All language subtitles for Neath the Arizona Skies 1934 720 cc

(MultiCom Jingle)

(sweeping western music)

(oil gushing)

(peaceful music)

- So you're John Longhorn, eh?

Well, John, let's see.

Yeah, Uncle Sam has a nice,
tidy little sum for you, John.

Earnings and interest on your oil land

amount to just $4,000.

Sign your name right here.

(peaceful music)

Oh, Chris Morrell, step
up here, will ya please?

Hello, Nina.

The money from Nina's mother's oil land

is amounting to quite a pile,

about $50,000 right now.

If you can locate Nina's father

and get his signature to these documents,

Nina will still remain the ward

of the United States government,

but you will be her guardian legally.

- [Chris] Well, that
oughta be simple enough.

- Or, if you could bring evidence or proof

that her father is dead,

then that would also clear this situation.

- Well, I've got a pretty fair idea

that he's still alive.

- Well, what'd you find out?

- The half-breed kid's
worth 50,000 right now.

And if Chris Morrell
locates the kid's father

and he signs the papers
the agent give him,

as her guardian, Morrell gets $50,000.

- Oh, he does?

That is, if he gets to the kid's father

before we get to him.

- Where are we goin', Daddy Chris?

- We're headin' north.

- Why are we moving away?

I like it here.

- To see if we can find your real daddy.

And if we can, why, we may be able to

scrape up enough money to
send you away to school.

- But I don't wanna go to school.

I wanna be a cowboy, like you.

- Ah, girls can't be cowboys.

- [Nina] Can, too.

I can ride as well as you can.

- But you still can't be a cowboy.

(knocking)

(footsteps)

What do you want?

- I guess you know what we want.

There's no use to beatin' around the bush.

We came here for Nina.

And we're willing to offer you
a fair proposition for her.

- If that's all you came for,

you might just as well leave, right now.

- Now, don't get hostile, Chris.

You know as well as we do

that Sam Black runs things in these parts.

When he sends us out to get the girl,

we're gonna get her.

Besides, he's bein' mighty good to you,

offering to cut you in on that oil money.

- Well, anyway, she isn't here.

And you can tell Sam Black for me

that she's left this part
of the country for good.

And you can also tell him

that if he'd had the nerve to come himself

instead of sending you renegades,

that I'd've shoved that
offer right down his throat.

Now come on, get outta here, all of ya'.

- We'll get out.

Maybe she ain't here,

but we're not givin' up that easy.

We're watchin' you and
we're watchin' the place,

so don't think you're
gettin' away with nothin'.

- Can I come out now, Daddy Chris?

(stomping)

Oh.

- Get her.

(punching and wrestling)

(grunting)

C'mon, Daddy Chris, hit 'em.

(punching)

(grunting)

(crashing)

(punch landing)

- [Voiceover] Look out, it's me.

What's that?

- [Voiceover] He's gone.

- He got plum away from us.

We better get Sam Black 'n go after him.

(intense music)

(thundering hooves)

(water splashing)

(thundering hooves)

(water splashing)

- Goodbye, little partner.

- You want me to ride all alone?

- Well, it's the only way out for us.

- What about you, Daddy Chris?

- Oh, me?

I'll be all right.

Now, you ride to the second bend below

and you'll hit Snake Trail.

Do you understand?

- Uh huh.

(water splashing)

- And when you get to Bud Moore's ranch,

tell him that I sent you.

Tell him where I am and
that I'm needin' help.

(water splashing)

(intense music)

- There's his tracks.

(intense music)

(gun shot)

- Where those shots comin' from?

(gun shot)

Shorty, you stay with the horses.

The rest of you scatter
around that thicket.

(somber music)

(footsteps)

- Ah.

(grunting)

(punch landing)

Hey fellas, I got him.

I got him.

- [Voiceover] C'mon boys, Sam's got him.

(punching)

- I thought you said you got him.

- Oh, I had him, all right.

But I guess he got away.

- You guess he got away?

- He sent that kid on alone

while he stayed here to cover the trail.

And that kid means 50,000 bucks to us.

(intense music)

- What's goin' on, what's goin' on here.

(grunting)

Whoa, dammit, whoa.

