TEASER FADE IN: EXT. COLORADO SPRINGS - DAY ONE 1 Colorado Springs is bustling with activity. The Sully wagon passes the train station. Inside are SULLY, MIKE, KATIE, BRIAN, and WOLF. Mike is carrying Katie in the sling made for her by Sully. The baby basket is in the back of the wagon with Brian. It's a crisp fall day; Sully, Mike and Brian are wearing jackets. Brian is enthusiastically explaining his day's plans to Mike. He's holding a drawing in his hand which is nearly completed. SULLY I'm takin' Brian out to Red Rocks to finish his drawin'. BRIAN Then I can start the model for my school project. MIKE (to Brian) Colleen's taking geology this term. Perhaps she could offer you some pointers. BRIAN What time's her train due in from Denver? MIKE Three o'clock. BRIAN We'll be back by then won't we Sully? SULLY Yep. +ANOTHER ANGLE - AS THE WAGON TURNS DOWN THE MAIN ROAD 2 A BANNER has been hung above the road. Brian looks up at it as they pass beneath it. +POINT OF VIEW 3 We read it, as Sully does: (CONTINUED) 1A. CONTINUED: 3 SULLY (O.S.) Sweetheart's Dance Saturday Night. +RESUME ANGLE ON WAGON 4 Sully and Mike exchange a loving look (playful, not sentimental, just two people with shared memories). Brian notices something else. 2. +ANGLE - THE GENERAL STORE 4A SARA, Brian's friend, comes out of the general store with a bag of supplies. She walks up the street. She smiles and waves to Brian. +ANGLE - TO INCLUDE BRIAN 4B Brian notices Sara and becomes paralyzed with Sudden Shyness Syndrome. He returns a slight smile and a tiny, little wave. Mike and Sully are oblivious to the romantic drama playing out between Brian and Sara. They're in their own world. MIKE Emma has had five new orders for dresses for the dance. +CLOSE ON BRIAN 5 As he watches Sara getting further and further away. MIKE (O.S.) From the sounds of it, there is going to be quite a crowd this year. +RESUME ANGLE 6 Sully smiles down at Katie. SULLY Don't forget to save a dance for your pa, Katie. Mike smiles at Sully and then looks back at Brian. She doesn't know how to interpret the sick look on his face. MIKE (concerned) Brian? Are you all right? Brian nods, not trusting his own voice quite yet. She's not convinced. He croaks it out. BRIAN I'm fine. He smiles as an offer of proof. But after Mike turns back around, fear replaces confidence on Brian's face as he thinks of Sara once again. He looks at his drawing to get his mind off his dilemma. 3. +CLOSE ON THE DRAWING 6A of the Red Rock formation now known as Garden of the Gods. As CAMERA MOVES IN ON THE DRAWING, we: DISSOLVE TO: OMITTED (7) 7 EXT. RED ROCKS - DAY ONE (STOCK) 8 The Red Rocks formation. BRIAN (O.S.) Ain't no other place on earth like this one, I bet. SULLY (O.S.) No place I've ever seen. +REVERSE ANGLE TO SEE 9 Sully and Brian. Brian is sitting on a large rock, drawing. Sully is relaxing nearby. From the amount of work done, it's apparent they've been here for awhile. Wolf is sniffing around. Brian asks him a question, as casually as he can. BRIAN Sully? Can I ask you somethin'? SULLY Sure. BRIAN Say you wanted to ask somebody to a dance. Sully plays like he doesn't already know what Brian's talking about. SULLY Somebody -- ? Brian is caught up enough in his terror of the dance that he doesn't see immediately that Sully is joking. BRIAN Yeah. SULLY Like -- a girl, you mean? BRIAN Right. A girl. What would ya say to her? (CONTINUED) 4. CONTINUED: 9 SULLY You just say, "I would like to take you to the dance." Brian nods, but he's troubled. BRIAN But -- what if you don't want to let on you're really askin' her? SULLY Why not? BRIAN (trying to find a way to say this without saying it) Why not? Well, maybe she... I mean, maybe you... there could be a lotta reasons -- SULLY Like -- she might say no? BRIAN That could be one reason. SULLY (gently) That's the risk ya gotta take. Trying to keep his risk limited, Brian comes up with another question: BRIAN What'd you say to Ma? When you asked her? SULLY I said "Michaela Quinn, will you do me the great honor of goin' to the dance with me?" BRIAN (in awe) Who told ya to say it like that? SULLY Your ma. He and Brian share a laugh over that and then Wolf, seeing something some distance off, BARKS and starts running towards whatever it is he saw. SULLY Wolf! (CONTINUED) 5. CONTINUED: (2) 9 Wolf runs off down a hill, Sully follows with Brian staying behind. BRIAN What is it? Sully is close enough now to see that the object is: OMITTED (10-11) 11 +CLOSER ANGLE 11A a hawk. The bird is alive, but motionless. Sully takes off his jacket to cover the bird, who appears to be in shock. BRIAN (O.S.) Sully!!!!! Sully turns at the sound of Brian's warning just in time to see a hawk with an enormous wing spread swooping down on him. Sully drops to the ground, holding an arm up as protection. The hawk's talons take a bit of skin as the hawk pulls up and circles for another attack. Wolf growls and barks, keeping the hawk at bay. Brian runs toward Sully. +CLOSE ON SULLY 12 He checks his arm. A little blood, but nothing serious. As Brian joins him: BRIAN You all right? SULLY Fine. He's tryin' to protect his mate, is all. She's alive, but she ain't movin'. If we leave her here, mountain lions'll get her. He carries the jacket-enwrapped hawk with him as he and Brian run back toward the wagon. Wolf runs to the wagon and jumps in. 6. +WIDER ANGLE 13 The male hawk swoops down on Sully again. Wolf barks and leaps into the air, throwing the hawk off. Sully looks back at the red rock formation to find the nest. +A TREE 14 We see a nest in a tree. SULLY (O.S.) There's the nest. +THE WAGON 15 Sully and Brian are already in the wagon, riding away. Brian is holding the female hawk still nestled in the jacket. The male follows them for awhile, Wolf, in the wagon, barks at the male hawk. +CLOSER ON BRIAN 16 Brian looks down at the bundle on his lap, concerned for her safety. CUT TO: INT. BARN - DAY ONE 17 CAMERA STARTS CLOSE on the hawk who is now standing on top of some straw inside a basket. As CAMERA PULLS OUT... Sully finishes tying a tether to her leg. The other side is secured to the box. Brian is looking on with concern. BRIAN Hope she's gonna be all right. Sully glances over at him, smiles. SULLY (re: his blood-stained shirt) Why don't you keep her comp'ny while I take care of this. BRIAN Sure. (beat, to hawk) Don't worry. You'll be fine. 7. EXT. BARN - DAY ONE 18 As Sully comes out of the barn, he is startled to see someone at his front door. Sully calls out to him; not hostile, but obviously cautious. SULLY Help ya? The man, who we will learn is WELLEND SMITH, turns at the sound of Sully's voice. Smith is in his late thirties, early forties, a handsome man with an open expression. SMITH Lookin' for a man named Byron Sully. SULLY I'm Sully. Who are you? Smith's face breaks into a big grin. He hurries down the steps to shake Sully's hand. SMITH Wellend Smith, sir. Am I glad to find you. I've come all the way from Washington, D.C. to offer you a job. Sully is surprised by this announcement, but he doesn't give much away as Smith stands beaming at him. FADE OUT. END OF TEASER ACT ONE FADE IN: EXT. COLORADO SPRINGS - GENERAL STORE - DAY ONE 19 MATTHEW and EMMA drive