WHERE THE HEART IS
Written by Beth Sullivan / Directed by Chuck Bowman
EXT. CHURCH MEADOW - DAY ONE
After Sunday service. A bright, sunny morning. Many have already
dispersed into the meadow, laying out their picnics, children starting
Some still linger at the base of the church steps, including Loren
MIKE, COLLEEN and BRIAN head toward the meadow. MATTHEW and Ingrid
are right behind them, absorbed in each other's company.
Brian spots SULLY in the background, kneeling before Abagail's cross
and the smaller cross just next to it.
(to Mike) Can Sully have lunch with us?
Brian takes off running toward the cemetery. Mike calls after him...
(continuing) Brian, don't interrupt...
...but he's oblivious. Her eyes follow him, coming to rest on...
MIKE'S POV CEMETERY / SULLY - DAY ONE
...engaged in his own private prayer.
ANGLE / ABAGAIL'S GRAVE - DAY ONE
Brian rushes up noisily, drawing a look from Sully.
(stands) I'm done.
Wanna have lunch with us?
Sure... I'd like that.
They start walking toward the others. Brian looks back at the graves.
How come you go there every Sunday?
I made a promise.
That's explanation enough for Brian. He nods.
Gotta keep promises.
Sully nods, too.
ANGLE / PICNIC - DAY ONE
Mike and Colleen have spread out their quilt and, with Matthew's
and Ingrid's help, are laying out the contents of the basket, as
Sully and Brian approach. Suddenly:
Everyone looks to see...
MEADOW POV / HORACE - DAY ONE
...running full-out from the telegraph office, waving a telegram
in his hand.
(continuing) Dr. Mike!
Mike gets up, along with Sully and the kids, Matthew and Ingrid,
as people gather around.
ANGLE PICNIC - DAY ONE
Horace runs straight up to Mike, then stops abruptly. Now that he's
there, he wishes he wasn't.
(concerned) What is it, Horace?
He can't find the words.
Finally, he just holds the telegram out to her. She takes it and
reads, blanching as she does.
What's it say, Ma?
But Mike can only shake her head, re-reading to herself, then handing
it to Colleen.
(reads) "Urgent. Come at once. Mother is gravely ill. Your
loving sister, Rebecca.
Looks and murmurs all around. OFF MIKE...
EXT. TELEGRAPH OFFICE - DAY TWO
Mike pulls into town in the wagon, the children all with her. Horace
comes outside, as Mike drives by and hitches the wagon nearby.
(to Horace, excitedly) We're goin' to Boston!
Grandma's sick, Brian.
Brian's tone turns guiltily somber:
We're goin' to Boston.
(to Brian) I know. (to Mike) I booked you the four tickets on tomorrow's
(over her shoulder) Thank you, Horace.
EXT. CLINIC - DAY TWO
Mike climbs down and goes to the wagon bed, intent, preoccupied.
She picks up a small bundle of packages and hands them to Brian.
Please take these over to Grace. They're plasters for Robert E's
back in case it acts up while we're away.
Brian goes off to do that. Mike picks up a somewhat larger bundle
and places it in Colleen's arms.
(continuing) These are some things Myra might need, everything from
bandages for fist fights to... (catches herself) ...well, just take
them on over for me, please.
Colleen heads across the street.
(continuing) Matthew, you and I'll take the rest to Jake.
She picks up one of the two larger remaining bundles and starts
off. He grabs the other and hurries to fall in step beside her.
ANOTHER ANGLE / STREET / MOVING - DAY TWO
Why'd you get four tickets?
Because there are four of us.
But I can't go to Boston.
I got work to do.
Nothing that can't wait.
What about the homestead?
I'll ask Sully to look after things for us.
They cross the street toward the barbershop.
But I shouldn't leave Ingrid.
You mean you don't want to leave Ingrid, and I understand. But I
need your help, Matthew... Sometimes you have to do things in life
that you don't necessarily want to do. (with finality) And I'm afraid
this is one of those times.
She mounts the steps to Jake's and looks down at Matthew, who's
stopped at the base. Her expression both begs and insists that he
not argue. A beat. He doesn't. He follows her up the Steps.
INT. CABIN - DAY TWO
Mike's travel trunk sits open, empty, in the middle of the room,
her suitcase likewise on the table next to it. Sully is there with
Wolf, as Mike and the children go through their clothes boxes. Mike
is still behaving mechanically.
(to Sully) I want to thank you for agreeing to watch over the homestead
while we're away.
Like I said, it's no bother. Glad to do it.
And you'll be sure to say goodbye to Cloud Dancing and Snow Bird
Sully keeps his promises.
Of course he does.
Mike folds one of her original Boston outfits. Her hands linger
over the dress, the memories of her arrival, the magnitude of change
in her life in less than a year.
Mike looks up. Colleen holds up a nice calico dress, the sort she'd
wear to church.
Is this good enough?
It's very nice, but... what about the dress you made for Christmas?...
or your Founders' Day dress? I think they're more appropriate for
But they're my fanciest and the only two I got.
Have. The only two I have.
Colleen exchanges a look with Matthew. He hands Mike his suit.
Well, this is the only suit I "have", and the pants're
highwater on me.
Martha will let them down.
As Brian tries to sneak some old overalls into the suitcase, Mike
intercepts, her voice brittling.
(continuing) I told you, you can't take those, Brian.
But they're my favorite.
The knees have patches.
(tosses them aside) So no patched trousers in Boston.
Do I gotta wear my suit all the time?
(raises her voice) Have to wear my suit. Have to!
Suddenly, she breaks, tears welling, as it finally hits her. She
gets up and runs from the cabin. Brian and Colleen start after her,
but Matthew holds them back. He looks to Sully, who follows her
EXT. HOMESTEAD - DAY TWO
...where she sits on the steps, weeping into folded arms. Sully
tentatively puts his hand on her shoulder, and she turns and wraps
her arms around him, sobs deeply. He holds her, strokes her hair,
waits patiently... until she calms enough to speak.
My mother's never had a sick day in her life.
She looks up at Sully, trying to wipe her eyes.
(continuing) She's always been the strong one in the family.
You're every bit as strong.
She shakes her head in a moment of self-doubt.
I don't think so.
Then you're not thinkin' clear. You're just worryin'.
You're right. I am worried, but not only about Mother -- about going
home. I mean to Boston. This is my home now, but...
Where we're born's always got some kinds pull on us, whether we
like it or not.
She nods, thoughtful.
Where were you born, Sully?
She stiffens, pulls away.
(continuing) No, wait. It's true. I was born on a ship somewhere
'tween England and America. I don't know where. I don't even know
the name of the ship. Honest.
And your parents?
A beat. He doesn't want to talk about this, but he knows she needs
They were just regular folk.
My Pa died 'fore I can remember. My ma said all he knew was farmin',
so when they got to New York and he had to work odd jobs away from
the land, his heart just gave out. She always said "was the
city done broke it."
What happened to her?
She drowned in the Hudson River.
A beat indicates the questionable circumstances of the death. Sully's
grateful that she doesn't press.
(continuing) I was ten. That's when I headed west.
All by yourself?
That's right... Just like you did. All by yourself.
They share a look of recognition, connection.
EXT. GENERAL STORE - DAY THREE
The stagecoach is loading. Mike's and the children's luggage is
already up top. They stand next to the open door, surrounded by
Sully, Loren, Horace, Ingrid, the townsfolk, and many of Brian's
and Colleen's classmates.
Jake and Hank both keep an eye on the proceedings from the porches
of their respective establishments.
At the coach, there's a lot of hugging and well-wishing. Loren produces
some tins of sweets.
As the time comes to board the coach, the good-byes begin, more
hugs, some tears now. Ingrid and Matthew hold each other, devastated
at the prospect of separation as only first loves can be. Ingrid
cries openly. Matthew kisses her, then steels himself and joins
Mike and the children, climbing into the coach, closing the door
behind them. As the driver takes up the reins and hails the horses
into motion, Mike and the children lean out the windows, waving.
The townsfolk and Sully wave.
as her eyes come to rest on him. She waves her last wave to him,
just before the coach rounds the corner and is gone...
EXT. TRAIN / MOVING - DAY FOUR
Mike is framed in the window of the moving train. She looks thoughtful,
as does Matthew beside her. Across from them sit Colleen and Brian,
his face pressed to the window, fascinated by the passing landscape...
INT. TRAIN / MOVING - DAY FOUR
Look, Ma! Nothin' but grass, far as the eye can see! No mountains
or trees or nothin' for two whole days!
...however monotonous it might be.
EXT. PLAINS (STOCK SHOT) / BRIAN'S POV - DAY FOUR
Just as he said, nothing but flat, seemingly endless prairie rolling
INT. TRAIN / MOVING - DAY FOUR
It sure don't look like Colorado.
(gazing out) No, it certainly doesn't. (more to herself) Nothing
INT. BOSTON TRAIN STATION - DAY FIVE (STOCK SHOT)
An enormous arched terminal. Trains departing and arriving with
all the attendant activity and commotion.
EXT. BOSTON TRAIN STATION - DAY FIVE
The bustle of this eastern big city is a startling contrast horse-drawn
carriages crowding the entrance to the train station, porters hurrying
to-and-fro pushing cartloads of baggage, well-dressed passengers
coming and going. Coats indicate the briskness of the fall weather
even though the sun shines brightly.
An elegant carriage is among those waiting, and a couple in their
early forties, MARJORIE and her henpecked husband, Everett (extra),
stand beside it. Marjorie scans the crowd, looking for...
MIKE AND THE CHILDREN
...and spotting them as they exit the station.
(to Everett) There she is. (waves, calls out) Michaela!... (louder)
Across the throng, Mike hears her name, looks, sees Marjorie and
waves back, pulling the children and the porter in the right direction.
IN THE FOREGROUND
Marjorie watches them approach. Everett hovers at her elbow.
(continuing) Look, Everett. Rebecca was right. She brought them
with her... My, they are rough-hewn.
As Mike and the kids draw nearer:
(continuing) Thank goodness Mother has already met them, so it won't
be such a shock.
As now they're nearly upon them, Marjorie's tone shifts, and she
goes to Mike with open arms, embracing her.
Mike tries her best to feign warmth toward Marjorie, but it's clear
there's no positive emotional history between these women.
Marjorie. It's good of you to come for us.
Don't be silly.
(to both Marjorie and Everett) Please meet my children -- Matthew,
Colleen and Brian. (to kids) This is my sister, your Aunt Marjorie,
and her husband, your Uncle Everett.
How do you do?
Fine, thanks. How's Grandma?
She looks to Brian...
...then to Mike.
(continuing) Perhaps we should go home to Mother's and get you all
Actually, we'd all like to see Mother as soon as possible.
Surely, you'd like to freshen up first...
I appreciate your concern for our hygiene, Marjorie, but Rebecca's
telegram said urgent, and it's already taken us five days, so we'd
like to stop at the hospital first, if you don't mind.
(a beat) Mind? Now, why on earth would I mind?
She turns to the porter, gestures to the rear baggage compartment,
(continuing) Put it in the boot.
(to porter) Please.
A look between the sisters.
