Public Reel

McLintock (1963)

No renewal found Free in the US since 1 January 1992, on the registry's reading: registration LP26387 of 1963 by Batjac Productions, Ine was not renewed in the volumes searched. Record.

A cattle baron’s unruly household becomes a town-wide spectacle in a Western comedy whose later video editions provoked a different struggle over ownership.

In McLintock!, owning most of the country does not make a man master of his own house. John Wayne’s George Washington McLintock faces the return of his estranged wife Katherine, played by Maureen O’Hara, with demands that his customary authority cannot answer. Their quarrel becomes everybody’s business. The film’s governing joke is that a man accustomed to settling other people’s affairs cannot settle his own. Its sympathies rarely stray far from his side. Katherine can match his force of personality; the comedy nevertheless works towards making her resistance something the whole community can watch him overcome.

Andrew V. McLaglen directed the picture. 1 John Wayne’s Batjac Productions made it, with Michael Wayne serving as producer. 12 James Edward Grant wrote the screenplay. 3 The story has been read as a comic Western transposition of Shakespeare’s The Taming of the Shrew. 3 The production built thirteen new structures at Old Tucson, Arizona, giving the domestic contest a substantial public setting. 2 The town is more than a backdrop to the marriage. The household is not an enclave apart from the Western world: neighbours keep bringing that world through its doors.

Recollection offers a gentler language than command. In the shop conversation at 41:47 in the atlas copy, the line “Reminds me of the first time I ever saw you” turns an encounter into an act of remembrance. Beneath the struggle over who commands whom lies the possibility of remembered attraction. This matters because the central marriage must remain imaginable as a marriage, not merely as an arrangement the plot intends to enforce. Antagonism needs to contain an intimacy unavailable to the people looking on.

Physical conflict receives a different kind of reassurance. At 1:10:51, a confrontation is declared finished with “That’s enough. You fought it. It’s over.” The words try to impose a boundary: a fight can discharge a grievance, after which ordinary relations should resume. That is a useful rule for this comedy, which repeatedly asks rough treatment to count as social correction rather than lasting injury. It is also where the film’s assumptions become most exposed. The community’s confidence that a contest was fair and square does not oblige a viewer to accept force as an adequate answer to disagreement.

Not every domestic change requires such a contest. At 1:43:56, the woman who has waited to tell McLintock she is quitting explains that the sheriff has proposed marriage. Her announcement receives congratulations. The exchange briefly shifts attention from the central couple’s struggle to another person’s decision about her future. McLintock is someone who must be informed, not someone whose permission supplies the whole meaning of the event. Beside the expansive quarrelling, this quieter departure shows how the household can change through a conversation rather than a victory.

The film’s later circulation became a dispute over who could sell it. MPI Home Video had arranged its release with Michael Wayne. 11 Rival labels brought out the film within weeks of one another in 1993. 12 Batjac claimed that GoodTimes’ videocassette distribution infringed its separate rights in the screenplay. 7 The Ninth Circuit held that the screenplay copyright could not be used to restore control over the film. 8 That ruling did not erase every layer of protection: the litigation distinguished the separately copyrighted music. 9 Paramount’s 2014 Blu-ray was presented as a restoration after this convoluted video history. 12 The availability of a copy and the quality of its presentation remained separate matters.

The record: Registration LP26387 by Batjac Productions, Ine is dated 1 November 1963. The registry found no renewal in the renewal volumes for 1990 to 1992, nor in the Copyright Office's records from 1978 on; on that reading the term ended on 31 December 1991 and the film has been free in the US since 1 January 1992. The record does not settle every proposed use of a particular copy, especially where separately protected music is involved. 9

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. en.wikipedia.org https://en.wikipedia.org/wiki/McLintock!
  2. catalog.afi.com https://catalog.afi.com/Film/21556-MCLINTOCK
  3. tcm.com https://www.tcm.com/articles/79889/mc-lintock
  4. altfg.com https://www.altfg.com/mclintock-1963-movie-review/
  5. archive.org https://archive.org/stream/boxofficeoctdec183boxo/boxofficeoctdec183boxo_djvu.txt
  6. academia.edu https://www.academia.edu/42134952/JOHN_WAYNE_The_Man_Behind_The_Myth
  7. caselaw.findlaw.com https://caselaw.findlaw.com/court/us-9th-circuit/1274681.html
  8. law.justia.com https://law.justia.com/cases/federal/appellate-courts/F3/160/1223/534130/
  9. caselaw.findlaw.com https://caselaw.findlaw.com/us-9th-circuit/1340950.html
  10. justice.gov https://www.justice.gov/osg/brief/batjac-productions-v-goodtimes-home-video-opposition
  11. latimes.com https://www.latimes.com/archives/la-xpm-1993-04-16-ca-23729-story.html
  12. deseret.com https://www.deseret.com/2014/5/22/20541936/chris-hicks-john-wayne-s-mclintock-available...
  13. military.com https://www.military.com/undertheradar/2014/06/john-wayne-restored-in-mclintock

Inside the film

1151 shots over 2:06:47 · 517 beats in 340 sequences · 1348 transcript lines · JSON

Lands on the beat covering that second.
340 sequences; each is also a heading below.
Check before citing the shot count. A 1:51 shot at 13:24 (shot 118): either a static hold or a run of missed cuts. Treat it as unverified.

Every shot, 1151 frames with timestamps and on-screen text

How this page was made

1151 shots over 2:06:47, read from the Internet Archive copy mclintok_widescreen (McLintock.mp4, 640×276, 23.98 fps). Shot boundaries by PySceneDetect's adaptive detector; each frame links to the Archive's player at that second. Registry dossier: McLintock No renewal found. JSON

Measurements: colour film on its keyframes (1143 of 1151 shots judged colour), average shot 6.6s long, a frontal face detected in 24% of keyframes. Shots are detected automatically and each is represented by its midpoint frame.

Released 1963 (Internet Archive).

517 beats in 340 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. 517 of 517 beats annotated, 507 passed the checks, 10 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 0:04, shot 00:04Frame at 0:10, shot 10:10Frame at 0:12, shot 20:12Frame at 0:13, shot 30:13
4 of 4 shots sampled

1. Beat 1

0:00–0:14 Machine checks passed

Model synopsis: The beat displays title cards for the production company and lead actors over a stylized illustration of a cow. No characters, dialogue, or actions are shown beyond the text overlays.

Evidence, details and a link to share

Sequence 2 from 0:14

Frame at 0:23, shot 40:23
1 of 1 shots sampled

2. Beat 2

0:14–0:32 Machine checks passed

Model synopsis: The beat shows the film title card 'McLINTOCK!' with no visible characters or setting. The transcript contains a spoken lyric about nature, love, and rural locations, but these are not depicted in the frame.

“Oh, you'll be dreaming of are the birds and the bees and the flowers and the trees till you're up to your knees in love.” 0:30 · “There's a treehouse in the meadow below the mountain peak.” 0:30

Evidence, details and a link to share

Sequence 3 from 0:32

Frame at 0:40, shot 50:40Frame at 0:51, shot 60:51Frame at 1:36, shot 71:36
3 of 3 shots sampled

3. Other

0:32–2:17 Machine checks passed

Model synopsis: The beat shows opening credits over a stylized illustration of a Western scene. A voice sings lyrics about love in the country under a blue sky, and the credits list cast and songwriters.

“Where skies are blue. All you'll be dreaming of are the birds and the bees and the flowers and the trees till you're up to your knees in lov…” 1:00 · “And he makes love in the country where skies are blue. Oh, you'll be dreaming of the birds and the bees and the flowers and the bees till yo…” 1:30

Evidence, details and a link to share

Sequence 4 from 2:17

Frame at 2:19, shot 82:19Frame at 2:21, shot 92:21Frame at 2:26, shot 102:26Frame at 2:31, shot 112:31
4 of 4 shots sampled

4. Farm

2:17–2:33 Machine checks passed (partial)

Model synopsis: A man in a hat and gloves stands on a wagon in front of a house with a weather vane; later, he stands on the ground near children and a horse-drawn wagon. A hat flies off the weather vane during this sequence.

  • A hat flies off the weather vane. [frame:2]
  • The man stands on the ground near children and a horse-drawn wagon. [frame:4]
  • The man is still on the wagon, holding the reins. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“Lord to goodness.” 2:21 · “not again” 2:23

Evidence, details and a link to share

Sequence 5 from 2:33

Frame at 2:37, shot 122:37Frame at 2:44, shot 142:44Frame at 2:54, shot 162:54Frame at 3:04, shot 183:04
4 of 7 shots sampled

5. Farm

2:33–3:04 Machine checks passed (partial)

Model synopsis: A man in a hat and vest stands on a porch with another man holding a coat; a weather vane with a bull is shown; then a group of men, including one on horseback, are seen in a dusty yard with mountains in the background. A man in a hat speaks to another, who responds, while one man warns against commenting on the weather.

  • A man in a vest stands on a porch while another man holds a coat. [frame:1]
  • A weather vane with a bull figure and a hat on its head is shown against a blue sky. [frame:2]
  • A group of men, including one on horseback, stand in a dusty yard with mountains in the background. [frame:3]
  • 1 more under Evidence and details.

Named: Drago (t:2:39), Curly (t:2:39), Swaggles (t:2:41). 7 people observed.

“Howdy, Drago. Morning, Curly.” 2:39 · “Makes seven times this month he come home, Swaggles. Six. Seven? Six. Once was his birthday. That don't count. Give me my bucket. Didn't…” 2:41

Evidence, details and a link to share

Frame at 3:06, shot 193:06Frame at 3:11, shot 203:11Frame at 3:15, shot 213:15Frame at 3:18, shot 223:18
4 of 4 shots sampled

6. Porch

3:04–3:19 Machine checks passed (partial)

Model synopsis: A man in a tan coat stands near a bull on a porch while another man in white climbs a tree; a third man in a vest speaks to the man in tan. The setting is outdoors with mountains visible.

  • A man in a tan coat stands beside a bull on a porch. [frame:1]
  • A man in a vest speaks to the man in the tan coat while others stand nearby. [frame:2]
  • A man in white climbs a tree on the porch. [frame:3]
  • 1 more under Evidence and details.

Named: Carlos (t:3:06), Mr. McClintock (t:3:13). 5 people observed.

“Get out of here, Bunyan. Good morning. Good morning. Carlos, what are you doing up there?” 3:06 · “I hope I get it this time, Mr. McClintock.” 3:13

Evidence, details and a link to share

Sequence 6 from 3:19

Frame at 3:20, shot 233:20
1 of 1 shots sampled

7. Open landscape with mountains

3:19–3:20 Machine checks passed

Model synopsis: A group of men in period Western attire stand near a horse-drawn carriage in an open, arid landscape with mountains in the background. One man sits atop the carriage, while others are gathered on foot nearby.

5 people observed.

Evidence, details and a link to share

Sequence 7 from 3:20

Frame at 3:22, shot 243:22
1 of 1 shots sampled

8. Desert

3:20–3:23 Machine checks passed

Model synopsis: Two men in hats stand outdoors near a wooden structure with desert landscape in the background. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Sequence 8 from 3:23

Frame at 3:25, shot 253:25
1 of 1 shots sampled

9. Field

3:23–3:27 Machine checks passed

Model synopsis: A group of men in period Western clothing stand near horses and a wagon in an open, arid landscape. One man in a hat stands apart while others bend or crouch nearby.

2 people observed.

Evidence, details and a link to share

Sequence 9 from 3:27

Sequence 10 from 3:31

Frame at 3:32, shot 273:32
1 of 1 shots sampled

11. Field

3:31–3:33 Machine checks passed (partial)

Model synopsis: A chaotic outdoor scene shows multiple men in period clothing struggling near horses and a wagon, with one man being pulled or falling. The setting is open land with mountains in the distance, under bright daylight.

  • men struggle near horses and a wagon [frame:1]

3 people observed.

Evidence, details and a link to share

Sequence 11 from 3:33

Sequence 12 from 3:36

Frame at 3:38, shot 293:38
1 of 1 shots sampled

13. Farm

3:36–3:39 Machine checks passed

Model synopsis: Two men in cowboy hats are outdoors near a wagon; one stands on the wagon holding a rifle, the other stands beside it. The background shows a fenced area with buildings and distant mountains under a clear sky.

2 people observed.

Evidence, details and a link to share

Sequence 13 from 3:39

Frame at 3:40, shot 303:40
1 of 1 shots sampled

14. Building exterior

3:39–3:41 Machine checks passed (partial)

Model synopsis: A person stands on a ladder beside a two-story brick building with a porch, in a desert landscape. No dialogue or on-screen text is present in this beat.

  • A person stands on a ladder beside a building. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 14 from 3:41

Frame at 3:45, shot 313:45Frame at 3:53, shot 323:53Frame at 3:58, shot 333:58
3 of 3 shots sampled

15. Field

3:41–3:59 Machine checks passed (partial)

Model synopsis: A man drives a wagon along a dirt road in a rural landscape, then the scene cuts to people on a roof. Dialogue indicates a tense interaction about driving and safety.

  • A man stands on a wagon holding reins. [frame:1]
  • A wagon drives along a dirt road through a field. [frame:2]
  • Several people are on a roof, one standing on a cupola. [frame:3]

Named: Ross (t:3:50). 3 people observed.

“Get over. Did you only let me drive? You promised me you would sometime. No.” 3:43 · “Ross, you better watch that turn on the road. You're going to kill both of us one of these days.” 3:50

Evidence, details and a link to share

Sequence 15 from 3:59

Frame at 4:00, shot 344:00
1 of 1 shots sampled

16. Roof

3:59–4:01 Machine checks passed (partial)

Model synopsis: A man stands on a rooftop next to a weather vane shaped like a bull, holding a hat aloft. The sky is clear and blue, and a brick chimney is visible on the roof.

  • A man stands on a rooftop holding a hat aloft. [frame:1]

Named: Mr. Ross (t:3:59). 1 person observed.

“Thank you, Mr. Ross.” 3:59

Evidence, details and a link to share

Sequence 16 from 4:01

Sequence 17 from 4:20

Sequence 18 from 4:26

Frame at 4:27, shot 374:27Frame at 4:32, shot 384:32
2 of 2 shots sampled

19. Field

4:26–4:36 Machine checks passed (partial)

Model synopsis: Two men ride in a wagon through a dry, open landscape as cattle move nearby. One man shouts while the other holds the reins, and a voice tells someone named John to give up.

  • Two men are seated in a wagon in a field [frame:1]
  • Cattle are moving through brush and dust [frame:2]

Named: John (t:4:28). 3 people observed.

“Yaaah!” 4:27 · “Give it up, John!” 4:28

Evidence, details and a link to share

Sequence 19 from 4:36

Frame at 4:47, shot 394:47
1 of 1 shots sampled

20. Field

4:36–4:57 Machine checks passed

Model synopsis: A wide shot shows a cattle drive in progress across open terrain, with riders on horseback and a wagon moving with the herd. A voice commands to keep going and mentions a price of 15 cents per head to Kansas City.

  • A cattle drive moves across open land with riders and a wagon. [frame:1]

3 people observed.

“Keep going!” 4:48 · “15 cents abound all the way to Kansas City.” 4:49

Evidence, details and a link to share

Sequence 20 from 4:57

Frame at 5:10, shot 405:10
1 of 1 shots sampled

21. Open plain

4:57–5:23 Machine checks passed (partial)

Model synopsis: A large herd of cattle moves across a dusty, open plain under bright daylight. No people are visible in the single frame provided for this beat.

  • A large herd of cattle moves across a dusty plain. [frame:1]

Evidence, details and a link to share

Sequence 21 from 5:23

Frame at 5:25, shot 415:25
1 of 1 shots sampled

22. Town square

5:23–5:26 Machine checks passed

Model synopsis: A man on horseback moves through a dusty town square with wagons and people around. The scene is set outdoors under daylight with wooden buildings and a tent in the background.

2 people observed.

Evidence, details and a link to share

Sequence 22 from 5:26

Frame at 5:29, shot 425:29
1 of 1 shots sampled

23. Farm

5:26–5:32 Machine checks passed

Model synopsis: A wide shot shows a large herd of cattle in wooden pens under bright daylight. In the background, a few people are visible near a building and a fence line.

Evidence, details and a link to share

Sequence 23 from 5:32

Frame at 5:34, shot 435:34
1 of 1 shots sampled

24. Train station

5:32–5:37 Machine checks passed

Model synopsis: A wooden station building with a sign reading 'MCLINTOCK' stands beside railroad tracks; two men in cowboy hats sit on a wagon nearby while another man sits on the station steps. The sky is clear and the setting appears to be a rural Western town.

3 people observed.

Evidence, details and a link to share

Sequence 24 from 5:37

Sequence 25 from 5:39

Sequence 26 from 5:44

Frame at 5:46, shot 465:46
1 of 1 shots sampled

27. Railway station platform

5:44–5:48 Machine checks passed (partial)

Model synopsis: A person stands on a wooden platform beside a railway track under a clear sky. The building has large windows and a chair sits on the platform.

  • A person stands on a platform beside railway tracks. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 27 from 5:48

Frame at 5:54, shot 475:54
1 of 1 shots sampled

28. Town square

5:48–6:00 Machine checks passed (partial)

Model synopsis: A man in a suit and cowboy hat stands outdoors under a clear sky. Dialogue suggests a character named Bunny is being addressed and a comment is made about lacking kindness.

  • A man stands outdoors under a clear sky. [frame:1]

1 person observed.

“Bunny?” 5:48 · “Yeah.” 5:49

Evidence, details and a link to share

Frame at 6:22, shot 556:22Frame at 6:30, shot 566:30Frame at 6:37, shot 576:37
3 of 3 shots sampled

30. Train station

6:19–6:38 Machine checks passed (partial)

Model synopsis: Two men greet each other near a train station building; one directs another to load something into a buggy while discussing a group called 'Sooners'. The scene includes a corral with cattle and people moving around wagons and horses.

  • Two men walk toward the camera near a train station building [frame:1]
  • Men are seen near cattle in a corral, one on horseback [frame:2]
  • People move around wagons and horses in a dusty yard [frame:3]

Named: Ben (t:6:24), McLennick (t:6:25), Drago (t:6:27). 6 people observed.

“Hello, Ben.” 6:24 · “Hey, McLennick.” 6:25

Evidence, details and a link to share

Frame at 7:00, shot 617:00Frame at 7:05, shot 627:05Frame at 7:11, shot 637:11
3 of 3 shots sampled

32. Corral

6:57–7:14 Machine checks passed

Model synopsis: Two men in cowboy hats converse near a wooden corral filled with cattle; a third man on horseback is visible in the background. One man speaks about cattle numbers and money, while the other, called 'young Ben,' is encouraged to continue speaking.

Named: young Ben (t:7:11). 3 people observed.

“I got 20 head to one of any other brand on the Mesa Verde. I'm not hollering.” 6:57 · “Some of us haven't got all the money in the world.” 7:04

Evidence, details and a link to share

Frame at 7:19, shot 647:19Frame at 7:25, shot 657:25Frame at 7:27, shot 667:27Frame at 7:32, shot 677:32
4 of 4 shots sampled

33. Corral

7:14–7:36 Machine checks passed

Model synopsis: Two men in cowboy attire converse near a corral with cattle; one identifies himself by the name McLintock. The setting is an open, sunlit outdoor area with wooden fencing and distant hills.

Named: McLintock (t:7:28). 2 people observed.

“So the first time I find one of our hides wearing our brand hung on one of them settlers fences,” 7:14 · “I aim to kill me a plow boy.” 7:21

Evidence, details and a link to share

Frame at 7:39, shot 687:39Frame at 7:51, shot 707:51Frame at 8:14, shot 718:14Frame at 8:45, shot 738:45
4 of 6 shots sampled

34. Corral

7:36–8:49 Machine checks flagged: visible event not seen

Model synopsis: Two men in cowboy attire converse near a corral filled with cattle; one is identified as Mr. McLintock. A third man is seen standing on a fence railing, and a cry for help is heard near the end of the segment.

  • The two men continue their conversation near the corral. [frame:2]
  • The two men are shown in close-up, still talking. [frame:3]
  • A man is seen standing on a fence railing, looking out over the cattle. [frame:4]

Named: McLintock (t:7:37). 3 people observed.

“All right, Mr. McLintock.” 7:37 · “They're the big east out of this country. And I reckon a fella my age should call you mister.” 7:42

Flagged: visible event not seen (A man is seen standing on a fence railing, looking out over the cattle.)

Evidence, details and a link to share

Sequence 28 from 8:49

Frame at 8:58, shot 748:58
1 of 1 shots sampled

35. Corral

8:49–9:07 Machine checks passed

Model synopsis: Two men in cowboy hats stand in a corral surrounded by cattle, discussing the livestock's weight and value. One man mentions the cattle are from the North Range and not as fat as desired for shipping.

2 people observed.

“It's a nice morning, ain't it, boss?” 8:50 · “Everybody's entitled to their own opinion. Like that again, eh? Here's something that'll cheer you up.” 8:53

Evidence, details and a link to share

Frame at 9:09, shot 759:09Frame at 9:12, shot 769:12Frame at 9:17, shot 779:17Frame at 9:23, shot 789:23
4 of 4 shots sampled

36. Cattle pen

9:07–9:27 Machine checks passed (partial)

Model synopsis: A group of men in cowboy attire are gathered around cattle pens and a steam locomotive in a dusty, open landscape. One man fires a gun to get attention, prompting a reaction from others nearby.

  • A man fires a gun to get attention. [frame:2]
  • A man on a fence holds a gun while others look on. [frame:3]
  • Three men stand on a train, one holding a gun aloft. [frame:4]

Named: Greg (t:9:17). 6 people observed.

“Settlers. Every one of them with a plow and a Bible.” 9:10 · “Not the slightest idea what terrain is for it.” 9:12

Evidence, details and a link to share

Sequence 29 from 9:27

Frame at 9:29, shot 799:29
1 of 1 shots sampled

37. Field

9:27–9:30 Machine checks passed

Model synopsis: A man in a hat and blue shirt kneels beside stacked wooden logs in an outdoor setting with other people and a covered wagon visible. The scene appears to be a work area with wooden structures and people in period clothing.

4 people observed.

Evidence, details and a link to share

Sequence 30 from 9:30

Sequence 31 from 9:32

Frame at 9:34, shot 819:34
1 of 1 shots sampled

39. Field

9:32–9:36 Machine checks passed

Model synopsis: Three men in Western attire stand near a steam locomotive in an open, arid landscape. One man gestures while speaking to another; a third man stands apart, watching.

3 people observed.

Evidence, details and a link to share

Frame at 9:39, shot 829:39Frame at 9:48, shot 849:48Frame at 9:50, shot 859:50Frame at 9:55, shot 879:55
4 of 6 shots sampled

40. Town square

9:36–9:57 Machine checks passed (partial)

Model synopsis: A group of men in Western attire gather outdoors near a train and wagons under bright daylight. One man speaks about homesteading and government land grants while others listen or stand nearby.

  • People are gathered near wagons and a train. [frame:2]
  • Two men stand in front of a train, one in vest and bandana, one in suit and bow tie. [frame:3]
  • Three men stand together in front of a train, including one in a tan jacket holding his hat. [frame:4]

5 people observed.

“Come on, all of you. Gather round.” 9:36 · “You people planned a homestead and farm the Mesa Verde.” 9:47

Evidence, details and a link to share

Frame at 9:59, shot 889:59Frame at 10:04, shot 8910:04Frame at 10:14, shot 9110:14Frame at 10:20, shot 9210:20
4 of 5 shots sampled

41. Desert

9:57–10:24 Machine checks passed (partial)

Model synopsis: Two men stand near a red train engine in a desert setting while a crowd gathers; one man is identified by voice as George Washington McClintock, who controls water rights over a large area. The transcript describes past weather conditions and introduces McClintock to the crowd.

  • Two men stand near a red train engine in a desert. [frame:1]
  • A crowd of men gathers in the desert near the train. [frame:2]
  • A man in a suit addresses the crowd while McClintock looks on. [frame:3]
  • 1 more under Evidence and details.

Named: George Washington McClintock (t:10:17), Douglas (t:10:20). 3 people observed.

“We had a pretty good first year. Good summer.” 10:00 · “Easy winter. But the next year, the last rain was in February.” 10:03

Evidence, details and a link to share

Frame at 10:28, shot 9310:28Frame at 10:37, shot 9410:37Frame at 10:48, shot 9510:48
3 of 3 shots sampled

42. Field

10:24–10:54 Machine checks passed

Model synopsis: A man in a suit speaks to a group outdoors near a train, while another man in a vest and hat stands near the train's engine. The dialogue references lumber, land ownership, and mines, with one speaker expressing regret for not having killed another in the past.

5 people observed.

“You know that lumber you got?” 10:28 · “Douglas, I come close to killing you a couple of times when we were younger.” 10:35

Evidence, details and a link to share

Frame at 10:55, shot 9610:55Frame at 10:59, shot 9710:59Frame at 11:07, shot 9811:07
3 of 3 shots sampled

43. Road

10:54–11:13 Machine checks passed

Model synopsis: A man in a cowboy hat stands near a red train engine while speaking with others; a group of men in period Western attire are seated on a train car; the same man is later seen standing beside another man in formal attire. The dialogue references land, homesteads, and the Mesa Verde.

Named: Mr. McLintock (t:10:57). 3 people observed.

“That right, Mr. McLintock? You begrudge us a little free land? There's no such thing as free land.” 10:57 · “You make these homesteads go, you'll have earned every acre of it.” 11:03

Evidence, details and a link to share

Frame at 11:14, shot 9911:14Frame at 11:17, shot 10011:17Frame at 11:25, shot 10211:25Frame at 11:31, shot 10311:31
4 of 5 shots sampled

44. Field

11:13–11:37 Machine checks passed (partial)

Model synopsis: A group of men in cowboy hats and period Western clothing stand outdoors in a dry, open landscape with mountains in the distance. One man is addressed as 'Mr. McLennick' and replies that there is no trouble.

  • A group of men stand in a field, looking toward the horizon. [frame:1]

Named: Mr. McLennick (t:11:25), Jeff (t:11:25). 6 people observed.

“Serves pretty well for cattle.” 11:13 · “But it hates the plow.” 11:15

Evidence, details and a link to share

Frame at 11:44, shot 10411:44
1 of 1 shots sampled

45. Town square

11:37–11:51 Machine checks passed (partial)

Model synopsis: A man in a cowboy hat and suit is seated on horseback among a crowd outdoors; another man in a hat speaks to him. The transcript includes dialogue addressing someone named Douglas and referencing 'Mr. McClenney'.

  • A man in a hat speaks to another man on horseback. [frame:1]

Named: Douglas (t:11:37). 4 people observed.

“How about you, Douglas?” 11:37 · “And you call him Mr. McClenney.” 11:43

Evidence, details and a link to share

Frame at 11:54, shot 10511:54
1 of 1 shots sampled

46. Town square

11:51–11:57 Machine checks passed

Model synopsis: A crowd of men in cowboy hats and 19th-century Western attire gathers outdoors in a dusty, open area with wooden structures and mountains in the background. No dialogue or on-screen text is present in this beat.

Evidence, details and a link to share

Sequence 32 from 11:57

Frame at 11:59, shot 10611:59Frame at 12:02, shot 10712:02Frame at 12:09, shot 10912:09Frame at 12:11, shot 11012:11
4 of 5 shots sampled

47. Train

11:57–12:12 Machine checks passed

Model synopsis: Two men in cowboy hats speak near a train station platform; one asks for work, mentioning suitors and lacking a homestead. A third man sits atop a wagon nearby, and the setting is a dusty Western town with railroad tracks and desert landscape.

Named: Mr. McLennick (t:12:01). 3 people observed.

“Mr. McLennig?” 11:58 · “I'm a good hand with cattle, Mr. McLennick. You'd like a job.” 12:01

Evidence, details and a link to share

Frame at 12:13, shot 11112:13
1 of 1 shots sampled

48. Railway platform

12:12–12:14 Machine checks passed

Model synopsis: Two men stand on a railway platform in a desert landscape; one faces the camera while the other looks away. The setting is outdoors under bright daylight with no visible buildings beyond the platform and tracks.

2 people observed.

Evidence, details and a link to share

Sequence 33 from 12:14

Frame at 12:19, shot 11212:19
1 of 1 shots sampled

49. Train

12:14–12:23 Machine checks passed (partial)

Model synopsis: A man in a hat and coat stands near a steam locomotive at a wooden station platform. No dialogue is present in this beat.

  • A man stands on a train platform next to a steam locomotive. [frame:1]

2 people observed.

Evidence, details and a link to share

Frame at 12:24, shot 11312:24Frame at 12:28, shot 11412:28Frame at 12:35, shot 11512:35
3 of 3 shots sampled

50. Train station

12:23–12:39 Machine checks passed (partial)

Model synopsis: Two men stand on a train platform next to a freight car; one wears a top hat and has a beard. A horse-drawn wagon moves down a dusty street in a Western town.

  • A horse-drawn wagon moves down a dusty street in a Western town. [frame:1]
  • Two men stand on a train platform next to a freight car. [frame:2]
  • The two men stand in front of a building with a sign reading 'MCLINTOCK'. [frame:3]

2 people observed.

“I'm going to go.” 12:25 · “Half life, ain't it, Sonny?” 12:28

Evidence, details and a link to share

Sequence 34 from 12:39

Frame at 12:48, shot 11612:48
1 of 1 shots sampled

51. Street

12:39–12:56 Machine checks passed (partial)

Model synopsis: A man in a cowboy hat sits on a horse-drawn wagon in a Western town street; another man stands on the wagon's seat. A sign reads 'BEN BAUM'S STORE'. A voice says 'Oh, my God.'

  • A man sits on a horse-drawn wagon in a street while another stands on the wagon's seat. [frame:1]

2 people observed.

“I” 12:40 · “Oh, my God.” 12:47

Evidence, details and a link to share

Sequence 35 from 12:56

Frame at 13:10, shot 11713:10
1 of 1 shots sampled

52. Shop

12:56–13:24 Machine checks passed (partial)

Model synopsis: A man in a cowboy hat speaks to others inside a cluttered shop while another man in a vest stands nearby; a third man in a hat is visible behind a counter. A voice mentions Havana cigars, hats, and stick candy.

  • A man in a cowboy hat stands in a shop speaking to others. [frame:1]
  • A man in a vest stands facing away from the camera. [frame:1]
  • A man in a hat stands behind a counter. [frame:1]

Named: Drago (t:13:07), G.W. (t:13:19). 5 people observed.

“Ladies,” 12:56 · “the finest Chantilly lace available anywhere.” 12:57

Evidence, details and a link to share

Sequence 36 from 13:24

Frame at 14:20, shot 11814:20
1 of 1 shots sampled

53. Shop

13:24–15:16 Machine checks passed

Model synopsis: Three men are in a shop, discussing a letter and a hat. One man, Davey, is asked to help customers while another mentions a woman who delivered a letter and a request for bourbon.

Named: Davey (t:13:28), McLintock (t:13:47), Jake (t:15:16), Birnbaum (t:15:02). 7 people observed.

“Davey, you can forget about saddling up the horse. Come in here.” 13:28 · “Morning, Mr. McLintock. Morning, Davey.” 13:47

Evidence, details and a link to share

Sequence 37 from 15:16

Frame at 15:24, shot 11915:24
1 of 1 shots sampled

54. Shop

15:16–15:33 Machine checks passed

Model synopsis: A man in a cowboy hat and tan coat speaks to another man in a dark suit and hat inside a shop; a third man in an apron stands in the background. The dialogue mentions bourbon, tapering off, and Catherine being in town.

3 people observed.

“Jake, you better throw on a couple extra cases of the boss's favorite bourbon. That stuff sure gets used up fast out of our place. Which r…” 15:16 · “Catherine's in town.” 15:29

Evidence, details and a link to share

Frame at 15:43, shot 12015:43Frame at 15:56, shot 12115:56
2 of 2 shots sampled

55. Wooden building exterior and interior room

15:33–15:59 Machine checks passed (partial)

Model synopsis: Two men greet each other outside a wooden building; one then enters a furnished room where others are present. The transcript confirms a greeting addressed to 'Mr. Clifford'.

  • Two men stand outside a wooden building and exchange greetings. [frame:1]
  • The man in the tan jacket enters a room with others inside. [frame:2]

Named: Mr. Clifford (t:15:33). 5 people observed.

“Good morning, Mr. Clifford. Good morning, Mr. Clifford.” 15:33

Evidence, details and a link to share

Frame at 16:05, shot 12216:05Frame at 16:15, shot 12316:15
2 of 2 shots sampled

56. Bar

15:59–16:19 Machine checks passed

Model synopsis: Two men converse at a bar counter; one asks for the key to room 17. A third man is visible behind the bar, wiping glasses.

Named: Matt (t:16:00), G.W. (t:16:04). 3 people observed.

“Hello, morning, Matt. I'm back, darling.” 16:00 · “Morning, G.W. What are you doing in here? Why aren't you out at the desk? Helping out the bartender. Yeah, I see a busy day.” 16:04

Evidence, details and a link to share

Frame at 16:20, shot 12416:20
1 of 1 shots sampled

57. Bar

16:19–16:21 Machine checks passed

Model synopsis: A man in a hat stands at a bar counter while another man behind the counter holds a bottle. A third man is visible in the background near a doorway.

3 people observed.

Evidence, details and a link to share

Sequence 38 from 16:21

Frame at 16:23, shot 12516:23
1 of 1 shots sampled

58. Restaurant

16:21–16:24 Machine checks passed

Model synopsis: Three men enter a room with patterned walls and round tables. One man gestures toward the interior while another follows behind.

3 people observed.

Evidence, details and a link to share

Sequence 39 from 16:24

Frame at 16:27, shot 12616:27Frame at 16:31, shot 12716:31Frame at 16:35, shot 12816:35
3 of 3 shots sampled

59. Bar

16:24–16:37 Machine checks passed (partial)

Model synopsis: A man in a cowboy hat stands at a bar with three other men; in another scene, five women sit at a table with tea sets; the same man later holds a small object near a fireplace. No names are spoken in the transcript for any person.

  • A man in a cowboy hat stands at a bar with three other men. [frame:1]
  • Five women sit at a table with tea sets. [frame:2]
  • The man in the cowboy hat holds a small object near a fireplace. [frame:3]

9 people observed.

“Here” 16:27 · “Day off?” 16:31

Evidence, details and a link to share

Frame at 16:46, shot 12916:46Frame at 16:59, shot 13016:59
2 of 2 shots sampled

60. Living room

16:37–17:04 Machine checks passed (partial)

Model synopsis: A man in a cowboy hat speaks to another man in a room where women sit at a table; the transcript reveals a conversation about a woman named Katie returning to town. The setting appears to be an indoor social space with period costumes and decor.

  • A man in a cowboy hat speaks to another man while women sit at a table nearby. [frame:1]
  • The two men continue their conversation, one holding his hat, while women remain seated in the background. [frame:2]

7 people observed.

“Wonder what he's so preoccupied about. Haven't you heard? No, what?” 16:38 · “Katie's back in town. Katie? Yes, dear.” 16:43

Evidence, details and a link to share

Sequence 40 from 17:04

Frame at 17:06, shot 13117:06Frame at 17:09, shot 13217:09Frame at 17:18, shot 13317:18Frame at 17:30, shot 13417:30
4 of 4 shots sampled

61. Living room

17:04–17:34 Machine checks passed (partial)

Model synopsis: A man in a tan jacket walks through a house interior, passing other people in different rooms. The transcript includes short spoken lines indicating hesitation or surprise.

  • A man in a tan jacket walks up a staircase. [frame:1]
  • Two men stand facing each other while two women sit in the background. [frame:2]
  • The man in the tan jacket turns his head to the side in a hallway. [frame:3]
  • 1 more under Evidence and details.

5 people observed.

“I'm going to go.” 17:12 · “All right.” 17:22

Evidence, details and a link to share

Sequence 41 from 17:34

Frame at 17:35, shot 13517:35
1 of 1 shots sampled

62. Bedroom

17:34–17:36 Machine checks passed

Model synopsis: A woman with red hair in a white blouse stands indoors. The room has patterned wallpaper, a window with curtains, and a bed with white linens.

1 person observed.

Evidence, details and a link to share

Sequence 42 from 17:36

Sequence 43 from 17:43

Frame at 17:47, shot 13917:47
1 of 1 shots sampled

64. Living room

17:43–17:51 Machine checks passed (partial)

Model synopsis: A woman in a white blouse and green skirt stands at a table in a room with patterned wallpaper, arranging items. She speaks, saying she thought the other person would want something, though no recipient is visible.

  • A woman arranges items on a table. [frame:1]

1 person observed.

“I thought you'd want this.” 17:48

Evidence, details and a link to share

Sequence 44 from 17:51

Frame at 17:53, shot 14017:53
1 of 1 shots sampled

65. Living room

17:51–17:55 Machine checks passed

Model synopsis: A man in a tan jacket and patterned neckerchief stands indoors in a room with wallpaper and a framed picture. No dialogue or action is recorded in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 45 from 17:55

Frame at 18:02, shot 14118:02
1 of 1 shots sampled

66. Living room

17:55–18:10 Machine checks passed (partial)

Model synopsis: A man in a tan coat stands beside a seated woman in a white blouse in a patterned room; he holds a dark object while she looks at him. The transcript includes lines about feeling silly and lacking humor, spoken during this interaction.

  • A man stands holding a dark object while a woman sits and looks at him. [frame:1]

2 people observed.

“First dig of this bird.” 17:56 · “But who am I to upset your plans?” 17:58

Evidence, details and a link to share

Sequence 46 from 18:10

Frame at 18:48, shot 14218:48
1 of 1 shots sampled

67. Living room

18:10–19:26 Machine checks passed (partial)

Model synopsis: A man and a woman stand in a room with patterned wallpaper and framed pictures, discussing their daughter's return and custody. The woman mentions wanting the daughter to live with her in various cities, while the man dismisses the idea.

  • A man and a woman stand facing each other in a room, engaged in conversation. [frame:1]

Named: Katie (t:18:33). 2 people observed.

“Why couldn't we sit down in the hotel dining room and talk about whatever it is you want to talk about? Or why couldn't you just come over …” 18:10 · “Everybody knows, and what's the difference? We're married.” 18:20

Evidence, details and a link to share

Frame at 19:44, shot 14319:44Frame at 20:05, shot 14420:05Frame at 20:12, shot 14520:12
3 of 3 shots sampled

68. Living room

19:26–20:16 Machine checks passed (partial)

Model synopsis: A man and a woman argue in a room with patterned wallpaper; the man says he hates her while she mentions seeing his picture in the paper. The man is wearing a tan jacket and the woman has red hair and a white blouse.

  • The man and woman stand facing each other in a room with patterned wallpaper. [frame:1]
  • The man embraces the woman from behind. [frame:2]
  • The man and woman face each other again, the man speaking. [frame:3]

Named: Kate (t:19:40). 2 people observed.

“No go, Kate. I hate you. Oh, how I hate you.” 19:40 · “I saw your picture in the paper at the governor's ball.” 20:00

Evidence, details and a link to share

Sequence 47 from 20:16

Sequence 48 from 20:18

Frame at 20:21, shot 14720:21
1 of 1 shots sampled

70. Living room

20:18–20:24 Machine checks passed

Model synopsis: A woman in a white blouse and green skirt stands in profile near a door in a wallpapered room. No dialogue or action is recorded in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 49 from 20:24

Frame at 20:28, shot 14820:28
1 of 1 shots sampled

71. Private office

20:24–20:32 Machine checks passed (partial)

Model synopsis: A man in a light-colored coat and dark hat walks away down a narrow interior hallway. No names, dialogue, or time indicators are visible or audible in the supplied frames and transcript.

  • A man walks away down a hallway. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 50 from 20:32

Frame at 20:40, shot 14920:40Frame at 20:50, shot 15020:50Frame at 20:55, shot 15120:55
3 of 3 shots sampled

72. Porch

20:32–20:57 Machine checks passed (partial)

Model synopsis: Two men stand on a porch and speak; one older man in a top hat talks to a younger man in a hat and suspenders. The older man advises the younger man to 'growl' to get what he wants, citing 'human nature'.

  • Two men stand facing each other on a porch. [frame:1]
  • The younger man looks at the older man with a serious expression. [frame:2]
  • The older man looks forward with his mouth open, as if speaking. [frame:3]

2 people observed.

“Hey, Sonny!” 20:33 · “You better listen to an expert, sonny. I'm telling you, you've got to growl. Human nature gets them every time.” 20:42

Evidence, details and a link to share

Frame at 21:01, shot 15221:01Frame at 21:11, shot 15321:11
2 of 2 shots sampled

73. Street

20:57–21:19 Machine checks passed

Model synopsis: A man in a carriage speaks to another man on foot in a town street; the man on foot explains his family's hardship after his father's death. The setting is a wooden building-lined street with horses and a carriage visible.

Named: Mr. Plannigan (t:21:04), son (t:21:06). 3 people observed.

“What about that job, Mr. Plannigan?” 21:04 · “I already told you, son, I've got no need for farmers or use for them.” 21:06

Evidence, details and a link to share

Frame at 21:21, shot 15421:21Frame at 21:26, shot 15521:26
2 of 2 shots sampled

74. Building exterior

21:19–21:29 Machine checks passed (partial)

Model synopsis: Two men in cowboy hats speak outside a building with wooden siding and windows; one hires the other. The transcript confirms the hiring and names the younger man Devlin Warren.

  • Two men stand facing each other outside a building. [frame:1]
  • The older man gestures toward the younger man while speaking. [frame:2]

Named: Devlin Warren (t:21:23). 2 people observed.

“I need that job badly. What's your name?” 21:19 · “Devlin Warren.” 21:23

Evidence, details and a link to share

Sequence 51 from 21:29

Sequence 52 from 21:30

Sequence 53 from 21:32

Frame at 21:33, shot 15821:33
1 of 1 shots sampled

77. Street

21:32–21:34 Machine checks passed

Model synopsis: A man in a hat and coat stands on a porch with a street and buildings visible behind him. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 54 from 21:34

Sequence 55 from 21:41

Frame at 21:42, shot 16121:42
1 of 1 shots sampled

79. Road

21:41–21:43 Machine checks passed

Model synopsis: A man in a hat and coat stands near a black horse harnessed to a wagon on dirt ground. No dialogue or on-screen text is present in this beat.

  • A man stands near a horse harnessed to a wagon. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 56 from 21:43

Frame at 21:44, shot 16221:44Frame at 21:46, shot 16321:46Frame at 21:49, shot 16421:49
3 of 3 shots sampled

80. Town square

21:43–21:51 Machine checks passed (partial)

Model synopsis: Two men are in a town square with a wagon; one stands on the wagon while the other gestures from beside it. A third man is on the ground nearby. The transcript includes a command to hold a hog leg and a complaint about being punched for hiring someone.

  • Man in tan coat gestures toward man on wagon. [frame:1]
  • Man in light shirt is on the ground. [frame:2]
  • Man in tan coat stands with hand on wagon. [frame:3]

3 people observed.

“Hold that hog leg!” 21:43 · “I've been punched many a time in my life, but never for hiring anybody.” 21:46

Evidence, details and a link to share

Frame at 21:55, shot 16521:55Frame at 22:00, shot 16622:00Frame at 22:07, shot 16822:07Frame at 22:10, shot 16922:10
4 of 5 shots sampled

81. Street

21:51–22:11 Machine checks flagged: visible event not seen

Model synopsis: A man in a tan jacket and hat stands near a horse-drawn wagon in a Western town street, speaking with another man seated on the wagon. The dialogue suggests a disagreement about employment, with one man claiming he hires men rather than gives jobs.

  • A man in a tan jacket bends slightly near a horse. [frame:1]
  • The same man stands upright beside a wagon, looking toward the camera. [frame:2]
  • The man in tan stands beside the wagon while another man in a dark suit sits on it. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“I don't know what to say.” 21:52 · “I never begged before.” 21:56

Flagged: visible event not seen (The same man stands upright beside a wagon, looking toward the camera.)

Evidence, details and a link to share

Frame at 22:13, shot 17022:13Frame at 22:17, shot 17122:17Frame at 22:30, shot 17322:30Frame at 22:38, shot 17422:38
4 of 5 shots sampled

82. Street

22:11–22:45 Machine checks passed

Model synopsis: Two men in Western attire converse in a town street; one sits in a wagon while the other stands nearby. They discuss employment terms and agree to retrieve the standing man’s gear from a settlers’ encampment near a mine.

Named: Mr. McClane (t:22:14). 2 people observed.

“You intend to give this man a full day's work, don't you, boy?” 22:11 · “You mean you're still hiring me, Mr. McClane?” 22:14

Evidence, details and a link to share

Sequence 57 from 22:45

Sequence 58 from 23:05

Sequence 59 from 23:29

Frame at 23:39, shot 17723:39Frame at 23:52, shot 17823:52
2 of 2 shots sampled

85. Desert camp

23:29–23:56 Machine checks passed

Model synopsis: A man in a suit addresses a group of settlers in a desert camp, inviting two men named Jones and McAllister to check a map. A horse-drawn wagon and tents are visible in the background.

  • A crowd of settlers in Western attire gathers around a man in a suit. [frame:1]
  • A horse-drawn wagon and tents are visible in the desert camp. [frame:2]

Named: Jones (t:23:30), McAllister (t:23:30). 8 people observed.

“I'm sure that all you fine people are interested in knowing just what portion of this new land will be your new home. Oh, Jones and McAllist…” 23:30 · “Check the exact location.” 23:46

Evidence, details and a link to share

Frame at 23:57, shot 17923:57Frame at 24:03, shot 18024:03
2 of 2 shots sampled

86. Camp

23:56–24:08 Machine checks passed

Model synopsis: Two men converse near covered wagons in an open campsite; one man on horseback gestures while speaking to another man standing beside him. The transcript indicates a discussion about paying a rider $30 in advance for clinic services.

  • A man on horseback gestures toward another man standing beside him. [frame:1]
  • The man on horseback continues speaking to the man in the suit. [frame:2]

2 people observed.

