All language subtitles for The Sea of Grass (1947)_Eng_HI

- Telegram for Miss Cameron.
- Nat, we're late.

NAT:
Right.

- Telegram for me?
- No, for Miss Lutie.

I'll take it up to her.

- Lutie in her room?
- They're all up there.

Wouldn't you think they'd get tired
of looking at themselves?

Weddings. I'll be so glad when it's over.

LUTIE: Hurry up, Rachael.
- What for? It ain't till three days.

LUTIE:
Rachael, have you ever been married?

Yes, ma'am.
Here and there, now and then.

[CHUCKLES]

- Where's Lutie?
- She's in there. She's trying it on.

Beautiful. More beautiful
than you can imagine.

CAMERON:
May I see you, Lutie?

LUTIE:
One minute, father. Let him in, Rachael.

You look fine.

- Then smile.
- Smile?

- You haven't smiled since I got engaged.
- Why, Lutie...

The two longest things in St. Louis,
your face and the Mississippi River.

I only want your happiness.

I just keep thinking one thing:
Jim Brewton is all right.

He's great in Salt Fork, New Mexico.

- And you're all right in St. Louis.
- Stop it.

I think of you together in either place...

- I know it's going to be right.
- And such a short courtship.

- A cowman.
- But such a cowman.

Remember what you said
when you introduced us.

- That's right, I did introduce you.
- Ha, ha.

- Here's a telegram for you.
- Oh. Thanks. It's probably from him.

He said he'd wire
the minute he got on the train.

"Delayed."

Can't get to St. Louis for wedding.

"Take first train. Be married here.
Love, Jim."

- Well.
- Ha, ha.

- Father, this is not funny.
- Well, you asked me to smile, didn't you?

You done it.
Train's early, three-fourths of an hour.

And 33 seconds. I got a stopwatch.

What are you gonna do
if Sam doesn't meet you?

Don't worry.
You heard the conductor, train's early.

Your man ain't showed up, neither.

Sam my .

- Sammy.
- Selina.

Hello, sprout. You've growed.

Regular buster, ain't she?

Sam, this is Lutie Cameron.

We kept each other company.
She spelled me with Molly.

- How do you do?
- I've heard a lot about you.

- No more than I heard of her man.
- Maybe I know him. Homesteader?

Cattleman.

Name of Jim Brewton.

- Colonel Brewton?
- Mm-hm.

Yes, I know him.

I sure thank you
for helping the wife out, ma'am.

- Come on, honey.
SELINA: All right, Sam.

- Goodbye, Lutie.
- Goodbye, Selina.

- Good luck to you.
- We'll see each other.

Be a good girl, button-nose.

There's a hotel?

Sure. Exchange house over there.

Thank you.

Colonel Brewton
will call for this luggage.

Yes, ma’am.

[cows MOOING]

[nos BARKING]

[BELL RINGS]

I'm sorry to disturb you,
but will you help me, please?

Oh, thank you very much.

- I'll be a son of a gun.
LUTIE: I beg your pardon?

I'm a son of a gun.

- It isn't possible. Of course now, is it?
LUTIE: What?

That you are Miss Lutie Cameron
of St. Louis and points east.

She arrives on the 3:00.
They're sending out rockets then.

The train was early.

Trust Jim Brewton to pick a woman
with hair the color of chili pepper.

Well, don't worry, I like it.

Well, if you know Colonel Brewton,
you can help me.

Everybody knows Jim Brewton,
some to their sorrow.

Your impending arrival has created
quite a stir in Salt Fork, Miss Cameron.

Breaths have been well-bated.

I shall now bate mine again.

You're making the mistake of your life.

There's a train out of here.
If I were you, I'd be unit.

- Who are you anyway?
- The name's Brice Chamberlain.

However, "what," not "who"
is the important thing.

I, Miss Cameron, am an idealist,
a practicing idealist.

Look around you, Miss Cameron.
You're out of place.

The wine of the cow country is redeye,
not champagne.

- Redeye?
- Redeye.

A very inferior brand of whiskey.

Never touch the stuff myself.
Understand Brewton does, though.

I should be very angry.

I guess I am.

On the other hand, maybe I'm not.
I don't know.

This is such a place.

Come on, Mr. Chamberlain,
jury's coming in.

We better get over there.
Brewton ain't showed up yet.

BRICE: Meet you at the courthouse.
- Is that where Colonel Brewton is?

BRICE: That's where I left him.
- Why, you're his enemy, aren't you?

His natural enemy.

We're making history in Salt Fork today,
Miss Cameron.

I hope it'll be the right kind.

If Brewton has his way, it won't be.

[CROWD CHATTERING]

Quiet down, folks, quiet.

Quiet in the courthouse, boys.
The court's in session now.

Gentlemen of the jury,
have you reached a decision?

Yes, sir, we have. Unanimous.

How find you?

Are the defendants guilty or not guilty?

We find that Andy Boggs here was shot
and run off the land he filed on...

by parties unknown.

That verdict don't settle anything.

How about the defendants here,
Ike Randall and Bill Roach?

The boys what done the shooting?
They ain't guilty.

[CROWD LAUGHING]

Defendants released. Court's adjourned.

Just one moment, gentlemen.

As attorney for the plaintiffs...

there are still a few things
sticking in my craw.

Swallow quick,
and maybe they'll go away.

Colonel Brewton, I wonder,
now that we've lost...

if you'd oblige me
by answering a few questions.

- As a sporting proposition.
- You don't know when you're licked.

No, he doesn't, Mac.
We'll have to give him that.

All right, sir, go ahead.

Just remember,
I've got a 3:00 train to meet.

BRICE:
Thank you, I'll be brief.

How much cattle range do you control?
I've heard it runs into a million acres.

Never counted them.

Then again,
I've heard that it's 100-square miles.

In any case, you will admit
that's a lot of land for one man.

Well, I run a lot of cows.

Is it true
that of this vast amount of property...

you actually own
only a few scattered water holes...

that are filed in your name
or your men?

And that by far, the greater part of it
still belongs to the government?

Legally, yes.

Is it true then that that million or more
acres still belonging to the government...

is the same land
from which Andrew Boggs...

who merely wanted 160 acres
for a homestead...

was run off and severely wounded
by parties unknown?

Boggs was not run off because
he wanted to settle the 160 acres...

but because of what he wanted to do
with the land.

Let's forget about this case.

Andrew Boggs is only a single man...

and the court
has already disposed of him.

But waiting at the edge of Salt Fork...

to hear the outcome of this trial
are other settlers.

Men with families
who've driven their wagons...

more than 1000 miles across the plains
and left their dead...

from the Mississippi to the Rio Grande
all with one purpose...

to find homes for themselves
in this great territory.

I want to ask in the names of these families
if you won't let them settle undisturbed...

on a few acres out of the millions
or more of government land on your range?

Chamberlain, I have sympathy
for the early pioneer...

who came out here and risked his life
and his family among the Indians.

And I hope I have a little charity
for the nester...

who waited until the country
was safe and peaceable...

before he filed his homestead...

on the range of someone else
who had fought for it.

But when that nester picks land
like my Big Vega...

which is 1000 feet above the sea...

which was naturally intended
for grazing land...

and always will be grazing land...

when he want to plow it up
to support his family...

where there isn't enough rain...

when he only kills the grass
that will grow...

and then,
when his crops starve for water...

supports his family
by killing my beef...

becomes a man without respect
to himself, a menace to the territory...

then I have neither sympathy
nor charity.

And if I know the temper
of the people around here...

what Andy Boggs got is just a sample
of what will happen if others try it.

They told me there was no justice here
and that you dominated the country.

They were right.

- Well, we won, Jim.
- We won.

Boys, I've got a train to meet.

LUTIE: Jim. Jim.
MAN: Move back. Move back.

LUTIE: Jim.
- Move back. Move back.

Pardon the ma'am, pardon.

Jim, the train broke a record.

I'll make up for that later.

Oh, I want you to meet
a friend of mine, Doc Reid.

