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RUNAWAY TRAIN

Written by Philip Gerson / Directed by Terrence O'Hara

TEASER
FADE IN:

INT. HOMESTEAD - BY THE FIREPLACE - DAY ONE
KATIE's smiling face FILLS THE SCREEN. She's three months old, and happily looking up at something -- REVEAL her grinning, proud parents, MIKE and SULLY, sitting in front of the fireplace as Mike buttons up her dress, having just finished nursing Katie, who lies on her lap.
MIKE
(giddy with pleasure)
Look at her little fingers -- the way she wiggles them when she's happy...
(looking at Sully)
Isn't she beautiful?
(then:)
How many times have I said that today?
SULLY
Only four.
They grin at each other.
SULLY
Only thing is -- you're right.
They kiss softly...
COLLEEN (O.S.)
Ma...

+REVEAL COLLEEN AND BRIAN
who stand near the front door. Colleen holds up Mike's medical bag:
COLLEEN
(sympathetically)
You're gonna be late.
Mike and Sully rise (Mike carrying Katie) and join Colleen and Brian.
MIKE
I really appreciate you taking care of Katie this morning, Colleen.
COLLEEN
I'm happy to do it, Ma.
SULLY
I'll go get the horses.
He kisses Katie goodbye, and goes out the front door. Mike reluctantly gives Katie to Colleen:
MIKE
I know I've been planning this for weeks...
BRIAN
Everything's gonna be fine --
COLLEEN
The town's gonna be so happy to have you back.
MIKE
Perhaps I should take her with me to the clinic after all...
COLLEEN
It's better to give yourself the morning to settle in -- I'll bring her in time for you to nurse.
Mike nods, kisses Katie, and heads to the door. She takes one last look back. Colleen waves Katie's little hand goodbye to Mike. That does it: Mike comes back for one last kiss goodbye, then leaves.
Colleen feels that the baby is wet, turns to Brian.
COLLEEN
Brian.
She hands Katie to Brian, who also feels that she's wet:
BRIAN
Again?
As they move to the kitchen table:
BRIAN
How 'bout tomorrow I cook breakfast, and you change her diaper?
COLLEEN
But you're so good at it.
BRIAN
You're good at it, too.
COLLEEN
Brian... remember the last time you cooked breakfast?
BRIAN
(considers a beat; then sighs:)
Hand me that diaper.

EXT. HOMESTEAD - DAY ONE
As Mike and Sully mount their horses, Sully looks at her, with the twinkle of a teasing dare in his eye:
SULLY
Been a while since you been ridin'. We can take it easy, go slow...
That's all the prodding Mike needs. She nudges FLASH and they gallop off. Sully grins -- this is just what he intended -- and takes off after her. They race each other down the road --

EXT. ROAD - DAY ONE
Mike and Sully ride like the wind, neck and neck, laughing with the sheer joy of the speed and each other's company --

EXT. HILL AND FIELD - DAY ONE
Mike and Sully bound over the top of the hill, perfectly paced for each other, when suddenly -- Mike turns and cuts across a field, taking a short cut. Sully laughs and follows her --

EXT. STREET LEADING TO LIVERY & SHERIFF'S OFFICE - DAY ONE
Mike is just ahead of Sully as they barrel into town, whooping it up. They rein their horses to a stop in front of the livery, laughing as they dismount:
MIKE
I won!
SULLY
'Cause you cheated...
MATTHEW is there, with ROBERT E.
MATTHEW
(with a smile)
Oughta arrest you two for disturbin' the peace.
They all smile greetings to each other.
ROBERT E
Mornin'.
Robert E returns to the livery.
MATTHEW
Horace was lookin' for you, Sully -- this just come for you.
He hands a telegram to Sully as Mike tethers Flash to a post.
SULLY
From General Wooden...
MIKE
About Cloud Dancing? Has he agreed to send him back here?
SULLY
Doesn't say. Just says he'll see me for five minutes tomorrow afternoon at the Denver train station.
MIKE
He wouldn't even see you before, this has to be a good sign.
MATTHEW
Sounds like those letters you wrote to Washington did some good.
SULLY
(nods; he hopes so)
I'll take the train tomorrow mornin'.
MATTHEW
Could sure use your help Sully -- I gotta ride out to Widow Flanders -- some thieves stole a few of her horses last night...
MIKE
Is she alright?
MATTHEW
She's fine, but they tore up her fence pretty bad. Told her I'd patch it up.
SULLY
Let's go.
(taking Mike's hand)
Promise me you won't overdo things on your first day back -- let Andrew help you out.
MIKE
(smiling, appreciating his concern)
I promise.
They kiss. Sully and Matthew take off. Mike turns and starts down the street toward the corner --

EXT. STREET LEADING TO CLINIC - CONTINUOUS - DAY ONE
Mike turns the corner and stops -- there it is. The clinic. She takes a deep breath, and walks toward it...
As she approaches, DOROTHY comes out of the Gazette, sees Mike. They greet each other with warm smiles, and walk toward each other, meeting up near the door to the clinic.
DOROTHY
Well here you are Michaela -- your first day back.
(reading her)
Now don't be nervous, Andrew's been doin' a real good job...
Exactly one of the things that's making Mike nervous.
DOROTHY
It'll probably be a slow day anyway...
MIKE
That's right -- I can get settled in, go home early...
Dorothy takes Mike's hand, gives it a friendly squeeze:
DOROTHY
It's good to have you back.
And she walks off (towards the store). Mike takes a deep breath, opens the clinic door --

INT. CLINIC - CONTINUOUS - DAY ONE
Mike halts in her tracks with a gasp of horror as she sees:
LOREN, lying on the table, GROANING with pain, an umbrella sticking out of his bloody stomach. ANDREW works on him furiously, looks up, sees Mike:
ANDREW
He tripped in the store -- !
Mike swings into action, moving swiftly to the table:
MIKE
How could this have happened?
Loren sits bolt upright on the table, smiling into Mike's face:
LOREN
And it's not even raining!
Mike freezes -- what the heck?! JAKE and the REVEREND burst in through the hall door, grinning, and they all yell:
JAKE/REVEREND/ANDREW/LOREN
Surprise!
The guys laugh; Mike shakes her head, amazed, getting it:
JAKE
Gotcha!
REVEREND
Wonderful to have you back, Dr.
Mike.
LOREN
Mind you, I think Andrew coulda performed an umbrella-ectomy without your help.
Mike smiles, being a good sport. Andrew hands her a bouquet of wildflowers:
ANDREW
Welcome back.
MIKE
Thank you...
LOREN
Ain't he the greatest?
ANDREW
Go on -- get out of here...
He ushers the men out; they laugh, pat him on the back, and call their "Welcome backs" to Mike over their shoulders.Mike and Andrew are left alone in the clinic. It's a bit uncomfortable. They smile at each other. After a moment:
MIKE
Well... I guess I'd like to start by catching up on my patients' health.
ANDREW
I thought you might -- so I organized these records for you...
He points out some charts which are laid out on the desk. They both move behind the desk at the same time, but Andrew, in his enthusiasm, gets there first. No sooner does he sit down, than he immediately pops back up, embarrassed, motioning for her to sit down:
ANDREW
Sorry -- please.
Mike slips behind the desk and sits down. Mike looks at the organized desktop:
MIKE
Well, everything certainly seems to be in order... very impressive.
Andrew smiles and moves beside her, looking over her shoulder:
ANDREW
I had to perform an appendectomy on Mr. Frobush, and Emily Grange's stomach is getting worse...
(then, looking at her, a little apologetically)
It's good to have you back... Dr. Quinn.
MIKE
Thank you... (giving him the compliment of the title) Dr. Cook.
Andrew glows under her compliment, then moves some more charts up for her inspection. Mike, however, can't help but wonder whose clinic this is.
ANDREW
Mrs. Green's hip is improving, Anthony's condition seems to be stable...

