| Arsenic and Old Lace (1944) | Jonathan | 0:23:14 - Mortimer reacts to the reveal | calling | conversing | dialing | diminished 7th chord | groom | leading man | ominous | pc set | quartal chord | reveal | room | sinister | stinger | telephone effect | thinking | turning point |
Arsenic and Old Lace (1944) | Here Comes the Bride (Tense) | 0:58:28 - Elaine comes in the door | advance plot | bride | calling | darkness | entering | familiar tune | half-diminished 7th chord | leading lady | room | sequence | sneaking | tense |
Arsenic and Old Lace (1944) | Scar (Tense) | 0:58:39 - Close-up on Dr. Einstein's face | advance plot | bride | brother | calling | close-up | crazy person | darkness | doctor | entering | fear | fragmentation | leading lady | leading man | murderer | polychord | room | sneaking | tense |
Arsenic and Old Lace (1944) | Bugle Call | 1:32:56 - Teddy plays the bugle | brother | bugle | bugle call | captive | conflict | crazy person | doctor | dramatic | fear | leading man | murderer | on-screen music | playing | room | source music | victim |
Arsenic and Old Lace (1944) | Bugle Call | 1:49:14 - Mortimer blows the bugle | bugle | bugle call | climax | dramatic | leading man | on-screen music | playing | room | source music |
Arsenic and Old Lace (1944) | Happy Land | 1:50:41 - Mortimer sings | bugle call | climax | leading man | on-screen music | room | singing | source music | upbeat |
| Beyond the Forest (1949) | Chicago (City) | 0:44:28 - Downtown Chicago | arriving | bright | calling | calm | city | familiar tune | hotel | leading lady | phone book | popular tune | telephone | transition | traveling |
Beyond the Forest (1949) | Rosa (Telephone) | 0:44:52 - Rosa makes a phone call | advance plot | calling | hotel | leading lady | mysterious | telephone | telephone effect |
Beyond the Forest (1949) | Rosa (Moderato 2) | 0:45:30 - Rosa in her hotel room | advance plot | calling | hotel | leading lady | somber | telephone | waiting | worrisome |
Beyond the Forest (1949) | The Arkansas Traveler | 1:02:55 - Folk musicians | crowd | dancer | dance scene | dancing | doctor | folk music | leading lady | leading man | love interest | musician | on-screen music | party | playing | room | singing | source music | square dance caller | square dance music | upbeat | wife |
Beyond the Forest (1949) | Portland Fancy | 1:03:11 - People dancing | crowd | dancer | dance scene | dancing | doctor | folk music | leading lady | leading man | love interest | musician | on-screen music | party | playing | room | singing | source music | square dance caller | square dance music | upbeat | wife |
Beyond the Forest (1949) | Devil’s Dream | 1:03:26 - People dancing | crowd | dancer | dance scene | dancing | doctor | folk music | leading lady | leading man | love interest | musician | on-screen music | party | playing | room | singing | source music | square dance caller | square dance music | upbeat | wife |
Beyond the Forest (1949) | Little Brown Jug | 1:03:57 - People dancing | crowd | dancer | dance scene | dancing | doctor | folk music | leading lady | leading man | love interest | musician | on-screen music | party | playing | room | singing | source music | square dance caller | square dance music | upbeat | wife |
| The Big Sleep (1946) | Marlowe 2 (Dialing) | 0:59:47 - Marlowe walks to the phone | calling | corpse | dialing | investigating | investigation scene | leading man | mysterious | private eye | room | spinning | tense |
The Big Sleep (1946) | Marlowe (Phone Call) | NIF - not in film | advance plot | bold | calling | cut from film | deleted scene | deleted scene | dialing | leading man | phone | private eye | room | tense |
The Big Sleep (1946) | Carmen | NIF - not in film | advance plot | burning | calling | cut from film | deleted scene | deleted scene | leading man | mysterious | phone | private eye | room | tense |
The Big Sleep (1946) | Carmen (Clues) | NIF - not in film | advance plot | calling | cut from film | deleted scene | deleted scene | leading man | mysterious | phone | private eye | room | tense |
