All language subtitles for Two Crosses at Danger Pass-1967

(upbeat instrumental music)

♫ I rose up

♫ Rightfully

♫ For one day somebody broke my heart

♫ To my parents, I sold a lie

♫ In my hands and (murmuring)

(guns firing)

♫ Thursday I promise

♫ Myself to find them in every place

♫ 'Cause I could live upon
the farm without you, babe

(murmuring)

♫ And I'll be no more a man

♫ If I don't kill all them

♫ I can't forget it

♫ What I saw when I was a boy

♫ And now I am a man

♫ I know what I do

(upbeat instrumental music)

(gun firing)

♫ One day I promise

♫ To myself to find (murmuring)

♫ 'Cause I could live up on the farm

♫ Without you, babe

♫ No man could stop (murmuring)

♫ And I'll be no more than man (murmuring)

♫ If I don't all them

♫ I can't forget it

♫ Oh, what I saw when I was a boy

♫ And now I am a man

♫ And I know

♫ What I do

♫ What I do

♫ What I do

(wind blowing)

(horse hoof beats)

- What's the news?

- All bad.

There's nothing we can do, Mitchell.

Moran has stirred everybody up.

Not only his own men,

but half the town will be here tomorrow

to hang Powell.

- They're crazy.

I tell you I'm innocent

even if I can't prove it.

Why, she was nothing but a child,

younger than my own daughter.

- I know, Powell.

I know,

but her body was found on your ranch.

- You know, Mitchell, who the murderer is.

- Yes, I know perfectly well,

but it doesn't mean anything.

They're out to lynch you,

and I've gotta prevent it at all costs.

- Then why don't you
give me a gun and a horse

and give me a chance to get away.

Give me a break.

- No, they'd catch you.

Your flight would be like a confession,

and even if you did escape,

you'd have to go into
hiding like a fugitive.

No, I think there's only one
solution to this, Powell.

Listen, Doc, you better listen too.

Moran knows that the only
way to save you, Powell,

is to ask for help from
the Fourth Regiment,

Fort Barkley.

That's what he's most worried about.

Moran also knows I won't let you get away

and that I want you to be tried.

So I'll have to put
him on the wrong track.

I think I have a plan.

Doc, you head for Fort
Barkley without being seen.

We two will go out together,

and I'll bring him to my ranch.

- That's the first place
Moran will think about.

He'll go there and get him.

- If he does, he won't find him.

I'll tell him he got away.

His men will waste time looking for him

while we'll be able to wait for the escort

that accompanies the southern
California stage coach.

I'll deliver Powell to them

so he'll be able to get a fair trial

when he gets to El Paso.

We can prove that Powell
was an innocent man,

that his only crime was preventing Moran

from taking possession of the
water rights in his ranch.

Then we'll see he'll pay for the murder

of that poor little girl.

Yes, Powell, you'll be able to come back

with your family and a clear name.

Alright, Doc, you better get ready.

We haven't got much time.

- Yeah, good luck to you, Powell.

- It's gonna work out.

You'll see.

Well, now they should see you give up,

but try to make them lose
as much time as possible.

Yeah, good night.

- Good night, Mitchell.

(horse hoof beats)

(foreboding instrumental music)

- He's going to Fort Barkley.

- Go after him.

Take him to Moran, Jay.

(foreboding instrumental music)

(horse hoof beats)

- Powell, I hope it's clear

if anything happens,

I won't let you get away.

(foreboding instrumental music)

- Hold it.

Don't move.

- Put down that rifle, Sam,

or I'll have to arrest you.

- A sheriff who helps a prisoner escape

has no right to arrest anybody.

- I'm transferring the prisoner.

- Three seconds to turn back,

or I'm gonna shoot.

(gun firing)

(murmuring)

- See how our darling daughter helps me.

Alex, where you going?

- To Mr. Miller's.

- Don't be too long.

(foreboding instrumental music)

- You go hide, Powell.

It's Moran and his men.

- Sheriff, I've come to get Powell.

Bring him out.

- You're too late, Moran.

Powell's gone.

He killed one of your men

and escaped to the mountains.

- Then why didn't you go after him?

- In the dark it was useless.

I sent Doc to Fork Barkley.

When he returns with the soldiers,

we'll organize a search.

Don't worry about it.

