78:09 / 87:52-91:02

Before Billy comes to the rescue during the rape, the "bunkhouse scene" follows (as in the 50th Anniversary Cut): Poe can be seen during a heated discussion in the shared shelter, during which he learns Poe's current whereabouts with a little force. This scene is missing completely from the theatrical cut, but it is worth mentioning that it also appears in a slightly abbreviated form in the 50th Anniversary Cut. The two differences are highlighted here:


And here is the complete dialog from the scene, with the additional lines from the preview cut in bold, as mentioned, compared to the 50th Anniversary Cut.

Man 1: "I told you! You face the likes of Kid and you give."
Cody: "Why don't you shut up? I don't wanna hear no more of that whiny talking."
#2: "I never would have."
#1: "You faced with Bonney, you give. That's all there is to it."
#2: "I'll give him buckshot."
Cody: "Always knew you had it in you before seeing you. Ain't nobody gonna take my hat and rifle. Nobody."
#2: "I ain't never seen such a churn-headed bunch of half-breeds. And furthermore, I'm not afraid of man, woman, nor beast!"
#1: "Shit."
Poe: "You run across Bonney?"
#1: "Over at Seven Rivers. A lot of people said he's going to Mexico, but that ain't what I see'd."
Cody: "If he much as stomped his foot, you'd spooked right up your own ass. Shit."
#1: "I ain't afraid of the Kid. All he could do is blow my damn head off, and being with you makes that look like a blessing."
Cody: "I'm tired. Tired of looking for yellow rocks. Tired of trying not to look at your ugly face. Tired of seeing the land get crowded up. Tired of being snaped at and sunstruck, waiting to be killed."
#1: "Looks like you're tired, all right."
Poe: "Where you figure the Kid is now?"
#1: "Who wants to know?"
#2: "Yeah. Who wants to know?"
Poe: "I do."
#1: "Listen, fella. When I start talking about Billy the Kid, I don't go shooting my mouth off to strangers."
Poe: "I want you to watch this, and then I want you to tell me if I'm a stranger."
He pulls Cody up and slaps him in the face.
#1: "You ain't no stranger, all right."
Poe pulls him up, too, and says: "You baldheaded old bastard, you. Where is he?"
#1: "Fort Sumner!"
Poe hits him in the face; "Obliged."
#2: "You handled a crude situation with remarkable skill."
Poe steps aside and begins humming: "Oh, when the roll is called up yonder, they'll be there."

189.8 sec (= 3:10 min)

Theatrical cut corresponds to the Turner preview cut
78:09-78:14 / 92:16

An additional shot of Billy approaching. The subsequent shot of the rape begins an insignificant moment earlier.

+ 4.7 sec


Alternative / Additional material in the theatrical version
78:51-78:55 / 92:53-93:07

In the theatrical version, Billy can be seen dismounting the horse from a close perspective.

In the preview cut, Billy's opponent falls to the ground for a longer period of time after being shot, and Billy dismounts from a distance. The subsequent shot of the woman begins much earlier.

Preview version 10.6 sec longer


Alternative / Additional material in the theatrical cut
78:59-79:36 / 93:11-94:06

Another perspective shows the woman walking towards Billy in the long shot and then stabilizing the wounded man (Paco) on the ground. The preview cut lets Paco tell more: "I will tell you about a house that I want to build now. No, not here. For us, amigo. It will be on the other side. In Old Mex. I will sell my sheep... and I will build the adobe bridge myself. You know, Billy... I put a vine, a grapevine, around the veranda. And I will have three chairs and I will sit in the middle one. Anyone who doesn't do right according to nature and my mother, I will blow his head off."

In the theatrical version, Paco says instead: "You will not get to Mexico either, Billy. You will go back. You will say it's because Chisum killed me. But it's because you are afraid to change, Billy. Because they will kill you anyway."

Preview version 18.1 sec longer

Theatrical version	Final Preview

Re-ordered scenes / Additional material in the theatrical version
80:20-82:04 / 94:51 and 97:57-99:43

The theatrical cut fades over to Billy on his horse.




