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ONE TOUCH OF NATURE
Written by Melissa Rosenberg / Directed by Alan Levi


TEASER
FADE IN:

+EXTREME CLOSE ON THE FACE OF A TURKEY - DAY ONE
It stares at us, blankly as we PULL BACK to find that the turkey is in a pen sitting right next to --

EXT. GRACE'S CAFE - DAY ONE
Here we discover BRIAN leaning on the edge of the pen, staring sadly into the eyes of the turkey.
GRACE (O.S.)
Oh no you don't!
Brian spins to find GRACE standing behind him, hands on hips.
BRIAN
I was just sayin' hello...
GRACE
I know you. You were one step away from namin' that turkey.
BRIAN
Well, his face does kinda remind me of...
GRACE
(covers her ears)
Don't say it! You name that bird and make friends with it and all, there goes my Thanksgivin' appetite.
She takes him by the shoulders and turns him away from the turkey pen, walking him back into the busy cafe.
GRACE
Now that bird's name is "dinner" you hear?
She gives him a little scoot but before he runs off, he sneaks a last look at the turkey --
BRIAN
(under his breath)
See you, George.
Grace grabs a pot of coffee and we FOLLOW her to --

+A TABLE
where MYRA, HORACE and the REVEREND dine with MIKE. Mike holds SAMANTHA on her lap. Grace refills their cups.
We notice in the b.g., at the next table over, a sweet, young couple, GINNY and CLAYTON BAKER. The two finish their meal and get up to leave.
Ginny is very pregnant and rises with difficulty. Clayton, the anxious father, rushes to her assistance. Mike sees them and smiles.
MIKE
Hello, Ginny... Clayton.
GINNY
Hey, Dr. Mike.
MIKE
We have an appointment Tuesday, don't we?
CLAYTON
(over eager)
At four o'clock sharp.
GINNY
(to Mike re: Clayton)
He's been worryin' himself, and me, to death.
MIKE
(laughs)
Well, that's what these check-ups are for. To reduce worry.
As the couple wave goodbye and head out, Mike watches Ginny's awkward waddle, her very pregnant belly. We SEE envy and longing in Mike's face.
Myra and Grace see it too and Myra gently touches Mike's arm. Mike turns towards her, trying to rein in her exposed feelings.
MYRA
(quietly)
No luck yet?
Mike shakes her head, glancing at Ginny once more. Grace squeezes Mike's shoulder, empathizing.
But then we HEAR the turkey gobble loudly from his pen. Mike forces a smile and changes the subject.
MIKE
It looks like you've got a nice plump turkey for Thanksgiving.
ROBERT E appears, taking a break from the livery, and hears Mike's comment.
ROBERT E
We're fattenin' him up so there'll be plenty for everyone.
MIKE
Well, almost everyone.
GRACE
Whatdya mean, Dr. Mike?
MIKE
I was out at the reservation this morning and... well, they're having a very difficult time.
REVEREND
Yes, they are. It's a new and strange place for most of them. They don't know each other.
MIKE
And they're just not accustomed to farming yet, so there's not much food.
MYRA
We should do something to help.
Mike looks up at Myra... a thought occurring to her.
MIKE
Indeed, Myra. We should...
She hands Samantha back to Myra, thinking, and then --
MIKE
Wouldn't it be wonderful if we brought our Thanksgiving feast to the reservation this year?
Alone at a nearby table sits JAKE who looks up from his meal with mild interest.
HORACE
You mean... give 'em our food?
MIKE
Share our food... and our tradition with them... in the spirit of Thanksgiving.
Jake rolls his eyes, but the Reverend chimes in.
REVEREND
Wait, Jake. After all, two years ago on Thanksgiving, the Cheyenne saved us from hunger.
JAKE
Yeah, but those Cheyenne are gone now. The Indians out there at the reservation are all strangers.
MIKE
All the more reason to let them know that we're friends.
JAKE
(shrugs)
It just ain't... traditional.
GRACE
Well, we can invite 'em to come have Thanksgivin' with us here at the cafe.
JAKE
(reluctant)
I 'spose.
MIKE
I'm afraid they can't all obtain day passes at the same time...
(sees some people considering)
I think bringing the feast to them is the only way... I'll make the pies.
She looks around, hopeful. A beat. Then, Myra tentatively speaks up.
MYRA
I could make some cornbread.
REVEREND
I can't bake... but I can chop vegetables.
Mike smiles at them, pleased, but the final vote has yet to be cast... Mike turns to Grace. Finally --
GRACE
We're gonna need more turkeys.
Mike gives Grace a grateful smile.
MIKE
Thank you.
JAKE
Well, you can count me out.
Grace and Mike turn to Jake.
MIKE
But Jake, it'd be an important gesture for our Mayor to attend.
JAKE
Thanks, but I'm eatin' right here at the cafe.
GRACE
Whatdya gonna eat? And who ya gonna eat with? We'll be gone.
MIKE
Yes, Thanksgiving is a time to be with family and friends...
JAKE
I got plenty of friends.
Grace raises an eyebrow to Mike. Jake catches it, gets defensive.
JAKE
Me and Loren and Hank'll roast us up a turkey and have ourselves a good 'ole time.
MIKE
Well, if you change your mind...
JAKE
(matter of fact)
I won't.
Mike and Grace share a look as Jake returns to his meal and we --
DISSOLVE TO:

EXT. HOMESTEAD - ESTABLISHING - DAY ONE

INT. HOMESTEAD - DAY ONE
Mike, having just arrived with Brian, sets a box of groceries on the table as COLLEEN and Brian start to put things away.
MIKE
(calling out)
Sully, we're home...
COLLEEN
(a sly smile)
He's upstairs...
Mike notices Colleen's smile, wonders, then heads up the stairs.

INT. MIKE AND SULLY'S ROOM - DAY ONE
As Mike walks in, we find SULLY putting the finishing touches on a beautiful little cradle; he's measuring a partially carved bird for size, to hang from the cradle's hood.
Mike stops at the sight of the cradle. He looks up, smiling.
SULLY
Whatdya think?
MIKE
(taken aback)
It's... beautiful...
SULLY
(holding up partially carved bird)
I still got some work to do on it.
Sully rocks the cradle a couple of times, imagining what's going to be in it. A touch of worry filters into Mike's expression.
MIKE
But... don't you think this might be... bad luck?
SULLY
Bad luck?
MIKE
I mean... I'm not even...
She hesitates.
SULLY
Pregnant?
He rises, smiling at her superstition and wraps his arms around her.
SULLY
I wouldn't worry 'bout that.
He hugs her tighter, not able to see her face on which we HOLD. Clearly, she is worried about it, as we --
FADE OUT
END TEASER

ACT ONE
FADE IN:

INT. HOMESTEAD - NIGHT ONE
Mike, Sully, Colleen and Brian finish their dinners and rise to clear their plates, etc.
COLLEEN
Ma, what kind of pies should we make for Thanksgivin'? Pumpkin?
MIKE
Yes, or pecan...
BRIAN
Chocolate! Let's make chocolate pies.
COLLEEN
Chocolate's not traditional.
BRIAN
So?
MIKE
Let's make all three.
Colleen and Brian are pleased.
MIKE
(to Sully)
How did Cloud Dancing react to my suggestion about the feast?
SULLY
He thought it was a good idea. In fact, he's gonna do a memorial ceremony for everybody.
BRIAN
What kinda memorial ceremony?
SULLY
It's one of the ways the Indians say thanks. Once they release the spirits of loved ones, then they can be truly thankful for what they got left.
COLLEEN
It's about what happened at the Washita?
SULLY
There're tribes from all over out at the reservation. Pretty much everybody's lost somebody.
MIKE
It sounds like a lovely idea.
BRIAN
Do you think they'll like chocolate pie?
Colleen and Mike laugh and both tickle Brian.
COLLEEN
Or pumpkin?
MIKE
Or pecan?
Mike releases Brian and turns to wash some dishes, still smiling. Sully comes up behind her. He kisses the side of her face and speaks softly into her ear --
SULLY
Whatdya say we let the kids go stay at Matthew's tomorrow night?
Mike initially responds warmly to his affection --
MIKE
That'd be nice...
-- But then she catches herself, her smile fading.
MIKE
Oh... but I don't know...
SULLY
Why not?
MIKE
(searching for an excuse)
I... I promised to check on Mrs. Watkin's sprained ankle tomorrow night.
Sully takes up a dishtowel and begins drying. He senses her ambivalence, but tries again.
SULLY
How 'bout day after tomorrow?
MIKE
Well, I have to go over some lists with Grace and then start baking the pumpkins and...
Sully kisses her face again.
SULLY
You work too hard.
MIKE
Well, you can't bake pies without pumpkins.
SULLY
(lowers voice, smiling)
And you can't make babies without...
Brian appears at their elbows.
BRIAN
Babies? You talkin' 'bout the baby?
Mike and Sully glance at each other, then --
MIKE (said at same time)
No...
SULLY (said at same time)
Yes...
Mike offers Sully a small smile as she turns back to the dishes.
BRIAN
I think you should have a boy.
We HOLD ON Mike's face, clearly uncomfortable with the discussion as it continues behind her.
SULLY
You do, huh?
BRIAN
Yeah, somebody I can teach stuff to.
COLLEEN
I want a sister.
BRIAN
A boy'd be more fun. We could climb trees and go fishin'.
COLLEEN
A girl can fish, too.
BRIAN
I s'pose. Ma, do you want a girl or a boy?
COLLEEN
Yeah. Which one do you want?
Sully waits for the answer, as well. Mike turns and smiles.
MIKE
I think... pecan. Pecan pie is my favorite.
The kids laugh, but Sully studies her, knowing something is amiss. Sully stretches... the end of a long day.
SULLY
It's gettin' late.
The kids finish up their chores and start heading in the direction of the stairs. They AD LIB their goodnights, kiss Mike and Sully then head up to bed. Sully approaches Mike --
SULLY
Is everythin' alright?
MIKE
Oh... I'm...
(considers saying more... doesn't)
... I'm just tired. It's been a long day.
Sully nods but suspects otherwise.
SULLY
I'll finish. You go on up to bed.
She dries her hands on the dish towel and kisses him.
MIKE
Thank you.
Sully continues with the dishes as Mike heads for the stairs. But she stops and turns, as if to say something. But Mike just can't get the words out. She finally turns and makes her way upstairs.

EXT. GRACE'S CAFE - DAY TWO
Grace stirs a pot on her active stove while Mike stands behind it, a list in her hand. But Mike's thoughts are far away as Grace speaks.
GRACE
So the Reverend's gonna help me with all the turkeys and Robert E said he'd help with the servin'.
MIKE
(distracted)
That's nice.
GRACE
And Horace said he'd load up his surrey, but what're we gonna do for another wagon?
Mike doesn't answer... she's not listening. Grace finally touches Mike's arm.
GRACE
Dr. Mike?
MIKE
(looking up)
Hmm?
GRACE
Are you alright?
Mike considers saying nothing, but finally, she just can't lie.
MIKE
No...
It takes a beat for Grace to realize --
GRACE
You mean you got your monthly.
MIKE
No... but I've come not to rely on that. I've been disappointed too many times.
Grace nods, understanding.
MIKE
I keep trying not to think about it but... that's difficult.
GRACE
I know. But these days, I only think about it when I'm awake.
Mike and Grace share an empathetic smile.
MIKE
I've been writing to a Doctor in Denver. He's an obstetrician...
GRACE
A what?
MIKE
A specialist in the field of women's medicine. He said he might be passing through here soon.
GRACE
Well, you let me know if he says anything I should know about.
MIKE
I will.
(sighs)
I just feel so sorry for Sully and the children. They have so many hopes and expectations. Grace, what if... what if it never happens?
GRACE
I'm sure they'd understand.
MIKE
But you haven't seen the light in Sully's eyes.
GRACE
No, but I seen it in Robert E's.
Grace puts a supportive arm around her. The look they share says it all.

EXT. GENERAL STORE - DAY TWO
Jake leans on a post, talking with LOREN as he sweeps the porch. But Loren has stopped, mid-sweep, as he reacts to Jake's last comment.
LOREN
Thanksgivin' at the reservation?
JAKE
That's right.
Loren shakes his head and resumes sweeping.
LOREN
Don't sound traditional to me.
JAKE
Maybe Dr. Mike's tryin' to start a new tradition.
LOREN
Wouldn't surprise me. 'Course, with Dorothy in Kansas City, Thanksgivin' won't be the same anyway.
JAKE
When's she gettin' back?
LOREN
Soon as her Aunt Martha's feelin' better.
JAKE
Well, I gotta plan. You, me and Hank...
But Jake is interrupted as Loren stops sweeping to watch CLOUD DANCING approach. Cloud Dancing stops at the bottom of the stairs and nods a greeting to Jake and Loren.
LOREN
What can I do for you?
CLOUD DANCING
I need tobacco.
LOREN
Wish I had some to sell, believe me. But my darn shipment got held up. I'm 'spectin' it any day now.
JAKE
Thought y'all were growin' tobacco out there at the reservation.
CLOUD DANCING
Our crops have not come in yet.
(to Loren)
I need the tobacco for a ceremony at the Thanksgiving feast.
LOREN
Should have it 'fore then.
CLOUD DANCING
Then I will return.
Cloud Dancing nods and departs. Jake turns to Loren --
JAKE
(worried)
You're not goin' to the reservation for Thanksgivin', are you?
LOREN
Naw...
JAKE
(relieved)
Good. Then whatdya say you, me and Hank...
LOREN
I'm headin' up to Cheyenne to see my cousin Leonard.
JAKE
(disappointed, hides it)
You don't say.
LOREN
Yeah. Leonard's an odd fellow. And his wife can't cook worth beans. But, heck, they are family, right?
JAKE
I s'pose.
Loren glances at Jake.
LOREN
You can come 'long if you want.
Jake catches the look of pity in Loren's eye.
JAKE
Me? Naw, I got other plans.
BRIAN (O.S.)
Mr. Bray!
Brian comes running up, grabs Loren's hand and starts trying to lead Loren into the store.
BRIAN
We gotta buy some chocolate.
LOREN
You do, huh?
BRIAN
We're gonna make chocolate pies.
Colleen and Mike walk up.
COLLEEN
And pumpkin.
MIKE
And pecan.
Loren leans down conspiratorially to Brian.
LOREN
Chocolate's my favorite, too.
Brian smiles and drags him into the store. We HOLD ON Jake, clearly feeling very separate from all this excitement. He backs off and finally slips away unnoticed as the family sweep into the store.

