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492 results for "hero" in 21 films — see also Hero | character | grinder | leading man | male | sandwich | wedge

Film	Theme name	Instance	Tags
The Amazing Dr. Clitterhouse (1938)	Lighting the Torch + The Motor	0:51:05 - Butch prepares the torch	anxious \| chromatic scale \| combination of themes \| criminal \| dramatic \| fire \| flame \| gangster \| hero \| lighting \| ostinato \| preparing \| rescuing \| robbery \| sequence \| store \| tense \| thief \| torch \| working
The Amazing Dr. Clitterhouse (1938)	The Torch (Burning)	0:51:12 - Butch opens safe with welder's torch	anxious \| burning \| chromatic parallelism \| criminal \| dramatic \| fire \| flame \| gangster \| half-diminished 7th chord \| hero \| rescuing \| robbery \| sparks \| store \| tense \| thief \| torch
The Amazing Dr. Clitterhouse (1938)	The Torch	0:51:17 - Torch breaks through the safe door	anxious \| burning \| criminal \| cutting \| dramatic \| fire \| flame \| gangster \| hero \| pc set \| rescuing \| robbery \| sparks \| store \| tense \| thief \| torch
The Amazing Dr. Clitterhouse (1938)	The Torch (Off) + The Motor	0:52:24 - Butch finishes opening safe	anxious \| burning \| combination of themes \| criminal \| cutting \| dissonant bass \| dramatic \| fire \| flame \| gangster \| hero \| motor \| ostinato \| pc set \| rescuing \| robbery \| sparks \| store \| tense \| thief \| torch \| turning off
The Amazing Dr. Clitterhouse (1938)	The Motor (Rescue)	0:52:29 - Dr. Clitterhouse escapes from safe	anxious \| chromatic parallelism \| chromatic scale \| criminal \| dramatic \| escaping \| gangster \| hero \| motor \| ostinato \| rescuing \| robbery \| store \| tense \| thief
The Amazing Dr. Clitterhouse (1938)	I Wanna Go Back to Bali	0:53:48 - Gangsters meet in an apartment	advance plot \| conversing \| criminal \| dance music \| doctor \| gangster \| hero \| leading man \| lying \| playful \| radio \| room \| thief
The Amazing Dr. Clitterhouse (1938)	Doctor Leaves	0:57:38 - Dr. Clitterhouse leaves	advance plot \| doctor \| door \| exiting \| gangster \| hero \| leading lady \| leading man \| leaving \| linear chromaticism \| opening \| room \| tense \| wedge \| whole-tone chord
Angels With Dirty Faces (1938)	Newspaper Editor	1:10:09 - A newspaper editor accepts Jerry's story	accepting \| conversing \| heroic \| leading man \| montage \| montage \| newspaper editor \| newspaper office \| priest \| secondary dominant
Angels With Dirty Faces (1938)	Jerry + Tear Gas	1:21:14 - Rocky staggers through tear gas and Jerry arrives	agitated \| arriving \| building \| chromatic parallelism \| combination of themes \| conflict \| dissonant bass \| dramatic \| gangster \| heroic \| hurrying \| leading man \| mickey-mousing \| priest \| quartal chord \| smoke \| staggering \| street \| tear gas
Angels With Dirty Faces (1938)	Jerry (Pleading)	1:21:26 - Jerry talks to the cops	building \| conflict \| deceptive resolution \| heroic \| hopeful \| leading man \| pleading \| priest \| street
Angels With Dirty Faces (1938)	Jerry (Maestoso)	1:22:13 - Jerry enters the building	building \| conflict \| entering \| foreign key modulation \| heroic \| hopeful \| leading man \| pedal tone \| priest \| street \| walking
Angels With Dirty Faces (1938)	Jerry (End Title)	1:36:38 - End title	closing credits \| diminished 7th chord \| end title sequence \| foreign key modulation \| heroic \| plagal cadence \| triumphant
The Big Sleep (1946)	Chevalier Audubon	0:13:14 - Marlowe writes on note card	advance plot \| heroic \| leading man \| library \| private eye \| researching \| writing
The Big Sleep (1946)	Marlowe (Heroic)	0:21:28 - Marlowe enters the house	action scene \| breaking in \| heroic \| leading man \| private eye \| running \| street
The Big Sleep (1946)	Marlowe (Determined)	0:47:56 - Marlowe enters the apartment building	arriving \| ascending \| bold \| determined \| heroic \| investigating \| investigation scene \| leading lady \| leading man \| private eye \| stairs \| street \| walking
The Big Sleep (1946)	Down the Stairs + The Chase + Marlowe (Action)	0:56:39 - Marlowe chases the killer down the stairs	assassin \| chase scene \| chasing \| descending \| dramatic \| gun \| gunshot \| heroic \| leading man \| murderer \| private eye \| room \| running \| stairs \| tense
The Big Sleep (1946)	Marlowe (Action)	0:57:01 - Marlowe runs to his car	assassin \| chase scene \| chasing \| dramatic \| heroic \| leading man \| murderer \| private eye \| running \| street \| tense
The Big Sleep (1946)	Marlowe (Bold)	1:45:44 - Marlowe and Vivian get out of the car	bold \| heroic \| leading lady \| leading man \| love interest \| outside \| private eye \| transition \| walking
Caged (1950)	Marie	0:08:04 - Marie poses for mug shot	heroine \| prison
Caged (1950)	Marie (Montage)	0:32:12 - Montage of Marie in prison	dramatic \| heroine \| montage \| prison
Caged (1950)	Marie (Dark)	0:32:55 - Close up on medical report and Marie in infirmary	dramatic \| heroine \| montage \| prison
Caged (1950)	Marie (Lento)	0:35:14 - Marie gets sick	heroine \| prison
Caged (1950)	Nursery	0:49:23 - Marie goes to see her newborn baby	baby \| heroine \| newborn \| prison
Caged (1950)	Lullaby	0:49:51 - Marie holds her new baby	baby \| heroine \| newborn \| prison
Caged (1950)	Marie (Happy)	0:50:22 - Marie holds her new baby	baby \| heroine \| newborn \| prison
Caged (1950)	Marie (Tragic)	0:52:43 - Marie pleads with her mother to take the baby	despair \| heroine \| pleading \| prison
Caged (1950)	Caged (Waiting)	0:56:52 - Marie waits outside of the parole office while an inmate runs out excited that she made parole	heroine \| parole \| prison \| shadow
Caged (1950)	Alarm 2	1:00:42 - Marie hears the alarm and gets hysterical	alarm \| heroine \| hysteria \| mickey-mousing \| prison \| screaming
Caged (1950)	Prison	1:00:51 - Marie runs from the parole office	alarm \| heroine \| hysteria \| prison
Caged (1950)	Marie (Melancholy)	1:01:25 - Marie returns to her cell	heroine \| melancholy \| prison
Caged (1950)	Marie (Solemn)	1:17:04 - Marie in solitary	heroine \| prison \| solitary
Caged (1950)	Isolation Ward	1:17:19 - Kitty leaves solitary	heroine \| prison \| solitary
Caged (1950)	Water Dripping	1:17:52 - Dripping water in solitary	dripping \| heroine \| hysteria \| mickey-mousing \| prison \| water
Caged (1950)	Water Dripping (Frantic)	1:18:15 - Marie cries to her in solitary	dripping \| heroine \| hysteria \| mickey-mousing \| prison \| water
Caged (1950)	Underscoring (Dramatic)	1:32:09 - Marie leaves the parole office	heroine \| justice \| parole \| prison
Caged (1950)	Pacing (Impatient)	1:32:26 - Marie receives a $30.12 check for the 502 days that she worked in the prison	heroine \| pacing \| prison \| walking
Caged (1950)	Marie (Checking Out)	1:32:59 - Marie enters the warden's office	heroine \| prison
Caged (1950)	Marie (Blues)	1:35:01 - Marie leaves prison	freedom \| heroine \| jazzy \| prison
Caged (1950)	Marie (Jazzy)	1:35:37 - Marie gets into a car	heroine \| jazzy \| prison
Crime School (1938)	Underscoring (Mysterious)	0:09:53 - Frankie sneaks in the house	concern \| conversing \| dissonant bass \| establish character \| heroine \| leading lady \| mysterious \| pedal tone \| room \| sister \| sneaking \| sneaky \| teenager \| underscoring \| whole-tone chord \| whole-tone scale
Crime School (1938)	Sue (Quasi Blues)	0:11:08 - Sue talks to Frankie	bluesy \| chromatic parallelism \| common-chord modulation \| conversing \| crying \| establish character \| foreign key modulation \| Gershwinesque \| heroine \| leading lady \| room \| somber
Crime School (1938)	Sue (Minor)	0:20:38 - Judge sentences boys to the reformatory	augmented sixth chord \| chromatic parallelism \| courthouse \| crying \| dissonant bass \| gang \| heroine \| judge \| leading lady \| leading man \| sister \| somber \| stinger \| teenager \| trial
Crime School (1938)	The Discus Thrower	0:48:52 - Spike announces his "work of art"	announcing \| comedy \| fun \| gang \| hero \| interruption \| leading man \| reformatory \| showman \| teenager
Crime School (1938)	Underscoring (Gentle)	0:49:10 - Mark comes into the room	comedy \| conversing \| gang \| gentle \| hero \| leading man \| paint \| parallelism \| reformatory \| teenager \| underscoring
Crime School (1938)	Spots	0:49:20 - Squirt has spots on his pajamas	9th chord \| chromatic parallelism \| comedy \| comical \| conversing \| gang \| hero \| leading man \| mickey-mousing \| paint \| reformatory \| spots \| teenager \| tense
Crime School (1938)	Unveiling the statue	0:49:31 - Mark takes the veil off of the statue	64 chord \| chromatic parallelism \| chromatic wedge \| comedy \| gang \| hero \| leading man \| mickey-mousing \| reformatory \| teenager \| tense \| uncovering \| unveiling
Crime School (1938)	Marble statue	0:49:40 - Fats talks to Mark	comedy \| comical \| gang \| hero \| leading man \| mickey-mousing \| reformatory \| statue \| teasing \| teenager
Crime School (1938)	Underscoring (Gentle)	0:49:47 - Mark talks about making this room their home	comedy \| deceptive resolution \| gang \| gentle \| hero \| leading man \| leaving \| pedal tone \| reformatory \| teasing \| teenager \| underscoring \| whole-tone chord
Crime School (1938)	The Warden (Office)	0:51:05 - The guard enters to talk to Mark	comedy \| dramatic \| hero \| leading man \| marching \| police \| reformatory \| walking
Crime School (1938)	Laughing	0:51:11 - Mark laughs at the guard covered with paint	comedy \| comical \| hero \| laughing \| leading man \| mickey-mousing \| police \| reformatory
Crime School (1938)	The Boiler Room	0:54:27 - Boys talk about stoking the boiler	action scene \| auctioning \| boiler room \| chromatic parallelism \| chromatic scale \| dissonant bass \| fanfare \| gang \| heroic \| reformatory \| teenager \| working
Crime School (1938)	Fireman	0:56:46 - Boiler room worker orders kids back	action scene \| fanfare \| gang \| heroic \| parallelism \| pedal tone \| protecting \| reformatory \| rushing \| teenager \| worker \| yelling
Crime School (1938)	Underscoring (Dramatic)	0:56:50 - Mark goes to rescue Squirt	action scene \| altered dominant \| boiler room \| chromatic parallelism \| dissonant bass \| dramatic \| hero \| leading man \| linear chromaticism \| reformatory \| rushing \| saving \| teenager \| tense \| underscoring
Crime School (1938)	Going down	0:57:05 - Mark descends into the boiler room	action scene \| descending \| dramatic \| hero \| leading man \| mickey-mousing \| reformatory \| stairs \| teenager \| tense
Crime School (1938)	Temperature rising 2	0:57:12 - The temperature gauge rises	action scene \| altered dominant \| boiler room \| chromatic parallelism \| danger \| dramatic \| gauge \| heat \| hero \| leading man \| mickey-mousing \| reformatory \| rising \| teenager \| temperature \| tense
Crime School (1938)	Explosion	0:57:21 - Mark pulls Squirt out of the boiler room	action scene \| ascending \| boiler room \| destruction \| dissonant bass \| dramatic \| exploding \| explosion \| hero \| leading man \| mickey-mousing \| reformatory \| rising \| stairs \| teenager \| tense \| tone cluster
Crime School (1938)	Mark Saves Boy	0:57:29 - Mark carries Squirt up the stairs	action scene \| ascending \| authentic cadence \| dissonant bass \| hero \| heroic \| leading man \| mickey-mousing \| reformatory \| rising \| stairs \| teenager \| walking
Crime School (1938)	Sue (Hospital)	0:57:38 - The doctor takes care of Squirt in the hospital	advance plot \| calm \| conversing \| doctor \| hero \| hospital \| leading man \| nurse \| peaceful \| reformatory \| teenager \| treating
Crime School (1938)	Sue (Grazioso)	1:13:10 - Sue and Mark talk in the kitchen	cheerful \| conflict \| conversing \| cooking \| happy \| hero \| heroine \| kitchen \| leading lady \| leading man \| mode mixture \| secondary dominant
Crime School (1938)	Sue (Grazioso Mysterioso)	1:13:38 - Frankie confronts Sue and Mark	cheerful \| common-tone diminished 7th \| conflict \| conversing \| deceptive resolution \| dining \| gun \| happy \| hero \| heroine \| leading lady \| leading man \| room \| stick up \| stinger \| teenager \| tone cluster \| whole-tone chord
Crime School (1938)	Underscoring (Tense)	1:14:26 - Mark talks to policeman	chromatic scale \| conflict \| deceptive resolution \| gun \| hero \| heroine \| hiding \| knocking \| leading lady \| leading man \| lying \| mode mixture \| pedal tone \| police \| room \| teenager \| tense \| underscoring
