INNER SANCTUM (1948)

130 shots over 1:02:00, read from the Internet Archive copy Inner_Sanctum_movie (Inner_Sanctum.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: INNER SANCTUM No renewal found. JSON

Measurements: black-and-white film on its keyframes (0 of 130 shots judged colour), average shot 28.6s long, a frontal face detected in 64% of keyframes. Shots are detected automatically and each is represented by its midpoint frame.

Transcript

Machine transcription of the Archive copy's audio with Whisper large-v3-turbo (temperature 0); the model heard it as en. 741 segments kept, 126 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.

1:12 Come on.
1:17 A waiter, a Coke and a chicken salad, please. Thank you.
1:33 I beg your pardon, have you got the time?
1:35 Eighteen minutes past six.
1:37 Well, I could have made a guess myself.
1:39 If it was too much trouble to look at your watch, why don't you say so?
1:41 I have no need for such contrivances.
1:46 He guessed correctly.
1:48 I have 20 after. I'm a little fast. I can believe that. You always tell time without a watch. I once had a difference of opinion with a watchmaker.
2:03 I've boycotted timepieces ever since. It couldn't be without this. It has great sentimental value. A gift from your fiancé? A former fiancé. My present fiancé gave me this. It's an engagement present. We're being married in a few days. A good catch for the right girl. And you've seen him.
2:23 Oh, but you couldn't.
2:25 He hasn't left his compartment since we've been on the train. He sits there and looks out the window, hour after hour. I don't know what he sees except telephone poles and dirt and farms and more telephone poles. It bores me terribly.
2:40 Oh, I don't think I have no appreciation for the great Northwest, mister. Dr. Valonius. How do you do? I'm Marie Kambar.
2:49 The truth is, trains bore me.
2:50 Nothing ever happens. Nothing to do except look out the window. It's so monotonous.
2:56 You get on a train in one place and the engine huffs and puffs and lets you off in another. It takes so much time and it wastes so much time. I find the trip particularly exciting.
3:09 This is the first time I've traveled this route.
3:13 The first time is always exciting. No matter what one does.
3:17 We're approaching a curve at high speed. That nail file, the point is sharp. So? You might hurt one of those pretty fingers.
3:34 Ow!

721 more segments

3:36 You're a doctor. I need some doctoring. The degree is honorary. I don't practice medicine.
3:42 My poor fingers.
3:49 You told me this was the first time you'd been over this road.
3:53 How did you know we were approaching a curve? I warned you in time. I never listened to warnings. Besides, I'm glad it happened. Anything to break is monotony.
4:06 I'm too forceful. Perhaps I'm too stubborn to listen to warnings.
4:14 In one ear, out the other. That isn't good.
4:20 I could tell you of a forceful woman.
4:24 She knew what she wanted and thought she knew how to get it. Sounds like me. She was warned of some danger? Yes. She was on a train. She was warned to stay on it, but in one ear, out the other.
4:43 to the town of Kleberg. It was after nine. The station was deserted except for a man. He was a man trying to lead a simple, happy life. He found out life was neither simple nor happy. The girl, the girl who was woman, made his life complicated and miserable.
5:13 What?
5:24 And she didn't have much opportunity to regret the unheeded warning.
5:55 Hi.
6:06 Did you miss the train, mister?
6:08 What's the matter? You're hurt? You're bleeding. You must have hurt yourself when you put that big bundle on the train. Gosh, it's sticky. You ought to see a doctor.
6:24 Old Doc Arnold, he lives up near the post office.
6:28 Sure is a lot of blood. Maybe you'd better tie it up. Make a tourniquet. Michael? My... Shh! That's my mother.
6:37 She doesn't want me to come down and watch the trains at night. Don't say anything.
6:41 Come here.
6:45 Let's hide in here.
6:51 Why'd you put that bundle on the back of the train?
6:53 The baggage car's for bundles. The back of the train is for people. Michael, I'll fix you.
7:09 She never lets me alone for a minute. I was waiting something's going to happen to me. I'm too big to be treated like a baby. She's always telling me how I'm going to be carried home with a broken something.
7:23 I'd better get home before she dies. Sorry I can't help with that tourniquet. Go see Doc Arnold.
7:31 Right.
7:31 Come on.
8:18 Hey
8:20 Hey fella. Bridge washed out up ahead. Can't get through that way. Hop in. Maybe we can get through on 77.
8:44 River overflowing all the way up to Portland.
8:47 Snow. Might have put it in the wintertime.
8:51 especially around Christmas. Then comes along the
8:55 Spring, thaw, and rain
8:58 Ain't nothing pretty about that
9:01 Going far?
9:04 Oh, not far.
9:06 Lucky thing for you, I came along, I...
9:08 had to cover the news about the bridge.
9:11 Otherwise I'd have been in bed long for now
9:15 Clayburg bulletin
9:17 I'm the reporter, publisher, and editor.
9:20 One-man organization.
9:22 Macfee. Dunlap.
9:30 No, don't know any Dunlaps.
9:34 Going north? Yeah. Crazy.
