- 1 day ago
## 🎬 Showdown at Boot Hill (1958) – Western | Crime | Drama | Full Movie
**Showdown at Boot Hill** is a taut, psychological 1958 Western that serves as one of the earliest leading roles for a young **Charles Bronson**. Directed by Gene Fowler Jr., the film is a standout of the late-50s "adult Western" movement, focusing less on grand spectacles and more on the moral ambiguity of frontier justice and the isolation of the lawman.
Filmed in a stark, high-visibility style, the movie is noted for its tight pacing and Bronson’s intense, quiet performance as a man caught between his duty and a town that refuses to support him.
---
## 📖 Plot Summary
Luke Welsh (Charles Bronson) is a deputy U.S. Marshal who arrives in a small frontier town to collect a bounty on a wanted outlaw. Welsh is a professional: efficient, cold, and fast with a gun. He successfully tracks down and kills the fugitive in a fair fight, expecting the townspeople to be relieved that a dangerous criminal has been removed.
However, Welsh quickly discovers that the dead man was well-liked by the local community, and the town turns a cold shoulder to the "hired killer" with a badge.
**The psychological tension builds through:**
* **The Refusal to Identify:** To collect his bounty, Welsh needs the townspeople to sign a statement identifying the body. Out of spite and loyalty to the outlaw, the entire town enters a silent pact to claim they "don't recognize" the man.
* **The Moral Dilemma:** Welsh is forced to stay in the hostile town, becoming increasingly isolated and paranoid as the locals look for any excuse to provoke him into a fight.
* **The "Bounty Hunter" Stigma:** The film explores the thin line between a lawman and a mercenary, as Welsh struggles with his own identity and the growing realization that his badge doesn't buy him respect.
* **The Final Confrontation:** The pressure reaches a boiling point, leading to a tense, strategically fought "showdown" where Welsh must defend himself against the very people he is supposed to protect.
---
## 🎥 Style & Legacy
* **Charles Bronson’s Breakout:** This film is a must-watch for fans of Bronson, showcasing the steely gaze and physical presence that would later make him a global superstar in *The Magnificent Seven* and *Once Upon a Time in the West*.
* **Modern Western Tropes:** Moves away from the "white hat vs. black hat" clichés, instead presenting a gritty, realistic view of the Old West where the "hero" is unwanted and the "villain" was a friend.
* **Cinematic Clarity:** Features the sharp, high-contrast black-and-white cinematography typical of 1950s Regal Films productions, ensuring every detail of the town and the actors' expressions is fully visible.
* **Gene Fowler Jr.’s Direction:** Known for his background in film editing (working with Fritz Lang), Fowler brings a precise, suspenseful rhythm to the story that keeps the viewer on edge.
**Showdown at Boot Hill** is a taut, psychological 1958 Western that serves as one of the earliest leading roles for a young **Charles Bronson**. Directed by Gene Fowler Jr., the film is a standout of the late-50s "adult Western" movement, focusing less on grand spectacles and more on the moral ambiguity of frontier justice and the isolation of the lawman.
Filmed in a stark, high-visibility style, the movie is noted for its tight pacing and Bronson’s intense, quiet performance as a man caught between his duty and a town that refuses to support him.
---
## 📖 Plot Summary
Luke Welsh (Charles Bronson) is a deputy U.S. Marshal who arrives in a small frontier town to collect a bounty on a wanted outlaw. Welsh is a professional: efficient, cold, and fast with a gun. He successfully tracks down and kills the fugitive in a fair fight, expecting the townspeople to be relieved that a dangerous criminal has been removed.
However, Welsh quickly discovers that the dead man was well-liked by the local community, and the town turns a cold shoulder to the "hired killer" with a badge.
**The psychological tension builds through:**
* **The Refusal to Identify:** To collect his bounty, Welsh needs the townspeople to sign a statement identifying the body. Out of spite and loyalty to the outlaw, the entire town enters a silent pact to claim they "don't recognize" the man.
* **The Moral Dilemma:** Welsh is forced to stay in the hostile town, becoming increasingly isolated and paranoid as the locals look for any excuse to provoke him into a fight.
* **The "Bounty Hunter" Stigma:** The film explores the thin line between a lawman and a mercenary, as Welsh struggles with his own identity and the growing realization that his badge doesn't buy him respect.
* **The Final Confrontation:** The pressure reaches a boiling point, leading to a tense, strategically fought "showdown" where Welsh must defend himself against the very people he is supposed to protect.
---
## 🎥 Style & Legacy
* **Charles Bronson’s Breakout:** This film is a must-watch for fans of Bronson, showcasing the steely gaze and physical presence that would later make him a global superstar in *The Magnificent Seven* and *Once Upon a Time in the West*.
* **Modern Western Tropes:** Moves away from the "white hat vs. black hat" clichés, instead presenting a gritty, realistic view of the Old West where the "hero" is unwanted and the "villain" was a friend.
* **Cinematic Clarity:** Features the sharp, high-contrast black-and-white cinematography typical of 1950s Regal Films productions, ensuring every detail of the town and the actors' expressions is fully visible.
* **Gene Fowler Jr.’s Direction:** Known for his background in film editing (working with Fritz Lang), Fowler brings a precise, suspenseful rhythm to the story that keeps the viewer on edge.
Category
🎥
Short filmTranscript
00:00:28Satsang with Mooji
00:00:34What's your name on that, mister?
00:00:37Find up on the horse you got there.
00:00:40Looks like he's been on the trail a long time, though.
00:00:45Four bits a day for your horse in the corral,
00:00:47or a dollar in a stall.
00:00:49Of course, if you're planning on staying,
00:00:52you can have a rate.
00:00:53Special.
00:00:54What in the corral?
00:00:56Take him out.
00:01:00People coming to town for the first time always ask me
00:01:03what's a hangman doing on the front of a livery stable.
00:01:07Well, I tell, I ain't asking.
00:01:45Well, what in the corral is?
00:01:46but I don't know if there's no man who knows.
00:01:46I don't know.
00:01:47I don't know.
00:01:47I don't know.
00:01:52But I don't know.
00:01:57I don't know.
00:02:05What little love from a fellow man I was born with sort of petered out after 20 years of scraping
00:02:09the bristle off his mind.
00:02:11I didn't have much chance to begin with, that love being kind of evil.
