They Call Me Trinity 1970

Trinity, a lazy, ne’er-do-well gunfighter with an uncanny talent for drawing and aim, starts the story dragged on a travois by his own horse to a dusty way station and restaurant. There, a tense scene unfolds: two bounty hunters wheel in with an injured Mexican prisoner while Trinity calmly intervenes, whisking the prisoner away and ending the threat before the men can take a cheap shot at him. The encounter sets up a rhythm of impulsive, unconventional justice that will define the rest of the tale.

The pair pushes on to a small town where the locals are already wary of trouble. They witness the town’s sheriff—an imposing, quick-drawing lawman—do quick, brutal justice to three men who harassed him. From this moment, it becomes clear that Trinity and Bambino, his brother, share a complicated bond. Bambino is impersonating the town’s new sheriff while he waits for his gang to arrive from a penitentiary break, a scheme born of past run-ins with the law that left him more cunning than committed to the honest path. The real sheriff and Bambino collide in a tense, comic edge that hints at the uneasy alliance about to form.

Bambino is not thrilled to see his trouble-making brother again, and the reunion is rocky. Yet necessity forges a pact: the brothers team up to confront Major Harriman, a ruthless figure who wants to run a flock of pacifist Mormon farmers off their land so he can graze his own prized horses on it. The conflict is about land and power, but it’s complicated by affection, loyalty, and a shared smell of reckless luck. Trinity—driven by a sense of justice and a growing care for the settlers—persuades Bambino and his henchmen to help train the pacifist Mormons to defend themselves, threading a path from hunter and target to unlikely allies.

As training begins, Trinity’s involvement deepens his ties to the Mormon settlers, and his feelings extend to Judith, one of the two Mormon sisters he grows fond of during their shared ordeal. The unlikely instructors bring fresh grit to the peaceful fields, and the Mormons begin to fight back with resourceful, improvised tactics. The clash escalates into a climactic confrontation where strategy, courage, and a willingness to learn new ways to defend one’s home tilt the balance away from brute force and toward organized resistance.

In the heat of the combat, the Mormon leader discovers a line from the Book of Ecclesiastes that underscores the momentous shift: > there is a time for fighting. This realization helps the farmers unleash a ferocity and a dirty, effective fighting style that catches Major Harriman’s goons off guard, turning the tide and forcing a retreat. The revelation reframes the settlers’ struggle and highlights the theme that even the most peaceful communities can adapt when pressed to defend themselves.

Bambino’s reaction to Trinity’s resourcefulness is a mix of astonishment and indignation. He’s not prepared for the idea that Trinity might actually have a plan that benefits the group more than it benefits him personally, especially after Trinity has given the Major’s horses to the Mormons. The dynamic between the brothers shifts from rival guerrillas to a begrudging respect, even as their relationship remains fissured by past misdeeds and different visions of what counts as honor.

The wedding plans present a comic, if bittersweet, turn in the story. Trinity is on the verge of marrying Judith and her sister, a pairing that would bind him to the Mormon community in a lasting way. But he soon learns that “marrying a Mormon” also means accepting the responsibilities that come with it—work, discipline, and a daily effort that contrasts sharply with his laid-back, wandering nature. The revelation prompts him to rethink the path ahead and to rejoin his ally and brother in their next steps.

As events unfold, the real sheriff arrives on the scene, and Trinity points him toward Bambino, signaling a resolution that restores a measure of order to the town and clarifies who wields real authority. The fast-talking, reckless pair doesn’t disappear, but their alliance shapes a new balance of power: one where the sheriff has a clearer job to do, and Trinity can finally consider a future that includes belonging—whether that means a home with Judith, the other sister, or simply a place where he can ride with purpose rather than drift.

The film closes with Trinity settling into a quiet, almost contemplative victory. He reclines in the travois, a symbol of his unconventional journey, and follows the others as they move forward together. It’s a story that blends swagger and warmth, humor and grit, showing that even a famously lazy gunfighter can become a steadfast ally to a community fighting for its place in the world. The ending leaves a sense of WASP-like certainty: families, alliances, and the land themselves are worth fighting for when pursued with a blend of courage, wit, and a touch of mercy.