Public Reel

South of Santa Fe (1942)

No renewal found Free in the US since 1 January 1971, on the registry's reading: registration LP11099 of 1942 by Republic Pictures Corp was not renewed in the volumes searched. Record.

Roy Rogers brings investors to a gold mine, then must answer for their disappearance in a Western built around money and mistrust.

The gold mine in South of Santa Fe needs something a six-shooter cannot supply: investment. Its owner, Carol Stevens, needs money to open the property.6 Roy Rogers proposes bringing wealthy backers to inspect the opportunity.6 When three industrialists disappear, Roy himself falls under suspicion.5 The arrangement gives him an awkward position for a Western hero: his own reasonable suggestion has helped create the trouble. Before the mine can become a working concern, the man who brought the parties together must account for the missing visitors.

Joseph Kane directed the film.1 James R. Webb wrote the screenplay.1 Released by Republic Pictures, it places Rogers at the centre of a story about the vulnerability of a business transaction.45 Carol’s mine depends on outsiders being willing to commit their money. Roy’s plan rests on his ability to bring those strangers into town safely. Trust is the means of getting the enterprise started. It is also the first thing the crime destroys. The accusation turns Roy’s role as intermediary against him. Having vouched for the opportunity, he must now answer for what happened to the men who came to consider it.

The film was shot in Placerita Canyon, California.8 Its title had already been used for a Bob Steele Western released in 1932.11 A separate South of Santa Fe, starring Tex Williams, followed at Universal in 1949.8 These are distinct films, not successive releases of the Rogers picture. The title alone is a poor guide to which film a catalogue entry or circulating copy identifies. Rogers’s name matters here as a way of distinguishing the work, quite apart from its prominence in the credits.

The Sons of the Pioneers supply the musical company.9 Their presence places the story within the format of a Rogers musical Western. The plot, meanwhile, makes his standing with the town uncertain. His part in arranging the visit is enough to put him under suspicion when the investors vanish.5 The trouble grows out of the task he has undertaken for Carol, rather than arriving as a separate obstacle to the mine’s opening.

The film’s later circulation took it away from the theatrical programme. It passed into television syndication through MCA-TV between 1955 and 1960.4 A DVD listing offers an Alpha Video edition paired with In Old Cheyenne as a Rogers double feature.6 In that listing, the star supplies the organising principle. The pairing does not depend on the particulars of Carol’s mine or the disappearance of its prospective backers. Those belong to this film; Rogers’s name connects it to the other title.

Its rights history requires a different kind of identification. The title appears among Republic library films represented by MPAA program suppliers in a 2012 Copyright Royalty Board satellite proceeding.12 That entry is evidence of representation in the proceeding, not a renewal registration. It therefore answers a different question from the registry’s search for renewal evidence. Nor does the sequence of television and DVD releases establish that an expired term caused either release. Circulation and copyright evidence have to be read together without treating them as interchangeable.

The record: Registration LP11099 by Republic Pictures Corp is dated 17 February 1942. The registry found no renewal in the renewal volumes for 1969 to 1971, nor in the Copyright Office's records from 1978 on; on that reading the term ended on 31 December 1970 and the film has been free in the US since 1 January 1971. The record does not settle the rights attached to every circulating version. It does not establish the film’s status outside the US.

Written 6 September 2026 by gpt-6-astra from the registry record, the atlas's own evidence and the sources below, gathered by Qwen/Qwen3.8-Max with web search and questioned by deepseek-ai/DeepSeek-V4-Pro. Numbered notes are the sources; a claim marked unverified has no source yet; times open the atlas at that second. How these are made and checked.

  1. en.wikipedia.org https://en.wikipedia.org/wiki/South_of_Santa_Fe_(1942_film)
  2. catalog.afi.com https://catalog.afi.com/Film/27472-SOUTH-OF-SANTA-FE?cxt=filmography
  3. baike.baidu.com https://baike.baidu.com/en/item/South%20of%20Santa%20Fe/1860332
  4. dukefilmography.com https://dukefilmography.com/republic_pictures_library.html
  5. rottentomatoes.com https://www.rottentomatoes.com/m/south_of_santa_fe
  6. amazon.com https://www.amazon.com/South-Santa-Fe-Old-Cheyenne/dp/B002BEXFOQ
  7. imdb.com https://www.imdb.com/title/tt0035364/
  8. scvhistory.com https://scvhistory.com/scvhistory/lw3000.htm
  9. cinema.nl https://www.cinema.nl/db/443806-south-of-santa-fe
  10. filmsonsuper8.com https://www.filmsonsuper8.com/censorship/mpaa-film-numbers-52000.html
  11. b-westerns.com https://www.b-westerns.com/steele1.htm
  12. crb.gov https://www.crb.gov/proceedings/2012-7/WDS/MPAA-WDS-Satellite-2.pdf
  13. wikiwand.com https://www.wikiwand.com/en/The_Sea_Hornet

Inside the film

508 shots over 52:57 · 252 beats in 150 sequences · 464 transcript lines · JSON

Lands on the beat covering that second.
150 sequences; each is also a heading below.

Every shot, 508 frames with timestamps and on-screen text

How this page was made

508 shots over 52:57, read from the Internet Archive copy south_of_santa_fe (south_of_santa_fe.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: South of Santa Fe No renewal found. JSON

Measurements: black-and-white film on its keyframes (0 of 508 shots judged colour), average shot 6.3s long, a frontal face detected in 22% of keyframes. Shots are detected automatically and each is represented by its midpoint frame.

Released 1942 (Internet Archive).

252 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 0:16, shot 00:16
1 of 1 shots sampled

1. Beat 1

0:00–0:33 Not yet checked

Model synopsis: The beat shows the title card for the 1942 film 'South of Santa Fe' with production credits and a rating seal. No people, actions, or dialogue are present.

Evidence, details and a link to share

Sequence 2 from 0:33

Frame at 0:37, shot 10:37Frame at 0:46, shot 20:46Frame at 0:55, shot 30:55
3 of 3 shots sampled

2. Forest

0:33–0:59 Not yet checked

Model synopsis: A group of cowboys on horseback rides along a dirt path through trees, with one man singing about returning to the home corral. The scene is outdoors in daylight, with natural lighting and no visible buildings or artificial structures.

  • Cowboys on horseback ride along a dirt path through trees. [frame:1]
  • Close-up of a cowboy singing while riding a horse. [frame:2]
  • Group of cowboys on horseback riding together through trees. [frame:3]

3 people observed.

“Roll a heads up home corral. Roll a heads up home corral. With a howdy-do and a hallelujah, we're a headin' for the home corral.” 0:33 · “I've been three weeks in the open air with sand and cactus in my hair. Give me back my rockin' chair, I'm glad the roundup's over.” 0:33

Evidence, details and a link to share

Sequence 3 from 0:59

Sequence 4 from 1:08

Frame at 1:12, shot 51:12
1 of 1 shots sampled

4. Road

1:08–1:16 Not yet checked

Model synopsis: Three riders on horseback are shown outdoors on a dirt path, with trees in the background. The central rider is on a light-colored horse; the others are on dark horses. No dialogue or on-screen text is present.

3 people observed.

Evidence, details and a link to share

Sequence 5 from 1:16

Frame at 1:20, shot 61:20
1 of 1 shots sampled

5. Field

1:16–1:24 Not yet checked

Model synopsis: Two men on horseback are shown in a medium shot outdoors. Neither speaks in this segment, and no names are given.

2 people observed.

Evidence, details and a link to share

Frame at 1:25, shot 71:25
1 of 1 shots sampled

6. Outdoor

1:24–1:26 Not yet checked

Model synopsis: Two men in cowboy attire are mounted on horses outdoors. One man looks at the other while both remain seated on their horses.

  • Two men on horseback are shown in a medium shot. [frame:1]
  • One man turns his head to look at the other man. [frame:1]

2 people observed.

Evidence, details and a link to share

Sequence 6 from 1:26

Frame at 1:28, shot 81:28
1 of 1 shots sampled

7. Field

1:26–1:30 Not yet checked

Model synopsis: A person rides a horse-drawn cart across an open field with rocky hills in the background. The scene is shot in black and white with no visible text or dialogue.

  • A person rides a horse-drawn cart across a field. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 7 from 1:30

Frame at 1:32, shot 91:32Frame at 1:47, shot 111:47Frame at 1:52, shot 121:52Frame at 2:01, shot 142:01
4 of 6 shots sampled

8. Road

1:30–2:05 Not yet checked

Model synopsis: A bearded man in a hat drives an open-top car through a hilly, arid landscape while speaking about stomach pain from Johnny Cakes and a washed-out road near Wolf Creek. He dismisses concern about the road, claiming familiarity with washouts.

  • The man drives a car through a hilly landscape. [frame:1]
  • The man continues driving, looking ahead. [frame:2]
  • The car is shown in motion with other riders visible in the background. [frame:3]
  • 1 more under Evidence and details.

Named: Mayor (t:1:53). 1 person observed.

“I ate so many Johnny Cakes that now my stomach pains and aches. I've never had such awful breaks. I'm glad the roundup's over. We're ahead f…” 1:33 · “Hey, Mayor, you better watch out across from Wolf Creek. The road's washed out.” 1:53

Evidence, details and a link to share

Sequence 8 from 2:05

Frame at 2:08, shot 152:08
1 of 1 shots sampled

9. Field

2:05–2:11 Not yet checked

Model synopsis: A vehicle is parked on a dirt path in a brushy, hilly landscape. No people are visible, and no dialogue or on-screen text is present in this beat.

Evidence, details and a link to share

Sequence 9 from 2:14

Frame at 2:16, shot 172:16
1 of 1 shots sampled

11. Field

2:14–2:17 Not yet checked

Model synopsis: An older man with a white beard and a wide-brimmed hat sits in a vehicle, holding the steering wheel. The background shows brush and trees, suggesting an outdoor, rural setting.

1 person observed.

Evidence, details and a link to share

Sequence 10 from 2:17

Frame at 2:19, shot 182:19Frame at 2:24, shot 192:24
2 of 2 shots sampled

12. Field

2:17–2:27 Not yet checked

Model synopsis: A group of riders on horseback moves through a brushy, hilly landscape while a bearded man in a cowboy hat laughs from the driver's seat of an open vehicle. The transcript includes dialogue addressing a 'Mayor' and asking why 'Leapin' Liza' does not leap, followed by a request for help.

  • A group of riders on horseback moves through a hilly, brushy landscape. [frame:1]
  • A bearded man in a cowboy hat laughs while seated in a vehicle. [frame:2]

2 people observed.

“Hey, Mayor, why doesn't Leapin' Liza leap?” 2:18 · “Well, are you waitin' to quit laughin' and lend a hand? Yes.” 2:23

Evidence, details and a link to share

Frame at 2:29, shot 202:29
1 of 1 shots sampled

13. Brushy field

2:27–2:32 Not yet checked

Model synopsis: A group of men on horseback and one on foot gather around a vehicle in a brushy outdoor setting. The scene is shot in black and white with natural lighting and no visible dialogue or on-screen text.

3 people observed.

Evidence, details and a link to share

Sequence 11 from 2:32

Frame at 2:37, shot 212:37
1 of 1 shots sampled

14. Outdoor road

2:32–2:43 Not yet checked

Model synopsis: A man in a cowboy hat sits in the driver's seat of a vintage car, holding a rifle. The car is parked outdoors with trees visible in the background.

  • A man in a cowboy hat holds a rifle while seated in a car. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 12 from 2:43

Frame at 2:44, shot 222:44
1 of 1 shots sampled

15. Road

2:43–2:45 Not yet checked

Model synopsis: A person in a hat drives an open-top vehicle on uneven terrain. The vehicle appears to be an older model with a visible steering wheel and bench seat.

1 person observed.

Evidence, details and a link to share

Frame at 2:47, shot 232:47Frame at 2:49, shot 242:49Frame at 2:53, shot 252:53Frame at 2:57, shot 262:57
4 of 4 shots sampled

16. Road

2:45–2:58 Not yet checked

Model synopsis: A group of men, some on horseback and one in a car, are in a rural, hilly area. Dialogue criticizes their activities, suggesting they are neglecting responsibilities at Rogers Ranch and contributing to Whittaker City's decline.

