tv WRAL Morning News NBC November 16, 2016 6:00am-7:00am EST
[speaking spanish] muchas gracias. [thud] senor. - you speaking to me? - i am waiting. - you're waiting? - yes. i am waiting. i do it myself sometimes. i was knocked down, my friend. - what do you say about that? - what do i say about it? si. what do you say about it? well, i-i'm sorry to hear it. now, if you'll just kindly step aside-- tomorrow the birds will sing. but one of us will not hear them. unless, of course, you apologize. well, it's pretty plain we're not hauling in the same direction. i do not make myself clear? when i.. [thud]
[both laughing] i would consider it a favor, senor if you were to kick me. well, i don't think that's necessary. permit me, senor. bravo is the name. - johnny bravo. - cheyenne bodie. do me the honor of joining me for a drink. well...i ought to be getting back to-- good. [indistinct chatatring] give us some red whiskey, a bottle of your best. check 'em, gents. well, look who's here. never mind the bottle. what's that, mr. taggart? i said, them two ain't drinkin'. bartender, these two are drinking. please bring the bottle. - didn't you hear me? - please, fellas, i try to run a peaceful bar. if you wanna keep it that way, tellllravo and his friends to find someplace else to drink.
there's another bar in town. all of a sudden i like this one very much. it is so friendly. that door swings both ways, cowboy. see if that ain't right! [clattering] now, get before i turn y y hair-side in. [thud] [clattering] [thud] let's keep it one to one. [thud] [glass shatters] [clattering] [grunts] [clattering] [woman shrieks] [thud]
why not? i'll make it short. i saw you in that fight this afternoon. - would you like a job? - thanks, i already got one. - cowboy? - trail boss. helpin' a fella take a herd up to denver. the job i had in mind was foreman. 'and i'm willing to pay you $10 more' 'than you're making now, whatever it is.' name a figure. thanks just the same. ...unless you change your mind, mister.r.uh? oh, i guess we forgot to swap names. cheyenne bodie. i'm matt crowley. i'll see you again, bodie. i'm a man that's got the reretation of getting what he goes after. uh, say, bodie.. ...you're not married? no. why? just curious. - still wanna know what's in it? - yeah. don't tete anybody i told you.
and boiled buffalo hump. [dramatic music] three bowls of stew and a cup of coffee. that'll be 35 cents. tell that cook that he can have a job trailing with me anytime. - can't be done. - why not? 'cause he's me. well...the offer still stands. oh.. have another cup of coffee on the house. howdy,y,om. stew's better than tolerable. couldn't eat a bite, boy. i'm off my feed. what's the matter? it's what i've gotta tell you. i don't know how to begin. best way is to start. well...the fact is i can't afford to keep you on, boy. i have to try to get that herd up north by myself, without you. what happened?
i don't even figure on makin' expenses. well, i'm sorry to hear that. i'll be glad to ride along just for eats if it'll help. i couldn't let you do it. i'd feel beholden. you've got enough trouble besides that. but thanks, cheyenne. you've been a good friend. i'll, uh, be talkin' to you around the hotel. i got to see a fella now. well, looks like you're gonna be around town for a while. kind of looks like it. case you wanna s sp by tomorrow's special's hominy grits and buffalo hump. thanks. [dramatic music] i feel so low, i could darn near sit down and bawl. you can buy a lot of comfort with $200. it's my everlastin' greed. that's my y rse. the boy is almost like my own son.
been done. [intense music] [music continues] oh, hello, bodie. - find a man for that job yet? - i'm in no hurry to fill it. - still think i might do? - why? you change your mind? - i'd like to talk about it. - well, go ahead. well, why'd you offer the job to me? you don't even know me. i'd figure it takes just about one minute to know a man. oh, i've been wrong once or twice, but that's about all. besides, i liked the way you handled yourself out there today. you lookin' for a foreman or a fighter?
