MOMENT OF TRUTH
Written by Carl Binder/Directed by James Keach
EXT. HOMESTEAD - DAY ONE - MAY, EIGHTEEN SEVENTY-TWO
Brian comes out the front door to find Sully sitting on the steps,
holding Katie in his lap, trying to get her to talk.
Pa. Say Pa.
Brian pauses to look up at the sky.
'Nother sunny day. Gonna be an early summer I bet.
I hope so.
Brian starts off toward the barn.
I'll get the wagon hitched.
Sully nods and continues coaxing Katie, as Mike steps out of the
house behind him.
Pa. Pa. Paaaaaa...
Katie happily burbles something not even close to "Pa."
Close. Good. Try it again -- Pa. Pa Pa Pa Pa Pa...
Mike sits beside them on the steps, smiling.
Just wait. It won't be long, and she'll be talking constantly.
We need to start planning for her first birthday party.
Sully nods as they watch Katie.
She's growin' up so fast.
Pretty soon she'll be riding horses, and going to school, and getting
Sully shoots her a look of sudden panic.
We still have a few years before then.
She kisses him. They look into each other's eyes.
Wish I could just stop time, stay like this forever.
She kisses him again, deeper, more passionate...
EXT. WOODS - DAY ONE
Dorothy waits alone in a small clearing, a leather satchel draped
over her shoulder. She looks very nervous, unable to stand still,
so she sits on a fallen log. But after a moment, she stands again,
unable to sit.
Finally, the SOUND of someone approaching gets her attention, and
she turns to see Cloud Dancing stepping out of the woods.
I am late.
It's all right.
I have had trouble getting day passes. I hope you did not wait long.
Oh no, not at all... I'm, I'm... fine.
Her nervousness is really showing now, and Cloud Dancing can see
Is something wrong?
She hesitates a moment, then decides to plunge right in:
I got somethin' to show you.
She reaches into her satchel and takes out a manuscript. Cloud Dancing
looks at it, amazed.
Dorothy nods, her uneasiness increasing.
It is finished?
No. (difficult) Not yet.
She holds it out to him.
Not until you've read it. (beat, off his look) I made a promise
to you. If you approve of what I've written, I'll publish it. And
if you don't... (beat) I'll burn it.
Now Cloud Dancing is nervous. But he sees the conviction in Dorothy's
eyes, and nods quietly. Instead of taking the book from her, he
steps over and sits on the log.
Please... I would like to hear it in your voice.
This throws Dorothy a bit, but she recovers, nods.
She sits beside him. She takes a deep breath, trying to settle herself,
then opens the manuscript and begins reading:
"Many years ago, near the shores of the Great Lakes, lived
men and women who spoke the tongue of the Algonquian, and called
themselves 'Tsis-tsis'-tas,' or 'the people.' We know them today
as the Cheyenne."
As Dorothy continues to read...
EXT. GRACE'S CAFE - DAY ONE
Mike (holding Katie) and Sully sit with Loren, the Reverend, Horace,
Robert E and Grace (serving), discussing plans for Katie's party.
We can have the party here, if you like.
Or in the meadow.
MIKE (turns to Sully)
The meadow sounds wonderful. We'll have food and games...
Loren tickles Katie with a smile.
And lots of presents.
Matthew hurries into the cafe, sees Mike and comes over.
Dr. Mike, soldier's been hurt. They're takin' him to the clinic.
I'll watch Katie.
Mike hands Katie to Grace as she and Sully follow Matthew to:
INT. CLINIC - DAY ONE
A young Private sits on the examination table, clutching his bleeding
arm in pain, as other Soldiers hover nearby (Soldier #1 inside the
clinic, the rest just outside the door). Mike rushes in, followed
by Sully and Matthew.
We were ridin' in, my horse got spooked by a coyote and threw me.
Cut a gash in my arm.
Mike examines the cut on his arm.
It's not too deep. But I'll still need to stitch it.
Thank you ma'am, but I'll wait for the doctor.
I am the doctor.
The Private reacts with surprise, but allows Mike to go to work.
Where you headed?
Palmer Creek Reservation. We're replacin' the garrison there.
Where's your commandin' officer?
Sully and Mike turn to see Sergeant Terence McKay stepping through
the side door (he was upstairs looking for the doctor). In his late
thirties, McKay is ruggedly handsome, with dark, penetrating eyes.
Silent and mysterious, he commands respect through his presence
alone. He doesn't talk much, and rarely raises his voice -- he doesn't
MCKAY (stepping forward)
Sergeant Terence McKay. You must be Dr. Quinn.
'Preciate your help.
Mike goes back to work as McKay turns to Sully, recognizing him.
Do I know you?
No. But I know you. Command gave me a full description. Said you
used to be the Indian Agent, 'til you got fired for insubordination.
S'posed to keep you away from the reservation.
