Public Reel

Winds of the Wasteland (1936)

No renewal found Free in the US since 1 January 1965, on the registry's reading: registration LP6450 of 1936 by Republic Pictures Corp was not renewed in the volumes searched. Record.

John Wayne’s displaced Pony Express rider tries to make a living where the telegraph has made his old skills redundant.

The first force to defeat John Wayne in Winds of the Wasteland is not an outlaw but the telegraph.4 John Blair’s skill as a rider cannot preserve his job once messages no longer need to travel on horseback.5 The film turns this displacement into the beginning of another enterprise. Blair and his fellow rider, played by Lane Chandler, try to establish a stagecoach route.5 Its Western landscape is therefore more than territory to cross or conquer. It is a place in which people must find a reason for traffic to stop.

The film builds its story from a change in communications rather than a feud or a pursuit.4 The Pony Express supplies the heroes with qualifications for work that has ceased to exist. Their knowledge of the country must now serve a business of their own. Wayne’s Blair belongs to the familiar Western world of practical competence. The stagecoach scheme gives that competence a commercial test, making a livelihood depend on whether other people need what the riders can offer. Courage alone cannot supply passengers.

That dependence gives the encounters away from the horses some weight. At 23:42 in the atlas copy, two people converse outside a building while others gather nearby. One person carries a child. The machine transcript gives the line, “The child needs a rest.” The exchange brings the settlement down to the scale of a bodily need: somewhere to stop and receive attention. It also interrupts any easy equation between progress and speed. For these former express riders, the new undertaking requires not simply getting somewhere quickly but making somewhere worth reaching.

A rival stagecoach company tries to stop them.5 The opposition is organised on the same practical scale as the undertaking. At 30:48, a man in a dark coat stands behind an interior counter. The transcript indicates an instruction to prepare men for action. The threat comes through an instruction rather than an eruption of anger. Obstruction takes the form of ordinary business conducted indoors, at a distance from the road where its consequences will be felt. Blair’s attempt to build a livelihood meets another operator’s power to direct men against him. The film’s action is one means by which its business contest is conducted.

When a horse-drawn wagon travels along the dusty road at 43:31, the open country becomes the working surface of that contest. The vehicle has to cover actual ground. An enterprise discussed in town depends on the passage between settlements, with the effort visible in the moving wagon. Against the telegraph’s displacement of the riders, the image preserves a distinction the premise needs. Passengers still require transport even when messages have found another way to travel. The Western’s customary movement through landscape becomes the substance of the characters’ work.

The film’s later circulation presents a different problem of passage. One Internet Archive copy carries a Public Domain Mark 1.0 usage statement.9 A usage label attached to an offered copy does not establish the history of its copyright. The absence of a renewal is also reported in a Republic-library filmography.8 That remains a secondary account. The film has circulated internationally on DVD in a condensed version retitled The Stagecoach.10 That title shifts attention from the wasteland to the vehicle. The condensation raises a more material distinction: finding the film and finding it complete are different achievements.

The record: Registration LP6450 by Republic Pictures Corp is dated 6 July 1936. The registry found no renewal in the renewal volumes for 1963 to 1965, nor in the Copyright Office's records from 1978 on; on that reading the term ended on 31 December 1964 and the film has been free in the US since 1 January 1965. The record does not settle the provenance or completeness of any particular circulating copy.

Written 6 September 2026 by gpt-6-astra from the registry record, the atlas's own evidence and the sources below, gathered by Qwen/Qwen3.8-Max with web search and questioned by deepseek-ai/DeepSeek-V4-Pro. Numbered notes are the sources; a claim marked unverified has no source yet; times open the atlas at that second. How these are made and checked.

  1. catalog.afi.com https://catalog.afi.com/Film/7921-WINDS-OF-THE-WASTELAND?cxt=filmography
  2. catalog.afi.com https://catalog.afi.com/Search?searchField=ReleaseDate&searchText=6%20July%201936&sortT...
  3. en.wikipedia.org https://en.wikipedia.org/wiki/Winds_of_the_Wasteland
  4. catalog.afi.com https://catalog.afi.com/Film/7921-WINDS-OFTHEWASTELAND?sid=b13ffdb3-d5dd-43e2-b12b-59e8...
  5. archive.org https://archive.org/details/Winds_of_the_Wasteland
  6. catalog.afi.com https://catalog.afi.com/Catalog/PersonDetails/125311
  7. rottentomatoes.com https://www.rottentomatoes.com/m/winds-of-the-wasteland
  8. dukefilmography.com https://dukefilmography.com/republic_pictures_library.html
  9. archive.org https://archive.org/details/WINDSOFTHEWASTELANDVideoQualityUpgrade
  10. dukefilmography.com https://dukefilmography.com/john_wayne_dvd_filmography.html
  11. simple.wikipedia.org https://simple.wikipedia.org/wiki/John_Wayne

Inside the film

390 shots over 55:41 · 193 beats in 93 sequences · 423 transcript lines · JSON

Lands on the beat covering that second.
93 sequences; each is also a heading below.

Every shot, 390 frames with timestamps and on-screen text

How this page was made

390 shots over 55:41, read from the Internet Archive copy Winds_of_the_Wasteland (Winds_of_the_Wasteland.mp4, 640×480, 25.00 fps). Shot boundaries by PySceneDetect's adaptive detector; each frame links to the Archive's player at that second. Registry dossier: Winds of the Wasteland No renewal found. JSON

Measurements: black-and-white film on its keyframes (0 of 390 shots judged colour), average shot 8.6s long, a frontal face detected in 23% of keyframes. Shots are detected automatically and each is represented by its midpoint frame.

Released 1936 (Internet Archive).

193 beats in 93 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. 193 of 193 beats annotated, 192 passed the checks, 1 flagged.

Beats

Passages cut at shot boundaries and annotated by a machine from four sampled frames and the transcript lines in them. Each beat says why it starts where it does and what was checked; sequences are visual groups, not scenes.

Sequence 1 from 0:00

Frame at 0:22, shot 00:22
1 of 1 shots sampled

1. Desert

0:00–0:44 Machine checks passed

Model synopsis: The beat shows a title card with credits over a desolate outdoor scene. No people or actions are visible, and no dialogue is present.

Evidence, details and a link to share

Sequence 2 from 0:44

Frame at 1:18, shot 11:18
1 of 1 shots sampled

2. Other

0:44–1:52 Machine checks passed

Model synopsis: A title card dedicates the film to unsung heroes of the Old West who established communication across the American Desert. No people, actions, or objects beyond the text and background are visible in the single frame.

Evidence, details and a link to share

Sequence 3 from 1:52

Sequence 4 from 2:18

Frame at 2:21, shot 32:21Frame at 2:37, shot 42:37
2 of 2 shots sampled

4. Field

2:18–2:49 Machine checks passed (partial)

Model synopsis: Two people discuss the Pony Express and the telegraph while a horse runs across open land. The setting is an outdoor, hilly landscape with no visible structures.

  • A horse runs across open land. [frame:1]
  • A rider on horseback moves across a ridge. [frame:2]

2 people observed.

“I think they're flum crazy to do away with the Pony Express.” 2:42 · “Well, so do I, but...” 2:45

Evidence, details and a link to share

Sequence 5 from 2:49

Frame at 2:52, shot 52:52Frame at 2:57, shot 62:57Frame at 3:02, shot 73:02Frame at 3:08, shot 83:08
4 of 4 shots sampled

5. Outdoor setting with tree and wooden structure

2:49–3:13 Machine checks passed (partial)

Model synopsis: Two men in cowboy hats and period Western clothing converse outdoors; one asks what the other will do next, and the other replies he will hunt buffalo. The dialogue references Pony Express riding and saving money in Hyde.

  • Two men stand facing each other outdoors, one speaking. [frame:1]
  • One man smiles while speaking. [frame:2]
  • The men continue their conversation. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“What are you going to do now, Jim? Punch cows again, I reckon.” 2:58 · “Seemed pretty tame after Pony Express riding. Yeah. I guess I'll hunt buffalo.” 3:03

Evidence, details and a link to share

Frame at 3:17, shot 93:17Frame at 3:23, shot 103:23Frame at 3:28, shot 123:28Frame at 3:33, shot 133:33
4 of 5 shots sampled

6. Street

3:13–3:36 Machine checks passed (partial)

Model synopsis: Two men in cowboy hats converse outdoors; one is named Johnny Blair per dialogue. A horse is ridden away from a building with a striped awning. No names are assigned to visible persons beyond what dialogue establishes.

  • A person rides a white horse away from a building. [frame:4]

Named: Johnny Blair (t:3:13). 3 people observed.

“What's Johnny Blair gonna do? I don't know, but he won't starve. He's been saving his nickels.” 3:13 · “He's still here in 10 seconds. He'll be here in... Hurry, come now!” 3:19

Evidence, details and a link to share

Frame at 3:41, shot 143:41Frame at 3:49, shot 153:49Frame at 3:55, shot 163:55
3 of 3 shots sampled

7. Private office

3:36–3:58 Machine checks passed

Model synopsis: Two men in hats speak indoors, then a group of men in cowboy hats stand together. The dialogue refers to a final mail run and the end of a phony express service.

  • The group is shown standing together in a line. [frame:3]

Named: Blair (t:3:40), Mr. Dodge (t:3:40). 5 people observed.

“Here you are, Ed.” 3:38 · “Right on time, Blair, as usual. Wouldn't want to be late on my last run, Mr. Dodge. Sorry to see it end. So am I.” 3:40

Evidence, details and a link to share

Frame at 4:01, shot 174:01Frame at 4:07, shot 184:07Frame at 4:14, shot 194:14
3 of 3 shots sampled

8. Other

3:58–4:18 Machine checks passed

Model synopsis: A group of men in cowboy hats are addressed by a man who announces a gift of two pony express horses for each of them. The men respond with thanks and express intent to go to the corrals to pick the horses.

Named: Mr. Dodge (t:4:07). 5 people observed.

“In appreciation of your loyalty, the company is giving each of you a gift. Two pony express horses, toughest and fastest in the country.” 3:59 · “Thanks, boss. Just go down to the corrals and pick out the ones you want. Best of luck to you, boys. Thanks. Thanks, Mr. Dodge.” 4:07

Evidence, details and a link to share

Frame at 4:25, shot 204:25Frame at 4:41, shot 214:41Frame at 4:55, shot 224:55
3 of 3 shots sampled

9. Sidewalk

4:18–5:00 Machine checks passed (partial)

Model synopsis: Two men in cowboy attire discuss starting a stage line and acquiring horses, walking outdoors near trees and a fence. They mention heading to Buchanan City to get a stagecoach.

  • The men walk away from the camera toward horses and a fence. [frame:3]

2 people observed.

“Two thoroughbreds each. Well, that's a real gift. Yeah, let's go ahead and pick them up.” 4:18 · “What are you going to do with your horses? Sell them. Oh, no, you're not. I got a better idea. Yeah.” 4:28

Evidence, details and a link to share

Frame at 5:04, shot 235:04Frame at 5:11, shot 245:11Frame at 5:18, shot 255:18
3 of 3 shots sampled

10. Buchanan City

5:00–5:23 Machine checks passed (partial)

Model synopsis: Two men on horseback approach a Western town called Buchanan City, discussing the possibility of buying a stagecoach from someone named Drake. The town is shown with wooden buildings and a dirt street, and the men are seen in conversation while mounted.

  • Two men on horseback approach a town. [frame:1]
  • The town of Buchanan City is shown with wooden buildings and a dirt street. [frame:2]
  • The two men are seen talking while mounted. [frame:3]

2 people observed.

“There she is.” 5:08 · “Buchanan City.” 5:09

Evidence, details and a link to share

Frame at 5:48, shot 285:48
1 of 1 shots sampled

12. Street

5:42–5:53 Machine checks passed

Model synopsis: A man in a cowboy hat and vest walks beside a white horse on a street with other people in the background. The transcript contains only the exclamation 'Oh.' at 5:47.

  • A man walks beside a white horse on a street. [frame:1]

2 people observed.

“Oh.” 5:47

Evidence, details and a link to share

Sequence 6 from 5:53

Frame at 6:08, shot 316:08Frame at 6:21, shot 326:21Frame at 6:30, shot 336:30
3 of 3 shots sampled

14. Private office

6:01–6:32 Machine checks passed (partial)

Model synopsis: Two men in cowboy attire enter an office and ask to buy a stagecoach from a seated man named Drake, who questions their lack of a franchise. The conversation reveals they have not yet decided on a route or legal authorization for their stage line.

  • Two men enter an office and address a seated man. [frame:1]

Named: Drake (t:6:11). 3 people observed.

“What can I do for you?” 6:07 · “We want to buy a stagecoach, Mr.” 6:09

Evidence, details and a link to share

Frame at 6:37, shot 346:37Frame at 6:43, shot 356:43Frame at 6:49, shot 366:49
3 of 3 shots sampled

15. Private office

6:32–6:54 Machine checks passed (partial)

Model synopsis: A man in formal attire speaks to two men in cowboy hats inside a dimly lit room; the transcript indicates a discussion about funding a stage line. One man gestures toward a map or display of routes while the others listen.

  • One cowboy-hatted man stands with a cigarette in his mouth. [frame:2]
  • The suited man gestures toward a display while the two cowboys look on. [frame:3]

3 people observed.

