Tag Search

464 results for "love interest" in 28 films — see also boyfriend | girlfriend | lover

Film	Theme name	Instance	Tags
Angels With Dirty Faces (1938)	Rocky and Laury	0:41:37 - Laury pushes her way through the crowd	altered dominant \| arriving \| close-up \| conflict \| heartbroken \| leading lady \| love interest \| rushing \| sentimental \| shop
Angels With Dirty Faces (1938)	Pleading	1:11:08 - Laury pleads for Rocky	9th chord \| advance plot \| appoggiatura \| circle of fifths \| common-chord modulation \| crying \| leading lady \| leading man \| love interest \| pleading \| priest \| room \| somber
Angels With Dirty Faces (1938)	Jerry	1:11:35 - Jerry talks to Laury	9th chord \| advance plot \| deceptive resolution \| foreign key modulation \| leading lady \| leading man \| love interest \| memory \| pleading \| priest \| room \| tender
Angels With Dirty Faces (1938)	Pleading (Extended)	1:21:00 - Jerry arrives on the scene	9th chord \| appoggiatura \| arriving \| chromatic sequence \| circle of fifths \| concerned \| conflict \| crowd \| gun \| gunshot \| hurried \| hurrying \| leading lady \| leading man \| love interest \| polychord \| priest \| pushing \| street \| yearning
Are These Our Children? (1931)	Makes You Forget Your Troubles (Flo Sings)	0:17:20 - Flo sings	advance plot \| cheerful \| dance hall \| love interest \| on-screen music \| singing \| source music \| transcribed by ear
Are These Our Children? (1931)	Makes You Forget Your Troubles	0:17:38 - Young people talking at a dance	advance plot \| cheerful \| conversing \| dance hall \| leading man \| love interest \| on-screen music \| seductive \| singing \| source music
Are These Our Children? (1931)	Moonbeams	0:25:39 - Eddie dances with Flo	added-note chord \| altered dominant \| common-tone diminished 7th \| dance hall \| dance scene \| dancing \| leading man \| love interest \| mode mixture \| on-screen music \| parallel double period \| romantic \| source music \| waltz
Are These Our Children? (1931)	Moonbeams (Flashback)	0:30:18 - Eddie dances with Flo	dance hall \| dancing \| double exposure \| dream sequence \| flashback \| hectic \| leading man \| love interest \| montage \| room \| waltz
Are These Our Children? (1931)	Underscoring (Dark)	0:30:25 - Eddie attacks boy	arguing \| clock \| dark \| diminished 7th chord \| double exposure \| dream sequence \| fighting \| kissing \| leading man \| love interest \| mickey-mousing \| montage \| ominous \| pedal tone \| stinger \| ticking
Are These Our Children? (1931)	Makes You Forget Your Troubles (Flo Sings)	0:32:32 - Flo sings	advance plot \| cheerful \| leading man \| love interest \| singing \| source music \| train \| train \| traveling
Are These Our Children? (1931)	St. James Infirmary	0:41:24 - Young people lounging around	advance plot \| Dixieland \| friend \| lazy \| leading man \| lounging \| love interest \| murderer \| radio \| room \| source music
Are These Our Children? (1931)	St. James Infirmary	0:42:08 - Young people talking	advance plot \| conversing \| Dixieland \| friend \| lazy \| leading man \| love interest \| murderer \| radio \| room \| source music
Are These Our Children? (1931)	Dreams (Newspaper Montage)	0:45:04 - Newspaper headlines	augmentation \| comforting \| common-chord modulation \| crying \| double exposure \| grandmother \| headline \| love interest \| mickey-mousing \| montage \| newspaper \| room \| somber \| spinning
Are These Our Children? (1931)	Hey! Hey!	0:50:14 - Eddie and Flo dance	9th chord \| AABA structure \| altered dominant \| augmented sixth chord \| cheerful \| dance hall \| dance scene \| dancing \| friend \| leading man \| love interest \| murderer \| on-screen music \| source music
Are These Our Children? (1931)	Makes You Forget Your Troubles	0:50:55 - Young people dancing	AABA structure \| arguing \| augmented sixth chord \| cheerful \| common-tone diminished 7th \| dance hall \| dance scene \| dancing \| friend \| leading man \| love interest \| murderer \| on-screen music \| source music
Are These Our Children? (1931)	Stars and Stripes Forever	0:52:14 - Young people cavorting in the street	advance plot \| cheerful \| dancing \| drunk \| friend \| leading man \| love interest \| murderer \| on-screen music \| singing \| source music \| street
Are These Our Children? (1931)	Makes You Forget Your Troubles	0:53:07 - Drunken young people	advance plot \| cheerful \| dancing \| drunk \| friend \| hallway \| leading man \| love interest \| murderer \| on-screen music \| singing \| source music
Are These Our Children? (1931)	Dreams (Risoluto 2)	0:53:55 - Newspaper headlines	advance plot \| arresting \| dark \| detective \| double exposure \| fragmentation \| friend \| headline \| leading man \| love interest \| murderer \| newspaper \| ominous \| room \| sequential modulation \| spinning \| thematic transformation \| underscoring
Beyond the Forest (1949)	For He’s a Jolly Good Fellow	1:02:12 - Folk musicians	arriving \| cake \| cheerful \| conversing \| crowd \| dance scene \| doctor \| familiar tune \| leading lady \| leading man \| love interest \| musician \| on-screen music \| party \| playing \| room \| singing \| source music \| tuning \| wife \| wind
Beyond the Forest (1949)	The Arkansas Traveler	1:02:55 - Folk musicians	crowd \| dancer \| dance scene \| dancing \| doctor \| folk music \| leading lady \| leading man \| love interest \| musician \| on-screen music \| party \| playing \| room \| singing \| source music \| square dance caller \| square dance music \| upbeat \| wife
Beyond the Forest (1949)	Portland Fancy	1:03:11 - People dancing	crowd \| dancer \| dance scene \| dancing \| doctor \| folk music \| leading lady \| leading man \| love interest \| musician \| on-screen music \| party \| playing \| room \| singing \| source music \| square dance caller \| square dance music \| upbeat \| wife
Beyond the Forest (1949)	Devil’s Dream	1:03:26 - People dancing	crowd \| dancer \| dance scene \| dancing \| doctor \| folk music \| leading lady \| leading man \| love interest \| musician \| on-screen music \| party \| playing \| room \| singing \| source music \| square dance caller \| square dance music \| upbeat \| wife
Beyond the Forest (1949)	Little Brown Jug	1:03:57 - People dancing	crowd \| dancer \| dance scene \| dancing \| doctor \| folk music \| leading lady \| leading man \| love interest \| musician \| on-screen music \| party \| playing \| room \| singing \| source music \| square dance caller \| square dance music \| upbeat \| wife
Beyond the Forest (1949)	Varsovienne	1:04:52 - Moose talks with Mr. Latimer	conversing \| dance scene \| folk music \| friend \| friend \| leading lady \| leading man \| love interest \| on-screen music \| party \| plotting \| proposal \| room \| sneaking \| source music \| square dance music \| upbeat
Beyond the Forest (1949)	Chicago (Con Moto)	1:11:06 - Rosa is relieved at the verdict	calm \| conversing \| courtroom \| courtroom scene \| expressive \| familiar tune \| hope \| hopeful \| husband \| leading lady \| leading man \| love interest \| murderer \| popular tune \| smiling \| verdict
Beyond the Forest (1949)	Rosa (Sulking)	1:12:32 - Rosa and Lewis at the funeral	funeral \| graveyard \| husband \| leading lady \| leading man \| love interest \| murderer \| rain \| solemn \| sulking \| victim \| watching
The Big Sleep (1946)	Waiting	0:18:15 - Marlowe talks to lady in bookstore	added-note chord \| altered dominant \| book shop \| chromatic scale \| conversing \| leading man \| love interest \| love scene \| mode mixture \| mysterious \| oscillation \| private eye \| romantic
The Big Sleep (1946)	Girl Driver	0:39:53 - Marlowe pays the lady cab driver	bluesy \| chromatic parallelism \| chromatic sequence \| flirting \| investigation scene \| leading man \| love interest \| private eye \| seductive \| street
The Big Sleep (1946)	Vivian + Marlowe (Ear Business)	NIF - not in film	advance plot \| altered dominant \| combination of themes \| conversing \| cut from film \| deleted scene \| deleted scene \| leading lady \| leading man \| love interest \| mysterious \| private eye \| romantic \| room \| thinking \| whole-tone
The Big Sleep (1946)	I Guess I'll Have to Change My Plan	1:00:50 - Vivian enters a restaurant	ABACA structure \| arriving \| club \| conversing \| falling in love scene \| leading lady \| leading man \| love interest \| pleasant \| private eye \| source music
The Big Sleep (1946)	The Blue Room	1:02:15 - Vivan pays Marlowe	AABA structure \| club \| conversing \| falling in love scene \| leading lady \| leading man \| love interest \| pleasant \| private eye \| source music
The Big Sleep (1946)	You Go to My Head	1:04:25 - Vivian and Marlowe talk in a restaurant	club \| conversing \| falling in love scene \| leading lady \| leading man \| love interest \| pleasant \| private eye \| source music
The Big Sleep (1946)	And Her Tears Flowed Like Wine	1:05:55 - Marlowe arrives at Mars's place	advance plot \| arriving \| club \| leading lady \| leading man \| love interest \| musician \| on-screen music \| playing \| private eye \| singer \| singing \| source music \| upbeat
The Big Sleep (1946)	I'm in a Jam With Baby	1:10:53 - Marlowe talks to people at the party	advance plot \| club \| gambler \| gambling \| leading lady \| leading man \| love interest \| private eye \| source music \| upbeat
The Big Sleep (1946)	Liza (All the Clouds'll Roll Away)	1:12:27 - Marlowe leaves the gambling joint	AABA structure \| conflict \| criminal \| investigating \| leading lady \| leading man \| love interest \| private eye \| source music \| street \| upbeat
The Big Sleep (1946)	What Are You Doin' the Rest of Your Life	1:14:35 - Marlowe and Vivian leave	conflict \| conversing \| leading lady \| leading man \| love interest \| parallel double period \| private eye \| source music \| street \| upbeat
The Big Sleep (1946)	Driving	1:14:54 - Marlowe and Vivian in the car	augmented sixth chord \| car \| car \| driving \| leading lady \| leading man \| love interest \| love scene \| mickey-mousing \| oscillation \| ostinato \| private eye \| tense
The Big Sleep (1946)	Vivian	1:15:22 - Marlowe and Vivian talk	9th chord \| 13th chord \| AABA structure \| added-note chord \| altered dominant \| car \| chromatic mediant \| chromatic parallelism \| common-tone dominant 7th \| conversing \| foreign key modulation \| kissing \| leading lady \| leading man \| love \| love interest \| love scene \| Neapolitan \| private eye \| romantic \| suspension
The Big Sleep (1946)	Questions	1:16:16 - Marlowe and Vivian argue	angry \| car \| chromatic parallelism \| chromatic scale \| conversing \| leading lady \| leading man \| love interest \| love scene \| private eye \| tense
The Big Sleep (1946)	Sternwood (Tense)	1:16:26 - Marlowe asks about Eddie Mars	accusing \| car \| fragmentation \| half-diminished 7th chord \| leading lady \| leading man \| love interest \| love scene \| private eye \| tense \| whole-tone chord
The Big Sleep (1946)	Underscoring (Tense)	1:16:43 - Marlowe and Vivian argue	accusing \| car \| chromatic parallelism \| half-diminished 7th chord \| leading lady \| leading man \| love interest \| love scene \| pedal tone \| private eye \| tense \| underscoring
The Big Sleep (1946)	Marlowe (Mysterious Organ)	1:21:42 - Marlowe speaks to waitress	advance plot \| café \| conversing \| leading lady \| leading man \| love interest \| mysterious \| pc set \| phone call \| private eye \| tense
The Big Sleep (1946)	Underscoring (Mysterious)	1:21:57 - Marlowe speaks with Vivian on the phone	advance plot \| café \| chromatic parallelism \| conversing \| leading lady \| leading man \| linear chromaticism \| love interest \| mysterious \| phone call \| private eye \| stinger \| tense \| underscoring
The Big Sleep (1946)	Marlowe (Whole Tone)	1:39:25 - Marlowe talks to Vivian	captive \| conversing \| leading lady \| leading man \| love interest \| love scene \| mysterious \| private eye \| room \| tense \| whole-tone \| whole-tone chord \| whole-tone scale
The Big Sleep (1946)	Marlowe (Phone Call)	1:39:39 - Marlowe talks to Vivian	captive \| conversing \| leading lady \| leading man \| love interest \| love scene \| mysterious \| private eye \| room \| sequence \| tense \| whole-tone chord
The Big Sleep (1946)	Carmen	1:39:52 - Marlowe talks to Vivian	captive \| conversing \| half-diminished 7th chord \| leading lady \| leading man \| love interest \| love scene \| musical clue \| music reveals thoughts \| mysterious \| private eye \| room \| whole-tone chord
The Big Sleep (1946)	Vivian	1:40:03 - Marlowe and Vivian kiss	9th chord \| 13th chord \| AABA structure \| added-note chord \| altered dominant \| captive \| chromatic mediant \| chromatic parallelism \| common-tone dominant 7th \| foreign key modulation \| freeing \| kissing \| leading lady \| leading man \| love interest \| love scene \| Neapolitan \| private eye \| romantic \| room \| suspension
The Big Sleep (1946)	Questions	1:40:44 - Vivian tries to free Marlowe	captive \| chromatic parallelism \| freeing \| leading lady \| leading man \| love interest \| love scene \| private eye \| room \| tense