FADE OUT
END OF TEASER

ACT ONE
FADE IN:

EXT. GENERAL STORE - DAY TWO
Matthew comes up to Loren, hands him a flyer:
MATTHEW
Can you post this, Loren? Railroad's offerin' a reward for information 'bout a gang who's been robbin' the trains --
LOREN
Hang the train -- what I wanna know is what're you gonna do 'bout my window?
He points out a broken window. GRACE and Robert E, who are on their way out of the store with purchases, hear that:
MATTHEW
Was anythin' missin'?
LOREN
No, but that ain't the point...
GRACE
It's terrible -- seems like nearly every day some stranger takes off without payin' for their meal --
ROBERT E
And I had some more horseshoes stolen last night from the livery...
As Loren pins up the flyer, Grace looks at it:
GRACE
Gettin' so you don't feel safe anywhere...
OFF Matthew, concerned despite himself...

EXT. TRAIN STATION - DAY TWO
Sully, holding Katie, is about to get on the train. Mike smiles as she looks at Sully, the father, talking to his daughter:
SULLY
You take care your ma while I'm gone...
MIKE
You're only going overnight.
SULLY
(looks at Mike for a moment; then:)
... Harder to leave nowadays.
They kiss as Sully cradles the baby between them.
COLORADO SPRINGS CONDUCTOR (O.S.)
All aboard!
Sully hands Katie back to Mike, then steps onto the train.
MIKE
Good luck with General Wooden.
Sully waves goodbye from the steps as the train takes off...
Mike watches the train leave, then hears from the top of the steps:
JAKE (O.S.)
What'dya mean you didn't send my telegram?
Mike turns to see --

+JAKE AND HORACE
Jake, frustrated, confronts HORACE, who watches the train pull out; he looks depressed, distant.
JAKE
The deadline for me and Hank's loan application is tomorrow.
HORACE
(flat)
Musta forgot.
JAKE
You want Preston to have the only hotel in town?
HORACE
I'll send it now.
He walks off. Jake follows him toward the telegraph office.

+MIKE concerned, follows them, carrying Katie --

+AT THE TELEGRAPH OFFICE
Jake addresses Horace through the window. Horace doesn't respond, just numbly sends a telegram:
JAKE
(with some sympathy)
Sorry I barked at you, but I gotta get that application out.
(then)
Get another letter from Myra?
(no response)
It's been three months since she left, you gotta face facts -- she ain't comin' back.
No response. Jake shakes his head, frustrated, and walks away, passing by Mike, who approaches the window:
MIKE
Horace... I know how much you miss Myra and Samantha --
HORACE
Don't wanna talk 'bout it.
He moves away from the window. Mike watches him, concerned...

INT. CLINIC - DAY TWO
Andrew sets down a crib in the corner of the clinic; Mike follows him, carrying Katie.
ANDREW
I guess Katie will be starting her medical training early.
MIKE
(smiles)
Thank you Andrew.
She puts Katie down in a crib, as Robert E comes in, holding a cloth gingerly around his arm, in some pain:
ROBERT E
Burnt myself on the forge -- it ain't too bad, but...
MIKE
Let me have a look --
She moves toward him... But Katie starts CRYING. Mike looks over at her, then looks back at Robert E:
MIKE
I'm sorry, Robert E -- do you mind waiting just a few minutes?
Mike goes to the crib, picks up Katie.
ANDREW
(pleasantly)
No need -- I can take care of this.
ROBERT E
Thanks, Dr. Cook.
Andrew starts to carefully unwrap the cloth.
Mike carries Katie toward the recovery rooms, looking back over her shoulder at Andrew examining Robert E, with very mixed emotions...

INT. DENVER TRAIN STATION WAITING ROOM - DAY TWO
Sully comes in, spots GENERAL WOODEN giving orders to a couple of Soldiers, and goes to him:
SULLY
General Wooden? I'm Agent Sully.
Wooden turns to Sully, regards him with disdain. He's brusque and all business, and barely conceals his contempt:
WOODEN
Former Agent Sully. I don't know how you did it, but you got Washington breathing down my neck. That is a feeling I am unaccustomed to and I want it stopped. What's it going to take?
SULLY
One man -- Cloud Dancing.
WOODEN
How predictable.
(a beat)
Done.
Sully is surprised it was that easy; he presses his advantage:
SULLY
And get rid of O'Connor.
WOODEN
(weighs that a moment; then:)
Now that he's got things under control at Palmer Creek, he'll be more useful elsewhere...
(then)
But -- in return you agree to never again involve yourself with Indian affairs.
That hits Sully hard; he hadn't expected that.
WOODEN
No interfering with the new Agent at Palmer Creek -- or any Indian business anywhere. No letters, no telegrams -- if I even hear the whisper of your name, I'll transfer your Indian friend where you'll never find him.
Sully realizes he has no choice. He reluctantly sets his jaw and nods.
WOODEN
I'll have him here on the troop train at nine o'clock tomorrow morning. Be here to sign for him.
He turns away from Sully, and walks off talking to his Soldiers. OFF Sully, taking this in --

