Scarlet Street (1945)

Model synopsis: The beat shows a studio logo animation with no people or dialogue. The setting is not a physical location but a graphic effect.

• Studio logo animation plays. [frame:1]

Evidence, details and a link to share

Model synopsis: This beat displays a title card featuring the names Edward G. Robinson and Joan Bennett against a stylized lamppost silhouette. No characters, actions, or dialogue are present in the frames or transcript for this segment.

Evidence, details and a link to share

Model synopsis: This beat shows end credits for the film SCARLET STREET, listing crew roles and names. No people, actions, or settings are depicted beyond the text on screen.

Evidence, details and a link to share

Model synopsis: A man in a dark coat stands at a frosted glass door marked 'PRIVATE' while a woman sits nearby holding a cup. No dialogue or on-screen text beyond the sign is visible in this beat.

2 people observed.

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Model synopsis: A man in a tuxedo addresses a group seated at a banquet table, holding up a pocket watch as a gift. The transcript indicates he is giving the watch to a cashier named Mr. Hawkins, and the group applauds.

• A man in a tuxedo stands and addresses seated guests. [frame:2]
• The man holds up a pocket watch while speaking. [frame:3]
• The seated guests applaud the speaker. [frame:4]

Named: Mr. Hawkins (t:2:17). 4 people observed.

“Yes, my father, my boy. Yes, my old boy. Yes, my old boy.” 2:10 · “Well, boys, I hate to break up a good party, but you can't keep a woman waiting, can you? You know how it is. That's the best we do, Mr. H…” 2:17

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Model synopsis: A man in a tuxedo raises a glass at a dinner table while another man in a tuxedo watches; the setting appears to be a formal dining room. No dialogue or on-screen text is present in this beat.

3 people observed.

Evidence, details and a link to share

Model synopsis: Two men in tuxedos sit at a dinner table; one gestures while the other handles cutlery. The scene is indoors, with no visible clock or window to establish time.

• Two men sit at a dinner table; one gestures with his hand, the other holds cutlery. [frame:1]

2 people observed.

“Beautiful, watch this.” 2:58 · “Watch out.” 3:00

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Model synopsis: A man in formal attire examines an object at a table while a voice instructs him to read an engraving. The engraving is revealed to be a dedication from J.J. Hogarth to Christopher Cross for 25 years of service.

Named: Christopher Cross (t:3:08). 1 person observed.

“Read what's engraved inside, Chris.” 3:05 · “To my friend Christopher Cross.” 3:08

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Model synopsis: A man in a tuxedo examines a watch at a formal dinner table while others applaud; spoken lines thank a boss named J.J. and call him a 'Johnny Goodfellow'. No names are visually confirmed on screen.

• A man in a tuxedo stands at the head of a dinner table holding a watch. [frame:1]
• The man examines the watch closely while seated men applaud. [frame:2]

Named: J.J. (t:3:27). 5 people observed.

“Speed! Speed! Speak up, Chris! Speak up! Come on, Chris! Speed! Well, I, uh...” 3:27 · “I hardly know what you say, J.J. This, uh...” 3:33

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Model synopsis: Two men in formal attire converse in an interior space while a third man in a bow tie sits behind them; a gloved hand is shown in close-up. A line of dialogue asks if one man is superstitious.

• A gloved hand is shown in close-up. [frame:2]

Named: Chris (t:4:35). 3 people observed.

“Wow.” 4:34 · “- Thank you. - Thank you. You're not superstitious, are you, Chris?” 4:35

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Model synopsis: A group of men in formal attire are gathered in a dining room; one man calls out to others to look at something, prompting movement and attention. The scene ends with men standing and reacting to an off-screen event.

• Men are gathered around a dining table in a formal room. [frame:1]
• A man stands near a wall, facing away from the table. [frame:2]
• Men are standing and turning toward something off-screen. [frame:3]

4 people observed.

“Don't come in late Monday morning with a hangover. Don't worry, we won't be right there on time. Good night, boys. Good night, boys.” 4:53 · “Hey, fellas, look!” 5:12

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Model synopsis: Two men in suits walk through a dimly lit, possibly outdoor or semi-outdoor space with stairs and potted plants. One man speaks about another's wife and offers to walk the other to his bus, mentioning spring and being drunk.

• Two men in suits walk through a space with stairs and potted plants. [frame:3]

Named: Chris (t:5:54). 4 people observed.

“That's JJ's wife? Ha ha! The boss is stepping out! Say, if I had to throw you, God, I'd step out too. I'd be a little laundry tonight.” 5:32 · “Which way do you go, Chris?” 5:54

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Model synopsis: A dark, wet street at night with two figures walking away from the camera. A vehicle is parked on the left, and shop windows glow in the background.

• Two figures walk away down a wet street at night. [frame:1]

1 person observed.

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Model synopsis: Two men talk on a rainy street at night; one is robbed and rescued, then taken to a woman's apartment where he meets her and another man. The scene ends in a bar with a bartender and a couple seated at a table.

• Charlie and Chris talk on a rainy street at night. [frame:1]
• Charlie is taken to Kitty's apartment and later seen in a bar with Johnny. [frame:4]

Named: Charlie (t:6:43), Chris (t:6:54), Kitty (t:10:41), Johnny (t:10:45). 9 people observed.

“Well, to be loved by a young girl like that. You know, nobody ever looked at me like that.” 6:56 · “Not even when I was young. Yes, when we're young we have dreams that never pan out. But we go on dreaming.” 7:03

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Model synopsis: A man and a woman interact at a bar while a bartender serves them; the woman introduces herself as Kitty and the man as Chris Cross. The setting includes bar shelves and tables with checkered cloths, and the conversation includes ordering drinks and exchanging names.

• A man behind the bar holds a glass. [frame:1]
• A man and two women stand near a bar with checkered tablecloths. [frame:2]

Named: Chris Cross (t:11:20), Kitty (t:11:15). 4 people observed.

“No, not since he left here. Two coffees, please. I think I'll change my mind. I could stand to drink a rum Collins. One rum Collins? Ye…” 10:56 · “Make mine the same.” 11:10

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Model synopsis: A woman sits at a table with a lit lamp and decorative objects while speaking with a man off-screen. The dialogue reveals she is named Kitty, works late, and is an actress; he is older, possibly in his 50s, and tries to guess his profession.

Named: Kitty (t:12:19). 2 people observed.

“Gee, I'm a sight. I'm a sight.” 12:02 · “Kitty.” 12:19

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Model synopsis: A man in formal attire is shown in a dimly lit interior, speaking about art and Greenwich Village. He mentions mistaking someone for a cashier and references high-priced art galleries on Fifth Avenue.

1 person observed.

“Greenwich Village is full of art.” 13:19 · “to think I took you for a cash here.” 13:33

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Model synopsis: A woman speaks about art galleries and a Cezanne painting while holding a cigarette; a man responds while holding a glass. The setting appears to be an interior room with dim lighting and a candle.

• Woman holds cigarette and speaks [frame:1]
• Woman adjusts cigarette while speaking [frame:2]
• Man holds glass and responds [frame:3]

2 people observed.

“You know those art galleries on Fifth Avenue? The prices they charge. I saw one little picture that cost $50,000. They called it a...” 13:37 · “- Cezanne. - Cezanne? Oh, he was a great French painter. I like to own that painting.” 13:46

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Model synopsis: A woman and a man in formal attire discuss the value of paintings, with the man claiming he does not sell his work in New York. The woman suggests he might sell in Europe, and the man deflects by saying he doesn't know much about painting.

2 people observed.

“For $50,000? Well, you can't put any price on masterpieces like that.” 13:56 · “You know what, Chris? I bet I saw some of your pictures there and didn't know it. Next time I'll look for your name.” 14:07

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Model synopsis: A man in a tuxedo and a woman in evening wear sit at a table with candles, talking about painting and theater. The man mentions business taking time, and the woman says her play closed that night.

2 people observed.