The Big Sleep (1946)	Marlowe (Misterioso)	1:41:01 - Marlowe plans his escape	action scene \| leading lady \| leading man \| love interest \| mysterious \| planning \| private eye \| room \| tense
The Big Sleep (1946)	Marlowe 2	1:41:18 - Marlowe goes outside	action scene \| chromatic scale \| escaping \| leading lady \| leading man \| love interest \| mysterious \| private eye \| room \| screaming \| tense
The Big Sleep (1946)	Underscoring (Dramatic)	1:41:36 - Marlowe runs to his car	9th chord \| action scene \| criminal \| diminution \| dramatic \| fragmentation \| leading lady \| leading man \| linear chromaticism \| love interest \| outside \| private eye \| running \| underscoring \| whole-tone chord
The Big Sleep (1946)	Hostage + Marlowe (Fragment)	1:42:34 - Canino brings Vivian out as a hostage	64 chord \| action scene \| criminal \| hostage \| leading lady \| leading man \| love interest \| ostinato \| ostinato \| outside \| private eye \| tense \| tritone oscillation \| walking
The Big Sleep (1946)	Underscoring (Dramatic)	1:43:17 - Canino shoots	action scene \| criminal \| dramatic \| gun \| gunshot \| hostage \| leading lady \| leading man \| love interest \| outside \| private eye \| shooting \| underscoring
The Big Sleep (1946)	Marlowe rises	1:43:19 - Marlowe rises	action scene \| criminal \| dramatic \| hostage \| leading lady \| leading man \| love interest \| outside \| pc set \| private eye \| rising
The Big Sleep (1946)	Canino's Death	1:43:22 - Canino is shot	action scene \| chromatic parallelism \| criminal \| death \| dramatic \| dying \| falling \| gun \| gunshot \| hostage \| leading lady \| leading man \| love interest \| mirroring \| outside \| pc set \| private eye \| retrograde \| stumbling \| tense
The Big Sleep (1946)	Underscoring (Tense)	1:43:35 - Marlowe gets the keys to the handcuffs	action scene \| chromatic parallelism \| criminal \| death \| escaping \| gun \| hostage \| leading lady \| leading man \| love interest \| outside \| pc set \| private eye \| tense \| underscoring \| whole-tone \| whole-tone chord
The Big Sleep (1946)	Marlowe (Escaping)	1:43:48 - Vivian takes off the handcuffs	action scene \| distortion \| escaping \| leading lady \| leading man \| love interest \| mysterious \| outside \| private eye \| tense
The Big Sleep (1946)	Driving 2	1:43:54 - Marlowe and Vivian drive away	car \| conversing \| driving \| leading lady \| leading man \| love interest \| love scene \| ostinato \| pc set \| private eye \| sequence \| tense
The Big Sleep (1946)	Driving 2 + Vivian	1:44:16 - Vivian tells Marlowe she loves him	9th chord \| 13th chord \| car \| chromatic parallelism \| conversing \| driving \| leading lady \| leading man \| love \| love interest \| love scene \| ostinato \| private eye \| romantic \| suspension \| tense
The Big Sleep (1946)	Driving 2	1:44:32 - Vivian and Marlowe talk in the car	car \| conversing \| driving \| leading lady \| leading man \| love interest \| love scene \| ostinato \| private eye \| sequence \| tense
The Big Sleep (1946)	Driving 2 + Vivian	1:44:44 - Vivian and Marlowe talk in the car	car \| conversing \| driving \| leading lady \| leading man \| love \| love interest \| love scene \| ostinato \| private eye \| romantic \| tense \| whole-tone chord
The Big Sleep (1946)	Driving 2	1:44:51 - Vivian and Marlowe talk in the car	car \| conversing \| driving \| leading lady \| leading man \| love interest \| love scene \| ostinato \| pc set \| private eye \| tense \| whole-tone chord
The Big Sleep (1946)	Driving 2 + Carmen	1:45:06 - Marlowe talks about Carmen	car \| conversing \| driving \| leading lady \| leading man \| love interest \| love scene \| ostinato \| private eye \| tense \| whole-tone chord
The Big Sleep (1946)	Driving 2 + Vivian	1:45:21 - Marlowe tells Vivian he loves her	9th chord \| 13th chord \| arriving \| car \| chromatic parallelism \| conversing \| driving \| leading lady \| leading man \| love \| love interest \| love scene \| ostinato \| private eye \| romantic \| suspension \| tense
The Big Sleep (1946)	Marlowe (Bold)	1:45:44 - Marlowe and Vivian get out of the car	bold \| chromatic scale \| heroic \| leading lady \| leading man \| love interest \| outside \| private eye \| transition \| walking
The Big Sleep (1946)	Walking (Extended)	1:45:45 - Marlowe and Vivian walk up to house	fragmentation \| leading lady \| leading man \| love interest \| outside \| parallelism \| pedal tone \| private eye \| sequential modulation \| tense \| transition \| walking
The Big Sleep (1946)	Hangs up phone	1:47:07 - Marlowe hangs up the phone	climax \| hanging up \| leading lady \| leading man \| love interest \| mickey-mousing \| mysterious \| private eye \| room
The Big Sleep (1946)	Hurrying	1:47:07 - Marlowe and Vivian make a plan	chromatic sequence \| climax \| fragmentation \| hurrying \| leading lady \| leading man \| love interest \| parallelism \| planning \| private eye \| room \| tense
The Big Sleep (1946)	Marlowe (Misterioso)	1:47:26 - Marlowe drops a bullet	climax \| fear \| leading lady \| leading man \| love interest \| mysterious \| private eye \| room \| shaking \| tense
The Big Sleep (1946)	Marlowe 2	1:47:31 - Car pulls up outside	chromatic scale \| climax \| fear \| leading lady \| leading man \| love interest \| mysterious \| private eye \| room \| shaking \| tense \| tritone
The Big Sleep (1946)	Carmen (Drugged)	1:48:08 - Marlowe watches men outside	climax \| criminal \| fear \| leading lady \| leading man \| love interest \| mysterious \| ominous \| planning \| private eye \| room \| tense \| waiting
The Big Sleep (1946)	Mars Dies	1:51:43 - Mars falls dead to the ground	criminal \| death \| dying \| falling \| leading lady \| leading man \| love interest \| mysterious \| ominous \| private eye \| resolution \| room \| stinger \| tense \| underscoring
The Big Sleep (1946)	Marlowe (Risoluto)	1:52:01 - Marlowe walks to the phone	added-note chord \| bold \| death \| fragmentation \| leading lady \| leading man \| love interest \| mysterious \| plotting \| private eye \| resolution \| room \| tense
The Big Sleep (1946)	Carmen (Tense)	1:52:28 - Marlowe talks on the phone	conversing \| leading lady \| leading man \| love interest \| lying \| mysterious \| oscillation \| pedal tone \| phone call \| private eye \| resolution \| room \| tense \| uneasy \| whole-tone chord
The Big Sleep (1946)	Vivian	1:52:48 - Marlowe talks to Vivian	9th chord \| 13th chord \| chromatic parallelism \| conversing \| leading lady \| leading man \| love \| love interest \| Neapolitan \| private eye \| resolution \| romantic \| room
The Big Sleep (1946)	Vivian (Expressivo)	1:53:20 - Marlowe pulls Vivian close	9th chord \| 13th chord \| chromatic parallelism \| conversing \| foreign key modulation \| leading lady \| leading man \| love \| love interest \| private eye \| resolution \| romantic \| room \| suspension
His Greatest Gamble (1934)	Blue Ridge Moon	0:53:16 - Philip talks with Alice	advance plot \| conversing \| daughter \| gentle \| leading lady \| love interest \| mansion \| popular music \| radio \| sentimental \| source music \| waltz
City for Conquest (1940)	Tone Poem A (Chorus)	1:41:14 - Danny talks with Peggy	9th chord \| 11th chord \| 13th chord \| chromatic sequence \| conversing \| crying \| ethereal \| foreign key modulation \| gentle \| leading lady \| leading man \| love interest \| love scene \| optimistic \| reunion \| reuniting \| romantic \| shimmery \| street \| suspension \| victim
Deep Valley (1947)	Kiss	0:51:58 - Barry kisses Libby	convict \| dog \| embracing \| exciting \| falling in love scene \| forest \| fugitive \| kissing \| leading lady \| leading man \| love interest \| mickey-mousing \| staring
Deep Valley (1947)	Deep Valley	0:52:10 - Barry kisses Libby again	convict \| dog \| embracing \| falling in love scene \| forest \| fugitive \| gentle \| kissing \| leading lady \| leading man \| love interest \| romantic \| staring
Deep Valley (1947)	Deep Valley (Misterioso)	0:54:57 - Libby starts to leave	cabin \| calm \| conversing \| convict \| dog \| fugitive \| leading lady \| leading man \| love interest \| love scene \| planning
Deep Valley (1947)	Barry (Tense)	0:55:38 - Barry unloads his gun	cabin \| convict \| destroying \| fugitive \| leading lady \| leading man \| love interest \| love scene \| mysterious \| tense
Deep Valley (1947)	Deep Valley (Appassionato)	0:55:51 - Barry and Libby embrace	cabin \| cheerful \| convict \| embracing \| fugitive \| kissing \| leading lady \| leading man \| love interest \| love scene \| romantic
Deep Valley (1947)	Deep Valley (Sostenuto)	0:56:17 - Libby turns to leave	cabin \| convict \| dog \| fugitive \| gentle \| leading lady \| leading man \| leaving \| love interest \| love scene
Deep Valley (1947)	Barry (Molto Misterioso) + Love Theme	1:06:04 - Sheriff drinks coffee	action scene \| convict \| drinking \| forest \| fugitive \| leading lady \| leading man \| love interest \| mysterious \| police \| room \| somber \| walking
Deep Valley (1947)	Law (Slowly)	1:06:18 - Lawmen advance	action scene \| convict \| forest \| fugitive \| leading man \| love interest \| manhunt \| police \| searching \| serious \| walking
Deep Valley (1947)	Underscoring (Dramatic)	1:06:48 - Barry reacts to gunshots	action scene \| cabin \| convict \| dramatic \| forest \| fugitive \| gunfight \| hiding \| leading man \| loading \| love interest \| manhunt \| police \| shooting \| stinger \| tense \| underscoring
Deep Valley (1947)	Law	1:07:20 - Barry tries to escape	action scene \| cabin \| convict \| dramatic \| fugitive \| hiding \| leading man \| love interest \| manhunt \| police \| retreating \| shooting \| tense
Deep Valley (1947)	Barry	1:07:25 - Barry climbs out of a hole	action scene \| cabin \| climbing \| convict \| dramatic \| escaping \| fugitive \| leading man \| love interest \| manhunt \| police \| tense
Deep Valley (1947)	Jumping down	1:07:32 - Barry jumps off the roof	action scene \| cabin \| convict \| dramatic \| fugitive \| jumping \| leading man \| love interest \| manhunt \| mickey-mousing \| police \| tense
Deep Valley (1947)	Law	1:07:34 - Lawmen pursue after Barry	action scene \| chasing \| convict \| dramatic \| escaping \| fanfare \| forest \| fugitive \| leading man \| love interest \| manhunt \| police \| running \| tense
Deep Valley (1947)	Underscoring (Tense)	1:10:50 - Libby looks out the window	convict \| escape \| fugitive \| leading lady \| leading man \| looking \| love interest \| room \| searching \| tense \| underscoring \| yard
Deep Valley (1947)	Deep Valley	1:11:53 - Libby and Barry embrace	convict \| escape \| fugitive \| joyous \| leading lady \| leading man \| love interest \| reuniting \| yard
Deep Valley (1947)	Wind	1:12:11 - Libby listens carefully	afraid \| convict \| escape \| fear \| fugitive \| leading lady \| leading man \| love interest \| mickey-mousing \| wind \| wind effect \| worrying \| yard
Deep Valley (1947)	Sneaking	1:12:20 - Barry and Libby run to the shed	convict \| escape \| fugitive \| leading lady \| leading man \| love interest \| sneaking \| sneaking effect \| tense \| yard
Deep Valley (1947)	Barry (Tense 2)	1:15:38 - Barry drops his gun	advance plot \| barn \| conversing \| convict \| fugitive \| leading lady \| leading man \| love interest \| tense
Deep Valley (1947)	Barry (Tender)	1:15:59 - Barry apologizes to Libby	advance plot \| apologizing \| barn \| convict \| embracing \| fugitive \| leading lady \| leading man \| love interest \| tender
Deep Valley (1947)	Deep Valley (Kiss)	1:16:19 - Barry kisses Libby	advance plot \| barn \| convict \| crying \| embracing \| fugitive \| kissing \| leading lady \| leading man \| love interest \| tender
Deep Valley (1947)	Deep Valley (Sostenuto)	1:16:37 - Libby talks with Barry	advance plot \| barn \| calm \| conversing \| convict \| fugitive \| hopeful \| leading lady \| leading man \| love interest
Deep Valley (1947)	Underscoring (Tense)	1:17:04 - Barry picks up the gun	advance plot \| barn \| conversing \| convict \| fugitive \| leading lady \| leading man \| love interest \| tense \| underscoring
Deep Valley (1947)	Deep Valley (Dolce)	1:17:25 - Barry talks with Libby	advance plot \| barn \| conversing \| convict \| fugitive \| gentle \| leading lady \| leading man \| love interest \| tender
Deep Valley (1947)	Underscoring (Dramatic)	1:17:55 - Barry hears a noise	advance plot \| barn \| convict \| dramatic \| fugitive \| leading lady \| leading man \| love interest \| sneaking \| stinger \| tense \| walking
Deep Valley (1947)	My Bonnie Lies Over the Ocean	1:21:19 - Barry listens at the door	advance plot \| barn \| cheerful \| convict \| father \| fugitive \| leading man \| love interest \| singing
Deep Valley (1947)	Deep Valley (Misterioso)	1:23:23 - Barry looks at Libby	advance plot \| barn \| calm \| convict \| embracing \| fugitive \| kissing \| leading lady \| leading man \| love interest \| mysterious
Deep Valley (1947)	Underscoring (Dramatic)	1:23:43 - Barry hears a noise	advance plot \| barn \| convict \| dramatic \| fugitive \| leading lady \| leading man \| love interest \| rushing \| tense \| worrying
Deep Valley (1947)	Homestead (Walking)	1:23:47 - Cliff on the porch	advance plot \| arriving \| calm \| convict \| father \| fugitive \| leading lady \| leading man \| love interest \| porch
