| All This, and Heaven Too (1940) | The Murder | 1:51:56 - The Duke advances towards the Duchess | approaching | blur | chromatic scale | climax | dark | diminished 7th chord | duchess | duke | leading lady | leading man | menacing | murder | murdering | murder scene | ominous | pc set | room | strangling |
| Angels With Dirty Faces (1938) | Jerry (Somber) | 1:31:04 - Rocky leaves his cell for his execution | altered dominant | climax | conversing | gangster | gentle | leading man | pc set | priest | prison | reverse picardy | stinger | tone cluster |
Angels With Dirty Faces (1938) | Jerry (Upset) | 1:31:40 - Jerry follows Rocky out of his cell | agitated | climax | conversing | gangster | leading man | police | priest | prison |
Angels With Dirty Faces (1938) | Underscoring (Dramatic) | 1:31:44 - Rocky punches a guard | agitated | chromatic parallelism | chromatic scale | chromatic wedge | climax | fighting | gangster | half-diminished 7th chord | leading man | police | priest | prison | punching | tense | underscoring |
Angels With Dirty Faces (1938) | The Gangster (Funebre) | 1:31:55 - Rocky is taken away | 64 chord | climax | gangster | leading man | police | priest | prison | pushing | somber |
Angels With Dirty Faces (1938) | Funebre | 1:32:03 - Jerry and Rocky walk down the hall | climax | dirge | execution chamber | gangster | leading man | marching | police | priest | prison | somber | tense | walking |
Angels With Dirty Faces (1938) | Jerry (Goodbye) | 1:33:12 - Jerry says goodbye to Rocky | added-note chord | climax | conversing | dissonant bass | execution chamber | gangster | leading man | priest | prison | serious | sigh gesture | somber |
Angels With Dirty Faces (1938) | Funebre (Sigh) | 1:33:19 - Rocky heads towards electric chair | added-note chord | climax | dirge | execution chamber | gangster | leading man | marching | priest | prison | sigh gesture | somber | tense | walking |
Angels With Dirty Faces (1938) | Underscoring (Tense) | 1:33:36 - Rocky pleads for his life | begging | climax | cowardice | crowd | crying | death | execution | execution chamber | gangster | leading man | pleading | police | priest | prison | shadow | tense | tone cluster | underscoring | wailing |
Angels With Dirty Faces (1938) | Sanctus (Mournful) | 1:34:12 - Jerry cries after Rocky dies | added-note chord | climax | crying | death | dissonant bass | execution chamber | leading man | mourning | pedal tone | priest | prison | redemption | reverse picardy | sacred | somber |
| Are These Our Children? (1931) | Dreams (Eddie’s Prayer) | 1:22:14 - Eddie behind bars | added-note chord | climax | crying | dramatic | jail | leading man | murderer | praying | prisoner | religious | sacred |
| 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 (Echo Chambre) | 1:28:20 - Rosa prepares to leave | angry | arguing | climax | crazed | delirious | eerie | familiar tune | leading lady | mad | madness | mad scene | maid | murderer | popular tune | preparing | room | stumbling | unsettling | yelling |
Beyond the Forest (1949) | Chicago (She Walks Down) | 1:29:25 - Rosa walks down the stairs | climax | dark | descending | familiar tune | leading lady | madness | mad scene | maid | mickey-mousing | murderer | popular tune | room | solemn | stairs | stumbling |
Beyond the Forest (1949) | Sawmill | 1:29:51 - Rosa opens the door | agitated | climax | leading lady | machinery effect | madness | mad scene | maid | murderer | street | stumbling | tense | walking |
Beyond the Forest (1949) | Sawmill + Steam Whistle | 1:30:02 - The maid makes a phone call | agitated | climax | collapsing | combination of themes | cut from film | falling | leading lady | machinery effect | madness | mad scene | maid | murderer | street | stumbling | tense | walking | whistle effect |
Beyond the Forest (1949) | Sawmill + Rosa (Stumbling) | 1:30:10 - Rosa struggles to her feet | climax | combination of themes | dark | leading lady | machinery effect | madness | mad scene | murderer | ominous | standing | street | stumbling | walking |
Beyond the Forest (1949) | Rosa (Fever 2) | 1:30:23 - Rosa stumbles forward | climax | dark | leading lady | madness | mad scene | murderer | ominous | street | stumbling | walking |
Beyond the Forest (1949) | Sawmill + Steam Whistle | 1:30:36 - Darkness | agitated | climax | combination of themes | leading lady | madness | mad scene | murderer | stumbling | tense | train | train station | walking | whistle effect |
Beyond the Forest (1949) | Train | 1:30:52 - A locomotive | agitated | climax | cut from film | leading lady | madness | mad scene | murderer | stumbling | tense | train | train effect | train station | walking |
Beyond the Forest (1949) | Train + Chicago (Shrill) | 1:30:54 - Rosa stumbles towards the train | agitated | climax | combination of themes | cut from film | familiar tune | leading lady | madness | mad scene | murderer | popular tune | shrill | stumbling | tense | train | train effect | train station | walking |
Beyond the Forest (1949) | Train (Heating Up) + Chicago (Fragmented) | 1:31:05 - Rosa stumbles towards the train | agitated | climax | combination of themes | desperate | familiar tune | leading lady | madness | mad scene | murderer | popular tune | stumbling | tense | train | train effect | train station | walking |
Beyond the Forest (1949) | Chicago | 1:31:21 - Rosa stumbles towards the train | climax | desperate | familiar tune | leading lady | madness | mad scene | murderer | popular tune | stumbling | tense | train | train station | walking |
Beyond the Forest (1949) | Chicago | 1:31:26 - The train leaves the station | agitated | climax | departing | familiar tune | leading lady | madness | mad scene | murderer | obsessive | popular tune | shrill | tense | train | train station |
Beyond the Forest (1949) | Stinger | 1:31:51 - Rosa dead | arriving | climax | dark | death | doctor | husband | leading lady | leading man | mad scene | murderer | solemn | stinger | train | train station | walking |
Beyond the Forest (1949) | Rosa | 1:32:10 - Lewis arrives | arriving | checking | climax | dark | death | doctor | dramatic | husband | leading lady | leading man | mad scene | murderer | reacting | tender | train | train station |
| The Big Sleep (1946) | Hangs up phone | 1:47:07 - Marlowe hangs up the phone | climax | hanging up | leading lady | leading man | love interest | mickey-mousing | mysterious | private eye | room |
The Big Sleep (1946) | Hurrying | 1:47:07 - Marlowe and Vivian make a plan | chromatic sequence | climax | fragmentation | hurrying | leading lady | leading man | love interest | parallelism | planning | private eye | room | tense |
The Big Sleep (1946) | Marlowe (Misterioso) | 1:47:26 - Marlowe drops a bullet | climax | fear | leading lady | leading man | love interest | mysterious | private eye | room | shaking | tense |
The Big Sleep (1946) | Marlowe 2 | 1:47:31 - Car pulls up outside | chromatic scale | climax | fear | leading lady | leading man | love interest | mysterious | private eye | room | shaking | tense | tritone |
The Big Sleep (1946) | Carmen (Drugged) | 1:48:08 - Marlowe watches men outside | climax | criminal | fear | leading lady | leading man | love interest | mysterious | ominous | planning | private eye | room | tense | waiting |