“Well, you boys are settling you at the game.” 6:33 · “You've got to go through a lot of red tape to start a stage line.” 6:37

Evidence, details and a link to share

Frame at 7:08, shot 377:08Frame at 7:26, shot 387:26Frame at 7:38, shot 397:38
3 of 3 shots sampled

16. Private office

6:54–7:45 Machine checks passed (partial)

Model synopsis: Two men in cowboy hats negotiate the sale of a stagecoach line to a third man in a suit, referencing a town called Crescent City. One man shows a document while the other listens, with a map visible in the background.

  • Three men stand in an office with a map on the wall. [frame:1]
  • The man in the light cowboy hat holds a document and looks at it. [frame:2]
  • The man in the light cowboy hat continues to hold the document while the other man looks on. [frame:3]

3 people observed.

“I kind of bit off a little more than I could chew, and I've been neglecting the Crescent City line lately.” 6:54 · “How much do you want for it? $3,000?” 7:04

Evidence, details and a link to share

Sequence 7 from 8:26

Sequence 8 from 8:30

Sequence 9 from 8:46

Frame at 8:50, shot 458:50Frame at 8:55, shot 468:55Frame at 9:06, shot 489:06Frame at 9:09, shot 499:09
4 of 5 shots sampled

21. Street

8:46–9:10 Machine checks passed

Model synopsis: Two riders on horseback move through a dusty street lined with low buildings. The scene is shot in black and white with motion blur and overexposed lighting.

  • Two riders on horseback move along a dusty street. [frame:2]
  • The riders continue forward, kicking up dust. [frame:3]

2 people observed.

Evidence, details and a link to share

Sequence 10 from 9:10

Frame at 9:19, shot 509:19Frame at 9:30, shot 519:30
2 of 2 shots sampled

22. Street

9:10–9:33 Machine checks passed (partial)

Model synopsis: Two men on horseback converse in an outdoor setting; one speaks about 3,500 people being quiet or possibly on a picnic. No names are given, and no indoor or time-of-day cues are visible.

  • Two men on horseback face each other in conversation. [frame:1]
  • The men continue their conversation, with one turning his head slightly. [frame:2]

2 people observed.

“3,500 people don't make much noise.” 9:23 · “Well, maybe they're out on a picnic.” 9:28

Evidence, details and a link to share

Sequence 11 from 9:44

Frame at 9:49, shot 539:49Frame at 9:56, shot 549:56
2 of 2 shots sampled

24. Other

9:44–9:58 Machine checks passed (partial)

Model synopsis: A man in Western attire stands by a door marked 'POPULATION 2' and then steps outside. The scene appears to be set in a small, possibly remote, building with wooden construction.

  • A man in Western attire stands by a door with a sign reading 'POPULATION 2'. [frame:1]
  • The man steps outside the building. [frame:2]

1 person observed.

Evidence, details and a link to share

Sequence 12 from 9:58

Frame at 9:59, shot 559:59
1 of 1 shots sampled

25. Outdoor setting

9:58–10:00 Machine checks passed

Model synopsis: A man in Western attire stands beside a white horse in an outdoor setting. A wooden barrel is visible nearby, and the scene appears to be shot in daylight.

1 person observed.

Evidence, details and a link to share

Sequence 13 from 10:00

Frame at 10:04, shot 5610:04
1 of 1 shots sampled

26. Other

10:00–10:09 Machine checks passed

Model synopsis: A man in a cowboy hat and vest is visible in a dimly lit interior, leaning over a wooden surface. No names, dialogue, or clear time of day are established in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 14 from 10:09

Frame at 10:12, shot 5710:12
1 of 1 shots sampled

27. Other

10:09–10:15 Machine checks passed

Model synopsis: Two men in Western attire stand indoors beside a chalkboard showing partial text. No dialogue or action is visible in the single frame.

2 people observed.

Evidence, details and a link to share

Frame at 10:42, shot 6010:42Frame at 10:48, shot 6110:48Frame at 10:52, shot 6210:52Frame at 10:58, shot 6310:58
4 of 4 shots sampled

30. Town square

10:38–11:01 Machine checks passed

Model synopsis: Three men in cowboy hats converse outdoors in a town setting; one identifies himself as Rocky Bryan and mentions Doc Forsythe. The dialogue references roles as sheriff, mayor, and council president, and asks about other residents.

Named: Rocky Bryan (t:10:49). 3 people observed.

“Was that you I heard shooting? Sure, what of it? As sheriff, I could arrest you for that. But as mayor, I welcome you to Crescent City.” 10:40 · “As president of the council, I gave myself the afternoon off. I am Rocky Bryan. Does anyone else live here besides you and the pigs?” 10:49

Evidence, details and a link to share

Frame at 11:13, shot 6411:13Frame at 11:42, shot 6611:42Frame at 11:48, shot 6711:48Frame at 12:13, shot 6912:13
4 of 6 shots sampled

31. Town square

11:01–12:18 Machine checks passed (partial)

Model synopsis: Three men in Western attire meet another man outside a building; they discuss buying a stage line and being misled, then are led to a stagecoach. The setting is a dusty town with wooden buildings and a picket fence, suggesting a frontier environment.

  • A man stands alone near a wooden fence and building. [frame:1]
  • Three men shake hands in front of a building with a sign. [frame:2]
  • Two men face each other in conversation near a windowed building. [frame:3]
  • 1 more under Evidence and details.

Named: William Forsythe (t:11:28), Blair (t:11:37), Larry Adams (t:11:39). 4 people observed.

“I'd like to customers for our stage line. Yeah. Are you going to run the Crescenton stage, stranger?” 11:11 · “These fellows have taken over the Crescent City stage line. We're the suckers who bought it, all right. I'm sorry to hear that. I'm Willi…” 11:28

Evidence, details and a link to share

Frame at 12:45, shot 7212:45
1 of 1 shots sampled

33. Other

12:41–12:48 Machine checks passed

Model synopsis: Three men in Western attire stand outdoors, one holding a long stick. No dialogue or on-screen text is present in this beat.

3 people observed.

Evidence, details and a link to share

Frame at 13:31, shot 7613:31Frame at 13:49, shot 7713:49
2 of 2 shots sampled

36. Street

13:21–13:55 Machine checks passed (partial)

Model synopsis: Two men in cowboy hats stand outside a wooden building while one holds a document listing government mail contract terms. A voice says they will go, comments on a field, smells something funny, and agrees twice.

  • A hand holds a document titled 'Government of Government Mail Contract' listing conditions for a stage line. [frame:1]
  • Two men in cowboy hats stand side by side in front of a wooden building. [frame:2]

2 people observed.

“I'm going to go.” 13:30 · “That field doesn't sound so bad after all.” 13:41

Evidence, details and a link to share

Frame at 13:56, shot 7813:56Frame at 13:58, shot 7913:58Frame at 14:01, shot 8014:01
3 of 3 shots sampled

37. Vehicle interior

13:55–14:03 Machine checks passed (partial)

Model synopsis: Two men in cowboy hats react to a skunk inside a vehicle; one exclaims about the animal while the other appears alarmed. A hat rests on a surface nearby as the skunk is visible near it.

  • A man reacts with alarm to the skunk. [frame:3]
  • A skunk is visible near a hat inside the vehicle. [frame:2]

2 people observed.

“McCart, it's a skunk!” 14:00 · “Oh, my God.” 14:02

Evidence, details and a link to share

Frame at 14:12, shot 8114:12Frame at 14:52, shot 8214:52Frame at 15:30, shot 8315:30
3 of 3 shots sampled

38. Town square

14:03–15:37 Machine checks passed (partial)

Model synopsis: Two men in cowboy hats talk near a stagecoach; another man updates a population tally on a chalkboard; three men, including one in a suit, converse indoors. The transcript mentions cleaning a coach, a franchise to Buchanan, and welcoming a player arriving by stagecoach.

  • A man writes on a chalkboard showing population count. [frame:2]
  • Three men stand together talking indoors. [frame:3]

5 people observed.

“That was a close one. It sure was. Where can I get a rag and some water? Did he get you? No, we got to clean that coach up.” 14:08 · “Our franchise calls for a round trip to Buchanan twice a week. We gotta get started.” 14:15

Evidence, details and a link to share

Frame at 15:56, shot 8515:56Frame at 16:06, shot 8616:06
2 of 2 shots sampled

40. Street

15:48–16:08 Machine checks passed (partial)

Model synopsis: A street scene in a Western town shows a crowd gathered around a stagecoach, with two men in cowboy hats conversing nearby. The transcript mentions 'Captain City' and 'ghost town,' suggesting a thematic reference to a place associated with death or abandonment.

  • Two men in cowboy hats stand facing each other and appear to be conversing. [frame:2]
  • A crowd gathers on a street around a stagecoach, with some men on horseback. [frame:1]

3 people observed.

“Great for Captain City. Ghosts carried free to the ghost town. Captain City's a swell place to die.” 16:01

Evidence, details and a link to share

Frame at 16:13, shot 8716:13Frame at 16:26, shot 8816:26Frame at 16:40, shot 8916:40Frame at 16:47, shot 9016:47
4 of 4 shots sampled

41. Street

16:08–16:49 Machine checks passed (partial)

Model synopsis: Two men in hats talk outside a building; one invites the other inside to sign up for a mail race. The transcript mentions a $25,000 prize and that others are scared to enter.

  • p1 and p2 stand facing each other on a street, talking. [frame:1]
  • p2 speaks to p4 near a doorway. [frame:2]
  • p2 and p4 continue talking near the doorway. [frame:3]
  • 1 more under Evidence and details.

Named: Blair (t:16:18). 4 people observed.

“I didn't know school let out so early.” 16:11 · “Well, Blair, how's it going? It's fine. It'll be a lot better after I land that mail contract.” 16:18

Evidence, details and a link to share

Sequence 15 from 16:49

Frame at 16:53, shot 9116:53
1 of 1 shots sampled

42. Street

16:49–16:57 Machine checks passed

Model synopsis: A group of people on horseback and a man standing near a striped pole are visible in a street scene. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Sequence 16 from 17:15

Frame at 17:21, shot 9317:21
1 of 1 shots sampled

44. Other

17:15–17:27 Machine checks passed (partial)

Model synopsis: A woman asks if a stage is leaving for Crescent City; a man confirms and directs her. The scene shows three people in a dim interior, one man in a hat and another older man with a scarf.

  • Three people stand in an interior space, one man gesturing. [frame:1]

Named: Crescent City (t:17:16). 3 people observed.

“Is there a stage leaving here for Crescent City?” 17:16 · “Yes, ma'am.” 17:16

Evidence, details and a link to share

Sequence 17 from 17:27

Frame at 17:33, shot 9417:33
1 of 1 shots sampled

45. Other

17:27–17:39 Machine checks passed

Model synopsis: Two men stand outside a wooden building; one wears a hat and vest, the other a hooded coat. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Sequence 18 from 17:39

Frame at 17:42, shot 9517:42
1 of 1 shots sampled

46. Other

17:39–17:45 Machine checks passed

Model synopsis: A woman in a hat and coat is visible in a single frame. No spoken dialogue or other events are recorded in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 19 from 17:45

Frame at 18:13, shot 9918:13
1 of 1 shots sampled

49. Street

18:12–18:14 Machine checks passed (partial)

Model synopsis: Two men are engaged in a physical struggle outside a wooden building while several onlookers watch. The scene is set during daylight and appears to be in a Western-style town.

  • Two men grapple near a building's entrance. [frame:1]
  • Several men observe the struggle from a porch. [frame:1]

3 people observed.

Evidence, details and a link to share

Sequence 20 from 18:14

Frame at 18:15, shot 10018:15
1 of 1 shots sampled

50. Private office

18:14–18:15 Machine checks passed

Model synopsis: A man in a dark suit, bow tie, and wide-brimmed hat stands indoors near a window. No dialogue or other actions are visible or audible in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 21 from 18:15

Frame at 18:17, shot 10118:17
1 of 1 shots sampled

51. Shop

18:15–18:19 Machine checks passed (partial)

Model synopsis: Two men grapple on a wooden porch while others watch from the doorway and steps. The setting appears to be a building entrance in a Western-style town.

  • Two men are wrestling on a wooden porch. [frame:1]
  • Three other men observe the struggle from the doorway and steps. [frame:1]

5 people observed.

Evidence, details and a link to share

Frame at 18:21, shot 10218:21
1 of 1 shots sampled

52. Sidewalk

18:19–18:22 Machine checks passed

Model synopsis: Two men are engaged in a physical struggle on a sidewalk outside a building, with a crowd watching. A horse is tethered nearby, and the scene appears to be set in a town during the day.

  • Two men are grappling on a sidewalk. [frame:1]

3 people observed.

Evidence, details and a link to share

Sequence 22 from 18:22

Frame at 18:23, shot 10318:23
1 of 1 shots sampled

53. Private office

18:22–18:25 Machine checks passed (partial)

Model synopsis: A man in a vest and light shirt lies on a wooden floor near a door. No dialogue or other people are visible in this beat.

  • A man lies on the floor near a door. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 23 from 18:25

Sequence 24 from 18:26

Frame at 18:28, shot 10518:28
1 of 1 shots sampled

55. Sidewalk

18:26–18:30 Machine checks passed (partial)

Model synopsis: Two men are engaged in a physical struggle outside a building while a group of onlookers watches. The scene is set during the day, as indicated by the lighting and outdoor setting.