00:02:52The color is just lovely.
00:02:55What do you think it's gonna do for my complexion?
00:02:58In the saloon, senorita. Who's going to notice a dress?
00:03:15Days keep getting longer all the time.
00:03:18Tex, you got something in mind for tonight?
00:03:22Rodgut? What else?
00:03:23Broadgut and something in skirts.
00:03:26Let's go.
00:03:27Let's go.
00:03:28Let's go.
00:03:30Let's go.
00:03:31Let's go.
00:03:33Let's go.
00:03:34Let's go.
00:03:39Let's go.
00:03:42Let's go.
00:03:47Let's go.
00:03:48Let's go.
00:03:51Let's go.
00:03:57Let's go.
00:04:04Let's go.
00:04:23Take care of this for me, will you?
00:04:47Tryin' to figure how many meals you served me, I come up with one answer.
00:04:51What's that, Mr. Maynard?
00:04:52Too many.
00:04:56Your ma's got a better way of earning a living.
00:04:59That's her business.
00:05:01I'd rather wait on table.
00:05:05Sally, I consider that a waste of natural resources.
00:05:09Anything else, Mr. Maynard?
00:05:11Not right now.
00:05:13Are you con, Maynard?
00:05:17Could be.
00:05:26I never felt that pitcher done me justice.
00:05:29He looks a little peaked.
00:05:31You've been here most a week now.
00:05:34Before that you were in Chugwater and a couple, three days in Spruce.
00:05:37Is that so?
00:05:38You must be well acquainted with some personal friends of mine, Sonny.
00:05:42You killed three men in those places.
00:05:45Any that departed your kin?
00:05:50That's a warrant for your arrest.
00:05:53Tell me more.
00:05:54I'm servin' that warrant on you, Maynard.
00:05:58All by yourself?
00:06:00I'm a deputy of United States motion.
00:06:02Well, ain't that a fancy title for a fellow like you?
00:06:05Where are you takin' me?
00:06:07St. Louis.
00:06:09St. Louis, huh?
00:06:11You know, Sonny, you need some good advice, and I'm gonna give it to you.
00:06:19Pick up that warrant and head right back to St. Louis.
00:06:23Not without you, I ain't.
00:06:25I ain't partial to St. Louis.
00:06:28Especially now.
00:06:32Maynard, you're worth $200 to me, dead or alive.
00:06:39Found A, Hunter.
00:06:42You can back to St. Louis with me and hang.
00:06:44Or go for your gun now.
00:06:45Maybe I'm the one who needs some advice.
00:06:48You just go for your gun.
00:06:50That's a chance you wouldn't get with a hangman.
00:07:14How tall are you now, big man?
00:07:19Con was a friend of mine.
00:07:22You didn't want to take him in alive.
00:07:24You forced him to draw.
00:07:26He drew first. You saw it.
00:07:30You better have an inquest pretty quick.
00:07:32Weather like this, he won't keep.
00:07:43Somebody better get the sheriff.
00:07:46I've been saying it for 20 years, mister.
00:07:48This sink's gotta be moved closer to the chair.
00:07:51Only thing is, I'm liable to be dead before then.
00:07:54Ever think of moving the chair closer to the sink?
00:07:57Sure.
00:07:58I think of lots of things.
00:07:59Like burning the shop down.
00:08:02Like hanging the only barber doctor or undertaker in Mound City
00:08:05from the highest branch of the tallest tree.
00:08:09Looks like they won't get around to that either.
00:08:12The thing that would surprise you is the little doctrine I get to do.
00:08:14Plenty of barbering. Plenty of undertaker.
00:08:17They're shooting over the hotel now more than an hour ago.
00:08:20My services will be required.
00:08:22Undertaker services?
00:08:23Pretty quick, too, to hold the ingress tonight.
00:08:26Want a little something sweet-smelling on the face, mister?
00:08:28No.
00:08:31Never did see such a rush to get a fellow underground.
00:08:34Maybe he wasn't liked.
00:08:35There, you're wrong.
00:08:37High popular in this town.
00:08:40Why?
00:08:40Well, we spent his money free.
00:08:42Harder gonna squeeze for the women, joke for the men.
00:08:44Real popular.
00:08:46What about the men he killed?
00:08:47Killed none here.
00:08:50Staying in town.
00:08:52Till after the inquest.
00:08:53I'll get the job shaver, too.
00:08:55Pays double.
00:09:12You've heard all the other witnesses to the shooting, Miss Sally.
00:09:15Have you anything to add to their testimony?
00:09:20Would you mind speaking up, Miss?
00:09:29I didn't see anything different from what the others saw.
00:09:33But you were closer to the two men than any of the others.
00:09:36Is that correct?
00:09:41I didn't see or hear anything different.
00:09:44You may step down, Miss.
00:09:48On the basis of the testimony here given,
00:09:51an acting as coroner appointed by the sheriff of Mound City,
00:09:54it is my finding that the deceased met his death
00:09:56at the hands of United States Deputy Marshal Welsh.
00:09:59It is also my finding that the deceased refused
00:10:03to accept a warrant served on him,
00:10:05and therefore the action of the marshal was legal and justified.
00:10:10I'll need a signed statement of your findings.
00:10:13Easiest thing in the world, Marshal.
00:10:14I'll need a sign.
00:10:21Wallen always makes it look real legal.
00:10:23Like he was a real judge.
00:10:25He's judging up for the job he's doing.
00:10:35Do I have to tell you what to do with that paper?
00:10:38What's wrong with it, Marshal?
00:10:40Well, it just doesn't happen to mention that the man I killed was Con Manor.
00:10:44Who's Con Manor?
00:10:46Con Manor's the man lying right there.
00:10:48Never heard his name.
00:10:49Well, that ain't easy to believe.
00:10:51Well, you just work on it.
00:10:53What difference does it make what his name was?
00:10:56The authorities in St. Louis don't like to take just the marshal's word for it.
00:10:59A man is dead. That ought to satisfy the proper authorities.
00:11:02It doesn't satisfy them that the man I killed was Con Manor.
00:11:04Who was that important to?
00:11:06That's important to me.
00:11:07You didn't have to kill him.
00:11:08You could have turned him over to Sheriff Hinkle.
00:11:10He wasn't wanted in this county and the Sheriff's got no authority to arrest men wanted in other counties.
