Public Reel

Water Rustlers (1938)

No renewal found Free in the US since 1 January 1968, on the registry's reading: registration LP8580 of 1939 by Coronado Films, Inc was not renewed in the volumes searched. Record.

Frame from the Internet Archive copy water_rustlers
Copy
water_rustlers on the Internet Archive; released 1938, copyright registered 1939
Read
488 shots over 54:49 · 260 beats in 155 sequences · 325 transcript lines · JSON
Record
Water Rustlers No renewal found
Wrong?
Report a problem
Lands on the beat covering that second.
155 sequences; each is also a heading below.
How this page was made

488 shots over 54:49, read from the Internet Archive copy water_rustlers (water_rustlers.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: Water Rustlers No renewal found. JSON

Measurements: black-and-white film on its keyframes (0 of 488 shots judged colour), average shot 6.7s long, a frontal face detected in 25% of keyframes. Shots are detected automatically and each is represented by its midpoint frame.

Released 1938 (Internet Archive); copyright registered 1939 (catalog).

260 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 0:00, shot 00:00
1 of 1 shots sampled

1. Beat 1

0:00–0:00 Not yet checked

Model synopsis: The first beat is a black screen with no visible content or audible dialogue. No location, time, or characters can be identified from this frame.

Evidence, details and a link to share

Sequence 2 from 0:00

Frame at 0:05, shot 10:05Frame at 0:11, shot 20:11
2 of 2 shots sampled

2. Beat 2

0:00–0:14 Not yet checked

Model synopsis: The beat displays title cards for the 1938 film 'Water Rustlers,' listing cast and crew credits. No characters, actions, or settings are depicted beyond the text on screen.

Evidence, details and a link to share

Sequence 3 from 0:14

Frame at 0:23, shot 30:23
1 of 1 shots sampled

3. Beat 3

0:14–0:32 Not yet checked

Model synopsis: The beat displays a credit card listing song titles and composers, with no visible characters or actions. The text is presented in a static, stylized font against a textured background.

Evidence, details and a link to share

Sequence 4 from 0:32

Frame at 0:46, shot 40:46
1 of 1 shots sampled

4. Beat 4

0:32–0:59 Not yet checked

Model synopsis: A single frame shows a cast list from the film WATER RUSTLERS, listing actor names and character roles. No people, actions, or settings are depicted beyond the text.

Evidence, details and a link to share

Sequence 5 from 0:59

Frame at 1:00, shot 51:00Frame at 1:11, shot 71:11Frame at 1:15, shot 81:15Frame at 1:27, shot 101:27
4 of 6 shots sampled

5. Field

0:59–1:28 Not yet checked

Model synopsis: A herd of cattle is shown moving through a grassy, tree-lined landscape. A voice sings about feeling at home in a saddle and being alone, with the word 'Alone' repeated.

  • Cattle are seen moving through a field with trees. [frame:2]

1 person observed.

“I feel at home in a saddle. Where hills are sloping, I'm loping and roping the whole day through. On a pin for water, strawberry low. I'v…” 1:00 · “Alone.” 1:19

Evidence, details and a link to share

Frame at 1:31, shot 111:31Frame at 1:36, shot 121:36Frame at 1:41, shot 131:41Frame at 1:51, shot 141:51
4 of 4 shots sampled

6. Field

1:28–1:59 Not yet checked

Model synopsis: A person on horseback herds cattle across a dry, brushy landscape. The speaker describes daily life as a buckaroo, mentioning a reliable horse and singing while riding.

  • Cattle are being herded across a field. [frame:1]
  • A rider on horseback is visible among cattle. [frame:4]

1 person observed.

“I'm a buckaroo.” 1:30 · “Every day is filled with pieces and cream. Life is like a beautiful prairie dream.” 1:33

Evidence, details and a link to share

Sequence 6 from 1:59

Frame at 2:07, shot 152:07Frame at 2:22, shot 162:22
2 of 2 shots sampled

7. Field

1:59–2:28 Not yet checked

Model synopsis: A person in Western attire sings outdoors while mounted on a horse, then appears in a medium shot holding a revolver. The setting is a sunlit, open landscape with hills and sparse trees.

  • The person is shown in a medium shot holding a revolver. [frame:2]

1 person observed.

“I feel at home in a saddle. Where hills are sloping and loping and roping the whole day through. On a pin for a strawberry loan. I've got…” 2:00 · “Alone.” 2:19

Evidence, details and a link to share

Frame at 2:31, shot 172:31Frame at 2:41, shot 182:41
2 of 2 shots sampled

8. Field

2:28–2:50 Not yet checked

Model synopsis: A woman in a cowboy hat sings outdoors while a man on horseback rides near a river with other horses. The transcript includes lyrics about being a buckaroo and having a reliable horse.

  • A woman sings while seated outdoors. [frame:1]
  • A man rides a horse near a river with other horses nearby. [frame:2]

2 people observed.

“I'm a buckaroo.” 2:30 · “Every day is filled with peeps and cream. Life is like a beautiful prairie dream. Sweet dreams.” 2:33

Evidence, details and a link to share

Frame at 2:54, shot 192:54Frame at 3:04, shot 203:04Frame at 3:14, shot 213:14Frame at 3:22, shot 223:22
4 of 4 shots sampled

9. Field

2:50–3:25 Not yet checked

Model synopsis: A group of cowboys on horseback herd cattle near a river with mountains in the background. The scene is accompanied by a song about riding and feeling at home in the saddle.

  • Cattle are walking through a field with mountains in the background. [frame:1]
  • A cowboy on horseback is visible behind cattle. [frame:2]
  • Cowboys on horseback herd cattle near a river. [frame:3]
  • 1 more under Evidence and details.

3 people observed.

“From singing when I go slinging along.” 2:53 · “I feel at home in the saddle. Just let me ride high and wide on the side of a western hill.” 2:59

Evidence, details and a link to share

Frame at 3:26, shot 233:26
1 of 1 shots sampled

10. Riverbank

3:25–3:27 Not yet checked

Model synopsis: A person rides a horse along a riverbank with mountains in the background. The scene is outdoors in natural daylight with no visible structures or other people.

  • A person rides a horse along a riverbank. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 7 from 3:27

Frame at 3:28, shot 243:28
1 of 1 shots sampled

11. Riverbank

3:27–3:29 Not yet checked

Model synopsis: A woman in a cowboy hat and plaid shirt stands beside a horse near a riverbank. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 8 from 3:29

Frame at 3:31, shot 253:31
1 of 1 shots sampled

12. Concrete bridge or dam

3:29–3:33 Not yet checked

Model synopsis: A concrete structure with water flowing under it is shown; a person sits on top. No dialogue or on-screen text is present.

  • water flows under a concrete structure while a person sits on top [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 9 from 3:33

Frame at 3:34, shot 263:34
1 of 1 shots sampled

13. Other

3:33–3:35 Not yet checked

Model synopsis: A low-angle shot shows a patch of dry brush in the foreground with a dark, shadowed structure behind it. No people, text, or spoken dialogue are visible or audible in this beat.

