Original subtitles

(bright theatrical music)

(gentle instrumental music)

(serene orchestral music)

(serene orchestral music)

(soft instrumental music)

(birds chirping)

(serene instrumental music)

(gun cocking)

(serene instrumental music)

(horses neighing)

(gentle instrumental music)

♪ In the sky the bright stars glittered ♪

♪ On the bank the pale moon shone ♪

- [Joey] somebody's coming, Pa.

♪ It was from ♪

♪ Aunt Dinah's quilting party ♪ - Well, (sighs) let him come.

♪ I was seeing Nellie home ♪

♪ I was seeing Nellie home ♪

♪ I was seeing Nellie home ♪

♪ It was from Aunt Dinah's ♪

♪ I was seeing ♪

(serene instrumental music)

- Hope you don't mind my cutting through your place.

- No, I guess not.

(cattle lowing)

- I'm heading north.

Didn't expect to find any fences around here.

Hello, boy.

You were watching me down the trail

quite a spell, weren't you?

- Yes, I was.

- You know, I ...

I like a man who watches things going around.

It means he'll make his mark someday.

(cattle lowing)

(rooster crowing)

Been a long time since I've seen a Jersey cow.

- Well, you'll see a lot more,

Jerseys and Holsteins and the like.

Can I offer you some water?

- Thanks.

(gun cocking)

(cup clanking)

- You're a little touchy, aren't you?

- Joey.

(sort orchestral music)

You know better than to point guns at people.

- I wasn't pointing at anybody, Mother.

(rooster crowing)

(gentle orchestral music)

- Sure had me snorting, son.

(upbeat music)

- I just wanted you to see my rifle.

(upbeat music)

Bet you can shoot.

(chickens clucking)

Can't you?

- A little bit.

- [Rufus] Giddy up!

(suspenseful music)

(cattle lowing)

- Looks like your friends are a little late.

(suspenseful music)

What are the Ryker boys up to this time?

- Rykers?

- That's what I said.

- [Shane] I wouldn't know a Ryker from your Jersey cow.

- [Joe] Don't forget to close the gate on your way out.

(cow lowing)

(chickens clucking)

- Would you mind putting down that gun?

Then I'll leave.

- What difference does it make?

You're leaving anyway.

- I'd like it to be my idea.

(gentle music)

(dramatic music)

(chickens clucking)

- Howdy, Starrett.

(dramatic music)

Expecting trouble?

(man chuckling)

- I don't want no trouble, Starrett.

I came to inform you.

I got that beef contract for the reservation.

- Did it take this many of you to tell me that?

- I mean business.

- Then tend to your own.

- That's just what I'm doing!

I'm telling you now I'm gonna need all my range.

- Now that you've warned me,

would you mind getting off my place?

- Your place?

You're gonna have to get out before the snow flies.

- And supposing I don't?

- [Rufus] You and the other squatters...

- Homesteaders you mean, don't you?

- I could blast you out of here right now,

you and the others.

- Now, you listen to me.

The time for gun-blasting

a man off of his own place is past.

They're building a penitentiary right now--

- [Marian] Joe. Joe, that's enough.

- [Joe] Take care of...

- Who are you , stranger?

- I'm a friend of Starrett's.

(horse neighing nearby)

- Well, Starrett,

you can't say I didn't warn you.

- All right, you've told me.

Now you get off of my claim.

(cow lowing)

- Supper will be ready in a little while, Joe.

Won't be very long.

- Wait, Mister, I ...

I swear, I ...

Wait a minute, please.

I take that back what I ...

Well, look, this...

This thing ain't even loaded.

- Not loaded?

- No, no, Joey's too young to go loaded.

That's his gun.

(gun clicks)

If this don't beat all.

My name is Starrett, Joe Starrett,

and this here is Joey.

You heard what my little woman said.

Come on in, please.

I feel like eating.

- You can call me Shane.

- I guess I spook kind of easy these days.

- [Shane] Hello, Joe.

(sort orchestral music)

- My place ain't very much yet,

but I'll tell you one thing,

my wife sure can cook.

But it won't be long till supper.

Here, you can ...

You can wash up right here.

In case you wanna know, that's, uh ...

That's Ryker's spread all that over there.

He thinks the whole world belongs to him.

These old-timers they just can't see it yet,

but running cattle on an open range

just can't go on forever.

It takes too much space for too little results.

Those herds aren't any good.

They're all horns and bone.

Now cattle that is bred for meat

and fenced in and fed right that's the thing.

You got to pick your spot,

get your land , your own land.

Now a homesteader he can't run but a few beef,

but he can sure grow grain and cut hay.

And then what with his garden

and the hogs and milk,

well, he'll make out all right.

We make out, don't we, Marian?

- Of course.

(metal clanging)

(calf lowing)

- Oh , it's that calf again.

Joey, you run and chase her out of there.

Joey, run on , son.

And don't forget to shut that gate.

Joey?

(bright music)

(calf lowing)

- Come on , shoo!

(calf lowing)

- I wouldn't ask you where you're bound.

- One place or another.

Someplace I've never been.

(gentle music)

- Hmm.

I know one thing the only way they're gonna

get me out of here is in a pine box.

- What do you mean, Pa?

- Well, I mean, son, they'll have to shoot me

and carry me out.

- Joe, I wish you wouldn't talk like that.

- Well, that's the truth.

You love this place.

We've got our roots down.

- I know, but I wish you wouldn't talk that way.

- The first real home we've ever had.

- What did you mean when you said--

- Joey, be quiet the men wanna talk.

- The only thing is there's just

more work here than I can do.

If I could hire me a man that...

(chair creaking)

(coughing) Had one once,

but the Ryker brothers roughed him up a bit,

so he lit out, cussing me.

- They knocked his teeth out.

- Ready for pie?

(gentle music)

- Well, if nobody else is gonna eat this last biscuit,

well, I guess I'm gonna have to.

(gentle orchestral music)

Say, we're kind of fancy, aren't we?

- What is, Pa?

- Our good plates and extra fork.

- What about me, Ma?

- What's the matter, Marian?

- Nothing.

(serene orchestral music)

(serene orchestral music)

- That was an elegant dinner, Mrs. Starrett.

Excuse me.

- Where's Mr. Shane going?

He didn't even say goodbye.

- Well, he's not going, Joey.

He wouldn't go without taking that.

- I'm going outside with him.

- Did you ask him to stay the night, Joe?

- Well, I'll do that right now.

(upbeat music)

Well, I'll be doggone.

Come here a minute.

(upbeat orchestral music)

(bright orchestral music)

(upbeat orchestral music)

(Joe grunting)

(men grunting)

- Joe, why don't you hitch up a team?

- Marian, I been fighting this stump

off and on for two years.

I use a team now and this stump could say it beat us.

Sometimes there ain't nothing that'll do

but your own sweat and muscle.

All right.

(bright orchestral music)

(wood creaking)

(bright orchestral music)

(Shane grunting)

(bright orchestral music)

(bright music crescendos)

(light gentle music)

(rooster crows)

(birds chirping)

(light gentle music)

(deer lapping water)

(birds chirping)

(light upbeat music)

(light gentle music)

(birds chirping)

(deer grunting)

(chickens clucking)

- Bang!

Bang!

I wish they'd give me some bullets for this gun.

(gentle music)

(birds chirping)

(rooster crowing)

- [Shane] Good morning, Joey.

- [Joey] How'd you know it was me?

- Well, I figured the cow couldn't work that latch.

What are you doing up so early?

(rooster crowing)

- You're to stay for breakfast, you know.

- Oh?

(cattle lowing)

Well, thank you.

- Then where will you go?

- Where would you say, Joey?

- I ...

I wish you'd stay here.

Would you teach me to shoot?

- So, you'd like to learn to shoot, huh?

- Pa wishes you'd stay, too.

I heard him tell Mother.

- Oh?

- He said he didn't want you to fight his fights for him,

but just help with the work.

