Public Reel

GREAT GUY (1937)

378 shots over 1:06:10, read from the Internet Archive copy Great_Guy.avi (Great_Guy.mp4, 640×480, 23.98 fps). Shot boundaries by PySceneDetect's adaptive detector; each frame links to the Archive's player at that second. Registry dossier: GREAT GUY No renewal found. JSON

Measurements: black-and-white film on its keyframes (0 of 378 shots judged colour), average shot 10.5s long, a frontal face detected in 50% of keyframes. Shots are detected automatically and each is represented by its midpoint frame.

Released 1936 (Internet Archive); copyright registered 1937 (catalog).

Beats

212 beats in 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 (not yet), checked automatically: quotes must be verbatim, names must be spoken, "visible" events are sampled to a second model.

Frame at 0:03, shot 00:03Frame at 0:13, shot 10:13
2 of 2 shots sampled

1. Beat 1 0:00–0:19 unchecked

Evidence and details

Starts here: start of film. Sequence 1 · shots 0–1 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 1:06, shot 21:06
1 of 1 shots sampled

2. Beat 2 0:19–1:52 unchecked

Evidence and details

Starts here: on-screen text appears or ends. Sequence 2 · shots 2–2 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 2:03, shot 32:03
1 of 1 shots sampled

3. Beat 3 1:52–2:14 unchecked

Evidence and details

Starts here: pause in speech. Sequence 3 · shots 3–3 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 2:18, shot 42:18Frame at 2:26, shot 52:26Frame at 2:32, shot 62:32Frame at 2:35, shot 72:35
4 of 4 shots sampled

4. Beat 4 2:14–2:37 unchecked

Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 4 · shots 4–7 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 2:39, shot 82:39
1 of 1 shots sampled

5. Beat 5 2:37–2:41 unchecked

Evidence and details

Starts here: pause in speech. Sequence 5 · shots 8–8 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 2:44, shot 92:44
1 of 1 shots sampled

6. Beat 6 2:41–2:47 unchecked

Evidence and details

Starts here: pause in speech. Sequence 6 · shots 9–9 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 4:43, shot 184:43
1 of 1 shots sampled

9. Hospital 4:36–4:50 unchecked

A man in a suit sits beside a hospital bed where another man lies under covers; dialogue suggests a confrontation or negotiation. No names are spoken, and the setting is clearly a hospital room.

2 people observed.

“I'd like to take his measure.” 4:36 · “I'm going to go with a little choice.” 4:38

Evidence and details

Starts here: pause in speech. Sequence 7 · shots 18–18 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
hospital (hospital, interior) evidence: frame:1
People
  • man in dark suit, seated, middle-aged, medium build visible, audible
  • man lying in bed, head wrapped in bandages, partially covered by sheets visible
Seen happening
  • A man in a suit sits beside a hospital bed. [frame:1]
  • The man in bed is bandaged and appears injured. [frame:1]
Also said
“Okay, Papa, I'm going to have it.” 4:40 · “I'm going to make you cheap, don't you?” 4:48
Seen
hospital bed [frame:1], bandages [frame:1], suit [frame:1], chair [frame:1]
Interpretation
Model opinion, not evidence: mood: tense; themes: confrontation, power dynamics, hospitalization; style notes: static medium shot, high contrast lighting, studio set
Frame at 5:38, shot 225:38
1 of 1 shots sampled

11. Beat 11 5:18–5:57 unchecked

Evidence and details

Starts here: topic shift in dialogue. Sequence 7 · shots 22–22 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 7:53, shot 387:53
1 of 1 shots sampled

18. Beat 18 7:43–8:04 unchecked

Evidence and details

Starts here: pause in speech. Sequence 9 · shots 38–38 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 8:27, shot 418:27
1 of 1 shots sampled

20. Beat 20 8:25–8:28 unchecked

Evidence and details

Starts here: pause in speech. Sequence 9 · shots 41–41 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 8:29, shot 428:29
1 of 1 shots sampled

21. Beat 21 8:28–8:30 unchecked

Evidence and details

Starts here: pause in speech. Sequence 10 · shots 42–42 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 8:32, shot 438:32Frame at 8:35, shot 448:35
2 of 2 shots sampled

22. Beat 22 8:30–8:36 unchecked

Evidence and details

Starts here: pause in speech. Sequence 10 · shots 43–44 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 8:38, shot 458:38Frame at 8:48, shot 468:48
2 of 2 shots sampled

23. Beat 23 8:36–8:56 unchecked

Evidence and details

Starts here: pause in speech. Sequence 10 · shots 45–46 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 9:17, shot 509:17Frame at 9:26, shot 519:26
2 of 2 shots sampled

25. Beat 25 9:16–9:32 unchecked

Evidence and details

Starts here: pause in speech. Sequence 10 · shots 50–51 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 9:36, shot 529:36
1 of 1 shots sampled

26. Beat 26 9:32–9:39 unchecked

Evidence and details

Starts here: pause in speech. Sequence 10 · shots 52–52 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 10:22, shot 5610:22
1 of 1 shots sampled

28. Beat 28 10:11–10:32 unchecked

Evidence and details

Starts here: pause in speech. Sequence 10 · shots 56–56 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 10:38, shot 5710:38
1 of 1 shots sampled

29. Beat 29 10:32–10:45 unchecked

Evidence and details

Starts here: pause in speech. Sequence 11 · shots 57–57 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 10:47, shot 5810:47
1 of 1 shots sampled

30. Beat 30 10:45–10:50 unchecked

Evidence and details

Starts here: pause in speech. Sequence 12 · shots 58–58 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 10:54, shot 5910:54
1 of 1 shots sampled

31. Beat 31 10:50–10:59 unchecked

Evidence and details

Starts here: pause in speech. Sequence 13 · shots 59–59 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 11:30, shot 6611:30
1 of 1 shots sampled

33. Private office 11:25–11:35 unchecked

A man in a suit and bowler hat holds a package while speaking to others in an office setting. The transcript includes fragmented lines about weight, payment, and urging to leave.

3 people observed.

“Four and a quarter pounds. I paid for...” 11:28 · “I can't understand that.” 11:30

Evidence and details

Starts here: pause in speech. Sequence 13 · shots 66–66 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
private_office (private office, interior) evidence: frame:1
People
  • man in dark suit, white shirt, tie, and bowler hat, holding a package visible
  • man with balding head, seen from behind, wearing dark suit visible
  • man in dark suit, partially visible on right edge of frame visible
Seen happening
  • A man in a bowler hat holds a package and speaks to others. [frame:1]
Also said
“Why do I press to help you?” 11:32 · “Let's go, please.” 11:34
Seen
package [frame:1], typewriter [frame:1], office desk [frame:1], bowler hat [frame:1]
Interpretation
Model opinion, not evidence: mood: tense or transactional; themes: bureaucracy, conflict, negotiation; style notes: medium shot, studio lighting, static framing, period costume
Frame at 11:37, shot 6711:37
1 of 1 shots sampled

34. Beat 34 11:35–11:38 unchecked

Evidence and details

Starts here: pause in speech. Sequence 14 · shots 67–67 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 12:03, shot 7012:03
1 of 1 shots sampled

36. Beat 36 12:01–12:04 unchecked

Evidence and details

Starts here: pause in speech. Sequence 15 · shots 70–70 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 12:05, shot 7112:05
1 of 1 shots sampled

37. Beat 37 12:04–12:05 unchecked

Evidence and details

Starts here: pause in speech. Sequence 16 · shots 71–71 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 12:08, shot 7212:08
1 of 1 shots sampled

38. Beat 38 12:05–12:10 unchecked

Evidence and details

Starts here: pause in speech. Sequence 17 · shots 72–72 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 12:11, shot 7312:11
1 of 1 shots sampled

39. Beat 39 12:10–12:11 unchecked

Evidence and details

Starts here: pause in speech. Sequence 18 · shots 73–73 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 12:12, shot 7412:12
1 of 1 shots sampled

40. Beat 40 12:11–12:13 unchecked

Evidence and details

Starts here: pause in speech. Sequence 19 · shots 74–74 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 12:14, shot 7512:14
1 of 1 shots sampled

41. Beat 41 12:13–12:16 unchecked

Evidence and details

Starts here: pause in speech. Sequence 20 · shots 75–75 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 12:46, shot 8212:46
1 of 1 shots sampled

43. Beat 43 12:40–12:52 unchecked

Evidence and details

Starts here: pause in speech. Sequence 20 · shots 82–82 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 13:54, shot 8513:54
1 of 1 shots sampled

45. Beat 45 13:48–13:59 unchecked

Evidence and details

Starts here: pause in speech. Sequence 22 · shots 85–85 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 14:06, shot 8614:06
1 of 1 shots sampled

46. Beat 46 13:59–14:12 unchecked

Evidence and details

Starts here: pause in speech. Sequence 23 · shots 86–86 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

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

47. Beat 47 14:12–14:17 unchecked

Evidence and details

Starts here: pause in speech. Sequence 24 · shots 87–87 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 14:18, shot 8814:18
1 of 1 shots sampled

48. Shop 14:17–14:18 unchecked

Two men in hats and coats are seated indoors near a vehicle's front fender; one points at an object on a table. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence and details

Starts here: pause in speech. Sequence 25 · shots 88–88 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
(shop, interior) evidence: frame:1
People
  • man wearing dark suit, fedora, and tie, seated, looking down visible
  • man wearing dark coat and fedora, seated, pointing at object on table visible
Seen
car fender [frame:1], table with small object [frame:1], fedora hats [frame:1], dark suits/coats [frame:1]
Interpretation
Model opinion, not evidence: mood: focused; themes: automotive, discussion, period attire; style notes: medium shot, high-contrast black-and-white lighting, static framing
Frame at 14:21, shot 8914:21
1 of 1 shots sampled

49. Beat 49 14:18–14:23 unchecked

Evidence and details

Starts here: pause in speech. Sequence 26 · shots 89–89 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 14:23, shot 9014:23
1 of 1 shots sampled

50. Beat 50 14:23–14:24 unchecked

Evidence and details

Starts here: pause in speech. Sequence 27 · shots 90–90 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 14:53, shot 9614:53
1 of 1 shots sampled

52. Beat 52 14:48–14:57 unchecked

Evidence and details

Starts here: pause in speech. Sequence 27 · shots 96–96 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 14:59, shot 9714:59
1 of 1 shots sampled

53. Beat 53 14:57–15:01 unchecked

Evidence and details

Starts here: pause in speech. Sequence 28 · shots 97–97 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 15:02, shot 9815:02
1 of 1 shots sampled

54. Beat 54 15:01–15:03 unchecked

Evidence and details

Starts here: pause in speech. Sequence 28 · shots 98–98 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 15:26, shot 9915:26
1 of 1 shots sampled

55. Beat 55 15:03–15:50 unchecked

Evidence and details

Starts here: pause in speech. Sequence 29 · shots 99–99 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 15:52, shot 10015:52
1 of 1 shots sampled

56. Beat 56 15:50–15:54 unchecked

Evidence and details

Starts here: pause in speech. Sequence 30 · shots 100–100 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 16:22, shot 10416:22
1 of 1 shots sampled

58. Beat 58 16:10–16:33 unchecked

Evidence and details

Starts here: pause in speech. Sequence 31 · shots 104–104 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 16:42, shot 10516:42
1 of 1 shots sampled

59. Beat 59 16:33–16:51 unchecked

Evidence and details

Starts here: topic shift in dialogue. Sequence 31 · shots 105–105 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 16:59, shot 10616:59
1 of 1 shots sampled

60. Beat 60 16:51–17:08 unchecked

Evidence and details

Starts here: pause in speech. Sequence 32 · shots 106–106 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 17:56, shot 11117:56
1 of 1 shots sampled

62. Beat 62 17:42–18:11 unchecked

Evidence and details

Starts here: pause in speech. Sequence 32 · shots 111–111 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 18:13, shot 11218:13
1 of 1 shots sampled

63. Beat 63 18:11–18:15 unchecked

Evidence and details

Starts here: pause in speech. Sequence 33 · shots 112–112 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 18:17, shot 11318:17
1 of 1 shots sampled

64. Beat 64 18:15–18:18 unchecked

Evidence and details

Starts here: pause in speech. Sequence 34 · shots 113–113 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 18:25, shot 11418:25
1 of 1 shots sampled

65. Beat 65 18:18–18:32 unchecked

Evidence and details

Starts here: pause in speech. Sequence 35 · shots 114–114 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 18:42, shot 11518:42
1 of 1 shots sampled

66. Beat 66 18:32–18:52 unchecked

Evidence and details

Starts here: pause in speech. Sequence 36 · shots 115–115 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 20:00, shot 12220:00
1 of 1 shots sampled

69. Restaurant 19:57–20:03 unchecked

A man in a suit with a bandaged arm sits at a table in a crowded restaurant. Other patrons are visible in the background, and a line of dialogue is spoken.