“I don't think it's funny. I just paint for fun.” 14:40 · “- Fun? - Yes, I think it's the most fun I know, painting.” 14:44

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Model synopsis: A man in a tuxedo speaks with a woman at night; she gives him her address and departs. He is later seen alone, holding a flower, as another man asks about 'Johnny'.

• A man in a tuxedo holds a cigarette and lighter while speaking. [frame:1]
• A woman and a man in a hat stand near stairs and speak. [frame:2]
• A man in a tuxedo smiles while holding a flower. [frame:3]

Named: Chris (t:15:39), Kitty (t:15:19). 4 people observed.

“It's only 10 past 2.” 15:16 · “Oh, it's time for Kitty to be in bed.” 15:19

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Model synopsis: A person is seen in a dimly lit interior, then a close-up shows a table with a glass and a vase. A voice says they are going to leave, followed by an exclamation.

• A silhouetted figure stands in a doorway. [frame:1]
• A close-up shows a glass and a vase on a table. [frame:2]

1 person observed.

“I'm going to go.” 15:56 · “Oh, my God.” 16:10

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Model synopsis: A close-up of a white porcelain sink with a faucet and a glass holding a single flower. The background shows wooden paneling, suggesting an interior setting.

Evidence, details and a link to share

Model synopsis: A man in a white shirt sits at an easel in a room with patterned wallpaper and a sink; a woman off-screen calls him Christopher, and he responds before she urges him to come on.

• A man sits at an easel in a room with wallpaper and a sink. [frame:1]

Named: Christopher (t:16:33), Adele (t:16:43). 2 people observed.

“Christopher!” 16:33 · “Yes, Adele.” 16:43

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Model synopsis: A dimly lit interior room with patterned wallpaper, a lamp, and a doorway is shown. No people or spoken dialogue are visible or audible in this beat.

Evidence, details and a link to share

Model synopsis: Two men converse in a dimly lit interior space; one is seen in a mirror and then facing the other, while the transcript reveals they are discussing a recent party and plans to leave. The room contains furniture and a mirror, suggesting a private living area.

• A man stands in front of a mirror, adjusting his tie. [frame:1]
• The two men face each other and speak. [frame:2]
• The man in the white shirt gestures while speaking to the older man. [frame:3]
• 1 more under Evidence and details.

Named: Charlie (t:16:57). 2 people observed.

“Well, this is a pleasure. I didn't expect to see you, Charlie. But, Chris, you asked me.” 16:57 · “My wife. Oh, it's...” 17:05

Evidence, details and a link to share

Model synopsis: Two men are in a cluttered room; one asks about a portrait on the wall, which the other identifies as a photograph of his late wife's former husband, Detective Sergeant Higgins. One man mentions needing to do dishes for Adele.

Named: Charlie (t:17:20). 2 people observed.

“You know, I haven't been to bed yet. You haven't? I guess I'm not as old as I thought I was, eh, Charlie? No, no. Oh, I've got to do the dis…” 17:20 · “- You don't mind, Charlie, dear? - No, no, no, no. Fall right ahead.” 17:29

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Model synopsis: A man examines a framed portrait of another man wearing a medal while a second man speaks about the medal and its recipient, who drowned. The setting is an interior room with furniture and shelves visible.

• A man touches a framed portrait of a man wearing a medal. [frame:1]
• Two men sit at a table in a room with shelves and furniture. [frame:2]

3 people observed.

“Say, that's a real medal, isn't it?” 17:59 · “Adele got it.” 18:03

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Model synopsis: A man in a white shirt is seen in a room with wooden walls and shelves, handling objects on a table. He speaks about renting a room to save money for paints and mentions paintings in the hall.

• A man handles objects on a table in a wood-paneled room. [frame:1]

1 person observed.

“Well, I was trying to save money to buy paints, so I moved in. Oh, she was sweet. Thought I wouldn't melt in her mouth.” 18:52 · “- Where are your paintings, Chris? - They're out in the hall.” 19:20

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Model synopsis: Two men stand in a cluttered room with an easel and a sink; one holds a flower. A second frame shows a close-up of a cluttered tabletop with a hat, papers, and small figurines. A thud is heard, followed by an apology and a command to leave.

• Two men stand in a room with an easel; one holds a flower. [frame:1]
• A cluttered tabletop with a hat, papers, and figurines is shown. [frame:2]

Named: Adele (t:20:03). 2 people observed.

“I'm sorry, Adele.” 20:03 · “We'd better get out of here.” 20:07

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Model synopsis: A woman sits on a couch reading while a man stands nearby; dialogue suggests tension over money and a past encounter. The setting is an apartment with minimal furnishings and a window with curtains.

2 people observed.

“Can't you do any better than that?” 21:09 · “If you want more heat in this apartment, miss, you'll have to call a janitor. You idiot. You idiot.” 21:22

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Model synopsis: A woman sits on a floral-patterned couch while a man in suspenders stands nearby, holding papers. The transcript indicates a conversation about a painter, a police officer, and a character named Johnny.

• Woman sits on couch, looking off-camera. [frame:1]
• Man stands, gesturing with hands while speaking. [frame:2]
• Man reads from papers while woman watches. [frame:3]

2 people observed.

“My hero. No kidding.” 21:50 · “You were too tight to remember anything. If I hadn't told the cop to go in the wrong direction, he'd have picked you up.” 21:54

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Model synopsis: A man in suspenders and a bow tie speaks animatedly while holding a glass; a woman in a robe reclines on a couch and responds. The dialogue suggests a dispute over money and waiting in the rain, with the man accusing the woman of lacking imagination.

• Man gestures while speaking, holding a glass. [frame:1]
• Man continues speaking, holding a glass and a small object. [frame:2]
• Woman reclines on a couch, looking surprised or defensive. [frame:3]
• 1 more under Evidence and details.

2 people observed.

“Why, I had a chance to clean up in a crap game.” 22:09 · “Fifteen, for cat's sake. That's all I had.” 22:15

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Model synopsis: A man and a woman sit indoors, discussing money and a potential date; the man holds a paper while the woman smokes. The dialogue suggests the man is frustrated about financial disparity and urges the woman to date someone wealthy.

• A man holds a paper and speaks to a woman who is smoking. [frame:1]

2 people observed.

“He's in the big money, isn't he? You said $50,000 a picture, didn't you?” 22:45 · “You don't have to call, uh, what's-his-name and get a measly 50.” 22:54

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Model synopsis: A cluttered kitchen sink filled with dirty dishes and pots is shown. No people are visible or audible in this beat.

Evidence, details and a link to share

Model synopsis: A man and a woman sit close together in a dimly lit room; the man speaks about needing capital to invest in a garage business while the woman reacts. The conversation includes references to money, partnership, and a letter, but no names are spoken.

2 people observed.

“Why see fellas in the big door without hands, my brains? But ability isn't enough. You gotta have money to make money. Capital.” 23:14 · “The boys at the Acme garage would cut me in on a half interest if I could put up the money. How much do they want? Oh, three or four thousan…” 23:22

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Model synopsis: A man stands between two women in a tense indoor scene; one woman calls out to 'Johnny' and discusses moving into an apartment, while the other is referred to as 'fiancée'. The dialogue suggests a love triangle and financial arrangement involving rent.

• Three people stand in a room; the man holds the woman on the right. [frame:1]

Named: Johnny (t:23:54), Millie (t:24:25). 3 people observed.

“Johnny! Johnny, where are you going? Well, I won't be wasting my time. Johnny!” 23:54 · “May I come into my own apartment? Hello, funny face. If I could just move in, Johnny, then I can move out. No, Millie, stop picking on my f…” 24:25

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Model synopsis: A woman in a polka-dot dress and another in a light dress are seen in a cluttered room, discussing an engagement ring, modeling, and work. One woman gestures while speaking about being a guardian angel, and the other mentions a $45 model and a price of 18.

2 people observed.

“I'm going to go.” 25:04 · “The new $45 model.” 25:11

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Model synopsis: Two women argue in a bedroom; one is seated on a bed, the other stands in a robe. The dialogue reveals tension over a man named Johnny and accusations of being made into a tramp.