We'll find him.

- Doc's right here.

He's not getting any soldiers.

- Moran, it's a crime to hold prisoner

a representative of the law,

and you know it.

- Doc is not my prisoner.

He's one of my men,

and when we get rid of you and Powell,

I'll see that he's made sheriff.

Doc here's a smart man,

and he's aiming for a good deal,

so he's decided to work for me.

- You're too late, Moran.

Powell's gone.

(wind blowing)

- Listen, I warn you.

You got 10 seconds.

If you two don't surrender,

I'll shoot down the whole family.

- Wait, where are you going?

- I've had it.

I'll give myself up.

I've already given you enough trouble.

- But can't you see
we've fallen into a trap?

Moran wants the both of us

because he hates you

and because he knows I won't
take any orders from him.

- What can we do?

- Fight him off until the escort arrives

with the stagecoach.

Here, you better have this.

- [Moran] I've lost my patience, Mitchell.

The 10 seconds are up.

(gun firing)

(murmuring)

(guns firing)

(yelling)

(guns firing)

(yelling)

(guns firing)

- You continue shooting.

I'll go upstairs.

I'll try to take them by surprise.

(guns firing)

(yelling)

(guns firing)

- Pa, I--

(foreboding instrumental music)

(guns firing)

- I want you to surround the house.

I want them alive, I tell you.

I'm gonna kill all of them myself.

(glass shattering)

- Calvin, keep me covered.

I'll get in through there.

(guns firing)

(murmuring)

(guns firing)

(dramatic instrumental music)

(murmuring)

(guns firing)

(fire crackling)

(guns firing)

- Hold it.

Stop firing.

Now we're gonna have
some fun with those dogs.

(dramatic instrumental music)

Your gun belt.

- Alright, Moran, you win.

What are you gonna do?

- Very simple.

I'm going to kill all of you.

I wanna see that murderer Powell

swinging from a tree.

You'll be killed too, Mr. Sheriff,

as his accomplice.

- You're a criminal.

Kill me, but my family
had nothing to do with it.

- You murdered my son.

- He died fighting.

He had a gun.

- You're gonna pay for killing my son.

I'm gonna kill your family.

Bring the child here.

- [Sheriff] No.

- [Woman] No.

- [Sheriff] No.

- [Girl] Mama, Mama.

- [Sheriff] Judy.

- Prepare the rope for him.

- Thanks, Sheriff, for
everything you've done for me.

- Pretty little girl you got.

How about your son?

Where's he?

- Lucky thing he's not here.

At least him you won't murder.

- I know you're lying, Mitchell,

but don't you worry.

I'll get your son yet.

- [Man] We're ready boss.

- Well, Powell, you're gonna
get what's coming to you.

You should have known better

than to set yourself against me.

Now you're gonna pay for it.

Alright, get.

(choking)

As you see, Sheriff,

Moran always keeps his word.

He was against me,

so he paid for it,

but I'm willing to save you, Mitchell,

if you do as I tell you.

- It's a thing you
wouldn't understand, Moran,

but I'd rather die than be a murderer.

- Alright, you're through, Mitchell.

(murmuring)

My son is dead.

(yelling)

(crying)

- [Sheriff] You can't do that.

(murmuring)

(crying)

- No.

- Mama.

- [Sheriff] No.

(gun firing)

(murmuring)

(crying)

(gun firing)

- Go ahead.

She'll come with us.

Come on.

(gentle instrumental music)

- Mamma. (crying)

- No, my son.

Killing to obtain food is permitted.

Killing only for the sake of killing

is most wicked in the eyes of our Lord.

You know that.

Come along.

- Father, look.

- Oh.

(gentle instrumental music)

Give me the water.

Who are you, son?

Where is it your parents lived?

(crying)

Mark, go tell your mother

to prepare hot water, milk, and honey.

Hurry, run.

Come on, my boy.

No, leave it.

You won't be needing that anymore.

From now on, you're
never going to need it.

- It was my father's.

(crying)

(wind blowing)

(gun firing)

- That boy never stops
from dawn to sundown.

- He's always at it.

- That boy never stops
from dawn to sundown.

- He's always at it.

His desire for vengeance is
the only emotion he has left.

Best to leave him alone.

- You're right.

Mark, take him a plate of stew

and come right back.