Evidence, details and a link to share

Sequence 10 from 3:35

Frame at 3:37, shot 273:37
1 of 1 shots sampled

14. Riverbank

3:35–3:38 Not yet checked

Model synopsis: A woman in a cowboy hat and plaid shirt kneels by a riverbank holding a rope. The background shows trees and water under bright lighting.

1 person observed.

Evidence, details and a link to share

Sequence 11 from 3:38

Sequence 12 from 3:47

Frame at 3:49, shot 293:49
1 of 1 shots sampled

16. Desert

3:47–3:50 Not yet checked

Model synopsis: A lone rider on horseback moves through a desert landscape dotted with saguaro cacti. The scene is shot in black and white with no visible text or dialogue.

  • A rider on horseback moves through a desert landscape. [frame:1]

1 person observed.

Evidence, details and a link to share

Frame at 3:53, shot 303:53Frame at 3:58, shot 313:58Frame at 4:03, shot 324:03Frame at 4:05, shot 334:05
4 of 4 shots sampled

17. Desert

3:50–4:06 Not yet checked

Model synopsis: Two men in cowboy hats stand near a 'KEEP OUT' sign in a desert landscape; one carries a rifle. A rider on horseback approaches along a dusty trail, passing saguaro cacti under a clear sky.

  • Two men stand near a sign reading 'KEEP OUT PRIVATE PROPERTY ROBERT WEYLA SILVER CREEK MINING ENTER' [frame:1]
  • Two men face away from camera toward a desert landscape with mountains [frame:2]
  • A rider on horseback approaches on a dusty trail past saguaro cacti [frame:3]
  • 1 more under Evidence and details.

3 people observed.

“That Martin girl, she's coming this way.” 3:54

Evidence, details and a link to share

Sequence 13 from 4:06

Frame at 4:08, shot 344:08
1 of 1 shots sampled

18. Riverbed

4:06–4:10 Not yet checked

Model synopsis: A wide shot shows a large herd of cattle moving across a riverbed with trees and hills in the background. No people or dialogue are visible or audible in this beat.

Evidence, details and a link to share

Frame at 4:14, shot 354:14
1 of 1 shots sampled

19. Riverbed

4:10–4:18 Not yet checked

Model synopsis: A wide shot shows a large herd of cattle being driven across a dry riverbed with trees and hills in the background. No people are clearly visible in the frame, and no dialogue or on-screen text is present.

Evidence, details and a link to share

Frame at 4:22, shot 364:22
1 of 1 shots sampled

20. Field

4:18–4:27 Not yet checked

Model synopsis: A large herd of cattle is being driven across a dry, open field with trees and a riverbank visible in the background. No people are clearly visible in the frame, and no dialogue or on-screen text is present.

  • Cattle are being herded across an open field. [frame:1]

Evidence, details and a link to share

Frame at 4:31, shot 374:31
1 of 1 shots sampled

21. Hillside trail

4:27–4:35 Not yet checked

Model synopsis: A herd of cattle moves along a hillside trail, viewed from a distance. The terrain is rugged and vegetated, with no buildings or people visible.

  • Cattle move in a line along a hillside trail. [frame:1]

Evidence, details and a link to share

Frame at 4:42, shot 384:42Frame at 4:55, shot 394:55Frame at 5:04, shot 405:04
3 of 3 shots sampled

22. Field

4:35–5:07 Not yet checked

Model synopsis: A person on horseback herds cattle across a dusty, open landscape with wooden structures and distant mountains. The speaker recounts arriving at Silver Creek after a long ride, finding the silver strike depleted and their funds nearly gone.

  • A person on horseback herds cattle across a dusty field. [frame:1]
  • Cattle are gathered near wooden pens and a tree. [frame:2]
  • Cattle and riders are seen in a wide shot with distant mountains and a large building. [frame:3]

1 person observed.

“Oh, my God.” 4:36 · “Well, my luck was holding out. I rode in the silver creek after two weeks in the saddle to find that the silver strike had just about peeder…” 5:06

Evidence, details and a link to share

Sequence 14 from 5:07

Frame at 5:22, shot 415:22
1 of 1 shots sampled

23. Camp

5:07–5:36 Not yet checked

Model synopsis: Four men in cowboy hats sit around a table outdoors, conversing. One man is named Ken and another Andy, as mentioned in dialogue.

  • Four men sit around a table outdoors, talking. [frame:1]

Named: Ken (t:5:22), Andy (t:5:22). 4 people observed.

“And there weren't no silver left. So you set her down to be a successful rancher. I'm thinking it was a lucky strike for you, Ken. I've h…” 5:22

Evidence, details and a link to share

Sequence 15 from 5:36

Frame at 5:39, shot 425:39
1 of 1 shots sampled

24. Desert

5:36–5:42 Not yet checked

Model synopsis: A lone figure walks among tall saguaro cacti in a desert landscape. The scene is shot in black and white with no visible structures or other people.

1 person observed.

Evidence, details and a link to share

Sequence 16 from 5:42

Frame at 5:48, shot 435:48Frame at 5:56, shot 445:56Frame at 6:07, shot 456:07
3 of 3 shots sampled

25. Field

5:42–6:15 Not yet checked

Model synopsis: Two men in cowboy hats stand outdoors near a wagon in a rocky, arid landscape; one gestures while speaking, the other listens. The transcript includes fragmented dialogue with no clear names or events established.

  • One man gestures with his hands while speaking to another man. [frame:1]
  • The man in checkered pants gestures toward a pot on a wagon. [frame:2]
  • The man in checkered pants holds a long object horizontally. [frame:3]

2 people observed.

“What, Morse?” 5:48 · “before see people eat so much when i saw” 5:52

Evidence, details and a link to share

Frame at 6:17, shot 466:17Frame at 6:20, shot 476:20
2 of 2 shots sampled

26. Desert

6:15–6:21 Not yet checked

Model synopsis: A man in a cowboy hat and apron stands outdoors near cooking pots with a rocky desert landscape behind him. The scene then cuts to a view of tall saguaro cacti in the same desert environment.

1 person observed.

Evidence, details and a link to share

Frame at 6:26, shot 486:26Frame at 6:38, shot 496:38
2 of 2 shots sampled

27. Field

6:21–6:46 Not yet checked

Model synopsis: Two men in cowboy hats and plaid shirts are outdoors in a rocky, arid landscape, eating from bowls and speaking about hunger. One man sits on a stool while the other stands nearby, both holding food containers.

  • A man sits on a stool eating from a bowl. [frame:1]
  • Two men stand together outdoors, each holding a bowl, appearing to eat or prepare to eat. [frame:2]

2 people observed.

