All language subtitles for Along.Came.Jones.1945 - EN - SDH - 1080p.BluRay.x264-PSYCHD

[bells tolling]

[bells tolling ends]

Hyah!

[gunshot]

[gunshot]

[gunshot]

♪ Around and around
we're goin' ♪

♪ Around and around ♪

♪ Old Joe Clark ♪

♪ And bye-bye,
Lucy Long ♪

♪ Old Joe Clark ♪

♪ He had a wife ♪

♪ And she was
7 feet tall ♪

♪ She slept with her head
in the kitchen ♪

♪ And her big feet
in the hall ♪

♪ I wished I had
a sweetheart ♪

♪ I'd put her
on the shelf ♪

♪ And every time
she'd grin at me ♪

♪ I'd get up there
myself ♪

♪ Oh, around
and around ♪

- Melody.
- Huh?

How many verses
you say there was

to that song?

Oh, about 100,
I reckon.

100.

But I only know
about 90 of them.

♪ Bye-bye, Lucy Long ♪

♪ Oh, around and around ♪

♪ Old Joe Clark ♪

♪ Around and around
we're goin' ♪

Melody,

what is it?

Some cow town,
it looks like.

Well, how come
a cow town here?

I thought there wasn't
any till Hot Creek.

I don't know,
unless...

Unless what?

George, you recollect
that fork in the road

4 or 500 miles back
where we turned right?

I just remembered.
We should've turned left.

Well, it don't
surprise me none,

I can tell you that.

A cowhand that goes in
for breaking horses,

by the time
he is your size,

he's been hit
in the seat of the pants

so many times he ain't
got any brains anymore,

just a kind of oatmeal
in his head.

♪ I wished I was
a big red apple ♪

♪ A-hangin' on a tree ♪

♪ And every pretty girl
that come along ♪

♪ Would take a bite
out of me ♪

♪ Oh, around
and around ♪

♪ Old Joe Clark ♪

♪ Around and around
we're goin' ♪

♪ Around and around ♪

♪ Old Joe Clark ♪

♪ And bye-bye,
Lucy Long ♪

Howdy, friend.

Howdy.

Where are we,
old-timer?

This here's Payneville.

Painful?
What's painful?

This here is.

You mean generally,

or is this personal?

It's a bad sign, Melody,

when the first fella
you meet in a town

is some kind of
hobgoblin.

Don't go far, will you?

I don't aim to be
drinking here

for more than about
5 or 6 hours.

Is that him?

Yes.
I think so.

♪ Around and around
old Joe Clark ♪

♪ Around and around
we're goin' ♪

♪ Around and around
old Joe Clark ♪

♪ And bye-bye,
Lucy Long ♪

Well, I guess she's got
as much right

to get thirsty as a man.

[humming]

Look.
She's coming out.

Just look
at that walk.

[man]
Very nice.

Very nice.

Don't, Cyrus!
Don't!

Let go of me,
will you?

No. Look.

I didn't mean nothing.

I didn't know.

All right. From now on,
don't go making remarks

about other men's
girls, see?

Yes, sir.

[man]
No, no, sir. No.

What's the matter
with you?

Nothing,
señor.

You want something
maybe, please?

Give me
some of... them.

Tomates?

Open 'em.
I'll eat 'em here.

Si, señor.

Again.

Don't try to draw
on him.

If you do,
you're dead.

Did he see me?

No.

Thought he did.

He'll cross back over
to get his horse.

We pushed 1,000
head of cattle up there,

me and my partner--

him and me.

[laughter]

And what's more,
you fuzzy-faced apes,

my name ain't Roscoe,
and I ain't nobody's uncle.

And the next one
that calls me so

is going to have
to get down on
the floor about it.

[laughter]

And don't look for me
back, either.

I will invest my money

in a town where
there is at least one man

that ain't
a leaping lunatic.

Drunk already?

Let's get out
of this place.

It's a spook town.

The more I see of it,
the more I don't like it.

Did they do something
to you?

Nah, they didn't
do nothing

outside of calling me
their uncle.

It's their attitude.

They're, uh--
they're, uh--

they're, uh,
disrespectful.

The trouble with you,
George,

you take a little
getting used to.

You don't make the right
impression on people.

You ought to know
that by now.

Ought I?

Sure. You walk into
someplace

where nobody
don't know you...

You already got that
dumb look on your face.

First thing you do,
you ask some fool question

any papoose
could answer, like,

"Where am I?"

Naturally, you ain't
immediately nominated

for governor.

What you got to do,

you got to walk in
kind of...

unsmiling.

Unsmiling, eh?

You got to look like
you're somebody and

act like
you're somebody--

like you can take care
of yourself

no matter what happens.

And pretty soon,
you are somebody.

Is that what you done?

It just so happens
I ain't hardly said

more than 2 words
in this town,

and already I got
a certain... standing.

Mmm.

Unsmiling, eh?

The way it is now,

I can walk into anyplace
around this dump

and clear my own place
at the bar until they--

or rather, even before
they know me.

Yeah.

All right.

Come with me.

Huh?

Come with me.

Mr. Unsmiling Jones.

Thought you said you
weren't coming back.

[laughter]

[laughter stops]

Your pleasure,
gentlemen?

Some liquor.

Yes, sir.

[mumbles]
Stop goggling.

You're with me.

Mud in your eye.

Thank you, sir.
Thank you very much.

Good stuff, huh?

Yeah.

I make it myself.

How much?

On the house, anytime.

Much obliged.

You see?

It's spooked.

The whole dadblamed
town is spooked.

We gotta get out
of this place quick.

Why, it's all
very simple, George.

Simple?

What would you
have done

if somebody
had drawed on you?

What on earth would anybody be
wanting to draw on me for?

Because you was
asking for it.

The way
you walked in,

the way your face was
all scrounged up.

It was just
asking somebody

to slap leather
with you.

Well...

