Original subtitles

♫ Child of life

♫ Now you use a gun very well

♫ You learned so young

♫ You shot a man they said

♫ After he killed your father

♫ Now you ride

♫ Silver saddle shining so bright

♫ Out in the sun

♫ What is your destiny

♫ Now

♫ Silver saddle shinin' in the sun

♫ No place to go

♫ Lookin' for a friend

♫ Will the anger inside your heart

♫ Ever end, who knows

♫ Who knows

♫ Silver saddle shinin' in the sun

♫ No place to go

♫ Lookin' for a friend

♫ Will the anger inside your heart

♫ Ever end, who knows

♫ Who knows

♫ You learned so young

♫ What is your destiny

♫ Now

♫ Silver saddle shinin' in the sun

♫ No place to go

♫ Lookin' for a friend

♫ Will the anger inside your heart

♫ Ever end, who knows

♫ Who knows

♫ Silver saddle shinin' in the sun

♫ No place to go

(acoustic guitar music)

- [Man] Hey, he was good Senor Luke?

- Hmm?

- Bueno, but it's the best we can do.

- Thanks.

- De nada.

(speaking foreign language)

The men of Senor Barret are welcome here.

Carmen!

Cigars are very costly, you're welcome.

(acoustic guitar music)

- Papa!

I'm pretty sure there's the missing boots.

The horse with the silver saddle.

(dramatic music)

- Senor Luke, you know you're always welcome here.

Please say hello to Senor Barret, bring him my respects.

He's such a fine gentleman, Mr. Barret.

Adios, amigo.

- Hey, Luke.

Hey, Luke!

Are you hard of hearin', Luke?

Go tell Barret, he's a crook.

Go to tell Barret to return that $100.

- [Luke] What are you talkin' about?

- [Man] I paid Barret $100 in advance

for a strip of land in San Pedro.

Well he lied to me.

there was no land in San Pedro, so I want my money back.

- [Luke] You've been sitting in the sun too long.

- You fellas have been getting rich on poor people

like us, that $100 was all I owned.

- Too bad.

- No land and no money, how do you expect us to live?

- Put your wife in a whorehouse.

The work ain't hard and it's easy money.

(horse grunts)

(gunshots fire)

(gasping)

(suspenseful music)

(gunshot fires)

(gasping)

(horse neighs)

(light country music)

(upbeat country music)

(laughing)

(upbeat country music)

(gunshot fires)

(melancholic country music)

- Bulls eye.

(melancholic country music)

My compliments, mister.

Now that's what I call a fine shot.

Don't keep pointin' that rifle eye at me.

The Bible says to trust you brother,

to trust your brother's heart.

Love will reign in all the world.

- I reckon the ones who pulled this

haven't been reading the Bible lately.

Who did this?

- Well,

he left only the cross.

It's gotta be Garrincha.

Him and his Mexican gang.

They call them the hyenas of the Rio Grande.

- And what do they call you?

Rattlesnake?

Or vulture?

- My name is Snake.

Two-Strike Snake.

Born in the desert, not far from here.

Where you comin' from? Arizona?

- I come from far away.

My name is Roy Blood.

(gun cocks)

(gunshot fires)

(groaning)

- Repent yourself for your sins, brother.

Prepare to die.

- You're right senor, you're right.

(speaking foreign language)

(gunshot fires)

- The Lord gives, and the Lord takes away.

Praise the Lord.

Two shots.

Now you know whey they call me Two-Strike.

- Yeah, and I also know why they call you Snake.

Even though I am grateful to ya.

You saved my life.

- And saved his soul.

(chuckles)

- What town's near these parts?

- Cerritos.

- Is it far away?

- Mm, I'll show ya (whistles).

(light country music)

(whistles)

(light country music)

People are sure happy here in Cerritos.

You see that house over there?

That there's the hottest house in Texas.

I highly recommend it.

- Okay.

Be seein' ya.

- Wait up.

Think maybe I'll just shadow along behind ya for awhile.

- Why?

- 'Cause wherever you go, there's corpses.

My job's pickin' up after the dead.

It's gonna be terrific.

(horses neighing)

- Remember, I'm not Garrincha.

- You remind me of the story of the kid who shot

his first man when he was 10 years old.

He had a silver saddle too.

I found out that every place he went,

he left dead men behind him.

So I always had work to do.

(suspenseful music)

(machine spinning)

(lively music) (people talking)

(kicks man)

(man yells) (woman yells)

- Hey, amigo.

How about a little game?

Huh?

(dice clicking)

- [Roy] Blow honey.

Four aces.

- Hm.

- Uh huh.

(dice clicking)

- [Roy] Once more.

- Carrumba!

You have a good stick of lucky, amigo.

Again, you got four aces.

- [Woman] And with Roy Blood around,

that makes it five aces.

- Hey!

- Hello.

- Sheba.

It's been ages.

What are you doin' here?

- That's my question.

You should be, when I last heard,

2000 miles away.

You'll never beat him, Chico.

You'll lose your shirt, and that's for sure.

Champagne.

- Mm.

- All right, the truth.

Tell me what it is that brings you to Cerritos.

- Suppose I tell you, just to see you, huh?

- The same old liar.

You're always packin' a pistol.

Women don't interest you.

