No renewal found Free in the US since 1 January 1965, on the registry's reading: registration LP6571 of 1936 by Gaumont British Picture Corp. Of America was not renewed in the volumes searched. Record.
358 shots over 1:25:55, read from the Internet Archive copy Hitchcock_Secret_Agent (Secret_Agent.mp4, 624×480, 23.98 fps). Shot boundaries by PySceneDetect's adaptive detector; each frame links to the Archive's player at that second. Registry dossier: Secret Agent No renewal found. JSON
Measurements: black-and-white film on its keyframes (0 of 358 shots judged colour), average shot 14.4s long, a frontal face detected in 45% of keyframes. Shots are detected automatically and each is represented by its midpoint frame.
Released 1936 (Internet Archive).
170 beats in 104 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. 170 of 170 beats annotated, 166 passed the checks, 4 flagged.
Passages cut at shot boundaries and annotated by a machine from four sampled frames and the transcript lines in them. Each beat says why it starts where it does and what was checked; sequences are visual groups, not scenes.
1:13Model synopsis: The beat opens with a title card showing 'MAY 10TH 1916' and '84 Curzon St. W.', followed by dialogue about a soldier's sudden death and a funeral. No characters are visible in the single frame provided.
“He said an orphan soldier dies in his bed these days. No, sir.” 1:59 · “No such luck, sir.” 2:02
Flagged: period without evidence (1916)
2:32Model synopsis: A man in a suit speaks to a woman in a hat and coat; another man is visible behind them. The transcript includes a farewell and a comment about wartime work.
3 people observed.
“So long, girls.” 2:33 · “You'll be in work getting less than those, sir. Red Cross, munitions, what not.” 2:34
2:58Model synopsis: A man in a dark suit stands beside a draped table, lifting a cloth. He speaks briefly, saying he is going to leave. The scene is dimly lit with candles visible.
1 person observed.
“Oh, my God.” 2:50 · “I'm...” 2:59
Model synopsis: A man is seen looking out a window at night; a newspaper clipping reports the death of Captain Edgar Brodie. A character named R enters and discusses the news, including a false report of his own death after arriving from France.
Named: R (t:4:13). 2 people observed.
“What's that, dear? What's the meaning of all this? Who are you? Stevenson, the soldier of the sad news. Look, yes, sir.” 4:08 · “I don't even know what your name is. You can call me R.” 4:13
7:17Model synopsis: A man in a military uniform speaks with two other men in a dimly lit interior; one of the men is identified as Ashenden. The conversation involves a mission to Switzerland to locate a German agent, with passports and instructions provided.
Named: Ashenden (t:5:11). 3 people observed.
“You have the reputation of being a shoot observer of life, Ashington.” 5:11 · “Ashenden is going to Switzerland to locate a certain German agent who is leaving for Arabia very shortly via Constantinople.” 5:23
Model synopsis: A man in a hat speaks while another man holds a small dog; dialogue suggests an apology and a casual reunion. The setting appears to be an interior space with minimal furnishings.
3 people observed.
“- It's all right. - I'm so sorry. I'm afraid it was entirely my fault.” 10:07 · “I know it's quite all right. No harm done. Sure, I haven't had him. Not a bit.” 10:10
Model synopsis: A man in a suit and hat is shown in a hallway or room with paneled walls and sconces; he holds a coat and later appears seated with his head in his hands. A transcript includes lines about going out, a picnic, and a dining room, suggesting a conversation about plans and personal feelings.
1 person observed.
“Aren't you two that bad?” 10:40 · “I'm crying, my dear.” 10:42
Model synopsis: A man in a suit and fedora speaks while another man hides behind a chair. The dialogue suggests a conversation about knowing each other and a possible divorce.
2 people observed.
“No way, Albert.” 11:00 · “I've already known you for 24 hours.” 11:01
Model synopsis: A man in a fedora and pinstripe suit is shown alone, then a scene with three people: a woman, a man in a light suit, and the man in the dark suit. The dialogue reveals names Ashenden, Robert Marvin, and Lockett, and references a romantic triangle.
Named: Ashenden (t:11:18), Robert Marvin (t:11:39), Lockett (t:11:39). 3 people observed.
“Are you Mr. Ashenden? Guilty.” 11:18 · “Darling, you're here at last. Angel, how well you're looking.” 11:20
11:59Model synopsis: A man in a suit stands indoors holding an object. No dialogue or on-screen text is present in this beat.
1 person observed.
12:20Model synopsis: A woman introduces herself as Elsa Carrington to a man who questions her identity and her claim to be his wife. She presents her passport as proof while standing in a doorway.
Named: Elsa Carrington (t:12:12), Richard Ashen (t:12:24). 2 people observed.
“I wasn't expecting you quite so soon. So I gathered. Tell us. My good girl, there's no need for you to play a part now. Kindly tell me who y…” 12:04 · “And why are you passing yourself off as my wife? My name is Elsa Carrington.” 12:12
Flagged: visible event not seen (The woman holds out her passport to prove her identity.)
13:07Model synopsis: A man in a suit stands in a bedroom with a bed visible behind curtains; dialogue suggests a marital relationship and a document being presented. The scene includes spoken lines about a bedroom and a husband, with one person asking to enter and mentioning work.
1 person observed.
“I acknowledge you as my true and lawful husband.” 12:54 · “It's in my bedroom.” 13:00
Model synopsis: A man and a woman are in a dimly lit interior; the man holds a cigarette and a paper while speaking to the woman, who reacts with a smile. The dialogue refers to marriage, character roles, and directing energies, suggesting a setup for a mission or performance.
2 people observed.
“I had to work it out. It's in code. I know. You opened it? Of course I did. Don't be silly.” 13:42 · “I'm making you a married man just to round off your new character. What else did he say? Your wife comes a fighting stock.” 13:50
14:33Model synopsis: A man and a woman converse in an interior setting; the woman is seated and the man stands smoking. The dialogue reveals the woman's identity as a writer named Lizzie and her motivation for taking a job involving danger and excitement.
Named: Lizzie (t:14:20), Mr. Barr (t:14:19). 2 people observed.