EXT. GRACE'S CAFE - DAY THREE
It's breakfast time. Mike, on her way into the cafe, spots Loren wincing as he stands. He looks tired and in discomfort.
MIKE
Loren...? Are you alright?
Loren looks up, surprised -- and strangely uncomfortable in Mike's presence:
LOREN
Well... it's just that my...
(changes his mind)
It's nothin', I'm fine.
Loren takes off, clearly not wanting to talk. Mike watches him leave, puzzled...
She spots Horace eating breakfast by himself, and goes over to him.
MIKE
Do you mind if I join you, Horace?
Horace doesn't look up from his plate, just barely nods. Mike sits, decides to plunge right in:
MIKE
You're looking tired...
HORACE
(mumbles, flat)
Not sleepin' too good.
MIKE
Have you tried chamomile tea?
That sometimes helps me...
(trying to help without prying)
When I don't get enough sleep, whatever problems I'm having seem even worse --
Horace changes the subject, reaches into his pocket and pulls out a telegram:
HORACE
I was lookin' for you at the clinic -- this come for you last night.
Mike opens it, and her face lights up with joy as Dorothy and Grace join them:
DOROTHY
Good news, Michaela?
MIKE
Sully's coming back today with Cloud Dancing!
GRACE
That's wonderful -- !
There's an awkward beat as they see that their happiness isn't shared by Horace. Grace nudges Dorothy, who tries to use what's just happened to amplify their mission:
DOROTHY
(forced)
And it just goes to show you how important Horace is to all of us -- delivering news like that accurately...
GRACE
(for his benefit)
Don't know what we'd do without him.
Horace doesn't respond, just eats his breakfast listlessly.
The women exchange looks with Mike. She realizes what they're doing, and shares their concern:
DOROTHY
We were thinkin' we should have an end-of-the-summer picnic -- maybe up by Spencer Lake?
MIKE
(jumping in)
It would be a good opportunity to visit... and welcome Cloud Dancing back.
Nothing from Horace. Dorothy continues, trying to make it sound more appealing:
DOROTHY
We can fish and swim, and have games for the children --
She stops on a dime, realizing she's said the wrong thing. Horace sighs, puts down his fork. Dorothy feels awful; she finally lets down the charade and speaks more naturally to him:
DOROTHY
Oh Horace, I didn't mean to -- it's just that I want you to...
(not knowing how to say it)
I'm sorry.
HORACE
(standing)
It's alright...
He starts to leave, but is stopped by PRESTON, who arrives, all urgent business:
PRESTON
Horace, a chandelier I purchased is being shipped on today's train -- I need to advise whoever handles the baggage in Denver of its fragility.
HORACE
They'll take care of it.
PRESTON
(not to be brushed off)
It took a great deal of time and expense to find the appropriate fixture for the hotel dining room, and I want to make sure it arrives here safely. Can't we send a telegram...?
HORACE
I s'pose.
Horace takes off. Preston follows him, with a nod to the ladies, who watch Horace leave, troubled...

EXT. CLINIC - DAY THREE
Mike arrives at the clinic to find Andrew unlocking the door on his way in.
ANDREW
Good morning, Michaela -- where's that beautiful baby of yours?
MIKE
Colleen's taking her for a walk in her carriage...
(something on her mind)
Andrew --
ANDREW
She's a wonderful girl, Colleen --
Mike looks at him, surprised by the familiarity. He adds, quickly clarifying -- or perhaps back-pedalling:
ANDREW
I mean, she's been a great help -- I don't know what I would've done without her --
(still not right)
Without her nursing skills.
He holds the door open for her. Mike precedes him in --

INT. CLINIC - DAY THREE - CONTINUOUS
Mike turns to Andrew as he comes in the door, asking too casually (revealing how important it really is to her):
MIKE
By the way, Andrew... I was wondering -- what are your plans?
ANDREW
Plans?
MIKE
Now that I'm back at work.
ANDREW
I hadn't really thought about it...
MIKE
You've done such a good job in my absence -- and I greatly appreciate it...
(which only makes this more difficult:)
You're a fine doctor...
ANDREW
That means a great deal, coming from you.
MIKE
But you must be anxious to get back to Boston and start your own work -- with your uncle.
ANDREW
(reluctant)
I'm in no hurry, I'm happy to help you get settled in...
MIKE
(not what she hoped to hear)
That's very thoughtful...
ANDREW
A few days, a week, a month, whatever you need -- then I'll go home.
Mike isn't sure what to say. Andrew adds hopefully:
ANDREW
I can't imagine you'd want to jump in full-time right away? With Katie and all.
MIKE
(knows she could use his help)
Well if you'd care to stay a little while, to assist me...
ANDREW
(not quite what he had in mind)
Of course... and perhaps, if you want to go home early, or come in late -- or take a whole day off now and then...
MIKE
(not quite what she had in mind)
I'm sure we can work all this out.
(then, remembering)
Actually, I do have to leave early today -- Sully is coming home with Cloud Dancing...
ANDREW
Well that's good news...
OFF Mike, still not sure that they've resolved this...

EXT. SPUR JUNCTION POINT - DAY THREE
CLOSE ON a padlocked track switch. Suddenly, the lock is shattered by a GUNSHOT...
REVEAL a tough-looking guy (FIRST ROBBER) holding a pistol that he's just fired. We're at a junction point, where a spur leads out from the train tracks that reach in either direction. The First Robber's horse stands nearby; two other saddled horses are tied loosely to it.
The First Robber takes the shattered lock off the switch, tosses it aside, and pulls the lever. The tracks shift onto the spur, and the signal shifts from green (straight ahead), to red (at a ninety degree angle). He grabs the signal and breaks it, forcing it back so that it reads green, straight ahead. He mounts his horse, and starts out the spur, leading out the two other horses...

INT. DENVER TRAIN STATION - DAY THREE
A couple of tough-looking guys (SECOND ROBBER and THIRD ROBBER), seated on a bench, surreptitiously adjust the bulges inside their jackets; we see the glint of pistols, and know that they're packing.
CONDUCTOR (O.S.)
Ten-thirty express boarding for Colorado Springs and Pueblo on track two.
The Robbers rise, almost bumping into Sully (who's carrying a small satchel of food). He passes them by on his way to the CONDUCTOR, who he addresses, worried:
SULLY
You know anythin' 'bout a troop train -- was s'posed to be here at nine?
The Conductor shakes his head, no. Sully looks around, wondering what's going on, when he sees --
Four Soldiers coming through the crowd, flanking CLOUD DANCING, who stumbles along, trying to keep up with them, looking terrible: he coughs and looks weak, poorly nourished, and roughed up (some bruises, maybe a black eye).
Sully hurries to them. They block him from Cloud Dancing.
FIRST SOLDIER
Byron Sully?
Sully nods, his eyes locked with Cloud Dancing's.
FIRST SOLDIER
Sign for this.
He holds out a form. Sully signs it, without taking his eyes off Cloud Dancing.
FIRST SOLDIER
All yours.
The Soldiers take off, leaving the two friends looking at each other, filled with emotion: Sully is happy to have his friend back, but upset by his condition; Cloud Dancing is physically weak, overwhelmed by what he's been through. Sully steps up to Cloud Dancing, takes his arm. The touch is electric, and they look at each other, fighting back the emotion, then they embrace each other.
CONDUCTOR (O.S.)
All aboard for Colorado Springs and Pueblo!
They separate, look at each other.
SULLY
Let's go home.
As they leave the waiting room, we...
FADE OUT
END OF ACT ONE

ACT TWO
FADE IN:

INT. TRAIN PASSENGER CAR - DAY THREE
Sully (carrying the small satchel of food) and Cloud Dancing sit in the crowded train car (which contains a stove). Passengers look at Cloud Dancing with distrust, nervousness, and in some cases, hatred.
The Conductor approaches them:
CONDUCTOR
No Injuns allowed.
SULLY
I bought him a ticket --
CONDUCTOR
Railroad policy.
Sully looks at Cloud Dancing, who looks weak and tired.
SULLY
What about the baggage car?
The Conductor weighs that; Sully presses it:
SULLY
Railroad gets to keep its rules...
(holds up their tickets)
And make its money.
The Conductor nods. Sully starts to lead Cloud Dancing forward through the car, passing the Second and Third Robbers, who look at each other, clearly having overheard this interchange...

