TEASER
FADE IN:
Omitted (0A)
ext. HOMESTEAD - DAY ONE - MAY, EIGHTEEN SEVENTY-TWO 1
BRIAN comes out the front door to find SULLY sitting on the steps, holding KATIE in his lap, trying to get her to talk.
Sully
Pa. Say Pa.
Brian pauses to look up at the sky.
BRIAN
'Nother sunny day. Gonna be an early summer I bet.
Sully
I hope so.
Brian starts off toward the barn.
Brian
I'll get the wagon hitched.
Sully nods and continues coaxing Katie, as MIKE steps out of the house behind him.
SULLY
Pa. Pa. Paaaaaa...
Katie happily burbles something not even close to "Pa."
SULLY
Close. Good. Try it again -- Pa. Pa Pa Pa Pa Pa...
Mike sits beside them on the steps, smiling.
Mike
Just wait. It won't be long, and she'll be talking constantly.
(CONTINUED)
2.
CONTINUED: 2
MIKE
We need to start planning for her first birthday party.
Sully nods as they watch Katie.
SULLY
She's growin' up so fast.
MIKE
Pretty soon she'll be riding horses, and going to school, and getting married --
Sully shoots her a look of sudden panic.
SULLY
Married?
MIKE
(laughs)
We still have a few years before then.
She kisses him. They look into each other's eyes.
SULLY
Wish I could just stop time, stay like this forever.
MIKE
Me too.
She kisses him again, deeper, more passionate...
+Omitted (2)
EXT. WOODS - DAY ONE 3
DOROTHY waits alone in a small clearing, a leather satchel draped over her shoulder. She looks very nervous, unable to stand still, so she sits on a fallen log. But after a moment, she stands again, unable to sit.
Finally, the SOUND of someone approaching gets her attention, and she turns to see CLOUD DANCING stepping out of the woods.
(CONTINUED)
3.
CONTINUED: 3
CLOUD DANCING
I am late.
DOROTHY
It's all right.
CLOUD DANCING
I have had trouble getting day passes. I hope you did not wait long.
DOROTHY
Oh no, not at all... I'm, I'm... fine.
Her nervousness is really showing now, and Cloud Dancing can see it.
CLOUD DANCING
Is something wrong?
She hesitates a moment, then decides to plunge right in:
DOROTHY
I got somethin' to show you.
She reaches into her satchel and takes out a manuscript. Cloud Dancing looks at it, amazed.
CLOUD DANCING
Your book?
Dorothy nods, her uneasiness increasing.
CLOUD DANCING
It is finished?
DOROTHY
No.
(difficult)
Not yet.
She holds it out to him.
DOROTHY
Not until you've read it.
(beat, off his look)
I made a promise to you. If you approve of what I've written, I'll publish it. And if you don't...
(beat)
I'll burn it.
(CONTINUED)
4.
CONTINUED: (2) 3
Now Cloud Dancing is nervous. But he sees the conviction in Dorothy's eyes, and nods quietly. Instead of taking the book from her, he steps over and sits on the log.
CLOUD DANCING
Please... I would like to hear it in your voice.
This throws Dorothy a bit, but she recovers, nods.
DOROTHY
Certainly.
She sits beside him. She takes a deep breath, trying to settle herself, then opens the manuscript and begins reading:
DOROTHY
"Many years ago, near the shores of the Great Lakes, lived men and women who spoke the tongue of the Algonkian, and called themselves 'Tsis-tsis'-tas,' or 'the people.' We know them today as the Cheyenne."
As Dorothy continues to read...
EXT. GRACE'S CAFE - DAY ONE 4
Mike (holding Katie) and Sully sit with LOREN, the REVEREND, HORACE, ROBERT E and GRACE (serving), discussing plans for Katie's party.
GRACE
We can have the party here, if you like.
REVEREND
Or in the meadow.
MIKE
(turns to Sully)
The meadow sounds wonderful. We'll have food and games...
Loren tickles Katie with a smile.
LOREN
And lots of presents.
MATTHEW hurries into the cafe, sees Mike and comes over.
MATTHEW
Dr. Mike, soldier's been hurt. They're takin' him to the clinic.
(CONTINUED)
5.
CONTINUED: 4
GRACE
I'll watch Katie.
Mike hands Katie to Grace as she and Sully follow Matthew to:
INT. CLINIC - DAY ONE 5
A young PRIVATE sits on the examination table, clutching his bleeding arm in pain, as other SOLDIERS hover nearby (SOLDIER #1 inside the clinic, the rest just outside the door). Mike rushes in, followed by Sully and Matthew.
MIKE
What happened?
PRIVATE
We were ridin' in, my horse got spooked by a coyote and threw me. Cut a gash in my arm.
Mike examines the cut on his arm.
MIKE
It's not too deep. But I'll still need to stitch it.
PRIVATE
Thank you ma'am, but I'll wait for the doctor.
MIKE
I am the doctor.
The Private reacts with surprise, but allows Mike to go to work.
MATTHEW
Where you headed?
PRIVATE
Palmer Creek Reservation. We're replacin' the garrison there.
SULLY
Where's your commandin' officer?
MCKAY (O.S.)
Right here.
Sully and Mike turn to see SERGEANT TERENCE MCKAY stepping through the side door (he was upstairs looking for the doctor). In his late thirties, McKay is ruggedly handsome, with dark, penetrating eyes. Silent and mysterious, he commands respect through his presence alone. He doesn't talk much, and rarely raises his voice -- he doesn't have to.
(CONTINUED)
6.
CONTINUED: 5
MCKAY
(stepping forward)
Sergeant Terence McKay. You must be Dr. Quinn.
MIKE
That's right.
MCKAY
'Preciate your help.
Mike goes back to work as McKay turns to Sully, recognizing him.
MCKAY
Byron Sully.
SULLY
Do I know you?
MCKAY
No. But I know you. Command gave me a full description. Said you used to be the Indian Agent, 'til you got fired for insubordination. S'posed to keep you away from the reservation.
SULLY
(a beat, cool)
You won't get any trouble from me.
Mike gives Sully a quick look -- one that McKay notices. He turns back to Sully.
MCKAY
Good. 'Cause I'll be watchin' for you.
Sully looks at McKay, meeting his cold stare. Mike looks up, sees the intensity building between the two men. And so does Matthew. Mike quickly goes back to work, hurrying to stitch up the private's arm as we:
FADE OUT.
END OF TEASER
7.
ACT ONE
FADE IN:
EXT. CLINIC - DAY ONE 6
Mike, Sully and Matthew follow behind as Soldier #1 helps the Private (whose arm is now bandaged) out of the clinic and over to his horse.
MIKE
Be careful. You don't want to tear the stitches.
McKay is already on his horse, waiting nearby. Mike turns to him.
MIKE
I'd like to see him again in a few days to check for infection.
MCKAY
Sure.
(hands her some money)
Much obliged.
Mike takes the money. McKay casts a quiet look at Sully before turning back to his men.
MCKAY
Let's go.
The soldiers ride off out of town. Mike, Sully and Matthew watch them go.
MIKE
Let's hope they do a better job than the current garrison.
Sully gives her a skeptical look, then looks back at the soldiers, watching them in uneasy silence. The TRAIN WHISTLE in the distance breaks the moment.
MIKE
Colleen's train. I'd better get going.
