Public Reel

Cavalry (1936)

No renewal found Free in the US since 1 January 1965, on the registry's reading: registration LP6686 of 1936 by Republic Pictures Corp was not renewed in the volumes searched. Record.

Frame from the Internet Archive copy calvary
Copy
calvary on the Internet Archive; released 1936
Read
438 shots over 1:02:53 · 253 beats in 158 sequences · 804 transcript lines · JSON
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Cavalry No renewal found
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Lands on the beat covering that second.
158 sequences; each is also a heading below.
How this page was made

438 shots over 1:02:53, read from the Internet Archive copy calvary (calvary.mp4, 640×480, 29.97 fps). Shot boundaries by PySceneDetect's adaptive detector; each frame links to the Archive's player at that second. Registry dossier: Cavalry No renewal found. JSON

Measurements: black-and-white film on its keyframes (0 of 438 shots judged colour), average shot 8.6s long, a frontal face detected in 25% of keyframes. Shots are detected automatically and each is represented by its midpoint frame.

Released 1936 (Internet Archive).

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

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 0:09, shot 00:09
1 of 1 shots sampled

1. Other

0:00–0:19 Not yet checked

Model synopsis: The beat shows a studio logo for 'A Republic Production' with no people or action. No transcript lines are provided for this segment.

Evidence, details and a link to share

Sequence 2 from 0:19

Frame at 0:48, shot 10:48
1 of 1 shots sampled

2. Beat 2

0:19–1:17 Not yet checked

Model synopsis: A single frame from the film's credits shows production crew names over a patterned background with silhouetted figures. No characters, dialogue, or action are visible or audible in this beat.

Evidence, details and a link to share

Sequence 3 from 1:17

Frame at 1:22, shot 21:22Frame at 1:27, shot 31:27Frame at 1:30, shot 41:30Frame at 1:39, shot 51:39
4 of 4 shots sampled

3. Battlefield

1:17–1:47 Not yet checked

Model synopsis: The beat shows a battlefield scene with smoke, soldiers, and a cannon, viewed from behind a man in a hat. No dialogue or on-screen text is present.

  • smoke and indistinct figures are visible on a battlefield [frame:1]
  • a man in a hat stands beside a cannon [frame:2]
  • a vertical streak of light or projectile is visible against dark sky [frame:3]
  • 1 more under Evidence and details.

2 people observed.

Evidence, details and a link to share

Sequence 4 from 1:47

Sequence 5 from 2:00

Frame at 2:01, shot 82:01
1 of 1 shots sampled

5. Garden

2:00–2:02 Not yet checked

Model synopsis: A woman in a plaid dress stands beside a man in dark clothing near a wicker chair outdoors; the setting appears to be a garden or yard with trees and a fence. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Sequence 6 from 2:02

Frame at 2:03, shot 92:03
1 of 1 shots sampled

6. Garden

2:02–2:04 Not yet checked

Model synopsis: A person walks across a grassy area bordered by a wooden fence and trees. No dialogue or on-screen text is present in this beat.

  • A person walks across a grassy area toward a wooden fence. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 7 from 2:04

Frame at 2:05, shot 102:05
1 of 1 shots sampled

7. Park

2:04–2:06 Not yet checked

Model synopsis: A man and a woman walk together outdoors near a bench and a tree. The setting appears to be a park or garden with a fence in the background.

  • A man and a woman walk side by side outdoors. [frame:1]

2 people observed.

Evidence, details and a link to share

Sequence 8 from 2:06

Frame at 2:07, shot 112:07
1 of 1 shots sampled

8. Grass field with fence and trees

2:06–2:09 Not yet checked

Model synopsis: A man in a military-style uniform and hat walks across a grassy area with trees and a wooden fence in the background. No dialogue or on-screen text is present in this beat.

  • A man in uniform walks across a grassy area. [frame:1]

1 person observed.

Evidence, details and a link to share

Frame at 2:12, shot 122:12
1 of 1 shots sampled

9. Yard

2:09–2:15 Not yet checked

Model synopsis: A person stands near a house porch in a shaded yard with trees; another figure is visible in the distance. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Sequence 9 from 2:15

Sequence 10 from 2:19

Frame at 2:21, shot 142:21Frame at 2:28, shot 152:28Frame at 2:36, shot 162:36Frame at 2:45, shot 172:45
4 of 4 shots sampled

11. Field

2:19–2:50 Not yet checked

Model synopsis: A man in uniform comforts a woman outdoors while another man stands nearby; the transcript reveals news of a death during a military action. The woman reacts with shock, and the uniformed man appears somber.

  • A man in uniform holds a woman while another man stands nearby. [frame:1]
  • The woman looks upward with a shocked expression. [frame:2]
  • The uniformed man looks down solemnly while holding the woman. [frame:3]
  • 1 more under Evidence and details.

Named: Betty Lee (t:2:36), Uncle Lath (t:2:21). 3 people observed.

“Uncle Lath.” 2:21 · “dead.” 2:30

Evidence, details and a link to share

Frame at 2:53, shot 182:53Frame at 2:59, shot 192:59Frame at 3:04, shot 203:04
3 of 3 shots sampled

12. Garden

2:50–3:07 Not yet checked

Model synopsis: A group of people, including a woman in a checkered dress and a man in a cowboy hat, are seen outdoors near a fence and trees; they are urged to run to the swamp as more adversaries approach. The scene ends with a group rushing into dense foliage.

  • A man in a suit stands near a woman and a man in a cowboy hat. [frame:2]
  • A group of men rush into dense foliage. [frame:3]

Named: Betty Lee (t:2:58). 4 people observed.

“Clear up! More of his gorillas are coming!” 2:54 · “Take the others down to the swamp. Come, Betty Lee.” 2:58

Evidence, details and a link to share

Sequence 11 from 3:07

Frame at 3:09, shot 213:09
1 of 1 shots sampled

13. Forest

3:07–3:12 Not yet checked

Model synopsis: A single frame shows dense foliage with a dark, indistinct shape partially visible behind leaves. No people, objects, or text are identifiable, and no events occur.

Evidence, details and a link to share

Sequence 12 from 3:12

Frame at 3:16, shot 223:16
1 of 1 shots sampled

14. Forest

3:12–3:20 Not yet checked

Model synopsis: A group of men in hats and period clothing walk along a dirt path through a wooded area. The scene is shot in black and white with natural lighting filtering through trees.

  • men walk along a dirt path [frame:1]

3 people observed.

Evidence, details and a link to share

Sequence 13 from 3:20

Frame at 3:24, shot 233:24
1 of 1 shots sampled

15. Other

3:20–3:28 Not yet checked

Model synopsis: A man in a hat and vest stands on a porch holding a doorframe while another person is partially visible behind him. The scene is outdoors in front of a house with bushes and steps.

  • A man stands on a porch holding a doorframe while another person is partially visible behind him. [frame:1]

2 people observed.

Evidence, details and a link to share

Sequence 14 from 3:28

Frame at 3:30, shot 243:30
1 of 1 shots sampled

16. Forest

3:28–3:31 Not yet checked

Model synopsis: Two people are partially concealed among dense foliage in a black-and-white film frame. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Sequence 15 from 3:31

Frame at 3:32, shot 253:32
1 of 1 shots sampled

17. Forest

3:31–3:33 Not yet checked

Model synopsis: A single frame shows a rustic wooden structure with a doorway, surrounded by foliage and rocks. No people or movement are visible in this still.

Evidence, details and a link to share

Frame at 3:37, shot 263:37
1 of 1 shots sampled

18. Other

3:33–3:40 Not yet checked

Model synopsis: A single frame shows a dimly lit, textured stone wall with some foliage on the left. No people, objects, or text are visible, and no events occur.

Evidence, details and a link to share

Sequence 16 from 3:40

Frame at 3:44, shot 273:44
1 of 1 shots sampled

19. Other

3:40–3:47 Not yet checked

Model synopsis: A single frame shows the exterior of a wooden house with an open doorway and windows, under daylight conditions. No people or movement are visible in the frame, and the only spoken line is 'Right now!' at 3:41.

“Right now!” 3:41

Evidence, details and a link to share

Sequence 17 from 3:47

Frame at 3:49, shot 283:49
1 of 1 shots sampled

20. Cabin exterior

3:47–3:50 Not yet checked

Model synopsis: A man in light shirt and dark trousers climbs wooden steps toward a cabin door. The scene is outdoors, with foliage visible beside the steps.

