Public Reel

The Arizona Raiders (1936)

No renewal found Free in the US since 1 January 1965, on the registry's reading: registration LP6445 of 1936 by Paramount Productions, Inc was not renewed in the volumes searched. Record.

A Zane Grey Western reached the screen before its source story appeared in book form, then acquired a tangled paper trail.

The Arizona Raiders appeared in 1936, two years before the recorded book publication of its source story.12 That sequence makes “adaptation” a less straightforward description than it might first appear. It does not establish when Grey wrote the story. The form in which the filmmakers encountered it also remains unclear. What the title card does establish is the prominence of the author’s name: the work announces itself as Zane Grey’s The Arizona Raiders.2 A familiar author’s name can tell us how a picture was presented without telling us how its screenplay took shape.

The picture’s immediate dramatic business is less bibliographical. Laramie Nelson must save himself from a lynching, a predicament the contemporary Billboard review calls a “necktie party.”3 The euphemism turns threatened killing into something almost convivial. For Nelson, the problem is survival. An escape from a rope is a useful premise for a Western because it separates danger from guilt: being pursued or condemned need not make a man the villain. Here the threat offers a more concrete entrance to the film than Grey’s name alone. It places a body in jeopardy before asking the audience to untangle reputations.

The surviving descriptions disagree even about how long that action takes. The running time is recorded as 57 minutes in two entries, including the contemporary review.23 Elsewhere it is given as 64 minutes.4 Those figures should remain discrepancies, not become an invented history of cuts and restorations. Nothing in these entries establishes that the differing durations describe distinct versions. A figure in a catalogue cannot by itself tell us whether footage is missing from a surviving print. The uncertainty concerns what was measured, not just how accurately the result was recorded.

The film’s later identity presents another trap. Heritage Auctions identifies material bearing the title Arizona Raiders as belonging to a 1951 Favorite Films reissue of Arizona Mahoney.8 That is an auction-house attribution concerning another film, not a verified account of Hogan’s picture being reissued on those terms. A later advertisement or poster bearing the shorter title therefore cannot safely be assigned to this film without further examination. Titles are often treated as stable identifiers; in this instance, the same words can point towards two different pictures. The distinction matters particularly when promotional objects survive apart from the prints they once advertised.

The rights search supplies a different kind of afterlife. It should not be made to explain more than it records. The registry’s conclusion concerns the term of protection rather than a chain of subsequent distribution. It does not show who circulated the film or which copies they used. Nor does it establish whether a distributor acted on the same reading of the copyright record. Those questions require evidence of circulation, not merely the absence of a renewal.

The record: Registration LP6445 by Paramount Productions, Inc is dated 26 June 1936. The registry found no renewal in the renewal volumes for 1963 to 1965, nor in the Copyright Office's records from 1978 on; on that reading the term ended on 31 December 1964 and the film has been free in the US since 1 January 1965. The record does not settle rights outside the US. Rights in material added to a later edition also remain outside that finding.

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

  1. en.wikipedia.org https://en.wikipedia.org/wiki/The_Arizona_Raiders
  2. catalog.afi.com https://catalog.afi.com/Film/4958-THE-ARIZONA-RAIDERS?cxt=filmography
  3. worldradiohistory.com https://www.worldradiohistory.com/Archive-All-Music/Billboard/30s/1936/BB-1936-09-26.pdf
  4. archive.org https://archive.org/stream/filmdailyyearboo00film_8/filmdailyyearboo00film_8_djvu.txt
  5. en.wikipedia.org https://en.wikipedia.org/wiki/Zane_Grey
  6. catalog.afi.com https://catalog.afi.com/Person/77789-James-Hogan?sid=f2052264-5c1d-4737-9226-3bb362cf23...
  7. catalog.afi.com https://catalog.afi.com/Person/128172-Raymond-Hatton?sid=0fbb68ee-0201-4820-8904-3d6fda...
  8. movieposters.ha.com https://movieposters.ha.com/c/search-results.zx?N=54+790+231&Nty=1&Ntt=Arizona+Raiders&...
  9. en.wikipedia.org https://en.wikipedia.org/wiki/List_of_American_films_of_1936

Inside the film

561 shots over 57:19 · 221 beats in 94 sequences · 738 transcript lines · JSON

Lands on the beat covering that second.
94 sequences; each is also a heading below.
Check before citing the shot count. A 3:44 shot at 29:21 (shot 251): either a static hold or a run of missed cuts. Treat it as unverified.

Every shot, 561 frames with timestamps and on-screen text

How this page was made

561 shots over 57:19, read from the Internet Archive copy TheArizonaRaiders (TheArizonaRaiders.mp4, 640×480, 29.97 fps). Shot boundaries by PySceneDetect's adaptive detector; each frame links to the Archive's player at that second. Registry dossier: The Arizona Raiders No renewal found. JSON

Measurements: colour film on its keyframes (561 of 561 shots judged colour), average shot 6.1s long, a frontal face detected in 21% of keyframes. Shots are detected automatically and each is represented by its midpoint frame.

Released 1936 (Internet Archive).

221 beats in 94 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. 221 of 221 beats annotated, 219 passed the checks, 2 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

Sequence 2 from 0:04

Sequence 3 from 1:33

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

3. Forest

1:33–1:45 Machine checks passed (partial)

Model synopsis: A group of people on horseback are gathered outdoors, with one person speaking about finishing a task. No names are mentioned, and the setting appears to be a wooded area.

  • A person on horseback holds a coiled rope while others gather nearby. [frame:1]

3 people observed.

“I reckon we'd feel right sorry if we ever found...” 1:34 · “Let's get this thing over with.” 1:39

Evidence, details and a link to share

Sequence 4 from 1:45

Frame at 1:46, shot 31:46
1 of 1 shots sampled

4. Other

1:45–1:46 Machine checks passed

Model synopsis: A person wearing a hat with a large number 7 on it is seen from above, bent over in an outdoor setting. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 5 from 1:46

Frame at 1:47, shot 41:47
1 of 1 shots sampled

5. Forest

1:46–1:47 Machine checks passed

Model synopsis: A man in dark clothing is visible in a wooded outdoor setting. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 6 from 1:47

Frame at 1:49, shot 51:49
1 of 1 shots sampled

6. Field

1:47–1:51 Machine checks passed (partial)

Model synopsis: A dark animal, likely a horse, is shown in a low-angle shot moving over uneven ground. No people, dialogue, or on-screen text are visible in this beat.

  • A dark animal moves across rough terrain. [frame:1]

Evidence, details and a link to share

Frame at 1:54, shot 71:54Frame at 1:57, shot 81:57Frame at 1:59, shot 91:59
3 of 3 shots sampled

8. Forest

1:53–2:00 Machine checks passed (partial)

Model synopsis: A man shouts orders as riders on horseback pursue someone through a wooded area. The scene shifts to a wide shot of a barren hillside with sparse trees.

  • Riders on horseback move through a wooded area. [frame:2]
  • A wide shot shows a barren hillside with scattered trees. [frame:3]

2 people observed.

“On your horses and after them, men!” 1:53 · “He's stolen my boot!” 1:55

Evidence, details and a link to share

Frame at 2:18, shot 212:18
1 of 1 shots sampled

10. Field

2:17–2:19 Machine checks passed

Model synopsis: A rocky outdoor scene with dust or smoke rising, partially obscuring figures in the distance. No people are clearly visible or named, and no dialogue is present.

Evidence, details and a link to share

Sequence 7 from 2:19

Frame at 2:20, shot 222:20
1 of 1 shots sampled

11. Field

2:19–2:21 Machine checks passed

Model synopsis: A person on horseback is seen from behind, looking out over a barren, rocky landscape. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Frame at 2:23, shot 232:23
1 of 1 shots sampled

12. Other

2:21–2:25 Machine checks passed

Model synopsis: A single frame shows a blurry, low-resolution outdoor scene with indistinct shapes. No people, objects, or text are clearly identifiable, and no events can be described from the visual alone.

Evidence, details and a link to share

Frame at 2:30, shot 252:30Frame at 2:33, shot 262:33Frame at 2:36, shot 272:36
3 of 3 shots sampled

14. Field

2:28–2:37 Machine checks passed (partial)

Model synopsis: A chaotic outdoor scene with smoke and figures on horseback is shown. A voice exclaims 'Oh, my God.' during the sequence.

  • Smoke and dust obscure the landscape with figures on horseback visible. [frame:1]
  • Horses and riders move through smoke in a hilly area. [frame:2]
  • Riders are silhouetted on a ridge against a bright sky. [frame:3]

1 person observed.

“Oh, my God.” 2:30

Evidence, details and a link to share

Sequence 8 from 2:37

Sequence 9 from 2:41

Frame at 2:44, shot 292:44
1 of 1 shots sampled

16. River

2:41–2:48 Machine checks passed (partial)

Model synopsis: A person is partially submerged in a river with rocky banks. The scene is outdoors and appears to be in a natural, rugged environment.

  • a person is standing in a river [frame:1]

1 person observed.

Evidence, details and a link to share

Frame at 2:51, shot 302:51
1 of 1 shots sampled

17. Riverbank

2:48–2:54 Machine checks passed (partial)

Model synopsis: A person is seen wading through a shallow river or stream, surrounded by trees and brush. The scene is outdoors and appears to be in natural daylight, though no clear time of day is established.

  • A person wades through shallow water near a tree-lined bank. [frame:1]

1 person observed.

Evidence, details and a link to share

Frame at 2:57, shot 312:57
1 of 1 shots sampled

18. Forest

2:54–2:59 Machine checks passed (partial)

Model synopsis: A single figure on horseback moves through a wooded, rocky area. The scene is shot in black and white with low contrast and no visible text or dialogue.

  • A person on horseback moves through a wooded area. [frame:1]

1 person observed.

Evidence, details and a link to share

Frame at 3:03, shot 323:03
1 of 1 shots sampled

19. Field

2:59–3:06 Machine checks passed (partial)

Model synopsis: A person crouches behind a rock in a brushy outdoor area with a horse visible nearby. No dialogue or on-screen text is present in this beat.

  • A person crouches behind a rock in brushy terrain. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 10 from 3:06

Sequence 11 from 3:51

Frame at 3:53, shot 363:53
1 of 1 shots sampled

21. Street

3:51–3:56 Machine checks passed

Model synopsis: A man in a dark cowboy hat and glasses stands with his hands raised, flanked by others in hats. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Sequence 12 from 3:56

Frame at 3:57, shot 373:57Frame at 4:01, shot 394:01Frame at 4:13, shot 424:13Frame at 4:22, shot 444:22
4 of 8 shots sampled

22. Forest

3:56–4:24 Machine checks passed

Model synopsis: A man on horseback addresses a group of men who appear to be preparing to hang someone; one of the group identifies himself as McGinnis and stops the hanging. The scene takes place outdoors with trees visible in the background.

Named: McGinnis (t:4:15). 4 people observed.

“I get the idea that you're about to hang my friend here. That was the idea.” 3:56 · “Say, I could hang this old rascal for anything you can think of.” 4:02

Evidence, details and a link to share

Frame at 4:25, shot 454:25
1 of 1 shots sampled

23. Forest

4:24–4:26 Machine checks passed

Model synopsis: A person is visible crouching near rocks and trees in an outdoor setting. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 13 from 4:26

Frame at 4:29, shot 464:29
1 of 1 shots sampled

24. Field

4:26–4:32 Machine checks passed

Model synopsis: A group of men on horseback are visible outdoors, with one raising his arm. No dialogue or on-screen text is present in this beat.

3 people observed.

Evidence, details and a link to share

Frame at 4:34, shot 474:34
1 of 1 shots sampled

25. Forest

4:32–4:35 Machine checks passed (partial)

Model synopsis: A group of men in period attire raise their hands outdoors. One man faces away from the camera while others gesture with raised hands.

  • Several men raise their hands in the air. [frame:1]

4 people observed.

Evidence, details and a link to share

Frame at 4:36, shot 484:36Frame at 4:39, shot 494:39Frame at 4:41, shot 504:41Frame at 4:48, shot 514:48
4 of 4 shots sampled

26. Field

4:35–4:53 Machine checks passed (partial)

Model synopsis: A group of men in cowboy hats are gathered outdoors; one man demands guns from others, who comply. A man in glasses is shown in close-up, and another man is seen handing over a pistol.

  • A man hands over a pistol to another man. [frame:3]
  • A man raises his hands while others surround him. [frame:4]

4 people observed.

“Now I'm gonna have to trouble you boys for your gun.” 4:37 · “Put him on the end here.” 4:43

Evidence, details and a link to share

Sequence 14 from 5:08

Frame at 5:10, shot 535:10
1 of 1 shots sampled

28. Beat 28

5:08–5:11 Machine checks passed

Model synopsis: A man wearing a wide-brimmed hat and a star-shaped badge is visible in a close-up shot. No dialogue or additional context is provided in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 15 from 5:11

Frame at 5:27, shot 545:27
1 of 1 shots sampled

29. Forest

5:11–5:43 Machine checks passed (partial)

Model synopsis: A group of men, some raising hats, are addressed by a speaker who mentions reimbursement for a hat and directs others to take guns and horses down the road. One man is urged to leave with another named Ben.

  • Several men raise hats in a wooded area. [frame:1]

Named: Ben (t:5:39). 5 people observed.

“That's my hat.” 5:15 · “That was your hat.” 5:17

Evidence, details and a link to share

Frame at 5:46, shot 555:46Frame at 5:52, shot 565:52Frame at 5:57, shot 575:57Frame at 6:00, shot 586:00
4 of 4 shots sampled

30. Field

5:43–6:01 Machine checks passed (partial)

Model synopsis: A group of men in hats gather outdoors; one man holds empty rifle shells while others look on. The scene is set in daylight with trees and hills visible in the background.

  • Men gather outdoors in a field with trees and hills in the background. [frame:1]
  • A man holds up empty rifle shells for others to see. [frame:2]
  • Close-up of hands holding several empty rifle shells. [frame:3]
  • 1 more under Evidence and details.

4 people observed.

“I” 5:43 · “empty rifle shells.” 5:56

Evidence, details and a link to share

Sequence 16 from 6:01

Frame at 6:16, shot 606:16Frame at 6:37, shot 616:37Frame at 6:59, shot 626:59Frame at 7:02, shot 637:02
4 of 4 shots sampled

32. Forest

6:15–7:03 Machine checks passed (partial)

Model synopsis: Two men on horseback converse in a wooded outdoor setting; one recounts being nearly hanged after swapping horses. The scene includes a distant view of a wagon and trees, suggesting travel through a rural area.

  • Two men ride horses through a wooded area. [frame:1]
  • The two men are shown side by side on horseback, conversing. [frame:2]
  • A wagon is visible in the distance on a dirt path surrounded by trees. [frame:3]
  • 1 more under Evidence and details.

Named: Jeremy Nelson (t:6:16). 2 people observed.

“Jeremy Nelson. That's a right nice name. How long you had it? Oh, ever since I can remember. Ever since I can remember.” 6:16 · “Well, that's quite unusual. Folks around here change the name quite frequently.” 6:22

Evidence, details and a link to share

Frame at 7:05, shot 647:05
1 of 1 shots sampled

33. Forest

7:03–7:06 Machine checks passed

Model synopsis: A single frame shows a smoky outdoor scene with trees and indistinct shapes. No people, objects, or text are clearly visible, and no dialogue is present.

Evidence, details and a link to share

Sequence 17 from 7:06

Frame at 7:10, shot 657:10Frame at 7:17, shot 667:17Frame at 7:21, shot 677:21
3 of 3 shots sampled

34. Forest

7:06–7:22 Machine checks flagged: name not grounded

Model synopsis: Two men on horseback converse in a wooded area; one is later shown in a close-up, and a reward poster for 'Travis Williams' is displayed. The dialogue references Wyoming, New Mexico, and saving an innocent man from hanging.

  • Two men on horseback are talking in a wooded area. [frame:1]
  • A close-up shows one man looking intently. [frame:2]
  • A reward poster for 'Travis Williams' is shown. [frame:3]

Named: Travis Williams (frame:3). 3 people observed.

“When you get back to Wyoming, I always want you to remember” 7:08 · “When you stop that hanging, you save the innocentest man in New Mexico.” 7:11

Flagged: name not grounded (Travis Williams)

Evidence, details and a link to share

Sequence 18 from 7:22

Frame at 7:26, shot 687:26
1 of 1 shots sampled

35. Other

7:22–7:29 Machine checks passed

Model synopsis: A wanted poster for Tracks Williams is shown, listing charges including stealing horses and cattle and committing assault. The poster also includes physical details and names Neddy J. Holahan as Acting Sheriff.

Evidence, details and a link to share

Sequence 19 from 7:29

Frame at 7:31, shot 697:31Frame at 7:35, shot 707:35
2 of 2 shots sampled

36. Forest

7:29–7:37 Machine checks passed (partial)

Model synopsis: A man in a dark coat and hat gestures while speaking. Two riders on horseback appear behind trees in a wooded area. No names are spoken, and no time of day or period is established.

  • Man gestures with his arm while speaking. [frame:1]
  • Two riders on horseback are seen through trees. [frame:2]

3 people observed.

“Yeah. Well, come around here. I want you to meet a friend of yours.” 7:31

Evidence, details and a link to share

Sequence 20 from 7:37

Frame at 7:39, shot 717:39Frame at 7:46, shot 727:46Frame at 7:53, shot 737:53
3 of 3 shots sampled

37. Forest

7:37–7:56 Machine checks passed (partial)

Model synopsis: Two men on horseback discuss a $500 reward poster for Trax Williams, which one considers an insult. A hand points at the poster's text.

  • A reward poster for Trax Williams is visible. [frame:1]
  • Two men on horseback are talking in a wooded area. [frame:2]
  • A hand points at the reward poster. [frame:3]

3 people observed.

