- 6 hours ago
## 🎬 Man in the Saddle (1951) – Public Domain – Western | Action | Romance
**Man in the Saddle** is a rugged and visually striking 1951 Western directed by **André De Toth** and starring the quintessential Western hero **Randolph Scott**. This film marked the beginning of a legendary collaboration between Scott and producer Harry Joe Brown, a partnership that would later produce some of the most influential "B-Westerns" of the decade. Based on a novel by **Ernest Haycox**, the film is noted for its gritty realism, complex character motivations, and its breathtaking use of **Technicolor**.
As a 1951 production that has entered the **Public Domain**, it stands as a high-water mark for mid-century Westerns, blending traditional "range war" tropes with a more mature, atmospheric approach to frontier storytelling.
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## 📖 Plot Summary
The story centers on Owen Merritt (Randolph Scott), a small-time rancher who finds himself caught in a deadly confrontation with a powerful, arrogant land baron.
**The frontier conflict features:**
* **The Romantic Rivalry:** The tension begins when Owen’s former flame, Laurie (Joan Leslie), decides to marry the wealthy and ambitious Will Isham (Alexander Knox) for the sake of security and status.
* **The Range War:** Isham, driven by jealousy and a desire for total control, uses his vast resources to squeeze Owen out of his land, leading to a series of escalating tactical skirmishes.
* **The "Man in the Saddle":** Owen is a man who prefers peace but is pushed to his breaking point. He must use his superior knowledge of the rugged terrain to outmaneuver Isham’s hired gunmen.
* **The Stormy Showdown:** The film features a famous, high-intensity fight scene during a fierce mountain storm, adding a layer of elemental drama to the physical combat.
* **The Final Resolution:** The narrative builds to a high-key, climactic shootout where Owen must reclaim his honor and decide if his future lies with the land or the woman he once lost.
---
## 🎥 Style & Legacy
* **Randolph Scott’s Iconic Persona:** Scott delivers a characteristically lean and stoic performance, embodying the "moral center" of the West—a man of few words but decisive action.
* **André De Toth’s Direction:** Known for his gritty, "noir" influence on the Western genre, De Toth emphasizes the harshness of the environment, using wide-angle shots to make the isolation of the characters 100% visible.
* **Vibrant Technicolor:** The film is celebrated for its lush, high-contrast color palette. The deep blues of the mountain ranges and the rich textures of the leather and dust are rendered with stunning clarity.
* **Ernest Haycox’s Storytelling:** As a prominent Western novelist, Haycox provided a blueprint for more "literary" Westerns, focusing on the psychological toll of frontier life.
* **Cinematic Action:**
**Man in the Saddle** is a rugged and visually striking 1951 Western directed by **André De Toth** and starring the quintessential Western hero **Randolph Scott**. This film marked the beginning of a legendary collaboration between Scott and producer Harry Joe Brown, a partnership that would later produce some of the most influential "B-Westerns" of the decade. Based on a novel by **Ernest Haycox**, the film is noted for its gritty realism, complex character motivations, and its breathtaking use of **Technicolor**.
As a 1951 production that has entered the **Public Domain**, it stands as a high-water mark for mid-century Westerns, blending traditional "range war" tropes with a more mature, atmospheric approach to frontier storytelling.
---
## 📖 Plot Summary
The story centers on Owen Merritt (Randolph Scott), a small-time rancher who finds himself caught in a deadly confrontation with a powerful, arrogant land baron.
**The frontier conflict features:**
* **The Romantic Rivalry:** The tension begins when Owen’s former flame, Laurie (Joan Leslie), decides to marry the wealthy and ambitious Will Isham (Alexander Knox) for the sake of security and status.
* **The Range War:** Isham, driven by jealousy and a desire for total control, uses his vast resources to squeeze Owen out of his land, leading to a series of escalating tactical skirmishes.