SULLY (a beat, cool)
You won't get any trouble from me.
Mike gives Sully a quick look -- one that McKay notices. He turns
back to Sully.
Good. 'Cause I'll be watchin' for you.
Sully looks at McKay, meeting his cold stare. Mike looks up, sees
the intensity building between the two men. And so does Matthew.
Mike quickly goes back to work, hurrying to stitch up the private's
arm as we:
END OF TEASER
EXT. CLINIC - DAY ONE
Mike, Sully and Matthew follow behind as Soldier #1 helps the Private
(whose arm is now bandaged) out of the clinic and over to his horse.
Be careful. You don't want to tear the stitches.
McKay is already on his horse, waiting nearby. Mike turns to him.
I'd like to see him again in a few days to check for infection.
Sure. (hands her some money) Much obliged.
Mike takes the money. McKay casts a quiet look at Sully before turning
back to his men.
The soldiers ride off out of town. Mike, Sully and Matthew watch
Let's hope they do a better job than the current garrison.
Sully gives her a skeptical look, then looks back at the soldiers,
watching them in uneasy silence. The TRAIN WHISTLE in the distance
breaks the moment.
Colleen's train. I'd better get going.
I'll go with you. (smiles) Can't believe her first year of college
is already done.
Before they can start off:
Sully turns to see Preston approaching.
Is there a reason you're standing here, in the middle of town, instead
of out working on my homestead?
I was just on my way out there.
Good. (gestures up at the sky with a smile) Because summer's almost
upon us, and you wouldn't want to miss your completion deadline,
now would you?
Sully glares silently at Preston, then gives Mike a quick look before
heading off toward the livery. Preston tips his hat to Mike and
... and continues on toward the bank.
EXT. SPRINGS CHATEAU HOTEL - ESTABLISHING - DAY ONE
INT. ANDREW'S CLINIC - DAY ONE
Andrew fetches a bottle of the Springs Chateau Health Tonic as a
jittery old man finishes buttoning his shirt and slipping on his
Here, Mr. Gerson, take two spoonfuls of this before bedtime. It'll
settle your nerves and help you to sleep.
He hands him the bottle and begins ushering him out.
And remember to soak in the springs at least twice a day. The more
you calm yourself, the better you'll feel.
The old man starts out the door, where he nearly collides with Preston,
who suddenly barges in, scaring the hell out of him.
PRESTON (bursting with excitement)
Andrew! (then, quieting) -- Oh, sorry, Mr. Gerson. I didn't mean
to startle you.
The old man exits, sipping the tonic as he goes. Preston comes in
(leaving the door open) and moves to Andrew, showing him what he's
holding in his hands -- a framed award certificate.
Look what arrived on today's train.
ANDREW (reading the award)
"Certificate of Merit... American Medical Society."
I hope you don't mind my opening the package, but when I saw it
was from the Medical Society, I couldn't resist. (putting an arm
around Andrew's shoulder) You see, Andrew? All the work we've been
doing here is paying off. This is an award of the highest distinction.
And well deserved, I might add.
Andrew takes the award and stares at it, his look of surprise turning
I don't believe it.
I've already alerted the Denver papers, as well as other publications
throughout the territory and beyond. This is going to do wonders
for your practice.
Something else now catches Andrew's eye:
Colleen, who's stepping up to the doorway, still dressed in her
travelling clothes. Andrew smiles when he sees her.
Colleen. You're home.
My ma just picked me up at the station. School's out for the summer.
PRESTON (waving her in)
Come join in the celebration, Colleen.
Andrew turns his award around so that she can see it.
I've received an award.
The first of many.
Colleen's smile is tempered with a touch of skepticism.
Well, if you'll excuse me, I have more telegrams to send.
Preston gives Andrew a smile and a clap on the back before going
out. Colleen steps over and reads the certificate. When she sees
the name of the organization who gave the award, she can't help
but be impressed.
The American Medical Society. (looks at him) This is wonderful.
Thank you. (looking back at the award) This is going to do wonders
for my practice.
Colleen shares a smile with him, then takes the certificate and
looks around the room.
Now... where to hang it...
As they begin looking for the most suitable spot...
EXT. WOODS - DAY ONE
Dorothy is on the last page of her manuscript. She finishes reading
as Cloud Dancing listens attentively.
"... forced to change the way he lives, he has become the embodiment
of a people no longer permitted to speak their language or practice
their medicine, dwelling not in the tipi, but in crude wooden shacks.
Alone at night, with his ancestors watching from a dark and distant
sky, he asks himself, 'Now who will be taught? Now who will know?'"
Dorothy closes the manuscript, and for a moment stares down at it,
unable to bring herself to look up at Cloud Dancing. After a beat
she takes a deep breath and looks up, meeting his eyes in a long,
Finally, he speaks, deeply moved:
It is beautiful.