LUTIE:
How do you do?

- Judge White.
- How do you do?

- How do you do?
- Floyd McCurtain.

- How do you do?
- How do you do?

Well, we won, didn't we?
Whatever it was.

Well, we had to.

Did we, Jim?

Well, I don't know.

We won today...

but I didn't like that beat look
in Andy Boggs' eyes.

You get enough men looking like that
and, well, I don't like what I see coming.

- What do you mean?
- Oh, the Doc, he doesn't mean anything.

You'll get to know the Doc.

I hope I get to know all of you.

And that you're going to like me
as well as I'm going to like you.

Do you see now why I did it?

Sure do.

But now we're wondering
why you waited so long.

Come on.

[BAND PLAYING "BRIDAL CHORUS"]

Such a hurry, Jim,
6:00 in the morning.

Come on.

You'll be the first woman in the territory
ever married in her sleep.

We made it.

What did we make, Jim? Where are we?

The greatest place I know. Come on.

There it is.

LUTIE:
It's all grass.

JIM:
Yeah.

LUTIE:
Well, it's just...

It's so empty, so quiet.

JIM:
Quiet?

More noise out there
than there is in St. Louis.

I don't hear anything.

Well, you have to listen for it
before you can.

I'm listening, Jim.

All I hear is that little
whistle of a sound. The wind?

There's a lot more than that out there.

Tell me, Jim, what?

Well....

No, please tell me. I'll try to understand.

What do you hear out there?

Well, first of all,
I guess I hear the buffalo.

Buffalo?

But they aren't there anymore.

That's right.

Oh.

What else, Jim?

JIM:
Indians.

LUTIE:
Gone too?

JIM:
Herded into a reservation.

I can remember the first time I saw her.

We'd come along way...

and nobody was telling us
about any surprises, either.

We just came over the hill...

and there she was,
sort of lying there all alone.

Nobody wanted her then...

except the antelope and the buffalo
and the Indians.

So we took her
and we set her up right for cow country.

We fought for her.

Our blood sunk in every mile.

Indian blood too.

I'm not so proud of some of that.

My brother's out there.

I suppose I sounded hard to you
back at the trial, and to everybody else.

And I suppose it's hard to understand
that all that out there...

is anything but just a lot of grass
made to order for farming.

Yes, I suppose it is just grass to most.

But not to you, Jim?

To me, it's land the way God made it
and wants it to stay.

And I may be wrong...

but I've got a hunch that he wants me
to help him keep it that way.

I know it's too soon to expect you
to see it that way, Lutie...

but you will see it someday.
You've got to see it.

I want to, Jim.

- Well, there she is.
- The ranch.

And a house.

Hurry, Jim.

JIM:
It's better inside.

You bring my shortening?

I brought you something better
than shortening. Here it is.

Jeff, our cook.

- What are you thinking of right now?
- I'm thinking of my shortening.

Banty, come here.
This is Banty, our horse wrangler.

- How are you, Banty?
- I'm fine, ma'am.

- You're welcome, ma'am.
- Thank you.

That's a wonderful word, welcome.

Get those bags, Jeff.

- Come on, I'll show you the layout.
- Can't wait to see the kitchen.

- She's sure nice to look at.
- She better keep out of my kitchen.

And you can take them bags in.

My, this will fix up nicely.

- The storeroom?
- No, no, this is the parlor.

The living room.

Who lives in it, dear?

Well, uh, nobody, really, very much.

You see, we're not here very much.

I, uh....

If this was moved out of here...

it eventually would get to look
like a living room, wouldn't it?

Yes, I suppose it would.

I wonder why I didn't have this stuff
moved out before you came.

Do you know?

No, I really don't.

Well, I'll be doggone, neither do l.

- I want to see the kitchen.
- It's at the end of the hall.

Uh, take it easy with Jeff.

Judas.

May I come in?

- Just looking around, I'll get right out.
- I'd be much obliged.

Lorenzo, I'm waiting on that cabbage.

Oh, biscuits.

- What do they look like?
- Look like biscuits, good biscuits.

Taste like that too.

Nothing like sour milk and a big oven,
is there, Jeff?

Baking soda went in first,
you can tell that.

Shortening in just right too.

And dough rolled just enough.

Jeff, how would you like to have a dollar
for every biscuit you've made?

I'd take a nickel and I'd own the place.

Not that I'd want to. Not anymore.
Not now. It's too crowded.

A man needs elbow room.

I won't even come inside your kitchen
until you ask me to, honestly, I won't.

She ate one.

She knew what she was eating.

Tougher than whang leather.

She can lie faster than a dog can trot.

Wait. Was you brung up in a barn?

Now, listen, I don't want no reaching...

nor eating with knives,
nor drinking out of saucers.

This here woman's a lady.

- I'm scared.
- You're scared?

What do you think the boys are?
Come on.

Up.

Lutie, these are the boys.

Boys, this is Mrs. Brewton.

CROWD: Howdy, ma'am.
- I'm very glad to meet you.

There.

Sit.

That's your piece right there.

[CHUCKLES]

- Ma'am.
- Yes, Banty?

Ha, ha. Mrs. Brewton, the boys...

We've been thinking.

And if there's anything
you want that we can do...

well, we'd be all-fired glad to.

Well, um... Well, thank you, Banty.
That's nice.

- Anything, ma'am.
- Well, I, um...

Well, let's see. Oh.
You know those trees down by the brook?

- Brook?
- Crick.

Crick? Crick.
I wonder if you could pull them out for me.

Sure, ma'am, we can throw a rope around
them and yank them out by the roots.

No. No, I mean, could you dig them up
and plant them around the house...

so that we could have some shade?

It would be lovely,
fence in the whole yard.

- Fence?
JIM: Ha, ha.

We'll do it, Mrs. Brewton,
all the ornery trees you want.

We'll do it. Won't we, boys?

- Sure will.
- Sure.

Thank you. Thank you very much.

- Good night, Mrs. Brewton.
- Good night.

Did I do something wrong?

No, no, no.

You said "fence."
That's a cuss word on the open range.

Oh, my. Ha, ha.

JEFF:
I just been down at the barn.

Pete says
that new bull's been fighting again.

- Cut up pretty bad.
- Oh, I'll go right down.

You'll be all right, won't you?
I can't take a chance on that new bull.

Jeff, just how important is a bull?

Well, this one is sure a beauty.

- There's a neighbor.
- Huh?

- Where?
- There.

JEFF:
Oh, that's just a headquarters camp.

Oh.

We got a neighbor, though.

McGee ranch
lays right over about 15 miles.

Fifteen miles?

Ls there a Mrs. McGee?

- No. McGee's an old bach.
- Oh.

Well, good night, Jeff.

Lutie.

Yes, Jim?

- Have you been crying?
- No.

- Have you been feeling like crying?
- No, Jim.

What have you been feeling?

Oh, I've been just thinking.

What about?

About all the things I'm going to do,
how I'm going to fix up the house.

I'll get you everything you need, Lutie.

- You sure you're all right?
- Very sure.

Lutie.

- Only...
- Only what?

One thing.

I wish you looked at me
the way you look at that out there.

Cut all them cottonwoods out first.

Mrs. Brewton don't want no mixed breeds.
Just yew and tamarind.

Hey, this here's a maverick.

Sure, it is. Brand her and let her go.

Commence planting them now.
Clean around the house.

Yeah, like a fence!

[LAUGHING]

Pat the dirt up nice around them roots.
They're kind of spindly.

I'm afraid the first good wind
will knock them flatter than a flitter.

Don't you worry about them trees.
They're skinny but stubborn.

LUTIE:
Thank you, Banty.

I saw Selina Hall in town yesterday.

She's still living in that lean-to
behind the saloon.

Should've left
when the other squatters did.

She's taking in washing now.

The water's like lye.
Her hands were bleeding.

What's the matter with her man?

There are plenty of jobs
if a man wants to work.

Oh, he's working in the saloon.

He smells exactly like beer.

Jim, Sam Hall's a farmer.

He's not a man to be smelling of beer.