Alternative / Additional material in the theatrical version
82:04-82:07 / 94:51-94:57

The introduction to the following scene (Pat first talks to Rupert the innkeeper before going to the room with the prostitutes) is different. The theatrical cut shows a shot from above, while the preview cut shows Rupert speaking from close up. Only in the preview cut does Rupert say: "Sign the book. Dollar a day. In advance."

Preview version 3.4 sec longer

Theatrical version	Final Preview

Alternative / Additional material in the theatrical cut
82:10-82:14 / 95:00-95:44

Rupert has further instructions for Pat in the preview cut: "Take your old room. Key's in the door. Try to keep the noise down. And this time, no shooting of any kind allowed in the room!"
Pat: "All right, Rupert. Oh, Rupert. If you got a mind to, go tell the sheriff I'm in town. I'd like to see him."
Rupert: "Now wait a minute. Tell him yourself, you shipless jackass."
Pat: "I ain't been in that part of town in over in a month. And I don't aim to start on account of you."
Rupert: "It's that bad, huh?"
Pat: "Worse than that."

In the theatrical version, there is only a short shot of Rupert, in which he also says: "Take your old room. Key's in the door."

Preview version 39.5 sec longer


Alternative / Additional material in the theatrical cut
82:29-82:34 / 95:59-96:14

In the theatrical version, Pat goes straight to the top in close-up.

In the preview cut, Rupert lists more names while Pat goes to the top in a more distant shot: "(Ruthie Lee and, uh, Pauline.) And Mrs. Susan Barnes, who I've been partial to myself. She got her tit shot off by old man Tillford."

Preview version 10.2 sec longer

Theatrical cut	Final Preview

Alternative / Additional material in the theatrical version
82:42-82:44 / 96:22-96:28

In the theatrical version, Rupert asks: "You want another one?"

In the preview cut, the line "You want another one?" can be heard mostly offscreen, and Rupert adds: "Last time you had four. To get it up. And five to get it down."

Preview version 4 sec longer

Theatrical version	Final Preview

Alternative / Re-ordered scenes / Additional material in the theatrical cut
82:55-84:12 and 84:44-85:40 / 96:40-97:58 + 99:53-100:56

Now comes the very chaotic brothel visit scene block, in which many scenes are mixed up in the order and no version (except for the reconstruction “Extended Brothel Scene” in the bonus material from Plaion Pictures, which can only be selected individually!) really shows ALL the material.

In the theatrical version, Pat is now lying on the bed, dressed and alone. Ruthie Lee enters the room. Pat slaps her several times when she says she doesn't know where Billy has gone. Eventually she gives in.

Pat: “Come in. Hello, Ruthie.”
Ruthie: ”Which way do you wanna go?”
Pat: “I don't know yet. Gotta ask a few questions first.”
Ruthie: “He was here a few weeks ago. I don't know where he went.”
Pat: "Better do better than that, Ruthie.”
Ruthie: "You're gonna have to do me one more time 'cause I owe the Kid that much.”
Pat: "Now you tell me.”
Ruthie: "Fort Sumner.”

(77 sec or 1:17 min)

Note: This scene is missing in both preview versions and is therefore illustrated here, but it was included in the 2005 Special Edition. At the end, the 2005 cut was even 12 seconds longer than in the theatrical cut, because only here does he take Ruthie's top off and throws her on the bed - which then leads to the other prostitutes entering the room.

In the preview cut, this is exactly what happens at this point (without Ruthie Lee's individual visit): several prostitutes enter and slowly undress first themselves and then him. At the beginning, an hourglass is also turned over. While Pat keeps drinking, they romp around a bit and then scrub Pat in the small bathtub. This was completely cut from the theatrical cut.

(77.9 sec)

Then, in the preview versions, there is the scene with Billy and his men that has already been described (at 80:20-82:04 / 94:51 and 97:57-99:43), which has been brought forward in the theatrical version. The theatrical version instead shows Billy shooting practice, which in the preview cut comes only AFTER Poe's conversation with Pat (100:56-101:28).

The theatrical version shows a new establishing shot of the brothel at the beginning, which was left out of the preview cuts. He asks “What room's Garrett in?” and Rupert replies: “End of the hall.”