5 people observed.

“All right.” 19:59

Evidence and details

Starts here: pause in speech. Sequence 37 · shots 122–122 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
(restaurant, interior) evidence: frame:1
People
  • man, middle-aged, heavyset, wearing a suit and tie, left arm in a white sling visible
  • woman, dark hair, wearing a dark dress, seated at a table visible
  • man, light hair, wearing a suit, seated at a table visible
  • man, wearing a suit, standing in background visible
  • man, wearing a suit, standing in background visible
Seen happening
  • A man with a bandaged arm sits at a table in a restaurant. [frame:1]
Seen
table with glassware and napkin [frame:1], white sling on man's arm [frame:1], hats hanging on wall [frame:1]
Interpretation
Model opinion, not evidence: mood: tense or resigned; themes: injury, social setting, dialogue-driven moment; style notes: medium shot, studio lighting, black and white, static framing
Frame at 20:05, shot 12320:05
1 of 1 shots sampled

70. Beat 70 20:03–20:06 unchecked

Evidence and details

Starts here: pause in speech. Sequence 38 · shots 123–123 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 20:39, shot 12420:39
1 of 1 shots sampled

71. Beat 71 20:06–21:11 unchecked

Evidence and details

Starts here: pause in speech. Sequence 39 · shots 124–124 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 21:39, shot 12921:39
1 of 1 shots sampled

73. Beat 73 21:34–21:44 unchecked

Evidence and details

Starts here: topic shift in dialogue. Sequence 39 · shots 129–129 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 21:52, shot 13021:52Frame at 22:00, shot 13122:00
2 of 2 shots sampled

74. Private office 21:44–22:01 unchecked

A man in a suit and hat stands in a doorway while another man sits at a desk. The transcript includes a line identifying someone as 'Johnny Katie' and a response of 'Yes.'

Named: Johnny Katie (t:21:58). 2 people observed.

“You're Johnny Katie. What you.” 21:58 · “Yes.” 22:00

Evidence and details

Starts here: pause in speech. Sequence 40 · shots 130–131 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
(private office, interior) evidence: frame:1
People
  • man in dark suit, tie, and fedora hat, standing visible
  • Johnny Katie (named at t:21:58): man in suit and tie, seated at desk, looking up visible
Seen happening
  • A man in a suit and hat stands in a doorway. [frame:1]
  • A seated man looks up toward the doorway. [frame:2]
Seen
wooden door [frame:1], desk lamp [frame:2], sign on glass door reading 'WEIGHTS AND MEASURES' and 'JOEL GREEN' [frame:1]
On screen
WEIGHTS AND MEASURES / JOEL GREEN
Interpretation
Model opinion, not evidence: mood: tense; themes: identity, confrontation, official space; style notes: static medium shots, high-contrast lighting, formal attire suggests 1930s setting
Frame at 22:24, shot 13422:24
1 of 1 shots sampled

76. Private office 22:18–22:31 unchecked

Two men in suits are seated at a desk in an office; one invites the other to join his club. No names are spoken, and no on-screen text is visible.

2 people observed.

“I came over here to do something for you.” 22:20 · “How about coming into my club?” 22:23

Evidence and details

Starts here: pause in speech. Sequence 40 · shots 134–134 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
private_office (private office, interior) evidence: frame:1
People
  • man in dark suit, light shirt, tie, clean-shaven, mid-30s, medium build visible, audible
  • man in dark suit, older, balding, heavier build, seated behind desk visible, audible
Seen happening
  • Two men sit at a desk in conversation. [frame:1]
Also said
“Our organization can use young fellows like you.” 22:25
Seen
desk [frame:1], desk lamp [frame:1], telephone [frame:1], wall-mounted notice or poster [frame:1]
Interpretation
Model opinion, not evidence: mood: serious, persuasive; themes: recruitment, professional persuasion, formal interaction; style notes: medium two-shot, high-contrast lighting, studio set with minimal background detail
Frame at 23:49, shot 14323:49
1 of 1 shots sampled

79. Beat 79 23:45–23:53 unchecked

Evidence and details

Starts here: pause in speech. Sequence 40 · shots 143–143 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 24:14, shot 14924:14Frame at 24:18, shot 15024:18
2 of 2 shots sampled

81. Private office 24:11–24:20 unchecked

Two men are seated at a desk in an office; one gestures while speaking, the other listens intently. The transcript includes a warning about consequences and a reference to a lost hat.

Named: Johnny (t:24:17). 2 people observed.

“You lost a hat.” 24:13 · “You don't must do it.” 24:15

Evidence and details

Starts here: pause in speech. Sequence 41 · shots 149–150 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
private_office (private office, interior) evidence: frame:1
People
  • man in dark suit, light shirt, tie, neat hair, mid-adult, medium build visible, audible
  • Johnny (named at t:24:17): man in dark suit, patterned tie, neat hair, mid-adult, medium build visible, audible
Seen happening
  • A man gestures with his right hand while speaking to another man across a desk. [frame:1]
  • A man leans forward with a stern expression, listening. [frame:2]
Also said
“Now listen, Johnny.” 24:17 · “We can do things for you or to you.” 24:18
Seen
desk, desk lamp, papers, wall picture
Interpretation
Model opinion, not evidence: mood: tense; themes: power dynamics, threat, negotiation; style notes: medium close-up shots, high-contrast lighting, formal attire, static camera
Frame at 24:37, shot 15124:37
1 of 1 shots sampled

82. Beat 82 24:20–24:54 unchecked

Evidence and details

Starts here: topic shift in dialogue. Sequence 41 · shots 151–151 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 25:10, shot 15225:10
1 of 1 shots sampled

83. Beat 83 24:54–25:25 unchecked

Evidence and details

Starts here: pause in speech. Sequence 42 · shots 152–152 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 25:50, shot 15525:50
1 of 1 shots sampled

85. Beat 85 25:49–25:51 unchecked

Evidence and details

Starts here: pause in speech. Sequence 43 · shots 155–155 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 25:54, shot 15625:54
1 of 1 shots sampled

86. Beat 86 25:51–25:57 unchecked

Evidence and details

Starts here: pause in speech. Sequence 43 · shots 156–156 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 26:01, shot 15726:01
1 of 1 shots sampled

87. Beat 87 25:57–26:05 unchecked

Evidence and details

Starts here: pause in speech. Sequence 44 · shots 157–157 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 26:15, shot 15826:15
1 of 1 shots sampled

88. Beat 88 26:05–26:25 unchecked

Evidence and details

Starts here: pause in speech. Sequence 44 · shots 158–158 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 26:35, shot 16226:35Frame at 26:39, shot 16326:39
2 of 2 shots sampled

90. Other 26:32–26:40 unchecked

A man in a suit and fedora is shown in two close-up shots, speaking. The transcript includes a line about 'some mugwet's breaking the law.' No named characters or specific location are established.

1 person observed.

“This is very interesting.” 26:33 · “That's for some mugwet's breaking the law.” 26:35

Evidence and details

Starts here: pause in speech. Sequence 44 · shots 162–163 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
other (other, interior) evidence: frame:1
People
  • man, adult, medium build, wearing a dark suit, white shirt, tie, and fedora hat visible, audible
Seen happening
  • A man in a fedora smiles slightly at the camera. [frame:1]
  • The man turns his head to the side, mouth open as if speaking. [frame:2]
Seen
fedora hat [frame:1], suit [frame:1], tie [frame:1]
Interpretation
Model opinion, not evidence: mood: sardonic or ironic; themes: law enforcement, criminal justice; style notes: black-and-white close-up, high contrast lighting, studio set
Frame at 26:56, shot 16426:56
1 of 1 shots sampled

91. Beat 91 26:40–27:13 unchecked

Evidence and details

Starts here: pause in speech. Sequence 45 · shots 164–164 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 27:16, shot 16527:16
1 of 1 shots sampled

92. Beat 92 27:13–27:19 unchecked

Evidence and details

Starts here: pause in speech. Sequence 46 · shots 165–165 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 28:13, shot 17328:13
1 of 1 shots sampled

95. Private office 28:12–28:14 unchecked

A man in a suit looks off-camera while another man in uniform sits behind him. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence and details

Starts here: pause in speech. Sequence 46 · shots 173–173 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Place
private_office (private office, interior) evidence: frame:1
People
  • man in dark suit, white shirt, tie, neat hair, mid-adult visible
  • older man in dark uniform with badge, balding, seated visible
Seen
suit [frame:1], uniform with badge [frame:1], desk or table [frame:1]
Interpretation
Model opinion, not evidence: mood: tense; themes: authority, confrontation; style notes: medium close-up, high-contrast lighting, formal framing
Frame at 29:06, shot 17929:06
1 of 1 shots sampled

97. Beat 97 29:01–29:11 unchecked

Evidence and details

Starts here: pause in speech. Sequence 46 · shots 179–179 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 30:20, shot 18230:20
1 of 1 shots sampled

99. Beat 99 30:10–30:29 unchecked

Evidence and details

Starts here: pause in speech. Sequence 48 · shots 182–182 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 30:35, shot 18330:35Frame at 30:46, shot 18430:46
2 of 2 shots sampled

100. Beat 100 30:29–30:52 unchecked

Evidence and details

Starts here: pause in speech; cut falls inside a spoken line: no pause was available without exceeding the length cap. Sequence 48 · shots 183–184 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 42:14, shot 24842:14
1 of 1 shots sampled

134. Beat 134 41:49–42:38 unchecked

Evidence and details

Starts here: topic shift in dialogue. Sequence 63 · shots 248–248 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Frame at 59:56, shot 34059:56
1 of 1 shots sampled

191. Beat 191 59:45–1:00:08 unchecked

Evidence and details

Starts here: pause in speech. Sequence 95 · shots 340–340 · transcript from here. Observations cite a frame (frame:n) or a time (t:m:ss); frames are the sampled ones above.