The Big Sleep (1946) | Marlowe (Danger) | 1:48:32 - Men approach the house | climax | fear | hiding | leading man | mysterious | ominous | pc set | planning | private eye | room | tense | tone cluster | underscoring | waiting |
The Big Sleep (1946) | Marlowe (Misterioso) | 1:48:55 - Marlowe sneaks up behind Mars | climax | criminal | fear | hiding | leading man | mysterious | private eye | room | sneaking | tense |
The Big Sleep (1946) | Marlowe 2 | 1:49:05 - Marlowe holds a gun on Mars | climax | criminal | fear | leading man | mysterious | ominous | private eye | room | sneaking | tense |
| The Breaking Point (1950) | The Breaking Point (Ethereal) | 1:34:41 - Harry recognizes Lucy | 9th chord | boat | climax | comforting | conversing | crying | ethereal | leading lady | leading man | mixed meter | mode mixture | sailor | sweet | wife |
The Breaking Point (1950) | The Breaking Point (Cellos) | 1:35:14 - Harry talks with Lucy | boat | climax | comforting | conversing | crying | ethereal | foreign key modulation | leading lady | leading man | mixed meter | sailor | sweet | wife |
The Breaking Point (1950) | Calm | 1:35:38 - Lucy leaves | augmented triad | boat | climax | comforting | conversing | crying | ethereal | leading lady | leading man | pedal tone | sailor | sweet | wife |
The Breaking Point (1950) | The Breaking Point (Triste) | 1:35:50 - Harry is carried out on a stretcher | carrying | child | climax | crowd | crying | deceptive resolution | doctor | harbor | leading lady | leading man | sailor | somber | watching | wife |
The Breaking Point (1950) | Leona | 1:36:26 - Leona watches | 9th chord | 11th chord | 13th chord | augmented sixth chord | child | chromatic parallelism | climax | crowd | crying | doctor | harbor | leading lady | leading man | sailor | somber | watching | wife |
The Breaking Point (1950) | Sad Boy | 1:36:44 - Sad orphaned boy looks on | 9th chord | 11th chord | blue note | child | climax | crowd | crying | harbor | leaving | somber | spiritual | triumphant | watching |
| They Made Me a Criminal (1939) | Peggy (Waiting) | 1:24:39 - The detective talks to Johnnie | chromatic scale | climax | dark | detective | diminished 7th chord | dissonant | dissonant bass | leading lady | leading man | lying | ominous | room | waiting |
They Made Me a Criminal (1939) | Lying | 1:25:16 - Johnnie lies to Peggy about where he's going | added-note chord | augmented sixth chord | climax | common-chord modulation | detective | dissonant bass | foreign key modulation | leading lady | leading man | lying | minor-major 7th chord | room | turbulent |
They Made Me a Criminal (1939) | On the Make (Appassionato) | 1:25:51 - Peggy wants to go with Johnnie | 9th chord | altered dominant | climax | detective | embracing | kissing | leading lady | leading man | leaving | linear chromaticism | mode mixture | pedal tone | romantic | room | sentimental | sigh gesture | tender |
| Deep Valley (1947) | Rushing away | 1:36:01 - Libby rushes out of the barn | barn | climax | convict | descending | dramatic | fugitive | leading lady | leading man | love interest | mother | rushing | rushing effect | tense |
Deep Valley (1947) | Libby 2 (Frantic) | 1:36:05 - Ellie calls after Libby | barn | begging | climax | convict | frantic | fugitive | leading lady | leading man | love interest | mother | pleading | tense |
Deep Valley (1947) | Libby (Running) | 1:36:13 - Libby and Barry run out of the barn | barn | begging | climax | convict | father | frantic | fugitive | leading lady | leading man | love interest | mother | pleading | running | rushing | tense | yard |
Deep Valley (1947) | Libby (Stormy) | 1:36:26 - Cliff looks for Ellie | barn | climax | convict | crying | dark | father | fugitive | hiding | leading lady | leading man | love interest | mother | running | rushing | sneaking | tense | yard |
Deep Valley (1947) | Barry (Drunk) | 1:36:39 - Barry steals a car | arguing | car | climax | convict | dark | fighting | fugitive | leading lady | leading man | love interest | running | rushing | street | tense | yelling |
Deep Valley (1947) | Barry | 1:36:57 - Jeff hits Barry | arguing | attacking | car | climax | convict | dark | fighting | fugitive | leading lady | leading man | love interest | punching | street | tense | yelling |
Deep Valley (1947) | Barry (Running) | 1:37:23 - Libby chases Barry | arguing | car | chasing | climax | convict | crying | dramatic | driving | fleeing | fugitive | leading lady | leading man | love interest | running | street |
Deep Valley (1947) | Molto Expressivo | 1:37:28 - Barry pushes Libby away | arguing | car | chasing | climax | convict | crying | dramatic | driving | falling | fleeing | fugitive | leading lady | leading man | love interest | running | street |
Deep Valley (1947) | Deep Valley (Climactic) | 1:37:35 - Libby on the ground | car | chasing | climax | convict | crying | dramatic | driving | fleeing | fugitive | leading lady | leading man | love interest | street |
Deep Valley (1947) | Car Crash | 1:37:49 - Barry's car runs off the road | car | climax | convict | crashing | dramatic | driving | falling | fleeing | fugitive | leading man | love interest | mickey-mousing | street | swerving |
Deep Valley (1947) | Underscoring (Dramatic) | 1:37:57 - Jeff gets up and looks around | car | climax | climbing | convict | dramatic | fleeing | fugitive | leading man | love interest | mickey-mousing | police | searching | street | transcribed by ear | underscoring |
Deep Valley (1947) | Fleeing | 1:38:08 - Barry makes a run for it | chasing | climax | convict | dramatic | fleeing | forest | fugitive | leading lady | leading man | love interest | mickey-mousing | police | running | shooting | transcribed by ear |
Deep Valley (1947) | Barry (Not in Score) | 1:38:32 - The posse chases after Barry | chasing | climax | convict | dramatic | fleeing | forest | fugitive | leading man | love interest | police | running | shooting | tense | transcribed by ear |
Deep Valley (1947) | Underscoring (Tense) | 1:38:41 - Barry is shot | climax | convict | dramatic | falling | forest | fugitive | injury | leading man | love interest | police | stinger | tense | underscoring |
Deep Valley (1947) | Law | 1:38:44 - The posse chases after Barry | chasing | climax | convict | dramatic | fleeing | forest | fugitive | injury | leading man | love interest | police | running | tense |
Deep Valley (1947) | Barry is shot | 1:38:57 - Barry is shot | climax | convict | dramatic | falling | forest | fugitive | injury | leading man | love interest | mickey-mousing | police | shooting |
Deep Valley (1947) | Law (Searching) | 1:39:05 - The posse closes in on Barry | chasing | climax | convict | dramatic | forest | fugitive | hiding | injury | leading man | love interest | police | searching |
Deep Valley (1947) | Underscoring (Tense) | 1:39:09 - Barry hides | climax | convict | forest | fugitive | hiding | injury | leading man | love interest | police | searching | tense | underscoring |
Deep Valley (1947) | Law (Subtle) | 1:39:20 - The posse searches for Barry | climax | convict | forest | fugitive | hiding | injury | leading man | love interest | police | searching | tense |
Deep Valley (1947) | Law | 1:39:28 - Barry crawls on the ground | climax | convict | forest | fugitive | hiding | injury | leading man | love interest | police | searching | tense |
