- You were in prison?
- Yeah.
- How do I get a weapon in?
(guitar music)
- Roll set, please.
Action!
- Beth has decided she cannot rest
until she gets justice.
- I think she wants to kill somebody.
- That's an interesting moment because he's so used to
taking care of everything when it comes to the ranch.
I don't need you getting in trouble, Beth,
or hurt or killed.
If you need something taken care of,
you tell me, and I'll take care of it.
- This one's just for me.
She wants blood.
It's really kind of intense.
- She's smart enough. She's powerful enough.
She's all these things that he respects.
Give her the respect to go and handle what it is
that she needs to do for her own soul.
(door buzzing) (intense music)
- I think she goes to that prison
to stab this man in the eye.
And she knows that that is going to ruin her life.
- Look, like I told the other guy,
for me it's just business.
- What other guy?
- Lawyer. The one in the papers.
- This lawyer?
- That's the one.
- It's almost like she now needs to go deliver
all of that vengeance and all of that anger that she feels.
And it's back to Jamie, as if she didn't have enough anyway.
She knows that her life is going to be changed
after what she does to him.
And she sees a priest.
(car engine accelerating)
(indistinct crew chatter)
- Action!
- Sorry, I'm late.
So before dinner, I got a little business to take care of.
So Beth and Rip's wedding day is unlike any wedding
you've ever seen on TV. (laughs)
It's a wedding that only Beth and Rip could have.
Give me a hand, would you?
- Beth.
What the hell are you doing?
It's true to Yellowstone that it happened
in a very random way,
Beth orchestrating it like a tornado
and everybody else is just kind of just trying to catch
onto the tail of the kite.
Let's do this right. Okay?
Let me plan-
- I don't give a shit about the wedding, Dad.
I just care about the marriage.
- It's perfect. It's spur of the moment. (laughs)
It's Beth, you know, perfectly personified.
And I think Rip loves that about her and you know,
if she's happy, he's happy
and it's just this wonderful moment.
And what a journey it's been to get to that place.
There's two things I got to grab real quick.
Just give me one second. All right?
- He comes and gets me at the bunkhouse
and I don't know what's going on.
I mean, we've had some troubles in the past.
Where are we going?
- Wedding.
- Yours?
- Yes, sir.
- (laughs) We ain't had the bachelor party yet.
It's a real joyful moment for Lloyd and kind of makes
Lloyd feel like a kid again,
and that's the way I played it.
Best man! Yeah!
- To her, it has the meaning and the emotion behind it,
that for a wedding you could have planned for two years.
- I hope you'll let me do this again for you
and do it right.
- You can do it any way you want it.
- He's wanted desperately for Beth to actually have love.
She knows how to use men.
She can manipulate men and has,
and the idea that she has a man that she might
be able to really find true love is probably something
every father wants for their daughter.
- It was just a special moment for those two characters.
It was my mother's ring and we didn't have much, Beth.
We were poor, but...
it's yours.
And so am I.
- And before we know it,
it becomes this really beautiful, sacred moment,
and the happiest day of her life.
- I now pronounce you husband and wife.
- Now it's on, that's when she goes to war.
- Roll, please.
- One camera, alpha mark.
- And action!
- You have a visitor.
- I don't have an appointment.
- Not an appointment, a visitor.
- She hates him.
She hates him with every fiber of her being.
That's quite a difficult space as an actor.
She's so out for blood,
with someone that she feels betrayed her.
It's such, it's so...
It gets so dark.
Move over.
- Get away from my-
Ow! (groans)
Reading that she's got Jamie in that position,
it's frustrating.
It's so another moment of Jamie just can't get out
from under the thumb of these people.
He only admitted it once I held a fucking gun to his head.
- And when he did admit it,
why didn't you blow his head off?
It feels tragic.
It feels an elevated...
It feels Greek and Shakespearian.
And she gives Jamie his option.
- Beth, please, please, please, please, please.
- There is a third option.
Care to hear it?
It's so brutal.
And what Taylor in his writing does,
he gives us all such great reasons for why we are
the way we are.
I feel for Jamie, you know,
but at the same time,
if I'm looking from Beth's perspective, knowing who she is,
I understand why she's doing it also.
- Bravo mark.
- Ready. And action!
- Shooting the scene with Will,
where Jamie has to take him out,
it's complicated.
It's Jamie not wanting to do something that he's now
being forced to do by these same people who have always
put him in these positions.
But Garrett did what he did and he crossed his own line.
- And I love you.
- I love you too, Dad.
(suspenseful music)
(gun shot booms)
Shooting that scene is really sad,
but that's most days playing Jamie Dutton.
(Jamie crying)
No matter where we're coming from,
this is a cruel attack.
She wants to really make him pay.
- She doesn't kill him,
but she delivers him to her father in a way that says,
"Now you own him. He's yours."
It's almost like a cat bringing a mouse to its owner
and saying, "There you go."
- Speak to me straight, Beth.
Did I lose a son today?
Beth understands clearer than anyone
that she has to neutralize him.
- Now you own him, Daddy.
And that's when she can rest .
I'm going to sleep.
- Hey.
- Well, well, well.
- It's the (indistinct) - Hey.