INT. CARRIAGE / MOVING - DAY FIVE
Mike sits on one side between Colleen and Brian. On the opposite
side, Marjorie sits between Everett and Matthew, who's opposite
Brian is amazed by the kaleidoscope of new images flashing by outside,
as is Colleen. Even Matthew can't help but be impressed.
EXT. VARIOUS STOCK SHOTS OF PERIOD BOSTON LANDMARKS
BRIANIS POV / STREET / MOVING - DAY FIVE
Grand old buildings, bright storefronts -- one a dazzling corner
INT. CARRIAGE / MOVING - DAY FIVE
(to Matthew, points) Look!
Matthew glances out listlessly, unseeing. Brian cranes to look back,
but the carriage turns.
(continuing; to Matthew) You missed it! It was a whole store with
nothin' but candy!
Colleen looks out her side of the carriage, equally astonished,
but by an altogether different building.
COLLEEN'S POV / CITY LIBRARY - DAY FIVE
An impressive structure, granite with gold leaf detailing. People
come and go, carrying books under their arms, in satchels.
INT. CARRIAGE / MOVING - DAY FIVE
Colleen's attention is drawn back inside when...
(to Marjorie) What exactly is Mother's diagnosis?
Marjorie looks at the children uncomfortably.
Something about her liver... I'm sure the doctors will explain everything.
INT. HOSPITAL ROOM - DAY FIVE
Mike's mother, ELIZABETH, lies in bed in nicely-appointed private
quarters, not your average hospital room. She looks sallow and weak,
as two doctors attend her, while her oldest daughter, REBECCA, fifty,
holds her hand.
The elder doctor, DR. JOHN HANSON, is discreetly palpating her sheet-covered
abdomen. His junior partner, DR. WILLIAM BURKE, observes and comforts
her when she moans, in spite of her determination not to.
So sorry, Mrs. Quinn.
She waves away his apology, ashamed at having shown her pain. Doctor
Hanson pulls the blankets back up, shoots a knowing look at William,
when they're interrupted by a KNOCK at the door.
The door opens and Marjorie barges in, followed by Everett, then
Mike and the children.
Brian runs up to the bed aid takes her free hand.
Mike hugs her mother and the children follow suit. Elizabeth's expression
shows as much pleasure as she's able to experience in her debilitated
Now, who dragged Michaela and these poor children all this way for
nothing? I'm perfectly well. Just a little digestive...
I sent for them, Mother, because...
(to children, good-naturedly) Because Rebecca has no idea what an
appalling trip it is.
Mike moves to put an arm around Rebecca. There's genuine warmth
between these two.
Because Rebecca knew we'd want to be with you.
(to Elizabeth) Same as you when Ma was sick with the 'fluenza.
Ah, yes. That time you... (indicates Matthew) ...were the telegram
He shrugs, manages a smile.
(to Mike, interrupting) These are mother's doctors, Michaela.
Mike turns to face...
(continuing) Doctor John Hanson and Doctor William Burke.
...and offers her hand to shake.
Doctor Hanson nods politely, but William takes her hand, fascinated.
I think Mother's had enough excitement for now...
I told you I'm perfectly well.
Your daughter's quite right, Mrs. Quinn. You need your rest.
We'll be back first thing in the morning, Mother.
She kisses Elizabeth's cheek.
Yes, first thing, Mother.
She, too, kisses Elizabeth's cheek. Marjorie follows, but with a
more perfunctory peck. Mike gathers the children ahead of her, as
they all file out.
(over his shoulder) See you tomorrow, Grandma.
He waves. Elizabeth smiles and, with effort, waves back.
INT. HOSPITAL CORRIDOR - DAY FIVE
William is the last out, closing the door gently.
(to Rebecca) Would you mind going ahead with the children? I'd like
to speak with the doctors for a moment.
Rebecca is respectful of Mike's professional status, even admires
her for it.
She and the children start down the corridor, followed by Everett,
(pointedly) We'll be waiting.
Mike waits for her family to walk out of earshot.
We're in a bit of a hurry, Miss Quinn.
Doctor Quinn. And before you leave, I'd like to discuss my mother's
condition as one physician to another.
(quickly) Of course.
This draws William a look from Hanson, but he opens the door for
No one has yet to even give me a diagnosis.
Cancer of the liver. But then I've been over all this with your
Who is a banker, not a doctor. Now, exactly what presenting symptoms
led you to your determination?
The usual. Jaundice. Swelling. Pain on inverse palpation. Various
signs of systemic toxicity.
(impatient) Unnatural accumulation of body fluids. Inability to
take solid foods.
Mike takes it all in, thinking, assessing.
I'd like to examine her myself, with your permission, of course.
Hanson flushes red, about to object, when:
Doctor Hanson has always taught me that a second opinion can be
Hanson flashes William an angry look.
(to Mike) Good day.
He strides off down the corridor. William lowers his voice.
Come before nine o'clock tomorrow morning. I'll bring your mother's
She's struck by both his respect and kindness.
Thank you, Doctor Burke.
She offers her hand again. He shakes it.
(from down the hall) Doctor Burke!
William holds her hand another beat, before letting go and following
Doctor Hanson. Mike stares after him a beat, then turns and walks
the opposite direction down the hospital corridor...
END ACT ONE
EXT. BEACON HILL / FAMILY HOME - DAY FIVE
Marjorie and Everett's carriage pulls up to a large, elegant townhouse
on one of the nicer streets in this wealthy neighborhood. Everett
is first out, helps his wife, then Rebecca, Mike and the children
from the coach. The children are again awed by the size and elegance
of their grandmother's house. The driver unloads their luggage from
the boot. Matthew tries to take one of the suitcases, but HARRISON,
the butler, quickly takes it from him. Matthew's surprised, certainly
not used to being waited on, as Harrison picks up other bags.
INT. FAMILY HOME / FOYER - DAY FIVE
Marjorie breezes in, immediately giving instructions to Harrison
and the chambermaid, MARTHA, as the others follow her through the
front door, the driver bringing up the rear, lugging the travel
trunk on his back.
Harrison, see to it that this luggage gets upstairs immediately,
and, Martha, see to it that everyone is shown right to their rooms.
Harrison jumps at her command, but Mike interrupts with a formal,
but warm hug, causing him to put down the luggage.
Hello, Harrison. (turns to the maid) Martha... (another hug) It's
good to see you both.
And a pleasure to see you, Ma'am.
(re children) Yes, Ma'am... And are these your young ones the missus
(pleased) Grandma talks about us?
She certainly does.
This pleases them all, even Matthew.
Harrison, Martha, this is Matthew, Colleen and Brian.
(pointedly) Who are no doubt exhausted and would like to rest.
Harrison goes back to the luggage, while Martha shows the way upstairs.
The children follow.
(to Mike) We'll be back for supper.
And Maureen and Claudette?
Oh, yes. In fact, they sent their regrets at not being able to greet
you, but household affairs didn't allow...
Rebecca trails off, simply no good at lying, even white lies to
prevent hurt feelings.
Don't worry, Rebecca.
Who's Maureen and Claudette?
Boy, how many you got, Ma?
(smiles) Just four.
Rebecca smiles too, but Marjorie interrupts abruptly, to Mike:
We'll see you later.
She and Everett are out the door. A look between Mike and Rebecca,
then she follows them out and Mike follows the children up the staircase.
INT. UPSTAIRS HALLWAY - DAY FIVE
Martha leads the way, then Mike and the children, with the luggage
bringing up the rear.
(to Mike) Would you be wanting your old room, Ma'am?
Is it the same?
Just the same.
Then, no, Martha, I think Colleen would enjoy it more than I, don't
Martha smiles and nods, stopping at a door and opening it, ushering
INT. MIKE'S OLD ROOM - DAY FIVE
...where she's awed by the perfection of every girl's dream room
-- white French lace canopy bed, matching curtains on a bay window
seat, an antique vanity with perfume bottles, a crackling fireplace.
This was really yours?
Mike puts an arm around Colleen's shoulder, taking in the loveliness
INT. DINING ROOM - NIGHT FIVE
A large room with sideboards prepared for dinner service. A table,
fully set, runs nearly the length of the room and seats seventeen,
with one seat at the head of the table conspicuously empty. Mike's
two sisters Rebecca and Marjorie, their husbands and various children,
ranging in age from twelve to twenty-two are there; Maureen and
Claudette are absent.
INT. FOYER - NIGHT FIVE
Mike and the children hesitate at the entrance to the dining room.
They're all dressed in their very best, but both Brian's and Matthew's
suits are plain and out of style, plus the latter's pants are three
inches above his ankles. Likewise, Colleen's dress is short on her.
Mike's dress is proper, but faded from wear. She looks them all
over, smoothing Brian's hair, straightening Colleen's collar, ignoring
You all look very nice. Everything's going to go wonderfully. I
mean, we're all family, right?
She turns and enters the dining room with a flourish and -- wrong.
A condescending, judgmental hush falls over the "family"...
except for Rebecca, who stands and manages a smile, in spite of
the lack of support around her. She lifts a water glass in toast.
May we all welcome Michaela home and make her children feel as though
they have always been and shall ever more be a part of our family.
The expressions range from reluctance to distaste, but all are condescending.
Dutifully, they follow Rebecca's lead, raising their glasses.
ON MIKE AND THE CHILDREN
Feeling decidedly out of place. Mike puts her arms around them protectively,
then looks to Rebecca and nods her appreciation.
INT. HOSPITAL - DAY SIX
Mike walks along a corridor, turns the corner and is greatly relieved
MIKE'S POV / WILLIAM - DAY SIX
...waiting by her mother's door, a file under his arm. His face
spontaneously lights up at the sight of her.
INT. HOSPITAL - DAY SIX
She joins him at the door.
I can't tell you how much I appreciate this, Doctor Burke.
Actually, we owe you an apology, Doctor Quinn. Doctor Hanson would
normally be agreeable to consultation, but... well... he adheres
to the old school of thought...
He trails off.
That women shouldn't be doctors.
Mind you, I hold no such belief.
She's charmed by his tact and humility.
No, I can see that.
She holds his look for a moment, then knocks gently on her mother's
INT. HOSPITAL ROOM - DAY SIX
Mike and William enter. Elizabeth is awake, but even paler than
the previous day, her voice wispier.
Michaela... Doctor Burke.
Mrs. Quinn, I've asked your daughter to give a second opinion in
your case, if you don't mind.
Mike looks to him with gratitude. Elizabeth looks from him to Mike
and back to him, then nods. Mike takes her mother's chart, opens
it and scans it quickly, then places it at the foot of the bed.
I'm going to have to examine you, Mother.
Elizabeth makes no protest, so Mike pulls the blanket down and,
through the sheet, palpates her mother's upper abdomen.
(continuing; to William, lowered voice) The liver is enlarged, but
I don't feel any tumor.
Doctor Hanson believes it must be on the lateral side of the liver.
Mike probes further. Elizabeth winces.
I'm sorry this is painful, Mother, but I need to know which is worse
-- when I press in... (she does) ...or when I let go --
She lifts her hand away suddenly. Her mother cries out involuntarily.
Mike and William exchange a significant look, then:
(continuing) I recall that you like oysters, don't you, Mother?
