DR. QUINN, MEDICINE WOMAN "For Better Or Worse" Parts I&II Written by Beth Sullivan Directed by Gwen Arner CBS ENTERTAINMENT PRODUCTIONS Prod. #2244-0326/0327 in association with PRODUCTION DRAFT THE SULLIVAN COMPANY February 23, 1995 (C) MCMXCV Rev. Blue, March 2, 1995 Rev. Pink, March 9, 1995 Rev. Yellow, March 10, 1995 CBS Inc. Rev. Green, March 14, 1995 All Rights Reserved Rev. Goldenrod, March 22, 1995 CBS INC. IS THE AUTHOR OF THIS PROGRAM FOR THE PURPOSE OF COPYRIGHT AND OTHER LAWS No portion of this material may be copied or distributed without the prior consent of CBS Inc. DR. QUINN, MEDICINE WOMAN "For Better Or Worse - Parts I&II" Cast List MIKE SULLY MATTHEW COLLEEN BRIAN LOREN DOROTHY HANK JAKE HORACE MYRA REVEREND ROBERT E GRACE JON INGRID JOHN GENERAL CUSTER ELIZABETH QUINN REBECCA MARJORIE CLOUD DANCING FEATURED EXTRAS: INGRID'S THREE LITTLE SISTERS TWO TOPHATS CUSTOMER "ESCORTED" OUT BY HANK KIDS PLAYING TAG AT CHURCH PICNIC SMALL BAND AT WEDDING (AMONG WHICH ARE A BANJO, GUITAR, HARMONICA PLAYERS AND FIDDLE) STRING QUARTET AT WEDDING PHOTOGRAPHER UNIFORMED BRASS BAND AT TRAIN VENDORS MYRA'S BABY GIRL (SAMANTHA) BACKGROUND: QUILTING CIRCLE WOMEN CUSTER'S DETAIL OF MEN COOPER KIDS' FRIENDS SOLDIERS TOWNSFOLK SALOON GIRLS ANIMALS: FLASH/WOLF _ACT ONE_ FADE IN: EXT. NEW HOMESTEAD - DAY TWO 10 The family wagon is out front, plus Matthew's and Sully's horses. INT. NEW HOMESTEAD - DAY TWO 11 The family's there, including Ingrid, each engaged in some finishing task. There's no furniture yet, except for a brand new wingback chair, just out of its shipping crate and placed by the main fireplace. Matthew works at uncrating a second matching chair. The kitchen does have a built-in sink and cupboards. There's also an indoor hand water pump. Sully's fitting some last joints together on shelves that flank the main fireplace. Brian sands the stair bannister, while Colleen washes windows. Mike and Ingrid are in the kitchen area, cleaning the cupboards of sawdust. Ingrid fights back emotion as she works, finally stopping, looking down, trying to contain her anguish. Mike stops, too. MIKE Ingrid? INGRID It is a fine house. Mike glances around, smiles contentedly. MIKE Yes, it is. But then Mike sees the tears, goes to her, puts an arm on her shoulder. MIKE Ingrid, what's wrong? But Ingrid quickly turns, wipes the tears on the back of her sleeve and gives Mike a pleading look -- not to draw Matthew's attention. Mike drops her arm and lowers her voice. MIKE What is it? (CONTINUED) 9. CONTINUED: 11 INGRID We will never have house. Matthew is always too busy with his cattle to finish building. MIKE Sully's offered to help, but Matthew always seems to have a reason why he doesn't need it. INGRID Yes. Always excuses. He is stubborn with pride. He tries to prove he is a man... She grapples both to understand and to explain. Mike glances over at Matthew, working alongside Sully. MIKE ... when he already is one. Ingrid nods. Yes, that's it. Mike gives Ingrid's hand a quick reassuring squeeze, just as Brian comes clomping down the stairs, finished. BRIAN All done. Sully comes over and runs his hand along the bannister. SULLY Good job, Brian. Brian trails after Sully as he goes back to work. BRIAN Sully, can I be your "best man?" Activity stops. Brian's the only one who doesn't realize that the question opens Sully's wound about Cloud Dancing. MATTHEW You're too young, Brian. BRIAN But I'm too old to carry the ring. MIKE Says who? BRIAN Mrs. Godfrey. (CONTINUED) 10. CONTINUED: (2) 11 COLLEEN It says in the book that the ring bearer's supposed to be from three to eight years old. BRIAN See? I'm _ten_ years old. MIKE Well... This wasn't necessarily the moment she had in mind to broach the subject, but here it is. MIKE ... what if you had to carry more than one ring? (to Colleen) Does Mrs. Godfrey say anything about that? COLLEEN (unclear) No... BRIAN But there's only one ring. Everybody knows that. MIKE Apparently not everyone. I've heard of couples exchanging rings. BRIAN Is that what you and Sully're gonna do? Good question. They all await her answer, especially Sully. She looks to him. MIKE We've never even discussed such a thing... SULLY We sure haven't. MIKE ... but it doesn't mean that we can't. She continues to hold his eyes. MIKE Does it? (CONTINUED) 11. CONTINUED: (3) 11 SULLY (a beat) 'Course not. SMASH CUT TO: INT. OLD HOMESTEAD - NIGHT TWO 12 +CLOSE ON SULLY 13 SULLY I ain't wearin' a ring. +WIDEN TO REVEAL 14 Sully and Mike sitting by the fire, after the kids have gone to bed. MIKE I thought you agreed that we could discuss it. SULLY That's right, and we just did. MIKE But you haven't even heard my opinion. SULLY Michaela, whatever it is, I ain't wearin' a weddin' ring, so why waste your breath? MIKE A discussion implies hearing all views, _then_ deciding. Sully takes a deep breath, sighs it out. SULLY Go ahead. MIKE Well... First of all, it's true. There are couples who exchange rings, many in fact. I've not only heard of them, I've even met a few. Some of my father's Libertist friends. SULLY "Libertists?" (CONTINUED) 12. CONTINUED: 14 MIKE Free thinkers. People who aren't afraid to defy convention... SULLY I'm not afraid. MIKE I didn't say you were. (quickly) Oh, please, this isn't how I wanted this to go... SULLY No, you just wanted me to say yes. MIKE (appealing) That's not true. I simply wanted us to share our thoughts, our feelings... You've always been fair to me, Sully. You've always heard me out. A beat, then he takes her hands in his, ready to listen. MIKE If we each have a ring on our finger, we're saying to the world that we belong to one another, that we're husband and wife... And nothing else is necessary to prove that. SULLY What're you gettin' at? She hesitates for fear of his reaction, for fear of alienating the one person she loves most in the world. He sees the fear. SULLY There's nothin' you can't say to me, don't you know that? She looks deep into his eyes, hoping that's true. Finally: MIKE The rings say far more than a name. He realizes where she's headed. (CONTINUED) 13. CONTINUED: (2) 14 MIKE Tell me honestly... How would you feel if you suddenly had to change your name to Byron Quinn? He looks into the fire. MIKE The Cheyenne don't change names when they marry. SULLY We're not Cheyenne. He's had more than he can handle for one day. SULLY And we're not settlin' any of this right now. He gets up... SULLY 'Night. ... and leaves. Mike watches the door close behind him. EXT. GRACE'S CAFE - DAY THREE 15 Brian sits with Loren, Dorothy and the Reverend. Jake and Hank are at the next table, as Grace delivers their lunch. LOREN Two rings, you say? BRIAN I don't see what's so much harder 'bout carryin' two rings than one that you gotta be older. HANK (interrupts) And Sully's goin' along with it? BRIAN (shrugs) Ma said they hadn't talked it over, and Sully said they sure hadn't. Looks all around. (CONTINUED) 14. CONTINUED: 15 HANK How'd he sound when he said that? BRIAN (thinks) Kinda mad. Hank smiles, announces: HANK Odds just doubled, folks. BRIAN Hey, what 'bout _my_ bet? Hank looks at him blankly. BRIAN A baby brother or a baby sister? HANK Think you're puttin' the cart 'fore the horse. INT. CLINIC - DAY THREE 16 Mike's at her desk, going over a medical chart, but her mind is elsewhere, when Colleen enters, putters around, something on her mind as well. COLLEEN Mrs. Godfrey's book said bridesmaids just have to be older'n thirteen. MIKE Um... COLLEEN Fifteen's 'bout average, I'd say. MIKE Fifteen, you say?... Colleen misreads Mike's indifference and her emotion spills over into the tone of her voice. COLLEEN Yeah, _my_ age. Mike looks up, realizes what's being said. MIKE Oh, Colleen... You must think... (CONTINUED) 15. CONTINUED: 16 She gets up and goes to Colleen, takes her gently by the shoulders. MIKE I want you to be a bridesmaid. COLLEEN You do? MIKE Of course. COLLEEN But you didn't say anything. Mike shakes her head at herself. MIKE I've been much too preoccupied lately. COLLEEN 'Cause you been hopin' to hear from Boston? MIKE I suppose so. (wistful smile) Will you please do me the honor? Colleen smiles big, nods. Mike hugs her, but over [Colleen's shoulder, her expression is still troubled. omit (17-19) EXT. ]NEW HOMESTEAD - DAY THREE 20 Mike rides up, sees Sully's horse there. INT. NEW HOMESTEAD - DAY THREE 21 Mike enters, looks around surprised to find no one. Then she hears some activity above her. She starts up the stairs. INT. MIKE'S AND SULLY'S FUTURE BEDROOM - DAY THREE 22 She enters to find Sully polishing the lone piece of furniture in the room -- the bed he carved for them. He takes note of her presence, but doesn't stop his work. SULLY I ain't had enough time to decide. MIKE I know. She comes closer, runs her hand along the smooth wood until it covers his, stopping his motion. MIKE I didn't come for any decisions... I came to talk about Matthew and Ingrid. (CONTINUED) 18. CONTINUED: 22 He pulls away, continues working. SULLY What about 'em? MIKE Apparently Matthew thinks he has to prove his manhood by building his own homestead all by himself. SULLY Not such a bad idea. MIKE Sully... Ever since Olive left him her cattle, he hasn't had enough time... Sully's worked his way close to Mike and stops, interrupting: SULLY Then he shoulda taken me up on my offer. MIKE What offer? SULLY To take the old homestead. MIKE You offered it to him? SULLY Months ago. MIKE Why didn't you tell me? SULLY Didn't see any reason to set you goin' on about it. MIKE Like now? Is that how you see what I'm doing? "Going on about it?" Sully moves around her and starts polishing again. SULLY A man's gotta make those kinda choices for himself. A beat. (CONTINUED) 19. CONTINUED: (2) 22 MIKE So does a woman. She leaves. He stops, goes to the window and looks out. +SULLY'S POV 23 Mike riding off, strong in the saddle, her hair flowing behind her. DISSOLVE TO: EXT. NEW TRAIN STATION - DAY FOUR 24 The day has arrived. The train is coming. Celebration sweeps the town. Every last decoration is in place, a uniformed BRASS BAND's been hired just for the occasion, and VENDORS sell souvenirs and confections. +THE PLATFORM 25 is crowded, as is the street beyond. Everyone has turned out for this momentous event, sporting their finest. All of the townsfolk are there. Matthew, Ingrid and her little SISTERS stand with Robert E and Grace and Myra. Hank and his GIRLS are all decked out. Jake, as Mayor, stands next to a podium that's been placed on the open end of the platform, opposite the telegraph office and ticket window. With him are Loren and the Reverend. +THE NEW