“Honest.” 7:38 · “Trax Williams.” 7:38

Evidence, details and a link to share

Sequence 21 from 8:40

Frame at 8:41, shot 768:41Frame at 8:52, shot 778:52
2 of 2 shots sampled

39. Private office

8:40–9:02 Machine checks passed (partial)

Model synopsis: A man in a suit and a woman in a dress sit together while an older man at a desk speaks about altering a hunting license into a marriage license. The older man says he must ask questions before collecting fees.

  • A young man and a woman sit together in a room. [frame:1]
  • An older man at a desk holds papers and speaks. [frame:2]

3 people observed.

“Well, this, uh, this here is a hunting license.” 8:45 · “need only to change a word or two to make it a bona fide marriage license. Now, you just make yourself comfortable” 8:51

Evidence, details and a link to share

Frame at 9:05, shot 789:05Frame at 9:09, shot 799:09Frame at 9:18, shot 819:18Frame at 9:24, shot 829:24
4 of 5 shots sampled

40. Private office

9:02–9:25 Machine checks passed (partial)

Model synopsis: A man and a woman stand before an older man seated at a desk, who appears to be officiating a marriage. The transcript reveals the couple is being asked for their names, with the man identifying himself as Alonzo Q. Mulhoff.

  • A man and a woman stand before an older man seated at a desk. [frame:1]

Named: Alonzo Q. Mulhoff (t:9:12). 3 people observed.

“You know, this is the first time I ever was married.” 9:02 · “I'd better put your names down so the law knows who's marrying who.” 9:07

Evidence, details and a link to share

Frame at 9:30, shot 839:30
1 of 1 shots sampled

41. Private office

9:25–9:35 Machine checks passed (partial)

Model synopsis: A man in a dark suit sits at a desk in an interior setting while speaking. He is referred to as 'Al' in the dialogue, and the scene includes visible signage on the wall behind him.

  • A man in a suit sits at a desk and speaks. [frame:1]

Named: Al (t:9:32). 1 person observed.

“How long is it? A, L...” 9:25 · “I'm going to do you a favor, young fellow. I'll just...” 9:29

Evidence, details and a link to share

Frame at 9:36, shot 849:36Frame at 9:38, shot 859:38Frame at 9:53, shot 869:53
3 of 3 shots sampled

42. Private office

9:35–10:06 Machine checks passed (partial)

Model synopsis: A man and a woman stand before an older man seated at a desk in an office; the woman speaks about her father and their upcoming marriage to Kentucky. The older man, called 'General', is startled when told to check a rope behind him.

  • A woman and a man stand before a seated older man in an office. [frame:1]
  • The older man speaks, looking surprised. [frame:2]
  • The older man stands up abruptly while the younger man and woman remain standing. [frame:3]

Named: General (t:9:59). 3 people observed.

“Your name...” 9:35 · “From the Spanish Peaks branch? Yes, ma'am.” 9:38

Evidence, details and a link to share

Sequence 22 from 10:06

Sequence 23 from 10:22

Frame at 10:33, shot 8910:33
1 of 1 shots sampled

45. Shop

10:22–10:44 Machine checks passed (partial)

Model synopsis: Two men in hats converse in a dim interior; one taller, one shorter, both in dark clothing. One mentions meeting at the general store after a drink.

  • Two men stand facing each other in conversation. [frame:1]

Named: Tracto (t:10:25). 2 people observed.

“in honor of my reforming aid. Now, listen, Tracto, boy, you told me you were going to turn over a new leaf.” 10:25 · “Sweating your thumbs.” 10:32

Evidence, details and a link to share

Sequence 24 from 10:44

Frame at 10:45, shot 9010:45
1 of 1 shots sampled

46. Porch

10:44–10:46 Machine checks passed

Model synopsis: A person stands on a wooden porch next to a hitching rail with a horse nearby. The scene is outdoors and appears to be from a Western setting.

1 person observed.

Evidence, details and a link to share

Frame at 10:47, shot 9110:47
1 of 1 shots sampled

47. Street

10:46–10:48 Machine checks passed

Model synopsis: A single frame shows an outdoor Western scene with a wooden structure, a horse-drawn wagon wheel, and figures in the distance. No dialogue or on-screen text is present in this beat.

Evidence, details and a link to share

Frame at 10:53, shot 9310:53
1 of 1 shots sampled

49. Town square

10:51–10:54 Machine checks passed

Model synopsis: A person rides a horse past a wooden building with a porch and awning. The scene is outdoors and appears to be in a town setting.

  • A person rides a horse past a building with a porch. [frame:1]

1 person observed.

Evidence, details and a link to share

Frame at 10:55, shot 9410:55Frame at 10:57, shot 9510:57Frame at 10:59, shot 9610:59Frame at 11:02, shot 9711:02
4 of 4 shots sampled

50. Street

10:54–11:04 Machine checks passed (partial)

Model synopsis: A horse rears near a wooden building while a woman in a wide-brimmed hat reacts; a carriage and onlookers are visible on a street. Spoken lines include warnings and an exclamation.

  • A horse rears up near a wooden building. [frame:1]
  • A woman in a wide-brimmed hat reacts with her eyes closed. [frame:2]
  • A carriage is parked on a street with a man standing on a porch nearby. [frame:4]

3 people observed.

“Hold on! Barney!” 10:54 · “Whoa! Whoa, burn it!” 10:56

Evidence, details and a link to share

Frame at 11:05, shot 9811:05Frame at 11:08, shot 10011:08Frame at 11:14, shot 10211:14Frame at 11:19, shot 10411:19
4 of 7 shots sampled

51. Sidewalk

11:04–11:20 Machine checks passed (partial)

Model synopsis: A man in dark clothing and a hat moves near a wooden structure while a woman in a wide-brimmed hat and dark dress reacts to him. The transcript indicates a disagreement over how to handle a situation, with the woman asserting she knows a better way.

  • A man walks near a wooden structure. [frame:1]
  • The woman looks down and to her left. [frame:2]
  • The woman looks forward with a serious expression. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“Pretty bad mess. I guess I'll have to unhitch him.” 11:06 · “Oh, no, you won't.” 11:08

Evidence, details and a link to share

Frame at 11:22, shot 10511:22
1 of 1 shots sampled

52. Street

11:20–11:24 Machine checks passed

Model synopsis: A man in a suit and hat stands beside a horse in what appears to be an outdoor setting. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Frame at 11:25, shot 10611:25Frame at 11:27, shot 10711:27Frame at 11:29, shot 10811:29Frame at 11:35, shot 10911:35
4 of 4 shots sampled

53. Town square

11:24–11:38 Machine checks passed (partial)

Model synopsis: A man in a top hat speaks to a woman in a wide-brimmed hat in front of a wooden building; later, a man in a cowboy hat and another man in a suit stand near a table. A voice says they must be in time and that they are now pronounced happily married.

  • A man in a top hat gestures toward a woman in a wide-brimmed hat. [frame:1]
  • The woman looks down solemnly. [frame:2]
  • A man in a cowboy hat sits at a table while another man in a top hat stands nearby. [frame:3]
  • 1 more under Evidence and details.

5 people observed.

“Now I'll take care of you.” 11:24 · “I hope we're in time. We'd better be.” 11:28

Evidence, details and a link to share

Frame at 11:39, shot 11011:39Frame at 11:57, shot 11411:57Frame at 12:09, shot 11812:09Frame at 12:18, shot 12212:18
4 of 13 shots sampled

54. Private office

11:38–12:19 Machine checks passed (partial)

Model synopsis: A man in a suit is confronted by two women in a room with a desk; one woman accuses him of being a coward while the other appears to support her. The man is seen holding a hat and later standing near the desk as the women leave.

  • A man in a suit holds a hat and looks surprised. [frame:1]
  • Two women stand side by side, one speaking with an angry expression. [frame:2]
  • The man in the suit stands near a desk as the two women confront him; another man stands nearby. [frame:3]
  • 1 more under Evidence and details.

4 people observed.

“You said you were my knight in shining armor. You said not even dragons could stop you. But your sister isn't a dragon.” 11:56 · “Give me time, then. I gotta think. You can think by yourself. I'm going.” 12:03

Evidence, details and a link to share

Frame at 12:22, shot 12312:22Frame at 12:30, shot 12412:30
2 of 2 shots sampled

55. Private office

12:19–12:35 Machine checks passed (partial)

Model synopsis: Three men are shown in an interior room; one is addressed as 'Alonzo Q.' and another as 'Rabbit'. A man is told he will be shot if he returns to a ranch and is ordered locked up for eloping with a miner.

  • Three men stand facing each other in a room. [frame:1]
  • Two men stand near a doorway, one facing out, one facing in. [frame:2]

Named: Alonzo Q. (t:12:30), Rabbit (t:12:33). 3 people observed.

“Next time you show up at that ranch, I'm gonna take a shot at you. Lock this idiot up for eloping with a miner.” 12:19 · “Alonzo Q., uh...” 12:30

Evidence, details and a link to share

Frame at 12:58, shot 12512:58Frame at 13:29, shot 12613:29
2 of 2 shots sampled

56. Private office

12:35–13:36 Machine checks passed

Model synopsis: Two men stand near a window in a dim interior while a third man in formal attire stands on a porch. Dialogue mentions Monroe Adams, a lawyer, and a sheriff reporting a boy shooting a mirror.

  • Two men stand near a window in a dim room. [frame:1]
  • A man in formal attire stands on a porch. [frame:2]

5 people observed.

“But you never told me Monroe Adams had something to do with this, you know. It's none of his business. He's already the administrator of C…” 12:35 · “And that Monroe Adams is a crafty lawyer when it comes to figures. I'll fix him before I get through.” 12:47

Evidence, details and a link to share

Frame at 13:43, shot 12713:43Frame at 14:07, shot 13014:07Frame at 14:40, shot 13214:40Frame at 15:00, shot 13515:00
4 of 9 shots sampled

57. Jail

13:36–15:03 Machine checks passed (partial)

Model synopsis: Two men in suits and hats converse in what appears to be a jail or sheriff's office; one is being led away while another speaks with a sheriff about a friend in custody. The dialogue references past events in Kentucky, Kansas, Colorado, and Texas, and mentions an upcoming cattle herd and local spending.

  • A man in a bowler hat is being led by another man in a fedora. [frame:1]
  • Two men in suits and hats stand facing each other, one holding a small object. [frame:2]
  • A man in a wide-brimmed hat speaks to another man holding a revolver. [frame:3]
  • 1 more under Evidence and details.

Named: Sheriff (t:14:09). 4 people observed.

“I didn't shoot the bartender, did I? No, but you busted up the only looking lass in town. Come right with me. Don't suppose they could su…” 13:40 · “Hello, Sheriff. Hello, Sheriff. I'd like to talk to you about that friend of mine.” 14:09

Evidence, details and a link to share

Sequence 25 from 15:03

Sequence 26 from 15:09

Frame at 15:15, shot 13715:15Frame at 15:34, shot 13815:34
2 of 2 shots sampled

59. Jail

15:09–15:46 Machine checks passed (partial)

Model synopsis: Two men converse through jail bars while a third man smokes a pipe nearby; the dialogue references a woman who owns a ranch with valuable horses and is perceived as overbearing. No named characters appear, and the setting is an interior jail cell.

  • A man smokes a pipe while standing near others in a smoky room. [frame:1]
  • Two men talk through jail bars. [frame:2]

3 people observed.

“Young fellow. You know, it's against the law to leave horses unhitched around here. In the meantime...” 15:12 · “Oh, she's got a ranch out there with a lot of valuable horses and, what'd you say?” 15:29

Evidence, details and a link to share

Sequence 27 from 15:46

Sequence 28 from 16:10

Frame at 16:24, shot 14116:24Frame at 16:28, shot 14216:28Frame at 16:32, shot 14416:32Frame at 16:36, shot 14516:36
4 of 5 shots sampled

62. Field

16:21–16:39 Machine checks passed (partial)

Model synopsis: A group of riders moves cattle across open land, then a street scene shows people walking past storefronts, followed by a decorated wagon with seated passengers, and finally a man in a hat stands beside a horse. No names are spoken, and no time of day or period is established.

  • Riders on horseback move cattle across open land. [frame:1]
  • People walk along a street lined with storefronts. [frame:2]
  • A decorated wagon with seated passengers is shown. [frame:3]
  • 1 more under Evidence and details.

4 people observed.

“Come on.” 16:23

Evidence, details and a link to share

Frame at 16:41, shot 14616:41Frame at 16:49, shot 15016:49Frame at 16:58, shot 15316:58Frame at 17:08, shot 15717:08
4 of 12 shots sampled

63. Street

16:39–17:09 Machine checks passed (partial)

Model synopsis: A man in a hat is seen near a wooden structure as cattle move in the foreground; later frames show a chaotic, blurry scene. A voice says they are going and wonders about a prank.

  • A man stands near a wooden structure as cattle move in the foreground. [frame:1]
  • A man in a dark coat points at a wooden structure. [frame:2]
  • A chaotic, blurry scene with indistinct figures and movement. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“I'm going to go.” 16:39 · “I wonder what's happening.” 17:04

Evidence, details and a link to share

Frame at 17:13, shot 15817:13
1 of 1 shots sampled

64. Field

17:09–17:16 Machine checks passed (partial)

Model synopsis: A blurry, low-resolution frame shows a chaotic outdoor scene with a large animal, possibly a bull, in motion near a wooden structure. No people, dialogue, or readable text are visible in the single frame provided.

  • A large animal, possibly a bull, is seen moving rapidly near a wooden structure. [frame:1]

Evidence, details and a link to share

Sequence 29 from 17:16

Frame at 17:21, shot 15917:21
1 of 1 shots sampled

65. Other

17:16–17:26 Machine checks passed (partial)

Model synopsis: A person lies amid broken wooden planks in a dim, debris-filled interior. No dialogue or on-screen text is present in this beat.

  • A person lies motionless under broken wooden planks. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 30 from 17:26

Frame at 17:27, shot 16017:27
1 of 1 shots sampled

66. Palisade fence area

17:26–17:28 Machine checks passed

Model synopsis: A dark, smoky outdoor scene shows a wooden palisade fence and a shadowy figure or object moving near it. No people are clearly visible, no dialogue is present, and no time of day or period is established.

Evidence, details and a link to share

Sequence 31 from 17:28

Frame at 17:40, shot 16217:40
1 of 1 shots sampled

68. Other

17:38–17:42 Machine checks passed (partial)

Model synopsis: A man in a hat and coat gestures with his right arm raised while another man stands behind him near a horse; smoke or dust partially obscures the scene. No dialogue or on-screen text is present in this beat.

  • A man in a coat raises his right arm while standing near another man and a horse. [frame:1]

2 people observed.

Evidence, details and a link to share

Frame at 17:43, shot 16317:43Frame at 17:46, shot 16417:46Frame at 17:50, shot 16617:50Frame at 17:53, shot 16717:53
4 of 5 shots sampled

69. Town square

17:42–17:54 Machine checks passed (partial)

Model synopsis: A man mounts a horse in a dusty outdoor setting while others watch and give instructions. The horse then moves forward as the rider adjusts his position.

  • A man stands near a horse while another is mounted. [frame:1]
  • Two men stand on the ground near a horse, one gesturing. [frame:2]
  • A man in a light shirt and hat mounts a horse. [frame:3]
  • 1 more under Evidence and details.

4 people observed.

“Nice day for a ride.” 17:43 · “Get on that horse.” 17:45

Evidence, details and a link to share

Frame at 18:00, shot 16818:00Frame at 18:12, shot 16918:12Frame at 18:31, shot 17018:31
3 of 3 shots sampled

70. Desert

17:54–18:45 Machine checks passed (partial)

Model synopsis: Three men on horseback are shown in a desert landscape; one speaks of eloping and cooking for two until Wyoming, while another confirms his love for a girl. The group appears to be traveling together toward a destination described as a fine horse ranch in the West.

  • Three men on horseback are shown in a desert landscape. [frame:1]
  • The men continue riding, with one speaking to another. [frame:2]
  • The group rides across rocky terrain with mountains in the background. [frame:3]

Named: Laramie (t:18:23), Lonesome (t:18:13). 4 people observed.

“The trouble with you is you don't know what romance is. Sure I do.” 17:59 · “Romance is when a man runs after a woman until she catches him. I promised this lonesome feller here to elope him. Real sure-fire elopemen…” 18:04

Evidence, details and a link to share

Frame at 18:47, shot 17118:47Frame at 18:57, shot 17218:57
2 of 2 shots sampled

71. Field

18:45–19:06 Machine checks flagged: visible event not seen

Model synopsis: Three men on horseback are seen in a wide, open landscape; one refuses to approach a ranch due to a threat from someone named Adam. The group decides to hide him while they scout the area.

  • A wide shot shows a vast field with a distant herd of cattle. [frame:1]
  • Three men on horseback are shown in conversation. [frame:2]

Named: Adam (t:18:54). 3 people observed.

“There's the big herd over there.” 18:45 · “About 600 or 700 of them. Why'd even elope with an Eskimo for a herd like that? Well, come on. Let's ride in.” 18:47

Flagged: visible event not seen (A wide shot shows a vast field with a distant herd of cattle.)

Evidence, details and a link to share

Frame at 19:09, shot 17319:09
1 of 1 shots sampled

72. Ranch house with yard

19:06–19:11 Machine checks passed (partial)

Model synopsis: A man stands near a building with horses nearby, under trees. The scene is outdoors and appears to be in a rural or semi-rural setting.

  • A man stands near a building with horses nearby. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 32 from 19:11

Frame at 19:23, shot 17419:23
1 of 1 shots sampled

73. Outdoor wooden structure

19:11–19:35 Machine checks passed (partial)

Model synopsis: Two men in hats stand under a wooden structure outdoors, discussing horses that were not delivered. One man explains they fought Andy’s men and captured him, who is now visible nearby.

  • Andy is visible nearby, having been caught trying to return to the ranch. [frame:1]

2 people observed.

“I hired you and your riders to take that herd of horses across the border and deliver them to my agent. Is that right? That's right.” 19:12 · “Well, old Andy decided to put up a fight.” 19:26

Evidence, details and a link to share

Sequence 33 from 19:35

Frame at 19:37, shot 17519:37
1 of 1 shots sampled

74. Field

19:35–19:39 Machine checks passed

Model synopsis: Three riders on horseback are visible in an open field with mountains in the background. No dialogue or on-screen text is present in this beat.

