Public Reel

CAPTAIN KIDD (1945)

509 shots over 1:28:40, read from the Internet Archive copy CaptainKidd_ (CaptainKidd.mp4, 640×480, 29.97 fps). Shot boundaries by PySceneDetect's adaptive detector; each frame links to the Archive's player at that second. Registry dossier: CAPTAIN KIDD No renewal found. JSON

Measurements: colour film on its keyframes (509 of 509 shots judged colour), average shot 10.5s long, a frontal face detected in 49% of keyframes. Shots are detected automatically and each is represented by its midpoint frame.

Released 1945 (Internet Archive).

Beats

259 beats in sequences, cut automatically at shot boundaries scored on picture change, pauses in speech, topic shifts, on-screen text and cutting rhythm (each beat says why it starts where it does). Each is annotated by a vision-language model from four sampled frames and the transcript lines in it, as observations with evidence; anything the frames and lines do not support is left null. Machine annotation (Qwen/Qwen3-VL-235B-A22B-Instruct), checked automatically: quotes must be verbatim, names must be spoken, "visible" events are sampled to a second model.

Frame at 0:41, shot 00:41
1 of 1 shots sampled

1. Other 0:00–1:22 unchecked

The beat shows end credits over a static frame, listing production roles and names. A voiceover describes Madagascar as a historic pirate stronghold.

“Madagascar. For centuries, the bloodiest cockpit of all the seas. Where the infamous Brotherhood of the Damned waited to plunder the trea…” 1:02

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Evidence and details

Starts here: start of film. Sequence 1 · shots 0–0 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
other (other) evidence: frame:1
Seen
end credits text
On screen
Production Associate ARTHUR M. LANDAU ARCHIE ODDS Act Director Set Costumes hy GRETA Editor JAMES SMITH Seund Technician PRANK. WEBSTER Spec ial LEE ZAVITZ Makeup Artist GREENWAY Makeup from. HOUSE or WESTMORE Stylist SCOTTY RACKIN CHUDNOW Musical DETEW
Interpretation
Model opinion, not evidence: mood: expository; themes: historical piracy, film production credits; style notes: static frame with centered text credits; no camera movement; typographic layout typical of 1940s film credits
Frame at 1:25, shot 11:25Frame at 1:39, shot 31:39Frame at 1:43, shot 41:43Frame at 1:50, shot 61:50
4 of 6 shots sampled

2. Sea 1:22–1:52 unchecked

A naval battle unfolds on water, showing ships firing cannons and one vessel ablaze. The transcript describes Captain Kidd attacking the Twelve Apostles, reducing it to a burning wreck by nightfall in a Madagascar lagoon.

Named: Captain William Kidd (t:1:32), Admiral Lord Blaine (t:1:32). 2 people observed.

“of all was Captain William Kidd. He encountered the great London Galleon, the Twelve Apostles, commanded by Admiral Lord Blaine, and approac…” 1:32 · “By a sudden, treacherous salvo, he reduced her to a burning hulk.” 1:44

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Evidence and details

Starts here: on-screen text appears or ends; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 2 · shots 1–6 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
sea (other, exterior) evidence: frame:1
Time of day
night evidence: t:1:48
Period
17th century evidence: t:1:32
People
  • Captain William Kidd (named at t:1:32): unseen, but implied as a naval commander mentioned
  • Admiral Lord Blaine (named at t:1:32): unseen, but implied as an admiral mentioned
Seen happening
  • Cannons fire from a ship, producing smoke. [frame:2]
  • A ship is shown damaged and listing. [frame:3]
  • The Twelve Apostles is ablaze. [frame:4]
Mentioned
  • Captain Kidd encounters the Twelve Apostles. [t:1:32]
  • The Twelve Apostles becomes a burning funeral pyre at night. [t:1:48]
Also said
“When night fell, the Twelve Apostles was only a blazing funeral pyre on the placid surface of a Madagascar lagoon.” 1:48
Seen
sailing ship [frame:1], cannon smoke [frame:2], burning ship [frame:4]
Interpretation
Model opinion, not evidence: mood: dramatic and destructive; themes: naval warfare, betrayal, destruction; style notes: black-and-white, high-contrast lighting, wide shots of ships at sea, smoke and fire used for visual impact
Frame at 1:54, shot 71:54Frame at 2:01, shot 82:01Frame at 2:07, shot 92:07
3 of 3 shots sampled

3. Ship 1:52–2:09 unchecked

A group of men on a ship at night watch an explosion in the distance; one man speaks about the fire reaching a magazine and the inevitability of death. The scene is lit by firelight and features a dark sky with clouds.

Named: Mr. Boyle (t:1:57). 6 people observed.

“that me there's a pretty sight we produce do when the fire reaches the magazine” 1:57 · “capital really long lots of stout semen among them they've been with us a long time” 1:57

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Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 3 · shots 7–9 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
ship (ship, exterior) evidence: frame:1
Time of day
night evidence: frame:3
People
  • man in dark coat and hat, standing, profile visible visible
  • man with pipe, seated, wearing cap visible
  • man with light hair or bandage, seated visible
  • man in cap, seated, facing right visible
  • man in cap, seated, right side of frame visible
  • Mr. Boyle (named at t:1:57): man speaking, voice only audible
Seen happening
  • An explosion erupts in the distance, illuminating figures on a ship. [frame:1]
  • Men on deck watch the fire; one smokes a pipe. [frame:2]
  • A group of men sit together under a dark, cloudy sky; one stands to the left. [frame:3]
Also said
“we can none of us live forever mr. Boyle” 1:57 · “dead men don't talk man your own we got this job to do before high tide” 1:57
Seen
explosion/fire, pipe, ship deck, cloudy sky
Interpretation
Model opinion, not evidence: mood: tense and fatalistic; themes: mortality, duty under threat, destruction; style notes: high-contrast black-and-white lighting, dramatic shadows, medium shots emphasizing group dynamics and looming sky
Frame at 2:49, shot 102:49Frame at 3:32, shot 113:32
2 of 2 shots sampled

4. Forest 2:09–3:36 unchecked

Men are digging a grave at night; one man is lowered into it while others watch. A captain gives orders and is addressed as such.

Named: Captain (t:3:27). 6 people observed.

“There. And dig fast. If the tide catches there, it'll save the King's hangman some rough.” 2:57 · “There you are. Deep enough to bury a man in. Give us a hand, man.” 3:21

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Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 3 · shots 10–11 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
forest (forest, exterior) evidence: frame:1
Time of day
night evidence: frame:1
Period
18th century evidence: t:2:57
People
  • man in period costume, possibly a sailor or pirate, visible from behind visible
  • man in period costume, standing, holding a shovel visible
  • man in period costume, bald, standing near the grave visible
  • man in period costume, kneeling near the grave visible
  • man in period costume, lying in the grave visible
  • Captain (named at t:3:27): man in period costume, standing, possibly the captain visible, audible
Seen happening
  • A man is lowered into a grave. [frame:1]
Also said
“All ready, Captain. Down she goes.” 3:27
Seen
grave [frame:1], shovel [frame:2], period costumes [frame:1]
Interpretation
Model opinion, not evidence: mood: tense and ominous; themes: death, authority, piracy; style notes: low-key lighting, high contrast, static framing, period costume detail
Frame at 3:38, shot 123:38Frame at 3:40, shot 133:40Frame at 3:46, shot 143:46
3 of 3 shots sampled

5. Cave 3:36–3:51 unchecked

A group of men confront a captain in a dimly lit, rocky interior, demanding to open a chest that has been in his cabin. The captain is shown in close-up, reacting to their demand.

4 people observed.

“What are you waiting for?” 3:37 · “Well, Captain, that chest's been in your cabin a longish time.” 3:37

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Evidence and details

Starts here: pause in speech. Sequence 3 · shots 12–14 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
cave (other, interior) evidence: frame:1
People
  • man in a wide-brimmed hat and dark coat, standing with a sword at his side visible
  • man with a bandana, bare-chested, wearing a vest, muscular build visible, audible
  • man in a dark coat and hat, with a prominent necklace, shown in close-up visible
  • man seated, wearing a light shirt and dark vest, holding a small object visible
Seen happening
  • A group of men stand in a rocky interior, confronting the captain. [frame:1]
  • The man in the bandana and the captain face each other in a tense conversation. [frame:2]
  • The captain is shown in close-up, reacting to the demand to open the chest. [frame:3]
Also said
“And we all thought as how it wouldn't do no harm to open up that chest and make sure that what was in it then is in it now.” 3:37 · “I suppose you remember what was in it.” 3:37
Seen
sword [frame:1], chest [t:3:37], bandana [frame:2], necklace [frame:3]
Interpretation
Model opinion, not evidence: mood: tense and confrontational; themes: authority challenged, suspicion, treasure; style notes: low-key lighting, close framing on faces to emphasize tension, period costume
Frame at 3:53, shot 153:53Frame at 4:00, shot 174:00Frame at 4:04, shot 184:04Frame at 4:14, shot 204:14
4 of 6 shots sampled

6. Cave 3:51–4:17 unchecked

A man in a tricorne hat speaks to two others in a rocky setting, referencing past plundered items. Another man in a bandana reacts, and a third man in a hat sits alone on a rock.

4 people observed.

“I remember an emerald necklace that came off that porticase ship, El Vengar. And all those pearls that we took from the big ship, the Virgi…” 3:51 · “I remember a diamond medaglia we got from that Moorish canyon off Madagascar.” 3:51

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Evidence and details

Starts here: topic shift in dialogue. Sequence 3 · shots 15–20 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
cave (other, interior) evidence: frame:1
People
  • man in tricorne hat, dark coat, belt with pouches, older, heavyset visible, audible
  • man with bandana, sleeveless vest, bare chest, mustache, medium build visible
  • man with bandana, dark shirt, younger, lean visible
  • man in tricorne hat, light shirt, seated on rock, medium build visible
Seen happening
  • The man in the tricorne hat gestures while speaking to the man in the bandana. [frame:2]
  • The man in the dark shirt looks upward with a serious expression. [frame:3]
  • The man in the tricorne hat sits alone on a rock, looking off-camera. [frame:4]
Also said
“And could we ever forget that silver casket with the arms of Lord Blaine that you claimed to yourself after the taking of the Twelve Apostles, sir? Yes.” 3:51 · “Your neck will be stretched as long as your memory one of these days.” 4:12
Seen
tricorne hat, bandana, sleeveless vest, rocky cave wall, belt with pouches, rock
Interpretation
Model opinion, not evidence: mood: tense and confrontational; themes: piracy, memory, confrontation, treasure; style notes: black-and-white, medium close-ups, high-contrast lighting, theatrical framing
Frame at 4:19, shot 214:19
1 of 1 shots sampled

7. Cave 4:17–4:22 unchecked

A dimly lit, rocky interior space is shown with two figures standing near a crate. No dialogue or on-screen text is present in this beat.

2 people observed.

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Evidence and details

Starts here: pause in speech. Sequence 4 · shots 21–21 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
cave (other, interior) evidence: frame:1
People
  • dark-clothed figure, seen from behind, standing near a crate visible
  • figure in lighter clothing, partially visible to the right, facing p1 visible
Seen
crate [frame:1], rocky walls [frame:1]
Interpretation
Model opinion, not evidence: mood: tense and shadowy; themes: confrontation, secrecy; style notes: low-key lighting, high contrast, static medium shot
Frame at 4:23, shot 224:23
1 of 1 shots sampled

8. Other 4:22–4:25 unchecked

A dimly lit interior scene shows three figures gathered around a central dark shape; one wears a head covering and leans forward. No dialogue or on-screen text is present in this beat.

3 people observed.

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Evidence and details

Starts here: pause in speech. Sequence 4 · shots 22–22 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
other (other, interior) evidence: frame:1
People
  • wearing a head covering, leaning forward, dark clothing visible
  • partially visible, light-colored shirt, standing visible
  • dark silhouette, central figure, hooded or hat visible
Seen
stone wall [frame:1]
Interpretation
Model opinion, not evidence: mood: tense, secretive; themes: conspiracy, clandestine meeting; style notes: low-key lighting, tight framing, high contrast
Frame at 4:27, shot 234:27
1 of 1 shots sampled

9. Other 4:25–4:30 unchecked

A close-up shows a metallic coat of arms above a pile of ornate jewelry. No people, dialogue, or movement are visible in this beat.

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Evidence and details

Starts here: pause in speech. Sequence 5 · shots 23–23 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
other (other, interior) evidence: frame:1
Seen
coat of arms, jewelry
Interpretation
Model opinion, not evidence: mood: static; style notes: close-up, high-contrast black-and-white, focused on texture and detail
Frame at 4:39, shot 244:39
1 of 1 shots sampled

10. Other 4:30–4:48 unchecked

Three men are gathered around a wooden box in a stone-walled room; one man in a hat speaks while another leans over the box. The transcript includes commands about gallows, meat, and lowering something.

3 people observed.

“Satisfied? Gallows? Meat? Put them back. Come on.” 4:33 · “Lower away.” 4:39

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Evidence and details

Starts here: pause in speech. Sequence 6 · shots 24–24 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
other (other, interior) evidence: frame:1
People
  • man in light shirt, holding something small, standing left visible
  • man in dark coat and wide-brimmed hat, central visible
  • man in light shirt and cap, leaning over box visible
Seen happening
  • A man leans over a wooden box while another man stands nearby holding an object. [frame:1]
Seen
wooden box [frame:1], stone wall [frame:1], wide-brimmed hat [frame:1], cap [frame:1]
Interpretation
Model opinion, not evidence: mood: tense; themes: authority, preparation, confinement; style notes: medium shot, high-contrast lighting, static framing
Frame at 5:01, shot 255:01
1 of 1 shots sampled

11. Cave 4:48–5:14 unchecked

Three men are in a rocky, dimly lit space; one kneels in a pit while another gestures. A voice asks what is wanted now, noting only half an hour remains before the tide traps them.

3 people observed.

“What's the matter? Wait a minute, Captain. There's something else you've forgotten. What do you want now? We've got but half an hour before …” 5:10

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Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 7 · shots 25–25 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
cave (other, interior) evidence: frame:1
People
  • man in light shirt and dark pants, kneeling in a pit, back to camera visible
  • man in light shirt and dark pants, standing, gesturing with right hand visible
  • man in light shirt and dark pants, crouching to the right, facing p2 visible
Seen happening
  • A man gestures while speaking to another who is crouching. [frame:1]
  • A man kneels in a pit, facing away from the camera. [frame:1]
Seen
shovel [frame:1], rocks [frame:1]
Interpretation
Model opinion, not evidence: mood: tense; themes: urgency, confinement, negotiation under pressure; style notes: low-key lighting, tight framing on three figures in a confined space, high contrast between light and shadow
Frame at 5:18, shot 265:18Frame at 5:29, shot 275:29Frame at 5:37, shot 285:37
3 of 3 shots sampled

12. Beat 12 5:14–5:38 unchecked

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Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 7 · shots 26–28 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 11:04, shot 6111:04
1 of 1 shots sampled

29. Private office 10:57–11:10 checks passed

A man in period costume speaks while holding a hat; another man stands in the background. The speaker references a 'renegade nobleman' and asks to be honored with land and a castle.

