[theme music] [gunshots] get mounted. [dramatic music] (male #1) 'alright, let's go.' the blond-headed guy is the leader.

[woman screaming] [music continues] [instrumental music] mm, real cookin'. baked bread, hamhocks and sauerkraut. - chicken and dumplings. - better slow down, smitty.

i'm goin' in here. hey, there! buckshot! well, what do you know? cheyenne, smitty. last time i heard, you were running map lines for the army over in comanche country. got 'em right here. i'd be mighty obliged if you'd drop these off at the big sands remount station. glad to. here, take care of these, bill. it's a good thing the army's got you fellas. them soldier boys would never find their way tory if they didn't. - yeah, i guess-- - hey, i remember back in '61. it was this here troop, uh, b troop-- uh, yeah, you told us, buckshot. we heard that one before. what's new? oh, nothing much. 'cept last night the bank was robbed. hit 'em for every nickel they had. old brad farnum got run down by a horse. brad farnum? - was he hurt bad? - killed him. killed him dead. he never had a chance.

man was a good friend of yours, wasn't he? - that's right. - that's what i thought. you boys gonna be in town long? right now, it's kinda hard to say. - well, take it easy, buckshot. - so long, smitty. and he might be limping some if buckshot winged him like he says. - shouldn't be too hard to spot. - nope. i ain't one to tell you your duty. but if i was you, i'd just purely--

as long as he's in the clear. you sure he crossed the border? yes. i was chasing him when he did it. i'd give a year's pay to get my hands on him. maybe you will. when he comes back across the line. - that's not likely. - he might. especially, if, uh, someone who wasn't weighed down with a badge kind of helped him back. any idea where he'd head for in mexico? a little town called "paso alto" about 40 miles south of the line. i'm sorry i can't be of more help. you can. be waitin' at the border when we bring him back. - did you say "we"? w-e? - that's right. that's what i thought, you said. all i can wish you is a lot of luck. thanks. [dramatic music]

there it is. paso alto. you know, i wouldn't mind owning some of this land. we ain't careful, we liable to. about six foot a piece. - you remember what i told you? - yep. we're a couple desperate characters on the dodge. say, what's my name? - smith. - smith. - but that's my real name! - who's gonna believe it? [instrumental music] where is everybody?

wish we'd had sense enough to stay home. just keep your eyes open. [dramatic music] i've seen expressions like that before. so have i, on a grizzly with a sore paw. say, do you get the feeling we ain't exactly popular? why should we be? d back.. say now! [smitty whistling] - dos pesos, enrique. - dos pesos! - it's high we are so far from-- - papacito. - what is it, my daughter? - two more americanos ride in. two more? two more bad ones, i am thinking. you know, it just so happens i've got a few little purchases

we've got to find ourselves a room. i swear you take the fun outta everything. perhaps, it is time we try again, miguel. no. it would be nice to hear the bells once more. and more of our young men to die before the gringo's guns, aye? perhaps, the old ones like us then. what could we do? [bell ringing] hey! - anybody here? - here he comes. i'm sorry, senore. i laid down un momento to rest my eyes. uh, room perhaps, or something to eat? we could use both. bueno. the corner room is vacant. uh, do you senores intend to honor us for a long time?

- this way, senores. - big blond fella. 'might be limping a little.' i have remembered. the corner room, it is engaged. - that happened in a hurry. - it slipped my mind. my youngest brother is coming from san philipe-- forget it. let's go, smitty. come on. well, that was short and sweet. yeah. one mention of that big, blond-headed fella he turned as sour as buttermilk in a thunderstorm. yeah. - you know something? - what? i don't believe he had no brother in san phillipe. - you know something? - what? neither do i. still wanna make those purchases? oh, ho, ho. do i? but, senor, if you would allow me to help you. when i want your help, i'll ask for it. and another thing, shorty. you better order up some more 44's.

senoridy. you likey takem heap big buggy ride? spanish, smitty. not navajo. please, senor. if you would perhaps pay a little something on your account. what's the matter? don't you trust me, shorty? senor, i do not mean the insult. but to run my business, i must have the money. [dramatic music] excuse me, senor. but i wonder if you could tell me.. get out of here! get out. go back to your friends at the cantina.

there they are. - cerveza. - si senor. i didn't now you could speak spanish. you just heard all of it. nice looking bunch of boys. their mothers probably love 'em. you fellas looking for something? - yeah. - what? a glass of beer, you mind? it's a long ride into this town for a glass of beer.

ain't that right, chey, uh, mr. eubanks? your name eubanks? could be. what's on your mind? - i ask the questions. - you ever get any answers? i think i'll get one from you. that all depends. i haven't heard the questions yet. what are you two doing in town? now, that's the wrong question. break it up. you boys know i don't like brawling. get on with your business. - my name's carl thompson. - this your place? you might say it's sort of a headquarters. the man who owns it is a real fine fellow. friend of mine.

