- 6 hours ago
## 🎬 Convict Stage (1965) – Public Domain – Western | Action | Drama
**Convict Stage** is a tense, claustrophobic 1965 Western directed by **Lesley Selander** and starring **Harry Lauter**, **Donald "Red" Barry**, and **Jodi Mitchell**. Produced during the twilight of the traditional Hollywood Western, the film is noted for its "pressure cooker" atmosphere and its focus on character conflict within a confined space.
As a 1965 production that entered the **Public Domain**, it is a gritty example of the "Stagecoach" subgenre, where a diverse group of strangers is forced to cooperate to survive both internal betrayals and external threats.
---
## 📖 Plot Summary
The story follows a stagecoach journey across a dangerous stretch of territory, carrying a particularly volatile cargo: a group of convicted outlaws being transported to face justice.
**The high-stakes journey features:**
* **The Driven Avenger:** Ben Lattimore (Harry Lauter) joins the stagecoach with a hidden motive—to find the men responsible for the murder of his sister. He soon discovers that the killers may be among the convicts being transported.
* **The "Convict" Conflict:** The tension inside the coach is palpable, as the guards struggle to maintain control over the desperate prisoners who are looking for any opportunity to "Escape Or Die."
* **The External Threat:** The journey is further complicated by the constant threat of an ambush from the Maury Gang, who are determined to intercept the coach and free their captured comrades.
* **The Moral Dilemma:** As the situation escalates, the lines between the lawmen, the innocent passengers, and the criminals begin to blur, forcing each character to reveal their true nature under pressure.
* **The Final Stand:** The film culminates in a desperate, high-key shootout at a remote relay station, where Lattimore must decide if his quest for vengeance is worth the lives of everyone on board.
---
## 🎥 Style & Legacy
* **Lesley Selander’s Expertise:** A master of the B-Western, Selander keeps the pacing tight and the action grounded, utilizing the cramped interior of the stagecoach to build maximum psychological tension.
* **Harry Lauter’s Performance:** Known for his versatility in Westerns and Sci-Fi, Lauter brings a rugged, determined intensity to the role of Lattimore, providing a strong emotional anchor for the film.
* **High-Contrast Cinematography:** The film features sharp, high-key lighting that emphasizes the grit and dust of the trail, ensuring 100% visibility during the intense close-ups and the wide-angle action sequences.
* **Character-Driven Action:** Unlike the more "heroic" Westerns of the 1940s, *Convict Stage* reflects the mid-60s trend toward more complex, flawed protagonists and a more realistic depiction of frontier violence.
* **The "Stagecoach" Legacy:*
**Convict Stage** is a tense, claustrophobic 1965 Western directed by **Lesley Selander** and starring **Harry Lauter**, **Donald "Red" Barry**, and **Jodi Mitchell**. Produced during the twilight of the traditional Hollywood Western, the film is noted for its "pressure cooker" atmosphere and its focus on character conflict within a confined space.
As a 1965 production that entered the **Public Domain**, it is a gritty example of the "Stagecoach" subgenre, where a diverse group of strangers is forced to cooperate to survive both internal betrayals and external threats.
---
## 📖 Plot Summary
The story follows a stagecoach journey across a dangerous stretch of territory, carrying a particularly volatile cargo: a group of convicted outlaws being transported to face justice.
**The high-stakes journey features:**
* **The Driven Avenger:** Ben Lattimore (Harry Lauter) joins the stagecoach with a hidden motive—to find the men responsible for the murder of his sister. He soon discovers that the killers may be among the convicts being transported.
* **The "Convict" Conflict:** The tension inside the coach is palpable, as the guards struggle to maintain control over the desperate prisoners who are looking for any opportunity to "Escape Or Die."
* **The External Threat:** The journey is further complicated by the constant threat of an ambush from the Maury Gang, who are determined to intercept the coach and free their captured comrades.
* **The Moral Dilemma:** As the situation escalates, the lines between the lawmen, the innocent passengers, and the criminals begin to blur, forcing each character to reveal their true nature under pressure.
* **The Final Stand:** The film culminates in a desperate, high-key shootout at a remote relay station, where Lattimore must decide if his quest for vengeance is worth the lives of everyone on board.
---
## 🎥 Style & Legacy
* **Lesley Selander’s Expertise:** A master of the B-Western, Selander keeps the pacing tight and the action grounded, utilizing the cramped interior of the stagecoach to build maximum psychological tension.
* **Harry Lauter’s Performance:** Known for his versatility in Westerns and Sci-Fi, Lauter brings a rugged, determined intensity to the role of Lattimore, providing a strong emotional anchor for the film.