  • Two men are wrestling on a sidewalk while others watch. [frame:1]

3 people observed.

Evidence, details and a link to share

Sequence 25 from 18:30

Sequence 26 from 18:32

Frame at 18:34, shot 10718:34
1 of 1 shots sampled

57. Street

18:32–18:35 Machine checks passed (partial)

Model synopsis: A group of men in cowboy hats are gathered in a dusty outdoor setting; one man in light clothing is lunging forward with a stick or club. No dialogue or on-screen text is present in this beat.

  • A man in light clothing lunges forward holding a stick or club. [frame:1]

5 people observed.

Evidence, details and a link to share

Sequence 27 from 18:35

Frame at 18:39, shot 10818:39Frame at 18:43, shot 10918:43Frame at 18:45, shot 11018:45
3 of 3 shots sampled

58. Post office

18:35–18:46 Machine checks passed (partial)

Model synopsis: Two men are shown in a physical struggle near a wooden building; one man is thrown to the ground. A third man is visible in a separate shot, standing near a sign that reads 'U.S. POST'.

  • Two men are grappling near a wooden building. [frame:1]
  • A man stands near a sign reading 'U.S. POST'. [frame:2]
  • One man is thrown to the ground. [frame:3]

3 people observed.

“I got enough.” 18:39

Evidence, details and a link to share

Sequence 28 from 18:46

Frame at 18:52, shot 11118:52
1 of 1 shots sampled

59. Private office

18:46–18:57 Machine checks passed

Model synopsis: A man in a cowboy hat and plaid shirt stands among others in a dim interior; one man holds a hat near his face. No dialogue or on-screen text is present in this beat.

3 people observed.

Evidence, details and a link to share

Frame at 18:59, shot 11218:59Frame at 19:07, shot 11319:07Frame at 19:25, shot 11419:25
3 of 3 shots sampled

60. Street

18:57–19:38 Machine checks passed (partial)

Model synopsis: A man and a woman converse beside a stagecoach; the woman asks for transport to Crescent City, and the man states it is the only available stagecoach. The woman reveals her father owns the town and is Dr. Forsythe.

  • The woman is seated on the stagecoach with the man holding the reins. [frame:3]

Named: Dr. Forsythe (t:19:36). 2 people observed.

“Oh, are you the driver? Yes, why? Why?” 18:59 · “Then isn't there any other way I can get to Crescent City?” 19:02

Evidence, details and a link to share

Sequence 29 from 20:02

Frame at 20:17, shot 11820:17
1 of 1 shots sampled

62. Other

20:02–20:32 Machine checks passed

Model synopsis: A man in a wide-brimmed hat speaks during a conversation about shopping and surprising a father. The scene includes a reaction shot with laughter and an exclamation.

1 person observed.

“I can hardly wait to go shopping. Say, does your dad know you're coming? Oh, no. I want to surprise him.” 20:06 · “Oh. You're gonna be disappointed if you expect... I'm not expecting to see New York or Paris.” 20:06

Evidence, details and a link to share

Sequence 30 from 20:32

Sequence 31 from 20:47

Frame at 20:53, shot 12020:53Frame at 21:02, shot 12121:02Frame at 21:09, shot 12221:09
3 of 3 shots sampled

64. Town square

20:47–21:13 Machine checks passed (partial)

Model synopsis: A man writes on a chalkboard inside a building while two other men stand nearby; outside, a stagecoach approaches down a dusty street. The transcript mentions the stage and a character named English John.

  • A man writes on a chalkboard inside a building. [frame:1]
  • A stagecoach approaches down a dusty street. [frame:2]
  • Two men stand inside watching another write on a chalkboard. [frame:3]

3 people observed.

“Here comes the stage, English John's got a bastard.” 20:52

Evidence, details and a link to share

Sequence 32 from 21:13

Frame at 21:21, shot 12321:21
1 of 1 shots sampled

65. Field

21:13–21:30 Machine checks passed

Model synopsis: A man and a woman sit side by side outdoors in period Western attire. The background shows a flat, open landscape under a bright sky.

2 people observed.

Evidence, details and a link to share

Sequence 33 from 21:30

Sequence 34 from 21:35

Frame at 21:39, shot 12521:39
1 of 1 shots sampled

67. Street

21:35–21:43 Machine checks passed

Model synopsis: A group of riders on horseback moves along a dusty street in a town. The scene is shot in black and white with high-contrast lighting.

  • Riders on horseback move along a dusty street. [frame:1]

3 people observed.

Evidence, details and a link to share

Sequence 35 from 21:43

Frame at 21:46, shot 12621:46
1 of 1 shots sampled

68. Street

21:43–21:50 Machine checks passed (partial)

Model synopsis: A man in a cowboy hat leaps from a moving stagecoach while a woman in a bonnet and ruffled dress sits inside. The stagecoach is on a dirt road with wooden buildings in the background.

  • A man leaps from a moving stagecoach. [frame:1]

2 people observed.

Evidence, details and a link to share

Frame at 21:52, shot 12721:52Frame at 21:57, shot 12821:57Frame at 22:01, shot 12922:01Frame at 22:06, shot 13022:06
4 of 4 shots sampled

69. Town square

21:50–22:09 Machine checks passed (partial)

Model synopsis: A woman in a bonnet and dress is seen near a wagon and then embraced by another woman on a wooden sidewalk; three men in cowboy hats stand together; a man and woman face each other closely. Dialogue includes calls of 'Barbara!' and 'Dan!' and a lament about 'this awful place.'

  • A woman holds a child or bundle near a wagon. [frame:1]
  • Two women embrace on a wooden sidewalk while a man walks away. [frame:2]
  • Three men in cowboy hats stand together outside a building. [frame:3]
  • 1 more under Evidence and details.

Named: Dan (t:21:53), Barbara (t:21:50). 7 people observed.

“Barbara!” 21:50 · “Dan!” 21:53

Evidence, details and a link to share

Frame at 22:15, shot 13122:15Frame at 22:24, shot 13222:24Frame at 22:30, shot 13322:30
3 of 3 shots sampled

70. Town square

22:09–22:32 Machine checks passed (partial)

Model synopsis: Two men and a woman speak in a Western town setting; one man says he cannot leave because everything he has is there. A stagecoach is visible on a dusty street with wooden buildings.

  • A stagecoach is visible on a dusty street with wooden buildings. [frame:3]

3 people observed.

“What's she going on about?” 22:10 · “That stagecoach would jolt anybody.” 22:15

Evidence, details and a link to share

Frame at 22:50, shot 13422:50Frame at 23:15, shot 13523:15
2 of 2 shots sampled

71. Town square

22:32–23:22 Machine checks passed

Model synopsis: A man identifies himself as a horse doctor and president of the Board of Health while attending to a sick horse; others refer to him as 'Doc Forsyte' and mention a daughter with 'the favor.' The scene takes place outdoors near a wagon with several people and horses present.

  • A horse is being attended to by several men near a wagon. [frame:1]
  • A crowd gathers around the horse and wagon. [frame:2]

Named: Doc Forsyte (t:23:07). 4 people observed.

“Anyone here know how to treat a sick horse? I'm a horse doctor. I'm president of the Board of Health, too.” 22:36 · “Your horse got the box” 22:54

Evidence, details and a link to share

Sequence 36 from 23:22

Frame at 23:45, shot 13923:45Frame at 23:58, shot 14023:58Frame at 24:11, shot 14124:11
3 of 3 shots sampled

73. Town square

23:42–24:13 Machine checks passed (partial)

Model synopsis: Two people converse outside a building while others gather nearby; one person carries a child. A man offers to help the child in his office, and another mentions amenities of the town.

  • A man and woman stand facing each other outside a building. [frame:1]
  • A man holds a child while others stand around him. [frame:2]
  • A man in a light shirt stands facing a woman in a bonnet. [frame:3]

7 people observed.

“I don't think I need your advice.” 23:45 · “The child needs a rest.” 23:48

Evidence, details and a link to share

Sequence 37 from 24:13

Sequence 38 from 24:18

Frame at 24:25, shot 14424:25Frame at 24:35, shot 14524:35
2 of 2 shots sampled

76. Town square

24:20–24:40 Machine checks passed

Model synopsis: Two men in cowboy hats are near a stagecoach; one is on horseback, the other on the coach. A second frame shows the stagecoach moving past a hotel with people waving from the porch.

  • A man in a dark cowboy hat stands beside a white horse next to a stagecoach. [frame:1]
  • A stagecoach pulled by black horses moves past a hotel with people waving from the porch. [frame:2]

4 people observed.

“I remember, Larry.” 24:20 · “Only allow seven passengers in the coach at one time.” 24:22

Evidence, details and a link to share

Frame at 24:53, shot 14624:53Frame at 25:08, shot 14725:08Frame at 25:15, shot 14825:15
3 of 3 shots sampled

77. Road

24:40–25:18 Machine checks passed

Model synopsis: Three people converse outdoors near a white horse; one man mentions a work crew installing a telegraph line. A woman named Barbara and a man called John are addressed; one man departs after announcing he will speak to the crew.

Named: Barbara (t:24:52), John (t:25:13). 3 people observed.

“Morning Miss Barbara” 24:52 · “Let's be getting back, Dad. I promised to give the children a reading lesson.” 24:58

Evidence, details and a link to share

Sequence 39 from 25:28

Frame at 25:31, shot 15025:31
1 of 1 shots sampled

79. Field

25:28–25:34 Machine checks passed

Model synopsis: A lone figure stands on a ridge in a barren, tree-lined landscape. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 40 from 25:34

Frame at 25:36, shot 15125:36
1 of 1 shots sampled

80. Field

25:34–25:38 Machine checks passed

Model synopsis: A single frame shows a rugged outdoor scene with sparse vegetation and a wooden structure in the distance. No people or text are visible, and no dialogue is present in the transcript for this beat.

Evidence, details and a link to share

Sequence 41 from 25:38

Frame at 25:39, shot 15225:39Frame at 25:42, shot 15325:42Frame at 25:44, shot 15425:44
3 of 3 shots sampled

81. Field

25:38–25:45 Machine checks passed (partial)

Model synopsis: A man in a cowboy hat is seen outdoors near tall grass; another man warns him not to drink the water. The scene is shot in black and white with natural lighting.

  • A man stands near tall grass holding a cup. [frame:1]
  • A man in a cowboy hat smiles while holding reins. [frame:2]
  • A man in a cowboy hat holds a cup near tall grass. [frame:3]

2 people observed.

“Hey!” 25:39 · “Don't drink that water!” 25:41

Evidence, details and a link to share

Frame at 25:47, shot 15525:47Frame at 25:56, shot 15725:56Frame at 26:03, shot 15826:03Frame at 26:13, shot 16026:13
4 of 6 shots sampled

82. Field

25:45–26:16 Machine checks passed (partial)

Model synopsis: Two men in cowboy hats are in a brushy outdoor area; one is seen drinking from a canteen while the other approaches on horseback. They converse as the transcript reveals suspicion of poison in water, which they believe is causing illness among their men.

  • A man drinks from a canteen while crouched in brush. [frame:1]
  • A man on horseback approaches another man standing in a field. [frame:2]
  • Two men stand face-to-face in conversation. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“what's the matter with you will you creepy had to keep him drinking that water it's poison” 25:46 · “Somebody must have knocked his sign over. Poison! Yeah, it's deadly.” 26:03

Evidence, details and a link to share

Frame at 26:18, shot 16126:18Frame at 26:21, shot 16226:21
2 of 2 shots sampled

83. Other

26:16–26:23 Machine checks passed (partial)

Model synopsis: A man sits beside another man lying on the ground near a wagon, while two other men stand and talk nearby. One of the standing men says he thought it was the heat and will get a doctor.

  • A man sits beside another man lying on the ground near a wagon. [frame:1]
  • Two men stand facing each other and appear to be talking. [frame:2]

4 people observed.

“And I thought it was the heat. I'll get a doctor.” 26:20

Evidence, details and a link to share

Frame at 26:31, shot 16326:31
1 of 1 shots sampled

84. Forest

26:23–26:40 Machine checks passed (partial)

Model synopsis: A person is visible in a wooded outdoor area. A single exclamation is heard.

  • A person is visible walking through a wooded area. [frame:1]

1 person observed.

“Ah!” 26:27

Evidence, details and a link to share

Sequence 42 from 26:40

Frame at 26:47, shot 16426:47
1 of 1 shots sampled

85. Forest

26:40–26:55 Machine checks passed

Model synopsis: A group of men in 1930s Western attire are gathered outdoors around a fallen person near a horse and a tripod. No dialogue or on-screen text is present in the frames.

  • A group of men gather around a person lying on the ground near a horse and a tripod. [frame:1]

5 people observed.

Evidence, details and a link to share

Sequence 43 from 26:55

Frame at 27:27, shot 16627:27Frame at 27:42, shot 16727:42
2 of 2 shots sampled

87. Forest

27:15–27:46 Machine checks passed (partial)

Model synopsis: Two men in hats converse outdoors, then one man is seen with a white horse and a wagon. The dialogue mentions Crescent City, supplies, and a deal involving 50 men and a telegraph.

  • Two men stand facing each other and talk. [frame:1]
  • A man stands beside a white horse harnessed to a wagon. [frame:2]

3 people observed.