2 people observed.

“All I ask is that if I lay this renegade nobleman by the heels...” 10:58 · “is that you honor” 11:04

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Evidence and details

Starts here: topic shift in dialogue. Sequence 20 · shots 61–61 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
private_office (private office, interior) evidence: frame:1
People
  • man in dark period coat with wide collar, holding a hat, mid-adult, heavy build visible, audible
  • man in dark period coat with white cravat, standing, mid-adult, slimmer build visible
Seen happening
  • A man holds a hat while speaking; another man stands behind him. [frame:1]
Also said
“The humble self.” 11:06 · “with his castle and his land.” 11:08
Seen
hat [frame:1], period coat [frame:1], tapestry [frame:1]
Interpretation
Model opinion, not evidence: mood: formal and theatrical; themes: nobility, negotiation, honor; style notes: medium shot, studio lighting, period costume, static framing
Frame at 11:13, shot 6211:13Frame at 11:17, shot 6311:17Frame at 11:23, shot 6411:23
3 of 3 shots sampled

30. Private office 11:10–11:27 checks passed

Three men in period costumes are in a richly decorated room; one seated, two standing. A voice refers to 'Captain Kidd' and speaks of a pardon and noble blood.

Named: Captain Kidd (t:11:15). 3 people observed.

“Is that all you want?” 11:13 · “Captain Kidd.” 11:15

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Evidence and details

Starts here: pause in speech. Sequence 20 · shots 62–64 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
private_office (private office, interior) evidence: frame:1
People
  • man seated in ornate chair, wearing 17th-18th century nobleman's costume with lace cravat and curly wig visible
  • man standing left, wearing dark period coat with lace cuffs and cravat, curly wig visible
  • Captain Kidd (named at t:11:15): man standing right, wearing patterned coat with lace cravat and curly wig, holding a hat visible, audible
Seen happening
  • Three men are present in a decorated room; one seated, two standing. [frame:1]
  • The man on the right holds a hat and looks toward the seated man. [frame:2]
  • The seated man looks up and to his right, smiling slightly. [frame:3]
Also said
“Not a pardon more, Your Majesty.” 11:16 · “Hmm, with fellow treats of a title so lightly, he must be bursting with noble blood.” 11:19
Seen
ornate chair [frame:1], period costume with lace cravat and wig [frame:1], black hat [frame:2], decorated wall panel [frame:1], door with panels [frame:3]
Interpretation
Model opinion, not evidence: mood: formal, slightly ironic; themes: nobility versus appearance, power and pardon, social status; style notes: static medium shots, high-contrast studio lighting, period costume detail emphasized
Frame at 14:11, shot 9614:11
1 of 1 shots sampled

41. Jail 13:57–14:25 checks passed

A single frame shows a view through heavy bars at a dimly lit, multi-level stone interior. No people, objects, or text are clearly visible, and no events occur in the supplied frame.

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Evidence and details

Starts here: pause in speech. Sequence 24 · shots 96–96 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
jail (jail, interior) evidence: frame:1
Seen
heavy metal bars [frame:1], stone walls [frame:1]
Interpretation
Model opinion, not evidence: mood: confined, somber; themes: confinement, isolation; style notes: high-contrast lighting, static shot through bars, low visibility
Frame at 18:05, shot 13118:05Frame at 18:15, shot 13218:15
2 of 2 shots sampled

55. Ship 18:01–18:22 checks passed

A group of men in period costume are gathered on a wooden deck, some standing and one bent over a barrel. One man gestures while speaking, and another responds affirmatively. The setting appears to be a ship or dockside area with water and distant structures visible.

5 people observed.

“Another one now.” 18:05 · “Excellent.” 18:14

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Evidence and details

Starts here: pause in speech. Sequence 32 · shots 131–132 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
ship (ship, exterior) evidence: frame:1
People
  • man in period costume, standing, wearing a hat and loose shirt visible
  • man in period costume, bent over a barrel, wearing a cap visible
  • man in period costume, standing, gesturing with right hand, wearing a hat and vest visible, audible
  • man in period costume, standing, wearing a dark shirt and light pants visible
  • man in period costume, standing, wearing a light shirt and dark pants visible
Seen happening
  • A man gestures while speaking to others on deck. [frame:1]
  • One man is bent over a barrel. [frame:1]
  • A man gestures with his right hand while speaking. [frame:2]
Seen
wooden deck [frame:1], barrel [frame:1], ropes [frame:1], hat [frame:1], vest [frame:2]
Interpretation
Model opinion, not evidence: mood: tense or focused; themes: crew activity, command interaction, historical setting; style notes: black-and-white, medium shot, naturalistic lighting, period costume, group composition
Frame at 21:13, shot 15321:13
1 of 1 shots sampled

65. Other 21:09–21:18 checks passed

Two men face each other outdoors near a wooden building; one speaks, believing the other was dead. The scene is lit by studio lighting and shot in black and white.

2 people observed.

“Oh, man.” 21:12 · “I thought you... Yes, you thought I was dead.” 21:14

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Evidence and details

Starts here: pause in speech. Sequence 35 · shots 153–153 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
other (other, exterior) evidence: frame:1
People
  • man wearing a wide-brimmed hat, dark coat, and scarf; medium build, adult visible, audible
  • man wearing a dark cap and heavy coat with fur collar; older, heavier build visible
Seen happening
  • A man in a hat speaks to another man outdoors. [frame:1]
Seen
wooden building with window, wide-brimmed hat, dark coat and scarf, cap and fur-collared coat
Interpretation
Model opinion, not evidence: mood: tense; themes: reunion, misunderstanding, survival; style notes: medium two-shot, black and white, studio-lit, period costume
Frame at 23:35, shot 16323:35Frame at 23:50, shot 16423:50
2 of 2 shots sampled

73. Private office 23:31–24:01 checks passed

Two men are in a dimly lit interior, speaking about ambition and violence. One man, with a beard, states he is not violent but will remove obstacles; the other, wrapped in a shawl, declares he will become a lord.

Named: Mr. Povey (t:23:40). 2 people observed.

“I'm not a violent man, Mr. Povey. I detest violence. People have such an awkward habit of getting in my way.” 23:40 · “An ambitious man, if he be bold enough, can carve himself a...” 23:52

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Evidence and details

Starts here: topic shift in dialogue. Sequence 41 · shots 163–164 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
private_office (private office, interior) evidence: frame:1
People
  • Mr. Povey (named at t:23:40): bearded man, dark clothing, middle-aged visible, audible
  • man with curly hair, wearing a knitted shawl over formal attire, middle-aged visible, audible
Also said
“Kingdom.” 23:57 · “I'm going to be a lord, my friend.” 23:58
Seen
knitted shawl [frame:2], window with panes [frame:2]
Interpretation
Model opinion, not evidence: mood: tense and conspiratorial; themes: ambition, violence as tool, social climbing; style notes: close-up shots, high-contrast lighting, period costume, static framing
Frame at 26:36, shot 17726:36Frame at 26:47, shot 17826:47
2 of 2 shots sampled

83. Beat 83 26:30–26:50 unchecked

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Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 47 · shots 177–178 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 29:17, shot 18629:17
1 of 1 shots sampled

90. Ship 29:15–29:19 checks passed

A group of men in period attire sit around a table in a dimly lit interior space. One man gestures while others look on, with a lantern hanging above.

5 people observed.

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Evidence and details

Starts here: pause in speech. Sequence 54 · shots 186–186 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
ship (ship, interior) evidence: frame:1
People
  • man in period coat, seated at table, gesturing with right hand visible
  • man in period coat, seated at table, looking at p1 visible
  • man in period coat, seated at table, looking at p1 visible
  • man standing behind table, wearing dark coat, holding a bottle visible
  • man seated at table, partially obscured, wearing period coat visible
Seen
round table with white cloth [frame:1], lantern hanging from ceiling [frame:1], bottle held by p4 [frame:1], glasses and plates on table [frame:1]
Interpretation
Model opinion, not evidence: mood: tense or deliberative; themes: confrontation, period drama, shipboard setting; style notes: medium shot, high-contrast lighting, period costume, static framing
Frame at 30:37, shot 20230:37
1 of 1 shots sampled

95. Dining room 30:28–30:46 checks passed

A group of people are seated around a table in a dimly lit interior space; one person speaks about keeping another from dinner. The scene is static, captured in a single shot.

6 people observed.

“But I'm keeping you from your dinner.” 30:28 · “Oh” 30:33

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Evidence and details

Starts here: pause in speech. Sequence 56 · shots 202–202 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
dining_room (private office, interior) evidence: frame:1
People
  • man in dark suit, seated at table visible
  • man in light shirt, seated at table visible
  • man standing behind table, wearing dark coat visible
  • woman with light hair, seated at table visible
  • man with dark hair, seated at table visible
  • man in light shirt, seated at table, leaning forward visible
Seen
dining table with white cloth [frame:1], chairs around table [frame:1], curtained windows [frame:1], hanging lantern [frame:1]
Interpretation
Model opinion, not evidence: mood: formal, slightly tense; themes: social etiquette, dining scene, interpersonal tension; style notes: static medium shot, high-contrast lighting, theatrical staging
Frame at 36:13, shot 22936:13Frame at 36:27, shot 23036:27
2 of 2 shots sampled

111. Beat 111 36:06–36:32 unchecked

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Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 66 · shots 229–230 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 36:33, shot 23136:33Frame at 36:43, shot 23236:43
2 of 2 shots sampled

112. Ship 36:32–36:51 checks passed

Three men stand on a wooden deck; one is addressed as Mr. Boyle. The setting appears to be aboard a ship, with ropes and rigging visible in the background.

Named: Mr. Boyle (t:36:40). 3 people observed.

“Poverty Bay. Aye, sir. Thank you, Mr. Mercer. Come along, Mr. Boyle.” 36:40

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Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 66 · shots 231–232 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
(ship, exterior) evidence: frame:2
People
  • man in white shirt with neckerchief, dark hair, medium build visible
  • Mr. Boyle (named at t:36:40): man in dark coat and white shirt, heavier build, dark hair visible
  • man in white shirt, side profile, medium build visible
Seen happening
  • Three men stand on a wooden deck. [frame:1]
  • Three men stand near ropes and rigging on a ship. [frame:2]
Seen
buckled shoes, wooden deck, ropes and rigging
Interpretation
Model opinion, not evidence: mood: formal, maritime; themes: maritime command, hierarchical address; style notes: medium shot, black-and-white, studio lighting, period costume
Frame at 37:46, shot 23537:46
1 of 1 shots sampled

115. Beat 115 37:31–38:00 unchecked

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Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 69 · shots 235–235 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 38:09, shot 23638:09
1 of 1 shots sampled

116. Beat 116 38:00–38:18 unchecked

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Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 70 · shots 236–236 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 38:56, shot 24338:56Frame at 39:05, shot 24439:05
2 of 2 shots sampled

119. Private office 38:53–39:11 checks passed

Four men are in a cabin, one seated at a table speaking while others stand or sit nearby. A man in ornate clothing speaks emphatically about Lord Blaine being dead and his name not to be mentioned.

Named: Mr. Covey (t:39:01). 4 people observed.

“Why, you pucks rattled, Bill, and I can be as honest as any man if I have the incentive. Who? Yes.” 38:53 · “We launched Lane.” 38:58

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Evidence and details

Starts here: topic shift in dialogue. Sequence 71 · shots 243–244 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
private_office (private office, interior) evidence: frame:1
People
  • Mr. Covey (named at t:39:01): man in ornate dark coat with embroidery, seated at table, mid-50s, heavyset visible, audible
  • man standing, light-colored coat, dark hair, 30s, medium build visible
  • man standing, dark coat, white cravat, 30s, medium build visible
  • man seated, dark coat, 30s, medium build visible
Seen happening
  • A man in ornate clothing speaks emphatically at a table while others listen. [frame:1]
Also said
“Lord Blaine's name is not to be mentioned among us, Mr. Covey. He's dead, so's his crew and so's ours, and there's none outside this cabin that knows what became of them.” 39:01
Seen
wooden table, ornate chair, cabinet with glass doors, metal goblet
Interpretation
Model opinion, not evidence: mood: tense and secretive; themes: secrecy, conspiracy, authority; style notes: medium shot with static framing, high-contrast lighting emphasizing facial expressions, period costume detail
Frame at 41:30, shot 25541:30Frame at 41:42, shot 25641:42
2 of 2 shots sampled

127. Ship 41:25–41:48 checks passed

A man lies on the deck of a ship surrounded by crew members; one man in formal attire stands over him while others look on. A voice declares someone dead and vows to hang the responsible party.

4 people observed.

“He's dead.” 41:27 · “If I find the man that's responsible for this, I'll hang him. Fish the yard and reset it.” 41:28

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Evidence and details

Starts here: pause in speech. Sequence 76 · shots 255–256 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
ship (ship, exterior) evidence: frame:1
People
  • man lying on deck, wearing light-colored shirt visible
  • man standing, wearing dark coat and white cravat, appears authoritative visible
  • crew members in striped shirts and hats, some holding poles or ropes visible
  • unseen speaker audible
Seen happening
  • A man is lying motionless on the deck of a ship. [frame:1]
  • Crew members gather around the man on the deck. [frame:1]
  • A man in formal attire stands over the fallen man. [frame:1]
Seen
ship deck [frame:1], ropes and rigging [frame:1], lanterns [frame:2], wooden structure (possibly part of a mast or yard) [frame:2]
Interpretation
Model opinion, not evidence: mood: tense and somber; themes: authority, death, responsibility, maritime discipline; style notes: black-and-white, high-contrast lighting, medium shots emphasizing group dynamics, period costume
Frame at 43:29, shot 26943:29
1 of 1 shots sampled

131. Beat 131 43:11–43:47 unchecked

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Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 77 · shots 269–269 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 45:45, shot 27945:45Frame at 45:53, shot 28045:53
2 of 2 shots sampled

137. Private office 45:41–45:57 checks passed

A man in a light shirt holds an object while another man in a dark coat and ruffled collar looks on. No location, time, or names are established in this beat.

2 people observed.

