Original subtitles

[instrumental music]

[music continues]

[music continues]

(male narrator) Before 1877, southwest Texas was pouring cattle northward

over the newly opened Chisholm Trail.

The Texans of the open range

could see wealth and powerjust ahead.

But this is the year of the great breakup.

The outlaws of the wide open West have learned

how easy it is to raid the lonely herds.

In this country, where the ranch houses are 20 miles apart

the thieves hit hard and often, stampeding the wild cattle.

Rustlers gather from the length of the frontier

for the easy kill

and the range is without defense.

Night after night, they drive the cattle off

by hundreds that mount into thousands.

And the vast herds are melting away

ruining the men who built Texas.

The outnumbered ranchers have fought back

but the savage range war has smashed theirleaders

and driven them into exile across the Mexican line.

Only a few men like Charlie Bell of San Antonio

still keep the banished fighters posted

hoping against hope that the great days can be brought back.

[instrumental music]

[dramatic music]

Maybe a peace officer.

[speaking in foreign language]

[horse galloping]

I'm Charlie Bell of San Antonio.

- You have pass? - No tengo.

The border is closed, senor. Is new order.

Now, look here, you people.

I can go and wade the river a mile below here

without any trouble.

But I don't mean to do anything of the kind, you hear me?

If you try to cross, there is nothing what we can do

but try to stop you.

It is not our fault if your law breaks down in Texas

so your best men come live with us.

We will have peace in Mexico, even if every day we must fight.

Clay Hardin is in Nuevo Laredo, and I mean to see him.

Other men have come after him before.

It only means more fight.

I know all that.

But I'm Clay Hardin's best friend.

Then you know he is going back to Texas.

You can see him then.

If you wanna save his life

you'd better let me see him now.

[tense music]

[speaking in foreign language]

- Go on in. - Thanks.

[humming]

[hens clucking]

[screaming]

[speaking in foreign language]

He is gone. He's not here.

We never heard of him.

That horse is the horse of my husband.

[speaking in foreign language]

(female #1) 'Help! Help!'

'Juan, Jose, Rita, Rosita!'

'We're attacked. We're stricken.'

'A bad stranger is upon us.'

[speaking in foreign language]

Lookin' for someone, Charlie?

I ought to take that thing

and bend it right over your head.

[chuckles] You look like the time

you sat on the cactus. How are you?

[chuckles] What's the matter with these people?

[speaking in foreign language]

[chuckles] Well, pal, you could've saved yourself a long ride.

I wrote you I was comin' home.

Yeah, I guess you wrote some other people, too.

Everybody in Texas knows you're gonna make a try at it.

They do, well, why burn up horseflesh

comin' all this way down here to tell me?

Clay, I rode to tell you not to come. At least not now.

? I love you ?

You're not ready to ride, Clay.

I never see a man shot up so bad as you was.

? Be mine Yahoo ?

(Clay) 'You think that's why I stayed in Mexico, huh?'

Oh, don't go back, Clay. It ain't worth it.

All southwest Texas is busted.

San Antonio is just gonna be

another dog town all fallin' down.

? You're sweeter than any wine ??

That's just why I'm goin' back.

Now, you listen to me, Clay.

We've counted more than 5,000 wanted outlaws loose in Texas.

They got a chain of stock thieves all along the border.

Why, them fellows can run a herd into Mexico every night.

Mexico can't help it, Charlie.

Us neither.

'Look at the way we fought 'em.'

You yourself tied into 'em harder than anybody else.

And what'd it get us?

Your ranch burned out, your cows run off

and you yourself all shot to pieces.

Everybody knows who I blame for all that.

Clay, don't you see, that's why

you'll never get back to San Antonio?

You think Roy Stuart don't know you're after him?

I left Texas to find out somethin'. I found it.

If Roy Stuart thinks I'm comin' after him now, he's right.

He's right about somethin' else too.

The only way you'll ever get to San Antonio alive

is to stay away.

Can you get a bet on that?

Anywhere in Texas.

The gamblers are makin' book in the streets.

Why, Laredo's practically put up a grandstand and sold seats

just to see you shot as you cross the line.

Yeah? Well, cover every cent you can get.

I'll pay it.

[speaking in foreign language]

Don't run away, honey.

We won't look. Ha ha! Will we?

Now, listen, Clay, things got so bad up there

the governor asked for military aid.

Colonel Johnson's cavalry is policing San Antonio.

And the colonel himself swears

he'll outlaw you the day you come back.

Yeah? Charlie?

Roy Stuart has gotta be convicted and hung.

You'll never get him that way, Clay.

I've got him now.

What do you think I've been doin' down in Mexico?

We were whipped before because we lacked proof.

We don't lack it now.

- Does Stuart know you got it? - Of course he knows.

All the more reason it's sure death to cross over.

What do you want me to do?

Send somebody else?

Alright, Clay, what's the next move?

Cross over into Laredo.

Get me a seat on the San Antonio stage.

- In whose name? - In my own name.

- What? - Sure.

Onyx. He looks good.

How come you haven't lost him in a poker game by now?

Because I don't gamble the way you do.

Oh.

[instrumental music]

[indistinct chatter]

[horse snorts]

- Hi, boys. - Hi, Charlie.

It's Charlie Bell, he wouldn't be here

if Clay Hardin didn't aim to go through.

There'll be one whale of a fight if he tries to.

- You gonna put into it? - Not me.

But there's plenty as will.

Three-to-one, gents, three-to-one.

Clay Hardin never sets foot in San Antonio.

Place your bets with honest Jay Witherspoon.

Never run out on a bet yet.

Or at least with two exceptions, it was never proved.

Three-to-one Clay never makes it.

Why should Clay come back?

His cattle is scattered

from Stinkwater to breakfast.

Half his friends is dead

and the other half is foolish.

Sure, sure, it's worse than you say.

But here's 100 that says he will be back.

And another 100 that says it will be the best thing

that ever happened to Texas.

Thank you, Mr. Streeter, I can use this.

Any more bets? Three-to-one. Three-to-one.

[indistinct chatter]

Ain't that Lafe McWilliams?

The fella who had all them gunfights in San Antone?

- Sure is, brother. - Five-to-one.

Make it eight-to-one.

Clay Hardin never makes San Antonio.

'Get your money here, boys. It's eight-to-one here.'

- 'Bring it up here.' - I got the signal.

Clay Hardin has left Nuevo.

He may be over the Texas line by now.

- Well? - They lost him.

He just kinda disappeared on 'em.

We should've rode the river like the others.

Clay can't ride the brush 150 miles.

- There must be lead in him yet. - Yeah, that's right.

Even if he tried it, the lookouts would get him easy.

They can see a rider 20 miles as he comes through the sands.

The Monterey coach is comin' up from the bridge.

Do you suppose he'd be fool enough to..

No.

Wait. That ain't the Monterey coach.

[instrumental music]

That's old Jaime Rosas driving.

That's a charter coach from below.

- How do you do? How do you do? - Oh, sit down.

[people laughing]

I don't sit down. Don't argue with me.

- Always the opposite. - Oh.

One side. One side or a horn knocked off.

Scatter, you slickers.

(Sacha) 'No, no, no, go leave, please.'

'She don't see somebody now.'

Nobody is talking to her

without they don't see her first.

Now, wait a minute, my fat-headed friend.

No, no, no, no.

Don't you ever take off your hat, young man?

Of course not. He needs it to shade his eyes.