“Go up to that boy and give him $30 I” 23:57 · “Tell him the clinic pays these riders a month in advance. In the looks of things, they can sure use it too.” 24:01

Evidence, details and a link to share

Frame at 24:11, shot 18124:11Frame at 24:19, shot 18224:19Frame at 24:25, shot 18324:25
3 of 3 shots sampled

87. Camp

24:08–24:26 Machine checks passed (partial)

Model synopsis: Two men in cowboy hats speak near covered wagons and horses in an open, arid landscape. A larger group on horseback and in a wagon is visible in the distance, suggesting a camp or gathering.

  • A man in a dark coat walks toward covered wagons. [frame:1]
  • Two men in cowboy hats stand face-to-face talking. [frame:2]
  • A group of people on horseback and in a wagon are seen in a field. [frame:3]

Named: Mr. Drago (t:24:11). 4 people observed.

“It's Mr. Drago. Good morning.” 24:11 · “Well, then, what do we owe this visit from the cattle baron?” 24:15

Evidence, details and a link to share

Sequence 60 from 24:26

Frame at 24:28, shot 18424:28
1 of 1 shots sampled

88. Camp

24:26–24:30 Machine checks passed

Model synopsis: Two men stand near a horse-drawn carriage in a dusty camp with tents and a distant derrick. One man gestures toward the horse while the other watches.

  • A man in a tan coat gestures toward a black horse while another man in a dark suit watches. [frame:1]

2 people observed.

Evidence, details and a link to share

Sequence 61 from 24:30

Frame at 24:31, shot 18524:31
1 of 1 shots sampled

89. Brushy field

24:30–24:32 Machine checks passed

Model synopsis: A group of people on horseback and on foot are gathered in a dry, brushy outdoor landscape. The scene includes horses, riders, and individuals standing near a wooden fence under daylight.

Evidence, details and a link to share

Sequence 62 from 24:32

Frame at 24:35, shot 18624:35Frame at 24:40, shot 18724:40Frame at 24:45, shot 18824:45Frame at 24:50, shot 18924:50
4 of 4 shots sampled

90. Field

24:32–24:53 Machine checks passed

Model synopsis: A group of men in Western attire stand outdoors as one man speaks to another; a Native American man on horseback greets someone named Macklin. The setting is a dry, open landscape with tents and horses, and the dialogue references Indians and the law.

Named: Macklin (t:24:38). 4 people observed.

“Say, those are Indians!” 24:32 · “Are there Indians in this homestead land? Friendly Indians, my boy.” 24:34

Evidence, details and a link to share

Frame at 24:55, shot 19024:55Frame at 25:03, shot 19225:03Frame at 25:14, shot 19525:14Frame at 25:25, shot 19725:25
4 of 8 shots sampled

91. Field

24:53–25:28 Machine checks passed

Model synopsis: Two men, one in a dark suit and hat and another in a red shirt and beaded vest, stand outdoors near tents and cacti while discussing the arrival of pardoned Indian chiefs and the need to feed them. A third man in a light jacket and hat speaks to them, and a woman is visible in the background.

Named: Macklin (t:25:11). 5 people observed.

“They came into town to meet the train. The old Indian chiefs are coming home. I heard they'd been pardoned.” 24:55 · “Could I cut out a couple ahead of your steers to feed them? Otherwise, some of these settlers' milk cows are going to disappear.” 25:06

Evidence, details and a link to share

Frame at 25:36, shot 19825:36Frame at 25:47, shot 19925:47Frame at 25:52, shot 20025:52
3 of 3 shots sampled

92. Desert

25:28–25:55 Machine checks passed (partial)

Model synopsis: Two men in hats speak outdoors near horses and a crowd; one is addressed as Mr. McQueen. A woman is mentioned as having been handsome 20 years ago, and Mr. Douglas is referenced in the dialogue.

  • Two men stand facing each other with a woman between them, surrounded by a crowd. [frame:1]
  • The two men continue talking, with the woman looking up at them. [frame:2]
  • The two men walk forward, flanked by horses and people. [frame:3]

Named: Mr. McQueen (t:25:34), Mr. Douglas (t:25:45). 6 people observed.

“Hello, Mr. McQueen. Tiny Mouse, it's nice to see you.” 25:34 · “You wouldn't believe it now, but 20 years ago she was a mighty handsome maid.” 25:39

Evidence, details and a link to share

Frame at 26:12, shot 20126:12
1 of 1 shots sampled

93. Field

25:55–26:30 Machine checks passed

Model synopsis: Two men in Western attire stand outdoors near a wagon and horses, discussing a woman who is a widow and has a hard road ahead. One man suggests hiring her after learning the cookies he holds were baked by her.

2 people observed.

“It was just like this. I had a dead beat on old running buffalo.” 25:56 · “That's back in that trouble in the forest. Remember? I remember.” 26:03

Evidence, details and a link to share

Frame at 26:55, shot 20826:55Frame at 26:59, shot 20926:59Frame at 27:08, shot 21027:08Frame at 27:18, shot 21127:18
4 of 4 shots sampled

95. Field

26:54–27:20 Machine checks passed (partial)

Model synopsis: Two adults stand outdoors near covered wagons and a horse-drawn carriage; a man in a suit speaks to another man holding food; a woman and child are nearby; a man holding an axe stands in a doorway. No names are spoken that can be linked to the visible people.

  • Two adults stand outdoors near covered wagons. [frame:1]
  • A man in a suit speaks to a man holding food. [frame:2]
  • A woman and child stand near a man with his hand on his hip. [frame:3]
  • 1 more under Evidence and details.

7 people observed.

“Yes, Mr. McClintock?” 26:54 · “They're great.” 26:56

Evidence, details and a link to share

Frame at 27:25, shot 21227:25Frame at 27:32, shot 21327:32Frame at 27:38, shot 21427:38
3 of 3 shots sampled

96. Street

27:20–27:42 Machine checks passed (partial)

Model synopsis: A group of people, including a man in a grey suit and a man in a tan jacket, stand outdoors while a man in a vest holds a large cleaver indoors. The dialogue suggests a retirement or farewell conversation involving advice and family.

  • A man in a vest holds a large cleaver indoors. [frame:2]

6 people observed.

“I'm not talking about firing you, I'm retiring you! You've been rustling food for us for 30 years.” 27:20 · “We're going to put you out to pasture. All you'll have to do is give advice. Be one of the family.” 27:27

Evidence, details and a link to share

Frame at 27:43, shot 21527:43Frame at 27:46, shot 21627:46Frame at 27:50, shot 21727:50Frame at 27:54, shot 21827:54
4 of 4 shots sampled

97. Other

27:42–27:56 Machine checks flagged: visible event not seen

Model synopsis: A man holding a large axe stands in a doorway while two men in hats converse nearby. The transcript includes dialogue about family and behavior, with one line mentioning cutting off a pigtail.

  • A man stands in a doorway holding a large axe. [frame:1]
  • Two men in hats stand together, one holding scissors. [frame:2]
  • The man with the axe remains in the doorway. [frame:3]
  • 1 more under Evidence and details.

4 people observed.

“I'll be one of her family?” 27:43 · “I give you my solemn word.” 27:45

Flagged: visible event not seen (The man with the axe remains in the doorway.)

Evidence, details and a link to share

Sequence 63 from 27:56

Frame at 28:05, shot 21928:05Frame at 28:19, shot 22028:19
2 of 2 shots sampled

98. Dining room

27:56–28:24 Machine checks passed

Model synopsis: A group of people are seated around a formal dining table in a large, decorated room. One woman stands and speaks while others listen or eat, and a man calls out for someone to come closer.

7 people observed.

“All right, all right. I'll be one of her family. Get here, get here. Get here.” 27:56 · “I hope everything is satisfactory. This is such a big house, it'll take me a while to get used to things.” 28:11

Evidence, details and a link to share

Frame at 28:27, shot 22128:27Frame at 28:34, shot 22228:34Frame at 28:46, shot 22328:46
3 of 3 shots sampled

99. Dining room

28:24–28:53 Machine checks passed (partial)

Model synopsis: A group of people are seated at a formal dining table in a well-appointed room; one person speaks about apple pie and suggests a drink while others assist with clearing dishes. A woman and a man are seen moving near a sideboard in the background.

  • A man raises his hands while seated at a dining table. [frame:1]
  • A woman stands near the table while others are seated. [frame:2]
  • A woman and a man are near a sideboard in the background while others remain seated. [frame:3]

Named: Alice (t:28:35), Carlos (t:28:35). 8 people observed.

“I don't mind the spine. Everything on nicely. Finally. Fine.” 28:26 · “Best apple pie ever had. Curly's right, ma'am. Hated to leave that last bite.” 28:30

Evidence, details and a link to share

Sequence 64 from 28:53

Frame at 29:19, shot 22529:19Frame at 29:22, shot 22629:22Frame at 29:30, shot 22829:30Frame at 29:34, shot 22929:34
4 of 5 shots sampled

101. Living room

29:18–29:36 Machine checks passed (partial)

Model synopsis: A woman in a green dress and hat stands in a hallway while a man in light-colored clothing walks toward her; three men are seen behind a desk in a room with a fireplace. The woman speaks to someone named Carlos and refers to luggage, while another man is told to help with it.

  • Miss MacLintar stands in a hallway holding a box. [frame:1]
  • A man in light clothing walks toward Miss MacLintar. [frame:2]
  • Three men stand behind a desk in a room with a fireplace. [frame:3]
  • 1 more under Evidence and details.

Named: Miss MacLintar (t:29:19), Curly (t:29:32), Carlos (t:29:19), Mr. McLennan (t:29:34). 8 people observed.

“Miss MacLintar! - Oh, hello, Carlos.” 29:19 · “Run and help the driver with my luggage.” 29:22

Evidence, details and a link to share

Frame at 29:37, shot 23029:37Frame at 29:44, shot 23129:44Frame at 29:52, shot 23229:52
3 of 3 shots sampled

102. Living room

29:36–29:55 Machine checks passed (partial)

Model synopsis: A man in a vest and a woman in a green dress speak in a decorated interior room; a second man in a vest is also present. The dialogue indicates the woman is moving back in and values her daughter’s company over discomfort.

  • The second man is visible standing near a doorway, listening. [frame:3]

3 people observed.

“Are you moving back in? Yes.” 29:36 · “But nothing has changed except my place of residence.” 29:39

Evidence, details and a link to share

Frame at 30:08, shot 23330:08Frame at 30:23, shot 23430:23Frame at 30:26, shot 23530:26Frame at 30:30, shot 23630:30
4 of 4 shots sampled

103. Living room

29:55–30:32 Machine checks passed

Model synopsis: A woman in a green dress and yellow hat speaks with two men in a wood-paneled room with a staircase; one man wears a white suit and the other a vest and shirt. The dialogue reveals introductions, a comment on politeness, and a correction of the woman's name from 'Kate' to 'Catherine'.

Named: Catherine (t:29:56), Dev Warren (t:29:56). 3 people observed.

“Oh, Catherine, this is, uh, Dev Warren.” 29:56 · “Well, how refreshing. A polite young man here.” 30:05

Evidence, details and a link to share

Frame at 30:33, shot 23730:33Frame at 30:38, shot 23930:38Frame at 30:46, shot 24130:46Frame at 30:57, shot 24330:57
4 of 7 shots sampled

104. Private office

30:32–30:59 Machine checks passed (partial)

Model synopsis: A man in a vest stands in a room with ornate furniture while a conversation about social standing and a hired hand named Huck occurs. The dialogue suggests tension between the man and another character, with a third person, Huck, being addressed about placing items in the master bedroom.

  • A man stands with arms crossed in a room with ornate furniture. [frame:1]
  • The man shifts to hands on hips as dialogue continues about ignorance and truth. [frame:3]

Named: Mrs. McLintock (t:30:53), Huck (t:30:56). 3 people observed.

“Are you going to stand there with that stupid look on your face while the hired help insults your wife?” 30:36 · “He doesn't know any better than to tell the truth. And I can't help this stupid look. I started acquiring it as you gained in social...” 30:44

Evidence, details and a link to share

Frame at 31:00, shot 24431:00Frame at 31:05, shot 24631:05Frame at 31:11, shot 24731:11Frame at 31:19, shot 24931:19
4 of 6 shots sampled

105. Living room

30:59–31:23 Machine checks flagged: period without evidence

Model synopsis: A woman in a green dress and yellow hat speaks with a man in a white coat and another man in a vest; they are in a room with period furnishings. The transcript indicates instructions to move Mr. McClintock's belongings to a room behind the stairs so he does not disturb the household when he returns before daybreak.

Named: Mr. McClintock (t:31:05). 4 people observed.

“But move Mr. McClintock's things into another room. Oh, the one back of the stairs would be best so that he can't wake up the entire house…” 31:05 · “Just before daybreak.” 31:14

Flagged: period without evidence (1860s to 1883s)

Evidence, details and a link to share

Frame at 31:31, shot 25031:31Frame at 31:45, shot 25231:45Frame at 31:49, shot 25331:49Frame at 31:58, shot 25531:58
4 of 6 shots sampled

106. Living room

31:23–31:59 Machine checks passed (partial)

Model synopsis: A man and two women are introduced in a room with period furnishings; one woman corrects her name and another is identified as the cook. The man responds to a comment about the household being bachelor-like by saying it both is and isn't.

  • Mr. McClintock presents cigars to Mrs. McClintock and Mrs. Warren. [frame:1]

Named: Mr. McClintock (t:31:23), Mrs. McClintock (t:31:23), Mrs. Warren (t:31:29). 3 people observed.

“Here's your cigars, Mr. McClintock. I am Mrs. McClintock. Kate, I mean Catherine.” 31:23 · “This is the cook, this is the lady who does the cooking for us. Mrs. Warren, Mrs. McClinter.” 31:29

Evidence, details and a link to share

Frame at 32:03, shot 25632:03Frame at 32:15, shot 25732:15Frame at 32:25, shot 25832:25
3 of 3 shots sampled

107. Private office

31:59–32:25 Machine checks passed (partial)

Model synopsis: A woman in a green dress and hat speaks to two others in a formal interior, mentioning her daughter's return from school and her plan to leave. A man in a white coat reacts with surprise near a staircase.

  • The man in the white coat gestures with both hands near a staircase. [frame:3]

Named: Mrs. Warren (t:32:00). 4 people observed.

“Mrs. Warren...” 32:00 · “It has been a bachelor's household for quite some time. And it will be again just as soon as I am out of here, which will be as quickly as…” 32:02

Evidence, details and a link to share

Frame at 32:28, shot 25932:28Frame at 32:41, shot 26032:41Frame at 32:53, shot 26132:53Frame at 32:57, shot 26232:57
4 of 4 shots sampled

108. Living room

32:25–32:59 Machine checks passed (partial)

Model synopsis: A woman in a green dress and yellow hat stands on a staircase asserting authority while others, including a man in a vest and a man in a white coat, respond to her. The scene includes dialogue about household orders and a request for toast.

  • Mrs. McLintock stands on the staircase and speaks authoritatively. [frame:1]
  • Mrs. McLintock remains on the staircase while others look up at her. [frame:2]
  • Mrs. McLintock leans on the banister, still in command. [frame:3]
  • 1 more under Evidence and details.

Named: Mrs. McLintock (t:32:47). 4 people observed.

“Until then, I am mistress in this house. And I will give the orders.” 32:27 · “As soon as my things are put away, I want to talk to you about Rebecca.” 32:41

Evidence, details and a link to share

Sequence 65 from 32:59

Frame at 33:06, shot 26333:06
1 of 1 shots sampled

109. Living room

32:59–33:13 Machine checks passed (partial)

Model synopsis: A man in a cowboy hat and coat stands in a room with patterned wallpaper and furniture while speaking. Another man is partially visible behind him. The transcript includes dialogue about a date and a refusal to talk.

  • A man in a cowboy hat stands in a room and speaks. [frame:1]

2 people observed.

“Wait a minute, boss. Where do you think you're going?” 32:59 · “I just remembered I got a date. But she said she won't have a talk. I heard.” 33:02

Evidence, details and a link to share

Sequence 66 from 33:13

Frame at 33:28, shot 26433:28Frame at 33:47, shot 26533:47Frame at 33:52, shot 26633:52Frame at 33:57, shot 26733:57
4 of 4 shots sampled

110. Sidewalk

33:13–33:58 Machine checks flagged: time_of_day without evidence

Model synopsis: Two men converse outside a house at night while another man rides away on horseback. The dialogue includes a question about the word 'unprepossessing' and a comment about someone burning his last bridge.

  • A man rides away on horseback while others watch from a porch. [frame:4]

5 people observed.

“Good evening, Lamb. - Good evening, Mr. Mack. - Yep.” 33:13 · “Say, Mr. Mack, what does unprepossessing mean?” 33:19

Flagged: time_of_day without evidence (night)

Evidence, details and a link to share

Sequence 67 from 33:58

Sequence 68 from 34:13

Sequence 69 from 34:14

Frame at 34:15, shot 27034:15
1 of 1 shots sampled

113. Living room

34:14–34:15 Machine checks passed

Model synopsis: A woman in a green dress stands on a grand staircase inside a large house. The setting includes ornate railings and a portrait on the wall.

1 person observed.

Evidence, details and a link to share

Sequence 70 from 34:15

Sequence 71 from 34:24

Frame at 35:01, shot 27235:01Frame at 35:44, shot 27335:44
2 of 2 shots sampled

115. Private office

34:24–35:50 Machine checks passed (partial)

Model synopsis: A woman orders a carriage after a man on horseback leaves; a man in a white shirt and bow tie confronts a younger man about preparing the carriage. Later, a man in a red scarf stands near a horse-drawn carriage at night.

  • A man in a red scarf stands near a horse-drawn carriage at night. [frame:2]

4 people observed.

“Drago?” 34:24 · “Get me a carriage.” 34:48

Evidence, details and a link to share

Frame at 35:53, shot 27435:53Frame at 35:59, shot 27535:59Frame at 36:05, shot 27736:05Frame at 36:08, shot 27836:08
4 of 5 shots sampled

116. Bar

35:50–36:08 Machine checks passed (partial)

Model synopsis: A man in a cowboy hat enters a crowded saloon where two women are standing at the bar; a man outside is seen near a horse. The transcript includes greetings and a reference to 'Mac'.

  • A man stands outside near a horse. [frame:1]
  • A crowded saloon interior is shown with patrons and two women at the bar. [frame:2]
  • Two women smile at the bar while a man in a suit stands behind them. [frame:3]
  • 1 more under Evidence and details.

Named: Mac (t:36:05), Elmer (t:35:56). 7 people observed.

“Yeah.” 35:54 · “Two more, Elmer.” 35:56

Evidence, details and a link to share

Frame at 36:11, shot 27936:11Frame at 36:26, shot 28036:26Frame at 36:40, shot 28136:40Frame at 36:42, shot 28236:42
4 of 4 shots sampled

117. Bar

36:08–36:44 Machine checks passed (partial)

Model synopsis: A man in a cowboy hat and coat stands in a doorway looking into a crowded bar where a woman in a purple dress and floral headpiece holds a tray. Another scene shows a woman in a green dress and yellow hat in a kitchen-like area, and a final scene shows the same woman in purple standing over a chessboard with two men seated nearby.

  • A woman in a purple dress holds a tray while standing near a man in a cowboy hat inside a bar. [frame:1]
  • A man in a cowboy hat stands in a doorway looking into a crowded bar. [frame:2]
  • A woman in a green dress and yellow hat stands in a kitchen-like area with jars and books. [frame:3]
  • 1 more under Evidence and details.

7 people observed.

“Lady” 36:09 · “Evening GW. Jake.” 36:12

Evidence, details and a link to share

Frame at 36:45, shot 28336:45Frame at 36:50, shot 28436:50Frame at 37:25, shot 28637:25Frame at 37:44, shot 28737:44
4 of 5 shots sampled

118. Private office

36:44–37:49 Machine checks passed (partial)

Model synopsis: A woman in a green suit and yellow hat enters a room where two men are playing chess; another man offers her sherry. A third man stands in the background as dialogue references 'Mr. McClintock' and 'Catherine'.

  • A woman in a green suit enters a room with a chessboard and two seated men. [frame:1]
  • The woman stands with hands on hips while a man in a vest offers her a glass. [frame:2]
  • The woman continues standing as the seated man looks at her. [frame:3]
  • 1 more under Evidence and details.

Named: Catherine (t:37:20), Mr. Birnbaum (t:37:45). 4 people observed.

“Oh... Aunt Camille.” 36:52 · “I'm learning the game of chairs.” 36:56

Evidence, details and a link to share

Frame at 37:54, shot 28837:54Frame at 38:01, shot 28938:01
2 of 2 shots sampled

119. Private office

37:49–38:03 Machine checks passed (partial)

Model synopsis: A woman in a green dress and large hat stands beside a seated man in a vest and bandana, while another man sits across from them at a table; a fourth man stands in the background. The woman speaks about needing to talk and mentions waiting for daylight when fighting Indians.

  • A woman in a green dress stands beside a seated man at a table while another man sits across from them and a fourth stands behind. [frame:1]
  • The woman raises a glass to her lips while the seated man looks at her. [frame:2]

4 people observed.

“Now, Mr. McClintock, we have an awful lot to talk over. First thing I learned about Indian fighting was to wait for daylight.” 37:56

Evidence, details and a link to share

Frame at 38:05, shot 29038:05Frame at 38:10, shot 29138:10Frame at 38:17, shot 29238:17
3 of 3 shots sampled

120. Private office

38:03–38:20 Machine checks passed

Model synopsis: A man smokes a cigar while speaking to a woman in a green dress and yellow hat; two other men enter the scene. The dialogue references Indian fighting and a ride out to the location.

Named: Catherine (t:38:07), Mr. McLennick (t:38:13). 4 people observed.

“What has our conversation got to do with Indian fighting?” 38:04 · “Indian fighting is good experience for our kind of conversations. Oh. It'll wait, Catherine.” 38:07

Evidence, details and a link to share

Frame at 38:25, shot 29338:25Frame at 38:34, shot 29438:34Frame at 38:39, shot 29538:39
3 of 3 shots sampled

121. Private office

38:20–38:40 Machine checks passed (partial)

Model synopsis: Two men are seated at a chessboard in a room with others standing around; a woman in a green suit and hat speaks to them. An older man with gray hair and a mustache gestures while speaking.

  • Two men sit at a chessboard while others stand around them. [frame:1]
  • The woman in green speaks to the men at the chessboard. [frame:2]
  • The older man with gray hair points his finger while speaking. [frame:3]

5 people observed.

“It's your move.” 38:20 · “No, it's your move. I just canceled it. Now, look here. You're not going to sit here all night long and play chess when the matter of our…” 38:22

Evidence, details and a link to share

Frame at 38:41, shot 29638:41Frame at 38:44, shot 29738:44Frame at 38:53, shot 29938:53Frame at 38:55, shot 30038:55
4 of 5 shots sampled

122. Private office

38:40–38:55 Machine checks passed (partial)

Model synopsis: A woman in a green dress and yellow hat speaks to a man in a vest and bandana in an interior setting; the transcript mentions Arthur being a mess and a comment on the woman's hair color.

  • The woman in green adjusts her hat. [frame:1]
  • The woman in green speaks to Arthur and others in the room. [frame:2]
  • The woman in green touches her hair while speaking. [frame:3]
  • 1 more under Evidence and details.

Named: Arthur (t:38:42). 5 people observed.

“Arthur is a mess after that awful ride. No, no.” 38:42 · “It's just that I haven't seen you for a long time.” 38:46

Evidence, details and a link to share

Frame at 38:56, shot 30138:56Frame at 39:02, shot 30339:02Frame at 39:11, shot 30639:11Frame at 39:14, shot 30839:14
4 of 8 shots sampled

123. Private office

38:55–39:14 Machine checks passed (partial)

Model synopsis: A man with a mustache and a woman in a green dress and large hat are shown in an interior setting. The man is audible and speaks about memory and hair, while the woman is visible and appears to be responding.

  • The woman in green is visible, looking toward Mr. Birnbaum. [frame:3]

Named: Mr. Birnbaum (t:39:04). 2 people observed.

“It's a funny thing that tricks a man's memory will play, huh?” 39:00 · “Mr. Birnbaum, I think that you've completely lost your mind.” 39:04

Evidence, details and a link to share

Frame at 39:18, shot 30939:18
1 of 1 shots sampled

124. Private office

39:14–39:22 Machine checks passed

Model synopsis: A woman in a green dress and yellow hat sits at a table with three men in a dimly lit interior; one man laughs while another listens with his hand to his face. The woman speaks about not being like 'blondine trollops' preferred by someone.

4 people observed.

“If I had, it would be none of your business. I'm certainly not going to put myself in the place of those blondine trollops that you seem to…” 39:15

Evidence, details and a link to share

Sequence 72 from 39:22

Frame at 39:33, shot 31039:33Frame at 39:45, shot 31139:45
2 of 2 shots sampled

125. Private office

39:22–39:48 Machine checks passed (partial)

Model synopsis: A woman in a green dress lies on a bed while a man in a dark coat stands in a cluttered room. The transcript includes short exclamations and a call of 'Marty!'

  • A woman lies on a bed in a green dress. [frame:1]
  • A man stands in a cluttered room holding a hat. [frame:2]

Named: Marty (t:39:42). 2 people observed.

“Take it.” 39:23 · “Oh!” 39:27

Evidence, details and a link to share

Sequence 73 from 39:48

Sequence 74 from 40:02

Frame at 40:07, shot 31340:07Frame at 40:18, shot 31440:18
2 of 2 shots sampled

127. Private office

40:02–40:23 Machine checks passed (partial)

Model synopsis: Two men play chess at a table while a third man stands nearby; a woman in a green dress reclines in a chair. A man with a mustache holds up an oil lamp, looking at it.

  • Two men sit at a chessboard; one stands behind them; a woman reclines nearby. [frame:1]
  • A man holds up an oil lamp and looks at it. [frame:2]

4 people observed.

“Pretty good.” 40:05 · “Fair?” 40:07

Evidence, details and a link to share

Sequence 75 from 40:23

Frame at 40:29, shot 31540:29Frame at 40:35, shot 31640:35
2 of 2 shots sampled

128. Private office

40:23–40:36 Machine checks passed (partial)

Model synopsis: A man adjusts a woman's hat while she reclines; another scene shows three men in a room with one seated at a chessboard. No names are spoken in the transcript for this beat.

  • A man adjusts a woman's hat. [frame:1]
  • Three men are in a room with one seated at a chessboard. [frame:2]

5 people observed.

“Come on.” 40:24

Evidence, details and a link to share

Frame at 41:13, shot 32041:13Frame at 41:19, shot 32141:19Frame at 41:22, shot 32241:22
3 of 3 shots sampled

130. Private office

41:08–41:24 Machine checks passed (partial)

Model synopsis: A man in a vest stands near a desk while another man sits nearby; a woman in a green dress and hat enters holding a can. The man at the desk mentions finding something to return to the seated man.

  • A man in a vest stands near a desk while another man sits nearby. [frame:1]
  • The man in the vest turns away from the desk. [frame:2]
  • A woman in a green dress and hat enters holding a can, standing near the seated man. [frame:3]

3 people observed.

“Good old condensed milk.” 41:08 · “That reminds me. I was cleaning out my desk the other day.” 41:12

Evidence, details and a link to share

Frame at 42:14, shot 33042:14Frame at 42:26, shot 33142:26Frame at 42:37, shot 33342:37Frame at 42:44, shot 33442:44
4 of 5 shots sampled

133. Shop

42:05–42:46 Machine checks passed (partial)

Model synopsis: A woman in a green jacket and yellow hat speaks with a man in a vest inside a shop; another man in a vest and bandana is shown in a separate shot; the scene cuts to a view through a doorway showing two men outside, then to a group inside the shop including the woman and several men. The transcript mentions a baby, canned milk, a sheriff, and Superstition Creek.

  • A woman in a green jacket and yellow hat speaks with a man in a vest inside a shop. [frame:1]
  • A man in a blue shirt, brown vest, and red bandana is shown in a separate shot. [frame:2]
  • A view through a doorway shows two men standing outside near a wagon. [frame:3]
  • 1 more under Evidence and details.

8 people observed.

“And in the bundle was the most beautiful baby I ever saw.” 42:06 · “You walked all the way from Superstition Creek” 42:18

Evidence, details and a link to share

Frame at 42:54, shot 33542:54Frame at 43:05, shot 33643:05
2 of 2 shots sampled

134. Shop

42:46–43:08 Machine checks passed

Model synopsis: Three men in period Western attire stand inside a shop, engaged in a confrontation about the presence of Indigenous people in town. One man, identified as Sheriff Lord, is accused of overstepping his authority by allowing them to stay.

Named: Sheriff Lord (t:42:52). 3 people observed.

“So there you are, Sheriff.” 42:46 · “I told you you were headed for trouble.” 42:49

Evidence, details and a link to share

Frame at 43:15, shot 33743:15Frame at 43:26, shot 33843:26
2 of 2 shots sampled

135. Shop

43:08–43:29 Machine checks passed (partial)

Model synopsis: Two men are shown in an interior setting with shelves of goods behind them; one man speaks about land ownership and Indian policy while the other listens. The dialogue references official records and the treatment of Native Americans.

  • Two men stand in a shop with shelves of goods behind them. [frame:1]
  • Two other men stand in the same shop; one is speaking. [frame:2]

4 people observed.

“Well, you check the books in the recorder's office and you'll find I do own a fair piece of it.” 43:08 · “Agard, if you knew anything about Indians, you'd know that they're doing their level best to put up with our so-called benevolent patronage.” 43:14

Evidence, details and a link to share

Frame at 43:35, shot 33943:35Frame at 43:43, shot 34043:43
2 of 2 shots sampled

136. Shop

43:29–43:46 Machine checks passed (partial)

Model synopsis: Two men stand in a shop interior; one speaks about chiefs and classroom behavior. A group of four men, including the first two, are shown in the same shop, discussing getting a girl back.

  • A man in a hat is visible in a group of four men in a shop. [frame:2]

4 people observed.

“Those chiefs have been giving orders all their lives. It's pretty hard for them to understand that they have to hold up their hand like a..…” 43:30 · “Schoolboy in a classroom.” 43:36

Evidence, details and a link to share

Frame at 43:47, shot 34143:47Frame at 43:52, shot 34243:52Frame at 43:57, shot 34343:57Frame at 44:10, shot 34444:10
4 of 4 shots sampled

137. Shop

43:46–44:22 Machine checks passed (partial)

Model synopsis: A woman in a green dress and yellow hat stands with two men in a shop; one man speaks about settlers arming against Indians who kidnapped a girl. Another man in a suit and hat is addressed as Mr. Douglas and called a fool by a woman named Miss McLennan.

  • A woman in a green dress and yellow hat stands with two men in a shop. [frame:1]
  • A group of four men stand in a shop, one speaking. [frame:2]
  • Two men in suits and hats stand side by side in a shop. [frame:3]
  • 1 more under Evidence and details.

Named: Miss McLennan (t:44:08), G.W. (t:44:08), Mr. Douglas (t:44:08). 5 people observed.

“The girly Indians kidnapped. But don't worry.” 43:46 · “I armed the settlers and set them to rounding up those red devils.” 43:50

Evidence, details and a link to share

Sequence 76 from 44:22

Frame at 44:24, shot 34544:24Frame at 44:27, shot 34644:27Frame at 44:34, shot 34844:34Frame at 44:41, shot 34944:41
4 of 5 shots sampled

138. Town square

44:22–44:45 Machine checks passed (partial)

Model synopsis: A man on horseback speaks with others near a storefront in a Western town; a boy walks past. The dialogue mentions concern about someone named Katie and a character called Drago.

  • A boy walks past the group near the storefront. [frame:3]

5 people observed.

“Come into town. I got worried. What about? I thought maybe Katie shot you.” 44:23 · “Not yet, Drago, but it took restraint.” 44:23

Evidence, details and a link to share

Frame at 44:48, shot 35044:48Frame at 44:54, shot 35244:54Frame at 44:56, shot 35344:56Frame at 44:59, shot 35544:59
4 of 6 shots sampled

139. Town square

44:45–45:00 Machine checks passed (partial)

Model synopsis: A woman in a green dress and a man in a cowboy hat are on a horse-drawn wagon in a dusty town. A man falls off a horse and lands face down in the dirt while others watch.

  • A woman in green and a man in a cowboy hat sit on a wagon pulled by black horses. [frame:1]
  • A man in a cowboy hat stands next to a black horse, looking toward the camera. [frame:2]
  • A man falls off a horse in a dusty street while others watch. [frame:3]
  • 1 more under Evidence and details.

Named: Agar (t:44:48). 6 people observed.

“I'm driving. Yes, ma'am. Agar, what are you doing? Thank you, Agar. Agar, this is serious. Stay with him, Agar. Stay with him.” 44:48

Evidence, details and a link to share

Frame at 45:01, shot 35645:01Frame at 45:05, shot 35745:05Frame at 45:10, shot 35845:10
3 of 3 shots sampled

140. Street

45:00–45:12 Machine checks passed (partial)

Model synopsis: A man in a suit sits in a horse-drawn carriage while another man in a cowboy hat stands nearby; a third man in a suit is on the ground, then is helped up by the cowboy. The transcript includes a name 'Agar' and comments about a horse being 'a little green.'

  • Man in suit sits in carriage. [frame:1]
  • Man in gray suit lies on ground. [frame:2]
  • Man in brown shirt helps man in gray suit to stand. [frame:3]

3 people observed.

“Agar.” 45:00 · “Will you stop showing off and getting this, Muggie? Mercy.” 45:01

Evidence, details and a link to share

Frame at 45:14, shot 35945:14Frame at 45:17, shot 36045:17Frame at 45:20, shot 36145:20
3 of 3 shots sampled

141. Street

45:12–45:22 Machine checks passed (partial)

Model synopsis: A man in a light suit climbs into a horse-drawn carriage while another man on horseback urges departure. A woman in a green dress and yellow hat sits in the carriage as a man in a dark suit stands nearby. The setting is a dusty Western town street with wooden buildings.

  • A man in a light suit climbs into a horse-drawn carriage. [frame:1]
  • Two men on horseback, one gesturing forward, appear to urge departure. [frame:2]
  • A woman in a green dress sits in the carriage while a man in a dark suit stands beside it. [frame:3]

5 people observed.

“Oh, my God.” 45:16 · “Let's go.” 45:18

Evidence, details and a link to share

Frame at 45:31, shot 36245:31Frame at 45:41, shot 36345:41Frame at 45:44, shot 36445:44Frame at 45:47, shot 36545:47
4 of 4 shots sampled

142. Street

45:22–45:50 Machine checks passed (partial)

Model synopsis: A woman in a green dress and yellow hat stands in a horse-drawn carriage on a dusty street while a man in a cowboy hat speaks to her; later, riders on horseback move through a town and gather near a corral, and two men on horseback pass a small station building.

  • A woman stands in a carriage while a man speaks to her beside it. [frame:1]
  • Riders on horseback move down a dusty street past a railroad crossing sign. [frame:2]
  • Men gather around horses near a corral with some kneeling and others standing. [frame:3]
  • 1 more under Evidence and details.

6 people observed.

“Just where do you think you're going? Don't use that range, boss. Tone a voice with me.” 45:25 · “Let it from Mr. Poor Boy's mind. Mount up some riders.” 45:45

Evidence, details and a link to share

Sequence 77 from 46:15

Frame at 46:19, shot 36746:19
1 of 1 shots sampled

144. Field

46:15–46:24 Machine checks passed

Model synopsis: A group of people on horseback and on foot are gathered in a dusty, hilly outdoor area with wooden structures. A horse-drawn carriage is visible among them, and a wooden pole stands in the foreground.

Evidence, details and a link to share

Sequence 78 from 46:24

Frame at 46:25, shot 36846:25
1 of 1 shots sampled

145. Other

46:24–46:25 Machine checks passed

Model synopsis: A man in a dark coat holds a pistol while standing near a wooden structure with three other men; one man in red is elevated and restrained, another holds a rope. The scene is outdoors under a clear sky.

4 people observed.

Evidence, details and a link to share

Frame at 46:26, shot 36946:26Frame at 46:29, shot 37046:29Frame at 46:37, shot 37246:37Frame at 46:44, shot 37346:44
4 of 5 shots sampled

146. Other

46:25–46:48 Machine checks passed (partial)

Model synopsis: A confrontation unfolds outdoors on a wooden scaffold structure with several men, one holding a pistol and another restrained; a woman in a green dress and yellow hat appears in the final frame. Dialogue references a 'Cheechalker' with a sawed-off shotgun and questions about a missing person.

  • A man in a dark coat holds a pistol while standing on a wooden scaffold. [frame:1]
  • A man in a red shirt is restrained on the scaffold while another man holds a rope. [frame:2]
  • Men in suits and hats stand on the ground, some holding weapons, facing each other. [frame:3]
  • 1 more under Evidence and details.

8 people observed.

“Oh, sir! Very funny! Heard the whiskey!” 46:26 · “Ha ha! Hold it!” 46:30

Evidence, details and a link to share

Sequence 79 from 46:48

Frame at 46:58, shot 37446:58
1 of 1 shots sampled

147. Field

46:48–47:08 Machine checks passed (partial)

Model synopsis: Three men in cowboy hats stand outdoors in a hilly, arid landscape, engaged in a tense conversation. One man holds a shotgun pointed at another, while dialogue references a missing girl and an Indian's involvement.

  • A man holds a shotgun pointed at another man's midsection. [frame:1]

3 people observed.

“That I didn't raise my girl right?” 46:53 · “That she'd wander off all night with some men. There's a lot of things I'm not saying to you, mister. Well, you got a sort of shotgun in m…” 46:55

Evidence, details and a link to share

Sequence 80 from 47:08

Frame at 47:10, shot 37547:10Frame at 47:13, shot 37647:13
2 of 2 shots sampled

148. Field

47:08–47:15 Machine checks passed (partial)

Model synopsis: A group of men in cowboy hats and period clothing stand outdoors in a dusty, hilly landscape. One man calls out for his father, who is visible in the second frame walking toward the camera.

  • A group of men stand on a hillside, some holding rifles, with one man in red on a scaffold. [frame:1]
  • Two men in cowboy hats walk toward the camera in a dusty landscape with tents and wagons in the background. [frame:2]

4 people observed.

“Pa, I'm over here! Pa!” 47:09

Evidence, details and a link to share

Sequence 81 from 47:15

Frame at 47:26, shot 37747:26
1 of 1 shots sampled

149. Street

47:15–47:37 Machine checks passed

Model synopsis: A young woman on horseback explains she was on a sunrise ride when the horse wandered away; a man warns others not to draw weapons or the situation will escalate. The scene takes place outdoors under a clear sky with multiple men present.

Named: gal (t:47:16), Pa (t:47:16). 5 people observed.

“Been looking for me, Pa? Where you been, gal? Young Ben took me for a sunrise ride.” 47:16 · “And the horse wandered away.” 47:21

Evidence, details and a link to share

Sequence 82 from 47:37

Frame at 47:56, shot 37847:56
1 of 1 shots sampled

150. Street

47:37–48:14 Machine checks passed (partial)

Model synopsis: A group of men in cowboy attire stand in a dusty street, one holding a shotgun, while a man in a vest speaks to them. A horse is visible nearby, and the dialogue suggests a tense confrontation is being defused.

  • A man in a vest speaks to a group of armed men in a street. [frame:1]
  • A man holds a shotgun while others stand around him. [frame:1]
  • A horse stands near the group of men. [frame:1]

5 people observed.

“I'll tend to you later.” 47:40 · “Now for this young whippersnapper. Now no harm has been done. Young Ben here is one of the nicest boys in the territory, so just put down th…” 47:41

Evidence, details and a link to share

Sequence 83 from 48:14

Frame at 48:16, shot 37948:16
1 of 1 shots sampled

151. Rocky slope

48:14–48:18 Machine checks passed (partial)

Model synopsis: A person is seen climbing a rocky, barren slope near a muddy pool. The setting appears arid and desolate, with no structures or other people visible.

  • A person climbs a rocky slope. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 84 from 48:18

Frame at 48:19, shot 38048:19Frame at 48:23, shot 38148:23
2 of 2 shots sampled

152. Field

48:18–48:24 Machine checks passed (partial)

Model synopsis: A man is submerged in mud while a group of men in Western attire observe him from the edge of the mud pit. One man in the group gestures toward the mud as others look on.

  • A man is stuck in a mud pit. [frame:1]
  • A group of men stand at the edge of the mud pit watching. [frame:2]

2 people observed.

“The mechanic rider!” 48:21

Evidence, details and a link to share

Sequence 85 from 48:24

Frame at 48:27, shot 38248:27
1 of 1 shots sampled

153. Trail

48:24–48:30 Machine checks passed (partial)

Model synopsis: A group of men in Western attire are running on a dusty trail with horses nearby. The scene is outdoors in a dry, hilly landscape under bright daylight.

  • Men in Western attire run along a dusty trail with horses nearby. [frame:1]

4 people observed.

Evidence, details and a link to share

Sequence 86 from 48:30

Sequence 87 from 48:37

Sequence 88 from 49:02

Frame at 49:03, shot 38849:03
1 of 1 shots sampled

156. Field

49:02–49:05 Machine checks passed

Model synopsis: A group of people in cowboy hats are gathered outdoors in a field under daylight. One man in a brown vest and cowboy hat is visible in the foreground, facing right, while others are seen from behind or in profile.

4 people observed.

Evidence, details and a link to share

Sequence 89 from 49:05

Frame at 49:12, shot 38949:12
1 of 1 shots sampled

157. Field

49:05–49:18 Machine checks passed

Model synopsis: A woman in a green dress and yellow hat holds a yellow flower while standing in a dusty outdoor setting with men and wagons nearby. No dialogue is present in this beat.

4 people observed.

Evidence, details and a link to share

Sequence 90 from 49:18

Frame at 49:21, shot 39049:21Frame at 49:27, shot 39149:27Frame at 49:30, shot 39249:30Frame at 49:37, shot 39349:37
4 of 4 shots sampled

158. Field

49:18–49:44 Machine checks passed (partial)

Model synopsis: A man in a cowboy hat yells while others stand on a dusty hillside; a person is seen falling on the ground. The transcript indicates someone is searching for glasses and warning others to stop.

  • A person is falling on dusty ground. [frame:1]
  • A group of people stand on a hillside watching. [frame:3]
  • A man in a cowboy hat yells with an open mouth. [frame:4]

3 people observed.

“Hey, just a minute. What? What did you do with my glasses? Hey, now stop this or you'll be far.” 49:19

Evidence, details and a link to share

Sequence 91 from 49:44

Frame at 49:46, shot 39449:46
1 of 1 shots sampled

159. Other

49:44–49:47 Machine checks passed

Model synopsis: A group of men in period Western attire are gathered outdoors around a wooden structure in a dusty setting. No dialogue or on-screen text is present in this beat.

4 people observed.

Evidence, details and a link to share

Sequence 92 from 49:47

Sequence 93 from 49:57

Frame at 50:00, shot 39650:00
1 of 1 shots sampled

161. Field

49:57–50:02 Machine checks passed

Model synopsis: A group of men work in a muddy, open area, digging or moving earth. One man lies prone in the mud while others stand or bend over him.

  • Men are digging or moving earth in a muddy field. [frame:1]
  • One man lies motionless in the mud while others work around him. [frame:1]

4 people observed.

Evidence, details and a link to share

Sequence 94 from 50:02

Frame at 50:05, shot 39750:05
1 of 1 shots sampled

162. Field

50:02–50:08 Machine checks passed

Model synopsis: A man in a cowboy hat is seen in a dusty outdoor setting with a donkey and another man in a top hat nearby. No dialogue or on-screen text is present in this beat.

3 people observed.

Evidence, details and a link to share

Sequence 95 from 50:08

Frame at 50:13, shot 39850:13
1 of 1 shots sampled

163. Field

50:08–50:17 Machine checks passed (partial)

Model synopsis: A chaotic outdoor scene shows multiple men in period Western attire engaged in a physical altercation near wooden structures and horses. One man in a cowboy hat is central, while others in top hats and coats are visible in the background and foreground.

  • Men in Western attire are engaged in a physical fight near wooden structures and horses. [frame:1]

5 people observed.

Evidence, details and a link to share

Frame at 50:18, shot 39950:18Frame at 50:21, shot 40050:21Frame at 50:26, shot 40150:26
3 of 3 shots sampled

164. Field

50:17–50:29 Machine checks passed (partial)

Model synopsis: A group of people in period clothing stand on a rocky hillside under a clear sky; one person is seen falling or lying on the ground. Dialogue includes an apology to 'Mr. Bank' and a correction of the name to 'Matlin' and then 'Bank'.

  • A person is seen falling or lying on rocky ground. [frame:1]
  • A group of people in period clothing stand on a ridge. [frame:2]
  • A person lies on the ground while others stand above on a hill. [frame:3]

3 people observed.

“- I'm sorry, Mr. Bank.” 50:19 · “- Oh, ho, Matlin.” 50:19

Evidence, details and a link to share

Frame at 50:32, shot 40250:32
1 of 1 shots sampled

165. Field

50:29–50:35 Machine checks passed

Model synopsis: A chaotic outdoor brawl involving multiple men in period clothing is depicted in a dusty, open landscape. No dialogue or on-screen text is present in the frames.

  • men are engaged in a physical fight in an open field [frame:1]

5 people observed.

Evidence, details and a link to share

Sequence 96 from 50:35

Frame at 50:38, shot 40350:38
1 of 1 shots sampled

166. Outdoor gathering

50:35–50:40 Machine checks passed (partial)

Model synopsis: A crowd of men in period attire raises arms and hats under a clear blue sky. No dialogue or on-screen text is present in the frames.

  • a crowd of men raises arms and hats [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 97 from 50:40

Frame at 50:42, shot 40450:42
1 of 1 shots sampled

167. Desert

50:40–50:44 Machine checks passed

Model synopsis: A group of men stand outdoors in a desert landscape with mountains in the background. One man wears a red garment with a sash, another wears a dark coat and gestures with his arm, and a third wears a hat and light-colored shirt.

3 people observed.

Evidence, details and a link to share

Sequence 98 from 50:44

Frame at 50:55, shot 40550:55
1 of 1 shots sampled

168. Field

50:44–51:06 Machine checks passed (partial)

Model synopsis: A man in a cowboy hat sits on the ground while another man in a red shirt and sash leans over him; a third man in blue jeans is visible in the background. The transcript includes laughter and the phrase 'Very funny!' spoken during the scene.

  • A man in a red shirt leans over a seated man in a cowboy hat. [frame:1]

3 people observed.