(rooster crowing)

I bet you wouldn't leave just because

it's too dangerous around here.

- Joey?

Joey?

Joey, come here this minute.

- I hope you'll stay, Mr. Shane.

Coming, Mother!

(serene orchestral music)

- Close the gate, Joey.

What are you doing out here in your nightshirt?

Come in and put your clothes on.

- Shane, you'd like to hitch up the team

and haul that load of wire from Grafton's?

- Anything you say.

- Get off the bed, Joey.

Go on.

- He's holding it for me at the store.

While you're there, you might as well get

yourself some sure-enough work clothes.

- What can I bring you , Joey?

- [Joey] Soda pop!

- You don't need anything, Joey.

You know better.

- You just be careful.

I don't want my troubles to be none of yours.

- Aren't you going to wear your six-shooter, Mr. Shane?

- I didn't know there was any wild game in town, Joey.

- [Joe] Come on, son.

(bright orchestral music)

- [Marian] Joey!

Come back here.

(bright orchestral music)

- Bang!

Bang!

- What are you shooting at?

- Rykers.

Bang!

- You get many?

- Missed one.

- Well, can't stand for that.

- Pa, you guess Shane will teach me to shoot?

- I'll teach you myself once I get the time, Joey.

- Can you shoot as good as Shane, Pa?

- How do I know? I've never seen him shoot.

But I doubt it.

- He didn't wear his gun today.

Why is that, Pa?

- Well, he's trading at the store not holding it up.

- But why, Pa?

Honest, why didn't he?

- I don't wear one myself.

- It goes with him, though.

- [Marian] Somebody's coming, Joe!

- I know, it's Ernie Wright.

(birds chirping)

- Could you whip him, Pa?

Could you whip Shane?

- Can't you ask nothing but questions?

- But could you?

- Oh, maybe.

(dogs barking)

No call for that though, Joey.

Shane's on our side.

- Howdy, Joe.

- [Joe] How are you , Ernie?

- No good.

- What's the matter?

- I'm pulling stakes.

No use of your talking, Joe Starrett.

- Now what's the matter?

- My wheat.

Them Ryker brothers raided it.

Fence cut, steers drove in,

it's just stubs now.

- When?

- Last night.

I'm leaving.

I'm getting out I tell you.

I got enough, and don't try to talk me out of it.

- But, Ernie, you can't pull out.

- Just don't try that's all.

I listened to you too much already.

- All right, go ahead!

Nobody's holding you!

- Boys.

You wouldn't leave your home and land and ...

Oh , Ernie, you ...

- I'm wore down and out.

Tired of being insulted by them fellas

and called a pig farmer.

And who knows what comes next?

- Well, don't throw your tail up.

I tell you what.

We'll all get together right here tonight,

and we'll figure out something.

- I don't know about me.

- I'll get the word around.

It'll help if you can see Shipstead and Torrey, huh?

- All right, I'll tell them.

But if we're gonna have a meeting,

it had better come to more than just

poking holes in the air with your finger.

Giddy up!

(dramatic orchestral music)

(bell clanking)

(door bell ringing)

(light dramatic music)

- Anything I can do you for?

- I came in to pick up some wire for Joe Starrett.

- Oh, yes, I've been holding wire for Starrett

for quite a spell.

You new?

- Yes, I'm working for Starrett.

Got any ready-made pants that might fit me?

- Farm rig? - Mmm-hmm.

- Oh, I outfit all his farmers.

(dramatic music)

Step right in back and try them on.

- [Shane] Thanks.

- Will.

(dramatic music)

Hey, Will.

- You're dreadful thirsty, ain't you , Chris? (chuckling)

- Hey, Will, who's tending bar around here?

- Coming right in.

(dramatic orchestral music)

(serene instrumental music)

- How is it?

- Good enough.

How much do I owe you?

- Well, let's see.

Pants, a dollar.

Two shirts, 60 cents.

A belt.

Young man, you owe me $2 and 2 bits.

- What's the matter, son , you look kind of pale?

- It's been a long time since I got store-bought clothes.

- Money don't go very far these days.

- Well, a new sodbuster, huh?

Yeah, I thought I smelled pigs.

(Morgan chuckling)

- Anything else I can do you for?

- Got any soda pop?

- I sure do.

I wish more men around here would drink it.

In my bar in there.

- Thanks.

- Will.

Let's keep the smell of pigs out from where we're drinking.

- [Shane] Bartender.

- Yes, what can I do for you?

- [Shane] You have any soda pop?

(men laughing)

- Well, are you gonna get him out or am I gonna have to?

- Let me take him , Chris.

(Morgan laughing)

- Well, what'll it be?

Lemon , strawberry, or lilac, sodbuster?

- You speaking to me?

- I don't see nobody else standing there.

Here, have some of this.

Smell like a man.

- Don't it smell better in here, Grafton?

Chris just fumigated a sodbuster. (laughs)

- Just take it easy.

- I was just asking about sody pop,

pigs and taters and one thing or another.

Say, which one of them tater pickers are you working for,

or are you just squatting on the range?

- Joe Starrett if it's any of your business.

- Supposing I make it my business?

- Here's your soda pop, Mister.

(men laughing)

- Now you and your soda pop get out of here

and stay out of here.

(footsteps shuffling)

And don't come back.

- Did you see that, Rufe?

- What, Bubba?

- Chris just put the run on a sodbuster.

- That's it, Chris.

Keep them squatters on the move.

(light gentle music)

- Ed, can I warm it up for you a bit?

- Thank you.

- It's getting so I don't like to ride at night.

(somber harmonica music plays)

- [Ed] Yeah, well, let's hope this meeting gone get star fed.

- [Joey] Is Shane going to be at the meeting tonight?

- Mr. Shane, Joey.

Yes, I suppose he will be.

- I guess we all know why we're here.

I guess Ryker's war party’s been around to see all of us.

I'm here to tell you for one that I ain't leaving now

or any other time.

We'll start with you, Axel.

What do you say?

- Well, Joe, you see...

- Well, I got it straight in my mind what I wanna say.

Why don't you start with me?

- Ernie, we're gonna hear everybody in their turn.

Go ahead.

I guess most of you don't know Shane here.

Shane, this is Yank Potts.

- [Yank] Howdy, Shane.

- Fred Lewis here.

- Yeah, I seen you in town.

- Ernie Wright here.

- Howdy, Shane.

- And Ed Howells.

- [Ed] Howdy.

- And Johnson.

- Howdy, Shane.

- Did you see anybody else coming?

- No, I didn't.

- [Joe] We're waiting for Torrey.

- Joe, just how far is this Ryker gonna push us?

- Let's not talk scared.

That's just exactly what Ryker wants.

He thinks he can just shoo us off of here

like a flock of chickens.

Well, here's Torrey now.

Here he is. - Hello, Reb!

- Hello, Yank!

- [Joe] About time you showed up.

("Marching Through Georgia" plays lively on harmonica)

- That's enough out of you , Yank!

(townsmen chuckling) (townsmen whistling)

You , too!

- All right, now, let's cool off now, Stonewall.

Just cool off. Shake hands with Shane there.

Shane's working for me.

- Shane.

Oh , yeah, I heard about you over at Grafton's.

- [Joe] Come on over here and sit down.

- [Stonewall] Go on with the meeting, Joe.

- Well, Stonewall, it's like this,

with leaving Ernie out there maybe,

I think we've all agreed that we're gonna stick.

- Now you're whistling.

There ain't nobody pushing me off my claim ,

and that's for certain.

- Well, I think you all know that I'm staying.

- I , too, will stay.

- And I'll string along with that,

leastways till the shooting starts.

- There ain't but seven of us figured

if it comes to a fight.

- Him?

That makes eight.

- You can't count on him.

- He's proved that much.

- You watch what you're saying.

- Maybe Shane can tell you what happened

between him and this Chris Calloway that works for Ryker.

- They're talking about Shane.

- What is it, Shane?

- Let him say.