[all laughing]

Go keep an eye on Charlie Bell.

Real desperate character you got there riding with the driver.

That's my desperate manager.

You see, I'm looking for a gentleman.

We haven't seen one in a year.

I'm sorry, ladies. This is for your own protection.

Clay Hardin's on the loose, and he's a dangerous outlaw.

And he's liable to try to smuggle himself through here.

Do you want to look under the pillows?

- Here. - Hold on, will you?

(Sacha) 'No, no, no, inside is not. You must be stay out.'

What's that? You are stealing, I hope.

[crowd laughing]

You right away steal those back.

Such thing begins, I don't know.

Please, make more careless.

If I break that, you sue me.

Ah, shut up!

[groaning]

(Lafe) 'Oh, sit down.'

Ya-hah!

Come here.

Well, what do you want?

Charlie Bell just bought a seat

on the San Antonio stage for Clay Hardin.

- Are you sure? - Yeah, I saw him do it myself.

Don't worry, I'll take care of that.

[instrumental music]

Well, you'd better do something about it.

This stage never runs without a shotgun guard.

You know that yourself.

Clay's name is down, and his money's up

and the company's gotta take it.

Well, I don't gotta ride shotgun.

There's enough graveyard bait

in the strongbox without Clay Hardin.

And I've got kids to support.

I didn't think them things runnin' around

this shack was jackrabbits.

Maybe you wanna holler for the army.

The company reserves the right to refuse--

I'll ride shotgun myself. There's my bond.

San Antonio stage, get aboard.

It'll roll without me.

I'm too young and good-looking

for a one-way trip.

I can't do nothin' about it, I just work here.

Even money, gents.

Even money against Clay Hardin

and lucky to get it.

I don't see him. What's the matter, is he afraid to show?

Maybe he invisible-ized hisself.

Clay ain't here. He's changed his mind.

That's what he wants us to think, you knothead.

He's circled the town and got north of us already.

The stage will pick him up on the road.

We might outrun the stage, and wait at Cotulla.

Get into that coach, you can get Clay easy

when he comes out of the brush to get aboard.

I'll tail the stage, and as soon as you fire..

- ...I'll get Charlie Bell. - What about my saddle?

Move or you won't need it anymore.

Here she rips.

Anybody change their mind?

I'm goin' along. I'll settle my ticket later.

Right.

- Go ahead, Charlie. - Hyah, hyah, hyah!

[instrumental music]

Whoa!

Yippee! Yippee!

[speaking in foreign language]

[music continues]

[music continues]

[intense music]

[instrumental music]

- Oh! - Oh! Oh!

[sighs]

Well, hello.

Move over, honey.

Now, now, after all, Don Quickshot

the show doesn't start till after supper.

Oh, we're gonna have supper too?

Would you like to land on your head

or will you get out of here peaceably?

I'm sorry, honey, but I've planned on this

ever since you left Monterey.

I don't like the society in those public coaches, do you?

If I scream, there's a man come down here with a shotgun.

- And I'm going to scream. - Now, wait, Henrietta.

Oh, it's alright, let her go ahead.

I'll help you.

[screaming]

(Sacha) 'Look, look, look, look!'

There goes an empty horse.

You know, this is really for your own protection.

I'm sorry, we've heard that one.

No, on the level.

There's a desperate character loose--

And his name is Clay Hardin.

This is monotonous.

Why doesn't one of you Texans bring out a new law?

One that will astound people.

Honestly now, wouldn't you like to be protected?

Just a little? On one side, huh?

Is it a Western custom to push yourself in on other people?

Yes, ma'am. That's how the West was settled.

Well, we are not Indians. Go on, get out of here, scat.

You know, I saw a poster of you down Mexico way.

But it didn't half do you justice.

Thank you.

Maybe I do need you to protect me from this Clay Hardin person.

Well, on second thoughts, I don't know if I can.

- But I can protect you, ma'am. - Oh, don't mind me.

I've stood almost everything in the show business.

I guess I could stand that.

[instrumental music]

Then you must be one of those rich cattlemen.

- Are you married? - Me? No.

No. And I haven't got any cattle left.

You see, you was very rude, he wouldn't marry you anyway.

I wasn't asking for myself.

Well, don't ask him for me either.

You see, out here, we got a class of men

who sort of work in the dark, and..

...those night raiders got away with just about every cow I own.

I suppose it never occurred to you

to put your cows inside at night.

No, no.. Inside?

What on earth is this? Cast iron?

No, bear jerky.

- Oh! - That's good.

Do you know what's happening at Delmonico's this very minute?

Monicos? Who's he?

He is a famous New York restaurant.

Some actress, not a bit more talented than I am

is sitting at a lovely table, having lobster

and crepe suzettes, and champagne.

Sounds like she's a cinch for the hiccups.

And then, every head will turn and watch her

as she goes sweeping out.

Oh, she's got the job sweeping out, huh?

Of course not, she's an actress.

- Oh. - Or, uh..

...do you know what an actress is?

Oh, sure.

Sure, she's a girl Roy Stuart hires

to sing and cut up in his saloon, huh?

Saloon?

Is the Bella Union a saloon?

Well, you wouldn't exactly call it a saloon.

It's more of a drinking joint.

[choking]

But I have a contract with Roy Stuart.

Well, he's the partner of a man I worked for in New Orleans.

Mr. Legare.

Of course, I could never understand

why he lets the pigs in there.

They keep running in and out

gettin' into fights with the dogs.

Tsk, tsk!

(Jeanne) I won't play there.

I won't even go in the town, oh, Bozie

you make me so mad, I could cry.

Oh, don't you worry. Bella Union isn't really that bad.

- Oh! - Huh?

But don't you worry about a thing.

As soon as we start changing horses at Cotulla

I'm gonna take you dancing.

You have a much better chance of dancing with the horses.

[chuckles] You don't mean that.

[chuckles]

[indistinct chatter]

[singing "Put Your Little Foot Right Out"]

? Put your little foot put your little foot ?

? Put your little foot right out ?

? Put your little foot put your little foot ?

? Put your little foot right out ?

? Put your arm around put your arm around ?

? Put your arm around my waist ?

? Keep your arm around keep your arm around ?

? Keep your arm around my waist ?

? Take a step to the side ?

? Take a step to the rear ?

? Take a step to the side ?

? But forever stay near ?

? Do a little whirl do a little whirl ?

? Do a little whirl about ?

? Do a little twirl do a little twirl ?

? Do a little twirl about ?

? Walk a little bit walk a little bit ?

? Put your little foot right out ?

? Sing a little bit sing a little bit ?

? Put your little foot right out ??

Why, you do this like you were born to it.

Took me years to pick up.

This must be the only thing that took you that long.

Well, we don't see pretty girls like you down here very often.

- Ha-ha! - I guess that's why..

...we have to pay for it, huh?

The regular stagecoach stops here overnight.

They don't have to sit up all night

bouncing their brains out.

It is not my brains is tired.

Well, use them then, and get us on the regular stagecoach.

Look, Tuesday it is last night we played already.

So we got to be there yesterday yet

because the day before we ain't no place.

- You know? - What?

Sheesh'a! Look.

Next day it is last night we don't start.

And Tuesday evening is the morning we ain't coming.

- Now you understand? - Of course not.

I'm sorry, I am not a teacher.

Sheesh'a!

[instrumental music]

[cheers and applause]

[instrumental music]

Hi, Charlie.

Pony Smith was on the stage with me.