Crime School (1938)	Lights on	1:15:26 - Sue turns the lights on	conflict \| hero \| heroine \| leading lady \| leading man \| light \| mickey-mousing \| room \| tense \| turning on
Crime School (1938)	Underscoring (Dramatic)	1:15:31 - Frankie fights Spike	agitated \| arguing \| chromatic scale \| conflict \| dissonant bass \| fighting \| gang \| hero \| leading man \| sequence \| street \| teenager \| underscoring
Crime School (1938)	Resolution	1:22:31 - Sue enters the room	42 chord \| antagonist \| calm \| chromatic parallelism \| chromatic scale \| comical \| conversing \| hero \| leading man \| reformatory \| resolution \| resolution \| tense \| tritone
They Made Me a Criminal (1939)	Peggy	0:00:25 - Director credit	9th chord \| 11th chord \| 13th chord \| bold \| cast list \| chromatic mediant \| foreign key modulation \| heroic \| main title \| opening title sequence \| tritone substitution
They Made Me a Criminal (1939)	The Printing Press	0:14:10 - A printing press	64 chord \| dark \| dissonant bass \| fanfare \| headline \| heroic \| mode change \| montage \| montage \| motoric \| newspaper \| oscillation \| printing press
They Made Me a Criminal (1939)	Underscoring (Dramatic)	0:26:48 - Peggy rushes to help Johnnie	64 chord \| dramatic \| establish character \| heroine \| leading lady \| mickey-mousing \| ranch \| running \| rushing \| underscoring
They Made Me a Criminal (1939)	Underscoring (Tender)	0:26:58 - Peggy helps Johnnie	9th chord \| 64 chord \| heroine \| leading lady \| leading man \| lovers meet \| mode mixture \| nursing \| room \| tender \| underscoring
They Made Me a Criminal (1939)	The Fugitive (Recovering)	0:27:13 - Peggy takes care of Johnnie	9th chord \| foreign key modulation \| heroine \| leading lady \| leading man \| lovers meet \| nursing \| recovering \| romance \| room \| sweet \| waking
They Made Me a Criminal (1939)	Peggy (Dolce)	0:28:20 - Peggy talks to Johnnie	9th chord \| 11th chord \| 13th chord \| deceptive resolution \| foreign key modulation \| heroine \| kissing \| leading lady \| leading man \| lovers meet \| nursing \| recovering \| romance \| room \| sweet \| tender
They Made Me a Criminal (1939)	The Fugitive (Apology)	0:48:31 - Johnnie and Peggy talk	9th chord \| conversing \| hero \| leading lady \| leading man \| love scene \| romantic \| room \| secondary dominant \| tender
They Made Me a Criminal (1939)	Peggy (Delicatissimo)	0:49:16 - Johnnie and Peggy kiss	9th chord \| 11th chord \| 13th chord \| hero \| kissing \| leading lady \| leading man \| love scene \| romantic \| room
They Made Me a Criminal (1939)	On the Make	0:49:40 - Johnnie and Peggy drive in a car	ABAB structure \| added-note chord \| altered dominant \| car \| car \| cheerful \| conversing \| driving \| hero \| leading lady \| leading man \| linear chromaticism \| love scene \| mode mixture \| phrase extension \| romantic \| traveling
They Made Me a Criminal (1939)	On the Make (Extended)	0:53:21 - Johnnie and Peggy drive in a car	ABAB structure \| added-note chord \| advance plot \| altered dominant \| car \| car \| cheerful \| conversing \| driving \| hero \| kissing \| leading lady \| leading man \| linear chromaticism \| mode mixture \| phrase extension \| romantic \| traveling
They Made Me a Criminal (1939)	By a Waterfall	0:55:35 - A shower sign	advance plot \| cheerful \| comical \| hero \| leading man \| on-screen music \| popular music \| ranch \| showering \| singing \| source music \| teenager \| whistling
They Made Me a Criminal (1939)	Underscoring (Dramatic)	0:56:17 - Johnnie sees his picture in the paper	angry \| arguing \| chromatic parallelism \| dissonant bass \| dramatic \| fighting \| half-diminished 7th chord \| hero \| leading man \| mickey-mousing \| photograph \| ranch \| teenager \| tense \| turning point \| underscoring
They Made Me a Criminal (1939)	Marcia Grotesque	1:01:48 - Johnnie talks to another boxer	advance plot \| altered dominant \| comical \| conversing \| hero \| leading man \| march \| mode mixture \| room
They Made Me a Criminal (1939)	On the Make (Tenderly)	1:07:57 - Tommy talks to Johnnie	9th chord \| ABAB structure \| altered dominant \| arguing \| chromatic mediant \| conversing \| direct modulation \| foreign key modulation \| hero \| leading man \| room \| tender \| turning point
They Made Me a Criminal (1939)	On the Make (Lohenblueish)	1:09:07 - Johnnie decides that he will stay	added-note chord \| augmentation \| chromatic mediant \| direct modulation \| foreign key modulation \| hero \| hopeful \| hopeless \| leading man \| linear chromaticism \| passionate \| room \| thinking \| turning point \| zoom in
They Made Me a Criminal (1939)	The Fugitive (Religioso)	1:09:41 - Johnnie looks at a picture	9th chord \| hero \| leading man \| Neapolitan \| room \| tender \| thinking \| turning point
They Made Me a Criminal (1939)	Inspiration	1:09:53 - Johnnie has an inspiration	boxing \| foreign key modulation \| gentle \| hero \| idea \| inspiration \| leading man \| pedal tone \| pump-up modulation \| room \| shadow \| thinking \| turning point
They Made Me a Criminal (1939)	The Whip	1:10:16 - People at the carnival	arena \| boxer \| cheerful \| entering \| excited \| fighting \| hero \| leading man \| march \| sitting \| source music \| sport scene \| teenager
They Made Me a Criminal (1939)	World's Record	1:13:45 - Boxers prepare for the fight	arena \| boxer \| cheerful \| conversing \| excited \| hero \| leading man \| march \| parallel double period \| source music \| sport scene
They Made Me a Criminal (1939)	Spirit of Independence	1:14:53 - Johnnie marches into the ring	arena \| cheerful \| excited \| hero \| leading lady \| leading man \| march \| preparing \| source music \| sport scene \| teenager
Dust Be My Destiny (1939)	Dust Be My Destiny (Grandioso)	0:50:50 - Joe and Mabel outside	42 chord \| 64 chord \| deceptive resolution \| escaping \| friend \| heroic \| jail break \| leading lady \| leading man \| pedal tone \| shopkeeper \| street \| triumphant
Dust Be My Destiny (1939)	The Daily Journal	1:00:10 - Sign for The Daily Journal	establish setting \| fanfare \| heroic \| mode mixture \| Neapolitan \| newspaper \| sign \| street \| triumphant
Dust Be My Destiny (1939)	Underscoring (Dramatic)	1:10:32 - Joe runs after the car	augmented triad \| chromatic parallelism \| chromatic scale \| conflict \| dramatic \| gangster \| half-diminished 7th chord \| hero \| leading man \| mickey-mousing \| newspaper editor \| running \| street
Dust Be My Destiny (1939)	Dust Be My Destiny (Brave)	1:10:38 - Joe jumps onto the car	action scene \| augmented triad \| car \| chromatic parallelism \| dramatic \| fighting \| gangster \| hero \| leading man \| newspaper editor \| street \| whole-tone chord
Dust Be My Destiny (1939)	Dust Be My Destiny (Heroic)	1:10:32 - Joe heroically wrestles away the steering wheel	action scene \| chromatic scale \| dramatic \| fighting \| fragmentation \| gangster \| hero \| leading man \| newspaper editor \| retrograde \| street
Dust Be My Destiny (1939)	Car crash	1:10:55 - Gangsters crash the car	action scene \| car \| chromatic scale \| crashing \| dramatic \| gangster \| hero \| leading man \| mickey-mousing \| newspaper editor \| street
Dust Be My Destiny (1939)	Dust Be My Destiny (Reunited)	1:11:25 - Mabel embraces Joe after she meets him	64 chord \| advance plot \| doctor \| embracing \| happy \| hero \| hospital \| leading lady \| leading man \| nurse
Dust Be My Destiny (1939)	Dust Be My Destiny (Simply)	1:11:50 - Mabel and Joe talk	advance plot \| doctor \| hero \| hospital \| leading lady \| leading man \| nurse \| peaceful
Dust Be My Destiny (1939)	Dust Be My Destiny (Leaving Hospital)	1:11:57 - Mabel and Joe start to leave	11th chord \| advance plot \| hero \| hospital \| leading lady \| leading man \| peaceful \| pedal tone \| photographer \| reporter
Dust Be My Destiny (1939)	Dust Be My Destiny (Appassionato)	1:12:09 - Mabel and Joe hide from the reporters	conflict \| countermelody \| hero \| hiding \| hospital \| leading lady \| leading man \| passionate \| underscoring
Dust Be My Destiny (1939)	Dust Be My Destiny (Cornered)	1:12:21 - Mabel and Joe decide what to do	9th chord \| conflict \| hero \| hospital \| inversion \| leading lady \| leading man \| pedal tone \| tense
Dust Be My Destiny (1939)	Dust Be My Destiny (Hiding)	1:12:42 - Mabel talks with Joe about surrendering	42 chord \| conflict \| diminished 7th chord \| fragmentation \| hero \| hospital \| leading lady \| leading man \| tense
Dust Be My Destiny (1939)	Dust Be My Destiny (Disagreement)	1:12:59 - Mabel and Joe argue	bright \| conflict \| dark \| foreign key modulation \| hero \| hospital \| leading lady \| leading man
Each Dawn I Die (1939)	Underscoring (Mysterious)	0:04:28 - Frank leaves the newspaper office	close-up \| conflict \| diminished 7th chord \| gangster \| hero \| leading man \| mysterious \| reading \| reporter \| street \| underscoring \| watching
Each Dawn I Die (1939)	Underscoring (Dramatic)	0:04:55 - Frank is pushed into a car	car \| chromatic scale \| conflict \| diminished 7th chord \| dissonant bass \| dramatic \| fragmentation \| gangster \| gun \| hero \| kidnapping \| leading man \| pushing \| reporter \| street \| underscoring \| violence
Each Dawn I Die (1939)	Underscoring (Dramatic)	0:05:24 - Frank is framed for drunk driving	9th chord \| attacking \| car \| conflict \| diminished 7th chord \| dramatic \| gangster \| hero \| leading man \| minor second \| murder \| pushing \| reporter \| setup \| street \| underscoring \| violence
Each Dawn I Die (1939)	Hits with bottle	0:05:26 - A bottle of alcohol is broken	9th chord \| bottle \| breaking \| conflict \| dramatic \| gangster \| hero \| leading man \| mickey-mousing \| reporter \| street \| violence
Each Dawn I Die (1939)	Car Crash	0:05:40 - Two cars crash	car \| car crash \| chromatic scale \| conflict \| crashing \| explosion \| frantic \| hero \| leading man \| metric dissonance \| minor second \| reporter \| street \| tone cluster
Each Dawn I Die (1939)	Confusion	0:05:43 - Frank sits confused in car after crash	accusing \| car \| car crash \| chromatic parallelism \| chromatic scale \| conflict \| confused \| crowd \| dissonant bass \| fire \| glass \| half-diminished 7th chord \| hero \| injury \| leading man \| reporter \| running \| street \| yelling
Each Dawn I Die (1939)	Underscoring (Dramatic)	0:06:06 - Crowd accuses Frank of murder	9th chord \| accusing \| car crash \| conflict \| crowd \| dissonant bass \| dramatic \| hero \| injury \| leading man \| linear chromaticism \| police \| reporter \| sequence \| shaking \| street \| underscoring \| yelling
Each Dawn I Die (1939)	Verdict	0:08:19 - The verdict is delivered	banging \| courtroom \| courtroom scene \| gavel \| hero \| judge \| justice \| lawyer \| leading man \| noble \| parallelism \| reporter \| verdict
Each Dawn I Die (1939)	Frank	0:08:23 - Frank and Joyce embrace	appoggiatura \| courtroom \| courtroom scene \| embracing \| girlfriend \| handcuffs \| hero \| leading man \| mother \| reporter \| reverse picardy \| tender
The FBI Story (1959)	FBI March A	0:04:33 - Film title, main cast	bold \| cast list \| FBI \| heroic \| main title \| march
The FBI Story (1959)	Lucy A (Romantic)	0:32:05 - Lucy tells Chip he can stay in the FBI	flashback \| heroine \| romance
The FBI Story (1959)	Lucy A (Walking)	0:37:12 - Lucy walks down the street with her children	child \| flashback \| heroine \| mother \| street
The FBI Story (1959)	Lucy A (Tender)	0:49:14 - Chip and Lucy talk at home	embrace \| flashback \| heroine \| kissing \| romance
The FBI Story (1959)	FBI March A (Fanfare)	0:56:18 - Chip walks out the door	FBI \| flashback \| hero \| march
The FBI Story (1959)	Lucy A (Dark)	1:07:29 - Lucy says that she thinks FBI agents carrying guns is a bad thing	Christmas \| dark \| flashback \| heroine
The FBI Story (1959)	Lucy A (Family)	1:25:22 - Lucy talks with her mother while hiding Easter eggs	Easter \| eggs \| flashback \| heroine \| spring
The FBI Story (1959)	Lucy A (Con Moto)	1:27:53 - Lucy and the kids drive to meet with Chip	flashback \| heroine \| sentimental
The FBI Story (1959)	Lucy A (Peaceful)	1:29:21 - Lucy reads a love letter from Chip	flashback \| heroine \| letter \| sentimental
The FBI Story (1959)	Lucy sits	1:30:40 - Lucy defiantly puts her feet up on the couch	comical \| couch \| feet \| flashback \| heroine \| mickey-mousing \| sitting
The FBI Story (1959)	Time Bomb 3	1:59:10 - Mario sets two time bombs then climbs uphill out of the way	bomb \| climbing \| flashback \| hero \| machine \| mickey-mousing \| suspense \| ticking \| time bomb \| uphill