uch, just forget i asked you. no hard feelings. what happened to your last foreman? i fired him last week. he suddedey up and got married to a mexican woman. well, that's a crime? if you don't think it is, you had better forget my offer. fair enough. wait a minute. uh, every man's entitled to his own opinion. let's forget it. - well, you want the job? - sure, i'll give it a try. good. we leave about an hour after sunup from the general store. oh, uh.. there's one thing more i guess you ought to know. three of my hands have been murdered in the past half year. murdered? killed by professional gunslingers. if i don't see you in the morning
r [slow paced music] molasses. well...glad to see you got here. - ready to go to work? - anytime. that's good. what's the trouble? well, i-i saw a fellow by the name of johnny bravo. yeah. he rides for me. you know him? met him. thought you didn't like mexicans. he's a good rider. - marty.y. - 'yeah.' - will you check this for me? - 'alright.' - buenos dias. - good morning. - que tal? - how's the jaw?
yesterday. i'd like to get started. bravo, you're driving the rig back. - i'll take your horse. - as you say. - see you later. - hasta luego. alright, men, mount up. sounded interesting. i'llllave to find out more about you and johnny bravo. i'll have to find out more about you time for that later. [dramatic music] vamonos! [clopping] molly.
i didn't expect you'd be.. 'oh.' where are the others? they had to stick to the road. won't be along till late. this is my daughter, molly. say hello to cheyenne bodie, new foreman. hello. pleased to meet you, miss crowley. uh...honey. you better get your horse ready. you'll be showing cheyenne the layout. have a drink? no, thanks. - circle m? - for the past 30 years. before that, it was the ortega grant. it's a lot of ranch. not as much as it was before ben taggart came along. i don't want to seem impatient, but.. ...any jackpot you're in with this taggart sort of includes me too.
there's not much to tell. a little better than a year r o taggart showed up with another grant. older than the ortega grant by about 40 years if it wasn't a forgery. he claims title to tamarac. this area. best pasture land, most of the water. i always planned to give tamarac to my daughter when she got married. - but taggart moved in f fst? - took over ranch house and all. he more or less dared me to do anything about it. but his claim is a forgery. i'm sure of it. they're deciding that up in santa fe right now. meanwhile, taggart is collecting himself a little army of gunslingers. you plan to fight him if worse comes to worse? no. everybody around here knows i hung up my guns long ago. it's got t tbe legal, or not at all. - are you ready, mr. bodie? - yes, ma'am.
see you at supper. [music continues] [clopping] [slow paced music] - i'll do o at. - don't bother. [music continues] it's none of my business, but.. ...doesn't it get awful tiresome carrying it around all the time? - carrying what? - that chip on your shoulder. what makes you think i've got a chip on my shoulder? i'm pretty quick that way. well, you're wrong.
you sure had me fooled. but you might as well know right now.. ...i wouldn't marry you under any circumstances. wewe, it's nice of you to come right out and say so. but to tell you the truth i wasn't exactly plannin' on askin' you. mr. bodie.. ...you needn't try totorotect my father. there's nothing about him i don't know. maybe you better tell me. i don't know anything g out him. are you being funny? not on purpose. my father didn't tell you why he hired you? told me he needed a foreman. he's had several very good foremen. each one picked to.. ...sweep me off my feet. would you fill me in a little bit on that? that's all there is to it. my father wants a grandson. i wondered why he asked me if i were married.
and i keep chasing 'em back. at least you're an improvement on the others. nice of you to say so. i guess there's no point in seeing the rest of the ranch. shall we get started back? as a matter of fact, you're nothing like the others. they kept trying even after i askekethem not to. there's one thing that's got me real puzzled. what makes your father think you need help to find a man? i'm afraid i can't tell you that. in a way, i can't blame my father. i'm nearly 26. and i'd...i'd like him to have a grandson. you let me do it this time.e.