- Lewis seen it and heard it.

- He let this Chris buffalo him in Grafton's saloon.

- [Joe] Fred, I told Shane to stay away from trouble.

Now if he did, he did right.

- Let's finish the story, Joey.

- He didn't. - He did right, did he?

- Shane didn't let him do that.

- This Chris went around afterwards

bragging how he put the run on a sodbuster.

- Shane, you don't have to leave.

- I figured you could talk freer if I weren't around.

(light harmonica music plays)

- It's too late to finish this now.

- He didn't, did he?

- Joey, I want you to go to sleep.

It's all right. Everything's all right.

- Shane isn't going to go away, is he?

- No, he isn't, dear.

Now, get back into bed.

Stay there.

(rain pattering)

Shane.

- Shane.

I know you ain't afraid.

- It's a long story, Joey.

- I think we know,

(somber harmonica music plays)

Shane.

Shane, don't just stand there in the rain.

You'll catch your death of cold.

(somber harmonica music playing)

- So on Saturday now, well, we'll just

all get together in one bunch,

and we'll go into town for our supplies.

- Yeah, I reckon that's a good idea.

There's some strength in a whole bunch.

- I don't need no bodyguard.

I'll put on my .33, and go into town anytime I please.

("Dixie" plays lively on harmonica)

("Beautiful Dreamer" plays somberly on harmonica)

(people chuckling)

- Joey?

- [Joey] Yes?

- Don't get to liking Shane too much.

- Why not?

- I don't want you to.

- [Joey] Is there anything wrong with him?

- No.

- Then what, Mother?

- He'll be moving on one day, Joey.

You'll be upset

if you get to liking him too much.

(bright instrumental music)

- [Joe] All right, Marian , you're pretty enough!

Come on, now you're holding everybody up!

- [Marian] I'm coming!

- I wish she would hurry, so we could get going.

I don't like this business.

- Ja.

(upbeat orchestral music)

- Joey, get in the wagon , son.

(light orchestral music)

(horse neighing)

One thing a married man has got to get used to

is waiting for women.

- Hurry up, Ma!

- [Joe] Here she comes!

- Good afternoon, Mrs. Starrett.

- Hello, Mr. Johnson.

- Sometimes the waiting is worth it.

You take care, Shane, you get a woman

that's worth waiting for.

- Water is sure good.

(gentle instrumental music)

- Think I can get ready in the time it takes you

to hitch up a team?

- Now hold your horses.

We just wanted to see how pretty you were.

Couldn't wait.

Come on here.

(upbeat orchestral music)

All set?

(serene orchestral music)

(thunder rumbling)

- [Axel] Hyah! Hyah! Come on!

(grunts) Get in there!

(serene orchestral music)

(upbeat orchestral music)

(pigs snorting)

- Come on, girls!

- [Joe] Hello, Ernie!

- Good morning, Joe. - Ernie.

- Are you all set, Fred?

- Yeah, reckon we are.

Morning, Marian . - Morning, Joe.

- [Martha] Hello, Marian.

- Where's Stonewall I thought he was coming with us?

- Well, he got thirsty and went on.

Said he had some business that couldn't wait.

- [Martha] I'd like to be going with you,

but I got to stay home and mind the girls--

- Bye. - And stick with the litter.

Goodbye.

- Gid.

Come on.

Come on, Red.

Come on, you get it!

- Bye, Marian . - Goodbye.

- [Martha] Well, come out to you later.

(indistinct) Goodbye.

(serene orchestral music)

Goodbye.

Bye.

- [Child] Bye.

(bright orchestral music)

(dramatic music)

(dramatic music)

(dramatic orchestral music)

- Stonewall, what are you doing in town ahead of us?

I thought we all agreed to come together.

- I had some business of my own to attend to.

I came to buy a drink.

- [Liz] Get down off that horse.

You're acting like a darn fool.

- [Man] Come on!

(townees chattering)

(door bell jingling)

- A whole bunch came in.

They brought all their women with them to protect them.

(Pete chuckling)

- [Marian] My jars come yet?

- [Sam] Inside.

- [Sam] Howdy, sir, they said you were heading in.

What can I do you for?

- My, my, my.

What will they think of next?

- Susan.

You bring that list of things your mother wanted?

- [Susan] Yes, I have, Pa.

- [Fred] I left the coal-oil can out in the wagon.

Run out and get it. - [Man] All right.

- [Axel] My woman she want we should all get together

on the 4th of July.

- Oh, ja we make big celebration, don't we, Marian?

I already tell your wife.

- Well, that's fine.

That's just what we need,

a real get together.

- Joe Starrett's anniversary is the 4th of July.

- We got to celebrate that.

- [Man] We'll have a big party.

- Oh, Mr. Grafton, one, can you--

- Have you got gunpowder?

We need it for the fireworks.

- [Marian] How about some of those jellies I put up?

- [Axel] It's part of the two shipments I brought first.

- [Mrs. Shipstead] Yeah, well we will talk about that later.

- What do I get for the empty, Mr . Grafton?

- The usual.

(Mrs. Shipstead chattering)

- Thank you.

- Well, now go in there and give the bottle to Will.

- [Liz] I need some white flour, Mr. Grafton,

and four pounds of coffee.

- Joey.

(people chattering)

Let me take it in, huh?

- We want you to come too, Shane.

- Thank you.

- [Mrs. Shipstead] Yeah, well we will talk about that later.

- Well, now Iookie here what we got.

(Morgan chuckling)

That's one of the new ones.

We call him sody Pop.

- Deal me out.

- Well, what's the matter, Pete?

- [Pete] Just say I'm superstitious that's all.

- Well, I guess, you don't hear very well, sodbuster.

I thought I told you if you wanted to keep healthy,

to stay out of here.

Now get going.

(door creaking)

Look pig farmer,

you better get back inside

with the women and kids where it's safe.

- Don't push it, Calloway.

- Did you hear me? I said get going.

Did you think you was gonna come in here

and drink with the men?

- Settle up, bartender.

Two whiskeys.

You bought me a drink the last time I was in here.

Now I wanna buy you one.

- You ain't gonna drink that in here.

- You guessed it.

(door creaking)

(door banging)

(people chattering)

- Let me have him.

- [Man] Let him go.

- Let me have him.

- [Man] Go get him, Chris.

(bottles crashing)

(bottles clinging)

- [Man] Tear him apart.

- Get that sodbuster. - Split him in half.

- [Man] Hang one on him, Chris.

Bust that mug.

- Let him have it. - Break his back.

- This is bad.

This is bad.

- I'm going in there.

- No you're not, Stonewall.

You're gonna stay right here.

- This ain't our fight.

If we get mixed up in it,

we'll all get run out of this country.

- Go on, get him , Chris. - Go get him , Chris.

- That's the trouble with this country.

There ain't a marshal within a hundred mile ride.

- [Man] Get after him , Chris.

Get that sodbuster.

- [Man] Plow him under, Chris.

(Chris gasping)

Beat his brains out.

(bottles shattering)

- [Man] Get him.

Land that right, Chris.

- [Man] Knock him into that pigpen, Chris!

(Chris gasping)

- [Man] Dirty pig farmer.

(men gasping)

- Stop this, men.

- [Man] Go on, get back--

- Here, men , here. Stop this!

(body thumping)

Settle it outside.

(bottles clinking)

(Chris gasping)

(both gasping)

(Joey crunching)

(Chris' body thumping)

(both gasping)

- Well, it looks like it's all over.

- I think we should get out of here.

- Ja, let's go. Go now.

- [Man] Yeah.

- Maybe you'd like to toss?

- Hold on, young fella.

Cool off a bit.

You may have a friend in this place

you don't know you've got.

I could use a man like you.

- I'm working for Starrett.

- You don't belong on the end of a shovel.

Anything to keep you from drawing your time?

- I like working for Starrett.

- Whatever he's paying , I'll double.

- It's no use.

- What are you looking for?

- Nothing.

- Pretty wife Starrett's got.