Deep Valley (1947)	Joe (Running)	1:23:58 - Barry talks to Libby	advance plot \| barn \| calm \| conversing \| convict \| fugitive \| leading lady \| leading man \| love interest
Deep Valley (1947)	Underscoring (Tense)	1:24:11 - Libby talks to Barry	advance plot \| barn \| convict \| fugitive \| leading lady \| leading man \| love interest \| tense \| worrying
Deep Valley (1947)	Libby (Sneaking)	1:24:14 - Libby talks to Barry	advance plot \| barn \| convict \| fugitive \| leading lady \| leading man \| love interest \| tense \| worrying \| worrying effect
Deep Valley (1947)	Deep Valley	1:24:39 - Libby talks to Barry	advance plot \| barn \| calm \| convict \| fugitive \| hopeful \| hoping \| leading lady \| leading man \| love interest
Deep Valley (1947)	Barry (Misterioso)	1:25:16 - Barry shaving	advance plot \| arriving \| convict \| fugitive \| leading lady \| leading man \| love interest \| mysterious \| street
Deep Valley (1947)	Barry (Misterioso)	1:27:15 - Libby talks to Barry	agitated \| barn \| conflict \| convict \| dark \| father \| fugitive \| leading lady \| leading man \| love interest \| mysterious \| searching \| worrying
Deep Valley (1947)	Underscoring (Tense)	1:28:00 - Barry prepares to attack	barn \| conflict \| convict \| dark \| fugitive \| leading lady \| leading man \| love interest \| stinger \| tense \| waiting
Deep Valley (1947)	Deep Valley (Slowly)	1:28:11 - Libby climbs the ladder	barn \| conflict \| convict \| descending \| fugitive \| leading lady \| leading man \| love interest \| tense \| uneasy
Deep Valley (1947)	Libby 3 (Tense)	1:28:28 - Libby comes down the ladder	barn \| conflict \| conversing \| convict \| father \| fugitive \| leading lady \| leading man \| love interest \| tense \| uneasy \| walking
Deep Valley (1947)	Running (Extended)	1:29:26 - Libby runs to the barn	advance plot \| barn \| convict \| father \| fugitive \| hesitating \| leading lady \| leading man \| love interest \| mickey-mousing \| running \| tense \| uneasy \| yard
Deep Valley (1947)	Barry (Very Slowly)	1:30:02 - Libby climbs the ladder	advance plot \| arriving \| barn \| climbing \| convict \| fugitive \| leading lady \| leading man \| love interest \| somber \| uneasy \| walking
Deep Valley (1947)	Libby (Somber) + Barry (Somber)	1:30:26 - Libby talks to Barry	advance plot \| barn \| combination of themes \| comforting \| convict \| fugitive \| leading lady \| leading man \| love interest \| somber
Deep Valley (1947)	Deep Valley (Quasi Appassionato)	1:30:51 - Barry looks at Libby	advance plot \| barn \| comforting \| conflicted \| convict \| fugitive \| hopeful \| leading lady \| leading man \| love interest
Deep Valley (1947)	Barry (Drunk)	1:31:10 - Barry talks to Libby	advance plot \| anxious \| anxious effect \| barn \| conversing \| convict \| fugitive \| leading lady \| leading man \| love interest \| worried \| worrying
Deep Valley (1947)	Deep Valley (Delicato)	1:31:30 - Barry embraces Libby	advance plot \| barn \| comforting \| convict \| fugitive \| hopeful \| leading lady \| leading man \| love interest \| street \| tense
Deep Valley (1947)	Libby 2 (Molto Expressivo)	1:33:40 - Ellie walks to the barn	advance plot \| barn \| convict \| eavesdropping \| fugitive \| leading lady \| leading man \| love interest \| mother \| sneaking \| tense \| walking \| yard
Deep Valley (1947)	Libby 2 (Misterioso)	1:34:15 - Ellie climbs the ladder	advance plot \| barn \| climbing \| convict \| eavesdropping \| fugitive \| leading lady \| leading man \| love interest \| mother \| mysterious \| sneaking \| tense
Deep Valley (1947)	Rushing away	1:36:01 - Libby rushes out of the barn	barn \| climax \| convict \| descending \| dramatic \| fugitive \| leading lady \| leading man \| love interest \| mother \| rushing \| rushing effect \| tense
Deep Valley (1947)	Libby 2 (Frantic)	1:36:05 - Ellie calls after Libby	barn \| begging \| climax \| convict \| frantic \| fugitive \| leading lady \| leading man \| love interest \| mother \| pleading \| tense
Deep Valley (1947)	Libby (Running)	1:36:13 - Libby and Barry run out of the barn	barn \| begging \| climax \| convict \| father \| frantic \| fugitive \| leading lady \| leading man \| love interest \| mother \| pleading \| running \| rushing \| tense \| yard
Deep Valley (1947)	Libby (Stormy)	1:36:26 - Cliff looks for Ellie	barn \| climax \| convict \| crying \| dark \| father \| fugitive \| hiding \| leading lady \| leading man \| love interest \| mother \| running \| rushing \| sneaking \| tense \| yard
Deep Valley (1947)	Barry (Drunk)	1:36:39 - Barry steals a car	arguing \| car \| climax \| convict \| dark \| fighting \| fugitive \| leading lady \| leading man \| love interest \| running \| rushing \| street \| tense \| yelling
Deep Valley (1947)	Barry	1:36:57 - Jeff hits Barry	arguing \| attacking \| car \| climax \| convict \| dark \| fighting \| fugitive \| leading lady \| leading man \| love interest \| punching \| street \| tense \| yelling
Deep Valley (1947)	Barry (Running)	1:37:23 - Libby chases Barry	arguing \| car \| chasing \| climax \| convict \| crying \| dramatic \| driving \| fleeing \| fugitive \| leading lady \| leading man \| love interest \| running \| street
Deep Valley (1947)	Molto Expressivo	1:37:28 - Barry pushes Libby away	arguing \| car \| chasing \| climax \| convict \| crying \| dramatic \| driving \| falling \| fleeing \| fugitive \| leading lady \| leading man \| love interest \| running \| street
Deep Valley (1947)	Deep Valley (Climactic)	1:37:35 - Libby on the ground	car \| chasing \| climax \| convict \| crying \| dramatic \| driving \| fleeing \| fugitive \| leading lady \| leading man \| love interest \| street
Deep Valley (1947)	Car Crash	1:37:49 - Barry's car runs off the road	car \| climax \| convict \| crashing \| dramatic \| driving \| falling \| fleeing \| fugitive \| leading man \| love interest \| mickey-mousing \| street \| swerving
Deep Valley (1947)	Underscoring (Dramatic)	1:37:57 - Jeff gets up and looks around	car \| climax \| climbing \| convict \| dramatic \| fleeing \| fugitive \| leading man \| love interest \| mickey-mousing \| police \| searching \| street \| transcribed by ear \| underscoring
Deep Valley (1947)	Fleeing	1:38:08 - Barry makes a run for it	chasing \| climax \| convict \| dramatic \| fleeing \| forest \| fugitive \| leading lady \| leading man \| love interest \| mickey-mousing \| police \| running \| shooting \| transcribed by ear
Deep Valley (1947)	Barry (Not in Score)	1:38:32 - The posse chases after Barry	chasing \| climax \| convict \| dramatic \| fleeing \| forest \| fugitive \| leading man \| love interest \| police \| running \| shooting \| tense \| transcribed by ear
Deep Valley (1947)	Underscoring (Tense)	1:38:41 - Barry is shot	climax \| convict \| dramatic \| falling \| forest \| fugitive \| injury \| leading man \| love interest \| police \| stinger \| tense \| underscoring
Deep Valley (1947)	Law	1:38:44 - The posse chases after Barry	chasing \| climax \| convict \| dramatic \| fleeing \| forest \| fugitive \| injury \| leading man \| love interest \| police \| running \| tense
Deep Valley (1947)	Barry is shot	1:38:57 - Barry is shot	climax \| convict \| dramatic \| falling \| forest \| fugitive \| injury \| leading man \| love interest \| mickey-mousing \| police \| shooting
Deep Valley (1947)	Law (Searching)	1:39:05 - The posse closes in on Barry	chasing \| climax \| convict \| dramatic \| forest \| fugitive \| hiding \| injury \| leading man \| love interest \| police \| searching
Deep Valley (1947)	Underscoring (Tense)	1:39:09 - Barry hides	climax \| convict \| forest \| fugitive \| hiding \| injury \| leading man \| love interest \| police \| searching \| tense \| underscoring
Deep Valley (1947)	Law (Subtle)	1:39:20 - The posse searches for Barry	climax \| convict \| forest \| fugitive \| hiding \| injury \| leading man \| love interest \| police \| searching \| tense
Deep Valley (1947)	Law	1:39:28 - Barry crawls on the ground	climax \| convict \| forest \| fugitive \| hiding \| injury \| leading man \| love interest \| police \| searching \| tense
Deep Valley (1947)	Barry (Dark 2)	1:39:35 - Barry hides	climax \| convict \| forest \| fugitive \| hiding \| injury \| leading man \| love interest \| mysterious \| police \| tense
Deep Valley (1947)	Underscoring (Dramatic)	1:40:00 - Barry hides	climax \| convict \| forest \| fugitive \| hiding \| injury \| leading man \| love interest \| mysterious \| police \| searching \| tense
Deep Valley (1947)	Law (Misterioso)	1:40:10 - Barry hides	climax \| convict \| forest \| fugitive \| hiding \| injury \| leading man \| love interest \| mysterious \| searching \| tense
Deep Valley (1947)	Barry (Misterioso 2)	1:40:17 - Barry runs	climax \| convict \| forest \| fugitive \| hiding \| injury \| leading man \| love interest \| somber \| stumbling \| tense
Deep Valley (1947)	Barry (Triste)	1:40:30 - Barry at the creek	climax \| convict \| forest \| fugitive \| hiding \| injury \| leading man \| love interest \| somber
Deep Valley (1947)	Molto Expressivo	1:40:35 - Barry at the creek	climax \| convict \| forest \| fugitive \| hiding \| injury \| leading man \| love interest \| somber
Deep Valley (1947)	Sunrise	1:40:46 - The sun rises	climax \| convict \| dramatic \| forest \| fugitive \| hiding \| injury \| leading man \| love interest \| sunrise effect
Deep Valley (1947)	Barry (Dolce)	1:41:24 - Libby finds Barry	convict \| death scene \| finding \| forest \| fugitive \| gentle \| leading lady \| leading man \| love interest \| resolution \| searching
Deep Valley (1947)	Deep Valley (Delicato 2)	1:41:39 - Libby goes to Barry	comforting \| convict \| crying \| death scene \| delicate \| dying \| forest \| fugitive \| gentle \| leading lady \| leading man \| love interest \| resolution \| reuniting \| tender
Deep Valley (1947)	Deep Valley (Dying)	1:42:30 - Barry talks to Libby	comforting \| convict \| crying \| death scene \| delicate \| dying \| forest \| fugitive \| gentle \| leading lady \| leading man \| love interest \| resolution \| reuniting \| tender
Deep Valley (1947)	Passing away	1:43:19 - Barry dies	convict \| death \| death scene \| delicate \| dying \| forest \| fugitive \| gentle \| leading lady \| leading man \| love interest \| mickey-mousing \| resolution \| tender
Deep Valley (1947)	Breeze	1:43:22 - Libby looks at Barry	convict \| crying \| death \| death scene \| ethereal \| forest \| fugitive \| leading lady \| leading man \| love interest \| magical \| resolution \| wind effect
Deep Valley (1947)	Breeze + Love Theme	1:43:32 - Libby embraces Barry	combination of themes \| convict \| crying \| death \| death scene \| ethereal \| forest \| fugitive \| leading lady \| leading man \| love interest \| magical \| resolution \| wind effect
Flamingo Road (1949)	If I Could Be With You (Dolce)	0:17:22 - Lane and Field talk	conversing \| falling in love scene \| leading lady \| leading man \| love interest \| pedal tone \| police \| porch \| sentimental \| source to score
Flamingo Road (1949)	Goodnight	0:17:45 - Lane and Field talk	blue note \| conversing \| falling in love scene \| leading lady \| leading man \| love interest \| peaceful \| pedal tone \| police \| porch
Flamingo Road (1949)	Lane (Dolce)	0:17:58 - Lane flirts with Field	falling in love scene \| flirting \| leading lady \| leading man \| love interest \| pedal tone \| playful \| police \| porch \| sweet
Flamingo Road (1949)	If I Could Be With You (Ethereal)	0:18:06 - Lane watches Field drive away	common-tone diminished 7th \| falling in love scene \| leading lady \| leading man \| leaving \| love interest \| pedal tone \| police \| porch \| sentimental \| source to score
Flamingo Road (1949)	Driving	NIF - not in film	car \| cut from film \| driving \| foreign key modulation \| leading lady \| leading man \| love interest \| love scene
Flamingo Road (1949)	Tranquillo	0:29:07 - Lane and Field talk at the lakeside	appoggiatura \| conversing \| lake \| leading lady \| leading man \| love interest \| love scene \| romance \| yearning
Flamingo Road (1949)	If I Could Be With You (Tenderly)	0:29:32 - Lane and Field prepare to leave	11th chord \| 13th chord \| altered dominant \| common-tone diminished 7th \| kissing \| lake \| leading lady \| leading man \| love interest \| love scene \| romance \| romantic \| secondary dominant \| source to score
Flamingo Road (1949)	Lane (Ethereal)	0:30:02 - Lane and Field kiss in the moonlight	added-note chord \| augmentation \| kissing \| lake \| leading lady \| leading man \| love interest \| love scene \| pedal tone \| romance \| romantic
Flamingo Road (1949)	Drinking whiskey	0:49:50 - Dan drinks	chromatic parallelism \| comical \| distressed \| drinking \| leading lady \| leading man \| love interest \| lovers meet \| mickey-mousing \| politician \| quintal chord \| room
Flamingo Road (1949)	Lane (Lento)	0:50:04 - Dan meets Lane	added-note chord \| conversing \| countermelody \| gentle \| graceful \| leading lady \| leading man \| love interest \| lovers meet \| politician \| room