What on earth does that have to do with anything?
Do you eat them often?
Yes, but I don't see...
She's interrupted by the door opening and Doctor Hanson walking
What's going on here?
A medical examination, Doctor Hanson. And a diagnosis.
He sees the open chart, grabs it and slaps it shut angrily.
Dr. Burke was kind enough to afford me the professional courtesy
I'm due as a physician, and I'm afraid I differ with your diagnosis
of my mother's condition.
Michaela, you have no right to contradict Doctor Hanson.
Yes, I do, Mother. Especially when your life depends on it. (to
Hanson) I believe she's suffering from Hepatitis.
Absurd. A disease of the poor and unclean.
But a recent article in a French medical journal also links it to
certain seafoods, oysters in particular.
A look from Elizabeth to Doctor Hanson. And a lightbulb goes on
in William's head.
(to Hanson) No... Actually, I read the same article. It was very
well documented, Sir.
My point is, I have a treatment for liver detoxification. It's not
commonly known, but I've discovered it in my new practice.
Oh, you've discovered a liver cure-all, have you? Some sort of "snake
oil" or "patent medicine" is it? I hear there are
plenty of quacks selling such things out West.
I didn't buy it. It's a fermented tea that flushes the liver. It's
a proven cure hundreds of years old. (a beat) I learned of it from
the Cheyenne Indians.
This warrants a look of surprise even from William.
Michaela! Your father would be ashamed of you talking such mumbo
Elizabeth collapses back onto her pillow from the exertion.
Just leave me alone.
(to Mike and William) Go on, both of you!
A last look at her mother, then Mike goes out into...
INT. HOSPITAL CORRIDOR - DAY SIX
...the busy corridor, followed by William. She leans against the
The Indians have been studying medicine just as long as we have,
they've simply gone about it differently. Sometimes my medicine
works. Sometimes theirs. I would have died from influenza if it
hadn't been for one of their teas...
I believe you.
(shrugs, smiles) French oysters, I suppose.
This gets a feeble smile from her.
(continuing) The point is, how to convince Doctor Hanson.
Or at least my mother.
Do you have any documentation?
I've written papers on several of the Cheyenne compounds, and I've
submitted them to every medical journal in existence. They've all
I'd like to read them.
Unfortunately, they're all in Colorado. But thank you for your open-mindedness,
She looks at him, sees his compassion, his feeling.
(continuing) May I call you Michaela?
No... You may call me Mike.
He smiles, as she goes off down the corridor.
EXT. BOSTON / STREET - DAY SIX
Mike walks along with her sister, Rebecca, past store-fronts and
offices. Rebecca shakes her head, attempting to make sense of it
Oysters... when I think of the number of oysters we've all eaten
in our lifetimes...
It only takes one that's contaminated.
The odds against it must be...
She hesitates, searching for the right word.
Rebecca shakes her head again, as they approach the telegraph, office.
But mother has always had such good luck.
Mike stops in front of the...
EXT. TELEGRAPH OFFICE - DAY SIX
...and turns to hug Rebecca.
Don't worry. Mother's luck will hold if I have anything to say about
They part and Mike starts inside, but Rebecca stops her.
You will. (smiles) I have anything to say about it.
Mike returns the smile, and arm-in-arm, they go inside.
To Mister Byron Sully, Colorado Springs, Colorado...
INT. HORACE'S TELEGRAPH OFFICE - DAY SIX
Horace watches as Sully stands across the counter, reading the telegram.
Dear Sully, please send by telegraph the medical papers located
in the bottom drawer of my clinic desk...
INT. CLINIC - DAY SIX
Sully opens the bottom drawer of Mike's desk and takes out several
(continuing) ...My mother's life may depend upon them.
He closes the desk drawer and starts out, but pauses at the table
by the door...
SULLY'S POV / MIKE'S PHOTO - DAY SIX
...where sits the photo of Mike's medical school graduating class.
Mike, even in the severe hairdo and stern black dress, looking every
bit as beautiful as ever.
Thank you, Sully. For everything. Fondly, Dr. Mike.
END ACT TWO
EXT. COLORADO SPRINGS - DAY SIX (STOCK ESTABLISHING SHOT)
INT. TELEGRAPH OFFICE - DAY SIX
Horace sits at his transmitter with the medical papers next to him.
Sully stands over him.
This'll be the longest telegram I ever sent.
He starts in, dotting and dashing.
watching over every word.
INT. BOSTON FAMILY HOME / CONSERVATORY - DAY SEVEN
It's the veranda, really, enclosed against the approaching fall
chill. At one end, Mike sits with her FOUR SISTERS at a table laid
for tea. At the opposite end, Colleen sits at an identical table
with her two youngest female COUSINS (16 & 12 years old; 12
is extra). All overlooks the garden where, in the background, Brian
and Matthew can be seen "conferring" with their two youngest
male COUSINS (12 & 16).
AT MIKE'S TABLE - DAY SEVEN
A maid, FIONA, pours the tea, finishing with Mike.
(to Fiona) Thank you...
Fiona is surprised, not used to being thanked for her tasks...
(continuing) I'm sorry, I don't believe we've met.
...or addressed socially.
She offers her hand. Fiona looks at the other sisters, afraid to
take it. They exchange looks among themselves. Finally, Mike simply
takes her hand and shakes it.
(continuing) Nice to meet you.
Fiona curtsies and hurries from the room.
You embarrassed her.
Well, that wasn't my intention at all. It's just that she's new
since I left, and I'm not used to being waited on by nameless servants.
Maureen plops two sugar cubes in her tea and stirs daintily.
It's best not to get to know them anyway. Scullery maids come and
go so quickly.
Claudette passes some tiny sandwiches.
A very unstable lot.
No loyalty whatsoever.
Perhaps if they were treated with more respect, you'd receive more
loyalty in return.
Are you questioning my manners?
(to Marjorie) Oh, no... She's questioning all of our manners.
Mike may have a point...
(to Rebecca) Will you please stop using that ridiculous nickname?
Maureen's right. With Father gone there's no need to humor anyone
with it anymore.
I don't think that's fair...
Call her whatever you like, but don't expect us to.
An awkward silence, as Marjorie, Claudette and Maureen sip their
tea in unison.
The truth is, I'm simply not used to being waited on at all anymore.
I have to admit, it makes me a bit uncomfortable.
Marjorie rolls her eyes. Rebecca tries to break the tension.
Yes, I imagine it's quite different out West. Do tell us all about
COLLEEN'S TABLE - DAY SEVEN
Well... Everything's a lot littler. I mean, not the things themselves.
She smiles. The girls don't. Her smile drops.
(continuing) Everythin's normal size and all, but the whole town's
smaller... And not nearly so grand... And the streets are just dirt,
not like the rocks you have.
And everybody knows everybody.
(shakes her head) What a dreadful bore.
Yeah, all my friends are interested in is gettin' married.
That's all these girls are interested in, too, though on a much
higher social register.
If it's the right young man...
But don't you wanna go to college first?
You mean finishing school, and of course we do.
(unsure) Dr. Mike never calls it that. She always says I need a
college education before I can go to medical school.
(surprised) Medical school? Girls aren't allowed in medical school.
Yes, they are.
EXT. GARDEN - DAY SEVEN
No, they aren't.
FIRST COUSIN (12)
Yes, they are.
The boys are having an argument, Matthew hanging back.
The Indians aren't savages. Tell 'em, Matthew.
(quietly decisive) It's the Army that're savages.
SECOND COUSIN (16)
(condescending) If you're referring to a few unfortunate massacres...
(interrupts) They struck before dawn at Sand Creek, killed women
and children mostly. They hired men to kill off all the buffalo
and starve the Indians out.
FIRST COUSIN (12)
How do you know?
'Cause they're our friends.
INT. CONSERVATORY / MIKE'S TABLE - DAY SEVEN
That's right. A Cheyenne medicine man, Cloud Dancing, saved my life.
(ignores) Can you hear yourself?
I don't expect you to care about the things I do. I'm not asking
The question is, do you care about yourself anymore? Look at you.
You're getting far too much sun, you let you hair fly loose, your
hands have calluses.
It's my skin, my hair, my hands. Why are you so concerned?
Well, here you are upsetting Mother on her deathbed...
The girls look over from the other table, as the room goes silent.
Just then, the maid enters unknowingly, carrying a flat package.
Excuse me, but...
(snaps) We didn't call for you!
(unnerved) But it's... it's...
What is it, Fiona?
A telegram for...
She hesitates to say her name, but looks squarely at Mike.
EXT. BROWNSTONE MEDICAL OFFICE - DAY SEVEN
Mike rounds the corner nearby at a run, the flat package under her
arm. She finds the correct address and hurries inside...
INT. BROWNSTONE MEDICAL OFFICE - DAY SEVEN
...a well-appointed reception room. A few patients wait. Mike goes
to the FEMALE NURSE RECEPTIONIST's desk.
I have to see Dr. Burke.
Do you have an appointment?
No, but this is an emergency. Please, tell him Dr. Quinn is here.
The nurse gives her a skeptical look, but gets up and goes back
down the hallway, knocks at a door, opens it. There's a muffled
exchange, and to the nurse's obvious surprise, William comes bounding
out, smiling, to greet Mike.
What an unexpected pleasure.
She smiles back, but then holds out the package to him.
My medical papers...
He takes note of the package, sees that they've been telegraphed.
(continuing) ...including my article on the liver detoxification
(nods) I'll read it right now.
She reacts, not surprised really, but nonetheless moved by his support.
He escorts her to the waiting area.
(continuing) Please, have a seat.
As she sits, she watches him retreat to his office and close the
door behind him. She looks around at the patients, then across at
the nurse receptionist, who's watching her. Suddenly, she stands.
(continuing) I'm just stepping out for a breath of fresh air. I'll
be back before Dr. Burke is through.
The nurse barely nods, and Mike goes outside...
EXT. BROWNSTONE MEDICAL OFFICE - DAY SEVEN
...where she literally does stop and take a deep breath. Then she
starts to walk.
EXT. BOSTON STREET / NEARBY - DAY SEVEN
Mike walks past upscale offices and storefronts, turns a corner...
EXT. ANOTHER BOSTON STREET / NEARBY - DAY SEVEN
...and comes upon the Opera House, an imposing, columned structure.
She stops at the glass-enclosed poster, advertising the current
production of "La Traviata". The picture is a poignant
pose of the diva as the tragic heroine. Mike stares at it wistfully
for a moment, then moves on.
INT. BROWNSTONE MEDICAL OFFICE - DAY SEVEN
Mike re-enters the reception area. The nurse glances up. None of
the previous patients are still there, but a new one is waiting.
Mike sits. The nearest office door opens and out comes Dr. Hanson
with one of the previous patients, bidding the man goodbye. Dr.
Hanson sees Mike. A beat, as they regard each other, then he turns
without any acknowledgement and goes back into his office. Mike
stares at the closed door behind him, avoiding the nurse's eyes,
when William comes out of his own office to her rescue. He waves
the paper in his hand. She stands expectantly, awaiting his judgment...
...and is deeply relieved.
(continuing) Let's go.