3 people observed.

Evidence, details and a link to share

Frame at 19:41, shot 17619:41Frame at 19:44, shot 17719:44Frame at 19:47, shot 17819:47
3 of 3 shots sampled

75. Field

19:39–19:49 Machine checks passed

Model synopsis: A group of men in cowboy hats stand outdoors near horses and a small building; one is identified by speech as 'old Andy Winslet, the foreman.' The scene includes mounted riders and a rural setting with mountains in the background.

Named: Andy Winslet (t:19:43). 5 people observed.

“I'm going to tell Miss Harriet about this.” 19:41 · “Well, that's old Andy Winslet, the foreman.” 19:43

Evidence, details and a link to share

Frame at 19:53, shot 17919:53Frame at 19:58, shot 18019:58Frame at 20:06, shot 18220:06Frame at 20:11, shot 18320:11
4 of 5 shots sampled

76. Field

19:49–20:13 Machine checks passed (partial)

Model synopsis: Three men on horseback are shown in an open field with mountains in the background; one man dismounts and speaks with another. A separate shot shows a man in a suit holding a rifle, and another man on horseback is seen alone in the field. The dialogue suggests a plan to conceal someone and prepare to ride in.

  • Three men on horseback are shown in a field. [frame:1]
  • Two men stand facing each other and appear to converse. [frame:2]
  • A man in a suit holds a rifle and looks downward. [frame:3]
  • 1 more under Evidence and details.

6 people observed.

“Looks like a nice quiet place.” 19:49 · “Everybody seems to like everybody else.” 19:51

Evidence, details and a link to share

Frame at 20:16, shot 18420:16Frame at 20:19, shot 18520:19Frame at 20:24, shot 18720:24Frame at 20:31, shot 18820:31
4 of 5 shots sampled

77. Private office

20:13–20:36 Machine checks passed

Model synopsis: Two men in hats converse in an interior space while a third man sits nearby; dialogue concerns moving a horse herd before daybreak due to approaching fires. The scene is lit by artificial light and includes shelves and a desk lamp.

3 people observed.

“You decided what to do with him? I don't care what you do with him, as long as you keep his nose out of this.” 20:14 · “So far, you've made a mess out of it.” 20:20

Evidence, details and a link to share

Sequence 34 from 20:36

Frame at 20:51, shot 18920:51
1 of 1 shots sampled

78. Field

20:36–21:06 Machine checks passed

Model synopsis: A man and a woman stand outdoors in period clothing while discussing a man named Andy Winthrop who allegedly tried to steal horses. The dialogue suggests betrayal and financial motive, with the woman implying Andy acted out of self-interest.

2 people observed.

“How many horses did you say old Andy stole? Well, he didn't get any.” 20:41 · “Andy Winthrop would have given his life for my father...” 20:52

Evidence, details and a link to share

Frame at 21:18, shot 19021:18
1 of 1 shots sampled

79. Ranch

21:06–21:31 Machine checks passed

Model synopsis: Two people stand near a wooden fence on a ranch; one speaks about managing the estate and hiring new hands. The dialogue mentions Lou Carly, Mr. Adams, and Arledge.

  • A man and woman stand near a fence and speak about ranch management. [frame:1]

2 people observed.

“I just told Lou Carly to take his place as foreman. Thought you'd want me to do that.” 21:06 · “Now, Mr. Adams, you're administering the estate. I'm running the ranch.” 21:10

Evidence, details and a link to share

Sequence 35 from 21:31

Frame at 21:33, shot 19121:33
1 of 1 shots sampled

80. Field

21:31–21:36 Machine checks passed

Model synopsis: A person on horseback moves past a wooden gate in an outdoor setting with trees and hills. No dialogue or on-screen text is present in this beat.

  • A person on horseback passes through a wooden gate. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 36 from 21:36

Frame at 21:37, shot 19221:37
1 of 1 shots sampled

81. Other

21:36–21:38 Machine checks passed (partial)

Model synopsis: A woman stands beside a horse in an outdoor setting with mountains in the background. The transcript contains the word 'Amen' at 21:37.

  • A woman stands beside a horse. [frame:1]

1 person observed.

“Amen.” 21:37

Evidence, details and a link to share

Frame at 21:40, shot 19321:40Frame at 21:43, shot 19421:43
2 of 2 shots sampled

82. Farm

21:38–21:44 Machine checks passed

Model synopsis: Two people stand near horses in an outdoor enclosure with wooden fencing and mountains in the background. One person is adjusting a horse's bridle while another stands nearby.

2 people observed.

Evidence, details and a link to share

Frame at 21:53, shot 19521:53Frame at 22:26, shot 19722:26Frame at 22:42, shot 19822:42Frame at 22:50, shot 20022:50
4 of 6 shots sampled

83. Corral

21:44–22:51 Machine checks passed (partial)

Model synopsis: Two men in formal attire approach a woman at a horse corral and speak with her; she identifies herself as the boss and they discuss hiring. A horse is visible in the corral, and one man gestures toward it.

  • One man gestures toward a horse in the corral. [frame:1]
  • The men and woman stand together near a corral fence. [frame:2]
  • A horse is visible behind the fence, with a man’s hand near its bridle. [frame:3]
  • 1 more under Evidence and details.

3 people observed.

“Sure is beautiful.” 21:48 · “I'm the only boss there is around here. What can I do for you?” 22:17

Evidence, details and a link to share

Frame at 22:55, shot 20122:55Frame at 23:01, shot 20223:01Frame at 23:05, shot 20323:05Frame at 23:12, shot 20423:12
4 of 4 shots sampled

84. Farm

22:51–23:17 Machine checks passed

Model synopsis: A woman in a dark dress and apron speaks with two men near a wooden fence with horses behind it; one man wears a cowboy hat, the other a top hat. The dialogue suggests a discussion about staffing and trust, ending with an order to put people to work.

Named: Lindsay (t:22:57), Frank (t:22:54). 3 people observed.

“I've never kept the house before this one.” 22:51 · “Lindsay, I think we ought to only have men around here we know all about.” 22:57

Evidence, details and a link to share

Frame at 23:34, shot 20623:34Frame at 23:39, shot 20723:39
2 of 2 shots sampled

86. Field

23:30–23:40 Machine checks passed (partial)

Model synopsis: Two men in cowboy hats stand outdoors near a wooden fence; another scene shows a man in a top hat and another man in a dark coat inside a room with a door and window. The transcript includes dialogue comparing something to a rattlesnake.

  • Two men in cowboy hats stand outdoors near a wooden fence. [frame:1]
  • A man in a top hat and another man in a dark coat stand indoors near a door and window. [frame:2]

4 people observed.

“That little of them looks kind of silly.” 23:32 · “Yeah, Jake.” 23:34

Evidence, details and a link to share

Frame at 23:49, shot 20823:49Frame at 24:15, shot 20924:15
2 of 2 shots sampled

87. Private office

23:40–24:33 Machine checks passed (partial)

Model synopsis: Two men are shown in conversation indoors and outdoors; one recounts taking horses from someone in Colorado and selling them after failing to find the owner. No names are spoken, and no specific time of day or period is established.

  • Two men stand facing each other indoors, one with hands on hips. [frame:1]
  • Two men are outdoors near a wooden building; one bends over, the other stands with head down. [frame:2]

2 people observed.

“Committing a downright dishonest act.” 23:50 · “Arlie just took a right nice herd of horses.” 24:00

Evidence, details and a link to share

Sequence 37 from 24:33

Frame at 24:35, shot 21024:35
1 of 1 shots sampled

88. Other

24:33–24:36 Machine checks passed

Model synopsis: A man in a hat and coat is seen moving quickly past a wooden wall in a single frame. No dialogue or additional context is provided in this beat.

  • A man in a hat and coat moves quickly past a wooden wall. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 38 from 24:36

Frame at 24:38, shot 21124:38
1 of 1 shots sampled

89. Farm

24:36–24:39 Machine checks passed

Model synopsis: A group of horses stands in an outdoor enclosure with mountains in the background. No people or dialogue are visible or audible in this beat.

Evidence, details and a link to share

Sequence 39 from 24:39

Frame at 24:41, shot 21224:41
1 of 1 shots sampled

90. Other

24:39–24:42 Machine checks passed

Model synopsis: A person in a hat and coat is visible in a single frame, standing near a wooden structure. No dialogue or additional context is provided in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 40 from 24:42

Sequence 41 from 24:44

Frame at 24:45, shot 21424:45Frame at 24:47, shot 21524:47Frame at 24:50, shot 21624:50
3 of 3 shots sampled

92. Barn

24:44–24:52 Machine checks passed (partial)

Model synopsis: A person in a hat stands inside a wooden structure while a cow is visible nearby; a shouted exclamation is heard. The person raises their arms in the final frame.

  • A person stands inside a wooden structure. [frame:1]
  • A cow is visible inside the same structure. [frame:2]
  • The person raises both arms upward. [frame:3]

1 person observed.

“Whoa!” 24:46

Evidence, details and a link to share

Frame at 24:53, shot 21724:53
1 of 1 shots sampled

93. Private office

24:52–24:54 Machine checks passed

Model synopsis: A man in a hat stands inside a dimly lit wooden room. No dialogue or on-screen text is present in this beat.

  • A man in a hat stands inside a wooden room. [frame:1]

1 person observed.

Evidence, details and a link to share

Frame at 24:57, shot 21824:57
1 of 1 shots sampled

94. Other

24:54–24:59 Machine checks passed (partial)

Model synopsis: A man in a dark suit and hat kneels on the floor inside a wooden-walled room, reaching toward the ground. No dialogue or on-screen text is present in this beat.

  • A man kneels on the floor and reaches toward the ground. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 42 from 24:59

Sequence 43 from 25:14

Frame at 25:15, shot 22025:15
1 of 1 shots sampled

96. Farm

25:14–25:17 Machine checks passed

Model synopsis: A woman in dark period clothing stands near horses in an outdoor setting with mountains in the background. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 44 from 25:17

Frame at 25:18, shot 22125:18
1 of 1 shots sampled

97. Field

25:17–25:19 Machine checks passed

Model synopsis: A person in a dark coat and hat stands with their back to the camera, facing a field with a fence. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Frame at 25:23, shot 22225:23Frame at 25:29, shot 22325:29Frame at 25:31, shot 22425:31
3 of 3 shots sampled

98. Field

25:19–25:32 Machine checks passed (partial)

Model synopsis: Two men stand outside a building and discuss a third man's shooting skill; one of them demonstrates by shooting at a distant scarecrow. The scene is set outdoors in a rural area with mountains and a fence visible.

  • A man demonstrates shooting by aiming at a scarecrow. [frame:3]

3 people observed.

“You got the figure, Ollie, short on brains, but long on shooting.” 25:20 · “He's the best shot in the West.” 25:23

Evidence, details and a link to share

Sequence 45 from 25:32

Frame at 25:33, shot 22525:33
1 of 1 shots sampled

99. Beat 99

25:32–25:34 Machine checks passed (partial)

Model synopsis: A man in a fedora and coat is shown in a close-up, adjusting his hat with both hands. No dialogue or environmental context is provided in this beat.

  • man adjusts his hat with both hands [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 46 from 25:34

Frame at 25:35, shot 22625:35Frame at 25:37, shot 22725:37
2 of 2 shots sampled

100. Field

25:34–25:39 Machine checks passed

Model synopsis: Two men in hats observe a distant, open landscape with indistinct figures or animals. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Frame at 25:41, shot 22825:41Frame at 25:44, shot 22925:44Frame at 25:46, shot 23025:46Frame at 25:50, shot 23125:50
4 of 4 shots sampled

101. Field

25:39–25:51 Machine checks passed (partial)

Model synopsis: Two men stand outside near a building and a fence; one speaks to the other, then walks away toward a field. A third man is visible in the distance. The dialogue suggests they are preparing to shoot together.

  • Two men stand facing each other near a building. [frame:1]
  • A man in a hat walks away from the camera toward a field with horses. [frame:2]
  • The two men are again shown facing each other, one gesturing. [frame:3]
  • 1 more under Evidence and details.

4 people observed.

“Ah, you little rascal, I didn't think you had it in you.” 25:39 · “Yeah, tell you what we'll do. I'll take the first go, you take the second go and we'll shoot together.” 25:45

Evidence, details and a link to share

Sequence 47 from 25:53

Frame at 25:54, shot 23325:54
1 of 1 shots sampled

103. Field

25:53–25:55 Machine checks passed

Model synopsis: A person in a dark coat and hat stands beside a fence in an open field with mountains in the background. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 48 from 25:55

Frame at 25:58, shot 23425:58Frame at 26:08, shot 23526:08
2 of 2 shots sampled

104. Ranch

25:55–26:15 Machine checks passed (partial)

Model synopsis: Two men stand outside a ranch building and discuss the danger posed by armed men, deciding to station them as horse guards in Box Canyon. One man gestures while speaking; the other listens and holds a chain.

  • Two men stand facing each other outside a ranch building. [frame:1]
  • One man holds a chain while standing next to another man in a hat. [frame:2]

2 people observed.

“This ranch is spooky.” 25:56 · “They're a little too handy with those guns they have around here.” 26:01

Evidence, details and a link to share

Sequence 49 from 26:15

Frame at 26:29, shot 23726:29Frame at 26:34, shot 23826:34Frame at 26:40, shot 23926:40Frame at 26:46, shot 24026:46
4 of 4 shots sampled

106. Other

26:27–26:47 Machine checks passed (partial)

Model synopsis: Two men in hats stand near a horse and a covered body while another man looks out a window; dialogue suggests a scarecrow was mistaken for a person and someone is in love and in danger. No named characters are identified in the dialogue or visuals.

  • A man in a hat stands near a horse and a covered body while another man looks out a window. [frame:1]
  • Two men in hats stand near a covered body with a horse nearby. [frame:2]
  • A man in a light hat looks out a window with hands on the sill. [frame:3]
  • 1 more under Evidence and details.

4 people observed.

“Hey, you fellas ought to be more careful. You nearly hit me a little while ago. I was a scarecrow. Hey, you quit playing scarecrow and keep …” 26:27 · “I thought you were going to help me to elope. I'm in love.” 26:36

Evidence, details and a link to share

Sequence 50 from 26:47

Frame at 28:08, shot 24428:08Frame at 28:17, shot 24528:17
2 of 2 shots sampled

109. Field

28:05–28:24 Machine checks passed (partial)

Model synopsis: A man in a hat sits among tall grass while a girl in a bow blouse speaks indoors. The transcript includes fragmented phrases such as 'Come to me, my uncle' and 'And don't be blind'.

  • A man sits among tall grass, looking upward. [frame:1]
  • A girl is seated indoors, speaking. [frame:2]

2 people observed.

“Farfall.” 28:06 · “I'm” 28:08

Evidence, details and a link to share

Frame at 28:26, shot 24628:26Frame at 28:36, shot 24728:36Frame at 28:45, shot 24828:45
3 of 3 shots sampled

110. Other

28:24–28:48 Machine checks passed (partial)

Model synopsis: A man in a hat holds a dog beside tall grass while a woman in a bow-tie dress reacts; later, the same woman is seen from behind, brushing her hair in front of a mirror. The transcript includes lines about peace, love, and silver linings, spoken during this interval.

  • A man holds a dog beside tall grass. [frame:1]
  • A woman in a bow-tie dress looks surprised or concerned. [frame:2]
  • The same woman brushes her hair while looking in a mirror. [frame:3]

2 people observed.

“All your fears are foolish, friends.” 28:25 · “Is a peace.” 28:29

Evidence, details and a link to share

Sequence 51 from 29:18

Sequence 52 from 29:21

Frame at 31:13, shot 25131:13
1 of 1 shots sampled

113. Other

29:21–33:05 Machine checks passed

Model synopsis: A conversation unfolds in a dimly lit interior where characters discuss past relationships, current tensions, and the loss of horses. One character expresses frustration at being bossed and asserts independence, while another references a man named Lonnie and a journey to Kentucky.

Named: Lonnie (t:30:11), Mr. Harley (t:32:16). 4 people observed.

“You must realize, darling, this is a line to write you.” 29:26 · “Enough people around here now trying to do that.” 30:02

Evidence, details and a link to share

Sequence 53 from 33:05

Frame at 33:17, shot 25233:17
1 of 1 shots sampled

114. Field

33:05–33:29 Machine checks passed (partial)

Model synopsis: Two figures stand near a wooden signpost reading 'SPANISH PEAKS' and '6 MILES' in a rocky outdoor setting. One figure gestures toward the sign while the other listens; dialogue suggests a dispute over distance and self-deception.

  • Two figures stand near a signpost reading 'SPANISH PEAKS' and '6 MILES'. [frame:1]
  • One figure gestures toward the signpost while the other faces him. [frame:1]

2 people observed.

“About an hour ago, you told me he's only three miles further.” 33:11 · “Hey, that's cheating.” 33:18

Evidence, details and a link to share

Sequence 54 from 33:29

Frame at 33:31, shot 25333:31Frame at 33:34, shot 25433:34Frame at 33:40, shot 25633:40Frame at 33:45, shot 25733:45
4 of 5 shots sampled

115. Farm

33:29–33:48 Machine checks passed (partial)

Model synopsis: A woman in a dress stands near a wooden structure as chickens gather around a trough; a man is heard speaking to her from inside the trough. The scene is outdoors, with a horse visible in the background of one frame.

  • A woman stands near a trough as chickens gather around it. [frame:1]
  • A man is seen inside the trough, partially submerged. [frame:2]
  • The man in the trough is shown from above, submerged up to his neck. [frame:3]
  • 1 more under Evidence and details.

Named: Nuon Alonso (t:33:39). 2 people observed.