  • A man in a car is seen with others on horseback on a road. [frame:1]
  • An older man with a white beard is shown in the car, speaking. [frame:2]
  • Men on horseback are shown near a car on a dirt road with buildings in the background. [frame:3]
  • 1 more under Evidence and details.

5 people observed.

“You fellas wouldn't waste so much time singing.” 2:46 · “Maybe the old Rogers Ranch wouldn't be going broke so fast.” 2:50

Evidence, details and a link to share

Frame at 3:05, shot 273:05Frame at 3:14, shot 283:14Frame at 3:19, shot 293:19
3 of 3 shots sampled

17. Road

2:58–3:22 Not yet checked

Model synopsis: Two men in cowboy hats talk beside a vehicle in a rural setting; one is identified as Gabby in the dialogue. They discuss delivering mail to Carol Stevens and mention being out day and night rounding up strays.

Named: Gabby (t:2:59), Pat (t:2:59). 2 people observed.

“I reckon Gabby's doing as well as any mare can, Pat.” 2:59 · “So are we. We've been out day and night, rounding up strays.” 3:02

Evidence, details and a link to share

Frame at 3:23, shot 303:23Frame at 3:27, shot 313:27Frame at 3:33, shot 323:33
3 of 3 shots sampled

18. Road

3:22–3:34 Not yet checked

Model synopsis: A man with a beard and hat holds mail and defies others; another man in a white hat confronts him near a vehicle. The transcript indicates a dispute over mail delivery, described as an outrage.

  • A man in a white hat stands near a vehicle and speaks to the bearded man. [frame:2]

3 people observed.

“I got them letters right here in my pocket.” 3:22 · “And they ain't none of you varmint men enough to take them away from me.” 3:24

Evidence, details and a link to share

Frame at 3:37, shot 333:37Frame at 3:42, shot 343:42Frame at 3:51, shot 363:51Frame at 3:58, shot 373:58
4 of 5 shots sampled

19. Silver Mine Office

3:34–4:01 Not yet checked

Model synopsis: A man in a cowboy hat holds a rifle and speaks with another man near horses; a third man rides away on horseback. A woman and two men stand outside a wooden building labeled 'Silver Mine Office'.

  • A man holds a rifle and speaks to another man. [frame:1]
  • Two men converse near horses. [frame:2]
  • A man rides a horse away from the group. [frame:3]
  • 1 more under Evidence and details.

Named: Jose (t:3:52), Mr. Peter Moreland (t:3:36), Carol (t:3:39). 8 people observed.

“Mr. Peter Moreland, mining engineer.” 3:36 · “Say, this is the good news Carol's been waiting for. You can have the rest.” 3:39

Evidence, details and a link to share

Sequence 13 from 4:01

Frame at 4:02, shot 384:02
1 of 1 shots sampled

20. Field

4:01–4:04 Not yet checked

Model synopsis: A person rides a horse through tall grass and brush, with trees and rocks in the background. No dialogue or on-screen text is present in this beat.

  • A person rides a horse through tall grass. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 14 from 4:04

Frame at 4:05, shot 394:05
1 of 1 shots sampled

21. Other

4:04–4:06 Not yet checked

Model synopsis: A single frame shows a rustic log cabin with a porch, set against a backdrop of rocky hills and trees. No people or movement are visible in the shot.

Evidence, details and a link to share

Sequence 15 from 4:06

Frame at 4:18, shot 404:18
1 of 1 shots sampled

22. Private office

4:06–4:30 Not yet checked

Model synopsis: A man in a cowboy hat and a woman in a checkered blouse stand facing each other indoors, speaking. The man asks about stray calves; the woman denies their presence and presses him about something he is hiding.

2 people observed.

“Roy, what are you doing up here? Oh, just moseying around. You haven't seen a couple of stray calves, have you? Calfs?” 4:11 · “You know there aren't any calves up here.” 4:18

Evidence, details and a link to share

Frame at 4:35, shot 414:35
1 of 1 shots sampled

23. Private office

4:30–4:41 Not yet checked

Model synopsis: A man in a cowboy hat and a woman in a checkered jacket stand close together; she holds a paper and speaks. The transcript indicates she is returning reports and commenting on their persuasiveness alongside other unspecified factors.

  • Woman holds a paper and speaks to the man. [frame:1]

2 people observed.

“Returning your father's reports under separate covers.” 4:35 · “They are convincing, but other factors...” 4:38

Evidence, details and a link to share

Frame at 4:48, shot 424:48
1 of 1 shots sampled

24. Private office

4:41–4:55 Not yet checked

Model synopsis: A man and a woman stand at a desk in a dimly lit room; the man wears a cowboy hat and coat, the woman a patterned blouse. The transcript reveals frustration over a mine and a newspaper file called 'the morgue'.

  • A man and a woman stand at a desk looking at papers. [frame:1]

2 people observed.

“Now I know why newspapers call their file the morgue. That's certainly what this one is.” 4:43 · “Why bother? The mine's finished.” 4:48

Evidence, details and a link to share

Sequence 16 from 4:55

Sequence 17 from 5:00

Frame at 5:03, shot 445:03Frame at 5:19, shot 455:19
2 of 2 shots sampled

26. Vehicle interior

5:00–5:32 Not yet checked

Model synopsis: A man in a cowboy hat sits in a vehicle, while another scene shows three people standing together, one holding a paper. The transcript discusses a mine, transportation, and contacting individuals named John G. McMahon and Harold Prentiss.

4 people observed.

“Dad was a great geologist and he knew this mine was worth putting his last breath and his last stand into.” 5:05 · “Now nobody will even bother to look at it.” 5:12

Evidence, details and a link to share

Frame at 5:43, shot 465:43
1 of 1 shots sampled

27. Other

5:32–5:55 Not yet checked

Model synopsis: Three people discuss a plan to lure city men to a location by inviting them to ride with vaqueros, referencing the 'Vaccaro' as a symbol of the Old West. One person mentions having dreamed of roping and hogtying people before, but insists this time will be real.

3 people observed.

“Oh, and it could be, Gabby, if we could only get them all up here at once to look at it. We could only rope them and hogtie them and stick …” 5:32 · “And then I always woke up.” 5:42

Evidence, details and a link to share

Frame at 6:17, shot 476:17Frame at 6:41, shot 486:41Frame at 6:43, shot 496:43Frame at 6:45, shot 506:45
4 of 4 shots sampled

28. Private office

5:55–6:46 Not yet checked

Model synopsis: A man in a suit sits at a desk and speaks while two other people, including a woman in a lace collar, stand nearby. The transcript reveals a conversation about cowboys arriving to see 'Mr. Morland' and a plan involving a 'singing telegram' and 'cactus canaries'.

  • A woman holds a paper and speaks to two men. [frame:1]
  • A man in a suit speaks while seated at a desk. [frame:2]
  • A woman in a lace collar speaks. [frame:3]
  • 1 more under Evidence and details.

Named: Mr. Morland (t:6:36). 4 people observed.

“What if they don't even ride? It makes no difference. Everybody likes to be a guest of honor.” 6:03 · “You ever hear of a singing telegram?” 6:11

Evidence, details and a link to share

Frame at 6:52, shot 516:52Frame at 7:02, shot 527:02Frame at 7:10, shot 537:10Frame at 7:15, shot 547:15
4 of 4 shots sampled

29. Private office

6:46–7:17 Not yet checked

Model synopsis: A group of men in cowboy hats perform music and interact in an indoor setting. One man sings while others play instruments or listen, and a man in a suit appears to speak with them.

  • A man in a cowboy hat plays the violin. [frame:1]
  • A man in a cowboy hat plays the double bass. [frame:1]
  • A man in a suit speaks with a group of men in cowboy hats. [frame:2]
  • 2 more under Evidence and details.

7 people observed.

“We are the Maccaro. We rise at the west we love, we'll live evermore.” 6:47 · “A strong horse beneath us as they did long before.” 6:47

Evidence, details and a link to share

Frame at 7:23, shot 557:23Frame at 7:34, shot 577:34Frame at 7:38, shot 587:38Frame at 7:46, shot 607:46
4 of 6 shots sampled

30. Private office

7:17–7:48 Not yet checked

Model synopsis: Two men in suits and hats are shown in close-up, followed by a group of men in cowboy hats playing instruments, and finally a wider shot of a room with several people including musicians and a man in a suit. The transcript contains spoken lines about someone being 'lame' and 'too stout' and should be a 'buccato'.

  • A man in a suit smiles while another man in a cowboy hat stands behind him. [frame:1]
  • The same man in the suit continues to smile. [frame:2]
  • A group of men in cowboy hats play instruments including a bass, guitar, and trumpet. [frame:3]
  • 1 more under Evidence and details.

8 people observed.

“He should be of a carol. And sleep where his blanket is the star-studded sky. And eat where the cactus goes his bacon will fry. Living in…” 7:17 · “Got the gallant. He's much too stout. What do you think we ought to do? Why, he should be a buccato.” 7:38

Evidence, details and a link to share

Frame at 7:57, shot 617:57Frame at 8:10, shot 628:10
2 of 2 shots sampled

31. Private office

7:48–8:13 Not yet checked

Model synopsis: A group of men in cowboy hats and suits stand in a room with wooden walls and blinds; one man holds a rifle. The transcript includes fragmented numbers and a comment about someone becoming 'a vicaro'.

  • Group of men stand in a room; one holds a rifle. [frame:1]
  • Men remain standing; man with rifle gestures slightly. [frame:2]

6 people observed.

“Thirty-two. Forty-four. In a little while, it may be more. Why, he should be a vocabular.” 7:48 · “44. 32. We'll have him looking just like you. When he is a vicaro.” 8:00

Evidence, details and a link to share

Frame at 8:23, shot 638:23
1 of 1 shots sampled

32. Town square

8:13–8:32 Not yet checked

Model synopsis: A group of five people, including two men in cowboy hats and a woman in a lace top, stand together outdoors holding a banner that reads 'WHITAKER CITY ANNUAL RIDE'. One man speaks to a woman addressed as 'Miss Pyre', mentioning he will not be very busy next week.

  • Five people stand together holding a banner for the Whitaker City Annual Ride. [frame:1]

Named: Miss Pyre (t:8:14). 5 people observed.

“Oh, Miss Pyre, I...” 8:14 · “I'm not going to be very busy next week, am I?” 8:16

Evidence, details and a link to share

Sequence 18 from 8:32

Frame at 8:34, shot 648:34Frame at 8:36, shot 658:36
2 of 2 shots sampled

33. Bar

8:32–8:37 Not yet checked

Model synopsis: Two men are seated in a vehicle; one is in the driver's seat and the other is in the passenger seat. A building with a sign reading 'BAR' is visible.

  • Two men are seated in a vehicle. [frame:1]
  • A building with a sign reading 'BAR' is visible. [frame:2]

2 people observed.

“Okay.” 8:34 · “It'll do.” 8:36

Evidence, details and a link to share

Sequence 19 from 8:37

Frame at 8:40, shot 668:40
1 of 1 shots sampled

34. County Sheriff's Office

8:37–8:44 Not yet checked

Model synopsis: A man in a trench coat and hat stands beside a parked car in front of a building labeled 'COUNTY SHERIFF'S OFFICE'. He is speaking, as indicated by the transcript line 'Come on.'

  • A man stands beside a car in front of the County Sheriff's Office. [frame:1]

1 person observed.

“Come on.” 8:42

Evidence, details and a link to share

Sequence 20 from 8:44

Frame at 9:03, shot 679:03Frame at 9:23, shot 689:23Frame at 9:27, shot 699:27Frame at 9:32, shot 709:32
4 of 4 shots sampled

35. Bar

8:44–9:36 Not yet checked

Model synopsis: In a bar, a man in a fedora and light coat speaks with others while a man named Ace Brody, described as a former cattle wrestler, reclines nearby. The conversation mentions a ten-day horse ride event in the Badlands and the involvement of vaqueros to preserve tradition.