And Selina has to carry
all the water she uses for blocks.

Well, you can't expect to find much water
around a saloon.

Oh, Jim.

- She's having another one, you know.
- Husband?

- Baby.
- Oh.

She can't have it in that lean-to
behind the saloon.

Selina says they've been talking about
filing on a spot near Mule Creek Flat.

Right smack in the middle
of my headquarters range.

- Yes, nice and close to us, isn't?
- What is nice about being close?

Jim, Selina's my friend.
She's the only one I've got out here.

She'd be a neighbor.

Your work takes you away so much.

I'm not complaining, darling,
but she'd be someone to talk to.

Women like to talk a lot.

Yes, I know.

No, thanks.

They could be settled
before the baby comes.

That'll be in April.

I'll have mine in May.

You'll what?

- Have you seen Doc Reid?
- Mm-hm.

Lutie.

Good girl, Lutie.

Good boy, Jim.

Selina says she wants a boy.

I'll buy you a whole floor
on the best hospital in Denver.

What for?
Home's the place to have a baby.

Wonder where Selina will have hers.
Out under a bush, I suppose.

I have a hunch it's gonna be
somewhere on Mule Creek Flat.

Oh, Jim.

You'll like the Halls
when you get to know them.

- I don't expect to get to know them.
- Why?

- I don't think they'll be here
long enough. - Don't be cruel, Jim.

I won't have to. The country here
takes care of itself, Lutie.

I don't know just how it'll happen,
but I'll give them about six months.

You're gonna have to find out all that
for yourself, aren't you?

All right, go ahead, tell them to file.

And as long as they're here,
I'll be nice to them.

I love you very much, Colonel Brewton.

Kind of took advantage of me
you know that, don't you, Mrs. Brewton?

That's what an advantage is for.

This kid better look like you
or I'll drown it.

[CHUCKLES]

SELINA: Hi.
- Hello, Selina.

SELINA:
We're getting a sod house up.

What a country. Man needs a house,
he just digs it out of the ground.

Yes, quite a country, and getting better.

- Why, Mr. Chamberlain.
- Mrs. Brewton.

Say, I didn't know
you folks was acquainted.

Oh, yes, Mr. Chamberlain is an old,
old friend and adviser.

Did he advise you too, Selina?

Showed us how to file on this land,
if you call that advising.

I brought a present for little Molly.
His name is Redeye Son of a Gun.

Here, Molly. Here's a present for you.
I hope you can use all that stuff, Selina.

Why, honey, I can use anything
from a buttonhook to a kitchen range.

Colonel Brewton sent us over
a side of beef.

- This buffalo grass sure goes down deep.
- Hello, Sam.

I'd feel a lot easier
if you'd take that beef back, Mrs. Brewton.

- We don't need it.
- Shut up, Sam. Sure we need it.

Well, maybe we do, for eating purposes.

But I'd sure choke on it if I figured
taking it gave anybody any wrong ideas.

We're here because we got a right to be
here. Nobody's letting us do anything.

We're just doing it
and we can take care of ourselves.

- I know that, Sam. - You want
Lutie to think she ain't welcome?

- That ain't what I mean, and you know it.
- Aw.

You wanna come to see my wife,
you come and most welcome.

Thank you, Sam.

Don't take Sam serious.
He's just being a man.

I know. They're rather
peculiar people sometimes, aren't they?

Sometimes?

[BOTH LAUGHING]

You know, I owe you an apology.

When you first drove up today,
I thought, here comes Lady Bountiful.

I take it back.
You're really fond of Sam and Selina Hall.

Selina was my first friend out here.

I'm awfully glad she doesn't seem lonely.

Did you expect her to be?

Well, this is the place for it.
Hardly a woman's country.

It could be.

It should be and someday it will.

When? How?

Why not? It's happened in other places.

First, the covered wagons,
then the houses, then the farms.

Families, children growing up.

Sure, it'll be a woman's country then.
Women will help make it theirs.

- Do you hear that, Mr. Chamberlain?
- Hear it?

The people, I mean, out there.

Thousands and thousands
of Selinas and Sams really, isn't it?

Colonel Brewton hears something
so different.

I'm afraid you've got me wrong.
I don't hear any voices.

I only know this is good land...

that doesn't mean anything
unless people get their living out it.

Use it, live on it. That's where I come in.
I'm gonna make sure that happens.

Anyway, I'll make a stab at it.

- I turn back here.
- Maybe then, this would be my country too.

And, you, what do you hear?

I've been told that a good wife hears only
what her husband wants her to hear.

Well, what an old-fashioned idea.

Don't be unfair, Mr. Chamberlain.

You must admit that Colonel Brewton's
made it easy for Selina and Sam.

One side of beef? Conscience money.

- You are unfair.
- I'm realistic.

Don't forget it's only one Sam, one Selina
and one side of beef.

You speak of thousands.

I'm wondering
why Brewton even helped one.

He's a pirate, you know.

You don't know him, that's all. I do.

Why do women insist on loving men
for what they want them to be...

instead of what they are?

Good day, Mr. Chamberlain.

You know, I envy Brewton very much.

You mean, you envy the pirate, his loot?

Not all of it. Just one thing.

I'll get around to telling you
what it is someday.

Come now, I'm not a child.
I dislike this scurrying about.

If you think I'm attractive,
why don't you say so and get it over with.

That isn't what I meant, but now that
you mention it, you are attractive.

You're very attractive.

I know it and you know I know it.

Known since the first time
I looked at you.

Yes, Hurry.... I have, Mr. Chamberlain.

And now you've said it
and we're done with it.

Are we?

I don't think so.

Company's most all here.
Ain't that baby asleep yet?

You go on, get out of here,
you're keeping her all riled up.

Keep her out of my way
if you want this child to sleep.

Everything ready downstairs yet?

Of course it is,
else why I've been over that stove?

- Now, go on, get.
- Good night, Sarah Beth.

You too, now, go on.
Get out of here, vamoose.

[ORCHESTRA PLAYING
CLASSICAL MUSIC]

- Sure is light-footed. - Light-fingered
too, it begins to look like.

Gentlemen, I give
you the lady from St. Louis.

A good toast to remember in this house.

Drink hearty, gentlemen.

[JEFF SINGING]

- What are you singing?
- It's a lullaby.

It won't do much lulling if you people
keep coming in here and stomping around.

- How do I look, Jeff?
- Real pretty.

[SINGING]

Jeff, do you ever get tired
of cooking for all these parties?

I wouldn't worry about that
if I was you, colonel.

Women got a certain number
of parties in their system...

and they just gotta get them out.

[SINGING]

Jeff, you're a wonderful mother.

You know, being stirred up
must be good for you, Lutie.

Been married a year
and still don't look like a wife.

- Stop it, Brice.
- What keeps you so stirred up, Lutie?

You've got everything you want,
haven't you?

Stop it. Stop it, Brice.

You can stop me easy.

Tell me
you've got everything you want.

Tell me you've got even part
of what you want.

Oh, come on, Lutie,
why don't you answer me?

I'll tell you why,
because you don't lie very well.

There's nothing you can say
that you're not afraid to say.

- Just white sand just as soft as-
- Pardon me.

- Dance with me, Jim.
- What's the matter, Lutie?

Nothing. This is your dance, that's all.

Please.

- I made you some tea.
- Thank you, Jeff.

Maybe it'll warm me up a little.

A real heavy snowfall.

Snowfall? It's a blizzard.

I'm worried about the colonel, Jeff.
He hasn't been home for 48 hours.

Oh, I wouldn't worry about him.
He's all right. He's always all right.

I'm worried about the cattle.

[cows MOOING]

Hey, keep them away
from that barbed wire.

- Head them off.
- Keep them out of the fence.

SELINA:
What are you gonna do, Sam?

The next steer that busted my fence
was gonna get blowed.

Cattle don't know where they're
drifting, maybe they'll head the other way.

- Don't go out there, it's
looking for trouble. - Trouble?

Was trouble when them cattle trampled
our crop before we could harvest it.

