
Rosa, the self‑serving wife of a small‑town doctor, is enticed by a wealthy city businessman who insists she divorce her husband and marry him. As she pursues the lucrative offer, she shows a willingness to commit heinous acts, ultimately resorting to murder.
Does Beyond the Forest have end credit scenes?
No!
Beyond the Forest does not have end credit scenes. You can leave when the credits roll.
Explore the complete cast of Beyond the Forest, including both lead and supporting actors. Learn who plays each character, discover their past roles and achievements, and find out what makes this ensemble cast stand out in the world of film and television.

Bette Davis
Rosa Moline

Joseph Cotten
Doctor Louis Moline

Joel Allen

Regis Toomey
Sorren

Ann Doran
Edith Williams

Ruth Roman
Carol

James Craven

David Brian
Neil Latimer

Minor Watson
Moose

Dona Drake
Jenny

Sarah Selby
Mildred

Eileen Stevens

Olan Soule

Gail Bonney

Creighton Hale
Townsman with Glasses

Bess Flowers
Secretary

Buddy Roosevelt

Dorothy Vernon
Townswoman

Charles Jordan

Frank Pharr

Jack Kenney

Harry Tyler

Judith Wood
Waitress

Hallene Hill

Ralph Littlefield

Mary Servoss

Eve Miller

Hal Gerard

Sherman Sanders

Bobby Henshaw

Frances Charles

June Evans

Devi Dja
Dancer (uncredited)
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Which actress portrays Rosa Moline?
Read the complete plot summary of Beyond the Forest, including all major events, twists, and the full ending explained in detail. Explore key characters, themes, hidden meanings, and everything you need to understand the story from beginning to end.
Rosa Moline, Bette Davis is the dissatisfied, restless wife of Lewis Moline, a small‑town Wisconsin doctor. She feels a powerful loneliness in a life she regards as dull and limiting, never truly connected to her husband’s work or the quiet world around them. She dreams instead of a glamorous life filled with expensive things and the company of interesting, worldlier people. Her longing gnaws at her until it becomes an affair she keeps secret, a dangerous spark that she feeds with her own longing for something more thrilling than the routine she’s trapped in.
For more than a year, Rosa has been involved with Neil Latimer, a Chicago businessman who owns the local hunting lodge. Neil Latimer, David Brian seems to offer an escape hatch, a path to a city life she believes she deserves. Desperate to pull this dream into reality, she presses Lewis for money by tapping into payments from his patients—who are slow to settle their bills but often pay in produce or with odd tasks—so she can finance a trip to Chicago and the life she imagines there. The more she pushes, the more brittle her lie becomes, and the more she drifts from the husband who remains largely unaware of the full extent of her discontent.
Lewis does not yet know the full truth about the affair, but he’s no stranger to Rosa’s restlessness. When he finally uncovers what she has done, he hurls the cash she’s obtained back at her and tells her bluntly that if she goes to Chicago, she should not come back. Rosa leaves in a hurry, certain that Latimer will welcome her and that a new life awaits. But the reality proves more complicated: Latimer avoids her at first, and when they do meet, he confesses that he is in love with another woman and intends to marry her. Devastated, Rosa returns to Wisconsin, where Lewis, for the moment, forgives her and tries to steady the wobbling ground beneath them.
Not long after, Rosa reveals that she is pregnant, and there’s a brief moment of cautious hope as she and Lewis drift toward a fragile semblance of family life. Then, at a party for Moose—the lodge’s longtime caretaker—Latimer appears, and the old plans resurface: he wants to marry Rosa, and the two of them seek to formalize an exit from their tangled lives. Moose overhears their scheme and warns Rosa that Latimer might abandon the pregnancy and his obligations. He suggests she tell him the truth before it’s too late, or she may lose him and everything she’s fought for. Rosa’s fear grows, and she weighs her limited options with a mounting sense of desperation.
When Moose lets them continue on their hunting trip, Rosa’s fear crystallizes into a drastic decision. Later that day, she shoots Moose, killing him in front of witnesses. She is tried and acquitted, claiming she mistook Moose for a deer in the heat of the moment. The case becomes a quiet, terrible backdrop to the fragile thread of Rosa’s happiness. Latimer’s reaction to the murder remains evasive; he wants to distance himself from “any dirt” and suggests they delay their plans to prevent a public scandal.
Back at home, Lewis imagines that Rosa will come to value the baby and begin to carve out a place for herself in their growing family. Instead, Latimer’s reluctance to commit and Rosa’s own simmering resentment toward the pregnancy push her toward a breaking point. She confesses both the affair and Moose’s murder, and Lewis responds with a painful, blunt clarity: he cares only about the baby, and after the birth, she can go wherever she pleases.
From his office window, Lewis sees Rosa boarding a bus and feels a pull to intervene. He follows her into a neighboring town, where she sits in a lawyer’s office, weighing what to do next. She reluctantly leaves with him, but on the ride home, she tricks him into stopping their car and entering the trunk. When they stop, she exits and plunges down an embankment, hoping to abort the pregnancy. The attempt leads to peritonitis and a raging fever, leaving her delirious. She enlists Jenny, her housekeeper—Dona Drake—to help her dress and then leaves the house to catch the train to Chicago. Near the tracks, she collapses and dies, a tragic end to a life spent chasing a dream of something richer and brighter than the world she actually inhabited.

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