• The two women face each other in the bedroom, one seated, one standing. [frame:4]

2 people observed.

“You never could get to work on time after you met that Johnny.” 25:48 · “I'm in love, crazy in love. With a man that pushes you around the way I wouldn't push a cat around.” 25:55

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Model synopsis: A dark, indistinct frame shows no clear place or people. A voice speaks about robins building a nest, suggesting an outdoor scene at dusk or night.

“I'm sorry.” 26:25 · “That robin seems like I feel.” 27:00

Evidence, details and a link to share

Model synopsis: A man and a woman sit at a table outdoors, conversing. The man asks about painting and suggests bringing an easel to her apartment, which she declines due to her girlfriend.

• Man and woman sit at a table outdoors, talking. [frame:1]
• Man speaks while woman listens, both at table. [frame:2]
• Woman smiles and responds to man. [frame:3]
• 1 more under Evidence and details.

2 people observed.

“Say, where'd you learn that? Oh, when I was a kid.” 27:13 · “Could I bring my easel to your apartment?” 27:34

Evidence, details and a link to share

Model synopsis: A man and a woman sit at a table outdoors, discussing art and feeling. The man gestures while speaking, and the woman listens and responds, holding a glass.

• The woman holds up a glass while speaking to the man. [frame:1]
• The man speaks while seated at the table. [frame:2]
• The man gestures with both hands while speaking. [frame:3]
• 1 more under Evidence and details.

2 people observed.

“One of them you paint could grow. - Well, feeling grows. You know, that's the important thing, feeling.” 27:47 · “Well, now you take me. Well, nobody ever taught me how to draw, so I just put a line around what I feel when I look at things. Yeah, I se…” 27:52

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Model synopsis: A man and a woman sit at a table outdoors, engaged in a conversation about love and art. The man speaks about falling in love and equates good painting with a love affair, while the woman listens and responds.

2 people observed.

“Yeah. He's like falling in love, I guess.” 28:02 · “until he can't think of anyone else.” 28:11

Evidence, details and a link to share

Model synopsis: A man and a woman sit at a table in a dimly lit interior, speaking about personal troubles and financial hardship. The woman admits she is broke and cannot pay rent, and that her dress belongs to someone named Millie.

• The man and woman are seated at a table, engaged in conversation. [frame:1]
• The woman speaks while gesturing slightly with her hand. [frame:2]
• The man listens intently, holding a spoon over a glass. [frame:3]
• 1 more under Evidence and details.

Named: Kitty (t:28:48). 2 people observed.

“So you keep it to yourself.” 28:32 · “Everything bottled up. Yeah, that's right. That's the way it is with me, too.” 28:35

Evidence, details and a link to share

Model synopsis: A man and a woman sit at a table in an outdoor setting, discussing money and a studio apartment. The woman refuses to take money from the man, who suggests she could repay him by letting him paint her portrait.

• A man and a woman sit at a table with drinks and food. [frame:1]
• The woman speaks with a surprised expression. [frame:2]
• The man looks downcast while seated at the table. [frame:3]
• 1 more under Evidence and details.

Named: Chris (t:29:05), Kitty (t:29:05). 2 people observed.

“Oh, but Kitty... I'll get out of it somehow. I couldn't take anything from you, Chris. No, yes, I mean... No, no, I couldn't.” 29:05 · “I've never taken money from a man and I'm not going to now.” 29:13

Evidence, details and a link to share

Model synopsis: A man confesses to a woman that he is married, and she reacts with dismay. The conversation takes place at a table in a dimly lit interior setting.

Named: Chris (t:29:54), Kitty (t:29:45). 2 people observed.

“There's something I've got to tell you, Kitty. What?” 29:45 · “I deceived you. I lied.” 29:48

Evidence, details and a link to share

Model synopsis: A woman in a light blouse sits at a table and speaks to someone off-screen, agreeing not to be angry and offering to let them help. The setting appears to be an interior room with shelves and glassware visible.

• A woman looks toward the camera with a concerned expression. [frame:1]
• The woman speaks, her mouth open, looking slightly to her right. [frame:2]
• The woman leans forward slightly, continuing to speak. [frame:3]
• 1 more under Evidence and details.

Named: Chris (t:30:27). 1 person observed.

“Poor Chris.” 30:27 · “Well, then you're not angry with me?” 30:29

Evidence, details and a link to share

Model synopsis: A man in a suit stands at a desk while another man sits behind it; dialogue reveals a loan request and marital tension. The scene takes place indoors, with no clear indication of time of day or period.

• A man stands at a desk while another sits behind it, appearing to discuss a loan. [frame:1]

Named: Mr. Cross (t:31:38). 2 people observed.

“I need five hundred dollars.” 31:33 · “That's all right, Mr. Cross.” 31:38

Evidence, details and a link to share

Model synopsis: A woman and a man are in a room; the woman speaks about bonds and a radio, while the man sits at a table and later looks up. The dialogue indicates a domestic dispute over paintings and living conditions.

• A woman sits and speaks about bonds and a radio. [frame:1]
• A man sits at a table, looking down at a plate. [frame:2]
• The man continues to sit at the table, looking down. [frame:3]
• 1 more under Evidence and details.

2 people observed.

“I'll never touch those bonds.” 32:50 · “Home of the lab, I'd have a radio.” 32:54

Evidence, details and a link to share

Model synopsis: A woman and a man sit at a dinner table in a dimly lit room; the woman speaks critically about the man's painting, mentioning Utrillo and accusing him of painting nude women. The man responds briefly before the woman calls down to someone named Laura, noting Mr. Cross came home late.

• The woman is seated at a table, smiling slightly, holding a glass. [frame:1]
• The man is seated at the table, looking toward the woman, with food and a glass in front of him. [frame:2]
• The man and woman are seated across from each other at the table; a framed portrait hangs on the wall behind them. [frame:3]

Named: Laura (t:33:53). 2 people observed.

“It was bad enough when you used to copy picture postcards. Well, Utrillo copies postcards, and he's considered a great painter. Now, I sup…” 33:22 · “Girls. Freaks.” 33:38

Evidence, details and a link to share

Model synopsis: A man in a suit sits at a table with dishes; a radio advertisement for 'Happy Hour Bubble Suds' plays, followed by a transition to a serial titled 'Hilda's Hope for Happiness'. The scene is indoors and appears to be a domestic setting.

• A man sits at a table with dishes in front of him. [frame:1]

1 person observed.

“Go ahead and eat.” 34:04 · “This is the Happy Household Hour. Brought to you at this time by Happy Hour Bubble Suns.” 34:07

Evidence, details and a link to share

Model synopsis: A man in a suit is shown in a portrait, followed by a man in a vest and tie sitting indoors near a lamp. The transcript contains an exclamation.

• A portrait of a man in a suit with a medal is shown. [frame:1]
• A man in a vest and tie sits indoors near a lamp. [frame:2]

2 people observed.

“Oh, my God.” 34:36

Evidence, details and a link to share

Model synopsis: A man in a vest stands beside a bed in a dimly lit room with patterned wallpaper and a vanity mirror. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Model synopsis: A man in a vest and shirt is seen leaning over a desk in a dimly lit interior. He speaks briefly, saying he is going to leave, and expresses alarm.

• A man leans over a desk, appearing to search or retrieve something. [frame:1]

1 person observed.

“Oh, my God.” 34:59 · “I'm going to go.” 35:05

Evidence, details and a link to share

Model synopsis: A man in a vest and tie is seen in a dimly lit room, first examining papers, then writing at a desk. A knock is heard, followed by a woman's voice calling 'Christopher' and apologizing before he says he is going to leave.

• The man examines papers in his hands. [frame:1]
• The man writes at a desk with a pen. [frame:3]

Named: Christopher (t:35:14). 2 people observed.

“*knock knock*” 35:07 · “I'm going to go.” 35:08

Evidence, details and a link to share

Model synopsis: A woman enters a room and speaks to a man who is searching for something; he then shows her a newspaper. The setting is a modestly furnished interior with patterned wallpaper and a radiator.