“How about some more, Chuck, Mike? These round-ups sure give a fellow a great appetite. I'm so hungry I'm going to fall down. I drink to o…” 6:26 · “and then somebody more come to be freed. There. There it is now. Everything. I make myself starve from little pieces. Now, paisali, I get my…” 6:44

Evidence, details and a link to share

Frame at 6:51, shot 506:51Frame at 6:59, shot 516:59Frame at 7:07, shot 527:07Frame at 7:12, shot 537:12
4 of 4 shots sampled

28. Field

6:46–7:13 Not yet checked

Model synopsis: Two men in cowboy hats are outdoors near a wagon and cooking equipment; one stirs a pot while the other walks away and later holds a can. The setting is a rocky, arid landscape with sparse vegetation.

  • One man stirs a pot on a camp stove. [frame:1]
  • The second man walks away from the stove. [frame:2]
  • The second man stands holding a can. [frame:3]
  • 1 more under Evidence and details.

2 people observed.

“Just go along.” 7:05 · “Oh, my God.” 7:10

Evidence, details and a link to share

Frame at 7:17, shot 547:17Frame at 7:27, shot 557:27
2 of 2 shots sampled

29. Desert

7:13–7:35 Not yet checked

Model synopsis: A rider on horseback moves across a desert landscape while, in another scene, men in cowboy hats sit at a wooden table outdoors. One man speaks about the quality of food from a chuck wagon and mentions Mike as a good cook.

  • A rider on horseback gallops across a desert landscape. [frame:1]
  • Four men in cowboy hats sit at a wooden table outdoors, eating or talking. [frame:2]

5 people observed.

“I'm going to go.” 7:14 · “You know one thing I like about your chuck wagon? It's always good food. That's the reason I come over to help you. Well, Mike's a good coo…” 7:21

Evidence, details and a link to share

Sequence 17 from 7:35

Frame at 7:37, shot 567:37
1 of 1 shots sampled

30. Field

7:35–7:39 Not yet checked

Model synopsis: A close-up shot shows a disturbed patch of dry, rocky ground with scattered debris and a thin stick. No people, vehicles, or structures are visible in the frame.

Evidence, details and a link to share

Sequence 18 from 7:39

Frame at 7:49, shot 577:49
1 of 1 shots sampled

31. Field

7:39–7:59 Not yet checked

Model synopsis: A man on horseback holds a rope near cattle in an outdoor setting. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Frame at 7:59, shot 587:59
1 of 1 shots sampled

32. Field

7:59–8:00 Not yet checked

Model synopsis: A saddled horse stands in a fenced outdoor area with other horses visible in the background. No people or dialogue are present in this beat.

Evidence, details and a link to share

Sequence 19 from 8:00

Sequence 20 from 8:05

Frame at 8:07, shot 608:07
1 of 1 shots sampled

34. Other

8:05–8:08 Not yet checked

Model synopsis: A blurry, low-resolution frame shows a dark figure in motion against a lighter background with indistinct shapes. No identifiable people, objects, or text are visible, and no dialogue or on-screen text is present in this beat.

Evidence, details and a link to share

Sequence 21 from 8:08

Frame at 8:10, shot 618:10
1 of 1 shots sampled

35. Field

8:08–8:12 Not yet checked

Model synopsis: A man in a hat stands in a fenced field as three cows walk past him. The background shows a fence and distant hills under bright lighting.

  • A man stands as three cows walk past him in a fenced field. [frame:1]

1 person observed.

Evidence, details and a link to share

Frame at 8:14, shot 628:14
1 of 1 shots sampled

36. Field

8:12–8:16 Not yet checked

Model synopsis: A man on horseback holds a gun while cattle move around him in a fenced area. The background shows a dry landscape with hills and sparse vegetation.

  • A man on horseback holds a gun while cattle move around him. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 22 from 8:16

Frame at 8:17, shot 638:17
1 of 1 shots sampled

37. Field

8:16–8:18 Not yet checked

Model synopsis: A close-up shot shows the legs and lower bodies of several cattle standing in a dusty, sunlit outdoor area. No people or dialogue are visible or audible in this beat.

Evidence, details and a link to share

Sequence 23 from 8:18

Frame at 8:21, shot 648:21
1 of 1 shots sampled

38. Field

8:18–8:23 Not yet checked

Model synopsis: A person on horseback is visible near cattle in an outdoor setting. No names, dialogue, or time indicators are present.

  • A person on horseback is visible near cattle. [frame:1]

1 person observed.

Evidence, details and a link to share

Frame at 8:26, shot 658:26
1 of 1 shots sampled

39. Field

8:23–8:29 Not yet checked

Model synopsis: A man in a hat holds a coiled rope while standing near horses; another person is partially visible on horseback. The scene is outdoors under bright light, with no visible structures or signage.

2 people observed.

Evidence, details and a link to share

Sequence 24 from 8:29

Frame at 8:32, shot 668:32Frame at 8:39, shot 678:39Frame at 8:46, shot 688:46
3 of 3 shots sampled

40. Field

8:29–8:48 Not yet checked

Model synopsis: A man on horseback and others on foot are moving cattle through a fenced area with hills in the background. Dust is kicked up as the animals move, and one person is seen bending over near the ground.

  • A man on horseback moves cattle through a fenced area. [frame:1]
  • Cattle are being herded through a gate by people on foot and horseback. [frame:2]
  • A person bends over near the ground as cattle run past. [frame:3]

3 people observed.

Evidence, details and a link to share

Frame at 8:52, shot 698:52Frame at 8:58, shot 708:58Frame at 9:03, shot 719:03
3 of 3 shots sampled

41. Riverbank

8:48–9:05 Not yet checked

Model synopsis: Two men in cowboy hats sit on a wooden fence near a river, discussing cattle and grazing land. A third person is seen walking in a desert landscape with cacti, as one man remarks that it looks like the other's daughter is coming.

  • Two men sit on a fence and talk about cattle. [frame:1]
  • A person walks through a desert landscape with cacti. [frame:2]

Named: Andy (t:8:49), Tim (t:8:49). 3 people observed.

“Got a nice looking bunch of cattle this year, Andy.” 8:49 · “Yeah, you've ever been improving them regularly, Tim. That comes from good grazing land and water.” 8:49

Evidence, details and a link to share

Sequence 25 from 9:05

Frame at 9:08, shot 729:08
1 of 1 shots sampled

42. Mountain

9:05–9:11 Not yet checked

Model synopsis: A person on horseback rides past a wooden fence with rocky mountains in the background. The scene is outdoors in daylight with no visible buildings or other people.

  • A person rides a horse past a wooden fence. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 26 from 9:11

Frame at 9:13, shot 739:13Frame at 9:19, shot 749:19Frame at 9:25, shot 759:25Frame at 9:31, shot 769:31
4 of 4 shots sampled

43. Field

9:11–9:35 Not yet checked

Model synopsis: Three men in cowboy hats discuss the closure of a dam's gates, which has stopped the river's flow and threatens their cattle's water supply. One man decides to go and see what can be done about it.