MATTHEW
I'll go with you.
(smiles)
Can't believe her first year of college is already done.
Before they can start off:
(CONTINUED)
8.
CONTINUED: 6
PRESTON (O.S.)
Sully?
Sully turns to see PRESTON approaching.
PRESTON
Is there a reason you're standing here, in the middle of town, instead of out working on my homestead?
SULLY
I was just on my way out there.
PRESTON
Good.
(gestures up at the sky with a smile)
Because summer's almost upon us, and you wouldn't want to miss your completion deadline, now would you?
Sully glares silently at Preston, then gives Mike a quick look before heading off toward the livery. Preston tips his hat to Mike and Matthew...
PRESTON
Michaela. Sheriff.
... and continues on toward the bank.
EXT. SPRINGS CHATEAU HOTEL - ESTABLISHING - DAY ONE 6A
INT. ANDREW'S CLINIC - DAY ONE 7
ANDREW fetches a bottle of the Springs Chateau Health Tonic as a jittery OLD MAN finishes buttoning his shirt and slipping on his coat.
ANDREW
Here, Mr. Gerson, take two spoonfuls of this before bedtime. It'll settle your nerves and help you to sleep.
He hands him the bottle and begins ushering him out.
ANDREW
And remember to soak in the springs at least twice a day. The more you calm yourself, the better you'll feel.
(CONTINUED)
9.
CONTINUED: 7
The old man starts out the door, where he nearly collides with Preston, who suddenly barges in, scaring the hell out of him.
PRESTON
(bursting with excitement)
Andrew!
(then, quieting)
-- Oh, sorry, Mr. Gerson. I didn't mean to startle you.
The old man exits, sipping the tonic as he goes. Preston comes in (leaving the door open) and moves to Andrew, showing him what he's holding in his hands -- a framed award certificate.
PRESTON
Look what arrived on today's train.
ANDREW
(reading the award)
"Certificate of merit... American Medical Society."
PRESTON
I hope you don't mind my opening the package, but when I saw it was from the Medical Society, I couldn't resist.
(putting an arm around Andrew's shoulder)
You see, Andrew? All the work we've been doing here is paying off. This is an award of the highest distinction. And well deserved, I might add.
Andrew takes the award and stares at it, his look of surprise turning to joy.
ANDREW
I don't believe it.
PRESTON
I've already alerted the Denver papers, as well as other publications throughout the territory and beyond. This is going to do wonders for your practice.
Something else now catches Andrew's eye:
COLLEEN, who's stepping up to the doorway, still dressed in her travelling clothes. Andrew smiles when he sees her.
(CONTINUED)
10.
CONTINUED: (2) 7
ANDREW
Colleen. You're home.
COLLEEN
My ma just picked me up at the station. School's out for the summer.
ANDREW
That's wonderful.
PRESTON
(waving her in)
Come join in the celebration, Colleen.
COLLEEN
Celebration?
Andrew turns his award around so that she can see it.
ANDREW
I've received an award.
PRESTON
The first of many.
Colleen's smile is tempered with a touch of skepticism.
COLLEEN
How nice.
PRESTON
Well, if you'll excuse me, I have more telegrams to send.
Preston gives Andrew a smile and a clap on the back before going out. Colleen steps over and reads the certificate. When she sees the name of the organization who gave the award, she can't help but be impressed.
COLLEEN
The American Medical Society.
(looks at him)
This is wonderful. Congratulations.
ANDREW
Thank you.
(looking back at the award)
This is going to do wonders for my practice.
Colleen shares a smile with him, then takes the certificate and looks around the room.
(CONTINUED)
11.
CONTINUED: (3) 7
COLLEEN
Now... where to hang it...
As they begin looking for the most suitable spot...
EXT. WOODS - DAY ONE 8
Dorothy is on the last page of her manuscript. She finishes reading as Cloud Dancing listens attentively.
DOROTHY
"... forced to change the way he lives, he has become the embodiment of a people no longer permitted to speak their language or practice their medicine, dwelling not in the tipi, but in crude wooden shacks. Alone at night, with his ancestors watching from a dark and distant sky, he asks himself, 'Now who will be taught? Now who will know?'"
Dorothy closes the manuscript, and for a moment stares down at it, unable to bring herself to look up at Cloud Dancing. After a beat she takes a deep breath and looks up, meeting his eyes in a long, powerful silence.
Finally, he speaks, deeply moved:
CLOUD DANCING
It is beautiful.
Overjoyed, Dorothy impulsively throws her arms around him. Cloud Dancing reacts, and so does Dorothy, who suddenly pulls back, feeling a bit awkward. After a moment, they both smile, then:
DOROTHY
(heartfelt)
Thank you, Cloud Dancing.
He reaches out, takes her hand in his and gently holds it.
CLOUD DANCING
Thank you.
Dorothy smiles, savoring this moment, clutching the manuscript with one hand while not letting go of Cloud Dancing with the other.
12.
EXT. GOLD NUGGET - DAY ONE 9
JAKE and HANK watch from the porch of the Gold Nugget as Dorothy, still glowing, rides up to the Gazette and hurries inside. The two men exchange a look.
HANK
'Nother trip to the reservation.
JAKE
Heard her tell Loren she finally finished her book.
HANK
That right?
(looks back at the Gazette)
So what happens next?
JAKE
(shrugs, then:)
Think she'll invite us to the weddin'?
Hank smiles, envisioning it:
HANK
Mrs. Dorothy Dancing.
The two men laugh at this, until Jake sees something that quiets him:
+HIS POV 10
of TERESA, walking from the school toward the General Store. As she passes by, she casts a glance at Jake.
TERESA
(courteous)
Good afternoon, Mr. Mayor.
+BACK TO JAKE 11
as he watches her, a bit mesmerized.
JAKE
'Afternoon, Mrs. Morales.
Hank looks at Jake, raising a curious eyebrow, but Jake's still watching Teresa... until he suddenly becomes aware of himself and snaps out of his reverie. He turns to see Hank staring at him.
JAKE
What?
(CONTINUED)
13.
CONTINUED: 11
HANK
You tell me.
Jake shrugs it off and starts back into the Gold Nugget.
JAKE
I need a drink.
HANK
(following him in)
I'll say.
EXT. RESERVATION - DAY ONE 12
Cloud Dancing walks back to the reservation, entering through the main gate, where a CORPORAL calls to him.
CORPORAL
You. Hold it.
Cloud Dancing stops as the Corporal comes over, followed by two other soldiers.
CORPORAL
Where's your pass?
Cloud Dancing takes out his day pass and hands it to him. The Corporal looks at it, doesn't like what he sees.
CORPORAL
You're late. That's the second time this week.
CLOUD DANCING
It will not happen again.
CORPORAL
Damn right it won't.
The Corporal suddenly lashes out, punching Cloud Dancing hard in the face, sending him tumbling to the ground.
CORPORAL
Won't happen again, 'cause you ain't ever leavin' this reservation again.
The Corporal kicks Cloud Dancing in the stomach and ribs.
14.
+OTHER INDIANS 13
watch in growing anger, but as a few step forward, soldiers move in and stop them. One Indian in particular, a young Arapaho man (early 20's) named WALKS IN THE NIGHT, watches with increasing fury as:
+THE CORPORAL 14
continues to kick Cloud Dancing, whose face is bleeding now.