TELEGRAPH OFFICE 26 now has all of the trappings of the old one, including the old bulletin-type board for official announcements. The only difference is that in place of the stagecoach schedule, Horace now hangs the new train schedule. The first one's due in at 9 AM. He goes... INT. NEW TELEGRAPH OFFICE - DAY FOUR 27 ... where he glances up at the wall clock: 8:45. A message starts coming over the telegraph. He quickly writes it down and goes back... EXT. NEW TELEGRAPH OFFICE - DAY FOUR 28 ... where he picks up a piece of chalk and writes next to the 9 AM arrival -- "ON TIME". (CONTINUED) 20. CONTINUED: 28 GENERAL CUSTER (O.S.) It better be. Horace jumps, turns to find Custer and three MEN facing him with a smile. Behind him is a small DETAIL OF MEN accompanying an empty wagon on the crowded street. GENERAL CUSTER Patience is not one of my virtues, and I'm expecting a shipment of munitions. Meanwhile... He hands Horace some kind of placard. GENERAL CUSTER You're to place that in full public view. Horace looks at the placard, shocked. GENERAL CUSTER By mandate of federal law. Horace hesitates, but then goes to the bulletin board and picks up the small mallet hanging from a string. He takes some of the spare nails from the corner and now places the poster up and reluctantly nails it into place. When he finishes, he steps aside to reveal... +A WANTED POSTER FOR CLOUD DANCING 29 ... boasting a $500 reward -- Dead or alive. EXT. CLINIC - DAY FOUR 30 Mike, Colleen and Brian exit into the flow of traffic and excitement headed for the train station. People checking their watches, hurrying. EXT. GENERAL STORE - DAY FOUR 31 Mike and the kids pass just as Dorothy comes out, wearing the dress Jake bought her for Valentine's Day. DOROTHY Michaela!... Mike stops, allowing the kids to run on ahead with some of their FRIENDS. Dorothy joins her and slips her arm through hers, as they head for the station along with everyone else. (CONTINUED) 21. CONTINUED: 31 DOROTHY You know how there's a day you plan on for such a long time, it gets so you never think it's really gonna come, but then it does. Mike smiles, nods, stops Dorothy. MIKE Dorothy, I've been meaning to ask you... Will you be my matron of honor? DOROTHY (delighted) Michaela... They hug, but then: MIKE And Dorothy?... They separate. Mike hesitates. DOROTHY What is it? MIKE Well... I could use some... advice... from someone who's had... experience. DOROTHY (smiles) Oh, don't you worry. It's as easy as fallin' off a log. MIKE Remember, I've never... fallen off a log. Dorothy links arms with her and starts them walking again with the flow of the crowd. DOROTHY Well, I'll tell you everythin' I know, for whatever it's worth... And they blend into the crowd pushing toward the train station. 22. EXT. TRAIN STATION - DAY FOUR 32 Mike and Dorothy join the others. As a town council member, Mike is helped up onto the platform by the Reverend. From that vantage, she now sees Custer and his men. She looks to the Reverend, then to Loren and Jake. No one seems too pleased at Custer's presence this time around. But on the other hand, they're determined to let the dark cloud pass over quickly. They all look away, back to their preparations. Only Mike still feels the shadow, as she and Custer lock eyes. EXT. NEW TELEGRAPH OFFICE - DAY FOUR 33 Horace comes out, donning his jacket to join the festivities, but instead runs smack into Sully, who stands, staring at the poster. There're a lot of people around, but everyone's focus is down the platform, away from them. Horace stands there a beat beside Sully, looking at the drawing of Cloud Dancing, now a man with a bounty on his head. HORACE Didn't figure you'd come to see the train. SULLY I didn't. I came for somethin' else. Horace glances over at Mike at the other end of the platform, then back at the "Wanted" poster. A beat. HORACE I'm real sorry, Sully, but I had to put it up. It's the law. Sully nods grimly. +ON CUSTER 34 He sees Sully at the poster, then watches him walk away from Horace, from the crowd, from the festivities -- off into the wild. +SUDDENLY 35 The SOUND of a train whistle in the distance. +BACK TO SCENE 36 Horace glances up at the wall clock: 8:58. He takes off across the platform... 23. +ANOTHER ANGLE 37 ... to join the other town council members at the podium. Among the crowd, the excitement grows as the train WHISTLE blows again, closer this time. +OUR TOWNSPEOPLE 38 react, each in turn, and the WHISTLE bursts come closer and the chug of steam can even be heard. Matthew lifts Brian up so he can see above the crowd. Colleen hugs Mike in anticipation. Mike forgets all else for the moment, straining to catch the glimpse everyone's waiting for... and there it is! +THE TRAIN 39 barrels around the bend and into full view. A deafening CHEER goes up. The WHISTLE blows repeatedly as it steams into the station and slows to a puffing stop. At the helm of the locomotive is JOHN, the engineer Brian rescued from Hank's trap. BRIAN Hey, look! It's John! Matthew's view is blocked by Brian. MATTHEW John who? BRIAN You know, the John who got burned in the train wreck and Ma fixed his face? He's drivin' the train! MATTHEW (impressed) No kiddin'. The town acknowledges John with a extra CHEER, as the big man waves. Brian runs to greet him. Jake takes the podium, next to a couple of TOPHATS. He holds out his hands for quiet and the crowd manages to settle down. JAKE As Mayor, it's my privilege to welcome the Denver and Rio Grande Railroad to Colorado Springs. (CONTINUED) 23A. CONTINUED: 39 He shakes hands with the tophats to APPLAUSE and CHEERS. CUSTER My munitions, gentlemen! Everyone quiets. CUSTER I should think you'd want to start off on the right foot by making your deliveries on time. A beat, as everyone looks to Jake for a response. (CONTINUED) 24. CONTINUED: (2) 39 JAKE General Custer, I think it's only polite we oughta wait 'til tomorrow to unload the freight and get on with the celebratin', don't you? Custer sizes Jake up, then suddenly smiles. CUSTER Why, of course. Only polite. Jake and Loren exchange a look, then Jake goes to the door of the sole passenger car. JAKE Ladies and Gentlemen, the first passenger to travel by train to our fair town.... He slides the door open, and there stands none other than... +ELIZABETH QUINN 40 MIKE Mother! OFF Mike's reaction. FADE OUT: _END ACT ONE_ _ACT TWO_ FADE IN: EXT. MAIN STREET - DAY FOUR 41 The town's still animated over the train's arrival, as Mike and the kids round the corner on foot, with Matthew leading their horse and wagon, with Elizabeth, and Mike's oldest sister, REBECCA, and her youngest sister, MARJORIE in the single buckboard seat and their considerable luggage in the wagon bed. MIKE (to Elizabeth) I was worried that you weren't coming. ELIZABETH Not worried enough to accommodate your own mother's or your sisters' schedules the slightest bit. Mike tenses, realizing this unexpected arrival may not be all sweetness and light. MIKE We were told that May twentieth was the day our wedding had to take place. ELIZABETH Told? By whom? MIKE A close friend. ELIZABETH And what on earth was this "friend" basing such a mandate upon? MIKE Spiritual guidance. ELIZABETH The _Reverend_ told you what day you had to marry? MIKE Well, no... BRIAN (proud) Cloud Dancin' picked it. (CONTINUED) 26. CONTINUED: 41 MARJORIE (her enunciation _too_ exact) "Cloud Dancing?" ELIZABETH (rolls her eyes) I should have known. The whim of some Indian is more important than... MIKE (interrupts) ... than a flower show? And I'll thank you not to refer to him as "some Indian"... MARJORIE An Indian? MIKE ... and it wasn't just a "whim". He was given a sign. They stop at the clinic... REBECCA (peacemaker) The important thing is that we're all gathered together for the wedding of our beloved Michaela and Mr. Sully and to celebrate it with joy. ... just as the saloon doors fly open and Hank "escorts" a CUSTOMER into the street. HANK Nobody treats my girls like that, understand? He throws the guy down in the dirt and might do further damage except that he's distracted by Mike's entourage. The guy takes the opportunity to scramble away, as Hank steps over. HANK Speakin' of ladies... He's especially dazzled by Marjorie. He holds his hand up to help her down, putting on his very best manners. HANK May I? She looks at him as she would a rat. (CONTINUED) 27. CONTINUED: (2) 41 MARJORIE No, you may not. He smiles, steps aside with a bow, as Matthew helps Marjorie down. As she alights, though, Hank leans in close enough for her to feel the attraction. HANK Pleased to almost meet you. And he ambles back over to the saloon, as Mike and Colleen help Elizabeth and Rebecca down, and Brian and Matthew start on their bags. MIKE That's Hank. Hank is... (at a loss how to put it to Marjorie) ... Hank. REBECCA He's rather charming, in a... provincial sort of way. MARJORIE He's a pig. She straightens her skirt and tries in vain to brush the dust off. MIKE Yes... well... Changing the subject, gesturing to her clinic sign, to Elizabeth: MIKE What do you think? Elizabeth gives the building a once over. ELIZABETH It looks the same to me. MIKE I mean the sign. ELIZABETH Oh... yes. MIKE It was a birthday present from the whole town. (CONTINUED) 28. CONTINUED: (3) 41 MARJORIE (correcting) _Entire_ town. REBECCA It's very nice, Michaela. ELIZABETH Yes. Very nice. As the kids continue to carry luggage inside, Mike looks up at the sign, seeing it through their eyes. MIKE I realize it might not look as fancy... MARJORIE _May_ not look, and "fancy"? Really, Michaela, your vernacular... MIKE What? MARJORIE You're beginning to sound more like these rustics... (gestures to the townspeople) ... than us. Mike looks to Rebecca, genuinely surprised at this thought. REBECCA Well, your accent's changed somewhat, but I think it's charming. As they all start inside: MIKE Really? No one's said anything. MARJORIE How would they know? Mike can't argue that. She turns to Rebecca. MIKE So how do I sound now? Rebecca searches for a way to describe it, but Elizabeth beats her to it. (CONTINUED) 29. CONTINUED: (4) 41 ELIZABETH Neither here, nor there. She goes inside. Marjorie follows her. After a quick smile, so does Rebecca, leaving... +MIKE 42 ... to contemplate yet another change, this one in herself and one of which she was entirely unaware. BRIAN (O.S.) Ma... Brought back to the moment, she goes inside. INT. RECOVERY ROOM - DAY FOUR 43 Mike ushers her mother and sisters in, with Matthew, Colleen and Brian on their heels. Luggage is already there. Mike fusses a bit, straightening a quilt, a vase of dried