All language subtitles for The.Moonshine.War.1970.1080p.WEBRip.x264-DIACA

[country music]

♪ In Louisville Kentucky
back in ’32 ♪

♪ A man named Son Martin
was makin’ mountain brew ♪

♪ If it wasn’t for his whiskey
he wouldn’t have a dime ♪

♪ ’Cause two months
more to Roosevelt ♪

♪ And that will be the end
of moonshine ♪

♪ Look out now Son Martin

♪ You better watch
your whiskey still ♪

♪ ’Cause if you’re gonna keep it
you’ll have to shoot to kill ♪

♪ The boy that’s standin’ by
your side ♪

♪ Is about your only friend

♪ Look out now
Son Martin again ♪

♪ Frank is out there lookin’
he’s searchin’ everywhere ♪

♪ With him is the doctor
who came to get his share ♪

♪ They’re shootin’ up
your neighbors ♪

♪ They’re trying
to scare you Son ♪

♪ They wanna take your moonshine
and put you on the run ♪

♪ Look out now Son Martin

♪ You better watch
your whiskey still ♪

♪ ’Cause if you’re gonna keep it
you’ll have to shoot to kill ♪

♪ The boy that’s standin’ by
your side ♪

♪ Is about your only friend

♪ Look out now
Son Martin again ♪

♪ The boy that’s standin’ by
your side ♪

♪ Is about your only friend

♪ Look out now
Son Martin again ♪

We have nice rooms for $2.

Three dollars includes
breakfast and supper.

Just a room.

Will you be with us for a while?

Ain’t sure. Depends.

Lowell?

Take Mr. Long here
up to room 205, please.

If there’s anythi’’
you’d be needin’..

Not right now.

God, mister.

I’ve carried some heavy ’uns.

We get a lot of salesmans here.

Railroad people.

Lumber buyers.

I reckon this here suitcase
is about the heaviest one there.

- Here, I’ll take that.
- No, I--

No, no, I’ll take that.
Don’t worry.

Well, tell me something.

The, uh, the little lady
downstairs

her husband, uh,
work in the hotel too?

- Miss Simpson?
- ’Yeah.’

She ain’t got no husband.

She, uh, did one time back,
I reckon.

’Married to a salesman,
I believe he was.’

He lived in Louisville

till he got runned over
with a car and died from it.

Now she’s right back here
in Marlette.

She lives right here
in the hotel?

Oh, no, sir, she lives out with
some kin, uh, a Worthman.

Got yourself a real nice
front view here

iffen you like
to look out of the window.

Can I get you anythin’ else?

Well, what do you have in mind?

Well, a lot of times,
these gentlemen come in here

and they wonder if I can, uh,
get ’em somethin’ to drink.

Oh, yeah? You talkin’ about
liquor or, uh, soda pop?

Well, they tell me the two
of ’em go together pretty good.

Yeah, they sure do.

Iffen you like, I could may be

run down the street here
and, uh--

No, thank you, good boy.

- Uh..
- You know what that is for?

Well, it looks like
a BAR rifle to me.

That’s what it is. You got
any idea what I use it for?

- ’No, sir, I sure don’t.’
- Well, I’ll tell ya.

I use this for huntin’
moonshiners and bootleggers

and anybody else
that, uh, indulges

in the illegal sale
and drinkin’ of liquor.

- You understand me, boy?
- Yes, sir, I sure do.

’Yeah.’

Well, if there ain’t
nothin’ else you want?

- Not right now.
- Okay.

Bathroom’s right down the hall.

(male #1)
That’s why it tastes
so damn good.

(male #2)
What?

(male #1)
Well, Son, he don’t go

puttin’ a lot of devilment
in this mash

just to hurry up the fermentin’.

Just like his daddy.

You didn’t want to go
hurryin’ him none.

You waited till he said
it was ready

and by God,
you drunk clear bust head.

Some people asked for ya.

If they ain’t talkin’
about closed-down mines

and tidy-ass Herbert Hoover

it’s about old man
Martin’s whiskey’s

like none of us ever made any.

Hey, Son. Thought you had
a light in this place.

Just a minute.

Jesus Christ.

Got a, a light in the barn,
a light in the still in there.

He’s got one in the crapper.

[laughter]

So as he can read.

Son, I don’t mean to sit around
here all night

passin’ wind with these here
punkin’ rollers.

So I’m fixin’ to take a couple
of gallon of your good old shine

and pay you, um..

...$5 confiscation price.

How do you feel about that?

(Frank)
I’m lookin’
for John W. Son Martin.

Am I at the right place

’or I have interrupted
a prayer meetin’?’

Well, I figured you’d show up
here one of these days.

Hey, you recognize my voice.

Son, I don’t reckon
I ever met up with your friend.

That’s Frank Long, Mr. Baylor.

Well, now, Mr. Long.

Whereabouts are you from?

All over the state,
you might say.

I might not. I’m asking you
where are you from?

Uh, more recently,
uh, I guess, Louisville.

Oh.

Well, they say
it’s a pretty place.

Well, I can’t say myself
’cause I ain’t never been there.

Frank Long, uh, what-what
do you do in Louisville?

I work for the government.

Mm-hm. That means
state government?

Oh, no, sir. The United States
federal government.

I see. Mr. Frank Long, uh

are you by any chance
a prohibition agent?

Well, that’s pretty good,
Mr. Baylor.

- Uh, you got keen eyes.
- Keen nose, too, I reckon.

Let me see your credentials.

Well, they, uh,
they gave me this here

uh, identification card

uh, with my picture on it.

And they gave me,
uh, this here

to stop a man in his tracks

’and set him back five paces.’

Boy, are you threatenin’
somebody?

Well, you asked
for my credentials.

Well, I see ’em.

You can see my credentials
up there, too

sittin’ against the porch wall.

High-power rifles and shotguns.

Iffen the law needs upholdin’
in these parts, Mr. Frank Long

I uphold it.

I take care of it.

You all, uh, confiscating
whiskey, Mr. Baylor?

Well, I reckon you might say so.

A swig at a time.

Royce, give Mr. Long boy

a sample our white light,
will ya?

[indistinct singing]

Uh, right good stuff,
huh, Mr. Long, hmm?

Oh, it’d be cryin’ shame
to throw that out in the ground

just because some titless
old women figure

a feller oughtn’t to drink that,
wouldn’t it?

I’m asking now, wouldn’t it?

Uh, Mr. Baylor,
just ’cause a man’s paid

to uphold the law don’t mean
to say he can’t appreciate

the finer things of life.

Well...have yourself another
little drink, Mr. Long.

Frank didn’t come here
to drink no whiskey.

Oh, I think it’s time
I went to the house

and had ourselves a little talk.

(Baylor)
’Mr. Long, if you come here’

’as an old friend of Son’s,
we are right glad to have ya.’

’But iffen you come
on business..’

Well, a revenuer is a rare bird
around these here parts.

I mean, i-it’s so rare
that an old boy

who’s likely to see him, uh,
you know what he’s liable to do?

Well, he’s liable
to shoot that rare bird

’and, and take him on down to
Louisville and have him stuffed’

bring him back here
and put him over his fireplace

or maybe hang him over there
in the corn crib

along with the other
skunk tails.

Oh, listen, as a federal officer

I have the right to order you
to back me up.

Yeah. You better get right on

down the road now
while the gettin’ is good.

You go back on
where you come from

while you’re still a sound body
and can breathe fresh air.

Now, go on. Git!

I’ll be seein’ you again,
Mr. Baylor.