CORPORAL
(loud enough for all to hear)
You see, we got rules here. You don't follow 'em, you get punished.
He kicks him again. The Corporal reaches down and pulls Cloud Dancing up, about to deliver another punch, when a voice suddenly stops him:
MCKAY (O.S.)
That's enough, Corporal.
The Corporal looks over to see McKay dismounting his horse. His garrison dismounts behind him as McKay steps over to the Corporal, who dumps the unconscious Cloud Dancing on the ground and attempts to explain:
CORPORAL
This Injun was late comin' back on a day pass, Sergeant.
MCKAY
Like you said, we got rules. And punishment for violatin' a day pass is confinement.
(looks around)
Where's the Indian Agent?
CORPORAL
Denver. Some kinda political fund raiser. He's hardly ever around.
McKay crouches, rolls Cloud Dancing on his back. McKay tries not to react to the severity of his wounds, but we can see in his eyes that it troubles him. This is a man struggling with himself over the job he's been assigned to do.
He quietly checks Cloud Dancing's neck for a pulse.
(CONTINUED)
15.
CONTINUED: 14
MCKAY
He's alive.
(to SOLDIER #1)
Ride back into town, get that woman doctor.
The Corporal reacts with disbelief as Soldier #1 rides off.
CORPORAL
Sergeant, he don't need no doctor...
McKay stands and faces the Corporal, cutting him off, his voice low and lethal.
MCKAY
You listen to me, Corporal. As of right now you're relieved of duty. I want you and your men off this reservation by sundown.
CORPORAL
You gotta be kiddin' --
MCKAY
Sundown.
The look in McKay's eyes tells the Corporal that he means business. The Corporal backs down, walking away with his soldiers as McKay's men move in and pick up Cloud Dancing, carrying him over to an army tent.
EXT. CLINIC - LATE AFTERNOON - DAY ONE 15
Mike is closing up for the day as Dorothy excitedly relates the news of her book.
DOROTHY
I'm leavin' next week. Gonna take the train to New York to deliver my book in person.
MIKE
(smiles)
All the way to New York?
DOROTHY
I don't wanna take a chance sendin' it by mail. Don't wanna let it outta my sight.
MIKE
I'm so happy for you, Dorothy. I can't wait to read it.
(CONTINUED)
16.
CONTINUED: 15
DOROTHY
Oh, Michaela... now that the book's finished, and Cloud Dancin' has given it his blessin', I feel like it's the most important thing I've ever done.
(beat, quieting)
Sounds silly, but... I feel like everythin' that's happened to me in my life has pointed me right to this moment... like it's all happened for this very --
SOLDIER #1 (O.S.)
Dr. Quinn!
Mike and Dorothy look to see the Soldier ride up, reining his horse to a stop.
SOLDIER #1
Need you out at the reservation. One of the Indians is hurt.
Mike and Dorothy exchange a look.
DOROTHY
I'm goin' with you.
As the two climb up into Mike's wagon...
INT. ARMY TENT - LATE AFTERNOON - DAY ONE 16
The tent flap opens, and McKay ushers in Mike and Dorothy, who react with shock when they see Cloud Dancing lying unconscious on a cot. He's bruised and bleeding, and sweating profusely. Mike immediately goes to work, checking his pulse, trying to suppress her anger.
MIKE
(to McKay)
How did this happen?
MCKAY
That ain't important.
Mike glares at him, demanding an answer.
MCKAY
The soldier responsible has been relieved of duty.
Dorothy wipes the blood from Cloud Dancing's face as Mike finishes checking his pulse and examines his eyes, pulling down the lower lids.
(CONTINUED)
17.
CONTINUED: 16
MIKE
His heartbeat is rapid. He's in shock.
She lifts up his shirt and begins examining his chest.
MIKE
Some ribs are broken. There's severe bruising on his right side... internal bleeding.
She takes out her stethoscope and listens to his breathing. Dorothy watches, trying not to panic.
MIKE
His lungs are clear. The site of the trauma is elsewhere.
DOROTHY
What can you do?
MIKE
I'll have to operate.
DOROTHY
Here? Now?
MIKE
We can't risk taking him back to the clinic. We have to stop the bleeding, and I won't know the source until I open him up.
As Mike digs in her bag for her carbolic acid and scalpel:
MCKAY
Will he live?
MIKE
I don't know.
McKay, forcing himself to maintain his professional demeanor, turns to another soldier.
MCKAY
I want two guards posted outside.
MIKE
Guards? What for?
MCKAY
You do what it takes to help this man. But he's still under arrest for violatin' the rules governin' this reservation.
(CONTINUED)
18.
CONTINUED: (2) 16
Mike's anger boils as she gives him a cold look. But she has no time to argue -- she turns to Dorothy (who's also struggling to restrain her anger), exchanging a silent look, then resumes preparing for the operation as we:
FADE OUT.
END OF ACT ONE
19.
ACT TWO
FADE IN:
EXT. HOMESTEAD - NIGHT ONE 16A
Mike rides up, physically and mentally exhausted after operating on Cloud Dancing.
INT. HOMESTEAD - NIGHT ONE 17
An increasingly worried Sully waits with Colleen and Brian (Katie's asleep upstairs). Finally Mike comes in, and Sully and the kids hurry to her, relieved that she's home, but concerned by her disheveled appearance.
BRIAN
Ma!
SULLY
They said in town that you went out to the reservation. What happened?
Mike looks at him, not sure how to break the news to him. But Sully now notices the dried blood on her clothing.
SULLY
Michaela, what happened?
He looks at her, bracing himself for what he knows is not good news.
MIKE
It's Cloud Dancing. The soldiers beat him.
Sully says nothing, the rage slowly building inside him.
COLLEEN
How bad was he hurt?
MIKE
He was bleeding internally. I had to tie off the cystic artery, and bandage some broken ribs.
(back to Sully)
He's still unconscious... but I believe he will recover.
This doesn't quell Sully's anger.
BRIAN
Why'd they beat him?
(CONTINUED)
20.
CONTINUED: 17
MIKE
For returning late to the reservation.
Sully can no longer contain himself. He grabs his tomahawk belt and coat and pushes past Mike and the kids, heading out the door.
MIKE
Sully...
EXT. HOMESTEAD - CONTINUOUS - NIGHT ONE 18
Mike comes out after Sully as he makes his way to the barn to get his horse (still holding his belt and coat in his hands).
MIKE
Sully, wait. Don't go out there!
But he doesn't stop. Mike hurries to catch up to him.
MIKE
(loud, sharp)
Sully, stop!
He finally stops, but doesn't turn to her. She steps up behind him, her voice softening, pleading to him:
MIKE
If you go out there, you'll only make it worse for him. For all of us.
Sully lets this sink in. He knows she's right, which only intensifies his frustration. Finally, he turns to face her, meeting her imploring stare.
MIKE
Please, Sully... don't go.
Unable to restrain his anger, he suddenly heaves his belt and coat into the darkness, then turns to lean against the corral, furious at this feeling of utter helplessness. Mike steps up to him, putting a comforting hand on his shoulder as we:
DISSOLVE TO:
exT. GOLD NUGGET - DAY TWO 19
Jake and Hank sit on the bench out front, looking over the financial records for the month. Actually, Jake is the one perusing the books, while Hank sits back, blowing smoke rings.
(CONTINUED)
21.
