Abstract: The Patterson-Gimlin film, captured on October 20, 1967, near Bluff Creek in Northern California, remains one of the most debated pieces of evidence in the study of Sasquatch. This paper provides a comprehensive examination of the events surrounding the encounter, including detailed observations, eyewitness accounts, and subsequent analyses. The discussion addresses discrepancies, supporting arguments, and criticisms while contextualizing the event’s significance in the broader landscape of cryptozoology and popular culture.
Introduction: The Patterson-Gimlin film is often hailed as the most compelling evidence for the existence of Sasquatch. Captured by Roger Patterson and Bob Gimlin during a horseback expedition along Bluff Creek, the footage allegedly depicts a large, bipedal, apelike creature—nicknamed “Patty”—walking across a sandbar. Despite extensive scrutiny, the film has neither been definitively debunked nor universally accepted.
The Encounter: On October 20, 1967, Patterson and Gimlin were riding northeast along Bluff Creek’s east bank when they encountered an overturned tree with a large root system near a creek bend. Beyond this natural obstruction lay a logjam, remnants of a flood from 1964. It was at this point, between 1:15 and 1:40 p.m., that they spotted the creature either crouching or standing on the opposite bank.
Gimlin, initially in a mild state of shock, later recalled the creature’s imposing presence. Patterson estimated its height at 6 feet 6 inches to 7 feet, later revising this to 7 feet 6 inches. Anthropologist Grover Krantz suggested Patterson’s later estimate was exaggerated by about a foot. Gimlin’s estimate was more conservative at 6 feet.
The creature’s appearance matched previous descriptions of Sasquatch: a large, hairy, bipedal figure with dark reddish-brown to black hair covering its body, including visible, prominent breasts. Patterson claimed to have approached within 25 feet of the figure, though his horse reared, requiring him to dismount and retrieve his camera.
Filming the Encounter: Patterson captured approximately 59.5 seconds of footage at 16 frames per second. Initially shaky, the film steadied as Patterson closed the distance to about 80 feet. Frame 352, the most iconic of the sequence, depicts the creature glancing over its right shoulder in a seemingly disdainful manner. Patterson described the expression as one of “contempt and disgust.”
After this glance, the creature continued its retreat, eventually fading from view as Patterson’s film ran out. Gimlin, rifle in hand, followed the figure on horseback until it disappeared around a bend approximately 300 yards away. Concerned about the potential presence of additional creatures, Patterson called Gimlin back.
Post-Encounter Activities: Following the sighting, the men retrieved their horses, which had fled downstream. Patterson used a second roll of film to document the creature’s tracks. They measured the step length and made two plaster casts of the best-quality right and left footprints. Attempts to track the creature further proved futile due to dense undergrowth.
Eyewitness Testimony and Discrepancies: While Patterson and Gimlin’s accounts generally align, minor discrepancies exist. Patterson’s estimates of the creature’s size increased over time, and the sequence of events during the initial sighting varies slightly between their testimonies. Critics argue that such inconsistencies undermine the credibility of their claims, while defenders suggest that the spontaneity and shock of the encounter naturally led to variations in memory.
Analysis and Criticism:
Creature Anatomy and Movement: Anthropologists, including Grover Krantz, have pointed to the creature’s anatomical features and fluid gait as indicative of a non-human entity. The visible muscle movement beneath the hair and the lack of seams or zippers suggest authenticity.
Film Timeline: A significant point of contention is the timeline between the filming and the men’s arrival in Willow Creek. Critics argue that the tight time window casts doubt on the authenticity of the film, suggesting it may have been staged earlier.
Development of the Film: The Kodachrome II film used by Patterson required specialized processing equipment. Patterson’s brother-in-law, Al DeAtley, could not recall where the film was developed, fueling speculation about the film’s origins.
Defender Arguments: Supporters contend that hoaxers would have crafted a more cohesive story and would not have included anatomical features difficult to replicate with 1960s technology.
Significance and Legacy: The Patterson-Gimlin film has become a cultural touchstone, inspiring countless investigations and debates. It has been analyzed frame by frame by researchers and enthusiasts alike, including figures such as John Green and Chris Murphy. The film’s enduring mystery continues to captivate both skeptics and believers.
Conclusion: The Patterson-Gimlin encounter remains one of the most enigmatic events in the annals of cryptozoology. While questions and controversies persist, the film stands as a testament to the enduring allure of the unknown. Further technological advancements may one day provide definitive answers, but until then, the film and its story continue to fuel the quest for understanding.
References:
Krantz, Grover. Bigfoot Sasquatch Evidence. Hancock House, 1999.
Green, John. Sasquatch: The Apes Among Us. Hancock House, 1978.
Murphy, Chris. Meet the Sasquatch. Hancock House, 2004.
Long, Greg. The Making of Bigfoot: The Inside Story. Prometheus Books, 2004.
Daegling, David. Bigfoot Exposed: An Anthropologist Examines America’s Enduring Legend. AltaMira Press, 2004.
**Title: Shadows of Bluff Creek**
**Script **Screenplay by [Ray Harwood)
**ACT ONE**
**FADE IN:**
**INT. LIVING ROOM – BOB GIMLIN’S HOME – YAKIMA, WASHINGTON – DAY**
The room is cozy, filled with western memorabilia, old photographs, and a quiet air of nostalgia. **BOB GIMLIN**, 60s, a rugged cowboy with weathered features, sits across from **JOHN GREEN**, 60s, a sharp and methodical journalist. A tape recorder sits between them on a small coffee table, its reels spinning gently.
**GREEN**
Bob, this is John Green talking to you here in your home in Yakima, Washington. We’re here to discuss that famous film you and your friend Roger Patterson made twenty-five years ago in the Bluff Creek area of Northern California. But let’s take a step back first. You’ve known Roger for a long time, haven’t you?
**GIMLIN**
Yes, John. I first met Roger around 1958 or ’59.
**GREEN**
That was before he got interested in Bigfoot, I take it?
**GIMLIN**
Yeah, it was. I can’t recall exactly when he started talkin’ to me about Bigfoot, but it was probably the early 1960s.
**GREEN**
Did you go out with him at all? Looking into this?
**GIMLIN**
Oh, yes. Roger and I went out plenty of times. Different areas, over by the Mount St. Helens region, places where folks had reported things.
**GREEN**
What drove Roger? Was it curiosity? Passion?
**GIMLIN**
(leans back, thoughtful)
Roger was like no one I’d ever met. He had this fire in him, you know? Always chasing after somethin’. Once he got the idea of Bigfoot in his head, he wouldn’t let go.
**GREEN**
And you went along for the ride.
**GIMLIN**
(chuckles)
I never really had any reason to believe in that sort of this, but Roger was convinced. .
**CUT TO:**
**EXT. MOUNTAINS – MOUNT ST. HELENS – FLASHBACK – DAY**
A younger **BOB** and **ROGER PATTERSON**, 30s, energetic and animated, trek through a dense forest. Roger carries a makeshift plaster casting kit and hat his camera in his saddle bag.
**ROGER**
(excitedly)
Bob, look at this track! Toes, the depth—it’s gotta weigh at least 600 pounds.
**BOB**
(leaning down)
Could be a bear. Seen prints like this before.
**ROGER**
Nah, bears don’t step like this. Look at the stride!
Bob gives Roger a skeptical but amused glance as Roger starts measuring the tracks with a ruler.
**BOB**
(under his breath)
You’re gonna wear yourself out chasin’ ghosts, Roger.
**ROGER**
(grinning)
And you’ll thank me when we prove it’s real.
**CUT BACK TO:**
**INT. LIVING ROOM – PRESENT DAY**
Bob takes a sip from a steaming cup of coffee, the faintest hint of a smile on his face.
**GREEN**
So tell me, Bob. How did you end up in Bluff Creek that October in 1967?
**GIMLIN**
Roger called me up, said there’d been some fresh tracks found in the area. He wanted to head down there right away. I wasn’t sure at first, but he kept at me. Said it’d be the trip of a lifetime.
**GREEN**
And was it?
**GIMLIN**
(pauses, looking distant)
More than I ever imagined.
**CUT TO:**
**EXT. BLUFF CREEK ROAD – OCTOBER 1967 – DAY**
A beat-up truck bounces along a narrow dirt road, surrounded by towering redwoods. Roger drives, brimming with excitement. Bob sits in the passenger seat, calm and composed.
**ROGER**
This is it, Bob. I can feel it. We’re gonna find somethin’.
**BOB**
(long-suffering)
Roger, you’ve been sayin’ that for years.
Roger laughs, undeterred, and they drive on.
**MONTAGE:**
- Roger and Bob setting up camp by a creek.
- Roger sketching a map of the area while Bob checks their gear.
- Early morning fog rolling through the forest as they saddle their horses.
**CUT TO:**
**EXT. BLUFF CREEK TRAIL – LATE MORNING**
Bob and Roger ride their horses along a creekbed, scanning the ground and the dense trees around them.
**ROGER**
(whispers, pointing)
Tracks.
They dismount, crouching down to inspect a series of enormous footprints in the sand.
**BOB**
(quietly)
They’re fresh.
A sudden rustle in the bushes nearby. Both men freeze, their eyes darting toward the sound.
**ROGER**
(low voice)
Camera. Get the camera.
Bob nods, the tension in the air palpable.
**FADE OUT.**
Act 2:
**Title: Shadows of Bluff Creek**
**Screenplay by **
**ACT TWO**
**FADE IN:**
**INT. LIVING ROOM – BOB GIMLIN’S HOME – YAKIMA, WASHINGTON – DAY**
The conversation between **JOHN GREEN** and **BOB GIMLIN** continues. Bob sits with his hands clasped, his demeanor calm yet reflective.
**GREEN**
There was a fellow who said he sighted a Bigfoot right up here at Cowiche Canyon, about twenty miles from here.
**GIMLIN**
That’s right. I went up there with Roger on that investigation.
**GREEN**
Did you investigate a lot of reports like that?
**GIMLIN**
Oh, yeah. We covered as many as we could when someone called or gave us a report. Roger was always eager to check things out.
**CUT TO:**
**EXT. COWICHE CANYON – FLASHBACK – DAY**
Roger and Bob walk through the rugged canyon terrain, Roger armed with a camera and plaster casting kit, while Bob carries a rifle slung over his shoulder. The tension is palpable as they scan their surroundings.
**ROGER**
(pointing)
Look at that! Could be a print.
Bob crouches down, studying a faint impression in the dirt.
**BOB**
(quietly)
Could just be erosion. Hard to say.
Roger, undeterred, starts taking measurements.
**ROGER**
If there’s one track, there might be more. Let’s keep looking.
**CUT BACK TO:**
**INT. LIVING ROOM – PRESENT DAY**
Bob shifts in his chair, a hint of a smile playing on his lips.
**GIMLIN**
Roger was relentless. He believed in this creature with every fiber of his being.
**GREEN**
And you?
**GIMLIN**
I was a skeptic back then. I trusted Roger’s thoughts and knowledge, but I wasn’t convinced these creatures actually existed.
**GREEN**
So how did the trip to California come about?
**GIMLIN**
Roger and I had been over in the Mount St. Helens area, ridin’ and trainin’ horses. We spent a lot of time in the mountains back then.
**CUT TO:**
**EXT. MOUNTAIN TRAIL – MOUNT ST. HELENS – FLASHBACK – DAY**
Roger and Bob ride their horses along a winding trail. Roger carries a reel-to-reel tape recorder, playing alleged Bigfoot vocalizations, while Bob listens with mild skepticism.
**ROGER**
(earnestly)
Hear that? That’s the call they make. Some say it’s how they communicate.
**BOB**
(smirking)
Sounds like a coyote with a sore throat.
Roger laughs, but his eyes are full of determination.
**ROGER**
One day, Bob, you’ll hear it for yourself. Then you’ll believe.
**CUT BACK TO:**
**INT. LIVING ROOM – PRESENT DAY**
Bob leans forward, his voice taking on a more serious tone.
**GIMLIN**
When Roger heard about the tracks down in Bluff Creek, he was set on going. Called me up, said we couldn’t miss this chance.
**GREEN**
What made you agree?
**GIMLIN**
(pauses, thoughtful)
I figured, why not? Roger had a way of pulling you into his excitement. Besides, I loved the outdoors, and it sounded like an adventure.
**CUT TO:**
**EXT. HIGHWAY – DRIVING TO BLUFF CREEK – FLASHBACK – DAY**
Roger and Bob drive south in a beat-up truck loaded with camping gear, plaster, and a camera. Roger is animated, flipping through his notebook filled with sketches and notes.
**ROGER**
These tracks—they’re fresh. If we get down there quick enough, we might catch somethin’.
**BOB**
(half-joking)
Or spend another week freezin’ our tails off, chasin’ shadows.
Roger grins, undeterred, as they pass a sign reading “Welcome to California.”
**MONTAGE:**
- Roger and Bob setting up camp at Bluff Creek.
- Bob brushing down their horses while Roger fiddles with the camera equipment.
- The dense forest surrounding their campsite, alive with mysterious sounds.
**CUT TO:**
**EXT. BLUFF CREEK TRAIL – OCTOBER 1967 – DAY**
Roger and Bob ride along a creekbed, their horses’ hooves crunching softly in the gravel. Roger scans the ground intently, his camera strapped to his saddle.
**ROGER**
(whispers, pointing)
Tracks.
They dismount and approach cautiously, finding a series of enormous footprints leading into the trees.
**BOB**
(quietly)
They’re fresh.
Roger kneels, measuring the prints with trembling hands.
**ROGER**
This is it, Bob.
Suddenly, a rustle in the underbrush. Both men freeze, their eyes darting toward the sound. Roger fumbles with the camera, his heart pounding.
**FADE OUT.**
ACT 3
**FADE IN:**
**INT. LIVING ROOM – BOB GIMLIN’S HOME – YAKIMA, WASHINGTON – DAY**
**JOHN GREEN** sits with a notepad in hand, leaning slightly forward as he interviews **BOB GIMLIN**, who seems lost in thought for a moment before answering.
**GREEN**
So, Bob, how did the trip to Bluff Creek come about?
**GIMLIN**
Well, Roger and I had been up at Mount St. Helens ridin’ the roads, just pokin’ around. We were looking at lava caves, things like that.
**CUT TO:**
**EXT. MOUNT ST. HELENS – FLASHBACK – DAY**
Roger and Bob explore rugged terrain. Roger peers into a lava tube while Bob ties off their horses nearby. Dark clouds gather on the horizon.
**GIMLIN (V.O.)**
It started rainin’ real heavy over there. This was late August or early September. We decided to pack up and head back to Yakima.
**CUT TO:**
**INT. LIVING ROOM – PRESENT DAY**
Bob continues, his tone growing more animated as he recalls the next part of the story.
**GIMLIN**
When we got back to Yakima, Roger’s wife told us somebody from California had called. Left a message about tracks bein’ found on new road construction down in Bluff Creek.
**GREEN**
They were building logging roads there, weren’t they?
**GIMLIN**
Yeah. They’d been pushin’ back into that area, clearin’ land. That’s why Roger got so excited. He said, “Bob, we can’t miss this!”
**GREEN**
And Roger—did he usually carry a movie camera with him?
**GIMLIN**
(smiling slightly)
Oh, most of the time, yeah. He had one in his pack saddle. Roger never wanted to miss an opportunity to document somethin’.
**CUT TO:**
**EXT. HIGHWAY – DRIVING TO BLUFF CREEK – FLASHBACK – DAY**
Roger’s beat-up truck barrels down a winding road. The bed is loaded with camping gear, plaster kits, and Roger’s precious camera. Inside, Roger is animated, sketching Bigfoot-like shapes on a notepad while Bob drives.