He grabs his coat from a rack.
INT. HOSPITAL CORRIDOR - DAY SEVEN
Mike and William stride down the hallway and into the open door
INT. HOSPITAL ROOM - DAY SEVEN
...Where Elizabeth is refusing to be hand-fed by a female nurse.
(weak, but adamant) I'm not hungry.
The nurse tries again to spoon something to Elizabeth, when she
sees Mike and William.
(continuing) Thank goodness. (re: nurse) Please inform this woman
that I mean what I say.
(to nurse) She means what she says. She always has, and she always
Elizabeth reacts to the pride she hears in Mike's voice. The nurse
shakes her head and exits with her tray. William closes the door
behind her. Mike is brave enough to take the initiative...
...but William knows that tactics are of the essence.
Mrs. Quinn, you know that I graduated Harvard Medical School at
the top of my class...
Mike didn't know this. She's impressed.
(continuing) ...And you know that I've practiced for ten years with
Dr. Hanson, who is arguably the best physician in Boston. I would
hope that you trust my medical knowledge and not take what I'm about
to say lightly.
Well, say it.
I've read your daughter's research on the detoxification treatment
she recommended and I strongly advise you begin taking it immediately.
What about Dr. Hanson? What does he advise?
With all due respect to my senior physician, I believe he's allowing
non-medical reasoning to affect his medical judgment.
Because Michaela is a woman.
I'm afraid that's correct.
Mike looks at William with deep admiration. Elizabeth catches this.
(to Mike) What's all this nonsense about oysters?
Mother, we don't think it's nonsense, but the diagnosis isn't really
the issue. If I'm wrong and you don't have Hepatitis, then the tea
simply won't help. But Dr. Burke agrees that the ingredients in
no way interfere with Dr. Hanson's treatment of his diagnosis.
(continuing) Isn't that usually fatal?
A look between Mike and William.
(gently) Yes, Mother.
A beat, then to them both:
What're you waiting for?
Mike hugs Elizabeth.
It shouldn't take long.
Thank you, Mrs. Quinn.
She shoos them out with a wave of her hand. They leave. She stares
after them, as the door closes...
INT. HOSPITAL CORRIDOR - DAY SEVEN
...behind them. Mike turns to William and spontaneously hugs him.
Oh, William, you were wonderful!
She realizes what she's done and lets go. He's flustered. So's she.
(continuing) I'm sorry... I...
Please don't apologize... Mike.
A look. A beat, then he holds up her paper. He offers his arm, she
takes it. They move off down the corridor, round the corner and
END ACT THREE
INT. HOSPITAL ROOM - DAY EIGHT
Elizabeth is sitting up in bed, looking much better. Doctor Hanson,
William, Mike, the Cooper children and Mike's four sisters are all
present to witness her improvement.
It's a miracle. (tears up) Oh, thank you, Doctor Hanson.
(matter-of-fact) Don't thank him.
This draws reactions from all.
(continuing) At least not for curing me. For trying to, yes. I do
thank you for that, Doctor Hanson.
(nonplussed) I don't understand...
And I know my husband would thank you, as well, if he were still
with us. But I also know he would have been very disappointed at
how you discounted his partner's advice in my case.
Dr. Michaela Quinn, M.D.
Mike reacts. And Matthew, Colleen and Brian are pleased to hear
Elizabeth acknowledge her this way. Hanson looks to Mike for an
My patient's improvement began two weeks ago with her first infusion
of the tea I told you about.
(to Mike) You snuck something to Mother?
(to Mike) Behind Dr. Hanson's back?
As it sinks in, Hanson starts to fume, looks to William.
You went along with this?
With all due respect, Sir...
(explodes) You're fired!
Doctor Hanson storms out.
Mother, Doctor Hanson would have...
(cuts her off) ...escorted me to my grave. And you may thank your
sister for preventing that. She saved my life.
Marjorie looks to Mike. They all do. Rebecca goes to her, hugging
Dear Michaela. How can we ever thank you enough!
The children move to Elizabeth's side, as Maureen and Claudette
follow Rebecca, Marjorie last. In spite of her jealousy, this is
one moment when the realization of nearly losing her mother unearths
Thank you, Michaela.
She hugs Mike, who then turns to William.
And thank you, Dr. Burke.
You're welcome, Dr. Quinn.
EXT. BOSTON STREET - DAY EIGHT
Mike, William and the children walk along. Matthew walks a little
apart, the physical distance a clear expression of his emotional
(to William) I'm sorry about your job.
Don't be. I'm not. In fact, I feel as though a great weight has
been lifted off my shoulders. I've known for a while that it was
time for me to be on my own. I've even had my eye on a little office
for rent that I could afford and still do my pro bono work.
What's... (pronouncing) ...pro bono?
It means treating patients who can't afford to pay.
(smiles) That's all of Ma's patients.
Mike gives a little laugh, hugs both Colleen and Brian.
Sometimes it seems like that. But most people find some way to compensate
me. It's sort of a barter system.
Just like the old days. It must be very quaint.
We're not a bunch of hicks.
(to Matthew) No, I apologize if that sounded condescending. I was
merely being nostalgic. (Off Matthew's look) Boston keeps growing
by the minute. It's not the same place it was when I was your age.
They arrive in front of Doctor Hanson's brownstone office. William
offers Matthew his hand. Matthew shakes it halfheartedly.
(continuing) Now, I'll just clean out my desk and go see if that
office is still for rent.
Is there anything we can do to help?
Well... actually, there is something.
It would be a great comfort to me if you'd consent to be my guests
this evening for a celebratory supper. I'd say we all have quite
a bit to celebrate today.
We certainly do.
Is that a yes?
He smiles back, bounds up the stairs to the brownstone.
I'll come for you at seven.
He goes inside. They start walking.
I wanna go home.
We will. As soon as Mother's better.
She's already better. Isn't that what we're celebratin' tonight?
I meant, as soon as she's well.
Something just beyond catches Brian's eye and he runs ahead.
They catch up to him...
EXT. CONFECTIONER'S SHOP - DAY EIGHT
...staring in awe at a display of pretty glass canisters, containing
all sorts of candy, in the window of a charming corner store. He
snaps himself out of it, grabbing Mike's hand and pulling her inside...
INT. CONFECTIONER'S SHOP - DAY EIGHT
...where a veritable wonderland of sweets surrounds them. Colleen
and Matthew follow them in. Brian's awe turns to reverence, as he
slowly turns to take it all in -- the shiny glass display cases,
the taffy pullers, the soda fountain.
(to Mike) You said sweets rot our teeth.
If you overindulge, yes, but it doesn't hurt to splurge occasionally.
(more to herself) Everyone should be a little extravagant now and
Brian runs ahead to the soda fountain and climbs up on one of the
Look, Ma! Ice cream! All different kinds!
She smiles, joining him.
And which one do you want?
EXT. CONFECTIONER'S SHOP - DAY EIGHT
They exit and walk along. Mike's particularly cheerful.
(to Brian) I can't believe you ate that entire sundae. You're going
to burst the buttons on your shirt, young man.
She stops in front of a haberdashery window, displaying both a handsome
evening suit and a beautiful evening gown.
(continuing) Which reminds me -- new clothes.
Just 'cause we're goin' to some fancy restaurant tonight?
No, because you can't keep wearing the same thing everyday. That
suit was worn out in the first place, and with Martha cleaning it
every night, it's going to end up in tatters. Besides... (points)
...even with the cuffs let down, the trousers are still too short.
That's where we are, Matthew. That's where we are.
She herds the children in front of her into the store.
HOLD ON HABERDASHERY WINDOW:
on the lovely evening gown.
INT. ELEGANT RESTAURANT - NIGHT EIGHT
Mike appears wearing the gown, looking radiant, on the arm of William.
(to the maitre d') Dr. Burke.
The children are right behind them, the two boys looking stiff in
their new suits, Colleen reveling in a pretty new dress. This place
is another benchmark in their exposure to the "finer"
things in life. They're all awed by the decor, the elegant clientele
-- a dish being served flambé right in front of them.
ANOTHER ANGLE - LATER
Seated now, waiters hover around them -- snapping napkins open and
draping them across laps filling crystal water glasses, proffering
menus, uncorking a champagne bottle. Colleen takes it all in, captivated,
leans over and whispers to Brian.
Isn't it beautiful?
Yeah... but not as good as the candy store.
William raises his glass.
To a new lease on life.
They toast. A flash of eyes between Mike and William, as their glasses
clink, glinting light from the candelabra flames.
EXT. CAMP - NIGHT EIGHT
The flames of a campfire. Sully and CLOUD DANCING sit, warming themselves.
Sully stares into the fire, uneasy.
What troubles you, Sully?
Sully, looks up as if to deny it, but then:
Dreams are the spirits telling us of the past... or of the future.
I dream that I'm in Boston.
(nods to himself) Where Dr. Mike is.
(continuing) You have never been there before?
Then it is a dream of the future.
Sully looks at Cloud Dancing. OFF SULLY.
EXT. COUNTRY ROAD - DAY NINE
Sully stands in the roadway, flags down the approaching stagecoach.
The two drivers are wary. The one riding shotgun literally hoists
the weapon. A few words are exchanged, some coins change hands,
and Sully climbs inside the coach. It takes off down the road.
EXT. BEACON HILL / FAMILY HOME - DAY TEN
The entire brood is assembled in front -- Mike and the children,
her sisters and their families, plus the servants behind them --
...the arrival of the family carriage. The coach door opens and
William steps out, then turns and helps Elizabeth down.
Brian doesn't know what everyone's waiting for. He runs out, throws
open the gate and takes Elizabeth's free hand.
Welcome home, Grandma!
She smiles down at him, and this somehow signals the rest into motion,
as they crowd around, greeting her, complimenting her, ushering
her en masse into...
INT. FAMILY HOME / FOYER - DAY TEN
...where Mike takes charge.
A few quiet, but the chatter still continues, so Mike takes a few
steps up the staircase to command attention.
(continuing) Mother needs her rest.
Nonsense, I feel perfectly well.
William steps up to join Mike.
(negotiating) A nap... But then I'm coming down for supper...
...and that is final.
Mike smiles, shakes her head. As Rebecca and her husband escort
Elizabeth up the staircase and past Mike and William, Mike watches
her mother ascend with a growing understanding and appreciation.
(aside to William) Whenever anyone used to comment on my being my
father's daughter, he'd always tell them not to let my choice of
profession fool them, that it was my mother I was most like, not
him... it was the only thing he ever said that made me truly angry
at him. (a beat) And now... finally... I realize he was right. And
what's more... (turns, smiles at William) I'm proud of it.
EXT. BOSTON TRAIN STATION - DAY TEN
All of the big city bustle in full swing -- taxi carriages jostling
for position, porters wending their way through the throng of people,
megaphone announcements of train arrivals and departures adding
to the din.
ANGLE ON THE MAIN ENTRANCE
Out of the station and into the midst of this mayhem steps...
...who stops, overwhelmed by what he sees. Standing still adds to
his conspicuousness, as if his appearance wasn't enough. People
openly point and stare at him, a complete oddity in his buckskins
Slowly, as he orients himself, he becomes aware that he's the main
attraction. He moves off, disappearing into the crowd.