- Why, you dirty slinking old man!

- People don't usually talk to me that way!

- I'm talking to you that way!

- You had your chance, boy!

Nobody messes up one of my boys and gets away with it!

We gonna ride you out of this valley, Shane!

We're gonna rough up you a bit and ride you out,

and you're gonna stay out!

- Shane, come on.

- Joey, you get out of here.

- But, Shane, there's too many.

- You wouldn't want me to run away, would you?

- But there's too many, Shane.

- Go on, son, please.

- Here, man , here! Stop this!

- I'll pay all the damages.

- I won't have any more fighting around here.

- You keep out of this.

- This man's unarmed.

- This ain't a shooting.

- It ain't a shooting.

- Quit butting in.

I'll take him.

(bottles clinking)

- Stop it, men!

Stop fighting.

(bottles clanking)

Stop it, men!

Stop it!

(bottles clinking)

(Shane gasping)

- [Man] Break his neck.

(Shane gasping)

- Where's Joey?

- Hmm?

- Mom, they're going to kill Shane!

They're all trying to kill him in there!

- Stay with your mother.

- Joe, don't go in.

- Shane's in there.

- Joe, I wouldn't do it.

- What Ryker's got coming to him

ain't fit for a woman to see.

- [Man] Bust him in half.

- I wouldn't go in there, Joe.

You'll get up in trouble.

- [Man] Beat his brains in.

(glass shattering)

(objects thumping)

(glass shattering)

(bottles clanking)

(dramatic music)

(dramatic orchestral music)

(dramatic orchestral music)

- Stop it!

Stop it, men!

Stop it!

(dramatic music)

Stop it!

You fools, you had enough of it.

You'll all get killed.

Starrett, you and Shane back on out of here.

(dramatic music)

It's making some sense, Starrett.

You've won.

(tense orchestral music)

Get out of here.

- Ryker ain't paying for this damage.

Not with a nickel, he ain't.

I'll pay you for what's broke.

No, by God , we're paying for what's broke, me and Shane.

(dramatic orchestral music)

- Morgan,

put one of the boys on a good horse.

He's got a long trip.

All the way to Cheyenne.

I'm through fooling, Grafton.

From now on when we fight with them ,

the air is gonna be filled with gun smoke.

(ominous music)

- I saw it all, Mother, every bit of it.

- [Marian] It's no place for you , Joey.

- Well, it's no place for you either, Marian.

- I was scared.

Then Pa came in and picked up that man

and slung him on the floor.

- Oh, I didn't do much, Joey.

It was all Shane.

How you feeling, Shane?

- Much better.

- You did, Joe, you know you did.

'Twas ugly, and you were both wonderful.

- When that chair came down on you, Shane,

I thought you were a goner.

- It was an easy chair, Joey.

- I bet you two could lick anyone.

- Well, one thing for sure,

Ryker's gonna think twice.

- Oh, don't talk about Ryker.

Not anymore tonight.

- I wish we could forget him.

- This turpentine's going to hurt.

- He wouldn't say nothing.

No matter how much it hurt, would you , Shane?

- Well, I'm afraid I would, Joey, if it hurt bad enough.

- Stings like anything!

- Joey, go on to bed.

It does smart, I know.

- Ouch!

- Gosh.

- Joey, for the last time, go to bed.

- Yeah, me too.

Come on , son.

- Will you come in and kiss me goodnight, Mother?

- All right.

Your head ...

Your head needs a bandage.

- Oh, it's good enough, Marian.

It's fine.

Thanks very much.

(gentle music)

- You wanna know something, Mother?

- [Marian] What is it?

(gentle music)

What is it, Joey.

- [Joey] Mother, I just love Shane.

- [Marian] Do you?

- [Joey] I love him almost as much as I love Pa.

That's all right, isn't it?

- [Marian] He's a fine man.

- [Joey] He's so good.

Don't you like him, Mother?

- [Marian] Yes, I like him too, Joey.

Goodnight, Joey.

(gentle music)

- What's the matter, honey?

- Joe.

Hold me.

Don't say anything.

Just hold me tight.

(gentle music)

- [Joey] Goodnight, Mom.

- [Marian] Goodnight, Joey.

- [Joey] Goodnight, Pa.

- [Joe] Goodnight, son.

- [Joey] Goodnight, Shane!

(dramatic music)

(dramatic music)

(suspenseful music)

(dramatic music)

(dramatic music)

- [Jack] Where's Ryker?

- He's getting a little sleep.

- You sent for me.

- [Will] Won't you sit down for a minute?

We're having a celebration today.

(dramatic music)

- Where's the coffee?

- [Will] I'll put it right on.

(gentle music)

- What's going on here?

- Plenty.

- [Stonewall] You going somewhere?

- Well, it looks that way, don't it?

- Don't let him bluff you, Ernie.

- "Bluff', huh?

See that?

(pigs snorting)

They killed my sow last night.

Kept shooting and yelling what they'd do next.

Woke up the kids and scared the Missus half to death.

- We're gonna put a stop to that.

- I said I'd stay for one more hand.

But this is it.

I had enough of Ryker.

(Ryker's men yelping) (suspenseful music)

- [Mrs. Wright] Here they come again!

(suspenseful music)

(cattle lowing)

(hooves thumping)

(horse whinnying)

(cattle lowing)

(suspenseful music)

(cattle lowing)

(Ryker's men shouting at cattle)

- Right through my plowed ground.

(Ryker's men yelping)

Well, what do you think of that, Stonewall Torrey?

- Well, Starrett and the rest of us

are gonna take the juice out of them

one of these days.

Anyhow I'm going into Grafton

and get a bottle for the picnic.

I'm gonna show them it's Independence Day.

Come on, boy. - Ma, you getting ready?

- [Mrs. Wright] Coming, Pa.

- Good luck anyway.

- [Ernie] Hope good luck for you , too, son.

- Come on.

(henchmen laughing)

- [Ryker's Man] I don't see a pig in sight.

I don't see none,

but I sure can smell them.

(henchmen laughing)

(henchman shouts)

- They cut Mr. Wright's fence and Mr. Ship's fence too.

- They did?

- Shane, what would you do

if you caught them cutting our fence?

- Well, I'd ask them to please go around by the gate.

- Aw, Shane.

- Come on, I'll race you to the barn.

- It's a go!

(bright music)

(gentle music)

(gentle music)

(cattle lowing)

Why don't you ever wear your six-shooter, Shane?

- Well, I guess I don't see as many bad men as you do.

- Shane?

- [Shane] Hmm.

- You want me to tell you something?

- [Shane] If you want to.

- I saw your gun in there one day.

(cow lowing)

I took a look at it.

- Oh?

- Are you mad?

- No, I guess not.

If I were you, Joey,

I'd leave a thing like this alone.

- I wrapped it up careful in the blanket again.

- Well, that's a good boy.

- Could I see it again?

You promised you'd show me how to shoot.

Please.

- All right, Joey, come on.

(horse neighing)

(cow lowing)

- Down!

(Shane chuckles)

- Well, we got some learning to do, huh?

Come on.

Now you stand right here.

All right, now put your arms on your side.

Uh-uh, your holster's too low.

Never have your holster at arm's length.

Here, let's fix this.

You always have it here

where the grip is between the elbow and the wrist.

So when your hand comes up,

the gun will clear the holster

without coming up too high, you see?

All right, now you try it.

Real fast. Straight.

Oh, that's it. That's it.

- Gosh , is that the way real gunfighters do?

- No, Joey, most of them have tricks of their own.

One for instance likes to have a shoulder holster.

Another one puts it in the belt of his pants.

And there are some who like two guns,

but one's all you need if you can use it.

(muttering) 10 or 15 paces.

It's no good at all until you pull it when you want to.

- Which is the best way?

- What I'm telling you is as good a way as any

and better than most.

- Let me see you shoot, Shane.

- What do you want me to shoot at?

- The little white rock over there, see?