Named: Ace Brody (t:9:12). 4 people observed.

“Three whiskeys, the best you got.” 8:48 · “That's Ace Brody.” 9:12

Evidence, details and a link to share

Frame at 9:43, shot 719:43Frame at 9:52, shot 729:52Frame at 10:12, shot 7310:12
3 of 3 shots sampled

36. Bar

9:36–10:29 Not yet checked

Model synopsis: Three men in fedoras and coats are shown in a bar and then outside, discussing plans involving a horse and a fake name. One man is told to leave bags at a hotel and hole up in the next town while another uses the alias Joseph Harmon.

Named: Joe Keenan (t:9:58). 4 people observed.

“Leave my bags at the hotel if there is one. You two hole up in the next town.” 9:48 · “- Holly was wrong. - It's four. You mean on a horse?” 9:58

Evidence, details and a link to share

Sequence 21 from 10:29

Frame at 10:33, shot 7410:33Frame at 10:39, shot 7510:39
2 of 2 shots sampled

37. Town square

10:29–10:41 Not yet checked

Model synopsis: A group of men in cowboy hats gather around horses and vehicles in an outdoor setting; one man speaks to another while others load gear. The scene includes a vintage car and a chuck wagon, suggesting a Western context.

  • A man in a cowboy hat greets others while standing near a horse. [frame:1]
  • Men load bags into a chuck wagon while others stand nearby. [frame:2]

Named: Gary (t:10:32). 5 people observed.

“Good morning, gentlemen. Hello. How are you, boy?” 10:32 · “Hey, hey. Well, well, how's it do? Fine.” 10:32

Evidence, details and a link to share

Sequence 22 from 10:41

Frame at 10:42, shot 7610:42
1 of 1 shots sampled

38. Street

10:41–10:44 Not yet checked

Model synopsis: Two men stand facing each other in an outdoor setting; one wears a cowboy hat and shirt, the other a cap and pinstripe jacket. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Frame at 10:48, shot 7710:48Frame at 10:56, shot 7810:56Frame at 11:03, shot 7911:03Frame at 11:10, shot 8011:10
4 of 4 shots sampled

39. Town square

10:44–11:12 Not yet checked

Model synopsis: Two men in cowboy hats walk and talk near a vintage car while others on horseback observe. Dialogue references characters named Gabby and Pat Brady and a horse race involving 'Princess Heidi.'

  • A man adjusts a horse's bridle while others watch. [frame:1]
  • Men on horseback sit near a building with a sign reading 'HOTEL'. [frame:2]
  • Two men in cowboy hats walk toward each other near a parked car. [frame:3]
  • 1 more under Evidence and details.

8 people observed.

“You haven't got one that's built closer to the ground, have you?” 10:48 · “What's happened to Gabby? It's time we were getting started. Saw him sneak off with Pat Brady. Both of them insulting each other, as usual…” 10:53

Evidence, details and a link to share

Frame at 11:16, shot 8111:16Frame at 11:23, shot 8211:23Frame at 11:29, shot 8311:29Frame at 11:40, shot 8411:40
4 of 4 shots sampled

40. Town square

11:12–11:49 Not yet checked

Model synopsis: A group of men on horseback in a Western town setting are addressed by a speaker who welcomes newcomers and warns them about the importance of their horses in tough terrain. Two men, one identified as Peter Morland and the other as Joseph Harmon of Amalgamated Breweries, are introduced during the exchange.

Named: Peter Morland (t:11:40), Joseph Harmon (t:11:42). 5 people observed.

“Oh, fellas.” 11:12 · “I'd like to welcome you newcomers to ten days and nights of the kind of life that's just as real today as it ever was.” 11:15

Evidence, details and a link to share

Frame at 11:50, shot 8511:50Frame at 11:54, shot 8611:54Frame at 12:01, shot 8712:01Frame at 12:09, shot 8812:09
4 of 4 shots sampled

41. Street

11:49–12:12 Not yet checked

Model synopsis: A group of people on horseback parades through a town street, with some individuals visible in close-up. A banner indicates the event is the 'Whitaker City Annual Ride' scheduled for April 2-12.

  • A group of riders on horseback parades down a street. [frame:1]
  • A woman and a man in cowboy attire are shown in close-up among the crowd. [frame:2]
  • The parade of riders continues down the street. [frame:3]
  • 1 more under Evidence and details.

3 people observed.

“Yee-haw! Yee-haw! Gee, I wish I was old enough to go along. Anyway, we'll be at the vatel party tonight. On the trail, we roll along in t…” 11:50 · “There's a rainbow high in the prairie sky, like the smile of eternity.” 12:05

Evidence, details and a link to share

Frame at 12:16, shot 8912:16Frame at 12:31, shot 9012:31
2 of 2 shots sampled

42. Trail

12:12–12:41 Not yet checked

Model synopsis: A group of riders on horseback travels along a trail with mountains in the background; one rider is told his horse is limping. The scene is outdoors during daylight, with no interior or named characters visible.

  • Riders move along a trail with a covered wagon. [frame:1]
  • Group continues riding, with mountains in background. [frame:2]

8 people observed.

“Down the trail we press along 'til the happy day is through.” 12:12 · “And we sing our song as we roll along.” 12:20

Evidence, details and a link to share

Frame at 12:45, shot 9112:45Frame at 12:51, shot 9212:51
2 of 2 shots sampled

43. Field

12:41–12:54 Not yet checked

Model synopsis: Two men on horseback are shown in an outdoor setting; one is adjusting his horse's tack while the other speaks about a lame horse and a trucked-out item. The dialogue references the year 1890 and clothing as a marker of period.

  • A man stands beside a horse while others are mounted nearby. [frame:1]
  • A man sits on a horse, holding reins, with a decorated bridle visible. [frame:2]

2 people observed.

“Might have had a lame horse there.” 12:46 · “Oh, I get another one, trucked out from town.” 12:48

Evidence, details and a link to share

Frame at 12:58, shot 9312:58Frame at 13:11, shot 9413:11
2 of 2 shots sampled

44. Field

12:54–13:19 Not yet checked

Model synopsis: Two men are outdoors near horses; one is mounted, the other stands beside a horse. Dialogue discusses the cultural role of ropes and spurs in their lifestyle.

  • A man sits mounted on a horse while another stands beside a second horse. [frame:1]
  • A man in a cowboy hat leans toward a horse's head. [frame:2]

2 people observed.

“1890 or 1942. In a bad lens, a man's best friend is still his horse.” 12:54 · “Say what's the rope for? To catch Indians?” 13:00

Evidence, details and a link to share

Frame at 13:21, shot 9513:21Frame at 13:26, shot 9613:26Frame at 13:31, shot 9713:31
3 of 3 shots sampled

45. Field

13:19–13:34 Not yet checked

Model synopsis: A group of men on horseback are gathered outdoors; one speaks about feeling younger and mentions a problem arriving. The group remains mounted as the camera pulls back to show more riders in a field.

  • Men on horseback are gathered in a group. [frame:1]
  • The camera pulls back to show a larger group of riders in a field. [frame:3]

4 people observed.

“When do we eat? I feel 20 years younger already. There's only one fly in the ointment.” 13:19 · “And here he comes now.” 13:26

Evidence, details and a link to share

Sequence 23 from 13:34

Frame at 13:38, shot 9813:38Frame at 13:46, shot 9913:46Frame at 13:55, shot 10013:55
3 of 3 shots sampled

46. Town square

13:34–13:59 Not yet checked

Model synopsis: A group of people in cowboy attire are gathered outdoors, some singing and playing instruments. The scene includes a wide shot of a crowd and close-ups of individuals performing.

  • People are gathered outdoors in a town square setting. [frame:1]
  • A group of people in cowboy hats are seated and standing on a porch or balcony. [frame:2]
  • Two young males are singing, one holding a microphone or instrument. [frame:3]

3 people observed.

“Saddle your worries to a cowboy song and yodel your troubles away.” 13:34 · “Randall your sorrows as you go along with a yippee-yo, ki-yay.” 13:34

Evidence, details and a link to share

Frame at 14:03, shot 10114:03
1 of 1 shots sampled

47. Other

13:59–14:07 Not yet checked

Model synopsis: A group of people, including a woman in a dark vest and a boy in a plaid shirt, are visible in a medium shot. No dialogue or on-screen text is present in this beat.

5 people observed.

Evidence, details and a link to share

Sequence 24 from 14:07

Frame at 14:11, shot 10214:11Frame at 14:20, shot 10314:20
2 of 2 shots sampled

48. Town square

14:07–14:24 Not yet checked

Model synopsis: A group of people in Western attire gather outdoors, some playing instruments and others watching. The setting appears to be a rustic, open-air location with a building and mountains in the background.

5 people observed.

Evidence, details and a link to share

Frame at 14:28, shot 10414:28Frame at 14:36, shot 10514:36Frame at 14:41, shot 10614:41
3 of 3 shots sampled

49. Other

14:24–14:42 Not yet checked

Model synopsis: A group of men in cowboy hats stand together in an outdoor setting, while a woman sings with a violinist behind her. The transcript includes a spoken lyric about roping the sun and yodeling troubles away.

  • Men in cowboy hats stand together outdoors. [frame:1]
  • A woman sings with a violinist behind her. [frame:2]
  • The woman continues singing, looking slightly to her right. [frame:3]

5 people observed.

“Throw a rope around the sun as he rolls by, so you can keep him shining right way up in the sky. Then saddle your worries to a cowboy song,…” 14:24

Evidence, details and a link to share

Sequence 25 from 14:42

Frame at 14:48, shot 10714:48
1 of 1 shots sampled

50. Other

14:42–14:53 Not yet checked

Model synopsis: A young boy in a plaid shirt is visible in a close-up, with two men partially visible behind him; one holds a guitar. No dialogue or on-screen text is present in this beat.

3 people observed.

Evidence, details and a link to share

Sequence 26 from 14:53

Frame at 14:55, shot 10814:55Frame at 15:01, shot 10915:01
2 of 2 shots sampled

51. Porch

14:53–15:05 Not yet checked

Model synopsis: A group of men in cowboy hats and western attire gather on a porch or stage at night; one plays guitar while others stand or sing. The transcript includes yodeling sounds and a line about battling worries with a cowboy song.

  • A group of men in cowboy hats gather on a porch at night. [frame:1]
  • One man plays guitar while others stand or sing. [frame:2]

4 people observed.

“Adiole, dee, dee, dee, dee.” 14:54 · “Then battle your worries to a cowboy song.” 14:54

Evidence, details and a link to share

Frame at 15:06, shot 11015:06
1 of 1 shots sampled

52. Outdoor platform

15:05–15:07 Not yet checked

Model synopsis: A group of men in Western attire, including hats and vests, stand on a wooden platform outdoors. One man holds a guitar while others appear to be singing or clapping.

5 people observed.

Evidence, details and a link to share

Sequence 27 from 15:07

Sequence 28 from 15:11

Frame at 15:12, shot 11215:12
1 of 1 shots sampled

54. Outdoor

15:11–15:13 Not yet checked

Model synopsis: Two figures in wide-brimmed hats are shown in silhouette against a cloudy sky, one extending an arm toward the other. No dialogue or on-screen text is present in this beat.

2 people observed.

Evidence, details and a link to share

Sequence 29 from 15:13

Frame at 15:13, shot 11315:13
1 of 1 shots sampled

55. Other

15:13–15:14 Not yet checked

Model synopsis: A man in a cowboy hat and dark shirt stands in the center of a dimly lit interior, flanked by two other figures. One figure to his left wears a wide-brimmed hat and holds an object; another figure is partially visible behind him.

3 people observed.

Evidence, details and a link to share

Sequence 30 from 15:14

Frame at 15:15, shot 11415:15
1 of 1 shots sampled

56. Outdoor

15:14–15:16 Not yet checked

Model synopsis: A person in a wide-brimmed hat is visible in silhouette against a cloudy sky, seated on a horse. No other people, objects, or on-screen text are discernible in the single frame.

