| All This, and Heaven Too (1940) | Henriette (The End) | 2:22:31 - The End | end title sequence | grand | leading lady | looking | minister | school | snow | teacher | The End |
| Angels With Dirty Faces (1938) | Sanctus (Maestoso) | 1:36:06 - Jerry and the boys walk up the stairs | angelic | ascending | chromatic mediant | foreign key modulation | leading man | priest | resolution | room | stairs | teenager | The End | transcendence | triumphant | up |
| Arsenic and Old Lace (1944) | Happy Land (The End) | 1:57:05 - Mortimer carries Elaine away | altered dominant | bride | countermelody | driver | end title sequence | familiar tune | groom | kissing | leading lady | leading man | resolution | street | The End | upbeat |
| The Big Sleep (1946) | Marlowe (The End) | 1:53:36 - The end | bold | end title sequence | The End | triumphant |
| His Greatest Gamble (1934) | Morning Glory Fanfare (The End) | 1:10:32 - The End | bold | end title sequence | fanfare | The End | transcribed by ear | triumphant |
| City for Conquest (1940) | Sidewalks of New York (The End) | 1:43:24 - The End | conversing | end title sequence | grand | old man | soliloquy | The End |
| Crime School (1938) | Sue (The End) | 1:24:27 - The End | added-note chord | resolution | The End | triumphant |
| Dust Be My Destiny (1939) | Dust Be My Destiny (The End) | 1:26:45 - "The End" | closing credits | end title sequence | foreign key modulation | happy | leading lady | leading man | The End | train | traveling |
| Each Dawn I Die (1939) | Freedom | 1:30:31 - Frank leaves the prison | artwork in score | chromatic mediant | conclusion | dissonant bass | freedom | hopeful | leading lady | leading man | optimistic | peaceful | The End | walking |
| Flamingo Road (1949) | If I Could Be With You (Ecstatic) | 1:33:37 - Lane walks away | added-note chord | altered dominant | artwork in score | chromatic parallelism | friend | husband | joyous | leading lady | leading man | leaving | prison | resolution | reuniting | romance | secondary dominant | The End | thematic transference | triumphant | wife |
| In This Our Life (1942) | Love Theme (Slowly) | 1:35:39 - Craig answers a phone call | comforting | conversing | leading lady | leading man | resolution | room | solemn | somber | tender | The End |
| Key Largo (1948) | McCloud (Grandioso) | 1:40:06 - The End | end title sequence | fanfare | The End | triumphant |
| The Life of Vergie Winters (1934) | Lullaby (Resolution) | 1:21:03 - Joan talks about her mother | added-note chord | calm | conversing | crying | daughter | end title sequence | husband | peaceful | prison | redemption | resolution | The End | triumphant |
| We Are Not Alone (1939) | Frohe Botschaft (The End) | 1:51:01 - The End | 9th chord | end title sequence | familiar tune | folk song | German | grand | home | mode mixture | quotation | room | suspension | The End |
| The Public Defender (1931) | Mystery (End Title) | 1:08:56 - A kiss and The End | arguing | end title sequence | kissing | leading man | mode mixture | pedal tone | romantic | room | The End | transcribed by ear |
| Three Who Loved (1931) | Love Dream | 1:03:22 - The End | appoggiatura | end title sequence | self-borrowing | The End | transcribed by ear | triumphant |
| Transgression (1931) | Main Title (Ending) | 1:09:15 - The End | embracing | end title sequence | gentle | happy | husband | leading lady | pleasant | The End | transcribed by ear |
| Hell’s Highway (1932) | Liberty Road | 1:01:16 - The End / Cast of Characters | calm | end title sequence | prison | spiritual | The End |
| Hold ‘Em Jail (1932) | Bide-More Alma Mater | 1:05:33 - End titles | end title sequence | source music | The End | upbeat |
| Is My Face Red? (1932) | You Bunch of Fun (Serious) | 1:05:05 - Cast of Characters / The End | calm | closing credits | end title sequence | popular music | The End | transcribed by ear |