up in a wagon. She's holding a string of fish (four or five) they caught earlier. +INSIDE THE GENERAL STORE 20 LOREN is going over paperwork. He glances out the window. Sees: +MATTHEW AND EMMA 21 Playful, enjoying each other's company. As he helps her out of the wagon, Emma gives Matthew the fish and he puts them in a basket. They walk towards the door. +ANGLE - AT THE DOOR - FROM INSIDE THE STORE 22 EMMA Thank you, Matthew. I had a good time. For some reason they become awkward at saying goodbye. MATTHEW You -- wanta have supper later? EMMA I'd like to, but I gotta lot of work to do on those dresses. MATTHEW For the dance. Sure. Well, I'll -- see ya later. He kisses her cheek and leaves. Neither of them has seen Loren, so Emma is slightly startled at his voice: (CONTINUED) 9. CONTINUED: 22 LOREN (a big sigh) I s'pose now I've gotten used to ya, you're gonna up and leave me. She recovers from her surprise, but we get a sense that she's concealing something when she responds. EMMA Leave -- ? LOREN Just like a woman. You start to depend on 'em, they go an' get married. She sees now that he's joking with her, in his own curmudgeonly way. She smiles at him, looks at him askance. EMMA Who's gettin' married? Loren realizes he's made an assumption and although what he wants to do is give her his blessing, he's not quite sure now how to extricate himself from this conversation. LOREN I thought -- that is, the two of you -- She laughs, letting him off the hook. EMMA I just started my new business. I ain't ready to get married yet. He wants her to find a way to seize happiness before it drifts away. LOREN Oh! Well, if that's all that's botherin' 'ya, we can work somethin' out. You could work every other day or half days -- EMMA (full of enthusiasm) Thank you, but I don't want to work half days. I want to be here all day. Every day. This business is all I ever dreamed about. She kisses Loren on the cheek and hurries cheerfully over to her sewing area. Loren watches her, a little puzzled. 10. +ANGLE - EMMA'S SEWING AREA 22A Emma sits at her sewing machine. She opens a drawer and takes a small wooden box out from underneath scraps of material. She opens the box and removes the contents. OMITTED (23) 23 +CLOSE ON - THE CONTENTS 24 Which consist of a letter addressed to her, General Delivery, Colorado Springs. The return address on the letter says: Gilda St. Clair, Hotel Paris, Paris, France. Along with the letter is a program from a concert in LONDON, ENGLAND with Gilda St. Clair's silhouette on it. +RESUME EMMA 25 She holds the letter, not even wanting to read it right now, but wanting to be reassured by its presence. She smells the fading perfume. She rubs her thumb over the stamp. She turns the program over in her hand. She is obviously weighing something in her mind, but what that is right now we don't know. CUT TO: OMITTED (26) 26 INT. CLINIC - DAY ONE 27 Mike is holding Katie and feeding her from a bowl. This is a pleasurable moment between mother and daughter. MIKE My, what a big girl! (playfully) I want you to know I appreciate your eating this delicious baby food. It makes it easier for Mommy to be a doctor. Katie gurgles and waves her hands and feet around as if she actually understands Mike. Dorothy comes hurrying into the clinic, carrying a letter. DOROTHY He said yes! Mike is delighted to see her friend, but is also still completely caught up in Katie's latest accomplishment. (CONTINUED) 11. CONTINUED: 27 MIKE Dorothy! Look how well Katie is eating prepared baby food. Dorothy doesn't want to be side tracked but she also doesn't want to be rude to Mike or Katie. She does her best to show enthusiasm. DOROTHY My. Yes. She certainly is. (a more abrupt transition than she meant to make; re: the letter) Look! I got the go ahead. From my publisher. She hands the letter to Mike and continues on, pleased: DOROTHY I'm writin' a new book. Not about Colorado Springs, I already done that. This one's about the Indians. Well, not all the Indians. It's about Cloud Dancin'. MIKE (surprised) It is? DOROTHY Got the idea for it durin' his trial. Why, he sat there under attack, all that time, never once looked scared or angry. I got to thinkin', most people don't get to see somethin' like that. So I'm gonna write a book about it. MIKE (she knows her friend) And -- what does Cloud Dancing say about this book? DOROTHY He doesn't know about it, yet. I'm goin' up to talk to him first thing in the mornin'. (beat) Soon's I figure out what to say. (CONTINUED) 12. CONTINUED: (2) 27 On Mike's smile: CUT TO: OMITTED (28-30) 30 EXT. COLORADO SPRINGS - DAY ONE 31 As Mike (carrying Katie in the sling) and Brian walk along the road. BRIAN ...and then a hawk attacked him. MIKE A hawk? BRIAN We come across the wounded hawk an' while we was tryin' to rescue her from mountain lions, her mate started attackin' Sully. MIKE Mountain lions? Brian realizes he's over dramatized just a bit too much. He backs away from it a touch. BRIAN It wasn't as bad as it sounds. MIKE (a smile to herself) I'm relieved to hear that. (beat) Are you going to ask Sara to the Sweetheart's Dance? BRIAN (bravura) I was gonna -- but I haven't seen her around lately. And, of course, at that exact moment, Sara comes around the corner and nearly smacks into Brian. (CONTINUED) 13. CONTINUED: 31 SARA (pleased to see him) Brian! MIKE Sara! We were just talking about you. Sara's eyes light up. She looks at Brian. SARA You were? Brian, awkward and nervous, looks at Mike, 911 flashing in his eyes. Mike, realizing discretion is the better part of motherhood, makes an excuse to leave them alone together. MIKE Oh. How silly. I completely forgot -- something. Will you excuse me? I'll be right back. Mike moves off far enough to keep an eye on them without appearing to eavesdrop on them. Brian scuffles the dirt, looks at his feet. Sara tries to help him. SARA Lotta people goin' to the Sweetheart's Dance, I hear. Brian nods, doing his best to wrangle up the courage to ask her. SARA You reckon' you'll be goin'? He looks up at her, takes a deep breath, goes for it: BRIAN Speakin' a that, I was wonderin' -- uh -- I was thinkin' that -- if you weren't doin' anythin' else -- SARA Yes -- ? BRIAN If -- (he loses heart) -- if you could come over sometime and see my geology project. (CONTINUED) 14. CONTINUED: (2) 31 SARA (surprised and a little disappointed) Sure. (beat) Was there anything else you wanted to ask me? The SOUND of the train gives Brian his "out." BRIAN Colleen's train! Gotta go! Bye! He bolts away from Sara, running for the train station. +ANGLE - ON MIKE 32 watching the abandoned invitation with a bittersweet smile. As she hurries to catch up with Brian, we go to: EXT. GRACE'S CAFE - DAY ONE 33 Smith is standing over a map he has spread out over one of Grace's tables. Another man, in his early fifties, stands with him, glancing at the map, glancing at Sully. Sully is examining the map with them. Smith has the bearing and dress of a sophisticated politician, while the other man, ARTHUR ("ARTIE") ECK, has all the earmarks of a mountain man. SMITH Took Artie here three years to convince me this was a good idea. Took me another two to convince Congress to even listen to him. (proud of