* **High-Contrast Cinematography:** The film features sharp, high-key lighting that emphasizes the grit and dust of the trail, ensuring 100% visibility during the intense close-ups and the wide-angle action sequences.
* **Character-Driven Action:** Unlike the more "heroic" Westerns of the 1940s, *Convict Stage* reflects the mid-60s trend toward more complex, flawed protagonists and a more realistic depiction of frontier violence.
* **The "Stagecoach" Legacy:*
Category
🎥
Short filmTranscript
00:00:07Throw down that strong box.
00:00:46You're sure getting mighty handy with them guys, Johnny boy.
00:00:49Yeah, it's too bad Ma wasn't here to see you.
00:00:52She'd be mighty proud of you.
00:00:57I kind of wish, though, that you hadn't had to kill that girl.
00:01:03Yeah.
00:01:23Yeah.
00:01:28Yeah.
00:01:41Yeah.
00:01:42Yeah.
00:02:38I know what you're thinking, Lattimore, but you let the law take care of this.
00:02:45This is the only law those two understand.
00:03:25I know what you're thinking.
00:03:43I know what you're thinking.
00:04:13I know what you're thinking.
00:04:41I know what you're thinking.
00:05:23I know what you're thinking.
00:05:58I know what you're thinking.
00:06:22I know what you're thinking.
00:07:03I know what you're thinking.
00:07:35I know what you're thinking.
00:07:42I know what you're thinking.
00:08:18I know what you're thinking.
00:08:47I know what you're thinking.
00:09:07I know what you're thinking.
00:09:38I know what you're thinking.
00:09:55I know what you're thinking.
00:10:29I know what you're thinking.
00:10:33I know what you're thinking.
00:10:35I know what you're thinking.
00:11:11I know what you're thinking.
00:11:50I know what you're thinking.
00:11:58I know what you're thinking.
00:12:01I know what you're thinking.
00:12:10I know what you're thinking.
00:12:30I know what you're thinking.
00:12:31I know what you're thinking.
00:12:51I know what you're thinking.
00:13:02I know what you're thinking.
00:13:02John Wesley Harden was a Sunday school boy.
00:13:04My, my, my.
00:13:06And one of them is just a child.
00:13:08Well, so was Billy the Kid.
00:13:10You still want a ticket?
00:13:13Well, you see, my daughter is going to have a baby.
00:13:15But don't you remember?
00:13:17I telegraphed last night to her husband that I was coming.
00:13:21Well, you'll have to sit on top with the driver.
00:13:24It's good enough.
00:13:25So are you, miss.
00:13:26How about me?
00:13:28You sit inside.
00:13:30Are those murderers?
00:13:31There's always the more.
00:13:49Who are these people?
00:13:52Passengers.
00:13:53I'm still running a stage line.
00:13:56Two of them got through tickets, so I can't kick them off.
00:13:59And, uh, you see, a lady's going to have a baby.
00:14:02At my age?
00:14:03He means my daughter is going to have one.
00:14:06Well, I'd appreciate it if you folks would take the next stage.
00:14:09I got some desperate men here.
00:14:11Well, Marshal, I just have to be with my daughter.
00:14:14You see, this is her first child.
00:14:15And I just can't wait.
00:14:18I reckon there ain't nothing I can do about it.
00:14:20But you ladies will have to ride up top.
00:14:22It's safe up there.
00:14:27What's your name, mister?
00:14:29Sam Gill.
00:14:30Occupation.
00:14:31Drummer.
00:14:34I'll take that, Mr. Gill.
00:14:36I may need it to protect myself.
00:14:38Any protecting needs to be done, I'll do it.
00:14:45There's a lot of gun for a drummer.
00:14:48I ride the stages a lot, Marshal.
00:14:50They get stuck up a lot.
00:14:53Hop aboard.
00:15:02When Ben Lattimore gets here, I want you to keep your mouth shut.
00:15:05Tell everybody else to. I don't want him catching up to us.
00:15:07What's the matter? Are you scared of him, Jethro?
00:15:10The Bible says a man's lifespan is three score and ten years.
00:15:14I got ten more to go.
00:15:16Expect to be around at the finish.
00:15:30This will be a pretty dusty trip, ma'am.
00:15:34The warm old man of Cottonwood will be stopping long enough to change horses.
00:15:38Oh, yeah.
00:15:39Tell him to try to stay sober.
00:15:40Get up there.
00:16:22The warm old man who can come and gather all his photos.
00:16:24Of the disponible
00:16:24How could be the most handsome?
