The Dalton Girls is a 1957 American Western film directed by Reginald Le Borg and starring Merry Anders, Lisa Davis, Penny Edwards, Sue George and John Russell.

The scene shifts to town where the undertaker, Slidell, has posted a fee of twenty-five cents to view the remains of the Dalton brothers.

As Parsh views the bodies, Slidell taunts the detective that he had been unable to apprehend the Dalton brothers though pursuing them for years.

Six years later, in Eastern Colorado, Holly and Rose, along with their sisters, Columbine and Marigold, prepare to rob a stagecoach using subterfuge.

Afterward, they discuss plans for another robbery and Columbine suggests they go to a gold camp, Dry Creek, though she doesn't reveal that she knows this was Illinois Grey's destination.

Rose kills Sewell when the banker grabs a pistol and then shoots Grey, the only witness, though Columbine objects.

In Tombstone, Grey renews his acquaintance with the town lawman, who informs him that the big poker game is in a private hotel room that night.

He tells them to bring the money that evening on threat of reporting their wanted status to the local authorities.

The sisters go about preparing their escape, taking measures to make pursuit difficult, infiltrating the hotel where the game is being played, and eluding the lawman providing security.

[6] “A great deal of narrative tension in the film revolves around the seemingly fluid gender identity of the Dalton girls…forcing us to think about the mutability of identity and the construction of sexuality in the cinematic frame.” - Gwendolyn Audrey Foster in The Films of Reginald LeBorg: Interviews, Essays, and Filmography (1992)[7] Terming The Dalton Girls an “early feminist western,” film historian Gwendolyn Audrey Foster argues that it presents a sharply “inverted” portrayal of the conventional male-oriented Hollywood western of the 1950s.

The Dalton women confound traditional cinematic portrayals of early western women as “civilizing, humanizing influences.”[9] Asserting their own “code of conduct,” they react to male insults and acts of violence with equal brutality, and as such, they “decenter the rape-revenge narrative.” Importantly, the crossing-dressing in which the Dalton girls engage confronts the viewer with “the mutability of gender” and what precisely constitutes “identity.”[10] The women’s decision to abandon security for equality is depicted with “great sympathy and the risks they incur claiming roles traditionally assigned to males.”[11] Foster surmises “The landscape of the conventional Western cannot ‘contain’ the outlaw woman of The Dalton Girls.