00:11:15Is that right, Sheriff?
00:11:19That's what puts bounty hunters into business, ain't it?
00:11:21You're out of order, Mr. Sloan.
00:11:24The identity of the deceased has not exactly been established, Marshal.
00:11:28It would appear that you're not going to get your money in this instance.
00:11:32Except maybe your mileage fee.
00:11:39He stayed at your hotel.
00:11:41That's right, Marshal.
00:11:42If you want to wrote down, I'm sure the judge will be glad to oblige.
00:11:59Miss?
00:12:04Miss, I'm speaking to you.
00:12:06You know who the dead man was.
00:12:10I didn't know his name.
00:12:13He ain't regular in the dining room. I saw you speaking to him.
00:12:16I speak to all the customers.
00:12:19I didn't know his name.
00:12:23Well, now, that's mighty funny.
00:12:25Nobody here seems to know the dead man's name.
00:12:28Stam's the reason the wanted man isn't going around telling people who he was.
00:12:31Especially if you knew he was worth all of $200 to a bounty hunter.
00:12:43Doc, don't you nail that coffin lid down too quick.
00:13:10The stranger wants to get his picture took.
00:13:12Ha.
00:13:12He ought to get two for the price of one.
00:13:21Anybody here?
00:13:23I ain't really open for business, mister. I was just developing some plates.
00:13:26Well, I got a job for you. I'll pay you double.
00:13:29I'm open for business.
00:13:30Take your equipment and let's go.
00:13:32Take your picture right here.
00:13:33It's not my picture. I won't take it.
00:13:36I'll get my plates.
00:13:41Now, develop it as quick as you can.
00:13:46Well, this ought to satisfy the authorities in St. Louis.
00:13:56I'll see you.
00:13:59Just...
00:14:03let me hear you.
00:14:10Let me hear you.
00:14:14Please, Lčez.
00:14:15You need to kill me.
00:14:18Tom.
00:14:20Didn't figure on this.
00:14:22They weren't firing at us.
00:14:24Could it be fixed?
00:14:26No.
00:14:27Is that the only camera you got?
00:14:28Yeah.
00:14:29How long would it take to get another one?
00:14:31The nearest place is Wichita. Two weeks.
00:14:34Two weeks?
00:14:36Oh, that corpse wouldn't be socially presentable by that time.
00:15:10Ha-ha-ha-ha-ha-ha!
00:15:14Ha-ha-ha-ha-ha-ha-ha!
00:15:22Don't ever pretend at love
00:15:29Be sure that it's real
00:15:35Don't ever laugh at love
00:15:39If some heart you should steal
00:15:45Don't think that it's just a game
00:15:49A plaything to use
00:15:55If you pretend at love
00:16:00You'll always lose
00:16:06You may cheat at cards
00:16:12Cheat at dust
00:16:14Still you might even win
00:16:18But if you try to cheat a heart
00:16:25That's when your heartaches begin
00:16:28So if you're pretending now
00:16:35It's better to part
00:16:42Don't make believe it's love
00:16:48Don't break my heart
00:16:53In case you're interested
00:16:55Somebody just shot up the photo laboratory
00:16:58You don't mean it
00:17:00I'll need an affidavit
00:17:02I'd like to help you
00:17:03Would you?
00:17:04I was being polite
00:17:06The man you shot over at the hotel
00:17:08Wasn't wanted in Mount City
00:17:09I didn't have no official interest in him
00:17:11You'd know who he was
00:17:14Could sign you an affidavit
00:17:15Saying you killed a man over at the hotel
00:17:17Who was maybe Conmeiner
00:17:19And who maybe wasn't
00:17:22Thanks a lot
00:17:25Marshal
00:17:26You've got any further business in Mount City
00:17:29Than you're leaving town tonight
00:17:32Sheriff
00:17:33I earned $200
00:17:35I intend to collect it
00:17:39Who's burying Conmeiner?
00:17:41Who's burying the man you killed?
00:17:44Town, I guess
00:17:45What name are they going to put on the grave?
00:17:48No name at all, most likely
00:17:52Maybe just a dollar sign
00:17:55His many friends
00:17:56Might not like that
00:17:58Folks don't like something else a lot more
00:18:01Bounty hunters
00:18:03Stranger coming into their town
00:18:04Shooting down somebody they know and like
00:18:06For a price
00:18:10Don't go down easy
00:18:11See what I mean?
00:18:13I'm a federal peace officer
00:18:15I'm a peace officer too
00:18:17Even I don't like it
00:18:32Will, what are you going to learn how to add?
00:18:35I got some of the figures wrong
00:18:36You didn't get any of them right
00:18:46I'd like a room
00:18:48Well I ain't sure we got one
00:18:50What's it going to take to make you sure?
00:18:53I'll take care of the Marshal, Will
00:18:58What's the matter with him?
00:18:59Afraid of the hotel's reputation?
00:19:01Will thinks that everything you do counts
00:19:03And you're old enough to think that nothing counts
00:19:06I'm old enough not to worry
00:19:07Who I rent a room in my hotel to
00:19:23Table's all set for breakfast, Mr. Creavy
00:19:25Good night, Sally
00:19:26Good night
00:19:33Come on, Will
00:19:34Let's see if we can get this hotel back on a paying basis
00:19:50I don't want you in my room
00:19:52Me or anybody else, the way it looks
00:19:56You came here to tell me that?
00:19:58Why this room looks like it don't want even you
00:20:01Now you know the kind of place I live in
00:20:03You can go
00:20:05Well, that wasn't what I was interested in
00:20:09I'm not signing papers about anything
00:20:11Is that clear?
00:20:13Does that make you feel real important
00:20:15Standing up to the bounty marshal the way you are?
00:20:19You were faster than him
00:20:22Forcing him to draw
00:20:23Quite a hero, I'd say
00:20:26Well, I ain't aiming to be a hero
00:20:27Besides, I didn't know that I was faster until we drew
00:20:31You know, someday in a town like this, bigger or smaller
00:20:33I won't be faster
00:20:35He didn't have a chance
00:20:36Well, he had killed three men before their time
00:20:39They didn't have a chance
00:20:41Now, suppose you would love one of those men that he killed
00:20:43What would you do with your love when Conmaynor was through with him?
00:20:46Married him or held him in your arms?