The FBI Story (1959)	Mario	2:00:16 - Mario rises above the hill and is shot	death \| flashback \| gun \| hero
The FBI Story (1959)	Mario (Death)	2:00:33 - Mario's body falls into the river	death \| descending tetrachord \| flashback \| hero
The FBI Story (1959)	Lucy A (Tragico)	2:06:03 - Chip and Lucy mourn together	crying \| flashback \| heroine \| mourning \| weeping
The FBI Story (1959)	Lucy A (Waltz)	2:27:29 - Chip meets his family and they go for a drive	heroine \| joyful \| playful
Hell on Frisco Bay (1955)	Steve	1:36:31 - Steve surfaces	dock \| gentle \| heroic \| inspector \| leading man \| resolution from here on? \| swimming
Hell on Frisco Bay (1955)	Steve	1:37:30 - Steve gets off the boat	arriving \| boat \| bold \| dock \| gangster \| heroic \| inspector \| leading man \| police
Illegal (1955)	Scott (Arriving)	0:01:48 - Mr. Scott and his crew get out of their car at the courthouse	courthouse \| hero
Illegal (1955)	Justice	0:02:19 - Mr. Scott and his crew ascend the steps to the courthouse	courthouse \| hero \| justice \| law
Illegal (1955)	Ellen	0:06:21 - Vic and Ellen talk about the case and marriage	hero \| heroine \| lunch \| marriage \| restaurant
Illegal (1955)	Scott (Phone Call)	0:09:27 - Doctor says that man will die before morning	death \| hero \| hospital \| stinger \| telephone
Illegal (1955)	Scott (Dark)	0:10:53 - Vic reacts to the news that Clary has been killed	death \| hero \| shock \| surprise \| telephone
Illegal (1955)	Scott	0:16:41 - People refuse Vic's legal services	hero \| restaurant
Illegal (1955)	Scott (Rubato)	0:17:04 - Vic talks to reporter at the bar	drinking \| hero \| reporter \| restaurant
Illegal (1955)	Ellen 2	0:19:05 - Vic talks to Ellen	drunk \| hero \| heroine
Illegal (1955)	Ellen (Tenderly)	0:19:29 - Vic tells Ellen to marry Ray	drunk \| hero \| heroine
Illegal (1955)	Underscoring (Dark)	0:20:03 - Newspaper headline about Clary's mother	bar \| drunk \| hero
Illegal (1955)	Ellen (Sentimental)	0:25:06 - Ray proposes marriage to Ellen	heroine \| marriage \| proposal \| restaurant
Illegal (1955)	Ellen (Chromatic)	0:28:04 - Ellen disingenuously tells Vic that she and Ray are getting married	heroine \| marriage
Illegal (1955)	Ellen (Triste)	0:28:26 - Ellen and Ray leave Vic in the courtroom	heroine
Illegal (1955)	Scott (Transition)	0:28:50 - Scott working in his office	hero \| transition
Illegal (1955)	Embezzler	0:33:22 - Vic decides to help the embezzler	hero \| money \| violence
Illegal (1955)	Frank Garland	0:37:03 - Vic mentions Frank Garland's name	blackmail \| hero
Illegal (1955)	Scott (Blackmail)	0:37:24 - Man leaves office	blackmail \| hero
Illegal (1955)	Scott (Chromatic)	0:37:48 - Vic tells embezzler to leave town	dark \| hero
Illegal (1955)	Ellen (Giocoso)	0:38:24 - Vic says he has the money for a wedding present for Ellen	gift \| hero \| marriage
Illegal (1955)	Police Car (Con Moto)	0:38:36 - Vic walks towards the courthouse	hero \| rushing
Illegal (1955)	Scott (Slow)	0:38:47 - Vic enters his old office	hero \| office
Illegal (1955)	Frank Garland (Ominous)	0:41:59 - Vic talks to tough guy in lobby	dark \| hero \| underscoring
Illegal (1955)	Menace	0:42:19 - Vic sees Andy's gun	gun \| hero \| menacing \| tritone
Illegal (1955)	Scott (Forceful)	0:45:46 - Vic refuses Garland's deal	hero \| menacing
Illegal (1955)	Scott (Triumph)	0:50:37 - Judge calls for a recess and Vic packs up his things	hero
Illegal (1955)	Ellen (Worried)	0:51:06 - Close up of Ellen's face after she talked to Vic	heroine \| love
Illegal (1955)	In a Hurry	0:52:15 - Vic walks quickly through the streets with two men	crescendo \| hero \| rushing \| tense \| trills
Illegal (1955)	Ellen (Tragic)	0:57:22 - Ellen confronts Vic about how he changed	hero \| heroine
Illegal (1955)	Ellen B	0:57:58 - Ellen confronts Vic about how he changed	hero \| heroine
Illegal (1955)	Ellen (Very Slow)	0:58:19 - Ellen confronts Vic about how he changed	hero \| heroine
Illegal (1955)	Ellen (Disturbed)	0:58:26 - Ellen leaves Vic's office	hero \| heroine
Illegal (1955)	Underscoring (Dramatic)	1:07:30 - Ray and Ellen struggle at the window	gun \| gunshot \| heroine
Illegal (1955)	Ellen Falls	1:07:35 - Ray pushes Ellen down	falling \| heroine \| mickey-mousing
Illegal (1955)	Ellen raises gun	1:07:42 - Ellen raises gun to defend herself	gun \| heroine \| mickey-mousing \| tense
Illegal (1955)	Ellen (Dark)	1:07:50 - Ellen in jail	dark \| heroine \| prison \| sad
Illegal (1955)	Ellen (Triste)	1:10:23 - Ellen is overcome with emotion	crying \| emotional \| heroine
Illegal (1955)	Frank Garland (Ominous)	1:12:28 - Vic talks with Andy	dark \| hero \| underscoring
Illegal (1955)	Scott (Ominous)	1:13:42 - Vic talks to Frank in the back of his car	hero \| villain
Illegal (1955)	Double Stinger	1:14:04 - Frank gives Vic a veiled threat	hero \| stinger \| villain
Illegal (1955)	Ellen (Lonely)	1:17:33 - Ellen and Vic talk during court recess	courtroom \| hero \| heroine \| trial
Illegal (1955)	Underscoring (Dramatic)	1:17:50 - Vic and Hinkel gather together some papers	dramatic \| hero \| tense \| underscoring
Illegal (1955)	Frank Garland (Ominous)	1:20:57 - Frank threatens Vic	hero \| stinger \| threat \| villain
Illegal (1955)	Vic gets shot	1:23:46 - Andy shoots Vic	gun \| gunshot \| hero \| mickey-mousing \| stinger
Illegal (1955)	Vic collapses	1:26:17 - Vic clutches his side and falls to the floor	courtroom \| death \| hero \| mickey-mousing
Illegal (1955)	Ellen (The End)	1:26:30 - The case is dimissed and there is a happy ending	courtroom \| hero \| heroine
The Informer (1935)	The Wearin' o' the Green	0:07:32 - Frankie looks at reward poster with his picture on it	64 chord \| dark \| establish character \| folk song \| hero \| Irish \| marching \| mickey-mousing \| mysterious \| source music \| street \| thinking
The Informer (1935)	Running and hiding	0:07:54 - Frankie runs and hides in the shadows	chromatic scale \| establish character \| familiar tune \| folk song \| hero \| hiding \| mickey-mousing \| running \| soldier \| street \| tense
The Informer (1935)	Running (Not in Film)	NIF - not in film	chromatic scale \| establish character \| hero \| mickey-mousing \| running \| street
The Informer (1935)	The Wearin' o' the Green (Mysterious)	0:08:57 - Frankie enters the Dunboy house to join the rebels	arriving \| diminished 7th chord \| dissonant bass \| establish character \| familiar tune \| folk song \| hero \| Irish \| leading man \| mysterious \| parallelism \| room \| street \| tense
The Informer (1935)	The Irish Washerwoman (Pub) + Blood Money + The Wearin' o' the Green + The Informer	0:44:52 - People celebrate in the pub	advance plot \| antagonist \| bar \| chaotic \| chromatic scale \| close-up \| combination of themes \| crowd \| dark \| dissonant bass \| excited \| familiar tune \| folk song \| foreign key modulation \| happy \| heroic \| Irish \| layering \| leading man \| mob \| mobbing \| octatonic \| parallelism \| pedal tone \| polytonality \| rebel \| serving \| source to score \| spying \| tense \| whole-tone \| yelling \| zoom in
The Informer (1935)	Dan and Mary	0:55:53 - Dan and Mary talk alone	ABA structure \| chromatic parallelism \| deceptive resolution \| diminished 7th chord \| dissonant bass \| embracing \| half-diminished 7th chord \| hero \| love interest \| love scene \| love theme \| mode mixture \| passionate \| pedal tone \| romantic \| room
The Informer (1935)	The Informer (Dan Talking)	0:56:57 - Dan and Mary talk about an informer	conversing \| hero \| love interest \| love scene \| mysterious \| room \| walking bass
The Informer (1935)	The Wearin' o' the Green (Somber)	0:57:08 - Dan and Mary talk about the rebel organization	64 chord \| conversing \| diminished 7th chord \| familiar tune \| folk song \| hero \| heroic \| love interest \| love scene \| room \| tense
The Informer (1935)	The Informer (Pedal Tone)	0:57:34 - Dan and Mary talk about Gypo	conversing \| hero \| love interest \| love scene \| mysterious \| room
The Informer (1935)	The Wearin' o' the Green (Fragment)	0:57:42 - Dan and Mary talk about a rebel meeting	conversing \| familiar tune \| folk song \| hero \| love interest \| love scene \| room \| sentimental
The Informer (1935)	Dan and Mary (Dolce)	0:57:51 - Dan tells Mary: "I'll come back for you"	11th chord \| common-tone diminished 7th \| crying \| dissonant bass \| embracing \| hero \| love interest \| love scene \| love theme \| mode mixture \| romantic \| room
The Informer (1935)	Dan and Mary (Descending)	1:05:08 - Mary enters, looking for Dan	chromatic sequence \| courtroom scene \| dissonant bass \| down \| headquarters \| hero \| love interest \| love theme \| mickey-mousing \| romantic \| stairs \| street \| suspect \| walking
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
Key Largo (1948)	McCloud	0:11:41 - Nora talks about her husband George	conversing \| establish character \| heroic \| hotel \| leading lady \| leading man \| memorializing \| noble
Key Largo (1948)	McCloud (Noble)	0:14:28 - Frank talks about George and the war	advance plot \| death \| father \| heroic \| hotel \| leading lady \| leading man \| memory \| noble \| remembering \| storytelling \| war
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)	McCloud (Noble)	0:21:22 - Nora and Frank talk about her life	advance plot \| heroic \| hotel \| leading lady \| leading man \| memory \| noble \| remembering \| storytelling
The Letter (1940)	Runners	0:05:14 - Workers run through jungle	action scene \| chromatic parallelism \| dramatic \| heroic \| jungle \| running \| sequential modulation \| servant \| tense
Lightning Strikes Twice (1951)	Shelly	0:07:42 - Shelly wakes up	heroine \| mickey-mousing \| waking up
Lightning Strikes Twice (1951)	Shelly (Traveling 1)	0:10:13 - Shelly drives through desert	bright \| car \| desert \| driving \| heroine \| map \| mickey-mousing \| montage \| sunny \| traveling \| wheel
Lightning Strikes Twice (1951)	Shelly (Concerned)	0:18:30 - Shelly goes to a room to sleep	concerned \| heroine \| tense
Lightning Strikes Twice (1951)	Shelly (Lonely)	0:18:41 - Shelly gets ready for bed	concerned \| heroine \| worry
Lightning Strikes Twice (1951)	Shelly 2	0:18:48 - Shelly gets ready for bed	concerned \| heroine \| worry
Lightning Strikes Twice (1951)	Shelly (Misterioso)	0:19:14 - Shelly gets ready for bed	concerned \| heroine \| thoughtful \| worry
Lightning Strikes Twice (1951)	Shelly 2 (Dolce)	0:24:34 - Shelly walks around Tumblewood Ranch	calm \| freedom \| heroine \| ranch
Lightning Strikes Twice (1951)	Trev (Appassionato)	0:38:59 - Trev enters the store and everyone notices him	combination of themes \| hero \| romance \| store
Lightning Strikes Twice (1951)	Trev + Shelly	0:39:51 - Shelly watches as Trev leaves the store	combination of themes \| hero \| heroine \| store
Lightning Strikes Twice (1951)	Shelly (Running)	0:39:58 - Shelly looks for Trev then walks off with Liza	agitated \| heroine \| searching \| walking
Lightning Strikes Twice (1951)	Trev (Ethereal)	0:40:26 - Shelly and Liza look in the glass shop windows	glass \| heroine \| mysterious \| underscoring
Lightning Strikes Twice (1951)	Shelly (Gallop 1)	0:40:52 - Shelly riding on a horse	galloping \| heroine \| horse
Lightning Strikes Twice (1951)	Shelly (Dolce)	0:41:00 - Shelly walks over to meet with Pedro	calm \| heroine \| ranch
Lightning Strikes Twice (1951)	Shelly 3 (Tenderly)	0:41:54 - Pedro learns Shelly is friends with Trev and helps her find him	heroine
Lightning Strikes Twice (1951)	Shelly (Gallop 2)	0:42:19 - Shelly gallops out to where Trev is	galloping \| heroine \| horse
Lightning Strikes Twice (1951)	Shelly (Western)	0:42:32 - Shelly dismounts her horse and goes to find Trev	heroine
Lightning Strikes Twice (1951)	Shelly (Courageous)	0:43:13 - Shelly speaks with Trev	heroine \| romance
Lightning Strikes Twice (1951)	Shelly 2 (Helpful)	0:43:44 - Shelly speaks with Trev	hero \| heroine
Lightning Strikes Twice (1951)	Shelly (Aspiring)	0:44:07 - Shelly tells Trev she believes he is innocent	hero \| heroine \| romance
Lightning Strikes Twice (1951)	Underscoring (Tense)	0:44:51 - Trev questions Shelly about her belief in him	hero \| heroine \| suspense \| tense \| underscoring
Lightning Strikes Twice (1951)	Shelly 3 (Taken Aback)	0:45:08 - Trev wants his case kept closed	hero \| heroine
Lightning Strikes Twice (1951)	Shelly (Menacing)	0:45:23 - Trev alludes that he could kill Shelly	hero \| heroine \| menacing
Lightning Strikes Twice (1951)	Shelly (Romantic)	0:45:51 - Shelly says that she can prove Trev didn't kill his wife	hero \| heroine \| romance \| underscoring
Lightning Strikes Twice (1951)	Trev (Stumbling)	0:46:03 - Shelly starts back along path	cliff \| heroine \| stumbling
