All language subtitles for Wagon Train S02E29 - The Clara Duncan Story

You're makin' a mistake.

I'll find my horse. He's stone
bruised. You'll see for yourself.

I left money for your horse!

Put the noose on.

You're makin'...!

Steve, hold on.

Thought I heard something.

All right, let him hang!

No!

That'll hold you, Mr. Garrett,
till we get back to the train.

Thank you.

Here comes somebody.

Looks like they're
trying to catch up.

Whoever's driving that
outfit doesn't know horses

or they don't have any heart.

Hey, that's a girl
driving that outfit.

It is, isn't it?

Whoa!

Can you tell me if the
Adams train is up ahead?

The directions we had at
Fort Bridger were so confusing.

This is Major Adams'
wagon train, ma'am.

We're camped just
beyond the grove there.

BILL: You'd better take it
a little easier with this team.

It takes a man to treat
horses with consideration.

It took me to get you
this far, Silvio.

Thank you. I'm so relieved.

Are you... with the Adams train?

Yes, ma'am.

Then I'll be seeing you.

Kind of nice, huh?

Yes, she looks
very familiar to me.

Oh?

Well, at any rate, this crossing
is getting better all the time.

It sure is.

Take your team
on the outside, Pete.

Picket line's set up,
Major. The guards closed it.

Excuse me, I'm looking
for a Major Adams.

You've found him, ma'am.
What can I do for you?

We're trying to get
some information

about a young man, a painter.
Claude Soriano.

We read he was with
your wagon train last year.

Sure he was.

Yeah, I remember him.

I spent quite a bit of
time with Claude.

He's a nice fellow.

First artist I ever met.

He's my son.

Oh?

I used to have to warn the folks
to watch their wagon covers,

'fraid Claude would steal 'em.

Every time he'd get his hands
on a piece of canvas,

he'd stiffen it with shellac
and start paintin'...

First one side
and then the other.

Well, we... heard that
he was in Ogden,

but since then, we've lost
complete touch with him.

That could be.

As I recall, we were going
through the prettiest country

he said he'd ever seen,
so he left to paint it.

Just the other side
of Ogden, as I remember.

And how far is that?

About four or five days,
I'd say.

You take the cutoff two days
this side of Salt Lake City.

It's two or three more days
on from there to Ogden.

We'd be glad to help you
find him if we can.

Glad to have you aboard,
Miss...?

Duncan.

And Mr. Soriano.

Uh, Flint, why don't you help
'em get settled for the night.

I'd be glad to.

Thank you. Thanks again.

Pretty as she is, Major, imagine
anybody losin' touch with her?

You know, Major, that wagon
of theirs is real low on supplies.

I think they're scraping
the bottom of the barrel.

Well, maybe I'll go see 'em after
they've had a chance to get settled,

maybe ask 'em to supper.

Shall I stretch the stew
a little bit

and set the table family-style?

Yeah, Charlie, do that,

but do your stretching
with water,

not those galdarn
Mexican peppers of yours!

Word of honor, Major!
Word of honor!

Join me, Major? Thanks. Later.

Good evening, folks.

I don't think I told you,
but on this train,

we go by ship's orders.

It's customary for newcomers
to have supper the first night

with the Captain. That's me.

Oh, that's wonderful.

Uh... Silvio?

No, thank you very much.

My only real hunger
is for the sight of my son.

You go, Clara.

Mr. Soriano, I must
urge you to eat something.

Very well. I'll join you
in a moment.

All right. Miss
Duncan. Thank you.

Oh, Miss Duncan, I don't
think you've met Mr. Garrett.

Thank you, Major.

Hello. A pleasure, Miss Duncan.

When I saw you earlier,
I had the impression

that I'd met you
somewhere before.

New York? Philadelphia?

No, no, no.

If we had met,
I'm sure I'd remember.

Mr. Garrett here's
a newspaperman,

so we have to be
on our best behavior.

So far I haven't sent back anything
to my paper except compliments.

Nevertheless, I'll be
on my best guard.

Oh, no, please. Don't be.

I give you my word that
whatever passes between us

will be kept confidential.

Major, can I trust him?

I don't know. After that, I think
you'd best come with me, young lady.

Did you tell Miss Duncan
about the Cantellas, Major?

Oh, no, I forgot.

They're a Mexican family. They
were great friends of Claude's.

They gave me a lot of
Mexican recipes...

How to cook with
hot stuff and things.

This ought to interest you,
Mr. Soriano.

This Mexican family had
a little son

named Chico Bandito...
"Little Bandit," we called him.