Lafe McWilliams tailed us.

I saw him.

They're in the street right this minute.

Public street.

We gotta do something to get you out of this.

You know they'll never give you a fair break.

Did I ask for one?

Alright, Clay, it's your carcass.

[chuckles]

- He called you Clay. - Uh-huh!

You never told me your name was--

Well, you never asked me.

Are you really Clay Hardin?

Uh-huh.

Why, are they going to arrest you?

I hope not.

It'd break up our whole evening, wouldn't it?

[instrumental music]

I'd like this thing a whole lot better

if Charlie Bell was out of it.

Yeah, I guess then we can have

Clay Hardin out of it too.

I can handle my job.

Then let's not waste any time.

Don't worry about me.

Well, Pony, I'll see you in San Antonio.

Alright, Lafe.

[instrumental music]

[music fades]

[applause]

Thank you.

We get from out now. Maybe?

Well, I think we ought to tie on the nosebag

before we get from out now, maybe, huh?

Uh, you'll tie on a nosebag, won't you, Jeanne?

Uh, waiter.

Two more nosebags, please.

Waiter, I-I will take one too.

Big size.

[indistinct chatter]

This next dance is mine.

I'm sorry, but I'm tired now.

Give us some music, boys.

Don't make me ask loud, lady.

Wai-wai-wait a minute.

I am her management.

She got to have advance billing.

Or else, poof. No wiggles.

(Henrietta) 'Shut up, Bozie.'

Surely you heard what the lady said?

Didn't you, Lafe?

I don't believe I'd horn into this, Hardin.

I've known people to get hurt bad sometimes.

Just by leaving too much slack on their rope.

Uh...don't you find it a little crowded in here?

Maybe you'd sooner talk this over in the street.

After you.

Sure.

[instrumental music]

I think I smell a polecat.

[instrumental music]

[gunshot]

[crowd screaming]

(Clay) 'Thanks, Charlie.'

[thuds]

[gunshot]

What's the matter, Lafe?

Something go wrong?

[dramatic music]

Did you see that potato draw on me?

He tried to gun me from the side.

Yeah, I saw him, Charlie.

[tense music]

[whimpering]

- Charlie. - Yeah?

Tell you what you do.

Go over to the telegraph office.

Send an overnight wire to Roy Stuart.

Say, "Deal went through as planned."

You've got a buzzing in your head?

Sign it "Lafe McWilliams."

[taps]

[tense music]

Such a business. Boom, boom, boom.

Just like burying people was no trouble.

Hmm. Heh.

I, uh..

I never had a thought of it just that way before.

I'm a failure, I don't know how to take care of her

in such a madhouse.

If I ever get her back to New York

I'm gonna have her locked up

and spend the rest of my life

in some nice, quiet insane asylum.

But you must have known this would happen

if you showed yourself here.

Kind of noisy for a minute, wasn't it?

I believe you've been delaying here just to fight those men.

Me? Oh, no.

No, I just like music.

[instrumental music]

[music continues]

[speaking in foreign language]

[speaking in foreign language]

[speaking in foreign language]

[music continues]

[piano music]

You see Mr. Roy Stuart?

- Up in his office. - Gracias.

Five hundred dollars to this Jeanne Starr woman

for one week. Who is she?

Another one of your flea-bitten canaries?

Roy, why don't you leave

the artistic end of our business to me?

Because your figures don't tell anything.

The way you run this place nobody knows

where the money goes.

What is this, New Orleans style or Chinese?

I can't tell you, Roy, how it hurts me to hear you say that.

What a tone of voice to use to your partner.

Did you ever stop to think what would happen to you, Legare

if I caught you shorting me?

You might keep the accounts yourself, you know.

That is, if you can add.

[chuckles]

[knocking on door]

For Mr. Roy Stuart.

Think over what I said.

Gracias, muchas gracias, Mr. Stuart.

Look at that.

This was sent last night.

Took it 20 hours to come from Cotulla.

They must have brought it on foot, walking backwards.

Why can't they..

[tense music]

Lafe McWilliams must have gone crazy.

I told him 50 times never to wire me.

But I can use it.

Some kind of an accident seems to have happened to Clay Hardin.

May I see it?

I don't think you'd be interested.

[tense music]

[intense music]

Your odds are way off kilter.

The Laredo stage has been in for an hour.

And was Clay Hardin on it?

Nobody was on it except Charlie Bell..

- ...riding shotgun. - That's right.

Funny thing, I've taken more bets

since the coach came in than I did before.

Still fussin' about the odds, boys?

Well, I guess, maybe they are a bit tough at that.

Fifteen-to-one.

Well, now that I'd have to take

if I was bettin' on my own funeral.

- Give 'em all they want. - Right.

- Get it out, boys, come on. - Here's a hundred.

[indistinct chatter]

- Yes, Mr. Legare. - I'm very sorry..

...to bother you, Mr. Pratt.

Mr. Stuart just now received a telegram

and tore it up by mistake.

I wonder if you possibly have a copy?

- Yes, I think so. - Ah.

We don't usually do this, you know.

But, uh, seeing that you're his partner..

Yes, of course.

Thank you very much. He'd appreciate this.

Thank you.

[instrumental music]

[indistinct chatter]

[cheering]

It is the lady! She has come. The lady from Monterey!

[clamoring]

See there? We got us a female visitor.

It's Jeanne Starr, in her own coach.

I wish it was Clay Hardin.

Not me. Come on.

Do you mean to tell me this little

mud Indian village is San Antonio?

Oh, it is nice. You'll really like it.

As far as I am concerned

it's just another place full of wild savages.

Try to look gorgeous, dearie

and remember to hold in your stomach.

Oh, Henrietta.

[chuckles]

[instrumental music]

Hurry up. Get over there.

Here. Stand straight.

Pay attention.

What's the matter with you? Now, stay here.

Now, listen, boys. If you can't make it good, make it noisy.

Do you understand that?

- Uh-huh. - Good.

[music continues]

[clamoring]

[cheering]

[music continues]

Mademoiselle Jeanne, it is a pleasure to see you again.

Ah, Monsieur Legare, what a lovely reception.

But then, you always arrange these things so beautifully.

My dear, for such beauty as yours

receptions arrange themselves.

[chuckles]

[clears throat]

Oh, yes.

Ms. Starr, this is my partner Roy Stuart.

Mr. Stuart, I've heard so much about you.

You're really a very famous man.

Ms. Starr, this is the greatest thing

that ever happened to San Antone.

[chuckles]

I was just telling Legare how lucky we are..

[instrumental music]

I said, I was telling Legare..

[laughs]

[indistinct chatter]

- 'It's Clay Hardin. He's back.' - There's Clay Hardin.

- Why, it's Hardin. - It's Clay Hardin.

'Clay! Clay Hardin!'

[clamoring]

Get back there. Get back.

Better stay back, outta the line of fire.

This can be anything.

Here it comes.

Don't make any play unless Roy does.

You'd better go inside.

[dramatic music]

Hiya, Roy.

Why, you look a little surprised to see me.

So? Why should I be?

Well, I thought maybe you might've heard something.

There was some talk of you comin' back.

And vice versa too, I bet.

Uh, did you bet on it, Roy?

It don't mean a thing to me.

I've handled you before. Remember?

That's why I've come back.

They don't want any more shootin' in San Antone.

Colonel Johnson and the cavalry

will grab you inside of 15 minutes.

Unless you get smart and save them the trouble.

Roy, that's just what I'm gonna do.