Lightning Strikes Twice (1951)	Underscoring (Tense)	0:46:12 - Shelly is scared and can't move	cliff \| fear \| heights \| heroine
Lightning Strikes Twice (1951)	Trev (Heroic)	0:46:33 - Trev climbs to help Shelly	climbing \| danger \| hero \| rescue \| romance
Lightning Strikes Twice (1951)	Trev + Shelly	0:47:16 - Trev helps Shelly climb to safety	cliff \| combination of themes \| danger \| hero \| heroine \| resue \| romance
Lightning Strikes Twice (1951)	Shelly (Tense)	0:47:28 - Trev helps Shelly climb to safety	cliff \| danger \| hero \| heroine
Lightning Strikes Twice (1951)	Rescue	0:47:42 - Trev helps Shelly climb to safety	hero \| heroine \| rescue
Lightning Strikes Twice (1951)	Shelly 3 (Love)	0:47:56 - Trev and Shelly kiss, then she continues on alone	hero \| heroine \| hugging \| kissing \| romance
Lightning Strikes Twice (1951)	Shelly (Packing Up)	0:48:29 - Shelly packs her bags	gentle \| heroine \| luggage \| packing
Lightning Strikes Twice (1951)	Menace (Dark)	0:50:38 - Shelly leaves the ranch house and goes to the car	heroine \| leaving
Lightning Strikes Twice (1951)	Shelly (Traveling 2)	0:51:09 - Shelly drives away from the Tumble Moon ranch	driving \| heroine \| traveling
Lightning Strikes Twice (1951)	Shelly 2 (Dolce)	0:51:36 - Shelly arrives at the Nolan ranch	heroine \| ranch
Lightning Strikes Twice (1951)	Shelly 3 (Somber)	0:52:14 - Shelly sees Trev's portrait on the wall	heroine \| portrait
Lightning Strikes Twice (1951)	Underneath a Western Sky	0:56:48 - Shelly and Myra talk at an outdoor dinner	accordion \| campfire \| heroine \| on-screen music
Lightning Strikes Twice (1951)	Too Much Love	0:59:02 - Shelly looks at Trev's portrait	heroine \| party \| portrait \| source music
Lightning Strikes Twice (1951)	Shelly (Worried)	1:03:05 - Shelly gets out of the car	car \| concerned \| heroine
Lightning Strikes Twice (1951)	Shelly (Anxious)	1:03:34 - Shelly runs away and into Trev	hero \| heroine
Lightning Strikes Twice (1951)	Emotion	1:05:10 - Shelly cries	crying \| hero \| heroine
Lightning Strikes Twice (1951)	Prison	1:05:38 - Trev tells Shelly of a recurring dream	hero \| heroine
Lightning Strikes Twice (1951)	Menace (Prison)	1:05:54 - Trev tells Shelly of how she brought him peace	hero \| heroine
Lightning Strikes Twice (1951)	Trev (Love)	1:06:09 - Trev tells Shelly that he is in love with her	hero \| heroine \| love \| romance
Lightning Strikes Twice (1951)	Shelly 3 (Tenderly)	1:06:50 - Trev and Shelly embrace and kiss	hero \| heroine \| hugging \| kissing \| love \| romance
Lightning Strikes Twice (1951)	Shelly 3 (Excited)	1:07:09 - Trev and Shelly kiss in the car then get out to	hero \| heroine \| kissing \| love \| romance
Lightning Strikes Twice (1951)	Shelly 3 (Tranquillo)	1:07:22 - Trev and Shelly talk outside the ranch	hero \| heroine \| love \| romance
Lightning Strikes Twice (1951)	Shelly (Expressivo)	1:07:58 - Trev and Shelly kiss	hero \| heroine \| love \| romance
Lightning Strikes Twice (1951)	Shelly 3 (Tense)	1:09:40 - Shelly and Myra talk	heroine
Lightning Strikes Twice (1951)	Concern	1:10:03 - Shelly learns that Liza loves Trev	concerned \| heroine
Lightning Strikes Twice (1951)	Shelly 3 (Meno)	1:16:52 - Shelly's concerns are alleviated	happy \| heroine \| peace
Lightning Strikes Twice (1951)	Shelly (Grazioso)	1:17:01 - Shelly talks about her acting history and mentions that she got tired of getting murdered every night	happy \| heroine \| peace
Lightning Strikes Twice (1951)	Underscoring (Somber)	1:17:15 - Trev's eyes go wild as she mentions murder	angry \| hero
Lightning Strikes Twice (1951)	Shelly 3 (Tenderly)	1:17:31 - Trev says that they are going to have to forget their past	hero \| heroine \| romance
Lightning Strikes Twice (1951)	Shelly 3	1:17:51 - Shelly gets ready for bed	heroine \| romance \| undressing
Lightning Strikes Twice (1951)	Menace (Brooding)	1:18:00 - Shelly begins to remember things people have said about Trev	concerned \| danger \| heroine \| worry
Lightning Strikes Twice (1951)	Mournful	1:18:16 - Shelly worries for her life	concerned \| danger \| heroine \| worry
Lightning Strikes Twice (1951)	Menace (Sinister)	1:18:21 - It looks like Trev is going to attack Shelly	concerned \| danger \| heroine \| worry
Lightning Strikes Twice (1951)	Mournful (Scared)	1:18:41 - Spider crawls across the bed while Trev tries to kill it; Trev tries to calm Shelly	concerned \| danger \| heroine \| worry
Lightning Strikes Twice (1951)	Shelly (Afraid)	1:18:52 - Shelly says she is afraid of Trev	concerned \| danger \| heroine \| worry
Lightning Strikes Twice (1951)	Fear	1:19:02 - Shelly flees from Trev in fear	concerned \| danger \| heroine \| stinger \| worry
Lightning Strikes Twice (1951)	Shelly (Fleeing)	1:19:17 - Shelly flees from Trev as he tries to open the door	concerned \| danger \| heroine \| worry
Lightning Strikes Twice (1951)	Shelly (Escaping)	1:19:32 - Shelly runs to the car and drives away	concerned \| danger \| driving \| heroine \| running \| worry
Lightning Strikes Twice (1951)	Trev Runs 1	1:26:47 - Trev runs after Liza	hero \| running
Lightning Strikes Twice (1951)	Trev Runs 2	1:27:01 - Trev runs after Liza	hero \| mickey-mousing \| running
Lightning Strikes Twice (1951)	Shelly 3 (Triumph)	1:29:33 - Trev and Shelly drive away together	hero \| heroine \| peace
Lightning Strikes Twice (1951)	Shelly (The End)	1:30:00 - Trev and Shelly drive away together	hero \| heroine \| peace
Mildred Pierce (1945)	Mildred (Pier)	0:02:15 - Santa Monica pier at night	chromatic parallelism \| dock \| establish character \| fragmentation \| heroine \| leading lady \| mickey-mousing \| pedal tone \| pondering \| sequence \| somber \| walking \| water \| wave
Mildred Pierce (1945)	Mildred (Tragic)	0:02:42 - Mildred walks out onto the dock	altered dominant \| dock \| establish character \| half-diminished 7th chord \| heroine \| leading lady \| mickey-mousing \| pondering \| sequence \| somber \| suicide \| tragic \| water \| wave
Mildred Pierce (1945)	Waves rumbling	0:03:15 - Policeman convinces Mildred not to jump	conversing \| dock \| establish character \| heroine \| leading lady \| mickey-mousing \| police \| somber \| suicide \| water \| wave
Mildred Pierce (1945)	You Must Have Been a Beautiful Baby	0:03:59 - Wally sees Mildred from the window	conversing \| establish character \| familiar tune \| friend \| heroine \| jazz \| leading lady \| on-screen music \| restaurant \| source music \| upbeat
Mildred Pierce (1945)	Mildred (Sehr Dramatic)	0:12:06 - Mildred arrives home	advance plot \| arriving \| chromatic scale \| chromatic sequence \| dark \| daughter \| diminished 7th chord \| dramatic \| half-diminished 7th chord \| heroine \| imitation \| leading lady \| street \| tense \| tritone \| worrying
Mildred Pierce (1945)	Mildred (Ominous)	0:12:43 - The detectives talk to Mildred	advance plot \| chromatic sequence \| conversing \| dark \| detective \| fragmentation \| heroine \| imitation \| leading lady \| ominous \| room
Mildred Pierce (1945)	Underscoring (Tense)	0:13:03 - Mildred leaves with the detectives	advance plot \| conversing \| detective \| foreign key modulation \| heroine \| leading lady \| murder \| street \| tense \| underscoring
Mildred Pierce (1945)	Hall of Justice	0:13:35 - The Los Angeles Hall of Justice	advance plot \| arriving \| bold \| detective \| entering \| heroine \| justice \| leading lady \| parallelism \| pedal tone \| police \| police station \| walking
Mildred Pierce (1945)	Mildred sits	0:14:11 - Mildred sits down	advance plot \| heroine \| leading lady \| mickey-mousing \| mysterious \| police station \| sitting
Mildred Pierce (1945)	Drink to Me Only With Thine Eyes	0:16:07 - Cop whistles to himself	advance plot \| detective \| familiar tune \| heroine \| leading lady \| on-screen music \| police \| police station \| source music \| tense \| ticking \| whistling
Mildred Pierce (1945)	Flashback starts	0:20:16 - Flashback to the past	double exposure \| establish character \| flashback \| gentle \| heroine \| leading lady \| mickey-mousing \| street
Mildred Pierce (1945)	Bert	0:20:18 - Bert comes home	9th chord \| added-note chord \| arriving \| common-chord modulation \| cooking \| establish character \| flashback \| gentle \| heroine \| husband \| leading lady \| mode mixture \| room \| self-borrowing \| street
Mildred Pierce (1945)	Bert (Triste)	0:24:26 - Bert and Mildred separate	augmented sixth chord \| breaking up \| crying \| establish character \| fragmentation \| heroine \| husband \| leading lady \| leaving \| Neapolitan \| pedal tone \| room \| somber
Mildred Pierce (1945)	Waltz Brillante	0:26:39 - Veda plays the piano	advance plot \| child \| classical music \| conversing \| dancing \| familiar tune \| gentle \| heroine \| leading lady \| on-screen music \| parallel period \| playing \| room \| source music \| waltz
Mildred Pierce (1945)	Waltz Brillante	0:27:21 - Veda plays the piano	advance plot \| child \| classical music \| conversing \| familiar tune \| gentle \| heroine \| leading lady \| on-screen music \| playing \| room \| source music \| waltz
Mildred Pierce (1945)	Kay and Veda (Ashamed)	0:28:13 - Mildred overhears Veda complaining about her new dress	advance plot \| child \| heroine \| leading lady \| Neapolitan \| room \| sigh gesture \| somber \| watching
Mildred Pierce (1945)	Mildred (Lonely)	0:28:20 - Mildred looks through her desk	advance plot \| bill \| flashback \| foreign key modulation \| gun \| heroine \| leading lady \| lonely \| mode mixture \| photograph \| room \| somber \| voice-over \| writing
Mildred Pierce (1945)	Mildred (Tense)	0:28:43 - Mildred goes to open the door	advance plot \| fragmentation \| heroine \| leading lady \| pedal tone \| room \| tense \| walking
Mildred Pierce (1945)	Mildred (Delicate)	0:32:04 - Mildred walks up the stairs	advance plot \| gentle \| heroine \| leading lady \| parallelism \| pedal tone \| room \| up \| walking
Mildred Pierce (1945)	Kay and Veda (Dolce)	0:32:13 - Mildred and Veda talk about Kay	added-note chord \| advance plot \| child \| conversing \| heroine \| leading lady \| mode mixture \| room \| sleeping \| sweet
Mildred Pierce (1945)	Kay and Veda (Coy)	0:32:32 - Veda talks to her mother	advance plot \| child \| chromatic parallelism \| conversing \| heroine \| leading lady \| parallelism \| room \| sleeping \| uneasy
Mildred Pierce (1945)	Mildred (Waltz Fantasy)	0:32:38 - Veda fantasizes about her mother marrying Wally	9th chord \| advance plot \| appoggiatura \| child \| chromatic parallelism \| dreaming \| fantasy \| greed \| heroine \| leading lady \| room \| uneasy
Mildred Pierce (1945)	Mildred (Dark)	0:32:58 - Mildred scolds Veda	advance plot \| child \| dark \| heroine \| leading lady \| room \| scolding
Mildred Pierce (1945)	Kay and Veda (Deception)	0:33:08 - Veda lies to her mother	64 chord \| advance plot \| child \| chromatic parallelism \| deceiving \| deception \| heroine \| leading lady \| room \| selfishness \| unstable \| whole-tone
Mildred Pierce (1945)	Mildred (Risoluto)	0:33:23 - Mildred resolves to give her daughter nice things	64 chord \| advance plot \| child \| determined \| heroic \| heroine \| leading lady \| noble \| promising \| resolved \| room
Mildred Pierce (1945)	Kay and Veda (Dolce Foxtrot)	0:33:37 - Mildred puts Veda to bed	64 chord \| added-note chord \| advance plot \| child \| chromatic parallelism \| dark \| heroine \| leading lady \| mode mixture \| optimistic \| promising \| room \| tragic
Mildred Pierce (1945)	Mildred (Desperate)	0:34:05 - Mildred looks for a job	applying \| depressed \| enharmonic reinterpretation \| foreign key modulation \| heroine \| leading lady \| montage \| searching \| street \| voice-over \| walking
Mildred Pierce (1945)	Work	0:36:12 - Mildred works as a waitress	64 chord \| added-note chord \| altered dominant \| chromatic mediant \| chromatic sequence \| common-chord modulation \| foreign key modulation \| hectic \| heroine \| leading lady \| montage \| restaurant \| rushing \| self-borrowing \| sequential modulation \| serving \| upbeat \| voice-over \| waitress \| working
Mildred Pierce (1945)	Mildred (Hopeful)	0:36:42 - Mildred bakes some pies	cooking \| heroine \| hopeful \| kitchen \| leading lady \| montage \| optimistic \| restaurant \| success \| voice-over \| waitress \| working
Mildred Pierce (1945)	The Maid	0:36:57 - Mildred's maid in the kitchen	9th chord \| advance plot \| comical \| conversing \| cooking \| heroine \| kitchen \| leading lady \| maid \| sequence \| working