(Baylor)
’Yeah?’

[Baylor laughs]

Mm-hmm, unless I’m lucky
and pass away in my sleep.

I’ll be seein’ you, too, Son.

Well, goddamn it,
I said it started to rain.

Rained like it never rained
around here before.

It washed away timber and crops

and houses that had stood
for a hundred years.

And, worse than that, it washed
plumb away the top soil.

Now, ya can’t grow a market crop
on sandstone. No.

A-a-and so you got to set up
makin’ stills.

Why, half the families
around here

if they didn’t have stills,
they’d go hungry.

Yeah, I ain’t interested
in any washed-up outfits.

Well, Mr. Frank Long, you have
come to the wrong county.

Ain’t no big-time operators
around here.

How ’bout 150 barrels
of prime corn

run and stored away?

Oh, ho, ho, ho. That old story.

- Yeah.
- Well, it’s hell’s bells.

Some folks around here
believe anythin’.

Anybody around here’d
tell you that

that Son and his daddy made
their livin’ diggin’ coal.

Why, the old man hisself got,
got killed in a cave-in.

Oh, they may have dug coal
for the potato and some bread

but they were countin’
on the whiskey

for the big casino.

A hundred and fifty barrels

run and stored away to age.

That’s 4500 gallons.

Why wouldn’t they sell
the stuff?

Five bucks a gallon

that’s 22,500. Right.

And he bootlegger.

He’d get himself 122,000,
couldn’t he, right?

Not if I capture it.

’Cause if I capture it,
I’ll pour it

on the ground
and the figure comes to zero.

Oh, I suppose you’d like to do

somethin’ like that now,
wouldn’t you?

Oh, it ain’t gonna
bother me none.

[Baylor sighs]
’Now, supposin’’

’they did put away
a little whiskey.’

’No future in the mines’

’and in the farm,
they can’t grow a crop’

no more than rocks and weeds.

But maybe there is a way
iffen they got the guts

and the muscle
and the willpower to do it.

And if they don’t mind
breaking the law.

W-what about a man’s right?

Man’s got a right
to eat his corn

and he’s got a right to drink it
or wash his rear end with it

if he wants to.

I don’t know. Quite a pretty
little lady there..

Are you listenin’ to anything
I’ve been tellin’ to you?

Excuse, mister,
I gotta go and do me some work.

Oh, what is this gonna get you,
anyway? $5 raise in salary?

Or, you be such sweet boy,
they maybe give you a promotion?

Ah.

[sighs]

Then I heard him.

He knows how much you got
and all ’bout it.

I think he’s trying to get
Mr. Baylor to help him.

Come on.
Now, you know better than that.

- Son, he is a federal agent.
- Oh.

Hey! Somebody’s gonna see us.

- Oh, everyone’s workin’.
- Well, somebody going by.

- Mm.
- Ah.

- Sweetheart.
- Mm.

- Ah.
- I hear you.

- The sun’s in my eyes.
- Close ’em.

[gasps]

[chuckles]

And I’m gettin’ stone bruise
on my ass.

[John Kay singing
"Moonshine Friend Of Mine"]

♪ Moonshine Tennessee wine

♪ Runnin’ around my head

♪ Moonshine friend of mine

♪ Help me to find my bed

♪ I said I’d never go
to town again yeah ♪

♪ But here I go
I’m paintin’ it red ♪

♪ Forgettin’ all the easy words
I said ♪

♪ Now I’m walkin’ out the door

♪ I just got to get
some more of that ♪

♪ Moonshine Tennessee wine

♪ Runnin’ around my head

♪ Moonshine friend of mine

♪ Yeah help me to find my bed ♪

Hey, what’s there
on the back your leg?

- What?
- Like a birthmark.

Never noticed it before.

Well, usually, when I’m with
you, I’m facin’ the other way.

Oh.

(male #3)
’When that cap falls, that means
the mash is ready to run.’

Put your ear down
close on the barrel.

Listen, it sound like me to cry.

Ah, lay that shotgun down.

You lookin’ for something,
mister?

Hey, boy, you’re pointin’
that thing at me.

No, it just a-pointin’ where
you happen to be a-standin’.

Come on, lay it down!

Damn, I’d sure like to

but my finger kind of
catched up in this trigger

and I’m scared to move it.

I’m gonna shoot you
right between your eyes, nigger.

Do you wanna get shot?

No, ’cause this old shotgun
about to go up

and blow them mash barrels
all to hell

and anything close to ’em.

Okay. You can hang onto that.

I’m goin’ to be seeing you
again, huh?

[glass shatters]

[knocks]

- ’Who is it?’
- It’s me, the bellboy.

[men grunting]

- Come here.
- Get down on your knees, boy.

Git, git down,
get down on your knees!

[laughing]

You hear me out there, mister?

We see your face
around here again

we’re gonna take and throw you
all the way out the window.

’Nod yes iffen you can hear me.’

I’m not foolin’ either.
You think I’m foolin’?

Alright, you stay there till
we tell you you can come in.

[indistinct chatter]

[man whistling]

[men laughing]

- Oh.
- Come on, kiddo.

[indistinct chatter]

Gimme a nickel.

Okay.

Well, git!

Operator, I wanna place
a collect call to Louisville.

Party by the name
of Dr. Emmett Taulbee.

I don’t see him around.

Well, guess he ain’t.

We’re a little early though.

Well, maybe they aren’t
servin’ dinner yet.

Miley, lovely pet, get out
of the car now, will ya?

- Well, alright.
- Come on.

Oops, watch my hat.

Quit grumblin’ about your hat.

I don’t see nobody around.

Well, we’re here.
Might as well eat.

- Go ahead.
- Boy, I sure am thirsty.

Alright, sweet thing,
we’ll take care of that.

Get you a nice Coca-Cola.

- Hi, doe.
- How are you folks today?

We’re hungry, miss.
That’s pretty much what we are.

Well, you sure have come
to the right place.

Well, I sure hope so.

My goodness,
it’s a hot one, ain’t it?

Oh.

You folks on a vacation trip
or somethin’?

Now how’d you know that?

Oh, them travelin’ folks
come in here all the time.

- I can always tell.
- Yeah, sure.

Well, I want a Coca-Cola
before I die of thirst.

What are you gonna have, doctor?

Sure enough, you a doctor?

Oh, not that kind, miss.

I’m a dental physician,
now retired.

Golly, that must be awful nice.

Do you just travel around
all the time?

That’s right.
Just travel around.

My, we do see some sights,
don’t we, Dual?

We sure do.

Well, sir, I guess me
and my little girl’ll

have the salmon croquettes
and, uh, Coca-Colas.

Salmon croquettes, Coca-Cola.

I’ll bet you a quarter
my boy has the barbecue

and a double order of fries.
Am I right?

Well, I don’t, I don’t see it
on here, but he’s right.

- And a knee-high cream soda.
- Doggone, he’s right again.

[laughs]
I know my boy.

[laughing]

Yeah.

Yeah, chuk, chuk, chuk!

[laughing]

Dog, I sure like the tan suit
on that boy over there.

- I’ll be back directly.
- Mm-hmm.

Ma’am?

Excuse me. Uh, where’d you get
that suit you got on?

Uh, why, I guess Cincinnati.

Mm, I sure like a suit
like that.

Really like a suit like that.
Mm-mmm. I like that suit.

It ain’t all woolly and hot
like this one.

What, what do you pay
for a suit like that?

Uh, this suit? Uh..

Why, I think 50 bucks.

Forty-four.

Don’t you remember
you were wonderin’

if you should spend
that much on it?