Look, Melody,

you couldn't hit the
hind end of your horse

with a handful
of buckshot,

and you know it.

Right in front.

He'll move.

And you ain't a
gunfighter, that's all.

You ain't even
a good shot.

You're just a plain,
no-good bronc stomper

that's been hit in
the seat of the pants

so many times--

Look.

Wait. He's looking
at something else.

Darling.

Monte.

[whispers] Don't move.
There's a gun on you.

Just come with me
and keep close.

But listen, lady--

Do as I tell you,
and I'll get you out of this.

And smile.

Smile.

That's better.

Stay right here with
your backs to the wall,

and I'll get your horses.

[George]
Who is it?

[Melody]
I never seen her before.

That time in Cheyenne when
you was kicked in the head,

and you was missing
4 days--

you sure you didn't
marry somebody

while you was out
of your head?

I wasn't that far
out of my head.

Whoa.

Now ride around there

and keep close
to the front wheel.

But, miss--

Are you looking
to get shot?

- No, ma'am.
- No, ma'am.

[Cherry]
Then do what I say.

And when you start
moving, move.

Now, can you tell us
what happened?

What's them initials
stand for?

That's for my name,
Melody Jones.

Or Monte Jarrad,
too.

You don't look much
like him, really.

Exceptin' you're built
something like him--

tall and spindly.

You mean they took me
for somebody else?

That's why I did
what I did--

so's you wouldn't
get killed...

by mistake.

Oh.

Then it wasn't me
they were scared of?

They thought you was Monte...

Monte Jarrad.

You say somebody is fixin'
to kill this here Monte Jarrad?

Nobody but the sheriff
and his posse.

Any particular reason
outside of prejudice?

Well, there's always
the reward, of course.

$1,000 dead or alive.

Mr. Unsmiling Jones...

A man with a certain
standing in the community.

[dog barking]

Whoa.

Is this Monte?

No. They just
took him for Monte.

Of course
it's Monte.

Hi, Monte.
Heard a lot about you.

Don't pay no attention
to Pop. He's a little,
uh, mixed up.

Oh...

This is Uncle Roscoe,
ain't it?

Hi, Uncle Roscoe.

I'd ask you to
alight and eat,

but I think you'd
better keep going,

and straight south,
huh?

Oh, I ain't in any hurry.

Can't you understand what
I've been trying to tell you?

There's gonna be
a posse after you.

Not after me.
I ain't done nothin'.

[Pop]
Ain't you gonna
alight, Monte?

[Cherry]
No, he ain't. He's gonna
keep going.

Now look, you can't
be as thickheaded
as all that.

This country's
full of men

just aiming
to shoot you on sight

and find out about
the mistake later.

Now you get out of here
while you still can.

But supposin'--

you heard what she
said, didn't you?

Get going.

Who are you?

He's my brother
Avery.

Now, are you going?

All right.

Come on...

Uncle Roscoe.

Cherry?

Cherry?

Come in, Cherry.

But I'm telling you,
Monte,

that's just
the way it was.

One punch,
and the stage driver,

this Ira Waggoner fella
was flat in the road.

Wish he'd broken
his neck.

You know what I'd do?

But that's what I get
for tying up

with someone
I ain't never seen.

You don't even
know Waggoner?

I never saw him
in my life.

It was Leo that picked him.
Leo talked to him,

and it was fixed that
that shotgun guard that got me

was gonna be left behind
in Coldwater.

Outside the horse,

there wasn't even supposed
to be no shootin'.

I got a good mind to blast
his belly open

the minute I see him.

That's right, Monte.

Get out of here!

I was just
gonna say--

never mind what
you was gonna say.

You get to town
and look for Leo.

So I don't have to slope
out of here by myself.

Sure, Monte.

You stay here.

Now...

what about this fella?

I already told you,
Monte.

He's nothing
but a tramp cowhand.

Stop talking like
a fool, or like you
think I'm a fool.

How do you know
what he is?

How do you know he ain't
one of Luke Packard's men

from the Express Company,
or Luke Packard himself?

Come on, Monte,
and sit down.

There.

Now, he's nothing
but a tramp cowhand

who just wandered
into Payneville

with an old
side rider.

On account of the same
initials on his saddle

and the way he looked,
they took him for you.

Homer Cotton was already
fixin' to shoot him

when I got this idea.

I figured the best thing
I could do

was to help 'em keep on
thinking he was you,

which I did the best
I could.

By this time
tomorrow night,

the posse will be
riding down after him

50 miles from here.

And the whole north will
be wide open for you.

I don't see anything
wrong about that.

Yeah.

Ain't nobody as stupid
as you make him out to be.

He's just a common,
ordinary,

useless bronc stomper,

like you could see
any which way

you looked around here.

And he'd have done
anything I asked him to.

He would, huh?

He did, didn't he?

Kind of liked you?

Yeah, looked like it.

That's what
I thought it was.

Well, you better be
glad he did, too.

There's something
maybe you better remember.

And never mind telling me

how it didn't mean
nothing to you.

Just don't monkey around
with nobody at all,

unless you want to see
their belly blasted open.

You know, George,
in all my life,

I ain't never been
so low in my mind

as I been since I talked
to that there girl.

Look, Melody, if we aim
to get across that line,

don't you think we ought
to hustle up these ponies

a little bit?

No, 'cause I don't aim
to cross any line.

What are you
talking about?

I don't aim to get
across any line,

because that's just what
she wants us to do.

That's the trick.

I worked that one out

almost before she
got her mouth shut.

You mean
there ain't no posse?

Oh, sure, there's a posse,
all right,

and it's probably
trailing us.

But there wouldn't be
if she hadn't
sicced it on us.

Are you telling me

that there pretty
little lady is a skunk?

Something happened
back there.

We don't know
what it is.

All I know is,
if that posse's

trailing us
to the south,

it'd make a mighty
good opening

for somebody else to
get away to the north.