Deep Valley (1947) | Barry (Dark 2) | 1:39:35 - Barry hides | climax | convict | forest | fugitive | hiding | injury | leading man | love interest | mysterious | police | tense |
Deep Valley (1947) | Underscoring (Dramatic) | 1:40:00 - Barry hides | climax | convict | forest | fugitive | hiding | injury | leading man | love interest | mysterious | police | searching | tense |
Deep Valley (1947) | Law (Misterioso) | 1:40:10 - Barry hides | climax | convict | forest | fugitive | hiding | injury | leading man | love interest | mysterious | searching | tense |
Deep Valley (1947) | Barry (Misterioso 2) | 1:40:17 - Barry runs | climax | convict | forest | fugitive | hiding | injury | leading man | love interest | somber | stumbling | tense |
Deep Valley (1947) | Barry (Triste) | 1:40:30 - Barry at the creek | climax | convict | forest | fugitive | hiding | injury | leading man | love interest | somber |
Deep Valley (1947) | Molto Expressivo | 1:40:35 - Barry at the creek | climax | convict | forest | fugitive | hiding | injury | leading man | love interest | somber |
Deep Valley (1947) | Sunrise | 1:40:46 - The sun rises | climax | convict | dramatic | forest | fugitive | hiding | injury | leading man | love interest | sunrise effect |
| Dust Be My Destiny (1939) | Dust Be My Destiny (Appassionatissimo) | 1:13:14 - Joe makes a run for it | chromatic parallelism | chromatic scale | climax | conflict | diminished 7th chord | dissonant bass | escaping | hospital | intervallic expansion | leading lady | leading man | runaway | sequence | tense |
| Flamingo Road (1949) | The Girl With the Spanish Drawl | 1:29:10 - Lane arrives at Lute Mae's | arriving | climax | club | dancer | dancing | leading lady | musician | on-screen music | playing | source and scoring overlap | source music | upbeat |
Flamingo Road (1949) | Titus (Fragmented) + Titus 2 (Fragmented) | 1:29:47 - Lane confronts Titus | arguing | climax | club | combination of themes | dark | fragmentation | inversion | leading lady | motivic transformation | mysterious | ominous | retrograde | self-borrowing | sheriff |
Flamingo Road (1949) | Titus (Rising Tension) | 1:30:09 - Lane confronts Titus | arguing | climax | club | dark | half-diminished 7th chord | leading lady | ominous | self-borrowing | sequence | sheriff |
Flamingo Road (1949) | Underscoring (Dramatic) | 1:30:24 - Lane pulls a gun on Titus | arguing | climax | club | dark | demanding | dramatic | gun | leading lady | ominous | sheriff | stinger | threatening |
Flamingo Road (1949) | Titus (Slowly) | 1:30:42 - Lane holds Titus at gunpoint | arguing | climax | club | dark | demanding | dramatic | gun | leading lady | ominous | self-borrowing | sheriff | telephone | threatening |
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 |
Flamingo Road (1949) | Underscoring (Dramatic) | 1:31:15 - Titus attacks Lane | attacking | breaking | chromatic parallelism | climax | club | dramatic | dropping | gun | leading lady | linear chromaticism | oscillation | sheriff | staggering | stinger | telephone | tense | throwing | underscoring |
Flamingo Road (1949) | Breaking door | 1:31:19 - Titus throws the phone at Lane | chromatic parallelism | climax | club | dramatic | gun | leading lady | mickey-mousing | sheriff | telephone | throwing |
Flamingo Road (1949) | Lane staggers | 1:31:22 - Lane staggers after being hit | climax | club | dramatic | leading lady | mickey-mousing | oscillation | sheriff | staggering |
Flamingo Road (1949) | Titus (Ostinato 3) | 1:31:25 - Titus holds a gun on Lane | climax | club | dramatic | fighting | gun | gunshot | leading lady | menacing | ostinato | self-borrowing | sequence | sheriff | struggling | tense | threatening |
Flamingo Road (1949) | Titus (Climax) | 1:31:43 - Lane struggles with Titus | chromatic parallelism | chromatic wedge | climax | club | dramatic | fighting | gun | gunshot | leading lady | major 7th chord | self-borrowing | sequence | sheriff | struggling | tense |
Flamingo Road (1949) | Struggling | 1:31:47 - Close-up on the gun | climax | close-up | club | dramatic | fighting | gun | gunshot | leading lady | major 7th chord | mickey-mousing | oscillation | sheriff | struggling | tense |
Flamingo Road (1949) | Titus 2 (Sinks) | 1:31:50 - Titus collapses to the floor | climax | club | death | dying | falling | gun | gunshot | leading lady | self-borrowing | sequence | sheriff | sinking | tragic |
| Her Kind of Man (1946) | Underscoring (Dramatic [Steiner]) | 1:14:17 - Cop looks at his watch | climax | conversing | criminal | double-cross | dramatic | henchman | leading lady | leading man | parallelism | police | reporter | room | singer | stinger | telephone | tense | underscoring | watch | wife |
Her Kind of Man (1946) | Speeding | 1:14:21 - Policeman driving | car | chromatic parallelism | chromatic scale | chromatic sequence | climax | dramatic | driving | hurrying | leading lady | leading man | omnibus progression | police | reporter | rushing | singer | tense | wife | yelling |
Her Kind of Man (1946) | Candy (Molto Marcato) | 1:14:49 - Gun in a glove compartment | car | climax | dark | double-cross | driving | gun | hurrying | husband | pc set | revenge | rushing | widow |
Her Kind of Man (1946) | Underscoring (Tense [Steiner]) | 1:15:00 - Candy in the alley | arriving | climax | criminal | double-cross | driving | gambler | henchman | hiding | husband | leading man | murderer | revenge | signaling | sneaking | street | syncopation | tense | underscoring | warehouse | widow |
Her Kind of Man (1946) | Candy (Tragic) | 1:15:28 - Candy in the shadows | chromatic scale | climax | conversing | criminal | double-cross | gambler | henchman | hiding | husband | leading man | murderer | revenge | sequence | street | tense | tragic | walking | widow |
Her Kind of Man (1946) | Underscoring (Dramatic [Steiner]) | 1:15:53 - Joe shoots at Steve | climax | criminal | double-cross | dramatic | dying | falling | gambler | gun | gunshot | henchman | husband | leading man | murder | murderer | parallelism | revenge | shooting | street | widow |
Her Kind of Man (1946) | Candy (Mr. Candy) | 1:16:09 - Candy bends over Steve's body | chromatic scale | climax | conversing | criminal | dark | double-cross | dying | gambler | heavy | henchman | leading man | murder | murderer | revenge | street |
Her Kind of Man (1946) | Speeding | 1:16:29 - Candy tries to run away | arriving | capturing | car | chromatic parallelism | chromatic scale | chromatic sequence | climax | criminal | double-cross | dramatic | gambler | henchman | leading man | murder | murderer | omnibus progression | police | reporter | revenge | running | street | tense |
Her Kind of Man (1946) | Candy (Agitato) | 1:16:53 - Don confronts Candy | agitated | arguing | climax | confronting | criminal | double-cross | gambler | henchman | leading man | murder | murderer | pc set | police | reporter | revenge | sequence | street | tense |
Her Kind of Man (1946) | It Had to Be You (Tragic) | 1:17:10 - Georgia holds Steve | 9th chord | augmented triad | climax | comforting | conversing | corpse | cradling | criminal | crying | death | dying | familiar tune | gambler | henchman | leading lady | leading man | murderer | police | popular music | reporter | singer | street | tense | tragic | wife |
