Public Reel

The Painted Hills (1951)

No renewal found Free in the US since 1 January 1980, on the registry's reading: registration LP892 of 1951 by Loew's Inc was not renewed in the volumes searched. Record.

Billed as a Lassie adventure, this gold-country Western gives its dog a darker task: carrying loyalty into a story of murder and possession.

The dog at the centre of The Painted Hills is called Shep. The name selling the picture was Lassie, placed above the title in release advertising.5 Within the story, however, recognition offers little reassurance. A prospector’s discovery of gold makes him vulnerable to his partner’s greed. The dog becomes an obstacle that must also be removed. What looks like a comforting arrangement between a man and an animal opens onto a Western about the destruction of trust.

Harold F. Kress directed the film for Metro-Goldwyn-Mayer.1 Its working title, Shep of the Painted Hills, placed the animal inside the landscape rather than under the Lassie banner.2 The finished film was released on 4 May 1951.1 Its central problem belongs to the gold-country Western: the difficulty of protecting a claim beyond the reach of settled authority. The animal story changes the use of that material. Shep’s attachment is not open to the negotiation that gold introduces into the obligations between men.

The production included location shooting in the High Sierras.8 Release advertising stressed Technicolor as part of the attraction.5 The landscape offers an expansiveness quite different from the intimacy of watching an animal respond to a particular person. The plot makes their combination uneasy. Open country permits violence to take place away from witnesses who can give an account of it. The space that promises the prospector independence also leaves him exposed to his partner.

Shep occupies precisely that gap. Lin’s attempt to poison the dog after murdering Jonathan makes animal loyalty a practical danger to the murderer, rather than simply a quality for the audience to admire. Shep cannot turn what he knows into a legal accusation. His survival leaves Lin facing a witness beyond his control. That distinction gives the story its severity: the human crime is answered through a creature outside human procedures. The boy Tommy supplies a different measure of attachment, one that does not depend on ownership of the gold. The film’s family appeal and its violence arise from the same uncertainty about whom Shep can trust.

The surviving commercial notices give a limited but concrete sense of the film’s first life. A box-office report dated 15 August 1951 recorded $7,500 over five days in its second week.6 The report described the opening week as strong.6 Those figures are evidence of a particular engagement, not a total return or a verdict on the film’s reception. An Australian advertisement dated 1 October 1951 offered a new Lassie adventure in M-G-M Technicolor.7 The selling proposition placed the animal star ahead of the story’s murderous partnership.

Its later availability has acquired another frame. A sound-feature copy circulates through the Internet Archive.11 One unverified account attributes the film’s copyright lapse to MGM’s failure to renew.4 That explanation should not be confused with evidence of why a renewal was missed. Nor does the availability of a digital copy establish its fidelity to the original presentation. The access history and the history of the object being watched are related, but they are not identical.

The record: Registration LP892 by Loew's Inc is dated 22 March 1951. The registry found no renewal in the renewal volumes for 1978 to 1980, nor in the Copyright Office's records from 1978 on; on that reading the term ended on 31 December 1979 and the film has been free in the US since 1 January 1980. No primary Copyright Office renewal record was verified in this research. The registry’s conclusion therefore remains a reading of the reported absence of renewal, rather than an independently verified determination here. The record does not settle why no renewal was found. It does not establish the film’s rights status outside the US.

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

  1. catalog.afi.com https://catalog.afi.com/Film/50237-THE-PAINTED-HILLS?cxt=filmography
  2. catalog.afi.com https://catalog.afi.com/Film/50237-THE-PAINTEDHILLS?sid=7cf33642-c84c-4bfb-8156-5d97a7e...
  3. catalog.afi.com https://catalog.afi.com/Catalog/PersonDetails/156546
  4. en.wikipedia.org https://en.wikipedia.org/wiki/The_Painted_Hills
  5. archive.org https://archive.org/stream/filmbulletin195119film/filmbulletin195119film_djvu.txt
  6. archive.org https://archive.org/download/variety183-1951-08-15/variety183-1951-08-15.pdf
  7. trove.nla.gov.au https://trove.nla.gov.au/newspaper/article/27531320
  8. dokumen.pub https://dokumen.pub/cinematic-canines-dogs-and-their-work-in-the-fiction-film-978081356...
  9. en.wikipedia.org https://en.wikipedia.org/wiki/Nipo_Strongheart
  10. catalog.afi.com https://catalog.afi.com/Film/56607-THE-MAGIC-OF-LASSIE?cxt=filmography
  11. archive.org https://archive.org/details/ThePaintedHills
  12. en.wikipedia.org https://en.wikipedia.org/wiki/List_of_Western_films_1950%E2%80%931954

Inside the film

574 shots over 1:07:55 · 322 beats in 173 sequences · 754 transcript lines · JSON

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

Every shot, 574 frames with timestamps and on-screen text

How this page was made

574 shots over 1:07:55, read from the Internet Archive copy ThePaintedHills (ThePaintedHills.mp4, 640×480, 30.00 fps). Shot boundaries by PySceneDetect's adaptive detector; each frame links to the Archive's player at that second. Registry dossier: The Painted Hills No renewal found. JSON

Measurements: colour film on its keyframes (569 of 574 shots judged colour), average shot 7.1s long, a frontal face detected in 19% of keyframes. Shots are detected automatically and each is represented by its midpoint frame.

Released 1951 (Internet Archive).

322 beats in 173 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. 322 of 322 beats annotated, 319 passed the checks, 3 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 0:54

Sequence 3 from 1:35

Frame at 1:39, shot 31:39
1 of 1 shots sampled

4. Other

1:35–1:42 Machine checks passed

Model synopsis: A dog is shown in profile against a blue background. No people, dialogue, or identifiable location are visible in the frame.

Evidence, details and a link to share

Sequence 4 from 1:42

Sequence 5 from 1:48

Sequence 6 from 1:51

Sequence 7 from 1:54

Frame at 1:58, shot 81:58Frame at 2:15, shot 132:15Frame at 2:31, shot 182:31Frame at 2:42, shot 232:42
4 of 16 shots sampled

9. Field

1:57–2:44 Machine checks passed (partial)

Model synopsis: A dog digs in dirt while a man with a white beard and turban lies on the ground nearby. The transcript includes urgent commands to dig and references to 'million dollar dirt' and being the 'richest corpse in the territory.'

  • A dog stands on a rock against a cloudy sky. [frame:1]
  • A dog with brown and white fur stands in dirt. [frame:2]
  • The dog digs in the dirt with its front paw. [frame:3]
  • 1 more under Evidence and details.

1 person observed.

“Get me out of this mess!” 2:02 · “Start digging!” 2:11

Evidence, details and a link to share

Frame at 2:51, shot 242:51Frame at 2:59, shot 252:59Frame at 3:07, shot 273:07Frame at 3:13, shot 283:13
4 of 5 shots sampled

10. Forest

2:44–3:17 Machine checks passed (partial)

Model synopsis: A man and a dog are seen near a rocky area, followed by a view of a forested landscape with mountains. A camp with teepees and people on horseback is shown, and a person rides a horse through water. The transcript mentions heading to town, Frank Blake becoming a millionaire, and a Merry Christmas greeting.

  • A person rides a horse through water. [frame:4]

3 people observed.

“Come on, girl.” 2:46 · “We're heading for town.” 2:47

Evidence, details and a link to share

Sequence 8 from 3:17

Frame at 3:40, shot 353:40Frame at 3:47, shot 363:47Frame at 3:56, shot 373:56
3 of 3 shots sampled

12. Bar

3:39–3:59 Machine checks passed (partial)

Model synopsis: A dog sits on a floor while two men talk at a bar counter; later, a group gathers around a table in what appears to be a saloon. Dialogue references characters named Jonathan, Shipp, Steve, Frank, and Mike Lake, with one person saying they'll be right back and another indicating they're backstage.

  • A dog sits on the floor. [frame:1]
  • Two men talk at a bar counter. [frame:2]
  • A group gathers around a table in a saloon setting. [frame:3]

Named: Jonathan (t:3:39), Steve (t:3:43). 8 people observed.

“Well, how's it going, Jonathan? Shipp and me ain't complaining.” 3:39 · “- Steve.” 3:43

Evidence, details and a link to share

Frame at 4:20, shot 404:20
1 of 1 shots sampled

14. Other

4:18–4:22 Machine checks passed

Model synopsis: A man with a beard and a wide-brimmed hat is visible in an interior space with wooden walls. No spoken dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 9 from 4:22

Frame at 4:30, shot 414:30
1 of 1 shots sampled

15. Living room

4:22–4:38 Machine checks passed

Model synopsis: A man and a woman are in a room with a Christmas tree and a dog; the woman expresses concern about a child named Tommy, and the man reassures her while shifting focus to someone named Taylor. The scene is indoors, with no visible clock or window to establish time of day.

Named: Martha (t:4:31), Jonathan (t:4:22). 2 people observed.

“Tommy worries me, Jonathan.” 4:22 · “Do you know that he's never once cried?” 4:26

Evidence, details and a link to share

Sequence 10 from 4:38

Frame at 5:04, shot 435:04
1 of 1 shots sampled

17. Living room

5:01–5:07 Machine checks passed

Model synopsis: A man and a woman stand in a dimly lit room with period furnishings; the man leans over a table while the woman stands upright nearby. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Sequence 11 from 5:07

Frame at 5:19, shot 445:19Frame at 5:36, shot 455:36
2 of 2 shots sampled

18. Private office

5:07–5:40 Machine checks passed (partial)

Model synopsis: Three people are in a room where one man shows a sample of ore to two others, discussing the need to file a mining claim before others learn of the discovery. The conversation suggests urgency and secrecy about a potential large mineral strike.

  • Jonathan shows a sample of ore to the others. [frame:1]

Named: Jonathan (t:5:10), Martha (t:5:09). 3 people observed.

“- Lynn. - Hello, Martha.” 5:09 · “Come in. Jonathan's inside. I'm so glad you're here. Jonathan has something to show us.” 5:10

Evidence, details and a link to share

Frame at 5:55, shot 465:55Frame at 6:15, shot 476:15
2 of 2 shots sampled

19. Private office

5:40–6:20 Machine checks passed (partial)

Model synopsis: Three people stand in a room with draped curtains and a table holding books and a vase; one man speaks about supplies and meeting in a store, while another asks to speak with Tommy. The scene ends with a farewell and an apology.

  • Three people stand around a table with books and a vase in a room with draped curtains. [frame:1]
  • Two people stand facing each other near a decorated wall with a vase and flowers on a table. [frame:2]

Named: John (t:5:58), Martha (t:5:52), Tommy (t:6:08), Lynn (t:6:04), Jonathan (t:6:08). 6 people observed.

“Martha's right about you.” 5:52 · “And right now you can start working and being a partner by lining me up some supplies.” 5:54

Evidence, details and a link to share

Sequence 12 from 6:20

Frame at 6:34, shot 486:34
1 of 1 shots sampled

20. Bedroom

6:20–6:48 Machine checks passed (partial)

Model synopsis: A man stands beside a bed where another person lies, as a voice calls out 'Jonathan' and expresses grief over his impending death. The scene is set in a dimly lit room with minimal furnishings.

  • A man stands beside a bed where another person lies. [frame:1]

Named: Jonathan (t:6:40). 2 people observed.

“Come on.” 6:35 · “Tell him.” 6:37

Evidence, details and a link to share

Sequence 13 from 6:48

Frame at 7:40, shot 527:40
1 of 1 shots sampled

23. Bedroom

7:22–7:58 Machine checks passed (partial)

Model synopsis: An older man with a white beard embraces a young boy in bed; dialogue suggests tension and emotional discomfort. No names are spoken that identify the characters, and the setting appears to be a dimly lit bedroom.

  • An older man embraces a young boy in bed. [frame:1]

2 people observed.

“- What's wrong, sir?” 7:30 · “If I did, she just plain ain't happy with it.” 7:34

Evidence, details and a link to share

Frame at 8:04, shot 538:04Frame at 8:17, shot 548:17Frame at 8:26, shot 558:26
3 of 3 shots sampled

24. Bedroom

7:58–8:28 Machine checks passed (partial)

Model synopsis: An older man with white hair and beard speaks intensely to a younger person in bed; the younger person reacts emotionally. A dog is present, and the older man touches the younger person's face while speaking.

  • An older man leans toward a younger person in bed and speaks intensely. [frame:1]
  • The younger person in bed looks up and speaks with an emotional expression. [frame:2]
  • The older man touches the younger person's face while holding a dog. [frame:3]

Named: Jonathan (t:8:10). 2 people observed.

“You're no liar, Jonathan.” 8:10 · “I can't take shit from you.” 8:13

Evidence, details and a link to share

Frame at 8:30, shot 568:30Frame at 8:34, shot 578:34Frame at 8:42, shot 598:42Frame at 8:49, shot 608:49
4 of 5 shots sampled

25. Living room

8:28–8:53 Machine checks passed (partial)

Model synopsis: An older man stands in a dimly lit room with a dog, speaking about fatherhood and Christmas. The dog is shown in close-up, appearing to bark or growl.

  • The man stands in a room with a dog sitting before him. [frame:1]
  • Close-up of a collie dog’s head, mouth slightly open. [frame:2]
  • The dog’s head turns, mouth open wider as if barking. [frame:3]
  • 1 more under Evidence and details.

1 person observed.

“We didn't do so good.” 8:32 · “All right, it's Christmas.” 8:36

Evidence, details and a link to share

Sequence 14 from 8:53

Sequence 15 from 9:14

Frame at 9:16, shot 629:16
1 of 1 shots sampled

27. Private office

9:14–9:17 Machine checks passed

Model synopsis: A man in a light shirt stands in profile beside a door, looking toward the left. The scene is dimly lit with strong shadows, suggesting an interior setting.

1 person observed.

Evidence, details and a link to share

Sequence 16 from 9:17

Sequence 17 from 9:19

Frame at 9:22, shot 649:22Frame at 9:38, shot 659:38Frame at 9:57, shot 669:57
3 of 3 shots sampled

29. Living room

9:19–10:01 Machine checks passed (partial)

Model synopsis: A boy and a woman are in a room with Christmas decorations; the boy holds a dog while the woman speaks to him. The woman confirms the dog is his, and the boy asks about someone named Jonathan, who is said to be gone.

  • The boy holds a dog while the woman speaks to him. [frame:1]
  • The woman sits and speaks to the boy who kneels beside her. [frame:2]
  • The window is shown with decorations visible. [frame:3]

Named: Tommy (t:9:25), Ma (t:9:25), Jonathan (t:9:41), John (t:9:38). 4 people observed.

“Merry Christmas Tommy. Merry Christmas Ma.” 9:25 · “She's yours.” 9:37

Evidence, details and a link to share

Sequence 18 from 10:01

Sequence 19 from 10:05

Frame at 10:09, shot 6810:09
1 of 1 shots sampled

31. Other

10:05–10:13 Machine checks passed

Model synopsis: A person is visible through a window in a dimly lit interior, holding an object. The scene is framed by foliage and window panes, with no audible dialogue or on-screen text.

1 person observed.

Evidence, details and a link to share

Sequence 20 from 10:13

Frame at 10:14, shot 6910:14
1 of 1 shots sampled

32. Porch

10:13–10:15 Machine checks flagged: time_of_day without evidence

Model synopsis: A silhouetted figure moves across a dark porch at night. The scene is lit only by ambient moonlight, showing a railing and trees in the background.

  • A silhouetted figure walks across a porch. [frame:1]

1 person observed.

Flagged: time_of_day without evidence (night)

Evidence, details and a link to share

Frame at 10:25, shot 7010:25
1 of 1 shots sampled

33. Outdoor yard or garden

10:15–10:36 Machine checks flagged: time_of_day without evidence

Model synopsis: A dark, silhouetted figure moves near a fence at dusk or night. No dialogue or identifiable person is present beyond the single exclamation 'Oh,' heard at 10:33.

  • A dark figure moves near a fence. [frame:1]

1 person observed.

“Oh,” 10:33

Flagged: time_of_day without evidence (night)

Evidence, details and a link to share

Sequence 21 from 10:36

Frame at 10:41, shot 7110:41Frame at 10:54, shot 7210:54Frame at 11:08, shot 7311:08
3 of 3 shots sampled

34. Living room

10:36–11:14 Machine checks passed (partial)

Model synopsis: A boy and a man attend to a dog lying on the floor while another dog watches; the boy calls for help and the man examines the dog. The transcript includes fragmented dialogue about the dog's condition and mentions of names including Jonathan.

  • A boy kneels beside a dog lying on the floor. [frame:1]
  • A man and a boy stand over the dog while another dog watches from the side. [frame:2]
  • The man places his hand on the dog's chest while the boy looks on. [frame:3]

Named: Mr. Bald Eagle (t:10:49). 3 people observed.

“What's the matter with you, Shep? Ma! Ma, something's wrong with Shep!” 10:41 · “What's wrong with him, Mr. Bald Eagle?” 10:49

Evidence, details and a link to share

Sequence 22 from 11:26

Frame at 11:38, shot 7611:38
1 of 1 shots sampled

36. Private office

11:26–11:49 Machine checks passed (partial)

Model synopsis: A woman in a checkered dress speaks to a boy while a man in a vest stands nearby; they discuss taking someone named Chef to Jonathan. The dialogue suggests concern for Chef's strength and a plan involving Shep and a claim.

  • A woman speaks to a boy while a man stands nearby. [frame:1]

Named: Martha (t:11:43), Chef (t:11:48), Shep (t:11:37), Sarah (t:11:30), Taker (t:11:30), Jonathan (t:11:27). 9 people observed.

“Ma, we've got to get her to Jonathan.” 11:27 · “Please, Sarah and Taker. Please, Ma. Well, I don't know, dear.” 11:30

Evidence, details and a link to share

Frame at 11:57, shot 7711:57Frame at 12:08, shot 7812:08
2 of 2 shots sampled

37. Living room

11:49–12:09 Machine checks passed

Model synopsis: A boy sits with a bowl beside a dog while a woman and a man stand nearby in a room with a desk and coat rack. The woman offers food to the boy, who thanks her, and dialogue indicates they plan to return him to someone named Jonathan.

Named: ma'am (t:12:08). 3 people observed.

“You hear that, Chef? We're gonna take you back to Jonathan. Now you've got to eat and get strong for the trip.” 11:48 · “Here, take some.” 11:57

Evidence, details and a link to share

Sequence 23 from 12:09

Frame at 12:20, shot 7912:20
1 of 1 shots sampled

38. Forest

12:09–12:30 Machine checks passed

Model synopsis: A single frame shows a dark, wooded area with no visible people or clear activity. The transcript contains fragmented exclamations and a name, 'Lon,' but no visual confirmation of identity or event.

  • A dark forest scene is shown with no visible movement or figures. [frame:1]

Named: Lon (t:12:12). 1 person observed.

“Lon look!” 12:12 · “If she thinks she's gonna be all right.” 12:14

Evidence, details and a link to share

Sequence 24 from 12:30

Frame at 12:32, shot 8012:32Frame at 12:42, shot 8112:42
2 of 2 shots sampled

39. Log cabin interior

12:30–12:51 Machine checks passed (partial)

Model synopsis: A man tends to a sick person lying on a bed inside a dim log cabin; dialogue suggests the sick person is Chef, who has been ill for a week and is too weak to eat. Another person, Tommy, is present and speaks to Jonathan, who appears to be the caregiver.

  • Jonathan responds to Tommy while standing over Chef. [frame:1]
  • Jonathan holds a light near Chef, who is lying in bed. [frame:2]

Named: Jonathan (t:12:32), Chef (t:12:30), Tommy (t:12:32). 3 people observed.