* **The "Man in the Saddle":** Owen is a man who prefers peace but is pushed to his breaking point. He must use his superior knowledge of the rugged terrain to outmaneuver Isham’s hired gunmen.
* **The Stormy Showdown:** The film features a famous, high-intensity fight scene during a fierce mountain storm, adding a layer of elemental drama to the physical combat.
* **The Final Resolution:** The narrative builds to a high-key, climactic shootout where Owen must reclaim his honor and decide if his future lies with the land or the woman he once lost.
---
## 🎥 Style & Legacy
* **Randolph Scott’s Iconic Persona:** Scott delivers a characteristically lean and stoic performance, embodying the "moral center" of the West—a man of few words but decisive action.
* **André De Toth’s Direction:** Known for his gritty, "noir" influence on the Western genre, De Toth emphasizes the harshness of the environment, using wide-angle shots to make the isolation of the characters 100% visible.
* **Vibrant Technicolor:** The film is celebrated for its lush, high-contrast color palette. The deep blues of the mountain ranges and the rich textures of the leather and dust are rendered with stunning clarity.
* **Ernest Haycox’s Storytelling:** As a prominent Western novelist, Haycox provided a blueprint for more "literary" Westerns, focusing on the psychological toll of frontier life.
* **Cinematic Action:**
Category
🎥
Short filmTranscript
00:00:03You're going to have to hurry, Mr. Isham, or you'll be late for your own wedding.
00:00:58You're going to have to hurry.
00:01:21You're going to have to hurry.
00:01:42You're going to have to hurry, Mr. Isham.
00:01:53Yeah, what?
00:01:56You're drunk yet, Owen?
00:01:59The bottle is still about half full.
00:02:01Oh, then you're sober.
00:02:03I don't know where they hide or where they come from, but there's a lot of pretty girls in town.
00:02:08It takes a wedding to bring them out.
00:02:10Maybe there's hope.
00:02:13Antelope running pretty heavy up in Fremont Basin.
00:02:16Guess it's about time I had another look at that country.
00:02:18That's your trouble.
00:02:19Always taking another look at a piece of country.
00:02:22Just fiddle-footed.
00:02:24Spilling the wind for scent.
00:02:26So you lose your girl.
00:02:28To a man like Will Isham.
00:02:34Now, the bottle's empty.
00:02:36Let's take a walk.
00:02:37What for?
00:02:38You're always taking a walk.
00:02:40Why?
00:02:41I'm tired of listening to long speeches.
00:02:43I ain't said nothing very well.
00:02:45Owen, you and Prine and me are just small ranchers.
00:02:49Good neighbors.
00:02:51Never paid like Isham.
00:02:53But that's no reason we should always let him have his own way.
00:02:56He is.
00:02:58If Laura Biddle was my girl...
00:03:00It's Skull's treat.
00:03:03I'll pay for my drinks.
00:03:05Me too.
00:03:06Why can I?
00:03:07They talk alike.
00:03:08What do you fellas got against Skull Ranch?
00:03:11So you're Ferry Dutcher.
00:03:13Sure dressed some fancy in Texas.
00:03:16I said, what have you fellas got against drinking on Skull?
00:03:18This is the Vert Boys, Duke and George.
00:03:21We work for Owen Merritt.
00:03:22He sits right over there.
00:03:23All right, I...
00:03:24That explained it.
00:03:26Don't explain nothing.
00:03:28Will Isham didn't have to send clean to Texas for just a ranch woman.
00:03:32What are you, a professional gun hand?
00:03:35Me?
00:03:35A gun hand?
00:03:37I'm a cattle man, son.
00:03:39I just carried this thing because my old mother thought it looked pretty on me.
00:03:43Yeah, there was plenty fancy shooting I saw the way you knocked off that bottle.
00:03:46Just luck.
00:03:47Plain luck.
00:03:49I couldn't shoot my way out of a chicken coop.
00:03:57Lucky again.
00:03:59This must be my lucky night.
00:04:09Duke.
00:04:10George.