**ROGER**
Tracks this fresh—it’s like an open invitation. This could be our chance, Bob.
**BOB**
(chuckling)
Or just another wild goose chase.
**ROGER**
Hey, you’re the one who always says you like adventure.
**BOB**
Adventure, sure. Chasin’ a myth? That’s somethin’ else.
Roger laughs, undeterred. The truck speeds past a sign: *Welcome to California.*
**CUT TO:**
**EXT. BLUFF CREEK CAMP – DAY**
Roger and Bob set up camp. Roger carefully unpacks his camera and gear, while Bob brushes down the horses. The towering redwoods loom around them, casting long shadows.
**GIMLIN (V.O.)**
Roger always prepared like he was about to make a big discovery. He was methodical, even if he could get carried away with his enthusiasm.
**CUT TO:**
**EXT. TRAILHEAD – BLUFF CREEK – MORNING**
Roger and Bob saddle up, their breath visible in the cool morning air. Roger adjusts the camera strapped to his pack saddle.
**ROGER**
If the tracks are still fresh, we’ll find where they lead.
**BOB**
(dryly)
If we don’t scare whatever made ‘em first.
They ride out, the forest eerily quiet around them.
**MONTAGE:**
- Bob and Roger following a faint trail of tracks.
- Roger crouching to inspect a deep footprint, measuring its length with a ruler.
- Their horses maneuvering carefully through dense underbrush.
**CUT TO:**
**EXT. BLUFF CREEK TRAIL – MIDDAY**
Roger suddenly pulls his horse to a stop.
**ROGER**
Hold up.
Bob reins in beside him, looking puzzled.
**BOB**
What is it?
Roger points to the creekbed ahead, where enormous footprints stretch out in a perfect line.
**ROGER**
This is it, Bob.
The two men dismount cautiously, stepping closer. Roger fumbles with the camera on his saddle, his hands shaking with excitement.
A rustle in the trees nearby. Both men freeze, their eyes darting toward the sound.
**FAINT FIGURE**
Through the trees, a massive, upright figure moves with deliberate steps. Roger’s breath catches as he brings the camera to his eye.
**ROGER**
(low, urgent)
Bob. Do you see it?
**BOB**
(whispering, stunned)
I see it.
Roger starts filming, the frame shaking slightly as the creature steps into full view—a towering, fur-covered figure with long arms and a powerful gait.
**CUT TO BLACK.**
“Returning from one such trip they found a message waiting for them from Al Hodgson in Willow Creek, California. Hudson had learned from John Green about fresh tracks found along Blue Creek Mountain road discovered after the Labor Day weekend. He waited until Green and Rene’ Dahinden had examined the tracks and left the scene and gave Patterson a call to let him know new tracks had recently been discovered. Patterson was hopeful of getting footage of fresh tracks to include in a documentary film he had been putting together over the previous eight months, featuring interviews of eyewitnesses and shots of the locations where they had reported seeing s Sasquatch. His intent was to be able to finance a full-time search for Sasquatch from the proceeds of the documentary. Gimlin was between construction jobs and so he agreed to go to California with Patterson once he was able to get his affairs in order his ranch. The took two saddle horses and a packhorse, Gimlin’s one-ton truck and horse van, and supplies to keep them for two weeks or more. In fact, it was Gimlin’s equipment that made the trip possible. Patterson was out of work at the time and was receiving some finical backing from his brothefr-in law, Al DeAltey.
ACT 4: "The Call from Willow Creek"
FADE IN:
EXT. PATTERSON RANCH – LATE AFTERNOON
The golden California sun hangs low in the sky. Dust rises as Roger Patterson, a rugged outdoorsman with an unmistakable passion burning in his eyes, walks toward a modest barn. He carries camera equipment over his shoulder, his face determined despite the hardships of his latest search.
Nearby, horses whinny in the corral. Bob Gimlin, a stoic man with a cowboy hat tipped low over his brow, adjusts a saddle on one of the horses.
NARRATOR (V.O.) Returning from another fruitless Sasquatch search, Roger Patterson and Bob Gimlin were ready to regroup—until a call from Al Hodgson in Willow Creek changed everything.
CUT TO:
INT. PATTERSON’S HOME – KITCHEN
A rotary phone sits on the kitchen counter. Patterson, with dirt still on his boots, eagerly listens, gripping the phone tightly.
AL HODGSON (V.O.)
Fresh tracks up near Blue Creek Mountain Road. John Green and Rene Dahinden have already been through. Thought you’d want to know.
Patterson’s eyes light up, a spark of renewed hope.
AL HODGSON (V.O.)
Figured it might be your turn.
Patterson glances at a cluttered table filled with maps and notes about previous expeditions.
PATTERSON
You bet it’s my turn.
CUT TO:
EXT. PATTERSON’S RANCH – CORRAL – MOMENTS LATER
Patterson strides toward Gimlin, practically radiating energy.
PATTERSON
Bob! Tracks up near Blue Creek. Fresh ones.
Gimlin tightens a strap on the saddle, pausing to study Patterson’s animated face.
GIMLIN
Green and Dahinden already checked it out?
PATTERSON
Yeah, but there’s still time. We could get footage for the documentary.
Gimlin tilts his hat back slightly, revealing eyes filled with curiosity but tempered by practicality.
GIMLIN
You sure you wanna chase tracks again? Ain’t exactly been payin’ off.
PATTERSON
This could be it. Just imagine—actual tracks on film.
Gimlin gives a slow, thoughtful nod.
GIMLIN
What’s the plan?
PATTERSON
We pack up. Leave as soon as you can get things squared away here.
GIMLIN
Two weeks?
PATTERSON
At least. Maybe more.
Gimlin glances at his sturdy one-ton truck parked nearby, equipped with a horse van. His lips curl into a faint smile.
GIMLIN
Lucky for you, I’ve got the rig and the horses. Otherwise, this trip ain’t happening.
PATTERSON
Wouldn’t be the first time you saved my hide.
They share a knowing look—the bond of friends who have faced countless challenges together.
CUT TO:
MONTAGE:
Patterson and Gimlin loading supplies into the truck: saddles, feed for the horses, camping gear, and Patterson’s ever-present camera equipment.
The horses being led into the van, their hooves clattering against the metal ramp.
Gimlin securing the last of the gear with precise efficiency.
Patterson flipping through pages of a journal filled with sketches of Sasquatch sightings.
NARRATOR (V.O.)
With Bob Gimlin’s equipment and Patterson’s unwavering determination, they set off for Blue Creek Mountain—hopeful that this time would be different.
CUT TO:
EXT. HIGHWAY – EARLY MORNING
Patterson’s voice cuts through the sound of the truck engine.
PATTERSON
You ever wonder what we’ll do if we actually find one?
Gimlin keeps his eyes on the road, but a sly smile creeps onto his face.
GIMLIN
Cross that bridge when we come to it.
The truck roars forward, dust trailing behind it as they head into the unknown.
FADE OUT.
ACT 5: Screenplay: The Patterson-Gimlin Bigfoot Encounter
"The Call from Willow Creek"
FADE IN:
EXT. PATTERSON RANCH – LATE AFTERNOON
The golden California sun hangs low in the sky. Dust rises as Roger Patterson, a rugged outdoorsman with an unmistakable passion burning in his eyes, walks toward a modest barn. He carries camera equipment over his shoulder, his face determined despite the hardships of his latest search.
Nearby, horses whinny in the corral. Bob Gimlin, a stoic man with a cowboy hat tipped low over his brow, adjusts a saddle on one of the horses.
NARRATOR (V.O.) Returning from another fruitless Sasquatch search, Roger Patterson and Bob Gimlin were ready to regroup—until a call from Al Hodgson in Willow Creek changed everything.
CUT TO:
INT. PATTERSON’S HOME – KITCHEN
A rotary phone sits on the kitchen counter. Patterson, with dirt still on his boots, eagerly listens, gripping the phone tightly.
AL HODGSON (V.O.)
Fresh tracks up near Blue Creek Mountain Road. John Green and Rene Dahinden have already been through. Thought you’d want to know.
Patterson’s eyes light up, a spark of renewed hope.
AL HODGSON (V.O.)
Figured it might be your turn.
Patterson glances at a cluttered table filled with maps and notes about previous expeditions.
PATTERSON
You bet it’s my turn.
CUT TO:
EXT. PATTERSON’S RANCH – CORRAL – MOMENTS LATER
Patterson strides toward Gimlin, practically radiating energy.
PATTERSON
Bob! Tracks up near Blue Creek. Fresh ones.
Gimlin tightens a strap on the saddle, pausing to study Patterson’s animated face.
GIMLIN
Green and Dahinden already checked it out?
PATTERSON
Yeah, but there’s still time. We could get footage for the documentary.
Gimlin tilts his hat back slightly, revealing eyes filled with curiosity but tempered by practicality.
GIMLIN
You sure you wanna chase tracks again? Ain’t exactly been payin’ off.
PATTERSON
This could be it. Just imagine—actual tracks on film.
Gimlin gives a slow, thoughtful nod.
GIMLIN
What’s the plan?
PATTERSON
We pack up. Leave as soon as you can get things squared away here.
GIMLIN
Two weeks?
PATTERSON
At least. Maybe more.
Gimlin glances at his sturdy one-ton truck parked nearby, equipped with a horse van. His lips curl into a faint smile.
GIMLIN
Lucky for you, I’ve got the rig and the horses. Otherwise, this trip ain’t happening.
PATTERSON
Wouldn’t be the first time you saved my hide.
They share a knowing look—the bond of friends who have faced countless challenges together.
CUT TO:
MONTAGE:
Patterson and Gimlin loading supplies into the truck: saddles, feed for the horses, camping gear, and Patterson’s ever-present camera equipment.
The horses being led into the van, their hooves clattering against the metal ramp.
Gimlin securing the last of the gear with precise efficiency.
Patterson flipping through pages of a journal filled with sketches of Sasquatch sightings.
NARRATOR (V.O.)
With Bob Gimlin’s equipment and Patterson’s unwavering determination, they set off for Blue Creek Mountain—hopeful that this time would be different.
CUT TO:
EXT. HIGHWAY – EARLY MORNING
Patterson’s voice cuts through the sound of the truck engine.
PATTERSON
You ever wonder what we’ll do if we actually find one?
Gimlin keeps his eyes on the road, but a sly smile creeps onto his face.
GIMLIN
Cross that bridge when we come to it.
The truck roars forward, dust trailing behind it as they head into the unknown.FADE OUT.
ACT 6: "The Search Begins"
FADE IN:
EXT. BLUFF CREEK – DAY
The scene opens with a wide shot of dense forested mountains and the winding creek below. Patterson and Gimlin lead their horses through uneven terrain. Mist clings to the underbrush.
NARRATOR (V.O.)
When they arrived at Blue Creek Mountain, rains had washed away most of the tracks. Hopes of capturing undeniable evidence seemed to fade.
CUT TO:
EXT. CAMP SITE – NIGHT
A modest base camp is set up near Bluff Creek. A fire crackles. The horses are tethered nearby, shifting restlessly.
Patterson sits on a log, scribbling notes into his journal. Gimlin sharpens a knife methodically.
PATTERSON
You think those tracks were the real deal?
GIMLIN
Hard to say. Rain didn’t leave much to look at.
PATTERSON
We’ll keep searching. Gotta be something out here.
GIMLIN
Long as the horses hold up, I’m game.
CUT TO:
MONTAGE:
Patterson and Gimlin patrolling dirt roads on horseback, eyes scanning the ground.
The sun setting as they ride back to camp, shadows stretching across the forest.
Patterson crouching by a creek bed, examining faint impressions in the mud.
Gimlin climbing a rugged hillside, leading his horse carefully.
Nighttime: The truck's headlights sweep across the road as they drive slowly, searching for tracks.
NARRATOR (V.O.)
For weeks, they rode out through the rugged terrain, often splitting up to cover more ground. By day, they scoured the creek beds and mountainsides. By night, they patrolled the roads by truck.
CUT TO:
EXT. FOREST RIDGE – SUNSET
Gimlin rides up to a ridge, silhouetted against the orange sky. He pauses, taking in the vast wilderness.
Patterson appears below, waving.
GIMLIN
(under his breath) Hope you know what we’re lookin’ for, Roger.
The two men reunite, their determination undeterred despite the challenges.
FADE OUT.
FADE IN:
EXT. BLUFF CREEK CAMP - DUSK
A smoky campfire crackles under a darkening sky. The thick scent of pine and damp earth hangs heavy. BOB GIMLIN (mid-30s, rugged and level-headed) tosses a stick onto the fire. The flames lick higher, casting flickering light on the dirt-streaked faces of ROGER PATTERSON ( 36 years old wiry and intense) and Bob. Their horses, tethered nearby, snort restlessly.
BOB GIMLIN
That rain really did a number on Blue Creek. Not much left to see up there.
ROGER PATTERSON
Yeah, but we’ve got time. Something’s bound to turn up.
Bob takes a sip of coffee from a dented tin mug, eyes sharp beneath the brim of his cowboy hat.
BOB GIMLIN
You’re sure about this, huh? Weeks in the mud chasing stories.
ROGER PATTERSON
This ain’t just stories, Bob. People’ve seen tracks — big ones. Whatever it is, it’s real.
Bob chuckles, shaking his head.
BOB GIMLIN
Ain't nothing out here but bears and cougars, Roger. But I’ll give you this — you got grit.
Roger grins, eyes gleaming with determination.
ROGER PATTERSON
Gotta have grit if you wanna catch history on film.
EXT. BLUFF CREEK ROAD - NIGHT
Their pickup truck rumbles along the narrow dirt road. The headlights carve twin beams through the thick forest, revealing shadows that dance like restless spirits. Bob drives while Roger leans forward, eyes scanning the road for tracks.
The engine hums, blending with the night sounds — the distant hoot of an owl, the rustle of leaves.
ROGER PATTERSON
Slow down here.
Bob eases off the gas, the truck crawling to a stop. Roger jumps out, flashlight in hand. He crouches low, studying a patch of dirt illuminated by the beam.
ROGER PATTERSON
(Breathless)
Something was here.
Bob steps out, skeptical but curious.
BOB GIMLIN
Cougar?
Roger shakes his head, excitement mounting.
ROGER PATTERSON
No, look at this stride. Too wide.
Bob kneels beside him, squinting in the dim light. The faint impression of a large, humanoid footprint lies etched in the dirt — toes splayed wide, heel deep in the earth.
BOB GIMLIN
(Whistles)
Damn.
They exchange a look — a silent understanding that this might be the beginning of something extraordinary.
EXT. CREEK BED - DAWN
The forest is bathed in pale morning light. Mist clings to the ground like a ghostly veil. Bob and Roger, now on horseback, follow the winding path of Bluff Creek. The horses' hooves splash through shallow water, breaking the serene stillness.
Roger stops suddenly, raising a hand.
ROGER PATTERSON
Hear that?
A distant crack echoes through the trees. Bob’s hand instinctively moves to the rifle strapped to his saddle.
BOB GIMLIN
What do you reckon?
ROGER PATTERSON
Could be her.
Bob arches a brow.
BOB GIMLIN
Her?
ROGER PATTERSON
Bigfoot.
Bob shakes his head with a smirk, but the tension in the air is palpable.
BOB GIMLIN
You really think we’re gonna see it?
Roger’s eyes are steely, resolute.
ROGER PATTERSON
I don’t think — I know.
They ride on, the forest closing in around them, thick with mystery and the promise of discovery.
FADE OUT.