“Lizzie, I've been reading your books for years and years, and I sort of pictured you as a very old gentleman.” 14:20 · “I cover Switzerland for a thrill. Do you think I'm going to give it to you? Goodness, no. You're only the means to an end. The end being? Ex…” 14:40
Model synopsis: A man in a pinstripe suit speaks to a woman with light-colored hair in a dimly lit interior. The woman appears surprised or concerned as the man gestures while speaking.
2 people observed.
“All that sort of thing may not be quite so amusing as you think.” 14:52 · “Now, look here, let's understand each other.” 14:55
Model synopsis: Three people are in a room; one man identifies himself as General Pompilio Montezuma de la Villa del Conde de Lambour and claims a woman was officially issued to him. Another man reacts with disbelief and frustration, questioning the arrangement and his own exclusion.
Named: General Pompilio Montezuma de la Villa del Conde de Lambour (t:16:07). 3 people observed.
“- Hello. - Good heavens. How did you get here?” 15:18 · “How do you do? Yeah, yeah, yeah, yeah, yeah. Steady on. Oh, Ashton, how have you been all the time? I haven't seen you. Yes, yes, yes. …” 15:23
16:57Model synopsis: A man in a suit smiles at the camera in a dimly lit interior. No dialogue or other actions are visible in this single frame.
1 person observed.
Model synopsis: Two men in suits are shown in close conversation; one is seated and distressed, the other listens. The dialogue reveals a plot involving a married disguise and a woman assigned as part of it, with one man insisting he is unrelated to her.
2 people observed.
“General, does you listen if you're quite finished?” 17:00 · “Brodie was a bachelor, therefore Ashenden has to be a married man. It makes it much safer, that's all.” 17:06
Model synopsis: Two men in suits are in a room; one is told to stay behind while the other is instructed to leave so the first can dress. The dialogue reveals they are on a mission to contact an organist in a Swiss mountain village.
3 people observed.
“Can't you do anything about this? Do I look as if I enjoy conjuring tricks? Yeah, yeah, yeah, General. No lovemaking, no funny business. …” 17:38 · “The Swiss police would be on us in no time.” 17:46
Model synopsis: A man and a woman are shown in close-up shots during a dialogue. The transcript includes questions about Mrs. Ashlandon and a comment about the situation being arranged for someone's benefit.
Named: Mrs. Ashlandon (t:18:42). 3 people observed.
“Well?” 18:39 · “How does Mrs. Ashlandon look now?” 18:42
18:58Model synopsis: A man and a woman face each other in a dimly lit interior. The transcript indicates they are discussing marriage and a secret job.
2 people observed.
“Married life has begun.” 18:55 · “All right, chat about that as much as you like.” 18:56
19:07Model synopsis: A hand points at a stack of wrapped rectangular packages. No dialogue or other context is provided in this beat.
1 person observed.
Model synopsis: A man in a dark coat and hat stands behind a counter in a dimly lit interior, while another figure is partially visible. A second frame shows a dark, low-angle view of a floor with a bowl and a person's legs.
2 people observed.
19:55Model synopsis: A title card announces that novelist Brodie, reported dead, arrived at the Hotel Excelsior on espionage work and that steps will be taken. No people or actions are visible in the frame.
20:10Model synopsis: A sign reading 'Langenthal Kirche' is shown in a close-up. A voice asks 'Is it?' at 20:12.
1 person observed.
“Is it?” 20:12
20:36Model synopsis: A person speaks about leaving and sending a coded signal using three candles, while a figure is seen from behind in a dimly lit, columned interior. The setting resembles a church or cathedral with stained glass windows and an altar visible in the distance.
1 person observed.
“I'm going to go.” 20:33 · “What do we do? Write three candles in the code signal.” 20:48
21:25Model synopsis: Two men are in a dimly lit interior; one speaks sharply while the other looks on. No names are spoken, and no objects beyond clothing and a window are visible.
2 people observed.
“- United prayers. - Do not insult me, please. I'm not insulting you.” 21:02 · “Come on.” 21:06
Model synopsis: Two men are shown in a dimly lit interior; one speaks about the floor angering his legs, while another is instructed to keep watch. A third man is partially visible in the background of the second frame.
3 people observed.
“This floor makes my beautiful legs very angry.” 21:55 · “Come on.” 21:59
22:38Model synopsis: A close-up shows a hand playing piano keys. No dialogue or other context is provided in this beat.
1 person observed.
22:39Model synopsis: Two men in suits stand near a seated man at a control panel in a dimly lit interior. The setting appears to be a technical or command room with illuminated panels.
3 people observed.
Model synopsis: Two men examine a scene where a person has been strangled; one points to evidence of a struggle. A close-up reveals a small object held in a hand, suggesting the victim fought back.
2 people observed.
“Strangled.” 22:42 · “Neat, very neat.” 22:46
23:13Model synopsis: Two men are in a dimly lit interior space, one speaking while the other listens; the dialogue suggests they are discussing a suspect or victim. No names are spoken, and no objects beyond furniture are clearly visible.
2 people observed.
“Me better, much better.” 23:04 · “Jeez, terrible, isn't he? The man who owns this is with a man who killed him.” 23:06
23:29Model synopsis: A man in a suit stands in a dimly lit interior space with arched architecture, seen from behind. No dialogue or on-screen text is present in this beat.
1 person observed.
23:43Model synopsis: A man in a dark suit is seen from behind in a dimly lit interior with arched architecture. No dialogue or additional actions are visible in this beat.
1 person observed.
23:56Model synopsis: A close-up shows a gloved hand gripping a dark object, possibly a weapon or tool, against a smoky or misty background. No people are identifiable, no dialogue is present, and the setting is indistinct.
1 person observed.
Model synopsis: A man in a hat and coat is seen in shadowy close-up, followed by a woman looking out a window, then standing in a doorway; the final shot shows a church tower with a clock against a mountainous backdrop. The transcript contains a single line: 'I'll see you next time.'
2 people observed.
24:37Model synopsis: A person speaks about wanting to stay longer in Switzerland and mentions someone named Charlie; another person named Fred is addressed. The single frame provided is completely black and shows no visual content.
