There is a running thread in film comedy that all the great comics are just falling short of the law or on going to jail. Think of that conman's conman W.C.Fields in THE OLD FASHIONED WAY, or the Marx Brothers in A NIGHT AT THE OPERA, or Chaplin in THE ADVENTURER, of Mae West in SHE DONE HIM WRONG. The skirting of the law is inevitable, and when they end up on the side of the law the results are actually still hostile between the forces of law and order and the comic. Think of Lloyd in his first talkie, WELCOME DANGER, trying to "assist" the San Francisco Police Department in the midst of a crime wave, and making police sergeant Edgar Kennedy want to kill him. Think of Laurel and Hardy as ill-fated cops in MIDNIGHT PATROL. I find this type of hostility is so patent in all these giants' (and their peers') comedy that even a fake title for a film deals with it. Think of Jerry Seinfeld in one episode of his series creating a Three Stooges short, SAPPY PAPPIES, where the boys end up being electrocuted for murder.<br /><br />Buster Keaton frequently pulls in the forces of law and order to be his opponents in his comedies. Look at STEAMBOAT BILL, JR., where he tries to spring his dad from a calaboose. But he actually had more conflict from police forces in his shorts. In CONVICT 13 he is dragged back to prison when mistaken for an escaped convict. In COPS (perfect title - if you see it you'd understand) the police force of a large city is repeatedly looking for Keaton, mistaken for a terrorist). And in THE GOAT he is unable to avoid the police for most of the film.<br /><br />Keaton is a tramp just looking for food. But he is totally unlucky. When he sees a stranger throw a lucky horseshoe (which Keaton earlier ignored) over his shoulder, and then find a wallet full of money, Keaton tries the same thing, and hits a cop in the head. The cop gives chase, and Keaton (as luck would have it) runs into another cop, tries to act normal, but ends by throwing the other cop into the path of the first. Soon he has three cops chasing him. Briefly shaking them he walks by a window at the local jail where local murderer "Dead Shot Dan" (Malcolm St. Clair*) is being photographed. Passing in back of the barred windows, Keaton is stupid enough to stop and look straight in. The desperado notes this and ducks as the picture is taken. When Dead Shot flees the police, it is Keaton's face on all the wanted posters.<br /><br />(*St. Clair would eventually be a successful director of silent and early sound comedies, although in his later biography would be a stint at 20th Century Fox where his work with Laurel & Hardy was below par.)<br /><br />Keaton flees to another town by train (disconnecting the passenger cars containing his pursuers from the locomotive and tender). This is the film (by the way) that has two famous Keaton jokes. His arrival on the locomotive is done in a distant shot, with it coming closer and closer, and suddenly the audience sees Keaton sitting on the cowcatcher. <br /><br />The second famous sequence goes later (and may have influenced Chaplin somewhat in the beginning of CITY LIGHTS). Keaton had accidentally knocked out a man who was arguing too violently with a pretty woman with a dog (Virginia Fox). When he sees the poster's calling him a murderer he thinks he killed the man. He is being chased in this town by a suspicious chief of police (Joe Roberts), and momentarily loses Roberts in the park. A statue of "Man-of-War" is being constructed and the sculptor is unveiling a clay model of the horse). Keaton is seen seated on the clay model, trying to maintain his dignity as the clay legs of the horse start collapsing under his weight. <br /><br />Keaton manages to meet the pretty Ms Fox, who invites him home for dinner. Only he doesn't realize her father is Roberts. The last five minutes of the film deal Keaton fleeing and avoiding Roberts while he and Fox get away together.<br /><br />It's a funny comedy, and a wonderful example of Keaton's work at his best.