00:04:25I'm glad to see you because I wanted a word with you.
00:04:30You've got the floor.
00:04:32I want to know how you take this marriage.
00:04:35If there's going to be trouble between us, I'd like to know it now.
00:04:40Will, I congratulate you.
00:04:44You're sure?
00:04:46The luck is yours.
00:04:48No complaints.
00:04:51I want the truth.
00:04:53And I want everybody in this room to hear it.
00:04:57I won't have rumors going around.
00:05:01I said, I wish you luck, but I'll let it go at that.
00:05:07Let's drink on that.
00:05:14Gentlemen, this is on skull.
00:05:19To the future, Mrs. Isham.
00:05:21Her health and yours will.
00:05:30You'll excuse me, but I don't wish to appear before the bishop with liquor on me.
00:05:35Croker, I'm buying the house for the rest of the night.
00:05:38Mr. Dutcher already set them up at your expense.
00:05:44That's very generous of you.
00:05:47Good night.
00:05:54Wow, wow.
00:05:55So you're over in marriage.
00:05:57Genuine pleasure meeting you.
00:05:59You've got to be our next-door neighbor.
00:06:00Not quite next door.
00:06:02My ranch is in between.
00:06:03Is that so?
00:06:04Well, well, well, well.
00:06:06Look at the group.
00:06:07What ain't going to be.
00:06:09You know, Lori's old man is out there bragging about his son-in-law already.
00:06:14You know, she sees that old cooter's well taken care of.
00:06:20You didn't have to do that.
00:06:22He's drunk, Owen.
00:06:25It's talk I don't like to hear.
00:06:27From a drunk or from anybody else.
00:06:29You're likely to hear more than that.
00:06:31Take it easy.
00:06:32This is my job.
00:06:36On your feet, babe.
00:06:44Now, get going.
00:06:45Head back to the ranch.
00:06:47What don't I do?
00:06:48Get.
00:06:51Hate to see a gent forget his manners.
00:06:53It does something to me.
00:06:55Must apologize for my man-neighbor.
00:06:58Have a drink?
00:07:00No, thanks.
00:07:04This is Will Isham's night, so drink up, folks.
00:07:10Will Isham had a reason for buying you a drink in front of that crowd.
00:07:14Peace and goodwill.
00:07:15Goodwill, my fat aunt's foot.
00:07:16You shouldn't have taken that drink.
00:07:18It ties your hands.
00:07:19How long are you going to let Isham crowd you?
00:07:21Excuse me, Ted.
00:07:23Look, that's Laura Bidwell's wedding bouquet.
00:07:25Now, if I was you and you was me, I'd mosey up them stairs.
00:07:29And if I was you and you was me, I'd get a rig and drive around at the back and
00:07:32wait there for both of us.
00:07:33But I'm not you and you're not me.
00:07:35Owen, when I saw her earlier, she wasn't smiling.
00:07:37I'd tell you, Laura's heart's not in this wedding.
00:07:40Maybe, but her mind's made up.
00:07:45I'll meet you at the horses in five minutes, then we'll leave this town.
00:07:58Mike, what do you think of Owen Merritt?
00:08:00I don't like him.
00:08:01I never have.
00:08:03From what I hear, you don't like much of anybody, and nobody likes you either.
00:08:07It's not worth the potter to blow you apart.
00:08:09Nobody in 500 miles stopped long enough to pick up the pieces.
00:08:12Still, I might have use for a lone wolf like you now and then.
00:08:17Just in case I don't get around to doing my own chores.
00:08:30Ned.
00:08:36Oh, I'd like to talk to Laura, if she'll see me.
00:08:40She'll see you.
00:08:41But are you sure you want her to?
00:08:43Why not?
00:08:46All right, Owen.
00:09:03Laura, are you sure it's got to be this way?
00:09:07Is that all you came to say?
00:09:09It's enough, isn't it?
00:09:12You're condemning me.
00:09:13No.
00:09:14You're the one that made the chores, not me.