flowers... MIKE Luckily no one's sick enough to be needing a room right now so you'll each have your own. MARJORIE Sick? MATTHEW These're Dr. Mike's recovery rooms. Marjorie looks around, seeming unduly apprehensive in spite of Colleen's reassurance: COLLEEN Don't worry, we clean 'em real good. MARJORIE (preoccupied) "Well". You clean them well. COLLEEN Right. MIKE But if anyone comes down with something, I'm afraid you may have to double up. Abruptly, Marjorie picks up her bags. (CONTINUED) 30. CONTINUED: 43 MARJORIE I'll save you the trouble. I'll simply stay at a hotel. Mike stops her busywork. BRIAN All the way to Manitou? MARJORIE Mani-what? MIKE Manitou. It's ten miles from here. That's the nearest hotel. A beat, as Marjorie absorbs this, then sets down her bags. REBECCA The rooms are lovely, Michaela. (to Marjorie) Especially this one with the balcony, Marjorie... MARJORIE (wheels on her) Stop it! She realizes that she's lost control and tries for as much dignity as possible in her exit. Mike looks to Rebecca, who just shakes her head, then to Elizabeth who holds her gaze. MIKE Children... They all leave. Once they're out of earshot, Elizabeth sits wearily in the lone chair. Mike and Rebecca sit on the bed. ELIZABETH (staring off) I know your sister has never had the sunniest disposition, but something is wrong. Mike looks to Rebecca. REBECCA I'm afraid it's true. It's been over a year since Everett abandoned her. One would think she'd be feeling somewhat better, or at least resolved. (CONTINUED) 31. CONTINUED: (2) 43 ELIZABETH Instead, she grows worse by the day, more bitter by the hour. (looks to Mike) Have you any antidote for betrayal, Michaela? +ON MIKE 44 If only she did... INT. HOMESTEAD - NIGHT FOUR 45 Mike, Sully and the kids are joined at the dinner table by Elizabeth, Rebecca and Marjorie. They eat in silence for a beat, then: ELIZABETH (to Sully) Would it be possible to pick up our freight tomorrow? SULLY Freight? ELIZABETH I brought a few things for the wedding. MIKE A few things? REBECCA (smiles) As much of Boston as would fit into a freight compartment. ELIZABETH And some that wouldn't. I've ordered a string quartet from Denver. MIKE But Mother... ELIZABETH No buts. I didn't come all this way not to do this wedding properly. Mike and Sully exchange a look. 32. EXT. TRAIN STATION - DAY FIVE 46 In the b.g., some townspeople are taking down the train decorations. [Mike, Sully, Elizabeth, Marjorie and Rebecca] stand on the platform, as John checks a list against several crates and a large standing trunk. JOHN China... silver... crystal... Mike and Sully exchange another look. JOHN ... linens... (mispronouncing) ... trousseau... ELIZABETH (correcting) Trousseau. JOHN Trousseau. He moves to the trunk. JOHN Bridal party attire and wedding gown. This last really catches Mike off-guard. MIKE Mother... ELIZABETH It's divine. John hands Elizabeth the freight order to sign. MIKE But... MARJORIE Mother had it made in London. [The tails, as well. Mike looks to Sully.] (CONTINUED) 33. CONTINUED: 46 SULLY It's real nice of you to go to all this trouble, Mrs. Quinn, but Michaela and I got our own plans. I'll go check with Horace and find out where we can store all this 'til the weddin's over. He heads to the telegraph office in the b.g. ELIZABETH Over?! (to Mike re: the crates) But these things _are_ the wedding. MIKE A wedding isn't about "things", Mother. Mike hurries after Sully. ELIZABETH (to John) Have those crates delivered to the cafe. She extracts payment from her purse and gives it to John. JOHN (glances after Mike) But... ELIZABETH They belong to me. EXT. NEW TELEGRAPH OFFICE - DAY FIVE 47 There's a "CLOSED" sign in the window. Sully looks frustrated, just as Mike catches up. MIKE They're probably just at Grace's for lunch. We can go talk to Horace there. I'm sorry, Sully, but please don't overreact. He looks at her, then up at the "Wanted" poster of Cloud Dancing. She follows his eyes, shocked at the sight of it. She looks back to Sully queryly. SULLY Custer made Horace put it up yesterday. (CONTINUED) 34. CONTINUED: 47 CUSTER (O.S.) (raised voice, announcing his presence) Good afternoon, ladies. Mike and Sully turn to see Custer on horseback with his detail of men, greeting Elizabeth, Rebecca and Marjorie. The rest of their talk is lower, out of earshot, though by the body language, introductions are being exchanged. +ON CUSTER AND THE WOMEN 48 ELIZABETH ... and we've traveled all the way from Boston for Michaela's wedding. You're attending, of course? Custer glances in Mike's and Sully's direction, then turns to Elizabeth with a smile. CUSTER Of course... I wouldn't dream of missing _the_ social event of the year. He tips his hat to the women, then hands a freight order to John, and with a jerk of his head thus orders his men to start loading his munitions shipment. Now, he rides over next to Mike and Sully. CUSTER You wouldn't happen to know the whereabouts of that Indian, now would you Mr. Sully? Sully stares him down. Custer just smiles, then rides off. [Sully and Mike stare after him. omit (49-50) EXT. ]NEW HOMESTEAD - DAY FIVE 51 Sully and Matthew ride up, ahead of the wagon in the distance. They dismount and look up at the finished homestead. (CONTINUED) 38. CONTINUED: 51 SULLY Sure 'preciate the help you gave me, Matthew. MATTHEW (shrugs) Was hardly nothin'. You built it yourself. SULLY Well, mostly I s'pose. But I didn't have anything standin' in my way... I didn't have a herd of cattle to look after. Matthew realizes they're having more than a casual conversation. SULLY The way I see it, that herd's just gonna keep gettin' bigger and needin' more and more of your time. A beat, as Matthew lets the implication sink in once again, but then shakes his head. MATTHEW I just can't take the old homestead from you, Sully. SULLY You'd be doin' me a favor. I don't wanna see it go to ruin. Mike turns onto the homestead road in the buckboard. MATTHEW You don't understand. It's... it's just too big'a gift. SULLY Olive's herd wasn't too big'a gift? MATTHEW She died. SULLY (smiles) I gotta die to give it to you? MATTHEW No! Don't even joke like that. Mike pulls the buckboard to a halt. (CONTINUED) 39. CONTINUED: (2) 51 SULLY Will you at least think about it? A beat, Matthew nods... then moves with Sully to help Elizabeth, Rebecca and Marjorie from the wagon. The kids have jumped down and run up onto the porch. Mike sweeps her arm in presentation. MIKE Isn't it wonderful? Elizabeth and Marjorie are underwhelmed. REBECCA It's absolutely charming. Mike looks to her mother. ELIZABETH It's larger. REBECCA What a beautiful view, Michaela. MIKE Yes, isn't it? She looks to Marjorie. MARJORIE I agree with Mother. It's the same as the other cabin, only somewhat larger. MIKE No... It's... Mike turns to survey the new homestead. It's heaven compared to the old homestead, but essentially, and certainly to a Boston eye, it is simply larger. MIKE It's much more than that. It has two stories, three fireplaces, there're more rooms... MARJORIE It's larger. Sully watches Mike attempt to defend their home to her family. MIKE But indoor plumbing... (CONTINUED) 40. CONTINUED: (3) 51 ELIZABETH (gestures to the lean-to toilet) With all due respect, it's a latrine. This is not a sewer system. MIKE But this is not Boston. ELIZABETH Precisely. REBECCA That really is the point, Michaela. It's a lovely home for Colorado Springs. Rebecca turns to Elizabeth, to Marjorie. REBECCA That we can all agree on, can't we? ELIZABETH Of course. Off a look from Elizabeth: MARJORIE Lovely. Mike turns to look at the house, shaken. Sully's hurt by her capitulation. INT. CLINIC - NIGHT FIVE 52 Sully sits at Mike's desk, waiting. Goodnights are HEARD O.S., then Mike enters from upstairs. SULLY I asked Matthew to wait outside with the kids... We gotta talk. She nods, sits down. SULLY No, I gotta talk. (spills out) First, my name's not good enough, now, our house ain't good enough. I saw when you turned and looked at it through _their_ eyes. She's ashamed, knows it's true. (CONTINUED) 41. CONTINUED: 52 SULLY I've heard more'n I ever wanna hear 'bout Boston _or_ Colorado Springs. Where you live's in here. He clamps his fist to his chest. SULLY What I wanna know is when're we gonna start lookin at the world through _our_ eyes? She has no answer. He gets up. MIKE Where're you going? SULLY There's somethin' I gotta do. Don't know why I waited this long. And he's out the door. MIKE Sully?... But there's no answer. He's gone... FADE OUT: _END ACT TWO_ _ACT THREE_ [FADE IN: omit (53-55) EXT. WOODS - DAY SIX 56 Sully rides with a purpose and destination in mind. But then he senses something. He pulls up and off into some tree cover. He looks back up at the hills he just traversed. +SULLY'S POV - CUSTER 57 and his men, glimpsed in between hillocks. Sully considers, then dismounts and sends his horse on down the trail and cuts back into the woods on foot. EXT. GRACE'S CAFE - DAY SIX 58 The quilting circle is gathered, at their various activities. The pieces of the wedding dress that Dorothy's making are now assembled on a dressmaker's form. It's white and simple, with lace artfully adorning the bodice. The straight, ankle-length skirt has yet to be trimmed. Mike comes up with Elizabeth, Rebecca and Marjorie. Greetings all around. MIKE I believe everyone's met... ELIZABETH (to Grace) I understand you're doing the catering? (off Grace's blank look) The food. GRACE Oh... Yes, ma'am. ELIZABETH Here's the menu. Grace reacts. mike Mother, Grace has a perfectly lovely dinner planned... But Elizabeth has already turned to look at the lacemakers as John pulls up in a wagon and unloads Elizabeth's crates and trunk. elizabeth What's this? DOROTHY The lace. It's goin' all over Michaela's weddin' dress.] ELIZABETH (auspicious) Well, you can stop your worrying about a wedding dress... She [walks to the trunk, unlatches it and opens the doors. She reaches in and lifts out a billowy vision of white taffeta. ]The women GASP. Mike stares at it, both fascinated and aghast at her mother's domination of the situation. ELIZABETH (to Mike) Well? MIKE It's... stunning. Dorothy's bruised. Elizabeth's oblivious, smiles. ELIZABETH Of course it is... Will you look at this skirt, and the train is six feet long. MIKE Yes, I especially like long trains on wedding dresses. ELIZABETH And these puffed sleeves, aren't they delicious? MIKE Well... actually, the top is a bit too flouncy for my taste, and I miss the lace... She gestures to where Myra and the other's are busy making it. Dorothy seems to brighten, but Elizabeth simply chooses to ignore Mike's objections and barrels on, as she returns the dress to the trunk. (CONTINUED) 46. CONTINUED: (2) 58 ELIZABETH And there is a groom's tuxedo, bridesmaid's dresses, usher's suits... and, of course, a lovely matron of honor's dress for Rebecca. Now, Dorothy is crushed. Rebecca sees this. REBECCA Mother, I believe Michaela already has a matron of honor... Elizabeth follows Rebecca's look to Dorothy.