Transcript

Machine transcription of the Archive copy's audio with Whisper large-v3-turbo (temperature 0); the model heard it as en. 1128 segments kept, 397 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. 0:52 I'm.
  2. 1:32 The doves in the hospital.
  3. 1:34 Joe?
  4. 1:35 no
  5. 1:38 Joe Green.
  6. 1:39 No kidding.
  7. 1:42 Oh, yeah.
  8. 1:54 What is the key?
  9. 1:55 Joel Green is in the hospital.
  10. 1:58 Yeah I was just telling you I've read it to that too bad it wasn't fatal. It could have been with the right kind of workman.
  11. 2:06 Go that on.
  12. 2:10 I've got too many telephone. I've got the telephone.
  13. 2:15 Mr. Green, you can't phone anyone, Doctor at all.
  14. 2:18 I must, I tell you, just once. Mr. Green, you're a very thick man. Oh.
  15. 2:22 I promise to obey all your orders from now on if you'll just let me talk to Johnny Cave.
  16. 2:28 I must, I tell you, it's urgent.
  17. 2:31 anyway.
  18. 2:31 Just this one call, but no more.
  19. 2:34 in the telephone for Mr. Green.
  20. 2:49 Department of Wakes and Measures...
1108 more segments
  1. 2:51 I'm just a green.
  2. 2:52 Stop, Mr. Green.
  3. 2:53 I'm positive he isn't in because there was a call from Mr. Cave just a minute ago from the city prosecutor.
  4. 2:58 Yes, Mr. Green.
  5. 2:59 As soon as he comes in, I'll tell him you want him.
  6. 3:01 Yes, I will.
  7. 3:03 And take care of yourself.
  8. 3:05 And don't worry.
  9. 3:12 Hello?
  10. 3:14 Have you located Mr. Cave?
  11. 3:16 Oh, please keep trying. I'll call back later. Here is Mr. Thornton's room.
  12. 3:23 212, second floor. Thank you.
  13. 3:26 Dr. Richards, please. First of all, to your right. Third door.
  14. 3:30 Information desk.
  15. 3:31 Yes, Dr. Richard, she's on her way up now.
  16. 3:34 Pardon me.
  17. 3:35 I'd like to see Joel Green, please.
  18. 3:36 Sorry, but Mr. Green is not permitted to have visitors.
  19. 3:38 Well, would you please tell him Johnny Cave called?
  20. 3:41 Mr. Cave. Oh, I've been trying everywhere, Mr. Cave. Please go right up. Mr. Green is in room 612. 612. Thank you.
  21. 3:50 Sounds like just another order.
  22. 3:53 But I'm telling you, Johnny, I was...
  23. 3:57 That's crossing.
  24. 3:58 contract.
  25. 4:00 Suddenly the automobile ahead of Miss Doctor.
  26. 4:03 I jammed on the brakes.
  27. 4:05 The machine I had started the way.
  28. 4:08 the street.
  29. 4:10 When I came to the other place.
  30. 4:14 One of the men in the car ahead looked back just before the crash.
  31. 4:17 Do you recognize him?
  32. 4:19 Let me get one at the beginning.
  33. 4:21 Kavanaugh.
  34. 4:22 Amen.
  35. 4:23 Now it happened.
  36. 4:26 I never met that mother.
  37. 4:27 And I want to make it my business to before long. You're no longer under pleasure.
  38. 4:36 I'd like to take his measure.
  39. 4:38 I'm going to go with a little choice.
  40. 4:40 Okay, Papa, I'm going to have it.
  41. 4:42 Not for all.
  42. 4:44 They tell me I'll be here for weeks.
  43. 4:48 I'm going to make you cheap, don't you?
  44. 4:52 Me?
  45. 4:54 Amen.
  46. 4:55 In my place.
  47. 4:57 I know I can depend on you, John.
  48. 5:00 Thanks, Mr. Vane. I'm glad you think so.
  49. 5:02 differently.
  50. 5:03 Remember now, keep your head on your shoulders and your fists in your pockets.
  51. 5:07 Yeah.
  52. 5:09 I'll be settled.
  53. 5:11 of companies.
  54. 5:12 This captain lost plenty of acres.
  55. 5:14 We take all the fight out of him.
  56. 5:17 And now tell me to be over her.
  57. 5:18 Kavanaugh is just a preliminary.
  58. 5:20 The main voucher to come.
  59. 5:23 someone higher
  60. 5:25 follow-up.
  61. 5:26 Wish I knew. Your visitor's time is up, Mr. Green.
  62. 5:29 I'll just leave it.
  63. 5:30 No.
  64. 5:32 I remember, Johnny.
  65. 5:34 Don't let that fist drift against anybody's chin.
  66. 5:37 Don't worry.
  67. 5:38 It won't.
  68. 5:41 We should be able to play that next time I see you.
  69. 5:43 All right.
  70. 5:45 Goodbye, sir.
  71. 5:53 All right.
  72. 5:54 Yeah?
  73. 5:56 You got a luncheon date, babe?
  74. 5:57 When and with whom?
  75. 5:59 Today, with the guy you're going to marry.
  76. 6:00 Remember?
  77. 6:03 Name, please.
  78. 6:05 Oh Johnny.
  79. 6:08 Of course, a great guy.
  80. 6:09 He told me so himself.
  81. 6:11 You wouldn't doubt him, would you?
  82. 6:12 Same place. Twelve thirty.
  83. 6:15 And don't be late.
  84. 6:16 What? Me, me?
  85. 6:18 Well, I like that of all the nerves.
  86. 6:20 What are you talking about?
  87. 6:21 I'm usually the one that has to stand around waiting 20 minutes for you to show up. All right, all right, all right, all right, all right.
  88. 6:27 But you heard me.
  89. 6:29 Don't be late.
  90. 6:30 Now I'll be back.
  91. 6:32 This is the show you're doing, but it's still about it.
  92. 6:34 Let's all do with our own fish animal.
  93. 6:36 Thank you, Tim. I'm on your phone.
  94. 6:40 Red Hot.
  95. 6:47 I'm just pinch hitting with Joel Green.
  96. 6:48 while he's in that hospital.
  97. 6:50 Now, you know, without my mentioning any names,
  98. 6:52 Who put a man?
  99. 6:54 And why?
  100. 6:56 because he wouldn't take orders from anybody except the people who trusted him.
  101. 7:06 He knew what it meant to cheat the housewife.
  102. 7:09 Of course, it doesn't sound like much, chiseling just a few ounces of meat on the pound or
  103. 7:12 A pew potato's out of the sack.
  104. 7:15 But understand this.
  105. 7:17 40% of the American income is spent on food.
  106. 7:20 And the people who cheated on him only 5%.
  107. 7:22 In one year...
  108. 7:24 That adds up to more than the water.
  109. 7:26 I like to make sure.
  110. 7:28 Think right with me, Frank.
  111. 7:30 People on the other side of the fence have a great deal at stake.
  112. 7:32 And they want to make it very tough for you.
  113. 7:35 So if any of you are...
  114. 7:37 Little bit of great attack, isn't it?
  115. 7:39 Now is the time to walk.
  116. 7:44 That makes it unanimous.
  117. 7:46 Now, here's an easy little gadget.
  118. 7:49 And one of the latest.
  119. 7:53 Do we have a two pound weight?
  120. 7:56 Put on the scale.
  121. 7:58 It still weighs two pounds.
  122. 8:00 Watch the hand.
  123. 8:06 Very tough on the housewife.
  124. 8:09 You'd be surprised.
  125. 8:11 The name of some of the stools is still a proper boost to advantage.
  126. 8:14 Very delicate point.
  127. 8:17 Practically every time you make a pinch,
  128. 8:19 You're going to be offered a bribe.
  129. 8:22 Now, some deputies have taken by.
  130. 8:32 That's your answer.
  131. 8:34 Come on.
  132. 8:38 All right, boys.
  133. 8:39 All right.
  134. 8:41 Now, Colin, Hawks and Barnes take the stockyard to tell you, huh?
  135. 8:45 You are, says, uh...
  136. 8:46 There's one left for you, a new man.
  137. 8:48 Show him around. Okay, pal.
  138. 8:50 And you were late.
  139. 8:51 That I was. I am not the spiritual. I was lit.
  140. 8:55 But do you know where I was?
  141. 8:57 I was around to all the newspapers to see if they knew that you
  142. 9:01 I know what you have to happen.
  143. 9:02 Mm-hmm.
  144. 9:04 Where are you from?
  145. 9:06 Well, I was born on the Great Plathskett Island at the southwest coast of Ireland.
  146. 9:11 But I live most of my by-hood in a little bit of a village outside of Flotspong, County of Mayo.
  147. 9:17 Not the type of the kosher markets. I think I better take him myself. If you don't mind, I'll just call you out of wishes.
  148. 9:23 Yeah.
  149. 9:33 And this is it.
  150. 9:34 a lot of complaints about this one, too.
  151. 9:42 Oh, I wish I think I buy some strawberries.
  152. 9:45 Watch out there. 25.
  153. 9:47 - Mm-hmm, are they fresh? - French, and every berry is picked for a side.
  154. 9:50 I'm going to take a pause.
  155. 9:51 Yes, sir.
  156. 9:52 You know, there's a say in an island that it's all right to pick the berries, but you must never, never cut down the vine, because under the vines live all the good fairies.
  157. 10:00 And if you cut down the vines, you do wear with their power to do good for you.
  158. 10:03 All right.
  159. 10:04 That's very interesting.
  160. 10:05 But there are no strawberries in Ireland.
  161. 10:07 Oh, no, I could say I saw some of the cozy care of that.
  162. 10:12 I think I'll buy five pounds of sugar.
  163. 10:14 Good morning, sir. Good morning.
  164. 10:15 Five pounds of shingle, please.
  165. 10:17 How much is that?
  166. 10:18 Are you all even
  167. 10:21 Well, I'll wish you.
  168. 10:22 What do you want for supper?
  169. 10:23 I don't know.
  170. 10:24 Thank you, Rose.
  171. 10:25 I've got an appetite for corn beef.
  172. 10:29 And I've got a reason for chicken.
  173. 10:35 How about a nice doing chicken? About six pounds.
  174. 10:37 Okay?
  175. 10:45 There you are six pounds right on the head.
  176. 10:47 Wrap it up.
  177. 10:48 Nice to meet you.
  178. 10:53 A lump of lead.
  179. 10:55 I didn't just leave it. Hold on.
  180. 10:59 Now, what's the idea? You can't...
  181. 11:02 - Miss Brady, Miss Brady!
  182. 11:06 Very cute.
  183. 11:08 Walter, let's make no noise at all.
  184. 11:11 Not bad, not bad.
  185. 11:13 What is it? What is it?
  186. 11:15 That poison.
  187. 11:17 Well, how do you suppose those got there?
  188. 11:19 I guess it's as good as mine.
  189. 11:21 Let me have that sugar.
  190. 11:28 Four and a quarter pounds. I paid for...
  191. 11:30 I can't understand that.
  192. 11:32 Why do I press to help you?
  193. 11:34 Let's go, please.
  194. 11:45 You haven't missed any bets, have you?
  195. 11:50 How about buying that bird back for 50 bucks? Oh, it'll be a waste of money.
  196. 11:55 He spoiled by the time he got out of jail.
  197. 11:58 Hold on to that, Ella. We should have to evidence.
  198. 12:00 It'll not leave my hand.
  199. 12:16 I'm going to get that chicken.
  200. 12:18 I told him.