Lemme down, you dirty (mumbling)

- [Chris] Yah, yah, yah, yah.

Yah, yah, yah.

Yah.

Ho, ho.

- Ooh, oh.

(all shouting over each other)

- [Voiceover] Where are the horses?

- Get out and see if you
can round up them horses.

Stupid idiot, boys.

Stupid.

(somber music)

(footsteps)

- Is this the Moore ranch?

- Used to be, but it's mine now.

- Well maybe you can tell me
where I can find Bud Moore.

- He ain't here.

- Oh.

- Where do you think you're goin'?

- [Nina] Ow, oh, lemme alone.

Ow, ow.

- I got a use for you.

- [Nina] Lemme go.

- You let go a that youngster, Vic.

- You been hollerin' for kitchen help.

Well, here it is.

- Well, what are you doin' here?

- [Nina] Daddy sent me to find Bud Moore

and he said he'd take care of me.

- We'll take care a ya', all right.

Go on, get in the house.

- Now, you let her alone.

If she's gonna help me,
I'll take care a her.

- All right.

- Well now.

You ain't scared a me, are you?

Oh, you needn't worry none about him

as long as I'm here.

Come on, let 's go in the house, huh?

- [Nina] All right.

(footsteps)

- Now, now, there ain't
nobody here but you and me.

(laughing) Up you go there.

Now then, what's your name, honey?

- Nina Morrell.

- Is your pop named Chris?

- Yes, do you know him?

- Yeah, I used to.

How come he ain't with you?

- Sam Black and his gang were after us.

We only had one horse

and Daddy Chris told me
to get on it and ride him.

- Oh.

(somber music)

- Mr. Norton, would you order
that bold of calico for me?

- I will, Miss Clara.

- And you haven't seen
my brother Jim, have you?

- No, I haven't.

- I thought if he were in town

he might wanna ride back with me.

Good bye.

- Bye.

(footsteps)

(glass breaking)

- Help, help.

- I'll meet ya at your ranch.

- Help, help.

(everyone shouting)

(all talking at once)

- [Voiceover] All right, boys, untie him.

Somebody go call the Sheriff.

What happened?

- [Voiceover] I was robbed.

Fellow in a checkered shirt, black hat,

and he had a black
handkerchief 'cross his face.

- [Voiceover] Jim Moore just rode out

wearing a checkered shirt.

- [Voiceover] Yeah, it
couldn't be Jim Moore.

- [Voiceover] You must be mistaken.

- No, I tell ya, I can't be mistaken.

He had on a checkered
shirt and a big black hat.

He took $6,000 from me,
stuffed in his own gunny sack.

- Which way did he go?

- I don't know which way he went.

(dramatic music)

(wheels clattering)

(water splashing)

- So you can see for yourself

there's nothing else for me to do

but turn you over to the Sheriff.

- Seriously, ma'am,
you've got the wrong man.

- Well, why are you
wearing the checkered shirt

and the black hat?

Not to mention the gunny sack.

- Well, if I knew who these belonged to,

I'd know who robbed the Express Office.

- You mean, they don't belong to you?

- That's what I mean.

- You expect me to believe that?

- Well, I hope you will.

- And if I did, what would you do?

- Well, first I'd see that
my little partner was safe

and then I'd find the man
that belongs to this shirt.

- You wouldn't run away?

- Do you think I would?

- No, I don't think so.

- Where'd you send your little partner?

- To Bud Moore's ranch, down River Valley.

- Bud Moore?

- Yes, I used to ride herd
with him in the panhandle.

Do you know him?

- Why yes, he's my brother.

That is, he was my brother.

- I don't quite get you.

- [Clara] Bud's dead.

- Oh.

- He was killed in a range war last year.

- Oh, I'm sorry.

- It was a bit of a shock at first,

but I guess you can get used to anything.

- Well, did Bud ever mention
my name, Chris Morrell?

- Are you Chris Morrell?

Why he used to say you were
the best friend a man ever had.

- I guess that's puttin'
it pretty strong, ma'am.

- Clara.

Come on, let's go up to my
place and change that shirt.

There'll be a lotta people looking for it.

- Yes, ma'am.

I mean, Clara.

Nina's mother was a full-blood Osage.