• A woman enters the room and calls out 'Christopher!' [frame:1]
• The man is seen bending over a piece of furniture, searching for something. [frame:2]
• The woman stands in the doorway asking what the man is doing. [frame:3]
• 1 more under Evidence and details.

Named: Christopher (t:35:27). 2 people observed.

“Christopher!” 35:27 · “I'm going to go.” 35:28

Evidence, details and a link to share

Model synopsis: A woman sits on a couch holding papers while a man reads at a table; he later stands as she speaks. The setting is an interior room with patterned wallpaper and a lamp.

• Woman sits on couch holding papers [frame:1]
• Man reads paper at table [frame:2]
• Woman speaks while seated [frame:3]
• 1 more under Evidence and details.

2 people observed.

“You didn't get away with it, did you?” 36:04 · “You go to the chair as he should. Yeah. The man hasn't got a chance with these New York detectives. Can't you put that paper down and do …” 36:06

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Model synopsis: A man in a vest and tie holds a patterned garment in a wood-paneled room. He speaks to someone named Adele, denying he meant to give his paintings away to a junk man.

Named: Adele (t:36:31). 1 person observed.

“Come on.” 36:29 · “Adele.” 36:31

Evidence, details and a link to share

Model synopsis: A man in a vest and tie stands in a room holding a garment while a woman in a dark dress enters through glass-paneled doors. The dialogue mentions moving to an apartment in Greenwich Village previously occupied by an illustrator named Tony Rivera.

• A man stands in a room holding a garment. [frame:1]
• A woman enters through glass-paneled doors. [frame:2]

2 people observed.

“I'll move everything there.” 36:53 · “Well, if he's fool enough to let you do it, go ahead. The sooner the better.” 36:55

Evidence, details and a link to share

Model synopsis: A man and a woman tour an apartment, discussing rent and artwork, before the woman leads the man into a bedroom where he lies down. The woman then urges him to leave, repeating 'Come on' as he remains on the bed.

• Three people stand in a room looking at sketches on the wall. [frame:1]
• A man lies on a bed while a woman stands beside him. [frame:2]

Named: Miss March (t:37:29), Mr. Jones (t:37:38). 3 people observed.

“The sketches on the wall are Rivera's.” 37:19 · “Are you an artist, Miss March? - Uh-huh. Where's the bedroom?” 37:29

Evidence, details and a link to share

Model synopsis: A woman enters a room where a man is kneeling on the floor amid scattered papers; she speaks to him, and he responds while looking down. The room contains a fireplace, a side table with a lamp, and patterned wallpaper.

• A woman enters a room through a doorway. [frame:1]
• A man kneels on the floor, holding papers and looking down. [frame:2]
• The woman stands near a fireplace while the man remains on the floor amid scattered papers. [frame:3]

2 people observed.

“I'm sorry.” 38:50 · “I'm not.” 38:52

Evidence, details and a link to share

Model synopsis: A woman stands at a vanity mirror holding a book while a man sits on a bed counting money; the dialogue suggests a tense exchange about finances and the woman's acting career. The setting is a dimly lit room with decorative objects visible in the mirror.

• Man counts money while seated on the bed. [frame:2]
• Man continues handling money and a small object. [frame:3]
• Woman holds a book and looks at her reflection. [frame:4]

2 people observed.

“Say, is this all you've got?” 39:08 · “I'm lucky I have that left the way you were throwing it around last night.” 39:10

Evidence, details and a link to share

Model synopsis: A woman stands in a cluttered bedroom holding an object while speaking about money and pictures. The room contains a bed, scattered clothes, and a hat on the floor.

Named: Lady Knight (t:39:32). 1 person observed.

“Say, that's all I have left.” 39:29 · “You know where to get more, don't you, Lady Knight? Told me you hadn't sold any pictures for a long time.” 39:32

Evidence, details and a link to share

Model synopsis: A man and a woman are in a room; the woman speaks about getting money from the man, who appears nervous. The dialogue suggests a scheme involving blackmail and the man's wife.

2 people observed.

“I need at least a thousand dollars.” 40:01 · “He seems to get scared when I talk about money. Listen, baby, you got him right where you want him. He's on the hook.” 40:08

Evidence, details and a link to share

Model synopsis: A man and a woman are in a room; the woman enters through a glass door holding a bottle, and dialogue suggests she has just arrived unannounced. The man is seated, and the woman speaks to him, mentioning she rang downstairs and it is ten past twelve.

• A man sits in a chair while a woman stands behind him. [frame:1]
• A woman enters through a glass door holding a bottle. [frame:2]

2 people observed.

“- That him? - Told you I heard the doorbell.” 40:34 · “Don't you answer doorbells? Thought you were mad at me? Peace offering. Scotch. Thanks, honey. I didn't think you were out. It's only ten pa…” 41:13

Evidence, details and a link to share

Model synopsis: A woman in a floral dress speaks in an interior room with patterned wallpaper and a window. Another woman in a striped top responds, holding an object. The dialogue suggests a tense exchange about social status.

• A woman in a floral dress speaks. [frame:1]
• A woman in a striped top holds an object and speaks. [frame:2]
• The woman in the floral dress smiles slightly. [frame:3]

2 people observed.

“You're doing all right for a working girl.” 41:30 · “Don't start that again.” 41:32

Evidence, details and a link to share

Model synopsis: A close-up of a woman's feet in high heels standing on a circular rug with fringe. No dialogue or other context is provided in this beat.

1 person observed.

Evidence, details and a link to share

Model synopsis: A woman stands indoors holding an object. The setting appears to be a decorated room with patterned wallpaper.

1 person observed.

Evidence, details and a link to share

Model synopsis: A woman in a floral dress speaks in a room with a bed and hat visible; dialogue references Johnny, Hollywood, and movie actors' salaries. No names are spoken that identify the speaker or others present.

• A woman stands in a bedroom speaking. [frame:1]
• The woman continues speaking, gesturing slightly. [frame:2]
• The woman sits on the edge of a bed, looking down. [frame:3]
• 1 more under Evidence and details.

1 person observed.

“Don't tell me he's under the sofa too.” 41:40 · “You can come out, Johnny.” 41:45

Evidence, details and a link to share

Model synopsis: A man in a tuxedo and a woman in a patterned dress are shown in a room; the woman speaks to the man, who responds. The setting appears to be a private interior space with furniture and decor visible.

• The woman faces the man and speaks to him. [frame:1]
• The woman sits in a room with hats and furniture visible in the background. [frame:2]
• The man and woman stand side by side, both looking off-camera with expressions of surprise or concern. [frame:3]

2 people observed.

“For acting tough. For pushing girls in the face. What do they do I can't do? You're so clever. Why don't you do it? I might, funny face. I m…” 42:22

Evidence, details and a link to share

Model synopsis: A man and a woman stand in a room with decorative wall panels; the woman introduces the man to another man named Johnny Prince. The dialogue indicates the woman, Kitty, has brought personal items and is introducing her friend Mr. Cross to Millie's boyfriend.

• Kitty introduces Mr. Cross to Johnny Prince. [frame:1]

Named: Kitty (t:42:40), Mr. Cross (t:42:55), Johnny Prince (t:42:55), Millie (t:42:55). 4 people observed.

“Chris! - I've brought over some of my things, Kitty. I'll bring some more tomorrow. The rest on Saturday.” 42:40 · “Oh, uh, you have company. There's no end, John, eh?” 42:51

Evidence, details and a link to share

Model synopsis: Two men shake hands while a woman looks on; another woman enters and speaks to the men before they all part ways. The scene takes place indoors, with one man thanking another for scotch.

• Mr. Cross and Johnny shake hands. [frame:1]
• Kit looks toward the men with a neutral expression. [frame:2]
• Mr. Cross and Johnny continue their conversation while shaking hands. [frame:3]
• 1 more under Evidence and details.

Named: Mr. Cross (t:43:39), Johnny (t:43:27), Kit (t:43:22), Millie (t:43:42). 4 people observed.