I can't believe it.

What I'm wondering is,
where is that
somebody else now?

Well, if what you say
is a fact,

he's probably hid out
somewhere around that
there same place.

That's the way
I figured it, too.

Leastways,
if she ain't, we--

[humming]

Now, wait a minute,
Melody.

You ain't gotta be
no dumber than necessary.

That would make me
somebody, wouldn't it?

The man that took
Monte Jarrad.

Now, you look here,
Melody--

You don't understand,
George,

but for one hour
back there,

I felt what it felt like
to be high regarded.

I don't think I'm ever
gonna feel the same

about things again.

But that fella's
a killer!

I might even get--
you can't tell--

get to be sheriff.

[gunshot]

That or a corpse.

One or the other.

Now, you just
listen to me.

Where you going?

Back.

But listen, Melody.
Melody!

You go on
if you want to.

If only you could shoot
a little better.

[rooster crows]

[rooster crows]

What are we supposed
to be doing,
playing Indian?

What are you gonna do,
just ask her where he is?

To tell you the truth,

I ain't figured out yet
what I'm gonna do.

I was mixed up
in a little shooting once.

I just can't tell you
how quick I got sick
of the whole idea.

Mmm.

Mm-hmm.

He's changed,
Avery.

He can't help it.
He's in trouble.

They're chasing him,
and he's wounded.

No. It's more than that.

You know, when we were
all kids together,

just growing up,

he... he was
kind of wild,
of course.

That's why I was so crazy
about him, I guess.

But it ain't
wildness now.

He's mean.

Plain
downright mean.

And he's gettin'
meaner all the time.

There she is now.
Why don't you ask her?

What you got in this
mattress, skulls?

[Cherry]
Take your dirty
feet off my bed!

You really
got a crust.

My horse run off--

Shh.

[whispering]
Now, look,

I don't know if you're
crazy or not,

but you've got
to get out of here.

I'll get you another
horse and saddle--

I couldn't leave
without Henry Henshaw.

Your partner?

No. Henry's my horse.

I couldn't leave him,
especially with
his bridle on.

Where is your partner?

George? Oh, he's out
somewhere in the brush.

He's the nervous type.

Oh.

You're in some kind
of a fix, ain't you?

Of course not.

All I'm trying
to do is to...

keep you
out of a fix.

Don't you see?

That's why I took
you out of town.

You mean when you
called me Monte

in the middle
of the street?

You're kind of crazy about
this Monte, ain't you?

Look, I'll tell you
what I'll do.

I'll make a deal
with you.

[dog barking]

Shh.

[dog barking]

What did you
do that for?

That was your dog.
He's seen something.

Somebody's prowling
around out there.

Your partner, maybe.

No. He'd fall
over something.

Sounds like
he's gone now.

What kind of a deal?

Will you...

will you do
something for me?

Sure.

Will you stay in this
room until morning?

Do what?

Sleep here
in that bed.

For me, will you?

Why?

I'll explain it
in the morning.

I just don't want you

going out of here
tonight.

All right.

You promise?

Sure.

Thank you.

And for Pete's sake,
stay put this time,
will you?

Mmm.

Thanks.

Good night.

Uh...

You don't want to sit
and talk a spell first?

Heaven forbid.

Stick 'em up.

You surely took
long enough about it.

You heard me?

Oh, I've been
listening to you
slipping and sliding

around here
for about 5 minutes.

You always want
to shoot 'em in
their right eye.

It spoils their aim.

I went back
into town last night...

To look into things.

What did you find out?

Well, the way
it looks now,
as long as you keep on

letting anybody think
you're this Monte Jarrad,

you got exactly 5 chances
of being hung or shot,

which a fella tells me
is just about a record
in these parts.

How come?

1: the sheriff's got
just about everybody
in this county

in the posse that
ain't got no other
aim in life

but to catch you
and hang you.

2: there's a family
in this county named Cotton

that you killed 3 members of
about 5 years ago.

And this family,
which has got about
150 uncles and cousins,

is at the same time
conducting

an independent hunt to kill
you ahead of the posse.

3?

3: if neither one
of them crowds gets you,

the Express Company's
got its men here.

Because $40,000 in cash
was taken off that stage.

Some say $40 million,

but that sounds like
an overstatement to me.

4: failing all them
people getting you,

you can look for the United
States Cavalry to arrive

in about 3 days, because there
was some mail on that stage.

All these bodies
aim to kill you first,

'cause you is
Monte Jarrad,

and second, 'cause you
ain't Monte Jarrad,

and they just don't like to be
disappointed in the hangin'.

You said 5.

And 5: if you keep on looking
at a certain female lady

the way you been
looking at her,

I think we could be safe
in counting on
Monte Jarrad himself

to take a hand
in the shooting soon.

What I don't understand
is if this Monte Jarrad

is such a well-known,
popular sort of a jigger,

how come I get
mistook for him?

Because Monte ain't
been back around here
for 4 or 5 years.

Besides, you ain't
run into nobody that
knowed him good.

You ain't fooled nobody
that really knowed Monte.

Also, I got
a message for you.

Not for me. I don't know
nobody in Payneville.

I don't know if you'd
call it a social
introduction or not,

but you did knock him
on the palm of his pants.

Name's Waggoner,
Ira Waggoner.

He drove the stage
that Monte held up.

How'd he know about me?

He don't. "Give this
to Monte," he said.

Him and everybody else
still thinks you're him.

Everybody but this ornery
little lady skunk

that you've taken up with.

[Cherry]
Skunk, huh?

'Morning.

Cherry.

George didn't mean that.

He was just
shooting off his face.

No. He's right.

Look, Cherry.

Oh, what George thinks

ain't got anything to do
with what I think.

No. You go on
about your business

any which way
you want to go.

[sobbing]

Now, look here.
There ain't any use in this.

You don't have to cry.

