Public Reel

Night of the Living Dead (1968)

Public domain through a copyright notice omitted on release in 1968, a rule this registry does not yet apply; the finding is the film's own documented history, not a catalog check.

A farmhouse becomes a test of practical intelligence and collective failure, while the film’s missing copyright notice leaves a separate history of uncertain copies.

The man best equipped to survive Night of the Living Dead is shot by the men clearing the countryside the next morning. Ben, played by Duane Jones, understands the practical work of survival. None of this saves him when he is glimpsed through a window and taken for one of the dead. The ending turns a horror story about recognising danger into something harsher: a story about the lethal ease of misrecognition. With a Black man inside the house and armed white men outside it, the image carries a racial meaning that requires no explanatory speech.

The film marked George A. Romero’s feature film directing and screenwriting debut.1 It was the first production of Image Ten, a Pittsburgh-based company.1 Romero and a group of friends and colleagues shot the film in Evans City, Pennsylvania, outside Pittsburgh.5 The farmhouse is more than an economical setting. Its limited points of entry make the immediate problem legible to the viewer watching the people inside disagree about its solution. The scale is domestic even when the catastrophe is not.

Barbra, played by Judith O’Dea, reaches the house after an attack in a cemetery. Ben arrives with enough composure to begin making it defensible. Other survivors have already taken refuge in the cellar. At 9:40 in the atlas copy, a figure runs across the yard towards the house. The movement offers the elementary promise of shelter, crossing from exposed ground into an enclosure. Much of what follows dismantles that promise. The walls confine people whose competing ideas of safety become another danger.

The film gives practical work unusual dramatic weight. At 20:07, the instruction “Get some more lights on in this house” makes illumination a task before it is an atmosphere. Someone must make the rooms usable. Ben’s authority grows from this sort of action, rather than from any official position. Against it stands Harry Cooper’s insistence that the cellar offers the only defensible refuge. Their dispute is not simply courage against cowardice. The house really does present incompatible risks. Cooperation becomes harder as each man treats the other’s judgement as a threat.

Beyond the barricades, a second struggle concerns knowledge. At 40:01, a woman’s increasingly alarmed face accompanies a broadcast describing reports that have been “verified as completely as is possible in this confused situation.” The qualification matters. The voice offers the procedures of reliable information without promising control over events. News can establish that the disaster extends beyond the house without making the house safer. The restrained broadcast language also places the impossible beside familiar habits of listening and waiting. By the time organised armed men appear, the viewer has been taught to want an outside authority capable of acting. Ben’s death makes that arrival terrible.

The film’s later history contains a different failure of identification. It was shot as Night of the Flesh Eaters.1 The title changed before release.3 One account links that change to the omission of the copyright notice required for protection at the time.3 That explanation concerns the original release, not every copy subsequently circulated under its title. Preservation has followed a separate path. The Library of Congress added the film to the National Film Registry in 1999.10 Criterion’s edition presents a new restoration of the monaural soundtrack supervised by Romero and Gary Streiner.13 That work is distinct from the mere availability of a copy bearing the title.

The record: No US registration for this title appears in the Catalog of Copyright Entries as loaded (1912-1963). The registry's own note on this copy reads: "Public domain through a copyright notice omitted on release in 1968, a rule this registry does not yet apply; the finding is the film's own documented history, not a catalog check." The atlas uses the Internet Archive copy night_of_the_living_dead_dvd, with 957 shots over 95 minutes. The absent catalog entry and the documented notice omission are different kinds of evidence. This record does not settle the status of every later edition or the elements added to it.

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

  1. catalog.afi.com https://catalog.afi.com/Film/19843-NIGHT-OF-THE-LIVING-DEAD
  2. horrorstudies.library.pitt.edu https://horrorstudies.library.pitt.edu/blog/night-flesh-eaters-mini-banners
  3. film-foundation.org https://www.film-foundation.org/night-of-the-living-dead-nyt
  4. en.wikipedia.org https://en.wikipedia.org/wiki/Night_of_the_Living_Dead
  5. moma.org https://www.moma.org/calendar/film/565
  6. tcm.com https://www.tcm.com/articles/cinematic-insights/148235/insider-info-night-of-the-living...
  7. afi.com https://www.afi.com/news/night-of-the-living-dead-afi-movie-club/
  8. en.wikipedia.org https://en.wikipedia.org/wiki/I_Am_Legend_(novel)
  9. plagiarismtoday.com https://www.plagiarismtoday.com/2016/10/25/why-night-of-the-living-dead-is-public-domain/
  10. loc.gov https://www.loc.gov/programs/national-film-preservation-board/film-registry/complete-na...
  11. cnn.com http://www.cnn.com/SHOWBIZ/Movies/9911/16/natl.film.registry/
  12. criterion.com https://www.criterion.com/current/posts/5043-night-of-the-living-dead-resurrected
  13. criterion.com https://www.criterion.com/films/29331-night-of-the-living-dead
  14. publicdomainreview.org https://publicdomainreview.org/collection/night-of-the-living-dead/
  15. catalog.afi.com https://catalog.afi.com/Film/58630-NIGHT-OFTHELIVINGDEAD
  16. catalog.afi.com https://catalog.afi.com/Film/63963-NIGHT-OF-THE-LIVING-DEAD-3D
  17. catalog.afi.com https://catalog.afi.com/Film/56245-DAWN-OF-THE-DEAD

Inside the film

957 shots over 1:35:31 · 361 beats in 191 sequences · 738 transcript lines · JSON

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

Every shot, 957 frames with timestamps and on-screen text

How this page was made

957 shots over 1:35:31, read from the Internet Archive copy night_of_the_living_dead_dvd (Night.mp4, 640×480, 29.97 fps). Shot boundaries by PySceneDetect's adaptive detector; each frame links to the Archive's player at that second. JSON

Measurements: black-and-white film on its keyframes (0 of 957 shots judged colour), average shot 6.0s long, a frontal face detected in 25% of keyframes. Shots are detected automatically and each is represented by its midpoint frame.

Released 1968 (Internet Archive).

361 beats in 191 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. 361 of 361 beats annotated, 357 passed the checks, 4 flagged.

Beats

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

Sequence 1 from 0:00

Frame at 0:18, shot 00:18
1 of 1 shots sampled

1. Rural road

0:00–0:37 Machine checks passed

Model synopsis: A rural road curves through a barren landscape with leafless trees and a fence. No people or vehicles are visible in the single frame provided.

Evidence, details and a link to share

Sequence 2 from 0:37

Sequence 3 from 0:58

Frame at 1:02, shot 21:02Frame at 1:11, shot 31:11
2 of 2 shots sampled

3. Rural road

0:58–1:15 Machine checks passed

Model synopsis: The beat shows a rural road with rolling hills and bare trees, overlaid with end credits for the film's crew. A voice exclaims 'Oh, my God' at 1:00. No characters are visible or named in this segment.

1 person observed.

“Oh, my God.” 1:00

Evidence, details and a link to share

Sequence 4 from 1:15

Frame at 1:22, shot 41:22
1 of 1 shots sampled

4. Rural road

1:15–1:29 Machine checks passed

Model synopsis: The beat shows end credits rolling over a static shot of a rural road lined with trees. No people or actions are visible, and no dialogue is present.

Evidence, details and a link to share

Sequence 5 from 1:29

Frame at 1:37, shot 51:37Frame at 1:49, shot 61:49
2 of 2 shots sampled

5. Road

1:29–1:54 Machine checks passed (partial)

Model synopsis: A car drives on a dirt road near a wooded area and a cemetery. A person says they are going to leave.

  • A car is visible on a dirt road next to a wooded slope and a sign. [frame:1]
  • A car drives on a dirt road near trees and headstones. [frame:2]

1 person observed.

“I'm going to go.” 1:41

Evidence, details and a link to share

Sequence 6 from 2:11

Frame at 2:15, shot 92:15Frame at 2:32, shot 102:32
2 of 2 shots sampled

7. Vehicle interior

2:11–2:46 Machine checks passed

Model synopsis: Two people are in a car, discussing a long drive home and the difficulty of visiting a grave. The conversation mentions daylight saving time and a mother who cannot travel.

Named: Johnny (t:2:23). 2 people observed.

“They ought to make the day the time changes, the first day of summer.” 2:14 · “Now, we've still got a three-hour drive back. We're not going to be home until after midnight. Well, if it really bugged you, Johnny, you w…” 2:23

Evidence, details and a link to share

Sequence 7 from 3:09

Sequence 8 from 3:12

Frame at 3:14, shot 143:14Frame at 3:17, shot 153:17
2 of 2 shots sampled

10. Vehicle interior

3:12–3:17 Machine checks passed (partial)

Model synopsis: A person wearing glasses and a suit is visible inside a vehicle, adjusting the radio. The transcript indicates a broadcast interruption and return to air.

  • A person adjusts the radio dial in a car. [frame:2]

1 person observed.

“Ladies and gentlemen... Hey, we...” 3:12 · “We're coming back on the air after an interruption due to technical problems.” 3:14

Evidence, details and a link to share

Sequence 9 from 3:20

Frame at 3:24, shot 173:24
1 of 1 shots sampled

12. Forest

3:20–3:27 Machine checks passed

Model synopsis: A person stands beside a car in an outdoor setting with trees visible in the background. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 10 from 3:27

Sequence 11 from 3:37

Frame at 3:43, shot 193:43
1 of 1 shots sampled

14. Forest

3:37–3:50 Machine checks passed

Model synopsis: A single frame shows a wooded area with trees and a path, under overcast or diffuse lighting. No people, objects, or on-screen text are visible, and no transcript lines are provided for this beat.

Evidence, details and a link to share

Frame at 4:00, shot 204:00
1 of 1 shots sampled

15. Cemetery

3:50–4:09 Machine checks passed

Model synopsis: Two figures walk through a cemetery during daylight. One speaks about the time change and sleep loss, while the other urges them forward.

  • Two people walk through a cemetery past tombstones. [frame:1]

2 people observed.

“Well, there's no one around. Well, it's late. You've gotten up earlier. Oh, look, I already lost an hour's sleep on the time change. I th…” 3:56 · “Come on.” 4:06

Evidence, details and a link to share

Sequence 12 from 4:09

Frame at 4:16, shot 214:16
1 of 1 shots sampled

16. Cemetery

4:09–4:22 Machine checks passed

Model synopsis: A person stands in a cemetery near a tombstone and trees. The scene is shot in black and white with no visible dialogue or action.

1 person observed.

Evidence, details and a link to share

Sequence 13 from 4:22

Frame at 4:27, shot 224:27Frame at 4:35, shot 234:35
2 of 2 shots sampled

17. Cemetery

4:22–4:38 Machine checks passed (partial)

Model synopsis: Two people are at a gravesite; one kneels by a grave while the other stands nearby. They discuss the disappearance of flowers placed there the previous year.

  • A man kneels beside a grave while a woman stands nearby. [frame:1]
  • The woman looks forward, hands clasped. [frame:2]

2 people observed.

“I wonder what happened to the one from last year.” 4:24 · “Each year we spend good money on these things.” 4:28

Evidence, details and a link to share

Frame at 4:40, shot 244:40Frame at 4:48, shot 254:48Frame at 4:59, shot 264:59
3 of 3 shots sampled

18. Cemetery

4:38–5:05 Machine checks passed (partial)

Model synopsis: A man in a suit and tie tends to a grave while a woman in a coat stands nearby; a child is also present at the grave. The transcript includes remarks about cleaning up and selling something, and a comment about church being that morning.

  • A man bends over a grave while a woman stands nearby and a child kneels at the grave. [frame:1]
  • The man stands and walks away from the grave while the child remains kneeling. [frame:2]
  • The man looks down, adjusting his tie or shirt. [frame:3]

3 people observed.

“Yeah, a little spit and polish. You can clean this up. Sell it next year.” 4:38 · “Wonder how many times we bought the same one.” 4:43

Evidence, details and a link to share

Sequence 14 from 5:05

Frame at 5:07, shot 275:07
1 of 1 shots sampled

19. Forest

5:05–5:09 Machine checks passed

Model synopsis: A person in a suit and glasses looks upward outdoors among trees. No dialogue or on-screen text is present in this beat.

  • A man in a suit and glasses looks upward. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 15 from 5:09

Frame at 5:11, shot 285:11
1 of 1 shots sampled

20. Cemetery

5:09–5:12 Machine checks passed

Model synopsis: The scene shows a cemetery with tombstones and trees under overcast lighting. No people or actions are visible in the single frame provided.

Evidence, details and a link to share

Sequence 16 from 5:12

Sequence 17 from 5:15

Frame at 5:17, shot 305:17
1 of 1 shots sampled

22. Cemetery

5:15–5:18 Machine checks passed

Model synopsis: A black-and-white shot shows a cemetery with tombstones and bare trees under an overcast sky. No people or movement are visible in the single frame provided.

Evidence, details and a link to share

Sequence 18 from 5:18

Frame at 5:31, shot 315:31
1 of 1 shots sampled

23. Forest

5:18–5:44 Machine checks passed

Model synopsis: A man in a suit and tie stands outdoors near trees while speaking about past events involving church and a childhood memory with Grandpa. No other people are visible in the frame.

1 person observed.

“Hey, I mean, praying's for church, huh? Come on. I haven't seen you in church lately. Well, there's not much sense in my going to church.” 5:23 · “Do you remember one time when we were small, we were out here?” 5:36

Evidence, details and a link to share

Sequence 19 from 6:08

Frame at 6:11, shot 356:11Frame at 6:16, shot 366:16Frame at 6:23, shot 386:23Frame at 6:27, shot 396:27
4 of 5 shots sampled

25. Cemetery

6:08–6:30 Machine checks passed (partial)

Model synopsis: A woman in a light coat runs through a cemetery while a man in glasses and a dark coat stands nearby; another figure is seen from behind. The transcript indicates a tense exchange about an approaching threat.

  • A woman runs through a cemetery. [frame:1]
  • A blurry view of trees and tombstones in the cemetery. [frame:2]
  • A man and woman stand together, looking off-camera. [frame:3]
  • 1 more under Evidence and details.

3 people observed.

“Stop it!” 6:08 · “You're ignorant. They're coming for you, Barbara.” 6:09

Evidence, details and a link to share

Sequence 20 from 6:30

Frame at 6:31, shot 406:31
1 of 1 shots sampled

26. Forest

6:30–6:32 Machine checks passed

Model synopsis: A man in glasses and a dark coat is shown outdoors in a wooded area. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 21 from 6:32

Frame at 6:33, shot 416:33
1 of 1 shots sampled

27. Cemetery

6:32–6:33 Machine checks passed

Model synopsis: A woman in a trench coat stands in a cemetery with hands in pockets. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Frame at 6:34, shot 426:34Frame at 6:35, shot 436:35Frame at 6:37, shot 456:37Frame at 6:40, shot 466:40
4 of 5 shots sampled

28. Field

6:33–6:43 Machine checks passed (partial)

Model synopsis: A woman is attacked outdoors by a figure in dark clothing; she cries out for help. The scene is shot in black and white with handheld camera movement.

  • A woman is grabbed from behind by a dark-clad figure. [frame:1]
  • The woman screams as the figure holds her tightly. [frame:2]
  • The figure carries the woman away across a field. [frame:3]
  • 1 more under Evidence and details.

Named: Johnny (t:6:36). 2 people observed.

“Oh, no.” 6:33 · “Oh, Johnny. Help me.” 6:36

Evidence, details and a link to share

Frame at 6:44, shot 476:44Frame at 6:50, shot 496:50Frame at 6:53, shot 506:53Frame at 7:05, shot 527:05
4 of 6 shots sampled

29. Cemetery

6:43–7:06 Machine checks passed (partial)

Model synopsis: A woman in a light coat is seen in a cemetery, leaning against a tombstone and looking distressed. A second person is briefly visible in a dark coat, and the woman speaks the line 'Come on.'

  • Woman leans against tombstone, looking distressed [frame:1]
  • Person in dark coat appears to grab or hold the woman [frame:2]
  • Woman continues to lean against tombstone, face showing distress [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“Come on.” 6:43

Evidence, details and a link to share

Sequence 22 from 7:06

Frame at 7:07, shot 537:07
1 of 1 shots sampled

30. Beat 30

7:06–7:08 Machine checks passed

Model synopsis: A close-up shows a man with a distressed expression, his face contorted and mouth open. The shot is tight on his face, with no background context visible.

1 person observed.

Evidence, details and a link to share

Sequence 23 from 7:08

Frame at 7:08, shot 547:08
1 of 1 shots sampled

31. Other

7:08–7:09 Machine checks passed

Model synopsis: A person is visible in a dimly lit, grainy black-and-white frame, holding an object near their face. No spoken lines or on-screen text are present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 24 from 7:09

Frame at 7:10, shot 557:10
1 of 1 shots sampled

32. Field

7:09–7:11 Machine checks passed

Model synopsis: A person in dark clothing crouches beside a stone block outdoors on leaf-strewn ground. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 25 from 7:11

Frame at 7:13, shot 567:13
1 of 1 shots sampled

33. Other

7:11–7:14 Machine checks passed

Model synopsis: A person with long hair and a beard is visible in a dimly lit, low-angle shot. The background includes a dark, angled surface with partial lettering.

1 person observed.

Evidence, details and a link to share

Sequence 26 from 7:14

Frame at 7:16, shot 577:16
1 of 1 shots sampled

34. Cemetery

7:14–7:17 Machine checks passed

Model synopsis: A person in dark clothing is visible in a cemetery at an unknown time of day. No spoken dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 27 from 7:17

Frame at 7:19, shot 587:19
1 of 1 shots sampled

35. Yard

7:17–7:21 Machine checks passed (partial)

Model synopsis: A person in a light-colored dress runs across a leaf-strewn yard toward a house. The scene is outdoors, in black and white, with trees and a stone structure visible.

  • A person runs across a yard. [frame:1]

1 person observed.

Evidence, details and a link to share

Frame at 7:23, shot 597:23
1 of 1 shots sampled

36. Cemetery

7:21–7:25 Machine checks passed (partial)

Model synopsis: A figure moves among trees and tombstones in a cemetery. The scene is shot in black and white with high contrast lighting.

  • A figure walks among tombstones and trees. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 28 from 7:25

Frame at 7:26, shot 607:26
1 of 1 shots sampled

37. Field

7:25–7:28 Machine checks passed (partial)

Model synopsis: A figure in light clothing runs uphill across grass toward a flagpole, with trees on either side. The scene is outdoors in black and white, with no visible structures or other people.

  • A figure runs uphill across grass toward a flagpole. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 29 from 7:28

Frame at 7:29, shot 617:29
1 of 1 shots sampled

38. Forest

7:28–7:31 Machine checks passed

Model synopsis: A woman with long hair is shown in a close-up, her mouth open as if screaming. The background is indistinct foliage, suggesting an outdoor setting.

  • A woman is screaming with her mouth wide open. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 30 from 7:31

Frame at 7:32, shot 627:32
1 of 1 shots sampled

39. Yard

7:31–7:34 Machine checks passed (partial)

Model synopsis: A person is on the ground outdoors as another figure looms over them; a shoe lies nearby. No dialogue or on-screen text is present in this beat.

  • A person lies on the grass while another figure stands over them. [frame:1]

2 people observed.

Evidence, details and a link to share

Sequence 31 from 7:34

Frame at 7:36, shot 637:36Frame at 8:00, shot 688:00Frame at 8:19, shot 738:19Frame at 8:32, shot 788:32
4 of 16 shots sampled

40. Vehicle interior

7:34–8:36 Machine checks passed (partial)

Model synopsis: A person is visible inside a vehicle, looking out the window as trees pass by. The transcript includes a command to hurry and an exclamation of fear.

  • A person is seen inside a vehicle looking out the window. [frame:1]
  • The vehicle moves past trees, visible through the window. [frame:2]
  • The person leans forward, head down, inside the vehicle. [frame:3]
  • 1 more under Evidence and details.

1 person observed.

“Come on.” 7:34 · “Oh, my God.” 8:04

Evidence, details and a link to share

Frame at 8:37, shot 798:37Frame at 8:45, shot 818:45Frame at 8:51, shot 838:51Frame at 8:56, shot 858:56
4 of 7 shots sampled

41. Vehicle interior

8:36–8:58 Machine checks passed

Model synopsis: A person is shown inside a vehicle, seen from different angles including a side profile and an exterior shot of the car. The interior of the vehicle is visible, with the person holding the steering wheel and looking forward.

1 person observed.

Evidence, details and a link to share

Frame at 8:59, shot 868:59Frame at 9:01, shot 879:01Frame at 9:04, shot 889:04Frame at 9:08, shot 899:08
4 of 4 shots sampled

42. Road

8:58–9:10 Machine checks passed (partial)

Model synopsis: A person interacts with a car on a wooded road, then runs away as another figure approaches. The scene ends with a chaotic view of foliage and movement in the woods.

  • A person leans into the driver's side of a parked car. [frame:1]
  • The person runs away from the car up a grassy slope. [frame:2]
  • A second person in dark clothing runs toward the car from behind a tree. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

Evidence, details and a link to share

Frame at 9:16, shot 909:16Frame at 9:25, shot 919:25
2 of 2 shots sampled

43. Road

9:10–9:28 Machine checks passed (partial)

Model synopsis: A woman runs down a road while a man stands in a wooded area nearby. The scene is outdoors and appears to be during the day.

  • A woman runs down a road. [frame:1]
  • A man stands in a wooded area. [frame:2]

2 people observed.

Evidence, details and a link to share

Frame at 9:29, shot 929:29Frame at 9:34, shot 949:34Frame at 9:37, shot 959:37Frame at 9:40, shot 979:40
4 of 6 shots sampled

44. Field

9:28–9:40 Machine checks passed (partial)

Model synopsis: A woman in a light coat is shown in a field, then running toward a vehicle. She appears distressed and is seen from behind as she reaches for the vehicle's door.

  • A woman in a light coat is shown in a field, looking toward the camera. [frame:1]
  • The same woman is shown in a medium close-up, looking distressed. [frame:2]
  • A dark-haired person runs toward a vehicle while the blonde woman is partially visible near the vehicle's door. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

Evidence, details and a link to share

Frame at 9:45, shot 989:45Frame at 9:50, shot 999:50Frame at 9:56, shot 1009:56
3 of 3 shots sampled

45. Yard

9:40–10:00 Machine checks passed (partial)

Model synopsis: A person runs across a grassy yard toward a house, then enters a dark interior. The final frame shows the person from behind, running up a slope toward the house with trees nearby.

  • person runs across grassy yard [frame:1]
  • person enters dark interior [frame:2]
  • person runs up slope toward house [frame:3]

1 person observed.

Evidence, details and a link to share

Frame at 10:02, shot 10110:02Frame at 10:04, shot 10210:04Frame at 10:07, shot 10310:07Frame at 10:10, shot 10410:10
4 of 4 shots sampled

46. Field

10:00–10:11 Machine checks passed (partial)

Model synopsis: A woman is seen peeking from behind a wooden structure while a man walks across a field in the distance. The woman then reacts with visible distress and moves away from the structure.

  • A woman peeks from behind a wooden structure. [frame:1]
  • A man walks across a field in the distance. [frame:2]
  • The woman reacts with an open mouth and places her hand on the wooden structure. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

Evidence, details and a link to share

Frame at 10:23, shot 10510:23Frame at 10:37, shot 10610:37Frame at 10:39, shot 10710:39Frame at 10:41, shot 10810:41
4 of 4 shots sampled

47. Living room

10:11–10:43 Machine checks passed (partial)

Model synopsis: A woman in a robe is seen moving through a dimly lit interior room, opening a door and reacting with alarm. The transcript includes a single exclamation of distress at 10:12.

  • A woman opens a door and looks into a dark room. [frame:1]
  • The woman steps into the doorway, holding the door open. [frame:2]
  • The woman is seen from behind, standing in the doorway, looking into the room. [frame:4]

1 person observed.

“Oh, my God.” 10:12

Evidence, details and a link to share

Sequence 32 from 10:43

Frame at 10:49, shot 10910:49
1 of 1 shots sampled

48. Kitchen

10:43–10:55 Machine checks passed

Model synopsis: A person with long hair is visible in a dimly lit interior, leaning over a counter or sink. No names, dialogue, or clear time of day are established in this beat.

1 person observed.

Evidence, details and a link to share

Frame at 11:01, shot 11011:01Frame at 11:13, shot 11111:13
2 of 2 shots sampled

49. Living room

10:55–11:18 Machine checks passed (partial)

Model synopsis: A woman stands in a dimly lit room holding a tray, then moves toward a fireplace where another figure lies on the floor. The scene is shot in black and white with high-contrast lighting.

  • A woman stands in a doorway holding a tray. [frame:1]
  • The woman walks toward a fireplace where a figure lies on the floor. [frame:2]

2 people observed.

Evidence, details and a link to share

Frame at 11:35, shot 11311:35Frame at 11:36, shot 11411:36Frame at 11:47, shot 11611:47Frame at 11:50, shot 11711:50
4 of 5 shots sampled

51. House exterior

11:35–11:51 Machine checks passed (partial)

Model synopsis: A deer's head is shown in close-up, followed by an exterior shot of a house with a figure moving near a shed, and a person peering from inside a doorway. No dialogue or on-screen text is present in these frames.

  • A deer's head is shown in extreme close-up, lit from above. [frame:1]
  • A figure is seen moving near a shed in the yard of a house. [frame:3]
  • A person in a hooded garment peers from a doorway into a dark interior. [frame:4]

1 person observed.

Evidence, details and a link to share

Frame at 11:55, shot 11811:55Frame at 11:59, shot 11911:59Frame at 12:00, shot 12012:00
3 of 3 shots sampled

52. House exterior and interior

11:51–12:01 Machine checks passed (partial)

Model synopsis: A person walks outside near a house holding a long object while another person is seen indoors in close-up. No dialogue or on-screen text is present in this beat.

  • A person walks outside near a house carrying a long object. [frame:1]
  • A person with long hair is seen indoors in profile. [frame:2]
  • A close-up of a person with long hair is shown. [frame:3]

3 people observed.

Evidence, details and a link to share

Sequence 33 from 12:42

Sequence 34 from 12:44

Frame at 12:45, shot 12512:45
1 of 1 shots sampled

56. Living room

12:44–12:46 Machine checks passed

Model synopsis: A person with light hair is seen in profile, looking at a conical, decorated object on a table. The setting appears to be an interior room with dim lighting and a window visible in the background.

1 person observed.

Evidence, details and a link to share

Sequence 35 from 12:46

Frame at 12:50, shot 12612:50
1 of 1 shots sampled

57. Field

12:46–12:54 Machine checks passed

Model synopsis: A man in dark clothing stands outdoors at night, holding an object. The scene is dimly lit and appears to be in a natural, open area.

  • man stands outdoors at night, looking off-camera [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 36 from 12:54

Frame at 12:55, shot 12712:55
1 of 1 shots sampled

58. Other

12:54–12:56 Machine checks passed

Model synopsis: A woman is shown in profile next to a dark figure and a conical object in a dimly lit interior. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Sequence 37 from 12:56

Frame at 12:58, shot 12812:58
1 of 1 shots sampled

59. Living room

12:56–12:59 Machine checks passed

Model synopsis: A person is visible in a dimly lit interior room, standing near a table with a plate. The scene is shot in black and white with high contrast lighting.

1 person observed.