00:20:53You really ought to do something about your hands
00:20:59A woman's hands are supposed to be soft
00:21:03What would you know about women?
00:21:06And the way you dress
00:21:10This room that you live in
00:21:13Seems like you're afraid
00:21:16Afraid of being alive
00:21:20Are you afraid of men, miss?
00:21:26Is it any worse than being filled with hate the way you are?
00:21:31No, maybe not
00:21:34Same thing
00:21:36Hating people or being afraid of them
00:21:38Either way is the way of wanting them dead
00:21:44Who is your mother?
00:21:46I heard Conmaynor talking about her
00:21:48Who is she?
00:21:53That's real easy to find out
00:21:56All you have to do is buy a drink at the Crystal Palace
00:22:02Who is your father?
00:22:06What's all that got to do with your $200?
00:22:11Nothing
00:22:14Nothing at all
00:22:50Conn's body is over at the barber shop
00:22:53Doc will fix him up real pretty
00:22:56I wish you'd talk about something else, Sloan
00:23:00Why?
00:23:01Trying to fool yourself
00:23:02Nobody dies?
00:23:05Yeah, that point-sized marshal
00:23:07Is going to have a lot of trouble
00:23:08Collecting for Maynor
00:23:11The, um
00:23:13The hotel clerk tells me
00:23:14He's been trying to get a statement
00:23:16From your daughter
00:23:18Fine chance man's got to get anything
00:23:20From Sally
00:23:20She sure don't take after her mom
00:23:24Sounds like it's time
00:23:25You learned manners, Patton
00:23:26Let him be
00:23:28He's stupid
00:23:29But he's awfully pretty
00:23:31For as long as he lasts
00:23:36Watch this, Mr. Sloan
00:23:44I figure I'm going to last a long time
00:23:47What do you think, Mr. Sloan?
00:23:51Well, I drink too much whiskey anyway
00:23:53Do you ever see a faster draw?
00:23:57On the other hand
00:23:58You didn't have to worry about that glass
00:23:59Drawing on you
00:24:01That kind of worry
00:24:02Can slow a man's draw sometimes
00:24:05Somebody else's
00:24:06Not mine
00:24:09You knew Conn pretty good
00:24:12If you say so
00:24:13You liked him
00:24:14You liked him?
00:24:15Enough
00:24:18The summer we had the drought
00:24:20Three years ago
00:24:22I had to butcher most of my cattle
00:24:24It would have finished me for good
00:24:26If Conn Maynor hadn't come along just then
00:24:27With a herd and let me have it
00:24:30And a dollar changed hands
00:24:31Because I didn't have a dollar
00:24:33What I know of Conn
00:24:35Probably wasn't his herd anyway
00:24:38I suppose he did get him illegal
00:24:41All I know is he could have got cash in hand for him at Dodge
00:24:46Instead of waiting two years till I could pay for him
00:24:49You paid him
00:24:51Yeah, but he never pressed me
00:24:54Conn Maynor was mighty good to me
00:24:56Lots of others around here
00:25:02That marshal's pretty fast
00:25:04Faster than me?
00:25:06I don't know
00:25:08I might ask you to find out
00:25:10Les is a human being
00:25:12He's not a gun for you to pick up and use
00:25:16Maybe he ain't, Joe
00:25:18But I might have to use him anyway
00:25:27He's okay if he's there
00:25:31He's okay if he's there
00:25:32Yanda, dile que no cante
00:25:34Que espera que yo me muera
00:25:36Yanda, dile que vamos a llegar, hombre
00:25:38Yanda, dile que vamos a llegar, hombre
00:25:40Yanda, dile que vamos a llegar, hombre
00:25:40¡Qué bonito, parrio Quinto!
00:25:45Es okay, estoy mirando
00:25:49Yanda, dile que no cante
00:25:52Que espera que yo me muera
00:25:58Pajarillo, Barranqueño. Pajarillo.
00:26:07¿Qué pasará ya, mi burro? Vamos a ver.
00:26:15Señor, this is not for the bright morning.
00:26:18It is for the dark hours of the night.
00:26:22Killings for the dark hours.
00:26:25Nail and let it down ain't nothing more than carpentry.
00:26:27And who cares what hours a carpenter keeps.
00:26:33You know, Señor, I think you're correct.
00:26:37Gracias, my Latin amigo.
00:27:01You know, Porky, I just happen to think they ain't hanged a Mexican around here in the longest time.
00:27:11Ain't many of them around anymore, Tex.
00:27:14I'll show you how smart they are.
00:27:17You know something?
00:27:19Hmm?
00:27:20A fella like Con Manor.
00:27:22He deserves to have his kin around him when he's buried.
00:27:29Hmm. Especially kin as close as his brother.
00:27:33You know, somebody ought to ride out to Charlie Manor's ranch and convey the sad news.
00:27:39Might lead to trouble, Charlie possessing such a hot temper.
00:27:44Yeah, it might.
00:27:47Corky, you think we ought to perform this Christian duty?
00:27:52Why, we ought to Con's memory.
00:27:57Ah, food is a beautiful thing.
00:28:01And to have it served by a beautiful girl, as the poet has said, is paradise enow.
00:28:08Although it's true the poet mentions a loaf of bread instead of ham and eggs.
00:28:13Sally, stood up to the marshal real good.
00:28:20Poor child.
00:28:22What is it the good book says about the sins of the father being visited on the generations after him?
00:28:28Although, in her case, it would be the sins of the mother, wouldn't it?
00:28:31Well, I sincerely beg your pardon, Mr. Patton.
00:28:35Nothing personal.
00:28:37You don't know what you're talking about.
00:28:38Morning, marshal.
00:28:39Morning.
00:28:40Sleep well?
00:28:41You still serving breakfast?
00:28:42Still being served. Pick any table you like.
00:28:48Of all the tables, why pick this one?
00:28:50What's the matter with it?
00:28:51It's the one where Con Manor used to sit?
00:28:54Yes.
00:28:55Well, speaking of sin, I hope neither of you gentlemen will forget to appear at the dance tonight.
00:29:00What dance?
00:29:01At the Johnson Hall.
00:29:02To raise funds for a schoolhouse.
00:29:05Who needs a schoolhouse?
00:29:06That, in legal terms, might be considered a leading question, Mr. Patton.