I got fall wheat planted out there, and I
ain't gonna stand by and see it get ruined.

Selina, with the new baby coming if we
don't make this crop, we gotta give up.

No, Sam. Don't.

Sam, stay here.

Sam, come back. Sam.

Keep them cattle out of my wheat!

Get them out of there!

Sam, look out!

Come on, let's get him.
Kill that yellowbelly.

[SCREAMS]

Sam!

Sam. Sam.

Sam.

Sam.

Sam, Sam.

I'll be all right, Selina.

[sesame]

LUTIE:
Jeff, Jeff.

Ls Jim back?

No, Mrs. Brewton,
the colonel ain't home yet.

Well, then what's happened, Jeff?

The boys just got in.
Heated up some coffee.

Get back to bed, it's cold.

No, I'm not going back to bed
until you tell me what's happened.

It's nothing, a little
blowup over at Halls.

Hall shot our steers,
boys worked him over. Now, get.

- Worked him over bad?
- Well, the boys said good.

- I'm going to the Halls.
- You ain't going nowhere.

You get me a horse.

Selina's expecting another baby,
I'm gonna see if she's all right.

Well, wrap up warm.

[KNOCKING ON DOOR]

Sam, I've come to see Selina.

Is she all right?

- Let me in, Sam.
- No.

- What's happened?
- She tried to help me, the baby's dead.

- No, Sam.
SELINA: Make her go away, Sam.

I don't ever wanna see her again.
Send her away.

- Selina...
- You heard what she said.

Now, go on back to Brewton.

Tell him he's won.
Tell him he's won a big victory.

We leave now.

Now, go on, get out.

- Look after him good.
- Sure, colonel.

- Lutie, I heard about the Halls.
- Yes.

It was a bad night all around.

- I lost a couple of hundred head.
- Sorry, Jim.

- Well, it's nice to be home again
with you. - Jim, Selina's baby's dead.

I know. Too bad.

Jim.

Jim, she's so bitter and so lost.

We've got to let her know
how sorry we are.

We've got to help them.

The best way to help them
is to stay away from them.

Jim, they say they're leaving.

Let them go.

I made a mistake before, Lutie.

I shouldn't have given into you,
I won't again.

The time I did those people harm
was when I let them file.

My fault, Lutie, not yours.

Jim, if you won't help the Halls
for themselves, then do it for me.

- I love Selina, right now, she hates me.
- There's nothing I can do.

This would only happen again or similar.
It figured to happen.

- This is tough country, Lutie.
- This country.

I'm sick to death
of talking about this country.

You think it's more important
than the people in it.

That depends. Depends on who
the people are and what they're up to.

You let Selina and Sam Hall stay here...

because you wanted something
like this to happen.

To show me, to show everyone
you don't care how many people die.

Just so long
as you keep the grass for yourself.

Lutie.

Lutie.

I'll try to tell you, Lutie.
It's hard to say, but...

The Halls don't count for much, Lutie.
Neither do we.

But that out there does.

And men like Chamberlain,
they wanna farm it.

They wanna dig it up
and draw the water out.

Let the sun get at it, way down deep.

It'd curl up and die, it'd be dead.

And so would the whole country,
it would never live again.

I tried to tell you, Lutie,
but you didn't hear it, did you?

- We won't talk about it anymore.
- That's right, no talk.

Just you and the grass the out there.

That's really the way you want it,
isn't it?

No, Lutie.

- I want you with it too.
- You don't need me, you never did.

Lutie.

You've never lived with me.

I've been here, you've been out there.

Jim, I'd like to go away.

I've got to.

Might be a good idea.

You could do a little shopping in Denver.

Some thinking too.

Denver paper, Rocky Mountain News.

News?

Denver paper?

BELLBOY:
Call for Mr. O'Connor.

Call for Mr. O'Connor.

[MEN LAUGHING]

If we're gonna break
the hold of the cattlemen...

we have to make Salt Fork
a federal district court.

- And see an impartial judge is appointed.
- Right.

Hope you enjoy your stay
at the Brown Palace.

Always winds up on the right side.

Excuse me, gentlemen, one moment.

Lutie. In Denver of all places.

- But not for long.
- Long enough to take pity on me at dinner.

I'm afraid not, Brice.
My train goes in the morning, very early.

There's no train leaving
for Salt Fork in the morning.

- This train goes to St. Louis.
- Oh, I'm sorry, Lutie.

I understand you don't wanna see
a lot of people.

Lutie.

I have a sleigh with a driver.
Consider it yours if you'd like some air.

- Thank you very much, very sweet of you.
- Without me, of course.

Call for me at 8:00.

Brewton's a big man,
I've never denied it.

But, well, it just doesn't leave room
for anyone else. For you, in this case.

I used to wonder how long it would
take you to admit that to yourself.

You never really expected him to change,
did you?

What I'm saying is, it was really
your fault. You knew it was hopeless.

You knew it the first time I saw you.
You knew it in the courtroom.

It's been written all over your face
every time since.

The Halls were your fault too.

You insisted on plunking them down
right in the lion's den.

And sat around hoping
nothing would happen.

Well, it happened.

It was bound to happen,
Brewton being Brewton.

Oh, Lutie, I'm sorry. I'm terribly sorry.

- I just wanna cry, that's all.
- I didn't mean to hurt you.

It's all right, it's fine. Only...

only...

I feel that it's the first time
that anyone has spoken to me...

in months and months and months.

I mean, about me.

Anyway, what you say is true.

And I don't mind looking at it at last.

It doesn't leave me much,
but I don't mind looking at it.

It leaves you me, Lutie.

[KNOCKING ON DOOR]

Come in.

Come in, Brice.

- The St. Louis train leaves
in half an hour. - I know.

I have a little more packing to do.

When people pack,
they're going somewhere.

When they're going somewhere,
better to know where.

- What do you mean?
- I mean, what's it going to be?

I'll give you time, I'll wait for you.

I'll stand back until you send for me
or I'll take that train with you.

It'll be what you want, Lutie,
whatever it is, it'll be your way.

Brice.

I'm so ashamed.

And so sorry.

Ashamed for me, sorry for you.

And Jim.

Brewton's all right.

- He's got you as he never had you before.
- No, Brice.

You're hanging on
to keep from running back to him.

- No, Brice. No.
- And you're going.

Yes, you are.
Nothing on Earth can stop you.

I don't understand it.

I know he won't change.

I know I'll go on hating what he does
and it will always hurt me.

But no matter what he does
or what I think....

No matter where I go...

I'll keep feeling
that most of me is there with him.

- It means that you love him.
- Yes.

And if I do...

then I've got to believe in him.

And go along with him.

I'll go back and tell him what I've done.

If I have the courage.

I'm sorry for you, Lutie.

I got a big fire in the living room,
Mrs. Brewton.

Thank you, Jeff.

- Has Sarah Beth been all right?
- She's finer than fuzz.

I got a real nice fire downstairs.

All right, Jeff.

Colonel traded Joe Netherwood out of it.

It's the only piano in the territory.

Gave him his best whiteface bull.

- Good fire, ain't it?
- Yes, Jeff.

Thank you, Jim.

Just a fool idea I had.
It's kind of like having you around.

Play me a tune, Lutie.

- Sad music or happy music?
- Up to you.

You know what kind of tune
you've got in your head.

[PLAYING PIANO]

- Like it?
- Pretty.

Kind of a surprise, though.
I thought it'd be sad.

It was sad when you went away.

Come here, Jim.

Stand there behind me.

Jim, when I went away, I didn't intend
to come back except to get Sarah Beth.

I was going to St. Louis.

I felt that it was still my town,
that I would be right there.

Yeah. Trees in St. Louis.

Yes, trees you don't have to plant
and cherish and protect.

I didn't know you ever noticed.

Why did you plant them, Lutie?

Were they to shut something out
or to shut yourself in?

Jim.

I was jealous.

Plain mean jealous
of this country and the grass.

And I tried to fight it.