I might one day, I hope.

A woman can wait.

I'm smiling Roy.

We're still good friends, what can I do for you?

- Mighty hungry.

I could eat a great big steak,

and I wanna sleep, hm?

- You can have anything

you want.

Anything.

(lively piano music)

I think that you'd like it.

This town, I mean.

This is the best house in the state, you know.

Better than the ones in San Antonio, or even Dallas.

(lively piano music)

Do you remember when I met ya six years ago?

The music hall in Waco.

You got me outta trouble.

- Mm hm. I recall.

The looks of it, things have gotten better.

No more problems, Sheba?

- I'm pretty sure it could be a whole lot better, Roy.

Yeah, if it weren't for a bastard called Shep.

I gotta pay him every month, the dirty crook.

- You better leave here then.

- Yeah, I thought of it hon.

Alabama,

Louisiana.

For a woman, when she's on her own in the city,

nothin' changes.

- Who the hell is this Shep?

- Filthy worm.

If I don't pay him tomorrow, it's finished.

All this will finish for me.

It'll all go up in smoke,

and I worked hard to make this place what it is.

Shep and Garrincha work as a team.

It's a half and half deal.

Shep's for the city.

The country's for Garrincha.

- And where you do usually see this worm, Shep?

- I don't.

Tom goes to him, once a month.

- Where?

- At the stagin' horse post station in Chiquila.

♫ Child of mine

♫ Now you use a gun very well

♫ You learned so young

♫ You shot a man they said

♫ After he killed your father

♫ Now you ride

♫ Silver saddle shining so bright

(harmonica music)

- Hey you.

Here.

I want you to mind that horse.

- Si, Senor.

- And watch that silver saddle.

- Don't worry, Senor.

- Trip was long, real long.

- It's good to see you Kay.

- [Kay] I'm glad.

- Whiskey?

- No thanks.

(people talking)

- You know a guy around here that's called Shep?

- Hey mister, supposin' one of us is called Shep.

How come you're here?

Who sent you here to ask for him?

Who gave the orders to come here?

- No one gives me orders.

- I'll give ya --

(punching)

(table crashing)

(punching)

(table crashing)

(groans)

(gunshot fires)

(gunshot fires)

- [Man] He got Shep.

- [Man] Yeah, he's dead all right.

(gunshot fires)

(gunshot fires)

(groaning)

(light country music)

- Hm, cigars.

- What are you doin' here?

- It's my work.

I heard them talkin' over there at Sheba's.

Then I saw you.

I told you I was gonna shadow you.

- Yeah.

- Shep was important man around here.

- He no more.

(machine spinning)

(suspenseful country music)

- Hey mister.

I was wonderin', is he your friend?

Know who he is?

- Oh yeah.

Yeah, he's my partner.

And my best friend.

Smoke?

- Yes, but they were the deceased.

(laughing)

- Well, what's the difference?

The stuff you take off a dead man,

is just as good as the stuff you take off a live one.

Maybe better, 'cause they don't come chasin' after you.

- Have you only the gift of talkin' a lot,

or can you also listen?

- Oh, I can listen.

But first off, I wanna see the color of your money.

- If I paid you money now to kill someone,

could you listen?

(giggling)

(speaking a foreign language)

- $2,000, Roy.

You can buy a lot of things with $2000 Roy.

- How many yearling do I have to kill before I get it?

- One.

Just one.

- President Lincoln has already been killed.

- Now listen here Roy,

this is a serious deal.

Next Wednesday, you go over to San Jacinto Cemetery,

that's the place, down there by the old Mission.

Your man will be down there.

He'll be carrying um,

oh, a bouquet of flowers,

and he'll lay 'em on the grave.

- Mm mm.

It smells fishy.

I'm willin' to bet on it.

Besides, my pistol can't be hired for this sorta job,

so forget it.

It ain't for hirin', it ain't for sale.

- Not even if the target's called Thomas Barret?

- Barret?

- Mm hm.

- Different story if it's Barret.

I'll even do it gratis.

- Mm hm.

(horse neighs)

(suspenseful country music)

(gunshot fires)

(gunshots firing)

(gasping)

(gunshots firing)

(gunshots firing)

(groans)

(horse galloping)

- You come with me.

(horse grunts)

(horse galloping)

♫ Child of mine

♫ Now you use a gun very well

♫ You learned so young

♫ You shot a man they said

♫ After he killed your father

♫ Now you ride

♫ Silver saddle shining so bright

♫ Out in the sun

(harmonica music)

You wounded?

Let me see.

Hm.

Feel pain?

- It's only a scratch, sir.

I don't feel it.

- You musta been real scared, up at the cemetery,

with all those bad men,

and all that shootin' goin' on.

- No sir.

I wasn't a bit scared.

(sighs)

- Hey, what the?

Hey, wake up.

Come on boy, wake up.

Hey.

Wake up.

(wind blowing)

- I musta sorta fainted on ya, right sir?

- Right.

When you fell down, you looked like a big sack of potatoes.

- I'm sorry about that sir, really.

- You are, huh?

Who sent you to the cemetery?

What were you doin' there all alone?

- I always go alone.

From Houston, in a coach.

Every month.

- You say Houston?

- Yeah.

- What's your name.

- Barret, sir.

