Public Reel

Kansas Pacific (1953)

No renewal found Free in the US since 1 January 1982, on the registry's reading: registration LP2341 of 1953 by Allied Artists Productions was not renewed in the volumes searched. Record.

A railroad-building Western turns construction into a military struggle, with Sterling Hayden playing an officer whose battlefield is a line not yet finished.

Walter Wanger was in prison when Monogram produced Kansas Pacific.8 The film belonged to his Allied Artists slate but was made without his supervision.6 The distinction matters: an association with a producer can identify a business arrangement without telling us who made decisions on the set. The surviving finding aid places Kansas Pacific among Wanger’s productions.12 That classification does not resolve the extent of his involvement. Behind a story about getting a difficult undertaking finished lies uncertainty about the part played by the producer associated with it.

Ray Nazarro directed the film from a screenplay by Daniel B. Ullman.1 Filming took place in the Sonora area of California.7 The two-week shoot cost $200,000.7 Allied Artists released it as a Cinecolor Western.1 Its premise gives that compact production a clear organizing task: complete the railroad before the fighting begins.2 Rather than follow a traveller across an already connected country, it concerns the work required to establish the connection. The destination matters less than whether the line can advance at all.

Sterling Hayden plays the Army officer assigned to help the construction boss played by Barton MacLane.7 The assignment turns an apparently civilian enterprise into a military operation before open warfare begins. The engineer’s practical authority becomes as important as his capacity to fight. This is a Western in which control of territory depends on what people can build through it, not simply on who occupies it. The railroad is therefore more than a setting for confrontations. It is the object that gives those confrontations their purpose, joining the immediate problems of a work crew to a larger struggle over the country.

The film offers a fictionalized account of the struggle to build the Kansas Pacific Railway just before the American Civil War.1 That historical frame supplies urgency without requiring the story to enter the war itself. The audience’s knowledge of the approaching conflict gives the construction deadline its weight. In this arrangement, ordinary delays acquire another meaning. A stalled construction project can also be a strategic defeat. The title names an enterprise rather than a hero, fitting a story in which the central achievement is meant to survive the man assigned to secure it.

Hayden later remembered making Kansas Pacific with self-loathing and little enthusiasm.7 That recollection should not be mistaken for a description of every choice visible in his performance. It does, however, complicate the officer’s role as the film’s source of resolve. The character has a definite purpose even if the actor did not find much satisfaction in playing him. MacLane’s construction boss keeps that purpose tied to the needs of the work. The military objective must take shape as a finished stretch of railroad, not merely as an order given or an opponent defeated.

The film’s later life includes a public-television broadcast on WHRO.2 A product listing identifies a DVD edition as The Film Detective’s restored version.13 The listing does not establish the restoration’s methods or source materials. Neither a broadcast nor an edition presented for collection explains the film’s copyright history. Wanger’s papers contain a file concerning sales of films to Allied Artists.12 That general evidence of business dealings does not establish this title’s chain of ownership. The renewal searches recorded below provide a more specific basis for understanding its present availability.

The record: Registration LP2341 by Allied Artists Productions is dated 22 February 1953. The registry found no renewal in the renewal volumes for 1980 to 1982, nor in the Copyright Office's records from 1978 on; on that reading the term ended on 31 December 1981 and the film has been free in the US since 1 January 1982. This conclusion rests on the registration and the searches described, rather than on the mere existence of accessible copies. The record does not settle the film’s status outside the US. Separate rights in material added to a later edition also remain outside its scope.

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/Kansas_Pacific_(film)
  2. pbs.org https://www.pbs.org/video/kansas-pacific-1953-lfsqij/
  3. catalog.afi.com https://catalog.afi.com/Film/50901-KANSAS-PACIFIC?cxt=filmography
  4. catalog.afi.com https://catalog.afi.com/Search?searchField=ReleaseDate&searchText=22%20February%201953&...
  5. catalog.afi.com https://catalog.afi.com/Search/InternalSearch?searchField=ProductionCompany&searchText=...
  6. en.wikipedia.org https://en.wikipedia.org/wiki/Walter_Wanger
  7. tcm.com https://www.tcm.com/articles/1083596/kansas-pacific
  8. tcm.com https://www.tcm.com/articles/1008229/battle-zone
  9. catalog.afi.com https://catalog.afi.com/Person/188991-Andrew-McLaglen
  10. catalog.afi.com https://catalog.afi.com/Person/67207-Harry-Shannon?sid=e1e71bcb-eada-4504-bbc8-828efc8a...
  11. archive.org https://archive.org/download/kinematographyea1954odha/kinematographyea1954odha.pdf
  12. digicoll.library.wisc.edu https://digicoll.library.wisc.edu/cgi/f/findaid/findaid-idx?c=wiarchives;cc=wiarchives;...
  13. moviezyng.com https://moviezyng.com/products/kansas-pacific-the-film-detective-restored-version

Inside the film

472 shots over 1:11:42 · 275 beats in 177 sequences · 727 transcript lines · JSON

Lands on the beat covering that second.
177 sequences; each is also a heading below.
Check before citing the shot count. A 2:38 shot at 44:17 (shot 236): either a static hold or a run of missed cuts. Treat it as unverified.

Every shot, 472 frames with timestamps and on-screen text

How this page was made

472 shots over 1:11:42, read from the Internet Archive copy kansas_pacific (kansas_pacific.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: Kansas Pacific No renewal found. JSON

Measurements: black-and-white film on its keyframes (0 of 472 shots judged colour), average shot 9.1s long, a frontal face detected in 33% of keyframes. Shots are detected automatically and each is represented by its midpoint frame.

Released 1953 (Internet Archive).

275 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 1:17, shot 01:17Frame at 2:37, shot 12:37Frame at 2:40, shot 22:40
3 of 3 shots sampled

1. Newsroom

0:00–2:42 Not yet checked

Model synopsis: A newspaper headline announces Lincoln's election and reports riots in Kansas on election eve. A voiceover mentions more riots in Kansas, and text on screen describes Kansas as a border state torn by violent factions during railroad construction.

  • A newspaper headline reads 'LINCOLN ELECTED'. [frame:1]
  • A newspaper article headline reads 'More Riots and Bloodshed Mark Election Eve in Kansas City.' [frame:3]

1 person observed.

“Now what's the matter? Look at that! More riots in Kansas.” 2:22

Evidence, details and a link to share

Sequence 2 from 2:42

Frame at 2:56, shot 32:56
1 of 1 shots sampled

2. Other

2:42–3:10 Not yet checked

Model synopsis: Two men in period Western attire stand outdoors, one holding a map, discussing political tensions and the possibility of war. The dialogue references senators and national division, suggesting a pre-Civil War setting.

  • The two men are visible standing together, one holding a map. [frame:1]

2 people observed.

“Leaving Kansas. They're sure trying hard to start a war right here.” 2:44 · “Yeah.” 2:49

Evidence, details and a link to share

Sequence 3 from 3:10

Sequence 4 from 3:13

Sequence 5 from 3:15

Frame at 3:18, shot 63:18Frame at 3:27, shot 73:27Frame at 3:38, shot 83:38
3 of 3 shots sampled

5. Railway track

3:15–3:44 Not yet checked

Model synopsis: A steam locomotive is shown on a railway track in a wooded area. Three men in period clothing are visible near the train, with one walking toward it and two others standing nearby.

  • A steam locomotive is shown moving along a railway track through a wooded area. [frame:1]
  • A man in a hat walks alongside the train near the tracks. [frame:2]
  • Two men stand facing each other near the tracks while a third man walks between them. [frame:3]

3 people observed.

“Oh dirty miserable back back if I could just get my hands on one of them. There. Yeah. Oh.” 3:20

Evidence, details and a link to share

Sequence 6 from 3:44

Sequence 7 from 3:47

Frame at 3:50, shot 103:50Frame at 3:53, shot 113:53Frame at 4:01, shot 124:01Frame at 4:09, shot 134:09
4 of 4 shots sampled

7. Field

3:47–4:10 Not yet checked

Model synopsis: Two men stand near train tracks while others are visible on a rocky outcrop; dialogue suggests a tense situation involving someone named Bruce and a warning against killing. A man is seen crouching by the tracks as another approaches him.

  • Two men stand near train tracks, one holding a pistol. [frame:1]
  • A group of people is visible on a rocky outcrop in the distance. [frame:2]
  • Two men on horseback are shown, one smiling. [frame:3]
  • 1 more under Evidence and details.

Named: Bruce (t:3:55), Karen (t:3:50), Cal (t:3:50), Janice (t:3:58). 9 people observed.

“Don't shout, Karen and Cal, they can't hear you.” 3:50 · “That one waving his arm around looks like old man Bruce himself.” 3:55

Evidence, details and a link to share

Frame at 4:12, shot 144:12
1 of 1 shots sampled

8. Railroad track

4:10–4:14 Not yet checked

Model synopsis: Two men stand near a train on a grassy, wooded trackside. One man gestures while the other faces him; a third figure is partially visible near the train.

3 people observed.

Evidence, details and a link to share

Sequence 8 from 4:14

Frame at 4:15, shot 154:15
1 of 1 shots sampled

9. Other

4:14–4:16 Not yet checked

Model synopsis: Two men in cowboy hats are mounted on horses, one smiling broadly. The scene is shot in black and white with studio lighting against a plain backdrop.

2 people observed.

Evidence, details and a link to share

Sequence 9 from 4:16

Frame at 4:18, shot 164:18
1 of 1 shots sampled

10. Vehicle interior

4:16–4:21 Not yet checked

Model synopsis: A man in a light shirt and hat is seen from behind, moving toward a doorway or window in a dim interior. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 10 from 4:21

Frame at 4:29, shot 184:29Frame at 4:35, shot 194:35Frame at 4:41, shot 204:41
3 of 3 shots sampled

12. Train

4:25–4:43 Not yet checked

Model synopsis: Two men are inside a train car, one urging to leave while another holds a tool; outside, three men on horseback are visible, one aiming a pistol. The scene is set during the day, with no specific time or location named.

  • A man inside the train holds a tool near a window frame [frame:1]
  • Three men on horseback are visible outside, one aiming a pistol [frame:2]
  • Two men inside the train, one leaning forward, appear to be working on something [frame:3]

5 people observed.

“Get us out of here, smokestack!” 4:25 · “that will melt the wire.” 4:28

Evidence, details and a link to share

Sequence 11 from 4:43

Frame at 5:40, shot 215:40
1 of 1 shots sampled

13. Private office

4:43–6:37 Not yet checked

Model synopsis: A man in civilian clothes speaks with a uniformed general in an office; the civilian requests military protection for a railroad project, and the general offers an army engineer instead. Captain Nelson enters and is introduced to Mr. Johnson.

  • Captain Nelson enters the room and reports as ordered. [frame:1]

Named: General (t:5:03), Mr. Johnson (t:5:54), Captain Nelson (t:5:58). 3 people observed.

“It'll be impossible to finish the line by March unless you furnish me with a military guard to protect my construction crew” 5:05 · “We're not at war, mister.” 5:11

Evidence, details and a link to share

Frame at 6:43, shot 226:43Frame at 6:54, shot 236:54
2 of 2 shots sampled

14. Private office

6:37–6:59 Not yet checked

Model synopsis: Two men in a private office discuss an assignment; one is in civilian clothes, the other in a military uniform. A third man in uniform enters and stands near a map as the civilian man begins to leave.

  • A third man in uniform enters and stands near a map. [frame:2]

3 people observed.

“How do you do? How do you do, sir?” 6:38 · “Naturally, the captain will handle this assignment wearing civilian clothes, Mr. Johnson.” 6:40

Evidence, details and a link to share

Sequence 12 from 6:59

Frame at 7:03, shot 247:03Frame at 7:14, shot 257:14
2 of 2 shots sampled

15. Map and train exterior

6:59–7:19 Not yet checked

Model synopsis: A map showing forts and rail lines in the Kansas Territory is displayed, followed by an exterior shot of a K.P.R.R. train car. Dialogue confirms construction halted 14 miles west of Rockwood, Kansas.

  • A map showing Forts Laramie, Randall, Kearny, and Rockwood is visible. [frame:1]
  • A K.P.R.R. train car is shown outdoors with barrels and logs nearby. [frame:2]

“Is that correct?” 6:59 · “That's right. The end of track is 14 miles west of Rockwood, Kansas.” 6:59

Evidence, details and a link to share

Sequence 13 from 7:19

Frame at 7:43, shot 267:43Frame at 8:10, shot 278:10
2 of 2 shots sampled

16. Kitchen

7:19–8:14 Not yet checked

Model synopsis: A group of people are seated at a table in a dimly lit interior while a woman in an apron stands near a stove. Dialogue suggests tension between characters, including a threat involving a sledge and a reference to a 22-year wait.

Named: Miss Barber (t:7:37). 4 people observed.

“Are you gonna drink that coffee or you're just gonna stir it until it evaporates? Oh, I'm sorry, Dad.” 7:27 · “Fine lunch, Miss Barber.” 7:37

Evidence, details and a link to share

Frame at 8:27, shot 288:27
1 of 1 shots sampled

17. Living room

8:14–8:40 Not yet checked

Model synopsis: Two men sit at a table in a dimly lit interior while a third man in an apron stands behind them; one seated man speaks about being fired and quitting, while another suggests chess and offers to help with dishes. No names are spoken, and no time of day or period is established.

3 people observed.

“You're fired.” 8:15 · “You can't fire me. I quit two hours ago.” 8:17

Evidence, details and a link to share

Sequence 14 from 8:40

Frame at 8:41, shot 298:41
1 of 1 shots sampled

18. Kitchen

8:40–8:42 Not yet checked

Model synopsis: A woman in an apron stands at a wooden counter in a dimly lit room with wooden walls, handling dishes. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 15 from 8:42

Sequence 16 from 9:03

Frame at 9:08, shot 319:08
1 of 1 shots sampled

20. Private office

9:03–9:13 Not yet checked

Model synopsis: A woman in a light dress sits at a desk with a telegraph key and papers, in a wood-paneled room. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 17 from 9:13

Frame at 9:21, shot 329:21
1 of 1 shots sampled

21. Private office

9:13–9:29 Not yet checked

Model synopsis: Three people sit at a table in a dimly lit room as one of them is handed a telegram from Washington; the recipient expresses surprise and asks another person to read it aloud. The scene includes a table set with glassware and a checkered tablecloth, and the characters are engaged in dialogue about the telegram.

3 people observed.

“Telegram just arrived at the Rockwood office. It's for you, Dad, from Washington.” 9:18 · “Washington? I don't know anybody in Washington.” 9:22

Evidence, details and a link to share

Frame at 9:33, shot 339:33Frame at 9:42, shot 349:42
2 of 2 shots sampled

22. Private office

9:29–9:46 Not yet checked

Model synopsis: A woman sits at a desk writing while speaking; shortly after, three people are seated at a table with chess pieces and glasses, one man shaking hands with another. The transcript includes dialogue about sending something and starting to lay track.

  • Woman writes at desk with pen. [frame:1]
  • Three people seated at table with chess set and glasses; one man shakes hands with another. [frame:2]

4 people observed.

“I mean send it to me.” 9:29 · “I already have.” 9:31

Evidence, details and a link to share

Sequence 18 from 9:46

Sequence 19 from 10:10

Frame at 10:22, shot 3610:22Frame at 10:38, shot 3710:38
2 of 2 shots sampled

24. Private office

10:10–10:41 Not yet checked

Model synopsis: A man and a woman argue while an older man listens; the woman says she wishes she had made a mistake, and the man complains about being replaced. The setting appears to be an interior wooden room, possibly an office or cabin.

  • A man and a woman are arguing while an older man watches. [frame:1]

Named: Barbara (t:10:15). 3 people observed.

“Barbara, you must have made a mistake.” 10:15 · “No, Dad, I wish I had.” 10:18

Evidence, details and a link to share

Frame at 10:45, shot 3810:45Frame at 10:57, shot 3910:57Frame at 11:11, shot 4011:11
3 of 3 shots sampled

25. Private office

10:41–11:17 Not yet checked

Model synopsis: An older man and a woman argue in a wooden interior; the woman urges him to leave for the East, citing his 20 years of railroad work. The man, called 'Cal', is told he is still the boss but resists, saying he has nothing to pack.

Named: Cal (t:10:44). 3 people observed.

“You're still the boss, Cal.” 10:44 · “They won't be going well. They haven't gone well since the day you started the Kansas City.” 10:49

Evidence, details and a link to share

Frame at 11:19, shot 4111:19Frame at 11:23, shot 4211:23Frame at 11:34, shot 4311:34
3 of 3 shots sampled

26. Other

11:17–11:42 Not yet checked

Model synopsis: A man with a beard and suspenders speaks firmly to another man and a woman in a wooden interior, stating he will not leave his job. The dialogue reveals he has worked for Sherman Johnson and believes in his boss's judgment.

3 people observed.

“And in the second place, I'm not leaving.” 11:17 · “I've worked for Sherman Johnson just as long as you have, Cal.” 11:27

Evidence, details and a link to share

Frame at 11:48, shot 4411:48Frame at 11:56, shot 4511:56Frame at 12:00, shot 4612:00
3 of 3 shots sampled

27. Private office

11:42–12:02 Not yet checked

Model synopsis: A man and a woman stand together indoors, speaking to an older man who appears in a separate shot; the dialogue suggests a farewell and an attempt to persuade the older man to join them. The setting is a wooden-paneled interior with minimal props visible.

  • A man and a woman stand together indoors, speaking to an older man. [frame:1]
  • The older man is shown in a close-up, listening. [frame:2]
  • The man and woman are shown again, looking toward the older man. [frame:3]

Named: Cal (t:11:54). 3 people observed.

“Smokestack you and I've been together for over 20 years.” 11:43 · “Oh I can get all the work I want back East you know that.” 11:46

Evidence, details and a link to share

Frame at 12:07, shot 4712:07Frame at 12:14, shot 4812:14Frame at 12:19, shot 4912:19Frame at 12:25, shot 5012:25
4 of 4 shots sampled

28. Private office

12:02–12:29 Not yet checked

Model synopsis: Three people are in a dimly lit interior, discussing the Kansas Pacific railroad project and the arrival of a construction engineer. One man, older with a beard, speaks emphatically while the other two listen; the transcript reveals concern about quitting and skepticism toward the new engineer.

3 people observed.