CONTINUED: 19
JAKE
That "Free Drink" advertisement didn't pay off. We shouldn'ta required a two week stay.
HANK
Told ya we shoulda got a billiard table.
Horace steps up, holding a telegram, and hands it to Jake.
HORACE
This just come for you, Jake.
Jake reads the telegram and reacts with some confusion.
JAKE
What is this?
HORACE
She's a school teacher, lookin' for a job. Got years of experience, lots of recommendations --
JAKE
I can read that. Why is she contactin' me? We already got us a school teacher.
HORACE
But she's only temporary, remember?
Jake gives him a look -- No, he doesn't. Horace reminds him:
HORACE
The council voted to hire Mrs. Morales only on a trial basis. In the meantime, we was to keep advertisin' for a real teacher.
HANK
Well... as a newly appointed member of the town council, I say we call a meetin' to discuss it.
Jake looks at Hank, who just smiles. Jake is hesitant... but after a moment, he finally relents with a nod.
EXT. LIVERY - DAY TWO 20
Robert E helps Sully sharpen his tools before heading out to work on Preston's homestead. WOLF is nearby.
(CONTINUED)
22.
CONTINUED: 20
ROBERT E
They beat 'im just for bein' late?
SULLY
Soldiers don't need much of a reason. Just do what they want.
(quieting, almost to himself)
Only gettin' worse.
Robert E stops working a moment, turns to him.
ROBERT E
What d'you think's gonna happen to the Indians? I mean, how long you s'pose the army's gonna keep 'em on reservations like that?
SULLY
I don't know. Don't like thinkin' 'bout it.
Robert E grows silent, understanding their plight.
ROBERT E
Whole country fought a war to free the slaves.
Sully stops working and looks at him, meeting his sad look.
ROBERT E
But the way folks feel 'bout the Indians -- who's gonna be willin' to fight for 'em?
Sully considers this in thoughtful silence as:
+PRESTON 21
steps over from the bank, holding the rolled-up plans to his house.
PRESTON
Sully! I have a wonderful idea. It literally came to me in the middle of the night. I was wide awake, staring up at the ceiling, when it hit me --
(unfurling the plans)
-- a window!
SULLY
(not following)
A window?
(CONTINUED)
23.
CONTINUED: 21
PRESTON
In the ceiling, allowing me a view of the stars in the sky.
ROBERT E
(also not following)
A window... in the ceilin'.
PRESTON
(trying to be patient)
Yes, Robert E...
(back to Sully)
A window in the ceiling.
SULLY
That means I gotta tear out part of the roof --
PRESTON
Yes, but I've already taken into consideration the added time and labor involved, and I've decided to give you an additional three weeks to complete the job, plus a five-percent bonus in your pay.
(smiles)
Now you'll not only have enough money to pay back your friend Daniel, you'll also have a little extra spending money for yourself. Get a new coat... or a tomahawk.
Sully just stares at him, sizzling.
PRESTON
Easy, Sully. Just a joke.
Preston rolls up the plans and holds them out to Sully.
PRESTON
So... what do you say?
Sully says nothing. He just takes the plans and goes back to sharpening his tools. Preston smiles, pleased.
EXT. RESERVATION - DAY THREE 22
Dorothy rides up and dismounts, tying off her horse near the tent in which Cloud Dancing is being kept. She pauses a moment to summon her strength, then goes inside the tent, which is being guarded by a lone soldier.
24.
INT. ARMY TENT - CONTINUOUS - DAY THREE 23
An OLD INDIAN WOMAN (70's) looks up from tending to Cloud Dancing as Dorothy comes in. The woman looks uneasy... giving Dorothy a suspicious look.
DOROTHY
It's... it's all right. I'm a friend.
(in Cheyenne)
Friend.
The woman nods and moves away as Dorothy comes over beside Cloud Dancing, who is covered with a blanket. He's awake now, but his face is still badly swollen and bruised. He brightens when he sees her. Dorothy sits, trying to keep up a brave front for him.
DOROTHY
Mornin', Cloud Dancin'.
She pours some hot water into a cup from a nearby kettle. Cloud Dancing watches her, unable to speak.
DOROTHY
Michaela says you need to drink plenty of fluids.
She reaches into her medicine pouch (the one he made for her) and takes out some dried geranium leaves. As she mixes the herbs into the water:
DOROTHY
Found some wild geranium. Help you heal quicker.
She puts one hand under his head and helps him up, while feeding him the tea with the other. He sips a little, then lies back.
She gives him a gentle, warm smile... and he manages a smile in return, trying not to let show the extreme pain he is suffering.
EXT. MEADOW - DAY THREE 24
CLOSE ON KATIE, sitting on a blanket, surrounded by dozens of presents and several adoring TOWNSFOLK, who have gathered to celebrate her birthday. Among them (in addition to the family) are Dorothy, Loren, the Reverend, Robert E, Grace, Horace, Andrew, Hank and Jake.
Sully watches as Mike sets Katie's birthday cake in front of her. On top is a single, lit candle.
MIKE
Blow out the candle, sweetheart.
(CONTINUED)
25.
CONTINUED: 24
Katie just stares at the candle. Mike turns to Brian.
MIKE
Why don't you give her some help, Brian?
Brian leans in and blows out the candle, and everyone applauds. Grace and Colleen step in to help Mike cut the cake and hand out servings.
LOREN
Hard to believe -- one year old already.
JAKE
Still not much hair, considerin' the parents.
ROBERT E
Cake looks good, Grace.
GRACE
Dr. Mike made it.
ROBERT E
Really?
HANK
(smiles)
Try not to look so surprised.
Robert E, caught, smiles sheepishly. Mike gives him a smile as she sets a piece of cake in front of Katie.
MIKE
Here you are, Katie. Let me get your spoon --
But before Mike can get the spoon, Katie immediately begins digging into the cake with both hands, making a mess.
Grace hands two pieces of cake to Colleen, who carries them over to Andrew.
COLLEEN
Cake?
ANDREW
Thank you.
(looking at Katie)
She is quite possibly the most adorable baby I have ever seen.
COLLEEN
She sure is.
(CONTINUED)
26.
CONTINUED: (2) 24
ANDREW
I only hope my children will turn out as beautiful.
COLLEEN
(a smile)
I'm sure they will.
Nothing was implied by this, but looking at Colleen's pretty, smiling face suddenly makes Andrew self-conscious... and a bit embarrassed... which makes Colleen suddenly self-conscious... and a bit embarrassed.
Andrew quickly takes a bite of cake. And so does Colleen.
ANDREW
Good cake.
COLLEEN
Yeah.
+BACK TO KATIE 25
as she takes a handful of cake and holds it out to Wolf, who licks it up happily. Mike laughs at this, then carries two pieces of cake over to:
+DOROTHY AND MATTHEW 26
who stand next to each other. Dorothy manages to keep a smile on her face, despite the fact that she's still very worried about Cloud Dancing.
DOROTHY
(re: the cake)
Thank you, Michaela.
MATTHEW
Thanks, Dr. Mike.
Mike sees the look on Dorothy's face.
MIKE
Did you go out to the reservation today?
Dorothy nods.
DOROTHY
It's good that Cloud Dancin's awake now... but still... it's difficult, seein' him in so much pain.
(CONTINUED)
27.