  • A man climbs wooden steps toward a cabin door. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 18 from 3:50

Frame at 3:51, shot 293:51Frame at 3:55, shot 303:55Frame at 4:04, shot 324:04Frame at 4:13, shot 334:13
4 of 5 shots sampled

21. Field

3:50–4:19 Not yet checked

Model synopsis: A man is found dead after being shot; two men examine the body while another confronts a man named Brant. The setting is outdoors near a wooden structure with foliage.

  • A man in uniform crouches in foliage holding a pistol. [frame:1]
  • A man lies motionless on the ground near wooden steps; a woman stands above. [frame:2]
  • Three men in uniform stand around the body on the ground. [frame:3]
  • 1 more under Evidence and details.

Named: Brant (t:3:54). 6 people observed.

“BUM!” 3:52 · “He's dead, Brant. Been shot. Some of the boys have been a little careless, maybe. Maybe not.” 3:54

Evidence, details and a link to share

Frame at 4:22, shot 344:22Frame at 4:30, shot 354:30Frame at 4:42, shot 364:42Frame at 4:52, shot 374:52
4 of 4 shots sampled

22. Cabin exterior

4:19–4:55 Not yet checked

Model synopsis: A man in a vest and hat walks through foliage while another man lies on the ground near a wooden cabin; later, a man and a woman crouch in bushes, looking alarmed. A voice commands people to get out and return to horses, and someone calls out to 'Uncle Lee' about their home.

  • A man lies on the ground near a cabin while another man stands nearby. [frame:1]
  • A man in a vest and hat walks through foliage holding a bottle. [frame:2]
  • A man runs through a wooded area. [frame:3]
  • 1 more under Evidence and details.

Named: Uncle Lee (t:4:50). 5 people observed.

“Get out, run! - Get out!” 4:24 · “All right, men, back to your horses.” 4:28

Evidence, details and a link to share

Sequence 19 from 4:55

Frame at 4:57, shot 384:57Frame at 5:00, shot 395:00
2 of 2 shots sampled

23. Other

4:55–5:03 Not yet checked

Model synopsis: Two frames show a dark, smoky interior with beams and debris, suggesting a fire or collapse. The transcript contains exclamations of distress but no named characters or clear events.

  • A dark, smoky interior with visible beams and debris is shown. [frame:1]
  • The scene continues to show a damaged, smoky interior with structural elements. [frame:2]

“I don't know.” 4:57 · “Oh, my God.” 4:59

Evidence, details and a link to share

Sequence 20 from 5:03

Frame at 5:04, shot 405:04
1 of 1 shots sampled

24. Other

5:03–5:05 Not yet checked

Model synopsis: A single frame from a 1936 film shows a dark, hazy scene with diagonal shafts of light cutting through mist or smoke. No people, objects, or text are visible, and no dialogue is provided for this beat.

Evidence, details and a link to share

Sequence 21 from 5:05

Frame at 5:10, shot 415:10
1 of 1 shots sampled

25. Forest

5:05–5:16 Not yet checked

Model synopsis: A man in a military-style uniform and hat is crouched among dense foliage at night. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 22 from 5:16

Frame at 5:17, shot 425:17Frame at 5:26, shot 435:26
2 of 2 shots sampled

26. Street

5:16–5:33 Not yet checked

Model synopsis: A newspaper headline announces the end of war, followed by a scene where a man in a coat speaks to a group near a wagon. A voice says 'You are free, Moze.'

  • A newspaper headline reads 'THE WAR IS ENDED!' [frame:1]
  • A man in a coat addresses a group near a wagon and wooden building [frame:2]

Named: Moze (t:5:32). 3 people observed.

“Maybe someday we'll all be coming back.” 5:17 · “Bye-bye.” 5:21

Evidence, details and a link to share

Sequence 23 from 5:33

Frame at 6:11, shot 476:11Frame at 6:18, shot 486:18Frame at 6:26, shot 496:26
3 of 3 shots sampled

28. Field

6:05–6:32 Not yet checked

Model synopsis: A woman in a plaid dress sits in a wagon while two men stand nearby; one man gestures toward her. A woman and a man are shown in close-up, followed by a shot of the woman in the plaid dress with another man behind her. The transcript includes dialogue addressing a 'Mammy' and references to raising a child and crying.

  • A woman in a plaid dress sits in a wagon while a man in a suit gestures toward her. [frame:1]
  • A woman and a man stand side by side, looking off-camera with concerned expressions. [frame:2]
  • The woman in the plaid dress stands with a man in a bowler hat behind her. [frame:3]

Named: Mammy (t:6:15). 5 people observed.

“What's old Mammy quite a do without a honey child?” 6:15 · “Didn't she raise you from a baby?” 6:19

Evidence, details and a link to share

Sequence 24 from 6:32

Frame at 7:04, shot 517:04Frame at 7:15, shot 527:15Frame at 7:22, shot 537:22Frame at 7:30, shot 547:30
4 of 4 shots sampled

30. Field

6:56–7:33 Not yet checked

Model synopsis: A group of people stands outdoors while a woman wipes her eyes; two men ride away in a horse-drawn wagon. The transcript includes fragmented phrases, one of which mentions 'Tuesdays' and another 'Our hearts in love'.

  • A group of people stands together outdoors. [frame:1]
  • Two men sit in a horse-drawn wagon, viewed from behind. [frame:2]
  • A woman wipes her eyes with a cloth. [frame:3]
  • 1 more under Evidence and details.

5 people observed.

“Oh, no.” 6:59 · “Mmm, my lord.” 7:01

Evidence, details and a link to share

Sequence 25 from 8:00

Frame at 8:04, shot 568:04Frame at 8:19, shot 578:19
2 of 2 shots sampled

32. Road

8:00–8:29 Not yet checked

Model synopsis: A group of people stands outdoors in period clothing, looking upward with concern; a horse-drawn carriage is seen from behind moving down a tree-lined path. The transcript includes exclamations of alarm and a statement about leaving.

  • A group of people stands outdoors looking upward with concern. [frame:1]
  • A horse-drawn carriage moves away down a tree-lined path. [frame:2]

7 people observed.

“My Lord” 8:00 · “Oh, my God.” 8:13

Evidence, details and a link to share

Sequence 26 from 8:29

Frame at 8:33, shot 588:33
1 of 1 shots sampled

33. Dirt slope under trees

8:29–8:37 Not yet checked

Model synopsis: A horse walks uphill on a dirt slope under trees, with a rider partially visible. The scene is outdoors in natural daylight, with no dialogue or on-screen text.

  • A horse walks uphill on a dirt slope under trees. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 27 from 8:37

Frame at 8:49, shot 598:49
1 of 1 shots sampled

34. Forest

8:37–9:01 Not yet checked

Model synopsis: Three men on horseback discuss leaving the country due to Keefe's death and incoming Yankee troops, deciding to head west immediately. The scene is set outdoors at night, with one man holding a rifle and another wearing a wide-brimmed hat.

  • The men are seated on horses in a wooded area. [frame:1]

3 people observed.

“We've got to leave this country.” 8:38 · “Keefe is dead and our band is breaking up.” 8:40

Evidence, details and a link to share

Frame at 9:14, shot 609:14Frame at 9:38, shot 619:38Frame at 9:50, shot 629:50Frame at 9:53, shot 639:53
4 of 4 shots sampled

35. Forest

9:01–9:54 Not yet checked

Model synopsis: Two men in period military uniforms speak with a third man in civilian clothes in a wooded outdoor setting; one uniformed man is blindfolded. The dialogue reveals a house has been burned by guerrillas, and characters discuss the absence of Betty Lee and a brother.

  • Two men walk along a path in a wooded area. [frame:1]
  • Three men sit together outdoors; one is blindfolded. [frame:2]
  • A close-up shows a blindfolded man and a uniformed man speaking. [frame:3]
  • 1 more under Evidence and details.

Named: Master John (t:9:27). 4 people observed.

“Master John.” 9:27 · “They say you're dead, son.” 9:29

Evidence, details and a link to share

Frame at 10:17, shot 6810:17Frame at 10:25, shot 6910:25
2 of 2 shots sampled

37. Forest

10:14–10:31 Not yet checked

Model synopsis: Two men in military uniforms speak outdoors near trees; one identifies himself as having served in the cavalry and announces he is leaving on a long journey. The other man, addressed as General, responds by noting he too is journeying into the West.

Named: General (t:10:22). 2 people observed.