00:16:24Where is the man sees a bomb?
00:16:24One whole year.
00:16:25And to the viewer, he's solaus.
00:16:26Jethro what he hoodie looks flat Umm...
00:16:40THE END
00:17:07THE END
00:17:37THE END
00:18:12THE END
00:18:18THE END
00:18:18THE END
00:18:20THE END
00:18:20THE END
00:18:20THE END
00:18:20THE END
00:18:21THE END
00:18:21THE END
00:18:21THE END
00:18:21THE END
00:18:21THE END
00:18:21THE END
00:18:21THE END
00:18:23THE END
00:18:23THE END
00:18:23THE END
00:18:23THE END
00:18:23THE END
00:18:23THE END
00:18:24THE END
00:18:24THE END
00:18:24THE END
00:18:24THE END
00:18:24THE END
00:18:24THE END
00:18:24THE END
00:18:24THE END
00:18:25THE END
00:18:25THE END
00:18:25THE END
00:18:25THE END
00:18:25THE END
00:18:25THE END
00:18:25THE END
00:18:28THE END
00:18:33THE END
00:18:35THE END
00:18:36THE END
00:18:36THE END
00:18:36THE END
00:18:47THE END
00:18:49THE END
00:18:51THE END
00:18:52THE END
00:18:52THE END
00:18:52THE END
00:18:53THE END
00:18:53THE END
00:19:06JUST A COUPLE INDIN'
00:19:07GOOD WE'LL BLAME IT
00:19:07ON THEM
00:19:08HOW
00:19:09TAKE THEM OUT
00:19:10AND BURY HIM
00:19:10EVERYBODY KNOWS
00:19:11YOU CAN'T TRUST
00:19:11AN INDIAN
00:19:12WE LOST A FEW MEAN
00:19:13HOW DO YOU EXPLAIN
00:19:13THEIR BUDDIES AWAY
00:19:14THE OLD MAN WILL LEG
00:19:15FOR THE BUSZARDS
00:19:16ALRIGHT
00:19:42now you just give the keys to the drummer there then lock your hands behind your head
00:19:47could be that gun ain't loaded well maybe i'll just pull the trigger and see the keys i ain't got
00:19:54them sonny
00:19:56gave them to pay you just before we pulled out he's lying jeb no he isn't i i saw him
00:20:02do it pull the
00:20:03trigger well dixon will hear the shot next thing you know him and that indian will have their gun
00:20:12sticking through both them windows chances are they'll take you both back to patchy wells
00:20:18turn you over to ben lenimore or then again they they just might shoot you if you're done with it
00:20:32don't let them bluff you jeb i never bluff sonny i like life just as much as you do
00:20:41now why don't you just give me that gun and let me load it
00:20:55what we had a chance and you you you passed it up well no no there'll be there'll be others
00:21:10why you buzzard you i don't like riding on rough roads with loaded shotguns
00:21:18sometimes you just go off by themselves
00:21:24so i'll just keep old betsy pointed at you two in case that happens
00:21:42now they were here yesterday but they're not here today
00:21:47why could it be that somebody might have warned the marshal that i was coming
00:21:56yeah telegraph key now he didn't take them out of town on horsebacks they must have used the stage
00:22:03what stage mister well now i ain't at liberty to tell you anything mr latimore
00:22:13now come on now put that thing away unless i misinformed you never shot an unarmed man before
00:22:19well i never had any cause to until now
00:22:23the marshal's my friend he told me not to tell you anything
00:22:27now if that's cause for killing go ahead let's say i had shown up unexpectedly would you have helped
00:22:33them stand me off well not me or anybody else now we don't care how jeb and johnny simms die
00:22:41just so
00:22:41they die well they got a lot of friends in the territory friends that might help them if they had
00:22:45a chance now if i don't kill them they just may not die well now i'll tell you something their
00:22:51friends
00:22:51ain't going to get them out of territorial prison well thanks
00:22:56did i say anything for you to thank me for yeah uh-huh now you know if anybody around here
00:23:01has got
00:23:02a good horse for sale mine's just about had it and it's a long long ride to the territorial prison
00:23:08even if you know the shortcuts
00:23:50let's get out of here
00:23:51that's my old man over there marshal
00:24:08horse is gone old man dead indian boy's gone you think they killed him no good boys
00:24:15take a look around while i get a shovel too bad he was on no good old drunk so leave
00:24:22him two buzzards
00:24:23you don't do that to your old man piute
00:24:30somebody please help me down you stay where you are ma'am we may have to get out of here
00:24:34in a hurry
00:24:38any science to tell you who might have done it no looks like they wanted the horses well maybe
00:24:43they didn't want us to have them dicks i know how you feel about your old man but we've got
00:24:48to get
00:24:49out of here fast son i'm burying them and that's that
00:24:56lady i told you to stay put them that done this might still be around oh dear i didn't think
00:25:02of that
00:25:04but since i'm down i might as well stay down
00:25:08i'll take a look at your bag what on earth for women have been known to carry derringers hey old
00:25:14man you'd better search her she might have one in her bustle i have a good mind to slap your
00:25:20impertinent face you stay away from them they kill women i wish now i'd stayed in apache wells and
00:25:28turn them over to ben latimore
00:25:43i don't think indian boy's dead you want i find bodies no i just want to plant the old man
00:25:52and get
00:25:53out of here
00:26:15that's good dicks
00:26:18a bottle would be more appropriate
00:26:25how about give me my gun back marshall i can be some help if we're attacking you want to help
00:26:31help her up top and you better tire down hey dicks hurry up
00:26:54say prayer dicks not for him for us
00:27:05mom
00:27:50Now what?