- You're gonna do what? - Save them the trouble.

[instrumental music]

[sighs] They eased past the killing point.

For this one minute, they have.

[instrumental music]

Colonel Johnson left town about an hour ago on army business.

And he won't be back until tomorrow.

But he told me to tell you, if you showed up

in San Antonio, he'd run you over--

Now, wait a minute. Wait a minute, captain.

I haven't come here on any personal business.

I came because I've got the evidence on what and who

started the whole Bexar County cattle war.

Here it is, I brought it straight to the colonel.

Then give it to him yourself tomorrow.

'I don't want it on my hands overnight.'

- Who was it? - Roy Stuart.

I can show you what brands were raided

where the cattle went, and what Stuart got out of it.

Stuff like that's no good until it's shown in--

I know that, all I want is three days, gimme two days

and I'll prove every charge ever made against Stuart.

I can't promise you anything, Hardin. I only work here.

But the colonel told me to tell you

the first man who starts shooting people

during their nesting season

we're gonna grab him and jump all over him

and abuse him in every way we can think of.

Uh..

Who is "We?"

Well, that's what the colonel says.

I'll be back in the morning.

Come on, Charlie.

We'll, uh, be glad to see you, Hardin.

[door closes]

Looks like we got the army against us, too.

He wasn't much help.

I tell you what you do.

Get a hold of Tip Bryce

Ricardo Torreon and Cleve Andrews too

if you can find him, and bring 'em up to the hotel.

Pronto.

[indistinct chatter]

[indistinct chatter]

- Reach for the sky, you! - Oh, cut it out.

Clay, I'm glad to see you.

- Hello, Clay. - Hey, how are you?

[speaking in foreign language]

Clay, Texas ought to make this a holiday.

Oh, oh, horsefeathers.

Come on, light and squat, you Indians.

I got something to say to ya.

I want you to listen and listen fast.

What's on your mind?

I sent for you ugly-lookin' Muskogeans

because you were always too dumb to know when you were licked.

Alright, now I want you to back my play, just once more.

We're an awful poor shade for any more fighting, Clay.

Listen, Cleve, you stand up to Roy Stuart just one more day

and I'll guarantee you, by tomorrow night

we'll have the whole state of Texas on our side.

One day can be a long, long time.

Show 'em the tally book, Clay.

Is that what you were after in Mexico?

What'd you think he was doin'? Pickin' flowers?

Just a minute.

Five hundred head of Bar nine. That's my brand!

I didn't sell those cattle.

It's signed by Roy Stuart.

How did you hook onto this, Clay?

Well, one night we saw a whole herd of cattle

stampeding through the Rio.

We tied into them and stampeded them back.

Get any of the rustlers?

Uh-huh. One only.

One of Roy Stuart's men.

We found his body in the brush by the river.

He had this tally book inside his shirt.

You caught them running my cattle into Mexico?

What do you mean, your cattle?

Every one of you had cattle in that herd.

Now, do you see how he's worked?

He'd drive those stolen cattle down into Mexico.

Then he'd sell them back into Texas

across 1,000 miles of border.

Now, get Stuart, and Bexar County will come back.

But it's no use unless you're all prepared

to get on the witness stand and swear

that you never sold these cattle.

And I might as well tell you, that witness stand's gonna be

about the hottest seat in Texas.

[speaking in foreign language]

Notes. Notes. Music.

Look, Bozie, if you're gonna rehearse that orchestra

'don't you think you'd be..'

'No!'

What on earth is that?

Something usual.

You never looked like that before.

I want to surprise you.

Oh, Bozie, this is no time for jokes.

This is legal evidence which we never had before.

It amounts to yes or no for southwest Texas.

As long as we've got these bills of sale on our cattle

signed by Stuart, we've got him.

- It's about time, Clay. - Alright, now here's our..

[orchestral music]

Here's our first move.

Wait, wait, wait! Wait! Wait a minute.

You must not go doodle-doodle-deedle.

You must go deedle-deedle-doodle.

Always the opposite!

I have never seen in my..

Look, look. Upside down, he's got it.

You think the audience is sitting on its head?

- Turn it! - Now, here it is.

[orchestral music]

Stop it, stop it, stop it!

Am I supposed to sing to that?

It is a nice arrangement. I think of it myself.

It will tear down the dump. You will see.

Ugh, I don't suppose it makes any difference

whether anybody hears me or not.

Probably some, some professional horseback rider'll come in

and everybody'll turn their backs on me.

Hey, how about a little quiet in here?

Are you always every place?

Ah, just keep it quiet, will you please?

- Oh! - Better run for it, young man.

[shatters]

Never touched me.

[shatters]

You're gettin' closer, but I can't wait.

I'll see you at night in the saloon.

[shatters]

[instrumental music]

If you had the common sense it takes to grease a pig

you'd stay outta that bear's nest tonight.

Now what're you talkin' about?

The more lights, the more people

the more peace, you know that.

I don't know anything of the kind.

Can you imagine a man wanting to miss that Jeanne Starr?

Oh, sometimes I worry about you.

- Come on. - Oh, shut up.

[orchestral music]

[music continues]

[music continues]

[whistling]

[speaking in foreign language]

- Waiter. - Yes, sir?

Take these in to Miss Starr, will you?

- Right away, Mr. Hardin. - Here.

Thank you.

Not for me.

I'll be at the bar.

You can keep an eye on everybody that way.

Hello, Ed. Where'd you get the parrot?

It's a southern parrot, it came from Mississippi.

[laughs] Parrots don't come from the south.

Oh, they don't, eh?

How ya'll?

[parrot laughs]

Fine, thanks.

[orchestral music]

You sent for me, Mr. Stuart?

Oh, not sent, Miss Starr.

I just said whenever was convenient.

Oh.

Well, I haven't much time to change.

Oh, there's no hurry.

They'll hold the curtain for me.

Shall we have a little drink for luck?

No, thank you.

I hope you're going to enjoy San Antone.

I'm sure we're going to enjoy you.

After the show, if you'd like..

...I thought we might have a little dinner up here.

It's more private.

Nobody will disturb us.

[clears throat]

No, no, Roy.

Not now. Just a friendly call.

I'll tell you when the shootin' starts.

What do you want here?

Oh, Miss Jeanne.

Mr. Legare said he'd like to see you.

- He's right next door. - Thank you.

If you'll excuse me, Mr. Stuart.

[door closes]

I asked you a question.

I know.

You were asking another when I came in.

Is that your girl?

Could be.

We haven't made up our minds yet.

[knock at door]

Come in.

[door opens]

You sent for me, Mr. Legare?

Did I?

Oh, yes. Of course.

Please.

Won't you sit down?

I should be getting backstage.

Oh, don't worry. They'll wait for you.

And for me.

You know, my dear

I've been looking forward so much to this visit of yours.

Really, like a young boy.

What a pity it was in New Orleans

that we didn't see more of each other.

Mm. But now..

[door opens]

Oh, pardon me, I just came here to tell you

that Bozie's looking for you, Miss Jeanne.

He's goin' crazy downstairs.

Thank you, Mr. Hardin.

I really must run now.

[door closes]

[door opens]

[door closes]

[instrumental music]

[doors open]

[doors close]

Roy, you want us to do something about Clay Hardin?

Not till I tell you.

It's really a pity, Roy

that you don't take fuller advantage of my brains.

As I think of it now, I'm afraid

you have made another wretched mistake.

Don't talk so much.