The Big Sleep (1946) | Coin in phone | 1:21:04 - Marlowe puts a coin in the phone | advance plot | cafe | coin | dropping | leading man | mickey-mousing | mysterious | phone call | private eye | telephone |
The Big Sleep (1946) | Phone dialing | 1:21:07 - Marlowe dials a phone number | advance plot | cafe | dialing | leading man | mickey-mousing | mysterious | phone call | private eye | telephone | tense |
The Big Sleep (1946) | Underscoring (Mysterious) | 1:21:19 - Marlowe speaks on the phone | advance plot | cafe | conversing | leading man | mysterious | phone call | private eye | tense | underscoring |
The Big Sleep (1946) | Marlowe (Mysterious Organ) | 1:21:42 - Marlowe speaks to waitress | advance plot | cafe | conversing | leading lady | leading man | love interest | mysterious | phone call | private eye | tense |
The Big Sleep (1946) | Underscoring (Mysterious) | 1:21:57 - Marlowe speaks with Vivian on the phone | advance plot | cafe | conversing | leading lady | leading man | love interest | mysterious | phone call | private eye | stinger | tense | underscoring |
The Big Sleep (1946) | Marlowe (Risoluto) | 1:30:12 - Marlowe makes a phone call | bold | conversing | death scene | leading man | phone call | private eye | room | victim |
The Big Sleep (1946) | Underscoring (Tense) | 1:30:24 - Marlowe makes a phone call | conversing | death scene | leading man | phone call | private eye | room | tense | underscoring | victim |
The Big Sleep (1946) | Wrong Address | 1:30:46 - Marlowe ends the phone call | conversing | death | death scene | leading man | phone call | private eye | room | somber | victim |
The Big Sleep (1946) | Marlowe (Molto Misterioso) | 1:31:23 - Agnes calls for Jones | conversing | death scene | informer | leading man | mysterious | phone call | private eye | room |
The Big Sleep (1946) | Underscoring (Tense) | 1:31:48 - Marlowe talks to Agnes on the phone | conversing | death scene | informer | leading man | phone call | private eye | room | tense | underscoring |
The Big Sleep (1946) | Carmen (Tense) | 1:52:28 - Marlowe talks on the phone | conversing | leading lady | leading man | love interest | lying | mysterious | phone call | private eye | resolution | room | tense | uneasy |
| Caged (1950) | Marie (Expressivo) | 0:32:12 - The prison laundry | alarm | bell | double exposure | dramatic | guard | leading lady | montage | montage | prison | prisoner | ringing | roll call | working |
Caged (1950) | Swimmy (Poco Agitato) | 0:43:53 - Mrs. Benton on the phone | advance plot | calling | cards | conversing | phone call | playing | prison | telephone | tense | warden |
Caged (1950) | Mrs. Benton | 0:44:07 - Mrs. Benton on the phone | advance plot | calling | cards | conversing | gentle | phone call | prison | telephone | warden |
| City for Conquest (1940) | I'm Just Wild About Harry (Delicato) | 0:25:06 - Peggy calls Murray | 11th chord | added-note chord | advance plot | altered dominant | calling | common-tone diminished 7th | conversing | leading lady | mode mixture | pleasant | room | source to score | telephone | upbeat |
| Crime School (1938) | Underscoring (Dramatic) | 0:29:09 - Frankie hides then runs | barbed wire fence | battle call | chromatic parallelism | chromatic scale | diminished 7th chord | dramatic | escape | escaping | gang | hiding | jumping | mickey-mousing | reformatory | running | teenager | tense |
Crime School (1938) | Sue (Barbed Wire) | 0:29:18 - Frankie gets caught on barbed wire | anguished | barbed wire fence | battle call | chromatic parallelism | chromatic scale | climbing | diminished 7th chord | dissonant bass | dramatic | escape | half-diminished 7th chord | pain | pc set | reformatory | struggling | teenager | tense |
Crime School (1938) | The Warden (The Guards) | 0:29:34 - Warden's guards run to catch Frankie | 64 chord | anguished | barbed wire fence | battle call | capturing | chromatic parallelism | chromatic scale | dragging | dramatic | escape | falling | pc set | police | reformatory | running | sequence | teenager | tense | warden |