She married a good-for-nothing white man

who left her two months
before the kid was born.

Her mother died.

(somber music)

(footsteps)

- Hello, Clara.

- Chris, this is my brother, Jim.

I'll make you some coffee before you go.

- Oh, thanks ma'am.

I mean, Clara.

(footsteps)

So you're Jim.

- What about it.

- Nothing, only, I came to for a minute

when you changed shirts
with me at the creek.

- Well, why don't you tell her.

- Well, in the first place,
because it'd break her heart.

And the second place,
because snakes like you

usually die of their own poison.

- [Jim] Unh.
(thudding)

- What was that noise?

- Why, Jim was showing me his gun,

and it dropped out of his hand.

- Oh.

Want some coffee, Jim?

- Not now, later.

- I'm glad to have met you.

- Same to you.

- How do you like Jim?

- Well, some men are like books

written in a strange language.

And that makes it awfully
hard to read them.

- Hope I wasn't wrong
in reading you, Chris.

- Oh, no ma'am.

- Well, you were telling me about Nina

just before Jim came in.

- Oh, uh, well Nina--

- That guy recognized you.

He knows you pulled that
job at the Express Office.

I told you not to stop.

- Well, I thought it'd be a
good way to hang it on him

and leave us in the clear.

- Where's the money?

- In an old hollow stump.

- Let's go get it.

- In order to protect her interest,

we started out to find Nina's father.

Well, Sam Black and his gang

figured that she was worth a lotta money.

Luckily, I got the best a them,

and stampeded their
horses and made a getaway.

Well, I guess I'd better be going.

- Oh, no, you'd better take this one.

It's Jim's.

- Oh, thank you.

- You'll bring Nina back, won't you?

- I sure will, Clara.

Thanks a lot.

Good bye.

- Good bye, Chris.

- [Together] Here, pig, pig, pig.

Here, piggy, piggy, pig.

Oink, oink, oink.

- [Voiceover] Sooey, sooey, sooey, sooey.

Here pig, pig, pig, pig.

Oink, oink.

- Hey, kid, c'mere.

What's your name?

- Nina Morrell.

- Nina Morrell?

- Yes, sir.

Daddy Chris is my daddy.

- How come?

- She rode in lookin' for Bud Moore.

Vic made her stay.

- I didn't know Chris was a squaw man.

- He ain't n'othern.

- What do you mean?

- She ain't his kid, she's your kid.

- How do you know?

- Chris and me was there when she was born

and for two days after
when your wife died.

- C'mere kid, I wanna talk to you.

- I bet that's the bunch that belong to

Sam Black and his gang.

(all murmuring)

- Gosh, I wish I had something

to put on my dogs, they're sure sore.

- Well, it was your fault for let Morrell

stampede the horses.

Now, go find 'em.

- Where will I go?

I don' t know of any place
around here to get horses.

- I don't care where you get 'em.

Get 'em.

- Like I'm gonna find horses
in the middle of the desert,

and me with a bad leg.

(all laughing)

(suspenseful music)

- Hey, you fellas.

Wait a minute.

Hey.

Hold up there, hold up.

Why, them's our horses.

- Who's ours?

- Sam Black and the boys.

- Sam Black?

That's a man I wanna see.

- Well, c'mon, we're
camped right over yonder.

Got our horses back.

- Sam Black?

- That's me.

- You lookin' for a half-breed
kid named Nina Morrell?

- You said it.

- I got her.

- What's the idea?

- I'll exchange if ya count me in.

- For how much?

- 10,000 and, uh...

- What's the and for?

- Chris Morrell's scalp, do you know him?

- Yeah, where do I find him?

- Clara Moore's homestead.

I'll show you how to get there.

- You're on.

- Good, you'll cut me in for 10,000

and bring the scalp of
Chris Morrell to my ranch

and I'll turn the kid over to you.

- Where is your place?

- Here, I'll show you how to get from

the Moore homestead to my ranch.

- Why, Matt Downing, you ol' buzzard.

- Chris Morrell, heh.

I knew from what the kid said

you couldn't be far away.

- Well, is she all right?

Where is she?

- At the Byrd ranch,
used to be Bud Moore's.

Her dad's there, too.