Uh, would you mind standin’ up

and, uh, let me take
a look at that suit?

Please?

Hmm, that’s the prettiest suit
that I have ever seen.

You can be proud of that suit
forever.

Doc, ain’t that
the prettiest suit

you’ve ever seen in your life?

- That’s a pretty suit.
- Yeah. Yes, it is.

That is a pretty suit. Hm.

Uh..

I tell you what?

I’ll buy it off of ya.

Well, gee, if I had another,
I’d sell it.

I-I don’t want no other.
I want that one.

[chuckles]
Well, what am I supposed to do,
just take it off right here?

[chuckles]
Well, I-I guess,
I guess you’re gonna have to.

Uh, there’s, uh..

There’s $20 dollars
and there’s $20.

And that’s, uh,
that-that’s 40.

And there’s 45.

And, uh, you owe me a dollar.

Uh, sir? Sir,
is your friend serious?

Yeah, he’s serious.

I mean,
you can’t just walk in here

and, and take anything you want.

Well, I paid you for it,
didn’t I?

But I don’t want to sell it.

Honey, why don’t you just
call the police?

Ask that waitress to call.

Do you allow people
to come in here

and bother your customers
like this?

I don’t even know
what’s goin’ on.

I don’t know
iffen this is a joke or what?

Well, would you, please,
call the police?

Ruth, never mind,
let’s just leave.

- Are you ready?
- Yeah.

Now, you better
take that coat off

or I’m gonna put a hole in it.

Come on, now, gimme the coat.

- And them pants.
- Oh, now, look--

And the pants. Hush
and gimme the pants.

And the tie.

Oh, yeah. I like that tie.

I’ll tell you what.

Take that tie off

and you give that to me

and then you won’t
have to give me no change.

And the shirt too.

That’s it. You doin’ good.

[chuckles]

You know what I think
we’re gonna do?

We’re gonna have you
take off everything

right down to your skin.

[whimpers]

You don’t want my underwear.

Please, mister.

What’s the matter..

...don’t you like to see him
with no clothes on?

Mister, you better get out
of them drawers.

That’s a good boy.

They don’t have enough
mayonnaise on my salad.

You, uh, you like that dress
she’s wearin’?

- Who?
- Who? Her.

It’s alright,
but I don’t wear much brown.

(Emmett)
’Well, it might look good
on you.’

I don’t know.
I think it’s too small.

No, I don’t think so.
Dual? We’ll take that dress too.

Oh.

Now, look, mister,
you got the suit--

(Dual)
’Hush, hush, hush.’

Now, come on, lady.

It ain’t gonna hurt ya.
Come on.

- No.
- Come on.

(Dual)
’Get out of them clothes.’

’Go on, now.’

(Emmett)
’Pink teddies.’

I like pink teddies
on a shapely woman.

She ain’t much.

Oh, we don’t know for sure now,
do we?

Dual, boy, might as well
see the whole show.

Hey, looky here, doctor.

(Emmett)
’Howdy, Frank? How you doin’?’

If you mind tellin’ me
how come those two people

just went out of here
without any clothes on?

(Emmett)
Well, it was
the damnedest thing.

There was a couple of nudists
runnin’ around in here.

The waitress
had to throw ’em out.

- Nudists?
- ’Yeah.’

Whose clothes are these?

Now, Frank.

We drove over 200 miles
to meet with ya.

You wanna talk about nudists
or whiskey?

I never met a prohibition man
yet I trust.

That’s good, Dual.
That’s very good.

You remember to say that
three times every night

before you go to bed.
Do you hear me?

I’ve got no time to play games,
Taulbee.

We’re gonna talk or not?

[laughs]
Hey, come on,
we’re just funnin’ you.

Come on, sit down. Tell us
about this deal ya got.

Come on, sit down.

[laughs]
’Oh.’

Ah, over there
across the stream and the trees

that’s where the still’s at.

Moonshine could be anywhere
under the house, for all I know.

Oh, might as well introduce
these people

and get right to it, Son,
seein’ as how you’re so busy.

This here is, uh, Dr. Taulbee.

’He used to be a dentist,
now a scientific whiskey exper’’

come here to taste
your daddy’s stuff

for the government,
see if it’s any good.

Uh, little lady
is Miss Miley, uh, Mitchell

uh, doctor’s assistant.

And over here,
we have Mr. Dual Metters

uh, come
as a special investigator

to help us capture the stuff

in case you force us
to take it that way.

Uh, folks, this here’s
Son Martin, my old army buddy.

Well, Son, uh, even though
you’re breakin’ the law

we’ve given a lotta
consideration to the fact

the amount of work you put in
to runnin’ 150 barrels

and we’ve come up
with a proposition

we guarantee
is gonna interest you.

My goodness.
It’s gettin’ warm, ain’t it?

Uh, Mr. Martin,
wonder if you’d have

a cold drink of water
in the house.

Oh. Oh, yeah.

Could you let me
have a cup then?

Cup’s on the pump, ain’t it?

Cup’s on the pump?

Oh, yeah. Sure does.

Miley, be a good girl
and fetch your doctor

a nice cup of spring water
if you please.

Oh, uh, Son, you just, uh

listen to it first, huh,
and then decide.

Hey, I can’t get this
dumb thing to work!

Alright, Miley, just forget it.

Why don’t we just go
in the house and sit down

and, uh, we explain
the whole thing to you, huh?

Miley’d be real tickled
to make us up a pot of coffee.

’Alright?’

Come on, lovely pet!

- Well?
- Frank.

Well, Son, uh..

..how’d it be if, uh,
we was to offer to..

...to buy the whiskey off ya?

I’d say yous bootleggers.

Doo, hoo-hoo!

My goodness,
if the folks in Louisville

could hear you say that.

No, what Frank means is

if we bought it
on behalf of the government?

Well, I didn’t know the
government was in the business.

Well, not in the business,
uh, per se, so to say

but there is such a thing
as government spirits.

’Didn’t you know that? Oh, yeah,
for medicinal use and so on.’

A-all you got to do
is give us a sample.

Well, you buy it
and you can sample all you want.

Why, the government
ain’t that dumb.

I mean, they ain’t gonna buy it
unless, uh

unless Dr. Taulbee says
it tastes good.

Then they ain’t gonna buy it.

Now, who do you think
you’re foolin’, Son?

You-you’re dealin’
with the United States

federal government.

Or a couple of dudes

tryin’ to put somethin’ over

on a poor dumb hillbilly.

Uh, Son..

...I’d, uh, I’d like you
to tell me somethin’.

How much you want
for your whiskey?

Twenty-seven thousand dollars.

Who’s gonna pay $27,000
for 150 pounds of moonshine?

(Emmett)
Now, just a second,
just a second.

The man says that’s his price.
That’s his prerogative.

But, uh, I was just thinkin’..

...if the government
won’t pay your price..

...what would you say
if I bought it

as a private citizen?

I’d say yous a bootlegger
for sure.

Or a speculator, huh?

What would you say
if I bought it and left it

’right wherever it’s at,
gamblin’ unrepealed?’

If the country stays dry,
I lose my shirt.

But if Roosevelt gets elected
and the 18th is repealed

I buy tax stamps
and market the booze

before the big distillers
can get started again.

Well, I’ll admit, it’s, uh

it’s a chancy
proposition, alright?

But, uh, I might be willin’
to take the gamble.

As a matter of fact..

..I’ll give you $4500
for the whole load right now

’a dollar a gallon.’