EXT. MEADOW - DAY THREE
Colleen is giving Andrew a riding lesson; he's not very comfortable on a horse:
COLLEEN
Just give him a little nudge...
Andrew flicks his heels and the horse takes off in the opposite direction. Colleen can't help but laugh. She turns her horse to catch up to Andrew:
COLLEEN
You've been here three months already, Andrew --
ANDREW
And never met a horse I liked...
They laugh, enjoying each other's company. There's a real spark between these two.
COLLEEN
Took me a long time to get used to it.
(looking away)
'Sides, I guess ridin' won't be much use to you when you go back to Boston...
ANDREW
Or to you, when you go to college in Denver.
COLLEEN
I still haven't heard from 'em.
ANDREW
You will.
COLLEEN
(pleased he has such faith in her; but:)
It's gonna be hard on Ma -- me leavin' at the same time as she's got Katie to take care of.
ANDREW
That's just what I was telling her -- I mean, that it would be a good idea if I stayed to help at the clinic.
Colleen lights up; that's just what she was hoping for:
COLLEEN
And then we can visit -- I'll be comin' home regular...
ANDREW
I'd like that.
Another exchanged smile. Colleen blushes, and nudges her horse off toward town. Andrew gives his horse a nudge, and, to his great surprise, his horse follows Colleen's...

INT. TRAIN BAGGAGE CAR (MOVING) - DAY THREE
Sully and Cloud Dancing sit on a couple of the many crates that are piled around; an elaborate packing crate is labelled: "FRAGILE: CHANDELIER," and addressed to "PRESTON LODGE, COLORADO SPRINGS, COLORADO." Sully has taken bread and meat out of his satchel; during the following, he breaks the bread and slices the meat with his knife:
SULLY
Her name is Katie.
CLOUD DANCING
A good name.
(in Cheyenne:)
[Tse - heh - stoh - nah - toha.]
(a beat; then:)
Your daughter is my daughter.
Sully nods, appreciating this. It's a moment between them.
Then Sully hands Cloud Dancing a piece of meat:
SULLY
I ain't Indian agent no more -- they fired me. The new one's runnin' things by the book.
CLOUD DANCING
(surprised, troubled)
Then how did you arrange my release?
SULLY
(a beat; knows he has to be honest)
Said I wouldn't make no more trouble.
CLOUD DANCING
(shakes his head; that's even worse)
The General traded me to get rid of you.
SULLY
I got rid 'a O'Connor in the bargain...
Still, it makes them both feel like... the piece of meat Cloud Dancing holds in his hand:
CLOUD DANCING
At East Fork, I had to trade for everything -- for food, medicine. Now they make you trade yourself for me... (then) It would have been better to leave me at East Fork.
Before Sully can respond, the Second and Third Robbers suddenly come into the car, guns drawn.
THIRD ROBBER
Don't move!
Sully and Cloud Dancing freeze, the guns trained on them.
Sully, thinking fast, surreptitiously reaches behind himself with the hand holding his knife (with which he'd been cutting the meat) --

+BEHIND SULLY'S BACK
Sully hides his knife behind his back, underneath his jacket
(which he has set down on top of a crate).

+BACK TO SCENE
The Third Robber sees Sully's hand come out from behind his back and thinks he's going for his tomahawk:
THIRD ROBBER
Hold it! That payroll's ours.
Sully and Cloud Dancing exchange a look: this is news to them.
THIRD ROBBER
(to Second Robber)
Get his tomahawk.
While the Third Robber keeps his gun trained on both of them, the Second Robber takes Sully's tomahawk off his belt. The Third Robber throws him some rope:
THIRD ROBBER
Tie 'em up.
The Second Robber turns Sully around to start tying him up.

EXT. CLINIC - DAY THREE
Mike comes out of the clinic, talking over her shoulder to Andrew, who's inside:
MIKE
I'll be back right, I'm going to the Gazette to check on Katie --
ANDREW (O.S.)
Take your time...
That was said cheerfully, but it has its effect on Mike as she closes the door. As she turns, she sees Loren waiting on the bench, looking even more uncomfortable than he did at the cafe this morning:
MIKE
Loren... were you waiting to see me?
LOREN
Well... no -- I...
MIKE
I can come right back --
LOREN
(not rising)
No -- I'm just... takin' in the view.
Mike looks at the view -- of the saloon. Something's wrong:
MIKE
Are you sure you're alright?
LOREN
(forcing a smile)
Fine.
Mike walks away. Before she goes into the Gazette, however, she glances back at the clinic window, and sees:

+MIKE'S POV - THROUGH THE CLINIC WINDOW
Andrew rises as Loren comes in. They don't see Mike.

+MIKE
Her heart sinks: What can this mean?

INT. TRAIN BAGGAGE CAR (MOVING) - DAY THREE
THIRD ROBBER
I'm goin' up front -- keep your eyes on them.
The Third Robber leaves through the door that leads out to the tender, as the Second Robber approaches the strongbox that holds the payroll.
Sully and Cloud Dancing sit opposite each other against crates, individually tied up (their hands behind their backs, their feet together).

+BEHIND SULLY'S BACK
Sully secretly wedges his knife between a couple of crates, and starts to work the rope against it. He can only move his hands a little at a time, or he'll reveal what he's doing. The knife slowly cuts through the rope that binds his hands...

+SCENE
Suddenly, the Second Robber, Sully and Cloud Dancing are lurched sideways --
The Second Robber knocks the lock off the strongbox containing the payroll with the butt of his gun:
SECOND ROBBER
Don't worry boys, just takin' a little side-trip...

INT. TRAIN ENGINE CAB (MOVING) - DAY THREE - CONTINUOUS
The ENGINEER and FIREMAN are surprised:
ENGINEER
We're on the spur -- what happened to the signal?!
He reaches for the brakes, but before he can pull them --A GUNSHOT rings out, and the Fireman falls dead against the side of the cab. The Engineer, shocked, turns back toward the tender --

EXT. TRAIN TENDER (MOVING) - DAY THREE - CONTINUOUS
The Third Robber stands on top of the tender, near the engine, holding the pistol that he just shot into the cab. He moves toward the cab --
THIRD ROBBER
Don't touch those brakes --

INT. TRAIN BAGGAGE CAR (MOVING) - DAY THREE - CONTINUOUS
Sully and Cloud Dancing react to the gunshot, trading worried glances with each other.

+BEHIND SULLY'S BACK
Sully works faster on the rope...

EXT. SIDE OF THE TRAIN TRACKS - DAY THREE - CONTINUOUS
The Fireman's body falls to the ground beside the tracks, as we HEAR the train passing by...

INT. TRAIN ENGINE CAB (MOVING) - DAY THREE - CONTINUOUS
The Third Robber stands behind the Engineer, his gun trained on him:
THIRD ROBBER
Keep it goin' to the old mine --

EXT. SPUR - MODEL - DAY THREE - CONTINUOUS
The train continues at full speed down the spur...