Flamingo Road (1949)	Lane (Chromatic)	0:50:24 - Lane ties Dan's tie	9th chord \| chromatic parallelism \| conversing \| dark \| gentle \| leading lady \| leading man \| love interest \| lovers meet \| politician \| room
Flamingo Road (1949)	Titus 2 (Agitato)	0:50:41 - Lane ties Dan's tie	chromatic parallelism \| conversing \| leading lady \| leading man \| love interest \| lovers meet \| mysterious \| politician \| room \| self-borrowing
Flamingo Road (1949)	Indigestion	0:50:48 - Lane complains of a hangover	chromatic parallelism \| chromatic scale \| comical \| distressed \| grumbling \| leading lady \| leading man \| love interest \| lovers meet \| politician \| room
Flamingo Road (1949)	Lane	0:50:59 - Lane gives Dan his money	conversing \| delicate \| gentle \| leading lady \| leading man \| love interest \| lovers meet \| mode mixture \| pleasant \| politician \| room
Flamingo Road (1949)	If I Could Be With You (Misterioso)	0:51:15 - Lane asks Dan about Field	chromatic parallelism \| conversing \| diminished 7th chord \| leading lady \| leading man \| love interest \| lovers meet \| politician \| room \| uneasy
Flamingo Road (1949)	Molto Grazioso	0:51:40 - Dan notices Lane	conversing \| delicate \| flirting \| leading lady \| leading man \| love interest \| lovers meet \| politician \| room
Flamingo Road (1949)	Lute Mae (Quasi Blues)	0:51:46 - Dan flirts with Lane	13th chord \| added-note chord \| conversing \| countermelody \| flirting \| flirty \| leading lady \| leading man \| love interest \| lovers meet \| politician \| room \| self-borrowing \| sultry \| thematic transference
Flamingo Road (1949)	Slide whistle	0:53:00 - Dan surprises Lute Mae	comical \| employer \| leading lady \| leading man \| love interest \| mickey-mousing \| politician \| room \| surprising \| transition
Flamingo Road (1949)	Lute Mae (Driving)	0:53:02 - Lane drives Dan to the construction site	13th chord \| added-note chord \| arriving \| car \| car \| comical \| common-chord modulation \| driving \| leading lady \| leading man \| love interest \| politician \| rushed \| self-borrowing \| transition \| traveling
Flamingo Road (1949)	Lane (Bell-like)	0:54:43 - Lane gives Dan some change	fragmentation \| gentle \| giving \| leading lady \| leading man \| love interest \| love scene \| politician \| porch \| receiving \| sweet
Flamingo Road (1949)	Flamingo Road (Bluesy)	0:55:00 - Dan buys some cold drinks	9th chord \| altered dominant \| bluesy \| flirting \| foreshadowing \| leading lady \| leading man \| love interest \| love scene \| mode mixture \| parallelism \| politician \| porch \| self-borrowing
Flamingo Road (1949)	Flamingo Road (Romantic)	0:55:41 - Dan kisses Lane	embracing \| foreign key modulation \| foreshadowing \| kissing \| leading lady \| leading man \| love interest \| love scene \| mode mixture \| parallelism \| politician \| porch \| romantic \| self-borrowing
Flamingo Road (1949)	Through a Thousand Dreams	0:56:41 - The Olympic City hotel	club \| conversing \| dance scene \| dancing \| dining \| leading lady \| leading man \| love interest \| on-screen music \| politician \| sentimental \| sheriff \| source music \| wife
Flamingo Road (1949)	Don't Take Your Love From Me	0:58:50 - Dan and Lane sit at a table	ABAC structure \| club \| conversing \| dance scene \| leading lady \| leading man \| love interest \| on-screen music \| politician \| sentimental \| sheriff \| source music \| wife
Flamingo Road (1949)	If I Could Be With You	0:59:52 - A woman sings with the dance band	club \| conversing \| dance scene \| dancing \| dining \| leading lady \| leading man \| love interest \| on-screen music \| politician \| sentimental \| sheriff \| singer \| singing \| source music \| wife
Flamingo Road (1949)	I Guess I'll Have to Change My Plan	1:01:40 - Lane and Dan talk at their table	club \| conversing \| dance scene \| leading lady \| leading man \| love interest \| politician \| sentimental \| sheriff \| source music \| wife
Flamingo Road (1949)	Lane (Descending the Staircase)	1:21:31 - Lane descends the stairs	advance plot \| delicate \| descending \| leading lady \| leading man \| love interest \| mickey-mousing \| mysterious \| parallelism \| room \| walking
Flamingo Road (1949)	If I Could Be With You (Triste)	1:22:18 - Field enters the house	death scene \| diminished 7th chord \| drunk \| drunk \| foreign key modulation \| leading lady \| leading man \| love interest \| room \| somber \| stumbling
Flamingo Road (1949)	Underscoring (Somber)	1:22:33 - Field stumbles through the house	chromatic parallelism \| conversing \| death scene \| drunk \| drunk \| leading lady \| leading man \| love interest \| room \| somber \| underscoring
Flamingo Road (1949)	If I Could Be With You (Drunk)	1:22:58 - Field and Lane talk about their past love	arguing \| chromatic parallelism \| death scene \| diminished 7th chord \| drunk \| leading lady \| leading man \| love interest \| room \| somber
Flamingo Road (1949)	Titus (Ostinato 2)	1:23:34 - Field and Lane talk about Titus and Dan	arguing \| dark \| death scene \| dramatic \| leading lady \| leading man \| love interest \| ominous \| ostinato \| room \| self-borrowing
Flamingo Road (1949)	Flamingo Road (Andante)	1:24:05 - Lane goes to get a drink for Field	altered dominant \| chromatic parallelism \| dark \| death scene \| gentle \| gunshot \| hopeful \| leading lady \| leading man \| love interest \| mode mixture \| room \| self-borrowing \| suicide \| walking \| warm
Flamingo Road (1949)	If I Could Be With You (Dead)	1:24:41 - Lane sees Field has committed suicide	augmentation \| death scene \| discovering \| gunshot \| leading lady \| leading man \| love interest \| reacting \| room \| suicide \| surprise \| tragic \| violent
Hell on Frisco Bay (1955)	Kay	0:20:48 - Lye goes to see Kay	antagonist \| conductor score \| conversing \| establish character \| gangster \| kissing \| love interest \| lyrical \| romantic \| street
Hell on Frisco Bay (1955)	Kay	1:28:35 - Steve leaves with Kay	comforting \| gentle \| investigator \| leading man \| leaving \| love interest \| room \| turning point \| witness
Hell on Frisco Bay (1955)	Kay	1:29:11 - Steve enters with Kay	arriving \| entering \| investigator \| leading lady \| leading man \| love interest \| room \| somber \| turning point \| witness
Hell on Frisco Bay (1955)	Hell on Frisco Bay	1:29:23 - Marcia calls the police	agitated \| calling \| investigator \| leading lady \| leading man \| leaving \| love interest \| room \| turning point \| witness
Hell on Frisco Bay (1955)	Underscoring (Tense)	1:29:55 - Marcia talks to Kay	conversing \| leading lady \| love interest \| room \| tense \| turning point \| witness
Her Kind of Man (1946)	It Had to Be You	0:12:33 - Steve whistles	establish character \| gambler \| leading lady \| leading man \| love interest \| love scene \| on-screen music \| room \| sentimental \| singer \| source music \| whistling
Her Kind of Man (1946)	April in Paris	0:12:48 - Steve enters Georgia's dressing room	AABA structure \| conversing \| establish character \| gambler \| kissing \| leading lady \| leading man \| love interest \| love scene \| popular music \| room \| sentimental \| singer \| source music
Her Kind of Man (1946)	Underscoring (Dark [Waxman])	0:17:02 - Steve fights Felix	action scene \| arguing \| conversing \| criminal \| dark \| death \| dramatic \| gambler \| gun \| gunshot \| leading lady \| leading man \| love interest \| owner \| punching \| room \| self-defense \| shooting \| singer \| stinger \| tense \| underscoring
Her Kind of Man (1946)	It Had to Be You (Kissing)	0:18:22 - Steve kisses Georgia	action scene \| augmented triad \| gambler \| kissing \| leading lady \| leading man \| love interest \| minor-major 7th chord \| room \| singer \| source to score \| tense
Her Kind of Man (1946)	Gay White Way	0:19:54 - Georgia looks at her jewelry	advance plot \| cheery \| conversing \| crew \| dancer \| jewelry \| leading lady \| love interest \| manager \| on-screen music \| piano \| source music \| stage
Her Kind of Man (1946)	Speak to Me of Love	0:28:06 - City skyline at night	balcony \| conversing \| leading lady \| leading man \| love interest \| love scene \| on-screen music \| record player \| reporter \| romantic \| singing \| source music
Her Kind of Man (1946)	It Had to Be You	0:29:37 - Georgia and Don	balcony \| cheery \| conversing \| gambler \| leading lady \| leading man \| love interest \| love scene \| on-screen music \| reporter \| room \| source music \| whistling
Her Kind of Man (1946)	Too Many Tears	0:41:11 - Saratoga Casino	AABA structure \| advance plot \| club \| conversing \| crowd \| gambler \| leading lady \| leading man \| love interest \| manager \| on-screen music \| source music \| upbeat
Her Kind of Man (1946)	It Had to Be You (Somber)	0:44:48 - Georgia leaves	9th chord \| arguing \| conflict \| departing \| gambler \| leading lady \| leading man \| love interest \| room \| somber \| underscoring
Her Kind of Man (1946)	My Darling	0:45:05 - Georgia and Don in a restaurant	conversing \| crowd \| leading lady \| leading man \| love interest \| love scene \| photograph \| photographer \| reporter \| restaurant \| romantic \| source music \| waiter
Her Kind of Man (1946)	It Had to Be You	0:47:09 - Georgia gets ready for bed	advance plot \| cheery \| gambler \| leading lady \| leading man \| love interest \| on-screen music \| preparing \| room \| source music \| waiting \| whistling
Her Kind of Man (1946)	It Had to Be You (Passionate)	0:47:50 - Georgia talks with Steve	arguing \| conversing \| dark \| gambler \| kissing \| leading lady \| leading man \| love interest \| love scene \| passionate \| romantic \| room \| sequence \| source to score \| turbulent
Her Kind of Man (1946)	Here Comes the Bride	0:49:40 - Steve proposes to Georgia	classical music \| criminal \| familiar tune \| gambler \| henchman \| leading lady \| leading man \| love interest \| love scene \| proposing \| reporter \| romantic \| room \| tense
In This Our Life (1942)	Stanley Introduction	0:06:35 - A car arrives	9th chord \| arriving \| car \| chromatic scale \| conversing \| establish character \| leading lady \| leading man \| love interest \| stinger \| tense
In This Our Life (1942)	Stanley	0:06:56 - Stanley talks with Peter	9th chord \| appoggiatura \| car \| circle of fifths \| conversing \| establish character \| leading lady \| leading man \| love interest \| sultry
In This Our Life (1942)	Stanley B	0:07:06 - Stanley talks with Peter	car \| chromatic scale \| chromatic sequence \| conversing \| dissonant bass \| establish character \| fragmentation \| leading lady \| leading man \| love interest \| sultry
In This Our Life (1942)	Stanley	0:07:23 - Stanley drives away	9th chord \| appoggiatura \| car \| circle of fifths \| conversing \| establish character \| leading lady \| leading man \| love interest \| sultry
In This Our Life (1942)	South American Way	0:24:06 - A spinning record	AABA structure \| advance plot \| conversing \| dancing \| Latin-American \| leading lady \| leading man \| love interest \| popular music \| record player \| room \| source music \| upbeat
In This Our Life (1942)	Driving	0:38:19 - Roy and Craig in a car	9th chord \| calm \| car \| conversing \| driving \| leading lady \| leading man \| love interest \| love scene \| oscillation
In This Our Life (1942)	Driving + Love Theme	0:39:07 - Roy and Craig in a car	9th chord \| altered dominant \| calm \| car \| combination of themes \| conversing \| driving \| iii chord \| leading lady \| leading man \| love interest \| love scene \| oscillation \| pedal tone \| romantic \| suspension
In This Our Life (1942)	Danger	0:39:54 - A forest ranger	conversing \| danger \| fire \| forest ranger \| leading lady \| leading man \| love interest \| love scene \| minor-major 7th chord \| outdoors \| tense
In This Our Life (1942)	Forest Fire	0:40:10 - A forest fire	conversing \| dangerous \| diminished 7th chord \| eerie \| fire \| leading lady \| leading man \| love interest \| love scene \| outdoors \| pc set \| polychord
In This Our Life (1942)	Love Theme	0:40:44 - Roy and Craig sit on the ground	9th chord \| altered dominant \| artwork in score \| calm \| conversing \| fire \| iii chord \| leading lady \| leading man \| love interest \| love scene \| outdoors \| romantic \| suspension
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
The Informer (1935)	Blood Money (Ostinato)	1:22:00 - Gypo confesses to Katie	antagonist \| confessing \| leading lady \| leading man \| love interest \| love scene \| money \| ostinato \| room \| tense \| traitor \| whole-tone
The Informer (1935)	Katie (Allegro Appassionato)	1:22:20 - Gypo talks to Katie	antagonist \| confessing \| leading lady \| leading man \| love interest \| love scene \| room \| sequence \| tense \| traitor
The Informer (1935)	By the Fire	1:22:36 - Gypo rests by the fire	antagonist \| half-diminished 7th chord \| leading lady \| leading man \| love interest \| love scene \| romantic \| room \| suspension \| traitor \| yearning
The Informer (1935)	Katie (Dolcissimo)	1:22:57 - Gypo talks to Katie	antagonist \| chromatic sequence \| leading lady \| leading man \| love \| love interest \| love scene \| romantic \| room \| traitor \| yearning