Gimlin recalled the morning of October 20th, 1967. “The day we got the film footage, I left early in the morning and Roger slept in. I just rode out and around, I always got up early and so I rode on out. My horse loosened a shoe and I came back in to tack the shoe on tighter. About ten, midmorning or so, Is at around there for a while, because Roger was gone when I got back. Supposedly he had gone down the creek there-ah, Bluff Creek there- and after awhile he came back and asked what area I had covered that morning. I told him and he says, why don’t we ride up into this area we had risen in before, a desolate type area down a couple of canyons, there’s a creek running through it. So we went ahead and fixed lunch and he said let’s get our gear together so when we ride out we can stay if we have to and stay a little bit later into the night if we need to. We packed up the packhorse and it was about midday”.
They were riding upstream on the right-hand side of Bluff Creek. Roger was in the lead., followed a horse-length or two behind by Gimlin with the packhorse in tow. Several miles upstream , they skirted a large downfall tree with a large root wad that had diverted the flow of the creek. As they rounded the obstruction, there was a logjam-a “crow’s nest”-left over from the flood go ’64 that had scoured the narrow valley an piled uptake logs,. Suddenly there was the creature standing by the edge of the creek a mere 60-80 feet to their left. In Gimlin’s words, “When I first saw it, it was standing, looking straight at us. That’s when everything started happening. The horses started jumping around, raising the devil and spooking from this creature. Roger, well his horse was rearing up and jumping around.”
ACT 7: The Encounter Bluff Creek, October 20th, 1967 — Late Morning
The forest was alive with the murmur of the creek, birdsong, and the occasional creak of leather saddles as the horses trotted forward. Sunlight filtered through towering redwoods, casting long shadows across the uneven ground. Roger Patterson rode ahead, his cowboy hat pulled low against the glare. Bob Gimlin followed a few paces behind, leading the packhorse laden with gear. Their boots creaked against stirrups as they navigated the rough terrain.
The horses snorted and flicked their ears at the swirling scents carried on the breeze. The air smelled of pine, damp earth, and the faint tang of decaying wood.
They had been riding for hours, following the meandering path of Bluff Creek, the gurgling water a constant companion. As they approached a massive fallen tree, its tangled root system towering over the creek bed, Gimlin tugged gently on his reins.
"Careful, Bob," Patterson called back. "We'll have to skirt around this mess."
They guided their horses around the obstacle, the animals' hooves sinking into the soft, churned earth. Beyond the fallen tree lay a chaotic logjam, remnants of the great flood of '64. Sun-bleached logs twisted and piled like giant pickup sticks, a natural fortress left by nature's fury.
As they rounded the obstruction, time seemed to slow.
There, by the creek's edge, stood a figure unlike anything they had ever seen.
Covered in dark, shaggy hair, it towered over the underbrush, its broad shoulders and barrel chest heaving as if caught mid-breath. Muscles rippled beneath its thick coat, and its massive arms hung low, nearly brushing its thighs. The creature's face, partially obscured by matted hair, bore a strikingly human-like expression—intelligent, wary, but unafraid.
It was only 60 to 80 feet away, close enough for every detail to etch itself into their memories.
For a moment, everything was still. Even the birds fell silent, as if nature itself held its breath.
Then chaos erupted.
Gimlin's horse reared, eyes rolling in terror, hooves slashing at the air. The packhorse bucked wildly, nearly breaking free of its lead. Patterson's horse spun in tight circles, whinnying frantically.
"Whoa! Easy, easy!" Gimlin shouted, fighting to control his mount.
Patterson struggled to stay in the saddle, his hat flying off as he clung to the reins.
The creature remained motionless, watching the commotion with a calm, almost bemused demeanor. Then, as if deciding it had seen enough, it turned smoothly, striding away with a grace that belied its massive size.
"Roger, the camera!" Gimlin barked, his voice hoarse with urgency.
Patterson was already moving, vaulting off his horse and scrambling for the camera strapped to his saddlebag. His hands shook as he fumbled with the lens, heart pounding like a war drum in his chest.
The creature continued its measured retreat, long arms swinging with each purposeful step. Patterson finally steadied the camera, his voice a mix of desperation and exhilaration.
"Got it—I'm rolling!"
Gimlin dismounted, rifle in hand, but he held back, unsure whether to follow or stand guard.
Through the viewfinder, Patterson captured the iconic moment—the creature glancing back over its shoulder, its expression inscrutable, before disappearing into the dense forest beyond.
Silence fell once more, broken only by the labored breathing of the horses and the faint hum of the creek.
Gimlin walked up beside Patterson, his rifle lowered but ready. "You get it?"
Patterson, still panting, nodded. "Yeah... I think I got it."
They stood there, hearts racing, knowing they had just witnessed something that would change their lives forever.
scene 4 of the movie screen play by Patterson Gimlin Bigfoot encounter and film of 1967:
Peterson’s horse, younger and less experienced, tried bro spin around and come back. Gimlin’s was a more seasoned roping horse but was still spooked by the encounter with the figure. Patterson was trying to control his horse with one hand while reaching back into the saddlebag for his camera with the other. He was quite agile and athletic, since he did rodeo riding and gymnastics. This was a maneuver he had practiced . “He always kept that saddlebag ready. The saddlebag had two straps on it to keep it buckled down. He kept one buckled and one of them unbuckled so he could get his camera in the event he needed it in a hurry and this was the case at that particular time. …that was his theory that if he ever had to get it, he kept one buckle on there so it would not bounce out while he was riding and the other one loose so he could get it in a hurry’’, said Gimlin.
ACT 8: THE STRUGGLE FOR THE CAMERA
EXT. BLUFF CREEK WOODS — DAY
The dense, shadowy forest looms, sunlight slanting through towering trees. Patterson and Gimlin ride along a narrow, rugged trail. The sound of their horses' hooves echoes through the eerie stillness.
Suddenly —
Patterson’s horse (PETE) rears back, eyes wild with terror. The younger, less seasoned horse tries to spin and retreat.
Patterson pulls hard on the reins, his jaw clenched, struggling to control the panicked animal.
GIMLIN’S HORSE (CHICO) shuffles nervously but holds steady. Chico, a seasoned roping horse, snorts, ears flicking toward the thick brush ahead.
Patterson glances to his right — and freezes.
Across the creek bed, the figure strides deliberately — a massive, upright creature covered in dark, glossy hair. Its muscular frame ripples with each step. It turns its head toward them, revealing a flat, primal face.
Patterson's breath catches in his throat. He knows this moment is everything.
PATTERSON
(urgent, breathless)
Bob! Hold Chico steady!
Gimlin tightens his grip on the reins, steadying Chico.
GIMLIN
What the hell is that?!
Patterson doesn't answer. His instincts take over. He grips Pete's reins with one hand and leans back, reaching into his saddlebag with the other.
Years of rodeo and gymnastics training pay off. His movements are swift and practiced.
The camera strap catches briefly. Patterson pulls harder.
Narration overlay as Gimlin's future voice echoes:
GIMLIN (V.O.)
“He always kept that saddlebag ready. One strap buckled so the camera wouldn’t bounce out, the other loose so he could grab it in a hurry.”
The unbuckled strap gives way. Patterson yanks the camera free.
Pete skitters sideways, nearly throwing him, but Patterson grips the saddle horn and rights himself.
GIMLIN (V.O.)
“That was his theory — and it worked.”
Patterson flips open the camera lens and steadies it against his chest.
The figure, now mid-stride across the rocky creek bed, glances back once more before continuing into the trees.
Patterson steadies his breath, adrenaline surging.
PATTERSON
I got it.
He raises the camera to his eye. The click-click-click of the film reel begins.
The historic footage begins to roll.
CUT TO BLACK.
scene 5 of the movie screen play by Patterson Gimlin Bigfoot encounter and film of 1967:Patterson slid off the horse with his camera in hand and the horse ran off, prompting the packhorse to jerk free from Gimlin and follow. Patterson called out “Cover me!” As he ran across the creek toward the sandbar, which had a slight elevation of about 30 inches, the camera to his eye. With his vision restricted by the viewfinder, he ran into the sandbar and fell to his knees. Gimlin could see this within his field of vision, while keeping his eye on the creature, which had immediately turned and began retreating up the sandbar and parallel to the creek bed. Gimlin rode across the creek, dismounted, and pulled his 30.06 rifle from its scabbard. He figured if it became necessary, he could get off a surer shot on foot than in the saddle on a jittery horse. He recalled that at the time he was young, was still hunting and was an excellent shot. They always carried riffles when they rode in the mountains, but not with the intent to shoot a Sasquatch. “We had talked about it, but decided unless it was necessary, we would never shoot. In other word, unless it was violent or attempted to attack us…. I just stood there with my rifle. I never raised the rifle like I would shoot or anything like that, just held it in my hand and with the other hand my horse to keep him from getting away from me”. The creature reacted twice to their approach, glancing back once when Gimlin crossed the creek on horseback. At that moment Gimlin was at g\his closest to the creature, perhaps less than sixty feet. The second glance, which has become the most publicized frame from the film (frame 352), occurred either when Patterson repositioned himself to a better vantage point and/ or when Gimlin dismounted behind him. It was all happening so fast; he was uncertain precisely where the creature’s attention was focused.”
ACT 9: CROSSING THE CREEK
EXT. BLUFF CREEK WOODS — DAY
The towering trees tremble in the wind, as if holding their breath. The wild thrash of hooves echoes off the canyon walls.
Patterson’s horse, Pete, bucks and tears away, panic coursing through its muscles. The packhorse jerks free from Gimlin and gallops after Pete, hooves splashing through the shallow creek.
Patterson grips his camera tightly, already halfway out of the saddle.
PATTERSON
(shouting)
Cover me!
He leaps from the horse, boots landing hard on rocky ground. The horse vanishes into the trees. Patterson doesn’t look back.
Camera in hand, he races across the creek toward the elevated sandbar — about 30 inches high. His eyes locked through the restricted viewfinder, everything becomes a blur of motion.
Suddenly — Patterson slams into the sandbar and falls to his knees, grunting in pain but keeping the camera steady.
GIMLIN watches from his saddle, heart pounding, eyes darting between Patterson and the retreating figure.
The creature — a towering mass of muscle and hair — moves deliberately up the sandbar, parallel to the creek. It glances back, briefly locking eyes with Gimlin, who grips his reins tighter.
GIMLIN
Damn.
Gimlin urges Chico forward, crossing the creek in a powerful stride. Water sprays around them as Gimlin dismounts with practiced precision.
He pulls his .30-06 rifle from its scabbard, feeling its familiar weight in his hand. Chico snorts nervously, tugging at the reins.
Gimlin steadies both his horse and his nerves.
GIMLIN (V.O.)
“We always carried rifles in the mountains — not to shoot a Sasquatch, though. We'd talked about it. Only if it was necessary.”
The creature moves with a strange grace, powerful but calm, heading deeper into the wilderness.
GIMLIN (V.O.)
“I figured I could get off a surer shot on foot, but I never raised the rifle. I just held it — watching.”
The creature glances back again — a fleeting moment of connection.
PATTERSON'S CAMERA POV:
The legendary frame (Frame 352).
The creature's face, mid-turn, etched forever into history.
PATTERSON
(gritting teeth)
Got it…
He scrambles back to his feet, repositioning for a better angle, sweat dripping down his face.
Gimlin stands behind him, rifle in one hand, holding Chico with the other. The moment feels suspended in time — both surreal and primal.
GIMLIN (V.O.)
“It all happened so fast, I couldn’t tell where the creature’s attention was — me or Patterson. But it didn’t matter. We were part of something bigger than we could understand.”
The creature vanishes into the dense forest.
Silence returns, broken only by the steady hum of Patterson’s film reel winding down.
CUT TO:
Patterson and Gimlin standing breathless by the sandbar, the weight of history settling in.
Bob Gimlin said imaging to fallow it to see if I can get another look at it, Roger Patterson , without and weapons and now afoot without his horse said” stay with me obviously, “ as they had found several different size trucks and Roger though one of the other Bigfoot may attack him. They got the horses together and road back to base camp. Once back and camp
HORSES
The Patterson-Gimlin expedition, culminating in the famous Bigfoot encounter on October 20, 1967, at Bluff Creek, California, not only highlighted an enigmatic figure but also showcased the indispensable roles played by three horses: Chico, HO, and Peanuts. Each horse had a distinct personality and purpose, contributing to the events of that unforgettable day.
---
*Chico: The Steady Pack Horse*
Chico, a borrowed horse belonging to Bob Hermonious, was tasked with carrying the expedition’s supplies. As the pack horse, Chico bore the brunt of their gear: camping equipment, food, photographic equipment, and more. Known for his even temperament and reliability, Chico played a pivotal role in ensuring the expedition's logistical success.
Heironimus stated that Chico (a middle-aged gelding) Chico's sturdy build and calm demeanor made him ideal for the rugged terrain of Bluff Creek. While Chico didn’t face the adrenaline-pumping moments of the sighting directly, his ability to navigate the challenging environment under load made him a silent hero of the expedition. Without Chico, the team wouldn't have been as prepared or mobile.
*Peanuts: The Skittish Colt*
Peanuts , a young male quarter horse, was Roger Patterson’s mount. As a colt, Peanuts was still inexperienced and not entirely accustomed to high-stress situations, which made him a wild card in the journey. Despite this, Roger chose him for the trip, perhaps appreciating because he was Bob’s horse and perhaps, had agility and potential speed on the unpredictable terrain.
Peanuts’ nerves became apparent during the encounter with the Sasquatch. When the creature appeared, standing tall and moving steadily through the creek bed, Peanuts reacted with visible unease. His jittery behavior mirrored the palpable tension of the moment, amplifying the chaotic yet historic event. Roger's skill in managing Peanuts under such extraordinary circumstances speaks to his horsemanship.
*HO: The Reliable Companion*
Bob Gimlin rode Peanuts, his own trusted horse, a seasoned and dependable partner. HO was a smaller, compact horse with a calm and steady demeanor, making him well-suited for challenging situations. Gimlin’s close bond with HO likely helped both man and horse remain composed during the encounter.
As Roger scrambled to dismount Peanuts and begin filming, HO remained steady, allowing Bob to follow the creature on horseback and keep it in sight. Peanuts’ composure during the encounter provided Gimlin with the stability needed to observe and later recount the details of what they witnessed.
The Encounter*
On the fateful day, as the trio rode along Bluff Creek, the horses suddenly became agitated. Peanuts , true to his youthful nature, was particularly unsettled, tossing his head and shifting nervously. Chico, carrying the pack, remained stoic but visibly alert. HO, as steady as ever, gave Gimlin the confidence to stay in control.
When the Sasquatch—a tall, muscular, bipedal figure now famously referred to as “Patty”—came into view, Peanuts's nerves escalated. Patterson quickly dismounted, grabbing his 16mm camera from his saddlebag and running toward the creature, leaving Peanuts behind. The young colt, sensing the unusual situation, seemed hesitant and uncertain, underscoring the dramatic nature of the moment. Meanwhile, Gimlin kept a measured distance on HO, pulling his Remington Model 720 bolt action 30.06 from the saddle scabbard and was ready to intervene if needed.
As Patterson captured the now-iconic footage, HO proved invaluable, allowing Gimlin to maintain a vantage point while remaining composed. Chico and Peanuts , though spooked, stayed near enough to the action for the team to regroup once the creature had disappeared into the forest.
*Aftermath and Legacy*
The horses were instrumental in the Patterson-Gimlin film’s success, each contributing their unique traits to the expedition. Chico’s endurance, Peanuts’s youthful energy (albeit tempered by nerves), and HO’s’ calm reliability created a balance that enabled Patterson and Gimlin to navigate the rugged terrain and capture history.
