Public Reel

Saddle Mountain Roundup (1941)

No renewal found Free in the US since 1 January 1970, on the registry's reading: registration LP10702 of 1941 by Range Busters, Inc was not renewed in the volumes searched. Record.

Frame from the Internet Archive copy saddle_mountain_roundup_mp4
Copy
saddle_mountain_roundup_mp4 on the Internet Archive; released 1941
Read
236 shots over 58:20 · 149 beats in 96 sequences · 505 transcript lines · JSON
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Saddle Mountain Roundup No renewal found
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Lands on the beat covering that second.
96 sequences; each is also a heading below.
Check before citing the shot count. A 2:13 shot at 4:52 (shot 27): either a static hold or a run of missed cuts. Treat it as unverified.
How this page was made

236 shots over 58:20, read from the Internet Archive copy saddle_mountain_roundup_mp4 (saddle_mountain_roundup.mp4, 640×480, 29.97 fps). Shot boundaries by PySceneDetect's adaptive detector; each frame links to the Archive's player at that second. Registry dossier: Saddle Mountain Roundup No renewal found. JSON

Measurements: black-and-white film on its keyframes (0 of 236 shots judged colour), average shot 14.8s long, a frontal face detected in 17% of keyframes. Shots are detected automatically and each is represented by its midpoint frame.

Released 1941 (Internet Archive).

149 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 (Qwen/Qwen3-VL-235B-A22B-Instruct), checked automatically: quotes must be verbatim, names must be spoken, "visible" events are sampled to a second model.

Beats

Passages cut at shot boundaries and annotated by a machine from four sampled frames and the transcript lines in them. Each beat says why it starts where it does and what was checked; sequences are visual groups, not scenes.

Sequence 1 from 0:00

Frame at 0:02, shot 00:02
1 of 1 shots sampled

1. Other

0:00–0:05 Not yet checked

Model synopsis: A title card for Monogram Pictures Inc. is shown with a cowboy figure and wagon wheel. No people are visible or audible in this beat.

Evidence, details and a link to share

Sequence 2 from 0:05

Frame at 0:40, shot 10:40
1 of 1 shots sampled

2. Other

0:05–1:15 Not yet checked

Model synopsis: The beat shows a title card for the film 'Saddle Mountain Roundup' with props like a wagon wheel and rope. No people or spoken dialogue are present in this segment.

Evidence, details and a link to share

Sequence 3 from 1:15

Sequence 4 from 1:24

Frame at 1:26, shot 41:26
1 of 1 shots sampled

4. Other

1:24–1:28 Not yet checked

Model synopsis: A black bird, likely a crow or raven, is perched on a curved metal object in a dimly lit interior. No people or dialogue are visible or audible in this beat.

Evidence, details and a link to share

Frame at 1:29, shot 51:29
1 of 1 shots sampled

5. Other

1:28–1:30 Not yet checked

Model synopsis: A dark, silhouetted bird perches on a chair back in a dimly lit interior. No people or spoken dialogue are visible or audible in this beat.

Evidence, details and a link to share

Sequence 5 from 1:30

Frame at 1:35, shot 61:35
1 of 1 shots sampled

6. Private office

1:30–1:41 Not yet checked

Model synopsis: An elderly man in a plaid shirt sits at a desk writing, surrounded by objects including a lamp and a mounted animal head. The scene is indoors, with no visible windows or clocks to establish time of day.

1 person observed.

Evidence, details and a link to share

Sequence 6 from 1:41

Frame at 1:43, shot 71:43
1 of 1 shots sampled

7. Other

1:41–1:45 Not yet checked

Model synopsis: A hand points at a map or diagram with intersecting lines. No dialogue or other context is provided in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 7 from 1:45

Frame at 1:47, shot 81:47Frame at 1:53, shot 91:53Frame at 2:16, shot 102:16
3 of 3 shots sampled

8. Private office

1:45–2:37 Not yet checked

Model synopsis: An older man with white hair sits at a desk while another man stands nearby holding a cloth; dialogue suggests a dispute over kitchen expenses and threats to deduct wages. The setting appears to be an interior room with wooden furniture and shelves, and the conversation includes an apology and a warning.

  • An older man looks down with a stern expression. [frame:1]
  • The older man frowns deeply. [frame:2]
  • Fang Wei stands beside the seated older man, holding a cloth, while the older man gestures at papers on the desk. [frame:3]

Named: Fang Wei (t:1:49). 2 people observed.

“Fang Wei. Fang Wei.” 1:49 · “Very bad night. You want me? I told you last month it cost too much to run the kitchen. This month you'll spend twice as much. Me very so…” 2:00

Evidence, details and a link to share

Sequence 8 from 2:37

Frame at 3:06, shot 113:06Frame at 3:37, shot 123:37
2 of 2 shots sampled

9. Private office

2:37–3:38 Not yet checked

Model synopsis: A man in a plaid shirt and overalls is seen bending over a wooden surface, then a close-up shows tally marks carved into wood. The transcript includes short phrases indicating reluctant compliance and departure.

  • man bends over a wooden surface holding a small object [frame:1]
  • close-up of tally marks carved into wood [frame:2]

1 person observed.

“Oh.” 2:37 · “All right, go on.” 2:39

Evidence, details and a link to share

Frame at 3:44, shot 133:44
1 of 1 shots sampled

10. Other

3:38–3:49 Not yet checked

Model synopsis: A person with white hair, seen from behind, stands in a wooden doorway. The scene is dimly lit and appears to be indoors.

1 person observed.

Evidence, details and a link to share

Frame at 3:52, shot 143:52Frame at 4:04, shot 174:04Frame at 4:13, shot 194:13Frame at 4:22, shot 224:22
4 of 9 shots sampled

11. Private office

3:49–4:24 Not yet checked

Model synopsis: A person is seen moving quickly through a dimly lit wooden room, with a chair and desk visible. The transcript includes the lines 'I'm out.' and 'What are you so excited about?' spoken during this sequence.

  • A person moves quickly across a room. [frame:2]
  • A person is seen in motion, possibly exiting. [frame:4]

1 person observed.

“I'm out.” 3:50 · “What are you so excited about?” 4:20

Evidence, details and a link to share

Frame at 4:48, shot 264:48Frame at 5:59, shot 275:59
2 of 2 shots sampled

13. Private office

4:44–7:06 Not yet checked

Model synopsis: Two men are in a wooden interior, one standing and holding a rifle, the other seated; they argue about a partnership, fencing, and cattle guarding. One man is called 'Magpie' and mentions 'Blackie' and 'Nancy'; the other is addressed as 'Fang' or 'Fang Wei'.

  • A man stands holding a rifle while another sits across from him in a wooden room. [frame:1]
  • The standing man speaks to the seated man, who listens intently. [frame:2]

Named: Magpie (t:5:20), Fang (t:4:50). 2 people observed.

“Fang! Fang Wei! Fang! Where are you?” 4:50 · “What a deuce of a night to send for a fellow Magpie.” 5:20

Evidence, details and a link to share

Sequence 9 from 7:06

Frame at 7:12, shot 287:12Frame at 7:32, shot 297:32Frame at 7:49, shot 307:49
3 of 3 shots sampled

14. Private office

7:06–7:53 Not yet checked

Model synopsis: In a wooden interior, several men gather around a seated man who has been injured; one man recounts being struck while turning to see someone approaching. Another man is questioned about the attacker's appearance and clothing, with uncertain replies.

  • A group of men gather around a seated man who appears injured. [frame:1]
  • The seated man speaks while others look on. [frame:2]
  • A man with light hair and a mustache looks directly at the camera. [frame:3]

Named: Fang Wei (t:7:13), Langley (t:7:18). 5 people observed.

“Somebody tied into Fang Wei. I find him coming to you down by the woodshed. What happened?” 7:13 · “Who did it, Langley?” 7:18

Evidence, details and a link to share

Sequence 10 from 7:53

Frame at 7:58, shot 317:58Frame at 8:06, shot 328:06Frame at 8:09, shot 338:09
3 of 3 shots sampled

15. Private office

7:53–8:10 Not yet checked

Model synopsis: Four men stand around a seated woman in an interior room; two men in cowboy hats are later seen outdoors near a corral. The transcript includes fragmented dialogue and a mimicked sound.

  • Four men stand around a seated woman in a room. [frame:1]
  • Two men in cowboy hats stand outdoors near a corral. [frame:3]

6 people observed.

“Wasn't it more like that?” 7:53 · “And we're very mixed up.” 7:56

Evidence, details and a link to share

Frame at 8:15, shot 348:15Frame at 8:23, shot 358:23
2 of 2 shots sampled

16. Farm

8:10–8:27 Not yet checked

Model synopsis: Two men in cowboy hats stand at a wooden fence overlooking a corral with cattle. A third man in a cowboy hat drinks from a cup near a wooden gate while holding a letter.