00:27:51Sorry, folks, you're going to have to walk for a while.
00:27:54Otherwise, we'll never make it up this great.
00:28:02Dicks, they held too much for horses.
00:28:04Everybody walked.
00:28:06Well, that's all right with us, ain't it, Johnny?
00:28:08When Dicks said everybody walk, he didn't mean you to.
00:28:13Paiute, take the other side.
00:28:15Get down!
00:28:25Shouldn't you be running behind us?
00:28:28Marshal say, watch them.
00:28:29They cannot run away chained up like that.
00:28:33But somebody might sneak up behind us into dust.
00:28:36You want to see behind?
00:28:38Go back there.
00:28:55Let's get out of here.
00:29:03Ah!
00:29:15Ha!
00:29:36Why don't we stop in Calico and get some fresh horses?
00:29:40I wish I could, ma'am, but nobody lives there anymore.
00:29:43When the goal ran out, everybody pulled up stakes.
00:29:48And the only thing alive yonder is rats, bats, and rattlesnakes.
00:29:51At this rate we'll never get to Moccasin.
00:29:54Well, if we go any faster, ma'am, we'll never make the next relay station 15 miles away.
00:29:59Get up there!
00:30:13Let's go.
00:30:14Let's go.
00:30:17Let's go.
00:30:21Let's go.
00:30:30Let's go.
00:30:38Let's go.
00:31:16Dix, come take a look.
00:31:25Pile!
00:31:26Everybody stay where you are.
00:31:28Watch the prisoners.
00:31:37That took a bit of doing.
00:31:51A few sticks of dynamite.
00:32:00You're beginning to rile me, ma'am.
00:32:02You get right back up there.
00:32:03I just wanted to look.
00:32:05You can see all there is to see from up there.
00:32:08Inside.
00:32:09I'll get myself shot.
00:32:12Hello, Jethro.
00:32:15Did you wreck the bridge?
00:32:17No, it was down when I got here a half hour ago.
00:32:21See, somebody else beside myself is interested in that scum that you've been protecting.
00:32:29Now, I can pick both of those boys off real quick.
00:32:32But I'd rather give them a chance.
00:32:34That's more than they gave my sister.
00:32:36You get them out of there and turn that stagecoach around and go back the way you came.
00:32:41But leave the keys with me so I can take off those handcuffs.
00:32:45Then what?
00:32:47Well, I brought along a spare one, Jethro.
00:32:50I thought they might take turns using it.
00:32:55Well, that isn't exactly what I'd call a chance, Ben.
00:32:58I've seen you in action.
00:32:59Have you seen them?
00:33:01They've killed a lot of people, Jethro.
00:33:03And not always in the back.
00:33:06The lawman's job is to protect his prisoners.
00:33:09See they get a fair trial.
00:33:11I don't trust juries.
00:33:12Now hop to it and get them out of there.
00:33:14Do what he says, Marshal.
00:33:15I want to get this stage out of here.
00:33:19Well, then turn it around.
00:33:23I've lived a long time without taking orders from a gunfighter.
00:33:28I'm too old to start now.
00:33:36Hold it, Ben.
00:33:39Sims boys deserve killing.
00:33:41Take chains off.
00:33:43Whoever wrecked that bridge didn't do it for fun.
00:33:45Let him have them.
00:33:46I want to stay in one piece.
00:33:48Boys take pistol.
00:33:49We're in worse soup.
00:33:51Ben, I won't let you murder them.
00:33:54I wanted to murder them.