Thomas Barret.

- I know there's a Thomas Barret there,

but I figure he's around 60.

- Well, I'm Tom Barret Junior.

The other is my uncle.

- What do you know, I saved the life of a Barret?

- Yes sir, and I'm sure grateful.

(yelling)

- Quit your screamin'.

If I knew who you were, I wouldn't have raised a finger

to help ya.

Now listen here, Barret Junior.

Early this morning, they were out to kill you

up at that cemetery.

The trap was planted even for me.

But it's you they wanna murder.

- But you'll prevent it.

Isn't that right, sir?

- I ain't gonna prevent nobody, kiddy.

- I hope you're not leavin' me here.

- You guessed it.

You be I'm leavin' ya, pee in the pants.

(wind blowing)

You see?

I'm leaving ya, Thomas Barret Junior.

I'm leaving ya.

- Please, mister, don't leave me alone.

How am I gonna get outta here?

(wind blowing)

- Canteen filled with water.

With a big knife like this one, boy,

you'll miles and miles.

(suspenseful music)

(Thomas screaming)

(suspenseful music)

- Was that you yellin'?

- Sorry, but I saw a great big rattler, sir.

Here, look.

- [Roy] Well, it ain't no rattler,

but it's bad enough.

(horse grunts)

You killed it too.

- Yes sir.

You see in school in Houston, Padre Rotero

taught us all how to throw a knife.

- Tell me then, if you can defend yourself,

what made you scream like that?

- Padre Rotero says it's better to yell before aiming.

It increases concentration on a grand scale, this way.

(screams)

(horse yells)

(grunting)

Do you want me to help you, sir?

- Nah.

Go to your Padre Rotero,

and never bump into me again.

I mean it.

(whistles)

(light music)

(horses galloping)

(wind blowing)

(horses galloping)

- Who do you think coulda kidnapped him, and why?

- I don't know who did it.

But the reason is clear, my dear.

He was kidnapped because he's your brother.

Everyone knows here that you're very rich.

Look at me.

You think that anyone would wanna kidnap me, Margaret?

- But Thomas is your own brother's son.

Haven't you anything else to tell me?

- Excuse me, Margaret.

But at this point in life,

I'm a man who's worth very little.

This kidnapping now really hurts.

It's awful.

My poor little boy.

(knock at door)

- [Turner] Mister Barret.

- Don't have to knock.

Come in Turner.

He's the one, my dear,

who can tell you what's bein' done to find our boy.

Let him tell you.

You can be sure he's doin' everything possible.

- We know the name of the kidnapper now.

He's a lone gunman, named Roy Blood.

Has an old hatred for your family.

- Where's my little brother?

- Not sure of the exact place, Miss Margaret.

We've even been 30 miles west of San Jacinto,

where the cemetery is, but no luck.

- Any of the others seen anything?

- They're searching down by the cemetery,

and around it.

They're doing a good job.

- I don't think they're doing a good job at all.

I want the State of Texas

to boast this as our biggest manhunt.

(door creaks shut)

♫ Child of mine

♫ Now you use a gun very well

♫ You learned so young

♫ You shot a man they said

♫ After he killed your father

♫ Now you ride

♫ Silver saddle shining so bright

♫ Out in the sun

♫ What is your destiny

♫ Now

♫ Silver saddle shinin' in the sun

♫ No place to go

♫ Lookin' for a friend

♫ Will the anger inside your heart

♫ Ever end, who knows

♫ Who knows

♫ Silver saddle shinin' in the sun

♫ No place to go

♫ Lookin' for a friend

♫ Will the anger inside your heart ever end

♫ Who knows

♫ Who knows

(suspenseful music)

- There were gunmen at that cemetery

waitin' for me to kill me.

What do you know about it, Snake?

- Wait a minute Roy,

I just took that 10% from that fella to try to convince ya.

- How am I to know if he didn't give you 100%,

instead of 10% to get me killed, huh?

- Why if I thought anything was wrong,

you think I'd be here at all?

Me comin' to offer you the deal of a lifetime.

- Tell me, Snake, another trap, huh?

Boy my finger's decision to pull the trigger and kill ya.

- Hey!

What do you wanna kill him for, sir?

Please leave him alone.

If it weren't for him,

I would never have found you.

- That little kid.

You took him here, is that right?

- Hm mm.

- It's a better reason to put a coupla bullets in your head.

- Come here a minute.

Come here.

Listen Roy, with that kid,

we can get us more gold and we can load down a horse.

- Forget it, Snake.

I'll pay you money if you get that kid outta my hair.

- You know who sent us that kid?

He did that.

The Lord has given us a gift in that kid,

and he's worth his weight in gold.

Now you can't deny a gift from the Lord.

- Your business with the Lord is your affair alone.

- Roy, listen to me --

- And you can manage it anyway you please.

- Look out, men are coming!

20 men or more are coming here!

They look like Mexicans!

(horses running)

- Come here.

Stay there and don't move.

(exciting music)

(horse neighs)

(exciting music)

- I want the little one alive!

(gunshots fire) (horse neighs)

(gunshots firing)

(gunshots firing)

- Get back.

(gunshots firing)

(gunshots firing)

(gunshots firing)

Hey Snake. - Hm?

- Take this.

It's empty.