INT. MIKE AND SULLY'S BEDROOM - DAY THREE
The morning sun falls on Mike's sleeping face as Sully comes into the room, dressed for the day. He smiles lovingly at Mike before gently stroking her hair to awaken her. She stirs.
SULLY
It's gettin' late.
Mike forces her eyes open.
SULLY
Thought I'd let you sleep in this mornin'. You seemed tired.
MIKE
(yawning)
Hmmmm.
SULLY
So... are you?
MIKE
Am I what?
SULLY
Tired... 'Cause mornin's are hard on some women. I remember when Abigail was in her early months...
Mike sits up abruptly.
MIKE
Sully, I'm not pregnant, if that's what you're asking.
SULLY
Alright.
MIKE
And Abigail was considerably younger than I am.
SULLY
So what?
Mike rises and pulls on her robe. Sully catches her hand.
SULLY
You wanna tell me what's goin' on?
MIKE
I'm fine. I'm not tired, or nauseous, or... "anything".
Sully realizes what she's saying and moves to her side.
SULLY
Is that what's been worryin' you?
She looks up at him, hoping he understands. He puts a reassuring arm around her.
SULLY
It just takes time...
She's disappointed, seeing that he doesn't quite grasp the situation.
MIKE
But... you don't understand.
SULLY
I want to.
Finally, Mike inhales courage and faces him. She adopts her professional doctor's demeanor.
MIKE
(clinical)
It's possible that one of the reasons I haven't yet conceived is because...
(falters)
... well, it may be... too late for me.
SULLY
Too late?
MIKE
I may be past my childbearing years.
Sully smiles, not even entertaining it.
SULLY
That can't be. You're a strong, beautiful, healthy woman.
She's a tad frustrated. He's just not hearing this.
MIKE
But, Sully...
He hugs her reassuringly... but we can SEE on her face that this is not the kind of reassurance she needs.
SULLY
You're the same woman who climbed Pike's Peak...
He then puts his hands on her shoulders and looks at her with encouragement.
SULLY
... You can do anything.
We HOLD on Mike... she wants desperately to believe him, to not disappoint him, but is clearly wrestling with her own fears and doubts, as we --

FADE OUT
END ACT ONE

ACT TWO
FADE IN:

EXT. CLINIC - ESTABLISHING - DAY THREE

INT. CLINIC - DAY THREE
Mike takes the stethoscope from her ears and puts it away, having just finished her examination of the pregnant Ginny Baker. Ginny sits on the examination table with the very anxious Clayton Baker, standing close by.
MIKE
Everything seems fine, Ginny.
It's Clayton who lets out the relieved "Phew!" Mike smiles at this first-time father's nervousness.
MIKE
Don't worry, Clayton. Woman have been having babies for a long time.
CLAYTON
You think it'll come soon, Dr. Mike?
GINNY
(touches his cheek affectionately)
I don't think he can take much more of this waitin'.
MIKE
(to Clayton)
It should be any day now. So why don't you go home and get some rest.
Clayton nods earnestly, and starts for the door.
MIKE
You might want to take your wife with you.
Ginny and Mike suppress laughter as Clayton, embarrassed, races back to help Ginny off the table. He then tries to virtually carry her out the door.
GINNY
Now, I can still walk on my own.
Ginny looks back at Mike, they share a smile regarding Clayton. Just as they reach the door, Sully appears, stepping back to allow the happy young couple to pass.
SULLY
'Afternoon, Ginny... Clayton.
CLAYTON
Hey, Sully.
Sully watches them go, then enters the clinic.
SULLY
'Spectin' a child sure makes you weak in the knees.
MIKE
Oh, Ginny's doing just fine.
SULLY
I'm talkin' 'bout Clayton.
She smiles and continues putting away instruments, etc.
MIKE
It will be any day now for Ginny.
SULLY
Bet he can't wait.
Mike glances at him realizing he's now talking more about himself than the Bakers. She becomes uncomfortable but he doesn't notice.
SULLY
(seductive)
'Speakin' of which, I just dropped the kids off at the old homestead with Matthew.
Mike turns to him, a bit exasperated.
MIKE
Sully, I have a feeling you didn't truly understand what I told you.
SULLY
Whatdya mean?
She walks up to him and looks directly into his eyes. She musters all the seriousness she can.
MIKE
It's true that I'm healthy and strong. But there is a possibility I may never have a child. A real possibility.
He hears it this time. It registers in his face, though he tries to hide it. Seeing his disappointment, she turns away.
MIKE
Perhaps you should have married someone younger, someone who could give you...
Sully turns her around and puts a finger to her lips.
SULLY
Sshhh. I married exactly who I wanted.
He hugs her. But then he pulls away and heads for the door. He stops in its threshold.
SULLY
Ready?
MIKE
(confused)
Ready?
SULLY
To go home.
(off her look)
It's possible it won't happen. But it's also possible it will.
MIKE
Well, yes...
SULLY
I ain't givin' up...
He reaches out a hand toward her.
SULLY
... Are you?
She looks at him, his hand outstretched, his eyes challenging her. Mike smiles... no, she's not giving up. She quickly unties her apron and strides to the door, takes his hand and, together, they exit the clinic.