their accomplishment) Next week, President Grant will sign Senate Bill 392... let's see, here it is: (reading from a document) "An Act to set apart a certain Tract of Land as a great national park." Because there's never been one before, Sully is not exactly sure what a national park is. SULLY National Park? (CONTINUED) 15. CONTINUED: 33 SMITH [Just a dressed up way of saying "protected land." (pleased, at Artie) Tell him how you did it, Artie. ARTIE Yeah, I pulled a deal on them boys up there, I reckon. Told 'em this land was flat out uninhabitable, not fit fer farmin' -- (a grin at Sully) -- all in all, completely useless. Sully smiles back at Artie, impressed by this backwoods man's sophisticated grasp of political expedience.] SMITH We're calling it Yellowstone National Park. What do you think? SULLY [(smiles, to Artie)] I like it. SMITH [Yes, well, now that the selling part is done, we're going to need someone in Yellowstone to map out the bounderies, prepare reports on the natural wonders, and protect the buffalo.] [Sully knows that nearly all, if not all, of the buffalo have been hunted into extinction. He looks at Artie, quizically.] SULLY [Buffalo -- ?] ARTIE [I figger I got around -- more or less two hunnerd head of 'em runnin' out there on that land. Far as I know, they're the last bunch left on the whole U.S. continent. Them animal's'll be safe if we can stop the poachers from shootin' 'em -- an' skinnin' 'em.] SMITH President Grant -- you met him once, I gather? (CONTINUED) 15A. CONTINUED: (2) 33 Sully half nods, half shrugs. (CONTINUED) 16. CONTINUED: (3) 33 SMITH He's convinced you're the man who'll fight to keep this land protected. So whaddaya say, Mr. Sully? Can we tell the President you're accepting our offer? SULLY (beat) How soon do you need to know? [SMITH We need you in Wyoming by the end of the week.] Sully has no idea what to say. His mind is reeling with the possibilities and the obstacles. We HEAR again the SOUND of the train and we: FADE OUT. END OF ACT ONE ACT TWO FADE IN: EXT. BARN - NIGHT ONE - ESTABLISHING - STOCK 33A INT. BARN - NIGHT ONE 34 COLLEEN, holding Katie, and Brian watch while Mike finishes examining the hawk. Sully is nearby, but deep in thought. MIKE She doesn't seem to have any broken bones. COLLEEN Why isn't she moving? MIKE She may have bruised her chest. When I press there, even gently, she becomes quite agitated. She won't be able to move until the pain subsides. BRIAN How long will that be? MIKE I would think a day or two at the most. BRIAN (mostly to himself) I hope she can find her way back to her nest again. Sully comes out of his reverie for this last line of Brian's. He speaks quietly, his mind still working on the job offer. SULLY We'll see to it she gets back. Smiling at Sully: MIKE We'll have to. Hawks mate for life. They'd be lost without one another. But Sully doesn't acknowledge her remark. He's lost in thought again. CUT TO: 18. INT. HOMESTEAD - CLOSE ON COLLEEN AND KATIE - NIGHT ONE 35 Colleen is feeding Katie more of the baby food. Colleen is tickled at how well Katie is doing. COLLEEN Here you go -- open wide -- good, good, Katie. (slight beat, then heartfelt) When I'm at school I miss you so much, Katie. +WIDER - TO SEE 35A Brian is working on his clay dough model of the Red Rock formation. Sully is reading the Gazette. Mike is putting away the last of the dishes. COLLEEN I miss all of you. BRIAN (teasing) You could quit school and come home. MIKE (gentle reprimand) Brian! Colleen laughs. COLLEEN Sometimes I wish I could. But I love school, too. MIKE I'm so pleased to hear that, Colleen. COLLEEN (beat, thoughtful) There is somethin' about bein' away that makes you feel -- funny -- when you come back. BRIAN What'a ya mean "funny?" COLLEEN Well, you don't even notice that you're missin' home, and then you get off the train and -- there it is. The place you know. The people who know you. (MORE) (CONTINUED) 19. CONTINUED: 35A COLLEEN (CONT'D) Everything is right where you left it and -- it makes you feel happy, but kinda sad at the same time. MIKE (understanding) That's because your roots are here. You want to grow and branch out, but you also need to know that your feet are still firmly planted in home soil. BRIAN I never thought about people havin' roots. MIKE I believe people need roots the same as trees do. She picks up Katie. MIKE Come along, Katie. Time to get you ready for bed. Mike carries Katie up the stairs to the bedroom, leaving Colleen, Sully and Brian downstairs. Sully is thinking about what Mike just said. Colleen moves over to the table and looks at the model. COLLEEN You're doing a good job, Brian. BRIAN You think people need roots, Sully? SULLY (quiet, sincere) I never did much thinkin' about it before. He watches Brian and Colleen working for a moment, then gets up and walks out the front door. EXT. HOMESTEAD PORCH - NIGHT ONE - A SHORT TIME LATER 36 Sully is sitting on the porch. Mike comes out, sits down next to him. (CONTINUED) 19A. CONTINUED: 36 MIKE This is my favorite part of the day. They enjoy the beautiful Colorado night together. (CONTINUED) 20. CONTINUED: (2) 36 MIKE You've been very quiet tonight. Is there something on your mind? SULLY I was thinkin' about the first time the train came to town. MIKE You were so opposed to it -- you said you'd have to leave Colorado Springs if the train came through here and -- I -- It was a complex issue, but Sully simplifies it. SULLY You said you wouldn't. MIKE (a smile) You make it seem so simple. (beat, remembering the pain of the time) But it wasn't simple at all. She waits for him to go on. When he doesn't: MIKE What made you think about that? He's not ready to talk about this yet, even though he'd thought he was. SULLY Just -- crossed my mind. That's all. We HOLD ON THEM sitting in silence, each lost in his/her own thoughts. And we: DISSOLVE TO: 21. EXT. INDIAN RESERVATION - DAY TWO 37 As close to dawn as we can manage. Dorothy rides onto the reservation. She looks around for Cloud Dancing. She sees him, and gives her horse to a soldier. DOROTHY Cloud Dancin'! CLOUD DANCING turns to see her. Dorothy dismounts, walks toward him. DOROTHY (a little nervous) I was wonderin' if I -- could I talk to you -- about somethin'? My name's Dorothy. I am -- CLOUD DANCING Michaela's friend. I know. He smiles warmly at her, a little curious about what might bring her to talk to him. He walks with her... As Dorothy and Cloud Dancing walk. The deterioration of the reservation and its people underscores what Cloud Dancing will later say about them. Dorothy starts in with as much confidence as she can muster. DOROTHY Goodness it's hard to know where to start. Fact, I was up most a the night, tryin' to find the right way to say this -- (beat) You -- know that I wrote a book about Colorado Springs -- ? CLOUD DANCING Yes. DOROTHY Well -- I wrote to my publisher about another book -- and he said he'd publish it. He smiles at her, pleased for her. DOROTHY I -- I was gonna write the book about you. His face becomes immediately expressionless as he listens to what else she has to say. He gives away none of his thoughts, but she feels the palpable change which has come over him. (CONTINUED) 22. CONTINUED: 