“Going through Crescent City, I'd have to cut out Buchanan's.” 27:15 · “But I wouldn't be able to get many supplies in Crescent City.” 27:25

Evidence, details and a link to share

Frame at 27:50, shot 16827:50Frame at 28:04, shot 16928:04
2 of 2 shots sampled

88. Street

27:46–28:13 Machine checks passed (partial)

Model synopsis: A group of men in cowboy hats gathers on a dusty street in a Western town after hearing about job openings with the telegraph company. One man speaks about the opportunity to reach Crescent City for $10 a day, while others react with surprise.

  • Men gather on a dusty street in a Western town. [frame:1]
  • A man in a light hat speaks to others in a group. [frame:2]

4 people observed.

“Then the telegraph company needs workers.” 27:53 · “First 50 of you to reach Crescent City. We'll get a job of $10 a day and keep.” 27:56

Evidence, details and a link to share

Sequence 44 from 28:13

Frame at 28:30, shot 17028:30
1 of 1 shots sampled

89. Outdoor setting

28:13–28:47 Machine checks passed (partial)

Model synopsis: Two men in Western attire converse outdoors; one mentions heading to Crescent City and securing a mail contract to revive it. One man urges others to enter, suggesting a group is nearby.

  • Two men in Western attire are seated and conversing outdoors. [frame:1]

2 people observed.

“That beats 10 and 2 bucks worth of go today. Now I'm heading for Crescent City.” 28:13 · “Well, that's our first step.” 28:24

Evidence, details and a link to share

Sequence 45 from 28:47

Sequence 46 from 29:10

Frame at 29:16, shot 17229:16
1 of 1 shots sampled

91. Street

29:10–29:21 Machine checks passed (partial)

Model synopsis: A man in a cowboy hat gestures while speaking to others near a stagecoach; the transcript indicates he is directing them toward Cranston City. The setting appears to be an outdoor, dusty area with horses and a stagecoach visible.

  • A man gestures while speaking to others. [frame:1]

3 people observed.

“All right, here you are, boys.” 29:11 · “Quickest way to Cranston City!” 29:13

Evidence, details and a link to share

Frame at 29:49, shot 17529:49
1 of 1 shots sampled

93. Private office

29:45–29:53 Machine checks passed (partial)

Model synopsis: A man in a cowboy hat and dark jacket stands in an interior space with a desk and window behind him. He is visible in one frame and speaks the line 'All right.'

  • A man stands in an office and speaks [frame:1]

1 person observed.

“All right.” 29:51

Evidence, details and a link to share

Frame at 30:21, shot 17830:21Frame at 30:25, shot 17930:25Frame at 30:29, shot 18030:29Frame at 30:34, shot 18130:34
4 of 4 shots sampled

95. Private office

30:17–30:37 Machine checks passed

Model synopsis: A man in a cowboy hat and dark shirt speaks with another man seated at a desk; the dialogue suggests a negotiation involving a stage line payment and gold receipt. No names are spoken, and the setting appears to be an interior office or similar space.

2 people observed.

“Why me?” 30:18 · “What I'm sending might be too tempting to my men.” 30:22

Evidence, details and a link to share

Frame at 31:35, shot 18631:35
1 of 1 shots sampled

99. Other

31:21–31:48 Machine checks passed

Model synopsis: Two men in cowboy hats converse near a stagecoach; one insists the other must drive the stage back to Crescent City while he goes alone. The dialogue references a mail race, a thousand-dollar payment, and a character named Blair being escorted to Sacramento.

  • Two men in cowboy hats stand facing each other near a stagecoach, engaged in conversation. [frame:1]

Named: Murray (t:31:21). 2 people observed.

“I wouldn't do it, John. He's got some trick up his sleeve. I know it, Murray.” 31:21 · “We need that thousand dollars to pay on our franchise.” 31:27

Evidence, details and a link to share

Sequence 47 from 31:48

Frame at 31:52, shot 18731:52
1 of 1 shots sampled

100. Street

31:48–31:56 Machine checks passed

Model synopsis: A street scene from a Western town is shown with people, horses, and a horse-drawn carriage. No dialogue or on-screen text is present in the frames or transcript for this beat.

Evidence, details and a link to share

Sequence 48 from 31:56

Frame at 32:02, shot 18832:02Frame at 32:09, shot 18932:09
2 of 2 shots sampled

101. Street

31:56–32:10 Machine checks flagged: period without evidence

Model synopsis: A man in a cowboy hat is visible in two frames; one shows him from behind near a building, the other a close-up of his face. A voice says 'Hey!' at 32:07.

  • A man in a cowboy hat is seen from behind near a building. [frame:1]
  • A close-up shows the man’s face, wearing a cowboy hat and dark coat. [frame:2]

1 person observed.

“Hey!” 32:07

Flagged: period without evidence (1917s to 1930s)

Evidence, details and a link to share

Frame at 32:12, shot 19032:12
1 of 1 shots sampled

102. Street

32:10–32:13 Machine checks passed

Model synopsis: A group of men in cowboy hats and period Western clothing are seated on horseback outside a wooden building. No dialogue or on-screen text is present in this beat.

4 people observed.

Evidence, details and a link to share

Sequence 49 from 32:13

Frame at 32:15, shot 19132:15Frame at 32:25, shot 19232:25
2 of 2 shots sampled

103. Street

32:13–32:32 Machine checks passed (partial)

Model synopsis: A man in a cowboy hat speaks outdoors near a building; a horse-drawn wagon is visible nearby. The transcript includes the lines 'Well, Blair?' and 'So long.'

  • A man in a cowboy hat is visible outdoors, speaking. [frame:1]
  • A horse-drawn wagon and several people are visible on a street. [frame:2]

Named: Blair (t:32:15). 2 people observed.

“Well, Blair?” 32:15 · “So long.” 32:18

Evidence, details and a link to share

Sequence 50 from 32:32

Sequence 51 from 32:42

Frame at 32:43, shot 19532:43
1 of 1 shots sampled

106. Field

32:42–32:44 Machine checks passed (partial)

Model synopsis: A group of riders on horseback moves across an open, dusty landscape with hills in the background. The scene is shot in black and white with strong backlighting creating silhouettes.

  • Four riders on horseback move across a dusty field toward the right of the frame. [frame:1]

4 people observed.

Evidence, details and a link to share

Frame at 32:47, shot 19632:47Frame at 32:51, shot 19732:51Frame at 33:00, shot 19833:00
3 of 3 shots sampled

107. Road

32:44–33:08 Machine checks passed (partial)

Model synopsis: Two riders on horseback and a wagon are seen traveling along a dirt path near a pass, with one rider speaking about the trip ending. The setting is outdoors in a hilly, open landscape under bright daylight.

  • Two riders and a wagon travel along a dirt road near hills. [frame:1]
  • Two riders on horseback are shown in close-up, one wearing a dark coat and hat. [frame:2]
  • A group of riders on horseback moves along a path with hills and trees in the background. [frame:3]

3 people observed.

“We're near the pass. Yeah, that's gonna be the end of this trip.” 32:49

Evidence, details and a link to share

Frame at 33:10, shot 19933:10Frame at 33:18, shot 20133:18Frame at 33:23, shot 20233:23Frame at 33:38, shot 20433:38
4 of 6 shots sampled

108. Mountain

33:08–33:42 Machine checks passed (partial)

Model synopsis: A group of men on horseback are near a mountain pass; one suggests others ride ahead to check if it is clear. The riders then move out, kicking up dust as they go.

  • A man on horseback speaks to others near a mountain pass. [frame:1]
  • Riders begin to move out from the group. [frame:3]
  • Horses kick up dust as riders move forward. [frame:4]

4 people observed.

“Boys, we're getting near the pass.” 33:09 · “Well, what about it? Why don't you fellas better ride ahead and find out if it's clear?” 33:11

Evidence, details and a link to share

Frame at 33:46, shot 20533:46Frame at 33:53, shot 20633:53Frame at 33:59, shot 20833:59Frame at 34:02, shot 20934:02
4 of 5 shots sampled

109. Field

33:42–34:03 Machine checks passed (partial)

Model synopsis: A horse-drawn vehicle travels over rough terrain while men in cowboy hats argue nearby. One man is described in the transcript as a 'double-crossing crook'.

  • A horse-drawn vehicle ascends a hill. [frame:1]
  • The horse-drawn vehicle descends a slope with horses running. [frame:2]
  • Men in cowboy hats stand and talk in a field. [frame:3]
  • 1 more under Evidence and details.

5 people observed.

“Where in blazes is he?” 33:49 · “Don't ask me.” 33:49

Evidence, details and a link to share

Sequence 52 from 34:03

Sequence 53 from 34:05

Sequence 54 from 34:19

Frame at 34:23, shot 21234:23Frame at 34:41, shot 21334:41Frame at 35:02, shot 21435:02
3 of 3 shots sampled

112. Hotel lobby

34:19–35:08 Machine checks passed

Model synopsis: Two people discuss the revival of Crescent City due to John Blair's efforts, mentioning a mail contract race and a full hotel. A stagecoach driver arrives, interrupting their conversation.

  • A stagecoach driver arrives and speaks to the other two. [frame:3]

3 people observed.

“Well, it certainly looks like old times in Crescent City, and it's all due to John's efforts.” 34:23 · “Every room in the hotel's full. Say.” 34:43

Evidence, details and a link to share

Frame at 35:12, shot 21535:12Frame at 35:17, shot 21635:17
2 of 2 shots sampled

113. Road

35:08–35:19 Machine checks passed (partial)

Model synopsis: A group of people on horseback rides away from a wooden structure while dust rises. Three individuals stand on a porch, one speaking about someone named Larry who should be driving.

  • Riders on horseback move away from a wooden structure, raising dust. [frame:1]
  • Three people stand on a porch, one speaking. [frame:2]

Named: Larry (t:35:09). 4 people observed.

“Where's Larry? He ought to be driver.” 35:09

Evidence, details and a link to share

Frame at 35:30, shot 21735:30
1 of 1 shots sampled

114. Town square

35:19–35:40 Machine checks passed (partial)

Model synopsis: A group of men gather around a horse-drawn wagon in a town setting; one man is being moved while others discuss an unseen shooter. The dialogue indicates uncertainty about the shooter's identity but suggests the victim was targeted.

  • A man is being moved onto or off a horse-drawn wagon. [frame:1]
  • Men gather around the wagon in a town setting. [frame:1]

5 people observed.

“Oh, bring him over to my house right away.” 35:39 · “All right. Did you see who did it?” 35:39

Evidence, details and a link to share

Sequence 55 from 35:40

Frame at 35:51, shot 21835:51Frame at 36:04, shot 21936:04Frame at 36:21, shot 22036:21
3 of 3 shots sampled

115. Private office

35:40–36:34 Machine checks passed (partial)

Model synopsis: Two men argue in an office over a payment and a stage line franchise; one man holds a gun on another who is seated at a desk. The dialogue references a $1,000 payment, lost money on Parisians, and a government mail race.

  • A man in a dark hat points a revolver at a seated man at a desk. [frame:3]

4 people observed.

“Why do you expect me to pay you $1,000 for the trip?” 36:02 · “When I lose money on the Parisians and freight you didn't pick up,” 36:05

Evidence, details and a link to share

Frame at 36:51, shot 22136:51Frame at 37:10, shot 22237:10
2 of 2 shots sampled

116. Living room

36:34–37:11 Machine checks passed

Model synopsis: A man and a woman are in a room where a man named John is addressed; a discussion follows about a shooting and a medical emergency requiring surgery. The doctor present refuses to operate, citing lack of recent practice.

Named: John (t:36:39). 4 people observed.

“John.” 36:39 · “Did Larry say we shot him? He didn't see them. They fired from the bushes.” 36:45

Evidence, details and a link to share

Sequence 56 from 37:47

Frame at 37:48, shot 22637:48
1 of 1 shots sampled

119. Living room

37:47–37:50 Machine checks passed

Model synopsis: A man and a woman stand close together indoors; the man is behind the woman, looking down. The setting appears to be a room with patterned wallpaper and curtains.

2 people observed.

Evidence, details and a link to share

Sequence 57 from 37:50

Sequence 58 from 37:57

Sequence 59 from 38:08

Frame at 38:11, shot 22938:11
1 of 1 shots sampled

122. Private office

38:08–38:13 Machine checks passed

Model synopsis: Three people stand indoors in formal attire; a woman in a light dress, a man in a vest and bow tie, and another man in dark clothing. No dialogue or on-screen text is present in this beat.

3 people observed.

Evidence, details and a link to share

Sequence 60 from 38:13

Sequence 61 from 38:23

Frame at 38:32, shot 23138:32
1 of 1 shots sampled

124. Other

38:23–38:41 Machine checks passed

Model synopsis: A newspaper clipping is shown, describing a stagecoach race with a $25,000 government mail subsidy, listing two entries: Cal Drake's coach and the Crescent City coach, with the route from Bantayan through Crescent City to a judge's stand outside Sacramento. No people, actions, or time of day are visible or mentioned.

