sure get him. I noticed that before. He's not well.
  258. 39:57 get these busy spells now and then?
  259. 40:00 since I started.
  260. 40:03 Yeah, that's better.
  261. 40:05 He'll be all right.
  262. 40:07 As soon as I get them home.
  263. 40:12 Thanks Warner.
  264. 40:13 Have a scene. Okay.
  265. 40:40 Thanks, Lil. I'm sorry the rain has spoiled a picnic. You take care of yourself, Lil.
  266. 40:44 I'll call you.
  267. 40:47 I'm going up with Vince for a while.
  268. 40:49 My pet, you happen to be in a load. Oh, Smiley's on this beat. If he says anything, just tell him whose car it is.
  269. 41:27 Lil's waiting downstairs. I'm going to take her home first before I do anything.
  270. 41:34 I love Lou.
  271. 41:36 I think you love Betty, but that's your business.
  272. 41:39 All I know is I love Lil.
  273. 41:44 Bad enough what this is gonna do to her when she finds out.
  274. 41:48 I'm going to say that she gets at least one good night's sleep.
  275. 41:52 before she does.
  276. 41:53 What am I gonna do, Club?
  277. 41:56 I don't have to ask you if you killed a passed out coal when you saw their photographs and death.
  278. 42:04 In the morning, I'm going to take you down and turn in what I know at my own precinct house.
  279. 42:09 I can pass it on to Warner.
  280. 42:12 And then I'm going to turn in my badge.
  281. 42:18 I'm scared stiff.
  282. 42:21 Killers always are.
  283. 42:23 afterwards.
  284. 42:25 I'll be back in the morning.
  285. 42:28 I'm
  286. 42:46 I'm not.
  287. 42:55 I'm. I'm.
  288. 43:52 I'm going to go.
  289. 44:01 I beg your pardon.
  290. 44:09 Look, look.
  291. 44:10 trying to make up his mind.
  292. 44:33 Can't you go any faster.
  293. 44:35 Got her wide open.
  294. 44:37 Oh, God.
  295. 45:25 Why didn't you let me?
  296. 45:28 I didn't think it that way out.
  297. 45:34 Vince! Oh, Vince! I didn't want to drive you into this. What is it? If you were in trouble so horrible that you wanted to...
  298. 45:44 Charlie, don't.
  299. 45:47 He won't try it again, Betty. Just keep that thought. But why, Cliff? Why? Never mind now.
  300. 45:54 You go on down.
  301. 45:56 Take Lil home. But don't tell her anything about that. Just say that I thought it was better if I stayed here with Vince tonight. He's not feeling well. Okay.
  302. 46:08 Cliff, whatever it is that's come between us...
  303. 46:12 Promise me you'll help him. You go on now. And take care of Lil.
  304. 46:28 *Loud noise*
  305. 46:57 Cliff?
  306. 46:59 Did I wake you up? No, I can't sleep. Have a smoke.
  307. 47:13 What about the arrest, Cliff?
  308. 47:15 Cancel for now. When a guy's willing to die like you were, there must be something to his story. I tried to tell you. I don't think you really knew what you were doing that night.
  309. 47:26 I think you're telling the truth to the best of your ability.
  310. 47:30 I'm licked. I'd rather not even talk about it. You might as well have let me jump. I'm dead inside already.
  311. 47:39 Still, I can't figure why you picked that one. Most of them try the bridge or poison or even gas. Thought of that, but this place hasn't any gas. Yeah, good thing, too. More houses didn't have gas, there'd be less... Yeah? It'd be darned inconvenient if an electric light bulb burns out unexpectedly. Happened to a fellow in the next room the other night. Yeah? Yeah, I had to use a candle. Same night I had the drink. Use a candle? How did you know? Were you in there with him? Hmm?
  312. 48:09 Stuck his head in the door. Wanted to know if my light had gone out, too. What'd you have to come in here for? Couldn't have told by the hall? I don't know. There's a little night light around the bin in the hall. Maybe that's on a different circuit. Still no reason for him to barge in on you.