“Oh, Chef, what is it?” 12:30 · “Jonathan? Jonathan? Yes, Tommy?” 12:32

Evidence, details and a link to share

Sequence 25 from 12:51

Sequence 26 from 13:12

Frame at 13:21, shot 8313:21Frame at 13:35, shot 8413:35
2 of 2 shots sampled

41. Other

13:12–13:41 Machine checks passed (partial)

Model synopsis: Two men are in a log cabin; one is lying down with a dog, the other is eating at a table. They discuss a partnership and a claim, with one man admitting the other was right about it.

  • An older man lies down with a dog resting on his chest. [frame:1]
  • A younger man eats at a table while the older man sits beside him. [frame:2]

2 people observed.

“You should wonder how our partnership's been going.” 13:23 · “You were right.” 13:26

Evidence, details and a link to share

Sequence 27 from 13:41

Frame at 13:48, shot 8513:48Frame at 13:57, shot 8613:57
2 of 2 shots sampled

42. Private office

13:41–14:00 Machine checks passed (partial)

Model synopsis: A man in a white shirt and cap is shown in a log cabin interior, moving a wooden chest and reaching under it. He is instructed by an off-screen voice to slide the chest and lift a board underneath to retrieve items.

  • A man slides a wooden chest in a log cabin. [frame:1]
  • The man reaches under the chest and pulls out an object. [frame:2]

1 person observed.

“Tommy?” 13:42 · “Go on over there by the shell. Now slide that chest out. The board underneath will lift up.” 13:43

Evidence, details and a link to share

Sequence 28 from 14:00

Frame at 14:01, shot 8714:01
1 of 1 shots sampled

43. Other

14:00–14:02 Machine checks passed

Model synopsis: Two men sit at a table with plates of food in a dimly lit wooden interior. One man is younger and wears a blue shirt; the other is older with white hair and a beard, wearing a red shirt.

2 people observed.

Evidence, details and a link to share

Sequence 29 from 14:02

Frame at 14:05, shot 8814:05Frame at 14:11, shot 8914:11
2 of 2 shots sampled

44. Private office

14:02–14:13 Machine checks passed (partial)

Model synopsis: Two men and a boy are inside a log cabin; one man gestures toward a table while speaking to the boy. The boy, holding a small object, looks down at a plate on the table.

  • A man gestures toward a table while speaking to a boy. [frame:1]
  • The boy looks down at a plate on the table while holding a small object. [frame:2]

Named: Tommy (t:14:06). 3 people observed.

“*thud*” 14:04 · “Look inside, Tommy.” 14:06

Evidence, details and a link to share

Frame at 14:16, shot 9014:16Frame at 14:21, shot 9114:21Frame at 14:50, shot 9314:50Frame at 15:04, shot 9415:04
4 of 5 shots sampled

45. Private office

14:13–15:06 Machine checks passed (partial)

Model synopsis: Two men and a boy are inside a log cabin, discussing a recent gold find worth $6,000, with plans to return to town to deposit it and bring back equipment. One man, identified as Jonathan, is told he needs help and that the group will be rich, while another man, Lynn Taylor, vows to find the main vein.

  • Lynn Taylor stands and declares he will work upstream to find the main vein. [frame:3]
  • A hand places a pan of gold on the table. [frame:4]

Named: Jonathan (t:14:14), Lynn Taylor (t:14:33). 3 people observed.

“How much is here, Jonathan? Oh, not much.” 14:14 · “$6,000? And plenty more to come.” 14:19

Evidence, details and a link to share

Sequence 30 from 15:06

Frame at 15:28, shot 9615:28
1 of 1 shots sampled

47. Riverbank

15:26–15:31 Machine checks passed

Model synopsis: Two men are visible near a riverbank with wooden sluice boxes; one sits while the other stands. The setting is outdoors beside a flowing river with rocky banks and trees.

2 people observed.

Evidence, details and a link to share

Frame at 15:34, shot 9715:34
1 of 1 shots sampled

48. Other

15:31–15:36 Machine checks passed (partial)

Model synopsis: A person in a light shirt is in a small boat on a river, holding a dog while another person is visible in the background. A voice shouts 'Let her go, Tommy!' during this moment.

  • A person in a boat holds a dog while another person is visible in the background. [frame:1]

Named: Tommy (t:15:31). 3 people observed.

“Let her go, Tommy!” 15:31

Evidence, details and a link to share

Sequence 31 from 15:46

Frame at 15:49, shot 9915:49Frame at 15:55, shot 10115:55Frame at 16:09, shot 10416:09Frame at 16:17, shot 10616:17
4 of 8 shots sampled

50. Other

15:46–16:20 Machine checks passed (partial)

Model synopsis: A person is seen in a dim, rocky environment, partially submerged or lying in water, with another figure standing nearby. The scene includes a visible reaction of shock from an unseen speaker, as indicated by the transcript.

  • A person is lying or submerged in water in a rocky enclosure. [frame:1]
  • A close-up shows a person’s face, appearing distressed or unconscious. [frame:2]
  • A figure in light clothing is seen moving or being moved in the water. [frame:3]
  • 1 more under Evidence and details.

3 people observed.

“Oh, my God.” 15:50

Evidence, details and a link to share

Sequence 32 from 16:20

Frame at 16:21, shot 10716:21
1 of 1 shots sampled

51. Other

16:20–16:23 Machine checks passed (partial)

Model synopsis: A young boy in a light shirt is shown in a close-up, holding his head with one hand while his mouth is open. The background is indistinct and blurred, suggesting an interior setting with soft lighting.

  • A boy holds his head with one hand and has his mouth open. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 33 from 16:23

Frame at 16:27, shot 10816:27
1 of 1 shots sampled

52. Other

16:23–16:32 Machine checks passed

Model synopsis: A single frame at 988s shows a dark, indistinct close-up of what appears to be a rough, textured surface. No people, objects, or readable text are visible, and no transcript lines are provided for this beat.

Evidence, details and a link to share

Sequence 34 from 16:32

Frame at 16:32, shot 10916:32
1 of 1 shots sampled

53. Other

16:32–16:33 Machine checks passed

Model synopsis: A close-up shot shows an elderly man with white hair and beard, wearing a red garment, against a dark, indistinct background. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 35 from 16:33

Frame at 16:36, shot 11016:36
1 of 1 shots sampled

54. Stone wall

16:33–16:39 Machine checks passed

Model synopsis: A person in a light-colored shirt is visible against a rough stone wall. No spoken dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 36 from 16:39

Sequence 37 from 16:47

Frame at 16:58, shot 11216:58
1 of 1 shots sampled

56. Private office

16:47–17:09 Machine checks passed

Model synopsis: A man stands beside a bed where another person lies, in a dimly lit wooden room; dialogue suggests fear of intruders seeking gold. No names are spoken, and the setting appears to be a rustic shelter.

  • A man stands beside a bed where another person lies. [frame:1]

2 people observed.

“I tell you, I tell you, I hurt somebody. Somebody's out there.” 16:48 · “Sure, the same fellow you've been here for three days.” 16:51

Evidence, details and a link to share

Sequence 38 from 17:09

Frame at 17:12, shot 11317:12Frame at 17:22, shot 11417:22
2 of 2 shots sampled

57. Cabin

17:09–17:29 Machine checks passed (partial)

Model synopsis: A man in a light shirt speaks inside a wooden cabin; another man with white hair and a beard holds a dog. The dialogue suggests they are discussing guarding a cabin while they are at a mine.

  • A man stands inside a wooden cabin speaking. [frame:1]
  • An older man holds a dog inside the same cabin. [frame:2]

Named: Taylor (t:17:16). 2 people observed.

“and from now on we're keeping a guard here at the cabin while we're up at the mine.” 17:11 · “All right, Taylor.” 17:16

Evidence, details and a link to share

Frame at 17:31, shot 11517:31Frame at 17:39, shot 11617:39
2 of 2 shots sampled

58. Bedroom

17:29–17:44 Machine checks passed (partial)

Model synopsis: A man in a grey shirt stands in a dimly lit wooden room while another man with white hair and a beard lies in bed holding a dog. The transcript includes dialogue about someone being awake, advice to stop worrying, and a suggestion to get sleep.

  • A man in a grey shirt stands in a wooden room. [frame:1]
  • An older man lies in bed holding a dog. [frame:2]

2 people observed.

“Yeah, he's up, Dale.” 17:30 · “Stop worrying.” 17:32

Evidence, details and a link to share

Frame at 17:45, shot 11717:45
1 of 1 shots sampled

59. Log cabin

17:44–17:47 Machine checks passed

Model synopsis: A man stands in a dimly lit log cabin while an older person rests in bed nearby. A lit lamp provides the only visible light source in the room.

2 people observed.

Evidence, details and a link to share

Sequence 39 from 17:47

Frame at 17:50, shot 11817:50
1 of 1 shots sampled

60. Forest

17:47–17:54 Machine checks passed

Model synopsis: A person stands beside a horse near a wooden structure at dusk, with trees and 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 40 from 17:54

Frame at 18:04, shot 11918:04Frame at 18:16, shot 12018:16Frame at 18:20, shot 12118:20Frame at 18:23, shot 12218:23
4 of 4 shots sampled

61. Wooden shack

17:54–18:25 Machine checks passed (partial)

Model synopsis: An older man with a white beard and a younger man with a beard are inside a wooden structure; the older man is told to retrieve something from a saddlebag while being accused of watching. The younger man then embraces the older man near a doorway showing daylight outside.

  • An older man with a white beard handles an object near a saddlebag. [frame:1]
  • The older man looks up with a slight smile. [frame:2]
  • The younger man stares intently at the camera. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“Come on.” 18:02 · “Go get it. Go get Hushbutt in that saddlebag.” 18:12

Evidence, details and a link to share

Frame at 18:27, shot 12318:27Frame at 18:43, shot 12418:43
2 of 2 shots sampled

62. Log cabin exterior

18:25–18:56 Machine checks passed (partial)

Model synopsis: A man stands near a log cabin while another lies on the ground; a second shot shows the standing man confronting others near the cabin with a dog and horse present. A transcript includes shouted dialogue about retrieving something and accusations of lying.

  • A man stands holding a gun near a log cabin while another man lies on the ground. [frame:1]
  • The standing man confronts two others near the cabin entrance, with a dog and horse nearby. [frame:2]

Named: Taylor (t:18:44). 5 people observed.

“Go on. Go get what you put in there. Santa!” 18:26 · “Well, you get it or don't you. You crazy fool. I ought to lay you low. Making sure you ain't putting that saddlebag. I took something.” 18:34

Evidence, details and a link to share

Sequence 41 from 18:56

Frame at 18:57, shot 12518:57Frame at 19:03, shot 12619:03
2 of 2 shots sampled

63. Other

18:56–19:07 Machine checks passed (partial)

Model synopsis: A man in a dark coat stands outdoors near rocks and debris while a voice apologizes and mentions someone was inside searching. A close-up shows a hand near a book with a cross on its cover.

  • A hand is visible near a book with a cross on its cover. [frame:1]
  • A bearded man in a dark coat stands outdoors near rocks. [frame:2]

2 people observed.

“I'm sorry.” 18:56 · “He was inside searching around, snooping.” 19:04

Evidence, details and a link to share

Sequence 42 from 19:07

Frame at 19:25, shot 12719:25
1 of 1 shots sampled

64. Other

19:07–19:43 Machine checks passed

Model synopsis: A group of men stand outside a log cabin with a dog and a horse; one man addresses another as 'Pete' while discussing roots and regularity. The scene includes dialogue about food, mistakes in the hills, and personal identity.

Named: Pete (t:19:26). 4 people observed.

“For food?” 19:07 · “This is Pilot P, Taylor. If you've been longer in these hills, you'd never have made that mistake.” 19:18

Evidence, details and a link to share

Sequence 43 from 19:43

Frame at 19:52, shot 12819:52
1 of 1 shots sampled

65. Log cabin interior

19:43–20:00 Machine checks passed (partial)

Model synopsis: An older man with a white beard and a young boy sit at a table inside a log-walled room; the older man speaks while holding an object. The transcript includes lines about 'The Lord's Mountains' and searching for 'sinners'.

  • The older man speaks while holding an object at a table with a boy. [frame:1]

2 people observed.

“The Lord's Mountains.” 19:47 · “To the Lord's sinners. So I spend my time in one looking for the other.” 19:49

Evidence, details and a link to share

Frame at 20:01, shot 12920:01Frame at 20:08, shot 13120:08Frame at 20:15, shot 13220:15Frame at 20:27, shot 13420:27
4 of 6 shots sampled

66. Private office

20:00–20:30 Machine checks passed (partial)

Model synopsis: A dog is shown in close-up, followed by a scene of four people seated at a table inside a wooden structure. One person speaks about the dog's behavior and quotes scripture, while another comments on the dog's affection and stew.

  • A dog is shown in close-up looking at the camera. [frame:1]
  • A boy and an older man sit at a table with a pot and utensils. [frame:2]
  • Four people are seated around a table in a wooden room. [frame:3]
  • 1 more under Evidence and details.

4 people observed.

“You better leave Shep alone. She never makes up to strangers.” 20:03 · “Well, you got it wrong, Brother Taylor. Thou sawest the beast that was and is not. Revelation 17, 8.” 20:13

Evidence, details and a link to share

Frame at 20:38, shot 13520:38Frame at 20:53, shot 13620:53
2 of 2 shots sampled

67. Log cabin exterior

20:30–21:00 Machine checks passed (partial)

Model synopsis: A group of men stand outside a log cabin while one speaks scripture. A dog is present and one man gestures during conversation.

  • Men stand outside a log cabin with a dog and horse. [frame:1]
  • Two older men face each other and appear to converse. [frame:2]

5 people observed.

“The Lord be with you in all your labors.” 20:45 · “Lay not up for yourselves treasures on earth.” 20:49

Evidence, details and a link to share

Frame at 21:09, shot 13721:09Frame at 21:23, shot 13821:23
2 of 2 shots sampled

68. Log cabin exterior

21:00–21:28 Machine checks passed (partial)

Model synopsis: A man on horseback speaks to others near a log cabin; a boy is told to go to work while another man remains. A dog is present near the cabin.

  • A man on horseback addresses others near a cabin. [frame:1]
  • A boy stands near the cabin while another man walks away. [frame:2]

Named: Mr. B (t:21:07), Pete (t:21:08), Tommy (t:21:24). 4 people observed.

“Get up, Gabriel.” 21:03 · “Why, Mr. B?” 21:07

Evidence, details and a link to share

Sequence 44 from 21:28

Frame at 21:46, shot 13921:46
1 of 1 shots sampled

69. Private office

21:28–22:03 Machine checks passed (partial)

Model synopsis: Two men stand inside a log cabin, one holding a gun, while a small dog stands near the doorway. Dialogue suggests tension over gold hidden under the floor and a dispute about sharing it with others named Martha and Nathan.

  • Two men face each other inside a log cabin, one holding a gun. [frame:1]

Named: Nathan (t:21:57). 2 people observed.

“You give him dust.” 21:34 · “At the death giveaway we struck Paydard. The old fool talked to you on...” 21:35

Evidence, details and a link to share

Frame at 22:10, shot 14022:10Frame at 22:22, shot 14122:22Frame at 22:31, shot 14222:31
3 of 3 shots sampled

70. Private office

22:03–22:34 Machine checks passed (partial)

Model synopsis: Two men stand inside a log cabin, one holding a rifle, while a dog stands nearby; one man speaks about not having the guts to shoot the other. The setting is a rustic interior with a view of trees and sky outside the doorway.

  • A man with a white beard stands in a doorway. [frame:1]
  • Two men face each other inside a log cabin; one holds a rifle, a dog stands nearby. [frame:2]
  • The bearded man remains in the doorway. [frame:3]

2 people observed.

“I only get a quarter.” 22:06 · “That keeps eating at you, Tila.” 22:10

Evidence, details and a link to share

Frame at 22:39, shot 14322:39Frame at 22:45, shot 14422:45
2 of 2 shots sampled

71. Other

22:34–22:47 Machine checks passed

Model synopsis: Two men stand inside a log cabin with a dog nearby; an exterior shot shows the same cabin in a wooded, mountainous area. No dialogue or on-screen text is present in these frames.

2 people observed.

Evidence, details and a link to share

Frame at 23:02, shot 14523:02
1 of 1 shots sampled

72. Log cabin

22:47–23:18 Machine checks passed

Model synopsis: A person sits with their back to the camera inside a dim log cabin, looking out a window at trees. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 45 from 23:18

Frame at 23:19, shot 14623:19
1 of 1 shots sampled

73. Bedroom

23:18–23:20 Machine checks passed

Model synopsis: A person with gray hair lies asleep under a blanket in a dimly lit interior. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Frame at 23:29, shot 14723:29Frame at 23:39, shot 14823:39
2 of 2 shots sampled

74. Other

23:20–23:40 Machine checks passed

Model synopsis: A man in a grey shirt sits indoors handling papers while a collie dog sits nearby. The setting appears to be a rustic wooden interior with dim lighting.

1 person observed.

Evidence, details and a link to share

Frame at 23:42, shot 14923:42Frame at 23:45, shot 15023:45Frame at 23:48, shot 15123:48Frame at 23:56, shot 15223:56
4 of 4 shots sampled

75. Log cabin

23:40–24:00 Machine checks passed (partial)

Model synopsis: A man in a grey shirt is seated inside a log cabin, handling an object on a table; a woman in a white dress sits nearby. Another man in a grey shirt stands in the same room, which contains a table with dishes and a lamp. No names are spoken or visible.

  • A man sits at a table handling an object. [frame:1]
  • A woman in a white dress sits on the floor. [frame:2]
  • The man continues to handle the object at the table. [frame:3]
  • 1 more under Evidence and details.

3 people observed.

“Oh, my God.” 23:44

Evidence, details and a link to share

Sequence 46 from 24:14

Frame at 24:16, shot 15524:16
1 of 1 shots sampled

77. Other

24:14–24:19 Machine checks passed

Model synopsis: A person stands inside a dimly lit log cabin, near a table with objects. The scene is static and shows no clear action or dialogue.

1 person observed.

Evidence, details and a link to share

Sequence 47 from 24:19

Frame at 24:21, shot 15624:21
1 of 1 shots sampled

78. Forest

24:19–24:24 Machine checks passed

Model synopsis: A person and a dog are silhouetted indoors, looking out a window at a forested, rocky landscape. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 48 from 24:24

Sequence 49 from 24:36

Frame at 24:40, shot 15824:40
1 of 1 shots sampled

80. Mountain

24:36–24:44 Machine checks passed (partial)

Model synopsis: A man climbs a rocky slope under bright daylight. No dialogue or on-screen text is present in this beat.

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

1 person observed.

Evidence, details and a link to share

Frame at 24:48, shot 15924:48
1 of 1 shots sampled

81. Mountain

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

Model synopsis: A single figure is visible on a rocky cliffside in a natural, outdoor setting. No names, dialogue beyond an exclamation, or specific time indicators are present.

  • A figure stands on a rocky cliffside. [frame:1]

1 person observed.

“Oh.” 24:49

Evidence, details and a link to share

Sequence 50 from 25:15

Frame at 25:23, shot 16325:23
1 of 1 shots sampled

85. Mountain

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

Model synopsis: A man in dark clothing sits on a rocky slope under a clear sky. No dialogue or on-screen text is present in this beat.