“Hmm.” 45:52

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Evidence and details

Starts here: pause in speech. Sequence 83 · shots 279–280 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
private_office (private office, interior) evidence: frame:1
People
  • man, dark hair, medium build, wearing a light-colored button-up shirt visible
  • man, heavier build, wearing a dark coat with wide lapels and a white ruffled collar visible
Seen happening
  • A man in a light shirt holds a small object in his hand. [frame:1]
  • A man in a dark coat and ruffled collar looks toward the first man. [frame:2]
Seen
small object held by p1 [frame:1], dark coat with wide lapels [frame:2], white ruffled collar [frame:2]
Interpretation
Model opinion, not evidence: mood: tense or contemplative; themes: confrontation, examination; style notes: medium close-up shots, high-contrast black-and-white lighting, period costume
Frame at 47:30, shot 29047:30Frame at 47:43, shot 29147:43
2 of 2 shots sampled

142. Beat 142 47:23–47:48 unchecked

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Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 84 · shots 290–291 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 48:36, shot 29648:36
1 of 1 shots sampled

144. Ship 48:28–48:44 checks passed

A man and a woman are in a dimly lit interior, speaking about being caught robbing a desk and lying about being a King's informer. The man is seated, the woman stands facing him; neither is named in the dialogue.

2 people observed.

“Listen in carefully, because I want you to tell it in London if anything happens to me.” 48:31 · “Kid caught me in his cabin robbing his desk.” 48:36

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Evidence and details

Starts here: pause in speech. Sequence 85 · shots 296–296 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
ship (ship, interior) evidence: frame:1
People
  • man, seated, wearing loose light-colored shirt, dark pants, medium build, mid-adult visible, audible
  • woman, standing, wearing striped top and light skirt, mid-adult visible, audible
Seen happening
  • A man and a woman face each other in a dim cabin aboard a ship. [frame:1]
Also said
“I lied to him, told him I was a King's informer. Good. Yes, but he didn't believe me, not one word. He just pretended to.” 48:38
Seen
wooden chair [frame:1], cabin interior with ropes and beams [frame:1]
Interpretation
Model opinion, not evidence: mood: tense, conspiratorial; themes: deception, survival, betrayal; style notes: low-key lighting, tight two-shot, high contrast shadows, period costume
Frame at 49:09, shot 29849:09Frame at 49:20, shot 29949:20
2 of 2 shots sampled

146. Beat 146 49:04–49:26 unchecked

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Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 87 · shots 298–299 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 49:57, shot 30249:57
1 of 1 shots sampled

149. Ship 49:55–49:58 checks passed

A ship's mast and rigging are visible in a single frame. No people, dialogue, or on-screen text are present.

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Evidence and details

Starts here: pause in speech. Sequence 90 · shots 302–302 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
ship (ship, exterior) evidence: frame:1
Seen
ship mast and rigging [frame:1]
Interpretation
Model opinion, not evidence: mood: neutral; style notes: static shot, grayscale, focused on ship structure
Frame at 50:26, shot 30750:26
1 of 1 shots sampled

152. Ship 50:24–50:27 checks passed

A sailing ship is viewed through a circular frame, likely a telescope, on open water. No people or dialogue are visible or audible in this beat.

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Evidence and details

Starts here: pause in speech. Sequence 91 · shots 307–307 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
ship (ship, exterior) evidence: frame:1
Seen
sailing ship [frame:1], telescope view [frame:1]
Interpretation
Model opinion, not evidence: mood: distant, observational; themes: voyage, observation, nautical; style notes: circular framing, high-contrast monochrome, static shot
Frame at 51:36, shot 31851:36Frame at 51:38, shot 31951:38Frame at 51:44, shot 32051:44
3 of 3 shots sampled

156. Ship 51:36–51:49 checks passed

A scene on a ship shows three men in period attire; one speaks while another holds a weapon. A wide shot shows a large sailing vessel on open water. The transcript includes a line addressing 'Mr. Mersey' and mentions a 'convert'.

Named: Mr. Mersey (t:51:39). 4 people observed.

“Well, first, Mr. Mersey...” 51:39 · “I'm a Sabbath. I've got a convert. Avert is there.” 51:40

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Evidence and details

Starts here: pause in speech. Sequence 91 · shots 318–320 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
ship (ship, exterior) evidence: frame:1, frame:2, frame:3
People
  • man in striped shirt and cap, holding a weapon visible
  • man in dark coat, leaning forward, expressive face visible
  • man in light shirt, standing behind p2, holding a weapon visible
  • Mr. Mersey (named at t:51:39): unseen speaker audible
Seen happening
  • A man in a striped shirt stands holding a weapon on a ship deck. [frame:1]
  • A large sailing ship is shown on open water. [frame:2]
  • A man in a dark coat leans forward while another man stands behind him holding a weapon. [frame:3]
Seen
sailing ship [frame:2], weapon [frame:1, frame:3], striped shirt [frame:1], dark coat [frame:3]
Interpretation
Model opinion, not evidence: mood: tense; themes: confrontation, piracy, religious conversion; style notes: black-and-white, period costume, medium and wide shots, dramatic lighting
Frame at 51:51, shot 32151:51
1 of 1 shots sampled

157. Ship 51:49–51:54 checks passed

A group of men in striped shirts and breeches are on a wooden ship deck; one stands upright while others bend or kneel. No dialogue or on-screen text is present in this beat.

5 people observed.

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Evidence and details

Starts here: pause in speech. Sequence 91 · shots 321–321 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
ship (ship, exterior) evidence: frame:1
People
  • man in light shirt and breeches, standing upright, long hair tied back visible
  • man in striped shirt, bent over near a cannon visible
  • man in striped shirt, kneeling near cannon visible
  • man in striped shirt, standing behind p2 visible
  • man in striped shirt, standing behind p1 visible
Seen
cannon [frame:1], wooden ship deck [frame:1], ropes and rigging [frame:1]
Interpretation
Model opinion, not evidence: mood: tense or laborious; themes: naval labor, historical seafaring; style notes: medium shot, black-and-white, high-contrast lighting, period costume
Frame at 53:04, shot 32853:04Frame at 53:13, shot 32953:13
2 of 2 shots sampled

161. Beat 161 53:01–53:20 unchecked

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Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 94 · shots 328–329 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 54:05, shot 33154:05
1 of 1 shots sampled

163. Ship 53:43–54:28 checks passed

A person in striped clothing and a cap is visible in a dim interior, reacting to off-screen dialogue that includes instructions about powder and a longbow. The scene includes an apology and a call to 'Mr. Lorenzo.'

1 person observed.

“Come on.” 53:58 · “Mr. Lorenzo!” 54:05

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Evidence and details

Starts here: pause in speech. Sequence 96 · shots 331–331 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
ship (ship, interior) evidence: frame:1
People
  • wearing striped shirt and cap, appears young or middle-aged visible
Also said
“Take this powder and put it in the longbow.” 54:14 · “I'm sorry.” 54:22
Seen
striped shirt [frame:1], cap [frame:1], wooden interior [frame:1]
Interpretation
Model opinion, not evidence: mood: tense; themes: obedience, preparation, apology; style notes: high-contrast black-and-white, tight framing on character, shadowed background
Frame at 55:22, shot 33855:22Frame at 55:34, shot 33955:34
2 of 2 shots sampled

167. Ship 55:15–55:39 checks passed

A man in ornate 17th-century attire speaks on a ship's deck; a second shot shows him seated at a table with others, including a woman in period dress, while discussing a silver chest of gems bound for Madagascar. No names are spoken that can be assigned to visible individuals.

4 people observed.

“I suppose we could take Lord Falsworth and Lady Anne aboard the adventure to Madagascar's Astern, and then if we are separated and this,” 55:18 · “Vessels should be taken. What about the treasure on board? Oh.” 55:26

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Evidence and details

Starts here: topic shift in dialogue. Sequence 99 · shots 338–339 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
ship (ship, exterior) evidence: frame:1, frame:2
People
  • heavyset man, curly hair, wearing dark ornate 17th-century coat with white lace collar visible, audible
  • man in dark coat and tricorne hat, seated at table visible
  • woman in long dress and hat, standing behind table visible
  • man in tricorne hat, standing behind table visible
Seen happening
  • A man in ornate coat gestures while speaking on a ship's deck. [frame:1]
  • Several people are seated or standing around a table laden with silverware on a ship's deck. [frame:2]
Also said
“One silver chest alone.” 55:30 · “A present to His Majesty from the Grand Mogul.” 55:33
Seen
silver chest [t:55:30], silver tableware [frame:2], tricorne hats [frame:2], 17th-century coats [frame:1, frame:2]
Interpretation
Model opinion, not evidence: mood: tense negotiation; themes: piracy, treasure, colonial trade, nobility; style notes: studio-lit ship deck, medium shots, period costumes, static framing
Frame at 56:00, shot 34256:00Frame at 56:20, shot 34356:20
2 of 2 shots sampled

169. Ship 55:56–56:36 checks passed

A man in 18th-century naval attire speaks on a ship deck while others stand nearby; a table with silverware and a decanter is visible. The transcript includes dialogue about trusting someone, inspecting chests, and hoisting them into boats.

5 people observed.

“And although my instructions are that you are to trust me in all matters, I don't know if I could go so far as to. What else can we do?” 55:56 · “We could have them slung into our boats along with the gear of Lord Palsworth and Lady Anne. Why, certainly.” 56:17

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Evidence and details

Starts here: pause in speech. Sequence 99 · shots 342–343 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
ship (ship, exterior) evidence: frame:1
People
  • man in 18th-century naval uniform with white cravat, dark coat, and sash visible, audible
  • man in tricorn hat and dark coat, standing near table visible
  • man in tricorn hat, standing behind table visible
  • woman in period dress, standing near table visible
  • man in naval uniform, bending over table visible
Also said
“Oh, this way, Captain. No trouble at all.” 56:22 · “Hoist away.” 56:33
Seen
silver tableware [frame:2], decanter [frame:2], naval uniform [frame:1], tricorn hats [frame:2], ship rigging [frame:1]
Interpretation
Model opinion, not evidence: mood: tense and procedural; themes: naval authority, logistics under pressure, hierarchical deference; style notes: medium shots, high-contrast lighting, period costumes, ship deck setting
Frame at 56:41, shot 34556:41Frame at 56:52, shot 34656:52
2 of 2 shots sampled

171. Private office 56:39–57:01 checks passed

Two men in period costume speak in an interior setting; one is addressed as Mr. Lorenzo and the other as Capitan Roswell. A third man is present but not named in the dialogue.

Named: Mr. Lorenzo (t:56:51), Capitan Roswell (t:56:51). 3 people observed.

“Mr. Lovie. I sent for the manifest, Captain.” 56:41 · “You may take it against the contents of this chest and...” 56:45

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Evidence and details

Starts here: pause in speech. Sequence 101 · shots 345–346 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
private_office (private office, interior) evidence: frame:1
People
  • man with beard, wearing dark hat and coat, visible in frame 1 and 2 visible
  • Mr. Lorenzo (named at t:56:51): man with curly hair, wearing ornate coat with lace collar, visible in frame 1 and 2 visible, audible
  • Capitan Roswell (named at t:56:51): older man with white hair, wearing dark coat and hat, visible in frame 2 visible
Also said
“Give me your receipt, if you will.” 56:48 · “Oh, there you are, Mr. Lorenzo. Have you completed your business? Almost. Your people have been most kind, Capitan Roswell. There is only one detail left.” 56:51
Seen
ornate coat with lace collar, dark coat and hat, wooden cabinet or bookshelf
Interpretation
Model opinion, not evidence: mood: formal and transactional; themes: negotiation, formal address, period costume; style notes: medium close-up and medium shot, studio lighting, period costume detail visible
Frame at 59:07, shot 35559:07Frame at 59:17, shot 35659:17
2 of 2 shots sampled

176. Ship 59:05–59:24 checks passed

A woman in period dress is greeted aboard a ship by a man who introduces himself as Barrett Shadwell; crew members are visible on deck. The scene then cuts to an interior cabin where the same woman stands with two men in formal attire.

Named: Barrett Shadwell (t:59:10). 5 people observed.

“You will have the loading mr. Lorenzo” 59:06 · “I apologize, my lady, for our poor accommodations, but me, Barrett Shadwell will see that you'll make comfortable. Pleasure to have your l…” 59:10

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Evidence and details

Starts here: pause in speech. Sequence 103 · shots 355–356 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
ship (ship, exterior) evidence: frame:1
People
  • woman in long period gown and cape, light hair visible
  • Barrett Shadwell (named at t:59:10): man in dark coat and hat, standing on deck visible, audible
  • man in striped shirt and sailor hat, standing on deck visible
  • man in dark coat, standing in cabin visible
  • man in formal coat with epaulets, standing in cabin visible
Seen happening
  • The woman is shown standing in a ship's cabin with two men. [frame:2]
Also said
“I'm” 59:19
Seen
ship rigging, wooden cabin door, round wooden table
Interpretation
Model opinion, not evidence: mood: formal and tense; themes: class hierarchy, voyage, introduction of characters; style notes: black-and-white, medium shots, period costumes, shipboard setting
Frame at 59:25, shot 35759:25
1 of 1 shots sampled

177. Ship 59:24–59:26 checks passed

A group of sailors on a ship deck watches a cargo net being hoisted. No dialogue or on-screen text is present in this beat.

4 people observed.

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Evidence and details

Starts here: pause in speech. Sequence 103 · shots 357–357 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
ship (ship, exterior) evidence: frame:1
People
  • sailor in striped shirt and light trousers, visible from back visible
  • sailor in striped shirt, pointing upward at cargo net visible
  • sailor in dark coat and hat, seated, holding a pipe visible
  • sailor in striped shirt, standing near railing visible
Seen happening
  • A cargo net is being hoisted aboard a ship. [frame:1]
Seen
cargo net [frame:1], ship deck with stairs and railing [frame:1], sailor's pipe [frame:1]
Interpretation
Model opinion, not evidence: mood: neutral, observational; themes: maritime labor, shipboard routine; style notes: medium shot, black-and-white, static framing, natural lighting
Frame at 59:30, shot 35859:30Frame at 59:34, shot 35959:34Frame at 59:37, shot 36159:37Frame at 59:37, shot 36259:37
4 of 5 shots sampled

178. Ship 59:26–59:38 unchecked

Two men in period naval attire converse on a ship's deck while crew members work in the background; the scene ends with a blank frame. No names are spoken, and no time of day or period is established beyond the historical costume.

3 people observed.

“Why hasn't it happened” 59:33

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Evidence and details

Starts here: pause in speech. Sequence 103 · shots 358–362 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
ship (ship, exterior) evidence: frame:1
People
  • man in tricorn hat and 18th-century naval coat, holding a sword visible
  • man seen from back, wearing dark coat with white trim, curly hair visible
  • multiple crew members in period attire, working on deck and rigging visible
Seen happening
  • Two men stand facing each other on a ship's deck. [frame:1]
  • The man in the tricorn hat speaks to the man with curly hair. [frame:2]
  • Crew members are active on the ship's deck and rigging. [frame:3]
  • The screen is blank. [frame:4]
Seen
tricorn hat, naval coat with sword, ship's rigging and deck, barrels and ropes
Interpretation
Model opinion, not evidence: mood: tense; themes: naval conflict, unresolved tension; style notes: black-and-white, medium shots, period costume, studio lighting
Frame at 59:39, shot 36359:39
1 of 1 shots sampled

179. Ship 59:38–59:40 unchecked

Two men in period naval uniforms stand side by side on what appears to be a ship deck. No dialogue or on-screen text is present in this beat.