- Her dad?

- Yeah, c'mon and I'll tell
you all about it on the way.

- It's a cinch.

All right, I'll be seeing ya.

C'mon, fellas.

- 50/50 on that money for the kid?

Sure,

but we'll go split that
Express money first.

(slow dramatic music)

- No.
(gun shot)

Ah.

- Look.

(intense music)

- Vic got me.

- Vic Byrd?

- He made me rob the Express Office,

then he got the money.

- You know where he went?

- Yeah, to the ranch.

To get your kid,

to give her to Sam Black.

Please don't tell my sister about me.

- Get him in to a doctor quick

and bring the Sheriff back with you.

- Careful, son.

(suspenseful music)

- Where's Chris Morrell?

- He's gone.

- Where?

- I don't know.

- Take a look inside, she might be lyin'.

- There's nobody inside.

- All right, you're ridin' with us.

Maybe you can remember where he went.

- Look out now, look out now,
- [Nina] Giddy up, horsey.

hold on tight, I'm gonna buck you.

Whoa, hold on now, it's
a regular ol' sunfish.

(laughing)

Look out now, kid.

I'm gonna get you.

(laughing)

- What's the idea?

- What?

Why, she's my kid, Vic.

I just found it out.

My kid.

- Yeah, well she's worth
10,000 bucks to me.

- Whaddya mean?

- I told Sam Black I'd
turn her over for 10,000.

- Well, you're out of luck.

She's worth more than that to me.

- You better change your mind, Tom.

- You heard me.

You keep your hands off my kid.

- I ain't takin' orders from you.

- Daddy, Daddy Chris.

(gunshot)

- [Nina] Oh.

(footsteps)

- Sam Black and his gang.

- Look out, Chris.

(gun shot)

(door creaking)

- They won't get my kid.

- Who told ya she was yours?

- Matt told me.

And Vic told me about Sam
Black and his gang wantin' her.

(gun shots)

(glass breaking)

(gun shots)
(glass breaking)

- [Voiceover] Let's get 'em, boys.

You lead the way, Matt.

- [Matt] All right, Sheriff.

(gun shots)

- Oh.

(gun shots)

(door creaking)

- I got an idea without us
takin' any more chances.

- Empty.

- Hey, fellas.

- One left.

- Fellas, hey you.

Hey, you fellas.

Hey there, trade you
the woman for the kid.

How 'bout it.

Hey, fellas.

What's the matter with ya', ya' deaf?

Trade ya' the woman for the kid.

- No, not in a million years.

Don't worry little partner.

I wouldn't give you up for anything.

(men spurring on horses)

Hey, Sam Black, are ya' listenin'?

- Yeah, say it.

- How'd you like to
trade me for the woman?

- Sure.

You're on.

C'mon out with your hands in the air

and we'll send the woman at the same time.

- Only one cartridge left,

but I got an idea.

(men spurring on horses)

- Come on.

Come on.

(slow, dramatic drum beats)

- Be sure and use that last bullet right.

Good bye, cowboy.

(slow, dramatic drum beats)

(footsteps)

(gate creaking)

(men spurring on horses)

(slow, dramatic drum beats)

Keep going, Clara, no matter what happens.

(slow, dramatic drum beats)

(gun shot)

- Now rush 'em.

(intense music)

- Help, help, help, stay off a me, help.

Help, help.

(punch landing)

- [Sheriff] You're all under arrest.

Put your guns down.

(gun shots)

- That kid's comin' with me.

- Oh no, she's not.

(punches landing)

(intense music)

(gun shot)

(gun shots)

- [Nina] Lemme go.
(glass breaking)

(gun shots)

- [Nina] No. (crying)

(gun shots)

- Where's Nina?

- Black took her.

(gun shots)

(intense music)

(gun shots)

(men shouting)

- [Voiceover] You're all under arrest.

Put up your hands.

(intense music)

(horse whinnying)

(water splashing)

(water splashing)

(grunting and struggling)

- Nina.

- [Nina] Daddy, Daddy Chris.

(water splashing)

(Nina sniffling)

Daddy.

Shh.

(Nina and Matt giggling)

Naughty, naughty.

(Nina and Matt giggling)

(sweeping music)