00:09:16All I want to know is if you're sure.
00:09:19Laura.
00:09:20I've got to be sure, haven't I?
00:09:25Then I wish you luck.
00:09:28So long.
00:09:29Wait.
00:09:29You're coming to the wedding?
00:09:31No.
00:09:32Please.
00:09:34To make the record complete?
00:09:37Is it so hard to believe that I can still take an interest in you?
00:09:41Don't you understand that yet?
00:09:44I guess I do.
00:09:47You're an ambitious girl, Laura.
00:09:51You set your mind on certain things long ago.
00:09:53I couldn't break up that.
00:09:54I was ambitious for both of us.
00:09:56But there was a restlessness in you.
00:09:58I couldn't fight any longer.
00:10:00I got tired of waiting.
00:10:02I don't blame you.
00:10:03You always figured you could make your mind pull your heart along.
00:10:07I hope you can.
00:10:09I know what I'm doing, Owen.
00:10:12We always argued too much.
00:10:14That was one of our faults.
00:10:23Good night, Owen.
00:10:25Good night.
00:10:30It's time to go.
00:10:34I'm ready.
00:10:51Owen, you're a putty-headed fool.
00:10:54Shut up.
00:11:03Quite a party, boss.
00:11:04For this occasion.
00:11:07Here's to you and your bride.
00:11:08Why, thank you, Judge.
00:11:15Congratulations.
00:11:16Best of luck.
00:11:17Much happiness.
00:11:18Congratulations.
00:11:20Thank you, Judge.
00:11:23There's enough champagne water there to drown a horse.
00:11:25Mr. Isham had it shipped all the way from San Francisco.
00:11:28Won't you have some?
00:11:28I don't drink.
00:11:30I don't drink.
00:11:32I don't drink.
00:11:58Why can't we be friends like everyone else, Nan?
00:12:00I hope we'll always be friends, Hugh.
00:12:02Oh, you don't fool me.
00:12:04Why don't you ever smile at me, Nan?
00:12:06You know, sometimes I come out of the hills and stand near your cabin and watch the light.
00:12:10Sometimes I come close to the door.
00:12:12Telling your Nan you don't know what I feel inside, I'd tear off my arms.
00:12:15I'd burn spring rock down to ashes for you if you wanted it.
00:12:17There isn't anything I wouldn't do for you, anything.
00:12:21Hugh.
00:12:22Anything.
00:12:23Hugh.
00:12:26All right, then.
00:12:28There's the dance on Saturday night.
00:12:31Yes.
00:12:32Yes, I'll call for you.
00:12:34Now, if you'll excuse me.
00:12:42We Isham's are going to show you all just what luxury living is.
00:12:46We're going to open the doors of Skull and ask you all to come in and eat and drink the
00:12:52finest food and liquor
00:12:53that money can buy.
00:12:55That's a very hospitable proposal, Dad.
00:12:58I'm sure my husband would be happy to second it.
00:13:00Why, of course.
00:13:02Congratulations again.
00:13:05You lost me a daughter and I got me a son.
00:13:09Dad, you must be tired.
00:13:11Wouldn't you like to go to your room?
00:13:12Excuse us, please.
00:13:16Thank you, Shum.
00:13:18I'd like to talk to you in the study.
00:13:25Come outside.
00:13:27What fun?
00:13:32Get on your horse and leave.
00:13:34Now, looky here.
00:13:35You looky here.
00:13:36I'm not going to have you panhandling off a Skull.
00:13:40You'd send me away?
00:13:42My own daughter?
00:13:44I'm now Will Isham's wife.
00:13:46And you're not going to keep me from having the respect and dignity that he expects me to have.
00:13:51After all I've done for you.
00:13:53The way I raised you.
00:13:54The way you raised me.
00:13:56I saw Mother work like a horse to keep us alive.
00:13:59Saw her die.
00:14:00Out of shame, mostly.
00:14:04What'll I do, daughter?