“Ha ha! Very funny! Yeah, very funny!” 50:49

Evidence, details and a link to share

Sequence 99 from 51:06

Frame at 51:09, shot 40651:09
1 of 1 shots sampled

169. Field

51:06–51:11 Machine checks passed

Model synopsis: Two people are lying on a dusty, sloped ground surface. One person is in light-colored clothing and the other in dark clothing; both appear to be on their backs.

  • Two people are lying on a dusty, sloped ground. [frame:1]

2 people observed.

Evidence, details and a link to share

Sequence 100 from 51:11

Frame at 51:13, shot 40751:13
1 of 1 shots sampled

170. Town square

51:11–51:15 Machine checks passed

Model synopsis: A man and a woman stand outdoors under a clear sky; other figures are visible in the background. No dialogue or on-screen text is present in this beat.

4 people observed.

Evidence, details and a link to share

Sequence 101 from 51:15

Frame at 51:16, shot 40851:16
1 of 1 shots sampled

171. Field

51:15–51:16 Machine checks passed (partial)

Model synopsis: A group of people in Western attire are gathered outdoors in a dusty, open landscape; one man is being physically restrained by another while others watch. No dialogue or on-screen text is present in this beat.

  • A man in a brown jacket restrains another man in a gray shirt. [frame:1]
  • A group of people in Western clothing observe the restraint. [frame:1]

5 people observed.

Evidence, details and a link to share

Sequence 102 from 51:16

Frame at 51:17, shot 40951:17
1 of 1 shots sampled

172. Field

51:16–51:18 Machine checks passed (partial)

Model synopsis: A man in a brown shirt and pants tumbles down a steep, dusty slope while others on horseback watch from above. The scene is outdoors under bright daylight, with no dialogue or on-screen text visible.

  • A man tumbles headfirst down a steep, dusty slope. [frame:1]

2 people observed.

Evidence, details and a link to share

Sequence 103 from 51:18

Frame at 51:20, shot 41051:20
1 of 1 shots sampled

173. Town square

51:18–51:22 Machine checks passed

Model synopsis: A man in a top hat and coat is visible in a chaotic outdoor scene with other people and a donkey; a voice says 'Oh, you ain't, Schreggel!' at 51:19. No named characters are confirmed by dialogue or visual identification beyond the spoken name 'Schreggel'.

  • A man in a top hat stumbles forward in a crowded outdoor scene. [frame:1]

Named: Schreggel (t:51:19). 2 people observed.

“Oh, you ain't, Schreggel!” 51:19

Evidence, details and a link to share

Sequence 104 from 51:22

Frame at 51:24, shot 41151:24
1 of 1 shots sampled

174. Field

51:22–51:26 Machine checks passed (partial)

Model synopsis: A group of men are engaged in a physical struggle in a muddy, open area. No dialogue or on-screen text is present in this beat.

  • Several men are engaged in a physical struggle in a muddy area. [frame:1]

10 people observed.

Evidence, details and a link to share

Sequence 105 from 51:26

Frame at 51:27, shot 41251:27Frame at 51:29, shot 41351:29
2 of 2 shots sampled

175. Field

51:26–51:31 Machine checks passed (partial)

Model synopsis: A woman in a green dress and yellow hat gestures while a man in a vest runs away from her in a dusty outdoor setting; other people and horses are visible in the background. The scene appears to be an open, arid landscape with no buildings or clear structures.

  • A woman in a green dress gestures with her arms while standing in a dusty field. [frame:1]
  • A man in a vest runs away from the woman, arms flailing. [frame:1]
  • The man continues running away, now seen from behind, with others watching from a distance. [frame:2]

3 people observed.

“Hey!” 51:27

Evidence, details and a link to share

Sequence 106 from 51:31

Frame at 51:33, shot 41451:33
1 of 1 shots sampled

176. Other

51:31–51:34 Machine checks passed (partial)

Model synopsis: A person is partially submerged in turbulent, foamy water. The scene is chaotic and appears to be outdoors.

  • A person is seen struggling in turbulent water. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 107 from 51:34

Frame at 51:35, shot 41551:35
1 of 1 shots sampled

177. Field

51:34–51:36 Machine checks passed

Model synopsis: A group of people in outdoor attire, including one in a bright green jacket and yellow hat, are gathered in a dusty, open area with horses nearby. No dialogue or on-screen text is present in this beat.

3 people observed.

Evidence, details and a link to share

Sequence 108 from 51:36

Frame at 51:38, shot 41651:38Frame at 51:44, shot 41751:44
2 of 2 shots sampled

178. Field

51:36–51:47 Machine checks passed (partial)

Model synopsis: Two men are shown in a muddy outdoor setting, one holding the other by the shoulders; they appear to be arguing or confronting each other. The transcript includes shouted dialogue, including a name, 'Mr. Jones,' and exclamations about heat.

  • A man holds another man by the shoulders in a muddy area. [frame:1]
  • The two men stand facing each other, still muddy, in a rocky, brushy landscape. [frame:2]

Named: Mr. Jones (t:51:38). 2 people observed.

“Are you still down here? Hey! Oh, I swat it away, huh? Hotter, Mr. Jones! Hotter!” 51:38

Evidence, details and a link to share

Frame at 51:51, shot 41851:51Frame at 51:57, shot 41951:57Frame at 52:03, shot 42052:03Frame at 52:08, shot 42152:08
4 of 4 shots sampled

179. Field

51:47–52:10 Machine checks passed (partial)

Model synopsis: Two men in cowboy attire are shown in a dusty outdoor setting; one man is being held while another gestures. A group of onlookers stands nearby as one man falls backward onto the ground.

  • A man in a cowboy hat gestures while holding another man. [frame:1]
  • A man adjusts his hat while standing near others. [frame:2]
  • Two muddy men stand beside an older man in a suit; another man reaches toward him. [frame:3]
  • 1 more under Evidence and details.

8 people observed.

“Oh! Oh!” 51:49 · “Nice left. Thanks. I went to college. For this, you don't need college. You're not getting me out of there.” 51:51

Evidence, details and a link to share

Sequence 109 from 52:10

Frame at 52:14, shot 42252:14
1 of 1 shots sampled

180. Field

52:10–52:17 Machine checks passed

Model synopsis: Two people stand outdoors in a hilly, brush-covered landscape; one wears a large yellow hat and green coat, the other a cowboy hat and bandana. No dialogue or on-screen text is present in this beat.

3 people observed.

Evidence, details and a link to share

Sequence 110 from 52:17

Frame at 52:22, shot 42352:22
1 of 1 shots sampled

181. Dirt road beside muddy slope

52:17–52:26 Machine checks passed

Model synopsis: A group of people stands on a dirt road beside a muddy slope; one person in yellow is crouched near a green object on the ground. The setting is outdoors in a rugged, unpaved area with no visible buildings or vehicles.

2 people observed.

Evidence, details and a link to share

Sequence 111 from 52:26

Frame at 52:27, shot 42452:27
1 of 1 shots sampled

182. Dirt embankment

52:26–52:28 Machine checks passed

Model synopsis: A group of people stands atop a dirt embankment while others move below on a dusty slope. The scene is outdoors under clear daylight with no visible structures or signage.

Evidence, details and a link to share

Sequence 112 from 52:28

Sequence 113 from 52:37

Frame at 52:39, shot 42652:39
1 of 1 shots sampled

184. Field

52:37–52:41 Machine checks passed (partial)

Model synopsis: A person in light-colored clothing is on the ground in a dusty outdoor setting, partially obscured by a tumbleweed. No dialogue or on-screen text is present in this beat.

  • A person lies on the ground next to a tumbleweed in a dusty field. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 114 from 52:41

Frame at 52:45, shot 42752:45
1 of 1 shots sampled

185. Field

52:41–52:50 Machine checks passed

Model synopsis: A man and a woman in period Western attire are seen outdoors in a dusty, open area with tents and hills in the background. A third man in similar clothing stands nearby, and a line of dialogue is spoken about self-control.

  • A man and a woman stand facing each other while another man observes nearby. [frame:1]

3 people observed.

“Well, it's pretty hard to control yourself.” 52:47

Evidence, details and a link to share

Sequence 115 from 52:50

Frame at 52:55, shot 42852:55Frame at 53:02, shot 42953:02Frame at 53:06, shot 43053:06
3 of 3 shots sampled

186. Field

52:50–53:08 Machine checks passed (partial)

Model synopsis: A group of people are in a muddy area with some lying in the mud and others standing on a hill. A man in a red shirt with decorative trim stands with arms raised while others gather around him.

  • People are lying in mud while others stand on a hill. [frame:1]
  • Group of people standing on a hill with one person pointing. [frame:2]
  • Man in red shirt raises arms while others gather around. [frame:3]

4 people observed.

“Go!” 52:55 · “Oh, Maclenn! Oh, Maclenn! What party? But no whiskey. We go home.” 52:57

Evidence, details and a link to share

Sequence 116 from 53:08

Sequence 117 from 53:09

Frame at 53:10, shot 43253:10
1 of 1 shots sampled

188. Camp

53:09–53:11 Machine checks passed

Model synopsis: A group of people walks outdoors in a dusty, open area with tents and makeshift structures in the background. The scene includes a woman wearing a large yellow hat and men in period attire.

4 people observed.

Evidence, details and a link to share

Sequence 118 from 53:11

Frame at 53:13, shot 43353:13
1 of 1 shots sampled

189. Hilltop

53:11–53:14 Machine checks passed

Model synopsis: A group of people stands on a barren, sunlit hilltop under a clear blue sky. No dialogue or on-screen text is present in this beat.

4 people observed.

Evidence, details and a link to share

Sequence 119 from 53:14

Sequence 120 from 53:22

Frame at 53:24, shot 43553:24Frame at 53:41, shot 43653:41
2 of 2 shots sampled

191. Living room

53:22–53:56 Machine checks passed (partial)

Model synopsis: A person lies on the ground covered in white substance in an outdoor setting, while another scene shows an interior with a staircase and furniture. Dialogue includes a character named Braco being scolded for handling a team and someone declaring they are 'the family'.

  • A person lies on the ground covered in white substance. [frame:1]
  • A person stands in a dimly lit room with a staircase and furniture. [frame:2]

Named: Braco (t:53:39). 4 people observed.

“Where is everybody?” 53:25 · “Whoa, whoa. Braco, will you never learn how to handle a team?” 53:39

Evidence, details and a link to share

Sequence 121 from 53:56

Frame at 53:57, shot 43753:57Frame at 54:05, shot 43854:05
2 of 2 shots sampled

192. Living room

53:56–54:11 Machine checks passed (partial)

Model synopsis: A man and a woman stand on a staircase inside a house; the man gestures while speaking. The transcript indicates they are discussing helping each other, referencing past shared activities.

  • The man gestures toward Betty while suggesting they wash mud off each other. [frame:2]

Named: Betty (t:53:56). 2 people observed.

“Betty? Yes?” 53:56 · “We could be a big help to one another. Like what, may I ask? Oh, we could wash the mud off of each other.” 53:59

Evidence, details and a link to share

Frame at 54:14, shot 43954:14Frame at 54:20, shot 44054:20
2 of 2 shots sampled

193. Private office

54:11–54:24 Machine checks passed (partial)

Model synopsis: A man and a woman stand on a staircase in a formal interior; the man is seen from above as he descends. The woman says good night to Mr. MacLintock.

  • A man and a woman stand on a staircase and hold hands. [frame:1]
  • The man walks down the staircase. [frame:2]

Named: Mr MacLintock (t:54:15). 2 people observed.

“There are a lot of things we used to do.” 54:12 · “Good night, Mr MacLintock.” 54:15

Evidence, details and a link to share

Sequence 122 from 54:24

Frame at 54:54, shot 44154:54
1 of 1 shots sampled

194. Living room

54:24–55:25 Machine checks passed

Model synopsis: Two muddy men in stained shirts stand indoors, holding drinks and talking about divorce and women. A woman enters, serves biscuits, and greets them as 'Mrs. Warren' and 'Mr. McLintock' before offering breakfast.

  • Two muddy men stand indoors holding drinks and talking. [frame:1]

Named: McLintock (t:55:14), Mrs. Warren (t:55:14). 3 people observed.

“Any luck?” 54:25 · “Divorce. She said I wanted you.” 54:30

Evidence, details and a link to share

Sequence 123 from 55:25

Frame at 55:29, shot 44255:29Frame at 55:42, shot 44355:42
2 of 2 shots sampled

195. Living room

55:25–55:52 Machine checks passed (partial)

Model synopsis: A woman in a light blouse and apron carries a tray with teapot and cups, then stands at a table arranging items. The setting is an interior room with curtains, a wooden cabinet, and a lamp.

  • A woman walks holding a tray with a teapot and cups. [frame:1]
  • The woman stands at a table arranging items from the tray. [frame:2]

1 person observed.

Evidence, details and a link to share

Sequence 124 from 55:52

Frame at 55:54, shot 44455:54
1 of 1 shots sampled

196. Bedroom

55:52–55:57 Machine checks passed

Model synopsis: A woman lies in bed under covers in a bedroom with a wooden headboard and nightstand. No dialogue or action occurs in this beat.

1 person observed.

Evidence, details and a link to share

Frame at 56:04, shot 44556:04Frame at 56:15, shot 44656:15Frame at 56:22, shot 44756:22Frame at 56:30, shot 44856:30
4 of 4 shots sampled

197. Bedroom

55:57–56:33 Machine checks passed (partial)

Model synopsis: A woman in a maid's uniform serves breakfast to another woman in a bedroom; the seated woman has a black eye and they discuss Becky's return and an unresolved matter. The maid speaks about being able to be themselves now that no men are present.

  • A maid places a breakfast tray on a table beside a bed. [frame:1]
  • Mrs. McClintick, in bed, looks toward the maid. [frame:2]
  • The maid gestures while speaking to Mrs. McClintick, who is now sitting up and holding a mirror. [frame:3]
  • 1 more under Evidence and details.

Named: Mrs. McClintick (t:56:05). 2 people observed.

“One poached egg.” 56:02 · “Toast, lightly browned and un... Why, Mrs. McClintick...” 56:05

Evidence, details and a link to share

Frame at 56:36, shot 44956:36Frame at 56:46, shot 45056:46
2 of 2 shots sampled

198. Bedroom

56:33–56:52 Machine checks passed

Model synopsis: Two women are in a bedroom; one sits on a bed while the other stands near a dresser. The transcript indicates a tense exchange about opinions and forgiveness, with one woman warning the other about consequences.

2 people observed.

“But now that we're alone... When I want the opinion of the hired help...” 56:33 · “I'll ask for it. You know, you could wind up with two black eyes. What? Oh, I realize you had to put on that big act.” 56:37

Evidence, details and a link to share

Sequence 125 from 57:06

Frame at 57:11, shot 45257:11Frame at 57:18, shot 45357:18
2 of 2 shots sampled

200. Street

57:06–57:21 Machine checks passed (partial)

Model synopsis: A man stands on a ladder hanging a banner in a Western town street. The banner reads 'WELCOME HOME REBECCA MCLINTOCK' and a building sign says 'MCLINTOCK'.

  • A man stands on a ladder attaching a banner to a wooden structure. [frame:1]
  • The banner 'WELCOME HOME REBECCA MCLINTOCK' is fully displayed across the street. [frame:2]

1 person observed.

“Morning, baby! Morning, Mrs. Beach! Mr. Beach!” 57:14 · “Yeah.” 57:20

Evidence, details and a link to share

Sequence 126 from 57:21

Frame at 57:22, shot 45457:22Frame at 57:28, shot 45557:28
2 of 2 shots sampled

201. Railroad track

57:21–57:32 Machine checks passed (partial)

Model synopsis: A group of people stands beside a railroad track as a train approaches in the distance; another scene shows a horse-drawn carriage arriving at a station with a banner reading 'WELCOME HOME, REBECCA MCLINTOCK'.

  • A group of people stands beside a railroad track watching a train approach. [frame:1]
  • A horse-drawn carriage arrives at a station with a banner reading 'WELCOME HOME, REBECCA MCLINTOCK'. [frame:2]

3 people observed.

“Come on.” 57:25

Evidence, details and a link to share

Sequence 127 from 57:32

Frame at 57:35, shot 45657:35
1 of 1 shots sampled

202. Outdoor covered area

57:32–57:38 Machine checks passed

Model synopsis: A woman in a purple dress and blue hat stands beside a man in a cowboy hat near a horse-drawn wagon. The setting appears to be outdoors under a covered structure with hills in the background.

2 people observed.

Evidence, details and a link to share

Sequence 128 from 57:38

Frame at 57:45, shot 45757:45
1 of 1 shots sampled

203. Street

57:38–57:53 Machine checks passed

Model synopsis: A woman in a purple dress and light blue hat sits in a horse-drawn carriage on a dusty street while men in cowboy hats play brass instruments nearby. The scene is outdoors in a Western-style town with wooden buildings and a clear sky.

4 people observed.

Evidence, details and a link to share

Sequence 129 from 57:53

Frame at 58:01, shot 45858:01Frame at 58:11, shot 45958:11Frame at 58:18, shot 46058:18
3 of 3 shots sampled

204. Train

57:53–58:22 Machine checks passed (partial)

Model synopsis: A group of people greets a woman arriving by train at a station platform. A man in a suit steps down from the train and speaks to her.

  • People gather on a train platform as a train stops. [frame:1]
  • A man in a suit steps down from the train and speaks to a woman on the platform. [frame:2]

Named: Becky (t:58:04). 5 people observed.

“Why, Miss Becky, welcome home.” 58:04 · “Hi, Daddy.” 58:04

Evidence, details and a link to share

Frame at 58:23, shot 46158:23Frame at 58:26, shot 46258:26Frame at 58:36, shot 46358:36
3 of 3 shots sampled

205. Town square

58:22–58:44 Machine checks passed (partial)

Model synopsis: A woman in a purple dress and hat greets a man in a black hat and suit beside a train in a town. Another man in a tan coat and hat approaches a woman in black and a woman in purple near the same train.

  • A woman in purple and a man in black stand near a train as people gather. [frame:1]
  • A man in a black hat and suit talks with a man in a brown vest beside a wagon. [frame:2]
  • A man in a tan coat approaches two women near the train. [frame:3]

Named: Becky (t:58:27), Mama (t:58:27), Uncle Draco (t:58:42). 7 people observed.

“Daddy! Daddy! Ha ha! Ha ha!” 58:22 · “It's been too long years. I guess I'm going to have to stop calling you town boy. Becky. Mama. Oh, darling. I wasn't sure you'd be here…” 58:27

Evidence, details and a link to share

Frame at 58:46, shot 46458:46Frame at 58:50, shot 46558:50Frame at 58:59, shot 46758:59Frame at 59:08, shot 46859:08
4 of 5 shots sampled

206. Town square

58:44–59:14 Machine checks passed (partial)

Model synopsis: A man in a dark suit and bow tie speaks with a woman in a black dress and hat near a train; another woman in a purple dress and blue hat stands nearby. A man holds a tuba as people gather around him.

  • A man in a dark suit speaks to a woman in a black dress. [frame:1]
  • A woman in a purple dress stands near a group of people by a train. [frame:2]
  • A woman in a black dress turns toward a man holding a tuba. [frame:3]
  • 1 more under Evidence and details.

5 people observed.

“Did you bring your old uncle a coming home present? Sure did. What is it?” 58:45 · “A mustache cup. And what did you get me? The prettiest palomino pony that I ever practiced in. Broke the stand, drown, tie, and the count…” 58:49

Evidence, details and a link to share

Frame at 59:18, shot 46959:18Frame at 59:28, shot 47059:28Frame at 59:36, shot 47159:36
3 of 3 shots sampled

207. Town square

59:14–59:38 Machine checks passed

Model synopsis: A man in a cowboy hat and a woman in a dark dress stand near a brass band while a woman in a purple dress and large hat gestures. A speaker mentions the mayor is absent due to a horse theft matter and will deliver his speech instead.

5 people observed.

“But now that I've seen how much you've grown, I think we'd better exchange them for a couple of bolts of dress goods, huh? Thank you.” 59:14 · “Oh, the mayor was going to be here.” 59:21

Evidence, details and a link to share

Frame at 59:44, shot 47259:44Frame at 59:55, shot 47359:55
2 of 2 shots sampled

208. Town square

59:38–1:00:00 Machine checks passed (partial)

Model synopsis: A man in a decorated jacket addresses a crowd outdoors, mentioning a 'prettiest girl' from McClintock. A woman in a purple dress and blue hat stands nearby, surrounded by onlookers in period attire.

  • A man in a decorated jacket speaks to a crowd. [frame:1]
  • The speaker gestures while addressing the crowd. [frame:2]

5 people observed.

“Ladies and gentlemen, we are here to welcome the fairest...” 59:42 · “We are here to welcome back the prettiest girl that was ever born in McClintock.” 59:51

Evidence, details and a link to share

Sequence 130 from 1:00:00

Frame at 1:00:03, shot 4741:00:03
1 of 1 shots sampled

209. Town square

1:00:00–1:00:06 Machine checks passed

Model synopsis: A hazy, crowded outdoor scene is shown with multiple figures partially obscured by smoke or dust. No dialogue or clear actions are visible in the single frame provided.

Evidence, details and a link to share

Sequence 131 from 1:00:06

Frame at 1:00:11, shot 4751:00:11Frame at 1:00:19, shot 4761:00:19
2 of 2 shots sampled

210. Desert

1:00:06–1:00:22 Machine checks passed (partial)

Model synopsis: Two men stand beside a freight train in a desert landscape; one is in civilian clothes, the other in a uniform. A line mentions a guardmaster and locking someone in, and another line refers to keeping a scalp.

  • A man in a suit stands beside a uniformed man next to a freight train. [frame:2]

3 people observed.

“Hey, save me!” 60:06 · “Yeah? Got some. For you.” 60:08

Evidence, details and a link to share

Sequence 132 from 1:00:22

Frame at 1:00:25, shot 4771:00:25
1 of 1 shots sampled

211. Other

1:00:22–1:00:27 Machine checks passed

Model synopsis: A man in a dark suit and green pants stands in a doorway, flanked by two other men. One man behind him wears a hat and uniform; the other is partially obscured.

3 people observed.

Evidence, details and a link to share

Sequence 133 from 1:00:27

Frame at 1:00:29, shot 4781:00:29
1 of 1 shots sampled

212. Desert

1:00:27–1:00:31 Machine checks passed

Model synopsis: A group of people, including men in period Western attire and others in Native American-style clothing, stand outdoors in a desert landscape with mountains in the background. No dialogue or on-screen text is present in this beat.

6 people observed.

Evidence, details and a link to share

Sequence 134 from 1:00:31

Sequence 135 from 1:00:34

Frame at 1:00:39, shot 4801:00:39Frame at 1:00:46, shot 4811:00:46Frame at 1:00:52, shot 4821:00:52
3 of 3 shots sampled

214. Train

1:00:34–1:00:55 Machine checks passed (partial)

Model synopsis: A crowd gathers outside a train car as two men exit; a man in a grey uniform speaks to a woman in a purple dress while another man in a tan coat stands nearby. The dialogue references someone named Buck and a woman's freckles and pigtails.

  • Two men exit a train car into a crowd. [frame:1]
  • A man in a grey uniform speaks to a woman in a purple dress. [frame:2]
  • A man in a tan coat stands near the woman and the man in uniform. [frame:3]

8 people observed.

“Come on. Come on.” 60:36 · “- Get up, Buck. - What's up?” 60:39

Evidence, details and a link to share

Sequence 136 from 1:00:55

Frame at 1:00:57, shot 4831:00:57
1 of 1 shots sampled

215. Train

1:00:55–1:00:58 Machine checks passed

Model synopsis: A train is stopped at a station with people gathered on the platform. A woman in period dress stands near the train while others walk along the tracks.

3 people observed.

Evidence, details and a link to share

Sequence 137 from 1:00:58

Frame at 1:01:01, shot 4841:01:01Frame at 1:01:05, shot 4851:01:05Frame at 1:01:25, shot 4861:01:25
3 of 3 shots sampled

216. Interior and exterior

1:00:58–1:01:45 Machine checks passed (partial)

Model synopsis: A group of people, including a man in a black hat and two women in hats, are shown indoors and outdoors during a conversation about a horse named Puma. The dialogue references a past event involving Puma bringing someone home when he was ill.

  • A woman in a dark hat looks to the side while standing indoors. [frame:1]
  • A group of people in Western attire stand outdoors in a desert with horses. [frame:2]
  • A man in a black hat stands between two women indoors, all looking forward. [frame:3]

6 people observed.

“Hey, that's Puma.” 61:03 · “And it's true, the government did turn them loose.” 61:04

Evidence, details and a link to share

Sequence 138 from 1:01:45

Frame at 1:01:49, shot 4871:01:49Frame at 1:01:55, shot 4881:01:55Frame at 1:02:00, shot 4891:02:00
3 of 3 shots sampled

217. Train

1:01:45–1:02:03 Machine checks passed (partial)

Model synopsis: A group of men, including one in a tan coat and hat, stand near train cars in a desert setting. One man speaks to another, referencing 'Puma' and 'Blood Brother' in a moment that appears to acknowledge a past bond.

  • A man in a tan coat raises his hand near train cars. [frame:2]
  • A group of men, including one holding a rifle, stand near train cars. [frame:3]

Named: Puma (t:61:58), Darce Big McClintock (t:62:00). 5 people observed.

“Hey, I...” 61:52 · “Yatta hey, my friends! Yatta hey!” 61:54

Evidence, details and a link to share

Frame at 1:02:09, shot 4901:02:09Frame at 1:02:18, shot 4911:02:18Frame at 1:02:21, shot 4921:02:21
3 of 3 shots sampled

218. Train

1:02:03–1:02:23 Machine checks passed (partial)

Model synopsis: Two men in hats talk near a train, then a wider shot shows a large group including Native Americans and others. A transcript line mentions 'big McClintock' and rain affecting an old wound.

  • Two men stand facing each other near a train car. [frame:1]
  • A Native American man in traditional dress is visible behind the two men. [frame:2]
  • A large group of people, including Native Americans and others, stand together outdoors. [frame:3]

4 people observed.

“All the wounds.” 62:07 · “Does it hurt still? I feel it when it comes on to rain. An inch higher and I wouldn't have had to worry.” 62:08

Evidence, details and a link to share

Frame at 1:02:26, shot 4931:02:26Frame at 1:02:32, shot 4941:02:32Frame at 1:02:47, shot 4961:02:47Frame at 1:02:51, shot 4971:02:51
4 of 5 shots sampled

219. Sidewalk

1:02:23–1:02:53 Machine checks passed (partial)

Model synopsis: A man in a tan suit speaks with a Native American man in a dark hat and two other men near a train car; dialogue references a government hearing and translation via Comanche. The setting is outdoors during the day, with a train visible in the background.

  • Puma and the man in the tan suit face each other in conversation. [frame:1]
  • Puma gestures while speaking; others look on. [frame:2]
  • The man in the bowler hat steps between Puma and the man in the tan suit. [frame:3]
  • 1 more under Evidence and details.

Named: Puma (t:62:41). 5 people observed.

“You see, I learned good English now, Pete McClintock. Learned in white man's jail. But we would have you talk our course at government heari…” 62:23 · “Oh, my God.” 62:40

Evidence, details and a link to share

Frame at 1:02:57, shot 4981:02:57Frame at 1:03:05, shot 4991:03:05Frame at 1:03:12, shot 5001:03:12
3 of 3 shots sampled

220. Railroad yard

1:02:53–1:03:15 Machine checks passed

Model synopsis: A group of men in period Western attire are shown in conversation near a train, followed by a wider shot of a crowd being led along a dusty road by a uniformed officer. The transcript includes a character asserting authority over others' actions, followed by interruptions.

7 people observed.

“Oh, well...” 62:53 · “Your people will have to follow my instructions to the letter. It is the law of the le...” 62:56

Evidence, details and a link to share

Frame at 1:03:18, shot 5011:03:18Frame at 1:03:26, shot 5021:03:26Frame at 1:03:35, shot 5031:03:35
3 of 3 shots sampled

221. Train

1:03:15–1:03:39 Machine checks passed (partial)

Model synopsis: A group of people stands on a train platform near a steam locomotive and passenger cars. One man tells a woman to wait while he gets a truck, and another man asks if he will see her at a clinic.

  • A man in a light suit and hat stands near a train car. [frame:1]
  • A crowd including a woman in a light dress and a man with an accordion stands on the platform near a steam locomotive. [frame:2]
  • A woman in a hat talks to two men on the platform. [frame:3]

Named: Beth (t:63:15), Davy (t:63:15). 5 people observed.

“- You wait here, honey, I'll get the truck. - You sure of the clinic, boys? - Surely. - Will I see you there, Beth? - Of course, Davy, and y…” 63:15

Evidence, details and a link to share

Frame at 1:03:45, shot 5041:03:45
1 of 1 shots sampled

222. Train

1:03:39–1:03:52 Machine checks passed (partial)

Model synopsis: A man in a cowboy hat speaks to a group of women near a train; one woman wears a pink hat and another a beige coat. The transcript mentions a character named Dave and references 'Elia' while discussing strangers.

  • A man speaks to a group of women near a train. [frame:1]
  • A woman in a pink hat and another in a beige coat stand together. [frame:1]
  • A man in a cowboy hat stands facing the women. [frame:1]

6 people observed.

“Don't want any sister of mine talking to strangers. Dave is not a stranger. He clerks in burn bars.” 63:39 · “He's an Elia.” 63:47

Evidence, details and a link to share

Sequence 139 from 1:03:52

Frame at 1:03:54, shot 5051:03:54
1 of 1 shots sampled

223. Town square

1:03:52–1:03:56 Machine checks passed

Model synopsis: A woman in a purple dress and blue hat stands on a wagon while a man in a dark coat and hat faces her; another man in a vest is visible behind them. The setting appears to be an outdoor area with wooden structures and horse-drawn vehicles.

3 people observed.

Evidence, details and a link to share

Sequence 140 from 1:03:56

Frame at 1:03:57, shot 5061:03:57Frame at 1:04:01, shot 5081:04:01Frame at 1:04:07, shot 5101:04:07Frame at 1:04:12, shot 5121:04:12
4 of 7 shots sampled

224. Town square

1:03:56–1:04:14 Machine checks passed (partial)

Model synopsis: A man in a cowboy hat and vest kneels beside a wagon wheel in a dusty outdoor setting while laundry lies scattered on the ground. Dialogue identifies him as Devlin Warren and a woman as Miss Becky McLennig, with references to her belongings and her father.

  • Laundry and a suitcase lie scattered on the ground. [frame:1]
  • Devlin Warren kneels beside a wagon wheel, holding laundry. [frame:2]
  • Devlin Warren looks up while kneeling, with people and wagons in the background. [frame:3]
  • 1 more under Evidence and details.

Named: Devlin Warren (t:64:03), Miss Becky McLennig (t:64:06), Drago (t:63:57). 3 people observed.

“Darn you, Drago!” 63:57 · “This is Devlin Warren. He works for your papa.” 64:03

Evidence, details and a link to share

Frame at 1:04:15, shot 5131:04:15Frame at 1:04:18, shot 5141:04:18Frame at 1:04:25, shot 5151:04:25Frame at 1:04:32, shot 5161:04:32
4 of 4 shots sampled

225. Town square

1:04:14–1:04:35 Machine checks passed (partial)

Model synopsis: A man and two women stand near a wooden building with a sign reading 'WELCOME, REBECCA MCLINTOCK' in a dusty town square. Dialogue references a boat, jelly pie, and a college valedictorian named Junior Douglas.

  • A man and two women stand near a wooden building with a sign. [frame:1]
  • A man sits near a wagon wheel. [frame:2]
  • The woman in black and the woman in purple shake hands. [frame:3]
  • 1 more under Evidence and details.

Named: Devlin Warren (t:64:03), Miss Becky McLennig (t:64:06), Ching (t:64:23), Junior Douglas (t:64:33), Mrs. Douglas (t:64:33). 5 people observed.

“What do you mean?” 64:15 · “Oh, I mean, you look so much like your mother.” 64:17

Evidence, details and a link to share

Frame at 1:04:50, shot 5171:04:50Frame at 1:05:09, shot 5181:05:09Frame at 1:05:14, shot 5191:05:14Frame at 1:05:18, shot 5201:05:18
4 of 4 shots sampled

226. Street

1:04:35–1:05:20 Machine checks flagged: period without evidence, time_of_day without evidence

Model synopsis: A man in a cowboy hat speaks to a group outside a building labeled 'McClintock' while another man on horseback gestures. A young man asks permission to call on Miss Rebecca, and is told to ask her himself.

  • A man in a cowboy hat gestures while speaking to a group. [frame:1]
  • A man on a porch gestures toward another man. [frame:2]
  • A man on horseback looks upward while holding reins. [frame:3]
  • 1 more under Evidence and details.

Named: Gene (t:65:11), G.W. (t:64:48). 7 people observed.

“Well, it'll be pretty hard to keep young man away. Yes, sir. There you go. Yes, boss. Bag it's all on it. G.W.” 64:48 · “You remember young Junior?” 64:56

Flagged: time_of_day without evidence (daytime); period without evidence (19th century American West)

Evidence, details and a link to share

Sequence 141 from 1:05:20

Frame at 1:05:22, shot 5211:05:22Frame at 1:05:38, shot 5221:05:38Frame at 1:05:53, shot 5231:05:53Frame at 1:05:56, shot 5241:05:56
4 of 4 shots sampled

227. Street

1:05:20–1:05:57 Machine checks passed (partial)

Model synopsis: A man in a light suit runs across a dusty town street toward a horse-drawn carriage while others watch; a woman in a pink dress holds a tray near a child, and a man stands by a well in a field. Dialogue includes references to 'Mamma,' 'Junior,' 'Matthew,' and 'Miss McLintock.'

  • A man in a light suit runs across a dusty street toward a horse-drawn carriage. [frame:1]
  • People stand near a decorated archway and a bull in a town square. [frame:2]
  • A woman in a pink dress holds a tray while standing next to a child. [frame:3]
  • 1 more under Evidence and details.

Named: Miss McLintock (t:65:47), Miss Flora (t:65:47), Drago (t:65:47), Deb (t:65:47), Mamma (t:65:20), Junior (t:65:20), Matthew (t:65:31). 12 people observed.

“How do you know, Mamma? Who's here at the morning, Junior?” 65:20 · “Like father, like son.” 65:27

Evidence, details and a link to share

Sequence 142 from 1:05:57

Frame at 1:05:59, shot 5251:05:59Frame at 1:06:05, shot 5261:06:05Frame at 1:06:10, shot 5271:06:10Frame at 1:06:15, shot 5281:06:15
4 of 4 shots sampled

228. Town square

1:05:57–1:06:17 Machine checks passed (partial)

Model synopsis: A woman on a ladder adjusts bunting while a man watches from below; they converse about college. The setting is outdoors under a clear sky, with a decorated arch and a house visible.

  • A woman stands on a ladder adjusting red, white, and blue bunting. [frame:1]
  • A wide shot shows a decorated arch, a house, and people in a dusty open area. [frame:2]
  • A man looks up at the woman on the ladder. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“Deb, could you come and help me a minute?” 65:57 · “I certainly was surprised to hear you went to college.” 66:08

Evidence, details and a link to share

Sequence 143 from 1:06:17

Frame at 1:06:18, shot 5291:06:18Frame at 1:06:27, shot 5301:06:27Frame at 1:06:36, shot 5311:06:36
3 of 3 shots sampled

229. Town square

1:06:17–1:06:38 Machine checks passed (partial)

Model synopsis: A man and a woman are outdoors near a ladder and flags; the man speaks about his family's move west and his mother's appearance. The woman is visible in two shots, smiling and looking up.

  • The man is seen looking up, smiling. [frame:1]
  • The man and woman stand near a ladder with flags in the background. [frame:2]
  • The woman is seen smiling and looking up. [frame:3]

2 people observed.

“Oh, could you do this? I can't reach it.” 66:19 · “Why didn't you finish college?” 66:23

Evidence, details and a link to share

Frame at 1:06:39, shot 5321:06:39Frame at 1:06:41, shot 5331:06:41Frame at 1:06:48, shot 5351:06:48Frame at 1:06:54, shot 5361:06:54
4 of 5 shots sampled

230. Field

1:06:38–1:06:58 Machine checks passed (partial)

Model synopsis: A man and a woman are shown outdoors in a rural setting, speaking to each other. The dialogue references inheritance and common sense, and mentions a person named Junior Douglas.

  • The man looks toward the camera while standing near a wooden structure with flags. [frame:2]
  • The woman stands with hands on hips, smiling up at the camera. [frame:3]
  • The man and woman face each other and appear to be in conversation. [frame:4]

2 people observed.

“Well, you'd been lucky if you'd inherited a few things from your father.” 66:42 · “Oh, really?” 66:47

Evidence, details and a link to share

Frame at 1:07:00, shot 5371:07:00Frame at 1:07:07, shot 5381:07:07
2 of 2 shots sampled

231. Other

1:06:58–1:07:12 Machine checks passed (partial)

Model synopsis: A woman and a man converse outdoors near a wooden structure and flags; the transcript mentions Junior, college, and Glee Club. The setting appears to be a sunny day in a rural or semi-rural area with wooden buildings and outdoor decorations.

  • A woman and a man are talking outdoors. [frame:1]
  • The woman turns away from the man and walks toward a ladder with flags. [frame:2]

2 people observed.

“Junior's not a dude.” 66:58 · “He's nifty. This needs a woman's touch. And besides, he got a letter at college. What sport?” 67:00

Evidence, details and a link to share

Frame at 1:07:13, shot 5391:07:13Frame at 1:07:21, shot 5411:07:21Frame at 1:07:25, shot 5431:07:25Frame at 1:07:30, shot 5451:07:30
4 of 7 shots sampled

232. Field

1:07:12–1:07:32 Machine checks passed (partial)

Model synopsis: A man in a plaid shirt reacts to being told not to hug someone, then walks away and leans over a stone well in an open field. The setting includes festive bunting and distant mountains under a clear sky.

  • A man walks away from the camera toward a stone well. [frame:3]
  • A man leans over a stone well. [frame:4]

1 person observed.

“Hmph!” 67:12 · “Oh! Don't you dare hug me!” 67:13

Evidence, details and a link to share

Sequence 144 from 1:07:32

Frame at 1:07:43, shot 5461:07:43
1 of 1 shots sampled

233. Town square

1:07:32–1:07:53 Machine checks passed

Model synopsis: A group of people in period clothing gather around tables and a large roasted animal on a spit in an open outdoor area. No dialogue or on-screen text is present in the frames provided.

Evidence, details and a link to share

Sequence 145 from 1:07:53

Frame at 1:07:54, shot 5471:07:54
1 of 1 shots sampled

234. Town square

1:07:53–1:07:54 Machine checks passed

Model synopsis: A woman in a green dress stands outdoors in a desert-like setting with a horse-drawn wagon behind her. No dialogue or other people are visible or audible in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 146 from 1:07:54

Frame at 1:07:58, shot 5481:07:58
1 of 1 shots sampled

235. Town square

1:07:54–1:08:01 Machine checks passed

Model synopsis: A group of people in formal attire interact under a red, white, and blue canopy outdoors. One man in a light suit faces away while another in a dark suit gestures toward a woman in a white dress.

5 people observed.

Evidence, details and a link to share

Sequence 147 from 1:08:01

Frame at 1:08:02, shot 5491:08:02
1 of 1 shots sampled

236. Desert

1:08:01–1:08:03 Machine checks passed

Model synopsis: A woman in a green dress stands outdoors in a desert landscape with a horse-drawn carriage behind her. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 148 from 1:08:03

Frame at 1:08:04, shot 5501:08:04
1 of 1 shots sampled

237. Town square

1:08:03–1:08:05 Machine checks passed

Model synopsis: A group of people in period Western attire are gathered outdoors under a canopy, with horses and open land visible in the background. No dialogue or on-screen text is present in this beat.

5 people observed.

Evidence, details and a link to share

Frame at 1:08:13, shot 5511:08:13Frame at 1:08:28, shot 5521:08:28
2 of 2 shots sampled

238. Field

1:08:05–1:08:35 Machine checks passed

Model synopsis: A man in a cowboy hat and a woman in a green dress speak outdoors at a gathering; the scene then widens to show a crowd under red canopies with mountains in the background. A line is spoken claiming a dance partner.

Named: Catherine (t:68:05), GW (t:68:21). 4 people observed.

“Ladies all look lovely, Catherine. No, this is a real fine party.” 68:05 · “Just everybody.” 68:19

Evidence, details and a link to share

Sequence 149 from 1:08:35

Frame at 1:08:40, shot 5531:08:40Frame at 1:08:49, shot 5541:08:49
2 of 2 shots sampled

239. Town square

1:08:35–1:08:54 Machine checks passed (partial)

Model synopsis: A man in a light coat walks through an outdoor gathering under a red-and-white canopy, with other guests mingling and dancing nearby. The setting appears to be a daytime social event in a rural or semi-rural location with mountains in the background.

  • A man in a light coat walks through a crowd under a canopy. [frame:1]
  • People are dancing and mingling under a red-and-white canopy with mountains in the background. [frame:2]

4 people observed.

“Come on.” 68:36 · “I'm going to go.” 68:37

Evidence, details and a link to share

Sequence 150 from 1:08:54

Sequence 151 from 1:08:57

Frame at 1:08:59, shot 5561:08:59
1 of 1 shots sampled

241. Town square

1:08:57–1:09:01 Machine checks passed

Model synopsis: A group of people in period Western attire stands under a red-and-white striped canopy outdoors. No dialogue or on-screen text is present in the frames.

8 people observed.

Evidence, details and a link to share

Sequence 152 from 1:09:01

Frame at 1:09:03, shot 5571:09:03Frame at 1:09:06, shot 5581:09:06Frame at 1:09:10, shot 5591:09:10
3 of 3 shots sampled

242. Field

1:09:01–1:09:12 Machine checks passed (partial)

Model synopsis: A man in a white suit speaks to a woman in a green dress at an outdoor gathering; other guests and horse-drawn carriages are visible. The transcript shows someone named Draco being ordered to act, and a woman called Catherine being told to obey.

  • A man in a white suit stands near a punch bowl surrounded by guests. [frame:1]
  • The man in the white suit faces the woman in green and speaks to her. [frame:2]
  • The woman in green turns toward the punch bowl while guests mingle. [frame:3]

Named: Catherine (t:69:04), Draco (t:69:01). 6 people observed.

“- Draco, go and do what I told you to do. - Oh, Katie.” 69:01 · “- Catherine, do as you're told. - Drago, do this. Drago, do that.” 69:04

Evidence, details and a link to share

Sequence 153 from 1:09:12

Frame at 1:09:14, shot 5601:09:14
1 of 1 shots sampled

243. Town square

1:09:12–1:09:15 Machine checks passed (partial)

Model synopsis: A group of people in period clothing stand near a decorated wagon with musicians on it; one man gestures while speaking. The setting appears to be an outdoor public gathering in a Western town.

  • A man in a white shirt gestures with his right hand while standing near a decorated wagon. [frame:1]
  • Three musicians stand on a wagon holding instruments. [frame:1]
  • Several women and men in period clothing stand on the ground near the wagon. [frame:1]

7 people observed.

Evidence, details and a link to share

Sequence 154 from 1:09:15

Sequence 155 from 1:09:16

Frame at 1:09:18, shot 5621:09:18Frame at 1:09:22, shot 5641:09:22Frame at 1:09:29, shot 5661:09:29Frame at 1:09:36, shot 5681:09:36
4 of 7 shots sampled

245. Field

1:09:16–1:09:38 Machine checks passed (partial)

Model synopsis: A man in a light suit addresses a group of musicians outdoors under a clear sky. The transcript mentions 'Matt Douglas Jr.' bringing dance steps from New York City, and someone responds 'Yes, ma'am.'

  • A man in a light suit stands facing musicians on a platform. [frame:1]
  • The man in the light suit turns his head slightly. [frame:2]
  • The man in the light suit looks up and to his left. [frame:3]
  • 1 more under Evidence and details.

Named: Draco (t:69:16), Matt Douglas Jr. (t:69:21). 8 people observed.

“This Douglas fella... Draco!” 69:16 · “Yes, ma'am.” 69:20

Evidence, details and a link to share

Sequence 156 from 1:09:38

Frame at 1:09:38, shot 5691:09:38
1 of 1 shots sampled

246. Field

1:09:38–1:09:39 Machine checks passed

Model synopsis: A group of people, including men in suits and cowboy hats and women in dresses, stand outdoors in a field with mountains in the background. No dialogue or on-screen text is present in this beat.

8 people observed.

Evidence, details and a link to share

Sequence 157 from 1:09:39

Frame at 1:09:42, shot 5701:09:42
1 of 1 shots sampled

247. Street

1:09:39–1:09:45 Machine checks passed (partial)

Model synopsis: A man in a light suit and hat walks forward on a dirt street while a crowd of onlookers in period clothing watches from the sides. A red wagon wheel is visible near the right edge of the frame.

  • A man in a suit walks forward on a dirt street while a crowd watches. [frame:1]

2 people observed.

Evidence, details and a link to share

Sequence 158 from 1:09:45

Frame at 1:09:46, shot 5711:09:46
1 of 1 shots sampled

248. Street

1:09:45–1:09:47 Machine checks passed

Model synopsis: A woman in a green dress stands among a crowd on a street with mountains in the background. No dialogue is present in this beat.

5 people observed.

Evidence, details and a link to share

Sequence 159 from 1:09:47

Frame at 1:09:51, shot 5721:09:51
1 of 1 shots sampled

249. Town square

1:09:47–1:09:54 Machine checks passed (partial)

Model synopsis: A man in a light suit walks across an open dirt area while a crowd watches from behind a rope. Children and adults are visible in the foreground and background, with buildings and red banners in the distance.

  • a man in a light suit walks across a dirt area while a crowd watches [frame:1]

3 people observed.

Evidence, details and a link to share

Sequence 160 from 1:09:54

Frame at 1:09:55, shot 5731:09:55
1 of 1 shots sampled

250. Town square

1:09:54–1:09:56 Machine checks passed

Model synopsis: A group of men in Western attire stand together outdoors, some holding drinks. The setting appears to be a town square or street with wooden buildings and barrels in the background.

5 people observed.

