Original subtitles

You're makin' a mistake.

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

I left money for your horse!

Put the noose on.

You're makin'...!

Steve, hold on.

Thought I heard something.

All right, let him hang!

No!

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

Thank you.

Here comes somebody.

Looks like they're trying to catch up.

Whoever's driving that outfit doesn't know horses

or they don't have any heart.

Hey, that's a girl driving that outfit.

It is, isn't it?

Whoa!

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

The directions we had at Fort Bridger were so confusing.

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

We're camped just beyond the grove there.

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

It takes a man to treat horses with consideration.

It took me to get you this far, Silvio.

Thank you. I'm so relieved.

Are you... with the Adams train?

Yes, ma'am.

Then I'll be seeing you.

Kind of nice, huh?

Yes, she looks very familiar to me.

Oh?

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

It sure is.

Take your team on the outside, Pete.

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

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

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

We're trying to get some information

about a young man, a painter. Claude Soriano.

We read he was with your wagon train last year.

Sure he was.

Yeah, I remember him.

I spent quite a bit of time with Claude.

He's a nice fellow.

First artist I ever met.

He's my son.

Oh?

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

'fraid Claude would steal 'em.

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

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

First one side and then the other.

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

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

That could be.

As I recall, we were going through the prettiest country

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

Just the other side of Ogden, as I remember.

And how far is that?

About four or five days, I'd say.

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

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

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

Glad to have you aboard, Miss...?

Duncan.

And Mr. Soriano.

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

I'd be glad to.

Thank you. Thanks again.

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

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

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

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

maybe ask 'em to supper.

Shall I stretch the stew a little bit

and set the table family-style?

Yeah, Charlie, do that,

but do your stretching with water,

not those galdarn Mexican peppers of yours!

Word of honor, Major! Word of honor!

Join me, Major? Thanks. Later.

Good evening, folks.

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

we go by ship's orders.

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

with the Captain. That's me.

Oh, that's wonderful.

Uh... Silvio?

No, thank you very much.

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

You go, Clara.

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

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

All right. Miss Duncan. Thank you.

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

Thank you, Major.

Hello. A pleasure, Miss Duncan.

When I saw you earlier, I had the impression

that I'd met you somewhere before.

New York? Philadelphia?

No, no, no.

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

Mr. Garrett here's a newspaperman,

so we have to be on our best behavior.

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

Nevertheless, I'll be on my best guard.

Oh, no, please. Don't be.

I give you my word that whatever passes between us

will be kept confidential.

Major, can I trust him?

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

Did you tell Miss Duncan about the Cantellas, Major?

Oh, no, I forgot.

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

They gave me a lot of Mexican recipes...

How to cook with hot stuff and things.

This ought to interest you, Mr. Soriano.

This Mexican family had a little son

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

He had a wooden sword, an old burro,

and an old gun that was bigger than he was.

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

Then fever hit the train, and we lost him.

Couple of days later, your boy Claude gave the family

a picture that he'd painted...

Chico Bandito, painted from memory.

Oh, I'd love to see it.

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

I don't know whatever happened to the Cantellas,

but wherever they are,

Chico Bandito will always be with them,

because of your son's painting.

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

I haven't.

This is from a newspaper back home.

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

and then it tells of his painting,

and one picture particularly.

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

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

that is as genuine as this one."

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

Here you go.

Just taste it, Major. Mm-hmm.

Mmm. Delicious.

Thank you.

Mr. Wooster!

Did you call, Major?

My luck's been bad all week.

Well, it's gonna be worse!

Major Adams?

Yes?

I'd like to talk to you.

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

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

Well, what is it?

I'd like you to help me find Claude

before his father finds him.

His father?

You came here with him looking for him.

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

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

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

Major Adams, I really need your help.

You know, young lady,

I've had a long, hard day,

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

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

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

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

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

to tell him and to explain to him.

I apologize for keeping you up like this.

Never you mind about that.

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

Thank you.

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

Please do.

When I was about 12 years old,

Silvio... he was painting then...

Found me on the docks,

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

Didn't you have any folks?

Yes, a mother.

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

You see, I was one of nine children,

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

And was she?

Oh, I suppose so.

I-I had more food and better clothing

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

Especially when I met Claude

because he was lonely and...

we were good for each other.

He taught me about music and art and books.

He opened up the whole world to me.

He was the first and only man I ever met

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

well, I fell in love with him.

And what about Claude?

Oh, yes, yes, he loved me too.

But when we decided to get married,

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

but Silvio didn't want that,

and he did everything he could to stop us.

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

Claude didn't want to show his paintings.

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

I knew they were wonderful.

And I was... desperate, I guess,

so I took the paintings to a gallery.

You did?

The critics were brutal.

Claude was furious.

He stormed into the gallery and practically wrecked it

and knocked over a few people, and...

and then he disappeared.

I never even had a chance to tell him

that I did it for his own good.

So you...

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

and I've just got to find him.

It was all my fault.

Yeah, I can begin to see that now.

Well, Miss Duncan,

day after tomorrow, you and I part company.