  201. 12:19 No, no, give me a second.
  202. 12:20 You'll hear me.
  203. 12:23 I'm going to go.
  204. 12:25 Here at the right.
  205. 12:31 - I'm all out of the way.
  206. 12:33 You're the first time in your life. Yeah, now hold on to that.
  207. 12:36 And another move out of you and I'll pin your ears back.
  208. 12:46 Come on.
  209. 12:59 Yes, sir. Fill it up.
  210. 13:00 Five. Yes, sir.
  211. 13:02 Did I never tell you about the giant Cosway? No, no.
  212. 13:06 Amen.
  213. 13:07 big giant...
  214. 13:08 island so big.
  215. 13:10 They stood on the top of mountains.
  216. 13:12 through himself.
  217. 13:12 of each other.
  218. 13:14 And then there was the leprechaun.
  219. 13:17 Little people.
  220. 13:18 No, read it in your tongue.
  221. 13:19 and you could see them walking around.
  222. 13:22 My grandmother used to tell me about Lucifer the devil.
  223. 13:25 went one big knee and one little knee.
  224. 13:27 Have you ever seen that?
  225. 13:28 Oh, my goodness.
  226. 13:29 I thought so.
  227. 13:32 That'll be 93. This is a company. I'll need a receipt. Okay, just a minute.
  228. 13:36 It's our last job before lunch. I've got a date with my girl. Take it to the Echo Cafeteria. It's a new place. Oh, no, not a chance. You go to the Ritz today. This is a celebration.
  229. 13:44 Any event?
  230. 13:46 I see it.
  231. 14:03 How much did you have in there?
  232. 14:05 Not a drop, kid.
  233. 14:06 The car is taking the divide.
  234. 14:08 time.
  235. 14:08 One to run on.
  236. 14:10 Now you're five gallons.
  237. 14:19 Mm-hmm.
  238. 14:20 That's what I thought.
  239. 14:21 For all cabinets.
  240. 14:27 You were warned about this violation last summer.
  241. 14:30 Now you draw a thumb.
  242. 14:31 Now, wait a minute, fellas. Wait a minute. Listen.
  243. 14:33 Can I give you the fine and save me the trouble of going downtown?
  244. 14:36 Oh, come on. What about 20 bucks?
  245. 14:38 I say, but you need it for the fine.
  246. 14:40 put a tag on that before
  247. 14:41 God.
  248. 14:43 I'm here.
  249. 14:50 Did you break your hand?
  250. 14:51 Oh, no.
  251. 14:54 I promise.
  252. 15:03 Janet, uh...
  253. 15:04 Make out a check for $1,000 to the midnight mission. We made it right away.
  254. 15:08 Thanks again Mr. Kelly. Not at all my pleasure. Goodbye Mr. Marvin.
  255. 15:15 Oh well Mr. Canning.
  256. 15:16 Would it be all right if I had 10 minutes?
  257. 15:18 After lunch I have a date with my boyfriend. Of course.
  258. 15:21 Oh, well, I'm checking away. Thank you.
  259. 15:55 Johnny Cave, dear, you're five minutes late, honey. Oh, you're very lucky.
  260. 15:59 I've kept others waiting for days.
  261. 16:03 Well, anytime you want to go back to those of.
  262. 16:07 Perfectly all right, Winston.
  263. 16:09 Amen.
  264. 16:13 Mmm.
  265. 16:15 My best friend gets hit by a street car, winds up in the hospital, civil war in Spain, and earthquakes in Japan, and now you wear that hat. What's the matter with this hat?
  266. 16:23 embarrasses me.
  267. 16:24 Embarrassing to you. Yeah, I feel as though I had it on.
  268. 16:29 Well, I wear it if I like it and I like it.
  269. 16:31 What should we eat?
  270. 16:32 We'll go to the Ritz.
  271. 16:34 We're not going to the residence.
  272. 16:35 We're going someplace that fits our purse. Sweetheart, is this a celebration?
  273. 16:38 We're not going to the rest.
  274. 16:40 A fine way to talk to the chief deputy.
  275. 16:43 We're not going to...
  276. 16:44 For the first time since I've known you're going to do as I say.
  277. 16:47 We're going to the Ritz.
  278. 16:49 Amen.
  279. 16:54 Good night.
  280. 16:56 Some beans.
  281. 17:03 Fine thing.
  282. 17:04 F.A.T. Chiefs of weights and measures.
  283. 17:07 Pushing a tray.
  284. 17:09 - Are you skipping that spinach? - I certainly am. - Another portion, please.
  285. 17:13 Find a way to go into Chief Deputy.
  286. 17:15 Say, would you care for some nice spinach, my chief deputy?
  287. 17:20 What are you mumbling about?
  288. 17:22 Hot roast. Gold Green's in the hospital.
  289. 17:24 No.
  290. 17:25 Oh, don't be like that.
  291. 17:26 Oh, that's too bad. Anything serious? Serious enough to keep him in several weeks.
  292. 17:31 Oh, my God.
  293. 17:32 I'll have to sit in a second.
  294. 17:34 Well, that puts you in charge.
  295. 17:37 Why didn't you tell me? I was going to get her out.
  296. 17:39 eventually.
  297. 17:42 tell-o.
  298. 17:43 Two.
  299. 17:44 Don't you? They're up and high.
  300. 17:46 No apple pie.
  301. 17:47 Jenna.
  302. 18:21 I was going to have lunch at the Ritz.
  303. 18:24 Thanks so much.
  304. 18:25 my social media.
  305. 18:28 That's very social.
  306. 18:33 I put your money in the bank yesterday.
  307. 18:36 Right.
  308. 18:37 I picked you up the wedding ring. Just a plain gold band, but you loved it.
  309. 18:41 I've got my eye on this one, Miss Farber. It'll set us back on the radio. Yes, just the bedroom is set and all the kitchen furnishings.
  310. 18:47 No, we can't afford it, Johnny. I'll wait.
  311. 18:49 Now, since you're making more decisions, when are you going to make the leap?
  312. 18:54 I've been thinking about that too.
  313. 18:56 What are you saying?
  314. 18:58 Play which one Saturday?
  315. 18:59 Biggs, Mr. Sedovay?
  316. 19:01 I have two more high days.
  317. 19:02 We'll be in swell shape.
  318. 19:03 Aren't you glad I made you see it?
  319. 19:06 Now we have enough to do.
  320. 19:07 furnish a cozy little apartment
  321. 19:09 Amen.
  322. 19:10 Storm and plan.
  323. 19:13 The rocket.
  324. 19:14 Will you everything?
  325. 19:16 Everybody's a burglar, everybody's a crook.
  326. 19:18 You don't believe in philanthropy. You don't believe in public street in this.
  327. 19:22 You don't even believe in men like Mr. Cannon.
  328. 19:24 All I know, if I'm Mr. Canning, it is your voice.
  329. 19:27 Well, Johnny, you're hopeless.
  330. 19:31 What would you do if I said Joe Green was a dishonest...
  331. 19:34 You say you were cockeyed. He's known us if the day is long.
  332. 19:38 Well, that's just the way I feel about Mr.
  333. 19:40 And I should know, I've been with him many years.
  334. 19:43 I was with the firm years before you made me as private secretary.
  335. 19:49 All right.
  336. 19:52 I love you too.
  337. 19:59 All right.
  338. 20:06 I'll hit you hanging.
  339. 20:09 I wonder if I could have a little information for you.
  340. 20:11 my private file. All right, certainly.
  341. 20:13 Are you married?
  342. 20:14 Well, uh, Ned. Any children? Any children?
  343. 20:17 Oh, how silly. Yes.
  344. 20:18 I mean, no.
  345. 20:20 I mean, do you want my number? I've got your number. You've got my. Oh, Mr. Haley. I wonder if by any chance you happen to be going my way.
  346. 20:28 Well, which way are you going? The only thing is I live at a hundred and ninety first. There's a very funny thing. Now I'm going within two blocks. Oh, fine. Will you hold my letter?
  347. 20:39 Yeah.
  348. 20:40 Haley.
  349. 20:40 - Haley, that's such a lovely...
  350. 20:43 It has a certain ring to it.
  351. 20:44 Uh-huh.
  352. 20:46 Did I ever tell you the history of the Hayley?
  353. 20:48 No.
  354. 20:50 you know Charlemagne, the emperor of the whole world.
  355. 20:53 He was the first hearing.
  356. 20:55 I'm one of the kings of Ireland. He was a heilig.
  357. 20:58 Do you know that I am the first son of the first son of the first son for 600 years straight down to... Elisa Lassie. Yes.
  358. 21:06 Today is ten after six and we don't pay overtime.
  359. 21:09 Well, I'll see you tomorrow. Time, time.
  360. 21:12 I'm always on time. Except when I... Good night, Aloysius.
  361. 21:17 Don't be working too hard, Johnny. I would say a fellow isn't happy unless he enjoys his work. And the only way to enjoy your work is to do a very little of it.
  362. 21:25 Except, of course, in a case where you have something to do which you can't put off. In which case, you can always quit your job because you say... Good night, Aloysius.
  363. 21:34 - Good night, Hazel. - Good night.
  364. 21:35 Take care of yourself. Don't worry about her. She knows all the answers. Sure I do. If you'll stop talking long enough for me to use them.
  365. 21:58 You're Johnny Katie. What you.
  366. 22:00 Yes.
  367. 22:01 I'm going to get it.
  368. 22:03 District Leader of the Seventh.
  369. 22:05 I figured we ought to be. We've got a lot of things in common.
  370. 22:07 On which command, Mr. Kavanaugh?
  371. 22:09 Just plain Marty to you, Johnny.
  372. 22:13 What can I do for you?
  373. 22:14 Not a thing, kid. Not a thing.
  374. 22:20 I came over here to do something for you.
  375. 22:23 How about coming into my club?
  376. 22:25 Our organization can use young fellows like you.
  377. 22:32 You've got your own future to look out for.
  378. 22:35 Why, you might get to be a district leader like me.
  379. 22:38 I couldn't dress the part.
  380. 22:40 We'll fix it so you can afford to dress this way.
  381. 22:42 Very nice.
  382. 22:44 Keep...
  383. 22:46 A friend of mine spoke to me about you. He thinks very highly of your ability.
  384. 22:49 That's fine.
  385. 22:51 Sit down.
  386. 22:52 He asked me very particularly to do something for him.
  387. 22:57 How about that, Peter?
  388. 22:59 200 a month.
  389. 23:00 And that's just a start, you understand?
  390. 23:02 Now let's...
  391. 23:03 But you can...
  392. 23:04 Just a minute.
  393. 23:05 What's on your mind?
  394. 23:09 Well, I happen to have a summons here that you gave Edie at the Paradise Market.
  395. 23:13 And you want me to forget.
  396. 23:15 That's the idea.
  397. 23:16 You do us something.
  398. 23:22 What are you being so noble about?
  399. 23:25 Going around with a chip on your shoulder.
  400. 23:28 This.
  401. 23:29 This stuff is all unimportant.
  402. 23:31 grocer or butcher