Named: Charlie (t:24:52), Fred (t:24:53). 2 people observed.
“I say, do let's stay here a little longer. I've always wanted to come to Switzerland. The people are so nice.” 24:47 · “Dead.” 24:52
Model synopsis: A man in formal wear and a woman in a light dress are seated together in a dark setting; the man holds a cigarette while the woman reacts to his appearance. Dialogue includes remarks about teeth, a nose, and a request for a cigarette.
2 people observed.
“Are those your own teeth? Of course they're a little silly. Put yours on.” 24:59 · “You mind holding them for me? They're disgusting.” 25:08
27:31Model synopsis: Two people converse in a theatre setting, discussing a woman named Mrs. Ashland and plans to go to a casino. A handwritten note is visible, mentioning a man leaving and needing to be found.
2 people observed.
“What is this strange fire you have over Coach Fonson?” 25:49 · “Speaking of love, do you think that bow-legged husband of yours would mind if I kissed you?” 26:09
Flagged: visible event not seen (A man and woman are conversing in a theatre.)
Model synopsis: A man and woman in formal wear are present in a crowded casino; a hand holds a small object and a roulette wheel is shown. Dialogue references a General and a Mr. Marvin, and mentions a long walk and being tired of one-syllable words.
Named: General Pompilio Motesuma, de la Villa del Conde de Longu (t:30:19). 8 people observed.
“You must have had a long walk. I got all aboard staying in the hotel, so I came along here with Mr. Marvin.” 30:00 · “Thank heavens you've come along and take your dull wife off my hands.” 30:09
30:54Model synopsis: A group of people are gathered around a roulette table in what appears to be a casino. No dialogue or on-screen text is present in this beat.
5 people observed.
31:02Model synopsis: A group of formally dressed people are gathered in an interior space; one man in a tuxedo stands while others sit, and dialogue references 'buttons' as payment or identification. No names are spoken, and the setting is not explicitly identified beyond being indoors.
5 people observed.
“That's a lot of button for somebody.” 30:56 · “You'll have to pay seven buttons, won't you?” 30:58
31:48Model synopsis: A man in a tuxedo speaks with others in a formal indoor setting while a dog-related dispute unfolds. The dialogue references casino regulations and the Geneva Convention, suggesting a comedic or satirical tone.
4 people observed.
“I'm going to keep you.” 31:18 · “I'm not asking you, will you kindly take that dog out of the cave? Oh nonsense, the dog was tied up. Look, it's broken its lead. Why did you…” 31:19
33:04Model synopsis: A man in a tuxedo speaks with others in a formal setting; dialogue references a wife, a hotel, and a celebration. No named characters are established by speech, and the scene appears to be a social gathering.
3 people observed.
“I would do the whole thing over again.” 32:35 · “May I introduce you? - The dog's already done that in the hotel. My name's Kepa.” 32:49
Model synopsis: A group of people in formal attire interact in an interior space; one woman speaks about someone leaving soon and another mentions never having been to England or Germany. The scene includes a man adjusting his tie and others standing nearby.
5 people observed.
“Oh, good.” 33:47 · “I think you've already met Mr. Marvin.” 33:57
Model synopsis: Two men in tuxedos argue at a table in a crowded room while a waiter stands nearby; one man demands a drink and refuses to discuss a matter further, while the other urges calm. A woman sits at the same table, and another man in a tuxedo is visible in the background.
6 people observed.
“I'll have double gin and tonic. I refuse to discuss the matter any further, General. That's quite enough. It is not enough.” 34:23 · “How about a nice, friendly little drink? Pull yourself together, General. Don't make a scene. Shut up, do you hear? -Me not? -Shut up!” 34:30
Model synopsis: Two men in tuxedos argue while a woman looks on; the dialogue suggests a challenge about mountain climbing and an insult about beauty. The setting appears to be a formal social gathering with other guests visible in the background.
3 people observed.
“me not shut up it doesn't matter it's nothing at all it's perfectly all right i'd like a conyacht it is not all right he insults me in very…” 34:36 · “Now, that is true, my dear General. All I said was, you couldn't go climbing, my master, taking your beautiful women with you.” 35:04
35:30Model synopsis: Two men in tuxedos are seated indoors; one gestures while speaking. The transcript includes dialogue about a climb, going to bed, and a fight needing a mountain.
2 people observed.
“He's making the climb-bought.” 35:28 · “You mean the back down. That's what that said.” 35:29
Flagged: quote not verbatim (You mean the back down. That's what that said.)
35:59Model synopsis: A man speaks in a dimly lit interior, discussing a bottle, a location called the Langen Elk, and the need for a guide; he mentions leaving the day after tomorrow and expresses regret about not being able to assist further. No names are spoken, and no other people or objects are clearly visible in the single frame provided.
1 person observed.
“Anyone got a bottle? No.” 35:40 · “Well, there's the, uh, the Langen Elk.” 35:42
Model synopsis: A man and a woman are in a formal setting; the man lights a cigarette while the woman speaks to him. The dialogue suggests a planned departure and a role for the woman to remain behind, with references to war and hunting a man.
2 people observed.
“While the boys are mobilizing, what about a dance for you and me? Sorry, I'm just a little old-fashioned wife.” 36:31 · “Okay, you've got to stay behind and look after Mrs. Kaper. Oh, why?” 37:00
37:37Model synopsis: A dimly lit interior scene shows several figures seated at a table, with others standing or moving in the background. The setting appears formal, with ornate wall details and chandeliers visible.
4 people observed.
37:42Model synopsis: A group of people are seated around a table in a dimly lit room with ornate decor. A waiter stands nearby, and the scene is viewed from behind a railing.
4 people observed.
37:46Model synopsis: A black-and-white shot shows a snow-covered mountain range with a cable car suspended over a valley. No people or dialogue are visible or audible in this beat.
38:01Model synopsis: A group of people is seated in what appears to be a vehicle interior; one person speaks to a child while another holds a camera. No names are spoken or visible.
4 people observed.
“I'm going to go.” 37:49 · “Oh, shit.” 37:58
38:14Model synopsis: A woman in formal attire sits indoors, looking down at an object in her hands. The setting appears to be a room with a window and furniture visible in the background.