| In This Our Life (1942) | Stanley (Agitato) | 1:25:21 - Craig talks to Stanley | agitated | climax | conversing | criminal | father | lawyer | leading lady | leading man | mother | pc set | room | suspect |
In This Our Life (1942) | Underscoring (Tense) + South American Way | 1:25:34 - Stanley reacts | accusing | climax | criminal | father | lawyer | leading lady | leading man | lying | mother | mysterious | ominous | remembered source music | remembering | room | source and scoring overlap | source music | suspect | tense | underscoring |
In This Our Life (1942) | Stanley (Valse Triste) | 1:26:23 - Stanley confesses | 9th chord | altered dominant | appoggiatura | arguing | circle of fifths | climax | confessing | confession | criminal | crying | dramatic | father | lawyer | leading lady | leading man | mother | room | suspect | whole-tone chord |
In This Our Life (1942) | Stanley B (Slowly Extended) | 1:26:39 - Stanley confesses | 9th chord | agitated | arguing | chromatic scale | chromatic sequence | climax | confessing | confession | criminal | crying | dissonant bass | father | lawyer | leading lady | leading man | lying | mother | room | suspect |
In This Our Life (1942) | Expressivo (Extended) | 1:27:04 - Lavinia rises | added-note chord | arguing | chromatic scale | climax | criminal | emotional | father | lawyer | leading lady | leading man | mother | pleading | retardation | room | suspect |
In This Our Life (1942) | Big Sweep (Subtle) | 1:27:23 - Stanley reacts | 9th chord | climax | conversing | criminal | father | lawyer | leading lady | leading man | mother | pc set | plotting | room | suspect | tense | underscoring |
In This Our Life (1942) | Stanley (Extended) | 1:27:33 - Stanley goes upstairs | 9th chord | appoggiatura | circle of fifths | climax | conversing | criminal | crying | father | lawyer | leading lady | leading man | mother | room | somber | suspect | uneasy |
In This Our Life (1942) | Love Theme (Gentle) | 1:27:58 - Roy talks to Craig | 9th chord | accusing | altered dominant | climax | conversing | criminal | crying | embracing | gentle | iii chord | lawyer | leading lady | leading man | room | sneaking | tender |
In This Our Life (1942) | Big Sweep | 1:28:57 - Stanley escapes | 11th chord | altered dominant | climax | criminal | dramatic | driving | escaping | lawyer | leading lady | leading man | pc set | room | underscoring | watching |
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) | Stanley (Chase) | 1:32:59 - The police chase after Stanley | 9th chord | acceleration | chase scene | chasing | chromatic scale | climax | criminal | desperate | dramatic | driving | fleeing | fragmentation | leading lady | police | street | tense |
In This Our Life (1942) | Stanley (Fleeing) | 1:33:12 - The police chase after Stanley | 64 chord | chase scene | chasing | chromatic mediant | climax | criminal | desperate | diminution | dramatic | driving | fleeing | leading lady | ostinato | police | sequential modulation | street | tense |
In This Our Life (1942) | Underscoring (Dramatic) | 1:33:29 - Two other policeman see Stanley | chase scene | chasing | chromatic scale | climax | criminal | dark | dramatic | driving | fleeing | half-diminished 7th chord | leading lady | pc set | police | street | tense | underscoring | watching |
In This Our Life (1942) | Stanley (Crying) | 1:33:37 - Stanley crying in her car | 9th chord | appoggiatura | chase scene | chasing | climax | criminal | crying | dark | dramatic | driving | fleeing | harmonic sequence | leading lady | police | somber | street | tense |
In This Our Life (1942) | Stanley + Stanley B (Rising Tension) | 1:33:49 - The police in hot pursuit | chase scene | chasing | chromatic scale | chromatic sequence | climax | combination of themes | criminal | desperate | dissonant bass | dramatic | driving | fleeing | half-diminished 7th chord | leading lady | police | street | tense |
In This Our Life (1942) | Stanley (Desperate) | 1:34:02 - The police in hot pursuit | 9th chord | chase scene | chasing | chromatic parallelism | climax | criminal | crying | desperate | dramatic | driving | fleeing | fragmentation | leading lady | police | street | tense |
In This Our Life (1942) | Underscoring (Dramatic) | 1:34:09 - Stanley's eyes in the rear-view mirror | 9th chord | acceleration | chase scene | chasing | climax | criminal | crying | desperate | dissonant bass | dramatic | driving | fleeing | leading lady | pc set | police | street | tense | tone cluster | underscoring |
In This Our Life (1942) | Car crash 2 | 1:34:17 - Stanley's car crashes | 9th chord | brash | car | car crash | chase scene | climax | crashing | criminal | dramatic | driving | dying | falling | fire | leading lady | mickey-mousing | police | street | tense |
In This Our Life (1942) | Stanley (Tragic) | 1:34:28 - Police run to Stanley's car | 9th chord | added-note chord | appoggiatura | brash | car | car crash | chase scene | climax | criminal | dramatic | dying | fire | half-diminished 7th chord | helping | leading lady | mournful | police | reporting | rescuing | rushing | sigh gesture | somber | street | tragic |
| The Informer (1935) | Katie (Despair) | 1:16:18 - Gypo confesses and cries | antagonist | climax | confessing | confession | courtroom | courtroom scene | crying | dissonant bass | guilt | headquarters | leading man | remorseful | room | sequence | traitor |
The Informer (1935) | The Informer (Tranquillo) | 1:16:35 - Gypo is taken away | antagonist | arresting | authentic cadence | climax | confessing | confession | courtroom | courtroom scene | crying | guilt | headquarters | hero | leading man | leaving | love interest | pleading | remorseful | room | traitor |
The Informer (1935) | Blood Money (Ostinato) | 1:27:32 - Rebels come to capture Gypo | antagonist | climax | leading man | mysterious | ostinato | rebel | room | sneaking | tense | traitor | whispering |
The Informer (1935) | The Escape (The Fight) | 1:28:25 - Rebels shoot through the door | antagonist | augmented triad | chromatic parallelism | chromatic scale | climax | down | dramatic | escaping | falling | fighting | leading man | linear chromaticism | mickey-mousing | rebel | room | running | tense | traitor | whole-tone |
The Informer (1935) | Blood Money (Tuttissimo) | 1:28:53 - Gypo stumbles into a church | antagonist | church | climax | dirge | dissonant bass | dominant pedal | dying | half-diminished 7th chord | leading man | mysterious | street | stumbling | tense | traitor | walking | whole-tone | whole-tone chord |
The Informer (1935) | The Informer (Pathetic) | 1:29:48 - Gypo stumbles toward Frankie's mother | antagonist | church | climax | diminished 7th chord | dying | gentle | leading man | main theme | pedal tone | somber | stumbling | traitor | walking |
The Informer (1935) | Sancta Maria | 1:30:27 - Frankie's mother forgives Gypo | antagonist | church | climax | confessing | dying | gentle | leading man | mother | sacred | somber | suspension | traitor |
| The Letter (1940) | Leslie (Tragic) | 0:37:21 - Howard talks to Leslie | anxious | changing meter | climax | conversing | fearful | lawyer | leading lady | letter | oscillation | pivotal scene | prison | sequence | sequential modulation | suspension | tense |
The Letter (1940) | Leslie + Foxtrot No. 3 | 1:25:08 - Leslie looks out the window | added-note chord | climax | combination of themes | common-chord modulation | dance music | foreign key modulation | foxtrot | home | lacework | leading lady | obsession | obsessive | oscillation | sequence | source music | tense | thinking |