Evidence, details and a link to share

Sequence 62 from 38:41

Sequence 63 from 38:55

Sequence 64 from 39:20

Frame at 39:25, shot 23539:25
1 of 1 shots sampled

127. Other

39:20–39:30 Machine checks passed

Model synopsis: Two men in hats stand in a dimly lit interior; one smokes a cigarette. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Frame at 39:32, shot 23639:32
1 of 1 shots sampled

128. Other

39:30–39:34 Machine checks passed

Model synopsis: Two men in hats stand in a dimly lit interior; one faces the other, who is mostly in shadow. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Sequence 65 from 39:34

Frame at 39:35, shot 23739:35
1 of 1 shots sampled

129. Field

39:34–39:37 Machine checks passed

Model synopsis: A close-up shot shows a metallic object lying among dry grass or straw. No people, dialogue, or identifiable location are visible in this beat.

Evidence, details and a link to share

Sequence 66 from 39:37

Frame at 39:41, shot 23839:41Frame at 39:50, shot 23939:50
2 of 2 shots sampled

130. Other

39:37–39:55 Machine checks passed (partial)

Model synopsis: Two men in hats are seen in a dark, outdoor setting; one speaks briefly. The scene appears to be at night, with minimal lighting and no clear background details.

  • Two men stand close together in darkness. [frame:1]
  • One man gestures while speaking to the other. [frame:2]

2 people observed.

“All right.” 39:43 · “Come on.” 39:43

Evidence, details and a link to share

Frame at 40:08, shot 24340:08Frame at 40:10, shot 24440:10
2 of 2 shots sampled

132. Other

40:07–40:11 Machine checks passed

Model synopsis: Two figures are visible in a dark setting; one wears a wide-brimmed hat and appears to be holding a weapon. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Frame at 40:13, shot 24540:13
1 of 1 shots sampled

133. Other

40:11–40:14 Machine checks passed

Model synopsis: A dark, indistinct scene with faint shapes visible against near-total blackness. No people, objects, or text can be identified from the frame.

Evidence, details and a link to share

Frame at 40:17, shot 24640:17
1 of 1 shots sampled

134. Beat 134

40:14–40:20 Machine checks passed

Model synopsis: A single dark frame shows an indistinct figure in near-total darkness. No transcript is provided for this beat, so no spoken content or named characters can be confirmed.

Evidence, details and a link to share

Frame at 40:24, shot 24740:24
1 of 1 shots sampled

135. Other

40:20–40:27 Machine checks passed

Model synopsis: A single figure in a hat is faintly visible in near-total darkness, with no other details discernible. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Frame at 40:29, shot 24840:29Frame at 40:41, shot 24940:41
2 of 2 shots sampled

136. Other

40:27–40:52 Machine checks passed (partial)

Model synopsis: Two figures struggle in a dark doorway as smoke rises; one holds a long object. A voice exclaims 'Oh, my God.' at 40:30.

  • A figure in a hat holds a long object while struggling with another figure in a dark doorway. [frame:1]
  • Smoke or dust rises behind the figures in the doorway. [frame:2]

2 people observed.

“Oh, my God.” 40:30

Evidence, details and a link to share

Frame at 40:56, shot 25040:56Frame at 41:07, shot 25141:07
2 of 2 shots sampled

137. Other

40:52–41:15 Machine checks passed (partial)

Model synopsis: Two men stand near a burning structure at night; one speaks about horses and a coach being unharmed and suspects Drake or his men. The second frame shows three men in conversation, one of whom is told he got one of the attackers.

  • A large fire burns in the background with silhouetted figures nearby. [frame:1]
  • Three men stand close together in conversation at night. [frame:2]

3 people observed.

“Dave, what's harm done? The horses are okay. Well, the coach is hardly scorched. Do you suppose Drake or his men pulled this cheap trick? I'…” 41:00 · “Well, whoever it was, you got one of them anyhow.” 41:12

Evidence, details and a link to share

Frame at 41:41, shot 25541:41
1 of 1 shots sampled

139. Other

41:36–41:46 Machine checks passed

Model synopsis: Two men speak in a dimly lit interior; one is told to care for horses and guard a coach, while the other promises to rescue someone named John. The scene is shot in black and white with minimal lighting and close framing.

Named: Green (t:41:39), John (t:41:43). 2 people observed.

“Take care of those horses, Green. And stand guard over this coach.” 41:39 · “I'll get you out of this, John.” 41:43

Evidence, details and a link to share

Sequence 67 from 41:46

Frame at 42:01, shot 25642:01
1 of 1 shots sampled

140. Street

41:46–42:17 Machine checks passed

Model synopsis: A man stands near horses and a wagon in an outdoor setting while dialogue references a race starting soon and Blair being in jail. The scene includes a visible wagon wheel and horses, with dialogue indicating urgency about a 9 o'clock deadline.

  • A man stands near horses and a wagon in a street. [frame:1]

1 person observed.

“Five minutes to go when Blair is safe in jail. This isn't a race. It's excursion.” 41:48 · “Well, what did you do, Doc?” 41:56

Evidence, details and a link to share

Sequence 68 from 42:17

Frame at 42:22, shot 25742:22
1 of 1 shots sampled

141. Vehicle interior

42:17–42:28 Machine checks passed

Model synopsis: Two men in hats and vests stand close together outdoors; one gestures while speaking. The dialogue indicates plans to alert a relay station about preparing fresh horses.

  • Two men stand face-to-face outdoors, one raising his arm in gesture. [frame:1]

2 people observed.

“I'm going to cross the relay station and tell them to have those fresh horses ready.” 42:18 · “Just in case.” 42:24

Evidence, details and a link to share

Frame at 42:31, shot 25842:31Frame at 42:37, shot 25942:37Frame at 42:43, shot 26042:43Frame at 42:53, shot 26142:53
4 of 4 shots sampled

142. Jail

42:28–43:00 Machine checks passed (partial)

Model synopsis: Two men discuss bail for John while seated outdoors; a scene in a jail office follows with a man behind bars and another at a desk; a third shot shows two men at a jail cell door with paperwork; the final shot is an outdoor crowd at a government mule race starting point.

  • Two men sit outdoors and talk. [frame:1]
  • A man is seen behind jail bars while another stands at a desk in an office. [frame:2]
  • A man holds a document while speaking to another man at a jail cell door. [frame:3]
  • 1 more under Evidence and details.

Named: Blair (t:42:33). 7 people observed.

“I don't care how it is.” 42:30 · “I know it ain't right, Blair, but I...” 42:33

Evidence, details and a link to share

Sequence 69 from 43:00

Frame at 43:01, shot 26243:01Frame at 43:07, shot 26343:07Frame at 43:15, shot 26443:15
3 of 3 shots sampled

143. Field

43:00–43:19 Machine checks passed (partial)

Model synopsis: The scene shows an outdoor landscape with a horse and rider moving past a structure, followed by a distant view of a group on horseback near a tree. No dialogue or on-screen text is present.

  • a person on horseback rides past a structure [frame:2]
  • a group on horseback is visible in the distance near a tree [frame:3]

2 people observed.

Evidence, details and a link to share

Frame at 43:20, shot 26543:20
1 of 1 shots sampled

144. Field

43:19–43:21 Machine checks passed

Model synopsis: A single frame shows a hazy, open landscape with low vegetation and distant hills. No people, structures, or vehicles are visible in the shot.

Evidence, details and a link to share

Sequence 70 from 43:21

Frame at 43:26, shot 26643:26
1 of 1 shots sampled

145. Dusty field

43:21–43:31 Machine checks passed (partial)

Model synopsis: A horse-drawn wagon travels across an open, dusty landscape with hills in the background. No people are clearly visible, and no dialogue or on-screen text is present.

  • A horse-drawn wagon moves across a dusty field. [frame:1]

Evidence, details and a link to share

Frame at 43:34, shot 26743:34
1 of 1 shots sampled

146. Road

43:31–43:36 Machine checks passed (partial)

Model synopsis: A horse-drawn wagon travels on a dusty road with riders visible. The setting is an open, hilly landscape under bright daylight.

  • A wagon pulled by horses moves along a dusty road with riders on board. [frame:1]

Evidence, details and a link to share

Sequence 71 from 43:36

Frame at 43:40, shot 26843:40
1 of 1 shots sampled

147. Field

43:36–43:43 Machine checks passed

Model synopsis: A wide shot shows a horse-drawn wagon moving across an open, flat landscape with a large tree trunk in the foreground. No people are clearly visible, and no dialogue or on-screen text is present.

Evidence, details and a link to share

Sequence 72 from 43:43

Frame at 43:44, shot 26943:44
1 of 1 shots sampled

148. Field

43:43–43:45 Machine checks passed (partial)

Model synopsis: A person in a cowboy hat rides a horse across an open landscape. The setting appears to be outdoors with hills in the background.

  • A person rides a horse across a landscape. [frame:1]

1 person observed.

Evidence, details and a link to share

Frame at 43:51, shot 27043:51Frame at 43:59, shot 27143:59
2 of 2 shots sampled

149. Road

43:45–44:01 Machine checks passed (partial)

Model synopsis: A man in a hat and overalls is visible in a moving wagon, while another man rides a horse alongside it. The transcript contains urgent commands to hurry.

  • A man in overalls sits in a moving wagon. [frame:1]
  • A horse-drawn wagon moves along a road with a rider alongside. [frame:2]

2 people observed.

“Come on, come on.” 43:46 · “Hurry.” 43:54

Evidence, details and a link to share

Frame at 44:03, shot 27244:03
1 of 1 shots sampled

150. Other

44:01–44:05 Machine checks passed

Model synopsis: Two men in hats are seated indoors; one is smiling and looking forward, the other is leaning in toward him. The setting appears to be a simple interior with wooden structures visible behind them.

2 people observed.

Evidence, details and a link to share

Frame at 44:12, shot 27344:12Frame at 44:22, shot 27444:22
2 of 2 shots sampled

151. Field

44:05–44:26 Machine checks passed (partial)

Model synopsis: Two men sit in a vehicle in a hilly, open landscape; one speaks about another not making it and tells Ron not to stay in a race. No named characters or indoor settings are shown or stated.

  • Two men are seated in a vehicle in an open field with hills in the background. [frame:1]
  • The two men remain seated; one holds a rifle, the other wears a top hat. [frame:2]

Named: Ron (t:44:16). 2 people observed.

“I didn't think he was going to make it.” 44:06 · “Oh, don't go stay in a race, Ron.” 44:16

Evidence, details and a link to share

Frame at 44:29, shot 27544:29Frame at 44:33, shot 27644:33
2 of 2 shots sampled

152. Other

44:26–44:35 Machine checks passed (partial)

Model synopsis: Two men in hats are seated indoors while a vehicle moves across a snowy landscape outdoors. No dialogue or on-screen text is present in this segment.

  • A vehicle is seen moving across a snowy field. [frame:1]
  • Two men are seated side by side indoors. [frame:2]

2 people observed.

Evidence, details and a link to share

Frame at 44:51, shot 27744:51
1 of 1 shots sampled

153. Field

44:35–45:06 Machine checks passed

Model synopsis: A horse-drawn wagon moves across an open, flat landscape with hills in the background. No people are clearly visible, and no dialogue or on-screen text is present.

Evidence, details and a link to share

Sequence 73 from 45:06

Sequence 74 from 45:10

Frame at 45:14, shot 28045:14Frame at 45:25, shot 28145:25
2 of 2 shots sampled

156. Road

45:10–45:33 Machine checks passed (partial)

Model synopsis: A horse-drawn wagon travels along a dirt road lined with trees. The scene is shot in black and white with no visible dialogue or on-screen text.

  • A horse-drawn wagon moves along a dirt road. [frame:1]
  • The wagon continues moving forward, kicking up dust. [frame:2]

Evidence, details and a link to share

Frame at 45:36, shot 28245:36Frame at 45:40, shot 28345:40
2 of 2 shots sampled

157. Field

45:33–45:41 Machine checks passed

Model synopsis: Two men in cowboy hats are seated side by side in an outdoor setting with trees and uneven ground. No dialogue or on-screen text is present in the frames.

2 people observed.

Evidence, details and a link to share

Frame at 45:44, shot 28445:44Frame at 45:47, shot 28545:47Frame at 45:54, shot 28745:54Frame at 46:03, shot 28846:03
4 of 5 shots sampled

158. Field

45:41–46:09 Machine checks passed (partial)

Model synopsis: A horse-drawn wagon travels across open terrain, with two men visible in the driver's seat. The wagon is shown from a distance moving through a field and then splashing through water.

  • A horse-drawn wagon is seen approaching from a distance. [frame:1]
  • Two men are visible seated in the wagon, one holding reins. [frame:2]
  • The wagon is shown from behind, moving across open terrain. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“Here they come!” 45:46

Evidence, details and a link to share

Frame at 46:10, shot 28946:10Frame at 46:13, shot 29046:13Frame at 46:17, shot 29146:17Frame at 46:28, shot 29246:28
4 of 4 shots sampled

159. Saloon

46:09–46:37 Machine checks passed (partial)

Model synopsis: A stagecoach is at a wooden building with a sign reading 'BAR' and 'SALOON'. People are visible on the porch and on the street, including a man in a hat walking away from the building. A line mentions 'Drake's stage' and 'funny express horses'.

  • People are gathered on the porch of a saloon. [frame:1]
  • A crowd stands on the street near the saloon. [frame:2]
  • A woman in a dress stands on the porch next to a seated man. [frame:3]
  • 1 more under Evidence and details.

5 people observed.