37 DOROTHY So many people are -- scared and misinformed. I -- want to show them that not all Indians are bad. She hears how bad that sounds the minute it's out of her mouth and she'd give anything to take it back, but it's too late. It's already hanging in the air. DOROTHY (upset) That isn't what I meant to say at all. What I meant to say is -- She thinks a moment about what it is she did mean to say and she recognizes it right away and says it to him with great vulnerability and honesty. DOROTHY -- that I know you are -- dif'rent than what most people think Indians are like. And I want them to see you the way I do. He is touched by her obvious sincerity. CLOUD DANCING (quietly, gently) I am honored that you wish to write a book about me. Dorothy is holding her breath. CLOUD DANCING But I cannot allow it. DOROTHY But -- but -- Why not? CLOUD DANCING The reasons are not important. DOROTHY They are to me. She's right. He thinks a moment, then, with no bitterness, just resignation: CLOUD DANCING My people are scattered and dying. (MORE) (CONTINUED) 23. CONTINUED: (2) 37 CLOUD DANCING (CONT'D) I can not see how any good will come from giving the white man more knowledge about them. He turns and walks away from her. She watches him go, devastated. OMITTED (38) 38 INT. CLINIC - DAY TWO 39 Colleen, Mike and Katie come in. Colleen puts Katie in her bassinet. Mike starts putting on her apron. COLLEEN (trying to be casual) I wonder when Andrew's coming back from Boston. MIKE (casual, teasing Colleen) He is back. COLLEEN (surprised) He is? MIKE He usually has coffee at Grace's before coming into the clinic. COLLEEN Oohhhh. Colleen glances out the window, turns back, trying not to show how anxious she is to see him. Mike lets it sit for a tiny, little beat, just long enough to wind Colleen up. MIKE You could go let him know that we're here. COLLEEN (trying to appear unconcerned) If you really want me to -- MIKE I do. Colleen sprints for the door, still two parts young lady, one part wild-spirited teenager. Mike smiles after her. 24. EXT. GRACE'S CAFE - DAY TWO 40 Smith and Artie are eating breakfast at Grace's. Colleen comes in, looks around, sees ANDREW sitting by himself, having a cup of coffee, reading the Gazette. COLLEEN Andrew! He looks up, smiles, happy to see her. ANDREW Colleen. She hurries over to his table. There is an awkwardness between them as they greet each other, each obviously happy to see the other, but not wanting to appear too smitten, either. ANDREW Your mother -- mentioned that you were coming home for the Sweetheart's Dance. Colleen is embarrassed that Mike would relay this information to him. COLLEEN (trying to appear nonchalant) I didn't come home just for the dance. ANDREW Oh. COLLEEN Not that I don't want to go. Of course I want to go. I just meant there are other reasons, too -- She's digging herself further in, but fortunately she is saved by: BECKY (O.S.) Colleen! Colleen and Andrew look up to see BECKY hurrying over to their table. Becky seems unusually awkward and tongue tied. BECKY I'm sorry I -- couldn't make it to the train station yesterday, but I was gonna come see you -- today. After -- awhile -- at the clinic. (CONTINUED) 25. CONTINUED: 40 Colleen thinks perhaps Becky is embarrassed because she has interrupted Colleen and Andrew. Colleen tries to make her friend feel better. COLLEEN Sure. That'll be fine. I'll be there in another half hour or so. Andrew and Becky stare at her. Colleen is baffled by their behavior. Is it possible they think she's being rude? She changes direction: COLLEEN Or -- you're welcome to join us for a cup of coffee, if you like. Becky looks at Andrew, wondering if she's misunderstood something along the way. BECKY Join -- you? Andrew jumps in to explain to Colleen: ANDREW Oh! I had -- already invited -- uh -- Becky. To have breakfast. With me. Colleen is mortified by her misinterpretation of the situation. She tries to salvage any part of pride or ego still intact. COLLEEN (as cheerful as possible) I see. I didn't realize -- I mean I forgot that -- Becky interrupts her, trying to make things better. BECKY You could join us. COLLEEN No! No. Thank you. Ma's waitin' for me at the Clinic. I just stopped by to let Andrew know she's here. That's all. ANDREW Ah. COLLEEN She's here. (CONTINUED) 26. CONTINUED: (2) 40 ANDREW Good. (beat) Then... I'll see you later. At the clinic. COLLEEN Yes. Colleen turns and walks away as quickly as she can without looking like she's fleeing. Becky wants to go after her -- a little bit. More of her wants to stay with Andrew. CUT TO: EXT. CLINIC - DAY TWO 40A Colleen comes running around the corner of the building from Grace's Cafe. She stops abruptly once she's around the corner. How could she have made such a blunder? She's embarrassed, and a little hurt, and confused. As she sorts out her feelings, and catches her breath, we: CUT TO: INT. GENERAL STORE - DAY TWO 41 Brian is helping Loren stack merchandise as Loren responds to a question. LOREN The first time I asked a girl to a dance? BRIAN Yeah. What'd you say to her? LOREN Nuthin'. BRIAN Nuthin'? LOREN Oh, I practiced a lotta things, but by the time I got the courage up to ask her, it was too late. She'd already agreed to go with somebody else. BRIAN (worried this could happen to him) So what'd you do? (CONTINUED) 27. CONTINUED: 41 LOREN I asked her sister. Sara comes into the General Store. Loren is surprised to see her. LOREN Sara! Shoppin' twice in one day? Sara doesn't lie very well: SARA My ma -- forgot somethin'. She hands Loren a piece of paper with one word written on it: soap. LOREN Soap? Loren glances over at Brian and sees that he's turned into a statue. Loren understands immediately what the situation is. LOREN Soap! Of course. Soap. (beat) Ya know, I just got some new soap in the other day. Your ma'll like it. It's better than the other kinds -- (realizing he's still talking instead of leaving) You kids talk while I go get it. Brian makes no move. Loren nudges him. LOREN (whispering to Brian) He who hesitates is lost! BRIAN Huh? Sara smiles at Brian as Loren goes off to get the soap. EXT. MATTHEW'S HOMESTEAD - DAY TWO 42 There are a few chickens roaming about. Sully's horse and Matthew's horse are nearby. Sully and Matthew are fixing the wheel on a wagon. They work in silence a few moments. (CONTINUED) 28. CONTINUED: 42 Matthew is deep in thought. Sully notices. Finally, Matthew confides in him. MATTHEW Sully, how do you know -- when it's the right thing to ask somebody to marry ya? SULLY There ain't any doubt. You know. Matthew nods, not reassured. SULLY You 'n Emma makin' plans? MATTHEW Been thinkin' about it a long time. Sometimes I feel real good about it. SULLY And other times? MATTHEW I feel -- bad -- that I don't feel good about it. Sully waits for Matthew to explain. MATTHEW Ya couldn't find anybody sweeter -- or prettier. She makes me laugh. She's always pointin' out things I woulda missed -- like a squirrel runnin' up a tree or a deer on a ridge. I don't think I ever had a better friend. Sully knows this is hard for Matthew. He helps him with: SULLY But -- ? Matthew struggles with a way to say it that softens it, then just says it simply and