Evidence, details and a link to share

Sequence 161 from 1:09:56

Frame at 1:09:58, shot 5741:09:58
1 of 1 shots sampled

251. Town square

1:09:56–1:09:59 Machine checks passed (partial)

Model synopsis: A man in a light suit runs across an open plaza in front of a crowd. Children and adults watch from the foreground and sides.

  • A man in a light suit runs across a plaza. [frame:1]

2 people observed.

Evidence, details and a link to share

Sequence 162 from 1:09:59

Frame at 1:10:07, shot 5761:10:07Frame at 1:10:14, shot 5771:10:14Frame at 1:10:17, shot 5781:10:17Frame at 1:10:25, shot 5791:10:25
4 of 4 shots sampled

253. Town square

1:10:01–1:10:32 Machine checks passed (partial)

Model synopsis: A crowd gathers outdoors as two people dance in the center while others watch; a man in a cowboy hat speaks to another man nearby. The setting includes a wooden structure and distant mountains under a clear sky.

  • A woman in pink and a man in gray dance in front of a crowd. [frame:1]
  • A woman in green smiles at the camera while others laugh. [frame:2]
  • The dancing couple continues to spin under red banners. [frame:3]
  • 1 more under Evidence and details.

7 people observed.

“Give me a whisper.” 70:09 · “This turn of 10 pound parties, boss.” 70:22

Evidence, details and a link to share

Sequence 163 from 1:10:32

Frame at 1:10:33, shot 5801:10:33
1 of 1 shots sampled

254. Sidewalk

1:10:32–1:10:35 Machine checks passed

Model synopsis: A man in a light suit stands with his back to the camera, facing three women in period dresses on a dirt path near a wooden staircase. The background shows desert terrain with distant mountains under a clear sky.

4 people observed.

Evidence, details and a link to share

Sequence 164 from 1:10:35

Frame at 1:10:36, shot 5811:10:36
1 of 1 shots sampled

255. Field

1:10:35–1:10:38 Machine checks passed

Model synopsis: A crowd gathers under a red-and-white striped canopy in an open field. A man in a brown coat stands with arms crossed near the edge of the group.

2 people observed.

Evidence, details and a link to share

Sequence 165 from 1:10:38

Frame at 1:10:41, shot 5821:10:41
1 of 1 shots sampled

256. Field

1:10:38–1:10:44 Machine checks passed (partial)

Model synopsis: A man in a light-colored coat walks toward a set of stairs leading to a porch. The background shows a wide, open landscape with distant mountains and sparse vegetation.

  • A man walks toward a set of stairs leading to a porch. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 166 from 1:10:44

Frame at 1:10:45, shot 5831:10:45Frame at 1:10:48, shot 5841:10:48
2 of 2 shots sampled

257. Field

1:10:44–1:10:50 Machine checks passed (partial)

Model synopsis: A crowd gathers under a canopy in an open, arid landscape while a man runs from a structure and another lies on the ground nearby. The transcript contains a repeated utterance of the word 'Indian.'

  • A man runs from a lattice structure toward the right. [frame:2]
  • A man lies motionless on the ground near a bench. [frame:2]
  • A crowd stands under a canopy in an open field. [frame:1]

5 people observed.

“Indian. Indian.” 70:45

Evidence, details and a link to share

Frame at 1:10:51, shot 5851:10:51
1 of 1 shots sampled

258. Town square

1:10:50–1:10:51 Machine checks passed

Model synopsis: A crowd gathers outdoors under a red-and-white canopy in a rural setting. A man in a brown jacket stands in the foreground, looking toward the group.

2 people observed.

Evidence, details and a link to share

Sequence 167 from 1:10:51

Frame at 1:11:00, shot 5861:11:00Frame at 1:11:13, shot 5871:11:13
2 of 2 shots sampled

259. Town square

1:10:51–1:11:16 Machine checks passed (partial)

Model synopsis: Two men stand outdoors near a lattice fence; one gestures while speaking. A transcript line suggests a prior physical confrontation has ended.

  • A man in a light shirt crouches while another man in a grey suit gestures at him. [frame:1]
  • Two men stand facing each other near a lattice fence. [frame:2]

4 people observed.

“Get up and we can do this all over again. Yes!” 70:56 · “That's enough. You fought it. It's over. Get out of there. Quit batting that birdbound. He's a hard man, not your son. Look, you fought him …” 70:59

Evidence, details and a link to share

Sequence 168 from 1:11:16

Frame at 1:11:18, shot 5881:11:18Frame at 1:11:25, shot 5891:11:25
2 of 2 shots sampled

260. Desert

1:11:16–1:11:30 Machine checks passed (partial)

Model synopsis: Two men walk away from a group near a wooden lattice structure in a desert landscape; two other men stand nearby watching them. The transcript indicates they are leaving a party and plan to fight once out of sight of women.

  • Two men walk away from a group near a wooden lattice structure. [frame:1]
  • Two men stand facing each other near a table and carriage. [frame:2]

4 people observed.

“Now we've had enough of this.” 71:19 · “Well, when are you gonna quit walking away? Just as soon as we're out of sight of the party.” 71:21

Evidence, details and a link to share

Sequence 169 from 1:11:30

Frame at 1:11:31, shot 5901:11:31
1 of 1 shots sampled

261. Private office

1:11:30–1:11:32 Machine checks passed

Model synopsis: A man in a light-colored suit and patterned tie stands in a doorway. The setting appears to be an interior space with wooden paneling and a partially open door.

1 person observed.

Evidence, details and a link to share

Sequence 170 from 1:11:32

Frame at 1:11:36, shot 5911:11:36Frame at 1:11:40, shot 5921:11:40Frame at 1:11:44, shot 5931:11:44
3 of 3 shots sampled

262. Yard

1:11:32–1:11:46 Machine checks passed (partial)

Model synopsis: A man in a light shirt kneels in dust near a lattice fence while another man in a light suit watches from a doorway. A third man holds a child on a porch as two others observe from above.

  • A man kneels in dust near a lattice fence. [frame:1]
  • A man in a light suit stands in a doorway. [frame:2]
  • A man holds a child on a porch while others watch from above. [frame:3]

6 people observed.

“Come on.” 71:39

Evidence, details and a link to share

Frame at 1:11:52, shot 5941:11:52Frame at 1:12:00, shot 5951:12:00
2 of 2 shots sampled

263. Porch and yard

1:11:46–1:12:02 Machine checks passed (partial)

Model synopsis: Two people stand on a porch while a man in a light shirt runs across a yard toward a gate. A voice says 'Such vulgarity!' and another agrees someone should act.

  • A woman and a man stand on a porch. [frame:1]
  • A man runs across a yard toward a gate. [frame:2]

3 people observed.

“Such vulgarity!” 71:48 · “Someone should do something about it. You're right.” 71:50

Evidence, details and a link to share

Sequence 171 from 1:12:02

Sequence 172 from 1:12:04

Frame at 1:12:05, shot 5971:12:05
1 of 1 shots sampled

265. Porch

1:12:04–1:12:06 Machine checks passed

Model synopsis: A man and a woman stand on a porch with brick walls and a blue ceiling. No dialogue or action is visible in the single frame.

2 people observed.

Evidence, details and a link to share

Sequence 173 from 1:12:06

Frame at 1:12:08, shot 5981:12:08
1 of 1 shots sampled

266. Street

1:12:06–1:12:11 Machine checks passed

Model synopsis: Four men stand outdoors near a brick wall; one leans forward aggressively while others watch. No dialogue or on-screen text is present in this beat.

4 people observed.

Evidence, details and a link to share

Sequence 174 from 1:12:11

Frame at 1:12:12, shot 5991:12:12
1 of 1 shots sampled

267. Beach

1:12:11–1:12:14 Machine checks passed

Model synopsis: A man lies on sandy ground with arms outstretched; a chair and table are nearby. The transcript contains the line 'Here you go.'

  • A man lies on sandy ground with arms outstretched. [frame:1]

1 person observed.

“Here you go.” 72:13

Evidence, details and a link to share

Sequence 175 from 1:12:14

Frame at 1:12:15, shot 6001:12:15
1 of 1 shots sampled

268. Street

1:12:14–1:12:15 Machine checks passed

Model synopsis: A group of five men stands outdoors near a brick wall and metal structure. One man in a light blue shirt gestures with his right hand while the others look on.

5 people observed.

Evidence, details and a link to share

Sequence 176 from 1:12:15

Frame at 1:12:16, shot 6011:12:16
1 of 1 shots sampled

269. Beach

1:12:15–1:12:17 Machine checks passed

Model synopsis: A man in a light shirt and dark pants bends over on sandy ground near a wooden table and chair. No dialogue or on-screen text is present in this beat.

  • A man bends over on sandy ground. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 177 from 1:12:17

Frame at 1:12:21, shot 6021:12:21
1 of 1 shots sampled

270. Other

1:12:17–1:12:25 Machine checks passed (partial)

Model synopsis: A man in a light jacket speaks to a group near a brick wall and wooden doors; another man leans against the door. The transcript contains the line 'Come on.'

  • A man in a light jacket addresses a group near a brick wall. [frame:1]
  • A man leans against a wooden door. [frame:1]

4 people observed.

“Come on.” 72:21

Evidence, details and a link to share

Sequence 178 from 1:12:25

Frame at 1:12:29, shot 6031:12:29Frame at 1:12:36, shot 6041:12:36Frame at 1:12:39, shot 6051:12:39Frame at 1:12:47, shot 6061:12:47
4 of 4 shots sampled

271. Sidewalk

1:12:25–1:12:53 Machine checks passed (partial)

Model synopsis: Two men speak near a brick wall while others watch; one man is handed a bottle and later appears injured as a group gathers around him. The dialogue references boxing and Purdue, and someone is told to get water.

  • Someone hands over a bottle. [frame:4]

Named: Mr. McClendon (t:72:30). 9 people observed.

“You all right, young man?” 72:27 · “How are you, Mr. McClendon?” 72:30

Evidence, details and a link to share

Frame at 1:12:54, shot 6071:12:54
1 of 1 shots sampled

272. Other

1:12:53–1:12:55 Machine checks passed

Model synopsis: A man in a checkered shirt stands outdoors near a wooden building. No dialogue or action is visible in the single frame provided.

1 person observed.

Evidence, details and a link to share

Sequence 179 from 1:12:55

Frame at 1:12:58, shot 6081:12:58
1 of 1 shots sampled

273. Other

1:12:55–1:13:01 Machine checks passed

Model synopsis: A man in a suit stands on a porch next to a woman in a pink dress. The porch is part of a brick building with a column and railing.

2 people observed.

Evidence, details and a link to share

Sequence 180 from 1:13:01

Frame at 1:13:03, shot 6091:13:03
1 of 1 shots sampled

274. Other

1:13:01–1:13:05 Machine checks passed

Model synopsis: A man in a checkered shirt stands outdoors near a wooden structure. No dialogue or additional context is provided in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 181 from 1:13:05

Frame at 1:13:12, shot 6101:13:12Frame at 1:13:21, shot 6111:13:21Frame at 1:13:25, shot 6121:13:25
3 of 3 shots sampled

275. Yard

1:13:05–1:13:26 Machine checks passed (partial)

Model synopsis: Two men speak outdoors near a brick building and lattice fence; one man is later seen alone in a rural yard holding a hat. A third man is mentioned but not shown in these frames.

  • Two men stand facing each other outdoors. [frame:1]
  • One man holds another by the collar near a lattice fence. [frame:2]
  • A young man stands alone in a yard holding a hat. [frame:3]

4 people observed.

“Get yourself.” 73:07 · “Go ask that girl for a dance.” 73:09

Evidence, details and a link to share

Frame at 1:13:30, shot 6131:13:30Frame at 1:13:37, shot 6141:13:37Frame at 1:13:43, shot 6151:13:43
3 of 3 shots sampled

276. Yard

1:13:26–1:13:46 Machine checks passed

Model synopsis: A man in a brown coat confronts another man identified as Funtleroy Sage, who claims to be the uncle of a boy he whipped; the confrontation occurs outdoors near a lattice fence with other men present. The dialogue includes an exchange about 'intruding' and a misunderstanding of the term.

Named: Funtleroy Sage (t:73:33). 5 people observed.

“Oh, so you're the young farmer boy that whipped my nephew.” 73:29 · “Well, I'm Funtleroy Sage, young Ben's uncle.” 73:33

Evidence, details and a link to share

Frame at 1:13:47, shot 6161:13:47Frame at 1:13:58, shot 6181:13:58Frame at 1:14:00, shot 6191:14:00Frame at 1:14:06, shot 6211:14:06
4 of 6 shots sampled

277. Field

1:13:46–1:14:08 Machine checks passed (partial)

Model synopsis: A man in a brown jacket is shown outdoors, then two men in hats confront each other while others watch. The transcript mentions a quarrel over family honor and a farmer whipping a sage.

  • A young man in a brown jacket stands outdoors looking off-camera. [frame:1]
  • Two men in hats face each other in front of a lattice fence while others watch. [frame:3]
  • The man in the light suit speaks to the man in the brown coat. [frame:4]
  • 1 more under Evidence and details.

Named: Montleroy (t:73:46), Mr. McLennick (t:74:00). 5 people observed.

“Well, then I got another reason for walloping. Besides, on account of him thrashing my nephew, young Ben. Montleroy, you can't get mixed u…” 73:46 · “Family honor!” 73:55

Evidence, details and a link to share

Frame at 1:14:08, shot 6221:14:08Frame at 1:14:09, shot 6231:14:09Frame at 1:14:11, shot 6251:14:11Frame at 1:14:12, shot 6261:14:12
4 of 5 shots sampled

278. Field

1:14:08–1:14:12 Machine checks passed (partial)

Model synopsis: A man in a cowboy hat and a young man in a light shirt are shown in alternating close-ups outdoors. The transcript contains only the word 'Oh.' at 74:09.

  • A man in a cowboy hat looks upward with a surprised expression. [frame:1]
  • A young man in a light shirt makes a pouting face. [frame:2]
  • The young man in the light shirt looks forward with a serious expression. [frame:3]
  • 1 more under Evidence and details.

4 people observed.

“Oh.” 74:09

Evidence, details and a link to share

Frame at 1:14:13, shot 6271:14:13
1 of 1 shots sampled

279. Field

1:14:12–1:14:14 Machine checks passed

Model synopsis: A man with dark hair and a light shirt is shown in a close-up outdoors, with a rural background including a wooden structure and bare trees. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 182 from 1:14:14

Frame at 1:14:15, shot 6281:14:15
1 of 1 shots sampled

280. Field

1:14:14–1:14:16 Machine checks passed

Model synopsis: A man in a light jacket and red neckerchief is shown in close-up, with two other men in cowboy hats visible behind him in a sunlit outdoor setting. The background includes a lattice structure and part of a building.

3 people observed.

Evidence, details and a link to share

Sequence 183 from 1:14:16

Frame at 1:14:16, shot 6291:14:16
1 of 1 shots sampled

281. Field

1:14:16–1:14:17 Machine checks passed

Model synopsis: A group of men in period Western attire stand outdoors under a trellis structure. No dialogue or named individuals are present in this beat.

3 people observed.

Evidence, details and a link to share

Sequence 184 from 1:14:17

Frame at 1:14:17, shot 6301:14:17Frame at 1:14:20, shot 6311:14:20Frame at 1:14:24, shot 6321:14:24Frame at 1:14:27, shot 6331:14:27
4 of 4 shots sampled

282. Field

1:14:17–1:14:29 Machine checks passed (partial)

Model synopsis: A man in a light shirt is shot and falls from a chair onto sand; another man in a brown coat watches. A group of onlookers, including a man in a tan coat and hat, react with alarm. The scene takes place outdoors in a dry, open area with mountains in the background.

  • The young man in the light shirt is seen turning toward the shooter with a startled expression. [frame:1]
  • A group of men, including one in a tan coat and hat, react with alarm. [frame:2]
  • The young man is thrown backward from a chair, falling toward the ground. [frame:3]
  • 1 more under Evidence and details.

5 people observed.

“*gunshot*” 74:18 · “Save!” 74:19

Evidence, details and a link to share

Sequence 185 from 1:14:29

Frame at 1:14:30, shot 6341:14:30Frame at 1:14:35, shot 6351:14:35Frame at 1:14:48, shot 6371:14:48Frame at 1:14:52, shot 6381:14:52
4 of 5 shots sampled

283. Field

1:14:29–1:14:53 Machine checks passed (partial)

Model synopsis: Two men argue outdoors near a wooden lattice structure while others watch; one man in a light suit speaks to another in a brown coat, and a third man in a checkered shirt reacts. A horse-drawn wagon and open field are visible in the background.

  • The man in the brown coat responds while standing near a wooden lattice. [frame:2]
  • The man in the light suit gestures while speaking to the man in the brown coat. [frame:3]
  • The man in the checkered shirt looks toward the others with a tense expression. [frame:4]

Named: G.W. (t:74:47), Roy (t:74:43). 5 people observed.

“I hate to have to do that, young fella.” 74:29 · “No hard failings. Not yet.” 74:34

Evidence, details and a link to share

Frame at 1:14:55, shot 6391:14:55Frame at 1:14:58, shot 6401:14:58Frame at 1:15:04, shot 6421:15:04Frame at 1:15:06, shot 6431:15:06
4 of 5 shots sampled

284. Field

1:14:53–1:15:07 Machine checks passed (partial)

Model synopsis: A man in a light suit speaks to a man in a brown coat and hat, who covers his face; a younger man in a checkered shirt stands nearby. The scene takes place outdoors near a lattice fence with a wagon and mountains visible in the background.

  • G.W. speaks to Roy, who covers his face with his hand. [frame:1]
  • G.W. gestures toward Roy while speaking; Roy looks down. [frame:2]
  • The younger man in the checkered shirt looks off to the side. [frame:3]
  • 1 more under Evidence and details.

Named: G.W. (t:74:47), Roy (t:74:43). 4 people observed.

“You wouldn't do... No, no, I wouldn't do that. And Deb...” 74:53 · “I don't want you kicking Fauntleroy in the knee. He didn't do no such thing. And none of this nose twisting. He's all yours.” 74:57

Evidence, details and a link to share

Sequence 186 from 1:15:07

Frame at 1:15:09, shot 6441:15:09
1 of 1 shots sampled

285. Town square

1:15:07–1:15:10 Machine checks passed

Model synopsis: A man in a cowboy hat faces two other men near a wooden lattice fence in an outdoor setting; a horse-drawn carriage is visible in the background. No dialogue is present in this beat.

4 people observed.

Evidence, details and a link to share

Sequence 187 from 1:15:10

Frame at 1:15:11, shot 6451:15:11
1 of 1 shots sampled

286. Street

1:15:10–1:15:11 Machine checks passed

Model synopsis: A man in a cowboy hat and brown coat leans forward toward another man whose back is to the camera, while two other men stand behind them near a brick wall and lattice fence. No dialogue is present in this beat.

4 people observed.

Evidence, details and a link to share

Sequence 188 from 1:15:11

Frame at 1:15:12, shot 6461:15:12
1 of 1 shots sampled

287. Sidewalk

1:15:11–1:15:13 Machine checks passed (partial)

Model synopsis: Two men are seen falling or being pushed against a lattice fence while another man in a suit walks past them. A fourth man in a white shirt and tie stands nearby observing.

  • Two men are falling or being pushed against a lattice fence. [frame:1]
  • A man in a suit walks past the scene. [frame:1]
  • A man in a white shirt and tie stands nearby observing. [frame:1]

4 people observed.

Evidence, details and a link to share

Sequence 189 from 1:15:13

Frame at 1:15:14, shot 6471:15:14Frame at 1:15:23, shot 6501:15:23Frame at 1:15:54, shot 6541:15:54Frame at 1:16:03, shot 6571:16:03
4 of 11 shots sampled

288. Sidewalk

1:15:13–1:16:04 Machine checks passed (partial)

Model synopsis: Men in period Western attire stand and converse near a wooden lattice fence; one man is seen falling against the fence. Dialogue references an 'Indian agent', a 'fair fight', and a suggestion to retrieve medicine.

  • A man in a light shirt and dark pants falls against a wooden lattice fence. [frame:1]
  • A man in a dark suit and bow tie walks past the fence. [frame:2]
  • A group of men stand together near the fence; one is identified as Foggle Roy. [frame:4]

Named: Conleroy (t:75:33), Foggle Roy (t:75:37). 8 people observed.

“Where are my vests? You all right, young father?” 75:17 · “Ouch! I'm all right. This Indian agent will stop stepping all over me. I bet you'll pardon me. He does, yeah.” 75:21

Evidence, details and a link to share

Sequence 190 from 1:16:04

Sequence 191 from 1:16:05

Frame at 1:16:07, shot 6591:16:07
1 of 1 shots sampled

290. Other

1:16:05–1:16:09 Machine checks passed

Model synopsis: A man in a light shirt stands beside a partially open door; another person is partially visible behind the door. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Sequence 192 from 1:16:09

Frame at 1:16:24, shot 6601:16:24
1 of 1 shots sampled

291. Private office

1:16:09–1:16:38 Machine checks passed (partial)

Model synopsis: A man in a brown coat stands at the bottom of a wooden staircase while a woman in a tan coat descends; dialogue references 'Drago' and 'Daddy'. The setting is an interior with wood paneling and a grand staircase.

  • A woman descends a wooden staircase while a man stands at its base. [frame:1]

Named: Drago (t:76:22). 2 people observed.

“Good morning, Drago. Good morning, baby. You seen Daddy?” 76:22

Evidence, details and a link to share

Sequence 193 from 1:16:38

Frame at 1:16:41, shot 6611:16:41
1 of 1 shots sampled

292. Field

1:16:38–1:16:43 Machine checks passed

Model synopsis: A field with dry grass and trees under a clear blue sky is shown. No people, vehicles, or structures are visible in the single frame provided.

Evidence, details and a link to share

Sequence 194 from 1:16:43

Frame at 1:16:45, shot 6621:16:45Frame at 1:16:50, shot 6631:16:50
2 of 2 shots sampled

293. Field

1:16:43–1:16:53 Machine checks passed (partial)

Model synopsis: A man in a hat and jacket stands in a field holding a rifle; another person rides a horse nearby. The transcript contains a single line: 'I'm going to go.'

  • A man stands in a field holding a rifle. [frame:1]
  • A person rides a horse under trees in the field. [frame:2]

2 people observed.

“I'm going to go.” 76:45

Evidence, details and a link to share

Frame at 1:16:54, shot 6641:16:54Frame at 1:17:04, shot 6651:17:04
2 of 2 shots sampled

294. Field

1:16:53–1:17:12 Machine checks passed (partial)

Model synopsis: A man in a hat and coat stands holding a rifle in a grassy field; a woman on horseback approaches him. They exchange greetings and begin a conversation about something the man needs to clarify.

  • A man stands in a field holding a rifle. [frame:1]
  • A woman on horseback approaches the man. [frame:2]

2 people observed.

“Good afternoon.” 76:55 · “Why get you out so early?” 77:01

Evidence, details and a link to share

Sequence 195 from 1:17:12

Frame at 1:17:13, shot 6661:17:13
1 of 1 shots sampled

295. Field

1:17:12–1:17:13 Machine checks passed (partial)

Model synopsis: A man in a hat and light jacket crouches in a grassy field, holding a rifle. No dialogue or on-screen text is present in this beat.

  • A man crouches in a field holding a rifle. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 196 from 1:17:13

Frame at 1:17:14, shot 6671:17:14
1 of 1 shots sampled

296. Field

1:17:13–1:17:15 Machine checks passed

Model synopsis: A woman stands beside a horse in a dry, open field with trees in the background. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 197 from 1:17:15

Frame at 1:17:23, shot 6681:17:23Frame at 1:17:48, shot 6691:17:48Frame at 1:18:04, shot 6701:18:04
3 of 3 shots sampled

297. Field

1:17:15–1:18:05 Machine checks passed (partial)

Model synopsis: A man and a woman in Western attire stand outdoors near horses; the man turns away and raises a rifle. The transcript reveals a tense conversation about the man's separation from the woman's mother and a possible romantic involvement with another woman.

  • The man turns his back to the woman and raises a rifle. [frame:1]
  • The man and woman face each other in conversation. [frame:2]
  • The man aims the rifle upward into the trees. [frame:3]

2 people observed.

“Why'd you and Mama stop living together, Daddy?” 77:19 · “- Aren't you gonna answer me? - No.” 77:28

Evidence, details and a link to share

Frame at 1:18:15, shot 6711:18:15Frame at 1:18:30, shot 6721:18:30
2 of 2 shots sampled

298. Field

1:18:05–1:18:36 Machine checks passed (partial)

Model synopsis: An older man and a younger woman stand in a field with horses, discussing past hardships. The man holds a rifle while the woman listens, and dialogue references a mother's solitude during a snowstorm.

  • The older man holds a rifle while standing next to the younger woman in a field. [frame:1]
  • The older man stands alone in the field, holding a rifle. [frame:2]

Named: Becky (t:78:19). 2 people observed.

“Your mother's in mine.” 78:06 · “Pretty good shot, Daddy.” 78:09

Evidence, details and a link to share

Frame at 1:18:39, shot 6731:18:39Frame at 1:18:45, shot 6741:18:45Frame at 1:18:56, shot 6751:18:56
3 of 3 shots sampled

299. Field

1:18:36–1:19:02 Machine checks flagged: visible event not seen

Model synopsis: Two people stand near a saddled horse outdoors; one speaks about past events including the Great Comanche Raids and tells the other to go home. The setting is open land with trees, under daylight.

  • A man adjusts something on a saddled horse while another person stands nearby. [frame:1]
  • The man gestures toward the horse while speaking to the other person. [frame:2]
  • The person in the straw hat stands alone beside the horse, looking off-camera. [frame:3]

2 people observed.

“You were a little more than a year old at the time of the Great Comanche Raids.” 78:38 · “We stood off 500 Plains Indians for nine days.” 78:43

Flagged: visible event not seen (The person in the straw hat stands alone beside the horse, looking off-camera.)

Evidence, details and a link to share

Sequence 198 from 1:19:02

Frame at 1:19:12, shot 6761:19:12
1 of 1 shots sampled

300. Forest

1:19:02–1:19:22 Machine checks passed (partial)

Model synopsis: A man stands beside a dark horse in a wooded outdoor area while a voice calls out 'Becky!' and tells her to come here. The scene is set in daylight with trees and fallen logs visible.

  • A man stands next to a dark horse in a wooded area. [frame:1]

1 person observed.

“Becky!” 79:08 · “Come here.” 79:13

Evidence, details and a link to share

Sequence 199 from 1:19:22

Frame at 1:19:28, shot 6771:19:28Frame at 1:19:35, shot 6781:19:35Frame at 1:19:41, shot 6791:19:41Frame at 1:19:46, shot 6801:19:46
4 of 4 shots sampled

301. Field

1:19:22–1:19:46 Machine checks passed

Model synopsis: Two people on horseback have a conversation outdoors in a wooded area near water. One person warns the other that suitors will be attracted to them partly because of their perceived inheritance from a wealthy landowner, but clarifies that no inheritance will occur.

2 people observed.

“There's something I ought to tell you.” 79:23 · “You're gonna have every young buck west of the Missouri around here trying to marry you.” 79:29

Evidence, details and a link to share

Frame at 1:20:15, shot 6831:20:15Frame at 1:20:18, shot 6841:20:18Frame at 1:20:25, shot 6851:20:25
3 of 3 shots sampled

303. Field

1:20:14–1:20:31 Machine checks passed (partial)

Model synopsis: A man and a woman on horseback converse in a wooded area near water; the man gestures while speaking about legacy and perception. The woman listens, seated on her horse, as the man raises his hand in emphasis.

  • The man raises his right hand while speaking to the woman. [frame:3]

2 people observed.

“It's more than we had, your mother and I.” 80:14 · “Some folks are gonna say I'm doing all this.” 80:18

Evidence, details and a link to share

Frame at 1:20:33, shot 6861:20:33Frame at 1:20:38, shot 6871:20:38Frame at 1:20:46, shot 6881:20:46
3 of 3 shots sampled

304. Field

1:20:31–1:20:52 Machine checks passed (partial)

Model synopsis: A man on horseback speaks to a woman standing near a tree; he expresses love and a desire for her to experience a shared life. The setting is outdoors near water, with trees and natural light.

  • The man, seated on a horse, looks toward the woman. [frame:1]
  • The woman stands near a tree, listening. [frame:2]
  • The man continues speaking while seated on horseback. [frame:3]

2 people observed.

“But the real reason, Becky...” 80:32 · “is because I love you.” 80:34

Evidence, details and a link to share

Frame at 1:20:53, shot 6891:20:53Frame at 1:20:55, shot 6901:20:55
2 of 2 shots sampled

305. Field

1:20:52–1:20:57 Machine checks passed (partial)

Model synopsis: A woman in a hat and coat stands near a tree while a man on horseback holds a rope. The transcript contains a line spoken at 80:55, but no name is given for either person.

  • A woman stands near a tree while a man on horseback holds a rope. [frame:1]
  • A man on horseback looks toward the camera while holding a rope. [frame:2]

2 people observed.

“I can't explain it any better than that.” 80:55

Evidence, details and a link to share

Frame at 1:21:00, shot 6911:21:00
1 of 1 shots sampled

306. Forest

1:20:57–1:21:02 Machine checks passed

Model synopsis: A woman in a straw hat and brown jacket stands outdoors under trees. No dialogue or action is visible in the single frame provided.

1 person observed.

Evidence, details and a link to share

Sequence 200 from 1:21:02

Frame at 1:21:03, shot 6921:21:03
1 of 1 shots sampled

307. Forest

1:21:02–1:21:04 Machine checks passed (partial)

Model synopsis: A man in a cowboy hat sits on a horse in a wooded area near water. The previous beat showed a woman in a straw hat in a forest, suggesting they may be in the same location.

  • A man sits on a horse holding reins, looking toward the camera. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 201 from 1:21:04

Frame at 1:21:06, shot 6931:21:06Frame at 1:21:09, shot 6941:21:09Frame at 1:21:12, shot 6951:21:12
3 of 3 shots sampled

308. Field

1:21:04–1:21:13 Machine checks passed (partial)

Model synopsis: A woman in a cowboy hat and jacket stands near a tree, then mounts a light-colored horse while a man in a hat adjusts a saddle nearby. The transcript includes the lines 'All right, Daddy.' and 'Becky.'

  • A woman stands near a tree. [frame:1]
  • A man adjusts a saddle on a horse while a woman approaches. [frame:2]
  • The woman mounts the horse. [frame:3]

Named: Becky (t:81:10), Daddy (t:81:05). 2 people observed.

“All right, Daddy.” 81:05 · “Becky” 81:10

Evidence, details and a link to share

Frame at 1:21:16, shot 6961:21:16Frame at 1:21:24, shot 6971:21:24
2 of 2 shots sampled

309. Forest

1:21:13–1:21:29 Machine checks passed (partial)

Model synopsis: A man on horseback and a woman standing outdoors exchange dialogue about age and family concern. The setting is a wooded area near water, under daylight.

  • The man is visible on horseback, holding reins. [frame:1]
  • The woman is visible standing, looking off-camera. [frame:2]

2 people observed.

“When you're as old as I am, you'll...” 81:15 · “Thank you for this.” 81:18

Evidence, details and a link to share

Frame at 1:21:30, shot 6981:21:30
1 of 1 shots sampled

310. Field

1:21:29–1:21:31 Machine checks passed

Model synopsis: A man in a cowboy hat sits on a horse near a body of water with trees in the background. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 202 from 1:21:31

Frame at 1:21:33, shot 6991:21:33
1 of 1 shots sampled

311. Field

1:21:31–1:21:35 Machine checks passed (partial)

Model synopsis: A person rides a light-colored horse away from the camera across a grassy, tree-dotted field. The rider wears a hat and a long coat, and the horse kicks up dust as it moves.

  • A person rides a horse away from the camera across a field. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 203 from 1:21:35

Frame at 1:21:37, shot 7001:21:37
1 of 1 shots sampled

312. Field

1:21:35–1:21:39 Machine checks passed

Model synopsis: A person in a hat and long coat sits on a horse in a field. No dialogue or additional actions are visible in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 204 from 1:21:39

Sequence 205 from 1:21:50

Frame at 1:21:51, shot 7021:21:51
1 of 1 shots sampled

314. Living room

1:21:50–1:21:52 Machine checks passed

Model synopsis: A woman sits in a chair in a room with pink walls and heavy drapes, while another woman stands near a vanity. The room contains period furnishings including a lamp, a portrait, and a mirror.

2 people observed.

Evidence, details and a link to share

Sequence 206 from 1:21:52

Sequence 207 from 1:22:11

Frame at 1:22:14, shot 7041:22:14Frame at 1:22:27, shot 7051:22:27
2 of 2 shots sampled

316. Living room

1:22:11–1:22:37 Machine checks passed (partial)

Model synopsis: A man in a vest stands in a doorway observing a woman in a white dress holding a blue hat while another woman in a pink dress looks on; a man in a white suit sits at a piano in the background. The transcript includes dialogue about bedtime and a hat being brought.

  • A man in a vest stands in a doorway observing the room. [frame:1]
  • A man in a tan jacket hands a blue hat to a woman in a white dress while another woman in pink watches. [frame:2]

Named: Becky (t:82:17). 5 people observed.

“All three of them thaw right out of the carriage.” 82:12 · “Well, it's getting rather late, Becky. It's bedtime.” 82:17

Evidence, details and a link to share

Frame at 1:22:39, shot 7061:22:39Frame at 1:22:45, shot 7081:22:45Frame at 1:22:53, shot 7091:22:53Frame at 1:23:08, shot 7111:23:08
4 of 6 shots sampled

317. Living room

1:22:37–1:23:09 Machine checks passed (partial)

Model synopsis: A man in a vest enters a room where two men are seated at a chessboard; a woman in a dress stands nearby. Dialogue references cigars, playing, and a comparison to a baby steer.

  • A man in a vest enters a room and looks toward two seated men. [frame:1]
  • The man in the vest holds up a cigar while speaking. [frame:2]
  • Three men are seated around a chessboard; one holds a bottle. [frame:3]
  • 1 more under Evidence and details.

Named: Van (t:82:59). 4 people observed.

“I just thought I'd get another cigar.” 82:46 · “But you've got one in your mouth and two burning in the tray.” 82:49

Evidence, details and a link to share

Frame at 1:23:12, shot 7121:23:12Frame at 1:23:17, shot 7131:23:17Frame at 1:23:21, shot 7141:23:21Frame at 1:23:27, shot 7151:23:27
4 of 4 shots sampled

318. Living room

1:23:09–1:23:31 Machine checks passed (partial)

Model synopsis: A woman in a patterned dress and a man in a brown vest interact near a lamp and piano; three men are seated at a chessboard in a room with bookshelves. Dialogue includes a request to sing and a reference to 'the plaza'.

  • A man in a grey suit reaches toward a chessboard. [frame:3]
  • A woman and a man face each other and appear to converse. [frame:4]

4 people observed.

“I want the whole wide world to hear.” 83:10 · “You're sweeter than...” 83:19

Evidence, details and a link to share

Frame at 1:23:36, shot 7161:23:36Frame at 1:23:44, shot 7171:23:44Frame at 1:23:51, shot 7181:23:51
3 of 3 shots sampled

319. Living room

1:23:31–1:23:55 Machine checks passed (partial)

Model synopsis: Three people are in a room with chess and furniture; one woman speaks to a man playing chess, another man observes. A separate shot shows three men at a chessboard, one speaking to another.

  • A woman stands and speaks to a seated man playing chess. [frame:1]
  • Three men are seated around a chessboard; one speaks to another. [frame:2]

Named: Dick (t:83:46). 5 people observed.

“It's your move. Oh.” 83:31 · “Oh, Dick, you're playing like an amateur. Let's call it an evening. I'd like to know where your mind is tonight.” 83:46

Evidence, details and a link to share

Sequence 208 from 1:23:55

Frame at 1:23:57, shot 7191:23:57
1 of 1 shots sampled

320. Living room

1:23:55–1:23:58 Machine checks passed

Model synopsis: A woman sits in an ornate chair beside a table with a lamp and teacups. The setting appears to be a decorated interior room with heavy drapes and a cabinet.

1 person observed.

Evidence, details and a link to share

Sequence 209 from 1:23:58

Sequence 210 from 1:24:06

Frame at 1:24:07, shot 7211:24:07
1 of 1 shots sampled

322. Living room

1:24:06–1:24:08 Machine checks passed

Model synopsis: A woman in a light-colored dress sits in a carved wooden chair beside a table with a red-shaded lamp and glassware. The setting includes heavy drapes and a dark cabinet, suggesting an interior room.

1 person observed.

Evidence, details and a link to share

Sequence 211 from 1:24:08

Frame at 1:24:10, shot 7221:24:10
1 of 1 shots sampled

323. Private office

1:24:08–1:24:12 Machine checks passed

Model synopsis: Three men stand in a furnished room; one wears a light suit, another a grey suit with dark cuffs, and the third a vest over a shirt. No dialogue or on-screen text is present in this beat.

3 people observed.

Evidence, details and a link to share

Sequence 212 from 1:24:12

Sequence 213 from 1:24:21

Frame at 1:24:23, shot 7241:24:23
1 of 1 shots sampled

325. Private office

1:24:21–1:24:26 Machine checks passed

Model synopsis: Three men stand in a room with bookshelves and furniture; one wears a white jacket, another a grey coat, and the third a vest over a shirt. No dialogue or action is recorded in this beat.

3 people observed.

Evidence, details and a link to share

Sequence 214 from 1:24:26

Frame at 1:24:28, shot 7251:24:28
1 of 1 shots sampled

326. Living room

1:24:26–1:24:30 Machine checks passed

Model synopsis: A woman sits in an ornate chair holding a teacup in a room with heavy drapes and a table lamp. No dialogue or action is recorded in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 215 from 1:24:30

Sequence 216 from 1:24:46

Sequence 217 from 1:24:48

Frame at 1:24:53, shot 7281:24:53Frame at 1:25:03, shot 7291:25:03
2 of 2 shots sampled

329. Living room

1:24:48–1:25:07 Machine checks passed (partial)

Model synopsis: Three people stand in a room with period furnishings; one man speaks about apologizing for calling another a reactionary. The setting includes a staircase and candle-lit lamps, suggesting an interior from the late 19th or early 20th century.

  • A man in a brown suit holds a coat and speaks to another man. [frame:1]
  • The man in the brown suit continues speaking while facing the man in the gray suit. [frame:2]

3 people observed.

“But we're going to have that Indian hearing tomorrow morning. Sir, about our conversation earlier this evening, I believe I'd better apolog…” 84:53 · “Yes, sir, I've been thinking it over and over. When I called you a reactionary, that's merely my generation's...” 85:02

Evidence, details and a link to share

Frame at 1:25:09, shot 7301:25:09Frame at 1:25:30, shot 7311:25:30
2 of 2 shots sampled

330. Living room

1:25:07–1:25:49 Machine checks passed (partial)

Model synopsis: Two men stand in a room as a third man walks away; dialogue includes farewells and a discussion about 'reactionary' labels. The setting is an interior room with period furnishings and lighting.

  • Two men stand facing each other in a room. [frame:1]
  • A third man walks away from the two men toward a doorway. [frame:2]

Named: Drago (t:85:22). 3 people observed.

“Well, good night, sir. Good night, Mrs. McClendon. Good night, and do come again.” 85:14 · “Good night, Drago. Night.” 85:22

Evidence, details and a link to share

Frame at 1:25:55, shot 7321:25:55Frame at 1:26:07, shot 7331:26:07
2 of 2 shots sampled

331. Private office

1:25:49–1:26:12 Machine checks passed (partial)

Model synopsis: A man in a suit faces a woman descending a staircase; another shot shows two men in conversation indoors. The transcript includes dialogue about a man not fighting for a girl and identifying as an employee.

  • A woman descends a staircase while a man in a suit faces her. [frame:1]
  • Two men stand facing each other in conversation. [frame:2]

Named: Devlin Warren (t:86:01). 4 people observed.

“Devlin Warren, if you was my kind of man, you wouldn't let some dude walk off the pretty girl west of Denver without putting him some kind o…” 86:01 · “Does it show?” 86:01

Evidence, details and a link to share

Frame at 1:26:16, shot 7341:26:16Frame at 1:26:26, shot 7351:26:26
2 of 2 shots sampled

332. Private office

1:26:12–1:26:32 Machine checks passed (partial)

Model synopsis: A man in a grey suit speaks to two other men in a wood-paneled interior with a staircase; the transcript includes dialogue about employment and hierarchy. No names are spoken that identify the individuals.

  • A man in a grey suit leans on a staircase railing and speaks. [frame:1]
  • Three men stand facing each other in conversation. [frame:2]

3 people observed.

“I'm just a hired hand around here.” 86:12 · “Every so often, Dev...” 86:14

Evidence, details and a link to share

Frame at 1:27:02, shot 7361:27:02
1 of 1 shots sampled

333. Private office

1:26:32–1:27:33 Machine checks passed

Model synopsis: A group of four people stand in a room discussing a missing horse and a plan to drive someone home; one man insists he will accompany the person despite objections. The scene includes dialogue about a livery stable, a carriage, and a character named Drago.

  • Four people stand in a room discussing a missing horse and a plan to drive someone home. [frame:1]

Named: Mr. McLennick (t:87:01). 4 people observed.

“Daddy, the most terrible thing just happened.” 86:33 · “Junior's horse ran away. The one he rented at the livery stable. Tied up a rented horse by the range. He's probably back in the stall by now…” 86:36

Evidence, details and a link to share

Sequence 218 from 1:27:33

Frame at 1:27:35, shot 7371:27:35Frame at 1:27:41, shot 7391:27:41Frame at 1:27:57, shot 7411:27:57Frame at 1:28:08, shot 7431:28:08
4 of 7 shots sampled

334. Vehicle interior

1:27:33–1:28:10 Machine checks passed (partial)

Model synopsis: A man in a hat and vest drives a vehicle at night while speaking with others. The dialogue suggests concern about navigation and a tense situation involving potential danger.

  • A man in a hat and vest is driving a vehicle at night. [frame:1]
  • The man continues driving, looking forward. [frame:2]
  • The man turns his head slightly while driving. [frame:3]
  • 1 more under Evidence and details.

Named: Devlin Ward (t:87:51), Miss Becky (t:87:36), Devon Warren (t:87:41). 3 people observed.

“Miss Becky?” 87:36 · “Devon Warren, you know there isn't a turnoff between here and town.” 87:41

Evidence, details and a link to share

Frame at 1:28:13, shot 7441:28:13
1 of 1 shots sampled

335. Vehicle interior

1:28:10–1:28:16 Machine checks passed

Model synopsis: A man and a woman are inside a dimly lit vehicle, both appearing alarmed. The woman holds a small animal and looks off-camera with a startled expression, while the man grips a steering wheel and looks forward.

2 people observed.

Evidence, details and a link to share

Frame at 1:28:17, shot 7451:28:17
1 of 1 shots sampled

336. Road

1:28:16–1:28:18 Machine checks passed

Model synopsis: A man in a hat and vest stands beside a dark vehicle at night. No dialogue or other actions are visible in this single frame.

1 person observed.

Evidence, details and a link to share

Sequence 219 from 1:28:18

Frame at 1:28:22, shot 7461:28:22Frame at 1:28:28, shot 7471:28:28
2 of 2 shots sampled

337. Living room

1:28:18–1:28:31 Machine checks passed (partial)

Model synopsis: A woman in a white dress walks through a richly decorated interior while a man stands behind her; the transcript includes a child calling 'Daddy' and a statement of humiliation. The exterior shot shows a large building at night with trees and a figure on horseback.

  • A woman walks through a room while a man stands behind her. [frame:1]

2 people observed.

“Daddy?” 88:23 · “Daddy!” 88:25

Evidence, details and a link to share

Sequence 220 from 1:28:31

Frame at 1:28:56, shot 7511:28:56Frame at 1:29:08, shot 7541:29:08Frame at 1:29:16, shot 7561:29:16Frame at 1:29:24, shot 7591:29:24
4 of 9 shots sampled

339. Private office

1:28:53–1:29:25 Machine checks passed (partial)

Model synopsis: A man in a vest is confronted by a man and a woman in a room; the woman demands the man shoot the vest-wearing man, who then throws his hat in the air. The transcript reveals the conflict centers on an insult about pre-engagement kissing.

  • The younger man stands defiantly. [frame:2]
  • The woman looks up at the older man, pleading. [frame:3]
  • The younger man throws his hat into the air. [frame:4]

3 people observed.

“Shoot him. Well, what is he admitting to? Why, he called me a... I won't even repeat the word.” 88:53 · “I said that any girl who would permit a man to kiss her before they're formally engaged is a trollop.” 89:06

Evidence, details and a link to share

Frame at 1:29:31, shot 7601:29:31Frame at 1:29:41, shot 7611:29:41Frame at 1:29:48, shot 7621:29:48Frame at 1:29:52, shot 7631:29:52
4 of 4 shots sampled

340. Private office

1:29:25–1:29:54 Machine checks passed (partial)

Model synopsis: A man in a suit holds a revolver while speaking to a woman in a period dress; another man in a vest confronts her in a room with bookshelves and a mounted animal head. A man yells about being on fire and mentions a deer, while another line references a spanking and a child calling 'Daddy!'.

  • A man in a suit holds a revolver and speaks to a woman. [frame:1]
  • A man in a vest confronts the woman while kneeling. [frame:2]
  • The woman and the man in the vest stand facing each other in a room with bookshelves. [frame:3]
  • 1 more under Evidence and details.

4 people observed.

“Oh, you shot him! You really shot him!” 89:26 · “Hey! If he dies... If he dies, he'll be the first man ever killed with a blank cartridge.” 89:29

Evidence, details and a link to share

Frame at 1:29:56, shot 7641:29:56Frame at 1:30:09, shot 7651:30:09
2 of 2 shots sampled

341. Private office

1:29:54–1:30:19 Machine checks flagged: visible event not seen

Model synopsis: In a private office, a man in a grey suit confronts a woman and another man; the man in the suit raises his hand as if to strike while holding a revolver. The transcript indicates a threat involving someone being shot and a reference to a 'kid in the middle'.