Get water.

- Water?

- Yeah water.

And hurry up, go on!

- There?

- Yes.

(gunshots firing)

- Hey!

(gunshots firing)

(gunshots firing)

(gunshots firing)

- It's only a trick amigos.

(gunshots firing)

(canteen explodes)

(gunshots firing)

- Get back here.

Come on!

(gunshots firing)

Snake, put some carbide in the canteens, quick!

(gunshots firing)

Come on, we better move from here.

Come on kid!

Behind the church!

(gunshots firing)

Come on.

(gunshots firing)

Go up the bell tower.

(gunshots firing)

- Dog gone.

That thing can't hold me.

The wood's rotten, and I am too heavy.

- Let me go sir.

I'm lighter than he is.

I can go up there.

- You're outta your head, it's much too dangerous.

- Sure, but sir, the Mexicans just as dangerous?

- He's right, and besides Roy,

they ain't gonna do him no harm.

They're lookin' to kidnap him.

- I s'pose your right.

- [Snake] Give him the canteen?

- Give it to him.

- Be careful now, go on.

(gunshots firing)

(gunshots firing) (wind blowing)

- [Roy] Right up there yet?

- Yes!

- [Roy] Be ready to throw the canteen out there

when I tell ya.

Ready?

Throw!

(gunshots firing)

(canteen explodes) (yelling in foreign language)

(gunshots firing)

(canteen explodes) (horses yell)

(yelling in foreign language)

(grunts)

(yelling in foreign language)

(gunshots fire)

(slow country music)

- Look what I found.

- Hm?

- Here, it's yours.

- Thanks kid.

- It's perfectly all right.

- Hey, come and get it, it's ready.

(light country music)

Gimme your plate.

(light music)

I wonder how Garrincha found out that pee in the pants here

was with me and you.

- Why do you call me that way, sir?

It's not true.

I don't pee in no pants.

Call me, sir, the right way, Thomas.

- Why do I call you pee in the pants?

Okay, pee in the pants, I'll tell you.

I find it hard to call you Mister Barret,

pee in the pants.

Don't like the name of Barret.

I'll be calling you Thomas from now on, huh?

- Thank you sir.

(kisses Roy)

(light music)

- Well, I guess Garrincha wants to keep all the reward.

He ain't crazy.

- I wanna go back to that house again.

It's our family's reward, you can collect it.

I'll leave again after I get there.

- But aren't you homesick?

- I'd much rather travel with you.

I've been so happy.

I really enjoyed myself a lot.

I'd be too scared to live in my house now.

While they're trying to discover who wants me dead,

whoever wants to kill me will kill me for sure.

You understand that, don't you?

- Sure I do.

Thomas, you know a tall blonde gentleman's elegant,

thinks he's King Tut,

carries a game that,

sort of a roulette that works with a battery?

- Yeah, sure.

I know who that is.

It's Turner.

He's at our house.

He manages our estate.

- I guess you're right.

You stay here with him.

Would you like to look after him for a couple of days,

while I'm gone?

- Sure, all right.

What are you gonna do?

- Don't worry about it.

Just take care of the kid,

and don't let him outta your sight,

even for a second.

Even when you're sleepin'.

- 5,000 reward.

Sure, 'cause he's a tough ogre,

he sure is.

- 5,000, huh?

- Go on, go after him and it's all yours.

Can you imagine it?

5,000 bucks.

- Does it grow on trees?

- On the one we're stringin' up Roy Blood.

Can't wait to see him hangin' on it.

- It'll be a big day.

(harmonica music)

- Hey Jim!

For Pete's sake, will you pipe down?

(harmonica music)

Hey Jim!

You're givin' me a headache with that damn harmonica!

(harmonica music)

Ah, that a boy, Jim.

I'll do the same for you some day.

(laughing)

(suspenseful music)

- Put that gun back down on the table, Turner.

Do you mind?

- Come on now.

You don't think this old gun can hurt me

just holding it in my hands?

These guns haven't been loaded in years.

- I know.

But they are relics of our family.

And you're jealous of 'em.

- Yes.

And I don't belong to this family, huh?

- I beg you not to make such allusions.

I'm not in the proper mood today.

(knock at the door)

That Fletcher?

- No ma'am, it's Tom. 'Scuse me.

- What is it, Tom?

- The men are waitin', Mister Turner.

They're ready to go.

- Good. I'll be right over.

You know, I never intended to force you, Miss Margaret.

But I hope that real soon you'll be changin' your mind.

(safe creaks)

(yelps)

- Take it easy, your brother's fine, understand?

He's all right.

Now I have to talk to ya.

You don't have to worry, I ain't gonna hurt ya.

I'll take my hand off your mouth,

but no yellin'.

- You're a Blood, aren't ya?

Your Silver Saddle.

That's it, the outlaw.

- Yeah, I'm Silver Saddle all right.

- How come you hate the Barret's, tell me?

- If they were here, they'd be answering ya.

Someone here could answer you is still livin'.

- Where is he?

Where is Thomas?

- He's all right.

Like I told you.

- I already prepared the money, the $5,000.

It's the reward money you asked for.

Bring him back safely, and I'll give you all the money

you asked me to give you.

- Who asked anything?

You got me wrong, Miss.

- But, the message.