Evidence, details and a link to share

Frame at 13:04, shot 12913:04Frame at 13:10, shot 13013:10Frame at 13:12, shot 13113:12Frame at 13:15, shot 13213:15
4 of 4 shots sampled

60. Interior

12:59–13:17 Machine checks passed (partial)

Model synopsis: A woman is seen in distress on a staircase, followed by a close-up of her face and a grotesque, decaying face. The final frame shows her being grabbed from behind. No names or specific time of day are established.

  • A woman is seen crawling up a staircase in distress. [frame:1]
  • Close-up of the woman's face showing fear. [frame:2]
  • A close-up of a grotesque, decaying face is shown. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“No!” 13:11

Evidence, details and a link to share

Frame at 13:20, shot 13313:20Frame at 13:26, shot 13413:26Frame at 13:29, shot 13513:29Frame at 13:30, shot 13613:30
4 of 4 shots sampled

61. Bedroom

13:17–13:30 Machine checks passed (partial)

Model synopsis: A figure is seen in a dark interior, moving near a window and a bedpost; the scene is lit by a bright, overexposed light source. No dialogue or named characters are present in this segment.

  • A figure is visible in motion near a window in a dark room. [frame:1]
  • A bright light source illuminates a vertical structure, possibly a window or door frame. [frame:2]
  • Two bright, out-of-focus circular lights are visible against a dark background. [frame:3]
  • 1 more under Evidence and details.

1 person observed.

Evidence, details and a link to share

Frame at 13:31, shot 13713:31Frame at 13:34, shot 13913:34Frame at 13:36, shot 14113:36Frame at 13:40, shot 14313:40
4 of 7 shots sampled

62. Field

13:30–13:41 Machine checks passed (partial)

Model synopsis: A man is shown in close-up and medium shots in a dark outdoor setting, reacting with alarm. He is visible in frames 1-3, and a fourth frame shows a figure moving near a doorway. The transcript contains one expletive.

  • A man is shown in a close-up, looking alarmed. [frame:1]
  • The man is shown in profile, looking off-camera with a tense expression. [frame:2]
  • The man is shown standing in a dark field, looking startled. [frame:3]
  • 1 more under Evidence and details.

1 person observed.

“Shit.” 13:41

Evidence, details and a link to share

Frame at 13:48, shot 14413:48Frame at 13:57, shot 14513:57Frame at 14:01, shot 14614:01
3 of 3 shots sampled

63. Living room

13:41–14:01 Machine checks passed (partial)

Model synopsis: A man in a light shirt moves through a dim interior room, speaking reassuringly. He appears to be preparing to confront others, as suggested by his dialogue about handling someone and expecting more arrivals.

  • A man stands in a doorway, looking off-camera with a serious expression. [frame:1]
  • The man moves across a dim room, passing a radiator and a doorway. [frame:2]
  • The man leans against a doorframe, looking tense and alert. [frame:3]

1 person observed.

“It's all right.” 13:48 · “Don't worry about him, I can handle him. There'll probably be a lot more of them as soon as they find out about us.” 13:53

Evidence, details and a link to share

Frame at 14:03, shot 14714:03Frame at 14:05, shot 14814:05Frame at 14:10, shot 15014:10Frame at 14:18, shot 15114:18
4 of 5 shots sampled

64. Living room

14:01–14:23 Machine checks passed (partial)

Model synopsis: A man and a woman are inside a house; the man holds a rifle while the woman looks on. The transcript indicates they are discussing a truck out of gas and searching for a key to leave.

  • The woman is visible in profile, looking toward the window. [frame:1]
  • The man is visible holding a rifle, looking forward. [frame:2]
  • The man leans forward, appearing to speak or react. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“Truck is out of gas.” 14:02 · “This clump out here is locked. Is there a key?” 14:03

Evidence, details and a link to share

Sequence 38 from 14:27

Sequence 39 from 14:33

Frame at 14:34, shot 15514:34
1 of 1 shots sampled

67. Private office

14:33–14:35 Machine checks passed

Model synopsis: A woman is visible in a close-up, holding her hand near her face in a dimly lit interior. No spoken dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 40 from 14:35

Sequence 41 from 14:41

Frame at 14:42, shot 15714:42
1 of 1 shots sampled

69. Staircase

14:41–14:44 Machine checks passed (partial)

Model synopsis: A person in a light shirt and dark gloves moves down a staircase, holding a railing. The scene is dimly lit with high contrast, showing only the figure and the banister.

  • A person descends a staircase while holding the banister. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 42 from 14:44

Frame at 14:45, shot 15814:45
1 of 1 shots sampled

70. Private office

14:44–14:45 Machine checks passed

Model synopsis: A man in a light-colored shirt is shown in a close-up, leaning forward with a tense expression. The lighting is high-contrast, casting deep shadows on his face and clothing.

1 person observed.

Evidence, details and a link to share

Sequence 43 from 14:45

Frame at 14:46, shot 15914:46
1 of 1 shots sampled

71. Beat 71

14:45–14:47 Machine checks passed

Model synopsis: A close-up frame shows a grotesque, decaying face with an open mouth and one visible eye. The transcript contains the exclamation 'Jesus.' at 14:46.

  • A close-up of a decaying face is shown. [frame:1]

1 person observed.

“Jesus.” 14:46

Evidence, details and a link to share

Sequence 44 from 14:47

Frame at 14:48, shot 16014:48
1 of 1 shots sampled

72. Other

14:47–14:49 Machine checks passed

Model synopsis: A single figure is shown from behind, head bowed, in a dimly lit interior. No dialogue or identifying details are present in this beat.

1 person observed.

Evidence, details and a link to share

Frame at 14:57, shot 16114:57Frame at 15:09, shot 16215:09
2 of 2 shots sampled

73. Living room

14:49–15:13 Machine checks passed (partial)

Model synopsis: A woman is seen in a dim interior, first pressed against a wall with hands over her mouth, then standing in a hallway holding an object. She speaks about needing to leave and find food.

  • A woman presses herself against a wall with hands over her mouth. [frame:1]
  • The woman stands in a hallway holding an object. [frame:2]

1 person observed.

“We've got to get out of here.” 14:56 · “We have to get with us some other people.” 14:59

Evidence, details and a link to share

Frame at 15:20, shot 16315:20
1 of 1 shots sampled

74. Other

15:13–15:27 Machine checks passed

Model synopsis: A woman is shown in profile, looking up at a bright, vertical object in a dark setting. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 45 from 15:27

Frame at 15:28, shot 16415:28
1 of 1 shots sampled

75. Beat 75

15:27–15:28 Machine checks passed

Model synopsis: A single frame shows a bright, overexposed vertical shape against a dark background, with no identifiable people, objects, or setting. No transcript is provided for this beat.

Evidence, details and a link to share

Frame at 15:30, shot 16515:30
1 of 1 shots sampled

76. Other

15:28–15:31 Machine checks passed

Model synopsis: A dark, indistinct shape is visible against a lighter, textured background in a single frame. No people, objects, or text are identifiable, and no events or spoken content are present.

Evidence, details and a link to share

Sequence 46 from 15:31

Frame at 15:36, shot 16615:36
1 of 1 shots sampled

77. Living room

15:31–15:41 Machine checks passed

Model synopsis: A person stands in a dimly lit room, partially illuminated by a light source from the right. The room contains furniture including a cabinet and a framed picture on the wall.

1 person observed.

Evidence, details and a link to share

Frame at 15:51, shot 16715:51Frame at 16:04, shot 16816:04Frame at 16:10, shot 17016:10Frame at 16:13, shot 17116:13
4 of 5 shots sampled

78. Private office

15:41–16:14 Machine checks passed (partial)

Model synopsis: A woman is seen inside a room looking out a window while a man holds a body; later, a man stands outside near a vehicle at night. The transcript includes questions about what is happening and a mention of 'Two of them.'

  • A woman looks out a window while a man is visible in the foreground. [frame:1]
  • A man holds a body in a dimly lit room. [frame:2]
  • A person with long hair is seen from behind in shadow. [frame:3]
  • 1 more under Evidence and details.

4 people observed.

“What's happening?” 15:53 · “How do you think it's happening? What's happening?” 15:55

Evidence, details and a link to share

Frame at 16:17, shot 17216:17Frame at 16:25, shot 17316:25Frame at 16:34, shot 17416:34
3 of 3 shots sampled

79. Living room

16:14–16:38 Machine checks passed (partial)

Model synopsis: A man in a light shirt is visible in three frames, appearing distressed and speaking. The transcript indicates he is discussing two threats outside and expressing fear and confusion.

  • The man is visible in profile, looking off-camera with a tense expression. [frame:1]
  • The man is visible in a close-up, appearing distressed and leaning forward. [frame:2]
  • The man is visible in a wider shot, gesturing with his arm while speaking. [frame:3]

1 person observed.

“There are two of them out there. Have you seen any more around here? I can take care of those two.” 16:17 · “I know you're afraid, but we have to... I don't know! I don't know! What's happening?” 16:23

Evidence, details and a link to share

Frame at 16:39, shot 17516:39Frame at 16:40, shot 17616:40Frame at 16:41, shot 17716:41Frame at 16:43, shot 17816:43
4 of 4 shots sampled

80. Vehicle interior

16:38–16:44 Machine checks passed (partial)

Model synopsis: A person is shown in close-up with a hand near their face, followed by a vehicle's headlight and grille in darkness, then a partial view of a person's shoulder and neck, and finally a close-up of a man's face in shadow. No dialogue or on-screen text is present in this beat.

  • A person raises a hand near their face in a dark interior. [frame:1]
  • A vehicle's headlight and grille are visible in darkness. [frame:2]
  • A person's shoulder and neck are visible in shadow. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

Evidence, details and a link to share

Frame at 16:54, shot 17916:54
1 of 1 shots sampled

81. Other

16:44–17:05 Machine checks passed (partial)

Model synopsis: A person is shown in a dark, low-angle shot, partially covered by a sheet or cloth, with hands raised near their face. No location, time of day, or named individuals are established from the frame or transcript.

  • A person is shown under a sheet with hands raised near their face. [frame:1]

1 person observed.

“Oh!” 16:53

Evidence, details and a link to share

Frame at 17:06, shot 18017:06Frame at 17:08, shot 18117:08Frame at 17:12, shot 18317:12Frame at 17:18, shot 18417:18
4 of 5 shots sampled

82. Other

17:05–17:23 Machine checks passed

Model synopsis: A person is shown in close-up in a dark, confined space across four frames. The lighting is stark and high-contrast, revealing only partial features and a textured surface nearby.

1 person observed.

Evidence, details and a link to share

Frame at 17:25, shot 18517:25Frame at 17:51, shot 19017:51Frame at 18:08, shot 19518:08Frame at 18:43, shot 20018:43
4 of 16 shots sampled

83. Living room

17:23–18:53 Machine checks passed (partial)

Model synopsis: A person is seen lying down and then moving in a dark interior space while another person is visible in a doorway; a third person is shown near a sink. The transcript contains repeated exclamations of 'Oh, my God' and a command to 'Come on.'

  • A person is lying down in a dark room. [frame:1]
  • A person stands in a doorway holding an object, with others visible behind them. [frame:2]
  • A person is on the floor reaching for an object. [frame:3]
  • 1 more under Evidence and details.

4 people observed.

“Oh, my God.” 17:23 · “Oh, my God.” 17:53

Evidence, details and a link to share

Frame at 18:58, shot 20118:58Frame at 19:07, shot 20219:07Frame at 19:12, shot 20319:12
3 of 3 shots sampled

84. Bedroom

18:53–19:13 Machine checks passed

Model synopsis: A woman in a light coat stands in a doorway, then looks down. In another shot, a person is seen near a bed with patterned bedding. No dialogue or on-screen text is present.

2 people observed.

Evidence, details and a link to share

Frame at 19:15, shot 20419:15Frame at 19:19, shot 20519:19
2 of 2 shots sampled

85. Kitchen

19:13–19:20 Machine checks passed (partial)

Model synopsis: A woman with blonde hair is shown in a close-up while a man bends over in a dimly lit room. The transcript includes the lines "I'm going to go" and "Amen" spoken during this interval.

  • woman looks toward camera with serious expression [frame:1]
  • man bends over near a kitchen counter [frame:2]

2 people observed.

“I'm going to go.” 19:15 · “Amen.” 19:18

Evidence, details and a link to share

Frame at 19:43, shot 20819:43Frame at 19:49, shot 21019:49Frame at 19:53, shot 21119:53Frame at 20:02, shot 21320:02
4 of 6 shots sampled

87. Other

19:42–20:05 Machine checks passed (partial)

Model synopsis: A man is shown in close-up, then two figures stand over a body near a fire, which is later seen burning near a doorway. A thud is heard at 20:00.

  • A man is shown in close-up, looking downward. [frame:1]
  • Two figures stand over a body on the ground near a fire. [frame:2]
  • A fire burns brightly on the ground. [frame:3]
  • 1 more under Evidence and details.

3 people observed.

“*thud*” 20:00

Evidence, details and a link to share

Sequence 47 from 20:05

Sequence 48 from 20:07

Frame at 20:28, shot 21620:28Frame at 20:37, shot 21720:37Frame at 20:48, shot 21920:48Frame at 20:56, shot 22020:56
4 of 5 shots sampled

90. Living room

20:26–20:59 Machine checks passed (partial)

Model synopsis: A woman in a coat is seen near a doorway and a refrigerator; a man searches through a drawer and then tends to another person lying down. A voice suggests finding wood or boards to barricade the location.

  • A woman stands near a doorway and a refrigerator. [frame:2]
  • A man searches through a drawer filled with small objects. [frame:3]
  • A man leans over and tends to a person lying down. [frame:4]

3 people observed.

“I” 20:37 · “I'm going to go.” 20:39

Evidence, details and a link to share

Frame at 21:01, shot 22121:01Frame at 21:06, shot 22221:06Frame at 21:21, shot 22421:21Frame at 21:28, shot 22521:28
4 of 5 shots sampled

91. Living room

20:59–21:33 Machine checks passed (partial)

Model synopsis: A man and a woman are inside a house; the man instructs the woman to gather wood to board up windows and doors while expressing fear. The woman appears distressed as they interact closely in a dim interior.

  • A woman stands in a room, looking toward the camera with a tense expression. [frame:1]
  • A man leans forward, speaking urgently, with a dark figure partially visible behind him. [frame:2]
  • The woman and man are close together; she looks down while he leans toward her. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“Look out, Doc.” 21:01 · “I know you're afraid.” 21:07

Evidence, details and a link to share

Frame at 21:34, shot 22621:34Frame at 21:38, shot 22721:38
2 of 2 shots sampled

92. Private office

21:33–21:40 Machine checks passed

Model synopsis: Two people are in a room; one is seen from behind, the other is a woman with blonde hair. A man in a light shirt is shown looking down in a different shot. No names, dialogue, or time of day are established.

3 people observed.

Evidence, details and a link to share

Sequence 49 from 21:40

Sequence 50 from 22:05

Frame at 22:09, shot 22922:09
1 of 1 shots sampled

94. Other

22:05–22:14 Machine checks passed

Model synopsis: A person in a light-colored trench coat is visible in a dimly lit interior, holding an object. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Sequence 51 from 22:14

Sequence 52 from 22:21

Frame at 22:24, shot 23122:24
1 of 1 shots sampled

96. Other

22:21–22:27 Machine checks passed

Model synopsis: A single eye is visible through a narrow gap in darkness. No other visual or auditory information is available in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 53 from 22:27

Frame at 22:30, shot 23222:30Frame at 22:37, shot 23322:37
2 of 2 shots sampled

97. Kitchen

22:27–22:41 Machine checks passed

Model synopsis: A person in a light shirt and dark pants is seen in a dimly lit interior, leaning over a wooden surface. No dialogue or on-screen text is present in this segment.

1 person observed.

Evidence, details and a link to share

Frame at 22:43, shot 23422:43Frame at 22:48, shot 23522:48Frame at 22:52, shot 23622:52Frame at 23:02, shot 23723:02
4 of 4 shots sampled

98. Living room

22:41–23:11 Machine checks passed (partial)

Model synopsis: A person is seen in a dimly lit interior, handling wooden planks and working near a fireplace. The transcript contains a single spoken line urging action.

  • A person is seated, holding a wooden plank. [frame:1]
  • Hands are shown arranging wooden planks on a patterned floor. [frame:2]
  • A person bends over, placing wooden planks near a vehicle interior. [frame:3]
  • 1 more under Evidence and details.

1 person observed.

“Come on.” 22:44

Evidence, details and a link to share

Frame at 23:13, shot 23823:13Frame at 23:17, shot 24023:17Frame at 23:22, shot 24223:22Frame at 23:30, shot 24423:30
4 of 7 shots sampled

99. Kitchen

23:11–23:31 Machine checks passed (partial)

Model synopsis: A man speaks and is visible in close-up; a woman stands near a refrigerator in a kitchen. The transcript includes the lines 'I'm here.' and 'Come on.'

  • A woman stands near a refrigerator with her arms on top of it. [frame:3]
  • The woman turns to face forward, standing in the kitchen. [frame:4]

2 people observed.

“I'm here.” 23:14 · “Come on.” 23:19

Evidence, details and a link to share

Frame at 23:36, shot 24523:36Frame at 23:42, shot 24623:42Frame at 23:47, shot 24723:47
3 of 3 shots sampled

100. Kitchen

23:31–23:50 Machine checks passed (partial)

Model synopsis: A man holds a handgun while a woman with blonde hair stands nearby in a dimly lit interior space. The man and woman appear to be moving together through the room, with kitchen utensils visible on the wall.

  • A man holds a handgun in his right hand. [frame:1]
  • A woman with blonde hair is seen from behind, standing in a kitchen. [frame:2]
  • The man and woman are seen together, moving through the room. [frame:3]

2 people observed.

Evidence, details and a link to share

Frame at 23:52, shot 24823:52
1 of 1 shots sampled

101. Interior

23:50–23:54 Machine checks passed

Model synopsis: A close-up of a woman with long, light-colored hair is shown in a dimly lit interior. No dialogue or action is visible in the single frame provided.

1 person observed.

Evidence, details and a link to share

Sequence 54 from 23:54

Frame at 24:02, shot 24924:02Frame at 24:12, shot 25024:12
2 of 2 shots sampled

102. Other

23:54–24:16 Machine checks passed (partial)

Model synopsis: A man and a woman are in a room with tools; the man instructs the woman to select large nails. The scene is shot in black and white with high-contrast lighting.

  • A man holds a hammer and a nail against a wall. [frame:1]
  • A man and a woman stand facing each other in a room with tools on the wall. [frame:2]

2 people observed.

“That's not that strong.” 24:07 · “I want you to pick out some nails. Pick out the biggest ones you can find.” 24:09

Evidence, details and a link to share

Frame at 24:26, shot 25124:26
1 of 1 shots sampled

103. Private office

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

Model synopsis: Two people are seen in a doorway inside a building; one speaks about securing the room and running in to board up doors. The speaker says they are afraid and announces they are going to leave.

  • Two people are visible in a doorway, one holding a gun. [frame:1]

2 people observed.

“This room looks pretty secure.” 24:18 · “If we have to, we can run in here and board up the doors.” 24:22

Evidence, details and a link to share

Frame at 24:42, shot 25224:42Frame at 24:51, shot 25324:51Frame at 24:55, shot 25424:55Frame at 24:58, shot 25524:58
4 of 4 shots sampled

104. Living room

24:37–24:59 Machine checks passed (partial)

Model synopsis: A man in a white shirt is seen inside a room with furniture and framed pictures; he moves toward a table and then leans forward near a window. A woman in a light dress is briefly visible near a doorway. The transcript includes lines about fear of fire and plans to leave for a place called Beatman's.

  • A man stands in a room holding an object. [frame:1]
  • A woman is seen from behind near a doorway. [frame:2]
  • The man leans over a table, placing or adjusting something. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“They're afraid of fire. I found that out.” 24:37 · “I'm going to go.” 24:45

Evidence, details and a link to share

Frame at 25:04, shot 25625:04Frame at 25:13, shot 25725:13Frame at 25:27, shot 25825:27Frame at 25:39, shot 25925:39
4 of 4 shots sampled

105. Living room

24:59–25:42 Machine checks passed (partial)

Model synopsis: A man and a woman are inside a house; the man moves around furniture while the woman holds a blanket. The transcript describes a past event involving a truck being chased by creatures.

  • man moves toward a chair [frame:1]
  • woman holds a white blanket [frame:2]
  • man leans over a chair [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“Anyhow, that's where I found that truck I have out there.” 25:02 · “When a big gasoline truck came screaming right across the road.” 25:14

Evidence, details and a link to share

Frame at 25:45, shot 26025:45Frame at 25:48, shot 26125:48Frame at 26:01, shot 26326:01Frame at 26:11, shot 26426:11
4 of 5 shots sampled

106. Living room

25:42–26:16 Machine checks passed (partial)

Model synopsis: A man in a white shirt is seen moving furniture and handling a weapon inside a house while a woman crouches nearby. A voice describes a vehicle crashing through a guardrail, billboard, and gas pump, becoming a moving fire.

  • A man pushes a chair against a door. [frame:1]
  • A man climbs over a banister. [frame:2]
  • A man kneels and handles a rifle. [frame:3]
  • 1 more under Evidence and details.

3 people observed.

“Right across the road.” 25:42 · “It went right through the guardrail.” 25:48

Evidence, details and a link to share

Frame at 26:37, shot 26526:37Frame at 26:59, shot 26626:59
2 of 2 shots sampled

107. Living room

26:16–27:00 Machine checks passed (partial)

Model synopsis: A man and a woman are shown in separate interior shots; the man crouches near a fireplace while the woman sits holding a flower. The transcript describes panic, a truck possibly exploding, and the diner being encircled with no lights left.

  • A man crouches near a fireplace, reaching toward the floor. [frame:1]
  • A woman sits holding a flower, looking down. [frame:2]

2 people observed.

“Didn't know if the truck was going to explode or what.” 26:15 · “The entire place had been encircled.” 26:45

Evidence, details and a link to share

Frame at 27:58, shot 26927:58Frame at 28:16, shot 27028:16
2 of 2 shots sampled

109. Living room

27:56–28:33 Machine checks passed (partial)

Model synopsis: A man and a woman are shown in close-up inside a room; the transcript includes fragmented dialogue about Puerto Rico, a grave, candy, and heat. No names are established for the individuals beyond what is spoken in the transcript.

  • A man is shown leaning forward, looking down. [frame:1]
  • A woman is shown seated, looking off-camera with a concerned expression. [frame:2]

Named: Barbara (t:28:11). 2 people observed.

“We came to Puerto Rico.” 27:58 · “on my father's grave” 28:00

Evidence, details and a link to share

Frame at 28:36, shot 27128:36Frame at 28:46, shot 27228:46
2 of 2 shots sampled

110. Living room

28:33–28:53 Machine checks passed (partial)

Model synopsis: A man and a woman are seated indoors, speaking to each other. The man is crouched and looking down; the woman is seated and looking forward. Their dialogue suggests they are discussing being late and whether one is afraid.

  • A man and a woman are seated indoors and speaking. [frame:1]

2 people observed.

“Eh?” 28:34 · “And he said, "Oh, it's late."” 28:36

Evidence, details and a link to share

Frame at 28:56, shot 27328:56Frame at 29:07, shot 27529:07Frame at 29:22, shot 27729:22Frame at 29:30, shot 27929:30
4 of 7 shots sampled

111. Living room

28:53–29:31 Machine checks passed (partial)

Model synopsis: A man in a white shirt is shown in a room, moving from seated to standing while handling a large wooden object. A voice recounts an outdoor encounter with a man approaching on a road, mentioning Johnny teasing Barbara before running away.

  • A man sits looking down in a room. [frame:1]
  • The man looks up and to his right. [frame:2]
  • The man stands and holds a large wooden object upright. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“I'm not afraid, Johnny.” 28:54 · “Johnny kept teasing me and saying, he's coming to get you, Barbara. Barbara.” 29:05

Evidence, details and a link to share

Frame at 29:38, shot 28029:38Frame at 29:47, shot 28129:47
2 of 2 shots sampled

112. Living room

29:31–29:49 Machine checks passed (partial)

Model synopsis: A woman is visibly distressed and clutching her torn clothing while a man stands nearby holding a weapon. The transcript indicates she is recounting an attack and calling for help from someone named Johnny.

  • The woman is visible clutching her torn clothing, appearing distressed. [frame:1]
  • The man is visible holding a weapon near a doorway, looking toward the woman. [frame:2]

2 people observed.

“And he grabbed me!” 29:31 · “And he ripped at me!” 29:36

Evidence, details and a link to share

Frame at 30:05, shot 28230:05Frame at 30:25, shot 28330:25Frame at 30:31, shot 28430:31Frame at 30:36, shot 28530:36
4 of 4 shots sampled

113. Living room

29:49–30:37 Machine checks passed (partial)

Model synopsis: A woman speaks in distress while a man searches a room; dialogue indicates they are concerned for someone named Johnny who is outside. The setting is a furnished interior room with a piano and framed art.

  • A woman is speaking with a distressed expression. [frame:1]
  • A man is bent over, searching near a piano. [frame:2]
  • The woman continues to speak, looking upward. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“And then Johnny came and he ran and he fought this man.” 30:01 · “I got so afraid I ran back.” 30:02

Evidence, details and a link to share

Frame at 30:39, shot 28630:39Frame at 30:55, shot 28930:55Frame at 31:07, shot 29131:07Frame at 31:12, shot 29431:12
4 of 9 shots sampled

114. Private office

30:37–31:12 Machine checks passed (partial)

Model synopsis: A woman pleads for help to retrieve her brother Johnny, who is believed dead, while a man reacts to the situation. The scene takes place indoors, with visible distress and physical struggle.

  • A man restrains another person. [frame:2]
  • A person is lying on the floor. [frame:3]
  • A man looks distressed. [frame:4]

Named: Johnny's sister (t:30:37). 3 people observed.

“Please! We have got to go get Johnny's!” 30:37 · “Please help me! Please!” 30:42

Evidence, details and a link to share

Frame at 31:41, shot 29531:41Frame at 32:25, shot 29632:25
2 of 2 shots sampled

115. Living room

31:12–32:42 Machine checks passed (partial)

Model synopsis: A radio broadcast reports on a mysterious epidemic of mass murder by unidentified assailants, while a man in a white shirt is seen crouching near a doorway in a dimly lit interior. The broadcast states that authorities are bewildered and no organized investigation has begun.

  • A man in a white shirt is seen crouching near a doorway in a dim room. [frame:1]
  • The man remains crouched, partially obscured by a wall or door frame. [frame:2]

1 person observed.

“Because of the obvious threat to untold numbers of citizens, and because of the crisis which is even now developing,” 31:49 · “These are the facts as we know. There is an epidemic of mass murder being committed by a virtual army of unidentified assassins.” 32:10

Evidence, details and a link to share

Frame at 32:43, shot 29732:43Frame at 32:46, shot 29832:46Frame at 32:56, shot 30032:56Frame at 33:05, shot 30133:05
4 of 5 shots sampled

116. Vehicle interior

32:42–33:09 Machine checks passed (partial)

Model synopsis: A person is seen inside a building near a window, then outside near a car at night, and later inside again interacting with an object. No dialogue or named characters are present in this segment.

