All language subtitles for Antonio

[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]