[ DOROTHY] I don't mind. MIKE But... DOROTHY No, really, Michaela, your ma's right. It's tradition. (gestures to the trunk) And that weddin' dress... well, nothin' _we_ can make could ever compare to that. MIKE That's not true. DOROTHY Yes, it is, and we all know it. She glances around to an uncomfortable concensus, then quietly starts unpinning the dress from the form. (CONTINUED) 47. CONTINUED: (3) 58 Mike looks from Dorothy to Elizabeth, then back again. Torn, she makes no move to stop her. EXT. WOODS - DAY SIX 59 Custer and his detail of six men come up on Sully's horse, trotting along. Custer knows he's been had. He jerks his horse around to double back, his men following, bringing Sully's horse with them. EXT. WOODS - DAY SIX 60 Sully sits cross-legged, very still, eyes closed. He is tucked into a small glade that bears no special landmarks or qualities to set it apart from any other. The sun filters down through the leaves, the small SOUNDS of wild life are all that break the silence until... +A TWIG CRACKS 61 Sully's eyes open without alarm. +CLOUD DANCING 62 stands before him. He wears the wedding shirt that Mike made for Sully. Sully rises and, without a word, they embrace. Once they part: SULLY I have missed my brother. Cloud Dancing returns the sentiment with a nod, but this is a shadow of the great man Sully knew. Cloud Dancing gestures for them to sit, doffing a small pack roll. CLOUD DANCING You will marry soon. SULLY Yeah, but that's not why I came... CLOUD DANCING A good marriage is one of the most important things a man can make in his lifetime. Sully nods, mindful of this advice. (CONTINUED) 48. CONTINUED: 62 CLOUD DANCING We are the lucky ones. We found women strong enough to carry the weight of a good marriage. Sully nods again, thoughtful of Mike. CLOUD DANCING That you will find happiness with a wife, this reminds me of the happiness I had with Snow Bird. SULLY (saddened) We think of her. CLOUD DANCING I do not. (off Sully's look) I do not have to. He makes a gesture to encompass his being. CLOUD DANCING She fills me. He unrolls his pack. CLOUD DANCING That is why I no longer need this. He takes out a magnificent Indian shirt and hands it to Sully. CLOUD DANCING This was my marriage shirt from Snow Bird. You must wear it for us on your wedding day. Sully holds it to him, overcome. SULLY I wanted you to be my best man. To stand at my side. CLOUD DANCING (understands) Best man. (ironic) After all that has happened I often wonder if I am still a man at all. (CONTINUED) 49. CONTINUED: (2) 62 SULLY 'Course you are. You're a thousand times the man Custer is... (recalls his mission) Cloud Dancin', he's put a bounty on your head. CLOUD DANCING Why is this? I no longer ride with the Dog Soldiers. I have no heart for their bloodshed. I am alone, of no harm to anyone. SULLY Custer wants you 'cause you're a leader, a Medicine Man. Cloud Dancing stares off for a beat, then: CLOUD DANCING If Custer is meant to kill me, there is nothing I can do to stop this. SULLY Yes, there is. Run. Get as far away from here as you can. CLOUD DANCING One cannot run from fate. Suddenly, he hears something that Sully does not. He stands abruptly, taking the remains of his pack roll. CLOUD DANCING I will be this "best man" for you. SULLY No. No, it's too dangerous. Cloud Dancing smiles wistfully, then disappears into the brush. Now, Sully HEARS what Cloud Dancing heard -- horses approaching. He quickly picks up his bow and pulls an arrow from his quiver. He takes aim into the brush, his back to Custer and his men who break into the glade behind him. He lowers his bow and turns. Several rifles are trained on him. SULLY You lost me my prey. CUSTER No, Mr. Sully, you lost me mine. (CONTINUED) 50. CONTINUED: (3) 62 They roughly take Sully into custody. DISSOLVE TO: INT. CHURCH - NIGHT SIX 63 A lovely buffet table is laid with linen, all of Elizabeth's fine china, crystal and silver, including a candelabra. The candles have burned over halfway down, indicating how long everyone has waited. And everyone is there, dressed in their Sunday best, biding their time. Jake, Robert E, Horace and Myra are among those present. +MIKE 64 paces near the door. Rebecca is with her. OMIT (65) 65 +AT THE BUFFET TABLE 66 Elizabeth hovers over the buffet with Grace. ELIZABETH The salmon mousse is slipping, the souffle is falling, the ice is melting... GRACE _My_ rehearsal supper wouldn't've been slippin', fallin' or meltin'. She walks off, past... +MATTHEW AND INGRID 67 Matthew pulls on his starched collar. INGRID As soon as Sully comes, you will tell him yes, yes? MATTHEW _If_ he comes, and I didn't say that. He heads for the punchbowl, Ingrid on his heels. They pass... 51. OMIT (68) 68 +LOREN 69 going up to Dorothy, offering her a glass of punch. LOREN Did I tell you you look lovely tonight? DOROTHY No, you been too busy fawnin' over Mrs. Quinn. She walks away, over to the Reverend, passing... OMIT (70) 70 +HANK AND MARJORIE 71 ... who sit together. Well, he sits next to her, but she is tolerating him. Actually, she looks flushed and under the weather. HANK You don't look so good. (off her look) I mean, you look beautiful, but a little outta sorts. Tentatively, ever so gently, he reaches the back of his hand to her cheek. She lets him touch her. HANK Hey, you're burnin' up. We oughta get you some cool air. He starts to help her up, but she winces with abdominal pain. He sits back down with her. No one's noticed except him. He holds his punch cup to her lips. HANK Here. Drink some. She does. There's a look between them, as she uncharacteristically allows herself to be tended to this way. EXT. WOODS - NIGHT SIX 72 Sully sits, hands tied behind his back, across a fire from Custer at his encampment. (CONTINUED) 52. CONTINUED: 72 SULLY I got people waitin' on me. They're gonna worry. CUSTER And so they should. SULLY You can't hold me forever. CUSTER True... I could just kill you now and be done with it. SULLY But you won't do that. CUSTER No? SULLY No, you been doin' a little too much of that lately. People got an eye on you. People in high places. Custer despises him for calling it. CUSTER But I _can_ kill your friend. Sully stares at him across the fire. SULLY You could... But then I'd have to kill you. Custer first smiles, then laughs out loud. Sully watches him with silent disdain. CUSTER Well, now, you've amused me, Mr. Sully, and for that, I set you free. Custer gestures to one of his men, who unlocks Sully's handcuffs. Sully stands. SULLY My horse? CUSTER Come now. You have a reputation to protect. You're the mountain man who doesn't need things like guns or horses, isn't that right? (CONTINUED) 53. CONTINUED: (2) 72 Sully doesn't answer. CUSTER Yes, that's right... Now go on, before I change my mind. A beat, then Sully disappears into the darkness on foot. INT. CHURCH - NIGHT SIX 73 +MIKE AND REBECCA 74 still pace near the door. REBECCA Don't worry. He'll be here. MIKE You don't understand... Sully left two nights ago. He was angry with me, and I don't blame him. I've let Mother barge in here and take over everything. I've made demands on him that may be impossible... She goes into Rebecca's arms. MIKE I wouldn't blame him if he's changed his mind. I wouldn't blame him if he never comes back. +OFF MIKE 75 fearing this, the worst... FADE OUT: _END ACT THREE_ _ACT FOUR_ FADE IN: EXT. CLINIC - DAY SEVEN 76 Mike, Colleen and Brian, dressed for church, pull up in the buckboard, as various townsfolk make their way toward the meadow. The church bell RINGS for attendance. Elizabeth, Rebecca and Marjorie sit in a row on the porch bench. Elizabeth stands. ELIZABETH You're late. Mike and the kids get down. MIKE I trust you had a good breakfast at Grace's. MARJORIE It was, as they say, "hearty". MIKE (re: church bell) We'd better hurry. They start toward the church. They walk in silence for a moment, then Elizabeth can't contain herself. ELIZABETH I take it you've heard nothing from Mr. Sully? MIKE He must be unable to get word to us. In fact, I'm worried that something may have happened... ELIZABETH (interrupts) Something did, indeed, happen. MIKE I mean to Sully. ELIZABETH And I mean to you. You were stood up. MIKE Don't be ridiculous. But Mike can't help but share a glance of doubt with Rebecca, as they cross the bridge. (CONTINUED) 55. CONTINUED: 76 COLLEEN Sully'd never do that to Ma. BRIAN Yeah, he loves her. ELIZABETH I'm afraid love has nothing to do with it. There are simply some men, who, when faced with the final commitment, leave women standing at the altar. MIKE He didn't leave me standing at the altar, Mother. ELIZABETH Yes, at least he had the good grace not to wait until your wedding day... Mike stops in the church yard and faces Elizabeth. MIKE Stop jumping to conclusions! The outburst brings activity around them to a halt, the focus on them. ELIZABETH I'm simply trying to protect you from further humiliation, Michaela. You can't actually plan to proceed? MIKE I plan to find out what's happened to him. He may be hurt. He may need help... MARJORIE Why would he leave in the first place, if what Mother's saying isn't true? REBECCA He must have his reasons. COLLEEN Yeah, even if he was one of those men like Grandma said, he'd never just run away. (CONTINUED) 56. CONTINUED: (2) 76 BRIAN (suddenly apprehensive) Pa ran away. MARJORIE (to Mike, re: Brian) You see, even a child is being more realistic than you. Face it, your Sully has never been a suitable choice for a husband. MIKE Since when are you an expert on choosing husbands? I know one thing, Sully didn't run off and leave me for some trollop... Marjorie slaps Michaela, stunning everyone, even herself. She runs back toward the clinic. Mike is angry, ashamed, frightened -- a whirl of emotions. She realizes that everyone is staring. Rebecca tries to take her arm, but she pulls away and strides back to town. Colleen and Brian start to go after her, but the Reverend has come over and gently restrains them. He leads them, instead, into the church, setting the example for everyone else to follow. EXT. SALOON - DAY SEVEN 77 Hank leans against the hitching post, as Marjorie runs by and into the clinic, slamming the door behind her. He starts