He had a wooden sword,
an old burro,

and an old gun that was
bigger than he was.

Captured the wagon train
ten times a day, single-handed.

Then fever hit the train,
and we lost him.

Couple of days later,
your boy Claude gave the family

a picture that he'd painted...

Chico Bandito,
painted from memory.

Oh, I'd love to see it.

You could almost hear him
laugh. Really, it was that good.

I don't know whatever happened
to the Cantellas,

but wherever they are,

Chico Bandito
will always be with them,

because of your son's painting.

Did any of you ever hear him speak of
a painting called Portrait of a Lynching?

I haven't.

This is from
a newspaper back home.

It speaks of Claude joining
your wagon train, Major Adams,

and then it tells
of his painting,

and one picture particularly.

Claude is quoted as saying, "It
is called Portrait of a Lynching."

"I don't think anyone has
ever captured a lynching before

that is as genuine as this one."

I'm sure he didn't paint it
while he was with us.

Here you go.

Just taste it, Major. Mm-hmm.

Mmm. Delicious.

Thank you.

Mr. Wooster!

Did you call, Major?

My luck's been bad all week.

Well, it's gonna be worse!

Major Adams?

Yes?

I'd like to talk to you.

What's the matter? Aren't you
comfortable with Mrs. Miller?

Oh, yes, yes. It's not
that. It's something else.

Well, what is it?

I'd like you
to help me find Claude

before his father finds him.

His father?

You came here with him
looking for him.

Yes, I know we sat
side by side on the wagon seat,

but we're...
We're really miles apart.

Well, Miss Duncan, I try not
to interfere in family affairs.

Major Adams,
I really need your help.

You know, young lady,

I've had a long, hard day,

and you're lucky you're as
pretty a woman as you are.

Otherwise I wouldn't listen
to you, but you go ahead.

Thank you. I just...
have no one else to go to,

and... if I don't
find Claude before...

first, I'm afraid I'll
just never get a chance

to tell him
and to explain to him.

I apologize for
keeping you up like this.

Never you mind about that.

Maybe you'd better sit down
and tell me about it.

Thank you.

Uh, do you mind if I start at the
beginning, so you'll understand?

Please do.

When I was about 12 years old,

Silvio... he was painting then...

Found me on the docks,

and he grabbed me and took
me to his home to paint me.

Didn't you have any folks?

Yes, a mother.

She made an arrangement with Silvio
that he could bring me up with Claude.

You see, I was
one of nine children,

and... well, she felt
she was doing me a favor.

And was she?

Oh, I suppose so.

I-I had more food
and better clothing

and a better education,
and I was grateful...

Especially when I met Claude

because he was lonely and...

we were good for each other.

He taught me about
music and art and books.

He opened up
the whole world to me.

He was the first
and only man I ever met

and... and really knew, and...

well, I fell in love with him.

And what about Claude?

Oh, yes, yes, he loved me too.

But when we decided
to get married,

we planned to go to Italy, where
he had always wanted to go,

but Silvio didn't want that,

and he did everything
he could to stop us.

We didn't have any money, and...

Claude didn't want to
show his paintings.

He felt they just
weren't good enough, but...

I knew they were wonderful.

And I was... desperate, I guess,

so I took the paintings
to a gallery.

You did?

The critics were brutal.

Claude was furious.

He stormed into the gallery
and practically wrecked it

and knocked over
a few people, and...

and then he disappeared.

I never even had
a chance to tell him

that I did it for his own good.

So you...

you see how terribly
hurt he was, and...

and I've just got to find him.

It was all my fault.

Yeah, I can begin
to see that now.

Well, Miss Duncan,

day after tomorrow,
you and I part company.

We're going on
to Salt Lake City.

You know what I'm gonna do?

I'm gonna send McCullough with you to
Ogden, make sure you get there safely.

I'll see that he
understands your problem.

I hope you find Claude.

Thank you.

I realize I've kept you up.

Thank you so much for
listening to me.

It's all right, Miss Duncan.
Don't you worry any more.

Thank you.

Good night. Good night.

Every morning you come
out of your wagon

looking like you're about to
go to lunch at Delmonico's.

It's delightful. I don't
know how you do it.

Speaking of Delmonico's,
I'm hungry. How long till lunch?

Lunch?

It's only about seven.

I don't see any clock up there.

The sun makes a perfect
clock, but if you prefer.

Hmm. Ten minutes off.

It's ten past seven.

Oh, don't close it.
It's beautiful.

Oh, what an unusual watch!

It was my grandfather's
and my father's.

I hope someday to pass it
along to my son.

I hope you do.

First, I have to find a wife.

