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00:00The following footage is from our vault of classics, taken ten years after its release.
00:31Come on in.
00:34Mr. Randall?
00:36Do you have a moment?
00:38Just about.
00:41My name is Arthur Pierce Madison. I'm the Boston Evening Messenger.
00:45As I understand it, you are currently occupied in a search for this man.
00:55What about it?
00:56I want to accompany you.
00:57Huh?
00:59I want to observe you in action.
01:02Why?
01:03Because I'm here to write a series of newspaper articles.
01:06Oh, yeah?
01:07The bounty hunter is unique to the West. I want to observe him in action.
01:11There are a lot of bounty hunters around here.
01:14I was specifically referred to you.
01:16By who?
01:17By a gunsmith in Boston named Hopper.
01:20Yeah, I know.
01:22What do you say, Mr. Randall?
01:24About what?
01:25About me accompanying you.
01:27You won't be sorry.
01:29Oh.
01:32Talking about money?
01:33Ah, no, Mr. Randall. Not money. Something money cannot buy.
01:37Yeah, what's that?
01:38Publicity. Advertising. Notoriety. Call it what you like.
01:41Your name will be in the evening messenger.
01:44Yeah?
01:45Yeah.
01:46You, uh, you mean in Boston?
01:48Everywhere.
01:50I have the word of an eminent publisher that if he likes these articles, he'll issue them in a book.
01:55Sure enough.
01:57Well, uh, you carrying a gun?
01:59The pencil, Mr. Randall, is mightier than the sword.
02:04Yeah, sure.
02:05Uh, you walking or riding?
02:07I bought a horse this morning. A very fine animal.
02:10Okay, you win.
02:12Better put your weapons away. Come on.
02:27Ah!
02:50Yes, but how did you become a bounty hunter?
02:53Same way you become a reporter. Work that.
02:55It's not quite the same thing.
02:56It's a job, isn't it?
02:57Somebody hired me.
02:59Somebody hired me, too.
03:01Only difference is, every time I finish a job, I gotta find another job. Look for a new boss.
03:05Here you are, Josh.
03:06Thanks, Jimmy.
03:07Oh, uh, I need a pack of .45-70s, too.
03:10Not a difference between your kind of work and mine.
03:13Yours isn't as noisy.
03:15Anything else?
03:16Uh-uh.
03:18Say, uh, that newspaper of yours pay expenses?
03:21Of course.
03:22Yeah, well, this is an expense.
03:24So you're gonna have to pay them.
03:26I'm just an observer.
03:28Now, uh, lookie here.
03:30Torrance knows I'm coming after him.
03:32He'll have enough to figure out what you are until you're on top of him, and then he's gonna shoot you.
03:35I don't believe in firearms.
03:37Yeah.
03:39Torrance does.
03:55Oh, no, no, no, no.
03:57Point it up.
04:00Yeah.
04:02Yeah, you know, he's liable to shoot somebody.
04:05Well, it's good to be fancy and quick, but it's a lot better to be sure.
04:08So, uh, just take your time.
04:10Nothing fancy, no fan, and just pull back the trigger one at a time with your thumb.
04:13You want to plunge your feet square.
04:15It kicks a little bit.
04:16Attaboy.
04:17Now, just point that arm off that way.
04:19All right.
04:21Now, you don't have to shoot me.
04:22All right.
04:24Now, you don't pull the trigger.
04:26You kind of squeeze it.
04:28So, uh, why don't you cock the fire cup, hmm?
04:46I was on a pistol team at Harvard.
04:48For sport, of course.
04:53Mmm.
04:55Mmm, betcha.
04:59You see, even a horse is ashamed of that saddle.
05:02I don't think it is a saddle.
05:04I think this keeps the horse warm and the saddle goes atop it.
05:06Well, if it ain't a saddle, what are these stirrups for?
05:08Don't think they are stirrups.
05:10I think it's just a buckle to run a belt through.
05:12Could be.
05:15Stay up there, man, have to be glued.
05:17Ha, ha, ha.
05:19Ha, ha, ha.
05:20Ha, ha, ha.
05:32Mister, is that your horse?
05:34Yeah.
05:36What is that?
05:38What is what?
05:40That.
05:42That is a saddle.
05:44That's your opinion.
05:46Mine and the entire adult population of the British Isles
05:47and the eastern seaboard of the United States of America
05:49who ride on English saddles.
05:53How do you keep them falling, mister?
05:55Post.
05:57Post.
06:01Post?
06:03A post.
06:05Oh.
06:07To post is to follow the rhythm of your horse.
06:09When your horse comes down, you come down.
06:11When your horse comes up, you come up.
06:13Down, up.
06:15Down, up.
06:18There is no in between, sir.
06:20The English have been riding on saddles like these for centuries.
06:23Oh.
06:48Post.
06:50Ha, ha, ha.
06:58You didn't answer me.
07:00Do you like your work?
07:02Well, I'm doing it.
07:04That's not what I asked you, Josh.
07:06Do you like it?
07:08Well, let's put it this way, pal.
07:10It's all I know.
07:12Is it all you want?
07:14Almost.
07:15Not quite.