“I was with the cavalry, sir.” 10:15 · “With your permission, I'll be going, General.” 10:22

Evidence, details and a link to share

Frame at 10:42, shot 7010:42
1 of 1 shots sampled

38. Other

10:31–10:54 Not yet checked

Model synopsis: A man in a military uniform speaks about his brother and daughter, asking someone to convey that he is still alive. Another person responds with gratitude and wishes him a speedy recovery.

  • Colonel Leif Harvey is visible in uniform, looking off-camera. [frame:1]

Named: Colonel Leif Harvey (t:10:39). 2 people observed.

“But if you should meet my brother and my daughter, tell them that I am...” 10:34 · “still alive.” 10:37

Evidence, details and a link to share

Sequence 28 from 10:54

Frame at 10:59, shot 7110:59
1 of 1 shots sampled

39. Forest

10:54–11:05 Not yet checked

Model synopsis: Two men in military uniforms shake hands outdoors near a tree while a third man kneels nearby; one man is called 'General' in the dialogue. The scene is set in daylight with natural lighting and trees in the background.

  • Two men in military uniforms shake hands. [frame:1]

Named: General (t:10:55). 3 people observed.

“Goodbye, General.” 10:55 · “You are a true gentleman.” 10:58

Evidence, details and a link to share

Sequence 29 from 11:05

Sequence 30 from 11:35

Sequence 31 from 11:36

Sequence 32 from 11:40

Frame at 11:46, shot 7511:46Frame at 11:55, shot 7611:55
2 of 2 shots sampled

43. Private office

11:40–11:59 Not yet checked

Model synopsis: A man in a military uniform stands while addressing a seated figure in a dimly lit room. The transcript indicates the standing man is being commended for his courage and conduct by someone off-screen.

  • The standing officer remains in frame, facing the seated figure. [frame:2]

2 people observed.

“Lieutenant Thorne?” 11:43 · “You've been brought to my attention by your commanding officer.” 11:46

Evidence, details and a link to share

Frame at 12:22, shot 7912:22Frame at 12:32, shot 8012:32
2 of 2 shots sampled

45. Private office

12:16–12:37 Not yet checked

Model synopsis: A silhouetted man speaks to a uniformed officer in a dimly lit room; the officer stands at attention while receiving confidential orders. The transcript indicates the officer is being assigned to uncover leaders of a plot and may wear civilian clothes.

  • A silhouetted man speaks to a uniformed officer. [frame:1]
  • A uniformed officer stands at attention while receiving a document from a seated man. [frame:2]

2 people observed.

“It will be your duty.” 12:17 · “To uncover the leaders of this plot” 12:19

Evidence, details and a link to share

Frame at 12:40, shot 8112:40Frame at 12:45, shot 8212:45
2 of 2 shots sampled

46. Private office

12:37–12:47 Not yet checked

Model synopsis: A silhouetted man speaks about a new commission and promotion to captain in the United States Army. Two silhouetted figures are visible in a dimly lit interior, one seated and one standing.

  • A bearded man is seen in silhouette, seated. [frame:1]
  • Two silhouetted figures are visible in a room with curtains and a vase. [frame:2]

2 people observed.

“With them, you will find a new commission.” 12:37 · “promoting you to the rank of captain.” 12:40

Evidence, details and a link to share

Frame at 12:50, shot 8312:50Frame at 12:57, shot 8412:57
2 of 2 shots sampled

47. Private office

12:47–13:02 Not yet checked

Model synopsis: A man in a military uniform speaks with another man in a dimly lit room; the dialogue suggests a formal farewell or commissioning. The second man is visible only as a silhouette, and a vase with flowers is present on a table.

Named: Captain (t:12:53). 2 people observed.

“Thank you, Mr. President.” 12:48 · “I will do my utmost to merit your confidence.” 12:49

Evidence, details and a link to share

Sequence 33 from 13:02

Sequence 34 from 13:05

Frame at 13:08, shot 8613:08
1 of 1 shots sampled

49. Rocky desert

13:05–13:11 Not yet checked

Model synopsis: Two riders on horseback move across a rocky, arid landscape with sparse vegetation and distant hills. Dust rises behind them, suggesting movement over dry ground.

  • Two riders on horseback traverse a rocky, dusty terrain. [frame:1]

2 people observed.

Evidence, details and a link to share

Sequence 35 from 13:18

Sequence 36 from 13:46

Frame at 13:52, shot 8913:52
1 of 1 shots sampled

52. Rocky desert

13:46–13:59 Not yet checked

Model synopsis: A horse walks over rocks in a dry, open landscape with distant hills. No people or structures are visible in the single frame provided.

  • A horse walks over rocks. [frame:1]

Evidence, details and a link to share

Sequence 37 from 13:59

Frame at 14:19, shot 9214:19
1 of 1 shots sampled

54. Desert

14:18–14:20 Not yet checked

Model synopsis: A person in period attire walks across an open, arid landscape toward a tent. No dialogue or on-screen text is present in this beat.

  • A person walks across a desert landscape toward a tent. [frame:1]

1 person observed.

Evidence, details and a link to share

Frame at 14:43, shot 9514:43Frame at 14:54, shot 9614:54Frame at 15:01, shot 9715:01
3 of 3 shots sampled

56. Desert

14:36–15:04 Not yet checked

Model synopsis: Two men in cowboy hats speak in a desert landscape; one holds a rifle. A group of men with rifles and horses is shown nearby. The dialogue mentions wagon trains and the Salt Lake Trail.

  • Two men stand facing each other in a desert, one holding a rifle. [frame:1]
  • Two men in cowboy hats face each other closely, one smiling. [frame:2]
  • A group of men with rifles and horses stand in a desert with mountains behind. [frame:3]

6 people observed.

“How far is your road going to?” 14:37 · “There's plenty of wagon trains heading that way. You might get on as a guard.” 14:44

Evidence, details and a link to share

Sequence 38 from 15:04

Sequence 39 from 15:08

Sequence 40 from 16:01

Sequence 41 from 16:29

Frame at 16:49, shot 10216:49
1 of 1 shots sampled

61. Desert

16:29–17:09 Not yet checked

Model synopsis: Three men in Western attire converse outdoors in a desert-like setting; one identifies himself as Pete Morris and mentions intruders who left tracks and scattered papers. The group discusses pursuing the intruders and continuing their work as a construction gang approaches.

Named: Pete Morris (t:16:30), Red Nui (t:16:31). 3 people observed.

“This is Pete Morris.” 16:30 · “Red Nui, Captain.” 16:31

Evidence, details and a link to share

Sequence 42 from 17:09

Sequence 43 from 17:38

Frame at 17:40, shot 10417:40
1 of 1 shots sampled

63. Dirt ground

17:38–17:41 Not yet checked

Model synopsis: The beat shows hoofprints in dirt, with no people, dialogue, or on-screen text visible. The setting is outdoors, but the time of day and specific location cannot be determined from the frames.

Evidence, details and a link to share

Sequence 44 from 17:41

Frame at 17:57, shot 10517:57
1 of 1 shots sampled

64. Field

17:41–18:13 Not yet checked

Model synopsis: A wagon train moves across an open field under a cloudy sky. A character named Uncle Lace is mentioned in dialogue as having changed the family name to Holbrooke for safety while traveling into Yankee territory.

  • A wagon train is seen moving across a field. [frame:1]

Named: Uncle Lace (t:18:12), Betty Lee (t:18:12). 2 people observed.

“Uncle Lace, probably had to change our name to Holbrooke. Doesn't seem quite honest. It's safer, Betty Lee. We're traveling into Yankee coun…” 18:12

Evidence, details and a link to share

Sequence 45 from 18:13

Frame at 18:20, shot 10618:20Frame at 18:29, shot 10718:29
2 of 2 shots sampled

65. Field

18:13–18:32 Not yet checked

Model synopsis: A man and a woman are seated side by side outdoors in a barren, hilly landscape. The man wears a cowboy hat and plaid shirt; the woman wears a light blouse and has braided hair.

2 people observed.

Evidence, details and a link to share

Sequence 46 from 18:32

Frame at 18:33, shot 10818:33
1 of 1 shots sampled

66. Dirt road

18:32–18:35 Not yet checked

Model synopsis: A covered wagon pulled by two horses is shown on a dirt road with hills in the background. A person sits on the wagon, and another rider is visible to the left.

  • A covered wagon is being pulled by two horses on a dirt road. [frame:1]
  • A rider on horseback is visible to the left of the wagon. [frame:1]

2 people observed.

Evidence, details and a link to share

Frame at 18:36, shot 10918:36
1 of 1 shots sampled

67. Desert

18:35–18:37 Not yet checked

Model synopsis: A group of riders on horseback moves across an open, arid landscape under a cloudy sky. The terrain is hilly and sparsely vegetated, suggesting a desert or semi-desert region.