The interaction between the horses and the environment, especially their reactions to the creature, adds an authentic layer to the encounter’s narrative. Their behavior, particularly Peanuts’ skittishness, has been cited as evidence supporting the authenticity of the event, as it aligns with how animals might naturally react to an unknown, potentially threatening presence.
Today, the memory of Chico, HO, and Peanuts lives on as part of the larger story of the Patterson-Gimlin expedition—a reminder of the vital role these equine partners played in one of cryptozoology’s most famous moments.
ACT. 10
FADE IN:
**EXT. BLUFF CREEK - MIDDAY - OCTOBER 20, 1967**
The dense forest hums with the sounds of nature—chirping birds, rustling leaves, and the rhythmic clop of hooves on uneven terrain.
CHICO, the sturdy pack horse, leads the way, carrying heavy camping gear. His steps are deliberate and sure, ears flicking forward and back.
Behind him, PEANUTS, a jittery young colt, tosses his head, eyes wide and nostrils flaring. ROGER PATTERSON grips the reins, his gaze scanning the rugged landscape.
HO, calm and steady, carries BOB GIMLIN, who rides with quiet confidence. HO’s demeanor is a stark contrast to Peanuts’ nervous energy.
Suddenly, the air shifts—an unsettling quiet blankets the forest.
**CHICO (V.O.)**
(steady, thoughtful)
Something’s not right. The forest has gone still. Even the birds have hushed.
Chico’s ears perk up, sensing the unease. He slows his pace but remains composed.
**PEANUTS (V.O.)**
(frantic)
What is it? What’s out there? I don’t like this. I don’t like this at all!
Peanuts dances nervously, nearly sidestepping off the trail. Roger tightens his grip on the reins.
**ROGER PATTERSON**
Whoa, Peanuts! Easy, boy.
**HO (V.O.)**
(calm, reassuring)
Stay steady. We’ll face it together, whatever it is.
Suddenly, a towering, muscular figure—the SASQUATCH—emerges from the trees, moving gracefully through the creek bed.
Chico snorts but remains steadfast, his hooves planted firmly.
**CHICO (V.O.)**
(steady)
It’s big, but I’ll hold my ground. I’ve carried heavier loads.
Peanuts rears slightly, eyes wild.
**PEANUTS (V.O.)**
(alarm)
What is THAT? We need to run—NOW!
Roger dismounts swiftly, grabbing his 16mm camera from the saddlebag.
**ROGER PATTERSON**
Stay here, Peanuts!
Peanuts whinnies, stomping the ground, torn between fleeing and staying with Roger.
HO stands rock-solid beneath Bob, who calmly watches the scene unfold. HO’s steady breath matches Bob’s composure.
**HO (V.O.)**
(steady)
We stand our ground. No fear.
Bob pulls his rifle from the saddle scabbard, eyes never leaving the Sasquatch.
**BOB GIMLIN**
Stay with me, HO.
**HO (V.O.)**
Always.
Roger sprints forward, camera whirring as he films the creature. Peanuts quivers, torn between loyalty and instinct.
**PEANUTS (V.O.)**
(pleading)
Come back, Roger! It’s not safe!
The Sasquatch strides across the creek, glancing briefly at the chaos behind it. Chico snorts but holds his ground, ever the dependable workhorse.
**CHICO (V.O.)**
(steady)
It’s leaving. Stand firm.
The tension slowly eases as the creature disappears into the forest.
Roger lowers his camera, panting. Bob relaxes his grip on the rifle, patting HO’s neck.
**BOB GIMLIN**
Good boy, HO. Steady as always.
Peanuts trembles but moves toward Roger, nudging him anxiously.
**PEANUTS (V.O.)**
(relieved)
You’re okay. Thank goodness.
Chico exhales, his breath steady.
**CHICO (V.O.)**
Job done. Time to move on.
**HO (V.O.)**
Proud to stand by my rider.
The horses regroup, their bond with their riders stronger than ever after the extraordinary encounter.
FADE OUT
Horse Sense
I have confirmed with Bob Gimlin that Patterson definitely rode a small quarter horse (which he owned), not his Welsh pony "Peanuts." Also, that Patterson had arranged to borrow a horse by the name of "Chico" from Bob Heironimus for Gimlin to use.
That Patterson and Gimlin had borrowed a horse from a man with whom they were friends, and which would later (1999) claim to have been the "creature" in the film seems odd on the surface. However, Gimlin did not have a horse that was suitable (old enough) for the expedition, so Patterson arranged to borrow Chico as stated. It is all that simple. The three men were friends and neighbours and borrowed horses from each other. Although Gimlin can't specifically recall, it is likely he had a borrowed horse for the previous Mt. St. Helens expedition
93 years
October 18, 1931 Missouri
1929 – 1939
Bob Gimliin, of Native American (Chiricahua Apache) was born in an large log cabin born on a Sunday morning forty miles east of Springfield, Missouri He was the third child of six, with two older siblings and two younger. The maintained two good wood stoves, so the house was very warm and comfortable. One stove for heat and one Bob’s mother would cook on. There was a hot water reservoir on the back of the stove so the family had flowing hot water for showering, shaving and cleaning dishes and clothing. The kids bathed in a type 3 bath tub
The main source of entertainment after a day of hard work was the old radio, the Grand Old Opera would play and the family would listen intently as the father cooked up pop corn on the heat stove in the living room of the old log house. They would sit around the radio, warmed by the wood heat stove and chow down on a big bowl of pop corn that the did grew. The family was Christian and would get dressed up in their Sunday best , Bob’ s father would go out to the barn and harness up the horses and the family would climb into the wagon and excited and joyful head on over to church along an eight mile dirt road, together, every Sunday.
After church the families would spread out cloth blankets and bring the picnic baskets from the wagons and everybody would eat and socialize. The kids had dinner on the ground and the folks sat up on the wagons or down on the blankets and enjoyed the picnic s. Thatwhen everybody caught up on the local news and gossips and what not, see what was up with the neighbors.
Some people had vehicles, but they usually only used those to get to the town of Highlandville, Mo. Bob’s dad owned an old Model A truck and thats the only transportation they had besides the wagon and horses. In 1931-1932 during the depression that’s how people traveled about.
Highlandville is a city in Christian County, Missouri, United States. The population was 963 at the 2020 census and was much stalled in Bob’s day. It is part of the Springfield, Missouri area. A post office called Highlandville has been in operation since 1872.] The city was named on account of its lofty elevation.
Bob and his brother had a trap line, all they ever trapped was rabbits, when bob was 6 he started school, 1937 they didn’t have kindergarten, he started s everybody did back then in the first grade. He had the opportunity back then to spend a lot of time out in the woods by himself, he would venture out into the woodlands alone as the other children were all in school. Bo had apendicitous so he missed a year of school , that put he and his younger brother, that was 21 months younger, in the same classes at school. The Gimlin’s moved to Washington when he was 9 years old.
The Great Depression, which began with the stock market crash in October 1929, was a devastating economic crisis that affected every corner of the United States, including the rural areas of Missouri. The effects were profound and long-lasting, reshaping the agricultural landscape, the social fabric, and the economic conditions of the state’s rural communities.
The Onset of Economic Collapse
Before the Great Depression, Missouri’s economy was heavily reliant on agriculture. Farmers in rural areas produced corn, wheat, soybeans, and livestock, contributing to both local and national food supplies. However, the prosperity of the 1920s was deceptive for many farmers who were already struggling with falling crop prices and high levels of debt.
When the stock market crashed, banks began to fail, and credit dried up. This had immediate and severe consequences for rural Missouri. Farmers who had borrowed money to purchase land or equipment suddenly found themselves unable to pay back their loans. Foreclosures became common, and many families lost their farms—a devastating blow in a state where land ownership was a source of pride and security.
Agricultural Crisis
The collapse of commodity prices further exacerbated the crisis. By the early 1930s, the price of corn and wheat had plummeted to record lows. Farmers in Missouri’s fertile river valleys and expansive plains could no longer earn enough to cover production costs. Livestock prices also fell, making it difficult for farmers to sustain their herds.
In response, some farmers resorted to desperate measures. Grain was sometimes burned for fuel because it was cheaper than coal. Bartering became common, as cash was scarce. Families traded eggs, milk, and produce for goods and services.
Social Impact on Rural Communities
The social consequences of the Great Depression were equally severe. Rural communities in Missouri, like those across the country, experienced widespread poverty and hardship. Schools struggled to remain open as tax revenues dwindled. Teachers often went unpaid or received payment in goods rather than money.
Despite these hardships, rural Missourians demonstrated remarkable resilience and resourcefulness. Community gatherings, church events, and barn raisings became vital social outlets, providing emotional support during tough times. Neighbors often came together to help one another with harvests or to rebuild homes lost to foreclosure.
The Dust Bowl Connection
Although Missouri was not at the epicenter of the Dust Bowl, parts of the state—particularly in the northwestern regions—experienced drought conditions that compounded the economic difficulties. Crops failed, and topsoil blew away, creating scenes reminiscent of the Dust Bowl states of Kansas and Oklahoma. The agricultural crisis forced some Missouri farm families to migrate west in search of better opportunities, joining the ranks of the "Okies" heading to California.
Government Intervention and New Deal Programs
The election of Franklin D. Roosevelt in 1932 brought hope to rural Missouri. New Deal programs aimed at agricultural recovery and rural development provided much-needed relief. The Agricultural Adjustment Act (AAA) sought to stabilize prices by reducing crop production, offering farmers payments to leave fields fallow.
The Civilian Conservation Corps (CCC) and the Works Progress Administration (WPA) created jobs for unemployed Missourians. CCC projects in Missouri included reforestation efforts and the development of state parks, while the WPA built roads, bridges, and public buildings.
Electrification projects, spearheaded by the Rural Electrification Administration (REA), brought electricity to many rural Missouri homes for the first time, transforming daily life and boosting productivity.
Cultural and Long-Term Effects
The hardships of the Great Depression left an indelible mark on rural Missouri. Many families adopted frugal living habits that persisted long after the economy recovered. The sense of community and mutual aid that developed during the crisis became a defining feature of rural life.
Moreover, the experiences of the Great Depression spurred changes in agricultural practices. Farmers became more cautious about taking on debt and adopted more sustainable farming techniques to protect against future economic downturns.
Conclusion
The Great Depression was a defining era for rural Missouri, marked by immense hardship but also by resilience and ingenuity. The crisis reshaped the state’s agricultural landscape and strengthened the bonds within rural communities. The lessons learned during this challenging period continue to influence Missouri’s rural way of life to this day.
PART TWO :Screenplay: "Bob Gimlin: Roots of a Legend"
Genre: Historical Drama
Written by: Ray Harwood
ACT 11: INT. LOG CABIN –
Random childhood flashback
FADE IN:
EXT. OZARK HILLS – EARLY MORNING, 1930
The sun peeks over rolling, forested hills. Mist clings to the trees. A large log cabin stands proudly amidst tall pines. Smoke curls lazily from its chimney.
NARRATOR (V.O.)
Forty miles east of Springfield, Missouri, nestled in the rugged beauty of the Ozarks, Bob Gimlin came into this world one Sunday morning.
KITCHEN – MORNING
A warm and bustling room. The wood-burning cook stove crackles as BOB’S MOTHER (30s, sturdy and gentle) flips flapjacks. Steam rises from a hot water reservoir attached to the stove.
Young Bob (5) sits at the wooden table, his feet dangling. His older siblings, MARY (8) and JIM (10), help set the table. Two younger siblings toddle nearby.
NARRATOR (V.O.)
Bob was the third of six children. Life in the Gimlin household was simple but rich—kept warm by two trusty wood stoves.
BOB’S FATHER (40s)
A rugged man with kind eyes, enters from outside, dusting off snow. He places a tin kettle on the heat stove.
BOB’S FATHER
Smells mighty good in here.
BOB’S MOTHER
Flapjacks are almost ready. Y’all wash up.
The children scramble to a basin near the stove, where warm water flows from the reservoir.
NARRATOR (V.O.)
Thanks to that hot water reservoir, they had warm water for washing, cleaning, and bathing—a luxury in those days.
CUT TO:
INT. LIVING ROOM – NIGHT
The family gathers around a large, crackling wood stove. The old radio hums with the familiar strains of the Grand Ole Opry.
NARRATOR (V.O.)
Entertainment after a hard day’s work came from the old radio. The Grand Ole Opry filled the room with music and stories.
Bob’s father shakes a pan of popcorn over the stove. The popping fills the room.
BOB’S FATHER
Ready for some popcorn, kids?
ALL KIDS (cheering)
Yes, sir!
The family sits in a cozy circle, sharing a big bowl of popcorn.
NARRATOR (V.O.)
They listened intently, warmed by the fire, savoring every kernel of that popcorn.
CUT TO:
EXT. BARN – SUNDAY MORNING
Bob’s father harnesses two sturdy horses to a wagon. The family, dressed in their Sunday best, climbs aboard.
NARRATOR (V.O.)
Every Sunday, dressed in their finest, they traveled eight miles down a dirt road to church.
The wagon bounces along the road, the family laughing as the horses trot steadily.
CUT TO:
EXT. CHURCH GROUNDS – AFTERNOON
Families spread out blankets and open picnic baskets. Children chase each other while adults chat.
NARRATOR (V.O.)
After church, folks would gather for picnics, catching up on news and gossip.
Bob and his brother sit on a blanket, munching sandwiches. Nearby, their father shares a laugh with neighbors.
NARRATOR (V.O.)
It was a time of community, of simple joys and strong bonds.
CUT TO:
EXT. WOODS – DAY
Young Bob (6) wanders through the dense woods, a homemade trap in hand.
NARRATOR (V.O.)
Bob and his brother ran a trap line, though all they ever caught were rabbits.
He crouches by a trap, inspecting it with curiosity.
NARRATOR (V.O.)
Bob loved the woods. After a bout of appendicitis kept him out of school for a year, he spent countless hours exploring the wilds.
CUT TO:
INT. ONE-ROOM SCHOOLHOUSE – DAY
Bob (7) sits beside his younger brother, who is just 21 months younger. The teacher writes on the blackboard.
NARRATOR (V.O.)
When he returned to school, Bob found himself in the same class as his younger brother.
The two boys exchange grins, sharing a bond strengthened by their adventures.
CUT TO:
EXT. HIGHLANDVILLE MAIN STREET – DAY
A dusty road lined with a few modest buildings. Bob’s father drives an old Model A truck past a general store.
NARRATOR (V.O.)
In those days, Highlandville was a small town, much as it is today. Most folks traveled by wagon, but Bob’s dad had an old Model A truck.
CUT TO:
EXT. LOG CABIN – SUNSET
The family stands together, silhouetted against the fading light.
NARRATOR (V.O.)
Life was simple, but it was good. And from these humble beginnings, Bob Gimlin would grow into a man whose story would become legend.
FADE OUT.
TEXT ON SCREEN:
"Bob Gimlin would go on to witness one of the most famous encounters in history—the 1967 Patterson-Gimlin film, capturing what many believe to be a real Sasquatch. But his roots were firmly planted in the rich soil of family, faith, and the rugged beauty of the Ozarks."
FADE TO BLACK.
Historical Account of Bob Gimlin’s Early Life and the American Experience During the Great Depression
Introduction
Bob Gimlin, a significant figure in American folklore due to his association with the 1967 Patterson-Gimlin Bigfoot film, was born in a large log cabin on a Sunday morning approximately forty miles east of Springfield, Missouri. His early life provides a window into the everyday experiences of rural Americans during the Great Depression, highlighting themes of resilience, community, and tradition. This document serves as a historical archival account of Gimlin’s upbringing and the social fabric of the time.