honestly: MATTHEW (simply) But -- I don't feel about her like I felt about Ingrid. Sully understands, nods, then looks out over the land surrounding the homestead, thinks for a long moment. (CONTINUED) 29. CONTINUED: (2) 42 SULLY What do you want to do? MATTHEW I -- wanna do what's right. Sully realizes that's exactly what he needs to do as well. SULLY (quiet strength) Then tell her how you feel. Matthew looks over at him, a little surprised and a little scared. SULLY You're afraid of tellin' her 'cause you don't wanta upset her. Hurt her feelin's. Matthew nods; that sounds right. SULLY Problem is, you'll hurt her a lot more not bein' honest with her. (beat; to himself) You're only foolin' yourself if ya think you're protectin' her. (a lighter mood, a brisk determination) Which reminds me, I gotta go talk to your ma. Matthew, puzzled, watches him go. CUT TO: EXT. HOMESTEAD - DAY TWO - CLOSE ON MIKE 43 She's standing with herbs she's just collected from her garden. MIKE Wyoming?! That's -- so far away. +WIDER - TO INCLUDE SULLY 44 Sully stands quietly, but with conviction about the rightness of his decision, while she expresses her feelings. (CONTINUED) 30. CONTINUED: 44 MIKE We would have to give up everything we've worked so hard for -- this beautiful house -- all our friends -- (another shock wave) Matthew. And Colleen. They couldn't come with us. We need time to think things through, carefully, so we don't make a decision we'll later regret. SULLY (gently, he knows this is hard for her) They hafta know by the end of the week. MIKE (frustrated) I need more time than that! Why didn't you talk to me about this last night? SULLY (simply) I knew you'd want me to turn it down. MIKE Then why are we discussing it now? SULLY I don't want to turn it down. MIKE And you expect me to say yes, just like that? SULLY Not "just like that," Michaela. I've given it a lot of thought, now I'm askin' you to do the same. She looks at him and then turns and goes into the house without another word. Sully watches her go. He looks around at the homestead. How can he help her understand how important Yellowstone Park is -- can be -- to so many people. An idea starts to form, and we: 31. OMITTED (45-46) 46 INT. BARN - DAY TWO 47 We can see the hawk flying. Now we see Sully still has her on the tether. He puts his arm out. She flies back to him and perches on his arm. DISSOLVE TO: INT. HOMESTEAD - NIGHT TWO 48 Colleen is by the fireplace. Three of her books are open beside her. She makes cross-reference notes on a pad of paper. Mike comes down the stairs, takes in the room. It seems spacious, peaceful to her. She broaches a question to Colleen. MIKE (still slightly agitated) Does it seem -- crowded, here -- in Colorado Springs. I know compared to Denver, it must seem very quiet, but compared to how it was when I first met you, has the town changed very much? Colleen answers the question honestly and simply. COLLEEN In some ways it hasn't changed at all. But in other ways -- the railroad, the bank, the new hotel goin' up. It's like -- (she finds the right metaphor) -- it's like Katie. You're around her all the time so you don't see how much she's changed. But anyone comin' back after bein' away can't help but see it. It makes sense to Mike, even though it wasn't what she was hoping to hear. At that moment, the door opens and in walks -- Matthew. Mike is surprised to see him. MIKE Matthew! I didn't know you were stopping by tonight. Would you like something to eat. MATTHEW No! No. I just stopped by to -- spend some time with Colleen. (CONTINUED) 32. CONTINUED: 48 COLLEEN (too fast and too nervous) Yes! I forgot to tell you, Ma. I'm sorry. But Mike smells a plot. Curious, but not wary: MIKE What's going on, here? Fortunately, Brian runs in, saving Matthew and Colleen from having to deny anything. BRIAN Ma! The hawk! You gotta help her, quick! Brian turns and runs back out to avoid any questions he can't answer. Mike follows him. EXT. HOMESTEAD - NIGHT TWO (CONTINUOUS) 49 Brian waits on the porch as Mike hurries down the stairs. She stops at the bottom of the stairs, hearing the sounds of a horse galloping down the road. We cannot tell who the rider is until he pulls the horse to a stop (the horse rearing to his hind legs as the rider does so) and swoops Mike up. +CLOSER ON THE HORSE 49A to see the rider is Sully. Mike is astonished and completely baffled. MIKE Sully! What are you doing?! Put me down! Sully!!!!! Without a word, he urges the horse on and it gallops off into the night. +ANGLE - ON THE PORCH 49B Colleen and Matthew slip out of the house to stand by Brian and watch Sully and Mike disappear. +ON THE KIDS 50 watching them ride off at a gallop. (CONTINUED) 33. CONTINUED: 50 BRIAN I don't know if Ma is gonna like bein' kidnapped. MATTHEW Sully wouldn't do it, 'less he had his reasons. COLLEEN He said it was important and she'd understand. Colleen and Matthew turn and go back into the house. Brian stays outside until he can no longer hear the pounding horses hooves. BRIAN (to himself) Sure hope he was right. He stays on the porch a moment longer, as we: FADE OUT. END OF ACT TWO ACT THREE FADE IN: EXT. WOODS - NIGHT TWO 51 Sully and Mike come riding into a clearing in the woods. She is still angry at his actions. MIKE I cannot believe you are dragging me off into the woods in the middle of the night. He's in a cheery mood, confident she'll come around to his way of thinking. He slides off the horse, moves over to an area where he has already laid the firewood for a fire. MIKE What if Katie needs me? SULLY The kids're with her. They know where we are. He takes a match from his pouch, lights it and gets the fire going. MIKE There could be an emergency at the clinic -- SULLY Andrew's stayin' there 'til we get back. By the light of the fire, she can see their wagon. He has already been out here to bring bedrolls, a coffee pot, the hawk and to prepare the fire wood. She's starting to relax, let go of her pride and play with him a little. MIKE The least you could've done was ask. SULLY If I asked, don't ya think somethin' woulda come up -- so you couldn't go? She has no reply -- he's dead on right. He stands up, moves to her, pulls her close to him, kisses her long and hard. When he releases her, she's speechless. Not to mention, breathless. (CONTINUED) 35. CONTINUED: 51 MIKE I -- just wasn't expecting to be -- kidnapped. SULLY That's why they call it a surprise. He smiles at her, she smiles back, questioningly. He goes back to tending the fire. DISSOLVE TO: OMITTED (52-53) 53 INT. BARN - NIGHT TWO 53A Brian is talking to a cow. BRIAN "Sara, would you do me the great honor of goin' to the dance with me?" Doesn't seem right to him. He tries with a different inflection: BRIAN "Sara, would you do me the great honor of goin' to the dance with me." MATTHEW (O.S.) Brian? Brian whirls to see: +ANGLE -- AT THE BARN DOOR 53B Matthew is standing at the barn door watching Brian. MATTHEW What're you doin'? +RESUME WIDER ANGLE TO INCLUDE BRIAN 53C He confesses, a little embarrassed. BRIAN Practicin'. (CONTINUED) 36. CONTINUED: 53C MATTHEW For Sara? Why? It's not like ya don't know her. You gave her your dog, Fifi. You even kissed her once. BRIAN That was dif'rent. MATTHEW What's different? BRIAN There's a dif'rence between knowin' somebody and askin' them to a dance. What if she doesn't -- think about me like that? What if she says no? Matthew sits down next to him. He has a different question: MATTHEW What if she says yes? BRIAN (without hesitation) That'd be great. Matthew can see that Brian unhesitatingly knows his heart. MATTHEW (encouraging) Then just ask her. Brian looks at Matthew. Can it be that simple? BRIAN Just ask her? Matthew nods. MATTHEW Yeah. Just ask her. On Brian, considering this radical thought. CUT TO: EXT. RESERVATION - MORNING - DAY THREE 54 Dorothy rides up to the reservation again. She dismounts, walks through the reservation looking for Cloud Dancing. 