Overjoyed, Dorothy impulsively throws her arms around him. Cloud
Dancing reacts, and so does Dorothy, who suddenly pulls back, feeling
a bit awkward. After a moment, they both smile, then:
Thank you, Cloud Dancing.
He reaches out, takes her hand in his and gently holds it.
Dorothy smiles, savoring this moment, clutching the manuscript with
one hand while not letting go of Cloud Dancing with the other.
EXT. GOLD NUGGET - DAY ONE
Jake and Hank watch from the porch of the Gold Nugget as Dorothy,
still glowing, rides up to the Gazette and hurries inside. The two
men exchange a look.
'Nother trip to the reservation.
Heard her tell Loren she finally finished her book.
That right? (looks back at the Gazette) So what happens next?
JAKE (shrugs, then:)
Think she'll invite us to the weddin'?
Hank smiles, envisioning it:
Mrs. Dorothy Dancing.
The two men laugh at this, until Jake sees something that quiets
of Teresa, walking from the school toward the General Store. As
she passes by, she casts a glance at Jake.
Good afternoon, Mr. Mayor.
BACK TO JAKE
as he watches her, a bit mesmerized.
'Afternoon, Mrs. Morales.
Hank looks at Jake, raising a curious eyebrow, but Jake's still
watching Teresa...until he suddenly becomes aware of himself and
snaps out of his reverie. He turns to see Hank staring at him.
You tell me.
Jake shrugs it off and starts back into the Gold Nugget.
I need a drink.
HANK (following him in)
EXT. RESERVATION - DAY ONE
Cloud Dancing walks back to the reservation, entering through the
main gate, where a Corporal calls to him.
You. Hold it.
Cloud Dancing stops as the Corporal comes over, followed by two
Where's your pass?
Cloud Dancing takes out his day pass and hands it to him. The Corporal
looks at it, doesn't like what he sees.
You're late. That's the second time this week.
It will not happen again.
Damn right it won't.
The Corporal suddenly lashes out, punching Cloud Dancing hard in
the face, sending him tumbling to the ground.
Won't happen again, 'cause you ain't ever leavin' this reservation
The Corporal kicks Cloud Dancing in the stomach and ribs.
watch in growing anger, but as a few step forward, soldiers move
in and stop them. One Indian in particular, a young Arapaho man
(early 20's) named WALKS IN THE NIGHT, watches with increasing fury
continues to kick Cloud Dancing, whose face is bleeding now.
CORPORAL (loud enough for all to hear)
You see, we got rules here. You don't follow 'em, you get punished.
He kicks him again. The Corporal reaches down and pulls Cloud Dancing
up, about to deliver another punch, when a voice suddenly stops
That's enough, Corporal.
The Corporal looks over to see McKay dismounting his horse. His
garrison dismounts behind him as McKay steps over to the Corporal,
who dumps the unconscious Cloud Dancing on the ground and attempts
This Injun was late comin' back on a day pass, Sergeant.
Like you said, we got rules. And punishment for violatin' a day
pass is confinement.
(looks around) Where's the Indian Agent?
Denver. Some kinda political fund raiser. He's hardly ever around.
McKay crouches, rolls Cloud Dancing on his back. McKay tries not
to react to the severity of his wounds, but we can see in his eyes
that it troubles him. This is a man struggling with himself over
the job he's been assigned to do.
He quietly checks Cloud Dancing's neck for a pulse.
He's alive. (to Soldier #1) Ride back into town, get that woman
The Corporal reacts with disbelief as Soldier #1 rides off.
Sergeant, he don't need no doctor...
McKay stands and faces the Corporal, cutting him off, his voice
low and lethal.
You listen to me, Corporal. As of right now you're relieved of duty.
I want you and your men off this reservation by sundown.
You gotta be kiddin' --
The look in McKay's eyes tells the Corporal that he means business.
The Corporal backs down, walking away with his soldiers as McKay's
men move in and pick up Cloud Dancing, carrying him over to an army
EXT. CLINIC - LATE AFTERNOON - DAY ONE
Mike is closing up for the day as Dorothy excitedly relates the
news of her book.
I'm leavin' next week. Gonna take the train to New York to deliver
my book in person.
All the way to New York?
I don't wanna take a chance sendin' it by mail. Don't wanna let
it outta my sight.
I'm so happy for you, Dorothy. I can't wait to read it.
Oh, Michaela...now that the book's finished, and Cloud Dancin' has
given it his blessin', I feel like it's the most important thing
I've ever done. (beat, quieting) Sounds silly, but...I feel like
everythin' that's happened to me in my life has pointed me right
to this moment... like it's all happened for this very --
SOLDIER #1 (O.S.)
Mike and Dorothy look to see the Soldier ride up, reining his horse
to a stop.
Need you out at the reservation. One of the Indians is hurt.