“Could be. Well, I'll run along, Kit. I'll go with you, sweetheart.” 43:22 · “Oh, don't bother, Johnny. I wouldn't think of letting you go alone, darling. You might get run over by a streetcar.” 43:27

Evidence, details and a link to share

Model synopsis: A man in a suit stands beside a woman in a robe on a bed; she later sits alone looking down. The transcript reveals a conversation about a young man named Johnny and the woman's feelings for the man present.

• A man stands beside a woman lying on a bed. [frame:1]
• The man sits on the edge of the bed, leaning forward. [frame:2]
• The woman sits up on the bed, looking down at her hands. [frame:3]

Named: Chris (t:43:51), Kitty (t:43:46). 2 people observed.

“So long, Kitty. So long, Johnny.” 43:46 · “I don't think I like that young man she's in love with. Oh, Johnny's all right. Oh, I know he is or he wouldn't be a friend, but...” 43:54

Evidence, details and a link to share

Model synopsis: A man in a suit and a woman in a striped top are in a bedroom; the man speaks while seated on the bed. The transcript includes fragmented dialogue about seeing someone and a conditional statement about being single.

• The man sits on the edge of a bed and looks toward the woman. [frame:1]
• The woman sits on the bed, looking down and fiddling with her hands. [frame:2]
• The man remains seated, looking slightly to his right with a serious expression. [frame:3]

Named: Kitty (t:44:53). 2 people observed.

“Do you still see him?” 44:46 · “I forgot.” 44:51

Flagged: visible event not seen (The man remains seated, looking slightly to his right with a serious expression.)

Evidence, details and a link to share

Model synopsis: A woman in a robe lies on a bed while a man in a suit sits beside her; they discuss marriage, money, and her career as an actress. The conversation reveals financial strain and the man's awareness of his marital status.

Named: Kitty (t:45:07), Chris (t:45:07). 2 people observed.

“If I had no wife...” 44:56 · “Well, if something would happen that would make me free.” 45:02

Evidence, details and a link to share

Model synopsis: A woman in a striped robe sits on a bed and touches a man in a suit; they discuss money for wardrobe and mention Johnny and Millie. The man offers to get the money somehow.

• Kitty sits on a bed and touches Chris's shoulder. [frame:1]

Named: Kitty (t:46:07), Chris (t:45:37). 2 people observed.

“Oh, Chris. His face doesn't mean it.” 45:37 · “It's clothes, perfumes, making the right impression. One actress needs a thousand dollars just to get a decent wardrobe.” 45:41

Evidence, details and a link to share

Model synopsis: A man and a woman have a brief, emotionally charged conversation in an interior setting; the woman reminds the man to bring money before he leaves. The man is addressed as Chris and the woman as Kitty during their exchange.

Named: Kitty (t:46:14), Chris (t:46:53). 2 people observed.

“I really believe you're in love with me.” 46:11 · “I am, Kitty. I am.” 46:14

Evidence, details and a link to share

Model synopsis: A street scene shows storefronts including 'MARCHETTI'S' and an 'AUTO SUPPLY' shop; a person in a hat stands near the sidewalk. A separate shot shows a stylized snake coiled around a lamppost in front of the auto supply store.

• A person in a hat stands near a storefront labeled 'MARCHETTI'S'. [frame:1]
• A large snake is coiled around a lamppost in front of an 'AUTO SUPPLY' store. [frame:2]

1 person observed.

“- Sure.” 47:02 · “This one is.” 47:04

Evidence, details and a link to share

Model synopsis: A man and a woman are in a room with paintings; the woman holds a painting while the man looks on. The transcript reveals they are discussing the man's artwork, his character, and the woman's discomfort with his advances.

• The man sits at a desk while the woman stands beside him holding a painting. [frame:1]
• The woman holds a painting and looks down at it while the man looks at her. [frame:2]

Named: Johnny (t:48:46). 2 people observed.

“Are you sure he's not a phony? He's too dumb to be a phony.” 47:54 · “I wonder if I couldn't sell these.” 48:19

Evidence, details and a link to share

Model synopsis: A man in a hat sits facing a woman in an apron in a shop; she turns away as he speaks. The transcript reveals a tense exchange where she expresses dislike for his gaze and declares she is leaving.

• The man and woman are seated facing each other in a shop; the woman turns away from the man. [frame:1]

2 people observed.

“I hate him when he looks at me like that. If he were mean or vicious or if he bawled me out or something, I'd like him better.” 48:53 · “You don't love me or you don't understand what I mean.” 49:00

Evidence, details and a link to share

Model synopsis: A man in a suit walks through an office corridor carrying a briefcase while another man sits at a desk inside a cubicle. A voice asks if Mr. Cross is working late, and he replies he is nearly finished and will leave soon.

• A man walks down an office corridor carrying a briefcase. [frame:1]

Named: Ben (t:49:28), Mr. Cross (t:49:28). 3 people observed.

“Well, maybe.” 49:19 · “Working late tonight, Mr. Cross? I'm about through, Ben. You can let me out in a minute. Yes, sir.” 49:28

Evidence, details and a link to share

Model synopsis: A man in a hat stands at a doorway on an upper landing, visible from below through a stairwell railing. The scene is dimly lit with a single wall sconce and a lamp on a table in the foreground.

1 person observed.

Evidence, details and a link to share

Model synopsis: A single frame shows a window with the reversed word 'CASHIER' above it, suggesting a bank or store counter. No people are visible, and no event is depicted beyond the static architecture.

“It just caught you in time.” 50:05

Evidence, details and a link to share

Model synopsis: Two men interact in a dimly lit interior; one hands over a painting while the other examines it and questions its origin. The conversation reveals tension over the artwork’s authenticity and value, and the setting is identified as a pawn shop.

• Chris holds a framed painting while Nick examines it. [frame:1]

Named: Chris (t:50:18), Nick (t:51:23), J.J. (t:50:18), Gigi (t:50:49), Johnny (t:51:50). 5 people observed.

“Pass this for me, will you, Chris? - Here's the one. - Yes, yes. Yes, of course, J.J.” 50:18 · “The fellow that painted those gets 50 grand for a single picture.” 51:15

Evidence, details and a link to share

Model synopsis: A person paints at an easel in a cluttered room with artworks on the walls. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Model synopsis: A man in a suit and hat holds a painting while another man examines artworks in a gallery setting. The dialogue suggests admiration for the art and a claim of authorship.

• A man in a suit and hat holds a painting and smiles. [frame:2]
• A man sits examining paintings in a gallery-like setting. [frame:1]

2 people observed.

“I can see you've got an eye for art.” 52:37 · “That's one of my best things.” 52:40

Evidence, details and a link to share

Model synopsis: A man in a beret and coat stands beside a counter, pointing at a cash register. He speaks, denying being a painter after someone remarks they didn’t know he was one.

• man points at cash register [frame:1]

1 person observed.

“Oh, I didn't know you were a painter.” 52:45 · “I'm not.” 52:45

Evidence, details and a link to share

Model synopsis: A man in a pinstripe suit and hat holds a painting while speaking about its lack of perspective and the difficulty of selling art. Another man, wearing a beret, gestures toward a display of paintings in the same room.

• Man p1 holds a painting and points to it while speaking. [frame:1]
• Man p1 continues to hold the painting and speaks about perspective. [frame:2]
• Man p2 gestures toward a display of paintings on a shelf. [frame:3]
• 1 more under Evidence and details.

2 people observed.

“Nothing any good? Well...” 52:53 · “But no perspective. Is that important? I should say it is.” 53:02

Evidence, details and a link to share

Model synopsis: Two people interact in an art-filled room; one asks for a name and address, mentions arsenic and a diamond ring, and accuses the other of calling someone a dope. The setting includes paintings and easels, suggesting an artist's studio or gallery.

• A man and a woman stand facing each other in a room filled with paintings. [frame:1]
• The man and woman are closer, appearing to converse; the man gestures with his hand. [frame:2]

Named: John (t:53:41), Penny (t:53:43). 2 people observed.