across the street, as Mike comes up from the bridge. HANK Better lemme talk to her. MIKE I beg your pardon? HANK Marjorie and me, we understand each other. MIKE Oh, really? Then perhaps you can explain why she's so vile to me, can you do that? HANK Yeah. His tone is dead serious. This slows Mike down finally. (CONTINUED) 57. CONTINUED: 77 MIKE You can? HANK (nods) First of all, it's plain as the nose on your face. She's jealous of you. Always has been. Mike shakes her head. MIKE She had all the boyfriends... HANK And where'd it get her? Jilted and sick. MIKE Sick? HANK Guess you're too close to see, Doc. MIKE What're you talking about? HANK The fevers, those stomach aches that come and go. I seen it in my girls plenty of times... That husband left her a little more'n anybody suspects. Mike realizes what Hank is saying. OMIT (78) 78 INT. RECOVERY ROOM - DAY SEVEN 79 Marjorie sits on the bed, red-eyed from crying. She dips a cloth into a water basin, squeezes it out and holds it to her feverish forehead, as Mike opens the door. MARJORIE Leave me alone. Mike comes in and closes the door behind her. MIKE No, I won't. It seems you've had too much of being left alone. (CONTINUED) 58. CONTINUED: 79 MARJORIE Save your pity. MIKE It's not pity... I'm feeling fairly alone myself at the moment. Marjorie looks up at this, affected. Mike sits next to her, tries to take her hand, but Marjorie recoils. No matter how much she may long for contact, her walls are high. MIKE I was only trying to give you this. She holds out a bottle of flaxseed. Marjorie takes it. MARJORIE What is it? MIKE Flaxseed. I want you to drink a tea brewed from this several times a day until the infection subsides. Marjorie looks at her sharply, but doesn't have the heart to protest. MIKE Then I'll give you an injection of silver nitrate. That's usually all that's necessary, but in any case, it is curable. A beat, as Marjorie stares at the bottle. MARJORIE I kept meaning to go to Dr. Kittridge... MIKE I understand. But it's not your fault. Everett gave it to you. Marjorie nods, bitter. MARJORIE Everett... A beat. MIKE Marjorie, can't we talk? (CONTINUED) 59. CONTINUED: (2) 79 MARJORIE You want me to apologize for slapping you? MIKE No... MARJORIE All right, I apologize. MIKE No, I meant... MARJORIE You want me to thank you for this?... (holds up bottle) ... Then, thank you. MIKE I didn't come because I want apologies or thank yous. All I want is for us to be friends... Perhaps even sisters? Marjorie's defenses crumble. They embrace. MARJORIE I hope Sully does come back, Michaela. Mike nods, holds on tight. EXT. CHURCH - DAY SEVEN 79A Church is letting out. Brian walks off by himself in a melancholy mood. John notices and heads off across the meadow, following, as... +MIKE 79B ... crossing the bridge to join the others. +ANGLE ON 79C John catches up to Brian, falling into step beside him. JOHN Hey, Brian. (CONTINUED) 60. CONTINUED: 79C BRIAN Hey, John. JOHN Something botherin' you? BRIAN (shrugs) I just ain't fittin' in. I'm too old to be a ring bearer and too young to be an usher or best man. JOHN (nods) You know, the last time I was here, it was me who didn't fit in, remember? BRIAN Yeah, but that was just 'cause of your train accident and your face bein' all burned up. But Ma fixed you, and now you're a train engineer again and everything. JOHN I owe that to you, Brian... And now I'm gonna help _you_ fit in. BRIAN How're you gonna do that? JOHN [Well... The train's laid over for repairs... and ]I got an idea... But just then, Brian spots someone coming over the rise back near the church... BRIAN It's Sully! Brian's cry reverberates across the meadow. All activity stops, looks. OMIT (80-87) 87 +MIKE 88 has joined Loren and her family. She shields her eyes, looks. Her face lights up at the sight of Sully. Mike runs the short distance, caring nothing of how this appears, caring only to reach Sully. (CONTINUED) 60A. CONTINUED: 88 As they collide into an embrace... 61. OMIT (89) 89 +ANOTHER ANGLE 90 Mike and Sully hold onto each other. MIKE I'm sorry. SULLY No, I'm sorry 'bout missin' the rehearsal. Custer had me... She pulls back in alarm. MIKE Custer? SULLY I wanted to warn Cloud Dancin'. Custer and his men followed me. MIKE Cloud Dancing?... SULLY I found him, but Custer didn't. He's all right... For now. Relieved, Mike embraces Sully again. By now, those nearest have gathered around, with others joining, and Brian in the background, still running the length of the meadow. Everyone hangs back, respectful of their privacy, but not so much that they don't listen in. MIKE Let's just elope. I don't care about a fancy wedding. I only care about being your wife and you being my husband. She pulls back only far enough to see his face. MIKE I'm ready to start looking at the world through _our_ eyes. He sees that she means it with all her heart. SULLY Then there's no reason to elope. We just gotta do this our way. She nods. (CONTINUED) 62. CONTINUED: 90 SULLY For starters, how 'bout I don't wear a weddin' ring... and you don't change your name? She smiles, deeply moved. MIKE I think it's a very good start. Just then, Brian reaches them and throws his arms around both. This gives Colleen and the others permission to step into their sphere, everyone except Elizabeth... FADE OUT: _END ACT FOUR_ _ACT FIVE_ FADE IN: ext. *GENERAL STORE - DAY EIGHT 91 In the b.g., Elizabeth is at the counter, chatting with Loren, while Mike, Rebecca and Marjorie stand over Dorothy, as she works her printing press, and copies of The Gazette pile up. DOROTHY I know it don't look like much compared to your Boston Globe... REBECCA No, I think it's very impressive that you manage the entire publication on your own. DOROTHY Why, thanks. MIKE Dorothy... Dorothy pauses in her printing. MIKE Rebecca and I spoke last night about this matron of honor business... DOROTHY Oh, I don't mind. MIKE No, I didn't feel right about what happened, especially the way it happened, and as it turns out, neither did my rather enlightened sister... She smiles, puts an arm around Rebecca's shoulder. MIKE ... so if you don't mind, I'd like you both to be my matrons of honor. At this point, [Loren and Elizabeth exit the store just in time to hear:] DOROTHY But your ma's right. (CONTINUED) 64. CONTINUED: 91 ELIZABETH (to Dorothy) Why, thank you... What am I right about? DOROTHY It bein' tradition that the matron of honor is your elder sister, 'less you don't have one. Elizabeth looks to Mike, sensing a problem. ELIZABETH I thought we settled all that. MIKE Well, actually, I changed my mind. I want both Rebecca and Dorothy to be my matrons of honor. ELIZABETH But... MIKE I also asked Marjorie... MARJORIE But I'm not in a wedding mood. REBECCA (to Elizabeth) Don't worry, Mother, we're just bending the rules a bit, and Marjorie will be in the mood... MARJORIE You have no right to speak for me. Who appointed you the ever-cheerful go-between anyway? Rebecca is both embarrassed and provoked to uncharacteristic anger. REBECCA I'm not "ever cheerful." MARJORIE Oh? And what makes you sad? REBECCA You. You and all your petty miseries. If you're sick... MARJORIE Who said I was sick? (CONTINUED) 65. CONTINUED: (2) 91 REBECCA No one, but if melancholy accounts for your wretched disposition, then you owe it to everyone around you, let alone yourself, to seek a cure. MARJORIE (mocking) "Melancholy?" ELIZABETH Yes, melancholy. Ever since Everett's been gone, you've... MARJORIE "Gone"? You make it sound as though he died. Well, I only wish he had. ELIZABETH Marjorie! MARJORIE It's true. If I were a widow, I'd get respect, sympathy. Instead, everyone sniggers that I wasn't woman enough to hold onto that lout. As if I wanted him. I could barely tolerate him, the way he tried to force me to be meek and submissive, the way he'd insist on his right to my bed... ELIZABETH That's enough! (to Loren and Dorothy) Please forgive us. She takes Marjorie firmly by the arm and *leads her away. Loren shakes his head, to Rebecca re: Mike: LOREN And I thought _this_ one was bad. He goes back *inside the store. EXT. GENERAL STORE - DAY EIGHT 92 Mike and Rebecca exit and walk down the street toward the train station. (CONTINUED) 66. CONTINUED: 92 REBECCA Marjorie's right. I do always try to be cheerful. MIKE Is that such a bad thing? REBECCA I mean, she's right about my always trying to make everyone else happy. As far back as I can remember, it was what everyone expected of good little Rebecca, so I did it... Sometimes I don't even know what I really feel, because I'm so busy acting the way I'm supposed to. As they near the train station... MIKE (nods, thoughtful) It's as if a family is like a play and we're all cast in certain roles from the moment we're born. REBECCA Yes, exactly... Why can't we just stop playing them and be ourselves? Mike slips her arm through Rebecca's. MIKE Why, indeed? EXT. TRAIN STATION - DAY EIGHT 93 [Brian and John exit the train, carrying one of the seats. They notice Mike and Rebecca coming up the steps and hurry back inside. Mike and Rebecca pass without noticing them. Brian and John peek out to make sure the coast is clear, and once Mike and Rebecca go inside the telegram office, out they come again, carrying the train seats.] EXT. LIVERY - DAY EIGHT 94 Sully comes up to where Robert E is working. (CONTINUED) 68. CONTINUED: 94 SULLY How's my buck saw comin', Robert E? ROBERT E I... uh... ain't got to it yet. SULLY (surprised) Oh... Well, when you can. ROBERT E Sure thing. Matthew comes through the back of the livery from Grace's. MATTHEW Hey, Robert E. ROBERT E Hey, Matthew. MATTHEW Say, Sully, can I talk to you? SULLY What's on your mind? Matthew shrugs and lowers his voice so Robert E can't hear. MATTHEW It's kinda private. SULLY Oh... well... (to Robert E, re: saw) Be back for that later. Robert E nods, but then as Sully turns to go with Matthew, Robert E tosses Matthew a conspiratorial nod, removes his apron and slips around the back of the livery. EXT. SALOON - DAY EIGHT 95 As Matthew and Sully near the saloon in silence, curiosity finally gets the better of Sully. SULLY Matthew? MATTHEW (looks around) Not out here. As if there's no other choice, Matthew nods toward the saloon. (CONTINUED) 69. CONTINUED: 95 MATTHEW In here. SULLY Hank's? You know how I feel 'bout saloons. MATTHEW (urgent) It's just this once. (off Sully's look) I'll owe you one. A beat. Sully acquiesces, following Matthew inside... INT. SALOON - DAY EIGHT 96 ... where the place is packed with the men of the town -- all except for Loren. Horace leads a round of "For He's A Jolly Good Fella". Sully