INT. FAMILY HOME / DINING ROOM - NIGHT TEN
Elizabeth has now resumed her place at the head of the table. The
entire family is once again assembled for dinner. The second course
is being served by Fiona and another maid.
Mike is seated next to William, Brian on the other side of her and
Colleen on the other side of William.
Matthew sits next to Colleen, more resigned at this moment to being
here in Boston than at any time previous. He even seems more comfortable
in the suit he's wearing.
ANOTHER ANGLE / MIKE AND WILLIAM - NIGHT TEN
They engage in their own conversation.
This is quite a treat for me, a large family dinner like this.
But I thought you were born here.
My father moved his business to Baltimore five years ago and took
most of the family with him... But then, of all people, you certainly
must know the sorrow of living so far from your family now.
(nods) Yes. Yes, I do... Now. (a beat) I must admit, at first I
was relieved to get away. And I have come to love Colorado dearly...
But being here, seeing my mother through new eyes, watching the
children enjoy themselves, meeting...
She looks into his eyes.
(continuing) ...new friends... It's all made me miss Boston more
now that I'm here than I ever did while I was gone.
ANOTHER ANGLE / ELIZABETH - NIGHT TEN
She sees Mike and William talking. It pleases her.
There's a commotion in the foyer, insistent voices, then...
ANGLE ON DOORWAY
...there stands Sully -- braid, tomahawk and all -- the flustered
butler, Harrison, right behind him.
The family, even Matthew, Colleen and Brian, is too stunned to speak...
Elizabeth stands, takes charge, does the only sensible thing under
Mr. Sully. You're just in time for supper. Won't you join us?
Mike and Sully exchange a look.
END ACT FOUR
INT. FAMILY HOME / DINING ROOM - NIGHT TEN
The family reacts; exchanging looks and a few discreet whispers,
as SULLY is offered an added chair at the table by Harrison. FIONA
and the other kitchen maid hurry to give him a place setting, food
and drink. He begins to eat hungrily, though the others still stare.
You must be famished after your long trip, Mr. Sully. Having made
the journey myself, I can vouch for its difficulty.
(between bites) Not for me, Ma'am. I'm used to a lot worse.
Yes... Indeed... Well...
She fives a commanding look around the table, and everyone begins
to eat. She herself takes a small bite, chews, swallows, regards
(continuing) What brings you all the way to our door, Mr. Sully?....
His eyes go involuntarily to Mike.
His eyes follow, then shoot back to Sully.
(continuing) ....Certainly not the state of my health.
To be honest, no, Ma'am. I'm glad to see you doin' better, but that's
not the reason.
He doesn't go on, but rather takes another bite of food.
Does your business bring you to Boston, Sir?
You can call me Sully.
WILLIAM hesitates, but then stands and leans across the table offering
Dr. William Burke.
Sully quickly puts down his fork, stands and shakes William's hand.
MATTHEW and COLLEEN exchange a look. So do Elizabeth and BRIAN --
MIKE and REBECCA -- MARJORIE and Everett -- Claudette and Maureen,
The men sit back down.
(to William) Mother told us he's what's termed a "mountain
man." (to Sully) What exactly does a "mountain man"
do? We're all of us dying to know.
(a stern look at Marjorie) Not all of us. I suggest we allow Mr.
Sully to eat his meal in peace.
This garners a lok of gratitude from Mike to Rebecca. Everyone starts
to eat. Silence, except for the clinking of glass and silver on
Only Mike doesn't eat, instead
Mr. Sully is a miner. And a carpenter. And a hunter. And a negotiator
between the United States Army and the Cheyenne Indians. And over
the course of the past year he has provided me with shelter, often
food. And on more than one occasion, he has saved my life .
This stops everyone. But William is the first to speak, turning
to Sully in dead earnest.
For which you have my undying gratitude, Mr. Sully.
William then looks at Mike with unmistakable ardor. She looks back,
as he's forced to witness the chemistry between them. He's far from
pleased at this realization.
EXT SULLY'S GUESTROOM - NIGHT TEN
Mike enters, followed by Sully. She turns on a gas lamp, illuminating
a wood-paneled room with a high four-poster bed, club chairs and
fireplace -- certainly the most luxurious bedroom he's ever been
I'll ask Harrison to lay a fire for you...
He takes hold of her arms.
What's wrong with you?
She's affected by his touch, his closeness.
What do you mean?
I mean, I can make a fire. So can you, as I remember.
He lets the double entendre sink in. She can't hold his gaze, looks
away. He lets go.
(continuing) Aren't you glad to see me?
Of course I am... I... I'm just surprised to see you here.
You were gone so long, I... I got worried somethin' mighta happened
She looks at him again, knows that's not the reason, but is reluctant
to acknowledge the real one.
(a beat) You're welcome.
Mike looks around, as if searching for what to say...
If you need anything, just ring.
She indicates a braided cord. He nods. Both feel the miles between
them, even though the physical distance has been removed.
She goes out. Sully stares at the door a beat, then looks around
the room, surprised, himself, that he's here. He goes to the bed,
feels the mattress. He takes off his pack, rolls out his blanket
on the floor next to the bed and lies down to sleep.
INT. DINING ROOM - DAY ELEVEN
Elizabeth is at the head of the table. The children and Mike are
with her, having breakfast, when Sully enters, washed and wearing
Good morning, Mr. Sully. You must be hungry. Please sit down.
He does. The kids light up at the sight of him, but are aware of
Mike's reticence. Good mornings by all, nonetheless... As Fiona
serves him a steaming plate of eggs and sausage.
I wanna thank you for your hospitality, Mrs. Quinn.
Think nothing of it.
(to Fiona) Thank you, Ma'am.
Mike takes note of his thanking the surprised servant, who curtsies
and hurries out.
(to Sully) I told Martha to air out some of my husband's clothes.
She can alter them for you.
Well, that's real nice of you, but I won't be needin' 'em.
Elizabeth gives Mike a look.
(to Sully) It might be easier.
(correcting Sully) Whom.
Just then, Harrison escorts a dapper William to the door.
Relieved, Mike is out of her chair immediately.
(continuing) Ah, Doctor Burke. Will you join us?
No, thank you. I've had my breakfast.
We have to be going, Mother. (to all) But I'll be back by lunchtime.
(to the kids) Take good care of Sully.
Don't worry, Ma, we'll show him everythin'.
She smiles at Sully for the first time since he appeared.
You're in excellent hands. In less than a month, they know their
way around Boston as if they were born here.
She goes to join William.
(continuing) Rest, Mother.
I know. Doctor's orders.
Mike smiles again, a bit more awkwardly, waves to all...
See you at lunchtime.
...then leaves with William. The kids all look to Sully, who picks
up his fork and determinedly begins to eat.
Children, eat your breakfast.
EXT. INDUSTRIAL AREA - DAY ELEVEN
William, medical bag in one hand, a full grocery bag in the other,
leads Mike, carrying her own medical bag along a dingy alleyway.
They stop, he knocks at a door that looks like the back entrance
to some kind of commercial building. Momentarily, a raggedy child
opens the door and allows them inside...
INT. APARTMENT - DAY ELEVEN
...a single room, small and dirty. Two malnourished younger children
lie on a mat on the floor in one corner, a table with some chipped
crockery sits in another, a second mat is in the opposite corner
where lies the children's very sick mother, MRS. GERRITY. The child
who opened the door joins the other two, as William and Mike kneel
down beside their mother, who speaks with difficulty.
Hello, Mrs. Gerrity.
How are you feeling today?
Mrs. Gerrity, I'd like to introduce Doctor Quinn.
Mike nods, smiles.
Quite a lady. (warm look to Mike) And quite a doctor.
He takes out his stethoscope, listens to Mrs. Gerrity's chest, then
takes the ear pieces out and places them on Mike for her to listen.
She does. William turns away from the woman to his bag. Mike joins
him out of earshot. He looks to her questioningly.
As he takes some bottles from his bag.
(continuing) She was misdiagnosed at the almshouse. They said it
was consumption and turned her out.
They look at each other, acknowledging the cruelty of such a death
EXT. UPSCALE AREA / MOVING - DAY ELEVEN
Sully and the children walk along, he drawing stares and outright
gawking from passersby. Colleen and Brian feel the eyes upon them,
but Matthew is oblivious, as he pours out his frustration.
...and there's no such thing as everyday clothes. (pulls at his
collar) She's had us in these getups the whole time.
That's not 'cause of Dr. Mike, that's 'cause of Boston.
She tried to get you to wear one.
Your grandma did.
Dr. Mike wanted it, too. I could tell.
(shrugs) I kinda like dressin' up.
Matthew shoots her a look.
You gotta put yourself in Dr. Mike's shoes, Matthew.
No, thanks. Then I'd be with "William" right now.
He ain't so bad.
I think he's nice.
Matthew gestures around them at the fancy buildings, the decorated
Aw, he's like everything else in this place -- all for show.
You're just mad 'cause he likes Dr. Mike.
Sully reacts to this, then looks sideways at Matthew.
Or maybe you're afraid she likes him.
Whose side're you on?
(point) Look! There it is!
THEIR POV / CONFECTIONER'S SHOP - DAY ELEVEN
EXT. CONFECTIONER'S SHOP - DAY ELEVEN
Sully and the kids look in the window. Brian waxes ecstatic.
Ever seen anythin' like it, Sully?
Sure makes Mr. Bray's candy jars look dumb, don't you think?
I think candy's candy, Brian. That's what I think.
Brian looks up at him, trying to figure why he's not excited by
EXT. MODEST AREA - DAY ELEVEN
Mike and William walk along a quiet little street, the groceries
gone now, only their medical bags remaining.
How long has Mr. Gould had those lesions?
Several months. Maybe a year. He was afraid to see a doctor because
he thought his legs would have to come off.
Another month and they would have.
As they start to pass an archway to a small courtyard, William stops
her and makes a sweeping gesture of invitation.
I thought you said Mr. Gould was your last patient.
This isn't a patient. It's something else. (smiles) After you.
She gives a curious look, then precedes him through the archway
EXT. COURTYARD - DAY ELEVEN
...where now he steps ahead of her, leading her to a picturesque
little office. A small plaque next to the door reads "WILLIAM
BURKE, M.D." She looks at him and smiles.
INT. WILLIAM'S OFFICE - DAY ELEVEN
It's small, but charming. They sit across from one another at a
partner's desk. She runs her hand over the polished wood wistfully.
My father and I had a partner's desk.
A beat. He watches her, savors her.
Though I'm relieved to be away from Dr. Hanson, I confess I miss
having a partner.
She looks up at him across the desk.
(continuing) The right partner, of course.
She holds his look.
EXT. ANOTHER UPSCALE AREA - DAY ELEVEN
Sully and the kids walk past a church, then a large, imposing stone
building. All the same stares and rubbernecking from strangers at
Sully's appearance, but, by now, even Colleen and Brian don't pay
attention to them.
This is the art museum.
Does it have nice art?
I don't know. We haven't been yet. Ma hasn't had time to take us,
with Grandma bein' sick and all.
She had time today. Grandma's better now.