  • Two men stand at a fence looking at cattle in a corral. [frame:1]
  • A man drinks from a cup while holding a letter near a wooden gate. [frame:2]

Named: Crash (t:8:24). 3 people observed.

“You know, they ought to bring close to $10,000, providing they don't use crooked scales to weigh them in.” 8:15 · “Mm-mm.” 8:21

Evidence, details and a link to share

Sequence 11 from 8:27

Frame at 8:52, shot 368:52
1 of 1 shots sampled

17. Sidewalk

8:27–9:18 Not yet checked

Model synopsis: Three men in cowboy attire converse outdoors; one, called Crash, instructs another, Alibi, to stay behind and handle cattle weighing while he and Dusty return to the Harper Ranch to deal with buzzards. The transcript reveals a plan to collect money and follow, with Alibi expressing concern about being targeted by buzzards.

  • Three men in cowboy hats stand outdoors talking. [frame:1]

Named: Crash (t:8:39), Alibi (t:9:02). 3 people observed.

“What is it, Crash? Bad news?” 8:39 · “You're elected to stay here and see if the cattle are weighed in proper.” 8:48

Evidence, details and a link to share

Sequence 12 from 9:18

Frame at 9:19, shot 379:19Frame at 9:31, shot 389:31
2 of 2 shots sampled

18. Bar

9:18–9:41 Not yet checked

Model synopsis: A group of men are gathered in a dimly lit interior space, one standing and gesturing while others sit at a table with drinks. The transcript contains lyrics about a wife, a dog, and a 'little brown jug' sung during this scene.

  • A man stands and points while others sit at a table with drinks. [frame:2]

5 people observed.

“My wife live all alone in a little brown hut we call our own.” 9:19 · “I love her, she loves me some.” 9:19

Evidence, details and a link to share

Sequence 13 from 9:41

Frame at 10:39, shot 3910:39
1 of 1 shots sampled

19. Private office

9:41–11:37 Not yet checked

Model synopsis: A man in a plaid shirt and vest stands in a dim interior, speaking with authority about posting a guard. Dialogue references a foreman, a doctor named Myfoot, and a character called Magpie, with one speaker expressing distrust and another requesting money.

Named: Magpie (t:10:30). 6 people observed.

“Well, here I am, boss. I want no more tomfoolery around here tonight.” 10:16 · “You post a guard and keep it posted till the rangebusters get back here.” 10:26

Evidence, details and a link to share

Frame at 11:39, shot 4011:39Frame at 11:50, shot 4111:50
2 of 2 shots sampled

20. Kitchen

11:37–12:00 Not yet checked

Model synopsis: A woman holding a lantern speaks to an older man seated at a table; a crow is perched nearby. The dialogue suggests a tense or dismissive interaction over condiments.

  • A crow is perched on a surface, casting a shadow on the wall. [frame:1]
  • A woman holding a lantern leans toward a seated older man at a table. [frame:2]

2 people observed.

“Doesn't smell like it. Won't you like a ketchup, baby? If I want it, I'll get it myself.” 11:46 · “Very well.” 11:51

Evidence, details and a link to share

Sequence 14 from 12:00

Frame at 12:02, shot 4212:02
1 of 1 shots sampled

21. Other

12:00–12:03 Not yet checked

Model synopsis: A dark, ornate object sits on a carved surface with a shadow cast on the wall behind it. No people, dialogue, or identifiable location are visible in this beat.

Evidence, details and a link to share

Sequence 15 from 12:03

Sequence 16 from 12:19

Frame at 12:22, shot 4412:22Frame at 12:30, shot 4512:30Frame at 12:36, shot 4612:36Frame at 12:44, shot 4712:44
4 of 4 shots sampled

23. Living room

12:19–12:50 Not yet checked

Model synopsis: An elderly man sits at a table while a black bird eats from a plate on the floor. A voice calls the bird a 'black beggar' and suggests it was hungry.

  • A black bird pecks at food on a plate on the floor. [frame:1]
  • An elderly man sits in a chair, looking down. [frame:2]
  • The black bird continues to eat from the plate. [frame:3]
  • 1 more under Evidence and details.

1 person observed.

“I guess you were hungry, you black beggar.” 12:21

Evidence, details and a link to share

Sequence 17 from 12:53

Frame at 12:56, shot 4912:56
1 of 1 shots sampled

25. Private office

12:53–12:59 Not yet checked

Model synopsis: An elderly man with white hair, wearing a plaid shirt and vest, sits at a table with a lit oil lamp and a bottle. He is looking down at the table, and the scene is lit by the lamp in a dim interior.

1 person observed.

Evidence, details and a link to share

Sequence 18 from 12:59

Sequence 19 from 13:02

Sequence 20 from 13:40

Sequence 21 from 14:25

Frame at 14:28, shot 5314:28
1 of 1 shots sampled

29. Other

14:25–14:30 Not yet checked

Model synopsis: An elderly man in a plaid shirt and vest is visible in a dimly lit interior. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 22 from 14:30

Frame at 14:33, shot 5414:33
1 of 1 shots sampled

30. Other

14:30–14:36 Not yet checked

Model synopsis: A hand grips the edge of a wooden surface in a close-up shot. No dialogue or other context is provided in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 23 from 14:36

Frame at 14:39, shot 5514:39
1 of 1 shots sampled

31. Other

14:36–14:43 Not yet checked

Model synopsis: A person's legs and feet are visible standing on a patterned rug in a dimly lit interior. No other people, objects, or actions are discernible in the single frame provided.

1 person observed.

Evidence, details and a link to share

Sequence 24 from 14:43

Sequence 25 from 14:51

Frame at 14:53, shot 5714:53
1 of 1 shots sampled

33. Barn or shed

14:51–14:56 Not yet checked

Model synopsis: A dark, narrow interior space is shown, possibly a barn or shed, with a faint light source visible at the far end. No people or distinct objects are clearly visible in the frame.

Evidence, details and a link to share

Frame at 14:58, shot 5814:58Frame at 15:19, shot 5915:19
2 of 2 shots sampled

34. Other

14:56–15:38 Not yet checked

Model synopsis: Two men are in a wooden interior; one appears to be pleading or explaining while the other stands with a gun. The transcript includes fragmented, possibly non-English lines and questions about blame and action.

  • A man stands with his back to the camera, facing a wooden wall. [frame:1]
  • The same man turns to face another man who is holding a gun. [frame:2]

2 people observed.

“Why? Why are you so lazy?” 15:00 · “Me, me, he go cloudy west.” 15:21

Evidence, details and a link to share

Sequence 26 from 15:38

Frame at 15:39, shot 6015:39Frame at 15:46, shot 6115:46Frame at 15:56, shot 6215:56
3 of 3 shots sampled

35. Field

15:38–16:00 Not yet checked

Model synopsis: A man in a cowboy hat sings about a dog that got away while standing near horses in a hilly, wooded area. The scene opens on a dark, distant view of lights before cutting to the man and horses in daylight.

  • A dark landscape with distant lights is shown. [frame:1]
  • Two men stand near horses in a field; one bends over, the other stands upright. [frame:2]
  • A man in a cowboy hat sings while holding a dog. [frame:3]

2 people observed.

“Oh, the dog doggy got away, trailin' the dog doggy got away.” 15:39 · “On the range, hollin' and ridin', to find that little stray.” 15:39

Evidence, details and a link to share

Frame at 16:03, shot 6316:03Frame at 16:10, shot 6416:10Frame at 16:17, shot 6516:17Frame at 16:25, shot 6616:25
4 of 4 shots sampled

36. Field

16:00–16:30 Not yet checked

Model synopsis: A man in a cowboy hat sings about a lost dog while seated outdoors; two other men in cowboy attire are shown standing near a horse and rocks. The scene is set in a natural, outdoor environment with trees and rocks visible.

  • A man in a cowboy hat is seated, smiling, holding a rope and saddle horn. [frame:1]
  • Two men stand near a horse and rocks; one adjusts gear. [frame:2]
  • The seated man continues smiling, looking off-camera. [frame:3]
  • 1 more under Evidence and details.

4 people observed.

“Yippee-yay, yippee-yay, oh, the doggone doggie got away. I was awful sad, I felt mighty bad. I'd raise him on a bottle's hand, he could fa…” 16:09

Evidence, details and a link to share

Frame at 16:33, shot 6716:33
1 of 1 shots sampled

37. Field

16:30–16:36 Not yet checked

Model synopsis: Two men are crouched beside a saddled horse in an outdoor setting. One man touches the horse while the other looks on; no dialogue is present in this beat.