CONTINUED: 26
MIKE
He's through the worst of it, Dorothy. I examined him yesterday. He's doing well. In time, he'll regain his strength.
Mike puts a reassuring hand on Dorothy's arm. Dorothy gives her a weak smile. Matthew, listening in on this, exchanges a look with Mike before turning to see:
+SULLY 27
who has moved off to the side, watching Katie. Sully is trying very hard to enjoy the party, but his thoughts are also with Cloud Dancing, whose absence from the party weighs heavily on him.
Matthew steps over. The two exchange a quiet look, then:
MATTHEW
I'm sorry 'bout Cloud Dancin'.
Sully nods his thanks, looks back at Katie.
SULLY
He should be here.
MATTHEW
(after a beat)
Dr. Mike says he's gonna get better.
SULLY
Yeah...
(looks at Matthew)
This time.
Something in the tone of Sully's voice doesn't sit right with Matthew, making him wary. Sully grows quiet again, turning his attention back to Katie as we slowly:
DISSOLVE TO:
INT. MIKE AND SULLY'S BEDROOM - NIGHT THREE 28
It's late; the room is dark. Mike lies asleep in bed, but Sully is awake, fully dressed, sitting in a chair beside the crib. He gazes down at Katie, gently stroking her sleeping face, his expression deeply troubled.
But now a look of resolve forms in his eyes. He looks over at Mike, then stands and quietly steps out of the room.
28.
EXT. RESERVATION - NIGHT THREE 29
Only a few lamps are lit -- the reservation is mostly quiet and dark. Two soldiers are posted at the main entrance. McKay walks past them, patrolling the grounds. He passes by another soldier, who sits near the tent in which Cloud Dancing is being kept. As McKay walks on, we HOLD on the Soldier, who's having a hard time staying awake -- his head keeps bobbing, dozing off.
+AT THE EDGE OF THE WOODS 30
Sully appears, peering through the foliage. He scans the surroundings, waits for the right moment, then steps silently onto the reservation, moving swiftly and silently through the shadows.
He makes his way over to Cloud Dancing's tent, where he peers around the corner to discover the soldier now fast asleep, head slumped on his chest. Without a sound, Sully slips into the tent through the front door.
INT. ARMY TENT - CONTINUOUS - NIGHT THREE 31
A very dim lamp burns, casting large shadows on the walls as Sully steps over to Cloud Dancing, who lies asleep on the cot. But just as Sully reaches out to touch him:
A HAND grabs Sully's shoulder. Sully spins around and instinctively draws his knife, only to discover Walks in the Night (the Arapaho we saw earlier) standing behind him. Also stepping over from a dark corner of the tent is an ARAPAHO ELDER (70's).
Walks in the Night sees the knife and raises his hands in fear, but Sully quickly settles, whispering to him as he puts the knife away:
SULLY
Don't worry. I'm not gonna hurt you.
WALKS IN THE NIGHT
Who are you?
Before Sully can answer, the Elder smiles, recognizing Sully.
ELDER
(to Walks in the Night, in Arapaho)
He is the Indian Agent.
SULLY
No. I'm not the Indian Agent anymore.
(MORE)
(CONTINUED)
29.
CONTINUED: 31
SULLY (CONT'D)
(in Arapaho)
Not anymore.
But the Elder just keeps smiling.
ELDER
(in Arapaho)
Indian Agent.
WALKS IN THE NIGHT
What do you want?
Sully turns to Cloud Dancing, sits beside him.
SULLY
He's my friend. I came to see how he's doin'.
Sully notices something odd -- the top of the shirt Cloud Dancing is wearing is visible under the blanket. Sully reacts to it, then pulls back the blanket to reveal Cloud Dancing now dressed in Western shirt and pants.
SULLY
Who put these clothes on him?
WALKS IN THE NIGHT
The soldiers ordered it. We all must wear their clothing now.
Sully turns back to Cloud Dancing, whose eyes open. He looks up, sees Sully. Sully looks down at him, deeply saddened to see his friend like this.
WALKS IN THE NIGHT
Our people are angry.
Sully and Cloud Dancing continue to stare at each other, their eyes locked in an unspoken communication.
WALKS IN THE NIGHT
We talk of leaving. To do whatever it takes to escape this life.
The Elder touches Sully's shoulder. Sully looks at him. For the first time, the Elder speaks in English:
ELDER
To live free one day holds more honor than to live a lifetime here.
Sully looks at the old man... and nods. He understands.
(CONTINUED)
30.
CONTINUED: (2) 31
WALKS IN THE NIGHT
But to leave we will need help from outside. Someone to bring us supplies, horses.
He means Sully, and Sully knows it. He looks back at Cloud Dancing, whose eyes have not left him. After a moment, the decision is made:
SULLY
I'll help you.
Walks in the Night reaches into his pocket, takes out some bills.
WALKS IN THE NIGHT
We have money for supplies.
(hands the money to Sully)
We will get more.
Sully turns back to Cloud Dancing, leaning closer to him.
SULLY
As soon as you're well enough, I'm gettin' you outta here. For good.
Cloud Dancing says nothing. He just nods, seeing the determination building in Sully's eyes as we:
FADE OUT.
END OF ACT TWO
31.
ACT THREE
FADE IN:
EXT. LIVERY - DAY FOUR 32
Robert E looks up from his work to see Sully riding up. He dismounts and steps over.
SULLY
'Mornin', Robert E.
ROBERT E
Sully.
SULLY
Got any horses for sale?
ROBERT E
Just two. The rest are bein' boarded.
Robert E gestures to the paddock, where two horses stand. Sully steps over, staring at the horses. Robert E follows, a bit curious.
SULLY
I'll take 'em both.
He pulls out the money Walks in the Night gave him.
SULLY
This cover it?
ROBERT E
(takes the money)
Sure.
SULLY
How soon can you get more?
... which only increases Robert E's curiosity.
ROBERT E
How many more?
SULLY
As many as you can get.
ROBERT E
(suspicious now)
Sully, what're you doin'?
SULLY
(a warning)
You don't wanna know.
(CONTINUED)
32.
CONTINUED: 32
Robert E pauses a moment, the seriousness in Sully's voice concerning him.
ROBERT E
I do wanna know.
(beat)
Sully, tell me. What's goin' on?
Sully looks at him -- he knows he's going to have to bring Robert E into his confidence.
SULLY
I'm gonna help the Indians leave the reservation.
Robert E reacts, stunned.
ROBERT E
You mean, escape?
Sully nods. Robert E takes a moment to absorb the full impact of what this means.
ROBERT E
What about the army?
Sully doesn't answer.
ROBERT E
Sully, that's treason.
SULLY
(sharp)
I know what it is.
Sully settles a moment and turns to him -- this decision has not come easy for him.
SULLY
The Indians asked for my help, Robert E, I can't just turn my back.
(beat)
Somebody's gotta be willin' to fight for 'em.
Hearing the words he spoke earlier quiets Robert E. He looks at Sully, moved by his conviction. After a moment, he nods.
ROBERT E
I can get you four more horses by tomorrow.
SULLY
Thank you.
(CONTINUED)
33.
CONTINUED: (2) 32
Robert E nods, shaking Sully's hand.
EXT. HOMESTEAD - DAY FOUR 33
Sully leads the horses he just bought into the pasture beyond the fence, as a disgruntled Preston rides up to the homestead.