00:29:10How long have you been interested in dancing, Judge?
00:29:13I'm in charge of the ticket sale.
00:29:15Oh.
00:29:16Well, in that case, I guess there's no real danger of the kids getting to be students too quick.
00:29:22Were I a resentful type of man, I might object to that remark.
00:29:25You're at liberty, too.
00:29:33Yes, sir?
00:29:41Oh, give me anything. Anything at all.
00:29:45Oh, give me anything. Anything at all.
00:30:16Maybe we got it, even if you don't see it.
00:30:19I don't guess you'd keep that kind of thing here.
00:30:23You ask and we find out, see?
00:30:24Well, it's something for a lady.
00:30:28Oh.
00:30:29Maybe it's something for her to wear, eh?
00:30:31A hat.
00:30:33No?
00:30:34A dress?
00:30:36No?
00:30:37Maybe it's something that nobody else should see but you, eh, senor?
00:30:41Something for up here?
00:30:43No, for...
00:30:43Oh, no, no, no.
00:30:44No?
00:30:46It's something...
00:30:47It's not anything to wear.
00:30:49Oh, too bad.
00:30:51Uh...
00:30:52Ah!
00:30:54Maybe you would like the lady to smell good?
00:30:56No.
00:30:57No?
00:30:58You see, uh...
00:31:00It's something for her hands.
00:31:01Her hands?
00:31:05Uh...
00:31:05You see, her hands are all...
00:31:07They're all rough.
00:31:08Oh!
00:31:10I got a cream someplace.
00:31:13It's made from the tallow of a sheep.
00:31:19But you don't look like the lover of a woman who milks cows.
00:31:23No, she doesn't milk cows.
00:31:27And I'm not her lover.
00:31:32Maybe not today, but tonight, who can tell, eh?
00:31:36But with a present like this...
00:31:39It's like a medicine.
00:31:41How much?
00:31:42Two bits.
00:31:47Not tonight.
00:31:48Not tomorrow, either.
00:31:50Why you say that, senor?
00:32:00Oh, you mean because you are not tall?
00:32:03You mean you... you think about this all the time?
00:32:08I am Mexican.
00:32:09And we Mexican, we are small people.
00:32:12In this country, we learn quick how it is a joke sometime.
00:32:16Sometime worse.
00:32:18My husband, Miguel...
00:32:19He's been dead five years now.
00:32:22He was smaller than you are.
00:32:24But in his arms.
00:32:26Oh.
00:32:30You are thinking a silly old woman like me was lucky to have any man.
00:32:34I was thinking Mr. Bonaventura was very lucky.
00:33:02I was thinking Mr. Bonaventura was very lucky.
00:33:04Let's get out of here, eh?
00:33:11Oh.
00:33:12Let's go, Eddie.
00:33:12You can't be!
00:33:14Get me!
00:33:18Hey!
00:33:19Hey-y-y-y-y-y-y-y-y-y-y-y-y-y-y-y-y-y-y-y
00:33:22-y-y-y-y-y-y-y-y-y-y-y-y-y.
00:33:37what do you want i just want to see you for a minute
00:33:47i fell asleep the dining room's closed for the rest of the day
00:33:56if you're worrying what this will look like why don't you shut the door
00:34:02though people wouldn't believe anything wrong was happening here anyway why wouldn't they
00:34:07i'm not my mother i don't let men in my room you let me in
00:34:16i'm not afraid of you why not
00:34:23because you're like me lonely and trying to hide your loneliness
00:34:28behind a gun the way i do behind an apron you can't fool me like you do the others
00:34:37they used to seem like giants to me when i was a little girl
00:34:42loud laughing men that hung around my mother bought her drinks
00:34:48joked with her touched her do i have to tell you more no you just told me what i am
00:35:00but don't you see if you weren't different i couldn't have let you in my room
00:35:13it's supposed to be good for your hands
00:35:27two hundred dollars that's what he's going to get for killing your brother two hundred dollars
00:35:33i'll go get my gun
00:35:35you ain't no gunman charles he ain't getting the baldy money
00:35:39account of nobody's identifying your brother
00:35:41that's why the marshal's still in town he's waiting till somebody gets around
00:35:46i'm riding back with you charles
00:35:48cons being your brother didn't make you and him the same thing
00:35:52he was a man with restless feet grabbing hands
00:35:55he was my brother he was a killer and hunted
00:35:59i won't have you starting down the same trail
00:36:02the barians tomorrow morning up on boot hill mr manor
00:36:07pretty near everybody in town's gonna be there
00:36:26nailed down pretty quick didn't you
00:36:28in two weeks it wouldn't be worth taking a picture of
00:36:32by then his own killer wouldn't know him
00:36:35nailed down you had a chance to look at him
00:36:38sure
00:36:38then you know who he is
00:36:41i don't even know who his brother is
00:36:48brother
00:36:49what i said
00:36:50hey doc maybe you're
00:36:51what i know is he owns a ranch a ways out of town
00:36:54from what i hear
00:36:55his brother got the sad news today
00:37:00he'll be in mount city in time for the funeral tomorrow morning
00:37:03they sure he'll be in for the funeral
00:37:05dead certain he's one of the proud ones
00:37:08nothing to be proud about in an outlaw
00:37:10all the more reason
00:37:12he ain't gonna stand for his brother being rushed nameless into the ground
00:37:23how'd you ever get that lint dunk
00:37:25i was standing around watching a pair of the gunmen acting brave
00:37:29they drew one of the bullets ricocheted
00:37:31bust for the tap
00:37:33haven't ridden a horse in 20 years
00:37:36that answer your question
00:37:39yeah
00:37:44doc what'd you want to tell that
00:37:45marshall about maynard's brother for
00:37:47no joe i didn't mention no names did i
00:37:53you gotta be careful about squirming around like this
00:37:55i'm liable to cut your nose off
00:37:58barbara did that to a fellow once
00:37:59stuck his back arms he got on upside down
00:38:02every time the fellow sneezed he blew his hat off
00:38:05when it rained he drowned
00:38:06you gotta be careful
00:38:35or she needs to stop heart
00:38:37причalve
00:38:52Sally?
00:38:57That's who I am.
00:38:59Sally.
00:39:01You and D.R.
00:39:05This is what you do with it.
00:39:07Come on.
00:39:07up here like this and sit all alone?