  • A person is seen reaching through a window frame. [frame:1]
  • A person stands beside a car at night with headlights on. [frame:2]
  • A person in a light shirt moves quickly inside a room. [frame:3]
  • 1 more under Evidence and details.

1 person observed.

Evidence, details and a link to share

Frame at 33:10, shot 30233:10Frame at 33:16, shot 30433:16Frame at 33:18, shot 30533:18Frame at 33:28, shot 30733:28
4 of 6 shots sampled

117. Living room

33:09–33:37 Machine checks passed (partial)

Model synopsis: A person in a white shirt is seen moving urgently inside a room; a hand grabs a small box; another figure is seen climbing over furniture. A news report advises citizens to stay indoors behind locked doors.

  • A person in a white shirt leans forward near a doorway. [frame:1]
  • A dark figure is visible in a doorway, partially obscured. [frame:2]
  • A hand reaches down and grabs a small box from a surface. [frame:3]
  • 1 more under Evidence and details.

3 people observed.

“The only advice our reporters have been able to get from official sources is for private citizens to stay in their homes behind locked doors…” 33:09

Evidence, details and a link to share

Frame at 33:41, shot 30833:41Frame at 33:47, shot 30933:47Frame at 33:57, shot 31133:57Frame at 34:07, shot 31234:07
4 of 5 shots sampled

118. Living room

33:37–34:11 Machine checks passed (partial)

Model synopsis: A man in a white shirt is seen moving urgently inside a room, throwing objects into a fireplace and then using a torch-like device near a window. A radio broadcast warns people to stay indoors as streets fill with fleeing crowds.

  • A man throws an object into a fireplace. [frame:1]
  • The man looks toward the camera with a tense expression. [frame:2]
  • Flames erupt from the fireplace as the man continues to feed it objects. [frame:3]
  • 1 more under Evidence and details.

1 person observed.

“course of action to take. Keep listening to radio and TV for any special instructions as this crisis develops further.” 33:39 · “Thousands of office and factory workers are being urged to stay at their places of employment.” 33:47

Evidence, details and a link to share

Frame at 34:17, shot 31334:17
1 of 1 shots sampled

119. Sidewalk

34:11–34:22 Machine checks passed (partial)

Model synopsis: A man in a light shirt is visible in a dimly lit exterior setting near a brick wall and window at night. He holds an object and appears to be moving or reacting to something off-screen.

  • A man holds an object and leans forward near a brick wall. [frame:1]

1 person observed.

Evidence, details and a link to share

Frame at 34:24, shot 31434:24Frame at 34:27, shot 31534:27Frame at 34:32, shot 31734:32Frame at 34:38, shot 31834:38
4 of 5 shots sampled

120. House

34:22–34:45 Machine checks passed (partial)

Model synopsis: A person is seen near a burning vehicle and then entering a house, while a news report announces a presidential cabinet meeting about a murder epidemic. The scenes shift from outdoors at night to indoors, showing the person moving through a doorway and crouching inside.

  • A person stands near a burning vehicle. [frame:1]
  • The person approaches a house entrance. [frame:2]
  • The person enters the house through a doorway. [frame:3]
  • 1 more under Evidence and details.

1 person observed.

“Ladies and gentlemen, we've just received word that the president has called a meeting of his cabinet to deal with the sudden epidemic of mu…” 34:25

Evidence, details and a link to share

Frame at 34:52, shot 31934:52Frame at 35:01, shot 32035:01Frame at 35:03, shot 32135:03Frame at 35:12, shot 32235:12
4 of 4 shots sampled

121. Newsroom

34:45–35:18 Machine checks passed (partial)

Model synopsis: A news broadcast reports on a presidential emergency conference involving NASA scientists. In a separate interior scene, a person lies on a bed while another is seen from behind in a dimly lit room with a hallway visible.

  • A room with a boarded-up door and scattered papers is shown. [frame:1]
  • A person is lying on a bed, eyes closed, in a dimly lit room. [frame:2]
  • A person is seen from behind, head bowed, in a room with a shelf and framed picture. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“This is the latest dispatch...” 34:53 · “just received in our newsroom.” 34:54

Evidence, details and a link to share

Frame at 35:22, shot 32335:22
1 of 1 shots sampled

122. Other

35:18–35:26 Machine checks passed (partial)

Model synopsis: A person in a light shirt and dark pants is visible in a dim interior, reaching upward with both hands toward a dark vertical surface. No spoken dialogue or on-screen text is present in this beat.

  • A person reaches upward with both hands toward a dark vertical surface. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 55 from 35:26

Sequence 56 from 35:29

Frame at 35:40, shot 32535:40
1 of 1 shots sampled

124. Newsroom

35:29–35:52 Machine checks passed (partial)

Model synopsis: A person lies motionless on a surface in a dimly lit interior. A news report describes people seeking refuge in public buildings due to widespread violence.

  • A person lies motionless on a surface. [frame:1]

1 person observed.

“indoors at all costs. Late reports reaching this newsroom tell of frightened people seeking refuge in churches, schools, and government bu…” 35:34

Evidence, details and a link to share

Sequence 57 from 35:52

Frame at 35:59, shot 32635:59Frame at 36:08, shot 32736:08Frame at 36:20, shot 32836:20
3 of 3 shots sampled

125. Living room

35:52–36:29 Machine checks passed (partial)

Model synopsis: A man is shown in a dimly lit interior, first struggling with a door, then sitting on a couch, and finally gesturing while speaking. A voice-over describes public warnings about unknown killers and eyewitness accounts of ordinary-looking, trance-like murderers.

  • A man struggles with a door, pushing against it with his body. [frame:1]
  • The man sits on a patterned couch, head bowed, in shadow. [frame:2]
  • The man gestures with his right hand while speaking, face partially lit. [frame:3]

1 person observed.

“We tell the people, for God's sake, to get off the street. We tell them to go home and lock their doors and windows untighted.” 36:04 · “We don't know what kind of murder-happy characters we have here.” 36:04

Evidence, details and a link to share

Frame at 36:33, shot 32936:33Frame at 36:37, shot 33036:37Frame at 36:45, shot 33136:45Frame at 36:53, shot 33236:53
4 of 4 shots sampled

126. Living room

36:29–36:53 Machine checks passed (partial)

Model synopsis: A man searches a closet while a voice-over describes a ghastly story of violence that began with a family slaying. The frames show the man looking through clothes and shoes, and a close-up of a handgun.

  • A man opens a closet door and looks inside. [frame:1]
  • A pile of shoes and clothing is visible inside the closet. [frame:2]
  • The man kneels and searches through the closet's contents. [frame:3]
  • 1 more under Evidence and details.

1 person observed.

“And they look like people but act like animals.” 36:34 · “Some language tells these victims who look as though they had been torn apart.” 36:34

Evidence, details and a link to share

Frame at 37:05, shot 33337:05Frame at 37:18, shot 33437:18Frame at 37:23, shot 33537:23Frame at 37:29, shot 33637:29
4 of 4 shots sampled

127. Living room

36:53–37:32 Machine checks passed (partial)

Model synopsis: A person searches a closet and finds a gun and ammunition while a news report describes the spread of unexplained killings in the southeastern United States. A woman sits on a couch, visibly distressed, as the report continues.

  • A person searches a closet and pulls out a rifle. [frame:1]
  • The person finds a box of ammunition on the floor. [frame:2]
  • The person picks up a box labeled 'Cello' containing more ammunition. [frame:3]
  • 1 more under Evidence and details.

3 people observed.

“the placing of the markers on the map seem to indicate a general spreading from the extreme southeastern United States from the north and we…” 37:04 · “Our news vans have been on the telephone talking with officials of other cities and determined that none of this kind of mass murder has yet…” 37:04

Evidence, details and a link to share

Sequence 58 from 37:32

Frame at 37:33, shot 33737:33Frame at 37:46, shot 33937:46Frame at 38:01, shot 34038:01Frame at 38:29, shot 34238:29
4 of 6 shots sampled

128. Living room

37:32–38:41 Machine checks passed (partial)

Model synopsis: A woman sits in a dim room while a man checks a window; he later speaks to her from a seated position. The transcript indicates they are barricaded and awaiting rescue during a national emergency.

  • A woman sits in a dim room, looking off-camera. [frame:1]
  • A man kneels by a window while the woman watches from a couch. [frame:2]
  • The man sits at a table, facing the woman, speaking. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“This place is boarded up pretty solid now.” 37:43 · “We ought to be all right here for a while. We had a gun and bullets.” 37:46

Evidence, details and a link to share

Frame at 38:43, shot 34338:43Frame at 38:47, shot 34438:47Frame at 38:53, shot 34538:53
3 of 3 shots sampled

129. Living room

38:41–38:57 Machine checks passed (partial)

Model synopsis: A woman sits on a couch in a dimly lit room while a man holds a rifle nearby; a news report mentions murder victims being partially devoured. No names are spoken, and the setting appears to be a residential interior.

  • Woman sits on a couch, looking down. [frame:1]
  • Man holds a rifle, looking forward with a serious expression. [frame:2]
  • Woman remains seated on the couch, posture unchanged. [frame:3]

2 people observed.

“Civil defense officials in Cumberland have told newsmen that murder victims” 38:45 · “show evidence of having been...” 38:49

Evidence, details and a link to share

Sequence 59 from 38:57

Frame at 39:05, shot 34639:05
1 of 1 shots sampled

130. Private office

38:57–39:14 Machine checks passed (partial)

Model synopsis: A silhouetted figure stands over a prone body in a dimly lit interior space. The scene is shot in black and white with high-contrast lighting.

  • A standing figure looms over a body lying on the floor. [frame:1]

2 people observed.

Evidence, details and a link to share

Frame at 39:24, shot 34739:24Frame at 39:36, shot 34839:36
2 of 2 shots sampled

131. Living room

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

Model synopsis: A dim interior hallway with a figure standing near a staircase is shown, followed by a close-up of a television set displaying a news report. The transcript describes witness reports of people in trances killing and eating victims, prompting authorities to examine bodies.

  • A figure stands motionless in a dim hallway near a staircase. [frame:1]
  • A television set displays a news report with a person speaking. [frame:2]

2 people observed.

“Consistent reports from witnesses to the effect that people who acted as though they were in a kind of trance...” 39:21 · “were killing and eating their victims” 39:34

Evidence, details and a link to share

Frame at 39:42, shot 34939:42Frame at 39:48, shot 35039:48Frame at 39:53, shot 35139:53Frame at 39:58, shot 35239:58
4 of 4 shots sampled

132. Private office

39:39–40:01 Machine checks passed (partial)

Model synopsis: A woman is shown in close-up with a distressed expression while a radio broadcasts a bulletin about cannibalistic killers. The radio is an old-fashioned model with a large dial, visible in two frames.

  • A woman looks down with a distressed expression. [frame:1]
  • A hand turns the dial on an old-fashioned radio. [frame:2]
  • The woman looks up with a fearful expression. [frame:3]
  • 1 more under Evidence and details.

1 person observed.

“Medical authorities in Cumberland have concluded that in all cases...” 39:39 · “are eating the flesh of the people they murdered.” 39:44

Evidence, details and a link to share

Frame at 40:05, shot 35340:05Frame at 40:17, shot 35540:17Frame at 40:22, shot 35740:22Frame at 40:27, shot 35940:27
4 of 7 shots sampled

133. Other

40:01–40:28 Machine checks passed (partial)

Model synopsis: A woman with long hair is shown in close-up across four frames, her expression shifting from concern to alarm. A voiceover reports on verified, ghastly events involving a wave of masks, stating that no one is safe.

  • A woman looks downward with a concerned expression. [frame:1]
  • The woman looks slightly up and to her right, expression more tense. [frame:2]
  • The woman looks directly forward with wide eyes and a startled expression. [frame:3]
  • 1 more under Evidence and details.

1 person observed.

“More ghastly with each report. It's difficult to imagine such a thing actually happening, but these are the reports we have been receiving…” 40:10 · “Reports which have been verified as completely as is possible in this confused situation.” 40:17

Evidence, details and a link to share

Frame at 40:28, shot 36040:28Frame at 40:30, shot 36140:30
2 of 2 shots sampled

134. Living room

40:28–40:31 Machine checks passed (partial)

Model synopsis: A hand grips a doorframe in darkness, followed by a close-up of a woman with blonde hair looking alarmed. No dialogue or on-screen text is present in these frames.

  • A hand grips the edge of a dark doorframe. [frame:1]
  • A blonde woman is shown in close-up, looking alarmed. [frame:2]

1 person observed.

Evidence, details and a link to share

Frame at 40:31, shot 36240:31
1 of 1 shots sampled

135. Interior

40:31–40:32 Machine checks passed

Model synopsis: A person's hand grips a vertical surface in a dimly lit interior. No other actions or context are visible in this single frame.

1 person observed.

Evidence, details and a link to share

Frame at 40:32, shot 36340:32
1 of 1 shots sampled

136. Other

40:32–40:32 Machine checks passed

Model synopsis: A person is visible in a dark interior, mouth open as if screaming, with one arm extended forward. No other people, objects, or text are clearly visible in the single frame.

1 person observed.

Evidence, details and a link to share

Sequence 60 from 40:32

Frame at 40:33, shot 36440:33
1 of 1 shots sampled

137. Private office

40:32–40:34 Machine checks passed

Model synopsis: A man in a light shirt and dark trousers stands in a doorway inside a room. A coat hangs on a rack to the right, and a telephone is visible on a surface to the left.

1 person observed.

Evidence, details and a link to share

Frame at 40:37, shot 36540:37Frame at 40:41, shot 36640:41Frame at 40:46, shot 36840:46Frame at 40:52, shot 36940:52
4 of 5 shots sampled

138. Living room

40:34–40:56 Machine checks passed (partial)

Model synopsis: A man is seen in a dimly lit interior, moving through a room with furniture and a doorway; dialogue indicates a conflict involving people in a cellar and an unseen threat outside. No names are spoken, and the setting appears to be a residential house during an emergency.

  • A man is visible moving through a doorway in a dim room. [frame:1]
  • Two men are visible in a room with furniture; one is moving toward the other. [frame:2]
  • A person is seen moving through a doorway, partially obscured. [frame:3]
  • 1 more under Evidence and details.

3 people observed.

“Don't shoot me!” 40:35 · “How long you guys been down there? I could've used some hell out here.” 40:47

Evidence, details and a link to share

Frame at 40:57, shot 37040:57Frame at 41:03, shot 37241:03Frame at 41:12, shot 37441:12Frame at 41:21, shot 37641:21
4 of 7 shots sampled

139. Living room

40:56–41:23 Machine checks passed (partial)

Model synopsis: Two men argue in a room while a third listens near a doorway; the transcript reveals a dispute over whether screams were heard and if the house was being destroyed. No names are spoken, and the setting appears to be a furnished interior with a piano and framed art.

  • A man leans into a doorway, appearing to listen or peer into another room. [frame:1]
  • The same man remains in the doorway, still focused inward. [frame:2]
  • A man in a t-shirt gestures while speaking, standing near a piano. [frame:3]
  • 1 more under Evidence and details.

3 people observed.

“Look, it's kind of hard to hear what's going on from down there.” 41:06 · “We thought we could hear screams, but for all we knew, that could have meant those things were in the house afterwards. And you wouldn't co…” 41:09

Evidence, details and a link to share

Frame at 41:25, shot 37741:25Frame at 41:32, shot 37841:32Frame at 41:38, shot 37941:38Frame at 41:43, shot 38041:43
4 of 4 shots sampled

140. Living room

41:23–41:48 Machine checks passed (partial)

Model synopsis: Two men argue inside a room about whether to risk leaving a safe place to help someone. One man, seated near a doorway, is confronted by another man who stands and gestures while speaking.

  • A man seated near a doorway is confronted by another man who stands and speaks to him. [frame:1]
  • The standing man gestures while speaking, showing frustration. [frame:2]
  • The seated man looks up, listening intently. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“You just got finished saying you couldn't hear from down there. Now you say it's not like the place was being written apart. It would be nic…” 41:22 · “I'm not gonna take that kind of a chance when we got a safe place.” 41:33

Evidence, details and a link to share

Frame at 41:50, shot 38141:50Frame at 42:03, shot 38342:03Frame at 42:08, shot 38442:08Frame at 42:15, shot 38642:15
4 of 6 shots sampled

141. Private office

41:48–42:19 Machine checks passed (partial)

Model synopsis: Two men argue in a room about whether the cellar is safe from attackers; a third man is shown near stairs, concerned about children. The transcript mentions boarded-up areas and a car being overturned.

  • Two men stand facing each other in a room, one gesturing with hands. [frame:1]
  • A balding man looks toward the camera with a concerned expression near stairs. [frame:3]

3 people observed.

“Now I suggest we all go back downstairs before any of those things find out we're in here. We can't get in yet.” 41:49 · “You got the whole place boarded up? Yeah, most of it. I'll be the three spots up there. They won't be hard to fix.” 41:54

Evidence, details and a link to share

Frame at 42:25, shot 38742:25Frame at 42:41, shot 38942:41Frame at 42:48, shot 39042:48Frame at 42:54, shot 39242:54
4 of 6 shots sampled

142. Private office

42:19–42:56 Machine checks passed

Model synopsis: Two men argue about defending a house against an approaching threat; one advocates fortifying the upper floor while the other disputes its feasibility. The setting is an interior room with boarded windows and minimal furnishings.

Named: Mr. Cooper (t:42:23). 3 people observed.

“Well, I still think we're better off up here.” 42:20 · “We could strengthen everything up, Mr. Cooper.” 42:23

Evidence, details and a link to share

Frame at 43:00, shot 39343:00Frame at 43:13, shot 39443:13Frame at 43:22, shot 39543:22Frame at 43:28, shot 39643:28
4 of 4 shots sampled

143. Living room

42:56–43:33 Machine checks passed (partial)

Model synopsis: Two men debate whether to retreat to the cellar or stay upstairs in a house under threat. One man argues the cellar is defensible but a death trap; the other insists upstairs offers escape routes and visibility.

  • A man gestures toward a window while arguing against the cellar. [frame:2]
  • A man is seen boarding up a window from inside. [frame:3]
  • The two men face each other in argument. [frame:4]

Named: Mr. Cooper (t:43:17). 2 people observed.

“The seller, there's only one door, right? Just one door, that's all we have to protect.” 43:05 · “But up here, all these windows, why, we never know where they were going to hit us next.” 43:13

Evidence, details and a link to share

Frame at 43:35, shot 39743:35Frame at 43:42, shot 39943:42Frame at 43:44, shot 40043:44Frame at 43:53, shot 40243:53
4 of 6 shots sampled

144. Living room

43:33–43:55 Machine checks passed (partial)

Model synopsis: A man and a woman are in a room; the man speaks and moves toward a doorway while the woman remains seated. Another man appears and interacts with the first man near a staircase.

  • A woman sits on a couch while a man stands near a doorway. [frame:1]
  • The man turns toward the woman and speaks. [frame:2]
  • The man climbs onto a wooden structure near a window. [frame:3]
  • 1 more under Evidence and details.

4 people observed.

“I don't know Mr. Cooper.” 43:40 · “I think he's right.” 43:42

Evidence, details and a link to share

Frame at 44:00, shot 40344:00Frame at 44:06, shot 40444:06Frame at 44:08, shot 40544:08Frame at 44:14, shot 40644:14
4 of 4 shots sampled

145. Living room

43:55–44:19 Machine checks passed (partial)

Model synopsis: A man in a white shirt argues with others in a room while a woman sits on a couch; two men stand near a staircase holding a rifle. The dialogue indicates a disagreement about whether to board up a door or consider moving to a cellar.

  • Mr. Cooper gestures while speaking to others in a room. [frame:1]
  • Two men stand near a staircase; one holds a rifle. [frame:2]
  • Mr. Cooper stands in the room while the woman remains seated. [frame:3]
  • 1 more under Evidence and details.

Named: Mr. Cooper (t:43:55). 4 people observed.

“'Cause I'm gonna board up that door, and I'm not gonna unlock it again no matter what happens.” 43:55 · “Let's think about this.” 44:05

Evidence, details and a link to share

Frame at 44:20, shot 40744:20Frame at 44:27, shot 40844:27Frame at 44:33, shot 40944:33Frame at 44:38, shot 41044:38
4 of 4 shots sampled

146. Living room

44:19–44:41 Machine checks passed (partial)

Model synopsis: Two men argue inside a house while a woman sits nearby; outside, a group of figures gathers near a car at night. The dialogue suggests they are trapped and outnumbered by threats outside.

  • A woman sits on a couch while a man stands nearby. [frame:1]
  • A man stands in a doorway, looking tense. [frame:2]
  • Figures gather near a car outside at night. [frame:3]
  • 1 more under Evidence and details.

5 people observed.

“You boxed yourself in the cellar and those things you had in the house, you've had it.” 44:19 · “At least up here you have a fighting chance.” 44:23

Evidence, details and a link to share

Frame at 44:44, shot 41144:44Frame at 44:52, shot 41544:52Frame at 44:58, shot 41844:58Frame at 45:02, shot 42245:02
4 of 12 shots sampled

147. Private office

44:41–45:03 Machine checks passed

Model synopsis: A man in a white shirt is seen from behind entering a room; another man in a light shirt is visible in a close-up. A blurry close-up of a hand and a dark, indistinct frame follow. No dialogue or on-screen text is present.

2 people observed.

Evidence, details and a link to share

Frame at 45:06, shot 42345:06Frame at 45:11, shot 42545:11Frame at 45:14, shot 42645:14Frame at 45:20, shot 42845:20
4 of 6 shots sampled

148. Living room

45:03–45:24 Machine checks passed (partial)

Model synopsis: A man speaks to someone named Harry in a dimly lit interior; a second person is visible in the background. The scene is dark and chaotic, with close-ups of figures in motion.

  • A man in a dark shirt is visible in profile, looking toward another person. [frame:1]
  • A figure is seen lying or crouching in darkness, limbs visible. [frame:2]
  • A man's face is partially visible through slats or bars, lit from below. [frame:3]
  • 1 more under Evidence and details.

Named: Harry (t:45:08). 2 people observed.

“Harry? Harry, what's happening? It's all right.” 45:08

Evidence, details and a link to share

Frame at 45:27, shot 42945:27
1 of 1 shots sampled

149. Private office

45:24–45:30 Machine checks passed

Model synopsis: A person in a light shirt is seen from behind, moving through a doorway into a cluttered interior space. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 61 from 45:30

Sequence 62 from 45:35

Frame at 45:40, shot 43245:40
1 of 1 shots sampled

152. Other

45:36–45:44 Machine checks passed

Model synopsis: A dark, low-contrast frame shows a shadowy figure looming over a lighter shape, with no visible environment details. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Sequence 63 from 45:44

Sequence 64 from 45:46

Frame at 45:52, shot 43445:52
1 of 1 shots sampled

154. Field

45:46–45:58 Machine checks passed

Model synopsis: A person lies on their back among dark foliage in a single frame. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 65 from 45:58

Frame at 46:03, shot 43546:03Frame at 46:09, shot 43646:09
2 of 2 shots sampled

155. Yard

45:58–46:11 Machine checks passed (partial)

Model synopsis: Two figures are shown outdoors at night; one walks away from the camera while the other is seen in a close-up with a distorted face. No dialogue or on-screen text is present in these frames.

  • A bare-chested figure walks away from the camera across a yard at night. [frame:1]
  • A close-up shows a man with a distorted, pale face and dark eye sockets. [frame:2]

2 people observed.

Evidence, details and a link to share

Sequence 66 from 46:25

Frame at 46:29, shot 43846:29Frame at 46:40, shot 44146:40Frame at 46:46, shot 44346:46Frame at 47:02, shot 44647:02
4 of 9 shots sampled

157. Private office

46:25–47:04 Machine checks passed (partial)

Model synopsis: A man urges others to go to the cellar while another man argues for staying upstairs to defend supplies. A third man mentions having a child downstairs who cannot endure the noise and violence above.

  • A man gestures emphatically while speaking. [frame:1]
  • A man stands with a stern expression, holding a long object. [frame:2]
  • The same man turns his head, looking concerned. [frame:3]
  • 1 more under Evidence and details.

Named: Mr. Believer (t:46:31). 3 people observed.

“We've got to get down into the cellar. Go down into the damn cellar. Get out of here!” 46:25 · “I'm taking the girl west, Mr. Believer, here.” 46:31

Evidence, details and a link to share

Frame at 47:08, shot 44747:08Frame at 47:21, shot 44847:21Frame at 47:34, shot 45047:34Frame at 47:36, shot 45147:36
4 of 5 shots sampled

158. Private office

47:04–47:38 Machine checks passed (partial)

Model synopsis: A man in a shirt and tie speaks in a tense exchange while another man is seen from behind, moving near a wall with shelves. The dialogue indicates a conflict over going into a trap and a demand to go to the cellar.

  • Mr. Cooper speaks with a tense expression. [frame:1]
  • A man with dark hair is seen from behind, moving near a wall with shelves. [frame:2]
  • The man with dark hair continues moving near the wall. [frame:3]
  • 1 more under Evidence and details.

Named: Mr. Cooper (t:47:32). 2 people observed.

“If you're stupid enough to go die in that trap, that's your business. However, I am not stupid enough to follow you.” 47:08 · “Get the hell down in the cellar. You can be the boss down there. I'm boss up here.” 47:18

Evidence, details and a link to share

Frame at 47:39, shot 45247:39Frame at 47:40, shot 45347:40Frame at 47:45, shot 45547:45Frame at 47:47, shot 45647:47
4 of 5 shots sampled

159. Private office

47:38–47:48 Machine checks passed

Model synopsis: Two men are shown in close-up and medium shots inside a room; one speaks urgently while the other reacts. The transcript includes a shouted warning and a name, Judy, being called.

  • The older man turns his head sharply toward something off-screen. [frame:3]

2 people observed.

“Wait a minute!” 47:40 · “Judy, come on off your running.” 47:43

Evidence, details and a link to share

Frame at 47:50, shot 45747:50Frame at 47:53, shot 45847:53Frame at 47:58, shot 45947:58
3 of 3 shots sampled

160. Living room

47:48–48:03 Machine checks passed (partial)

Model synopsis: Two men are in a room with a piano and a doorway; one holds a rifle. A third man is visible in a doorway in one frame. The transcript includes lines about letting people get hurt and not having time.

  • A man in a light shirt holds a rifle while standing near a piano. [frame:1]
  • A man in a light shirt holds a rifle and looks toward the camera. [frame:2]
  • A man in a dark shirt stands in a doorway while another man is visible behind him. [frame:3]

3 people observed.

“It was only late yesterday...” 47:49 · “Okay.” 47:52

Evidence, details and a link to share

Frame at 48:04, shot 46048:04
1 of 1 shots sampled

161. Other

48:03–48:06 Machine checks passed

Model synopsis: A man in a light shirt stands indoors, looking over his shoulder. The setting includes wooden beams and a plain wall.

1 person observed.

Evidence, details and a link to share

Sequence 67 from 48:06

Frame at 48:07, shot 46148:07Frame at 48:11, shot 46248:11Frame at 48:20, shot 46348:20
3 of 3 shots sampled

162. Living room

48:06–48:26 Machine checks passed (partial)

Model synopsis: Three people are in a room; one man stands near a doorway while two women sit on a couch. A figure is seen climbing through a window in a darkened frame.

  • A figure is seen climbing through a window. [frame:2]

5 people observed.