Early Life in Rural Missouri
Bob Gimlin was the third child of six in a tightly-knit family. The log cabin where he was raised exemplified the sturdy and practical architecture of rural homes during the early 20th century. Despite the economic challenges of the Great Depression, the Gimlin household maintained two efficient wood stoves—one for heating and one for cooking. The stove design included a hot water reservoir, a luxury that provided the family with hot water for bathing, shaving, and cleaning.
Bathing was a communal family activity centered around a type 3 bathtub, a common fixture in homes that lacked modern plumbing systems. This setup underscores the resourcefulness and ingenuity of rural families in maintaining hygiene and comfort despite limited infrastructure.
Family and Social Life
The Gimlin family’s primary source of entertainment was their old radio. Evenings were often spent gathered around the wood heat stove, listening intently to programs such as the Grand Ole Opry. The warmth of the stove and the aroma of freshly popped corn created a comforting atmosphere. Bob’s father often took the lead in making popcorn, turning this simple treat into a cherished family tradition.
The family’s Christian faith played a central role in their lives. Every Sunday, dressed in their finest clothing, they traveled eight miles along a dirt road to church. The journey involved harnessing horses and climbing into a wagon, a practice that connected them to both tradition and their surrounding landscape. Church services were followed by communal picnics, where families spread blankets on the ground and shared meals from picnic baskets. These gatherings were vital for maintaining social bonds and exchanging news among neighbors.
Transportation and Economy
Transportation in rural Missouri during the early 1930s was predominantly reliant on horse-drawn wagons. While some families owned vehicles, these were generally reserved for trips to nearby towns such as Highlandville. Bob’s father owned a Model A truck, a testament to the family’s adaptability in balancing traditional and modern methods of transportation.
Highlandville, with a population of 963 as of the 2020 census, has long served as a hub for the surrounding rural community. Established in 1872 and named for its elevated location, the town remained a modest but essential center for commerce and communication during Gimlin’s formative years. The economic hardships of the Great Depression shaped the daily lives of its residents, fostering a spirit of cooperation and mutual support.
Community and Resilience
Despite the financial and logistical challenges of the Great Depression, the Gimlin family exemplified the resilience and resourcefulness characteristic of rural American families. Their reliance on traditional practices, such as wood heating and horse-drawn transportation, combined with emerging technologies like the Model A truck and the radio, highlighted a transitional period in American history.
The social gatherings at church and the communal picnics that followed were not merely recreational; they were essential for maintaining a sense of normalcy and solidarity. These events reinforced community ties and provided an informal network for sharing information and support.
Conclusion
Bob Gimlin’s early life offers valuable insights into the experiences of rural Americans during a transformative period in the nation’s history. The traditions, challenges, and innovations of his upbringing reflect broader themes of American resilience and adaptability during the Great Depression. This historical account preserves the legacy of a family and a community that thrived despite adversity, embodying the spirit of an era that continues to shape American identity.
In 1940, the end of the Great Depression, the Gimlin family moved to the Ahtanum Valley, Washington State where the father farmed. Then family grew a period of different crops and ran some cattle, pigs and sheep and horses. They enjoyed four beautiful but fairly mild climates. As soon as the snow melted in the spring and they Gimlin s began to plow the fields and began planting the corn and other spring seed needed for the early seasonal crops. The family raised their own hay for the animals and managed all the hard work entailed in bringing in the hay. The Gimlets farmed 160 acres.
ACT 12: The Gimlin Family Farm
RANDOM FLASHBACK (# 2) TO BOB’S CHILDHOOD
FADE IN:
EXT. GIMLIN FAMILY FARM - EARLY SPRING - DAY
The farm is nestled in a picturesque valley in Washington State. Rolling fields stretch under a vast blue sky. Snow still clings to the distant mountains, but the fields are thawed, ready for the new season. Birds chirp in the fresh spring air.
BOB GIMLIN (12), sturdy and sun-tanned, stands with his FATHER, a rugged man with kind eyes and strong hands. Both wear work boots and overalls, prepared for the long day ahead. A rust-red barn looms behind them.
FATHER (looking across the fields) The snow’s melted early this year. Time to plow.
BOB I’ll hitch up Daisy and Star.
FATHER That’s my boy. We’ll get the corn in before the rains come.
Bob grins and runs toward a nearby corral where DAISY and STAR, two muscular draft horses, stomp and whinny.
CUT TO:
EXT. FIELD - LATER
Bob walks alongside the horses, guiding them as they pull a heavy plow through the soil. His father follows behind, inspecting the furrows.
FATHER Keep ‘em steady now. Straight rows make all the difference.
Bob nods, determination on his face. Sweat beads on his brow despite the cool spring air.
BOB It’s harder than it looks.
FATHER Most good things are, son.
They reach the end of the row. Bob stops the horses and wipes his brow.
FATHER We’ll break for lunch soon, but first, let’s finish this section.
BOB Yes, sir.
They turn the horses around and continue plowing.
CUT TO:
EXT. FARMHOUSE - MIDDAY
The family sits around a wooden picnic table outside the farmhouse. Mother serves thick slices of homemade bread and hearty stew. Bob’s younger sister, LUCY (8), giggles as she feeds scraps to the family dog.
MOTHER You two worked up an appetite, I see.
FATHER Bob’s got the makings of a fine farmer.
BOB (blushing) Just doing my part.
LUCY Can I plow the fields too, Papa?
FATHER (serious but gentle) Not yet, little one. But your time will come.
They share a laugh, the simple joy of family life evident.
DISSOLVE TO:
MONTAGE:
The Gimlin family planting corn and other spring seeds.
Bob scattering hay for the animals.
Father and Mother repairing a fence together.
Lucy gathering eggs from the chicken coop.
The fields growing greener and more vibrant as spring progresses.
EXT. FIELD - SUNSET
Bob and his father stand at the edge of the field, their work for the day done. The sky is painted in hues of orange and pink.
FATHER (looking out) Good day’s work, Bob. This land’ll treat us well if we treat it right.
BOB I think I’ll always love this place.
FATHER Me too, son. Me too.
They stand in silence, watching the sunset, bonded by their love for the land.
FADE OUT.
P31: The 160 acre Gimlin ranch was in the Ahtanum Valley, near Bob’s current town of Yakima. Their ranch was in the area of the vast Yakima Indian Nation Reservation and a huge world horse hardhat roamed the sage covered hills between the ranch and the reservation.
The Gimlin Ranch: A Historic Legacy in the Ahtanum Valley
Nestled in the scenic Ahtanum Valley near Yakima, Washington, the 160-acre Gimlin Ranch holds a fascinating place in the history of the region. Owned by the family of Bob Gimlin, famed for his involvement in the legendary 1967 Patterson-Gimlin Bigfoot film, the ranch was much more than a picturesque homestead. It was a dynamic hub in an area rich with cultural heritage, natural beauty, and a thriving equestrian lifestyle.
Ahtanum Valley: A Land of Natural Wonders
The Ahtanum Valley lies adjacent to the sprawling Yakima Indian Nation Reservation, a vast expanse of sage-covered hills and rolling landscapes. The valley’s semi-arid terrain is characterized by open plains, rugged foothills, and a climate conducive to agriculture and livestock. Historically, this land was home to Native American tribes who cultivated its resources for generations.
The proximity of the Gimlin Ranch to the Yakima Indian Nation Reservation provided a unique intersection of cultures and traditions. The Yakama people, who have deep connections to the land, maintain a strong presence in the region. Their knowledge of the area’s flora, fauna, and geography continues to be invaluable in understanding the valley's history and natural environment.
A Land of Horses and Wild Adventure
One of the most captivating aspects of the Ahtanum Valley during the time of the Gimlin Ranch was the presence of a vast, free-ranging herd of wild horses. These majestic creatures roamed the sage-covered hills between the ranch and the reservation. Known for their hardiness and untamed spirit, these horses became iconic symbols of the American West.
When Bob was young he made considerable money for the time period catching these wild horses and rough breaking these mustangs before offering them for sale at local auctions. Bob a a unique methodology in bronc busting, he would hook up the rough stock horses to a heavy old wagon and have them wear themselves out roaring across the sage covered prairie.
Bob Gimlin, a skilled horseman and cowboy, was deeply connected to this equestrian world. His expertise with horses and his respect for the wild ones roaming the hills added to his reputation as a true cowboy. The ranch provided ample space for raising and training horses, a tradition that Bob continued with passion.
A Place of Legends
The rugged hills surrounding the Gimlin Ranch, along with the vast lands of the Yakima Indian Nation, have long been associated with folklore and mysterious encounters. The area's wilderness, remote trails, and thick vegetation have fueled stories of strange happenings, including Sasquatch sightings. Given Bob Gimlin's involvement in one of the most famous Bigfoot encounters in history, the ranch naturally became a focal point for enthusiasts and researchers interested in the subject.
Preserving the Legacy
Today, the Ahtanum Valley remains a beautiful and culturally significant region. Bob Gimlin, who continues to be regarded as a gentleman and a legend in both the Sasquatch and equestrian communities, holds a deep appreciation for the land and its heritage. The Gimlin Ranch stands as a testament to a life lived in harmony with nature, horses, and the enduring mysteries of the Pacific Northwest.
The ranch's history, intertwined with the spirit of the wild horses and the cultural richness of the Yakima Indian Nation, ensures that it will forever be remembered as a place of beauty, adventure, and legacy.
NAVY:ACCIDENT, BOXING.
Bob saved in the U’S. Navy during the Korean Conflict from 1950 through 1953 and after a grueling Basic training heI was in the service I was on the navy boxing team and I was stationed over at Velajo so I would have to go over to San Francisco to get sparring partners over at the cow palace .
Vallejo, California, located 30 miles North of San Francisco, is one of the outermost Bay Area cities.
The Cow Palace in San Francisco, California has a history that dates back to the 1915 Pan-Pacific International Exposition. The Cow Palace was built as a livestock pavilion and arena to house the popular livestock exposition from that fair. The Cow Palace opened in 1941 and has hosted many events, including rodeos, concerts, boxing matches and political conventions and so on.
Thom Cantrell notes
In 1958 Bob Gimlin met another rough stock amateur class rodeo rider Roger Peterson, Roger had been a gymnast in high school so was a agile, athletic rider. Bob was a bronc rider and Rider rode broncs and bull. Roger convinced Bob to start riding bulls, Bob said “ heck I’m not afraid of anything and I already am a fair bronc rider” This widened Bob’s experience and gave him another event and chance to win some prize money.
Roger Patterson was born February 14th Valentine day 1933 in Wall South Dakota. Bob retired from full time rodeo riding by the end of 1958 and returned to Yakima, Washington where he drove trucks and did breaking and training horses on the side. Bob’s wife Judy Gimlin worked at a local bank.
A couple years down the line Bob was filling up a gas station in down town Yakima he heard a familiar voice, TheBob turned to see who was talking he recognized Roger Patterson coming toward him. Bob was happy and excited to see his old friend Roger from the 1958 rodeo season. The cowboys created one another and reminisced. Roger confided to Bob that he was diagnosed with a form of cancer called called Hodgkins disease. It turn out that Roger had also moved to Yakima and Bob was actually passing , DRIVING BY, Roger’s home when he took horses out to exercise out to the Cascade Mountains trails. Roger asked Bob if he could stop and pick him and his money up and they could ride together. Bob and Roger delighted in these Cascade mountain trips, riding along the majestic forrest trails as the sun beams steamed through the pine needles of the dense tress and horse hooves clicking on boulders and cobbles along the trail. Now and them spooking up a deer or wold turkey along the trail. In the afternoons setting up camp, collecting firewoods and having a camp dinner and and chat around the evening around a crackling around the fire. Eventually Roger got more involved in Sasquatch and the conversations often had that flavor and Roger would bring in tape recorder and play accounts of Bigfoot accounts as the two enjoyed the warmth of the camp fire and swirling wood smoke aroma .
Eventually the weeks turned to months and then a few years and the two of them were ring in new locations with more of a focus in search for signs of the elusive hominid. One of heir favorite places was the area around Mount Saint Hellens in Western Washington, Bob enjoyed these adventures but, thus far never saw anything to change his status as a Bigfoot skeptic.
Act 12: "The Call from Willow Creek"
FADE IN:
EXT. PATTERSON RANCH – LATE AFTERNOON
The golden California sun hangs low in the sky. Dust rises as Roger Patterson, a rugged outdoorsman with an unmistakable passion burning in his eyes, walks toward a modest barn. He carries camera equipment over his shoulder, his face determined despite the hardships of his latest search.
Nearby, horses whinny in the corral. Bob Gimlin, a stoic man with a cowboy hat tipped low over his brow, adjusts a saddle on one of the horses.
NARRATOR (V.O.)
Returning from another fruitless Sasquatch search, Roger Patterson and Bob Gimlin were ready to regroup—until a call from Al Hodgson in Willow Creek changed everything.
CUT TO:
INT. PATTERSON’S HOME – KITCHEN
A rotary phone sits on the kitchen counter. Patterson, with dirt still on his boots, eagerly listens, gripping the phone tightly.
AL HODGSON (V.O.)
Fresh tracks up near Blue Creek Mountain Road. John Green and Rene Dahinden have already been through. Thought you’d want to know.
Patterson’s eyes light up, a spark of renewed hope.
AL HODGSON (V.O.)
Figured it might be your turn.
Patterson glances at a cluttered table filled with maps and notes about previous expeditions.
PATTERSON
You bet it’s my turn.
CUT TO:
EXT. PATTERSON’S RANCH – CORRAL – MOMENTS LATER
Patterson strides toward Gimlin, practically radiating energy.
PATTERSON
Bob! Tracks up near Blue Creek. Fresh ones.
Gimlin tightens a strap on the saddle, pausing to study Patterson’s animated face.
GIMLIN
Green and Dahinden already checked it out?
PATTERSON
Yeah, but there’s still time. We could get footage for the documentary.
Gimlin tilts his hat back slightly, revealing eyes filled with curiosity but tempered by practicality.
GIMLIN
You sure you wanna chase tracks again? Ain’t exactly been payin’ off.
PATTERSON
This could be it. Just imagine—actual tracks on film.
Gimlin gives a slow, thoughtful nod.
GIMLIN
What’s the plan?
PATTERSON
We pack up. Leave as soon as you can get things squared away here.
GIMLIN
Two weeks?
PATTERSON
At least. Maybe more.
Gimlin glances at his sturdy one-ton truck parked nearby, equipped with a horse van. His lips curl into a faint smile.
GIMLIN
Lucky for you, I’ve got the rig and the horses. Otherwise, this trip ain’t happening.
PATTERSON
Wouldn’t be the first time you saved my hide.
They share a knowing look—the bond of friends who have faced countless challenges together.
CUT TO:
MONTAGE:
Patterson and Gimlin loading supplies into the truck: saddles, feed for the horses, camping gear, and Patterson’s ever-present camera equipment.
The horses being led into the van, their hooves clattering against the metal ramp.
Gimlin securing the last of the gear with precise efficiency.
Patterson flipping through pages of a journal filled with sketches of Sasquatch sightings.
NARRATOR (V.O.)
With Bob Gimlin’s equipment and Patterson’s unwavering determination, they set off for Blue Creek Mountain—hopeful that this time would be different.
CUT TO:
EXT. HIGHWAY – EARLY MORNING
Patterson’s voice cuts through the sound of the truck engine.
PATTERSON
You ever wonder what we’ll do if we actually find one?
Gimlin keeps his eyes on the road, but a sly smile creeps onto his face.
GIMLIN
Cross that bridge when we come to it.
The truck roars forward, dust trailing behind it as they head into the unknown.
FADE OUT.