00:39:11I've been alone all my life.
00:39:14Only most of the time, people are around.
00:39:17So my day off, I go right away from them.
00:39:22On my day off, I get to be alone without them.
00:39:26I like that better.
00:39:30I didn't thank you for the hand cream.
00:39:33I used it.
00:39:35It feels good.
00:39:37It doesn't smell awful, but...
00:39:42There was something I said made you mad.
00:39:45Oh, I don't remember.
00:39:48Anyhow, I'm not mad anymore.
00:39:50I'm glad.
00:39:52You know, Sally, the people like us,
00:39:54well, it don't happen too often,
00:39:57but we can't afford to...
00:40:02Can't afford what?
00:40:04We can't afford to be so touchy,
00:40:08quick to take offense.
00:40:10Otherwise, we'd be alone all our lives.
00:40:15Sally?
00:40:17Yes?
00:40:20We're having a dance in town tonight.
00:40:30Would you let me take you to it?
00:40:40Please, Luke.
00:40:41We're having one.
00:40:56We'll see you later.
00:41:00I'm not here.
00:41:00No, no, no.
00:41:32It's my considered opinion this dance is a complete and sheer triumph.
00:41:36Golly, joyous, and profitable.
00:41:39For whom?
00:41:41Let's face it, Mr. Sloan.
00:41:43Who needs scholars out here?
00:41:55The dancing tonight and the burying tomorrow morning.
00:41:58A slice of life, my friend.
00:42:00Sufficient unto the day is the evil.
00:42:03Has that marshal checked out of town yet?
00:42:05Not yet.
00:42:06I suppose we may hope for the best, hmm?
00:42:12Well, you can stop hoping.
00:42:16The best ain't happening.
00:42:28You must have bought tickets for our splendid soiree.
00:42:31Must have figured there was a good investment.
00:42:34You won't make trouble, I sincerely trust.
00:42:38He won't.
00:42:53Honestly, you aren't doing the dirt there.
00:42:54I'm usually be a good for the best, hmm?
00:42:55You won't make trouble for those who are willing.
00:42:55If you're having trouble.
00:42:58I'm usually with tips for my badilen andING.
00:42:59There might be a good이나 look.
00:43:04But it's not enough to have his own country, but that you are gone.
00:43:19Well?
00:43:29You may possibly put an end to my not-too-savory career,
00:43:33but I must inform you...
00:43:34Of what?
00:43:35The fact that you're not welcome here.
00:44:06You're the second girl he ever asked to a dance.
00:44:09She laughed at me.
00:44:11I'm not laughing at you.
00:44:12I know that.
00:44:13Sally, I made a big mistake getting you mixed up into this.
00:44:18Someone like you that can be hurt, can cry.
00:44:22There wasn't anything I could do about it.
00:44:26You can't dry a girl's tears with a gun.
00:44:30You can always kiss her.
00:44:50I think you'd better go in the hotel.
00:44:52You aren't going to do anything.
00:45:16Jill, he's passed out stone cold on me.
00:45:21Well, he's killed the bottle. You'll get your percentage.
00:45:24What are you complaining about?
00:45:25He ain't a gentleman cowboy.
00:45:28He didn't even take off his hat.
00:45:30Oh, well, it's the boots that make me mad.
00:45:39You're still in town.
00:45:41I'm real happy about that.
00:45:43He's as stupid as what you are.
00:45:45Charles Maynor's coming into town for the burying.
00:45:48He's so fool-proud, he'll identify the brother for the marshal.
00:45:52Identify his brother and kill the marshal.
00:45:55Try to kill the marshal.
00:45:59Maybe I'm being stupid, though.
00:46:01He took Sally Danson tonight.
00:46:04Why should that mean anything?
00:46:07Well, by now, he's likely talking her into signing a statement
00:46:09that'll help him collect his blood money.
00:46:12How about me going over after him?
00:46:14No one's asking you to draw on the marshal.
00:46:16That depends on how you feel about throwing down on him.
00:46:19I feel fine about it. Just fine.
00:46:23You don't have to bother going after him.
00:46:35The marshal's saving everybody a lot of trouble.
00:46:38I'd like him coming to me.
00:46:40Well, I think he's coming to see Drill.
00:46:42Trying out the whole family, you might say.
00:46:45Les, I don't want any shooting in here.
00:46:50Mrs. Crane?
00:46:51I'm Jill Crane.
00:46:54There's something I want to talk to you about.
00:46:58I don't need an audience.
00:47:01You boys stay here.
00:47:12Come on, marshal.
00:47:19I took Sally to that dance tonight.
00:47:22She went home crying.
00:47:25The girl's tears dry pretty quick.
00:47:29How quick does blood stop flowing from a wound?
00:47:33You know about that better than me.
00:47:35Besides, when you're young,
00:47:37you always believe that things are going to change for the better.
00:47:41Well, what do you believe?
00:47:44They change all right.
00:47:47Mostly for the worse.
00:47:49Little man's getting real conversational with Jill.
00:47:52Trying to sweet talk her, maybe.
00:47:54That ain't the way I get anything out of Jill.
00:47:57Well, I doubt you and the marshal got the same thing in mind.
00:48:03Just why did you come in here?
00:48:05Wanted to meet Sally's mother.
00:48:07Well, you met her.
00:48:09Mrs. Crane, there's something I want to ask you.
00:48:11Like how you can get a paper signed so he can collect your bounty?
00:48:15No.
00:48:15Then what is it?
00:48:16It's about Sally.
00:48:19Why'd you come to me?
00:48:21Because in this whole world there's nobody else cares what happens to her except the two of us sitting at
00:48:25this table.
00:48:25No.
00:48:30You're a smart man, marshal.
00:48:33I've always been afraid of smart men.
00:48:37Yes, you're right.
00:48:39I do care what happens to Sally.
00:48:41I care a lot.
00:48:43But that don't help her or me.
00:48:46For five years she's crossed the street whenever she saw me coming.
00:48:50Well, what did you expect her to do?
00:48:52What do you expect me to do?
00:48:53Well, you could have gotten out of all this in here.
00:48:56You could have stopped killing.
00:48:58And become what?
00:49:00The only thing I have ever been good at is handling a gun.
00:49:05Any place I ever rode from the decalas to the Mexican border,
00:49:08men have been shooting and killing.