2 people observed.

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Evidence and details

Starts here: pause in speech. Sequence 104 · shots 363–363 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
ship (ship, exterior) evidence: frame:1
People
  • man in tricorn hat and 18th-century naval coat, mustache, medium build visible
  • man in dark 18th-century naval coat with ornate trim, clean-shaven, medium build visible
Seen
tricorn hat [frame:1], naval coat with ornate trim [frame:1], ship rigging or mast [frame:1]
Interpretation
Model opinion, not evidence: mood: formal, tense; themes: naval authority, historical drama; style notes: medium shot, high-contrast black-and-white, studio lighting, period costume detail
Frame at 59:42, shot 36459:42
1 of 1 shots sampled

180. Ship 59:40–59:45 unchecked

A ship is shown on water with smoke rising near its stern. No people, dialogue, or on-screen text are visible in the frame.

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Evidence and details

Starts here: pause in speech. Sequence 105 · shots 364–364 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
ship (ship, exterior) evidence: frame:1
Seen
ship [frame:1], smoke [frame:1]
Interpretation
Model opinion, not evidence: mood: tense; themes: naval conflict, action; style notes: grainy black-and-white, medium shot, smoke obscures part of the ship
Frame at 59:46, shot 36559:46
1 of 1 shots sampled

181. Ship 59:45–59:47 unchecked

Three men in 18th-century naval or pirate attire stand on a ship's deck. One man gestures while speaking, though no dialogue is provided for this beat.

3 people observed.

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Evidence and details

Starts here: pause in speech. Sequence 106 · shots 365–365 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
ship (ship, exterior) evidence: frame:1
People
  • man in tricorn hat and dark coat, gesturing with right hand visible
  • man in tricorn hat, standing with arms crossed, wearing lighter coat visible
  • man in dark coat with ornate trim, standing upright visible
Seen
{'item': 'tricorn hats', 'evidence': 'frame:1'} [frame:1], {'item': 'naval-style coats with trim', 'evidence': 'frame:1'} [frame:1], {'item': 'ship rigging and mast', 'evidence': 'frame:1'} [frame:1]
Interpretation
Model opinion, not evidence: mood: tense or confrontational; themes: authority, conflict, naval hierarchy; style notes: medium shot, black-and-white, studio lighting, period costume detail
Frame at 59:48, shot 36659:48
1 of 1 shots sampled

182. Ship 59:47–59:48 unchecked

A group of sailors stands on the deck of a ship under a cloudy sky. One sailor in a striped shirt faces away, while others gather near rigging and a ladder.

4 people observed.

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Evidence and details

Starts here: pause in speech. Sequence 106 · shots 366–366 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
ship (ship, exterior) evidence: frame:1
People
  • sailor in striped shirt and light trousers, back to camera visible
  • sailor in dark coat and hat, facing right visible
  • sailor in light shirt and cap, standing near rigging visible
  • sailor in light shirt, partially visible near ladder visible
Seen
ship deck [frame:1], rigging and masts [frame:1], wooden ladder [frame:1], cloudy sky [frame:1]
Interpretation
Model opinion, not evidence: mood: tense or anticipatory; themes: maritime life, crew dynamics; style notes: black-and-white, medium shot, high contrast lighting, static framing
Frame at 59:49, shot 36759:49Frame at 59:49, shot 36859:49
2 of 2 shots sampled

183. Ship 59:48–59:50 unchecked

Two men in 17th-century naval attire stand on a ship's deck; one walks toward the other. A man in a tricorn hat stands on a raised platform as crew members look on.

4 people observed.

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Evidence and details

Starts here: pause in speech. Sequence 106 · shots 367–368 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
ship (ship, exterior) evidence: frame:1
People
  • man in tricorn hat and 17th-century naval coat, holding a rope visible
  • man in dark coat with decorative trim, facing p1 visible
  • man in tricorn hat standing on raised platform, wearing 17th-century coat and breeches visible
  • crew members in striped shirts and hats, visible on deck visible
Seen
ship's rigging and mast [frame:1], wooden platform and stairs [frame:2], tricorn hats [frame:1, frame:2], 17th-century naval coats [frame:1, frame:2]
Interpretation
Model opinion, not evidence: mood: tense; themes: naval authority, crew hierarchy; style notes: black-and-white, medium shots, high-contrast lighting, period costume detail
Frame at 59:51, shot 36959:51
1 of 1 shots sampled

184. Ship 59:50–59:52 unchecked

A woman in a period dress stands in a doorway inside a ship's interior. No dialogue or on-screen text is present in this beat.

1 person observed.

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Evidence and details

Starts here: pause in speech. Sequence 107 · shots 369–369 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
(ship, interior) evidence: frame:1
People
  • woman, mid-20s to 30s, wearing a light-colored period dress with a dark bodice and holding a white cloth or garment visible
Seen
wooden door [frame:1], ship interior with wooden paneling and a large cylindrical object (possibly a cannon or part of the ship's mechanism) [frame:1]
Interpretation
Model opinion, not evidence: mood: neutral, static; themes: period drama, shipboard setting; style notes: black-and-white, medium shot, studio lighting, period costume design
Frame at 1:00:05, shot 3741:00:05
1 of 1 shots sampled

189. Ship 1:00:03–1:00:06 unchecked

A group of people stands on the deck of a ship, with one man in a wide-brimmed hat and another in a striped shirt visible. The sky is overcast, and rigging is visible above them.

4 people observed.

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Evidence and details

Starts here: pause in speech. Sequence 111 · shots 374–374 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
ship (ship, exterior) evidence: frame:1
People
  • man wearing a wide-brimmed hat and dark coat visible
  • boy wearing a striped shirt visible
  • man with white wig and dark coat visible
  • man in background wearing a pirate-style hat visible
Seen
ship deck [frame:1], rigging [frame:1], wide-brimmed hat [frame:1], striped shirt [frame:1]
Interpretation
Model opinion, not evidence: mood: tense or anticipatory; themes: seafaring, group dynamics; style notes: medium shot, high-contrast lighting, period costume, static framing
Frame at 1:00:49, shot 3771:00:49Frame at 1:01:20, shot 3781:01:20
2 of 2 shots sampled

192. Ship 1:00:34–1:01:35 unchecked

A woman in period dress expresses fear and confusion to a male servant in a ship's cabin, mentioning pirates and a man named Lorenzo. The servant insists on following the captain's orders for her to dine in the main cabin.

Named: Shadwell (t:60:49), m'lady (t:60:53). 2 people observed.

“The captain has requested that you take your meals in the main cabin.” 60:45 · “Oh, no, Shadwell, I can't bear to face those men.” 60:49

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Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 114 · shots 377–378 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
ship (ship, interior) evidence: frame:1, frame:2
People
  • Shadwell (named at t:60:49): man, mid-adult, wearing dark formal period clothing with a white cravat visible, audible
  • m'lady (named at t:60:53): woman, young adult, wearing ornate period dress with ruffles and a bow in her hair visible, audible
Seen happening
  • A man and a woman stand facing each other in a ship's cabin. [frame:1]
  • The woman looks distressed while speaking. [frame:2]
Also said
“Where can I turn? I'm so confused and frightened. I...” 61:04 · “When I opened it, there he was, that evil smiling face of his.” 61:27
Seen
candle, wooden door, period dress with ruffles, formal coat and cravat
Interpretation
Model opinion, not evidence: mood: tense and anxious; themes: confinement, fear of authority, isolation; style notes: static medium shots, high-contrast black-and-white lighting, period costume detail
Frame at 1:01:58, shot 3811:01:58
1 of 1 shots sampled

194. Private office 1:01:48–1:02:08 unchecked

A man and a woman are in a dimly lit interior, engaged in a tense conversation. The woman speaks of her father's death and her inability to face the man, whom she implies she suspects.

2 people observed.

“Shadwell, what manner of ship is this?” 61:50 · “My father was killed deliberately, I'm sure of it.” 61:58

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Evidence and details

Starts here: pause in speech. Sequence 114 · shots 381–381 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
private_office (private office, interior) evidence: frame:1
People
  • man, middle-aged, heavy-set, wearing a dark formal coat with a white cravat visible, audible
  • woman, young adult, wearing a light-colored, ruffled period gown with an elaborate floral headdress visible, audible
Also said
“That's why I can't bear to face you, Captain. I'd accuse him of...” 62:02
Seen
period gown [frame:1], floral headdress [frame:1], dark formal coat [frame:1], white cravat [frame:1]
Interpretation
Model opinion, not evidence: mood: tense and accusatory; themes: accusation, grief, duty; style notes: medium close-up, high-contrast lighting, period costume, static framing
Frame at 1:03:55, shot 3881:03:55
1 of 1 shots sampled

199. Ship 1:03:45–1:04:05 unchecked

Two men are in a dimly lit interior space; one stands while the other sits, and they discuss the volatile state of a crew aboard a ship carrying treasure. The standing man is asked if he means the threat is near him.

2 people observed.

“The crew is like a barrel of hot gunpowder.” 63:56 · “All that is needed is a word in the right ears.” 64:00

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Evidence and details

Starts here: pause in speech. Sequence 116 · shots 388–388 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
ship (ship, interior) evidence: frame:1
People
  • standing man, dark hair, mustache, wearing light shirt and dark belt visible
  • sitting man, curly hair, wearing dark coat and white cravat visible
Seen happening
  • Two men face each other in a ship’s interior, one standing, one seated. [frame:1]
Also said
“Do you mean near me?” 64:04
Seen
wooden door with glass panes [frame:1], dark coat with white cravat [frame:1], light-colored shirt with dark belt [frame:1]
Interpretation
Model opinion, not evidence: mood: tense; themes: conflict, suspicion, power dynamics; style notes: medium close-up, high-contrast lighting, static framing
Frame at 1:06:28, shot 4011:06:28
1 of 1 shots sampled

205. Private office 1:06:19–1:06:37 unchecked

A man and a woman face each other in an interior setting; the man wears a bandana and the woman a patterned dress. Dialogue suggests tension over hidden identities and a threat from a child named Lenny.

2 people observed.

“You mean he knows who you are?” 66:19 · “He knows something.” 66:21

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Evidence and details

Starts here: topic shift in dialogue. Sequence 119 · shots 401–401 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
private_office (private office, interior) evidence: frame:1
People
  • man, wearing a checkered bandana and a light-colored shirt visible
  • woman, wearing a patterned dress with her hair styled up visible
Seen happening
  • A man and a woman stand facing each other in an interior space. [frame:1]
Also said
“That's why you didn't admit to me who you were. Why you were avoiding me. Your kid knows we shared this. He'd kill you with as little compunction as he means to kill me.” 66:23 · “Goodbye, Lenny.” 66:30
Seen
checkered bandana [frame:1], patterned dress [frame:1]
Interpretation
Model opinion, not evidence: mood: tense and confrontational; themes: identity, threat, consequence; style notes: medium close-up, high-contrast black-and-white lighting, static framing
Frame at 1:09:47, shot 4261:09:47
1 of 1 shots sampled

217. Private office 1:09:44–1:09:51 unchecked

A man and a woman are seated indoors in period costume. No dialogue or on-screen text is visible in the frame.

2 people observed.

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Evidence and details

Starts here: pause in speech. Sequence 124 · shots 426–426 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
private_office (private office, interior) evidence: frame:1
People
  • man, wearing a patterned headscarf and light-colored shirt, medium build, visible in profile visible
  • woman, wearing a floral-patterned dress, dark hair styled up, visible from behind visible
Seen
wooden chair [frame:1], curtained window or alcove [frame:1]
Interpretation
Model opinion, not evidence: mood: tense or contemplative; themes: period drama, interpersonal tension; style notes: medium shot, high-contrast lighting, period costume, static framing
Frame at 1:14:48, shot 4451:14:48
1 of 1 shots sampled

228. Other 1:14:46–1:14:50 unchecked

A close-up shot shows an ornate shield emblem above a pile of jewels inside a dark case. No people or spoken dialogue are present in this beat.

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Evidence and details

Starts here: pause in speech. Sequence 129 · shots 445–445 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
other (other, interior) evidence: frame:1
Seen
ornate shield emblem [frame:1], pile of jewels [frame:1], dark case interior [frame:1]
Interpretation
Model opinion, not evidence: mood: mysterious; themes: treasure, heraldry, mystery; style notes: close-up framing, high-contrast lighting emphasizing texture and detail
Frame at 1:15:40, shot 4481:15:40
1 of 1 shots sampled

231. Other 1:15:39–1:15:40 unchecked

A man in a white shirt and dark hat is visible in a dimly lit interior, arms outstretched. No dialogue or on-screen text is present in this beat.

1 person observed.

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Evidence and details

Starts here: pause in speech. Sequence 130 · shots 448–448 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
other (other, interior) evidence: frame:1
People
  • man, wearing a white shirt and dark hat, medium build visible
Seen
hat [frame:1], white shirt [frame:1]
Interpretation
Model opinion, not evidence: mood: tense; style notes: low-key lighting, medium close-up, high contrast
Frame at 1:17:03, shot 4521:17:03Frame at 1:17:22, shot 4531:17:22
2 of 2 shots sampled

235. Ship 1:16:54–1:17:31 unchecked

A man in period clothing speaks in a dimly lit room with candlelight; later, a group sits at a dining table in a ship's cabin while another man stands nearby. A transcript line mentions someone going overboard and being searched for, followed by a toast.

5 people observed.

“Confound you, Shadwell. You drove the thought right out of me, Ed. And it was an uncommon pretty one.” 76:58 · “Tell her she can't mourn forever and I shall expect her to take her meals in the main cabin with the rest of us.” 76:58

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Evidence and details

Starts here: pause in speech. Sequence 133 · shots 452–453 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
ship (ship, interior) evidence: frame:2
People
  • man in period clothing with white cravat and dark coat, visible in frame:1 visible
  • man seated at table, wearing dark coat, visible in frame:2 visible
  • woman in period dress seated at table, visible in frame:2 visible
  • man standing behind table, wearing dark coat and hat, visible in frame:2 visible
  • man seated at table, visible in frame:2 visible
Seen happening
  • A group sits at a dining table in a ship's cabin. [frame:2]
Mentioned
  • A man is said to have gone over the edge and not come up. [t:77:18]
Also said
“He returned just in time to see him go over the edge. Searched for an hour. Never came up.” 77:18 · “Well, here's to him. Whenever he is. You feeling ill?” 77:18
Seen
candle [frame:1], dining table with tablecloth [frame:2], lantern hanging from ceiling [frame:2], period clothing (coats, cravat, dress) [frame:1, frame:2]
Interpretation
Model opinion, not evidence: mood: tense and somber; themes: authority, loss, duty, shipboard life; style notes: black-and-white, candlelit interiors, medium shots, period costume, theatrical framing
Frame at 1:20:55, shot 4631:20:55
1 of 1 shots sampled

241. Ship 1:20:44–1:21:07 unchecked

Two men in striped shirts are on a ship's deck at night, one bent over a barrel. The scene is lit by artificial light against a dark sky.