I'm thinking now of a very interesting tally book.

That I accidentally looked into once.

One accident can lead to another, Legare.

As I recall, the book contains

some very curious bills of sale

transferring cattle.

I write bills of sale everyday.

Yes, but this time you were selling cattle

that didn't belong to you, Roy.

I suppose you learned that by accident, too.

Did it never occur to you

that some of the people who worked for you

may also be friends of mine?

I've always suspected it.

That's how I know this tally book

this convicting evidence against you

has fallen into the hands of someone else.

Don't you know what's going to happen to you

if you don't get it back?

You'd like to get a hold of it yourself, wouldn't you?

[chuckles]

I wonder who has that book of yours now.

I suppose it might be someone

sitting at one of those tables.

Might even be someone standing at that bar.

[music continues]

I suppose one man's guess

is as good as another's, isn't it?

[music continues]

Now, don't step on your dress and trip and spoil your number.

I think I'll send Clay Hardin a note

and thank him for his flowers.

Now, hold still, you look like a rag doll.

Jeanne, if you follow my advice, you let that fellow alone.

- He was born for trouble. - Tsk.

Gentlemen, tonight is a night

you will never forget.

I hasten to present

Jeanne Starr!

[audience applauding]

[singing "Some Sunday Morning"]

[applauding and cheering]

? I'm so happy ?

? Oh so happy ?

? And why shouldn't I be? ?

? There's a reason ?

? And the reason ?

? Is as simple as ABC ?

? Some Sunday morning ?

? It's going to be ?

? Some Sunday morning ?

? For someone and me ?

? Bells will be chiming ?

? An old melody ?

? Specially for someone ?

? And me ?

? There'll be an organ playing ?

? Friends and relations will stare ?

? Say can't you hear them saying ?

? Gee what a peach of a pair ?

? Some Sunday morning ?

? We'll walk down the aisle ?

? He'll be so nervous ?

? And I'll try to smile ?

? Things sure look rosy ?

? For someone and me ?

? Some Sunday morning ?

? You'll see ?

Have you ever gazed at the silvery moon

hanging low in a Texas sky?

And looked out cross the plains while the breeze hummed a tune

to the tumbleweed tumbling by?

Have you ever walked by the old Rio Grande?

Have you ever seen a sage all in bloom?

Have you felt the delight of just roaming around

way out there, where there's plenty of room?

Or did you ever ride down an old cattle trail?

'While the stars, like a million eyes'

seem to look down and say..

..."When you're down Texas way, you're really in paradise."

? Some Sunday morning ?

? We'll walk down the aisle ?

? He'll be so nervous ?

? And I'll try to smile ?

? Things sure look rosy ?

? For someone and me ?

? We're waiting patiently ?

? To see how heavenly ?

? Some Sunday morning ?

? Can ?

? Be ??

[cheers and applause]

[whistling]

? Some Sunday morning ?

? There's going to be ?

? Some Sunday morning ?

? For someone and me ?

? Bells will be chiming ?

? An old melody ?

? Specially for someone ?

? And me ?

I got a note from the gal to Clay Hardin.

What'll I do with it?

? Friends and relations will stare ?

? Say can't you hear them saying ?

? Gee what a peach of a pair ?

Give it to him.

If that's the way you want it, boss.

? Some Sunday morning ?

? We'll walk down the aisle ?

? He'll be so nervous ?

? And I'll try to smile ?

Get that drunken cat off the bar.

Yeah, he is a little drunk, isn't he?

? For someone and me ?

From Miss Starr.

? Some Sunday morning ?

? You'll see ?

? Some Sunday morning ?

Wait a minute, Clay. Don't go back there.

You can't trust anybody in San Antonio tonight.

This girl's a complete stranger, pal.

Who brought here? Who's she working for?

Stuart and Legare.

You didn't always scare this easy.

Oh, alright, go on, but at least, let me carry

that tally book while you're dilly-dallyin'.

You got no right to risk everything.

Sure, if it'll make you any happier, here.

Careful.

? There'll be an organ playing ?

You're like a ticklish girl at a strawberry festival. Here.

? Say can't you hear them saying ?

? Gee what a peach of a pair ?

? Fair and lovely ?

? Some Sunday morning ?

? We'll walk down the aisle ?

? He'll be so nervous ?

? And I'll try to smile ?

Henrietta, will you please open the door to the gallery?

It is open.

? We're waiting patiently ??

[knock at door]

Well, don't stand there like a ninny.

Come in and shut the door.

This is nice.

I'm so glad you came up.

Now, don't talk all night.

You need to rest, you know.

It was sweet of you to send me those flowers

you picked yourself.

Well, I can see you needed 'em.

[chuckles]

And, uh, I'm sorry

I threw those things at you this afternoon.

Oh, that's alright.

Usually you have to stand in line to throw things at me.

Oh, it's stifling in here, Clay.

- Let's go out on the gallery. - Sure.

What's out on that gallery, the pay window?

I feel sorry for the rest of the country.

Struggling along in plain and fancy ignorance.

Poor Louisiana, poor old Arkansas.

What's the matter? Is Texas going to take them in?

Just think of all the other towns there are.

And only San Antonio rates

a performance by Ms. Jeanne Starr.

Oh, now, wait a minute.

Where does a cowboy learn to talk like that?

[chuckles]

[door opens]

[door closes]

[dramatic music]

[door opens]

[suspense music]

And then to the South of our little house

nothing but mile upon mile of buttonhole bushes.

They're lovely.

And I guess I'm supposed

to sew on all the buttons?

Why, of course.

Oh, I can see it all.

Birds singing in the tress, flowers comin' up.

Oh, yes, here's the main event.

The whole thing's completely surrounded

by millions of assorted cattle.

Oh, that really settles it.

Your old cows scare me to pieces

with those long antlers or whatever they are.

Antlers?

[laughing]

So, you can't get away from it, Jeannie.

Everything either begins in Texas or ends up there.

That's just it.

Who wants to end up?

[gunshot]

Well, if that was a Texas kiss, I..

[gunshots]

Maybe I shouldn't have broken up those two meetings you had.

Get inside.

[gunshots]

[intense music]

[gunshot]

[dramatic music]

[door closes]

Tell me, Bozic..

...what do you see?

I, uh, I don't think I see nobody.

Just remember that.

And remember this.

'Nothing was ever more important than your life.'

[door opens]

[woman screams]

[sobbing]

[intense music]

[door opens]

[door closes]

The whole play went wrong.

The guns talkin' all over the place in another 24 hours.

Joey, you ride to Hondo.

Ride to Sabinal if you have to, and get Harkness' bunch.

Rebel, you swing out to Pilgrim.

Bring in the High-Five and the Jingle-Bob outfits.

You others, fetch in your own.

I want the whole wild bunch in

San Antonio by tomorrow night.

The cavalry's still here, Roy.

Pretty tough mixing with that outfit.

You'd sooner hang..

...I'll see you get the prettiest flowers

ever thrown on a corpse.

Come on, boys.

[door opens]

[intense music]

Break out of it.

On your feet, he's coming right in.

[music continues]

Yeah?

Get your boys together and ride into San Antone.

Roy Stuart wants a hundred gunfighters by sundown tomorrow.

- What for? - Never mind what for.

Just get in there.

[intense music]

Well, Stuart's got a lot of brass, that's all I got to say.

Okay. I'll tell him that.

No, wait a minute.

Tell him we'll come in.