“If we stick together, Matt, we can fix it up real good. There's lots of places we can run to up here.” 48:06 · “Mr. Cooper?” 48:14

Evidence, details and a link to share

Sequence 68 from 48:26

Sequence 69 from 48:47

Frame at 48:48, shot 46548:48Frame at 48:49, shot 46648:49Frame at 48:52, shot 46748:52
3 of 3 shots sampled

164. Other

48:47–48:54 Machine checks passed (partial)

Model synopsis: A man in a shirt and tie stands near a textured wall while a woman sits beside a person lying on a table; dialogue mentions Tom and Judy wanting to stay up there. The setting appears to be an interior room with minimal furnishings and a stone-like wall.

  • Man stands near wall, looking off-camera. [frame:1]
  • Woman sits beside a person lying on a table. [frame:2]
  • Man turns away from wall, back to camera. [frame:3]

3 people observed.

“What about Tom and Judy?” 48:48 · “They want to stay up there and let them.” 48:49

Evidence, details and a link to share

Frame at 48:55, shot 46848:55Frame at 48:58, shot 46948:58Frame at 49:04, shot 47149:04Frame at 49:34, shot 47249:34
4 of 5 shots sampled

165. Other

48:54–50:03 Machine checks passed (partial)

Model synopsis: A woman tends to a person lying on a bed while a man stands nearby holding a weapon; dialogue reveals concern for the injured person and tension about others upstairs. The setting is a dimly lit room with stone walls and household items visible.

  • A woman sits beside a person lying on a bed. [frame:1]
  • A man stands against a stone wall holding a long object. [frame:2]
  • The man adjusts his stance against the wall. [frame:3]
  • 1 more under Evidence and details.

Named: Harry (t:49:00). 4 people observed.

“We heard the screaming. Yeah, but I didn't know who they were, and I wasn't about to take any unnecessary chances.” 49:00 · “Is she all right? I don't know what it is.” 49:22

Evidence, details and a link to share

Frame at 50:08, shot 47350:08Frame at 50:18, shot 47450:18Frame at 50:29, shot 47550:29
3 of 3 shots sampled

166. Basement

50:03–50:33 Machine checks passed

Model synopsis: Two people argue in a basement about staying inside versus using a radio upstairs for information. The woman insists the radio is a source of communication, while the man insists they remain downstairs.

Named: Harry (t:50:29). 2 people observed.

“Does anyone up there know why we're being attacked?” 50:07 · “Whatever it is, it isn't just happening here. It's some kind of mass murder. It's going on everywhere.” 50:11

Evidence, details and a link to share

Sequence 70 from 50:33

Frame at 50:46, shot 47650:46
1 of 1 shots sampled

167. Bedroom

50:33–50:59 Machine checks passed

Model synopsis: A man stands beside a bed where a person lies covered; another person is visible in the background near a doorway. The dialogue suggests concern about isolation and lack of information from authorities.

3 people observed.

“If the authorities know what's happening, well, they'll send people for us to tell us what to do.” 50:42 · “How are we going to know what's going on if we lock ourselves in this dungeon?” 50:47

Evidence, details and a link to share

Frame at 51:01, shot 47751:01Frame at 51:10, shot 47851:10
2 of 2 shots sampled

168. Bedroom

50:59–51:17 Machine checks passed (partial)

Model synopsis: A woman is shown in a bedroom, first in a close-up, then sitting on a bed with another person lying under covers. The transcript includes dialogue about dying together and a command to get cover, followed by a call to Mr. Cooper to confirm he is set upstairs.

  • A woman looks toward the camera in a bedroom. [frame:1]
  • The woman sits on a bed next to a person under blankets. [frame:2]

Named: Mr. Cooper (t:51:14). 3 people observed.

“We may not enjoy living together.” 51:01 · “But dying together isn't going to solve anything.” 51:05

Evidence, details and a link to share

Frame at 51:18, shot 47951:18Frame at 51:19, shot 48051:19Frame at 51:24, shot 48251:24Frame at 51:32, shot 48351:32
4 of 5 shots sampled

169. Private office

51:17–51:39 Machine checks passed (partial)

Model synopsis: A man and a woman are in a stone-walled room, discussing moving upstairs while others remain downstairs. The woman agrees to go downstairs to facilitate the move, and they face each other in conversation.

  • Man and woman face each other in conversation. [frame:4]

2 people observed.

“Let's go up. Tom?” 51:20 · “If Judy would come downstairs for a few minutes,” 51:24

Evidence, details and a link to share

Frame at 51:47, shot 48451:47Frame at 52:02, shot 48552:02
2 of 2 shots sampled

170. Living room

51:39–52:08 Machine checks passed (partial)

Model synopsis: A woman and a child sit inside a room while a man leans toward them; another shot shows a figure silhouetted in a doorway. A voice says 'Do this. For me. Okay, open up. I'm going to go.'

  • A man leans toward a seated woman and child. [frame:1]
  • A figure stands silhouetted in a doorway. [frame:2]

4 people observed.

“Do this.” 51:42 · “For me.” 51:43

Evidence, details and a link to share

Sequence 71 from 52:43

Frame at 52:47, shot 48752:47Frame at 52:52, shot 48852:52Frame at 52:58, shot 48952:58
3 of 3 shots sampled

172. Living room

52:43–53:03 Machine checks passed (partial)

Model synopsis: A group of people are in a room; one woman is lying on a couch while others stand nearby. One person says they must help Ben with the television.

  • A group of people are standing in a room near a doorway. [frame:1]
  • A woman is lying on a couch, resting her head on her arms. [frame:2]
  • A man and a woman are standing together, looking toward the doorway. [frame:3]

Named: Ben (t:52:54). 5 people observed.

“Her brother was killed. Hey, give me a hand with this thing.” 52:48 · “I gotta go help Ben with the television.” 52:54

Evidence, details and a link to share

Frame at 53:10, shot 49053:10
1 of 1 shots sampled

173. Living room

53:03–53:16 Machine checks passed (partial)

Model synopsis: A woman stands in a living room while a child lies on a couch; the woman says 'I'm sorry.' The scene is indoors and lit by artificial light.

  • A woman stands in a living room while a child lies on a couch. [frame:1]

2 people observed.

“I'm sorry.” 53:12

Evidence, details and a link to share

Sequence 72 from 53:16

Sequence 73 from 53:22

Frame at 53:24, shot 49253:24
1 of 1 shots sampled

175. Living room

53:22–53:26 Machine checks passed (partial)

Model synopsis: A person with blonde hair is shown leaning over a piece of furniture in a dimly lit interior. No dialogue or on-screen text is present in this beat.

  • A person leans over a piece of furniture with their head down. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 74 from 53:26

Frame at 53:30, shot 49353:30
1 of 1 shots sampled

176. Living room

53:26–53:34 Machine checks passed

Model synopsis: A woman sits in a room with framed pictures on the wall behind her. She is wearing a checkered jacket over a striped shirt and appears to be speaking or reacting to something off-camera.

1 person observed.

Evidence, details and a link to share

Sequence 75 from 53:34

Frame at 53:35, shot 49453:35
1 of 1 shots sampled

177. Living room

53:34–53:37 Machine checks passed

Model synopsis: A person with long hair is seen from behind, leaning over a piece of furniture 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

Sequence 76 from 53:37

Frame at 53:38, shot 49553:38Frame at 53:41, shot 49653:41Frame at 53:45, shot 49853:45Frame at 53:49, shot 49953:49
4 of 5 shots sampled

178. Living room

53:37–53:51 Machine checks passed (partial)

Model synopsis: A woman identifies herself as Helen Cooper, Harry's wife, while holding an object and speaking. Another woman with blonde hair is shown in close-up, appearing distressed or alert.

  • A woman holds an object and speaks. [frame:1]
  • A blonde woman looks over her shoulder with a tense expression. [frame:2]
  • The blonde woman leans forward, appearing alert or frightened. [frame:3]
  • 1 more under Evidence and details.

Named: Helen Cooper (t:53:42). 2 people observed.

“Don't be afraid of me.” 53:39 · “I'm Helen Cooper.” 53:42

Evidence, details and a link to share

Frame at 53:52, shot 50053:52Frame at 53:54, shot 50153:54Frame at 53:58, shot 50253:58Frame at 54:01, shot 50354:01
4 of 4 shots sampled

179. Living room

53:51–54:03 Machine checks passed (partial)

Model synopsis: A woman with blonde hair and a sleeveless dress is seen in close-up and medium shots, while another woman in a jacket holds an object. A man in a shirt and tie stands near a lamp and table. The transcript includes complaints about the location's vulnerabilities.

  • A blonde woman looks over her shoulder at the camera. [frame:1]
  • A woman in a plaid jacket holds a small object and speaks. [frame:2]
  • The blonde woman leans forward, looking down. [frame:3]
  • 1 more under Evidence and details.

3 people observed.

“This place is ridiculous” 53:52 · “Look at this.” 53:55

Evidence, details and a link to share

Sequence 77 from 54:03

Frame at 54:04, shot 50454:04
1 of 1 shots sampled

180. Private office

54:03–54:06 Machine checks passed

Model synopsis: A man in a light shirt and dark trousers stands indoors, holding a long object near a boarded-up window. The scene is lit by artificial light and shows no visible clock or window indicating time of day.

1 person observed.

Evidence, details and a link to share

Sequence 78 from 54:06

Frame at 54:24, shot 50554:24
1 of 1 shots sampled

181. Living room

54:06–54:41 Machine checks passed (partial)

Model synopsis: A woman sits in a room while a man stands near a fireplace; they discuss the uselessness of windows against an unseen threat. The man begins moving chairs, suggesting an attempt to barricade or reconfigure the space.

  • A woman sits facing forward while a man stands with his back to the camera near a fireplace. [frame:1]

2 people observed.

“Her brother was killed.” 54:06 · “I can't see a damn thing.” 54:18

Evidence, details and a link to share

Sequence 79 from 54:41

Frame at 54:43, shot 50654:43Frame at 54:51, shot 50754:51Frame at 54:59, shot 50854:59Frame at 55:04, shot 50955:04
4 of 4 shots sampled

182. Living room

54:41–55:08 Machine checks passed (partial)

Model synopsis: A man in a white shirt stands authoritatively in a room with framed pictures and a radiator, while others are seated or moving nearby. One person speaks about not wanting anyone's life on their hands and giving orders, including to leave a girl alone.

  • A man in a striped shirt is seen from behind, facing another man. [frame:1]
  • A man in a white shirt walks away from the camera toward a doorway. [frame:2]
  • A man in a white shirt stands with arms raised, addressing others in a room with framed pictures. [frame:3]
  • 1 more under Evidence and details.

4 people observed.

“Oh, my God.” 54:43 · “I don't want anyone's life on my hands. Is there anything I can do to you? I don't want to hear any more from him, mister.” 54:51

Evidence, details and a link to share

Sequence 80 from 55:08

Frame at 55:11, shot 51055:11
1 of 1 shots sampled

183. Living room

55:08–55:13 Machine checks passed

Model synopsis: A man crouches in a room while a woman sits behind him; no dialogue or on-screen text is present. The setting appears to be an interior space with framed pictures on the wall.

2 people observed.

Evidence, details and a link to share

Sequence 81 from 55:13

Frame at 55:17, shot 51255:17Frame at 55:25, shot 51355:25Frame at 55:43, shot 51455:43
3 of 3 shots sampled

185. Living room

55:15–55:56 Machine checks passed

Model synopsis: A man watches a television broadcast reporting on a wave of flesh-eating murders. The broadcast is interrupted by a late update, and the scene includes multiple people in a room with rifles visible near the TV.

5 people observed.

“in all parts of the country. The wave of murder which is sweeping the eastern third of the nation is being committed by creatures who feast …” 55:16 · “Officials and newsmen at first discounted those eyewitness descriptions as being beyond belief.” 55:34

Evidence, details and a link to share

Frame at 55:57, shot 51555:57Frame at 56:00, shot 51656:00Frame at 56:20, shot 51856:20Frame at 56:23, shot 51956:23
4 of 5 shots sampled

186. Living room

55:56–56:23 Machine checks passed (partial)

Model synopsis: A news report describes the dead returning to life and attacking people. Several people are shown in a room, reacting to the broadcast.

  • A woman and a bald man are visible in a room, looking off-camera. [frame:1]
  • Two men are shown in a low-angle shot, looking down. [frame:2]
  • A man in a light shirt is in the foreground, with another man behind him and a bald man visible in the background. [frame:3]
  • 1 more under Evidence and details.

4 people observed.

“This is the latest disclosure in a report from National Civil Defense Headquarters in Washington.” 55:58 · “It has been established that persons who have recently died...” 56:03

Evidence, details and a link to share

Frame at 56:25, shot 52056:25Frame at 56:52, shot 52256:52Frame at 57:18, shot 52357:18Frame at 57:35, shot 52557:35
4 of 6 shots sampled

187. Vehicle interior

56:23–57:36 Machine checks passed (partial)

Model synopsis: A news broadcast describes a changed emergency protocol, directing people to rescue stations, while a man and a woman are seen in a vehicle interior. A separate scene shows a man in a control room and another man bent over in distress.

  • A man in a control room is visible. [frame:2]
  • A man is bent over, appearing distressed. [frame:3]
  • The man and woman in the vehicle are visible again. [frame:4]

4 people observed.

“When this emergency first began, radio and television was advising people to stay inside.” 56:29 · “to provide rescue stations with food, shelter,” 56:45

Evidence, details and a link to share

Frame at 57:40, shot 52657:40Frame at 58:02, shot 52858:02Frame at 58:06, shot 53058:06Frame at 58:13, shot 53258:13
4 of 7 shots sampled

188. Other

57:36–58:15 Machine checks passed (partial)

Model synopsis: A news report discusses a destroyed Venus probe and its possible link to murders, while inside a room, people react to a threat and plan to reach a pump. No names are spoken for the individuals visible, and the setting is an interior space with no clear time of day.

  • A man (p1) and another man (p2) are shown in a low-angle shot, looking down. [frame:1]
  • A balding man (p3) leans forward, appearing concerned. [frame:3]
  • A group of people, including p1, p3, p4, and p5, are gathered in a room, looking toward something off-screen. [frame:4]

Named: Don Quinn (t:58:00). 6 people observed.

“That satellite, you'll recall, started back to Earth.” 57:39 · “but never got here.” 57:42

Evidence, details and a link to share

Sequence 82 from 58:15

Frame at 58:56, shot 53358:56
1 of 1 shots sampled

189. Vehicle interior

58:15–59:37 Machine checks passed (partial)

Model synopsis: A group of men in formal attire are seen in a vehicle interior, discussing radiation and mutations linked to a Venus probe. One man is named Willard during the conversation, and they mention rescue stations, medical supplies, and a report due later.

  • Men are seated in a vehicle, one holding a microphone, engaged in discussion. [frame:1]

Named: Willard (t:59:32). 3 people observed.

“In other words, you feel that the radiation on the Venus probe is enough to cause these mutations? There was a very high degree of radiatio…” 58:21 · “In other words, it is the military's viewpoint that's... The radiation is not the cause of the mutations.” 58:34

Evidence, details and a link to share

Sequence 83 from 59:37

Frame at 59:41, shot 53459:41Frame at 59:49, shot 53559:49Frame at 1:00:04, shot 5361:00:04
3 of 3 shots sampled

190. Private office

59:37–1:00:13 Machine checks passed (partial)

Model synopsis: A group of survivors in a house discuss their situation, mentioning a nearby town called Willard and their failed attempt to escape. A television broadcast shows a news anchor, while characters express fear and describe barricading themselves in the basement with a sick child.

  • A woman stands in a doorway, looking concerned. [frame:1]
  • A man in a suit and glasses appears on a television screen with clocks behind him. [frame:2]
  • A man in a t-shirt gestures while speaking in a room with another man in the background. [frame:3]

4 people observed.

“I saw a sign that said Willard. It's only about 17 miles from here.” 59:43 · “Judy and I are both from around here.” 59:49

Evidence, details and a link to share

Frame at 1:00:16, shot 5371:00:16Frame at 1:00:30, shot 5381:00:30
2 of 2 shots sampled

191. Hospital

1:00:13–1:00:43 Machine checks passed (partial)

Model synopsis: A woman stands in a dim interior while a television screen shows two men in a hospital setting discussing medical advice. The transcript includes a doctor urging injured people to seek medical attention and a question about a child's injury.

  • A woman stands in an interior space while a television screen shows two men in a hospital setting. [frame:1]
  • The television screen displays two men seated at a desk with clocks behind them, labeled 'GREENSBURG GREEN HOSPITAL'. [frame:2]

Named: Dr. Grimes (t:60:18). 3 people observed.

“Dr. Grimes.” 60:18 · “These things that are happening. Do you have any answers at this time? Yes, we have some answers. But first, let me stress the importance of…” 60:24

Evidence, details and a link to share

Frame at 1:00:45, shot 5391:00:45Frame at 1:00:48, shot 5401:00:48Frame at 1:00:50, shot 5411:00:50Frame at 1:00:58, shot 5421:00:58
4 of 4 shots sampled

192. Private office

1:00:43–1:01:03 Machine checks passed (partial)

Model synopsis: A woman and a man are in an interior room; the man speaks about a cadaver at the university that opened its eyes. The woman is instructed to send someone named Judy up and to stay with a child.

  • The woman stands in a doorway, looking concerned. [frame:1]
  • The woman sits in a chair, looking toward the man. [frame:3]

4 people observed.

“Yeah, you tell Judy to come up here and you stay with the kid, all right?” 60:49 · “In the cold room at the university, we had a cadaver. A cadaver from which all four limbs had been amputated. Sometime early this morning,…” 60:57

Evidence, details and a link to share

Frame at 1:01:12, shot 5431:01:12Frame at 1:01:28, shot 5441:01:28Frame at 1:01:36, shot 5451:01:36
3 of 3 shots sampled

193. Private office

1:01:03–1:01:37 Machine checks passed (partial)

Model synopsis: A man in a suit is seen on a monitor labeled 'FOXBURG HALL'; in another location, a woman tends to a child lying on a table while another woman looks on; the child speaks and cries out in pain. The transcript includes fragmented dialogue about a dead creature moving, someone watching upstairs, and a mother comforting a hurt child.

  • A man in a suit is visible on a monitor screen. [frame:1]
  • A woman tends to a child lying on a table while another woman watches. [frame:2]
  • A child lies on a table, mouth open, appearing to cry or speak. [frame:3]

Named: Baby (t:61:25). 4 people observed.

“and began to move its trunk. It was dead, but it opened its eyes and tried to move.” 61:09 · “They watch upstairs.” 61:16

Evidence, details and a link to share

Frame at 1:01:41, shot 5461:01:41Frame at 1:02:00, shot 5471:02:00
2 of 2 shots sampled

194. Newsroom

1:01:37–1:02:16 Machine checks passed (partial)

Model synopsis: A woman is shown in close-up while a television screen displays two men at a desk in a medical center. The transcript discusses immediate cremation of bodies to prevent reanimation, and mentions tearing up bedspreads or sheets.

  • A woman is shown in close-up, looking downward. [frame:1]
  • Two men are shown seated at a desk on a television screen, with text identifying the location as 'PITTSBURGH OAKLAND MEDICAL CENTER'. [frame:2]

3 people observed.

“The body should be disposed of at once, preferably by cremation.” 61:38 · “Well, how long after death, then, does the body become reactivated? It's only a matter of minutes.” 61:38

Evidence, details and a link to share

Sequence 84 from 1:02:16

Frame at 1:02:17, shot 5481:02:17Frame at 1:02:31, shot 5501:02:31Frame at 1:02:37, shot 5511:02:37Frame at 1:02:48, shot 5531:02:48
4 of 6 shots sampled

195. Private office

1:02:16–1:02:49 Machine checks passed (partial)

Model synopsis: A group discusses using fruit jars and a kerosene can to make Molotov cocktails for escape, while one man searches for a key to the gas pump. The plan involves leaving the door open near a truck and having others hold up in the cellar.

  • A man in a light shirt is seen in a room with a woman behind him. [frame:1]
  • Two men stand in a room; one holds a bottle, the other stands with hands on hips. [frame:2]
  • A balding man in a shirt and tie stands in a room with a desk and papers. [frame:3]
  • 1 more under Evidence and details.

4 people observed.

“Is there a fruit seller here? Yes.” 62:16 · “We need some bottles or jars to make barley-tough cocktails and hold them up while we try to escape. Hey, there's a big can of kerosene dow…” 62:18

Evidence, details and a link to share

Frame at 1:03:16, shot 5601:03:16Frame at 1:03:21, shot 5621:03:21Frame at 1:03:27, shot 5641:03:27Frame at 1:03:34, shot 5661:03:34
4 of 7 shots sampled

197. Private office

1:03:14–1:03:35 Machine checks passed

Model synopsis: A man in a white shirt is shown in close-up and medium shots inside a room with boarded windows; he speaks with two other men about unboarding a door and using Molotov cocktails. The transcript mentions a rescue station and the need for more such stations as the emergency continues.

3 people observed.

“You can go upstairs and toss the cocktails from my window.” 63:20 · “Tom, you and I will have to unboard this door. After you toss the cocktail, you'll hustle back down here and lock this door.” 63:23

Evidence, details and a link to share

Frame at 1:03:37, shot 5671:03:37Frame at 1:03:43, shot 5681:03:43Frame at 1:03:51, shot 5691:03:51
3 of 3 shots sampled

198. Private office

1:03:35–1:03:54 Machine checks passed

Model synopsis: A man in a light shirt and tie is shown in close-up with a serious expression; another man in a light shirt is shown in a separate shot looking down. The setting appears to be an interior room with framed pictures and a radiator visible.

2 people observed.

Evidence, details and a link to share

Sequence 85 from 1:03:54

Frame at 1:03:57, shot 5701:03:57
1 of 1 shots sampled

199. Private office

1:03:54–1:04:00 Machine checks passed

Model synopsis: A television set displays a man in glasses speaking; two rifles are propped on either side of the TV. The scene is indoors, with no visible windows or clocks to establish time.

1 person observed.

Evidence, details and a link to share

Sequence 86 from 1:04:00

Frame at 1:04:02, shot 5711:04:02Frame at 1:04:06, shot 5721:04:06Frame at 1:04:08, shot 5731:04:08Frame at 1:04:11, shot 5741:04:11
4 of 4 shots sampled

200. Living room

1:04:00–1:04:12 Machine checks passed (partial)

Model synopsis: A woman holds a revolver to her neck while a man sits nearby; dialogue questions her constant smile and asks how many they have done. The setting is an interior room with furniture and wall decor visible.

  • woman holds a revolver to her neck [frame:1]
  • man sits at a desk, hands on surface [frame:2]
  • woman maintains revolver at neck, slight smile [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“You always have a smile for me. How can you smile like that all the time?” 64:02 · “How many we have done?” 64:07

Evidence, details and a link to share

Frame at 1:04:13, shot 5751:04:13Frame at 1:04:18, shot 5761:04:18Frame at 1:04:27, shot 5781:04:27Frame at 1:04:31, shot 5791:04:31
4 of 5 shots sampled

201. Private office

1:04:12–1:04:33 Machine checks passed (partial)

Model synopsis: A woman and a man are in a room; the man is seated and gestures while speaking, and the woman listens. The transcript indicates they are discussing a dead phone line and their plan to reach Willard to call their families.

  • The woman looks upward with a concerned expression. [frame:1]
  • Tom gestures with his right arm while seated at a desk. [frame:2]
  • Tom looks toward the woman with a serious expression. [frame:3]
  • 1 more under Evidence and details.

Named: Tom (t:64:16). 2 people observed.

“Come on, honey, we gotta move.” 64:13 · “Tom, are you sure about the phone? The phone is dead out. All you get is a recorded message.” 64:16

Evidence, details and a link to share

Frame at 1:04:55, shot 5841:04:55Frame at 1:05:01, shot 5861:05:01Frame at 1:05:07, shot 5881:05:07Frame at 1:05:14, shot 5901:05:14
4 of 7 shots sampled

203. Private office

1:04:51–1:05:15 Machine checks passed

Model synopsis: A man in a t-shirt speaks urgently inside a room, arguing about going outside to handle a truck and pump, while another person questions the safety of leaving. The conversation implies an external threat is growing.

1 person observed.

“I don't know. Come on, honey. You're starting to sound like Mr. Cooper now. But why do you have to go out there?” 64:51 · “Look, I know how to handle that truck.” 64:58

Evidence, details and a link to share

Frame at 1:05:18, shot 5911:05:18Frame at 1:05:28, shot 5921:05:28Frame at 1:05:42, shot 5941:05:42Frame at 1:05:51, shot 5951:05:51
4 of 5 shots sampled

204. Living room

1:05:15–1:05:55 Machine checks passed (partial)

Model synopsis: A man and a woman are in a tense conversation inside a room; the man urges immediate action while the woman resists going outside. The man calls the woman 'Smiley' and asks for a smile as he touches her shoulder.

  • The man touches the woman's shoulder and asks for a smile. [frame:4]

Named: Smiley (t:65:40). 2 people observed.

“Hey, listen. Remember?” 65:17 · “when we had the big flood.” 65:22

Evidence, details and a link to share

Sequence 87 from 1:05:55

Sequence 88 from 1:06:12

Sequence 89 from 1:06:14

Frame at 1:06:16, shot 5981:06:16
1 of 1 shots sampled

207. Other

1:06:14–1:06:17 Machine checks passed

Model synopsis: A man and a woman are shown in close proximity in a dimly lit interior. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Sequence 90 from 1:06:17

Frame at 1:06:24, shot 5991:06:24Frame at 1:06:38, shot 6001:06:38
2 of 2 shots sampled

208. Living room

1:06:17–1:06:45 Machine checks passed (partial)

Model synopsis: Two women are in a room; one is seated and appears distressed while the other stands and speaks to her. The dialogue indicates they are preparing to move downstairs temporarily before leaving the location.

  • A woman stands and speaks to a seated woman. [frame:1]
  • The standing woman leans slightly toward the seated woman while speaking. [frame:2]

Named: Barbara (t:66:24). 2 people observed.

“We better get her downstairs.” 66:23 · “We have to go downstairs now, Barbara.” 66:24

Evidence, details and a link to share

Sequence 91 from 1:06:45

Sequence 92 from 1:07:05

Frame at 1:07:06, shot 6031:07:06
1 of 1 shots sampled

210. Private office

1:07:05–1:07:07 Machine checks passed

Model synopsis: A man in a t-shirt stands facing another figure whose back is to the camera; the setting appears to be an interior room with wooden structures visible. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Sequence 93 from 1:07:07

Frame at 1:07:17, shot 6041:07:17
1 of 1 shots sampled

211. Private office

1:07:07–1:07:27 Machine checks passed (partial)

Model synopsis: A person secures a wooden board over a window from inside a room. The scene is shot in black and white with high-contrast lighting.

  • A person nails a wooden board over a window. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 94 from 1:07:27

Sequence 95 from 1:07:28

Sequence 96 from 1:07:29

Sequence 97 from 1:07:31

Sequence 98 from 1:07:34

Frame at 1:07:39, shot 6091:07:39Frame at 1:07:47, shot 6101:07:47Frame at 1:07:53, shot 6111:07:53
3 of 3 shots sampled

216. Other

1:07:34–1:07:55 Machine checks passed (partial)

Model synopsis: A man is seen from behind near a window, then a close-up of a man's face, followed by a group of people standing outside at night. The transcript includes brief spoken lines including 'You ready upstairs? Yeah. Okay, toss 'em!' and 'Amen.'