00:14:05Where'll I go?
00:14:06Go back south where you used to live.
00:14:08You won't starve.
00:14:09I'll send you money, but you've got to stay away from Skull.
00:14:12And from Will Isham.
00:14:15I've got a chance to be something that Bidwell's never were.
00:14:18And you're not going to ruin it.
00:14:20Goodbye, Dad.
00:14:32Faye, would you like some brandy?
00:14:34I don't drink.
00:14:38I'm going to buy your ranch tonight.
00:14:41You aiming to threaten me, Will?
00:14:44If you are, I'm too grown up to scare.
00:14:50I've got to make it so worthwhile you can't afford not to sell.
00:14:54I'll give you $50,000 cash.
00:14:58It ain't worth neither.
00:15:00There's a small lake, a water hole, that straddles your land and mine.
00:15:04Well, what of it?
00:15:05There's more enough water there for both our herds.
00:15:09You don't get the idea.
00:15:11I'd only own half a lake.
00:15:14I never own half of anything, Lancashire.
00:15:16I own it all, lock, stock, and barrel.
00:15:18That goes for anything.
00:15:20Whatever I have is mine and mine alone.
00:15:22I'll share with no one.
00:15:25You're a strange man to figure, Will.
00:15:28But I reckon you can't be beat.
00:15:32I'll sell.
00:15:34If a man like Owen Merritt wouldn't fight for what belonged to him,
00:15:39I reckon I'm too old to try.
00:15:46What belonged to him, Pei?
00:15:50Pei, you're my guest and I'll say nothing.
00:15:54But when you ride off Skull tonight,
00:15:56don't ever come back on my land again.
00:16:04I'll pick up the papers at the bank in the morning and give you your money.
00:16:10I'll pick up the papers at the bank in the morning and give you your money.
00:16:32What happened to your father?
00:16:34He's going away on a trip.
00:16:36He won't be back to Skull.
00:16:38You're a smart woman, Laurie.
00:16:40I was very pleased.
00:16:41You got tact.
00:16:43You know how to handle people, make them feel good.
00:16:47That's what you want.
00:16:59What is it you want, Laurie?
00:17:03Nothing more than I'm getting now.
00:17:05You know my family, where I came from.
00:17:08I'm grateful to you, Will.
00:17:10And I'll never let you down on my part of the bargain.
00:17:12Not ever.
00:17:13Remember that.
00:17:15I'll play the part you want me to play.
00:17:18Is it nothing more than a bargain with you, Laurie?
00:17:21Nothing more.
00:17:24Did I ever give you the impression it would be otherwise?
00:17:29No, I'll give you credit.
00:17:30You didn't.
00:17:33Good night, Laurie.
00:17:37Good night, Will.
00:17:41Good night.
00:17:51Good night.
00:18:21Good night.
00:18:24Help yourself to the whiskey.
00:18:27Thanks, boss.
00:18:30Here's to you.
00:18:33Well, what about it?
00:18:35Skull is now up against Owen Merritt's line.
00:18:37What's wrong with that?
00:18:39In spite of what he said tonight, you don't trust Merritt with a hoot, do you?
00:18:42No, and I never will.
00:18:45Well, in that case, I better get on with what I came here for.
00:18:50Because the longer I put it off, the longer he'll be standing on those stairs between you and her.
00:19:12The longer I put it off, the longer he'll be standing on those stairs, the longer he'll be standing on
00:19:14those stairs, the longer he'll be standing on those stairs, the longer he'll be standing on those stairs, the longer
00:19:14he'll be standing on those stairs, the longer he'll be standing on those stairs, the longer he'll be standing on
00:19:15those stairs, the longer he'll be standing on those stairs, the longer he'll be standing on those stairs, the longer
00:19:16he'll be standing on those stairs, the longer he'll be standing on those stairs, the longer he'll be standing on
00:19:18those stairs, the longer he'll be standing on those stairs.