37. +ANGLE - ON ONE OF THE CABINS 55 little more than a shanty. Cloud Dancing has a small fire going in front of his cabin. He's doing his morning meditation. Dorothy respects his privacy, does not move in close to him until he is finished. DOROTHY Excuse me, Cloud Dancin'. I been thinkin' 'bout what you said. About the book. He waits to see what she has to say. She goes on: DOROTHY Legally, I could write it without your permission, but I ain't -- I'm not -- gonna do that. But somebody will. (beat) May I sit down? He gestures for her to sit next to him. She does so. DOROTHY Books are gonna be written about Indians and they'll be fulla mistakes. Most people writin' these books don't even know any Indians. Cloud Dancing gives no discernible sign of his reaction to what she's saying. He just listens. DOROTHY If you could help me -- not help, I mean -- talk to me. Teach me. Then I got a chance at gettin' it right. CLOUD DANCING (quiet, still firm) There is no right or wrong in this. No matter what is put on paper, it turns out badly for my people. She sighs, leans in a little closer to him, speaks more quietly. DOROTHY When I'm finished, I'll give you the book. If you don't like what I've written, I'll burn it. No one else'll ever read it. (CONTINUED) 38. CONTINUED: 55 Cloud Dancing sits silent a moment. This is an enormous offer. He wants to find a way to show her what she is offering. He picks up a large leaf, could be a page from a book. CLOUD DANCING You will give me what you have written -- DOROTHY Yes. CLOUD DANCING And if I say no -- you will throw it into the fire? Like this? He tosses the leaf into the fire. Dorothy watches the flames consume it. It would kill her to have to do that to her book. Nevertheless: DOROTHY (looking him square in the eyes) Yes. I will. HOLD ON DOROTHY AND CLOUD DANCING and then: CUT TO: EXT. WOODS - DAY THREE 56 Sully wakes with a start. He looks around. Mike is nowhere to be seen. He sits up. He does not have his shirt on. OMITTED (57) 57 EXT. WATERFALL - DAY THREE 57A Mike is sitting on a ledge next to the pool of water being made by the waterfall. She's dangling her feet in the pool, in a reflective mood. +SULLY 58 comes through some trees, still just in buckskins, stops when he sees her. +CLOSE ANGLE ON MIKE 59 As she senses Sully's presence, then looks up at him. 39. +ANGLE TO INCLUDE SULLY 59A As he approaches her. She stands up. She moves into the waterfall, lifts her head up to it and lets it wash over her, spilling off her hair to the pool below. Sully, without regard for the buckskins he's wearing, wades into the pool and takes her in his arms and they seem completely unaware of the water cascading over them as he holds her and then embraces her and we... DISSOLVE TO: OMITTED (60-64) 64 EXT. WOODS - CLOSE ON HAWK - DAY THREE 65 This is a long dissolve so that we understand that the hawk is the symbol of their relationship. When we are completely on the hawk, a hand reaches in to give it water. +WIDER ANGLE - TO SEE SULLY 65A The hawk is tethered to the ground. Sully has brought water which the hawk drinks from his hand or a cup, whichever works. +ANOTHER ANGLE - TO INCLUDE MIKE 65B The two of them are working in silence to break camp and reload the wagon. Some time has gone by since the waterfall. Hair and buckskin are dry, the bond between the two of them is reaffirmed. But there is still the matter on the table: MIKE (fairly casually) What does this Yellowstone National Park look like? SULLY Been told it has over three thousand square miles of forest surrounded by mountains. Canyon walls over a hundred feet high and geysers that shoot water higher than the trees. Mike is truly impressed by these statistics. MIKE Sounds extraordinary. SULLY Mmm-hmmm. (CONTINUED) 40. CONTINUED: 65B MIKE How many other people would be going? Sully stops the activity, sits down, gestures for her to sit with him. She does. He talks to her without pressure, without coloring the truth to make it look more attractive to her. SULLY There'd be you, me, Brian, Katie an' a couple'a hundred buffalo. She knows this is the real discussion; the one where they put all the cards on the table. The possibility of moving to such a remote, unknown territory is frightening to her. MIKE And the nearest town is -- SULLY Bozeman, Montana. (off her look) 'Bout eighty miles. MIKE (her most basic fear) If anything were to happen to the children, we could never get help in time. SULLY (reassuring) Lucky we got a doctor in the family. They sit without talking. Sully says what's been in his heart since Smith and Artie first asked him to take the job. SULLY I didn't talk to you about this to upset you, Michaela. I know how important Colorado Springs is to you. Your practice an' your friends... MIKE (in case you've forgotten) And everything that reminds me of you. Of us, when we first met. He nods acknowledgement of that. (CONTINUED) 41. CONTINUED: (2) 65B SULLY The thing I keep thinkin' about is -- if nobody stands up for the land, what's gonna happen to it? What're we gonna leave for our grandchildren -- and their grandchildren? (beat) Figure they got a right to share all this, too. It hits home with her. She sits quietly, considering the ramifications of saying yes. EXT. RED ROCK FORMATION - DAY THREE (STOCK) 66 The male hawk is nowhere to be seen. EXT. THE MEADOW SIDE - DAY THREE 67 Sully and Mike ride up in the wagon. Sully's horse is tied behind. Sully is carrying the hawk on his arm. It has a hood on. Sully and Mike get out of the wagon and look around. +THEIR POINT OF VIEW -- THE TREES 68 Still no sign of the hawk. +RESUME SULLY AND MIKE 69 Sully unties the leather strap from the hawk's leg, and removes the hood. +AERIAL SHOT - HAWK'S POV 70 We're looking from a great height down at Sully, Mike and the female hawk. +ON SULLY AND MIKE 71 The female hawk is sitting completely still. She's not going anywhere. Then, we HEAR the startling sound of the male calling to her. +AERIAL SHOT 72 As Mike and Sully look up and at the hawk. 42. +ON SULLY AND MIKE 73 The male calls again. This time the female rustles her feathers, as if she's going to fly off, but she doesn't. Mike and Sully look at each other, both aware of the parallels between the hawk's situation and theirs. OMITTED (74) 74 +ANOTHER ANGLE TO SEE 74A The hawk makes a swooping pass at Sully. +ON SULLY AND MIKE 75 To see another pass of the male hawk. This time, as he soars upward, the female stretches her wings and slowly