(gunfire blasting)

(chicken clucking)

(whistling sharply)

Gosh almighty!

That is good!

(chickens clucking)

(cow lowing)

- Now, you see, Joey.

Now look.

Remember now, when your hand comes up,

you still have room to clear your holster.

- Shane.

- Oh, hello, Mrs. Starrett.

I was just teaching Joey how to do a little shooting.

- I don't want little Joey--

- You ought to see Shane shoot, Mom.

- I did, Joey.

- He's teaching me to shoot.

- Yes, I know, dear.

Now you run along and get ready for the party.

- [Joey] Awe, Mom!

- Go on, Joey.

Guns aren't going to be my boy's life.

- Why do you always have to spoil everything?

Bang, bang, bang!

- A gun is a tool, Marian,

no better or no worse than any other tool,

an ax, a shovel, or anything.

A gun is as good or as bad

as the man using it, remember that.

- We'd all be much better off

if there wasn't a single gun left in this valley,

including yours.

- What's all the shooting about?

- You're starting the celebrating

a little early aren't you, Shane?

Well, look at that woman in her wedding dress.

Shane, you better hitch up that team,

because today we're really gonna celebrate the 4th of July.

(dramatic music)

(bright music)

(crowd cheering)

(bright music)

(gunfire blasting)

- Them squat on my range.

Then I'm supposed to say,

"I'm busting , but you're welcome."

- It ain't that bad, Ruf.

- Well, that's easy for you to say.

I've been a friend of yours for a long time, Sam.

You know I wanna be reasonable,

but something's got to give!

- I'm telling you , Rufus, nowadays

out here a man can go just so far.

- Look, I've gone along with the new law

and stayed away from gun fighting.

Yeah, sure I kind of buffalo the sod busters.

You've got to admit, Sam ,

my men have kept their six guns cased.

(Ryker's men yelping)

(dramatic music) (horses galloping)

- And now?

(henchman shouting)

(suspenseful music)

(henchman shouting)

(gunfire blasting)

(suspenseful music)

(gunfire blasting)

I don't have to guess what's on your mind.

I can't say why yet.

- Keep your guesses to yourself.

(dramatic music)

- I want you to know I like Joe Starrett.

- The fool ought to listen to reason.

- Your reason?

- What's the matter with you?

Nothing I say strikes you right.

- Well, no offense, Ruf.

No offense.

(townsman shouting)

(horse galloping)

It's your own conscience eating on you.

(dramatic music)

- "Conscience"?

(door bell jangling)

- What, Torrey?

Something I can do you for?

- A jug, it's the 4th.

- Come in.

Come in, come on.

(townsmen shouting)

(dramatic music)

- A jug and a whiskey.

(man yelping)

(gunfire blasting)

(townspeople shouting)

Here's to you, Ryker,

for running Ernie Wright off his claim.

Another.

- Is that one of them?

- Yeah.

- It's a downright dirty shame,

because it's all he had and he worked hard for it.

And I wanna tell you something, Ryker.

He's running because he's a coward.

And here's to me,

because I ain't a coward,

and you ain't getting my claim.

- A hothead.

- Could get him to draw without any trouble.

It'll be easy.

- You can't scare me any more than you can Joe Starrett.

(crowd shouting)

- No, it's Starrett we want.

- [Man] Three cheers for (indistinct)!

- Any of the rest of you care to join me

in drinking a toast to the independence

of the greatest state in the union?

- [Man] Well, I'm from Wyoming.

- Here's to the independence,

the sovereign state of Alabama.

(man chuckling)

Here you are.

(door banging)

(dramatic music)

(bright music) (cannon fire blasting)

(bright orchestral music)

(cannon fire blasting)

(upbeat music playing)

(lively upbeat music playing)

(people chatting)

- [Man] Now you see how good the marching band is.

(lively harmonica music playing)

- That's enough out of you , Yank!

- Stonewall!

- That's enough out of you, Yankee!

- Stonewall.

- Hello, Hank. - Hello.

- You're late, Reb, we took Richmond two hours ago.

- Quiet everyone.

Everybody come here.

- Marian. - Ja, Marian.

- You come too.

I have something very important to tell you.

- Here, Axel.

- Ja, Mom , uh-huh.

Now, you all know what day today is.

It's Independence Day

except for one man here.

Yes, sir,

this was the day Joe Starrett

got himself hooked by golly!

(all chuckling)

- I wouldn't even know it.

Well, no...

(townspeople chuckling)

What I'd like to say is that...

- Well, say it, Joe.

(all laughing)

- [Martha] Come on, say it!

- No, I'd like to say that Axel's right.

- What do you say, Joe?

(townspeople laughing)

- I gave up my independence 10 years ago today,

(Marian whispers softly)

But no man ever gave it up as easy as I did.

And what's more,

I wouldn't trade places with any man in this world.

(crowd applauding) - That was a good speech.

- Go on. Go on, Joe, give her a kiss.

- Just go ahead and kiss her, Joe.

- Give her a kiss.

♪ Abide with me ♪ (bright music plays)

- Come here.

♪ Fast falls the eventide ♪

♪ The darkness deepens ♪

♪ Fail and comforts flee ♪

♪ Help of the helpless ♪

♪ Oh, abide with me. ♪

(crowd applauding)

- [Stonewall] Pass the word to your boys.

I got some cheer for us, Fred.

(people chattering)

Yeah, many more, Joe.

- Well, we were just about ready

to give you up Stonewall, you and Ernie.

- Ernie's quit. He's getting out today.

- [Potts] Give us a little bit, Joe.

- He's packed up kit and caboodle.

- Well, I've kind of been expecting that.

- [Stonewall] The Ryker's boys have bluffed him out.

- Yeah, maybe he had more sense than we gave him credit for.

- What was you doing in town anyway?

(bright upbeat music plays)

- Fred, come on.

(townswomen muttering)

- Come on now, you can't get away.

- Joe, I wanna dance.

- Well, Marian, they fenced me out here.

(upbeat dance music playing)

♪ Goodbye, old Paint ♪

♪ I'm a-Ieavin' Cheyenne ♪

♪ I'm off to Montan' ♪

♪ Goodbye, old Paint ♪

♪ I'm a-Ieavin' Cheyenne ♪

♪ Goodbye, old Paint ♪

♪ I'm a-Ieavin' Cheyenne ♪

♪ I'm off to Montan' ♪

♪ Goodbye, old Paint ♪

♪ I'm a-Ieavin' Cheyenne ♪

(people applauding)

(people chattering)

- [Axel] We're going, son.

We're going to eat right now.

- [Man] I'm hungry.

- Joe don't want any of you going into town all by yourself.

- Well, there ain't nothing to be afraid of in town.

Just Ryker and Grafton gabbing.

- Yeah, Grafton's fair enough.

- Another man was there,

but just likely that he's hired by Ryker.

- Who? Who was that?

- A stranger decked out like a gun fighter.

I didn't let that scare me though.

- Did you say guns?

- Yeah, two guns.

- What'd he look like?

- You'll know him when you see.

Packs two guns, kind of lean.

He wears a black hat.

He a friend of yours?

- No, there's a man named Wilson who looks like that.

He's a gun fighter.

- Jack Wilson?

A gun fighter out of Cheyenne named Wilson.

Can't be him, can it?

- I don't know. I didn't ask him his name.

- [Axel] What about him?

- What's a gunman like Wilson doing around here

powwowing with Ryker?

- Fred, don't get star fed now.

Torrey didn't say it was Wilson.

- This Wilson would you know him Shane?

That is if you saw him?

- Maybe.

If it is Wilson , he's fast.

Fast on the draw.

So be careful.

- You seem to know an awful lot

about this kind of business, Shane?

- Ja, that is enough of that now.

You come and eat before things get cold.

- I don't want no part of gunslinging.

Murder's a better name for it.

- We eat now everyone.

You fellows with the show game.

Oh, Torrey, I've been wanting to go to the blacksmith shop,

but Joe says we shouldn't go alone.