(+ 11.3 sec)

The Final Preview, on the other hand, has an earlier, more explicit shot of Pat in bed with his playmates. A prostitute caresses another from the buttocks up to the shoulders. Interestingly, this nudity shot is only ever included in the Final Preview; even the Turner Preview and the 2005 SE version omit this opening sequence.

(9.8 sec)

While Poe's steps to the door are shown identically and he then finds Pat naked with all the girls in his arms, there are, of course, more deviations shortly thereafter:

Alternative / Re-ordered scene / Additional material in the theatrical cut
85:17-85:21 / 100:15-100:28

The preview cut has a more explicit shot with a bare bottom during the dialog. It also shows another shot of Poe and another naked girl.

Preview version 9 sec longer

Theatrical version	Final Preview

85:34 / 100:42-100:49

A first shot of Poe and you can hear Pat's line “Don't say nothing about nothing.”
The line was overlaid on a follow-up shot in the theatrical version and before that, the Preview Cut also shows another naked girl.

7.5 sec

86:10 / 101:57-101:59

The shot starts earlier and Rupert says with a schnapps in his hand: "Complements of Roberta."

1.4 sec

Theatrical version matches the Turner preview cut
87:10-87:11 / 102:59

Probably a master error: Rupert can be seen for a moment longer.

+ 1 sec


Theatrical cut corresponds partly with the Turner Preview Cut
87:31-88:44 / 103:19

The end of the scene is a bit longer. Pat pauses longer in thought and Kip McKinney says, "No, I ain't going."
Pat: "You owe it to me."
Kip: "I do? For what?"
Pat: "For not killing you over at Rosewater. For getting you this job and not seeing you run out of here. For pulling you out of that snowdrift up at Chamas. For coldcocking you over at Stillwater's saloon last fall and saving you from Rabbit Owen's biting off your ear and from just putting up with you for a hell of a lot longer than I ought to."
Kip: "Yeah. Well, I hope they spell my name right in the papers."
You can see some people on horses outside for a moment.

Identical to the Turner Preview Cut until then. Only in the Turner version there follows another short bit inside again and the bartender says while cleaning up: "Breaking up the goddamn furniture. Fucked up all my whores. Shit, I'm gonna get in another business."

+ 72.8 sec (= 1:13 min)

95:35 / 110:10-110:21

In the preview cut, Will (Sam Peckinpah himself) is still allowed to say: "I thought she was-- Yeah. Picking shit with the chickens. Printing yourself a tin bill."

11.2 sec

95:40 / 110:26-110:45

Will says: "You know what I'm gonna do? Put everything I own right here. And I'm gonna bury it. In this ground. And I'm gonna leave the territory."

18,8 sec

Alternative / Additional material in the theatrical version
95:44-95:47 / 110:49-110:55

While the theatrical cut shows only a short shot of Will without dialogue, in the preview cut he says: "When are you gonna learn you can't trust anybody, not even yourself, Garrett? You chicken-shit badge-wearing son of a bitch."
The subsequent shot of Pat begins a little earlier to match.

Preview version 2.8 sec longer

Theatrical version	Final Preview

96:57 / 112:05-112:11

Poe walks around in an additional shot.

5.6 sec

101:05 / 116:18-116:21

Pat can be seen a little earlier.

2.8 sec

Audio change

His words "I shot him. I killed the Kid." spoken directly after this were deleted from the audio track in the theatrical cut.


101:27 / 116:43-116:55

Pat takes another step towards Poe and says, "What you want and what you get are two different things."

12.3 sec

Re-ordered scene
101:53-102:04 / 117:22-117:35

While the theatrical cut transitions smoothly from the night shot to Pat on the porch and then shows the people, the preview cut starts with the shot of the people and then shows Pat a little earlier (without a transition).

Preview Cut 2.8 sec longer

The following song by Bob Dylan is different.

Final preview cut


Theatrical version



Alternative / Additional material in the theatrical version
103:56-106:00 / 119:27-121:49

The theatrical cut fades over to the credits, which run in yellow letters on an alienated shot of Pat and Billy.

The preview cut, on the other hand, transitions to a final scene: the older Pat is shot. In the corresponding montage, Poe and Billy are also among the shooters. After Pat falls to the ground, the closing text appears - at least in the Final Preview, while the Turner Preview also showed credits (in red) here.

Preview Cut 17.4 sec longer