  313. 48:32 I'd like to hear the rest of this. There isn't any rest of it. I've told you all there is. Never mind.
  314. 48:39 Now, who was he? Did you know him?
  315. 48:42 Now tell it to me step by step. Like to a six-year-old kid. Okay.
  316. 48:48 Well, the guy's name was Berg. He'd been living in the room about, oh, a week or ten days before that. Used to see him in the elevator.
  317. 48:58 I chatted with them a couple of times in the lobby. All right. Now, tell me what happened the night his late went out. Well, I've been in bed for some time, reading the paper like I do every night.
  318. 49:17 Just put the lamp out and got to sleep when I heard this knock on the door.
  319. 49:24 Who is it?
  320. 49:26 Harry Berg from next door.
  321. 49:37 Pardon me. Did I wake you?
  322. 49:39 No, I just turned out the light. Oh, you did?
  323. 49:43 The light in my room just went out. That's why I wanted to see you. I thought maybe the circuit was on. Your light working? Try it.
  324. 50:01 Yes. It must have been the globe that burned out. Sorry I troubled you. Not at all.
  325. 50:08 You're tired, aren't you? I can see you're pretty tired. I'm sorry. Oh, really, it's all right.
  326. 50:17 You're tired, and I woke you up. It's all right.
  327. 50:22 I guess he kind of had a one-track mind. Used to mumbling to himself, maybe. Anyway, he finally closed the door and went away, and I dropped off to sleep. Now, wait a minute.
  328. 50:40 Are you sure the door closed after him? Did you see it closed? Did you hear it closed?
  329. 50:48 Did it go like this? Did it make a click? Or did it go like this? Without a click.
  330. 50:57 I can see you're having trouble giving me a definite answer. You don't remember it either way. Well, what difference does it make? The door must have closed. He went away and I went to sleep.
  331. 51:10 and he kept saying, you're tired. So what? Eyes fixed and glassy as though he were mentally unbalanced.
  332. 51:19 What?
  333. 51:22 I was just remembering something in the deathbed statement Mrs. Belknap gave to Warner. You, uh... You say you chatted with this fellow once in a while. What about? Oh, sports, politics...
  334. 51:52 You should have one. Your boy sounds kind of hoarse.
  335. 52:01 I took one because I kind of felt sorry for him.
  336. 52:06 cough drops testing willpower. You seem to make something out of this silly thing. What is it? Just guessing. That's all.
  337. 52:19 You get some sleep, kid. Where are you going?
  338. 52:26 Hey, I thought you were going to stay here tonight.
  339. 52:32 You're going to have to take one of your hats.
  340. 52:35 I'm going out to the Belknap home. And the Warner's headquarters while I'm out there. Now? All the way out there? This hour of the morning? I don't know what I've got yet. If anything...
  341. 52:47 Vince, don't try any more shortcuts.
  342. 53:02 That clock is always a little slow. It's like the horse I had yesterday. Hello kid, come on up to your own.
  343. 53:18 Lua called her a while ago. She's been worried. Married to a cop for 15 years and still worried.
  344. 53:23 You didn't tell her anything? No. Good.
  345. 53:38 Have you been up there all this time till now? I'll go back to the town once in between, get something I needed, get a leave of absence. What for? What for?
  346. 53:45 I'll tell you later.
  347. 53:58 Ople.
  348. 54:07 Welcome.
  349. 54:09 Who is it?
  350. 54:34 What's the bird? The man had the room next door. Where'd you get this? I didn't have to ask you who it was. You already know it from the desk clerk.
  351. 54:43 A couple of others I showed her to when I stopped back here earlier this morning.
  352. 54:48 He's also...
  353. 54:50 Dorothy Belknap's husband, Louis Belknap.