“I've never quit yet, and come to think of it, Cal, you never have either. Ah, this is different.” 12:05 · “The country's about ready to bust wide open.” 12:11

Evidence, details and a link to share

Frame at 12:54, shot 5112:54Frame at 13:21, shot 5213:21Frame at 13:25, shot 5313:25
3 of 3 shots sampled

29. Train

12:29–13:27 Not yet checked

Model synopsis: A man and a woman converse indoors, then the scene cuts to a man standing on a train car and a train engineer in the cab. The dialogue suggests a decision to stay despite concerns about conflict, and a character named Smoke returns to pilot the train.

  • A woman and a man stand facing each other indoors, engaged in conversation. [frame:1]
  • A man stands on the side of a train car, looking down. [frame:2]
  • A man in a cap leans out of a train cab, while another man stands beside the locomotive. [frame:3]

Named: Smoke (t:13:20). 4 people observed.

“It does look like we might have a war. Dad, don't you start talking about the war too.” 12:39 · “We've had all these diploma boys before, you know. He'll learn soon enough to stay out of our way.” 12:55

Evidence, details and a link to share

Frame at 13:46, shot 5613:46
1 of 1 shots sampled

31. Train

13:43–13:48 Not yet checked

Model synopsis: A man in a hat leans from the cab of a steam locomotive. The scene is shot in black and white with no visible dialogue or on-screen text.

  • A man leans out of a train cab window. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 20 from 13:48

Frame at 13:55, shot 5713:55
1 of 1 shots sampled

32. Train

13:48–14:02 Not yet checked

Model synopsis: A man in a hat and coat stands on the platform of a train car, leaning against a railing. The scene is shot in black and white with no visible text or spoken dialogue in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 21 from 14:02

Frame at 14:05, shot 5814:05Frame at 14:16, shot 5914:16
2 of 2 shots sampled

33. Street

14:02–14:24 Not yet checked

Model synopsis: A man in a hat stands beside a wooden building with a sign about construction suspended; a street scene with wagons and people is visible in the background. No names are spoken, and no time of day or period is established.

  • A man stands beside a wooden building with a sign. [frame:1]
  • A street scene with wagons and people is visible. [frame:2]

1 person observed.

“I'm not going to be a good one.” 14:07

Evidence, details and a link to share

Sequence 22 from 14:24

Frame at 14:48, shot 6314:48Frame at 14:55, shot 6414:55Frame at 15:10, shot 6615:10Frame at 15:17, shot 6715:17
4 of 5 shots sampled

35. Private office

14:47–15:19 Not yet checked

Model synopsis: A man in a suit and cowboy hat introduces himself as John Nelson, the new construction engineer, to an older man in a vest and cap who offers him a chair. The older man recalls Nelsons from Providence but notes they had red hair, suggesting this is a different family.

Named: John Nelson (t:14:48). 2 people observed.

“My name's John Nelson.” 14:48 · “I knew some Nelsons in Providence.” 14:54

Evidence, details and a link to share

Sequence 23 from 15:19

Frame at 15:27, shot 6815:27
1 of 1 shots sampled

36. Private office

15:19–15:36 Not yet checked

Model synopsis: A man sits reading a newspaper while another man stands near a doorway in an office; dialogue suggests discussion of staffing changes and difficulty finding telegraph operators. No names are spoken, and the setting appears to be an interior office space with natural light from windows.

  • A man sits reading a newspaper while another stands near a doorway. [frame:1]

2 people observed.

“You're figuring on making some changes around here, I expect.” 15:22 · “Very possibly.” 15:25

Evidence, details and a link to share

Sequence 24 from 15:36

Sequence 25 from 15:43

Frame at 15:50, shot 7015:50
1 of 1 shots sampled

38. Wooden platform or station

15:43–15:57 Not yet checked

Model synopsis: A man in a suit walks across a wooden platform carrying a briefcase while another man in a cowboy hat stands nearby. The setting appears to be an outdoor wooden structure, possibly a station or depot, with barrels and wooden planks visible.

  • A man in a suit walks across a wooden platform carrying a briefcase. [frame:1]
  • Another man in a cowboy hat stands nearby, watching. [frame:1]

2 people observed.

Evidence, details and a link to share

Sequence 26 from 15:57

Sequence 27 from 16:17

Frame at 16:17, shot 7216:17
1 of 1 shots sampled

40. Porch of a wooden building

16:17–16:18 Not yet checked

Model synopsis: A group of men in period clothing are seen entering a wooden building through a doorway, surrounded by barrels and crates on a wooden porch. The scene is shot in black and white with static framing and appears to be set in a rustic, possibly Western, outdoor location.

  • Three men enter a wooden building through a doorway. [frame:1]

3 people observed.

Evidence, details and a link to share

Sequence 28 from 16:18

Frame at 16:19, shot 7316:19
1 of 1 shots sampled

41. Street

16:18–16:20 Not yet checked

Model synopsis: A man in a suit and hat stands holding a briefcase outside a wooden building. The scene is shot in black and white with strong shadows.

  • A man stands holding a briefcase outside a wooden building. [frame:1]

1 person observed.

Evidence, details and a link to share

Frame at 16:22, shot 7416:22
1 of 1 shots sampled

42. Street

16:20–16:24 Not yet checked

Model synopsis: A man in a suit and hat stands in a doorway holding a briefcase. The setting appears to be an outdoor alley or street adjacent to a building with barred windows.

1 person observed.

Evidence, details and a link to share

Sequence 29 from 16:24

Frame at 16:26, shot 7516:26
1 of 1 shots sampled

43. Other

16:24–16:27 Not yet checked

Model synopsis: Two men in period Western attire are visible on a wooden porch with barrels and crates; one leans over a barrel while the other stands behind him. The setting appears to be an outdoor commercial or storage area adjacent to a building with stone walls.

2 people observed.

Evidence, details and a link to share

Sequence 30 from 16:27

Frame at 16:29, shot 7616:29
1 of 1 shots sampled

44. Other

16:27–16:31 Not yet checked

Model synopsis: Two men are in a stone-walled interior; one in a hat faces away while the other in a suit gestures with his hands. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Sequence 31 from 16:31

Frame at 16:34, shot 7716:34
1 of 1 shots sampled

45. Porch

16:31–16:37 Not yet checked

Model synopsis: A man in a vest and bow tie exits a wooden building onto a porch. He holds a small object in his right hand and walks forward.

  • A man exits a building and walks forward on a porch. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 32 from 16:37

Frame at 16:39, shot 7816:39
1 of 1 shots sampled

46. Warehouse

16:37–16:41 Not yet checked

Model synopsis: A man in a striped shirt fires a pistol while another man runs past barrels in a wooden structure. The scene is shot in black and white with high-contrast lighting.

  • A man fires a pistol. [frame:1]
  • A man runs past barrels inside a wooden structure. [frame:1]

2 people observed.

Evidence, details and a link to share

Sequence 33 from 16:41

Frame at 16:42, shot 7916:42Frame at 16:54, shot 8216:54Frame at 17:01, shot 8417:01Frame at 17:12, shot 8717:12
4 of 9 shots sampled

47. Town square

16:41–17:15 Not yet checked

Model synopsis: A man in a vest and bow tie stands outside a building; another man in a coat is struck or pushed. A wider shot shows a crowd gathered on a dusty street near a wooden building. The final frame shows a group of men in cowboy hats, including the man in the vest, smiling and walking together.

  • A man in a vest and bow tie stands outside a building. [frame:1]
  • A man in a coat is struck or pushed by another man in a hat. [frame:2]
  • A crowd gathers on a dusty street near a wooden building. [frame:3]
  • 1 more under Evidence and details.

5 people observed.

“I'm.” 16:43 · “Oh!” 17:06

Evidence, details and a link to share

Frame at 17:16, shot 8817:16
1 of 1 shots sampled

48. Street

17:15–17:17 Not yet checked

Model synopsis: A man in a light shirt is mid-motion, possibly falling or being pushed, while others in cowboy hats watch. One person lies on the ground near wooden barrels and a building entrance.

  • A man in a light shirt is mid-motion, possibly falling or being pushed. [frame:1]
  • A person lies motionless on the ground. [frame:1]

4 people observed.

Evidence, details and a link to share

Frame at 17:21, shot 8917:21Frame at 17:26, shot 9017:26Frame at 17:29, shot 9117:29Frame at 17:33, shot 9217:33
4 of 4 shots sampled

49. Street

17:17–17:35 Not yet checked

Model synopsis: A group of people in period Western clothing are gathered outdoors near a stone building; a physical altercation occurs while others watch. One man speaks, questioning the situation and another's tools.

  • A group of people stand together outdoors. [frame:1]
  • A man runs and another man bends over another person on the ground. [frame:2]
  • A man is being held or restrained near a pole. [frame:3]
  • 1 more under Evidence and details.

6 people observed.

“What's going on here. I don't know. Construction engineers right. Don't look like he's using a slide. Now does it.” 17:18

Evidence, details and a link to share

Frame at 17:38, shot 9317:38
1 of 1 shots sampled

50. Street

17:35–17:41 Not yet checked

Model synopsis: A man in a suit is being pushed or shoved by another man near a wooden building, while onlookers in cowboy hats watch. The scene appears to be outdoors during the day, with no dialogue provided in this beat.

  • A man in a suit is shoved or pushed by another man near a wooden building. [frame:1]

6 people observed.

Evidence, details and a link to share

Sequence 34 from 17:41

Frame at 17:43, shot 9417:43
1 of 1 shots sampled

51. Other

17:41–17:44 Not yet checked

Model synopsis: A group of people in Western attire stands outdoors near a wooden structure. One man in a dark coat and hat is centered, with others visible behind and beside him.

5 people observed.

Evidence, details and a link to share

Frame at 17:45, shot 9517:45Frame at 17:53, shot 9617:53
2 of 2 shots sampled

52. Town square

17:44–17:59 Not yet checked

Model synopsis: Two men greet each other by name in an outdoor setting with others present; one man addresses a woman named Barbara. A group stands together as one man asks what the situation is about.

Named: Bill Quantrill (t:17:46), John (t:17:46), Barbara (t:17:46). 6 people observed.

“Thanks. I'm Bill Quantrill. You're welcome. My name's John. Hello, Barbara. Nice to see you. Mr. Bruce and Miss Barbara Bruce.” 17:46 · “- Mr. Nelson, you know,” 17:54

Evidence, details and a link to share

Frame at 18:06, shot 9718:06
1 of 1 shots sampled

53. Street

17:59–18:13 Not yet checked

Model synopsis: A group of men and one woman stand outside a stone building; one man is addressed as 'Corbin' and another as 'Mr. Bruce' in dialogue. The conversation references a fight involving 'Mr. Quantrill' and implies local hostility toward Corbin.

  • A group of six people stand facing each other outdoors near a stone wall. [frame:1]

Named: Corbin (t:18:12), Mr. Bruce (t:17:59). 6 people observed.

“Just an ordinary fight, Mr. Bruce. I saw Mr. Quantrill get jumped by three men and figured the odds were a little heavy.” 17:59 · “What was it all about?” 18:06

Evidence, details and a link to share

Frame at 18:28, shot 9818:28
1 of 1 shots sampled

54. Sidewalk

18:13–18:43 Not yet checked

Model synopsis: A group of men and one woman stand outdoors near a stone building; one man speaks about not returning to work on a railroad and mentions feelings running strong in Kansas. Another man addresses a woman named Barbara before departing.

Named: Nelson (t:18:30), Barbara (t:18:39). 5 people observed.

“Are you all right? Yeah, I'm all right.” 18:16 · “But if he's your new construction engineer, when you go back to work on that railroad of yours, you'll go back without me.” 18:19

Evidence, details and a link to share

Sequence 35 from 18:43

Sequence 36 from 19:01

Frame at 19:18, shot 10019:18
1 of 1 shots sampled

56. Bar

19:01–19:34 Not yet checked

Model synopsis: A group of men and one woman are gathered in a dimly lit interior, discussing signing up for railroad construction jobs and being instructed to watch a new engineer named Nelson. The scene is set in a saloon-like environment with wooden furniture and period attire.

Named: Janice (t:19:18). 5 people observed.

“They're hiring construction hands again Bill looks like the whole town signing up.” 19:08 · “Starts out that way every time until we get busy. Max, you and Stone and Moray.” 19:11

Evidence, details and a link to share

Sequence 37 from 20:10

Sequence 38 from 20:25

Sequence 39 from 20:42

Sequence 40 from 21:05

Frame at 21:19, shot 10921:19Frame at 21:34, shot 11021:34
2 of 2 shots sampled

62. Bar

21:05–21:35 Not yet checked

Model synopsis: A group of men in a dimly lit interior, likely a saloon or office, interact around a table with papers and bottles; one man is instructed to sign a document. Two men in cowboy hats are shown in a close-up, one looking serious, the other smirking.

  • Men gather around a table with papers and bottles. [frame:1]
  • Two men in cowboy hats are shown in close-up, one serious, one smirking. [frame:2]

6 people observed.

“Fill this out and sign at the bottom.” 21:12 · “Do it outside the bottle.” 21:18

Evidence, details and a link to share

Frame at 21:44, shot 11121:44
1 of 1 shots sampled

63. Private office

21:35–21:52 Not yet checked

Model synopsis: A man in a cowboy hat sits at a table while others stand around him; one man leans over the table as if urging action. A voice offers to take over from Mr. Bruce, who is addressed directly, and another voice urges someone to 'Do it out and sign it.'

  • A man leans over a table while others stand around. [frame:1]

Named: Mr. Bruce (t:21:36). 6 people observed.

“Why don't you rest for a while, Mr. Bruce?” 21:36 · “I'll take over for you. Suit yourself.” 21:38

Evidence, details and a link to share

Sequence 41 from 21:52

Frame at 21:53, shot 11221:53
1 of 1 shots sampled

64. Bar

21:52–21:54 Not yet checked

Model synopsis: A man in a cowboy hat and suit sits at a table in a dimly lit interior. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Frame at 21:56, shot 11321:56
1 of 1 shots sampled

65. Private office

21:54–21:58 Not yet checked

Model synopsis: A man in a cowboy hat and fringed shirt sits writing at a table while another man stands behind him with arms crossed. The setting appears to be an interior space with no visible windows or external light sources.

2 people observed.

Evidence, details and a link to share

Frame at 22:25, shot 12022:25Frame at 22:30, shot 12122:30Frame at 22:35, shot 12222:35
3 of 3 shots sampled

67. Bar

22:22–22:38 Not yet checked

Model synopsis: A man in a suit speaks to a group of men in cowboy hats inside a dimly lit room; one man agrees to a proposal and invites others with rifles to see him. The scene shows three distinct shots of the group and the speaker, with no visible outdoor light or clocks.

  • A man in a suit speaks to a group of men in cowboy hats. [frame:1]
  • The man in the suit continues speaking, looking upward. [frame:2]
  • The group of men in cowboy hats listen, some with arms crossed. [frame:3]

5 people observed.

“Pays the same.” 22:22 · “All right.” 22:24

Evidence, details and a link to share

Frame at 22:40, shot 12322:40Frame at 22:44, shot 12422:44Frame at 22:52, shot 12522:52
3 of 3 shots sampled

68. Private office

22:38–23:00 Not yet checked

Model synopsis: Two men discuss hiring armed guards for railroad construction, with one emphasizing cost concerns and the other insisting on necessity. The setting appears to be an indoor office or planning room with minimal furnishings and a desk.

3 people observed.

“What's the idea of that it's for the production of the railroad.” 22:39 · “How many of these armed guards you figuring on hiring?” 22:45

Evidence, details and a link to share

Sequence 42 from 23:00

Frame at 23:06, shot 12623:06Frame at 23:15, shot 12723:15Frame at 23:20, shot 12823:20
3 of 3 shots sampled

69. Railroad camp

23:00–23:22 Not yet checked

Model synopsis: A man in a hat sits at a table while others stand around him; outside, workers lay railroad tracks near a steam train. A voice orders men to form a line and says the speaker will return shortly.

  • A man in a hat sits at a table while others stand around him. [frame:1]
  • Workers lay railroad tracks near a steam train in a camp with tents and mountains in the background. [frame:2]
  • Men in hats and coats bend over railroad ties, working on the track. [frame:3]

5 people observed.

“All right, you men, form another line around here. We don't want to hang around here all day.” 23:00 · “Go down and say that.” 23:07

Evidence, details and a link to share

Frame at 23:24, shot 12923:24Frame at 23:29, shot 13023:29Frame at 23:37, shot 13123:37Frame at 23:43, shot 13223:43
4 of 4 shots sampled

70. Field

23:22–23:44 Not yet checked

Model synopsis: A man in a cowboy hat stands near a wooden structure in a field while other men work on railroad tracks nearby. The name 'Barbara' is spoken during the sequence.

  • A man stands beside a wooden structure in a field. [frame:1]
  • Men work on railroad tracks in the distance. [frame:2]
  • A man with a mustache stands among workers near railroad tracks. [frame:3]
  • 1 more under Evidence and details.

Named: Barbara (t:23:42). 5 people observed.

“Barbara.” 23:42

Evidence, details and a link to share

Frame at 23:48, shot 13323:48Frame at 23:59, shot 13423:59Frame at 24:12, shot 13524:12
3 of 3 shots sampled

71. Railroad track

23:44–24:17 Not yet checked

Model synopsis: Men work on a railroad track near a river while a woman stands on a platform and speaks with a man in a hat. The dialogue suggests a casual, flirtatious tone between characters.

  • Men are working on railroad tracks near a river. [frame:1]
  • A man stands near the tracks while others work in the background. [frame:2]
  • A woman stands on a platform speaking to a man in a hat. [frame:3]

Named: Mr. Nelson (t:24:06). 5 people observed.

“Nice day.” 24:05 · “I hadn't noticed, Mr. Nelson.” 24:06

Evidence, details and a link to share

Frame at 24:22, shot 13624:22
1 of 1 shots sampled

72. Field

24:17–24:26 Not yet checked

Model synopsis: A man carries a wooden beam while another sits on a horse nearby; a covered wagon is visible in the background. The scene appears to be outdoors in a dusty or snowy open area with no clear indoor structure.

  • A man carries a wooden beam across a field. [frame:1]
  • A man sits on a horse in the background. [frame:1]

2 people observed.

Evidence, details and a link to share

Frame at 24:27, shot 13724:27
1 of 1 shots sampled

73. Field

24:26–24:27 Not yet checked

Model synopsis: A man in a hat lies prone on a wooden surface outdoors. The background shows open land with sparse vegetation under overcast skies.

  • A man lies prone on a wooden surface outdoors. [frame:1]

1 person observed.