[intense music]

[music continues]

[indistinct chatter]

(Johnson) 'I'm sorry to have to continue'

'pressing these questions, Miss Starr.'

But I think you understand the importance

of your testimony in this inquiry.

I'll do anything I can to help.

Yes, I'm sure you will.

How close were you to Clay Hardin

when he was fired on?

Quite..

Quite close.

This was outside your dressing room?

We were standing on the gallery.

Someone shot at Mr. Hardin out of the dark.

It broke the window behind us

but...but no one told me to have him stand there.

No one made any suggestion about it.

I swear they didn't, no one.

(Johnson) 'Tut-tut-tut-tut. Nobody said they did.'

'That was your own bring-up entirely.'

Don't you believe me?

(Johnson) 'Yes, yes.'

Did you see anyone on the patio?

No, sir. I, I don't know anything else.

That's all, Miss Starr. Thank you very much.

Uh, who is this "Sacha Bozic"

or "Beezic" or something?

Bozic, Bozic, Bozic.

B-O-Z, zic.. B-Bozic.

T-that's me, Your Highness.

Don't call me that.

Yes, please.

Now, you don't have to give any answers

incriminating yourself, but where were you

when this hurrahbroke loose?

I..

I, please, I was breathing air.

[inhales and exhales]

What?

Thank you, thank you, thank you.

I'm, I mean, I come, I come outside the dump from inside

because there is no air inside the dump.

And I-I think may-maybe there is air outside

so I am outside now.

Oh, never mind the climate.

What did you see outside the dump?

[chuckles] I mean, the Bella Union.

I see n-n-nothings.

It is so dark.

'You can't see nothings.'

Great catfish, man.

You just admitted you were there.

Yes, Excellency.

Don't call me that either.

- Yes, please. - Go on.

All of a, all of a..

All of a click, the gun start to go shoot.

I run one way.

No, no. I run two-two ways.

I-I try to go someplace else

then I come to this man who lies down.

I make a look.

- He's dead. - Who else did you see?

(Sacha) 'Af-after that'

it-it is after, after that

a lot of people comes out

and helps me look at the deceased.

He's st-still, still dead.

Is that all the light you have to shed?

Yes, please. That is all I shed.

Well, we found out a sum total of nothing.

[chuckles] Thank you, Your Highness.

[crowd chuckling]

Colonel, we haven't even had anything to prove

that Mr. Stuart was in his office, as he says he was

at the time the killing took place.

I think I can dig up a few witnesses to that.

If someone has shown a reason why I should.

(Johnson) 'No one has.'

It would be much more to the point, Hardin

to produce one witness who knows he was not where he says.

'There's gotta be some connection'

'otherwise he's innocent.'

'You ought to know that.'

I know all that, colonel.

I'm sorry we can't get better results here.

Especially since I have to call your attention

to our bulletin of this morning.

The military aid we've been giving here is withdrawn.

Stopped, pulled out from under, as of at once.

I don't like to leave in the face of a blow up

but I've been ordered to go put the quietus

on an Indian whittle whang.

'My cavalry will leave tonight.'

'Now, you people are on your own'

'and heaven help you.'

In that case, colonel, there's something I'd like to ask.

If you're pulling out, you gotta leave a peace officer here.

The post of Town Marshal is vacant.

I think I'm the man to fill it.

- Why? - I'll tell you why if you want.

I was raised by Charlie Bell

ever since I was about two and a half feet high.

When I was a kid, the Indians were playing up pretty bad.

Many the night he'd have to take me out and hide me in the brush.

I wouldn't be alive except for Charlie

and he wouldn't be dead except for me.

So you give me the authority

and I'll get you the man that killed him.

Alright, I'll appoint you for 24 hours only.

By that time, a new marshal

can be designated in the regular way.

So that's how long you've got to get

'the killer in a legal manner.'

I'll try to see that it's long enough.

["El Jarabe Tapatio" instrumental music]

What's happened to that Starr woman?

How can you speak of her marvelous attraction

as "That woman?"

Where's her manager?

Hasn't been around since the inquiry.

Well, it's about time you were asking me that.

He's probably shut in his room, but I advise you to go and see.

You advise me?

Didn't you gather that Bozic was wandering

around outside our, our dump, as he calls it

at the time you were shooting at these people?

- I shot nobody. - Yes, yes, of course not.

Stick to it, by all means.

I swear to heaven, I got no more notion of who shot

this infernal Charlie Bell than you have.

But you were having a little gun spree in the patio, weren't you?

That's a great plenty to hang you, you know?

Yet, you just casually let an eyewitness go kicking around

without the least precaution.

Who's taking care of him?

Nobody, Roy.

Nobody at all.

Then you don't know whether he's still in that room or not.

No, I don't.

For all we know, he is wandering all over the place

talking freely to all kinds of people.

Don't you ever take care of anything yourself anymore?

[music continues]

Jeanne. Jeanne.

- Feeling better, Bozic? - I feel, I feel terrible.

- Terrible. - Oh, I'm sorry.

- He always feels terrible. - But never like this.

If he feels like he's dying

there's beginning to be a little justice around here.

You are a heartless old wrinkle.

- Always the opposite. - Come on, Jeanne.

No, Jeanne. I, I must speak to you.

- We haven't time to hear-- - No, no, o-only Jeanne, please.

Go ahead, Henrietta. I'll be with you in a moment.

If he tells you he's run us out of money again

don't be surprised.

What's the matter, Bozic?

Jeanne, it's a terrible thing

make itself to happen next.

Oh, wait a minute.

If it's true, I don't

I don't know how to tell myself.

Jeanne, it is a murder wants to happen, and, and I'm it.

Oh, for goodness sake, Bozie.

Now, tell me. What is it?

It is so necessary nobody can help.

I don't hope.

You see, I-I know I..

I know who was the murderer who had kills Charlie Bell.

- Who was it? - I-I can't tell you.

I-I don't dare tell you.

But you should have told them at the inquiry.

Yes, I know, but then I could not think

and now it is too late.

He has people helping him.

They are all around us.

They are in the patio, in the stairs.

Oh, what do you want to do?

We must try to get away, get away.

Maybe they will let us go when they see

we are just quietly going from out.

Bozie, I can't go.

I, oh..

You would just wait for them to kill me?

No.

But, well, you can get out

of here a whole lot better without me.

Now, grab what you need and get away

from here this very minute.

No, no, I could not leave you alone.

If you don't, I'll march straight to Clay Hardin

with the whole thing.

No, you mustn't, you mustn't.

It's the worst you could do.

Then you would be in danger, too.

Well, then, get out of here.

Don't argue with me, Bozie.

Please hurry up.

Alright, Jeanne, if you want me to.

- Jeanne-- - Bozie, go on.

[door opens]

[dramatic music]

[door closes]

[screams]

[monkey chattering]

[door closes]

[dramatic music]

[door opens]

I can't do it.

I can't leave.

You can't do what?

I can't..

Mr. Stuart.

[tense music]

I understand that you're known to roam around some at night.

I-I didn't mean to.

I was only breathing air.

You were behind the Bella Union when Bell died.

Weren't you?

You don't need to say it.

Don't, please. Don't.

I wouldn't tell on Mr. Legare.

I wou..

You wouldn't tell on who?

I, I didn't mean to see him.

I didn't know Mr. Legare was there.

I..

I was just ru-running away.

You saw Legare shoot Bell?

No, no, no.

I swear, I don't.. I don't tell somebody.

Shut up.