  • A man in a grey suit holds a revolver and faces a woman and another man in a private office. [frame:1]
  • The man in the grey suit raises his hand while holding the revolver; the woman is now on the floor, and the man in the vest is behind her. [frame:2]

3 people observed.

“I think I'll give you what you deserve.” 89:54 · “You wouldn't dare!” 89:54

Flagged: visible event not seen (A man in a grey suit holds a revolver and faces a woman and another man in a private office.)

Evidence, details and a link to share

Sequence 221 from 1:30:19

Frame at 1:30:20, shot 7661:30:20
1 of 1 shots sampled

342. Living room

1:30:19–1:30:21 Machine checks passed

Model synopsis: A woman in a red dress stands on a wooden balcony railing inside a room with striped wallpaper. A shadow of a person is cast on the wall behind her.

2 people observed.

Evidence, details and a link to share

Sequence 222 from 1:30:21

Sequence 223 from 1:30:22

Frame at 1:30:23, shot 7681:30:23
1 of 1 shots sampled

344. Private office

1:30:22–1:30:23 Machine checks passed

Model synopsis: A person in a red dress is seen from behind, standing near a wooden railing inside a room with striped wallpaper. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 224 from 1:30:23

Frame at 1:30:31, shot 7691:30:31Frame at 1:30:39, shot 7701:30:39Frame at 1:30:43, shot 7711:30:43Frame at 1:30:48, shot 7721:30:48
4 of 4 shots sampled

345. Private office

1:30:23–1:30:51 Machine checks passed

Model synopsis: A woman in a red dress confronts a man in a suit on a staircase while two other men in nightclothes stand nearby. The dialogue reveals a dispute over a spanking incident involving a daughter and accusations of changed behavior over three years.

Named: G.W. (t:90:40), Becky (t:90:40). 5 people observed.

“Mickey, Mickey, what happened?” 90:29 · “He spanked me!” 90:30

Evidence, details and a link to share

Sequence 225 from 1:31:16

Frame at 1:31:17, shot 7741:31:17
1 of 1 shots sampled

347. Living room

1:31:16–1:31:19 Machine checks passed (partial)

Model synopsis: A woman in a red dress walks away from the camera toward a door inside a room with striped wallpaper and a wooden railing. No dialogue or on-screen text is present in this beat.

  • A woman in a red dress walks toward a door. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 226 from 1:31:19

Frame at 1:31:20, shot 7751:31:20Frame at 1:31:22, shot 7761:31:22Frame at 1:31:33, shot 7771:31:33
3 of 3 shots sampled

348. Living room

1:31:19–1:31:42 Machine checks passed (partial)

Model synopsis: A man in a grey suit stands on a staircase inside a house while a woman in a red dress is seen on a landing. Outside, a group of people on horseback rides through a dusty town street with mountains in the background. A voice denies intoxication and greets a captain.

  • A man in a grey suit stands on a staircase inside a house. [frame:1]
  • A woman in a red dress stands on a landing near a doorway. [frame:2]
  • A group of people on horseback rides through a dusty town street with mountains in the background. [frame:3]

4 people observed.

“And I am not intoxicated.” 91:19 · “Yes!” 91:21

Evidence, details and a link to share

Sequence 227 from 1:31:42

Frame at 1:31:48, shot 7781:31:48
1 of 1 shots sampled

349. Town square

1:31:42–1:31:55 Machine checks passed

Model synopsis: A group of people stands near a stone wall and gate in a mountainous area while a man on horseback and a horse-drawn carriage are present. No dialogue or on-screen text is visible in the frame.

3 people observed.

Evidence, details and a link to share

Sequence 228 from 1:31:55

Frame at 1:31:56, shot 7791:31:56Frame at 1:32:01, shot 7801:32:01Frame at 1:32:06, shot 7811:32:06
3 of 3 shots sampled

350. Town square

1:31:55–1:32:08 Machine checks passed

Model synopsis: A group of men in period Western attire stand outdoors near a wooden fence and stone wall; one man in a uniform addresses others, who then begin to follow him. The transcript includes a command for peace and an acknowledgment by a sergeant, followed by a reference to 'Big McClintock' and a statement about fair judgment.

  • The group begins to walk away following the uniformed man. [frame:3]

Named: Sergeant (t:91:57). 6 people observed.

“Peace, Homer.” 91:55 · “Yes, Sergeant.” 91:57

Evidence, details and a link to share

Sequence 229 from 1:32:08

Frame at 1:32:09, shot 7821:32:09Frame at 1:32:13, shot 7831:32:13
2 of 2 shots sampled

351. Town square

1:32:08–1:32:16 Machine checks passed (partial)

Model synopsis: Two men in period Western attire stand near a wooden fence while a crowd gathers in the background near a building with an American flag. One man is addressed by the name 'GW' in the transcript.

  • A crowd gathers in front of a building with an American flag [frame:1]
  • Two men stand near a wooden fence and adobe wall [frame:2]

Named: GW (t:92:12). 2 people observed.

“Well, Jake?” 92:11 · “GW?” 92:12

Evidence, details and a link to share

Frame at 1:32:19, shot 7841:32:19Frame at 1:32:28, shot 7851:32:28
2 of 2 shots sampled

352. Town square

1:32:16–1:32:34 Machine checks passed (partial)

Model synopsis: A man in a suit and hat speaks to a woman in a purple dress in a crowded town square; another woman sits in a carriage nearby. The transcript includes dialogue addressing 'GW' and a direction to 'Cut, Bert.'

  • A man in a suit speaks to a woman in purple in a town square. [frame:1]
  • A woman in a blue dress sits in a carriage while others stand nearby. [frame:2]

Named: GW (t:92:20). 4 people observed.

“Well, GW, it's been a long time. Not long enough. Cut, Bert.” 92:20 · “Your husband is a rude man. Yes, Cutforth, I know.” 92:26

Evidence, details and a link to share

Sequence 230 from 1:32:34

Frame at 1:32:47, shot 7871:32:47Frame at 1:32:51, shot 7881:32:51Frame at 1:33:03, shot 7901:33:03Frame at 1:33:09, shot 7911:33:09
4 of 5 shots sampled

354. Town square

1:32:44–1:33:13 Machine checks passed

Model synopsis: A hearing is convened outdoors in a town square under U.S. Army authority, with soldiers, civilians, and a governor presiding. A man in a light coat speaks to a crowd while a woman in purple stands nearby, and a sign reads 'U.S. ARMY 5th CAVALRY'.

Named: Mr. McClintock (t:92:44), Governor Cuthbert Humphreys (t:93:02). 8 people observed.

“Where are you one day Indians, Mr. McClintock? Mr. McClintock is not running this hearing.” 92:44 · “Sergeant, seat those Indians. Yes, gentlemen, be seated.” 92:49

Evidence, details and a link to share

Frame at 1:33:21, shot 7921:33:21Frame at 1:33:31, shot 7931:33:31
2 of 2 shots sampled

355. Town square

1:33:13–1:33:33 Machine checks passed (partial)

Model synopsis: A group of men in formal attire and hats sit at a table indoors while a document is read; outside, a crowd including soldiers and Native Americans stands in a town square. The transcript mentions government orders regarding the Comanche Nation and an Indian agent named Agard.

  • A man reads from a paper at a table while others listen. [frame:1]
  • A crowd including soldiers and Native Americans stands outdoors. [frame:2]

Named: Agard (t:93:19). 8 people observed.

“As ordered that the Comanche Nation be transferred from their present reservation to Fort Sill...” 93:14 · “It is the government's claim, as filed by Indian agent Agard...” 93:19

Evidence, details and a link to share

Frame at 1:33:38, shot 7941:33:38Frame at 1:33:46, shot 7951:33:46Frame at 1:33:52, shot 7961:33:52
3 of 3 shots sampled

356. Outdoor courtyard

1:33:33–1:33:53 Machine checks passed (partial)

Model synopsis: A group of men, including some in U.S. Army uniforms, are seated at a table outdoors while others stand nearby; a man speaks on behalf of the Comanche. The setting includes a U.S. Army sign and an American flag, suggesting a formal meeting or negotiation.

  • Men are seated at a table outdoors with others standing nearby. [frame:2]
  • A U.S. Army sign is visible behind the seated group. [frame:3]

Named: Mr. McLintock (t:93:42). 6 people observed.

“It seems, gentlemen, that although some of these chiefs speak English, Chief Puma is quite at home in our language.” 93:35 · “They have chosen Mr. McLintock to be their spokesman.” 93:42

Evidence, details and a link to share

Frame at 1:33:56, shot 7971:33:56
1 of 1 shots sampled

357. Town square

1:33:53–1:33:59 Machine checks passed

Model synopsis: A group of people in period Western attire stands and sits outdoors before a stone building with mountains in the background. No dialogue or on-screen text is present in this beat.

5 people observed.

Evidence, details and a link to share

Sequence 231 from 1:33:59

Frame at 1:34:03, shot 7981:34:03Frame at 1:34:09, shot 7991:34:09Frame at 1:34:14, shot 8001:34:14Frame at 1:34:18, shot 8011:34:18
4 of 4 shots sampled

358. Town square

1:33:59–1:34:20 Machine checks passed (partial)

Model synopsis: A man in a light suit reads from a paper outdoors before a crowd that includes Native American men and soldiers; a separate indoor scene shows men in formal attire seated at a table. The transcript contains a speech about the Comanche people's history and pride.

  • A man reads from a paper to a crowd outdoors. [frame:1]
  • Men in formal attire sit at a table indoors. [frame:2]
  • Native American men stand together outdoors. [frame:3]
  • 1 more under Evidence and details.

9 people observed.

“The Comanches say...” 94:00 · “We are an old people.” 94:03

Evidence, details and a link to share

Frame at 1:34:22, shot 8021:34:22Frame at 1:34:31, shot 8031:34:31Frame at 1:34:39, shot 8041:34:39
3 of 3 shots sampled

359. Town square

1:34:20–1:34:40 Machine checks passed

Model synopsis: A group of people, including men in military-style uniforms and civilians, are gathered outdoors in a town setting. A man reads from a paper while others, including women in period dresses, listen or look on.

  • The crowd, including women in period dresses, listens or looks on. [frame:3]

10 people observed.

“You tell us now that if we will let you send us away to this place called Fort Sill...” 94:20 · “You will feed us and care for us.” 94:26

Evidence, details and a link to share

Frame at 1:34:47, shot 8051:34:47Frame at 1:34:55, shot 8061:34:55
2 of 2 shots sampled

360. Town square

1:34:40–1:34:56 Machine checks passed

Model synopsis: A man in a light suit reads from a paper while standing before a crowd that includes Native American men in traditional dress; soldiers on horseback are visible in the background. The transcript contains lines about Comanche values regarding charity and manhood.

  • A man in a light suit reads from a paper to a crowd. [frame:1]

5 people observed.

“It is the Comanche way of life.” 94:40 · “This that the white man calls charity is a fine thing for widows and orphans.” 94:43

Evidence, details and a link to share

Frame at 1:35:00, shot 8071:35:00Frame at 1:35:05, shot 8081:35:05Frame at 1:35:09, shot 8091:35:09Frame at 1:35:15, shot 8101:35:15
4 of 4 shots sampled

361. Town square

1:34:56–1:35:17 Machine checks passed (partial)

Model synopsis: A man in a light suit reads from a paper to a crowd that includes several Native American men and U.S. Army personnel; a sign identifies a building as 'U.S. ARMY 5TH CAVALRY'. The transcript contains a defiant speech from the Comanche perspective about preferring death to surrender.

  • A man in a light suit holds a paper and addresses a crowd. [frame:1]
  • Several Native American men stand together, listening. [frame:2]
  • A group of men, including U.S. Army personnel, are seated at a table inside a building marked 'U.S. ARMY 5TH CAVALRY'. [frame:3]
  • 1 more under Evidence and details.

6 people observed.

“You say to the Comanche you are widows and orphans.” 94:59 · “And we, the Comanches, say we would rather be dead.” 95:03

Evidence, details and a link to share

Frame at 1:35:18, shot 8111:35:18Frame at 1:35:21, shot 8121:35:21Frame at 1:35:30, shot 8141:35:30Frame at 1:35:35, shot 8151:35:35
4 of 5 shots sampled

362. Private office

1:35:17–1:35:37 Machine checks passed

Model synopsis: A group of men in formal and period attire are seated at a table indoors, while another group, including Native American men, stands outdoors near a stone structure. The transcript indicates a discussion about the Comanche defying the U.S. government or a commission.

7 people observed.

“Thank you, Big McClintock.” 95:19 · “Am I to gather that Comanche defy the government of the United States?” 95:23

Evidence, details and a link to share

Frame at 1:35:38, shot 8161:35:38
1 of 1 shots sampled

363. Other

1:35:37–1:35:39 Machine checks passed

Model synopsis: A group of men, some in cowboy hats and others in Native American attire, stand outdoors in front of a stone structure with a cross. The sky is clear and blue, and more people are visible in the background.

6 people observed.

Evidence, details and a link to share

Sequence 232 from 1:35:39

Frame at 1:35:40, shot 8171:35:40
1 of 1 shots sampled

364. Other

1:35:39–1:35:41 Machine checks passed

Model synopsis: Two women in period Western attire stand outdoors beside a stone structure, with one holding a parasol. A man in a cowboy hat is visible behind them, and a cross-topped rock formation appears in the background.

3 people observed.

Evidence, details and a link to share

Sequence 233 from 1:35:41

Frame at 1:35:43, shot 8181:35:43Frame at 1:35:49, shot 8191:35:49Frame at 1:35:55, shot 8201:35:55Frame at 1:36:00, shot 8211:36:00
4 of 4 shots sampled

365. Courtroom

1:35:41–1:36:04 Machine checks passed

Model synopsis: A courtroom scene concludes with a judge ordering the incarceration of chiefs until cavalry escort is available; the scene cuts to an outdoor setting where the same judge and others are present near a building with a U.S. flag. A man calls out 'Oh, McClintock!' as the group stands outside.

Named: McClintock (t:96:01). 10 people observed.

“It is the order of this court that these chiefs be incarcerated until such time as the detachment of United States Cavalry be made available…” 95:42 · “to escort them and the Comanche Nation to Fort Sill.” 95:52

Evidence, details and a link to share

Frame at 1:36:06, shot 8221:36:06Frame at 1:36:11, shot 8241:36:11Frame at 1:36:14, shot 8251:36:14Frame at 1:36:23, shot 8271:36:23
4 of 6 shots sampled

366. Town square

1:36:04–1:36:24 Machine checks passed (partial)

Model synopsis: A man in a dark suit and hat speaks to a crowd outdoors, with others listening; a transcript line mentions 'Puma' and a request for guns for a final Comanche fight. The setting is an open area with adobe-style buildings and mountains in the background.

  • A man in a dark suit and hat addresses a crowd outdoors. [frame:1]
  • A man in a dark suit stands indoors with an American flag behind him. [frame:2]
  • A man in a dark suit and hat speaks while standing on a raised platform with others beside him. [frame:3]
  • 1 more under Evidence and details.

Named: Puma (t:96:16). 7 people observed.

“You are important chief amongst these white people.” 96:05 · “Sway them!” 96:07

Evidence, details and a link to share

Frame at 1:36:25, shot 8281:36:25Frame at 1:36:28, shot 8291:36:28Frame at 1:36:35, shot 8301:36:35
3 of 3 shots sampled

367. Town square

1:36:24–1:36:40 Machine checks passed (partial)

Model synopsis: A group of men in period Western attire gather outdoors near a stone building with a cross; one man gives an order to ride, and another calls out a name. The scene includes soldiers in uniform and civilians in hats, with mountains visible in the background.

  • Men in Western attire stand in a town square near a stone structure. [frame:1]
  • Soldiers and civilians gather near a brick building with a U.S. flag. [frame:2]
  • A group faces a stone church with a cross, including a soldier holding a rifle. [frame:3]

Named: Endelman (t:96:31). 6 people observed.

“Sergeant! Yes? Let's ride. Carry on.” 96:26 · “Yeah, Endelman!” 96:31

Evidence, details and a link to share

Sequence 234 from 1:36:40

Frame at 1:36:50, shot 8311:36:50
1 of 1 shots sampled

368. Town square

1:36:40–1:37:00 Machine checks passed

Model synopsis: A woman in a purple dress and blue hat stands in a dusty town square with mountains in the background; a child in a light dress holds her hand. A man in a dark coat and top hat is visible nearby, and a soldier in blue uniform appears in the background.

  • Woman in purple dress and blue hat stands with child in town square. [frame:1]

4 people observed.

“It's sad, these changing times.” 96:40 · “It isn't the times that are changing, Mama.” 96:40

Evidence, details and a link to share

Sequence 235 from 1:37:00

Frame at 1:37:01, shot 8321:37:01Frame at 1:37:06, shot 8341:37:06Frame at 1:37:08, shot 8351:37:08Frame at 1:37:14, shot 8371:37:14
4 of 6 shots sampled

369. Other

1:37:00–1:37:17 Machine checks passed (partial)

Model synopsis: A group of people in traditional attire are gathered at night near a fire and a stone structure with a cross. A man in a hat and coat stands holding a rifle on a raised area, while another man in a light suit exits a building with barred windows.

  • A group of people in traditional attire are gathered near a fire and a stone structure with a cross. [frame:1]
  • The group of people are shown in a closer view, some with expressive faces. [frame:2]
  • A man in a hat and coat stands holding a rifle on a raised area with a stone structure and cross in the background. [frame:3]
  • 1 more under Evidence and details.

3 people observed.

“I'm going to go.” 97:08 · “Oh, yeah.” 97:10

Evidence, details and a link to share

Sequence 236 from 1:37:17

Frame at 1:37:19, shot 8381:37:19
1 of 1 shots sampled

370. Street

1:37:17–1:37:21 Machine checks passed (partial)

Model synopsis: A man in a cowboy hat stands between two horses at night outside a building with a lit sign. No dialogue is present in this beat.

  • A man stands between two horses outside a building at night. [frame:1]

1 person observed.

Evidence, details and a link to share

Frame at 1:37:24, shot 8391:37:24Frame at 1:37:30, shot 8401:37:30Frame at 1:37:35, shot 8411:37:35
3 of 3 shots sampled

371. Street

1:37:21–1:37:38 Machine checks passed (partial)

Model synopsis: A man in a cowboy hat and coat stands near a horse outside a building at night; another man in a suit leans against a post nearby. Dialogue includes greetings and a comment about someone being drunk.

  • A man adjusts a horse's bridle. [frame:1]
  • A man in a suit leans against a post and speaks. [frame:2]
  • A man on horseback looks toward others. [frame:3]

3 people observed.

“Hey.” 97:27 · “- Bunny!” 97:30

Evidence, details and a link to share

Frame at 1:37:42, shot 8421:37:42Frame at 1:37:57, shot 8431:37:57Frame at 1:38:10, shot 8441:38:10
3 of 3 shots sampled

372. Street

1:37:38–1:38:12 Machine checks flagged: period without evidence, time_of_day without evidence

Model synopsis: Two men in cowboy hats and period attire converse at night outside a building with visible signage. One man questions the presence of a boxcar and expresses concern about armed Indians and potential violence.

  • Two men stand facing each other on a street at night. [frame:1]
  • The man in the light suit gestures while speaking to the older man. [frame:2]
  • The man in the light suit continues speaking, leaning slightly forward. [frame:3]

2 people observed.

“Is that boxcar still on the sighting?” 97:41 · “Well, sure, but... But what? I don't like it.” 97:44

Flagged: time_of_day without evidence (night); period without evidence (19th century)

Evidence, details and a link to share

Sequence 237 from 1:38:12

Frame at 1:38:28, shot 8451:38:28
1 of 1 shots sampled

373. Sidewalk

1:38:12–1:38:43 Machine checks flagged: visible event not seen

Model synopsis: A man in a hat and coat stands outside a wooden building at night, holding a horse. Dialogue indicates farewells and a romantic verse is recited. No names are spoken that identify the visible person.

  • A man stands outside a wooden building holding a horse. [frame:1]

1 person observed.

“Well, Clint, you got yourself a partner.” 98:12 · “Leave me out of this.” 98:15

Flagged: visible event not seen (A man stands outside a wooden building holding a horse.)

Evidence, details and a link to share

Sequence 238 from 1:38:43

Frame at 1:38:47, shot 8461:38:47Frame at 1:38:56, shot 8471:38:56Frame at 1:39:03, shot 8481:39:03
3 of 3 shots sampled

374. Living room

1:38:43–1:39:04 Machine checks passed (partial)

Model synopsis: A woman stands inside a dimly lit room looking out a window at a man in the yard; a weather vane is visible on a roof at night. The transcript includes a declaration of love and a call for 'Katie' to come home.

  • A woman stands inside a room looking out a window. [frame:1]
  • The woman looks out at a man standing in the yard. [frame:2]
  • A weather vane is visible on a roof against a dark sky. [frame:3]

Named: Katie (t:99:01). 2 people observed.

“And I'll love her till I die, kitty!” 98:55 · “Katie Giloni! Come rest this home, Katie!” 99:01

Evidence, details and a link to share

Frame at 1:39:07, shot 8491:39:07Frame at 1:39:16, shot 8511:39:16Frame at 1:39:25, shot 8531:39:25Frame at 1:39:36, shot 8551:39:36
4 of 7 shots sampled

375. Living room

1:39:04–1:39:40 Machine checks passed (partial)

Model synopsis: A man in a light suit stands in a large room with ornate furniture and a rug, then moves to a staircase where a woman in a light dress appears. The man greets her and they begin to speak near a table with small objects. The transcript includes a shouted name, a question about a woman in the house, and a reference to '309 times straight'.

  • A man stands in a large room with a rug and ornate furniture. [frame:1]
  • The man moves to a staircase and leans on the railing. [frame:2]
  • A woman appears at the top of the stairs and the man turns toward her. [frame:3]
  • 1 more under Evidence and details.

Named: Mrs. Warren (t:99:18). 2 people observed.

“Katie!” 99:08 · “Catherine, you holy McLintock, where is the woman in the house?” 99:09

Evidence, details and a link to share

Frame at 1:39:46, shot 8561:39:46Frame at 1:39:57, shot 8571:39:57
2 of 2 shots sampled

376. Living room

1:39:40–1:40:04 Machine checks passed (partial)

Model synopsis: A man and a woman stand in a room with furniture and artwork; the man speaks while holding a glass, and the woman holds a bottle. The transcript includes dialogue about a record and a request to hold a glass still.

  • The man speaks to the woman while holding a glass. [frame:1]
  • The woman holds a bottle and the man holds a glass, preparing to drink. [frame:2]

2 people observed.

“Gotta be a record. I suppose so. Now, Mr. McClintock, what I wanted to say... Two pounds, that's not...” 99:41 · “Six inch brim.” 99:46

Evidence, details and a link to share

Frame at 1:40:09, shot 8581:40:09Frame at 1:40:17, shot 8591:40:17Frame at 1:40:29, shot 8611:40:29Frame at 1:40:37, shot 8621:40:37
4 of 5 shots sampled

377. Private office

1:40:04–1:40:41 Machine checks passed (partial)

Model synopsis: A man and a woman are in a room with period furnishings; the man drinks from a glass and speaks while the woman listens. The transcript indicates a conversation about the territorial governor, Cuthbert H. Humphrey, and the woman's opinion of him.

  • The man drinks from a glass. [frame:1]
  • The man speaks while standing and gesturing. [frame:2]
  • The man continues speaking to the woman. [frame:3]

Named: Cuthbert H. Humphrey (t:100:27), Mrs. Warren (t:100:10). 2 people observed.

“Down the hatch! Yes, sir.” 100:05 · “And now, to the governor of our territory. The governor of the territory, sir? Now, don't you stick up for him, Mrs. Warren. You're a fine w…” 100:10

Evidence, details and a link to share

Frame at 1:41:16, shot 8681:41:16Frame at 1:41:30, shot 8701:41:30Frame at 1:41:54, shot 8731:41:54Frame at 1:42:05, shot 8751:42:05
4 of 8 shots sampled

379. Living room

1:41:15–1:42:07 Machine checks passed (partial)

Model synopsis: A man and a woman are in a living room, drinking and conversing. The man, identified in dialogue as Mr. McClintock, pours and drinks alcohol while discussing his wife Kate and a man named Cuthbert H. Humphrey.

  • The man pours a drink from a bottle into a glass. [frame:1]
  • The woman drinks from a glass. [frame:2]
  • The man stands and holds a glass while talking to the woman. [frame:3]
  • 1 more under Evidence and details.

Named: Mr. McClintock (t:101:36). 2 people observed.

“I don't mind if I do. Good. Can't walk on one leg. Oh, I didn't mean to be vulgar, ma'am. Can't walk.” 101:19 · “One limb.” 101:26

Evidence, details and a link to share

Frame at 1:42:08, shot 8761:42:08
1 of 1 shots sampled

380. Living room

1:42:07–1:42:09 Machine checks passed

Model synopsis: A woman in a yellow patterned dress drinks from a glass while a man in a light suit drinks from a glass beside her. The setting is an interior room with dark wood furniture and warm lighting.

2 people observed.

Evidence, details and a link to share

Sequence 239 from 1:42:09

Frame at 1:42:11, shot 8771:42:11
1 of 1 shots sampled

381. Living room

1:42:09–1:42:12 Machine checks passed

Model synopsis: A woman in a yellow patterned blouse holds a glass toward a man in a light suit jacket in an interior room with wall sconces. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Sequence 240 from 1:42:12

Frame at 1:42:17, shot 8781:42:17Frame at 1:42:23, shot 8791:42:23
2 of 2 shots sampled

382. Private office

1:42:12–1:42:24 Machine checks passed (partial)

Model synopsis: A woman and a man face each other in a dimly lit room with wood paneling and wall sconces; the woman speaks to the man, who listens. The transcript indicates she addresses him as 'Mr. McLintock' and states she has something important to say.

  • A woman faces a man in a wood-paneled room and speaks to him. [frame:1]

Named: Mr. McLintock (t:102:19). 2 people observed.

“Mr. McLintock.” 102:19 · “I have something very important to say to you.” 102:21

Evidence, details and a link to share

Frame at 1:42:30, shot 8801:42:30Frame at 1:42:41, shot 8811:42:41
2 of 2 shots sampled

383. Private office

1:42:24–1:42:47 Machine checks passed

Model synopsis: A woman in a yellow patterned dress speaks to a man in a light-colored suit in a dimly lit room with wood paneling and a red lamp. The woman turns away and waves as the man holds a bottle, and she calls out to someone named Mrs. Warren.

  • A woman speaks to a man in a dimly lit room. [frame:1]
  • The woman turns away and waves while the man holds a bottle. [frame:2]

Named: Betty (t:102:34). 2 people observed.

“Very important.” 102:26 · “Guess it'll have to wait till the morning.” 102:28

Evidence, details and a link to share

Frame at 1:42:49, shot 8821:42:49
1 of 1 shots sampled

384. Living room

1:42:47–1:42:50 Machine checks passed

Model synopsis: A woman in a light-colored dress stands on a wooden staircase holding a lamp aloft. The setting is an ornate interior with dark wood paneling and decorative objects.

1 person observed.

Evidence, details and a link to share

Sequence 241 from 1:42:50

Frame at 1:42:52, shot 8831:42:52
1 of 1 shots sampled

385. Private office

1:42:50–1:42:53 Machine checks passed (partial)

Model synopsis: A man in a light suit stands in a room with a fireplace and wall sconces, holding a bottle. No dialogue or other actions are visible in this beat.

  • A man stands holding a bottle near a table with a fireplace behind him. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 242 from 1:42:53

Frame at 1:42:59, shot 8841:42:59Frame at 1:43:06, shot 8851:43:06Frame at 1:43:09, shot 8861:43:09Frame at 1:43:13, shot 8871:43:13
4 of 4 shots sampled

386. Private office

1:42:53–1:43:15 Machine checks passed (partial)

Model synopsis: A man and a woman are seen moving through a grand interior with a staircase; the man appears to be pulling or guiding the woman. The woman reacts with visible distress as they ascend and then descend the stairs.

  • A man and a woman stand together at the base of a staircase. [frame:1]
  • The man and woman ascend the staircase, with the man appearing to pull the woman along. [frame:2]
  • The man gestures with his arm while the woman looks distressed. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“Oh, no.” 103:00

Evidence, details and a link to share

Sequence 243 from 1:43:15

Frame at 1:43:17, shot 8881:43:17Frame at 1:43:18, shot 8891:43:18Frame at 1:43:26, shot 8911:43:26Frame at 1:43:30, shot 8921:43:30
4 of 5 shots sampled

387. Private office

1:43:15–1:43:30 Machine checks passed

Model synopsis: A woman in a blue dress stands on a staircase while a man and another woman are seated on the floor nearby. The dialogue suggests a moment of surprise and a question about trusting sight versus words.

  • A woman in a blue dress stands on a staircase railing. [frame:1]
  • A man and a woman are seated on the floor; the woman leans over the man. [frame:2]
  • The man and woman remain seated on the floor, looking up. [frame:3]
  • 1 more under Evidence and details.

3 people observed.

“Whoops! What's going on here?” 103:18 · “Now, Catherine, are you going to believe what you see?” 103:24

Evidence, details and a link to share

Frame at 1:43:33, shot 8931:43:33Frame at 1:43:41, shot 8941:43:41Frame at 1:43:46, shot 8951:43:46Frame at 1:43:52, shot 8961:43:52
4 of 4 shots sampled

388. Living room

1:43:30–1:43:56 Machine checks passed (partial)

Model synopsis: A woman in a blue dress speaks on a staircase while another woman sits beside a sleeping man on the floor. The man is lying on a rug, and the woman in blue appears to be addressing him or someone else off-screen.

  • A woman in a yellow dress sits beside a sleeping man on a rug. [frame:1]
  • A woman in a blue dress stands on a staircase, looking down. [frame:2]
  • The man in the suit is shown sleeping on the floor, holding a glass. [frame:3]
  • 1 more under Evidence and details.

Named: Mrs. McLintock (t:103:33), G.W. McClintock (t:103:37). 3 people observed.

“Ah, Mrs. McLintock.” 103:33 · “Hope you won't misunderstand.” 103:35

Evidence, details and a link to share

Frame at 1:43:59, shot 8971:43:59Frame at 1:44:03, shot 8981:44:03Frame at 1:44:06, shot 8991:44:06Frame at 1:44:14, shot 9001:44:14
4 of 4 shots sampled

389. Living room

1:43:56–1:44:19 Machine checks passed

Model synopsis: A woman in a yellow dress speaks to a man lying down, then turns as another woman in a blue dress appears on a staircase. The dialogue reveals a marriage proposal and a comment about seating.

  • A second woman appears on the staircase and speaks. [frame:4]

Named: Sheriff Lord (t:104:05). 3 people observed.

“I waited up to talk to Mr. McClintick. I wanted to tell him I was quitting.” 103:57 · “Sheriff Lord has asked me to marry him and... Oh, congratulations.” 104:05

Evidence, details and a link to share

Frame at 1:44:20, shot 9011:44:20Frame at 1:44:30, shot 9031:44:30Frame at 1:44:33, shot 9041:44:33Frame at 1:44:49, shot 9061:44:49
4 of 6 shots sampled

390. Living room

1:44:19–1:44:51 Machine checks passed

Model synopsis: A man lies on the floor while two women interact on a staircase; one woman helps the man up as another speaks. The transcript includes dialogue about love and a warning about danger.

  • A man lies on the floor holding a bottle. [frame:1]
  • Two women stand on a staircase, one reaching toward the other. [frame:3]
  • The woman in yellow helps the man stand while the woman in blue assists. [frame:4]

3 people observed.

“I love you.” 104:21 · “Oh, come on, I'll help you upstairs. We have a long talk about men in general.” 104:22

Evidence, details and a link to share

Frame at 1:44:52, shot 9071:44:52Frame at 1:45:01, shot 9081:45:01
2 of 2 shots sampled

391. Living room

1:44:51–1:45:09 Machine checks passed (partial)

Model synopsis: A man in a light suit sits on a staircase with two women, one in yellow and one in blue, while holding a bottle. He speaks to them, identifying himself as George Washington McCliff.

  • A man sits on a staircase with two women and holds a bottle. [frame:1]

Named: George Washington McCliff (t:104:52). 3 people observed.

“Wait a minute, ladies. Till I catch my breath and I'll get you up those stairs as sure as my name is George Washington McCliff.” 104:52

Evidence, details and a link to share

Sequence 244 from 1:45:09

Sequence 245 from 1:45:10

Frame at 1:45:10, shot 9101:45:10
1 of 1 shots sampled

393. Living room

1:45:10–1:45:11 Machine checks passed

Model synopsis: Two women are seated indoors; one points with her right hand while the other looks toward her. The setting includes wooden furniture and a patterned rug.

2 people observed.

Evidence, details and a link to share

Sequence 246 from 1:45:11

Frame at 1:45:12, shot 9111:45:12
1 of 1 shots sampled

394. Living room

1:45:11–1:45:13 Machine checks passed

Model synopsis: A person in a white robe and cap peers from behind a wooden door frame in a dimly lit interior. The setting includes dark wood paneling and a bust on a pedestal, suggesting a formal room.

1 person observed.

Evidence, details and a link to share

Sequence 247 from 1:45:13

Frame at 1:45:16, shot 9121:45:16Frame at 1:45:22, shot 9131:45:22Frame at 1:45:27, shot 9141:45:27
3 of 3 shots sampled

395. Bedroom

1:45:13–1:45:29 Machine checks passed (partial)

Model synopsis: A woman in a blue robe speaks while holding a cloth; another woman in a white bonnet walks away down a hallway; a third woman in a blue robe descends stairs with a child. The dialogue mentions Mrs. Wallace, Mrs. Warren, and Katie, and includes a request for breakfast in bed.

  • A woman in a blue robe holds a cloth and speaks. [frame:1]
  • A woman in a white bonnet walks away down a hallway. [frame:2]
  • A woman in a blue robe descends stairs while carrying a child. [frame:3]

4 people observed.

“You may be quitting Mrs. Wallace. Mrs. Warren. But not tomorrow. I want my breakfast in bed.” 105:20 · “I want to help you. I know, toast, lightly brown. Somebody sure put a knob on my skull. Here's Katie. I'm speaking. Katie, why? Mrs. Warren …” 105:26

Evidence, details and a link to share

Frame at 1:45:40, shot 9151:45:40Frame at 1:45:56, shot 9161:45:56
2 of 2 shots sampled

396. Interior with staircase

1:45:29–1:46:01 Machine checks passed (partial)

Model synopsis: A man in a white robe and bonnet speaks to another man in a light suit; they then ascend a staircase. The dialogue references a whiskey bottle, Katie's temper, and a celebration tomorrow.

  • A man in a white robe speaks to a man in a light suit. [frame:1]
  • The two men walk up a staircase together. [frame:2]

2 people observed.

“Oh, and there you was there. And there that whiskey bottle was there. And Katie's temper being what Katie's temper is, well, there you are.” 105:39 · “Drago old friend, huh?” 105:48

Evidence, details and a link to share

Sequence 248 from 1:46:01

Frame at 1:46:09, shot 9171:46:09
1 of 1 shots sampled

397. Private office

1:46:01–1:46:16 Machine checks passed (partial)

Model synopsis: A man and a woman are seated on a staircase in an interior setting; the woman wears a nightcap. The transcript includes a name spoken and a statement about sleeping in the den.

  • A man and a woman sit facing each other on a staircase. [frame:1]

Named: Drago (t:106:07). 2 people observed.

“Drago” 106:07 · “I am sleeping in the den.” 106:09

Evidence, details and a link to share

Sequence 249 from 1:46:16

Frame at 1:46:18, shot 9181:46:18Frame at 1:46:22, shot 9191:46:22Frame at 1:46:26, shot 9201:46:26Frame at 1:46:31, shot 9211:46:31
4 of 4 shots sampled

398. Town square

1:46:16–1:46:35 Machine checks passed (partial)

Model synopsis: A man in a hat speaks to a group on a wooden porch while another man pulls a cart in a crowded street. A line of dialogue mentions disrespect toward someone named Elder.

  • A man in a hat crouches on a porch while others stand behind him. [frame:1]
  • A man pulls a cart through a crowded street. [frame:2]
  • The group on the porch remains in place, some smiling. [frame:3]
  • 1 more under Evidence and details.

Named: Elder (t:106:29). 5 people observed.

“He's got no respect for you, Elder.” 106:29

Evidence, details and a link to share

Sequence 250 from 1:46:38

Sequence 251 from 1:46:49

Frame at 1:46:58, shot 9241:46:58Frame at 1:47:12, shot 9251:47:12Frame at 1:47:18, shot 9261:47:18Frame at 1:47:20, shot 9271:47:20
4 of 4 shots sampled

401. Town square

1:46:49–1:47:21 Machine checks passed (partial)

Model synopsis: A public gathering is underway outdoors, with people in period Western attire assembling near a decorated platform. A man announces the arrival of the territorial governor, who is then presented to the crowd.

  • People are assembling near wooden structures and a platform. [frame:1]
  • A man in a top hat speaks into a megaphone from a decorated platform. [frame:2]
  • Audience members in period attire watch the platform. [frame:3]
  • 1 more under Evidence and details.

Named: Hussford H. Humphreys (t:107:12). 5 people observed.

“Come on, get him aboard.” 106:53 · “Everybody ready?” 106:55

Evidence, details and a link to share

Frame at 1:47:24, shot 9281:47:24Frame at 1:47:35, shot 9311:47:35Frame at 1:47:41, shot 9331:47:41Frame at 1:47:55, shot 9361:47:55
4 of 9 shots sampled

402. Town square

1:47:21–1:47:56 Machine checks passed (partial)

Model synopsis: A man in a suit addresses a crowd from a decorated podium during a 4th of July celebration; spectators and officials are visible nearby. The speaker mentions inaugurating the event and plans to fire a shot to start a wild horse race.

  • A man in a suit stands at a podium addressing a crowd. [frame:1]
  • A crowd gathers in a dusty town square, some on horseback, watching the podium. [frame:2]
  • A man in an orange vest holds a rifle while a girl stands beside him. [frame:3]
  • 1 more under Evidence and details.

6 people observed.

“My friends...” 107:23 · “This is the ninth consecutive year” 107:27

Evidence, details and a link to share

Sequence 252 from 1:47:56

Frame at 1:48:03, shot 9371:48:03Frame at 1:48:13, shot 9391:48:13Frame at 1:48:19, shot 9411:48:19Frame at 1:48:25, shot 9431:48:25
4 of 7 shots sampled

403. Town square

1:47:56–1:48:28 Machine checks passed (partial)

Model synopsis: A group of people on horseback are seen in a dusty, open area with mountains in the background. One rider is shown falling from a horse while others continue to ride around.

  • A man on horseback is seen in the foreground with a dusty town square behind him. [frame:1]
  • A crowd of people on horseback and on foot are gathered in a dusty town square with mountains in the background. [frame:2]
  • A man on horseback rides across the dusty square with a building and flag visible in the background. [frame:3]
  • 1 more under Evidence and details.

4 people observed.

Evidence, details and a link to share

Sequence 253 from 1:48:28

Frame at 1:48:31, shot 9441:48:31
1 of 1 shots sampled

404. Town square

1:48:28–1:48:33 Machine checks passed

Model synopsis: A group of people, including a man in a sheriff's star and women in period dresses, are seated and applauding. The setting appears to be outdoors during a public event.

6 people observed.

Evidence, details and a link to share

Sequence 254 from 1:48:33

Frame at 1:48:35, shot 9451:48:35
1 of 1 shots sampled

405. Street

1:48:33–1:48:37 Machine checks passed (partial)

Model synopsis: A man on horseback rides through a dusty street crowded with people and wagons, with mountains in the background. The scene is outdoors under daylight, with no dialogue or on-screen text visible.

  • A man on horseback rides through a crowd on a dusty street. [frame:1]

2 people observed.

Evidence, details and a link to share

Sequence 255 from 1:48:37

Frame at 1:48:39, shot 9461:48:39
1 of 1 shots sampled

406. Arena

1:48:37–1:48:41 Machine checks passed (partial)

Model synopsis: A horse and rider burst through a wooden gate in a dusty arena, kicking up dirt, while spectators watch from behind fences. The scene is outdoors under bright daylight with American flags visible on the fence.

  • A horse and rider break through a wooden gate, stirring dust. [frame:1]

Evidence, details and a link to share

Sequence 256 from 1:48:41

Frame at 1:48:44, shot 9471:48:44Frame at 1:49:03, shot 9481:49:03
2 of 2 shots sampled

407. Town square

1:48:41–1:49:20 Machine checks passed (partial)

Model synopsis: A group of men in cowboy attire gather outdoors under a clear sky for a horseback egg race, as instructed by a speaker who explains the rules and warns about old eggs. One man on horseback is singled out by name, 'King', while others line up with their horses.

  • A man on horseback is visible among a line of cowboys preparing for a race. [frame:2]

Named: King (t:108:45). 6 people observed.

“All right, Professor Birnbaum.” 108:41 · “- Sheriff, where's the horse? - Come on, get 'em all in line. Come here, King.” 108:45

Evidence, details and a link to share

Sequence 257 from 1:49:20

Frame at 1:49:24, shot 9491:49:24
1 of 1 shots sampled

408. Field

1:49:20–1:49:28 Machine checks passed

Model synopsis: A dusty outdoor scene shows a chaotic horse-drawn wagon chase with multiple riders and spectators. The foreground includes a person watching from a wagon with a flag, while the background features mountains and a crowd.

3 people observed.

Evidence, details and a link to share

Sequence 258 from 1:49:28

Frame at 1:49:30, shot 9501:49:30
1 of 1 shots sampled

409. Field

1:49:28–1:49:32 Machine checks passed

Model synopsis: A horse-drawn wagon moves rapidly past spectators in an open field. The scene includes riders on horseback and a crowd watching from the sidelines.

3 people observed.

Evidence, details and a link to share

Sequence 259 from 1:49:32

Frame at 1:49:33, shot 9511:49:33
1 of 1 shots sampled

410. Town square

1:49:32–1:49:35 Machine checks passed (partial)

Model synopsis: A dusty outdoor scene shows a woman in a yellow dress seated in a wagon, watching men on horseback gallop past a wooden gate under a banner. Mountains and a crowd are visible in the background.

  • A woman in a yellow dress sits in a wagon watching men on horseback gallop past a wooden gate. [frame:1]

5 people observed.

Evidence, details and a link to share

Sequence 260 from 1:49:35

Frame at 1:49:40, shot 9521:49:40Frame at 1:49:46, shot 9531:49:46Frame at 1:49:50, shot 9541:49:50Frame at 1:49:56, shot 9551:49:56
4 of 4 shots sampled

411. Desert

1:49:35–1:49:59 Machine checks passed (partial)

Model synopsis: A woman in a yellow dress and a man in a suit sit in a vehicle during a 4th of July celebration in a desert landscape with mountains and cacti. The woman speaks about enjoying the celebration, and the man asks if something is wrong after not hearing from her for three days.

  • Catherine and Rob sit in a vehicle and talk. [frame:1]
  • A crowd of people on horseback and in wagons is visible in the background during the celebration. [frame:2]

Named: Catherine (t:109:35), Rob (t:109:52). 2 people observed.

“Catherine, my dear.” 109:35 · “This is wonderful. It's the only thing I really do enjoy about this barbaric country. The 4th of July celebration.” 109:40

Evidence, details and a link to share

Frame at 1:50:01, shot 9561:50:01Frame at 1:50:07, shot 9571:50:07Frame at 1:50:13, shot 9581:50:13Frame at 1:50:18, shot 9591:50:18
4 of 4 shots sampled

412. Desert

1:49:59–1:50:19 Machine checks passed

Model synopsis: A woman in a yellow dress and a man in a dark suit converse outdoors in a desert landscape with mountains and cacti. The man, identified as governor, expresses concern about what the woman may have said regarding their relationship.

Named: Catherine (t:110:04), Rob (t:110:07). 2 people observed.

“What are you talking about?” 110:01 · “Catherine, you see, I'm in the...” 110:04

Evidence, details and a link to share

Frame at 1:50:21, shot 9601:50:21
1 of 1 shots sampled

413. Town square

1:50:19–1:50:23 Machine checks passed

Model synopsis: A woman in a yellow dress sits in a carriage facing a man in a dark coat. The background shows a fairground with tents and a raised platform under a clear sky.

2 people observed.

Evidence, details and a link to share

Frame at 1:50:24, shot 9611:50:24Frame at 1:50:33, shot 9621:50:33Frame at 1:50:44, shot 9631:50:44Frame at 1:50:49, shot 9641:50:49
4 of 4 shots sampled

414. Field

1:50:23–1:50:50 Machine checks passed (partial)

Model synopsis: A woman in a yellow dress confronts a man in a suit outdoors near a decorated wagon and mountains. She speaks defiantly, mentioning her husband and telling him to move aside.

  • A woman confronts a man outdoors. [frame:1]

Named: Governor (t:110:41). 3 people observed.

“Why, you pompous windbag.” 110:24 · “Do you think that you're the only man who's ever tried to play paddy fingers with me? Who's ever tried to lure me into the moonlight?” 110:30

Evidence, details and a link to share

Sequence 261 from 1:50:50

Frame at 1:50:51, shot 9651:50:51
1 of 1 shots sampled

415. Desert

1:50:50–1:50:51 Machine checks passed

Model synopsis: A man in a dark suit and tie stands outdoors in a desert landscape with mountains and saguaro cacti. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 262 from 1:50:51

Frame at 1:50:56, shot 9661:50:56
1 of 1 shots sampled

416. Desert

1:50:51–1:51:01 Machine checks passed

Model synopsis: A man in a dark suit stands in a desert with mountains and cacti behind him. His suit has yellow stains on the shoulder and chest.

1 person observed.

Evidence, details and a link to share

Sequence 263 from 1:51:01

Frame at 1:51:02, shot 9671:51:02
1 of 1 shots sampled

417. Town square

1:51:01–1:51:03 Machine checks passed

Model synopsis: A group of people in period Western attire are gathered around a horse-drawn carriage in a town setting with mountains in the background. No dialogue or on-screen text is present in this beat.

10 people observed.