1 person observed.
38:17Model synopsis: A dog lies on a rug near a person's legs in an interior setting. No dialogue or on-screen text is present in this beat.
1 person observed.
Model synopsis: A woman in period attire speaks with another woman in a formal interior setting; dialogue references a husband and a home. The scene includes close-ups and medium shots of the two women, one seated and one standing, with period furnishings visible.
Named: Janir (t:38:22). 2 people observed.
“I suppose your husband's a very good man, Janir.” 38:22 · “Yes.” 38:25
Model synopsis: Two women and a man are in a room; one woman speaks while the other listens, and the man enters. A child's voice is heard asking about a new boy in class.
4 people observed.
“Where you lived before the war.” 38:35 · “and we will have a little German conversation, yes?” 38:42
Model synopsis: A man speaks to a woman and a seated man in a formal room; he then moves to sit beside a young girl. The dialogue suggests a language barrier and an attempt to appear harmless.
4 people observed.
“No, go away.” 39:20 · “Do you understand German, Mr. Marvin?” 39:23
Model synopsis: A woman in a light dress sits between two men in a dimly lit interior; one man speaks while the other listens. A second frame shows a low-angle view of a chair leg and floor, suggesting a shift in perspective or a cut to a different part of the same room.
3 people observed.
“Little girl shouldn't smoke cigarettes in class.” 39:38 · “Would you like to try it, please?” 39:41
Model synopsis: Two men in hats are shown in profile and medium shot, speaking about returning for dinner and having fun after an event. The setting appears to be outdoors with a rocky or mountainous background.
2 people observed.
“Oh, we ought to be back in comfortable time for dinner.” 40:13 · “What appetites we'll have generally?” 40:15
40:25Model synopsis: A person is crouched low near a paneled door in a dimly lit interior. No dialogue or on-screen text is present in this beat.
1 person observed.
Model synopsis: A man and a woman stand beside an older woman in what appears to be a hotel lobby; the man speaks about reserving a room while the woman is introduced as his wife. The scene includes dialogue about room preferences and a mention of 'Mercer' and 'Simmer'.
Named: Mercer (t:40:50). 3 people observed.
“I would say I want a double bedroom and bath for myself and my beautiful wife.” 40:34 · “This is my beautiful wife. No, no. I speak to Missy.” 40:38
Model synopsis: A dog barks at a closed door while a man in a hat and coat is seen in profile outdoors. No names are spoken, and no time of day or period is established.
1 person observed.
“What's the...” 40:57
Model synopsis: Three men in hats and suits are shown in conversation outdoors, with a mountainous landscape visible in the background. A separate shot shows a winding river through a valley, suggesting the setting is rural and elevated.
3 people observed.
“Going's not too bad so far, is it? No, pretty good, really.” 41:03 · “I suppose we saw the works child's preview, eh, General?” 41:06
Model synopsis: A dog lies by a door while three people converse nearby; one person speaks German, asking the price for a night. The dog is mentioned as being troubled when its master is away.
3 people observed.
“Sister, come. Come here, Sister. Come.” 41:26 · “He is always troubled when his master is away.” 41:29
41:47Model synopsis: A man in profile wearing a hat and coat is shown in a single frame. No dialogue or additional context is provided in this beat.
1 person observed.
41:49Model synopsis: A man in a suit and hat is visible in a single frame. No dialogue or on-screen text is present in this beat.
1 person observed.
Model synopsis: A man in a hat and shorts walks with a cane across a rocky, snow-covered mountain landscape. Two men, one in a bowler hat and another in a straw hat, speak to each other in a close-up, discussing money and instructions.
3 people observed.
“Come on.” 41:50 · “This milk going through with it, too, yeah?” 41:51
Model synopsis: Two men in hats are shown in conversation and then walking up a rocky mountain slope, while a third man remains behind. The dialogue indicates a bet or challenge involving climbing, with one man insisting on accompanying the other despite being told to stay.
Named: General (t:42:38). 4 people observed.
“You two fellows still at it?” 42:07 · “He's tired, he says. Oh, look here, if you're tired, let's cut it out.” 42:13
Model synopsis: A woman in a dark dress stands near a door while another woman in light clothing sits with two men; dialogue references a dog named Mickey and a lesson. The setting appears to be an interior room with furniture and curtains.
4 people observed.
“No, he's being a very bad dog.” 42:48 · “When your master comes home, I tell him how you behave.” 42:59
Model synopsis: A woman and two men are shown indoors in conversation, followed by a view through a window of two figures on a snowy mountain. The transcript includes dialogue about room cost and an assurance that something will be seen easily.
4 people observed.
“You think 20 marks is too much for your room, so what do you say?” 43:12 · “Come on.” 43:18
43:30Model synopsis: A man in a fedora is shown in close-up, looking off-camera with a serious expression. A gun barrel is visible in the foreground, pointing toward him.
1 person observed.
43:35Model synopsis: A man in a bowler hat and coat is visible in profile against a bright circular background. No dialogue or on-screen text is present in this beat.
1 person observed.
43:39Model synopsis: A dark, low-angle shot shows a person lying prone on a patterned carpet near a paneled door. No dialogue or other actions are visible or audible in this single frame.
1 person observed.
43:40Model synopsis: A woman with styled hair is shown in a close-up, looking downward. The setting appears to be an interior space with soft lighting and curtains in the background.
1 person observed.
Model synopsis: A person lies motionless on the floor near a door while three others react with alarm in a room; one person is shown holding a small object to their mouth. A woman is later shown in close-up with a concerned expression.
6 people observed.
“You've never liked this before.” 43:43 · “Mr. John.” 43:47
Model synopsis: An elderly woman is shown in a close-up, followed by a scene at an outdoor table where a man in a fedora greets others, and finally a man and woman in formal wear interact closely. The transcript includes fragmented dialogue about a police inquiry, a telegram, and references to a 'Red Catboy' and a 'General'.
6 people observed.
“The Red Catboy” 44:53 · “Oh, perfectamente, perfectamente.” 45:35
47:04Model synopsis: A woman is shown in a close-up, looking downward with a somber expression. No dialogue or environmental context is provided in this beat.