- Alright, Ma.

Smells nice, Ma.

- She'll end up being a cook.

You'll see.

You'll see.

One must never give up hope, my son.

- I don't think that's at all funny.

- Mark.

Almighty God, we thank you for the food

we are about to receive.

Amen.

Well, I tell you, wife,

I am hungry.

- [Woman] Well, eat then.

- I brought you something to eat, brother.

- Well, I'm not hungry, Mark.

- Huh?

Well then, in that case,
I'll eat it myself.

It'll be an extra helping.

I'm glad.

- I'm leaving, Mark.

- You just decided?

- In a kind of way, yes,

but I knew it would happen.

Some time or other

I was counting on coming close

to Danger Pass.

I'm going to look for the man

who murdered my parents.

- So you can kill him, I suppose.

- I don't know.

- Sure you know, to kill him.

- Yes, Moran will pay for it.

Is it a dishonor for a son

to avenge the death of his own parents?

Mark, please,

you must understand me.

It's my bound and duty, Mark.

- We Quakers are enemies
of any type of violence.

We believe that killing is wicked,

against the will of the Lord,

and I think our belief is right.

- No, brother, don't give
me any of your preaching.

- Please, why don't you stay
and think it over, Alex?

- No, Mark, I've already done that.

I've decided.

- So you're really going.

- That's right, Mark.

I'm really going.

- Are you coming back?

- When I find my sister.

I sure hate to leave you all

because you see, after all these years,

your family's my family.

Your mother is my mother,

and you're my brother.

Listen, Mark, you always liked this.

(upbeat instrumental music)

Goodbye, brother.

- If that is what you really want to do,

I cannot prevent you, my son.

- Look, father, I must go along with him.

- But why?

- I don't know.

Perhaps he needs me in some way.

I must not abandon Alex, father.

He's my brother.

- Alright, Mark.

But you must promise me one thing.

Don't forget our religion ever,

and never use any violence,

whatever the occasion,

and don't touch a weapon.

- I promise, father.

- May God protect you, my son.

God willing, your mother and me,

we'll wait for you.

- Goodbye, father.

(horse hoof beats)

(upbeat instrumental music)

- Morning.

- Morning, what can I do for you?

- Quite a lot, Johnny Miller.

- You know me?

- Long ago you promised to teach me

to draw a fast gun, Miller.

- Alex, but I believed
you to be dead and buried.

You sister, Judy, have
you been able to see her?

- I came here to see her on purpose.

How is she?

- Well, you can imagine.

She's badly off.

You, you're a man.

It's different.

Being an orphan, a girl has
a pretty rough time of it.

She had no childhood, poor thing.

Without a family to give her love,

she needed help,

but we were powerless.

Going against Moran means your life.

- She's staying with the Morans?

- Yes, unluckily she is,

but now you must come in

and have something, important thing.

We can talk in peace,

and I can tell you
everything there is to know.

That's why you must be careful.

Keep your eyes wide open.

- Don't worry.

May I stay here, Miller?

- My, that's stupid to ask.

This is your house, son,

but I don't know

if I could do anything to help you, Alex.

My hands are in pretty bad shape

after all these years.

- Thanks, Miller.

Tell me, how can I find Judy?

- I'll bring her here tomorrow.

- Tonight I'll take a
look around Danger Pass.

- You better stop.

I'm sick of that piano of yours.

We came here to hear Edith sing, and--

- Why don't you shut up?

She'll be singing later.

Where is Edith?

- She's in her room.

She's coming now.

- Is my son with her?

- Yes, Mr. Moran.

(gentle instrumental music)

- I hired you to entertain the customers,

not to play around with my son.

Beat it, Edith,

and watch your step from now on.

- I was only with her
for a couple of minutes.

Don't get mad now, papa.

- I don't want you to leave the saloon

even for a minute.

I put you here to work,

not to spend your time with that woman.

Do you understand?

Don't let me have to tell you again.

Your big brother was made of better stuff.

(gentle instrumental music)

♫ What do you think about myself

♫ When you see me every time all alone

♫ Maybe I'm not so inviting

♫ Maybe I'm not so exotic as you

♫ The thrill you're looking for

♫ You think I have no more

♫ No more

♫ The truth is they still don't know me

♫ And I know so few things about you

♫ Just a little more together

♫ A little time to work for you and me

(gentle instrumental music)

- Whiskey.