The Letter (1940) | Leslie (Distraught) | 1:25:39 - Leslie cries | augmented sixth chord | climax | crying | dramatic | emotional | foreign key modulation | home | leading lady | oscillation | sequence |
The Letter (1940) | Underscoring (Dark) | NIF - not in film | climax | dark | home | lacework | leading lady | leaving | pedal tone |
The Letter (1940) | Underscoring (Mysterious) | 1:26:07 - Leslie talks to Robert | climax | conversing | home | husband | leading lady | mysterious | open fifth | oscillation | pedal tone | staring | underscoring |
The Letter (1940) | Leslie (Ethereal) | 1:26:36 - Leslie and Robert look at each other | climax | home | husband | leading lady | oscillation | pc set | pedal tone | staring | tense |
The Letter (1940) | Underscoring (Tense) | 1:26:52 - Leslie talks to Robert | climax | conversing | home | husband | leading lady | staring | tense | underscoring |
The Letter (1940) | Robert and Leslie (Tense) | 1:27:06 - Leslie talks to Robert | chromatic mediant | climax | conversing | gentle | home | husband | leading lady | love theme | Neapolitan | suspension | tender | tense |
The Letter (1940) | Deception (Lohengreenish) | 1:28:01 - Leslie reacts to Robert's forgiveness | chromatic mediant | climax | conversing | diminished 7th chord | dissonant bass | home | husband | kissing | leading lady | ostinato | retardation | romantic | sequence | suspension | tense |
The Letter (1940) | Leslie (Very Slow) | 1:29:01 - Leslie rejects Robert | augmented sixth chord | changing meter | climax | enharmonic respelling | home | leading lady | oscillation | sequence | somber | stern | weeping |
The Letter (1940) | Mrs. Hammond (Dirge) | 1:29:32 - Leslie heads towards the door | Chinese | climax | dark | dirge | home | leading lady | parallelism | somber | walking |
The Letter (1940) | Mrs. Hammond (Missing Dagger) | 1:29:49 - Leslie opens the door | Chinese | climax | dagger | door | gentle | home | leading lady | mysterious | open fifth | opening | parallel fifths | parallelism | pentatonic |
The Letter (1940) | Leslie (Climactic) | 1:30:02 - Leslie sees that the knife is gone | climax | dagger | door | home | leading lady | looking | oscillation | passionate | sequence |
The Letter (1940) | Shadow | 1:30:30 - Leslie leaves the house | chromatic parallelism | climax | leading lady | major triad | mysterious | plantation | polychord | shadow | walking |
The Letter (1940) | Native (Climactic) | 1:30:42 - Leslie walks through her garden | climax | crying | Dorian mode | exoticism | gamelan | Indonesian music | leading lady | mysterious | panning shot | parallelism | plantation | setting | somber | walking |
The Letter (1940) | Deception (Appassionato) | 1:31:18 - Close-up of Leslie | climax | crying | leading lady | mysterious | pc set | Phrygian mode | plantation | somber | walking |
The Letter (1940) | Leslie (The Moon) | 1:31:36 - Leslie sees the moon go behind a cloud | climax | cloud | crying | dramatic | half-diminished 7th chord | leading lady | looking | moon | oscillation | pc set | plantation | sequence |
The Letter (1940) | Mrs. Hammond (Ambush) | 1:31:55 - Leslie moves through the gate | Aeolian mode | antagonist | Chinese | climax | dark | leading lady | mysterious | open fifth | parallel fifths | parallelism | pentatonic | plantation | walking |
The Letter (1940) | Leslie (Deliberate) | 1:32:48 - Mrs. Hammond approaches Leslie with a knife | antagonist | changing meter | Chinese | climax | dagger | leading lady | oscillation | plantation | somber | walking |
The Letter (1940) | Mrs. Hammond (Revenge) | 1:33:01 - Mrs. Hammond stabs Leslie | 64 chord | antagonist | Chinese | Chinese | climax | dagger | leading lady | murder | open fifth | parallel fifths | parallelism | pentatonic | plantation | somber | walking |
The Letter (1940) | Policeman | 1:33:31 - A policeman comes to investigate | antagonist | Chinese | climax | investigating | plantation | policeman | tense |
The Letter (1940) | Leslie (Reckoning) | 1:33:42 - Mrs. Hammond walks away | 11th chord | antagonist | augmentation | body | changing meter | Chinese | climax | death | leading lady | moon | oscillation | plantation | policeman | somber | suspension |
The Letter (1940) | Robert and Leslie (The Body) | NIF - not in film | alternate music | body | chromatic mediant | climax | death | foreign key modulation | love theme | Neapolitan | pedal tone | plantation | somber |
| Lightning Strikes Twice (1951) | Trev (Realization) | 1:26:36 - Close-up on Trev's face | actor | anger | chasing | climax | close-up | dark | friend | husband | leading lady | leading man | menacing | murderer | rancher | realizing | room | zoom in |
Lightning Strikes Twice (1951) | Underscoring (Dramatic) | 1:26:47 - Trev runs after Liza | actor | anger | chasing | climax | dramatic | friend | husband | leading lady | leading man | murderer | rancher | room | running | underscoring |
Lightning Strikes Twice (1951) | Escape | 1:26:51 - Liza runs away | actor | brother | chasing | climax | dark | escaping | friend | husband | leading lady | leading man | murderer | ranch | rancher | room | tense |
Lightning Strikes Twice (1951) | Trev runs | 1:27:01 - Trev runs after Liza | chasing | climax | dramatic | husband | leading man | mickey-mousing | murderer | ranch | rancher | running | tense |
Lightning Strikes Twice (1951) | Escape (Getaway) | 1:27:08 - Trev runs back inside | actor | brother | chasing | climax | dramatic | escaping | friend | husband | leading lady | leading man | murderer | ranch | rancher | room | tense |
Lightning Strikes Twice (1951) | Menace (The Chase) | 1:27:42 - Liza and String drive away | brother | car | chasing | climax | countryside | dramatic | driving | escaping | frantic | motorcycle | murderer | police | rancher | speeding | tense |
Lightning Strikes Twice (1951) | Menace (The Crash) | 1:28:30 - Liza drives off the hill | brother | car | car crash | climax | countryside | crashing | death | dramatic | dying | murderer | police | rancher | tense |
| Mildred Pierce (1945) | Mildred B (Twist) | 1:45:20 - Mildred walks into the beach house | arriving | climax | dark | flashback | heroine | leading lady | room |
Mildred Pierce (1945) | Mildred (Ominous) | 1:45:25 - Mildred walks downstairs | arriving | climax | dark | fragmentation | half-diminished 7th chord | heroine | imitation | leading lady | ominous | room |
Mildred Pierce (1945) | Secret Revealed | 1:45:37 - Mildred finds Veda and Monte together | antagonist | chromatic parallelism | chromatic scale | chromatic wedge | climax | dark | daughter | discovering | kissing | linear chromaticism | reveal | room | stinger | tense |
Mildred Pierce (1945) | Kay and Veda (Agitato) | 1:46:05 - Veda reveals that she is in love with Monte | antagonist | augmented sixth chord | betrayal | betraying | chromatic scale | chromatic sequence | climax | dark | daughter | fragmentation | heroine | leading lady | revealing | room | tense |
Mildred Pierce (1945) | Kay and Veda (Very Slow) | 1:46:22 - Mildred reacts to Veda's betrayal | antagonist | betrayal | climax | contemplating | dark | daughter | gun | heroine | leading lady | ominous | parallel 63s | room |