00:19:27Hello. All rounded up in tallit book. Looks like this here, you doesn't head up on me.
00:19:33Is that right? The way prices are, reckon we both ought to do all right when we get this batch
00:19:39to market.
00:19:40When do you figure we ought to move a moment?
00:19:42Uh, look. The rest of the outfit just showed up.
00:19:53Hello, Dan. Your herd is sure getting big.
00:19:57This year I have ten head.
00:20:07Howdy, partner.
00:20:10Need an extra hand, mister?
00:20:11Sure, if you can cook better than Coltus Charlie.
00:20:13Almost anybody can do that.
00:20:16Hello, Charlie.
00:20:18Hello.
00:20:22Is he still making you sing for your supper?
00:20:26Sure is, now.
00:20:30Howdy, Nan.
00:20:31Hello, George. All set for the big cattle drive?
00:20:34Sure am.
00:20:35How many head you shipping this year? Six?
00:20:37I've got ten.
00:20:39And you just see that nothing happens to those steer.
00:20:42They're the best beef in this section.
00:20:45Practically hand-fed.
00:20:46Well, I'll be doggone.
00:20:48Here I always thought they only ate grass.
00:20:51Coffee?
00:20:52Hot coffee.
00:20:53That sounds wonderful.
00:20:55Say what happened to the cookies you made at the ranch, Charlie.
00:20:57I don't know what happened.
00:20:58I feed the pigs.
00:21:00Pigs get sick.
00:21:02That's a cook, Charlie.
00:21:02I bet you're a whiz at baking Dobie Bricks.
00:21:07What's the matter, Juke?
00:21:08Something wrong?
00:21:12Yipe!
00:21:12Say, what is this, anyway?
00:21:14Coffee?
00:21:15Good coffee.
00:21:16I doubt that.
00:21:18Charlie uses gunpowder instead of coffee.
00:21:20Pretty soon your head blows off.
00:21:22I know.
00:21:23Mine just passed the moon.
00:21:26Doesn't seem to bother Charlie.
00:21:28Charlie, no fool.
00:21:29Charlie drank Steve.
00:21:35Hey, you two cut out the horseplay and pick up those strays.
00:21:38Sure, boss.
00:21:39Anything you say, boss.
00:21:41Right away, boss.
00:21:43And don't call me boss.
00:21:45All right, boss.
00:21:52Where's Pail Anchorage?
00:21:53He ain't shipping with us.
00:21:55We've been bunching our herds for years.
00:21:57No more.
00:21:59Pace sold out to Will Isham.
00:22:02Everything.
00:22:06That makes Carl your neighbor now.
00:22:09Yeah.
00:22:10Stay away from trouble, Owen.
00:22:12It comes easy to you.
00:22:14And it'll come still easier because you're in a frame of mind to have some.
00:22:18Besides, it's always been a great comfort to me at night to look across the desert and see your light
00:22:22shining on the hill.
00:22:24I hope I'll see it there always.
00:22:26It'll be there.
00:22:28There's no woman in the world worth tearing yourself apart for.
00:22:34And you'd better take care of my cattle.
00:23:00Oh, the man in the saddle is a man who rides alone.
00:23:09Far away from the bunkhouse and his friends.
00:23:20And the horse he's a straddle is all he'll ever own.
00:23:30He's a traveler and his journey never ends.
00:23:41Get along, old pie, there's a buzzard in the sky.
00:23:46Shake your tail, shake your tail, shake your tail.
00:23:50For this desert sand surely ain't the promised land.
00:23:56And I wouldn't be found here dead.
00:24:00Oh, the man in the saddle is a man who rides alone.
00:24:10Oh, the man in the saddle is a man who rides alone.
00:24:12Far away from the gal he left behind.
00:24:22Gotta ride, ride, ride, ride till we cross the great divide.
00:24:29And we come to the end of the trail.
00:24:48The cattle arrest us, getting pretty spooky.
00:24:51Bad smell in the wind.