“Ah! Darling. Darling. Don't be fighting. It's me.” 33:31 · “Nuon Alonso come to rescue you.” 33:39

Evidence, details and a link to share

Frame at 33:55, shot 25833:55Frame at 34:05, shot 26134:05Frame at 34:11, shot 26334:11Frame at 34:17, shot 26634:17
4 of 9 shots sampled

116. Farm

33:48–34:18 Machine checks passed (partial)

Model synopsis: A woman in a long dress stands near turkeys while a man in a hat lies in a wooden structure; dialogue reveals tension over sneaking away and a threat from someone named Adams. The setting appears to be an outdoor farm area with wooden buildings.

  • A woman stands near turkeys in a farmyard. [frame:1]
  • A man in a hat lies in a wooden structure, looking up. [frame:2]
  • The man in the hat continues to lie in the wooden structure, speaking. [frame:3]
  • 1 more under Evidence and details.

Named: Juris (t:33:49), Adams (t:33:49), Alonzo Mojo (t:34:04), Lena (t:34:14). 5 people observed.

“First you act like a rabbit, now you're behaving like a water lily. Come out of there this instant. I'll never speak to you again. Oh, I ca…” 33:49 · “But I've got help, darling. And this time when we sneak away, nothing will stop us. Ouch!” 34:00

Evidence, details and a link to share

Frame at 34:20, shot 26734:20Frame at 34:28, shot 26834:28Frame at 34:47, shot 26934:47
3 of 3 shots sampled

117. Field

34:18–35:00 Machine checks passed (partial)

Model synopsis: Two men in period Western attire converse outdoors while walking; one mentions returning for 'unfinished business' and references a 'she-boss' in trouble. The setting appears to be a rocky, open area with no clear indoor structures.

  • Two men walk side by side on uneven ground. [frame:1]
  • Close-up of legs walking, showing boots on rocky terrain. [frame:2]
  • Two men in hats face each other while walking, one gesturing. [frame:3]

3 people observed.

“Let up!” 34:19 · “I'm going to die.” 34:21

Evidence, details and a link to share

Frame at 35:01, shot 27035:01Frame at 35:05, shot 27135:05Frame at 35:16, shot 27335:16Frame at 35:22, shot 27435:22
4 of 5 shots sampled

118. Corral

35:00–35:24 Machine checks passed (partial)

Model synopsis: Two men on horseback ride through a dusty corral area while two other men in hats observe from the ground; dialogue suggests a captured man is being held because he controls a herd and is considered dangerous. The setting is outdoors with mountains visible, and the conversation references a 'Colonel Lindsay' and killings.

  • Two men on horseback ride through a dusty corral area. [frame:1]
  • Two men in hats stand facing each other near a wooden fence. [frame:2]
  • Two men in hats stand close together, one with a mustache. [frame:3]
  • 1 more under Evidence and details.

Named: Colonel Lindsay (t:35:15). 6 people observed.

“What are you bringing him in for? You can't drive that herd while he's with them. They follow every move he makes.” 35:02 · “I'll keep him in the corral when we get rid of the hearth.” 35:06

Evidence, details and a link to share

Sequence 55 from 35:24

Sequence 56 from 35:27

Frame at 35:31, shot 27635:31
1 of 1 shots sampled

120. Other

35:27–35:35 Machine checks passed (partial)

Model synopsis: A person stands beside a horse with gear, in an outdoor setting. No names, time of day, or period are established from the frame or transcript.

  • A person stands beside a horse with gear. [frame:1]

1 person observed.

“Hey.” 35:31

Evidence, details and a link to share

Sequence 57 from 35:35

Frame at 35:58, shot 28235:58Frame at 36:01, shot 28336:01Frame at 36:05, shot 28436:05Frame at 36:12, shot 28536:12
4 of 4 shots sampled

122. Corral

35:57–36:16 Machine checks passed (partial)

Model synopsis: Two men in hats are seen near a horse in an outdoor corral; one speaks about using the horse and another mentions a fire spreading to his pants. A third man greets others while standing beside a second man in a cowboy hat.

  • Two men in hats stand near a corral. [frame:1]
  • A saddled horse stands in a corral. [frame:2]
  • Two men, one in a light cowboy hat and one in a dark cowboy hat, stand side by side. [frame:3]
  • 1 more under Evidence and details.

4 people observed.

“Hey, maybe I can use that horse after all.” 36:02 · “I'm going down to the bunkhouse and trying to become this fire out of my feet, starting to spread to my pants.” 36:08

Evidence, details and a link to share

Frame at 36:18, shot 28636:18Frame at 36:21, shot 28736:21Frame at 36:25, shot 28836:25Frame at 36:34, shot 28936:34
4 of 4 shots sampled

123. Ranch

36:16–36:41 Machine checks passed (partial)

Model synopsis: Two men in hats converse outdoors near horses; one is addressed as Mr. Adams and they discuss saddle work. The setting appears to be a ranch or corral with wooden structures and distant hills.

  • A man in a top hat gestures while speaking to another man in a wide-brimmed hat. [frame:1]
  • Two men stand side by side, one in a white hat and suit, the other in a dark coat and hat, with horses visible behind them. [frame:2]
  • A group of men in hats gather around a wooden structure, one pointing toward a horse. [frame:3]
  • 1 more under Evidence and details.

Named: Mr. Adams (t:36:35). 4 people observed.

“It don't look sad.” 36:17 · “I slept all right. That's funny. I thought maybe you walked in your sleep.” 36:21

Evidence, details and a link to share

Sequence 58 from 36:41

Sequence 59 from 36:43

Frame at 36:44, shot 29136:44
1 of 1 shots sampled

125. Other

36:43–36:46 Machine checks passed

Model synopsis: A man in a cowboy hat and dark shirt stands beside a wooden fence, holding a coiled rope. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Frame at 36:49, shot 29236:49Frame at 36:57, shot 29336:57Frame at 37:04, shot 29437:04
3 of 3 shots sampled

126. Corral

36:46–37:05 Machine checks passed

Model synopsis: Three men and a girl are seen near a wooden corral; one man holds a rope. Dialogue mentions a boy, a horse named Honey Boy, and a man named Laramie wanting to break the horse to saddle again. A man is addressed as Mr. Lerney.

Named: Mr. Lerney (t:37:02). 5 people observed.

“When that boy comes out of that corral, he better come out of riding.” 36:46 · “What's Honey Boy doing here? He belongs to the herds.” 36:56

Evidence, details and a link to share

Frame at 37:06, shot 29537:06Frame at 37:09, shot 29637:09Frame at 37:16, shot 29737:16Frame at 37:22, shot 29837:22
4 of 4 shots sampled

127. Farm

37:05–37:24 Machine checks passed (partial)

Model synopsis: A man and a woman converse near a wooden fence and shed; the woman mentions her father's death and a horse's bad reputation. The man, addressed as Watson, is handed a hackamore.

  • A woman stands near a wooden fence and shed, looking up at a man. [frame:1]
  • The woman speaks to the man, who is seen from behind wearing a hat. [frame:2]
  • The man leans over a fence toward the woman, who looks up at him. [frame:3]
  • 1 more under Evidence and details.

Named: Watson (t:37:22), Harriot (t:37:06). 2 people observed.

“Yes, Miss Harriot?” 37:06 · “Since my father's death, that horse has developed a bad reputation.” 37:08

Evidence, details and a link to share

Frame at 37:26, shot 29937:26
1 of 1 shots sampled

128. Corral

37:24–37:27 Machine checks passed (partial)

Model synopsis: A man in a cowboy hat and dark coat stands beside a wooden fence, holding a rope. The setting appears to be outdoors near a corral or pen.

  • A man in a cowboy hat stands beside a wooden fence holding a rope. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 60 from 37:27

Sequence 61 from 37:29

Frame at 37:30, shot 30137:30Frame at 37:36, shot 30337:36Frame at 37:45, shot 30437:45Frame at 37:57, shot 30637:57
4 of 6 shots sampled

130. Field

37:29–37:58 Machine checks passed (partial)

Model synopsis: A woman speaks about a man named Laramie who is said to tame horses, while another woman urges someone named Connor to 'be pretty.' A white horse is shown in profile against a bright sky. Two women are visible behind a wooden fence, one leaning forward with concern.

  • A white horse is shown in profile against a bright sky. [frame:1]
  • Two women are visible behind a wooden fence, one pointing. [frame:3]
  • A woman leans on a fence with a concerned expression. [frame:4]

Named: Laramie (t:37:39), Connor (t:37:52). 2 people observed.

“Oh, Laramie never hurt a horse in his life. Why, he can tame anything. Horses...” 37:39 · “Prattled or women?” 37:45

Evidence, details and a link to share

Frame at 37:59, shot 30737:59
1 of 1 shots sampled

131. Field

37:58–38:01 Machine checks passed

Model synopsis: A person in dark clothing stands beside a light-colored horse in an outdoor setting with hills 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 62 from 38:01

Sequence 63 from 38:04

Frame at 38:08, shot 30938:08
1 of 1 shots sampled

133. Private office

38:04–38:12 Machine checks passed

Model synopsis: A man in a top hat and dark suit holds a small object while seated indoors. The setting appears to be a wooden-paneled room with minimal furnishings.

1 person observed.

Evidence, details and a link to share

Sequence 64 from 38:12

Frame at 38:17, shot 31038:17Frame at 38:23, shot 31138:23
2 of 2 shots sampled

134. Bedroom

38:12–38:25 Machine checks passed (partial)

Model synopsis: A man in a top hat leans over a bed while another man in a hat hides under furniture. The transcript includes shouted commands to come out and an exclamation of relief.

  • A man in a top hat leans over a bed. [frame:1]
  • A man in a hat hides under furniture. [frame:2]

2 people observed.

“Hey, shoo!” 38:14 · “Shoo!” 38:19

Evidence, details and a link to share

Frame at 38:28, shot 31238:28Frame at 38:35, shot 31338:35Frame at 38:41, shot 31438:41
3 of 3 shots sampled

135. Private office

38:25–38:42 Machine checks passed (partial)

Model synopsis: A man in a top hat and vest stands in a cluttered room while another man hides under a chair; a third man sits nearby. Dialogue suggests a confrontation about sending someone back to Kentucky, with one person refusing to go without another.

  • A man in a top hat stands holding a cane. [frame:1]
  • A man hides under a chair wearing a straw hat. [frame:2]
  • Three men are in a room: one standing, one seated, one hidden under furniture. [frame:3]

3 people observed.

“Well, you can hide in the doggondest places I ever did see.” 38:25 · “I got a right good notion to send you back home to Kentucky.” 38:30

Evidence, details and a link to share

Frame at 39:01, shot 31639:01Frame at 39:09, shot 31739:09
2 of 2 shots sampled

137. Private office

38:57–39:13 Machine checks passed

Model synopsis: Two men in hats sit and talk in a dim interior room; one speaks about being wrong and love being too sweet, while the other responds. No names are spoken, and no objects beyond furniture and clothing are visible.

  • The two men are seated facing each other in a room with coats hanging and a window. [frame:1]
  • The man in the top hat gestures while speaking to the man in the fedora. [frame:2]

2 people observed.

“You know, I've been all wrong about this so far.” 38:58 · “You were wrong long before that.” 39:04

Evidence, details and a link to share

Sequence 65 from 39:13

Frame at 39:15, shot 31839:15
1 of 1 shots sampled

138. Field

39:13–39:17 Machine checks passed

Model synopsis: A man in a hat is visible near a horse in an outdoor setting with distant hills. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 66 from 39:17

Frame at 39:18, shot 31939:18
1 of 1 shots sampled

139. Other

39:17–39:19 Machine checks passed

Model synopsis: A woman leans over a wooden railing, looking downward with a focused expression. The background shows an outdoor scene with hills and indistinct structures.

1 person observed.

Evidence, details and a link to share

Frame at 39:19, shot 32039:19Frame at 39:20, shot 32139:20Frame at 39:22, shot 32239:22
3 of 3 shots sampled

140. Field

39:19–39:22 Machine checks passed (partial)

Model synopsis: A man in a cowboy hat leans forward near a fence while a horse's legs are visible above; a woman looks over a fence in the same setting. A voice says 'Easy, boy!' during this sequence.

  • Horse legs are visible above a fence [frame:1]
  • A man in a cowboy hat leans forward near a fence [frame:2]
  • A woman looks over a fence [frame:3]

2 people observed.

“Easy, boy!” 39:19

Evidence, details and a link to share

Frame at 39:24, shot 32339:24
1 of 1 shots sampled

141. Warehouse

39:22–39:26 Machine checks passed (partial)

Model synopsis: A person in a hat and dark clothing bends over near wooden crates in a dimly lit interior. No dialogue or on-screen text is present in this beat.

  • A person bends over near wooden crates. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 67 from 39:26

Frame at 39:27, shot 32439:27
1 of 1 shots sampled

142. Other

39:26–39:28 Machine checks passed

Model synopsis: A single frame shows a person in a light garment with head bowed, against a plain background. No dialogue or additional context is provided in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 68 from 39:28

Frame at 39:29, shot 32539:29
1 of 1 shots sampled

143. Other

39:28–39:29 Machine checks passed

Model synopsis: A man in a dark hat and coat sits on wooden steps. No dialogue or other actions are visible or audible in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 69 from 39:29

Frame at 39:30, shot 32639:30
1 of 1 shots sampled

144. Other

39:29–39:31 Machine checks passed

Model synopsis: A woman in a checkered dress leans on a wooden railing, looking off-camera. The background is out of focus but suggests an outdoor setting with structures.

1 person observed.

Evidence, details and a link to share

Frame at 39:38, shot 32739:38Frame at 39:48, shot 32839:48
2 of 2 shots sampled

145. Sidewalk

39:31–39:50 Machine checks passed (partial)

Model synopsis: A man in a cowboy hat stands beside a horse while speaking; a woman in a checkered dress leans on a railing and listens. The dialogue suggests mutual dislike of local people and hints at hidden qualities in them.

  • Man stands beside a horse and speaks. [frame:1]
  • Woman leans on railing and listens. [frame:2]

2 people observed.

“Sit around here.” 39:36 · “Don't like the folks around here.” 39:40

Evidence, details and a link to share

Frame at 39:57, shot 32939:57Frame at 40:04, shot 33040:04Frame at 40:06, shot 33140:06
3 of 3 shots sampled

146. Field

39:50–40:08 Machine checks passed (partial)

Model synopsis: A man in a cowboy hat stands beside a horse while speaking; a woman looks on from behind a fence. The man then mounts the horse as dialogue continues about getting a saddle on.

  • Man stands beside a horse, holding its bridle. [frame:1]
  • Woman leans on a fence, looking toward the man and horse. [frame:2]
  • Man mounts the horse. [frame:3]

2 people observed.

“You know, if I was...” 39:51 · “If I was to tell that girl what a tough spot she's in, she'd...” 39:53

Evidence, details and a link to share

Frame at 40:09, shot 33240:09Frame at 40:12, shot 33440:12Frame at 40:16, shot 33540:16Frame at 40:33, shot 33740:33
4 of 6 shots sampled

147. Private office

40:08–40:39 Machine checks passed (partial)

Model synopsis: Two men in period attire discuss a woman's preference for a 'caveman' type, suggesting one grow a beard and find a cave to win her favor. The conversation occurs in a dimly lit interior with wooden walls and simple furnishings.

  • The man in the hat stands up and gestures while speaking. [frame:3]

2 people observed.

“You know what she wants? What? She wants a caveman.” 40:08 · “- What? - You know, one of those fellas with a big black beard. And he lives in a cave and drags women around and around and around by the …” 40:12

Evidence, details and a link to share

Sequence 70 from 40:39

Frame at 40:45, shot 33840:45
1 of 1 shots sampled

148. Field

40:39–40:50 Machine checks passed

Model synopsis: A man in dark clothing and a hat sits on a horse beside a wooden fence. He speaks to someone off-screen, telling them to wait until something feels natural and to come along with him.

  • Man on horse is visible beside a wooden fence. [frame:1]

1 person observed.

“Now, I'm just going to leave that on for a while, son, and...” 40:41 · “Till it feels natural again.” 40:45

Evidence, details and a link to share

Frame at 40:55, shot 33940:55Frame at 41:02, shot 34041:02Frame at 41:08, shot 34141:08
3 of 3 shots sampled

149. Other

40:50–41:10 Machine checks passed

Model synopsis: A man and a woman stand near a horse in an outdoor corral; the man speaks to the woman about the horse's reputation. The woman responds that the horse was not dangerous but knew too much, and the man admits he was eavesdropping while pretending to talk to the horse.

Named: Harriet (t:40:53). 2 people observed.

“is your horse, Miss Harriet. She doesn't deserve that bad reputation you spoke about.” 40:53 · “He's always been dangerous. No, not dangerous.” 40:58

Evidence, details and a link to share

Frame at 41:12, shot 34241:12Frame at 41:18, shot 34341:18Frame at 41:24, shot 34441:24Frame at 41:28, shot 34541:28
4 of 4 shots sampled

150. Field

41:10–41:30 Machine checks passed (partial)

Model synopsis: A woman in a patterned blouse speaks to a man in a dark shirt and hat; he remains nearby despite her telling him to leave. A horse and wooden fence are visible in the background.

  • The man stands near the woman and a horse, listening. [frame:2]
  • The woman looks at the man with a serious expression. [frame:3]
  • The man remains close to the woman, who gestures with her hand. [frame:4]

2 people observed.

“Well, I know the horse is grateful for your advice.” 41:11 · “Yet I'm quite sure I don't.” 41:15

Evidence, details and a link to share

Sequence 71 from 41:39

Sequence 72 from 41:49

Frame at 41:56, shot 34841:56
1 of 1 shots sampled

153. Private office

41:49–42:03 Machine checks passed (partial)

Model synopsis: Two men are in a close interaction; one is seated and wearing a hat and suspenders, the other is standing and leaning in. The transcript includes fragmented dialogue suggesting a casual or humorous moment.

  • A man in a suit leans toward a seated man in a hat and suspenders. [frame:1]

2 people observed.