  • A man stands near a window, seen from behind. [frame:1]
  • Close-up of a man's face, looking toward the camera. [frame:2]
  • A group of people stands outside at night, some holding objects. [frame:3]

3 people observed.

“Amen.” 67:43 · “Mmm.” 67:47

Evidence, details and a link to share

Frame at 1:07:56, shot 6121:07:56Frame at 1:07:58, shot 6141:07:58Frame at 1:08:04, shot 6161:08:04Frame at 1:08:14, shot 6181:08:14
4 of 7 shots sampled

217. Private office

1:07:55–1:08:15 Machine checks passed (partial)

Model synopsis: A man and a woman are inside a room; the man is seen holding a weapon and later crouching, while the woman looks on. The transcript includes the line 'Come on.'

  • A man holds a weapon in a doorway. [frame:1]
  • A woman looks toward the camera with a serious expression. [frame:2]
  • A man is seen in shadow, moving or crouching. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“Come on.” 67:56

Evidence, details and a link to share

Frame at 1:08:16, shot 6191:08:16Frame at 1:08:20, shot 6211:08:20Frame at 1:08:26, shot 6241:08:26Frame at 1:08:34, shot 6261:08:34
4 of 8 shots sampled

218. House exterior and interior

1:08:15–1:08:36 Machine checks passed (partial)

Model synopsis: A person is seen through a window while another crouches inside; outside, a group stands near a fire at night. One person is heard saying 'Go ahead. Go on.'

  • A person is visible through a window. [frame:1]
  • A bald person crouches inside near a window. [frame:2]
  • A group of people stands outside at night. [frame:3]
  • 1 more under Evidence and details.

6 people observed.

“Go ahead. Go on.” 68:26

Evidence, details and a link to share

Sequence 99 from 1:08:36

Frame at 1:08:37, shot 6271:08:37
1 of 1 shots sampled

219. Bedroom

1:08:36–1:08:38 Machine checks passed (partial)

Model synopsis: A person is bent over in a dimly lit interior space, viewed from a high angle. No dialogue or on-screen text is present in this beat.

  • A person is bent over in a dark room. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 100 from 1:08:38

Frame at 1:08:40, shot 6281:08:40
1 of 1 shots sampled

220. Private office

1:08:38–1:08:41 Machine checks passed

Model synopsis: A woman stands in a dimly lit interior, looking toward a doorway where a figure is partially visible in shadow. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Sequence 101 from 1:08:41

Frame at 1:08:42, shot 6291:08:42
1 of 1 shots sampled

221. Other

1:08:41–1:08:42 Machine checks passed

Model synopsis: A woman with long hair is visible in a dimly lit interior space. No actions, dialogue, or objects are identifiable beyond her presence.

1 person observed.

Evidence, details and a link to share

Sequence 102 from 1:08:42

Frame at 1:08:43, shot 6301:08:43
1 of 1 shots sampled

222. Other

1:08:42–1:08:43 Machine checks passed

Model synopsis: A close-up shows a person's arm pressing against a door frame in a dark interior. No dialogue or on-screen text is present in this beat.

  • a person's arm presses against a door frame [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 103 from 1:08:43

Frame at 1:08:45, shot 6311:08:45
1 of 1 shots sampled

223. Porch

1:08:43–1:08:47 Machine checks passed (partial)

Model synopsis: A man stands on a porch as smoke billows from the left side of the frame. The scene is shot in black and white with high contrast lighting.

  • smoke billows from the left side of the porch [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 104 from 1:08:47

Frame at 1:08:48, shot 6321:08:48
1 of 1 shots sampled

224. Other

1:08:47–1:08:49 Machine checks passed

Model synopsis: Two figures are shown in a dark interior, one seated and facing the other who appears to be standing or leaning forward. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Frame at 1:08:50, shot 6331:08:50Frame at 1:08:54, shot 6361:08:54Frame at 1:08:58, shot 6381:08:58Frame at 1:09:04, shot 6411:09:04
4 of 9 shots sampled

225. House

1:08:49–1:09:05 Machine checks passed (partial)

Model synopsis: A woman in dark clothing stands in a doorway while a man gestures urgently; another man is visible inside a vehicle. A woman runs across a porch as a fire burns nearby. The transcript indicates a refusal to return to a cellar and a question about someone's approach.

  • A man gestures from inside a vehicle. [frame:1]
  • A man and a woman are visible inside a vehicle, with the man gesturing. [frame:2]
  • A woman stands in a doorway, looking toward the camera. [frame:3]
  • 1 more under Evidence and details.

4 people observed.

“I'm going with you. Get back in the cellar. No. It's too late.” 68:50 · “Where's she coming? Come on.” 68:56

Evidence, details and a link to share

Sequence 105 from 1:09:05

Frame at 1:09:05, shot 6421:09:05
1 of 1 shots sampled

226. Vehicle interior

1:09:05–1:09:06 Machine checks passed (partial)

Model synopsis: A man is visible inside a vehicle, looking upward with an alarmed expression. No dialogue or on-screen text is present in this beat.

  • A man inside a vehicle looks upward with an alarmed expression. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 106 from 1:09:06

Frame at 1:09:06, shot 6431:09:06
1 of 1 shots sampled

227. Other

1:09:06–1:09:07 Machine checks passed

Model synopsis: A bald man in a light shirt is visible in profile, looking down and to the right near a dark vertical structure. The scene is dimly lit and grainy, with no other people or objects clearly identifiable.

1 person observed.

Evidence, details and a link to share

Sequence 107 from 1:09:07

Frame at 1:09:08, shot 6441:09:08
1 of 1 shots sampled

228. Living room

1:09:07–1:09:09 Machine checks passed

Model synopsis: A person with long hair is seen from behind, standing indoors near a window with smoke or mist in the air. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 108 from 1:09:09

Frame at 1:09:09, shot 6451:09:09
1 of 1 shots sampled

229. Vehicle interior

1:09:09–1:09:09 Machine checks passed

Model synopsis: A man is visible inside a vehicle, gripping a steering wheel and looking upward with an alarmed expression. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 109 from 1:09:09

Frame at 1:09:10, shot 6461:09:10
1 of 1 shots sampled

230. Forest

1:09:09–1:09:11 Machine checks passed

Model synopsis: A man in a light shirt is visible outdoors at night, crouched near a vehicle with dark foliage behind him. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 110 from 1:09:11

Frame at 1:09:13, shot 6471:09:13
1 of 1 shots sampled

231. Living room

1:09:11–1:09:15 Machine checks passed

Model synopsis: A man in a light shirt and dark pants is seated indoors, holding a long object. The scene is dimly lit with high contrast, showing a window and indistinct background elements.

1 person observed.

Evidence, details and a link to share

Frame at 1:09:22, shot 6491:09:22
1 of 1 shots sampled

233. Yard

1:09:19–1:09:24 Machine checks passed (partial)

Model synopsis: A figure runs across a yard at night toward a house with a car parked nearby. No dialogue or on-screen text is present in this beat.

  • A figure runs across a yard toward a house. [frame:1]

1 person observed.

Evidence, details and a link to share

Frame at 1:09:25, shot 6501:09:25Frame at 1:09:34, shot 6541:09:34Frame at 1:09:40, shot 6571:09:40Frame at 1:09:52, shot 6611:09:52
4 of 12 shots sampled

234. Street

1:09:24–1:09:53 Machine checks passed (partial)

Model synopsis: A man is seen outside at night near a car; he is then shown lying on the ground. A person is audible saying "Come on."

  • A man stands outside near a car at night. [frame:1]
  • The man is shown in close-up, leaning against a wooden surface. [frame:2]
  • The man stands on the car roof as a bright light flares behind him. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“Come on.” 69:26

Evidence, details and a link to share

Frame at 1:09:58, shot 6621:09:58Frame at 1:10:04, shot 6631:10:04Frame at 1:10:09, shot 6641:10:09Frame at 1:10:12, shot 6651:10:12
4 of 4 shots sampled

235. Farm

1:09:53–1:10:13 Machine checks flagged: time_of_day without evidence

Model synopsis: A man struggles with a door while another is seen near a car outside at night. The transcript indicates a key is not working and someone is being warned to watch out.

  • A man bends near a car with headlights on in a field. [frame:1]
  • A man looks upward while holding onto a wooden structure. [frame:2]
  • A dark outdoor scene with trees and a distant light. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“Come on! This key won't work. Watch it.” 69:56

Flagged: time_of_day without evidence (night)

Evidence, details and a link to share

Frame at 1:10:20, shot 6661:10:20Frame at 1:10:31, shot 6671:10:31
2 of 2 shots sampled

236. Field

1:10:13–1:10:34 Machine checks passed (partial)

Model synopsis: A group of people is gathered outdoors at night, illuminated by a torch. One person holds a torch while another appears to be restraining or assisting them.

  • One person holds a torch while another restrains or assists them. [frame:2]

3 people observed.

“Watch the torch.” 70:26

Evidence, details and a link to share

Sequence 111 from 1:10:34

Frame at 1:10:35, shot 6681:10:35
1 of 1 shots sampled

237. Beat 237

1:10:34–1:10:36 Machine checks passed

Model synopsis: A close-up shows a hand gripping a dark object against a light background. No location, time, or people are identifiable from this single frame.

1 person observed.

Evidence, details and a link to share

Sequence 112 from 1:10:36

Frame at 1:10:38, shot 6701:10:38Frame at 1:10:39, shot 6711:10:39Frame at 1:10:40, shot 6721:10:40
3 of 3 shots sampled

239. Vehicle interior

1:10:37–1:10:41 Machine checks passed (partial)

Model synopsis: A vehicle is on fire near a person who is partially visible; another person is seen in a close-up through a narrow opening. A voice warns to get away from the pump.

  • A person moves away from a vehicle [frame:1]
  • A vehicle is engulfed in flames [frame:2]
  • A man's face is seen through a narrow opening [frame:3]

2 people observed.

“You gotta get away from the pump.” 70:38

Evidence, details and a link to share

Sequence 113 from 1:10:41

Frame at 1:10:43, shot 6731:10:43
1 of 1 shots sampled

240. Beat 240

1:10:41–1:10:44 Machine checks passed

Model synopsis: A person in light pants and a dark shirt stands in a dark, low-resolution scene holding a long object. No names, dialogue, or clear location are visible or audible in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 114 from 1:10:44

Frame at 1:10:46, shot 6741:10:46
1 of 1 shots sampled

241. Other

1:10:44–1:10:48 Machine checks passed

Model synopsis: A man in a light shirt is visible in a dark, indistinct setting. No dialogue or identifiable location is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 115 from 1:10:48

Frame at 1:10:54, shot 6751:10:54Frame at 1:11:03, shot 6771:11:03Frame at 1:11:06, shot 6781:11:06Frame at 1:11:21, shot 6801:11:21
4 of 6 shots sampled

242. Vehicle interior

1:10:48–1:11:23 Machine checks flagged: time_of_day without evidence

Model synopsis: A person is seen near a vehicle at night, interacting with another person inside the vehicle. The scene includes dialogue urging haste, and the setting appears to be outdoors near a parked truck.

  • Person p1 bends over near the back of a truck. [frame:1]
  • Person p2 stands near a phone booth, looking off-screen. [frame:2]
  • Person p3 is inside a vehicle, looking out the window at person p4. [frame:3]
  • 1 more under Evidence and details.

4 people observed.

“Hang on.” 70:52 · “Come on, come on.” 70:56

Flagged: time_of_day without evidence (night)

Evidence, details and a link to share

Frame at 1:11:30, shot 6831:11:30
1 of 1 shots sampled

244. Beat 244

1:11:28–1:11:31 Machine checks passed

Model synopsis: A single blurry frame shows a figure in light clothing moving near a vertical structure in low-light conditions. No dialogue, text, or clear environmental context is visible.

1 person observed.

Evidence, details and a link to share

Sequence 116 from 1:11:31

Sequence 117 from 1:11:32

Frame at 1:11:32, shot 6851:11:32
1 of 1 shots sampled

246. Other

1:11:32–1:11:33 Machine checks passed

Model synopsis: A close-up shows a hand gripping a wooden surface 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

Sequence 118 from 1:11:33

Sequence 119 from 1:11:34

Frame at 1:11:35, shot 6871:11:35
1 of 1 shots sampled

248. Field

1:11:34–1:11:35 Machine checks passed

Model synopsis: A vehicle is on fire at night in an outdoor setting. No people are visible or audible in this beat.

  • A vehicle is engulfed in flames. [frame:1]

Evidence, details and a link to share

Sequence 120 from 1:11:35

Frame at 1:11:37, shot 6881:11:37
1 of 1 shots sampled

249. Beat 249

1:11:35–1:11:38 Machine checks passed

Model synopsis: A man in a light shirt is visible in a close-up, looking upward with an open mouth. No location, time, or event details are established from this single frame.

1 person observed.

Evidence, details and a link to share

Sequence 121 from 1:11:38

Sequence 122 from 1:11:40

Frame at 1:11:43, shot 6901:11:43
1 of 1 shots sampled

251. Private office

1:11:40–1:11:47 Machine checks passed

Model synopsis: A man is visible in a dark interior, lit from below, with another figure partially visible behind him. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Sequence 123 from 1:11:47

Sequence 124 from 1:11:49

Frame at 1:11:51, shot 6921:11:51
1 of 1 shots sampled

253. Field

1:11:49–1:11:54 Machine checks passed (partial)

Model synopsis: A shirtless man walks across a dark grassy field at night, with other figures visible in the background. The scene is shot in black and white with low ambient light and no visible artificial illumination.

  • A shirtless man walks across a grassy field. [frame:1]

2 people observed.

Evidence, details and a link to share

Sequence 125 from 1:11:54

Sequence 126 from 1:11:55

Frame at 1:12:00, shot 6941:12:00Frame at 1:12:07, shot 6951:12:07Frame at 1:12:11, shot 6961:12:11Frame at 1:12:14, shot 6971:12:14
4 of 4 shots sampled

255. Field

1:11:55–1:12:16 Machine checks passed (partial)

Model synopsis: A group of people are gathered outdoors at night, some holding flaming torches and others appearing to restrain or confront someone. The scene is chaotic, with multiple figures moving and gesturing in a dark, open area.

  • A person holds a flaming object while another stands nearby with a torch. [frame:1]
  • A group of people are gathered, some restraining another person. [frame:2]
  • A person in a light shirt is surrounded and appears to be restrained or attacked. [frame:3]
  • 1 more under Evidence and details.

8 people observed.

Evidence, details and a link to share

Sequence 127 from 1:12:16

Frame at 1:12:26, shot 6981:12:26
1 of 1 shots sampled

256. Field

1:12:16–1:12:36 Machine checks passed (partial)

Model synopsis: A dark outdoor scene shows a distant fire with indistinct figures near it. A voice calls out 'Cooper!' twice during the beat.

  • A fire burns in the distance with figures near it. [frame:1]

Named: Cooper (t:72:26). 2 people observed.

“Cooper! Cooper!” 72:26

Evidence, details and a link to share

Sequence 128 from 1:12:36

Sequence 129 from 1:12:38

Frame at 1:12:39, shot 7001:12:39
1 of 1 shots sampled

258. Private office

1:12:38–1:12:41 Machine checks passed (partial)

Model synopsis: A person in a light shirt and dark pants is seen from behind, leaning into a dark doorway or window while holding a flaming object. The scene is dimly lit, with a wooden-framed window visible to the left.

  • A person leans into a dark opening while holding a flaming object. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 130 from 1:12:41

Sequence 131 from 1:12:42

Frame at 1:12:44, shot 7031:12:44
1 of 1 shots sampled

261. Other

1:12:43–1:12:44 Machine checks passed

Model synopsis: A single frame shows a dark, low-angle shot of a wooden interior with a figure partially visible above. No dialogue or on-screen text is present.

Evidence, details and a link to share

Frame at 1:12:45, shot 7041:12:45
1 of 1 shots sampled

262. Private office

1:12:44–1:12:46 Machine checks passed

Model synopsis: A man is visible in a dimly lit interior space, partially obscured by a large white object. No spoken dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 132 from 1:12:46

Frame at 1:12:46, shot 7051:12:46
1 of 1 shots sampled

263. Private office

1:12:46–1:12:47 Machine checks passed

Model synopsis: A man in a light shirt and dark tie stands indoors, looking toward the camera with a shadow cast behind him. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 133 from 1:12:47

Frame at 1:12:47, shot 7061:12:47
1 of 1 shots sampled

264. Other

1:12:47–1:12:48 Machine checks passed

Model synopsis: A person in a light shirt is visible in a dimly lit interior space. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 134 from 1:12:48

Frame at 1:12:48, shot 7071:12:48
1 of 1 shots sampled

265. Private office

1:12:48–1:12:48 Machine checks passed

Model synopsis: A person in light-colored clothing is visible in a dimly lit interior space, partially obscured by shadow. The setting appears to be a narrow corridor or room with a door frame visible on the left.

1 person observed.

Evidence, details and a link to share

Frame at 1:12:49, shot 7081:12:49
1 of 1 shots sampled

266. Private office

1:12:48–1:12:49 Machine checks passed

Model synopsis: A man in light-colored clothing stands in a doorway, reaching out with his left hand. The scene is indoors, with a second closed door visible to the right.

  • A man stands in a doorway, extending his left arm forward. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 135 from 1:12:49

Frame at 1:12:50, shot 7091:12:50
1 of 1 shots sampled

267. Private office

1:12:49–1:12:50 Machine checks passed

Model synopsis: A person is visible through a doorway or window frame, partially obscured by shadows and vertical bars. The scene is dimly lit with high contrast, suggesting an interior setting at night or in low light.

1 person observed.

Evidence, details and a link to share

Sequence 136 from 1:12:50

Frame at 1:12:51, shot 7101:12:51
1 of 1 shots sampled

268. Private office

1:12:50–1:12:52 Machine checks passed

Model synopsis: A man in a light shirt and dark tie is visible in a close-up, looking off-camera with a serious expression. The setting appears to be an interior space with a dark background and a door frame visible.

1 person observed.

Evidence, details and a link to share

Sequence 137 from 1:12:52

Frame at 1:12:53, shot 7111:12:53
1 of 1 shots sampled

269. Private office

1:12:52–1:12:54 Machine checks passed (partial)

Model synopsis: A person in a light shirt and dark pants is seen from behind, reaching toward a dark wooden door in a dimly lit interior. The scene is black and white, with no visible text or spoken dialogue in this beat.

  • A person reaches toward a wooden door. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 138 from 1:12:54

Frame at 1:12:56, shot 7121:12:56Frame at 1:13:09, shot 7131:13:09Frame at 1:13:22, shot 7141:13:22Frame at 1:13:25, shot 7151:13:25
4 of 4 shots sampled

270. Private office

1:12:54–1:13:26 Machine checks passed (partial)

Model synopsis: A man in a light shirt is visible in a dim interior, followed by a blurry close-up of a hand holding a rifle. Another man appears in profile, then a third man is seen holding a rifle while looking at someone off-screen. The transcript contains the line 'Come on.'

  • A bald man stands in a dim room. [frame:1]
  • A hand holds a rifle in a blurry close-up. [frame:2]
  • A bald man is seen in profile against a wall. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“Come on.” 72:56

Evidence, details and a link to share

Frame at 1:13:27, shot 7161:13:27
1 of 1 shots sampled

271. Other

1:13:26–1:13:28 Machine checks passed

Model synopsis: A person in a light shirt and dark pants is seen from behind, bending over another person who is on the ground. The setting appears to be an interior space with dim lighting and indistinct background features.

2 people observed.

Evidence, details and a link to share

Frame at 1:13:32, shot 7171:13:32Frame at 1:13:41, shot 7181:13:41
2 of 2 shots sampled

272. Living room

1:13:28–1:13:46 Machine checks flagged: visible event not seen

Model synopsis: Two men are in a room; one stands near a doorway while the other leans over a piece of furniture. A line is spoken threatening to drag someone outside to be fed to 'those things.'

  • A man stands near a doorway while another leans over furniture. [frame:1]
  • The room is shown empty except for furniture and a dark shape on the floor. [frame:2]

2 people observed.

“I'll drag you out there and feed those things.” 73:35

Flagged: visible event not seen (The room is shown empty except for furniture and a dark shape on the floor.)

Evidence, details and a link to share

Sequence 139 from 1:13:46

Sequence 140 from 1:13:49

Frame at 1:13:53, shot 7201:13:53
1 of 1 shots sampled

274. Living room

1:13:49–1:13:58 Machine checks passed

Model synopsis: A man lies on a patterned couch, appearing distressed or exhausted. No other people, actions, or dialogue are visible or audible in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 141 from 1:13:58

Frame at 1:14:44, shot 7241:14:44
1 of 1 shots sampled

276. Other

1:14:42–1:14:45 Machine checks passed

Model synopsis: A close-up shot shows a person's face partially illuminated in darkness, holding an object. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Frame at 1:14:48, shot 7251:14:48
1 of 1 shots sampled

277. Other

1:14:45–1:14:50 Machine checks passed

Model synopsis: A person holds a gun while another figure is visible in the background; a third figure with long hair is in the foreground. The scene is dark and lit from one side, showing only partial details of the figures.

3 people observed.

Evidence, details and a link to share

Sequence 142 from 1:14:50

Frame at 1:14:52, shot 7261:14:52
1 of 1 shots sampled

278. Beat 278

1:14:50–1:14:54 Machine checks passed

Model synopsis: A close-up shows a man's face in shadow, gripping something with both hands near his mouth. The scene is dark and lit from one side, with no visible environment or other people.

1 person observed.

Evidence, details and a link to share

Sequence 143 from 1:14:54

Frame at 1:14:57, shot 7271:14:57
1 of 1 shots sampled

279. Other

1:14:54–1:15:00 Machine checks passed

Model synopsis: A close-up shows a person's head and shoulder in extreme low-key lighting, with a second figure visible in the dark background. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Sequence 144 from 1:15:00

Sequence 145 from 1:15:16

Sequence 146 from 1:15:29

Frame at 1:15:38, shot 7301:15:38Frame at 1:15:51, shot 7311:15:51
2 of 2 shots sampled

282. Living room

1:15:29–1:15:55 Machine checks passed (partial)

Model synopsis: A woman and a man are inside a dimly lit room; the woman sits while the man crouches near a doorway. Dialogue suggests they are considering leaving soon, with a reference to the time being 10 minutes to 3 and a question about nearby towns.

  • A woman sits in a dim room while a man crouches near a doorway. [frame:1]
  • The man remains crouched near the doorway, appearing to inspect something. [frame:2]

2 people observed.

“We can leave.” 75:30 · “Well, we'd better leave soon.” 75:33

Evidence, details and a link to share

Sequence 147 from 1:15:55

Frame at 1:16:02, shot 7321:16:02
1 of 1 shots sampled

283. Other

1:15:55–1:16:09 Machine checks passed

Model synopsis: A woman stands in a doorway holding a bottle, as dialogue discusses a car overturned by 'those things' and the possibility of repairing it. The location is not clearly identifiable from the frame or transcript.

  • A woman is seen standing in a doorway holding a bottle. [frame:1]

1 person observed.

“Just trying to get to him.” 75:57 · “Motel before dark.” 75:59

Evidence, details and a link to share

Sequence 148 from 1:16:09

Frame at 1:16:11, shot 7331:16:11Frame at 1:16:21, shot 7351:16:21Frame at 1:16:24, shot 7361:16:24Frame at 1:16:29, shot 7381:16:29
4 of 6 shots sampled

284. Living room

1:16:09–1:16:30 Machine checks passed (partial)

Model synopsis: Two adults and a child are inside a dimly lit room; one adult tends to the child's arm injury while another sits nearby. They discuss the impossibility of fleeing through a hostile group outside.

  • A man sits on a chair holding a cloth near a child's arm. [frame:1]
  • A man with a bruised cheek holds a cloth and looks down. [frame:2]
  • A woman holds a child's arm and speaks. [frame:3]
  • 1 more under Evidence and details.

4 people observed.

“Forget it.” 76:12 · “You gonna carry that child a mile?” 76:17

Evidence, details and a link to share

Frame at 1:16:31, shot 7391:16:31Frame at 1:16:37, shot 7421:16:37Frame at 1:16:44, shot 7461:16:44Frame at 1:16:48, shot 7491:16:48
4 of 11 shots sampled

285. Private office

1:16:30–1:16:49 Machine checks passed (partial)

Model synopsis: A man with a bruised face is seen in close-up, appearing distressed, while a woman stands in a doorway. Dialogue indicates concern for an unconscious, weak person and a plan to reach a car.

  • Man with bruised face looks down and to his right. [frame:1]
  • Woman stands in doorway, arms crossed, looking toward the man. [frame:3]

2 people observed.

“What's wrong?” 76:31 · “Who knows what kind of disease those things carry.” 76:33

Evidence, details and a link to share

Frame at 1:16:52, shot 7501:16:52Frame at 1:16:56, shot 7511:16:56Frame at 1:17:03, shot 7531:17:03Frame at 1:17:10, shot 7541:17:10
4 of 5 shots sampled

286. Living room

1:16:49–1:17:13 Machine checks passed (partial)

Model synopsis: A man in a white shirt is shown in close-up, then a bald man with a bruised face is seen crouching. A woman sits on a couch as a man leans over her, while another man stands nearby. Outside at night, figures move near a burning structure as people flee.

  • A man in a white shirt is shown in close-up, looking down. [frame:1]
  • A bald man with a bruised face crouches and looks toward the camera. [frame:2]
  • A woman sits on a couch as a man leans over her; another man stands nearby. [frame:3]
  • 1 more under Evidence and details.

6 people observed.

“You have a car? Where? Where is it?” 76:51 · “You won't be able to start it. Yeah, yeah, I know. But where is it? Ah, I don't know.” 76:54

Evidence, details and a link to share

Frame at 1:17:14, shot 7551:17:14
1 of 1 shots sampled

287. Other

1:17:13–1:17:16 Machine checks passed

Model synopsis: A man holds a long object against a wall while another person is partially visible beside him. The scene is indoors and lit by artificial light.

2 people observed.

Evidence, details and a link to share

Sequence 149 from 1:17:16

Frame at 1:17:17, shot 7561:17:17
1 of 1 shots sampled

288. Vehicle interior

1:17:16–1:17:18 Machine checks passed (partial)

Model synopsis: A person in a light shirt and dark vest is visible inside a vehicle interior, reaching toward a window frame. No spoken dialogue or on-screen text is present in this beat.

  • A person reaches toward a window frame inside a vehicle. [frame:1]

1 person observed.

Evidence, details and a link to share

Frame at 1:17:19, shot 7571:17:19Frame at 1:17:26, shot 7581:17:26Frame at 1:17:38, shot 7601:17:38Frame at 1:17:43, shot 7611:17:43
4 of 5 shots sampled

289. Living room

1:17:18–1:17:44 Machine checks flagged: name not grounded

Model synopsis: A man peers through a window while a news report on a television screen describes rising radiation levels and the transformation of dead bodies into ghouls. A woman is shown looking concerned, and a ghoul is visible in a separate shot.

  • A man peers through a window. [frame:1]
  • A ghoul is shown in close-up. [frame:2]
  • A news report is shown on a television screen, with text identifying the reporter as Claire from Fellow Memorial Hospital. [frame:3]
  • 1 more under Evidence and details.