The Informer (1935)	Dan and Mary (Adagio)	1:23:36 - Dan and Mary talk	11th chord \| dissonant bass \| love \| love interest \| love scene \| rebel \| romantic \| room \| yearning
The Informer (1935)	Dan and Mary	1:24:05 - Dan and Mary talk	conversing \| love \| love interest \| love scene \| rebel \| romantic \| room
The Informer (1935)	Ireland	1:24:14 - Dan and Mary talk about the rebel movement	conversing \| folk-like \| love \| love interest \| love scene \| rebel \| romantic \| room
The Informer (1935)	Dan and Mary (In Love)	1:24:19 - Dan and Mary talk about love	love \| love interest \| love scene \| rebel \| romantic \| room \| yearning
The Informer (1935)	Katie (Begging)	1:24:42 - Katie pleads for Gypo	64 chord \| advance plot \| begging \| leading lady \| love interest \| rebel \| room \| sequence \| serious \| tense
The Informer (1935)	Begging	1:25:13 - Katie pleads for Gypo	advance plot \| begging \| diminished 7th chord \| dissonant bass \| leading lady \| love interest \| pedal tone \| rebel \| room \| sequence \| serious \| tense
The Informer (1935)	The Informer (Begging)	1:25:50 - Katie pleads for Gypo	advance plot \| begging \| dramatic \| leading lady \| love interest \| main theme \| rebel \| room
The Informer (1935)	Dan and Mary (Begging)	1:25:53 - Katie talks to Mary about loving Gypo	advance plot \| begging \| gentle \| leading lady \| love interest \| rebel \| room \| sequence \| tender
The Informer (1935)	The Informer (Sympathetic)	1:26:35 - Katie tells Dan where Gypo is	advance plot \| eavesdropping \| leading lady \| love interest \| main theme \| rebel \| room \| spying \| tense
The Informer (1935)	Begging 2	1:26:41 - Katie begs for Gypo's life	advance plot \| anxiety \| begging \| chromatic scale \| despair \| leading lady \| love interest \| rebel \| room \| sequence \| tense
The Informer (1935)	Katie (Furioso)	1:26:55 - Katie becomes desperate	advance plot \| anxiety \| begging \| chromatic parallelism \| despair \| dissonant bass \| fragmentation \| leading lady \| love interest \| rebel \| room \| sentence form \| sequence \| tense \| whole-tone chord
Key Largo (1948)	McCloud (Molto Expressivo)	1:07:31 - McCloud wakes Nora after the storm	conversing \| gentle \| hotel \| leading lady \| leading man \| love interest \| love scene \| resting \| romance \| waking \| warm
Key Largo (1948)	McCloud (Delicato)	1:08:14 - McCloud talks with Nora	conversing \| delicate \| father \| gentle \| hotel \| leading lady \| leading man \| love interest \| love scene \| warm
Key Largo (1948)	McCloud (Slowly)	1:24:14 - McCloud and Nora exchange glances	advance plot \| hotel \| leading lady \| leading man \| looking \| love interest \| somber
Lightning Strikes Twice (1951)	Shelly (Legato) + Shelly 2 (Legato)	0:42:32 - Shelly gets off of her horse	actor \| arriving \| calm \| combination of themes \| countryside \| hiking \| horse \| leading lady \| leading man \| love interest \| suspect \| transition \| walking
Lightning Strikes Twice (1951)	Stumbling	0:42:50 - Shelly slips on a rock and almost falls	actor \| cliff \| countryside \| danger \| dramatic \| falling in love scene \| leading lady \| leading man \| love interest \| mickey-mousing \| slipping \| stumbling \| suspect
Lightning Strikes Twice (1951)	Fear (Vertigo)	0:42:57 - Shelly talks with Trev	actor \| cliff \| conversing \| countryside \| danger \| falling in love scene \| fear \| heights \| leading lady \| leading man \| love interest \| suspect \| tense \| underscoring
Lightning Strikes Twice (1951)	Shelly (Expressivo) + Shelly 2 (Expressivo)	0:43:13 - Shelly talks with Trev	actor \| calm \| cliff \| combination of themes \| conversing \| countryside \| falling in love scene \| leading lady \| leading man \| love interest \| romance \| suspect \| tense
Lightning Strikes Twice (1951)	Shelly 2 (Dolce)	0:43:38 - Shelly talks with Trev	actor \| cliff \| conversing \| countryside \| falling in love scene \| leading lady \| leading man \| love interest \| romance \| romantic \| suspect
Lightning Strikes Twice (1951)	Shelly 3 (Appassionato)	0:43:47 - Shelly talks with Trev	actor \| cliff \| conversing \| countryside \| falling in love scene \| leading lady \| leading man \| love interest \| romance \| romantic \| suspect
Lightning Strikes Twice (1951)	Shelly 2 (Dolcissimo)	0:44:07 - Shelly looks at Trev	actor \| cliff \| conversing \| countryside \| falling in love scene \| gentle \| leading lady \| leading man \| love interest \| romance \| romantic \| suspect
Lightning Strikes Twice (1951)	Underscoring (Tense)	0:44:51 - Shelly talks with Trev	actor \| cliff \| conversing \| countryside \| falling in love scene \| leading lady \| leading man \| love interest \| suspect \| suspenseful \| tense \| underscoring
Lightning Strikes Twice (1951)	Shelly and Trev (Taken Aback)	0:45:08 - Shelly reacts to Trev's question	actor \| arguing \| cliff \| countryside \| falling in love scene \| leading lady \| leading man \| love interest \| reacting \| somber \| suspect
Lightning Strikes Twice (1951)	Shelly (Menacing)	0:45:23 - Shelly talks with Trev	actor \| arguing \| cliff \| countryside \| falling in love scene \| leading lady \| leading man \| love interest \| menacing \| reacting \| suspect
Lightning Strikes Twice (1951)	Shelly 2 (Romantic)	0:45:51 - Shelly talks with Trev	actor \| cliff \| conversing \| countryside \| departing \| falling in love scene \| gentle \| leading lady \| leading man \| love interest \| romantic \| suspect \| underscoring
Lightning Strikes Twice (1951)	Stumbling 2	0:46:03 - Shelly starts back along path	actor \| cliff \| climbing \| countryside \| danger \| dramatic \| falling in love scene \| hiking \| leading lady \| leading man \| love interest \| slipping \| stumbling \| suspect
Lightning Strikes Twice (1951)	Rock falls	0:46:09 - A rock falls on the path	actor \| cliff \| countryside \| danger \| dramatic \| falling \| falling in love scene \| leading lady \| leading man \| love interest \| mickey-mousing \| rock \| suspect
Lightning Strikes Twice (1951)	Fear	0:46:12 - Shelly is scared and can't move	actor \| cliff \| clinging \| countryside \| dark \| falling in love scene \| fear \| heights \| leading lady \| leading man \| love interest \| suspect \| tense
Lightning Strikes Twice (1951)	Trev (Triste 2)	0:46:33 - Trev climbs to help Shelly	actor \| cliff \| climbing \| countryside \| danger \| falling in love scene \| helping \| heroic \| leading lady \| leading man \| love interest \| rescue \| rescuing \| romantic \| somber \| suspect \| tense
Lightning Strikes Twice (1951)	Rescue	0:47:42 - Trev rescues Shelly	actor \| cliff \| climbing \| countryside \| dramatic \| falling in love scene \| helping \| leading lady \| leading man \| love interest \| rescue \| rescuing \| suspect \| tense \| triumphant
Lightning Strikes Twice (1951)	Shelly and Trev (Appassionato)	0:47:56 - Trev embraces Shelly	actor \| cliff \| countryside \| falling in love scene \| hugging \| kissing \| leading lady \| leading man \| love interest \| romantic \| suspect
Lightning Strikes Twice (1951)	Underneath a Western Sky	0:56:48 - A chuckwagon dinner	actor \| advance plot \| calm \| campfire \| chuckwagon \| conversing \| cowboy song \| crowd \| drinking \| eating \| father \| flirting \| food \| friend \| leading lady \| love interest \| mother \| on-screen music \| owner \| playing \| ranch \| source music
Lightning Strikes Twice (1951)	Too Much Love	0:59:02 - Shelly looks at Trev's portrait	actor \| advance plot \| calm \| conversing \| flirting \| friend \| leading lady \| love interest \| party \| popular music \| portrait \| ranch \| source music
Lightning Strikes Twice (1951)	Mi Caballero	1:00:08 - People dancing outside	actor \| advance plot \| crowd \| dancing \| friend \| Latin American \| leading lady \| love interest \| on-screen music \| party \| playing \| ranch \| source music \| upbeat
Lightning Strikes Twice (1951)	Underscoring (Dark)	1:02:38 - Harvey drives	actor \| arriving \| car \| conflict \| danger \| dark \| driving \| friend \| leading lady \| love interest \| ranch \| stopping \| tense \| underscoring
Lightning Strikes Twice (1951)	Shelly (Worried)	1:03:05 - Harvey gets out of the car	actor \| arriving \| car \| concerned \| conflict \| conversing \| dark \| friend \| leading lady \| love interest \| ranch \| tense \| worried
Lightning Strikes Twice (1951)	Slipping	1:03:21 - Shelly slips	actor \| car \| conflict \| dark \| friend \| leading lady \| love interest \| mickey-mousing \| ranch \| slipping \| stumbling
Lightning Strikes Twice (1951)	Shelly (Agitato)	1:03:34 - Shelly runs away	actor \| agitated \| calm \| conflict \| embracing \| escaping \| friend \| hurrying \| leading lady \| leading man \| love interest \| ranch \| reuniting \| suspect
Lightning Strikes Twice (1951)	Emotion	1:05:10 - Shelly cries	actor \| comforting \| conversing \| crying \| leading lady \| leading man \| love interest \| love scene \| ranch \| somber \| suspect
Lightning Strikes Twice (1951)	Menace (Nightmare)	1:05:38 - Trev tells Shelly of a recurring dream	actor \| comforting \| conversing \| crying \| dark \| leading lady \| leading man \| love interest \| love scene \| ranch \| solemn \| suspect \| tense
Lightning Strikes Twice (1951)	Trev (Tenderly)	1:06:09 - Trev kisses Shelly	actor \| crying \| embracing \| gentle \| kissing \| leading lady \| leading man \| love interest \| love scene \| marriage \| proposal \| ranch \| romantic \| suspect
Lightning Strikes Twice (1951)	Shelly and Trev (Tenderly)	1:06:50 - Trev and Shelly embrace	actor \| conversing \| embracing \| kissing \| leading lady \| leading man \| love interest \| love scene \| marriage \| proposal \| ranch \| romantic \| suspect
Lightning Strikes Twice (1951)	Shelly and Trev (Ecstatic)	1:07:09 - A car pulls up the ranch	actor \| arriving \| driving \| embracing \| kissing \| leading lady \| leading man \| love interest \| love scene \| ranch \| romantic \| suspect
Lightning Strikes Twice (1951)	Shelly and Trev (Molto Tranquillo)	1:07:22 - Trev and Shelly get out of the car	actor \| calm \| conversing \| embracing \| leading lady \| leading man \| love interest \| love scene \| ranch \| romantic \| suspect
Lightning Strikes Twice (1951)	Shelly (Peaceful) + Shelly 2 (Peaceful)	1:07:58 - Trev and Shelly embrace	actor \| calm \| combination of themes \| conversing \| embracing \| kissing \| leading lady \| leading man \| love interest \| love scene \| mother \| owner \| ranch \| romantic \| room \| suspect
Lightning Strikes Twice (1951)	Ave Maria (Religioso)	1:10:24 - Justice of the Peace sign	actor \| chapel \| classical \| familiar tune \| justice of the peace \| leading lady \| leading man \| love interest \| marrying \| religious \| ring \| Schubert \| source music \| suspect \| tender \| wedding \| wedding
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)	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)	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 (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)	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
The Life of Vergie Winters (1934)	Lullaby (Not in Score)	0:32:18 - Vergie and John look at a baby picture	AABA structure \| calm \| common-chord modulation \| conversing \| cuddling \| leading lady \| leading man \| love interest \| love scene \| lullaby \| peaceful \| room \| score to source \| secret love \| transcribed by ear
The Life of Vergie Winters (1934)	Darktown Strutters' Ball	0:40:06 - Sadie and Mike in a bar	advance plot \| business man \| club \| common-chord modulation \| conversing \| friend \| love interest \| plotting \| ragtime \| source music \| upbeat
The Life of Vergie Winters (1934)	Lullaby (Military Band)	0:45:45 - Newspaper montage	64 chord \| fanfare \| leading man \| love interest \| montage \| pedal tone \| politician \| soldier \| triumphant
The Life of Vergie Winters (1934)	Over There (Military Band)	0:45:52 - Newspaper montage	leading man \| love interest \| montage \| patriotic tune \| politician \| soldier \| triumphant
The Life of Vergie Winters (1934)	Stars and Stripes Forever (Military Band)	0:46:01 - Newspaper montage	leading man \| love interest \| montage \| patriotic tune \| politician \| soldier \| triumphant
The Life of Vergie Winters (1934)	Stars and Stripes Forever (Allegro)	0:46:04 - Newspaper montage	64 chord \| added-note chord \| gentle \| leading lady \| leading man \| love interest \| montage \| patriotic tune \| pedal tone \| politician \| soldier
The Life of Vergie Winters (1934)	Old Lavender	1:00:07 - Joan and Ranny talk	9th chord \| added-note chord \| altered dominant \| common-chord modulation \| conversing \| daughter \| direct modulation \| harmonic sequence \| light \| love interest \| love scene \| optimistic \| proposal \| proposing \| room \| transcribed by ear
The Life of Vergie Winters (1934)	Here Comes the Bride	1:00:46 - Joan and Ranny talk about marriage	common-chord modulation \| conversing \| daughter \| familiar tune \| gentle \| love interest \| love scene \| peaceful \| proposal \| proposing \| romantic \| room \| transcribed by ear