Frank, why don’t you
and your pussyfoot scientific

whiskey expert
get the hell off of my property?

You get fresh, buddy,
and I’ll-I’ll-I’ll nail you

to the wall and all
your goddamn scrub farm apart.

I sure would like to see you
do that, Frank.

Why don’t y’all go on outside

and let me take care
of this boy?

Well, you so much as even twitch

and I shoot the knot off’n
your red tie.

You can’t get all three of us.

I bet you a dollar I can.

[chuckles]
Well, I guess the talkin’ part’s
over, ain’t it?

You are makin’ a mistake, Sonny.

And I can’t help but feel
you know it.

I also feel that in time

you’re gonna wanna change
your mind and accept our offer.

- Ain’t that right, Frank?
- He’d better.

So, we’re gonna give you time.

One day.

You don’t come to us by tomorrow

we ain’t gonna buy your whiskey,
we’ll just take it.

That’s all.

Come on, sweet thing.

Coffee’s almost ready.

Uh, just a minute.

You want my answer now?

Friend, that’s up to you.

Be seein’ ya.

- How do?
- ’May I help ya?’

Yes, ma’am, you sure may.

But first,
we’ll have some nice rooms.

- Yes, sir.
- Yes, ma’am.

I think, uh,
the little lady and me

we’ll have the bridal suite.

- Bridal suite?
- Mm-hmm.

And, uh, somethin’ nearby
for my boy here.

- Yes, sir.
- Thank ya.

[bell dings]

Lowell.

- Just a sec.
- You just take your time.

Lowell? Where are you, Lowell?

Say, Frank.

She’s alright, ain’t she?

- Miss Simpson.
- Miss Simpson, huh?

Yes, sir, she is alrighty.

What would you do
with two women?

Same thing I do with one.

Ain’t she enough for ya?

Well, if you mean by enough,
all I want, sure.

Little old Miley
can dish up the poontang.

But she is one woman
and that one there is another.

Lowell, I’m waitin’.

And, mister,
they are all different.

Each one has her own
little pleasures

and secret tender places.

- Just thought of somethin’.
- Yes, sir. She’s alright.

Lowell here’ll get your bags.

Thank you, ma’am. What’s that?

I just thought of somebody who’d
know where the whiskey’s at.

- Yeah, who’s that?
- Son’s hired help, uh, Aaron.

Used to work for the old man.

When they, when they
run the whiskey.

Oh, yeah. Boy with the shotgun.

- Nigger.
- Yeah.

Well, it shouldn’t be too hard
to git it out of him.

And I never met one yet
who didn’t wanna talk.

Yeah, that’s a true thing.
Thank you, Miss Simpson.

Thank you very kindly.

Sugar dear, get away from the..

[banging]

Dual boy, don’t do that.

You’re gonna break it.
Now, get on up here. Come on.

Make a sound
and you’re a dead nigger.

Put on your shoesies.
We’re goin’ out.

[dramatic music]

(Emmett)
Evenin’.

Good to see ya again.

Now, then, boy.

We don’t want but one thing
out of you.

Where’s that whiskey?

I can’t tell you somethin’
I don’t know.

(Emmett)
’Is that so?’

Alright.

Frank, give old Dual here
a hand if you please.

Take him up.

[chicken clucking]

Why don’t you tie his hand?

I like to see their arms
a-flappin’.

That’s enough. Drop him.

[chicken clucking]

Alright, boy.
Now, you gonna tell us?

I said
now’re you gonna tell us?

Take him up again.

Hey, maybe he doesn’t know.

Son coulda hid the stuff
while he wasn’t around.

(Dual)
He knows alright.
He’s just lyin’ is all.

Hey, wait a minute.

All we got to do, tell Son

he don’t give us the whiskey,
we’ll hang his boy.

- Yeah, and then what?
- He hands over the stuff.

Who cares? He just goes
and gets himself another nigger.

[scoffs]
Dual, you are a caution.

’Good thinkin’, Frank, that’s
just what we’re gonna do.’

Now, let’s see, uh..

(Dual)
’Open both doors
so I can see him real good.’

[Emmett softly]
’Go do it, Frank.
Loud and clear.’

Son!

Son Martin!

Can you hear me?

We got your boy!

Take a look over in the barn!

’You got 30 seconds!’

’Tell us where your whiskey’s at
or we give him a push!’

’Do ya hear me?’

’Come out!’

’You got four seconds.’

’One!’

’Two!’

’Three!’

[dramatic music]

[gunshot]

(Emmett)
There he is!

[gunshot]

[gunshot]

[gunshot]

[gunshot]

[gunshot]

Oh, damn.

- Ooh!
- You alright, Dual boy?

(Dual)
’I-I guess so.’

Doc, l-l-look at my suit.

Ooh, my, my, that’s mean.
What a shame.

What a shame.
Well, we’ll get ya a new one.

Yes, sir.

Frank, looks like that boy’s
got some gristle in him.

Looks like he’s gonna make us
go to work.

Come on, let’s get outta here.
Come on.

’Comin’, Frank?’

- Federal boys?
- Well, that’s the thing.

I don’t know what they are, but
they ain’t no federal agents.

They come here armed.

Pretty nice strung up there
in the barn.

’Now, I think these boys
are goin’ to try’

to get everything they can.

If they don’t have enough guns
for the job

well, just go out
and get some more.

Well, what is it they want, Son?

My whiskey to start with.

And you want us to stick
our ass out and protect it?

We got us a few troubles
of our own, Son

just a-feedin’ our families.

Mr. Worthman, I think you’re
gonna have some more problems

if we don’t bunch up here.

Put a stop to these boys
right now.

Well, threatenin’ and doin’
is two different things, Son.

You run ’em off once,
didn’t ya?

Well, not for good,
I know that.

If we don’t chase them

then some of us liable
to end up just plumb foot under.

Well, what I’d like to know is
why you called us here, Son?

I mean, since all they want
is your whiskey.

[scoffs]

Well, that’s all
anybody’s gotta say, huh?

You’re wantin’ us to fight ’em.

They ain’t comin’
lookin’ for nothin’ of ours.

I say you should talk it
over with ’em.

Feel them out more before
you reach any set notions.

Well, I sure appreciate that,
Mr. Worthman.

[instrumental music]

(Dual)
Howdy, Boyd?

How do, Boyd?
How you doin’?

Uh, just fine, Dr. Taulbee.

Well, you’re lookin’
real good, Boyd.

Frank, this here
is, uh, Boyd Caswell.

Me and him, uh,
we cellmates at Eddyville.

The way ol’ Boyd drinks

why, he knows where every still
in the county’s at.

- Don’t ya?
- Right.

Hey, you got some moonshine
in the house, huh?

Who’s that?

Well, uh,
he’s a prohibition fella, Boyd

but you don’t need to worry
about him. He’s on our side.

Let’s have some of that shine.

My, he’s a real beaut.

Come on, sugar kid.

You, too, Frank.

Boyd won’t tell on ya.

Boyd? Get out the fruit jars.
They’re here.

’Howdy, boys.’

(Dual)
’Hey, how ya doin’?’

- ’Hey, how ya doin’?’
- How ya doin’ there, Moose?

Uh, these fellows are gunmen?

You bet they are.
Gotta have them to do the job.

Well, federal agents is how
they’re supposed to look.

Well, they don’t look so bad.

- ’Hey, you brought ’em, huh?’
- Brung you a present, Dual.

- Oh, much obliged.
- Good to see you boys again.

- Nice to be here.
- Much obliged.

This here’s Frank Long

who’s promisin’
all the fun and prizes.