Named: Claire (t:77:22). 4 people observed.

“Oh.” 77:21 · “Being monitored closely by scientists at all the radiation detection stations. At this hour, they report the level of the mysterious radiat…” 77:22

Flagged: name not grounded (Claire)

Evidence, details and a link to share

Sequence 150 from 1:17:44

Frame at 1:17:46, shot 7621:17:46
1 of 1 shots sampled

290. Living room

1:17:44–1:17:47 Machine checks passed

Model synopsis: A woman in a striped shirt is shown in profile against a wall with a framed painting. No dialogue or action is visible in the single frame provided.

1 person observed.

Evidence, details and a link to share

Sequence 151 from 1:17:47

Frame at 1:17:49, shot 7631:17:49
1 of 1 shots sampled

291. Other

1:17:47–1:17:51 Machine checks passed

Model synopsis: A man with a bald head and a visible wound on his cheek is shown in a close-up. The setting is not identifiable from the frame.

1 person observed.

Evidence, details and a link to share

Sequence 152 from 1:17:51

Frame at 1:17:54, shot 7641:17:54Frame at 1:18:00, shot 7651:18:00Frame at 1:18:08, shot 7661:18:08
3 of 3 shots sampled

292. Living room

1:17:51–1:18:14 Machine checks passed (partial)

Model synopsis: A news report describes a search-and-destroy operation against ghouls, while frames show a living room with three people and a man working on a window frame, followed by a news anchor on a television screen. No names are spoken for the individuals shown.

  • Three people are in a living room: a girl sits on a couch, a man stands behind her, and another man sits in the foreground holding a rifle. [frame:1]
  • A man is working on a window frame, possibly reinforcing it. [frame:2]
  • A news anchor is shown on a television screen. [frame:3]

5 people observed.

“by cremation.” 77:52 · “Our news cameras have just returned from covering such a search-and-destroy operation against the Ghouls. This one conducted by Sheriff Con…” 77:53

Evidence, details and a link to share

Sequence 153 from 1:18:14

Frame at 1:18:16, shot 7671:18:16Frame at 1:18:24, shot 7681:18:24Frame at 1:18:35, shot 7691:18:35
3 of 3 shots sampled

293. Road

1:18:14–1:18:39 Machine checks passed (partial)

Model synopsis: A group of armed men are seen outside a building from a vehicle's perspective; a radio broadcast discusses killing ghouls by destroying their brains. One man is asked for his opinion on supplies and replies affirmatively.

  • A group of armed men is seen outside a building from inside a vehicle. [frame:1]
  • A man in a plaid shirt walks toward the vehicle while others stand nearby holding weapons. [frame:2]
  • Two men stand side by side, one holding a rifle, viewed through the vehicle window. [frame:3]

Named: Gus (t:78:34). 7 people observed.

“or a heavy blow to the skull. Officials are quoted as explaining that since the brain of a ghoul has been activated by the radiation” 78:21 · “The plan is kill the brain” 78:29

Evidence, details and a link to share

Frame at 1:18:40, shot 7701:18:40Frame at 1:19:24, shot 7711:19:24
2 of 2 shots sampled

294. Road

1:18:39–1:20:06 Machine checks passed

Model synopsis: A news reporter interviews Chief McClellan outdoors about the ongoing effort to kill undead creatures; the reporter is identified as Bill Cardill from WCW TV 11 News. The scene includes a news van and other personnel, with discussion of tactics and the uncertain timeline for resolving the situation.

  • News van with 'WCW' visible on side is parked on road. [frame:1]

Named: Bill Cardill (t:79:58), Chief McClellan (t:78:39). 4 people observed.

“Hey, Cass, put that thing all the way in the fire. We don't want it getting up again. Chief, Chief McClellan, how's everything going?” 78:39 · “Chief, if I were surrounded by six or eight of these things, would I stand a chance with them? Well, there's no problem. If you had a gun, …” 79:11

Evidence, details and a link to share

Frame at 1:20:57, shot 7821:20:57Frame at 1:21:02, shot 7831:21:02Frame at 1:21:12, shot 7851:21:12Frame at 1:21:18, shot 7861:21:18
4 of 5 shots sampled

297. Other

1:20:56–1:21:23 Machine checks passed (partial)

Model synopsis: A person is seen in silhouette near a window while smoke rises from a fire outside; another person is visible near the smoke. A voice shouts 'Get over here, man!' during the sequence.

  • A hand is visible gripping a wooden post in darkness. [frame:1]
  • Smoke rises from a fire outside a house window; a person stands inside. [frame:2]
  • A person is seen in silhouette in profile, looking toward the right. [frame:3]
  • 1 more under Evidence and details.

4 people observed.

“Get over here, man!” 81:16

Evidence, details and a link to share

Frame at 1:21:25, shot 7871:21:25Frame at 1:21:32, shot 7901:21:32Frame at 1:21:36, shot 7941:21:36Frame at 1:21:43, shot 7971:21:43
4 of 11 shots sampled

298. Private office

1:21:23–1:21:44 Machine checks passed (partial)

Model synopsis: A man in a dark room is shown in close-up, then a man in a dark coat walks past a window while others sit inside, followed by a medium shot of a man in a light shirt, and finally a man in a light shirt leans over a wooden structure. No dialogue or on-screen text is present.

  • A bald man is shown in close-up, lit from one side. [frame:1]
  • A man in a dark coat walks past a window while others sit inside. [frame:2]
  • A man with short dark hair looks forward in a medium shot. [frame:3]
  • 1 more under Evidence and details.

4 people observed.

Evidence, details and a link to share

Frame at 1:22:11, shot 8101:22:11Frame at 1:22:24, shot 8161:22:24Frame at 1:22:33, shot 8231:22:33Frame at 1:22:40, shot 8291:22:40
4 of 20 shots sampled

300. Private office

1:22:10–1:22:41 Machine checks passed (partial)

Model synopsis: A woman and a man are shown in a dark interior, reacting with alarm to an off-screen command to move to the cellar. The man appears to be struggling or being restrained.

  • A woman looks alarmed in a dark room. [frame:1]
  • A man is seen in a dark room, mouth open as if shouting or screaming. [frame:2]
  • A man is shown from above, appearing to be struggling or being held down. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“Get the cellar now. Move!” 82:13 · “Oh, my God.” 82:16

Evidence, details and a link to share

Frame at 1:22:41, shot 8301:22:41Frame at 1:22:47, shot 8321:22:47Frame at 1:22:49, shot 8331:22:49Frame at 1:22:57, shot 8351:22:57
4 of 6 shots sampled

301. Private office

1:22:41–1:23:00 Machine checks passed

Model synopsis: A man holds a gun while another man looks on; a woman is seen lying down in a dark room. A voice exclaims 'Oh, my God.' during this sequence.

  • A man holds a gun in a dimly lit room. [frame:1]
  • Another man looks forward with a serious expression. [frame:2]
  • A dark room with a window and a shadowy figure. [frame:3]
  • 1 more under Evidence and details.

3 people observed.

“Oh, my God.” 82:46

Evidence, details and a link to share

Frame at 1:23:03, shot 8361:23:03Frame at 1:23:11, shot 8371:23:11Frame at 1:23:21, shot 8391:23:21Frame at 1:23:22, shot 8401:23:22
4 of 5 shots sampled

302. Private office

1:23:00–1:23:23 Machine checks passed (partial)

Model synopsis: A man in a light shirt is seen in a dark, confined space, interacting with a wall or door frame; a shadowy figure appears on a staircase, and another person lies motionless on a surface. The man later covers his face with his hands against a stone wall.

  • man reaches toward a wall or door frame [frame:1]
  • shadowy figure appears on staircase [frame:2]
  • person lies motionless on a surface [frame:3]
  • 1 more under Evidence and details.

3 people observed.

“Come on.” 83:16

Evidence, details and a link to share

Frame at 1:23:31, shot 8411:23:31Frame at 1:23:42, shot 8421:23:42Frame at 1:23:48, shot 8431:23:48
3 of 3 shots sampled

303. Private office

1:23:23–1:23:51 Machine checks passed (partial)

Model synopsis: A man is seen kneeling by a wall while a person lies on the floor; a close-up shows hands gripping a throat; a final frame shows a dark, indistinct shape. A voice says "Oh, baby."

  • A man kneels beside a wall while another person lies on the floor. [frame:1]
  • Close-up of hands gripping a person's throat. [frame:2]
  • A dark, blurry shape is visible, possibly a hand or object moving. [frame:3]

5 people observed.

“Oh, baby.” 83:46

Evidence, details and a link to share

Frame at 1:24:03, shot 8461:24:03Frame at 1:24:08, shot 8481:24:08Frame at 1:24:11, shot 8491:24:11Frame at 1:24:18, shot 8511:24:18
4 of 6 shots sampled

305. Basement

1:24:01–1:24:21 Machine checks passed (partial)

Model synopsis: A person lies on the ground while another stands over them; a woman looks on with concern. A child is shown in a dark space, reaching forward with an open mouth.

  • A person lies on the floor while another stands over them. [frame:1]
  • A woman looks on with a distressed expression. [frame:2]
  • A child is shown reaching forward with an open mouth. [frame:4]

4 people observed.

“No!” 84:16

Evidence, details and a link to share

Sequence 154 from 1:24:23

Frame at 1:24:24, shot 8531:24:24
1 of 1 shots sampled

307. Other

1:24:23–1:24:25 Machine checks passed

Model synopsis: A woman in a striped shirt is visible 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

Sequence 155 from 1:24:25

Sequence 156 from 1:24:26

Frame at 1:24:28, shot 8551:24:28
1 of 1 shots sampled

309. Other

1:24:26–1:24:30 Machine checks passed (partial)

Model synopsis: A shadowy figure holds a large blade in a dimly lit interior space. No dialogue or on-screen text is present in this beat.

  • A shadowy figure holds a large blade. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 157 from 1:24:30

Frame at 1:24:30, shot 8561:24:30
1 of 1 shots sampled

310. Bedroom

1:24:30–1:24:31 Machine checks passed

Model synopsis: A person in a nightgown stands in a dimly lit room, raising their hands to their head. The room contains a vanity with bottles and a patterned rug.

1 person observed.

Evidence, details and a link to share

Sequence 158 from 1:24:31

Frame at 1:24:32, shot 8571:24:32
1 of 1 shots sampled

311. Interior

1:24:31–1:24:33 Machine checks passed

Model synopsis: A single frame shows a person lying on a wooden floor in deep shadow, illuminated by a sliver of light. No dialogue or on-screen text is present.

1 person observed.

Evidence, details and a link to share

Frame at 1:24:33, shot 8581:24:33Frame at 1:24:35, shot 8591:24:35
2 of 2 shots sampled

312. Other

1:24:33–1:24:35 Machine checks passed (partial)

Model synopsis: A woman in a light dress is visible in a dark, cluttered interior, raising her arms. A second frame shows a close-up of a person lying down in darkness, partially obscured.

  • A woman raises her arms above her head. [frame:1]
  • A person is seen lying down in a dark space. [frame:2]

2 people observed.

Evidence, details and a link to share

Frame at 1:24:36, shot 8601:24:36
1 of 1 shots sampled

313. Other

1:24:35–1:24:36 Machine checks passed

Model synopsis: A person in a light-colored dress raises their arms above their head in a dimly lit interior space with wooden beams overhead. No spoken dialogue or on-screen text is present in this beat.

  • A person raises both arms above their head. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 159 from 1:24:36

Frame at 1:24:38, shot 8611:24:38
1 of 1 shots sampled

314. Other

1:24:36–1:24:39 Machine checks passed (partial)

Model synopsis: A person is visible in a dark, confined space with their mouth open in a scream. No dialogue or on-screen text is present in this beat.

  • A person is screaming with mouth wide open in a dark space. [frame:1]

1 person observed.

Evidence, details and a link to share

Frame at 1:24:40, shot 8621:24:40
1 of 1 shots sampled

315. Other

1:24:39–1:24:40 Machine checks passed

Model synopsis: A person's hands are visible in a dark, low-angle shot, holding an object against a rough wall. No dialogue or on-screen text is present.

1 person observed.

Evidence, details and a link to share

Sequence 160 from 1:24:40

Frame at 1:24:41, shot 8631:24:41
1 of 1 shots sampled

316. Interior

1:24:40–1:24:42 Machine checks passed

Model synopsis: A single frame from a black-and-white film shows a close-up of a person's head and shoulder in shadow, with bright light from a window or doorway behind them. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 161 from 1:24:42

Frame at 1:24:44, shot 8641:24:44
1 of 1 shots sampled

317. Beat 317

1:24:42–1:24:45 Machine checks passed

Model synopsis: A close-up shot shows a person's face tilted upward, mouth open, with dark liquid dripping from the chin. No location, time, or named individuals are identifiable from this single frame.

1 person observed.

Evidence, details and a link to share

Frame at 1:24:46, shot 8651:24:46Frame at 1:24:56, shot 8671:24:56Frame at 1:25:00, shot 8681:25:00Frame at 1:25:10, shot 8701:25:10
4 of 6 shots sampled

318. Interior

1:24:45–1:25:14 Machine checks passed (partial)

Model synopsis: A person is shown in distress in a dark interior, screaming and struggling as a shadowy figure approaches. The transcript contains repeated exclamations of 'No!' and a command to 'Get out!'

  • A person is screaming and struggling in a dark space. [frame:1]
  • A shadowy figure is seen moving toward the struggling person. [frame:3]
  • The person is shown in close-up, screaming with hands raised in defense or fear. [frame:4]

2 people observed.

“No! No! No! No! No! No! No! No! No! Get out!” 84:46

Evidence, details and a link to share

Frame at 1:25:18, shot 8711:25:18Frame at 1:25:23, shot 8721:25:23Frame at 1:25:27, shot 8731:25:27
3 of 3 shots sampled

319. Private office

1:25:14–1:25:30 Machine checks passed (partial)

Model synopsis: A person is shown screaming and being grabbed in a dark interior. The transcript includes cries for help and a child calling out to 'Daddy'.

  • A person is grabbed from behind in darkness. [frame:1]
  • A man looks up in terror as a gloved hand reaches toward him. [frame:2]
  • A child screams with mouth wide open. [frame:3]

Named: Daddy (t:85:16). 2 people observed.

“No! No! Daddy! No! No! No! Oh, help me! Help me! Oh, help me!” 85:16

Evidence, details and a link to share

Sequence 162 from 1:25:30

Frame at 1:25:31, shot 8741:25:31
1 of 1 shots sampled

320. Other

1:25:30–1:25:32 Machine checks passed

Model synopsis: A person in light clothing is pressed against a wooden structure in a dim, grainy black-and-white frame. No dialogue or on-screen text is present, and the setting is indistinct.

1 person observed.

Evidence, details and a link to share

Sequence 163 from 1:25:32

Frame at 1:25:34, shot 8751:25:34
1 of 1 shots sampled

321. Other

1:25:32–1:25:35 Machine checks passed

Model synopsis: A close-up shows two figures in a dark interior; one with light hair is seen from behind, while the other, with dark hair and a pale face, looks toward the camera. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Sequence 164 from 1:25:35

Frame at 1:25:36, shot 8761:25:36
1 of 1 shots sampled

322. Beat 322

1:25:35–1:25:36 Machine checks passed

Model synopsis: A close-up of a man's face in profile, showing his eye and ear, with a dark beard visible. The image is grainy and in black and white, with no background details or text visible.

1 person observed.

Evidence, details and a link to share

Frame at 1:25:40, shot 8771:25:40Frame at 1:25:46, shot 8781:25:46
2 of 2 shots sampled

323. Other

1:25:36–1:25:48 Machine checks passed

Model synopsis: Two frames show a person in a dark, confined space, with hands visible near their face or neck. No location, time, or named individuals can be identified from the visuals or transcript.

1 person observed.

Evidence, details and a link to share

Frame at 1:25:50, shot 8791:25:50
1 of 1 shots sampled

324. Other

1:25:48–1:25:51 Machine checks passed

Model synopsis: A person is visible in a dark, low-angle shot with motion blur. No dialogue or on-screen text is present in this beat.

  • A person is seen in motion, possibly falling or being pushed, in a dark setting. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 165 from 1:25:51

Frame at 1:25:53, shot 8801:25:53
1 of 1 shots sampled

325. Other

1:25:51–1:25:54 Machine checks passed

Model synopsis: A man peers from behind a vertical structure in a dark, confined space. The shot is a close-up with high-contrast lighting and no visible text or dialogue.

1 person observed.

Evidence, details and a link to share

Sequence 166 from 1:25:54

Sequence 167 from 1:25:59

Frame at 1:26:01, shot 8821:26:01
1 of 1 shots sampled

327. Beat 327

1:25:59–1:26:02 Machine checks passed

Model synopsis: A person is visible in a close-up, partially obscured, with another person's face partially visible to the right. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Frame at 1:26:03, shot 8831:26:03
1 of 1 shots sampled

328. Other

1:26:02–1:26:04 Machine checks passed

Model synopsis: A person with disheveled hair is visible in a close-up, holding or embracing another figure in a dimly lit interior. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Sequence 168 from 1:26:04

Frame at 1:26:05, shot 8841:26:05
1 of 1 shots sampled

329. Living room

1:26:04–1:26:06 Machine checks passed (partial)

Model synopsis: A person in a light shirt is seen from behind, moving quickly through a dimly lit interior room with a doorway and a dresser visible. No dialogue or on-screen text is present in this beat.

  • A person in a light shirt moves rapidly through a dim room toward a doorway. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 169 from 1:26:06

Frame at 1:26:06, shot 8851:26:06
1 of 1 shots sampled

330. Beat 330

1:26:06–1:26:07 Machine checks passed

Model synopsis: A single dark, grainy frame shows a close-up of a person's lower face and chin, partially obscured by shadow. No dialogue or clear setting is visible.

1 person observed.

Evidence, details and a link to share

Sequence 170 from 1:26:07

Frame at 1:26:08, shot 8861:26:08
1 of 1 shots sampled

331. Other

1:26:07–1:26:09 Machine checks passed (partial)

Model synopsis: A person in a white shirt is seen from behind, moving toward a bright light source in a dark space. No dialogue or on-screen text is present in this beat.

  • A person in a white shirt walks away from the camera toward a bright light. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 171 from 1:26:09

Frame at 1:26:09, shot 8871:26:09
1 of 1 shots sampled

332. Beat 332

1:26:09–1:26:10 Machine checks passed

Model synopsis: A single dark frame shows a blurry, indistinct figure in motion against a black background. No dialogue or clear setting is visible.

1 person observed.

Evidence, details and a link to share

Frame at 1:26:15, shot 8881:26:15Frame at 1:26:41, shot 8911:26:41Frame at 1:26:53, shot 8931:26:53Frame at 1:27:17, shot 8961:27:17
4 of 9 shots sampled

333. Private office

1:26:10–1:27:18 Machine checks passed (partial)

Model synopsis: A person climbs through a window into a dark room where others are gathered; another person stands in a doorway holding a tool. The transcript contains repeated urging phrases.

  • A person climbs through a window into a dark room. [frame:1]
  • A group of people are gathered in a dimly lit room. [frame:3]
  • A person stands in a doorway holding a tool. [frame:4]

3 people observed.

“Come on.” 86:16 · “Come on.” 86:46

Evidence, details and a link to share

Frame at 1:27:19, shot 8971:27:19Frame at 1:27:22, shot 8981:27:22Frame at 1:27:25, shot 8991:27:25Frame at 1:27:28, shot 9001:27:28
4 of 4 shots sampled

334. Other

1:27:18–1:27:29 Machine checks passed (partial)

Model synopsis: A man lies on the ground in a dark, confined space, appearing injured or deceased. Another man stands nearby, looking down, in a dimly lit environment with minimal visible objects.

  • A man lies on the ground, motionless, with visible injuries on his face. [frame:1]
  • A man stands in a dark space, looking downward, illuminated by a narrow light source. [frame:2]
  • A man lies on the ground near a wall with tools hanging on it, in a dimly lit room. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

Evidence, details and a link to share

Frame at 1:27:46, shot 9031:27:46Frame at 1:27:55, shot 9051:27:55Frame at 1:28:00, shot 9081:28:00Frame at 1:28:06, shot 9101:28:06
4 of 8 shots sampled

336. Private office

1:27:41–1:28:08 Machine checks passed (partial)

Model synopsis: A man in a white shirt is shown in close-up, followed by a shot of a woman's face with dark streaks, then a bearded man. The transcript contains the line 'Come on.'

  • A man in a white shirt is shown in profile. [frame:1]
  • The man is shown holding a telephone receiver to his ear. [frame:2]
  • A woman's face is shown with dark streaks running down it. [frame:3]
  • 1 more under Evidence and details.

3 people observed.

“Come on.” 87:46

Evidence, details and a link to share

Sequence 172 from 1:28:08

Sequence 173 from 1:28:41

Frame at 1:28:51, shot 9121:28:51
1 of 1 shots sampled

338. Other

1:28:41–1:29:01 Machine checks passed

Model synopsis: A group of figures is gathered in a dimly lit interior space, with one person visible from behind wearing light-colored pants. No dialogue or on-screen text is present in this beat.

3 people observed.

Evidence, details and a link to share

Sequence 174 from 1:29:01

Frame at 1:29:09, shot 9141:29:09
1 of 1 shots sampled

340. Forest

1:29:06–1:29:13 Machine checks passed

Model synopsis: A single frame shows silhouetted bare tree branches against a pale sky. No people, objects, or text are visible, and no transcript is provided for this beat.

Evidence, details and a link to share

Sequence 175 from 1:29:13

Frame at 1:29:18, shot 9151:29:18
1 of 1 shots sampled

341. Forest

1:29:13–1:29:24 Machine checks passed (partial)

Model synopsis: A helicopter flies over a treeline under an overcast sky. No people, dialogue, or on-screen text are visible in the single frame.

  • A helicopter is flying in the sky. [frame:1]

Evidence, details and a link to share

Sequence 176 from 1:29:24

Frame at 1:29:27, shot 9161:29:27
1 of 1 shots sampled

342. Field

1:29:24–1:29:30 Machine checks passed (partial)

Model synopsis: A group of figures moves across an open, barren field. The scene is shot from a high angle and appears grainy and monochrome.

  • multiple figures walk across a field [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 177 from 1:29:30

Frame at 1:29:32, shot 9171:29:32Frame at 1:29:44, shot 9181:29:44Frame at 1:29:58, shot 9191:29:58
3 of 3 shots sampled

343. Field

1:29:30–1:30:02 Machine checks passed (partial)

Model synopsis: Three men walk across a field carrying rifles; a helicopter flies low over the same field; a police car is parked on a bridge with officers nearby. No names are established for the individuals by the transcript or visuals.

  • Three men walk across a field carrying rifles. [frame:1]
  • A helicopter flies low over a field. [frame:2]
  • A police car is parked on a bridge with officers nearby. [frame:3]

5 people observed.

“Hey, Ben, Sal.” 89:33

Evidence, details and a link to share

Frame at 1:30:03, shot 9201:30:03Frame at 1:30:07, shot 9211:30:07Frame at 1:30:25, shot 9221:30:25Frame at 1:30:43, shot 9231:30:43
4 of 4 shots sampled

344. Sidewalk

1:30:02–1:30:46 Machine checks passed (partial)

Model synopsis: A group of men, including one in a suit and another in a hat, are outdoors near a vehicle, discussing a plan to check a house and meet the National Guard. One man reacts with alarm as they prepare to enter a building.

  • A man in a light jacket drinks from a cup while standing near a vehicle. [frame:1]
  • A man in a dark suit gestures while speaking near a vehicle. [frame:2]
  • Three men stand outdoors, one drinking, one speaking, one listening. [frame:3]
  • 1 more under Evidence and details.

Named: Steve (t:90:28). 4 people observed.

“Four or five men and a couple of dogs. There's a house over here behind those trees. We want to go check it out.” 90:03 · “Yeah, Chief. We're going to stay with it until we meet up with the National Guard. Where'd you get the coffee? One of the volunteers. You'…” 90:09

Evidence, details and a link to share

Sequence 178 from 1:30:46

Frame at 1:30:51, shot 9241:30:51
1 of 1 shots sampled

345. Field

1:30:46–1:30:55 Machine checks passed (partial)

Model synopsis: A person in dark trousers and a light shirt walks across a grassy field while another man in a suit and hat stands in the background. The scene is outdoors with trees visible on the horizon.

  • A person walks across a grassy field. [frame:1]
  • A man in a suit and hat stands in the background. [frame:1]

2 people observed.

Evidence, details and a link to share

Sequence 179 from 1:30:55

Frame at 1:31:06, shot 9251:31:06Frame at 1:31:18, shot 9261:31:18
2 of 2 shots sampled

346. Field

1:30:55–1:31:19 Machine checks passed (partial)

Model synopsis: A man in a light shirt is seen in a close-up indoors, followed by an outdoor shot of a dog lying on grass near a person's legs. The transcript mentions needing men to check a house and references a cookout near a barn.

  • A man in a light shirt is shown in a close-up indoors. [frame:1]
  • A dog lies on grass near a person's legs outdoors. [frame:2]

2 people observed.

“They need you down there by the barn. Okay. I'm going to need a few men to check out the house. Somebody had a cook out here, Vince.” 91:10

Evidence, details and a link to share

Sequence 180 from 1:31:19

Frame at 1:31:21, shot 9271:31:21Frame at 1:31:24, shot 9281:31:24Frame at 1:31:39, shot 9301:31:39Frame at 1:31:53, shot 9311:31:53
4 of 5 shots sampled

347. Field

1:31:19–1:31:56 Machine checks passed (partial)

Model synopsis: A man in a white shirt stands in a field as armed men approach; others gather near vehicles. One man is addressed as Tom in the transcript.

  • A man in a white shirt stands in a field. [frame:1]
  • Armed men, including one in uniform, point weapons forward. [frame:2]
  • Men gather near a car; one holds a rifle. [frame:3]
  • 1 more under Evidence and details.

Named: Tom (t:91:39). 5 people observed.

“Yeah, sure looks like it, Tom.” 91:39 · “All right.” 91:47

Evidence, details and a link to share

Sequence 181 from 1:31:56

Frame at 1:31:58, shot 9321:31:58
1 of 1 shots sampled

348. Private office

1:31:56–1:32:00 Machine checks passed

Model synopsis: A close-up shot shows a man with dark curly hair in shadow, his face partially lit from the side. No dialogue or action is visible in this single frame.

1 person observed.

Evidence, details and a link to share

Sequence 182 from 1:32:00

Frame at 1:32:03, shot 9331:32:03
1 of 1 shots sampled

349. Other

1:32:00–1:32:05 Machine checks passed

Model synopsis: A person is visible in a dimly lit interior, leaning forward near a bright rectangular surface. No names, events, or objects beyond the immediate frame are established.

1 person observed.

Evidence, details and a link to share

Sequence 183 from 1:32:05

Frame at 1:32:07, shot 9341:32:07
1 of 1 shots sampled

350. Field

1:32:05–1:32:09 Machine checks passed (partial)

Model synopsis: Two men walk across a grassy field toward a distant figure; one carries a rifle. The scene is outdoors in daylight with trees and a pole visible in the background.

  • Two men walk across a field toward a distant figure. [frame:1]

3 people observed.