- Yes, sir, right away.

♫ The thrill you're looking for

♫ You think I have no more

♫ No more

♫ Just a little more together

♫ A little time to work for you and me

♫ And me

(cheering and clapping)

(grunting)

- Why don't you stop them, Charlie?

(murmuring)

(gun firing)

- Another whiskey.

- You'd better call the sheriff.

And just where do you think you're going?

You leave when I tell you to leave,

and now you're gonna listen to me.

Next time you allow yourself
to be touched by a man,

I swear you'll pay.

- Charlie, you're just a killer.

(yelling)

You're nothing but a murderer.

I hate you.

- Well then, you all saw
Charlie shoot this man

in self defense, didn't you?

- [Man] Self defense.

(murmuring)

- Is that right?

- Why don't you answer his question?

I'm talking to you.

- I don't happen to see his gun.

- Take a look now.

- Yeah, I see it now.

It was self defense.

With the Morans,

that's how you end up.

- Wait, where are you going, you idiot?

Can't you see he's unarmed?

You should think twice

before shooting an unarmed stranger.

You never could tell who he could be.

- He's just a cowboy who
came in to see Edith.

I know the type by now.

- Do you?

(gentle instrumental music)

- I know that today they're happy

because you've come back
to avenge their death.

- I don't know, Judy.

I guess where they are,

vengeance is a forgotten thing.

- What's that?

- I was only thinking.

Come on, Judy.

- No.

First you must promise me

here at their grave

to avenge them.

- I'm full of hate for Moran, Judy,

but now I realize you
hate him more than I do.

- I waited for this for years.

You've no idea what it's meant,

washing the plates they eat out of,

the mugs they drink from,

making the beds they sleep in.

All these years I've
had to put up with it.

I wonder if you can
understand me, brother.

I'm only gonna find rest

when that murderer Moran
is lying dead at my feet.

Alex, my dream is that
vengeance will be carried out

before I die

because otherwise, what could be the use

of all the humiliations, the sacrifices,

that I went through waiting
for you to come back.

You were my only hope.

- I know what you mean, Judy.

I too hoped a long time for this moment.

I know what I have to do.

- I'm happy.

(gentle instrumental music)

- Now let's be going now.

I'll accompany Judy into town.

It's better if they don't see us together.

They might suspect something, Alex.

- Yeah, you're right.

Now tomorrow I'll see you at the ranch.

I have a lot of things to do, Judy.

- Be careful, Alex.

- Don't you worry about me.

- So long, Alex.

- See you tomorrow, Miller.

So long, Judy.

- Here.

- Thanks.

- Young man, see if you like this one.

- What's it cost?

- $10 with the bullets.

- Well, so long, this
is a great day for me.

- Is that so?

Why?

- Today I became a man at last.

You see this gun?

It's a gift from my father.

Have you finished?

- 10 more minutes.

- Bob.

- Good morning, Mr. Moran.

- Morning.

Say, who's that?

- I don't know.

I never saw him before.

He told me that rifle was
a present from his father,

and that today he had become a man.

- Thanks, so long.

- Good day, sir.

- Is there a celebration or something?

What's it for?

What's all the fuss about?

- Where are you from, young man?

Why even in Arkansas,

they know that Moran's daughter's

getting married tomorrow morning.

- Moran's daughter.

To who?

- To Doc, the sheriff.

For many years, Danger
Pass has been waiting

for this marriage,

ever since Gloria was eight years old.

- You mean it's a reward for loyalty.

- Better not talk like that, my boy.

It's a good idea to keep your
mouth shut in this place.

- I'd like a whiskey.

What are you doing in this place, Mark?

I advise you to get out
of this town right away.

- Everyone's free to go
where he wants, Alex.

- If you get in the way

or play any of your tricks,

then I'm gonna have to
kill you too, brother.

- Know something?

I just don't think so.

(laughing)

(gentle instrumental music)

- You outta stop working so hard.

- If I don't work, who's
gonna do it for me?

- What's on your mind?

- Do you think you can do it, Alex?

- In all that confusion, I think so.

Yeah, it should go real easy,

but where am I gonna get the dynamite?

- You can buy it in town.

That's the simplest way.

- No, they might suspect.