  • Two men crouch beside a saddled horse; one touches the horse's side. [frame:1]

2 people observed.

Evidence, details and a link to share

Sequence 27 from 17:02

Frame at 17:11, shot 7317:11Frame at 17:15, shot 7417:15
2 of 2 shots sampled

42. Field

17:10–17:17 Not yet checked

Model synopsis: Two people in cowboy hats crouch behind rocks in a rocky, brushy outdoor setting. One speaks, identifying a distant figure as a 'buzzard,' suggesting pursuit or observation.

  • Two people are seen crouching behind rocks in a rocky, brushy landscape. [frame:1]
  • The two people remain crouched, looking off-screen, with one gesturing. [frame:2]

2 people observed.

“Hey, look, Crenshaw. There he goes. That must be one of the buzzards.” 17:12

Evidence, details and a link to share

Frame at 17:20, shot 7517:20
1 of 1 shots sampled

43. Rocky terrain

17:17–17:24 Not yet checked

Model synopsis: A person rides a horse through a rocky, brush-covered landscape. The scene is outdoors and appears to be set in a natural, rugged terrain.

  • A person rides a horse through rocky terrain. [frame:1]

1 person observed.

Evidence, details and a link to share

Frame at 17:26, shot 7617:26Frame at 17:32, shot 7717:32Frame at 17:43, shot 7917:43Frame at 17:47, shot 8017:47
4 of 5 shots sampled

44. Mountain

17:24–17:49 Not yet checked

Model synopsis: Two men on horseback are shown in a rocky, brush-covered landscape; one frame shows a lone rider on a dirt trail. A voice notes the rider may be heading toward a ranch.

  • A rocky hillside with sparse vegetation is shown. [frame:1]
  • Two men on horseback are visible among bushes. [frame:2]
  • A lone rider travels along a winding dirt trail in a hilly area. [frame:3]
  • 1 more under Evidence and details.

3 people observed.

“The way he's heading, he might be making for the ranch.” 17:25

Evidence, details and a link to share

Frame at 17:50, shot 8117:50
1 of 1 shots sampled

45. Field

17:49–17:52 Not yet checked

Model synopsis: Two figures on horseback ride side by side across an open, brushy landscape. The scene is shot in silhouette against a bright sky, with no dialogue or on-screen text.

  • Two figures on horseback ride across a field. [frame:1]

2 people observed.

Evidence, details and a link to share

Sequence 28 from 17:52

Frame at 17:53, shot 8217:53
1 of 1 shots sampled

46. Field

17:52–17:54 Not yet checked

Model synopsis: A lone figure is visible on a dirt path in a rocky, grassy landscape. No dialogue or on-screen text is present in this beat.

  • A lone figure stands on a dirt path in a rocky field. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 29 from 17:54

Frame at 17:55, shot 8317:55
1 of 1 shots sampled

47. Trail

17:54–17:57 Not yet checked

Model synopsis: Two people ride horses along a rocky trail in a natural, outdoor setting. No dialogue or on-screen text is present in this beat.

  • Two people ride horses along a rocky trail. [frame:1]

2 people observed.

Evidence, details and a link to share

Sequence 30 from 17:57

Frame at 18:43, shot 8518:43
1 of 1 shots sampled

49. Sidewalk

18:23–19:03 Not yet checked

Model synopsis: Three men in cowboy attire stand outdoors near a wooden post, discussing a horse and a recent mysterious death. One man asks about the horse's owner, and another mentions the coroner and a person named Magpie who was killed.

  • Three men stand near a wooden post outdoors. [frame:1]

Named: Blackie (t:18:41). 3 people observed.

“Oh, hello, Blackie. You been out riding lately? No, why?” 18:41 · “Who's the horse belong to?” 18:48

Evidence, details and a link to share

Frame at 19:08, shot 8619:08Frame at 19:24, shot 8719:24Frame at 19:39, shot 8819:39
3 of 3 shots sampled

50. Sidewalk

19:03–19:42 Not yet checked

Model synopsis: Three people are present in an outdoor setting: two men in cowboy attire and a woman in a dress. Dialogue references a character named Blacky Stone and a dispute involving Anderson and Harper.

  • A man in a cowboy hat and vest is seated next to another man in a suit. [frame:1]
  • The two men are shown in a closer shot, appearing to converse. [frame:2]
  • The woman stands with arms crossed, looking concerned. [frame:3]

3 people observed.

“Tell me you're kinda cranky a time.” 19:04 · “Blacky Stone.” 19:15

Evidence, details and a link to share

Frame at 20:02, shot 8920:02
1 of 1 shots sampled

51. Sidewalk

19:42–20:22 Not yet checked

Model synopsis: Two men in Western attire converse outdoors, one accusing the other of insinuations about murder and financial gain. The dialogue references characters named Blackie Stone and Magpie, and a dispute over cattle and job roles.

  • Two men are engaged in a tense conversation outdoors. [frame:1]

2 people observed.

“We had an argument.” 19:42 · “He's lambasted me and everybody else that magpie favored.” 19:49

Evidence, details and a link to share

Sequence 31 from 20:22

Sequence 32 from 20:49

Frame at 20:55, shot 9120:55Frame at 21:13, shot 9221:13Frame at 21:51, shot 9321:51
3 of 3 shots sampled

53. Other

20:49–22:16 Not yet checked

Model synopsis: Two men in cowboy hats converse outdoors under trees; one mentions Mr. Harper's death and suspects Jack Henderson. A third man, identified as Blackie, offers to move a horse for Mr. Freeman, who is present.

  • Two men stand under trees and talk. [frame:1]
  • The two men face each other closely, continuing conversation. [frame:2]
  • One man sits near a horse, looking off-camera. [frame:3]

Named: Crash (t:21:56), Mr. Freeman (t:20:51), Blackie (t:21:36). 3 people observed.

“You won't be. Too bad about Mr. Harper, wasn't it, Mr. Freeman? Terrible.” 20:51 · “All suspicion seems to point to Jack Henderson. Jack Henderson? Well, uh, why Jack Henderson? I mean fighting back and forth. What that part…” 21:02

Evidence, details and a link to share

Frame at 22:20, shot 9422:20Frame at 22:29, shot 9522:29
2 of 2 shots sampled

54. Private office

22:16–22:34 Not yet checked

Model synopsis: Three men in cowboy hats are seated in a wooden-paneled room; one speaks about a missing nest egg and Magpie's distrust of banks. The dialogue references Freeman as the lawyer who should have listened to Magpie.

  • A man in a dark suit and bow tie speaks while seated. [frame:1]
  • Three men in cowboy hats are in a wooden office; one stands leaning on a desk. [frame:2]

Named: Freeman (t:22:29). 3 people observed.

“There's just one thing wrong with that theory, boys. There doesn't seem to be any nest egg, and as far as I can learn, there's not a cent in…” 22:17 · “Well that's simple magpie didn't believe in banks not even their checks that's why I wanted the money in cash” 22:23

Evidence, details and a link to share

Frame at 22:37, shot 9622:37Frame at 22:43, shot 9722:43Frame at 22:51, shot 9822:51
3 of 3 shots sampled

55. Private office

22:34–22:54 Not yet checked

Model synopsis: A man in a dark shirt and cap stands at a counter while three men in cowboy hats sit or stand around a table in a wooden room; one man speaks about telegraphing Alibi and leaving money in the bank. Another man interrupts, saying Alibi is already on his way and that anyone trying to waylay him will be fooled.

  • A man in a cap stands at a counter with a pitcher. [frame:1]
  • Three men in cowboy hats are gathered around a table; one writes, one stands, one sits. [frame:2]
  • A man in a cowboy hat looks toward the camera. [frame:3]

Named: Mr. Freeman (t:22:43). 5 people observed.

“I'm going to telegraph to Alibi myself.” 22:37 · “And I'm going to tell Alibi to leave the money on deposit in the bank.” 22:40

Evidence, details and a link to share

Frame at 23:20, shot 9923:20
1 of 1 shots sampled

56. Private office

22:54–23:45 Not yet checked

Model synopsis: Two men discuss a suspicious trail while a third man, who claims to have come from the kitchen, offers lemonade; one man is suddenly struck, indicated by a thud sound. The setting is an interior room with rustic decor and a mounted animal head.

3 people observed.