1 person observed.

Evidence, details and a link to share

Sequence 31 from 15:16

Frame at 15:18, shot 11515:18Frame at 15:25, shot 11615:25
2 of 2 shots sampled

57. Hotel lobby

15:16–15:30 Not yet checked

Model synopsis: A crowd of people on horseback gathers outside a building with a balcony, while inside, three men in cowboy hats stand near a doorway. One man speaks about offering something more nourishing than song, suggesting a shift from performance to sustenance.

  • Crowd of horseback riders gathers outside building [frame:1]
  • Three men in cowboy hats stand in doorway of building [frame:2]

4 people observed.

“Pass! Hey, pass!” 15:18 · “Well, I didn't expect anything like this.” 15:20

Evidence, details and a link to share

Sequence 32 from 15:30

Frame at 15:32, shot 11715:32Frame at 15:41, shot 11815:41Frame at 15:51, shot 12015:51Frame at 15:53, shot 12115:53
4 of 5 shots sampled

58. Other

15:30–15:54 Not yet checked

Model synopsis: Two men in cowboy hats are shown in a physical struggle against a wooden wall, followed by a close-up of one man's face and a shot of two men facing each other. A pigeon is visible perched on a wooden beam. A woman's voice identifies herself as Miss Tara Starborder and tells another to stand aside.

  • Two men in cowboy hats are grappling against a wooden wall. [frame:1]
  • A man in a cowboy hat is shown in close-up, facing the wall. [frame:2]
  • Two men in cowboy hats face each other in a dimly lit space. [frame:3]
  • 1 more under Evidence and details.

Named: Miss Tara Starborder (t:15:30). 3 people observed.

“You might as well pay up right now. Aw, quit with me to keep your courage up. You're licking, you know it. Quit shoving me. I work here.…” 15:30 · “Look there! You old prickly pear! That's the desert tornado!” 15:44

Evidence, details and a link to share

Frame at 15:56, shot 12215:56Frame at 16:02, shot 12316:02Frame at 16:11, shot 12516:11Frame at 16:14, shot 12616:14
4 of 5 shots sampled

59. Other

15:54–16:17 Not yet checked

Model synopsis: Two men in cowboy hats converse indoors; one is older with a beard and patterned jacket, the other younger and clean-shaven. Dialogue references a 'Princess Heidi' and a bet, with one man accusing the other of trying to weasel out of it.

2 people observed.

“Look who just come in. Princess Heidi. Ha ha! She probably got in so far ahead that after she had a square meal, she went out for a stroll.” 15:55 · “Then that moth-eaten pelican of yours snuck up.” 16:03

Evidence, details and a link to share

Frame at 16:20, shot 12716:20Frame at 16:28, shot 12816:28
2 of 2 shots sampled

60. Private office

16:17–16:32 Not yet checked

Model synopsis: Two men in cowboy hats speak indoors; one speaks of preventing fraud against 'Prince Society'. The second man is seen only from the side and back.

  • The second man is visible facing the first man. [frame:2]

2 people observed.

“The bet ain't got nothing to do with it. I'm just trying to make sure that Prince Society ain't the victim of a colossal fraud and a gigant…” 16:17 · “It.” 16:27

Evidence, details and a link to share

Sequence 33 from 16:32

Frame at 16:36, shot 12916:36
1 of 1 shots sampled

61. Private office

16:32–16:39 Not yet checked

Model synopsis: A group of people are gathered in a large, dimly lit room with chandeliers and ornate decor; some are standing while others are seated around tables. No dialogue or on-screen text is present in this beat.

Evidence, details and a link to share

Sequence 34 from 16:39

Frame at 16:42, shot 13016:42
1 of 1 shots sampled

62. Saloon

16:39–16:44 Not yet checked

Model synopsis: A woman in a wide-brimmed hat and fringed dress dances in a room with several men watching or moving around her. The setting appears to be an indoor saloon or dance hall with wooden furniture and a framed picture on the wall.

5 people observed.

Evidence, details and a link to share

Sequence 35 from 16:44

Frame at 16:47, shot 13116:47
1 of 1 shots sampled

63. Bar

16:44–16:50 Not yet checked

Model synopsis: A woman in a light dress embraces a man in a dark shirt and hat in a crowded interior space; other people are visible in the background. No dialogue or on-screen text is present in this beat.

4 people observed.

Evidence, details and a link to share

Sequence 36 from 16:50

Frame at 16:59, shot 13316:59
1 of 1 shots sampled

65. Other

16:58–17:01 Not yet checked

Model synopsis: A group of men stand in a crowded interior space, some facing away, one in a light shirt looking toward the camera. No dialogue or on-screen text is present in this beat.

5 people observed.

Evidence, details and a link to share

Frame at 17:03, shot 13417:03
1 of 1 shots sampled

66. Saloon

17:01–17:05 Not yet checked

Model synopsis: A group of people in period Western attire are gathered in a crowded interior space, with one man in a hat gesturing toward another. No dialogue or on-screen text is present in this beat.

5 people observed.

Evidence, details and a link to share

Sequence 37 from 17:05

Frame at 17:16, shot 13617:16
1 of 1 shots sampled

68. Other

17:14–17:18 Not yet checked

Model synopsis: A group of men stand in a circle watching two men face each other in what appears to be a confrontation. One man wears a plaid shirt and light trousers; the other wears a dark vest and white shirt, seen from behind.

3 people observed.

Evidence, details and a link to share

Sequence 38 from 17:18

Frame at 17:20, shot 13717:20
1 of 1 shots sampled

69. Large room with chandelier

17:18–17:22 Not yet checked

Model synopsis: A group of people in Western-style clothing are gathered in a large room with a chandelier and arched doorways. Some are dancing, others are standing or seated at tables with food and drink visible.

1 person observed.

Evidence, details and a link to share

Sequence 39 from 17:22

Frame at 17:23, shot 13817:23
1 of 1 shots sampled

70. Other

17:22–17:25 Not yet checked

Model synopsis: Two people embrace in a medium shot inside a dimly lit interior space. No dialogue or on-screen text is present in this beat.

  • A woman and a man embrace in a medium shot. [frame:1]

4 people observed.

Evidence, details and a link to share

Frame at 17:27, shot 13917:27
1 of 1 shots sampled

71. Other

17:25–17:30 Not yet checked

Model synopsis: A woman in a white blouse and dark vest dances in a crowded room while others watch or dance nearby. No dialogue or on-screen text is present in this beat.

5 people observed.

Evidence, details and a link to share

Frame at 17:34, shot 14017:34
1 of 1 shots sampled

72. Living room

17:30–17:38 Not yet checked

Model synopsis: A woman in Western attire runs forward through a group of onlookers in an interior space. The setting includes floral arrangements and a patterned rug, suggesting a decorated room.

  • A woman runs forward through a group of people. [frame:1]

5 people observed.

Evidence, details and a link to share

Frame at 17:42, shot 14117:42Frame at 17:47, shot 14217:47
2 of 2 shots sampled

73. Living room

17:38–17:48 Not yet checked

Model synopsis: A man in a checkered shirt speaks to a man in a dark vest and a woman in a light dress; they are in a crowded room with other people visible in the background. The woman and the man in the vest begin to walk away as the man in the checkered shirt speaks.

  • The man in the checkered shirt speaks to the man in the vest and the woman. [frame:1]
  • The woman and the man in the vest begin to walk away, followed by a boy. [frame:2]

Named: Gabby (t:17:38), Carol (t:17:43), Billy (t:17:46). 5 people observed.

“Gabby, I...” 17:38 · “I suppose we'd better tell them now.” 17:41

Evidence, details and a link to share

Frame at 18:03, shot 14318:03Frame at 18:27, shot 14418:27Frame at 18:42, shot 14518:42
3 of 3 shots sampled

74. Private office

17:48–18:47 Not yet checked

Model synopsis: A man and a woman speak privately before a group of men is addressed by a man in a decorated jacket. The group includes a man in a plaid shirt and another in a fur-trimmed jacket, standing near a table with rocks.

  • A man and a woman stand close, speaking privately. [frame:1]
  • A group of men and a woman stand together, listening to someone speak. [frame:2]
  • A man in a plaid shirt examines rocks on a table while others look on. [frame:3]

Named: Moreland (t:18:24). 7 people observed.

“Chin up.” 17:50 · “But when they find out we've deceived them, I'm afraid-- We didn't deceive them. All we did was invite them for a ride.” 17:54

Evidence, details and a link to share

Frame at 18:49, shot 14618:49Frame at 18:55, shot 14718:55
2 of 2 shots sampled

75. Private office

18:47–18:58 Not yet checked

Model synopsis: A man and a woman are in a room with wooden paneling and plants; the man speaks about priorities and admits tricking the woman into coming, while she claims she didn’t read his letter. No names are spoken that identify either person.

Named: Miss Stevens (t:18:47). 2 people observed.

“Miss Stevens, did you ever hear of priorities? I explained all that in my letter.” 18:47 · “I'm afraid I didn't read that far. Well, that's no reason for tricking us into coming down here.” 18:51

Evidence, details and a link to share

Frame at 18:59, shot 14818:59Frame at 19:01, shot 14919:01
2 of 2 shots sampled

76. Private office

18:58–19:02 Not yet checked

Model synopsis: Four men stand together in a dim interior, one holding a small object; a man and a woman stand side by side in a separate interior shot. No names, dialogue, or time indicators are present in the frames or transcript for this beat.

5 people observed.

Evidence, details and a link to share

Frame at 19:05, shot 15019:05Frame at 19:12, shot 15219:12Frame at 19:21, shot 15419:21Frame at 19:30, shot 15619:30
4 of 7 shots sampled

77. Private office

19:02–19:32 Not yet checked

Model synopsis: A group of men discuss the value of a mineral sample, noting its tungsten content is more important than its gold for wartime priorities. They agree to visit a mine the next morning while traveling to the Badlands and camping at Willow Springs.

  • Men gather around a table examining mineral samples. [frame:1]
  • A man in a light shirt listens near a window. [frame:3]

5 people observed.

“However, I think that Mr. Prentiss, Mr. McMahon and myself will be very glad that you did. Because while this is a very good sample of gold…” 19:03 · “Its real value lies in its high tungsten content.” 19:12

Evidence, details and a link to share

Frame at 19:53, shot 15719:53
1 of 1 shots sampled

78. Private office

19:32–20:13 Not yet checked

Model synopsis: Two men converse in a doorway while a third man in uniform stands nearby; one man mentions driving to a mine and meeting vaqueros, while another calls out to someone named Louie and complains about service. The scene is indoors, with visible hats and a lamp, and the dialogue references cars, horses, and maintenance.

3 people observed.

“Now the mine isn't very far out of the way,” 19:32 · “You can go by car and I'll follow with the horses.” 19:34

Evidence, details and a link to share

Sequence 40 from 20:13

Frame at 20:22, shot 15820:22
1 of 1 shots sampled

79. Private office

20:13–20:32 Not yet checked

Model synopsis: A man in a hat and shirt is on the phone in a dimly lit interior. The transcript mentions a bank, a character named Ace Brody, and a plan set for tomorrow.

  • A man holds a telephone receiver to his ear. [frame:1]

Named: Ace Brody (t:20:23). 2 people observed.

“Tomorrow's the day. Swell. Nobody wise? Wise, say, these yokels still think it's 1890. Everything's said at your end.” 20:14 · “in the bank.” 20:21

Evidence, details and a link to share

Sequence 41 from 20:32

Frame at 20:36, shot 15920:36Frame at 20:41, shot 16020:41Frame at 21:01, shot 16221:01Frame at 21:06, shot 16321:06
4 of 5 shots sampled

80. Field

20:32–21:07 Not yet checked

Model synopsis: A group of men in cowboy attire are gathered outdoors near a vehicle and horses, discussing a planned staged hold-up for entertainment. One man on horseback mentions being stiff from riding and suggests others could stage a capture scene.

4 people observed.