Scene 2: "Patrolling Bluff Creek"
FADE IN:
EXT. BLUFF CREEK – EARLY MORNING
The forest is thick and silent, save for the distant call of a bird. Mist clings to the underbrush as Patterson and Gimlin, both on horseback, navigate a narrow trail.
NARRATOR (V.O.)
By the time they arrived, rains had washed away most of the tracks near Blue Creek Mountain. Undeterred, they set up base camp near Bluff Creek and began their search.
CUT TO:
EXT. CAMP SITE – EVENING
A modest campfire crackles. The men sit on overturned logs, the horses tethered nearby. Patterson studies a map spread across his lap.
PATTERSON
We’ll head north tomorrow, ride up the creek bed.
GIMLIN
We’ve been at this for weeks, Roger. Nothin’ but deer tracks and cold nights.
Patterson looks up, his eyes intense.
PATTERSON
It’s out there. I know it.
Gimlin stirs the fire with a stick, shaking his head.
GIMLIN
You’re more stubborn than any bronc I ever rode.
Patterson chuckles.
PATTERSON
That’s why you keep me around.
CUT TO:
MONTAGE:
Patterson and Gimlin riding along dirt roads, eyes scanning the landscape.
Gimlin dismounting to inspect a patch of disturbed ground.
Patterson adjusting his camera, ever ready.
Nights by the campfire, the two men sharing quiet conversations under a canopy of stars.
NARRATOR (V.O.)
They rode out singly to cover more ground, searched creek beds and mountainsides, always hopeful.
CUT TO:
EXT. BLUFF CREEK – MIDDAY
Gimlin reins in his horse, looking down at the ground.
GIMLIN
Roger! Over here!
Patterson trots over, his camera bouncing against his side.
PATTERSON
What is it?
Gimlin points to a faint impression in the dirt.
GIMLIN
Could be somethin'.
Patterson dismounts, his face alight with anticipation.
PATTERSON
Let’s find out.
FADE OUT.
Scene 3: "The Long Search"
FADE IN:
EXT. MOUNT ST. HELENS – DAWN
The sun rises over the rugged landscape. Patterson and Gimlin ride along a trail, the dense forest stretching endlessly around them.
NARRATOR (V.O.)
As weeks turned into months, Patterson and Gimlin’s expeditions became more focused, venturing into new locations in search of the elusive Sasquatch.
CUT TO:
EXT. FOREST CLEARING – NIGHT
A campfire flickers. Patterson adjusts a tape recorder, the static filling the quiet night.
PATTERSON
This guy swears he saw one up near Ape Canyon.
A recorded voice crackles from the tape.
VOICE (RECORDED)
It was big, covered in dark hair—walked like a man.
Gimlin sips from a tin mug, shaking his head.
GIMLIN
I’ll say this—you’re persistent.
PATTERSON
You got any better ideas?
Gimlin grins.
GIMLIN
Just keepin' an open mind.
FADE OUT.
Scene 4: "Reunion and Resolve"
FADE IN:
EXT. GAS STATION – DOWNTOWN YAKIMA – DAY
Bob Gimlin stands by his truck, filling up the tank at his Uncle’s service station The familiar hum of downtown Yakima fills the air.
A voice calls out.
ROGER (O.S.)
Bob Gimlin? That you?
Bob turns, his face breaking into a wide grin.
GIMLIN
Roger Patterson! Well, I’ll be.
They clasp hands firmly, old camaraderie rekindled.
GIMLIN
Been a long time since the rodeo days.
PATTERSON
Too long.
They share a moment of nostalgic laughter.
PATTERSON
Listen, I’ve got something to tell you. Been dealing with Hodgkin’s disease.
Gimlin’s smile fades slightly, concern filling his eyes.
GIMLIN
Sorry to hear that.
The Patterson-Gimlin Film: An Academic Analysis of Its Origins and Historical Impact
Abstract The Patterson-Gimlin film, captured on October 20, 1967, near Bluff Creek, California, remains one of the most famous and controversial pieces of evidence in the debate over the existence of Bigfoot. This paper examines the film’s origins, early media coverage, eyewitness accounts, expert analyses, and competing narratives. By investigating primary and secondary sources, we seek to provide a comprehensive understanding of this cultural and scientific phenomenon.
Introduction On the evening of October 20, 1967, Roger Patterson called the newsroom of the Times-Standard newspaper in Eureka, California. Breathless and excited, Patterson claimed that he and his associate, Bob Gimlin, had encountered and filmed a Bigfoot near the convergence of Bluff and Notice creeks. This encounter would soon become legendary, sparking decades of debate among scientists, skeptics, and enthusiasts. The initial account appeared in the Saturday morning edition of the Times-Standard under the headline “Mrs. Bigfoot is Filmed!”
The Encounter Patterson and Gimlin reportedly encountered the creature approximately 80-90 feet away as they rounded a bend in Bluff Creek. Patterson’s horse reared, throwing him to the ground. Despite an injured foot, he managed to retrieve his 16mm camera and capture the now-famous footage. The creature, described as a large, upright, humanoid figure with silvery brown hair and noticeable breasts, moved calmly away from the men. Patterson estimated its height at six and a half to seven feet and its weight between 350 and 400 pounds.
Media Coverage and Early Reactions The film was quickly processed and shown to a small audience in Yakima, Washington, before being presented to scientists at the University of British Columbia on October 24, 1967. Anthropologist Don Abbott remarked that the film presented either evidence of a remarkable hoax or the existence of an unknown primate. John Napier, a primatologist at the Smithsonian Institution, later echoed this sentiment, suggesting that even if the film were a hoax, the possibility of Bigfoot’s existence should not be dismissed outright.
Scientific and Public Debate The scientific community’s response to the film has been divided. Supporters, including researchers like Dr. Jeff Meldrum, have pointed to the anatomical features visible in the footage, arguing that they are inconsistent with a man in a costume. Skeptics, on the other hand, have proposed various hoax theories.
Bob Heironimus, a former associate of Patterson, claimed in later years that he had worn a costume for the film. Costumer Philip Morris asserted that he had sold Patterson a gorilla suit made of synthetic dynel fur. Despite these claims, discrepancies in their accounts and the lack of conclusive evidence have left the hoax theory unresolved.
Corroborative Evidence and Eyewitness Testimony Al Hodgson, a local store owner in Willow Creek, confirmed that Patterson and Gimlin had reported their encounter shortly after it occurred. U.S. Forest Service Fire Inspector Syl McCoy also spoke with the pair before they returned to their camp. Nine days later, tracker Bob Titmus visited the site, making plaster casts of the footprints and mapping the creature’s movements.
Cultural Impact The Patterson-Gimlin film has had a profound impact on popular culture and the field of cryptozoology. It has been featured in numerous documentaries, books, and television programs, including the BBC’s “Bigfoot: America’s Abominable Snowman.” The film’s influence extends beyond media, inspiring countless expeditions and research initiatives.
Conclusion The Patterson-Gimlin film remains an enigma. Whether genuine evidence of a previously undiscovered primate or an elaborate hoax, its cultural and scientific significance is undeniable. As new technologies and research methods emerge, the debate over its authenticity continues to captivate and inspire.
References
Eberts, Tony. “Mrs. Bigfoot is Filmed!” Times-Standard, October 21, 1967.
Napier, John. Bigfoot: The Yeti and Sasquatch in Myth and Reality. New York: E.P. Dutton, 1973.
Long, Greg. The Making of Bigfoot: The Inside Story. Amherst, NY: Prometheus Books, 2004.
Meldrum, Jeff. Sasquatch: Legend Meets Science. New York: Forge Books, 2006.
Chorvinsky, Mark. “Bigfoot Hoaxes: A Closer Look.” Strange Magazine, 1997.
ACT 12.5
FADE IN:
EXT. BLUFF CREEK - LATE AFTERNOON - OCTOBER 20, 1967
The forest is quiet, save for the rustling of leaves in the breeze. Sunlight filters through the dense canopy, casting long shadows across the rugged terrain. Roger Patterson and Bob Gimlin ride their horses along the winding trail near the creek.
BOB GIMLIN (steadying his horse) Looks like the horses are gettin' jittery.
ROGER PATTERSON (mindful) Yeah, something’s spookin' ‘em.
The two men round a bend. Suddenly, both horses rear up violently. Roger’s horse loses its footing and crashes to the ground, pinning his leg.
BOB GIMLIN (grabbing his reins) Whoa! Easy, girl!
Roger struggles beneath the fallen horse, gasping in pain. He frantically pulls his boot free from the flattened stirrup.
ROGER PATTERSON (grimacing) Damn it!
As Roger stands, still catching his breath, his eyes widen in shock. Across the creek, about 80 feet away, a large humanoid figure stands upright. Its silvery-brown hair glistens in the fading sunlight. Massive, muscular, and unmistakably real.
BOB GIMLIN (stunned whisper) What the hell?
ROGER PATTERSON (urgent) Cover me!
Roger dives for the saddlebag, pulling out his 16mm camera instead of his rifle.
BOB GIMLIN (pulling his rifle from the scabbard) Gotcha.
The creature—seven feet tall, with broad shoulders and distinct, swaying breasts—turns its head to glance at them. Its eyes are deep-set, intelligent, and aware.
Roger steadies the camera, his breath hitching as he begins filming.
CAMERA POV: The creature strides calmly along the sandbar, glancing back once before continuing its deliberate walk into the dense forest.
BACK TO SCENE:
ROGER PATTERSON (intensely focused) Keep it in frame... keep it in frame...
The camera whirs as Roger captures the creature’s iconic, confident gait.
BOB GIMLIN (whispering, tense) You got it?
ROGER PATTERSON (hoarse) Yeah... yeah, I got it.
The creature disappears into the trees. Silence falls over the forest, thick and heavy.
Roger lowers the camera, his hands trembling.
ROGER PATTERSON Breasts. Did you see that? It had breasts.
BOB GIMLIN (staring in disbelief) I saw it, Roger. All of it.
ROGER PATTERSON (whispering, in awe) We’ve got it... we’ve got the proof.
BOB GIMLIN We better get outta here before it comes back.
Roger nods, still in shock. The two men exchange a look—equal parts exhilaration and terror.
CUT TO:
EXT. FOREST TRAIL - NIGHT
Their truck is bogged down in the muddy basin. Roger and Bob work frantically, covered in sweat and grime, desperate to free the vehicle.
BOB GIMLIN (grunting) C’mon, c’mon... just a little more.
The truck lurches forward, finally breaking free.
ROGER PATTERSON (hoarse) We’re gettin' this film to Yakima tonight.
BOB GIMLIN Damn right we are.
They climb into the truck, mud caking their boots. The headlights cut through the darkness as they drive off.
DISSOLVE TO:
INT. AL DEATLEY’S LIVING ROOM - NEXT EVENING
A small group, including Al DeAtley, gathers around a projector screen. The room is dimly lit. Roger threads the film into the projector, his face pale but resolute.
ROGER PATTERSON (quietly) This is it.
The projector clicks on. The iconic footage plays—the creature’s deliberate, swinging walk frozen forever in grainy 16mm film.
Gasps fill the room.
AL DEATLEY (stunned) Holy hell...
BOB GIMLIN (quietly) It’s real.
Roger watches the screen, his eyes gleaming with a mix of triumph and disbelief.
ROGER PATTERSON We’re gonna show the world.
FADE OUT.
TEXT ON SCREEN:
"Four days later, Patterson and Gimlin presented the footage to scientists at the University of British Columbia. The debate over the authenticity of the film continues to this day."
The Art of Handcrafting Leather Horse Riding Saddles: Styles, Techniques, and Roger Patterson’s Expertise
Abstract
The traditional art of handcrafting leather horse riding saddles represents a meticulous blend of craftsmanship, functionality, and artistry. Saddles are essential for various equestrian disciplines, each requiring a design tailored to specific riding styles and purposes. This paper explores the intricate process of saddle making, the distinct types of saddles used in different equestrian activities, and highlights the expertise of Roger Patterson, a legendary figure not only for his association with the iconic Patterson-Gimlin film but also as a noted master saddler.
Introduction
The saddle is one of the most essential components of equestrian gear, offering comfort and control for both rider and horse. While mass-produced saddles have become commonplace, handmade leather saddles remain highly prized for their durability, craftsmanship, and bespoke fit. The process of creating a saddle by hand requires specialized skills, deep knowledge of leatherworking, and an understanding of equestrian needs. Among the renowned figures in the world of saddle making is Roger Patterson, best known for his involvement in filming what many believe to be a genuine Sasquatch in 1967. Patterson’s lesser-known but equally impressive legacy as a master saddler underscores his versatile craftsmanship.
The Saddle Making Process
Crafting a leather saddle by hand is a labor-intensive process that demands precision and attention to detail. The key stages include:
Design and Measurement: The saddler begins by assessing the rider’s requirements and the horse’s anatomy. Custom measurements ensure a perfect fit.
Tree Construction: The saddle tree, typically made from wood or synthetic materials, forms the foundation of the saddle. It determines the shape and structure.
Leather Selection: High-quality, durable leather is chosen for its strength and flexibility. Vegetable-tanned leather is often preferred for its ability to mold and age beautifully.
Cutting and Shaping: Leather pieces are meticulously cut and shaped to fit the tree and form the seat, skirts, and flaps.
Stitching and Assembly: Hand-stitching is a hallmark of quality saddles. Strong waxed threads ensure durability.
Tooling and Decoration: Many saddlers, including Patterson, were known for their intricate tooling and decorative work, which add aesthetic appeal to the saddle.
Final Finishing: The saddle is dyed, polished, and inspected for quality before being fitted to the horse.
Types of Saddles for Various Riding Styles
Different equestrian disciplines require specialized saddle designs. Key types include:
Western Saddles: Designed for comfort during long rides and tasks like cattle roping. These saddles feature a prominent horn and deep seat.
English Saddles: Used in show jumping, dressage, and eventing. They are lighter and have a flatter seat.
Endurance Saddles: Built for long-distance riding, these saddles prioritize comfort and weight distribution.
Australian Stock Saddles: A hybrid between Western and English saddles, known for their knee pads and deep seat.
Racing Saddles: Minimalist and lightweight, designed for speed.
Treeless Saddles: Offer greater flexibility and closer contact with the horse.
Roger Patterson: Master Saddler
While Roger Patterson is primarily remembered for his role in capturing the famed 1967 footage of a purported Sasquatch in Bluff Creek, California, he was also a highly skilled saddler. Patterson’s expertise in saddle making was well-regarded within equestrian communities.
Craftsmanship and Innovation
Patterson’s saddles were known for their durability, comfort, and intricate leather tooling. His designs often featured custom motifs that reflected both traditional Western aesthetics and his personal artistic flair. Patterson’s work exemplified the blend of functionality and beauty that defines the finest handmade saddles.
Influence and Legacy
Patterson’s dedication to craftsmanship extended beyond his own workbench. He shared his knowledge with aspiring saddlers and contributed to preserving the art of traditional saddle making. His saddles remain highly collectible and are valued for their historical and artisanal significance.
Conclusion
The art of handcrafting leather horse riding saddles is a testament to human ingenuity and artistry. From the selection of premium materials to the final decorative touches, each step in the process requires skill and dedication. Roger Patterson’s legacy as a master saddler underscores the enduring value of handmade craftsmanship. His contributions to both the equestrian world and popular culture highlight a multifaceted talent deserving of recognition.
References
Edwards, E. (2005). The Saddle Maker’s Craft: Traditional Techniques for Modern Saddlers. Equestrian Press.
Patterson, R. (1966). Do It Yourself Saddle Making. Bluff Creek Publishing.
Smith, J. (2019). Legends of the Leather Trade: Notable American Saddlers. Heritage Books.