Evidence, details and a link to share

Frame at 24:28, shot 13824:28
1 of 1 shots sampled

74. Railroad tracks

24:27–24:29 Not yet checked

Model synopsis: A man in a cap pours liquid from a jug onto a person lying on railroad tracks while others watch. The scene is outdoors with no visible buildings or time indicators.

  • A man pours liquid from a jug onto a person lying on railroad tracks. [frame:1]

3 people observed.

Evidence, details and a link to share

Sequence 43 from 24:29

Frame at 24:30, shot 13924:30
1 of 1 shots sampled

75. Field

24:29–24:30 Not yet checked

Model synopsis: A man in a cowboy hat and shirt stands in the foreground, with another man in similar attire visible behind him. The background shows open land with sparse trees under a bright sky.

2 people observed.

Evidence, details and a link to share

Frame at 24:31, shot 14024:31
1 of 1 shots sampled

76. Other

24:30–24:31 Not yet checked

Model synopsis: A man in a cowboy hat and shirt stands in front of a wooden structure with metal railings. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 44 from 24:31

Frame at 24:33, shot 14124:33
1 of 1 shots sampled

77. Steps

24:31–24:34 Not yet checked

Model synopsis: A man in dark clothing kneels beside another person lying on the ground. The scene appears to be outdoors on steps or a rough surface, with no visible text or spoken dialogue.

  • A man kneels beside a person lying on the ground. [frame:1]

2 people observed.

Evidence, details and a link to share

Sequence 45 from 24:34

Frame at 24:37, shot 14224:37Frame at 24:41, shot 14324:41Frame at 24:45, shot 14424:45Frame at 24:48, shot 14524:48
4 of 4 shots sampled

78. Railroad tracks

24:34–24:49 Not yet checked

Model synopsis: A group of men in cowboy hats stand on or near railroad tracks; one man kneels on the tracks while others confront him. A man in a striped shirt and cowboy hat is shown in close-up, looking stern, as dialogue indicates a scolding and an order to return to work.

  • A man kneels on railroad tracks while others stand around him. [frame:1]
  • A man in a striped shirt and cowboy hat looks sternly at the camera. [frame:2]
  • Men stand on railroad tracks with a covered wagon and horses in the background. [frame:3]
  • 1 more under Evidence and details.

Named: Fred (t:24:35). 5 people observed.

“Sorry Fred. Why don't you watch those big clumsy. I didn't do it on purpose. Get your hands off. All right get back to work. Stay out of the…” 24:35 · “Let's go.” 24:46

Evidence, details and a link to share

Frame at 24:54, shot 14624:54Frame at 25:06, shot 14725:06
2 of 2 shots sampled

79. Railroad track

24:49–25:13 Not yet checked

Model synopsis: Two men argue on a railroad track while others watch; one man is told to leave and threatens to throw the other out. The setting is an open outdoor area with railroad tracks and a covered wagon visible.

  • A man stands with his back to the camera on railroad tracks while others gather nearby. [frame:1]
  • Three men face each other in conversation on the tracks, with others watching. [frame:2]

5 people observed.

“Just a minute.” 24:50 · “Get out. You're through.” 24:58

Evidence, details and a link to share

Sequence 46 from 25:13

Frame at 25:16, shot 14825:16
1 of 1 shots sampled

80. Other

25:13–25:19 Not yet checked

Model synopsis: A man in uniform lies on the ground near wooden crates and hay. No dialogue or on-screen text is present in this beat.

  • A man in uniform lies on the ground near wooden crates. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 47 from 25:19

Frame at 25:20, shot 14925:20
1 of 1 shots sampled

81. Other

25:19–25:20 Not yet checked

Model synopsis: Two men are engaged in a physical struggle in an outdoor setting with onlookers and wooden logs nearby. No dialogue or on-screen text is present in this beat.

  • Two men are grappling physically in the center of the frame. [frame:1]

4 people observed.

Evidence, details and a link to share

Sequence 48 from 25:20

Frame at 25:26, shot 15025:26Frame at 25:36, shot 15125:36
2 of 2 shots sampled

82. Town square

25:20–25:40 Not yet checked

Model synopsis: A man in a cowboy hat addresses a crowd from steps while another man is held down on the ground. The speaker warns the crowd to shoot a specific man if seen again and invites others with objections to leave.

  • A man is held down on the ground while another man stands over him. [frame:1]
  • A man stands on steps addressing a crowd. [frame:2]

3 people observed.

“Take a good look at this man, and if any of you see him around here again, shoot him.” 25:27 · “Come on.” 25:30

Evidence, details and a link to share

Sequence 49 from 26:22

Frame at 26:49, shot 15426:49
1 of 1 shots sampled

85. Private office

26:22–27:15 Not yet checked

Model synopsis: A man sits at a table in a dimly lit wooden room while another person moves in the background; dialogue discusses railroad construction, firing workers, and job security. The scene ends with someone being invited to enter.

  • A man sits at a table while another person moves in the background. [frame:1]

Named: Barbara (t:26:44). 3 people observed.

“That's 834 more ties we'll need by the end of the week.” 26:40 · “Provide nobody quits. Or is fired by our new construction engineer. Oh, he was right about firing that fellow today, Barbara.” 26:44

Evidence, details and a link to share

Sequence 50 from 27:15

Frame at 27:48, shot 15527:48
1 of 1 shots sampled

86. Private office

27:15–28:21 Not yet checked

Model synopsis: Two men sit at a table in a dimly lit interior, discussing a labor-saving idea for rail laying using derricks. One man, addressed as Nelson, agrees to the proposal and instructs others to procure materials.

Named: Nelson (t:27:20), Barbara (t:27:24). 3 people observed.

“Hello, Nelson. I'd like to talk with you if you're not busy. Sure, sit down.” 27:20 · “Barbara?” 27:24

Evidence, details and a link to share

Frame at 28:33, shot 15628:33
1 of 1 shots sampled

87. Private office

28:21–28:44 Not yet checked

Model synopsis: Two men sit at a table in an interior setting, engaged in a tense conversation about building a line across Kansas. One man admits he fooled the other, who insists he is not there to fight.

Named: Mr. Bruce (t:28:38). 2 people observed.

“I fooled you didn't I young fella you thought I was gonna give you an argument didn't you yes sir I did.” 28:24 · “And if I had, what would you have done?” 28:29

Evidence, details and a link to share

Frame at 28:56, shot 15728:56
1 of 1 shots sampled

88. Private office

28:44–29:08 Not yet checked

Model synopsis: Two men stand in a wooden-paneled room; one faces the camera while the other has his back turned. Dialogue indicates a reluctant acceptance of authority and a request to drop formal address.

2 people observed.

“Well, I'll admit I didn't like the idea of old man Johnson sending somebody out here to take over.” 28:44 · “But he sent the right man. We'll get along.” 28:50

Evidence, details and a link to share

Frame at 29:27, shot 15829:27Frame at 29:49, shot 15929:49
2 of 2 shots sampled

89. Private office

29:08–29:52 Not yet checked

Model synopsis: A man and a woman are in a wood-paneled room; the man dictates a list of construction materials while the woman writes. The man then addresses the woman by name, expressing hope that she will overcome resentment toward him.

  • Mr. Nelson dictates a list of construction materials to Barber. [frame:1]
  • Barber writes down the list while listening. [frame:1]
  • Mr. Nelson turns to face Barber and speaks to her directly. [frame:2]

Named: Mr. Nelson (t:29:10), Barber (t:29:34). 2 people observed.

“You dictate a list of things you need, Mr. Nelson.” 29:10 · “Let's see I'll need a dozen two by fours eight feet long.” 29:17

Evidence, details and a link to share

Frame at 29:56, shot 16029:56Frame at 30:01, shot 16130:01Frame at 30:09, shot 16330:09Frame at 30:15, shot 16430:15
4 of 5 shots sampled

90. Private office

29:52–30:17 Not yet checked

Model synopsis: A man and a woman have a tense conversation indoors, with the man denying he seeks personal reputation and the woman accusing him of making friendship difficult. The setting appears to be a simple room with wooden walls and minimal furnishings.

2 people observed.

“to get the Kansas Pacific build as soon as we can.” 29:56 · “I'm not a career man, I'm an engineer trying to do a job.” 30:03

Evidence, details and a link to share

Frame at 30:22, shot 16530:22Frame at 30:29, shot 16630:29Frame at 30:36, shot 16730:36
3 of 3 shots sampled

91. Private office

30:17–30:41 Not yet checked

Model synopsis: A woman speaks to a man in a room, expressing resentment that he was sent by the company to replace her father. The man listens, and she states she is trying to persuade her father to leave, though she claims he is appreciated there.

  • The man listens silently while the woman speaks. [frame:2]

Named: Nelson (t:30:18). 2 people observed.

“I'm sorry, Mr. Nelson.” 30:18 · “But I can't very well feel friendly towards someone the company has sent out to replace my father.” 30:23

Evidence, details and a link to share

Frame at 30:58, shot 16830:58
1 of 1 shots sampled

92. Private office

30:41–31:14 Not yet checked

Model synopsis: A man and a woman stand in a dimly lit wooden interior, exchanging a somber conversation that ends with mutual apologies; a second man enters and greets the first by name. The setting appears to be a private office or similar enclosed space.

  • A man and a woman stand facing each other in a wooden room, speaking softly. [frame:1]

Named: Janelle (t:30:45), Joe (t:31:10). 3 people observed.

“I wish I could, Miss Janelle.” 30:45 · “You will.” 30:46

Evidence, details and a link to share

Sequence 51 from 31:14

Sequence 52 from 31:41

Frame at 31:51, shot 17131:51
1 of 1 shots sampled

95. Train

31:41–32:02 Not yet checked

Model synopsis: Two men in Western attire stand near a train, discussing suspicions about a person named Nelson. One man warns the other not to speak further and bids him good night.

  • Two men stand near a train, one holding a pipe, the other in a hat. [frame:1]

Named: Joe (t:31:59). 2 people observed.

“That fella Nelson don't talk like a railroad man. You know something else?” 31:43 · “I've never seen a car.” 31:47

Evidence, details and a link to share

Sequence 53 from 32:02

Sequence 54 from 32:32

Frame at 32:46, shot 17332:46
1 of 1 shots sampled

97. Private office

32:32–33:01 Not yet checked

Model synopsis: A group of men in a dimly lit interior discuss supplies needed for a task, listing specific quantities of rails, ties, dynamite, and tools. One man in a suit holds papers while others, including one seated with a hat, listen or participate.

  • A man in a suit reads from a list of supplies while others look on. [frame:1]
  • The group is gathered in an office-like setting discussing logistics. [frame:1]

4 people observed.

“Following supplies needed.” 32:46 · “850 ties, 150 rails, 25 cases dynamite, 200 feet fuse, 10 sledges with extra handles, 12 2x4s, 8 feet long.” 32:47

Evidence, details and a link to share

Frame at 33:14, shot 17433:14
1 of 1 shots sampled

98. Other

33:01–33:28 Not yet checked

Model synopsis: Four men in period Western attire stand in a dimly lit interior, discussing dynamite and a train. One man speaks of stopping a railway line without bloodshed, while another mentions Nelson and a match.

  • Four men stand in a dim interior, engaged in conversation. [frame:1]

4 people observed.

“The only thing that sounds good is the twenty five case that dynamite a lot of stuff they're ordering.” 33:02 · “Sounds like it's almost worth wrecking that train to get rid of. No I've got other plans for that train when the time comes. What you said…” 33:08

Evidence, details and a link to share

Sequence 55 from 33:46

Frame at 33:50, shot 17633:50Frame at 33:55, shot 17733:55Frame at 34:03, shot 17834:03
3 of 3 shots sampled

100. Field

33:46–34:10 Not yet checked

Model synopsis: Two men in hats and shirts are outdoors near a tent and wooden rails, discussing their pace and upcoming terrain. One man is seen at a drafting table, then standing with another man in a rocky landscape.

  • A man stands at a drafting table beside a tent. [frame:1]
  • A man stands near wooden rails with others in the background. [frame:2]
  • Two men stand together near a drafting table with rocky terrain behind them. [frame:3]

4 people observed.

“Bill? John, we're doing fine.” 34:01 · “We ought to be able to keep this pace up for a few more days.” 34:03

Evidence, details and a link to share

Sequence 56 from 34:10

Frame at 34:28, shot 17934:28
1 of 1 shots sampled

101. Field

34:10–34:46 Not yet checked

Model synopsis: Two men in cowboy hats discuss a railway route adjustment in an outdoor setting, with one advising the other to carry side arms. The conversation references terrain, tunnel avoidance, and material costs for the revised path.

  • Two men stand outdoors discussing railway construction. [frame:1]

Named: John (t:34:26), Cal (t:34:30). 3 people observed.

“We won't have the tunnel.” 34:10 · “All right. Well, John, I want to give you a little advice.” 34:26

Evidence, details and a link to share

Frame at 34:49, shot 18034:49Frame at 34:55, shot 18134:55Frame at 35:00, shot 18235:00
3 of 3 shots sampled

102. Field

34:46–35:02 Not yet checked

Model synopsis: Two men in cowboy hats discuss railway construction measurements while a woman stands nearby; one man later examines a small object. The conversation includes calculations about rail lengths for curved track sections.

  • Two men in cowboy hats stand at a table outdoors, one writing or pointing. [frame:1]
  • A woman stands in a field holding a rope or strap, looking off-camera. [frame:2]
  • Two men in cowboy hats examine a small object held by one of them. [frame:3]

4 people observed.

“Yeah, these two curves here will run three-eighths of a mile more than a straightaway.” 34:47 · “660 rails at a mile, we'll need 248 more rails.” 34:53

Evidence, details and a link to share

Sequence 57 from 35:02

Sequence 58 from 35:11

Sequence 59 from 35:32

Frame at 35:50, shot 18535:50
1 of 1 shots sampled

105. Vehicle interior

35:32–36:08 Not yet checked

Model synopsis: A man in a hat and work clothes stands on a truck loaded with crates labeled 'DYNAMITE', while transcript lines suggest someone is impatiently waiting and expressing nervousness about a train. No named characters appear, and the setting is outdoors near a vehicle carrying explosives.

  • A man stands on a truck loaded with crates labeled 'DYNAMITE'. [frame:1]

1 person observed.

“Where have you been we've been waiting for hours with the happiness me and get your folder and I don't my train it's making me nervous.” 35:36 · “I'm.” 35:44

Evidence, details and a link to share

Sequence 60 from 36:08

Frame at 36:13, shot 18636:13Frame at 36:22, shot 18736:22
2 of 2 shots sampled

106. Railroad construction site

36:08–36:26 Not yet checked

Model synopsis: Two men in cowboy hats are present at a railroad construction site; one stands on a flatcar near a crane, while another on horseback watches as a third man works with a tool. One man says he is going to leave.

  • A man stands on a flatcar near a crane at a railroad site. [frame:1]
  • A man on horseback watches another man working with a tool. [frame:2]

3 people observed.

“Come on.” 36:21 · “I'm going to go.” 36:22

Evidence, details and a link to share

Frame at 36:28, shot 18836:28Frame at 36:31, shot 18936:31Frame at 36:40, shot 19136:40Frame at 36:47, shot 19236:47
4 of 5 shots sampled

107. Field

36:26–36:51 Not yet checked

Model synopsis: A group of men in Western attire are working with wooden logs outdoors; one man is on horseback while another bends over bushes near rocks. A voice says "Oh" and then "Come on."

  • Men handle wooden logs in an open field. [frame:1]
  • A man on horseback looks forward. [frame:2]
  • A man on horseback holds a hat in his hand. [frame:3]
  • 1 more under Evidence and details.

4 people observed.

“Oh.” 36:40 · “Come on.” 36:44

Evidence, details and a link to share

Frame at 36:55, shot 19336:55Frame at 37:19, shot 19537:19Frame at 37:38, shot 19837:38Frame at 37:47, shot 20037:47
4 of 8 shots sampled

108. Railroad

36:51–37:49 Not yet checked

Model synopsis: A man in Western attire is seen near a train and a tent in an outdoor setting. Dialogue includes a demand to let go and a challenge about bringing something on the job.

  • A man stands near a freight car on a railroad. [frame:1]
  • A man crouches beside a train car, holding something small. [frame:2]
  • A man stands by a tent with a table, looking off-camera. [frame:3]
  • 1 more under Evidence and details.

3 people observed.

“What are you doing here?” 37:23 · “Let go of me.” 37:28

Evidence, details and a link to share

Sequence 61 from 37:49

Frame at 37:51, shot 20137:51
1 of 1 shots sampled

109. Field

37:49–37:52 Not yet checked

Model synopsis: A person walks on a wooden structure near stacked crates in an open field. The sky is overcast and no interior is visible.

  • A person walks across wooden planks near stacked crates. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 62 from 37:52

Frame at 37:54, shot 20237:54
1 of 1 shots sampled

110. Field

37:52–37:55 Not yet checked

Model synopsis: A man in a cowboy hat and dark coat stands behind a rock, holding a rifle. The background shows hills under a bright sky.

1 person observed.

Evidence, details and a link to share

Sequence 63 from 37:55

Frame at 37:56, shot 20337:56
1 of 1 shots sampled

111. Field

37:55–37:57 Not yet checked

Model synopsis: An explosion erupts in an open outdoor area. No people, vehicles, or structures are visible in the frame.

  • A large explosion occurs in an open area. [frame:1]

Evidence, details and a link to share

Sequence 64 from 37:57

Frame at 37:58, shot 20437:58
1 of 1 shots sampled

112. Train

37:57–37:59 Not yet checked

Model synopsis: A group of men in Western attire stands near a train car labeled 'KANSAS'. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 65 from 37:59

Frame at 38:01, shot 20538:01
1 of 1 shots sampled

113. Field

37:59–38:02 Not yet checked

Model synopsis: A wide shot shows a dusty, open landscape under a dramatic sky with swirling clouds and a single small cloud. A vehicle is visible in the distance on the right, and a pole stands near it.

Evidence, details and a link to share

Sequence 66 from 38:02

Frame at 38:06, shot 20638:06
1 of 1 shots sampled

114. Train

38:02–38:10 Not yet checked

Model synopsis: Two men are seen grappling near a train in a gravel area. No dialogue or on-screen text is present in this beat.

  • Two men are grappling near a train. [frame:1]

2 people observed.