“Make sure you've got everything you need. We'll meet you at the lunch stop.” 20:32 · “Don't let Gabby drive you over a cliff. I'll follow with the horses. You needn't hurry. I'm so stiff from riding, I can't look a horse in…” 20:37

Evidence, details and a link to share

Frame at 21:08, shot 16421:08Frame at 21:17, shot 16621:17Frame at 21:27, shot 16821:27Frame at 21:34, shot 17021:34
4 of 7 shots sampled

81. Field

21:07–21:36 Not yet checked

Model synopsis: A man in a cowboy hat addresses a group near a covered wagon and horses in an open, rocky area; another man hides behind a tree holding a camera. The transcript indicates preparation for a battle.

  • A man in a cowboy hat addresses a group near a covered wagon. [frame:1]
  • A wide shot shows a group of men and horses gathered around a covered wagon in a rocky field. [frame:2]
  • The group gathers closer around the covered wagon, some holding rifles. [frame:3]
  • 1 more under Evidence and details.

3 people observed.

“All right, gather around, boys. We've got a battle coming out.” 21:07 · “I'm going to go.” 21:12

Evidence, details and a link to share

Sequence 42 from 21:36

Frame at 21:39, shot 17121:39
1 of 1 shots sampled

82. Road

21:36–21:42 Not yet checked

Model synopsis: A group of men on foot and horseback are gathered on a dirt road in a rocky, tree-dotted landscape; one man speaks a command to leave and declares a holdup. No names are spoken, and no indoor setting or time of day is established.

  • A group of men on foot and horseback stand on a dirt road near rocks and trees. [frame:1]

5 people observed.

“All right, get on down the road. This is a holdup.” 21:37

Evidence, details and a link to share

Sequence 43 from 21:42

Frame at 21:44, shot 17221:44
1 of 1 shots sampled

83. Other

21:42–21:45 Not yet checked

Model synopsis: A man in a hat is visible in the background of a frame, partially obscured by foreground elements. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 44 from 21:45

Frame at 21:49, shot 17321:49Frame at 22:05, shot 17522:05Frame at 22:11, shot 17722:11Frame at 22:22, shot 17922:22
4 of 7 shots sampled

84. Field

21:45–22:26 Not yet checked

Model synopsis: A group of men in Western attire, including hats and boots, are gathered outdoors near horses and a wooden structure. Dialogue references building a road with government help, a partnership, and a character named Gabby who will drive a car to a ranch.

  • A man in a cowboy hat stands near a tree. [frame:1]
  • A group of men in Western attire stand together outdoors. [frame:2]
  • A man in a cowboy hat sits on a horse. [frame:3]
  • 1 more under Evidence and details.

Named: Gabby (t:22:14). 7 people observed.

“I can build that road in six weeks with government help.” 21:52 · “Well, Mac, that puts it right up to you. You're the machinery man.” 21:56

Evidence, details and a link to share

Frame at 22:30, shot 18022:30Frame at 22:35, shot 18122:35Frame at 22:39, shot 18222:39Frame at 22:42, shot 18322:42
4 of 4 shots sampled

85. Field

22:26–22:42 Not yet checked

Model synopsis: A group of men on horseback and a chuck wagon are gathered outdoors; one man speaks about turning a claim into a mine and sends others ahead to get supper. The final frame is black.

  • Men on horseback and a chuck wagon are gathered in a field. [frame:1]
  • A man on horseback gestures while speaking to others. [frame:3]
  • The screen cuts to black. [frame:4]

Named: Bob (t:22:34). 4 people observed.

“What happened? Well, fellas, from now on, Carol's claim won't be just a hole in the ground, it'll be a mine.” 22:29 · “Say, Bob, you and the boys better take the chuck wagon and go on ahead and get Supper Star. Right.” 22:34

Evidence, details and a link to share

Frame at 22:44, shot 18422:44Frame at 22:48, shot 18522:48Frame at 23:05, shot 18723:05Frame at 23:17, shot 18823:17
4 of 5 shots sampled

86. Field

22:42–23:23 Not yet checked

Model synopsis: A group of cowboys gathers around a campfire at night, then rides together during the day. One man speaks about the open range and home, while another notes the campfire's proximity.

  • Cowboys gather around a campfire at night. [frame:1]
  • A cowboy leans on a fence and smiles. [frame:3]
  • Cowboys ride horses together during the day. [frame:4]

5 people observed.

“If you like a lot of room around the Roman, where any place you stop your heart's at home in, if you like to see a camper in the Gomen, ther…” 22:43 · “Where's that coming from? I thought we were miles from nowhere. That's the boys. There's their campfire. Let's eat!” 23:13

Evidence, details and a link to share

Frame at 23:27, shot 18923:27
1 of 1 shots sampled

87. Camp

23:23–23:31 Not yet checked

Model synopsis: A group of men in cowboy hats gather around a campfire at night. One man stands apart, holding a hat, while others sit or stand near a covered wagon.

3 people observed.

Evidence, details and a link to share

Frame at 23:35, shot 19023:35
1 of 1 shots sampled

88. Camp

23:31–23:39 Not yet checked

Model synopsis: A group of people gather around a campfire at night. One person stands facing the group while others sit or stand nearby.

  • People are gathered around a campfire. [frame:1]

2 people observed.

Evidence, details and a link to share

Sequence 45 from 23:39

Frame at 23:41, shot 19123:41
1 of 1 shots sampled

89. Other

23:39–23:42 Not yet checked

Model synopsis: A group of men in suits and hats stands outdoors at night near a large rock. No dialogue or on-screen text is present in this beat.

6 people observed.

Evidence, details and a link to share

Sequence 46 from 23:42

Frame at 23:44, shot 19223:44Frame at 23:49, shot 19323:49
2 of 2 shots sampled

90. Open range

23:42–23:51 Not yet checked

Model synopsis: Two silhouetted figures on horseback ride toward a bright horizon; a group of riders on horseback moves past a wooden fence in low light. No names are spoken, and no indoor setting or time of day is established.

  • Two riders on horseback move toward a bright horizon. [frame:1]
  • A group of riders on horseback moves past a wooden fence. [frame:2]

2 people observed.

“And drive to Mark the music waving to an open range ahead.” 23:43

Evidence, details and a link to share

Frame at 23:55, shot 19423:55Frame at 24:02, shot 19524:02Frame at 24:07, shot 19624:07Frame at 24:09, shot 19724:09
4 of 4 shots sampled

91. Field

23:51–24:10 Not yet checked

Model synopsis: A group of men, some on horseback, are gathered outdoors at night; one man is being ordered to stand up and move back. The scene includes a man in a cowboy hat holding a rope and another bending near a horse.

  • A group of men, some on horseback, are gathered in a field. [frame:2]
  • A man in a cowboy hat holds a rope near a horse. [frame:3]
  • A man in a dark coat bends near a horse. [frame:4]

3 people observed.

“You just thought it was 1890. All right, get him up! Get him up and get back! We're not kidding this time, it's the real thing.” 23:57 · “Go on, back up.” 24:04

Evidence, details and a link to share

Frame at 24:13, shot 19824:13Frame at 24:28, shot 20024:28Frame at 24:34, shot 20124:34Frame at 24:47, shot 20324:47
4 of 6 shots sampled

92. Field

24:10–24:49 Not yet checked

Model synopsis: A group of men in cowboy hats are confronted and disarmed at night; one man is ordered to be tied up while others are told to move out. The scene ends with a man taunting Rogers about knowing how to use ropes.

  • A group of men in cowboy hats raise their hands in surrender. [frame:1]
  • Men continue to hold their hands up while being confronted. [frame:2]
  • A man in a cowboy hat gestures while speaking. [frame:3]
  • 1 more under Evidence and details.

Named: Bale (t:24:10), Rogers (t:24:21), Red (t:24:24), Pete (t:24:24). 9 people observed.

“Take their guns, Bale.” 24:10 · “Well, it's gonna cost you about 50 grand per snoop.” 24:16

Evidence, details and a link to share

Frame at 24:50, shot 20424:50Frame at 24:53, shot 20524:53
2 of 2 shots sampled

93. Desert

24:49–24:55 Not yet checked

Model synopsis: A man in a hat and light shirt is shown in profile against a dark background, followed by a wide shot of a barren, rocky landscape. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Frame at 24:57, shot 20624:57Frame at 25:04, shot 20725:04Frame at 25:12, shot 20825:12
3 of 3 shots sampled

94. Other

24:55–25:15 Not yet checked

Model synopsis: A man in a cowboy hat speaks while another man is tied up and surrounded by others on the ground. The dialogue suggests preparation for an action and references modern methods.

  • A man in a cowboy hat turns his head slightly while speaking. [frame:1]
  • A man in a coat stands over a group of men lying on the ground. [frame:2]
  • A man in a cowboy hat is tied up with rope and appears distressed. [frame:3]

Named: Muncie (t:24:57). 4 people observed.

“- You all set, Muncie? - All set.” 24:57 · “You know what to do.” 25:00

Evidence, details and a link to share

Frame at 25:18, shot 20925:18Frame at 25:21, shot 21025:21Frame at 25:27, shot 21125:27Frame at 25:38, shot 21225:38
4 of 4 shots sampled

95. Field

25:15–25:45 Not yet checked

Model synopsis: Two men in cowboy attire are tied up with ropes and discuss their predicament, deciding to attempt to crawl to a distant spring. One man references 'Sidewinder' as an example of someone who succeeded under similar conditions.

Named: Sidewinder (t:25:40). 2 people observed.

“I don't know, but we can't do anything about it until we get rid of these ropes.” 25:15 · “Now I know how a horse feels when you take up on the cinch.” 25:20

Evidence, details and a link to share

Sequence 47 from 26:00

Frame at 26:03, shot 21526:03Frame at 26:09, shot 21626:09Frame at 26:13, shot 21726:13
3 of 3 shots sampled

97. Hallway

26:00–26:14 Not yet checked

Model synopsis: Two figures interact in a dimly lit interior; one holds a candle while the other approaches. A third figure in a light dress enters a doorway as the first two remain in the hallway.

  • A figure stands in shadow near a doorway. [frame:1]
  • Two figures face each other in a hallway; one holds a candle. [frame:2]
  • A figure in a light dress enters a doorway while another follows. [frame:3]

Named: Gabby (t:26:05). 3 people observed.