Yes, with the trees and with Selina and Sam
and with a lot things.

I won't fight it anymore, Jim.

I'll know that it's there.

And I won't cry about it.

And I won't say bitter things.

And I won't run away.

I'm back, Jim, if you'll have me.

I'll have you, Lutie.

Jim.

Don't you wanna ask me
how Denver was?

Ah. Denver's always Denver.

But, Jim....

I'll make it up to you, Jim.

What is there to make up? You're here.

There's really no reason to worry, Lutie.
Just do the way you did with Sarah Beth.

I'll go tell Jim you're fine.

Yes, Doc, I'm fine.

[MAN TUNING PIANO]

- When do you know when it's tuned?
- I just know.

[CHUCKLES]

Doc, what's holding up?

When are you gonna tell
whether it's a boy or girl?

- What do you want, Jim?
- Well, we got a girl.

Come on. Cheer up, Doc.

Jim, you've gotta realize
Lutie's out of her head.

Bound to say things
we can't understand.

Just don't think about it.

Go on downstairs
and let Jeff get you a cup of coffee.

- Jeff, get the boss a cup of coffee.
- I got a pot on the stove.

And me too.

Better come in, doctor.

She's quit that wild talk.
I think the baby's getting close.

I never heard such carryings-on.

- Did you hear what she said?
- Mrs. Ryan.

None of us heard anything
in that room worth repeating.

Of course not. Certainly not.

I hope you remember that, Mrs. Ryan.

Well, Lutie, we've got a son.

JIM: Mac, you gonna have a smoke?
McCURTIN: Thanks, Jim.

Only get these when I come here.

JIM: Doc?
- No, thanks, Jim.

Mrs. McCurtin was saying yesterday...

before Brock was born,
we used to see a lot of you.

Past year,
you've been holing up on us.

Spends too much time with them children,
bound to spoil them.

- Sure both babies got over the croup?
- They got over it all right.

Not on account
of that medicine you gave them.

- You going to take this or aren't you?
- That so, Jeff?

- What cured them?
- Baking soda and lots of it.

Cure any kind of a cold.

Doctors.

LUTIE: Gave your medicine
behind Jeff's back.

Don't ever let him know about it, though.

Well, come on, Mac, let's have it.

- What?
JIM: The bad news.

- How'd you know?
- All over you ever since you got here.

I've got a hunch
Chamberlain's up to something.

McCURTIN: How'd you know that?
JIM: All over him the last time I saw him.

McCURTlN:
And you're right, Jim. He's up to plenty.

- I'll leave you to your business
and brandy. - No, no, sit down.

Mac's a lawyer, he likes an audience.

Chamberlain's got Salt Fork
made a federal district court.

Got himself elected judge.

- What about Judge White?
- Only local matters now.

Oh, is that so?

McCURTIN: And here's
Chamberlain's message to you, Jim.

Tomorrow he's sending notice
to every squatter...

There's a whole wagon train of them.

The government's represented now,
will give protection.

You'll have a hundred claims
on your range before the week is out.

What do you think we ought to do?

I've been looking for a chance
of any kind to head it off.

But there isn't any.
It's the federal government now...

the law of the land,
and it's obeyed, it's gotta be.

- What do you think, Lutie?
- Hurry?

Well, I think Mac has said it, Jim.

It had to happen, Jim. Everyone knew it.

I think you did in your heart.

No.

No, I didn't, Lutie.

- Well.
- Good night, Papa.

Good night, dear.

- How's your finger?
- You told me it wouldn't hurt.

Well, it won't hurt, either.

McCURTIN: Anything you say goes, huh?
DOC: Sure, she's Jim's girl.

- Her first crush.
LUTIE: Come, Sarah Beth.

- Good night, dear.
- Good night.

- Good night, very nice dinner.
- Thank you.

Good night, Lutie.

Good night, Jim.

Good night, dear.

Don't get Lutie wrong, Jim.

She's a woman, and, well....

I don't get her wrong, Doc.

It's just that I keep wishing
she was really on my side.

Well, help yourselves, gentlemen.

McCURTIN: What are you gonna do, Jim?
- Right now?

Go for a little walk.

Is that cold?

JIM:
Banty, bring Joe.

Hold her a minute.

SARAH BETH:
Could I go under there?

Andy, you take the Davis place
and McGee's ranch.

Tell them I wanna see them,
to bring their Winchesters.

Wake, you take Velez's ranch
and the outfits south.

- You bet, colonel.
- Get going.

SARAH BETH:
You were gonna put me to bed.

Yes, darling.
I'll come right back and put you to bed.

I'll be right back.

- I could cry for you.
- Don't waste it on me, Lutie.

- Why don't you go get some sleep?
- Because that's not what I need.

Why do you keep looking at me?
What do you keep wanting?

Nothing, Lutie.

Nothing anymore, I don't expect it.

What are you going to do?

If Chamberlain wants to declare war,
he's going to get it.

You're really going to shoot
the homesteaders that come?

- Right.
- In cold blood.

- If that's what you call it.
- Don't. Give up on it.

- Who are you protecting?
- You.

I don't believe that.

- Why do you want me to lose?
- I didn't say that.

But you do, don't you?

- Well, I guess so, maybe I do.
- Why?

- Why?
- Maybe then I'd have a chance.

- Maybe you'd turn to me.
- Is that the only reason?

Jim, it's murder, killing people.
I don't know if I could bear it.

- I've tried to fit in, to be what you
want. - You have, I've seen you trying.

To go out in cold blood.

But I've seen other things
I've said nothing about.

They're innocent people, Jim.

I'm going to do what I have to do.

- All right, Jim.
- All right, what?

Do what you have to do,
I've nothing to say.

- And what will you do?
- Nothing. I'll wait.

- Nothing more to say?
- No.

You'd go on living
with a murderer, Lutie? Why?

Why do you owe me that? That's a lot.

You wouldn't have done it once.
You've changed.

What changed you?
Why do you owe me so much?

The trip to Denver, maybe?

You never really told me
why you came back here.

Do you wanna tell me now, Lutie?

Nothing more to say.

Well, I guess that says it all.

It took a long time, but it's all said now.

I tried, Jim.

I tried.

More than once.

But you just looked at me.

You just looked at me and stopped me.

I couldn't.

I couldn't.

But now I'm glad it's out in the open.

I don't care what happens.

I'm glad it's out after two years.
I'm glad it's out.

When do you wanna leave, Lutie?

I don't want to leave.

Then when are you going to leave?

You can catch the next train.
Better go up and pack.

We'll start in the morning.

Hurry....

I don't see how
with all the children's things.

The children's things?
You won't have to pack those.

- You think I'd leave them?
- I'm sure of it.

- I couldn't leave them.
- You can take one of them.

- One?
- You can take Brock.

But if you take him, you take everything
that goes with it, and so does he.

If you leave him, I'll bring him up.

And I'll do for him.

A man wants a son.

All right, Jim.

I thought you'd see it my way.

But I...

I won't let you keep them forever.
I'll fight.

That's one fight I wouldn't lose, Lutie.

- You still carry him in your heart, don't
you? - I carry you in my heart, Jim.

I love you. Can't you see that? I love you.

You couldn't love me and be against me.

You'll both have to be very good for Jeff.

And, Sarah Beth, darling,
you'll take care of Brock, won't you?

Oh, darling, you're so little.
You won't remember, you can't.

I'll remember.

Colonel's ready now, Mrs. Brewton.

- Can I go for a ride too, Mama?
- Not today, darling.

Remember, I'll be back sooner than soon,
with a double present for both.

[BROCK CRYING]

Goodbye, Jeff. You've been a friend.

Don't you worry, Mrs. Brewton.

Say nice things about me
to my children, Jeff.

- Goodbye, Doc.
- You be good.

Oh, come.

Ready?

Doc gave me this check from you.

CONDUCTOR:
All aboard.

Is this the way we say goodbye?

You said goodbye, Lutie. Two years ago.

He's just turning in the door.

Come in, Jim. Glad you could make it.

What'd you get me here for, Doc?