Mildred Pierce (1945)	Work (Singing Lesson)	0:37:17 - Veda sings	added-note chord \| child \| double exposure \| heroine \| leading lady \| montage \| on-screen music \| room \| scored source music \| self-borrowing \| singing \| upbeat \| voice-over \| working
Mildred Pierce (1945)	Ballet Lesson	0:37:25 - Kay dances	9th chord \| 11th chord \| ballet \| child \| dancing \| double exposure \| graceful \| heroine \| leading lady \| montage \| pleasant \| room \| voice-over
Mildred Pierce (1945)	South American Way	0:37:36 - Veda sings and plays while Kay dances	child \| dancing \| heroine \| leading lady \| music scene \| on-screen music \| playing \| popular music \| room \| sequence \| singing \| source music \| upbeat
Mildred Pierce (1945)	Mazurka in B-Flat Major (Tense)	0:38:47 - Veda plays a Chopin Mazurka	arguing \| child \| classical music \| common-tone diminished 7th \| conflict \| familiar tune \| half-diminished 7th chord \| heroine \| leading lady \| on-screen music \| playing \| quotation \| room \| scored source music \| source music \| tense \| upbeat \| waltz
Mildred Pierce (1945)	Secret Revealed	0:39:10 - Mildred argues with Veda	angry \| arguing \| child \| chromatic parallelism \| chromatic scale \| chromatic wedge \| conflict \| harsh \| heroine \| leading lady \| linear chromaticism \| octatonic chord \| room \| tense
Mildred Pierce (1945)	Mildred (Appassionato)	0:39:22 - Mildred argues with Veda	angry \| arguing \| child \| chromatic scale \| conflict \| foreign key modulation \| heroine \| leading lady \| raising \| room \| standing \| tense \| whole-tone scale
Mildred Pierce (1945)	Mildred raises Veda	0:39:22 - Mildred lifts her daughter up by the arm	angry \| arguing \| child \| conflict \| heroine \| leading lady \| mickey-mousing \| raising \| room \| standing \| tense \| whole-tone scale
Mildred Pierce (1945)	Mildred B (Angry)	0:39:30 - Mildred argues with Veda	11th chord \| angry \| arguing \| child \| conflict \| fragmentation \| heroine \| leading lady \| room \| slapping \| tense
Mildred Pierce (1945)	Mildred (Regretful)	0:39:37 - Mildred regrets slapping Veda	apologizing \| child \| chromatic mediant \| conflict \| foreign key modulation \| heroine \| hopeful \| leading lady \| mode mixture \| Neapolitan \| regretting \| room \| somber \| tritone
Mildred Pierce (1945)	Kay and Veda (Hopeful)	0:40:09 - Veda asks if they are going to be rich	child \| conflict \| foreign key modulation \| greed \| heroine \| hopeful \| leading lady \| room
Mildred Pierce (1945)	Work (Excited)	0:42:35 - Mildred and Wally leave	9th chord \| added-note chord \| excited \| excitement \| friend \| heroine \| leading lady \| leaving \| room \| self-borrowing \| shadow \| transition \| work
Mildred Pierce (1945)	Beach House	0:42:49 - Mildred and Wally drive up to the beach house	9th chord \| arriving \| beach house \| driving \| friend \| heroine \| leading lady \| ocean \| peaceful \| transition \| water \| wave
Mildred Pierce (1945)	Walking	0:42:58 - Mildred and Wally walk to the house	added-note chord \| arriving \| beach house \| excited \| friend \| heroine \| leading lady \| mickey-mousing \| ocean \| parallelism \| transition \| walking
Mildred Pierce (1945)	Bert (Sentimentale)	0:48:03 - Mildred watches her children leave	heroine \| husband \| leading lady \| leaving \| oscillation \| room \| serious \| somber \| thinking \| transition \| whole-tone chord
Mildred Pierce (1945)	Work (Molto Grazioso)	0:48:16 - Mildred works at her restaurant	cheerful \| common-tone diminished 7th \| friend \| heroine \| ladder \| leading lady \| legs \| pedal tone \| restaurant \| self-borrowing \| transition \| working
Mildred Pierce (1945)	First Kiss	0:49:40 - Monte steals a kiss from Mildred	cheerful \| common-tone diminished 7th \| falling in love scene \| friend \| heroine \| kissing \| leading lady \| restaurant \| romance
Mildred Pierce (1945)	Walking	0:49:48 - Driving to the beach house	9th chord \| beach house \| cheerful \| driving \| falling in love scene \| friend \| heroine \| leading lady \| parallelism \| room \| traveling \| walking
Mildred Pierce (1945)	Opens closet	0:49:57 - Mildred slides open a door	9th chord \| cheerful \| falling in love scene \| heroine \| leading lady \| love interest \| mickey-mousing \| opening \| room \| sliding
Mildred Pierce (1945)	Disrobes	0:50:47 - Monte takes off Mildred's robe	beach house \| cheerful \| disrobing \| dissonant bass \| falling \| falling in love scene \| flirting \| heroine \| leading lady \| love interest \| mickey-mousing \| robe
Mildred Pierce (1945)	Bathing Suit	0:50:49 - Monte looks at Mildred in her bathing suit	9th chord \| attraction \| beach house \| cheerful \| dissonant bass \| falling in love scene \| flirting \| foreign key modulation \| heroine \| leading lady \| love interest \| mickey-mousing
Mildred Pierce (1945)	Mildred (Frolicking)	0:51:01 - Mildred runs to the beach	9th chord \| beach \| cheerful \| falling in love scene \| flirting \| foreign key modulation \| frolicking \| heroine \| jaunty \| leading lady \| love interest \| running \| tritone
Mildred Pierce (1945)	Frolicking in the Surf	0:51:05 - Monte and Mildred run to the water	9th chord \| 64 chord \| beach \| falling in love scene \| foreign key modulation \| frolicking \| heroine \| jaunty \| leading lady \| love interest \| mickey-mousing \| playful \| running \| splashing \| swimming \| water \| waves
Mildred Pierce (1945)	Waves	0:51:11 - Waves crash onto the beach	64 chord \| beach \| calm \| falling in love scene \| heroine \| leading lady \| love interest \| mickey-mousing \| rolling \| splashing \| waves
Mildred Pierce (1945)	It Can't Be Wrong	0:51:16 - Monte plays a record for Mildred	AABA structure \| conversing \| heroine \| kissing \| leading lady \| love interest \| love scene \| popular music \| record \| record player \| romantic \| room \| score to source borrowing \| source music
Mildred Pierce (1945)	Kay and Veda (Misterioso)	0:54:01 - Bert tells Mildred that Kay is sick	bad news \| conversing \| dark \| death scene \| distress \| ex-husband \| heroine \| leading lady \| mysterious \| ominous \| stinger \| street \| turning point \| whole-tone scale
Mildred Pierce (1945)	Bert (Dark)	0:54:14 - Bert and Mildred rush off to see Kay	bad news \| conversing \| dark \| death scene \| distress \| ex-husband \| heroine \| leading lady \| leaving \| street \| turning point
Mildred Pierce (1945)	Pneumonia	0:54:25 - A doctor works on Kay	child \| chromatic scale \| dark \| death scene \| doctor \| dying \| ex-husband \| heroine \| illness \| leading lady \| mickey-mousing \| nurse \| oscillation \| patient \| pc set \| room \| sick person \| somber \| tense \| treating \| turning point \| waiting \| watching
Mildred Pierce (1945)	Kay and Veda (Dying)	0:55:05 - Kay's family waits and watches	11th chord \| child \| dark \| death scene \| doctor \| dying \| ex-husband \| heroine \| illness \| leading lady \| nurse \| patient \| room \| sick person \| somber \| tense \| treating \| turning point \| waiting \| watching
Mildred Pierce (1945)	Pneumonia (Dying)	0:55:24 - Kay passes away	9th chord \| child \| chromatic parallelism \| dark \| death \| death scene \| doctor \| dying \| ex-husband \| heroine \| illness \| leading lady \| linear chromaticism \| minor-major 7th chord \| nurse \| oscillation \| patient \| room \| sick person \| somber \| tense \| treating \| turning point \| waiting \| watching
Mildred Pierce (1945)	Mildred (Mourning)	0:56:07 - Mildred mourns Kay's death	9th chord \| augmented sixth chord \| child \| death \| death scene \| doctor \| ex-husband \| heroine \| leading lady \| mourning \| nurse \| patient \| room \| sick person \| somber \| turning point
Mildred Pierce (1945)	Kay and Veda (Tenderly)	0:56:34 - Veda and Mildred mourn for Kay	added-note chord \| calm \| child \| death \| death scene \| ex-husband \| heroine \| hopeful \| leading lady \| mode mixture \| mourning \| plagal cadence \| room \| somber \| turning point
Mildred Pierce (1945)	T'Ain't No Good	0:57:37 - Mildred at the opening of her restaurant	advance plot \| antagonist \| busy \| conversing \| daughter \| dining \| friend \| guest \| heroine \| leading lady \| popular music \| restaurant \| serving \| source music \| upbeat \| working
Mildred Pierce (1945)	While You're Away	0:59:47 - Monte arrives at the restaurant	ABAC structure \| advance plot \| antagonist \| busy \| conversing \| daughter \| dining \| friend \| guest \| heroine \| leading lady \| love interest \| parallel double period \| popular music \| restaurant \| serving \| source music \| upbeat \| working
Mildred Pierce (1945)	Please Think of Me	1:01:54 - Monte dances with Veda	antagonist \| celebrating \| dance scene \| dancing \| daughter \| friend \| heroine \| jukebox \| leading lady \| love interest \| on-screen music \| popular music \| restaurant \| singing \| source music \| upbeat
Mildred Pierce (1945)	Mildred (Sorrow)	1:03:41 - Monte asks about Kay	advance plot \| conversing \| heroine \| leading lady \| love interest \| minor-major 7th chord \| mode mixture \| restaurant \| somber
Mildred Pierce (1945)	It Can't Be Wrong (Romantic)	1:04:11 - Monte kisses Mildred	advance plot \| chromatic mediant \| door \| ex-husband \| familiar tune \| foreign key modulation \| heroine \| interrupting \| kissing \| leading lady \| love interest \| mode mixture \| popular music \| restaurant \| romantic \| slamming \| source to score \| stinger
Mildred Pierce (1945)	It Can't Be Wrong (Troubled)	1:04:30 - Bert interrupts Mildred and Monte's kiss	advance plot \| conversing \| dark \| ex-husband \| familiar tune \| heroine \| leading lady \| love interest \| popular music \| restaurant \| source to score \| suspension \| tense \| troubled
Mildred Pierce (1945)	Bert (Regretful)	1:04:43 - Bert tells Mildred about the divorce	9th chord \| advance plot \| chromatic mediant \| common-chord modulation \| conversing \| divorce \| ex-husband \| heroine \| leading lady \| love interest \| regretting \| restaurant \| somber
Mildred Pierce (1945)	Breaks glass	1:05:35 - Bert slaps the glass out of Monte's hand	advance plot \| breaking \| down \| ex-husband \| falling \| glass \| heroine \| leading lady \| love interest \| mickey-mousing \| restaurant \| tense \| throwing \| violence
Mildred Pierce (1945)	It Can't Be Wrong (Uneasy)	1:05:36 - Bert stares angrily at Monte	advance plot \| dark \| ex-husband \| familiar tune \| glaring \| heroine \| leading lady \| leaving \| love interest \| pedal tone \| popular music \| restaurant \| source to score \| tense \| uneasy
Mildred Pierce (1945)	Flashback ends	1:05:49 - Screen wipe back to the present day	advance plot \| flashback \| heroine \| leading lady \| mickey-mousing \| police station \| wipe
Mildred Pierce (1945)	Mildred (Sweepingly)	1:08:09 - Mildred greets customers	happy \| heroine \| leading lady \| montage \| restaurant \| smiling \| voice-over \| working
Mildred Pierce (1945)	French One-Step	1:08:14 - Veda at a polo match	added-note chord \| antagonist \| cheering \| common-tone diminished 7th \| daughter \| field \| heroine \| leading lady \| love interest \| montage \| playing \| polo \| secondary dominant \| sports \| upbeat \| voice-over \| watching
Mildred Pierce (1945)	How Sweet You Are	1:08:28 - Veda dances at a club	ABAB structure \| advance plot \| club \| conversing \| dance music \| dancing \| heroine \| leading lady \| love interest \| on-screen music \| relaxed \| source music
Mildred Pierce (1945)	Kay and Veda (Subtle)	1:09:27 - bill; photograph; gun	advance plot \| augmented sixth chord \| conversing \| friend \| heroine \| leading lady \| mode mixture \| room \| subtle \| voice-over
Mildred Pierce (1945)	Kay and Veda (Excited)	1:13:21 - Veda drives away in her new car	added-note chord \| advance plot \| altered dominant \| car \| child \| deceptive resolution \| driving \| excited \| happy \| heroine \| kissing \| leading lady \| love interest \| room \| running
Mildred Pierce (1945)	Kay and Veda (Sly)	1:13:55 - Mildred tells Monte to not see Veda	arguing \| breakup \| chromatic wedge \| chromatic wedge \| conflict \| disagreement \| heroine \| leading lady \| love interest \| ominous \| room \| sinister \| tense \| whole-tone chord
Mildred Pierce (1945)	Kay and Veda (Troubled)	1:14:06 - Mildred and Monte argue	arguing \| breakup \| chromatic scale \| chromatic sequence \| conflict \| disagreement \| fragmentation \| heroine \| leading lady \| love interest \| ominous \| room \| sinister \| tense \| whole-tone chord \| whole-tone scale