takes flight. Mike and Sully look at each other and then watch the hawks. +INTERCUT BETWEEN MIKE AND SULLY AND THE HAWKS 76 TBA. This sequence will be determined by the stock footage. As the two hawks fly off together: +MIKE AND SULLY 77 stand quietly a moment, each digesting what they've just seen. Finally: SULLY Better be gettin' back. They both walk toward the horse, two separate individuals, more separate than they have been in a long time. Before they mount up, she stops him. She knows she needs to say this fast or she might change her mind. MIKE I don't know how I'm going to feel -- giving up everything I know for a second time. Honestly, I can't even imagine it. (after a pause, more upbeat) When the train first came to Colorado Springs, you said you would have to leave. But because it was important to me, you stayed. (MORE) (CONTINUED) 43. CONTINUED: 77 MIKE (CONT'D) (beat) Now this is important to you. So -- I'll go. He lets her words sit in the still morning air for a moment. then he tenderly, almost hesitantly, puts his arms around her. There is no sense of victory here for either one of them, just the pain of having to respond to life's difficult choices. +CAMERA MOVES IN CLOSER 78 Mike is resting her head against Sully's neck as he holds her. Her expression is peaceful, but tears are running down her cheeks. FADE OUT. END OF ACT THREE ACT FOUR FADE IN: EXT. HOMESTEAD - DAY THREE 79 As Sully and Mike ride up to the homestead. +CLOSER ANGLE 80 MIKE The children -- perhaps it would be better to tell them about this after the Sweetheart's Dance. He nods. He agrees that it's a good idea to wait. EXT. A CLEARING - DAY THREE 81 It's afternoon. Cloud Dancing is in the middle of a traditional dance demonstration for Dorothy. He explains its meaning to her as he does it. Dorothy takes notes. CLOUD DANCING This dance tells of a hunting party. The dancer is searching for prey. He has a porcupine headdress, ribbons and an otter tail extending down his back. He calls to the prey. Cloud Dancing lets out a loud "Whoop" which startles Dorothy. He smiles and sits down beside her. CLOUD DANCING This is the way my people tell stories. With words, yes, but also with dancing. DOROTHY How many dances are there? CLOUD DANCING As many as are needed. There are dances of healing and of peace. There is a dance of grieving. And there is a victory dance which is performed after a battle. (CONTINUED) 45. CONTINUED: 81 DOROTHY Sounds like a good one for the book. CLOUD DANCING It is performed only at night -- with light from a full moon... DOROTHY Full moon's Saturday. I could come back then. CLOUD DANCING (shaking head no) The white man will not like this victory dance. DOROTHY Most white men didn't like the waltz at first, either. Didn't stop 'em from learnin' it. CLOUD DANCING The -- waltz? She stands up and starts to show him how it goes. DOROTHY The waltz. It goes like this -- one, two, three -- She realizes that he's not getting an accurate picture of it. DOROTHY (a little laugh) I mean, we don't do the dance alone. It's -- men and women dance together. He has no way of knowing this means actually touching, so he stands up and tries to follow her steps. He stands behind her to copy her steps. CLOUD DANCING One, two, three... She laughs. (CONTINUED) 46. CONTINUED: (2) 81 DOROTHY No, no, no. They dance as partners. The man faces the woman. He understands. Comes around to face her. DOROTHY (a little awkward) And -- they -- She puts her arms up in the waltz position, tries to figure out how to explain this without actually touching him. DOROTHY Well, they -- their arms -- connect. CLOUD DANCING Connect? DOROTHY (going right past it) And the feet move like this. (pleased) One, two, three -- one, two, three -- That's right. CLOUD DANCING One, two, three... DOROTHY Try not to look at your feet. Just feel the rhythm. One, two, three... CAMERA PULLS BACK as Dorothy and Cloud Dancing practicing the waltz -- practically partners but not. They're smiling, laughing, having a wonderful time. EXT. MATTHEW'S HOMESTEAD - CLOSE ON EMMA ON PORCH - DAY THREE 82 Emma is sitting on the porch. She is re-reading her letter from Gilda St. Clair. +ANGLE - MATTHEW 82A rides up. She stands up quickly, nervous about what she needs to say to him. He's a little nervous, too, but also, in a way, relieved. It's time for them to talk. He knows that. (CONTINUED) 47. CONTINUED: 82A EMMA I hope you don't mind me comin' out. Somethin' came up -- I wanted to talk to you about. MATTHEW Yeah, I need to talk to you, too. This is difficult for Emma. She tries to be courageous but the tears form in her eyes as she looks at Matthew and tells him: EMMA You remember Gilda St. Clair? The singer? Matthew has a rueful smile. MATTHEW Who could forget her? EMMA She wrote me. She hands him the program. He looks at it as she talks. EMMA She offered me a job. Matthew looks up, surprised. Emma's enthusiasm is starting to win out over her discomfort. EMMA Travelin' with her, to make dresses 'n such. He's thrilled for her, but also completely taken aback. She misinterprets his stunned silence. EMMA The thing is -- 'bout gettin' married -- MATTHEW That's what I was gonna talk to you about. They both want to say it, but neither can quite do it. EMMA Matthew -- I wanna take that job. Matthew is quiet, sweet, understanding, and, of course, a little grateful he's off the hook. But the prevailing feeling is happiness for Emma. (CONTINUED) 48. CONTINUED: (2) 82A MATTHEW You do? She nods, unsure how he'll react. MATTHEW (pleased) I think you should. EMMA You do? She doesn't even know what to say from there. They're still awkward with each other, not knowing whether to hug or not. EMMA I don't know how to tell you all you've done for me -- When I decided to leave Hank's -- 'n nobody wanted to accept me -- as somethin' different than what they thought I was -- He moves to her, puts his arms around her. MATTHEW I didn't look at it as helpin' ya, Emma. Ya know, I wasn't doin' so good myself -- with Ingrid dyin' and all. You -- kinda let me be sad -- and I just liked bein' around ya. And the more I was around ya, the better I felt. She pulls away, slightly, to look at him in the face. EMMA (simple, but deeply felt) Me, too. MATTHEW Guess ya don't hafta be married to be friends. She puts her head on his chest and he holds her tighter. EMMA I'll send you postcards -- from all over the world. MATTHEW (genuine) I'd like that. (CONTINUED) 49. CONTINUED: (3) 82A They stand quietly holding each other a moment. Then Matthew breaks the moment, gently pulls away, starts to walk with her to her horse. MATTHEW There is one favor I'd like ta ask ya, 'fore ya leave. She looks at him, curious. MATTHEW Emma, would you do me the great honor of attending the Sweetheart's Dance with me? EMMA (a big smile) I'd love to. As they arrive at her wagon, we: DISSOLVE TO: INT. HOMESTEAD - NIGHT THREE - ESTABLISHING 83 Mike is carrying Katie. The lamps have been lit in the main room. We see Sully come quietly down the staircase. He stops, just out of Mike's sight, watching her for a moment. MIKE (bravely) Well, Katie, what do you say? What shall we leave behind? Katie makes a gurgley sound at her. MIKE (laughing) Yes, I'd