The Life of Vergie Winters (1934)	Old Lavender	1:02:11 - Joan and Ranny enter	9th chord \| added-note chord \| altered dominant \| arguing \| common-chord modulation \| conflict \| conversing \| daughter \| direct modulation \| harmonic sequence \| leading man \| light \| love interest \| optimistic \| room \| surprise \| wife
The Life of Vergie Winters (1934)	Old Lavender (Celeste Solo)	1:02:43 - John paces around	conflict \| daughter \| direct modulation \| hesitating \| leading man \| love interest \| lying \| peaceful \| room \| surprise \| wife
The Life of Vergie Winters (1934)	Underscoring (Lyrical)	1:02:52 - Laura reveals that Joan is adopted	conflict \| daughter \| deflecting \| hesitating \| leading man \| love interest \| mode mixture \| peaceful \| pedal tone \| room \| surprise \| wife
The Life of Vergie Winters (1934)	Lullaby (Adagio)	1:03:02 - Joan reacts	conflict \| daughter \| diminished 7th chord \| direct modulation \| dissonant bass \| leading man \| love interest \| revealing \| room \| stinger \| surprise \| tense \| wife
The Life of Vergie Winters (1934)	Lullaby (Harp Solo)	1:03:33 - John tells Joan about her parents	conflict \| daughter \| deceiving \| deceptive resolution \| leading man \| love interest \| lullaby \| lying \| revealing \| room \| secondary dominant \| surprise \| tender \| wife
The Life of Vergie Winters (1934)	Old Lavender (Allegretto)	1:04:31 - Ranny reacts to the revelation	chromatic mediant \| conflict \| conversing \| daughter \| foreign key modulation \| fragmentation \| leading man \| light \| love interest \| mode mixture \| optimistic \| pedal tone \| room \| wife
The Life of Vergie Winters (1934)	Old Lavender (Gentle)	1:04:45 - Ranny takes the ring back from Joan	64 chord \| altered dominant \| conflict \| daughter \| leading man \| love interest \| peaceful \| pedal tone \| proposal \| proposing \| room \| wife
The Life of Vergie Winters (1934)	Here Comes the Bride (Slow)	1:05:05 - Ranny re-proposes to Joan	64 chord \| conflict \| daughter \| familiar tune \| leading man \| love interest \| peaceful \| proposal \| proposing \| room \| wife
The Life of Vergie Winters (1934)	Lullaby (Dolcissimo)	1:05:11 - Joan talks to Laura	9th chord \| conflict \| daughter \| leading man \| love interest \| peaceful \| proposal \| proposing \| room \| wife
The Life of Vergie Winters (1934)	Old Lavender (Ethereal)	1:05:26 - Ranny talks to Joan's parents	added-note chord \| common-chord modulation \| conflict \| conversing \| daughter \| leading man \| love interest \| mode mixture \| pedal tone \| room \| sentimental \| wife
The Life of Vergie Winters (1934)	Lullaby (Tender)	1:05:45 - Ranny leaves with Joan	13th chord \| conflict \| daughter \| leading man \| leaving \| love interest \| peaceful \| pedal tone \| room \| wife
Rockabye (1932)	Till the Real Thing Comes My Way	0:33:55 - Judy at the party	advance plot \| club \| conversing \| dancing \| friend \| leading lady \| love interest \| on-screen music \| pianist \| playing \| playwright \| source music \| upbeat
Rockabye (1932)	Out of the Blue (Piano Improvisation)	0:35:57 - Judy and Jacobs talk	AABA structure \| advance plot \| calm \| club \| conversing \| leading lady \| love interest \| on-screen music \| playwright \| score to source borrowing \| source music
Rockabye (1932)	Till the Real Thing Comes My Way	0:39:24 - Judy sings a song	AABA structure \| advance plot \| club \| dancing \| leading lady \| love interest \| on-screen music \| pianist \| singing \| source music \| upbeat
Rockabye (1932)	Till the Real Thing Comes My Way	0:40:21 - Judy sings on top of a truck	advance plot \| leading lady \| love interest \| on-screen music \| pianist \| singing \| source music \| street \| upbeat
Rockabye (1932)	Till the Real Thing Comes My Way	1:01:37 - Judy sings at a party	advance plot \| cheerful \| leading lady \| love interest \| on-screen music \| party \| playwright \| singing \| source music
White Heat (1949)	Underscoring (Tense)	0:42:03 - Ma talks to the gangsters	advance plot \| conversing \| gangster \| leading lady \| love interest \| moll \| mother \| room \| tense \| underscoring
White Heat (1949)	Cody (Expressivo)	0:42:17 - Ma talks to Big Ed	advance plot \| conversing \| gangster \| leading lady \| love interest \| moll \| mother \| room \| tense
White Heat (1949)	Agitato	0:42:32 - Verna leaves the room	advance plot \| agitated \| conversing \| departing \| gangster \| leading lady \| love interest \| moll \| mother \| room \| tense \| underscoring
White Heat (1949)	Big Ed	0:42:41 - Big Ed leaves the room	advance plot \| gangster \| leading lady \| love interest \| moll \| mother \| room \| tense \| walking
White Heat (1949)	Underscoring (Dramatic)	0:42:52 - Big Ed talks to Verna	advance plot \| anger \| angry \| arguing \| dramatic \| gangster \| leading lady \| love interest \| moll \| porch \| underscoring
White Heat (1949)	Moll (Arguing)	0:43:06 - Verna argues with Big Ed	anger \| arguing \| gangster \| leading lady \| love interest \| love scene \| moll \| porch \| tense \| uneasy
White Heat (1949)	Verna (Slowly)	0:43:41 - Verna kisses Big Ed	betrayal \| bluesy \| gangster \| kissing \| leading lady \| love interest \| love scene \| moll \| mother \| porch \| romantic \| spying \| sultry
White Heat (1949)	Five O'Clock Whistle	1:11:01 - Verna watches Ed	advance plot \| conversing \| gangster \| leading lady \| love interest \| moll \| popular music \| radio \| room \| source music \| upbeat
White Heat (1949)	Underscoring (Tense)	1:13:20 - Big Ed walks up the stairs	action scene \| dark \| gangster \| leading lady \| love interest \| moll \| room \| tense \| underscoring \| walking
White Heat (1949)	Danger (Agitato)	1:13:33 - Verna sits up	action scene \| anxiety \| danger \| gangster \| leading lady \| listening \| love interest \| moll \| room \| tense
White Heat (1949)	Underscoring (Tense)	1:16:28 - Big Ed creates a decoy	decoy \| gangster \| gun \| love interest \| murder scene \| preparing \| room \| tense \| underscoring
White Heat (1949)	Verna (Uneasy)	1:18:05 - Big Ed kisses Verna	dark \| drinking \| embracing \| gangster \| gun \| kissing \| leading lady \| leading man \| love interest \| moll \| murderer \| murder scene \| room \| somber \| spying \| waiting
White Heat (1949)	Big Ed's Death	1:18:41 - Big Ed runs	dark \| death \| dramatic \| dying \| falling \| gangster \| gun \| gunshot \| leading lady \| leading man \| love interest \| mickey-mousing \| moll \| murder \| murderer \| murder scene \| room \| running \| rushing \| shooting \| violence
White Heat (1949)	Underscoring (Dramatic)	1:19:20 - Big Ed's body falls down the stairs	dark \| death \| dramatic \| falling \| fugitive \| gangster \| leading lady \| leading man \| love interest \| mickey-mousing \| moll \| murderer \| murder scene \| panning shot \| room \| stairs \| staring \| statue \| stinger \| undercover agent \| underscoring \| watching
White Heat (1949)	Panning	1:19:32 - Camera pans to the group	beans \| dramatic \| fugitive \| gangster \| leading lady \| leading man \| love interest \| mickey-mousing \| moll \| murderer \| panning shot \| room \| throwing \| transition \| undercover agent \| waiting
The Woman in White (1948)	The Self Banished	1:31:42 - Walter Kisses Marian	conversing \| embracing \| friend \| gentle \| kissing \| leading lady \| leading man \| leaving \| love interest \| love scene \| romantic \| room \| thematic transference
The Woman in White (1948)	Fosco (Molto Moderato)	1:38:43 - Fosco looks at Marian	advance plot \| criminal \| friend \| leading lady \| leading man \| love interest \| menacing \| murderer \| pacing \| room \| somber
The Woman in White (1948)	Underscoring (Tense)	1:39:05 - The butler enters	advance plot \| butler \| conversing \| criminal \| friend \| leading lady \| leading man \| love interest \| murderer \| room \| tense \| underscoring
The Woman in White (1948)	Fosco (Molto Moderato)	1:39:33 - Fosco talks to Marian	advance plot \| conversing \| criminal \| friend \| leading lady \| leading man \| love interest \| menacing \| murderer \| room \| somber
The Woman in White (1948)	Underscoring (Tense)	1:44:06 - The countess enters	climax \| conversing \| criminal \| dark \| friend \| leading lady \| leading man \| love interest \| murderer \| necklace \| ominous \| room \| transcribed by ear \| wife
The Woman in White (1948)	Ann (Not in Score)	1:44:24 - Count Fosco talks to the Countess	climax \| conversing \| criminal \| friend \| leading lady \| leading man \| love interest \| murderer \| mysterious \| necklace \| room \| transcribed by ear \| wife
The Woman in White (1948)	Fosco (Screwy)	1:44:42 - The Countess walks across the room	climax \| criminal \| friend \| leading lady \| leading man \| love interest \| murderer \| mysterious \| necklace \| room \| sneaking \| walking \| wife
The Woman in White (1948)	Fosco (Sneaking)	1:44:51 - The Countess walks across the room	climax \| criminal \| friend \| leading lady \| leading man \| love interest \| murderer \| mysterious \| necklace \| room \| sneaking \| walking \| wife
The Woman in White (1948)	Adagio	1:45:00 - The Countess picks up a knife	climax \| conversing \| criminal \| friend \| knife \| leading lady \| leading man \| love interest \| murderer \| necklace \| room \| somber \| wife
The Woman in White (1948)	Fosco (Soft)	1:45:18 - The Count talks to Marian	arriving \| climax \| conversing \| criminal \| friend \| leading lady \| leading man \| love interest \| murderer \| mysterious \| necklace \| room \| wife
The Woman in White (1948)	Stabbing	1:45:23 - The Countess stabs Count Fosco	climax \| criminal \| dramatic \| dropping \| friend \| knife \| leading lady \| leading man \| love interest \| mickey-mousing \| murder \| murderer \| murdering \| necklace \| revenge \| room \| stabbing \| violent \| wife
The Woman in White (1948)	Fosco (Dying)	1:45:34 - The Countess picks up the necklace	arriving \| climax \| criminal \| death \| dramatic \| dying \| falling \| friend \| knife \| leading lady \| leading man \| love interest \| murder \| murderer \| necklace \| revenge \| rising \| room \| stinger \| tense \| victim \| violent \| wife
The Woman in White (1948)	Ann (Quasi Misterioso)	1:46:05 - Various close-ups	climax \| criminal \| death \| dying \| friend \| knife \| leading lady \| leading man \| love interest \| murder \| murderer \| necklace \| revenge \| room \| somber \| victim \| watching \| wife
The Woman in White (1948)	Ann (Waltz 2)	1:46:13 - A close-up on the Countess	criminal \| death \| embracing \| friend \| leading lady \| leading man \| love interest \| murder \| murderer \| necklace \| reacting \| resolution \| revenge \| room \| tender \| victim \| waltz \| wife
Transgression (1931)	Dance	0:08:10 - Elsie and Don Arturo at a club	AB structure \| calm \| club \| conversing \| establish character \| leading lady \| love interest \| sophisticated \| source music \| tango
Transgression (1931)	Waltz	0:18:26 - People at a party	advance plot \| calm \| club \| gambling \| leading lady \| linear chromaticism \| love interest \| parallel double period \| sophisticated \| source music \| waltz
Transgression (1931)	Igualada	0:23:20 - Elsie and Don Arturo talking	calm \| club \| conversing \| dance scene \| dancing \| leading lady \| love interest \| sophisticated \| source music \| tango
Transgression (1931)	Igualada	0:24:58 - Elsie and Don Arturo dancing	calm \| club \| conversing \| dance scene \| dancing \| leading lady \| love interest \| sophisticated \| source music \| tango
Transgression (1931)	Flute Solo	0:43:22 - Don Arturo opens the door	calm \| conversing \| leading lady \| love interest \| love scene \| room \| source music
Transgression (1931)	Serenade	0:44:16 - Elsie and Don Arturo talking	ABAC structure \| calm \| conversing \| embracing \| kissing \| leading lady \| love interest \| love scene \| romantic \| room \| source music
Transgression (1931)	Gong	0:50:00 - Don Arturo is shot	death \| dying \| gun \| gunshot \| leading lady \| love interest \| murder \| murderer \| murdering \| murder scene \| room \| tense \| victim
Hold ‘Em Jail (1932)	Ain't That the Way it Goes	0:14:53 - Spider and Curley look around	AABA structure \| advance plot \| comic \| conversing \| goofing around \| love interest \| office \| prisoner \| radio \| source music \| upbeat
Hold ‘Em Jail (1932)	I'm Just a Vagabond Lover	0:17:00 - Curley talks to Barbara	ABAC structure \| advance plot \| comic \| conversing \| goofing around \| love interest \| office \| prisoner \| radio \| sentimental \| source music
Hold ‘Em Jail (1932)	I'm Wrapped Up in You	0:18:18 - Spider dances with Violet	advance plot \| comic \| conversing \| dancing \| goofing around \| love interest \| office \| prisoner \| radio \| source music \| upbeat
Hold ‘Em Jail (1932)	Bide-More Alma Mater	1:04:44 - Bidemore celebrates their victory	celebrating \| comic \| crowd \| field \| love interest \| politician \| prisoner \| resolution \| source music \| upbeat \| warden
State’s Attorney (1932)	Blues (Swinging)	0:43:46 - Jazz musicians playing in a club	club \| conversing \| dancing \| daughter \| jazz \| lawyer \| leading man \| love interest \| music scene \| on-screen music \| source music \| upbeat