| Men of America (1932) | Lady with a Past Fox Trot | 0:56:42 - The End | end title sequence | mode mixture | self-borrowing | The End | transcribed by ear | triumphant |
| Penguin Pool Murder (1932) | Run Around | 1:01:51 - The End | 9th chord | altered dominant | end title sequence | mode mixture | self-borrowing | The End | transcribed by ear | upbeat |
| Secrets of the French Police (1932) | Serenade | 0:56:57 - The End and Cast of Characters | closing credits | end title sequence | mode mixture | self-borrowing | The End | upbeat |
| State’s Attorney (1932) | Blues (The End) | 1:18:41 - The End | blue note | blues | bluesy | end title sequence | Gershwinesque | The End | transcribed by ear |
| The Phantom of Crestwood (1932) | Spy Song | 1:15:20 - Cast list / The End | closing credits | end title sequence | somber | The End | transcribed by ear |
| The Roadhouse Murder (1932) | Lady | 1:12:12 - End titles | common-tone diminished 7th | end title sequence | mode mixture | self-borrowing | sentimental | The End |
| Thirteen Women (1932) | Ursula (The End) | 0:59:03 - Ursula jumps to her death | chromatic scale | climax | dark | dramatic | dying | jumping | leading lady | murderer | The End | train | transcribed by ear |
| Blind Adventure (1933) | Isn't This a Night For Love | 1:02:18 - The End | end title | romantic | The End | triumphant |
| Emergency Call (1933) | Theme from Cimarron | 1:00:41 - The end | added-note chord | closing credits | dramatic | end title sequence | The End | transcribed by ear |
| Headline Shooter (1933) | King Kong March | 1:00:16 - The End | augmented sixth chord | end title | march | mode mixture | reused recording | The End | upbeat |
| Gridiron Flash (1934) | Gridiron Flash | 1:02:36 - The scoreboard | added-note chord | athlete | celebrating | countermelody | crowd | football | football game | leading lady | leading man | march | resolution | The End | upbeat |
| Hat, Coat, and Glove (1934) | End Title | 1:04:02 - The End | end title sequence | The End | transcribed by ear | triumphant |
| Murder on the Blackboard (1934) | Blackboard Murder (End Titles) | 1:10:39 - The End | added-note chord | augmented triad | end title sequence | grand | The End | transcribed by ear |
| Star of Midnight (1935) | Midnight in Manhattan (The End) | 1:29:03 - The End | augmented sixth chord | end title sequence | The End | transcribed by ear | triumphant |
| Sing and Like It (1934) | Your Mother (End Title) | 1:11:36 - The End | end title sequence | sentimental | The End |
| Deep Valley (1947) | Homestead (The End) | 1:45:25 - The End | end title sequence | The End | triumphant |
| The Woman in White (1948) | The Self Banished (The End) | 1:47:51 - Walter with the children | book | child | conversing | embracing | father | greeting | husband | kissing | leading lady | leading man | mother | resolution | tender | The End | voice-over | wife | yard |
| Don’t Turn ‘em Loose (1936) | Blackboard Murder (End Titles) | 1:04:52 - The End | added-note chord | augmented triad | end title sequence | grand | The End | transcribed by ear |
| Out of the Fog (1941) | Russian Barcarolle (The End) | 1:24:24 - The dock at night | conversing | dock | end title sequence | father | fisherman | grand | leading lady | peaceful | resolution | street | The End | walking |
| Her Kind of Man (1946) | It Had to Be You (The End) | 1:18:02 - The End | criminal | dark | death | dramatic | end title sequence | gambler | henchman | leading lady | leading man | murderer | police | reporter | singer | street | The End | tragic | wife |
| We're Only Human (1935) | Isn't This a Night For Love (The End) | 1:08:36 - Pete kisses Sally | car | detective | end title sequence | kissing | leading lady | leading man | love interest | reporter | resolution | romantic | The End |
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