- What message?

- The message.

This one here.

It was clung to the window,

and I picked it up from the floor.

Would you kindly explain?

That's your name, isn't it?

- It's my name all right, but not my signature.

Broken Oak.

- I was planning to go there today.

- From the Barret's, I don't ask anything.

- But then ...

Tell me what this means, please?

How come you're here?

How come you're holding Thomas?

- You'll be seein' your brother soon,

you can rely on it.

I'm looking for a man called Turner.

The reason I'm here is to see him.

- You come to see Turner?

Why?

- To murder him.

(exciting music)

- [Man] Who's that ridin' off?

Come outta the house.

Must be a crook!

- [Man] Go after him, man!

(exciting music) (gunshots firing)

(gunshots firing)

(exciting music)

(gunshot fires)

- Hey!

It's me, Snake!

Hold your fire!

Hey, Snake! Answer me!

Are you gonna answer me,

or am I gonna have to kill ya, punk?

(gun cocks)

You got 30 seconds, and then I'm gonna burn ya!

- I'm really sorry sir.

I didn't know it was you.

- I'll be doggoned.

I'd a been meat enough for the vultures.

- I saw something moving in the bushes.

Padre Rotero says,

"Those who shoot first will die later."

That's what the Padre taught me.

- Damn idiot, you and Padre whatever his name is.

What's happened to Snake?

This is great.

Is this the way you take care of the boy?

- You cut me loose, and I'm gonna cut his ears off.

- You're not goin' to cut off anything.

Come over here.

You tie him up?

- He took me by surprise.

- Don't you talk about catchin' people by surprise.

You surprised me about that ransom note.

- What's wrong with it?

We get the ransom, we split it right down the middle.

Oh.

(laughing)

You don't think I'd take it all, do ya?

I'm just lookin' out after your interests.

Well, --

Roy!

Roy, untie me!

- Hey Thomas.

I'm sorry about that slap I gave you.

- You did right, sir.

Remember, I almost shot a hole in your head.

- The reason I got sore is for this.

It's really,

because I never wanna see you handlin' a pistol.

Yep.

You see Thomas, I was about your age

when I killed for the first time, you understand?

- I have no doubts you had good reasons.

- Uh huh.

Yeah.

But it influenced my whole life, that incident.

I would like to explain the facts to ya,

so you'll be --

- Don't explain to me.

You don't need to explain it sir.

Sure, I was more fortunate than you,

because thank God, I missed ya.

If I hadn't missed ya, I'd be desperate now.

- You wanna make friends with me?

Huh?

- I feel much better now, sir.

- From now on, don't call me sir,

I don't really like it.

Call me Roy.

- It's fine with me, Roy.

You're a real friend.

- Will you two cut out that gooey talk and untie me?

Come over here and cut me loose.

- Three o'clock.

I'm gonna give you 60 seconds to run away.

- Huh?

- Beat it!

(groans)

- Come on, honey.

(cheering)

- I'm glad you're havin' fun, keep it up.

All right then.

- All right. Your turn.

- Janet's upstairs for you.

Listen, everything's normal here?

- Yes, Miss Sheba, no one suspects a thing.

- That Turner there, watch him good.

- Don't worry ma'am.

(cards shuffling)

- Now watch closely.

(piano music)

(clears throat)

(piano music)

Hold this.

Well, what do you know?

Another cigar.

Watch closely, huh?

Now we'll put it in the other hand,

and then we'll open it.

- Great! Terrific! Terrific!

- Well now.

Are you still up? It's one a.m.

Aren't you tired?

- Uh uh.

- I hope you've been enjoying yourself.

- Fantastic.

I'd be glad to live here every night.

- I doubt Padre Rotero would approve, boy.

- You've got a bad influence on him, Roy.

Peggy, you go on down now,

and don't forget what I told you.

- All right.

See you.

- And you know where you're goin'?

Bed for you, you had a busy day.

Janice will take you to bed, dear.

- But can't I stay up a little longer?

- All right.

Now look, you go to sleep.

- There we are.

- But I'd like to stay with Roy.

- Now you go straight to bed, you hear?

- Roy.

- Come on, Thomas.

(door closes)

He's fine, come.

I'm going down.

You stay up here and listen.

In a little while,

you'll be hearing somethin' very interesting.

- Is it true, Thomas?

That you enjoyed being here with us?

- Oh yes, very much.

You know, I've been thinking seriously.

- What's that?

- I want Margaret to buy this house for me.

'Cause I'd love to come when I please.

- And who is this Margaret?

- My sister.

- Well,

I wouldn't be so sure she'd wanna buy it, you know?

But no matter, you'll always be welcome when you come.

(light music)

And now Thomas,

sleep.

- All right, good night.

- Good night to you, dear.

And pleasant dreams.

(light music)

- Miss Janice.

Good night.

- Hm?

You don't want me to go away?

There somethin' I can do for you?

- No, no thanks.

- Goodbye for now.

- Good night, Miss Janice.

(crying)

- Well, what do ya know?

You gotta whole bunch of outlaws there.

What do you do, Peg?

Make a collection out of 'em?

- Yep.

Only the ones that I liked.

And they've all been here in this room.

- Ah?

- It'll be difficult for you, won't it?

To get up early, and go out on that manhunt?