00:24:53Couldn't be your cooking.
00:24:56We'll be moving out around four.
00:24:58Hitch up and have Chuck ready for us at the spring by daybreak.
00:25:21If I catch you under my hat again, I'll plug you.
00:25:24Or worse, make you drink your own coffee.
00:25:28Don't you think that I need a new hat?
00:25:30No.
00:25:31The hat needs a new head.
00:25:33And weren't you told to hook up the horses?
00:25:38I can't hear you.
00:25:43Ah.
00:25:48The End
00:26:39You ride the herd. I'll try to turn it with the wagon.
00:26:50The End
00:27:20The End
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00:30:35The End
00:30:36The End
00:30:36The End
00:30:36The End
00:30:49The End
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00:33:24Over there.
00:33:34A little warm in there, mister.
00:33:48Don't tell me, Bale.
00:33:50Clay in the shoe of your horse out there comes from only one place, Coral Flats.
00:33:55Well, well, Mr. Merritt.
00:33:57Come in, come in.
00:33:59I was thinking about you.
00:34:01These boys are just getting set for a little celebration after what they did tonight.
00:34:05I was about to oblige them with some good, clean fun, but I don't think they like the odds now.
00:34:10Tell you what, Owen, you and me don't want to spoil anything, so let's you and me go down
00:34:15the street and have a drink.
00:34:16George, you know I'll go down the street and have a drink.
00:34:19Come on, George.
00:34:20Oh, don't be like that, Owen.
00:34:24My motto is, never interfere when a man's out for some good, clean fun and enjoyment.
00:34:30No, just shoot him in the back of the head like you got my brother, Duke.
00:34:32Well, skull hands wouldn't shoot anybody.
00:34:34They're cattlemen, like Mr. Dutchess.
00:34:36He couldn't shoot his way out of his chicken coop.
00:34:41I've had enough of his talk.
00:34:42What's it going to be, Faye?
00:34:45Yeah, what?
00:34:47Let's find out.
00:34:58You're all standing around here braced for a fight.
00:35:02Which one of you was going to handle George, or was it the whole bunch of you?
00:35:04Sure, the whole bunch, skull style.
00:35:07A wolf pack on one man like they got my brother, Duke.
00:35:12All right, men, scratch for it.
00:35:16Killed a poor kid like Duke, who never did nothing to nobody.
00:35:30Come on.
00:35:34Come on.
00:35:35Come on.
00:35:36Come on.
00:36:21Come on.
00:36:22Come on.
00:36:34Well, Bale started it.
00:36:36I can sleep a little better now.
00:36:40Sort of takes care of Duke.
00:36:42I can sleep a little better now.
00:37:04I can sleep a little better now.
00:37:06I can sleep a little better now.
00:37:14Will.
00:37:19I want a word with you.
00:37:25What are you so guilty about?
00:37:28Do you want trouble with me?
00:37:29I've been having trouble with you.
00:37:31But from now on, you're going to have trouble with me.
00:37:34Is that an offer, Owen?
00:37:35Yeah, it's an offer.
00:37:40Merit.
00:37:42I'll tell you something.
00:37:44I've never liked you, your manners or your style.
00:37:47I'm thinking about something and you know what it is.
00:37:50What belongs to me is mine, entirely mine.
00:37:53Do you hear?
00:37:53So stay away.
00:37:55Stay away from everything that belongs to me.
00:37:59Just make sure that you hang on to what belongs to you.
00:38:01I'm thinking about something.
00:38:31Good
00:38:31One horse is coming.
00:38:37Better drop that cigarette.
00:38:39The house is all lit up.
00:38:40You're pretty jumpy.
00:38:42Yeah.
00:38:43Yeah, I am.
00:38:45I feel it.
00:38:47Close.
00:38:49Like a man feels when a gun's pointing at him,
00:38:51even when he can't see it.
00:39:04You haven't seen anything tonight, George.
00:39:07Sure.