  • A man sits on a rocky slope. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 51 from 25:25

Sequence 52 from 25:28

Frame at 25:39, shot 16525:39
1 of 1 shots sampled

87. Field

25:28–25:49 Machine checks passed

Model synopsis: A man in dark clothing kneels on rocky ground, appearing to examine or interact with something at his hands. The scene is outdoors, with no visible structures or other people, and the only spoken word is "Amen."

  • The man kneels on rocky ground and looks down at his hands. [frame:1]

1 person observed.

“Amen.” 25:42

Evidence, details and a link to share

Sequence 53 from 25:49

Frame at 26:12, shot 16626:12
1 of 1 shots sampled

88. Log cabin interior

25:49–26:36 Machine checks passed (partial)

Model synopsis: Two men converse inside a log cabin; one gives an item to the other and instructs him to deliver a message to his mother. The scene ends with one man calling out for 'Chip' or 'Chef' off-screen.

  • Tommy and Jonathan stand facing each other inside a log cabin, with a dog lying nearby. [frame:1]

Named: Jonathan (t:26:01), Tommy (t:25:50). 2 people observed.

“Tommy?” 25:50 · “I want you to take this to your mom.” 25:51

Evidence, details and a link to share

Sequence 54 from 26:36

Frame at 26:43, shot 16726:43
1 of 1 shots sampled

89. Other

26:36–26:50 Machine checks passed (partial)

Model synopsis: A man in a white hat and light shirt stands beside a window where a dog rests; dialogue suggests a group is preparing to leave with a boy who does not know the trails. No named individuals appear, and the setting is not clearly identifiable beyond being indoors.

  • A man stands beside a window where a dog is resting. [frame:1]

1 person observed.

“What is this?” 26:36 · “You're not between us. We gotta take care of that boy. He don't know these trails like we do.” 26:39

Evidence, details and a link to share

Frame at 26:53, shot 16826:53Frame at 26:57, shot 16926:57Frame at 27:00, shot 17027:00Frame at 27:05, shot 17127:05
4 of 4 shots sampled

90. Forest

26:50–27:10 Machine checks passed (partial)

Model synopsis: Two men speak near a wooden structure while a dog walks on a rocky path; one man mentions sending a child home. The setting appears to be outdoors near a rustic building.

  • A dog walks on a rocky path. [frame:1]
  • A man in a hat stands near a wooden structure. [frame:2]
  • A man walks through a forested, rocky area. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“I sent Tommy home. The kid's getting lonesome for his mom.” 27:05 · “What's all the excitement?” 27:08

Evidence, details and a link to share

Frame at 27:14, shot 17227:14Frame at 27:21, shot 17327:21Frame at 27:25, shot 17427:25Frame at 27:29, shot 17527:29
4 of 4 shots sampled

91. Forest

27:10–27:31 Machine checks passed (partial)

Model synopsis: Two men in period Western attire converse outdoors near a wooden structure; one describes finding white quartz with gold veins at the head of a canyon. The dialogue suggests a plan to go there, with one man affirming the location and the other urging action.

  • A bearded man speaks to another man wearing a hat. [frame:1]
  • The older man with the white beard listens intently. [frame:2]
  • The bearded man continues speaking, gesturing slightly. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“white quartz, the whitest you ever saw.” 27:17 · “And in it, jackets like lightning, a vein of pure gold.” 27:19

Evidence, details and a link to share

Sequence 55 from 27:31

Frame at 27:33, shot 17627:33Frame at 27:37, shot 17727:37Frame at 27:41, shot 17827:41Frame at 27:47, shot 17927:47
4 of 4 shots sampled

92. Forest

27:31–27:49 Machine checks passed (partial)

Model synopsis: A person is seen climbing a rocky slope in a forested mountain area while another person stands nearby. The scene includes tall trees and a fallen log, with one frame showing a startled reaction.

  • A person is climbing a rocky slope in a forest. [frame:1]
  • A fallen log lies in a forest clearing with tall trees. [frame:2]
  • Two people are on a rocky slope, one climbing, one standing. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“Oh, my God.” 27:45

Evidence, details and a link to share

Frame at 27:51, shot 18027:51Frame at 27:58, shot 18227:58Frame at 28:04, shot 18528:04Frame at 28:12, shot 18728:12
4 of 8 shots sampled

93. Mountain

27:49–28:13 Machine checks passed (partial)

Model synopsis: A person walks along a mountain trail while a dog stands nearby; two people are later seen climbing a rocky slope. The dialogue references mountain goats and includes a command to 'go on back.'

  • A person walks along a narrow mountain trail. [frame:1]
  • A dog stands on a dirt path near trees. [frame:2]
  • Two people climb a steep, rocky slope. [frame:3]
  • 1 more under Evidence and details.

3 people observed.

“All right, Jack. Go on back. Over. Go to turn her.” 27:53 · “You were sure right about the mountain goats.” 28:00

Evidence, details and a link to share

Frame at 28:15, shot 18828:15
1 of 1 shots sampled

94. Rocky slope

28:13–28:17 Machine checks passed (partial)

Model synopsis: Two men walk up a rocky slope under a pale sky. No dialogue or on-screen text is present in this beat.

  • Two men walk up a rocky slope. [frame:1]

2 people observed.

Evidence, details and a link to share

Sequence 56 from 28:20

Frame at 28:25, shot 19028:25
1 of 1 shots sampled

96. Mountain

28:20–28:30 Machine checks passed (partial)

Model synopsis: A person stands on a rocky outcrop while another climbs up a steep rock face in a mountainous landscape. The scene is set outdoors with no visible structures or artificial lighting.

  • One person climbs a steep rock face while another stands on a ledge above. [frame:1]

2 people observed.

“Go ahead.” 28:21

Evidence, details and a link to share

Sequence 57 from 28:30

Sequence 58 from 28:41

Sequence 59 from 28:49

Sequence 60 from 28:54

Frame at 28:59, shot 19528:59Frame at 29:03, shot 19629:03
2 of 2 shots sampled

101. Mountain

28:57–29:05 Machine checks passed (partial)

Model synopsis: Two men are visible on a rocky mountainside path; one gestures while the other stands beside him. A distant village and snow-capped mountains are visible in the background. The transcript contains an exclamation at 29:00.

  • Two men stand on a rocky mountain path. [frame:1]
  • One man gestures with his right arm while standing beside another man on rocks. [frame:2]

2 people observed.

“Oh, my God.” 29:00

Evidence, details and a link to share

Frame at 29:15, shot 19929:15Frame at 29:20, shot 20029:20Frame at 29:25, shot 20129:25Frame at 29:30, shot 20229:30
4 of 4 shots sampled

104. Mountain

29:12–29:32 Machine checks passed (partial)

Model synopsis: Two people are on a rocky cliffside; one gestures while the other climbs. They speak briefly, expressing urgency and alarm, before moving forward.

  • A man stands on a rocky ledge, gesturing with his arm. [frame:1]
  • A person climbs a steep rock face. [frame:2]
  • The man gestures again while standing beside another person on the ledge. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“It's a ledge just beyond.” 29:16 · “Amen.” 29:17

Evidence, details and a link to share

Frame at 29:34, shot 20329:34
1 of 1 shots sampled

105. Hillside

29:32–29:35 Machine checks passed

Model synopsis: Two men are on a rocky hillside; one stands while the other leans forward with an outstretched arm. The setting is outdoors under bright daylight, with no visible structures or signage.

2 people observed.

Evidence, details and a link to share

Sequence 61 from 29:35

Frame at 29:38, shot 20429:38
1 of 1 shots sampled

106. Rocky ground

29:35–29:41 Machine checks passed (partial)

Model synopsis: A close-up shows a boot stepping on rocky ground. No people are named or audible, and no place or time is established.

  • a boot steps onto rocky ground [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 62 from 29:41

Frame at 29:42, shot 20529:42Frame at 29:47, shot 20629:47
2 of 2 shots sampled

107. Field

29:41–29:52 Machine checks passed (partial)

Model synopsis: Two men are outdoors on rocky terrain; one stands while the other sits. A voice asks where something is, calling it a big thing down on the ledge.

  • A man stands on rocky ground looking off-camera. [frame:1]
  • Two men are together on rocky ground; one is seated, the other standing. [frame:2]

2 people observed.

“Well, where is it?” 29:46 · “It's a big thing.” 29:47

Evidence, details and a link to share

Frame at 29:53, shot 20729:53
1 of 1 shots sampled

108. Other

29:52–29:54 Machine checks passed

Model synopsis: A man with a beard and a wide-brimmed hat is visible in a close-up shot against a bright sky. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 63 from 29:54

Frame at 29:56, shot 20829:56Frame at 30:02, shot 21030:02Frame at 30:04, shot 21130:04Frame at 30:10, shot 21330:10
4 of 6 shots sampled

109. Mountain

29:54–30:12 Machine checks passed (partial)

Model synopsis: A person is seen clinging to a rocky cliffside in a mountainous area, with snow-capped peaks visible in the background. Spoken lines include calls of "Taylor!", "Howdy!", and "Jack! Jack!", and a plea for someone named Kelsey to refuse a request.

  • A person is clinging to a rocky cliffside. [frame:3]

1 person observed.

“Taylor!” 29:57 · “Howdy!” 30:01

Evidence, details and a link to share

Frame at 30:13, shot 21430:13
1 of 1 shots sampled

110. Mountain

30:12–30:13 Machine checks passed

Model synopsis: The beat shows a rocky mountainside under a clear blue sky, with snow-capped peaks visible in the distance. No people, objects, or on-screen text are visible, and no dialogue is present.

Evidence, details and a link to share

Frame at 30:14, shot 21530:14
1 of 1 shots sampled

111. Rocky slope

30:13–30:15 Machine checks passed (partial)

Model synopsis: A person is visible lying on a rocky slope in a natural outdoor setting. No dialogue or on-screen text is present in this beat.

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

1 person observed.

Evidence, details and a link to share

Sequence 64 from 30:15

Sequence 65 from 30:18

Frame at 30:21, shot 21830:21
1 of 1 shots sampled

114. Mountain

30:18–30:24 Machine checks passed (partial)

Model synopsis: A man in a light shirt and dark trousers is climbing a rocky slope under a clear blue sky. No dialogue or on-screen text is present in this beat.

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

1 person observed.

Evidence, details and a link to share

Sequence 66 from 30:24

Frame at 30:25, shot 21930:25
1 of 1 shots sampled

115. Hillside

30:24–30:26 Machine checks passed

Model synopsis: A wide shot shows a barren, rocky hillside under a pale sky. A small, dark figure, possibly a person or animal, is visible on the ridge in the distance.

Evidence, details and a link to share

Sequence 67 from 30:26

Frame at 30:30, shot 22030:30
1 of 1 shots sampled

116. Mountain

30:26–30:35 Machine checks passed (partial)

Model synopsis: A person walks up a rocky slope in daylight. No dialogue or on-screen text is present in this beat.

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

1 person observed.

Evidence, details and a link to share

Sequence 68 from 30:35

Frame at 30:36, shot 22130:36
1 of 1 shots sampled

117. Forest

30:35–30:37 Machine checks passed

Model synopsis: A man in a light shirt stands beside a large rock in a wooded area. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 69 from 30:37

Sequence 70 from 30:41

Frame at 30:42, shot 22330:42
1 of 1 shots sampled

119. Mountain

30:41–30:43 Machine checks passed (partial)

Model synopsis: A person is visible climbing a rocky, snow-dusted slope in a mountainous landscape. No dialogue or on-screen text is present in this beat.

  • A person climbs a rocky, snow-dusted slope. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 71 from 30:46

Sequence 72 from 30:48

Sequence 73 from 30:52

Sequence 74 from 30:55

Sequence 75 from 31:03

Frame at 31:06, shot 23031:06
1 of 1 shots sampled

126. Mountain

31:03–31:09 Machine checks passed

Model synopsis: A man with a beard and a light shirt stands outdoors near rocks and trees. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 76 from 31:09

Frame at 31:11, shot 23131:11
1 of 1 shots sampled

127. Mountain

31:09–31:12 Machine checks passed (partial)

Model synopsis: A person stands on a rocky slope with mountains in the background. No dialogue or on-screen text is present in this beat.

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

1 person observed.

Evidence, details and a link to share

Sequence 77 from 31:12

Sequence 78 from 31:15

Frame at 31:32, shot 23531:32
1 of 1 shots sampled

131. Rocky slope

31:22–31:42 Machine checks passed

Model synopsis: A person is seen climbing a steep, rocky slope under a clear blue sky. No dialogue or on-screen text is present in this beat.

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

1 person observed.

Evidence, details and a link to share

Sequence 79 from 31:42

Sequence 80 from 31:51

Frame at 32:00, shot 23732:00
1 of 1 shots sampled

133. Other

31:51–32:09 Machine checks passed

Model synopsis: A dimly lit scene shows two figures in close proximity; one speaks 'Amen' and 'Come on' while the other makes a sound. The setting is too dark to identify specific objects or location features.

2 people observed.

“Amen.” 32:00 · “Hmm.” 32:04

Evidence, details and a link to share

Frame at 32:10, shot 23832:10
1 of 1 shots sampled

134. Other

32:09–32:10 Machine checks passed

Model synopsis: A single blurry figure is visible in a dark, indistinct setting. No dialogue or clear environmental details are present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 81 from 32:10

Sequence 82 from 32:18

Frame at 32:54, shot 24032:54
1 of 1 shots sampled

136. Private office

32:18–33:31 Machine checks passed (partial)

Model synopsis: A man sits in a dimly lit room with a dog lying nearby while a conversation occurs about someone named Jonathan and a warning to Shepard. The dialogue includes repeated use of 'Amen' and a threat disguised as concern.

  • A man sits in a room with a dog lying on the floor nearby. [frame:1]

Named: Shepard (t:32:53). 1 person observed.

“Amen.” 32:25 · “Hello, Sheila.” 32:30

Evidence, details and a link to share

Sequence 83 from 33:31

Sequence 84 from 33:35

Frame at 33:42, shot 24233:42Frame at 33:50, shot 24333:50
2 of 2 shots sampled

138. Field

33:35–33:52 Machine checks passed (partial)

Model synopsis: Two dark, indistinct outdoor frames show rocky ground and foliage; no people are visible. The transcript contains two short spoken lines: 'Come on.' and 'I'm sorry.'

  • A dark, rocky outdoor scene is shown. [frame:1]
  • A dark outdoor scene with foliage is shown. [frame:2]

“Come on.” 33:42 · “I'm sorry.” 33:48

Evidence, details and a link to share

Frame at 33:57, shot 24433:57
1 of 1 shots sampled

139. Other

33:52–34:02 Machine checks passed (partial)

Model synopsis: A person is seen from behind in a dimly lit interior, saying 'Amen.' The setting is not clearly identifiable beyond being dark and enclosed.

  • A person is seen from behind in a dark interior. [frame:1]

1 person observed.

“Amen.” 33:57

Evidence, details and a link to share

Frame at 34:08, shot 24534:08Frame at 34:16, shot 24634:16
2 of 2 shots sampled

140. Forest

34:02–34:19 Machine checks passed (partial)

Model synopsis: A dark outdoor scene shows a figure lying on the ground, followed by a close-up of a man's face in distress. The transcript includes an exclamation and a prayer-like utterance.

  • A figure is visible lying on the ground in a dark wooded area. [frame:1]
  • A close-up shows a man's face in distress, lying down. [frame:2]

1 person observed.

“Amen.” 34:03 · “Oh!” 34:10

Evidence, details and a link to share

Frame at 34:25, shot 24734:25
1 of 1 shots sampled

141. Other

34:19–34:31 Machine checks passed

Model synopsis: A man in a light shirt and dark trousers stands in a dimly lit interior space with wooden structures behind him. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 85 from 34:31

Frame at 34:43, shot 24934:43Frame at 34:49, shot 25034:49Frame at 34:51, shot 25134:51
3 of 3 shots sampled

143. Forest

34:38–34:52 Machine checks passed (partial)

Model synopsis: A man confronts a dog in a dark outdoor setting; the man is audible shouting commands. The dog barks and appears startled while the man gestures aggressively.

  • A dog barks and turns toward a man standing in the background. [frame:1]
  • The dog is shown barking with mouth open, facing forward. [frame:2]
  • The man is shown in close-up, looking downward with a tense expression. [frame:3]

1 person observed.

“Get up! Get up!” 34:39 · “I said get away from there.” 34:46

Evidence, details and a link to share

Frame at 34:54, shot 25234:54Frame at 34:59, shot 25434:59Frame at 35:09, shot 25735:09Frame at 35:16, shot 25935:16
4 of 8 shots sampled

144. Field

34:52–35:18 Machine checks passed (partial)

Model synopsis: A dog is shown barking and running through a dark, rocky outdoor area. The transcript includes a loud noise and wind sounds, suggesting an outdoor scene with weather effects.

  • A dog barks with its mouth open. [frame:1]
  • A dog runs across rocky ground. [frame:2]
  • The scene is dark and indistinct, showing a natural outdoor setting. [frame:3]
  • 1 more under Evidence and details.

“Yeah.” 34:55 · “*Loud noise*” 34:56

Evidence, details and a link to share

Frame at 35:35, shot 26135:35
1 of 1 shots sampled

146. Forest

35:34–35:36 Machine checks passed

Model synopsis: A dog is visible in a dimly lit outdoor setting. No people, dialogue, or on-screen text are present in the frames or transcript for this beat.

Evidence, details and a link to share

Frame at 35:38, shot 26235:38
1 of 1 shots sampled

147. Rocky terrain

35:36–35:39 Machine checks passed (partial)

Model synopsis: A person is seen moving through a dark, rocky outdoor environment. No dialogue or on-screen text is present in this beat.

  • A person moves through rocky terrain. [frame:1]

1 person observed.

Evidence, details and a link to share

Frame at 35:41, shot 26335:41
1 of 1 shots sampled

148. Other

35:39–35:42 Machine checks passed

Model synopsis: A single frame shows a dimly lit, indistinct figure or object in a dark, possibly outdoor setting. No people, dialogue, or clear objects are visible, and no time of day or period can be determined from the frame.

Evidence, details and a link to share

Sequence 86 from 35:42

Frame at 35:58, shot 26435:58
1 of 1 shots sampled

149. Private office

35:42–36:14 Machine checks passed (partial)

Model synopsis: A man stands inside a rustic wooden room as a dog enters through an open doorway; the man speaks to the dog, indicating he has prepared something for it. The scene is lit by natural light from the doorway, showing a forested landscape outside.

  • Dog enters room through open doorway. [frame:1]

1 person observed.

“Hungry, huh? I figured I'd bring you around. Then I got something all ready for you.” 36:03

Evidence, details and a link to share

Sequence 87 from 36:14

Frame at 36:15, shot 26536:15
1 of 1 shots sampled

150. Porch

36:14–36:16 Machine checks passed

Model synopsis: A collie dog lies on a wooden porch, looking out through an open doorway. The setting appears to be outdoors with natural light, but no people or specific time of day are visible.

Evidence, details and a link to share

Sequence 88 from 36:16

Frame at 36:17, shot 26636:17
1 of 1 shots sampled

151. Log cabin interior

36:16–36:18 Machine checks passed

Model synopsis: A man in a light shirt stands with his back to the camera inside a log cabin, facing a shelf with jars and bottles. The scene is dimly lit and shows no other people or movement.

1 person observed.

Evidence, details and a link to share

Sequence 89 from 36:25

Frame at 36:31, shot 26936:31
1 of 1 shots sampled

153. Other

36:25–36:37 Machine checks passed

Model synopsis: A man sits at a table inside a rustic wooden structure, eating from a bowl. A dog is visible near an open doorway that shows a mountainous landscape outside.

1 person observed.