Well, Jim, I got a funny feeling
there's a lot of people gonna be killed.

But you two can stop it.

As far as I'm concerned, Doc,
the law's going to be enforced, that's all.

I'll see you later, Doc.

Don't be a fool, Brewton. Go after her.

I never had a chance. I tried.

I tried in Denver
and again yesterday before she left.

You were in the way. You still are.

MAN:
Hi, colonel. We're all set.

Everybody's here,
every cowman that could set a horse.

Here's ammunition.
Tell them to help themselves.

- Be with you in a minute.
- Right.

Here's more ammunition, boys.
Come and get it.

Come and get it, boys.

- More ammunition here.
- More ammunition up there.

Dell, what are you doing out here?
Practice much?

Oh, I wish it were.

I'm hereto see
that the homesteaders are let alone.

Now, don't look at me like that, Jim.
I'm a cowman myself.

I settled out here the same time you did.
I don't like this.

But my orders come
from the president of the United States.

They say to keep the peace out here.

- So I guess I'm gonna have to try.
- That so?

HARNEY:
The men I've got are good men.

They'll do as their orders read.
A lot of them may die.

You've got good men too.
It looks as though you outnumber us.

So you'd probably win today,
but nothing would stay won.

They'd send a regiment at you
if it was necessary...

and all your men would be dead.

Not only you, you got a right
to decide that yourself, but them too.

And as I said before, Jim,
they're good men.

They're real good men.

Well, boys,
I'm afraid we're not going to fight...

unless somebody
feels different about it.

So I guess we'll just go on home.

Maybe one of these days,
we'll be sorry we did.

They can keep the nester
from being blown away...

but only God can help the prairie.

Now, um, uh, let me understand
this clearly, Mr. Crane.

You believe that I may be able
to gain custody of my son...

but to do this, I must establish in the court
under oath the identity of his father.

In order to have him legally,
it's the only way.

And it is also your opinion
that if I do prove my right to him...

Hurry may forfeit my
right to my daughter?

I'm afraid that's the size of it, Lutie.

You would, in the eyes of the court,
forever prove your unfitness to have her.

But with luck, you could have Brock.

Yes, with luck,
I'd succeed in branding one...

and separating them
for the rest of their lives.

I'm sorry, Lutie.

What are your plans?

Are you going to stay
in St. Louis, my dear?

Well, I don't know, Mr. Crane.

Since my father died, I don't seem
to belong here anymore, either.

- Goodbye. Thank you very much.
- Okay.

LUTIE:
Write to me, Doc.

Let me know about my babies,
how they are and what they do.

Keep in touch with me, please.
Love, Lutie.

DOC:
You are missed, Lutie.

It's like somebody blew out a light
and it's a little darker for all of us.

Jim had the children in the other day
for me to look over...

and they're healthy as goats.

You wouldn't know Salt Fork, Lutie.

Town's jam-packed every day.

The storekeepers are trucking
to the homesteaders now.

Hardly ever see a cattleman in anymore
unless it's when they come in to fight...

and lose one of the lawsuits that's
always being slapped on them by farmers.

The court therefore, fixes damages...

for the full market value
of the matured crop.

DOC:
Chamberlain was heard to say...

that God was on the side
of the homesteaders.

I don't know as l could speak for him...

but I've got to admit
that the crops are good.

And the heads on the wheat are so heavy,
they knock a man's hat off.

And the corn
can swallow up a horse and rider.

This is rich land, all right...

and the sod-busters
are reaping its first flower.

Maybe that's what God ordered,
l don't know.

You ask about Jim.

Well, he never says much...

but his bank's a little straighter
and his head's a little higher than ever.

Sarah Beth follows her father around
like she was a lonesome pup.

And l got to admit that Jim treats her
about like she was a pup.

Not that he isn't good to her.

L guess it's this way.

Sarah Beth gives all to Jim,
and Jim, he gives it all to Brock.

And Brock, well,
Brook's like he always was...

temper like a buzz saw
and a smile like a feathered angel.

LUTIE: Oh, Doc, lam lonely,
but I know I should stay away, and I will.

Just as long as l can.

Just as long as l can.

LUTIE: Doc.
- Lutie.

- I'm glad you're here.
- Buggy's right over here.

It's all changed.

Yes, it's busy.

Same old buggy.

Tell me, Lutie, why did you really come?

- Just to see the children?
- That, mostly.

It's been pretty bad, Doc.

Where's Jim?

- Waiting at the hotel.
- Waiting?

To take the children home
after you've seen them.

Oh.

Did he mind about my seeing them?

He didn't say one way or the other.

Doc....

What about Jim?
Where I'm concerned, I mean?

Tell me.

Honey, it's pretty hard to say.

He just never mentions your name
one way or the other.

Thank you.

All right, Mrs. Smith.

Doc, they don't know me.

They're very young.
It's been two years, Lutie.

You can't expect it.

No, I don't expect it.

I only hoped.

Do you remember, I said I'd bring
a double present for both of you?

- Do you remember, Sarah Beth?
- No.

But you'd like to have a present,
wouldn't you?

- Yes.
- Then you wait.

You look at what I have in my bag.

Now you look in the bag.

- Saw her getting off the train.
- Went right over to Doc Reid's.

[CROWD LAUGHING]

[SINGING BIRD PLAYING ON TOY PIANO]

You must leave at once, Brice.

Do you realize
I've never even touched him before...

never been close enough
to look into his eyes?

- He's a fine boy.
- You shouldn't have come here.

Brock.

Jim.

Come on, kids. Time to go now.

BRICE:
I'm sorry, Lutie.

I shouldn't have come back.

I've brought everything to life again.

And the children, Brice,
they don't know me.

I'm not sure they even liked me.

They were just waiting
for the time to go home.

They don't need me.
They don't need anything from me.

Listen to me, Lutie,
you and I, we could get Brock.

He's ours. Let Brewton have Sarah Beth.

We could take Brock away.
He belongs with you and me.

We'd get as far away from here
as trains could carry us.

This is cur last chance, Lutie.
The last chance for the three cf us.

I can't go away with you, Brice.

I can't have Brock
and I can't have Sarah Beth...

so I'm gonna go, but I'll go alone.

And you've got nothing for me?

Not enough, Brice. Not enough for that.

Come on in.

[COUGHS]

Doc.

Glad Mac got you here, Jim.

Haven't been seeing
very much of you lately.

- I haven't been looking for you.
- So I noticed.

I used to love you
like the son I never had.

Not anymore. You know why?

Maybe you better not talk
about it now, Doc.

Got to-

I'll tell you why. Lutie.

I can say it now. Lutie.

Wouldn't let anybody speak her name,
would you, Jim?

But you gotta humor me.

Last wish, you know.

All Lutie needed
was a little help from you.

She had better coming than she got.

She never forgot her children.

She was all right.

And you sent her away twice. Your fault.

That's right, yours.

People don't tell you that much,
do they, Jim?

Jim.

Jim.

You hear me?

Yes, Doc. I hear you.

You, you'll never change.

You still got that same look in your eyes.

No, you'll never change.

The Doc. Out of his head, I guess, Jim.

No, he was right. Just right.

He's gone, gentlemen.

Colonel Brewton, I had no idea.

- Are you sure?
- Very sure.

I wonder how she's fixed for money.

Mr. Cameron left her very little.

I see.

I might add one thing.

If I did know where your wife was,
you are the last one I would tell.

Why don't you leave her alone now?

MAN: Come on, kid, get up.
I'll give you a thousand bucks.

Get him over. Come on.

- Get him over, come on, come on, come on.
- Get him over.

Now you got him. Now you got him.

Come on, come on, kid.

- Brock, Brock!
- Wait a minute, sister, let him go.

Jeff, Jeff, Brock's fighting again!

- Jeff!
- Brock, stop that fighting.

Hey, Ed,
I'm betting on the Chamberlain kid.

[MEN LAUGHING]

- What's that you said?
- You heard what I said.

I'm betting on the Chamberlain kid.
You wanna cover my bet?