Evidence, details and a link to share

Frame at 18:40, shot 11018:40Frame at 18:50, shot 11318:50Frame at 18:59, shot 11618:59Frame at 19:08, shot 11919:08
4 of 10 shots sampled

68. Desert

18:37–19:11 Not yet checked

Model synopsis: A group of people on horseback and in a wagon are seen in a desert landscape; two individuals are shown in close-up, and one person rides a horse across rocky terrain. A line of dialogue states that a man has never been seen before.

  • A group of people on horseback and in a wagon are gathered in a desert. [frame:1]
  • A man and a woman are shown in close-up, seated together. [frame:2]
  • A man on horseback holds the reins, looking off to the side. [frame:3]
  • 1 more under Evidence and details.

4 people observed.

“I've never seen that man before.” 18:42

Evidence, details and a link to share

Frame at 19:12, shot 12019:12
1 of 1 shots sampled

69. Forest

19:11–19:14 Not yet checked

Model synopsis: A man in a cowboy hat and shirt sits on a horse in an outdoor setting with trees and rocks. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 47 from 19:14

Frame at 19:16, shot 12119:16
1 of 1 shots sampled

70. Field

19:14–19:18 Not yet checked

Model synopsis: A wide shot shows a flat, open landscape with a distant treeline under an overcast sky. No people or moving objects are visible in the single frame provided.

Evidence, details and a link to share

Sequence 48 from 19:18

Frame at 19:20, shot 12219:20
1 of 1 shots sampled

71. Forest

19:18–19:22 Not yet checked

Model synopsis: A man in a cowboy hat and shirt rides a horse outdoors among trees and rocks. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Frame at 19:22, shot 12319:22
1 of 1 shots sampled

72. Field

19:22–19:23 Not yet checked

Model synopsis: A lone rider on horseback moves across a rocky, arid landscape with sparse trees and shrubs. The scene is shot in black and white with high-contrast lighting, suggesting a Western genre setting.

  • A rider on horseback moves across a rocky terrain. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 49 from 19:23

Frame at 19:24, shot 12419:24Frame at 19:26, shot 12519:26Frame at 19:39, shot 12619:39
3 of 3 shots sampled

73. Field

19:23–19:51 Not yet checked

Model synopsis: Two men in cowboy hats discuss a wagon that is stuck in the sand and unusually heavy; one mentions seeing crates covered with blankets inside. A third man is partially visible in the background during the conversation.

  • Two men stand facing each other and begin talking near a wagon. [frame:1]
  • One man gestures while speaking to the other. [frame:2]
  • The two men continue their conversation, standing near the wagon. [frame:3]

3 people observed.

“Well, it's floated down pretty heavy. Gets stuck in the sand all the time. I've had to get out.” 19:30 · “and shove it several times today.” 19:35

Evidence, details and a link to share

Sequence 50 from 19:51

Frame at 19:54, shot 12719:54
1 of 1 shots sampled

74. Field

19:51–19:58 Not yet checked

Model synopsis: A group of people stands near covered wagons in a grassy field with mountains in the background. One person in a long dress faces away from the camera, while others are near wagons or on horseback.

4 people observed.

Evidence, details and a link to share

Sequence 51 from 19:58

Frame at 19:59, shot 12819:59
1 of 1 shots sampled

75. Dusty outdoor area

19:58–20:00 Not yet checked

Model synopsis: A man in a cowboy hat and light shirt stands with his back to the camera in a dusty outdoor setting with wagon wheels visible. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 52 from 20:00

Frame at 20:04, shot 12920:04
1 of 1 shots sampled

76. Mountain

20:00–20:07 Not yet checked

Model synopsis: A woman in a long dress and hat walks past a man near a wagon in a mountainous outdoor setting. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Sequence 53 from 20:07

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Transcript

Machine transcription of the Archive copy's audio with Whisper large-v3-turbo (temperature 0); the model heard it as en. 804 segments kept, 219 dropped as the kind of hallucination the model produces over music and silence. Each timestamp links to the Archive's player at that second. This has not been checked against the film and can be wrong.