9:39 Hm? A lot more snow to me.
9:43 Head my way, I'd go south.
9:45 Yeah, I read a lot about feathers getting picked up at night nowadays. First thing they knock the driver over the head.
9:58 take his money,
9:59 Car. Way to go.
10:39 Hey! Wake up!
10:56 Think why we're gone.
10:57 I don't know. Didn't know if we were still on 77.
11:01 We weren't on 77 at all.
11:03 Guess what looks like, this is Clayberg.
11:06 Well, there were a couple of roads washed out, so I just turned around and kept on driving.
11:10 I should have stayed awake and drove myself. Can't get you staying up late, eh?
11:15 I got enough news about the flood anyway.
11:18 Stay in here.
11:20 Can't go anywhere else.
11:22 Where's the hotel?
11:23 Hotel.
11:25 Get in.
11:31 Tell Mrs. Mitchell McPhee sent you.
11:34 No frame.
11:35 Thanks for the lift. It didn't get you very far.
11:38 You get out tomorrow, right, maybe?
11:42 Oh.
11:43 Can I?
11:44 Good night.
12:06 Yes? Mr. McPhee said you had a room.
12:10 I have room.
12:11 But it's not for rent.
12:12 I'm sorry.
12:14 McPhee said... You want to see Mrs. Mitchell.
12:17 Maybe she has a room.
12:18 Come on in.
12:22 Come on.
12:32 Aunt Thelma.
12:35 You get washed out by the river?
12:37 Yeah.
12:38 This town is washed out any way you look at it.
12:41 Aunt Thelma, can you come here a minute? I haven't got a call.
12:45 Coming?
12:46 Ruth, he hasn't sneezed once. Don't you think he should just go to bed?
12:50 I'm not going to have a sick boy on my hands.
12:54 Oh, no, you don't. You're going to stay here and have your throat sprayed. Open.
12:59 Tickles! Now, Michael, you stay right here or you'll get what I promised you. You were sneaking out to watch the train. I did not.
13:07 You tell lies now and you'll grow up to be a bandit.
13:10 If you didn't go to the railroad station, where were you?
13:15 All right. I won't do anything until I have proof.
13:18 But if you've been lying, oh boy, will you get it.
13:23 This man said McPhee sent him for a room. He's washed out. Oh, that's too bad. But if you're a friend of McPhee's, I guess we can find a room for you. This is Mrs. Mitchell.
13:32 Don't lie, Carol, don't lie. How do you do? I'm Jean Maxwell.
13:36 Hello.
13:36 Now, where in the world will I put you?
13:38 Mm-hmm.
13:39 Well, good night. I'm going to bed.
13:44 To read.
13:45 Oh, good night, darling. Oh, I know. Just go upstairs. First door to the left. And take a towel out of the linen closet.
13:52 Just keep opening doors till you find it. It's there somewhere.
13:55 Oh, my goodness. You must get out of those wet clothes. The roof will have you under vapors, too.
14:00 Come down later for a cup of tea.
14:03 My goodness, you... you won't have anything to come down in, will you?
14:07 I'll get you a pair of Willie's work pants. They should fit you and he won't mind. He's out now piling up sandbags at the river.
14:14 Come on.
14:33 You still here? I told you to go to bed. I'm gone.
14:37 Oh, good heavens.
14:39 I put Mr. Dunlap in Mike's room.
14:41 Well, they'll just have to share it.
14:44 But there's only a single bed.
14:46 Where's Mike going to sleep? On the floor?
14:48 They'll get along all right. I'll put up a cot.
14:50 Oh boy, a cart!
15:13 Mr. Donner.
15:15 Mr. Dunlap!
15:22 I see someone in there.
15:26 Mr. Donlap, I brought some hot tea for you.
15:29 Thanks very much.
15:30 But I changed my mind.
15:35 I've got a terrible headache.
15:37 I just need some sleep, that's all.
15:39 Oh yes, of course. Sleep's good for a headache. And take an aspirin. You'll feel better in the morning.
15:44 Oh.
15:49 I'm going to go.
15:53 I'm going to go.
15:56 I'm sorry.
15:58 Would you have some tea? Mr. Dunlap has a headache.
16:02 Um...
16:03 I don't think Mike would mind sleeping on the sofa, would you, Mike? I'd like it. It's really quite comfortable. I've sat there often myself.
16:10 I'll get the bidding.
16:41 I'm going to go.
16:43 *Sings*
17:04 Who's there? Shh.
17:06 Have a can of beer and go back to sleep. What do you want to do? Wake up the whole house?
17:14 What do you got, Willie? Shh! Beer?
17:22 Couple years ago when the river overflowed, I caught a whole case of bourbon floating by. I didn't see none of it.
17:28 Not even McCork.
17:30 You stingy old nincompoop. Oh, give me a can of beer.
17:34 I won't give you nothing. Just a measly can. I ain't gonna give you nothing. This ain't good enough for you. You go get yourself a case of bourbon and hide it good. Oh, you know I had to hide it. Mrs. Mitchell doesn't approve of drinking on the premises. Oh, she doesn't, huh? Well, listen, if we want a can of beer, who's gonna stop us?