I'd better steal it tonight.

- I'll go with you.

- No, you've gotta stay clear out of it.

If we're seen together, they'd suspect,

and all our hopes would be nothing

but a bag of dreams.

(foreboding instrumental music)

(glass shattering)

(pan clattering)

(gun firing)

(murmuring)

(gentle instrumental music)

(murmuring)

- Howdy, Doc.

- Howdy, Moran.

You're beautiful, Gloria.

- Go in.

(murmuring)

- Alex, wait.

- Oh, go away.

- But I can't let you
go through with this.

- Out of my way.

- You mustn't do this thing.

- Why not?

Don't they deserve it after
what they did to my parents?

Do you remember, Mark?

- But the guilty ones are Moran and Doc.

The others are all innocent.

- Those who close their eyes to injustices

are as bad as the people

who actually have committed them.

Your own father said it.

- No, you're not gonna do it.

- I see,

and just who's gonna stop me, Mark?

(grunting)

- I will, Alex.

- Oh, I thought your religious faith

forbid you to use weapons
against your fellow man

for any reason whatsoever.

- I'm only doing it to
save those people, Alex.

I swear I'll shoot you

if you try to make use
of that there dynamite.

- Alright, that's a deal.

- No, it's a terrible crime.

I'll shoot.

(fuse crackling)

If you don't put out that dynamite,

I'll be in there too.

(dramatic instrumental music)

- Bullheaded.

- And I hereby.

(cheering)

- Congratulations, congratulations.

(murmuring)

Friends, ladies and gentlemen,

before sitting down to eat,

let's all go to the bar and have a drink.

- Well, this is wonderful.

- Thank you, judge.

I think we got a right to drink too.

Don't you think so?

(laughing)

(clapping and murmuring)

- [Alex] I want to come in.

- [Man] You can't come in.

- I said I wanna come in, you hear me?

Why can't I also drink to the health

of the bride and the bridegroom?

Just one little drink.

- He's right.

Let's all celebrate.

Let him in.

Make him drink,

and then throw him out of here.

(laughing)

Well, then, now Edith will sing us

one of her favorite songs.

- Come on, Edith, let's hear you sing.

(clapping)

- I want a whiskey.

- I'll sing you an old song

that's still popular in
Ireland where I come from,

and I wish to dedicate
it to the newlyweds.

(murmuring)

(gentle instrumental music)

(laughing)

- To the newlyweds.

♫ We thank the Lord

♫ For a day like this

♫ We thank heaven above

♫ A day like this

♫ What a wonderful day

♫ Brings us joy and happiness

♫ For all that we have

♫ And what we'll have

♫ We thank heaven above

♫ What a wonderful day

♫ This wonderful day

♫ Brings us joy and happiness

♫ We thank the Lord

♫ For a day like this

♫ We thank heaven above

♫ A day like this

♫ What a wonderful day

♫ Brings us joy and happiness

(cheering and clapping)

- Oh, now you must lead
the dancing with me.

You really sing mighty pretty, miss.

Oh, don't tell me you'd
shoot a drunken man.

Oh, let's forget the guns

and bat it out like real men.

Well, how about it, mister?

Don't tell me you're
afraid of me. (murmuring)

- (laughing) Well, why not?

It'll be a little extra entertainment

for the wedding guests.

Get rid of that.

(grunting)

Don't interfere.

I wanna take care of him myself.

(grunting)

(foreboding instrumental music)

- No, hold it.

You'll see.

He'll manage alone.

(grunting)

- I give him to you.

I give him back to you again, Moran,

father of the son who's an idiot

and the daughter who's real pretty.

Please accept my thanks

and all my gratitude for
inviting me to the wedding.

I thank you from the bottom of my heart

for an occasion I'll always remember.

Goodbye, Mr. Moran.

(yelling and murmuring)

Drop that gun.

(gentle instrumental music)

- Stop.

(yelling)

- Let her alone.

Why did you do it, you dirty bitch?

Why did you do it?

Why did you try to save him?

Tell me.

(yelling)

- Yes, I'll tell you, Charlie.

For 12 years, I've been
waiting for the moment

to tell you what I think of you.

I hate you,

but now the waiting's over,

it'll be your turn to die, Charlie.

You're through.

You're through, you hear that?

Everybody hates the whole Moran family.