“Let me have your name and address.” 53:32 · “Arsenic?” 53:50

Evidence, details and a link to share

Model synopsis: A man in a pinstripe suit and hat speaks to a woman seated at a table in a dimly lit interior. He holds a glass and gestures while speaking; she looks at him with a neutral expression. The conversation involves accusations of being a 'dope' and disputes over the value of paintings.

• Man in pinstripe suit faces woman and speaks. [frame:1]
• Woman looks up at man while seated at table with plate and glass. [frame:2]
• Man holds glass and gestures while speaking to woman. [frame:3]

2 people observed.

“Maybe you're the dope.” 54:10 · “He told you his paintings are worth a lot of money.” 54:12

Evidence, details and a link to share

Model synopsis: A man and a woman sit at a table in a dimly lit interior, discussing art, money, and a person named Chris Steele. The man gestures while speaking; the woman listens and responds, questioning his plans to take pictures to a museum.

2 people observed.

“I tell you, the old boys are phony.” 54:38 · “Or even Steele. Chris Steele? Jeepers, Johnny. He's not the type. He wouldn't have nerve enough to.” 54:45

Evidence, details and a link to share

Model synopsis: Two men are in a room with paintings on the wall; one man speaks about an art critic named Mr. J. Williams who bought paintings and wants to contact the other man. The speaker urges the other to come along.

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

“Janeway. A day with Janeway.” 55:40 · “Don't you know who Mr. J. Williams is? He's an art critic. The best authority in New York on modern art. He took one look.” 55:44

Evidence, details and a link to share

Model synopsis: A man in a beret is seen outside a shop with posters, then inside a room with a woman and a seated man. The transcript reveals a conversation about selling paintings for little money and fearing someone named Chris.

• A man in a beret stands outside a shop with posters on the wall. [frame:1]
• The man in the beret gestures while standing inside the shop. [frame:2]
• A woman stands beside a seated man in a room with a bed and curtains. [frame:3]

4 people observed.

“So you gave away two pictures for a couple of dimes, and now you can't collect the dimes. Oh, dry up!” 56:33 · “Keepers. Now what? What am I going to tell Chris?” 56:40

Evidence, details and a link to share

Model synopsis: A man in a suit confronts another man near a doorway while two others observe; dialogue reveals a dispute over paintings and an introduction by a woman named Jane Way. No named characters are visually identifiable beyond what is spoken.

• A man in a suit holds papers and confronts another man near a doorway while two others observe. [frame:1]

Named: Mr. Delaroe (t:57:54), Jane Way (t:57:54). 4 people observed.

“Perhaps we'd better introduce ourselves. My name is Jane Way. This is Mr. Delaroe. How do you do? What is it you want?” 57:54 · “We'd like to find out who painted the pictures. - You don't know? - Of course they don't know.” 58:00

Evidence, details and a link to share

Model synopsis: A woman speaks to a man in a room while two other men stand nearby; one man is described as being in bed and another is addressed as Johnny. The woman is said to be secretive about her painting and does not sign her work.

• Four people stand in a room; two men face two others across a doorway. [frame:1]
• A woman gestures while speaking to a man in a suit. [frame:2]
• Three men stand together; one looks toward the camera, another looks at the third. [frame:3]

Named: Miss March (t:58:26), Johnny (t:58:26). 4 people observed.

“No, Johnny, no. Oh, don't be so modest, Miss March. Now, you see, you got me in bed. She made me promise not to tell.” 58:26 · “That's why I made out like I didn't know.” 58:34

Evidence, details and a link to share

Model synopsis: A woman in a white blouse and dark skirt stands beside a glass-fronted cabinet, gesturing toward its contents while speaking with others off-screen. The dialogue reveals she is an artist named Marjorie/Marks who avoids public recognition, and others are discussing her work, encouraging her, and negotiating its sale.

• A woman gestures toward a glass cabinet containing paintings. [frame:1]

Named: Marjorie (t:58:37), Mr. Janeway (t:59:41), Prince (t:59:58), Mr. De La Rohe (t:60:17). 4 people observed.

“She's funny about her painting. Never lets anyone see it. Doesn't even put her name on her pictures.” 58:37 · “Now take that money. I never would have guessed it was a woman.” 59:00

Evidence, details and a link to share

Model synopsis: A man speaks with a woman about her paintings, praising their masculine force and comparing painting to falling in love; another man arranges a gallery meeting for her, and they all say goodnight. Later, a man criticizes the woman for manipulating others, calling her a 'green kid' and noting she lacks sense.

Named: Mr. Delaro (t:61:47), Mr. Janeway (t:62:10), Mr. Prince (t:62:10), Miss Marge (t:60:47), Kitty (t:61:47). 5 people observed.

“Your work is not only original, it has a masculine force.” 60:49 · “It's life.” 61:09

Evidence, details and a link to share

Model synopsis: A man and a woman are in a room with a painting on an easel; the man examines the painting while speaking. Another man enters and addresses the first man by name, commenting on the painting's perspective.

• A man holds a glass and gestures toward a painting on an easel while speaking to a woman. [frame:1]
• A man enters the room and speaks to the first man. [frame:2]

Named: Mr. Prince (t:63:43), Mr. Christ (t:63:43). 3 people observed.

“Oh, hello, Mr. Christ.” 63:43 · “I just dropped in. I thought Molly was here.” 63:46

Evidence, details and a link to share

Model synopsis: A man and a woman stand in a room, speaking. The woman says she will leave and mentions someone named Johnny, while the man expresses discomfort. The woman exits, and the door is heard opening.

• Door opens as woman leaves. [t:64:50]

2 people observed.

“I guess I'll have to run along.” 64:07 · “Why? I don't like him. Johnny's all right. He's a nice fellow, Chris. He really is. I don't know why you don't like him.” 64:24

Evidence, details and a link to share

Model synopsis: A woman stands in a bedroom, speaking as she prepares to leave. She is addressed by someone off-screen who says her name, Kitty, and she responds by asking to be left alone.

Named: Kitty (t:65:20). 2 people observed.

“Come on.” 65:15 · “Kitty.” 65:20

Evidence, details and a link to share

Model synopsis: A man in a vest and tie speaks to a woman in a white dress who is seated and then stands up; the man remains in the same position across frames. The dialogue indicates a tense interaction about painting and staying in the room.

• The man stands near a painting, looking toward the woman. [frame:1]
• The woman sits in a chair, holding a cigarette holder, looking at the man. [frame:2]
• The woman stands up and gestures with her arms while wearing a white dress. [frame:3]
• 1 more under Evidence and details.

Named: Kitty (t:65:31). 2 people observed.

“Kitty, don't be angry.” 65:31 · “Why don't you come here if you want to quarrel? I didn't ask you to come here. Oh, please, Kitty. Oh, for Pete's sake.” 65:33

Evidence, details and a link to share

Model synopsis: A man and a woman stand in a dimly lit room with a bed and a cake; the woman asks the man to paint her before she leaves. The dialogue reveals a tense, unresolved romantic situation involving the man's marital status.

• A woman stands facing a man in a bedroom, speaking to him. [frame:1]

Named: Chris (t:66:03). 2 people observed.

“I'm sorry, Chris, but why do you torment me about something that's over and done with?” 66:04 · “- Would you marry me? - No, you can't.” 66:12

Evidence, details and a link to share

Model synopsis: A storefront with the name 'DELLAROWE' is shown, followed by a framed painting depicting an industrial scene. A person speaks about masterpieces and leaving.

1 person observed.

“They'll be masterpieces.” 66:49 · “I'm going to go.” 66:53

Evidence, details and a link to share

Model synopsis: A man in a kitchen is confronted about knowing Catherine March while holding a piece of liver he got from the butcher shop. He denies knowing what the other person is talking about.

• The man is seen in a kitchen, holding a piece of liver. [frame:1]
• The man looks up, appearing startled or defensive. [frame:2]

1 person observed.