“Oh, it's Drake's stage.” 46:16 · “Get those funny express horses. Good boy, John.” 46:32

Evidence, details and a link to share

Frame at 46:44, shot 29346:44Frame at 46:55, shot 29446:55Frame at 47:04, shot 29547:04Frame at 47:10, shot 29647:10
4 of 4 shots sampled

160. Town square

46:37–47:13 Machine checks passed (partial)

Model synopsis: A group of men on horseback and on foot are gathered near a wooden fence and building in an outdoor setting. One man speaks, instructing another to stop someone named Blair who has escaped.

  • Men on horseback and on foot gather near a fence and building. [frame:1]
  • A man on foot holds a long tool near a wagon while others ride past. [frame:2]
  • Horses and riders move quickly past a wooden structure. [frame:3]
  • 1 more under Evidence and details.

Named: Blair (t:47:13). 4 people observed.

“Yeah, come on. Come on.” 46:59 · “Yes.” 47:04

Evidence, details and a link to share

Frame at 47:23, shot 29747:23Frame at 47:39, shot 29847:39Frame at 47:45, shot 29947:45
3 of 3 shots sampled

161. Town square

47:13–47:47 Machine checks passed (partial)

Model synopsis: A man climbs onto a stagecoach marked 'CITY STAGE' while another man sits in the driver's seat; a group of horses and riders are gathered nearby. Dialogue indicates someone named John is being sent to stop a person named Blair, with Barbara wishing him luck and offering assistance from inside the coach.

  • A man climbs onto the roof of a stagecoach. [frame:1]
  • A man sits in the driver's seat of a stagecoach, looking forward. [frame:2]
  • Horses and riders are gathered near a wooden fence in an open area. [frame:3]

Named: John (t:47:19), Barbara (t:47:21). 3 people observed.

“And Blair got loose somehow, and it's up to you to stop him.” 47:13 · “Good luck, John.” 47:19

Evidence, details and a link to share

Frame at 47:48, shot 30047:48Frame at 47:55, shot 30147:55Frame at 48:02, shot 30248:02
3 of 3 shots sampled

162. Street

47:47–48:05 Machine checks passed (partial)

Model synopsis: A woman and a man are in a conversation inside a building with signage for 'S. ADAMS STAGE LINES'; outside, a dusty street scene shows a horse-drawn wagon and people. The dialogue suggests disagreement about a person named John, described as obstinate and bull-headed.

  • A horse-drawn wagon is visible on a dusty street with people walking. [frame:1]
  • A woman stands and gestures while speaking to a seated man. [frame:2]
  • The woman stands with arms crossed while the man gestures with his hand. [frame:3]

2 people observed.

“I do hope John wins.” 47:50 · “Oh, you really don't want him to win.” 47:53

Evidence, details and a link to share

Sequence 75 from 48:05

Sequence 76 from 48:13

Frame at 48:15, shot 30448:15
1 of 1 shots sampled

164. Road

48:13–48:17 Machine checks passed (partial)

Model synopsis: A horse-drawn wagon travels along a dirt road bordered by trees. No people are visible in the frame, and no dialogue or on-screen text is present.

  • A horse-drawn wagon moves along a dirt road. [frame:1]

Evidence, details and a link to share

Sequence 77 from 48:17

Frame at 48:21, shot 30548:21
1 of 1 shots sampled

165. Road

48:17–48:25 Machine checks passed (partial)

Model synopsis: A horse-drawn wagon travels along a dusty road, kicking up dust, with trees and open land visible. The scene is shot in black and white with no visible people or spoken dialogue.

  • A horse-drawn wagon moves along a dusty road, kicking up dust. [frame:1]

Evidence, details and a link to share

Sequence 78 from 48:25

Sequence 79 from 48:29

Frame at 48:35, shot 30848:35Frame at 48:39, shot 30948:39Frame at 48:42, shot 31048:42Frame at 48:47, shot 31148:47
4 of 4 shots sampled

168. Field

48:32–48:50 Machine checks passed (partial)

Model synopsis: Three men in hats and period Western clothing are gathered around a large object in a wooded area; one man speaks as they appear to prepare or react to something. A distant shot shows a rider on horseback approaching across an open field with hills in the background.

  • Three men stand around a large object in a wooded area. [frame:1]
  • Two men face each other near foliage, one gesturing. [frame:2]
  • A rider on horseback approaches across an open field with hills in the background. [frame:3]
  • 1 more under Evidence and details.

4 people observed.

“Here he comes.” 48:35 · “This ought to stop him.” 48:46

Evidence, details and a link to share

Sequence 80 from 48:50

Frame at 48:53, shot 31248:53
1 of 1 shots sampled

169. Field

48:50–48:56 Machine checks passed

Model synopsis: A horse-drawn wagon with two riders moves across a dusty, open landscape with hills in the background. No dialogue or on-screen text is present in this beat.

  • A horse-drawn wagon with two riders moves forward across a dusty terrain. [frame:1]

2 people observed.

Evidence, details and a link to share

Sequence 81 from 48:56

Frame at 48:56, shot 31348:56
1 of 1 shots sampled

170. Field

48:56–48:57 Machine checks passed

Model synopsis: A man in a cowboy hat and coat sits outdoors near a wooden structure. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 82 from 48:57

Frame at 48:57, shot 31448:57
1 of 1 shots sampled

171. Other

48:57–48:58 Machine checks passed

Model synopsis: A single frame shows a close-up of a rough, textured surface with a thin stick or twig lying on it. No people, dialogue, or identifiable location are visible in this beat.

Evidence, details and a link to share

Sequence 83 from 48:58

Frame at 49:02, shot 31549:02Frame at 49:07, shot 31649:07Frame at 49:10, shot 31749:10
3 of 3 shots sampled

172. Forest

48:58–49:11 Machine checks passed (partial)

Model synopsis: A stagecoach is shown moving through a wooded area, with a man visible on top and another exiting the vehicle. A voice asks, "What's the matter?" during the sequence.

  • A stagecoach moves through a wooded area, kicking up dust. [frame:1]
  • A man sits atop the moving stagecoach. [frame:2]
  • A man exits the stagecoach through its door. [frame:3]

2 people observed.

“What's the matter?” 49:05

Evidence, details and a link to share

Sequence 84 from 49:14

Frame at 49:15, shot 31949:15
1 of 1 shots sampled

174. Dirt path

49:14–49:16 Machine checks passed

Model synopsis: A horse-drawn wagon is shown moving along a dirt path with trees and brush on either side. No people are clearly visible, and no dialogue or on-screen text is present.

Evidence, details and a link to share

Sequence 85 from 49:16

Frame at 49:23, shot 32049:23
1 of 1 shots sampled

175. Field

49:16–49:30 Machine checks passed (partial)

Model synopsis: A horse-drawn carriage is visible on an open, grassy slope with hills in the background. No people are clearly visible, and no dialogue or on-screen text is present.

  • A horse-drawn carriage moves across a grassy slope. [frame:1]

Evidence, details and a link to share

Sequence 86 from 49:30

Frame at 49:32, shot 32149:32
1 of 1 shots sampled

176. Hilly wasteland

49:30–49:34 Machine checks passed

Model synopsis: A wide shot shows a barren, hilly landscape with sparse trees and a small structure in the mid-ground. No people or vehicles are visible, and no dialogue or on-screen text is present.

Evidence, details and a link to share

Frame at 49:36, shot 32249:36Frame at 49:57, shot 32649:57Frame at 50:13, shot 33050:13Frame at 50:38, shot 33450:38
4 of 13 shots sampled

177. Field

49:34–50:42 Machine checks passed (partial)

Model synopsis: Four riders on horseback are shown moving across an open, hilly landscape. One rider is later seen inside a vehicle interior, and the transcript includes two instances of someone saying 'Come on.'

  • Four riders on horseback move across a field [frame:1]
  • Close-up of riders' legs and horses' hooves moving rapidly [frame:2]
  • Man sits inside vehicle interior, holding reins [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“Come on.” 49:35 · “Come on!” 50:05

Evidence, details and a link to share

Frame at 50:48, shot 33550:48Frame at 50:56, shot 33650:56
2 of 2 shots sampled

178. Field

50:42–50:58 Machine checks passed

Model synopsis: Two horses pull a wagon carrying several people across an open, hilly landscape. The scene is shot from a distance, showing the vehicle moving through a dry, sparsely vegetated area.

1 person observed.

Evidence, details and a link to share

Frame at 51:03, shot 33751:03Frame at 51:10, shot 33851:10Frame at 51:23, shot 34051:23Frame at 51:37, shot 34151:37
4 of 5 shots sampled

179. Vehicle interior

50:58–51:40 Machine checks passed (partial)

Model synopsis: Two men in hats ride a horse-drawn wagon through a dusty, hilly landscape. One man is later seen inside a vehicle with diamond-paned windows, and another frame shows a person entering or exiting through a door with similar glass.

  • Two men ride a horse-drawn wagon through a dusty landscape. [frame:1]
  • The wagon is pulled by two horses, kicking up dust. [frame:2]
  • A person sits inside a vehicle with diamond-paned windows. [frame:3]
  • 1 more under Evidence and details.

4 people observed.

“Oh, my God.” 51:05

Evidence, details and a link to share

Sequence 87 from 51:58

Sequence 88 from 52:34

Sequence 89 from 52:47

Frame at 52:54, shot 35152:54Frame at 52:58, shot 35252:58Frame at 53:03, shot 35453:03Frame at 53:09, shot 35553:09
4 of 5 shots sampled

185. Road

52:52–53:13 Machine checks passed (partial)

Model synopsis: Two men in hats ride in a horse-drawn wagon on a dirt road through a hilly landscape. One man urges the horses forward while the other sits beside him, and a wider shot shows the wagon moving away down the road.

  • Two men are seated in a horse-drawn wagon on a dirt road. [frame:1]
  • One man holds the reins and gestures forward while the other sits beside him. [frame:2]
  • One man looks forward while seated in the wagon. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“Come on, come on.” 52:56

Evidence, details and a link to share

Frame at 53:14, shot 35653:14Frame at 53:18, shot 35953:18Frame at 53:29, shot 36353:29Frame at 53:33, shot 36653:33
4 of 11 shots sampled

186. Road

53:13–53:34 Machine checks passed (partial)

Model synopsis: A man in a hat drives a horse-drawn wagon on a dirt road, with other riders and wagons visible in the background. The scene includes close-ups of a wagon wheel and a horse's head, set against a hilly landscape.

  • close-up of a large wagon wheel in motion [frame:1]
  • man in hat driving a wagon [frame:2]
  • group of horse-drawn wagons and riders moving along a dirt road [frame:3]
  • 1 more under Evidence and details.

1 person observed.

Evidence, details and a link to share

Frame at 53:37, shot 36753:37
1 of 1 shots sampled

187. Vehicle interior

53:34–53:40 Machine checks passed

Model synopsis: A man in a wide-brimmed hat and dark scarf sits in a vehicle interior, with a blurred background suggesting motion or an open landscape. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 90 from 53:40

Frame at 53:42, shot 36853:42Frame at 53:47, shot 36953:47Frame at 53:50, shot 37053:50
3 of 3 shots sampled

188. Field

53:40–53:52 Machine checks passed (partial)

Model synopsis: A person lies on the ground in a dusty, open landscape while two vehicles drive away into the distance. The scene is set in an arid, hilly environment with no visible structures or other people.

  • A person is lying on the ground. [frame:1]
  • Two vehicles are driving away across a dusty field. [frame:2]
  • The vehicles continue to drive away, becoming smaller in the distance. [frame:3]

1 person observed.

Evidence, details and a link to share

Frame at 53:55, shot 37153:55Frame at 54:00, shot 37354:00Frame at 54:06, shot 37554:06Frame at 54:12, shot 37754:12
4 of 7 shots sampled

189. Road

53:52–54:14 Machine checks passed (partial)

Model synopsis: A group of riders on horseback moves along a dirt road, approaching a small settlement with buildings visible. The scene is shot in black and white with high-contrast lighting, and a line of dialogue is spoken during the sequence.

  • Horses and riders move along a dirt road. [frame:1]
  • Riders continue moving forward, seen from behind. [frame:2]
  • Group of riders approaches a settlement with buildings. [frame:4]

3 people observed.

“Oh, my God.” 53:56

Evidence, details and a link to share

Frame at 54:19, shot 37854:19Frame at 54:30, shot 37954:30Frame at 54:40, shot 38054:40
3 of 3 shots sampled

190. Town square

54:14–54:44 Machine checks passed (partial)

Model synopsis: A man exits a stagecoach at a finish line where a crowd and banner are visible. A voice calls out to someone named Rocky, declaring they have won.

  • A stagecoach is parked at a finish line with a banner reading 'GOVERNMENT MAIL RACE FINISH'. [frame:1]
  • A man in a hat sits atop the stagecoach labeled 'CRESCENT CITY STAGE'. [frame:2]
  • A man in a light coat exits the stagecoach and is greeted by another man. [frame:3]

Named: Rocky (t:54:33). 4 people observed.

“Come on out, Rocky. We've won.” 54:33

Evidence, details and a link to share

Sequence 91 from 54:44

Frame at 54:45, shot 38154:45
1 of 1 shots sampled

191. Other

54:44–54:46 Machine checks passed (partial)

Model synopsis: A hand writes on a dark surface with chalk-like material, revealing the word 'POPULATION' and the number '410'. No people are visible or audible, and no location or time is established.