Evidence, details and a link to share

Sequence 184 from 1:32:09

Frame at 1:32:11, shot 9351:32:11
1 of 1 shots sampled

351. Forest

1:32:09–1:32:12 Machine checks passed (partial)

Model synopsis: A person in a hat and vest stands outdoors near a wooden structure, aiming a rifle toward a wooded area. No dialogue or on-screen text is present in this beat.

  • A person aims a rifle toward a wooded area. [frame:1]

1 person observed.

Evidence, details and a link to share

Frame at 1:32:14, shot 9361:32:14Frame at 1:32:21, shot 9371:32:21Frame at 1:32:34, shot 9381:32:34Frame at 1:32:46, shot 9391:32:46
4 of 4 shots sampled

352. Field

1:32:12–1:32:51 Machine checks passed (partial)

Model synopsis: A group of people is outside near trees and a field, with one person being told to build a bonfire; another scene shows a person inside a room with a bed and a framed picture on the wall. No names are spoken that can be linked to specific individuals in the frames.

  • A group of people is gathered outside near trees and a field. [frame:1]
  • A person is seen climbing or moving inside a structure with wooden beams. [frame:2]
  • A group of people, including one holding a rifle, walks along a path near trees. [frame:3]
  • 1 more under Evidence and details.

3 people observed.

“Easy, Dezlin, get up here!” 92:19 · “Steve, you want to get out in that field and build me a bonfire?” 92:24

Evidence, details and a link to share

Sequence 185 from 1:32:51

Sequence 186 from 1:32:53

Frame at 1:32:58, shot 9411:32:58Frame at 1:33:05, shot 9421:33:05
2 of 2 shots sampled

354. Forest

1:32:53–1:33:06 Machine checks passed (partial)

Model synopsis: A man in a hat and bandolier gives an order to shoot, and after the shot, the group confirms the target is dead and plans to dispose of the body. A broken window is visible in a separate shot.

  • A broken window is visible. [frame:2]

Named: Vince (t:92:54). 3 people observed.

“All right, Vince. Hit him in the head. Right between the eyes.” 92:54 · “Good shot.” 93:00

Evidence, details and a link to share

Frame at 1:33:07, shot 9431:33:07Frame at 1:33:12, shot 9451:33:12Frame at 1:33:21, shot 9471:33:21Frame at 1:33:35, shot 9491:33:35
4 of 7 shots sampled

355. Living room

1:33:06–1:33:39 Machine checks passed (partial)

Model synopsis: A man is shown in close-up, followed by a view of a room with a piano and a body on the floor. A group of figures is seen in a dark space, and a final frame shows a dark scene with a bright diagonal line. The transcript includes commands to keep dogs away from unspecified things.

  • A man is shown in close-up, looking downward. [frame:1]
  • A room with a piano and a body lying on the floor is shown. [frame:2]
  • Several figures are visible in a dark, crowded space. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“All right.” 93:06 · “Keep those dogs back off of those things.” 93:36

Evidence, details and a link to share

Sequence 187 from 1:33:39

Frame at 1:33:49, shot 9501:33:49
1 of 1 shots sampled

356. Other

1:33:39–1:33:59 Machine checks passed

Model synopsis: A person lies on the ground with boots standing over them; no dialogue or on-screen text is present. The scene is shot in black and white with a low-angle view focused on the ground.

2 people observed.

Evidence, details and a link to share

Sequence 188 from 1:33:59

Frame at 1:33:59, shot 9511:33:59
1 of 1 shots sampled

357. Other

1:33:59–1:34:00 Machine checks passed

Model synopsis: A person is shown in a dark, grainy frame holding a long, thin object. No dialogue or on-screen text is present, and the setting is indistinct.

  • A person holds a long, thin object in a dark setting. [frame:1]

1 person observed.

Evidence, details and a link to share

Frame at 1:34:01, shot 9521:34:01
1 of 1 shots sampled

358. Other

1:34:00–1:34:01 Machine checks passed

Model synopsis: A person in a button-up shirt is visible in a dimly lit interior, raising one arm. No dialogue or on-screen text is present in this beat.

  • A person raises their right arm. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 189 from 1:34:01

Frame at 1:34:33, shot 9531:34:33
1 of 1 shots sampled

359. Other

1:34:01–1:35:05 Machine checks passed

Model synopsis: A credit sequence is shown with names of cast and crew. A voice directs someone named Randy to light torches while mentioning movement with a motorcycle and passing away.

Named: Randy (t:94:48). 2 people observed.

“Come in ahead with the motorcycle, please. Let's go, back there. Pass away.” 94:36 · “Hey, Randy, light these torches over here. We're in the back.” 94:48

Evidence, details and a link to share

Sequence 190 from 1:35:05

Frame at 1:35:06, shot 9541:35:06Frame at 1:35:14, shot 9551:35:14
2 of 2 shots sampled

360. Field

1:35:05–1:35:21 Machine checks passed (partial)

Model synopsis: The scene shows a vehicle engulfed in flames and smoke, with debris scattered around it. No people are visible or audible in the provided frames or transcript.

  • A vehicle is on fire, emitting smoke and surrounded by debris. [frame:1]
  • The fire continues to burn intensely, with smoke billowing upward. [frame:2]

Evidence, details and a link to share

Sequence 191 from 1:35:21

Frame at 1:35:26, shot 9561:35:26
1 of 1 shots sampled

361. Beat 361

1:35:21–1:35:31 Machine checks passed (partial)

Model synopsis: The final beat of the film displays the text 'The END' on a black background. No people, actions, or objects are visible beyond this text.

  • The END text appears on screen. [frame:1]

Evidence, details and a link to share

Transcript

Machine transcription of the Archive copy's audio with Whisper large-v3-turbo (temperature 0); the model heard it as en. 738 segments kept, 228 dropped as the kind of hallucination the model produces over music and silence. Each timestamp links to the Archive's player at that second. This has not been checked against the film and can be wrong.