Thirteen Women (1932)	Ursula (Exotic)	0:32:54 - Burns enters the house	advance plot \| entering \| exotic \| exoticism \| Gypsy major scale \| leading lady \| love interest \| ostinato \| room \| transcribed by ear
Thirteen Women (1932)	Ursula (Romance 2)	0:33:10 - Burns kisses Ursula	9th chord \| advance plot \| kissing \| leading lady \| love interest \| Neapolitan \| romantic \| room \| secondary dominant \| transcribed by ear \| waltz
Thirteen Women (1932)	Ursula (Mysterious Waltz)	0:33:37 - Ursula talks to Burns	64 chord \| advance plot \| chromatic parallelism \| conversing \| half-diminished 7th chord \| leading lady \| love interest \| mode mixture \| romantic \| room \| transcribed by ear \| waltz
Thirteen Women (1932)	Ursula (Exotic 2)	0:33:52 - Ursula talks to Burns	advance plot \| conversing \| dark \| exotic \| exoticism \| Gypsy major scale \| leading lady \| love interest \| mysterious \| ostinato \| room \| transcribed by ear
Thirteen Women (1932)	Ursula (Exotic)	0:34:06 - Ursula argues with Burns	advance plot \| arguing \| dark \| exotic \| exoticism \| Gypsy major scale \| leading lady \| love interest \| mysterious \| ostinato \| room \| transcribed by ear
Don’t Turn ‘em Loose (1936)	Mildred Waltz	0:24:13 - Bob and Letty go for a walk	ABA structure \| advance plot \| altered dominant \| augmented sixth chord \| calm \| conversing \| diminished 7th chord \| gangster \| imposter \| leading man \| love interest \| street \| transcribed by ear \| walking \| waltz
We're Only Human (1935)	Silver Lining	0:13:56 - Pete and Sally in a restaurant	conversing \| date \| detective \| flirting \| gentle \| leading lady \| leading man \| love interest \| love scene \| reporter \| restaurant \| source music
We're Only Human (1935)	Old Lavender (Gentle)	0:22:34 - A man scoops up some pasta	64 chord \| advance plot \| altered dominant \| buying \| detective \| food \| leading lady \| leading man \| love interest \| ordering \| peaceful \| pedal tone \| reporter \| store \| worker \| working
We're Only Human (1935)	Old Lavender	0:22:44 - Packaged-up food	9th chord \| added-note chord \| advance plot \| altered dominant \| buying \| common-chord modulation \| detective \| direct modulation \| food \| harmonic sequence \| leading lady \| leading man \| light \| love interest \| optimistic \| ordering \| reporter \| store \| worker \| working
We're Only Human (1935)	Old Lavender (Celeste Solo)	0:23:14 - Pete and Sally buying food	advance plot \| buying \| detective \| direct modulation \| food \| leading lady \| leading man \| love interest \| ordering \| peaceful \| reporter \| store \| street \| worker \| working
We're Only Human (1935)	Lullaby (Adagio)	0:23:36 - Pete watches the car drive away	conflict \| conversing \| detective \| diminished 7th chord \| direct modulation \| dissonant bass \| food \| leading lady \| leading man \| love interest \| reacting \| reporter \| street \| tense
We're Only Human (1935)	Isn't This a Night For Love (Moonlight)	0:23:59 - Pete and Sally having dinner	AABA structure \| conversing \| date \| detective \| dinner \| leading lady \| leading man \| love interest \| love scene \| reporter \| romantic \| room \| source music
We're Only Human (1935)	Isn't This a Night For Love (The End)	1:08:36 - Pete kisses Sally	9th chord \| altered dominant \| car \| detective \| end title sequence \| kissing \| leading lady \| leading man \| love interest \| mode mixture \| reporter \| resolution \| romantic \| The End \| transcribed by ear
Girl of the Rio (1932)	Was it Wrong?	0:15:41 - Johnny rolls a pair of dice	conversing \| crowd \| dancing \| flirting \| leading lady \| leading man \| love interest \| lovers meet \| night club \| on-screen music \| performing \| romantic \| singer \| source music \| syncopation \| terrace \| upbeat
Girl of the Rio (1932)	Querida	0:48:40 - Dolores sees Johnny	ABAC structure \| conversing \| gentle \| guard \| leading lady \| leading man \| love interest \| love scene \| romantic \| singer \| terrace
Without Honor (1949)	Expressivo	0:03:57 - Jane talks with Dennis	adulterer \| affair \| conversing \| establish character \| leading lady \| leading man \| love interest \| room \| uneasy
Without Honor (1949)	Ecstatic	0:04:07 - Jane talks with Dennis	adulterer \| affair \| conversing \| establish character \| excited \| leading lady \| leading man \| love interest \| room
Without Honor (1949)	Ecstatic (Molto Expressivo)	0:04:21 - Jane talks with Dennis	adulterer \| affair \| conversing \| establish character \| excited \| leading lady \| leading man \| love interest \| room
Without Honor (1949)	Appassionato 2	0:04:37 - Jane talks with Dennis	adulterer \| affair \| conversing \| establish character \| leading lady \| leading man \| love interest \| room \| uneasy
Without Honor (1949)	Molto Misterioso	0:05:03 - Jane walks to the door	adulterer \| affair \| conversing \| establish character \| leading lady \| leading man \| love interest \| mysterious \| room \| tense
Without Honor (1949)	Dog	0:05:12 - Jane finds the dog	adulterer \| affair \| conversing \| dog \| establish character \| leading lady \| leading man \| light \| love interest \| mysterious \| playful \| room
Without Honor (1949)	Tempo di Gavotte	0:05:30 - Jane talks with Dennis	adulterer \| affair \| conversing \| establish character \| leading lady \| leading man \| light \| love interest \| playful \| room
Without Honor (1949)	Twilight (Triste)	NIF - not in film	adulterer \| affair \| conversing \| cut from film \| establish character \| leading lady \| leading man \| love interest \| room
Without Honor (1949)	Appassionato 2 (Molto Agitato)	NIF - not in film	adulterer \| affair \| conversing \| cut from film \| establish character \| leading lady \| leading man \| love interest \| room
Without Honor (1949)	Twilight (Poco Agitato)	NIF - not in film	adulterer \| affair \| conversing \| cut from film \| establish character \| leading lady \| leading man \| love interest \| room
Without Honor (1949)	Molto Expressivo	NIF - not in film	adulterer \| affair \| conversing \| cut from film \| establish character \| leading lady \| leading man \| love interest \| room
Without Honor (1949)	Twilight (Misterioso)	NIF - not in film	adulterer \| affair \| conversing \| cut from film \| establish character \| leading lady \| leading man \| love interest \| room
Without Honor (1949)	Triste	0:07:37 - Dennis tells Jane their relationship is over	adulterer \| affair \| breaking up \| breakup \| crying \| death scene \| kitchen \| leading lady \| leading man \| love interest \| somber
Without Honor (1949)	Appassionato 2 (Agitato)	0:07:57 - Jane tells Dennis she still loves him	adulterer \| affair \| arguing \| breaking up \| breakup \| crying \| death scene \| kitchen \| leading lady \| leading man \| love interest \| passionate \| somber
Without Honor (1949)	Appassionato (Broad)	0:08:11 - Jane cries	adulterer \| affair \| arguing \| breaking up \| breakup \| crying \| death scene \| kitchen \| leading lady \| leading man \| love interest \| passionate \| somber
Without Honor (1949)	Desperation	0:08:20 - Jane talks to Dennis	adulterer \| affair \| arguing \| breaking up \| breakup \| crying \| death scene \| dramatic \| kitchen \| leading lady \| leading man \| love interest \| underscoring
Without Honor (1949)	Appassionato (Molto Expressivo)	0:08:35 - Jane cries	adulterer \| affair \| arguing \| breaking up \| breakup \| crying \| death scene \| kitchen \| leading lady \| leading man \| love interest \| passionate \| somber
Without Honor (1949)	Twilight (Agitato)	0:08:54 - Jane talks to Dennis	adulterer \| affair \| arguing \| breaking up \| breakup \| crying \| death scene \| kitchen \| leading lady \| leading man \| love interest \| mysterious \| ominous \| tense
Without Honor (1949)	Underscoring (Agitated)	0:09:10 - Jane threatens to kill herself	adulterer \| affair \| arguing \| breaking up \| breakup \| crying \| dark \| death scene \| dramatic \| kitchen \| leading lady \| leading man \| love interest \| suicide \| underscoring
Without Honor (1949)	Underscoring (Dramatic)	0:09:23 - Jane and Dennis struggle	addicent \| adulterer \| death \| death scene \| dramatic \| fighting \| kitchen \| knife \| leading lady \| leading man \| love interest \| skewer \| struggling \| underscoring
Without Honor (1949)	Twilight (Maestoso)	0:09:36 - Dennis on the ground	addicent \| adulterer \| death \| death scene \| dramatic \| dying \| kitchen \| knife \| leading lady \| leading man \| love interest \| ominous \| reacting \| skewer \| standing \| struggling
Without Honor (1949)	Twilight (Washing Machine)	0:10:14 - Dennis by the washing machine	addicent \| adulterer \| death \| death scene \| dramatic \| dying \| kitchen \| knife \| leading lady \| leading man \| love interest \| motor effect \| ominous \| reacting \| skewer \| struggling \| washing machine
Without Honor (1949)	Underscoring (Tense)	0:10:30 - Jane looks at Dennis's body	addicent \| adulterer \| corpse \| death \| death scene \| kitchen \| knife \| leading lady \| leading man \| love interest \| reacting \| skewer \| tense \| thinking \| underscoring
Without Honor (1949)	Fingers	0:10:54 - Jane's fingers start twitching	addicent \| adulterer \| corpse \| crazed \| death \| death scene \| hand \| kitchen \| knife \| leading lady \| leading man \| love interest \| mysterious \| reacting \| skewer \| tense \| thinking \| twitching
Without Honor (1949)	Twilight (Bloody Hand)	0:11:04 - Blood on Jane's hand	addicent \| adulterer \| blood \| dark \| death \| death scene \| hand \| kitchen \| leading lady \| leading man \| love interest \| reacting \| thinking \| washing
Without Honor (1949)	Twilight (Molto Expressivo)	0:11:25 - Jane tries to get the blood off her hand	addicent \| adulterer \| blood \| death \| death scene \| hand \| kitchen \| leading lady \| leading man \| love interest \| somber \| washing
Mara Maru (1952)	Stella	0:56:49 - Stella appears as a reflection in the window	conversing \| leading lady \| leading man \| love interest \| love scene \| reflection shot \| relfection \| romantic \| sailing \| ship \| ship
Mara Maru (1952)	Appassionato (Molto Expressivo)	0:58:03 - Gregory takes Stella's arm	conversing \| leading lady \| leading man \| love interest \| love scene \| passionate \| sailing \| ship \| ship
Mara Maru (1952)	Ortega	0:58:27 - Gregory talks to Stella about Ortega	conversing \| cross \| leading lady \| leading man \| love interest \| love scene \| mysterious \| sailing \| ship \| ship \| tense
Mara Maru (1952)	Grabbing	0:58:53 - Gregory talks to Stella	conversing \| leading lady \| leading man \| love interest \| love scene \| sailing \| ship \| ship \| tense
Mara Maru (1952)	Benedict	0:59:00 - Benedict enters	antagonist \| conversing \| dramatic \| leading lady \| leading man \| love interest \| love scene \| sailing \| ship \| ship \| tense
Mara Maru (1952)	Sailing (Extended)	0:59:29 - The churning sea	antagonist \| conversing \| leading lady \| love interest \| ocean \| panning shot \| sailing \| ship \| ship \| transition \| uneasy
Mara Maru (1952)	Dropping anchor	1:00:18 - The anchor drops	action scene \| anchor \| antagonist \| bodyguard \| captain \| dramatic \| dropping \| falling \| leading lady \| leading man \| love interest \| mickey-mousing \| private eye \| ship \| ship
Mara Maru (1952)	Gregory (Heroic)	1:00:31 - Gregory gets ready to dive	action scene \| antagonist \| bodyguard \| captain \| conversing \| diving suit \| heroic \| leading lady \| leading man \| love interest \| preparing \| private eye \| ship \| ship \| tense \| worker \| working
Mara Maru (1952)	Descending	1:00:51 - Gregory descends the ladder	action scene \| antagonist \| bodyguard \| bubbles \| captain \| close-up \| dark \| descending \| diver \| diving \| diving suit \| heavy \| leading lady \| leading man \| love interest \| ocean \| private eye \| ship \| ship \| stinger \| suspenseful \| underwater \| worker \| working
Mara Maru (1952)	Walking underwater	1:01:46 - Gregory walks on the ocean floor	action scene \| antagonist \| bodyguard \| captain \| close-up \| diver \| diving \| leading lady \| leading man \| love interest \| mickey-mousing \| ocean \| private eye \| ship \| ship \| suspenseful \| swimming \| tense \| underwater \| walking \| worker
Mara Maru (1952)	Underwater (Walking)	1:02:03 - Gregory walks underwater	action scene \| antagonist \| bodyguard \| captain \| diver \| diving \| leading lady \| leading man \| love interest \| ocean \| point-of-view shot \| private eye \| ship \| ship \| suspenseful \| swimming \| tense \| underwater \| walking \| worker
Mara Maru (1952)	Benedict (Sabotage)	1:02:14 - Ranier sneaks away	action scene \| antagonist \| bodyguard \| captain \| close-up \| diver \| diving \| leading lady \| leading man \| love interest \| mysterious \| ocean \| private eye \| radio \| sabotaging \| saboteur \| ship \| ship \| sneaking \| suspenseful \| swimming \| traitor \| underscoring \| underwater \| worker
Mara Maru (1952)	Underwater (Dramatic)	1:02:42 - Manuelo talks to Benedict	action scene \| antagonist \| bodyguard \| captain \| conversing \| dark \| diver \| diving \| leading lady \| leading man \| love interest \| ocean \| private eye \| ship \| ship \| suspenseful \| swimming \| traitor \| underwater \| worker \| working