Evidence, details and a link to share

Sequence 67 from 38:10

Frame at 38:11, shot 20738:11
1 of 1 shots sampled

115. Field

38:10–38:13 Not yet checked

Model synopsis: A man in a hat and coat holds a rifle behind rocks. No dialogue or on-screen text is present in this beat.

  • man crouches behind rocks holding a rifle [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 68 from 38:13

Frame at 38:23, shot 20838:23Frame at 38:42, shot 20938:42
2 of 2 shots sampled

116. Railway construction site

38:13–38:52 Not yet checked

Model synopsis: A group of men in hats and work clothes stand on a railway construction site; one man announces they will take the rest of the day off after a dangerous incident involving dynamite. Several workers express fear and announce they are quitting.

  • Men stand in a circle on a railway site after an incident. [frame:1]
  • Men converse closely; one man gestures while speaking. [frame:2]

5 people observed.

“Nothing we can do for him, men. Let's get back to work.” 38:23 · “We got tractor laymen. Not me, mister.” 38:28

Evidence, details and a link to share

Sequence 69 from 39:08

Frame at 39:15, shot 21139:15
1 of 1 shots sampled

118. Other

39:08–39:21 Not yet checked

Model synopsis: Three men in cowboy hats stand outdoors near wooden planks; one speaks of hearing a gunshot before an explosion. No names are spoken, and the setting appears to be a construction or rail yard.

  • Three men stand near wooden planks and discuss hearing a gunshot before an explosion. [frame:1]

3 people observed.

“We're in trouble, Jan.” 39:13 · “I know it.” 39:14

Evidence, details and a link to share

Sequence 70 from 39:21

Sequence 71 from 39:35

Sequence 72 from 39:42

Frame at 39:47, shot 21539:47Frame at 39:56, shot 21639:56
2 of 2 shots sampled

121. Field

39:42–40:00 Not yet checked

Model synopsis: Two men in cowboy hats stand outdoors near rocks; one speaks while another listens. A third man in a cap joins them, and they converse. The dialogue suggests suspicion about a staged fight and an intent to interrogate someone.

  • A man in a cowboy hat stands with hand to mouth. [frame:1]
  • Three men stand together talking; one gestures while speaking. [frame:2]

3 people observed.

“No accident.” 39:50 · “No, and I think that fight was stage two. We'll soon find out. I'll make one of those monkeys talk about it. They've had plenty of time to…” 39:52

Evidence, details and a link to share

Frame at 40:22, shot 21740:22
1 of 1 shots sampled

122. Other

40:00–40:43 Not yet checked

Model synopsis: Three men in cowboy hats discuss sabotage and casualties affecting a construction project, with one man seated and two standing. They speak of an organized effort to stop the project and compare the situation to war.

3 people observed.

“There isn't much more we can do, except wait until tomorrow morning and find out how many men we still got working for us. What about the m…” 40:01 · “But there's somebody, somebody who's determined to keep this line from going through.” 40:13

Evidence, details and a link to share

Sequence 73 from 40:43

Frame at 41:11, shot 21841:11
1 of 1 shots sampled

123. Private office

40:43–41:38 Not yet checked

Model synopsis: A man and a woman are in a dimly lit room with another man standing nearby; the dialogue reveals plans to use dynamite on a locomotive and a dispute over sending the woman to Rockwood for safety. The woman declares she will quit if sent away, and asks her father for his opinion.

Named: Barbara (t:41:08), Mr. Nelson (t:41:29). 4 people observed.

“Now they got less than half the men they started with.” 40:43 · “There's still a couple of cases in the tool, Ted.” 40:50

Evidence, details and a link to share

Sequence 74 from 41:38

Frame at 41:56, shot 22041:56Frame at 42:05, shot 22142:05
2 of 2 shots sampled

125. Private office

41:49–42:08 Not yet checked

Model synopsis: Three people are in a dimly lit interior space, discussing the necessity of completing work on the Kansas Pacific railroad before a potential war. One man insists on staying because he and Barbara are needed, while another man listens and then speaks directly to Barbara.

  • Three people stand in a dim room; one man speaks to a woman while another listens. [frame:1]
  • A man in a checkered shirt speaks intently to a woman off-screen. [frame:2]

Named: Barbara (t:41:51), Barbara (t:41:51). 3 people observed.

“Well, let's let him have what he wants.” 41:49 · “We'll go back. No, I'm going to stay Barbara because I'm needed and so are you. We've got to finish this before the war begins.” 41:51

Evidence, details and a link to share

Frame at 42:11, shot 22242:11Frame at 42:21, shot 22342:21Frame at 42:30, shot 22442:30
3 of 3 shots sampled

126. Private office

42:08–42:32 Not yet checked

Model synopsis: A woman in a polka-dot blouse speaks urgently to a man in a checkered shirt while another man watches; the dialogue references a military project and a need for the man's help. The setting is an interior room with dim lighting and a hanging lamp visible.

3 people observed.

“I'm sorry I didn't tell you about it before, but I couldn't.” 42:18 · “that we need you.” 42:26

Evidence, details and a link to share

Frame at 42:43, shot 22542:43
1 of 1 shots sampled

127. Private office

42:32–42:54 Not yet checked

Model synopsis: Three people stand in a dimly lit interior space; two men and one woman are shown in profile and three-quarter view. One man says good night to another, and lines suggest an offer to help and a hope that talk is all it is.

  • Three people stand facing each other in a dimly lit room. [frame:1]

Named: Cal (t:42:49), John (t:42:49). 4 people observed.

“I hope it is just talk.” 42:33 · “I'll help him.” 42:39

Evidence, details and a link to share

Sequence 75 from 42:54

Frame at 43:02, shot 22643:02Frame at 43:11, shot 22743:11Frame at 43:14, shot 22843:14Frame at 43:18, shot 22943:18
4 of 4 shots sampled

128. Private office

42:54–43:19 Not yet checked

Model synopsis: A man in a cowboy hat and a woman in a polka-dot dress interact in a dimly lit interior; she speaks to him and he responds, with dialogue indicating a shift in their formality. The setting appears to be a rustic room with minimal furnishings.

  • The man looks up toward the woman. [frame:1]
  • The woman gestures with her hand while speaking. [frame:2]
  • The man holds the woman's hand and looks at her. [frame:3]
  • 1 more under Evidence and details.

Named: John (t:43:00). 2 people observed.

“John.” 43:00 · “Couldn't I stay here and help just as well?” 43:05

Evidence, details and a link to share

Sequence 76 from 43:39

Frame at 43:50, shot 23243:50
1 of 1 shots sampled

130. Camp

43:39–44:02 Not yet checked

Model synopsis: Two men are near a tent at night; one stands while the other sits holding a rifle. No names are spoken, and no time of day or period is established beyond the darkness.

  • A man stands near a tent while another sits holding a rifle. [frame:1]

2 people observed.

“Oh.” 43:50

Evidence, details and a link to share

Sequence 77 from 44:02

Frame at 44:03, shot 23344:03
1 of 1 shots sampled

131. Other

44:02–44:05 Not yet checked

Model synopsis: A man in a striped shirt and vest stands in a dimly lit interior, holding a small object aloft. The space contains barrels and a table with a hat and other items.

  • A man holds up a small object in a dim interior. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 78 from 44:05

Sequence 79 from 44:07

Sequence 80 from 44:17

Sequence 81 from 46:56

Sequence 82 from 46:59

Frame at 47:05, shot 23847:05
1 of 1 shots sampled

136. Saloon

46:59–47:11 Not yet checked

Model synopsis: A group of men in hats sit at tables in a dimly lit interior space with wooden furniture and a staircase. No dialogue or on-screen text is present in the frames or transcript for this beat.

5 people observed.

Evidence, details and a link to share

Frame at 47:12, shot 23947:12Frame at 47:16, shot 24047:16Frame at 47:24, shot 24147:24Frame at 47:31, shot 24247:31
4 of 4 shots sampled

137. Bar

47:11–47:32 Not yet checked

Model synopsis: A man in a cowboy hat is seen behind a wooden barrier and then inside a saloon with other men. A saddlebag is shown in close-up, and two men sit at a table with cards and drinks. One man says he is going to leave, and another orders him to keep his hands visible and open the saddlebags.

  • A saddlebag is shown in close-up, strapped to a chair. [frame:1]
  • A man in a cowboy hat stands behind a wooden barrier, looking toward the camera. [frame:2]
  • Men in cowboy hats are in a saloon; one walks through the room while others sit at tables. [frame:3]
  • 1 more under Evidence and details.

4 people observed.

“I'm going to go.” 47:13 · “Keep your hands where I can see them and open up those saddlebags.” 47:28

Evidence, details and a link to share

Frame at 47:35, shot 24347:35
1 of 1 shots sampled

138. Bar

47:32–47:38 Not yet checked

Model synopsis: A group of men in period Western attire are gathered around a table with cards and money, inside a wooden building. One man stands holding a pistol while others watch or lean over the table.

4 people observed.

Evidence, details and a link to share

Frame at 47:41, shot 24447:41Frame at 47:45, shot 24547:45
2 of 2 shots sampled

139. Saloon

47:38–47:47 Not yet checked

Model synopsis: A man in a cowboy hat holds a pistol while demanding someone open saddlebags. Two other men sit at a table with cards and a glass, one reaching for a card while the other watches.

  • Man in checkered shirt holds pistol and demands saddlebags be opened. [frame:1]
  • Two men sit at table with cards and glass; one reaches for card. [frame:2]

3 people observed.

“Open those saddlebags or I'll put a bullet in them.” 47:41

Evidence, details and a link to share

Frame at 47:48, shot 24647:48
1 of 1 shots sampled

140. Private office

47:47–47:49 Not yet checked

Model synopsis: A man in a cowboy hat and suit stands indoors holding a cigar. The setting includes a patterned wall and a staircase, suggesting an interior space from a 1950s Western film.

1 person observed.

Evidence, details and a link to share

Frame at 47:50, shot 24747:50Frame at 47:56, shot 24947:56Frame at 48:03, shot 25248:03Frame at 48:09, shot 25448:09
4 of 8 shots sampled

141. Bar

47:49–48:12 Not yet checked

Model synopsis: A man in a cowboy hat speaks in a saloon while others stand or sit nearby. A countdown is heard, followed by a plea to stop.

  • Man in cowboy hat looks forward, mouth slightly open. [frame:1]
  • Man in cowboy hat speaks, mouth open. [frame:2]
  • Man in cowboy hat stands near bar, others visible in background. [frame:3]
  • 1 more under Evidence and details.

5 people observed.

“You got five seconds.” 47:49 · “One.” 47:52

Evidence, details and a link to share

Frame at 48:13, shot 25548:13
1 of 1 shots sampled

142. Private office

48:12–48:14 Not yet checked

Model synopsis: A man in a cowboy hat and checkered shirt holds a pistol indoors while another man stands in the background. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Frame at 48:17, shot 25648:17Frame at 48:20, shot 25748:20
2 of 2 shots sampled

143. Bar

48:14–48:21 Not yet checked

Model synopsis: A man in a cowboy hat sits at a table with a jacket and glass, while another man in a suit and bow tie stands nearby holding a bottle. The setting appears to be an interior space with wooden fixtures and a sign visible in the background.

2 people observed.

Evidence, details and a link to share

Frame at 48:23, shot 25848:23Frame at 48:27, shot 25948:27Frame at 48:34, shot 26148:34Frame at 48:38, shot 26248:38
4 of 5 shots sampled

144. Bar

48:21–48:40 Not yet checked

Model synopsis: Two men in cowboy hats confront each other inside a saloon while others watch; one man holds a pistol. A voice demands the arrest of men who assaulted a guard and stole dynamite from the Kansas Pacific, mentioning a third man lying on the prairie.

  • A man in a vest and hat stands facing another man holding a pistol. [frame:1]
  • Two men stand face to face; one holds a pistol. [frame:2]
  • A man in a vest turns away from another man near a table. [frame:3]
  • 1 more under Evidence and details.

6 people observed.

“What's the trouble here?” 48:22 · “I want these men arrested.” 48:24

Evidence, details and a link to share

Frame at 49:00, shot 26449:00Frame at 49:07, shot 26549:07Frame at 49:13, shot 26649:13
3 of 3 shots sampled

146. Bar

48:57–49:14 Not yet checked

Model synopsis: A man in a cowboy hat speaks to a group in a saloon-style room, offering double pay to return to work; two men accept. The setting includes wooden tables, chairs, and wall-mounted pictures.

  • A man in a cowboy hat stands at a table with hats and glasses. [frame:1]
  • Several men in cowboy hats gather in a bar, listening to Mr. Nelson. [frame:2]
  • Mr. Nelson stands again at the table, looking toward the group. [frame:3]

Named: Mr. Nelson (t:49:04). 4 people observed.

“Well, I'm offering you extra wages to come back.” 48:57 · “Double pay for every man who stays with the line until we hit the Colorado border.” 49:00

Evidence, details and a link to share

Frame at 49:19, shot 26749:19Frame at 49:37, shot 26849:37
2 of 2 shots sampled

147. Bar

49:14–49:52 Not yet checked

Model synopsis: Two men converse at a bar while others are present; one offers drinks and the other accepts, followed by a toast and a comment about suspicion. The setting is a crowded saloon with wooden furniture and period attire.

  • Patrons are gathered in a crowded bar, some standing, some seated. [frame:1]
  • Two men stand at the bar counter, conversing while a bartender serves them. [frame:2]

Named: Nelson (t:49:24), Chuck (t:49:29). 5 people observed.

“Right now, the drinks are on me.” 49:15 · “Have a drink with me, Nelson. I owe you one.” 49:24

Evidence, details and a link to share

Frame at 49:56, shot 26949:56Frame at 50:03, shot 27050:03Frame at 50:12, shot 27250:12Frame at 50:15, shot 27350:15
4 of 5 shots sampled

148. Bar

49:52–50:17 Not yet checked

Model synopsis: Two men in cowboy hats have a tense conversation indoors; one holds a glass. The dialogue references a recent killing and a threat involving dynamite.

  • Two men stand facing each other indoors, one holding a glass. [frame:1]
  • The man in the suit speaks with a serious expression. [frame:2]
  • The man in the suit continues speaking, looking concerned. [frame:3]
  • 1 more under Evidence and details.

Named: Nelson (t:50:11). 2 people observed.

“I hope you didn't, Quantrill.” 49:53 · “Two men were killed today.” 49:55

Evidence, details and a link to share

Sequence 83 from 50:35

Frame at 50:41, shot 27650:41
1 of 1 shots sampled

150. Porch

50:35–50:48 Not yet checked

Model synopsis: A man in a hat and vest stands on a wooden porch next to stacked crates while another person is partially visible behind him. The scene is dimly lit and appears to be at night or in shadow.

2 people observed.

Evidence, details and a link to share

Sequence 84 from 50:48

Sequence 85 from 51:13

Sequence 86 from 51:22

Frame at 51:24, shot 28151:24
1 of 1 shots sampled

153. Field

51:22–51:27 Not yet checked

Model synopsis: A group of men in hats are gathered around a saddled horse in an outdoor setting with trees. No dialogue or on-screen text is present in this beat.

3 people observed.

Evidence, details and a link to share

Sequence 87 from 51:27

Sequence 88 from 51:29

Frame at 51:32, shot 28351:32
1 of 1 shots sampled

155. Forest

51:29–51:34 Not yet checked

Model synopsis: Three men on horseback are shown in a wooded outdoor area. No dialogue or on-screen text is present in this beat.

  • Three men on horseback move through a wooded area. [frame:1]

3 people observed.

Evidence, details and a link to share

Sequence 89 from 51:34

Sequence 90 from 51:38

Frame at 51:40, shot 28551:40
1 of 1 shots sampled

157. Train

51:38–51:43 Not yet checked

Model synopsis: Two men are inside a train car; one stands near a window while the other sits beside a wooden crate. The setting is dimly lit with visible rivets on metal walls, suggesting an industrial interior.

2 people observed.

Evidence, details and a link to share

Sequence 91 from 51:43

Frame at 51:49, shot 28751:49Frame at 51:54, shot 28851:54
2 of 2 shots sampled

159. Train

51:47–51:55 Not yet checked

Model synopsis: Two men are on a train, one looking ahead while the other turns toward him; the train approaches rocks on the tracks. The transcript indicates concern about rocks obstructing the railway.

  • Two men are seated on a moving train, one facing forward, the other turning toward him. [frame:1]
  • The train approaches large rocks lying on the tracks ahead. [frame:2]

2 people observed.

“What's the matter? Rocks. Rocks.” 51:48

Evidence, details and a link to share

Sequence 92 from 51:55

Frame at 51:58, shot 28951:58
1 of 1 shots sampled

160. Train

51:55–52:01 Not yet checked

Model synopsis: A man in a hat and coat is visible clinging to the side of a moving train. No dialogue or on-screen text is present in this beat.

  • A man is clinging to the side of a moving train. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 93 from 52:01

Frame at 52:03, shot 29052:03Frame at 52:08, shot 29152:08Frame at 52:12, shot 29252:12
3 of 3 shots sampled

161. Railroad

52:01–52:13 Not yet checked

Model synopsis: Two men stand near railroad tracks as a steam locomotive approaches; one man is visible in the engine cab. A voice says "Come on" and then "Amen."

  • A steam locomotive approaches on railroad tracks. [frame:1]
  • Two men stand near large rocks beside the tracks. [frame:2]
  • A man is visible in the cab of the locomotive. [frame:3]

3 people observed.

“Come on.” 52:05 · “Amen.” 52:11

Evidence, details and a link to share

Frame at 52:14, shot 29352:14
1 of 1 shots sampled

162. Field

52:13–52:15 Not yet checked

Model synopsis: Three riders on horseback are visible on a grassy, rocky hillside. No dialogue or on-screen text is present in this beat.

3 people observed.

Evidence, details and a link to share

Sequence 94 from 52:15

Frame at 52:16, shot 29452:16
1 of 1 shots sampled

163. Train

52:15–52:17 Not yet checked

Model synopsis: A person in a hat and coat is visible inside a train cab, looking out the window. The scene is shot in black and white with high contrast lighting.

1 person observed.

Evidence, details and a link to share

Sequence 95 from 52:17

Sequence 96 from 52:18

Sequence 97 from 52:20

Frame at 52:21, shot 29752:21
1 of 1 shots sampled

166. Field

52:20–52:22 Not yet checked

Model synopsis: A man in work clothes stands beside a large rock near railroad tracks, with smoke rising nearby. The setting is outdoors in daylight with trees in the background.