EXT. CLINIC - DAY THREE
Mike leaves the Gazette, heading back to the clinic, just as Andrew shows Loren out of the clinic. It's an uncomfortable moment for all of them. Loren takes off. Andrew quickly tells Mike:
ANDREW
Believe me, it was completely his choice --
MIKE
He didn't want to consult me?
ANDREW
It's just that... it's a very sensitive condition -- a male concern -- and he feels more comfortable talking to a man about it...
MIKE
But I'm a doctor.
ANDREW
And I'm a male doctor. Not that it's better or worse -- it's just easier for him to talk to me.
MIKE
After all this time...
Mike shakes her head; this feels as frustrating as it felt the first day she arrived in town.
ANDREW
(feebly)
It's just because his problem's in an... embarrassing location.
MIKE
The first condition I treated Loren for was a hernia, which was also in a rather embarrassing location. But at that time he didn't have a choice.
ANDREW
(feeling badly about this)
Since you've been his doctor for so long, I'd certainly want to consult with you about his condition...
Mike nods -- it doesn't solve the problem, but she appreciates what Andrew's trying to do.
ANDREW
He's been having some difficulty urinating -- he feels as if he needs to frequently, but there's been retention of the urine --
MIKE
A problem with his prostate gland... that's not uncommon in a man his age.
ANDREW
(nods)
I examined him, it's enlarged, but it didn't seem to be malignant.
MIKE
He can try warm hip baths, and iron alum, or tincture of chloride of iron...
ANDREW
That's what I told him -- he's coming back in tomorrow...
(hesitantly -- he feels he has to:)
If you want to be there...
MIKE
No, you're right. It's the patient's choice.
Preston comes up, full of news:
PRESTON
Andrew, I've located the perfect homestead property for you -- it's near a stream, with some beautiful old trees, just as you requested.
What was that? Mike cuts her eyes to Andrew, who avoids her gaze. Preston picks up on the tension, and likes it:
PRESTON
If you're going to be running the clinic at my hotel, we've got to find you an appropriate place to live.
ANDREW
(really flustered)
Now wait -- I never told you I was going to run your clinic --
PRESTON
(dismissing that)
Just remember -- it's never too soon to grab a piece of Colorado land.
He takes off with a big grin. Andrew immediately tries to explain:
ANDREW
I didn't actually request that he look for me... He just asked if I was interested, and I said, well, if the right thing came along, I'd have a look at it, just to have a look...
He finally shuts up, realizing he's digging himself deeper. Mike, letting him off the hook, nods her head with a forced smile, and goes into the clinic.

INT. TRAIN BAGGAGE CAR (MOVING) - DAY THREE
The Second Robber is taking stacks of bills and bags of silver coins out of the payroll crate and putting them into saddle bags. Sully keeps his eye on him, moving his hands behind his back every so slightly --

+BEHIND SULLY'S BACK
Sully finally manages to cut his hands free, and grabs his knife...

+SCENE
Keeping his hands behind his back as if they are still bound, Sully glances at Cloud Dancing, and nods his head, warning Cloud Dancing to get ready...
Sully focuses on the Second Robber, who is putting more bills and bags into saddle bags. Sully waits until the Robber is holding bags in both hands, and then:
Sully suddenly lunges at him (his feet still bound together).
The Robber sees the movement, drops the money and reaches for his gun --
But before he can get it, Sully tackles him backwards. Sully has the advantage of surprise, but his legs are bound. There's a brief struggle, Sully punches him out with the butt of his knife.
Sully cuts through the rope that binds his feet, and goes to Cloud Dancing, cutting him free:
SULLY
Tie him up -- I'm gonna go after the other one.
Sully gives Cloud Dancing his knife and hurries out of the car, picking up his jacket and gloves on the way out --

EXT. TRAIN TENDER (MOVING) - DAY THREE - CONTINUOUS
Sully climbs over the top of the tender, toward the engine cab --

INT. ENGINE CAB (MOVING) - DAY THREE - CONTINUOUS
The Third Robber has his gun trained at the Engineer, and is peering down the tracks. The Engineer nervously looks at the Robber, sees something behind him, is startled --
The Robber sees his surprise, follows his eyes, and sees:

+THEIR POV
Sully comes toward them over the top of the tender --

+INSIDE OF THE CAB
The Engineer takes advantage of the distraction to grab the Robber's gun arm, trying to disarm him. The Robber shoots the Engineer in the chest --

+THE ENGINEER
falls dead, hanging out the side of the window.

EXT. TRAIN ON SPUR - MODEL - DAY THREE - CONTINUOUS
The train speeds down the spur --

INT. TRAIN ENGINE CAB (MOVING) - DAY THREE - CONTINUOUS
Sully and the Third Robber are in a tight clinch, struggling for control of the pistol, which the Third Robber holds, trying to aim it at Sully --
Sully kicks the Robber back, and punches him, sending him off the side of the train.
Sully spins around, looks out the front of the train --

+SULLY'S POV - OUT THE FRONT OF THE ENGINE CAB - MODEL
The train approaches the barrier that marks the end of the tracks --

+SULLY
applies the brakes, pulls the Johnson bar backwards --

EXT. TRAIN WHEELS - MODEL - DAY THREE - CONTINUOUS
The wheels SPARK as the metal SCREECHES against the tracks --

EXT. TRAIN - MODEL - DAY THREE - CONTINUOUS
The train breaks through the barrier, crashing it to bits, and careens off the end of the tracks --

INT. TRAIN PASSENGER CAR (MOVING) - DAY THREE - CONTINUOUS
The Passengers SCREAM as the car bounces back and forth --

+THE STOVE
slides across the floor --

+THE PASSENGERS AND CONDUCTOR
try to hang onto something, anything, as the car starts to tip over --

EXT. TRAIN - MODEL - DAY THREE - CONTINUOUS
The train crashes through the dirt, hurtling towards a cliff --

INT. TRAIN BAGGAGE CAR (MOVING) - DAY THREE - CONTINUOUS
Cloud Dancing is bounced around as the car starts to turn over --

INT. ENGINE CAB (MOVING) - DAY THREE - CONTINUOUS
Sully hangs onto the brakes when he is suddenly sprayed with SCALDING STEAM. He YELLS in pain --

EXT. TRAIN - MODEL - DAY THREE - CONTINUOUS
The train speeds toward the cliff, and finally comes to a stop on the very edge, teetering precariously, as we...
FADE OUT
END OF ACT TWO

ACT THREE
FADE IN:

EXT. TRAIN STATION - DAY THREE
Mike waits for the train, looks down the train tracks. A couple of other Townsfolk are also waiting, looking down the tracks, getting restless. Mike goes over to the telegraph office window, addresses Horace:
MIKE
No word?
HORACE
(without looking up from work)
Sometimes it's late.
Mike takes him in. He's a mess -- collar loosened, hair askew, shirt sleeves fraying a bit.
MIKE
Did you try that chamomile tea, Horace?
HORACE
(flat)
Yeah thanks, it helped.
Mike sees that it didn't -- if he tried it at all. She wants to try to reach him:
MIKE
Horace, you have to --
HORACE
(snaps, at the end of his rope)
Please Dr. Mike, please... not you too.
(then, fighting back the emotion)
I'm sick and tired of people tellin' me to buck up, or invitin' me to picnics, or bein' nicer to me than they ever was before. I know my marriage is over -- you think I don't know that?
MIKE
(nods, then:)
I'm sorry... People mean well, but you're right, it can actually make it worse. I know...
Horace looks at her, surprised that she's felt this way too:
HORACE
You felt that way, Dr. Mike?
MIKE
(nods)
When my father died... and then after the massacre at Washita...
HORACE
(after a moment, quiet)
What'd you do? To... get past it?
MIKE
All I can tell you is... I had to let myself feel everything -- the sadness, the pain, the fear that nothing would ever be the same again.
He takes that in, and nods; he's teetering on the edge:
HORACE
Everythin' you thought was s'posed to happen... all your plans...
MIKE
(sympathetically)
That's right... The way is through it, Horace, not past it. I managed -- and you will too.
Horace's eyes get misty. After a moment, very quietly:
HORACE
Thanks Dr. Mike... Maybe -- we can talk again some time.
MIKE
Any time, Horace.
Suddenly, the telegraph starts clicking. Horace wipes his eyes, takes his pencil in hand, concentrates on the message. After a moment, he looks up at Mike, alarmed:
HORACE
Train wreck...
Mike absorbs that quickly, alarmed:
MIKE
On this route?
(off his nod, her dread growing)
Sully's train?
Horace, very worried, nods again, and we
SMASH CUT TO:

INT. CLINIC - DAY THREE
Mike has burst into action, gathering whatever medical supplies will fit into her saddle bags, which Andrew holds as he follows her around; Colleen tends to Katie, hanging on Mike's every word:
MIKE
I'll take these with me --
Matthew rushes in:
MATTHEW
I got Flash saddled up and ready to go.
MIKE
Good --
(to Colleen and Andrew)
Follow me as quickly as you can -- there could be a lot of burns and broken bones -- make sure you bring as many bandages as we have, and more salve and surgical supplies --
ANDREW
How're we going to get there?
MATTHEW
We'll ride...
ANDREW
(swallowing hard)
Ride?
COLLEEN
We can take the wagon, it'll hold more supplies than saddle bags --
MIKE
And get you there almost as fast --
MATTHEW
I'll go for Robert E, we'll get you two out there.
He takes off. Mike turns to Colleen, looks at her baby in Colleen's arms. She's torn, but she knows what she must do:
MIKE
Could you ask Grace to bring Katie in her wagon when she comes out with the food...
Colleen nods. Mike gives Katie a quick kiss, and then rushes out, followed by Andrew carrying the saddle bags --

EXT. CLINIC - DAY THREE
Mike mounts up; Andrew cinches up the saddle bags. Dorothy is among the Townsfolk rushing by, doing what they can to help (for example, getting water from the water tower into barrels for transport):
DOROTHY
I'll help Loren get supplies from the store --
MIKE
Clean sheets, as many as he has!
Dorothy nods, continues to the store. Horace rushes up:
HORACE
Dr. Mike, the wreck's between here and Monument --
MIKE
(to Horace)
Did you get another wire? Sully...?
HORACE
No, but I wired Monument -- that's the last stop before here and the train went through...
MIKE
Good work, Horace.
Horace nods; the emergency has given him back some of his old energy:
HORACE
I'll wire Denver, have them send a train with doctors and supplies.
He rushes off. Jake rides up, saddle bags full.
MIKE
I'll ride out the tracks until I find the train.
JAKE
I'll ride with you.
(off their surprise)
You're gonna need the help.
MIKE
(impressed)
Thank you Jake.
Mike and Jake gallop off. Andrew rushes back into the clinic.

EXT. COUNTRYSIDE - DAY THREE
Mike and Jake gallop along, specks in the deserted frontier...

EXT. SPUR JUNCTION POINT - DAY THREE
Mike and Jake gallop up alongside the train tracks to the spur, where they slow as they see the busted signal. What can this mean?
JAKE
Signal's been forced -- and the tracks have been switched out onto the spur...
Mike looks down at the tracks that lead off onto the spur, and sees SMOKE rising from a distance down the spur.
MIKE
There!
And she's off, galloping down the spur. Jake's right behind her...

EXT. FIELD - DAY THREE
Mike gallops in through the smoke, slows as she sees ahead of her --
The horrible aftermath of the train wreck. The baggage car and passenger car lie on their sides, lots of smoke billowing out from them (imply that the engine and tender are off-screen)...
Passengers, some wounded and some of those badly, lie on the ground or help each other climb out from the passenger car...
Jake rides up beside Mike, takes it in. Mike quickly dismounts, takes her medical bag, and approaches the Passengers -- who are variously injured, dishevelled, scared, weeping. Jake follows her, carrying his saddlebag...

+TRACKING THROUGH THE PASSENGERS
Mike, all the while desperately looking around for Sully, followed by Jake, stops to look at a Woman whose arm is cut (not badly):
MIKE
Let me look at that -- it's not too deep...
JAKE
I'll take care of her.
He opens his bag, and Mike continues on, stopping to inquire of a Boy and his Mother, who are frightened but not hurt:
MIKE
Are you alright?
The Mother nods.
Mike moves on, the smoke causing her to cough and blink back tears as she looks for Sully.
She stops as she sees a Man lying on the ground, motionless, his head bloody. She kneels beside him, takes his pulse... he's dead.
Fearing the worst, fighting back tears -- and not only from the smoke -- Mike rises as she looks around desperately... Then, suddenly, relief washes over her as she sees, up ahead through the smoke:

+MIKE'S POV
Sully. He's helping (with one arm only; his other burned arm is held painfully to his side), a Passenger lift another Passenger out of the door of the passenger car.

+MIKE
A cry of relief rises up from the bottom of her soul:
MIKE
Sully!

+SULLY
hears her, turns to her --

+TRACKING WITH MIKE
as they run toward each other through the smoke and confusion --

+TRACKING WITH SULLY
as they finally fly into each other's arms in a crushed embrace
(Sully favoring his one arm) --
MIKE
Thank God...
They pull back their heads to take each other in; Mike immediately notices:
MIKE
Your arm...
SULLY
Just burnt, there's others worse off --
MIKE
(fearfully)
Cloud Dancing...?
Sully nods his head towards the train. Mike follows his eyes, and sees --

+MIKE AND SULLY'S POV
Cloud Dancing helps a Woman limp away from the train.

+MIKE AND SULLY
Mike's tears flow freely now, as she and Sully watch Cloud Dancing selflessly helping the woman despite his own weakness; she's limping, but no worse than he is.
Cloud Dancing looks up, sees Mike, and halts, overcome by emotion. He helps the woman sit down on a suitcase. Mike and Sully head quickly over to him:
MIKE
Thank God you're alright.
They embrace. Then he pulls back and looks her in the eye, happy to see his friend again. After a charged moment:
CLOUD DANCING
Come, we have much work to do.
And they head out to help the passengers --

EXT. COUNTRYSIDE - DAY THREE
Robert E drives a wagon; Andrew and Colleen are aboard, organizing supplies in boxes and crates. Matthew rides alongside...