Please. I am a skunk,
and I know it.

No, you ain't a skunk.

You've been awful nice
about it,

even when you knew
I was lying.

All I can say now
is I'm sorry

I drug you into it,
and good-bye.

Look, what kind of a box
is it you're in?

Can't you tell me?

Well, you see,
I've known Monte Jarrad

ever since we was kids.
We grew up together.

So when he rode in hurt,

I tried to help him,
that's all.

Did you get him out?

No.

No. They'll catch
him now, I guess.

The posse'll be poundin'
back by this evening.

When I told you last
night that I'd explain,

I decided
to tell you the truth,

the whole truth, and see
if you'd help me.

I mean like...

take his saddle,
maybe, or anything

to lead the posse away.

There just wasn't nobody
else I could turn to.

You'd do just about anything
for that belly-gunner,

wouldn't you?

But this morning
I decided not to.

It just wouldn't be fair

dragging you
into it no further.

Oh, I was gonna tell you
the truth, all right.

I wasn't gonna ask you
to do nothing else about it.

That why you brung Monte's
saddle along with you?

What?

Well, I didn't know
it was there.

I thought you might
have noticed it

when you put
this blanket over it.

I don't know why I even
try to lie to you.

Me neither.

[Melody]
Come on, Henry.

What are you doing?

Changing saddles.

You--

you're gonna do it?

It's what you wanted,
ain't it?

Well, yes, but...

Melody.

You can make it,
can't you?

I hope so.

It's just those people
will see you with the saddle

and tell
which way you went.

But you'll have
such a lead,

you'll make it, I know.

You mean do I aim
to let myself get caught?

The answer is no,
so forget it.

Looks like a fella
can stand just so much

of that pounding,
and then...

I, uh...I'm awful
grateful to you.

Ain't there something I
could do for you, maybe?

Sure. You can take care
of my saddle.

Oh, all right.

Melody.

Ride as hard
as you can,

and don't stop
for nothin'.

Good-bye.

Well...

That sinks the duck.

Thank you.

Thank you.

I-- I meant good-bye.

Good-bye.

Would you take something
from me, for keeps?

I won it for bronc stompin'
last year at Cheyenne.

I was 17th.

Thanks...

champ.

Giddyup!

[George]
Melody!

Where you going?

Melody!

Whoa.

Well, he's gone.

He's on his way
with your saddle,

and you can see it
a mile off.

You said last night
he'd left the house.

Where'd he stay?

Well, I don't know,
Monte.

He just disappeared.

Start movin'.

Sure, Monte.

You know what I'd do
if I ever caught
you crossin' me?

Now, wait a minute,
Monte.

I know you're in trouble
and upset and all,

but I don't like
that kind of talk.

I didn't ask you
what you liked.

I'm just telling you

you better be careful
what you're doing.

I'm going over
and pick up Uncle Roscoe
if I can find him,

and then I'm on my way.

When you get through
with what I told you to do,

I'll send for you.

Be ready.

Ahem.

Can I get by?

10.

Up 10.

I call!

You fellas ought to
let people pass

when they ask you.

Waggoner.

Out back.

You want to see me?

Sit down.

You needn't
keep watching my gun.

You couldn't stop it.

There's only about 3 men
in these parts

that I can't
slap leather with.

One of 'em's
Monte Jarrad...

But you ain't him.

No?

No.

You had me fooled
for a time, but...

not after I thunk it over.

But you're frontin'
for him, and that's all
I want to know.

Where is he?

I was fixin'
to ask you that.

I done my part
of that job.

Now I'm waitin'
for you fellas to do yours.

You understand?

Mister, I'm gonna
tell you the truth.

I ain't got the first
idea in the world

what you're
talking about.

I want my share.

I want to know where
that moneybag is.

You understand that,
don't you?

Nope.

Then you better
start remembering,

because you're gonna
tell me before you
leave this room.

You mean you figure
I know where that money is?

I figure you better.

Well, uh...

I don't know exactly
what to say to that.

Nobody else
has to know, you know.

Just you and me,
50-50.

[humming]

Mister, I swear,
I don't know how

you've lived
as long as you have.

What do you mean?

You remember
Morgan Earp?

Sure.

Remember he got
his spine shot in two.

He had his back
turned to a door

that had glass
in the upper half.

Sure. What about it?

Look behind you,

and you'll find just
that kind of a door.

That's the oldest one
in the book.

That glass is
painted over,
and I know it.

Maybe, but I sure wish you'd
give it a second thought.

I've had just about
enough of this.

[Leo]
So have I.

Hello, Leo.

Who's this?

I don't know.

All I know is
he's trying to pass
himself off as Monte.

I know that already.

He's riding
Monte's saddle.

What kind of a deal

is you trying to make
with this tramp?

No deal, Leo.

I was just trying to
find out about things.

What things?

Well, I got
a certain right to--

To do what?

You set here till you
hear me ride off.

After that you be
around here someplace

where I can find you
when I want you.

You understand?

Yeah.

I want to hear some more
about them rights

you're so worried about.

Let's go.

Me?

Mmm. Come on.

Walk ahead of me
until we're out
in the street.

Mount your pony.

Mister, I can't tell you
how much obliged I am to you

for getting me
out of that box.

Ride by my off stirrup,
close.

I ain't goin' that way.
I'm going this--

Shut up.

You're going the way
I tell you to go.

What I can't understand is
how in the name of Sam Hill

a tramp like you ever found
a way to kill Monte Jarrad.

[chuckles]

Get going.

Stay where you are.

Now, look,
I'm sick and tired--

I'm gonna smoke
a cigarette.

When I'm done with it,
I'm gonna throw it away.

When I throw it away,
take care of yourself.

Some friend of this
belly-bustin' gunman,

I take it?

Say that
while you can, tramp.

Figure you're pretty good
with a gun yourself, hmm?