  354. 54:54 What about me? Does this mean... Was he the one who... There's no out in this for you, Vince. Not yet. I checked your fingerprints with the ones worn from the mirrored door. You found your way into Belknap's home. You punctured Bob Clune's heart with a bore and shoved his body into a closet.
  355. 55:12 Mrs. Belknap? You didn't kill her. You can't drive. We think Belknap drove you up there. Was waiting for you outside.
  356. 55:23 I deliberately ran over her.
  357. 55:25 Why didn't I know what I was doing we think we know why Vince?
  358. 55:31 There's only one way to prove it. I
  359. 55:34 sure that it could have happened in the first place by making it happen all over again.
  360. 55:37 You mean go back and commit the crime over again? Not exactly.
  361. 55:42 You killed a man Vince.
  362. 55:44 Right now, you're guilty.
  363. 55:45 We've got to prove you didn't know what you were doing and why you didn't know. What do you mean? We haven't got much time.
  364. 55:52 They located Belknap yesterday. He's flying back from Mexico this afternoon. He wired Warner to have his wife reburied in the family plot today.
  365. 55:59 He'll be back in time for the funeral. Get your coat on. Where we're going.
  366. 56:02 There's a place you'd rather not go than all other places right now.
  367. 56:05 I know, kid. It's not going to be easy.
  368. 56:12 You've got to go back there and stay tonight and wait for Belknap. He may be a dangerous killer, but it's your one chance to save yourself from paying for a murder. You're right.
  369. 56:21 Think he can make it?
  370. 56:34 I was scared sick, but I got back into that house before Belinop returned from the funeral.
  371. 56:39 A couple of friends drove back with him.
  372. 56:41 I waited upstairs looking down into the living room.
  373. 56:44 As I said goodbye.
  374. 56:47 Why don't you come and stay at our place tonight, huh?
  375. 56:49 Yes, we'd love to have you.
  376. 56:51 Don't worry yourselves about me. Oh, boy.
  377. 56:54 Good night.
  378. 56:57 He was coming out. My blood turned to water. I wanted to scream out, to run away from there. But I had to stay. It was my only chance to save myself.
  379. 58:11 How'd you get here?
  380. 58:12 You showed me the way, didn't you?
  381. 58:15 You remembered coming here?
  382. 58:17 You didn't think I would, did you?
  383. 58:19 You couldn't have. Then how did I get here? You explain it. How long have you been in here, like this?
  384. 58:27 Since shortly before dark. I got in while you were at the funeral. Who'd you bring with you?
  385. 58:33 Just this.
  386. 58:36 You remembered the drive up you couldn't have.
  387. 58:40 You had to look.
  388. 58:42 The typical look of a hypnotized subject...
  389. 58:45 I faked it. I was holding a thumbtack pressed into each palm the whole way so I wouldn't go under no matter how good you were at it. Then why did you do everything I directed? When I put the knife in your hand and told you what to do, you took it. I thought maybe you'd pay off to keep me quiet.
  390. 58:58 And then if I balked,
  391. 59:00 I figured I'd get a knife in my back. But what happened? What went wrong inside?
  392. 59:05 I let you out of the car, told you what to do. I dropped the knife somewhere in the dark. But I came up anyway. Clune was stealing your dough and about to run out with your wife, wasn't that it? Yes. Yes.
  393. 59:19 But how... I would have been killed by Clune, only your wife handed me a boar by mistake. And I had to use it to save myself.
  394. 59:25 Oh, that explains how she got out of the house.
  395. 59:28 I had to finish her.
  396. 59:30 with his car. I might have known you were under imperfect control. Oh, your control is perfect enough, Bellman.
  397. 59:37 Don't let that worry you. You still have the knack. But you just said... Yeah, and you fell for it.
  398. 59:43 I didn't know what I was doing when I came up here to do your dirty job. I'd never found you, but I saw your picture in the paper as a husband of the murdered woman and recognized you as Bert.
  399. 59:51 I didn't come here to be paid off for what I did.