“Ha! It tickles.” 41:50 · “Good point.” 41:53

Evidence, details and a link to share

Frame at 42:12, shot 34942:12Frame at 42:21, shot 35042:21Frame at 42:25, shot 35142:25
3 of 3 shots sampled

154. Private office

42:03–42:27 Machine checks passed (partial)

Model synopsis: Three men in hats and period attire are seen conversing indoors; one man is shown in a separate close-up. The dialogue mentions an elopement and a trip to Wyoming.

  • Three men stand together in conversation. [frame:1]
  • A young man is shown in close-up, looking surprised or concerned. [frame:2]
  • The three men continue their conversation, one gesturing. [frame:3]

4 people observed.

“- Hello, caveman. - See? He knew it right away. - Don'tsum's lady, love, craves a caveman. - Ah. - So I've been fixing him up. - Tonight, …” 42:07 · “Elopman.” 42:21

Evidence, details and a link to share

Frame at 42:28, shot 35242:28Frame at 42:31, shot 35342:31Frame at 42:35, shot 35442:35Frame at 42:52, shot 35542:52
4 of 4 shots sampled

155. Bar

42:27–43:05 Machine checks passed

Model synopsis: A man in a cowboy hat speaks about staying to see what happens, possibly for a woman named Miss Harriet, while other men in hats listen or react in an indoor setting. The dialogue suggests a romantic motive, and the scene includes close-ups and medium shots of the characters.

Named: Miss Harriet (t:42:42). 4 people observed.

“I'm not going back tomorrow. Oh, you're not going, huh?” 42:28 · “No, I'm going to stick around a while and see what happens.” 42:33

Evidence, details and a link to share

Sequence 73 from 43:05

Frame at 43:06, shot 35643:06
1 of 1 shots sampled

156. Bedroom

43:05–43:07 Machine checks passed

Model synopsis: A single frame shows a dimly lit bedroom with a bed, a dresser, and a mirror. No people or actions are visible, and no dialogue is present.

Evidence, details and a link to share

Frame at 43:08, shot 35743:08Frame at 43:13, shot 35843:13Frame at 43:24, shot 35943:24
3 of 3 shots sampled

157. Private office

43:07–43:32 Machine checks passed (partial)

Model synopsis: A person is seen in a dimly lit interior with curtains and a table; another person is visible in a close-up, appearing to speak. The transcript includes lines indicating someone is not present.

  • A person is visible behind a table with objects and curtains in the background. [frame:1]
  • A person is seen in a medium shot with draped curtains behind them. [frame:2]
  • A person wearing a hat is shown in close-up, mouth open as if speaking. [frame:3]

2 people observed.

“See you here.” 43:09 · “She ain't here.” 43:14

Evidence, details and a link to share

Sequence 74 from 43:45

Sequence 75 from 43:47

Frame at 43:49, shot 36243:49
1 of 1 shots sampled

160. Other

43:47–43:50 Machine checks passed

Model synopsis: A dark, low-resolution frame shows a shadowy figure near a building at night. No dialogue or clear objects are visible.

1 person observed.

Evidence, details and a link to share

Sequence 76 from 43:50

Frame at 43:53, shot 36343:53
1 of 1 shots sampled

161. Bedroom

43:50–43:55 Machine checks passed

Model synopsis: A person is lying in bed with their mouth open, appearing to be in distress or asleep. The scene is dimly lit and appears to be indoors.

1 person observed.

Evidence, details and a link to share

Sequence 77 from 43:55

Sequence 78 from 43:56

Frame at 43:57, shot 36543:57
1 of 1 shots sampled

163. Other

43:56–43:59 Machine checks passed (partial)

Model synopsis: A person in a dark hat and coat is visible in a dimly lit interior, holding an object above their head. No dialogue or on-screen text is present in this beat.

  • A person holds an object above their head. [frame:1]

1 person observed.

Evidence, details and a link to share

Frame at 43:59, shot 36643:59Frame at 44:01, shot 36744:01Frame at 44:04, shot 36844:04
3 of 3 shots sampled

164. Wooden building exterior

43:59–44:06 Machine checks passed (partial)

Model synopsis: A dark, low-lit scene shows a person near a wooden building at night; a close-up of a boot stepping onto a surface is visible. No dialogue or named characters are present in the frames.

  • a boot steps onto a surface [frame:3]

1 person observed.

Evidence, details and a link to share

Frame at 44:07, shot 36944:07Frame at 44:11, shot 37044:11
2 of 2 shots sampled

165. Other

44:06–44:14 Machine checks passed (partial)

Model synopsis: A figure moves near a wooden building at night. The scene is dark and grainy, with a window emitting light.

  • A dark figure is visible near a wooden building. [frame:1]
  • The figure moves closer to a window of the building. [frame:2]

1 person observed.

Evidence, details and a link to share

Frame at 44:14, shot 37144:14Frame at 44:18, shot 37344:18Frame at 44:23, shot 37644:23Frame at 44:27, shot 37844:27
4 of 8 shots sampled

166. Bedroom

44:14–44:28 Machine checks passed (partial)

Model synopsis: A person is seen in a dark, outdoor setting, then a figure is visible in a bedroom with a lamp, followed by a dark, indistinct scene, and finally a silhouette near a wooden structure. The transcript includes exclamations indicating surprise or alarm.

  • A person is seen in profile against a dark, leafy background. [frame:1]
  • A person is visible in a dimly lit bedroom, lying in bed with a lamp nearby. [frame:2]
  • A dark, indistinct scene with possible debris or foliage on the ground. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“I see you!” 44:15 · “Oh, my God.” 44:17

Evidence, details and a link to share

Frame at 45:04, shot 38245:04Frame at 45:25, shot 38345:25Frame at 45:48, shot 38545:48Frame at 45:49, shot 38645:49
4 of 5 shots sampled

169. Other

44:59–45:50 Machine checks passed (partial)

Model synopsis: A man named Andy is found alive and reports that Monroe Adams plans to steal a herd; others react and prepare to act. The scene takes place indoors in a dimly lit room with multiple people present.

  • A man is seen lying under blankets while others stand around him. [frame:1]
  • A man in a hat leans over the person lying down. [frame:2]
  • A dark, blurry shot of what appears to be ground or debris. [frame:3]
  • 1 more under Evidence and details.

Named: Andy (t:45:16). 4 people observed.

“Get out of those blankets till you get drunk. Help! Help! Help! Help!” 44:59 · “Why, it's old Andy.” 45:16

Evidence, details and a link to share

Frame at 45:51, shot 38745:51
1 of 1 shots sampled

170. Other

45:50–45:51 Machine checks passed

Model synopsis: Two men stand side by side in a dimly lit interior; one wears a light shirt and the other a dark coat and hat. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Sequence 79 from 45:51

Frame at 45:59, shot 38845:59
1 of 1 shots sampled

171. Forest

45:51–46:07 Machine checks passed

Model synopsis: A single frame shows a dark, low-angle shot of a figure lying on the ground in a wooded area. No people are visible or audible, and no text or objects are identifiable beyond the natural setting.

Evidence, details and a link to share

Sequence 80 from 46:07

Frame at 46:08, shot 38946:08
1 of 1 shots sampled

172. Other

46:07–46:09 Machine checks passed

Model synopsis: A group of men stand close together in a dimly lit wooden interior. One man holds a hat in his hand while others appear to be in conversation or confrontation.

3 people observed.

Evidence, details and a link to share

Sequence 81 from 46:09

Frame at 46:11, shot 39046:11
1 of 1 shots sampled

173. Other

46:09–46:14 Machine checks passed

Model synopsis: A man in a dark suit and bow tie is visible with his arms outstretched, holding onto a horizontal wooden beam. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Frame at 46:15, shot 39146:15Frame at 46:19, shot 39246:19
2 of 2 shots sampled

174. Other

46:14–46:22 Machine checks passed (partial)

Model synopsis: Two men converse in a dimly lit interior while others stand nearby; one man wears a wide-brimmed hat and light shirt, the other a dark suit. A line mentions 'old Warpink' and his sensitivity to whistles.

  • The man in the hat appears to be speaking to the man in the suit. [frame:2]

4 people observed.

“That's old Warpink. He's mighty sensitive. Kicks every time he hears a whistle. Oh.” 46:15 · “Yeah?” 46:18

Evidence, details and a link to share

Frame at 46:23, shot 39346:23Frame at 46:25, shot 39446:25
2 of 2 shots sampled

175. Other

46:22–46:25 Machine checks passed

Model synopsis: Two men stand in a dimly lit interior space, one in a cowboy hat and shirt, the other in a suit and tie, both looking off-camera. The setting appears to be a rustic wooden structure with other figures partially visible in the background.

4 people observed.

Evidence, details and a link to share

Frame at 46:29, shot 39546:29Frame at 46:35, shot 39646:35
2 of 2 shots sampled

176. Other

46:25–46:39 Machine checks passed (partial)

Model synopsis: A group of men in hats and period clothing stand in a dimly lit wooden interior while one speaks about seeking help from Railhead and returning with his men from the hills. No names are visible or clearly assigned to individuals in the frames or transcript.

  • A group of men stand in a dim interior. [frame:1]
  • The men remain standing, some looking down or at each other. [frame:2]

Named: Andy (t:46:31). 5 people observed.

“You're right.” 46:29 · “Hey, listen, Andy. Think you can get help from Railhead? Haven't got time. My men are up in the hills. If I can find them, I'll be coming …” 46:31

Evidence, details and a link to share

Frame at 46:40, shot 39746:40Frame at 46:42, shot 39846:42Frame at 46:46, shot 39946:46Frame at 46:50, shot 40046:50
4 of 4 shots sampled

177. Other

46:39–46:52 Machine checks passed (partial)

Model synopsis: Three men are in a dimly lit interior space; one is told to give his horse to Andy, and Jackson is instructed to watch a door. One man reacts with surprise after being addressed.

  • A man stands in a doorway in a dim interior. [frame:1]
  • Three men stand together in conversation. [frame:2]
  • A man in a bowler hat turns his head sharply, reacting to being addressed. [frame:3]
  • 1 more under Evidence and details.

Named: Jackson (t:46:43), Andy (t:46:41). 5 people observed.

“This is lonesome.” 46:40 · “Give Andy your horse.” 46:41

Evidence, details and a link to share

Frame at 46:53, shot 40146:53
1 of 1 shots sampled

178. Other

46:52–46:54 Machine checks passed (partial)

Model synopsis: A person in dark clothing and a hat moves near a wooden structure in a dimly lit interior. No dialogue or on-screen text is present in this beat.

  • a person in dark clothing and a hat moves near a wooden structure [frame:1]

1 person observed.

Evidence, details and a link to share

Frame at 47:29, shot 40847:29
1 of 1 shots sampled

180. Wooden interior

47:28–47:30 Machine checks passed (partial)

Model synopsis: Two figures are engaged in a physical struggle inside a wooden structure. The setting appears to be a dimly lit interior with barrels visible in the background.

  • Two figures grapple in a dim interior. [frame:1]

2 people observed.

Evidence, details and a link to share

Frame at 47:32, shot 40947:32Frame at 47:38, shot 41147:38Frame at 47:45, shot 41447:45Frame at 47:51, shot 41647:51
4 of 8 shots sampled

181. Field

47:30–47:53 Machine checks passed (partial)

Model synopsis: A person is ordered to move and then falls to the ground near a horse; another person is visible holding a weapon. The scene is dimly lit and appears to take place outdoors at night.

  • A person falls to the ground near a horse. [frame:2]
  • A horse stands over a fallen person. [frame:3]
  • A person holds a weapon while another stands nearby. [frame:4]

3 people observed.

“Get over there.” 47:31 · “I'm” 47:35

Evidence, details and a link to share

Frame at 47:54, shot 41747:54Frame at 47:57, shot 41847:57
2 of 2 shots sampled

182. Barn

47:53–47:59 Machine checks passed (partial)

Model synopsis: Two frames show a dimly lit wooden interior with a person lying on the ground and a horse standing nearby. No dialogue or on-screen text is present, and no names or time indicators are visible.

  • A person lies motionless on the ground inside a wooden structure. [frame:1]
  • A horse stands near the person on the ground, with wooden posts visible. [frame:2]

1 person observed.

Evidence, details and a link to share

Frame at 48:00, shot 41948:00
1 of 1 shots sampled

183. Other

47:59–48:02 Machine checks passed

Model synopsis: A dimly lit interior scene shows several figures in close proximity, one appearing to hold a weapon. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Frame at 48:02, shot 42048:02
1 of 1 shots sampled

184. Other

48:02–48:03 Machine checks passed (partial)

Model synopsis: A group of men in dark clothing and hats are gathered closely together in an outdoor setting. One man is being held or supported by others in the center of the frame.

  • A man is being held or supported by two others in a group setting. [frame:1]

3 people observed.

Evidence, details and a link to share

Frame at 48:04, shot 42148:04Frame at 48:05, shot 42248:05Frame at 48:07, shot 42348:07
3 of 3 shots sampled

185. Other

48:03–48:08 Machine checks passed (partial)

Model synopsis: A person is seen near horses in a dimly lit, possibly outdoor or barn-like setting. No dialogue or clear time of day is established.

  • A person is visible near a wooden post or structure. [frame:1]
  • A person walks past a horse in a dimly lit area. [frame:2]
  • Horses are visible, possibly being led or moving through a confined space. [frame:3]

1 person observed.

Evidence, details and a link to share

Frame at 48:09, shot 42448:09Frame at 48:12, shot 42648:12Frame at 48:14, shot 42748:14Frame at 48:23, shot 42948:23
4 of 6 shots sampled

186. Other

48:08–48:26 Machine checks passed (partial)

Model synopsis: A person is seen in a dim interior, speaking and whistling while another figure raises a hand. No names are spoken, and the setting is not clearly identifiable beyond being dark and enclosed.

  • A person is visible in a dark interior, speaking. [frame:1]
  • A person is seen holding a rope or strap near a wooden beam. [frame:2]
  • A dark, indistinct figure is visible. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“Come on.” 48:09 · “Come on.” 48:10

Evidence, details and a link to share

Frame at 48:34, shot 43148:34Frame at 48:37, shot 43248:37Frame at 48:39, shot 43448:39Frame at 48:45, shot 43548:45
4 of 5 shots sampled

188. Other

48:31–48:50 Machine checks passed (partial)

Model synopsis: A person reacts with alarm in a dimly lit interior while another figure is visible near a horse; no names or clear location are established from the frames or transcript.

  • A person stands in a dark room. [frame:1]
  • A horse is visible in a dimly lit space. [frame:2]
  • A person wearing a hat is seen in shadow. [frame:3]
  • 1 more under Evidence and details.

3 people observed.

“Oh, my God.” 48:32

Evidence, details and a link to share

Frame at 48:51, shot 43648:51Frame at 48:59, shot 43748:59Frame at 49:07, shot 43849:07
3 of 3 shots sampled

189. Barn

48:50–49:08 Machine checks passed (partial)

Model synopsis: A person lies on straw while others speak nearby; one man is addressed as Lawson and told to stay out. The scene includes three men in conversation and a prone figure on the ground.

  • A person lies on straw, partially obscured. [frame:1]
  • Three men stand together in conversation. [frame:2]
  • A person lies on straw, moving slightly. [frame:3]

Named: Lawson (t:49:03). 4 people observed.

“Come on.” 48:51 · “Get Andy off all right? Yeah.” 48:57

Evidence, details and a link to share

Frame at 49:15, shot 43949:15Frame at 49:52, shot 44149:52Frame at 50:10, shot 44450:10Frame at 50:17, shot 44650:17
4 of 8 shots sampled

190. Private office

49:08–50:20 Machine checks passed (partial)

Model synopsis: Two men in hats confront each other while a woman speaks; later, a man and woman stand near a lamp as he holds a hat. Dialogue reveals a plan to steal horses and mentions a character named Adams.

  • Two men in hats face each other closely. [frame:1]
  • A woman speaks with a serious expression. [frame:2]
  • A man in a dark hat looks forward with a tense expression. [frame:3]
  • 1 more under Evidence and details.

Named: Stevens (t:50:00). 4 people observed.

“I see you found Laramie, all right. Yeah, I found...” 49:11 · “I never stole a horse in my life.” 49:56

Evidence, details and a link to share

Frame at 50:30, shot 44750:30Frame at 50:42, shot 44850:42Frame at 50:46, shot 44950:46Frame at 50:49, shot 45050:49
4 of 4 shots sampled

191. Private office

50:20–50:51 Machine checks passed (partial)

Model synopsis: Two men in hats argue indoors while a woman in a white blouse and bow holds a hat; a man in a top hat appears separately. Dialogue indicates a dispute over shares and horses, and instructions to move a woman through a kitchen and open pasture gates.

  • Two men in cowboy hats stand facing each other, one gesturing. [frame:1]
  • A woman in a white blouse stands holding a hat, facing a man in a dark shirt. [frame:2]
  • A man in a top hat stands alone, looking toward the camera. [frame:3]
  • 1 more under Evidence and details.

4 people observed.

“We changed our mind about our share.” 50:22 · “Those men won't give it to you.” 50:28

Evidence, details and a link to share

Sequence 82 from 51:03

Sequence 83 from 51:06

Frame at 51:11, shot 45451:11
1 of 1 shots sampled

195. Private office

51:09–51:13 Machine checks passed (partial)

Model synopsis: A man in a hat and dark coat is seen from behind, standing near a door inside a dimly lit room. No dialogue or on-screen text is present in this beat.

  • A man in a hat stands near a door. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 84 from 51:13

Frame at 51:24, shot 45551:24
1 of 1 shots sampled

196. Field

51:13–51:34 Machine checks passed (partial)

Model synopsis: Two men in cowboy hats converse outdoors near a fence with horses visible in the background; one gestures while speaking. The dialogue indicates they are coordinating to watch someone at a ranch house and delay them.

  • p1 points left while speaking to p2 [frame:1]

2 people observed.