Outside of Monte, I've
never seen anybody any better.

All I meet today
is champions.

You shot Monte in the back.
You want to try again?

No, because I aim
to pull out of this fix.

It ain't my squabble,
and I don't see no sense

in getting myself
shot up about it.

For one thing,
Monte Jarrad ain't dead.

What'd he do? Just
give you that saddle?

No, he didn't,
but his girl did.

What girl?

Cherry,
Cherry de Longpre.

She kill him?

Ain't nobody killed him,
you lunkhead.

He got hurt bad
and couldn't travel fast.

I took out with his saddle
as a kind of favor to her,

to fool jackasses like you
away from where he was headed.

You aimin'
to have me believe

a full-growed man
like you

could let
a girl talk him

into a dang fool trick
like that?

All I can say is,
here I am.

Brother, I've heard some
dumb stories in my time,

but that one really
takes the cake.

Get ready.

All right.

This don't make no sense
to me in any particular.

But... let 'er go.

Put 'em up, black hat.

Higher.

Take his gun, Melody.

Like I told your friend,

"Never turn your back
on anything,

"especially a woman."

It's all right, George.

This the girl?

Ain't she a lulu?

Get off.

Just a minute, miss.

If you're
Cherry de Longpre,

you ought to know
who I am-- Leo Gledhill.

How do you do,
Mr. Gledhill?

Now get off
that horse.

But I'm a friend
of Monte Jarrad's.

The lady said get off,
Mr. Gledhill.

You big jughead.

We've been looking
all over North
America for you.

George, I want
you to take
Mr. Gledhill

for a walk out
in the desert.

Way out,
and leave him.

Git!

[galloping]

Leave him
and do what?

Leave him
and then
follow Melody

to where you
was headed in
the first place.

This time I know

you're gonna get out
of this country,

'cause I'm gonna
take you out.

Well, how do you like that
for organization?

You know very well
who I am.

I don't know
who you are.

I only know
who you say you are,

and why should I take
your word for that?

But that's who I am.

Well, you could
be Luke Packard

who works
for the
Express Company.

I ain't never seen
any of you before.

Come on, Melody.

Yes, ma'am.

Too bad, partner.
I know just how you feel.

If there's anything
in the world I like,

it's gettin' saved
from bein' shot.

♪ I wished I had
a candy box ♪

♪ To put
my sweetheart in ♪

♪ I'd take her out
and kiss her twice ♪

♪ And put her back again ♪

♪ Oh, round and around ♪

- Melody?
- Hmm?

You know,
Monte'd kill a girl

if she done to him
what I done to you.

Sure he would,

but that's because Monte don't
understand women very well.

Well,
I suppose you do?

Well...

Pa gave me a piece of
advice that ain't
never failed me yet.

"Son," he says,
"if you ever
fool around a woman,

"always hide $1
in the toe
of your boot,

"then you'll
come out
$1 for the good.

"That is," Pa says,
"if you keep
your boots on."

[coyote howls]

What are you
gonna do now?

Oh, tie up
with George again,
I reckon,

and head down
towards Hot Creek

and work around there
this winter.

Will you be
coming back this way?

In the spring, I mean?

Maybe. Don't like
it much down there
in the summer.

If you do, will you
do something for me?

Well, I tell you, hmm,

I don't like
to seem impolite,

but after the way
thing's been going,

maybe I better listen
to what it is
before I say yes.

That's all right.
I don't blame you.

This moneybag
that Monte took.

When you come back
through here,

I want you to get it

and give it back
to the Express Company.

Can't.

You mean you won't.

I mean I can't.
Don't know where it is.

Well, I'm gonna
show you where it is.

In a little
adobe house

that Monte used
to hide out in.

Now, under
the windowsill,
there's a slab,

and under the slab,

there's a space
big enough for
a man to hide in,

if he could breathe.

And it's in there.

Monte told me

when it looked like
he was going to die.

Heck, why don't we just
get it and give it
back to them now?

We certainly will not.

Why not?

'cause Monte's got
to have his chance,

that's why not.

They're looking all
over creation for him.

If that money
popped up here,

they'd close in on
this country so tight,

a jackrabbit
couldn't get out.

You got to wait
till he gets away.

No. I guess I better
turn it in right now.

But you can't!

After promising me,
you wouldn't dare.

Promised?
When was that
I promised?

Oh.

Well, you got to
promise. Now.

Oh. Well...

Well, do you promise?

All right,
I-- I promise.

[coyote howls]

[coyote howls]

Melody.

Melody,
I'm awful sorry.

I-- I hope you
understand.

And maybe
someday you'll
forgive me, huh?

Oh, forget it.

Ain't a thing in
the world you've got
to worry about,

as far as
I'm concerned.

If you ever
do come back
through here, I--

Well, I tell you,
Cherry,

I'd like to see you again
a whole lot,

but I just don't seem
to be cut out

for the kind of life
you folks lead

around these parts.

Yeah, I see.

[door creaks]

Good--
good evening.

Luke Packard's
the name.

From the Express Company.

Uh, lift your hands just
a little higher, will you?

And you, lady, step
around the other
side of him.

I'd certainly be
embarrassed if you
grabbed his iron

and flang
a shot at me.

You know, that's something
that's been worrying me

most of my life.

What would I do if a woman
hung the drop on me?

Boy, oh, boy.

Over.

These don't give
much light to speak of,

but kind of warm it up
while we wait.

Wait for what?

The posse.

They're swinging
around this
way now.

The posse?

Yeah, the sheriff
and some of the boys

are heading up here
from the gulch.

Get over there
in that corner.

What they're aimin' to do
when they get here,

I couldn't say.

They didn't tell me.

But you can't
do that.

No? Why can't I?

Because they'll kill him.

They won't
arrest him.

Those Cotton boys
won't let him.

They're legal, lady,
legal to the teeth.

But I ain't the one
they're after.

I ain't Monte Jarrad.