“I dropped over to the butcher shop like you told me to. I got a nice piece of liver.” 67:37 · “How long have you known Catherine March?” 67:47

Evidence, details and a link to share

Model synopsis: A woman in a hat and gloves confronts a man, accusing him of stealing artwork from Catherine March and threatening to expose him. She mentions Delarose gallery on 57th Street and calls him a thief.

1 person observed.

“Now, don't get excited. Let me help you off with your coat. Well, you're the one that's excited. Look at your... Get away with that knife. …” 67:59 · “I don't know what you're talking about. Don't lie to me. You've been copying her work for years. Pretending you painted those pictures out o…” 68:14

Evidence, details and a link to share

Model synopsis: A man and a woman are in a dimly lit room with patterned wallpaper and a lamp; the woman speaks about a man named Janeway and future luxuries while the man holds her. The transcript mentions pictures, dinner, and material possessions, suggesting a transactional relationship.

• A man and a woman stand close together in a dim room. [frame:1]
• The man holds the woman while she speaks about Janeway and future luxuries. [frame:2]

Named: Kitty (t:69:20), Janeway (t:69:12), Chris (t:69:08), Lazy Lay (t:69:20), Papa (t:69:20), Johnny (t:69:45). 7 people observed.

“Delaro is asking for more pictures. Chris just finished it.” 69:08 · “Janeway says the new pictures are the best things you've done.” 69:12

Evidence, details and a link to share

Model synopsis: A person is visible behind a glass door with decorative panels, in a dimly lit interior. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Model synopsis: A man and a woman are shown in a dimly lit interior; the man asks how his paintings appeared in a shop window. The setting includes framed artworks and a lamp, suggesting an artist's studio or gallery space.

• A man and woman stand together in a dim room with a lamp and framed art [frame:1]
• A man in a fedora stands among paintings and easels [frame:2]
• A woman stands alone, hands clasped, in front of a painting [frame:3]
• 1 more under Evidence and details.

3 people observed.

“Chris!” 70:03 · “How did my pictures get into Delaro's window?” 70:07

Evidence, details and a link to share

Model synopsis: A man and a woman have a tense conversation in a dimly lit room; the woman admits to selling paintings under her name to pay debts, and the man reacts with distress. The woman tries to comfort him, insisting he is a great painter despite his self-doubt.

• The man stands near a table with a lamp, looking downcast. [frame:1]
• The woman looks at the man with a concerned expression. [frame:2]

Named: Chris (t:70:13), Kitty (t:71:12). 2 people observed.

“I needed money.” 70:25 · “You actually sold those pictures? Uh-huh. Oh, I know I shouldn't have put my name on them, but...” 70:41

Evidence, details and a link to share

Model synopsis: A man and a woman interact in a room with paintings and a lamp; the man asks to paint her picture, and she refuses. Another man is seen peeking from behind a door and later adjusting his hat near a fireplace.

• A man and a woman stand close, facing each other in a room. [frame:1]
• A man peeks from behind a door, smiling. [frame:2]
• A man adjusts his hat near a fireplace. [frame:3]
• 1 more under Evidence and details.

Named: Kitty (t:71:52). 3 people observed.

“Why, just like we were married. Only I take your name.” 71:43 · “All right.” 71:47

Evidence, details and a link to share

Model synopsis: A single frame shows a dark interior with ornate window frames and faint silhouettes visible through glass. No people, dialogue, or on-screen text are present.

Evidence, details and a link to share

Model synopsis: A painting titled 'Self-portrait' is discussed in a gallery setting; a character named Damon is greeted, and the painter is described as enigmatic. The painting depicts a night scene with a figure under an umbrella on a city street.

Named: Damon (t:73:07), Jane Wayne (t:73:11). 3 people observed.

“Know what we're gonna call this?” 72:23 · “Self-portrait.” 72:25

Evidence, details and a link to share

Model synopsis: A woman is shown in a close-up, followed by a scene in an art gallery with several men, and then a man reading a newspaper at a cashier's desk. The transcript includes a line about a notice and an offer to show it.

• A woman is shown in a close-up. [frame:1]
• Several men are gathered in an art gallery, some standing, some seated. [frame:2]
• A man sits at a desk reading a newspaper under a sign that says 'CASHIER'. [frame:3]

4 people observed.

“I mentioned that in my notice. Would you care to see it?” 73:28

Evidence, details and a link to share

Model synopsis: A man sits behind a cashier window as off-screen dialogue reveals a detective is waiting outside. The scene takes place in a dimly lit interior with visible signage.

1 person observed.

“I'm going to go.” 73:48 · “Of course, the man outside says he wants to see you.” 73:52

Evidence, details and a link to share

Model synopsis: A man in a suit and tie is visible in a dimly lit interior. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Model synopsis: A man in a fedora and overcoat asks another man if he is a detective; the second man replies that he used to be Mr. Corliss and asks if he is recognized. The setting appears to be an interior space with plain walls and minimal decoration.

Named: Mr. Corliss (t:74:27). 2 people observed.

“You the detective?” 74:26 · “Well, I used to be Mr. Corliss. Don't you recognize me?” 74:27

Evidence, details and a link to share

Model synopsis: A man adjusts his hat with both hands in a close-up shot. The scene is lit with high-contrast studio lighting, showing only his upper body and face.

• A man adjusts his hat with both hands. [frame:1]

1 person observed.

Evidence, details and a link to share

Model synopsis: Two men are in a dimly lit interior space, one in a suit and the other in a cap and jacket, speaking to each other. The man in the suit is told not to faint and is being given an explanation about past actions involving speakeasies and an investigation.

• A man in a suit looks off-camera with a concerned expression. [frame:1]
• A man in a cap looks upward with a slight smile. [frame:2]
• The two men sit across from each other at a table with drinks, engaged in conversation. [frame:3]

2 people observed.

“Quite a shock, huh? Don't faint, Mr. Cross. Keep your head. I'll explain everything.” 74:39 · “Well, I was in trouble at the time. I'd been...” 74:46

Evidence, details and a link to share

Model synopsis: Two men sit at a table in a dimly lit room, one recounting a story about jumping into water after a woman supposedly jumped from a bridge, finding a pocketbook with money, and questioning his marriage. The story is told through dialogue, with no visual depiction of the bridge or water.

• Two men are seated at a table in a bar, engaged in conversation. [frame:1]
• The two men continue their conversation, one looking intently at the other. [frame:2]

2 people observed.

“A woman just jumped off the bridge.” 75:03 · “So I run out and tear off my coat, jump in...” 75:05

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Model synopsis: Two men are in a dimly lit interior, one asking for money while referencing Adele and the other's role as a cashier. The conversation suggests a threat or negotiation, with one man visibly distressed.

• A man in a headband and patterned jacket looks distressed, hand near his mouth. [frame:1]
• A man in a suit and tie speaks calmly, seated against a patterned wall. [frame:2]
• The two men face each other in conversation, one visibly tense. [frame:3]

2 people observed.

“What's it worth to you for me to...” 76:10 · “Yes, babe.” 76:17

Evidence, details and a link to share

Model synopsis: Two men confront each other indoors; one says he is leaving for Adele's sake and threatens to return, while the other agrees to wait for money after 6 o'clock. No names are spoken that identify either man in the dialogue.

2 people observed.

“Oh, I... I couldn't do a thing like that.” 76:31 · “But not to do you a favor, mister.” 76:41

Evidence, details and a link to share

Model synopsis: A man named Johnny is involved in a plan to steal money from a woman named Adele, with another person facilitating his entry and exit. The scene ends with a woman screaming 'Murderer!' and calling for 'Christopher' as Johnny arrives.

• A man holds a flashlight near a curtained window. [frame:1]

Named: Johnny (t:77:14), Kitty (t:77:14), Marquette (t:77:15), Mr. Higgins (t:77:57), Adele (t:78:07), Mrs. Michaels (t:79:53), Christopher (t:80:30). 8 people observed.

“Hello, Johnny.” 77:14 · “This is the night that she always goes out to the movies.” 78:22

Evidence, details and a link to share

Model synopsis: A man in a fedora and coat sits in a dim interior, visibly distressed. Dialogue reveals conflict between characters named Johnny and Chris, with references to a fight and emotional dependency.