Why don't you tell him?

They're all afraid of you,

but I'm not afraid of you.

This is the day I've been hoping for,

hoping for years.

Do you hear that?

For years.

Today all my dreams have come true

because I saw your father
shot down like a dog.

I received my reward for all these years

I got treated like dirt,

all these years that I hated you

for humiliating me so much.

I hate you.

I hate you.

I hate you.

- You bitch.

- So you wanna know who that man is.

It's Alex, my brother.

Who do you suppose could wish

for your father's death

as much as I if not my brother?

That's why he came back.

Now you know everything.

You can kill me if you want.

I don't care.

I'd be happy to die because
I finally have my revenge.

Now kill me.

What are you waiting for?

Kill me.

- Kill you?

No, I'm not going to kill you

because I want you alive

now that I've found out the man you saved

is your brother.

If he has any friends here,

tell him this.

He's got exactly 24 hours
to come here unarmed.

Otherwise this whip will
end it for his sister,

and if no one here knows him,

it makes no difference

'cause I'll beat her to death.

(crying)

Bring her in.

- Someone's coming.

You better stay here.

Hold it, stranger.

What are you doing around these parts?

- I'm looking for Alex.

- Alex?

I don't know what you're talking about.

Who is he?

- He's my brother, Miller.

- Since when did you have a brother?

- Well, he's the son of the man

who brought me up, you see.

Mark and I are just like brothers.

We've been together for 12 years.

Mark, get down, will you?

Explain to me why you're here.

- Criminal.

(laughing)

- Tell the truth now, brother.

Have you come to preach a sermon?

You see, Mark is a Quaker's son,

and he enjoys preaching.

I'm happy, yes siree.

Moran was shot to death by his own son,

which means real divine justice.

- Alex is damn right to
feel satisfaction, preacher,

and I'm sure everybody at Danger Pass

is mighty glad of what happened.

Moran only got what was coming to him.

You can bet on that.

- I warned you, brother.

Violence just calls for
more violence, Alex,

and now Charlie will be at it

so that he can get back at you.

- Let him just try.

- He will try,

and in a terrible way.

He whipped your sister without mercy

in front of the whole town.

- Judy, but why?

Who was it that told
him I was her brother?

Was it you?

- No.

She was the one who told him.

Charlie wants to avenge his father,

and he promised he'd whip her to death

if you don't go to him
within 24 hours, unarmed.

- Unarmed?

But that'd be real madness.

- Yes, a terrible choice
is facing you, Alex.

- I guess I'll have to face it.

- Alex, I've already spoken

to some of the men in town.

They'd be willing to help you.

- And I'm afraid we
wouldn't save Judy in time.

Well, brother?

Don't you have any ideas?

Ideas are what we need at this moment,

not your preaching sermons, you hear?

- Well, I think I have an idea

that may be useful.

Charlie has a sister, doesn't he?

If we kidnapped his sister,

then maybe she could be used as a hostage

in exchange for Judy.

- Mark, that's fine.

Your idea's not at all bad.

It might be the best solution, alright.

- You can count on me,

but now look, on one condition.

- Oh no, I want no conditions,

and I won't be needing your help,

and I thank you for your idea.

- You'll respect the
girl, won't you, Alex?

She didn't do anything.

She had nothing to do

with the murder of your parents.

- Why, sure, sure.

Right, Mark.

I'm only looking to free Judy.

- You're not able to do it alone.

It's not gonna be easy.

You can be sure Doc put all his men

to guard the ranch

now that he knows who you are.

- Go into Danger Pass

and see if you can find out

where they've hidden Judy,

and please don't worry about me.

Remember one thing,

this is Doc's wedding night.

(horse hoof beats)

(gentle instrumental music)

(insects chirping)

(metal scraping)

(fire crackling)

(grunting)

- (speaking in a foreign language) Alex.

You're late coming,

and that's not very nice,

because as you know,

tonight happens to be my wedding night.

Prepare a room for my dear friend.

Did you think I was so stupid

that I wouldn't guess you'd
make a move like this?

Kidnapping my wife in exchange for Judy,

you made the wrong move this time.

Take him out.

(foreboding instrumental music)

(grunting)

That's enough.

Tie his hands.

(foreboding instrumental music)

I'm sorry, but you come

from an unlucky family, Alex.