INT. SALOON - DAY THREE
HANK and Jake lean against the bar with their drinks and cigars. A few prostitutes loiter near the bar, as well.
JAKE
Whatdya thinka this reservation Thanksgivin' thing?
Hank scoffs. That's his answer. Jake nods agreement.
JAKE
So whatdya wanna do for Thanksgivin'?
HANK
Go to Denver.
JAKE
Sounds good.
HANK
Figure it's 'bout time I see my kid again.
JAKE
(taken aback)
Zack?
HANK
That art school he's at is doin' it up with a turkey 'n all. What the hell, eh?
Jake's face has fallen, but Hank doesn't notice.
JAKE
Yeah, what the hell.
HANK
'Sides, figure while I'm in Denver, I'll scout me out some new talent.
Hank gives Jake a sideways grin but sees that Jake isn't responding.
HANK
Hey... some of my girls'll be 'vailable on Thanksgivin'. Be glad to set you up, Jake... on the house.
Jake eyes his sordid options with their feathers and lip rouge... Thanksgiving with a hooker, is this what he's reduced to?
JAKE
Thanks, but I had somethin' else in mind.
Hank shrugs "suit yourself" as Jake stubs out his cigar and heads out the door.

INT. HOMESTEAD - NIGHT THREE
We START CLOSE on a pan in which potatoes are frying. We PULL BACK to include some string beans in a pot, a couple rolls... a simple meal. We PULL BACK to include the chef, whom we discover is --

+SULLY
He happily busies himself at the stove as Mike stands back watching him, surprised by all this.
MIKE
You never cease to amaze me.
He smiles. She approaches to inspect the food.
MIKE
Where did you learn to do all this?
SULLY
The mining camp.
MIKE
And you've been keeping it a secret.
Mike goes to sneak a taste of potato, but Sully shoos her fingers away.
SULLY
Uh, uh, uh.
He then lifts a potato out with a fork and blows on it to cool it. Then he slowly feeds it to Mike. Their eyes lock as she bites the potato. Her smile tells him it tastes good.
Pleased with her response, he then decides to feed her a string bean. Their bodies move closer as he lowers the vegetable into her mouth.
Mike then chooses a bean as well, and feeds it to Sully. He swallows it, then licks the juices off her fingers. The sensuality of it all begins to heat things up. Slowly, their lips come together, and they softly kiss.
The kiss becomes passionate, and they embrace. In the heat of the moment, Sully drops the fork he was holding. Mike bends to pick it up.
SULLY
Forget it...
But she already has the fork, he reaches for it, too. Her head knocks into his. Ouch. They rub their heads, and then have to laugh.
MIKE
Sorry. I suppose I'm a bit nervous. It's just... I want it to... work.
SULLY
Whether we get a baby or not...
He turns to her, undoes her hair, kisses her neck --
SULLY
... We sure could have fun tryin'.
He's melting her nervousness and the two begin to kiss again. Dinner will wait. But suddenly --
There's an urgent KNOCK at the door. Mike and Sully are jolted out of their passionate moment. Mike takes a moment to regroup as Sully goes to the door.

+ANGLE ON THE DOOR
As Sully pulls it open we find Clayton and Ginny Baker. Clayton is in a state of panic, but Ginny, though in labor, is otherwise calm.
GINNY
Sorry to bother you, but...
CLAYTON
It's her time! Quick! Hurry! Do somethin'!
Ginny puts a calm hand on his shoulder.
GINNY
Now, Clayton, calm down...
-- but then she doubles up with a contraction. She doesn't make a sound, Clayton makes it for her --
CLAYTON
Aghh!!
Ginny rolls her eyes at her husband's sympathetic pains, but Mike and Sully share a smile. Mike goes for her bag.
MIKE
Everything's going to be alright. There's still plenty of time. Let's take Ginny to the clinic.
(to Sully)
Sully, would you pick up Colleen from Matthew's and meet us there?
Sully nods as they all head out the door, and we --

INT. CLINIC - NIGHT THREE
We START CLOSE on Ginny's strained face, screaming as she pushes. Clearly, it's been going on for a while and she's getting tired. We PULL BACK to include Colleen who mops Ginny's face with a towel, and Mike, who works at Ginny's feet on the impending baby.
MIKE
That's good, Ginny. I can see the baby's head. Now once more... one more push.
COLLEEN
You can do it, Ginny.
Ginny, exhausted but a trooper, takes a deep breath as we --
CUT TO:

EXT. CLINIC - NIGHT THREE
Ginny's SCREAM makes Clayton wince as he paces back and forth. Sully sits watching him.
CLAYTON
What's takin' so long?
Sully rises and puts a comforting hand on the boy's shoulder.
SULLY
Sometimes it just takes a while. Everything's gonna be fine.
Clayton grasps onto his reassurance.
SULLY
Pretty soon, you're gonna be a pa, Clayton.
CLAYTON
(marveling)
Pa. Somebody's gonna call me Pa.
SULLY
That's right.

INT. CLINIC - NIGHT THREE
Mike reaches for the baby as Ginny continues another hard push.
MIKE
Just a little longer, it's coming...
And... the baby is out. Ginny collapses. Colleen looks at Mike expectantly... well? But she sees Mike's expression go from excited anticipation, to concern, to dread.
MIKE
(urgent)
Colleen, I need you here.
GINNY
(frightened)
What? What is it?
Mike can't answer, but fights to maintain a neutral expression, for Ginny's sake. It's obvious, though, that there's trouble, as we --

EXT. CLINIC - NIGHT THREE
Clayton and Sully sit on the bench. Clayton has stopped pacing but taps his foot incessantly.
CLAYTON
If it's a boy, then we'll call it Hugh. 'Lizabeth if it's a girl.
SULLY
Those sound like good names, Clayton.
CLAYTON
(re: clinic)
Sure did get awful quiet in there.
SULLY
Guess we're gonna be meetin' Hugh or 'Lizabeth pretty soon.
Sully gives Clayton a confident smile, but then --

+THE CLINIC DOOR
opens and Colleen exits. She catches Sully's eye before Clayton sees her. His smile fades seeing that something is very wrong.
Clayton now sees Colleen and jumps up.
CLAYTON
Is it a boy?!
Colleen can't get the words out. She shakes her head, "no."
CLAYTON
It's a girl! 'Lizabeth.
(to Sully, proud)
'Magine that. A girl!
Sully, afraid there's more, puts a hand on Clayton's shoulder. Clayton looks up at him.
CLAYTON
What?
They look to Colleen expectantly. She struggles to speak.
COLLEEN
The baby... the cord was wrapped around its... it just didn't...
CLAYTON
I... I don't understand...
But Sully does. We SEE despair flicker in Sully's face. He tries to hide it from Clayton... but it's hard.
COLLEEN
I'm sorry, Clayton... the baby didn't make it.
Clayton's knees crumble beneath him, Sully catches him. But then Clayton grabs Sully's arm.
CLAYTON
Ginny. Tell me she's alright!
Sully looks to Colleen who clearly wishes she didn't have to say this --
COLLEEN
(swallows hard)
Dr. Mike's doin' everything she can. But Ginny's bleedin' a lot and...
CLAYTON
No!
Clayton rushes for the door, but Sully restrains him.
SULLY
There's nothin' you can do, Clayton.
Clayton tears free of Sully and runs into the street, falling to his knees. He clasps his hands together in desperate prayer.
Colleen and Sully share a pained look as Colleen hurries back inside to help Mike.
Sully moves toward Clayton to offer support. But then Sully hears Clayton's prayer. It stops Sully cold --
CLAYTON
(fierce hurried whisper)
Please God, you took my baby. But please, leave me my Ginny. God, please, don't take her, too...
Clayton's desperate plea to God continues as we HOLD on Sully's pained face, his eyes welling up. We can SEE in Sully's expression the visceral memory of having once made the same plea.
DISSOLVE TO:

EXT. CLINIC - NIGHT THREE
The clinic door opens and an exhausted Mike exits, wiping her hands on a towel. Sully, sitting on the bench, rises. She touches his arm, then sees Clayton on his knees, still praying. She moves quickly to Clayton's side.
MIKE
She's alright, Clayton. Ginny's going to be alright.
Clayton fights back the tears of relief that spring to his eyes. Mike takes his hand and pulls him up.
MIKE
She needs you now.
Clayton gathers himself together, trying to be strong, as she guides him indoors. Mike takes a last glance at Sully before she disappears inside. But Sully is deep in his own thoughts and doesn't meet her eyes.
We HOLD ON Sully's face as unwanted emotions and memories rise to the surface, and we --
DISSOLVE TO:

EXT. BARBERSHOP - DAY FOUR
Jake steps out of the shop, closing the door behind him for the day. He turns to see --

+MATTHEW
riding toward the cafe, holding a slain turkey by its feet. He lifts it up for Grace to see.
MATTHEW
Hey, Grace. Got another bird for you.
GRACE
Ooh, it's a fat one!

+JAKE
turns away from their excitement, only to see Hank, bag in hand, heading for the train station. Hank waves --
HANK
So long, Jake.
JAKE
So long.
Hank continues happily on his way as Jake turns to lock up his door. By the time he faces the street again, now it's Loren who passes by, bag in hand, headed for the train station.
LOREN
See you later.
JAKE
See you.
LOREN
Do me a favor 'n' keep an eye out for thieves 'round the store, will you?
JAKE
Sure.
LOREN
Happy Thanksgivin'.
Jake watches Loren disappear, then turns in the opposite direction. We FOLLOW Jake through the town. He glances about as he walks --

+JAKE'S POV - THE TOWN
To his right is a happy couple, holding hands. To his left is a group of old people, friends, swapping stories. Directly in front, walking past, is a family, Mom, Dad and the kids.

+ANGLE ON JAKE
His face registers how very alone he feels. As he makes his way out of town, we PULL UP and BACK to include the whole street... Jake seems very small and solitary indeed.

INT. HOMESTEAD - NIGHT FOUR
Mike, dressed for bed, comes down the stairs to find Sully sitting by the fire, carving the bird that is meant for the baby's cradle.
MIKE
The children are asleep.
He nods acknowledgement and continues carving. Mike stands watching, moved by the sight of him. She goes to him, standing behind his chair and wraps her arms around his shoulders, hugging him tightly.
Mike feels lucky and loving, but Sully is in a very different state.
MIKE
I checked on Ginny Baker today.
Sully stops his carving. The Bakers are clearly forefront in his mind, too.
MIKE
Do you know what she said just as I was leaving?
(shakes her head in admiration)
She said, "Don't worry, Dr. Mike, Clayton and me ain't quittin'. We're gonna have our baby."
Mike smiles, inspired by Ginny's courage and optimism.
MIKE
... And so will we, Sully.
Sully's face darkens but Mike doesn't see it, she's too swept up in emotions. She softly kisses the side of his face and rises.
MIKE
It's getting late.
SULLY
You go on up. I want to finish this.
He tries to present a neutral expression for her as she smiles goodnight and heads up the stairs to bed.
We HOLD on Sully as he carves... then his knife stops. He studies the wooden bird... then tosses it back into the fire. Sully watches the bird burn, his face awash with mixed emotions as we --
FADE OUT
END ACT TWO

ACT THREE
FADE IN:

INT. MIKE AND SULLY'S ROOM - DAY FIVE
Mike stirs, opening her eyes to the morning sun. She reaches for Sully... but he's not there. In fact, his side of the bed has not been slept in. Mike hears the SOUND of wood being chopped as she rises and pulls on her robe.

EXT. HOMESTEAD - DAY FIVE
Mike exits the house just as Sully, chopping firewood, raises an axe and swings, splintering a log.
MIKE
Good morning.
SULLY
'Mornin'. Thought I'd get an early start on some chores.
MIKE
You didn't come to bed last night.
SULLY
Fell asleep by the fire. Musta been tired.
MIKE
You're probably still catching up on the sleep you lost from the night before.
He begins to stack some of the split wood. She approaches him from behind.
MIKE
But I know Clayton appreciated your being there.
SULLY
Least I could do.
She gently puts her arm around him, leaning her head on his back.
MIKE
I appreciate you, too.
He turns around and faces her, seeing her loving expression. He manages to smile.
MIKE
Perhaps I should cook for you tonight. After all, we never did get to finish our romantic meal.
Sully wrestles with his feelings, but does his best to hide it. He kisses her forehead lightly, then gently pulls away to continue his wood chopping.
SULLY
Sounds good... but I might go out to the reservation later.
MIKE
(shyly suggestive)
I've never known you to turn down a meal.
SULLY
I gotta help set up for Thanksgivin'.
MIKE
Oh... alright.
She watches him for a minute, then starts to head inside. But she stops and turns, studying him, coming to her own conclusions. Finally --
MIKE
The other day... I'm afraid I may have... frightened you.
He looks up, hopeful that she may have some insight into his pain.
SULLY
Frightened me?
MIKE
Yes, about possibly never having a baby. I'm sorry I said it. I mean, anything's possible. You were being so optimistic and I just dashed your hopes...
As she speaks, we see Sully's face register slight frustration at how far off the mark she is.
SULLY
You didn't. I'm fine.
The powerful swing of his axe might suggest otherwise. But Mike, though concerned, wants to believe that, yes, he's fine.