My name's Melody Jones
out of high Montana.

I ain't never
set eyes on the man.

Well, I ain't never seen

the gentleman
in question myself.

But this is
Monte Jarrad's hideout.

On information received,

this here girl is
Monte Jarrad's lady friend.

Monte Jarrad is well known
to be a beanpole,

such as you be.

But you don't
want to forget

when a posse
makes a mistake,

it's a mighty
hard thing to unmake.

Oh, come now, let's don't
look on the dark side.

What other side is there?

Mister, if them Cottons
get ahold of me,

I'm a dead duck,
and that's the truth.

Well...

And it ain't gonna be
no good to say
"I'm sorry," neither.

The fact is,
I don't care a hoot

whether you're Monte Jarrad
or Melody Jones

or Harmony Q. Smith.

All I'm interested
in is $42,004.85

belonging to the Express
Company I work for

and not another cussed thing
on earth.

Once I get
my hands on that,

you're as free as a bird,
as far as I'm concerned.

Can I talk to this girl alone?

Yeah. You can step in there,
if you wanna.

You trust me?

100 percent.

You'll never regret it,
Mr. Packard.

You better take
a light with you.

Well, how do you
like that?

He's no better
than a cheat.

Couldn't break my word
in here if I wanted to.

What did you want
to talk to me about?

Hmm?

Oh. Yeah.

Say, what about this?

What about what?

About my gettin' hung
over this money.

How far you aimin'
to carry this thing?

You know what
the situation is.

You bet
your sweet hand I do.

You figure if I tell
where the money is,

it'll hurt that
belly-buster's chances
of getting away.

But what about
my neck?

You'll have to do
what you think

is right about it,
of course.

You gonna hang on
to that promise

you trapped me into?

I'm not gonna
argue with you
about it, Melody.

Well, maybe you're
in love with
this Monte Jarrad,

but I ain't.

Looks to me like
this thing's gone
just about far enough,

and I can't
think further.

Just as you please.

Made up your mind?

Uh-huh.

Well,
where is it?

Where's what?

The money. The money.
Stop stallin'.

I don't know nothin'
about any money.

What money was it?

You realize what
you're doing, don't you?

That posse ain't more
than 30 minutes away

from here, Monte,
and when it comes--

I told you before,
I ain't Monte.

All right, I ain't got
any way to force you,

but I hate to see
a man taken apart

without a chance
to defend himself.

Even a reptile like you.

I'll tell you
where it is.

Where what is?

The money you're after.
What's the matter?

Can't you keep your mind on
what we're talking about?

But--

If I tell you where
it is, can we go?

That was
the proposition.

Uh...

[spurs jangling]

are you sure just
which man you aim
to be the death of?

Shut up, will you?
Shut up.

It's under that slab
under the window.

Well, what do you know
about that?

Mister... you're a--

[gunshot]

[gunshot]

Then you were
telling the truth.

Yeah.

Then look
out for the fella

who's doing
the shooting.

It's the real Monte.

He's after the money
again.

Is he dead?

Yeah.

Shh.

[spurs jangling]

[whispering]
There's somebody
out there.

[gunshot]

Is that the way
you always draw?

You numbskull.

I'm sorry, but I couldn't
be sure who was in here.

I, uh--

[spurs jangling]

Who is it?

That used to
be Packard,

the Express
Company fella.

Well,
that sinks the duck.

Now they got
a corpus delicti.

A what?

A dead body.

That's the way the law
says it. Corpus delicti.

Means if they got a corpus,
you're delict.

Before this,
even if they hung you,

we could have proved
it was a mistake.

Then why did
you do it?

We could have--
do what?

[Cherry]
Shoot him!

Him?

Yes, him. Why did
you shoot him?

But why should
I shoot the man?

A perfect stranger.
Why should I shoot--

oh, now, wait a minute,
both of you.

You can't hang it on me.
Because when I come in,

what was you doing
under the table

with your gun smoking?

If Melody shot him,

how do you account
for that hole?

You think
he ran outside,

shot him
through the window,

and then came
back in here?

That's right.

[spurs jangling]

Which means we've
touched a new bottom,

because if it wasn't you,

we've got that belly-buster
back with us.

Melody, we got to get out
of this country and quick!

Ain't nothin'
holdin' me back.

All right.

But first,
you get the ponies,

and keep
your eyes open,

because there's maybe
somebody else
still out there.

Don't you think

maybe we ought to
keep clotted together?

Melody, stop trying to think.
Do as I say.

All right.

[spurs jangling]

We got a little housekeeping

to do around here
before we leave.

Give me a hand.

Let's get this corpus
into that box.

Here, help cover up
these spots.

You with us?

You bet.

All right, come on.

Step back.

You're
under arrest.

Light those candles,
Kriendler.

Let's see what's
going on in here.

Stick 'em up, feller.

Well, I can't say
I expected much more of you.

Is this him?

Ain't it?

Do I have to go through
all that again?

Sheriff, he isn't Monte,
honest he isn't.

He's just some guy
that's got all mixed up.

Listen to me,
hold me if you want to.

Put me in jail.

You think I'm crazy?

Those are very
prominent people

in this county,
the Cottons.

If I was to let him go
just on your say-so,

they're just as liable
as not to string me up.

Now, just take it easy.

Be along here
any minute.

And if he ain't
the man they want,

they won't touch
a hair of his head.

Look, sheriff,
if they hang me,

how are you gonna find out
where the money is?

[coughing]

You know
where the money is?

Even if you
ain't Monte?

I do.

[coughing louder]

What ails you?

Nothin', nothin'.

Just clearin'
my throat.

Well?

If I tell you where it is,

can I get out of here
and my gal with me?

Melody,
if I was you--

If he opens his mouth
one more time,

knock him in the head.

I give you my word.

The minute that money's
in my hand,

that door's
wide open for you.

It's right--

Ohh! No!