“I've been looking everywhere for you, you know.” 51:13 · “I think there's something going on around here. You do? Yeah. I was thinking the same thing. Now, listen. You get over to the ranch hou…” 51:16

Evidence, details and a link to share

Sequence 85 from 51:34

Frame at 51:36, shot 45651:36Frame at 51:40, shot 45751:40Frame at 51:45, shot 45851:45
3 of 3 shots sampled

197. Field

51:34–51:48 Machine checks passed (partial)

Model synopsis: A man walks among horses in a dusty outdoor area with mountains in the background; another man rides a horse near a wooden fence; a third man in a hat holds a book near horses. A voice says 'Come on.'

  • A man walks among horses in an open area. [frame:1]
  • A man rides a horse near a wooden fence. [frame:2]
  • A man in a hat holds a book near horses. [frame:3]

3 people observed.

“Come on.” 51:37

Evidence, details and a link to share

Frame at 51:51, shot 45951:51Frame at 52:00, shot 46152:00Frame at 52:03, shot 46252:03Frame at 52:20, shot 46452:20
4 of 6 shots sampled

198. Private office

51:48–52:21 Machine checks passed (partial)

Model synopsis: A man in a cowboy hat speaks indoors while another man on horseback is seen outdoors near a fence; a herd of horses is also shown. The transcript includes urgent commands and a character named Adam being addressed.

  • A man in a cowboy hat gestures while speaking indoors. [frame:1]
  • A man on horseback is seen outdoors near a fence. [frame:2]
  • A herd of horses is shown moving near a wooden structure. [frame:3]
  • 1 more under Evidence and details.

Named: Adam (t:51:52). 6 people observed.

“Adam!” 51:52 · “I'm going to go.” 51:55

Evidence, details and a link to share

Frame at 52:24, shot 46552:24Frame at 52:31, shot 46652:31Frame at 52:41, shot 46852:41Frame at 52:43, shot 46952:43
4 of 5 shots sampled

199. Town square

52:21–52:44 Machine checks passed (partial)

Model synopsis: A man on a porch confronts another man who is approaching; a woman is seen walking nearby. The transcript indicates a threat to shoot if the man comes closer, followed by an order to get out of the way.

  • A man stands on porch steps facing another man approaching with a gun. [frame:1]
  • A man in light pants aims a gun at the man on the porch. [frame:2]
  • A woman walks away from the scene in a long dress. [frame:3]
  • 1 more under Evidence and details.

Named: Adams (t:52:31). 3 people observed.

“I'm sorry, Mr. Adams, but if you come any closer, I'll be obliged to shoot you.” 52:31 · “Get out of the way, you idiot.” 52:41

Evidence, details and a link to share

Frame at 52:45, shot 47052:45Frame at 52:54, shot 47252:54Frame at 52:56, shot 47352:56Frame at 53:04, shot 47553:04
4 of 6 shots sampled

200. Porch

52:44–53:06 Machine checks passed (partial)

Model synopsis: A man fires a rifle while smoke billows; a woman on a porch reacts in alarm; a group of riders approaches on horseback; the woman embraces a man on the ground. No names are spoken that identify individuals in the frames.

  • A man fires a rifle, producing smoke. [frame:1]
  • A woman on a porch reacts with alarm. [frame:2]
  • A group of riders on horseback approaches. [frame:3]
  • 1 more under Evidence and details.

4 people observed.

“Oh, my God.” 52:45 · “Oh, my God.” 52:53

Evidence, details and a link to share

Frame at 53:10, shot 47653:10Frame at 53:18, shot 47753:18
2 of 2 shots sampled

201. Outdoor

53:06–53:23 Machine checks passed (partial)

Model synopsis: A man and a woman are shown in close proximity outdoors; the transcript includes affectionate terms and a mention of 'charred tobacco'. No named characters or specific location are established from the frames or transcript.

  • The woman leans over the man who is lying down. [frame:2]

2 people observed.

“Monzo!” 53:07 · “I love you.” 53:09

Evidence, details and a link to share

Sequence 86 from 53:23

Frame at 53:26, shot 47853:26Frame at 53:31, shot 47953:31
2 of 2 shots sampled

202. Desert

53:23–53:34 Machine checks passed (partial)

Model synopsis: Two people on horseback are visible in a desert landscape with mountains; one speaks about being taken along to avoid harm. No names are spoken or visible.

  • Two people on horseback are visible in a desert with mountains. [frame:1]
  • Two people on horseback are shown in closer view, one in light clothing, one in dark. [frame:2]

2 people observed.

“You believe I stole those heartless?” 53:24 · “Yes.” 53:24

Evidence, details and a link to share

Frame at 53:35, shot 48053:35
1 of 1 shots sampled

203. Open landscape

53:34–53:36 Machine checks passed (partial)

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

  • A group of riders on horseback moves across a dusty terrain. [frame:1]

Evidence, details and a link to share

Sequence 87 from 53:36

Frame at 53:37, shot 48153:37
1 of 1 shots sampled

204. Field

53:36–53:38 Machine checks passed

Model synopsis: A wide shot shows a group of riders on horseback moving across a hazy, open landscape with cliffs in the background. No dialogue or on-screen text is present in this beat.

Evidence, details and a link to share

Sequence 88 from 53:38

Frame at 53:39, shot 48253:39
1 of 1 shots sampled

205. Other

53:38–53:40 Machine checks passed

Model synopsis: A man in a top hat and dark coat is visible in a close-up, surrounded by indistinct figures. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 89 from 53:40

Frame at 53:41, shot 48353:41Frame at 53:43, shot 48453:43
2 of 2 shots sampled

206. Field

53:40–53:45 Machine checks passed (partial)

Model synopsis: A group of riders on horseback moves through a dusty, hazy outdoor setting. The terrain is uneven and sparsely vegetated, with no buildings or clear structures visible.

  • Riders on horseback move through a dusty, hazy landscape. [frame:1]
  • Riders continue moving, partially obscured by dust or smoke. [frame:2]

1 person observed.

“Yes.” 53:41

Evidence, details and a link to share

Frame at 53:47, shot 48553:47Frame at 53:56, shot 48853:56Frame at 54:05, shot 49254:05Frame at 54:12, shot 49554:12
4 of 11 shots sampled

207. Field

53:45–54:14 Machine checks passed (partial)

Model synopsis: Two men on horseback are seen in a dusty, open landscape, with one appearing to lead a group toward a pass; others are heard shouting commands to ride and stampede. The scene includes close-ups of men in hats and a wider shot of riders moving through dust, suggesting a chase or confrontation.

  • Two men stand side by side, looking off-screen. [frame:1]
  • Two men on horseback ride through a dusty field toward a distant group. [frame:3]
  • A group of men on horseback are seen in close-up, some wearing hats. [frame:4]

5 people observed.

“Come on.” 53:47 · “Look, they're headed for the pass.” 53:52

Evidence, details and a link to share

Frame at 54:15, shot 49654:15
1 of 1 shots sampled

208. Field

54:14–54:16 Machine checks passed (partial)

Model synopsis: A group of riders on horseback moves through a smoky or dusty environment. The scene is shot in black and white with low visibility due to atmospheric conditions.

  • Riders on horseback move through a smoky or dusty field. [frame:1]

3 people observed.

Evidence, details and a link to share

Sequence 90 from 54:17

Frame at 54:19, shot 49854:19
1 of 1 shots sampled

210. Field

54:17–54:21 Machine checks passed

Model synopsis: Two figures on horseback are visible in a dusty outdoor setting; one wears a light shirt and wide-brimmed hat, the other a dark coat and hat. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Frame at 54:22, shot 49954:22Frame at 54:23, shot 50054:23Frame at 54:25, shot 50154:25Frame at 54:27, shot 50254:27
4 of 4 shots sampled

211. Field

54:21–54:28 Machine checks passed (partial)

Model synopsis: Two men in hats are shown in outdoor shots, one speaking about traveling and urging to keep ahead. The setting appears to be an open, hazy landscape with no clear structures.

  • A man in a dark hat is seen from behind, looking forward. [frame:1]
  • A man in a light hat is shown in motion, possibly turning or moving quickly. [frame:2]
  • The man in the dark hat is shown in profile, looking to the right. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“We're going to travel us!” 54:22 · “Keep on ahead! Right for your life!” 54:24

Evidence, details and a link to share

Sequence 91 from 54:28

Frame at 54:28, shot 50354:28
1 of 1 shots sampled

212. Other

54:28–54:29 Machine checks passed

Model synopsis: A single blurry frame shows indistinct dark shapes moving against a lighter background. No people, objects, or place can be identified from the visual evidence.

Evidence, details and a link to share

Frame at 54:29, shot 50454:29Frame at 54:31, shot 50554:31
2 of 2 shots sampled

213. Field

54:29–54:32 Machine checks passed (partial)

Model synopsis: Two frames show silhouetted figures on horseback moving through a hazy, low-visibility environment. No dialogue or on-screen text is present, and no specific location or time of day can be determined from the visuals.

  • Figures on horseback move through a hazy environment. [frame:1]
  • Horse legs are visible moving across the ground. [frame:2]

2 people observed.

Evidence, details and a link to share

Frame at 54:33, shot 50654:33Frame at 54:39, shot 50954:39Frame at 54:44, shot 51254:44Frame at 54:49, shot 51554:49
4 of 10 shots sampled

214. Field

54:32–54:50 Machine checks passed (partial)

Model synopsis: A group of riders on horseback moves through a dusty, hazy outdoor setting as voices urge pursuit. One rider on a white horse is briefly visible, and a close-up shows a figure in a hat.

  • Riders on horseback move through a dusty field. [frame:1]
  • A rider on a white horse gallops forward. [frame:3]
  • A close-up shows a figure in a hat. [frame:4]

4 people observed.

“He's trying to ride out. Come on! We'll have him back in!” 54:33 · “Come on.” 54:37

Evidence, details and a link to share

Frame at 54:50, shot 51654:50Frame at 55:02, shot 52255:02Frame at 55:12, shot 52755:12Frame at 55:21, shot 53355:21
4 of 18 shots sampled

215. Field

54:50–55:21 Machine checks passed (partial)

Model synopsis: A person on horseback is seen in a dusty outdoor setting, with multiple horses visible. A close-up shows a person wearing a cowboy hat. The transcript includes fragmented dialogue urging action and an exclamation.

  • Horses are running through dust. [frame:1]
  • A person rides a rearing horse. [frame:2]
  • A group of riders moves through a dusty landscape. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“Come on.” 54:50 · “I'm going to go.” 54:53

Evidence, details and a link to share

Frame at 55:22, shot 53455:22Frame at 55:29, shot 53855:29Frame at 55:38, shot 54355:38Frame at 55:45, shot 54755:45
4 of 14 shots sampled

216. Mountain

55:21–55:46 Machine checks passed (partial)

Model synopsis: A person on horseback rides through a dusty, mountainous landscape. The transcript contains a repeated line stating an intent to leave.

  • A person rides a horse through dust [frame:1]
  • Dust or smoke obscures the view [frame:2]
  • A person on horseback rides along a path with mountains in the background [frame:3]
  • 1 more under Evidence and details.

1 person observed.

“I'm going to go.” 55:21 · “I'm going to go.” 55:44

Evidence, details and a link to share

Frame at 55:47, shot 54855:47Frame at 55:50, shot 55055:50Frame at 55:58, shot 55355:58Frame at 56:04, shot 55556:04
4 of 8 shots sampled

217. Field

55:46–56:06 Machine checks passed (partial)

Model synopsis: A group of men on horseback are shown in a dusty, open landscape, with some dismounting or interacting near a rocky outcrop. Two lines of dialogue are spoken during this sequence, indicating a brief exchange between characters.

  • Men on horseback are gathered in a dusty field. [frame:1]
  • A man dismounts or interacts with another near a horse. [frame:2]
  • Horses and riders move through a dusty area. [frame:3]
  • 1 more under Evidence and details.

3 people observed.

“Come on.” 56:01 · “I'm not.” 56:06

Evidence, details and a link to share

Sequence 92 from 56:06

Frame at 56:14, shot 55656:14Frame at 56:23, shot 55756:23
2 of 2 shots sampled

218. Outdoor garden

56:06–56:25 Machine checks passed (partial)

Model synopsis: A man in formal wear officiates a wedding outdoors as a couple prepares to kiss. The officiant speaks lines that conclude the ceremony, including a prompt for the couple to kiss.

  • Couple stands face to face, about to kiss. [frame:1]
  • Couple leans in to kiss. [frame:2]

4 people observed.

“Can I now pronounce you four people...” 56:12 · “men and wives.” 56:14

Evidence, details and a link to share

Sequence 93 from 56:35

Frame at 56:46, shot 55956:46
1 of 1 shots sampled

220. Beat 220

56:35–56:57 Machine checks passed (partial)

Model synopsis: A single frame shows the words 'The END' over a textured background, with a credit line below. The transcript includes dialogue about marriage legality tied to payment and a character saying they will return.

  • The film's end title card is displayed. [frame:1]

“Come on. Come on, then. It becomes legal the moment I get my fee. The marriage becomes legal directly after I receive my fee.” 56:36 · “I'll be right back.” 56:50

Evidence, details and a link to share

Sequence 94 from 56:57

Frame at 57:08, shot 56057:08
1 of 1 shots sampled

221. Other

56:57–57:19 Machine checks passed

Model synopsis: A single frame from the end of the film shows a cast list with names including Nelson, Alonzo, and Mulhall. The transcript contains only the spoken line 'I'm sorry.' at 57:16.

  • The film displays a cast list screen. [frame:1]