  • A man stands beside a large rock near railroad tracks with smoke rising nearby. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 98 from 52:22

Frame at 52:24, shot 29852:24
1 of 1 shots sampled

167. Field

52:22–52:26 Not yet checked

Model synopsis: A group of riders on horseback is seen moving across a rocky, grassy hillside. The scene is outdoors in natural daylight, with no visible structures or dialogue.

  • Riders on horseback move across a rocky, grassy hillside. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 99 from 52:31

Frame at 52:34, shot 30052:34
1 of 1 shots sampled

169. Field

52:31–52:37 Not yet checked

Model synopsis: Two men in dark clothing crouch beside railroad tracks near large rocks in an open, brushy landscape. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Sequence 100 from 52:37

Frame at 52:38, shot 30152:38
1 of 1 shots sampled

170. Field

52:37–52:39 Not yet checked

Model synopsis: A man in a hat crouches behind rocks in an outdoor setting with horses nearby. Dust or smoke is visible in the air, suggesting recent movement or disturbance.

  • A man crouches behind rocks while horses stand nearby in a dusty environment. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 101 from 52:39

Frame at 52:42, shot 30252:42
1 of 1 shots sampled

171. Train

52:39–52:44 Not yet checked

Model synopsis: Two men are shown near a train; one is climbing onto the train while the other assists from below. The scene is shot in black and white with high-contrast lighting.

  • One man climbs onto a train while another assists him from below. [frame:1]

2 people observed.

Evidence, details and a link to share

Sequence 102 from 52:44

Frame at 52:45, shot 30352:45
1 of 1 shots sampled

172. Field

52:44–52:46 Not yet checked

Model synopsis: A group of men in hats crouch behind rocks in tall grass, with horses visible behind them. No dialogue or on-screen text is present in this beat.

3 people observed.

Evidence, details and a link to share

Sequence 103 from 52:46

Frame at 52:46, shot 30452:46
1 of 1 shots sampled

173. Train

52:46–52:47 Not yet checked

Model synopsis: Two men are seen near a train; one climbs onto the train while the other stands below holding a pistol. The scene is in black and white and appears to be set outdoors at night or in low light.

  • A man climbs onto a train while another man stands below holding a pistol. [frame:1]

2 people observed.

Evidence, details and a link to share

Sequence 104 from 52:47

Frame at 52:48, shot 30552:48
1 of 1 shots sampled

174. Field

52:47–52:48 Not yet checked

Model synopsis: Two men in hats are positioned behind a large rock in an outdoor setting with tall grass. One man is visible on the left, while the other is partially obscured by smoke or dust on the right.

2 people observed.

Evidence, details and a link to share

Sequence 105 from 52:48

Frame at 52:51, shot 30652:51
1 of 1 shots sampled

175. Train

52:48–52:53 Not yet checked

Model synopsis: A man in a hat reaches up to another man on a train, who is handing down an object. The scene is dimly lit and appears to take place at night or in shadow.

  • A man on the ground reaches up to receive an object from a man on a train. [frame:1]

2 people observed.

Evidence, details and a link to share

Sequence 106 from 52:53

Frame at 52:54, shot 30752:54
1 of 1 shots sampled

176. Factory

52:53–52:54 Not yet checked

Model synopsis: A man in dark clothing and a cap is visible in a dimly lit industrial interior, leaning over machinery. No dialogue or on-screen text is present.

1 person observed.

Evidence, details and a link to share

Sequence 107 from 52:54

Frame at 52:55, shot 30852:55
1 of 1 shots sampled

177. Train

52:54–52:56 Not yet checked

Model synopsis: A person is seated on the rear platform of a train car, viewed from behind, with cargo visible nearby. The scene is in black and white and appears to be shot from a low angle.

1 person observed.

Evidence, details and a link to share

Sequence 108 from 52:56

Frame at 52:58, shot 30952:58
1 of 1 shots sampled

178. Field

52:56–52:59 Not yet checked

Model synopsis: A person in a hat crouches behind rocks in tall grass while horses stand nearby. The scene is outdoors in natural daylight with no visible structures.

  • A person crouches behind rocks in tall grass. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 109 from 52:59

Frame at 52:59, shot 31052:59
1 of 1 shots sampled

179. Train

52:59–53:00 Not yet checked

Model synopsis: A person wearing a cowboy hat is visible inside a train cab, looking out the window. The setting is the interior of a train, with metal framing and rivets visible.

1 person observed.

Evidence, details and a link to share

Sequence 110 from 53:00

Sequence 111 from 53:03

Frame at 53:04, shot 31253:04
1 of 1 shots sampled

181. Field

53:03–53:04 Not yet checked

Model synopsis: Two men in hats are positioned behind a large rock outdoors; one aims a rifle while the other holds a pistol. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Sequence 112 from 53:04

Frame at 53:05, shot 31353:05
1 of 1 shots sampled

182. Train

53:04–53:05 Not yet checked

Model synopsis: A person is visible inside a train cab, seen through a window. The setting is the interior of a moving train, with no spoken dialogue or on-screen text in this beat.

  • A person is visible inside the cab of a train. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 113 from 53:05

Frame at 53:08, shot 31453:08Frame at 53:14, shot 31553:14Frame at 53:17, shot 31653:17
3 of 3 shots sampled

183. Field

53:05–53:18 Not yet checked

Model synopsis: Two men in cowboy hats take cover behind a large rock while shouting commands to shoot and get down. A third man is briefly visible inside a metal structure, possibly a train car, during the same sequence.

  • Two men crouch behind a rock, one holding a rifle. [frame:1]
  • A man is seen inside a metal structure with rivets and pipes. [frame:2]
  • The two men behind the rock remain in position, one looking alert. [frame:3]

3 people observed.

“Keep shooting. We'll get him.” 53:07 · “Yeah, go nowhere.” 53:09

Evidence, details and a link to share

Frame at 53:26, shot 31753:26Frame at 53:34, shot 31853:34
2 of 2 shots sampled

184. Vehicle interior

53:18–53:35 Not yet checked

Model synopsis: Two men in cowboy hats are inside a train cab, discussing how to handle rocks on the track; one says he will handle the threat while the other tries to manage the throttle. In another shot, two men with rifles are positioned behind a large rock outdoors, suggesting they are preparing for an ambush.

  • Two men with rifles are positioned behind a large rock outdoors. [frame:2]

4 people observed.

“Can the engine shove those rocks off the track?” 53:20 · “But we'd be going so slow when they got by them, they could shoot right into the cab. I'll take care of that.” 53:23

Evidence, details and a link to share

Sequence 114 from 53:35

Frame at 53:38, shot 31953:38
1 of 1 shots sampled

185. Railway track

53:35–53:41 Not yet checked

Model synopsis: A steam locomotive pulling a coal car and passenger cars travels along a track through a wooded area. No people are visible in the frame, and no dialogue or on-screen text is present.

Evidence, details and a link to share

Sequence 115 from 53:41

Sequence 116 from 53:47

Frame at 53:49, shot 32153:49
1 of 1 shots sampled

187. Railroad

53:47–53:50 Not yet checked

Model synopsis: A steam locomotive moves along tracks with smoke rising from its stack. The train is carrying a load of rocks or coal in its tender.

  • A steam locomotive is moving along tracks. [frame:1]

Evidence, details and a link to share

Sequence 117 from 53:50

Frame at 53:52, shot 32253:52
1 of 1 shots sampled

188. Train

53:50–53:54 Not yet checked

Model synopsis: A dark, low-angle shot shows part of a train wheel and undercarriage in motion. No people, dialogue, or on-screen text are visible.

  • A train wheel and undercarriage are visible in motion. [frame:1]

Evidence, details and a link to share

Sequence 118 from 53:54

Frame at 53:56, shot 32353:56
1 of 1 shots sampled

189. Field

53:54–53:58 Not yet checked

Model synopsis: Two men in cowboy hats are crouched behind a large rock in a grassy, outdoor setting. One man holds a pistol and aims it forward while the other looks on.

2 people observed.

Evidence, details and a link to share

Sequence 119 from 53:58

Sequence 120 from 54:04

Frame at 54:04, shot 32554:04
1 of 1 shots sampled

191. Field

54:04–54:05 Not yet checked

Model synopsis: A man in a hat aims a rifle from behind a rock as smoke billows nearby. No dialogue or on-screen text is present in this beat.

  • A man aims a rifle from behind a rock while smoke rises nearby. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 121 from 54:05

Frame at 54:06, shot 32654:06
1 of 1 shots sampled

192. Forest

54:05–54:07 Not yet checked

Model synopsis: A man stands on the footplate of a steam locomotive pulling a freight car loaded with logs. The train is on a gravel track in a wooded area.

  • man stands on locomotive footplate [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 122 from 54:07

Frame at 54:07, shot 32754:07
1 of 1 shots sampled

193. Train

54:07–54:08 Not yet checked

Model synopsis: A person in a hat leans out of a train window, resting an arm on the sill. The scene is shot in black and white with high contrast lighting.

  • A person leans out of a train window with an arm resting on the sill. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 123 from 54:08

Frame at 54:10, shot 32854:10
1 of 1 shots sampled

194. Field

54:08–54:11 Not yet checked

Model synopsis: A plume of dark smoke rises from dry grass in an open field. No people or vehicles are visible in the frame.

  • Dark smoke billows from the ground in a field. [frame:1]

Evidence, details and a link to share

Sequence 124 from 54:11

Frame at 54:18, shot 32954:18Frame at 54:31, shot 33054:31Frame at 54:43, shot 33254:43Frame at 54:48, shot 33354:48
4 of 5 shots sampled

195. Railway construction site

54:11–54:50 Not yet checked

Model synopsis: Two men in hats stand on a railway construction site, with a steam locomotive approaching on the tracks. A crane and workers are visible near the rails, and one man speaks about smoke stacks not being visible.

  • A man in a hat crouches near a vehicle interior with water visible outside. [frame:1]
  • Workers and a crane are positioned beside railway tracks in an open field. [frame:2]
  • A steam locomotive approaches on the tracks. [frame:3]
  • 1 more under Evidence and details.

4 people observed.

“Oh, my God.” 54:16 · “Yeah.” 54:46

Evidence, details and a link to share

Frame at 54:52, shot 33454:52Frame at 54:55, shot 33554:55Frame at 55:01, shot 33655:01
3 of 3 shots sampled

196. Railway

54:50–55:04 Not yet checked

Model synopsis: A steam locomotive is shown on tracks with two men standing near railway ties; dialogue suggests Elton is alone in the cab and something has occurred. The setting is outdoors along a railway line with no clear indication of time of day or period.

  • Steam locomotive is stationary on tracks with visible coal car and cab. [frame:1]
  • Two men stand near wooden railway ties, one holding a tool, both looking toward the train. [frame:2]
  • Train remains on tracks, side view showing wheels and coal car. [frame:3]

Named: Elton (t:54:53). 3 people observed.

“Elton's all alone in the cab.” 54:53 · “Something must have happened.” 54:55

Evidence, details and a link to share

Sequence 125 from 55:04

Frame at 55:15, shot 33755:15
1 of 1 shots sampled

197. Train

55:04–55:27 Not yet checked

Model synopsis: Men in hats lift an injured person onto a train near a locomotive; dialogue indicates an ambush killed Gus and the injured man is being moved to the caboose for medical help. A woman is present and addressed as 'ma'am', and someone asks if anything is found.

  • Men lift an injured person onto a train near a locomotive. [frame:1]

Named: John (t:55:05), Cal (t:55:05), Mr. Nelson (t:55:08), Gus (t:55:05). 8 people observed.

“It's his arm, Cal. - What happened, John? Ambush. Gus is dead.” 55:05 · “I can handle the engine, Mr. Nelson. I'll take Smokestack to a doctor.” 55:08

Evidence, details and a link to share

Sequence 126 from 55:27

Sequence 127 from 56:06

Frame at 56:10, shot 33956:10
1 of 1 shots sampled

199. Railroad track in open country

56:06–56:14 Not yet checked

Model synopsis: A group of men work on a railroad track in an open, mountainous landscape. They are using tools and appear to be laying or repairing track under daylight conditions.

  • men are working on railroad tracks with tools [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 128 from 56:14

Frame at 56:16, shot 34056:16
1 of 1 shots sampled

200. Rail yard

56:14–56:18 Not yet checked

Model synopsis: A group of men in work clothes are gathered around a steam locomotive and a forge in an outdoor rail yard. One man is hammering metal at an anvil while others stand nearby.

4 people observed.

Evidence, details and a link to share

Sequence 129 from 56:18

Frame at 56:20, shot 34156:20
1 of 1 shots sampled

201. Field

56:18–56:22 Not yet checked

Model synopsis: A group of men work on laying railroad tracks in an open field with mountains in the background. One man uses a tool on the rails while others stand nearby.

  • A man works on railroad tracks with a tool. [frame:1]
  • Several men stand near the railroad tracks. [frame:1]

2 people observed.

Evidence, details and a link to share

Sequence 130 from 56:22

Frame at 56:36, shot 34256:36Frame at 56:52, shot 34356:52
2 of 2 shots sampled

202. Jail

56:22–56:54 Not yet checked

Model synopsis: A man in a shirt and vest stands by a wooden door, holding a long object; in the next frame, he faces forward with hands raised while another figure is silhouetted behind him. The transcript includes commands like 'Prisoner, stop her' and 'Get him up,' suggesting a confrontation or arrest.

  • A man stands by a door holding a long object. [frame:1]
  • The man raises his hands while another figure is silhouetted behind him. [frame:2]

2 people observed.

“Who is it?” 56:32 · “Prisoner, stop her.” 56:33

Evidence, details and a link to share

Sequence 131 from 57:10

Frame at 57:12, shot 34557:12
1 of 1 shots sampled

204. Jail

57:10–57:14 Not yet checked

Model synopsis: A man in a cowboy hat and shirt stands with his back to the camera, facing a barred cell where another figure is visible. The setting appears to be a jail interior.

2 people observed.

Evidence, details and a link to share

Sequence 132 from 57:14

Sequence 133 from 57:47

Frame at 57:56, shot 34757:56
1 of 1 shots sampled

206. Private office

57:47–58:05 Not yet checked

Model synopsis: A group of men in a dim interior discuss killing a sheriff and missing comrades, planning to confront a railroad builder with armed force. One man, addressed as 'boss', is told he cannot reach the target due to extra guards.

  • Men stand around a table in a dim room, talking about killing the sheriff and missing men. [frame:1]

5 people observed.

“- Any trouble? - Yeah, with the sheriff.” 57:53 · “- They need a new one now. - You had to kill him.” 57:56

Evidence, details and a link to share

Frame at 58:26, shot 34858:26
1 of 1 shots sampled

207. Private office

58:05–58:47 Not yet checked

Model synopsis: Three men in period Western attire converse in a dimly lit interior; one speaks of sabotaging a train on the Kansas Pacific by using artillery from a Confederate pass. One man announces he is leaving.

3 people observed.

“But right now I have other plans for the Kansas Pacific.” 58:16 · “But the minute they put a train on those tracks, we'll blow it off the prairie. With what? With artillery.” 58:29

Evidence, details and a link to share

Sequence 134 from 58:47

Sequence 135 from 59:24

Sequence 136 from 59:40

Frame at 59:46, shot 35359:46Frame at 59:49, shot 35459:49
2 of 2 shots sampled

212. Other

59:44–59:51 Not yet checked

Model synopsis: Two people converse in a wooden interior; a man holds a paper while another man looks on. A line of dialogue states they are in business and just in time.

  • A man and a woman stand facing each other in conversation. [frame:1]
  • Two men stand side by side, one holding a paper and looking at it. [frame:2]

4 people observed.

“We're in business, all right, and just in time.” 59:46

Evidence, details and a link to share

Sequence 137 from 59:51

Frame at 59:56, shot 35559:56
1 of 1 shots sampled

213. Other

59:51–1:00:01 Not yet checked

Model synopsis: A pair of hands holds a telegram from the Kansas Pacific R.R. Telegraph. The telegram is addressed to John Nelson and contains handwritten text, including a signature at the bottom.

1 person observed.

Evidence, details and a link to share

Sequence 138 from 1:00:01

Frame at 1:00:03, shot 3561:00:03Frame at 1:00:06, shot 3571:00:06
2 of 2 shots sampled

214. Other

1:00:01–1:00:08 Not yet checked

Model synopsis: A group of four people, including a woman in a white blouse and three men in hats and period clothing, stand outside a wooden building. One man and the woman face each other closely in a separate shot, while dialogue suggests proximity to war.

  • A group of four people stand together outside a wooden building. [frame:1]
  • A man and a woman face each other closely, appearing to converse. [frame:2]

4 people observed.

“The war is very close.” 60:02 · “It looks like it might be.” 60:04

Evidence, details and a link to share

Sequence 139 from 1:00:08

Frame at 1:00:12, shot 3581:00:12
1 of 1 shots sampled

215. Field

1:00:08–1:00:16 Not yet checked

Model synopsis: A steam locomotive pulls freight cars across an open field. The train emits smoke as it moves along the tracks.

  • A steam train moves across a field. [frame:1]

Evidence, details and a link to share

Sequence 140 from 1:00:16

Frame at 1:00:18, shot 3591:00:18
1 of 1 shots sampled

216. Field

1:00:16–1:00:20 Not yet checked

Model synopsis: A man in a hat and coat stands atop a large rock, holding binoculars. No dialogue or additional context is provided in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 141 from 1:00:20

Sequence 142 from 1:00:26

Sequence 143 from 1:00:41

Frame at 1:00:43, shot 3621:00:43
1 of 1 shots sampled

219. Field

1:00:41–1:00:44 Not yet checked

Model synopsis: A steam locomotive is shown moving across an open field. No people are visible and no dialogue occurs in this beat.

  • A steam locomotive moves across a field. [frame:1]

Evidence, details and a link to share

Sequence 144 from 1:00:44

Frame at 1:00:47, shot 3631:00:47Frame at 1:00:50, shot 3641:00:50Frame at 1:00:55, shot 3651:00:55
3 of 3 shots sampled

220. Field

1:00:44–1:00:58 Not yet checked

Model synopsis: A man on a rock uses binoculars while soldiers stand by a cannon; an explosion follows after the command to fire. No names or specific locations are mentioned in the dialogue or visible in the frames.

  • A man on a rock looks through binoculars. [frame:1]
  • Soldiers stand near a cannon. [frame:2]
  • An explosion occurs near a structure. [frame:3]

2 people observed.