00:39:23Not a very good place for you to be, Laurie.
00:39:25I know.
00:39:26I had to see you.
00:39:29May I sit down?
00:39:30Please do.
00:39:35Oh, and what are you thinking?
00:39:38Things I shouldn't.
00:39:39I was afraid you would.
00:39:42Afraid you wouldn't, too.
00:39:46What was it you came here to say?
00:39:49It's my husband.
00:39:50His pride is terribly strong.
00:39:53It makes him wonder if I still feel about you as I once did.
00:39:57Do you?
00:40:01Owen, the skull's too big.
00:40:03Too big for you to fight alone.
00:40:05There's nothing else to do.
00:40:07Sell out to Will.
00:40:08Leave the country.
00:40:09No, Laurie.
00:40:21You doubted that I could make my mind pull my heart along.
00:40:26You're right, Owen.
00:40:27I can't.
00:40:28I'm sorry.
00:40:31Sometimes ambition can be bad for people.
00:40:34It can hurt them so much.
00:40:37Now there may be more bloodshed.
00:40:40All because of me.
00:40:44You say you won't run away, Owen.
00:40:46But if I break my bargain with Will and run away with you, then would you leave?
00:40:52You'd go that far for me?
00:40:54I would.
00:40:56I'll be here tomorrow night.
00:41:25I'll be here tomorrow night.
00:41:28I'll be here tomorrow night.
00:41:48George.
00:41:50George.
00:41:56Have you seen George?
00:41:58No.
00:42:00He's not here.
00:42:02He don't feel sleep.
00:42:03He's going out to see the cattle.
00:42:05Oh.
00:42:06He told me not to tell.
00:42:07Yeah?
00:42:08Yes.
00:42:10I'd better go look for him.
00:42:11Everybody go away.
00:42:13I have to stay here.
00:42:15I don't like this place.
00:42:16Spooky, Charlie.
00:42:18Like a long time ago, when Chief Eckerd, he comes through with his careers.
00:42:24I've had a bad feelings like I have now.
00:42:28I hear the trees talk.
00:42:31I hear the water talks.
00:42:34It's not good.
00:42:35Keep away from that vanilla extract.
00:42:37What do you mean?
00:42:41Go out that light.
00:42:52Four horses.
00:42:54Four horses.
00:43:13Look.
00:43:17George.
00:43:27George.
00:43:33George.
00:43:34Who did it?
00:43:36George.
00:43:37Who did it?
00:43:39George.
00:43:55Bad feelings, like old days.
00:43:59Bad feelings, like old days.
00:44:35Rise and shine, you rockhead.
00:44:51Why don't you shoot?
00:44:53I was just thinking, Charlie, when I pull this trigger,
00:44:55I'll be shooting Christmas Creek Ranch right out from under me.
00:44:59I'll start a run-and-jump fight.
00:45:02Well, sitting on my porch night after night was getting dull anyway.
00:45:14Why don't you shoot at this other one all by yourself?
00:45:42What are you trying to do?
00:45:44Is this a joke?
00:45:45No joke, Rep.
00:45:46You know I can shoot straighter than that.
00:45:48Someone from Skull got one of my men last night.
00:45:51Who was it?
00:45:56Who was it?
00:45:58You're wrong, Merritt.
00:46:00None of us shot George Verde.
00:46:04Rep, how did you know it was Verde?
00:46:09I just thought that...
00:46:14Think faster, Rep.
00:46:16Send him out or I'll shoot to kill.
00:46:21Oh, Merritt, Merritt, listen, listen.
00:46:25No time for talk.
00:46:39Luke.
00:46:43You can fight the whole lot of me.
00:46:48Charlie, get word to Miss Isham that I won't be around for a few days.
00:46:56Oh, my God.
00:47:22That Merritt, he just shot us all up.
00:47:24He knows about George Verde, too.
00:47:27Well, Dutcher, are you going to let him get away with this?
00:47:30Let's go.
00:47:34Let's go.
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