  1. 1:53 Missy, Missy! Mouth away!
  2. 1:55 What are you going?
  3. 2:15 - What's the name?
  4. 2:21 Uncle Lath.
  5. 2:22 Any news of...
  6. 2:24 Father.
  7. 2:26 He's...
  8. 2:30 dead.
  9. 2:32 Oh, what the...
  10. 2:33 What is this?
  11. 2:34 Shut down.
  12. 2:36 Leading his men, Betty Lee.
  13. 2:39 Lost.
  14. 2:40 in the stream.
  15. 2:42 No chance.
  16. 2:44 to find his body.
  17. 2:54 Clear up! More of his gorillas are coming!
  18. 2:57 Most.
  19. 2:58 Take the others down to the swamp. Come, Betty Lee.
  20. 3:02 Run to the swamp, hurry!
784 more segments
  1. 3:41 Right now!
  2. 3:52 BUM!
  3. 3:54 He's dead, Brant. Been shot. Some of the boys have been a little careless, maybe. Maybe not.
  4. 4:17 Let's look around.
  5. 4:24 - Get out, run! - Get out!
  6. 4:28 All right, men, back to your horses.
  7. 4:50 Uncle Lee, look, our home.
  8. 4:57 I don't know.
  9. 4:59 Oh, my God.
  10. 5:00 Oh, my God.
  11. 5:17 Maybe someday we'll all be coming back.
  12. 5:21 Bye-bye.
  13. 5:32 You are free, Moze.
  14. 5:33 You and all the others.
  15. 5:35 free to go anywhere you please now.
  16. 5:39 Does we have to go Montelay?
  17. 5:41 seems like to ignore the place that we knows of.
  18. 5:44 You can stay here if you wish.
  19. 5:47 Though there's not much left now.
  20. 5:50 that we will join a wagon train in Vicksburg going into the West.
  21. 5:54 I hope...
  22. 5:55 to a happier
  23. 5:56 and a Freya lens.
  24. 5:59 You'll find it here, Master Lace.
  25. 6:00 If ever you all come back
  26. 6:15 What's old Mammy quite a do without a honey child?
  27. 6:19 Didn't she raise you from a baby?
  28. 6:22 Cry, Mammy.
  29. 6:25 Maybe we can send for you later.
  30. 6:27 My Lord.
  31. 6:42 Mountains find a way to stay. Ooh.
  32. 6:59 Oh, no.
  33. 7:01 Mmm, my lord.
  34. 7:08 *Mumbling*
  35. 7:14 Lousers fly away Tuesdays
  36. 7:20 Our hearts in love
  37. 7:26 His love was wide awake
  38. 7:33 He said thou well.
  39. 7:39 To find the way to stay.
  40. 7:46 Goodbye, goodbye.
  41. 7:53 We'll miss you when you're gone.
  42. 8:00 My Lord
  43. 8:13 Oh, my God.
  44. 8:20 That's just why no way to stay.
  45. 8:38 We've got to leave this country.
  46. 8:39 Yeah.
  47. 8:40 Keefe is dead and our band is breaking up.
  48. 8:42 Yankee troops are coming in too.
  49. 8:44 Won't be so easy for us now.
  50. 8:46 Where are you aiming to go?
  51. 8:47 There's only one place to go, and that's west.
  52. 8:50 They say it's a great country out there for men
  53. 8:53 Who can do things?
  54. 8:54 When do we start?
  55. 8:56 No time like right now.
  56. 8:58 Reckon we can cross here.
  57. 9:18 There's a bench here, sir.
  58. 9:27 Master John.
  59. 9:28 Master John.
  60. 9:29 They say you're dead, son.
  61. 9:30 Where's Betty Lee and my brother?
  62. 9:33 gone through.
  63. 9:34 Left by the week ago.
  64. 9:36 We're not west, they said.
  65. 9:37 Out.
  66. 9:38 Where?
  67. 9:43 Take us to the house, Moe's.
  68. 9:45 Why, uh...
  69. 9:46 There ain't no house, Martha.
  70. 9:48 It's been burned, sir.
  71. 9:50 The Yankee. No, sir.
  72. 9:52 No, sir.
  73. 9:52 Them bad bad men, them guerrillas.
  74. 9:55 I regret that I cannot offer you the customary hospitality.
  75. 9:59 Quite all right, General.
  76. 10:00 I understand.
  77. 10:01 I...
  78. 10:02 I'm sorry, but I've forgotten your name again.
  79. 10:05 barns.
  80. 10:06 Lieutenant Thorne.
  81. 10:07 I believe you said you were not in one of my regiments.
  82. 10:11 Why am I to die?
  83. 10:15 I was with the cavalry, sir.
  84. 10:18 But I did not have the honor of serving under you. I...
  85. 10:22 With your permission, I'll be going, General.
  86. 10:24 I have a long journey before me.
  87. 10:26 You're leaving our country?
  88. 10:29 I too, Mr.
  89. 10:30 Journey into the West.
  90. 10:31 Forlorn hope, of course.
  91. 10:34 But if you should meet my brother and my daughter, tell them that I am...
  92. 10:37 still alive.
  93. 10:39 He's Colonel Leif Harvey of our army.
  94. 10:41 and my daughter, Betty Lee.
  95. 10:43 I'll do that, sir.
  96. 10:45 Words are poor things to express one's gratitude for what you have done.
  97. 10:50 It was a privilege, sir.
  98. 10:51 And I wish you a speedy recovery. Thank you.
  99. 10:55 Goodbye, General.
  100. 10:58 You are a true gentleman.
  101. 11:08 That young man saved my life, Moe's.
  102. 11:13 If it weren't for him, I'd have drowned.
  103. 11:16 He is indeed one of those of whom the
  104. 11:19 Oh, stop.
  105. 11:20 We'll always be proud.
  106. 11:23 How come he's wearing that Yankee uniform then?
  107. 11:26 Yankee uniform?
  108. 11:28 Yes, Marshal.
  109. 11:31 I ain't.
  110. 11:33 Brought me home.
  111. 11:43 Lieutenant Thorne?
  112. 11:46 You've been brought to my attention by your commanding officer.
  113. 11:50 most highly endorses your courage
  114. 11:53 Military conduct?
  115. 11:55 and efficient handling of all duties assigned to you.
  116. 12:00 Reports have come.
  117. 12:02 a flock to establish an independent country on our western borders.
  118. 12:07 Be in swift communication.
  119. 12:09 with instructions.
  120. 12:10 We are constructing a telegraph line there.
  121. 12:13 same conspiracy
  122. 12:15 threatens this project.
  123. 12:17 It will be your duty.
  124. 12:19 To uncover the leaders of this plot
  125. 12:21 and placed them in custody.
  126. 12:23 It may be advisable to wear civilian clothes.
  127. 12:27 These confidential orders.
  128. 12:29 Contain your credentials.
  129. 12:31 and assure you
  130. 12:33 with the fullest cooperation of the armed forces wherever you may contact them.
  131. 12:37 With them, you will find a new commission.
  132. 12:40 promoting you to the rank of captain.
  133. 12:42 in the United States...
  134. 12:44 Army.
  135. 12:48 Thank you, Mr. President.
  136. 12:49 I will do my utmost to merit your confidence.
  137. 12:53 I know you will, Captain.
  138. 12:56 And good luck to you.
  139. 12:58 Thank you, sir.
  140. 13:18 It's a survey party, all right.
  141. 13:21 Learn the telegraph lines.
  142. 13:23 We've got to find out where that line's going.
  143. 13:26 Why don't you ask him?
  144. 13:28 They're keeping it a secret. They wouldn't tell you.
  145. 13:31 They must have a map with them.
  146. 13:34 And for maps in that tent, I mean to have a look at it.
  147. 13:36 Oh.
  148. 13:38 You fellas ride over.
  149. 13:40 Ask them a lot of questions.
  150. 13:42 I'll get in that tent through the back.
  151. 14:07 Howdy.
  152. 14:09 All right.
  153. 14:09 We're looking for work. Need any help?
  154. 14:13 I couldn't hire you if I wanted to.
  155. 14:15 All that's done at headquarters.
  156. 14:16 ...in Dodge City.
  157. 14:23 As well as laying out a road,
  158. 14:26 Oh, something like that.
  159. 14:37 How far is your road going to?
  160. 14:40 Oh, somewhere out in the west,
  161. 14:44 There's plenty of wagon trains heading that way. You might get on as a guard.
  162. 14:49 We might head for the Salt Lake Trail.
  163. 14:52 Pick one up there.
  164. 14:53 Ain't that what we were gonna do?
  165. 14:58 Much obliged.
  166. 14:59 Reckon we'll be riding him.
  167. 15:02 Well, good luck to you.
  168. 15:16 What are them fellas wanted?
  169. 15:19 Kind of aimless to me.
  170. 15:21 You're too suspicious, Pete.
  171. 15:24 Haze to be.
  172. 15:26 A job like this...
  173. 15:28 Let's get to work. Won't be long till the construction gang will be catching up with us.
  174. 15:33 Right.
  175. 15:39 Did you find it?
  176. 15:40 Yes.
  177. 15:41 Telegraph line's going to Sageville.
  178. 15:43 Ageville?
  179. 15:44 *whistling*
  180. 15:45 Won't the boss be surprised?
  181. 15:47 Now we gotta find that wagon train we're after.
  182. 15:50 Yeah, and the ammunition wagon.
  183. 15:51 We're not talking too much about that though, remember?
  184. 15:55 We have to get cleaned up.
  185. 15:57 We gotta look like gentlemen.
  186. 15:59 as much as we can.
  187. 16:19 Good morning, boys.
  188. 16:20 Right.
  189. 16:21 Which one of you men is Larkin?
  190. 16:23 I am.
  191. 16:24 My name is Thorn.
  192. 16:26 Well, we heard you were coming, Captain. Glad to see you.
  193. 16:30 This is Pete Morris.
  194. 16:31 Red Nui, Captain.
  195. 16:33 Sure glad you come.
  196. 16:34 Yes, you're just in time.