2 people observed.

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Evidence and details

Starts here: pause in speech. Sequence 136 · shots 463–463 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
ship (ship, exterior) evidence: frame:1
People
  • man in striped shirt, bent over, medium build visible
  • man in striped shirt, standing, medium build visible
Seen
striped shirts [frame:1], barrel [frame:1], ship's railing and rigging [frame:1]
Interpretation
Model opinion, not evidence: mood: tense; themes: seafaring, manual labor, nocturnal activity; style notes: high-contrast black-and-white, medium shot, studio lighting on deck against dark sky
Frame at 1:23:26, shot 4681:23:26
1 of 1 shots sampled

244. Other 1:23:05–1:23:47 unchecked

A single frame shows a large, ornate gate with statues under a cloudy sky. Two lines of dialogue express shock, but no people are visible.

“Oh, my God.” 83:07 · “Oh, my God.” 83:08

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Evidence and details

Starts here: pause in speech. Sequence 139 · shots 468–468 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
other (other, exterior) evidence: frame:1
Seen happening
  • A large ornate gate with statues is visible under a cloudy sky. [frame:1]
Seen
ornate gate with statues [frame:1]
Interpretation
Model opinion, not evidence: mood: ominous or dramatic; themes: grandeur, awe, mystery; style notes: static wide shot, high-contrast black-and-white, theatrical lighting on the gate
Frame at 1:26:15, shot 4891:26:15
1 of 1 shots sampled

253. Private office 1:26:10–1:26:19 unchecked

A man and a woman in 18th-century formal attire stand in an ornate interior. A third person is partially visible behind them.

3 people observed.

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Evidence and details

Starts here: pause in speech. Sequence 144 · shots 489–489 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
private_office (private office, interior) evidence: frame:1
People
  • woman in a wide-hooped gown with lace and a high coiffure visible
  • man in a coat with a wide lace cravat and a sash across his chest visible
  • partially visible person in dark clothing behind p1 visible
Seen
ornate candelabra, wood-paneled wall, sash with embroidery
Interpretation
Model opinion, not evidence: mood: formal and tense; themes: class, power, historical costume; style notes: medium shot, high-contrast lighting, static framing

Transcript

Machine transcription of the Archive copy's audio with Whisper large-v3-turbo (temperature 0); the model heard it as en. 775 segments kept, 188 dropped as the kind of hallucination the model produces over music and silence. Each timestamp links to the Archive's player at that second. This has not been checked against the film and can be wrong.