00:49:11They kill for love, for hate, and for money.
00:49:14I never cared enough about anybody to hate them.
00:49:17And I've never been close enough to love them.
00:49:21So you see, I kill for money.
00:49:25It's easy to be wrong about a man, especially when he makes his living by a gun.
00:49:30But you didn't kill for money.
00:49:32You had to prove something or hide something.
00:49:37I've been wrong about you.
00:49:40They didn't give me to talk about me.
00:49:42No.
00:49:45About that question you wanted to ask me, I don't know how to answer it.
00:49:50Except maybe give you my blessings.
00:49:55What good would that do me?
00:49:57No good.
00:49:59No good at all.
00:50:01Marshal, get up.
00:50:07Why?
00:50:08I wouldn't want to shoot a man who was sitting down.
00:50:11That'd be a hanging offense.
00:50:12Nobody killing you would hang in this town.
00:50:15Les!
00:50:16This ain't got a thing to do with you, Joe.
00:50:18But him and Sally.
00:50:19What about him and Sally?
00:50:21Don't matter.
00:50:23She can always go put cozies on his grave.
00:50:26Well, now, I ain't dead yet.
00:50:27That's what's making me sick to my stomach.
00:50:30Get up, Mr. Marshal.
00:50:33Wouldn't shooting me in the back from a dark alley be safer?
00:50:35You're doing a lot of talking, ain't you?
00:50:38You and me throwing down on each other.
00:50:41That's almost funny.
00:50:43But with Jill and me the way we are,
00:50:45and you taking her daughter up in the hills.
00:50:50Now who's doing the talking?
00:50:56I'm waiting for you, tall man.
00:50:58Unless he's not what you think.
00:51:07Why didn't you kill him?
00:51:12There wasn't a bounty on you.
00:51:43I'm waiting for you.
00:51:43Senor.
00:51:49I got something for you.
00:51:51Better than the medicine for the hands.
00:51:54Something for who?
00:51:56For the senorita you took to the dance.
00:52:00Oh, she was just somebody that I happened to.
00:52:02Do you think I never knew a man?
00:52:04It cannot be hidden what is between you and the senorita.
00:52:08Well, what's in it?
00:52:12A nightgown made of the finest silk with the most beautiful lace.
00:52:18It came from Spain many years ago.
00:52:22How much?
00:52:24I am not always a storekeeper, senor.
00:52:28I pray to accept it as a gift.
00:52:47I thank you very much, Mrs. Bonaventura.
00:53:10I thank you very much.
00:53:26How's Patton?
00:53:27He's fine, fine.
00:53:30Kind of damaged a bit, but fine.
00:53:32You ain't finished talking.
00:53:36One of the bullets severed a tenor in his wrist.
00:53:39After the wound's healed,
00:53:42he ought to be just as good a gunslinger as I am a horseman.
00:53:45This is getting awfully restless.
00:53:47The drug I gave him hasn't taken effect yet.
00:53:49That marshal's got to be killed.
00:53:52That's all right.
00:53:54All you have to do is find the right man for the job.
00:53:57He's got to be killed tonight.
00:53:59Don't you think you'd better take a good look at him?
00:54:01We'll risk better once Sloan here
00:54:03has made arrangements for the marshal's killing.
00:54:06Look, if you're nursing any idea, I'm going up against him alone.
00:54:09No one's going up against him alone.
00:54:32What are you worrying about that marshal for anyhow?
00:54:35I'm not.
00:54:36Not him or any other man.
00:54:38Outside of killing each other,
00:54:39there's only one thing they're good for.
00:54:41Not much good at that either.
00:54:47I don't like ganging up on a man.
00:54:50Now, now, Mr. Brent,
00:54:51were you aiming to take him on all by yourself?
00:54:54The marshal's a federal peace officer
00:54:56and the man he killed's an outlaw.
00:54:59Are we trying to make mounds safe for outlaws?
00:55:01You must be awful scared of him.
00:55:03You are?
00:55:05But not of you.
00:55:07You wouldn't be thinking of warning him now, would you, Mr. Brent?
00:55:10Wouldn't do him a bit of good if I did, or you either.
00:55:13All I want's a drink.
00:55:18This is a saloon, ain't it?
00:55:20Let the man get his drink.
00:55:25Evening, Sheriff.
00:55:26Where's the marshal?
00:55:27Welsh.
00:55:28How many bounty hunters you got stopping here?
00:55:30Upstairs in his room,
00:55:31and I wouldn't call him a bounty hunter to his face.
00:55:32There's a mob on its way over here right now
00:55:34figuring on doing a whole lot worse than that.
00:55:36Sally!
00:55:40Are you sticking with him?
00:55:42I am.
00:55:44Then get him out of here, honey.
00:55:48Oh, Mama.
00:55:50Please help me.
00:55:51He won't listen.
00:55:54If he's what you want, make him listen.
00:55:57Look, take him to my house.
00:55:59They won't be looking for him there.
00:56:01Hurry.
00:56:02Oh, yes.
00:56:21What's going on?
00:56:23The marshal's inside.
00:56:25We're going to get him.
00:56:32Charles, you said we was coming to town only for Khan's funeral.
00:56:37Maybe you'll turn out to be a double funeral.
00:56:39If you kill the marshal,
00:56:41you know what else will be buried up on Boothill tomorrow morning?
00:56:44All the peace and decency of our whole lives.
00:56:49Two of you men stay out here.
00:56:55What room's the marshal in?
00:56:57You're asking questions with a gun in your hand, Sloan.
00:56:59I'll apologize for that some other time.
00:57:01Right now, what's his room?
00:57:02You ain't going to use my hotel for a slaughterhouse.
00:57:05We don't have to bother Mr. Cravey.
00:57:08Will's going to tell us.
00:57:10Ain't you, Will?
00:57:12I'm not running.
00:57:13There's a dozen men down there.
00:57:15What are you trying to prove?
00:57:16How brave you are before you die?
00:57:18I'm not interested in being brave.
00:57:19You're going to tell us, Will.
00:57:21Come on.
00:57:22Room seven.
00:57:25Ain't nobody going upstairs.
00:57:26I think you're forgetting who put you in office.
00:57:28I think you're forgetting what you put me in office for.
00:57:45You're going to kill him.
00:57:48Kill him.
