The Outlaw Reforms

When a gang of outlaws put Andy Clyde's ranch house under siege, daughter Alice Day recruits college heart throb Ralph Graves to save daddy.

Johnny Arthur has been ordered to spend a year out west to toughen him up, so he and butler George Davis head out. The cowboys at the ranch don't like him, so Johnny and they play practical jokes on each other. However, when Virginia Vance is kidnapped, it turns out to be real desperadoes.

Cheyenne Jones comes to the Blue River Ranch and asks for a job as a cowpuncher. Actually, Jones's real name is Buck McCloud and he's the new owner of the spread, having inherited it when his uncle died a year earlier. He's roaming the range incognito while trying to identify who's behind the cattle rustling that is afflicting his new business.

Isolated after the death of her abolitionist husband, pioneer woman Joan must decide if she'll help Martha, a former slave fleeing for her life, along the Underground Railroad. As Martha forces Joan's hand, they make their way North, leaving behind bodies in their wake.

After the train station clerk is assaulted and left bound and gagged, then the departing train and its passengers robbed, a posse goes in hot pursuit of the fleeing bandits.

This entry in Universal's series of "Musical Westerns" shorts has Tex Williams, assisted by Deuce Spriggins and Smokey Rogers, bringing his six guns, fists and singing abilities against a gang of stage-robbing bandits. This film was combined with another Tex Williams short, Coyote Canyon, and reissued as the feature-length "Tales of the West No.2.)

This film and the 1950 short "The Fargo Phantom" were edited together and released as a feature called "Tales of the West #2" in 1950.

An Edgar A. Guest Poetic Gem. It features the original song Take Me Home to the Mountain by Loesser & Herscher.

Mickey walks into the tavern where Minnie is dancing, and begins to dance and play piano himself. Pegleg Pete comes in and treats Minnie badly. Mickey tries to defend her, but Pete steals her away. Mickey, riding Horace Horsecollar, gives chase. He manages to throw Pete off a cliff.

Donald is vacationing at a dude ranch. After all the beautiful women pick the best horses, Donald ends up with the sad sack Rover Boy. But Rover Boy wants nothing to do with Donald.

A young boy dreams of being a cowboy. After he gets the basics, as outlined in the title song, he's attacked by Indians. He runs out of bullets and manages to lasso them. He smokes the peace pipe with their chief. A robber is holding up a stagecoach and he rides to the rescue, refusing the reward. He also saves a train from a dynamited bridge, and a girl tied to a cactus, before riding into the sunset (and back to his suburban bed).

This satirical parody of William S. Hart's melodramatic films finds Buster in the frozen north, "last stop on the subway." He uses a wanted poster as his partner in robbing a gambling house. When he thinks he spies his wife making love to another man he shoots them both only to learn it isn't his cabin after all.

A man gets revenge on his cheating wife by killing her and her lover. He thinks he has killed his daughter as well, but she survives and is adopted by the sheriff. A few years later the man, now an outlaw, ambushes the sheriff and plans to kidnap and murder the sheriff's daughter.

A butterfly collector unwittingly wanders into an Indian encampment while chasing a butterfly, but the tribe has resolved to kill the first white man who enters their encampment because white oil tycoons are trying to force them from their land.

Undead dark riders invade a wild west saloon, blasting away everyone in sight - now only a bad-ass Native American warrior can save the town.

Years after their "City Slickers" narrative was retired, Westworld hosts Mitch and Phil are still happily driving cattle, however Mitch has started to malfunction and it's up to Stubbs to analyze why he has gone off his loop.

A group of women band together as they go to war against a pack of men who have done them wrong at every turn.

In this story the young wife concerned is called upon to solve a rather momentous question. After separating from her husband, whom she has discovered to be a brute and a criminal, she is about to give herself to another man, believing her husband dead, when he appears before her fleeing from justice. Shall she deliver him to the law or surrender to his claims? She yields in one instance, but not in the other. Then justice intervenes.

A white man befriends a half-breed, who subsequently saves his life.

Iola, the little Indian girl, is held captive by a gang of cutthroats but is soon rescued by Jack Harper, a prospector. She is truly grateful to Jack, and regards him as something different from other white people. Jack's sweetheart and her father are travellers in a wagon-train headed for this place, and, not having much luck so far, he is somewhat gloomy. Iola learns the reason, and promises to help him find gold. "Will you?" he says, "Yes." "Cross your heart?" This cross-your-heart action mystifies Iola. She thinks it is a sort of tribe insignia and tells her people that "Crossheart" people are all right. Iola surely pays her debt of gratitude, not only in finding gold, but in giving her life to protect Jack's sweetheart from her own people.