“Stand by.” 60:45 · “Commence firing!” 60:47

Evidence, details and a link to share

Frame at 1:00:59, shot 3661:00:59Frame at 1:01:03, shot 3681:01:03Frame at 1:01:06, shot 3691:01:06Frame at 1:01:13, shot 3711:01:13
4 of 6 shots sampled

221. Field

1:00:58–1:01:15 Not yet checked

Model synopsis: Men operate a cannon near a railway line as a train passes; an explosion follows. No names or dialogue are provided in the transcript for this segment.

  • A cannon fires, producing smoke and recoil. [frame:2]
  • A steam train moves along tracks near the cannon position. [frame:3]
  • A large explosion occurs, filling the frame with smoke and debris. [frame:4]

3 people observed.

“*BOOM*” 61:02

Evidence, details and a link to share

Frame at 1:01:16, shot 3721:01:16
1 of 1 shots sampled

222. Field

1:01:15–1:01:16 Not yet checked

Model synopsis: A cannon fires in an outdoor setting with several men in period military attire operating it. Smoke billows from the cannon's muzzle as one man aims and others stand nearby.

  • A cannon fires, producing smoke from its muzzle. [frame:1]

3 people observed.

Evidence, details and a link to share

Sequence 145 from 1:01:16

Frame at 1:01:19, shot 3731:01:19
1 of 1 shots sampled

223. Train

1:01:16–1:01:21 Not yet checked

Model synopsis: A steam locomotive is shown emitting smoke, with a figure visible on its front platform. No dialogue or on-screen text is present in this beat.

  • A steam locomotive emits smoke while stationary or moving slowly. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 146 from 1:01:21

Frame at 1:01:22, shot 3741:01:22
1 of 1 shots sampled

224. Field

1:01:21–1:01:23 Not yet checked

Model synopsis: Two men in cowboy hats stand near a cannon as smoke billows from its barrel. The scene appears to be outdoors in daylight, with no visible structures or signage.

  • smoke billows from the barrel of a cannon [frame:1]

2 people observed.

Evidence, details and a link to share

Sequence 147 from 1:01:23

Frame at 1:01:26, shot 3761:01:26
1 of 1 shots sampled

226. Canyon

1:01:24–1:01:28 Not yet checked

Model synopsis: A train travels through a rocky canyon as smoke billows from its engine. No people or dialogue are visible or audible in this beat.

  • A train moves through a canyon with smoke rising from its engine. [frame:1]

Evidence, details and a link to share

Sequence 148 from 1:01:28

Frame at 1:01:28, shot 3771:01:28
1 of 1 shots sampled

227. Field

1:01:28–1:01:29 Not yet checked

Model synopsis: A large plume of smoke rises from the ground near a dark object, with vegetation visible on the left. No people or dialogue are present in this single frame.

  • Smoke billows from the ground near a dark object. [frame:1]

Evidence, details and a link to share

Frame at 1:01:30, shot 3781:01:30
1 of 1 shots sampled

228. Railroad

1:01:29–1:01:31 Not yet checked

Model synopsis: A train car is shown next to a large plume of smoke and debris. No people are visible and no dialogue is present in this beat.

  • A train car is stationary beside a large cloud of smoke and debris. [frame:1]

Evidence, details and a link to share

Sequence 149 from 1:01:31

Frame at 1:01:32, shot 3791:01:32
1 of 1 shots sampled

229. Battlefield

1:01:31–1:01:33 Not yet checked

Model synopsis: Three men in period Western attire stand near a cannon in an outdoor setting with smoke in the background. No dialogue or on-screen text is present in this beat.

3 people observed.

Evidence, details and a link to share

Sequence 150 from 1:01:33

Frame at 1:01:34, shot 3801:01:34
1 of 1 shots sampled

230. Field

1:01:33–1:01:35 Not yet checked

Model synopsis: A wooden structure collapses amid flying debris in a single frame. No people, dialogue, or on-screen text are visible.

  • A wooden structure collapses with debris flying. [frame:1]

Evidence, details and a link to share

Sequence 151 from 1:01:35

Frame at 1:01:38, shot 3811:01:38
1 of 1 shots sampled

231. Field

1:01:35–1:01:41 Not yet checked

Model synopsis: A large plume of dark smoke rises against a bright sky, with a bush visible in the lower right. No people, objects, or text are identifiable in the frame.

Evidence, details and a link to share

Sequence 152 from 1:01:41

Frame at 1:01:43, shot 3821:01:43Frame at 1:01:51, shot 3831:01:51
2 of 2 shots sampled

232. Field

1:01:41–1:01:55 Not yet checked

Model synopsis: A man in a hat looks from behind a rock while others move cannons nearby. A voice says they have captured something and orders the guns removed, followed by an exclamation.

  • A man in a hat peers from behind a large rock. [frame:1]
  • Several men move cannons in an open field. [frame:2]

2 people observed.

“We got 'em, boys! All right, boys. Let's get these guns out of here.” 61:43 · “Oh, my God.” 61:54

Evidence, details and a link to share

Frame at 1:01:58, shot 3841:01:58Frame at 1:02:02, shot 3851:02:02
2 of 2 shots sampled

233. Field

1:01:55–1:02:05 Not yet checked

Model synopsis: Two men on horseback discuss whether tracks were visible, one stating they were likely covered to prevent trailing. The setting is an outdoor, hilly, brushy area with no buildings in sight.

  • Two men on horseback are seen in a field with brush and hills. [frame:1]
  • The two men face each other on horseback, appearing to converse. [frame:2]

2 people observed.

“Well, there's a place, all right.” 61:58 · “Did you see any tracks when you came up?” 62:00

Evidence, details and a link to share

Sequence 153 from 1:02:05

Frame at 1:02:15, shot 3861:02:15
1 of 1 shots sampled

234. Train station platform

1:02:05–1:02:26 Not yet checked

Model synopsis: A group of people is gathered on a wooden platform under a shelter with a sign reading 'KANSAS PACIFIC R.R.'; some are seated, others standing, while riders on horseback are visible in the background. One person speaks about leaving, and another mentions Carol and others being afraid of getting shot at.

Named: Carol (t:62:24). 7 people observed.

“I'm” 62:05 · “I'm going to go.” 62:17

Evidence, details and a link to share

Sequence 154 from 1:02:26

Frame at 1:02:36, shot 3871:02:36
1 of 1 shots sampled

235. Sidewalk

1:02:26–1:02:46 Not yet checked

Model synopsis: A group of people stand outdoors near wooden posts, discussing the difficulty of repairing a train track and the absence of someone named Quanto. One person states that artillery won't be used on personnel, only on trains.

4 people observed.

“They won't use artillery on personnel. Trains are their target.” 62:29 · “Well, these are the only men I've been able to convince her that.” 62:32

Evidence, details and a link to share

Sequence 155 from 1:02:46

Frame at 1:02:55, shot 3881:02:55Frame at 1:03:06, shot 3891:03:06
2 of 2 shots sampled

236. Other

1:02:46–1:03:08 Not yet checked

Model synopsis: A woman stands on a station platform as a steam locomotive approaches on adjacent tracks. The scene is set at a railroad station with a sign reading 'KANSAS PACIFIC R.R.' visible.

  • A woman stands on a station platform. [frame:1]
  • A steam locomotive emits smoke as it travels along tracks. [frame:2]

1 person observed.

“I'm sorry.” 62:51

Evidence, details and a link to share

Frame at 1:03:22, shot 3901:03:22
1 of 1 shots sampled

237. Railroad tracks

1:03:08–1:03:35 Not yet checked

Model synopsis: A steam locomotive approaches on railroad tracks while men work nearby and others on horseback observe. One person audibly exclaims 'Oh, my God.'

  • A steam locomotive emits smoke as it moves along railroad tracks. [frame:1]
  • Men are working with logs near the tracks. [frame:1]
  • Men on horseback are watching the scene. [frame:1]

3 people observed.

“Oh, my God.” 63:21

Evidence, details and a link to share

Sequence 156 from 1:03:35

Frame at 1:03:55, shot 3911:03:55Frame at 1:04:30, shot 3921:04:30Frame at 1:04:50, shot 3931:04:50
3 of 3 shots sampled

238. Train

1:03:35–1:04:53 Not yet checked

Model synopsis: Three men in period Western attire discuss a military plan near a train, with one giving orders to gather riders and another being sent to delay a troop train. The conversation involves locating enemy cannons and a deadline for a train's arrival.

  • Three men stand near a train and talk. [frame:1]
  • The men continue their conversation, with one speaking to another. [frame:2]
  • One man bends over while others stand nearby. [frame:3]

Named: Cap (t:63:37), Nelson (t:63:37), Captain (t:63:42), Joe (t:64:11), Stanton (t:64:38). 6 people observed.

“How are you? Fine, Cap. Nelson.” 63:37 · “We can't risk another train until we locate those guns and put them out of action.” 63:49

Evidence, details and a link to share

Sequence 157 from 1:04:53

Frame at 1:04:56, shot 3941:04:56
1 of 1 shots sampled

239. Field

1:04:53–1:04:58 Not yet checked

Model synopsis: A steam locomotive pulls a line of freight cars along a dirt track in an open field. Smoke rises from the engine as it moves past a fence line under an overcast sky.

  • A steam locomotive moves along a dirt track pulling freight cars. [frame:1]

Evidence, details and a link to share

Sequence 158 from 1:04:58

Frame at 1:05:04, shot 3951:05:04
1 of 1 shots sampled

240. Field

1:04:58–1:05:09 Not yet checked

Model synopsis: Three men in cowboy hats stand near a cannon in an outdoor setting with rocks and brush. No dialogue or on-screen text is present in this beat.

3 people observed.

Evidence, details and a link to share

Sequence 159 from 1:05:09

Frame at 1:05:11, shot 3961:05:11
1 of 1 shots sampled

241. Field

1:05:09–1:05:12 Not yet checked

Model synopsis: A steam locomotive emits smoke while pulling freight cars across an open field. The scene is shot in black and white with no visible people or dialogue.

  • A steam train emits smoke while moving across a field. [frame:1]

Evidence, details and a link to share

Sequence 160 from 1:05:12

Frame at 1:05:18, shot 3971:05:18Frame at 1:05:26, shot 3981:05:26
2 of 2 shots sampled

242. Mountain

1:05:12–1:05:30 Not yet checked

Model synopsis: A group of men on horseback pause on a trail in a mountainous area; one man gestures while speaking about observing a pass ahead. The scene is outdoors during daylight, with no visible signage or on-screen text.

  • A man on horseback raises his hand and gestures toward a distant rise. [frame:1]

3 people observed.

“Hold it up!” 65:18 · “Give your horses a breather, men.” 65:20

Evidence, details and a link to share

Frame at 1:05:32, shot 3991:05:32Frame at 1:05:37, shot 4001:05:37Frame at 1:05:41, shot 4011:05:41
3 of 3 shots sampled

243. Field

1:05:30–1:05:43 Not yet checked

Model synopsis: A steam train moves across open land while men on horseback observe it. One man urges others to move, referencing the train's cargo of 'folk stacks'.

  • A steam train emits smoke as it travels across open land. [frame:1]

4 people observed.

“The folk stacks are all in that train. No wonder they're making such a good time. Come on.” 65:35 · “Come on.” 65:41

Evidence, details and a link to share

Sequence 161 from 1:05:43

Frame at 1:05:46, shot 4021:05:46
1 of 1 shots sampled

244. Flooded field

1:05:43–1:05:48 Not yet checked

Model synopsis: A steam locomotive moves through floodwaters with smoke rising in the background. No people are visible or audible, and no dialogue is present in this beat.

  • A steam locomotive moves through floodwaters. [frame:1]

Evidence, details and a link to share

Sequence 162 from 1:05:48

Sequence 163 from 1:05:59

Sequence 164 from 1:06:05

Sequence 165 from 1:06:09

Sequence 166 from 1:06:20

Sequence 167 from 1:06:28

Sequence 168 from 1:06:42

Sequence 169 from 1:06:49

Sequence 170 from 1:06:53

Sequence 171 from 1:06:55

Sequence 172 from 1:07:05

Sequence 173 from 1:07:54

Sequence 174 from 1:08:00

Sequence 175 from 1:08:02

Sequence 176 from 1:08:05

Sequence 177 from 1:11:28

Transcript

Machine transcription of the Archive copy's audio with Whisper large-v3-turbo (temperature 0); the model heard it as en. 727 segments kept, 288 dropped as the kind of hallucination the model produces over music and silence. Each timestamp links to the Archive's player at that second. This has not been checked against the film and can be wrong.