07:19It seems to me everything you've got
07:21is on that horse over there.
07:24Yes, Pooh Sue.
07:26But it kind of leaves me free, you know?
07:28We're all free.
07:30Well, somebody sent you down here, didn't they?
07:32That's right, my editor.
07:34Told you what to write?
07:36He gave me my assignment.
07:39What do you mean?
07:41Ah, I see your point.
07:42With you, it's one assignment after another, isn't it?
07:45Most of the time.
07:47Month after month, year after year?
07:49Mm-hmm.
07:51A rolling stone gathers no mores, huh, John?
07:54One day you'll be too old for this kind of life.
07:57Haven't you ever thought of a home?
07:59Of a place you can call your own?
08:01Yeah, I've thought of it.
08:04To tell you the truth,
08:06just lately I've been thinking about you.
08:08Why?
08:09What's the matter?
08:11You dress kind of like you're gonna go to a tea party.
08:13Don't you ride as good
08:15and shoot as good as any man I know?
08:17Well, is that wrong?
08:24I think somebody's shooting at us.
08:27Is that way?
08:29Who is it?
08:31I don't know, could be Torrance.
08:33One of his guns.
08:35How can you be certain that it is only one man?
08:37If there were two of them, there'd be one behind us.
08:40You got your gun?
08:42I told you, I don't believe in firearms.
08:44You will.
08:51Can you see him?
08:53Mm-hmm.
09:03That was smart.
09:05You're gonna get yourself shot to sure and shoot.
09:07I don't want to lose those notes.
09:09Use this.
09:11No.
09:13Look, just fire some shots.
09:15Glance them off a rock.
09:17Give me a chance to get up there.
09:19Okay.
09:21Thank you.
09:39Toss it away, or I'll take the top of your head off.
09:41On your feet.
09:43Put your hands behind your head.
09:46Don't move.
09:48Don't move.
09:50Don't move.
09:52Don't move.
09:54Don't move.
09:56Don't move.
09:58Don't move.
10:00Don't move.
10:02Don't move.
10:04Don't move.
10:06Don't move.
10:07Don't move.
10:15You carrying another gun?
10:17Huh?
10:19That's all. You got it.
10:26All right.
10:28You can put down your hands now.
10:30Easy.
10:32Who is he?
10:34Tell him who you are, friend.
10:35Is he one of Torrance's men?
10:38Tell him.
10:40I don't know what you're talking about.
10:43Josh, stop it.
10:45Don't try to tell me how to run my business.
10:47I don't tell you how to run yours.
10:49I want to know where Torrance is, and I want to know right now.
10:51Turn around.
10:57Look, I just will cue you his look at you.
11:02Last time around.
11:06You're not going to kill anybody.
11:15I can't stand by and permit bloodshed.
11:17I thought you didn't like guns.
11:19For taking life, no.
11:21For protecting life, yes.
11:24If you don't give me your gun this minute,
11:26I'm going to shoot you in the leg.
11:32I believe you would.
11:34I believe you would.
11:38Go on, Mr. Gonda.
11:40Get going and get going fast.
11:53Shoot me in the leg.
11:56You know, a man doesn't always do what he says he's going to do.
11:59If I can bluff a man, that means I don't have to kill him.
12:01Worse than that, you get what you want that way.
12:03Understand me?
12:08I'm sorry I didn't know.
12:11It's my fault.
12:15Could I have my gun?
12:20Thank you.
12:22If we don't follow Gonda, how are we going to find Torrance?
12:26Well, I'm going to have to track him.
12:28It'll mean a lot more work for me.
12:30A lot more work for me.
13:01What's the matter?
13:03Rau came loose.
13:05Hmm?
13:07Spurred, you know.
13:09Oh.
13:10Hey, don't you get tired of hitting that thing?
13:12I don't hit it.
13:14Well, what do you do?
13:16I barely touch it.
13:18Yeah, but how do you stay on it, I mean?
13:20We'll apologize to Mr. Gonda.
13:22We'll apologize to Mr. Gonda.
13:24We'll apologize to Mr. Gonda.
13:26We'll apologize to Mr. Gonda.
13:28We'll apologize to Mr. Gonda.
13:30So, boy, we'll apologize.
13:32So, boy, we'll apologize.
13:37Shut up.
14:01Center City, huh?
14:03Yeah.
14:05Well, where do we go from here?
14:08Where do I...
14:10Look, Arthur.
14:12I can go see a couple of fellas.
14:14We'll go on about three hours.
14:16Why don't you go in there and sit down?
14:18Can't I go with you?
14:20Uh, no.
14:22You still really want to go?
14:24Yeah.
14:26Well, let's go.
14:28Let's go.
14:30You really don't trust me, do you?
14:32Oh, no, no.
14:34It's not your honest damn word about it.
14:36Well, what is it, then?
14:38The funny notions you get every once in a while.
14:47Sure is a nice tie you got there, Arthur.
14:50Go ahead.
14:52I'll be back shortly.
14:54Go on.
15:00I'll be back shortly.
15:16Uh, do you mind?
15:18Why, I guess.
15:25And then, Miss Anderson.