PRESTON
Sully...
(dismounts)
What are you doing?
SULLY
Tendin' to my horses.
PRESTON
I see that. The question is -- why are you not tending to my homestead?
SULLY
I'm not doin' that anymore.
PRESTON
What?
SULLY
(flatly)
I quit.
Preston reacts with a smile of disbelief.
PRESTON
You can't quit.
SULLY
I just did.
The smile fades as Preston quiets a moment, realizing that Sully means it.
PRESTON
And so you're going to leave me with a half-completed house, just like that?
SULLY
Yup.
Now Preston's starting to get angry.
PRESTON
This is ridiculous. I won't allow you to do this.
(CONTINUED)
34.
CONTINUED: 33
SULLY
You got no choice.
PRESTON
I'm not paying you for the work you've done.
SULLY
Fine.
This catches Preston off-guard. He was expecting Sully to argue the matter.
PRESTON
And how do you intend to pay your friend back?
SULLY
I'll find a way. But it won't be workin' for you.
Preston looks at him, then backs down, shaking his head. He climbs up on his horse and rides off. Sully watches him go before turning back to the horses.
EXT. STREET NEAR GENERAL STORE - DAY FOUR 34
Mike and Colleen walk toward the store.
MIKE
Did Andrew have fun at the party?
COLLEEN
Yes, he did.
MIKE
He's quite taken with you, you know.
COLLEEN
(thrilled)
Really?
(backing off a bit)
I mean, you think so?
MIKE
Trust me.
The smile on Colleen's face tells Mike that Colleen feels the same way.
Colleen
I'll see you later.
Colleen peels off, heading up the street, the smile still fixed to her face. Mike watches her go for a moment, then continues on into the store.
35.
INT. GENERAL STORE - CONTINUOUS - DAY FOUR 35
... where an insistent Hank hovers over Jake, who stands at the counter buying cigars from Loren. The Reverend sits nearby, listening in on the conversation with an amused smile.
HANK
Why d'you keep puttin' it off?
JAKE
I ain't puttin' it off.
HANK
'Course you are. Tell him, Loren.
LOREN
(to Jake)
You're puttin' it off.
MIKE
Putting what off?
REVEREND
The town received a telegram from a woman inquiring about our school teacher's job.
MIKE
But we already have a school teacher.
JAKE
(to Hank)
You see?
(to Mike)
That's what I told 'em.
HANK
A "temporary" teacher." We still been advertisin' for a permanent one.
JAKE
Then we oughta make Mrs. Morales permanent. She's been doin' a good enough job.
LOREN
But she's got no experience. This woman in the telegram's been teachin' for fifteen years. I say we bring her in, give her an interview.
REVEREND
What do you think, Dr. Mike?
(CONTINUED)
36.
CONTINUED: 35
Put on the spot, Mike has to think a moment.
MIKE
Well... Brian has really taken to Mrs. Morales. But since we've been advertising, I don't see why we shouldn't at least meet the woman.
HANK
You see? Even Michaela thinks we oughta interview her.
JAKE
(his irritation building)
Just a waste a time. Why change what's already workin' fine?
And with that, Jake goes out. Hank gives the others a look, then follows him.
EXT. GENERAL STORE - CONTINUOUS - DAY FOUR 36
Hank comes out and stops Jake in the street.
HANK
Jake, hang on a second --
JAKE
All right, all right, we'll interview her. Just leave me alone.
HANK
(smiles)
You like her, don'tcha?
JAKE
What?
HANK
The teacher. I mean, if you're sweet on the woman, why don't you just admit it?
This silences Jake, confirming Hank's suspicions.
HANK
So what if she's a Mexican? You can't help how you feel.
This snaps Jake back to reality. He feigns indifference and brushes Hank off.
(CONTINUED)
37.
CONTINUED: 36
JAKE
I don't feel nothin'.
He walks off, leaving Hank shaking his head with a smile, even more convinced than before.
EXT. LIVERY - DAY FIVE 37
Sully and Robert E stand at the fence, watching four new horses roam around the paddock.
ROBERT E
Fella just brought 'em in. Family's movin' to San Francisco, sold 'em to me cheap.
+ANGLE ON SHERIFF'S OFFICE 38
as Matthew comes out and starts for his horse. He glances over at the livery and sees:
+HIS POV 39
of Sully giving Robert E some money. As Robert E pockets it:
ROBERT E
I also talked to a man who's got a farm out in Deer Valley. Said he might have two horses to sell.
SULLY
Good. Let me know if you find any more.
+BACK TO MATTHEW 40
as he reacts with a curious look and steps over to the livery.
MATTHEW
Whatcha need horses for?
Sully turns to Matthew, growing suddenly quiet... which makes Matthew wary. Robert E finally breaks the uneasy silence:
ROBERT E
They're my horses, Matthew. I'm makin' a deal with Sully to use his pasture for grazin'.
MATTHEW
Then why was he payin' you?
(CONTINUED)
38.
CONTINUED: 40
Caught, Robert E thinks fast, taking the money Sully gave him out of his pocket.
ROBERT E
He wasn't. He was tryin' to give me back my money, thinkin' he was gonna do me a favor.
Robert E puts the money back in Sully's hand.
ROBERT E
But I won't hear of it.
The two look back at Matthew, who just stares at them. Something isn't right here, but Matthew decides not to press it. Instead, he manages a small smile.
MATTHEW
Yeah... well, that's Sully for ya.
Robert E nods and smiles. But Sully doesn't. He just turns away, stepping back over to the paddock.
EXT. HOMESTEAD - DAY FIVE 41
Mike, looking troubled and preoccupied, rides up in the wagon with Colleen, Brian and Katie. Their attention is drawn to the six horses now roaming in the pasture beyond the new fence.
COLLEEN
Where'd all those horses come from?
BRIAN
They're Robert E's. Sully said we're just lettin' 'em graze in our pasture.
The SOUND of someone banging metal is heard from the barn. Mike looks to it, then turns back to the kids.
MIKE
Colleen, Brian, will you take Katie inside and prepare for supper?
COLLEEN
Sure, Ma.
Colleen (carrying Katie) and Brian start into the house as Mike makes her way down to...
39.
INT. BARN - CONTINUOUS - DAY FIVE 42
... where she steps into the doorway to find Sully repairing an old bridle for one of the horses. He looks up, sees her uneasy expression and stops working. After a quiet beat:
MIKE
Preston just told me you quit working for him yesterday.
SULLY
That's right.
MIKE
Why didn't you tell me?
Sully resumes working, trying to shrug it off.
SULLY
Didn't want you frettin' over it.
MIKE
(stepping toward him)
Sully --
SULLY
I'll find another way to pay Daniel back.
MIKE
It's not that.
She's close to him now, and clearly worried. He stops working, looks at her.
MIKE
(not angry)
I care about the fact that you kept something from me. You've been so quiet lately, so... distant.
Sully says nothing.
MIKE
I know you're concerned about Cloud Dancing, but he's going to be fine.
SULLY
Not as long as he stays on that reservation.
This statement unsettles Mike.
SULLY
He doesn't belong there, Michaela.
(CONTINUED)
40.
CONTINUED: 42
Sully resumes working.
MIKE
Sully... please... I know you want to help Cloud Dancing, but if you set foot on the reservation --
Sully suddenly cuts her off, his anger flaring:
SULLY
You don't know what it's like, havin' to stay away... havin' to rely on my wife and children to bring me news...