That'll teach you
to keep your mouth shut!

Come on.

Come on?

Look, you try any
monkey business with me,

and I'll blow you
clear out of this house.

Now, where's that money?

You said you knew
where it is,

now let's have it,
quick.

I'm afraid
I changed my mind.

I'm givin' you
one more chance, fella.

Once and for all,

are you gonna tell us
where that money is,

or do we have to
get it out of you?

I don't think
I got any suggestions.

Get ahold of him.
Pin him!

Anybody who touches me

is gonna get
their brains knocked out

if it's the last thing
I do.

[shouting]

[gunshots]

[groaning]

You brush ape.

How did you think you
were gonna stop a man?

What are you
doin' here?

Just lightin'
the candle.

Oh, Melody,
why didn't you go?

I-- I reached for you,
but I couldn't find you.

I couldn't hardly...

leave you here
in all this mess.

Maybe I can be as tough
as this Monte Jarrad.

Maybe just
a little bit tougher.

We'd better
get out of here.

They stampeded
our horses!

Well, what do you know?

For the last time,
where's that money?

I forget.

All right.

Put your guns away.

Go to work on him.

But don't knock
his head clear off him,

because he's got to talk,
and quick.

You.

You get over there.

Get him.

Whop him, Melody!

Whop him!

Get your hands off me!

I got him!

Wait a minute!

Bring him out here.

Where is it?

Let him have it.

Wait a minute.
Hold it.

We got to try
something else.

Why do we?

If you keep up that way,
you're gonna knock him out,

and then what good is he?

You want me to
heat up his spurs?

No, I got a better idea.

The way he said it,
it's right here in this room.

The way he said it,
it must be...

it's got to be--

I got you, boss!

There's a
stiff in here!

Huh?

Holy jumping Jupiter.
It's Luke Packard!

Luke Packard?

It is Luke,
all right.

Run for it!

- Hey!
- Hey, hey!

Open that door!

[pounding]

Come back here!

Come back here!

Whoa. Cherry?

Cherry?

Cherry?

Cherry?

Cherry?

Cherry?

Monte's headed
for the de Longpre ranch.

Come on, let's go.

Cherry?

Cherry?

Cherry?

[door squeaks]

Hi.

And you can stop thinkin'
what you're thinkin',

because you won't have time
to throw that can.

And you're too far
for that Winchester.

For a second, I thought you
might be that Monte Jarrad,

but that can't be.

No?

No.

This Jarrad weasel looks
something like I do.

Fools people sometimes.

Get over there.

Take off that holster.

And the boots.

Don't think
we look alike, hmm?

I don't think
I deserve people

saying a thing
like that about me.

The jumper.

It ain't gonna do you
no good, you know?

You don't think... so?!

Not even if we swapped
every stitch.

'cause there still wouldn't
be no scar on my face.

But who'd know that...

if there wasn't
no face left?

Is that what you
really aim to do?

The pants.

I didn't come back here
lookin' for you

just to admire you,

if that's what you mean.

Well, in that case, I guess
I better fix you, too.

Because you ain't
doin' this

just because
it suits you to.

You're doin' this
because you got

something else
on your mind.

Yeah?

Yeah.

But I ain't gonna
help you with it none.

I'm gonna make you
ask about it.

All right.
What about it?

What about what?

What about Cherry?

What about her?

You'll have to be
a little bit clearer

than that about it,
you know.

You know
what I'm asking you.

Sure.

But you're gonna
have to ask it

in plain words.

What were you doing
in this house the other night?

And if I don't
choose to tell you,

you'll never know,
will you?

You'll tell me,
all right.

Will I?

Look, fella,
don't get smart.

I don't like it, and you
won't like it, either.

Believe me.

What could you do

that you weren't
gonna do already?

That's what I meant
when I say,

"I'm gonna
fix you, too."

I ain't gonna answer
that question.

I'm gonna leave you
to worry about that,

but I'll give you
a hint--

she ain't yours
no more.

You're lyin'.

You see?

That's what you're gonna
have to worry about

from now on:

was I lyin' or not?

With me gone,
you'll never know.

From now on,

you'll just have to go
on wondering about that

for as long as you live,

which I don't figure
to be very long.

Come on.

The hat.

[humming]

You know what
you are now?

You're just an
old "used to be,"

that's all.

If you don't think so,
ask her yourself,

because she's
coming in right now.

You better get off
to the barn.

George is there.

He's hurt.

Bad?

I think he's dyin'.

It's all right.
Go on.

Why did you shoot
that old man?

He come askin' for it.

Anytime somebody
comes askin' for it,

they're gonna get it.

Found him in the gulch
where you left him,

where you left him
to die.

You're wearing
his stuff.

So the tramp
was tellin' the truth.

Monte...

You were gonna
kill him, too.

You were gonna kill him
and leave him here

to be buried
as yourself.

Get your dumb thumb
out of my eye.

I'm just trying to see
if you was dead.

Well, I ain't.

And I don't
like somebody

trying to gouge
my eye out.

Monte?

Yeah.

I stumbled onto him
up in the rocks.

You can't, Monte,
you can't.

Look out, Melody!
He's coming--

Take care of yourself,
tramp!

Take my gun, Melody.

Take it
and drill him.

Partner,
you ain't got no gun.

You better get out of
here. They're comin'.

Inside.

You two cover that door.

Yeah!

Leo, the front door.

You come back here!

You stop me!

[gunshots]

Look, Melody--

Sit down.

Surrender,

in the name
of the law!

[gunshots firing]

Take that horse
and cut for it.

You can make it.

If it's as easy as that,

why don't Monte
get out of here?

Because he can't.

He can't race a horse

with that wound
in his side,

but you can.

[George]
She's right.

You can't do no more damage
around here.

Nope. I ain't goin'.

Why not?

A horse like that
can't carry 3 people.