Maybe some of ya know him.

That’s the man
sent me to Eddyville.

Yeah, and you’re goin’
right back there

if you start makin’ that noise
with that thing

and shootin’ people.

- Hey, Taulbee?
- Huh?

If my office gets to hear
about this, it’s all over.

Lord, don’t I know that.

And no shootin’
unless they start it.

- No shootin’ to kill.
- No, sir. No, sir.

- Boy, got the corn out?
- Yeah.

Come on, boys.
Get inside, out of the sun.

- Come on, let’s get in.
- Come on.

- ’Hi, Fred.’
- Hi there, Miley.

(Miley)
Hey. Hey, Joe,
is that you I see?

- ’Howdy, Miley? How are you?’
- I’m fine.

Haven’t seen you boys
in a coon day.

- ’Hi, Miley.’
- ’Hi.’

We play it right,
we can pull it.

But if they start a shoot-up--

Now, Frank, uh

what-what’s this pullin’
we got to do?

All we need to do
is trust each other

lead a clean life,
we shall have our reward.

Now, let’s go on in there

and tell the boys
what you got in mind.

(Miley)
’Hey, here comes Long.’

[laughter]

We’re gonna have trouble
with that boy.

How come?

He’s startin’ to eat
his own insides.

- He is?
- He’s startin’ to make rules.

What do we need rules for?

We do think alike, don’t we?

[laughing]

Why, he’s pullin’ their teeth.

Three different women
accused him.

[laughs]

He gave them gas to put them out
and then assaulted them

right there
in the dentist’s chair.

God Almighty, a girl could
come in with a toothache

and walk out knocked up.

[laughs]

He spent three years in prison

and after that was arrested
twice for bootleggin’.

- God.
- That other one, Dual.

He was in prison
for attempted murder.

Well, now they are convicts.

Well, go tell Bud Blackwell
and your Cousin Burgell.

They wouldn’t listen to me.

Oh, you want some coffee
or somethin’?

- What are you gonna do?
- I don’t know.

Not much you can do but wait.

I don’t like the sound
of that BAR.

Oh, hell, how can he shoot me

and still hope to find
the whiskey?

But they could.

They could kill ya

and spend their good ol’ time
lookin’ for it.

I don’t know.

They say they will make a deal,
but I don’t know about it.

They offered to buy the whiskey?

Dollar a gallon.
You call that offer?

Maybe they’ll go higher
than that. Did you ask ’em?

I don’t do business
with them people.

But you have to.

They ain’t gonna go away
just because ya say no.

Well, we waited this long.

Anyway,
election’s in two months.

- Suppose Roosevelt don’t win?
- Oh, he’s gotta win.

You think people gonna let
things get worser

than they already are?

You still can’t be sure

prohibition
is gonna be repealed.

Well, then I sell the whiskey,
anyways

but not to them people.

You’re breakin’ the law anyhow.

Now, what’s the difference?

I see the difference.

What surprises me is you don’t.

Come on.

McClendon? This here is the law.

Come on, get out of the way.
Come on, get!

[gunshots]

I want you to tell Son Martin
somethin’ for me.

Tell him
I commenced burstin’ stills.

I am going
to go on burstin’ ’em

till he hands over his whiskey.

’You just spread the word,
mister’

’you and your moonshinin’
neighbors.’

You go and have a talk
to Son Martin!

[gunshots]

Worthman, where’s your still at?

What still are you
talkin’ about?

Hey, you? Over here.

Come on over.

- Me?
- Come on. Get over!

I mean the still you moved
from where it used to be.

Oh, that still.
That one’s in the barn.

We need our still.

We need it, mister.

Now, Mr. Worthman,
if Son Martin was cooperatin’

the way you’re doin’ right now

we wouldn’t have to bother you
at all.

[gunshots]

[instrumental music]

Boy, I sure am glad

you don’t have to go out
shootin’ with ’em.

Nope. It ain’t my mile over,
sweet thing.

I hate bein’ alone at night
more than anythin’.

Well, you ain’t alone now,
you sweet little sugar cake.

Oh, I sure ain’t.

You want a soda pop?

- You don’t want?
- Got mine.

[engine rumbling]

Good mornin’, sir.
Place open yet?

Where you takin’
this corn meal?

That ain’t corn, mister.
It’s clover seed.

Now, boy, I ask you
where you’s taking it?

I’m deliverin’ this
up to the Blackwell place.

A little corn
to make moonshine, huh?

No, sir. It-it’s clover seed.

We’ll just see about that.

[gunshots]

Well, what do you know?

It is clover seed.

Boyd?

You know
where the Blackwells live?

Now, you know Frank said we’s
supposed to wait a day or two

before hittin’ the Blackwells.

Why is nobody answerin’
my questions this mornin’?

Okay, I know where he lives.

Well, come on then.

We’ll get us another one
before breakfast.

[John Kay singing
"Moonshine Friend Of Mine"]

♪ Moonshine Tennessee wine

♪ Runnin’ around my head

♪ Moonshine friend of mine

♪ Help me to find my bed

♪ Moonshine Tennessee wine

♪ Runnin’ around my head

♪ Moonshine friend of mine

♪ Yeah help me to find my bed ♪

Better get outta
the way, friend.

[gunshots]

[groans]

Oh, goddamn, Boyd.

Go ahead and call
the boy’s folks if you want to.

I just ain’t got time runnin’
around arrestin’ everybody

for stealin’ a comb
or a keychain.

[laughs]

Hey, you know what
you oughta do is go on home

and get your wife to take
some of that Mentholatum

and rub it down your chest.

(Baylor)
’Well, now Mr. Frank Long.’

They tell me that
you’ve been raidin’

puttin’ a lot of good fellas
out of business.

I’m gonna lay it right
in front of you, Mr. Baylor.

If ya want this thing to end

you better go have a talk
to Son Martin.

I think maybe I better have
a little talk with Covington.

See if they sent a fellow
named Mr. Frank Long here.

You got that number, Royce?

You want the number,
I’ll give it to ya.

You wanna call Covington, ask
about me, you go right ahead.

You tell ’em I raided
three stills last night

and bust the hell out of ’em.
Tell ’em what he was doin’ too.

What were you doin’, lyin’ home
at bed or out drinkin’ whiskey?

I don’t recollect
you asking for my help.

I didn’t get none either.

County sheriff’s supposed
to uphold the law.

All I get’s a hard-luck story
about the poor moonshiners

and the worn-out farms.

You best start the call
on what you said.

’Cause more than three people
are gonna be out of business

if he don’t hand it over.

You askin’ for my help now?

I ain’t askin’ for anything!
I’m tellin’ you!

I’m telling you to tell
Son Martin to face the facts

of life, and by life,
I mean a couple of people

could get killed ’round here
before we’re through.

Where are you going? I ain’t
finished talkin’ to you yet.

I’d like to go on home,
crawl into bed

and pull the covers up
and sleep until Sunday

but instead I gotta go out
and see about a shootin’.

Shootin’?

You tell me you raided
three places last night

including the Blackwells?

Oh, oh, Blackwell is next
unless you talk to Son.

Well, that is funny

because somebody just hit
Blackwell’s still

and they shot an old boy
named Boyd Caswell.

- Is he dead?
- No, not yet he ain’t.

Royce, uh, you lock up
after Mr. Frank Long

and then when we get back,
you remind me to call Covington

’unless’n Mr. Frank Long still
wants to give us that number.’

Ah, not a bad haul.

Ain’t what we come for though,
is it, Dual boy?