  1. 1:02 Madagascar. For centuries, the bloodiest cockpit of all the seas. Where the infamous Brotherhood of the Damned waited to plunder the treasure-laden galleons from India and Cathay, then returned drunk with slaughter to their pirate stronghold of last hope.
  2. 1:32 of all was Captain William Kidd. He encountered the great London Galleon, the Twelve Apostles, commanded by Admiral Lord Blaine, and approaching unsuspected in the guise of a peaceful merchant,
  3. 1:44 By a sudden, treacherous salvo, he reduced her to a burning hulk.
  4. 1:48 When night fell, the Twelve Apostles was only a blazing funeral pyre on the placid surface of a Madagascar lagoon.
  5. 1:57 that me there's a pretty sight we produce do when the fire reaches the magazine capital really long lots of stout semen among them they've been with us a long time we can none of us live forever mr. Boyle dead men don't talk man your own we got this job to do before high tide
  6. 2:57 There. And dig fast. If the tide catches there, it'll save the King's hangman some rough.
  7. 3:21 There you are. Deep enough to bury a man in. Give us a hand, man.
  8. 3:27 All ready, Captain. Down she goes.
  9. 3:37 What are you waiting for? Well, Captain, that chest's been in your cabin a longish time. And we all thought as how it wouldn't do no harm to open up that chest and make sure that what was in it then is in it now. I suppose you remember what was in it.
  10. 3:51 I remember an emerald necklace that came off that porticase ship, El Vengar. And all those pearls that we took from the big ship, the Virgin Queen. I remember a diamond medaglia we got from that Moorish canyon off Madagascar. And could we ever forget that silver casket with the arms of Lord Blaine that you claimed to yourself after the taking of the Twelve Apostles, sir? Yes.
  11. 4:12 Your neck will be stretched as long as your memory one of these days.
  12. 4:33 Satisfied? Gallows? Meat? Put them back. Come on.
  13. 4:39 Lower away.
  14. 5:10 What's the matter? Wait a minute, Captain. There's something else you've forgotten. What do you want now? We've got but half an hour before the tide traps us. That's as may be, sir.
  15. 5:19 We're all equal in this, I take it.
  16. 5:20 A cool shares, yes. Well, that key, then, what you put back in your belt.
  17. 5:25 That goes down with the chest.
  18. 5:26 Must be starts all clear or no favors.
  19. 5:30 If some of us don't get back, it'll be that much easier open for them as does. Question me on it again, would you? I'll rip you from belly to chime.
  20. 5:51 Come on.
755 more segments
  1. 5:54 I'll see you next time.
  2. 5:59 Are we such callous rascals?
  3. 6:02 that we'd leave a dead comrade...
  4. 6:04 without commending his soul to his new master.
  5. 6:13 Here lieth one who through treachery,
  6. 6:16 And Avarice?
  7. 6:18 would have placed in jeopardy the lives of honest men.
  8. 6:23 And here may he lie forever.
  9. 6:25 In the sense of Madagascar.
  10. 6:28 Rest.
  11. 6:30 in
  12. 6:31 Peace.
  13. 6:33 It's time to be out, my lads. It's time to be away.
  14. 6:38 I
  15. 6:58 The gentleman's a gentleman, he's a gentleman. That's all there is to it, sir.
  16. 7:02 I'm one of nature's gentlemen, but I need polish, my good men.
  17. 7:06 If I'm to improve myself... The gentleman employs the terminology, my good man, only when addressing lower servants.
  18. 7:12 Or is inferior, sir?
  19. 7:14 You see?
  20. 7:15 That's why I need you.
  21. 7:17 My upbringing...
  22. 7:20 The gentleman never sucks his teeth, sir.
  23. 7:22 Many a man's social career has been ruined by lesser.
  24. 7:25 You seem to know your business.
  25. 7:27 I want the best mind and I can pay for it.
  26. 7:30 Hundred quid a year.
  27. 7:32 An infallible mark of a person of quality is his reluctance to pay his domestics high wages.
  28. 7:38 Don't say so. Merely an idiosyncrasy of good breeding, sir.
  29. 7:42 All right.
  30. 7:44 Sixty...
  31. 7:45 Quiddah you then?
  32. 7:47 You realize I've never been on board a ship before, sir.
  33. 7:50 I don't let that frighten you.
  34. 7:52 To the continent.
  35. 7:53 In fact, since I was a nipper,
  36. 7:55 Have had rather an adventurous inclination toward life on the bound in man.
  37. 8:00 It should be quite educational, son. Yes.
  38. 8:02 You'll learn a lot, no doubt.
  39. 8:04 Is it a bargain then?
  40. 8:06 Very well, sir.
  41. 8:08 My hand on it?
  42. 8:11 Oh.
  43. 8:56 Oh, my God.
  44. 9:02 Then, it is your proposal
  45. 9:05 My Lord Bellarmine, that Captain Kidd, sailed to meet our ambassador, Lord Falsworth, and give him safe convoy through the parrot waters of Madagascar.
  46. 9:14 May I please your majesty? Yes.
  47. 9:18 That needs a bold and adventurous man.
  48. 9:22 Bring in this Captain Pid while we take the measure of him.
  49. 9:25 Hmm.
  50. 9:30 Captain William Gates.
  51. 9:41 Your Royal Majesty.
  52. 9:44 The Noble Road.
  53. 9:48 Belmont.
  54. 9:49 Is this your roaring killer of Spanish buccaneers? Me, my lad.
  55. 9:55 I am only a peaceful shipmaster who must do trade with other ships without inquiring too closely about their business. And it was so I fell into the hands of the Twelve Apostles, a king's ship turned pirate.
  56. 10:06 In Madagascar waters? I have never been in Madagascar waters, Your Grace. It was off the southern tip of Africa where I had gone to trade in elephants' teeth.
  57. 10:17 Who commanded her?
  58. 10:19 One of your admirals, Your Majesty.
  59. 10:22 Name of Lord Blaine.
  60. 10:24 He did turn parody. He did.
  61. 10:26 Sufficiently, my lads.
  62. 10:28 To put fear...
  63. 10:29 in honest traitors like myself.
  64. 10:33 And if you are successful in this voyage, Captain...
  65. 10:36 What reward do you expect?
  66. 10:38 may it please your majesty having forfeited me honor in that i was forced to strike me colors to a pirate
  67. 10:43 I want no reward but to regain it in the service.
  68. 10:47 of your majesty.
  69. 10:48 Unless it be, or is it true that Lord Blaine's lands are restricted and his title forfeit?
  70. 10:56 Yes.
  71. 10:58 All I ask is that if I lay this renegade nobleman by the heels...
  72. 11:04 is that you honor
  73. 11:06 The humble self.
  74. 11:08 with his castle and his land.
  75. 11:13 Is that all you want?
  76. 11:15 Captain Kidd.
  77. 11:16 Not a pardon more, Your Majesty.
  78. 11:19 Hmm, with fellow treats of a title so lightly, he must be bursting with noble blood.
  79. 11:25 Though I confess he keeps it well hid.
  80. 11:27 Aye, sir. You can no more judge of a man by his appearance than you can judge the extent of a nobleman's brains by the expensiveness of his wing.
  81. 11:38 Am I to suppose that the captain of the Kingsguard would deign defense
  82. 11:42 with me?
  83. 11:50 Come, Captain.
  84. 11:51 Is your courage less than your wit?
  85. 11:54 Nice, sir.
  86. 11:55 I know nothing of...
  87. 11:57 Hence.
  88. 11:58 You must come at me.
  89. 12:01 quickly as though you'd kill me.
  90. 12:03 Very well, then.
  91. 12:04 I'm sorry.
  92. 12:09 If I ask pardon, sire...
  93. 12:10 I'm a hothead when roused. I only meant to demonstrate.
  94. 12:13 And for good purpose, Captain.
  95. 12:21 Your Majesty is satisfied with the captain of our choosing?
  96. 12:25 I can think of none better.
  97. 12:31 And now, Captain.
  98. 12:33 The main mission of your cruise will be to meet a great ship.
  99. 12:37 The Quida merchant, which is sailing from India with vast treasures,
  100. 12:41 and to give her safe conduct.
  101. 12:43 in my name,
  102. 12:44 Past the pirate waters of Madagascar.
  103. 12:47 But your majesty, will her commander accept me letter of mark as sufficient authority to... You shall have a letter to our ambassador, Lord Falsworth, who is returning in her...
  104. 12:56 But he is to accept your protection.
  105. 12:58 and to submit to all matters pertaining to the safety of the ship.
  106. 13:04 And her treasure saw it.
  107. 13:06 How are you?
  108. 13:08 And now, sire...
  109. 13:10 Me crew.
  110. 13:11 Your crew?
  111. 13:12 Captain Kidd wishes to recruit a crew from the Pirates
  112. 13:16 and now under capital sentence,
  113. 13:18 in Newgate,
  114. 13:19 and the marshal seat.
  115. 13:21 The crew of condemned pirates?
  116. 13:23 Aye, sir.
  117. 13:25 There's none would be so loyal.
  118. 13:27 nor fight so desperate
  119. 13:29 as cutthroats under sentence of death,
  120. 13:32 If they knew that at the end of the voyage...
  121. 13:35 A royal pardon would be in their pockets.
  122. 13:39 that I shall hold you accountable for their good conduct.
  123. 13:43 Between their conduct and mine, Your Majesty.
  124. 13:45 There will be little to choose.
  125. 13:47 And now, goodbye.
  126. 13:51 And Godspeed, you.
  127. 13:54 I am but his...
  128. 13:55 Unworthy sparrow.
  129. 14:27 I'd rather eat the billed scum from an African slaver. Madam, don't let that temper get you the mash again. If I must hang, I'll hang. But I'll go to the gallows with clean guts at least. Hey, you! What kind of stinking maggots meat is this? Waters! Waters! There's that dainty-come mercy complaining about the taste of the king's bounty again. Just watch it. Bounty! Bounty me I! The king's allowance is thrumper today for food, not muck from the sewers of Whitechapel!
  130. 14:56 Making trouble again, eh, Mercy? I'm asking only what the man's legally entitled to.
  131. 15:01 Here, smell this!
  132. 15:04 Delicious.
  133. 15:21 Hey, your governor!
  134. 15:22 What sort of a kingdom is this?
  135. 15:24 Where a man's condemned before he's heard and stalled before they hang it.
  136. 15:28 Who's that quarrelsome fella?
  137. 15:30 Out of mercy, he was taken in a power chip by His Majesty's frigate Wasp.
  138. 15:34 He's always escaping, so that's why we keep him in chains.
  139. 15:37 He's got a lacing of tiger's blood in him.
  140. 15:42 Poo.
  141. 15:44 There's not exactly a flower garden, is there?
  142. 15:46 Oh forgive me governor these are two of me officers mr. Boyle governor Landers I
  143. 15:51 Mr. Lorenzo, Governor Larders.
  144. 15:55 Spanish blood. A pretty lot of sinners.
  145. 15:59 Captain.
  146. 16:00 Do you think that he's anyone down there knows us?
  147. 16:03 I hope not. Governor, would you be good enough to tell them what we're here for?
  148. 16:08 Give heed, you, you.
  149. 16:10 Vermin.
  150. 16:11 Here's news to your advantage. Is the hang on that den? Out with the den, Jack Mastiffes? Is it such a mother's turn into an honest woman? Silence, you mutinous dogs.
  151. 16:22 If another man speaks, I'll trice him up by the thumbs and play him raw.
  152. 16:28 Governor...
  153. 16:29 Is that the way to win the love of these unfortunate gentlemen? Gentlemen.
  154. 16:34 Now then, me bullies...
  155. 16:36 Would you rather do the gallows dance? No.
  156. 16:39 And hang in chains till the crows pick your eyes from your rotting skulls.
  157. 16:44 Or would you feel the roll of a stout ship beneath your feet again?
  158. 16:50 I'm a vessel, the Adventure Gary.
  159. 16:54 And the Kings commissioned a sailor.
  160. 16:57 And for those who show a loyal and a stout heart,
  161. 17:01 There's a royal pardon in the offing.
  162. 17:03 Which of you knows the waters of Madagascar?
  163. 17:10 I do!
  164. 17:12 Would you have him unlocked, governor?
  165. 17:16 What happened?
  166. 17:17 Unlock him!
  167. 17:19 Look you then
  168. 17:23 I want men with iron in their blood
  169. 17:25 and stealing their sinews.
  170. 17:27 And the first up here is the first ten listings.
  171. 17:30 Governor, if your waters are ready, would you be good enough to have them lower the ropes?
  172. 17:34 Lower away!
  173. 17:52 Here they come. Make ready, lads.
  174. 18:05 Another one now.
  175. 18:14 Excellent.
  176. 18:28 Excellent. Come on.
  177. 18:35 He's a shaft, though. He's a shaft. Regardless of the fact that I'm your captain, you will always address a gentleman as sirs. Come. Aye, sir. Make your mark.
  178. 18:53 On board.
  179. 18:55 Dame Adam, where's this, sir? Oh, sir, it's you.
  180. 19:01 Mercy, that's a comical handle for a blade of fortune. Mercy.
  181. 19:05 It's also something the world needs more of. Fire and death of philosopher, you speak culture. Were you by any chance stable boy to a noble house? Perhaps. I was also master gunner to a buccaneer you may have heard of, Captain Avery.
  182. 19:21 Avery's master gunner.
  183. 19:26 We've need of a master gunner, Mr. Boyle, and from what I've heard, Avery was a shrewd hand at picking them.
  184. 19:32 The bird's yours for as long as you can handle it. I can handle it. Swivel gun along, Tom. I'll forward a guinea for every miss. You'll forward your neck if you miss while you're on my ship.
  185. 19:44 Make your mark.
  186. 19:49 And you can write.
  187. 19:50 We'll give you a nice bar. Then you draw a uniform befitting the Master Gunner. On board.
  188. 20:00 - Name? - Name? - Bartholomew Blivens, sir. - Bartholomew Blivens. Make your mark.
  189. 20:17 There's no mask for a treacherous heart like an honest face. You keep an eye on him.
  190. 20:23 *crickets*
  191. 20:25 Come below.
  192. 20:34 Oh, boy. He's over there, sir.
  193. 21:04 - Thanks, man. That's all, sir. Our compliment's full. - Is it?
  194. 21:12 Oh, man.
  195. 21:14 I thought you... Yes, you thought I was dead.
  196. 21:31 I can hardly believe my eyes. You mean you don't want to believe? Come, come, Mr. Povey. Is that kind or is that fair? As fair as what you did that day you abandoned me under the Hamer Reef. If you please, Mr. Povey, it is not the time to talk about that. Oh, it's the time, all right.
  197. 21:48 I know. In which case, your present voyage is over before it's begun.
  198. 21:54 Now, now, now, now, Povey. Mr. Boyle, would you take over, please? Mr. Lorenzo, take the deck watch. Come to my cabin.
  199. 22:30 Come on.
  200. 22:31 Hmm.
  201. 22:33 I'm going to go.
  202. 22:38 My heart bleeds when I think of one of your delicate constitution having to fend for yourself on a coral reef, Mr. Bowman. Come on, sir, Captain. Come on.
  203. 22:51 I know why you marooned me.
  204. 22:54 So there'd be only three of you to share instead of four.
  205. 22:57 It's true.
  206. 22:58 A hostile wind did blow us away from your reef. Between friends, we might have sailed back again, but we did exactly what you would have done, Mr. Povey. So no more of your sentimental nonsense, please.
  207. 23:13 Now that we are a fort again, what then?
  208. 23:17 We're not for...
  209. 23:20 We're two.
  210. 23:22 Boylan Lorenzo Del Clodds.
  211. 23:26 Twenty thousand pounds of peace in their hands will only be spent in sinful ways.
  212. 23:32 And you propose to remove them from the path of temptation?
  213. 23:37 How?
  214. 23:38 A knife in the dark.
  215. 23:40 I'm not a violent man, Mr. Povey. I detest violence. People have such an awkward habit of getting in my way.
  216. 23:49 I am an ambitious man, Mr. Povey.
  217. 23:52 An ambitious man, if he be bold enough, can carve himself a...
  218. 23:57 Kingdom.
  219. 23:58 I'm going to be a lord, my friend.
  220. 24:01 And that for a commoner like myself takes a deal of money.
  221. 24:06 And that's why there could be too less to share.
  222. 24:11 before we raise old England again.
  223. 24:14 You cold, gut and sharp.
  224. 24:16 Oh.
  225. 24:18 A flatterer.
  226. 24:23 Ah, I'm glad you're back again, Mr. Palvin.
  227. 24:26 with no idea how gratifying it is to have a congenial soul.
  228. 24:31 and fight it.
  229. 24:32 Oh.
  230. 24:36 There's something I want to tell you.
  231. 24:38 I have left with a trusted friend in London, a sealed letter containing an exact and complete account of certain previous happenings.
  232. 24:46 Only to be opened in case, just in case, of course.
  233. 24:50 You should happen to return to England without me.
  234. 24:52 Of course, my dear fellow. Hello.
  235. 24:56 Very sensible of you.
  236. 24:58 Now I know you have a...
  237. 25:01 Happy voyage.
  238. 25:03 I shall too.
  239. 25:15 Oh.
  240. 25:16 I look up me quarters.
  241. 25:30 I
  242. 25:35 Come on.
  243. 26:03 Come on.
  244. 26:29 *Humming*
  245. 26:41 We are two of the luckiest men alive. Just think. We're sailing from Madagascar waters. We'll pick up the search where we left off.
  246. 26:51 Every officer on board has a servant. I'll request the captain to assign you to me, then we can be together.
  247. 27:01 Yes, I've spent a good many years of my life at sea, my lady.
  248. 27:06 minds a dash of salt.
  249. 27:08 even in a pier of the realms.
  250. 27:11 Like myself.
  251. 27:12 Now if my lady will join me in a minuet. My lady sir, not my lady. Blast me Shadwell.
  252. 27:20 Does one gentleman creep up on another without a cough or a spit or something to warn him?
  253. 27:26 I'm not a gentleman, sir. I'm a gentleman's gentleman.
  254. 27:34 Give me about the hair.
  255. 27:38 Yeah.
  256. 27:40 I suppose you've tried everything.
  257. 27:43 There's grease.
  258. 27:46 Prenatal influence, perhaps.
  259. 27:49 I
  260. 27:53 Didn't I say it, sir?
  261. 27:54 Thank you, Sherwell.
  262. 27:56 Pardon, sir.
  263. 27:58 I'll show you to your place.
  264. 28:07 Captain, what's all this mommery? You can forget your bilge-water manners for the time, Mr. Boyle. You are now officers on a king's ship. So a man must starve while his manners fattened.