Thanks to Ma... 'Sides, she's helpin' some poor folks with William.
They continue walking toward a long, dark building trimmed in gilt.
Sounds like y don't wanna be here, Matthew.
I never wanted to be here. I mean, I care about Grandma and all,
but... Well... like I said, she's better, so it's time to go.
Maybe now that she's better, Dr. Mike'd like to spend some time.
It's not gonna be often she gets a chance to come home.
Home? I thought Colorado was her home.
(a beat) They say home's where the heart is, Matthew.
A look between Sully and Matthew, as they arrive in from of the
(to Sully, excited) Look, Sully. The library. Can you imagine how
many books are in there?
Sully sees her longing.
Wanna go in?
She lights up, nods.
We gotta get back or we'll miss lunch.
All you care about is food for your stomach.
What other kind is there?
(staring at the building) "Food for the soul."
Sounds like somethin' William'd say.
So what if he did?
He'd be right.
A beat, then he turns and heads off. The kids react, then follow.
EXT. BEACON HILL / MOVING - DAY ELEVEN
Sully and the kids walk along, headed toward the family home.
(to Sully, pointing) And the ocean's right over there. It's bigger
than any lake you ever saw, and the boats are gigantic.
I'd like to see that.
Matthew's still on his own train of thought.
(to Sully) Well, I'm not waitin' around Boston. I'm goin' back with
Who says I'm leavin'?
They round the corner, and the family home comes into view. William
escorts Mike to the front door.
SULLY'S AND THE KID'S POV / MIKE AND WILLIAM - DAY ELEVEN
She holds out her hand. At first he shakes it, but then lifts it
and gently kisses the back.
BACK TO SULLY AND THE KIDS - DAY ELEVEN
(continuing) I'm not in any hurry.
OFF HIS REACTION
END ACT ONE.
INT. FAMILY HOME / PARLOR - NIGHT ELEVEN
No one there, but the room is inviting -- Oriental rugs, overstuffed
sofas and chairs, a crackling fire. As the door opens, O.S.
'Night, Mrs. Quinn.
Mike, Sully, Matthew, Colleen and Brian enter. The kitchen maid,
Fiona, follows them in. Brian and Colleen go right to a game table,
with an inlaid checkerboard and start to play. Matthew flops down
in a chair by the fire. Mike sits on one of the sofas. Only Sully
(to Mike) Will there be anything else Ma'am?
She looks to Sully.
No, thank you.
(to the children) Hot chocolate, anyone?
COLLEEN AND BRIAN
Matthew remains silent.
Thanks you, Fiona.
The maid leaves.
(continuing, to Sully) Please, have a seat.
Sully awkwardly sits on the sofa opposite her, looking entirely
out of place.
(to Mike) How come you talk so formal? It's Sully. Sully! What's
goin' on with you?!
I know who it is, Matthew. I think the question is, what's going
on with you?
We've been gone a month, and I don't even know why you made me come
along in the first place! You said you needed me, but you got a
hundred people here to do everything! You haven't needed my help
from the minute we came, and you sure don't need it now.
That's not true. I have needed your help.
For support... For Brian and Colleen...
They're doin' just fine.
Matthew, you grandmother's birthday is this weekend. The Halman's
are giving a ball in her honor. Under the circumstances, I think
the least we can do is attend.
That's just an excuse to stay here. Next it'll be Thanksgiving,
then Christmas. Hell, what about Valentine's Day?
Stop it! And I'll thank you to mind your language.
(gets up) I want my ticket home.
Well, you're not getting it.
He storms out...
(continuing after him) You'll travel with the rest of us.
...Slamming the door behind him. Colleen and Brian have stopped
their game. Mike tries to regain her composure from the encounter.
(continuing, to all) I'm sorry.
No need to apologize. It is me. He's right about that much.
She nods, sighs.
Sully, why is he so angry with me?
He's in love.
She nods again.
Yes... It's as simple as that, isn't it?
ANGLE ON COLLEEN AND BRIAN
They look at each other, relieved to see Mike and Sully finally
He wants to get back to Ingrid.
We all have something to get back to.
Yeah, Thanksgivin's comin'.
(ambivalent) It wouldn't be so bad to spend Thanksgivin' here in
Sully glances at Colleen, but she won't meet his eyes.
(to Mike) Ma, can we show Sully the ocean tomorrow?
Sully's seen the ocean.
The kids look at her, surprised that she would know such a thing
about him when they don't. They look to him. He shoots Mike a look
for betraying his confidence to her.
I said I'd like to see it, not that I never had.
Brian gets up and comes over to sit next to him.
When did you see the ocean, Sully?
Last time, I was about your age.
Here in Boston?
No... New York. That's a ways south of here. (across to Colleen)
But I never been inside a library. (to Mike) So what do you say
we all go explorin' tomorrow?
Colleen looks over at him, lighting up at the prospect, but...
I'm afraid tomorrow's not possible. Dr. Burke is presenting a paper
to the Boston Medical Society. But you're welcome to come along
if you like. More than welcome.
EXT. BOSTON MEDICAL SOCIETY BUILDING - DAY TWELVE
He's not welcome, that's what I said.
DR. HANSON stands like a watchdog in front of the door to an aristocratic
brownstone, literally blocking entrance to Sully, Mike and Elizabeth.
There's a small crowd around them.
(continuing to Mike) Your personal conduct is one thing. Trying
to force a heathen into a civilized professional assembly is quite
Mike's embarrassed, but stands her ground.
He's not a "heathen." He happens to come from a part of
our country where his appearance... is acceptable.
Fine. Let him go back there.
He's entitled to...
Sully interrupts, getting right up in Doctor Hanson's face.
"He" can talk for himself. I would appreciate it if you'd
quit actin' like I'm not here.
Are you threatening me?
No, just suggestin' you use some of those Boson manners you're so
(steps forward) He's right, Doctor Hanson. You wouldn't want to
be known as ungentlemanly as well as incompetent, now would you?
She pushed past him, Mike follows, and Sully steps around the doctor,
who's left fuming in front of several associates.
INT. MEDICAL SOCIETY BUILDING SMALL AUDITORIUM - DAY TWELVE
The rows of seats look onto a small stage with a podium where William
stands, waiting nearby. Almost every seat is taken by all male colleagues,
as Mike, Sully and Elizabeth take the last remaining.
William looks down at Mike, smiles. She smiles back. The exchange
doesn't escape Sully... or Elizabeth, who watches him, watching
INT. FAMILY HOME / UPSTAIRS HALLWAY - NIGHT TWELVE
Elizabeth discreetly looks out her bedroom door to make sure no
one is around, then comes out carrying a tuxedo with tails. She's
dressed in an evening gown. She hurries to Sully's door and knocks.
Momentarily, it opens. Sully, dressed in his buckskins, is surprised
to see her.
May I come in?
He opens the door and she goes inside...
INT. SULLY'S GUESTROOM - NIGHT TWELVE
...careful to close the door behind her. She holds up the tux. He
(declining) I mean no disrespect, Mrs. Quinn...
(interrupts) I also mean no disrespect, Mr. Sully, but this isn't
about you. Or me. It may be my birthday, but I couldn't care less
what you wear to my party tonight. (a beat) Michaela is the one
I'm concerned about. It's been difficult enough for her to face
the people she's known all her life -- even her own family -- with
her decision to move West.
What's that got to do with?...
He points to the tux.
She shouldn't have to defend you appearance when you and I both
know that you look nearly as odd to most of the good people of Colorado
Springs as you do to the citizens of Boston. So...
She holds the tux out to him.
(continuing) When in Rome, do as the Romans do.
A beat. He takes it from her. A look between them. She leaves. He
holds the suit up, turns it around.
INT. BALLROOM - NIGHT TWELVE
The suit continues to turn, but now Sully's in it, as he comes away
from the punchbowl with two cups in hand. He tries to make his way
through the crowd of upper-crust guests without spilling any. He
still stands out like a sore thumb with his long hair and ill-fitting
Tables and settees line the periphery of the large, high-ceilinged
room. A string quartet plays, and the center of the room is reserved
for dancing, which has yet to begin in earnest.
AT THE TABLE OF HONOR - NIGHT TWELVE
Elizabeth presides. Mike, the children, some of the family, the
rest at the adjacent tables and settees. William comes up, punch
in hand. He greets everyone.
...but his eyes come to rest on Mike. She looks as beautiful as
he's ever seen her in a gown that fits like a glove.
William looks up to find Sully standing there in his tux and for
the first time, sees in him a true rival. He steps back. Sully hands
Mike a punch.
(offers his hand) Mr. Sully.
Sully shakes hands.
Everyone feels the tension. William diverts the attention to Elizabeth.
Happy birthday, Mrs. Quinn.
Thanks you, Sir.
She holds her cup aloft, then, loud enough for the surrounding tables
(continuing) To Michaela and William...
She pauses, letting their names hang in the air as if it were a
toast to them as a couple.
I owe this birthday to you.
The group ad libs "Hear, hear" and "To Michaela and
William." Sully is the last to raise his glass, feeling the
gulf between him and his surroundings, between him and Mike...
To Michaela and William.
INT. BALLROOM - NIGHT TWELVE
Mike dances with William. He swirls her around the floor in a waltz,
among the few couples who've begun the dancing.
AT ELIZABETH'S TABLE - NIGHT TWELVE
Sully watches the dancers. Colleen watches him.
SULLY'S POV / MIKE
She smiles, radiant.
INT. BALLROOM - LATER - NIGHT TWELVE
The dance floor is nearly full now, Mike and William swish past,
AT ELIZABETH'S SETTEE - NIGHT TWELVE
Only she and Sully are there. Everyone else is dancing, even the
children. He watches the crowd for glimpses of Mike as the dances
by. Elizabeth observes him for a moment.
My doctors won't allow me to dance. What's your excuse, Mr. Sully?
He looks across at her.
(matter-of-fact) What do you think?
(equally matter-of-fact) I think you don't know how.
(continuing) Why did you come to Boston?
I got worried.
She glances a Mike on the dance floor, then back at Sully.
And you're still worried, aren't you?
Before he can answer, the waltz ends and the band begins to play
"For She's a Jolly Good..." The party-goers all join in,
singing "...Lady." Everyone gathers around Elizabeth,
as a huge cake is placed before her by two servants, candles glimmering.
Mike and William appear, singing along.
MIKE & WILLIAM
...which nobody can denyyyyy.
SULLY'S POV / MIKE AND WILLIAM - NIGHT TWELVE
in the candlelight, arm-in-arm.
BACK TO SCENE - NIGHT TWELVE
Elizabeth blows out the candles with a little help from some of
her grandchildren, including Colleen and Brian. More applause
END ACT TWO
INT. SULLY'S GUESTROOM - DAY THIRTEEN
Back in his buckskins, Sully's on the floor next to the bed, rolling
up his blanket, when there's a KNOCK on the door. He gets up, starts
tying it into his pack.
Matthew enters. Sully shoves a few other meager belongings into
the pack, then ties on his belt. Matthew realizes.
But you said...
Changed my mind.
Sully glances around for anything he might have missed, as Matthew
figures it out.