No, it ain’t, doc.

(Emmett)
Oh, sir,
there’s the old revenuer.

- Anybody get hurt?
- Uh, one boy got hit.

Mm-hmm. Well, don’t say nothin’
in front of him.

Howdy, Frank?

Now, we got some talkin’ to do.

Well, speak up.
Don’t be bashful.

I thought I said we was only to
raid three stills and then wait.

Somethin’ I ain’t been told?

He hit Blackwell’s this mornin’.

Well, they done the job,
didn’t they?

Yeah, you seen Boyd Caswell
around?

What’s he talkin’ about?

Well, you asked me
if anybody’s hit?

- Yes.
- Well, Boyd got shot.

- Well, where is he now?
- Well, I’m not sure exactly.

- Ya left him?
- Well--

Jesus, of all people,
you left Boyd Caswell.

We didn’t leave him,
he just didn’t make it

back to the car is all.

Well, I warned you, Taulbee,
any unnecessary shootin’

and we blow the whole thing.

Well, Frank,
I-I-I’m real sorry about this.

I don’t wanna get you
messed up in it.

So, why don’t you
just go back to the hotel?

- I’ll meet you there later.
- Alright, you’ll fix it?

I’ll fix everything. Don’t worry
about a thing, Frank.

- You take care of him too.
- I’ll take care of everything.

You lock him up.
He’s a lunatic.

He ain’t fit
to be let..

Well, he-he ain’t a lunatic.

Well, you lock him up,
I’m tellin’ ya.

[indistinct shouting]

(Emmett)
He’s lovable, you know.

Bye.

You remember now,
damn it, Taulbee. Lock him up!

Dual..

...one time years ago,
you climbed up on a garage

and dropped a rock
on a boy’s head, didn’t ya?

That fat son of a bitch,
he was always pickin’ on me.

That big fat son of a bitch
caused you to run away from home

didn’t he?

’If you hadn’t though..’

Then I wouldn’t have gone
to jail.

And you wouldn’t have met
Boyd Caswell, would you?

That’s right, at, uh, Eddyville.

And if you hadn’t been
at Eddyville..

Then I wouldn’t have thought
of him to help us.

And if you hadn’t thought
of him..

...he wouldn’t be out at
Blackwell’s right now, would he?

Probably sittin’ up in bed

tellin’ ’em
we ain’t federal folks at all.

Just some old boys
from Louisville.

- Well, I guess you’re right.
- You’re damn right I’m right!

Well, look, I better get
a couple cars and go on--

Wait a minute.
This time I’m comin’ with ya.

You know, the funny part is

Boyd here says that
they ain’t federals at all.

Now, as soon as I get him
on downtown

I’m going to find out
who your friend really is.

Well, now what do you plan
to do with Boyd?

We’re going to take him
to the doctor’s.

What in the hell do you think
I’m goin’ to do?

You just wait a minute.
You just wait one minute--

Why don’t you get out of our way
or I take you in with him?

Just get inside!

[indistinct chatter]

[Boyd groans]

[engine starts]

Son, they ain’t hit you,
have they?

Sure am sorry about all that,
Mr. Worthman.

Oh, yeah.

Well, you sure as hell
don’t look sorry, I tell ya.

Son, neighbors look
to help each other

not cause pain and hardship.

You’re the one that made that
big run, that’s all they want.

Son, you ain’t got no family.
That’s the difference.

Yeah.

Alright, Mr. Worthman,
I’ll help you build a new outfit

and I’ll help you hide it.

Now, if you don’t want me to do
that, then I, I’ll just go on

leave, and you can do
whatever you want.

Son, right neighborly of ya.

[instrumental music]

[car honking]

[tires screeching]

How do?

What in the hell do you think
you’re doin’?

Iffen you can read, shorty

my badge says
Sheriff, Broke Leg County.

He’s in there alright, doc.

Are you gonna get your cars
the hell outta my way?

’I’ve got a sick prisoner here.
I gotta get him to a doctor.’

He ain’t gonna make it.

Are you gonna get them cars
out of my way or not?

I’ll tell you what, papa.

You give him to us,
we’ll take care of him.

I’m a-tellin’ you
for one last time.

You’re right about that
last time, papa.

[gunshots]

Somebody else gonna have
to finish off Boyd.

I’m empty.

[gunshots]

Dump it.

Thank you, ma’am.

Hey, uh, will you let me have
a half dozen boxes of .30-06s

and-and give me
all the 00 12-gauge shells

you got in the store?

You’re gonna pay cash?

Well.. You know when I pay.
Put it on my bill.

I’m afraid I can’t do that.

Why not?

Well, boss says you gotta pay

that $260 you owe
before you can charge any more.

Hey, Willie,
how long has my family

been comin’ in this store?

I don’t know.
Don’t keep track of all--

Thirty years
we been payin’ our bills.

[sighs]
Well, I’m sorry.
It’s a new policy.

Since when is that?

Look, we gotta pay
our bills too.

Since when is that a new policy?

Since this mornin’.

- Afternoon, Son.
- Where is Miss Simpson at?

Well, she just stepped
around back for a minute.

Lizzy, I need $200
fast as you can get it.

For what?

For things I need to stay alive.

All of a sudden,
I ain’t got no more credit.

I’ve been to the feed store,
the bank--

It don’t take long, does it,
for word to get ’round?

We should start tellin’ people
you have to have

everything your own way.

If I don’t have this my way,
then we don’t have it.

We could end this whole thing
right now.

Sure, all I got to do
is give ’em the whiskey.

No, you sell it to ’em
and let’s leave this place.

Son, you do that and I’ll give
you everything I have.

Leave and go where?

Well, I don’t know. Anywhere.

No, now come on, Lizzy.
Where we gonna go?

Go down to Georgia and pick
cotton for three dollars a week?

Or go on up to Detroit
like your brother

and get a job in a factory,
try to make a lotta money

and wind up
standin’ on a bread line?

Look, we said we was goin’
to wait for repeal.

That’s what we’re gonna do.

You have to have everything
your own way.

All we’re talkin’ about.

No, I have to have $200,
that’s what we’re talking about.

I ain’t gonna pay
to see ya killed.

[instrumental music]

♪ Ere we reach
the shining river ♪

♪ Lay we every burden down

♪ Grace our spirits
will deliver ♪

♪ And provide a robe and crown

♪ Yes we will gather
at the river ♪

♪ The beautiful
the beautiful river ♪

♪ Gather with the saints ♪

Hey, tell the truth.
He send you?

Don’t say anything dumb. Okay?

Well, if he didn’t send you,
what ya doin’ here?

I don’t know.

I guess I wanted to see
what you were like.

Hey, you go with that woman
from the hotel?

Well, I guess I did.

She ain’t your type.

You married to him, Taulbee?

You’re sweet.

You like him?

Not really my type,
but it could be worse.

What the hell
you’re living with him for?

Haven’t had any better offers.

Look, if something was to happen
to Taulbee, what would you do?

I don’t know.

Go back to workin’ in a house,
I guess.

Nice part, there was always
somebody to talk to.

Even when there wasn’t
any customers.

Like in the afternoon,
we’d sit around talkin’

and fixin’ each other’s hair.

Sometimes I and another girl’d
go shoppin’

and have a lunch out.

I can’t stand sittin’ around
all by myself.

Just really ain’t in the mood,
are ya?

Don’t worry about it.

Will you explain
somethin’ to me?

How come you don’t run
while you have the chance?

I don’t know. Come on.

[explosion]

Well, it’s old,
but it’s still alive.