What's going on here, Jeff?

What was said here, Bill?

If anybody's got anything to say,
now's the time to say it.

Come on, Brock.

BRICE: Don't worry, Lutie,
I'll keep on writing to you.

L know you've turned to me
only because Doc Reid is gone...

and that you want nothing from me
but news of your children.

In this letter, i am sending you
a likeness of Sarah Beth and Brock.

L obtained it by devious methods
from the local photographer.

You asked about Brewton, Lutie.

L know very little about him.

He seldom comes to town...

except to do some buying
for the ranch now and then.

It would break your heart
to ride through this country.

It's all drying up and blowing away.

Brewton was right about one thing,
this land was not ready for plow.

It needed help from us.

During those first years,
when the rains came...

we should've been at work planning
against the time when nature would fail us.

We should've built dams,
brought our own rain...

and irrigation ditches
and culverts and diverted streams.

Someday, we will do these things
and the land will come back.

The hope of seeing that keeps me here.

And something else holds me too.

Brock is growing up, Lutie,
and the way it's happening worries me.

When Sarah Beth was home,
she used to look out for him.

But now that she's away at school...

Brewton makes no move
to curb Brock in anything.

It's almost as though he were trying
to make up to him for someone else.

You, Lutie.

Whatever it is,
it's bad for Brock and i don't like it.

And I'm forced to stand by,
helpless to do anything...

and watch the wildness in the boy
grow stronger.

Everyone likes him.

Maybe that's the trouble.
He's right at home every place.

Whether he's joshing the girls
at Clancy's Dance Hall...

or playing "The Blue Danube"
on Myra Netherwood's new grand piano...

he‘s a prime favorite.

And he's a walking contradiction too.

One day he'll be dealing whist and euchre
from the best horsehair furniture...

the next, he'll be prancing up and down
the street in his new buggy...

with a homesteader girl beside him.

[LAUGHING]

"BRICE". You may see him buying out
a showcase of jawbreakers...

at the Kingman Mercantile Company
for a bunch of runny-nosed kids...

gentle as a woman.

Or keeping a tomato can rolling
at 50 feet with a six-shooter.

It gives me pause, Lutie, to see him.

There's such a lot of recklessness
under that crazy charm.

There's a danger in him
and a kind of violence.

It's hard for me to keep my hands off.

Sometimes, when he looks
at me as we pass...

and it's never more
than a flick of his eye...

I feel that he must know something
and that he must hate me for it.

L understand Sarah Beth
graduated last week with high honors.

Sarah Beth Brewton.

[CROWD APPLAUDING]

Hazel Sawyer.

BRICE:
They tell me she'll be home soon.

L wonder how Salt Fork will seem
to her now, after her years of schooling.

BROCK:
Pardon me, ma'am.

I'm, uh, looking for a little sawed-off,
freckled, ugly runt of a girl.

I'm looking
for a handsome young gentleman.

Well, you found what you're looking for,
but how about me?

You went and changed on us.

- Oh, Brock.
- Hello, Sarah Beth.

Where's Papa?

Papa. Papa.

Good to see you, Sarah Beth.

Oh, I might've known you'd be like this,
both of you.

- Like what?
- Oh, good-looking.

[CHUCKLES]

A couple of years
do a lot for a young lady, don't they?

Well, what did you expect?
Of me, I mean.

Not as much as we got, eh, Brock?

Not half. I don't know, though,
looks stuck up to me.

- Probably won't like our town anymore.
- Your town?

- My town.
- Oh, maybe you'll do, huh, colonel?

Well, it's the same old place, same....

- I'm gonna leave you here.
- Where are you going?

At Charley's.
Cards are pretty hot for me today.

You better not get fresh with Charley.
He can teach you.

Yeah? Charley said you were pretty good
at cards, but I was better.

I can take Charley the best day he ever
lived with you standing on his shoulders.

Try it any time you say, colonel.

Any time at all.

I'll bet the women spoil him silly.

- Yeah.
- Not only the women, either.

Jeff says he can charm the gold
out of your teeth.

How is Jeff, Papa?

Well, he's like everything else
around here, lost his bite.

JEFF: Not much like the nightgown
you wore when I put you to bed.

- Oh, Jeff.
- Ha, ha.

How do you like the way
I fixed up your room?

- Oh, it's beautiful.
- Is it, though?

Got my idea from one them magazines.

- Well, if you want anything, yell.
- Oh, don't go, I wanna talk to you.

- I wanna know about Brock.
- What you wanna know?

Oh, just how he's been,
what he's been doing.

Oh, same as always.
Brock's been having a good time for Brock.

What you doing?

- Where'd this come from?
- I've been saving it.

Why don't you ask me
some more questions, Sarah Beth?

- About what?
- About her.

Ain't you curious about your mother?
You never think of her?

- What for?
- She's your mother.

I don't know who she is.

Don't you ever wonder
why she's never come to see you?

- You always say good things about her.
- You always stuff your ears when I did.

She gave up a lot when she went away
and she hasn't got much left now.

How about Papa?
Has he got anything left?

- He's got you.
- He's got Brock.

Yeah. Brock.

[WHISTLING]

HORTON:
Please stop whistling.

Ten.

Ten, I raise you 20.

Call you.

- Three tres.
- Three deuces.

CHARLEY:
You can't beat that boy.

- Nobody can beat that kid.
- That's right, Charley.

Nobody ever has.

You ought to know that, Bill.

Yeah, I know.

Six. Misdeal, isn't it?

Oh, have you got six too?

Five. I could've used another.

HORTON:
Look, kid, gambling is my business.

Yeah.

And I know my business.

After this, if I've got six cards,
I'll make it known.

Sure. You bet.

You deal.

- Any of you seen Judge Chamberlain?
- No, what do you want with him?

MAN 1: His office wants him.
CHARLEY: Try the bank.

Forget it, Joe. He didn't mean anything.

It's all right, Charley.

All right, kid, you're the judge.

- Judge of what?
- Go ahead, deal.

Three, judge.

Thank you, judge.

Three for the judge.

Ten dollars.

I'll let you off with a light sentence.

Pair of nines.

Pair of dogs.

I didn't know
you had a twin brother, judge.

All right, Brock, the Liam's open.

It's temporary, anyhow.

Who opened it for me, Bill?

I suppose I ought to say thanks.

I don't know the party.

Ho!

[PLAYING PIANO]

Brock, you're home. Papa, Brock's home.

Well, were you still as lucky?

Oh, sure, I'm always lucky.

- Stop that, play something else.
- Like?

Well, anything but that funeral march.
Play something with people in it.

Can't have a funeral without people.

Have dinner?

Yeah. Ate at Bailey's place
on the way out.

- Brock said he was lucky again, Papa.
- Really? That's funny.

- Looks to me like the boys took him.
- They tried.

- I was playing with Joe Horton.
- Horton? He's a bad boy.

- You wanna look out for him.
- I did, in one hand, especially.

We both drew one, only I drew first.

Got him right in the belly.

You mean you shot him?

Not conclusively. He's gonna live.

What happened? How'd the fight start?

I had a few too many, I guess.
I don't remember.

I never saw you that drunk.

Then I'm a liar.

- How long were you in jail?
- Not long.

Who got you out, McCurtin?

Hasn't he always before?

Yeah. When are you going to tell me
how the fight started?

I told you, I was drunk.

Now, if you'd rather
I hadn't come home, I'll get out.

I'd rather you didn't lie, Brock.

Come on, let's go into town
and face whatever's got to be faced.

Not me. I'm going to Denver.

You're going to Salt Fork
and get this thing over with.

Then you're coming back here.

And it might be a good idea if you spent
a little more time here in the future.

You can't run me anymore.

I wasn't cut out for living your way
and I'm sick of trying.

I'd rather be stuffed in a coffin.

I don't mind the shooting. I wouldn't give
much if you couldn't defend yourself...

but jumping bail is another thing.
It isn't square.

I want you to go into town
and stand trial on your own feet.