INT. BARBERSHOP - DAY FIVE
Jake reaches up to a high cabinet, behind a few supplies, where he finds what he was looking for. A bottle of whiskey. Jake casually glances over his shoulder to make sure there are no customers, then pours some into a glass. He downs it quickly, in one gulp. It warms him. But before he can pour another --
MATTHEW (O.S.)
Hey, Jake.
Jake, hiding the bottle, spins around to find MATTHEW heading for the barber's chair.
JAKE
Whatdya want?
MATTHEW
(sitting in the chair)
Thought I'd clean up for Thanksgivin'.
If Jake never hears the word "Thanksgiving" again it'd be too soon.
JAKE
I'm closed.
Matthew nods to the "open" sign on the door.
MATTHEW
You don't look closed.
Jake goes to the door, turns the sign around to read "closed."
JAKE
Well, now I am.
Matthew studies him, finally shrugs, then heads for the door, stopping next to Jake --
MATTHEW
You alright?
JAKE
Fine. Goodbye.
Matthew leaves. Jake goes back to his bottle, pours some into the glass, and is just about to drink it when --
HORACE
Mornin' Jake.
JAKE
(spilling drink)
Damn!
Jake spins angrily on Horace.
JAKE
Can't anybody read 'round here!?
HORACE
Sorry, Jake, I just wanted a Thanksgivin' hair...?
JAKE
I'm closed!
HORACE
Well, your door was open and I...
Jake grabs up his bottle, not hiding it anymore. He pushes Horace to the door --

EXT. BARBERSHOP (CONTINUOUS) - DAY FIVE
-- Jake pushes Horace out the door, then turns and locks it behind them both. Horace watches, confused, as Jake takes off, bottle in hand. Matthew, not far away, sees the scene and approaches.
HORACE
But... Jake... where you goin'?
JAKE
I'm goin' away... for Thanksgivin'.
Horace and Matthew share a look, watching with concern as Jake walks away.

INT. TELEGRAPH OFFICE - DAY FIVE
Mike enters to find Myra standing behind the desk, rocking Samantha's carriage back and forth as she coos to her child.
MIKE
Good morning, Myra. Horace said you have something for me?
MYRA
Mornin', Dr. Mike. Got it right here.
Myra hands Mike the telegram. Mike opens it, reads it. A smile spreads on her face.
MYRA
Good news?
MIKE
It's from a doctor I've been hoping to see. He's going to visit his family in El Paso for the holidays. He'll be able to stop here on his way.
MYRA
Is he a good friend?
MIKE
He's a specialist. For women.
MYRA
Think he can help you have a baby?
Mike peers into Samantha's carriage, reaching to stroke the child's cheek. Not looking up at Myra, she answers --
MIKE
I hope so.
We HOLD ON Mike's face, looking hopefully into the carriage.

EXT. THE WOODS - DAY FIVE
Jake stumbles drunkenly through the woods, the near-empty bottle in hand. His horse chews on grass nearby. Jake mumbles morosely to himself. He is mostly incoherent, but we can make out a slurring "Happy Thanksgivin'" within his words.
Then Jake trips and lands heavily on his knees. As he tries to rise, he looks up to see Cloud Dancing standing several yards away, directly in front of him. Jake manages to stand.
JAKE
(slurring)
What're you lookin' at!
Cloud Dancing doesn't answer. Jake backs toward his horse.
JAKE
You want my horse! That's what you want!
Cloud Dancing takes a step to leave, not in Jake's direction, but Jake sees it as an advance. Jake makes a run for his horse and manages to jump on.
Jake then charges Cloud Dancing with his horse. Cloud Dancing easily side-steps the charge. But Jake loses control of his horse as it goes CRASHING through the trees.
Jake's head runs smack into a tree branch, knocking Jake from his horse.
As Jake falls to the ground, his head is bleeding. He drunkenly attempts to stand, but finally falls to the ground, passed out.
Cloud Dancing goes to him, rolls him over and sees the blood on Jake's forehead. Cloud Dancing rises and looks down at Jake.

INT. HOMESTEAD - NIGHT FIVE
Mike brews the tea that Cloud Dancing gave her. She looks up as Sully comes through the door.
SULLY
Kids asleep?
MIKE
Yes.
As Sully heads for the hearth to stoke the fire, he smells the strong odor of the tea she's brewing.
SULLY
(re: tea)
What's that?
MIKE
It's a tea Cloud Dancing gave me... to help me... us... with the baby.
Sully looks away, busying himself by tending to the fire. Mike can see something is wrong and approaches him.
MIKE
Cloud Dancing seemed optimistic that these herbs could make a difference.
SULLY
Glad to hear it.
MIKE
You don't sound glad.
She sits next to him. It's becoming more difficult for him to hide his feelings.
MIKE
Is it about the baby?
SULLY
No...
(frustrated with himself)
... I don't know.
MIKE
It just takes time. You said so yourself.
SULLY
It's not that. It's just...
MIKE
(encouragingly)
Yes...?
SULLY
Well, I been thinkin'. You know, we got three kids. Maybe we don't need more.
MIKE
(stunned)
What are you talking about? You wanted...
SULLY
I wanted a home and a family and I got that. I don't want to lose you...
He stops... But Mike finally sees what's going on inside him.
MIKE
Oh, Sully, I should have realized.
The compassion in her eyes draws him out. He exhales heavily as he wrestles with the words.
SULLY
When I saw Clayton, on his knees, prayin'...
(struggles)
... That was me. When Abigail...
He can't finish.
MIKE
I understand.
Sully rises, thinking... deciding --
SULLY
One thing's for sure.
MIKE
What's that?
SULLY
I'm never goin' through it again.
MIKE
Nothing's going to happen to me.
He looks intensely into her eyes, his voice serious, his mind made up.
SULLY
I ain't willin' to take the risk.
As Sully moves away we HOLD on Mike's face, stunned and confused, as we --
FADE OUT
END ACT THREE

ACT FOUR
FADE IN:

EXT. GRACE'S CAFE - DAY SIX
It's early morning as we START CLOSE on the Reverend's face. Tears stream down his cheeks. We PULL BACK to find him chopping onions. Next to him we find Grace cooking, hurried and harried, but totally in her element. She tries not to laugh at the Reverend's tears.

+ANOTHER PART OF THE CAFE
There are a couple different wagons that several people are loading up with chairs and tables, etc. Robert E and Sully pack various jars and bowls into crates and load them into a wagon for transport.
We catch them mid-conversation as Sully lifts a crate into the wagon. Robert E's expression is one of surprise.
ROBERT E
So, you just... changed your mind?
SULLY
It's just too dangerous, that's all.
ROBERT E
And that's that.
SULLY
Nothin' wrong with bein' careful.
ROBERT E
'Less it keeps you from havin' somethin' special as a child.
Robert E stops Sully.
ROBERT E
Just 'cause somethin' bad happened 'fore, don't mean it'll happen again.
SULLY
(shakes his head)
I... I can't.
Sully continues working as Robert E studies him. Finally --
ROBERT E
You know, been long 'nough now, me and Grace're pretty sure we ain't gonna get a child of our own. Now, that's gonna be hard to live with.
(a beat)
But it'd be even harder if I let my child be robbed from me...
(looks pointedly at Sully)
... 'cause I was afraid.
Sully doesn't turn away as Robert E's fierce emotion sinks in even more than his words. Robert E rises to continue work. Sully is slow to follow, still mulling over Robert E's words.

