Some aspects of the editing were groundbreaking: In his book “Film Editing: History, Theory and Practice” (2001), Don Fairservice pointed out that “Stagecoach” contained one of the earliest uses — maybe even the first — of the now-commonplace technique called a prelap, in which as one scene ends, dialogue from the next is already beginning on the soundtrack.

The man with whom we take shelter has his wife and children, and his sons’ wives and all their children, to the number of twelve or fifteen, in the tent. Milk and misíthra is their only food: “We have milk in plenty,” they tell me, “but no bread.” Such is the life of a modern Arcadian shepherd, who has almost reverted to the balanephagous state of his primitive ancestorsᵃ. The children, however, all look healthy, and are handsome, having large black eyes and regular features, with very dark complexions. ᵃ Ἀϱϰάδες Ἀζᾶνες βαλανηφάγοι, οἳ Φιγάλειαν Νάσσασθ᾽, &c. — Orac[ulum] Pyth[iæ] ap[ud] Pausan[ian de] Arcad[iâ in] c[apite] 42. ᵃ Azanian Arcadians, acorn-eaters, who dwell in Phigaleia, &c. — Oracle of Pythia in the writings of Pausanias on Arcadia in chapter 42.

After innumerable coaxings and threats, he agreed to do it.

The answer appears on the eighty-second page of the book.