  1. 2:22 Now what's the matter? Look at that! More riots in Kansas.
  2. 2:44 Leaving Kansas. They're sure trying hard to start a war right here.
  3. 2:49 Yeah.
  4. 2:50 Some of them are trying to stop one. We can't have to figure out who's going to what. What about those senators walking out like that? I'm telling you, smoke stack, this country is full of pieces. Oh, no, it ain't. It'll take a lot more than arguments for that to happen. And even if we do have a real shooting war, it can only end one way. Why?
  5. 3:20 Oh dirty miserable back back if I could just get my hands on one of them. There. Yeah. Oh.
  6. 3:50 - Don't shout, Karen and Cal, they can't hear you.
  7. 3:55 That one waving his arm around looks like old man Bruce himself.
  8. 3:58 Yeah, he's the only one that gets so mad. The rest of them are used to it by now. Not supposed to do any killing, Janice. Who's killing?
  9. 4:09 Get back to the engine!
  10. 4:25 Get us out of here, smokestack!
  11. 4:28 that will melt the wire.
  12. 5:03 I'll tell you this, then, General.
  13. 5:05 It'll be impossible to finish the line by March unless you furnish me with a military guard to protect my construction crew
  14. 5:11 We're not at war, mister.
  15. 5:12 That's why we can't send uniformed soldiers into a border state like Kansas at this time.
  16. 5:17 The people who are tearing up my tracks and frightening my construction crews into quitting ought to know the United States Army's back in the Canada-Pacific. If they did... They might very possibly start shooting.
  17. 5:26 The first shot is what starts wars, sir.
  18. 5:29 And our object is to finish this railroad first, so we can supply our entire system of frontier posts with men and equipment before a possible armed invasion from the south.
  19. 5:39 All right, General.
  20. 5:41 Even if you won't furnish troops, I'll try to get started again.
707 more segments
  1. 5:47 Ask Captain Nelson to come in please, Sergeant.
  2. 5:52 Who's Captain Nelson?
  3. 5:54 He's an army engineer Mr Johnson one of the best men we've got.
  4. 5:58 I'm going to lend him to you.
  5. 5:59 What do I need him for I've got a construction boss now is as good a railroad man you can find anywhere Nelson won't interfere with it but he'll get your railroad built if anybody can.
  6. 6:09 I don't see how. General, I've told you we need at least a troop of soldiers. You assigned me one man.
  7. 6:14 An army engineer who's probably never built anything bigger than a footbridge. The Kansas Pacific is a military project.
  8. 6:20 Mr. Johnson.
  9. 6:21 Come in.
  10. 6:29 Captain Nelson reporting as ordered, sir. At ease, Captain.
  11. 6:32 Nice to see you again.
  12. 6:33 Thank you, sir.
  13. 6:34 This is Mr Sherman Johnson Captain Nelson.
  14. 6:38 How do you do? How do you do, sir?
  15. 6:40 Naturally, the captain will handle this assignment wearing civilian clothes, Mr. Johnson.
  16. 6:44 You'll identify him to your employees as a civilian engineer.
  17. 6:49 All right, General. Now let's get busy.
  18. 6:53 First, I'll go.
  19. 6:57 You've gone this far.
  20. 6:59 Is that correct?
  21. 6:59 That's right. The end of track is 14 miles west of Rockwood, Kansas.
  22. 7:04 We stopped construction there six weeks ago.
  23. 7:07 We haven't moved an inch since.
  24. 7:27 Are you gonna drink that coffee or you're just gonna stir it until it evaporates? Oh, I'm sorry, Dad.
  25. 7:37 Fine lunch, Miss Barber.
  26. 7:38 Thank God. Where you going outside I think I'll polish up the engine a little bit again. What do you want to do wear it out.
  27. 7:45 Oh no!
  28. 7:51 You're welcome.
  29. 7:58 Okay.
  30. 8:02 Someday I'm gonna take a 10 pound sledge to the pipe.
  31. 8:06 And I hope it's in your ugly face when I do.
  32. 8:10 I've been waiting for you to try that for 22 years now, you miserable Irish polecat.
  33. 8:15 You're fired.
  34. 8:16 Huh.
  35. 8:17 You can't fire me. I quit two hours ago.
  36. 8:20 And now that you two have finished your conversation for the day. Why don't you play a little chess for a change. Chess.
  37. 8:26 I'll help you with the dishes.
  38. 8:28 Sir.
  39. 8:44 Casey ever calls before noon. I wonder if...
  40. 8:47 Ah, Katie's probably just as lonely and wants to chat.
  41. 8:51 Yeah, couldn't be anything important.
  42. 9:18 Telegram just arrived at the Rockwood office. It's for you, Dad, from Washington.
  43. 9:22 Washington? I don't know anybody in Washington.
  44. 9:24 What do you want him to do, send us back?
  45. 9:26 Oh, tell Casey to open it up and read it to me.
  46. 9:29 I mean send it to me.
  47. 9:31 I already have.
  48. 9:34 I think it's true possible and start laying track immediately. Smoke. What? This is what we've been waiting for. There's more.
  49. 9:51 *painful music*
  50. 10:12 What?
  51. 10:13 What?
  52. 10:15 Barbara, you must have made a mistake.
  53. 10:18 No, Dad, I wish I had.
  54. 10:20 He can't do that to me. Why, I've been putting down track for 20 years without having any construction engineer telling me how.
  55. 10:27 I ain't gonna stand for it.
  56. 10:29 What have I been telling you all these weeks, Dad? This job's been a headache since the beginning.
  57. 10:34 And Johnson knew it when he sent you out here.
  58. 10:36 You're right. He just don't need me anymore. So instead of coming right out and firing me, he put somebody else in charge.
  59. 10:42 I think you're both wrong.
  60. 10:44 You're still the boss, Cal.
  61. 10:46 This engineer will probably just supervise a little.
  62. 10:49 Then when he sees how well things are going, he'll... They won't be going well. They haven't gone well since the day you started the Kansas City.
  63. 10:55 Dad, you belong back east.
  64. 10:57 We can have a decent place to live and a little comfort.
  65. 11:00 You've certainly earned it after 20 years of building railroads.
  66. 11:03 And you won't have any trouble getting work back there.
  67. 11:05 I should have listened to you in the first place.
  68. 11:08 The sooner we can get packed, the sooner we can leave.
  69. 11:11 Come on.
  70. 11:13 Well, go on, Smokestack. Get ready.
  71. 11:15 In the first place, I got nothing to get ready.
  72. 11:17 And in the second place, I'm not leaving.
  73. 11:20 What?
  74. 11:24 I said I'm not leaving.
  75. 11:27 I've worked for Sherman Johnson just as long as you have, Cal.
  76. 11:30 I think he's a smart man and a fair boss.
  77. 11:33 And I'm sure he has good reasons for any decisions he makes.
  78. 11:37 Besides,
  79. 11:38 Well...
  80. 11:39 It's not just my nature to quit something, I start.
  81. 11:43 Smokestack you and I've been together for over 20 years.
  82. 11:46 Oh I can get all the work I want back East you know that.
  83. 11:50 Well, it just won't seem right if you don't come along.
  84. 11:54 I'll miss you, Cal. You too, Barbara.
  85. 11:58 Daddy's just trying to get you to change your mind.
  86. 12:01 He'll come with us.
  87. 12:03 No.
  88. 12:04 I'm serious.
  89. 12:05 I've never quit yet, and come to think of it, Cal, you never have either. Ah, this is different.
  90. 12:10 Sure it's different.
  91. 12:11 The country's about ready to bust wide open.
  92. 12:14 And a line like the Kansas Pacific might help to hold it together.
  93. 12:17 And you want to quit just because they're sending a construction engineer out.
  94. 12:21 It's probably some kid just out of college who thinks you can build a railroad with a slide rule.
  95. 12:26 Well, he'll need all the help he can get.
  96. 12:30 So I'll stick around.
  97. 12:34 He's got a point.
  98. 12:36 Johnson must have some reason.
  99. 12:39 It does look like we might have a war. Dad, don't you start talking about the war too.
  100. 12:44 What's the sense in worrying about something that'll probably never happen? Well, if we worry enough, maybe it won't happen.
  101. 12:50 He's staying.
  102. 12:52 I guess old smokestack's right this time.
  103. 12:55 We've had all these diploma boys before, you know. He'll learn soon enough to stay out of our way.
  104. 13:00 Yeah.
  105. 13:01 All right.
  106. 13:03 But you've got to promise me one thing.
  107. 13:05 If this man turns out to be impossible, we're leaving.
  108. 13:07 I'm not gonna let anyone push you around.
  109. 13:10 Have you ever seen anybody push me around and get away with it?
  110. 13:14 Besides you?
  111. 13:16 And your mother.
  112. 13:19 Yeah.
  113. 13:20 - Smoke's back!
  114. 13:24 Get that pilot's head warmed up and take us into town.
  115. 13:31 You heard him, Gus.
  116. 13:32 Fire up. We're going back to work.
  117. 13:41 Take it away.
  118. 14:07 I'm not going to be a good one.
  119. 14:28 Good afternoon.
  120. 14:30 Fill out the application. We'll let you know.
  121. 14:33 Your bulletin board says no construction until further notice.
  122. 14:36 That'll all be changed when the boss gets here. It should be changed now.
  123. 14:39 I understand track layers are hard to get.
  124. 14:44 Mister, do you want a job or don't you?
  125. 14:47 I've got a job.
  126. 14:48 My name's John Nelson.
  127. 14:51 John Nelson.
  128. 14:52 Name sounds familiar.
  129. 14:54 I knew some Nelsons in Providence.
  130. 14:56 But they all had red hair.
  131. 14:59 Different Nelson's I expect.
  132. 15:00 I'm sure they are.
  133. 15:02 I'm the new construction engineer.
  134. 15:06 Oh, I see. You must be the man that Mr. Johnson telegraphed about. That's right.
  135. 15:13 Have a chair.
  136. 15:17 Where will I find Mr Bruce. I have you along any minute you'll hear the engine.
  137. 15:22 You're figuring on making some changes around here, I expect.
  138. 15:25 Very possibly.
  139. 15:29 Telegraph operators are even harder to find than track players.
  140. 15:33 I'll remember that.
  141. 15:57 After you.
  142. 16:00 After you, sir.
  143. 16:08 What do you men want?
  144. 16:09 I'll tell you what we don't want.
  145. 16:11 You and your rebel friends.
  146. 16:13 I've told you before, but I live in this town and I'm going to stay here.
  147. 16:43 I'm.
  148. 17:06 Oh!
  149. 17:09 Come on.
  150. 17:18 What's going on here. I don't know. Construction engineers right. Don't look like he's using a slide. Now does it.
  151. 17:46 Thanks. I'm Bill Quantrill. You're welcome. My name's John. Hello, Barbara. Nice to see you. Mr. Bruce and Miss Barbara Bruce.
  152. 17:54 - Mr. Nelson, you know,
  153. 17:55 Well, how are you? How do you do, sir?
  154. 17:58 What's this all about?
  155. 17:59 Just an ordinary fight, Mr. Bruce. I saw Mr. Quantrill get jumped by three men and figured the odds were a little heavy.
  156. 18:06 What was it all about?
  157. 18:07 You local citizens think the town of Rockwood might be better off if I live somewhere else.
  158. 18:12 Corbin!
  159. 18:16 Are you all right? Yeah, I'm all right.
  160. 18:19 But if he's your new construction engineer, when you go back to work on that railroad of yours, you'll go back without me.
  161. 18:25 One of your men, Mr. Bruce? He was.
  162. 18:28 Probably the best gang boss I had.
  163. 18:30 Feelings are running a little strong in Kansas these days, Nelson.
  164. 18:34 I'm from the southern I've made no secret where my sympathies lie.
  165. 18:38 I see.
  166. 18:39 Good day, Barbara.
  167. 18:40 gentlemen
  168. 18:44 Oh, my God.
  169. 18:57 Come on.
  170. 19:08 They're hiring construction hands again Bill looks like the whole town signing up.
  171. 19:11 Starts out that way every time until we get busy. Max, you and Stone and Moray.
  172. 19:16 Go and get yourselves jobs on the railroad.
  173. 19:18 You too, Janice.
  174. 19:19 Don't bunch up going one at a time.
  175. 19:21 Right, I'll go in and sign up.
  176. 19:23 Say, who's this new fella Nelson they've got?
  177. 19:25 I don't know anything about him yet, except that he's a construction engineer. All you boys who get jobs, keep your eyes on him.
  178. 19:32 I got a feeling he might give us a little trouble.
  179. 19:35 You can give him more than he gives us.
  180. 19:36 I wouldn't be surprised if we can.
  181. 19:39 But don't be too obvious about it any of you.
  182. 19:41 That stunt you pull last month.
  183. 19:43 Shooting up Bruce and his men wasn't such a smart idea.
  184. 19:47 Why not?
  185. 19:48 Because that kind of foolishness is likely to stir up more trouble than we want.
  186. 19:52 First thing you know, they'll send troops here.
  187. 19:54 Good.
  188. 19:54 Yankee uniforms will make nice targets.
  189. 19:58 It isn't our job to stay
  190. 20:00 Not the war man.
  191. 20:01 We're to stop that train or at least to delay it.
  192. 20:04 The longer we keep the Yankees from reaching their western forts by rail the more time will give the Confederacy to get ready.
  193. 20:11 What we're doing is important.
  194. 20:13 Very important.
  195. 20:14 And don't any of you forget it.
  196. 20:17 I'll tell you when it's time to start shooting.
  197. 20:19 Until that time, he'll have to follow orders.
  198. 20:23 Are there any arguments?
  199. 20:27 No arguments, boss.
  200. 20:28 I guess some of us are just a little eager.
  201. 20:30 There'll be plenty of action for all of us before long.
  202. 20:33 Maybe even more than we want. Good luck boys I'll see you tomorrow night. Right. Come on.
  203. 20:42 I'm
  204. 21:08 I have to hear seven of the morning.
  205. 21:12 Fill this out and sign at the bottom.
  206. 21:15 Say seven in the morning next.
  207. 21:17 Come on.
  208. 21:18 Do it outside the bottle.
  209. 21:21 Come on.
  210. 21:24 Come on.
  211. 21:28 There doesn't seem to be any problem hiring men. Why should there be? The pay is good and so is the food.
  212. 21:32 It's never hard to get plenty of men.
  213. 21:34 The trick is to keep them.
  214. 21:36 Why don't you rest for a while, Mr. Bruce?
  215. 21:38 I'll take over for you. Suit yourself.
  216. 21:42 - Come on. - Come on.
  217. 21:48 Do it out and sign it.
  218. 21:59 Joe Farley.
  219. 22:01 All right, be here at 7 tomorrow morning.
  220. 22:04 Just a minute Joe
  221. 22:06 You look like a man who's done a little hunting and trapping.
  222. 22:08 Am I right?
  223. 22:10 Yeah, that's right.
  224. 22:11 You want a good rifle?
  225. 22:12 Sure.
  226. 22:13 I'd like you to bring it with you tomorrow morning.
  227. 22:16 Mister there's nothing but a few Jack rabbits out on there I want you to be a railroad guard Joe.
  228. 22:20 Thought of a policeman.
  229. 22:22 Pays the same.
  230. 22:24 All right.
  231. 22:25 Yes, sir. Sounds like a good idea to me. Be glad to do it.
  232. 22:28 And if any of your friends have good rifles and know how to handle them, why, tell them to see me.
  233. 22:32 Right.
  234. 22:39 What's the idea of that it's for the production of the railroad.
  235. 22:43 They're entitled to it, especially in these times.
  236. 22:45 How many of these armed guards you figuring on hiring?
  237. 22:48 As many as we need.
  238. 22:49 40 or 50 if we have to.
  239. 22:51 You realize how much this is going to cost the company? We'll have to provide horses, cartridges, food, besides their pay.
  240. 22:57 That's not our worry. We're here to build a railroad.
  241. 23:00 All right, you men, form another line around here. We don't want to hang around here all day.
  242. 23:07 Go down and say that.
  243. 23:12 I'll be right back.
  244. 23:42 Barbara.
  245. 24:05 Nice day.
  246. 24:06 I hadn't noticed, Mr. Nelson.
  247. 24:09 - You should.
  248. 24:10 Sunshine and pretty girls go together.
  249. 24:12 You don't say.
  250. 24:14 Oh.
  251. 24:35 Sorry Fred. Why don't you watch those big clumsy. I didn't do it on purpose. Get your hands off. All right get back to work. Stay out of the way.
  252. 24:46 Let's go.
  253. 24:47 Come on.
  254. 24:50 Just a minute.
  255. 24:58 Get out. You're through.
  256. 25:00 Now listen now so that's no way to build a railroad you can't fire a man just for stumbling. He didn't stumble I was deliberate crazy.
  257. 25:07 Why would I want to see this man? You know why better than I do. Now get out of here, I'll throw you out.
  258. 25:27 Take a good look at this man, and if any of you see him around here again, shoot him.
  259. 25:30 Come on.
  260. 25:33 If anybody else has any idea about holding up construction, he can leave now.
  261. 25:43 That was nice work, Gus. You saved the man's life by thinking fast.
  262. 25:53 Hey Nelson.
  263. 25:55 A lot of things like that have been happening around here. I figured it was just bad luck.
  264. 26:00 Some of it probably was but not this time. I'm sorry to overrule your orders. I didn't mean to do that.
  265. 26:06 Oh you didn't know the other construction boss I'm just an engineer.
  266. 26:16 Whatever he is.
  267. 26:17 We should have somebody like him around here a long time ago.
  268. 26:25 Six times nine is fifty-four. Six times three is eighteen. And five is twenty-two. Twenty-three.
  269. 26:33 Twenty.
  270. 26:33 Three, that's what I said.
  271. 26:35 now
  272. 26:36 Next time on a six plus two is eight.
  273. 26:40 That's 834 more ties we'll need by the end of the week.
  274. 26:44 Provide nobody quits. Or is fired by our new construction engineer. Oh, he was right about firing that fellow today, Barbara. If we can weed out the troublemakers, maybe things will improve around here.
  275. 26:54 Well, it seems to me there must be an easier way of doing it than half killing them.
  276. 26:58 Now look.
  277. 26:59 Even though you were brought up in a railroad car, there are some things about this business you don't understand. I understand it when I see someone trying to take away your job, and that's exactly what he's doing. Oh, no, he isn't. Now, if you'll just listen to me a minute, I...
  278. 27:14 Come on in.
  279. 27:18 Good evening.
  280. 27:20 Hello, Nelson. I'd like to talk with you if you're not busy. Sure, sit down.
  281. 27:24 Barbara?
  282. 27:25 Maybe mr. Nelson's like cup of coffee. Oh, I sure would I
  283. 27:36 Thank you, Barbara.
  284. 27:38 You're very welcome.
  285. 27:46 Oh.
  286. 27:47 I had an idea today and I'd like to try it out on you.
  287. 27:51 I think that if we rigged a couple of simple derricks using block and tackle, that's why we could save quite a lot of manpower.
  288. 27:57 Setting the rails in place, you mean? Yes, sir.
  289. 27:59 I've noticed that it takes five or six men to move each rail from the side into the road bed.
  290. 28:04 This way, one man could provide the lifting power.
  291. 28:07 Another could guide the rails and that would leave four or five men free to work on the road bed.
  292. 28:11 Well I don't see why it wouldn't work. How tell smokestack and Gus to figure I'm making a trip to town get you whatever you need.
  293. 28:17 They can pick up our other stuff at the same time.
  294. 28:23 Well that's fine.
  295. 28:24 I fooled you didn't I young fella you thought I was gonna give you an argument didn't you yes sir I did.
  296. 28:29 And if I had, what would you have done?
  297. 28:32 I don't know exactly I do.
  298. 28:35 You have built them anyway.
  299. 28:38 I told you today, Mr. Bruce, I'm not here to fight with you.
  300. 28:41 I just want to get this line across Kansas as fast as possible, that's all.
  301. 28:44 Well, I'll admit I didn't like the idea of old man Johnson sending somebody out here to take over.
  302. 28:50 But he sent the right man. We'll get along.
  303. 28:54 I'm sure we will sir.
  304. 28:56 We'll get along even better if you quit calling me sir.
  305. 29:00 This ain't the army you know.
  306. 29:01 I'm
  307. 29:10 You dictate a list of things you need, Mr. Nelson.
  308. 29:12 I'll telegraph Casey and have them ready with our order.
  309. 29:15 All right.
  310. 29:17 Let's see I'll need a dozen two by fours eight feet long.
  311. 29:21 A dozen lengths of 2 by 12 planking 10 feet long.
  312. 29:25 100 feet of one inch rope. Let's see, I can get all the chain I need around here, and if I need any more wood, I'll use ties.
  313. 29:33 I guess that's all.
  314. 29:34 I'd like to talk to you for a moment, Barber.
  315. 29:39 I just want to say that I'm glad to be here.
  316. 29:41 working with you and your father and I hope you'll get over your resentment of me quickly what makes you think we'll resent you
  317. 29:48 I can understand why you might.