  197. 16:37 What happened?
  198. 16:38 The men dropped in on us today.
  199. 16:40 We only saw two of them, but there must have been three.
  200. 16:44 We found some tracks leading through the back of the tent.
  201. 16:46 And my papers were scattered all over.
  202. 16:49 Anything missing?
  203. 16:50 No.
  204. 16:51 Only some important information might have been gained.
  205. 16:54 Which way did they go?
  206. 16:56 Left here, they rode over the hog back under.
  207. 16:59 They've probably left a trail.
  208. 17:01 I'll see if I can pick it up.
  209. 17:03 You boys better keep moving.
  210. 17:05 The construction gang is only a day behind you.
  211. 17:07 All right, Captain, we'll do that.
  212. 17:15 Goodbye, boys.
  213. 17:16 Goodbye, Captain.
  214. 17:17 Bye-bye.
  215. 17:50 *crickets*
  216. 18:12 Uncle Lace, probably had to change our name to Holbrooke. Doesn't seem quite honest. It's safer, Betty Lee. We're traveling into Yankee country. We're starting all over again in a new land, even to our name.
  217. 18:42 I've never seen that man before.
  218. 19:24 Well, they might have busy with that.
  219. 19:26 And I didn't notice.
  220. 19:28 What seems to be the trouble of the wagon.
  221. 19:30 Well, it's floated down pretty heavy. Gets stuck in the sand all the time. I've had to get out.
  222. 19:35 and shove it several times today.
  223. 19:38 What do you suppose makes it so heavy?
  224. 19:40 Well, I took a look in there, thought it was kitchen stove.
  225. 19:43 There's a lot of crates in there covered with blankets.
  226. 19:46 Ma.
  227. 19:47 I see.
  228. 20:11 Haven't I seen you before?
  229. 20:13 Maybe you have, miss.
  230. 20:15 My name is Rand.
  231. 20:17 And I also came from the South.
  232. 20:23 Mr. Vance?
  233. 20:24 This is my uncle, Colonel Holbrooke.
  234. 20:28 A pleasure, sir. Thank you, sir.
  235. 20:31 Many are kindred spirit in this part of the country.
  236. 20:34 In fact,
  237. 20:36 There's a movement afoot now that can't fail to interest those from the Old South
  238. 20:41 Why, what do you mean, sir?
  239. 20:43 We better speak about that later.
  240. 20:45 But I'll be glad to introduce you to some influential people when we reach Sageville, Colonel. Thank you again, sir.
  241. 20:51 I have an idea.
  242. 20:52 Let's have.
  243. 20:58 I beg your pardon, Matt.
  244. 20:59 But is your name Harvey?
  245. 21:01 No.
  246. 21:02 It's Holbrook.
  247. 21:04 And what business is it of yours?
  248. 21:07 All right.
  249. 21:08 I was mistaken.
  250. 21:10 I hope you'll excuse me.
  251. 21:21 Say, you find your friends?
  252. 21:23 Not yet.
  253. 21:25 He's looking for some fellas to gine up today.
  254. 21:28 Well, we dined up today.
  255. 21:31 What are you doing that for?
  256. 21:33 What are you talking about?
  257. 21:38 You fellows couldn't be the ones I'm looking for, could you?
  258. 21:42 Nah.
  259. 21:47 There must be several hundred guns in them cases.
  260. 21:51 Now, boys.
  261. 21:53 Tonight's the night we listen for the owls.
  262. 21:56 One Earth with you?
  263. 21:57 No, I'll go alone.
  264. 22:03 Hey, that new fella I was telling you about is still asking questions.
  265. 22:07 Never mind about him now.
  266. 22:09 We've got to arrange for the attack.
  267. 22:12 *Rainful music*
  268. 22:17 Listen.
  269. 22:18 Woo!
  270. 22:20 *Loud music*
  271. 22:56 What are you doing here?
  272. 22:58 Please be quiet.
  273. 22:59 You don't understand.
  274. 23:01 I understand that you're acting very suspiciously.
  275. 23:07 What is it, Betty Lee?
  276. 23:09 Nothing on the lace.
  277. 23:15 Lafe?
  278. 23:17 Betty Lee?
  279. 23:33 *Loud sounds*
  280. 24:04 in the morning.
  281. 24:05 when wagon trains.
  282. 24:07 start again.
  283. 24:08 - Ah.
  284. 24:09 May tell.
  285. 25:10 Up.
  286. 25:15 Uh-huh.
  287. 25:16 I'll ask you this.
  288. 25:17 You go, La.
  289. 25:32 The ammunition and rifle are yours, Chief.
  290. 25:35 But you must attack the wagon train to get them.
  291. 25:39 Mmm.
  292. 25:40 Good.
  293. 25:41 We got them when sun come again.
  294. 25:46 In my new country...
  295. 25:47 We will live at peace with the Red Man.
  296. 25:50 But we must stand together against our common enemy,
  297. 25:54 who would drive us from this fair land.
  298. 25:57 Mmm.
  299. 26:10 What?
  300. 26:10 I'm going to go.
  301. 26:40 All right, folks.
  302. 26:41 Let's get moving.
  303. 26:44 All right, folks.
  304. 26:46 Get moving.
  305. 26:47 Oh, it's...
  306. 26:49 Let's roll it.
  307. 26:58 Hey!
  308. 26:59 What are we going to do when the Indians attack?
  309. 27:02 We ain't gonna be here then.
  310. 27:04 In fact, we're getting out right now.
  311. 27:06 Yeah, wheel ride away, casual like.
  312. 27:08 I don't reckon we'll be noticed.
  313. 27:17 *laughter*
  314. 27:31 *Squeak*
  315. 28:01 Hey!
  316. 28:07 India is a common folk! Get out of sight, quick! India is a common folk!
  317. 28:37 Come on!
  318. 29:07 Things are working out all right for us, boys.
  319. 29:19 What's that?
  320. 29:27 The cavalry! How do you reckon they got word? Who's that with him?
  321. 29:37 I know him by the minute I seen it.
  322. 30:07 Oh, my God.
  323. 30:40 You brought the cavalry just in time, Thorne. How did you happen to know where the attack...
  324. 30:45 I trailed an Indian that was sneaking around here last night
  325. 30:48 Overheard a plot to attack the train this morning.
  326. 30:50 So I had it for the fort. Say, it's a good thing you did.
  327. 30:58 What happened to those tough-looking customers we were talking to last evening?
  328. 31:03 Say, come to think of it, those fellows rode out just before the attack.
  329. 31:08 Why, they must have run away, the dirty cowards.
  330. 31:14 We'd better tell Leeds so he can change his plans.
  331. 31:16 What about the wagon with the guns in it?
  332. 31:18 We'll take care of that when it reaches town.
  333. 31:29 I'm sorry, I was so mean last night.
  334. 31:34 That's all right, Miss Holbrook.
  335. 32:02 We've got most of them rounded up for them.
  336. 32:03 Good.
  337. 32:07 The men I suspect have gone, Major.
  338. 32:10 But I'll know them again when I see them.
  339. 32:12 How about the one you heard talking with the Indians?
  340. 32:14 I'll know him too.
  341. 32:16 My advice.
  342. 32:17 Good work.
  343. 32:18 We've got to break up this conspiracy.
  344. 32:21 If you need any help...
  345. 32:22 Just call on me.
  346. 32:40 I'm going to go.
  347. 32:46 Gentlemen.
  348. 32:47 I tell you, the time is right.
  349. 32:50 to establish
  350. 32:51 An independent republic.
  351. 32:53 separated from the states
  352. 32:55 by Indians whose friendship I hold.
  353. 32:58 We will be doubly safe against interference.
  354. 33:02 There remains but the threat of the telegraph.
  355. 33:05 whose destination we are trying to learn.
  356. 33:08 We must not allow it to arrive.
  357. 33:11 just as we must not allow other dangerous elements
  358. 33:14 to remain among us.
  359. 33:17 We shall now have news of the telegraph from Mr. Rams.
  360. 33:22 Did you learn its destination?
  361. 33:24 Yes.
  362. 33:25 Where is it?
  363. 33:26 Right here at Sageville.
  364. 33:28 Very strange. Here?
  365. 33:32 If our enemy has direct communication with Washington,
  366. 33:35 Our plans are ruined.
  367. 33:37 The telegraph line must be destroyed.
  368. 33:40 But not yet.
  369. 33:42 We must wait until it comes within striking distance.
  370. 33:46 Them!
  371. 33:47 Our plan will succeed.
  372. 33:50 Gentlemen.
  373. 33:52 You may go.
  374. 33:53 Remember.
  375. 33:54 I'm sending you out into the field as missionaries
  376. 33:58 to win others to our cause.
  377. 34:01 Be cautious.
  378. 34:02 in not revealing too much of your plans to others,
  379. 34:05 Until you know
  380. 34:06 that your listener is in sympathy with us.
  381. 34:09 Good day.
  382. 34:10 I think he knows what he's talking about.
  383. 34:16 I'll see you again.
  384. 34:23 Was the Indian attack successful?
  385. 34:26 No.
  386. 34:28 Would have been and the Indians would have had the guns and ammunition by now.
  387. 34:31 But the cavalry was warned and it saved the wagon train.
  388. 34:35 How could they have known?