Crime School (1938) | Underscoring (Tense) | 1:12:21 - Cooper talks with the warden | chromatic parallelism | escape | half-diminished 7th chord | phone call | plotting | police | reformatory | telephone | tense | warden |
| Death of a Scoundrel (1956) | Clementi C (Phone Call) | 0:38:09 - Clementi calls for Mr. O'Hara | coffee shop | flashback | phone call |
Death of a Scoundrel (1956) | Clementi C | 0:58:26 - Clementi calls Mrs. Ryan's secretary | flashback | phone call |
Death of a Scoundrel (1956) | Clementi A | 1:34:34 - Clementi's butler calls and interrupts | flashback | gun | phone call |
Death of a Scoundrel (1956) | Clementi A | 1:36:28 - Clementi answers the phone | flashback | phone call |
Death of a Scoundrel (1956) | Clementi A (Appassionato) | 1:56:30 - Clementi leaves his mother and walks down the hall | flashback | injury | phone call |
Death of a Scoundrel (1956) | Bridget (Sweetly) | 1:56:56 - Clementi speaks with Bridget on the phone | flashback | injury | phone call | sweet |
Death of a Scoundrel (1956) | Clementi A (Appassionato) | 1:57:14 - Clementi speaks with Bridget on the phone, then dies | death | flashback | injury | phone call |
| Deep Valley (1947) | Libby 2 (Misterioso) | 0:37:32 - Cliff looks for Libby | advance plot | calling | father | mysterious | room | searching | tense |
Deep Valley (1947) | Barry (Appassionato) | 1:41:02 - Libby arrives at the cabin | cabin | calling | death scene | leading lady | passionate | resolution | searching |
Deep Valley (1947) | Molto Expressivo | 1:41:09 - Libby looks for Barry | calling | death scene | forest | leading lady | passionate | resolution | searching |
| Flamingo Road (1949) | Somber Phone Call | 1:19:54 - Dan calls Lane from the station | calling | conflict | half-diminished 7th chord | husband | leading lady | leading man | politician | somber | tone cluster | train station | wife |
Flamingo Road (1949) | Titus (Triste 2) | 1:20:10 - Dan and Lane talk on the phone | calling | conflict | husband | leading lady | leading man | politician | room | somber | train station | wife |
Flamingo Road (1949) | Titus 2 (Ominous) | 1:30:55 - Titus pretends to make a phone call | calling | chromatic parallelism | climax | club | dark | deceiving | gun | leading lady | mysterious | self-borrowing | sheriff | telephone |
| Hell on Frisco Bay (1955) | Lye | 1:09:00 - Amato calls Lye | advance plot | antagonist | calling | conductor score | conversing | gangster | leading man | stinger | street | uneasy |
Hell on Frisco Bay (1955) | Underscoring (Mysterious) | 1:24:05 - Amato calls detective | advance plot | calling | gangster | leading man | mysterious | room | statue | tense | underscoring |
Hell on Frisco Bay (1955) | Hell on Frisco Bay | 1:29:23 - Marcia calls the police | agitated | calling | investigator | leading lady | leading man | leaving | love interest | room | turning point | witness |
Hell on Frisco Bay (1955) | Horn Call | 1:36:10 - The police boat advances | action scene | battle call | boat | departing | dock | police | tense |
| Her Kind of Man (1946) | First Call | 0:33:53 - Horses before a race | bugle call | crowd | excited | racetrack | transition | waiting |
Her Kind of Man (1946) | Candy (Dark) | 1:12:58 - Candy leaves | bar | calling | conversing | criminal | dark | double-cross | gambler | henchman | husband | leading man | murderer | ominous | stinger | telephone | turning point | warehouse |
| Illegal (1955) | Stinger | 0:08:11 - Man calls Vic on the phone | phone call | stinger |
Illegal (1955) | Operator | 0:09:49 - Operator connects the call | operator | phone call |
Illegal (1955) | Underscoring (Dark) | 0:10:22 - Vic tries to stop the execution | dark | death | execution | execution | phone call | tense | underscoring |
Illegal (1955) | Underscoring (Mysterious) | 1:03:04 - Ray goes to the bedroom and calls Mr. Garland | mysterious | phone call | underscoring |