Mike says nothing. Sully settles a moment, then speaks softly, trying to make her understand.
SULLY
I don't want Katie growin' up, seein' him dressed in white man's clothes, livin' in a shack. I don't want her rememberin' him like that.
(beat, a vow)
I'm not givin' up on him.
MIKE
It's not about giving up. It's about living... surviving. I'd rather have Katie see him as he is now, than not see him at all.
This quiets Sully.
MIKE
All I want is for him to survive.
(beat)
And I want you to survive as well.
Sully looks at her, hearing her words... but his sadness is too deep to reconcile.
SULLY
But at what price?
He takes the bridle and starts out, leaving Mike alone, and increasingly frightened as we:
FADE OUT.
END OF ACT THREE
41.
ACT FOUR
FADE IN:
EXT. HOMESTEAD - MORNING - DAY SIX 43
It's a few days later. Mike comes out the front door, dressed for work, and steps down to the wagon, which Brian is just finishing hitching. Colleen's already sitting in it, holding Katie.
BRIAN
All set, Ma.
MIKE
(looking around)
Where's Sully?
COLLEEN
He already went into town. Said he had to pick up some things from Mr. Bray.
BRIAN
Ma?
Mike turns to Brian, sees the concerned look on his face.
BRIAN
Is everythin' all right with Pa?
Mike hesitates a beat, then gives him a smile, trying to sound reassuring.
MIKE
Everything's fine, Brian.
KATIE
Pa.
Everyone falls silent as they turn to Katie, amazed at what they just heard.
COLLEEN
Did you hear that?
KATIE
Pa.
BRIAN
She said "Pa!"
COLLEEN
That's good, Katie!
Mike climbs into the wagon and takes Katie in her lap, her smile laced with sadness.
(CONTINUED)
42.
CONTINUED: 43
MIKE
(to Katie)
I wish your father could've heard it.
Off Mike's heartbroken expression...
EXT. GENERAL STORE - DAY SIX 44
Loren dumps several blankets into the back of the wagon as Sully follows behind, carrying a small keg of blasting powder.
SULLY
Thanks for your help, Loren.
LOREN
What d'you need the blastin' powder for?
Sully loads the keg into the wagon.
SULLY
Old tree stump on Preston's property doesn't wanna come out.
(pats the keg)
Gonna help it along.
This satisfies Loren (who's unaware of the fact that Sully is no longer working for Preston). Sully climbs up into the wagon and drives off.
EXT. SPRINGS CHATEAU HOTEL - DAY SIX 45
Colleen walks with Andrew along the porch, making their way out to the bench in the garden area at the side of the hotel.
ANDREW
"Pa?" She actually said it?
COLLEEN
Clear as a bell. Sully's been tryin' to get her to say it for weeks. And now she finally says it, and he's not there to hear it.
ANDREW
That's unfortunate. I'm sure he'll be disappointed.
COLLEEN
Yeah.
(CONTINUED)
43.
CONTINUED: 45
They arrive at the bench and sit. It's a beautiful spring day -- flowers surround them, in full bloom.
COLLEEN
I know how he feels. Every time I come home from school, Katie's doin' more things. Feel like I'm missin' out on so much of her life.
ANDREW
It's only for a short time.
(off her look)
When you're finished with college and medical school, you'll come back home to practice medicine. And then you'll be around to watch Katie grow up.
COLLEEN
(not sure about this)
Come back home to practice medicine?
ANDREW
Well, I assumed you'd be joining Michaela in her practice.
COLLEEN
(quieting, thinking)
Yeah... I s'pose.
ANDREW
Or you could start a practice of your own.
Colleen nods, considering this. Andrew pauses a moment, a bit nervous about what he's going to suggest next:
ANDREW
Or you could come work here.
Colleen looks at him, surprised... but not displeased.
COLLEEN
Here? You mean, work for you?
ANDREW
Not for me. With me. As a partner.
Colleen can't keep the smile from sliding onto her face at this thought. Andrew smiles, relieved by her reaction... but still wanting confirmation:
(CONTINUED)
44.
CONTINUED: (2) 45
ANDREW
Would you like that?
Colleen looks at him. They're not aware of it, but they're drifting closer to each other.
COLLEEN
Partner?
Andrew nods, then breaks the tension by leaning in and gently kissing her. Colleen does nothing to stop him, lingering in the moment until he finally pulls away. He gives her a soft smile.
ANDREW
Partner.
EXT. SCHOOLHOUSE - DAY SIX 46
School is letting out for the day. KIDS run across the meadow on their way home, passing by Jake, who approaches the school with a sense of purpose. He steps up to the front door, where Teresa stands.
TERESA
Good afternoon, Mayor Slicker.
JAKE
'Afternoon.
Jake plunges straight ahead with the business at hand, trying to keep himself from showing any hint of an attraction to her. He takes out an envelope and hands it to her.
JAKE
Got your pay for the month.
TERESA
(takes it from him)
Gracias.
JAKE
Right. And I just wanted you to know, I'm goin' ahead and makin' your job permanent.
TERESA
Permanent?
JAKE
Yeah. Remember, we only hired you on temporary.
TERESA
The council has voted?
(CONTINUED)
45.
CONTINUED: 46
JAKE
(a little too quickly)
Don't need the council. I'm the mayor, and I say the job is yours, permanent.
(beat, then)
That is, if you want it.
Teresa smiles, pleased.
TERESA
Yes. Yes, I do.
JAKE
Good.
TERESA
Gracias.
JAKE
Right.
Teresa expects Jake to leave, but he doesn't. He just stands there, grappling with emotions he can't seem to suppress.
TERESA
Is there something else you wish to tell me?
This is it -- should he ask her to dinner? Should he admit his feelings for her? After a long, tortuous moment:
JAKE
No. That's it. Nothing else.
(beat, tips his hat)
'Afternoon.
Teresa nods, perplexed by his behavior as Jake walks off, frustrated with himself.
EXT. RESERVATION - DAY SIX 47
The front door flap to the army tent opens, and Mike and Walks in the Night escort Cloud Dancing out. Cloud Dancing walks slowly, but he looks much better -- the bruising and swelling have gone down. He's still dressed in the Western clothes.
MIKE
How do you feel?
CLOUD DANCING
It is good to see the sun again.
(CONTINUED)
46.
CONTINUED: 47
MIKE
You're doing remarkably well, Cloud Dancing.
Mike and Walks in the Night help him over to his shack. The other Indians watch on, glad to see Cloud Dancing recovering so quickly. As they arrive at the shack, McKay approaches.
MCKAY
Dr. Quinn.
Walks in the Night helps Cloud Dancing into the shack, whispering something in his ear, as Mike turns to McKay.
MCKAY
He looks good.
MIKE
(cool)
He still needs a lot of rest.
MCKAY
Listen... just thought I'd let you know, 'cause of the beatin' he took, I managed to get his punishment reduced.
MIKE
Reduced?
MCKAY
One month confinement to his shack, and no day passes for four months.
Mike reacts, obviously not happy about this. McKay's not all that happy either, but:
MCKAY
Best I could do.
He walks away.
EXT. ROAD OUTSIDE RESERVATION - DAY SIX 48
Mike rides by on FLASH, on her way back to town. As she passes by a grove of trees, we HOLD on the trees, as Sully appears, watching her.