- Get it over with, Doc.

- Stop.

If you love your wife,

you better free Alex.

I'll give you 10 seconds,

and then I'll shoot.

(insects chirping)

- What do you say?

Perhaps it's not convenient

to deprive yourself

of such a pretty, sweet wife. (laughing)

- Make up your mind

and decide, Doc.

Set him free.

Did you hear that?

- Let him down.

(gasping)

- I don't come from such an
unlucky family after all.

- Your hanging is only
a matter of time, Alex.

There are two of us

who wanna see you dead.

- Mark, bring the horses over here.

(murmuring)

(grunting)

(guns firing)

Drop your gun.

Easy, Doc.

No wrong moves.

Come along.

Ma'am, we're gonna take
a little trip together.

- Watch it, Alex.

(gun firing)

(dramatic instrumental music)

- Doc. (crying)

(fire crackling)

(gentle instrumental music)

- Why don't you go to bed, Mark?

- I'm not sleepy.

You go to bed.

I'll watch her.

Don't worry.

- I'd prefer to watch her myself, brother.

Anyway, I'm waiting for Miller.

I must talk to her.

- Then I'll stay up with you.

(gentle instrumental music)

May I have a drink too?

- You never drink.

- It's only to warm up a bit.

It's very cold tonight.

- Well, aren't you going to bed?

- I told you.

I'm not tired.

- Mark, you're trying to watch over me.

I wanna be alone with her.

- Why?

(dramatic instrumental music)

(whip cracking)

- Her father disfigured Judy's face

with a lashing,

and her brother whipped her

in front of the whole town.

- You're not gonna do
this girl any harm, Alex.

- Cut it out.

- Alex, don't be stupid now.

- Oh yeah?

Keep out of this.

- Now you listen to me, Alex.

This girl's never done any harm,

either to you or your sister, Judy.

Too much innocent blood
has been shed already.

- I want revenge.

Revenge, do you hear?

- No one has a right to take justice

into his own hands.

Remember, I only helped you

in order to save Judy.

- I don't care.

Don't forget they killed my parents.

I wanna do to them

what they did to us.

- No, I'm not going to let you do it.

(grunting)

- Mark, go away.

Get out of here.

Don't make me mad now.

Don't force me to beat you, Mark.

- Then let her alone.

There's no other solution.

- [Alex] Get out of here.

(grunting)

(dramatic instrumental music)

- No, no. (yelling)

- Alex, let her alone.

Let her go.

(grunting)

- Mark, get out of here before I kill you.

- It's useless, Alex.

I guess you'll have to kill me, brother.

(yelling)

(dramatic instrumental music)

(horse hoof beats)

- He's coming in.

- By the way, congratulations
for what you did last night.

You proved you're pretty brave,

shooting down men who weren't armed.

- You know that's not true.

That was the specialty of that bastard

you killed yesterday.

I have never forgotten the day

when he killed my mother.

- Just what'd you come here for?

- My sister.

- What makes you think
she'll be turned over to you?

- I'm dead sure she'll
be turned over to me.

- In exchange for?

- Your sister.

- Look, I'm dealing out the cards here.

I don't think you really understand

what the situation is.

Where's Gloria?

- Oh, I understand the
situation perfectly,

and I don't think you're
dealing the cards,

and now you better listen.

If my sister isn't freed immediately,

Gloria'll be killed.

A whiskey.

- I'm with you.

We'll make the exchange at the same time.

Then it's between us.

- Alright, but only on one condition.

- What condition?

- The exchange must take place outside

where the whole town can see it,

and I'll only turn over Gloria

when Judy is safely out of here.

- What if I don't agree
to accept your condition?

Your sister would die too.

- I always keep my word,

and you, Charlie?

- Sure I will.

We'll do it your way.

I'll see you outside in an hour.

- Want me to follow him?

- No, he'll fall into the trap by himself.

Go to the ranch and get the others.

I'll be waiting for you here.

We'll give him a warm welcome.

We've got an hour's time.

Go on.

Hurry up.

What are you waiting for?

- Hey, Gloria, come on.

Hurry.

Your little brother's kept waiting,

he just might get nervous.

Ain't that right, Miller?

I don't trust Charlie one bit.

I'm sure he's up to something.

- It's likely,

but we have many friends.

- All planned?