  • A hand writes 'POPULATION' and '410' on a dark surface. [frame:1]

Evidence, details and a link to share

Sequence 92 from 54:46

Frame at 54:50, shot 38254:50
1 of 1 shots sampled

192. Other

54:46–54:55 Machine checks passed (partial)

Model synopsis: A man in a top hat and suit stands beside a chalkboard sign reading 'Crescent City Lines' and '410' while another person is partially visible. A voice thanks John Blair.

  • A man in a top hat stands beside a chalkboard sign. [frame:1]

Named: John Blair (t:54:50). 3 people observed.

“And we must never forget, my friends.” 54:47 · “How much we owe to John Blair. That's right.” 54:50

Evidence, details and a link to share

Sequence 93 from 54:55

Frame at 55:02, shot 38355:02Frame at 55:14, shot 38555:14Frame at 55:21, shot 38755:21Frame at 55:34, shot 38955:34
4 of 7 shots sampled

193. Private office

54:55–55:41 Machine checks passed

Model synopsis: A man in a suit and hat speaks to a woman and a cowboy; a skunk is shown on the ground; the film ends with a studio logo. No names are established for the characters beyond what is spoken in the dialogue.

  • A skunk is lying on the ground. [frame:3]

Named: John (t:54:58). 3 people observed.

