Private office
Machine annotation by Qwen/Qwen3-VL-235B-A22B-Instruct, cut beats-0.2, prompt beats-0.2. Machine checks passed (partial). 4 quotes checked against the transcript; 3 names checked for a spoken or on-screen source; 1 of 2 visible events checked against a frame. Not human-reviewed. Observations and transcript may still be wrong.
Play from 12:07 on the Internet Archive This passage on the film's page
Evidence and details
Starts here: pause in speech. Sequence 15 · shots 20–21. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.
- Place
- private_office (private office, interior) evidence: frame:1
- People
- man, white shirt, visible at switchboard visible
- Sue Harvey (named at t:12:18): woman, blonde hair, light blouse, seated in armchair visible, audible
- Al (named at t:12:58): man, voice only audible
- Seen happening
- A man is at a switchboard preparing to place a long-distance call. [frame:1]
- A woman answers the phone in a patterned armchair. [frame:2]
- Also said
- “You're working as a hashlinger?” 13:10 · “Look, I'll tell you what, you stay put out there, I'll come to you.” 13:23
- Seen
- switchboard, telephone receiver, patterned armchair, lamp with fringed shade
- Interpretation
- Model opinion, not evidence: mood: tense and intimate; themes: long-distance communication, struggle in Hollywood, romantic reassurance; style notes: static medium shots, high-contrast lighting, confined framing emphasizing isolation
A man in a white shirt is shown at a switchboard, and a woman with blonde hair is shown on the phone in a patterned armchair. The transcript reveals a long-distance call from Al to Sue Harvey in Los Angeles, during which he learns she is working as a 'hashlinger' and promises to come to her.
“Long distance. I could put a call through to Los Angeles. Miss Harvey.” 12:18 · “Sue Harvey, H-A-R-V-E-Y. The number is Crestview 65723.” 12:23 automatic transcript, may be wrong
The record
No renewal found An automated finding, not a verdict. A renewal would have appeared in the Copyright Office's renewal registrations 27 to 29 years after the term began. Those volumes are loaded and our parse of them found no matching renewal. If that is right, a work published 1931–1963 that was not renewed entered the public domain at the end of its 28th year; the volumes are OCR of old print, and the method page reports how often the parse has been found to miss one. Evidence dossier. The finding concerns the US copyright record for the film; it is not clearance for any use, and this page's annotation is machine output.
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