“Fooled? But how? He's not coming directly here. He's going to take that old abandoned trail through Coyote Gulch.” 22:55 · “I still don't like it. Besides dusting myself nobody knows anything about that old abandoned trail.” 23:01

Evidence, details and a link to share

Sequence 33 from 23:45

Frame at 24:42, shot 10024:42
1 of 1 shots sampled

57. Living room

23:45–25:39 Not yet checked

Model synopsis: A man and a woman converse in a room; the woman mentions a will reading and asks about a man named Crash Corrigan. The man responds with vague details about Corrigan’s whereabouts and preferences.

  • A man and a woman stand facing each other in a room, conversing. [frame:1]

Named: Nancy (t:24:16), Dusty (t:23:57). 2 people observed.

“What I really came out here for was to announce there'd be a reading of Hopper's will next Wednesday. Where? Here at the house.” 23:48 · “Why don't you sit down? Thank you. Nancy.” 24:16

Evidence, details and a link to share

Sequence 34 from 25:39

Sequence 35 from 25:54

Frame at 25:57, shot 10225:57Frame at 26:03, shot 10326:03Frame at 26:13, shot 10426:13
3 of 3 shots sampled

59. Living room

25:54–26:22 Not yet checked

Model synopsis: A man and a woman are indoors, interacting with a camera; the scene cuts to an outdoor shot of a stream in a valley. The transcript describes a dream of a green valley with a rippling stream.

  • A woman holds a camera while a man stands beside her indoors. [frame:1]
  • An outdoor scene shows a stream running through a grassy valley with trees. [frame:2]
  • The man now holds the camera while standing next to the woman indoors. [frame:3]

2 people observed.

“There's a little green valley I found in a dream, a little green valley with a rippling stream.” 25:56 · “The stream's running through, grass is knee-deep too, in that little valley of mine.” 25:56

Evidence, details and a link to share

Sequence 36 from 26:22

Sequence 37 from 26:26

Frame at 26:33, shot 10626:33Frame at 26:42, shot 10726:42Frame at 26:53, shot 10826:53Frame at 27:03, shot 10927:03
4 of 4 shots sampled

61. Living room

26:26–27:05 Not yet checked

Model synopsis: A man and a woman are shown indoors in a domestic setting, followed by a shot of a house in a rural landscape. The transcript includes romantic lyrics about building a home together.

  • A man holds a hat and speaks to a woman in a living room. [frame:1]
  • A woman in a corset and boots stands on a stage-like set with curtains. [frame:2]
  • The man and woman continue their interaction in the living room. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“We'll spend our days watching cattle graze in that little green valley of mine. I could pitch a tent on the prairie, but that wouldn't do.” 26:26 · “I'll build a ramblin' house just for me two A simple little place that we will add on to So pack all your charms I'll take you in my arms” 26:56

Evidence, details and a link to share

Frame at 27:37, shot 11227:37
1 of 1 shots sampled

63. Living room

27:36–27:38 Not yet checked

Model synopsis: A man and a woman stand side by side in a wood-paneled room with shelves behind them. The woman wears a dress with a lace collar and a bow; the man wears a western-style shirt and a belt with a holster.

2 people observed.

Evidence, details and a link to share

Frame at 27:53, shot 11327:53
1 of 1 shots sampled

64. Other

27:38–28:09 Not yet checked

Model synopsis: Three people stand in an interior room; two men speak to a woman holding flowers while one man holds a hat. The dialogue references an appointment and a blonde woman waiting.

  • Three people stand facing each other in a room. [frame:1]

3 people observed.

“What are you doing here?” 27:46 · “That works both ways, partner. What are you doing here? That's right, Crash. What are you doing here?” 27:48

Evidence, details and a link to share

Sequence 38 from 28:09

Frame at 28:11, shot 11428:11Frame at 28:44, shot 11528:44
2 of 2 shots sampled

65. Private office

28:09–29:15 Not yet checked

Model synopsis: Two men are in an interior room; one, wearing a vest, adjusts the other's tie while they discuss a misunderstanding about a blonde and a Chinese man named Fang Wei. The conversation includes references to Dusty and a character named Miss Nancy, and ends with permission for Chris to leave.

  • A man in traditional Chinese attire stands near a door, looking concerned. [frame:1]
  • One man adjusts another man's tie while they face each other. [frame:2]

Named: Chris (t:29:04), Fang Wei (t:28:14), Dusty (t:28:19), Miss Nancy (t:29:04). 5 people observed.

“Why, I don't know what you're talking about.” 28:09 · “The only party that I'm after is that Chinese.” 28:11

Evidence, details and a link to share

Frame at 29:44, shot 11629:44Frame at 30:17, shot 11730:17
2 of 2 shots sampled

66. Private office

29:15–30:20 Not yet checked

Model synopsis: Four people stand in a room with shelves and a fireplace; one man holds a basket of eggs while another man in traditional East Asian clothing looks down. A transcript reveals a conversation about eggs, a mysterious message, and a reference to 'Range Busters.'

  • A woman holds a basket of eggs while talking to a man who also holds the basket. [frame:1]
  • A man in traditional East Asian clothing looks downward, standing near a fireplace. [frame:2]

4 people observed.

“But I never said anything to Uncle Magpie about wanting eggs. Eh, there's something fishy about this. Let me see those eggs.” 29:39 · “I may be gone before you get this.” 30:03

Evidence, details and a link to share

Sequence 39 from 30:20

Frame at 30:46, shot 11830:46
1 of 1 shots sampled

67. Field

30:20–31:11 Not yet checked

Model synopsis: A man in a cowboy hat holds a puppet while speaking; dialogue reveals a character named Elmer and references $10,000 and being used as a 'bank.' No named actors are confirmed by dialogue.

  • A man holds a puppet and speaks to it. [frame:1]

Named: Alibi (t:31:05), Elmer (t:30:35), Fangwing (t:30:25). 3 people observed.

“Why, that's Magpie's handwriting.” 30:23 · “Look here, Fangwing. Do you know anything about any message?” 30:25

Evidence, details and a link to share

Sequence 40 from 31:11

Sequence 41 from 31:22

Frame at 31:24, shot 12031:24Frame at 31:28, shot 12131:28
2 of 2 shots sampled

69. Field

31:22–31:30 Not yet checked

Model synopsis: Two men on horseback are shown in a rocky outdoor setting; one man holds a puppet-like figure while speaking. The transcript includes a line about being a scout and aiming at a heart, suggesting a confrontation or warning.

  • Man p1 holds a puppet-like figure and speaks to someone off-screen or to p2/p3. [frame:1]
  • Two men on horseback, p2 and p3, are shown in a field with rocky background. [frame:2]

3 people observed.

“Engines, I've been a scout. That'll show you what'll happen. If I aim at your heart.” 31:23