00:57:56Clear it up.
00:57:57Likely, he's finding the doings more interesting than the girls' room.
00:57:59Come on.
00:58:10You two check the balcony.
00:58:12Come on with me.
00:58:13Hank.
00:58:17Look at this, Tex.
00:58:18What for?
00:58:19There ain't no one in it.
00:58:20Come on.
00:58:24He's got to be out here somewhere.
00:58:41All she has to do is scream.
00:58:43We've only got one way to go.
00:58:52He got out of the hotel somehow.
00:58:55Did you see him maybe coming down those stairs?
00:58:59No.
00:59:08You better take your wife inside.
00:59:10Book rooms for yourselves.
00:59:11As far as the marshal goes, why, he can't have got far.
00:59:14We'll keep looking.
00:59:27If they find us...
00:59:29There's no reason why they should.
00:59:30If something happens, I want you to tell me at least once.
00:59:35Tell you what?
00:59:36That you love me.
00:59:44Why do, Sally?
00:59:48I love you more than anything.
01:00:07I love you.
01:00:17Get Doc Webber quick.
01:00:21I don't think this is exactly what you had in mind.
01:00:24But you accomplished something tonight.
01:00:27Call it enough.
01:00:31We didn't want no harm coming to Jill.
01:00:34That ought to help her.
01:00:39Get him out of here before he comes to.
01:01:41Has she got a chance?
01:01:44A couple of hours, more or less.
01:01:47Don't make much difference.
01:01:52She wasn't going nowhere.
01:01:55A woman like her gets old sudden, quick.
01:01:59Once she does...
01:02:05It's my fault she's dying.
01:02:09Don't be so exclusive, son.
01:02:11She died because of me, too.
01:02:15Twenty years ago, when Sully's part took off, I could have asked Jill to marry me.
01:02:19But I was too proud.
01:02:22Too proud of being a cripple.
01:02:31You ought to understand that.
01:02:50Mom?
01:02:53Mom?
01:02:58Mom?
01:03:06It was nice of you to come by and visit.
01:03:14Oh, Mama.
01:03:17I had been any good to you since the day I was born.
01:03:20Oh, you were someone I could love without fear of losing.
01:03:28But I lost you a long time ago, didn't I?
01:03:31Oh, Mama.
01:03:36Oh, Sally.
01:03:39Do you think that you could keep it from Les that he was the one?
01:03:47You're going to be all right, Ma.
01:03:53Then why am I so afraid?
01:03:59Yes.
01:04:13I'll be right.
01:04:15Oh, Molly.
01:04:16Oh.
01:04:17Huh?
01:04:44Man don't know how many friends he's got till he dies.
01:04:48Sometimes he makes more friends by dying than by anything else he ever done.
01:04:53Beautiful day for Khan's funeral.
01:04:56Too bad he ain't alive to appreciate it.
01:05:16Sally?
01:05:21I've got to tell you why I've become a bounty hunter.
01:05:25You don't have to, Luke.
01:05:27Yes, I do. Yes, I do.
01:05:30You know, being short, nobody ever takes me seriously.
01:05:34When I was a kid, it became kind of a joke.
01:05:37I didn't like that.
01:05:41So I got out and became a bounty hunter.
01:05:45I went to new places, met new people.
01:05:50And wherever I went, the life and went with me.
01:05:55That I'd killed and kept going.
01:06:00Now I've got to get up to where they're burying con me.
01:06:05I thought after you told me you loved me.
01:06:08I thought after my...
01:06:10After what happened, it'd make a change.
01:06:16I'll sign that paper, Luke.
01:06:18You can take it back to St. Louis and get your $200.
01:06:22Anything I get will be up at Boot Hill.
01:06:23Don't you know yet that no matter how many men you kill...
01:06:26It ain't gonna make you an inch taller.
01:06:30But you're going anyway.
01:06:33I hope they don't kill you.
01:06:36But if they do, I don't have no more tears.
01:07:13I am the resurrection and the life.
01:07:16He that believeth in me, though he were dead, yet shall he live.
01:07:23And whosoever liveth and believeth in me shall never die.
01:07:38Earth to earth, ashes to ashes, dust to dust.
01:07:46Ensure uncertain hope of the resurrection.
01:07:52Mr. Maynard, I'm the man who killed your brother.
01:08:09Mr. Maynard.
01:08:11Mr. Maynard.
01:08:12Mr. Maynard.
01:08:12Mr. Maynard.
01:08:14Mr. Maynard.
01:08:15Mr. Maynard.
01:08:25Mr. Maynard.
01:08:27Mr. Maynard.
01:08:29Mr. Maynard.
01:08:31Mr. Maynard.
01:08:50There was faith in your gun.
01:08:55I had to let Maynard's brother get at me.
01:08:58I owed it to him.
01:09:02I owed it to myself, maybe.
01:09:07Dead's a funny thing.
01:09:08So much depends on who he owes him to.
01:09:12A man who rode into town a couple of days ago with a warrant in his pocket wouldn't know what
01:09:15you're talking about.
01:09:17Oh, he'd have known.
01:09:20But he wouldn't have accepted it.
01:09:29Doc, I have to belong to some place.
01:09:33I'd have to become a part of someone.
01:09:36What chance would I have had of staying in Mound if I hadn't thrown my gun away?
01:09:40What chance would I have of walking down a friendly street?
01:09:47Well, I'll try to get up.
01:09:56Doc, I got no regrets for killing Maynard.
01:10:00But I sure wish I wasn't the one that done it.
01:10:03There's a boot hill in every town where the dead are hidden in the ground and forgotten.
01:10:09There's a boot hill in every man's soul too, Mr. Welch.
01:10:13You mean that the dead passed?
01:10:15Buried's dead, huh?
01:10:16It will anyway.
01:10:17I'll go away.
01:10:47I'll go away.
01:10:53Sally?
01:10:58Luke.
01:10:59I lost my gun somehow on the way to Boot Hill.
01:11:08Luke.
01:11:10Well, you ought to see the other fella.
01:11:13Not a mark on him.
01:11:47It's in the middle of town as well.
01:11:49When was the other fella?
01:11:56You're too late.
01:11:57You're too late.
01:11:59You're too late.
01:12:00You're too late?
01:12:01You're too late, and it's still late.
01:12:02Ooh, I see.
Comments