- Anytime you wanna go to town , Shipstead,

I'll ride right along with you.

I'm a soldier who's done fighting in real battles.

I can shoot just as straight as that White Christian ...

(gentle music)

- Shane?

- Yes, Joey.

- You think that was him?

- Who?

- That man Torrey seen in town.

You think that was Wilson?

- You shouldn't worry about things like that.

- You rest, Joey, it's way past your bedtime.

- Yes, Mother.

- No, Joey, I'll open it, son.

- All right.

All right.

I'll open the gate for you.

- Who goes there?

- Brother Rufus come to pay you a little visit.

(horse neighing)

(dramatic music)

(ominous music)

- Howdy, Starrett.

Evening, ma'am.

I had something I wanted to talk over with you , Starrett.

- Whatever business you and I got

we can talk over right here.

- I'll just lay it on the barrel head then.

How would you like to work for me?

- I'm working for myself.

I've done enough working for others.

- Wait till I tell you.

I'll pay you top wages.

More than you can make on this patch of ground.

- No, I'm not interested.

- I haven't said it all.

You can run your cattle with mine.

What's more, I'll buy your homestead.

Set a price you think is reasonable,

you'll find me reasonable, is that fair?

- You've made things pretty hard for us, Ryker,

and us in the right all the time.

- Right!

You in the right!

Look, Starrett,

when I come to this country,

you weren't much older than your boy there.

We had rough times,

me and other men that are mostly dead now.

I got a bad shoulder yet from a Cheyenne arrowhead.

We made this country.

Found it, and we made it.

It's worth blood and empty bellies.

The cattle we brought in were hazed off

by Indians and rustlers.

Don't bother you much anymore

because we handled them.

We made a safe range out of this.

Some of us died doing it.

We made it.

And then people move in

that never had to rawhide it through the old days.

They fence off my range and fence me off from water.

Some of them like you plow ditches

and take out irrigation water.

And so the creek runs dry sometimes.

I've got to move my stock because of it.

And you say we have no right to the range.

The men that did the work and ran the risk have no rights!

I take you for a fair man, Starrett.

- I'm not belittling what you and the others did.

But at the same time, you didn't find this country.

There was trappers here

and Indian traders long before you showed up.

And they tamed this country more than you did.

- They weren't ranchers.

- You talk about rights.

You think you've got the right

to say that nobody else has got any.

Well, that ain't the way the government looks at it.

- I didn't come to argue.

I made you a fair proposition.

- [Joe] What about the others?

- [Ryker] Shane already knows he can work for me anytime.

- The other homesteaders.

- Look be reasonable!

After all, there's just so many hands in a deck of cards.

- Then I've got to say no.

- You don't give a man much choice, do you, Starrett?

(dramatic music)

How do you feel about it, son?

Wouldn't you like to go partners with me?

I don't want trouble with your father.

We don't want anyone to get hurt, do we?

- Joey ain't quite of age, Ryker.

(dramatic music)

- How about it, son.

- [Marian] Come here, Joey.

(dramatic music)

(chicken clucking)

(dramatic music)

- I don't want you to be sorry, Starrett.

I'll see you.

(dramatic music)

(horse whinnying)

- What do you make of him?

- He's no cowpuncher.

- No, he doesn't look the part, sure enough.

(dramatic music)

(dramatic music)

- I like Starrett, too,

but I'll kill him if I have to.

I tell you , I'll kill him if I have to.

- You mean, I'll kill him if you'll have to.

- I can't have any run in with the law.

You heard Grafton there.

- Just get Starrett in here.

It wouldn't take much to bait him.

Well, Iookie here.

(birds chirping)

(dramatic music)

Iookie here.

(dramatic music)

- Why don't we just gun him and get on with it?

If one's run already,

it won't take much to stampede the rest.

- Remember, Wilson,

we've got to make this look right to Grafton.

(dramatic music)

(thunder rumbling)

(thunder rumbling)

(tense music)

- Hey, come here.

- [Axel] Torrey.

I wouldn't go over there, Torrey.

- Nobody's gonna buffalo me.

(dramatic music)

What can I do for you?

- And where do you think you're going?

- [Stonewall] To get a whiskey.

- Torrey.

(suspenseful music)

Torrey.

(suspenseful music)

(thunder rumbling)

(suspenseful music)

Torrey.

(dramatic music)

(thunder rumbling)

- They tell me they call you Stonewall.

- [Stonewall] Anything wrong with that?

- And that's just funny.

I guess they named a lot of that

southern trash after old Stonewall.

- Who'd they name you after,

or do you know?

- I'm saying that Stonewall Jackson was trash himself,

him and Lee and all the rest of them Rebs,

and you , too.

- You're a low-down lying Yankee.

- Prove it.

- No, Torrey.

(gunfire blasting)

(horse whinnying)

(birds chirping)

(horse whinnying)

- One less sodbuster.

- What? - He tried to pull on Wilson.

- Ain't that right, Swede?

- Well, he tried to reach for a...

- All right, get him out of here.

Then you can go back and tell your friends

we'll be waiting right here for any more

of them that comes in looking for trouble.

(dramatic music)

You understand that, Swede?

(horse neighing)

Now get him out of here.

- What happened?

- A sodbuster tried to kill Wilson.

- [Townsman] What's the shooting?

- sodbuster tried to pull on Wilson.

(Rufus chuckling)

(somber dramatic music)

- [Axel] Lewis!

(somber dramatic music)

Lewis!

- Mom!

What's happened!

- Lewis!

- Fred!

Fred!

(dramatic orchestral music)

(dramatic orchestral music)

- [Axel] Lewis!

He is dead!

Ryker did it!

I'll go get Starrett!

(cattle lowing)

- Shane, we sure enough earned our keep today.

If they just leave us alone,

we're gonna make a farm out of this place yet.

- [Joey] Somebody's coming, Pa.

(Axel yelping)

- It looks like Shipstead . - It's Mr. Shipstead.

- [Axel] Starrett!

Torrey!

He is dead!

- Torrey?

- [Axel] Torrey he is dead!

The new man shot him . - Torrey's dead.

(horse whinnying)

- The new man that works for Ryker did it!

I was across the street,

and hear anger in the voices.

What they do is they reach for pistols,

but the new man is quick, terribly quick.

One shot.

Torrey dead.

One shot.

- [Joe] What happened?

How?

- We go to town together.

He say we safe.

It was all quiet.

We separate.

Then the anger and the voices I hear.

Only the anger not the words.

Ryker's men was all around.

- What star fed it?

- [Axel] I passed Lewis,

him and his Missus and Johnson.

They scared.

- Who saw it?

- [Axel] Just the Ryker men and me.

Morgan say they wait in town for any more

that want to come around looking for trouble.

- Marian.

Honey, you get ready.

Mrs. Torrey will need you.

Shane, hitch up the team.

- What are you going to do, Joe?

- Go to town, I'm gonna see about this.

- You can't go alone.

- Marian, I'm going.

- She's right, Joe.

- But the others are all in this.

It's not just you , Joe.

Wait.

Wait for them.

- Sooner or later someone's got to go.

- [Marian] Not now.

Don't you go alone.

- The other homesteaders I think they run.

I think they get out of here.

- [Fred] Here comes Joe Starrett.

I wish he'd tend to his own business.

- What goes on, Fred.

- Just us.

We're going on.

I've had enough.

- Well, I sure figured you for a better man.

- You've already saw what happened, haven't you?

Torrey's dead, ain't he?

- Just gonna pile up your plunder and skip.

Too scared to even see old Torrey get a decent funeral.

- I don't want him killed.

We're going.

- Martha, it ain't a question

of who stays or who runs.

The thing is we got to see

Stonewall get a Christian burial,

and his wife hear some words of comfort said over her man.

And there's some of us are gonna make sure that gets done.

- Torrey's already dead.

I just don't want it to happen to my man , too.

- Fred, if you ain't at that funeral,

I'll sure take it bad of you.