Evidence, details and a link to share

Frame at 36:53, shot 27236:53
1 of 1 shots sampled

155. Wooden cabin

36:48–36:58 Machine checks passed

Model synopsis: A man sits at a table inside a rustic wooden structure while a dog sits on the porch outside. The scene is lit by natural daylight coming through an open doorway.

1 person observed.

Evidence, details and a link to share

Frame at 37:00, shot 27337:00Frame at 37:08, shot 27437:08Frame at 37:15, shot 27537:15
3 of 3 shots sampled

156. Porch

36:58–37:15 Machine checks passed (partial)

Model synopsis: A dog sits on a porch while a man eats at a table inside a rustic building. The transcript includes exclamations and a question, but no names are spoken.

  • A dog is sitting on a porch. [frame:1]
  • A man is eating from a bowl at a table. [frame:2]
  • The dog remains seated on the porch. [frame:3]

1 person observed.

“Come on.” 36:59 · “Woo!” 37:02

Evidence, details and a link to share

Frame at 37:16, shot 27637:16Frame at 37:18, shot 27737:18Frame at 37:25, shot 27937:25Frame at 37:26, shot 28037:26
4 of 5 shots sampled

157. Cabin

37:15–37:27 Machine checks passed (partial)

Model synopsis: A bearded man sits at a table inside a wooden structure while a dog sits outside on a porch, barking. The man speaks and gestures, and the dog reacts to something off-camera.

  • A man sits at a table inside a wooden cabin, holding a spoon and gesturing. [frame:1]
  • A dog sits on a porch outside the cabin, looking to the side. [frame:2]
  • The dog barks with its mouth open, head tilted back. [frame:3]
  • 1 more under Evidence and details.

1 person observed.

“So that's the way it is, huh?” 37:20 · “with the camera.” 37:23

Evidence, details and a link to share

Frame at 37:28, shot 28137:28
1 of 1 shots sampled

158. Porch

37:27–37:29 Machine checks passed

Model synopsis: A dog sits on a tiled porch with a wooden wall and outdoor greenery visible. No people or spoken dialogue are present in this beat.

Evidence, details and a link to share

Sequence 90 from 37:38

Sequence 91 from 37:42

Frame at 37:43, shot 28637:43Frame at 37:48, shot 28737:48
2 of 2 shots sampled

162. Private office

37:42–37:50 Machine checks passed (partial)

Model synopsis: A man in a shirt and trousers stands near a table in a rustic interior while a dog stands near a doorway. A voice tells someone to leave and warns they asked for it.

  • A man stands near a table with food and a dog near a doorway. [frame:1]
  • The man turns toward the doorway where the dog stands. [frame:2]

1 person observed.

“Now get out of here. Get out! And remember, you ask for it.” 37:43

Evidence, details and a link to share

Sequence 92 from 37:50

Sequence 93 from 38:08

Sequence 94 from 38:19

Frame at 38:22, shot 29038:22
1 of 1 shots sampled

165. Forest

38:19–38:26 Machine checks passed

Model synopsis: A forest stream flows over rocks, surrounded by dense trees and undergrowth. No people or artificial structures are visible in the single frame provided.

Evidence, details and a link to share

Sequence 95 from 38:26

Frame at 39:10, shot 29239:10Frame at 39:15, shot 29339:15Frame at 39:23, shot 29539:23Frame at 39:28, shot 29639:28
4 of 5 shots sampled

167. Forest

39:08–39:30 Machine checks passed (partial)

Model synopsis: A dog is shown lying on the ground, then standing near a river in a forested area. People are visible in the distance near the riverbank. No names or specific events are stated in the transcript.

  • A dog is lying on the ground. [frame:1]
  • A river flows through a rocky, forested area. [frame:2]
  • A dog stands facing the camera near the river. [frame:3]
  • 1 more under Evidence and details.

1 person observed.

“Oh, my God.” 39:09 · “I'm not.” 39:16

Evidence, details and a link to share

Sequence 96 from 39:47

Sequence 97 from 39:51

Frame at 39:53, shot 29939:53
1 of 1 shots sampled

170. Rocky terrain

39:51–39:55 Machine checks passed

Model synopsis: A still frame shows a rocky, natural outdoor setting with a large boulder and a partially visible animal lying on the ground. No people, dialogue, or on-screen text are present in this beat.

Evidence, details and a link to share

Sequence 98 from 39:55

Frame at 40:00, shot 30140:00Frame at 40:03, shot 30240:03Frame at 40:05, shot 30340:05Frame at 40:09, shot 30440:09
4 of 4 shots sampled

172. Forest

39:58–40:11 Machine checks passed (partial)

Model synopsis: A dog is shown near a rocky stream, then a person rides a horse through a forested area. The transcript includes the word 'Pow!' at 40:09.

  • a dog lies near a rocky stream [frame:1]
  • close-up of a white and brown dog looking alert [frame:2]
  • a person on horseback approaches along a stream in a forest [frame:3]
  • 1 more under Evidence and details.

1 person observed.

“The” 40:00 · “Pow!” 40:09

Evidence, details and a link to share

Frame at 40:15, shot 30540:15Frame at 40:22, shot 30640:22
2 of 2 shots sampled

173. Forest

40:11–40:24 Machine checks passed (partial)

Model synopsis: Two dogs rest near a rocky riverbank while a woman on horseback appears in a wooded area. No names or specific events are mentioned in the dialogue.

  • Two dogs are lying on rocks near a river. [frame:1]
  • A woman is riding a horse through a wooded area. [frame:2]

1 person observed.

“What? What?” 40:16 · “Woo!” 40:21

Evidence, details and a link to share

Frame at 40:26, shot 30740:26
1 of 1 shots sampled

174. Stream

40:24–40:27 Machine checks passed

Model synopsis: Two dogs are near a rocky stream; one stands while the other lies on the ground. No people or dialogue are visible or audible in this beat.

Evidence, details and a link to share

Sequence 99 from 40:27

Frame at 40:32, shot 30940:32Frame at 40:46, shot 31040:46
2 of 2 shots sampled

176. Forest

40:29–40:58 Machine checks passed (partial)

Model synopsis: Two people are in a rocky, wooded outdoor area; one crouches near water while the other stands nearby. A voice says 'Duck, wait, Mama Lou, it's like a clue,' suggesting they are searching or reacting to something.

  • Two people are in a rocky, wooded area; one stands, the other crouches near water. [frame:1]
  • One person is bent over near water, another is partially visible behind them. [frame:2]

Named: Mama Lou (t:40:39). 2 people observed.

“Oh, fuck, look.” 40:34 · “Duck, wait, Mama Lou, it's like a clue.” 40:39

Evidence, details and a link to share

Frame at 41:01, shot 31141:01Frame at 41:12, shot 31241:12Frame at 41:23, shot 31441:23Frame at 41:26, shot 31541:26
4 of 5 shots sampled

177. Camp

40:58–41:28 Machine checks passed (partial)

Model synopsis: A person tends to a dog in a tented camp while a horse runs nearby; a dog is seen running alone in dust. A voice mentions 'Old Eagle' and urges quiet.

  • A person tends to a dog inside a tent. [frame:1]
  • A horse runs across a camp with tents and people. [frame:2]
  • A horse runs across open ground. [frame:3]
  • 1 more under Evidence and details.

1 person observed.

“I'm sorry.” 40:59 · “Old Eagle in town, find great.” 41:03

Evidence, details and a link to share

Frame at 41:29, shot 31641:29
1 of 1 shots sampled

178. Dirt path

41:28–41:30 Machine checks passed (partial)

Model synopsis: A horse-drawn wagon is shown with a person driving it, moving along a dirt path. The setting appears to be outdoors in a wooded area with trees visible in the background.

  • A horse pulls a wagon along a dirt path while a person drives it. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 100 from 41:30

Frame at 41:31, shot 31741:31
1 of 1 shots sampled

179. Living room

41:30–41:32 Machine checks passed

Model synopsis: A close-up shows a person's hands resting on a light-colored animal, possibly a dog, lying on a patterned surface. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 101 from 41:32

Frame at 41:34, shot 31841:34Frame at 41:36, shot 31941:36Frame at 41:41, shot 32141:41Frame at 41:44, shot 32241:44
4 of 5 shots sampled

180. Forest

41:32–41:45 Machine checks passed (partial)

Model synopsis: A group of people on horseback are in a forested area; one person gestures while others look on. A woman is shown in close-up, then a wider shot shows several riders with horses in a wooded clearing.

  • A person raises an arm and points upward. [frame:1]
  • A woman looks forward with a concerned expression. [frame:3]
  • Horses and riders are visible in a forest clearing. [frame:2]
  • 1 more under Evidence and details.

5 people observed.

“Doctor! Doctor! Oh!” 41:33 · “In Santa Maria, it's all called Cori.” 41:39

Evidence, details and a link to share

Frame at 41:46, shot 32341:46
1 of 1 shots sampled

181. Forest

41:45–41:48 Machine checks passed

Model synopsis: A group of people on horseback and in a wagon are gathered outdoors near trees. One person in a vest sits on the wagon's edge while others are mounted or seated nearby.

3 people observed.

Evidence, details and a link to share

Frame at 41:52, shot 32441:52
1 of 1 shots sampled

182. Rocky outdoor area

41:48–41:56 Machine checks passed

Model synopsis: A group of people in period Western attire gather around a prone figure on the ground in an outdoor, rocky setting. No dialogue or on-screen text is present in this beat.

5 people observed.

Evidence, details and a link to share

Frame at 41:57, shot 32541:57Frame at 41:58, shot 32641:58Frame at 42:03, shot 32842:03Frame at 42:09, shot 32942:09
4 of 5 shots sampled

183. Forest

41:56–42:12 Machine checks passed (partial)

Model synopsis: Two men in period Western attire are shown in a wooded outdoor setting, one speaking while others sit in a wagon. A horse-drawn wagon is visible, and one man gestures while speaking. No names are spoken in the transcript lines provided.

  • Two men sit side by side in a wagon, looking forward. [frame:1]
  • An older man in a hat and beaded necklace speaks. [frame:2]
  • A group of people, including a child, are seated in a wagon; one man gestures with his arm. [frame:3]
  • 1 more under Evidence and details.

5 people observed.

“It's coming out of the day.” 41:57 · “How do I ask them?” 41:59

Evidence, details and a link to share

Sequence 102 from 42:12

Frame at 42:14, shot 33042:14
1 of 1 shots sampled

184. Forest

42:12–42:15 Machine checks passed (partial)

Model synopsis: A person on horseback moves along a dirt path through a wooded area. The scene is outdoors with dense foliage and a rocky outcrop visible.

  • A person on horseback rides along a dirt path through a wooded area. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 103 from 42:15

Frame at 42:17, shot 33142:17
1 of 1 shots sampled

185. Town square

42:15–42:19 Machine checks passed

Model synopsis: A man stands near a wagon on a dirt street lined with wooden buildings, including a barber shop, while horses and people are visible in the background. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Sequence 104 from 42:23

Frame at 42:34, shot 33342:34
1 of 1 shots sampled

187. Other

42:23–42:45 Machine checks passed (partial)

Model synopsis: A person's hand touches a dog lying on the ground. No dialogue or other actions are visible or audible in this beat.

  • A person's hand touches a dog's head. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 105 from 42:45

Frame at 42:49, shot 33442:49
1 of 1 shots sampled

188. Camp

42:45–42:54 Machine checks passed (partial)

Model synopsis: A group of silhouetted figures sits around a campfire at night under a cloudy sky. One person gestures with an object while others watch.

  • A person gestures with an object while seated around a campfire. [frame:1]

4 people observed.

“Marshmallow.” 42:47

Evidence, details and a link to share

Sequence 106 from 42:54

Frame at 43:00, shot 33543:00
1 of 1 shots sampled

189. Forest

42:54–43:06 Machine checks passed

Model synopsis: A man and a boy stand outdoors at dusk or night, surrounded by trees. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Sequence 107 from 43:13

Sequence 108 from 43:18

Frame at 43:19, shot 33843:19
1 of 1 shots sampled

192. Other

43:18–43:21 Machine checks passed

Model synopsis: Two men are shown in profile, facing each other in a dimly lit interior. One man wears a dark jacket and shirt; the other wears a necklace and a dark top.

2 people observed.

Evidence, details and a link to share

Sequence 109 from 43:21

Frame at 43:36, shot 34043:36Frame at 43:48, shot 34143:48
2 of 2 shots sampled

194. Forest

43:35–43:59 Machine checks passed (partial)

Model synopsis: A group of people are gathered outdoors at night, with one person speaking about finding out about poison and being unstoppable. A close-up shows a person in a light-colored shirt and a crumpled pink garment, suggesting a moment of physical interaction or distress.

  • A group of people are gathered outdoors at night. [frame:1]
  • A person in a light shirt is interacting with a crumpled pink garment and another person. [frame:2]

3 people observed.

“Mama said, "What's up, my house? Big Lil' Ya Katoosh!"” 43:36 · “You take her to your house.” 43:40

Evidence, details and a link to share

Frame at 44:00, shot 34244:00Frame at 44:05, shot 34344:05Frame at 44:29, shot 34544:29Frame at 44:36, shot 34644:36
4 of 5 shots sampled

195. Private office

43:59–44:42 Machine checks passed (partial)

Model synopsis: A man is shown in a dimly lit log cabin, first lying on a table, then sitting up, and finally standing and moving. The transcript includes fragmented phrases about hills, weather, stars, and gold, and ends with the man saying he is going to leave.

  • man lying face down on a table [frame:1]
  • man sitting at table, looking to side [frame:3]
  • man standing and moving away from table [frame:4]

1 person observed.

“these hills.” 44:11 · “Oh, man.” 44:12

Evidence, details and a link to share

Frame at 44:43, shot 34744:43
1 of 1 shots sampled

196. Forest

44:42–44:44 Machine checks passed

Model synopsis: A single frame shows a dark, shadowed outdoor scene with trees and a patch of sky. No people, objects, or text are clearly visible, and no events or spoken lines are present.

Evidence, details and a link to share

Frame at 44:45, shot 34844:45
1 of 1 shots sampled

197. Forest

44:44–44:45 Machine checks passed

Model synopsis: A single silhouette is visible against a dim outdoor background with trees. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 110 from 44:45

Sequence 111 from 45:02

Frame at 45:05, shot 35045:05
1 of 1 shots sampled

199. Forest

45:02–45:08 Machine checks passed

Model synopsis: A man in a dark coat stands outdoors near a stream with rocks and trees. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Frame at 45:12, shot 35145:12
1 of 1 shots sampled

200. Forest

45:08–45:16 Machine checks passed

Model synopsis: A bearded man in a coat and bandana is shown in a close-up outdoors. The background includes trees and a blue sky, suggesting a natural setting.

1 person observed.

Evidence, details and a link to share

Sequence 112 from 45:16

Sequence 113 from 45:25

Frame at 45:30, shot 35445:30
1 of 1 shots sampled

203. Other

45:25–45:34 Machine checks passed

Model synopsis: A man with a beard and dark coat is shown in a close-up, handling a bundle of fabric or clothing against a rocky background. No dialogue or on-screen text is present in this beat.

  • A man handles a bundle of fabric or clothing. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 114 from 45:34

Frame at 45:43, shot 35545:43
1 of 1 shots sampled

204. Forest

45:34–45:52 Machine checks passed (partial)

Model synopsis: A person on horseback is visible against a night sky with trees; someone off-screen shouts 'Come here!' and asks 'Where are you going?'. No named individuals or interior settings are shown or mentioned.

  • A person on horseback is visible moving through trees at night [frame:1]

2 people observed.

“Yeah!” 45:39 · “Come here!” 45:40

Evidence, details and a link to share

Sequence 115 from 45:52

Frame at 45:56, shot 35645:56
1 of 1 shots sampled

205. Other

45:52–46:01 Machine checks passed (partial)

Model synopsis: A person in a dark coat kneels beside a suitcase and a sack in a dimly lit interior space, using a small light source. No dialogue or on-screen text is present in this beat.

  • A person kneels beside a suitcase and a sack, holding a small light source. [frame:1]

1 person observed.

Evidence, details and a link to share

Frame at 46:02, shot 35746:02
1 of 1 shots sampled

206. Other

46:01–46:03 Machine checks passed

Model synopsis: A person lies inside a coffin-like box in a dimly lit space. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 116 from 46:03

Sequence 117 from 46:17

Frame at 46:21, shot 35946:21
1 of 1 shots sampled

208. Private office

46:17–46:24 Machine checks passed (partial)

Model synopsis: A person is visible in a dimly lit interior, leaning over a table with a lantern providing light. No dialogue or on-screen text is present in this beat.

  • A person leans over a table in a dimly lit room. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 118 from 46:24

Sequence 119 from 46:29

Frame at 46:34, shot 36146:34
1 of 1 shots sampled

210. Other

46:29–46:39 Machine checks passed

Model synopsis: A dim interior shows a lit lantern on a table; a doorway opens to a sunlit forest. No people or spoken dialogue are visible or audible in this beat.

Evidence, details and a link to share

Frame at 46:40, shot 36246:40
1 of 1 shots sampled

211. Forest

46:39–46:42 Machine checks passed

Model synopsis: A dim outdoor scene shows a small wooden structure among trees, with no people visible. The lighting is low, suggesting dusk or overcast weather.

Evidence, details and a link to share

Sequence 120 from 46:42

Frame at 46:43, shot 36346:43
1 of 1 shots sampled

212. Other

46:42–46:45 Machine checks passed

Model synopsis: A person wearing a dark coat and hat is visible in a dimly lit, indistinct setting. No spoken dialogue or clear environmental context is provided in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 121 from 46:45

Frame at 46:46, shot 36446:46
1 of 1 shots sampled

213. Forest

46:45–46:48 Machine checks passed

Model synopsis: A dim outdoor scene shows a horse-drawn wagon near a small wooden structure in a forested area. No people are visible, and no dialogue or on-screen text is present in this beat.

Evidence, details and a link to share

Frame at 46:49, shot 36546:49
1 of 1 shots sampled

214. Rocky hillside

46:48–46:50 Machine checks passed (partial)

Model synopsis: A person is visible on a rocky, tree-dotted hillside at dusk or dawn. No dialogue or on-screen text is present in this beat.

  • A person is crouching or kneeling on a rocky hillside. [frame:1]

1 person observed.

Evidence, details and a link to share

Frame at 46:53, shot 36646:53Frame at 46:57, shot 36746:57Frame at 46:59, shot 36846:59Frame at 47:02, shot 36947:02
4 of 4 shots sampled

215. Forest

46:50–47:03 Machine checks passed (partial)

Model synopsis: A dog is shown in profile, followed by a wide shot of a rocky, wooded area with a person walking, then a cabin in a forest clearing, and finally a close-up of a person lying on the ground. The transcript contains only exclamations and ambient sound.

  • A dog is shown in profile, panting. [frame:1]
  • A person walks through a rocky, wooded area. [frame:2]
  • A cabin is visible in a forest clearing with trees and mountains in the background. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“*crickets*” 46:55 · “Oh.” 46:57

Evidence, details and a link to share

Sequence 122 from 47:03

Frame at 47:05, shot 37047:05
1 of 1 shots sampled

216. Private office

47:03–47:07 Machine checks passed

Model synopsis: A man in a dark coat holds a pistol in a dimly lit wooden room with a lit lantern on a table. No dialogue or on-screen text is present in this beat.

  • A man holds a pistol in a dim room with a lantern on a table. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 123 from 47:07

Frame at 47:08, shot 37147:08
1 of 1 shots sampled

217. Forest

47:07–47:08 Machine checks passed

Model synopsis: A single frame shows a dark forest scene with tall trees and a dim sky. No people, objects, or text are visible, and no dialogue is present in this beat.