Evidence, details and a link to share

Sequence 264 from 1:51:03

Frame at 1:51:05, shot 9681:51:05
1 of 1 shots sampled

418. Desert

1:51:03–1:51:08 Machine checks passed

Model synopsis: A man in a cowboy hat and dark suit stands in a desert landscape with cacti and mountains. No dialogue or other actions are visible or audible in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 265 from 1:51:08

Frame at 1:51:12, shot 9691:51:12
1 of 1 shots sampled

419. Desert

1:51:08–1:51:17 Machine checks passed (partial)

Model synopsis: A man in a cowboy hat and dark suit raises his arms in a desert setting while others cheer; the transcript includes shouted names. No named person is visually identifiable from the lines.

  • A man in a cowboy hat raises both arms in the air. [frame:1]

Named: Curly Fletcher (t:111:12), Gurley (t:111:14). 4 people observed.

“in there.” 111:11 · “Curly Fletcher!” 111:12

Evidence, details and a link to share

Sequence 266 from 1:51:17

Frame at 1:51:22, shot 9701:51:22Frame at 1:51:34, shot 9711:51:34
2 of 2 shots sampled

420. Town square

1:51:17–1:51:40 Machine checks passed

Model synopsis: A group of people in Western attire gather outdoors; one man speaks to a woman in a yellow dress while holding a glass. A man in a dark suit is also present, and the crowd includes men in hats and period clothing.

10 people observed.

“Give me the egg.” 111:18 · “Disqualified. Here you go, Curtis. GW! GW! You'll never believe what happened over there. What?” 111:22

Evidence, details and a link to share

Frame at 1:51:44, shot 9721:51:44Frame at 1:52:01, shot 9731:52:01
2 of 2 shots sampled

421. Town square

1:51:40–1:52:13 Machine checks passed

Model synopsis: A public contest is announced from a decorated platform while a crowd, including a man in a red plumed hat and a woman in a yellow dress, watches. A man named George Washington McClintock is addressed and responds to being called crude.

Named: George Washington McClintock (t:111:59). 4 people observed.

“The next event will be a contest.” 111:41 · “Between the two, Bronco, Bostin!” 111:44

Evidence, details and a link to share

Frame at 1:52:15, shot 9741:52:15
1 of 1 shots sampled

422. Other

1:52:13–1:52:17 Machine checks passed

Model synopsis: A group of men in period Western attire stand outdoors under bright daylight; one drinks from a glass while another holds a glass. A line in the transcript says "Three bears!".

  • A man in a red military-style hat drinks from a glass. [frame:1]

5 people observed.

“Three bears!” 112:14

Evidence, details and a link to share

Sequence 267 from 1:52:17

Frame at 1:52:19, shot 9751:52:19
1 of 1 shots sampled

423. Desert

1:52:17–1:52:20 Machine checks passed

Model synopsis: A group of people on horseback is visible in a desert landscape with mountains in the background. No dialogue or on-screen text is present in this beat.

Evidence, details and a link to share

Sequence 268 from 1:52:20

Frame at 1:52:27, shot 9761:52:27
1 of 1 shots sampled

424. Desert

1:52:20–1:52:33 Machine checks passed (partial)

Model synopsis: A single frame shows the side of a red freight car with a sign reading 'PROPERTY OF U.S. WAR DEPT. DO NOT MOLEST.' A gunshot sound is heard at 112:25. No people are visible.

  • A red freight car with a U.S. War Department sign is visible. [frame:1]

“*Gunshot*” 112:25

Evidence, details and a link to share

Sequence 269 from 1:52:33

Frame at 1:52:34, shot 9771:52:34
1 of 1 shots sampled

425. Desert

1:52:33–1:52:36 Machine checks passed

Model synopsis: A group of people on horseback is visible in a desert landscape with mountains in the background. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 270 from 1:52:36

Frame at 1:52:37, shot 9781:52:37
1 of 1 shots sampled

426. Railroad yard

1:52:36–1:52:38 Machine checks passed

Model synopsis: A man in a top hat and coat stands beside a freight train car. He gestures with his right hand while facing the train.

  • A man gestures with his right hand toward a freight train car. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 271 from 1:52:38

Frame at 1:52:40, shot 9791:52:40Frame at 1:52:46, shot 9801:52:46
2 of 2 shots sampled

427. Desert

1:52:38–1:52:50 Machine checks passed (partial)

Model synopsis: A group of riders on horseback moves across a desert landscape while a man in a top hat runs forward, waving a red object. Shouts including 'Point!', 'Help!', 'Freeze!', and 'Get out!' are heard during the scene.

  • A group of riders on horseback moves across a desert landscape. [frame:1]
  • A man in a top hat runs forward, waving a red object. [frame:2]

2 people observed.

“Oh.” 112:41 · “Point!” 112:43

Evidence, details and a link to share

Sequence 272 from 1:52:50

Frame at 1:52:51, shot 9811:52:51
1 of 1 shots sampled

428. Town square

1:52:50–1:52:51 Machine checks passed (partial)

Model synopsis: A man on horseback holds a long stick in front of a crowd gathered around a wagon with a flag-draped coffin. The setting is outdoors under daylight with a wooden building and hills in the background.

  • A man on horseback holds a long stick while facing a crowd. [frame:1]

2 people observed.

Evidence, details and a link to share

Frame at 1:52:52, shot 9821:52:52
1 of 1 shots sampled

429. Town square

1:52:51–1:52:53 Machine checks passed (partial)

Model synopsis: A man in a cowboy hat rides a dark horse in front of a crowd and an American flag, with mountains in the background. The scene appears to be outdoors during the day, with no dialogue or on-screen text visible.

  • A man on horseback faces a crowd in an open area with mountains and an American flag. [frame:1]

2 people observed.

Evidence, details and a link to share

Sequence 273 from 1:52:53

Frame at 1:52:54, shot 9831:52:54
1 of 1 shots sampled

430. Town square

1:52:53–1:52:56 Machine checks passed

Model synopsis: A group of people in period Western attire are seated outdoors, some holding hats and an American flag, under bright daylight. No dialogue or named characters are present in this beat.

6 people observed.

Evidence, details and a link to share

Sequence 274 from 1:52:56

Frame at 1:52:57, shot 9841:52:57
1 of 1 shots sampled

431. Town square

1:52:56–1:52:58 Machine checks passed (partial)

Model synopsis: A man in a cowboy hat rides a horse in front of a crowd in a town square. Other people are visible standing and seated in the background.

  • A man on horseback laughs while holding reins. [frame:1]

4 people observed.

Evidence, details and a link to share

Sequence 275 from 1:52:58

Frame at 1:52:59, shot 9851:52:59
1 of 1 shots sampled

432. Town square

1:52:58–1:52:59 Machine checks passed (partial)

Model synopsis: A man on horseback gestures in front of a crowd holding American flags, with mountains in the background. No dialogue is present in this beat.

  • man on horse gestures with right hand [frame:1]

2 people observed.

Evidence, details and a link to share

Sequence 276 from 1:52:59

Frame at 1:53:02, shot 9861:53:02
1 of 1 shots sampled

433. Open field

1:52:59–1:53:04 Machine checks passed

Model synopsis: A group of riders on horseback moves across a dusty open area, kicking up dust. The scene is outdoors under a bright sky with no visible buildings or structures.

Evidence, details and a link to share

Sequence 277 from 1:53:04

Frame at 1:53:05, shot 9871:53:05
1 of 1 shots sampled

434. Town square

1:53:04–1:53:06 Machine checks passed

Model synopsis: A man in a cowboy hat rides a horse in front of a crowd. The crowd is gathered outdoors under a clear sky, with some people standing on a wooden structure.

2 people observed.

Evidence, details and a link to share

Sequence 278 from 1:53:06

Frame at 1:53:07, shot 9881:53:07
1 of 1 shots sampled

435. Town square

1:53:06–1:53:08 Machine checks passed

Model synopsis: A man in a cowboy hat and formal attire stands among a crowd on wooden bleachers, looking upward. Other men beside him are shouting or laughing, and spectators are visible in the background.

4 people observed.

Evidence, details and a link to share

Sequence 279 from 1:53:08

Frame at 1:53:09, shot 9891:53:09
1 of 1 shots sampled

436. Town square

1:53:08–1:53:11 Machine checks passed

Model synopsis: A woman in a pink dress and hat stands before a crowd outdoors under a blue sky; some in the crowd hold an American flag. No dialogue or on-screen text is present in this beat.

5 people observed.

Evidence, details and a link to share

Sequence 280 from 1:53:11

Frame at 1:53:12, shot 9901:53:12
1 of 1 shots sampled

437. Town square

1:53:11–1:53:13 Machine checks passed

Model synopsis: A man on horseback faces a crowd in a dusty town square; two figures stand on a rooftop with an American flag visible. No dialogue or on-screen text is present in this beat.

3 people observed.

Evidence, details and a link to share

Sequence 281 from 1:53:13

Frame at 1:53:14, shot 9911:53:14
1 of 1 shots sampled

438. Town square

1:53:13–1:53:14 Machine checks passed

Model synopsis: A man in a cowboy hat and vest rides a horse in a town square, facing a crowd in period Western clothing. Two figures are visible on a rooftop, one holding a rifle, under a clear sky with mountains in the background.

3 people observed.

Evidence, details and a link to share

Sequence 282 from 1:53:14

Frame at 1:53:17, shot 9921:53:17
1 of 1 shots sampled

439. Dusty open area

1:53:14–1:53:19 Machine checks passed

Model synopsis: A man lies on the ground near a wooden post in a dusty open area while a crowd watches from behind a rope. The scene is outdoors with no visible indoor elements or time-of-day indicators.

  • A man lies on the ground near a wooden post while a crowd watches from behind a rope. [frame:1]

2 people observed.

Evidence, details and a link to share

Sequence 283 from 1:53:19

Frame at 1:53:19, shot 9931:53:19
1 of 1 shots sampled

440. Town square

1:53:19–1:53:20 Machine checks passed

Model synopsis: A group of people in period attire are gathered outdoors under a bright sky; one woman in a pink dress and hat is leaning forward as others watch. No dialogue or on-screen text is present in this beat.

6 people observed.

Evidence, details and a link to share

Frame at 1:53:23, shot 9941:53:23Frame at 1:53:27, shot 9951:53:27Frame at 1:53:31, shot 9971:53:31Frame at 1:53:34, shot 9981:53:34
4 of 5 shots sampled

441. Town square

1:53:20–1:53:36 Machine checks passed (partial)

Model synopsis: A woman in a pink dress and hat is helped up by a man in a cowboy hat after falling; a crowd watches. A man on horseback and another man in a black hat speak to the group.

  • A man helps a woman up after she has fallen. [frame:1]
  • A man on horseback looks toward the crowd. [frame:2]
  • The man on horseback remains seated, facing forward. [frame:3]
  • 1 more under Evidence and details.

Named: Deb (t:113:21). 6 people observed.

“- Deb, Deb, are you all right? - I guess so.” 113:21 · “Nothing busted but my pride.” 113:24

Evidence, details and a link to share

Sequence 284 from 1:53:36

Frame at 1:53:38, shot 9991:53:38Frame at 1:53:41, shot 10001:53:41Frame at 1:53:51, shot 10021:53:51Frame at 1:53:58, shot 10031:53:58
4 of 5 shots sampled

442. Town square

1:53:36–1:54:03 Machine checks passed (partial)

Model synopsis: A man on horseback addresses a crowd at an outdoor event with American flags and a raised platform; another scene shows armed men on horseback in a dusty setting, while a third shows a man exiting a train car. A man with a megaphone speaks from a podium under a clear sky.

  • A man on horseback addresses a crowd. [frame:1]
  • Armed men on horseback are in a dusty outdoor setting. [frame:2]
  • A man exits a train car. [frame:3]
  • 1 more under Evidence and details.

5 people observed.

“The closing event!” 113:38 · “Is the clout pony raised?” 113:55

Evidence, details and a link to share

Frame at 1:54:04, shot 10041:54:04Frame at 1:54:15, shot 10051:54:15Frame at 1:54:29, shot 10071:54:29Frame at 1:54:33, shot 10081:54:33
4 of 5 shots sampled

443. Town square

1:54:03–1:54:34 Machine checks passed (partial)

Model synopsis: Two men argue in a town square while a crowd watches; one man hands the other a bottle. A group of men on horseback then rides out of the square. The setting is a Western town with wooden buildings and mountains in the background.

  • The man in the dark coat hands the bottle to the man in the light suit. [frame:2]
  • A group of men on horseback rides out of the town square. [frame:4]

4 people observed.

“Come on! Now what is that, false courage?” 114:03 · “Why, you know a Douglas doesn't ever use a thing like that.” 114:10

Evidence, details and a link to share

Frame at 1:54:36, shot 10091:54:36Frame at 1:54:40, shot 10101:54:40Frame at 1:54:45, shot 10111:54:45
3 of 3 shots sampled

444. Field

1:54:34–1:54:48 Machine checks passed (partial)

Model synopsis: A steam train emits smoke on a track in an open landscape, followed by a group of men on horseback near a gate with an American flag, then a chaotic cavalry charge through dust. No names are spoken, and no indoor setting is shown.

  • A steam train emits smoke while stopped on a track. [frame:1]
  • Men on horseback stand near a gate with an American flag. [frame:2]
  • A large group of horsemen charge through dust in a chaotic scene. [frame:3]

1 person observed.

“We're having 40 and she's already done.” 114:37 · “Oh, boy.” 114:41

Evidence, details and a link to share

Frame at 1:54:51, shot 10121:54:51
1 of 1 shots sampled

445. Open field

1:54:48–1:54:54 Machine checks passed

Model synopsis: A group of men on horseback are gathered outdoors in a dusty, open area with mountains in the background. The scene is shot in daylight with wide framing, showing multiple riders in Western attire.

3 people observed.

Evidence, details and a link to share

Sequence 285 from 1:54:54

Frame at 1:54:56, shot 10131:54:56
1 of 1 shots sampled

446. LIVERY STABLE

1:54:54–1:54:57 Machine checks passed

Model synopsis: A man in a bowler hat and suit stands in front of a wooden building labeled 'LIVERY STABLE' with people and horses in the background. The scene is outdoors in a town setting with mountains visible.

5 people observed.

Evidence, details and a link to share

Sequence 286 from 1:54:57

Frame at 1:54:59, shot 10141:54:59
1 of 1 shots sampled

447. Town square

1:54:57–1:55:00 Machine checks passed

Model synopsis: A man on horseback rides down a dusty street lined with spectators in period clothing. The street is flanked by wooden buildings with banners and flags.

  • A man rides a horse down a street lined with spectators. [frame:1]

2 people observed.

Evidence, details and a link to share

Sequence 287 from 1:55:00

Frame at 1:55:05, shot 10151:55:05
1 of 1 shots sampled

448. Street

1:55:00–1:55:10 Machine checks passed (partial)

Model synopsis: A man lies on his back on a dusty street while a crowd watches from the sidewalks. The setting is a Western town with wooden buildings and onlookers in period clothing.

  • A man lies on his back on the street. [frame:1]
  • A crowd watches from the sidewalks. [frame:1]

2 people observed.

Evidence, details and a link to share

Sequence 288 from 1:55:10

Frame at 1:55:11, shot 10161:55:11Frame at 1:55:16, shot 10181:55:16Frame at 1:55:20, shot 10191:55:20Frame at 1:55:31, shot 10211:55:31
4 of 6 shots sampled

449. Town square

1:55:10–1:55:33 Machine checks passed (partial)

Model synopsis: A dusty town square with people running and horses moving, set against mountains and adobe buildings. A voice says 'Come on!' during the commotion.

  • People run through a dusty town square with wooden buildings and mountains in the background [frame:1]
  • Riders on horseback move through the town square near a stone building with a bell [frame:4]

2 people observed.

“Come on!” 115:11

Evidence, details and a link to share

Frame at 1:55:35, shot 10221:55:35Frame at 1:55:44, shot 10241:55:44Frame at 1:55:51, shot 10261:55:51Frame at 1:55:58, shot 10281:55:58
4 of 7 shots sampled

450. Town square

1:55:33–1:55:59 Machine checks passed (partial)

Model synopsis: A group of mounted figures, some in Native American headdress, ride through a dusty, walled settlement under a clear sky. Dust rises as horses move, and one rider in prominent headdress is visible in close-up.

  • Horses and riders move through a dusty, walled area, kicking up dust. [frame:1]
  • A group of mounted figures rides past a building with a flag, dust billowing. [frame:2]
  • A close-up shows a rider in a large white feathered headdress on a white horse. [frame:3]
  • 1 more under Evidence and details.

4 people observed.

“Come on, come on.” 115:41

Evidence, details and a link to share

Sequence 289 from 1:55:59

Frame at 1:56:00, shot 10291:56:00Frame at 1:56:05, shot 10311:56:05Frame at 1:56:08, shot 10321:56:08Frame at 1:56:18, shot 10341:56:18
4 of 6 shots sampled

451. Town square

1:55:59–1:56:21 Machine checks passed (partial)

Model synopsis: A chaotic outdoor scene with riders on horseback in a dusty street under a banner, followed by interior shots of a shop with people and goods. A transcript line mentions a party and whiskey, suggesting a festive or unruly event.

  • Riders on horseback move through a dusty street under a banner. [frame:1]
  • People dance or move in a crowded outdoor area. [frame:2]
  • A shop interior with jars of candy and goods on counters. [frame:3]
  • 1 more under Evidence and details.

4 people observed.

“That party, where's the whiskey? Whose idea was this stunt? Not, doggone, it's time a real bull...” 116:11

Evidence, details and a link to share

Sequence 290 from 1:56:21

Frame at 1:56:22, shot 10351:56:22
1 of 1 shots sampled

452. Shop

1:56:21–1:56:23 Machine checks passed

Model synopsis: A woman in a yellow dress stands in a shop next to a large sack labeled 'GOOSE FEATHERS' and barrels marked 'VINEGAR' and 'MOLASSES'. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 291 from 1:56:23

Frame at 1:56:24, shot 10361:56:24
1 of 1 shots sampled

453. Shop

1:56:23–1:56:25 Machine checks passed

Model synopsis: The scene shows a shop interior with barrels labeled 'MOLASSES' and 'VINEGAR' and a sack labeled 'GOOSE FEATHER'. No people are visible in the frame.

Evidence, details and a link to share

Sequence 292 from 1:56:25

Frame at 1:56:28, shot 10371:56:28
1 of 1 shots sampled

454. Shop

1:56:25–1:56:30 Machine checks passed

Model synopsis: A woman in a yellow dress stands in a storeroom with barrels labeled MOLASSES and VINEGAR, reacting with hands on her chest. A sack labeled SE FEATHERS is visible to her left.

1 person observed.

Evidence, details and a link to share

Frame at 1:56:33, shot 10381:56:33
1 of 1 shots sampled

455. Shop

1:56:30–1:56:35 Machine checks passed

Model synopsis: A woman in a yellow dress stands inside a shop next to a large sack labeled 'GOOSE FEATHERS' and barrels marked 'VINEGAR'. No dialogue or other actions are visible in the single frame.

1 person observed.

Evidence, details and a link to share

Sequence 293 from 1:56:35

Frame at 1:56:36, shot 10391:56:36
1 of 1 shots sampled

456. Shop

1:56:35–1:56:37 Machine checks passed

Model synopsis: A static shot shows shelves filled with glassware, ceramics, and decorative objects in what appears to be a shop or storage room. No people or movement are visible in the single frame.

Evidence, details and a link to share

Sequence 294 from 1:56:37

Frame at 1:56:39, shot 10401:56:39
1 of 1 shots sampled

457. Shop

1:56:37–1:56:40 Machine checks passed

Model synopsis: A person is seen mid-motion with feathers flying around them in an indoor setting with shelves of fabric or bedding in the background. No dialogue or on-screen text is present in this beat.

  • Feathers explode outward around a person in motion. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 295 from 1:56:40

Frame at 1:56:45, shot 10411:56:45
1 of 1 shots sampled

458. Street

1:56:40–1:56:49 Machine checks passed

Model synopsis: A rider on horseback moves past a storefront with patriotic bunting; other figures are visible on the porch. The scene is set in a Western town street during daylight.

3 people observed.

Evidence, details and a link to share

Sequence 296 from 1:56:49

Frame at 1:56:52, shot 10421:56:52
1 of 1 shots sampled

459. Open field

1:56:49–1:56:54 Machine checks passed (partial)

Model synopsis: A group of riders on horseback moves across a dusty open area with mountains in the background. No dialogue or on-screen text is present in this beat.

  • Riders on horseback move across a dusty field with mountains in the background. [frame:1]

Evidence, details and a link to share

Sequence 297 from 1:56:54

Frame at 1:56:56, shot 10431:56:56
1 of 1 shots sampled

460. Street

1:56:54–1:56:57 Machine checks passed

Model synopsis: A street scene in a Western town with several men standing outside a storefront decorated with bunting. One man in a red shirt and hat stands in the center, while others are positioned on the sidewalk and steps.

5 people observed.

Evidence, details and a link to share

Sequence 298 from 1:56:57

Frame at 1:56:59, shot 10441:56:59
1 of 1 shots sampled

461. Open field

1:56:57–1:57:01 Machine checks passed (partial)

Model synopsis: Four riders on horseback gallop across a dusty open area with mountains in the background and a wooden structure to the right. No dialogue or on-screen text is present in this beat.

  • Four riders gallop across a dusty field toward a wooden structure. [frame:1]

4 people observed.

Evidence, details and a link to share

Sequence 299 from 1:57:01

Frame at 1:57:04, shot 10451:57:04Frame at 1:57:14, shot 10461:57:14
2 of 2 shots sampled

462. Street

1:57:01–1:57:22 Machine checks passed

Model synopsis: Four men stand outdoors in a Western town setting, dressed in period attire including hats and vests; one wears a red-plumed military-style uniform. A transcript line mentions Puma and guns, and another refers to a kidney, suggesting unresolved plot points.

4 people observed.

“Reckon that's about all the excitement you'd want for one-fourth of July, eh? Puma finally got his way, but I reckon he's riding out his la…” 117:02 · “But one thing still has me puzzled. Where did they get the guns? I was wondering the same thing.” 117:11

Evidence, details and a link to share

Sequence 300 from 1:57:22

Frame at 1:57:23, shot 10471:57:23Frame at 1:57:25, shot 10481:57:25Frame at 1:57:31, shot 10491:57:31Frame at 1:57:41, shot 10501:57:41
4 of 4 shots sampled

463. Shop

1:57:22–1:57:45 Machine checks passed (partial)

Model synopsis: A woman covered in feathers speaks with a man in a shop while others gather outside; the scene ends with a close-up of hay. The transcript includes exclamations and a comment about looking good in feathers.

  • A woman covered in feathers is standing inside a shop. [frame:1]
  • A group of men are gathered outside the shop. [frame:2]
  • A man in a cowboy hat speaks to the feather-covered woman inside the shop. [frame:3]
  • 1 more under Evidence and details.

3 people observed.

“Gigabrio!” 117:22 · “Joke? Do you think that was a joke? Shut up! You want everybody in town to see me! You look good in feathers.” 117:30

Evidence, details and a link to share

Frame at 1:57:50, shot 10511:57:50
1 of 1 shots sampled

464. Shop

1:57:45–1:57:55 Machine checks passed

Model synopsis: A man in a cowboy hat and vest stands facing a woman in a frilly dress inside a shop filled with shelves of goods. The transcript includes a brief exchange where the man asks what can be done, and the woman responds with a resigned 'Oh.'

2 people observed.

“What do you want to do about it? What can I do? Nothing!” 117:45 · “Just like you've always done.” 117:49

Evidence, details and a link to share

Sequence 301 from 1:57:55

Frame at 1:58:11, shot 10521:58:11
1 of 1 shots sampled

465. Sidewalk

1:57:55–1:58:26 Machine checks passed (partial)

Model synopsis: Three men in Western attire converse outdoors; one in a vest speaks while another in a military-style uniform reacts. No names are spoken, and no indoor setting or time of day is established.

  • Three men stand in conversation on a sidewalk. [frame:1]

3 people observed.

“How long, GW?” 118:02 · “How long what? Pat, she's been riding herd on you for two years now.” 118:04

Evidence, details and a link to share

Frame at 1:58:28, shot 10531:58:28Frame at 1:58:33, shot 10541:58:33Frame at 1:58:39, shot 10551:58:39Frame at 1:58:48, shot 10561:58:48
4 of 4 shots sampled

466. Town square

1:58:26–1:58:56 Machine checks passed

Model synopsis: A man in a red shirt and hat speaks to a young man and woman on a town street; the woman wears a pink hat with flowers. Another group, including a woman in white and a man in brown, stands nearby as the conversation continues.

6 people observed.

“Becky, have you seen your...” 118:27 · “You've got hay all over you. Been some mighty sneaky goings on here during that raid, Mr. McClintic.” 118:35

Evidence, details and a link to share

Frame at 1:58:57, shot 10571:58:57Frame at 1:58:59, shot 10581:58:59Frame at 1:59:02, shot 10591:59:02Frame at 1:59:05, shot 10601:59:05
4 of 4 shots sampled

467. Town square

1:58:56–1:59:06 Machine checks passed (partial)

Model synopsis: A man and a woman stand together in a town setting, smiling at each other; two other men observe them from nearby. A line in the transcript refers to an engagement that began with a spanking.

  • A man and a woman stand side by side in a crowd. [frame:1]
  • A woman in a pink hat looks up at a man in a vest. [frame:2]
  • Two men stand with arms crossed, watching the couple. [frame:3]
  • 1 more under Evidence and details.

6 people observed.

“I think it's wonderful.” 118:56 · “I guess this is the only engagement that ever started off of a spanking.” 118:59

Evidence, details and a link to share

Frame at 1:59:11, shot 10611:59:11Frame at 1:59:19, shot 10621:59:19Frame at 1:59:29, shot 10631:59:29
3 of 3 shots sampled

468. Town square

1:59:06–1:59:36 Machine checks passed (partial)

Model synopsis: Two men in cowboy attire speak outside a building while a crowd gathers; one announces a rodeo event. The crowd, including children and adults in period clothing, reacts with excitement as a man in a suit gestures to start the cow pony race.

  • Two men stand outside a building, one in a cowboy hat and vest, the other in a suit and bow tie. [frame:1]
  • A crowd gathers outside a building, looking toward the speakers. [frame:2]
  • The crowd cheers as the man in the suit gestures to start the event. [frame:3]

Named: Birnbaum (t:119:09). 3 people observed.

“I reckon Birnbaum is right.” 119:09 · “Lord bless us, this is gonna be a great day. Doggone it, folks!” 119:16

Evidence, details and a link to share

Sequence 302 from 1:59:36

Frame at 1:59:44, shot 10641:59:44
1 of 1 shots sampled

469. Bedroom

1:59:36–1:59:51 Machine checks passed (partial)

Model synopsis: A woman in a white dress stands in a room with patterned wallpaper, holding a garment while looking toward a door; someone knocks and asks to enter, but she refuses. The scene is lit with studio lighting and includes a mirror and decorative objects.

  • The woman stands in the bedroom holding a garment and looking toward the door. [frame:1]

2 people observed.

“*knock knock*” 119:37 · “Who is it?” 119:39

Evidence, details and a link to share

Sequence 303 from 1:59:51

Frame at 1:59:56, shot 10651:59:56Frame at 2:00:07, shot 10682:00:07Frame at 2:00:13, shot 10702:00:13Frame at 2:00:22, shot 10732:00:22
4 of 9 shots sampled

470. Private office

1:59:51–2:00:23 Machine checks passed (partial)

Model synopsis: A man and a woman argue in a room, then the man stands on a balcony overlooking a crowd while the woman runs through the street toward a hay wagon. The transcript indicates an accusation about a past departure and lipstick on a collar.

  • A man and a woman are arguing in a room. [frame:1]
  • The man is standing on a balcony overlooking a crowd and a hay wagon. [frame:3]
  • The woman runs through the street toward a hay wagon. [frame:4]

3 people observed.

“Nobody! I've taken all I'm going to take from you. You are insane! You are going to tell me why you packed up the...” 119:53 · “up and walked out on me two years ago you remember you came home from denver with lipstick all over your lipstick on my collar” 120:00

Evidence, details and a link to share

Sequence 304 from 2:00:23

Frame at 2:00:24, shot 10742:00:24
1 of 1 shots sampled

471. Street

2:00:23–2:00:25 Machine checks passed (partial)

Model synopsis: A man on horseback rides through a dusty street lined with wooden buildings while other riders follow. The scene is set in a Western town during daylight.

  • A man on horseback rides down a dusty street. [frame:1]
  • Other riders follow behind him. [frame:1]

3 people observed.

Evidence, details and a link to share

Sequence 305 from 2:00:25

Frame at 2:00:27, shot 10752:00:27
1 of 1 shots sampled

472. Town square

2:00:25–2:00:29 Machine checks passed (partial)

Model synopsis: A dusty outdoor scene shows a man on horseback moving through a crowd, with another man standing nearby holding hay. No dialogue or on-screen text is visible in the frame.

  • A man on horseback moves through a dusty street as another man stands holding hay. [frame:1]

3 people observed.

Evidence, details and a link to share

Sequence 306 from 2:00:29

Frame at 2:00:35, shot 10762:00:35
1 of 1 shots sampled

473. Town square

2:00:29–2:00:41 Machine checks passed

Model synopsis: A crowd gathers in a town square where a woman in a purple dress stands on a raised platform. No dialogue or named characters are present in this beat.

4 people observed.

Evidence, details and a link to share

Frame at 2:00:43, shot 10772:00:43Frame at 2:00:46, shot 10782:00:46
2 of 2 shots sampled

474. Town square

2:00:41–2:00:47 Machine checks passed (partial)

Model synopsis: A woman in a white dress stands on a platform in a town square, surrounded by a crowd in period Western attire. A man calls out 'Catherine!' as she raises her arms.

  • A woman in a white dress stands on a platform with arms raised. [frame:1]

Named: Catherine (t:120:42). 4 people observed.

“Catherine!” 120:42

Evidence, details and a link to share

Sequence 307 from 2:00:54

Frame at 2:00:56, shot 10802:00:56
1 of 1 shots sampled

476. Town square

2:00:54–2:00:58 Machine checks passed

Model synopsis: A crowd watches a person standing on a table laden with food; the setting appears to be an outdoor public gathering. No dialogue or on-screen text is present in this beat.

  • A person stands on a table while a crowd watches and claps. [frame:1]

2 people observed.

Evidence, details and a link to share

Sequence 308 from 2:00:58

Frame at 2:01:04, shot 10812:01:04Frame at 2:01:14, shot 10822:01:14
2 of 2 shots sampled

477. Town square

2:00:58–2:01:18 Machine checks passed (partial)

Model synopsis: A woman in a purple dress gestures on a decorated platform while a crowd watches; a separate shot shows a man walking toward a group near a hay bale under daylight. The transcript includes lines about family, danger, and history being made.

  • A woman in a purple dress gestures toward the crowd from a platform. [frame:1]
  • A man walks toward a group standing near a hay bale in a town square. [frame:2]

5 people observed.

“Well, what kind of a family is that? The best! And danger, sir. A fool on the race!” 121:01 · “Who cares? History's being made.” 121:15

Evidence, details and a link to share

Sequence 309 from 2:01:18

Sequence 310 from 2:01:36

Frame at 2:01:41, shot 10842:01:41Frame at 2:01:48, shot 10852:01:48Frame at 2:01:52, shot 10872:01:52Frame at 2:01:54, shot 10882:01:54
4 of 5 shots sampled

479. Town square

2:01:36–2:01:55 Machine checks passed (partial)

Model synopsis: A man in a brown coat speaks to a woman in a white dress in a crowded Western town square; she then walks away across a wooden bridge as he follows. The setting includes wooden buildings, American flags, and a crowd of townspeople.

  • The man and woman stand facing each other in a town square surrounded by people. [frame:1]
  • The woman walks away from the man toward a wooden bridge, with the man following. [frame:2]
  • The man and woman walk together across a wooden bridge, followed by townspeople. [frame:3]
  • 1 more under Evidence and details.

Named: Rufus (t:121:37). 3 people observed.

“Yes, Rufus? I regret to inform you I've changed my mind about matrimony.” 121:37 · “Oh, my God.” 121:45

Evidence, details and a link to share

Frame at 2:01:58, shot 10892:01:58
1 of 1 shots sampled

480. Town square

2:01:55–2:02:00 Machine checks passed

Model synopsis: A group of people walks through a dusty town street with wooden buildings and wagons. Mountains are visible in the background under a clear sky.

3 people observed.

Evidence, details and a link to share

Sequence 311 from 2:02:00

Frame at 2:02:02, shot 10902:02:02Frame at 2:02:04, shot 10912:02:04Frame at 2:02:06, shot 10922:02:06
3 of 3 shots sampled

481. Street

2:02:00–2:02:07 Machine checks passed (partial)

Model synopsis: A man in a cowboy hat and a woman in a white dress are seen running through a dusty town street. Other townspeople are visible in the background as the man calls out to 'Mrs. McClendon'.

  • A man and a woman run down a street. [frame:1]
  • The woman runs ahead while the man follows. [frame:2]
  • The man continues running alone down the street. [frame:3]

Named: Mrs. McClendon (t:122:03). 4 people observed.

“Hey! Mrs. McClendon!” 122:03

Evidence, details and a link to share

Frame at 2:02:09, shot 10932:02:09
1 of 1 shots sampled

482. Western town street

2:02:07–2:02:12 Machine checks passed

Model synopsis: A man in a cowboy hat walks down a dusty street in a Western town while two other people stand near a building. The street is lined with wooden buildings and decorated with banners.

3 people observed.

Evidence, details and a link to share

Sequence 312 from 2:02:12

Frame at 2:02:14, shot 10942:02:14
1 of 1 shots sampled

483. Street

2:02:12–2:02:17 Machine checks passed

Model synopsis: A street scene in a Western town with people gathered outside storefronts under a clear sky. Mountains are visible in the background, and a banner hangs above the street.

Evidence, details and a link to share

Sequence 313 from 2:02:17

Frame at 2:02:19, shot 10952:02:19Frame at 2:02:23, shot 10962:02:23Frame at 2:02:24, shot 10972:02:24
3 of 3 shots sampled

484. Shop

2:02:17–2:02:25 Machine checks passed (partial)

Model synopsis: A man in a suit stands outside a building while a woman in a shop reacts; a man in a cowboy hat enters a room with others behind him. The transcript includes calls to 'Captain' and 'Catherine' and an instruction to let people out.

  • A man in a suit stands on a porch holding papers. [frame:1]
  • A woman in a shop turns toward the camera with a surprised expression. [frame:2]
  • A man in a cowboy hat enters a room followed by others. [frame:3]

Named: Catherine (t:122:20). 4 people observed.

“Oh, Captain.” 122:18 · “Catherine!” 122:20

Evidence, details and a link to share

Sequence 314 from 2:02:25

Frame at 2:02:27, shot 10982:02:27
1 of 1 shots sampled

485. Shop

2:02:25–2:02:28 Machine checks passed

Model synopsis: A person in light-colored trousers and a belt stands in a cluttered shop with shelves of goods and fabric rolls. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 315 from 2:02:28

Frame at 2:02:29, shot 10992:02:29
1 of 1 shots sampled

486. Shop

2:02:28–2:02:30 Machine checks passed

Model synopsis: A woman in an orange dress stands behind a counter stacked with canned goods, next to a clothing rack with dresses. The setting appears to be a general store or supply room with shelves and hanging garments.

1 person observed.

Evidence, details and a link to share

Sequence 316 from 2:02:30

Frame at 2:02:31, shot 11002:02:31
1 of 1 shots sampled

487. Shop

2:02:30–2:02:31 Machine checks passed

Model synopsis: A cluttered interior space with shelves, fabric rolls, and a wood stove is shown. No people are visible and no dialogue is present in this beat.

Evidence, details and a link to share

Sequence 317 from 2:02:31

Frame at 2:02:32, shot 11012:02:32
1 of 1 shots sampled

488. Shop

2:02:31–2:02:33 Machine checks passed

Model synopsis: A man in a red shirt and hat stands inside a cluttered shop filled with goods. The scene is static, showing no movement or dialogue.

1 person observed.

Evidence, details and a link to share

Sequence 318 from 2:02:33

Frame at 2:02:34, shot 11022:02:34
1 of 1 shots sampled

489. Shop

2:02:33–2:02:36 Machine checks passed (partial)

Model synopsis: A man in a red shirt and cowboy hat reclines on wooden barrels in a cluttered interior space. No dialogue or on-screen text is present in this beat.

  • A man reclines on barrels with one leg raised. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 319 from 2:02:36

Frame at 2:02:36, shot 11032:02:36
1 of 1 shots sampled

490. Shop

2:02:36–2:02:36 Machine checks passed

Model synopsis: A woman with red hair in a white dress stands behind a counter in a shop filled with goods. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 320 from 2:02:36

Frame at 2:02:38, shot 11042:02:38
1 of 1 shots sampled

491. Warehouse

2:02:36–2:02:39 Machine checks passed

Model synopsis: A man in a cowboy hat and red shirt is crouched among broken wooden barrels in a cluttered interior space. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 321 from 2:02:39

Frame at 2:02:44, shot 11052:02:44Frame at 2:02:51, shot 11062:02:51
2 of 2 shots sampled

492. Shop

2:02:39–2:02:53 Machine checks passed (partial)

Model synopsis: A man in a cowboy hat and vest stands inside a shop, while outside a crowd gathers around a man in a light coat. The transcript mentions G.W. buying out the floor and someone being 'red'.

  • A man in a vest stands inside a shop facing shelves. [frame:1]
  • A crowd gathers outside, including a man in a light coat and cowboy hat. [frame:2]

Named: G.W. (t:122:41). 4 people observed.

“Let everybody out.” 122:41 · “Looks like G.W. is buying out the whole floor. I'm afraid you're red.” 122:41

Evidence, details and a link to share

Sequence 322 from 2:02:53

Frame at 2:02:54, shot 11072:02:54
1 of 1 shots sampled

493. Shop

2:02:53–2:02:55 Machine checks passed

Model synopsis: A woman in a fringed dress stands on a crate reaching for a shelf in a stocked store while a man in a cowboy hat points at her from behind a counter. No dialogue is provided for this beat.

2 people observed.

Evidence, details and a link to share

Sequence 323 from 2:02:55

Frame at 2:02:56, shot 11082:02:56
1 of 1 shots sampled

494. Shop

2:02:55–2:02:58 Machine checks passed

Model synopsis: A woman in a white dress stands beside shelves in a shop while a man in a cowboy hat and red shirt sits at a counter. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Sequence 324 from 2:02:58

Frame at 2:03:00, shot 11092:03:00
1 of 1 shots sampled

495. Shop

2:02:58–2:03:03 Machine checks passed

Model synopsis: A man in a cowboy hat and red shirt stands behind a counter in a shop filled with shelves of goods. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 325 from 2:03:03

Frame at 2:03:05, shot 11102:03:05
1 of 1 shots sampled

496. Shop

2:03:03–2:03:07 Machine checks passed

Model synopsis: A woman in a white dress and apron stands in a doorway inside a room with shelves of pottery and a hanging bag. No dialogue or named characters are present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 326 from 2:03:07

Frame at 2:03:12, shot 11112:03:12
1 of 1 shots sampled

497. Alley

2:03:07–2:03:17 Machine checks passed (partial)

Model synopsis: A woman in a light dress and heels is seen from behind, reaching toward a wooden gate in a narrow alley. The setting appears to be an outdoor alleyway with a metal barrel and weathered walls.

  • A woman reaches toward a wooden gate. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 327 from 2:03:17

Frame at 2:03:18, shot 11122:03:18
1 of 1 shots sampled

498. Shop

2:03:17–2:03:20 Machine checks passed

Model synopsis: A person stands at a glass door in a cluttered interior space while a child sits nearby holding an object. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Sequence 328 from 2:03:20

Frame at 2:03:21, shot 11132:03:21Frame at 2:03:26, shot 11142:03:26Frame at 2:03:35, shot 11162:03:35Frame at 2:03:43, shot 11172:03:43
4 of 5 shots sampled

499. Town square

2:03:20–2:03:49 Machine checks passed (partial)

Model synopsis: A woman climbs a ladder outside a building while a crowd watches; inside, two men interact near a desk. A woman in a green dress stands on a platform as another woman runs past her in front of the crowd.

  • A woman climbs a ladder against the side of a building. [frame:1]
  • Two men stand inside a room near a desk and appear to be talking. [frame:2]
  • A woman climbs a ladder on a building facade while a crowd watches below. [frame:3]
  • 1 more under Evidence and details.

Named: Mrs. McClendon (t:123:42). 6 people observed.

“I'm going to go.” 123:20 · “Oh, Mrs. McClendon, you're all wet. What? What?” 123:42

Evidence, details and a link to share

Sequence 329 from 2:03:49

Frame at 2:03:51, shot 11182:03:51
1 of 1 shots sampled

500. Town square

2:03:49–2:03:53 Machine checks passed

Model synopsis: A crowd of men in cowboy hats gathers around a central figure in a red shirt and vest, who gestures with his arm. The setting appears to be an outdoor town area with wooden buildings and a ladder visible.

2 people observed.

Evidence, details and a link to share

Sequence 330 from 2:03:53

Frame at 2:03:57, shot 11192:03:57
1 of 1 shots sampled

501. Town square

2:03:53–2:04:00 Machine checks passed (partial)

Model synopsis: A woman in a green dress stands elevated before a crowd in a town setting; a man in a cowboy hat looks up at her. A line from the transcript mentions someone being arrested.

  • A woman in a green dress stands elevated before a crowd. [frame:1]
  • A man in a cowboy hat looks up at the woman. [frame:1]

3 people observed.

“Oh, woman, she's arrested. Oh, pardon me.” 123:55

Evidence, details and a link to share

Sequence 331 from 2:04:00

Frame at 2:04:08, shot 11202:04:08
1 of 1 shots sampled

502. Town square

2:04:00–2:04:15 Machine checks passed (partial)

Model synopsis: A woman in a light dress runs through a dusty town square while a crowd watches. A man lies on the ground nearby, and wooden buildings with American flags are visible.

  • A woman runs through a town square while a crowd watches. [frame:1]
  • A man lies on the ground in the town square. [frame:1]

5 people observed.

Evidence, details and a link to share

Sequence 332 from 2:04:15

Frame at 2:04:17, shot 11212:04:17Frame at 2:04:23, shot 11232:04:23Frame at 2:04:31, shot 11252:04:31Frame at 2:04:38, shot 11272:04:38
4 of 7 shots sampled

503. Restaurant

2:04:15–2:04:40 Machine checks passed (partial)

Model synopsis: A woman in a checkered dress crouches near a table in a rustic room while a man stands behind her; feet walk past the doorway. The transcript includes a line addressed to 'McClinty' and a shushing sound.

  • A woman crouches beside a table in a restaurant while a man stands behind her. [frame:1]
  • The woman kneels and reaches toward a table with a checkered cloth. [frame:2]
  • The woman covers her mouth with her hand while crouching. [frame:3]
  • 1 more under Evidence and details.

3 people observed.

“This is McClinty. You setting a new style?” 124:17 · “Shh!” 124:30

Evidence, details and a link to share

Frame at 2:04:41, shot 11282:04:41Frame at 2:04:48, shot 11302:04:48Frame at 2:04:52, shot 11322:04:52Frame at 2:05:00, shot 11342:05:00
4 of 7 shots sampled

504. Private office

2:04:40–2:05:00 Machine checks passed (partial)

Model synopsis: A man in a sheriff's badge and a woman in a white blouse are inside a wooden building; the woman reacts with her hands to her face. Outside, a man in a red shirt climbs through a window while others watch. Later, the man and woman are seen together looking out the same window.

  • A woman reacts with her hands to her face while standing next to a man in a sheriff's badge. [frame:1]
  • A woman in a striped skirt reaches out while others stand inside a room. [frame:2]
  • A man in a red shirt and cowboy hat climbs through a window from outside. [frame:3]
  • 1 more under Evidence and details.

6 people observed.

“Mr. McLintock, in here!” 124:40 · “Oh, my God.” 124:45

Evidence, details and a link to share

Frame at 2:05:03, shot 11352:05:03Frame at 2:05:11, shot 11362:05:11Frame at 2:05:19, shot 11372:05:19
3 of 3 shots sampled

505. Town square

2:05:00–2:05:20 Machine checks passed (partial)

Model synopsis: A man in a cowboy hat carries a woman over his shoulder in a town square while onlookers watch; a line from the transcript suggests a confrontation is escalating. The crowd includes men, women, and children, and the setting appears to be outdoors during the day.

  • A man carries a woman over his shoulder in a town square. [frame:1]
  • The woman is held horizontally, screaming, as bystanders look on. [frame:2]
  • A crowd of townspeople, including children, watches the scene. [frame:3]

6 people observed.

“You've been digging those birds into me for two years. Now you're gonna get your comatins.” 125:15

Evidence, details and a link to share

Frame at 2:05:22, shot 11382:05:22Frame at 2:05:25, shot 11392:05:25
2 of 2 shots sampled

506. Town square

2:05:20–2:05:26 Machine checks passed (partial)

Model synopsis: A man in a red shirt carries a woman over his shoulder while others watch; a crowd including children and adults observes the scene. A line of dialogue states that the speaker's father would be proud of the person addressed.

  • A man carries a woman over his shoulder while others watch. [frame:1]
  • A crowd observes the scene. [frame:2]

6 people observed.

“My father would be proud of you.” 125:23

Evidence, details and a link to share

Frame at 2:05:28, shot 11402:05:28
1 of 1 shots sampled

507. Wooden structure

2:05:26–2:05:30 Machine checks passed

Model synopsis: A man in a cowboy hat carries a woman in a white dress through a wooden structure while others watch. The scene is lit with bright studio lighting and appears to be an interior set.

4 people observed.

Evidence, details and a link to share

Sequence 333 from 2:05:30

Frame at 2:05:32, shot 11412:05:32
1 of 1 shots sampled

508. Street

2:05:30–2:05:34 Machine checks passed

Model synopsis: A man in a dark coat and hat drives a horse-drawn carriage through a dusty town street with onlookers. The setting appears to be a Western town with wooden buildings and mountains in the background.

2 people observed.

Evidence, details and a link to share

Sequence 334 from 2:05:34

Frame at 2:05:36, shot 11422:05:36
1 of 1 shots sampled

509. Other

2:05:34–2:05:38 Machine checks passed

Model synopsis: A man in a cowboy hat and vest stands beside a woman with red hair who is looking down; other people are visible in the background. The setting appears to be an outdoor wooden structure, possibly a saloon or town building.