EXT. WOOD - DAY SIX
It's still early morning as we start CLOSE ON Jake's face. He begins to stir. A bandage with dried blood visible is wrapped around his head. Jake looks around, his vision still blurry as we PULL BACK until we discover Cloud Dancing, sitting nearby. Jake is startled by his presence.
JAKE
What're you doin' here?
CLOUD DANCING
You fell from your horse.
JAKE
I never fell offa horse in my...
(suddenly suspicious)
... say, where is my horse?
Cloud Dancing simply glances over his shoulder. Jake follows his gaze to find his horse, tethered to a nearby tree, grazing.
Jake hides his chagrin and tries to rise, but a shooting pain in his head (both hangover and wound) pushes him back down.
Jake reaches to his forehead, feels the bandage wrapped around his head. He looks up at Cloud Dancing, realizing.
JAKE
You shouldn't 'a bothered.
(gestures toward home)
I'da made it home just fine.
CLOUD DANCING
(pointing in opposite direction)
Home is that way.
Jake, embarrassed, painfully rises into a sitting position.
JAKE
Well, I don't need your help anymore.
CLOUD DANCING
The spirits do not allow me to choose who I help and who I do not.
JAKE
Tell you what, I'll choose for you. Goodbye.
Cloud Dancing sees that Jake means it and sighs defeat. He rises and reaches out a hand to help Jake to his feet.
CLOUD DANCING
I will bring you to your friends. You should not be alone.
Jake reaches for Cloud Dancing's hand, but hesitates, remembering why he was out here in the first place. He lies back.
JAKE
(bitterly)
Forget it. I'd rather be alone.
Cloud Dancing lowers his hand as he reads Jake. He sits.
CLOUD DANCING
For Cheyenne, the tribe comes first, then the family, and then the man.
Jake gives him a "what's this have to do with me?" look.
CLOUD DANCING
For you, it is the man first... and last. That is why you are so alone.
JAKE
Who says I'm alone?
Cloud Dancing need not answer, it's obvious in Jake's voice.
JAKE
Well, so what. There's lotsa people who're alone. Like you. Or are you forgettin' the Washita?
Cloud Dancing's face flickers with pain. It was a low blow and Jake knows it.
CLOUD DANCING
I am alone because my people were murdered. You... you make your self alone.
Jake opens his mouth to retaliate, but Cloud Dancing has hit a nerve. Cloud Dancing sits back as Jake turns away. But we SEE on Jake's face that Cloud Dancing's words are sinking in.

INT. HOMESTEAD - DAY SIX
At the table, Brian and Colleen make pies while Matthew repairs some tack. Actually, Brian is making little dough sculptures while Colleen rolls dough and cuts pecans.
Mike stands nearby, stirring ingredients in a bowl. Her mind is far away as the kids play a guessing game with Brian's sculptures.
COLLEEN
A wagon?
BRIAN
Nope.
Matthew looks.
MATTHEW
A horse?
BRIAN
You're both wrong, it's a bird.
COLLEEN
That doesn't look like a bird.
MATTHEW
A horse bird maybe.
COLLEEN
Make another one.
Brian rolls up the dough into a big ball.
BRIAN
Guess.
COLLEEN
A ball?
BRIAN
Yep, but it's a special kinda ball.
Brian steps back and winds up like a pitcher, the dough as his baseball.
BRIAN
Two men on bases, the striker steps to the line.
Colleen joins in, raising her rolling pin as a bat. Matthew crouches behind her as a catcher. Mike pays little attention.
BRIAN
And the hurler winds up...
Brian throws, Colleen swings and hits the dough ball. It doesn't travel, just drops to the ground with a splat at Matthew's feet.
MATTHEW
It's a hit!
Colleen begins racing around the house to imaginary bases. Brian chases her.
Matthew throws to Brian in order to tag Colleen out, but at that moment Brian runs directly in front of Mike. The dough ball hits Mike full on the chest where it stays, stuck to her dress.
She looks up, startled, peels the dough off her chest. The three kids stifle laughter. Is she mad? Mike rolls up the dough.
MIKE
The play isn't over yet!
And she begins to chase them, trying to tag them with the ball. Mike finally tosses the ball to Matthew, Brian tackles Colleen and Matthew puts the dough ball right on Colleen's forehead.
MATTHEW
(imitating Loren)
And yourrrrrre out!
They all start laughing... Mike, too. But then something occurs to Mike. She steps back, looking at her three silly children, in her lovely, comfortable house... a warm smile spreads on her face, happy tears spring to her eyes. Matthew notices.
MATTHEW
You alright, Dr. Mike?
MIKE
(nods, still smiling)
I was just remembering how very lucky I am.
She hugs all three of them to her, as her eyes glisten with tears and we --
DISSOLVE TO:

INT. MIKE AND SULLY'S ROOM - DAY SIX
Mike, changed into a nice dress for Thanksgiving, stands in front of the mirror, putting the finishing touches on her hair. Sully enters and she looks at him in mirror's reflection, not knowing what to expect.
SULLY
You're gettin' ready early.
MIKE
I have to meet Dr. Bernard at the train station.
He nods. There's an awkward silence. She turns to face him. He remains across the room by the door.
MIKE (said at same time)
Sully, I've been thinking...
SULLY (said at same time)
I just wanted you to know...
They stop and smile at each other.
SULLY
You first.
As they speak they slowly move closer to one another.
MIKE
I think I've lost sight of something in the last few weeks.
She steps closer.
MIKE
I've been so worried about what I don't have... that I stopped seeing what was right in front of me.
SULLY
And what's that?
MIKE
You... and the children. The truth is, if we're never able to have our own child, I'll still be the luckiest woman in the world.
He steps closer.
SULLY
You know, I been thinkin' the same thing.
MIKE
That I'm the luckiest woman in the world?
By now they are face to face, almost nose to nose.
SULLY
(smiles)
What we got... you and me, our family, it's special. But I ain't gonna let bein' afraid stop it from growin'.
They kiss, both tender and passionate, holding tightly to each other, their faces filled with love and contentment.

EXT. TRAIN STATION - DAY SIX
Mike arrives at the train station. The train is already in, but the platform is somewhat empty. Mike looks around and finds a kind looking, elderly gentleman, DR. BERNARD, sitting and reading. She hurries toward him.
MIKE
Dr. Bernard?
DR. BERNARD
Dr. Quinn?
He rises and they shake hands warmly.
MIKE
I'm sorry I'm late. I hope you haven't been waiting long.
DR. BERNARD
You're not late, the train was early.
(picks up his bag)
But we don't have much time. We should hurry.
MIKE
Of course. My clinic is just around the corner.
They hurry off the train platform as Mike guides him toward the clinic.