  1. 1:00 Oh, my God.
  2. 1:41 I'm going to go.
  3. 2:05 Oh, my God.
  4. 2:14 They ought to make the day the time changes, the first day of summer.
  5. 2:17 What? Well, it's 8 o'clock and it's still light.
  6. 2:20 What a good the extra daylight does us.
  7. 2:23 Now, we've still got a three-hour drive back. We're not going to be home until after midnight. Well, if it really bugged you, Johnny, you wouldn't do it.
  8. 2:30 You think I want to blow Sunday on a scene like this? You know, I figure we're either going to have to move Mother out here or move the grave into Pittsburgh. She can't make a trip like this.
  9. 2:39 Oh, you know that she can't. She's already had candy left.
  10. 2:44 No. Look at this thing. We still remember.
  11. 2:48 I don't.
  12. 2:49 You know, I don't even remember what the man looks like.
  13. 2:52 Johnny, it takes you five minutes...
  14. 2:54 Yeah, five minutes to put the wreath on the grave and six hours to drive back and forth. Mother wants to remember, so we trot 200 miles into the country and she stays at home. Well, we're here, John, all right?
  15. 3:12 Ladies and gentlemen... Hey, we...
  16. 3:14 We're coming back on the air after an interruption due to technical problems.
  17. 3:30 Nothing wrong with the radio. It must have been a station. Which row is it in?
  18. 3:56 Well, there's no one around. Well, it's late. You've gotten up earlier. Oh, look, I already lost an hour's sleep on the time change. I think you complained just to hear yourself talk.
  19. 4:06 Come on.
  20. 4:07 There it is.
718 more segments
  1. 4:24 I wonder what happened to the one from last year.
  2. 4:28 Each year we spend good money on these things.
  3. 4:30 We come out here and the one from last year is gone.
  4. 4:33 Well, the flowers die and...
  5. 4:35 The caretaker or somebody takes them away.
  6. 4:38 Yeah, a little spit and polish. You can clean this up. Sell it next year.
  7. 4:43 Wonder how many times we bought the same one.
  8. 4:50 Hey, come on, Barb. Church was this morning, huh?
  9. 5:14 Hey.
  10. 5:23 Hey, I mean, praying's for church, huh? Come on. I haven't seen you in church lately. Well, there's not much sense in my going to church.
  11. 5:36 Do you remember one time when we were small, we were out here?
  12. 5:40 It was from right over there.
  13. 5:42 I jumped out at you from behind the tree, and Grandpa got all excited, and he shook his fist at me, and he said, Boys, you'll be damned to hell!
  14. 5:49 Heh. Remember that? Right over there. Well, you used to really be scared here. Johnny!
  15. 5:57 You're still afraid.
  16. 5:59 Stop it now, I mean it.
  17. 6:05 They're coming to get you, Barbara.
  18. 6:08 Stop it!
  19. 6:09 You're ignorant. They're coming for you, Barbara.
  20. 6:14 Stop it. You're acting like a child. Look, they're coming for you. Look, there comes one of them now.
  21. 6:22 He'll hear you. Here he comes now. I'm getting out of here. Johnny.
  22. 6:33 Oh, no.
  23. 6:36 Oh, Johnny. Help me.
  24. 6:43 Come on.
  25. 7:34 Come on.
  26. 8:04 Oh, my God.
  27. 10:12 Oh, my God.
  28. 12:09 I'm going to go.
  29. 13:11 No!
  30. 13:41 Shit.
  31. 13:48 It's all right.
  32. 13:53 Don't worry about him, I can handle him. There'll probably be a lot more of them as soon as they find out about us.
  33. 14:02 Truck is out of gas.
  34. 14:03 This clump out here is locked. Is there a key?
  35. 14:07 We can try to get out of here if we can get some gas. Is there a key?
  36. 14:12 I'm going to go.
  37. 14:20 I suppose you've tried this.
  38. 14:30 Do you live here?
  39. 14:46 Jesus.
  40. 14:56 We've got to get out of here.
  41. 14:59 We have to get with us some other people.
  42. 15:01 I'm going to go.
  43. 15:04 Maybe we'd better take some food.
  44. 15:07 I'll see if I can find some food.
  45. 15:53 What's happening?
  46. 15:55 How do you think it's happening? What's happening?
  47. 16:00 I'm sorry.
  48. 16:12 Two of them.
  49. 16:17 There are two of them out there. Have you seen any more around here? I can take care of those two.
  50. 16:23 I know you're afraid, but we have to... I don't know! I don't know! What's happening?
  51. 16:53 Oh!
  52. 17:23 Oh, my God.
  53. 17:53 Oh, my God.
  54. 18:23 Oh, my God.
  55. 18:48 Come on.
  56. 18:49 I know we're in here now.
  57. 18:51 Don't look at it.
  58. 19:15 I'm going to go.
  59. 19:18 Amen.
  60. 19:27 Oh.
  61. 19:31 I'm sorry.
  62. 20:00 *thud*
  63. 20:15 Get some more lights on in this house.
  64. 20:37 I
  65. 20:39 I'm going to go.
  66. 20:41 I'm going to go.
  67. 20:52 Why don't you see if you can find some wood, some boards, something about a fireplace, something we can nail this place up.
  68. 21:01 Look out, Doc.
  69. 21:05 Look.
  70. 21:07 I know you're afraid.
  71. 21:09 I'm afraid to.
  72. 21:11 but we have to try to board the house up together.
  73. 21:14 Now, I'm going to board up the windows and the doors.
  74. 21:16 Do you understand?
  75. 21:17 We'll be all right here.
  76. 21:19 We'll be all right here until someone comes to rescue us.
  77. 21:21 But we'll have to work together. You'll have to help me. Now I want you to go in and get some wood so I can board the place up. Do you understand?
  78. 21:28 Okay?
  79. 21:30 Okay?
  80. 22:44 Come on.
  81. 23:14 I'm here.
  82. 23:19 Come on.
  83. 24:07 That's not that strong.
  84. 24:09 I want you to pick out some nails. Pick out the biggest ones you can find.
  85. 24:18 This room looks pretty secure.
  86. 24:22 If we have to, we can run in here and board up the doors.
  87. 24:28 It will be long for those days to be back pounding their way in here. They're afraid now.
  88. 24:33 I'm going to go.
  89. 24:37 They're afraid of fire. I found that out.
  90. 24:43 *knock*
  91. 24:45 I'm going to go.
  92. 24:52 You know a place back down the road called Beatman's?
  93. 24:54 Speakman's diet.
  94. 24:56 I'm going to go.
  95. 25:02 Anyhow, that's where I found that truck I have out there.
  96. 25:07 There's a radio in the truck.
  97. 25:11 I jumped in to listen to it.
  98. 25:14 When a big gasoline truck came screaming right across the road.
  99. 25:18 But there must have been...
  100. 25:19 10, 15 of those things chasing after it.
  101. 25:23 grabbing and holding on.
  102. 25:27 I didn't see them at first.
  103. 25:31 I could just see that the truck was moving in a funny way.
  104. 25:35 Those things were catching up to us.
  105. 25:42 Right across the road.
  106. 25:45 Slammed down my bricks to keep from hitting it myself.
  107. 25:48 It went right through the guardrail.
  108. 25:54 I guess...
  109. 25:57 Yes, the driver must have...
  110. 25:59 Cut off the road.
  111. 26:01 and to have gas stations by Beatman's diner.
  112. 26:05 It went right through the billboard.
  113. 26:06 ripped over a gas pump and never stopped moving.
  114. 26:09 By now it's like a moving bonfire.
  115. 26:15 Didn't know if the truck was going to explode or what.
  116. 26:22 still his mask.
  117. 26:23 Screaming.
  118. 26:29 This thing is just...
  119. 26:30 backing away from it.
  120. 26:35 I looked back at the diner to see if
  121. 26:38 If there was anyone there who could help me,
  122. 26:43 This one I've noticed that
  123. 26:45 The entire place had been encircled.
  124. 26:50 wasn't a sign of light left.
  125. 26:51 Sit.
  126. 26:56 By now they're in the more screams.
  127. 27:01 I realized it.
  128. 27:04 I was alone.
  129. 27:06 50 or 60 of those things. Just...
  130. 27:10 Standing there.
  131. 27:12 staring at me
  132. 27:16 I...
  133. 27:16 I started to drive.
  134. 27:19 just plowed right through them.
  135. 27:22 They didn't move, they didn't run, or...
  136. 27:26 just stood there staring at me.
  137. 27:31 just wanted to crush them.
  138. 27:39 Scattered.
  139. 27:40 through the air, like,
  140. 27:41 bugs
  141. 27:43 We were riding in the cemetery.
  142. 27:48 Johnny and me.
  143. 27:51 Johnny.
  144. 27:58 We came to Puerto Rico.
  145. 28:00 on my father's grave
  146. 28:04 John.
  147. 28:06 And he said...
  148. 28:09 Can I have some candy?
  149. 28:11 Barbara.
  150. 28:15 And we didn't have any.
  151. 28:20 And...
  152. 28:24 Oh, it's hot in here. Hot.
  153. 28:29 Ugh.
  154. 28:34 Eh?
  155. 28:36 And he said, "Oh, it's late."
  156. 28:39 Why did we start so late?
  157. 28:41 And I said, Johnny, if you'd gotten up earlier...
  158. 28:46 We wouldn't be late.
  159. 28:50 Johnny asked me if I were afraid.
  160. 28:53 And I said,
  161. 28:54 I'm not afraid, Johnny.
  162. 28:58 And then...
  163. 28:59 This man started walking up the road.
  164. 29:03 He came...
  165. 29:04 Slowly.
  166. 29:05 And Johnny kept teasing me and saying, he's coming to get you, Barbara. Barbara.
  167. 29:11 And I laughed at him and said, Johnny, stop it
  168. 29:14 And then...
  169. 29:16 Johnny ran away.
  170. 29:18 And I... I went up to this man.
  171. 29:21 And I was going to apologize.
  172. 29:24 Why don't you just keep calm?
  173. 29:26 And I looked up.
  174. 29:28 And I said,
  175. 29:31 And he grabbed me!
  176. 29:34 He grabbed me!
  177. 29:36 And he ripped at me!
  178. 29:39 He held me and he ripped at my clothes. I think he's just calmed down.
  179. 29:44 Oh, I screamed, Johnny! Johnny, help me! Oh, help me!
  180. 29:50 Anyone let me go, you rip.
  181. 29:55 And then Johnny came and he ran and he fought this man.
  182. 30:01 Ella!
  183. 30:02 I got so afraid I ran back.
  184. 30:05 I ran...
  185. 30:06 I'm rather...
  186. 30:09 Huh.
  187. 30:11 Angelic didn't come.
  188. 30:14 We've got...
  189. 30:16 We had to wait for Johnny.
  190. 30:22 Oh, my God.
  191. 30:24 We'd better go out and get him.
  192. 30:27 We have to go out and get Johnny.
  193. 30:30 He's out there.
  194. 30:33 Please, don't you hear me? We've got to go out and get him.
  195. 30:37 Please! We have got to go get Johnny's!
  196. 30:42 Please help me! Please!
  197. 30:46 Don't you know what's going on out there? This is no Sunday school picnic. Don't you understand? My brother is alone!
  198. 30:52 Your brother is dead. No!
  199. 30:54 My mother is not dead!
  200. 30:59 Ha!
  201. 31:00 Oh!
  202. 31:01 Oh!
  203. 31:04 Oh.
  204. 31:06 I'm going to go.
  205. 31:49 Because of the obvious threat to untold numbers of citizens, and because of the crisis which is even now developing,
  206. 31:56 This radio station will remain on the air day and night.
  207. 31:59 This station and hundreds of other radio and TV stations throughout this part of the country are pooling their resources through an emergency network hookup
  208. 32:06 to keep you informed of all developments. At this hour, we repeat...
  209. 32:10 These are the facts as we know. There is an epidemic of mass murder being committed by a virtual army of unidentified assassins.
  210. 32:17 The murders are taking place in villages, cities, rural homes,
  211. 32:21 and suburbs with no apparent pattern or reason for the slayings.
  212. 32:25 It seems to be a sudden general explosion of mass homicide.
  213. 32:28 We have some descriptions of the assassins.
  214. 32:31 Eyewitnesses say they are ordinary looking people. Some say they appear to be in a kind of trance.
  215. 32:36 Others describe them as being...
  216. 32:39 So, at this point, there is no really authentic way for us to say who or what to look for and guard yourself against. Misshapen monsters. Reaction of law enforcement officials is one of complete bewilderment at this hour. So far, we have been unable to determine that any kind of organized investigation is yet underway.
  217. 33:09 The only advice our reporters have been able to get from official sources is for private citizens to stay in their homes behind locked doors.
  218. 33:39 course of action to take. Keep listening to radio and TV for any special instructions as this crisis develops further.
  219. 33:47 Thousands of office and factory workers are being urged to stay at their places of employment.
  220. 33:52 not to make any attempt to get to their homes.
  221. 33:55 However, in spite of this urging and warning, streets and highways are packed with friendly people trying to hurt their families or apparently to flee just anywhere. I repeat, the safest course of action at this time is simply to stay where you are.
  222. 34:25 Ladies and gentlemen, we've just received word that the president has called a meeting of his cabinet to deal with the sudden epidemic of murder which has seized the eastern third of the state. The meeting is scheduled to convene within the hour. Members of the presidential cabinet will be joined by officials of the FBI and joined by officials behind closed doors. The White House spokesman, in announcing this conference, says there will be an official announcement as soon as possible following that meeting.
  223. 34:53 This is the latest dispatch...
  224. 34:54 just received in our newsroom.
  225. 34:56 Latest word also from National Press Services in Washington, D.C.
  226. 35:00 now tells us that the emergency presidential conference which we've just mentioned...
  227. 35:04 will include high-ranking scientists from the National Aeronautics and Space Administration.
  228. 35:34 indoors at all costs. Late reports reaching this newsroom tell of frightened people seeking refuge in churches, schools, and government buildings, demanding shelter and protection from the wholesale murder which apparently is engulfing much of the nation.
  229. 36:04 We tell the people, for God's sake, to get off the street. We tell them to go home and lock their doors and windows untighted. We don't know what kind of murder-happy characters we have here. And we'll be cheap to work on here to be brought here on. So far, the only descriptions and the only conclusions anyone has of the killers come to frighten the witness of some of the stands. These eyewitness accounts very often describe the murderers as ordinary-looking people, missing people, monsters, people who look like they're in a trance.
  230. 36:34 And they look like people but act like animals. Some language tells these victims who look as though they had been torn apart. This whole ghastly story began developing two days ago with a report of the slaying of a family of seven in their rural home near California. As it met, the reports of some of the skittings began snowballing in a reign of terror which has months come.
  231. 37:04 the placing of the markers on the map seem to indicate a general spreading from the extreme southeastern United States from the north and west. Our news vans have been on the telephone talking with officials of other cities and determined that none of this kind of mass murder has yet been reported blasted the Mississippi River except in the extreme south eastern portion of Texas. Similar killings have been reported around the Houston and Galveston areas, but nothing like the... I found a gun and some bullets out there.
  232. 37:32 It was only late yesterday. Oh, and these...
  233. 37:35 clear we were facing some kind of national emergency.
  234. 37:39 When first reports began filtering in,
  235. 37:41 Newsmen and law enforcement agencies.
  236. 37:43 This place is boarded up pretty solid now.
  237. 37:46 We ought to be all right here for a while. We had a gun and bullets.
  238. 37:53 food and radio?
  239. 37:57 Sooner later someone...
  240. 37:58 Bound to come and get us out.
  241. 38:00 proud of
  242. 38:01 So again, we join with law enforcement agencies
  243. 38:05 encouraging you to seek shelter in a building.
  244. 38:07 doors and
  245. 38:08 Hey, that's us. We do all right.
  246. 38:10 any suspicious strangers.
  247. 38:12 And keep tuned.
  248. 38:13 your radio and television for survival instructions.
  249. 38:16 and further details of this continuing story.
  250. 38:18 Look, I don't know if you're hearing me.
  251. 38:20 in the afternoon.
  252. 38:21 I'm going upstairs now.
  253. 38:23 Almost.
  254. 38:23 or something
  255. 38:25 If anything's just trying to break in here, I can hear it from up there, and I'll be down to take care of it.
  256. 38:30 Everything is all right for now. I'll be back to reinforce the windows and doors later.
  257. 38:36 But you'll be all right for now, okay?
  258. 38:41 Okay.
  259. 38:45 Civil defense officials in Cumberland have told newsmen that murder victims
  260. 38:49 show evidence of having been...
  261. 38:51 partially devoured.
  262. 39:21 Consistent reports from witnesses to the effect that people who acted as though they were in a kind of trance...
  263. 39:34 were killing and eating their victims
  264. 39:36 prompted authorities to examine the bodies of some of the victims.
  265. 39:39 Medical authorities in Cumberland have concluded that in all cases...
  266. 39:43 The killers...
  267. 39:44 are eating the flesh of the people they murdered.
  268. 39:48 Repeating this latest bulletin just received moments ago from Cumberland, Maryland.
  269. 39:52 Civil defense authorities have told newsmen that murder victims show evidence of having been partially devoured by their murderers.
  270. 40:00 Medical examination of victims' bodies shows conclusively that the killers are eating the flesh of the people they kill. And so this incredible story becomes
  271. 40:10 More ghastly with each report. It's difficult to imagine such a thing actually happening, but these are the reports we have been receiving and passing on to you.
  272. 40:17 Reports which have been verified as completely as is possible in this confused situation.
  273. 40:22 It is happening.
  274. 40:24 and it would appear that no one is safe from this wave of masks. No!
  275. 40:35 Don't shoot me!
  276. 40:37 We're from town. A radio. ...County, Pennsylvania, the Butler County Sheriff is very... ...by their slayers is true...
  277. 40:45 No further details available at this time.
  278. 40:47 How long you guys been down there? I could've used some hell out here.
  279. 40:51 That's the cellar. It's the safest place.
  280. 40:53 You mean you didn't hear the racket we were making up here? How were we supposed to know what was going on? Could have been those things for all we knew. That girl was screaming. Sure you must know what a girl screaming sounds like. Those things don't make any noise. Anybody would know somebody ever needed help.
  281. 41:06 Look, it's kind of hard to hear what's going on from down there.
  282. 41:09 We thought we could hear screams, but for all we knew, that could have meant those things were in the house afterwards. And you wouldn't come up and help.
  283. 41:16 Well, if there were more... The racket sounded like the place was being ripped apart. How were we supposed to know what was going on?
  284. 41:21 Now wait a minute.
  285. 41:22 You just got finished saying you couldn't hear from down there. Now you say it's not like the place was being written apart. It would be nice if you get your story straight, man. All right, now you tell me.
  286. 41:33 I'm not gonna take that kind of a chance when we got a safe place.
  287. 41:36 We luck into a safe place, and you're telling us we've got to risk our lives just because somebody might need help, huh?
  288. 41:42 Yeah, something like that.
  289. 41:44 All right, why don't we settle this, Mr.
  290. 41:46 We came up. Okay, we're here.
  291. 41:49 Now I suggest we all go back downstairs before any of those things find out we're in here. We can't get in yet.
  292. 41:54 You got the whole place boarded up? Yeah, most of it. I'll be the three spots up there. They won't be hard to fix.
  293. 42:00 You're insane. The cellar's the safest place. I'm telling you, they can't get in here. And I'm telling you, those things turned over our car. We were damn lucky to get away at all. Now you tell me those things can't get through this lousy pile of wood?
  294. 42:15 His wife and kids down on stairs.
  295. 42:17 Kids hurt.
  296. 42:20 Well, I still think we're better off up here.
  297. 42:23 We could strengthen everything up, Mr. Cooper.
  298. 42:26 With all of us working, we can fix this place up in no time. We have everything we need up here. We can take all that stuff downstairs with us.
  299. 42:32 Man, you're really crazy, you know that? You got a million windows up here. All these windows, you're gonna, you're gonna make them strong enough to keep these things out, huh? I told you those things don't have any strength. I smashed three of them and pushed another one out the door. Did you hear me when I told you they turned over our car? Oh, hell, any good five men can do that. That's my point.
  300. 42:51 Only there's not going to be five or even ten. There's going to be 20, 30, maybe 100 of those things. And as soon as they know we're here, this place is going to be crawling with them.
  301. 42:59 Well, if they're that many, they'll probably get us wherever we are. Look. The cellar.
  302. 43:05 The seller, there's only one door, right? Just one door, that's all we have to protect.
  303. 43:09 Paul and I fix it so it locks and boards from the inside.
  304. 43:13 But up here, all these windows, why, we never know where they were going to hit us next.
  305. 43:17 You got a point, Mr. Cooper.
  306. 43:19 But down in the cellar, there's no place to run to.
  307. 43:21 I mean, if they did get in.
  308. 43:23 There'd be no back exit. We'd be done for. Yeah. We can get out of here if we have to. And we got windows to see what's going on outside.
  309. 43:31 But down there with no windows, if a rescue party did come, we wouldn't even know it. But the cellar is the strongest place. The cellar is a death trap.
  310. 43:40 I don't know Mr. Cooper.
  311. 43:42 I think he's right.
  312. 43:43 conference.
  313. 43:44 You know how many is out there?
  314. 43:46 I don't know. Maybe six or seven. Look.
  315. 43:49 You too can do whatever you like.
  316. 43:51 I'm going back down to the cellar, and you better decide.
  317. 43:55 'Cause I'm gonna board up that door, and I'm not gonna unlock it again no matter what happens. Now wait a minute, Mr. Cooper. No, I'm not gonna wait. I've made my decision, now you make yours. Now wait a minute!
  318. 44:05 Let's think about this.
  319. 44:06 We can make it to the seller if we have to.
  320. 44:09 And if we do decide to stay down there, we'll need some things from up here. So let's at least consider this a while.
  321. 44:16 at all costs.
  322. 44:19 You boxed yourself in the cellar and those things you had in the house, you've had it.
  323. 44:23 At least up here you have a fighting chance.
  324. 44:28 See you.
  325. 44:29 Yeah, it looks like about eight or ten out there now.
  326. 44:32 That's more than that work.
  327. 44:34 They're let out back, too.
  328. 44:36 far.
  329. 44:38 Come on.
  330. 45:08 Harry? Harry, what's happening? It's all right.
  331. 46:14 I'm sorry.
  332. 46:15 It's...
  333. 46:17 We gotta fix these boards.
  334. 46:20 You're crazy!
  335. 46:22 Those things are going to be in every window and door in this place.
  336. 46:25 We've got to get down into the cellar. Go down into the damn cellar. Get out of here!
  337. 46:30 What got?
  338. 46:31 I'm taking the girl west, Mr. Believer, here.
  339. 46:34 Keep your hands off here. And everything else is up here too. Because if I stay up here, I'm fighting for everything up here. And the radio and the food is part of what I'm fighting for.
  340. 46:42 Now, if you're going down the cell again,
  341. 46:44 The man's insane.
  342. 46:45 He's insane. We've got to have food down there.
  343. 46:49 We've got a right to show house. We've got a right.
  344. 46:52 You going down there with him?
  345. 46:54 Well, yes or no, this is your last chance. No beating around the bush.
  346. 46:58 Well, listen, I got a kid down there.
  347. 47:01 She can't possibly... I couldn't bring her up here. She can't possibly take all the racket and those things smashing through the windows.
  348. 47:06 Well, you and her father...
  349. 47:08 If you're stupid enough to go die in that trap, that's your business. However, I am not stupid enough to follow you.
  350. 47:14 It is tough for the kid that old man is so stupid.
  351. 47:17 Now,
  352. 47:18 Get the hell down in the cellar.
  353. 47:20 You can be the boss down there. I'm boss up here.
  354. 47:25 You bastards!
  355. 47:28 You know, I want to open this door again.
  356. 47:30 I did it.
  357. 47:32 Mr. Cooper, with your help, we can... With my help. Let him go, man. His mind is made up. Just let him go.
  358. 47:40 Wait a minute!
  359. 47:43 Judy, come on off your running.
  360. 47:46 like that.
  361. 47:49 It was only late yesterday...
  362. 47:52 Okay.
  363. 47:52 You're going to let them get hurt, too, huh?
  364. 47:55 It's all right.
  365. 47:57 I don't have a moment for you.
  366. 48:06 If we stick together, Matt, we can fix it up real good. There's lots of places we can run to up here.
  367. 48:14 Mr. Cooper?
  368. 48:14 We'd all be a lot better off. All three of us were working together.
  369. 48:19 Oh, my God.
  370. 48:20 Hey!
  371. 48:22 Hey, kid.
  372. 48:29 Oh, my God.
  373. 48:32 He's wrong, you know.
  374. 48:34 I'm not boxing myself in down there.
  375. 48:38 will remain on the air day and night.
  376. 48:42 Well, we're...
  377. 48:44 Safe now.
  378. 48:46 Board it up tight.
  379. 48:48 What about Tom and Judy?
  380. 48:49 They want to stay up there and let them.
  381. 48:55 There.
  382. 48:57 Two other people upstairs.
  383. 48:59 man and a girl
  384. 49:00 We heard the screaming. Yeah, but I didn't know who they were, and I wasn't about to take any unnecessary chances. Of course not, Harry. No.
  385. 49:22 Is she all right? I don't know what it is.
  386. 49:25 She feels warm.
  387. 49:26 Maybe it's shock.
  388. 49:29 Where'd you get the bandage? Somewhere.
  389. 49:32 Laundry in a basket, I tore a sheet.
  390. 49:41 Let them stay upstairs.
  391. 49:45 Well, though.
  392. 49:47 Too many ways those monsters can get in up there.
  393. 49:51 We'll see who's right.
  394. 49:53 We'll see when they come begging me to let them in down here.
  395. 49:57 That's important, isn't it? What?
  396. 49:59 To be right, everybody else to be wrong. What do you mean by that?
  397. 50:07 Does anyone up there know why we're being attacked?
  398. 50:11 Whatever it is, it isn't just happening here. It's some kind of mass murder. It's going on everywhere.
  399. 50:17 The radio said to stay inside. Radio?
  400. 50:20 Radio upstairs. I heard a news board. There's a radio upstairs and you boarded us in down here? I know what I'm doing. What did it say? Nothing. Nothing.
  401. 50:28 But no, no, no, it's not.
  402. 50:29 There's mass murder everywhere and people are supposed to look for a safe place to hide. Take the boards off that door. We are staying down here, Helen. Harry, that radio is at least some kind of communication.
  403. 50:42 If the authorities know what's happening, well, they'll send people for us to tell us what to do.
  404. 50:47 How are we going to know what's going on if we lock ourselves in this dungeon?
  405. 51:01 We may not enjoy living together.
  406. 51:05 But dying together isn't going to solve anything.
  407. 51:08 Those people aren't our enemies.
  408. 51:10 Get cover!
  409. 51:14 Mr. Cooper, stand by and tell me you're set upstairs.
  410. 51:20 Let's go up. Tom?
  411. 51:22 Yeah.
  412. 51:24 If Judy would come downstairs for a few minutes,
  413. 51:27 Harry and I could come upstairs.
  414. 51:30 Okay, yeah, right away.
  415. 51:33 Will you do it?
  416. 51:36 I have to look honey.
  417. 51:38 Nothing's gonna get done with them down there and us up here.
  418. 51:42 Do this.
  419. 51:43 For me.
  420. 51:46 Okay, open up.
  421. 51:48 I'm going to go.
  422. 52:10 I'll take good care of her, Helen.
  423. 52:15 She's all I have.
  424. 52:18 Why don't you go upstairs now?
  425. 52:48 Her brother was killed. Hey, give me a hand with this thing.
  426. 52:54 I gotta go help Ben with the television.
  427. 53:12 I'm sorry.
  428. 53:39 Don't be afraid of me.
  429. 53:42 I'm Helen Cooper.
  430. 53:43 Harry's wife.
  431. 53:52 This place is ridiculous
  432. 53:55 Look at this.
  433. 53:56 There's a million weak spots up here.
  434. 54:00 Give me one of those.
  435. 54:06 Her brother was killed.
  436. 54:15 And they talk about these windows.
  437. 54:18 I can't see a damn thing.
  438. 54:20 There could be 15 million of those things out there.
  439. 54:23 That's how much good these windows are.
  440. 54:29 Why don't you do something to help somebody?
  441. 54:37 Here I have it. Drag a couple of those chairs together. There's a socket over here. There.
  442. 54:43 Oh, my God.
  443. 54:46 you better watch this and try to understand what's going on
  444. 54:51 I don't want anyone's life on my hands. Is there anything I can do to you? I don't want to hear any more from him, mister.
  445. 54:57 If you stay up here, you take orders from me!
  446. 54:59 And that includes leaving the girl alone. It's all right. It's all right.
  447. 55:02 There's no sound.
  448. 55:05 Play with the Ravideer.
  449. 55:16 in all parts of the country. The wave of murder which is sweeping the eastern third of the nation is being committed by creatures who feast upon the flesh of their victims. First eyewitness accounts of this grisly development came from people who were understandably frightened and almost incoherent.
  450. 55:34 Officials and newsmen at first discounted those eyewitness descriptions as being beyond belief. However, the reports persisted.
  451. 55:43 The medical examinations of some of the victims bore out the fact that they had been partially devoured.
  452. 55:51 I think we have some late words of just arriving, and I'll interrupt to bring this to you.
  453. 55:58 This is the latest disclosure in a report from National Civil Defense Headquarters in Washington.
  454. 56:03 It has been established that persons who have recently died...
  455. 56:07 have been returning to life and committing acts of murder.
  456. 56:11 A widespread investigation of reports from funeral homes
  457. 56:15 morgues and hospitals has concluded that the unburied dead
  458. 56:19 are coming back to life.
  459. 56:21 and seeking human victims. It's hard for us here to believe what we're reporting to you, but it does seem to be a fact.
  460. 56:29 When this emergency first began, radio and television was advising people to stay inside.
  461. 56:35 behind locked doors for safety. Well, that situation has now changed, and we're able to report a definite course of action for you. Civil defense machinery has been organized.
  462. 56:45 to provide rescue stations with food, shelter,
  463. 56:48 medical treatment, and protection by armed National Guardsmen.
  464. 56:52 Stay tuned to the broadcasting stations in your local area for this list of rescue stations.
  465. 56:58 This list will be repeated throughout our news coverage. Look for the name of the rescue station nearest you.
  466. 57:04 and make your way to that location.
  467. 57:06 as soon as possible so we have that truck we can get some gas we can get out of here there's a pump out by the shed
  468. 57:12 I know that's why I pulled in here, but it's locked. The emergency meeting called this afternoon by the President.
  469. 57:17 Since convening.
  470. 57:18 This conference of the presidential cabinet, the FBI...
  471. 57:22 the Joint Chiefs of Staff,
  472. 57:23 The CIA has not produced any public information. Why are space experts being consulted about an Earth-bound emergency?
  473. 57:32 So far.
  474. 57:33 All the betting on the answer to that question centers on the recent Explorer satellite shot to Venus.
  475. 57:39 That satellite, you'll recall, started back to Earth.
  476. 57:42 but never got here.
  477. 57:44 That's the space vehicle which orbited Venus and then was purposely destroyed by NASA when scientists discovered it was carrying a mysterious high-level radiation with it.
  478. 57:54 Could that radiation be somehow responsible for the wholesale murders we're now suffering?
  479. 58:00 Newsman Don Quinn in Washington.
  480. 58:02 Suppose those questions obvious our best move is to try to get out of here. How are you gonna get over to that pump? Look!
  481. 58:08 You're coming from a meeting regarding the explosion of the Venus probe, is that right? Yes, yes, that was the subject of the meeting. Do you feel there is a connection between this and the phenomenon? There's a definite connection, a definite connection.
  482. 58:21 In other words, you feel that the radiation on the Venus probe is enough to cause these mutations? There was a very high degree of radiation. Just a minute. I'm not sure that that's certain at all. I don't think that has been a irrepetible explanation that we have at this time.
  483. 58:34 In other words, it is the military's viewpoint that's... The radiation is not the cause of the mutations.
  484. 58:38 I can't speak for the entire military at this time, gentlemen. I must disagree with these gentlemen presently until this is irrefutably proved.
  485. 58:47 Everything is being done that can be done. We'll have to hurry for our next meeting.
  486. 58:53 Professor, you feel that there is a definite connection between...
  487. 58:55 It's a definite connection as far as Dr. Keller and myself. Doctor, please. I thought we decided that is not proof. Was the satellite... When the satellite was exploded... It was an unusual amount of radiation, enough...
  488. 59:07 caused mutation under certain circumstances.
  489. 59:09 Could have happened to have a bearing on it. It does seem to have a bearing. Will there be a reply for this? Later. Yes. There will be a reply. Yes. Later this afternoon.
  490. 59:22 There will be a report this afternoon. Perhaps there will be a report later.
  491. 59:27 We have everything possible to solve the problem. You know, we have to try to get out of here.
  492. 59:32 He said the rescue stations and doctors and medical supplies. If we could get Karen there, we could get help for her. No, it's one of the world's foremost authorities on space science and technology. Willard. Willard.
  493. 59:43 I saw a sign that said Willard. It's only about 17 miles from here.
  494. 59:47 You notice there? You from around here?
  495. 59:49 Judy and I are both from around here.
  496. 59:51 We were on our way up to the lake to go swimming.
  497. 59:53 Judy had a radio and we heard the first reports about this. So we knew the old house was here and we came in and
  498. 59:59 Found a lady upstairs.
  499. 1:00:00 - I'm scared.
  500. 1:00:01 Then these other people came. We went down into the basement and put a bar across the door and it is pretty strong. How can we possibly get away from here? We've got a sick child...
  501. 1:00:11 Two women, one woman out of her head, three men, and the places surrounded with these things.
  502. 1:00:18 Dr. Grimes.
  503. 1:00:19 Your entire staff, I know, has been working
  504. 1:00:22 very hard to find some solution to
  505. 1:00:24 These things that are happening. Do you have any answers at this time? Yes, we have some answers. But first, let me stress the importance of seeking medical attention for anyone who's been injured in any way.
  506. 1:00:36 We don't know yet what complications might result from such injuries.
  507. 1:00:40 How bad has your kid been hurt? Good advice, Doctor.
  508. 1:00:43 Now, how about the basic?
  509. 1:00:47 Look, you go down there and tell
  510. 1:00:48 In a June?
  511. 1:00:49 Yeah, you tell Judy to come up here and you stay with the kid, all right?
  512. 1:00:57 In the cold room at the university, we had a cadaver. A cadaver from which all four limbs had been amputated. Sometime early this morning, it opened its eyes...
  513. 1:01:09 and began to move its trunk. It was dead, but it opened its eyes and tried to move.
  514. 1:01:14 Oh.
  515. 1:01:16 They watch upstairs.
  516. 1:01:18 Did she ask for me? She had to do anything.
  517. 1:01:22 I don't understand.
  518. 1:01:25 - Baby.
  519. 1:01:27 It's Mommy.
  520. 1:01:29 I hurt.
  521. 1:01:31 I'll come back down as soon as I find out what they want.
  522. 1:01:35 Thank you, Judy.
  523. 1:01:38 The body should be disposed of at once, preferably by cremation. Well, how long after death, then, does the body become reactivated? It's only a matter of minutes. Minutes? Well, that doesn't give people time to make any arrangements. No, you're right. It doesn't give them time to make funeral arrangements. The bodies must be carried to the street and burned. They must be burned immediately. Soak them with gasoline and burn them. The bereaved will have to forego the dubious comforts that a funeral service will give.
  524. 1:02:08 They're just dead flesh and dangerous. I see. You're gonna need to find some bedspreads or sheets to tear up into small strips, okay?
  525. 1:02:16 Is there a fruit seller here? Yes.
  526. 1:02:18 We need some bottles or jars to make barley-tough cocktails and hold them up while we try to escape. Hey, there's a big can of kerosene down there. I'll see what I can find.
  527. 1:02:26 I'll look for the box.
  528. 1:02:28 There's a big key ring down there. There may be a key to the gas pump on it.
  529. 1:02:32 I'll check. We can toss the cocktails from the window upstairs.
  530. 1:02:36 Meantime, a couple of us can go out and try to get the gas, and come back for the rest of the people.
  531. 1:02:40 But that'll leave the door open someplace.
  532. 1:02:43 That's right. Better be this door.
  533. 1:02:45 It's closer to the truck.
  534. 1:02:47 before we travel to some supplies behind the cellar door while we're gone the rest of you can hold up in there. I found some fruit jars in the cellar and there's a key on here that's labeled for the gas pump out back.
  535. 1:02:58 Nightmare of...
  536. 1:02:59 I'm not really that used to the truck. I found it abandoned.
  537. 1:03:02 I can handle the truck, no sweat.
  538. 1:03:08 You're it then. You and I will go.
  539. 1:03:11 We'll put whatever number we find behind the cellar door.
  540. 1:03:20 You can go upstairs and toss the cocktails from my window.
  541. 1:03:23 Tom, you and I will have to unboard this door. After you toss the cocktail, you'll hustle back down here and lock this door.
  542. 1:03:29 It's no good to border that because we'll have to get back in quickly.
  543. 1:03:32 Many thousands of prices.
  544. 1:03:33 After we get the gas and get back into the house, then we'll worry about getting everybody into the truck. Now let's move it. We're in no place to leave for safety except for the rescue station which has been set up. Indications are that before this emergency is over, we will need many, many more such rescue stations.
  545. 1:04:02 You always have a smile for me. How can you smile like that all the time?
  546. 1:04:07 How many we have done?
  547. 1:04:13 Come on, honey, we gotta move.
  548. 1:04:16 Tom, are you sure about the phone? The phone is dead out. All you get is a recorded message.
  549. 1:04:23 If I could only call the folks.
  550. 1:04:25 They're going to be so worried about us.
  551. 1:04:27 Everything will be alright.
  552. 1:04:29 As soon as we get to Willard, we'll call them. They might even be there.
  553. 1:04:34 I know.
  554. 1:04:39 Tom.
  555. 1:04:42 Are you sure we're doing the right thing, Tom?
  556. 1:04:44 What, about getting out of here? Yeah.
  557. 1:04:46 Well, the television said that's the right thing to do. We've got to get to a rescue station.
  558. 1:04:51 I don't know. Come on, honey. You're starting to sound like Mr. Cooper now. But why do you have to go out there?
  559. 1:04:58 Look, I know how to handle that truck.
  560. 1:05:00 And I can handle the pump.
  561. 1:05:01 Ben doesn't know anything about that stuff.
  562. 1:05:03 Come on.
  563. 1:05:05 But we're safe in here. For how long, honey?
  564. 1:05:08 We're safe now, but there's going to be more and more of those things. I know. I know all that.
  565. 1:05:15 I'm not.
  566. 1:05:17 Hey, listen. Remember?
  567. 1:05:22 when we had the big flood.
  568. 1:05:23 Remember how difficult it was for us to convince you that it was right to leave.
  569. 1:05:28 Remember? Remember we had to go to Willard then?
  570. 1:05:31 This isn't a passing thing, honey.
  571. 1:05:34 It's not like just a wind passing through.
  572. 1:05:37 We've got to do something, and fast.
  573. 1:05:40 I just don't want you to go out there, that's all. Hey, Smiley.
  574. 1:05:52 Where's that big smile for me?
  575. 1:05:57 Boy, I'm just trying to use it all, are you? Make up work to do. And you... and you...
  576. 1:06:23 We better get her downstairs.
  577. 1:06:24 We have to go downstairs now, Barbara.
  578. 1:06:28 She's right. You have to go downstairs now, just for a little while until we get back.
  579. 1:06:34 We can all leave.
  580. 1:06:36 Oh, I'd like to leave. Yes.
  581. 1:06:48 I'm going to go.
  582. 1:06:52 *thud*
  583. 1:06:57 Good luck.
  584. 1:07:43 Amen.
  585. 1:07:47 Mmm.
  586. 1:07:49 You ready upstairs? Yeah. Okay, toss 'em!
  587. 1:07:53 Yes.
  588. 1:07:56 Come on.
  589. 1:08:26 Go ahead. Go on.
  590. 1:08:50 I'm going with you. Get back in the cellar. No. It's too late.
  591. 1:08:56 Where's she coming? Come on.
  592. 1:09:26 Come on.
  593. 1:09:56 Come on! This key won't work. Watch it.
  594. 1:10:26 Watch the torch.
  595. 1:10:38 You gotta get away from the pump.
  596. 1:10:52 Hang on.
  597. 1:10:56 Come on, come on.
  598. 1:12:26 Cooper! Cooper!
  599. 1:12:56 Come on.
  600. 1:13:35 I'll drag you out there and feed those things.
  601. 1:14:05 Come on.
  602. 1:15:11 Isn't it three o'clock yet?
  603. 1:15:18 There's supposed to be another broadcast at three o'clock.
  604. 1:15:21 Ten minutes.
  605. 1:15:23 Oh.
  606. 1:15:24 Only ten more minutes?
  607. 1:15:27 We don't have very long to wait.
  608. 1:15:30 We can leave.
  609. 1:15:33 Well, we'd better leave soon.
  610. 1:15:35 It's 10 minutes to 3.
  611. 1:15:43 You know anything about this area at all?
  612. 1:15:45 I mean, is Willard the nearest town?
  613. 1:15:49 I don't know.
  614. 1:15:53 We were...
  615. 1:15:57 Just trying to get to him.
  616. 1:15:59 Motel before dark.
  617. 1:16:01 You said those things turned your car over?
  618. 1:16:03 You think we can get it back on his wheels and drive it? Where is it?
  619. 1:16:06 Seems like it was pretty far away.
  620. 1:16:09 Seems like we ran.
  621. 1:16:12 Forget it.
  622. 1:16:13 It's at least a mile.
  623. 1:16:15 Johnny has the keys.
  624. 1:16:17 You gonna carry that child a mile?
  625. 1:16:19 Through that army of things out there? I can carry the kids.
  626. 1:16:22 What's wrong with her? How'd she get hurt?
  627. 1:16:26 One of those things grabbed her.
  628. 1:16:28 Bitter on the arm.
  629. 1:16:31 What's wrong?
  630. 1:16:33 Who knows what kind of disease those things carry.
  631. 1:16:36 Is she conscious?
  632. 1:16:38 Barely.
  633. 1:16:39 She can't walk. She's too weak.
  634. 1:16:44 Well, one of us could try to get to the car. You're gonna turn it over by yourself.
  635. 1:16:51 You have a car? Where? Where is it?
  636. 1:16:54 You won't be able to start it. Yeah, yeah, I know. But where is it? Ah, I don't know.
  637. 1:16:59 I'm going to go.
  638. 1:17:07 Come on.
  639. 1:17:11 Good Lord.
  640. 1:17:21 Oh.
  641. 1:17:22 Being monitored closely by scientists at all the radiation detection stations. At this hour, they report the level of the mysterious radiation continues to increase steadily. So long as this situation remains, government spokesmen warn that dead bodies will continue to be transformed into the flesh-eating ghouls.
  642. 1:17:52 by cremation.
  643. 1:17:53 Our news cameras have just returned from covering such a search-and-destroy operation against the Ghouls. This one conducted by Sheriff Conan McClellan in Butler County, Pennsylvania.
  644. 1:18:04 So now let's go to that film report. All law enforcement agencies and the military have been organized to search out and destroy the marauding ghouls. The Survival Command Center at the Pentagon has disclosed that a ghoul can be killed by a shot in the head.
  645. 1:18:21 or a heavy blow to the skull. Officials are quoted as explaining that since the brain of a ghoul has been activated by the radiation
  646. 1:18:29 The plan is kill the brain
  647. 1:18:32 and you kill the ghoul.
  648. 1:18:34 What do you think from the supply ragging, Gus? No, we're all right.
  649. 1:18:39 Hey, Cass, put that thing all the way in the fire. We don't want it getting up again. Chief, Chief McClellan, how's everything going? Oh, things aren't going too bad. Men are taking it pretty good.
  650. 1:18:50 You want to get on the other side of the road over there?
  651. 1:18:53 Chief, do you think we'll be able to defeat these things?
  652. 1:18:55 Well, we killed 19 of them today right in this area. Those last three we caught trying to claw their way into an abandoned shed. They must have thought somebody was in there. Their window.
  653. 1:19:04 We heard them making all kind of noise. We came over and beat them off, blasted them down. James, the burners are finished. Can I show you here? Yeah, okay.
  654. 1:19:11 Chief, if I were surrounded by six or eight of these things, would I stand a chance with them? Well, there's no problem. If you had a gun, shoot them in the head. That's a sure way to kill them. If you don't, get yourself a club or a torch. Beat them or burn them. They go up pretty easy.
  655. 1:19:24 Well, Chief McClellan, how long do you think it will take you until you get the situation under control? Well, that's pretty hard to say. We don't know how many of them there are. We know when we find them, we can kill them.
  656. 1:19:35 Are they slow moving, Chief?
  657. 1:19:36 Yeah, they're dead. They're...
  658. 1:19:38 All messed up.
  659. 1:19:40 Well, in time, would you say you ought to be able to wrap this up in 24 hours?
  660. 1:19:44 Well...
  661. 1:19:45 We don't really know.
  662. 1:19:47 We know we'll be into it most of the night, probably into the early morning.
  663. 1:19:50 We're working our way toward Willard, and we'll team up with the National Guard over there, and then we'll be able to give a more definite view.
  664. 1:19:56 Thank you very much, Chief McClellan.
  665. 1:19:58 This is Bill Cardill, WCW.
  666. 1:20:00 I see.
  667. 1:20:00 TV 11 News.
  668. 1:20:02 Thank you, Bill, for that report. Official spokesman declined to speculate just how long it may take to kill off all the flesh eaters, so long as the heavy rate... Is the fuse box in the cellar?
  669. 1:20:20 I don't know. I...
  670. 1:20:25 It isn't the fuse.
  671. 1:20:27 The power lines are down.
  672. 1:20:32 Helen?
  673. 1:20:33 I have to get that gun.
  674. 1:20:37 Haven't you had enough?
  675. 1:20:38 Well, two people are dead already on account of that guy. Take a look out that window for the kid.
  676. 1:20:46 I'm sorry.
  677. 1:21:16 Get over here, man!
  678. 1:21:46 Go ahead. Go ahead. You want to stay up here now? Helen, get the cellar.
  679. 1:22:13 Get the cellar now. Move!
  680. 1:22:16 Oh, my God.
  681. 1:22:46 Oh, my God.
  682. 1:23:16 Come on.
  683. 1:23:46 Oh, baby.
  684. 1:24:16 No!
  685. 1:24:46 No! No! No! No! No! No! No! No! No! Get out!
  686. 1:25:16 No! No! Daddy! No! No! No! Oh, help me! Help me! Oh, help me!
  687. 1:26:16 Come on.
  688. 1:26:46 Come on.
  689. 1:27:46 Come on.
  690. 1:28:16 I'm going to go.
  691. 1:29:03 Whistling.
  692. 1:29:33 Hey, Ben, Sal.
  693. 1:30:03 Four or five men and a couple of dogs. There's a house over here behind those trees. We want to go check it out.
  694. 1:30:09 Yeah, Chief. We're going to stay with it until we meet up with the National Guard. Where'd you get the coffee? One of the volunteers. You're doing all the work. You take it.
  695. 1:30:16 We should be wrapped up here about three or four more hours. We'll probably get into Willard's End. I guess you can go over there and meet the National Guard. Nick, you and the rest of these men want to come with me?
  696. 1:30:26 They'll go on to check in the office and see what's happening.
  697. 1:30:28 All right, Steve, tell them we're going to stay with it and...
  698. 1:30:31 Everything appears to be under control.
  699. 1:30:37 Oh, my God.
  700. 1:30:40 We're going to get inside.
  701. 1:31:10 They need you down there by the barn. Okay. I'm going to need a few men to check out the house. Somebody had a cook out here, Vince.
  702. 1:31:39 Yeah, sure looks like it, Tom.
  703. 1:31:47 All right.
  704. 1:32:14 up
  705. 1:32:19 Easy, Dezlin, get up here!
  706. 1:32:23 Nick, Tony!
  707. 1:32:24 Steve, you want to get out in that field and build me a bonfire?
  708. 1:32:40 You, drag that out of here and throw it on the fire.
  709. 1:32:43 Nothing down here.
  710. 1:32:44 All right, go ahead, Don, and give him a hand.
  711. 1:32:46 Let's go check out the house. There's something here. I heard a noise. Oh.
  712. 1:32:54 All right, Vince. Hit him in the head. Right between the eyes.
  713. 1:33:00 Good shot.
  714. 1:33:02 Okay, he's dead. Let's go get him. That's another one for the fire.
  715. 1:33:06 All right.
  716. 1:33:36 Keep those dogs back off of those things.
  717. 1:34:36 Come in ahead with the motorcycle, please. Let's go, back there. Pass away.
  718. 1:34:48 Hey, Randy, light these torches over here. We're in the back.

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