4 people observed.

Evidence, details and a link to share

Frame at 2:05:42, shot 11432:05:42
1 of 1 shots sampled

510. Other

2:05:38–2:05:46 Machine checks passed

Model synopsis: A man in a cowboy hat and red vest speaks to a woman with red hair while another woman in a pink dress and a man in a cowboy hat stand behind them. The setting appears to be outdoors at night or in a dimly lit area with artificial lighting.

4 people observed.

Evidence, details and a link to share

Sequence 335 from 2:06:00

Frame at 2:06:01, shot 11452:06:01
1 of 1 shots sampled

512. Town square

2:06:00–2:06:02 Machine checks passed (partial)

Model synopsis: A man in a suit runs toward a horse-drawn carriage while a woman in a white dress runs away from it; mountains and a decorated building are visible in the background. No dialogue is present in this beat.

  • A man in a suit runs toward a horse-drawn carriage. [frame:1]
  • A woman in a white dress runs away from the carriage. [frame:1]

3 people observed.

Evidence, details and a link to share

Sequence 336 from 2:06:02

Frame at 2:06:03, shot 11462:06:03
1 of 1 shots sampled

513. Dusty open area

2:06:02–2:06:04 Machine checks passed (partial)

Model synopsis: A woman in a light dress runs toward an open carriage in a dusty outdoor setting. The carriage contains a green cushioned seat and is positioned on unpaved ground.

  • A woman runs toward an open carriage. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 337 from 2:06:04

Frame at 2:06:05, shot 11472:06:05
1 of 1 shots sampled

514. Town square

2:06:04–2:06:06 Machine checks passed

Model synopsis: A large crowd of people in period Western attire stands outdoors under daylight. No dialogue or on-screen text is visible in the single frame.

1 person observed.

Evidence, details and a link to share

Sequence 338 from 2:06:06

Frame at 2:06:09, shot 11482:06:09
1 of 1 shots sampled

515. Street

2:06:06–2:06:11 Machine checks passed

Model synopsis: A woman with red hair leans over the side of a green carriage in a dusty outdoor setting. A second carriage is visible in the background.

1 person observed.

Evidence, details and a link to share

Sequence 339 from 2:06:11

Frame at 2:06:13, shot 11492:06:13
1 of 1 shots sampled

516. Town square

2:06:11–2:06:14 Machine checks passed

Model synopsis: A large crowd of people in period Western attire is gathered outdoors, some raising their arms. No dialogue or on-screen text is present in this beat.

5 people observed.