17:56 Besides...
17:57 Mrs. Mitchell and me is just like, just like that.
18:03 Yes, sir. And anything I want to do, I do. Now, for instance, if I wanted to get myself a cold piece of chicken out of the refrigerator, the ice box,
18:17 I take it. Whenever I want to do something,
18:20 It's all okay.
18:22 You know, she knows if I'm not seeing well around here, I'll move just like that. I'll give her that.
18:33 You only know how to pull a corks out of bourbon bottles.
18:36 This is a man-sized job.
18:39 You want to know something?
18:40 I can twist the old girl around my little busy fingers.
18:44 You wanna know how?
18:45 How?
18:46 Flatterer.
18:47 Terry, she's beautiful.
18:49 Can't you use flattery without being a big liar?
18:53 Look, bud, when you tell a woman that's over 40 that she's beautiful, you ain't a liar.
18:58 You're a philatrapist. I know how to handle women. Nothing to it. Don't interrupt. Women are women. Mrs. Mitchell. Yes, Mrs. Mitchell, too. I boarded here so often. I practically owned the place.
19:18 All right, go ahead. Have a can. I think I've had enough already.
19:22 Shh.
19:28 Did you get that way falling into the river? No, Miss Mitchell. Well, we just had one each.
19:34 And we've got a lot left over.
19:38 Try one. What? Oh, we really worked hard, uh, uh, Miss Mitchell. That the river's up two feet more than it was.
19:46 Gosh, it's awful.
19:48 Oh, it's really terrible. It's kind of like a nightmare.
19:52 All right, Willie.
19:53 Go to bed.
19:59 Ah.
20:10 I'm sorry.
20:40 He's gone. Mike, he's gone. Shh, Ruth, you're waking everybody. Mike, he isn't on the sofa. His clothes are gone, too. Oh, he'll get himself drowned. I just know he'll get himself drowned. I'm sorry, Mr. Dunlap, to awaken you, but Ruth's boy's gone off. This goes on all the time. Oh, Mr. Dunlap, help me find him. I just know he'll be drowned if we don't find him.
21:10 you're fine. He must have gone to the river. I'll go with you. No, no, you better stay here. I'll bring him back. But you've never seen him, Mr. Dunlap.
21:18 Well, there's not many boys out this time of night. He's a tall boy, freckles, spaces between his front teeth, but he's handsome except for that. I'll find him. If he drowns himself, it'll be my fault.
21:29 Won't you need a coat?
21:31 Oh, my God.
22:59 Oh, my God.
23:00 You pussy.
23:30 Hey, Kitty. Hey, Kitty. Come on.
23:43 You're scaring me. I thought you were the cat.
23:49 You're going down by the river?
23:53 You look like someone. Everyone looks like someone. Yeah, I'm going down the river.
24:00 You want to come with me? Well? Come on. We're going to watch it together.
24:08 You may not get another chance to see the river overflowing. It's pretty exciting. Well, come on. Okay.
24:21 Hey, you're walking too fast. Wait for me.
24:30 Well, Mike, so there you are.
24:35 That awful cat scared the lights out of me. I found him. He was starting from home anyway. Oh, what he is. What are you hitting me for?
24:40 I just went for a walk. Just a walk. You'll have a hard time walking or sitting before I get through with you.
24:45 Thank you for finding him, Mr. Dunlap.
24:47 This is my son.
24:49 Well, come on!
24:54 Luckily, Mr. Dunlap found him before he fell in the weather.
24:57 Two minutes more and he'd been through the park. That boy always disappearing. Righten up. Where were you?
25:03 I got in dressed in the bathroom like you told me. Come on, Mike, get to bed. We're ready. One little misstep and you'd fall out the window.
25:11 What's the matter with you? Tired of living?
25:14 What's this? Popcorn in a noiseless bag, so I won't keep him awake. Get to bed. His father used to eat crackers. Good night. Good night. And don't get out of bed until morning.
25:32 You'll keep an eye on him, won't you? He'll be all right. How can you keep an eye on me if you're asleep? No, listen.
25:38 Come on, Ruth. Good night. Good night.
26:08 Good night. Good night.
26:17 You asleep?
26:19 Not yet.
26:22 I don't like to sleep. Boy, think of all the things I could be doing right now.
26:29 If it wasn't for my mother, she doesn't let me have any fun.
26:33 Like watching the trains down at the station.
26:38 You know...
26:39 He looked like someone I saw that night. You won't tell my mother I was at the station. I slipped out. I wasn't at the station.
26:50 Oh, anyway, you know I was. My mother knew I wouldn't get my allowance for six months. I'd get a wallop in two. I don't like being walloped.
27:04 Gee, trains are wonderful. Especially at night.
27:09 Big, long snakes with lighted skins. And they whistle and smoke and rattle. Boy, there's something.
27:19 - What was it you saw at the station?
27:22 - Just a man. He put a bundle of something on the train. And I guess he hurt his arm.
27:28 Must have cut it.