00:33:55They'd be dead by now.
00:33:58Are their deaths more important than our lives?
00:34:00I'm saving your lives by taking them off the wagon.
00:34:04Will you let us get rolling?
00:34:06I've got a tired team here and I've got no place to go but back.
00:34:09Come on along with us.
00:34:10We can use your guns.
00:34:12Oh, there's no use talking to him.
00:34:15He's so full of hate, nothing else matters to him.
00:34:18Let him go, Marshal.
00:34:20He wants his blood.
00:34:22Let him have it.
00:34:23He's beyond decency.
00:34:25Beyond reason.
00:34:30All right, the killing can wait.
00:34:32Turn the wagon around.
00:34:33I'll ride with you.
00:34:45Come on, miss.
00:34:46We got no more time to waste.
00:34:48Too bad.
00:34:49Gunfighters weigh much better.
00:34:51Maybe shotgun go off by mistake.
00:34:53Huh, chief?
00:34:54Both barrels.
00:34:56Get aboard, you bloodthirsty savage.
00:35:28Gunfighters weigh much better.
00:35:47Stop up ahead up there.
00:36:13You know, nobody's been over that road to Calico in a dog's age.
00:36:17Why should they be? Town's been dead for 40 years.
00:36:21Still plenty of water, feed, and shelter up there. I say it's a good place to hold out.
00:36:26I don't think that road back to Apache Wells will be going to be particularly safe tonight, not with a
00:36:30team that can barely walk.
00:36:34What you're suddenly interested in us for, Ben? I thought all you wanted to do was to kill my prisoners.
00:36:39That's still the only interest I have, but I still say let's hole up in Calico.
00:36:45What do you think, Dix?
00:36:47Well, if I'm going to get shot at, I'd just soon be inside. There's nothing to hide behind up here.
00:36:52And he's right about the horses. They're beat.
00:36:56Well, I wish you'd thought of it instead of Lattimore.
00:37:00I've never seen a gunfighter you could trust.
00:37:03Nobody's asking you to trust me. I'm here for only one reason.
00:37:07It's taken me a long time to catch up with those two, and I don't intend to let them get
00:37:11away.
00:37:13Well, maybe what you're suggesting is just what those men who blew up the bridge want us to do.
00:37:19Maybe we're walking right into a trap.
00:37:22Traps are easy to see in the daylight.
00:37:25Besides, maybe you've got something here they don't expect.
00:37:28Me?
00:37:31You make the difference.
00:37:34Why don't you ask your prisoners?
00:37:37Turn me loose and give me a gun.
00:37:40And you'll be looking at the man who killed Ben Lattimore.
00:37:46I might just do that, Sonny.
00:37:49One way or the other won't make any difference to the world.
00:37:56All right, Dick, let's fix this man's advice.
00:38:04Here, pal.
00:38:08Here, pal.
00:40:36What do you think, Payet?
00:40:40Wind blows signs away, maybe.
00:40:42Yeah, maybe.
00:40:44This best place?
00:40:46Yeah, I'll take a look inside here.
00:41:12I'll take a look inside.
00:41:41There may be some more in here.
00:41:49You're a man?
00:41:51No.
00:42:12Look, I thought I told you to wait outside.
00:42:15Why should I listen to you, Ben?
00:42:16You never listen to me.
00:42:18Well, we'll talk about that later.
00:42:19Later.
00:42:20The shooting will be over and either they'll be dead or you will.
00:42:23There won't be any shooting for a while.
00:42:25But eventually there will be.
00:42:27Where you are, there always is.
00:42:28My being here has nothing to do with it.
00:42:30Ben.
00:42:31Look, who ran out on who?
00:42:33You know why I ran out.
00:42:35I don't like to be touched by hands with blood on them.
00:42:38Sally, I've told you before.
00:42:40You picked the wrong man.
00:42:41You should have looked at my hands the day we met.
00:42:55All right, you two, out.
00:43:09Now inside.
00:43:11You know, if you were smart, you'd let us go.
00:43:13We'll be free by tomorrow anyway.
00:43:16We got friends.
00:43:18Who, uh, who do you think wrecked that bridge?
00:43:21Shut up, Johnny.
00:43:22If you do have friends, and if they do show,
00:43:25you ain't gonna be in no condition to meet them.
00:43:28Now get inside.
00:43:47Right in there, Marshal.
00:43:49Yes.
00:43:59Over there.
00:44:01Marshal, we couldn't find any beds or chairs,
00:44:04so your prisoners have to sleep on the floor.
00:44:06Sit down.