Evidence, details and a link to share

Sequence 124 from 47:08

Frame at 47:10, shot 37247:10
1 of 1 shots sampled

218. Other

47:08–47:12 Machine checks passed

Model synopsis: A man stands in a dimly lit interior holding a pistol, with a lit lantern on a table in the foreground. The setting appears to be a rustic room with wooden walls and minimal furnishings.

1 person observed.

Evidence, details and a link to share

Sequence 125 from 47:12

Frame at 47:14, shot 37347:14
1 of 1 shots sampled

219. Forest

47:12–47:15 Machine checks passed

Model synopsis: A person in a hat stands beside a tree in a dimly lit outdoor setting. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 126 from 47:15

Frame at 47:26, shot 37447:26Frame at 47:39, shot 37547:39Frame at 47:43, shot 37647:43
3 of 3 shots sampled

220. Cabin interior

47:15–47:45 Machine checks passed

Model synopsis: A man and a woman speak inside a wooden cabin while a boy stands nearby; the dialogue reveals concern over a missing person named Jonathan and mentions a dog named Shep and a found child. The setting is dimly lit with a lantern and rustic interior, suggesting a remote or rural location.

3 people observed.

“Jonathan! - Tony, what are you doing here?” 47:17 · “Gone. He's been gone for three days.” 47:24

Evidence, details and a link to share

Frame at 47:47, shot 37747:47Frame at 47:51, shot 37847:51Frame at 47:59, shot 38047:59Frame at 48:04, shot 38148:04
4 of 5 shots sampled

221. Cabin

47:45–48:07 Machine checks flagged: time_of_day without evidence

Model synopsis: A man and a boy are inside a wooden cabin at night; the boy is looking outside where a cabin with lit windows is visible. A person is seen standing in the doorway of the distant cabin. Dialogue indicates someone named Tommy is not present, and another named Kep arrives.

  • A man stands inside a cabin. [frame:1]
  • A boy looks out from the cabin doorway. [frame:2]
  • The boy continues to look out, expression unchanged. [frame:3]
  • 1 more under Evidence and details.

Named: Kep (t:48:05). 3 people observed.

“that she's all right now.” 47:46 · “Mr. Taylor, are you sure he's not here? I know I heard.” 47:52

Flagged: time_of_day without evidence (night)

Evidence, details and a link to share

Frame at 48:22, shot 38248:22
1 of 1 shots sampled

222. Log cabin interior

48:07–48:36 Machine checks passed (partial)

Model synopsis: Two people are inside a dimly lit log cabin; one stands while the other sits at a table with a lantern. One person speaks reassuringly about resting and getting supper, while another expresses concern about someone outside.

  • Two people are inside a log cabin with a lantern on the table. [frame:1]

Named: Collin (t:48:14). 2 people observed.

“Why is she coming?” 48:09 · “Don't worry about it, Collin. They're tired and upset.” 48:14

Evidence, details and a link to share

Frame at 48:38, shot 38348:38
1 of 1 shots sampled

223. Log cabin

48:36–48:40 Machine checks passed

Model synopsis: A man in a coat stands inside a log cabin, holding a bottle near a shelf. A second person is visible through a window in the background.

2 people observed.

Evidence, details and a link to share

Sequence 127 from 48:40

Sequence 128 from 48:42

Frame at 48:43, shot 38548:43
1 of 1 shots sampled

225. Log cabin interior

48:42–48:45 Machine checks passed

Model synopsis: A man in a coat and neckerchief sits inside a dimly lit wooden structure, looking down at something in his hands. The setting appears to be a rustic interior with shelves and a window visible in the background.

1 person observed.

Evidence, details and a link to share

Frame at 48:49, shot 38648:49
1 of 1 shots sampled

226. Private office

48:45–48:53 Machine checks passed (partial)

Model synopsis: A man sits at a wooden table in a dimly lit log cabin, speaking about unsaddling his horse. A lit oil lamp is on the table, and he appears to be addressing someone named Mr. Taylor.

  • A man sits at a wooden table in a log cabin with a lit oil lamp. [frame:1]

Named: Mr. Taylor (t:48:48). 1 person observed.

“I'd better unsaddle my horse, Mr. Taylor.” 48:48 · “I'll be right there.” 48:51

Evidence, details and a link to share

Sequence 129 from 48:53

Frame at 48:58, shot 38748:58Frame at 49:10, shot 38849:10
2 of 2 shots sampled

227. Forest

48:53–49:17 Machine checks passed (partial)

Model synopsis: A person is visible in a dark outdoor setting with trees and uneven ground. The transcript includes questions about a ship and a name being called out, but no visual confirmation of those elements is present in the frames.

  • A person is visible in a forested area. [frame:1]
  • A person is shown in close-up, looking downward. [frame:2]

1 person observed.

“Chef, what is it?” 48:59 · “What is a ship?” 49:04

Evidence, details and a link to share

Sequence 130 from 49:17

Sequence 131 from 49:21

Frame at 49:27, shot 39049:27Frame at 49:34, shot 39149:34Frame at 49:37, shot 39249:37
3 of 3 shots sampled

229. Field

49:21–49:38 Machine checks passed (partial)

Model synopsis: A person stands on a dirt path near rocks and foliage; another person in light clothing climbs over rocks while a third stands nearby. One person speaks the line 'I'm not.' and another says 'Be quiet.'

  • A person stands on a dirt path near rocks and foliage. [frame:1]
  • A person in light clothing climbs over rocks while another stands nearby. [frame:2]
  • A person stands near rocks in dim lighting. [frame:3]

3 people observed.

“I'm not.” 49:28 · “- - Be quiet.” 49:33

Evidence, details and a link to share

Frame at 49:45, shot 39449:45
1 of 1 shots sampled

231. Forest

49:43–49:46 Machine checks passed (partial)

Model synopsis: A man in dark clothing stands beside a horse in a wooded area, looking upward. The scene is dimly lit and appears to be outdoors at dusk or under heavy tree cover.

  • A man stands beside a horse and looks upward into the trees. [frame:1]

1 person observed.

Evidence, details and a link to share

Frame at 49:49, shot 39549:49Frame at 49:56, shot 39649:56
2 of 2 shots sampled

232. Field

49:46–49:59 Machine checks passed

Model synopsis: A woman and a child are shown in a rocky outdoor setting; a man is also visible nearby. The transcript includes a child calling out 'Mommy!' and someone identifying 'Jonathan' and 'Tommy.'

  • A woman holds a hat while standing near a child in a rocky area. [frame:1]
  • A man stands in the same rocky area holding a book or folder. [frame:2]

Named: Tommy (t:49:55), Jonathan (t:49:50). 3 people observed.

“It's Jonathan.” 49:50 · “Tommy?” 49:55

Evidence, details and a link to share

Sequence 132 from 49:59

Frame at 50:27, shot 39850:27
1 of 1 shots sampled

234. Forest

50:19–50:35 Machine checks passed (partial)

Model synopsis: A person is lying on the ground in a dark, brushy outdoor area. No dialogue or on-screen text is present in this beat.

  • A person is lying motionless on the ground among brush. [frame:1]

1 person observed.

Evidence, details and a link to share

Frame at 50:37, shot 39950:37Frame at 50:42, shot 40050:42Frame at 50:48, shot 40150:48Frame at 50:51, shot 40250:51
4 of 4 shots sampled

235. Forest

50:35–50:52 Machine checks passed (partial)

Model synopsis: A man restrains a young boy in a wooded area while shouting at him; the boy accuses the man of murder. The confrontation ends with the boy lying on the ground as the man stands over him.

  • The man restrains the boy in a wooded area. [frame:1]
  • The boy, face contorted, accuses the man of lying and murder. [frame:2]
  • The man grips the boy's shoulders and shouts at him to shut up. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“No! No! Let me go! Let me go! Where'd you get it?” 50:35 · “You lied, he isn't always dead! You killed him! He's buried over there and you killed him!” 50:39

Evidence, details and a link to share

Frame at 50:55, shot 40350:55Frame at 50:59, shot 40450:59Frame at 51:02, shot 40551:02
3 of 3 shots sampled

236. Forest

50:52–51:05 Machine checks passed (partial)

Model synopsis: A man in a dark coat confronts another person outdoors at dusk; a dog runs through brush; a group of people lie on the ground near rocks. Spoken lines include a command to be quiet and a reference to 'Tommy' and 'Jeff'.

  • A man in a dark coat leans over another person. [frame:1]
  • A dog runs through brush. [frame:2]
  • Several people lie on the ground near rocks. [frame:3]

Named: Jeff (t:50:57). 3 people observed.

“You're wrong, Tommy.” 50:52 · “You're not gonna tell anybody that.” 50:54

Evidence, details and a link to share

Frame at 51:07, shot 40651:07
1 of 1 shots sampled

237. Other

51:05–51:08 Machine checks passed (partial)

Model synopsis: A person in dark clothing and a light head covering is crouched on uneven ground in low light. No dialogue or on-screen text is present in this beat.

  • A person crouches on uneven ground in low light. [frame:1]

1 person observed.

Evidence, details and a link to share

Frame at 51:09, shot 40751:09
1 of 1 shots sampled

238. Other

51:08–51:11 Machine checks passed

Model synopsis: A person in a light shirt is seen from behind, bent over in a dark, indistinct outdoor setting. No dialogue or identifiable location is present in this beat.

1 person observed.

Evidence, details and a link to share

Frame at 51:12, shot 40851:12
1 of 1 shots sampled

239. Other

51:11–51:13 Machine checks passed

Model synopsis: A dark, low-resolution frame shows an indistinct outdoor scene at night with no visible people or objects. No dialogue or on-screen text is present.

Evidence, details and a link to share

Frame at 51:13, shot 40951:13
1 of 1 shots sampled

240. Field

51:13–51:14 Machine checks passed (partial)

Model synopsis: A person in a light coat is seen crouching over another figure on uneven ground. No dialogue or on-screen text is present in this beat.

  • A person in a light coat crouches over another person lying on the ground. [frame:1]

2 people observed.

Evidence, details and a link to share

Sequence 133 from 51:14

Sequence 134 from 51:18

Frame at 51:19, shot 41151:19
1 of 1 shots sampled

242. Other

51:18–51:20 Machine checks passed

Model synopsis: A dark, low-resolution frame shows a figure moving against a shadowy, uneven background. No text, names, or clear objects are visible, and no audio is provided for this beat.

Evidence, details and a link to share

Frame at 51:22, shot 41251:22Frame at 51:29, shot 41451:29Frame at 51:32, shot 41551:32Frame at 51:38, shot 41751:38
4 of 6 shots sampled

243. Field

51:20–51:38 Machine checks passed (partial)

Model synopsis: A man on horseback moves through a fenced outdoor area while another man calls out to him; a third man is visible on foot nearby. The scene ends with a close-up of a man in a coat looking upward.

  • A man on horseback rides past a wooden fence. [frame:1]
  • The horse and rider move through a gate in the fence. [frame:2]
  • A man on foot runs across the dirt ground. [frame:3]
  • 1 more under Evidence and details.

Named: Tony (t:51:30). 3 people observed.

“Hurry! Come on, Patrick! Stop it!” 51:24 · “Please come back to your brother, John. You've got him, boy. You've got him. Tony, come back here. Come back!” 51:30

Evidence, details and a link to share

Frame at 51:40, shot 41851:40
1 of 1 shots sampled

244. Forest

51:38–51:42 Machine checks passed

Model synopsis: A single frame shows a dark, wooded area with a small animal on the ground near a tree. No people, dialogue, or on-screen text are visible.

Evidence, details and a link to share

Sequence 135 from 51:42

Frame at 51:44, shot 41951:44
1 of 1 shots sampled

245. Forest

51:42–51:45 Machine checks passed (partial)

Model synopsis: A person lies motionless on the ground in a wooded area. No dialogue or on-screen text is present in this beat.

  • A person lies motionless on the ground. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 136 from 51:45

Frame at 51:46, shot 42051:46
1 of 1 shots sampled

246. Forest

51:45–51:47 Machine checks passed

Model synopsis: A man with a beard and coat is visible in a dimly lit outdoor setting. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 137 from 51:47

Frame at 51:48, shot 42151:48Frame at 52:00, shot 42252:00
2 of 2 shots sampled

247. Forest

51:47–52:11 Machine checks passed (partial)

Model synopsis: A person in dark clothing is bent over another person lying on the ground in a wooded area. The transcript includes a spoken insult and the word 'Amen.'

  • A person in dark clothing is bent over another person lying on the ground. [frame:1]
  • The person in dark clothing remains bent over the person on the ground. [frame:2]

2 people observed.

“You little fool out of me.” 51:48 · “Amen.” 51:51

Evidence, details and a link to share

Frame at 52:13, shot 42352:13
1 of 1 shots sampled

248. Forest

52:11–52:15 Machine checks passed

Model synopsis: A single frame shows a pale, indistinct figure moving through dark foliage at night. No dialogue or on-screen text is present in this beat.

  • A pale figure moves through dark bushes. [frame:1]

Evidence, details and a link to share

Sequence 138 from 52:15

Sequence 139 from 52:49

Frame at 53:07, shot 42553:07
1 of 1 shots sampled

250. Bedroom

52:49–53:26 Machine checks passed (partial)

Model synopsis: A man holds a metal cup and speaks to a boy lying down, urging him to drink and reassuring him he is safe. The boy appears frightened and resists, telling the man to leave him alone.

  • A man holds a metal cup near a boy lying in bed. [frame:1]

Named: Donnie (t:53:22). 2 people observed.

“Drink, darling.” 52:52 · “Get away from me. Leave me alone.” 53:09

Evidence, details and a link to share

Frame at 53:34, shot 42653:34Frame at 53:47, shot 42753:47
2 of 2 shots sampled

251. Bedroom

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

Model synopsis: A man and a boy are in a dimly lit interior space; the man speaks to the boy, who responds. The dialogue suggests a tense conversation about fear and a lie.

  • The man leans over the boy who is lying down. [frame:2]
  • The man and boy are face-to-face in a dim room. [frame:1]
  • The boy speaks while lying down, eyes closed. [frame:2]

Named: Tommy (t:53:34). 2 people observed.

“A man can be scared too, Tommy.” 53:34 · “And you've got the wrong idea, son.” 53:42

Evidence, details and a link to share

Frame at 54:26, shot 42954:26Frame at 54:35, shot 43054:35
2 of 2 shots sampled

253. Bedroom

54:19–54:38 Machine checks passed (partial)

Model synopsis: A child lies in bed while an adult man leans over them in a dimly lit interior. The transcript includes fragmented dialogue about a ship, someone named Shep, and an apology.

  • A child lies in bed with eyes closed. [frame:1]
  • An adult man leans over the child, looking at them. [frame:2]

Named: Shep (t:54:33). 2 people observed.

“I was coming in tomorrow to tell you all.” 54:19 · “Shit.” 54:25

Evidence, details and a link to share

Frame at 54:43, shot 43154:43Frame at 55:05, shot 43255:05Frame at 55:23, shot 43355:23
3 of 3 shots sampled

254. Bedroom

54:38–55:25 Machine checks passed (partial)

Model synopsis: A man speaks to a boy lying down in a dim room, urging him to sleep and forget an event. The scene cuts to a painted landscape with figures on horseback.

  • A man leans over a boy lying in bed and speaks to him. [frame:1]
  • The boy turns away in bed while the man remains beside him. [frame:2]
  • A painted landscape with figures on horseback is shown. [frame:3]

Named: Jonathan (t:55:11). 2 people observed.

“Let's both of us forget about what happened tonight.” 54:39 · “I guess so. Sure, we will. Now you get some sleep, and you'll be fine in the morning.” 54:46

Evidence, details and a link to share

Sequence 140 from 55:25

Frame at 55:33, shot 43455:33Frame at 55:46, shot 43555:46
2 of 2 shots sampled

255. Log cabin

55:25–55:51 Machine checks passed (partial)

Model synopsis: A man wakes a boy inside a log cabin while others arrive outside with horses. The arriving group includes men named Taylor, Steiner, and Crane, who mention a runaway horse and an accident involving Jonathan.

  • A man bends over a boy lying in bed inside a log cabin. [frame:1]
  • Three men stand outside a log cabin with horses and a dog. [frame:2]

Named: Mr. Taylor (t:55:40), Mel Steiner (t:55:40), Carl Crane (t:55:40), Aldrin (t:55:33), Tommy (t:55:26), Jonathan (t:55:29). 8 people observed.

“Tommy, wake up.” 55:26 · “We've got company, son.” 55:28

Evidence, details and a link to share

Sequence 141 from 55:51

Frame at 56:03, shot 43656:03
1 of 1 shots sampled

256. Wooden building exterior

55:51–56:15 Machine checks passed

Model synopsis: Three people meet outside a wooden building; one adult greets a boy and another adult, then invites them inside to deliver bad news. The setting appears to be a rural or frontier location during the day.

Named: Tommy (t:55:59), Pete (t:56:04). 3 people observed.

“Why, hello there, Tommy boy!” 55:59 · “Hi, Mr. P. Gee, I'm sure glad to see you.” 56:01

Evidence, details and a link to share

Sequence 142 from 56:15

Sequence 143 from 56:36

Sequence 144 from 56:58

Frame at 57:02, shot 43957:02Frame at 57:23, shot 44057:23
2 of 2 shots sampled

259. Field

56:58–57:39 Machine checks passed (partial)

Model synopsis: A boy sits with a dog in a snowy, rocky landscape, then stands alone in the same setting. Dialogue reveals a character named Mr. Taylor is speaking about Jonathan's death, claiming it was not an accident and that someone named P.D. is lying.

  • A boy sits beside a dog in a snowy, rocky area. [frame:1]
  • The boy stands alone in the same rocky landscape. [frame:2]

Named: Tommy (t:57:12), Mr. Taylor (t:57:33), Pete (t:57:05), Jonathan (t:57:17), P.D. (t:57:35). 5 people observed.

“As long as you can take Tommy and the dog back for me, I'll probably stay on up here till spring.” 57:12 · “For everyone's sake, I'd like to prove Jonathan was right.” 57:17

Evidence, details and a link to share

Sequence 145 from 57:39

Frame at 57:57, shot 44157:57
1 of 1 shots sampled

260. Field

57:39–58:15 Machine checks passed (partial)

Model synopsis: Three men are in an outdoor confrontation; one accuses another of lying and murder, while the accused denies intent to harm and references shared proximity overnight. A third man, older with a beard and hat, stands nearby as the younger men argue.

  • Pete confronts Tommy while holding his shoulder, as an older man stands nearby. [frame:1]

Named: Pete (t:57:43), Tommy (t:57:49). 3 people observed.

“Pete, he's lying, he's lying about everything.” 57:43 · “He hated Jonathan and he killed him. And last night when I found out he tried to kill me too. He's lying Pete. Tommy listen to me.” 57:49

Evidence, details and a link to share

Frame at 58:16, shot 44258:16Frame at 58:22, shot 44358:22
2 of 2 shots sampled

261. Field

58:15–58:27 Machine checks passed (partial)

Model synopsis: Two men stand outdoors in a rugged landscape, one holding a tool; a third man joins them as dialogue reveals a dispute over a gold claim. The transcript confirms the presence of gold in a cabin and a disagreement about its payout.

  • Two men stand facing each other in a field, one holding a tool. [frame:1]
  • A third man joins the two men in the field. [frame:2]

3 people observed.