Mildred Pierce (1945)	Mildred (Agitato)	1:14:37 - Mildred and Monte argue	agitated \| arguing \| breakup \| conflict \| distortion \| half-diminished 7th chord \| heroine \| leading lady \| love interest \| room \| tense
Mildred Pierce (1945)	Underscoring (Tense)	1:14:53 - Mildred and Monte argue	9th chord \| added-note chord \| arguing \| bitter \| breakup \| conflict \| deceptive resolution \| heroine \| leading lady \| love interest \| room \| tense \| underscoring
Mildred Pierce (1945)	It Can't Be Wrong (Bitter)	1:15:29 - Mildred writes Monte a check	arguing \| bitter \| breakup \| conflict \| dissonant bass \| familiar tune \| fragmentation \| heroine \| leading lady \| love interest \| mickey-mousing \| popular music \| room \| source to score \| tense
Mildred Pierce (1945)	Closes blinds	1:15:59 - Mildred closes the blinds	blinds \| breakup \| closing \| conflict \| down \| heroine \| leading lady \| mickey-mousing \| room \| somber \| window
Mildred Pierce (1945)	Mildred (Angry)	1:18:21 - Mildred walks out of an argument	9th chord \| aggressive \| angry \| arriving \| chromatic parallelism \| conflict \| heroine \| hurrying \| leading lady \| leaving \| Neapolitan \| room \| walking
Mildred Pierce (1945)	Underscoring (Tense)	1:18:34 - Veda tells her mother she is married	antagonist \| chromatic parallelism \| chromatic wedge \| conflict \| conversing \| daughter \| diminished 7th chord \| friend \| heroine \| leading lady \| oscillation \| reverse stinger \| room \| tense \| underscoring
Mildred Pierce (1945)	Secret Revealed	1:18:59 - Veda talks to her mother	antagonist \| chromatic parallelism \| chromatic scale \| chromatic wedge \| conflict \| conversing \| daughter \| fear \| friend \| heroine \| leading lady \| linear chromaticism \| octatonic chord \| room \| surprise \| tense
Mildred Pierce (1945)	Kay and Veda (Coy)	1:19:11 - Veda talks to her mother	antagonist \| apologizing \| chromatic parallelism \| conflict \| daughter \| friend \| heroine \| leading lady \| room \| tense
Mildred Pierce (1945)	Mildred (Waltz Fantasy)	1:19:18 - Mildred talks to Veda	9th chord \| antagonist \| appoggiatura \| chromatic parallelism \| comforting \| conflict \| daughter \| dream-like \| friend \| heroine \| leading lady \| room \| tense
Mildred Pierce (1945)	Mildred (Tenderly)	1:19:37 - Wally talks about a settlement	antagonist \| chromatic parallelism \| conflict \| conversing \| daughter \| fragmentation \| friend \| heroine \| leading lady \| pedal tone \| room \| tender
Mildred Pierce (1945)	Kay and Veda (Troubled 2)	1:21:34 - Veda looks at the divorce settlement check	antagonist \| blackmail \| chromatic scale \| chromatic sequence \| conflict \| daughter \| fragmentation \| heroine \| laughing \| leading lady \| mickey-mousing \| mocking \| room \| troubled \| ugly \| whole-tone chord
Mildred Pierce (1945)	Kay and Veda (Agitato)	1:22:22 - Veda and her mother argue	agitated \| antagonist \| arguing \| augmented sixth chord \| blackmail \| chromatic sequence \| conflict \| daughter \| fragmentation \| heroine \| leading lady \| room \| tense
Mildred Pierce (1945)	Kay and Veda (Ominous)	1:22:43 - Veda argues with her mother	antagonist \| arguing \| conflict \| dark \| daughter \| heroine \| insulting \| leading lady \| ominous \| room \| ugly
Mildred Pierce (1945)	Mildred (Appassionato)	1:23:00 - Veda expresses her disgust with her mother	angry \| antagonist \| arguing \| chromatic scale \| conflict \| daughter \| foreign key modulation \| heroine \| insulting \| leading lady \| room \| tense
Mildred Pierce (1945)	Mildred B (Angry 2)	1:23:09 - Mildred gets angry at Veda	angry \| antagonist \| arguing \| conflict \| daughter \| fragmentation \| heroine \| insulting \| leading lady \| room \| tense
Mildred Pierce (1945)	Mildred (Vicious)	1:23:21 - Veda insults her mother	angry \| antagonist \| arguing \| chromatic parallelism \| chromatic wedge \| conflict \| daughter \| heroine \| insulting \| leading lady \| reverse stinger \| room \| tense \| whole-tone chord
Mildred Pierce (1945)	Mildred B (Angry)	1:23:38 - Mildred tears up Veda's check	angry \| antagonist \| arguing \| check \| conflict \| daughter \| fighting \| heroine \| leading lady \| pc set \| room \| slapping \| tearing \| tense \| violence \| yelling
Mildred Pierce (1945)	Stunned Reaction	1:23:44 - Mildred is stunned after Veda slaps her	angry \| antagonist \| conflict \| daughter \| dramatic \| heroine \| leading lady \| pc set \| room \| staring \| stunned \| violence
Mildred Pierce (1945)	Mildred (Tragic)	1:24:04 - Veda watches her daughter leave	altered dominant \| angry \| ascending \| conflict \| heroine \| leading lady \| leaving \| mickey-mousing \| octatonic scale \| room \| stern
Mildred Pierce (1945)	Rushing train	1:24:15 - A rushing train	double exposure \| excited \| heroine \| leading lady \| mickey-mousing \| train \| train \| transition \| traveling
Mildred Pierce (1945)	Oceana Roll	1:27:46 - Veda sings at a restaurant	advance plot \| antagonist \| cheerful \| club \| dancing \| daughter \| ex-husband \| heroine \| leading lady \| on-screen music \| playing \| popular music \| singing \| source music
Mildred Pierce (1945)	Sweet Georgia Brown	1:29:05 - Mildred confronts Wally	ABAC structure \| advance plot \| antagonist \| club \| conversing \| daughter \| heroine \| jazz \| leading lady \| on-screen music \| popular music \| source music \| upbeat
Mildred Pierce (1945)	It Had to Be You	1:30:25 - Mildred and Veda talk	ABAC structure \| advance plot \| antagonist \| club \| conversing \| daughter \| heroine \| jazz \| leading lady \| on-screen music \| popular music \| source music \| upbeat
Mildred Pierce (1945)	Work (Montage)	1:34:44 - Montage of Mildred and Monte's marriage	added-note chord \| cheerful \| deceptive resolution \| ex-husband \| glass \| heroine \| leading lady \| love interest \| mickey-mousing \| mode mixture \| montage \| newspaper \| self-borrowing \| shadow
Mildred Pierce (1945)	Glasses clink	1:35:44 - Mildred and Monte clink glasses together	cheerful \| clinking \| glass \| heroine \| leading lady \| love interest \| mickey-mousing \| montage
Mildred Pierce (1945)	Bert (Somber)	1:37:06 - Bert talks with Mildred in her new house	advance plot \| augmented sixth chord \| conversing \| ex-husband \| heroine \| leading lady \| pedal tone \| room \| somber
Mildred Pierce (1945)	Mildred stands and walks to window	1:38:02 - Mildred stands up and goes to the window	advance plot \| delicate \| graceful \| heroine \| leading lady \| mickey-mousing \| peaceful \| rising \| room \| standing \| up \| walking
Mildred Pierce (1945)	Kay and Veda (Returning Home)	1:38:10 - Mildred looks at Veda through the window	advance plot \| chromatic mediant \| conversing \| daughter \| deceptive resolution \| emotional \| foreign key modulation \| happy \| heroine \| leading lady \| loving \| mode mixture \| mother \| room \| warm \| watching
Mildred Pierce (1945)	Mildred (Happy Homecoming)	1:38:50 - Mildred and her daughter embrace	added-note chord \| advance plot \| apologizing \| chromatic mediant \| daughter \| embracing \| foreign key modulation \| forgiveness \| happy \| heroine \| leading lady \| loving \| mode mixture \| mother \| returning \| reuniting \| room \| warm
Mildred Pierce (1945)	Bert (Tenderly)	1:39:33 - Mildred thanks Bert	advance plot \| ex-husband \| gentle \| heroine \| leading lady \| mother \| room \| sweet \| thanking
Mildred Pierce (1945)	It Can't Be Wrong (Molto Misterioso)	1:42:42 - Mildred learns that Monte has betrayed her	9th chord \| bankruptcy \| betrayal \| dark \| familiar tune \| friend \| heroine \| leading lady \| love theme \| memory \| mysterious \| pc set \| popular music \| realizing \| room \| somber \| turning point \| whole-tone chord
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
Mildred Pierce (1945)	Hopes Crushed	1:43:38 - Mildred realizes Monte has left her	chromatic scale \| dark \| dissonant bass \| heroine \| leading lady \| lost hope \| mickey-mousing \| realizing \| room \| tritone \| turning point
Mildred Pierce (1945)	Mildred (Revenge)	1:43:57 - Mildred drives to the beach house	car \| chromatic scale \| common-tone diminished 7th \| dark \| dissonant bass \| dramatic \| driving \| flashback ends \| gun \| heroine \| leading lady \| pc set \| street \| transition
Mildred Pierce (1945)	Mildred (Waltz Fantasy)	1:44:53 - Mildred tells Veda not to confess	9th chord \| appoggiatura \| chromatic parallelism \| detective \| harsh \| heroine \| interrogating \| interrogation \| leading lady \| pleading \| police station
Mildred Pierce (1945)	Mildred (Dark)	1:45:09 - Mildred realizes that she cannot save Veda	crime \| heroine \| interrogating \| interrogation \| police station \| somber
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)	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
Mildred Pierce (1945)	Kay and Veda (Ominous)	1:47:42 - Mildred rushes in to check on Veda	antagonist \| confessing \| dark \| daughter \| heroine \| leading lady \| lying \| murder \| murderer \| murder scene \| ominous \| room
Mildred Pierce (1945)	Mildred B (Angry)	1:48:06 - Veda confesses to Mildred	angry \| antagonist \| confessing \| confession \| daughter \| diminished 7th chord \| fragmentation \| heroine \| leading lady \| lying \| murderer \| murder scene \| pc set \| room \| tense
Mildred Pierce (1945)	Kay and Veda (Troubled)	1:48:22 - Veda pleads for help to escape	antagonist \| begging \| chromatic scale \| confessing \| daughter \| distressed \| fragmentation \| frantic \| heroine \| leading lady \| murderer \| murder scene \| room \| sequence \| whole-tone chord
Mildred Pierce (1945)	Mildred (Ominous)	1:48:41 - Mildred calls the police	antagonist \| begging \| chromatic sequence \| daughter \| fragmentation \| heroine \| imitation \| leading lady \| murderer \| murder scene \| ominous \| room \| tense
Mildred Pierce (1945)	Underscoring (Tense)	1:48:54 - Veda asks her mother not to turn her in	antagonist \| begging \| daughter \| foreign key modulation \| heroine \| leading lady \| murderer \| murder scene \| room \| tense \| underscoring
Mildred Pierce (1945)	Kay and Veda (Returning Home 2)	1:49:17 - Veda convinces her mother to not report her	antagonist \| crying \| daughter \| heroine \| leading lady \| loving \| mode mixture \| mother \| murderer \| murder scene \| reverse picardy \| room \| sacrificing \| tender \| warm
Mildred Pierce (1945)	Kay and Veda (Triste)	1:49:37 - Veda is led out by the police	antagonist \| conversing \| daughter \| defeat \| detective \| heroine \| leading lady \| leaving \| mother \| murderer \| police station \| resigned \| resolution \| sigh gesture \| somber
Mildred Pierce (1945)	Mildred (The End)	1:50:07 - Mildred leaves with Bert	added-note chord \| ex-husband \| heroine \| leading lady \| leaving \| pedal tone \| police station \| resolution \| triumphant
Kid Galahad (1937)	Kid Galahad (Montage)	0:46:47 - Montage of newspaper headlines	64 chord \| advance plot \| appoggiatura \| boxer \| boxing \| boxing ring \| cheering \| chromatic parallelism \| fanfare \| fragmentation \| harmonic sequence \| heroic \| leading man \| montage \| newspaper
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
The Unfaithful (1947)	Attorney	0:42:51 - Close up of sign on the lawyer's door	deceptive resolution \| door \| glorious \| heroic \| law office \| office \| sign \| transition
The Unfaithful (1947)	Unfaithful (Dramatic)	0:44:05 - Chris goes to visit Larry's office	advance plot \| arriving \| fanfare \| heroic \| law office \| leading lady \| mode mixture \| office
The Unfaithful (1947)	Attorney (Doorbell)	0:53:31 - Chris takes off her jacket	advance plot \| arriving \| heroic \| lawyer \| leading lady \| room \| stinger \| surprise
The Unfaithful (1947)	Attorney	1:09:14 - Larry drives to the art shop	deceptive resolution \| driving \| heroic \| lawyer \| street \| transition
We Are Not Alone (1939)	Surprise Symphony (Glissando)	0:02:20 - David rides his bike home	bicycle \| classical music \| establish character \| familiar tune \| fragmentation \| glissando \| Haydn \| hero \| playful \| quotation \| score to source \| sequence \| source music \| street
We Are Not Alone (1939)	Surprise Symphony (Theme and Variations)	0:02:37 - David enters his home	augmented triad \| classical music \| deceptive resolution \| establish character \| familiar tune \| Haydn \| hero \| home \| playful \| quotation \| scored source music \| source music \| street \| whistling