Evidence, details and a link to share

Sequence 340 from 2:06:14

Transcript

Machine transcription of the Archive copy's audio with Whisper large-v3-turbo (temperature 0); the model heard it as en. 1348 segments kept, 357 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. 0:30 Oh, you'll be dreaming of are the birds and the bees and the flowers and the trees till you're up to your knees in love. There's a treehouse in the meadow below the mountain peak. The perfect place for lovers when they play hide and seek. There's a covered bridge, a crippled trick where the horses always stop. Between the treehouse and the covered bridge, that's how mom would pop. I make a job in the country.
  2. 1:00 Where skies are blue. All you'll be dreaming of are the birds and the bees and the flowers and the trees till you're up to your knees in love. There are roses on the trellis and the scent of the moon haze. The clinging vine is jealous on the fence across the way. There's a great big yellow moon above and a breeze to sing a song between the roses and the yellow.
  3. 1:30 And he makes love in the country where skies are blue. Oh, you'll be dreaming of the birds and the bees and the flowers and the bees till you're up to your knees in love.
  4. 2:00 Oh, my God.
  5. 2:21 Lord to goodness.
  6. 2:23 not again
  7. 2:28 I'm going to go.
  8. 2:39 Howdy, Drago. Morning, Curly.
  9. 2:41 Makes seven times this month he come home, Swaggles. Six. Seven? Six. Once was his birthday. That don't count. Give me my bucket. Didn't have anything for breakfast but two raw eggs and a mug of honey. No.
  10. 2:55 Curly!
  11. 2:56 Yes, boss.
  12. 3:00 Don't say it's a fine morning or I'll shoot you.
  13. 3:06 Get out of here, Bunyan. Good morning. Good morning. Carlos, what are you doing up there?
  14. 3:13 I hope I get it this time, Mr. McClintock.
  15. 3:16 My brothers! They got the big hats already!
  16. 3:27 All right, let them have at it.
  17. 3:43 Get over. Did you only let me drive? You promised me you would sometime. No.
  18. 3:50 Ross, you better watch that turn on the road. You're going to kill both of us one of these days.
  19. 3:59 Thank you, Mr. Ross.
  20. 4:13 Come on.
1328 more segments
  1. 4:18 You got cattle in the back, boss.
  2. 4:27 Yaaah!
  3. 4:28 Give it up, John!
  4. 4:48 Keep going!
  5. 4:49 15 cents abound all the way to Kansas City.
  6. 5:39 Now boss, there's one old pensioner I wished you would pass up.
  7. 5:48 Bunny?
  8. 5:49 Yeah.
  9. 5:50 You knew where I'd seen his face before. You mean old time, he's just been around town a couple of years.
  10. 5:55 Oh, you have no milk of human kindness.
  11. 6:00 Morning, Mr. McClinick.
  12. 6:02 Morning, Bunny. Well, you see, you're in good health.
  13. 6:06 Never felt better, contrary to what you may hear. Me...
  14. 6:11 My kidneys ain't what they used to be in my...
  15. 6:13 Livers been leaving me billions right go I
  16. 6:16 Hey.
  17. 6:24 Hello, Ben.
  18. 6:25 Hey, McLennick.
  19. 6:27 Drago, throw that in the buggy. Yes, sir.
  20. 6:33 - The scrubby bunch of Sooners, huh? - They are at that.
  21. 6:39 It ought to make Douglas happy, lining his pockets with land fees.
  22. 6:44 What are we gonna do?
  23. 6:46 I don't know what you're gonna do, Ben. Me, I do nothing.
  24. 6:50 200 families.
  25. 6:52 Quarter of beef a week for family? They last two years. That can be a sizable number.
  26. 6:57 I got 20 head to one of any other brand on the Mesa Verde. I'm not hollering.
  27. 7:04 Some of us haven't got all the money in the world.
  28. 7:07 Some of us ain't old and tired and feel like being put upon.
  29. 7:11 You interest me, young Ben. Go on.
  30. 7:14 So the first time I find one of our hides wearing our brand hung on one of them settlers fences,
  31. 7:21 I aim to kill me a plow boy.
  32. 7:24 You do what you want, McLintock. We'll do what we want.
  33. 7:28 Fellas my age generally call me GW or McLintock.
  34. 7:33 Youngsters call me Mr. McLintock.
  35. 7:37 All right, Mr. McLintock.
  36. 7:40 Not because I'm afraid of them.
  37. 7:42 They're the big east out of this country. And I reckon a fella my age should call you mister.
  38. 7:49 Full grown now, GW.
  39. 7:51 He's a half-owner to spread...
  40. 7:54 I made him a full partner the day the doc gave me the long face.
  41. 7:58 Well, you want him to vote the first time this territory becomes a state, don't you? Of course I do. These settlers get burned out, there'll be a lot of hollering that this country's too wild to be a state. We'll go on being a territory some more, with a lot of political appointees running in, according to what they learned in some college where they think that cows are something you milk, Indians are something in front of a cigar store.
  42. 8:28 - I'll do what I can. - Come on over to the house once in a while. We'll rack up a few hands and stud.
  43. 8:36 You know, that'll be just fine.
  44. 8:43 Help! Help!
  45. 8:45 Amen.
  46. 8:47 Come on!
  47. 8:50 It's a nice morning, ain't it, boss?
  48. 8:53 Everybody's entitled to their own opinion. Like that again, eh? Here's something that'll cheer you up.
  49. 8:58 About a thousand head. I figure they'll bring about $12.50.
  50. 9:01 They're not as fat as I'd like to ship them.
  51. 9:04 They all off the North Range? Yes, sir.
  52. 9:10 Settlers. Every one of them with a plow and a Bible.
  53. 9:12 Not the slightest idea what terrain is for it.
  54. 9:17 Greg. Oh.
  55. 9:18 - Drag out that hog leg. - Yes, sir. - Get me some attention.
  56. 9:23 *BANG*
  57. 9:25 Yee-haw!
  58. 9:36 Come on, all of you. Gather round.
  59. 9:40 People, come on, gather around.
  60. 9:45 I'm a clinic.
  61. 9:47 You people planned a homestead and farm the Mesa Verde.
  62. 9:51 Yes, sir. The government give us each 160 acres.
  63. 9:54 The government never gave anybody anything. Some years back, a lot like you came in.
  64. 10:00 We had a pretty good first year. Good summer.
  65. 10:03 Easy winter. But the next year, the last rain was in February.
  66. 10:08 And by June, even the Jackrabbits had sense enough to get off the Mesa.
  67. 10:13 Folks, do you know who that is?
  68. 10:15 That's McClintock.
  69. 10:17 George Washington McClintock.
  70. 10:20 I told him that, Douglas.
  71. 10:22 He controls the water rights on 200 square miles of range.
  72. 10:28 You know that lumber you got?
  73. 10:30 It came from his land.
  74. 10:32 cut by his loggers and milled in his mills.
  75. 10:35 Douglas, I come close to killing you a couple of times when we were younger.
  76. 10:40 Saddens me I didn't.
  77. 10:42 Can you imagine a man who owns all that?
  78. 10:45 Oh, and mines too, I forgot to mention them.
  79. 10:49 All that.
  80. 10:50 And he's begrudging poor people a measly, a measly...
  81. 10:54 160 acres.
  82. 10:57 That right, Mr. McLintock? You begrudge us a little free land? There's no such thing as free land.
  83. 11:03 You make these homesteads go, you'll have earned every acre of it.
  84. 11:07 But you just can't make them go on the Mesa Verde.
  85. 11:11 God made that country for buffalo.
  86. 11:13 Serves pretty well for cattle.
  87. 11:15 But it hates the plow.
  88. 11:17 And even the government should know that you can't farm 6,000 feet above sea level.
  89. 11:25 Any trouble, Mr. McLennick? No trouble, Jeff.
  90. 11:32 Ah!
  91. 11:35 Come on.
  92. 11:37 How about you, Douglas?
  93. 11:39 Douglas
  94. 11:41 Just plain Douglas, eh?
  95. 11:43 And you call him Mr. McClenney.
  96. 11:46 Why?
  97. 11:48 Well, Douglas, I guess it's because he earned it.
  98. 11:58 Mr. McLennig?
  99. 11:59 Yeah?
  100. 12:01 I'm a good hand with cattle, Mr. McLennick. You'd like a job.
  101. 12:04 Well, you look strong enough.
  102. 12:06 You come in with those suitors?
  103. 12:08 Well, yes, sir, but we don't have a homestead. That's usual.
  104. 12:25 I'm going to go.
  105. 12:28 Half life, ain't it, Sonny?
  106. 12:31 Hell, ain't much future being a farmer around these parts.
  107. 12:40 I
  108. 12:47 Oh, my God.
  109. 12:56 Ladies,
  110. 12:57 the finest Chantilly lace available anywhere.
  111. 12:59 Shanti, Mr. Broombaum.
  112. 13:02 Well, believe me, it's the best.
  113. 13:04 Oh, excuse me, please. Look around. Take your time.
  114. 13:07 Drago, I got a thousand Havana cigars and twelve of those hats for you over there. Them twelve big hats ain't gonna last long the way some folks have been differing into that red eye these days.
  115. 13:19 Good morning, G.W. Good morning. I stole some stick candy. Please, help yourself. Come on in.
  116. 13:28 Davey, you can forget about saddling up the horse. Come in here.
  117. 13:32 Problem? Yes.
  118. 13:35 Well, if I were blacks, I'd move Queen's bishop to King IV.
  119. 13:43 Yeah, you might be right. You know, I was just starting to work this out when the letter came.
  120. 13:47 Letter? What happened? Don't you want to... Morning, Mr. McLintock. Morning, Davey.
  121. 13:53 You being here saved me a trip.
  122. 13:55 Oh!
  123. 13:56 That hat and suit of clothes you picked out for my birthday? Well, instead of this cowboy hat,
  124. 14:02 I'd like to have this one.
  125. 14:03 If it's--
  126. 14:05 All right with you, sir. Well, that's all right with me, Davey.
  127. 14:08 Of course, that looks like the kind of a hat a fella'd wear down Main Street to start a fight. Oh, I don't need a city hat for that. All I have to do is walk down the street and some wise anchor will call me an Indian, and just like that, the fight's on. Davey.
  128. 14:21 The letter it's for you and you are an Indian I
  129. 14:25 Yes, I know I'm an Indian. But I'm also the fastest runner in town. I've got a college education and I'm the railroad telegrapher. But does anybody say...
  130. 14:33 Hello, college man, or hello, runner, or hello, telegrapher. No, not even hello, nuthead! Davey!
  131. 14:40 It's always let the Indian do it. Will you go out in the store and help the ladies?
  132. 14:45 All right. I'm also a bookkeeper, part-time clerk...
  133. 14:49 Always let the Indian do it.
  134. 14:54 The lady brought that out here this morning, asked for it to be taken out to the home ranch for you.
  135. 14:59 Handsome lady, kind of tall with red hair.
  136. 15:02 Called me Mr. Birnbaum just as if she'd never seen me before. And as if that veil that covered her face would keep me from recognizing her.
  137. 15:10 I thought she was in New York or Europe or someplace.
  138. 15:14 So did I.
  139. 15:16 Jake, you better throw on a couple extra cases of the boss's favorite bourbon. That stuff sure gets used up fast out of our place. Which reminds me, you better start tapering off.
  140. 15:29 Catherine's in town.
  141. 15:31 Katie?
  142. 15:33 Good morning, Mr. Clifford. Good morning, Mr. Clifford.
  143. 15:59 Morning.
  144. 16:00 Hello, morning, Matt. I'm back, darling.
  145. 16:02 All right.
  146. 16:04 Morning, G.W. What are you doing in here? Why aren't you out at the desk? Helping out the bartender. Yeah, I see a busy day.
  147. 16:11 Give me the key to room 17. What?
  148. 16:14 17 and don't advertise it.
  149. 16:27 Here
  150. 16:31 Day off?
  151. 16:34 Off day.
  152. 16:38 Wonder what he's so preoccupied about. Haven't you heard? No, what?
  153. 16:43 Katie's back in town. Katie? Yes, dear.
  154. 16:46 The social arbiter.
  155. 16:50 Well, hi, Sonny.
  156. 16:52 Good morning.
  157. 16:53 Oh.
  158. 16:54 Mr. McLennick, I don't want to bother you. I'm sorry, boy. I told you, no job.
  159. 17:02 I'll see you next time.
  160. 17:12 I'm going to go.
  161. 17:22 All right.
  162. 17:23 Oh, my God.
  163. 17:26 I'm not sure.
  164. 17:36 Catherine
  165. 17:38 George Washington, you're clenched up.
  166. 17:45 - Hmm.
  167. 17:48 I thought you'd want this.
  168. 17:56 First dig of this bird.
  169. 17:58 But who am I to upset your plans?
  170. 18:02 Don't you feel kind of silly? I never feel silly.
  171. 18:07 It's because you have no sense of humor.
  172. 18:10 Why couldn't we sit down in the hotel dining room and talk about whatever it is you want to talk about? Or why couldn't you just come over to the house?
  173. 18:18 and have everybody know that we're meeting.
  174. 18:20 Everybody knows, and what's the difference? We're married.
  175. 18:24 And that is something I should like to change.
  176. 18:33 You know the answer Katie
  177. 18:36 That isn't why you sent for me.
  178. 18:39 Let's get to the rat killer. That's just the kind of remark that's always endeared you to me.
  179. 18:47 Let us open the discussion. Very well.
  180. 18:50 Our daughter is coming home in a few days.
  181. 18:53 Rob, she's coming here. It was just a slip of the tongue that made me refer to this ugly hamlet as home.
  182. 18:59 Our daughter.
  183. 19:01 Is it so hard to say her name? It's Becky. Rebecca!
  184. 19:04 I hate that name.
  185. 19:06 Anyway.
  186. 19:07 She's coming home.
  187. 19:08 And I hope to persuade you to let her live with me. Part of the time in the Capitol, part of the time in New York, and of course, Newport during the season.
  188. 19:20 You're whistling in the wind, Katie.
  189. 19:24 If she stays here,
  190. 19:26 He'll become just as crude and as vulgar as all of this country. And if she goes your way, she'll be all show and no stay.
  191. 19:32 Oh, I need you.
  192. 19:40 No go, Kate. I hate you. Oh, how I hate you.
  193. 19:47 Half the people in the world are women.
  194. 19:49 Why does it have to be you that stirs me?
  195. 19:57 That's the story.
  196. 19:59 Amen.
  197. 20:00 I saw your picture in the paper at the governor's ball.
  198. 20:02 You were dancing with a governor.
  199. 20:05 At least he's a gentleman. I doubt that. You have to be a man first before you're a gentleman.
  200. 20:12 He misses on both counts.
  201. 20:25 more
  202. 20:33 Hey, Sonny!
  203. 20:34 You gonna ask him again?
  204. 20:37 Nope. Hey, boy, you got a pocket of pride. You gotta be.
  205. 20:42 You better listen to an expert, sonny. I'm telling you, you've got to growl. Human nature gets them every time.
  206. 20:48 Mr.
  207. 20:50 Leave me alone.
  208. 20:53 Everybody does it one way or another.
  209. 21:04 What about that job, Mr. Plannigan?
  210. 21:06 I already told you, son, I've got no need for farmers or use for them.
  211. 21:11 Just one minute, Mr. McLintock.
  212. 21:13 My father died last month. That's how come we lost our homestead.
  213. 21:17 I've got a mother and a little sister to feed.
  214. 21:19 I need that job badly. What's your name?
  215. 21:23 Devlin Warren.
  216. 21:24 You got a job, son. See my home ranch for him when he's over at the corral.
  217. 21:35 Step down off of that carriage, mister.
  218. 21:43 Hold that hog leg!
  219. 21:46 I've been punched many a time in my life, but never for hiring anybody.
  220. 21:52 I don't know what to say.
  221. 21:56 I never begged before.
  222. 21:58 Turn my stomach.
  223. 22:00 I suppose I should have been grateful you gave me the job. Gave?
  224. 22:04 Yes.
  225. 22:05 Why you got it all wrong?
  226. 22:07 I don't give jobs, I hire men.
  227. 22:11 You intend to give this man a full day's work, don't you, boy?
  228. 22:14 You mean you're still hiring me, Mr. McClane?
  229. 22:16 Well, yes, sir. I mean, I'll certainly deliver a fair day's work.
  230. 22:20 For that, I'll pay you a fair day's wage.
  231. 22:23 You won't give me anything and I won't give you anything.
  232. 22:26 We both hold up our heads.
  233. 22:28 Where do you live?
  234. 22:30 The settlers encampment down by the mine.
  235. 22:33 that's your plug yes sir we'll hop on him and we'll go get your gear
  236. 22:55 Come on.
  237. 23:08 Morning, Mr. McRenick.
  238. 23:10 Morning, Mr. Poor Boy.
  239. 23:30 I'm sure that all you fine people are interested in knowing just what portion of this new land will be your new home. Oh, Jones and McAllister, since you've been more or less the leaders of our group, I'd like to have you come up and...
  240. 23:46 Check the exact location.
  241. 23:50 Won't be a minute, sir.
  242. 23:54 Come on.
  243. 23:57 Go up to that boy and give him $30 I
  244. 24:01 Tell him the clinic pays these riders a month in advance. In the looks of things, they can sure use it too.
  245. 24:10 Omar?
  246. 24:11 It's Mr. Drago. Good morning.
  247. 24:15 Well, then, what do we owe this visit from the cattle baron?
  248. 24:20 I've got to touch a hangover, bureaucrat. Don't push me.
  249. 24:23 Whoa-ho! Back run!
  250. 24:32 Say, those are Indians!
  251. 24:34 Are there Indians in this homestead land? Friendly Indians, my boy.
  252. 24:38 Oh, ho, Macklin! Oh, running buffalo! Oh, Macklin! Long time when we all get drunk together. And it's gonna be a lot longer time.
  253. 24:50 Because it's against the law and you're with a sheriff.
  254. 24:53 And if I got my hands full...
  255. 24:55 They came into town to meet the train. The old Indian chiefs are coming home. I heard they'd been pardoned.
  256. 25:00 They don't know when it's arriving, this week, next week, or next month.
  257. 25:03 So in the meantime, I've got to do something with them.
  258. 25:06 Could I cut out a couple ahead of your steers to feed them? Otherwise, some of these settlers' milk cows are going to disappear.
  259. 25:11 that's right macklin
  260. 25:14 Cut out whatever you need. Sheriff!
  261. 25:16 Are you going to camp these savages with all these settlers?
  262. 25:20 You're asking for trouble!
  263. 25:22 Mr. Douglas, I already have plenty of trouble. Please stay over my back.
  264. 25:26 Ben and Buffalo.
  265. 25:28 Bring your people over to the clay slide. Close.
  266. 25:34 Hello, Mr. McQueen. Tiny Mouse, it's nice to see you.
  267. 25:39 You wouldn't believe it now, but 20 years ago she was a mighty handsome maid.
  268. 25:45 Twenty years ago you thought so too, Mr. Douglas.
  269. 25:48 Okay.
  270. 25:49 I'm sorry.
  271. 25:56 It was just like this. I had a dead beat on old running buffalo.
  272. 26:00 I'm a sharp .50 caliber misbar.
  273. 26:03 That's back in that trouble in the forest. Remember? I remember.
  274. 26:07 You won't taste something come directly from him? No.
  275. 26:17 - Where'd you get this? - That boy's mama baked 'em.
  276. 26:20 All right.
  277. 26:21 You thinking the same thing I am? She's a widow on the boss, and she's got a long, hard road.
  278. 26:27 Hire her.
  279. 26:33 I always said you had a heap of sense.
  280. 26:37 Mr. McClendon?
  281. 26:38 This is my mother.
  282. 26:40 Your mother?
  283. 26:43 And my sister. Pleased to meet you, Mr. McClintock.
  284. 26:46 Ma'am?
  285. 26:47 This here's my boss, and he has few choice words to say about your biscuits.
  286. 26:54 Yes, Mr. McClintock?
  287. 26:56 They're great.
  288. 27:14 Well, you old Ken needs reprobate, how about it?
  289. 27:17 Farney?
  290. 27:19 I kill myself.
  291. 27:20 I'm not talking about firing you, I'm retiring you! You've been rustling food for us for 30 years.
  292. 27:27 We're going to put you out to pasture. All you'll have to do is give advice. Be one of the family.
  293. 27:32 I tell myself...
  294. 27:33 I may save you the trouble. Oh, Gene.
  295. 27:38 You kill yourself, I'll cut off your pigtail, and you ain't never gonna get to heaven.
  296. 27:43 I'll be one of her family?
  297. 27:45 I give you my solemn word.
  298. 27:47 Pretty clummy family.
  299. 27:49 Drink too much is...
  300. 27:50 Get in face. Yell all the time.
  301. 27:54 Cut off his pigtail.
  302. 27:56 All right, all right. I'll be one of her family. Get here, get here. Get here.
  303. 28:11 I hope everything is satisfactory. This is such a big house, it'll take me a while to get used to things.
  304. 28:18 Now, please don't hesitate to tell me if anything is wrong. No, but it's necessary.
  305. 28:26 I don't mind the spine. Everything on nicely. Finally. Fine.
  306. 28:30 Best apple pie ever had. Curly's right, ma'am. Hated to leave that last bite.
  307. 28:35 Shall we celebrate with a drink? Carlos, come in and help me with the dish. Alice, you want to help too? Yes, Jacob. All right, good job. Now I'll wash and you kids will dry as I could.
  308. 28:47 I'm sorry.
  309. 28:59 Don't seem possible.
  310. 29:01 one woman could use all them clothes.
  311. 29:04 You keep a civil tongue in your unprepossessing face. Yes, ma'am. And unload my baggage, please. Yes, ma'am.
  312. 29:10 By the way, what does that word "unprepossessing" mean?
  313. 29:19 - Miss MacLintar! - Oh, hello, Carlos.
  314. 29:22 Run and help the driver with my luggage.
  315. 29:25 I couldn't trust anyone else in this house to do anything correctly.
  316. 29:32 Luggage? Give him a hand, Curly.
  317. 29:34 Yes, boss. Mr. McLennan?
  318. 29:36 Are you moving back in? Yes.
  319. 29:39 But nothing has changed except my place of residence.
  320. 29:42 And I'd be willing to put up with savages rather than be denied the company of my daughter. And I'm proving that by moving in here.
  321. 29:50 Mr. McLennick.
  322. 29:51 Since it's my first day...
  323. 29:53 Would you excuse me if I, uh... Go ahead.
  324. 29:56 Oh, Catherine, this is, uh, Dev Warren.
  325. 29:59 Join the outfit today.
  326. 30:00 Please, ma'am.
  327. 30:05 Well, how refreshing. A polite young man here.
  328. 30:10 Where did he come from? He's a farmer. A farmer? Well, I'll be so calm.
  329. 30:15 Kate, welcome home.
  330. 30:17 What on earth are you doing in that idiotic-looking outfit? And don't you dare call me Kate. That's my butlin' suit I'm butlin' for the boss. And I'm sorry, Catherine, that Kate kind of slipped out from the times I remembered you as being nice. People!
  331. 30:31 Oh!
  332. 30:34 Oh.
  333. 30:36 Are you going to stand there with that stupid look on your face while the hired help insults your wife?
  334. 30:43 He's just ignorant.
  335. 30:44 He doesn't know any better than to tell the truth. And I can't help this stupid look. I started acquiring it as you gained in social...
  336. 30:51 Prominence.
  337. 30:53 Mrs. McLintock, where do you want I should...
  338. 30:56 Huck.
  339. 30:57 Put them in the master bedroom.
  340. 31:00 Yes!
  341. 31:05 But move Mr. McClintock's things into another room. Oh, the one back of the stairs would be best so that he can't wake up the entire household. He comes home every night.
  342. 31:14 Just before daybreak.
  343. 31:16 Yes, ma'am.
  344. 31:21 Oh, excuse me.
  345. 31:23 Here's your cigars, Mr. McClintock. I am Mrs. McClintock. Kate, I mean Catherine.
  346. 31:29 This is the cook, this is the lady who does the cooking for us. Mrs. Warren, Mrs. McClinter.
  347. 31:35 How do you do?
  348. 31:36 Very pleased to meet you, Mrs. McClintock. Very pleased. Likewise. Likewise.
  349. 31:40 You see, I just came to work here today, and I guess I jumped to the conclusion that this was a bachelor's household.
  350. 31:47 It is, and then again it isn't.
  351. 31:51 I will explain so everything will be quite clear, Mrs. Wallace. Mrs. Warren!
  352. 32:00 Mrs. Warren...
  353. 32:02 It has been a bachelor's household for quite some time. And it will be again just as soon as I am out of here, which will be as quickly as I can make arrangements to take my daughter back east with me.
  354. 32:14 You see, she's coming home from school in a few days, and then we'll be off together, and you can return to conducting yourself as you consider proper in a bachelor's household. Katie!
  355. 32:25 Shut up!
  356. 32:27 Until then, I am mistress in this house. And I will give the orders.
  357. 32:33 Go on, letter. Are you going to say nothing, boss? No. Do you want coach there?
  358. 32:39 Toast? Oh, G.W.
  359. 32:41 As soon as my things are put away, I want to talk to you about Rebecca.
  360. 32:45 Yes, mister.
  361. 32:47 Indeed, Mrs. McLintock. Of course, Mrs. McLintock.
  362. 32:51 The toast, lightly browned and unbuttered.
  363. 32:55 Of course, ma'am.
  364. 32:59 Wait a minute, boss. Where do you think you're going?
  365. 33:02 I just remembered I got a date. But she said she won't have a talk. I heard.
  366. 33:08 I'm sorry.
  367. 33:13 Good evening, Lamb. - Good evening, Mr. Mack. - Yep.
  368. 33:19 Say, Mr. Mack, what does unprepossessing mean?
  369. 33:23 I was called that once, Lem.
  370. 33:26 Looked it up in the dictionary.
  371. 33:28 Best you don't know what it means. Uh-huh. Thank you. You heard?
  372. 33:40 Hey! What am I gonna tell her when she asks why you win?
  373. 33:44 When he died, tell the truth.
  374. 33:46 She wouldn't expect that from you anyway. Where's Mr. McLintock going? There he goes, burning his last bridge.
  375. 33:55 You see a yellow streak about a foot wide running up down his back.
  376. 33:59 On Mr. McLinock?
  377. 34:01 He ain't afraid of nothing.
  378. 34:04 I once thought that.
  379. 34:24 Drago?
  380. 34:26 Yes, ma'am. Was that... He took off, lit out.
  381. 34:30 I told him I wanted to talk to him. Yes, ma'am. I was standing right over here when you said it, and I was standing right out down those front steps when he walked up the horse, grabbed a hunk of mane, stepped up on him, and sunk spur. Where did he go? Where did he go?
  382. 34:42 Last time I saw him, he was going east. But you know, him, he's liable to go north, south, or west.
  383. 34:48 Get me a carriage. Yes, ma'am, but...
  384. 34:51 But what?
  385. 34:54 Maybe you shouldn't follow him into maybe where he's going into.
  386. 34:58 What does that mean? I don't know, but I wish I hadn't said it.
  387. 35:02 I'll just get the carriage. Yes, ma'am.
  388. 35:08 What happened?
  389. 35:09 Get the bruce.
  390. 35:10 Bruce. Hitch it up. She wants to go to town. But Mr. McLennick never said anything to me about it. Look, young fella, I'm the re...
  391. 35:19 I'm the ramrod around this place, and you better start giving me a yes, sir. You're going to get the roof of this house pulled down on your head.
  392. 35:24 Yes, sir.
  393. 35:32 Hello, Daisy. Hi, Mr. Clinic. To the room, eh? Quick, please.
  394. 35:39 Hello, Bunny. How is everything? Oh, fine, fine, Mr. McLennig!
  395. 35:44 I'll get you next time!
  396. 35:54 Yeah.
  397. 35:56 Two more, Elmer.
  398. 36:00 Well!
  399. 36:02 Look who's here!
  400. 36:05 Well, it'd be, Mac.
  401. 36:07 Same as usual?
  402. 36:09 Lady
  403. 36:12 Evening GW. Jake.
  404. 36:14 Wrong move. What?
  405. 36:16 Chest problem.
  406. 36:17 Queen's in danger.
  407. 36:36 David!
  408. 36:38 I suppose you can do that!
  409. 36:41 Camille?
  410. 36:42 You're on your own.
  411. 36:46 Mr. McClelley?
  412. 36:52 Oh...
  413. 36:52 Aunt Camille.
  414. 36:54 Camille Readbottom?
  415. 36:56 I'm learning the game of chairs.
  416. 36:59 Thought it would give me something to pass the time.
  417. 37:04 See, I have nothing to do all day long.
  418. 37:09 I just remembered something.
  419. 37:11 What?
  420. 37:20 Catherine!
  421. 37:21 I didn't hear you come in. Mr. McClintock, I told you that I wanted to talk to you. Not now.
  422. 37:28 Could I get you a glass of sherry, Catherine?
  423. 37:37 Draco never could handle horses. It was that young man whose mother pretends to be your cook. Catherine, your wife...
  424. 37:45 Thank you, Mr. Birnbaum.
  425. 37:56 Now, Mr. McClintock, we have an awful lot to talk over. First thing I learned about Indian fighting was to wait for daylight.
  426. 38:04 What has our conversation got to do with Indian fighting?
  427. 38:07 Indian fighting is good experience for our kind of conversations. Oh. It'll wait, Catherine.
  428. 38:13 Evening, Sarah. Mr. McLennick. We had quite a ride out here. Oh, I finally got that team settled down.
  429. 38:20 It's your move.
  430. 38:22 No, it's your move. I just canceled it. Now, look here. You're not going to sit here all night long and play chess when the matter of our daughter remains unsettled. I am going to remain here and play chess when the matter of our daughter is settled. She stays. Oh, such stubbornness. Catherine!
  431. 38:38 Your hair.
  432. 38:41 Oh.
  433. 38:42 Arthur is a mess after that awful ride. No, no.
  434. 38:46 It's just that I haven't seen you for a long time.
  435. 38:49 And it seems to me the last time I saw you, your hair was a little darker. No? No?
  436. 39:00 It's a funny thing that tricks a man's memory will play, huh?
  437. 39:04 Mr. Birnbaum, I think that you've completely lost your mind.
  438. 39:08 You have done something to your hair. I have not.
  439. 39:15 If I had, it would be none of your business. I'm certainly not going to put myself in the place of those blondine trollops that you seem to prefer.
  440. 39:23 Take it.
  441. 39:24 Oh.
  442. 39:26 Fill it.
  443. 39:27 Oh!
  444. 39:30 I'm sorry.
  445. 39:42 Marty!
  446. 39:46 You fellas still had it all night?
  447. 39:48 Lentuck never quits.
  448. 39:50 But a burn bomb has to...
  449. 39:52 Besides, the game is over. You got me.
  450. 39:54 Oh no, Mr. Birnbaum, you've still got a good game.
  451. 39:57 Oh, you play chess.
  452. 40:00 Please, take them.
  453. 40:05 Pretty good.
  454. 40:07 Fair?
  455. 40:08 Well, looks like I won't have to come into town always to get a game.
  456. 40:14 Remember, I'm a bad loser.
  457. 40:19 Sure move. Yes, sir.
  458. 40:24 Come on.
  459. 40:37 Come on.
  460. 40:42 Good morning.
  461. 40:45 Good morning. Oh, it's a good morning, all right?
  462. 40:51 Cup of coffee.
  463. 40:53 Oh, yes. Thanks, Jake.
  464. 40:58 You're welcome, Catherine.
  465. 41:02 Got any cream?
  466. 41:03 Canned cows milk.
  467. 41:05 - And in.
  468. 41:08 - Good old condensed milk.
  469. 41:12 That reminds me. I was cleaning out my desk the other day.
  470. 41:17 I found something I wanted to return to you.
  471. 41:25 Here it is.
  472. 41:33 It's a medal.
  473. 41:34 Remember? From the President of the United States of America,
  474. 41:40 to 1st Sergeant Michael Patrick Illooley.
  475. 41:43 for bravery above and beyond the call of duty.
  476. 41:51 It's your Papa.
  477. 41:54 Reminds me of the first time I ever saw you.
  478. 41:57 It was over 17 years ago.
  479. 42:00 You walked into my store, not much bigger than the bundle you were carrying.
  480. 42:06 And in the bundle was the most beautiful baby I ever saw.
  481. 42:10 And was she hungry?
  482. 42:12 Mmh.
  483. 42:13 You walked all the way from Superstition Creek
  484. 42:18 Just to trade me that medal for a case of canned milk.
  485. 42:21 GW was off somewhere as usual.
  486. 42:26 fighting Indians.
  487. 42:30 Sheriff!
  488. 42:31 Share corn!
  489. 42:34 Well, have you seen the sheriff?
  490. 42:36 Time early for him to try his house.
  491. 42:38 Why didn't I think of that? Looks like burn bonds is open.
  492. 42:42 Maybe somebody in here knows.
  493. 42:46 So there you are, Sheriff.
  494. 42:49 I told you you were headed for trouble.
  495. 42:52 Trouble? I want to know by whose authority you let those Indians stay in town. Those savages are wards of the government, and I am the representative of that... I told Sheriff Lord that he could put them up down by the clay side.
  496. 43:05 Because the town's named after him, he thinks he owns it.
  497. 43:08 Well, you check the books in the recorder's office and you'll find I do own a fair piece of it.
  498. 43:14 Agard, if you knew anything about Indians, you'd know that they're doing their level best to put up with our so-called benevolent patronage.
  499. 43:22 in spite of the nincompoops that have been put in charge of it.
  500. 43:26 Those Indians need my permission to leave the reservation.
  501. 43:30 Those chiefs have been giving orders all their lives. It's pretty hard for them to understand that they have to hold up their hand like a...
  502. 43:36 Schoolboy in a classroom.
  503. 43:38 The law is very clear. I told you you'd get no satisfaction from these people.
  504. 43:44 We'll get the girl back.
  505. 43:45 Girl.
  506. 43:46 The girly Indians kidnapped. But don't worry.
  507. 43:50 I armed the settlers and set them to rounding up those red devils.
  508. 43:54 What is this about a girl? Millie Jones, one of the settlers' daughters. The Indians kidnapped her. That's ridiculous.
  509. 44:00 And you turn and lose a lot of farmers with shotguns? I certainly did. You're insane.
  510. 44:06 Let's go, Sheriff.
  511. 44:08 Mr. Douglas. Oh, Miss McLennan. Much as I hate to agree with G.W. about anything, you haven't changed a bit. You're still an hysterical fool.
  512. 44:23 Come into town. I got worried. What about? I thought maybe Katie shot you. Not yet, Drago, but it took restraint. Oh.
  513. 44:31 Wait a minute. We better take A.G.I.G., Mom. Not that he'll be much help. Draco?
  514. 44:36 Tell him on the horse.
  515. 44:42 Just a minute. Well.
  516. 44:48 I'm driving. Yes, ma'am. Agar, what are you doing? Thank you, Agar. Agar, this is serious. Stay with him, Agar. Stay with him.
  517. 45:00 Agar.
  518. 45:01 Will you stop showing off and getting this, Muggie? Mercy.
  519. 45:06 Mercy. That horse is a little green.
  520. 45:16 Oh, my God.
  521. 45:18 Let's go.
  522. 45:25 Just where do you think you're going? Don't use that range, boss. Tone a voice with me.
  523. 45:45 Let it from Mr. Poor Boy's mind. Mount up some riders.
  524. 45:50 Bye, boss.
  525. 45:51 You heard the man?
  526. 45:58 I don't like it.
  527. 45:59 Mr. McClendick.
  528. 45:59 I don't like it one bit.
  529. 46:01 What don't you like? They're planning to hang an Indian!
  530. 46:26 Oh, sir! Very funny! Heard the whiskey!
  531. 46:30 Ha ha! Hold it!
  532. 46:33 Not so fast, Mr. Boss of the whole country.
  533. 46:37 Unless you want to wear a big hole in your middle.
  534. 46:40 How long is GW gonna let that Cheechalker push him around?
  535. 46:45 That Cheechalker has a sawed-off shotgun. How do you know she didn't wander off someplace or meet some feller or something? What are you saying?
  536. 46:53 That I didn't raise my girl right?
  537. 46:55 That she'd wander off all night with some men. There's a lot of things I'm not saying to you, mister. Well, you got a sort of shotgun in my middle.
  538. 47:02 But how do you know this Indian had anything to do with it?
  539. 47:04 She's gone, ain't she? She's gone.
  540. 47:09 Pa, I'm over here! Pa!
  541. 47:16 Been looking for me, Pa? Where you been, gal? Young Ben took me for a sunrise ride.
  542. 47:21 And the horse wandered away.
  543. 47:24 Get them down over there. Papa!
  544. 47:28 She's telling the truth, Mr. McLintock. We weren't doing nothing. Well, that's not important right now.
  545. 47:32 The important thing is that you don't draw that hog leg or this will be worse than Dodge City on Saturday night. You get on. Back to the wagon.
  546. 47:40 I'll tend to you later.
  547. 47:41 Now for this young whippersnapper. Now no harm has been done. Young Ben here is one of the nicest boys in the territory, so just put down that shotgun and let him forget him. I'll teach you to end up forward, Mike.
  548. 47:51 I'll follow you.
  549. 47:54 No.
  550. 47:55 We'll all calm down. Bossy's just a little excited. I know, I know. I'm gonna use good judgment. I haven't lost my temper in 40 years. But Pilgrim, you caused a lot of trouble this morning. Might have got somebody killed.
  551. 48:08 and somebody out of
  552. 48:09 felt you in the mouth.
  553. 48:10 But I won't. I won't. The hell I won't.
  554. 48:21 The mechanic rider!
  555. 48:31 Ha-ha! Oh, mark them!
  556. 48:37 Hey, brother! Remember me?
  557. 48:46 Hello, sir! Nice party!
  558. 48:49 Do you think you are? I ought to what?
  559. 49:19 Hey, just a minute. What? What did you do with my glasses? Hey, now stop this or you'll be far.
  560. 49:49 Stay out of this, Jake. It's everybody's war.
  561. 50:19 - I'm sorry, Mr. Bank. - Oh, ho, Matlin. - Bank.
  562. 50:49 Ha ha! Very funny! Yeah, very funny!
  563. 51:19 Oh, you ain't, Schreggel!
  564. 51:27 Hey!
  565. 51:38 Are you still down here? Hey! Oh, I swat it away, huh? Hotter, Mr. Jones! Hotter!
  566. 51:49 Oh! Oh!
  567. 51:51 Nice left. Thanks. I went to college. For this, you don't need college. You're not getting me out of there.
  568. 52:28 Why am I killing you, baby?
  569. 52:30 Good morning to you, Mrs. McCleter. Buddy, you big...
  570. 52:47 Well, it's pretty hard to control yourself.
  571. 52:55 Go!
  572. 52:57 Oh, Maclenn! Oh, Maclenn! What party? But no whiskey. We go home.
  573. 53:15 You and your friends!
  574. 53:17 Well, we at least saved your half.
  575. 53:25 Where is everybody?
  576. 53:28 Oh, for heaven's sakes.
  577. 53:39 Whoa, whoa. Braco, will you never learn how to handle a team? Yes, ma'am, I'll sure try. I'll tell you that.
  578. 53:47 - I'm the family! - You wanna lose your piccato? - I lose face!
  579. 53:53 You're going to lose more than that.
  580. 53:56 Betty? Yes?
  581. 53:59 We could be a big help to one another. Like what, may I ask? Oh, we could wash the mud off of each other.
  582. 54:08 We used to have quite good times doing that sort of thing.
  583. 54:12 There are a lot of things we used to do.
  584. 54:15 Good night, Mr MacLintock.
  585. 54:25 Any luck?
  586. 54:27 What are you talking about? I mean...
  587. 54:30 Divorce. She said I wanted you.
  588. 54:32 Yeah.
  589. 54:33 You know something, women are funny. She fought like a wildcat on your side out there this afternoon. Come home, she slams the door in your face. That divorce business, is that what you get when you pay a woman not to live with you?
  590. 54:45 That's about it.
  591. 54:46 To some women I've noted, it'd be worth it.
  592. 54:49 You know, if we had any moral character, we wouldn't be standing here covered with mud drinking.
  593. 54:55 When we should be washing.
  594. 54:57 G.W.?
  595. 54:59 Drago.
  596. 55:05 Miss Warren, these biscuits. Mmm. Thank you, Drago.
  597. 55:14 Good morning, Mrs. Warren. Good morning, Mr. McLintock. Breakfast for the boss? If that's the way you want it, Mr. McLintock.
  598. 55:30 I'm
  599. 55:46 the
  600. 56:02 One poached egg.
  601. 56:04 T.
  602. 56:05 Toast, lightly browned and un... Why, Mrs. McClintick...
  603. 56:10 You have a black eye. I do.
  604. 56:16 Oh, oh, and Becky's coming home today. And that's not all. There's a little something we'd better get settled.
  605. 56:26 There are no men listening now, so we can be ourselves. Oh sure, I let you get away with all that guff the other night.
  606. 56:33 But now that we're alone... When I want the opinion of the hired help...
  607. 56:37 I'll ask for it. You know, you could wind up with two black eyes. What? Oh, I realize you had to put on that big act.
  608. 56:47 We always have to, just before we get ready, to forgive them. Generally for something they haven't done.
  609. 56:54 But you and I both know that's just to keep them from getting the idea they, uh...
  610. 56:58 Run things.
  611. 57:00 McClinty give you that black eye?
  612. 57:02 No!
  613. 57:03 Nobody gave it to me. I won't.
  614. 57:14 Morning, baby! Morning, Mrs. Beach! Mr. Beach!
  615. 57:20 Yeah.
  616. 57:25 Come on.
  617. 58:04 Why, Miss Becky, welcome home. Hi, Daddy. Bye, boy. Good to see you again. Daddy. I'm...
  618. 58:22 Daddy! Daddy! Ha ha! Ha ha!
  619. 58:27 It's been too long years. I guess I'm going to have to stop calling you town boy. Becky. Mama. Oh, darling. I wasn't sure you'd be here. Oh, I've been here a few days. Oh, Becky, I've bought you three of the most beautiful dresses.
  620. 58:42 Uncle Draco!
  621. 58:45 Did you bring your old uncle a coming home present? Sure did. What is it?
  622. 58:49 A mustache cup. And what did you get me? The prettiest palomino pony that I ever practiced in. Broke the stand, drown, tie, and the count.
  623. 58:59 Uncle Jake! What are you doing with Mr. Douglas' tuba? Oh, Mr. Douglas has a fa... had a little accident.
  624. 59:10 - Amen.
  625. 59:11 I brought you a whole shipment of licorice sticks.
  626. 59:14 But now that I've seen how much you've grown, I think we'd better exchange them for a couple of bolts of dress goods, huh? Thank you.
  627. 59:21 Oh, the mayor was going to be here.
  628. 59:23 But he had to go to the territorial capital on a horse theft matter. But I'm going to give his speech.
  629. 59:31 And don't worry about the mayor.
  630. 59:33 I'm sure that he can find a bill of sale for the horse.
  631. 59:39 Uh...
  632. 59:42 Ladies and gentlemen, we are here to welcome the fairest...
  633. 59:47 What am I doing?
  634. 59:51 We are here to welcome back the prettiest girl that was ever born in McClintock.
  635. 59:58 or in any part of the territory.
  636. 1:00:06 Hey, save me!
  637. 1:00:08 Yeah? Got some. For you.
  638. 1:00:11 The guardmaster up the junction told me to let him ride, so I locked him in here.
  639. 1:00:16 I've had my scalp a long time.
  640. 1:00:20 And I aim to keep it.
  641. 1:00:36 Come on. Come on.
  642. 1:00:39 - Get up, Buck. - What's up?
  643. 1:00:41 Okay.
  644. 1:00:44 And now she's come back to it.
  645. 1:00:46 Gone or the pigtails?
  646. 1:00:48 But the freckles are still on the prettiest face that was ever born in McClintock.
  647. 1:01:03 Hey, that's Puma.
  648. 1:01:04 And it's true, the government did turn them loose.
  649. 1:01:09 Good old Puma.
  650. 1:01:11 I'll never forget when he brought GW home.
  651. 1:01:15 Your father had a hole in his chest and a hundred and four fever. Of course they weren't very mannerly about it. He came past the house at a high lope and threw him on the doorstep. And you do remember them good old days, don't you, Katie?
  652. 1:01:33 Yes. Yes.
  653. 1:01:52 Hey, I...
  654. 1:01:54 Yatta hey, my friends! Yatta hey!
  655. 1:01:58 Puma, honored enemy.
  656. 1:02:00 Darce Big McClintock forget, but also Blood Brother. No, I'll never forget that.
  657. 1:02:07 All the wounds.
  658. 1:02:08 Does it hurt still? I feel it when it comes on to rain. An inch higher and I wouldn't have had to worry.
  659. 1:02:14 Ah, big McClintock, that was remembered by it.
  660. 1:02:18 We return with news, our people have more trouble.
  661. 1:02:23 You see, I learned good English now, Pete McClintock. Learned in white man's jail. But we would have you talk our course at government hearing. I understand that Governor Humphreys is gonna preside at that meeting.
  662. 1:02:40 Oh, my God.
  663. 1:02:41 Yes, Puma, I'll translate your wishes. Mr. McLenick, uh...
  664. 1:02:46 Could I impose upon you to use your Comanche to tell these chiefs... Oma has chief of the Comanches, and he speaks English very well.
  665. 1:02:53 Oh, well...
  666. 1:02:56 Your people will have to follow my instructions to the letter. It is the law of the le...
  667. 1:03:01 Oh, now, just a minute.
  668. 1:03:06 For heaven's sakes!
  669. 1:03:15 - You wait here, honey, I'll get the truck. - You sure of the clinic, boys? - Surely. - Will I see you there, Beth? - Of course, Davy, and you can have the first day. - Sis?
  670. 1:03:39 Don't want any sister of mine talking to strangers. Dave is not a stranger. He clerks in burn bars.
  671. 1:03:47 He's an Elia.
  672. 1:03:57 Darn you, Drago!
  673. 1:04:01 Now look what you've done.
  674. 1:04:03 Baby.
  675. 1:04:03 This is Devlin Warren. He works for your papa.
  676. 1:04:06 Del, this is Miss Becky McLennig.
  677. 1:04:09 Those are my things.
  678. 1:04:11 Yes, ma'am.
  679. 1:04:12 I don't know anywhere miss Becky
  680. 1:04:15 What do you mean?
  681. 1:04:17 Oh, I mean, you look so much like your mother.
  682. 1:04:19 We're even prettier.
  683. 1:04:21 Oh, Mr. Warren.
  684. 1:04:23 Mother's much prettier than I am. Many a fight started with words like that. Come on, get in the boat. Hello, Ching.
  685. 1:04:29 We got jelly pie for dinner? I'm not cooking.
  686. 1:04:33 No, he's not. Junior! Yes, Miss Becky? You remember Junior Douglas, Mama? Oh, of course. How's college? Valedictorian, 95. Oh, congratulations. Oh, Mr. and Mrs. Douglas, we will see you at the party, of course. Oh, delighted.
  687. 1:04:48 Well, it'll be pretty hard to keep young man away. Yes, sir. There you go. Yes, boss. Bag it's all on it. G.W.
  688. 1:04:56 You remember young Junior?
  689. 1:04:58 Oh yes, like father, like son.
  690. 1:05:01 Oh, uh, Mr. McClintock, I hope you don't think I'm being presumptuous in asking for the honor of calling on Miss Rebecca.
  691. 1:05:09 Well, there she is. Ask her yourself.
  692. 1:05:11 Thank you, sir. Gene, now I'm gonna get fired. Get up out of here! Thank you, sir. Thank you.
  693. 1:05:20 How do you know, Mamma? Who's here at the morning, Junior?
  694. 1:05:24 Yeah.
  695. 1:05:25 Yeah.
  696. 1:05:26 Yeah, what?
  697. 1:05:27 Like father, like son.
  698. 1:05:31 What did he mean, Matthew?
  699. 1:05:36 Come on, Jing. Grab a root and growl.
  700. 1:05:47 Well, you're doing a good job, Miss McLintock. Thank you, Miss Flora. Deb, when you're finished there, go over and help Drago with the beer cakes.
  701. 1:05:55 Yes, Mom.
  702. 1:05:57 Deb, could you come and help me a minute?
  703. 1:06:08 I certainly was surprised to hear you went to college.
  704. 1:06:11 Why?
  705. 1:06:12 I don't know. Junior says Purdue's a good college for a backwater place like Indiana. Oh, he did indeed.
  706. 1:06:19 Oh, could you do this? I can't reach it.
  707. 1:06:23 Why didn't you finish college?
  708. 1:06:25 Lack of funds.
  709. 1:06:27 My father got sick and...
  710. 1:06:28 He had to come out west.
  711. 1:06:30 So he took out a homestead.
  712. 1:06:32 You know, your mom's sure cute.
  713. 1:06:35 It's too bad you didn't inherit her eyes.
  714. 1:06:42 Well, you'd been lucky if you'd inherited a few things from your father.
  715. 1:06:47 Oh, really?
  716. 1:06:48 For instance. It's common sense for instance.
  717. 1:06:53 common sense
  718. 1:06:54 Yeah.
  719. 1:06:55 You don't see him being fooled by some dude like Junior Douglas?
  720. 1:06:58 Junior's not a dude.
  721. 1:07:00 He's nifty. This needs a woman's touch. And besides, he got a letter at college. What sport?
  722. 1:07:09 Glee Club.
  723. 1:07:10 Very strenuous.
  724. 1:07:12 Hmph!
  725. 1:07:13 Oh! Don't you dare hug me!
  726. 1:07:18 I have no intention of hugging you.
  727. 1:07:22 Oh!
  728. 1:07:27 Oh, my God.
  729. 1:08:05 Ladies all look lovely, Catherine. No, this is a real fine party.
  730. 1:08:19 Just everybody.
  731. 1:08:21 Sorry, GW, but this one's mine.
  732. 1:08:36 Come on.
  733. 1:08:37 I'm going to go.
  734. 1:09:01 - Draco, go and do what I told you to do. - Oh, Katie.
  735. 1:09:04 - Catherine, do as you're told. - Drago, do this. Drago, do that.
  736. 1:09:16 This Douglas fella... Draco!
  737. 1:09:20 Yes, ma'am.
  738. 1:09:21 Matt Douglas Jr. is going to bring you folks some of the latest Terpsichorian dance steps, brand new, brought by him directly from New York City.
  739. 1:09:34 All right, Mr. Fiddler.
  740. 1:10:09 Give me a whisper.
  741. 1:10:22 This turn of 10 pound parties, boss.
  742. 1:10:25 We'll run out of whiskey. Well, I can take care of that, Chief.
  743. 1:10:45 Indian. Indian.
  744. 1:10:56 Get up and we can do this all over again. Yes!
  745. 1:10:59 That's enough. You fought it. It's over. Get out of there. Quit batting that birdbound. He's a hard man, not your son. Look, you fought him fair and square.
  746. 1:11:06 I don't think it was so fair and square.
  747. 1:11:10 Well, you want to take up where he left off? If I did, he wouldn't find it so easy.
  748. 1:11:19 Now we've had enough of this.
  749. 1:11:21 Well, when are you gonna quit walking away? Just as soon as we're out of sight of the party.
  750. 1:11:25 A little lesson I learned back home, don't fight in front of women. Well, we're out of sight now. So we are.
  751. 1:11:39 Come on.
  752. 1:11:48 Such vulgarity!
  753. 1:11:50 Someone should do something about it. You're right.
  754. 1:11:55 Absolutely right.
  755. 1:11:57 Come on.
  756. 1:12:13 Here you go.
  757. 1:12:21 Come on.
  758. 1:12:27 You all right, young man?
  759. 1:12:30 How are you, Mr. McClendon?
  760. 1:12:30 Clinic.
  761. 1:12:31 Okay.
  762. 1:12:32 Pretty fancy fighting for a country boy. Two years at Purdue, Mr. McLennick.
  763. 1:12:37 On the boxing team.
  764. 1:12:39 I never thought any farmer could whip me.
  765. 1:12:43 You sure did.
  766. 1:12:45 We're getting cleaned up. Get him some water, Jake.
  767. 1:12:48 Here.
  768. 1:13:07 Get yourself.
  769. 1:13:08 cleaned up.
  770. 1:13:09 Go ask that girl for a dance.
  771. 1:13:11 Who?
  772. 1:13:16 Oh!
  773. 1:13:19 Did I miss one? Where is he? I'll find him out.
  774. 1:13:22 you whippersnapper where is that farmer boy where is he
  775. 1:13:26 Where is he, GW?
  776. 1:13:29 Oh, so you're the young farmer boy that whipped my nephew.
  777. 1:13:33 Well, I'm Funtleroy Sage, young Ben's uncle.
  778. 1:13:36 Well, I'm no farmer, but if you're young Ben's uncle, yes, I whipped him.
  779. 1:13:39 And you're intruding.
  780. 1:13:41 What's intruding mean? Budding in.
  781. 1:13:44 Oh, so he's insulting me.
  782. 1:13:46 Well, then I got another reason for walloping. Besides, on account of him thrashing my nephew, young Ben. Montleroy, you can't get mixed up in these youngsters' quarrel.
  783. 1:13:55 Family honor!
  784. 1:13:56 I can't have said a farmer whipped a sage. You're twice his size.
  785. 1:14:00 Don't let that bother you, Mr. McLennick.
  786. 1:14:03 Mr. Fauntleroy insists I'll just have to teach him the same lesson.
  787. 1:14:09 Oh.
  788. 1:14:18 *gunshot*
  789. 1:14:19 Save!
  790. 1:14:22 Come on.
  791. 1:14:27 Sorry young feller.
  792. 1:14:29 I hate to have to do that, young fella.
  793. 1:14:34 No hard failings. Not yet.
  794. 1:14:38 Not yet, what?
  795. 1:14:39 I mean, that isn't all.
  796. 1:14:40 Now, wait a minute.
  797. 1:14:43 A final, Roy?
  798. 1:14:44 We're gonna make this a fair fight.
  799. 1:14:47 Course we are. Course we are, G.W. There'll be none of this. I wouldn't do that, G.W.
  800. 1:14:53 You wouldn't do... No, no, I wouldn't do that. And Deb...
  801. 1:14:57 I don't want you kicking Fauntleroy in the knee. He didn't do no such thing. And none of this nose twisting. He's all yours.
  802. 1:15:14 Oh, well.
  803. 1:15:17 Where are my vests? You all right, young father?
  804. 1:15:21 Ouch! I'm all right. This Indian agent will stop stepping all over me. I bet you'll pardon me. He does, yeah.
  805. 1:15:27 You're despising me.
  806. 1:15:29 But I want you to know that boy fought me a fair fight.
  807. 1:15:33 Well, I'm glad to hear that, Conleroy.
  808. 1:15:35 My uncle.
  809. 1:15:37 Foggle Roy, what have you been doing?
  810. 1:15:40 I hope my uncle didn't bother anybody. No bother. I think we'd better join the ladies.
  811. 1:15:45 before they get curious. Drago,
  812. 1:15:48 Let's line them all up for a dose of money.
  813. 1:15:51 Jake?
  814. 1:15:53 You think tincture of Arnica would help?
  815. 1:15:56 Could be.
  816. 1:15:58 Used to help you.
  817. 1:16:01 Gentlemen, to the medicine cabinet.
  818. 1:16:22 Good morning, Drago. Good morning, baby. You seen Daddy? Well, we're early this morning with a scattergun over his arm. When, huh? Good morning, Drago.
  819. 1:16:45 I'm going to go.
  820. 1:16:55 Good afternoon.
  821. 1:17:01 Why get you out so early?
  822. 1:17:03 Something I have to get straight in my mind.
  823. 1:17:05 Yeah?
  824. 1:17:07 What?
  825. 1:17:10 Yes.
  826. 1:17:11 Mama?
  827. 1:17:19 Why'd you and Mama stop living together, Daddy?
  828. 1:17:22 Come on.
  829. 1:17:24 Why'd you separate?
  830. 1:17:28 - Aren't you gonna answer me? - No.
  831. 1:17:31 is sort of my business, I think.
  832. 1:17:33 I don't.
  833. 1:17:35 Is it another woman?
  834. 1:17:37 Usually is.
  835. 1:17:39 At your age, you always know what's usual. Is it Mrs. Warren?
  836. 1:17:45 Becky?
  837. 1:17:46 I don't want to start laying the law down your first day back home.
  838. 1:17:50 But I'll have no more such talk.
  839. 1:17:52 First time I ever saw Mrs. Warren was last week.
  840. 1:17:56 She has a job here at which she's very good.
  841. 1:17:59 I hope you'll have the good manners to...
  842. 1:18:01 not pry into other people's business.
  843. 1:18:06 Your mother's in mine.
  844. 1:18:09 Pretty good shot, Daddy.
  845. 1:18:12 Oh, I can understand your trouble. Mama's often so...
  846. 1:18:15 Well, so petulant.
  847. 1:18:18 Petulant?
  848. 1:18:19 You learned a lot of words back east, Becky.
  849. 1:18:22 Wish to God they'd have taught you some meanings. You were only about six months old when you're...
  850. 1:18:27 Mother stayed alone with you in the sod hut.
  851. 1:18:30 Under eight foot of snow.
  852. 1:18:32 while I moved the herd 300 miles south to try and save it.
  853. 1:18:36 Saved about half of it.
  854. 1:18:38 You were a little more than a year old at the time of the Great Comanche Raids.
  855. 1:18:43 We stood off 500 Plains Indians for nine days.
  856. 1:18:48 Petulant backings?
  857. 1:18:50 I think you better go on home. See that Ching gets those birds.
  858. 1:19:08 Becky!
  859. 1:19:13 Come here.
  860. 1:19:21 Oh.
  861. 1:19:23 There's something I ought to tell you.
  862. 1:19:26 Guess now's as good a time as any.
  863. 1:19:29 You're gonna have every young buck west of the Missouri around here trying to marry you.
  864. 1:19:34 Mostly because you're a handsome filly.
  865. 1:19:37 but partly because I own everything in this country from here to there.
  866. 1:19:42 They'll think you're going to inherit it.
  867. 1:19:44 Well, you're not.
  868. 1:19:46 Gonna leave most of it to...
  869. 1:19:49 Well, to the nation, really.
  870. 1:19:51 for a part.
  871. 1:19:53 or no lumbermen will
  872. 1:19:55 Cut down all the trees for houses with leaky roofs.
  873. 1:19:59 Nobody okay.
  874. 1:20:00 Still all a beaver for hats for dudes.
  875. 1:20:02 Or murder the buffalo for ropes.
  876. 1:20:06 What I'm gonna give you is a 500 cow spread on the Upper Green River.
  877. 1:20:11 Now, that may not seem like much.
  878. 1:20:14 It's more than we had, your mother and I.
  879. 1:20:18 Some folks are gonna say I'm doing all this.
  880. 1:20:21 so I can sit up in the hereafter and...
  881. 1:20:24 Looked down on a park named after me.
  882. 1:20:27 Or that I was disappointed in you.
  883. 1:20:29 Didn't want you to get all that money.
  884. 1:20:32 But the real reason, Becky...
  885. 1:20:34 is because I love you.
  886. 1:20:36 And I want you and some young man to...
  887. 1:20:39 Have what I had.
  888. 1:20:41 Because all the gold in the United States Treasury...
  889. 1:20:45 All the harp music in heaven.
  890. 1:20:47 can't equal what happens between a man and a woman.
  891. 1:20:50 With all that growing together.
  892. 1:20:55 I can't explain it any better than that.
  893. 1:21:05 All right, Daddy.
  894. 1:21:10 Becky
  895. 1:21:15 When you're as old as I am, you'll...
  896. 1:21:18 Thank you for this.
  897. 1:21:21 Daddy, I'm full grown.
  898. 1:21:23 I wasn't worrying about me.
  899. 1:21:26 I was thinking about you and Mama.
  900. 1:21:48 I don't know.
  901. 1:21:53 I'm going to go.
  902. 1:21:57 Oh, my God.
  903. 1:22:01 Oh.
  904. 1:22:03 I'm sorry.
  905. 1:22:10 Well, sir.
  906. 1:22:12 All three of them thaw right out of the carriage.
  907. 1:22:17 Well, it's getting rather late, Becky. It's bedtime.
  908. 1:22:21 Mother! He brought this. He must have intended to use it.
  909. 1:22:26 Well, well, if you really want me to gosh, I haven't played just right for me. Oh
  910. 1:22:32 Sure? It's the rage now.
  911. 1:22:40 Death.
  912. 1:22:41 What are you doing? Oh!
  913. 1:22:44 Yeah.
  914. 1:22:44 I, uh...
  915. 1:22:46 I just thought I'd get another cigar.
  916. 1:22:49 But you've got one in your mouth and two burning in the tray.
  917. 1:22:54 Not move. The fellas want me to play all the time.
  918. 1:22:59 You're cuter, Van.
  919. 1:23:02 A baby steer
  920. 1:23:04 And softer than a mouse's ear.
  921. 1:23:10 I want the whole wide world to hear.
  922. 1:23:15 You're just right.
  923. 1:23:17 For me.
  924. 1:23:19 You're sweeter than...
  925. 1:23:23 Oh, no, not that rhythm, Junior. Do it the way they do at the plaza. I know the words. Sure, Becky. Will you sing with me? Of course.
  926. 1:23:30 All right.
  927. 1:23:31 It's your move. Oh.
  928. 1:23:46 Oh, Dick, you're playing like an amateur. Let's call it an evening. I'd like to know where your mind is tonight.
  929. 1:24:01 Pretty good.
  930. 1:24:03 Voice like her father.
  931. 1:24:33 This is...
  932. 1:24:34 This is the place for yours, just right for me.
  933. 1:24:48 Well...
  934. 1:24:50 That's so good, I kind of hate to break this up.
  935. 1:24:53 But we're going to have that Indian hearing tomorrow morning. Sir, about our conversation earlier this evening, I believe I'd better apologize.
  936. 1:25:01 Yeah?
  937. 1:25:02 Yes, sir, I've been thinking it over and over. When I called you a reactionary, that's merely my generation's...
  938. 1:25:09 term for your generation then.
  939. 1:25:11 Nothing personal, sir. Oh, really? Really?
  940. 1:25:14 Well, good night, sir. Good night, Mrs. McClendon. Good night, and do come again.
  941. 1:25:22 Good night, Drago. Night.
  942. 1:25:28 Almost.
  943. 1:25:29 What does the reactionary mean?
  944. 1:25:32 Me, I guess.
  945. 1:25:33 He says that anyone that wanted to sell it a profit was a reactionary.
  946. 1:25:37 Was we reactionaries back in them days when you were selling beef cattle for six cents a pound on the hoof?
  947. 1:25:42 Well...
  948. 1:25:43 Oh, he's arguing with him. College boy.
  949. 1:26:01 Devlin Warren, if you was my kind of man, you wouldn't let some dude walk off the pretty girl west of Denver without putting him some kind of fight. Does it show? Well, what can I do? I'm just one of her father's employees.
  950. 1:26:12 I'm just a hired hand around here.
  951. 1:26:14 Every so often, Dev...
  952. 1:26:16 You spill the strangest ideas.
  953. 1:26:19 Everybody works for somebody. Me, I work for everybody in these United States that steps into a butcher's shop for a T-bone steak. And you work for me.
  954. 1:26:30 There's not much difference.
  955. 1:26:33 Daddy, the most terrible thing just happened.
  956. 1:26:36 Junior's horse ran away. The one he rented at the livery stable. Tied up a rented horse by the range. He's probably back in the stall by now. I think we could get Junior something that he can ride.
  957. 1:26:46 What I'd rather do, Daddy, is drive Junior home in Arborouche. It's a lovely evening, and I'm sure Uncle Drago wouldn't mind driving. I wouldn't. I thought the kind of manners don't keep me from saying so, just to be polite.
  958. 1:26:59 I'll drive him home, Mr. McLennick.
  959. 1:27:01 And you don't have to come, Miss Becky.
  960. 1:27:02 I'll see that he gets home safely.
  961. 1:27:04 I can take care of myself.
  962. 1:27:06 You got yourself a foot, didn't you?
  963. 1:27:08 Deb, get the carriage. Drago? I'm going with him. Now you've got me wrangling dudes.
  964. 1:27:36 Miss Becky?
  965. 1:27:37 Somebody better help me watch the road.
  966. 1:27:40 You know, I'm new around here.
  967. 1:27:41 Might take the wrong turnoff. Devon Warren, you know there isn't a turnoff between here and town.
  968. 1:27:48 Disappear
  969. 1:27:49 Without a time.
  970. 1:27:51 To die like this is no disgrace. This is time. This is time. Devlin Ward, what are you trying to do, kill us? Better have your friend drive.
  971. 1:28:23 Daddy?
  972. 1:28:25 Daddy!
  973. 1:28:26 I have never been so humiliated in my entire life.
  974. 1:28:29 I said what I said, and I'll stand by it to the death.
  975. 1:28:32 Shoot him, Daddy. Shoot him at once.
  976. 1:28:35 Why?
  977. 1:28:36 My honor is at stake.
  978. 1:28:39 Well now, your honor. Absolutely. He impugned my honor.
  979. 1:28:43 Impugned? What does that mean?
  980. 1:28:45 Slander. He slandered my honor. He did? I said what I said and I'll stand by it to the death. He admits it, see?
  981. 1:28:53 Shoot him. Well, what is he admitting to? Why, he called me a... I won't even repeat the word. I didn't necessarily call you anything, but I said what I said, and I'll stand by it to the death. Well, just for the tally books, what did you say?
  982. 1:29:06 I said that any girl who would permit a man to kiss her before they're formally engaged is a trollop.
  983. 1:29:11 He said it again! Shoot him! No, hold on. No, don't hold on.
  984. 1:29:16 If you're my father, if you love me, you'll shoot him. Well?
  985. 1:29:19 I'm your father, and I sure love you. So...
  986. 1:29:26 Oh, you shot him! You really shot him!
  987. 1:29:29 Hey! If he dies... If he dies, he'll be the first man ever killed with a blank cartridge.
  988. 1:29:34 We use this
  989. 1:29:35 start the races on the fourth.
  990. 1:29:37 Hey! I'm on fire! Oh, you poor deer! Poor deer?
  991. 1:29:43 You'd have had me shot in cold blood. But it didn't happen.
  992. 1:29:47 yelling I insulted you and all what you need is a good spanking
  993. 1:29:50 Daddy!
  994. 1:29:52 Leave me out of this.
  995. 1:29:54 I think I'll give you what you deserve. You wouldn't dare! Oh, wouldn't I? You'll think next time before you have someone shot! This kid in the middle isn't gonna help you!
  996. 1:30:29 Mickey, Mickey, what happened?
  997. 1:30:30 He spanked me!
  998. 1:30:34 You spanked my daughter?
  999. 1:30:37 Dev.
  1000. 1:30:38 Oh.
  1001. 1:30:40 You mean you stood there while that brute beat our daughter? G.W., what's happened to you in the last three years? That a part of our son. Oh, isn't it enough that you've always treated me like a squall without subjecting dear sweet Becky to this crude vulgar way of life? Catherine, you women are always raising hell about one thing when it's something else you're really sore about. Don't you think it's about time you told me what put the burr under your saddle about me?
  1002. 1:31:04 I don't intend to stand here and hold a midnight conversation with an intoxicated man.
  1003. 1:31:19 And I am not intoxicated.
  1004. 1:31:21 Yes!
  1005. 1:31:28 Hello, Captain!
  1006. 1:31:55 Peace, Homer.
  1007. 1:31:57 Yes, Sergeant.
  1008. 1:31:59 Big McClintock
  1009. 1:32:00 We know you get us fair judgment.
  1010. 1:32:03 You gentlemen, follow me.
  1011. 1:32:11 Well, Jake?
  1012. 1:32:12 GW?
  1013. 1:32:20 Well, GW, it's been a long time. Not long enough. Cut, Bert.
  1014. 1:32:26 Your husband is a rude man. Yes, Cutforth, I know.
  1015. 1:32:44 Where are you one day Indians, Mr. McClintock? Mr. McClintock is not running this hearing.
  1016. 1:32:49 Sergeant, seat those Indians. Yes, gentlemen, be seated.
  1017. 1:32:54 You know, the whole tribe here wanted to come into town. Proceed, Lieutenant. Lieutenant.
  1018. 1:33:01 *knock knock*
  1019. 1:33:02 This hearing is now in session. Governor Cuthbert Humphreys presiding.
  1020. 1:33:07 Good luck, Daddy. Afraid it's a packed court. Government edict number 826.
  1021. 1:33:14 As ordered that the Comanche Nation be transferred from their present reservation to Fort Sill...
  1022. 1:33:19 It is the government's claim, as filed by Indian agent Agard...
  1023. 1:33:25 that these chiefs, after being released from prison by a kindly government...
  1024. 1:33:29 Dead, dead, and rouse and incite defiance among the tribe against said orders.
  1025. 1:33:35 It seems, gentlemen, that although some of these chiefs speak English, Chief Puma is quite at home in our language.
  1026. 1:33:42 They have chosen Mr. McLintock to be their spokesman.
  1027. 1:33:46 I speak for the Comanche.
  1028. 1:33:51 Proceed, Mr. McLennick.
  1029. 1:34:00 The Comanches say...
  1030. 1:34:03 We are an old people.
  1031. 1:34:04 And a proud people.
  1032. 1:34:06 When the white man first came among us, we were as many as the grasses of the prairie.
  1033. 1:34:12 Now we are few.
  1034. 1:34:14 But we are still proud.
  1035. 1:34:16 For if a man loses pride in manhood, he is nothing.
  1036. 1:34:20 You tell us now that if we will let you send us away to this place called Fort Sill...
  1037. 1:34:26 You will feed us and care for us.
  1038. 1:34:29 Let us tell you this.
  1039. 1:34:31 It is a Comanche law that no chief ever eats unless first he sees that the pots are full of meat.
  1040. 1:34:37 in the lodges of the widows and orphans.
  1041. 1:34:40 It is the Comanche way of life.
  1042. 1:34:43 This that the white man calls charity is a fine thing for widows and orphans.
  1043. 1:34:49 But no warrior can accept it.
  1044. 1:34:51 For if he does, he is no longer a man. And when he is no longer a man, he is nothing.
  1045. 1:34:57 and better off dead.
  1046. 1:34:59 You say to the Comanche you are widows and orphans.
  1047. 1:35:02 You are not men.
  1048. 1:35:03 And we, the Comanches, say we would rather be dead.
  1049. 1:35:06 It will not be a remembered fight when you kill us.
  1050. 1:35:10 Because we are few now and have few weapons.
  1051. 1:35:13 But we will fight.
  1052. 1:35:15 And we will die, Comanche.
  1053. 1:35:19 Thank you, Big McClintock.
  1054. 1:35:23 Am I to gather that Comanche defy the government of the United States?
  1055. 1:35:28 Yes, you may gather that the Comanche defy the United States government.
  1056. 1:35:33 Or at least this commission. Gentlemen.
  1057. 1:35:42 It is the order of this court that these chiefs be incarcerated until such time as the detachment of United States Cavalry be made available...
  1058. 1:35:52 to escort them and the Comanche Nation to Fort Sill.
  1059. 1:35:57 This court is adjourned.
  1060. 1:36:01 Oh, McClintock!
  1061. 1:36:05 You are important chief amongst these white people.
  1062. 1:36:07 Sway them!
  1063. 1:36:09 Have them give us few guns to make the fight worthwhile.
  1064. 1:36:12 Let us have one last remembered fight for end of Comanche.
  1065. 1:36:16 I almost wish I could arrange that, Puma.
  1066. 1:36:23 Oh, I'll let you.
  1067. 1:36:26 Sergeant! Yes? Let's ride. Carry on.
  1068. 1:36:31 Yeah, Endelman!
  1069. 1:36:40 It's sad, these changing times. It isn't the times that are changing, Mama.
  1070. 1:36:57 I'm sorry.
  1071. 1:37:08 I'm going to go.
  1072. 1:37:10 Oh, yeah.
  1073. 1:37:27 Hey.
  1074. 1:37:30 - Bunny!
  1075. 1:37:32 Oh, I have a clinic.
  1076. 1:37:35 Mary!
  1077. 1:37:36 Figured you'd be belly down drunk by now.
  1078. 1:37:38 I've been doing some thinking drinking, Bunny.
  1079. 1:37:41 Is that boxcar still on the sighting?
  1080. 1:37:44 Well, sure, but... But what? I don't like it.
  1081. 1:37:47 You don't, eh? You figure them Indians get out there and lead the cavalry on a wild goose chase.
  1082. 1:37:52 That great white father is going to get nosy. Get nosy and he'll investigate. When they find out how that side-saddle governor's been messing things up,
  1083. 1:38:00 They'll give those Indians a fair trial.
  1084. 1:38:02 That's live ammunition in that boxcar.
  1085. 1:38:05 You know what'll happen if them Indians get some guns in their hands? Somebody's going to get hurt. Is Puma's word good enough for you? Well, I don't...
  1086. 1:38:12 Well, Clint, you got yourself a partner.
  1087. 1:38:15 Leave me out of this.
  1088. 1:38:17 Hey, McClinney. Good night, Bunny.
  1089. 1:38:25 Good night, Governor.
  1090. 1:38:38 Sweet as the roses on the summer air. I'll find her somewhere while the moon is high. And tell her that I love her.
  1091. 1:38:55 And I'll love her till I die, kitty!
  1092. 1:39:01 Katie Giloni! Come rest this home, Katie!
  1093. 1:39:08 Katie!
  1094. 1:39:09 Catherine, you holy McLintock, where is the woman in the house?
  1095. 1:39:16 Mr. McLintock...
  1096. 1:39:18 Oh, there you are. Mrs. Warren. Oh, good evening. I waited up for you, Mr. McClinty. Oh, how nice.
  1097. 1:39:29 I want to talk to you about something. Delighted. Delighted.
  1098. 1:39:34 309 times straight. I beg your pardon? 309 times straight without a miss.
  1099. 1:39:41 Gotta be a record. I suppose so. Now, Mr. McClintock, what I wanted to say... Two pounds, that's not...
  1100. 1:39:46 Six inch brim.
  1101. 1:39:48 Fifty-three feet in the air. It's gotta be a record. I'm sure it is, but the reason I wait... Gagdammit, woman, can't you hold that glass still?
  1102. 1:39:57 Of course, sir. Now.
  1103. 1:40:00 Down the hatch to my world's record.
  1104. 1:40:05 Down the hatch! Yes, sir.
  1105. 1:40:10 And now, to the governor of our territory. The governor of the territory, sir? Now, don't you stick up for him, Mrs. Warren. You're a fine woman, Mrs. Warren.
  1106. 1:40:27 But you'll certainly go down in my estimation if you stick up for Cuthbert H. Humphrey, governor of this territory.
  1107. 1:40:34 I don't mean to change that.
  1108. 1:40:36 Oh.
  1109. 1:40:38 Yes, sir.
  1110. 1:40:39 Down the hatch.
  1111. 1:40:43 Cuthbert H. Humphrey, Governor of our territory.
  1112. 1:40:47 is a cow.
  1113. 1:40:49 You know what a call is, man?
  1114. 1:40:52 Akal is a specimen that is so worthless
  1115. 1:40:56 that you have to cut him out of the herd. Now, if all the people in the world were putting one herd
  1116. 1:41:02 "Cutbert is the one I would throw my rope at." "At whom?" "At whom I would throw my rope at." "Natural born cow." "Another touch ma'am?"
  1117. 1:41:13 Oh, no, sir, no.
  1118. 1:41:19 I don't mind if I do. Good. Can't walk on one leg. Oh, I didn't mean to be vulgar, ma'am. Can't walk.
  1119. 1:41:26 One limb.
  1120. 1:41:27 It's all right. Sounds silly. Only a bird can walk on a limb.
  1121. 1:41:32 All right.
  1122. 1:41:33 You know my wife?
  1123. 1:41:34 Her name's Kate.
  1124. 1:41:36 She insists on being called Catherine. Do you know her? Of course, Mr. McClintock, and that's what I wanted to talk to you. Well, she thinks that Cuthbert H. Humphrey is panting for her like a bull buffalo at the first green-up of spring.
  1125. 1:41:50 But what Cuthbert is panting for is my money.
  1126. 1:41:54 Don't make me feel like I'm drinking alone, ma'am. Very well, Mr. McClintock, if you insist. Down the hatch! Good.
  1127. 1:42:19 Mr. McLintock.
  1128. 1:42:21 I have something very important to say to you.
  1129. 1:42:26 Very important.
  1130. 1:42:28 Guess it'll have to wait till the morning.
  1131. 1:42:34 Oh! It's all right. It's all right. Betty, bye-bye. Whoops! Oh! Mrs. Warren! Let me assist you. Very kind. Thank you.
  1132. 1:43:00 Oh, no.
  1133. 1:43:18 Whoops! What's going on here?
  1134. 1:43:24 Now, Catherine, are you going to believe what you see?
  1135. 1:43:27 Or what I tell you.
  1136. 1:43:29 Oh, dear.
  1137. 1:43:33 Ah, Mrs. McLintock.
  1138. 1:43:35 Hope you won't misunderstand.
  1139. 1:43:37 It's the first hundred women sitting on his lap that I misunderstood. Number 101 is quite simple. Now, G.W. McClintock, I have some... He's gone to sleep. Just when I know exactly what I want to say to him, he goes to sleep.
  1140. 1:43:57 I waited up to talk to Mr. McClintick. I wanted to tell him I was quitting.
  1141. 1:44:04 You see...
  1142. 1:44:05 Sheriff Lord has asked me to marry him and... Oh, congratulations.
  1143. 1:44:12 I don't want to seem prudish, but if you are going to marry Sheriff Lord, it seems to me that you're sitting on the wrong man's lap.
  1144. 1:44:21 I love you.
  1145. 1:44:22 Oh, come on, I'll help you upstairs. We have a long talk about men in general.
  1146. 1:44:31 Ladies, one moment.
  1147. 1:44:38 Watch out, you get us all killed. Oh, what?
  1148. 1:44:52 Wait a minute, ladies. Till I catch my breath and I'll get you up those stairs as sure as my name is George Washington McCliff.
  1149. 1:45:19 Oh, boy.
  1150. 1:45:20 You may be quitting Mrs. Wallace. Mrs. Warren. But not tomorrow. I want my breakfast in bed.
  1151. 1:45:26 I want to help you. I know, toast, lightly brown. Somebody sure put a knob on my skull. Here's Katie. I'm speaking. Katie, why? Mrs. Warren was there.
  1152. 1:45:39 Oh, and there you was there. And there that whiskey bottle was there. And Katie's temper being what Katie's temper is, well, there you are.
  1153. 1:45:48 Drago old friend, huh?
  1154. 1:45:50 My wife does not understand me. I see me as different than any other man. Come on, I've got to get you upstairs. Get you ready for that big celebration tomorrow.
  1155. 1:46:04 Mm-hmm.
  1156. 1:46:07 Drago
  1157. 1:46:09 I am sleeping in the den.
  1158. 1:46:11 Oh, my God.
  1159. 1:46:29 He's got no respect for you, Elder.
  1160. 1:46:47 Hope you get the middle!
  1161. 1:46:49 Oh!
  1162. 1:46:53 Come on, get him aboard.
  1163. 1:46:55 Everybody ready?
  1164. 1:46:57 Man in number five needs a flag sent.
  1165. 1:47:00 Get him one.
  1166. 1:47:01 Let us know when you're ready.
  1167. 1:47:05 Ladies and gentlemen!
  1168. 1:47:08 It is my honor to present to you
  1169. 1:47:12 the governor of our territory, Hussford H. Humphreys. Thank you, Mayor.
  1170. 1:47:23 My friends...
  1171. 1:47:24 And citizens of this great territory.
  1172. 1:47:27 This is the ninth consecutive year
  1173. 1:47:30 It has been my privilege...
  1174. 1:47:33 And my pleasure to inaugurate...
  1175. 1:47:36 The McClintock 4th of July celebration.
  1176. 1:47:39 Now the first event will be the wild horse race.
  1177. 1:47:43 But before I fire this shot to start the event,
  1178. 1:47:47 I would like to say a few modest words.
  1179. 1:47:50 regarding my stewardship of his great territory.
  1180. 1:47:55 Oh, my God.
  1181. 1:48:41 All right, Professor Birnbaum.
  1182. 1:48:43 Gentlemen.
  1183. 1:48:45 - Sheriff, where's the horse? - Come on, get 'em all in line. Come here, King.
  1184. 1:48:51 Now, boys.
  1185. 1:48:52 You all know the rules.
  1186. 1:48:53 It's twice around the inside, once around the outside.
  1187. 1:48:57 First cowboy that hits that finish line without busting that egg is the winner.
  1188. 1:49:01 And I caution you boys about some of them eggs, 'cause some of them eggs are last year's holdovers.
  1189. 1:49:07 All right.
  1190. 1:49:09 - Yeah.
  1191. 1:49:10 All right, man up.
  1192. 1:49:35 Catherine, my dear.
  1193. 1:49:36 You seem to be enjoying yourself. Oh, yes.
  1194. 1:49:40 This is wonderful. It's the only thing I really do enjoy about this barbaric country. The 4th of July celebration.
  1195. 1:49:45 Okay.
  1196. 1:49:48 Well, Catherine, I've been here for three days. I haven't heard from you. Is anything wrong?
  1197. 1:49:52 Rob?
  1198. 1:49:53 I just hope that it hasn't been necessary for you to say anything to G.W.
  1199. 1:50:01 What are you talking about?
  1200. 1:50:04 but
  1201. 1:50:04 Catherine, you see, I'm in the...
  1202. 1:50:07 Rather delicate position, being governor of the territory and all. I just hope you haven't found it necessary to say anything about...
  1203. 1:50:15 - About what?
  1204. 1:50:17 About it.
  1205. 1:50:18 You and me.
  1206. 1:50:24 Why, you pompous windbag.
  1207. 1:50:30 Do you think that you're the only man who's ever tried to play paddy fingers with me? Who's ever tried to lure me into the moonlight?
  1208. 1:50:36 well no but I'm a big girl and I can take care of myself
  1209. 1:50:40 My husband knows.
  1210. 1:50:41 I can assure you, Governor, that your reputation is untarnished. Now get out of my way.
  1211. 1:51:11 in there.
  1212. 1:51:12 Curly Fletcher!
  1213. 1:51:14 Mazel tov, Gurley!
  1214. 1:51:18 Give me the egg.
  1215. 1:51:22 Disqualified. Here you go, Curtis. GW! GW! You'll never believe what happened over there. What?
  1216. 1:51:33 Whew.
  1217. 1:51:34 You smell a beer!
  1218. 1:51:36 Well, naturally, I'm drinking beer. Ladies and gentlemen.
  1219. 1:51:41 The next event will be a contest.
  1220. 1:51:44 Between the two, Bronco, Bostin!
  1221. 1:51:47 Champions of our territory! Remember the year I rode in that event? Wore your garters to hold up my sleeves? We had a bet, and I won it.
  1222. 1:51:59 George Washington McClintock.
  1223. 1:52:01 You are a very crude man. Well, I guess so, but that was a rough horse, like to jar my insides loose. But it was worth it.
  1224. 1:52:09 Oh!
  1225. 1:52:14 Three bears!
  1226. 1:52:25 *Gunshot*
  1227. 1:52:41 Oh.
  1228. 1:52:43 Point!
  1229. 1:52:43 Help!
  1230. 1:52:45 Freeze!
  1231. 1:52:46 Get out!
  1232. 1:53:21 - Deb, Deb, are you all right? - I guess so.
  1233. 1:53:24 Nothing busted but my pride.
  1234. 1:53:26 Well, that ought to even things up, farmer.
  1235. 1:53:29 For what?
  1236. 1:53:30 Well, that sore nose you gave me the other day.
  1237. 1:53:33 Well, that ain't what's sore on him.
  1238. 1:53:38 The closing event!
  1239. 1:53:55 Is the clout pony raised?
  1240. 1:53:57 The pretty slant!
  1241. 1:53:59 Is it the barbecue? So start meandering!
  1242. 1:54:03 Come on! Now what is that, false courage?
  1243. 1:54:10 Why, you know a Douglas doesn't ever use a thing like that.
  1244. 1:54:14 I want you to get on that horse, get out in front and stay out in front.
  1245. 1:54:19 I'll be out fretting that.
  1246. 1:54:21 Always.
  1247. 1:54:22 Good.
  1248. 1:54:23 Good boys.
  1249. 1:54:24 Remember, stay out in front. That Agamemnon's a good horse.
  1250. 1:54:30 Oh, I'm committing an arm.
  1251. 1:54:37 We're having 40 and she's already done.
  1252. 1:54:41 Oh, boy.
  1253. 1:55:11 Come on!
  1254. 1:55:41 Come on, come on.
  1255. 1:56:11 That party, where's the whiskey? Whose idea was this stunt? Not, doggone, it's time a real bull...
  1256. 1:57:02 Reckon that's about all the excitement you'd want for one-fourth of July, eh? Puma finally got his way, but I reckon he's riding out his last war party. He won't get very far.
  1257. 1:57:11 But one thing still has me puzzled. Where did they get the guns? I was wondering the same thing.
  1258. 1:57:18 My kidney's been borrowing me a little... Funny.
  1259. 1:57:22 Gigabrio!
  1260. 1:57:23 Psst.
  1261. 1:57:26 What an idiot joke!
  1262. 1:57:30 Joke? Do you think that was a joke? Shut up! You want everybody in town to see me! You look good in feathers.
  1263. 1:57:41 Dev, I think they've gone!
  1264. 1:57:44 Yeah.
  1265. 1:57:45 What do you want to do about it? What can I do? Nothing!
  1266. 1:57:49 Just like you've always done.
  1267. 1:57:51 Oh.
  1268. 1:58:02 How long, GW?
  1269. 1:58:04 How long what? Pat, she's been riding herd on you for two years now.
  1270. 1:58:09 I'm a peaceable man. But my father used to say, you raise your voice, it doesn't do any good. It's time to raise your hand.
  1271. 1:58:16 Well, I've been planning to do something about it all.
  1272. 1:58:20 I'll have another talk with her. Talk to her?
  1273. 1:58:22 Talk to her! Talking won't do any good!
  1274. 1:58:27 Becky, have you seen your...
  1275. 1:58:32 What's been happening around here?
  1276. 1:58:35 You've got hay all over you. Been some mighty sneaky goings on here during that raid, Mr. McClintic.
  1277. 1:58:43 Who was it said only a trollop would kiss a man before they were formally engaged? Oh, but we are engaged, sir. You are?
  1278. 1:58:50 That is, with your permission.
  1279. 1:58:53 Well, you've got it.
  1280. 1:58:54 Oh, Mrs. Warren?
  1281. 1:58:56 I think it's wonderful.
  1282. 1:58:59 I guess this is the only engagement that ever started off of a spanking.
  1283. 1:59:08 Mm-hmm.
  1284. 1:59:09 I reckon Birnbaum is right.
  1285. 1:59:14 All right.
  1286. 1:59:16 Lord bless us, this is gonna be a great day. Doggone it, folks!
  1287. 1:59:23 Let's don't let a little old Indian Ray break up a good barbecue and a rodeo! Get a meat sound! Let's go!
  1288. 1:59:32 You contestants get ready for the cow pony race!
  1289. 1:59:34 Yeah!
  1290. 1:59:37 *knock knock*
  1291. 1:59:39 Who is it?
  1292. 1:59:40 It's me. Let me in.
  1293. 1:59:43 Not now. Right now. Are you insane? I want to talk to you. It'll have to wait. Wait.
  1294. 1:59:53 Nobody! I've taken all I'm going to take from you. You are insane! You are going to tell me why you packed up the...
  1295. 2:00:00 up and walked out on me two years ago you remember you came home from denver with lipstick all over your lipstick on my collar
  1296. 2:00:14 I've got the truth to prove! Who cares? Why, you big!
  1297. 2:00:42 Catherine!
  1298. 2:00:47 G.W., you are a ruffie.
  1299. 2:00:51 Cuthbert, you are right.
  1300. 2:01:01 Well, what kind of a family is that? The best! And danger, sir. A fool on the race!
  1301. 2:01:15 Who cares? History's being made.
  1302. 2:01:37 Yes, Rufus? I regret to inform you I've changed my mind about matrimony.
  1303. 2:01:45 Oh, my God.
  1304. 2:02:03 Hey! Mrs. McClendon!
  1305. 2:02:18 Oh, Captain.
  1306. 2:02:20 Catherine!
  1307. 2:02:21 Keep going. Come on, Edmund. Let everybody out.
  1308. 2:02:41 Let everybody out.
  1309. 2:02:41 Looks like G.W. is buying out the whole floor. I'm afraid you're red.
  1310. 2:03:20 I'm going to go.
  1311. 2:03:42 Oh, Mrs. McClendon, you're all wet. What? What?
  1312. 2:03:55 Oh, woman, she's arrested. Oh, pardon me.
  1313. 2:04:17 This is McClinty. You setting a new style?
  1314. 2:04:30 Shh!
  1315. 2:04:32 Come on.
  1316. 2:04:40 Mr. McLintock, in here!
  1317. 2:04:45 Oh, my God.
  1318. 2:05:15 You've been digging those birds into me for two years. Now you're gonna get your comatins.
  1319. 2:05:23 My father would be proud of you.
  1320. 2:05:48 Don't spare the horse. Oh, you hurt me. Don't think you're going to get rid of me that easy.
  1321. 2:05:53 Yeah.
  1322. 2:06:17 No more living in the capital? No.
  1323. 2:06:20 No more Newport in season? Nope.
  1324. 2:06:23 No more dancing at the governor's ball.
  1325. 2:06:26 No, GW.
  1326. 2:06:27 Happy day!
  1327. 2:06:31 310 times without a miss
  1328. 2:06:36 That's a record.

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