“Is that you, Gabby?” 26:05 · “Eh? It is and it ain't.” 26:05

Evidence, details and a link to share

Sequence 48 from 27:27

Sequence 49 from 28:38

Sequence 50 from 28:41

Sequence 51 from 28:42

Sequence 52 from 28:48

Sequence 53 from 28:51

Sequence 54 from 29:07

Sequence 55 from 29:13

Sequence 56 from 30:50

Sequence 57 from 31:19

Sequence 58 from 31:27

Sequence 59 from 32:03

Sequence 60 from 32:10

Sequence 61 from 32:12

Sequence 62 from 32:14

Sequence 63 from 32:20

Sequence 64 from 32:26

Sequence 65 from 32:35

Sequence 66 from 33:00

Sequence 67 from 34:03

Sequence 68 from 34:06

Sequence 69 from 34:09

Sequence 70 from 34:11

Sequence 71 from 34:13

Sequence 72 from 34:22

Sequence 73 from 34:30

Sequence 74 from 34:33

Sequence 75 from 34:35

Sequence 76 from 34:38

Sequence 77 from 34:42

Sequence 78 from 35:04

Sequence 79 from 35:12

Sequence 80 from 35:41

Sequence 81 from 35:47

Sequence 82 from 36:12

Sequence 83 from 36:15

Sequence 84 from 36:31

Sequence 85 from 36:52

Sequence 86 from 36:56

Sequence 87 from 37:14

Sequence 88 from 37:34

Sequence 89 from 38:55

Sequence 90 from 38:57

Sequence 91 from 39:03

Sequence 92 from 39:10

Sequence 93 from 39:13

Sequence 94 from 39:17

Sequence 95 from 39:31

Sequence 96 from 39:47

Sequence 97 from 40:44

Sequence 98 from 40:49

Sequence 99 from 41:01

Sequence 100 from 41:08

Sequence 101 from 41:19

Sequence 102 from 41:35

Sequence 103 from 41:39

Sequence 104 from 41:41

Sequence 105 from 41:45

Sequence 106 from 41:46

Sequence 107 from 41:53

Sequence 108 from 41:57

Sequence 109 from 42:57

Sequence 110 from 43:02

Sequence 111 from 44:11

Sequence 112 from 44:14

Sequence 113 from 44:24

Sequence 114 from 44:40

Sequence 115 from 45:33

Sequence 116 from 45:43

Sequence 117 from 46:55

Sequence 118 from 47:06

Sequence 119 from 47:07

Sequence 120 from 47:09

Sequence 121 from 47:15

Sequence 122 from 47:26

Sequence 123 from 47:47

Sequence 124 from 48:17

Sequence 125 from 48:21

Sequence 126 from 48:22

Sequence 127 from 48:26

Sequence 128 from 48:27

Sequence 129 from 48:32

Sequence 130 from 48:41

Sequence 131 from 48:43

Sequence 132 from 48:46

Sequence 133 from 48:48

Sequence 134 from 48:50

Sequence 135 from 48:52

Sequence 136 from 48:54

Sequence 137 from 49:41

Sequence 138 from 49:45

Sequence 139 from 49:49

Sequence 140 from 49:54

Sequence 141 from 50:04

Sequence 142 from 50:06

Sequence 143 from 50:12

Sequence 144 from 50:14

Sequence 145 from 50:21

Sequence 146 from 50:26

Sequence 147 from 51:49

Sequence 148 from 52:08

Sequence 149 from 52:39

Sequence 150 from 52:56

Transcript

Machine transcription of the Archive copy's audio with Whisper large-v3-turbo (temperature 0); the model heard it as en. 464 segments kept, 176 dropped as the kind of hallucination the model produces over music and silence. Each timestamp links to the Archive's player at that second. This has not been checked against the film and can be wrong.