  403. 23:32 charges a woman three or four cents more than she's supposed to pay.
  404. 23:36 So what?
  405. 23:37 She never misses it.
  406. 23:40 I'll show you what I mean.
  407. 23:41 You got three, Benny?
  408. 23:42 a line.
  409. 23:43 Come on.
  410. 23:44 - Okay.
  411. 23:54 Now, just to prove that they don't mean
  412. 24:00 See?
  413. 24:01 You've lost three pennies.
  414. 24:03 You don't miss them, don't you?
  415. 24:05 Well, that all depends.
  416. 24:07 I'll show you what I mean.
  417. 24:12 Okay.
  418. 24:13 You lost a hat.
  419. 24:15 You don't must do it.
  420. 24:17 Now listen, Johnny.
  421. 24:18 We can do things for you or to you.
  422. 24:20 You mean you'll do to me what you did to Joe Green? I'll take it easy. Now, listen, I don't tell you to heat on for anybody who threatens my men.
  423. 24:26 or try to slip money on my desk, Lada. It's a one-way street, Cavanaugh.
  424. 24:31 And if you start up...
  425. 24:32 You want to meet me coming down?
  426. 24:45 I didn't have a phone, eh, sir?
  427. 24:46 listen to reason.
  428. 25:00 Okay.
  429. 25:20 All right.
  430. 25:22 Hold it, Ben.
  431. 25:26 Where do you think you're going?
  432. 25:28 You're going your way. No, he ain't.
  433. 25:30 He's going our way.
  434. 25:32 That's right.
  435. 25:35 Amen.
  436. 25:58 Well, what are we waiting for?
  437. 25:59 Well, come on, let's get it over with.
  438. 26:01 We can sit here and think.
  439. 26:04 Try thinking red.
  440. 26:17 Are you trying to commit suicide?
  441. 26:21 You don't mind if I stretch, do you hear?
  442. 26:33 This is very interesting.
  443. 26:35 That's for some mugwet's breaking the law.
  444. 26:40 11 even come on we roll.
  445. 26:44 I don't like that penny on you.
  446. 26:48 Put this little model on.
  447. 26:50 For what?
  448. 26:50 Cut it out.
  449. 26:58 I told you guys it.
  450. 26:59 all this.
  451. 27:00 A little boy, kid. The boys fly for you this spring.
  452. 27:02 Get in.
  453. 27:25 Come on, give him that hat away, hey, man.
  454. 27:27 - You want to have?
  455. 27:28 I just...
  456. 27:30 I know about to tell you that.
  457. 27:31 Don't you see the liquor's cracked all over him?
  458. 27:34 Well, he's been drunk, wasn't he?
  459. 27:35 Sure is. I'll reamble my place.
  460. 27:38 You ain't heard that happen.
  461. 27:40 bad as I hoped you were.
  462. 27:43 - Oh boy, some bad guys.
  463. 27:47 Guy with red hair, wearing a flat overcoat, pulls a hole up and it snoozes to you, huh?
  464. 27:51 Yeah, and a gun is found in your pocket.
  465. 27:53 Come on, say something.
  466. 27:54 What do you want me to say? I'm Johnny R.'s frame.
  467. 27:57 They poured liquor all over my clothes, hit me over the head, left me lying in the gutter. You said that 14 times.
  468. 28:02 I'll say it 14 more.
  469. 28:03 How are we getting over a pass?
  470. 28:05 Bring in the complainer.
  471. 28:14 Why, hello, Tommy. What are you doing here?
  472. 28:16 That's your man.
  473. 28:18 Is this the fellow supposed to have stuck me up? Yeah.
  474. 28:20 one.
  475. 28:21 I'm kind of mine.
  476. 28:22 How are you, Johnny?
  477. 28:23 What?
  478. 28:24 Sure Johnny Cage. Chief Deputy of Wage and Major.
  479. 28:29 What about the red hair and that coat?
  480. 28:31 Well, you can't arrest a guy for having red hair.
  481. 28:34 Miss Ash.
  482. 28:36 That isn't a cult.
  483. 28:37 The one the stick-up wore was an entirely different color.
  484. 28:40 How about this gun?
  485. 28:42 Well, James got a permit, ain't you, Johnny?
  486. 28:45 Yacht, I quit wearing that coat, Johnny.
  487. 28:48 A coat like that is bound to get you in trouble.
  488. 28:50 Should be a lesson to you.
  489. 28:52 This reminds me of the story of the guy right after the wedding.
  490. 28:55 Suck this bride in the jaw.
  491. 28:57 that he says to her,
  492. 28:58 That's for nothing.
  493. 29:00 Now be careful.
  494. 29:10 Does that feel better?
  495. 29:15 All good and all the answers.
  496. 29:18 You know, Johnny, in a way...
  497. 29:20 - Oh.
  498. 29:22 That chip on the shoulder comes.
  499. 29:25 No, you can't go around stepping on pictures.
  500. 29:27 like it.
  501. 29:28 You're too aggressive.
  502. 29:30 That Irish.
  503. 29:31 What's the matter with the Irish?
  504. 29:33 I didn't say anything was the matter with the Irish.
  505. 29:35 You did too. I didn't...
  506. 29:37 There you go, scrapping at the first opportunity.
  507. 29:39 There's no sense in trying to be nice to you.
  508. 29:41 Let me tell you something, Johnny.
  509. 29:54 May I call your attention,
  510. 29:55 this charming loves.
  511. 30:01 Look, darling.
  512. 30:03 I've got to be at the mayor's office in about five minutes.
  513. 30:06 Pick on anything you like.
  514. 30:08 I'm sure you're going to get me something I could.
  515. 30:09 the peanut.
  516. 30:13 What have you got for me?
  517. 30:17 A footstool.
  518. 30:29 Yes.
  519. 30:30 I got a call from the mayor.
  520. 30:31 The name is Cave.
  521. 30:32 Oh, Mr. Kane.
  522. 30:33 I'm sorry, but his honor has been unavoidably...
  523. 30:36 Won't you have a seat?
  524. 30:37 Can't wait.
  525. 30:38 and too many important calls to make.
  526. 30:40 Oh, Mr. K.
  527. 30:41 His honor is very ancient.
  528. 30:42 I see you. Won't you please wait in here?
  529. 30:48 Timano is on his way now to the new bridge.
  530. 30:52 He made the dedication to this.
  531. 30:55 Who wrote it for him?
  532. 30:57 Mr. King.
  533. 31:29 Good afternoon, Your Honor. Good afternoon.
  534. 31:34 Mr. Cave is waiting for us.
  535. 31:35 Oh, fine.
  536. 31:37 Don't let anyone disturb me, Alan.
  537. 31:43 Palms.
  538. 31:44 Okay?
  539. 31:47 I'm glad you came.
  540. 31:49 Good news for you.
  541. 31:50 Mr. K, I want to...
  542. 31:51 congratulate you on your record.
  543. 31:54 You've been with the Department of Weights and Measure?
  544. 31:56 Your name has become a cinnamon for honesty.
  545. 32:02 past year shows an increase of
  546. 32:04 53% from the number of arrests.
  547. 32:06 I described such a showing to your untiring effort.
  548. 32:09 Superb.
  549. 32:11 Colossal.
  550. 32:13 Precisely.
  551. 32:15 Now, we wish to reward you
  552. 32:17 They're appointing you to the Governor's Tax Commission of Special Investments.
  553. 32:21 appointment carries the salary almost double your presence.
  554. 32:25 It's very nice, Your Honor, but you see I... I was a much older man.
  555. 32:28 One who's devoted most of his life to
  556. 32:29 servicemen
  557. 32:30 the Commonwealth.
  558. 32:31 I advise you to accept.
  559. 32:33 We have great need of a man of your caliber, Mr.
  560. 32:35 gave in the text to
  561. 32:37 Great meat.
  562. 32:38 as has often been said to
  563. 32:40 The mother of suspension?
  564. 32:43 Levitin?
  565. 32:44 Mr. Caves?
  566. 32:45 Faller taken, I think.
  567. 32:48 No, you're not.
  568. 32:49 I'm very, uh...
  569. 32:50 Very, very grateful.
  570. 32:51 I saw what you wanted to do, but that...
  571. 32:52 I can't take it at this time.
  572. 32:54 I'm afraid this position can't wait.
  573. 32:56 Oh, what deals are trying to be subtle?
  574. 32:59 I'll be myself.
  575. 33:00 Hello.
  576. 33:03 I'm staying in the department.
  577. 33:05 And there's not going to be any fix.
  578. 33:07 I know I'm cutting a lot of toes.
  579. 33:08 organization.
  580. 33:09 And I also know.
  581. 33:11 The boys want me out of the way. That's a bold statement, Mr. Camp.
  582. 33:14 I'm sure you don't mean it. I mean it.
  583. 33:17 You can tell Mr. Marty. I know it's got you to call me.
  584. 33:21 And I said so.
  585. 33:22 Are you suggesting that Mr. Kavanaugh dictates the policy of this office?
  586. 33:27 What do you think?
  587. 33:38 Get Abel Canning on the phone.
  588. 33:44 *Sigh*
  589. 33:47 Yeah.
  590. 33:50 Mm-hmm.
  591. 33:51 arrogant, swell-headed troublemaker.
  592. 33:53 Absolutely.
  593. 33:55 was best out.
  594. 33:56 Never mind.
  595. 33:57 We'll find a way.
  596. 34:00 How about 18 holes in it?
  597. 34:03 Right.
  598. 34:07 The right thing is a sudden notice of my room, but this came as a great shock.
  599. 34:11 that leaves me with a very helpless killing after her.
  600. 34:15 After all...
  601. 34:16 and use your services.
  602. 34:18 Amen.
  603. 34:18 I'm afraid you'll get to the butcher's steak.
  604. 34:21 Mr. Kean, we were being cheated.
  605. 34:23 for a long time the deliveries were always far short of what we were
  606. 34:29 That's everything.
  607. 34:31 covered as far as features of the...
  608. 34:33 And here's a list of everything that was...
  609. 34:38 I'm going, Joe.
  610. 34:40 Yes, I have a dotted line.
  611. 34:52 Hey, what?
  612. 34:54 Straight on.
  613. 34:56 I want to see the boss in kind of the town.
  614. 34:59 All right.
  615. 35:09 I'm out of here.
  616. 35:13 Whistling
  617. 35:22 There seems to be a bit of a difference, Mrs. Ogilvy.
  618. 35:24 between the items receded for and those delivered.
  619. 35:26 At least, too.
  620. 35:28 Of course.
  621. 35:29 Always is.
  622. 35:31 Come on!
  623. 35:37 One minute.
  624. 35:40 I want you to sign this...
  625. 35:42 Not me, Snoop.
  626. 35:43 You want to get my job?
  627. 35:45 I'm gonna give you a chance to think it over in a cage.
  628. 35:48 Oh, I bet it goes for you, too.
  629. 35:53 Don't sign with an X.
  630. 36:08 Time on it.
  631. 36:10 Johnny, what are you doing here?
  632. 36:12 Just stop you to make a call.
  633. 36:14 I don't want this out. You know better than that. What can I do with a guy that's in love?
  634. 36:18 I want to get a look at you.
  635. 36:20 What happened if the mayor's open?
  636. 36:22 Don't let me at John.
  637. 36:24 On the governor's staff, lots more dough.
  638. 36:26 Johnny, how wonderful.
  639. 36:28 I don't.
  640. 36:29 Johnny Cade, you're not going to pass up an opportunity.