27:30 Is that why you were watching me take my shirt off? I was just wondering. Not many people come to Clayburg. And you're the only stranger, I mean person, who's new around here.
27:44 Still want to see my arm? Nah. Wouldn't make any difference anyway. Even if you were the same man.
27:55 Come here.
28:06 It wasn't anywhere near the station tonight. I hitched a ride to Clayburg. Remember that? Sure, but nobody... Look.
28:16 And a scratch on it.
28:19 Nothing on that one, either. Yeah, fine, but I wasn't... I never travel on trains. I like to watch them, but not ride them. I don't even know where the station is. Yeah. Well, there's nothing wrong with being there. Yeah.
28:32 Unless there's someone like my mother who doesn't want you to go. The first time we saw each other was in the park. Sure, in the park. Yeah. I never was lucky you found me before my mother did. You saved me from a shellacking. I'm sure lucky you came to Claybury. Say, why don't we sneak out now and go down by the river?
28:54 Okay. I'm getting sleepy anyway. Good night. Good night. What's your name? Harold. Good night, Harold.
29:18 Yes, friend McPhee sent over, had an appetite like a horse. I hope this one doesn't too long a reach. Well, if he has, I'm going to sit next to him.
29:27 Oh, here's Mr. Dunlap now. Good morning. Good morning. Hi, Harold. Hello, Mike. I bet it was so comfortable I overslept. Oh, that's good. Oh, Mr. Dunlap, this is Ruth Bennett.
29:37 We met last night. Yes.
29:40 And this is my need.
29:41 cheap.
29:42 We met last night, too. Oh, that's right.
29:44 It's all a good morning to you.
29:47 And this is Barney. Pleased to meet you. And Willie.
29:51 Won't you sit down?
29:53 Usain.
29:54 Ain't them my pants and shirts you're wearing? Oh, yes, uh, my knees were wet. I loaned them to him, Willie.
30:01 Well, here, I'll buy them for me. How much? Four, that's it.
30:04 Will they? Five years ago when you bought them, you only paid three and a half.
30:08 Prices have gone up.
30:10 Okay.
30:11 Two bucks.
30:12 Give him a dollar.
30:16 Sold.
30:17 What are your problems?
30:20 North. North.
30:21 But,
30:22 Greenfield?
30:23 Lunch down?
30:25 Barton?
30:26 Home bill?
30:28 Martin.
30:30 Barton I used to work in the post office in Barton knew every street and alley by heart. Where did you live?
30:37 I didn't live there very long.
30:40 It was, uh...
30:42 On Orchard Street.
30:43 Orchard Street?
30:45 Orchard Street.
30:46 Of course. Down near the paper mill.
30:50 I'm full.
30:52 Can I go out now? You go out on the porch and stay on the porch. If you put one foot... Okay, okay, Ma.
30:57 I'll stay right on the porch.
30:59 I won't even put one toe off it.
31:03 Close the windows, they're coming through the door! Hi, Miss B. Well, if it isn't it a Lord Fauntleroy's bad brother. Morning, Miss B. Morning, morning.
31:16 Come in, sit down.
31:19 The morning will it have been pricey. You're late, McPhee. The coffee's lukewarm. That's just the way I like it. Morning.
31:28 Morning, sweetheart.
31:29 Hiya, Westbrook.
31:31 Don't call me that.
31:33 Hi.
31:34 Didn't steer you wrong, did it?
31:39 What about the flood? Not any worse, Al.
31:42 Same. Bridges out.
31:44 They tried to put up a pontoon affair, but it didn't last long.
31:48 You'll be able to get out around dinner time.
31:50 Trains can't get through either.
31:54 Bad thing happened on the limited last night. Another wreck?
31:57 I just knew the Limited would do something like that. I've warned Michael a hundred times. Calm down. Calm down.
32:03 Nothing was wrecked.
32:04 Except a girl.
32:06 Can happen to anybody.
32:07 This magazine's full of things like that.
32:10 Got it over the wire this morning.
32:12 Some girl got herself killed on the Limited.
32:16 Founder on the rear platform.
32:18 Neophile.
32:20 Like that.
32:22 Right through the heart.
32:23 Somebody do her in?
32:24 They weren't cleaning their nails.
32:28 where it had happened.
32:30 Don't know yet.
32:31 Somewhere up around Seattle they found the body.
32:33 Mike should hear about this. Maybe this will stop him from running down to that railroad station. Oh, Mrs. Bennett. Mrs. Bennett, let me tell him.
32:43 Mike and I got pretty friendly last night.
32:45 There's no sense in scaring the boy. He should be scared. I'm scared when he's out alone, never knows where. If scaring will scare him, he should be scared. I'll tell him.
32:54 I think he'll behave himself.
32:55 Uh, you don't know that boy very well, do you?
33:00 Full of mischief.
33:02 Need some discipline.
33:03 That's what he needs, all right.
33:05 He needs a father.
33:07 - You gotta move! - Wait for me.
33:12 Nice to meet you, Dunlap.
33:15 I'll give him a good talking to, just like a big brother. Make sure you scare him.