Named: Charlie (t:9:16). 3 people observed.

“Oh, Dad. Oh, Andy. They've closed the gates of the dam. What?” 9:11 · “When did this happen, Charlie? I've just been up there. It's already stopping the flow of the river.” 9:16

Evidence, details and a link to share

Frame at 9:38, shot 779:38
1 of 1 shots sampled

44. Field

9:35–9:40 Not yet checked

Model synopsis: A man on horseback is seen near a wooden fence with two other men standing nearby in an outdoor setting. No dialogue or on-screen text is present in this beat.

3 people observed.

Evidence, details and a link to share

Sequence 27 from 9:40

Frame at 9:44, shot 789:44Frame at 9:54, shot 799:54
2 of 2 shots sampled

45. Private office

9:40–9:59 Not yet checked

Model synopsis: Two men are in an office; one stands holding a hat while the other sits at a desk. A sign identifies 'Robert Weylan Silver Creek Enterprises'. The transcript includes a rebuke about wrecking people's homes for profit.

  • A man stands holding a hat in front of a sign reading 'ROBERT WEYLAN SILVER CREEK ENTERPRISES'. [frame:1]
  • A man in a plaid shirt stands facing a seated man at a desk with a patterned wall behind them. [frame:2]

Named: Mr. Whalen (t:9:44). 2 people observed.

“Well, maybe it's like you say, Mr. Whalen.” 9:44 · “There may still be ore in this section.” 9:47

Evidence, details and a link to share

Frame at 10:06, shot 8010:06Frame at 10:19, shot 8110:19
2 of 2 shots sampled

46. Private office

9:59–10:24 Not yet checked

Model synopsis: Two men argue in an interior room; one standing, holding a hat, confronts the other seated at a desk. The dialogue reveals a conflict over water rights and a threat of trouble if the dam is not removed.

  • The standing man leans forward over the desk toward Wayland. [frame:2]

Named: Wayland (t:10:13). 2 people observed.

“But by cutting the river with this dam you built, you turn all our grazing lands into a desert. Why, it'll ruin every one of us.” 10:02 · “I had to take care of my own problems.” 10:10

Evidence, details and a link to share

Sequence 28 from 10:24

Sequence 29 from 10:25

Frame at 10:29, shot 8310:29
1 of 1 shots sampled

48. Dam

10:25–10:34 Not yet checked

Model synopsis: A single frame shows a concrete dam or spillway structure with water flowing over it, surrounded by rocks and vegetation. No people, vehicles, or text are visible in the frame.

Evidence, details and a link to share

Sequence 30 from 10:34

Frame at 10:36, shot 8410:36
1 of 1 shots sampled

49. Desert

10:34–10:39 Not yet checked

Model synopsis: A desert landscape with sparse shrubs, a dirt path, and distant mountains under a clear sky. No people or vehicles are visible in the single frame provided.

Evidence, details and a link to share

Sequence 31 from 10:39

Frame at 10:40, shot 8510:40Frame at 10:43, shot 8610:43Frame at 10:44, shot 8710:44Frame at 10:47, shot 8810:47
4 of 4 shots sampled

50. Field

10:39–10:48 Not yet checked

Model synopsis: Two cows stand in a rocky, arid landscape with hills in the background; one cow is later shown lying dead on the ground. No people, dialogue, or on-screen text are visible in these frames.

  • Two cows stand in a rocky, arid landscape. [frame:1]
  • One cow is lying dead on the rocky ground. [frame:4]

Evidence, details and a link to share

Frame at 10:52, shot 8910:52
1 of 1 shots sampled

51. Desert

10:48–10:56 Not yet checked

Model synopsis: A lone rider on horseback is visible in a rocky, arid landscape. No dialogue or on-screen text is present in this beat.

  • A person rides a horse across a rocky, brush-covered slope. [frame:1]

1 person observed.

Evidence, details and a link to share

Frame at 11:00, shot 9011:00Frame at 11:08, shot 9111:08Frame at 11:15, shot 9211:15
3 of 3 shots sampled

52. Rocky path

10:56–11:19 Not yet checked

Model synopsis: A person rides a horse along a rocky, arid path with a steep, brush-covered hillside in the background. The rider, wearing a wide-brimmed hat and light shirt, approaches the camera across three shots.

  • A person rides a horse toward the camera on a rocky path. [frame:1]
  • The rider is closer, facing forward, with the horse’s head visible. [frame:2]
  • The rider continues forward, now centered in the frame with a distant hill behind. [frame:3]

1 person observed.

Evidence, details and a link to share

Frame at 11:27, shot 9311:27Frame at 11:38, shot 9411:38
2 of 2 shots sampled

53. Field

11:19–11:39 Not yet checked

Model synopsis: A person on horseback moves across a rocky, arid landscape with cattle visible in the background. The setting appears to be an open, natural environment with sparse vegetation and rocky terrain.

1 person observed.

Evidence, details and a link to share

Frame at 11:41, shot 9511:41Frame at 11:46, shot 9611:46Frame at 11:54, shot 9711:54
3 of 3 shots sampled

54. Riverbed

11:39–11:57 Not yet checked

Model synopsis: A cow lies dead on a rocky riverbed while a man tends to a horse nearby; other cattle graze in the background. The scene is set in a dry, open landscape with no visible structures.

  • A cow lies motionless on a rocky riverbed. [frame:1]
  • A man stands next to a horse in a rocky field with cattle grazing nearby. [frame:2]
  • The man bends over near the horse while cattle continue to graze in the background. [frame:3]

1 person observed.

Evidence, details and a link to share

Sequence 32 from 11:57

Frame at 12:01, shot 9812:01Frame at 12:09, shot 9912:09
2 of 2 shots sampled

55. Field

11:57–12:12 Not yet checked

Model synopsis: A person in Western attire kneels beside a calf on rocky ground, reaching toward it. The scene is outdoors, with a horse’s legs visible nearby and a hat on the ground.

  • Person p1 kneels beside a calf on rocky ground. [frame:1]
  • Person p1 reaches toward the calf’s head with their right hand. [frame:2]

1 person observed.