  641. 36:31 that
  642. 36:32 Sounds like your real chance.
  643. 36:34 I think what it means to you is what?
  644. 36:35 Come on, Mr. Canning.
  645. 36:39 Red page, you old palooka!
  646. 36:41 I ain't put a lamp on you since we bought those 15 rounds in Jersey City. Let us in your feet.
  647. 36:46 Great.
  648. 36:47 Getting kind of soft, aren't you? Oh, I've been taking it easy.
  649. 36:49 I'm going to take it even easier.
  650. 36:50 You know, I saw my breweries and bootlegs, too, so some stock manipulators.
  651. 36:53 They're going to make theirs running the stock up and down. That dirty crooks. What are you doing here?
  652. 36:57 I come up to get a passport. I'm going to England.
  653. 36:59 I'm going to play around with them Dukes and the Ritzy Dolls. You know, drink tea, chase boxes.
  654. 37:03 Why do they chase boxes? It's about to be sport.
  655. 37:06 I'm going to skip it.
  656. 37:07 I'm going to be a sport. I'm going to be a chipper one.
  657. 37:08 I think we need some cash.
  658. 37:10 100 different names in 22 banks.
  659. 37:13 Well, what's Kenny got to do with it?
  660. 37:14 Sending it to his bootmaker?
  661. 37:15 Boatmaker? When I went with boots, I ain't going waitin'.
  662. 37:18 Oh wait you have to get a passport.
  663. 37:20 Here, Kenny, fix it for me.
  664. 37:22 Nice, but five grand, he really ought to dump a nothing.
  665. 37:26 listen, right?
  666. 37:27 The last five years I paid Kenyon's mom a million bucks to fix money. I ain't squirtin', you understand? I want a protection.
  667. 37:32 They're giving them a...
  668. 37:34 Say, well, I didn't know that Jenny took that kind of dough.
  669. 37:36 And what do you record a minute?
  670. 37:37 No, nobody's gonna trip him up, Red.
  671. 37:39 But you never can tell people.
  672. 37:40 There's always that unnoticed banana.
  673. 37:42 Ha, ha, not him, Red.
  674. 37:44 What are you doing up here?
  675. 37:45 Love.
  676. 37:46 And Executive Secretary is my girl.
  677. 37:47 I think it might.
  678. 37:49 Well, congratulations, you lucky spits.
  679. 37:52 Oh, yeah.
  680. 37:53 Watch me at a friend of mine.
  681. 37:54 This is Pete Riley.
  682. 37:55 Here's the big number, please, sir.
  683. 37:57 I need to get red samples.
  684. 37:58 I'm pleased to meet you. Got the point. It's going to shoot.
  685. 38:00 I think so.
  686. 38:02 I'm trying to get plenty right.
  687. 38:04 I've got a whole floor there and a cage for the buttress.
  688. 38:05 I want you both to come.
  689. 38:06 Well, it's going to be a slow blowout.
  690. 38:08 But all the fancy trimmer's.
  691. 38:09 I'm going to make a speech too.
  692. 38:11 I wouldn't miss that. What is it? Oh.
  693. 38:14 Mr. Riley will be there.
  694. 38:17 Come on, go.
  695. 38:19 And skip to dinner. I got a thousand bucks worth of fancy grub coming up.
  696. 38:26 He made a speech on the radio once. He?
  697. 38:28 and the radio? Yeah, he said...
  698. 38:29 Oh, Ma.
  699. 38:32 It was a good fight. I'm glad I won. My second told me about it afterwards. Oh, I'm glad you're not surprised by any of these.
  700. 38:38 This is Johnny.
  701. 38:38 About that job of the mayor of Ontario.
  702. 38:41 No, I'll do anything I can.
  703. 38:43 Well, if I prove to you that this boss of yours is not the shining example of where you're supposed to be.
  704. 38:47 Will you do a little sleeping for me?
  705. 38:50 Jack.
  706. 38:52 How could you suggest it?
  707. 38:53 What's wrong with...
  708. 38:56 All right.
  709. 38:56 Mr. Canning, this is Mr. Cain.
  710. 38:59 Mr. Cave, Department of Weights and Measures.
  711. 39:02 Well, I'm just...
  712. 39:05 Will you come in?
  713. 39:12 I don't want to hold you up, Mr. Canning, but...
  714. 39:14 Not at all. Glad to have a chat with you.
  715. 39:16 Exactly.
  716. 39:20 His Honor, the mayor, we played golf yesterday.
  717. 39:24 We sort of put him in a spot with the governor.
  718. 39:27 Oh, really? Yes, indeed. He promised the old boy he could deliver just the man he wanted and...
  719. 39:33 Well, you're turning down cold.
  720. 39:35 Oh, I'm sorry if I upset any of your plans.
  721. 39:37 I believe you're making a big mistake.
  722. 39:39 My long experience prompts me to offer my advice. Of course you can take it and leave it as you see fit.
  723. 39:43 But...
  724. 39:45 I do believe you should give this opportunity further consideration.
  725. 39:48 It is an opportunity, Mr.
  726. 39:50 May I end it?
  727. 39:51 One that might open the door so to speak to.
  728. 39:54 a belly break.
  729. 39:57 What do you say?
  730. 40:00 You really think I know to do with that?
  731. 40:01 I do indeed.
  732. 40:03 Let me give the story of your acceptance to the papers and point out.
  733. 40:07 Have a good one.
  734. 40:09 Come on, congratulations, Mr. Mettles.
  735. 40:10 Nothing on your...
  736. 40:11 Kindness of charity.
  737. 40:13 I heard about your latest gift.
  738. 40:15 Okay.
  739. 40:17 Okay.
  740. 40:18 Ah...
  741. 40:20 Marcy, please.
  742. 40:22 Okay.
  743. 40:23 Johnny Cave, you're wasting measures.
  744. 40:25 I've got a paper for your afternoon edition.
  745. 40:28 What?
  746. 40:30 Well, here's your headline.
  747. 40:32 Abel Canning steals bread from mouth of city's orphanage.
  748. 40:37 Colet's your supply. She never delivered.
  749. 40:40 Send a couple men over to my office in about 20 minutes. You wouldn't dare.
  750. 40:44 I gotta be going, Kenny.
  751. 40:45 An appointment. You go through with that kid and you wish you never were born.
  752. 40:49 I'll see you in jail, Brett Snatcher. How dare you talk like that to me?
  753. 40:53 Well, you hear the prosecuting attorney has to say to us. Well, let's hear, Johnny. Get him out of this, will you?
  754. 41:00 I'm giving the affidavits to after noon. So long.
  755. 41:05 I'm terribly sorry, Mr. Kenny. Don't be sorry for me. It's the young man who will suffer.
  756. 41:10 If he gives his blackmailing scheme to the papers, I'll...
  757. 41:15 No.
  758. 41:16 I won't have to do a thing.
  759. 41:18 Public opinion will force him out of office.
  760. 41:20 He'd be lucky if he escapes a jail sentence.
  761. 41:30 Johnny, you're wrong, I tell you.
  762. 41:32 You don't know Mr. Canning like I do. He's a fine man.
  763. 41:36 Well, he's done everything for me.
  764. 41:38 Put me through business cards, gave me this job.
  765. 41:40 Why, he's been like a father to me.
  766. 41:43 No, Johnny, you're mistaken.
  767. 41:46 Well, don't do anything. I can't forgive you.
  768. 41:49 You won't have to forgive me for anything, baby.
  769. 41:51 I know what I'm doing. I've got...
  770. 42:02 That story?
  771. 42:03 You bet.
  772. 42:05 Entered.
  773. 42:06 Thanks, Mike.
  774. 42:31 measures.
  775. 42:32 Senator Prosecutor's Office speaking.
  776. 42:35 Ask Johnny K. to send down all the papers on the canning case right away.
  777. 42:38 Just a moment.
  778. 42:40 Mr. Kay, the prosecutor's office wants the evidence on the canning case.
  779. 42:43 Shall I take your papers down?
  780. 42:45 I don't think I'm down myself in the carol.
  781. 42:47 Mr. Case has to bring them down himself in about two minutes.
  782. 43:01 Anybody ask me on the back what I have for?
  783. 43:02 All right.
  784. 43:25 All right, buddy. I'll twist my stem. Give me a hand, will you? Let me get the other side. Yeah, I'll do it.
  785. 43:37 All right.
  786. 44:34 Hello?
  787. 44:35 Yes.
  788. 44:39 Nice work, Burton.
  789. 44:40 Bring him over here right away.
  790. 44:42 making things over.
  791. 44:43 Mr. Canning.
  792. 44:44 I mean, a bad thing.
  793. 44:46 I've never been to that for them. There weren't a lot more to me.
  794. 44:50 Oh, I should say about...
  795. 44:54 All right, Grant.
  796. 44:55 By a grand.
  797. 44:57 You weren't taking any chances.
  798. 44:59 Not with me behind you.
  799. 45:00 But you're taking chances now.
  800. 45:02 Yeah.
  801. 45:03 I'll get a load of this.
  802. 45:05 I'm not going to have one of them sudden accidents.
  803. 45:07 Because a pal of mine will tell the city prosecutor what the papers are.
  804. 45:16 I don't know.
  805. 45:17 No, it doesn't interest me.
  806. 45:20 It's five grand or I'll petal end of paper someplace else.
  807. 45:26 Find anything yet, Pat?
  808. 45:28 I can't go to the description I could.
  809. 45:32 I don't know what happens so quickly. I'm not completely dizzy.
  810. 45:35 Still dizzy.
  811. 45:37 You do whatever you think best.
  812. 45:40 As far as I'm concerned, you're in the police department.
  813. 45:44 You keep digging through those pictures and I'll be down in a while.
  814. 46:02 At a time like this, you were a hat like that.
  815. 46:27 expanded. It's worse than that, Jeff.
  816. 46:31 Watch this.
  817. 46:32 Your bank book. All your savings.
  818. 46:33 But your department? Not anymore.
  819. 46:36 Dolly, you don't mean... I mean, we're through.
  820. 46:38 Finished.
  821. 46:39 Please listen, you've got to let me tell you the papers. I've listened to it now.
  822. 46:42 It's no use just...
  823. 46:43 You hurt me.
  824. 46:44 I think you're not.
  825. 46:46 But you wouldn't listen.
  826. 46:47 You're arrogant. You're stubborn. We could never be happy to hear you.
  827. 46:50 I love you.
  828. 46:51 But I'm going to get over there.
  829. 46:53 Adieu.
  830. 46:55 Watch out!
  831. 46:57 I don't ever want to see you again.
  832. 47:13 Yeah.
  833. 47:14 How about this guy?
  834. 47:16 No.
  835. 47:17 Here's a big baby.
  836. 47:20 There's the guy, Pat.
  837. 47:21 Feel like a boxcar.
  838. 47:24 Joe Burton.
  839. 47:25 He is building.
  840. 47:26 Elias Bilkowitz.
  841. 47:28 Ex-Ressler.
  842. 47:29 or convictions
  843. 47:30 That may be the answer to an open spare. Get this guy for me, will you, sir? I'll hold a tank.