EXT. ROAD OUTSIDE CAFE - DAY THREE
The town's in full swing, gathering supplies to send out to the train wreck:
The Reverend and Preston load the last hamper of food into the Reverend's wagon, as Grace steps into it, holding Katie. Dorothy drives past in a buggy stacked with supplies (sheets, etc.); Brian rides his horse beside her.
DOROTHY
See you out there.
The Reverend steps into his wagon as Preston hurries back into town --

EXT. FIELD - DAY THREE
Sully and Cloud Dancing help Passengers extricate themselves from the wreck as Mike moves through the crowd, examining one by one and as quickly as possible those who have already freed themselves and are lying or sitting on the ground.
To one Man who is coughing:
MIKE
Just take slow, deep breaths, you're going to be fine...
She moves to a Woman who is shaking as she painfully holds her arm:
MIKE
Try not to move it, we'll help you as soon as we can...
Colleen and Andrew rush up to Mike; in the background, Matthew and Robert E unload supplies from the wagon. Mike is relieved to see them:
MIKE
We need to evaluate everyone's injuries as quickly as possible and determine the most urgent...
Colleen and Andrew nod; they follow Mike as she works her way through the injured Passengers --
They continue along, passing by a Woman holding her eyes shut as she sits on a half-burnt suitcase:
MIKE
Did you get something in your eye?
(off her nod)
May I?
Mike examines her, looking at her eye:
MIKE
Cinders. We'll need to bandage her eyes later --
(to the woman)
In the meantime, the cinders should wash out on their own -- try not to rub your eyes.
They move along, and come upon a Man on the ground, his pants burnt away from his badly scorched legs:
MIKE
All the burns need to be wrapped with salve and bandages...
(then, quietly, as she sees something ahead:)
This may be more serious.
Mike leads Andrew and Colleen to a Man who is lying on the ground, unconscious, his head at an odd angle. She kneels beside him, takes his limp wrist.
After a moment, she looks up, shakes her head:
MIKE
He's gone...
Andrew and Colleen look at each other, react.
But Mike forces herself up and on to a Woman lying nearby, her eyes open, blinking but disoriented. Mike kneels beside her, sees blood trickling from her ears. She gently touches her:
MIKE
Lie as still as you can -- don't try to talk or move.
She stands, whispers to Colleen and Andrew:
MIKE
The bleeding seems to indicate a skull fracture -- there's nothing we can do for her now, she needs to stay still until we can get her to a hospital.
Jake rushes up to them, out of breath:
JAKE
What else can I do?
MIKE
Help Colleen stitch up the ones who are badly cut and bandage the burns.
Jake nods. He and Colleen peel off. Andrew is concerned:
ANDREW
He's just a barber --
MIKE
And good with a needle. We need all the help we can get, and I need you to set broken limbs and help me with any operations that may be --
SULLY (O.S.)
(urgently)
Michaela!
They turn to see Sully and Cloud Dancing laying the Conductor down on the ground near the passenger car. Mike and Andrew rush over to them --

+NEAR THE PASSENGER CAR
The Conductor is still conscious, barely: he's sweating badly and panicky:
CONDUCTOR
Stove... fell on my stomach...
Mike kneels beside him, takes his pulse.
MIKE
(to Andrew)
Pulse fast and thready, sweating profusely --
The Conductor looks at Andrew hovering above Mike:
CONDUCTOR
You a doctor?
ANDREW
Yes...
Mike bends her ear to his chest:
MIKE
Heartbeat rapid...
CONDUCTOR
(to Andrew)
Help me -- hurts so bad -- my stomach...
Mike palpates his abdomen; he brushes her hand away:
CONDUCTOR
I want the doctor --
Mike reassures him as she puts her hand back on his abdomen and continues her examination:
MIKE
I am a doctor. Feels tense, hard --
The Conductor passes out.
MIKE
Internal hemorrhaging, possibly his spleen.
ANDREW
Perhaps -- but it could be shock.
MIKE
His abdomen, the pain in his stomach --
ANDREW
A stove fell on him, he could have broken ribs --
MIKE
It's more likely he's hemorrhaging blood into his abdomen. The only way to find out is to operate.
SULLY
I'll try and find some clean sheets and a lamp --
He and Cloud Dancing take off --
ANDREW
(shocked)
Here? You can't operate here -- at least take him back to the clinic --
MIKE
He won't survive the trip --
ANDREW
If your diagnosis is correct -- what if it is just broken ribs and shock? That could account for his pulse and heartbeat, for everything --
MIKE
We have to assume the worst -- if he's hemorrhaging, and I believe he is, his spleen is probably ruptured -- he'll die if we don't operate now.
ANDREW
You'll kill him if you operate here, there's smoke and dirt everywhere --
MIKE
(taking charge, the last word)Andrew. You've never operated under these conditions -- I have. Either you help me or you get Colleen to do it, and take over for her.
She starts unbuttoning the conductor's vest. Andrew stands above her, unsure what to do. Then he makes a decision and kneels down beside her to help...
FADE OUT
END OF ACT THREE

ACT FOUR
FADE IN:

EXT. FIELD - NEAR PASSENGER CAR - DAY THREE
Mid-operation (the smoke has died down). The Conductor is stretched out on a clean sheet on top of a board which rests on some crates; another sheet has been strung up as a wind-break from the passenger car to a wagon. A kerosene lamp has been hung from the wagon to give them better light.
Mike and Andrew stand on either side of the Conductor, Mike holding a scalpel, Andrew holding a suction. They're peering into his opened-up stomach (off-camera, please); there's a lot of blood.
(In the background, Sully, Cloud Dancing, Dorothy, Brian, Grace, the Reverend, Robert E, and Matthew work among the Passengers, as detailed below.)
MIKE
Suction...
(spotting something)
There, see the spleen?
Andrew does. He looks up at her and admits:
ANDREW
You were right -- it's ruptured.
MIKE
Clamp the artery.
Andrew is forced back to the operation; he clamps an artery (the instruments lie on a clean towel beside the Conductor; carbolic acid is also in evidence).
MIKE
Keep suctioning while I remove the spleen...
He reaches for the suction...

EXT. FIELD - BESIDE REVEREND'S WAGON - DAY THREE
Dorothy and Brian pass canteens of water among the injured Passengers, while the Reverend comforts them. Grace holds a bundled-up Katie, while she and Robert E prepare sandwiches at the side of the Reverend's wagon. (Sully, Cloud Dancing and Matthew work among the Passengers.)

+NEARBY
Colleen finishes bandaging a Man's burnt legs, as Jake comes over to her; they're both exhausted:
JAKE
I finished stitchin' up the kid -- anybody else?
COLLEEN
(looking around)
I think that's it -- except for the ones who need to go to the hospital in Denver.
(standing)
Let's see if Ma needs any help...
They walk off, toward:

EXT. FIELD - NEAR PASSENGER CAR - DAY THREE - CONTINUOUS
where Mike and Andrew are closing up the Conductor as Colleen and Jake arrive. (In the background, we see Cloud Dancing, Matthew, Dorothy, Brian, Grace, Robert E and the Reverend continue to assist the Passengers.)
COLLEEN
How is he?
MIKE
Well, he isn't hemorrhaging any more, we removed the spleen.
(then)
Andrew closed -- his suturing skills are excellent.
Andrew looks away, knowing he was wrong, glad she hasn't brought it up.
MIKE
Where's Sully? His burns...
Sully joins them; his arm has been bandaged.
SULLY
Colleen took care of it.
Mike smiles her thanks to Colleen. They HEAR a train whistle in the distance.
JAKE
That'll be the train from Denver...
He heads off to meet it.
MIKE
Where's Katie?
SULLY
With Grace.
MIKE
She must be hungry...
The two of them head off (in the direction of the Reverend's wagon), leaving Colleen and Andrew, who is struggling with his emotions, knowing he was wrong. He can't look Colleen in the eye:
ANDREW
I better go -- help the Denver doctors...
He starts off. Colleen doesn't understand what's wrong:
COLLEEN
Andrew...?
He pauses but knows that he can't talk to her, knows that he'll reveal his own insecurities. He keeps on walking. Colleen turns back to the Conductor, and stays with him.