It's 'cause of last night. 'Cause she danced with William the whole
His silence is answer enough.
(continuing) Wait, don't let him do this, Sully.
Nobody makes Dr. Mike do anythin' she doesn't wanna do.
You're wrong. He knows how to flatter her 'bout bein' a doctor.
That's what she fell for, not him. He just made her forget why she
came to Colorado, and all she needs is somebody to make her remember.
A beat, as Matthew's words get through.
And how would somebody do that?
(relieved) First, you gotta show her you aren't against Boston.
This gets a questioning look from Sully.
EXT. HABERDASHERY SHOP - DAY THIRTEEN
The children lead Sully along determinedly, arriving at the window
of the same haberdashery that Mike took them to. They stop. Sully
takes one look at the three-piece suit in the window and shakes
his head, starting to walk away, but Brian grabs his hand and pulls
him back. The kids push him inside.
EXT. HABERDASHERY SHOP - DAY THIRTEEN
They exit with Sully, carrying several boxes. As they all walk along:
That was half my fare home I spent in there.
Don't worry. Grandma'd always loan you enough money to leave.
Heck, she'd pay him to leave.
(to Sully) I don't mean she doesn't like you.
(to Sully) She'd just like it a lot better if Dr. Mike lived closer
Yeah, like next door.
INT. SULLY'S GUESTROOM - DAY THIRTEEN
In the background, Matthew hangs up Sully's new clothes, as Colleen
teaches him to waltz.
It's one big step, then two little ones.
She shows him. He starts to get it.
(continuing) That's good.
They keep dancing, but just back and forth.
(continuing) Now, you have to do the steps while you move around
in the room.
She shows him. There's a moment of tangled feet and some bumping
into furniture, but pretty soon, he's doing fine. He stops abruptly
when the door starts to open, but it's only Brian slipping in, carrying
something wrapped in a towel. He puts it on a side table. Matthew
finishes what he's doing, and they all gather around as Brian opens
the towel to reveal a tray.
Fiona was real nice. She didn't even ask me what it was for.
Colleen sorts through and arranges the many pieces into a formal
Now... Dr. Mike taught us. (lifting each as she goes) This one's
for soup, this one's for salad...
Sully picks up a tiny fork.
What's this one for?
(pronouncing carefully) Es -- car -- go.
What's?... (mimicking) Es -- car -- go?
All three kids exchange glances. Who's going to tell him? Finally:
(thinking he's kidding) Right.
No, really, Sully... It's French for snails.
Rich people pay to eat snails?
Look, I know it sounds crazy, but Dr. Mike likes 'em.
William says they taste good.
Sully shoots Matthew a look, Matthew shrugs sheepishly, then...
WIDEN TO REVEAL
...plops into a chair, changing the subject.
(to Sully) We gotta figure out where you're gonna take her.
How 'bout that fancy place William took us?
INT. FAMILY DINING ROOM - NIGHT THIRTEEN
Elizabeth is in her usual spot at the helm of the table. Mike and
the children are seated, Colleen and Matthew on one side, Mike and
Brian on the other. William has just come in.
It's kind of you to join us, Dr. Burke.
It's kind of you to ask.
He sits on the free side of Mike, as...
...appears in the doorway, clean shaven and dressed in a dinner
suit. Everyone is stunned, except the children, who exchange conspiratorial
Mrs. Quinn is a very kind and hospitable lady.
He nods and smiles to Elizabeth, as Brian surreptitiously moves
over a place, leaving Mike's other side free. Sully takes the seat.
Mike reacts, looks for Brian, sees him on the other side of Sully,
looking the picture of innocence.
Thank you, Mr. Sully. And may I compliment you on your new attire.
Yes, it's... very stylish.
(shrugs) When in Rome, do as the Romans do.
Elizabeth reacts to her quote.
Colleen and Matthew exchange a look, impressed.
Mike can't believe her ears or eyes. Neither can William, who's
less than pleased by this development.
(to Elizabeth) I spoke with the president of the medical society
today about your cure, Mrs. Quinn. He was very impressed. Of course,
I took the opportunity to submit for publication you daughter's
article on the detoxification remedy.
(pleasantly surprised) William...
Excellent. She deserves the credit.
Mike feels Sully's eyes on her.
Well, it's really the Cheyenne who deserve the credit. It's an ancient
But you wrote the article. Without that, no one would have known
That's right. Doctor Quinn has a very important job in Colorado
-- bringing the wisdom of Indian medicine to the world.
Mike reacts to this compliment... and to this reminder.
INT. FAMILY HOME / FOYER - NIGHT THIRTEEN
Mike comes from the dining room, as the sees Elizabeth about to
climb the staircase by herself.
Mother... Let me help you.
Elizabeth waits, takes Mike's arm. They start up.
I loathe being dependent on anyone.
So do I.
A look between them, as they ascend.
Mr. Sully seems to have undergone quite a transformation.
And so quickly.
Too quickly, perhaps?
They reach the landing.
Your point, Mother?
Motive, my dear. I was simply speculating on his motive.
You heard him. When in Rome.
I had no idea Mr. Sully was so well versed in ancient proverbs.
Mike doesn't notice Elizabeth's sardonic tone.
(impressed) Neither had I.
INT. PARLOR - DAY FOURTEEN
Mike sits at a small secretary, writing something, when Sully enters,
dressed in a three-piece suit. Mike looks up, stunned all over again.
Sorry to bother you...
No, I'm just revising an article on the fever tea. You're quite
right about my bringing attention to Cheyenne medicine.
And Cloud Dancing has much more to teach us.
Yes... Yes, I'm sure he does.
A beat. She waits, looking up at him.
I'd like to invite you out tonight.
I beg your pardon?
To supper... and dancin'.
(continuing) Would you like to go?
Mike's too amazed not to say...
INT. ELEGANT RESTAURANT - NIGHT FOURTEEN
It's the same fancy establishment William took Mike to with the
children, but now just she and Sully, in evening dress, are seated
at an intimate table. The waiter brings their escargot and moves
off. Unflinchingly, Sully chooses the "correct" tiny fork.
Mike notes this, but then he pauses, waiting politely for her to
begin first. She does, then he must follow suit, managing to eat
the snails without flinching.
SAME PLACE / DANCE FLOOR - LATER - NIGHT FOURTEEN
Sully leads Mike to the dance floor, where a few other couples are
waltzing. He holds out his hand. She takes it, unsure, but then
he sweeps her into step. To her astonishment -- and delight -- he
quite competently swirls her around to floor.
INT. SULLY'S GUESTROOM - DAY FIFTEEN
The kids sit with Sully.
Now you gotta ask her to do somethin' real special.
They're all at a loss... except for Brian.
How 'bout that opera thing?
(lights up) Hey, yeah. (to Brian) Good thinkin', Brian.
I heard of 'em.
Ma said it's like a play, but they sing.
In a foreign language.
Sully gives Matthew another look for getting him into this.
INT. OPERA HOUSE / BOX SEATS - NIGHT FIFTEEN
ON MIKE AND SULLY
as the lead soprano playing Violetta sings the closing aria to the
first act of La Traviata. Mike whispers the translation to Sully,
She says Alfredo can never understand how much she loves him, and
she wonders whether he might really be the true love of her life.
INT. STAGE / LA TRAVIATA - NIGHT FIFTEEN (STOCK SHOT)
The singer goes on, but then interrupts her wishful musings, crying
(continuing, translating) Now she's resisting her feelings of love.
She's trying to convince herself that in order to be free, she must
Off this sentiment, he turns to look at her -- wondering, himself,
about true love and freedom...
INT. FAMILY HOME /FOYER - NIGHT FIFTEEN
Mike and Sully enter, and Harrison helps them off with their coats,
then disappears. They're left standing alone, facing each other.
It was beautiful. Thank you.
A beat. She starts toward the stairs.
(continuing) It was beautiful.
It's clear the words are meant for her. She smiles.
(continuing) Would you like to take a walk with me tomorrow?
I'd love to, but I'm going to a lecture... Unless you'd like to
In spite of his suspicions as to who the lecturer is...
INT. BOSTON MEDICAL SOCIETY BUILDING (SMALL AUDITORIUM) - DAY SIXTEEN
William goes to the podium, as the audience settles.
WILLIAM'S POV / MIKE AND SULLY - DAY SIXTEEN
Mike and Sully enter and take their seats.
AT THE PODIUM / WILLIAM - DAY SIXTEEN
Spots them together, making every effort to hide his jealousy...
Gentlemen, today I had planned to present a treatise on "Diseases
of the organs of the chest." However, at the last moment...
His eyes go to Mike, sitting next to the dapper, handsome Sully.
(continuing) ...I've decided to exercise my right to yield the floor
to a colleague who has an important discovery to impart to us all.
(continuing) Gentlemen, Dr. Michaela Quinn.
ON MIKE - DAY SIXTEEN
flabbergasted. She looks at Sully. He nods for her to take the spotlight.
William holds out his hand in a gesture of presentation, as a murmur
of disapproval ripples through the crowd. A few men, led by Dr.
Hanson, get up and leave. Seeing this, Mike stands and joins William
on the podium, where he hands her her own article, smiles his encouragement,
and steps aside. She assumes the podium, looks out at the derisive
faces -- except for...
...who gives her another nod.
She looks down at her paper, takes a deep breath and begins to read.
Gentlemen. "A new therapy as tested in my practice on the Colorado
(continuing) "Illness and disease often present different problems
in treatment when practicing far from a hospital setting. In my
efforts to help my patients, I have been forced to search for new
ways to heal. Therefore, I have observed the local Indians and they
have taught me the curative properties of various natural remedies."
Some of the doctors shout from the rear...
DOCTOR #1 (O.S.)
DOCTOR #2 (O.S.)
Necks crane, talk breaks out among the other doctors in support
of the protestors. Mike raises her voice above the din, commanding
No, Sir... I am not a homeopathic doctor. I have merely added some
long-tested remedies to those standardly taught in medical school...
(quickly, before further protest) ...such as willow bark tea, know
from the time of the ancient Greeks to have pain and fever reducing
Murmurs ripple through the audience.
(continuing) Specifically, I wish to speak on the treatment of Hepatitis
with dandelion root tea...
The DOCTOR in the back is on his feet
What a lot on nonsense.
"Weeds," is it?!
He and a few other doctors walk out, in spite of Mike's vehement
...which saved the life of my mother, Elizabeth Quinn!
This keeps the other doctors begrudgingly in their seats.
ON MIKE - DAY SIXTEEN
The efficacy on these blood purifying properties function best when
administered at a rate of one pint every two hours, usually producing
marked improvement within forty-eight hours and often a complete
cure within fourteen days.
William applauds enthusiastically. Sully does, too. At first, there's
only a smattering of others clapping, but then it grows. Mike basks
in even this limited acceptance, not only of her unorthodox ideas,
but of herself as a doctor. She joins William at the side of the
stage and he leads her off, out of sight, into...
THE WINGS - DAY SIXTEEN
...where he pulls her close.
You were splendid. I'm so proud of you.
(exhilarated) Since my father died, I haven't had anyone believe
in me the way you do...
But the moment the words are out of her mouth, she realizes that's
...except for Sully.