“You don't believe me.” 58:17 · “He said a claim didn't pay out.” 58:20

Evidence, details and a link to share

Sequence 146 from 58:27

Frame at 58:35, shot 44458:35
1 of 1 shots sampled

262. Workshop

58:27–58:44 Machine checks passed (partial)

Model synopsis: A person in a dark coat walks through a doorway into a cluttered interior space with shelves and tools visible. The transcript indicates someone agrees to show something and invites others to follow.

  • A person in a dark coat walks through a doorway into a cluttered interior space. [frame:1]

1 person observed.

“If that's true, guess you can show us some.” 58:27 · “I will. Come on.” 58:29

Evidence, details and a link to share

Sequence 147 from 58:44

Sequence 148 from 58:46

Frame at 58:48, shot 44658:48Frame at 58:52, shot 44758:52
2 of 2 shots sampled

264. Log cabin interior

58:46–58:53 Machine checks passed (partial)

Model synopsis: A boy in a dark jacket sits inside a wooden structure while a man in a coat stands nearby. The transcript suggests someone has concealed or altered something, with the phrase 'He's done something with the rest.'

  • A boy sits inside a wooden structure. [frame:1]
  • A man stands inside a wooden structure. [frame:2]

2 people observed.

“There was more.” 58:47 · “A lot more.” 58:49

Evidence, details and a link to share

Frame at 59:04, shot 44859:04Frame at 59:17, shot 44959:17Frame at 59:24, shot 45059:24
3 of 3 shots sampled

265. Private office

58:53–59:27 Machine checks passed (partial)

Model synopsis: Three men and a boy are inside a rustic wooden cabin; one man speaks to another while the boy looks on, then one man exits through a door. The dialogue suggests a disagreement about returning items and a request to leave.

  • A man in a gray suit speaks to an older man with a white beard while a boy looks on. [frame:1]
  • The boy and the older man face each other closely. [frame:2]
  • The man in the gray suit walks toward and exits through a wooden door. [frame:3]

Named: Mr. Steiner (t:59:08), Mr. Craig (t:59:05). 4 people observed.

“You better take these back to Mondo. I was holding this hoping that they'd have a bigger haul by spraying.” 58:56 · “Mr. Craig, can't you see his line?” 59:05

Evidence, details and a link to share

Sequence 149 from 59:27

Sequence 150 from 59:31

Frame at 59:33, shot 45259:33
1 of 1 shots sampled

267. Log cabin

59:31–59:34 Machine checks passed

Model synopsis: A man stands inside a log cabin looking out an open doorway at a dog and a forested hillside. The scene is lit from outside, suggesting daylight, but no clock or date is visible.

1 person observed.

Evidence, details and a link to share

Sequence 151 from 59:34

Sequence 152 from 59:36

Sequence 153 from 59:50

Frame at 59:54, shot 45559:54Frame at 1:00:01, shot 4561:00:01
2 of 2 shots sampled

270. Forest

59:50–1:00:04 Machine checks passed (partial)

Model synopsis: A dog runs across a dirt path in a wooded area while a person calls out. The transcript includes short exclamations and a name, 'Sam,' spoken during the scene.

  • A dog runs across a dirt path in a wooded area. [frame:1]
  • The dog continues running away from the camera. [frame:2]

1 person observed.

“Hey, Papa!” 60:01 · “Sam!” 60:02

Evidence, details and a link to share

Sequence 154 from 1:00:04

Sequence 155 from 1:00:08

Frame at 1:00:14, shot 4581:00:14
1 of 1 shots sampled

272. Log cabin

1:00:08–1:00:20 Machine checks passed (partial)

Model synopsis: A man lies motionless on a bed in a log cabin after a gunshot is heard. No other people or actions are visible in the single frame provided.

  • A man is seen lying motionless on a bed in a log cabin. [frame:1]

1 person observed.

“*Gunshot*” 60:12

Evidence, details and a link to share

Sequence 156 from 1:00:20

Frame at 1:00:23, shot 4601:00:23Frame at 1:00:27, shot 4621:00:27Frame at 1:00:30, shot 4641:00:30Frame at 1:00:33, shot 4661:00:33
4 of 7 shots sampled

274. Forest

1:00:22–1:00:35 Machine checks passed (partial)

Model synopsis: A dog is seen moving through a rocky, wooded outdoor area, followed by a view from inside a structure looking out at a person walking away into the same landscape. No names or specific events are mentioned beyond the dog's movement and the person's departure.

  • A dog stands alert among rocks and trees. [frame:1]
  • The dog turns and begins to move away. [frame:2]
  • The dog runs up a rocky slope. [frame:3]
  • 1 more under Evidence and details.

1 person observed.

“I'm going to go.” 60:23

Evidence, details and a link to share

Frame at 1:00:40, shot 4671:00:40
1 of 1 shots sampled

275. Forest

1:00:35–1:00:44 Machine checks passed

Model synopsis: A single frame shows a forested, snow-dappled landscape with evergreen trees and a stream or riverbed visible through the trees. No people, objects, or text are present, and no events occur in the frame.

Evidence, details and a link to share

Sequence 157 from 1:00:51

Frame at 1:00:52, shot 4711:00:52
1 of 1 shots sampled

278. Forest

1:00:51–1:00:54 Machine checks passed

Model synopsis: A single frame shows a dark, wooded area with a body of water and a small boat visible through trees. No people, dialogue, or on-screen text are present in this beat.

Evidence, details and a link to share

Frame at 1:00:55, shot 4721:00:55Frame at 1:00:56, shot 4731:00:56Frame at 1:00:58, shot 4741:00:58
3 of 3 shots sampled

279. Forest

1:00:54–1:00:59 Machine checks passed (partial)

Model synopsis: A man in a dark shirt and pants is seen moving through a snowy, wooded area at night. The scene is dimly lit, with trees and snow visible in the background.

  • man walks through snow-covered ground in a forest [frame:1]
  • view shifts to show trees and snow, man not visible [frame:2]
  • man reappears, continuing to move through snowy forest [frame:3]

1 person observed.

Evidence, details and a link to share

Frame at 1:01:02, shot 4761:01:02
1 of 1 shots sampled

281. Forest

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

Model synopsis: A dark-furred animal walks across a patch of snow in a rocky, wooded area. No people, dialogue, or on-screen text are visible in the single frame provided.

  • A dark-furred animal walks across a patch of snow. [frame:1]

Evidence, details and a link to share

Frame at 1:01:12, shot 4781:01:12Frame at 1:01:20, shot 4811:01:20Frame at 1:01:24, shot 4831:01:24Frame at 1:01:36, shot 4861:01:36
4 of 9 shots sampled

283. Mountain

1:01:10–1:01:39 Machine checks passed (partial)

Model synopsis: A person walks across a snowy, rocky landscape under a cloudy sky. The transcript contains repeated lines about going and uncertainty.

  • A person is visible walking on a snowy slope. [frame:1]
  • The person continues walking uphill on snow. [frame:2]
  • The person moves across rocky terrain with snow patches. [frame:3]
  • 1 more under Evidence and details.

1 person observed.

“I'm going to go.” 61:13 · “I'm going to go.” 61:26

Evidence, details and a link to share

Frame at 1:01:44, shot 4871:01:44
1 of 1 shots sampled

284. Mountain

1:01:39–1:01:50 Machine checks passed

Model synopsis: A single frame shows a rocky, snow-dusted mountainside under dim lighting. No people, objects, or text are visible, and no events are described in the transcript.

Evidence, details and a link to share

Frame at 1:01:51, shot 4881:01:51Frame at 1:01:54, shot 4891:01:54Frame at 1:01:56, shot 4901:01:56Frame at 1:02:01, shot 4911:02:01
4 of 4 shots sampled

285. Forest

1:01:50–1:02:04 Machine checks passed (partial)

Model synopsis: A person is seen in a snowy, wooded outdoor setting, partially obscured by shadow and trees. The transcript contains an incomplete utterance at 61:57, but no names or clear events are established.

  • A person is visible crouching near a tree in snow. [frame:1]
  • A figure moves through snow-covered terrain with trees. [frame:2]
  • The person remains in shadow near a tree. [frame:3]
  • 1 more under Evidence and details.

1 person observed.

“I'm... I'm...” 61:57

Evidence, details and a link to share

Frame at 1:02:08, shot 4921:02:08Frame at 1:02:16, shot 4941:02:16Frame at 1:02:17, shot 4951:02:17Frame at 1:02:21, shot 4971:02:21
4 of 6 shots sampled

286. Mountain

1:02:04–1:02:22 Machine checks passed (partial)

Model synopsis: A person is seen moving through a snowy, rocky outdoor environment during what appears to be dusk or night. The person speaks briefly, expressing alarm and intent to leave.

  • Person walks through snow-covered rocks [frame:1]
  • Person is seen moving through snowy terrain [frame:2]
  • Person turns and gestures with arms [frame:3]
  • 1 more under Evidence and details.

1 person observed.

“Yeah.” 62:11 · “Oh, my God.” 62:13

Evidence, details and a link to share

Frame at 1:02:23, shot 4981:02:23
1 of 1 shots sampled

287. Field

1:02:22–1:02:25 Machine checks passed

Model synopsis: A single frame shows a dark, woolly animal, likely a sheep, in a snowy environment. No people, dialogue, or on-screen text are visible.

Evidence, details and a link to share

Sequence 158 from 1:02:25

Frame at 1:02:27, shot 4991:02:27
1 of 1 shots sampled

288. Field

1:02:25–1:02:28 Machine checks passed

Model synopsis: A person walks on snow near a large rock at night. No dialogue or on-screen text is present in this beat.

  • A person walks on snow near a large rock. [frame:1]

1 person observed.

Evidence, details and a link to share

Frame at 1:02:29, shot 5001:02:29Frame at 1:02:30, shot 5011:02:30Frame at 1:02:36, shot 5021:02:36Frame at 1:02:42, shot 5031:02:42
4 of 4 shots sampled

289. Forest

1:02:28–1:02:43 Machine checks passed (partial)

Model synopsis: A person walks through a snowy, wooded landscape as blood-stained footprints are visible in the snow. A line of dialogue expresses uncertainty about the person's actions.

  • A person is walking through snow-covered terrain. [frame:2]
  • Blood-stained footprints are visible in the snow. [frame:1]
  • A mountainous, snow-covered landscape is shown. [frame:3]
  • 1 more under Evidence and details.

1 person observed.

“I'm not sure what you're doing.” 62:29 · “Oh” 62:40

Evidence, details and a link to share

Frame at 1:02:49, shot 5041:02:49
1 of 1 shots sampled

290. Forest

1:02:43–1:02:55 Machine checks passed (partial)

Model synopsis: A single figure stands on a snowy slope among trees, visible in one frame. No dialogue or on-screen text is present in this beat.

  • A silhouetted figure stands on a snowy slope among trees. [frame:1]

1 person observed.

Evidence, details and a link to share

Frame at 1:03:03, shot 5071:03:03Frame at 1:03:09, shot 5081:03:09Frame at 1:03:16, shot 5101:03:16Frame at 1:03:19, shot 5111:03:19
4 of 5 shots sampled

292. Mountain

1:03:02–1:03:20 Machine checks passed (partial)

Model synopsis: A dog is seen in a snowy, mountainous landscape, followed by a man appearing in the same setting. The scene is dimly lit, suggesting dusk or dawn, with no clear indoor elements.

  • A dog is perched on a snowy ledge. [frame:1]
  • A dog runs across a snow-covered mountain slope. [frame:2]
  • A close-up of a dog’s face in snow. [frame:3]
  • 1 more under Evidence and details.

1 person observed.

“Oh” 63:09

Evidence, details and a link to share

Frame at 1:03:27, shot 5121:03:27Frame at 1:03:36, shot 5131:03:36Frame at 1:03:41, shot 5141:03:41Frame at 1:03:45, shot 5151:03:45
4 of 4 shots sampled

293. Mountain

1:03:20–1:03:47 Machine checks passed (partial)

Model synopsis: A man and a dog are shown in a snowy mountain landscape during daylight. The man says he is going to leave, as seen across four frames and one transcript line.

  • A man stands in a snowy mountain landscape. [frame:3]
  • A dog stands in snow with mountains behind. [frame:2]
  • The dog is shown again, closer, in snow. [frame:4]

2 people observed.

“I'm going to go.” 63:30

Evidence, details and a link to share

Frame at 1:03:51, shot 5161:03:51Frame at 1:04:02, shot 5181:04:02Frame at 1:04:05, shot 5191:04:05Frame at 1:04:13, shot 5211:04:13
4 of 6 shots sampled

294. Mountain

1:03:47–1:04:17 Machine checks passed (partial)

Model synopsis: A man in a snowy mountain landscape says he is going to leave. He is shown holding a revolver and then bending over as if in pain or exhaustion.

  • A snowy mountain landscape is shown. [frame:1]
  • A hand holds a revolver. [frame:2]
  • The man stands holding the revolver against the mountain backdrop. [frame:3]
  • 1 more under Evidence and details.

1 person observed.

“I'm going to go.” 63:52

Evidence, details and a link to share

Frame at 1:04:18, shot 5221:04:18Frame at 1:04:21, shot 5231:04:21
2 of 2 shots sampled

295. Snowy outdoors

1:04:17–1:04:22 Machine checks passed (partial)

Model synopsis: A dog is shown in snow, followed by a close-up of an older man with a beard against a cloudy sky. No names or events are mentioned in the transcript for this beat.

  • A dog is visible in snow. [frame:1]
  • An older man with a beard is shown in a close-up against a cloudy sky. [frame:2]

1 person observed.

“Oh” 64:17

Evidence, details and a link to share

Frame at 1:04:27, shot 5251:04:27Frame at 1:04:31, shot 5261:04:31Frame at 1:04:37, shot 5271:04:37
3 of 3 shots sampled

297. Mountain

1:04:25–1:04:41 Machine checks passed (partial)

Model synopsis: A man with a beard is shown outdoors at night against a cloudy sky, followed by a wide shot of a snow-covered mountain range and a person falling on a snowy slope. The transcript contains two exclamations of 'Oh, my God.'

  • A bearded man looks down from a low-angle shot against a cloudy sky. [frame:1]
  • A wide shot shows a snow-covered mountain range at night. [frame:2]
  • A person is seen lying on a snowy slope. [frame:3]

2 people observed.

“Oh, my God.” 64:26 · “Oh, my God.” 64:29

Evidence, details and a link to share

Sequence 159 from 1:04:41

Frame at 1:04:42, shot 5281:04:42
1 of 1 shots sampled

298. Other

1:04:41–1:04:43 Machine checks passed

Model synopsis: A man with a beard and dark shirt is visible in a low-angle shot against a purple-hued background. No dialogue or additional context is provided in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 160 from 1:04:43

Frame at 1:04:44, shot 5291:04:44
1 of 1 shots sampled

299. Snow

1:04:43–1:04:45 Machine checks passed

Model synopsis: A dog is shown in a snowy environment during a brief beat. The name 'Elton' is spoken, but it is not clear if it refers to the dog or another character.

  • A dog is visible in snow, mouth open. [frame:1]

“Elton.” 64:44

Evidence, details and a link to share

Sequence 161 from 1:04:45

Frame at 1:04:46, shot 5301:04:46
1 of 1 shots sampled

300. Mountain

1:04:45–1:04:47 Machine checks passed (partial)

Model synopsis: A person lies on a snowy slope while a dog runs nearby; the background shows snow-covered trees and mountains. No dialogue or on-screen text is present in this beat.

  • A person lies motionless on a snowy slope. [frame:1]
  • A dog runs across the snow near the person. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 162 from 1:04:47

Sequence 163 from 1:04:49

Sequence 164 from 1:04:54

Frame at 1:04:59, shot 5331:04:59
1 of 1 shots sampled

303. Mountain

1:04:54–1:05:03 Machine checks passed

Model synopsis: A snowy mountain slope is shown under a dark, cloudy sky, with pine trees in the foreground. No people or actions are visible in this single frame.

Evidence, details and a link to share

Sequence 165 from 1:05:03

Frame at 1:05:06, shot 5341:05:06
1 of 1 shots sampled

304. Forest

1:05:03–1:05:08 Machine checks passed

Model synopsis: A single frame shows a dimly lit forest scene with trees and uneven ground. No people, objects, or on-screen text are visible, and no dialogue occurs in this beat.

Evidence, details and a link to share

Sequence 166 from 1:05:08

Sequence 167 from 1:05:18

Frame at 1:05:24, shot 5371:05:24
1 of 1 shots sampled

307. Mountain

1:05:22–1:05:26 Machine checks passed (partial)

Model synopsis: A lone figure stands on a snow-covered mountain peak under a cloudy sky. No dialogue or on-screen text is present in this beat.

  • A person stands on a snowy mountain peak. [frame:1]

1 person observed.

Evidence, details and a link to share

Frame at 1:05:27, shot 5381:05:27Frame at 1:05:42, shot 5431:05:42Frame at 1:05:51, shot 5471:05:51Frame at 1:06:00, shot 5521:06:00
4 of 15 shots sampled

308. Mountain

1:05:26–1:06:01 Machine checks passed (partial)

Model synopsis: A man runs through a snowy mountain landscape while a dog barks aggressively nearby. The man pleads audibly, denying responsibility and begging someone named 'Chef' not to act.

  • A man runs across snow-covered ground with mountains in the background. [frame:1]
  • The man is shown in a close-up, running and looking distressed. [frame:2]
  • A dog stands in the snow, barking with its mouth open. [frame:3]
  • 1 more under Evidence and details.

1 person observed.

“Oh, my God.” 65:26 · “Oh, my God.” 65:32

Evidence, details and a link to share

Frame at 1:06:01, shot 5531:06:01
1 of 1 shots sampled

309. Mountain

1:06:01–1:06:02 Machine checks passed (partial)

Model synopsis: A man with white hair and beard is shown outdoors against snow-covered mountains. No dialogue or on-screen text is present in this beat.

  • man with white hair and beard gestures with his hand [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 168 from 1:06:02

Frame at 1:06:03, shot 5541:06:03
1 of 1 shots sampled

310. Snowy slope

1:06:02–1:06:03 Machine checks passed (partial)

Model synopsis: A person is climbing a snow-covered slope under a dark sky. No dialogue or on-screen text is present in this beat.

  • A person climbs a snow-covered slope. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 169 from 1:06:03

Frame at 1:06:06, shot 5551:06:06
1 of 1 shots sampled

311. Mountain

1:06:03–1:06:09 Machine checks passed

Model synopsis: A single frame shows a rugged mountain landscape under dark, overcast skies. No people, vehicles, or artificial structures are visible in the shot.

Evidence, details and a link to share

Sequence 170 from 1:06:12

Sequence 171 from 1:06:20

Frame at 1:06:22, shot 5581:06:22
1 of 1 shots sampled

314. Mountain

1:06:20–1:06:23 Machine checks passed

Model synopsis: A dark, indistinct figure is visible on a snow-covered slope at night. No people are identifiable, no dialogue is present, and no objects or text are legible.

Evidence, details and a link to share

Frame at 1:06:34, shot 5591:06:34Frame at 1:06:46, shot 5601:06:46
2 of 2 shots sampled

315. Mountain

1:06:23–1:06:48 Machine checks passed (partial)

Model synopsis: A dog runs through snow near trees while two figures walk uphill in the distance. A voice says 'Amen,' 'Dad!' and 'Here, ship!' during the sequence.

  • A dog runs through snow near trees [frame:1]
  • Two figures walk uphill on a snowy slope [frame:2]

1 person observed.