Mildred Pierce (1945) | Mildred (Tragic) | 1:46:43 - Mildred runs away | altered dominant | antagonist | arguing | betrayal | chromatic scale | climax | daughter | dramatic | emotional | half-diminished 7th chord | heroine | leading lady | room | running | sequence |
Mildred Pierce (1945) | Mildred (Breakdown) | 1:47:11 - Mildred tries to start her car | 9th chord | climax | crying | dramatic | emotional | foreign key modulation | heroine | leading lady | leaving | street |
| Out of the Fog (1941) | Russian Barcarolle (Menacing) | 1:09:32 - Goffs sees Olaf holding a lead pipe | arguing | attempted murder | climax | criminal | dark | fisherman | friend | leading man | menacing | ominous | sea | stinger |
Out of the Fog (1941) | Underscoring (Dramatic) | 1:09:45 - Goff struggles with Jonah and Olaf | attempted murder | climax | criminal | dramatic | fighting | fisherman | friend | leading man | punching | sea | underscoring |
Out of the Fog (1941) | Russian Barcarolle (Drowning) | 1:09:58 - Goff drowns | attempted murder | climax | criminal | dark | death | drowning | fisherman | friend | leading man | ominous | sea |
| Kid Galahad (1937) | Kid Galahad (Montage 2) | 1:18:47 - Newspaper headline montage | 64 chord | chromatic mediant | climax | fanfare | foreign key modulation | heroic | hurrying | manager | montage | newspaper | pedal tone | room | syncopation |
Kid Galahad (1937) | Underscoring (Tender) | 1:38:49 - Nick lies dying on a table | climax | dying | linear chromaticism | manager | pedal tone | room | somber | tender |
Kid Galahad (1937) | Kid Galahad (Tender) | 1:39:15 - Nick speaks his final words | 9th chord | 64 chord | added-note chord | appoggiatura | climax | death | dying | fanfare | foreign key modulation | leading lady | leading man | manager | mode mixture | pedal tone | room | sister | somber | stretto imitation |
| The Unfaithful (1947) | Unfaithful (Not in Film) | NIF - not in film | acceleration | arguing | climax | cut from film | husband | Neapolitan | ostinato | room | sequential modulation | tense | wife |
The Unfaithful (1947) | Tanner (Headlines) | 1:24:17 - Chris is suspected of murder | altered dominant | chromatic scale | climax | fragmentation | friend | hurrying | montage | newspaper | newspaper boy | panicked | police station | polychord | polytonality | quartal chord | radio | reporter | room | rushing | street | surprise | tritone oscillation | widow |
The Unfaithful (1947) | Unfaithful (Scandal) | 1:24:55 - Newspaper headlines about the murder | climax | courtroom | crowd | dramatic | hurrying | montage | newspaper | ostinato | radio | rushing | sequential modulation |
The Unfaithful (1947) | Unfaithful (The Trial) | 1:25:17 - A woman in the courtroom | chromatic wedge | climax | courtroom | crowd | dissonant bass | dramatic | hurrying | knife | lawyer | montage | prosecuting | prosecutor | rushing | witness |
The Unfaithful (1947) | Clocking out | 1:25:41 - Salesgirls with time cards | climax | comical | mickey-mousing | montage | office | saleswoman | time card | working |
The Unfaithful (1947) | Tanner | 1:25:44 - Mrs. Tanner testifies | altered dominant | climax | courtroom | dramatic | fragmentation | hurrying | irregular meter | montage | prosecuting | quartal chord | rushing | testifying | witness |
The Unfaithful (1947) | Underscoring (Dramatic) | 1:25:51 - Art shop owner testifies | climax | courtroom | dramatic | hurrying | montage | prosecuting | quartal chord | rushing | testifying | tritone oscillation | underscoring | witness |
The Unfaithful (1947) | Unfaithful (Heavy) | 1:26:02 - Newspaper headline | climax | courtroom | crowd | dramatic | hurrying | montage | newspaper | rushing |
| The Woman in White (1948) | Underscoring (Tense) | 1:44:06 - The countess enters | climax | conversing | criminal | dark | friend | leading lady | leading man | love interest | murderer | necklace | ominous | room | transcribed by ear | wife |
The Woman in White (1948) | Ann (Not in Score) | 1:44:24 - Count Fosco talks to the Countess | climax | conversing | criminal | friend | leading lady | leading man | love interest | murderer | mysterious | necklace | room | transcribed by ear | wife |
The Woman in White (1948) | Fosco (Screwy) | 1:44:42 - The Countess walks across the room | climax | criminal | friend | leading lady | leading man | love interest | murderer | mysterious | necklace | room | sneaking | walking | wife |
The Woman in White (1948) | Fosco (Sneaking) | 1:44:51 - The Countess walks across the room | climax | criminal | friend | leading lady | leading man | love interest | murderer | mysterious | necklace | room | sneaking | walking | wife |
The Woman in White (1948) | Adagio | 1:45:00 - The Countess picks up a knife | climax | conversing | criminal | friend | knife | leading lady | leading man | love interest | murderer | necklace | room | somber | wife |
The Woman in White (1948) | Fosco (Soft) | 1:45:18 - The Count talks to Marian | arriving | climax | conversing | criminal | friend | leading lady | leading man | love interest | murderer | mysterious | necklace | room | wife |
The Woman in White (1948) | Stabbing | 1:45:23 - The Countess stabs Count Fosco | climax | criminal | dramatic | dropping | friend | knife | leading lady | leading man | love interest | mickey-mousing | murder | murderer | murdering | necklace | revenge | room | stabbing | violent | wife |
The Woman in White (1948) | Fosco (Dying) | 1:45:34 - The Countess picks up the necklace | arriving | climax | criminal | death | dramatic | dying | falling | friend | knife | leading lady | leading man | love interest | murder | murderer | necklace | revenge | rising | room | stinger | tense | victim | violent | wife |
The Woman in White (1948) | Ann (Quasi Misterioso) | 1:46:05 - Various close-ups | climax | criminal | death | dying | friend | knife | leading lady | leading man | love interest | murder | murderer | necklace | revenge | room | somber | victim | watching | wife |
| 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 |
| We're Only Human (1935) | Kong 3 | 1:01:06 - Pete leaves | car | chromatic parallelism | climax | conflict | departing | detective | diminished 7th chord | dramatic | hurried | leading lady | leading man | pedal tone | reporter | rushing | sequence | street | victim |
We're Only Human (1935) | Game 1 | 1:01:21 - Driving in a car | car | car | chromatic sequence | climax | conflict | detective | dissonant bass | dramatic | driving | hurried | leading lady | leading man | pedal tone | reporter | rushing | victim | wipe |
We're Only Human (1935) | Game 2 | 1:01:56 - Witness threatens to kill the criminals | acceleration | arguing | car | car | chromatic parallelism | climax | conflict | detective | dramatic | driving | hurried | leading lady | leading man | pedal tone | reporter | rushing | threat | threatening | victim |
We're Only Human (1935) | Russian Waltz (Poco Agitato) | 1:02:12 - Getting out the car | car | chromatic scale | climax | conflict | dark | detective | leading lady | leading man | reporter | sneaking | tense | victim | yard |
We're Only Human (1935) | Game 3 | 1:02:23 - Approaching the house | chromatic parallelism | chromatic parallelism | climax | conflict | detective | leading lady | leading man | mysterious | pc set | reporter | sneaking | tense | victim | yard |