like to take it all, too. But we can't. Mike moves over to an heirloom china figure and picks it up. She studies every inch of it, memorizing it. MIKE Will you remember any of this, Katie? I'm afraid you won't. Sully is moved by the realization of the sacrifice Mike is making. (CONTINUED) 50. CONTINUED: 83 MIKE (to Katie) But I will tell you everything about it when you're old enough to understand. Play Sully's reaction as well as Mike's touching moment with Katie. MIKE (holding Katie close, talking mostly to herself) I'll remember it for you. MOVE IN ON MIKE AND KATIE and... DISSOLVE TO: EXT. HOMESTEAD - DAY 84 Sully has hitched the horse up. He leaves the wagon in the road as he goes back inside to let Mike know he's ready. INT. HOMESTEAD - DAY 85 As Sully comes in. SULLY Michaela? MIKE (O.S.) Upstairs. Sully walks toward the stairs but is stopped by something sitting on the table. +ANGLE - ON BRIAN'S GEOLOGY PROJECT 86 The clay map has been completed and painted. It looks remarkably like the Red Rocks formation. +ON SULLY 87 drawn to the model for some reason he can't quite fathom. As he looks at it, Brian comes bounding down the stairs. BRIAN Didja see my project, Sully? Do ya like it? (CONTINUED) 51. CONTINUED: 87 SULLY (distracted, distant) Yes. (acknowledging Brian) Very much. Brian takes his project and starts out the door. BRIAN I'm gonna walk to school. Don't wanna take any chances a this gettin' broken. Mike and Katie come down the stairs. Sully turns and looks at her. SULLY Before we go to town, there's somethin' I need to do. She's curious, but doesn't question it as they leave. EXT. GRACE'S CAFE - DAY FOUR 88 Becky is having a cup of coffee. Colleen comes in, sees her, decides to go over and talk to her. Both girls are happy to see each other, want to have things okay between them, but not sure how the other feels. Therefore there is a tentative quality to their conversation at first. COLLEEN Hi, Becky. BECKY Hi, Colleen. You -- wanna have breakfast with me? COLLEEN Sure. Colleen sits down. There's a small beat of silence, but the awkwardness is subsiding. BECKY How're things at college? COLLEEN Good. I'll be goin' back right after the dance. (beat) How're things -- here? (CONTINUED) 52. CONTINUED: 88 BECKY Good. (beat, casual) Anybody ask ya to the dance, yet? COLLEEN (as if she had completely forgotten about the dance) Oh, no. (beat, not even looking at Becky) You? Becky shakes her head no. BECKY (no self pity) I don't even know if I'll go. It's no fun to go by yourself. Colleen looks at her, surprised. COLLEEN You don't have to go by yourself. BECKY (glum) I'm tired of goin' with my brothers. COLLEEN (that reminds her) Remember when we used to go together? BECKY 'Course I do. They're back on familiar, solid ground. +ANGLE - ANDREW 89 arriving at the Cafe. He's carrying one long stem rose. He looks around. He sees: +HIS POINT OF VIEW 90 Becky and Colleen are laughing and reminiscing. They're having a terrific time together. 53. +RESUME ANDREW 91 who smiles and slips quietly away, unseen by the girls. EXT. COLORADO SPRINGS - NEAR THE SCHOOL HOUSE - DAY FOUR 92 Brian is still carrying his science project to class. He's practicing his speech again. BRIAN "Sara, will you please --" no -- um -- "You hafta say you'll go to the dance with me, Sara, 'cause -- 'cause there's nobody else I would ever want to take." SARA (O.S.) I'd love to Brian. Brian turns, startled, to see Sara right behind him. He's stunned. She smiles. SARA I been walkin' behind you since Snow Creek. You were so busy askin' me to the dance, you never even noticed me. BRIAN (not trusting his own ears) Did you say -- SARA I'd love to. He's thrilled beyond words. So she helps move the conversation along. SARA Is that the geology project you were gonna show me? BRIAN Yeah! He puts it down so they can both look at it. As he points out various landmarks, CAMERA MOVES IN on the model. BRIAN We was on a hill, lookin' at this formation when we found the hawk. She couldn't fly an' if we'da left her there, she'da been eaten by mountain lions. (CONTINUED) 54. CONTINUED: 92 SARA Oh my goodness. We carry Brian's lines over as we: DISSOLVE TO: EXT. RED ROCK FORMATION - DAY FOUR - (STOCK) 93 The actual Red Rocks. BRIAN (O.S.) Sully was attacked by the hawk's mate. It was excitin'. Lots of excitin' things happen out there. +ANGLE ON THE SULLY WAGON 94 Sully and Mike (carrying Katie) pull up to the red rocks. Sully stops the wagon and looks at the formation a moment. She looks at him, waiting for his explanation. SULLY No other place on Earth like this. MIKE What? SULLY Somethin' Brian said to me. Got me to thinkin'. If I'm gonna fight, it oughtta be this land I'm fightin' for. (beat) This is where we became a fam'ly. This is where Katie was born. MIKE (almost not daring to hope) You're -- turning down the Yellowstone job? SULLY Seems to me this is as [flat out uninhabitable, not fit fer farmin' -- (with a smile, mimicking Artie) "...all in all -- as] completely useless as Yellowstone." (CONTINUED) 55. CONTINUED: 94 She looks at him. What the devil is he saying? SULLY (a grin) No reason Congress shouldn't make this a national park, too. Mike is so happy. MIKE Oh, Sully! He puts his arms around her and Katie. Mike and Sully kiss and enjoy the wondrous feeling of being one, together. Sully breaks the moment with a quiet, seemingly serious question. SULLY There is one thing I have to ask you. She looks at him, curious. SULLY Michaela Quinn, would you do me the honor of goin' to the dance with me? Her happiness is complete. She snuggles into his arms again and as the CAMERA PULLS BACK, we HEAR the STRAINS of the MUSIC of the Sweetheart's Dance, an upbeat song: DISSOLVE TO: EXT. WATER TOWER - NIGHT FIVE 95 The entire town has turned out for the Sweetheart's Dance. The song ends and as couples applaud and start to move off the dance floor, we HEAR a WALTZ begin and: DANCE ANNOUNCER (V.O.) And this dance will be ladies' choice. Ladies' choice. Ladies' choice. We move into a MONTAGE SEQUENCE featuring: SARA -- taking Brian by the hand to the dance floor. LOREN -- watches Sara and Brian. He smiles. He turns to see: EMMA AND MATTHEW [she's pulling him past dancing couples toward the middle of the floor.] (CONTINUED) 56. CONTINUED: 95 ANDREW dances past Matthew and Emma. He's dancing with an older, hefty, Swedish woman. We follow them past: BECKY AND COLLEEN who are sitting, talking. They see Andrew gesturing to them. They laugh, ask each other to dance, and do so. INTERCUT, NOW WITH: OMITTED (96) 96 EXT. AT THE RESERVATION - NIGHT FIVE 97 Dorothy and Cloud Dancing are waltzing. He's still looking at his feet. But the movement is indeed becoming a bit more fluid. They still aren't touching. The music is the same as the Sweetheart's Dance, but Cloud Dancing and Dorothy take it in half time. Cloud Dancing touches her shoulder at one point to regain balance. She backs away just a tiny bit. They look at each other. She moves closer to him and puts her arm on his shoulder. They waltz together properly. OMITTED (98) 98 +AT THE WATER TOWER 99 Sully and Mike, in their own world, dancing together. CAMERA MOVES IN... and we: FREEZE FRAME AND FADE OUT. THE END