- [Man] Huh?

No, I'll make it all right.

Damn, that Roy Blood.

- [Peg] Don't seem to me like that Turner fella

is movin' Heaven and Earth to find that Barret kid,

considering' you've got (mumbles).

- [Man] Well I don't think he wants to find him.

He's a gambler, he's got an ace up his sleeve.

- [Peg] What does that mean?

- [Man] Forget it.

Come on honey, we're wastin' precious time.

Let's talk about somethin' you understand.

Better still, no talkin', let's do it.

Come on honey, show me what you can do.

Come on, show me darlin'.

Come on.

- No, I ain't showin' you anything,

if you don't tell me the reason right now sweetie pie,

that Turner don't care to find that baby.

- Come on, forget the baby.

Let's have a little lovin'.

- No, I wanna know why.

- [Man] Okay, you win.

Because after Richard Barret died,

the only ones that remained rich were Thomas and Margaret,

the two children.

His brother gambled away his part of the Barret fortune,

so if somethin' happens to the kid,

Margaret gets it all.

- [Peg] What's Turner got to do with all this?

- [Man] You said he's got an eye for Margaret.

If he plays his cards right,

he'll get her to marry him,

and wind up with the whole Barret fortune right in his lap.

Now that you know the reason, Peggy honey,

let's get down to business,

before I go crazy!

- Did you hear something, Roy?

Did he talk about Turner?

- Mm hm.

- What'd I tell ya?

- I gotta see Turner.

- He's here Roy, havin' fun.

He's downstairs gamblin' all the time.

- Uh huh.

Too bad.

'Cause his time is up.

- No Roy.

I beg you.

Don't do it here.

I'm afraid it would give this house a bad name.

Please Roy.

(piano music)

(gasps)

- Thomas!

Come back here!

Thomas!

- Sounds like Turner.

- [Turner] Wait!

Thomas!

- It is Turner.

- Where are ya?

Thomas, you brat.

Thomas! - What's going on?

- Sheriff, the kid's hidden right here.

- Thomas? He's here?

- Yeah, sure.

If he's here, so is Roy Blood.

I don't want the two to escape.

Otherwise, your career as sheriff is over.

(piano music)

(whistling)

(gasps)

- Hey, wasn't that the Barret kid there?

- It sure was.

Come on, let's go tell the sheriff.

- Block all the exits,

and make sure we search all the rooms, you hear?

Get, you darn fool!

- What do I do?

- You gotta bring me that kid, you jerk!

- Hey wait

stop!

- Woops!

- Any more of that can you bend to?

- I've been wanting to pee,

but I didn't have the courage to --

- Shh.

- Sheba.

Did you see that kid, Sheba?

- Oh my, but you look funny, sheriff.

- Show me a little respect.

I'll close up your place, Sheba.

- I don't think you will,

'cause I could tell the story around you see.

They'd hear the laughter

throughout the entire state of Texas.

(light music)

- Steady boy.

Quick, get on my back.

Hold on.

Go.

(light music)

- Terrific!

It's nice.

Gee.

- [Man] See how high it floats.

- This place is much better for the boy,

he'll be safe here.

Padre, it sure is more appropriate than the other place.

- You don't have to be worried, Senor.

He will be safe.

How could anyone want to hurt a harmless child, Senor?

- 'Cause they're vultures, Padre.

So keep your eyes open.

I can still even look around here, too.

- Tell me, do you happen to know about gunpowder?

He's was a friar.

A padre like me, Senor.

So you can be certain that if anyone with bad intentions

show their faces here,

we will give them our benediction.

- Mm hm.

- You see, Thomas?

Come come. You try it now.

Run! Run!

You see how it floats high?

Float through the sky!

Float through the sky!

(wind blowing)

- I don't seem to understand you, Miss Margaret.

Seems like I'm under accusation.

- Well, you're not under accusation.

But you've given up all search, Turner,

and you can't deny it.

- Yes, because we do have a sheriff here.

That what you said to me,

never to take interest in your personal troubles?

I've done as you asked me to.

I've limited duties as your administrator.

Unless you'd be willing,

under these unusual and unfortunate circumstances,

to change your attitude towards me, Miss Margaret.

Did you hear me?

- Of course I heard.

Are you taking me for an idiot,

expecting me to throw my arms around your odious neck?

- Why don't you tell me the word, Miss Margaret?

Because you can be sure the minute you do,

I'll begin,

and I'll bet I find the kid.

Miss Margaret, please answer me.

- You force yourself on me at a moment like this, you mean?

Guess your kinda woman likes that, huh?

- You're a woman.

But you're a woman I adore.

(gasps)

- Turner.

(exciting music)

Let her go, Turner.

- No you don't.

Put that away, or I'll kill her!

(suspenseful music)

(gunshots firing)

(footsteps running)

(wind blowing)

(wood crashes)

(gunshots fire)

(man yells)

(gunshots firing)

(exciting music)

(Margaret screams) (gunshots fire)

(breathing heavily)

(gunshots firing)

(wind blowing)

(gunshots fire)

(gunshots fire)

(horses running)

- This is the man who murdered Mister Turner?

- He was supposed to do it, to defend me.

- I don't think anybody'll do any more then.

Not for him.

He robbed me.