si, mr. thompson. that a friend of yours too? in a manner of speaking, yes. got much use for him? he runs errands for me now and then. keep him outta my way or you may have to run 'em yourself. oh, cliff's alright. he just doesn't like strangers. i don't like strangers either and he's mighty strange to me. we don't have visitors here very often. maybe you oughta change your brand of beer. 'yeah.' maybe i should. alfredo! let's have two fresh beers for my friends. you're kind a free and easy with that word "friend," aren't you? if a man isn't a friend of mine, i, uh.. i assume he's my enemy. suits us, mister.

nope. we're not tough. we're like your errand boy, here. we just talk tough. you know, i might be able to use a man like you. - we'll think it over. - don't think it over too long. let's go find a place to stay. i, uh, i don't think i heard your name. that's right, you didn't, did you? - i got an idea. - what? instead of us gettin' a place to sleep tonight let's get out of town. i'm taking him back, smitty. i wanna see him in front of a jury. with all them gunslingers behind him that just might turn out to be quite a chore. we got him worried and a worried man makes mistakes. well, in that case, don't look for me to do anything right. i'm worried too.

this town can't have anything against horses. [music continues] - water our horses, si? - si, senor. you pay now? - how much? - one peso. - how much for the hay? - two pesos. how much if we sleep on the hay? sos. - that's a deal. is there a place around here where a fella can get a good meal? - si. el placio. - gracias. - to us. salud y pesetas. - yeah.

- what do you think of those new americans? the tall one is handsome. no? that's not what i mean. it's just-- it is just that they may be looking for you? is that what is on your mind? well, they sure came here looking for something. you are in some sort of trouble? i'm always in trouble. kill a man. listen to me, carlos. maybe those men are after you or maybe not. what difference does it make? you promised me we would go to mexico city. alright, we'll go. when? a year from now? ten years from now, when i'm an old woman? we'll go when i say so, not before.

i'm not so sure he is a lawman. what's he gotta do, show you his badge? - why take chances? - cliff. yeah? better get the big fella first. i was planning to.

[music continues] now, this ol' girl, she says to me "you be sure and bet on my box lunch. "you gonna know it 'cause it's tied with a red ribbon." i find out that there must've been eight or ten of them there that way. now, what do you do about a situation like that? (smitty) 'so, this here gal that i ended up with.' why, she weighed 275 pounds if she weighed an ounce. [dramatic music] you got the draw on me. i'm gettin' mighty sick of you, mister. look out, cheyenne!

go on, cheyenne! 'that oughta do it, cheyenne.' tell your boss, if he wants my hide, come get it himself. here. not that you need the dang thing. - thanks. - gracias, senor. - gracias. - i'm sorry about the mess. - it is nothing, senor. - padre mio. what has happened? papa, are you alright? very much alright. thanks to these gentlemen. it wasn't nothin' really. why don't we go put on the nosebag. - huh? - yeah. wait a minute. we'd better stay and help clean up this place. oh, do not worry, senor. i will clean this all up with the greatest of pleasure.

- guess i forgot to discard. - too bad. - start pouring. - when's the funeral? well, you look like you ran into a mountain cat. i run into cheyenne bodie. - the stranger? - that's his name. - sent you a message. - oh? says if you want his hide to come get it yourself. that sounds like a fair enough proposition. - carlos? - yeah? i think it is better we leave paso alto.

we could leave tonight. by morning, we'll be many miles from here. why don't you stop bothering me. i told you we'd leave soon. you got my promise. a promise? i spit on your promise. - shut up. - i do not take orders from you. shut up! [screams]

message. news travels real fast, doesn't it? small town, people talk. about anything in particular? they say you strayed pretty far from home. shall we stop playing games? alright. - what are you after? - you. you're a big man. i hear you're fast with a gun. but it's not true. it's a matter of opinion, mister. we'd make a pretty good try at it. you better start. you don't have much time. how's that? i'm giving you one hour to get out of town. - and if we're still here? - don't be. - delgado, what time is it? - three o'clock.

we staying, cheyenne? we've gone too far to back out now. senor, i would like to shake your hand. for a long time, no one in this village has faced thompson like that. tell me something, amigo. how is it you let these gunslingers run so hog-wild around here? seems to me you could turn some law loose on these fellers. here, the army is the law. the territory is very large, senor. is far off the beaten track. once, maybe twice a year, we see a patrol. that's all. well, there must be something you could do? at the very beginning, we tried. now, 14 of our young men lie dead. a town has a soul, senor. the soul of paso alto, is also dead. senor delgado, forgive me, but this is not true. it is not the soul of the village which is dead

perhaps, you are right, rosa. papa told me what you did. are you going to help us? two against them? what chance do they have? we'll probably need more help than we'll be giving. there are still guns in paso alto and men to shoot them. if you would lead, i think they would follow. can we count on you, senor delgado? - i do not know but-- - who's your mayor? - your alcalde? - that's senor monte verde. the big house at the end of the street. and i will speak to alfredo. - he will help us too. - you'd better talk fast. by 4 o'clock, things are gonna start gettin' lively. [clock ticking] senor, what did he mean? what is going to happen at 4 o'clock? the bad one, thompson. he gives the two americanos until that time.