looks to Matthew, who just laughs and slaps him on the back. The song ends with a whoop of CHEERS, then Hank sets them up, pouring whiskey for all, tossing back one as he does. HANK Tennessee's finest. (to Jake) And, no, it ain't been watered. SULLY 'Preciate the offer, Hank, but... HANK Yeah, yeah... not a drinkin' man. Well, I'll take yours. He tosses back another one. HANK Help ease the pain you caused me. Everyone laughs. JAKE Hank lost a few bucks bettin' you'd fly the coop. Now, even Sully smiles. HANK (to Jake) And _you_ didn't? (CONTINUED) 70. CONTINUED: 96 Jake shrugs, tosses one back himself. More laughter. Hank gets a different bottle and pours three glasses, for Sully, Matthew and Horace. HANK Sarsaparilla. Horace hoists his glass for a toast. Others follow suit. HORACE To Sully and Dr. Mike. HANK You're gettin' a hell of a woman. ROBERT E Good luck, Sully. JAKE You're gonna need it. More laughter, as the men down their toast, Sully joining them, then: Hank takes a longish, brown paper-wrapped package from behind the bar and puts it in front of Sully. The men look to him expectantly. SULLY What's this? JAKE We all chipped in and got you a little somethin'. Sully looks at him, then the others, then the package -- with good-humored suspicion. The guys pick up on it and play it, stepping back. Hank even ducks down behind the bar. Sully sniffs the package. Some muffled laughter. HORACE Go on. Open it. A beat. Sully does. It's a brand new buck saw. JAKE (re: Robert E) A little bird said you might be needin' one. Sully's genuinely moved. SULLY Thanks, fellas. The men carry on, as Sully leans on the bar with Matthew. A beat. (CONTINUED) 71. CONTINUED: (2) 96 SULLY I'm holdin' to your promise. MATTHEW What promise? SULLY You owe me one. Matthew smiles, clinks glasses with him. MATTHEW Just name it. SULLY (a beat, then:) Take the homestead. Matthew lowers his glass. SULLY Pride's a foolish man's burden, Matthew... I oughta know. Matthew considers. Sully holds up his glass. A beat, then Matthew raises his glass and they clink... DISSOLVE TO: EXT. GRACE'S CAFE - DAY NINE 97 The place is gaily decorated with pastel bows and bunches of white daisies. The townswomen are all gathered, dressed nicely for this occasion of Mike's bridal shower. Elizabeth's, Rebecca's and Marjorie's "simple tea dresses" still make the others' look dowdy. Mike sits at a front table, in the midst of opening her presents. Dorothy is keeping the bows, making the traditional "bouquet" out of them. Mike unties a simple gingham ribbon from a plain brown wrapper, revealing a quilt. Smiles pass among the women who made it, including Colleen and Ingrid. Mike stands and holds it up, revealing its beauty. MIKE From the quilting circle... Oh, it's lovely... Thank you all so much. (CONTINUED) 72. CONTINUED: 97 COLLEEN It's called "Double Weddin' Ring". MIKE (smiles) The only ones there'll be in this family. The women laugh. She sits back down, as Myra takes the quilt and folds it up and Grace hands her another present. It's small and, again, wrapped simply in a checked napkin and tied with twine. GRACE It's from me. Mike unwraps it, revealing a heart-shaped metal object. GRACE It's a cookie cutter that stamps M plus S. Mike holds it up to reveal the "M" and "S" inside. MIKE How clever. Thank you, Grace. GRACE I figured it out and Robert E made it for me. MIKE Now, all you have to do is teach me how to make cookies. More smiles, as the cookie cutter is set aside, and Colleen hands Mike the last unopened present, a large, beautifully wrapped box. COLLEEN Saved this for last. The women GASP at the wrapping alone. Showy paper covered in a pretty floral pattern and topped with a big, gauzy bow. Mike reads the card, announcing to no one's surprise: MIKE From Mother. Mike hands the bow to Dorothy, who places it in the center of the "bouquet", as Mike ever so carefully tries to unwrap the package to save the paper. ELIZABETH Oh, just tear it, Michaela. 73. +REACTIONS 98 MIKE I'm afraid we can't even find paper like this around here, Mother. She carefully finishes and hands the paper to Colleen, then opens the box to billows of tissue paper, finally revealing a satiny negligee. Mike holds up a gorgeous silk peignoir. "Oohs" and "Aahs". The women of Colorado Springs have never seen the likes of this delicate garment. MYRA Oh... it's surely the best present of all. ELIZABETH Yes, isn't it magnificent? Paris. France. MURMURS of agreement, but the women can't help but measure their gifts against this vision... and come up short. Mike is pained at seeing them feel bad. ELIZABETH Don't you like it, Michaela? MIKE Of course. It's beautiful. Thank you, Mother. (quickly, to others) All of my presents are beautiful. (reaches for the quilt) The hours upon hours that went into stitching this quilt... (picks of the cookie cutter) ... the care that went into creating this cookie cutter... (coming back to the peignoir) ... everything is equally lovely. Thank you all, so much. Elizabeth is wounded. She stands and walks away. MIKE Mother?... But Elizabeth keeps going. Mike is torn between going after her and leaving her guests, but both Dorothy and Grace speak for the group with their nods for her to follow Elizabeth. She does. 74. INT. RECOVERY ROOM - DAY NINE 99 Elizabeth sits stoically in the chair by the window, staring out, intent on holding back her tears. Mike enters. Elizabeth hears, but will not acknowledge her. Mike goes to sit on the edge of the bed, facing her mother's profile. MIKE I'm sorry, Mother, but I didn't didn't want the others to feel bad. Elizabeth continues to stare. MIKE (gently) Your gift doesn't have to be the best. There are other ways to express love. This gets to Elizabeth. ELIZABETH Do you _try_ to hurt me, or is it just in your nature? MIKE I've never tried to hurt you. In fact, I feel as though I've spent my life trying to please you. ELIZABETH Please me? You can't be serious. Everything you've ever done was in direct defiance of my opinions. MIKE I'm not saying that the choices I've made in life were to please you, but that, in spite of being true to myself, I've tried my best to gain your approval. ELIZABETH And what on earth does my approval matter to you? MIKE Oh, it matters very much. Being understood and accepted for who we really are -- well, I believe that's what love is, Mother. A beat, as Elizabeth absorbs this, then: (CONTINUED) 75. CONTINUED: 99 ELIZABETH And does it go both ways? Am I to be understood and accepted, as well? MIKE Of course. ELIZABETH Well, who I am wants my daughter to be married properly. MIKE That's not who you are, Mother, that's you trying to influence who I am. There's a difference. EXT. UPSTAIRS CLINIC HALLWAY - DAY NINE 100 Sully comes along, looking for Mike, but then stops at the sound of Elizabeth's voice coming through the partially open door to the recovery room. He stops and, in spite of himself, listens. ELIZABETH (V.O.) What is it you want from me, Michaela? INT. RECOVERY ROOM - DAY NINE 101 ELIZABETH There must be something, or we wouldn't keep going on like this would we? MIKE (encouraged) No, we wouldn't. She reaches out and takes her mother's hand. MIKE And, yes, there is something I want from you. Elizabeth waits, both hoping she can and fearing she can't fulfill whatever Mike is about to request. MIKE With Father gone, there's no one in the world I would prefer to have give me away. Elizabeth stiffens. Mike feels it. (CONTINUED) 76. CONTINUED: 101 MIKE You're my parent. You and Father made me who I am, and I'm asking you, please, Mother, to give me away on my wedding day. EXT. UPSTAIRS CLINIC HALLWAY - DAY NINE 102 Sully reacts to Mike's poignant plea. INT. RECOVERY ROOM - DAY NINE 103 Elizabeth suddenly pulls her hand from Mike's, shaking her head. ELIZABETH No... No, it's not done. Mothers don't give their daughters away. I will not give you away. No. You've gone too far. Mike takes this in, then stands. MIKE You were right, Mother... Elizabeth looks to her hopefully. MIKE ... when you said that I'm neither here nor there. Neither Boston, nor Colorado Springs. I'm starting a whole new life that isn't about either one. A life that Sully and I and the children are creating for ourselves. I only wish that you could be a part of it, but perhaps I've changed more than will ever be tolerable to you. Perhaps, as you say, I've gone too far. She hesitates, hoping for some reply, but Elizabeth turns to stare back out the window. Mike heads for the door. INT. UPSTAIRS CLINIC HALLWAY - DAY NINE 104 Sully disappears around the corner, just as Mike comes out the door. She closes it gently, but firmly, then leans against it, disheartened... FADE OUT: _END ACT FIVe_ _ACT SIX_ FADE IN: EXT. HOMESTEAD - ESTABLISHING - DAY TEN (STOCK) 105 INT. HOMESTEAD - DAY TEN 106 It's very early and Mike has just awoken. She sits up and looks around the familiar room, as if memorizing every detail. She looks down at the bed, runs her hand over it, realizing she has slept her last night alone... OMIT (107) 107 EXT. ROAD INTO TOWN - DAY TEN 108 As Mike and the kids come into town in the buckboard, they're amazed at the mass commotion of activity in preparation for the wedding... EXT. MEADOW - DAY TEN 109 As they ride by, they see Matthew draping the constructed altar with white bunting -- the Reverend and Jake laying out rows of benches to sit on -- Dorothy and Myra placing flowers everywhere. In the b.g. is a dance platform, surrounded by more benches and a few large sawhorse tables. Everyone sees them go by. Waves and greetings. EXT. GRACE'S CAFE - DAY TEN 110 As they ride by, they see Grace, with several assistants, deep into preparations for an enormous feast. Robert E helps, lifting onto the stove a big iron pot that none of the women could manage. More waves. EXT. MAIN STREET - DAY TEN 111 As the buckboard rounds the corner, everyone is all smiles and salutations. It's a great day in Colorado Springs... 78. INT. GENERAL STORE - DAY TEN 112 Sully enters and, to his relief, finds Loren alone behind the counter, going over a ledger book. Loren looks up. Sully leans on the counter, clearly not there to shop. Loren closes the ledger. SULLY I know this ain't been easy on you. LOREN (philosophical) Aw, nothin' is, it seems. SULLY Well, I just wanted you to know that I 'preciate the past, 'fore I go askin' you this favor. LOREN What favor? SULLY Dr. Mike doesn't have anybody to give her away today. She doesn't know I know, but she asked her ma and her ma turned her down. LOREN Elizabeth did? Sully nods, shrugs. LOREN That's a shame. SULLY (a beat) I know it's askin' a lot, Loren, but I don't think Abigail'd begrudge it. Another beat. Her name's finally been spoken. LOREN No. She had a heart as big as the world, she did. SULLY She did. Sully waits, as Loren ponders, then: LOREN I'll be honored to give Dr. Mike away. (CONTINUED) 79. CONTINUED: 112 SULLY Thank you, Loren. Sully holds out his hand. Loren looks at it a beat, then grasps it.