We're Only Human (1935) | Russian Waltz (Pizzicato) | 1:02:55 - Spying on the house | climax | conflict | detective | leading lady | leading man | mysterious | reporter | sneaking | tense | victim | yard |
We're Only Human (1935) | Saroff | 1:03:07 - They argue | arguing | chromatic scale | climax | conflict | detective | leading lady | leading man | mysterious | reporter | tense | victim | whole-tone | whole-tone chord | yard |
We're Only Human (1935) | Lost Patrol 1 | 1:03:12 - A man runs | climax | conflict | detective | dramatic | fleeing | frantic | gunshot | leading lady | leading man | reporter | running | shooting | victim | whole-tone | whole-tone chord | yard |
We're Only Human (1935) | The Informer (Burning Poster) + Blood Money | 1:03:25 - A man falls to the ground | climax | conflict | crawling | detective | diminished 7th chord | dying | gunshot | leading lady | leading man | mysterious | octatonic | reporter | Scotch snap | shooting | tense | tone cluster | victim | yard |
We're Only Human (1935) | The Wearin' o' the Green (Fighting) | 1:03:42 - Pete prepares to advance | chromatic parallelism | climax | conflict | detective | dramatic | fragmentation | gunshot | leading lady | leading man | reporter | running | sequence | shooting | tense | underscoring | victim | yard |
We're Only Human (1935) | The Informer (Tense) | 1:04:11 - Pete prepares to enter the house | climax | conflict | detective | leading man | mysterious | Scotch snap | sneaking | tense | whole-tone | whole-tone chord | yard |
We're Only Human (1935) | The Escape | 1:04:31 - Pete enters the house | chromatic scale | climax | conflict | detective | dodging | dramatic | gangster | gunshot | hiding | leading man | murderer | room | shooting | underscoring | whole-tone | whole-tone chord |
We're Only Human (1935) | Game 4 | 1:04:54 - Pete crawls on the floor | climax | conflict | crawling | detective | gangster | leading man | murderer | room | tense | underscoring | whole-tone chord |
We're Only Human (1935) | Game 5 | 1:05:03 - Pete prepares to shoot | chromatic parallelism | climax | conflict | detective | gangster | gunshot | leading man | murderer | pc set | pedal tone | room | shooting | sneaking | tense | underscoring | whole-tone chord |
We're Only Human (1935) | Blood Money (Counting Money) | 1:05:25 - Pete looks at the fallen man | climax | conflict | detective | gangster | leading man | murderer | mysterious | room | sneaking | tense | tone cluster |
We're Only Human (1935) | Game 6 | 1:05:34 - Pete dodges gunfire | climax | conflict | dark | detective | gangster | leading man | murderer | room | sneaking | taunting | tense | underscoring |
We're Only Human (1935) | Game 7 | 1:05:48 - Pete runs up the stairs | 9th chord | climax | conflict | detective | dramatic | gangster | leading man | murderer | parallelism | pc set | pedal tone | room | running | rushing | tense | underscoring | whole-tone chord |
We're Only Human (1935) | Game 8 | 1:05:55 - Pete advances slowly | arguing | chromatic scale | climax | conflict | detective | gangster | half-diminished 7th chord | hostage | leading man | murderer | pedal tone | polychord | room | sneaking | taunting | tense | tricking | underscoring |
We're Only Human (1935) | Lost Patrol 2 | 1:06:45 - Berger falls to the ground | climax | conflict | death | detective | dramatic | dying | falling | gangster | gunshot | hostage | leading man | murderer | room | tone cluster | underscoring |
We're Only Human (1935) | Lost Patrol 3 | 1:06:52 - Pete looks at Berger | 64 chord | climax | conflict | death | detective | gangster | hostage | leading man | murderer | reacting | room | solemn |
| Without Honor (1949) | Agitation (Appassionato) | 0:52:28 - Jane cries | agitated | antagonist | brother | climax | confessing | confession | crying | demanding | husband | leading lady | leading man | room | tense | wife |
Without Honor (1949) | Confession | 0:52:54 - Jane confesses | agitated | antagonist | brother | climax | confessing | confession | crying | husband | leading lady | leading man | room | wife |
Without Honor (1949) | Appassionato 2 | 0:53:24 - Jane laughs | antagonist | brother | climax | confession | crying | husband | laughing | leading lady | leading man | passionate | room | wife |
Without Honor (1949) | Underscoring (Dramatic) | 0:53:45 - Jane screams | antagonist | blood | brother | climax | confession | dramatic | handprint | husband | leading lady | leading man | room | screaming | tense | underscoring | wife |
Without Honor (1949) | Desperation (The Scream) | 0:53:50 - They look at the bloody handprint | antagonist | blood | brother | climax | confession | departing | dramatic | handprint | husband | investigating | leading lady | leading man | room | screaming | searching | tense | wife | yard |
Without Honor (1949) | Appassionato 2 (Agitato) | 0:54:14 - Jane exits the house | climax | leading lady | searching | tense | wandering | yard |
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 |
Without Honor (1949) | Desperation | 0:54:35 - The orchard | climax | leading lady | orchard | searching | tense |
Without Honor (1949) | Twilight (Bloody Hand) | 0:54:40 - Jane looks around the orchard | climax | leading lady | orchard | searching | tense |
Without Honor (1949) | Twilight (Molto Expressivo) | 0:54:55 - Jane is startled | climax | leading lady | orchard | searching | tense |
Without Honor (1949) | Doloroso | 0:57:10 - Mrs. Williams talks to Jane | antagonist | apologizing | brother | climax | conversing | husband | leading lady | leading man | room | solemn | wife |
Without Honor (1949) | Twilight (Somber) | 0:57:48 - Mrs. Williams forgives Jane | antagonist | bathroom | brother | climax | forgiveness | husband | leading lady | leading man | razor blade | room | somber | thinking | wife |
Without Honor (1949) | Tension (Extended) | 0:58:12 - Mrs. Williams talks to Fred and Bill | antagonist | bathroom | brother | climax | conversing | forgiveness | husband | leading lady | leading man | razor blade | room | tense | wife |
Without Honor (1949) | Valse Triste (Suicide) | 0:58:33 - Jane stares in the mirror | antagonist | attempted suicide | bathroom | brother | climax | conversing | husband | knocking | leading lady | leading man | razor blade | room | somber | suicide | wife |
Without Honor (1949) | Valse Triste (Molto Appassionato) | 0:58:58 - Jane stares down | antagonist | attempted suicide | bathroom | brother | climax | conversing | dramatic | husband | knocking | leading lady | leading man | razor blade | room | suicide | wife |
Without Honor (1949) | Appassionato 2 (Molto Expressivo) | 0:59:06 - Jane cuts her wrist | antagonist | attempted suicide | bathroom | breaking | brother | climax | committing suicide | conversing | cutting | dramatic | entering | grabbing | husband | knocking | leading lady | leading man | razor blade | room | running | suicide | wife | yelling |
Without Honor (1949) | Twilight (Rubato) | 0:59:24 - Mrs. Williams helps Jane | antagonist | attempted suicide | brother | climax | doctor | helping | husband | leading lady | leading man | razor blade | room | serious | somber | struggling | suicide | wife |
| The Most Dangerous Game (1932) | Dog attacking | 0:55:19 - A dog rushes at Bob | attacking | climax | count | dog | dramatic | fighting | jungle | leading lady | leading man | mickey-mousing | river | servant | tense | victim | villain | waterfall |