Evidence, details and a link to share

Sequence 33 from 12:12

Sequence 34 from 13:34

Sequence 35 from 13:40

Sequence 36 from 13:53

Sequence 37 from 15:45

Sequence 38 from 15:46

Sequence 39 from 16:12

Sequence 40 from 16:24

Sequence 41 from 16:53

Sequence 42 from 17:06

Sequence 43 from 17:22

Sequence 44 from 18:17

Sequence 45 from 18:21

Sequence 46 from 19:03

Sequence 47 from 19:07

Sequence 48 from 19:12

Sequence 49 from 19:16

Sequence 50 from 20:27

Sequence 51 from 20:29

Sequence 52 from 20:43

Sequence 53 from 20:51

Sequence 54 from 20:52

Sequence 55 from 21:01

Sequence 56 from 21:04

Sequence 57 from 21:35

Sequence 58 from 22:05

Sequence 59 from 22:27

Sequence 60 from 22:32

Sequence 61 from 22:57

Sequence 62 from 23:24

Sequence 63 from 23:30

Sequence 64 from 23:35

Sequence 65 from 23:49

Sequence 66 from 23:52

Sequence 67 from 23:56

Sequence 68 from 23:58

Sequence 69 from 23:59

Sequence 70 from 24:04

Sequence 71 from 24:06

Sequence 72 from 24:09

Sequence 73 from 24:13

Sequence 74 from 24:14

Sequence 75 from 24:16

Sequence 76 from 24:33

Sequence 77 from 24:34

Sequence 78 from 24:41

Sequence 79 from 24:50

Sequence 80 from 24:56

Sequence 81 from 26:05

Sequence 82 from 26:06

Sequence 83 from 28:07

Sequence 84 from 28:18

Sequence 85 from 28:20

Sequence 86 from 28:29

Sequence 87 from 30:13

Sequence 88 from 30:18

Sequence 89 from 30:22

Sequence 90 from 30:28

Sequence 91 from 30:46

Sequence 92 from 30:50

Sequence 93 from 30:52

Sequence 94 from 31:03

Sequence 95 from 31:45

Sequence 96 from 31:47

Sequence 97 from 31:50

Sequence 98 from 31:52

Sequence 99 from 32:01

Sequence 100 from 32:03

Sequence 101 from 32:28

Sequence 102 from 32:48

Sequence 103 from 34:01

Sequence 104 from 34:04

Sequence 105 from 34:15

Sequence 106 from 34:22

Sequence 107 from 34:38

Sequence 108 from 34:40

Sequence 109 from 34:45

Sequence 110 from 34:49

Sequence 111 from 34:58

Sequence 112 from 36:04

Sequence 113 from 36:08

Sequence 114 from 36:26

Sequence 115 from 36:35

Sequence 116 from 37:31

Sequence 117 from 37:49

Sequence 118 from 37:56

Sequence 119 from 37:59

Sequence 120 from 40:04

Sequence 121 from 40:13

Sequence 122 from 40:19

Sequence 123 from 40:21

Sequence 124 from 40:27

Sequence 125 from 40:29

Sequence 126 from 41:36

Sequence 127 from 41:40

Sequence 128 from 41:51

Sequence 129 from 42:13

Sequence 130 from 42:17

Sequence 131 from 42:23

Sequence 132 from 43:19

Sequence 133 from 43:44

Sequence 134 from 43:56

Sequence 135 from 44:47

Sequence 136 from 44:58

Sequence 137 from 45:37

Sequence 138 from 46:24

Sequence 139 from 46:47

Sequence 140 from 47:27

Sequence 141 from 47:48

Sequence 142 from 48:32

Sequence 143 from 48:47

Sequence 144 from 49:04

Sequence 145 from 50:10

Sequence 146 from 50:22

Sequence 147 from 50:58

Sequence 148 from 51:06

Sequence 149 from 51:10

Sequence 150 from 52:29

Sequence 151 from 52:32

Sequence 152 from 52:35

Sequence 153 from 53:22

Sequence 154 from 53:24

Sequence 155 from 54:37

Transcript

Machine transcription of the Archive copy's audio with Whisper large-v3-turbo (temperature 0); the model heard it as en. 325 segments kept, 148 dropped as the kind of hallucination the model produces over music and silence. Each timestamp links to the Archive's player at that second. This has not been checked against the film and can be wrong.