I’d say,
that’d do the job.

[dramatic music]

[music continues]

[instrumental music]

[knocks]

Hey, doctor.

He’s here again.

Well, sir. Here’s old Frank.

We had a good thing goin’.
Now, it’s all over.

Aww, I reckon he heard.

Heard? Heard?

They’re parading the bodies
up and down Main Street.

Is that a fact?

I didn’t think anybody’d
find ’em for a couple of days.

Mm. Well, we just have

to move along a little faster,
that’s all.

Now, listen, listen,
I’m tellin’ ya.

It’s, i-it’s all over!

We don’t get out of here now,
we’re done.

Well, Frank..

...I guess your part is done.

But, uh, me and old Dual

we gotta find us
that whiskey yet.

Yeah?

Well, uh..

Huh?

I’m telling you,
I’m gonna shoot ya first!

(Emmett)
’Now, don’t get gaudy.’

’It’s time for you
to go home is all.’

You’re through here, boy.
We don’t need ya no more.

Think I’m just gonna
walk outta here?

That’s about it.

You took a chance
and didn’t make it.

But, hell, you’re still alive,
ain’t ya?

Old Dual there,
he’s for puttin’ you under.

But I said to him, "Hell!

"Frank, he ain’t
gonna tell on us.

"He knows if we go to jail,
he’ll go right along with us

hopin’ and prayin’
some accident don’t befall him."

Ain’t that right, Frank, huh?

Just a minute.

You mean to say I ain’t..

...I ain’t going to get nothin’
out of this?

That’s what I’m sayin’.

I was the one
that brought ya in.

And I’m most grateful to you.

You mean, I’m just
gonna walk outta here

with my hands in my pockets?

That’s just about it.

[chuckles]
Hey, you know, Frank, boy

you ain’t as dumb as I thought.

Get in the car
and put that down.

And get in the car. Move it.

Come on.

[banging]
In the car.

Move it. Anh-anh!

Bless your little heart

and the best of luck to you,
Frank.

[engine starts]

Whoa!

Got a little old moonshine
for ya.

You’ll be needin’ it.

Oh, my,
how you’ll be needin’ it.

[laughs]

[knock on door]

Who is it?

[mumbles]

(Lizzy)
’Can I talk to ya?’

Lady, I got nothin’
to talk about.

I’m retired.

- You mean you’re leavin’?
- Hey, you guessed it.

I’m goin’ back to Louisville,
or the army.

Yeah.

Why not the army?

I forgot how easy it was.

- You’re just quittin’?
- Mm-hmm.

If you help Son..

...I’ll pay ya for it.

Help my old buddy, huh?

How dumb do you think I am?

Risk my neck for your boyfriend?

How much?

About $800.

[mumbles]
Eight..

[mumbling]

What will ya take?

I guess ya got some secret
treasures buried down there.

I could jump on your bones
right now

still go home in the morni’’
without helpin’ anybody.

Only trouble is I ain’t in the
mood for romance right now.

Hey, just a minute.

Here! Look at me!

Only people who can help Son now
are his friends.

’Only, he don’t have one.’

Am I right?

[dramatic music]

[car approaching]

(Aaron)
I hear cars comin’.

(Son)
Yeah, damn, that’s quicker
than I figured.

Here, gimme a hand
with this.

Sure wish we had a couple
of more boxes of ’em 00s.

Well, we’ll just have to get by
with what we got.

(Son)
Okay, I’ll see you in a spell.

Man, oh, man.
Now? This time, like this?

[dramatic music]

[music continues]

Damn!

Hush.

Alright, Dual boy, get to it.

Come on.

[dramatic music]

You, too, Big. Come on.

Hey, Son!

Son Martin!

Come on outta there,
you and the nigger!

We give you one minute, boy!

You hear me?

One minute!

’And you come out
with your hands up!’

[instrumental music]

[softly]
Go ahead.

[both screaming]

You, bring the gasoline.
You, come on.

Now, pour it on.

[gunshot]

[dramatic music]

[gunshots]

Don’t kill him, ya idiot!

I’m sorry, doc.

(Aaron)
’You alright?’

Yeah, I’m doin’ alright.
How ’bout you?

Those damn fools would like
to have shot my head off.

What’s that gonna get ’em?

I’mma doubtin’
they’ll be back tonight.

Boy’s got powerful lotta
thinkin’ to do.

(Emmett)
’Yes, sir.’

’You boys sure made a mess
of things’

’this evenin’, didn’t ya?’

Hey! Where is everybody?

I was all alone last night.

Well, where are you goin’?

Mornin’.

My bill.

I reckon you’re goin’
out to Son Martin’s place, huh?

Yeah, well, half the town’s
out there by now.

’Seems there was some,
uh, shootin’ last night.’

’Well, I reckon your friend,
the dentist’

’is gonna get his self
a surprise.’

Heard everybody around here
is goin’ out to help Son.

Well, look out in the street.

You don’t see hardly no cars,
do ya?

Ain’t nobody around here, nohow.

- Can I ride out with ya?
- Hey, wait for me!

Lord, I’ve been
left alone enough.

[engine starts]

[gunshot]

They still shootin’ hot.

Wastin’ all them bullets.

(Son)
’Aaron.’

Look, see up there?

’Look what’s comin’.’

Hey, doctor.

Looks like trouble.

That’s the Worthmans.

It’s, it’s Blackwell, it’s..

It’s Arley Stamper up there.

Now look up that hill, doc.

You see what you got
on your eyes.

Look like some women too.

They ain’t come to help.

They come to watch.

[gunshots]

♪ There’s a miner forty-niner

♪ And his daughter Clementine

♪ Oh my darlin’ oh my darlin’
oh my darlin’ Clemen.. ♪

[gunshot]

♪ You are lost
and gone forever ♪

♪ Dreadful sorry Clementine

♪ Drove she ducklings
to the water ♪

♪ Every mornin’ just at 9:00

♪ Slipped and fell there
on the splinter.. ♪

See, what did I tell ya?
Hey..

What’s goin’ on?

I don’t see anybody
doin’ any helpin’.

[gunshot]

Well, ain’t you in the wrong
feud, Mr. Lawman?

I guess you’re all wonderin’
what I’m doin’ here.

I’ll tell you.

Them fellas I hired
to help me out

turned out to be nothin’
but a bunch of bootleggers.

They quit me ’cause I wouldn’t
go along with ’em.

Said they’d shoot me
if I got in the way.

So, I’ll tell you
what I’m goin’ to do.

I’m gonna deputize all you men

and we’re gonna
drive them bootleggers

all the way back to Louisville.

[laughing]

You with me?

[gunshot]

I tell ya.

We gotta go down there now
and help Son Martin

otherwise they’re goin’
to kill him.

And, uh, and you’ll never find
his whiskey?

No, I’m talkin’
about a man’s life now.

Well, now, bein’ as you’re
so, uh, so thoughtful

uh, oughtn’t you to be there
with him, Mr. Long?

[mumbling]
He ought to be down the hill.

That’s what I’m talkin’ about,
Virgil.

Let’s just put him..
And-and you want

to help Son out, now,
don’t ya?

Now, we, we all gotta go
down there..

[clamoring]

Get your butt in there!

Whoo! Come on! Get in there!

Get outta the way! Move!
Now, you have fun.

Hey, wait a minute!

[instrumental music]

Jesus!

Well, look at that.

- It’s him again.
- What the hell?

Ooh!

Get him!

[gunshots]

’Ya didn’t get him.’

How are you doin’, buddy?