Thompson, M. (2021). The Patterson-Gimlin Film: A Cultural and Historical Analysis. Cryptid Studies Journal.
Act 14: The Saddle and the Sasquatch
It was a crisp autumn afternoon in Yakima, Washington. Bob Gimlin guided his dusty pickup truck down the long gravel road leading to Roger Patterson’s ranch house. The tires kicked up a cloud that lingered behind him like a ghostly trail. Bob could already hear the rhythmic pounding of a mallet striking leather as he pulled up to the workshop—Roger’s sanctum of craftsmanship.
The air smelled of fresh-cut leather and wood shavings, mingled with the earthy scent of the surrounding pines. Bob stepped out of his truck, adjusting his cowboy hat against the glare of the lowering sun. Inside the open-sided workshop, Roger Patterson stood at his workbench, fully immersed in his craft. His hands, calloused from years of saddle making and wilderness adventures, moved with practiced precision as he hammered decorative patterns into the rich brown leather of a nearly completed western roping saddle.
“Bob! Glad you could make it!” Roger called out without looking up. “Come on over. I’m just putting the finishing touches on this beauty.”
Bob sauntered over, his boots clunking against the wooden floor. He whistled low when he got a closer look at the saddle.
“Roger, that’s a work of art,” Bob said, running his fingers over the intricate floral tooling along the skirt. “You sure know how to make a man’s backside ride in style.”
Roger chuckled. “Well, a good saddle’s got to be more than just pretty. It’s got to hold up to hard work and long rides. Kind of like us, eh?”
Bob grinned. “Ain’t that the truth. You’re still the best saddler this side of the Rockies.”
Roger wiped his hands on a rag and stepped back to admire his handiwork. The saddle gleamed under the waning light, every stitch and curve a testament to Roger’s dedication to his craft.
“You heading out to the woods again soon?” Bob asked, leaning casually against a post.
Roger’s eyes sparkled. “You know me. Always got the itch to chase a new adventure. Speaking of which—how about another trip to Bluff Creek?”
Bob’s expression grew serious. “You really think we’ll see it again? That creature?”
Roger nodded solemnly. “I’ve been thinking about that day nonstop. What we saw out there—it’s real, Bob. And the world needs to know.”
Bob sighed, his gaze drifting to the horizon. “I’m with you, Roger. Always have been. But folks around here already think we’re half-crazy.”
“Maybe so,” Roger said, “but history’s made by folks who don’t care what others think. Just like this saddle—it takes time, patience, and a bit of stubbornness to create something that lasts.”
Bob nodded thoughtfully. “Well, if we’re going back out there, you’d better finish that saddle. No telling what kind of rough riding we’ll be doing.”
Roger laughed. “You’re right about that.” He picked up his mallet and resumed his work, the rhythmic pounding filling the air once more.
As the sun dipped below the treetops, casting long shadows across the workshop, Bob watched his friend work with unwavering focus. The saddle was a symbol of Roger’s spirit—resilient, meticulous, and unyielding. Just like their quest to uncover the truth about the elusive Sasquatch.
And as Bob stood there, he couldn’t help but feel that this was just the beginning of another wild adventure—one that would be remembered for generations to come.
Act 15: The Morning After the Encounter
After the thrilling encounter and filming of the Bigfoot near Bluff Creek, Bob Gimlin and Roger Patterson gathered their horses and made their way back to camp. As night fell, Bob settled into the back of the horse van to sleep while Roger stayed in his sleeping bag.
In the early morning hours, Bob was awakened by the gentle tapping of raindrops on the roof. Concerned about the rain washing away the Bigfoot tracks, Bob shook Roger awake.
"Roger," Bob said urgently, "it's starting to rain. Shouldn't we go cover the tracks?"
Roger, still groggy, waved him off. "It’s not gonna rain that much," he mumbled, pulling his sleeping bag tighter around himself.
Bob, ever practical, decided to take matters into his own hands. He got up, gathered his things, and saddled his horse. Despite the damp weather, he was determined to preserve the evidence. Riding up the hill, Bob carried some cardboard boxes he had gotten from Al Hodgson’s Variety Store in Willow Creek. Unfortunately, the rain had turned them into a soggy mess by the time he reached the tracks.
Thinking quickly, Bob spotted some peeling bark from an old birch tree nearby. He stripped large pieces of the bark and carefully placed them over the tracks to protect them from the rain.
Satisfied with his efforts, Bob rode back down to camp. Later that day, they returned to Al Hodgson's Variety Store, where there was a pay phone in the parking lot. Roger called his brother-in-law, Al DeAtley, to inform him about the film.
Around 6:30 p.m., they met up with Al Hodgson at the store. Patterson intended to drive on to Eureka to ship the film. Either at that time, or upon arriving in the Eureka/Arcata area, he called Al DeAtley again to confirm that the film was being shipped. Roger also asked Hodgson to contact Donald Abbott, a scientist known for his serious interest in the Bigfoot phenomenon, hoping he would assist with the search by bringing a tracking dog. Unfortunately, Abbott declined.
After shipping the film, the pair headed back toward their camp, stopping at the Lower Trinity Ranger Station around 9:00 p.m., where they met with Syl McCoy and Al Hodgson. Patterson even called the Times-Standard newspaper in Eureka to share their extraordinary story.
By midnight, they returned to their campsite. Heavy rain continued through the night. At 5:30 a.m., Bob Gimlin rode back to the film site to check on the tracks. The cardboard boxes he had left outside were completely ruined by the rain. Undeterred, he once again used bark from nearby trees to protect the remaining prints.
Realizing that the worsening weather would make further investigation difficult, Bob and Roger decided to abandon their plan to stay longer. They packed up and began the long journey home. Their initial route along Bluff Creek Road was blocked by a mudslide, forcing them to take the steep and treacherous Onion Mountain Road. At one point, their truck slipped off the shoulder, and they had to borrow a nearby front-end loader to get back on track.
The drive home, covering approximately 580 miles, was arduous. With three horses in tow and navigating slow, winding roads, it took them nearly 14 hours to reach Yakima.
In the following days, their encounter would become one of the most famous and hotly debated moments in cryptozoological history. Lyle Laverty, a U.S. Forest Service Timber Management Assistant, later visited the site and documented the tracks. Taxidermist Robert Titmus also arrived with his family nine days after the encounter, making plaster casts of ten successive prints and mapping the creature's movements.
The events of those days solidified Bob Gimlin and Roger Patterson's place in history, forever linking their names to the legend of Bigfoot.
The Aftermath of the Patterson-Gimlin Film: Scientific Skepticism, Media Exploits, and Cultural Impact
Abstract
The Patterson-Gimlin film, captured in 1967, stands as one of the most controversial and widely debated pieces of evidence in the search for Bigfoot. This paper explores the aftermath of the film, detailing the scientific skepticism it faced, the media ventures it spawned, and its enduring influence on popular culture and cryptozoological research.
Introduction
The Patterson-Gimlin film, shot in the forests of Northern California, purportedly captures a large, bipedal, ape-like creature believed by many to be a Sasquatch. Despite its compelling imagery, the film failed to gain widespread acceptance within the scientific community. This paper examines the efforts of Patterson and his associates to gain scientific validation, the media opportunities that arose, and the cultural legacy of the film.
Scientific Skepticism and Limited Acceptance
Grover Krantz noted that Patterson was initially optimistic about the film's potential to prove the existence of Bigfoot. However, only a handful of scientists were willing to review the footage. Ivan Sanderson, a zoologist and media figure supportive of the film, arranged seven scientific showings by the end of 1968, including in Vancouver, Manhattan, and Washington, D.C. While some scientists expressed intrigue, most remained skeptical, citing the need for more conclusive evidence.
Christopher Murphy highlighted the film's journey to Europe in 1971, where Dahinden presented it to scientists in England, Finland, Sweden, Switzerland, and Russia. Although European scientists were somewhat more open-minded, their conclusions mirrored those in North America. Notably, Russian researchers, including Bayanov and Bourtsev, showed a glimmer of interest.
Media Exploits and Financial Ventures
Despite the lack of scientific endorsement, Patterson capitalized on the film's popularity. He partnered with the BBC for a docudrama tour, combining footage from his documentary with additional material filmed by Al DeAtley. This "four-walling" technique, heavily advertised locally, proved a modest financial success, with DeAtley estimating profits of $75,000 from his share alone.
Patterson's appearances on popular TV talk shows, such as the Joe Pyne Show, Merv Griffin, and Johnny Carson's Tonight Show, further fueled public interest. Articles in Argosy, National Wildlife Magazine, and Reader's Digest also contributed to the film's national publicity.
Legal Entanglements and Post-Patterson Developments
The overlapping distribution rights sold by Patterson led to costly legal disputes. After Patterson's death, Ron Olson took over operations, rebranding Northwest Research as the North American Wildlife Research Association. Olson organized expeditions, built a Bigfoot trap, and produced the 1975 film Bigfoot: Man or Beast, which ultimately failed financially.
Cultural Impact and Legacy
The film's influence extended beyond its initial release. The CBS documentary Monsters! Mystery or Myth, co-produced with the Smithsonian Institution, attracted fifty million viewers in 1974. Sunn Classic Pictures' The Mysterious Monsters, released in 1975, further cemented the film's place in Bigfoot lore.
Conclusion
The Patterson-Gimlin film, despite facing scientific skepticism, became a cornerstone of Bigfoot mythology. Its legacy endures through media portrayals, public fascination, and ongoing debates within the cryptozoological community. Patterson's determination to promote the film, even in the face of criticism, ensured its place as one of the most iconic and enigmatic pieces of evidence in the search for Bigfoot.
References
Krantz, Grover. Bigfoot Sasquatch Evidence.
Murphy, Christopher. Bigfoot Film Chronicles.
Coleman, Loren. Bigfoot!.
Wasson, Barbara. Sasquatch Apparitions.
Title: The Sad Aftermath of the Patterson-Gimlin Film: Disagreements, Betrayal, and Reconciliation
Introduction
The Patterson-Gimlin film, captured in 1967 near Bluff Creek, California, remains one of the most famous pieces of footage allegedly showing a living Sasquatch. Despite its historical and cultural significance, the aftermath of the film’s release was marked by tension, financial disputes, and personal grievances between its creators, Roger Patterson and Bob Gimlin. This paper explores the complex post-filming events, focusing on the commercialization of the footage, Gimlin’s exclusion from financial gains, and the poignant reconciliation between the two men shortly before Patterson’s death.
The Filming and Immediate Aftermath
In October 1967, Roger Patterson and Bob Gimlin filmed what would become the most scrutinized footage in cryptozoological history. Patterson, an enthusiastic promoter, immediately saw the film’s potential as a commercial success. Gimlin, by contrast, was less interested in fame, being more focused on his work and horse-related commitments in Yakima, Washington.
Disagreements and Commercial Exploitation
After returning to Yakima, disagreements arose between Patterson and Gimlin regarding the handling of the film footage. Patterson’s brother-in-law, Al DeAtley, played a significant role in these disputes. DeAtley, a savvy businessman, proposed touring with the film to generate income. However, Gimlin’s obligations to his work and horses prevented him from participating.
To capitalize on the film’s popularity, Patterson and DeAtley made the controversial decision to hire an actor to impersonate Gimlin during promotional tours. They sold still photographs from the film and offered memberships to a so-called "Bob Gimlin Club." Professional posters advertised events, falsely listing Gimlin as a keynote speaker, further exacerbating the sense of betrayal he felt. Gimlin was entirely excluded from these ventures and did not receive any financial compensation, while Patterson and DeAtley profited significantly.
Gimlin’s Resentment and Patterson’s Illness
Gimlin’s exclusion from the profits and misrepresentation during the promotional tours led to a deep rift between him and Patterson. When Patterson fell seriously ill some time later, Gimlin’s lingering resentment kept him from visiting his former partner. However, despite his bitterness, Gimlin remained aware of Patterson’s deteriorating condition.
A Final Reconciliation
One day, Patterson’s brother reached out to Gimlin, informing him that Patterson was in the hospital and wanted to see him. Despite his initial hesitation, Gimlin decided to visit. The sight of Patterson in his weakened state was shocking—he was barely recognizable, his health severely deteriorated.
As Gimlin approached Patterson’s hospital bed, Patterson, half-asleep and struggling to breathe, awakened when Gimlin touched his foot. “Oh Bob, I’m sure glad to see you,” Patterson said. In an emotional exchange, Patterson apologized for his actions, acknowledging the unfair treatment Gimlin had received regarding the film footage and profits. Patterson expressed his intention to organize another Sasquatch expedition once he recovered, promising that it would be just the two of them, without DeAtley’s involvement.
Despite Patterson’s optimism, Gimlin recognized the grim reality of his condition. Nevertheless, he reassured Patterson, saying, “Roger, you just get well, and we’ll talk about it.” Tragically, Patterson passed away just four hours after this conversation.
Analysis and Reflection
The aftermath of the Patterson-Gimlin film underscores the complexities of human relationships in the face of fame and financial gain. Gimlin’s exclusion from the film’s profits and the use of an impersonator during promotional events highlight ethical issues in the commercialization of groundbreaking discoveries. Patterson’s late apology and desire for reconciliation, though heartfelt, came too late to fully mend the damage.
This story also illustrates the enduring friendship and loyalty between the two men, despite the betrayals and disputes. Gimlin’s decision to visit Patterson in the hospital, despite his grievances, speaks to his compassionate nature and the bond they shared from their extraordinary experience at Bluff Creek.
Conclusion
The sad aftermath of the Patterson-Gimlin film serves as a cautionary tale about the consequences of financial and personal disputes. It also highlights the importance of reconciliation and forgiveness. While Patterson’s death marked the end of their partnership, his apology and Gimlin’s decision to let go of his grudge stand as a testament to the strength of their shared history. The legacy of the film endures, not only as a piece of cryptozoological history but also as a story of human triumph and tragedy.
THE SADEST DAY ACT 16
INT. HOSPITAL ROOM - DAY
The room is quiet except for the steady hum of medical equipment. Faint sunlight filters through the partially drawn blinds, casting long shadows across the sterile white walls. ROGER PATTERSON lies in the hospital bed, pale and gaunt, a shell of his former self. His breathing is labored, punctuated by wheezing sounds.
BOB GIMLIN stands at the doorway, his hat in hand, hesitating for a moment before stepping inside. He approaches Roger’s bed slowly, taking in the sight of his old friend.
BOB
Hey, Roger.
Roger stirs slightly but doesn’t immediately open his eyes. Bob moves closer, gently touching Roger’s foot.
ROGER
(half-awake)
Bob? Is that you?
BOB
Yeah, it’s me.
Roger struggles to sit up but can’t manage it. Bob pulls up a chair and sits beside him.
ROGER
I’m sure glad to see you.
BOB
Just take it easy, partner.
A heavy silence lingers between them, filled with the weight of unspoken words.
ROGER
Bob, I need to say this... I’m sorry. What Al and I did—cutting you out of the film tours, the money... it was wrong.
Bob shifts uncomfortably but nods.
BOB
It’s water under the bridge now.
ROGER
No, it ain’t. I’ve been carrying that guilt for too long. Just as soon as I get out of here, we’ll go back out there. Just you and me this time—no Al, no nonsense. I’ve got the means now—tranquilizer equipment, everything we need to capture one.
Bob forces a smile, though his eyes betray his doubt.
BOB
You just focus on getting well, Roger.
Roger's face softens, his eyes growing distant.
ROGER
Yeah... yeah, we’ll do it.
Roger’s breath becomes more labored. Bob reaches out, gripping his friend’s hand.
BOB
You’ve done enough, Roger. You rest now.