  1. 1:00 I feel at home in a saddle. Where hills are sloping, I'm loping and roping the whole day through. On a pin for water, strawberry low. I've got a song so hot till I be alone.
  2. 1:19 Alone.
  3. 1:22 I feel at home in a saddle.
  4. 1:30 I'm a buckaroo.
  5. 1:33 Every day is filled with pieces and cream. Life is like a beautiful prairie dream.
  6. 1:42 Sweet dreams.
  7. 1:44 I've got a horse that knows his way. He never goes wrong. I've got a horse that I can't stop.
  8. 1:53 from singing when I go swinging along.
  9. 2:00 I feel at home in a saddle. Where hills are sloping and loping and roping the whole day through. On a pin for a strawberry loan. I've got a song, so how can I be alone?
  10. 2:19 Alone.
  11. 2:21 I feel at home in a saddle.
  12. 2:30 I'm a buckaroo.
  13. 2:33 Every day is filled with peeps and cream. Life is like a beautiful prairie dream. Sweet dreams.
  14. 2:44 I've got a horse that knows his way. He never goes wrong. I've got a horse that I can't stop.
  15. 2:53 From singing when I go slinging along.
  16. 2:59 I feel at home in the saddle. Just let me ride high and wide on the side of a western hill.
  17. 3:12 If it's raining or a beautiful day, I'm happy cause I'm riding my cares away. In the saddle.
  18. 3:54 That Martin girl, she's coming this way.
  19. 4:36 Oh, my God.
  20. 5:06 Well, my luck was holding out. I rode in the silver creek after two weeks in the saddle to find that the silver strike had just about peedered out. There I was at the end of my stake, hoping to make another.
305 more segments
  1. 5:22 And there weren't no silver left. So you set her down to be a successful rancher. I'm thinking it was a lucky strike for you, Ken. I've had to work ever since. Don't forget that, Andy.
  2. 5:48 What, Morse?
  3. 5:52 before see people eat so much when i saw
  4. 6:06 and what you are like
  5. 6:26 How about some more, Chuck, Mike? These round-ups sure give a fellow a great appetite. I'm so hungry I'm going to fall down. I drink to open air from the outside for eight hours. I'm hungry like anything. I bring the food up to my nose, almost. My stomach, she's sick.
  6. 6:44 and then somebody more come to be freed. There. There it is now. Everything. I make myself starve from little pieces. Now, paisali, I get my eat. I'm going to get my eat all day long.
  7. 7:05 Just go along.
  8. 7:10 Oh, my God.
  9. 7:14 I'm going to go.
  10. 7:21 You know one thing I like about your chuck wagon? It's always good food. That's the reason I come over to help you. Well, Mike's a good cook. Oh, you betcha.
  11. 7:29 Boys are all through eating, boss. Shall we go on with Brandon? All right, Wiley. We're coming right up.
  12. 8:49 Got a nice looking bunch of cattle this year, Andy. Yeah, you've ever been improving them regularly, Tim. That comes from good grazing land and water.
  13. 9:00 Come on.
  14. 9:00 Looks like your daughter coming
  15. 9:11 Oh, Dad. Oh, Andy. They've closed the gates of the dam. What?
  16. 9:16 When did this happen, Charlie? I've just been up there. It's already stopping the flow of the river. Then what about water for our cattle? Well, we won't have any. We should have stopped Waylon and his crowd from building that dam. I'll go in and see what can be done about it.
  17. 9:44 Well, maybe it's like you say, Mr. Whalen.
  18. 9:47 There may still be ore in this section.
  19. 9:50 But you can't use any means you like to get it out.
  20. 9:53 You can't wreck people who've built their homes here, who've lived here all their lives, just to suit your own ends. I had to run my business as I see fit.
  21. 10:02 But by cutting the river with this dam you built, you turn all our grazing lands into a desert. Why, it'll ruin every one of us.
  22. 10:10 I had to take care of my own problems.
  23. 10:12 You'll have to take care of yours.
  24. 10:13 Well, I warn you now, Wayland.
  25. 10:15 If you insist on blocking off our water,
  26. 10:19 You can look for trouble.
  27. 10:20 I'll be ready for it.
  28. 13:57 Where are you going, Mike?
  29. 13:58 Oh, I like to go for the chop down this dam.
  30. 14:03 It's break my heart to see this beef not drinking. If you can't do that, you'll be shocked.
  31. 14:08 Who tried to shot me? I chop him down like cherry tree.
  32. 14:12 It's no right for him to stop this water and mountain.
  33. 14:15 Why?
  34. 14:17 Why do you do this? I think I can answer that. What did you find out, Charlie?
  35. 14:22 I just found out why they built that dam. Why? They're using the water for gun pressure for hydraulic mining in Black Canyon.
  36. 14:29 But that isn't the worst of it.
  37. 14:31 The water doesn't even drain back into our valley.
  38. 14:33 It runs off on the other side of the hills.
  39. 14:35 Water wasted on a lot of sagebrush country.
  40. 14:39 Well, what can we do about it? Waylon owns this mine property.
  41. 14:42 The only thing we can do is go to court and fight Whalen. Yeah, you know how long that would take. By the time it's decided, there wouldn't none of us have any cattle left.
  42. 14:50 Why you not let Mike go?
  43. 14:52 I chopped this down for little pieces. I make for you a new Niagara farm.
  44. 14:59 Oh, I'm afraid we couldn't let you go, Mike.
  45. 15:01 What would we do for a cook?
  46. 15:05 Oh...
  47. 15:06 I'll forget.
  48. 15:07 I got meat in just 12.
  49. 15:09 If I let her born, I'd chop myself up.
  50. 15:15 I have an idea, Dad.
  51. 15:17 In the morning, we could drive ours and Juergens herd through our pass to the new water bases.
  52. 15:22 But our land only runs to our past.
  53. 15:24 Whelan's bought up all the land beyond that, including the past.
  54. 15:28 But it's the only way we can get them to water.
  55. 15:31 All right, I'll ride over and tell Jurgen.
  56. 15:34 It appears like I'll leave you a heap of trouble someday.
  57. 15:46 Wally!
  58. 15:51 We're driving the cattle to Al Pass in the morning.
  59. 15:53 I've just herded him onto the flats, Miss Shirley.
  60. 15:56 Now, you know there's no water there.
  61. 15:58 We're taking them through the pass to the watershed.
  62. 16:01 Well, that land belongs to Whelan. We can't come through there.
  63. 16:04 Well, we're going to try.
  64. 16:05 All right, Miss Shirley.
  65. 16:07 Andy Jurgens will probably ride along with his cattle, too. Yes, ma'am.
  66. 16:24 Looking for somebody, stranger?
  67. 16:26 Yes, I'm looking for the foreman.
  68. 16:29 I'm the foreman.
  69. 16:30 I'll, uh...
  70. 16:33 Say, your country's pretty dry.
  71. 16:36 And did you just ride over to tell me that?
  72. 16:38 Well, not exactly. I came in to see if you were taking on any hands. Well, the answer is no.
  73. 16:44 No harm in asking.
  74. 16:46 Say, do you mind if I water my horse?
  75. 16:49 All right.
  76. 16:50 Right over there.
  77. 17:39 I'll, uh, I'll send you it for you.
  78. 17:43 Was there someone you wanted to see?
  79. 17:45 The foreman just asked me that same question.
  80. 17:47 I told him I came in to see if you were putting on any new hands.
  81. 17:51 And he said they said no.
  82. 17:53 He sounded like he meant it.
  83. 17:54 That's funny. He didn't ask me.
  84. 17:56 As a matter of fact, we're planning a drive in the morning and we can use a couple of extra hands.
  85. 18:03 I uh...
  86. 18:04 I take it you're the boss.
  87. 18:05 Nope, my father is.
  88. 18:09 I still reckon you're the boss.
  89. 18:26 You've heard what Wiley said. Now take some of them and go to Owl Pass tonight.
  90. 18:30 All right.
  91. 18:31 I don't want the cattle to get near that water.
  92. 18:33 Another three months?
  93. 18:35 And every rancher in the valley will be ready to sell.
  94. 18:39 At my price.
  95. 18:42 Get going. Okay.
  96. 18:45 Oh.
  97. 18:46 Do you know what to do with the cattle?