He hoped one day he could marry Margaret.

- Where is Thomas?

- At the Mission of San Jacinto.

Under the protection of the friars.

(exciting music)

(speaking foreign language)

(speaking foreign language)

(speaking foreign language)

- [Man] It's just a little boy playing.

(speaking foreign language)

(exciting music)

(wind blowing)

(horses running)

- Ho!

(gunshots firing)

They're shootin' it up in that direction.

Come on!

(horses running)

(suspenseful music)

(sad music)

- [Man] If you want the boy,

be ready with much money for Garrincha.

(light music)

- [Man] All right, let's go men.

- Let's go men, where?

- To try to find that kid.

- Well, not with you, Blood.

Careful what you do now, Silver Saddle.

- I hope you're not blamin' me for doin' this, sheriff.

- In the name of the law,

you're under arrest as accomplice with Garrincha,

for the kidnapping of Thomas Barret Junior.

We'll return to Cerritos.

- But aren't you gonna play up those bandits

that got Thomas?

- We'll need more men to put up a fight with that gang.

Back to Cerritos, come on!

(horses running)

(light music)

(speaking foreign language)

- A man cannot even trust a priest.

A friar anymore.

It's painted.

The monks painted it to look like gold.

- You forgot the one in San Juan, Garrincha?

The church was better.

The seal was real.

And the nuns? (chuckling)

- Mm hm.

One was from Torreon.

Muy beautiful.

All of women of Torreon are beautiful, I think.

I say to her,

"Porque no want to love with Garrincha?"

She told me, "Porque, porque I'm in love with Jesus."

I laid her up on the cross.

She was dead in the morning.

She was beautiful and mean but,

a stupid woman.

Hey chico!

I think it's much better that you eat.

You gotta be healthy, remember?

(laughs)

- You're laughing, but you better let me outta here sir,

if you intend to go on living.

If you free me, I'll tell Silver Saddle not to hurt ya.

Otherwise, you'll all finish bad.

(laughing)

(light music)

- You recognize it, Senorita?

It is the hair of your little brother, eh?

It is worth $10,000, I think.

Un hombre and I will bring the dinero on the road

to Indian Wells.

He will meet another hombre that will bring him to our camp.

We give him our brother, we take the dinero.

You have 10 hours time.

- Hey you!

What guarantee to we get,

that you're gonna keep your part of the bargain?

- (laughing) No guarantees, Senor.

But you don't have no choice, eh?

Remember, 10 hours time.

(laughing) (horse neighs)

(speaking foreign language)

- Leave him go, Fletcher.

I'm sure there'll be no hope for our little boy,

you can bet on it.

- This man's dangerous, Miss Margaret.

Sure you don't want me to stay inside,

while you talk to him?

- You can leave me alone with Roy Blood,

it's all right.

Now open the door, sheriff.

- Remember, he's dangerous.

Hey Roy.

Gotta visitor.

- I hope you didn't believe

what that stupid sheriff told you.

- Not at all.

If you wanted to get that ransom,

you coulda gotten it from me.

I've come to you hopin' to get advice.

- Has Garrincha given any sign of life?

- Yeah.

He's asked a ransom of $10,000.

He's fixed a short limit of time.

10 hours.

- Don't pay it.

Don't pay it.

Can't trust a thief, you know.

He will still kill Thomas.

I've known people like Garrincha.

As long as you hold off payin', Thomas is safe.

- It's very easy to say don't pay.

Do you expect me to abandon my brother,

and leave him in the hands of those vultures,

and let them do whatever they like?

- We'll try somethin', I promise.

Help me to get outta here, Miss Margaret.

You'll have to, and I give you my word to bring the kid,

safe and sound, to you.

(knock at door)

- [Barret] Come in.

- Did you say you wanted to see me, Mister Barret?

- Yes, sit down Fletcher.

I wanna speak to ya.

It's a long time since you were workin' with us,

and we consider you like one of the family.

- Yeah well, it's a very unhappy moment for the family,

Mister Barret.

- Yes, for my family.

And above all, for myself.

I'm all upset, filled with remorse.

I've neglected Thomas, I shoulda been like a father to him,

and to Margaret too.

Surely at this moment now,

I must truly take the responsibility.

I'm gonna pay that 10,000.

Listen, bring 'em the damn money,

I want our child.

- What about the money, Mister Barret?

That's a lot of cash.

- Well, I happen to have some money put aside.

Small amount.

It's all the lousy money I got.

But I don't mind partin' with it to save that boy.

Tell me now, that you'll go.

- Well, I don't know.

What about Miss Margaret?

She seems mighty undecided.

- Because Margaret's much too upset.

She couldn't possibly do anything or decide.

I'll take all the responsibility.

- All right, Mister Barret.

If that's what you think is the right solution.

I'll go to Garrincha.

(knock at door)

- Sheriff, I've finished.

Open up for me please.

- Now you do exactly what I tell you.

- Listen Roy Blood,

you ain't got a gun on ya.

Let go of that girl, I warn you!

- See this pen?

You better drop your guns,

or I shove this pen right through her neck.

Now get your hands up.

Reach!

Get in there, the two of ya!

Hurry up!

- I've been following you.

Ride on cowboy.

Wonder where the heck he's goin' in that direction.