Roger’s eyes flutter shut, a peaceful expression settling on his face. The steady beeping of the heart monitor slows, then flatlines. The room falls into a heavy silence.
Bob bows his head, holding onto Roger’s hand for a long moment.
NARRATOR (V.O.)
In the end, it wasn’t about fame or fortune. It was about two men who shared an extraordinary moment that would echo through history.
Bob stands, places his hat back on, and looks down at his old friend one last time.
BOB
Rest easy, Roger.
He walks out of the room, his boots echoing down the hallway.
EXT. HOSPITAL - DAY
Bob steps into the bright afternoon sun. He pauses, looking up at the sky, as if seeking some sign from the wilderness that changed their lives forever. With a resolute nod, he walks toward his truck, ready to carry on the legacy of that fateful day at Bluff Creek.
Switch to Bob Gimlin’s home: The room is cozy, filled with western memorabilia, old photographs, and a quiet air of nostalgia. **BOB GIMLIN**, 60s, a rugged cowboy with weathered features, sits across from **JOHN GREEN**, 60s, a sharp and methodical journalist. A tape recorder sits between them on a small coffee table, its reels spinning gently.
FADE OUT.
TEXT ON SCREEN:
Roger Patterson passed away in 1972, but his and Bob Gimlin’s legacy endures as one of the most compelling mysteries in cryptozoological history.
GREEN: Ok that was excellent Bob I certainly appreciate tour time.
Hand Shake
THE END
Directions to the Patterson-Gimlin Film Site: A Comprehensive Guide
Abstract The Patterson-Gimlin film site, located in the Bluff Creek watershed of Northern California, remains one of the most significant locations in cryptozoology. This paper provides detailed driving and hiking directions to the site, along with safety considerations, historical context, and camping information. The guide is intended for researchers, enthusiasts, and adventurers seeking to visit this remote and historically rich location.
1. Introduction The Patterson-Gimlin film, captured on October 20, 1967, is widely regarded as the most famous footage purporting to show a Sasquatch. For decades, the precise location of the film site was uncertain. However, in 2012, the Bluff Creek Project successfully rediscovered and verified the exact filming location. Visiting the site is a rewarding experience, but it requires careful preparation due to its remote and rugged nature.
2. Safety Considerations Before embarking on a trip to the Patterson-Gimlin film site, travelers should be aware of the challenges presented by the remote wilderness:
Inform Others: Always notify someone of your travel plans and establish a check-in deadline.
Vehicle Requirements: A high-clearance vehicle is recommended; four-wheel drive is beneficial but not mandatory.
Group Travel: Traveling with multiple vehicles is advisable in case of mechanical failures.
Navigation Aids: Carry a GPS device, topographic maps, and a compass.
Supplies: Bring ample food, water, bear spray, and emergency supplies.
3. Driving Directions The most reliable access route begins in Orleans, CA:
From Willow Creek, drive north on Highway 96 for approximately 36 miles to Orleans.
Turn left onto Eyesee Road (GO Road) and continue for 17 miles.
Turn left onto Forest Road 12N12 and proceed for 1.7 miles.
Turn right onto Forest Road 12N13 and travel 3.6 miles.
Turn right onto Forest Road 12N13H, following it for 2 miles to the berm where parking is available.
4. Hiking Directions to the Film Site From the parking area:
The hike is approximately 30–45 minutes each way.
Follow the old logging road down to Bluff Creek.
At the washed-out section, take the side trail to navigate around the erosion.
At the creek, either wade through the water or follow the overgrown gravel bar trail.
Continue upstream until reaching a small set of rapids known as the "root ball."
Just past the rapids, look for orange or pink flagging on the left bank.
The flat area above marks the exact spot where Patty was filmed in 1967.
A visitor logbook is stored in a nalgene bottle at the site; guests are encouraged to sign in.
5. Camping at Louse Camp For visitors planning an extended stay, Louse Camp is the recommended camping location:
Located approximately 9 miles from Eyesee Road.
Features include a pit toilet, picnic tables, and fire pits.
The nearby Fairy Pool provides a popular swimming spot.
Historically, this site was used by loggers in the 1950s and as a base camp for Tom Slick’s 1958 Bigfoot expedition.
6. Conclusion Visiting the Patterson-Gimlin film site is a pilgrimage for Bigfoot enthusiasts and researchers alike. While the journey requires preparation and caution, the reward is an immersive experience at one of the most legendary locations in cryptozoological history. Travelers should respect the site, adhere to Leave No Trace principles, and document their visit responsibly.
References
Bluff Creek Project (2012). Rediscovery of the Patterson-Gimlin Film Site.
Streufert, S. (2023). Personal communication on site safety and access.
Bigfoot Research Organization (BFRO). Documentation on Bluff Creek investigations.
Contact Information Bluff Creek Project
Email: bluffcreekproject@gmail.com
Blog: bluffcreekproject.blogspot.com
Key Personalities of the 1967 Patterson-Gimlin Film Encounter at Bluff Creek, California
The 1967 Patterson-Gimlin film, arguably the most famous piece of footage purportedly capturing a Sasquatch, remains a cornerstone in Bigfoot research. Filmed on October 20, 1967, in Bluff Creek, California, the event involved key figures whose roles and testimonies have shaped decades of debate. This essay explores the primary individuals associated with the encounter, their backgrounds, and their lasting impact on the Sasquatch phenomenon.
Roger Patterson (1933–1972)
Roger Patterson was an amateur filmmaker, Bigfoot enthusiast, and the driving force behind the 1967 expedition that led to the film’s capture. Born in 1933 in Wall, South Dakota, Patterson later moved to Yakima, Washington, where he became fascinated with the idea of Bigfoot, inspired by the reports of large, apelike creatures in the Pacific Northwest. In 1966, he self-published a book titled Do Abominable Snowmen of America Really Exist?, which showcased various eyewitness accounts and speculated on the existence of such creatures.
Patterson had a strong belief in the reality of Bigfoot and set out with Bob Gimlin to gather evidence. Using a rented 16mm Kodak K-100 camera, he managed to capture approximately 59.5 seconds of footage depicting what appeared to be a large, bipedal, hair-covered creature now commonly referred to as “Patty.” His determination and unwavering belief in the film’s authenticity have left a lasting legacy, despite controversy and skepticism. Patterson passed away in 1972 from cancer but maintained until his death that the film depicted a real Sasquatch.
Bob Gimlin (b. 1931)
Bob Gimlin, a skilled horseman and outdoorsman from Yakima, Washington, was Patterson’s companion on the 1967 trip. Unlike Patterson, Gimlin was more skeptical but open-minded about Bigfoot’s existence. He joined the expedition as a tracker and was present when the creature was allegedly filmed.
Gimlin provided key testimony about the event, describing the creature’s behavior, movement, and the circumstances surrounding the filming. Over the years, he faced skepticism and ridicule, leading him to withdraw from the Bigfoot community for decades. However, later in life, he re-emerged at conferences, reiterating his stance that he saw a real, living creature that day. His steadfast testimony continues to lend credibility to the film for many Bigfoot researchers.
Philip Morris (1935–2017) and Bob Heironimus (b. 1942) – The Skeptics’ Perspective
Philip Morris, a costume maker, and Bob Heironimus, a Yakima local, have been central to claims that the film was hoaxed. Morris stated that he sold a gorilla suit to Patterson, which he believes was used in the film. Bob Heironimus, a longtime acquaintance of Patterson and Gimlin, claimed in 1998 that he was the man wearing the suit, although no physical evidence has substantiated these claims. While skeptics cite their testimonies as proof of a hoax, Bigfoot researchers question inconsistencies in their statements and the lack of tangible proof of the alleged costume.
John Green (1927–2016) and René Dahinden (1930–2001) – The Investigators
John Green, a Canadian journalist and Bigfoot researcher, played a crucial role in investigating and promoting the Patterson-Gimlin film. Green was one of the first researchers to analyze the footage and became a staunch defender of its authenticity. His research helped bring the film to public attention, and he spent decades compiling Sasquatch reports, reinforcing the plausibility of Bigfoot’s existence.
René Dahinden, a Swiss-born Sasquatch investigator, was another major figure who examined the Patterson-Gimlin film. Initially skeptical, Dahinden spent years analyzing the footage and later became one of its strongest advocates. His detailed photographic studies, public appearances, and relentless defense of the film cemented his reputation as one of the most dedicated Bigfoot researchers of his time.
Dr. Grover Krantz (1931–2002) – The Scientific Perspective
Dr. Grover Krantz, a physical anthropologist from Washington State University, was one of the first scientists to support the authenticity of the Patterson-Gimlin film. He analyzed the biomechanics of the creature in the footage, arguing that its movement and proportions were beyond human capability. Krantz’s work laid the groundwork for scientific discussions about Sasquatch as a potential unknown primate.
Bob Titmus: The Tracker and Plaster Cast Expert
Bob Titmus was a taxidermist and an early Bigfoot researcher who played a pivotal role in analyzing the Patterson-Gimlin film site. A longtime investigator of Sasquatch reports, Titmus had been searching for evidence of Bigfoot since the 1950s. He was instrumental in collecting footprint casts from the Bluff Creek area prior to the 1967 encounter, and his expertise in making plaster casts was highly regarded within the Bigfoot research community.
Nine days after Patterson and Gimlin’s sighting, Titmus visited the film site, meticulously studying the scene for additional evidence. He located and cast ten of the remaining footprints left by the creature, further validating Patterson and Gimlin’s claim. These casts became crucial in supporting the argument that an unknown bipedal primate had left behind the tracks. Unlike many skeptics, Titmus remained convinced that the film depicted a real, flesh-and-blood Sasquatch. His contributions in documenting the footprints and preserving evidence cemented his legacy as one of the foremost field researchers of the time.
Al Hodgson: The Willow Creek Store Owner and Research Supporter
Al Hodgson was a trusted friend of Roger Patterson and Bob Gimlin and the owner of the Willow Creek Variety Store. His store was a hub for Bigfoot researchers, housing books, footprint casts, and reports about Sasquatch encounters. played a key role in connecting witnesses and researchers, serving as a crucial link between those who had sightings and those investigating them.
After the Patterson-Gimlin encounter, Hodgson was among the first people Patterson and Gimlin contacted. He helped facilitate communication with researchers and was a strong supporter of their claims. His general store became an informal headquarters for Bigfoot researchers passing through the Bluff Creek area, and he maintained relationships with figures such as John Green, René Dahinden, and Grover Krantz.
Hodgson’s contributions extended beyond simply selling books and artifacts—he actively encouraged and participated in Bigfoot research. His credibility in the community helped bridge the gap between local eyewitnesses and serious investigators. Through his efforts, Hodgson solidified his place as a key figure in the history of Bigfoot research.
Albert DeAtley: The Businessman and Film Backer
Albert DeAtley was Roger Patterson’s brother-in-law and played a crucial role in financing and distributing the Patterson-Gimlin film. A businessman with financial resources, DeAtley provided the necessary funds for Patterson’s 1967 expedition to Bluff Creek, which ultimately led to the filming of the creature known as "Patty."
After the film was captured, DeAtley was instrumental in helping Patterson promote it. He assisted in organizing screenings and public presentations of the footage, attempting to secure financial backing and scientific validation. His involvement ensured that the film reached a broader audience, sparking widespread interest and debate.
Although DeAtley was not a field researcher like Titmus or a community liaison like Hodgson, his financial support and business acumen were crucial to the Patterson-Gimlin film’s enduring legacy. Without his backing, Patterson may never have been able to embark on the Bluff Creek expedition or distribute the footage effectively.“COVER ME BOB”:Bob Gimlin’s Remington bolt-action .30-06 rifle**
s a classic firearm revered by hunters and marksmen alike for its reliability, accuracy, and versatility. By the 1960s, Remington Arms Company was a dominant player in the American firearms industry, and its bolt-action rifles, chambered for the .30-06 Springfield cartridge, had become staples for deer hunters across the country.
**The .30-06 Springfield Cartridge**
The .30-06 Springfield cartridge, introduced in 1906, was initially developed for military use. It gained widespread popularity due to its excellent ballistics and adaptability, making it ideal for hunting a wide range of game, including deer. By the mid-20th century, it was one of the most popular hunting cartridges in America, and Remington capitalized on this by manufacturing rifles specifically designed to accommodate it.
The Remington Model 720 is a bolt-action rifle that holds a unique place in American firearms history. Produced during the early 1940s, it was a high-quality rifle with limited production and specific use cases, making it a sought-after collector’s item today. Its designation as a "Navy Trophy Rifle" adds to its allure.
*Overview of the Remington Model 720*
- *Caliber:* .30-06 Springfield
- *Action:* Bolt-action
- *Barrel Length:* 24 inches
- *Magazine Capacity:* Internal 5-round magazine
- *Production Dates:* 1941–1944
- *Total Production:* Approximately 2,500 rifles
- *Design Origins:* The Model 720 was a commercial sporting rifle based on the Mauser-style bolt-action design, with a strong resemblance to the earlier Remington Model 30.
*Development and Production*
The Model 720 was introduced as a premium bolt-action rifle during a time when Remington was transitioning to more efficient production methods. It featured a solid steel receiver, a high-quality barrel, and walnut stocks with checkered grips, giving it a refined, classic appearance. While it was intended for the civilian market, its timing coincided with the United States’ entry into World War II, and commercial production was halted in favor of military contracts.
### *The Navy Trophy Rifle Program*
After the war, the U.S. Navy had a surplus of Model 720 rifles that had been retained in storage. These rifles were later distributed as marksmanship trophies, particularly for Navy shooting competitions. The "Navy Trophy Rifle" designation indicates that these firearms were awarded to top competitors in recognition of their skill.
*Unique Features of Navy Trophy Rifles*
1. *Markings:* Many of these rifles bear unique markings or plaques indicating their status as trophy rifles. Some were inscribed or stamped with “U.S. Navy Trophy Rifle.”
2. *Condition:* Since the rifles were never issued for combat and remained in storage, they were often in pristine condition when distributed.
3. *Sights:* Most of these rifles were equipped with standard open sights, but some recipients customized their rifles with aperture sights or scopes for precision shooting.
4. *Accoutrements:* Recipients often received certificates or other documentation attesting to the rifle's provenance.
*Technical and Aesthetic Features*
- *Action:* The bolt-action mechanism was smooth and reliable, a hallmark of Remington's craftsmanship at the time.
- *Barrel:* The 24-inch barrel provided excellent accuracy, suitable for both hunting and competitive shooting.
- *Stock:* The walnut stock was meticulously finished, with a checkered grip and forend to enhance handling.
- *Performance:* Chambered in .30-06 Springfield, the Model 720 offered versatility, capable of handling military ball ammunition as well as hunting loads. Its accuracy and durability were highly regarded.
*Legacy and Collectibility*
The Remington Model 720 is a rare and desirable rifle for collectors, particularly in its Navy Trophy Rifle form. Its limited production numbers, historical significance, and high build quality contribute to its value. Depending on condition, original accessories, and documentation, these rifles can command significant prices at auctions or among collectors.
Collectors value the Model 720 for its connection to World War II-era firearms production, its role in promoting marksmanship in the Navy, and its representation of a bygone era of precision manufacturing. Those with documented Navy Trophy Rifle provenance are especially prized.
*Conclusion*
The Remington Model 720 stands as a testament to American ingenuity and craftsmanship during a pivotal time in history. As a Navy Trophy Rifle, it holds a special place as both a functional firearm and a piece of military heritage, symbolizing excellence in marksmanship and the rich history of competitive shooting in the U.S. Navy.
According to Thom Cantrell Bob Gimlin’s famous riffle was burned up in a house fire many years ago.
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