  98. 18:48 I'll keep him headed away from the pass now, don't worry. Yes, because if they ever get a smell of that water and stampede for that pass...
  99. 18:55 Oh,
  100. 18:56 There won't be any of our boys left to tell about it.
  101. 18:58 I'll handle the cattle.
  102. 19:20 I thought I told you we didn't need any hands. Well, the boss figured there might be need for one or two in the morning.
  103. 19:25 Well, if there's anybody needed on this outfit, I'll do the hiring.
  104. 19:28 Say, I don't want to start in work by arguing with you.
  105. 19:31 It'd be a lot nicer to be sort of friendly.
  106. 19:34 Pack up and get up.
  107. 19:40 Come on, get moving.
  108. 19:41 Say, I wouldn't get tough if I was... Come on, pack up your stuff.
  109. 19:45 Wally!
  110. 19:51 What's the reason for this rough stuff? You know Father won't stand for it.
  111. 19:54 As long as I'm foreman of this ranch, I'll do the hiring.
  112. 19:57 You were the foreman, Wiley.
  113. 19:59 I still am.
  114. 20:00 And I'll settle that with your father. You won't need to. Not after you visit with Whalen this afternoon.
  115. 20:06 What are you talking about?
  116. 20:07 You know very well.
  117. 20:09 We have no further use for you on this ranch.
  118. 20:11 Go back to Waylon. He'll give you a job.
  119. 20:14 Yes.
  120. 20:15 And it'll be a job that you wish I didn't have.
  121. 20:21 It'll be a pleasure for me to throw him off, ma'am.
  122. 20:23 No.
  123. 20:24 We don't want any fighting.
  124. 20:33 It's too bad none of you boys can sing. I uh...
  125. 20:36 Don't spoil my good plan by trying it myself.
  126. 21:06 Seen her pastures by and by. Every doggie goes to rest in that dreamland of the world. When a cowboy sings a doggie lullaby.
  127. 21:36 Little dokie, it's there.
  128. 21:56 Cause we gotta beat it when we hit the trail again.
  129. 22:06 There's a blessing from the force up in the high. When the cowboy sings, draw no gift.
  130. 22:20 Lullaby.
  131. 22:58 and commute. Well, your foreman almost did until you happened along.
  132. 23:40 Get out and get under cover. When it comes through, let them have it.
  133. 24:39 Bob, right to the doctor. Get him home.
  134. 25:04 Mr. Martin, him very bad work. There's no good time for two-god meetings.
  135. 25:09 I know, Mike.
  136. 25:10 Maybe we could see Miss Shirley. She'll be out in a minute.
  137. 25:15 How's Tim? I'm afraid he's pretty bad.
  138. 25:19 Boys, this is Bob Lawson, Tim's new former. Glad to know you.
  139. 25:24 The boys are ready to band together with the Range Riders and hunt down this bunch. We shouldn't do that, Andy.
  140. 25:34 We don't want any more bloodshed.
  141. 25:40 we'd have to fight for our rights. There are other ways. We still have laws. We can't touch Wayland that way. We'll never find out if we don't try. Maybe Miss Martin's right. You can take this Wayland to court. I'll be back in a minute and let you know how Tim is.
  142. 26:20 Surely Martin will take the stand.
  143. 26:29 You swear to tell the truth, the whole truth, and nothing but the truth, sir Hutto?
  144. 26:33 I do.
  145. 26:36 You are one of the plaintiffs in this case against Robert Weiland.
  146. 26:41 Yes, Your Honor. Proceed. Proceed.
  147. 26:43 Many years ago my father came here.
  148. 26:46 It was still a wild, undeveloped country.
  149. 26:50 He made a home here.
  150. 26:51 And for those who are in the court with me now, help to build the community.
  151. 26:57 Not long ago.
  152. 26:59 He gave his life.
  153. 27:01 Because he wanted to keep his home.
  154. 27:03 And help keep alive the community he'd help to build. Objection.
  155. 27:06 Testimony given is immaterial. Objection overruled.
  156. 27:11 Proceed.
  157. 27:12 Robert Whalen is depriving us of the means of livelihood upon which our existence here depends.
  158. 27:16 I can't believe slowly destroyed for lack of water. Jackson.
  159. 27:20 Testimony given is irrelevant and immaterial. Overruled.
  160. 27:24 Continue.
  161. 27:25 Mr. Whelan's dam has cut off the entire water side of the valley.
  162. 27:29 All our grazing lands have dried up.
  163. 27:31 Our cattle are dying off.
  164. 27:33 There's enough water for everyone.
  165. 27:35 We haven't any wish to deprive Mr. Whalen of the right to do whatever he wishes on his property.
  166. 27:41 But we do want him restrained from taking what is our inalienable right.
  167. 27:46 Why, Silver Creek is as much a part of this valley as...
  168. 27:49 The soil and the grass and the trees.
  169. 27:53 He's destroyed Silver Creek.
  170. 27:55 We contend that is illegal.
  171. 28:36 Believing in law and order, we aim to settle this peacefully.
  172. 28:39 You know, Judge, the Americans who went through the hardships of settling the West?
  173. 28:43 are the kind who will fight
  174. 28:45 for what belongs to them.
  175. 28:47 Hey, hey, where are you going? You mean you told me I can't see my boss? Not just now, it's the court of law. Okay, look, mister, please, I got troubles. I don't know nothing from court. All I know, I got to see Miss Shurrie. And when I want to see somebody, I see somebody.
  176. 29:07 Excuse me, Mr. I must go say something.
  177. 29:11 Something has happened on the ranch.
  178. 29:13 The fences are on the way. I don't understand. The fences, she go pfff. On the front of the fences is a big truck. She pull them ahead from and back.
  179. 29:21 You mean someone in a big truck is tearing up our fences? That's just what I told you in too many words. Yes.
  180. 29:27 Your Honour?
  181. 29:28 I've just had the information that the same people who are stealing our water have now set out to destroy our property.
  182. 29:35 This proceeding is irregular. I move for dismissal. Order in this court. Order. Quiet in this court.
  183. 29:44 We must got to hurry to save fences. Maybe now is the house gone.
  184. 29:49 This is an example of the methods used against the ranch owners in this valley. We demand immediate retraction of these unwarranted accusations. Everybody quiet, Miss Court-Breeze. Order!
  185. 30:00 Miss Martin, that's a serious accusation. I'm going to prove it, Your Honor. I have seen this with my own eyes. I'm not a blind fool. And let me tell you something.
  186. 30:10 This court's adjourned tomorrow at 10 o'clock.
  187. 30:30 immediately if
  188. 30:32 There are no witnesses to testify tomorrow.
  189. 30:34 Oh, persuade them to be healthier for them to stay awake.
  190. 30:39 Well, you could try that.
  191. 30:41 I got a way of talking to those cowherders that'll make them listen.
  192. 31:18 The Special Court of Silver Creek County is now in station.
  193. 31:43 Joseph Lester will take the staff.
  194. 31:59 Ezra Gregory take the stand.
  195. 32:10 Edgar Harlow to the stand.
  196. 32:12 I didn't get that.
  197. 32:21 Silas Chaldun!
  198. 32:22 No.
  199. 32:30 In the absence of any complainants in this case, I move for a dismissal.
  200. 32:35 It appears you have no witnesses to testify in this case.
  201. 32:41 I'm afraid the case must be dismissed.
  202. 32:45 Dismissed.
  203. 32:50 I'm afraid it's no use protesting. The court has the right to decide. But there must be some reason for their absence, and I'm sure Waylon's behind it. First, we'll have to prove it.
  204. 32:59 I said there's no way to fight them. Now we are left. Oh, no, we're not.
  205. 33:03 First, we're going to make a call before we leave town. I'm going to get all the ranches together and find out how we can fight this through. Thank you.
  206. 33:10 any more trouble from that crowd I don't think we will either are you sure that we can't
  207. 33:19 I'm sorry things went against you, Miss Martin. You made sure of that. Well, you had your day in court. We've tried to settle this matter decently.
  208. 33:29 while you've gone about intimidating and murdering defenseless ranch owners.