and you? what will you do to help them? me? i.. ...i am only one man. no, you are not a man. there are no men left in paso alto. [dramatic music] [indistinct chatter] wait. wait a minute. why can't you? please, please, senor. i can talk to them, and they will listen but they will do nothing. i cannot make them act. - i'm only the mayor. - act with what? they take our guns long ago. they hide them. we do not know where.

r they just went down to the mayor's house. well, they're wasting their time. why don't we go for 'em right now? 'cause i gave 'em an hour.

rosa. rosa, let's get married now. we'll go to the church and tell father juan to make the arrangements for the wedding. no, not while there is so much trouble. - but why not? - this man can help us, alfredo. i know he can. but we must help him, too. no please, rosa, no more about that. do you wish to live in fear of these people? i wish to live. you know what happened the last time. at least now i have my cantina and things are not too bad. but somehow, somewhere, there must be a start. well, let someone else start it. i must think of my business if we're going to be married. alright. think of your precious, little cantina and we never will be married.

stop being so itchy! you boys are acting like you're going to your own funerals. if anybody doesn't like this deal, he can pull out. get me a drink. i said, get me a drink. are you deaf? i am not deaf. and also, i am not your servant. why don't you get outta here? go home! [dramatic music] you are the last hope, padre juan. only you can help us now.

when these people first came to our town the young men thought as rosa does that we should band together and drive them out. i myself, gave the signal. 'the ringing of the church bell.' my poor shepherds. my poor farmer boys. 'i should've known they were no match for gunfighters.' fourteen young men. god rest their souls in peace. from that day on, the bell has been silent. that is the way it must remain. - padre juan. - i'm an old man. i can have no more lives on my conscience. i hope you understand. you have to do what you think is right.

good bye, padre. well, we tried. - perhaps, we could still-- - no, our time's too short. i wish you hadn't said that. why don't you go back to the tienda? we'd better get back to the stables. aw, now you're talking. why, if we ride out-- in an hour, we'll have thompson. - or he'll have us. - you say the nicest things. [clock ticking]

drink up. [dramatic music] alright, spread out. [music continues] it's gettin' mighty close to 4 o'clock, cheyenne. if we could just figure a way to break thompson loose from those gunslingers.

'senor!' it's the tamale from the cantina. let her in. what can i do for you? it is not what you can do for me, it is what i can do for you. you know the money from the twin pass bank? what about it? it is under the floorboards at my house. that'll break thompson loose. he'll follow that money. (smitty) 'it might be a trick.' it is no trick.

it's 4:00, bodie. yeah, i guess it is.

well, looks like mr. cheyenne bodie's got himself in a nice little trap. cliff, you get around behind. [indistinct chattering] the americans! are we just gonna let them die? (male #2) 'we can't do nothing.' m die without lifting a hand to help? can we face ourselves if we do this? - how can we fight? with what? - 'we have brooms and rakes.' (female #2) 'alfredo!' alfredo. i know where the guns are hidden. do you have the courage to use them? listen, listen. i'll lead you to them if you will fight! - we are not soldiers. - maybe our guns are rusted now. they will kill us.

ght, they will kill you. [speaking spanish]

[gunshot]

keep 'em busy. [gunshots] [screaming]

[screaming]

[dramatic music] thompson. table.

alfredo. [dramatic music] where's thompson? i saw him. he got away. the girl, sarita, where's her house? i will take you to her, senor. sarita. [clamoring] sarita! - i am here. - good. get the money, chiquita. we're going to mexico city like i promised.

hurry up, get the money! yes, just you and me, together, always. [sarita grunts] [screams] (cheyenne) 'alright, thompson, come on out!' come on out, thompson, and don't try the back way. alright. open the door. open it! sorry to disappoint you, bodie. kill him! [gunshot] [thompson grunts]

[gasps] [bell tolling] [tolling continues]

hello. what can i do for you? uh, my name is randall. you mr. lawton? well, i'm very happy to see you, mr. randall. thank you for coming. won't you sit down? no, no, i've been sitting on horseback for about six hours. that telegram said $500. yeah, that's why i'm here. i want you to stay here till this matter's settled. robinson escaped from the territorial prison