• A man sits with hands clasped, looking downcast. [frame:1]

Named: Johnny (t:81:33), Chris (t:81:23), Millie (t:82:54), Clarence (t:81:39). 5 people observed.

“Chris?” 81:23 · “I ought to push you over on your head. How'd I know he was coming here tonight?” 81:40

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Model synopsis: A dimly lit interior room with patterned wallpaper, a table covered by a cloth, and an open door. No people or movement are visible in the single frame provided.

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Model synopsis: A woman in a white dress is on a bed while a man in a suit enters the room; dialogue reveals a confrontation about betrayal and a marriage proposal. The woman laughs at the end, rejecting the man's offer.

• A woman lies on a bed in a white dress. [frame:1]
• A man in a suit enters the room and stands near the bed. [frame:3]
• The man stands in the doorway, looking distressed. [frame:4]

Named: Kitty (t:83:53), Johnny (t:83:38). 2 people observed.

“You lied to me, Kitty.” 83:53 · “I wanted to kill him. But it's wrong.” 84:13

Evidence, details and a link to share

Model synopsis: A woman in a white dress yells at a man named Chris in a bedroom; she accuses him of being old and ugly and demands he leave. The man is seen as a dark silhouette near the bed in the final frame.

• Chris is visible as a dark silhouette near the bed. [frame:4]

Named: Kitty (t:85:00), Chris (t:85:28). 2 people observed.

“Oh, you idiot. How can a man be so dumb? Kitty.” 85:00 · “I've wanted to laugh in your face ever since I first met you. You're old and ugly and I'm sick of you. Sick, sick, sick. Kitty, for heave…” 85:09

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Model synopsis: A person speaks apologetically and warns someone named Johnny after an implied killing. The scene is dimly lit, with one figure silhouetted in the foreground and another visible in a doorway in the background.

Named: Johnny (t:85:47). 2 people observed.

“I'm sorry.” 85:35 · “You look out, Johnny.” 85:47

Evidence, details and a link to share

Model synopsis: A silhouetted figure stands near a bright window in a dark interior; another figure is briefly visible in shadow. The scene remains dimly lit with minimal visible detail across four frames.

2 people observed.

Evidence, details and a link to share

Model synopsis: A man in a suit sits at a desk, reading a large sheet of paper. The setting appears to be an interior office space with dim lighting and furniture visible in the background.

• A man reads a large sheet of paper at a desk. [frame:1]

1 person observed.

Evidence, details and a link to share

Model synopsis: A man in a hat walks past a door marked 'CASHIER' and 'CHRISTOPHER CROSS' while another man gestures from inside the doorway. A staircase with a railing is visible to the right.

2 people observed.

Evidence, details and a link to share

Model synopsis: A man in a suit reads a document at a desk, then the scene cuts to a hallway and an office interior where people are present. A voice says 'Oh, my God,' 'I'm going to go,' and 'Grace!' during this sequence.

Named: Grace (t:87:31). 3 people observed.

“Oh, my God.” 87:21 · “I'm going to go.” 87:23

Evidence, details and a link to share

Model synopsis: A man in a dark coat and hat stands on a staircase, holding a railing. The scene is dimly lit with high contrast shadows, suggesting an interior setting at night or in low light.

• man stands on staircase holding railing [frame:1]

1 person observed.

Evidence, details and a link to share

Model synopsis: A man named Chris is being confronted by officers and a man named Mr. Holgar about a missing $1,200; the scene takes place indoors at a counter where cash was checked. A man named Higgins is mentioned as the source of the tip.

• Officers confront Chris at a counter while Mr. Holgar stands behind it. [frame:1]

Named: Mr. Holgar (t:88:19), Chris (t:87:59). 4 people observed.

“Go on, Chris. Wait a minute.” 87:59 · “What made you do it, Chris?” 88:03

Evidence, details and a link to share

Model synopsis: A man in a suit speaks to others in a dimly lit interior; another man looks down, appearing distressed. The dialogue references taking someone along, making a complaint, and cigars on a table.

• Mr. Holgar is shown in a close-up, looking serious. [frame:2]
• A man in a coat looks down, appearing distressed. [frame:3]

Named: Mr. Holgar (t:88:19). 4 people observed.

“We'll take him along. You can make the complaint, Mr. Holgar. Hold on, Marce.” 88:19 · “I just can't do it. - What, Mr. Holgar? You've done your duty and I'm obliged to you.” 88:23

Evidence, details and a link to share

Model synopsis: A man in a suit speaks to another man in a dark coat; later, a group gathers around a desk with papers and a ring. The transcript includes dialogue about jail, a car, blood, and a diamond ring.

• A group examines papers and a diamond ring at a desk. [frame:3]

6 people observed.

“I'm not gonna put you in jail, Chris.” 88:49 · “Well, I didn't do anything!” 89:15

Evidence, details and a link to share

Model synopsis: A man seated at a desk speaks to several standing men in a room with police officers present; he demands a lawyer while others handle jewelry and discuss its value. The scene appears to be an interrogation or police station setting.

5 people observed.

“You guys know a lot, don't you? It costs twelve hundred.” 89:47 · “Here's your personal jewelry. Not much value.” 89:52

Evidence, details and a link to share

Model synopsis: A man in a suit holds an object while speaking in a dimly lit room with two other men in hats; the transcript discusses fingerprints, a death, and paintings attributed to Miss March. The speaker claims the accused brought him two pictures and asserts Miss March was a great artist.

• A man in a suit holds an object and speaks while two men in hats stand beside him. [frame:1]

3 people observed.

“This belongs to you too, huh?” 90:13 · “It's got your fingerprints on it. Well, naturally, I picked it up. How did I know she was dead? I thought she was asleep at first.” 90:15

Evidence, details and a link to share

Model synopsis: A man in a suit sits in a chair and speaks about another man he disliked, referencing a studio rental and a late-night departure. The setting is a plain studio with spotlight lighting, showing only the speaker.

2 people observed.

“She told me she was an artist when she rented the studio. He was with her.” 90:43 · “I didn't like him then and I don't like him now.” 90:47

Evidence, details and a link to share

Model synopsis: A man in a suit speaks emphatically while seated; another man in a suit with a boutonniere listens. The transcript reveals accusations of theft and murder, and a discussion about a woman's secret painting and handwriting.

2 people observed.

“That's when I tell him, you look out, Johnny, you kill somebody. So he kills her with my eyes fake. And then I heard her say hello, Johnny…” 90:55 · “I never saw her paint. That was one of her peculiar traits.” 91:08

Evidence, details and a link to share

Model synopsis: A man in a suit is shown in a close-up, speaking about his inability to paint and destroying his copies. The transcript includes an exclamation that he is lying.

1 person observed.

“I really can't paint.” 91:32 · “My copies were so bad I had to destroy them. For cat's sake, he's lying!” 91:36

Evidence, details and a link to share

Model synopsis: A man identified as Mr. Cross is confronted by a reporter named Tom Crocker in a dim interior; he later cries out in distress, claiming innocence and invoking a woman named Kitty and a man named Johnny. The scene ends in near-total darkness with repeated calls of 'Johnny.'

• The scene ends in darkness with repeated calls of 'Johnny.' [frame:2]

Named: Mr. Cross (t:91:52), Tom Crocker (t:91:55), Kitty (t:95:35), Johnny (t:95:35). 4 people observed.

“Hello, Mr. Cross.” 91:52 · “Not me. There's no such thing. Mr. Cross, nobody gets away with murder.” 92:40

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Model synopsis: A man is confronted in a snowy park at night by another man who orders him to leave, referencing past crimes and a desire for execution. A third person observes, and dialogue mentions a 'masterpiece' and a payment of $10,000.

Named: Johnny (t:97:44), Rick (t:99:28), Charlie (t:101:05), Mr. Telecom (t:100:36). 5 people observed.

“I love you, Johnny.” 97:44 · “Oh, it's you. Haven't I told you to keep out of this park?” 99:00

Evidence, details and a link to share