1 person observed.
47:19Model synopsis: A man in a suit is visible in a dimly lit interior space. No dialogue or on-screen text is present in this beat.
1 person observed.
47:32Model synopsis: A hand holds an envelope with a handwritten note inside. The note reads: 'YOUR MESSAGE RECEIVED. YOU ARE AFTER WRONG MAN. LOOK ELSEWHERE.'
1 person observed.
Model synopsis: Three men are seated at a table in a dimly lit public space; one covers his face. A woman is shown in profile, looking off-camera. Dialogue mentions a bucket, the wrong man, and buttons.
4 people observed.
“It's a bucket.” 47:39 · “The wrong man.” 47:50
50:18Model synopsis: A man and a woman have a tense, emotionally charged conversation in a dimly lit interior; the woman confesses love and then shifts to discussing murder and distance, while the man reacts with discomfort. No names are spoken that can be assigned to the visible individuals.
Named: Elsa (t:48:33), Marvin (t:49:09), Mr. Ashton (t:48:55). 4 people observed.
“I hope you won't be very schoolgirlish, but I would like to tell you how wonderful it's been meeting you, Mr. Ashton.” 48:55 · “I fell in love with you at first sight. Now, this is a crush, man. A crash. Doesn't that amuse you?” 49:09
Model synopsis: A man and a woman embrace in a dimly lit room while a letter of resignation is visible on a table. Dialogue references the letter, coffee, and tea, with one character correcting another about a cup.
Named: Mrs. Ashton (t:52:10). 2 people observed.
“There are times, Mrs. Ashton.” 52:10 · “Well, it is almost a pleasure to be alive. Is this one, Mr. Ashenden? I don't quite know yet. Just hold this cup and I'll let you know.” 52:14
53:16Model synopsis: A woman laughs while covering her mouth as a man stands nearby holding a bottle and glass; a telephone conversation unfolds in the transcript, referencing rivals and a husband. The setting appears to be a private room with furniture and a bar cart visible.
2 people observed.
“What's going to happen when we get back to England? Oh, nothing much.” 52:46 · “Here, answer the telephone. Answer it yourself, lazy. That's a rude.” 52:53
Model synopsis: A man lies in bed speaking on the phone while a woman stands beside him; later, he holds the woman close as she leans into him, and finally, both are shown on the phone together. The dialogue suggests a tense negotiation or plea, with the man calling himself a 'caveman with a college education' and saying 'this is my last word.'
2 people observed.
“You can cut out that Darby and Jones stuff.” 53:47 · “A caveman with a college education.” 53:58
54:11Model synopsis: A man lies in bed holding a telephone receiver to his ear. The scene is dimly lit and appears to be indoors.
1 person observed.
54:14Model synopsis: A man and a woman are shown in close-up, both smiling; the man holds a small object. The setting appears to be indoors with soft lighting.
2 people observed.
Model synopsis: A man and a woman are shown in close proximity; the man is on the phone while the woman stands beside him. The transcript includes dialogue about a kiss and confusion over identity, followed by a call for help.
2 people observed.
“Uh, first kiss.” 54:19 · “Was that really you?” 54:22
54:40Model synopsis: A man in suspenders is on the phone in a dimly lit room with a lamp and ornate furniture. He speaks with someone off-screen, questioning whom he has been kissing and declaring it the end.
1 person observed.
“Hello.” 54:33 · “Let me get this straight. Whom have I been kissing? You or the old man?” 54:36
55:57Model synopsis: A man and a woman are shown in a close-up, appearing serious and engaged in a tense conversation. The dialogue suggests a resignation from duty during wartime and a farewell, with references to a General and a decision to leave.
2 people observed.
“And goodbye.” 54:50 · “You know, I'm quite sorry for that chap. I believe he's really fond of you.” 54:53
57:12Model synopsis: A woman with curly blonde hair, seen from behind, stands in an interior space. She speaks the line 'I'm sorry' at 57:10.
1 person observed.
“I'm sorry.” 57:10
Model synopsis: Two men and a woman are shown in a hallway and then in a room; one man speaks to the woman, who is seated, while another man stands nearby. The dialogue suggests a meeting in a private room, with references to a 'secretary general' and a prior meeting at 'August's house.'
Named: Rida (t:57:30). 5 people observed.
“Rida, caridissima!” 57:30 · “Oh, why have you come into my bedroom in hell? I'm a nice girl.” 57:38
Model synopsis: A woman speaks about her fiancé who works in a chocolate factory and earns more than other Clarks. Three men are present in a room with a table set for tea, one of whom gestures while speaking.
4 people observed.
“She tells me about her fiancé.” 58:10 · “Oh, no, no, no, no. He works in chocolate factory on the top floor.” 58:14
Model synopsis: A man in a suit holds a small object while speaking to others in a room; another scene shows a woman in bed holding a tray with a raised glass. The transcript includes dialogue about a secret message, a chocolate factory, and a payment of five thousand francs.
5 people observed.
“Chocolate factory is not only factory, but it is also, and now you will see,” 58:40 · “It's in the clearinghouse for information.” 58:55
Model synopsis: A man in a suit is seen in an interior room, speaking with agitation. The dialogue suggests a dispute over money and a marriage plan involving someone named Carl.
2 people observed.
“Are you crazy?” 59:34 · “Didn't I give you already big money amount for you?” 59:37
Model synopsis: A man on the phone tells Elsa he will go to a house and asks her to send a boy with his hat and coat; a woman in a dark dress stands nearby. The scene is indoors, with a man in a suit and a woman in evening wear.
Named: Elsa (t:59:57). 2 people observed.
“Hello? Listen, Elsa, something's happened. I'm going to go out to the house.” 59:57 · “A couple of hours.” 60:00
Model synopsis: A woman is on the phone in a room while a man speaks nearby. The dialogue suggests urgency and a need to leave without explanation.
2 people observed.
“Did you get that?” 60:09 · “Yeah.” 60:11
Model synopsis: A man in a suit is on the phone while a woman in a dark dress stands nearby holding an object. The transcript includes a line addressing someone named Joseph and his affirmative reply.