We're going on to Salt Lake City.

You know what I'm gonna do?

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

I'll see that he understands your problem.

I hope you find Claude.

Thank you.

I realize I've kept you up.

Thank you so much for listening to me.

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

Thank you.

Good night. Good night.

Every morning you come out of your wagon

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

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

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

Lunch?

It's only about seven.

I don't see any clock up there.

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

Hmm. Ten minutes off.

It's ten past seven.

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

Oh, what an unusual watch!

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

I hope someday to pass it along to my son.

I hope you do.

First, I have to find a wife.

That shouldn't be too hard.

Oh. Have you found a husband?

I haven't... found him yet.

Let's just say I know who I want.

Do you believe that...

you could just look at somebody and then...

know that you want to marry them?

That's not the way it happened with me.

It... it took me a long time.

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

We're turning off for Ogden right after lunch.

Not goodbye, not yet.

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

so you'll be seeing more of me.

Does Major Adams know?

Well, these newspaper assignments come up so suddenly.

Uh...

I'll tell him now.

So... until later.

Right here'll be all right, Miss Duncan.

What's the matter?

What's wrong, Slim?

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

What's troubling you?

Come on, is ya seein' things?

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

Aha! It is Clara! It's Clara!

I seen her right outside there with my own eyes!

MAN: Howdy, Clara!

It is Clara!

I've got you over my bar!

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

And you say Claude loves you, huh?

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

Miss Duncan?

Please come in, Mr. McCullough.

I know that was kind of awkward for you,

but I wouldn't let it bother you.

The men didn't mean any harm.

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

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

Sure you won't change your mind?

No.

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

Thank you.

Clara?

Yes. Roger?

Uh... I'm going home.

Silvio was right. If Claude loved me,

he wouldn't have painted that picture.

At least, not had it behind a bar

in a saloon where...

I know Claude.

I met him here in Ogden about a year ago.

We had a few drinks together.

He told me about his work,

his dreams,

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

One that he called The Portrait of a Lynching,

and that one in there of you.

He didn't tell 'em who you were,

but I know he meant no harm.

I was so intrigued by the title

Portrait of a Lynching

that I did an article about it in my paper.

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

It was your article that gave Silvio and myself

the clue to where we might find Claude.

And your painting made me feel that

I'd already met you someplace before.

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

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

It all depends on the talent of the painter

and the beauty of the woman.

In this case, both are considerable.

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

Inspiration helps.

This'll make a good story, I suppose.

You have a right to be upset,

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

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

Now how 'bout it?

I think you should go on.

Find Claude.

Find out what he had in mind.

Yes, you're right.

Thank you, Roger. I'll go on.

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

I will.

Excuse me.

Blasphemy!

A fine work of art in a saloon!

Uh, Joe, what time you got?

We got a clock.

Yeah, but it stopped.

Oh, no, not again.

You know, I had the best timepiece one time

that a man ever had.

Sure wish I could get my hands on it now.

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

Lost it in a poker game one night,

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

I was so mad at myself.

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

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

How much?

Joe, you ain't sellin' Clara.

Oh, you just can't.

Clara ain't for sale, mister.

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

I won't take a penny for myself.

You'll get a fortune!

Clara stays right up there.

Even the frame is my son's handiwork.

I taught him how.

How did you get the painting, Joe?

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

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

so I gave him what he asked for.

Is there anyone else in town who bought

one of my son's paintings?

Why, sure. Mr. Waldron over there,

he bought one for his ranch.

Mr. Waldron? Yes.

I am Silvio Soriano.

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

Yeah. Got it out at the ranch.

May I ask what subject?

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

I'd like to see it,

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

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

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

for information regarding that painting.

There really was a lynching, then.

Oh, sure there were. Over at Johnsonville.

Them folks over there were sure mad

when they found out that the kid was innocent.

Find out who did it? No clues.

Has that canvas ever been out of that frame?

No, it hasn't.

And what business is that of yours?

Oh, I was just curious.

I understand Claude used to paint on both sides.

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

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

Sure!

What time is it, Joe?

Oh... 7:15.

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

It's the best I've got.

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

Joe, the whole idea of having a timepiece

is that it be absolutely anchored.

Why, did you know that ten seconds could make

the difference in a man's life?

Sure, I know that.

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

Now, I have here...

Can I hold it?

Why, this is the doggonedest timepiece I ever saw.

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

Keeps perfect time too. Never even a second off.

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

It might. It all depends.

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

How 'bout another drink, Joe?

Oh, sure.

What's going on?

Ron wanted me to check the back of this painting.

There might be something here that could mean our necks.

I guess we're all right.

What time is it?

Eleven past eight.

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

Eleven past eight.

Can I look?

Thanks.

Ron.

How's the ranch?

Everything's fine.

There's another painting all right.

Landscape, lots of trees.

But not the tree we're worried about.

Uh-huh.

Well, let's have a drink! Good.

Whiskey, Joe. A drink for the gentleman.

My pleasure.

Come on, Joe, come on.

I wonder.

Clara.

Now it's yours.

You can do what you like with it.