  389. 34:37 They were brought by a man who joined the wagon train yesterday.
  390. 34:41 I'm sure he's a spy.
  391. 34:43 That man is a menace to us and our plans.
  392. 34:46 He must be removed.
  393. 34:48 He will be.
  394. 34:50 I did not want that wagon train to come.
  395. 34:52 For it will bring people who might not be in sympathy with us.
  396. 34:56 We've been fairly successful so far in getting rid of our enemies.
  397. 35:00 True.
  398. 35:01 But too many killings might arouse suspicion.
  399. 35:04 We cannot afford that until we're more strongly entrenched.
  400. 35:08 But since the wagon trains must come,
  401. 35:11 we'll give them a royal welcome
  402. 35:14 We'll soon find out who is for or against us.
  403. 35:44 Welcome everybody! There's an arrow on the street. Stay on the street. Come on, folks. Come on up here. Please.
  404. 35:54 You have come to the Paris Balls in the West.
  405. 35:59 Did you have a pleasant trip across the plane? Not exactly. Right down. Thank you, sir.
  406. 36:04 Oh, Mr. Lee.
  407. 36:05 Let me present Colonel Holbrook and his niece.
  408. 36:08 Mr. Lee's the gentleman I was telling you about, Colonel.
  409. 36:11 Please welcome Colonel Holbrooke.
  410. 36:13 Artium of the Old South.
  411. 36:15 And know perhaps better than any other.
  412. 36:17 What has brought you and yours out here? You are most kind, sir. Not at all, sir.
  413. 36:22 We need men like you out here, sir.
  414. 36:24 and I shall personally see to it
  415. 36:26 that you have a place to stay,
  416. 36:28 Until you have determined where you would like to invest in some property very nice of you
  417. 36:32 Not at all, sir.
  418. 36:35 Many happy families are here already.
  419. 36:38 I think you will be interested in what we're trying to do.
  420. 36:41 I shall tell you more after you have recovered from your journey. You are very nice, sir.
  421. 36:45 And now if you folks will excuse us,
  422. 36:47 We'll see you later.
  423. 36:56 - I can't come here.
  424. 36:57 I hope your uncle isn't in a hurry to buy land.
  425. 36:59 Especially from that man.
  426. 37:01 Why?
  427. 37:02 I can't tell you just yet.
  428. 37:04 But delay matters if you can.
  429. 37:06 I don't understand.
  430. 37:09 You didn't understand once before.
  431. 37:11 You found out I was right, didn't you?
  432. 37:18 So that's the Yankee spy.
  433. 37:20 We'll deal with him.
  434. 37:27 We gotta get that gun wagon out and hide it. Better keep your eye on that Yankee spy.
  435. 37:33 I'm just waiting for a chance to get back at him. Don't worry.
  436. 37:36 You'll get it.
  437. 38:01 I too am of the New England country.
  438. 38:04 And I know just why you've come.
  439. 38:06 Well...
  440. 38:08 Maybe you do and maybe you don't. Oh, yes, indeed.
  441. 38:12 And now when you're ready to buy your land, if you just consult me,
  442. 38:15 I'll be glad to show you some very desirable property.
  443. 38:18 home.
  444. 38:19 Hmm?
  445. 38:46 It'll be safe here.
  446. 38:47 that we wanted.
  447. 39:46 Have you anything more to report, Captain?
  448. 39:48 I have, sir, a lot.
  449. 39:50 What is...
  450. 39:51 I found the man I heard talking to the Indian.
  451. 39:54 Who is he?
  452. 39:55 Horace Leeds.
  453. 39:58 Are you sure? Positive, sir.
  454. 40:02 I know Leeds, of course. Everybody does.
  455. 40:04 But I fought him merely a bag of wind.
  456. 40:06 A promoter.
  457. 40:09 That wagon load of guns and ammunition intended for the Indians is hidden down by the river.
  458. 40:14 Give me his location before you go and I'll send some men to get it.
  459. 40:17 Leeds was counting on that to gain the Indians' help when he needs it.
  460. 40:21 He may still be able to gain their health.
  461. 40:24 The Indians are restless.
  462. 40:25 Dissatisfied.
  463. 40:26 Easily around.
  464. 40:28 Their crops failed this year,
  465. 40:29 And game has been driven further west.
  466. 40:32 As more people come.
  467. 40:33 Do you think a wagon load of supplies would help keep them neutral?
  468. 40:39 That's an excellent idea.
  469. 40:41 Are you willing to want to take it?
  470. 40:43 Immediately, sir.
  471. 40:57 The great white father sends his red brothers much food.
  472. 41:01 Ring.
  473. 41:02 Me.
  474. 41:04 He wants the Indians to live safely.
  475. 41:06 And in peace.
  476. 41:10 The bad white men.
  477. 41:12 I promise the Indians many guns.
  478. 41:14 but they speak with forked tongue.
  479. 41:17 Or they only want the Indians...
  480. 41:19 to fight their battles for them.
  481. 41:20 Then the soldiers must fight the Indians.
  482. 41:23 Which is bad.
  483. 41:25 Or does not the Indian fight?
  484. 41:28 The White Father wishes the Indians to remain at peace.
  485. 41:31 And let the white man...
  486. 41:33 settle his own worries.
  487. 41:35 The Indian braves to white man.
  488. 41:37 who proves himself friend by bringing food.
  489. 41:42 He will not listen.
  490. 41:44 to that man who speaks with fork of tongue.
  491. 41:46 It is bad.
  492. 41:49 She has already led us on trails that are crooked.
  493. 41:54 Come.
  494. 41:55 We will go smoke the pipe of peace.
  495. 41:57 And be brothers.
  496. 42:17 Ladies don't want us to go to that meeting tonight.
  497. 42:20 By golly, I got a good notion to go anyhow and tell him something.
  498. 42:24 Where is the meeting?
  499. 42:26 Well, this little house outside the edge of town.
  500. 42:30 I'll show you if you want to go.
  501. 42:40 *Mario plays*
  502. 42:43 And the game is high.
  503. 42:47 Yes.
  504. 42:52 over here and over there and over there
  505. 43:19 Amen!
  506. 43:22 Here's to our new republic.
  507. 43:24 And the end to all Yankee spies.
  508. 43:32 Rather a Yankee spy and one who pots with the Indians
  509. 43:36 to murder his own kind
  510. 43:39 You mean me?
  511. 43:41 You lie.
  512. 44:11 Hey!
  513. 44:41 Come on.
  514. 45:11 Get up and fight.
  515. 45:23 If there are any more traitors here...
  516. 45:26 Let him step out.
  517. 45:31 I'll advise you not to play any more tricks, you mangy coyote.
  518. 45:35 Come on, Jack.
  519. 46:00 Friends and neighbors,
  520. 46:02 The time has come.
  521. 46:04 when we must form a free and independent country of our own.
  522. 46:09 The town is ready.
  523. 46:10 to startle the world with its deeds.
  524. 46:13 We are at peace.
  525. 46:14 to the surrounding Indian tribes.
  526. 46:17 The union is engaged.
  527. 46:19 in reconstructing the unfortunate South.
  528. 46:21 But before they can stop us.
  529. 46:23 before they can even become aware
  530. 46:26 of what we are trying to do?
  531. 46:28 We'll be safe in an empire of our own.
  532. 46:30 far from the heels of the oppressor
  533. 46:33 whom we both hate and fear.
  534. 46:41 Now, my friends,
  535. 46:43 Let me implore you.
  536. 46:55 I've been listening to you, Leeds.
  537. 46:58 Friend?
  538. 47:00 Before you make a hasty decision.
  539. 47:02 I think you should know the type of man.
  540. 47:04 who is attempting to lead you.
  541. 47:06 He says that you are at peace with the Indians.
  542. 47:11 If that is true,
  543. 47:13 Why did they attack the wagon train?
  544. 47:15 and kill your friends.
  545. 47:16 and kinfolk.
  546. 47:17 I'll tell you why.
  547. 47:22 Because he bribed the Indians.
  548. 47:24 and incited them to attack you.
  549. 47:26 I defy you to prove that.
  550. 47:28 Of course you do.
  551. 47:29 Because you know I can't prove it.
  552. 47:31 Just yet.
  553. 47:32 Well, I know it.
  554. 47:33 And you know he lies.
  555. 47:37 He's a spy.
  556. 47:38 Sent by the Yankies to upset and ruin our plans.
  557. 47:43 Friend.
  558. 47:45 Some of us are from the north.
  559. 47:47 Others from the south.
  560. 47:48 But we have come here for the same purpose.
  561. 47:51 hoping to find a happier land.
  562. 47:53 where we can live in peace and security.
  563. 47:56 But we can never do so.
  564. 47:58 Well, there are traitors.
  565. 47:59 and murderers among us.
  566. 48:00 Like this man.
  567. 48:02 Neighbors.
  568. 48:03 Are you going to believe this man? No. No.
  569. 48:06 And we've had enough of you.
  570. 48:08 and your lying accusations.
  571. 48:11 Eddie Lee I warn you to go slowly leaves.
  572. 48:15 There are more loyal and intelligent people in your midst than you think.