00:44:08We won't be staying long.
00:44:10I sure hope not.
00:44:12Soon after Marshal puts you back to jail where you belong,
00:44:15to better.
00:44:15Yak, yak, yak.
00:44:16Will you get her out of here, Marshal?
00:44:19I mean, being chained up's bad enough.
00:44:21Without listening to a gabby old woman.
00:44:23I have got a good mind to put you over my knee.
00:44:27No, Johnny.
00:44:28Our ma should have done that to us a long time ago.
00:44:31Then we'd turned out to be fine upright citizens.
00:44:34Like a marshal here.
00:44:36It's a little late to start blaming your ma, ain't it?
00:44:39She's got a lot to be blamed for.
00:44:41Oh, I don't know.
00:44:43Our ma always wanted us to have the good things in life.
00:44:45We've had them.
00:44:46And we'll keep having them.
00:44:48You know, I wouldn't count on that if I were you.
00:44:51Not as long as I'm alive.
00:44:53Well, one day you're gonna run into someone
00:44:55who really knows how to handle a gun.
00:44:58Like you?
00:44:59Like me.
00:45:00Well, you might find things a little different.
00:45:03You see, I'm not a woman.
00:45:05And my back won't be turned.
00:45:08Well, I'll nail the shutters on the windows and that ought to do it.
00:45:13Oh, marshal.
00:45:15You know, when I came in here before, this desk was open.
00:45:18Now, unless Mrs. Gregory is a very, very tiny woman.
00:45:24The help we're gonna get's coming from the outside, Mr. Lattimore.
00:45:28Now, don't get yourself killed.
00:45:30Because, uh, I want that pleasure.
00:45:32Johnny, will you shut up?
00:45:33This man is gunning for you and me.
00:45:35Well, he's got scruples.
00:45:37That's another thing I wouldn't count on.
00:45:52They've got them in the old saloon.
00:45:54It's not gonna be a picnic.
00:45:56They're forgetting one thing.
00:45:57Ma.
00:46:09Marshal, would you call the driver and that nice Indian to come to have supper?
00:46:14As soon as I get through eating, me and Lattimore will relieve them.
00:46:18Well then, that leaves only those two miserable boys.
00:46:22Probably do them both good to go hungry.
00:46:26That wouldn't be Christian, would it?
00:46:29Is it all right if I take them some food or would you rather do it?
00:46:33You take it, ma'am. I gotta watch this window.
00:46:35Ma'am, before you do, and I don't like asking you to do this,
00:46:41but would you let the young lady search her?
00:46:44I ought to be indignant, but I suppose you have to be suspicious of everybody.
00:46:49However, I refuse to undress in public.
00:46:53Back of those curtains, miss.
00:47:01You better start trusting somebody, Marshal. You may need help.
00:47:06I'm gonna need help pretty bad before I start trusting the man who calls himself a drummer
00:47:11and carries a 38 double action coat.
00:47:15Carried, Marshal, past tense.
00:47:18You took it.
00:47:20I could have told him it was ridiculous.
00:47:23Oh, don't blame him, Sally. He's a worried man.
00:47:26Well, if I were you, I'd be very angry.
00:47:28And we are dealing with murderers now. Don't forget that.
00:47:33She had a Gatling gun in her bustle.
00:47:36Oh, Sally, don't. Don't.
00:47:38You're upsetting to poor man.
00:47:41I'd do what I think needs to be done.
00:47:50Uh, keep the door open.
00:47:52Why?
00:47:54If she gets too close to them, I grab her.
00:48:00Say something loud and mean.
00:48:04About time you gave us something to eat.
00:48:07Can't you at least give us something to wash this muck down with?
00:48:09Having children myself, I hate to say this, but hanging is too good for you.
00:48:15Your uncle and his man will be here before morning.
00:48:21Hey, I knew Ma wouldn't let us down.
00:48:23She let us down from the day we were born.
00:48:26Brought us up to rob and kill.
00:48:28And when our old man protested, she kicked him out.
00:48:32Johnny, Ma loves us.
00:48:34Look what she's done. We got guns, and Uncle Adam is on his way.
00:48:38Uncle Hal. He's no kin of ours.
00:48:40He's one of the reasons she kicked Pa out.
00:48:43Well, knowing Pa better than you did, I can't say as I blame her much.
00:48:47He let the whole world walk over him.
00:49:01Drink it up. We want to get these dishes washed.
00:49:04Johnny.
00:49:05You didn't eat anything. Johnny, baby.
00:49:08Don't call me baby.
00:49:10I'm a grown man.
00:49:12I shot a girl in the back, remember?