“Amen.” 66:36 · “Dad!” 66:42

Evidence, details and a link to share

Sequence 172 from 1:06:58

Frame at 1:06:59, shot 5621:06:59
1 of 1 shots sampled

317. Mountain

1:06:58–1:07:01 Machine checks passed (partial)

Model synopsis: A person is lying face down in snow-covered terrain with trees and mountains in the background. No dialogue or on-screen text is present in this beat.

  • a person lies motionless in snow [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 173 from 1:07:09

Frame at 1:07:11, shot 5641:07:11
1 of 1 shots sampled

319. Snowy slope under trees

1:07:09–1:07:12 Machine checks passed (partial)

Model synopsis: A person is visible moving across a snowy slope under trees in a single frame. No dialogue or on-screen text is present in this beat.

  • A person moves across a snowy slope under trees. [frame:1]

1 person observed.

Evidence, details and a link to share

Frame at 1:07:22, shot 5661:07:22Frame at 1:07:26, shot 5671:07:26Frame at 1:07:32, shot 5681:07:32Frame at 1:07:36, shot 5691:07:36
4 of 4 shots sampled

321. Mountain

1:07:19–1:07:38 Machine checks passed (partial)

Model synopsis: A person and a dog are shown in a snowy mountain landscape; dialogue includes an apology and two 'Amen' responses. No named characters or indoor settings are visible or mentioned in the supplied lines.

  • A person is shown in a snowy mountain landscape. [frame:1]
  • A person in a dark hat looks upward. [frame:2]
  • A wet collie dog is shown in snow. [frame:3]
  • 1 more under Evidence and details.

1 person observed.

“Shit.” 67:21 · “It's all right, Chef. Sure it is.” 67:25

Evidence, details and a link to share

Frame at 1:07:40, shot 5701:07:40Frame at 1:07:44, shot 5711:07:44Frame at 1:07:49, shot 5721:07:49Frame at 1:07:54, shot 5731:07:54
4 of 4 shots sampled

322. Mountain

1:07:38–1:07:55 Machine checks passed (partial)

Model synopsis: A man in a hat and coat is shown outdoors in a snowy mountain setting, reacting emotionally as snow falls on him; the final frame displays the end credits. The transcript includes exclamations and a declaration of love.

  • A man in a hat and coat is shown outdoors in snow, looking distressed. [frame:1]
  • The older man with a white beard is shown smiling slightly, snow on his face. [frame:2]
  • The younger person is shown with snow on their face, mouth open as if speaking or reacting. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“Oh, my God.” 67:39 · “Hello.” 67:40

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. 754 segments kept, 442 dropped as the kind of hallucination the model produces over music and silence. Each timestamp links to the Archive's player at that second. This has not been checked against the film and can be wrong.