That shouldn't be too hard.

Oh. Have you found a husband?

I haven't... found him yet.

Let's just say
I know who I want.

Do you believe that...

you could just look
at somebody and then...

know that you want
to marry them?

That's not the way
it happened with me.

It... it took me a long time.

Thank you for the time of
day, Mr. Garrett, and goodbye.

We're turning off for
Ogden right after lunch.

Not goodbye, not yet.

I, um, I find that I have a
business appointment in Ogden,

so you'll be seeing more of me.

Does Major Adams know?

Well, these newspaper
assignments come up so suddenly.

Uh...

I'll tell him now.

So... until later.

Right here'll be all right,
Miss Duncan.

What's the matter?

What's wrong, Slim?

What's the matter?
What's the matter, Slim?

What's troubling you?

Come on, is ya seein' things?

What's wrong with ya? Tell
me! This is Joe! What's wrong?

Aha! It is Clara! It's Clara!

I seen her right outside there
with my own eyes!

MAN: Howdy, Clara!

It is Clara!

I've got you over my bar!

Say, Clara, you're more
beautiful than your picture!

And you say Claude
loves you, huh?

He'd never have painted that
picture of a woman he loved!

Miss Duncan?

Please come in, Mr. McCullough.

I know that was kind of
awkward for you,

but I wouldn't
let it bother you.

The men didn't mean any harm.

Well, I've decided
to go on back home.

You've come a long way
just to turn around.

Sure you won't change your mind?

No.

All right, I'll make arrangements
for you if I can on the stage.

Thank you.

Clara?

Yes. Roger?

Uh... I'm going home.

Silvio was right.
If Claude loved me,

he wouldn't have
painted that picture.

At least, not had it
behind a bar

in a saloon where...

I know Claude.

I met him here in Ogden
about a year ago.

We had a few drinks together.

He told me about his work,

his dreams,

and about two paintings
he was especially proud of...

One that he called The
Portrait of a Lynching,

and that one in there of you.

He didn't tell 'em who you were,

but I know he meant no harm.

I was so intrigued by the title

Portrait of a Lynching

that I did an article
about it in my paper.

Oh, that's why your name
was familiar to me.

It was your article
that gave Silvio and myself

the clue to where
we might find Claude.

And your painting
made me feel that

I'd already met you
someplace before.

He really must have felt
hatred toward me to...

I've seen paintings like it
in the best museums.

It all depends on
the talent of the painter

and the beauty of the woman.

In this case,
both are considerable.

One thing that painting
and writing have in common...

Inspiration helps.

This'll make a good story,
I suppose.

You have a right to be upset,

but a good story has a
beginning, a middle, and an end.

The end of this story
hasn't been told yet.

Now how 'bout it?

I think you should go on.

Find Claude.

Find out what he had in mind.

Yes, you're right.

Thank you, Roger. I'll go on.

Will you tell...
Mr. McCullough for me?

I will.

Excuse me.

Blasphemy!

A fine work of art in a saloon!

Uh, Joe, what time you got?

We got a clock.

Yeah, but it stopped.

Oh, no, not again.

You know, I had the best
timepiece one time

that a man ever had.

Sure wish I could
get my hands on it now.

It was a big gold one
with a great, big ruby stem.

Lost it in a poker game
one night,

and you know, I ain't
played a game of cards since.

I was so mad at myself.

It's better work than I
dreamed he could do.

It's not what I came west
for, but I must have it.

How much?

Joe, you ain't sellin' Clara.

Oh, you just can't.

Clara ain't for sale, mister.

I'll take it to New York,
get the best price possible.

I won't take a penny for myself.

You'll get a fortune!

Clara stays right up there.

Even the frame is
my son's handiwork.

I taught him how.

How did you get
the painting, Joe?

Well, the artist come in
and asked for some money.

Said he wanted it to buy
some paints and some canvas,

so I gave him what he asked for.

Is there anyone else
in town who bought

one of my son's paintings?

Why, sure.
Mr. Waldron over there,

he bought one for his ranch.

Mr. Waldron? Yes.

I am Silvio Soriano.

I understand you bought
one of my son's paintings.

Yeah. Got it out at the ranch.

May I ask what subject?

It's a portrait of
a wagon master and his scout.

I'd like to see it,

but it's not the one
I'm interested in.

Did anyone ever hear of a
painting called Portrait of a Lynching?

Gentlemen, I'm offering
a $50 reward in gold

for information
regarding that painting.

There really was
a lynching, then.

Oh, sure there were.
Over at Johnsonville.

Them folks over there
were sure mad

when they found out
that the kid was innocent.