  844. 47:34 We're going to get Charlie Joe. A couple of pigeons a car. Take all of that.
  845. 47:39 20 minutes. Charlie. Charlie.
  846. 47:41 Listen.
  847. 47:43 You haven't got a thing on me, Helen, and you know it.
  848. 47:45 You got a lot of crutch pinching me and breaking the law.
  849. 47:48 I can have you busted for this.
  850. 47:50 Quite a pole, eh, Joe? Yes.
  851. 47:52 Wayne?
  852. 47:53 Let me use that phone and I'll get sprung out of this trap in five minutes.
  853. 47:57 I'm going to have time.
  854. 47:59 telephone girls will be on all night.
  855. 48:02 You don't remember strong-arming this fellow this afternoon and stealing his papers.
  856. 48:06 I never monkey with chips.
  857. 48:08 Stay it easy, Johnny.
  858. 48:09 You talk or we'll keep him here till Christmas.
  859. 48:13 Mm-hmm.
  860. 48:14 Six tickets for Marty Cavanaugh political jamboree in the moonlight.
  861. 48:20 Are you from New York? Yeah, no way. What about it?
  862. 48:22 Nothing.
  863. 48:23 Mike, take him downstairs a while.
  864. 48:26 He's tired. He needs a little rest.
  865. 48:29 You can't do this to me, Helen. I tell you, I've got an important date.
  866. 48:32 Uh-huh.
  867. 48:34 Mike, on the way down, tell Mr. Burton the story of the lifer that wanted to know what time it was.
  868. 48:38 Go on.
  869. 48:42 Can you see how much singing that canary did? Yeah, so I noticed.
  870. 48:44 Well, anyway, we've got an apartment address. I'll let you get a quick frisk. No, let's come into that.
  871. 48:48 This is the only key here.
  872. 48:50 Look at that.
  873. 48:52 Mother must have given them not to feed on them.
  874. 48:54 Thanks, Pat.
  875. 48:55 Take it easy now, Tony, and be sure to examine the drain pipe under the sink.
  876. 48:59 You can't fool me.
  877. 49:00 I'll even look under his pillow.
  878. 49:02 Good luck.
  879. 50:56 And there aren't going to be any ifs or buts about it. I want Joe Burton released at once.
  880. 51:02 Well, I'm...
  881. 51:03 I don't see what I can do about it anymore.
  882. 51:05 You'll see about nothing. You'll do it.
  883. 51:10 Okay.
  884. 51:13 Roger?
  885. 51:14 Get the captain on the phone.
  886. 51:16 I haven't got anything on him anyways.
  887. 51:19 And let Burton go.
  888. 51:22 No, that's all right.
  889. 51:25 I didn't want Burton. I want those papers.
  890. 51:27 Think Burton still has them?
  891. 51:28 Certainly, that's where they got him out of here.
  892. 51:30 That's right.
  893. 51:32 I like to get that mug another working over for the way he pulled out.
  894. 51:37 Said he hardly had time to get his mat scraped and massaged.
  895. 51:40 Going to that big blowout Pete Riley's given tonight.
  896. 51:44 Burton is going to party so they have an invite.
  897. 51:47 So why?
  898. 51:51 I've just got time to get my bed bags on myself.
  899. 51:54 A person I can't.
  900. 51:55 Look out, Johnny.
  901. 51:57 Burton's tough.
  902. 51:58 I found that out.
  903. 52:22 like you should be dancing. I'm sitting here decorating the
  904. 52:29 What's the dance?
  905. 52:32 Say, what's this rather odd you give them like now?
  906. 52:36 Mr. Bravey, I'm not giving anyone.
  907. 52:39 I was sitting here minding my own business.
  908. 52:42 You want me to mind mine?
  909. 52:44 This is my party, and I want everybody to be happy, especially you and Johnny.
  910. 52:49 Well, if you don't mind...
  911. 52:50 Another night.
  912. 52:52 I don't think you'd understand.
  913. 52:54 It's my guess that maybe you don't understand Johnny.
  914. 52:56 Don't you read the papers?
  915. 52:57 This guy's in a gym.
  916. 53:01 See all that beef on the hook?
  917. 53:05 What is in the heart of the gentleman?
  918. 53:08 with a hip apartment with a hip apartment.
  919. 53:09 or this side.
  920. 53:10 a leopard on the other at me heels was a tiger and right and front of
  921. 53:15 Romer and lion.
  922. 53:17 Well, I was in a pretty bad way. Well, what happened?
  923. 53:21 Huh?
  924. 53:22 I was killed.
  925. 53:30 Hello, Mr. Tanning. I'm surprised to see you. Well, when you gave me the invitation, Pete, I thought you meant it. Sure, I did. You're welcome at the Parliament of July. Come on, I'll stick around and introduce you some of the mob. Oh, don't bother. I'll find my way about it.
  926. 53:40 Okay, find yourself a squad to dance with. I'll see you later.
  927. 53:43 If you want a drink, flag a butler.
  928. 53:45 All right.
  929. 53:50 Amen.
  930. 53:59 May I see you a minute?
  931. 54:01 Yeah, sure.
  932. 54:04 That's my bank.
  933. 54:05 Don't party your nose, would you?
  934. 54:07 I'll be right back.
  935. 54:10 You mean to hurt you? No.
  936. 54:12 Let me not see if my nurse is here.
  937. 54:15 You all right?
  938. 54:17 Nothing to offer. Okay.
  939. 54:19 Hello, Mr. Kelly.
  940. 54:20 Janet.
  941. 54:21 I'd like to know Mr. Private. This is my boss, Mr. Candy.
  942. 54:24 The name is Parker.
  943. 54:25 You're in very good company.
  944. 54:56 Dang.
  945. 54:58 What happened to that big marble?
  946. 54:59 Blank up.
  947. 55:00 Help me and that guy.
  948. 55:01 I'm rocking up now.
  949. 55:03 Yes.
  950. 55:04 Oh, that might look...
  951. 55:06 You can't scam me, Kenny. It's five grand or no papers, and that's fine.
  952. 55:10 The whole network.
  953. 55:13 call right now.
  954. 55:14 Triton Hadney.
  955. 55:19 Don't think I'd carry five thousand?
  956. 55:21 my pocket.
  957. 55:23 I'll take a check.
  958. 55:25 May I have the kid?
  959. 55:27 when they came to my apartment.
  960. 55:29 and a legitimate
  961. 55:31 Not that it makes any difference to me.
  962. 55:46 I didn't mind my video.
  963. 55:49 Can you find him a better day? I'll find him, all right. I'll just look for a ride.
  964. 55:52 with money.
  965. 55:54 We'll see you in a minute.
  966. 56:02 Let me go first.
  967. 56:09 Look at that.
  968. 56:12 Right there.
  969. 56:15 I figured.
  970. 56:21 Now, follow.
  971. 56:50 Wait a minute.
  972. 56:54 Show me that.
  973. 56:58 All the pack of your rod.
  974. 56:59 I had a ringside seat and I saw every blow.
  975. 57:02 They're cutting through a wide right.
  976. 57:03 That's it.
  977. 57:05 I think Johnny's ain't the same way he enjoyed these videos.
  978. 57:08 Look, I'll show you in slow motion.
  979. 57:09 Now bring up your right.
  980. 57:11 You're telegraphing, may I please?
  981. 57:12 Oh, you've only ever told me what to do with what you don't enjoy yourself.
  982. 57:14 You know, you should have beat me that night. I was an old man, but I was too smart.
  983. 57:18 Tell me what happened. I never did find out.
  984. 57:20 You threw a wide right.
  985. 57:22 coming.
  986. 57:23 No, I'm with the left.
  987. 57:24 Oh, you threw a right, Johnny. No, no. He died it with a left. With a right. I'll show you.
  988. 57:29 I live with a left and you brought in a left.
  989. 57:31 The knife will right hand and miss.
  990. 57:33 *Screams*
  991. 57:36 Get back, get back, will you give us the man?
  992. 57:38 Get this guy some more, will he be?
  993. 57:44 Away, that water!
  994. 57:48 Come on, Jim. Time for this. Just a minute.
  995. 57:52 All right.
  996. 57:54 - Quick, take a shot of scotch.
  997. 57:57 One for me, too. That's right, sir.
  998. 57:58 You take care of me, Alex.
  999. 58:00 Wait a minute, Howard. I'll see you later.
  1000. 58:05 Who's junked?
  1001. 58:31 There was the grandmas.
  1002. 58:34 I wish I could.
  1003. 58:34 Yes.
  1004. 58:35 - What's my husband?
  1005. 58:36 I remember
  1006. 58:41 and they know how to pick your spots.
  1007. 58:42 You're just making comparison.
  1008. 58:44 Father, I'm with you.
  1009. 58:46 something about the
  1010. 58:48 Appreciate the role.
  1011. 58:49 Hmm.
  1012. 58:50 Let's get out of the way.
  1013. 58:51 garden and pay some attention to
  1014. 58:53 Oh, yes, yes, yes. I was simply telling the girl... Excuse us, sir.
  1015. 59:00 You keep your eye on Brayden. Tell my aunt to let him out of here. I'm going to go to Brayden's apartment.
  1016. 59:03 Can I explain it?
  1017. 59:09 Excuse me.
  1018. 59:10 by the end.
  1019. 59:13 Your friend of Johnny Cage.
  1020. 59:15 I'm proud of you.
  1021. 59:18 - I'm sure the girl is going to marry
  1022. 59:22 I hope so.
  1023. 59:26 - You are the one.
  1024. 59:26 Johnny.
  1025. 59:27 that money
  1026. 59:28 might be. I like it.
  1027. 59:30 Has he gone home?
  1028. 59:31 No, he's gone out looking.
  1029. 59:33 because it's true.
  1030. 59:35 He has a date with...
  1031. 59:36 Mr. Kelly.
  1032. 59:38 That's good.
  1033. 59:38 Mr. Bertrand.
  1034. 59:40 All right.
  1035. 59:41 which remains.
  1036. 59:41 I have a day.
  1037. 59:43 Excuse me.
  1038. 59:45 I've been robbed.
  1039. 59:46 They can hide. Let me out of here. Let me out of here. I've been robbing it. Let me out of here.
  1040. 59:51 Johnny wants Mr. Borton.
  1041. 59:52 and went from here.
  1042. 59:53 Riley.
  1043. 59:53 Is that the important thing?
  1044. 59:54 Oh, yeah? Do you think you're big enough to kill me? Hold your horses, you're staying right here.
  1045. 59:58 She's at the park and stuff like that.
  1046. 1:00:00 I want him to say he'll enjoy himself.
  1047. 1:00:04 All right, come on, folks. Step up. Let's have some. But stay, stay, quick.
  1048. 1:00:22 Hello, police headquarters.
  1049. 1:00:24 And let me speak to Mr. Hanlon, please.
  1050. 1:00:28 Well Captain Hanlon.
  1051. 1:00:30 Just say a friend of Johnny Cage.
  1052. 1:00:56 Alan and Tim Victor's joint team couldn't find a thing.
  1053. 1:01:09 That must be the closet.
  1054. 1:01:27 You're right on the door.
  1055. 1:02:06 Oh.
  1056. 1:02:07 cave.
  1057. 1:02:09 Department of Weights.
  1058. 1:02:10 Make her.
  1059. 1:02:11 Amen.
  1060. 1:02:12 Keep, deputy.
  1061. 1:02:14 Wouldn't it be just too bad if you were found here stiff and cold, shocked while committing burglary?