  265. 28:19 I'm going to take a time to do this.
  266. 28:24 I know, I know.
  267. 28:26 And in a kingship, it is customary for the officers to rise when the captain enters. Yes.
  268. 28:35 but
  269. 28:40 Come on.
  270. 28:43 That's better.
  271. 28:44 gentlemen
  272. 28:46 Be seated.
  273. 28:52 Oh.
  274. 28:54 Well, well, well, what have we here?
  275. 29:05 I don't know.
  276. 29:07 Of course, but don't press me.
  277. 29:21 Oh, dear.
  278. 29:24 I know.
  279. 29:32 I
  280. 29:42 Come, Mr. Mercy.
  281. 29:44 Tell us something about yourself.
  282. 29:47 You already know what I was of consequence.
  283. 29:51 While under Avery, I was taken by King's ship and brought to London.
  284. 29:54 They always tried for a pirate and condemned.
  285. 29:56 You were innocent, of course.
  286. 30:00 No, sir, I was guilty.
  287. 30:02 You speak above your station.
  288. 30:04 How came it to go on the account?
  289. 30:06 Call it love of adventure?
  290. 30:09 Crossed in love, a scandal, perhaps a mixing of all three.
  291. 30:12 And you've seen something of the world?
  292. 30:16 Enough sighted dislike what I've seen and to know their small hope for a better.
  293. 30:20 Perhaps you'll prefer the next world.
  294. 30:22 Mr. Mercy.
  295. 30:24 You were close enough to it when you were in the condemned hold of Newgate.
  296. 30:28 But I'm keeping you from your dinner.
  297. 30:33 Oh
  298. 30:49 And now, gentlemen...
  299. 30:52 Toast to the king.
  300. 30:53 And since proposing it as the privilege of the youngest present...
  301. 30:57 The honor falls to Mr. Mercy.
  302. 31:04 Mr. Mercy, we're waiting.
  303. 31:06 No, sir.
  304. 31:07 Since I've little love for the king, I'll neither propose his health nor drink it.
  305. 31:11 Nevertheless, you are on a kingship.
  306. 31:13 Kingship of the devils, it's all the same to me, sir.
  307. 31:16 I owe him nothing.
  308. 31:18 You owe him your neck, Mr. Mercy, if it were not for his bounty.
  309. 31:22 You'd be dancing daintily on air at Whoppies.
  310. 31:26 I owe my reprieve to you, Captain. So to you, I'll drink in gladly, but not to William.
  311. 31:31 You stand up and drink to his majesty's health as a king's officer should or by fire and flame I'll have you shipped back to Newgate on the first vessel we speak.
  312. 31:48 Just the king
  313. 31:50 The thing about life, I'll bless him.
  314. 32:05 it's curious do you suppose his majesty put him on board to spy us out we found him chained to a pillar in huget
  315. 32:22 It wouldn't be too hard for the king to plant in there.
  316. 32:26 Yes, but why would he speak so openly against the king?
  317. 32:30 Your wits are even duller than usual, Mr. Lorenzo.
  318. 32:34 Have you never heard of the serpent?
  319. 32:36 that takes the color of its background, the better to strike...
  320. 32:41 Shadwell.
  321. 32:44 Yes, sir?
  322. 32:47 You have a range of high-born people and those at the court, Shadwell. Have you ever seen Mr. Mercy before? Not before this voyage, sir.
  323. 32:55 He's as high of spirit as a gentleman of quality. I like him. Would you find out who he is, where he comes from? As you wish, sir. Thank you, Shedwell.
  324. 33:27 Good night, sir. Good evening, Sharon.
  325. 33:31 Excuse me, sir, but you seafaring men always seem to be looking at something that I never can see. We are looking for something just over the horizon. You know, sir, I recognized you for a gentleman the moment I saw him, sir. What are you, a valet, doing at sea?
  326. 33:47 The captain employed me to make him socially acceptable, sir.
  327. 33:53 I'm afraid we are too far out for me to swim back.
  328. 33:57 if i can be of service to you sir did the captain send you here
  329. 34:01 Yes, sir.
  330. 34:02 Why?
  331. 34:03 You wanted to know who or what you are, sir?
  332. 34:08 Who do they think I am?
  333. 34:11 Possibly a spy placed on board by His Majesty. They seemed uneasy, sir. Hmm.
  334. 34:18 This...
  335. 34:19 This Captain Kidd, how long have you known him? Have you sailed with him before?
  336. 34:23 Oh, no, sir. All I know is he's, uh...
  337. 34:28 Well...
  338. 34:29 Among other things,
  339. 34:32 A merchant captain.
  340. 34:33 A spy, that's strange. Why should they be afraid to be spied on?
  341. 34:38 Good night, Chuck.
  342. 34:41 Good night, sir.
  343. 34:52 Who is he?
  344. 34:53 Where's he from?
  345. 34:55 He's a nobody, sir.
  346. 34:57 He was employed by persons of quality where he learned his speech and his manners. Oh.
  347. 35:35 It's a matter of judgment. If you fire on the up roll, the shot will go over his yard. But if you wait for the down roll, the enemy is coming up. Now watch.
  348. 35:53 Get ready.
  349. 35:57 Finish up, Mr. Mercy.
  350. 36:08 Can you do as well with a 74 throwing grape and canister at you? I've done it, sir.
  351. 36:15 reload and secure and pick up your practice on the lobber quarter swivel gun mr mercy you've sailed with Avery you must know these waters if we needed to careen and take on stores where would you recommend poverty base or it lies we draw too much water you remember Ken remember what I only know the Spanish man these Madagascar waters
  352. 36:40 Poverty Bay. Aye, sir. Thank you, Mr. Mercer. Come along, Mr. Boyle.
  353. 36:51 Good blundering ass.
  354. 36:55 Your presence is becoming increasingly irksome to me. Get you below.
  355. 37:12 Oh.
  356. 37:31 Oh.
  357. 37:33 Now let's get down to the business of this voyage.
  358. 37:36 Oh!
  359. 37:37 Hand me that chart, Mr. Boyle.
  360. 37:41 Copy, done. I have been thinking every day and every night.
  361. 37:46 What about that denaro that we buried in the cave? What good is it there? Let's get it and get it back where we can spend it. That stays where it is for a while. Why? Why?
  362. 37:55 We've got a fatter prize sailing right into our pockets.
  363. 37:59 Now, here's our present position. Here's Madagascar. Here's Caligas.
  364. 38:07 In June, the great galleon, the Quida merchant.
  365. 38:11 sales from Calicut to England. We should meet a...
  366. 38:16 About here.
  367. 38:19 She's stuck from keel to gunnels with treasure to the value of half a million pounds. And we are to give her safe...
  368. 38:27 Passage through the pirate
  369. 38:29 Seize.
  370. 38:31 By safe passage, you mean where to take her, Captain?
  371. 38:34 Now, now, now, don't be greedy, Mr. Povey. I grant that most of what's in it may find its way into our pockets, but let's be fair, the king, poor gentleman, will expect something. But however we do it...
  372. 38:45 It must be done.
  373. 38:47 Legal-like and honest.
  374. 38:50 Stick to ways you're familiar with...
  375. 38:53 Why, you pucks rattled, Bill, and I can be as honest as any man if I have the incentive. Who? Yes.
  376. 38:58 We launched Lane.
  377. 39:01 Lord Blaine's name is not to be mentioned among us, Mr. Covey. He's dead, so's his crew and so's ours, and there's none outside this cabin that knows what became of them.
  378. 39:12 And if you all enjoy living,
  379. 39:14 You will remember that.
  380. 39:17 Well...
  381. 39:19 Here's to our meeting with the Quida merchant. Quida merchant. Quida merchant. God bless her. God bless her. Dios la bendiga.
  382. 40:19 Wind fresh from west-northwest, sir.
  383. 40:22 Course, no east by east. Night dark but clear. Very well, Mr. Mercy.
  384. 40:31 Hmm.
  385. 40:33 I'm going to go.
  386. 40:39 hurry space are faces
  387. 40:45 I'm going to go.
  388. 40:53 I'm going to go.
  389. 41:27 He's dead.
  390. 41:28 If I find the man that's responsible for this, I'll hang him. Fish the yard and reset it.
  391. 41:48 What do you suppose happened? Someone's been tampering with these lines.
  392. 41:53 Come on.
  393. 42:05 Oh, my God.
  394. 42:05 I'm.
  395. 42:17 We are gathered together to bid farewell to a gallant seaman and a stout comrade.
  396. 42:26 Here was a man's shipmate whose heart the flinty mountains could not match.
  397. 42:33 Who always took better than he gave. Whose benevolence was such...
  398. 42:39 The orphan's might and the rich man's gold alike.
  399. 42:42 found refuge in his pocket.
  400. 42:45 A jealous providence removed him from our midst.
  401. 42:49 And I esteem it a privilege to commit his body to the deep.
  402. 42:54 We shall all mourn him.
  403. 42:57 Aye, we shall mourn him, but take comfort me, friends. We shall never see his like again. Rest in peace. Pop him over. Pity, Mr. Mercy, a great pity, but the ship's work must go on. Move your gear into poor Mr. Boyle's cabin. You will take his place as master.
  404. 43:20 As master.
  405. 43:23 Aye, sir.
  406. 43:56 Why, Shadwell.
  407. 44:00 Don't tell me after all this time at sea... My inward revolt is not from the movement of the vessel, sir. It's occasioned by a company idea.
  408. 44:09 Their manners I say nothing of, sir. But I'm a Dorsetshire man. And when I find a common shipmaster, it's the presumption to copy himself the coat of arms of one of our best Dorsetshire families. Can you wonder if I'm physically upset?
  409. 44:24 he copy credited or not sir the Blaincrest you certain perfectly sir pardon me sir I must join the captain is inspecting cast pickled eels with mr. Lorenzo
  410. 44:54 the
  411. 45:52 Hmm.
  412. 46:07 What?
  413. 46:11 Well, Mr. Mercy.
  414. 46:15 Do your new duties include robbing my desk? Shoot me, Captain, and your head goes with it. I'm here by the King's orders. So he did plant you on board. You think he'd let a man sail with a crew and you could cut throats and not keep tabs on him? And with good reason, if anything ever wreaked a piracy, this does. And murder, Captain. Boyle's death was no accident.
  415. 46:41 the Twelve Apostles?
  416. 46:44 Why the Twelve Apostles, Mr. Mercy?
  417. 46:49 As Blaine's ring, his name's on it, and he commanded the Twelve Apostles. That'll make interesting telling in London when we get back, Captain. If you get back. When I get back, for if I don't.
  418. 47:02 On the other hand... On the other hand, what? Since a man doesn't exactly grow rich in the king's pay... Oh.
  419. 47:11 a crooked rogue. So you have your price. How much? An equal share in what's buried here. Share that with you. I'll be hanged if I do. You'll be hanged if you don't. Of all the slummokey blackards.
  420. 47:30 And if you do share Mr. King's informer, what guarantee is there that you won't still turn evidence from the crown? If I go in with you, I'm equally guilty.
  421. 47:41 caught, we hang together, but I can keep you from being caught. What more could you ask?
  422. 47:50 You know, Mr. Mercy, I've wondered sometimes if ever I'd meet a more unscrupulous blackguard than myself. And I have. Well, let's be sensible about this. Who knows? We might be useful to each other
  423. 48:11 You've forgotten something by rain so I have I
  424. 48:18 I'm going to go.
  425. 48:31 Listen in carefully, because I want you to tell it in London if anything happens to me.
  426. 48:36 Kid caught me in his cabin robbing his desk.
  427. 48:38 I lied to him, told him I was a King's informer. Good. Yes, but he didn't believe me, not one word. He just pretended to.
  428. 48:44 Oh, why didn't you shoot him?
  429. 48:46 Then he will give us no more trouble.
  430. 48:48 He proved the liar I think him. King's men or no, he betrayed an uncommon interest in the Twelve Apostles. I didn't like it, Mr Lorenzo, and I mean to find out why.
  431. 48:59 Why, you could have charged him with robbery and turned him off at a yardarm, all legal and ship-shaped. We would have been rid of him once and for all. Let's not be impetuous, Mr. Povey. He can't leave us. Unless he swims.
  432. 49:10 It would be rather amusing to find out what he does. You rest easy. Leave Mr. Mercy to me.
  433. 49:59 Have the boatswain. Pipe to quarter. Pipe to quarter!
  434. 50:29 The Queen and Merchant, sure enough.
  435. 50:34 Can you make a round Captain Rossi?
  436. 50:37 Ooh.
  437. 50:39 She hasn't the cut of a buccaneer, Your Excellency.
  438. 50:43 much too tidy for that more like a kingship. Here's the lines of a merchantman.
  439. 50:50 Have the longboat ready and man. Longboat, stay forward! Stand by to put a shot across her bows, Mr. Mercy. Aye, sir. Number four gun crews, stand by for action!
  440. 51:13 She's flying the English colors. Perhaps she's our escort ship. It was about here we were to meet, wasn't it? Well, we'll make dead certain just the same.
  441. 51:24 Mr. Hilliard, see that all hands are at the station? Very good, sir. Very good, sir.
  442. 51:28 The
  443. 51:34 Ready?
  444. 51:35 Fire!
  445. 51:39 Well, first, Mr. Mersey...
  446. 51:40 I'm a Sabbath. I've got a convert. Avert is there.
  447. 51:55 You will come across with the long boat first.
  448. 51:59 convey my compliments to all officers who will dress as befitting a king ship I said
  449. 52:18 William kid of his majesty's private here adventure at your service sir I
  450. 52:23 Mr. Povey, uh, Miss Urgent,
  451. 52:25 Mr. Mercy, me master.
  452. 52:27 Mr. Lorenzo Minnabek, sir. Welcome aboard, gentlemen. Thank you.
  453. 52:30 I'm Captain Russell.
  454. 52:32 I'm Lord Falls, his majesty's ambassador to the court of the Grand Moga. Your obedience, sir.
  455. 52:40 I've been sent to give you convoy and we'd better make haste with our business. These are unhealthy waters for ships to be hoved to.
  456. 52:47 as I discovered a day or so ago.
  457. 52:49 You mean you cited some of the Pirate Brotherhood? More than that, sir.
  458. 52:54 We beat off to a...
  459. 52:55 Avery and Culliford out of last hope.
  460. 52:58 Some frederics have it here.
  461. 53:00 Oh stop me I nearly forgot could you spare us some powder and ball we use more than was safe during the action. Why all that you need sir and welcome.
  462. 53:07 Mr. Lorenzo here could attend to that then. Oh, Mr. Hilliard.
  463. 53:11 Take Mr. Lorenzo below and see that he gets what he wants. Aye aye, sir. Captain. Oh, sir.
  464. 53:33 Sent to the master gunner. He'll take care of all your needs. Uh-huh.
  465. 53:58 Come on.
  466. 54:05 Mr. Lorenzo!
  467. 54:14 Take this powder and put it in the longbow.
  468. 54:16 All right.
  469. 54:22 I'm sorry.
  470. 54:28 The gentleman, my daughter, the lady Anne Dunstan.
  471. 54:33 Captain Kidd.
  472. 54:34 Mr. Fovey, Mr. Mercy.
  473. 54:42 Haven't we met before? I...
  474. 54:45 I think not my lady.
  475. 54:46 You remind me of someone I've seen. I think it impossible that we could have ever met.
  476. 54:54 Perhaps.
  477. 54:58 How do we proceed now, Captain?
  478. 55:00 Well, I'm instructed to give you protection past Matakaska.
  479. 55:04 And you'll be safe as long as we sail in company.
  480. 55:07 But Avery will be a wolf at your heels, and if we are separated in darkness or storm,
  481. 55:12 And what would you advise then, sir?
  482. 55:16 well
  483. 55:18 I suppose we could take Lord Falsworth and Lady Anne aboard the adventure to Madagascar's Astern, and then if we are separated and this,
  484. 55:26 Vessels should be taken. What about the treasure on board? Oh.
  485. 55:30 One silver chest alone.
  486. 55:33 A present to His Majesty from the Grand Mogul.
  487. 55:36 Contains precious gems valued at more than a million pounds.
  488. 55:40 May I suggest Your Excellency?
  489. 55:44 Now, why not transfer the treasure chest?
  490. 55:46 With yourself and Lady Anne on board the adventure and...
  491. 55:49 till we are out of danger.
  492. 55:51 She's a kingship.
  493. 55:53 That is a great responsibility.
  494. 55:56 And although my instructions are that you are to trust me in all matters, I don't know if I could go so far as to. What else can we do?
  495. 56:05 Three of them against us, sir. Well, even two, sir.
  496. 56:08 He'd be hopeless.
  497. 56:09 It's the wisest cause.
  498. 56:11 I defer to your excellence.
  499. 56:15 And how could we inspect the chests?
  500. 56:17 We could have them slung into our boats along with the gear of Lord Palsworth and Lady Anne. Why, certainly.
  501. 56:22 Oh, this way, Captain. No trouble at all.
  502. 56:27 I'm going to go.
  503. 56:28 I'm going to go.
  504. 56:33 Hoist away.
  505. 56:41 Mr. Lovie. I sent for the manifest, Captain.
  506. 56:45 You may take it against the contents of this chest and...
  507. 56:48 Give me your receipt, if you will.
  508. 56:50 Glad they're glad they.
  509. 56:51 Oh, there you are, Mr. Lorenzo. Have you completed your business? Almost. Your people have been most kind, Capitan Roswell. There is only one detail left.
  510. 57:04 It will not take a minute. Finished up then, we must be gone within the hour.
  511. 57:09 Yes, Capitan.
  512. 57:12 Oh, the manifest, sir. Would you attend to that, Mr. Perry? Thank you very much, Captain.
  513. 57:16 Come on.
  514. 57:47 Oh, my God.
  515. 57:55 Come Mr. Lorenzo you've seen a lovely lady before this a
  516. 58:01 Tribute to your beautiful
  517. 58:04 Did you finish your business below?
  518. 58:07 Yes, Captain. Then we'd better be underway. Mr. Mercy, you will see Lord Palsworth and the Lady Anne into the boat. May, sir.
  519. 59:06 You will have the loading mr. Lorenzo
  520. 59:10 I apologize, my lady, for our poor accommodations, but me, Barrett Shadwell will see that you'll make comfortable. Pleasure to have your ladyship aboard. If you'll follow me, please.
  521. 59:19 I'm