Named: Joseph (t:60:26). 2 people observed.
“You do understand, then, Joseph?” 60:26 · “Yeah.” 60:28
1:00:44Model synopsis: A close-up shows a handwritten letter signed 'Richard Ashenden' with text about resignation and offering a successor. No people, places, or spoken events are visible or audible in this beat.
1:00:51Model synopsis: A woman in a dark dress stands indoors near a lamp and a telephone. No dialogue or action is visible in the single frame provided.
1 person observed.
1:01:12Model synopsis: A person speaks about going to Semi-Gold and identifies someone as 'our guy' while a kitchen or dining area with staff in white uniforms is visible through a window. No names are spoken that can be assigned to visible individuals.
3 people observed.
“I'll go and find them at Semi-Gold.” 61:06 · “Come along. Here's our guy.” 61:10
1:01:36Model synopsis: A man in a light suit gestures while standing behind a seated person; another man in a dark hat and coat is visible in the foreground. The setting appears to be an interior space with plain walls and no visible windows or clocks.
3 people observed.
1:01:45Model synopsis: A close-up of a man with a receding hairline and mustache is shown. No dialogue or environmental context is provided in this beat.
1 person observed.
1:01:48Model synopsis: A group of men in hats and coats stand in a dimly lit interior space with barred windows. No dialogue or on-screen text is present in the frames.
4 people observed.
1:01:51Model synopsis: A man in a light shirt and tie sits at a desk in a room with other seated figures in the background. No dialogue or on-screen text is present in this beat.
2 people observed.
1:01:56Model synopsis: A close-up shows a man wearing a hat and a plaid shirt, his eyes closed. No dialogue or additional context is provided in this beat.
1 person observed.
1:02:03Model synopsis: A man in a light shirt sits at a desk, looking down and to his left; two other men in caps are visible in the background. No dialogue or on-screen text is present in this beat.
3 people observed.
1:02:08Model synopsis: A close-up of a man wearing a hat and a checkered shirt, showing a concerned expression. No other people, objects, or on-screen text are visible in the frame.
1 person observed.
Model synopsis: A man in a light shirt handles papers at a desk while other workers, including women in caps and aprons, are visible in the background. A close-up shows a man in a hat with a cigarette, and a wider shot reveals a busy workspace with machinery and workers.
3 people observed.
Model synopsis: A man in a checkered coat and white hat stands in a busy kitchen, interacting with a man in an apron; the scene cuts to a close-up of wall-mounted equipment and then to the man's alarmed expression. No dialogue or on-screen text is present in this beat.
3 people observed.
Model synopsis: A person in a hat and plaid shirt is seen from behind near a spiral staircase, then a hand places a small object on a surface, followed by a close-up of handwritten text on lined paper. The transcript contains a single line spoken at 62:40: 'I'm going to go.'
2 people observed.
“I'm going to go.” 62:40
Model synopsis: A hand turns a doorknob, then two women are seen at a switchboard; one is speaking into a headset. The transcript includes urgent calls for police and references to spies and 'The Central.'
3 people observed.
“Police, please.” 63:15 · “What, you have two English Spione?” 63:26
Model synopsis: Two men in uniform are shown in an interior setting; one is on the phone. A woman and a man are seated at a table in what appears to be a restaurant or cafe. The transcript includes dialogue about Englishmen and a chocolate factory.
4 people observed.
“Ah, the director of the chocolate factory.” 63:36 · “Two English, no one.” 63:40
1:04:35Model synopsis: A person is seen handling a small mirror and fabric in a confined space, while a voice instructs to prepare for departure via Portal 2. No names or clear location are established in the frames or transcript.
1 person observed.
“Make the big deal ready for Portal 2. We have to go.” 64:01
Model synopsis: A group of men in hats and coats gather around a large machine in a room with large windows; one man in a white coat is shown in a close-up. No dialogue or on-screen text is present in this beat.
5 people observed.
1:05:34Model synopsis: A vehicle is parked under a large structure with visible support beams and a license plate. No people are visible in the frame, and no dialogue or on-screen text is present.
Model synopsis: Two men are shown in an interior setting; one wears a fedora and coat, the other a white hat and checkered jacket. A fire alarm box labeled 'ALARM' and 'FEUER MELDER' is visible on a wall. One man speaks the line 'Come on.'
2 people observed.
“Come on.” 65:44
1:06:15Model synopsis: A man in a dark coat and hat stands beside a wall-mounted alarm box labeled 'ALARME'. The scene is indoors and lit by artificial light, with no visible windows or natural light source.
1 person observed.
Model synopsis: A group of women in light-colored uniforms and caps are shown working at machines in a large, open factory space, then moving in a crowd through a corridor. The setting is an industrial interior with visible machinery and structural columns.
1 person observed.
1:06:37Model synopsis: A group of people in light-colored coats walks through a dimly lit interior space. No names, dialogue, or specific objects are visible or audible in this beat.
3 people observed.
1:06:40Model synopsis: A crowd of people, many wearing hats, is gathered indoors near a barred window or door. No dialogue or on-screen text is present in this beat.
1 person observed.
Model synopsis: A man in a white shirt reacts with surprise as a crowd of women in headscarves moves through a doorway. The scene cuts to a large, empty industrial hall with rows of machinery and a single figure walking down the center aisle.
3 people observed.
“Oh, my God.” 66:44
Model synopsis: Two people in dark coats stand near a cart in a corridor while a man in a white coat walks down stairs nearby. The setting appears to be an institutional interior with large windows and stairwells.
3 people observed.
Model synopsis: Three people are in a close interaction near a doorway; one is being held or restrained. A second shot shows double doors with glass panes, through which an interior space is visible.
3 people observed.
“No, no.” 67:34 · “and found” 67:34
1:07:44Model synopsis: Three men are gathered closely, one holding papers, as dialogue about money is exchanged. The setting appears to be an interior space with wooden structures visible.
3 people observed.
“You have the money.” 67:41 · “What does it mean? No.” 67:46
1:07:50Model synopsis: A close-up of handwritten text is shown, with partial words visible. No people, actions, or spoken dialogue are present in this beat.