33:24 Thanks, sweet man.
33:28 Very sweet.
33:31 Take it easy, dearie.
33:32 He offered to be Mike's big brother, not his father.
33:36 I'll just ignore that remark.
33:41 Hello, Mike. Hi.
33:47 Mike?
33:48 Your mother's on the warpath. It's nothing new.
33:51 I just thought I'd tell you.
33:53 I think you'd better hide for a while.
33:55 What have I done now?
33:57 Holy cow. She's always after me for something.
34:01 She'll calm down, but...
34:02 Maybe you better beat it.
34:04 No.
34:05 That'll make her madder.
34:06 She'll get over it. Don't worry.
34:08 But not if she sees you now.
34:10 I'd better stay right here on the porch.
34:13 Okay, do what you like. Stay here. I don't like staying here.
34:17 Well, if you don't like it, don't do it.
34:19 Listen, I'll bet you know lots of places where you could have more fun than
34:22 sitting here twiddling your fingers. Sure. I know a lot of places. Down by the river,
34:27 or near the railroad tracks?
34:29 Or the park.
34:31 Gosh.
34:32 I sure would like to shimmy up one of them big trees.
34:35 I could see the whole town and tracks and river and everything.
34:39 On the top of a tree?
34:41 Why don't you go?
34:42 My mother'd find out. She's got something magic about her.
34:46 The way she finds out everything.
34:49 No, she'll cool off later.
34:51 Sometimes she boils for days.
34:54 Here.
34:55 You get yourself something you want for dinner. Lots of candy. Anything you like.
35:01 No, I'd really catch it.
35:04 I think your mother found out about the station.
35:06 Did you tell her?
35:07 Of course not.
35:09 Thanks. You're a pal. Stay away till after dinner. Okay. I'll do the same for you someday. Okay, Mike.
35:23 I'm going to go.
35:30 You make the best coffee this side of Brazil, Thelma. Sorry, McPhee. The pot's empty.
35:35 That piece, I'll run along back to the shop. You couldn't have done a good job that quickly. That boy of yours won't go near the train again. I gave it to him good.
35:44 Oh, here, let me take these. Oh, my. Thank you.
35:48 You're gonna spoil things around here for me, young fella.
35:51 I have a good mind going down and work on the bridge myself and get you out of here faster. I wish you would. I've got to leave today. Maybe you can.
35:59 If you hear anything, I'll call you.
36:02 Bye, all. Bye, Matisse. See you later.
36:07 Why, Jean, what has happened to you? I just don't like to do things that are expected of me, that's all.
36:11 I have to do it myself when I'm in the mood. Well, it's the nicest thing I've ever heard. Oh, I won't say another word. I'll catch up on my book.
36:19 Come on.
36:20 What book are you reading?
36:22 None.
36:23 But I've read so many, and they seem so easy.
36:27 I decided to write one myself.
36:37 You wash, I'll dry.
36:39 Didn't think you were the type.
36:41 And I.
36:43 How could you tell?
37:00 Well, they're going to dry, dry.
37:05 Maybe you are the type. You were right the first time. Where are you from, Harold?
37:13 If you want to dry, I'll call you when I'm done washing.
37:17 You won't have to call me. I'll be right here.
37:24 I don't really care where you're from.
37:28 But I wonder where you're going.
37:31 I'm just going. The sooner the better. I'm not going to some little hick town like this, I don't. You know, I'm a poor little orphan girl myself. From San Francisco.
37:43 if I'd have had any money. - You wanna try working? - Yeah, I tried it.
37:50 I used to know a girl like you. The only work she ever did was working some guy for all he had. Spent every dollar he ever made. Lucky girl. Every man I ever met was ruined before I could get him. I don't get any breaks at all. You're different. Same as all the others, only you admit it.
38:11 A girl's a girl. Oh, I talk like I'm wised up. Truth is, I'm this way because of some guy. It all happened two and a half long years ago. Guess I'm about over it by now. I was sweet and gay and madly in love.
38:33 Sun shined every day, but the moon blotted it out. Then one day I found a note.
38:40 Darling, this is goodbye. I'm going back. To my wife.
38:46 Jerk was married, I didn't know.
38:51 Tough.
38:53 Yeah.
38:55 Watch with you now. We're old friends. Tell me all. Who, what...
38:59 Why are you running away?
39:03 The girl you used to know. The one you said was like me. She spend all your dollars? Yeah. She spent all my dollars. I didn't care.
39:15 Then one day I found out a few things.
39:18 A switch. She was married and she left you a note. No, she wanted to marry me.
39:25 I love you.
39:26 I guess.
39:28 I know why. It happened. Everything was fine. Just a few days ago, I found out she was supporting some other guy. You just ditched her, huh? Yeah, I ditched her. That dame on the train that McPhee mentioned, she got it good. Paid for a lot of others.
39:51 I wonder what she did to deserve such a happy end.
39:55 Probably took some guy like you over the coals and he didn't like it.
40:00 The
40:08 Very pretty.
40:09 When your lips aren't moving.