00:49:16What's wrong with him?
00:49:18He's tired of living. He's scared of dying.
00:49:21Oh, Johnny. Johnny, baby. Everything will be all right.
00:49:33She's sure been in there a long time.
00:49:40Here.
00:49:45Ungrateful little beasts. We should have let them starve.
00:49:48We're not going to live long enough for that.
00:50:16We're not going to live long enough for that.
00:50:26Come on down, Dix. I'll take over while you eat.
00:50:35Be sure and watch that back window.
00:50:37Right.
00:50:44Don't say nothing.
00:50:45Go get yourself something to eat.
00:51:10Thank you, ma'am.
00:51:23What are you doing out here?
00:51:26We left some things unsaid.
00:51:28I didn't want to walk out on you.
00:51:30And I didn't want you to.
00:51:31But you wouldn't do what I asked you to.
00:51:33I couldn't.
00:51:34Nobody kills somebody I love and gets away with it.
00:51:36So bent on vengeance, you destroy us both.
00:51:39Not vengeance. Justice.
00:51:40An eye for an eye isn't justice.
00:51:43Well, in my book it is and always has been.
00:51:45It's not right to kill, Ben.
00:51:46No matter what the provocation, it's just not right.
00:51:49Sally, this is Arizona territory, not a Quaker meeting house.
00:51:52Out here, you don't turn the other cheek and stay alive.
00:51:55You could take off that gun belt like I asked you to.
00:51:58Oh, Sally.
00:52:00Ben, someday you're going to meet someone younger and faster.
00:52:04And then Boot Hill and a gravestone will say,
00:52:07Here lies a man who didn't know when to quit.
00:52:11Honey, I don't want you to die.
00:52:13Well, but you want me to turn the other cheek.
00:52:14Well, that's different.
00:52:16What's different about it?
00:52:17Tonight there's going to be a shooting and somebody will get killed.
00:52:22If I asked you to make the marshal free the Sims boys, would you?
00:52:26If I asked him to free him.
00:52:27So you could kill them.
00:52:28I still have that in mind.
00:52:47I still have that in mind.
00:53:19On the top of that building, you can see the saloon.
00:53:21Get up there.
00:53:22What do you expect me to do?
00:53:24Draw their fire?
00:53:24Just get up there and keep your head down and your eyes open.
00:53:27They got guards posted and I want to know where they are.
00:53:35Wait here.
00:53:38Wait here.
00:53:39Come on.
00:54:09Come on.
00:54:41Come on.
00:54:55Go inside and send Dixon out.
00:54:57Hi-oh!
00:54:58What about the water drop?
00:54:59What was that all about?
00:55:00Well, I guess they're just feeling us out.
00:55:04Marshal, this shotgun's no good at long range.
00:55:06Why don't you go inside and cover, and I'll take over here.
00:55:09Oh, you better give this to the drummer.
00:55:11I ain't too sure about him yet.
00:55:13That character we were just shooting, that didn't come alone.
00:55:15We're gonna need all the help we can get.
00:55:18All right, then.
00:55:41I suppose if I trust Ben Lattimore, I have to trust you.
00:55:47Yeah, it's a beauty.
00:55:49If you have to use it, be sure it's pointed at the right people.
00:55:58Can you use a gun, miss?
00:56:00No.
00:56:01All you have to do is to point it, cock it, and pull the trigger.
00:56:04The Bible says, thou shall not kill.
00:56:07I'm afraid the Sims boys and their friends don't live by the good book.
00:56:11Well, I do.
00:56:13When someone's about to shoot at you, there's no time for quoting scriptures.
00:56:17Anyway, the Bible is full of killing.
00:56:20Marshal, let me have a pistol.
00:56:23I may not be Calamity Jane, but I sure know one end from the other.
00:56:27All right, ma'am.
00:56:29You watch that rear door.
00:56:31You get behind the bar.
00:56:34Gil, you watch the front.
00:56:36I'll take the back window.
00:56:45You spot him?
00:56:46Yes.
00:56:47Get back up there and pick him off.
00:56:48We'll circle the place.
00:57:09Hey, Pistolero.
00:57:10You see him?
00:57:12No, but they're out there.
00:57:16No, but they're out there.
00:57:45No, I'll get back.
00:57:46No, but...
00:57:47...
00:58:04Game, game.
00:58:06Now let's take a stop.
00:58:07No, I'll have to take a stop.
00:58:12Let's take a stop.
00:58:36Come on.
00:58:45Come on.
00:59:35Come on.
00:59:38Come on.
01:00:12Come on.