Evidence, details and a link to share

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Transcript

Machine transcription of the Archive copy's audio with Whisper large-v3-turbo (temperature 0); the model heard it as en. 505 segments kept, 152 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. 1:19 *Gunshot*
  2. 1:49 Fang Wei. Fang Wei.
  3. 2:00 Very bad night. You want me? I told you last month it cost too much to run the kitchen. This month you'll spend twice as much. Me very sorry. Cow hen eat very much. No more than they always eat. Either you're letting somebody rob me or you're robbing me yourself. Me very sorry.
  4. 2:19 short on the range. It's got to stop. Be very sorry, me. I'll make you sorry. I'll take it out of wages.
  5. 2:27 Now get out of here.
  6. 2:28 The President:
  7. 2:32 Me say me hope stuff don't keep you weak. Me hope you keep some dream.
  8. 2:37 Oh.
  9. 2:39 All right, go on.
  10. 2:42 Come on.
  11. 3:06 I'm going to go.
  12. 3:50 I'm out.
  13. 4:20 What are you so excited about?
  14. 4:50 Fang! Fang Wei! Fang! Where are you?
  15. 5:17 Well...
  16. 5:19 Whew.
  17. 5:20 What a deuce of a night to send for a fellow Magpie.
  18. 5:24 What do you want?
  19. 5:27 Blackie said you were fencing in Cypress Springs.
  20. 5:30 Yes, that's right.
485 more segments
  1. 5:33 Funny.
  2. 5:34 Funny I wasn't told about it, and seeing as how the water is on my place, well, what difference does it make so long as we're going to join up our two spreads?
  3. 5:42 You said I was to be the active head of the partnership.
  4. 5:45 That you told Nancy and me both keep your daughter out of this here here come on get your weight off that game like come on over here sit down. Getting awfully tender.
  5. 5:53 All of a sudden...
  6. 5:55 Everybody's getting awful tender. That doesn't stop them from robbing me right and left. I hear.
  7. 6:01 I won't stand for that kind of an insinuation from nobody, not even you, Magpie.
  8. 6:06 Do you want to dissolve the partnership? There isn't any partnership until the agreement is signed.
  9. 6:11 I told you I was going to have Dan Freeman draw up the papers.
  10. 6:14 I suppose Freeman as your attorney objects to the deal Freeman has nothing to do with it
  11. 6:19 It's just that I don't want anybody grabbing for the range until the horses are hitched.
  12. 6:24 Neither does Blackie.
  13. 6:25 When he goes out to tally cattle, he wants to know what range they're on. So...
  14. 6:29 It's your foreman that's doing this walking.
  15. 6:32 Afraid the partnership might step on his toes. All Black is doing is trying to look out for my interests. Then why did he complain about the rangebusters guarding your herd from the Saddle Mountain Roundup to the stockyards?
  16. 6:43 Was he afraid that he'd lose out?
  17. 6:45 Or was it that he didn't want them guarded too close on their way to market?
  18. 6:49 As bad as things were, I had every right to call on the Range Busters.
  19. 6:53 And I think you were the one who didn't like it.
  20. 6:56 Afraid you might lose out.
  21. 6:57 Maybe no.
  22. 6:59 I had nothing to lose.
  23. 7:01 If our deal doesn't go through...
  24. 7:04 It's your funeral magpie.
  25. 7:06 Not mine. What? What happened to him, Blackie?
  26. 7:13 Somebody tied into Fang Wei. I find him coming to you down by the woodshed. What happened?
  27. 7:18 Who did it, Langley?
  28. 7:19 Me go with that. Me catch a wood.
  29. 7:22 Go on, go on. Me catch a wound.
  30. 7:25 Me heard someone coming, me turn to see, me catch some more wood on head.
  31. 7:31 Whoever it was must have swallowed him. Sure. That's what I said.
  32. 7:36 Who was it, Fangway?
  33. 7:38 What did he look like? Kang Wei no xi face. Xi stars.
  34. 7:42 Well, then...
  35. 7:43 How was he dressed?
  36. 7:45 Like that?
  37. 7:47 could be like that, also could not be.
  38. 7:51 How about it, Fang Wei?
  39. 7:53 Wasn't it more like that?
  40. 7:56 And we're very mixed up.
  41. 7:59 Me nor Sammy.
  42. 8:00 I
  43. 8:06 *mimics sound*
  44. 8:15 You know, they ought to bring close to $10,000, providing they don't use crooked scales to weigh them in.
  45. 8:21 Mm-mm.
  46. 8:24 Hey, Crash.
  47. 8:25 Letter for you.
  48. 8:29 Just picked it up over at the hotel.
  49. 8:34 I don't know.
  50. 8:39 What is it, Crash? Bad news?
  51. 8:42 What's from Magpie Harper asking us to hurry back to the ranch. That include me.
  52. 8:48 No.
  53. 8:48 You're elected to stay here and see if the cattle are weighed in proper.
  54. 8:52 Dusty and I are needed to scare off some buzzards that are circling over the Harper Ranch. Now as soon as you collect the money, you follow Dusty and me over at the ranch.
  55. 9:01 Well, hold on a minute, Crash.
  56. 9:02 All this money you're talking about, what I'm expected to do with it.
  57. 9:05 Bring it along with you.
  58. 9:07 But suppose these same buzzers start circling over my head.
  59. 9:11 Well, you just have to be different and play smart, Alibi. Don't let them spot you.
  60. 9:15 Good luck.
  61. 9:19 My wife live all alone in a little brown hut we call our own. I love her, she loves me some. I'll tell you what, we have some fun. Yeah, you and me, little brown jug, how I love thee. Oh, you and me, little brown jug, how I love thee. Me and my wife and a stump tail dog crossed the creek on a hickory log. My wife fell in, she went ka-plunk, and I held on to the little dog stump. Yeah, you and me, little brown jug, how I love thee.
  62. 10:16 Well, here I am, boss. I want no more tomfoolery around here tonight.
  63. 10:21 If there is, I'm holding you responsible. Well, sure, I'll see what I can do, but you know... No buts.
  64. 10:26 You post a guard and keep it posted till the rangebusters get back here.
  65. 10:30 All right, Magpie.
  66. 10:45 What do you think of that foreman? He's a very good man.
  67. 10:49 I hope you're right.
  68. 10:50 Hey, what's up?
  69. 10:53 No, what makes you think so? What's the say of a...
  70. 10:56 Fang Wei made me get him doctor. Doctor Myfoot.
  71. 11:00 Fetch in the grub.
  72. 11:01 Very well.
  73. 11:05 Stop babying me. I don't like it. Well, well, I don't trust anyone who does it. That's why I don't trust anyone on this place except that black beggar.
  74. 11:16 Very sorry!
  75. 11:17 Me get some money too.
  76. 11:21 Very nice, too.
  77. 11:46 Doesn't smell like it. Won't you like a ketchup, baby? If I want it, I'll get it myself.
  78. 11:51 Very well.
  79. 12:08 All right, you beggar. There it is. I have no appetite for it anyway.
  80. 12:21 I guess you were hungry, you black beggar.
  81. 13:04 Poisoned.
  82. 13:05 Ketchup to cover up the taste.
  83. 13:35 Range busters, buzzards, are trying to get my money before the will is read.
  84. 14:05 where you can find it by...
  85. 14:48 - You're going to get to this place, you're going to get to this place.
  86. 15:00 - Why? Why are you so lazy?
  87. 15:18 What about...
  88. 15:20 meeting
  89. 15:21 Me, me, he go cloudy west.
  90. 15:26 Well, whodunit.
  91. 15:27 Mino, no.
  92. 15:29 Me hit him, son. Me run to sea.
  93. 15:33 B3.
  94. 15:34 me get himself
  95. 15:39 Oh, the dog doggy got away, trailin' the dog doggy got away. On the range, hollin' and ridin', to find that little stray. I found him in the hills a-hidin', but the dog doggy got away. Yippee-ah, yippee-ay, oh, the dog doggy critter wouldn't stay. Yippee-ah, yippee-ay, oh, the dog doggy got away. Then he lost his appetite. Something wasn't right. He'd smell greener grass up in the pass, and the dog doggy got away.
  96. 16:09 Yippee-yay, yippee-yay, oh, the doggone doggie got away. I was awful sad, I felt mighty bad. I'd raise him on a bottle's hand, he could fairly toddle, but the doggone doggie got away. Yippee-yay!
  97. 16:55 Hey, there he is behind those rocks.
  98. 17:12 Hey, look, Crenshaw. There he goes. That must be one of the buzzards.
  99. 17:25 The way he's heading, he might be making for the ranch.
  100. 18:05 Everything seems quiet as a funeral. Yeah, sure is.
  101. 18:09 Steve.
  102. 18:12 That could be the horse that out ran us.
  103. 18:14 Look.
  104. 18:23 *crickets*
  105. 18:32 Time to cool off.
  106. 18:35 You boys sure delivered that herd in jig time.
  107. 18:40 All right.
  108. 18:41 Oh, hello, Blackie. You been out riding lately? No, why?
  109. 18:46 Oh, uh...
  110. 18:48 Who's the horse belong to?
  111. 18:50 Belongs to corner.
  112. 18:51 He just got here a few minutes ago. The coroner? One here.
  113. 18:55 Magpie got killed mysterious last night. Magpie? How? Who did it?
  114. 19:00 I said it was mysterious.
  115. 19:04 Tell me you're kinda cranky a time.