40:19 Why don't we try that again sometime?
40:21 Without the tone.
40:26 You're well off now. Don't look for trouble.
40:31 Excuse me. I forgot the beard I brought home last night.
40:34 Nobody likes the stuff with me, so I might as well take you down to the place with me.
40:38 Nobody will be in for gas. Nothing to do, you know. Don't apologize, Willie. You want your beer taken.
40:44 Have a can?
40:47 That's enough.
40:49 Oh, well, a friend might drop in. Yeah, I know. You don't care who you share your beer with.
40:53 Last night I heard you offered some to Mike.
40:55 Well, I didn't know what I was doing.
40:57 Uh, what's the matter of that kid anyway? I saw him outside and I told him what I heard on the radio and he acted like I was chasing him with a gun.
41:05 What did you hear, Uncle Hobill? The news! About that girl that was murdered on the train last night. The police up in Seattle thinks that she was murdered between here and Lundstown. Sure you won't have a can?
41:19 Oh, excuse me again.
42:11 I don't see why anyone should take it upon themselves to tell my son he could go for a walk.
42:15 Since when does anyone have to tell him? When he wants to go, he goes.
42:18 I warned them not to put one foot off the porch.
42:21 Yes, but you didn't say anything about both feet.
42:29 Yeah?
42:32 Badgeen?
42:34 Sweetheart.
42:36 and feed
42:39 Mike's here.
42:42 He's a nuisance.
42:45 You'd break something with your hands around here.
42:47 Oh, cut it out. You were a boy once yourself, McPhee.
42:50 Why don't you let him help you run your press?
42:53 After all, somebody has to take over when you get old and fat. All right.
42:58 All right, I'll keep him here till dinner time.
43:00 Am I invited to dinner?
43:02 OK.
43:03 Listen.
43:04 The road still washed out.
43:06 Tell that man.
43:20 You're thinking things? Think them. You got something to say? Say it.
43:25 Feel like a game of checkers?
43:28 I just knew you were a checker fiend. Something about you that gives you away.
43:32 Which do you want? Red or black?
43:35 I can't play standing up.
43:38 I'm going to go.
43:43 Ladies first.
43:48 Huh?
43:48 Sure move.
43:52 I'll move this one for you.
43:54 I'm bound to win this way.
43:56 Playing against myself.
43:58 Don't kill yourself.
44:00 That's the best way to lose.
44:02 Fight yourself on the part that wins doesn't count.
44:05 It's the part that loses.
44:07 I have a short memory. One time I lose, the next time I win.
44:11 Sort of balances the books.
44:15 You know, you've been in this burg less than a full day.
44:18 I've been here two and a half years.
44:21 Question.
44:23 Which one of us is more anxious to leave?
44:27 Me.
44:28 Or both of them.
44:31 You know, I tried working once.
44:33 I could maybe try it again.
44:36 That's a real nice thought.
44:37 Real nice.
44:39 I could get my old job back in San Francisco.
44:42 Fine, why don't you?
44:44 I've never seen the Golden Gate.
44:46 When you get there, send me a picture postcard. Well, I send it.
44:49 Are you really going?
44:51 That all depends on you.
44:54 Don't depend on me, honey. Not me.
44:57 Harold.
45:01 I've been doing some thinking.
45:03 Without even trying.
45:07 You better do some thinking, too.
45:17 She's just covering up for him, that's all.
45:19 And if she did tell him he could go, what rush is she doing? I told Mike he could go, not Gene.
45:24 You told him.
45:25 Why didn't you say so?
45:27 Has he come back, you know?
45:28 No, but...
45:30 If you send him somewhere, I guess it's all right.
45:32 Oh, I didn't send him anywhere. I just told him he could go.
45:35 I shouldn't have.
45:37 You're very right to be strict with him.
45:39 Why, he's liable to go down to the river.
45:42 Maybe hurt himself.
45:44 You might even fall in the deep water.
45:47 I worry too much. He's always come right back till now.
45:50 He'll be all right.
45:52 Would you like to try a game of checkers?
45:57 McPhee just called. Mike's with him. They'll be home for dinner.
46:02 Don't tell me.
46:04 Oh, no. I'm only his mother.
46:08 Been thinking?
46:10 All done.
46:12 Wait a minute.
46:17 The roads are still washed out.
46:19 So they washed out.
46:21 The bridge is still down, too.
46:23 It takes more than a day to build another one.
46:26 Look, if you go, where are you gonna go?
46:28 You've got to stay here.
46:29 *laughs*
46:30 You've got nothing to run away from.
46:33 Except me.
46:41 I'm going to go.
46:46 You haven't touched her, didn't it, Michael?
46:48 I'm not hungry, Ma. All right. Don't eat unless you want to.
46:52 No, Harold doesn't agree either. No one has to eat unless they want to.
46:56 How's the flood, Mr. McFee?
46:58 It's fine.
47:00 Still is a promising job for the Red Cross.
47:03 Any more news about the gal who had her heart manicured?
47:06 No, no new developments.
47:08 They figured she was killed about five hours out of Seattle.