  522. 59:33 Why hasn't it happened
  523. 1:00:34 I
  524. 1:00:37 Excuse me, the lady
  525. 1:00:41 Your father nice. I'm sorry I am
  526. 1:00:45 The captain has requested that you take your meals in the main cabin.
  527. 1:00:49 Oh, no, Shadwell, I can't bear to face those men.
  528. 1:00:51 I can.
  529. 1:00:53 I quite understand, m'lady.
  530. 1:00:55 But the captain's orders are ordered.
  531. 1:00:57 Chadwell, you must tell me there's no one else I can trust.
  532. 1:01:01 But what can I do, milady?
  533. 1:01:03 I'm only a servant.
  534. 1:01:04 Where can I turn? I'm so confused and frightened. I...
  535. 1:01:10 He and my father and the others lost back there.
  536. 1:01:16 And on this ship wherever I go, those horrible, staring men...
  537. 1:01:20 That Lorenzo who was always standing behind me, beside me.
  538. 1:01:25 Last night there was a tapping on the door.
  539. 1:01:27 When I opened it, there he was, that evil smiling face of his.
  540. 1:01:32 Well, you might better be along with those pirates you fought a few days ago.
  541. 1:01:37 Pirates, Mulaney.
  542. 1:01:40 We fought no pirates.
  543. 1:01:43 My father said Captain Kitto.
  544. 1:01:50 Shadwell, what manner of ship is this?
  545. 1:01:58 My father was killed deliberately, I'm sure of it.
  546. 1:02:02 That's why I can't bear to face you, Captain. I'd accuse him of...
  547. 1:02:08 There is a man on board milady I
  548. 1:02:10 A gentleman.
  549. 1:02:12 whom I know you can trust.
  550. 1:02:14 Mr. Mercy?
  551. 1:02:16 Yes, my lady.
  552. 1:02:17 Chadwell, I know I've met or seen him before, no matter how he denies.
  553. 1:02:23 His name isn't Mercy, but...
  554. 1:02:27 Yes.
  555. 1:02:27 All I really know is, milady, he's no friend of the captain's. Perhaps if I ask him, he'll...
  556. 1:02:34 Shall I? Oh, yes, will you please?
  557. 1:02:37 Yes, ma'am.
  558. 1:02:39 I'm going to go.
  559. 1:02:41 I'm going to go.
  560. 1:02:45 Come on.
  561. 1:02:50 I am asking you again very nice
  562. 1:02:52 My dear Capitan...
  563. 1:02:54 Your fancy manners do not impress me, Mr. Lorenzo.
  564. 1:03:00 When do we divide the gold?
  565. 1:03:02 In London, not before.
  566. 1:03:04 Mm-hmm.
  567. 1:03:06 Then look, Capitan...
  568. 1:03:08 I would make a bargain with you.
  569. 1:03:10 A bargain? Everybody wants to bargain with me, you and Mercy.
  570. 1:03:14 Father and father, what do you think I am?
  571. 1:03:16 stinking sausage merchant.
  572. 1:03:18 What kind of argument?
  573. 1:03:20 The girl.
  574. 1:03:23 All my life I have dreamed of a beautiful woman like that
  575. 1:03:29 Give me half of my dinero now.
  576. 1:03:30 And you can split the rest between you.
  577. 1:03:33 If you will let me have her.
  578. 1:03:35 Fie on him.
  579. 1:03:38 He smit with love again.
  580. 1:03:41 I want her.
  581. 1:03:43 And I am going to take her.
  582. 1:03:46 whether I like it or not.
  583. 1:03:50 Uh-huh.
  584. 1:03:53 With all this treasure on board,
  585. 1:03:56 The crew is like a barrel of hot gunpowder.
  586. 1:04:00 All that is needed is a word in the right ears.
  587. 1:04:04 Do you mean near me?
  588. 1:04:06 You're a witness.
  589. 1:04:09 He's inciting the crew to mutiny. No, no, no, no, no, it can't be done.
  590. 1:04:15 I was only joking.
  591. 1:04:17 You have a very nasty way of choking Mr. Irwin's hand.
  592. 1:04:21 As for the girl, I have my own plans for her and they do not include you.
  593. 1:04:26 Get out.
  594. 1:04:56 I'm going to go.
  595. 1:05:01 - Where is it?
  596. 1:05:04 Adam, where's the...
  597. 1:05:07 I'm going to go
  598. 1:05:09 I'm going to go.
  599. 1:05:30 Thank you for coming, Mr. Mercy. I'm... My name's Adam Green.
  600. 1:05:36 Son of Lord bless.
  601. 1:05:39 I knew it. I knew it. What were you doing on this ship? My father was killed and accused of piracy. A few people believed Lord Blaine. The king did. That's why I went to see him turn pirate three years ago. That's why I won this ship.
  602. 1:05:52 I knew that someday I'd come upon the truth.
  603. 1:05:55 - I need you in hell.
  604. 1:06:00 Captain kid who killed your father one
  605. 1:06:04 Adam, I'm no fool.
  606. 1:06:06 He did the same thing to my father.
  607. 1:06:10 - What's your?
  608. 1:06:11 It's taken me three years to track him down.
  609. 1:06:14 three years of degradation.
  610. 1:06:16 Now I've got him where I want him to lose it.
  611. 1:06:19 You mean he knows who you are?
  612. 1:06:21 He knows something.
  613. 1:06:23 That's why you didn't admit to me who you were. Why you were avoiding me. Your kid knows we shared this. He'd kill you with as little compunction as he means to kill me.
  614. 1:06:30 Goodbye, Lenny.
  615. 1:06:33 What can I do to help them? There must be something.
  616. 1:06:38 Forget everything you've seen on the ship. Play up to him.
  617. 1:06:40 Befriend me. That way you'll be safe. Now, when you get back to London...
  618. 1:06:44 No matter what has happened to me, go to the lords of admiralty and the king.
  619. 1:06:48 You'll be doing me a great service as well as yourself.
  620. 1:06:52 I will add to my promise.
  621. 1:06:56 You're going to have trouble with Lorenzo. The reading of the lambs is exciting the tiger. His blood's getting too rich for him. He'd be the better for bleeding. Things are getting a bit complicated, my lord. The king may accept the elimination of the Queen of Merchant as an accident. Maybe even the sudden demise of Lord Balsworth. But what about the reading?
  622. 1:07:19 He said you had plans for her. Do they include... Mr. Povey, the little dears is psyched with me as if she was me daughter. Yes.
  623. 1:07:25 My passion's power and gold. Since she suspects nothing, I deliver her to his majesty on with his share of the queen of merchants' goods...
  624. 1:07:35 or weep appropriately over the untimely demise of Herb Parr,
  625. 1:07:45 Lord if you will but that's what I'll have
  626. 1:07:49 And neither man nor devil shall stop me.
  627. 1:07:52 I'm going to go.
  628. 1:07:59 Sarah? Signorita, Milady.
  629. 1:08:03 You'll not be alarmed.
  630. 1:08:06 Now that she knows who I am and the kind of a ship she's on, I think we can count on to keep ahead. You stay here till I come home. Watch.
  631. 1:08:17 Help!
  632. 1:08:20 I'm going to go.
  633. 1:08:50 I
  634. 1:09:20 Oh, my God.
  635. 1:09:41 Mr. Mercy, you did well to protect her.
  636. 1:10:18 You all right, sir? Yes, I'm all right. Look after Lady Anne.
  637. 1:10:25 I want you to be here.
  638. 1:10:28 I don't want to marry.
  639. 1:10:30 My medallion, it's gone.
  640. 1:10:32 Has the blame pressed on it?
  641. 1:10:35 Blaine.
  642. 1:10:38 Perhaps I can find a police. No. It must have come off just before Lorenzo went through the port. Shadwell, take away the end to her cabin. Oh, please, Adam. I can't go in there. You must, Anne. This is serious. It involves you. Remember, no matter what tricks he tries, you've never seen me before and you don't know who I am. Shadwell, I think. Well, don't worry about me, Shadwell.
  643. 1:10:56 He never could get anything out of me, and he never will. It's the only way you'll be safe. Shadwell will watch out for you. What about you, Adam? What will he do? The same thing he's done to the others, if he gets a chance.
  644. 1:11:08 Oh, Anne. Don't worry, Anne. I at least know what to expect. Go now.
  645. 1:11:14 Shadwell, if anything does happen, remember you to stand by Lady Anne and see that she gets safely to London. I'll stake my life on it, sir.
  646. 1:11:20 I know you will.
  647. 1:11:22 Be careful Adam
  648. 1:11:24 Please be careful.
  649. 1:11:28 Come the lady
  650. 1:11:45 He's now King's Man.
  651. 1:11:47 Who is he then?
  652. 1:11:49 Tomorrow we put into the lagoon for water, and while the crew's getting it on board, you and me and Mr. Mercy's going to the cave. You are taking him there?
  653. 1:11:58 I've a peculiar humor to watch my clever young friends fizz when we dig out that shit.
  654. 1:12:04 Sweet dreams.
  655. 1:13:10 Oh, my God.
  656. 1:13:37 Big pass, Mr. Messy, you haven't got forever.
  657. 1:13:44 Who might this be?
  658. 1:13:48 Perhaps a man that asked too many questions...
  659. 1:13:50 I'm in our Mr. Mercy you come on something.
  660. 1:14:16 So it was the Twelve Apostles, eh, Captain?
  661. 1:14:18 Yes, it was, Mr. Mercy.
  662. 1:14:23 Open it up.
  663. 1:14:50 Blames.
  664. 1:14:52 Blames.
  665. 1:14:56 He was a brave seaman, but foolish. Did you happen to know him, Mr. Persson? I'd heard of him. I thought perhaps you had.
  666. 1:15:08 This is yours.
  667. 1:15:13 Is it?
  668. 1:15:15 I, uh, traded a ring for it.
  669. 1:15:18 One of Avery's men. Yes. When I encountered Lord Blaine at sea, I did my simple duty as a loyal subject. A pity he turned pirate and traitor to his king. Liar!
  670. 1:16:19 He's made for the sharks now, Mr. Povey. Time closes this place in half an hour. We've nothing more to fear. Yes, you have, Captain. Really have. It's a long voyage home, Mr. Povey. And anything might happen.
  671. 1:16:41 Naturally, her ladyship is still very distressed. In the midst of life, we are in death, Shadwell.
  672. 1:16:48 My heart bleeds. My heart, sir. My heart bleeds.
  673. 1:16:58 Confound you, Shadwell. You drove the thought right out of me, Ed. And it was an uncommon pretty one. I'm sure of that, sir. Got her at once. Tell her she can't mourn forever and I shall expect her to take her meals in the main cabin with the rest of us. Very well, sir.
  674. 1:17:18 He returned just in time to see him go over the edge. Searched for an hour. Never came up. Well, here's to him. Whenever he is. You feeling ill?
  675. 1:17:34 Yes, sir. I'll go to my cabin with your permission. If you wish, it's been quite a trying voyage. What with one little thing and another would bear up. He'll soon be home again.
  676. 1:17:48 I warned Adam not to go. No one could have stopped him. It was cold-blooded, planned, delivered. The same will happen to our ladyship unless we can...
  677. 1:18:48 Well, Kidd doesn't suspect you. Tell Lady Anne to get some things together, and when the coast is clear, you come back for me. Yes, sir.
  678. 1:19:04 I'm
  679. 1:19:10 Bowser!
  680. 1:19:11 Aye, sir. Round out both watchers at daybreak. We're waiting on the morning tide.
  681. 1:19:16 I, sir.
  682. 1:19:18 I'm going to go.
  683. 1:19:36 Kidd doesn't suspect Shaggold. He's staying on board and he'll be evidence for us in London.
  684. 1:19:40 Watson, a small boat, no more to stand near Roar Shore.
  685. 1:19:44 Then where, Adam?
  686. 1:19:45 Two days journey overland is the power town of last hope.
  687. 1:19:47 It's the most lawless place on earth, but I have friends there.
  688. 1:19:50 Somehow they'll find us a ship for England.
  689. 1:19:52 England.
  690. 1:19:53 How?
  691. 1:19:54 Come on.
  692. 1:20:09 Oh
  693. 1:20:11 Get down on the bow.
  694. 1:20:21 Goodbye, Freddy.
  695. 1:20:34 See the name
  696. 1:20:36 Who's in that boat now? Come on.
  697. 1:21:21 Quiet!
  698. 1:21:25 Handle on, Boots!
  699. 1:21:36 What?
  700. 1:21:39 What?
  701. 1:21:43 Hold on to me.
  702. 1:21:44 Take her away.
  703. 1:22:14 Hey, Jerry the mackerel. He's gone too. I guess that's the end of it, may Captain? Ah, good riddance. Back to the ship, boys.
  704. 1:22:50 If you're thinking what I think you're thinking, my friend, forget it.
  705. 1:22:55 There's a little matter of a litter I left in London.
  706. 1:22:58 Spoilsport.
  707. 1:23:01 Huh?
  708. 1:23:02 No.
  709. 1:23:03 Come on.
  710. 1:23:04 - Yes.
  711. 1:23:07 Oh, my God.
  712. 1:23:08 Oh, my God.
  713. 1:23:57 Captain William Kidd.
  714. 1:24:09 Greetings, Captain.
  715. 1:24:11 What news have you brought me from the Indian seas?
  716. 1:24:14 By your leave, Your Majesty, both good and ill, but mostly very good indeed.
  717. 1:24:18 I returned by way of the American colonies, sire. So I understood. With the main points of your voyage, I am familiar. Yes.
  718. 1:24:27 I wonder if you can enlighten me.
  719. 1:24:30 about the affair of the Queen's godchild, Lady Anne Dunstan, and your shipmaster, Mr. Mercy.
  720. 1:24:34 Oh, that poor impetuous fellow, sire. Enveigled that bud of innocence he did into running away with him.
  721. 1:24:41 and catching them red-handed in defense in the very long.
  722. 1:24:45 I was forced to dispatch and bone. Rest in peace.
  723. 1:24:52 Tell me, Captain, about the treasure.
  724. 1:24:54 and the Quida merchant. Unfortunate sire, most unfortunate.
  725. 1:25:00 We'd ship but that chest when I perceived blue.
  726. 1:25:04 and all souls went heavenward. Rest in peace to them, ditto. I see. And about the twelve apostles and Lord Blaine,
  727. 1:25:15 You encounter any trace?
  728. 1:25:17 Nay, sire. I can only hope that the weight of his sins sank both him and his ship.
  729. 1:25:23 I see.
  730. 1:25:26 Then how do you explain this?
  731. 1:25:33 Who's market be your majesty?
  732. 1:25:35 My opposite.
  733. 1:25:36 found it on your ship at Flimbers after you left for London.
  734. 1:25:39 It bears the Blaine crest, which I believe you are not unfamiliar.
  735. 1:25:43 I've always felt that Mr. Povey, Miss Surgeon, a very wily fellow indeed, was hiding something from me. Hiding it in a secret lazarette in your cabin, Captain? I hope Mr. Povey has a proper explanation, sire.
  736. 1:25:54 Mr. Povey was killed three days ago defending it.
  737. 1:25:56 With his dying oath, he swore it was not his.
  738. 1:25:59 Perhaps Shadwell, my valet, slipped it aboard. Might it not have come from a Madagascar cave, Captain? There's something dreadful queer about all this, you may... Enough of your lies! Look!
  739. 1:26:21 Nightmare!
  740. 1:26:22 A pity you overlooked last hope, Captain.
  741. 1:26:25 We stood on the headland with my friend Avery and watched you sail by. May it please, Your Majesty, I accuse this man of piracy and murder.
  742. 1:26:34 was ever a gentleman so misogynate lock him up in new girl
  743. 1:26:39 He is to be held for the next session of the court of O'Yea and Terminer. They ought to be tried for his life.
  744. 1:26:46 Hands up me, you coward!
  745. 1:26:50 All I done was to the credit and for the honor and glory of England! Yes!
  746. 1:26:57 So here's me bequest to them what hunts what I have hid, and to their suns suns down through the endless corridors of time. Greed that spawns murder, hatred that corrodes the soul.
  747. 1:27:23 ambition the foulest trumpet of all. Hey Jack, Jack Kent, sell me a bit of that rope for sixpence will ya? Save your money me lads. You can have it all for nothing if you only step up here and wear it. That ain't up here. Can't wait forever.
  748. 1:27:53 Captain Kidd is dead, my lord Lane.
  749. 1:27:55 It can't explode. Now, what manner can I atone for the injustice I worked upon your father? Yes.
  750. 1:28:01 Offered your first sea lord
  751. 1:28:04 What do you suggest?
  752. 1:28:05 We've a fine trigger of 50 guns.
  753. 1:28:08 Commission for American Water Science.
  754. 1:28:10 that we thought of naming the Lady Anne.
  755. 1:28:14 It should be a wedding gift to you from the crown. Your loyalty and service to king and country.
The video itself is not here and never will be; only the shot list, one small frame per shot, and text read off the frames by OCR. The status badge is the registry's finding about the copyright record, which is separate from whether this particular Archive copy is the film it says it is.
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Production Associate ARTHUR M. LANDAU ARCHIE ODDS Act Director Set Costumes hy GRETA Editor JAMES SMITH Seund Technician PRANK. WEBSTER Spec ial LEE ZAVITZ Makeup Artist GREENWAY Makeup from. HOUSE or WESTMORE Stylist SCOTTY RACKIN CHUDNOW Musical DETEW
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His Majesty to Order to Tampton upon the November at nine of the Gaptain William New with intent to discuss age of to the waters Ind
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shot 482
482 1:25:44–1:25:48 4.9s similar · share
shot 483
483 1:25:48–1:25:51 2.9s similar · share
shot 484
484 1:25:51–1:25:54 2.7s similar · share
shot 485
485 1:25:54–1:25:59 5.1s similar · share
shot 486
486 1:25:59–1:26:02 2.6s similar · share
shot 487
487 1:26:02–1:26:05 3.2s similar · share
shot 488
488 1:26:05–1:26:10 5.6s similar · share
shot 489
489 1:26:10–1:26:19 8.4s similar · share
shot 490
490 1:26:19–1:26:23 3.7s similar · share
shot 491
491 1:26:23–1:26:29 6.1s similar · share
shot 492
492 1:26:29–1:26:32 3.6s similar · share
shot 493
493 1:26:32–1:26:37 5.0s similar · share
shot 494
494 1:26:37–1:26:44 6.4s similar · share
shot 495
495 1:26:44–1:26:49 5.3s similar · share
shot 496
496 1:26:49–1:27:03 14.5s similar · share
shot 497
497 1:27:03–1:27:12 8.7s similar · share
shot 498
498 1:27:12–1:27:17 5.1s similar · share
shot 499
499 1:27:17–1:27:29 11.7s similar · share
shot 500
500 1:27:29–1:27:34 4.6s similar · share
shot 501
501 1:27:34–1:27:42 8.8s similar · share
shot 502
502 1:27:42–1:27:44 1.3s similar · share
shot 503
503 1:27:44–1:28:01 17.8s similar · share
shot 504
504 1:28:01–1:28:05 3.4s similar · share
shot 505
505 1:28:05–1:28:08 2.8s similar · share
shot 506
506 1:28:08–1:28:14 6.4s similar · share
shot 507
507 1:28:14–1:28:18 3.9s similar · share
shot 508
508 1:28:18–1:28:40 22.4s similar · share