[gunshots firing]

Well, looks like we're
gonna have company.

[gunshots firing]

Did you get 'em?

Get 'em? What do I
want to get 'em for?

I ain't got anything

against them fellers
out there.

Get down. You want to
get your head shot off?

Then why did you shoot?

To make 'em nervous.
He was shooting too straight.

George.

Listen, George.

There's only one thing
about this whole business

still puzzles me.

What's that?

What I'm doin' in it.

You was gonna make something
out of yourself.

Don't you remember?

That's right.

You was gonna take Monte
and be somebody.

That sounds kind of
silly now, I reckon.

[gunshot]

Well, all I'm
asking you now is...

Tell me when you figure
you is somebody

so we can get the heck out
of this shooting gallery.

Is that-- is that
really why you stayed?

Well, not exactly.

The truth is, I-- I hadn't
hardly got into that idea good

before I kind of
got sick of it.

Too jumpy
to suit my taste.

Why did you ride back
into Payneville?

Well, it looked to me

like you was all tangled up
in something.

I couldn't rightly
figure out what.

And I could see
there wasn't no use

to try to talk sense
into your head.

So the only way
to get you out

was for me to try
to get inside

and bust open
the whole shebang.

It never occurred
to me that...

maybe you had reasons
not to want to get out.

[gunshots firing]

Melody.

What is it,
Uncle Roscoe?

Where's my gun?

You ain't got no gun,
George.

You better get me one,
Melody.

If them fellas break in...

you're gonna
need some help.

Here you are, George.

Got it?

Yeah.

Don't make out
you're worse off

than you are, George.

Here.

Drink some of this.

[humming]

We can't stand for this
from nobody, George.

Hey, now.

[Cherry] Melody!

That all you got, 4?

What do you think
you're doin'?

Nothin' you can stop,
son.

Stop him, Avery!

Come back here, you.

I'm sorry.

[gunshots]

Hey, Monte Jarrad.

What about it?!

What about it, Monte?!

How about it, Monte?!

Melody, please!

I'm waiting!

[Packard]
Hey, men!

Hold your fire!
Hold your fire!

Let 'em shoot it out.

This one's for that
scar on your face.

You're walkin' too good.

That one was
a little too close.

No face left, remember?

Thanks...

partner.

♪ I'm a poor
lonesome devil ♪

♪ I'm a poor
lonesome devil ♪

♪ I ain't got
no sweetheart ♪

♪ I'm a long way
from home ♪

Come on.

You can bring
your hat this time.

♪ I ain't got
no sweetheart ♪

♪ I ain't got
no sweetheart ♪

♪ I'm a poor
lonesome cowboy ♪

♪ I'm a long way
from home ♪

What kind of
a dumb town is this?

They catch a numpus like you,
and then they don't hang him.

They slung me in,
they slung me out.

That's all I know.

You still trying to
make out you're bad off?

If you ever--

what's this?

The reward
for drillin' Monte.

But they held back some.

$25 for the doctor.

$5 for-- on a charge
of vagrancy.

3 weeks' rent and board
for livin' in the jail

when I wasn't guilty
of anything.

What are you
giving it to me for?

You brung him down,
didn't you?

Me? I couldn't have brung down
a 2-week-old baby.

I was so dreamy,
I couldn't hardly move,

let alone use
a drillin' iron.

But you had to, George,
'cause it wasn't me.

That shot came straight
from this barn.

Avery?

Flat out.

Buck maybe?

No, I had his gun.

This is awful, George.
Awful.

Who do you care
saved your life?

I'd let anybody
save mine.

I'm giving up.

Giving up what?

Everything.
The whole business.

This time I ain't gonna

make no further fool
of myself about her.

What in the Sam Hill
are you talking about?

Not that I blame her.

She knowed him long
before she knowed me.

And the way it was,
it was him or me,

one or the other.
She seen that.

And she had
a right to shoot

at whoever
she wanted to.

Melody, if you mean
what I think you mean,

get out of my sight.

You ain't worthy
for me to know.

I've been kidding myself
too long, George.

I know who
she was aiming at.

[Cherry]
Come in.

Hello.

[chuckles]

I was lookin'
for my saddle.

Why, it's behind
the curtains.

What's that?

The reward.

Oh.

Well, I was hoping

you wouldn't take it
like that, Melody.

I ain't blamin' ya.

Well, after all,

it ain't no disgrace
to be saved by a woman.

Saved? What kind of a chump
do you take me for?

You still think I don't know
who you were shooting at?

What?

Look, Cherry,
when a fella puts hisself

between another fella
and his girl,

he's got to look out
for shootin' from both sides.

I understand that.

He's got to be ready--

Are you trying to tell me
that I was shooting at you?

I ain't blamin' you,
I tell ya.

It was a showdown.

You had to make a quick pick
which fella you wanted.

All I got to say is
I'm mighty glad

you ain't any better shot
than you are.

Thanks for taking care
of my saddle for me.

Why, you...

You butterfingered
gun-juggler.

[door opens]

Melody!

[clang]

Cherry!

Hold it.

That's just
to show you--

when I aim at
something, I hit it.

And when I hit something,
that's what I aimed at.

Don't tell me she
missed you all 3 times.

I changed my mind,
George.

What now?

I, uh...

decided I...
don't wanna be sheriff.

Well, that's a right
smart decision.

What I'm thinking now,
I'm thinking it's about time

I was thinking about
settling down.

You'd think a fella that knew
a little bit about ranchin',

he could make this dump
into a right nice little place,

if he had
a good foreman here.

You ask her?

Ask her what?

For the job,
ya numpus.

You don't think
I ought to go to Pop?

Go away, Melody.
You disgust me.

Well, ha, if you think
that's the way.

[humming]

[Cherry] Melody.
Melody, stop it.

Stop it, I tell you!
Stop--

mmm!

Mmm.

My goodness,

you don't have to be
so rough about it.