1:07:53Model synopsis: A close-up of handwritten text on lined paper shows the name 'MARVIN' in capital letters. No people, actions, or setting are visible in the frame.
1:07:55Model synopsis: Three people are shown in close proximity in a dimly lit interior. One man wears a dark hat and coat, another a light hat and checkered jacket, and a woman leans in from the right.
3 people observed.
1:07:57Model synopsis: A man in a light coat stands near a glass-paneled door while another man in dark clothing and a hat moves past him. The setting appears to be an interior space with a door leading to a brighter area.
2 people observed.
1:08:16Model synopsis: A woman in a hat speaks with a man in uniform at a desk; she asks about a trunk without a label and arranges for it to be sent to the station under her name. She also mentions a letter.
2 people observed.
“My other trunk.” 68:13 · “But there is no label on it.” 68:17
1:08:34Model synopsis: A man in a uniform stands at a reception desk while others wait nearby. The setting is an indoor reception area with a sign above the desk.
4 people observed.
1:08:37Model synopsis: A person in a hat and coat is seen in profile, moving through an indistinct interior space. No dialogue or on-screen text is present in this beat.
1 person observed.
Model synopsis: A man and a woman have a brief farewell conversation in an interior setting; the man hands the woman a document as a memento. The woman mentions she is leaving for Greece after receiving a call.
Named: Elsa (t:68:40). 2 people observed.
“Hello, Elsa.” 68:40 · “Didn't you hear me? Yes, I didn't think you meant it seriously. I have to leave, all right.” 68:45
Model synopsis: A man in formal wear is shown in a close-up, followed by a shot of him smiling in a coat. He speaks the line 'I'm going to go.'
1 person observed.
“I'm going to go.” 69:09
1:09:13Model synopsis: A woman wearing a wide-brimmed hat and a coat smiles in a close-up shot. No dialogue or additional context is provided in this beat.
1 person observed.
1:09:15Model synopsis: A group of men in coats and hats stand in an interior space with ornate walls. No dialogue or on-screen text is present in the frames.
5 people observed.
Model synopsis: A man and a woman are in a close conversation indoors; the woman appears distressed and mentions crying, while the man questions her. A car is mentioned as waiting, suggesting imminent departure.
2 people observed.
“Where are you going?” 69:18 · “I look as though I've been crying.” 69:28
Model synopsis: A woman in a hat pleads with a man in a coat to let her accompany him; he appears conflicted. The dialogue indicates she fears returning to England and begs to stay with him as time runs out.
2 people observed.
“I could come with you, couldn't I?” 69:53 · “Oh, I couldn't. I mean... I promised I wouldn't get in your way or interfere with anything you wanted to do. I couldn't...” 69:56
Model synopsis: A man in a coat speaks while others stand in a room; a telephone is shown on a table. The transcript includes short phrases indicating departure and agreement.
4 people observed.
“All right, come on.” 70:17 · “I'm going to go.” 70:19
Model synopsis: A man in a suit speaks on the telephone while another man listens; dialogue indicates Mrs. Heshenden and Mr. Marvin have left the hotel for the railway station. The setting appears to be an interior room with studio lighting.
2 people observed.
“Mrs. Heshenden has just left, sir.” 70:29 · “left the hotel.” 70:33
Model synopsis: A character named Don is addressed as another character, Elsa, is said to have left with someone; a Colonel Anderson is greeted and given a mat. The dialogue suggests a covert operation involving a Greek front and Turkey, with concern over someone named Ashenden's competence.
Named: Don (t:70:48), Elsa (t:70:51), Colonel Anderson (t:71:14). 4 people observed.
“Elsa's gone with him.” 70:51 · “Colonel Anderson!” 71:14
1:12:16Model synopsis: A dimly lit street scene at night shows silhouetted figures walking along a sidewalk lined with buildings and trees. No dialogue or on-screen text is present in this beat.
3 people observed.
1:12:39Model synopsis: A man in a white hat and checkered coat is surrounded by others at a train station platform; he attempts to bribe officials with money while speaking to a station master. The scene includes dialogue about money, magazines, and compartment access, with no visible names or clear time of day.
5 people observed.
“The idea, maybe if I give money to this son of a ranking file, you know about this?” 72:26 · “I hate these people. They only do everything only for money. - Well, go on, try and see what happens. - Hello. Hello.” 72:32
Model synopsis: A man and a woman reunite in a crowded setting, exchanging urgent dialogue about permissions and a train to Constantinople; a suitcase is passed through a train window. The scene involves multiple characters and references to a mother and a detective.
Named: Elsa (t:73:12). 4 people observed.
“Elsa!” 73:12 · “Oh, no, I can't get out of here. They won't let me through. How are you, darling? Oh, I'm so glad to see you. How on earth did you get h…” 73:20
1:14:36Model synopsis: A woman in a suit and hat speaks with two men in a dimly lit interior; one man wears a straw hat. The transcript includes dialogue about someone being 'too friendly' and mentions 'Mr. Jones' and a 'red coat.'
3 people observed.
“I've seen it. He's just getting on. But it's ridiculous. It's impossible. He's been so kind and friendly. Yes, friendly. Much too friendly…” 74:29 · “My instincts mean treating them all the time.” 74:38
Model synopsis: A man and a woman argue intensely in a dimly lit interior; the man insists he must carry out a duty despite her pleas against it. The transcript reveals a conflict over an impending act of violence in enemy territory.
Named: Elsa (t:75:10). 3 people observed.
“Wait until I come back. The red coat is in the back of your head.” 74:50 · “We're out of mutual country. Listen, Elsa, when the man comes to the picket... I'm not going to kill him.” 75:10
Model synopsis: Two men and a woman are shown in close proximity in a dimly lit interior; one man speaks to another, referencing a spy and locations including Chicago and Hollywood. The woman wears a wide-brimmed hat and a suit with a bow tie, and one man wears a military-style coat.
3 people observed.
“Mr. Crowe!” 76:25 · “You see that spy?” 76:34
1:17:08Model synopsis: Two men in uniform are visible in a dark outdoor setting with industrial structures in the background. No dialogue or on-screen text is present in this beat.