  116. 19:07 Flew off the handle easy.
  117. 19:10 Oh, he just liked a bluster, but he never met a thing. That's not what his foreman claimed.
  118. 19:15 Blacky Stone.
  119. 19:16 Yep.
  120. 19:17 Blackie, sir.
  121. 19:20 You and Harper had some kind of deal of cooking, didn't you, Anderson?
  122. 19:24 Well, yes.
  123. 19:25 Though it was getting cold,
  124. 19:28 Mm-hmm.
  125. 19:29 That's what Blackie Stowe said.
  126. 19:32 Blackie claims that you and the old man had some pretty hot words a couple nights ago.
  127. 19:38 Is that true? Well, yes, partly.
  128. 19:42 We had an argument.
  129. 19:43 Though there was nothing heated about it,
  130. 19:45 That's not what Blackie said. Oh, Blackie Stone again.
  131. 19:49 He's lambasted me and everybody else that magpie favored.
  132. 19:52 Freddy might lose out on something himself if any deals went through.
  133. 19:56 You mean his job is foreman's?
  134. 19:58 And maybe that ain't all.
  135. 20:00 Magpie's cattle have been bigger and short. And maybe Blackie has been getting more than wages out of his job.
  136. 20:06 That's a pretty serious insinuation to make. No more serious than the one he made about me, wanting you to believe that I murdered Magpie.
  137. 20:13 Why, if I murdered anybody,
  138. 20:15 Blackie, it'd be the man. Wait a minute.
  139. 20:19 One word at a time is more than enough for me.
  140. 20:22 You better keep an eye on your father, miss.
  141. 20:25 All right, I will.
  142. 20:27 If you turn out to be the murderer, Henderson,
  143. 20:30 You'd have saved me a lot of extra trouble.
  144. 20:32 I had my mind all set on some hungry trout over in Cow Creek.
  145. 20:40 Yes.
  146. 20:51 You won't be. Too bad about Mr. Harper, wasn't it, Mr. Freeman? Terrible.
  147. 20:59 Have they turned up any clues yet? Nothing in particular.
  148. 21:02 All suspicion seems to point to Jack Henderson. Jack Henderson? Well, uh, why Jack Henderson? I mean fighting back and forth. What that partnership deal he had you working on. I suppose that's a dead goose now. Oh, not necessarily. Of course it will delay it, but, uh... Well, you ought to know. Well, you ought to know.
  149. 21:24 They had you drawing up the papers.
  150. 21:26 Mm-hmm. Oh, by the way, uh, Corrigan and King are in the house, they just got back.
  151. 21:31 Well, uh, the boys made a pretty quick trip, didn't they? Yeah. Oh, uh...
  152. 21:36 I'll push your horse away, Mr. Freeman.
  153. 21:38 Well, that's fine. Thank you very much, Blackie.
  154. 21:56 Just the same, I feel that I should have been here instead of tagging along with a herd of cattle.
  155. 22:01 Oh, I wouldn't feel that way about it if I were you, Crash.
  156. 22:03 It was because of the cattle the old man sent for you. That's right.
  157. 22:06 All he was thinking about was getting that herd to market and sold. He thought everything depended upon it.
  158. 22:11 I have a notion that he knew what was going to happen and he wanted to add the money from the cattle to the nest egg that he was leaving behind.
  159. 22:17 There's just one thing wrong with that theory, boys. There doesn't seem to be any nest egg, and as far as I can learn, there's not a cent in the bank.
  160. 22:23 Well that's simple magpie didn't believe in banks not even their checks that's why I wanted the money in cash
  161. 22:29 Well, of course, you didn't listen to him. You've been his lawyer long enough, Freeman, to know that you always listen to Magpie.
  162. 22:35 Now that there's no magpie to object,
  163. 22:37 I'm going to telegraph to Alibi myself.
  164. 22:40 And I'm going to tell Alibi to leave the money on deposit in the bank.
  165. 22:43 You can't reach him, Mr. Freeman. We've already told you he'd be on his way here by now.
  166. 22:47 And besides, there's nothing to worry about as far as alibi and that money's concerned. Why anybody that tries to waylay him will be badly fooled.
  167. 22:55 Fooled? But how? He's not coming directly here. He's going to take that old abandoned trail through Coyote Gulch.
  168. 23:01 I still don't like it. Besides dusting myself nobody knows anything about that old abandoned trail.
  169. 23:08 That may be true. But there's somebody on this place that knows a lot more than is good for the rest of us.
  170. 23:14 Well, he doesn't know. He seemingly has a way of finding out.
  171. 23:17 I'm quite sure...
  172. 23:21 What are you doing there?
  173. 23:23 Weather busy warm. Mammy, you like lemonade?
  174. 23:26 Hey, how long you been standing there?
  175. 23:29 Me no stand, they come from kitchen.
  176. 23:31 Lemonade very good.
  177. 23:34 *thud*
  178. 23:36 You suppose he's telling the truth. Now whether he is or not you thought can have the lemonade I'm going to keep an eye on him and find out who he talks to and where he goes.
  179. 23:45 This is all right. Better have some.
  180. 23:48 What I really came out here for was to announce there'd be a reading of Hopper's will next Wednesday. Where? Here at the house.
  181. 23:54 and along with the others you might notify Nancy Henderson and her father.
  182. 23:57 Well, Dusty, I've got to get back to the office now. I've got things to take care of. Goodbye. Goodbye, Miss Freeman.
  183. 24:09 I have something to take care of myself.
  184. 24:16 Why don't you sit down? Thank you. Nancy.
  185. 24:22 Father's out the barn. I'll call him. Oh, no, no, don't do that. Oh, I mean that.
  186. 24:27 He's got work to do and no use bothering him. Well besides, I can always talk to him later.
  187. 24:33 That's right, you can, can't you? Uh-huh.
  188. 24:38 You know, I was the...
  189. 24:41 I'm sorry. What were you going to say? No, nothing. It can wait.
  190. 24:47 What were you going to say? Um... I, uh... Yeah?
  191. 24:56 I mean...
  192. 24:56 I was just wondering... Yes? Where's Crash?
  193. 25:03 Great.
  194. 25:06 Crash who?
  195. 25:07 You know, crash Corrigan. Oh.
  196. 25:10 Oh, him? Yes, him. Oh, Corrigan. Oh, the last time I saw Corrigan, he was... He was just going out after a certain...
  197. 25:22 uh, party.
  198. 25:23 - Brunette?
  199. 25:24 No, no, a blonde.
  200. 25:27 The crash is partial to Blondes, you know. No, I didn't.
  201. 25:31 That's too bad. Yes isn't it. Too bad.
  202. 25:38 "Chair yi vong chang yi baat ni"
  203. 25:46 Young, what's Maggie?
  204. 25:56 There's a little green valley I found in a dream, a little green valley with a rippling stream. The stream's running through, grass is knee-deep too, in that little valley of mine.
  205. 26:26 We'll spend our days watching cattle graze in that little green valley of mine. I could pitch a tent on the prairie, but that wouldn't do.
  206. 26:56 I'll build a ramblin' house just for me two A simple little place that we will add on to So pack all your charms I'll take you in my arms
  207. 27:26 Tell man, get away again, dear.
  208. 27:39 Oh, pardon me.
  209. 27:41 Ah.
  210. 27:43 Dusty.
  211. 27:46 What are you doing here?
  212. 27:48 That works both ways, partner. What are you doing here? That's right, Crash. What are you doing here?
  213. 27:52 You haven't forgotten that appointment, have you?
  214. 27:54 appointment.
  215. 27:56 What appointment? What's this all about? Oh, you remember, Grace. Don't you remember? You had to see that certain party. Now, you better hurry up or you'll be late. Now, quit shoving.
  216. 28:04 Now what party are you talking about? Why, that little blonde that's waiting for you so patiently. Okay.
  217. 28:09 Why, I don't know what you're talking about.
  218. 28:11 The only party that I'm after is that Chinese.
  219. 28:14 Fang Wei.
  220. 28:18 Oh. Huh?
  221. 28:19 I get it. So I was going out calling on a blonde, eh? That's what Dusty says.
  222. 28:24 He says you don't like brunettes. He did?
  223. 28:27 Oh, you know. So I don't like brunettes, eh? Excuse me, I gotta be going. I just remembered something. Ah, not so fast, Cupid.
  224. 28:37 You got some more remembering to do.
  225. 28:39 Now, didn't I tell you I was going out to keep an eye on that Chinese Fang Wei?
  226. 28:44 Yeah, come to... come to...
  227. 28:46 Think of it? You did, didn't you? Yes, I did. And I didn't say I was going out calling on a blonde. Come to think of it,
  228. 28:54 I didn't say I didn't like brunettes either.
  229. 28:57 Nope.
  230. 28:58 Come to think of it.
  231. 29:03 Maya.
  232. 29:04 I guess we're all straight on that now, Miss Nancy, aren't we?
  233. 29:07 We sure are. Now you can go, Chris. Thanks.
  234. 29:15 Oh, Eve's dropping. Excuse me.
  235. 29:20 What's he saying?
  236. 29:21 Missy Nancy who is to hit the chicken?