- Well, cemetery hill's on the way out, Martha.

♪ Before my closing eyes ♪

♪ Shine through the gloom ♪

♪ And point me to the skies ♪

♪ Heaven's morning breaks ♪

♪ And Earth’s vain shadows flee ♪

♪ In life, in death, O Lord ♪

♪ Abide with me. ♪

(Liz sobbing)

- Shipstead , would you please (coughs)

lead us in "The Lord's Prayer"?

- "Our Father, who art in Heaven...

- [Group] "Hallowed be thy name.

"Thy kingdom come.

"Thy will be done in Earth as it is in Heaven.

"Give us this day our daily bread,

"and forgive us our trespasses

"as we forgive those who trespass against us.

"And lead us not into temptation ,

"but deliver us from evil.

"For thine is the kingdom, and the power,

"and the glory, forever and ever."

- "Amen ."

(Liz sobbing)

(cattle lowing)

(birds chirping)

("Dixie" plays softly on harmonica)

(somber harmonica music plays)

(dog whimpering)

(Liz sobbing)

(soft somber harmonica music plays)

- They gone bite you.

(foal purring)

(somber harmonica music playing)

("Taps" plays on harmonica)

(solemn harmonica music playing)

(somber harmonica music plays)

(dramatic music)

(light dramatic music)

(light dramatic music)

(Rufus chuckling)

(Rufus chuckling)

- Goodbye, Mrs. Starrett, we're going.

Goodbye, Joe.

Goodbye, Axel.

Goodbye, Johnson.

(somber music)

See, you put the kids in the wagon.

- Wait for me, Lewis.

I'm coming with you.

- Now wait a minute.

Let's not be in a hurry.

There's one more thing.

Torrey was a pretty brave man,

and I figure we'd be doing wrong if we wasn't the same.

- Joe, the last time you argued us into staying,

Torrey was alive.

- Yeah, what do you want us to stay for?

More of this?

- Because we can have a regular settlement here.

We can have a town and churches and a school.

- And graveyards.

(light dramatic music)

- I don't know, but you just got to, that's all.

- You know what he wants you to stay for?

Something that means more to you than anything else,

your families, your wives and kids.

Like you, Lewis, your girls,

Shipstead with his boys.

They've got a right to stay here and grow up and be happy.

That's up to you people to have

nerve enough to not give it up.

- That's right, that's...

We can't give up this valley,

and we ain't gonna do it.

This is farming country,

a place where people can come

and bring up their families.

Who is Ruf Ryker or anyone else

to run us away from our own homes.

He only wants to grow his beef,

and what we wanna grow up is families,

to grow them good and grow them up strong ,

maybe the way they was meant to be grown.

God didn't make all this country

just for one man like Ryker.

- He's got it though, and that's what counts.

(ominous music)

- Look.

Look there. - Hey, a fire.

- It's Lewis' place.

(dramatic music)

- That's our place.

(Ryker's men yelping)

- Ryker lit it.

- He had no right to do that.

- He wouldn't have lit it, Lewis,

if you hadn't have packed up and left it.

- That was ours.

I built it with my own hands.

- You haven't yet built the room for the girls.

- I was getting around to it.

- Now if we just stick together,

we can put that place right back up.

Can't we, Johnson?

- [Johnson] That's right.

- We'll help you build the extra room,

Johnson, and my Joe, and Shane will help.

Won't you, Shane?

- We'll get it done, ma'am.

- Fred , we'll get the timber,

and we'll put it right back up.

Ain't that right?

- Yes, sir, we'll get it done.

- Me too, I will help.

- You'll do that for us?

- You'll do all that just for us?

- No, not just for you, Martha.

- This is for all of us.

- For all of us right here in this valley.

- Some of you come and help me.

Maybe we can save part of it.

- Now that's the spirit, Fred.

(dramatic orchestral music)

- [Man] Come on, men, let's get to Lewis' place.

Let's get going . (horse whinnying)

Come on, men.

(dramatic orchestral music)

- [Man] Hyah, come on in there!

(bright music)

Come on, Hyah!

- [Henchman] Boss, looks like Lewis is going back.

- Hyah!

(Lewis grunting)

- Starrett's holding them together.

- What's to keep Ryker from setting fire to my place?

- Just stay on your own ground.

- [Ed] Yeah, and he'll be doing to you and me

what he done to Torrey there.

- Now don't you forget there's

a law in this country against killing.

- [Ed] The law is three days ride from here.

- You know that, Joe.

- [Ed] What does that leave us with, Starrett?

- Just give us me a little time.

- [Ed] Who's gonna do the fighting with Ryker?

He's got us on the run and he knows it.

- Now you men hang on , that's all.

- That's it, just hang on.

- I promise you something's gonna be done about it.

- But just what, Joe?

- You leave that to me.

I made up my mind I'm gonna have this out with Ryker.

- You're taking on too much, Joe, all by yourself.

- If I have to kill him.

- That's wrong.

Don't even think that.

(suspenseful music)

(dog barking)

(wolf howling)

- Starrett's got to go.

I warned him twice, but he's pig headed.

And he's gonna have to pay for it.

(dramatic music)

- [Marian] Joe, you can't do it.

- Marian, if the Lewises

have courage enough to start over again,

I ain't gonna let them down.

- But you can't do it, Joe.

- Do what?

- Go in town to kill Ryker.

He'll kill you.

- Tell him I'm a reasonable man.

Tell him things have gone far enough.

Tell him I'm beat!

Tell him anything, but by Jupiter get him here!

He'll come.

He thinks he's a reasonable man.

Hello, Calloway.

(horses galloping)

- Joe, he'll kill you.

- It's a chance I got to take.

- This is called a square knot, Joey.

It won't hold.

- Shane, tell him.

Tell him he can't go.

Tell him it won't work.

Tell him!

Shane!

Wait, Joe.

Wait till things cool off.

Wait that long anyway.

That's right, isn't it, Shane?

- I can't tell Joe what's right, Marian.

(gentle music)

(gentle music)

(dramatic music)

(dramatic music)

- Please wait, Joe.

Won't you do even this for me?

(dog barking)

(dramatic music)

(horses galloping)

- [Morgan] Starrett.

Mr. Starrett.

(dramatic music)

- Who is it?

- [Morgan] A peace party from Ryker.

- One of you can come across and talk.

(dramatic music)

Stay out of that garden.

- We ain't armed.

Brother Ruf wants to see you.

He says to tell you he's a reasonable man.

- Your brother's responsible

for the killing of my friend Torrey.

- My brother wouldn't kill anybody.

He don't wanna go to jail.

Torrey was a hothead.

He picked on a stranger.

Torrey didn't want to be reasonable.

You wanna be reasonable, don't you, Starrett?

- I always figured on being reasonable.

- My brother's waiting.

He'll see you at Grafton's.

- Who else?

- Not us.

We're heading home.

(dramatic music)

- I'll see your brother.

(dramatic music)

(tense music)

(suspenseful music)

(dramatic music)

(dog barking)

Shane.

(dog barking)

(cattle lowing)

Shane.

- [Shane] Who is it?

- [Chris] Calloway.

Chris Calloway.

- [Shane] Stay where you are. I can drill you.

- [Chris] Hold it, Shane.

Something to tell you.

- [Shane] What do you want?

- Starrett's up against a stacked deck.

- Bang, bang!

Bang, bang, bang!

- Why you telling me?

- I don't know.

I reckon something's come over me.

- [Joey] Bang, bang, bang!

- I don't figure you.

- I'm quitting Ryker.

- Bang, bang!

- So long.

- Chris.

- Bang, bang!

- Thanks.

(dramatic music)

- Be seeing you.

- Bang, bang, bang!

(dramatic music)

Bang, bang, bang, bang, bang!

(tense dramatic music)

Bang , bang!

- [Joe] No use to arguing, Marian.

I'm going into this with my eyes open.

- [Joey] Bang, bang!

- No!