  1. 0:33 Roll a heads up home corral. Roll a heads up home corral. With a howdy-do and a hallelujah, we're a headin' for the home corral. I've been three weeks in the open air with sand and cactus in my hair. Give me back my rockin' chair, I'm glad the roundup's over. Roll a heads up home corral. Roll a heads up home corral. With a howdy-do and a hallelujah, we're a headin' for the home corral.
  2. 1:03 I've never known such awful pain. I'm glad the roundup's over.
  3. 1:33 I ate so many Johnny Cakes that now my stomach pains and aches. I've never had such awful breaks. I'm glad the roundup's over. We're ahead for the home for a while. We're ahead for the home for a while. We're ahead for the home for a while. We're ahead for the home for a while. We're ahead for the home for a while. We're ahead for the home for a while. We're ahead for the home for a while.
  4. 1:53 Hey, Mayor, you better watch out across from Wolf Creek. The road's washed out.
  5. 1:57 Don't you worry.
  6. 1:58 Old even lady here was raised on washouts.
  7. 2:18 Hey, Mayor, why doesn't Leapin' Liza leap?
  8. 2:23 Well, are you waitin' to quit laughin' and lend a hand? Yes.
  9. 2:46 - - You fellas wouldn't waste so much time singing.
  10. 2:50 Maybe the old Rogers Ranch wouldn't be going broke so fast.
  11. 2:54 If you'd quit galvanting around the country, maybe Whittaker City wouldn't be the next thing to a ghost town.
  12. 2:59 I reckon Gabby's doing as well as any mare can, Pat.
  13. 3:02 So are we. We've been out day and night, rounding up strays.
  14. 3:07 Where are you heading for, Gabby? Taking some mail to Carol Stevens. Oh.
  15. 3:10 Carol Stevens? Yeah, she'd been up to her mind for a week.
  16. 3:14 I'm scared she's going to close it down. I'm just the guy to deliver that mail. She'll never get there in this old sewing machine, Gabby. I'll...
  17. 3:22 I got them letters right here in my pocket.
  18. 3:24 And they ain't none of you varmint men enough to take them away from me.
  19. 3:27 Is that so?
  20. 3:28 We'll hand over that mail. This is an outrage. A dead burned outrage.
444 more segments
  1. 3:36 Mr. Peter Moreland, mining engineer.
  2. 3:39 Say, this is the good news Carol's been waiting for. You can have the rest.
  3. 3:44 You young whippersnapper!
  4. 3:45 You'll find me as Carol's waiting for you.
  5. 3:52 I'm sorry about this, Jose.
  6. 3:54 But if I can start the mine up again,
  7. 3:56 You'll all have your jobs back.
  8. 4:11 Roy, what are you doing up here? Oh, just moseying around. You haven't seen a couple of stray calves, have you? Calfs?
  9. 4:18 You know there aren't any calves up here.
  10. 4:20 Come on now, what are you hiding? Give it to me. Just something you've been waiting for. Not you, certainly. Something you'll like better, I'm afraid.
  11. 4:35 Returning your father's reports under separate covers.
  12. 4:38 They are convincing, but other factors...
  13. 4:43 Now I know why newspapers call their file the morgue. That's certainly what this one is.
  14. 4:48 Why bother? The mine's finished.
  15. 4:51 That's the last no I'm gonna get.
  16. 4:53 There's no one else to write to.
  17. 5:05 Dad was a great geologist and he knew this mine was worth putting his last breath and his last stand into.
  18. 5:12 Now nobody will even bother to look at it.
  19. 5:15 Regrets to state he wouldn't be interested unless assured machinery was available.
  20. 5:19 and suggest that I write John G. McMahon.
  21. 5:22 And John G. McMahon passes the buck to Harold Prentiss, Road Builders Incorporated.
  22. 5:27 Transportation is very important, you know. I was hoping this mine would be the saving of Whitaker City.
  23. 5:32 Oh, and it could be, Gabby, if we could only get them all up here at once to look at it. We could only rope them and hogtie them and stick their noses down that mine shaft. I've done that a thousand times.
  24. 5:42 And then I always woke up.
  25. 5:45 Well, nobody's gonna wake up this time.
  26. 5:47 You know how we're gonna get them down here?
  27. 5:48 We're going to invite him to ride with the vaqueros.
  28. 5:50 But those city men probably never even heard of the Vaccaro. Eh, everybody's heard of the Vaccaro's. Spirit of the Old West. Whitaker City's claim to fame. Well, what if they aren't interested in the spirit of the Old West?
  29. 6:03 What if they don't even ride? It makes no difference. Everybody likes to be a guest of honor.
  30. 6:07 Now listen.
  31. 6:08 The annual ride doesn't come up for about two weeks. I got it.
  32. 6:11 You ever hear of a singing telegram?
  33. 6:13 Men like that probably get a singing telegram every day. Not this kind.
  34. 6:17 Listen, young fella.
  35. 6:19 I've been plagued for years by you and them...
  36. 6:22 Cactus canaries of yours. Now at last I'm going to put you to some youth.
  37. 6:36 Yes, what is it? A whole bunch of cowboys, Mr. Morland. Cowboys?
  38. 6:40 Cowboys? Yes, they want to see you. I tried to tell them, but...
  39. 6:47 We are the Maccaro. We rise at the west we love, we'll live evermore. A strong horse beneath us as they did long before. It was good for old Bill Cody and it's good enough for me. For we are the Maccaro. The open plains, the summer rains, the footy lanes, the wagon trains, where nothing changes, we will live and die. For we are the Maccaro.
  40. 7:17 He should be of a carol. And sleep where his blanket is the star-studded sky. And eat where the cactus goes his bacon will fry. Living in the open ought to do him lots of good for he should be of a carol. He never gets out. He's lame, no doubt.
  41. 7:38 Got the gallant. He's much too stout. What do you think we ought to do? Why, he should be a buccato.
  42. 7:48 Thirty-two. Forty-four. In a little while, it may be more. Why, he should be a vocabular.
  43. 8:00 44. 32. We'll have him looking just like you. When he is a vicaro.
  44. 8:14 Oh, Miss Pyre, I...
  45. 8:16 I'm not going to be very busy next week, am I?
  46. 8:34 Okay.
  47. 8:36 It'll do.
  48. 8:42 Come on.
  49. 8:48 Three whiskeys, the best you got.
  50. 8:51 You can't hear for the Vatara ride?
  51. 8:54 Huh?
  52. 8:55 You look like some of them big shots from the city.
  53. 8:58 We're having three guests of honor this year.
  54. 9:00 Three of the biggest men in the state.
  55. 9:02 You mean they come out here just to ride a horse? Sure.
  56. 9:05 Ten days.
  57. 9:06 Clean out into the Badlands even.
  58. 9:09 Say, who is this guy anyway? Local color?
  59. 9:12 That's Ace Brody.
  60. 9:13 He slept there ten years come June.
  61. 9:16 He only wakes up for a free drink.
  62. 9:18 He was the best cattle wrestler in the Badlands.
  63. 9:20 He knows that country like the palm of your hand.
  64. 9:23 Can anybody go on this ride?
  65. 9:24 Sure.
  66. 9:25 Anybody could join a wagon train or a trail herd in the old days.
  67. 9:29 That's what the vaqueros are for.
  68. 9:31 Keep the old spirit alive.
  69. 9:37 Hey, don't you want your change?
  70. 9:39 Buy the old man a drink.
  71. 9:42 Come on.
  72. 9:48 Leave my bags at the hotel if there is one. You two hole up in the next town.
  73. 9:54 But, Joe, you heard that guy said there were three big shots coming on this ride, didn't you?
  74. 9:58 - Holly was wrong. - It's four. You mean on a horse?
  75. 10:01 Sure, on a horse.
  76. 10:03 What cop would ever think of looking for Joe Keenan on a horse?
  77. 10:06 Anyway, we've land far enough.
  78. 10:08 And this place looks like it's ripe for our face lifting.
  79. 10:10 The Keenan Way.
  80. 10:12 Needing those three big shots.
  81. 10:13 Sure.
  82. 10:14 Phone me and let me know where you are.
  83. 10:16 The name will be Harmon, see?
  84. 10:17 Joseph Harmon.
  85. 10:19 One of these paccaros.
  86. 10:32 Good morning, gentlemen. Hello. How are you, boy? Hey, hey. Well, well, how's it do? Fine. I sound like a change, Gary. Put your bags in the chuck wagon.
  87. 10:48 You haven't got one that's built closer to the ground, have you?
  88. 10:53 What's happened to Gabby? It's time we were getting started. Saw him sneak off with Pat Brady. Both of them insulting each other, as usual.
  89. 10:59 You might get well pay up right now. Princess Heidi is going to win in a walk. Yeah, even with that head start, you managed to hand her...
  90. 11:06 That desert tornado is still too good for her, you old mesquite bush.
  91. 11:12 Oh, fellas.
  92. 11:13 In the name of all the old hands here,
  93. 11:15 I'd like to welcome you newcomers to ten days and nights of the kind of life that's just as real today as it ever was.
  94. 11:21 The flapjacks and the coffee still taste the same.
  95. 11:24 The old coyote still howlers loud.
  96. 11:26 I know you're all going to have a swell time, but we're riding into tough country where a man's horse is more important than he is.
  97. 11:32 If your horse pulls up lame, you're going to have to get off and walk.
  98. 11:35 Force is more important than we are.
  99. 11:37 Doesn't he know who he's talking to?
  100. 11:40 You're Peter Morland, aren't you? Yes.
  101. 11:42 Joseph Harmon, Amalgamated Breweries Incorporated. How do you do, sir?
  102. 11:50 Yee-haw! Yee-haw! Gee, I wish I was old enough to go along. Anyway, we'll be at the vatel party tonight. On the trail, we roll along in the land of destiny.
  103. 12:05 There's a rainbow high in the prairie sky, like the smile of eternity.
  104. 12:12 Down the trail we press along 'til the happy day is through.
  105. 12:20 And we sing our song as we roll along.
  106. 12:25 Down the trail, down the trail.
  107. 12:34 You better drop out of line, Harmon. Your horse is limping.
  108. 12:46 Might have had a lame horse there.
  109. 12:48 Oh, I get another one, trucked out from town.
  110. 12:50 You can't make this 1890 just by wearing a six-year-old.
  111. 12:54 1890 or 1942. In a bad lens, a man's best friend is still his horse.
  112. 13:00 Say what's the rope for? To catch Indians?
  113. 13:03 Nope.
  114. 13:04 The rope's like a pair of pants with us. It sort of goes with the man.
  115. 13:07 Well, it don't make him a man. It's time you hillbillies will grow up and leaving your toys at home. You better go easy on those spurs, that horse don't like them.
  116. 13:19 When do we eat? I feel 20 years younger already. There's only one fly in the ointment.
  117. 13:26 And here he comes now.
  118. 13:34 Saddle your worries to a cowboy song and yodel your troubles away. Randall your sorrows as you go along with a yippee-yo, ki-yay. Throw a rope around the sun as he rolls by so you can keep him shining bright way up in the sky.
  119. 14:24 Throw a rope around the sun as he rolls by, so you can keep him shining right way up in the sky. Then saddle your worries to a cowboy song, and yodel your troubles away.
  120. 14:54 Adiole, dee, dee, dee, dee. Then battle your worries to a cowboy song. And yodel your troubles away.
  121. 15:18 Pass! Hey, pass!
  122. 15:20 Well, I didn't expect anything like this.
  123. 15:23 You gentlemen probably would like something a little more nourishing than song.
  124. 15:30 You might as well pay up right now. Aw, quit with me to keep your courage up. You're licking, you know it. Quit shoving me. I work here. Yeah, and I'm Miss Tara Starborder. Stand aside, girl.
  125. 15:44 Look there! You old prickly pear! That's the desert tornado!
  126. 15:49 I told you he'd win in a walk.
  127. 15:55 Look who just come in. Princess Heidi. Ha ha! She probably got in so far ahead that after she had a square meal, she went out for a stroll.
  128. 16:03 Then that moth-eaten pelican of yours snuck up.
  129. 16:09 Please?
  130. 16:10 That's a victory looking awry.
  131. 16:13 Why, you old faker, are you trying to weasel out of this bet?
  132. 16:17 The bet ain't got nothing to do with it. I'm just trying to make sure that Prince Society ain't the victim of a colossal fraud and a gigantic injustice.
  133. 16:27 It.
  134. 16:28 What do you say we raise them again tomorrow, huh?
  135. 16:51 Want to go out for a smoke?
  136. 17:38 Gabby, I...
  137. 17:41 I suppose we'd better tell them now.
  138. 17:43 I'll bring him into the parlor, Carol. All right.
  139. 17:46 Come on, Billy.
  140. 17:50 Chin up.
  141. 17:51 Everything's gonna come off all right. Oh, I hope so.
  142. 17:54 But when they find out we've deceived them, I'm afraid-- We didn't deceive them. All we did was invite them for a ride.
  143. 17:59 Thanks to you.
  144. 18:01 No matter how it turns out.
  145. 18:03 I want you to know how grateful I am. Thanks.
  146. 18:11 Now, folks...
  147. 18:12 Mayor of Whittaker City and charter member of the Vaccaros.
  148. 18:16 I've got a confession to make.
  149. 18:18 We didn't ask you gents down here just to show you a good time.
  150. 18:21 We wanted you to take a look at Miss Stevens' mind.
  151. 18:24 Stevens? I thought that name sounded familiar. I'm not surprised, Mr. Moreland.
  152. 18:30 I've written you three letters, and I believe Mr. McMahon was unlucky enough to get four.
  153. 18:35 Oh, well...
  154. 18:37 You've got a proposition requiring a stamp mill, transportation facilities, and any number of things that...
  155. 18:47 Miss Stevens, did you ever hear of priorities? I explained all that in my letter.
  156. 18:51 I'm afraid I didn't read that far. Well, that's no reason for tricking us into coming down here.
  157. 18:56 Oh, but that wasn't her idea, that was mine.
  158. 19:03 However, I think that Mr. Prentiss, Mr. McMahon and myself will be very glad that you did. Because while this is a very good sample of gold ore,
  159. 19:12 Its real value lies in its high tungsten content.
  160. 19:15 Getting Machinia to work a gold mine would be very difficult because of priorities, but tungsten is a vital war mineral.
  161. 19:21 When can we see this mind?
  162. 19:23 Well, I think we can handle that all right.
  163. 19:25 Can't we?
  164. 19:27 The first thing in the morning. You see, we're riding into the Badlands anyway, and we're camping at Willow Springs tomorrow night.
  165. 19:32 Now the mine isn't very far out of the way,
  166. 19:34 You can go by car and I'll follow with the horses.
  167. 19:36 Then we'll ride on and meet the vaqueros.
  168. 19:38 Well, at least we won't lose out on the ride after all. That's what we thought we were invited here for.
  169. 19:45 Enjoy that.
  170. 20:05 Hello, Louie.
  171. 20:06 Wait a minute.
  172. 20:07 Hey, buddy, do something, will you?
  173. 20:09 Check the oil and the batteries. Where's all this friendly service I hear about?
  174. 20:14 Tomorrow's the day. Swell. Nobody wise? Wise, say, these yokels still think it's 1890. Everything's said at your end.
  175. 20:21 in the bank.
  176. 20:23 You got that old desert rat Ace Brody under control? Sure, he's right here.
  177. 20:27 Sleeping as dead as when we first saw him in that bar.
  178. 20:29 Okay, now listen.
  179. 20:32 Make sure you've got everything you need. We'll meet you at the lunch stop.
  180. 20:37 Don't let Gabby drive you over a cliff. I'll follow with the horses. You needn't hurry. I'm so stiff from riding, I can't look a horse in the face.
  181. 20:45 You'll be stiffer than that one gap that gets through with you in that thing.
  182. 20:53 How's for a little excitement to show the folks back home such as?
  183. 20:57 You know, a hold-up or something like they had in the old days.
  184. 21:00 You and those cowboys you work with could come riding in, shooting and yelling and capture us.
  185. 21:06 I guess we could at that.
  186. 21:07 All right, gather around, boys. We've got a battle coming out.
  187. 21:12 I'm going to go.
  188. 21:23 Come on.
  189. 21:37 All right, get on down the road. This is a holdup.
  190. 21:49 Holdup.
  191. 21:52 I can build that road in six weeks with government help.
  192. 21:56 Well, Mac, that puts it right up to you. You're the machinery man.
  193. 21:59 I suggest we operate along the partnership line we discussed last night.
  194. 22:03 Uncle Sam's gonna be mighty pleased to see this Thunston. What's the verdict?
  195. 22:08 Ha!
  196. 22:09 I don't reckon I have to ask that.
  197. 22:10 Are you gentlemen ready to go?
  198. 22:13 Mr. Mayor?
  199. 22:14 After your car, that horse looks pretty good to me. Yeah? Well, at least Terrell don't mind my car. No, come on, Gabby. I'll drive her to the ranch and join you in the morning. You always did have all the luck, Gabby.
  200. 22:25 And two...