- how'd you like the spread? - didn't see it all. how come? no use. i'm not tatang the job. - what? - afraid i'm not qualified. did molly say something to you? she said, no, before i could asking her anything. well, yoyoshouldn't take anything she says too serious. - just serious enough to quit. - is that really it? - leave it that way if you like. - naw. no, wait. - don't let me rile you. - i'm not about to. it cost me $200 to.. what did you say? cost you $200 for what? nothing. to get t t lovelace to fire me, is that it? don't be silly. why would i do a thing like that? come, have a drink and forget about it. no, thanks.
alright. then to devil with ya. get out! don't bother to see me to the door, i'll find my way. i said get out! and stay out! molly! molly! and tell that dirty crook tom lovelace he owes me $200! [clopping] but why, molly? why? do you want to be an old maid? - is that it? - we've been over all that. i know, but it doesn't make sense to me. you're acting like you don't want me to understand ya. it's because i know you wouldn't. [slow paced music] [fast paced music]
(male #1) hold it. emmett there is pretty good with a rifle. - now, that's sensible. if you don't believe it, just make a move for your gun. drop your gun. [thud] now get down off your horse. what's the trouble? would have sense enough to ride clear off my land. i wouldn't know about that, not being one of matt crowley's men. too yellow to admit who you work for? no. you sure acted like a crowley man yesterday. this is today. [laughs] clever. don't you think he's clever, boys? just about too clever to live. alright, so you think i'm clever, and i like you too. if you'll give me back my gun, i'll gladly get off yoyo land.
querida mia. what is it, johnny? something wrong? did you file for the homestead? no. what? why? was the office closed? i...i couldn't. johnny. i went down there. i stood in the line. i...i told the man i'd changed my mind. y-you didi't file? suddenly, i realized that what i was doing was wrong. i knew i had no right to take you away from here. but we decided. i cannot ask you to give up all this for me. i know you love tamarac. i do. but it's only landnd
my family once held land. more than the ortega grant, even. they were somebody in this world then. people would bow their heads as they passed. when we lost our land, we lost everything. land is important. but not to me. i want you, johnny. and i've waited as long as i can.. i cannot ask you to come away with me. [slow paced music] molly.. ...i want you to understand. i think i do.
[music continues] [knocking] how is he? shh. he's asleep. you shouldn't be here. surely a man can call on an injured friend. you know how dad wouou carry on if he found you here? (johnny) 'he's outside talking with the doctor.' i've been trying all day to speak to you. yes. i want to explain. it's alright, johnny. you've changed your mind. there were homesteaders and their women in that line. the women, t ty were young like you. but they were old, t ted. i can't do this to you. johnny, i wouldn't care. i love you too much. 'does that make sense?'
want to play another? ha. do you mean to say this is the first time you've ever played this game? well, come to think of it, i did winter up in montana with a german fellow that was partial to the e me. i think we played a round or two. huh. a round or two. as a matter of fact we played solid from the last of november till march. 'uh-huh.' set 'em up again. es and stay on? you're not the easiest man in the world to get along with.. i know. my temper. the curse of the crowley's. on the other hand, i wouldn't want taggart to get the notion that he'd run me off. good boy. i knew you'd stay. haven't got any ideas about me and molly? - i swear. - good. your move.
my son, dada nice-looking boy. he was. good boy. oh, a little reckless, you know. but he would have settled down ananbeen a credit. 'he never got the chance.' that's too bad. he got a bee in his bonnet. where he could get some longhorns cheap down in chihuahua. so i financed him, gave him the cash. he was murdered for it. i'm sorry to hear that. 'eighteen years old.' 'they brought him home tied to the saddle' man who did it. 'with a bullet hole in his back.' dan's partner. a mexican. [sighs]
i'd had enough. i see. that's why. our friend taggart's an american. that make all americans bad? mexicans are different. you can't trust 'em. 'none of 'em.'.' i've heard indians say that about the white man. it's something i don't argue about. it's your move. [knocking] coco in! (crowley) 'well, what brings you out here, wade?' i think what you've been waitin' for finally came through. decided to bring it over myself. well, i'm obliged to you, marshal. ho ho! t tre it is in black and white. taggart's grant isn't worth the match to burn it. he's trespassing on my property.