  318. 29:50 But I'm not here to take your father's job from him.
  319. 29:53 He realizes that, I'm sure.
  320. 29:55 We have the same goal.
  321. 29:56 to get the Kansas Pacific build as soon as we can.
  322. 29:59 And to make yourself a reputation as a brilliant young engineer.
  323. 30:02 That's not true.
  324. 30:03 I'm not a career man, I'm an engineer trying to do a job.
  325. 30:07 And I'll need all the help I can get.
  326. 30:09 If my work isn't satisfactory. I'm not talking about your work.
  327. 30:12 Look I've tried every way I know how to make friends with you
  328. 30:15 You're not making it very easy for me.
  329. 30:18 I'm sorry, Mr. Nelson.
  330. 30:20 It isn't that I dislike you personally.
  331. 30:22 Good.
  332. 30:23 But I can't very well feel friendly towards someone the company has sent out to replace my father.
  333. 30:27 That's obviously why you're here.
  334. 30:29 He's too good a railroad man to.
  335. 30:30 to let it interfere with his work, but I can see how it's hurt him.
  336. 30:34 And I don't like it.
  337. 30:36 Frankly, I...
  338. 30:37 I'm doing everything I can to persuade him to leave here and go back where he'll be appreciated. But he's appreciated here, believe me.
  339. 30:45 I wish I could, Miss Janelle.
  340. 30:46 You will.
  341. 30:47 Someday you'll understand that.
  342. 30:49 And I hope it's soon. Because then you and I can be...
  343. 30:53 friends.
  344. 30:55 I'd like that very much.
  345. 30:59 I'm sorry.
  346. 31:07 I'm sorry.
  347. 31:10 You know Mr Nelson good evening Joe. I was just fixing to send some of the boys out night guard for our for our.
  348. 31:16 Yeah, that's fine.
  349. 31:19 The way you talk, you must have some kind of military service.
  350. 31:22 Yes, sir.
  351. 31:22 Under Winfield Scott, the Texas campaign.
  352. 31:25 You've been in the saddle all day, Joe. Lend me your horse and I'll post the night center.
  353. 31:28 Yes, sir.
  354. 31:29 - Come on.
  355. 31:33 And go tell a cook to keep a big pot of coffee here.
  356. 31:36 Yes.
  357. 31:42 No.
  358. 31:43 That fella Nelson don't talk like a railroad man. You know something else?
  359. 31:47 I've never seen a car.
  360. 31:48 construction engineer ride a horse like that either.
  361. 31:52 You thinking what I'm thinking?
  362. 31:54 Yeah, but I ain't talking about it.
  363. 31:56 And neither are you.
  364. 31:59 Good night, Joe.
  365. 32:04 I'm sorry.
  366. 32:13 I
  367. 32:19 I
  368. 32:24 I'll see you next time.
  369. 32:46 Following supplies needed.
  370. 32:47 850 ties, 150 rails, 25 cases dynamite, 200 feet fuse, 10 sledges with extra handles, 12 2x4s, 8 feet long.
  371. 32:57 12 planks, 2 by 12, 10 feet long, 100 feet rope, 1 inch.
  372. 33:02 The only thing that sounds good is the twenty five case that dynamite a lot of stuff they're ordering.
  373. 33:08 Sounds like it's almost worth wrecking that train to get rid of. No I've got other plans for that train when the time comes. What you said Janice makes a little sense.
  374. 33:16 That dynamite does sound interesting.
  375. 33:19 The only way I'd be interested in it would be if Nelson was sitting on it and I had a match. Never mind Nelson.
  376. 33:24 We can stop this line without bloodshed that's what we're gonna do is that understood.
  377. 33:28 All right.
  378. 33:29 Just so long as we stop it. Good.
  379. 33:31 How about that dynamite?
  380. 33:33 They'll pick it up at the engine probably in the morning.
  381. 33:36 When they bring it in and get it unloaded, you'll be riding around, Janice, and this is what I want you to do.
  382. 33:40 The.
  383. 34:01 Bill? John, we're doing fine.
  384. 34:03 We ought to be able to keep this pace up for a few more days.
  385. 34:06 at least until we get into the rocky country and even that shouldn't be too bad.
  386. 34:10 We won't have the tunnel.
  387. 34:12 We won't.
  388. 34:13 No, I figure that by swinging the right-of-way north a little, we can take advantage of the terrain.
  389. 34:19 There's a natural pass right here that won't require too much blasting.
  390. 34:22 Well, that's good.
  391. 34:24 So that's where you've been all morning.
  392. 34:26 All right. Well, John, I want to give you a little advice.
  393. 34:30 Sure Cal what is it? Well if I was you I wouldn't go riding around all over this country without side arms at least.
  394. 34:38 Maybe you're right.
  395. 34:40 I looks like this little northern swinging that laid out is going to take more ties and rails and I got figured.
  396. 34:47 Yeah, these two curves here will run three-eighths of a mile more than a straightaway.
  397. 34:53 660 rails at a mile, we'll need 248 more rails.
  398. 34:59 All right, I'll take care of it.
  399. 35:11 There's Oss.
  400. 35:12 smokestack right on time you always get you just before we run out of supplies.
  401. 35:20 Come on.
  402. 35:26 Come on.
  403. 35:27 Amen.
  404. 35:36 Where have you been we've been waiting for hours with the happiness me and get your folder and I don't my train it's making me nervous.
  405. 35:44 I'm.
  406. 35:52 I love this.
  407. 36:05 I'm.
  408. 36:21 Come on.
  409. 36:22 I'm going to go.
  410. 36:40 Oh.
  411. 36:44 Come on.
  412. 36:52 Oh
  413. 36:55 I'm.
  414. 37:23 What are you doing here?
  415. 37:28 Let go of me.
  416. 37:30 Bring it on the job, huh?
  417. 38:17 Come on.
  418. 38:23 Nothing we can do for him, men. Let's get back to work.
  419. 38:28 We got tractor laymen. Not me, mister.
  420. 38:31 I'm through.
  421. 38:32 Let's get going. I'll see to it that nothing like this happens again.
  422. 38:35 How are you going to do that? From now on, we'll keep the dynamite well away from the tracks.
  423. 38:41 Take the rest of the day off, boys, and we'll take a fresh start tomorrow morning. Wait a minute. No matter where you put that stuff, it can always go up any time.
  424. 38:49 I'm scared, mister, and I admit it. I quit.
  425. 38:54 Me too!
  426. 38:56 Well, I'm staying.
  427. 38:58 They pay good wages round here.
  428. 39:00 And I need to work.
  429. 39:01 I need to but I need to keep breathing more.
  430. 39:03 I've had enough.
  431. 39:13 We're in trouble, Jan.
  432. 39:14 I know it.
  433. 39:15 I could have sworn I heard a gunshot just before that stuff blew.
  434. 39:37 I'm going to go.
  435. 39:47 Come on.
  436. 39:50 No accident.
  437. 39:52 No, and I think that fight was stage two. We'll soon find out. I'll make one of those monkeys talk about it. They've had plenty of time to get away by now.
  438. 39:59 Well...
  439. 40:00 Next.
  440. 40:01 There isn't much more we can do, except wait until tomorrow morning and find out how many men we still got working for us. What about the men who did this?
  441. 40:07 That's a good question, Cal, but I got a better one.
  442. 40:10 What about the man behind him? Who do you mean? I wish I knew.
  443. 40:13 But there's somebody, somebody who's determined to keep this line from going through.
  444. 40:17 This has all been organized. The sabotage, the threats, the unrest. I'm sure of it.
  445. 40:22 Today we had our first death.
  446. 40:24 Looks like we're already in the war everybody keeps talking about. Yeah, this is worse than war.
  447. 40:28 In a war, at least you know you're fighting.
  448. 40:35 And while they were trying to figure out what hit them, Max and I let out.
  449. 40:38 It all worked out just the way you figured it would. And the construction gang didn't need much pushing to quit either.
  450. 40:43 Now they got less than half the men they started with.
  451. 40:46 Good.
  452. 40:47 You know, we didn't get all that dynamite.
  453. 40:49 What do you mean?
  454. 40:50 There's still a couple of cases in the tool, Ted.
  455. 40:52 It would be a shame to let that go to waste, Bill.
  456. 40:55 I'd kinda like to see that locomotive of theirs in pieces.
  457. 41:08 - Carl, John. - Carl. Good evening, Barbara.
  458. 41:10 - The payroll is being delivered tomorrow morning.
  459. 41:13 We better take the train at sound tonight then and bring the payroll back with us tomorrow.
  460. 41:17 Tonight? What for?
  461. 41:19 I want to take Barbara to Rockwood and leave her there.
  462. 41:22 What did you say? You and Casey can switch jobs.
  463. 41:26 I can't have you stay out here any longer. It's much too dangerous.
  464. 41:29 - I've only stayed here as long as I have because of my father, Mr. Nelson.
  465. 41:33 But if you've decided to send me away, I'm through, I quit.
  466. 41:37 What about you, Dad?
  467. 41:39 Oh, Barbara, you just don't understand.
  468. 41:41 Oh, yes, I do.
  469. 41:43 Maybe Mr. Nelson has convinced you that he only wants to help you, but I know better.
  470. 41:47 Don't you see he wants us to quit?
  471. 41:49 Well, let's let him have what he wants.
  472. 41:51 We'll go back. No, I'm going to stay Barbara because I'm needed and so are you. We've got to finish this before the war begins.
  473. 41:58 - War, why does everyone keep-- - Listen to me, Barbara.
  474. 42:01 Maybe there's going to be a war and maybe there isn't.
  475. 42:03 But we've got to be ready for it. The Kansas Pacific is the United States Army Project.
  476. 42:08 A military line serving the Western Fort.
  477. 42:12 On this project?
  478. 42:14 - When... - When the army sent him out to take over.
  479. 42:18 I'm sorry I didn't tell you about it before, but I couldn't.
  480. 42:20 I don't know how your father found out about it, but that doesn't matter now. I just guessed it.
  481. 42:24 The important thing is that I...
  482. 42:26 that we need you.
  483. 42:29 I didn't realize I...
  484. 42:30 I thought the war talk was just talk.
  485. 42:33 I hope it is just talk.
  486. 42:35 I am.
  487. 42:38 I...
  488. 42:39 I'll help him.
  489. 42:40 Of course I will.
  490. 42:46 I
  491. 42:49 - Good night, Cal. - Good night, John.
  492. 43:00 John.
  493. 43:05 Couldn't I stay here and help just as well?
  494. 43:08 That's the nicest thing I've heard since I arrived in...
  495. 43:11 You mean I can't stay?
  496. 43:13 No, I mean you finally stopped calling me Mr. Nils.
  497. 43:18 Please, John, let me hear you.
  498. 43:21 It's too dangerous, Barbara.
  499. 43:22 I can't take a chance on anything happening to me.
  500. 43:26 Good night.
  501. 43:28 Night, John.
  502. 43:50 Oh.
  503. 44:08 There it is, Janice.
  504. 44:10 I'm going to go.
  505. 44:39 I'm sorry.
  506. 44:40 Come on.
  507. 44:43 Come on.
  508. 44:44 Come on.
  509. 44:45 All right, we've got enough.
  510. 45:10 Let's get out of here.
  511. 45:27 Take care of them.
  512. 45:30 I'm.
  513. 45:55 I'm.
  514. 46:15 Come on.
  515. 46:17 Oh, my God.
  516. 46:25 I.
  517. 47:13 I'm going to go.
  518. 47:28 Keep your hands where I can see them and open up those saddlebags.
  519. 47:41 Open those saddlebags or I'll put a bullet in them.
  520. 47:49 You got five seconds.
  521. 47:52 One.
  522. 47:56 Two.
  523. 47:58 Three.
  524. 48:00 Or...
  525. 48:03 Five.
  526. 48:07 Don't. I'll open them.
  527. 48:22 What's the trouble here?
  528. 48:24 I want these men arrested.
  529. 48:26 They assaulted a guard and stole that dynamite from the Kansas Pacific.
  530. 48:30 You'll find a third man lying out on the prairie.
  531. 48:35 Let's go.
  532. 48:52 I see a lot of men here who quit working for the railroad after the accident we had today.
  533. 48:57 Well, I'm offering you extra wages to come back.
  534. 49:00 Double pay for every man who stays with the line until we hit the Colorado border.
  535. 49:04 Well, I don't know about the rest of them, Mr. Nelson, but I'll go back to work. I like the way you do business.
  536. 49:09 That's going for me too. Thanks, men. I'll see you all on the job first thing in the morning.
  537. 49:15 Right now, the drinks are on me.
  538. 49:24 Have a drink with me, Nelson. I owe you one.
  539. 49:28 All right.
  540. 49:29 Bourbon, please, Chuck.
  541. 49:31 Take it, too.
  542. 49:37 Your health.
  543. 49:41 Thanks very much.
  544. 49:43 I'd say that you were regarding me with suspicions.
  545. 49:47 That's a possibility.
  546. 49:49 You don't think I had anything to do with that incident to me?
  547. 49:53 I hope you didn't, Quantrill.
  548. 49:55 Two men were killed today.
  549. 49:57 One of mine and...
  550. 49:59 One of somebody else's.
  551. 50:01 Might have been more than that if you'd fired into that dynamite.
  552. 50:04 Would you have done it?
  553. 50:07 That's going pretty far just to prove simple robbery.
  554. 50:11 You're a dangerous man, Nelson.
  555. 50:14 There are others around who are much more dangerous.
  556. 50:18 Thanks for the drink.
  557. 50:28 I'm going to go.
  558. 50:49 I'm going to go.
  559. 51:15 I'm sorry.
  560. 51:16 I'm sorry.
  561. 51:17 No time for this one.
  562. 51:18 Get out of sight.
  563. 51:48 What's the matter? Rocks. Rocks.
  564. 52:05 Come on.
  565. 52:11 Amen.
  566. 53:07 Keep shooting. We'll get him.
  567. 53:09 Yeah, go nowhere.
  568. 53:13 Get down!
  569. 53:20 Can the engine shove those rocks off the track?
  570. 53:22 Mike.
  571. 53:23 But we'd be going so slow when they got by them, they could shoot right into the cab. I'll take care of that.
  572. 53:29 Can you handle the throttle? I'll try.
  573. 53:41 We can't miss what about the payroll never mind that
  574. 53:46 It's Nelson we're after.
  575. 54:16 Oh, my God.
  576. 54:46 Yeah.
  577. 54:47 This comes against him, but I don't see smoke stacks.
  578. 54:53 Elton's all alone in the cab.
  579. 54:55 Something must have happened.
  580. 55:05 It's his arm, Cal. - What happened, John? Ambush. Gus is dead.
  581. 55:08 I can handle the engine, Mr. Nelson. I'll take Smokestack to a doctor.
  582. 55:12 No, I'll put him in the caboose and telegraph for a doctor. All right.
  583. 55:15 Easy, fellas.
  584. 55:17 Careful, ma'am.
  585. 55:18 All right.
  586. 55:20 Anything?
  587. 55:26 This is bad, John.
  588. 55:27 killed.
  589. 55:28 Smokestack.
  590. 55:32 Caroling's gonna be all right.
  591. 55:34 What's going to happen next.
  592. 55:36 Nothing if I can help it.
  593. 55:38 We're gonna double the arm guard right now.
  594. 55:41 Then we're gonna start and lay track again.
  595. 56:32 Who is it?
  596. 56:33 Prisoner, stop her.
  597. 56:39 I
  598. 56:43 Set it over on the gas.
  599. 56:47 Get him up.
  600. 56:55 Get over.
  601. 57:04 Get his car.
  602. 57:24 Let's move.
  603. 57:25 I'm going to go.
  604. 57:53 - Any trouble? - Yeah, with the sheriff.
  605. 57:56 - They need a new one now. - You had to kill him.
  606. 57:58 Yeah.
  607. 57:58 Some of our men are missing.
  608. 58:00 - West Stone and Moria... - Dead. Nelson killed them.
  609. 58:03 Just a minute, Janice. You'll never get near him now. I'm sure he's put on extra guards. What do you expect us to do? Stand by and let him build that railroad? That's right. We've got enough men to give him a bad time, boss. And we can recruit more without any trouble. We'll do that recruiting, all right?
  610. 58:16 But right now I have other plans for the Kansas Pacific.
  611. 58:19 Tracks are one thing but trains running on them are another.
  612. 58:22 What's this all about? Let them spend their money and time building. They've got too many men now for us to stage any kind of an attack.
  613. 58:29 But the minute they put a train on those tracks, we'll blow it off the prairie. With what? With artillery.
  614. 58:34 We'll light up on the tracks from one of those uphill passes where the engine has to slow down and... Are you figuring on stealing some cannons from the Yankee army?
  615. 58:40 No, just requisitioning them from the Confederate Army.
  616. 58:46 I'm going to go.
  617. 59:19 - Oh, Dad, you did it! - We sure did!
  618. 59:28 Congratulations, John.
  619. 59:29 Well, same to you.
  620. 59:31 Somebody ought to be buying a few drinks around here. It isn't every day we finish a railroad, you know.
  621. 59:36 Oh, I almost forgot.
  622. 59:37 There's a telegram for you.
  623. 59:38 It's a train coming in from Kansas City.
  624. 59:46 We're in business, all right, and just in time.
  625. 1:00:02 - The war is very close.
  626. 1:00:04 It looks like it might be.
  627. 1:00:27 All right boys, on your toes.
  628. 1:00:45 Stand by.
  629. 1:00:47 Commence firing!
  630. 1:01:02 *BOOM*
  631. 1:01:43 We got 'em, boys! All right, boys. Let's get these guns out of here.
  632. 1:01:54 Oh, my God.
  633. 1:01:58 Well, there's a place, all right.
  634. 1:02:00 Did you see any tracks when you came up?
  635. 1:02:02 No, sir. I figured they covered them up so we couldn't trail them.
  636. 1:02:05 I'm
  637. 1:02:17 I'm going to go.
  638. 1:02:24 That all Carol. Yep, everybody else is afraid of getting shot at with can't I?
  639. 1:02:29 They won't use artillery on personnel. Trains are their target.
  640. 1:02:32 Well, these are the only men I've been able to convince her that.
  641. 1:02:36 Repairing that track won't be easy, but we'll get it done.
  642. 1:02:39 Let's go. What about Quanto? We couldn't find him. Nobody around here seen him for weeks.
  643. 1:02:51 I'm sorry.
  644. 1:03:21 Oh, my God.
  645. 1:03:36 I'll stand.
  646. 1:03:37 How are you? Fine, Cap. Nelson.
  647. 1:03:40 I'm not much of a...
  648. 1:03:40 secret anymore.
  649. 1:03:42 What brings you here?
  650. 1:03:43 Well, since we lost that last train, the General decided not to telegraph about the next
  651. 1:03:47 Let me tell you.
  652. 1:03:48 The next one.
  653. 1:03:49 We can't risk another train until we locate those guns and put them out of action.
  654. 1:03:53 You're gonna risk it anyway, Captain.
  655. 1:03:54 You telegraph the general, it would take you a week to repair the damage.
  656. 1:03:57 The week's up tomorrow.
  657. 1:03:58 That's when the train's coming through.
  658. 1:04:01 Ammunition again?
  659. 1:04:02 and troops.
  660. 1:04:03 Reinforcements for Kearney and the other Western force.
  661. 1:04:06 We can't wait any longer, Captain.
  662. 1:04:09 All right.
  663. 1:04:11 Joe.
  664. 1:04:12 Sir?
  665. 1:04:12 Can you round up a half a dozen men who can ride and shoot?
  666. 1:04:15 You mean to go out after them cannons there?
  667. 1:04:17 Yes.
  668. 1:04:18 There are a few boys I know that like that.
  669. 1:04:19 They're not much in laying track in the middle of a prairie, but they ride and shoot real well. Good.
  670. 1:04:24 Outside of that hill there, there's only one other piece of high ground between Rockwood and the Colorado border that commands the track.
  671. 1:04:30 If they use those guns again, I figure that's where they'll be.
  672. 1:04:33 I know the place you mean.
  673. 1:04:34 You go back to the smokestack and meet me here in the morning.
  674. 1:04:38 Stanton, I have an idea.
  675. 1:04:39 It may not work, but we have to try it.
  676. 1:04:41 I want you to get back to Kansas City and hold up that troop train. I can't do that, Captain. What I got in my mind won't take you long to set up. Now, here's the way it works.
  677. 1:05:18 Hold it up!
  678. 1:05:20 Give your horses a breather, men.
  679. 1:05:23 We'll only be able to see the pass from that next rise there. We won't get any rest then if those guns...
  680. 1:05:35 The folk stacks are all in that train. No wonder they're making such a good time. Come on.
  681. 1:05:41 Come on.
  682. 1:05:51 Take a look.
  683. 1:06:06 Commence firing.
  684. 1:06:38 Fire!
  685. 1:07:08 Keep firing. Get the rifles.
  686. 1:08:08 I'm.
  687. 1:08:20 Oh, my God.
  688. 1:08:50 Come on.
  689. 1:09:29 Get up!
  690. 1:09:32 Take care of it.
  691. 1:09:45 All clear, sir. We got 'em all.
  692. 1:09:47 You feel all right, Joe?
  693. 1:09:49 Sure.
  694. 1:09:51 Well done.
  695. 1:09:52 Thank you, sir.
  696. 1:09:58 I'm going to go.
  697. 1:10:02 Come on.
  698. 1:10:37 Sometimes I think I'd rather go off the ward than hang around here smelling that pipe.
  699. 1:10:43 Shut up.
  700. 1:10:46 Goodbye, Barbara.
  701. 1:10:47 I'll be back.
  702. 1:10:48 And I'll be safe.
  703. 1:10:50 or wherever else they're building me.
  704. 1:10:56 What?
  705. 1:10:57 Oh. I hope this thing is over soon for that young fella can come back and help us
  706. 1:11:18 Build that track all the way across the country.
  707. 1:11:22 He'll be back.

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