H-how did you get it?

It's my secret.

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

Roger, what time is it?

Oh, you shouldn't have.

A family heirloom!

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

You really want me to answer that?

No.

I can't take it. I...

I can't accept anything so costly.

Well, if I...

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

I couldn't bear to look at it.

Well, please, uh, keep it for me.

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

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

Don't forget, it's yours.

I'm not likely to forget it.

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

getting that painting away from me.

You knew how much I want it.

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

I had an idea what you might do with it,

feeling about her as you do.

In this matter of art, I put personalities aside.

Even Claude as my son means little.

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

The world must see it and recognize his talents.

And whatever pain might be caused Clara

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

We must not quarrel with each other.

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

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

by his own admission, is on the other side.

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

You'll have to ask her.

Clara,

I have come to ask you a deep personal favor.

Please let me look at the back of your portrait.

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

If it's there, what then?

Will you split the canvas thin enough for two paintings,

and exhibit only the Lynching?

Silvio, every time in the past

I've relented, forgiven,

and overlooked,

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

But this time it means too much to me.

My whole future as a decent, respectable person

hinges on that painting.

Claude might have painted that to...

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

But just to look...!

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

Unless if I find that Claude has forgiven me.

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

and do the painting the way it should have been.

And then I don't care anymore.

You can have it, exhibit it.

Either side will be a credit to both of us.

It's a deal.

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

Even if the Lynching is not on the other side?

Even if the Lynching is not on the other side.

I'm all set.

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

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

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

Pedro and I will ride up to Cantella's

and take care of him.

McCullough is trying to find him.

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

Better get going.

Steve, one more thing.

Report to Pedro.

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

Mr. McCullough.

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

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

Thank you. Let's roll 'em!

Nice night, isn't it?

Mm-hmm.

Let me see.

Ah.

I thought Claude made your eyes too dark,

but I guess I was wrong.

Is that why you were staring at me all afternoon?

Oh, no.

Yes.

Uh, Clara... Please.

Don't.

Good night, Roger.

Good night, Clara.

ROGER: Sleep well.

Found out anything?

Not yet. I haven't had a chance.

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

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

Go on.

Haven't you found out anything about Claude?

No, not a sign of him,

but there's a Mexican colony at Echo Canyon.

Well try there tomorrow.

Thank you.

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

I couldn't. I almost got caught.

Hurry up, do it now.

I have to make sure nobody else is around.

You better come with me.

Light it.

Aah!

The painting! The painting!

Mr. Soriano, no! Let me go!

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

I must save that painting!

Let me go! Let me go!

Why did you burn the wagon?

I...

I didn't.

I saw you. Why?

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

I had to get rid of the painting of Clara.

The back of it...

the... the Lynching...

Who were you trying to protect?

Me and...

Ron Waldron and...

Pedro.

Where is Waldron?

With...

the Cantellas.

McCullough,

they...

they want to kill Claude.

Where is Claude?

Windover Canyon.

W-Windover.

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

God have mercy on you.

Please let me go with you.

You stay here with Mr. Soriano.

But you promised.

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

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

Miss Duncan, the portrait that Claude painted of a lynching

didn't come out of his imagination.

He saw it happen,

and the men who did it will kill him

to keep him from talking.

Roger.

I'm a newspaperman, remember?

Besides, I have personal reasons.

Oh, please be careful.

You Cantella?

Sí, yo soy. Where is Claude Soriano?

Tell him.

IPronto! iPronto!

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

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

No!

He's in the canyon, painting.

All right, hold it.

All right, get down.

All right, over there.

The knife.

I'll take care of Claude.

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

All right, over by the tree.

Sit down.

Five minutes is almost up.

On your feet.

All right, Flint!

I see you haven't forgotten me.

Your memory and your work are too good, boy.

I've got to change that.

Flint!

Flint McCullough!

Hello, Claude.

Whatever happened to bring you here?

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

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

You're coming's certainly lucky for me.

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

Young lady named Clara Duncan.

She's with your father.

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

They've come a long way to see you.

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

All right.

Clara.

Hello, Claude.

It's nice getting to see you again.

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

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

Roger Garrett wrote an article for his paper

about Portrait of a Lynching.

It stirred up quite a bit of interest.

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

Oh?

You know, I, uh...

I can hardly remember Garrett at all.

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

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

No, no, Clara, not at all.

It's just... well...

there didn't seem much point in writing.

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

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

You don't have to explain.

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

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

and I realize that...

Well, that what I did was childish.

I was looking for values that...

well, now I see.

She's beautiful, isn't she?

Yes.

Are you in love with her?

No.

No, I don't think so.

I think my love is painting.

Ohh.

Oh, thank you, Claude.

Thank me? F-for what?

For setting me free from a...

from a promise that I felt...

Claude, I've fallen in love with someone.

Wonderful.

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

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

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

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

Thanks.

Father?

I don't like to break this up,

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

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

with the help of Clara and the minister.

Thank you, Mr. McCullough, for everything,

and give our best to Major Adams.

I will.

Good luck to you.

Thank you.