We Are Not Alone (1939)	Appassionato	0:03:13 - Gerald is scolded by his mother	antagonist \| boy \| child \| chromatic parallelism \| chromatic scale \| deceptive resolution \| dominant 7th chord \| establish character \| fragmentation \| harmonic sequence \| hero \| home \| linear chromaticism \| mother \| passionate \| scolding \| sequence \| telling a story \| tense
We Are Not Alone (1939)	Surprise Symphony (Imagination)	0:03:55 - David talks to his son	boy \| child \| chromatic parallelism \| establish character \| father \| gentle \| hero \| home \| playful \| sweet \| telling a story
We Are Not Alone (1939)	Playful	0:04:39 - David asks his son to find a cat	boy \| child \| establish character \| father \| foreign key modulation \| fragmentation \| hero \| home \| playful \| sequence \| step modulation
We Are Not Alone (1939)	Boy runs back and forth	0:04:52 - Gerald runs to the door and back	back and forth \| boy \| child \| establish character \| father \| hero \| home \| mickey-mousing \| playful \| running
We Are Not Alone (1939)	Surprise Symphony (Hushed)	0:04:59 - David talks to his son	boy \| child \| classical music \| establish character \| familiar tune \| father \| half-diminished 7th chord \| Haydn \| hero \| home \| hushed \| quotation \| subtle
We Are Not Alone (1939)	Surprise Symphony (Hug)	0:05:14 - David hugs his son	boy \| child \| classical music \| establish character \| familiar tune \| father \| gentle \| Haydn \| hero \| home \| mode mixture \| quotation
We Are Not Alone (1939)	Surprise Symphony (Innocent)	0:06:36 - Gerald runs inside	9th chord \| boy \| child \| classical music \| comforting \| common-tone diminished 7th \| establish character \| familiar tune \| father \| foreign key modulation \| fragmentation \| Haydn \| hero \| home \| innocent \| mode mixture \| nagging \| parallel fifths \| playful \| quotation \| step modulation \| tritone \| Wagner
We Are Not Alone (1939)	Doctor	0:08:10 - David sees Tommy (his patient)	augmented sixth chord \| boy \| cat \| delicate \| establish character \| foreign key modulation \| gentle \| hero \| office
We Are Not Alone (1939)	Tommy	0:08:41 - David and Tommy talk about cats	64 chord \| boy \| cat \| deceptive resolution \| doctor \| establish character \| hero \| mode mixture \| office \| parallelism \| playful
We Are Not Alone (1939)	Allergic Reaction	0:09:04 - Tommy has an allergic reaction to the cat	9th chord \| 64 chord \| allergies \| boy \| cat \| doctor \| dramatic \| establish character \| hero \| office
We Are Not Alone (1939)	Tommy (Recovering)	0:09:17 - David tells Tommy he is allergic to cats	11th chord \| boy \| cat \| cheerful \| doctor \| establish character \| fragmentation \| hero \| office \| playful \| sequence
We Are Not Alone (1939)	Tommy (Lyrical)	0:09:34 - David gets some medicine for Tommy	9th chord \| boy \| cat \| doctor \| establish character \| gentle \| hero \| lyrical \| Mozart \| office \| peaceful
We Are Not Alone (1939)	Surprise Symphony (Chromatic Shift)	0:09:49 - David puts the cat outside	cat \| classical music \| establish character \| familiar tune \| foreign key modulation \| Haydn \| hero \| office \| playful \| quotation \| step modulation
We Are Not Alone (1939)	Surprise Symphony (Imagination)	0:10:16 - Jessica rushes David away	antagonist \| chromatic parallelism \| classical music \| establish character \| familiar tune \| Haydn \| hero \| office \| playful \| quotation
We Are Not Alone (1939)	I Do Like to Be Beside the Seaside	0:10:56 - David visits an injured Leni	chromatic mediant \| deceptive resolution \| doctor \| establish character \| familiar tune \| foreign key modulation \| gentle \| hero \| heroine \| mode mixture \| quotation \| room \| step modulation
We Are Not Alone (1939)	Surprise Symphony (Not Afraid)	0:11:24 - David sets Leni's wrist	chromatic scale \| classical music \| delicate \| doctor \| establish character \| familiar tune \| foreign key modulation \| fragmentation \| Haydn \| hero \| heroine \| quotation \| room \| somber
We Are Not Alone (1939)	Surprise Symphony (Calm)	0:12:01 - David's treatment is successful	calm \| classical music \| countermelody \| deceptive resolution \| doctor \| establish character \| familiar tune \| Haydn \| hero \| heroine \| quotation \| room
We Are Not Alone (1939)	Surprise Symphony (Not in film)	NIF - not in film	classical music \| cut from film \| doctor \| establish character \| familiar tune \| Haydn \| hero \| heroine \| pedal tone \| quotation \| room
We Are Not Alone (1939)	I Do Like to Be Beside the Seaside (Peaceful)	0:12:13 - David's treatment is successful	calm \| chromatic mediant \| deceptive resolution \| doctor \| establish character \| familiar tune \| foreign key modulation \| hero \| heroine \| mode mixture \| quotation \| room
We Are Not Alone (1939)	Surprise Symphony (Quasi Rubato)	0:12:46 - David treats Leni's leg	classical music \| doctor \| establish character \| familiar tune \| fragmentation \| gentle \| Haydn \| hero \| heroine \| parallelism \| playful \| quotation \| room
We Are Not Alone (1939)	Surprise Symphony (Humbly)	0:13:10 - David treats Leni's leg	classical music \| common-tone diminished 7th \| doctor \| establish character \| familiar tune \| fragmentation \| gentle \| Haydn \| hero \| heroine \| hymn-like \| quotation \| room \| sweet
We Are Not Alone (1939)	Tenderness	0:13:40 - David talks to Leni	64 chord \| doctor \| establish character \| friendly \| hero \| heroine \| mode mixture \| room \| sequence \| tender
We Are Not Alone (1939)	I Do Like to Be Beside the Seaside (Tragico)	0:14:05 - Leni talks with David	doctor \| establish character \| familiar tune \| hero \| heroine \| minor-major 7th chord \| quotation \| room \| tragic
We Are Not Alone (1939)	Frohe Botschaft (Tenderly)	0:14:22 - Leni takes off her wig	64 chord \| doctor \| establish character \| familiar tune \| folk song \| German \| hero \| heroine \| pedal tone \| quotation \| room \| tender
We Are Not Alone (1939)	Blue Danube	0:14:52 - Leni says she is from Austria	classical music \| doctor \| establish character \| familiar tune \| hero \| heroine \| mode mixture \| peaceful \| quotation \| room \| Strauss
We Are Not Alone (1939)	Surprise Symphony (Gute Nacht)	0:15:00 - David says goodnight in German to Leni	classical music \| doctor \| establish character \| familiar tune \| Haydn \| hero \| heroine \| peaceful \| perfect authentic cadence \| quotation \| room
We Are Not Alone (1939)	Surprise Symphony	0:17:34 - David whistles while helping a patient	classical music \| comical \| diminution \| doctor \| establish character \| familiar tune \| Haydn \| hero \| heroine \| office \| on-screen music \| quotation \| source music \| whistling
We Are Not Alone (1939)	I Do Like to Be Beside the Seaside	0:17:49 - Exterior of a British dance hall	ABAC structure \| conflict \| doctor \| familiar tune \| helping \| hero \| heroine \| score to source \| source music \| street \| tense
We Are Not Alone (1939)	As You Walk Down the Strand	0:19:59 - David helps Leni	AABC structure \| advance plot \| calm \| doctor \| familiar tune \| hero \| heroine \| source music \| street
We Are Not Alone (1939)	Poor Old Adam Was My Father	0:20:32 - David talks to Leni by the seaside	ABAC structure \| advance plot \| calm \| doctor \| familiar tune \| hero \| heroine \| source music \| street
We Are Not Alone (1939)	Surprise Symphony (Glissando)	0:22:35 - David rides home on his bike	advance plot \| bicycle \| classical music \| familiar tune \| fragmentation \| glissando \| happy \| Haydn \| hero \| home \| peaceful \| quotation \| sequence \| walking
We Are Not Alone (1939)	Surprise Symphony (Worried)	0:22:57 - David hears Gerald crying	advance plot \| boy \| child \| classical music \| dark \| familiar tune \| father \| fragmentation \| Haydn \| hero \| home \| hurrying \| mode mixture \| quotation \| tense
We Are Not Alone (1939)	Surprise Symphony (Fixing the Lights)	0:23:27 - David tries to fix the lights	11th chord \| advance plot \| boy \| child \| classical music \| familiar tune \| father \| foreign key modulation \| fragmentation \| Haydn \| helping \| hero \| home \| mysterious \| playful \| quotation \| working
We Are Not Alone (1939)	Surprise Symphony (Lighting the House)	0:23:40 - David lights candles in the house	advance plot \| boy \| candle \| child \| chromatic sequence \| classical music \| dissonant bass \| familiar tune \| father \| Haydn \| helping \| hero \| home \| lighting \| positive \| quotation \| working
We Are Not Alone (1939)	Surprise Symphony (Better)	0:23:55 - David puts his son in bed	9th chord \| advance plot \| boy \| calm \| child \| classical music \| conversing \| dark \| familiar tune \| father \| foreign key modulation \| Haydn \| hero \| home \| playing \| quotation \| warm
We Are Not Alone (1939)	Whee!	0:23:57 - David flips his son upside down playfully	advance plot \| boy \| child \| father \| hero \| home \| jumping \| mickey-mousing \| parallel 63s \| parallelism \| playful \| playing \| spinning
We Are Not Alone (1939)	Surprise Symphony (Death Bed)	0:24:11 - David discusses death with his son	advance plot \| augmentation \| boy \| child \| classical music \| conversing \| dark \| death \| familiar tune \| father \| Haydn \| hero \| home \| quotation
We Are Not Alone (1939)	Surprise Symphony (Dolce)	0:25:02 - Gerald asks to go with his father on a trip	advance plot \| boy \| child \| classical music \| conversing \| familiar tune \| father \| Haydn \| hero \| home \| mode mixture \| quotation \| sweet \| warm
We Are Not Alone (1939)	Frohe Botschaft (Ethereal)	0:25:12 - David tells his son about his patient, Leni	9th chord \| 64 chord \| advance plot \| boy \| child \| conversing \| familiar tune \| father \| folk song \| German \| hero \| home \| mode mixture \| pedal tone \| quotation \| sweet
We Are Not Alone (1939)	Surprise Symphony (Lullaby)	0:25:36 - David asks his son to help Leni	advance plot \| boy \| child \| classical music \| conversing \| familiar tune \| father \| Haydn \| hero \| home \| pedal tone \| quotation \| sweet
We Are Not Alone (1939)	It's Easy to Be a Lady if You Try	0:25:50 - Gerald and Leni ride a carousel	ABAC structure \| advance plot \| amusement park \| boy \| bright \| carnival \| carousel \| child \| conversing \| familiar tune \| father \| hero \| heroine \| playing \| source music
We Are Not Alone (1939)	Tuning	0:27:56 - David tunes his violin	advance plot \| hero \| home \| neutral \| on-screen music \| source music \| tuning \| violin \| wife
We Are Not Alone (1939)	Tuning	0:28:03 - David tunes his violin	advance plot \| hero \| home \| neutral \| on-screen music \| source music \| tuning \| violin \| wife
We Are Not Alone (1939)	Tuning	0:28:17 - David tunes his violin	advance plot \| hero \| home \| neutral \| on-screen music \| source music \| tuning \| violin \| wife
We Are Not Alone (1939)	Tuning	0:28:31 - David tunes his violin	advance plot \| hero \| home \| neutral \| on-screen music \| source music \| tuning \| violin \| wife
We Are Not Alone (1939)	Surprise Symphony	0:29:13 - David whistles	advance plot \| cheerful \| classical music \| familiar tune \| Haydn \| hero \| home \| quotation \| source music \| whistling \| wife
We Are Not Alone (1939)	Tuning	0:29:20 - David tunes his violin	advance plot \| hero \| home \| neutral \| on-screen music \| source music \| tuning \| tuning \| violin \| wife
We Are Not Alone (1939)	Minuet	0:29:28 - David plays the violin	advance plot \| hero \| home \| on-screen music \| playing \| source music \| violin \| warm \| wife
We Are Not Alone (1939)	Surprise Symphony	0:29:45 - David plays the violin	advance plot \| hero \| home \| on-screen music \| playing \| source music \| violin \| warm \| wife
We Are Not Alone (1939)	I Do Like to Be Beside the Seaside (Subconscious)	0:31:36 - Jessica says goodnight to David	added-note chord \| advance plot \| common-tone diminished 7th \| conversing \| goodnight \| happy \| hero \| home \| wife
We Are Not Alone (1939)	Surprise Symphony (Newspaper)	0:31:52 - David sits and whistles	9th chord \| classical music \| deceptive resolution \| familiar tune \| foreshadowing \| happy \| Haydn \| hero \| home \| ominous \| quotation \| reveal \| transition \| whistling
We Are Not Alone (1939)	Surprise Symphony (Galloping)	0:32:07 - David arrives in a carriage	carriage \| classical music \| familiar tune \| galloping \| happy \| Haydn \| hero \| horse \| quotation \| street \| transition \| traveling
We Are Not Alone (1939)	Frohe Botschaft (Viennese)	0:32:51 - Gerald rushes in to see Leni	11th chord \| advance plot \| boy \| child \| familiar tune \| folk song \| foreign key modulation \| German \| greeting \| heroine \| home \| hugging \| joyful \| lifting \| mickey-mousing \| quotation
