| 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 |
| 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 |
| The Big Sleep (1946) | Marlowe 2 (Dialing) | 0:59:47 - Marlowe walks to the phone | calling | chromatic scale | corpse | dialing | half-diminished 7th chord | 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 | sequence | tense | whole-tone chord |
The Big Sleep (1946) | Carmen | NIF - not in film | advance plot | burning | calling | cut from film | deleted scene | deleted scene | half-diminished 7th chord | leading man | mysterious | phone | private eye | room | tense | whole-tone chord |
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 | whole-tone chord |
| Caged (1950) | Swimmy (Poco Agitato) | 0:43:53 - Mrs. Benton on the phone | advance plot | calling | cards | chromatic parallelism | conversing | dissonant bass | phone call | playing | prison | telephone | tense | warden |
Caged (1950) | Mrs. Benton | 0:44:07 - Mrs. Benton on the phone | added-note chord | 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 |
| 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 |
| 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 | pc set | stinger | telephone | turning point | warehouse |
| I Was a Communist for the FBI (1951) | Undercover Agent (Marcia Misterioso) | 0:01:17 - Agent walks to the phone | agent | airport | arriving | calling | conversing | dialing | establish setting | march | mysterious | ostinato | polychord | sequence | telephone | tense | tone cluster | tritone oscillation | typewriter | typing | walking |
I Was a Communist for the FBI (1951) | I'm in a Jam with Baby | 0:15:20 - Matt enters a bar | ABAB structure | advance plot | agent | arriving | bar | calling | conversing | customer | dialing | jazz | jukebox | leading man | source music | sultry | telephone | undercover agent | walking |
| In This Our Life (1942) | Stanley (Driving Away) | 1:29:06 - Craig goes to the phone | agitated | calling | chromatic parallelism | chromatic sequence | climax | diminished 7th chord | lawyer | leading man | pedal tone | room | telephone | walking |
In This Our Life (1942) | Fast Driving (Dark) | 1:35:07 - Policemen on the radio | calling | oscillation | pc set | police | police station | reporting | resolution | room | solemn | somber | stinger |
In This Our Life (1942) | Underscoring (Tense) | 1:35:22 - Policemen on the radio | altered dominant | calling | police | police station | reporting | resolution | room | solemn | somber | tense | underscoring |
| Key Largo (1948) | Hope | 1:36:11 - McCloud calls for help on the radio | boat | calling | conflict | hopeful | leading man | radio | steering |
| 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 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 |
| 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) | 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 |
| Mara Maru (1952) | Manuelo (Guitar) | 0:01:40 - Boys working | boat | boat | calling | child | establish character | light | playful | worker | working | yelling |
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