15:27Well, did you get that about the Apache raid?
15:30Yes, I did.
15:32And the scalping?
15:34Well, it was just awful.
15:36I was the only one left alive.
15:43Thanks.
15:45You're most welcome.
15:48My mother was coming west to find a new home.
15:51My father had been killed during the Battle of Bull Run,
15:54fighting for the South.
15:56But I thought you said before your father fought with the North.
15:58Oh, he did. He did.
16:00Both the North and the South.
16:02That way he didn't show any favoritism.
16:04Kind of made him a real war hero.
16:06Yes, I can see that.
16:08You want to hear more?
16:10Well, I think I have enough now.
16:12I mean, I don't like to talk about these things, believe me.
16:15But I feel that the truth should be printed, don't you?
16:18Hmm.
16:20Well, as I was saying, after that terrible Apache raid,
16:22I was the only one left alive.
16:24Just a poor, innocent child when...
16:27You're not writing.
16:28Oh, I am, sorry.
16:31Poor, innocent child.
16:34Got that?
16:36Innocent child.
16:38More dead than alive when I stumbled into Center City.
16:45My own father couldn't have been more kind to me than Tom.
16:51I'm more to be pitied than scorned.
16:54I am.
16:55I am.
16:59He's good.
17:03Miss Anderson.
17:10Hey, you're going to put my name in the paper, aren't you?
17:13Of course.
17:15And you'll send me a copy?
17:17I shall send you five copies, Miss Anderson.
17:19What would you tell her?
17:21Nothing.
17:23What would she tell you?
17:25The story of her life.
17:27Indian massacre.
17:29Our only survivor?
17:31Hmm.
17:32Do you believe that?
17:34No, but wouldn't it be nice if she thought I did?
17:37What did you find out from your friends?
17:39Nothing.
17:41Do you know where the Ridge Road is on the top of the mountain?
17:44No.
17:45Nothing.
17:47Do you know where the Ridge Road is on the Twin Rocks?
17:49Yeah, it's a long ride from here.
17:52What?
17:54Gonda may be hiding out there in an abandoned barn.
17:58What are you talking about?
18:00He might be there.
18:02What makes you think so?
18:04She told me.
18:06She's Gonda's girlfriend.
18:08You said it was a long ride.
18:10Let's go.
18:15Let's go.
18:45That's Gonda's horse.
18:47Oh, boy.
18:49Hey.
18:51I'll go on down there by myself.
18:53It's okay with you.
18:55Yeah, but I want to watch you.
18:57Yeah, I know.
18:59But you'll have to get one of those crazy notions of yours again.
19:01Yeah.
19:15Gonda.
19:46What are you doing?
19:48Describing the scene so I can refer to it when I write my story.
19:51Yeah, well, uh,
19:53why don't you put that away and go home?
19:55No.
19:57I've got to go.
19:59I've got to go.
20:01I've got to go.
20:03I've got to go.
20:05I've got to go.
20:07I've got to go.
20:09I've got to go.
20:11I've got to go.
20:13I've got to go.
20:15I'll see you a little later, huh?
20:19Let's go.
20:21Who do you think killed him?
20:23Torrance.
20:25But why?
20:27He didn't do his job.
20:29Karen shot Gun Randall.
20:31Left him. Left him all the way up.
20:39Drop the gun belt.
20:46Let's get rid of that bulge in the coat, my friend.
20:50Easy like Arthur.
20:55Didn't anybody ever tell you?
20:57Hayloft's got ears.
20:59Yeah.
21:01Got a little fancy with that pitchfork business, didn't he?
21:04Who's the city boy, Randall?
21:07Not in this, Torrance.
21:10I think he is.
21:12Deep.
21:13Just a newspaper reporter, that's all, nothing more.
21:15From what city, city boy?
21:17Boston.
21:19Boston.
21:23Going to put my name in the newspaper, city boy?
21:26I'm going to do more than that, Mr. Torrance.
21:28Like what?
21:30I'm going to devote an entire story to your exploits.
21:33Give me an example.
21:35Jack Torrance, the bravest man your correspondent has ever known.
21:40Is it going to have a headline, city boy?
21:41Right across the top of the page.
21:43Jack Torrance.
21:45Robin Hood of the West.
21:47I'll bet.
21:59Figured he'd get to you with all that talk after a while.
22:02Let's go, Robin Hood.
22:12Well, you better come on now, Arthur.
22:32If you're thinking of splitting that with me...
22:34Don't worry, I'm not.
22:36Well, there you go, what you're coming after.
22:38Well, not really.
22:39I've only begun to gather material.
22:41If I could accompany you on one more...
22:43No, don't worry.
22:45No, I don't think so.
22:48I think the strain might be just a little too much for me.
22:51Well, if you ever come to Boston...
22:54Not likely.
22:56Well, if you do, Boston will greet you with open arms.
22:58Remember, it's known for its beautiful women.
23:01Oh, well.
23:04Well, if you had me tied like that, I might just brave it once.
23:06Well...
23:11You've got one now.
23:30Do you know I still can't see how he stays on that horse?
23:33That's willpower, old boy.
23:35That's sheer willpower.
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