Molly and Lawless John 1972

Molly Parker, Vera Miles, is married to the sheriff of a rough frontier town and finds herself dangerously drawn to a condemned prisoner, Johnny Lawler, Sam Elliott, who is kept in her husband’s jail. He reads her restlessness, flatters her, and shares tales from his unhappy childhood, casting a shadow over her quiet routine. That night, the sheriff—John Anderson, who plays Sheriff Marvin Parker—threatens her and is openly dismissive when she dares to speak about their hopes of having a baby. Overwhelmed by a mix of longing and fear, Molly makes a bold move and helps John break out, and they ride off together into an uncertain future.

As they flee, it becomes painfully clear that John cares for her mainly as a means to an escape from the pursuing posse. He boasted about the lies he told to win her sympathy, and when the posse closes in, he sprint’s away and abandons her. Yet Molly follows, and after they slip away again, he tries to justify his actions in a way she accepts, leaving her with a growing ache and a stubborn loyalty.

In their hiding place, they encounter a dying Indian woman with a newborn baby. John wants to discard the infant, arguing they are already short of food and water, but Molly insists they look after the child. She leaves the baby with him while she goes into town for supplies, and to deliver a message to John’s girlfriend, Dolly Winward, [Cynthia Myers]. Molly brings Dolly back to the hideout shack, and John and Dolly share a quiet, romantic reunion while Molly waits outside with the baby.

After Dolly departs to make plans for escaping to Mexico, Molly returns to town with the baby, and the posse secretly trails her to their hideout. A tense shootout erupts, and John and Molly manage to escape once more, this time with the baby in tow. Safe for the moment, John presses Molly on how the posse could have found them, and she reluctantly confesses that she had the baby baptized in John’s name while in town.

Enraged, John moves toward the infant, but Molly shoots him to protect the child and herself. She drapes his dead body over a horse and, with the baby, rides back to her husband’s town. When a deputy approaches, Molly claims the reward for recapturing John, explaining that he had taken her hostage and kept her captive until she could shoot him. The truth lingers in the air as she returns into the frontier night, a hard-edged survivor bound to a town and a husband she doesn’t fully trust, yet cannot abandon.

The tale unfolds with stark frontier landscapes, tense chase sequences, and a morally complex choice at its core, anchored by the performances that drive its uneasy romance and relentless pursuit.