Mike doesn't see him as she rides on, disappearing around a bend. Sully stares off after her until the SOUND of someone approaching draws his attention to:
47.
+WALKS IN THE NIGHT 49
who moves through the trees, followed by four other INDIANS. They step up to Sully.
WALKS IN THE NIGHT
The doctor says he is well now.
SULLY
I'm still waitin' on more horses.
WALKS IN THE NIGHT
No. Cloud Dancing is ready. We must act now.
Sully looks at the Indians -- they're ready.
SULLY
All right. Here's how we're gonna do this...
As Sully begins laying out the plan...
EXT. STREET NEAR GENERAL STORE - DAY SIX 50
Mike rides into town and starts down the street, heading for the clinic. On the way, she overhears a voice nearby that gets her attention:
ROBERT E (O.S.)
... Let me know. A friend of mine needs all the horses he can get.
Mike reins Flash to a stop and looks over to see:
+ROBERT E 51
talking with a MAN on the porch of the store (Robert E doesn't see Mike yet).
ROBERT E
(continuing)
The sooner the better, just bring 'em by the...
Now he stops short when he sees Mike riding Flash over, a suspicious look growing on her face.
MIKE
Are you talking about Sully?
Robert E suddenly grows quiet, not knowing what to say.
(CONTINUED)
48.
CONTINUED: 51
MIKE
I thought all of those horses were yours.
Again, Robert E is silent, struggling with whether or not he should reveal Sully's plan.
MIKE
(suspicion building)
What does he want them for?
ROBERT E
(after a beat)
Maybe you should be talkin' to Sully 'bout that.
MIKE
Yes. Perhaps I should. Where is he?
Loren, sweeping the porch, hears this and steps over.
LOREN
Out at Preston's homestead.
(off her look)
That's what he told me. He was in here this mornin', buyin' blastin' powder to knock out a tree stump.
Mike gives Robert E a look, her suspicion turning to concern. Without a word, she turns Flash around and starts out of town.
EXT. HOMESTEAD - DAY SIX 52
Mike gallops up the road, then slows when she sees something that only intensifies her fear:
+HER POV - THE PASTURE 53
The horses are gone.
+BACK TO MIKE 54
as she starts back up the road, heading toward the reservation.
EXT. WOODS NEAR RESERVATION - DAY SIX 55
Sully works swiftly and silently as he finishes tying off the horses. Some of the horses have blankets and food supplies loaded on them. He picks up the keg of blasting powder and a fuse coil and disappears into the trees.
49.
OMIT (56) 56
EXT. EDGE OF RESERVATION - DAY SIX 57
Sully appears along the treeline, peering through the brush. He WHISTLES.
+HIS POV 58
of Walks in the Night, standing in front of Cloud Dancing's shack. Hearing the whistle, he looks over, seeing Sully. He nods.
+SULLY 59
sees this and starts away, disappearing back into the brush.
+ON WALKS IN THE NIGHT 60
as he begins moving through the reservation, giving silent nods to the Indians who are waiting for his cue.
Calmly and inconspicuously, the Indians begin spreading out through the reservation, positioning themselves alongside or behind the soldiers, ready to make their move.
EXT. HILLTOP ABOVE RESERVATION - DAY SIX 61
Sully lights a match, then holds it to the fuse, which he's attached to the blasting powder keg. With the fuse lit, Sully moves off, hurrying back down to the edge of the reservation.
EXT. RESERVATION - DAY SIX 62
McKay walks through the reservation on patrol. He notices nothing unusual -- everything appears normal... and quiet... until suddenly:
+ANGLE ON HILLTOP 63
as an EXPLOSION sends dirt and rocks high into the air, shaking the ground.
+RESUME 64
as McKay and the soldiers react. They turn toward the sound, stunned and confused, and in that instant:
(CONTINUED)
50.
CONTINUED: 64
The Indians make their move. It all happens very fast -- the Indians, led by Walks in the Night, go for the soldiers' guns, disarming many of them before they can react.
But a few of the soldiers respond quickly, managing to hang onto their weapons. Struggles begin, and then fights break out as the revolt swiftly escalates.
A few SHOTS are fired, and people are hit -- both Indians and soldiers. But the Indians have most of the weapons now, and the soldiers are quickly outnumbered. McKay (who still has his gun) realizes this and calls to his men:
MCKAY
Take cover! Take cover!
Walks in the Night and the Indians fire at the soldiers as they scramble for cover. Other Indians begin fleeing the reservation, tossing burning pieces of wood into the shacks as they go.
+AT THE EDGE OF THE RESERVATION 65
Sully (hidden in the brush) points Indians toward where the horses are:
SULLY
Over there! Horses and food! Go!
(in Cheyenne)
Over there!
As the Indians move off, Sully starts onto the reservation, moving through the increasing melee. He tries not to be seen by the soldiers as he stops to help some women and children into the back of a commandeered army wagon, which then rides off out the main gate.
Sully then continues quickly toward Cloud Dancing's shack, passing a group of Indians who tear down one of the other shacks. He sees other Indians FIRING guns at the Soldiers and reacts with concern.
SULLY
(to Indians)
Don't shoot. Run! Go on, get outta here!
But the Indians keep firing, bent on causing as much destruction as they can before they leave.
Sully arrives at Cloud Dancing's shack. He checks to make sure no soldiers are around, then opens the door and helps Cloud Dancing out.
(CONTINUED)
51.
CONTINUED: 65
SULLY
C'mon. Lean on me.
Cloud Dancing reacts to the sight of the reservation being destroyed as Sully leads him away.
+ON MCKAY 66
ducking for cover behind some crates as the Indians continue to fire at them. He turns to see a Private (the one whose arm Mike stitched up) shaking with fear nearby.
MCKAY
Find a horse. Go for re-enforcements.
(sharp)
Now!
The Private hurries off (his arm has healed by now) and finds a horse. He climbs up onto it and rides away as McKay fires at the Indians, covering the Private's retreat. McKay then spots something:
+HIS POV 67
of Sully, leading Cloud Dancing and several other Indians into the woods (Sully doesn't see McKay).
+MCKAY 68
hardly has time to react before a BULLET hits nearby. He quickly ducks for cover.
+OUTSIDE THE MAIN GATE 69
Mike rides up. She quickly ducks for cover, reacting with horror at the sight she comes upon:
+HER POV 70
of the reservation in chaos. The shacks are burning. Most of the army tents have been torn down. The only Indians remaining (aside from the few that chose not to revolt) are the ones with the guns (including Walks in the Night), FIRING at the soldiers. But they too are starting to scatter, running off into the hills and woods.
52.
+MIKE 71
moves onto the reservation as the SHOOTING finally subsides. Soldiers come out from their cover and begin chasing after the Indians, following them into the woods. Other soldiers begin rounding up the remaining Indians and tending to the wounded.
Mike looks around, frantically searching the ruins, until:
MCKAY (O.S.)
Sully's gone.
She turns to see McKay approaching her, as angry as we'll ever see him.
MCKAY
I saw him. He was right in the middle of it, helpin' 'em. Prob'ly started the whole thing.
(very close now)
And when I find him, he's gonna pay for it.
McKay moves off to gather his troops, leaving Mike stunned and frightened, a growing sense of desperation overwhelming her as we sl