Do you love him?
Has he asked for your hand?
ANOTHER ANGLE / SULLY - DAY SIXTEEN
steps into the doorway behind them, listening, watching.
Because I love you. And I am asking for your hand.
She's overwhelmed, confused.
(continuing) I have a whole life waiting for me in Colorado.
You have a whole life waiting for you in Boston. We can be partners
in every sense of the word. In work. In love. True partners. (a
beat) Do you love me?
She looks into his face, his eyes.
There were moments when I thought it -- moments I was sure of it...
And then moments when I wasn't sure of anything at all. (a beat)
Such as this one.
He doesn't press.
Take whatever time you need in order to be sure. My proposal stands
-- my vow is forever.
It's a tough offer to match.
END ACT THREE
EXT. MEDICAL SOCIETY BUILDING - DAY SIXTEEN
Sully leans against the wall, waiting, as the society members exit,
debating Mike's presentation as they go. Finally, Mike and William
(to Sully) There you are.
(to Sully) Wasn't she grand?
Sully gives him an openly hostile look and takes Mike by the arm.
He leads her out of earshot, with William watching resentfully in
(continuing) You gonna marry him?
(now doubly shaken) I beg your pardon...
No beggin' necessary, just the truth.
You were obviously eavesdropping.
(single-minded) Just the truth.
It's none of your business.
She knows otherwise, but can't overcome her pride.
A beat, as he looks at her. She looks back with false bravado. Sully
nods... then walks away. She watches him, her expression reflecting
an impulse to go after him, but suddenly William is at her side.
She turns and goes into his arms for comfort. He holds her, watching
Sully recede in the distance.
INT. FAMILY HOME / PARLOR - DAY SIXTEEN
Elizabeth sits by the fire, doing needlepoint. The children sit
around, moping. Elizabeth surveys them over her glasses but goes
back to her task. There's a SOUND O.S. of Mike entering the foyer,
but no one goes to greet her. Momentarily, she enters.
The kids look away, sad, angry. Mike picks up on this immediately.
(continuing, to them) Hello.
No answer. She reacts to this boycott.
(continuing) Alright, where's Sully?
This shakes her.
Did he say when he'd return?
He went home.
(as it hits her) To Colorado?
Yeah, remember Colorado?
She reacts to the animosity in his voice, but turns to Elizabeth.
When did he leave?
(to Colleen) When?
'Bout an hour ago.
Mike rushes out.
But Mike is out the door.
EXT. BOSTON TRAIN STATION - DAY SIXTEEN
A taxi carriage pulls up and Mike gets out, hurriedly pays the driver
and starts searching the crowd with her eyes. It's a mass of people,
coming and going, impossible in which to spot anyone.
She hails a PORTER.
Please... Where is the train to St. Louis?
Already boarded. Platform six. You got luggage?
But she turns away and runs toward the entrance. The porter shakes
INT. TRAIN - DAY SIXTEEN
Mike hurries along the narrow passenger car corridor, brazenly looking
in compartments as she goes. Frustrated, she gets off.
INT. TRAIN COMPARTMENT - DAY SIXTEEN
Sully puts his bedroll above his seat.
INT. TRAIN - DAY SIXTEEN
Mike pushes her way onto another car, past a protesting conductor
and two passengers. Again, she starts throwing open compartment
doors, her anxiety mounting.
INT. TRAIN COMPARTMENT - DAY SIXTEEN
Sully sits alone by the window, looking out, when suddenly, the
compartment doors fly open and Mike appears in the doorway. She
stops, out of breath. He looks up at her, not knowing what to expect.
Mike looks at Sully, expecting some response. Finally...
What are you doing?
That's pretty clear.
You're just leaving?
Nothin' to stay for.
Without even saying goodbye?
This infuriates her.
Why did you even come here?!
I told you.
What was the real reason?!
What do you care?
This goads him onto his feet, face-to-face with her.
Didn't look like it back there at that meetin'!
I asked you a question!
Why did I come here?!
Because I love you!
His words paralyze both of them. Silence. Then the train whistle
BLOWS. The car lurches into motion, jostling them. He reaches out,
taking her arm to steady her. She looks into his eyes pleadingly,
but won't say the words. Slowly, the train starts to move. She looks
down at his hand. He lets go. The whistle BLOWS again. She turns,
hesitates at the compartment door, but then leaves. He stares after
her, torn, but then sits back down.
EXT. TRAIN STATION - DAY SIXTEEN
Mike rushes out, pushes through the crowd, fighting back her tears.
INT. PARLOR - NIGHT SIXTEEN
Elizabeth sits by the fire, her needlepoint on her lap, but her
hands idle. Mike enters and sits down opposite her. Elizabeth looks
up, watches her a beat, then:
William is a good man, Michaela.
Yes, he is.
And he respects you both as a woman and as a professional.
Yes, he does.
What other man can you say that about?
But he can't give you a complete life.
She looks at Elizabeth now.
What do you mean by complete?
You know exactly what I'm talking about. I mean a life here in Boston,
where you can be a doctor and...
(interrupts) There are plenty of doctors in Boston, Mother.
...and you can raise your children properly.
That depends on how you define properly.
Michaela, I have nothing against your little town, your patients,
your Indian friends, but you can't...
(interrupts) I don't love William, Mother.
Love. (a beat) That never used to be an issue when it came to making
such important decisions as...
...such as whom I spend the rest of my life with?
You may think that sounds callous, but I was taught that a good
match was more enduring than love.
Didn't you love Father?
Of course, I loved your father. But I had to choose from a small
selection of men at a very specific time in my life. I was twenty
years old, not a mature woman who knows her own mind.
A long beat. Finally...
(continuing) Will you visit again soon?
She reaches across and takes her mother's hand.
EXT. WILLIAM BURKE'S OFFICE - DAY SEVENTEEN
Mike enters the courtyard and rings the bell at his door.
She goes inside...
INT. WILLIAM'S OFFICE - DAY SEVENTEEN
...where he sits alone, working at his partner's desk. He brightens
upon seeing her, stands, but then takes in her demeanor, the expression
on her face. He sags back into his seat. She sits across the desk
from him, the irony not lost on either of them.
When do you leave?
The next train leaves tomorrow morning.
(continuing) I feel I owe you an explanation...
No... There is no explanation for such matters. (a brave smile)
Or at least none that I need to hear.
She reaches across and takes his hand.
Thank you... for so many things.
A beat. There's nothing more to say, and they both know it.
INT. FAMILY HOME / COLLEEN'S ROOM - DAY SEVENTEEN
Colleen's lying across the canopy bed, reading, when there's a KNOCK
at the door.
Mike enters and sits next to her.
What do you say we catch the train to St. Louis tomorrow morning?
A beat, as Colleen absorbs this.
A look between them.
(continuing) I like Boston.
So do I... But we'll be back.
Colleen nods, manages a smile.
Have you told Matthew and Brian?
No. You may have the honors.
Colleen goes out.
Matthew? Brian? We're going home...
Mike smiles to herself at the word "home" -- as she looks
around the room that was once hers, in the house she used to live
in, in the city that used to be home...
INT. PARLOR - NIGHT SEVENTEEN
Elizabeth sits alone by the fire, no pretense at her needlepoint,
simply staring into the flames. Brian enters. She doesn't even look
to see who it is, only glancing up at him as he comes to the side
of her chair, then looking back into the fire.
You look sad, Grandma.
(continuing) Is it 'cause we're leavin'?
He comes closer, leaning against her arm.
Why don't you come with us?
Because this is my home.
You'd miss it, huh?
I would miss it very much.
Yeah, I know how you feel.
Now, he looks into the fire.
(continuing) I miss Colorado. I dream about our house, my wolf,
all the things I used to do. I even woke up cryin' once. I dreamed
I couldn't find my way home.
A beat. She opens her arms to him. He eagerly sits on her lap, leaning
his head on her shoulder. She holds him.
No more nightmares for you, young man.
But I'll still dream.
I'll dream about Boston, and the ships and the candy store... and
I'll dream about you, Grandma.
She hugs him to her, tears in her eyes.
And I'll dream about you, Brian.
INT. COLLEEN'S ROOM - DAY EIGHTEEN
Colleen finishes packing her case, clasping it shut, when Elizabeth
knocks at the open door.
May I come in?
Colleen looks around the room wistfully.
It's a lovely room, isn't it?
Well, it's yours any time you care to visit.
Colleen turns to Elizabeth and hugs her...
...but pulls back, serious.
(continuing) Is it rude to ask to stay longer than a visit?
What do you mean, dear?
Finishing school? Of course...
(interrupts) No... medical school.
A beat. Then Elizabeth smiles, and the smile turns to a chuckle.
She embraces Colleen.
Like mother, like daughter.
EXT. BOSTON TRAIN STATION - DAY EIGHTEEN
The family carriage pulls to a halt in front, the driver quick to
help Mike and the kids from the coach and retrieve their luggage
from the boot. Rebecca steps out with them, then helps Elizabeth
down, who promptly announces to all...
I abhor scenes on railway platforms. We shall say our good-byes
Mike and Rebecca exchange a knowing look. Colleen and Brian hug
Elizabeth, who then turns to Matthew. He hesitates, but then unexpectedly
hugs her, too, whispering something the others can't hear.
I was wrong.
(sotto voce) About what?
She nods, hugs him back. They part. Finally, she turns to Mike.
They smile at one another, then, before Mike can see the rising
tears, Elizabeth turns abruptly and gets back into the carriage
with the driver's help.
A porter has come up and starts loading their luggage. Rebecca hugs
the children, as their train is announced by a dispatcher.
Rebecca and Mike embrace warmly. Mike and the children follow the
porter through the crowd, looking back, waving, then disappearing
inside the station...
EXT. COLORADO SPRINGS STREET - DAY NINETEEN
It's a usual day, with the usual people, the usual coming and going
-- until the stage rolls into town, circling the fire tower and
stopping in front of the general store.
Loren comes out to meet it, as do several others, including Horace
from the telegraph office. When the door opens, and Mike steps out,
followed by the children, there's a spontaneous burst of greetings.
Even Loren can't hide his delight at their return. The word of their
arrival spreads instantly. Even Hank and Jake saunter over.
Much hugging and greeting, lots of exclamations and questions, but
all the while Mike is slightly distracted, scanning the crowd for
someone other than those present.
Finally, she gives up, and directs her attention to those around
her and the logistics of luggage. She's checking some packages they've
brought along, as they're being lowered from atop the stage, when
she spots someone down the street.
MIKE'S POV / SULLY
as he walks toward them. She stops what she's doing, watching him
come closer. As he nears, the kids become aware of him and look
from Mike to Sully and back again to Mike, holding their breath.
The others pick up on the tension and focus on the impending reunion.
When Sully get about twenty feet away, Mike's emotions overpower
propriety, and she runs toward him... and into his arms. He holds
ON MIKE AND SULLY
She buries her face in his chest, hanging on for dear life, but
then she looks up into his eyes and leans in to whisper...
I love you, too.
OFF MIKE AND SULLY
PULL BACK TO INCLUDE THE WHOLE OF THE TOWN...
END ACT FOUR