- Look who it is.
- How y'all doing?
This is Emily.
She's a vet down the Sixes and she's my fiance.
- I feel like it's not just Mia who's like,
"Oh, this isn't good."
- Our engagement comes as a little bit of a shock.
(men shouting)
- Mia's not super thrilled.
And then of course I got to protect my man. So. (laughs)
(Emily grunts, punches Mia)
(Men yelling)
- Seeing her and Emily fighting,
it's the last thing that Jimmy wants.
Emily. Emily!
(Men laughing)
So he's in an incredibly difficult position there.
And it sort of comes to a very uncomfortable head
in that conversation with Mia.
- Let me fucking go!
- To see her in pain,
I think is such a difficult thing for Jimmy
and to know that he's the sort of cause of that pain.
- You didn't fight...
not even a little.
I think she knows that he's kind of already made his choice.
- She chose to come with me.
He still wants what's best for Mia, too.
So I think that was an incredibly painful thing
for Jimmy to see.
That said,
I think Jimmy's not going to sell out Emily
to make Mia feel better.
- Take me home, Laramie.
I just don't think that she really wants to face it.
- He comes back into a kind of a domestic hotspot
and out of that drama, he comes to a conclusion in his life.
Texas was good for you.
- Yes, sir. I think it was.
I think he also on some level knows that it's not
about John Dutton's approval anymore.
It's about whether he approves...
of himself,
about whether he feels like he's grown up,
about whether he feels like he's sort of
matured into the man that he wants to be.
- The only person you owe is yourself, Jim,
you don't know me a thing.
- Thank you, sir.
- He did such a great job of this transformation.
Go on, Jimmy.
(cows mooing)
Jefferson brought it.
He's up, standing taller.
His chest stuck out. Boots and spurs on.
He had his hat cocked.
And it was really easy for me to bring admiration for him.
I'll be damned. Look who went off and become a cowboy.
- Yeah, it seems that way, doesn't it, Lloyd?
- Lloyd's proud for him and understands what he...
where he's coming from and why he's leaving.
You going back to Texas, ain't you?
- I'm not much of a fighter.
They're sort of giving him license to make his own decision.
It's an incredible gift to Jimmy.
(hands patting each other's backs)
- (takes a deep breath) Good luck.
- As soon as you're branded, I mean, this is your home.
You know, you can go off and do whatever it is
that you need to do, but this'll always be your home.
Hey. Proud of you.
- It's an overwhelming feeling to feel like Jimmy might be
departing the Yellowstone for good,
but only time will tell.
And only one guy can make that decision, Taylor Sheridan.
- What we're watching Kayce go through is a lot of fear
that comes up in respect to the actual tradition.
We filmed enough to give people an idea of what it is,
but there's a lot that we purposefully left out
and wanted to keep sacred and respect.
- It's something that nobody has ever seen before
on television.
To find a way to share it in this context,
we were just elated about.
- When Taylor approached me and said that he wanted to
incorporate a little bit more of the culture,
I was excited, very excited to know that we were
going to be doing this and not just for Indian people,
but this is for all people.
Maybe it's going to help them to be more supportive
and go to their neighboring reservations
or speak to native acquaintances that they know.
And it just begins to create a dialogue.
That is something important and I think that everyone
in the world should go through it. (laughs)
- What do you want from me?
You replay a lot of the memories in your life.
Some things seem meaningful. Some things are just scary.
- You're not doing what he asked.
He said, "Pray for a vision."
But I don't see you praying.
- When Lee comes back,
it's sort of a really big deal for Kayce to
kind of have this moment with his brother.
And, you know, Dave Annable is just the best guy around.
- Let me in you fucking child, look at me!
- Aah! (screaming)
- This is your vision! This is your death day!
(Kayce screaming)
- And it's not just there to sort of spook people,
it's there because you're watching him deal with his past,
the things that sort of torture him the most,
obviously his brother's death is going to be
one of those things.
And then obviously the Afghanistan stuff.
- Scramble up.
(indistinct crew chatter)
- There's a lot of time, effort and experience
that goes into a scene like that
and a credit to Taylor for really loving authenticity,
to the point of putting in that time.
Bravo one, be advised the beacon is in place.
(explosion)
From the beginning, we've obviously seen that Kayce
deals with some bit of PTSD.
There's an heaviness and a complexity to the character
that we know is because of some things that he's done
and places he's been because of the military. (crying)
I think it just helps people to understand
why he is the way he is, you know,
why there's no lightness to him.
(Kayce screaming)
The more the audience kind of is clued into that stuff,
the more you realize why.
- It's just a dream.
- (Gasps) He has a couple other sort of visions
that don't make as much sense.
You're not real.
- Depends on what you think real means.
- We can convince ourselves of something
that may not be real, or it could be real.
- You know me.
- Things kind of coming, bubbling up to the surface
until all of that gets out of the way enough that he can,
he can see why he's actually been called
to do the vision quest.
- I can help you walk the path...
but you must choose it.
(crew chatter)
- It sort of ends a little more introspectively,
a little more quiet.
- What did you see?
- I saw the end of us.
- I think we all just want to know, you know,
what the future looks like and will there be a happy ending?
(intense music)