Eine Bande lockt Abahachi (Michael Bully Herbig) und Ranger (Christian Tramitz) in eine Falle, um das legendäre „Kanu des Manitu“ in ihren Besitz zu bringen. Aufgrund falscher Anschuldigungen finden sich die beiden Blutsbrüder am Galgen wieder. Doch in letzter Sekunde werden sie von ihrem treuen Freund, dem liebenswerten Dimitri (Rick Kavanian), gerettet. Allerdings stellt sich schnell heraus, dass diese Rettung nur ein Teil eines viel größeren Plans ist und ihre Abenteuer gerade erst beginnen.

讲述了狄仁杰刚进大理寺一个月，调查一桩杀人碎尸案，在看似平淡的案发现场，却突然出现了一个神秘的图案。但就在狄仁杰准备深入调查的时候，却遭到了上级的反对，这让他更加怀疑，幕后肯定有更大的黑手。

本剧深刻的体现出了穿越后变成苟十三的姬君屹想要改变历史，救人和自救的无畏精神，面对小人杜天宇再三刁难和欺负时保护亲人和同伴的牺牲精神，和不向恶势力低头的高尚品格，以及和孙弘文斗智斗勇，即使身处下风也不放弃坚守自身底线的为人原则。 在既定事实发生之前努力改变现状，改变历史造就了姬君屹从万人敬仰化身为傻子苟十三后为了实现自身价值和目标的坚韧性格，在既定事实发生之后不逃避现实，不轻易放弃，勇于承担责任，认识自己的不足，能快速总结经验，用细腻的心思、高超的手段和过人的智慧实现反败为胜，挽狂澜于既倒的能力和与一切不公，投机取巧，扰乱社会秩序，违法犯罪的黑恶势力斗争到底的决心和毅力。

讲述了狄仁杰刚进大理寺一个月，调查一桩杀人碎尸案，在看似平淡的案发现场，却突然出现了一个神秘的图案。但就在狄仁杰准备深入调查的时候，却遭到了上级的反对，这让他更加怀疑，幕后肯定有更大的黑手。

林肯总统签署的最后一项法案授权将联合太平洋铁路穿过荒原推向加利福尼亚。但金融投机家阿萨-巴罗斯（Asa Barrows）希望通过阻挠这条铁路获利。首席故障排除专家杰夫-巴特勒（Jeff Butler）手忙脚乱地与巴罗斯的代理人、赌徒希德-坎普（Sid Campeau）斗智斗勇；坎普的合伙人迪克-艾伦（Dick Allen）是杰夫的战友，也是工程师女儿莫莉-莫纳汉（Molly Monahan）的情敌追求者。谁能在不惜一切代价推动铁路贯通的努力中幸存下来？

林肯总统签署的最后一项法案授权将联合太平洋铁路穿过荒原推向加利福尼亚。但金融投机家阿萨-巴罗斯（Asa Barrows）希望通过阻挠这条铁路获利。首席故障排除专家杰夫-巴特勒（Jeff Butler）手忙脚乱地与巴罗斯的代理人、赌徒希德-坎普（Sid Campeau）斗智斗勇；坎普的合伙人迪克-艾伦（Dick Allen）是杰夫的战友，也是工程师女儿莫莉-莫纳汉（Molly Monahan）的情敌追求者。谁能在不惜一切代价推动铁路贯通的努力中幸存下来？

In the first scene, two men stand outside of a car, waiting for the air conditioner to cool down the vehicle. As one puts on some house music using the car’s CD player, their silence is broken into a state of indescribable feelings. In the second scene, shot on Super 8 film, a person tries to recount a story as he spins a pen around in his hands. As he narrates the story which he cannot fully remember, he ponders this unusual amnesia. In the third scene, also filmed on Super 8, focuses on two pairs of hands cutting each other’s nails, the caring yet sensitive gesture were echoed by the intertitles. The fourth scene features a woman standing in a forest putting tiger balm on her body. And in the last scene, two people are playing cat's cradles, while two voices exchanges stories of inexplicable gestural encounters with other queer bodies. 　　Improvised with a non-white cast, and prominently featuring queer and Asian bodies, these fragmented memories, uneasy gossip, and moments of silence, center on one key question: When the idea of an individual subject cannot take form, how might we reconsider being visible, audible, or legible?

In the first scene, two men stand outside of a car, waiting for the air conditioner to cool down the vehicle. As one puts on some house music using the car’s CD player, their silence is broken into a state of indescribable feelings. In the second scene, shot on Super 8 film, a person tries to recount a story as he spins a pen around in his hands. As he narrates the story which he cannot fully remember, he ponders this unusual amnesia. In the third scene, also filmed on Super 8, focuses on two pairs of hands cutting each other’s nails, the caring yet sensitive gesture were echoed by the intertitles. The fourth scene features a woman standing in a forest putting tiger balm on her body. And in the last scene, two people are playing cat's cradles, while two voices exchanges stories of inexplicable gestural encounters with other queer bodies. 　　Improvised with a non-white cast, and prominently featuring queer and Asian bodies, these fragmented memories, uneasy gossip, and moments of silence, center on one key question: When the idea of an individual subject cannot take form, how might we reconsider being visible, audible, or legible?