01:00:55Drop it, Marshal.
01:01:04Handcuff keys.
01:01:07The keys.
01:01:10Give it to me.
01:01:14Come over here.
01:01:18Get the keys out of his mess pocket.
01:01:23Give it to me.
01:01:25Give me those shells.
01:01:36In my left-hand coat pocket gun.
01:01:40Give it to me.
01:01:43Put it in my hand.
01:01:45Can you shoot?
01:01:46I don't know.
01:01:48I don't know.
01:01:49Lift me.
01:01:49Lift me.
01:01:51Lift me.
01:01:51Lift me.
01:01:54Lift me.
01:01:55Lift me.
01:02:05Lift me.
01:02:07Lift me.
01:02:07Lift me.
01:02:09Lift me.
01:02:36It had to be done, girl.
01:02:37Lift me up.
01:02:40Lift me up.
01:02:49Put my finger on the trigger.
01:02:54Cock it.
01:02:56Cock it.
01:02:58Good girl.
01:03:00You shot once.
01:03:01Can you do it again?
01:03:03I think so.
01:03:04Take that pistol.
01:03:06Both hands.
01:03:08Rest it on the bar.
01:03:11Point it at that rear door.
01:03:14And if you miss, pull on the trigger.
01:03:21Johnny, baby.
01:03:22Johnny, baby.
01:03:23Oh, let me go.
01:03:25Come on, Jeb.
01:03:25We're getting out of here.
01:03:28Come on.
01:03:41Come on.
01:03:44Double inside.
01:03:45You go.
01:03:56Adam.
01:03:59Adam.
01:04:06Poor Uncle Adam.
01:04:08I'm not sure going to miss him.
01:04:20Which one of you killed him?
01:04:24I did.
01:04:36She's dead, so you can't help her.
01:04:38And there's somebody with a gun at the end of the bar.
01:04:40And there's somebody with a gun at the end of the bar.
01:04:41Good girl.
01:05:10You run out of help.
01:05:12Who needs it?
01:05:14I do.
01:05:16For one, Johnny.
01:05:19Maybe we better quit while we're still alive.
01:05:21You won't let us stay alive?
01:05:23Well, if we threw out our guns, maybe you will.
01:05:26And then it's up the rope we go.
01:05:32I'm coming out.
01:05:51You'll have to go in and get him, Lottimore.
01:05:54He's a stubborn boy.
01:05:58Nobody's hanging me, gunfighter.
01:06:00When I die, it'll be with a gun in my hand.
01:06:03That suits me.
01:06:05This afternoon, you were going to turn me loose and shoot it out.
01:06:10Still willing to?
01:06:12If that's what you want.
01:06:15I'll, uh, I'll need a gun belt.
01:06:18Ben, please.
01:06:20Don't do it, Ben.
01:06:22You'll have to come and get it.
01:06:24First, those guns you're packing, pitch them out on the bar.
01:06:27Come on!
01:06:47Where is it?
01:06:49Over there on the chair.
01:06:54Come on.
01:06:59They're just fine.
01:07:01There's your gun.
01:07:21Ben.
01:07:23He's only a kid.
01:07:24You can't.
01:07:25It's murder.
01:07:25Oh, he's a few weeks older than he was.
01:07:28But he killed my sister.
01:07:40You're a plain damned fool, Johnny.
01:07:45Yeah, watch.
01:07:48Watch.
01:07:55Watch.
01:08:36I walked out once.
01:08:38I wouldn't have walked out again.
01:08:41How was I to know that?
01:08:43There's a lot more blood on my hands tonight.
01:08:47There's blood on mine, too.
01:09:00Tear up, Johnny.
01:09:02They ain't hanging us.
01:09:03Not yet.
01:09:05You think more friends come?
01:09:07You can never tell.
01:09:09Better not.
01:09:11Blow guts out left hand.
01:09:12Same as right.
01:09:17Men.
01:09:19I don't make mistakes very often.
01:09:22But when I do, they are beauties.
01:09:25I mean, I was wrong about you.
01:09:28If I'd have handed over the keys to the jail to you and Apache Wells,
01:09:32none of this would have ever happened.
01:09:35I don't think you would have handed me the keys.
01:09:51Hi, you.
01:09:53You keep that shotgun cocked and pointed in the right direction.
01:10:09Take care of this.
01:10:18And this.
01:10:26Ha!
01:10:56You keep that shotgun cocked and pointed in the right direction.
01:10:56You keep that shotgun cocked and pointed in the right direction.
01:10:57You keep that shotgun cocked and pointed in the right direction.
Comments