  400. 59:54 Even though your will is stronger than mine, you know you couldn't make me commit murder.
  401. 59:59 I killed that man.
  402. 1:00:00 self-defense.
  403. 1:00:01 But I'll never be able to clear myself into eyes of the law. Ever. I'm going to make you pay for doing that to me. Now.
  404. 1:00:11 This way. Wait. Don't do that. Alive, maybe I can do something for you. I'll give you money. I'll get you out of the country. No one will know. My conscience will know. No.
  405. 1:00:21 I've got an honest man's conscience and a murderer's body. You should have let me alone, Belmont. That was your mistake. Wait one minute. Give me one minute to make you see. Just 60 seconds.
  406. 1:00:34 You don't want to kill me. Those two were plotting against me for months. I knew it. That's why I planned the whole thing. I had to do it. Don't you understand? You can understand that. Stop it, Belknap. Just a few seconds, please.
  407. 1:00:47 You don't want to kill me. Look up. Look up, please. See? Just 30 seconds. And I'm sure I can make you understand. Just a few seconds. Shall we take him now?
  408. 1:01:02 We've got to let him finish. We've got to have proof for a jury that he can actually put him under. Just 15 seconds, that's all. That isn't much, is it?
  409. 1:01:12 Fifteen seconds. Killing me won't calm your conscience. You don't really want to kill me, Grayson. Drop your gun. It's too heavy. Drop the gun, Grayson. Drop it. You're too tired to hold it up. Just drop it. You'll feel so much better.
  410. 1:01:36 Just let go.
  411. 1:01:38 Better still
  412. 1:01:40 Give the gun to me, Grayson.
  413. 1:01:42 You're tired Tired That horrible curtain closed over me again
  414. 1:01:55 I couldn't fight it.
  415. 1:01:57 Oh, my God.
  416. 1:01:58 I knew he was taking me somewhere.
  417. 1:02:01 I didn't want to go.
  418. 1:02:03 But my brain was handcuffed.
  419. 1:02:07 And I was walking through another nightmare.
  420. 1:02:37 The quiet. We better get up there quick.
  421. 1:02:49 He's got him out of the car by the garage.
  422. 1:03:19 Oh, my God.
  423. 1:04:04 Like what I say I am wanted for the murder of
  424. 1:04:09 of those two people at the Belknap house.
  425. 1:04:17 I have no chance.
  426. 1:04:25 I see...
  427. 1:04:27 No other way out.
  428. 1:04:31 Sign it.
  429. 1:04:34 Vincent Grayson.
  430. 1:05:25 Look down there.
  431. 1:05:31 All right, get out.
  432. 1:06:16 Take off your coat.
  433. 1:06:32 This way you'll find peace.
  434. 1:08:38 *thud*
  435. 1:09:11 Are you alright now, kid?
  436. 1:09:26 Yeah.
  437. 1:09:29 Yeah. All of a sudden I'm all right.
  438. 1:09:35 I'm sorry.
  439. 1:09:50 I'll see you inside.
  440. 1:09:51 Too bad you have to go through the uranine, Grayson, but...
  441. 1:09:53 Good luck.
  442. 1:09:54 Thanks a lot for everything.
  443. 1:09:59 Vince, it must have been horrible. It was. If I didn't read the newspapers, I'd never know what my wonderful husband's doing. If you knew, you'd never have let me do it. Vince.
  444. 1:10:09 We'd better go face the judge. Don't worry. You've got a perfect plea of self-defense.
  445. 1:10:14 Come on.
  446. 1:10:15 Mother.
  447. 1:10:20 Scared, darling? I'll be glad when it's over.
  448. 1:10:23 I'll be right there with you all the time.

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Every free film of 1947 with a copy

Also from Paramount Pictures, Inc., New York

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Similar frames

Blood on the Sun 1945The Green Glove 1952The Stranger 1946

By the average clip vector of the keyframes; a measurement, not a judgement