“I'm sorry.” 57:16

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, 301 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. 1:29 I'm not.
  2. 1:31 Ha ha.
  3. 1:32 Suppose you're hanging the wrong man.
  4. 1:34 I reckon we'd feel right sorry if we ever found...
  5. 1:39 Let's get this thing over with.
  6. 1:53 On your horses and after them, men!
  7. 1:55 He's stolen my boot!
  8. 2:30 Oh, my God.
  9. 3:16 Have you got anything to say before you go?
  10. 3:19 Gentlemen, I still say...
  11. 3:22 I'm innocent.
  12. 3:23 And I'm still saying I don't believe you.
  13. 3:27 Put him away up, gentlemen.
  14. 3:33 No, no, not you.
  15. 3:35 Who? Me?
  16. 3:42 And the other one...
  17. 3:44 Easy.
  18. 3:56 I get the idea that you're about to hang my friend here. That was the idea.
  19. 4:01 He seems to think he's innocent.
  20. 4:02 Say, I could hang this old rascal for anything you can think of.
718 more segments
  1. 4:06 And I still think I'd be right.
  2. 4:10 Well, what do you think about it?
  3. 4:11 Well, being what you might call entirely innocent...
  4. 4:15 I'm McGinnis.
  5. 4:16 No hanging today, boys.
  6. 4:18 Go on, son. Get around there.
  7. 4:21 Now, if you boys will kindly dismount,
  8. 4:37 Now I'm gonna have to trouble you boys for your gun.
  9. 4:43 Put him on the end here.
  10. 4:46 Come on, come on.
  11. 4:49 Ha.
  12. 4:55 Ha.
  13. 4:56 Well, Sheriff, I guess I'm going to have to skip you.
  14. 5:15 That's my hat.
  15. 5:17 That was your hat.
  16. 5:18 reimburse the gentleman for the chapeau.
  17. 5:21 The hat, the hat.
  18. 5:23 All.
  19. 5:24 The sombrero.
  20. 5:31 Now, if there's any left over, Chef, you buy your men some new boots.
  21. 5:34 They're taking your guns and your horses down the road a piece.
  22. 5:39 Come on, Ben, let's go.
  23. 5:43 I
  24. 5:56 empty rifle shells.
  25. 6:16 Jeremy Nelson. That's a right nice name. How long you had it? Oh, ever since I can remember. Ever since I can remember.
  26. 6:22 Well, that's quite unusual. Folks around here change the name quite frequently.
  27. 6:26 Especially them that carry wooden guns.
  28. 6:29 There's only a straight line ought to be around here somewhere.
  29. 6:32 When we have passed that, we will be saved.
  30. 6:34 I wouldn't say we're safe anywhere around here.
  31. 6:37 A little too quick with her hangings.
  32. 6:39 Well, it didn't hang you, did it?
  33. 6:40 but they tried to hard enough.
  34. 6:42 I was riding in the circle looking for a job.
  35. 6:44 My horse was tired, so I...
  36. 6:46 I changed him for a fresh one, leaving mine in this place.
  37. 6:48 First thing I know, I had a rope around my neck.
  38. 6:51 I run across you and you're in the same fix.
  39. 6:53 And me the innocenest man in the entire country.
  40. 6:57 Oh, my God.
  41. 7:08 When you get back to Wyoming, I always want you to remember
  42. 7:11 When you stop that hanging, you save the innocentest man in New Mexico.
  43. 7:16 Yes.
  44. 7:16 there
  45. 7:17 Always been known as...
  46. 7:19 Honest facts with you.
  47. 7:31 Yeah. Well, come around here. I want you to meet a friend of yours.
  48. 7:38 Honest.
  49. 7:38 Trax Williams.
  50. 7:40 $500 reward.
  51. 7:42 Why, this is the first time in over 35 years of business activity...
  52. 7:46 that they offered less than $1,000 reward,
  53. 7:50 Why, it's an outrage.
  54. 7:52 It's a disgrace. Why, I could sue him for that.
  55. 7:56 Laramie.
  56. 7:58 Take me back to Wyoming.
  57. 8:00 They don't appreciate me here no more.
  58. 8:03 Well, don't take it to heart, Crack.
  59. 8:05 I'll take you back if you promise to reform.
  60. 8:08 You take me back and I'll do the dog's longest job of reformating...
  61. 8:12 You ever hear and tell her?
  62. 8:31 About five years since I've used this marriage service, but I...
  63. 8:36 I suppose the rules are just safe, though.
  64. 8:41 I have a...
  65. 8:45 Well, this, uh, this here is a hunting license.
  66. 8:49 But, Claude and the Hoyle, I...
  67. 8:51 need only to change a word or two to make it a bona fide marriage license. Now, you just make yourself comfortable
  68. 8:57 but I
  69. 8:57 I've got to ask you a few questions required by law before I collect my fees.
  70. 9:02 You know, this is the first time I ever was married.
  71. 9:05 No.
  72. 9:06 Yes, sir.
  73. 9:07 I'd better put your names down so the law knows who's marrying who.
  74. 9:11 What's yours?
  75. 9:12 Alonzo Q. Mulhoff.
  76. 9:19 Alonzo Q. Yeah. The Q was...
  77. 9:22 put in for punctuation, I suppose.
  78. 9:25 How long is it? A, L...
  79. 9:29 I'm going to do you a favor, young fellow. I'll just...
  80. 9:32 Put you down as Al.
  81. 9:35 Your name...
  82. 9:36 A lintiment.
  83. 9:38 From the Spanish Peaks branch? Yes, ma'am.
  84. 9:41 We rode all the way horseback.
  85. 9:43 You must be tired.
  86. 9:45 Oh, no, we're not.
  87. 9:47 See, I knew your father awfully well, the Colonel. Oh, Lord. I never missed seeing him whenever he came up here.
  88. 9:54 Would you mind hurrying?
  89. 9:55 You see, we're starting for Kentucky as soon as we're married.
  90. 9:58 Adios.
  91. 9:59 - General, the rope behind. - Oh, no.
  92. 10:01 Where...
  93. 10:02 Just in a hurry.
  94. 10:04 Yeah, I...
  95. 10:19 Hey! Come here.
  96. 10:23 There we go.
  97. 10:24 Just what?
  98. 10:25 in honor of my reforming aid. Now, listen, Tracto, boy, you told me you were going to turn over a new leaf. I know, but you can't turn over a new leaf without first...
  99. 10:32 Sweating your thumbs.
  100. 10:35 Maybe a good drink of water would do you.
  101. 10:37 - Water? - Uh-huh.
  102. 10:38 What is...
  103. 10:39 Why, there ain't no such thing as a good drink of water. All right, make it quick, then. I'll meet you up at the general store.
  104. 10:54 Hold on! Barney!
  105. 10:56 Whoa! Whoa, burn it!
  106. 10:58 Oh, my God.
  107. 11:06 Pretty bad mess. I guess I'll have to unhitch him.
  108. 11:08 Oh, no, you won't.
  109. 11:10 I know a better way than that.
  110. 11:13 - Hold on. - That's it.
  111. 11:24 Now I'll take care of you.
  112. 11:28 I hope we're in time. We'd better be.
  113. 11:32 I now pronounce you... Happy marriage.
  114. 11:38 Not completely. I was about...
  115. 11:41 Two-thirds through. Well, forget it.
  116. 11:43 She belongs back on the ranch with her sister. Well, she's only a youngster.
  117. 11:49 I'm sorry for your wedding, darling, but you must wait till you're sure you love him.
  118. 11:54 Why don't you do something about it?
  119. 11:56 You said you were my knight in shining armor. You said not even dragons could stop you. But your sister isn't a dragon.
  120. 12:03 Give me time, then. I gotta think. You can think by yourself. I'm going.
  121. 12:08 Oh, I thought I was marrying a hero.
  122. 12:11 You're a weak...
  123. 12:13 You're a rabbit. That's what you want.
  124. 12:17 A rabbit!
  125. 12:19 Next time you show up at that ranch, I'm gonna take a shot at you. Lock this idiot up for eloping with a miner.
  126. 12:26 Ahem.
  127. 12:30 Alonzo Q., uh...
  128. 12:33 Rabbit.
  129. 12:35 But you never told me Monroe Adams had something to do with this, you know. It's none of his business. He's already the administrator of Colonel Lindsey's estate. Well, he seems to make it his business.
  130. 12:44 You know, the girls' horses must be worth a bit of money.
  131. 12:47 And that Monroe Adams is a crafty lawyer when it comes to figures. I'll fix him before I get through.
  132. 12:53 I'll fix them all. I know. I know. That's something you've got to worry about. Well,
  133. 12:58 Ah!
  134. 12:59 You gotta go to jail.
  135. 13:00 Mm-hmm.
  136. 13:01 What for? What for?
  137. 13:03 But well, Stephen, that's what's for.
  138. 13:05 Excuse me.
  139. 13:06 I wish you'd taken a horse.
  140. 13:08 I'll get a hung yesterday.
  141. 13:13 I'm not...
  142. 13:14 Come on.
  143. 13:16 How do you do, Mrs. Smith?
  144. 13:17 - Huh?
  145. 13:18 Sister!
  146. 13:18 I've written...
  147. 13:20 - Still.
  148. 13:21 How are you doing?
  149. 13:23 I'm
  150. 13:28 Hey, Sheriff, this little fella just shot a hole in the mirror back of the barn.
  151. 13:36 Uh, come right with me, will you please? Now, wait a minute, wait a minute.
  152. 13:40 I didn't shoot the bartender, did I? No, but you busted up the only looking lass in town. Come right with me. Don't suppose they could sue me for that, do you?
  153. 13:49 Well, there's a possibility.
  154. 13:52 Hand me, don't you?
  155. 13:53 When did this love business start?
  156. 14:00 He was back in Kentucky.
  157. 14:02 That was before her father died. Then her sister brought her out here.
  158. 14:06 And you followed her out?
  159. 14:08 That's it.
  160. 14:09 Hello, Sheriff. Hello, Sheriff. I'd like to talk to you about that friend of mine.
  161. 14:14 That friend of yours is better off in jail while he is. Yes, I know, but... I know, you may not know him as well as we do out here. Yes, but he seems harmless, and I... Well, that's only a question of geography.
  162. 14:24 He's wandered in Kansas for cattle trouble, Colorado for horse complaint, and in Texas,
  163. 14:29 The gang was running high the moment they see him coming. What is Arizona wanting for?
  164. 14:34 Well, nothing yet.
  165. 14:35 There's a big herd of cattle coming in today, and...
  166. 14:37 The boys will be here for a couple of weeks spending their money while the herd rests up. So you're locking tracks up to keep them out of competition? Sure.
  167. 14:43 We've got to give the local boys a break. Jeff! Jeff! Will you watch this for me? Sure, definitely.
  168. 14:51 Anything on big doings tonight, you know. Mm-hmm? Fireworks...
  169. 14:55 Here, try this, Sheriff. Here.
  170. 14:57 Yeah, fireworks and everything.
  171. 14:59 Yes, indeed. I'll live in the last 11 o'clock.
  172. 15:12 Young fellow. You know, it's against the law to leave horses unhitched around here. In the meantime...
  173. 15:19 Uh, Pat Louise Rest will do those two fellows...
  174. 15:22 Good. And then her sister interfered.
  175. 15:26 That's it.
  176. 15:27 Right.
  177. 15:29 Oh, she's got a ranch out there with a lot of valuable horses and, what'd you say?
  178. 15:33 She's got a ranch with a lot of valuable horses and...
  179. 15:36 She thinks she can run it just like her father did.
  180. 15:39 The fact is, she thinks she can run everything and everybody.
  181. 15:43 Well, she seems to be doing pretty well. You see, what's the matter with you, Bud, is that you haven't had enough experience with the ladies.
  182. 15:52 What you need is a good manager.
  183. 15:54 What I need is somebody to get me out of here. Well, now, I'm just coming to that.
  184. 15:59 I'll not only get you out of here...
  185. 16:01 But I'll elope you.
  186. 16:03 And I'll make it stick...
  187. 16:05 if it's the last thing I ever do.
  188. 16:15 Where'd you get the firecracker, Sonny?
  189. 16:17 Hold on that door down there.
  190. 16:19 Store, huh? You're at...
  191. 16:23 Come on.
  192. 16:39 I'm going to go.
  193. 17:04 I wonder what's happening.
  194. 17:05 Sounds like a terrible prank to me.
  195. 17:29 Come on.
  196. 17:35 Time to go for it.
  197. 17:43 Nice day for a ride.
  198. 17:45 Get on that horse.
  199. 17:47 All right.
  200. 17:50 There you go. Come on. Come on. Whoa!
  201. 17:59 The trouble with you is you don't know what romance is. Sure I do.
  202. 18:04 Romance is when a man runs after a woman until she catches him. I promised this lonesome feller here to elope him. Real sure-fire elopement this trip.
  203. 18:13 And if you'll help me, I'll do the cooking for the two of us till we get clean to Wyoming.
  204. 18:18 Lonesome, you sure you love this girl? I'm sure I do.
  205. 18:23 I'd die for her. It's pretty bad games, Laramie. Half dead already.
  206. 18:27 Well, I guess I have to help you out. Come on.
  207. 18:41 It's about the finest horse ranch in the West.
  208. 18:45 There's the big herd over there.
  209. 18:47 About 600 or 700 of them. Why'd even elope with an Eskimo for a herd like that? Well, come on. Let's ride in.
  210. 18:54 Oh, not me. Adam said he'd shoot me on side if he caught me around the ranch again. Well, maybe we'd better hide you out and we'd look things over.
  211. 19:00 Come on.
  212. 19:01 Oh
  213. 19:12 I hired you and your riders to take that herd of horses across the border and deliver them to my agent. Is that right? That's right. I drove this woman halfway across the state after a runaway sister to give you a chance to take those horses.
  214. 19:22 That's right.
  215. 19:23 What do you got to say for yourself? I come back and find the horses still here.
  216. 19:26 Well, old Andy decided to put up a fight.
  217. 19:28 It took us most of the night to ride his men out into the hills.
  218. 19:30 Lucky for us, we caught him when he tried to get back to the ranch.
  219. 19:33 There he is now.
  220. 19:41 I'm going to tell Miss Harriet about this.
  221. 19:43 Well, that's old Andy Winslet, the foreman.
  222. 19:49 Looks like a nice quiet place.
  223. 19:51 Everybody seems to like everybody else.
  224. 19:54 Yeah, they seem to even be playing games.
  225. 19:56 What do you want to do with him?
  226. 19:58 Get him out of sight.
  227. 20:01 You high?
  228. 20:02 We're riding in.
  229. 20:04 Yes, and...
  230. 20:05 Have a chance.
  231. 20:05 Man's remedy for solitude and heartening.
  232. 20:14 You decided what to do with him? I don't care what you do with him, as long as you keep his nose out of this.
  233. 20:20 So far, you've made a mess out of it.
  234. 20:22 Hurry, Lindsey's got a deal on for those horses.
  235. 20:24 The fires are on the way. That means we've got to get that herd out of here. Name your time. I'll get them out.
  236. 20:30 Make it to an angle.
  237. 20:31 You can't round up that herd that fast. Tomorrow night at the very latest.
  238. 20:35 You better get started before daybreak.
  239. 20:41 How many horses did you say old Andy stole? Well, he didn't get any.
  240. 20:47 tried to get away with the whole herd, but the boys chased him off.
  241. 20:50 I can't understand it.
  242. 20:52 Andy Winthrop would have given his life for my father...
  243. 20:55 Maybe.
  244. 20:56 But not for you.
  245. 20:58 Did you see a woman trying to run this ranch changes things? And old Andy saw his chance to make a lot of money.
  246. 21:03 He's only human and...
  247. 21:04 Well, they tried to get away with it.
  248. 21:06 I just told Lou Carly to take his place as foreman. Thought you'd want me to do that.
  249. 21:10 Now, Mr. Adams, you're administering the estate. I'm running the ranch.
  250. 21:14 I'd rather tend to these things myself.
  251. 21:16 I'm sorry, but I thought it'd save some time.
  252. 21:19 We've got to get some more men in to take the place of those fellas that left with Andy.
  253. 21:23 Bring Arledge and I'll give him his instructions.
  254. 21:37 Amen.
  255. 21:48 Sure is beautiful.
  256. 21:49 Yes, sir.
  257. 21:50 The most beautiful horses I've ever seen on any range.
  258. 22:00 I'm going to go.
  259. 22:06 Howdy, miss.
  260. 22:10 We're looking for the boss.
  261. 22:12 I'm aboard. What is it?
  262. 22:13 No, no, I mean the he-bar.
  263. 22:17 I'm the only boss there is around here. What can I do for you?
  264. 22:21 We've never worked for a woman before, but maybe we can get used to it.
  265. 22:27 Oh, you ought to go to work.
  266. 22:28 Yeah, that's the idea. You know, you're right smart for a girl.
  267. 22:32 We do need men around here.
  268. 22:34 Do you know anything about horses? Yes, ma'am. Met quite a few in my time.
  269. 22:38 How about the ones you had to take before? I'll leave that to my partner. He's right smart at getting acquainted.
  270. 22:44 Well, I guess I had to take a chance on you. Uh, the, um...
  271. 22:48 Gable's.
  272. 22:49 Leave cleaning.
  273. 22:51 I've never kept the house before this one.
  274. 22:53 but...
  275. 22:54 You'll be right proud of me, Frank.
  276. 22:57 Lindsay, I think we ought to only have men around here we know all about.
  277. 23:00 Well, everybody knows me.
  278. 23:03 I thought maybe you did.
  279. 23:05 Put them to work.
  280. 23:07 All right.
  281. 23:08 - Man, you're talking.
  282. 23:09 Thanks, boss.
  283. 23:18 Put your things in that bunkhouse and we decide what to do. Thanks, partner.
  284. 23:24 Couldn't get the name.
  285. 23:32 That little of them looks kind of silly.
  286. 23:34 Yeah, Jake.
  287. 23:35 About as silly as a rattlesnake hanging on the end of your finger.
  288. 23:40 You know...
  289. 23:42 I got the idea that you'd met our age before.
  290. 23:45 Not only met him, but they've done him a great favor. Yeah?
  291. 23:48 Yeah, I saved him from...
  292. 23:50 Committing a downright dishonest act.
  293. 23:54 I don't doubt it.
  294. 23:57 Go on with your story. Over in Colorado.
  295. 24:00 Arlie just took a right nice herd of horses.
  296. 24:03 From a fella?
  297. 24:05 Without the fellow known, it's...
  298. 24:06 Time.
  299. 24:07 And I suppose you talked him into giving them back. Well, I don't even...
  300. 24:12 Better than that.
  301. 24:13 in order to make sure that
  302. 24:15 They already got them back. I took them horses myself.
  303. 24:19 I start looking.
  304. 24:21 For that car?
  305. 24:22 But, you know, I looked and...
  306. 24:25 I looked and I looked and I never... I never could locate him.
  307. 24:29 Finally, I had the...
  308. 24:30 Sell them horses myself.
  309. 24:46 Whoa!
  310. 25:04 Pardon me.
  311. 25:20 You got the figure, Ollie, short on brains, but long on shooting.
  312. 25:23 He's the best shot in the West.
  313. 25:25 Get her.
  314. 25:25 Occasionally.
  315. 25:26 You see that tomato can on that scarecrow? Yeah.
  316. 25:31 Well, he'd do it like this.
  317. 25:39 Ah, you little rascal, I didn't think you had it in you.
  318. 25:45 Yeah, tell you what we'll do. I'll take the first go, you take the second go and we'll shoot together.
  319. 25:56 This ranch is spooky.
  320. 25:57 And with Arledge here, it makes it more so.
  321. 26:01 They're a little too handy with those guns they have around here.
  322. 26:03 Get rid of them quick.
  323. 26:06 Easier said than done.
  324. 26:08 put them up in Box Canyon tonight as horse guards.
  325. 26:11 But he's far around, isn't he?
  326. 26:13 say it was just about far enough.
  327. 26:22 What's that?