  209. 33:33 We're interested only in the protection of our property. You've tried to undermine us.
  210. 33:37 by buying off our people.
  211. 33:38 As you did with Wiley. Well, you're through ranching around here and you ought to know it.
  212. 33:43 And if you don't quit...
  213. 33:45 The same thing will happen to you that happened to your old man.
  214. 33:49 Don't reach for it.
  215. 33:56 Wiley's got it coming to him.
  216. 34:06 You wanted a fight. You've got one. And we've just begun. And I think we're going to like it.
  217. 34:25 Oh, I'm sorry.
  218. 34:27 You're not trying to fool me too, are you?
  219. 34:29 You sure you're lost in the nut Dempsey? Come on.
  220. 34:40 Yeah.
  221. 34:52 You two battlers are going to be a great help.
  222. 35:09 Let's go on like this forever and forever. Our life would always be like a heavenly song. Let's go on like this and face the world together.
  223. 35:39 We could never go wrong.
  224. 35:45 Although the sky may not always be blue.
  225. 35:53 If you believed in me, we would come smiling through.
  226. 36:09 In fair or stormy weather, if we could go on like this.
  227. 36:19 Forever we too.
  228. 36:42 good evening i asked you to call here tonight to discuss a plan of action i missed some of you in court today and he told me what happened that your buildings had been blown up and your ranch houses
  229. 37:13 Now, first, we'll follow the original plan to assemble our cattle and drive them to water. They haven't enough men to keep us from driving the cattle through the pass. Once we get the herd moving, they'll never stop us. And when that's done, we'll give Whalen any kind of a fight he wants. Well, you think we won't? What do you think about it? Sure, Whalen, right.
  230. 38:42 Come on!
  231. 39:42 Come on.
  232. 40:33 Well, we're finally got the stampede pretty well under control. Oh, Jerkins and Gregory will be dropping by.
  233. 40:40 Oh, we've got to plant something else.
  234. 40:44 I'm afraid the men want open warfare.
  235. 40:46 But we can't.
  236. 40:48 We don't want any more bloodshed, any more debts.
  237. 40:52 Come in.
  238. 40:57 Hello, boy. Come on over and sit down.
  239. 41:00 I knew we'd have to come to it.
  240. 41:03 We'd have to drive them out by force, the miners, the guards, all of them.
  241. 41:06 They'd only get more men, more miners, more guards.
  242. 41:10 No, we've got to find a permanent way to end it.
  243. 41:13 We've tried every decent way. There's nothing left for us. Give me one more chance. A day or two days.
  244. 41:19 To find a solution that doesn't mean shooting and killing.
  245. 41:22 You mean that you expect to do this?
  246. 41:25 For a day or two. There's nothing to lose. And I'm sure she'll hit on some plan.
  247. 41:29 I'm too tired to argue about it, but mark this:
  248. 41:32 We'll end it by shooting it out with them.
  249. 41:58 Good morning. Good morning. I see we're all ready. Well all right. And early start.
  250. 42:05 You know, Bob, I'm worried about what sort of a plan can be figured out. I'm afraid... At least we'll try.
  251. 42:18 I wonder what that can be.
  252. 42:35 Miss Martin. Yes, I've come with an offer for your land.
  253. 42:38 But it isn't for sale. It might be an opportune time.
  254. 42:42 I'm authorized to offer you $50 an acre.
  255. 42:44 Why, it's worth four times that much.
  256. 42:48 Not now, Miss Martin.
  257. 42:49 And later on, it might not be worth $10 an acre.
  258. 42:54 Robert Whelan wants this property.
  259. 42:56 I'm empowered to discuss the matter with you.
  260. 42:58 Mm-hmm.
  261. 42:59 It isn't for sale.
  262. 43:00 Now or ever.
  263. 43:02 Very well.
  264. 43:03 Good morning, Miss Martin.
  265. 43:05 Good morning.
  266. 43:10 That's fine.
  267. 43:19 What do you think about that?
  268. 43:21 Maybe you're getting under Mr. Whelan's skin.
  269. 43:24 Maybe you'll soon find out what's really on his mind.
  270. 43:27 Well, we can start figuring it out on our ride.
  271. 43:50 Oh.
  272. 43:58 The only use Whalen's made of all that water he's stored up is for his hydraulic mining. But if it were only to be used for mining, the dam wouldn't be necessary. That's what puzzles me. Not only that, but he's mining at that operation at a loss. There's not enough ore left in those hills to pay for the refining. You can't be sure. In this case, I can. I've checked.
  273. 44:21 That's what he's made of a green fertile valley. But I think it's that dust bowl he's created himself that he wants. He's starting to buy now, if he can, at 25 cents on the dollar.
  274. 45:13 And we see the hydraulic mining from here. We can see it better from that level. You know I've not.
  275. 46:21 There it is.
  276. 46:47 A year ago, that valley to the right was almost a desert.
  277. 46:51 now the water from the mining drains into it. In another year it will be irrigated into a fertile valley, while ours has become a death toll. Practically the entire valley belongs to a big meatpacking syndicate. Then that's what Wayland's interested in. That's what's behind all his mysterious operations. He's gained control of that valley, now he wants ours, by drying us out. He's certainly set out to do a major operation. There's one little high spot he's overlooked.
  278. 47:21 I think we'll perform the first major operation. You sound as though you've found the plan. I have.
  279. 47:39 *thud*
  280. 47:49 That's it. Part of Dad's ranch. Now behind that hill is Mr. Whalen's water basin. All nicely kept in place by the Bannybill.
  281. 47:58 If part of that hill wasn't there, Mr. Whalen would find himself with a basin with a terrible leak in it. You mean blow that hill away?
  282. 48:05 Well, if we didn't like the hill, there wouldn't be any crime in that wood there.
  283. 48:09 And if the water came back into our valley through a new channel,
  284. 48:12 We wouldn't exactly mind that either.
  285. 48:14 I think we might even like it.
  286. 48:17 Men, Charlie's hit on it. We're going to blow that hill away. Hooray, hooray. Now I chop him up like salami. We'll need drills, dynamite, plenty of wire cable, and a detonator.
  287. 48:26 We'll have plenty of them in the morning.
  288. 48:37 Oh, yeah.
  289. 48:49 Oh, yeah.
  290. 49:16 Those ranches are drilling in the hills on the south side of the dam. Looks like they're fixing the dynamite. Well, why didn't you drive them off? Why, they're working on their own land, on the Martin Ranch. Well, you're suddenly showing quite a respect for the law.
  291. 49:27 - Well, I... - Notify the sheriff.
  292. 49:29 There's a law against dynamite without a permit. Right.
  293. 49:32 Round up all the gang. I'm going out to mine and get Barrett's crew.
  294. 49:35 This is going to be a showdown and anything goes use your own judgment. Okay.
  295. 49:56 You fool! You ought to be blowing the kingdoms, Tom. You don't fear it.
  296. 50:03 This blow up
  297. 50:04 It's dynamite.
  298. 50:06 That... who?
  299. 50:14 Come on.
  300. 50:41 Hey, we've got to get down and stop them from dropping that plunger.
  301. 51:11 Come on.
  302. 51:41 Wait. Mom!
  303. 53:24 Oh, it's green and beautiful again Since Waylon's men are gone You know, it seems as though they've never been here Jones The nightingales and meadowlarks have come home to their valley again Why don't you say hello to them?
  304. 53:54 Always be blue. If you believed in me, we would come smiling through. Our dreams would never miss in fair or stormy weather. If we could go on like this.
  305. 54:24 Forever we too.

Also from 1938

Algiers 1938Pygmalion 1938Tarzan's Revenge 1938

Every free film of 1938 with a copy

Similar frames

South of Santa Fe 1942West of the Divide 1934Outlaws of Boulder Pass 1942

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