The Most Dangerous Game (1932) | Zaroff (Dog Fight) | 0:55:24 - Bob fights a dog | attacking | climax | count | dog | dramatic | fighting | jungle | leading lady | leading man | river | servant | tense | victim | villain | waterfall |
The Most Dangerous Game (1932) | Russian Waltz (Dog Fight) | 0:55:33 - A barking dog | attacking | climax | count | dog | dramatic | fighting | jungle | leading lady | leading man | river | servant | tense | victim | villain | waterfall |
The Most Dangerous Game (1932) | Dog falling 2 | 0:55:37 - Bob kills the dog | attacking | climax | count | dog | dramatic | falling | fighting | jungle | leading lady | leading man | mickey-mousing | river | servant | tense | victim | villain | waterfall |
The Most Dangerous Game (1932) | Dog attacking | 0:55:42 - A dog rushes at Bob | attacking | climax | count | dog | dramatic | fighting | jungle | leading lady | leading man | mickey-mousing | river | running | servant | tense | victim | villain | waterfall |
The Most Dangerous Game (1932) | Falling off cliff | 0:55:47 - Bob and the dog fall off the cliff | climax | count | death | dog | dramatic | dying | falling | gun | gunshot | jungle | leading lady | leading man | mickey-mousing | river | servant | shooting | tense | victim | villain | waterfall |
The Most Dangerous Game (1932) | The Iron Door (Meno) | 0:55:50 - Zaroff reacts to Bob's fall | climax | count | dramatic | jungle | murderer | reacting | river | tense | villain | waterfall |
The Most Dangerous Game (1932) | Emotions | 0:55:59 - Eve reacts to Bob's fall | capturing | climax | count | dramatic | jungle | leading lady | reacting | river | servant | tense | victim | villain | watch | waterfall |
The Most Dangerous Game (1932) | Russian Waltz (Moderato Quasi Maestoso) | 0:56:11 - Zaroff looks at his watch | capturing | climax | count | dramatic | jungle | leading lady | river | servant | tense | victim | villain | watch | waterfall |
The Most Dangerous Game (1932) | Zaroff (Risolutissimo) + The Iron Door | 0:56:17 - Eve is captured | capturing | climax | close-up | combination of themes | count | jungle | leading lady | ominous | river | servant | victim | villain | walking | waterfall |
The Most Dangerous Game (1932) | The Iron Door (Climax) | 0:56:25 - A close-up on Eve | climax | close-up | count | jungle | leading lady | ominous | reacting | river | servant | victim | villain | waterfall |
| White Heat (1949) | Headache (Explosion) | 1:52:26 - Cody shoots a gas valve | agent | climax | dramatic | exploding | explosion | factory | fire | frantic | fugitive | gangster | gun | gunshot | laughing | leading man | murderer | police | raid | running | rushing | shooting |
White Heat (1949) | Struggle | 1:52:46 - Explosion | agent | climax | conversing | death | dramatic | exploding | explosion | factory | fire | fugitive | gangster | leading man | murderer | police | raid |
White Heat (1949) | Cody (The End) | 1:53:02 - Explosion | agent | climax | conversing | dark | death | dramatic | exploding | explosion | factory | fire | fugitive | gangster | leading man | murderer | police | raid | The End |
| Caged (1950) | Molto Expressivo (Con Moto) | 1:34:42 - Marie leaves Mrs. Benton's office | climax | dramatic | ex-convict | guard | leading lady | leaving | prison | prisoner | stinger | uneasy | warden |
Caged (1950) | Molto Expressivo (Quasi Blues) | 1:35:01 - Marie leaves the prison | added-note chord | bluesy | bluesy | car | climax | ex-convict | freedom | leading lady | leaving | prison | smoking | street | warden | watching |
Caged (1950) | Marie (The End) | 1:36:04 - Mrs. Benton and her secretary | augmented sixth chord | climax | closing credits | conversing | prison | somber | warden |
Caged (1950) | Molto Expressivo (Timidly) | NIF - not in film | climax | cut from film | mode mixture | somber |
Caged (1950) | Isolation Ward (The End) | NIF - not in film | chromatic parallelism | climax | cut from film | dramatic | pc set | uneasy |
| Lightning Strikes Twice (1951) | Jalopy | 1:28:41 - Old jalopy drives along | bystander | car | car crash | climax | comical | countryside | death | driving |
Lightning Strikes Twice (1951) | Aftermath | 1:28:48 - Man gets out of the jalopy | approaching | brother | bystander | car | car crash | climax | countryside | death | murderer | police | rancher | solemn |
| Mara Maru (1952) | Underscoring (Dramatic) | 1:33:58 - Fortuno shoots at Gregory | action scene | antagonist | bodyguard | catacomb | cave | chasing | climax | cross | dramatic | escaping | gun | gunshot | leading man | murderer | running | shooting | suspsect | tense | tunnel |
Mara Maru (1952) | The Chase | 1:34:03 - Ortega and Gregory run away | action scene | antagonist | bodyguard | catacomb | cave | chasing | climax | cross | dramatic | escaping | gun | gunshot | leading man | mickey-mousing | murderer | running | running effect | shooting | suspsect | tense | tunnel |
Mara Maru (1952) | Benedict (Menacing) | 1:34:30 - Ortega tries to block the door | action scene | antagonist | arguing | blocking | bodyguard | catacomb | cave | climax | cross | defending | dramatic | gun | gunshot | leading man | martyr | menacing | murderer | ominous | protecting | pushing | running | tunnel | victim |
Mara Maru (1952) | Ortega is Shot | 1:34:42 - Ortega is shot | action scene | antagonist | blocking | bodyguard | catacomb | cave | climax | cross | death | dramatic | dying | falling | gun | gunshot | leading man | martyr | murder | murderer | passionate | sentimental | shooting | somber | tunnel | victim |
Mara Maru (1952) | Police | 1:34:53 - The police enter | action scene | antagonist | bodyguard | catacomb | cave | chasing | climax | cross | dramatic | gun | gunshot | heroic | leading man | martyr | murderer | police | running | shooting | stairs | tense | tunnel | victim |
Mara Maru (1952) | Descending the stairs | 1:34:55 - Fortuno runs down the stairs | action scene | antagonist | bodyguard | catacomb | cave | chasing | climax | cross | descending | dramatic | gun | gunshot | leading man | martyr | mickey-mousing | murderer | police | running | stairs | tense | tunnel | victim |
Mara Maru (1952) | Ascending the stairs | 1:35:08 - Benedict runs up the stairs | action scene | antagonist | ascending | catacomb | cave | chasing | climax | dramatic | mickey-mousing | murderer | ominous | running | stairs | tense | tunnel |
Mara Maru (1952) | Underscoring (Dramatic) | 1:35:15 - Benedict confronts Gregory | action scene | antagonist | attacking | catacomb | cave | climax | cross | dramatic | leading man | martyr | murderer | tense | tunnel | victim |
Mara Maru (1952) | The Fight | 1:35:20 - Gregory fights Benedict | action scene | antagonist | attacking | catacomb | cave | choking | climax | dramatic | falling | fighting | hitting | leading man | martyr | mickey-mousing | murderer | punching | stinger | tense | tunnel | victim |
Mara Maru (1952) | Rolling down the stairs | 1:36:05 - Benedict falls down the stairs | action scene | antagonist | catacomb | cave | climax | corpse | death | descending | dramatic | falling | leading man | martyr | mickey-mousing | murderer | rolling | stinger | tense | tunnel | victim |
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