  328. 26:24 Sounds like a sissy rattlesnake.
  329. 26:26 Hey.
  330. 26:27 Hey, you fellas ought to be more careful. You nearly hit me a little while ago. I was a scarecrow. Hey, you quit playing scarecrow and keep your eye out for old Andy.
  331. 26:36 I thought you were going to help me to elope. I'm in love.
  332. 26:40 And you don't know how terrible it feels.
  333. 26:43 Feel a whole lot worse if they catch you around here.
  334. 26:46 Hey!
  335. 26:47 Sending you two to keep the horses out of Box Canyon tonight.
  336. 26:50 Who's the idea with that? Never mind.
  337. 26:52 Fox Canyon.
  338. 26:54 I guess it's the Box Canyon. Well,
  339. 27:06 Come, sweetheart mine.
  340. 27:11 Don't sit and cry.
  341. 27:15 Tell me all the cares that make you feel
  342. 27:19 Oh
  343. 27:20 Oh
  344. 27:21 What have I done?
  345. 27:26 Answer me, hon.
  346. 27:30 Have I ever said an unkind word to you?
  347. 27:35 Amen.
  348. 27:38 My love is true.
  349. 27:42 And just for you
  350. 27:46 I do almost anything as hell.
  351. 27:50 kind.
  352. 27:53 Dear, when you sighed,
  353. 27:56 For when you cry
  354. 28:01 Something seems to gristle
  355. 28:04 Miss Mary.
  356. 28:06 Farfall.
  357. 28:08 I'm
  358. 28:11 Come to me, my uncle.
  359. 28:15 Honey, baby.
  360. 28:19 And don't be blind
  361. 28:25 All your fears are foolish, friends.
  362. 28:29 Is a peace.
  363. 28:32 You know, I feel that I'm in love with you.
  364. 28:40 Every cloud must have a silver light
  365. 28:50 Mm-hmm.
  366. 28:53 Amen.
  367. 28:54 My, my honey dear
  368. 28:59 While I can't awake
  369. 29:02 He's here.
  370. 29:06 For else I shall be mellowed.
  371. 29:10 Call he a truth.
  372. 29:26 You must realize, darling, this is a line to write you.
  373. 29:29 I want you to wait till you're old enough to know your own mind. I don't want to wait until I know my own mind.
  374. 29:34 I want to be dragged by my hair to my lover's cage.
  375. 29:39 I felt the same way about it when I was yours.
  376. 29:43 The right man never came along, and I lost him.
  377. 29:47 What about that fellow I saw you talking to in the yard today?
  378. 29:50 From the window here, you look more than interesting.
  379. 29:53 Maybe I was.
  380. 29:55 for a minute.
  381. 29:56 Then...
  382. 29:57 And then he started to tell me how to run the ranch.
  383. 30:00 started right in by trying to boss me.
  384. 30:02 Enough people around here now trying to do that.
  385. 30:05 I'm going to do my own thinking and my own bossing.
  386. 30:08 Stop the pouting.
  387. 30:10 Oh, I feel better about it.
  388. 30:11 They hadn't put poor Lonnie in jail.
  389. 30:14 It seems so foreign to his finer nature.
  390. 30:18 Don't let that worry you.
  391. 30:20 By this time, he's on his way to Kentucky.
  392. 30:22 I'm thinking about you every moment. Oh, that's the trouble with him. He's always thinking.
  393. 30:28 Oh, I want him to do something.
  394. 30:33 About time those fellows were showing up to relieve us. I was too sleepy I couldn't see a horse. These have a heard one.
  395. 30:43 Bet down by that fire over there. We'll call you when we want you. Yes.
  396. 30:50 Oh, my God.
  397. 30:55 Well, it's what I call real hospitality.
  398. 30:58 What do you mean now?
  399. 30:59 Nothing.
  400. 31:01 That's when they picked out a nice place for us to sleep.
  401. 31:06 Yeah.
  402. 31:08 You know, I was thinking the same thing.
  403. 31:09 Mm-hmm.
  404. 31:11 Oh, well.
  405. 31:17 Where'd you leave? Over the fire in the big rock.
  406. 31:50 Get their horses. They won't eat 'em anymore.
  407. 31:59 Oh, my God.
  408. 32:16 I thought Mr. Harley's had a kind face the moment I... that I thought.
  409. 32:20 You know, we could sue him for that. Yeah.
  410. 32:24 Isn't legal.
  411. 32:40 Here.
  412. 32:42 Here.
  413. 32:50 Well, now that you're dead,
  414. 32:52 Why don't you lay down?
  415. 32:59 I don't mind Arlie's killing us.
  416. 33:02 Taking our horses away is going to shore up against him.
  417. 33:11 About an hour ago, you told me he's only three miles further.
  418. 33:18 Hey, that's cheating.
  419. 33:20 I've been cheating myself all my life.
  420. 33:22 Ever get yourself?
  421. 33:24 Well, I'm too smart for that.
  422. 33:31 Ah! Darling. Darling. Don't be fighting. It's me.
  423. 33:39 Nuon Alonso come to rescue you.
  424. 33:42 Where are you? In the water trough, dearest. Ready to die for you.
  425. 33:46 Well, of all places...
  426. 33:49 First you act like a rabbit, now you're behaving like a water lily. Come out of there this instant. I'll never speak to you again. Oh, I can't, Juris. I really can't. Adams is around here and he's promised to shoot me. I wouldn't blame him if he did.
  427. 34:00 But I've got help, darling. And this time when we sneak away, nothing will stop us. Ouch!
  428. 34:04 You listen to me, Alonzo Mojo. I'm not going to sneak away, and I'm not going all over the horse straw.
  429. 34:11 Oh, but darling! Don't you darling me!
  430. 34:14 Ow! Lena! Ow!
  431. 34:19 Let up!
  432. 34:21 I'm going to die.
  433. 34:27 If my feet hurt that bad, I wouldn't go back.
  434. 34:30 Well, I promise to E-Loap that kid and I'll do it.
  435. 34:32 even if I have to wear horseshoes.
  436. 34:34 By the way, what are you going back for?
  437. 34:37 Ah, just a little unfinished business. Can't be that you're worried about that sassy she-boss of yours.
  438. 34:43 Now...
  439. 34:45 Now she's in a lot of trouble and doesn't know it.
  440. 34:50 She's pretty sure of herself.
  441. 34:53 Yeah, they're the kind that need help the most.
  442. 34:55 I guess you're right.
  443. 34:58 Yes.
  444. 35:02 What are you bringing him in for? You can't drive that herd while he's with them. They follow every move he makes.
  445. 35:06 I'll keep him in the corral when we get rid of the hearth.
  446. 35:08 Should have shot him
  447. 35:14 He's a killer, isn't he?
  448. 35:15 Colonel Lindsay's the only man that ever wrote them. No one else could lay a hand on them.
  449. 35:19 He killed a couple of Trinus.
  450. 35:20 Yeah?
  451. 35:31 Hey.
  452. 35:36 I thought you said you put enough lead into those fellas to hold them down from now on.
  453. 35:41 I'm sorry.
  454. 35:45 And this piece of horse flesh I ever saw.
  455. 35:50 He signed the Spooky.
  456. 35:52 Maybe Ollie'd bit him.
  457. 35:54 So far, you've made 100% monkey out of yourself.
  458. 36:02 Hey, maybe I can use that horse after all.
  459. 36:08 I'm going down to the bunkhouse and trying to become this fire out of my feet, starting to spread to my pants.
  460. 36:14 Hello, boys.
  461. 36:17 It don't look sad.
  462. 36:18 Good this morning.
  463. 36:20 Maybe didn't sleep so well last night.
  464. 36:21 I slept all right. That's funny. I thought maybe you walked in your sleep.
  465. 36:25 We're breaking out some horses for saddle work.
  466. 36:27 You Wyoming boys are generally pretty good at that sort of thing.
  467. 36:32 Try your hand on this one.
  468. 36:35 That's right, Mr. Adams.
  469. 36:36 Always start with the easiest one first.
  470. 36:39 All right.
  471. 36:46 When that boy comes out of that corral, he better come out of riding.
  472. 36:56 What's Honey Boy doing here? He belongs to the herds.
  473. 36:59 Laramie wants to break him to the saddle again.
  474. 37:02 Oh, Mr. Lerney.
  475. 37:06 Yes, Miss Harriot?
  476. 37:07 Please be careful.
  477. 37:08 Since my father's death, that horse has developed a bad reputation.
  478. 37:12 A lot of us have.
  479. 37:15 Maybe he's one of them.
  480. 37:18 Hand me that hackamore there.
  481. 37:22 Thanks, Watson.
  482. 37:29 I'm sorry.
  483. 37:34 I'm afraid he'll get hurt.
  484. 37:39 Oh, Laramie never hurt a horse in his life. Why, he can tame anything. Horses...
  485. 37:45 Prattled or women?
  486. 37:48 Oh, my God.
  487. 37:52 Come on, Connor. Be pretty.
  488. 37:56 Yes.
  489. 38:01 Now stay there with your sprouts.
  490. 38:14 Hey, shoo!
  491. 38:19 Shoo!
  492. 38:20 Come out of there, you blanket squirrel.
  493. 38:23 Phew.
  494. 38:25 Well, you can hide in the doggondest places I ever did see.
  495. 38:30 I got a right good notion to send you back home to Kentucky.
  496. 38:33 Never.
  497. 38:36 Yeah.
  498. 38:37 without her.
  499. 38:39 You know...
  500. 38:44 Whew.
  501. 38:45 Hey! Hey! Oh! You...
  502. 38:58 You know, I've been all wrong about this so far.
  503. 39:02 So far...
  504. 39:04 You were wrong long before that.
  505. 39:06 She didn't want my kind of love.
  506. 39:08 It was too sweet, too beautiful.
  507. 39:10 You know it's time to hit me that way too, son.
  508. 39:19 Easy, boy!
  509. 39:32 Oh, okay.
  510. 39:35 Yeah.
  511. 39:36 Sit around here.
  512. 39:37 The only trouble with you is you're...
  513. 39:40 Don't like the folks around here.
  514. 39:42 Well, I don't blame you.
  515. 39:44 I don't like 'em either.
  516. 39:46 There is more to them.
  517. 39:48 Then that's the right...
  518. 39:49 What kind of people?
  519. 39:51 You know, if I was...
  520. 39:53 If I was to tell that girl what a tough spot she's in, she'd...
  521. 39:57 Had me run right off the plate.
  522. 40:00 Well, that's what we're doing.
  523. 40:00 comes a...
  524. 40:02 Not having any horse sense like you've got.
  525. 40:05 Now, come on, son. I'm going to get you a saddle on.
  526. 40:08 You know what she wants? What? She wants a caveman.
  527. 40:12 - What? - You know, one of those fellas with a big black beard. And he lives in a cave and drags women around and around and around by the hair.
  528. 40:19 Now let me give you a word of warning, son.
  529. 40:22 Get all that hair dragging in before you get married.
  530. 40:27 But don't you see, this makes it very simple.
  531. 40:29 Yes.
  532. 40:30 All we got to do is to get you a cave and a beard. That's just the idea. If I had a beard, maybe she'd take me seriously.
  533. 40:41 Now, I'm just going to leave that on for a while, son, and...
  534. 40:45 Till it feels natural again.
  535. 40:49 Come on with me.
  536. 40:50 Come on.
  537. 40:53 is your horse, Miss Harriet. She doesn't deserve that bad reputation you spoke about.
  538. 40:58 He's always been dangerous. No, not dangerous.
  539. 41:01 He just knew too much.
  540. 41:03 Is that what you were trying to tell me a while ago? I didn't know anybody was listening. I was talking to the horse.
  541. 41:11 Well, I know the horse is grateful for your advice.
  542. 41:13 Maybe the horse needs it.
  543. 41:15 Yet I'm quite sure I don't.
  544. 41:16 Maybe so, but I'll just stick around here a couple of days...
  545. 41:20 Good luck.
  546. 41:21 I find out whether you do or not. Well, I don't need you.
  547. 41:24 I don't want you here.
  548. 41:25 I think you'd better go.
  549. 41:36 You're no better than that.
  550. 41:45 You keep out of this.
  551. 41:50 Ha! It tickles.
  552. 41:53 - Good point.
  553. 41:56 Okay.
  554. 41:57 You know, that...
  555. 41:58 You and the mattress are getting to look more like every minute.
  556. 42:07 - Hello, caveman. - See? He knew it right away. - Don'tsum's lady, love, craves a caveman. - Ah. - So I've been fixing him up. - Tonight, it's the big elopement. - I'm going to go. - I'm going to go.
  557. 42:21 Elopman.
  558. 42:22 Yeah, and tomorrow you and I are on our way to Wyoming.
  559. 42:28 I'm not going back tomorrow. Oh, you're not going, huh?
  560. 42:31 or if you're in a hurry.
  561. 42:33 No, I'm going to stick around a while and see what happens.
  562. 42:37 She might need me. What? She...
  563. 42:42 Miss Harriet?
  564. 42:45 Romance, my dear friend from Wyoming.
  565. 42:49 When a man runs after a woman,
  566. 42:52 Don't you catch us?
  567. 43:09 See you here.
  568. 43:14 She ain't here.
  569. 43:23 Not here.
  570. 43:37 Oh, Lenta.
  571. 43:43 Lenten darling.
  572. 44:15 I see you!
  573. 44:17 Oh, my God.
  574. 44:25 Yeah, what's going on down there?
  575. 44:31 I told you we'd have trouble with those fellas.
  576. 44:43 I'll get the cat of juice.
  577. 44:47 Help, help, help. Well, get him and put a guard over him.
  578. 44:50 We're gonna look over the stables. You fill a circle around the back way.
  579. 44:56 Come on, Austin, get in there.
  580. 44:59 Get out of those blankets till you get drunk. Help! Help! Help! Help!
  581. 45:04 What?
  582. 45:06 You've got to stay down here and let racket for you, Stout.
  583. 45:09 Now what's the matter with you? The, the, the, the, the, that matter there.
  584. 45:12 What?
  585. 45:12 And I think he's still alive.
  586. 45:16 Why, it's old Andy.
  587. 45:20 What happened, Andy? They're fixing to steal the herd.
  588. 45:23 Just as I thought it.
  589. 45:26 Come on, let's get him out of here.
  590. 45:34 That herd will be out here in half an hour. I overheard the whole scheme. I didn't think Ollie's had brains enough to pull a deal like this.
  591. 45:40 Knowledge and this gang are just high on hands.
  592. 45:42 Atoms of the...
  593. 45:43 the fellow's gonna steal this herd? - Who?
  594. 45:45 Monroe Adams.
  595. 45:47 Whistling.
  596. 46:15 That's old Warpink. He's mighty sensitive. Kicks every time he hears a whistle. Oh.
  597. 46:18 Yeah?
  598. 46:20 You mean like...
  599. 46:29 You're right.
  600. 46:31 Hey, listen, Andy. Think you can get help from Railhead? Haven't got time. My men are up in the hills. If I can find them, I'll be coming back.
  601. 46:40 This is lonesome.
  602. 46:41 Give Andy your horse.
  603. 46:43 Go on. Jackson, watch that door.
  604. 46:48 What?
  605. 46:57 I'm sorry.
  606. 47:02 I'm going to go.
  607. 47:09 Come on.
  608. 47:15 Pick him up.
  609. 47:17 I'm going to go.
  610. 47:31 Get over there.
  611. 47:35 I'm
  612. 47:46 You're next.
  613. 48:09 Come on.
  614. 48:09 Come on.
  615. 48:10 Come on.
  616. 48:23 Whistling
  617. 48:32 Oh, my God.
  618. 48:51 Come on.
  619. 48:57 Get Andy off all right? Yeah.
  620. 49:01 - Hello?
  621. 49:03 Lawson.
  622. 49:03 You keep out of there.
  623. 49:05 Come on, Draghi.
  624. 49:11 I see you found Laramie, all right. Yeah, I found...
  625. 49:14 Old Andy was with him.
  626. 49:15 I hit him just where I wanted him.
  627. 49:17 He got scared and ran away. Yeah, I can see you got the best of it. I'm taking those horses south myself.
  628. 49:24 Those horses don't leave without me.
  629. 49:26 All right, come on, if you think you can make it.
  630. 49:28 I'll make it all right.
  631. 49:30 You fellows go out and find them and don't come back till you do.
  632. 49:38 What are you doing here?
  633. 49:45 Oh, we're hiding.
  634. 49:46 Nobody would think of looking for us here.
  635. 49:48 I'll have to ask you to leave immediately.
  636. 49:51 Mr. Adams has told me how all had saved the horses you tried to steal.
  637. 49:54 I'm sorry it turned out to...
  638. 49:56 I never stole a horse in my life.
  639. 49:58 Right now, Trax and I are going to steal the whole herd.
  640. 50:00 And you're going to help us, Stevens.
  641. 50:04 Cracks.
  642. 50:05 Keep you on that window.
  643. 50:08 Monroe Adams, there's agent forces across the board, are waiting to buy those horses.
  644. 50:12 He's getting him out of here in 15 minutes.
  645. 50:13 Adam's.
  646. 50:14 I don't believe him. Well, that part's not important. We sent old Andy for help, but he won't be back here in time, so we're stealing the horses first.
  647. 50:21 Before we leave, I'm telling you.
  648. 50:22 We changed our mind about our share.
  649. 50:26 We want half, but we don't go.
  650. 50:28 Those men won't give it to you.
  651. 50:31 We'll take those horses ourselves.
  652. 50:34 I had you stop before you got to the border.
  653. 50:37 and if I attend to you before we leave.
  654. 50:40 It seemed kind of funny at first feeding your own horses. But you'll get used to it.
  655. 50:45 Tracks.
  656. 50:45 Take Miss Lindsay out through the kitchen.
  657. 50:47 I'll get the pasture gates open. We can start now.
  658. 50:52 For once in your life, you're taking orders instead of giving them.
  659. 50:55 Don't call for help.
  660. 51:00 I'll do as I tell you.
  661. 51:13 I've been looking everywhere for you, you know.
  662. 51:16 I think there's something going on around here. You do? Yeah. I was thinking the same thing. Now, listen. You get over to the ranch house over there and keep your eye on those fellas.
  663. 51:24 Yeah.
  664. 51:24 See if you can hold him back a few minutes.
  665. 51:27 Oh!
  666. 51:28 Huh.
  667. 51:29 Yeah, me?
  668. 51:33 Gee.
  669. 51:37 Come on.
  670. 51:52 Adam!
  671. 51:55 I'm going to go.
  672. 52:14 I'm going to go.
  673. 52:20 Back! You ride the flank!
  674. 52:31 I'm sorry, Mr. Adams, but if you come any closer, I'll be obliged to shoot you.
  675. 52:41 Get out of the way, you idiot.
  676. 52:45 Oh, my God.
  677. 52:53 Oh, my God.
  678. 53:02 Charlie!
  679. 53:05 Sweetheart.
  680. 53:07 Monzo!
  681. 53:09 I love you.
  682. 53:10 Darling!
  683. 53:13 Santa.
  684. 53:14 What is?
  685. 53:16 My charred tobacco.
  686. 53:24 You believe I stole those heartless? Yes. You're taking me along so you won't get hurt.
  687. 53:41 Yes.
  688. 53:47 Come on.
  689. 53:51 Now he's got him.
  690. 53:52 Look, they're headed for the pass.
  691. 53:56 Let's ride the herd right over.
  692. 53:58 Come on.
  693. 54:11 Stampede him, boys!
  694. 54:12 Let him have us!
  695. 54:22 We're going to travel us!
  696. 54:24 Keep on ahead! Right for your life!
  697. 54:33 He's trying to ride out. Come on! We'll have him back in!
  698. 54:37 Come on.
  699. 54:50 Come on.
  700. 54:52 I'm
  701. 54:53 I'm going to go.
  702. 54:59 I
  703. 55:03 Oh, my God.
  704. 55:16 Come on.
  705. 55:21 I'm going to go.
  706. 55:44 I'm going to go.
  707. 56:01 Come on.
  708. 56:06 I'm not.
  709. 56:12 Can I now pronounce you four people...
  710. 56:14 men and wives.
  711. 56:16 Now, the parties of the first part will kiss the parties. At the second part, the marriage becomes legal.
  712. 56:21 Any others, boss?
  713. 56:23 You know better than that.
  714. 56:26 Oh, you won't be needing this anymore, dear.
  715. 56:30 You know, I was just thinking... Don't start that again.
  716. 56:36 Come on. Come on, then. It becomes legal the moment I get my fee. The marriage becomes legal directly after I receive my fee.
  717. 56:50 I'll be right back.
  718. 57:16 I'm sorry.

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