[ omit (113) EXT. ]CEMETERY - DAY TEN 113A Sully kneels at Abigail's grave, apart from any activity in the meadow. He takes his knife and ceremoniously cuts his braid off. He holds it out, speaking low: SULLY I let this grow ever since the day you died. It kept you with me, Abigail... But now, I gotta move on. He gently places it on the grave. A beat, then he stands, stares down one last time, then walks away. 80. INT. RECOVERY ROOM (ELIZABETH'S) - DAY TEN 114 Elizabeth stands in front of a chest of drawers and mirror, fastening her necklace. As she lowers her hands, she's finished and looks elegant. She stares for a moment at herself in the mirror, seeming to look beyond her appearance for something more... when there's a KNOCK at her door. She turns away from the mirror. ELIZABETH Come in. Loren enters, dressed in his finest for the wedding. ELIZABETH You look very dashing, Loren. LOREN You, too, Elizabeth. ELIZABETH Why, thank you. Loren stands there, trying to figure out how to say what he's come to say... ELIZABETH Something's on your mind. LOREN That's right. Has been for ten years. (off her look) I was fool enough not to even go to my daughter's weddin', and I've never stopped regrettin' that I wasn't there to give my girl away. She realizes what he's getting at. ELIZABETH Please... LOREN Don't make the same mistake I did, Elizabeth. A beat, then she shakes her head. ELIZABETH You don't understand. Another beat. LOREN No... Guess I don't. (CONTINUED) 81. CONTINUED: 114 He leaves. Elizabeth looks back in the mirror, searchingly... OMIT (115) 115 EXT. TRAIN STATION - DAY TEN 116 John and Brian, all dressed for the wedding, exit the passenger car, on which all of the window shades are now drawn. Brian shares a look of triumph with John, then they shake hands. INT. RECOVERY ROOM (REBECCA'S) - DAY TEN 117 The room has been transformed into the bridal dressing chamber. The regal wedding dress brought by Elizabeth hangs on a special stand, at the center of everything, the star of the scene. Mike stands like a mannequin in her under garments, staring at it, as Rebecca, Dorothy and Colleen scurry around, helping Mike into a corset, placing silk flowers in her hair and attaching a bracelet to her arm, respectively. Elizabeth sits back, the overseer. Marjorie stands in the b.g., looking on. Mike turns her head to look sideways at the dress. DOROTHY Michaela, please don't move, I'm tryin' to... But Mike steps forward, pulling the corset strings loose. REBECCA Michaela... Mike reaches to touch the dress with the hand that Colleen is working on. The bracelet falls to the floor. COLLEEN Ma... But Mike is oblivious. Something's brewing, and the other women wait, as Mike examines the dress like an unknown object. Finally, she turns to them and announces matter-of-factly. MIKE This isn't my wedding dress. Looks among the women -- What? ELIZABETH It was made especially for you and for you alone, with all of your preferences... (CONTINUED) 82. CONTINUED: 117 MIKE (interrupts, without rancor) _Your_ preferences, Mother. ELIZABETH But you said yourself it's stunning. MIKE And it is. Once again, trying to head off trouble. REBECCA (to Mike) You did say you especially liked the lovely train on the skirt. She holds it out. But then Marjorie holds out the puffy sleeves. To Rebecca, her look and tone a peace offering: MARJORIE But she also said she thought the top too flouncy and missed having lace like the dress Dorothy made. Rebecca holds Marjories's look a beat, then seizes the opportunity: REBECCA True. MIKE Dorothy, would you mind getting the dress you made? Surprised, Dorothy looks to Rebecca and Marjorie, who both nod their approval. DOROTHY Why, sure. She hurries out, as this hits Elizabeth: ELIZABETH You are not wearing that dress! MIKE You're right, Mother, I'm not... But I'm not wearing this dress either. (CONTINUED) 83. CONTINUED: (2) 117 ELIZABETH What nonsense are you talking? (to Rebecca) Reason with her. REBECCA It sounds as though Michaela is perfectly clear. ELIZABETH "Clear"? Clear about what? MARJORIE That she's going to wear _her_ wedding dress. Mike smiles at her sisters, grateful for their understanding, hugs them both. Elizabeth feels entirely excluded, exits abruptly. INT. BARBER SHOP - DAY TEN 118 This is the place that's been designated for Sully to prepare. He draws the last of the shades and turns to look at the Boston tuxedo with tails, hanging on a hook. He sits in the barber chair and contemplates it some more. Finally, he spins around in the chair and goes to his pack roll, undoes it and lifts up the beautiful wedding shirt that Cloud Dancing gave him... EXT. MEADOW - DAY TEN 119 The wedding decorations are complete, and the entire meadow has been transformed into a chapel. People are already arriving. Matthew, Horace, Jake and Robert E wear ushers' suits and escort guests to their seats. Loren is there, talking with Hank and the Reverend. Also Brian, with John. Loren notices Elizabeth joining the growing crowd and breaks away to meet her, offering his arm, which she gratefully takes. They begin to stroll among the goings-on. Elizabeth surveys the setting. ELIZABETH It looks lovely. LOREN Sure does... And a lot of it's thanks to the things you brought from Boston. She glances at him sideways. (CONTINUED) 84. CONTINUED: 119 ELIZABETH Don't try to make me feel better, Loren Bray. He shrugs. A sudden commotion draws everyone's attention. +CUSTER 120 has arrived, in full formal regalia. LOREN Aw, look. Dr. Mike and Sully ain't gonna like this. Who the heck invited him anyway? ELIZABETH (a beat) I did... It seems I can't do anything right, can I? And she breaks away to walk by herself... INT. RECOVERY ROOM (REBECCA'S) - DAY TEN 121 Mike, Rebecca, Marjorie, Dorothy and Colleen are at work on the two wedding dresses, disassembling them, switching pieces -- never quite revealing what it will ultimately look like. EXT. MEADOW - DAY TEN 122 Sully appears, wearing Cloud Dancing's wedding shirt over his tux pants. Reactions ripple through the growing number of guests, but no one is nearly as shocked as Elizabeth. He goes up to her. SULLY Please don't take it personal. ELIZABETH You may wish to reserve your apology. Her eyes go to Custer. Sully follows her gaze, sees him. ELIZABETH You can blame me for that, as well. SULLY (shrugs) You didn't know. (CONTINUED) 85. CONTINUED: 122 He moves off to join Matthew and some others, leaving Elizabeth, moved by his generosity of spirit. INT. RECOVERY ROOM (REBECCA'S) - DAY TEN 123 The reconstructed dress now hangs ready to wear, but at an angle that still prevents seeing it fully. Mike's attendants -- Rebecca, Marjorie, Dorothy and Colleen -- sit her down for this last moment of time-honored ceremony... REBECCA Something old... Rebecca hands her a delicate lace handkerchief. REBECCA This handkerchief came all the way from Ireland with great Grandma Quinn. She carried it on her wedding day. Mike nods, moved. A beat, then: COLLEEN Something new. She presents her with a lovely pair of white satin pumps. Mike looks at her, amazed. COLLEEN (shrugs) Bought 'em with my butter and egg money. Mike chokes up. A beat, then: MARJORIE Something borrowed. Marjorie fastens a beautiful strand of pearls around Mike's neck. MARJORIE And I want them back. Mike smiles through her tears. A beat, then: DOROTHY Somethin' blue. Dorothy presents her with a glorious bouquet of blue cornflowers with white silk streamers, homespun and elegant all at once. (CONTINUED) 86. CONTINUED: 123 DOROTHY Picked 'em myself. Mike's tears spill over. EXT. MEADOW - DAY TEN 124 The crowd is at maximum capacity, as the moment grows nearer. +SUDDENLY 125 Matthew spots someone on horseback on the ridge overlooking the meadow. He nudges Sully to look. +THEIR POV / CLOUD DANCING 126 has kept his word. +BACK TO SCENE 127 Jake and the other townsmen follow their look and see Cloud Dancing start his horse down toward the meadow. They all look to Custer, who's still oblivious, but not for long. Disaster is seconds away, when Jake picks up an empty wooden bench. JAKE Think this oughta go over here instead. And just as Custer catches a glimpse of Cloud Dancing, Jake swings the bench in a full arc, artfully clobbering Custer and knocking him out cold. HORACE Oh, my gosh. Conspiratorial looks. ROBERT E Better get him to the clinic. JAKE Yeah. Jake and Robert E quickly whisk him away, as people become aware of Cloud Dancing riding toward them. Again, surprise, but since it's Mike's and Sully's wedding, people expect the unexpected. (CONTINUED) 87. CONTINUED: 127 Cloud Dancing rides right up to Sully and dismounts. They embrace. INT. CLINIC - DAY TEN 128 Jake and Robert E deposit the unconscious Custer on the examining table, tying him down with bandages. EXT. MEADOW - DAY TEN 129 The organ MUSIC begins -- a prelude to the wedding processional. Everyone turns to look. Crossing the bridge are the bridesmaids -- Colleen, Myra, Ingrid, Marjorie and Grace. As they part, they reveal Dorothy and Rebecca. EXT. MEADOW - DAY TEN 130 Jake and Robert E hurry back as inconspicuously as possible and take their places next to Matthew, Horace and Jon at the aisle to the altar. +NEW ANGLE 131 Now the actual wedding processional begins, and the women move ceremoniously nearer, parting to take the arm of an usher -- Colleen and Jon, Myra and Horace, Ingrid and Matthew, Marjorie and Jake, Grace and Robert E -- until their pairings finally reveal... +MIKE 132 ... breathtaking in the stunning final version of the wedding dress. +ELIZABETH 133 glows with pride, with love, as she watches Mike approach, and as she nears and as Loren starts to step forward to take Mike's arm... Elizabeth stops him. With a look, she takes his place, offering her arm to Mike. Elizabeth walks her down the aisle... +SULLY 134 takes his place at the altar with Cloud Dancing, watching Mike come toward him. 88. +AT THE ALTAR 135 Mike arrives on Elizabeth's arm. Mike takes her place at Sully's side, as Elizabeth steps back. Mike and Sully exchange looks, then: REVEREND Dearly beloved: We have come together in the presence of God to witness and bless the joining together of this man and this woman in Holy Matrimony... The union of husband and wife in