Mara Maru (1952)	Surfacing	1:02:55 - Gregory rises from the water	action scene \| antagonist \| assisting \| bodyguard \| breaking \| captain \| diver \| heroic \| hopeful \| leading lady \| leading man \| love interest \| mickey-mousing \| ocean \| private eye \| radio \| rising \| sabotaging \| saboteur \| ship \| ship \| sneaking \| surfacing \| traitor \| underwater \| worker \| working
Mara Maru (1952)	On Deck (Minor)	1:03:17 - Gregory boards the ship	action scene \| antagonist \| assisting \| bodyguard \| captain \| dark \| diver \| leading lady \| leading man \| love interest \| ominous \| private eye \| radio \| rising \| sabotaging \| saboteur \| ship \| ship \| sneaking \| surfacing \| traitor \| worker \| working
Mara Maru (1952)	Benedict (Misterioso)	1:06:32 - Benedict talks with Stella	antagonist \| conversing \| leading lady \| love interest \| mysterious \| plotting \| reveal character \| ship \| ship \| tense \| turning point
Mara Maru (1952)	Benedict (Bored to Death)	1:07:34 - Benedict threatens to kill Gregory	antagonist \| conversing \| dark \| leading lady \| love interest \| mysterious \| ominous \| plotting \| reveal character \| ship \| ship \| stinger \| tense \| threat \| turning point
Mara Maru (1952)	Appassionato (Tenderly 2)	1:07:51 - Stella approaches	arguing \| captain \| conversing \| leading lady \| leading man \| love interest \| love scene \| rushing \| sailing \| ship \| ship \| uneasy \| walking \| warning
Mara Maru (1952)	Appassionato (Extended)	1:08:25 - Stella talks with Gregory	arguing \| captain \| conversing \| leading lady \| leading man \| love interest \| love scene \| passionate \| sailing \| ship \| ship \| warning
Mara Maru (1952)	Stella	1:09:02 - Stella tells Gregory she loves him	arguing \| captain \| embracing \| leading lady \| leading man \| love interest \| love scene \| romantic \| sailing \| ship \| ship
Mara Maru (1952)	Dropping anchor	1:11:18 - The anchor drops	action scene \| anchor \| antogonist \| dramatic \| dropping \| falling \| leading lady \| love interest \| mickey-mousing \| private eye \| ship \| ship
Mara Maru (1952)	Benedict (Poco Accellerando)	1:11:34 - Benedict goes outside	action scene \| antogonist \| captain \| departing \| diver \| leading lady \| leading man \| love interest \| private eye \| ship \| ship \| turbulent \| walking \| worker
Mara Maru (1952)	Appassionato (Molto Expressivo)	1:11:48 - Crew on deck of the ship	action scene \| antogonist \| arguing \| captain \| conversing \| diver \| diving suit \| leading lady \| leading man \| love interest \| passionate \| preparing \| private eye \| ship \| ship \| worker
Mara Maru (1952)	Gregory (Close-Up)	1:12:20 - A close-up of Gregory	action scene \| antogonist \| captain \| close-up \| diver \| diving suit \| dramatic \| leading lady \| leading man \| looking \| love interest \| preparing \| private eye \| ship \| ship \| tense \| worker
Mara Maru (1952)	Descending	1:12:27 - Gregory descends into the water	action scene \| antogonist \| bubbles \| captain \| close-up \| dark \| descending \| diver \| diving \| diving suit \| heavy \| leading lady \| leading man \| love interest \| ocean \| point-of-view shot \| private eye \| ship \| ship \| suspenseful \| underwater \| worker \| working
Mara Maru (1952)	Tugging	1:16:39 - Gregory tugs at the air hose	action scene \| antogonist \| beam \| boat \| captain \| dark \| diver \| diving \| diving suit \| dramatic \| hose \| leading lady \| leading man \| love interest \| mickey-mousing \| ocean \| private eye \| pulling \| rain \| raining \| ship \| storm \| treasure \| tugging \| underwater \| worker \| working \| yelling
Mara Maru (1952)	Gauge rising	1:16:54 - Rising air pressure on a gauge	action scene \| antogonist \| boat \| captain \| diver \| dramatic \| gauge \| leading lady \| leading man \| love interest \| mickey-mousing \| private eye \| rain \| raining \| rising \| ship \| storm \| tense \| worker
Mara Maru (1952)	Gauge falling	1:17:42 - Falling air pressure on a gauge	action scene \| antogonist \| boat \| captain \| descending \| diver \| dramatic \| falling \| gauge \| leading lady \| leading man \| love interest \| mickey-mousing \| private eye \| rain \| relief \| ship \| storm \| worker
Mara Maru (1952)	Gregory (Signaling)	1:18:19 - Gregory signals to come up	action scene \| antogonist \| boat \| captain \| carrying \| dark \| diver \| diving \| diving suit \| fanfare \| leading lady \| leading man \| love interest \| ocean \| private eye \| rain \| ship \| signaling \| storm \| swimming \| treasure \| underwater \| wind \| worker
Mara Maru (1952)	Surfacing	1:18:26 - Gregory rises to the surface	action scene \| antogonist \| assisting \| boat \| captain \| close-up \| diver \| diving suit \| heroic \| hopeful \| leading lady \| leading man \| love interest \| mickey-mousing \| ocean \| private eye \| rain \| rising \| ship \| storm \| surfacing \| treasure \| underwater \| wind \| worker \| working \| yelling
Mara Maru (1952)	On Deck	1:18:55 - Gregory emerges from the water	action scene \| antogonist \| assisting \| boat \| captain \| conversing \| diver \| diving suit \| heroic \| hopeful \| leading lady \| leading man \| love interest \| private eye \| rain \| ship \| storm \| treasure \| triumphant \| wind \| worker \| working \| yelling
Mara Maru (1952)	Underscoring (Dramatic)	1:19:10 - Gregory falls to the deck floor	action scene \| antogonist \| boat \| captain \| diver \| diving suit \| dramatic \| falling \| leading lady \| leading man \| love interest \| private eye \| rain \| ship \| storm \| treasure \| underscoring \| wind \| worker \| yelling
Mara Maru (1952)	Underscoring (Dramatic)	1:19:37 - The cross in a treasure chest	action scene \| antogonist \| breaking \| captain \| cross \| dark \| diver \| dramatic \| dropping \| leading lady \| leading man \| love interest \| private eye \| rain \| reveal \| ship \| storm \| throwing \| treasure \| underscoring \| wind \| worker \| yelling
Mara Maru (1952)	Cross (Distorted)	1:19:49 - The cross is revealed	action scene \| antogonist \| arguing \| captain \| cross \| dark \| diver \| hymn-like \| leading lady \| leading man \| love interest \| private eye \| rain \| ship \| storm \| tense \| treasure \| wind \| worker \| yelling
Mara Maru (1952)	Underscoring (Tense)	1:20:01 - Benedict grabs the cross	action scene \| antogonist \| arguing \| captain \| cross \| diver \| dramatic \| falling \| leading lady \| leading man \| love interest \| ordering \| private eye \| punching \| rain \| ship \| storm \| tense \| treasure \| underscoring \| wind \| worker
Mara Maru (1952)	Underscoring (Dramatic)	1:20:13 - Fortuno grabs Gregory	action scene \| antogonist \| captain \| cross \| diver \| dramatic \| leading lady \| leading man \| love interest \| private eye \| rain \| ship \| storm \| tense \| treasure \| underscoring \| wind \| worker \| yelling
Mara Maru (1952)	Rushing	1:20:29 - Benedict runs in to check the compass	action scene \| antogonist \| captain \| cross \| diver \| dramatic \| hurrying \| leading lady \| leading man \| love interest \| private eye \| rain \| running \| rushing \| rushing effect \| ship \| storm \| tense \| treasure \| wind \| worker \| yelling
Mara Maru (1952)	Underscoring (Tense)	1:21:01 - Gregory gives orders	action scene \| antogonist \| captain \| cross \| diver \| dramatic \| fanfare \| leading lady \| leading man \| love interest \| ordering \| private eye \| rain \| ship \| storm \| tense \| treasure \| wind \| worker \| yelling
Mara Maru (1952)	Very Stormy	1:21:22 - A waves splashes onboard	action scene \| antogonist \| captain \| cross \| diver \| dramatic \| leading lady \| leading man \| love interest \| private eye \| rain \| ship \| storm \| tense \| treasure \| walking \| wave \| wave effect \| wind \| worker
Mara Maru (1952)	Gregory + Raising Anchor	1:21:31 - The anchor is raised	action scene \| anchor \| antogonist \| captain \| combination of themes \| diver \| dramatic \| leading lady \| leading man \| love interest \| mickey-mousing \| private eye \| rising \| ship \| ship \| worker
Mara Maru (1952)	Gregory (Determined)	1:21:45 - Gregory goes to the wheelhouse	action scene \| antogonist \| captain \| conversing \| determined \| diver \| leading lady \| leading man \| love interest \| private eye \| rain \| sailing \| ship \| storm \| walking \| wind \| worker
Mara Maru (1952)	Stella (Appassionato)	1:22:28 - Gregory talks to Stella	captain \| conversing \| leading lady \| leading man \| love interest \| love scene \| rain \| romantic \| ship \| storm \| wind
Mara Maru (1952)	Hurrying	1:23:36 - People running from the boat	antogonist \| chase scene \| chasing \| cross \| escaping \| fleeing \| frantic \| hurrying \| leading lady \| leading man \| love interest \| private eye \| rain \| rock \| running \| ship \| ship wreck \| storm \| wave \| wind \| worker
Mara Maru (1952)	The Escape	1:23:42 - People running from the boat	antogonist \| chase scene \| chasing \| corpse \| cross \| dark \| death \| dramatic \| escaping \| fleeing \| frantic \| gun \| gunshot \| hurrying \| leading lady \| leading man \| love interest \| mickey-mousing \| murder \| murderer \| private eye \| rain \| rock \| running \| ship \| ship wreck \| shooting \| stinger \| storm \| wind \| worker
Mara Maru (1952)	The Wind	1:24:04 - Wind rushing through the trees	chase scene \| chasing \| cross \| dramatic \| escaping \| fleeing \| frantic \| gun \| hurrying \| jungle \| leading lady \| leading man \| love interest \| rain \| running \| storm \| wind \| wind effect \| worker
Mara Maru (1952)	Gregory (Running)	1:24:20 - Gregory runs from Benedict	chase scene \| chasing \| cross \| dramatic \| escaping \| fleeing \| frantic \| gun \| heroic \| hurrying \| jungle \| leading lady \| leading man \| love interest \| rain \| running \| running effect \| storm \| wind \| worker
Mara Maru (1952)	Underscoring (Dramatic)	1:24:27 - Gregory runs from Benedict	chase scene \| chasing \| cross \| dramatic \| escaping \| fleeing \| frantic \| gun \| hurrying \| jungle \| leading lady \| leading man \| love interest \| rain \| running \| rushing effect \| storm \| wind \| worker
Mara Maru (1952)	The Wind	1:24:31 - Gregory runs from Benedict	chase scene \| chasing \| cross \| dramatic \| escaping \| fleeing \| frantic \| gun \| hurrying \| jungle \| leading lady \| leading man \| love interest \| rain \| running \| storm \| wind \| wind effect \| worker
Mara Maru (1952)	Struggling 2 (Escape)	1:25:17 - Gregory emerges from the jungle	calm \| chase scene \| cross \| escaping \| jungle \| leading lady \| leading man \| love interest \| tense \| walking \| wind \| worker
Mara Maru (1952)	Cross	1:26:54 - Manuelo holds the cross	arguing \| calm \| cross \| hut \| hymn-like \| leading lady \| leading man \| love interest \| religious \| turning point \| worker
Mara Maru (1952)	Cross (Tense)	1:27:07 - Gregory grabs Manuelo	arguing \| cross \| falling \| hut \| hymn-like \| leading lady \| leading man \| love interest \| religious \| slapping \| tense \| turning point \| worker
Mara Maru (1952)	Cross (Maestoso)	1:27:18 - Gregory slaps Manuelo	arguing \| cross \| hut \| hymn-like \| leading lady \| leading man \| love interest \| majestic \| reacting \| slapping \| tense \| turning point \| worker
Mara Maru (1952)	Underscoring (Tense)	1:27:44 - Gregory follows after Manuelo	arguing \| following \| hut \| jungle \| leading lady \| leading man \| love interest \| searching \| tense \| thinking \| turning point \| underscoring
Mara Maru (1952)	Benedict	1:31:19 - Benedict arrives at the church	antagonist \| arriving \| bodyguard \| car \| departing \| driver \| leading lady \| love interest \| murderer \| mysterious \| spying \| street \| tense \| transition \| watching
Mara Maru (1952)	Mara Maru (Ethereal)	1:36:15 - Gregory meets Stella and Manuelo	arriving \| catacomb \| cave \| leading lady \| leading man \| love interest \| martyr \| mysterious \| reacting \| resolution \| solemn \| tunnel \| victim \| worker
Mara Maru (1952)	Gregory (Expressivo)	1:36:22 - Stella and Gregory look at each other	catacomb \| cave \| comforting \| conversing \| corpse \| cross \| death \| dying \| leading lady \| leading man \| love interest \| martyr \| resolution \| solemn \| somber \| tunnel \| victim \| worker
Mara Maru (1952)	Cross (Cello Solo)	1:36:55 - Manuelo mourns Ortega's death	catacomb \| cave \| corpse \| cross \| crying \| death \| hymn-like \| leading lady \| leading man \| looking \| love interest \| martyr \| reacting \| resolution \| solemn \| somber \| thinking \| tunnel \| victim \| worker
Mara Maru (1952)	The End	1:37:33 - Gregory gives the cross to Manuelo	catacomb \| cave \| corpse \| cross \| crying \| death \| deciding \| departing \| end title sequence \| fade-out \| leading lady \| leading man \| looking \| love interest \| map \| martyr \| reacting \| redmption \| religious \| religious \| resolution \| The End \| thinking \| triumphant \| tunnel \| victim \| worker

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