47:12 Somewhere near Lundstown.
47:14 Maybe even right here in Claybury.
47:16 Yeah.
47:17 Shabbat, Lizzie.
47:18 No one got off the train in lunchtown or here.
47:22 And she must have got off the train.
47:24 Because the soldier's shoes were wet.
47:27 No one else on the train had wet soles and under shoes.
47:31 So the piece is stuck.
47:33 No one saw her get off, huh?
47:35 No.
47:36 And what's more important is
47:38 No one saw anyone else leave the train.
47:41 Now that anyone else...
47:43 is the one that done the killing.
47:46 Ma.
47:47 Now, Michael, we're not going to talk anymore about trains.
47:50 I'm going to try a new method with you. You do whatever you like, just so you tell me beforehand. We're...
47:56 starting a new slate.
47:58 But Ma...
47:59 Last night at the stage.
48:05 What happened? What's the matter, boy? Oh, dear, is he hurt? I tripped. Easy, boy.
48:11 I'd better call Dr. Arnold. Oh, no, no, that's all right. I'll be all right. Want a shot of whiskey?
48:15 That's my ankle. I think I sprained it.
48:19 Could you help me upstairs? I'll go out and fix the box. Sure, we'll get you upstairs, okay son? Just take it easy now.
48:25 I'll see you back in the mirror. Yeah, it's framed.
48:29 Hey, Mike.
48:30 Come upstairs and keep me company.
48:32 I want to stay down here.
48:34 For this country.
48:38 Come on. All right. Hold on.
48:42 There you are. Hands up.
48:44 I don't know.
48:46 Mm-hmm.
48:48 Hold on.
48:51 Let's take it easy.
48:55 Hey.
48:57 Almost there.
48:59 Easy does it.
49:01 Hope you feel better. Thanks.
49:04 Each woman yet.
49:06 Better have it wrapped up tight.
49:08 Here he is. Fire.
49:11 Michael helped me badger. Thanks for free. No, no.
49:14 You stay right here and keep Mr. Dunlap company. It's time for bed anyway. You were up so late last night. I want to go down with you. You big baby. What's come over you? I'll get you something to use for bandage.
49:28 Mike Wilde me.
49:29 Thanks very much, Mrs. Bennet. You're welcome. If you need anything, Mike will get it for you.
49:38 What's the matter, Mike?
49:40 Man about something?
49:41 You know?
49:42 What's wrong?
49:43 Nothing?
49:44 Just like to go downstairs.
49:47 Well, if you want to tell anybody anything...
49:49 Call him up here.
49:50 I'd like a chance to hear about it, too.
49:56 You're not sure, Mike?
49:58 You know how it feels when your mother thinks you've done something when you really haven't?
50:01 You should have some proof.
50:04 I saw you put that girl on the train.
50:07 There was blood on your sleeve.
50:09 I wasn't cut.
50:10 The girl was.
50:12 Besides,
50:13 Where's your suit?
50:15 Show me the suit if it wasn't you.
50:18 Oh, is that all?
50:19 Well, here, I'll get it for you.
50:23 Let me be on your shoulder.
50:46 What's going on up there?
50:48 That fellow Harold probably hopping around on one leg.
50:52 Mrs. Bennett, Mrs. Mitchell.
50:54 Come up here quick.
50:59 I'm
51:04 Come on.
51:05 Mike ran out the back way. I couldn't stop him. My ankle. - Oh, Brian, he's upset. - He's upset.
51:09 Well, he said he was going down to the park to show you a tree, so he could see what they're doing down at the river.
51:13 I told him it was dark and he might fall and hurt himself, but before he could stop, he ran off. There's no controlling that, though. Well, you'd better get back into bed. Here, put your arm on my shoulder. I'll be all right.
51:23 But you better look for my two.
51:25 Everyone should look for him.
51:26 before it's too late.
51:28 Oh, my goodness.
51:30 Oh, yes, you're right.
51:35 Mr. McKee.
51:36 Maxine, Mike's run off.
51:39 Not again. Please, please help me find him. He may fall out of a tree.
51:43 What's he doing in a tree?
51:45 All right, let's go find the boys. Hey, wait a minute, wait a minute. What's the big idea? I was with it. Come on, let's go to the park. We'll drive there first.
52:01 Willie, Willie, he may be just loitering on the side.
52:03 You get out of the station.
52:04 What is this, a posse? Okay. Jean, you stay here and take care of Harold.
52:11 We won't be long, I hope.
52:14 I'm going to go.
52:19 Come on.
52:20 Come on.
52:41 It's a pretty clumsy job of faking an accident.
52:44 Why'd you do it?
52:46 I like to be alone occasionally.
52:48 But you're not alone, darling.
52:50 You've got me.
52:53 Why'd you pull that sprained ankle stunt?
52:56 I told you why. All right. Forget it. I'll guess.
53:01 Could be you wanted me to nurse you instead of mine.
53:04 Is that why you let him run off again?
53:07 Yeah.
53:08 I did want to be alone with you for a few minutes.
53:10 It would have been so simple.