Yes, please.

I never thought he had that kind of gravel in his craw.

And you'll be out of town in 15 minutes?

Fifteen minutes. Yes.

[door opens]

Make it ten minutes.

Ten minutes.

Ten minutes, ten..

[door opens]

Five minutes.

[door closes]

Five minutes.

[intense music]

Come on!

Where's Legare?

He's eating, down in the middle of the plaza.

Keep a close lookout on Clay Hardin.

- I'd like to know where he is. - Right.

Worried, Legare?

Well, I was just thinking of borrowing

some of your artillery.

As we say in New Orleans..

[speaking foreign language]

What's that mean in Texas?

The same thing, Roy.

"There is no one who isn't dangerous for someone."

The Bozic matter is taken care of naturally?

He's out of reach.

Including your reach, Legare.

I have no objection to your killing Charlie Bell.

Probably saved me the trouble.

Without actually admitting anything, let me say

I am happy that you take that view.

But, uh, wouldn't it be strange

if I were to find that the tally book is in your hands now?

[chuckles] Considering that it might easily hang you

I might say yes.

Wouldn't that be odd?

I have thought for some time, Roy

that you need me as a partner in your cattle business

as well as in the Bella Union.

So, you do have the tally book?

I can be a great help to you, Roy.

At the present moment, you are perhaps

the most feared man in South Texas.

You're certainly the richest.

You will still be one of the richest

if we divide it all.

Can you think of one good reason why I don't kill you?

I can.

You don't know where your tally book is

or where it will turn up if I die.

You not only will not kill me, Roy

you will defend my life..

...as if it were your own.

It almost works, Legare.

Oh, I think it will.

Every time you look at me, Roy, you must say to yourself

"There sits my very life

and about ten million dollars."

You think you're smart, don't you?

You are smart.

But not smart enough.

[dramatic music]

Sure, now it's too early, and later, it'll be too late.

Mr. Hardin, Mr. Clay!

That lady, Jeanne Starr, she wanna see you.

Gracias, hombre. Take.

- I tell her something? - No, nothing.

Something's happened and we don't know about it.

Unless we can find out before the cavalry leaves

it's no use finding out at all.

We can't fight until the cavalry leaves

and after that, we can't win.

Roy Stuart's mavericks are pilling

into town hand over fist.

You know, that wild bunch could have

gone into town last night.

- I wonder why they didn't. - Hmm.

Because he did not tell them to, I suppose.

And I wonder why Stuart didn't need them

until after Charlie Bell was dead.

If he hadn't killed Charlie Bell

Texas would have blowed up in his face.

- Uh-huh. - He's still afraid of that.

You know something, Tip?

I don't think Stuart killed Charlie.

He's dead, ain't he?

Someone else killed him, and took that tally book.

I don't think Stuart knows where it is.

But then, neither do we.

Someone does.

I've got an idea who it is.

Go find me Sacha Bozic.

Sack of what?

Bozic, you know, Jeanne Starr's manager.

A little round fellow, like a beer barrel.

- Go ahead, quick. - Alright.

[instrumental music]

Excuse me, Miss Jeanne, I'm looking for your mister..

You know, the little fellow that handles your freight for you.

Oh, Bozic? I think he..

Uh, I don't know where he is.

Miss Jeanne, uh, Clay Hardin is right out there in the plaza.

(Legare) 'Jeanne.'

Have you talked to Bozic?

Yes, I see that you have.

How does it seem to be in love with

San Antonio's leading crackshot?

Yes, Clay Hardin.

When there are 200 men in a room you see only him.

I have noticed it.

Do you realize that you yourself are likely

to put Clay Hardin in the greatest danger?

I understand Clay Hardin is very good

at taking care of himself.

Hmm. Look about you.

How many guns are in this plaza and behind those shutters?

If a man receives 30 bullets in his body

in the tenth part of a second

what is his next step in taking care of himself?

What kind of people are you here?

Peace-loving people.

But so many would love to see Clay make a wrong move.

It would be too bad if you told him something

that would occasion a, uh..

...a sudden accident.

[speaking in foreign language]

I don't need to talk to him at all.

I won't even speak to him.

You will talk to him, if it's unavoidable.

But do not seek him out, because if you do

I'll know I've made a mistake.

I'll be forced to correct it.

[children clamoring]

[speaking in foreign language]

Are you sure you ought to be out here by yourself?

The last time we spoke, I think

you were accusing me of trying to kill you

or of helping someone who wanted to kill you.

What was it you want to tell me?

Nothing.

This town is full of men who look

as if they'd step on baby chickens.

Is that all you wanted to say?

Or are you sure Legare didn't just

give you some new instructions?

Clay, will you take me away from San Antonio

right now, this very minute?

Do you know what that building is over there?

What, that-that old broken church?

Do you ever hear of the Alamo?

- Of course, everyone has, but-- - That's it.

Clay, will you listen to me, please?

No, you listen to me.

Texas was born inside those walls.

Those old-time Texans died for something pretty important.

I wouldn't want them to know that I pulled out

just because the going got rough.

It's hopeless to talk to you, isn't it?

No. All you have to do is

to be honest just for a minute.

What is it you haven't told me?

Nothing. I swear there's nothing.

If I tell you I believe you, will you stand on that?

- Yes. - 'Oh, Clay?'

Oh, excuse me, miss.

Bozic isn't around here.

He isn't even in town.

Some say he pulled out for Austin by special coach.

Send Bud and Windy after him on the best horses you've got.

Get him back here, fast.

We didn't know he was so important as all--

- You know it now. Andale. - Yeah.

How did you know that Bozic..

Who told you?

You did.

You haven't played enough poker.

[instrumental music]

I guess that ends it, Clay.

There go our troops.

Well, they had to go sometime.

Only if Bud and Windy had got back.

They didn't, though.

We couldn't fight them till we had a legal reason.

But now we can't fight at all.

Well, I'll be seeing you, boys.

Wait, Clay, we'd better go with you.

Not this time.

What are you gonna do, Clay?

There's always one more drink left in the jug.

I wonder what he meant by that.

[orchestral music]

[music continues]

[music continues]

[thud]

[music continues]

Aren't you ever going to forgive me

for something I didn't even do?

Uh, did you ever hear of an animal

called a "Judas Goat?"

No, but never mind that now, Clay--

But I do mind now.

When sheep are driven into the chutes to be slaughtered

they balk and won't go in

so a goat is put in to lead them.

- I don't care anything about-- - I do.

The sheep trust the goat. They go where she leads.

The goat walks through untouched

but the sheep following are killed.

Is that what you believe of me?

Clay?

Funny part of it is, Charlie Bell warned me.

If I had listened, he'd be alive tonight.

Wouldn't he?

I wish I'd run away when Bozic did.

(Legare) 'Excuse me, Mr. Hardin.'

It's time for you to take the stage, my dear.

Alright, I'll go.

I hope you have no objection, Mr. Hardin?

Should I have?

Why, of course not.

[music continues]

I know you won't believe me, but I'm worried about Bozic.

He still isn't here or hasn't even been heard from.

Well, I have to go on anyway.

You know something about this you're not telling me.

You think just because I scold Bozie all the time

that I don't care what happens to him.

Well, I scold you too, and I've stuck to you

through whistle tops and high water.

I-I think that's my cue.

You're not ready to go on.

Oh, let me get it over with, Henrietta.

- There's no time. - There is time.

The orchestra will ad-lib.

I wish you'd look at yourself.