  237. 29:24 How could bossy say anything about hatching chickens?
  238. 29:27 Bossy did.
  239. 29:29 Be very sunny.
  240. 29:31 before he go golly where's, before she say, "Feed your maids!"
  241. 29:35 Me put on sale.
  242. 29:36 I forgot. Very sorry.
  243. 29:39 But I never said anything to Uncle Magpie about wanting eggs. Eh, there's something fishy about this. Let me see those eggs.
  244. 29:55 Why, this might mean something.
  245. 29:59 - To your nets.
  246. 30:01 Why, this is to you.
  247. 30:03 I may be gone before you get this.
  248. 30:06 If I find my enemies closing in on me, I'll reveal a secret of utmost importance to you.
  249. 30:12 The message I write will be to the Range Busters.
  250. 30:16 Message to us? What message?
  251. 30:19 May I see this?
  252. 30:23 Why, that's Magpie's handwriting.
  253. 30:25 Look here, Fangwing. Do you know anything about any message?
  254. 30:29 Well, he's sorry. Me no sorry.
  255. 30:32 He's no help, leave him alone.
  256. 30:35 What are you coughing for? You'd cough too if you had $10,000 shoved down your throat. I've been used for a lot of things, but this first time I was ever used for a bank, I guess I'm really important now. Now? If you'd always were, Elmer, you know I wouldn't take all the money in the world from you. Not even if I didn't pay $10,000 on me? Not even then. You know I love you like a son, Elmer.
  257. 31:05 I didn't know you cared, Alibi.
  258. 31:23 Engines, I've been a scout. That'll show you what'll happen. If I aim at your heart.
  259. 31:32 All right, hand over that money.
  260. 31:35 Quit monkeyin'. Ten thousand dollars we want. Ten? Ten? Did you say ten thousand dollars? You heard what I said. Gosh, you're all hemlock stranger. If you put together all the money I ever dreamed of, it wouldn't make half that much. All right, you fellas. Drag him off that horse and search him.
  261. 32:04 You wouldn't think if you wrote a message and expected us to find it he goes through a lot of trouble hiding it. Must be didn't want anybody else to stumble on accident. Hold on there Frank. What's that you've got. You know. I mean we actually do.
  262. 32:21 Where did you get this?
  263. 32:23 Me find they on death. When?
  264. 32:25 Night bossy, he go got it west.
  265. 32:28 Me think he don't want anybody to see.
  266. 32:31 Me take. Me no ways till he'll keep.
  267. 32:34 He's telling the truth there, Kreish. He was just trying to slip it on that chair.
  268. 32:38 Seems like he wanted us to find it there.
  269. 32:40 And there's something funny about this. Why did you bring this to me sooner.
  270. 32:43 Me afraid, me will imagine afraid.
  271. 32:46 Self-man can say, "Aphan
  272. 32:48 Have no one.
  273. 32:49 I'll come to the house.
  274. 32:51 That sounds reasonable, Crash. I might have got all mixed up myself.
  275. 32:54 All right, Fang, but don't you tell us, Sol, a thing about this.
  276. 32:58 Fang Wei, Sabi.
  277. 33:00 Confucius say, "Mumster word, huh?"
  278. 33:03 All right, Stain, now you go on about your business.
  279. 33:07 Very well, very glad to.
  280. 33:11 What do you make of it, Crash?
  281. 33:13 Oh, I don't know, Dusty.
  282. 33:15 Your guess is as good as mine.
  283. 33:20 Now let me see.
  284. 33:27 Well the way I got it figured. He was sitting here writing that note when somebody came in and shot him.
  285. 33:33 before he got to what he really wanted to say in the note.
  286. 33:36 Yeah.
  287. 33:40 Notice this X marked here.
  288. 33:42 Well, so what? I don't see where that means anything.
  289. 33:45 Maybe not yet.
  290. 33:47 Did you notice these X's on this desk? Those are match scratches. Magpies to roots that never stay lit. Why, there's scratches like that all over the house. Now you've hit on it, Crash. Hit on what? Match scratches. There must be a trail of them leading to wherever the money's hidden. Don't you see, Crash? The old man must have seen death coming.
  291. 34:03 And all he had a chance to do is to leave some sort of a hint. So he.
  292. 34:09 Your horse's saddle, Corrigan.
  293. 34:11 Much obliged.
  294. 34:19 I guess we'll have to hang a cowbell around that armory's neck to find out when he's going and coming.
  295. 34:25 Speaking of going and coming...
  296. 34:27 Just where you headed for. You know, there's no rush about seeing Nancy. Anyway, not... All right, Casanova, just you keep that in mind. I was going out a piece to look for alibis.
  297. 34:36 Well, what about him?
  298. 34:37 Well, it seems like he's a little overdue.
  299. 34:40 Maybe Freeman was right about people around here finding out too much.
  300. 34:50 I don't know where you'll find him here. Fight off you.
  301. 35:02 I don't know what you are bringing me here for. Keep him up, Captain. Then sit down.
  302. 35:21 What do you want me to do with this doll? What did I tell you, Annabelle? Now some bald people think of me they're an old man or a doll.
  303. 35:27 Thanks! That thing's haunted!
  304. 35:30 Ah...
  305. 35:33 You stay here and keep your eye on him. I'll see what the boss wants to do with him.
  306. 35:42 Does that thing really talk?
  307. 35:43 All now and then, but most times you need a little coaxer.
  308. 35:47 What kind of coaching?
  309. 35:48 Well, if you will untie my hands and put him on my lap, I might get him to Gavin right free.
  310. 35:56 No, I can't do that.
  311. 36:02 I'm going to go.
  312. 36:14 I'm going to go.
  313. 36:40 Well, what are you looking at? Nothing. From way carriers. See what happened. What do you expect to happen? Me no no. For she say, "Lem catch them devil." Devil or no devil, it's a funny place to hang a lamp.
  314. 36:54 Unless Harper spent a lot of time in that closet.
  315. 36:59 There's devils in there, Fang Wei. We'll keep them locked up for future reference.
  316. 37:24 Take it easy, boys.
  317. 37:30 Maybe that arm we grabbed got rid of the money, and that maverick came along to pick it up.
  318. 38:36 Back to the right.
  319. 38:59 Morning, when Dan Freeman reads the old man's will... Why do I care about wills? Cracks should have been here hours ago. When I was as young as Corrigan...
  320. 39:09 And a girl as pretty as Nancy Henderson was as sweet on me as she is on him.
  321. 39:16 She's sweet on Crash?
  322. 39:18 What are you talking about?
  323. 39:20 Well, sweet on me or not.
  324. 39:22 If she was pretty and agreeable, I'd oftentimes stop by for an hour or two instead of going straight home.
  325. 39:30 No, that might account for crash. But what about Alibi? He's way overdue too. Well, this horse could have gone lame. Yeah, maybe he was wrong. He might have been murdered while we sit around here like a... Now listen to me, young fella!
  326. 39:40 I can sit right here and have enough murder sticks into me to drive me crazy.
  327. 39:45 without going out looking for any.
  328. 39:50 The horse! What is it? What's the matter? There ain't nobody on it.
  329. 39:53 Horse what horse?
  330. 39:55 Crashers, he just come open home fetching nothing but an empty saddle. You mean to say Crashers, Orange came back off?
  331. 40:00 I own it.
  332. 40:00 Come on, Sheriff.
  333. 40:05 You know?
  334. 40:06 Just as I thought.
  335. 40:07 No blood any place.
  336. 40:09 The nag just walked off and left him. Left him? Left him where?
  337. 40:12 What are you?
  338. 40:13 When I was as young as Corrigan,
  339. 40:15 and a girl who's putting it... Where you going?
  340. 40:19 First, I'm going to calm my nerves with smoke.
  341. 40:22 Then I'm going home to bed.
  342. 40:24 I can't be caught napping for the reading of that wheel tomorrow morning. Well, you can do what you want to. I'm going to do some scouting around myself.
  343. 40:36 Fang White said he was going to bed. That means nobody should be in the house, doesn't it?
  344. 40:40 I yes that's the way I drink it quite for somebody in the room just turned the lamp down come on let's see maybe I better stay here and hold the horse all right I'll be right back
  345. 41:22 Come on.
  346. 41:33 I'm sorry.
  347. 42:03 Oh, my God.
  348. 42:09 Amen.
  349. 42:21 No, stop! Hey!
  350. 42:24 What's ailing you? You ain't no ghost, are you? No, where'd you get that notion?
  351. 42:30 I don't know, but there's a rumor around here that you got killed. No, nothing like that.
  352. 42:35 Say.
  353. 42:35 What are you doing up here this time of the night anyway? Well, I promised Dusty I'd stay out here and hold the horse till he come back. Back? Back from where? The house. Somebody turned down the lamp and he went up to find out who it was.
  354. 42:48 How long ago?