  1062. 1:02:19 You haven't got drive enough to use that rod on me, Cavanaugh.
  1063. 1:02:22 Funny, I thought I had.
  1064. 1:02:25 Take care of him.
  1065. 1:02:26 The lamp, let me get rid of these.
  1066. 1:02:48 I thought the party was at Riley.
  1067. 1:02:55 Oh, Marty.
  1068. 1:02:57 And without a permit.
  1069. 1:02:59 Mike, I'm afraid we'll have to arrest Mr.
  1070. 1:03:01 I'm afraid so.
  1071. 1:03:04 Firebug in a high hat.
  1072. 1:03:06 Everything all right, Johnny? Yeah.
  1073. 1:03:09 I'm kind of toasting around the edges, but it's all here. I'm afraid we'll have to arrest you for...
  1074. 1:03:14 Follow me, Johnny. Oh, a tank of dust.
  1075. 1:03:15 Well that'll do for now. You can't arrest me. Let me at that phone. Oh no it wouldn't be fair to Mr.
  1076. 1:03:21 He'd have to pay for the call.
  1077. 1:03:22 I sent a man to pick him up.
  1078. 1:03:25 I think we'll have a little get together and Pete Riley may send some sandwiches.
  1079. 1:03:29 Take good care, Mr. Canning.
  1080. 1:03:31 Mike?
  1081. 1:03:32 And don't bend him.
  1082. 1:03:34 Well...
  1083. 1:03:36 Let's get going. Come on, Marty. Gee, wait a minute.
  1084. 1:03:39 Let me out of here.
  1085. 1:03:41 Open that door, Johnny. Now you're going to get what's coming of me. You can't hit me. I'm under arrest. Oh, no.
  1086. 1:03:51 Come on, Johnny. Open that door.
  1087. 1:03:56 Open that door. You can't beat up my head, man.
  1088. 1:04:02 Come on.
  1089. 1:04:10 Lock this door, Charlie.
  1090. 1:04:15 I'll lock this door and I'll drink it in.
  1091. 1:04:17 I have a chest.
  1092. 1:04:19 As I finish the cigar.
  1093. 1:04:41 Johnny, you didn't use the money we'd saved.
  1094. 1:04:43 Oh, of course not.
  1095. 1:04:44 Yeah.
  1096. 1:04:46 Keep yourself it's all intact.
  1097. 1:04:51 How did you get the ring?
  1098. 1:04:52 Bought it, of course.
  1099. 1:04:53 But how?
  1100. 1:04:56 On the installment plan.
  1101. 1:04:59 But what about... I know, I know, I know.
  1102. 1:05:02 It's a racket.
  1103. 1:05:05 Johnny.
  1104. 1:05:08 Darling.
  1105. 1:05:17 and
  1106. 1:05:21 May I call your attention?
  1107. 1:05:23 Charming loves you.
  1108. 1:05:46 I'm sorry.
The video itself is not here and never will be; only the shot list, one small frame per shot, and text read off the frames by OCR. The status badge is the registry's finding about the copyright record, which is separate from whether this particular Archive copy is the film it says it is.
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Ph KENZIE Art Directio EN CARRE ANGELIN Di Sound Technicion. HAROLD BUMBAUGH Film Editor. RUSSELL SCHOENGARTH DOROTHY BEAL Gowns by
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CITY OFFICIAL HURT IN CRASH Joel Chief Deputy of the Weights and Measures Depart- was seriously injured early today in mid-town traffle aceident. ta. The accident occu rred at the corner of Sth and Main Stree Green was driving through ac ross when his car in the middle of the car tracks the trolley car going north turned Green was rushed to the the Chief car over tw where he is in serious condition. reauired to reat for several weeks after
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STOP YOUR
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TELEPHONE MESSAGE Canning called suggests that the Matron of the County be dismissed immediately
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213 34:44–34:50 6.7s similar
shot 214
214 34:50–35:12 21.4s similar
shot 215
215 35:12–35:19 7.5s similar
shot 216
216 35:19–35:28 9.0s similar
shot 217
217 35:28–35:30 2.1s similar
shot 218
218 35:30–35:53 22.2s similar
shot 219
219 35:53–35:57 4.8s similar
shot 220
220 35:57–36:00 2.3s similar
shot 221
221 36:00–36:03 3.8s similar
shot 222
222 36:03–36:22 18.3s similar
shot 223
223 36:22–36:26 4.0s similar
shot 224
224 36:26–36:33 7.8s similar
shot 225
225 36:33–36:44 11.1s similar
shot 226
226 36:44–36:50 5.6s similar
shot 227
227 36:50–36:56 5.7s similar
shot 228
228 36:56–37:02 6.4s similar
shot 229
229 37:02–37:13 10.3s similar
shot 230
230 37:13–37:21 8.8s similar
shot 231
231 37:21–37:37 15.7s similar
shot 232
232 37:37–37:51 14.2s similar
shot 233
233 37:51–39:08 76.9s similar
shot 234
234 39:08–39:24 15.5s similar
shot 235
235 39:24–39:37 13.5s similar
shot 236
236 39:37–39:44 7.3s similar
shot 237
237 39:44–40:01 17.0s similar
shot 238
238 40:01–40:05 4.1s similar
shot 239
239 40:05–40:21 15.7s similar
shot 240
240 40:21–40:26 5.1s similar
shot 241
241 40:26–40:29 2.6s similar
shot 242
242 40:29–40:33 3.9s similar
shot 243
243 40:33–40:35 2.5s similar
shot 244
244 40:35–40:42 6.5s similar
shot 245
245 40:42–40:49 6.9s similar
shot 246
246 40:49–41:03 14.1s similar
shot 247
247 41:03–41:49 45.8s similar
shot 248
248 41:49–42:38 49.8s similar
shot 249
249 42:38–42:42 3.4s similar
shot 250
250 42:42–42:47 4.8s similar
shot 251
251 42:47–42:49 2.5s similar
shot 252
252 42:49–42:52 2.8s similar
shot 253
253 42:52–43:04 12.1s similar
shot 254
254 43:04–43:12 8.4s similar
shot 255
255 43:12–43:16 3.6s similar
shot 256
256 43:16–43:20 4.0s similar
shot 257
257 43:20–43:25 5.4s similar
shot 258
258 43:25–43:29 3.9s similar
shot 259
259 43:29–43:34 4.9s similar
shot 260
260 43:34–44:23 49.4s similar
shot 261
261 44:23–44:29 5.2s similar
shot 262
262 44:29–44:42 13.2s similar
shot 263
263 44:42–44:55 13.1s similar
shot 264
264 44:55–45:02 6.9s similar
shot 265
265 45:02–45:53 51.7s similar
shot 266
266 45:53–46:10 16.5s similar
shot 267
267 46:10–46:17 6.7s similar
CANNING DEMANDS UTION Jand made
shot 268
268 46:17–46:21 4.5s similar
shot 269
269 46:21–46:42 20.4s similar
shot 270
270 46:42–46:47 5.1s similar
shot 271
271 46:47–46:50 3.3s similar
shot 272
272 46:50–46:55 5.2s similar
shot 273
273 46:55–47:19 23.8s similar
shot 274
274 47:19–47:21 1.9s similar
shot 275
275 47:21–47:23 2.1s similar
shot 276
276 47:23–47:51 28.3s similar
shot 277
277 47:51–47:57 5.9s similar
shot 278
278 47:57–48:01 4.2s similar
shot 279
279 48:01–48:05 3.7s similar
shot 280
280 48:05–48:29 23.5s similar
shot 281
281 48:29–48:32 3.5s similar
shot 282
282 48:32–48:39 6.7s similar
shot 283
283 48:39–48:44 5.5s similar
shot 284
284 48:44–48:48 3.4s similar
shot 285
285 48:48–48:51 3.1s similar
shot 286
286 48:51–50:06 75.3s similar
shot 287
287 50:06–50:18 11.6s similar
shot 288
288 50:18–52:02 103.8s similar
shot 289
289 52:02–52:04 2.7s similar
shot 290
290 52:04–52:21 16.5s similar
shot 291
291 52:21–52:31 10.6s similar
shot 292
292 52:31–53:03 31.2s similar
shot 293
293 53:03–53:05 2.3s similar
shot 294
294 53:05–53:26 21.6s similar
shot 295
295 53:26–53:50 23.8s similar
shot 296
296 53:50–53:55 4.8s similar
shot 297
297 53:55–53:58 3.3s similar
shot 298
298 53:58–54:10 11.4s similar
shot 299
299 54:10–54:18 8.7s similar
shot 300
300 54:18–54:34 15.8s similar
shot 301
301 54:34–54:39 5.1s similar
shot 302
302 54:39–54:41 1.8s similar
shot 303
303 54:41–54:51 9.7s similar
shot 304
304 54:51–54:55 4.5s similar
shot 305
305 54:55–55:06 11.0s similar
shot 306
306 55:06–55:55 48.7s similar
shot 307
307 55:55–56:08 13.0s similar
shot 308
308 56:08–56:14 6.0s similar
shot 309
309 56:14–56:17 3.3s similar
shot 310
310 56:17–56:19 2.2s similar
shot 311
311 56:19–56:29 9.6s similar
shot 312
312 56:29–56:31 2.2s similar
shot 313
313 56:31–56:35 3.6s similar
shot 314
314 56:35–56:38 3.0s similar
shot 315
315 56:38–56:40 2.0s similar
shot 316
316 56:40–56:42 2.2s similar
shot 317
317 56:42–56:46 4.0s similar
shot 318
318 56:46–56:50 4.4s similar
shot 319
319 56:50–56:53 3.1s similar
shot 320
320 56:53–56:55 2.0s similar
shot 321
321 56:55–56:58 2.5s similar
shot 322
322 56:58–57:01 3.0s similar
shot 323
323 57:01–57:04 3.1s similar
shot 324
324 57:04–57:08 4.5s similar
shot 325
325 57:08–57:18 9.3s similar
shot 326
326 57:18–57:24 6.2s similar
shot 327
327 57:24–57:29 5.3s similar
shot 328
328 57:29–57:34 4.8s similar
shot 329
329 57:34–57:40 6.0s similar
shot 330
330 57:40–57:44 4.4s similar
shot 331
331 57:44–57:50 6.1s similar
shot 332
332 57:50–58:06 15.9s similar
shot 333
333 58:06–58:14 8.1s similar
shot 334
334 58:14–58:17 2.6s similar
The First National
shot 335
335 58:17–58:31 14.4s similar
shot 336
336 58:31–58:55 23.4s similar
shot 337
337 58:55–59:05 10.1s similar
shot 338
338 59:05–59:12 7.3s similar
shot 339
339 59:12–59:45 32.4s similar
shot 340
340 59:45–1:00:08 23.6s similar
shot 341
341 1:00:08–1:00:21 13.3s similar
shot 342
342 1:00:21–1:00:35 13.3s similar
shot 343
343 1:00:35–1:00:52 17.5s similar
shot 344
344 1:00:52–1:01:02 9.7s similar
shot 345
345 1:01:02–1:01:30 28.1s similar
shot 346
346 1:01:30–1:01:39 9.5s similar
shot 347
347 1:01:39–1:01:42 2.5s similar
shot 348
348 1:01:42–1:01:46 4.5s similar
shot 349
349 1:01:46–1:02:00 14.0s similar
shot 350
350 1:02:00–1:02:03 2.4s similar
shot 351
351 1:02:03–1:02:11 8.5s similar
shot 352
352 1:02:11–1:02:18 6.9s similar
shot 353
353 1:02:18–1:02:25 6.6s similar
shot 354
354 1:02:25–1:02:27 2.3s similar
shot 355
355 1:02:27–1:02:32 5.0s similar
shot 356
356 1:02:32–1:02:35 2.6s similar
shot 357
357 1:02:35–1:02:50 15.1s similar
shot 358
358 1:02:50–1:02:54 4.2s similar
shot 359
359 1:02:54–1:02:58 4.0s similar
shot 360
360 1:02:58–1:03:11 13.2s similar
shot 361
361 1:03:11–1:03:14 3.2s similar
shot 362
362 1:03:14–1:03:21 6.3s similar
shot 363
363 1:03:21–1:03:29 8.2s similar
shot 364
364 1:03:29–1:03:38 8.6s similar
shot 365
365 1:03:38–1:03:39 1.0s similar
shot 366
366 1:03:39–1:03:40 1.6s similar
shot 367
367 1:03:40–1:03:42 2.2s similar
shot 368
368 1:03:42–1:03:47 4.5s similar
shot 369
369 1:03:47–1:03:50 3.5s similar
shot 370
370 1:03:50–1:03:53 2.3s similar
shot 371
371 1:03:53–1:03:57 4.1s similar
shot 372
372 1:03:57–1:04:00 3.0s similar
shot 373
373 1:04:00–1:04:09 9.6s similar
shot 374
374 1:04:09–1:04:13 3.2s similar
shot 375
375 1:04:13–1:04:36 23.2s similar
shot 376
376 1:04:36–1:04:38 2.3s similar
shot 377
377 1:04:38–1:06:10 91.9s similar