[instrumental music]

Sit down, Roy.

I don't think you came here just to sit around and scratch fleas.

That's right.

I came to make an arrest.

Clay, as it so happens, I didn't kill Charlie Bell.

I know that, Roy.

Then what do you want?

I want the man who did.

Secondly, I want an end to raiding in Bexar County.

I know only one way to get that.

But there's another way to get the man who killed Charlie.

Let's watch the show, huh?

[singing "Somewhere In Monterey"]

[applause]

? That day I crossed the border ?

? He tossed a glance and I lost my heart ?

? Somewhere in Monterey ?

? In broken Spanish I spoke in Spanish ?

? Love is a Spanish art ?

? So we had lots to say ?

? And that's why ?

? Hasta manana ?

? He ran away ?

? Back to his hacienda ?

? His wife and ten little chickadees ?

? Somewhere in Monterey ?

[men vocalizing]

[whistling]

[men vocalizing]

Enjoying the act?

Once, for about five minutes that one girl could have

straightened this whole thing out.

Maybe. But she can't get you out of it now.

Hmm? What's that?

I'll make a deal with you.

Drop all charges against me, give me full immunity

and I'll give you the man who killed Charlie Bell.

When I've got him, I've also got you.

You know that, don't you?

I know my tally book of cattle sales

was taken from Charlie's body.

But if you had it again

you could blow up half this state.

Right.

That's why you've got no chance

of making a deal with me.

Then, that's also why you haven't got

a chance of getting the killer.

Because I'll have to stop you.

[whistling]

[men vocalizing]

[music continues]

[applause]

? That day she crossed the border ?

? He tossed a glance and she lost her heart ?

Roy?

For a moment, I almost thought you could do it.

I'll see you later.

Well, what's out there? Bill collectors?

You may as well tell me so I can go out

and deal with them.

We've gotta get out of here.

Go back to the hotel right now.

Hire a coach and put our stuff into it.

- Where're we going? - I don't even know.

? And ten little chickadees ?

? Somewhere in Monterey ??

[sighs]

(Legare) 'Good evening.'

No.

Come here.

It comes to me that I have been wrong.

I haven't said anything.

- Nothing's happened. - Something has happened.

You have done what I expressly forbade you to do.

What harm can it--

I believe I warned you not to seek him out.

I'll leave San Antonio if you want me to.

I'll get out of here tonight.

I'm afraid it's a little late for that.

[banging on door]

Drop your hand.

[dramatic music]

I have a friend here to see you.

Come in, Bozic.

I-I ran away, but I came back.

You're under arrest, Legare, for the murder of Charlie Bell.

I think you'll find it isn't as easy as that.

Don't move.

[dramatic music]

In about ten minutes my job will be done.

May I point out that your next ten minutes

are infinitely uncertain?

Roy Stuart and I detest each other, as you may know

yet he has become extremely valuable to me

so that I would defend him at the risk of my life.

I'm sure you would.

Conversely, Roy Stuart has a very special reason

for valuing me.

Believe me, there hasn't been one moment

since you entered the Bella Union

when you could have left the building without my help.

I expect to have your help.

You're gonna walk ahead of me

until I get outside.

Not too fast and not too slow.

Shall we start?

Not that way.

[dramatic music]

We're gonna walk through the Bella Union.

[dramatic music]

[music continues]

[orchestral music]

[music continues]

Look out, Clay!

[gunshot]

[women screaming]

[gunfire]

[intense music]

[people clamoring]

[gunshot]

[gunfire continues]

[music continues]

[women screaming]

[Henrietta gasps]

[Bozic gasping] Ah! Ah!

[gunfire continues]

[gun clicks]

Behind you, Clay.

[intense music]

[groans]

[indistinct chatter]

[gunfire continues]

[gunfire continues]

[glass shatters]

[gunfire continues]

[gunfire continues]

[clattering]

[dramatic music]

[gunfire continues]

[gunfire continues]

[intense music]

[gunfire continues]

[gunfire continues]

[horse galloping]

[intense music]

[gunfire continues]

[gunfire]

[intense music]

[gunfire continues]

[gunfire continues]

[indistinct chatter]

[intense music]

[music continues]

[gunshots]

[dramatic music]

You never were smart enough to be my partner, Legare.

I..

[breathing heavily]

I'll be waiting for you, Roy.

[dramatic music]

(Clay) 'Don't move, Stuart.'

Drop that gun.

[gunshot]

[intense music]

[gunfire continues]

[gun clicks]

[gunshot]

[gun clicking]

[horse galloping]

[intense music]

[instrumental music]

No, no, no. No, no!

The big one must go under, so it won't be on top.

That is why the big one is smaller.

Give a push up, so it don't stick in so far out.

Sheesh, shoosh. Always the opposite.

(Jeanne) 'Bozic.'

(Bozic) Yes, darling, what can, what can I do for you?

There must have been some answer.

No, Jeanne. No answer is from..

Well, didn't he even say anything to the boy

who took my note to him?

Eh, the boy don't know where is Clay Hardin

so I send him to look where he ain't

to see if he is back.

I don't see the boy since after.

Now, go inside, please

before you c-change my mind some more.

Maybe Clay never got your note at all.

We got to get her out of this terrible town.

If you can't say nothing, don't speak.

[grumbles]

If she can't get her mind off that wild-eyed horseback rider

there's no sense in taking her 200 miles.

She'd only turn around and come back.

I'd do the same thing myself.

Jeanne, if you feel so bad, we don't go someplace.

We don't leave until after we all get killed yet.

If that is what you want. Ah.

No, Bozie. We're leaving now.

If he can't even walk across the plaza to say goodbye to me

I don't want to see him again

or think of him or hear his name.

Now we pack.

Quick, quick, quick, quick.

Begin putting the stuff on the..

Huh?

Gee. You..

I was very happy to meet you.

Thank you. See you again.

It was very nice. Thank you.

You've searched the Alamo again since daylight?

There was only one body in the Alamo.

The body of Legare.

Nobody knows what happened in there.

Oh, we'll know more about it when we find Clay.

- If we find him. - Yes.

Aye, then..

[instrumental music]

[horse-cart rattling]

[dramatic music]

[horse galloping]

[gunshots]

[gunshot]

[gun clicks]

[music continues]

[music continues]

[water splashes]

[intense music]

[horse galloping]

[instrumental music]

[music continues]

[chuckles]

Move over, honey.

(Bozic) 'Look, look, look.'

There goes an empty horse.

You look like they drugged you through

in an irrigation project, backwards.

He looks as though they completely killed him.

Just where do you think you're going?

Out of Texas, you can bet on that.

How can you even think of leavin' Texas?

Well, I..

Can't you see the sad wistful look

in the eyes of those poor little cattle out there?

Look at them.

You mean, that Matagorda knot head?

Yeah. Heh.

Matagorda?

Now, just a minute.

Since when did Easterners start talking about Matagordas?

Well, I, I guess I just wasn't thinking.

- I-- - I'll say you weren't.

I always thought there was something phony about you.

Now, are you gonna tell me the truth?

Just where were you born and raised, huh?

Fort Worth.

A Texan! I thought so!

I could've gotten away with it if I'd really tried.

You let go of her, Clay Hardin.

We're going to New Orleans alone.

No, ma'am, we're not. There is only one place for us Texans.

Amigo, turn around.

[instrumental music]

[Bozic yelling]

Always the opposite.

Ha ha! That's right.

[music continues]