  355. 42:50 Gosh, I don't know. Maybe a...
  356. 42:51 Hour, two, or three...
  357. 42:53 An hour or two?
  358. 42:56 We've got to find out what's happened to him.
  359. 42:57 Let's go. But I can't. I promise to hold a horse.
  360. 43:00 That horse has been broke to stand. Come on.
  361. 43:04 Dusty.
  362. 43:26 Oh, Dusty. Oh.
  363. 43:30 Look, Cousin Harold, would you mind putting my horse up for the night
  364. 43:34 shut-eye while I sleep here with one eye open. Now? Yeah, now.
  365. 44:27 Are you fell sure black he was any fun when you turned in.
  366. 44:30 Yep, and snoring.
  367. 44:32 Say, maybe the same thing that got dusty got him. Yeah, and maybe it didn't.
  368. 44:36 Do you know Blackie's horse when you see it? Sure. Well, then go take a look and see if it's still in the stall.
  369. 44:40 Red, you write for the sheriff or the rest of us search the place. Come on, will you make it snappy now? Let's hurry up.
  370. 45:10 It's about time you're getting here.
  371. 45:12 Say, what do you expect a man to wake up out of a sound sweep?
  372. 45:15 Jump into his pants and get someplace like that?
  373. 45:19 What's this I hear about? Dusty King getting murdered. Nobody said he was murdered. It was you. And nobody said he isn't either.
  374. 45:27 He went into the house to grab a prowler, and that's the last anybody seen of him. If I was a swearer on the man, I'd be aggravated enough to break loose, Cargan. Now, that wouldn't help to find Dusty. Find him? Who wants to find him?
  375. 45:38 You and him both are not old enough to take care of yourselves.
  376. 45:41 If the two of you would please get lost for keeps,
  377. 45:44 Maybe I could solve a real murder mystery myself.
  378. 45:49 What are you settling up for?
  379. 45:51 I'm going out looking for Blackie.
  380. 45:53 Blacky!
  381. 45:55 Is he lost too?
  382. 45:56 Well, he isn't around anywhere, and I aim to find out...
  383. 45:59 Where are you?
  384. 46:00 And why?
  385. 46:17 Seems like that gang of yours started running out on you. They'll be back all right. When they do, they'll ring your neck until you tell them where that $10,000 is.
  386. 46:26 That old broken-down Maverick ain't got no more money than I got hair.
  387. 46:33 So you're in on this to I mean on anything I'm telling my partner ain't got no money.
  388. 46:38 But he knows where something's at.
  389. 46:40 And so do you. And if you don't tell, I'm going to break you. Then hey, now wait a minute, Bill. If you harm Elmer, he'll haunt you all the rest of your life.
  390. 46:48 I ain't scared of haunts.
  391. 46:50 I'm made by Harper.
  392. 46:54 I've been killed.
  393. 46:58 I come back for blood
  394. 47:02 I cry.
  395. 47:05 I know who killed me.
  396. 47:09 And so do others.
  397. 47:18 Oh!
  398. 47:30 I'm Magpie Harper.
  399. 47:36 Listen, Magpie.
  400. 47:38 If that's really you, I'm Alibi. You know me, Alibi Terhune.
  401. 47:43 And where is Bill?
  402. 47:45 Gone.
  403. 47:46 here anymore.
  404. 47:49 Who is there?
  405. 47:51 Just me and...
  406. 47:52 And Elmer? You remember Elmer?
  407. 47:55 sure this is dusty
  408. 47:58 -Dusty? -Yeah.
  409. 48:00 I'm in an old mine tunnel.
  410. 48:02 You know, it must butt right up against the place that you're in.
  411. 48:05 What kind of fix you got yourself into?
  412. 48:07 Terrible.
  413. 48:08 Elmer's feeling awful because he lost his curly locks and good looks.
  414. 48:12 I found a trick way of getting into this tunnel...
  415. 48:15 It just might be that I might find a trick way of getting out at this end.
  416. 48:19 Where did you get in? At Harper's Ranch.
  417. 48:21 Seems like I traveled for miles.
  418. 48:23 Must be a whole mountain between us.
  419. 48:26 Hey.
  420. 48:27 Wait a minute.
  421. 48:29 Here's a funny looking contraption.
  422. 48:32 You know, it just might be that...
  423. 48:37 I'll get you out of this right away, old boy.
  424. 48:47 Except for the aforementioned bequest, I, in appreciation of a long friendship, do hereby will and bequeath
  425. 48:55 All the residue of my properties, estate and monies to Nancy Henderson.
  426. 49:03 Oh, Father.
  427. 49:04 Congratulations, Miss Henderson. Oh, come now. Instead of crying, I should think you'd be delighted.
  428. 49:11 I am delighted.
  429. 49:13 But I wish I could tell Uncle Magpie how grateful I am.
  430. 49:17 Can't we go home, Father? I've just got to be by myself. Thank you, Mr. Freeman.
  431. 49:23 - Very much. - Not at all, Miss Nancy. Goodbye.
  432. 49:29 Let me go on now.
  433. 49:32 Yes, Fang, and just as soon as the estate is settled, I'll see that you get a check for $500. - Very much, O'Vagin. - All right.
  434. 49:40 Wake up, Sheriff. School's dismissed, huh?
  435. 49:43 - Has the world been read? - Just finished. Who's here? Oh, little dad's here and there.
  436. 49:50 Ranch Foreman, Chinese Cook, Range Busters.
  437. 49:54 But most of the money in the estate was well to Nancy Henderson's. How did your father take it? Oh, he took it calmly enough.
  438. 50:01 Did you think he knew it beforehand? Oh, no, I'm quite sure he knew nothing about it.
  439. 50:05 Dang it all, murder or no murder. Them trout over and cow quick are getting tired of waiting for me.
  440. 50:14 If any clue turns up, that's where you'll find me. I'll be sure to call you, Sheriff.
  441. 50:24 I'm going to go.
  442. 50:39 Come on.
  443. 51:07 Blackie.
  444. 51:15 Dead.
  445. 51:30 Oh.
  446. 51:44 Oh.
  447. 51:51 Come on.
  448. 52:17 I reckon you know what you're about, Dusty, but speaking for me, I'd like to get out of here. Say, where's that breeze coming from? I'm not able to catch cold in my head.
  449. 52:25 This zombie you're waiting for might put off his vest because we all starve to death, which might make it too late to help find Crash.
  450. 52:32 All right, Alibi, we'll keep moving.
  451. 52:46 Wait a minute, I think I hear something.
  452. 52:50 Yeah.
  453. 53:03 Chances are he'll get close enough for us to grab him before he ceases. Don't breathe, Elmer.
  454. 53:13 Maybe he's found what he's looking for and isn't coming any further.
  455. 53:17 We'd better find out.
  456. 53:20 Hey.
  457. 53:24 What are we gonna do? If he spots us, we'll have to shoot it out.
  458. 53:27 Come on.
  459. 54:20 Hey. Hey.
  460. 54:45 We can see who it is.
  461. 54:57 I can't make out who that hombre is. But if I ain't plum blind, it's all that's chasing's crash. Come on.
  462. 55:20 Keep riding. Christ might need us. He's chasing the killer.
  463. 56:26 Did all this come out at the hearing, Father?
  464. 56:28 No, Freeman had made a full confession before.
  465. 56:31 It seems that he had been spying on Magpie and found out about the money hidden in the tunnel.
  466. 56:35 I guess he figured if he got rid of Magpie, nobody would beat him, sir.
  467. 56:38 Well, what went wrong? Did Blackie seem to it? No, but he did run across some papers in Freeman's briefcase, which gave away the fact that Freeman had a criminal record.
  468. 56:46 Freeman.
  469. 56:47 Yes.
  470. 56:47 Embezzlement.
  471. 56:49 So Blackie decided to go in for a little blackmailing.
  472. 56:52 That's why Freeman had to get rid of him. Sure, it complicated. Well, not half so much as it would have been if you boys weren't here.
  473. 56:59 The way the sheriff was bungling the job.
  474. 57:01 I might have been the penalty for Magpie's death.
  475. 57:03 Father, what a horrid subject to talk about. Let's forget all that.
  476. 57:07 I'll get some refreshments. Oh, please don't bother. We gotta be going. We got a long trip ahead of us. You sure have. Yeah, we gotta get a present for a friend of ours, and the only place we can get it is Denver.
  477. 57:17 What?
  478. 57:18 Another blonde?
  479. 57:19 To tell the truth, it is a blonde. Wouldn't you say, Dusty? No, no, I'd say this party's hair was more of a straw color. Helmer, he hasn't been the same since he got his top piece shot off in that chute. Yeah, we gotta get him a new one, quick. You sure do. The gals don't need bo... ...all the time.
  480. 57:36 Hold me tight, Alma. I should think you would look after Alma.
  481. 57:39 After all, he was wonderfully brave.
  482. 57:44 Oh, me. The life of a hero. Do it again.
  483. 57:50 But you must all come back soon. Promise? Ah, don't worry. We'll be back. Yes, we certainly will. Woo-hoo!
  484. 57:58 Come on, let's get going. Denver bust you, range busters.
  485. 58:03 Well, goodbye, Mr. Henderson. Thanks for everything. Goodbye, Mr. Henderson. It's been a pleasure. Thank you, boys. Goodbye.

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