  1. 0:14 I'm.
  2. 0:34 Oh, my God.
  3. 0:58 Who of us will ever know?
  4. 1:00 what is in the heart of a dog.
  5. 1:02 Amen.
  6. 1:03 This is the story of a great love.
  7. 1:06 The love of a dog for one man.
  8. 1:10 A love that was to prove even stronger than life itself.
  9. 1:24 Oh
  10. 1:47 Justin!
  11. 1:57 Oh, oh.
  12. 2:02 Get me out of this mess!
  13. 2:06 What?
  14. 2:07 Hey, hey, never mind eating meat.
  15. 2:09 Just get me out of here!
  16. 2:11 Start digging!
  17. 2:12 go on that's it start digging girl at a girl keep up lying hey hey the other way the other way
  18. 2:23 The other way, Chef!
  19. 2:24 No! No! Go dig!
  20. 2:28 Dee!
734 more segments
  1. 2:29 Dig! Keep digging! That's million dollar dirt. We've hit it this time, Shep.
  2. 2:34 We've headed shore.
  3. 2:36 No, keep going. I forgot to peer the shaft up.
  4. 2:40 I'm John near being the richest corpse in the territory.
  5. 2:46 Come on, girl.
  6. 2:47 We're heading for town.
  7. 2:49 Just wait and you see Frank Blake's eyes.
  8. 2:51 when we tell him he's a millionaire.
  9. 2:55 I'm going to go.
  10. 3:11 Let's go.
  11. 3:13 Merry Christmas!
  12. 3:16 What?
  13. 3:19 I'll stay.
  14. 3:22 Well, Jonathan, how are you? Merry Christmas.
  15. 3:25 How about it? On the house? No.
  16. 3:27 Well, how about you, Papa?
  17. 3:29 What?
  18. 3:32 Can't call your pup anymore, can I, fella?
  19. 3:34 Can't call our fellow neither.
  20. 3:36 Say, that's right.
  21. 3:37 Excuse me, beautiful.
  22. 3:39 Well, how's it going, Jonathan? Shipp and me ain't complaining.
  23. 3:43 - Steve.
  24. 3:45 Has Frank been around tonight?
  25. 3:46 Right?
  26. 3:47 Mike Lake?
  27. 3:50 Be right back.
  28. 3:53 - Back stage.
  29. 3:54 Here we go.
  30. 4:00 Jonathan Harvey?
  31. 4:03 That's right.
  32. 4:04 I'm Lynn Taylor.
  33. 4:06 Sorry we couldn't let you know, Jonathan.
  34. 4:08 Martha wanted to, but there was no way of finding you in time.
  35. 4:12 time for what?
  36. 4:13 Christ's death, John.
  37. 4:15 Over a month ago.
  38. 4:22 Tommy worries me, Jonathan.
  39. 4:26 Do you know that he's never once cried?
  40. 4:29 If he could just let it out.
  41. 4:31 We'll work it out, Martha.
  42. 4:33 We'll find a way.
  43. 4:35 But right now, what about this fellow, Taylor?
  44. 4:39 Lynn's a fine man. He's been wonderful.
  45. 4:41 Why did Frank take him in as a partner?
  46. 4:44 He had to.
  47. 4:45 Len's buying in when he did get us from losing everything.
  48. 4:49 I say...
  49. 4:51 Does that make him a partner of Grubstake Right?
  50. 4:54 Yes, why?
  51. 4:55 Jonathan, you've made a strike.
  52. 4:59 I got something to show you.
  53. 5:09 - Lynn. - Hello, Martha.
  54. 5:10 Come in. Jonathan's inside. I'm so glad you're here. Jonathan has something to show us.
  55. 5:18 Here.
  56. 5:20 Look at this.
  57. 5:22 I found a vein of that.
  58. 5:24 If it's deep enough, it could be the biggest strike this territory has ever seen.
  59. 5:27 That's why we gotta file a claim and quit.
  60. 5:30 File before it's proved.
  61. 5:32 You file now, and word gets out that you struck over like this, every claim jumper in the territory will be in those hills in a week.
  62. 5:38 before you're sure yourself that you hit the main vein.
  63. 5:41 I get your right.
  64. 5:44 Thirty years I'm mud-scrabbling, and when I do find the glory dust,
  65. 5:48 I go off half-cocked.
  66. 5:50 Mr. Taylor?
  67. 5:52 Martha's right about you.
  68. 5:54 And right now you can start working and being a partner by lining me up some supplies.
  69. 5:58 Of course, John. Anything you need. I'll meet you in the store in a half hour.
  70. 6:03 Good night, everyone.
  71. 6:04 Good night, Lynn.
  72. 6:06 It's all right with you, Martha.
  73. 6:08 I'd like to talk a mite with Tommy.
  74. 6:11 All right, Jonathan.
  75. 6:12 If there's anything you can do...
  76. 6:18 I'm sorry.
  77. 6:35 Come on.
  78. 6:37 Tell him.
  79. 6:40 Jonathan.
  80. 6:42 Jonathan. Oh, Jonathan. Why do you have to die?
  81. 6:49 Easy.
  82. 6:51 I want my father, Jonathan.
  83. 6:53 I want to.
  84. 6:54 Surely.
  85. 6:57 some things we cannot do.
  86. 7:01 The Lord's got his way of doing things.
  87. 7:10 I didn't want to cry. You go ahead and cry.
  88. 7:14 Used to do it myself, so.
  89. 7:17 The phone back.
  90. 7:17 Tears all dried up.
  91. 7:20 Now, how about a shit here?
  92. 7:23 - I'm not sure.
  93. 7:24 That's it.
  94. 7:25 - He's twice.
  95. 7:27 - Not sure.
  96. 7:29 No.
  97. 7:30 - What's wrong, sir?
  98. 7:32 She likes folks around.
  99. 7:34 If I did, she just plain ain't happy with it.
  100. 7:41 As for me,
  101. 7:42 Well, I'm better off.
  102. 7:45 Lots of times.
  103. 7:46 A dog is nothing but a
  104. 7:47 Don't bother to me.
  105. 7:49 I bother you.
  106. 7:51 Yeah.
  107. 7:53 What the hell, Jew Shep? Now, come on.
  108. 7:55 Get away.
  109. 7:58 Now, come on, get away.
  110. 8:01 What I'm...
  111. 8:02 Sand washing up too.
  112. 8:03 all this is.
  113. 8:05 How about taking her?
  114. 8:06 - Oh, man.
  115. 8:08 Will you do it, Tom?
  116. 8:09 Will you?
  117. 8:10 You're no liar, Jonathan.
  118. 8:13 I can't take shit from you.
  119. 8:15 He's your dog. Nobody else's till she dies.
  120. 8:19 Thanks anyway.
  121. 8:20 - Oh.
  122. 8:21 Don't tell anybody I bawled.
  123. 8:23 Will you please? Honest or critical.
  124. 8:32 We didn't do so good.
  125. 8:36 All right, it's Christmas.
  126. 8:38 and given his power at Christmas.
  127. 8:42 Anyway, you are a father. You are a father.
  128. 8:44 I'll be quiet.
  129. 8:48 Don't look at me that way.
  130. 9:05 Amen.
  131. 9:11 Hey, Mom!
  132. 9:12 Wake up, it's Christmas!
  133. 9:22 Oh, gee.
  134. 9:23 That, Jonathan.
  135. 9:25 Merry Christmas Tommy. Merry Christmas Ma.
  136. 9:28 Look!
  137. 9:29 Yes, dear, I know.
  138. 9:33 Dear Tom.
  139. 9:34 I put it up the ship.
  140. 9:36 She agreed with it.
  141. 9:37 She's yours.
  142. 9:38 Merry Christmas from John.
  143. 9:41 Where is Jonathan?
  144. 9:44 He's gone.
  145. 9:45 Gone?
  146. 9:48 Is it all right, Ma?
  147. 9:49 Can I really keep her? That's what he wanted, Tommy. I'm sure it's all right.
  148. 10:33 Oh,
  149. 10:38 Chef!
  150. 10:41 What's the matter with you, Shep? Ma! Ma, something's wrong with Shep!
  151. 10:49 What's wrong with him, Mr. Bald Eagle?
  152. 10:51 What's wrong?
  153. 10:53 I'm almost weak, see.
  154. 10:55 I'm not a hero.
  155. 10:59 He said dog shop.
  156. 11:00 Not it because you want to
  157. 11:02 Go home.
  158. 11:03 To Jonathan?
  159. 11:08 I asked all of
  160. 11:10 Memrus, Busiaka, Hillel, Nanit, Jonathan...
  161. 11:14 He say, dogs starve till die, if not go.
  162. 11:17 Jonathan.
  163. 11:19 Thanks, Mr. Bald Eagle. Thanks. Must see.
  164. 11:24 Goodbye, Red Wayne.
  165. 11:26 Well, hiya.
  166. 11:27 Ma, we've got to get her to Jonathan.
  167. 11:30 Please, Sarah and Taker. Please, Ma. Well, I don't know, dear.
  168. 11:35 How could you ever find him?
  169. 11:37 Shep could.
  170. 11:38 She knows where the claim is.
  171. 11:40 But she still couldn't go alone.
  172. 11:43 I'll take you, Martha. You're glad, too.
  173. 11:48 You hear that, Chef? We're gonna take you back to Jonathan. Now you've got to eat and get strong for the trip.
  174. 11:57 Here, take some.
  175. 11:59 You've got to...
  176. 12:08 Thanks, ma'am.
  177. 12:12 Lon look!
  178. 12:14 If she thinks she's gonna be all right.
  179. 12:17 Oh
  180. 12:19 up
  181. 12:24 Okay.
  182. 12:25 Oh, my God.
  183. 12:30 Oh, Chef, what is it?
  184. 12:32 Jonathan? Jonathan? Yes, Tommy?
  185. 12:38 Jonathan, what's wrong?
  186. 12:39 Take it.
  187. 12:42 Hit me a week ago.
  188. 12:45 The worst is past.
  189. 12:46 So weak I...
  190. 12:49 Couldn't get food any longer. That's what was wrong with Chef. She knew.
  191. 12:55 She wouldn't leave.
  192. 12:56 She may have springed her here.
  193. 12:58 Ma's right, Jonathan.
  194. 13:00 Shep's your dog.
  195. 13:01 and nobody else's. So I'm giving her back to you. Right now. Never mind the dog, Tommy.
  196. 13:07 Tommy, you rustle up some wood. I'll see about the food.
  197. 13:16 I'm all right.
  198. 13:21 Taylor?
  199. 13:23 You should wonder how our partnership's been going.
  200. 13:26 You were right.
  201. 13:27 I'd have been a fool if I held that claim.
  202. 13:30 Dane peed it out in a week.
  203. 13:33 So I just kept working upstream.
  204. 13:36 Superstar.
  205. 13:37 Hardly worth a man's time.
  206. 13:40 I'll show you.
  207. 13:42 Tommy?
  208. 13:43 Go on over there by the shell. Now slide that chest out. The board underneath will lift up.
  209. 13:55 Take them out.
  210. 14:04 *thud*
  211. 14:06 Look inside, Tommy.
  212. 14:14 How much is here, Jonathan? Oh, not much.
  213. 14:16 Only around about 6,000.
  214. 14:19 $6,000? And plenty more to come.
  215. 14:23 Six thousand.
  216. 14:25 You say that's just from gravel? You still haven't found the main vein? No, but it's up there.
  217. 14:30 I aim to just work upstream until I find it.
  218. 14:33 And I will, as sure as your name's Lynn Taylor.
  219. 14:37 Jonathan, do you realize what this means? It means we're rich.
  220. 14:41 All of us. Sure we are, but that's not what I'm talking about. You need help. Now look, I'm starting back to town tomorrow.
  221. 14:47 I'll take this gold and deposit it in all our names. It'll be safe there.
  222. 14:51 And I'll be back.
  223. 14:52 Well, with proper equipment, we can take that gold out ten times as fast.
  224. 15:00 All my life I've waited for something like this.
  225. 15:03 And I'm not taking any chance on losing it now.
  226. 15:20 We'll run the Inver Channel across there.
  227. 15:23 and build a sluice box below the rapid.
  228. 15:31 Let her go, Tommy!
  229. 15:39 When do you see one day's take from this baby, Taylor?
  230. 15:43 Just wait.
  231. 15:50 Oh, my God.
  232. 16:48 I tell you, I tell you, I hurt somebody. Somebody's out there.
  233. 16:51 Sure, the same fellow you've been here for three days.
  234. 16:55 You said to yourself there are other prospectors over in Oak Valley. What if they got word somehow that we've hit it?
  235. 16:59 Sure.
  236. 17:00 A little bird flew down and told them.
  237. 17:03 Well, they came running right back here so they could dig up all our pretty gold.
  238. 17:07 Right in the driving range.
  239. 17:09 You may think it's funny, but I don't.
  240. 17:11 and from now on we're keeping a guard here at the cabin while we're up at the mine.
  241. 17:14 We got to.
  242. 17:16 All right, Taylor.
  243. 17:18 Then you stand good.
  244. 17:20 Tommy and me or would the mud?
  245. 17:23 Maybe that'd worry you.
  246. 17:25 You'd be wondering if we were losing some of it before we got here.
  247. 17:30 - Yeah, he's up, Dale.
  248. 17:32 Stop worrying.
  249. 17:34 The richest dust in creation is no blame good if you kill yourself.
  250. 17:39 Go on and get some sleep.
  251. 17:43 I'm going to.
  252. 18:02 Come on.
  253. 18:12 Go get it. Go get Hushbutt in that saddlebag.
  254. 18:16 You've been watching us, but you didn't fool me.
  255. 18:20 I knew you were out there.
  256. 18:22 You work what I said. Move!
  257. 18:26 Go on. Go get what you put in there. Santa!
  258. 18:30 What's going on here?
  259. 18:31 and keep out of this.
  260. 18:32 - The gentleman I know what I'm doing.
  261. 18:34 Well, you get it or don't you. You crazy fool. I ought to lay you low. Making sure you ain't putting that saddlebag. I took something.
  262. 18:41 from there.
  263. 18:42 of this house.
  264. 18:43 lying.
  265. 18:44 Look for yourself. No, Taylor.
  266. 18:47 You're welcome.
  267. 18:56 I'm sorry.
  268. 19:04 He was inside searching around, snooping.
  269. 19:07 For food?
  270. 19:10 I wouldn't have prepared a table in the presence of my friends.
  271. 19:18 This is Pilot P, Taylor. If you've been longer in these hills, you'd never have made that mistake.
  272. 19:24 Don't make it again.
  273. 19:26 Come on, Pete.
  274. 19:28 Let's see about that, sir.
  275. 19:32 You a regular person, Mr. Pete? Regular? No, son. Making up as irregular as it come.
  276. 19:38 Gotta have roots to be a regular parson.
  277. 19:41 Me, I ain't got the roots of a tumbleweed. Two things I love above all else.
  278. 19:47 The Lord's Mountains.
  279. 19:49 To the Lord's sinners. So I spend my time in one looking for the other.
  280. 19:55 And I sure find him.
  281. 20:01 Here, lady.
  282. 20:03 You better leave Shep alone. She never makes up to strangers.
  283. 20:07 She don't?
  284. 20:09 Here, here, lady.
  285. 20:10 Here, lady.
  286. 20:13 Well, you got it wrong, Brother Taylor. Thou sawest the beast that was and is not. Revelation 17, 8.
  287. 20:20 Well, there's plenty of love in this dog for them that loves her. Ain't this shit?
  288. 20:25 Or maybe she just likes my stew.
  289. 20:38 Jonathan?
  290. 20:39 Tommy?
  291. 20:41 Mr. Taylor?
  292. 20:42 And you too, Lady Bear.
  293. 20:45 The Lord be with you in all your labors.
  294. 20:49 Lay not up for yourselves treasures on earth.
  295. 20:53 But lay up for yourselves treasures in heaven.
  296. 20:57 Matthew 6:19.
  297. 21:03 Get up, Gabriel.
  298. 21:07 Why, Mr. B?
  299. 21:08 Goodbye, Pete.
  300. 21:11 Support.
  301. 21:11 For the night is coming, work.
  302. 21:16 through the morning
  303. 21:18 Oh.
  304. 21:20 board
  305. 21:21 while the dew
  306. 21:23 Oh, my God.
  307. 21:24 Tommy, you go down to work. I'll be alone.
  308. 21:31 - Yeah.
  309. 21:32 Well...
  310. 21:34 You give him dust.
  311. 21:35 At the death giveaway we struck Paydard. The old fool talked to you on...
  312. 21:40 He knows the law of these hills to us, and he lives by them.
  313. 21:43 You could try doing the same.
  314. 21:47 Until you do.
  315. 21:48 I'm taking that gun.
  316. 21:49 I keep my own gun.
  317. 21:51 You're edgy, dear. Getting worse every time more gold goes under that floor.
  318. 21:57 And ain't just being scared, someone will steal it, Nathan.
  319. 22:00 having to split it with Martha and me. You're crazy. Only a quarter will you keep thinking.
  320. 22:06 I only get a quarter.
  321. 22:08 And Jonathan gets ham.
  322. 22:10 That keeps eating at you, Tila.
  323. 22:13 I've been watching you and I know.
  324. 22:16 That's why I'm taking that good.
  325. 22:20 Now you
  326. 22:22 There's two reasons why you won't shoot me, Taylor.
  327. 22:25 The first you won't find that vein without... and the other... the other is just a hunch.
  328. 22:33 You haven't got the guts.
  329. 23:44 Oh, my God.
  330. 24:08 the girl.
  331. 24:49 Oh.
  332. 24:57 No.
  333. 25:05 Yeah.
  334. 25:42 Amen.
  335. 25:50 Tommy?
  336. 25:51 I want you to take this to your mom.
  337. 25:53 Tell her I said
  338. 25:54 - I heard a pilot right away.
  339. 25:57 description.
  340. 25:57 Clean, made out in all of our names.
  341. 26:00 Taylor's in mind.
  342. 26:01 Is there anything wrong, Jonathan?
  343. 26:02 Oh, yeah.
  344. 26:04 Okay, someone.
  345. 26:05 Right idea of filing only in their own name.
  346. 26:07 No.
  347. 26:08 Mr. Taylor. I remember him.
  348. 26:10 Whatever happens.
  349. 26:11 not a word to anyone about my doubt, even your mom.
  350. 26:15 promised
  351. 26:16 Come on.
  352. 26:17 I say that.
  353. 26:18 Hurry up.
  354. 26:24 Tell your mom not to worry. I will. Bye, Jonathan.
  355. 26:31 Chip?
  356. 26:32 Where are you?
  357. 26:35 Chef.
  358. 26:36 What is this?
  359. 26:37 What else you--
  360. 26:39 You're not between us. We gotta take care of that boy. He don't know these trails like we do.
  361. 26:44 Oh.
  362. 26:45 It ain't for good this time.
  363. 26:46 You're coming, buddy.
  364. 26:48 Now go on, get it.
  365. 26:53 Oh
  366. 26:58 Jennifer!
  367. 27:01 Jonathan!
  368. 27:03 Where are they going?
  369. 27:05 I sent Tommy home. The kid's getting lonesome for his mom.
  370. 27:08 What's all the excitement?
  371. 27:10 Jonathan, that's been my beloved.
  372. 27:11 for.
  373. 27:12 What would it look like?
  374. 27:13 Well, no, I'll tell you.
  375. 27:15 this year.
  376. 27:17 white quartz, the whitest you ever saw.
  377. 27:19 And in it, jackets like lightning, a vein of pure gold.
  378. 27:22 Gold, gentlemen, not white.
  379. 27:24 It's up there, so help me, I found it. It's up there waiting for us. Where?
  380. 27:27 At the head of the canyon, way up the... Well, let's go.
  381. 27:30 the the
  382. 27:45 Oh, my God.
  383. 27:53 All right, Jack. Go on back. Over. Go to turn her.
  384. 28:00 You were sure right about the mountain goats.
  385. 28:09 Hell.
  386. 28:10 Oh
  387. 28:21 Go ahead.
  388. 28:31 Come on.
  389. 28:32 I'm
  390. 29:00 Oh, my God.
  391. 29:16 It's a ledge just beyond.
  392. 29:17 Amen.
  393. 29:22 Oh, my God.
  394. 29:23 Let's go.
  395. 29:26 Come on.
  396. 29:46 Well, where is it?
  397. 29:47 It's a big thing.
  398. 29:48 down on the ledge.
  399. 29:57 Taylor!
  400. 30:01 Howdy!
  401. 30:02 - Tell him, for God's sake, you can't, Kelsey! - I haven't the guts to do that.
  402. 30:07 Remember, Jonathan.
  403. 30:10 Jack! Jack!
  404. 30:37 Hello, Chef.
  405. 30:46 Here, Sheriff, come here!
  406. 30:53 What's the matter with you?
  407. 31:20 *sad music*
  408. 32:00 Amen.
  409. 32:04 Hmm.
  410. 32:05 Come on.
  411. 32:25 Amen.
  412. 32:30 Hello, Sheila.
  413. 32:38 Where have you been all day?
  414. 32:40 Looking for Jonathan?
  415. 32:41 Amen.
  416. 32:43 I'm afraid he won't be back, chap.
  417. 32:46 That doesn't mean you and I can't be friends.
  418. 32:49 How about it?
  419. 32:53 Better be my way, Shepard.
  420. 32:55 I'd rather not have anything happen to you.
  421. 32:57 Might make things harder for me to explain.
  422. 33:16 Amen.
  423. 33:42 Come on.
  424. 33:48 I'm sorry.
  425. 33:57 Amen.
  426. 34:03 Amen.
  427. 34:10 Oh!
  428. 34:15 Oh.
  429. 34:39 Get up! Get up!
  430. 34:46 I said get away from there.
  431. 34:51 Yeah, will you get what he got?
  432. 34:55 Yeah.
  433. 34:56 *Loud noise*
  434. 34:58 *Screams of the wind*
  435. 35:33 Amen.
  436. 36:03 Hungry, huh? I figured I'd bring you around. Then I got something all ready for you.
  437. 36:18 I'm sorry.
  438. 36:41 Oh
  439. 36:44 Not hungry enough yet, huh?
  440. 36:47 You will be.
  441. 36:59 Come on.
  442. 37:02 Woo!
  443. 37:13 Is this what you want?
  444. 37:15 Huh?
  445. 37:20 So that's the way it is, huh?
  446. 37:23 with the camera.
  447. 37:25 What?
  448. 37:34 more and
  449. 37:35 *coughing*
  450. 37:43 Now get out of here. Get out! And remember, you ask for it.
  451. 38:15 I'm sorry.
  452. 38:38 Hey.
  453. 38:57 Come on.
  454. 39:09 Oh, my God.
  455. 39:16 I'm not.
  456. 39:24 Okay.
  457. 39:26 Hey!
  458. 39:43 Come on.
  459. 40:00 The
  460. 40:09 Pow!
  461. 40:16 What? What?
  462. 40:21 Woo!
  463. 40:34 Oh, fuck, look.
  464. 40:35 You have to go for dinner.
  465. 40:39 Duck, wait, Mama Lou, it's like a clue.
  466. 40:41 - Oh, cha-cha. Hiya.
  467. 40:45 No.
  468. 40:59 I'm sorry.
  469. 41:03 Old Eagle in town, find great.
  470. 41:06 Maybe he saved all. - Quiet! Quiet! Quiet! Quiet! Quiet!
  471. 41:33 Doctor! Doctor! Oh!
  472. 41:39 In Santa Maria, it's all called Cori.
  473. 41:41 Higher six.
  474. 41:42 Marmok Chancel Copa Micah.
  475. 41:57 It's coming out of the day.
  476. 41:59 How do I ask them?
  477. 42:00 I think so. Come stick with really a member of the yellow Nanna check it out.
  478. 42:06 Aya!
  479. 42:07 -Ayeok!
  480. 42:47 Marshmallow.
  481. 43:08 Please, Mr. Bald Eagle.
  482. 43:10 Isn't there anything else you can do?
  483. 43:29 - Shep, shep.
  484. 43:31 Mr. Bald Eagle?
  485. 43:33 You're wonderful.
  486. 43:36 Mama said, "What's up, my house? Big Lil' Ya Katoosh!"
  487. 43:40 You take her to your house.
  488. 43:42 We filmed well.
  489. 43:51 - You can't do it.
  490. 43:53 I wanna find out about that poison.
  491. 43:56 Nothing's gonna stop me till I do.
  492. 43:58 Come on.
  493. 44:11 these hills.
  494. 44:12 - Oh, man.
  495. 44:12 weather hold.
  496. 44:14 But always remember...
  497. 44:17 One good star
  498. 44:18 start a slide.
  499. 44:19 Cover the gold forever.
  500. 44:25 I'm going to go.
  501. 44:40 Come on.
  502. 45:39 Yeah!
  503. 45:40 Come here!
  504. 45:42 Where are you going?
  505. 46:10 Oh, no.
  506. 46:13 No.
  507. 46:26 Sheriff!
  508. 46:55 *crickets*
  509. 46:57 Oh.
  510. 46:59 Oh.
  511. 47:01 Oh!
  512. 47:02 Oh!
  513. 47:17 Jonathan! - Tony, what are you doing here?
  514. 47:22 Where's Jonathan?
  515. 47:24 Gone. He's been gone for three days.
  516. 47:27 Where?
  517. 47:27 I don't know. Over towards Blue Mountain somewhere.
  518. 47:31 Or he might pick us up a deer for meat through the winter.
  519. 47:35 I heard his whistle. You couldn't have.
  520. 47:37 Shep must have too she was barking.
  521. 47:39 On your seat, Chef.
  522. 47:40 Indian kids found her.
  523. 47:43 She was almost dead.
  524. 47:45 and poison.
  525. 47:46 that she's all right now.
  526. 47:47 Yeah, but I knew Jonathan would want to know, so I brought her back.
  527. 47:52 Mr. Taylor, are you sure he's not here? I know I heard.
  528. 47:55 I told you Tommy's not here.
  529. 48:00 Yes.
  530. 48:02 Yes!
  531. 48:05 Kep! Here's Kep!
  532. 48:09 Why is she coming?
  533. 48:11 I know she's out there.
  534. 48:14 Don't worry about it, Collin. They're tired and upset.
  535. 48:17 Good night's sleep and you start home in the morning.
  536. 48:20 Sit down now and rest.
  537. 48:28 I'll get you some supper.
  538. 48:40 - Yeah.
  539. 48:47 I--
  540. 48:48 I'd better unsaddle my horse, Mr. Taylor.
  541. 48:51 I'll be right there.
  542. 48:59 Chef, what is it?
  543. 49:04 What is a ship?
  544. 49:11 Jonathan!
  545. 49:28 I'm not.
  546. 49:33 - - Be quiet.
  547. 49:42 Yes.
  548. 49:49 Yes.
  549. 49:50 It's Jonathan.
  550. 49:55 Tommy?
  551. 49:58 Mommy!
  552. 50:00 Amen.
  553. 50:07 Tommy, are you out here?
  554. 50:17 Tommy! Tommy, is that you?
  555. 50:35 No! No! Let me go! Let me go! Where'd you get it?
  556. 50:39 You lied, he isn't always dead! You killed him! He's buried over there and you killed him!
  557. 50:46 Shut up, do you hear me? Shut up!
  558. 50:47 No, I won't! You kill him and I'll tell everybody!
  559. 50:52 You're wrong, Tommy.
  560. 50:54 You're not gonna tell anybody that.
  561. 50:57 Jeff! Shut up, you! Help him! I said shut up!
  562. 51:24 Hurry! Come on, Patrick! Stop it!
  563. 51:30 Please come back to your brother, John. You've got him, boy. You've got him. Tony, come back here. Come back!
  564. 51:48 You little fool out of me.
  565. 51:51 Amen.
  566. 52:47 Tommy, come on now. Drink it.
  567. 52:51 all right now.
  568. 52:52 Here.
  569. 52:52 Drink, darling.
  570. 52:54 Drink it.
  571. 52:57 That's right.
  572. 52:59 That's fine, boys.
  573. 53:09 Get away from me. Leave me alone. Listen, son, you
  574. 53:12 You've got to listen to me.
  575. 53:14 There's nothing to be afraid of.
  576. 53:15 You're here, perfectly safe. And I brought you here.
  577. 53:20 Now listen.
  578. 53:22 You've been scared, Donnie. I know that. And it's my fault.
  579. 53:27 But that's...
  580. 53:28 That's because I was scared too.
  581. 53:30 So scared that I...
  582. 53:32 I almost lost my head.
  583. 53:34 A man can be scared too, Tommy.
  584. 53:36 Even if a kid like you...
  585. 53:38 Especially if I can't get the wrong idea in his head.
  586. 53:42 And you've got the wrong idea, son.
  587. 53:45 You lied.
  588. 53:48 You said he was honey.
  589. 53:49 Yes.
  590. 53:51 Yes, I like it.
  591. 53:52 You know why?
  592. 53:53 Because I knew you loved Jonathan Dutton.
  593. 53:56 Almost as much as your own father.
  594. 53:59 So I...
  595. 54:00 Well, I didn't know how to tell you just like that.
  596. 54:05 Jonathan is dead, son.
  597. 54:08 He was working up in the canyon and he fell.
  598. 54:10 It was an accident.
  599. 54:13 Two days ago, I found his body in the...
  600. 54:16 Well, I bared it where you saw.
  601. 54:19 I was coming in tomorrow to tell you all.
  602. 54:25 Shit.
  603. 54:28 Where's Shif?
  604. 54:29 All right, the ship's all right. I'm sorry outside I want to go.
  605. 54:33 Shep was like you, son.
  606. 54:36 She got the wrong idea too.
  607. 54:38 So...
  608. 54:39 Let's both of us forget about what happened tonight.
  609. 54:42 Shall we?
  610. 54:46 I guess so. Sure, we will. Now you get some sleep, and you'll be fine in the morning.
  611. 55:02 Just sleep, son.
  612. 55:04 and forget the whole thing.
  613. 55:11 Oh, Jonathan!
  614. 55:15 Hello?
  615. 55:21 Hello there!
  616. 55:26 Tommy, wake up.
  617. 55:28 We've got company, son.
  618. 55:29 And don't forget what we talked about last night.
  619. 55:32 about the accident to Jonathan.
  620. 55:33 Better let me do all the explaining, Aldrin.
  621. 55:36 Hey, Jonathan!
  622. 55:40 Hi, Mr. Taylor, and Mel Steiner and Carl Crane.
  623. 55:46 This runaway come into their camp over in Oak Flats last night, and I thought I remembered he was yours.
  624. 55:52 They was breaking camp for winter anyway, so on the way into town, figured we'd cut across the ridge and fetch them back.
  625. 55:59 Why, hello there, Tommy boy!
  626. 56:01 Hi, Mr. P. Gee, I'm sure glad to see you.
  627. 56:04 We both are, Pete. Mighty glad.
  628. 56:10 It's a good thing you men came along.
  629. 56:12 Come inside. I'm afraid I got some bad news for you.
  630. 56:16 And in thy heavenly kingdom, Lord, let him find peace.
  631. 56:23 that
  632. 56:24 peace.
  633. 56:24 which passeth understanding.
  634. 56:28 Let the gold he sought on earth be his in heaven.
  635. 56:32 pure and shining gold of thy holy grace.
  636. 56:37 We ask it, Lord.
  637. 56:39 In his name.
  638. 56:42 Amen.
  639. 56:48 *Humming*
  640. 56:55 Come on, Tommy.
  641. 57:05 Come on, Jim. Thanks, Pete. I'll count on you
  642. 57:09 - I'm gonna explain everything.
  643. 57:10 How?
  644. 57:11 That I will.
  645. 57:12 As long as you can take Tommy and the dog back for me, I'll probably stay on up here till spring.
  646. 57:17 For everyone's sake, I'd like to prove Jonathan was right.
  647. 57:20 You see, he was sure there was real paid hurt here.
  648. 57:22 So far we've never found it And Pete do all you can to help Tommy will you? You know kids sometimes imagine all sorts of
  649. 57:30 by easy.
  650. 57:31 Jonathan's actions
  651. 57:32 and hit the board pretty hard.
  652. 57:33 I'm sure you understand.
  653. 57:35 I do indeed, Mr. Taylor. P.D. is lying. Don't believe him. Please don't believe him. It wasn't an accident. Jonathan didn't fall. He killed him. I knew he did.
  654. 57:43 - Pete, he's lying, he's lying about everything.
  655. 57:47 Why the boys are terrible.
  656. 57:49 He hated Jonathan and he killed him. And last night when I found out he tried to kill me too. He's lying Pete. Tommy listen to me.
  657. 57:55 You say I wanted to kill you?
  658. 57:57 Where did you sleep last night?
  659. 57:59 Who picked you up when your horse sued you and carried you to the cabin?
  660. 58:02 Tommy, you slept six feet from me the whole night through, safe and well.
  661. 58:06 Does that sound like I wanted to hurt you?
  662. 58:08 Answer me.
  663. 58:09 Pete, don't believe him. He did do it. Shep knows too. That's why I tried to poison her.
  664. 58:17 You don't believe me.
  665. 58:20 He said a claim didn't pay out.
  666. 58:22 But it did.
  667. 58:23 There's bags full of gold in that cabin. A dozen of them.
  668. 58:27 If that's true, guess you can show us some.
  669. 58:29 I will. Come on.
  670. 58:47 There was more.
  671. 58:49 A lot more.
  672. 58:51 He's done something with the rest.
  673. 58:56 You better take these back to Mondo. I was holding this hoping that they'd have a bigger haul by spraying.
  674. 59:02 There is more now.
  675. 59:04 A lot more.
  676. 59:05 Mr. Craig, can't you see his line?
  677. 59:08 Mr. Steiner, don't believe me.
  678. 59:10 Please don't believe me.
  679. 59:12 Guess we'd better be going.
  680. 59:14 Please, Mr. Crick.
  681. 59:17 Come along, son.
  682. 59:22 Amen.
  683. 59:29 Come on, Gia.
  684. 59:36 - Honey, come on, come on.
  685. 59:45 Oh,
  686. 59:47 - Good lady, come on.
  687. 59:58 What?
  688. 1:00:00 - Yeah.
  689. 1:00:01 Yes!
  690. 1:00:01 - Hey, Papa!
  691. 1:00:02 Sam!
  692. 1:00:12 *Gunshot*
  693. 1:00:23 I'm going to go.
  694. 1:00:59 Oh.
  695. 1:01:13 I'm going to go.
  696. 1:01:26 I'm going to go.
  697. 1:01:34 I'm not sure.
  698. 1:01:35 I'm going to go.
  699. 1:01:57 I'm... I'm...
  700. 1:02:11 Yeah.
  701. 1:02:13 Oh, my God.
  702. 1:02:17 I'm going to go.
  703. 1:02:29 I'm not sure what you're doing.
  704. 1:02:40 Oh
  705. 1:03:09 Oh
  706. 1:03:30 I'm going to go.
  707. 1:03:52 I'm going to go.
  708. 1:04:17 Oh
  709. 1:04:26 Oh, my God.
  710. 1:04:29 Oh, my God.
  711. 1:04:44 Elton.
  712. 1:05:10 I'm sorry.
  713. 1:05:26 Oh, my God.
  714. 1:05:32 Oh, my God.
  715. 1:05:35 Oh, my God.
  716. 1:05:38 I sure I was nice.
  717. 1:05:41 No.
  718. 1:05:42 I didn't do it. No, Chef. No. Don't do it. Don't do it, please. I didn't mean it. I swear. Please, Chef. Please. Please. Yeah. No, don't. I didn't mean it. No.
  719. 1:06:36 Amen.
  720. 1:06:42 Dad!
  721. 1:06:44 Here, ship!
  722. 1:06:49 She's lost, Pete.
  723. 1:06:51 We'll never find.
  724. 1:06:52 We'll keep trying.
  725. 1:07:21 Shit.
  726. 1:07:22 What did you call?
  727. 1:07:25 It's all right, Chef. Sure it is.
  728. 1:07:29 Amen.
  729. 1:07:32 Amen.
  730. 1:07:33 I'm sorry.
  731. 1:07:39 Oh, my God.
  732. 1:07:40 - Hello.
  733. 1:07:41 No.
  734. 1:07:42 I love you.

Also from 1951

Every free film of 1951 with a copy

Also from Loew's Inc

Similar frames

By the average clip vector of the keyframes; a measurement, not a judgement