EXT. FIELD - BESIDE REVEREND'S WAGON - DAY THREE7
Mike leans against the wagon, cradling Katie, inhaling her sweet scent, glad to have her baby back in her arms. Sully is beside her, his arm around her. (Grace, Robert E and the Reverend pass out food to Passengers in the background; Dorothy, Brian and Matthew continue to help out.)
Mike and Sully look up to see Cloud Dancing wearily joining
them:
MIKE
Katie, I'd like you to meet someone very special...
Cloud Dancing smiles through his exhaustion and discomfort as he sees Katie.
MIKE
... This is Cloud Dancing.
SULLY
Your Cheyenne father.
CLOUD DANCING
(in Cheyenne)
[Tse - heh - heh - toh.]
Mike gives Katie to Cloud Dancing. He takes her in his arms, and as they all breathe in the small forceful joy of the moment, we
DISSOLVE TO:

EXT. ROAD - DAY FOUR
Sully drives Cloud Dancing in the Cooper wagon. They slow to a stop as O'CONNOR and four Soldiers ride toward them (saddle bags full of their belongings). Cloud Dancing tenses, expecting trouble.
O'Connor stops beside them, looks at Cloud Dancing, then at Sully, who holds his look.
O'CONNOR
You won this battle... but we all know how the war's gonna end.
Sully and Cloud Dancing won't give him that, but they look at each other, suspecting that he's right.
O'CONNOR
More people gonna get hurt, killed -- my people, his people. War ain't good for nobody.
Sully looks back at him, dead-eyeing him:
SULLY
'Cept people who like to fight.
Nailed, O'Connor takes the hit, and can't hold Sully's look. He sets his jaw, and he and the Soldiers take off. Sully urges his horse forward, and they move toward the reservation...

EXT. OUTSIDE RESERVATION ENTRANCE - DAY FOUR - CONTINUOUS
The Cooper wagon approaches the reservation. Sully reins in the horses as he and Cloud Dancing look off at it. Cloud Dancing is surprised, troubled by what he sees...

+THEIR POV - THE RESERVATION
It's a depressing sight. No more tepees, only the shacks; the garrison still in great presence on the grounds; Soldiers lazing about; and, most depressing of all...
Listless Indians, wearing a jumbled mixture of western and traditional clothing. They scuffle along, without exchanging words or glances with each other...

+SULLY AND CLOUD DANCING
take this in, very discouraged. After a long moment:
SULLY
I gotta leave you here, I can't go in...
Cloud Dancing nods, gets out of the wagon. This is difficult for both of them.
CLOUD DANCING
I will get a day pass to come see you.
Sully nods. They exchange a final look, and then Cloud Dancing heads in through the gates, looking totally alien, the only Indian dressed entirely in traditional clothing.

EXT. CLINIC - DAY FOUR
Mike (carrying Katie) and Dorothy (making notes) approach the clinic:
DOROTHY
... And the Conductor's gonna be alright?
MIKE
He seems to be recovering well.
They are interrupted by Preston, who rushes up to them:
PRESTON
Come on Dorothy, you've got an exclusive to get out -- and make sure you mention that the chandelier made it here without any damage at all.
They look at him in disbelief: what's so important about that?
PRESTON
(defensive)
It's important news -- it's the only one of its kind in the western United States...
Mike shakes her head, bemused, and leaves them, going into --

INT. CLINIC - DAY FOUR - CONTINUOUS
Mike carries Katie in to find Andrew, unusually quiet and reserved, restocking the shelves with supplies they took with them to the train wreck. There is discomfort between them, but Mike wants to work through it:
MIKE
Good morning.
ANDREW
(low)
Good morning.
(then:)
I just want to apologize, I made a terrible mistake...
MIKE
(letting him off the hook)
I've made my share of mistakes.
He nods, still a little uncomfortable -- now because it's clear that he's not so much her colleague as her student.
They're interrupted by Loren, who comes in, looking a little better, and very enthusiastic:
LOREN
Well, we sure never had a day like yesterday, did we?
Andrew keeps to himself. Mike turns to Loren:
MIKE
Thanks for all your help with supplies, Loren --
LOREN
Least I could do -- only sorry I couldn't be there to see you in action. Heard you were a wonder.
Katie starts crying.
MIKE
Sounds like she's hungry. If you'll excuse me...
(to Andrew)
I'll leave you with your patient --
She starts to carry Katie to the hall door, but Loren stops her with:
LOREN
That's alright, I'll wait...
Mike is surprised, pleased. Andrew is surprised, and not pleased. Mike feels badly for him; she looks at him. Andrew looks away.
LOREN
Guess there ain't nothin you ain't seen. And I figured I been comin' to you all these years...
MIKE
I'll just be a few minutes...
She takes Katie out into the hallway.
ANDREW
Excuse me --
Covering his emotions, Andrew heads out --

EXT. STREET OUTSIDE CLINIC - DAY FOUR - CONTINUOUS
Andrew closes the door behind him, troubled, and walks up the street, trying to think it through.
He rounds the corner, his eyes on the ground --
A buggy BRUSHES past him, nearly hitting him. He halts in his tracks, startled, and looks up --
And finds himself looking at the bank. Preston shows a customer out...
Andrew gives it a moment's thought, then crosses the street towards the bank as the customer leaves.
ANDREW
(after a moment)
Preston -- about that clinic at your hotel... Maybe you could tell me a little more about it --
(quickly)
I'm not saying I'm taking the job.
PRESTON
Of course not.
Preston smiles like a cat in a vat of cream, and shows him into the bank, as we
DISSOLVE TO:

INT. HOMESTEAD - MIKE & SULLY'S BEDROOM - NIGHT FOUR
Mike and Sully tuck Katie into her crib; the fire in the fireplace casts a warm, comforting glow over them.
MIKE
Goodnight, sweetheart.
Mike watches Sully give Katie a goodnight kiss, and then she walks to the window.
She looks out the window. Sully comes up behind her, putting his arms around her:
SULLY
Watcha lookin' at?
MIKE
Nothing, just thinking...
SULLY
'Bout what?
MIKE
It feels so safe in here -- but out there...
Sully tightens his arms around her, as if to protect them both. She snuggles back against him:
MIKE
Sometimes it just feels like the world's going too fast...
Sully comforts her with a soft:
SULLY
I know.
Mike leans her head back against his chest.
SULLY
When I was on that train, and I couldn't stop it... All I kept thinkin' 'bout was you, Katie, the kids...
She turns, looks at him.
SULLY
You and me, Michaela -- we been through so much. Ain't always been easy, but we always make it work. You and me.
They look into each other's eyes with great love. They kiss softly, as we
FADE OUT
THE END

 

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