- [Joey] Bang, bang, bang!

- [Marian] Isn't there anything

I can say that'll change things?

- Can't you see, honey, maybe this is a chance.

Morgan and them boys went home.

- You don't really believe that.

That's not the reason.

- There's just too much for me to give up.

This place and our valley,

all the things it will be.

- "Will be."

- Bang!

Bang, bang, bang, bang, bang!

- Joey, don't point that thing!

- Bang, bang! - Go play outside!

- Bang , bang, bang! - Play outside, Joey!

- Bang, bang, bang ! (suspenseful music)

Please, dear, go outside and play.

It's just pride that's all.

A silly kind of pride.

Don't I mean anything to you , Joe?

Doesn't Joey?

- Marian.

(gentle music)

Honey, it's because you mean so much to me

that I've got to go.

Do you think I can go on living with you

and you thinking that I showed yellow?

Then what about Joey?

How do you think I'd ever explain that to him?

- Oh, Joe.

Joe.

- I've been thinking a lot,

and I know I'm kind of slow sometimes, Marian ,

but I see things.

And I know that if anything happened to me,

that you'd be took care of.

(gentle music)

You'd be took care of

better than I can do it myself.

I never thought I'd live to hear myself say that,

but I guess now's a pretty good time to lay things bare.

- [Marian] Joe, you sound like I'd be glad for you to go.

- Look, honey, you're the most honest

and the finest girl that ever lived.

And I couldn't do what I got to do

if I hadn't always knowed that I could trust you.

(gentle music)

Now don't you go counting me out.

I wouldn't have lived as long as I have already

if I wasn't pretty tough.

(suspenseful music)

(dramatic music)

(dramatic music)

- [Joey] Pa, Shane's got his gun on.

He's coming!

- Gun?

What's the idea?

- [Marian] Don't let him go, Shane.

Don't anybody go.

- This is my kind of game, Joe.

- Except it ain't yours.

- Maybe you're a match for Ryker, maybe not.

But you're no match for Wilson.

- Well, then I'll out last him,

but I do appreciate it, Shane.

- You're both out of your senses.

This isn't worth a life, anybody's life.

What are you fighting for?

This shack, this little piece of ground,

they're nothing but work, work, work,

I'm sick of it!

I'm sick of trouble!

Joe, let's move.

Let's go on please!

- Marian, don't say that.

That ain't the truth.

You love this place more than me.

- Not anymore!

- And even if that was the truth,

it wouldn't change things.

- There must be some way, Shane!

Some way!

- It's no use, Joe.

- [Joe] No use? Well, what's stopping me?

- I am.

- Now you get out of my way.

Am I gonna have to fight you too?

- That depends on you.

(Marian screaming)

(boards thumping) (Miriam weeping)

- No!

(horse whinnying)

(Marian sobbing)

Stop!

(cattle lowing)

(objects thumping)

(horse neighing)

(objects crashing)

(horse neighing)

(cattle lowing)

Stop!

(both grunting)

(horse neighing)

(cattle lowing)

(dog barking)

(dog whimpering)

(horse whinnying)

(cattle lowing)

(horse screeching)

(dog barking)

(horse whinnying)

(cattle lowing)

(cattle bellowing)

(horse screeching)

(cattle lowing)

(Marian screaming)

(cattle lowing)

(horse whinnying)

(Shane grunting)

(both gasping)

(dogs barking)

(men grunting)

(both grunting)

(dramatic music)

(dog barking)

No.

(hand smacking)

(Shane grunts)

(horse galloping)

- Shane, you hit him with your gun!

I hate you!

(dog whimpering)

(gentle music)

- Have him walk around when he comes to.

- Joey, bring some water and a towel.

- Here, Marian, hide this.

He'll be all right.

No one can blame him for not keeping that date.

- Shane.

Wait.

(gentle music)

You were through with gun fighting.

- I changed my mind.

- Are you doing this just for me?

- For you, Marian,

for Joe, and Little Joe.

- Then we'll never see you again?

- Never's a long time, Marian.

Tell him ...

Tell him I was sorry.

- No need to tell him that.

Please, Shane.

- Mother?

- Please.

Take care of yourself.

(gentle music)

(footsteps departing)

- Mother, Pa's coming along all right.

- [Marian] Yes, Joey.

- Why did Shane--

- Shane did what he had to do, Joey.

You don't hate Shane.

- I know, Mother.

Shane,

I'm sorry.

- He didn't hear you.

(gentle music)

- Shane!

Shane, I'm sorry!

(dog barking)

(suspenseful music)

(suspenseful music)

(suspenseful music)

(dramatic theatrical music)

(suspenseful music)

(dramatic music)

(dramatic orchestral music)

(suspenseful orchestral music)

(suspenseful theatrical music)

(dramatic theatrical music)

(suspenseful theatrical music)

(suspenseful orchestral music)

(suspenseful theatrical music)

(tense dramatic music)

(tense dramatic music)

(tense dramatic music)

(dramatic music)

(dramatic music)

(suspenseful music)

- I came to get your offer, Ryker.

- [Ryker] I'm not dealing with you.

Where's Starrett?

(dog panting)

- [Shane] You're dealing with me, Ryker.

- I got no quarrel with you , Shane.

You can walk out now and no hard feeling.

- [Shane] What's your offer, Ryker?

- [Ryker] To you , not a thing.

- [Shane] That's too bad.

- [Ryker] "Too bad"?

- Yeah, you've lived too long.

Your kind of days are over.

- [Ryker] "My days"?

What about yours gunfighter.

- The difference is I know it.

- [Ryker] All right, so we'll all turn

in our six guns to the bartender,

and we'll all start hoeing spuds, is that it?

- Not quite yet.

We haven't heard from your friend here.

(tense music)

- I wouldn't push too far if I were you.

(tense music)

Our fight ain't with you.

- It ain't with me, Wilson?

- No, it ain't, Shane.

- I wouldn't pull on Wilson, Shane.

Will, you're a witness to this.

- So you're Jack Wilson.

- What's that mean to you, Shane?

- I've heard about you.

- What have you heard, Shane?

(tense suspenseful music)

- I've heard that you're a low-down, Yankee liar.

- Prove it.

(gunfire blasting)

(floorboard creaking)

(footsteps tapping)

- Shane, look out!

(gunfire blasting)

(suspenseful music)

(debris banging) (objects crashing)

(dramatic music)

(footsteps approaching)

(gentle music)

Shane.

I knew you could , Shane.

I knew it.

I knew it just as well as anything.

Is that him?

Is that Wilson?

- That was him.

That was Wilson all right.

He was fast.

Fast on the draw.

Joey, what are you doing here?

(gentle music)

- I'm sorry, Shane.

- You don't have to be.

You better run back.

Can't I ride home behind you?

- I'm afraid not, Joey.

- Please, why not?

- I got to be going on.

- Why, Shane?

- A man has to be what he is, Joey.

You can't break the mold.

I tried it, and it didn't work for me.

- We want you, Shane.

- Joey, there's no living with a killing.

There's no going back from one.

Right or wrong, it's a brand.

A brand sticks.

There's no going back.

Now you run on home to your mother, and tell her.

Tell her everything's all right.

There aren't any more guns in the valley.

- Shane.

It's bloody.

You're hurt.

- I'm all right, Joey.

You go home to your mother and your father

and grow up to be strong and straight.

(gentle music)

Joey,

take care of them ,

both of them.

- Yes, Shane.

(gentle music)

He'd never been able to shoot you if you'd have seen him!

- Bye, little Joe.

- He'd never even have cleared the holster would he, Shane?

(dramatic orchestral music)

Pa's got things for you to do!

And Mother wants you!

(Joey's voice echoing)

I know she does!

(dramatic orchestral music)

Shane!

(Joey's voice echoing)

(gentle instrumental music)

Shane!

Come back!

(somber instrumental music)

(dramatic orchestral music)

Bye, Shane!

(dramatic theatrical music)

(light instrumental music)