Well, you sure drop in
unexpected-like, don’t you?

What are you doin’ with him?

I don’t even know what happened.

Well, what I’m doin’ here..

[gunshot]

What I’m here for is
to bring help.

To protect my interest.

Your interest in what?

I reckon you was gonna cut me
into a partnership

on that whiskey.

He says we got us a partner.

You goin’ to shoot him
or you want me to?

Oh, come on now, boy.
Don’t you talk like that.

You’re gonna get your cut.

I gotta protect my partnership
and I got somethin’ here

you can do with the use of
right now.

US Army Browning
Automatic Rifle, huh?

Big sweetheart.

I, I really think
I oughta be leavin’.

[gunshots]

I own this place,
you know what I’d do, Virgil?

What ya do?

I’d set me up a gate over there
and I..

I’d charge folks to get in.

That’s a hell of an idea.
I mean it.

I tell ya, they-they’d pay
to see that old bow

go down that hill again.

Hey, that was good, wasn’t it?

Lizzy wants us
to go on down there

and run them bad boys
right out of that board

and save old Son..
Don’t you, Lizzy, huh?

You see, I tell ya.

Hey, why don’t you, uh,
just go on and..

[indistinct talking]

Anybody wanna go on down there
on Son Martin’s yard

and stand in front of Tommy Guns

and maybe get yourself killed
for old Son Martin, huh?

Well, come on!

[scoffs]

’Look at that stampede.’

Hey, mister,
you wanna go on down there?

[gunshots]

Look at that crowd.

It musta come
from all over the county.

All wonderin’ where you got it
hid alright.

Why don’t you tell me, Son?

What difference does it make?

We get outta here,
I don’t let you out of my sight.

We don’t, secret dies with us.

Or I get out of this jackpot,
Frank, and you don’t.

- Yeah.
- Hey, look here.

What’s goin’ on?

They’re takin’ people.

[gunshots]

Alright. Come on.
Get, get outta there.

Come on, come on.

Doctor, we brung you a present.

Fine. That’s real fine.

’Son Martin!’

’Hey, Son!’

It’s lookin’ at ya, boy.

You come on out
with your hands up

’or we shoot up your friends!’

Friends?
They’ve been sittin’ up there

on the top of the hill
waitin’ for ya to get killed.

They even brought their lunch.

Three minutes, Son.
All the thinkin’ time ya got.

Shouldn’t we do somethin’?

You heard what he said.

We move and they’ll shoot ’em.

Pick them birds out
from here.

Doctor thinks she’s good
as paint.

We’re forgettin’ somethin’.

We got somethin’ of his.

Well, what’s everybody
lookin’ at me for?

Come here a second.

Come here.

Now, listen, I don’t have
anything to do with this.

I mean, I don’t even know
why I’m here.

Now, listen, all I want you
to do, honey, is go out there

into the yard
and nobody gonna hurt you.

Oh, no. Now wait a second.
I don’t know what--

No, there is no other way.
You gotta give it a try.

Look, we won’t do nothin’
to ya.

Maybe you won’t.

But what about him?

Listen, you gotta trust me.
It’s gonna be okay.

Well, I’ll be switched.
Open the door.

(Miley)
’Hey.’

Hey, doctor. It’s me.

Yeah, I see ya.

Come on over here, lovely pet.

I can’t.
They got guns aimed at me.

Said if y’all don’t
let those people go

and clear outta here,
they’re gonna shoot me.

Oh, come on.
They’re just funnin’ you.

No, doctor, they mean it.

Come on over here!

Honest, doctor. They mean it.

(Emmett)
’Sugar cake, move over here!
Come on!’

[gunshot]

Hey, Son!

That tell ya anything?

Well, shucks,
we come this far, doc.

Yeah, that we did.

Well, she was a cute
little thing.

Awful dumb though.

Alright, you folks,
you comin’ out?

’We’re waitin’ for ya!’

We waited too long, you know?

(Emmett)
’Two minutes, Son!’

’Your friends are lookin’
mighty nervous.’

Hey, Frank.

How ’bout if I get ’em
outta the barn

and get ’em to line up for you?

How are you gonna do that?

I’ll tell ’em the whiskey’s
buried in the cemetery.

Hundred and fifty barrels,
have to be a deep hole.

They wouldn’t believe you.

Why, I’ll tell ’em
there’s mine shafts under there.

And they go on over there
and start diggin’.

And then when they’s all
bunched up together

lookin’ in the hole..

I open up
with, with big sweetheart.

(Emmett)
’One minute left, Sonny boy!’

Bit of a chance though,
isn’t it?

You’ll be standin’ out there
in the open.

Well, you know any better way?

Son, where’s the whiskey
really at?

Under the barn.

Under the barn?

He’s standin’ on it all this
time, but he don’t know it.

Son, we’re partners
for sure now, I’m tellin’ you.

(Emmett)
’Thirty seconds,
Mr. Son Martin.’

I just hope you know
how to use that thing.

Don’t you worry about that,
buddy.

Don’t you open up
until I give you the word.

No.

(Emmett)
’Well, sir.’

That’s real good thinkin’, Son.

Now you just bring out
Frank and your boy.

This ain’t their deal.
Leave ’em alone.

You bring ’em out!

Look, you got your guns on me!
What more do you want?

Well, I guess just your whiskey,
boy, that’s all.

’Where is it at?’

You leave my people go,
I’ll tell ya.

You tell me now
or I’ll cut ya down!

’You gonna tell me?’

That goddamn dumb hillbilly.

Alright, you knuckleheads,
get outta there!

Go on, move it.

Keep goin’!

’Move it!’

Alright, Son,
now it’s your turn.

Where’s it at?

’Where is it?’

Over there in the cemetery.

’You open the grave
says John W. Martin.’

There’s a shaft that leads
down to a mine tunnel.

You tellin’ me a story?

Well, why don’t you go
look and see?

That’s a damn good idea.

Alright, boys, get shovels

and come on and start diggin’.

John W. Martin. Dig him up.

Come on, come on, come on.
We ain’t got all day.

Time’s a-wastin’. Let’s go.

’Come on, move out!’

Move out and get goin’.

Goddammit, move!

Come on!

And you stay right
where you are, ya hear me?

I’ll be right here.

You’re damn right
you’ll be there.

Come on, quit doggin’ it, dig.

Come on. Get down there.

I couldn’t hear him good.
Could you?

Said his whiskey was under
there.

He, he givin’ it to ’em?

(male #4)
Oh, I hit somethin’.

Wait! There’s somethin’ there.

Dog! There’s somethin’ down
in there, doctor.

Can you see the barrels?

All I see is a hole.

Whiskey’s down there.

You want a light? I got a light
down there in the mine shaft.

Well, turn it on.

Switch is in the house.

Hey, Frank,
flip on that light switch

right next to you, will ya?

[explosion]

♪ For it takes
all kinds of people ♪

♪ It doesn’t matter
where they come from ♪

♪ Yes it takes
all kinds of people ♪

♪ The good the bad

♪ And everyone

♪ There will come the day

♪ When everyone passes him by

I got a half a barrel
and some fruit jars

if anybody feels the need.

♪ What will he say

♪ When nobody answers

♪ His cry?

♪ That it takes
all kinds of people ♪

♪ It doesn’t matter
where they come from ♪

♪ Yes it takes
all kinds of people ♪

♪ It may take some time

♪ But each man will find

♪ That he needs
all kinds of people ♪

♪ That he must believe
in people ♪

♪ Yes it takes
all kinds of people ♪

♪ To make a

♪ World ♪