  201. 22:29 What happened? Well, fellas, from now on, Carol's claim won't be just a hole in the ground, it'll be a mine.
  202. 22:34 Say, Bob, you and the boys better take the chuck wagon and go on ahead and get Supper Star. Right.
  203. 22:43 If you like a lot of room around the Roman, where any place you stop your heart's at home in, if you like to see a camper in the Gomen, there's an open range ahead. Some folks will spend a lifetime searching far and near, for something that's always been waiting, waiting for them right here.
  204. 23:13 Where's that coming from? I thought we were miles from nowhere. That's the boys. There's their campfire. Let's eat!
  205. 23:43 And drive to Mark the music waving to an open range ahead.
  206. 23:57 You just thought it was 1890. All right, get him up! Get him up and get back! We're not kidding this time, it's the real thing.
  207. 24:04 Go on, back up.
  208. 24:10 Take their guns, Bale.
  209. 24:13 You guys had a swell time snooting me, didn't you?
  210. 24:16 Well, it's gonna cost you about 50 grand per snoop.
  211. 24:19 That plane here?
  212. 24:20 Yeah, and it was a cinch.
  213. 24:21 Take Rogers and his gang back there and tie him up.
  214. 24:24 Red, Pete, you heard what he said.
  215. 24:30 All right, move on out.
  216. 24:31 Go ahead.
  217. 24:33 Come on.
  218. 24:45 Well, Rogers, I guess us easterners know something about ropes, too, huh?
  219. 24:57 - You all set, Muncie? - All set.
  220. 25:00 You know what to do.
  221. 25:07 I guess that guy meant it when he bragged about his modern methods.
  222. 25:13 What's going on here anyway?
  223. 25:15 I don't know, but we can't do anything about it until we get rid of these ropes.
  224. 25:19 Are yours tight?
  225. 25:20 Now I know how a horse feels when you take up on the cinch.
  226. 25:23 The guy's gonna leave us here until we starve to death?
  227. 25:26 Not if we can get these ropes stretched.
  228. 25:28 Say, a little water might do the trick.
  229. 25:30 Are you game to try to make it to the spring? We smoke that thing's over a quarter of a mile away from here.
  230. 25:35 Take us a week to get there all hug-tied like this.
  231. 25:38 That's better than lying here. Let's try it.
  232. 25:40 Well, if Sidewinder can do it, I guess we can.
  233. 25:45 Not me. Ain't you guys ever heard of Cactus?
  234. 26:05 Is that you, Gabby? - Eh? It is and it ain't. Somebody must think it's Halloween.
  235. 26:14 Come on.
  236. 26:20 - Well, it's about time. - Yeah.
  237. 26:22 Time a man was in bed. Who do you think you are? Paul Revere? What happened? Why aren't you with a vifette? Just a snatch, that's all. A snatch? A kidnapping. The biggest one in history.
  238. 26:33 I have to hand it to you hillbillies.
  239. 26:36 You're not so outdated after all. Who's been kidnapped?
  240. 26:39 Now,
  241. 26:39 Not Mr. Moreland and the others.
  242. 26:41 Mr. Morland and all the others. Don't just sit there and say something. What happened? Where are they?
  243. 26:46 How do I know where they are? What do I know about the Badlands? You mean they took Roy and the rest of the boys away too?
  244. 26:52 I mean Roy and all the boys took them away.
  245. 26:54 Stand on your feet, you lying buzzard!
  246. 26:57 It's again my principles to shoot a man sitting down. You don't have to take my word for it.
  247. 27:02 It's all right there on film.
  248. 27:04 I was off shooting some scenery when I pulled the snatch, so I photographed the whole thing and then slipped away.
  249. 27:09 We ought to get to a phone and notify the families.
  250. 27:12 Then we can hold a meeting here in the morning and decide what we're going to do.
  251. 27:15 The film ought to be developed by then.
  252. 27:16 Excuse me.
  253. 27:19 Put that heater away.
  254. 27:20 Here?
  255. 27:22 Out in this country, we call it a cooler.
  256. 27:28 I don't know why that guy don't get here with that film. What difference you make? If that stuff shows Roy and the boys committing a kidnapping, I'll eat it.
  257. 27:35 This desert makes you city dudes kind of crazy sometimes.
  258. 27:38 I'm not so sure that you took any movies.
  259. 27:40 Or that there was a kidnapping. The pictures will show that. Keep your shirt on. And if you did, it's high time we were out trying to round up Rogers and his gang.
  260. 27:47 Here comes the film now.
  261. 27:49 When you see these pictures, you'll know those kidnappers mean business.
  262. 27:52 If we make a move,
  263. 27:53 Here, I'll take that.
  264. 28:07 Mr. Conway, Peter Morland's lawyer.
  265. 28:10 This is Mr. Reed, who represents Prentiss and McMahon. Have you heard anything? We chartered a plane and came as fast as we could.
  266. 28:17 This fellow here claims he's gonna show us what happened.
  267. 28:19 You're just in time.
  268. 28:21 All right, pull him over.
  269. 28:23 Turn on.
  270. 28:34 They turned on her so fast nobody had a chance.
  271. 28:52 I just swore it couldn't be, I just swore. Well, I knew Roy was about to lose his ranch and needed money. No wonder he was anxious to get them rich fellas down here. What's that?
  272. 29:05 Well, it's a plane.
  273. 29:20 Let's see if we can see anything. Hey, get it! It dropped out of the plane. It's a little parachute.
  274. 29:28 Well, here's a note.
  275. 29:30 Maybe it's from the kidnappers.
  276. 29:32 I told you those guys knew their stuff.
  277. 29:34 Police interference means death of all concern. Two hundred and fifty thousand dollars by tonight. You will be watched. Don't try to pull anything. Remember, we shoot on sight. Oh, Gaby. Oh, Gaby.
  278. 29:49 The rest is just routine about where and when to leave the money.
  279. 29:52 They got the signatures here of Moreland, Prentice, and McMahon. Are those genuine?
  280. 29:58 Where are we gonna get a quarter of a million dollars by tonight? Well, we local people couldn't dig up half that much in a month. Oh, in a month? Well, uh...
  281. 30:07 We're empowered to pay any ransom.
  282. 30:09 We'll take care of the whole thing temporarily.
  283. 30:11 But you'll have to settle with our clients later.
  284. 30:14 All right, we'll do it. You get the money and I'll act as pay off man.
  285. 30:23 You're stretched, Denny?
  286. 30:24 Yeah, I think so.
  287. 30:32 Boy, I've never been so glad to see you before. He sure did a good job of hog tying.
  288. 30:37 Just good enough.
  289. 30:38 Huh? I forgot an idea if they tied us up as good as they knew how.
  290. 30:42 We couldn't have gotten loose water or no water.
  291. 30:44 You mean they wanted us to get loose?
  292. 30:45 We've got to get the other boys loose and find our horses. And try to catch an airplane? We've got to get word to the sheriff.
  293. 30:54 They didn't need Monsanto. Hey, Roy, come here.
  294. 30:59 Here's our gun. Those guys are mighty sure of themselves.
  295. 31:03 And they're still loaded. There's no doubt about it. They wanted us to escape all right.
  296. 31:07 And not too soon but with our guns.
  297. 31:09 They can't want us to give the alarm or to chase them.
  298. 31:11 Well, they didn't do it out of kindness.
  299. 31:13 Let's go.
  300. 31:33 There's Rogers and his gang now. You can back up Pico Cannon and wait for him. Come on.
  301. 31:43 Shoot over the head. We want to take him alive if we can.
  302. 32:48 Hey Pat.
  303. 32:49 I think I'm beginning to understand what this is all about.
  304. 32:51 We'll ride on to Carroll's ranch and make sure. Okay.
  305. 32:55 I'm going to go.
  306. 32:58 Come on.
  307. 33:03 Well, what have you got to say for yourself?
  308. 33:06 I don't know.
  309. 33:07 What do you want me to say?
  310. 33:08 I'd like you to explain this crazy kidnapping business.
  311. 33:11 Well, don't act like we did it.
  312. 33:13 Well, I don't know why not. I saw you do it with my own eyes. Now, wait a minute. We've just been shot at by the sheriff, and now you claim you saw us do something we didn't do.
  313. 33:21 I'm afraid you're the one that's going to do some explaining.
  314. 33:23 Mr. Harmon took movies of the whole thing.
  315. 33:26 I know what she means, Roy. That Harmon feller had a stage of fake hold-up.
  316. 33:30 It was when you were off at the mine,
  317. 33:33 So that's it.
  318. 33:35 That's why Harmon wanted us to escape with our guns.
  319. 33:38 Wouldn't look guilty unless we were on the loose.
  320. 33:41 But if he took those pictures while those mining men were off with me...
  321. 33:45 You didn't see us in Harmon's movies.
  322. 33:47 I certainly did.
  323. 33:49 Oh, wait a minute. Did I?
  324. 33:51 It's also confused.
  325. 33:53 I guess we just took it for granted that you were there.
  326. 33:56 We weren't.
  327. 33:57 That all proved that those movies weren't of the real kidnapping.
  328. 34:07 Try and make it to the car.
  329. 34:35 Come on, we'll phone the sheriff.
  330. 34:42 What's the idea?
  331. 34:43 You were saying something, and I wanted to hear the rest of it.
  332. 34:46 then you don't think we're guilty?
  333. 34:48 I'm listening.
  334. 34:49 All right, we'll head back to the ranch. But those deputies will be there. They'll be gone by now, given the description of this car to have a cop in the state. This is the time for horses.
  335. 34:58 Why don't you hide out in the hills someplace? We can't. We've got to keep those thugs from never collecting the ransom money.
  336. 35:13 But Roy...
  337. 35:14 If those kidnappers don't get their ransom money, they'll kill all the victims. They'll kill all the victims if they do get it.
  338. 35:19 Everything Harmon's done proves that he never intends to let any of those fellows live to identify him.
  339. 35:24 The second he collects, they're goners.
  340. 35:26 Gosh, I never thought of that.
  341. 35:27 Say, did the ransom note say where the payoff was to take place?
  342. 35:30 Yes.
  343. 35:31 On the Indian Wells Road...
  344. 35:33 somewhere near Sentinel Rock.
  345. 35:35 Sentinel Rock?
  346. 35:36 Well, that's where I'm heading right now. But they said the place would be watched. I'll have to risk it.
  347. 35:49 We've got to get the boys out of jail. How are we going to do that with everybody in town shooting at us? Well, that's for you to figure out, Pat. I'll tell you how to start. Gosh, I wish you would.
  348. 35:59 First, you've got to get those movies of Harmon's. You've got to sneak them out of his room some way and make the sheriff look at them.
  349. 36:04 And be careful you don't get shot.
  350. 36:06 Be careful.
  351. 36:07 Sure, I'll do the best I can, but there's one thing I don't understand.
  352. 36:37 Hey, I'm gonna need this car. I'm going in town to get those movies. They'd be shooting at you from every window.
  353. 36:45 Hey, I ain't letting any girl do my work.
  354. 36:48 Or am I?
  355. 36:57 J.B., November 4th, 1883.
  356. 37:01 I bet there hasn't been anybody in the place since.
  357. 37:04 Probably tumble down on our heads any minute.
  358. 37:06 I'm afraid that's the least of our worries now, Mac. Come on, break it up.
  359. 37:10 This ain't a director's meeting.
  360. 37:21 I wish I could sleep like that guy.
  361. 37:24 Yeah.
  362. 37:24 I think he was walking in his sleep when he showed us this hole.
  363. 37:30 Amen.
  364. 37:36 Hey, get away from there. You won't like showing all over the desert.
  365. 37:41 I said to keep a lookout. All right, then get outside and look. And stay away from that blanket.
  366. 37:45 Did Joe call? Yeah. Get him back.
  367. 37:52 This is Joe.
  368. 37:53 Get the signal.
  369. 37:54 - Okay. Louie? - Yeah, Joe.
  370. 37:58 That's the payoff man, model T4. You know the rest.
  371. 38:02 Start now. Take a couple of hours to get there.
  372. 38:04 - Moxie. - Yeah?
  373. 38:07 Let me know by short break, as soon as you're going.
  374. 38:08 Then blow up both engines.
  375. 38:11 Sure, I understand.
  376. 38:12 Remember, one of those slips looked to identify. It's at your neck, see?
  377. 38:15 That's all.
  378. 38:16 Come on, Felton. Okay, now's that light. So long, fellas. See you in the night spot.
  379. 38:27 Be careful nobody steals that before you get there mayor. Don't you worry I
  380. 38:31 No crooks gonna get this money.
  381. 39:06 That you, Joe?
  382. 39:07 Give signal.
  383. 39:08 Get a signal.
  384. 39:26 Oh, my God.
  385. 39:31 Hey, Sheriff, let us out of here. I wasn't raised to be a convict.
  386. 39:41 Hey, you don't stop that wrecking out. Oh, you'll do what? Throw us in jail, I suppose.
  387. 39:51 Who is it?
  388. 39:51 I'm terribly sorry but phone Jim Clancy and tell him to bring over his movie
  389. 40:00 I'll do nothing of the kind.
  390. 40:02 No girl's gonna threaten me.
  391. 40:03 I'm not threatening you.
  392. 40:06 this is.
  393. 40:08 Phone Jim Clancy.
  394. 40:14 I'm going to go.
  395. 41:13 All right hand it over.
  396. 41:21 Yeah, it looks like it's all there. Certainly it's all there.
  397. 41:25 How about them poor folks you skunks kidnap?
  398. 41:27 Where are they?
  399. 41:29 Up in an old rustler's hideout.
  400. 41:31 But you won't have to worry about them anymore, Grandpa.
  401. 42:04 Come on.
  402. 42:38 Oh, my God.
  403. 43:54 Amen.
  404. 44:06 Come on.
  405. 44:26 Hey, air princess.
  406. 44:28 Good old princess.
  407. 44:45 Make it fast, Princess. Just like you're going to beat the desert tornado.
  408. 45:06 Told you it wouldn't work.
  409. 45:11 I just saw Princess Ida fly in. Princess Ida? Don't bother me with that mangy bunch of feathers. She has something tied to her leg. Huh? She has. Look.
  410. 45:46 I guess that proves what I've been telling you, Sheriff.
  411. 45:49 Well, it proves that Roy and his horse weren't in those movies all right.
  412. 45:52 I guess those mining men weren't there either. Then you let the boys out and arrest Harmon? Well, not so fast.
  413. 45:59 Still don't prove that these boys weren't in on it.
  414. 46:01 Well, if I was to let them go and they turned out to be guilty, I'd get lynched.
  415. 46:05 No, the best I can do for you is to check on Harmon.
  416. 46:09 But Sheriff, you need the boys to help you catch the real kidnappers. I've got deputies to do that.
  417. 46:15 Besides, I promised the families that I wouldn't move until they said so.
  418. 46:26 Hey, here's a note from Gabby Says where the kidnap victims are What are you talking about? You're a kidnapper yourself Oh, you think so? Well, take a look at this
  419. 46:45 All right, I'll let them out.
  420. 46:47 We'll head up that way. No time to lose.
  421. 47:02 Come on.
  422. 47:15 Now that life it's me Louis. I'm coming in oh
  423. 47:21 They jumped us at the payoff. We better blow up this door and scramble.
  424. 47:24 Come on.
  425. 47:27 I'm going to go.
  426. 47:35 I'm sorry.
  427. 47:53 I'll go through and tell the boys to blow the other entrance.
  428. 47:56 Come on.
  429. 48:01 Be ready to scram. I'm telling the boys at the other end to set her off.
  430. 48:08 Get the dynamite and light a five minute fuse, then beat it for the plane.
  431. 48:20 Hold it.
  432. 48:39 Say, who's that?
  433. 48:57 I'm going to go.
  434. 49:00 Come on.
  435. 49:07 it
  436. 49:18 Come on.
  437. 49:22 Come on.
  438. 50:00 Take it easy fella you're hurt I'm all right.
  439. 50:32 Come on.
  440. 51:02 You all right, Roy? Yeah.
  441. 51:34 Well, looks like we're all here. Yeah, I guess the old Western methods are still the best after all. Well, ain't you sure about that?
  442. 51:42 You know them newfangled bulletproof vests come in handy once in a while.
  443. 51:49 Well, I don't know about this. We never had a girl in the carol before. Oh, that's all right. You never had guests of honor before. You never had a kidnapping before. We always finish our writing before, and quacky, we're going to finish it.
  444. 52:19 Down the trail, we press along, till the happy day is through. And we sing our song as we roll along, down the trail, down the trail.

Also from 1942

Black Dragons 1942Private Snuffy Smith 1942So’s Your Aunt Emma 1942Outlaws of Boulder Pass 1942

Every free film of 1942 with a copy

Also from Republic Pictures Corp

Angel and the Badman 1947Calendar Girl 1948Affairs of Cappy Ricks 1937Paradise Express 1937

Similar frames

Outlaws of Boulder Pass 1942Underground Rustlers 1941Gangsters of the Frontier 1944

By the average clip vector of the keyframes; a measurement, not a judgement