53:13 All you had to do was walk to my room. If it was empty, you could have waited.
53:17 You're not dumb, Harold.
53:19 I'm not dumb either.
53:22 Something's brewing. Something's brewing.
53:24 You planning to leave?
53:25 How can I?
53:27 Water, water everywhere, and not a drop to drink.
53:30 Mm.
53:30 That's why you're all dressed for bed.
53:33 In your suit.
53:35 I was gonna go out and look for Mike.
53:37 Hmm?
53:37 That's a pretty good reason for changing your clothes.
53:41 Or would you like to try again?
53:45 I don't suppose you heard the news?
53:48 In about a half an hour, the highway's going to be open.
53:52 Oh?
53:54 Couple of men with badges and...
53:57 Notebooks.
53:58 Handcuffs are coming here to talk with the state police.
54:04 You know, I'm a little more suspicious than these
54:07 Homegrown small towners.
54:10 You did something.
54:13 And I think I know what it is.
54:18 All my life I've been attracted to the wrong kind of guy.
54:23 They're thinking of leaving. Forget it.
54:26 You're going to stay right here in Clayburg for the time being.
54:30 for me.
54:32 No one saw you get on or off the train. You're a free man.
54:38 Well?
54:39 Did anyone see you?
54:42 Who saw you?
54:45 If they can identify you, you're finished.
54:48 Oh, my God.
54:51 Oh!
54:59 Mike!
55:01 So he's the one.
55:03 He saw you get off the train.
55:06 What have you done to him?
55:08 Not much yet.
55:09 But there must be something, some other way.
55:12 He'll talk.
55:13 That's what I find.
55:16 I don't know what's going on in your mind, but you can't touch him, do you hear?
55:21 Some women get what they're looking.
55:23 But you can't kill a kid.
55:28 You're pretty awful.
55:30 You're even too bad for me.
55:34 I don't know what you're planning to do, but I won't let you do it.
55:36 I'm going to go.
55:39 You're very pretty when those lips aren't moving.
55:54 Mike!
56:04 Come back!
56:07 Sounds like it's come from over there. Wait.
56:17 Hey, Dunlap.
56:26 Was that you yelling come back?
56:29 Yeah. You see him?
56:31 That's him. Get him. You can run faster than I can. Got good news for you. The road's open.
56:46 Mike!
56:50 Harold just run after Mike. We got him spotted. I'm glad somebody's able to run.
56:56 Did you say Harold ran after Mike? Like a deer. But when I was young, I used to... But Harold's ankle is sprained. He couldn't even walk to his room.
57:09 Come on.
57:28 Oh! Oh! Ruth!
57:32 Ruth! Oh, you poor darling. Oh, you poor lady who did this to you. Wait a minute. There. There.
57:42 Oh, darling, everything's going to be all right. He died me up. No, no, no.
57:49 Calm down, Mike. It's coming after me.
57:53 Let me go, he'll kill me! No, dear, nobody's going to. Michael! I believe the beginning of your life. I'm very screwed. Can't you see the boy's frightened? You should be frightened because when I get through with him...
58:03 Tell me...
58:03 Who was trying to kill you? I didn't think I was going to kill him. Now, you keep hold of this, mind you. You, Selma. Shut up.
58:09 Mike, go on, tell me.
58:11 She'll hit me if I tell. She won't lay a hand on you. I promise you that.
58:18 Night at the station.
58:19 So...
58:20 You were at the station.
58:22 Yes, dear, go on.
58:24 You won't hit me?
58:26 We'll see.
58:29 Why?
58:30 I saw Harold.
58:31 He killed that girl.
58:34 He knows I saw him dump her on the train.
58:37 He tried to kill me.
58:39 Oh, good heavens.
58:41 He's here in the park. We'd better go home.
58:45 How can a big man like you move so quietly?
58:49 Rubber heels.
58:51 See if I might.
58:52 Couldn't catch up with Harold. He was running like blazes.
58:55 Harold.
58:56 -Killa. -You see, something might have happened to you. I won't go out again, Ma.
59:02 Jim, it's...
59:03 Tell me something quick.
59:04 What's going on?
59:05 I'm the newspaper.
59:06 Come on, Matisse.
59:07 I know, but tell me something.
59:09 All my readers depend on that.
59:11 The bulletin for the latest news. Come on, I'll tell you on the way home. I know, but I...
59:41 You forget something?
59:42 No, not a thing.
59:45 Mike's all right.
59:48 The road's open.
59:49 Not for me. You're not leaving?
59:54 No.
59:56 I'm tired, all right?
1:00:02 You know, you and me... Yeah.
1:00:09 We might have been all right together.
1:00:13 If she'd stayed on the train,
1:00:16 she'd be alive and I'd be a free man. Yeah.
1:00:23 Those cops from Seattle.
1:00:26 They should be here soon.
1:00:30 They'll be here.
1:00:42 It's quite a story.
1:00:44 We're going to stop soon.
1:00:46 Don't get off.
1:00:53 Playboard.
1:01:17 Oh, my God.
1:01:25 Whoop!

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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