  573. 48:29 Amen.
  574. 48:31 Wait!
  575. 48:34 Neighbors!
  576. 48:36 You've heard this man?
  577. 48:38 Accuse me of treachery.
  578. 48:40 Now listen to me.
  579. 48:44 I forced the issue, sir.
  580. 48:45 I think Leeds will be frightened into a desperate move that will betray you.
  581. 48:49 Is there any danger of his succeeding?
  582. 48:51 Not without Indian aid.
  583. 48:52 And we know he won't get that.
  584. 48:55 I'll warn the telegraph crew to be ready for an attack if you will captain
  585. 49:01 - Hello, Captain. - Hello, Markin.
  586. 49:03 I came over to warn you there may be an attack.
  587. 49:06 However, the troops will be nearby and we'll try and prevent it.
  588. 49:09 We'll be ready, sir.
  589. 49:11 Is the line in operation?
  590. 49:13 Pretty good.
  591. 49:14 I want to send a personal message.
  592. 49:16 Who do captain?
  593. 49:19 General John Harvey.
  594. 49:21 Lay to the Confederate army.
  595. 49:24 Meadowbrook, Kentucky.
  596. 49:27 That's where my heart ensures, lead them first.
  597. 49:37 That where the old folks
  598. 49:44 Amen.
  599. 49:46 Hold your dwelling
  600. 49:52 Death and will be all.
  601. 49:57 Everywhere.
  602. 50:01 my Lord.
  603. 50:08 Oh, God dear, how my heart
  604. 50:14 Road Mary.
  605. 50:20 Around the old
  606. 50:26 Home.
  607. 50:28 ...the moon.
  608. 50:35 Good evening.
  609. 50:36 Good evening.
  610. 50:39 I was hoping you'd come over to see us.
  611. 50:43 I've been wanting to see you.
  612. 50:46 Tell me.
  613. 50:46 Are you really a Yankee spy?
  614. 50:50 I'm afraid I'll have to plead guilty to being a Yankee, Miss Betty.
  615. 50:54 But I think the spy part is an unjust accusation.
  616. 50:57 The war is over.
  617. 51:00 The spies usually work as openly as I've been doing.
  618. 51:03 Surely there can be no doubt that my sympathies lie or...
  619. 51:06 What I'm trying to do.
  620. 51:08 - Then your sympathies lie. - Only with my country.
  621. 51:11 Your country.
  622. 51:13 Our countrymen.
  623. 51:15 I'm only trying to drive out these conspirators.
  624. 51:18 who would force us into another war.
  625. 51:20 Even more cruel than the one we've just been through.
  626. 51:24 It's going to be awfully hard to convince Uncle.
  627. 51:27 I understand.
  628. 51:29 You see, this man Lee...
  629. 51:32 Hey, Lee!
  630. 51:40 Step aside, Betty Lee.
  631. 51:42 I'll deal with this sneaking spy.
  632. 51:44 We owe him our lives, Uncle Leif. He has cancelled any such debt.
  633. 51:48 by his unjust accusations.
  634. 51:51 Go to your room.
  635. 51:52 I'll not go. Colonel Holbrook.
  636. 51:55 I think you're being most unfair.
  637. 51:57 Not only to yourself... I'll not trade words with you, sir.
  638. 52:00 You may go this time.
  639. 52:02 But if you ever enter this house again...
  640. 52:04 I'll shoot you on sight.
  641. 52:10 I'm sorry, Miss Betty.
  642. 52:12 Remy.
  643. 52:20 Ready, Lee?
  644. 52:21 I want you to...
  645. 52:30 Grant?
  646. 52:31 These people are not in sympathy with us.
  647. 52:34 Therefore they must be eliminated.
  648. 52:37 Have you sent the guns and the bullets to the Indians?
  649. 52:41 Hart's on his way with him now.
  650. 52:47 Gun wagon's gone.
  651. 52:49 Go on.
  652. 52:51 The Yankee spy.
  653. 52:54 Rally all the men you can find.
  654. 52:56 Tonight we'll strike at the people on that list.
  655. 52:58 Don't!
  656. 53:00 We'll destroy the telegraph.
  657. 53:02 Go to the Indian chief.
  658. 53:03 Tell him we will not pay him until he's helped us trap the cavalry there.
  659. 53:07 I know these Indians.
  660. 53:09 It's better to make promises you never intend to keep
  661. 53:12 than to pay them in advance.
  662. 53:13 Now let us map our course of action for tonight.
  663. 53:17 Jase?
  664. 53:18 You and the boys meet me...
  665. 53:19 At the head of the pass near Cottonwood Hollow.
  666. 53:31 Let's turn the door.
  667. 53:35 Rebecca!
  668. 53:38 Soon as we finish this job we'll wipe out the Thompson family
  669. 53:41 that John were to meet leads and rent, then clean out the telegraph.
  670. 53:57 Yeah! Yeah!
  671. 54:02 Come on.
  672. 54:04 I
  673. 54:07 Come on.
  674. 54:10 All right.
  675. 54:12 over a
  676. 54:14 Hold it, bro.
  677. 54:18 Carter.
  678. 54:19 It's great.
  679. 54:22 WHAT'S HAPPENING?
  680. 54:23 They're after us.
  681. 54:24 Burning.
  682. 54:25 Killing.
  683. 54:26 The whole Thompson family's
  684. 54:28 - Wiped out. - Who did it?
  685. 54:30 Indians? Indians, nothing.
  686. 54:32 'Twas white men our own kind.
  687. 54:35 It was late, Gork, I tell you.
  688. 54:38 I recognized
  689. 54:39 This man.
  690. 54:40 Please.
  691. 54:42 I'm going to go.
  692. 54:46 Come in, Captain.
  693. 54:49 Leeds killers have just wiped out two families.
  694. 54:52 We must act at once, sir.
  695. 54:53 Prepare to leave immediately, Captain.
  696. 55:41 I'm going to go.
  697. 55:50 No.
  698. 55:53 I'm going to go.
  699. 56:03 We're just in time, Major. They started the attack.
  700. 56:09 I'm going to go.
  701. 56:25 Our plan will succeed.
  702. 56:27 We'll draw the cavalry here.
  703. 56:29 And then the Indians will attack
  704. 56:30 and we'll wipe them out.
  705. 56:37 Here come the cavalry now.
  706. 56:38 right into our trap.
  707. 56:40 I'm out.
  708. 56:46 Indians won't help us. What do you mean?
  709. 56:48 I mean, they ain't coming.
  710. 56:50 They nearly killed me before I could get away from them.
  711. 57:57 I'm going to go.
  712. 58:19 Take refuge in that house.
  713. 58:23 Hey.
  714. 58:30 Hold them!
  715. 58:36 What is the meaning of this intrusion?
  716. 58:38 We've been betrayed.
  717. 58:39 Arm yourself for the attack! It is we who have been betrayed by your lies, sir!
  718. 58:44 I know you now for what you are.
  719. 58:46 You scoundrel!
  720. 58:48 Murderer!
  721. 58:53 You're wrecking the house.
  722. 58:55 Hand them off!
  723. 58:56 *gunshot*
  724. 59:00 *BANG*
  725. 59:02 They're coming up the path.
  726. 59:07 Drop those guns!
  727. 59:10 Steady there!
  728. 59:13 As I explained, Major,
  729. 59:14 Leeds is the head of this conspiracy.
  730. 59:17 The other two are his aides.
  731. 59:18 Just a minute, Captain.
  732. 59:22 Isn't this Colonel Holbrook?
  733. 59:23 One of Leeds most ardent sympathizers.
  734. 59:26 No, sir.
  735. 59:27 He is Colonel Harvey.
  736. 59:29 ...Late of the Confederate Army.
  737. 59:32 He aided me in the capture of these conspirators.
  738. 59:34 Take him to the fort.
  739. 59:36 Put them in iron.
  740. 59:37 Yes, sir.
  741. 59:49 Randall Harvey?
  742. 59:50 as one soldier to another.
  743. 1:00:03 I hope you'll be happy here, General.
  744. 1:00:06 It's been a pleasure to meet you.
  745. 1:00:07 Thank you, sir.
  746. 1:00:09 General, if you're ready.
  747. 1:00:11 I'll take you to your folks.
  748. 1:00:12 this
  749. 1:00:13 It is the happiest day of my life.
  750. 1:00:16 I'm going to care for a little while, Uncle Lace.
  751. 1:00:18 All right, don't be long. I won't.
  752. 1:00:28 Don't you come in?
  753. 1:00:30 How do you do, Colonel?
  754. 1:00:32 How do you do, sir?
  755. 1:00:34 I have a little surprise for you folks.
  756. 1:00:43 - Father! - Father!
  757. 1:00:45 Oh!
  758. 1:00:46 Betty Lee.
  759. 1:00:48 Oh, Father.
  760. 1:00:49 They said you were dead. Yes, I know Betty Lee. John, Leif.
  761. 1:00:59 You can thank Captain Thorne.
  762. 1:01:01 He not only saved my life,
  763. 1:01:04 But brought me out here.
  764. 1:01:05 Betty Lee?
  765. 1:01:06 Bring that young man back here.
  766. 1:01:15 Ted!
  767. 1:01:16 Dad?
  768. 1:01:19 Ted!
  769. 1:01:20 Dad!
  770. 1:01:34 I'm going to go.
  771. 1:01:52 Okay.
  772. 1:01:59 Why didn't you stop when I called you?
  773. 1:02:01 Why, I didn't hear you, Betty.
  774. 1:02:03 You're just a mean, stubborn, ornery Yankee.
  775. 1:02:07 Then why did you follow me, young lady?
  776. 1:02:09 I didn't. I mean...
  777. 1:02:10 Uncle Leif sent me after you.
  778. 1:02:12 Why?
  779. 1:02:13 bring you back.
  780. 1:02:14 We're not going back.
  781. 1:02:16 We're going to town.
  782. 1:02:18 - Town? - Yes.
  783. 1:02:20 A minister just arrived on the states.
  784. 1:02:25 Will you go with me, Betty?

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