EXT. BARBERSHOP - DAY SIX
The town is pretty much deserted as Cloud Dancing guides Jake's horse to the barbershop. Jake hangs onto his saddle. Cloud Dancing ties the reins to the hitching post and Jake climbs down.
Jake awkwardly faces Cloud Dancing, not wanting to say "thank you" but not knowing what else to say. Cloud Dancing sees this and lets Jake off the hook.
CLOUD DANCING
I have to buy some tobacco.
Cloud Dancing turns and heads for the General Store. Jake climbs the stairs to his shop, all the while keeping an eye on --

+JAKE'S POV - EXT. GENERAL STORE - DAY SIX
Cloud Dancing shakes the door, looks in the window. It's dark, completely locked up. He sighs, very disappointed and turns to head out of town.

+ANGLE ON JAKE
watching all this. Jake considers... but then opens the door to his shop and enters --

INT. BARBERSHOP (CONTINUOUS) - DAY SIX
Jake throws his keys on the counter. He looks around the empty store. It's depressing. Jake sits heavily in his barber's chair rubbing his sore head. But then he looks up and sees himself in the mirror --

+JAKE'S POV - THE MIRROR
Not a pretty sight. A hungover man in a lone chair in an empty shop. Jake clearly doesn't like what he sees. Finally, Jake makes up his mind, gets out of the chair and strides out of the shop --

EXT. GENERAL STORE - DAY SIX
Jake sidles up to the door, extra casual. Glances around, no one's looking. He moves to a window, then runs a finger over the top of its frame. He finds something... we SEE that it's a key. Jake lets himself into the store.

EXT. RESERVATION - DAY SIX
Tables are laid out. Many people, both Indians and townsfolk, sit on blankets, as well as at tables brought from Grace's cafe. It's a good turn out from both cultures. Among the crowd, we find Matthew, Brian, Colleen, the Reverend, Myra and Horace (pushing Samantha's carriage), Grace and Robert E, as well as Sully and Cloud Dancing.
We MOVE in and around the event, people serving and sharing food, trying to bridge awkward communication gaps. In particular we FIND --
1). COLLEEN - she serves an old Indian man some sweet potatoes. He stands unmoving until she realizes he wants more... and then more. Finally, he smiles broadly and leaves with a mountain of potatoes on his plate.
2). ROBERT E - he tries to lift a cauldron that's too heavy. He's about to hurt himself when a large Indian woman comes to his aid, easily as strong as he is, much to his embarrassment.
3). MATTHEW - talks with some young Indian women, trying to figure out what they're saying. He "signs" a sentence but gets it wrong, sending the girls into peals of laughter and leaving him baffled, "what'd I say?"

+ANGLE ON GRACE
She serves up the sliced turkey, next to Colleen and the potatoes. Brian approaches and offers Grace his plate. She sets a drumstick on it. He looks down sadly at the drumstick.
BRIAN
George.
Grace gives him a look.
GRACE
George?
BRIAN
He was my friend.
Brian offers the drumstick back to Grace. She takes it and watches Brian collect some potatoes and go off. Grace looks at the drumstick, then at the whole turkey.
GRACE
George...
Grace fights it, but loses. It's George alright. She sets the drumstick down.
GRACE
Colleen, save me some extra potatoes, please.

+ANGLE ON CLOUD DANCING
He sits patiently in front of his tent as Sully approaches.
SULLY
Dr. Mike should be here soon so we can start the memorial ceremony.
CLOUD DANCING
I can not perform it.
SULLY
Why not?
CLOUD DANCING
No tobacco.
Suddenly, a pouch lands in Cloud Dancing's lap. Both he and Sully look up to see Jake standing there. Jake is considerably more clean and dressed up than when last we saw him. There's a small, fresh bandage on his forehead.
JAKE
Somebody say somethin' 'bout tobacco?
Cloud Dancing and Jake share a look. No smiles, just slight nods of understanding... of thanks. Sully looks from one to the other, baffled. Jake walks away.
Cloud Dancing claps Sully on the back and rises.
CLOUD DANCING
Now, the ceremony will begin.
We HOLD ON Sully's face, as we go to --

+ANGLE ON JAKE
He heads back to his horse but bumps into the Reverend. The Reverend's face lights up with surprise at seeing Jake.
REVEREND
Jake! Glad you decided to make it. What happened to your forehead?
JAKE
A scratch.
(starts to move around the Reverend)
I was just leavin'...
The Reverend takes his arm, not allowing him the chance to get away.
REVEREND
We'll get Dr. Mike to take a look when she gets here.
The Reverend guides Jake to a long picnic table at which sits Brian, Colleen, Matthew, Myra and Horace, as well as some Indians. Robert E approaches.
ROBERT E
Have a seat.
Robert E plants Jake in a seat. Colleen leans over to study the wound on Jake's head.
COLLEEN
What happened to your head?
JAKE
Nothin'.
COLLEEN
Dr. Mike'll wanna check it.
Suddenly, a plate of food lands right in front of Jake. Grace stands behind it. The food makes Jake's mouth water.
GRACE
Here you go, Jake. Glad you could make it.
JAKE
(starting to rise)
I'm not stayin'...
Grace gently pushes him back into his chair.
GRACE
'Course you are.
The conversation continues at the table as Jake looks around: Everyone talks, laughs, eats; the non-Indians do their best to communicate with Indians and vise-versa. The atmosphere is inclusive, friendly.
MYRA
Cornbread, Jake?
Myra offers the basket to Jake who hesitates, then takes it. Jake looks around again, finally realizing... he is amongst friends. Jake takes a piece of cornbread... then passes the basket on.

+ANGLE ON DR. MIKE
She's just arriving in the wagon. She climbs down and greets a few people as she searches for Sully. She spots him and moves quickly in his direction.
MIKE
Sully...
SULLY
There you are! I was gettin' worried. Is everything alright?
MIKE
Everything is more than alright.
Looks at her, curious... "what?"
MIKE
I... we... are going to have a baby!
Sully is stunned.
SULLY
But how do you...?
MIKE
Dr. Bernard examined me.
SULLY
You're sure?
MIKE
It's true! I can't believe I didn't know it myself!
SULLY
A... a baby? We're gonna have a...
She nods vigorously, smiling, overjoyed as Sully sweeps her up into his arms with all the excitement and love in the world.
The two parents-to-be cling to each other, Sully swinging her in circles, as we begin to PULL BACK and UP...
As we get further away, we SEE Brian, Colleen and Matthew approach them, "what's all the excitement about?" We SEE Sully and Mike excitedly tell the children... the children leap for joy, hugging them both. This is one happy family, as we...
FADE OUT
THE END

 

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