(drum beat) (fire crackling)
- The wolf is our protector, your spirit animal,
'cause in your heart, you're part wolf too.
But carrying the wolf is a burden.
(slow music)
- (crew noise)
(clapper marks)
Roll, mark.
- (crew noise)
- The wolf comes back, it's in a place
where there normally should not be wolves.
So something's up.
(suspenseful music)
- Kayce, whatever you do, don't shoot it.
- Well if it gets near my horses, I'm shooting it.
- If it goes near your horses, it's a test,
and if you shoot it, you fail.
Kayce carries so much trauma, for most of his life,
and Kayce's done a lot of killing, it'll affect you.
And he knows just enough that there's a connection to it,
but he doesn't know quite what it is.
And that's when he comes to Rainwater and Mo,
which leads to recommending that he do the ceremony,
to give himself answers, not for anyone else.
- You'll have to ask the wolf.
- How do I do that?
- Hanbleceya.
Cry for a vision.
- It's one of the most arduous and challenging journeys
that somebody can take, but there's a purifying
and a cleansing of stripping all your thoughts
to be distilled down to the simplest form
of who you actually are, who you really are,
and that discovery can change your life.
- Gotta be honest.
I'm not sure I believe in all this.
- It sure believes in you.
- Mo in his actual life is very much tied into these
spiritual traditions of his people.
He's an invaluable asset, because we know
that we're doing it right,
and that we're doing it respectfully.
- Listen to Mo, do what he says,
exactly as he says it.
- She knows these are conditions, that native people
live with, for centuries,
and this is the healing powers that they have.
- On that ride there for me emotionally,
I was really going to that,
what we consider a sacred place.
- What will come to you,
depends on how hard you pray
and how much you suffer.
- It's spot on.
There's a true battle that goes on within us.
That place is where we begin to find ourselves.
- Okay here we go and action!
- The armed robbery interrupted by former livestock
commissioner, John Dutton would have certainly
led to a greater loss of innocent life,
had he not intervened.
- This is yet another moment to remind him
of embarrassment and inadequacies.
It just feels like John, is now turned
into enemy number one for Jamie.
- Focus good.
- Looks Good.
- And, action,
- His natural born father, he's a complicated person.
He's a threat.
Last time I saw you, the judge gave you life.
Guess life don't mean what it used to, does it?
For Jamie there's this chance to find his center,
but it's of a person that's of a low character.
- I spent 30 years inside a concrete box.
- It was good to see Will, on the set,
and he's just a fantastic actor.
And he brings so much,
he's very dynamic in his own way, formidable and detailed.
- You could have told him what she'd become.
- She became what you made her,
and you killed her for it.
- Even though Summer and John are
on different sides of the issues.
They both agree that an airport shouldn't be built next
to Yellowstone National Park.
I should have never listened to your daughter.
- What do you mean?
Beth thought in a way that she was just going
to use her a little bit, but it's turned much
more dramatic and she's in fact, you know,
facing having her life altered forever.
This was Beth's idea?
- It wasn't my idea to slap the first cop I saw.
- It was hers?
He feels an obligation to try to fix that, Beth does not.
And I think rightly so, we have a conversation about that.
- Okay, still rolling, and action.
- We're eating in the dining room tonight.
- Why are we eating in the dining room?
- Cause I like eating in here,
but you and I aren't going to like this dinner.
- So Beth fights dirty and of course
her father doesn't like that.
So she comes up against him.
- Have a seat.
- I fight standing.
As long as she could protect her father and the ranch,
she doesn't, she says it, I don't care.
I do anything to hurt our enemies, Dad.
If I hurt others, so be it.
- We fight with dignity, you aren't.
You start or find another fight.
- What does that mean?
- I voice a level of disappointment with her,
which is, terrible for her to hear.
I find it, you know, it was important that I say it to her.
- It's a really difficult moment for her,
that rejection, because she's doing it all for him.
It just touches her, the most vulnerable,
weakest spot in her.
And it's just so painful.
- You know, maybe it's best, if I fight this alone,
maybe it's best if you go somewhere else while I do it.
- This my home.
- Might be time to find another one.
(crew chatter)
- And, action.
- Look at this fucking guy, he's done this before.
- It's my first time.
- You've been shuffling the cards in the air.
- In the bunkhouse you can sort of just let free
and do whatever the hell you want.
- Now I ain't gonna kid with some mother fucking,
card sharking little, elf.
- Yeah, you tell him that.
- She was great at improvising, every single take
she was doing a different thing to say to me.
- Cheating little squirrelly haired, little twat mouth,
cunt mother, fucking faced dick nose.
I threw every dirty word that I knew at him
with the intention of shocking him and horrifying
his mother who was just off camera.
- What's wrong with her?
- What do you mean?
- She bite off her tongue or something?
- Fuck you!
Because just Jen, I just got along really well
with that kid, he's great.
- I love her, she's, she's a really nice lady.
- From where it started with Carter and Rip,
to where it ends up.
You know, I think it's just a moment where,
you see Rip being really supportive of Carter and,
and acknowledging that this kid has, you know,
some talent when it comes to cards.
I love it.
You know what he has, he's a bit of a hustler,
Rip likes that about him.
It's a nice moment for, for Carter as well.
I mean, he's looking back at me
and seeing that I'm proud of him
and that he's whipping everybody's ass.
So it's a great moment for them.
- Same exact cards last time.
- It was a, difficult moment to shoot.
Do you know any sad songs?
- Most people say that's all I know.
- Would you play one for me?
To have that moment with him.
She couldn't share that moment of grief with Rip.
It's almost like she doesn't want Rip to see that.
And for her to truly go there and for her
to truly feel it has to be with someone
who's experienced it
and can almost just allow the space for it.
- I'm incapable of crying for myself, Walker.
I need a song to cry to.
- That was pretty intense you know,
it's always great doing scenes with Kelly
and never know where any of that stuff's going
to go until I get there.
Yeah, it was definitely, definitely tough
to play a song like that.
It was a song that, that Taylor chose.
It's an old song I wrote a few years ago
and he said that he'd been kind of trying to find a place
to use it somewhere in the show.
And that was just kind of what he envisioned
and what he was hearing there.
- As anything with her, with Beth it's all or nothing.
And I know when I have to do scenes like that,
it's got to be, all of me.
How does an actor, how do you do that?
How do you, how do this character that's so contained
and so strong.
How do then suddenly, we release that?
I'm so connected to her.
She's so real to me,
I care so much about her.
It's her pain that drives her.
I just, so I couldn't shy away from that, that scene.
- I felt like Walker kind of was going in this other
direction and, all of a sudden he gets kind
of pulled back into that triangle of Beth and Rip.
And you know, I don't know, to be honest,
I don't want to get on Rip's bad side too often,
Things are starting to go pretty good you know, so,
I hope he doesn't get too upset.
(dramatic music)