- Hey.

What cha doin' there, Snake?

See that fella ridin' by now?

- Sure, just a cow puncher.

Yeah, it's a Barret man.

Why, does he interest you?

- Yeah, we have to stop him.

I'm pretty sure he's carrying that money.

He's bringing it to Garrincha.

- What?

- $10,000.

- Geez, and I coulda dropped him any time,

the last three minutes.

- Come on, let's go quick.

(light music)

- Buenos dias, gringo.

You bring the dinero?

You give it to us.

- No!

First I wanna see Garrincha,

then you take me to the kid!

- Give me your pistola ...

Vamos, hombre.

(horses running)

(light music)

- There's too many tracks here,

we'll never find them.

- You tell me Garrincha's near the Indian wells?

It's taken a lot of time to get there.

- Yeah but, look.

There's Indian wells all the way from here to Urba Buena.

That's two day's ride.

(grunts)

(horses neighing)

- Whoa.

Where's Garrincha?

(whip cracking)

- You've got the dinero?

- First, I wanna see the boy.

- Seguro.

Bring him in.

You see him, amigo?

Bueno.

And now, Garrincha want to see the dinero.

(exciting music)

(speaks a foreign language)

(screams)

(exciting music)

(speaking foreign language)

- After the boy!

(whip cracking)

(speaking foreign language)

(exciting music)

- Look.

(exciting music)

- You want to run away, eh?

(speaking foreign language)

(laughing)

(exciting music)

(whip cracking)

(boy yelling) (men laughing)

(exciting music)

(gunshot fires)

(gunshot fires)

(gunshots firing)

(grunts)

(gunshots firing)

(speaking foreign language)

(gunshots firing) (speaking foreign language)

(yells)

(gunshots firing)

(yells)

(gunshots firing)

(grunts)

- Snake!

- Don't worry about me, Roy.

I'll be all right.

- Uh huh.

(chuckling)

(sad music)

- Roy!

Roy!

Roy.

(light music)

- Thank you, Roy Blood, for all you've done

for my little nephew.

And for havin' riddin' me of Turner.

We Barret's are very generous to our friends, you know?

We'll remember all you've done.

- I don't want your appreciation,

or your generosity.

I wouldn't do anything for a Barret.

You should know why.

But maybe this kid here isn't really all to blame

for bearin' the name of Barret.

In fact, I'd like to give you something, Thomas.

When you get older, should you decide to do

some honest work instead of continuing to live

like the old Barret's, this might someday be useful to you.

Speak to Padre Rotero about it.

Adios.

- Adios Roy.

- Now just a minute, Mister Blood.

You think it's that simple?

Say your goodbye, and go away?

You think it's all over, don't you?

- No.

What's up your sleeve?

- What's up my sleeve?

- That's right, Mister Barret.

I sorta had the impression that Turner acted

only as executor.

I figured that someone was hidin' somewhere

and givin' the orders.

- What did you conclude in your figurin'?

- That it's you after all, Mister Barret.

Always you.

First for that $2,000 to pay me.

And when I refused, you turned over to Garrincha.

But the Mexican wanted a lot more.

So he made an agreement.

The kidnapping was just a put on.

But when Margaret decided not to pay,

you did it yourself then.

You found the necessary cash,

and sent it to the Mexican Garrincha,

hopin' he'd resolve things for ya.

- You reconstruct the story perfectly.

- It's not the end of it.

Now you're attempting to try and finish me.

And you mean to use my pistol

to finally finish Thomas.

And as for Margaret, bandits could kill her someday

while ridin' in the stagecoach.

Be just another hold up.

- Brilliant idea.

But it never passed through my mind.

- Naturally.

For you're too busy with thoughts

that are a lot more important.

How much have you been thinkin' of Thomas' property

that he inherited, and how to take it away from him?

Turner was working out the details,

but now you have to keep your mind on all the particulars.

- [Barret] Like which?

- Particularly, like saving your life, for example.

- My life, eh?

You say, my life?

- Listen to me, mister,

if you're thinking of shootin' me,

first I wanna tell you this Barret.

You're not gonna kill your nephew,

you can be certain.

'Cause if you do, you'll be hangin' at the end of a rope.

(gunshot fires) (grunting)

I predicted it Barret.

You ain't passin' on with a bullet in your leg.

You're gonna hang with a noose around your neck.

Oh and by the way,

this beautiful old pistol

was loaded by Margaret, at my request.

(grunting)

(light music)

Goodbye, Miss Margaret.

(light music)

So long, Thomas.

(light music)

- [Thomas] Roy!

Wait for me, Roy!

Roy, listen please.

Take me with ya.

Roy, huh?

Please, huh?

Roy!

♫ Silver saddle shinin' in the sun

♫ No place to go

♫ Lookin' for a friend

♫ Will the anger inside your heart

♫ Ever end, who knows

♫ Who knows

♫ Silver saddle shinin' in the sun

♫ No place to go

♫ Lookin' for a friend

♫ Will the anger inside your heart

♫ Ever end, who knows

♫ Who knows

♫ Silver saddle shinin' in the sun

♫ No place to go

♫ Lookin' for a friend

♫ Will the anger inside your heart

♫ Ever end, who knows

♫ Who knows

♫ Silver saddle