heart, body, and mind is intended by God for their mutual joy; for the help and comfort given one another in prosperity and adversity. (a beat) Into this holy union Michaela Quinn and Byron Sully now come to be joined. If any among you can show just cause why they may not lawfully be married, speak now; or forever hold your peace. Reactions of the principals, then: REVEREND Who gives this woman to be married to this man? ELIZABETH I do. Mike exchanges a look with her mother, before the latter now takes her seat. The Reverend nods to Sully, who then takes Mike's hand in his. REVEREND Do you, Sully, take Michaela to be your wife, to have and to hold from this day forward, for better for worse, for richer for poorer, in sickness and in health, to love and to cherish, as long as you both shall live? SULLY I do. (CONTINUED) 89. CONTINUED: 135 REVEREND Do you, Michaela, take Sully to be your husband, to have and to hold from this day forward, for better for worse, for richer for poorer, in sickness and in health, to love and to cherish, as long as you both shall live? MIKE I do. The Reverend looks to Cloud Dancing, who produces the wedding band and gives it to Sully. REVEREND Bless, O Lord, this ring to be a sign of the vows by which this man and this woman have bound themselves to each other. The Reverend nods to Sully, and he slips the ring onto Mike's finger. Now, the Reverend takes each of their right hands and joins them. REVEREND Now that Michaela and Sully have given themselves to each other by solemn vows, with the joining of hands and the giving and receiving of a ring, I pronounce that they are husband and wife. Those whom God has joined together, let no man put asunder. CROWD Amen. REVEREND You may now kiss the bride. Sully turns to Mike and kisses her to the joyful CHEERS of the gathering, at which point, Cloud Dancing quietly steps back and slips away into the brush. Both Mike and Sully sense something and break apart to look back, beyond the Reverend, catching a glimpse of Cloud Dancing riding off. They look at one another with concern, as the crowd continues to cheer... FADE OUT. _END ACT SIX_ _ACT SEVEN_ FADE IN: EXT. MEADOW / DANCE PLATFORM - DAY TEN 136 The guests are all gathered around the dance platform, where a SMALL BAND strikes up a waltz. Sully leads Mike, flushed and radiant, solo around the floor for the first few turns, then the Reverend invites Elizabeth to dance, and they're subsequently joined by Loren and Dorothy, Matthew and Ingrid, Horace and Myra, Grace and Robert E, Rebecca and Jake -- Hank and Marjorie -- among others... DISSOLVE TO: EXT. MEADOW / BUFFET TABLES - DAY TEN 137 Between Elizabeth's elegant dining ware and Grace's cooking, it's an impressive spread. Just before everyone digs in, Loren taps a glass for attention and raises his own glass for a toast... DISSOLVE TO: EXT. MEADOW - DAY TEN 138 Everyone eats and drinks heartily. Lots of rowdy fun and laughter. INT. CLINIC - DAY TEN 139 Jake enters to find Custer struggling against his bonds, goes to untie him. CUSTER Where in damnation have you been?! I've been yelling for over an hour! JAKE Sorry, General. With the weddin' music, 'fraid nobody could hear you. CUSTER What am I doing tied up here?! (CONTINUED) 91. CONTINUED: 139 JAKE (still untying) Well, you got hit in the head right 'fore the ceremony -- by accident 'course -- and we brought you here to rest, but we figured it was best to tie you so's you wouldn't go fallin' off and hurtin' yourself worse. Custer gets free, jerks to his feet, though his head is pounding. CUSTER I saw the Indian. JAKE Beg your pardon? CUSTER The Indian. I saw him. JAKE (shakes his head) You took a pretty nasty hit there, General. CUSTER I know what I saw, and I know Mr. Sully is in on it. Custer grabs his hat, puts it on, careful of the pain. CUSTER You aren't in on it, too, are you, Mr. Slicker? A beat, as fear threatens to get the best of Jake, but finally: JAKE Don't know what you're talkin' 'bout, General. CUSTER And I'm sure no one else in town will either, correct? JAKE Like I said... CUSTER (cuts him off) If Mr. Sully thinks he can get away with this, he'll soon learn otherwise. (CONTINUED) 92. CONTINUED: (2) 139 He's exits to... EXT. CLINIC - DAY TEN 140 ... as Jake follows and watches Custer mount up and ride out of town. Jake then heads back to the meadow and the wedding festivities. EXT. MEADOW - DAY TEN 141 A PHOTOGRAPHER has his equipment set up in front of the altar. He has the wedding party posed perfectly still, goes behind his camera hood and the flash pot goes off... DISSOLVE TO: EXT. MEADOW / BUFFET TABLE - DAY TEN 142 With a FLOURISH from the violin and viola, wedding cake is carried by Robert E and Matthew and placed on the table to GASPS from the crowd. Grace stands by proudly. Elizabeth puts a congratulatory hand on her shoulder, as Mike and Sully are led up by Colleen to cut the cake. Hand over hand, they make the first slice, to the APPLAUSE of the guests... DISSOLVE TO: EXT. MEADOW / DANCE PLATFORM - DAY TEN 143 The MUSIC becomes louder, rowdier. More dancing, more raucous. The string quartet is joined by banjo, guitar and harmonica players, and urged into a more up-tempo tune -- the violin transformed to a fiddle. +MONTAGE OF MIKE 144 swirling around with various partners, first the Reverend, then Matthew, then Loren, ending with... +SULLY 145 ... as they laugh and careen around the floor, until Sully is distracted by something below eyeline. He glances down. It's... 93. +BRIAN 146 ... tapping on his back, cutting in. Sully relinquishes Mike, who waltzes off with her youngest. Sully turns and unexpectedly comes face-to-face with Elizabeth, partnerless. A beat, then he smiles and offers his hand. She takes it and they dance off into the crowd... DISSOLVE TO: EXT. MAIN STREET - DAY TEN 147 The entire wedding crowd makes its way through town, following a horse-drawn, painted-white wedding buggy with Mike and Sully in it. They're showered with rice. The buggy turns the corner, heading toward the train station. EXT. TRAIN STATION - DAY TEN 148 The buggy arrives at the platform, where the train sits, all steamed up and ready to go. +JOHN 149 is in the locomotive. +BRIAN 150 waves to him excitedly, their conspiracy on the verge of fulfillment. +SULLY 151 hops down from the buggy, helping Mike out. Everyone in the wedding party is there. Elizabeth steps forward with the wedding bouquet and gives it to Mike. They embrace. Then hugs all around for Mike -- Rebecca, Marjorie, Dorothy, Myra, Grace, Ingrid -- while the men all shake hands with Sully -- Horace, Loren, Jake, the Reverend, Hank -- except for Robert E, who gives him a bear hug. Mike prepares to throw the bouquet. All of the unmarried women gather around. +MIKE 152 turns her back and ceremoniously tosses the bouquet high over her head. It sails through the air. Dozens of hands reach up to grab it. 94. +REBECCA 153 pushes Marjorie into the bunch of women at the last moment, and... +SWISH 154 ... the bouquet falls directly into Marjorie's hands. Everyone CHEERS, and she laughs, in spite of herself. John climbs down from the locomotive and goes to where Mike's and Sully's luggage sits. He gives Brian a "thumbs up" sign, and Brian returns it, joining Mike and Sully, taking each of their hands and pulling them toward the passenger car. John follows with the luggage. They must push their way through the throng of well-wishers -- more hugs, kisses and tears -- until they reach the train door. Brian pulls them on board, followed by John and family and friends. INT. PASSENGER CAR - DAY TEN 155 Mike and Sully step inside to be amazed at the sight of... +THEIR POV OF CAR 156 ... not a normal, many-seated railcar, but that which could pass for a honeymoon suite in the finest of hotels -- draperies and rugs, plants and flowers, plus Mike's new wing-back chairs and Sully's carved bed. Everyone gathers in behind them, equally amazed. John busily raises the many blinds, so that everyone can get a good look. JOHN (announces) Brian did it. Everyone's impressed, congratulatory. MIKE So this is what you were up to. BRIAN Yep. Sully gives him a hug. SULLY Nice work, pal. MIKE What a wonderful surprise. (CONTINUED) 95. CONTINUED: 156 She embraces him. ELIZABETH I suggest we all allow these newlyweds to be on their way to Denver. Reluctant MURMURS of agreement. More hugs, culminating with Mike clasping Matthew, Colleen and Brian to her, Sully at their side. MIKE We'll miss you very much, but the two weeks will fly by in no time. COLLEEN Don't worry 'bout us. We got plenty planned with Grandma and Aunt Rebecca and Aunt Marjorie. Mike looks up at her mother and sisters. MIKE Thank you. A beat, then: ELIZABETH Come along, now, everyone. She herds them all off the train. EXT. TRAIN STATION - DAY TEN 157 The train starts to pull out of the station, a large "JUST MARRIED" banner draped across the rear and lots of tin cans tied on, CLANKING along the tracks. The crowd waves wildly, some still throwing rice. Mike and Sully wave from the rear platform. John gives the train WHISTLE celebratory bursts. +FAMILY AND FRIENDS 158 wave and watch the train recede, each with their own particular blessing gained from this wedding... INT. HONEYMOON CAR - DAY TEN 159 Sully closes the drapes on the rear window, leaving him alone with Mike at last. He takes her into his arms and kisses her. (CONTINUED) 96. CONTINUED: 159 As they part, he sweeps her up into his arms and carries her to the bed, placing her on it gently. He sits beside her, kisses her again, more passionately, leaning back with her. He begins unfastening the clasps on her gown. She responds, but as she realizes where this is headed: MIKE Sully?... SULLY Um?... MIKE It's not even dark yet. He looks around at the open windows, then back at her and smiles. SULLY But it's gettin' darker. She looks puzzled, as he gets up. He pulls down a shade, then turns and gives her a kiss. Another shade, he unbuttons another clasp. Another shade: SULLY Darker and darker. She smiles, as this game continues with Sully orchestrating clever moves around the car. Her smiles turn to laughter until he reaches the last shade, next to the bed. He gives her a playful look, but before he can pull it, she leans forward, grasps the tassle and pulls it down herself. A look between them, then he goes into her arms, lowering her to the bed, kissing her deep and long, through the blasts of the train WHISTLE, through the lurch of the train as it accelerates -- a kiss to end all kisses. EXT. COUNTRYSIDE - SUNSET (STOCK) 159A A silhouette of the train as it heads off into the distance...