We Are Not Alone (1939)	Frolic	0:33:45 - Leni and Gerald run through the park	advance plot \| antagonist \| boy \| child \| chromatic mediant \| diminished 7th chord \| foreign key modulation \| gossiping \| heroine \| joyful \| park \| pedal tone \| playing \| running
We Are Not Alone (1939)	Frohe Botschaft (At the Piano)	0:34:49 - Leni plays and sings	boy \| cheerful \| child \| establish character \| familiar tune \| father \| folk song \| foreign key modulation \| German \| hero \| heroine \| home \| on-screen music \| piano \| playing \| score to source \| singing \| source music \| transcribed by ear
We Are Not Alone (1939)	Frohe Botschaft	0:36:41 - Leni plays the piano	boy \| child \| establish character \| familiar tune \| folk song \| German \| heroine \| home \| on-screen music \| piano \| playing \| source music \| warm
We Are Not Alone (1939)	Piano Banging	0:37:12 - Gerald bangs on the piano	antagonist \| boy \| chaotic \| child \| dissonant \| establish character \| heroine \| home \| mother \| on-screen music \| piano \| playing \| tone cluster
We Are Not Alone (1939)	Frohe Botschaft (Drifting)	0:38:09 - Jessica tells Leni to leave	altered dominant \| antagonist \| chromatic parallelism \| conflict \| conversing \| familiar tune \| folk song \| gentle \| German \| heroine \| home \| quotation \| sinister \| tense \| whole-tone chord
We Are Not Alone (1939)	Frohe Botschaft (Somber)	0:38:52 - Leni reacts	9th chord \| antagonist \| common-chord modulation \| conflict \| conversing \| evaded cadence \| familiar tune \| folk song \| garden \| German \| heroine \| mode mixture \| quotation \| sentimental \| sigh gesture \| somber
We Are Not Alone (1939)	Surprise Symphony (Dark)	0:39:33 - Leni thinks to herself	9th chord \| antagonist \| classical music \| conflict \| dark \| familiar tune \| garden \| Haydn \| heroine \| quotation \| suspension \| thinking
We Are Not Alone (1939)	Captain Gerald	0:43:23 - Gerald tells Leni a story	added-note chord \| advance plot \| boy \| child \| exoticism \| foreign key modulation \| heroine \| home \| imagination \| room \| somber \| telling a story
We Are Not Alone (1939)	Barcarolle	0:44:06 - Gerald talks about sailing	9th chord \| advance plot \| barcarolle \| boy \| child \| dissonant bass \| heroine \| home \| hopeful \| imagination \| pedal tone \| room \| telling a story
We Are Not Alone (1939)	Frohe Botschaft (Like a Sigh)	0:44:30 - Leni tells Gerald to not be afraid	advance plot \| conversing \| heroine \| home \| kindness \| promise \| room \| sad \| sigh gesture
We Are Not Alone (1939)	Surprise Symphony (Expanded)	0:45:36 - Leni hugs Gerald	advance plot \| boy \| child \| chromatic parallelism \| classical music \| dissonant bass \| familiar tune \| Haydn \| heroine \| home \| hugging \| quotation \| room \| sweet
We Are Not Alone (1939)	Frohe Botschaft (Crying)	0:45:45 - Leni kisses Gerald	9th chord \| 64 chord \| advance plot \| antagonist \| boy \| child \| crying \| deceptive resolution \| familiar tune \| folk song \| fragmentation \| German \| heroine \| home \| leaving \| mode mixture \| mother \| quotation \| room \| sequence \| somber \| tritone
We Are Not Alone (1939)	Surprise Symphony (Turbulent)	0:50:14 - Jessica reacts to David's departure	11th chord \| angry \| antagonist \| chromatic parallelism \| classical music \| conflict \| crying \| dark \| familiar tune \| Haydn \| hero \| home \| husband \| leaving \| quotation \| room \| sad \| tragic \| wife
We Are Not Alone (1939)	Triste	0:50:45 - David talks to Leni	advance plot \| common-chord modulation \| conversing \| gentle \| hero \| heroine \| home \| room \| sad
We Are Not Alone (1939)	Frohe Botschaft (Triste)	0:51:10 - David talks to Leni	9th chord \| added-note chord \| advance plot \| conversing \| deceptive resolution \| familiar tune \| folk song \| foreign key modulation \| fragmentation \| German \| hero \| heroine \| home \| quotation \| room \| somber
We Are Not Alone (1939)	Surprise Symphony (Sneaky)	0:51:52 - David goes to bed	added-note chord \| advance plot \| antagonist \| classical music \| cook \| diminution \| familiar tune \| Haydn \| hero \| heroine \| home \| mickey-mousing \| mysterious \| quotation \| room \| sneaking \| somber
We Are Not Alone (1939)	Die Krähe	0:52:36 - Leni asks David about his work	advance plot \| antagonist \| calm \| classical music \| concert \| conversing \| cook \| familiar tune \| hero \| heroine \| home \| room \| Schubert \| source music
We Are Not Alone (1939)	Celebre Romance	0:54:24 - Leni asks David for a reference	ABAC structure \| advance plot \| antagonist \| calm \| classical music \| concert \| conversing \| cook \| familiar tune \| hero \| heroine \| home \| room \| Rubinstein \| source music
We Are Not Alone (1939)	Surprise Symphony	0:56:18 - David whistles on his way to breakfast	advance plot \| calm \| classical music \| familiar tune \| Haydn \| hero \| home \| quotation \| room \| whistling
We Are Not Alone (1939)	Tuning	0:59:20 - David tunes his violin	advance plot \| antagonist \| calm \| cook \| hero \| heroine \| home \| on-screen music \| room \| source music \| tuning \| violin
We Are Not Alone (1939)	Tuning	1:00:57 - David tunes his violin	advance plot \| antagonist \| calm \| cook \| hero \| heroine \| home \| on-screen music \| room \| source music \| tuning \| violin
We Are Not Alone (1939)	Celebre Romance	1:01:03 - David plays the violin	advance plot \| antagonist \| classical music \| cook \| familiar tune \| hero \| heroine \| home \| on-screen music \| peaceful \| playing \| romantic \| room \| Rubinstein \| sentence form \| source music \| source to score \| violin
We Are Not Alone (1939)	Celebre Romance (Accompanied)	1:01:56 - Gerald sneaks inside	boy \| child \| classical music \| common-tone modulation \| familiar tune \| hero \| heroine \| home \| mode mixture \| on-screen music \| peaceful \| pivotal scene \| playing \| romantic \| room \| Rubinstein \| secondary dominant \| source music \| violin
We Are Not Alone (1939)	Celebre Romance (Accompanied B)	1:02:47 - Gerald accidentally mixes up the contents of two bottles	boy \| child \| classical music \| deceptive resolution \| familiar tune \| hero \| heroine \| home \| linear chromaticism \| mode mixture \| on-screen music \| peaceful \| pivotal scene \| playing \| romantic \| room \| Rubinstein \| source music \| violin
We Are Not Alone (1939)	Underscoring (Tense)	1:03:56 - The crowd outside	agitated \| chromatic scale \| conflict \| confused \| crowd \| hero \| linear chromaticism \| metric dissonance \| pedal tone \| polychord \| riot \| rioting \| street \| tense \| underscoring
We Are Not Alone (1939)	Underscoring (Tense)	1:05:17 - David scolds Susan	64 chord \| antagonist \| chromatic scale \| conflict \| conversing \| foreign key modulation \| hero \| street \| tense \| underscoring
We Are Not Alone (1939)	Surprise Symphony (Allegretto)	1:14:16 - David helps Leni buy a ticket	advance plot \| classical music \| conversing \| familiar tune \| fragmentation \| gentle \| Haydn \| hero \| heroine \| optimistic \| pedal tone \| quotation \| sequence \| sweet \| train station
We Are Not Alone (1939)	Frohe Botschaft (Drifting)	1:14:30 - David gives Leni money for her travels	altered dominant \| arrest \| arresting \| chromatic parallelism \| conflict \| conversing \| dark \| death \| familiar tune \| folk song \| gentle \| German \| happy \| hero \| heroine \| mode mixture \| murder \| police \| quotation \| sad \| sweet \| tense \| train station \| whole-tone chord
We Are Not Alone (1939)	Underscoring (Tense)	1:15:25 - David is taken away by the police	9th chord \| added-note chord \| arresting \| conflict \| hero \| heroine \| pedal tone \| police \| tense \| train station \| underscoring
We Are Not Alone (1939)	In Love	1:30:55 - David realizes he is in love with Leni	9th chord \| courtroom \| courtroom scene \| hero \| heroine \| linear chromaticism \| love scene \| realization \| realizing \| romantic \| suspension \| testifying \| tone cluster
We Are Not Alone (1939)	Underscoring (Mysterious)	1:36:37 - David walks down a prison corridor	advance plot \| anticipation \| guard \| hero \| heroine \| mysterious \| prison \| underscoring \| walking
We Are Not Alone (1939)	Celebre Romance (Love)	1:37:12 - David and Leni express their love for each other	classical music \| conversing \| familiar tune \| fragmentation \| guard \| hero \| heroine \| love scene \| prison \| quotation \| romantic \| Rubinstein
We Are Not Alone (1939)	Underscoring (Somber)	1:37:44 - David and Leni talk	conversing \| harmonic sequence \| hero \| heroine \| love scene \| prison \| somber \| triadic transformation \| underscoring
We Are Not Alone (1939)	Execution	1:38:10 - Leni talks to David	comforting \| conversing \| drone \| execution \| hero \| heroine \| love scene \| name of film \| prison \| somber
We Are Not Alone (1939)	Frohe Botschaft (Hopeful)	1:38:41 - David comforts Leni	9th chord \| comforting \| conversing \| familiar tune \| folk song \| German \| hero \| heroine \| love scene \| mode mixture \| pedal tone \| plagal cadence \| prison \| quotation \| somber
We Are Not Alone (1939)	Underscoring (Romantic)	1:39:42 - David comforts Leni	9th chord \| 13th chord \| comforting \| conversing \| hero \| heroine \| love scene \| prison \| romantic \| underscoring
We Are Not Alone (1939)	Surprise Symphony (Someday)	1:39:55 - David is hopeful	64 chord \| classical music \| comforting \| conversing \| deceptive resolution \| dream-like \| familiar tune \| foreign key modulation \| gentle \| Haydn \| hero \| heroine \| imagining \| love scene \| prison \| quotation \| sweet
We Are Not Alone (1939)	Heart Break	1:40:11 - David and Leni kiss	9th chord \| appoggiatura \| dissonant bass \| first kiss \| hero \| heroine \| kissing \| love \| love scene \| mode mixture \| passionate \| pedal tone \| prison \| suspension
We Are Not Alone (1939)	Fainting	1:40:41 - Leni faints	added-note chord \| fainting \| falling \| hero \| heroine \| love scene \| mickey-mousing \| prison \| sequence \| tense
We Are Not Alone (1939)	Underscoring (Subtle)	1:40:57 - David helps Leni	9th chord \| advance plot \| conversing \| delicate \| helping \| hero \| heroine \| octatonic scale \| prison \| underscoring
We Are Not Alone (1939)	Surprise Symphony (Semplice)	1:41:10 - Guards help Leni	advance plot \| augmented triad \| classical music \| conversing \| delicate \| familiar tune \| fragmentation \| Haydn \| helping \| hero \| heroine \| lullaby \| prison \| quotation
We Are Not Alone (1939)	Underscoring (Subtle)	1:41:29 - David walks down the prison corridor	advance plot \| augmented triad \| conversing \| delicate \| diminished 7th chord \| helping \| hero \| pedal tone \| prison \| underscoring \| whole-tone chord
We Are Not Alone (1939)	Frohe Botschaft (Restful)	1:41:47 - David watches Leni sleep	9th chord \| advance plot \| delicate \| familiar tune \| folk song \| German \| hero \| heroine \| mode mixture \| plagal cadence \| prison \| quotation \| watching
We Are Not Alone (1939)	Fife and Drums	1:44:42 - David talks with the guards	advance plot \| hero \| patriotic \| pentatonic \| prison \| source music \| war
We Are Not Alone (1939)	It's a Long Long Way to Tipperary	1:45:21 - David talks with the guards	advance plot \| familiar tune \| hero \| patriotic \| prison \| source music \| war
We Are Not Alone (1939)	Waiting	1:46:39 - David asks about his execution	9th chord \| advance plot \| hero \| prison \| somber \| waiting
We Are Not Alone (1939)	Surprise Symphony (Acceptance)	1:47:27 - David talks to the prison guards	advance plot \| classical music \| familiar tune \| gentle \| Haydn \| hero \| mode mixture \| plagal cadence \| prison \| quotation \| reverse picardy \| sweet
We Are Not Alone (1939)	Surprise Symphony (Whistling)	1:48:34 - David whistles as he thinks	advance plot \| augmentation \| classical music \| deceptive resolution \| familiar tune \| gentle \| Haydn \| hero \| on-screen music \| pedal tone \| prison \| quotation \| score to source \| source music \| sweet \| whistling
White Heat (1949)	T-Men (Maestoso)	0:15:01 - Pan of city then fade to Treasury office door in Los Angeles	heroic \| noble
White Heat (1949)	T-Men	0:19:03 - Agents gather information about the car	heroic \| noble
The Most Dangerous Game (1932)	Mysterioso Dramatico	0:45:01 - Bob and Eve look for Zaroff	action scene \| conversing \| fanfare \| heroic \| jungle \| leading lady \| leading man \| preparing \| tense \| victim \| watching

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