Find out who did it? No clues.

Has that canvas ever been
out of that frame?

No, it hasn't.

And what business
is that of yours?

Oh, I was just curious.

I understand Claude used to
paint on both sides.

Go out to the ranch,
see what's on the other side.

Uh... how 'bout
a drink, on the house?

Sure!

What time is it, Joe?

Oh... 7:15.

Oh, I don't think
that's the right time.

It's the best I've got.

What difference does it make,
a half hour one way or the other?

Joe, the whole idea
of having a timepiece

is that it be
absolutely anchored.

Why, did you know that
ten seconds could make

the difference in a man's life?

Sure, I know that.

Then how could you say a
timepiece isn't important to a man?

Now, I have here...

Can I hold it?

Why, this is the doggonedest
timepiece I ever saw.

Oh, man'd sure be lucky
to own a piece like this.

Keeps perfect time too.
Never even a second off.

I'll bet a watch like this
would cost a lot of money.

It might. It all depends.

Mister, if you ever get broke,
would you look me up?

How 'bout another drink, Joe?

Oh, sure.

What's going on?

Ron wanted me to check
the back of this painting.

There might be something here
that could mean our necks.

I guess we're all right.

What time is it?

Eleven past eight.

Uh... I'm sorry.
I didn't hear the time.

Eleven past eight.

Can I look?

Thanks.

Ron.

How's the ranch?

Everything's fine.

There's another painting
all right.

Landscape, lots of trees.

But not the tree
we're worried about.

Uh-huh.

Well, let's have a drink! Good.

Whiskey, Joe.
A drink for the gentleman.

My pleasure.

Come on, Joe, come on.

I wonder.

Clara.

Now it's yours.

You can do
what you like with it.

H-how did you get it?

It's my secret.

It... it must have cost a...

Roger, what time is it?

Oh, you shouldn't have.

A family heirloom!

But... but why?
Why did you do it?

You really want me
to answer that?

No.

I can't take it. I...

I can't accept anything
so costly.

Well, if I...

I can't have the original,
I don't want the painting.

I couldn't bear to look at it.

Well, please, uh,
keep it for me.

I'm afraid what will happen
if Silvio gets it.

All right. I'll keep it
in my wagon.

Don't forget, it's yours.

I'm not likely to forget it.

I don't take it as
a very friendly act, Roger,

getting that painting
away from me.

You knew how much I want it.

That's one of the reasons
I wanted it for Clara.

I had an idea what
you might do with it,

feeling about her as you do.

In this matter of art,
I put personalities aside.

Even Claude
as my son means little.

What he creates will
live longer after he's gone.

The world must see it
and recognize his talents.

And whatever pain
might be caused Clara

means little as long as
art is served, is that it?

We must not quarrel
with each other.

All I ask is that you
let me examine her painting.

Let me ascertain whether
or not Claude's best work,

by his own admission,
is on the other side.

It's not mine to agree
or disagree about now.

You'll have to ask her.

Clara,

I have come to ask you
a deep personal favor.

Please let me look at
the back of your portrait.

I must see if Portrait of a
Lynching is on the back of it.

If it's there, what then?

Will you split the canvas
thin enough for two paintings,

and exhibit only the Lynching?

Silvio, every time in the past

I've relented, forgiven,

and overlooked,

and time and time again,
you've tricked me.

But this time
it means too much to me.

My whole future as a decent,
respectable person

hinges on that painting.

Claude might have
painted that to...

to destroy me, and I'm not
gonna let you help him!

But just to look...!

If it's there,
you can't have it.

Unless if I find that
Claude has forgiven me.

And if he has,
he'll paint over it,

and do the painting
the way it should have been.

And then I don't care anymore.

You can have it, exhibit it.

Either side will be
a credit to both of us.

It's a deal.

When we find Claude,
I'll ask him to do it over.

Even if the Lynching
is not on the other side?

Even if the Lynching
is not on the other side.

I'm all set.

Find out what's on the back
of that painting of Clara.

If it's what we think it is,
get rid of it.

What about that artist
fella? That's the next step.

Pedro and I will
ride up to Cantella's

and take care of him.

McCullough is
trying to find him.

I've given him directions that
should give us plenty of time.

Better get going.

Steve, one more thing.

Report to Pedro.

He'll ride in close to camp
about nine every night.

Mr. McCullough.

You mind if I traipse along
with you as far as Humboldt?

No. You look as though
you can take care of yourself.

Thank you. Let's roll 'em!

Nice night, isn't it?

Mm-hmm.

Let me see.

Ah.

I thought Claude made
your eyes too dark,

but I guess I was wrong.