- Don't you worry about it.

If he tries any tricks,

it's the last one he plays.

- Thanks, Miller.

(horse hoof beats)

(gentle instrumental music)

You're beautiful, very beautiful.

Too bad there's always blood between us,

and to think there's gonna be

a lot more bloodshed in town.

Mark.

(foreboding instrumental music)

What is it?

What do you want now?

I'm taking her to Danger Pass, Mark.

- No, Alex, Charlie's prepared an ambush.

His men are waiting for you.

You can't go.

- Look, Mark, you mustn't worry about me.

It'll be alright.

- Alex.

- What more do you want?

- I wanted to ask you

if you would forgive me.

- You must forgive me, brother.

- I want your forgiveness
for what I'm going to do now.

- I don't know what you mean, Mark.

(grunting)

(horse hoof beats)

- [Man] He's coming.

(foreboding instrumental music)

- He'll kill you, Mark.

I know my brother.

- I trust in the will of the Lord.

- You mustn't, Mark.

He'll kill you.

- No, Gloria, I'm afraid it's too late.

- Come on, Alex.

You gonna bring her?

- We had an agreement, Charlie.

- Untie her.

Go ahead.

(foreboding instrumental music)

- Don't ask questions.

Take the wagon and go to Miller's ranch.

Alex is there waiting for you.

I'll hold out here.

- No, no, Charlie.

Don't shoot.

This man is not Alex.

(gun firing)

- My, my, fancy meeting you.

So our dear Alex backed out

at the very last moment, huh?

- No Charlie, he didn't.

It's all my doing.

I don't wanna see any more
killing at Danger Pass.

Hasn't there been enough already?

Vengeance against vengeance
will get the two of you nowhere.

Alex is my adopted brother.

I expected you would try to kill him

as soon as he turned over Gloria to you,

so I came in his place.

I beg you.

Lay down your gun, Charlie.

Gloria has come back,

and Alex and Judy will
leave this town forever.

- I know what I'm doing,

and I don't want any of your preaching.

- I'm a Quaker,

and my religion rejects all violence.

- Is that so?

But that ain't my religion.

Give him a gun.

Now use it.

- It's useless, Charlie.

I'll not kill a man.

- Is that so?

Well, let's see if we can't make you

change your mind.

(gun firing)

- No, Charlie.

- Alright, come on.

Draw your gun.

Defend yourself.

I'm waiting for you.

Don't be afraid.

You'll die without even noticing it.

Defend yourself, preacher,

or I'll plug your puny body full of lead.

Start praying, fool.

(gun firing)

(murmuring)

(horse hoof beats)

- Go to the ranch right away.

I'll come and get you later.

- Don't go into town, Alex.

They prepared a trap for you.

- Don't worry about me.

Miller's arriving with his men.

Besides, I can't abandon Mark.

Hurry. (yelling)

- You can do what you want, Charlie.

I'll never betray my principles.

These hands will never
be able to use a weapon.

- My patience has reached the limit.

(gun firing)

- One move from your men

and I'll shoot you down like a mad dog.

I'm warning you, Charlie.

Now, you know I find this
game very interesting,

and I think I'd like to play it myself,

even if I haven't been asked.

(gun firing)

Maybe I should have killed
you from the very start,

you bloody murderer,

but I'll give you the opportunity

to defend yourself.

Pick that pistol up.

Charlie, come on.

I'm waiting.

Don't be scared, Charlie.

Grab your gun.

Your father didn't give my father

a chance to defend himself.

The hour of vengeance has struck.

Take a good look at your boss

and see how he's trembling.

Try to control yourself.

(birds chirping)

(gun firing)

- Charlie.

Charlie. (crying)

(guns firing)

(yelling and murmuring)

(horse whinnying)

(murmuring)

(horse whinnying)

- Judy.

(dramatic instrumental music)

- Alex.

(crying)

(foreboding instrumental music)

(upbeat instrumental music)

♫ I rose up rightfully

♫ For one day somebody broke my heart

♫ For my parents I sold a line

(murmuring)

♫ That day I promised

♫ To myself to find (murmuring)

♫ 'Cause I couldn't live up on the farm

♫ Without you, babe

(murmuring)

♫ And I'll be no more a man

♫ If don't kill all of them

♫ What I do

♫ What I do