an eviction notice, marshal. no, i don't think you'll need that. i'll drop by on my way into town and tell him to get. that might not be as easy as it sounds. maybe a couple of us oughta go with you. no, i think i can handle it. i don't know. taggart's someone who's getting meaner by the minute. they stomped bodie here pretty bad the day before, you see. i can sure testify to that. stomping a cowhand is one thihi but i don't think he's gonna come up against the law. well.. but i still say that you could use some company. a bunch of us ride out there loaded for bear somebody's gonna get shot sure enoughh no, it's a one-man job, matt. - i'd better be getting back. - stay for supper? no, thanks. i've got to be home early. uh, choir tonight. here, you better take this along and d ow it to him. there's nothing to worry about, matt. taggart's big, but...he's not big enough to declare war on the territorial government.
l, so long. [slow paced music] johnny. i'm sorry. but i had to see you. what's the matter? tomorrow i am going away. going away where? the first road away from here. johnny, you can't. i have to. last night i could not sleep. i wawaed to the hills and found the answer. and it is this.. ...there is no answer. there has to be. - if you'd only wait. - wait? that is what we have done. and for what? a miracle?
plplse stay, johnny. please? for me? it is for you i am going. someday a nice man will come along. a man like cheyenne perhaps. and you'll say, "bravo, johnny bravo? i think i remember. he worked here once." wait and see. johnny, please. if you knew how much i love you you couldn't say what you just said. querida mia.. lo siento muchisimo. but what can we do? there is nothing. you can't leave, johnny. not without me. i would wait, molly. i woululstay. but there would be one condition.. ...i tell your father about us, everything.
no. it wouldn't help. i know him. it would only make things worse. they can't be worse. alrighgh checkmate. [knocking] come in! boy, yououre the luckiest guy in this game y life. - what's the matter? - i would like to talk to you. i talk to my hands at the bunkhouse, not here. - let's play another game. - i think i'll be turning in. oh. quit when you're w wning, eh? goodnight. what is it? is the filly's leg worse? it is not about the filly. you better run along to your room. no, dad. what johnny has to say concerns me too.
at do you mean? (j(jnny) 'senor crowley' there is something i think you should know. for a long time now, molly and i are in love with each other. in love? with you? is it so terrible? you can't be. he's lyin'. my family y ttled this country two hundred years before the anglos came. the blood in my veins is as good as yours, if not better. get outta here or i'll kill you. - johnny's telling the truth. - get out t here. get off my land. i see your face tomorrow, i'll shoot you dead. if johnny goes, i go. i'm going to marry him. i'll see him dead firstst [dramatic music] (molly) 'dad!' [music continunu] stay out of this. it's none of your business. i think you'd be sorry if anybody got hurt. [knocking] alright. i'm alright.
i'm giving you one hour to get off my land. - you're what? - you heard me. sixty minutes, starting now. you been out in the sun without your hat, crowley? come riding in here telling me to get off my own land? - you don't make good sense. - i meant what i said. what makes you think we won't gun you both down? becaususevery hand on my ranch knows where we are and why. 'if anything happens to us' 'they'll have the whole territory against you' 'by morning. you're not that stupid.' it's against the law to shoot a couple of trespassers. this is my lanan and you know it. you saw the notice from santa fe. oh, i haven't seen any notice. you heard of any notice? i'm talking about the letter marshal arnett showed you. oh, the marshal. haven't seen him in a long time. how is he? you know how he is. you killed him. all i knkn is you and your friend came
i've had about enough of your r mpany. there's the road out. (crowley) 'you got your neck in this too, cheyenne.' should we turn and ride out? it's probably a real good idea, matt. but i don't think we'd get very far, do you? no. i don't think so. 'you should have let that gun hang right where it was.' [gunshot] [dramatic music] [gunshots] [music continues] [gunshots continue] [clanging] where's my father? i'm sorry, ma'am, i don't know.
[dramatic music] [gunshot] - 'come on out!' - you, come on in! [dramatic music] [gunshot] [grunts] [music continues] [dramatic music] [glass shattering] [gunshot] senor crowley. you won't need that, senor. i've come to help you. help me? you? - let us get out of here. - it's no use. [gunshot] [grunts]