Is that why you were
staring at me all afternoon?

Oh, no.

Yes.

Uh, Clara... Please.

Don't.

Good night, Roger.

Good night, Clara.

ROGER: Sleep well.

Found out anything?

Not yet. I haven't had a chance.

The boss is plenty
worried. You think I'm not?

Better hurry. See you
tomorrow night at the same time.

Go on.

Haven't you found out
anything about Claude?

No, not a sign of him,

but there's a Mexican colony
at Echo Canyon.

Well try there tomorrow.

Thank you.

It's us, all right.
Boss says get rid of it.

I couldn't. I almost got caught.

Hurry up, do it now.

I have to make sure
nobody else is around.

You better come with me.

Light it.

Aah!

The painting! The painting!

Mr. Soriano, no! Let me go!

There's nothing you can
do! I must save that painting!

I must save that painting!

Let me go! Let me go!

Why did you burn the wagon?

I...

I didn't.

I saw you. Why?

You're not gonna
pull out of this. Why?

I had to get rid of
the painting of Clara.

The back of it...

the... the Lynching...

Who were you trying to protect?

Me and...

Ron Waldron and...

Pedro.

Where is Waldron?

With...

the Cantellas.

McCullough,

they...

they want to kill Claude.

Where is Claude?

Windover Canyon.

W-Windover.

I'm sorry I can't do
anything for you.

God have mercy on you.

Please let me go with you.

You stay here with Mr. Soriano.

But you promised.

I know I did, and I'll keep
the promise, but not now.

Well, is he...
Is Claude in trouble?

Miss Duncan, the portrait that
Claude painted of a lynching

didn't come out of
his imagination.

He saw it happen,

and the men who did it
will kill him

to keep him from talking.

Roger.

I'm a newspaperman, remember?

Besides, I have
personal reasons.

Oh, please be careful.

You Cantella?

Sí, yo soy. Where
is Claude Soriano?

Tell him.

IPronto! iPronto!

Says he hasn't seen him
for a long time.

He says even if you kill him,
he couldn't tell you.

No!

He's in the canyon, painting.

All right, hold it.

All right, get down.

All right, over there.

The knife.

I'll take care of Claude.

Give me five minutes,
and then you take care of them.

All right, over by the tree.

Sit down.

Five minutes is almost up.

On your feet.

All right, Flint!

I see you haven't forgotten me.

Your memory and your work
are too good, boy.

I've got to change that.

Flint!

Flint McCullough!

Hello, Claude.

Whatever happened
to bring you here?

Well, I'm not just
passing by by accident.

Lot's been going on
that you don't know about.

You're coming's
certainly lucky for me.

I wouldn't be here except
for a friend of yours.

Young lady named Clara Duncan.

She's with your father.

I, uh...
I don't want to see them.

They've come
a long way to see you.

Either you go to them,
or they'll find you.

All right.

Clara.

Hello, Claude.

It's nice getting
to see you again.

It was quite a surprise,
your coming way out here.

I-I didn't think you'd find me.

Roger Garrett wrote
an article for his paper

about Portrait of a Lynching.

It stirred up
quite a bit of interest.

Your father and I both saw it. Oh,
your father's asleep in the wagon.

Oh?

You know, I, uh...

I can hardly remember
Garrett at all.

At the time, I was...
I was in pretty bad shape.

You're still angry with me,
aren't you?

No, no, Clara, not at all.

It's just... well...

there didn't seem
much point in writing.

Well, even if you
didn't care any longer,

I felt I just had to find you
and explain my side of it.

You don't have to explain.

Matter of fact, I think
I owe you an explanation.

You see, I've been doing
a lot of thinking,

and I realize that...

Well, that what I did
was childish.

I was looking for values that...

well, now I see.

She's beautiful, isn't she?

Yes.

Are you in love with her?

No.

No, I don't think so.

I think my love is painting.

Ohh.

Oh, thank you, Claude.

Thank me? F-for what?

For setting me free from a...

from a promise that I felt...

Claude, I've fallen
in love with someone.

Wonderful.

Well, I-I'm very,
very happy for you.

As a matter of fact,
you know him. Roger Garrett.

Well, I certainly wish you all
the happiness in the world, Clara.

Thank you, Claude. I wish
you the same, I really do.

Thanks.

Father?

I don't like to break this up,

but I've got to get you
back to the wagon train.

This is one story
I'm gonna write in Ogden,

with the help of Clara
and the minister.

Thank you, Mr. McCullough,
for everything,

and give our best
to Major Adams.

I will.

Good luck to you.

Thank you.