Clear yourself or take the consequences.
That's the only way to work it out, Brock.

When you've got something more
to say to me, I'll be around.

That was nice, that was fine.

- Take it easy.
- You can hurt him more than anyone.

- You know that, don't you?
- Take it easy.

I thought you were leaving.

I gotta think.

How can a man think
without a little music?

- Jim here?
- Around someplace.

- Out back, I guess.
- Where's Brock?

Hello, Mr. McCurtin.

- You tell them about the shooting, Brock?
- Oh, hello, Mac.

Sure, I told them. What's the matter?

Horton died.

- I figured he was too mean to die.
- I can get you off, once more, maybe.

You must've had good reason
to shoot a man.

You had one, didn't you?

Good reason?

- Why, sure, the best.
- Better come back in with me.

- Have you told the colonel?
- No, I can't face him.

I've gone that one time over,
bringing him bad news.

Are you coming?

No.

Then I'm finished, Brock,
as far as you're concerned.

Too much for me.

One last word.
I advise you to get in town, fast.

Sarah Beth,
tell your father I couldn't wait.

You can get out of this yourself
or the way you got out of jail.

What did Mr. McCurtin mean,
the way you got out?

- He got you out, didn't he?
- No.

- Who did?
- Chamberlain.

I guess he figures the young and foolish
should have another chance.

All right, Brock,
you don't have to cover up with me.

I've known for a long time.

- When?
- For sure when I was 15.

- How?
- A lot of things put together.

And before I went back to school
the last time...

Hurry knew you knew it,
and I knew Papa did.

I could kill Chamberlain.

That's what the trouble was about.

This fellow I was gambling with,
he said a few things.

That's why I couldn't tell the colonel.
I couldn't let him know that I know.

Oh, Brock.

We've been around a lot together,
the colonel and me...

and he never let anybody even think
anything once, at least not out loud.

Oh, don't I know.
I'm glad I know that too.

I mean, that you love him.

If I hated him, I'd be all right, then
we could walk down the street together...

and I wouldn't mind feeling him cringe,
never let on.

I should've gone away from here
a long time ago.

But he's hard to leave.

- Now I gotta get out of here fast.
- Don't run away, Brock.

Mr. McCurtin could get you off,
couldn't he?

Oh, sure, easy.
Jury wouldn't even leave its box.

- Then face it like Papa wants you to.
- Ever been to a trial, Sarah Beth?

Lots of things come out of trials.
Whole mess comes out.

Salt Fork would eat this up with a spoon.

And he's had enough.

Go on, Sarah Beth,
sit down and play a tune by yourself.

You'll have to get used to it.

And tell the colonel nothing.

Jeff said McCurtin was here.
What'd he want?

- Nothing.
- Where you going?

- First lap on my trip to Denver.
- Get down off that horse, Brock.

Get out of my way.

Well, Sarah Beth,
I'll try to understand why he had to go.

I didn't try with someone else
a long time ago.

I've always been sorry.

Well, colonel, then if Brock ain't here,
we just gotta find him and take him in.

- Why?
- I thought McCurtin told you.

Horton died.

Sorry, colonel.

- Things fall that way sometimes, Bill.
- Yeah.

Sure he ain't here?

You can look.

Hurry....

I shouldn't have asked that, colonel.

Good night.

Night.

Why is Brock frightened, Sarah Beth?
Doesn't he know Mac can get him off?

Yes, Papa, he knows that,
but he knows he can't get you off.

The man Brock shot,
he called Brock names.

Not pretty names, either.

They'd sound awful at a trial.

Especially when they're true.

Brock thought...
He wanted to spare you something.

He can't spare me anything.

It seems none of us can spare
the others anything.

You go to bed, Sarah Beth.

I've got to find him.

I've got to get to him
before he does something.

I've got to get to him
before some sheriff gets him.

He's a good boy, Sarah Beth.

Yes, I'm glad we know how good.
You find him, Papa.

I'll find him.

Get your Afternoon Star right over...
Here's your change, lady.

Late Afternoon Star. Thank you, sh.
Over here. Get your Late Afternoon Star.

Afternoon Star:
Latest news in the latest paper.

That's the idea. Thank you, sir.

Late Afternoon Star fight over here.
Get your Late Afternoon Star.

[GUNFIRE]

Here comes the colonel.

He's in that cabin, colonel.

You can't go down there, colonel.
The boy's gone crazy.

BROCK:
Go on, back!

No one's taking me
and that goes for you too.

Stay there or I'll drop you, I meant it.

Your last chance to turn around.

I'll count three.

One.

Two.

Three.

Send the doc. Hurry it up.

Hello, Dad.

Why am I calling you dad?

- You used to call me that, Brock. - Not
since I got old enough to know better.

Growing up. That's great, isn't it?

Don't talk. Don't talk.

You don't scare worth a nickel, Dad.

- Docs always try, don't they?
- Lie still, kid.

Lie still?
Not while I'm still breathing in and out.

Lying still comes later.

Not much later, though, huh, doc?

Hello, sheriff.

Somebody left a note for you.

Right side of you.

Brock.

Your sister sends her love, son.

Good girl.

Good, bright girl.

She told me, Brock.

She told me why you ducked out.

And, Brock, your mother...

- ...there's something...
- Dad, let's go down to Charley's, huh?

Let's drink all the boys under the table.

And then when there's just me and you left,
I'll drink you under.

Ask Charley.

How about it...

Dad?

Dad.

- I got it for you, last stop, ma'am.
- [MOUTHING] Thank you.

MAN:
"nothing today."

I beg your pardon. Ls there a train
leaving for San Francisco tomorrow?

- One at 11:00 tonight.
LUTIE: Thank you.

And so we have come
to pay our last respects...

and to say goodbye to Brock Brewton.

Beloved son of James B.
And Lutie C. Brewton.

This young man has departed
from our midst.

The Lord gave,
the Lord bath taken away.

Let us pray.

[KNOCKING ON DOOR]

Come in.

Just put the coffee on the table, please.

- You're Sarah Beth?
- Yes. Your...

- Please sit.
- There's no need for that.

I have something to say
and then I'm going.

- How did you know I was here?
- I have a room at the hotel.

The clerk told me.

I'm not gonna let you hurt Pop anymore.
He can't stand any more.

Maybe you couldn't hurt him,
even if you tried.

Maybe there's not anything
that can hurt him, not after Brock.

I hope so because nobody
can stand any more. Even him.

So maybe the pain's over now.
Unless you've brought him more.

Have you? What do you want of him?

Nothing.

I came to help Brock.

I didn't know he...

I didn't know
until the train was almost here.

I'm not even going to see
your father, Sarah Beth.

I might try if I thought I could
make up a little to him and to you...

for all the years,
but I know I couldn't.

He tried to tell me how he felt.

How the grass
was somehow godly to him.

He tried to tell me and I didn't hear.

And he was right.

Those years are gone
and my chance with them.

I'll leave tonight, Sarah Beth.

But I'm not sorry I came now
because I'll take something back with me...

which means a great deal to me.

The knowledge that he has you.

You to fight for him,
be there when he needs you.

To be what I wasn't strong enough to be.

He didn't come to St. Louis for nothing.

And now when
he's lost it all, everything...

when he needs something human
at last...

you'll come into the field.

No, he didn't come
to St. Louis for nothing.

And all at once, that gives me peace...

a kind of happiness even.

I haven't felt that for a very long time.

Just one thing.

Some night when he's sitting on the porch,
Sarah Beth, give him a kiss from me.

Don't, Mother. Don't.

[sesame]

I'm glad you're home, colonel.

Buckboard with Sarah Beth get in?
I missed seeing her start.

Maybe you'd better go on
in the house, colonel.

JIM: Sarah Beth?
- Papa, come here.

Mother wanted to be waiting
for you here, Papa.

The way she used to be.

Lutie.

You're well?

Yes, Jim.

And you?

You look as you always did.

Do I, Jim?

Papa.

It was a hard thing for her to go through,
but she's one in a thousand.

No one else will ever be like her.