2 people observed.
1:17:11Model synopsis: A woman wearing a wide-brimmed hat and coat is shown in a close-up. No location, time, or event details are established in this beat.
1 person observed.
1:17:21Model synopsis: Two men are seen in a dimly lit interior space; one is in civilian clothes and the other in a uniform with a cap. A transcript line asks if the person is alone, suggesting an interrogation or confrontation.
3 people observed.
“Come on.” 77:14 · “Why are you on the sink?” 77:26
Model synopsis: A woman in a hat and suit is shown in two close-up frames inside a vehicle; dialogue suggests a tense exchange about espionage and distrust on a train. No names are spoken that can be linked to the visible person, and the setting is identified as a train interior based on context and framing.
2 people observed.
“Are you alone?” 77:31 · “You see, I don't trust him.” 78:24
1:19:14Model synopsis: A man and a woman sit facing each other in a dimly lit interior, speaking about being in enemy territory and others on a train. The dialogue suggests tension over unseen individuals who may be dead men.
2 people observed.
“Do you realize where you are?” 79:09 · “You're in my country.” 79:12
1:19:50Model synopsis: A man in a suit and a woman in a hat stand together while a uniformed officer is partially visible; dialogue suggests a search of a train is being discussed. The woman reacts with alarm to something said or seen.
3 people observed.
“Why don't you have the train searched? Exactly what I'm going to do. When you do, perhaps you'll believe me.” 79:41 · “Oh, my God.” 79:48
1:20:21Model synopsis: A man and a woman are seated side by side in an interior setting, engaged in a tense dialogue about surveillance and betrayal. The woman accuses the man of trailing her since their first meeting, and he questions how she learned about him, referencing someone named Ashman.
2 people observed.
“I hope you're not bluffing me.” 80:00 · “Why, I've trailed halfway across Europe with you.” 80:07
1:20:46Model synopsis: A dark, low-angle shot from inside a vehicle shows a dimly lit road ahead at night. No people or distinct objects are visible beyond the vehicle's dashboard and distant lights.
1:21:01Model synopsis: A man in a train corridor is confronted by others while holding papers; dialogue suggests a mix-up about his removal from the train. The scene is set inside a train car with visible handrails and compartment doors.
3 people observed.
“Congratulations on the punctuality of your airport.” 81:00 · “I'm afraid they've made a mistake. They've taken you off the train before they started this.” 81:00
1:21:15Model synopsis: Two silhouetted figures are visible in a dark, smoky environment. No dialogue or identifiable objects are present in the frame.
2 people observed.
Model synopsis: Two men are shown in close-up in an interior setting; one speaks about past trouble and a church organist. A woman's back is visible in a second frame, with dialogue mentioning Mrs. Ashland and lipstick.
Named: Mrs. Ashland (t:82:01). 3 people observed.
“- I don't know that arm, making sure. - If your friends fail, the enemy must step in. - What, I'm afraid you're waiting.” 81:18 · “Mrs. Ashland, you use too much lipstick.” 82:01
Model synopsis: A group of people in formal attire are gathered indoors; one man speaks while others listen. A separate shot shows a man seated and speaking, followed by a two-shot of a woman and a man in conversation.
6 people observed.
“- You may certainly. - Sure. I congratulate you all.” 82:28 · “Especially, madame. Excuse me.” 82:33
Model synopsis: A man in a suit is shown in close-up, then a group of men including one in a cap are seen in a dim interior. One man is instructed to go outside, and another is identified as Maddox. The dialogue suggests preparation for a shooting and references a 'new gun'.
Named: Maddox (t:82:56). 5 people observed.
“Heaven is always with a good cause. I think we can forego the Thanksgiving service.” 82:41 · “When does the shooting begin? Nelson, please go outside.” 82:50
Model synopsis: A man in a suit speaks urgently to a woman in a hat while others look on; a gun is visible in one frame. The transcript includes a tense dialogue about life and death, with one speaker dismissing the value of an individual life against many.
5 people observed.
“You go with madame. Our conference will be very short. Call you back soon. Wait a minute.” 83:06 · “Whatever I said just now, I meant it.” 83:12
1:23:29Model synopsis: A train car is visible at night, illuminated from within, against a dark background. No people, dialogue, or on-screen text are present in the frame.
1:23:33Model synopsis: A single frame shows a blank, uniformly lit white surface with no discernible objects, people, or text. No events or identifiable place are visible in this beat.
1:23:40Model synopsis: A single person is visible in a dark, close-up shot. The transcript contains the spoken line 'Come on.'
1 person observed.
“Come on.” 83:40
Model synopsis: A man and a woman are shown in close-up and medium shots in a dimly lit interior, with the man speaking repeatedly about leaving and the woman responding. The frames show hands, a man's face, an embrace, and the two together, suggesting a tense farewell.
2 people observed.
“I'm going to go.” 83:48 · “I'm going to go.” 84:05
1:24:41Model synopsis: A dark, low-contrast frame shows a silhouetted figure against a bright vertical light source, with a draped object in the foreground. No dialogue or identifiable location is present in this beat.
1:25:01Model synopsis: A single frame at 5102s shows a black screen. The transcript contains a single line spoken at 84:45, but no visual information is available to confirm any person, place, or object.
1:25:26Model synopsis: Two men in military uniforms shake hands in a room with other uniformed men present. A desk with papers is visible in the foreground.
4 people observed.
Model synopsis: A postcard is shown with handwritten text, followed by a close-up of an older man reacting with alarm, then a close-up of a man and woman smiling together. The only audible line is an exclamation of shock.
3 people observed.
“Oh, my God.” 85:32
Machine transcription of the Archive copy's audio with Whisper large-v3-turbo (temperature 0); the model heard it as en. 1132 segments kept, 291 dropped as the kind of hallucination the model produces over music and silence. Each timestamp links to the Archive's player at that second. This has not been checked against the film and can be wrong.
Every free film of 1936 with a copy
By the average clip vector of the keyframes; a measurement, not a judgement
Disorder in the Court 
A Man Betrayed 
Yellowstone 
Things to Come 
British Intelligence 
Lady Confesses 
Bowery at Midnight