“I don't know how I could ever repay you, John.” 54:58 · “I do.” 55:03

Evidence, details and a link to share

Transcript

Machine transcription of the Archive copy's audio with Whisper large-v3-turbo (temperature 0); the model heard it as en. 423 segments kept, 169 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. 2:42 I think they're flum crazy to do away with the Pony Express.
  2. 2:45 Well, so do I, but...
  3. 2:47 They claim this newfangled telegraph will be a lot faster. It won't work. You mark my word. I've never heard of sending messages over a piece of wire.
  4. 2:58 What are you going to do now, Jim? Punch cows again, I reckon.
  5. 3:03 Seemed pretty tame after Pony Express riding. Yeah. I guess I'll hunt buffalo.
  6. 3:10 Save us pretty good money in Hyde.
  7. 3:13 What's Johnny Blair gonna do? I don't know, but he won't starve. He's been saving his nickels.
  8. 3:19 He's still here in 10 seconds. He'll be here in... Hurry, come now!
  9. 3:38 Here you are, Ed.
  10. 3:40 Right on time, Blair, as usual. Wouldn't want to be late on my last run, Mr. Dodge. Sorry to see it end. So am I.
  11. 3:48 Men...
  12. 3:50 When that mail reaches Sacramento, it means the end of the phony express.
  13. 3:55 You've established a record in carrying the mail that will go down in history.
  14. 3:59 In appreciation of your loyalty, the company is giving each of you a gift. Two pony express horses, toughest and fastest in the country.
  15. 4:07 Thanks, boss. Just go down to the corrals and pick out the ones you want. Best of luck to you, boys. Thanks. Thanks, Mr. Dodge.
  16. 4:18 Two thoroughbreds each. Well, that's a real gift. Yeah, let's go ahead and pick them up.
  17. 4:28 What are you going to do with your horses? Sell them. Oh, no, you're not. I got a better idea. Yeah.
  18. 4:35 We're gonna start a stage line.
  19. 4:37 A stage line? Sure, there's plenty of money in it. But we haven't got any stagecoach. Oh, we'll get one.
  20. 4:45 Suits me, partner. And we'll pick out four good stagecoach horses. We'll head for Buchanan City. We may be able to get a stage there.
403 more segments
  1. 5:06 Well...
  2. 5:08 There she is.
  3. 5:09 Buchanan City.
  4. 5:14 Hope that fella Drake's got a stage coach he'll sell us.
  5. 5:17 Oh, the stage line the size of his. He ought to have plenty of old ones. He'd be glad to get rid of it.
  6. 5:21 We'll soon find out.
  7. 5:28 I'm going to go.
  8. 5:36 Well, here we are.
  9. 5:47 Oh.
  10. 5:57 We're looking for Cal Drake.
  11. 5:59 That's me.
  12. 6:01 Come in.
  13. 6:07 What can I do for you?
  14. 6:09 We want to buy a stagecoach, Mr.
  15. 6:11 Drake?
  16. 6:12 We figured you might have an old one you'd sell us cheap. Stagecoach.
  17. 6:16 What are you going to do with it?
  18. 6:17 Start a stage line.
  19. 6:19 Where are you going to run it?
  20. 6:23 We hadn't figured that out yet.
  21. 6:25 You mean you haven't got a franchise?
  22. 6:28 Franchise?
  23. 6:30 You have to have one of those to start a stage line?
  24. 6:33 Well, you boys are settling you at the game.
  25. 6:35 Takes a lot of money.
  26. 6:37 You've got to go through a lot of red tape to start a stage line.
  27. 6:40 much money you're figuring on putting into it?
  28. 6:42 Oh, about a thousand dollars.
  29. 6:45 Maybe I can help you boys out.
  30. 6:48 See all those live?
  31. 6:52 Those are all my stage routes.
  32. 6:54 I kind of bit off a little more than I could chew, and I've been neglecting the Crescent City line lately.
  33. 6:59 I'll sell it to your chief.
  34. 7:01 Two ambitious fellows ought to make a good thing out of it.
  35. 7:04 How much do you want for it? $3,000?
  36. 7:08 $1,000 right now on the balance of two payments.
  37. 7:11 69 days.
  38. 7:12 If it's easier on the profits...
  39. 7:15 And you'll find a stage coach in Plesson City that goes with it.
  40. 7:19 Well, uh...
  41. 7:20 How far is this Crescent City? 35 miles north of here.
  42. 7:25 I will think it over and let you know later. Fire!
  43. 7:28 Your nutless will give you a little idea about the town.
  44. 7:40 Here it is.
  45. 7:42 Crescent City.
  46. 7:43 Population, 3,500.
  47. 7:45 If I'm not helpful...
  48. 7:47 Water supply excellent.
  49. 7:48 School and church.
  50. 7:50 What do you say?
  51. 7:51 Don't you think we'd better go up and look it over first?
  52. 7:54 What for?
  53. 7:55 All those towns are alike.
  54. 7:59 All right.
  55. 8:01 We'll take it, Mr. Drake.
  56. 8:04 Fine, fine.
  57. 8:07 You boys got a great thing in this.
  58. 8:09 And I'm going to get a lot of pleasure out of watching you make a thing.
  59. 8:31 Crescent City, home of the Adams and Blair stage lines.
  60. 8:34 Mail, passengers, and freight carried from coast to coast.
  61. 8:39 Let's start advertising right now. Get a crowd together and make them a speech.
  62. 8:44 I'm out.
  63. 9:14 and
  64. 9:21 Yeah.
  65. 9:23 3,500 people don't make much noise.
  66. 9:28 Okay.
  67. 9:28 Well, maybe they're out on a picnic.
  68. 9:31 They're just out.
  69. 9:40 Wait, I hear someone.
  70. 9:49 up
  71. 10:19 It's all right. I talked you into him. Forget it. He fooled me, too.
  72. 10:33 Giving us the hee-haw.
  73. 10:36 Hey, strangers.
  74. 10:40 Was that you I heard shooting? Sure, what of it? As sheriff, I could arrest you for that. But as mayor, I welcome you to Crescent City.
  75. 10:49 As president of the council, I gave myself the afternoon off. I am Rocky Bryan. Does anyone else live here besides you and the pigs?
  76. 10:59 huh? Yeah, yeah, sir. Doc Forsythe lives over there near the hotel.
  77. 11:11 I'd like to customers for our stage line. Yeah. Are you going to run the Crescenton stage, stranger?
  78. 11:22 Well, we bought it. Shippee! Pisa!
  79. 11:25 Here's some good news for you.
  80. 11:28 These fellows have taken over the Crescent City stage line. We're the suckers who bought it, all right. I'm sorry to hear that. I'm William Forsythe.
  81. 11:37 My name is Blair.
  82. 11:39 This is Larry Adams.
  83. 11:41 What do you do?
  84. 11:42 Someone sold it to you under false pretenses, I suppose. Human nature's like that, Mr. Blair.
  85. 11:49 Well, you boys must be homeless. I'll prepare a bite for you.
  86. 12:00 Drake told us we'd find a stagecoach here.
  87. 12:03 You know where it is? Yes, yes come along I'll show you
  88. 12:08 You know, even after the gold petered out, this would have been a good town if...
  89. 12:12 Doc and Cal Drake hadn't had a fallout.
  90. 12:14 What do you mean? Well, they were partners.
  91. 12:17 But Doc didn't like the crooked deals Drake was pulling, so Drake just squeezed the Doc out and moved all his stuff to Buchanan City. Looks like he did a good job. Sure did.
  92. 12:27 Drake's crooked as a snake.
  93. 12:34 Well, there it is.
  94. 12:50 Oh, my God.
  95. 12:53 Well, it isn't much to look at.
  96. 12:55 Well, he'll still carry passengers.
  97. 12:57 We can get them. You can get them, all right, if you could land that mail contract. Mail contract? Yes.
  98. 13:07 Being postmaster of this here city, I'm in on the nose.
  99. 13:12 Look at that.
  100. 13:30 I'm going to go.
  101. 13:41 That field doesn't sound so bad after all.
  102. 13:48 I smell something funny. But why?
  103. 13:51 All right.
  104. 13:54 All right.
  105. 13:58 - Yeah.
  106. 14:00 McCart, it's a skunk!
  107. 14:02 Oh, my God.
  108. 14:08 That was a close one. It sure was. Where can I get a rag and some water? Did he get you? No, we got to clean that coach up.
  109. 14:15 Our franchise calls for a round trip to Buchanan twice a week. We gotta get started.
  110. 14:20 I'll fix you right up.
  111. 14:22 Yes.
  112. 14:23 All right.
  113. 14:26 All right.
  114. 14:28 Oh, my God.
  115. 14:39 There's a record for you.
  116. 14:40 We double our population in one day. There ain't many cities can do that.
  117. 14:49 Oh.
  118. 14:56 Hey.
  119. 15:01 - Yeah!
  120. 15:08 Hey, how's that?
  121. 15:11 Crackard.
  122. 15:12 Huh?
  123. 15:13 Oh, you mean the picture?
  124. 15:15 I think I'm in.
  125. 15:21 The player's coming into town with his stagecoach.
  126. 15:24 empty
  127. 15:25 Well, how did you think it would be?
  128. 15:28 Be ready in case he tries to start anything.
  129. 15:30 We'll take care of them.
  130. 15:32 I'll have the boys give them a welcome.
  131. 15:43 Don't forget, boys. Let's give them a great send-off.
  132. 16:01 Great for Captain City. Ghosts carried free to the ghost town. Captain City's a swell place to die.
  133. 16:10 Well...
  134. 16:11 I didn't know school let out so early.
  135. 16:18 Well, Blair, how's it going? It's fine. It'll be a lot better after I land that mail contract.
  136. 16:31 I want to enter my stagecoach in that mail race. Good. Good.
  137. 16:35 I was beginning to think that there wouldn't be anybody in it but Drake. It seems to me there'd be plenty of coaches in there for $25,000. That's what I figured. But something is scaring them out. Come on inside and sign up.
  138. 17:05 I'm all right. Thank you.
  139. 17:16 Is there a stage leaving here for Crescent City? Yes, ma'am.
  140. 17:23 Right this way.
  141. 17:49 Sure you won't be crowded I
  142. 18:01 Hey, Blair, I got a bass in here for you.
  143. 18:06 I charge half-fair for Jack S's.
  144. 18:09 Come on, bring your friends.
  145. 18:39 I got enough.
  146. 18:59 Oh, are you the driver? Yes, why? Why?
  147. 19:02 Then isn't there any other way I can get to Crescent City?
  148. 19:07 Lady, you can run, walk, or ride a horse.
  149. 19:10 This is the only stagecoach.
  150. 19:14 You really want to go?
  151. 19:17 Of course.
  152. 19:36 Present City's a funny place, miss. Oh, I know all about it. My father owns the town. Dr. Forsythe?
  153. 19:47 town you've ever seen about it and hotels patient mayor share all the big men he wrote you
  154. 20:00 And all about the lovely stores. Oh, there's plenty of stores. And the plenty of storekeepers.
  155. 20:06 I can hardly wait to go shopping. Say, does your dad know you're coming? Oh, no. I want to surprise him. Oh. You're gonna be disappointed if you expect... I'm not expecting to see New York or Paris.
  156. 20:28 Heh!
  157. 20:29 Whoa!
  158. 20:33 Well, what do you got there?
  159. 20:35 Captured me a laundry.
  160. 20:36 They were run out of mud springs for using perfume soap from the miners' shirts.
  161. 20:52 Here comes the stage, English John's got a bastard.
  162. 21:50 Barbara!
  163. 21:53 Dan!
  164. 21:54 Yeah.
  165. 21:59 Oh, Dad, this awful place. How could you?
  166. 22:10 What's she going on about?
  167. 22:13 He had a pretty hard job.
  168. 22:15 That stagecoach would jolt anybody.
  169. 22:20 Let's leave it once, Dad. You don't belong here.
  170. 22:24 I can't do that.
  171. 22:26 Everything I have is here.
  172. 22:36 Anyone here know how to treat a sick horse? I'm a horse doctor. I'm president of the Board of Health, too. The old settlers trying my cure of that horse.
  173. 22:54 Your horse got the box
  174. 22:56 So that was Zooty came in touch with Landers. You ain't gonna drive another mile. But I've got to move on. My daughter's got the favor.
  175. 23:04 You're in luck, stranger. We got the best doctor in the West.
  176. 23:07 Hey, Doc Forsyte.
  177. 23:23 I'd like to speak to you about your father.
  178. 23:27 Yes?
  179. 23:28 He put everything he had into this town.
  180. 23:31 When he lost it, he lost confidence in it.
  181. 23:33 yourself.
  182. 23:34 Of course they did.
  183. 23:35 in this awful place.
  184. 23:36 He'll be all right when he's back east among friends. No, he'd feel worse to go back a failure. If you had the right spirits, you'd stay here and help him.
  185. 23:45 I don't think I need your advice.
  186. 23:48 The child needs a rest.
  187. 23:50 You've been traveling a long way? Yes. Yes.
  188. 23:53 We're looking for a place to settle.
  189. 23:56 Bring her to my office. I'll see what I can do for her. Thanks, Doctor.
  190. 24:00 You can't beat this town. We've got fresh eggs.
  191. 24:03 fine laundry, stage lines, and a brand new pretty schoolteacher.
  192. 24:20 I remember, Larry.
  193. 24:22 Only allow seven passengers in the coach at one time.
  194. 24:26 Our motto is...
  195. 24:27 comfort without crowds,
  196. 24:28 Oh, yes, sir.
  197. 24:30 I'll ride on a piece, will you?
  198. 24:32 Quiet, quiet! Get out of here!
  199. 24:34 Come on, old man! Come on!
  200. 24:52 Morning Miss Barbara
  201. 24:53 Oh, Doc, you're looking younger every day. I've been feeling much happier ever since Barbara arrived.
  202. 24:58 Let's be getting back, Dad. I promised to give the children a reading lesson.
  203. 25:02 Uh, we saw a work crew on the road earlier this morning. They're putting up that new telegraph line.
  204. 25:07 Telegraph line?
  205. 25:09 I want to talk to those fellas.
  206. 25:12 I'll see you later.
  207. 25:13 Bye, John.
  208. 25:20 John's a fine lad, isn't he?
  209. 25:22 too bossy to suit me.
  210. 25:24 It takes bossy men to succeed out here.
  211. 25:39 Hey!
  212. 25:41 Don't drink that water!
  213. 25:46 what's the matter with you will you creepy had to keep him drinking that water it's poison
  214. 26:03 Somebody must have knocked his sign over. Poison! Yeah, it's deadly.
  215. 26:13 Then that's what ails my men.
  216. 26:20 And I thought it was the heat. I'll get a doctor.
  217. 26:27 Ah!
  218. 26:56 If you really mean that, how about running your wire through Crescent City? Would it help you if I did? It sure would, can you? If it doesn't cost too much time or money, why, let's look at my map.
  219. 27:15 Going through Crescent City, I'd have to cut out Buchanan's.
  220. 27:19 Why not?
  221. 27:20 Let's see.
  222. 27:22 the distance would be the same.
  223. 27:25 But I wouldn't be able to get many supplies in Crescent City.
  224. 27:28 How many men do you need?
  225. 27:29 At least 50...
  226. 27:31 If I get you the men and the supplies, does Crescent City get the telegraph?
  227. 27:37 Yes.
  228. 27:38 It's a deal.
  229. 27:39 I'll see you later, Doc.
  230. 27:40 Oh, God.
  231. 27:53 Then the telegraph company needs workers.
  232. 27:56 First 50 of you to reach Crescent City. We'll get a job of $10 a day and keep.
  233. 28:06 What's all the excitement about? They run the telegraph to Casson's city. Blair and Adams are hiring men to work there.
  234. 28:12 What?
  235. 28:13 That beats 10 and 2 bucks worth of go today. Now I'm heading for Crescent City.
  236. 28:17 Yeah, when I'm old, get...
  237. 28:24 Well, that's our first step.
  238. 28:26 The telegraph will bring some people.
  239. 28:28 And when we get that mail contract, we'll put Crescent City on the map again. Right.
  240. 28:34 Ha! Not for me, boys! Come on, enter! Come on, enter! Come on, get a gate off!
  241. 28:48 You can, Dad. Chuck, you'll ignore.
  242. 29:11 All right, here you are, boys.
  243. 29:13 Quickest way to Cranston City!
  244. 29:14 Present city stage, spare only $10, huh?
  245. 29:23 You gonna let him get away with it?
  246. 29:26 No.
  247. 29:31 Go to Crescent City, Mr. Drake.
  248. 29:38 I'd like to see you in my office, Mr. Blair.
  249. 29:51 All right.
  250. 29:54 I got the hair to you, Blair.
  251. 29:56 You're smart.
  252. 29:58 I sold you a lemon and you made an orange out of it.
  253. 30:01 I didn't call you near the patch on the back.
  254. 30:04 When I got a job...
  255. 30:05 It requires nerves, brains, and I think you're the man to set the bill.
  256. 30:10 What is it?
  257. 30:11 I got a shipment of gold going for Sacramento.
  258. 30:15 I want you to dive it through for me on my stage.
  259. 30:18 Why me?
  260. 30:20 What's the matter with your driver?
  261. 30:22 What I'm sending might be too tempting to my men.
  262. 30:24 I'd rather trust you than them.
  263. 30:27 There'll be a $1,000 payment due on your stage line, which I will cancel.
  264. 30:31 When you bring me a receipt for the gold,
  265. 30:35 I'll take it through.
  266. 30:37 Oh.
  267. 30:39 And I'll give you an armed escort.
  268. 30:41 Is that necessary?
  269. 30:42 You'll be carrying a fortune.
  270. 30:59 - Set your men ready.
  271. 31:02 Larry.
  272. 31:08 You know, Cherokee, there's never been a hold-up on my stage line.
  273. 31:12 Got to be your first time for everything. It's dangerous for the driver, ain't it?
  274. 31:17 drivers always do seem to get hurt.
  275. 31:21 I wouldn't do it, John. He's got some trick up his sleeve. I know it, Murray.
  276. 31:27 We need that thousand dollars to pay on our franchise.
  277. 31:29 so we can enter that mail race.
  278. 31:32 Then I'd better go with you.
  279. 31:33 No, you've got to drive the stage back to Crescent City. I'll be all right. Keep your eyes open.
  280. 31:40 While the boys are escorting Blair to Sacramento, he'll take care of his partner. He'll be starting back across the city.
  281. 32:07 Hey!
  282. 32:15 Well, Blair?
  283. 32:18 So long.
  284. 32:49 We're near the pass. Yeah, that's gonna be the end of this trip.
  285. 33:09 Boys, we're getting near the pass.
  286. 33:11 Well, what about it? Why don't you fellas better ride ahead and find out if it's clear?
  287. 33:17 Yeah, sure.
  288. 33:19 Did he make it easy for us?
  289. 33:49 Where in blazes is he? Don't ask me. Why, that double-crossing crook.
  290. 34:23 Well, it certainly looks like old times in Crescent City, and it's all due to John's efforts. How long will it last, Dad? Oh, probably a month or more. After that, John Blair will have to work another miracle. Why not? If he can win the race for the mail contract...
  291. 34:41 We'll get a post office.
  292. 34:43 And then Crescent City will be a beehive once again. If he wins. He'll win. You can bank on that. Every room in the hotel's full. Say.
  293. 34:54 Isn't this quite a come down from Mayor and Sherry? Maybe. But the boys are kind of ashamed to tip the Mayor. I'm doing all right now.
  294. 35:06 Here comes the stage.
  295. 35:09 Where's Larry? He ought to be driver.
  296. 35:39 Oh, bring him over to my house right away. All right. Did you see who did it? I'm telling you, we couldn't see who fired the show. But who I've read was, he was waiting there to do that job. They're out. Going or coming?
  297. 35:59 No, I didn't.
  298. 36:00 I'm still alive.
  299. 36:02 Why do you expect me to pay you $1,000 for the trip?
  300. 36:05 When I lose money on the Parisians and freight you didn't pick up,
  301. 36:09 Did you want that gold delivered or didn't you?
  302. 36:11 Of course. And write me out a receipt for the second payment on that Crescent City franchise.
  303. 36:17 Don't reach for anything but your pen.
  304. 36:24 Remember, you don't own that stage line yet.
  305. 36:27 He'll talk about that after the government mail race.
  306. 36:39 John.
  307. 36:41 Please sit down.
  308. 36:45 Did Larry say we shot him? He didn't see them. They fired from the bushes.
  309. 36:53 How is he, Doc?
  310. 36:56 Is he going to live?
  311. 36:59 The bullet lodged near his spine.
  312. 37:01 Only a very delicate operation could save his life.
  313. 37:04 Well, you're a doctor.
  314. 37:07 Why, I wouldn't dare.
  315. 37:09 I haven't operated in years.
  316. 37:12 I've lost confidence.
  317. 37:13 I'd be afraid of... Listen, Doc.
  318. 37:16 Larry means more to me than anyone else in the world.
  319. 37:19 Do something for him, will you?
  320. 37:23 Please, Dad. We have confidence in you.
  321. 37:26 Haven't we, John?
  322. 37:28 All the confidence in the world.
  323. 38:45 You gonna ride on the box tomorrow, Drake?
  324. 38:47 Sure thing.
  325. 38:48 This race means too much to me.
  326. 38:50 You win?
  327. 38:52 nothing's gonna keep me from it.
  328. 38:58 Hi, John. Hello, Rocky.
  329. 39:02 As treasurer of Crescent City, I'm betting the city funds on you, John.
  330. 39:08 The whole $10.60.
  331. 39:12 Where's the coach?
  332. 39:14 It's down at the livery's table. I'm going down there now.
  333. 39:17 Come on. Good.
  334. 39:43 All right.
  335. 39:43 Come on.
  336. 39:47 There.
  337. 39:57 I
  338. 40:00 What's wrong with the phone?
  339. 40:30 Oh, my God.
  340. 41:00 Dave, what's harm done? The horses are okay. Well, the coach is hardly scorched. Do you suppose Drake or his men pulled this cheap trick? I'm sure of it.
  341. 41:12 Well, whoever it was, you got one of them anyhow.
  342. 41:15 You're under arrest. What for? For shooting a man.
  343. 41:19 Well, we're in self-defense.
  344. 41:21 Tried to burn Blair's coach.
  345. 41:23 That can be explained to the judge.
  346. 41:26 This warrant goes for your arrest.
  347. 41:29 Who swore out the one? Cal Drake. Can't you see this is a trick to try and keep me out of that mail race? I'm sorry, but I've got to do my duty.
  348. 41:39 Take care of those horses, Green. And stand guard over this coach.
  349. 41:43 I'll get you out of this, John.
  350. 41:48 Five minutes to go when Blair is safe in jail. This isn't a race. It's excursion.
  351. 41:56 Well, what did you do, Doc?
  352. 41:57 Get those horses over to the starting line. They've got to be there by 9 o'clock. Good as done, Doc.
  353. 42:03 It's time to start this race. There's a minute left.
  354. 42:18 I'm going to cross the relay station and tell them to have those fresh horses ready.
  355. 42:24 Just in case.
  356. 42:30 I don't care how it is.
  357. 42:33 I know it ain't right, Blair, but I...
  358. 42:37 There's an order for John's release on bail signed by the Justice of the Peace.
  359. 42:42 $500 bail, eh?
  360. 42:43 Business must be good in Crescent City.
  361. 42:46 Come on.
  362. 43:46 Come on, come on.
  363. 43:54 Hurry.
  364. 44:06 I didn't think he was going to make it.
  365. 44:16 Oh, don't go stay in a race, Ron.
  366. 45:46 Here they come!
  367. 46:16 Oh, it's Drake's stage.
  368. 46:32 Get those funny express horses. Good boy, John.
  369. 46:46 the the
  370. 46:59 Yeah, come on. Come on.
  371. 47:04 Yes.
  372. 47:13 And Blair got loose somehow, and it's up to you to stop him.
  373. 47:19 Good luck, John.
  374. 47:21 Thanks, Barbara.
  375. 47:23 I'll be riding inside. If you need any help, you whip me up.
  376. 47:32 Ready, boys?
  377. 47:42 All ready.
  378. 47:43 Ha! Ha!
  379. 47:50 I do hope John wins.
  380. 47:53 Oh, you really don't want him to win.
  381. 47:56 Why, do? Why, he's obstinate.
  382. 47:59 and Farsi and...
  383. 48:00 Bull-headed?
  384. 48:02 Domineering? He is not.
  385. 48:35 Here he comes.
  386. 48:46 This ought to stop him.
  387. 49:05 What's the matter?
  388. 49:35 Come on.
  389. 50:05 Come on!
  390. 51:05 Oh, my God.
  391. 52:05 the the
  392. 52:24 right
  393. 52:31 They're coming a mile away, and Drake is leading.
  394. 52:40 Come on, come on. Come on, you girl.
  395. 52:56 Come on, come on.
  396. 53:56 Oh, my God.
  397. 54:33 Come on out, Rocky. We've won.
  398. 54:47 And we must never forget, my friends.
  399. 54:50 How much we owe to John Blair. That's right.
  400. 54:58 I don't know how I could ever repay you, John.
  401. 55:03 I do.
  402. 55:04 Hey, look!
  403. 55:05 Oh, boy!

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By the average clip vector of the keyframes; a measurement, not a judgement