| In This Our Life (1942) | Phone Call | 0:47:29 - Asa answers the phone | bad news | conversing | dark | eerie | father | mysterious | phone call | room | telephone | tense | turning point |
In This Our Life (1942) | Stanley (Driving Away) | 1:29:06 - Craig goes to the phone | agitated | calling | climax | lawyer | leading man | room | telephone | walking |
In This Our Life (1942) | Underscoring (Tense) | 1:35:07 - Policemen on the radio | calling | police | police station | reporting | resolution | room | solemn | somber | stinger | tense | underscoring |
| Key Largo (1948) | McCloud (Bugle Call) + Taps | 0:16:31 - Mr. Temple asks Frank about George's burial place | advance plot | bugle call | combination of themes | death | father | heroic | hotel | leading lady | leading man | memory | noble | remembering | somber | storytelling | taps | war |
Key Largo (1948) | Hope | 1:36:11 - McCloud calls for help on the radio | boat | calling | conflict | hopeful | leading man | radio | steering |
| The Letter (1940) | Leslie (Ominous) | 0:22:58 - The site of the murder | advance plot | augmentation | call and response | Chinese | dramatic | leading lady | leaving | mysterious | plantation | reveal | shadow | spying | stinger | tense | watching | widow |
The Letter (1940) | Leslie (Ominous) | 0:51:41 - Howard gets up to leave | advance plot | call and response | diminished 7th chord | dissonant bass | home | lawyer | leading lady | ominous | stretto imitation | thinking |
| Mildred Pierce (1945) | Mildred (Mad) | 1:43:19 - Mildred makes a phone call | anger | angry | calling | dissonant bass | half-diminished 7th chord | heroine | leading lady | room | tense | turbulent | turning point | walking |
| The Unfaithful (1947) | Unfaithful (Ominous) | 0:43:39 - Secretary makes a call | advance plot | dialing | law office | lawyer | monophonic | office | ominous | phone call | sinister | spinning |
The Unfaithful (1947) | Unfaithful (Ominous) | 1:09:06 - Chris on the phone | advance plot | lawyer | leading lady | monophonic | office | phone call | room | tense | thinking |
| The Woman in White (1948) | Ann | 0:03:00 - The woman in white talks to Walter | calling | conversing | establish character | forest | leading lady | leading man | mysterious |
| Hell’s Highway (1932) | Hikin' Jerry | 0:00:14 - Main titles and newspaper headlines | call and response | establish setting | guard | headline | montage | newspaper | opening title sequence | prison | prisoner | singing | solemn | source music | transcribed by ear | working |
| Secrets of the French Police (1932) | Taps | 0:02:18 - Taps is played at a military funeral | bugle call | familiar tune | funeral | funeral | military | on-screen music | playing | somber | source music |
| We're Only Human (1935) | Katie (Begging) | 0:29:21 - Close up on Danny | 64 chord | action scene | bank | calling | detective | gangster | leading man | sequence | serious | tense | victim |
| Without Honor (1949) | Underscoring (Tense) | 0:15:21 - | advance plot | calling | conversing | doorbell | fidgeting | leading lady | room | telephone | tense | underscoring | walking |
Without Honor (1949) | First Call | 0:27:58 - Jane looks at Bill | antagonist | brother | bugle call | conflict | leading lady | leading man | radio | room | source music | taunting | upbeat |
Without Honor (1949) | Unidentified dance tune 4 | 0:34:19 - Bill tunes the radio | antagonist | brother | calling | conflict | conversing | dialing | leading lady | leading man | popular music | radio | room | source music | telephone | upbeat | wandering | wife |
Without Honor (1949) | Appassionato (Broad) | 0:54:27 - Bill talks on the phone | antagonist | brother | calling | climax | leading lady | leading man | room | searching | telephone | tense | wandering | yard |
| The Most Dangerous Game (1932) | The Iron Door (Horn Call) | 0:48:50 - Zaroff blows his hunting horn | action scene | count | dark | horn | horn call | jungle | leading lady | leading man | playing | scored source music | score to source | source music | tense | victim | villain |
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