Mike and Dorothy exchange a look.
I'm goin' with you.
As the two climb up into Mike's wagon...
INT. ARMY TENT - LATE AFTERNOON - DAY ONE
The tent flap opens, and McKay ushers in Mike and Dorothy, who react
with shock when they see Cloud Dancing lying unconscious on a cot.
He's bruised and bleeding, and sweating profusely. Mike immediately
goes to work, checking his pulse, trying to suppress her anger.
MIKE (to McKay)
How did this happen?
That ain't important.
Mike glares at him, demanding an answer.
The soldier responsible has been relieved of duty.
Dorothy wipes the blood from Cloud Dancing's face as Mike finishes
checking his pulse and examines his eyes, pulling down the lower
His heartbeat is rapid. He's in shock.
She lifts up his shirt and begins examining his chest.
Some ribs are broken. There's severe bruising on his right side...
She takes out her stethoscope and listens to his breathing. Dorothy
watches, trying not to panic.
His lungs are clear. The site of the trauma is elsewhere.
What can you do?
I'll have to operate.
We can't risk taking him back to the clinic. We have to stop the
bleeding, and I won't know the source until I open him up.
As Mike digs in her bag for her carbolic acid and scalpel:
Will he live?
I don't know.
McKay, forcing himself to maintain his professional demeanor, turns
to another soldier.
I want two guards posted outside.
Guards? What for?
You do what it takes to help this man. But he's still under arrest
for violatin' the rules governin' this reservation.
Mike's anger boils as she gives him a cold look. But she has no
time to argue -- she turns to Dorothy (who's also struggling to
restrain her anger), exchanging a silent look, then resumes preparing
for the operation as we:
END OF ACT ONE
EXT. HOMESTEAD - NIGHT ONE
Mike rides up, physically and mentally exhausted after operating
on Cloud Dancing.
INT. HOMESTEAD - NIGHT ONE
An increasingly worried Sully waits with Colleen and Brian (Katie's
asleep upstairs). Finally Mike comes in, and Sully and the kids
hurry to her, relieved that she's home, but concerned by her disheveled
They said in town that you went out to the reservation. What happened?
Mike looks at him, not sure how to break the news to him. But Sully
now notices the dried blood on her clothing.
Michaela, what happened?
He looks at her, bracing himself for what he knows is not good news.
It's Cloud Dancing. The soldiers beat him.
Sully says nothing, the rage slowly building inside him.
How bad was he hurt?
He was bleeding internally. I had to tie off the cystic artery,
and bandage some broken ribs.
(back to Sully) He's still unconscious... but I believe he will
This doesn't quell Sully's anger.
Why'd they beat him?
For returning late to the reservation.
Sully can no longer contain himself. He grabs his tomahawk belt
and coat and pushes past Mike and the kids, heading out the door.
EXT. HOMESTEAD - CONTINUOUS - NIGHT ONE
Mike comes out after Sully as he makes his way to the barn to get
his horse (still holding his belt and coat in his hands).
Sully, wait. Don't go out there!
But he doesn't stop. Mike hurries to catch up to him.
MIKE (loud, sharp)
He finally stops, but doesn't turn to her. She steps up behind him,
her voice softening, pleading to him:
If you go out there, you'll only make it worse for him. For all
Sully lets this sink in. He knows she's right, which only intensifies
his frustration. Finally, he turns to face her, meeting her imploring
Please, Sully... don't go.
Unable to restrain his anger, he suddenly heaves his belt and coat
into the darkness, then turns to lean against the corral, furious
at this feeling of utter helplessness. Mike steps up to him, putting
a comforting hand on his shoulder as we:
EXT. GOLD NUGGET - DAY TWO
Jake and Hank sit on the bench out front, looking over the financial
records for the month. Actually, Jake is the one perusing the books,
while Hank sits back, blowing smoke rings.
That "Free Drink" advertisement didn't pay off. We shouldn'ta
required a two week stay.
Told ya we shoulda got a billiard table.
Horace steps up, holding a telegram, and hands it to Jake.
This just come for you, Jake.
Jake reads the telegram and reacts with some confusion.
What is this?
She's a school teacher, lookin' for a job. Got years of experience,
lots of recommendations --
I can read that. Why is she contactin' me? We already got us a school
But she's only temporary, remember?
Jake gives him a look -- No, he doesn't. Horace reminds him:
The council voted to hire Mrs. Morales only on a trial basis. In
the meantime, we was to keep advertisin' for a real teacher.
Well...as a newly appointed member of the town council, I say we
call a meetin' to discuss it.
Jake looks at Hank, who just smiles. Jake is hesitant... but after
a moment, he finally relents with a nod.
EXT. LIVERY - DAY TWO
Robert E helps Sully sharpen his tools before heading out to work
on Preston's homestead. Wolf is nearby.
They beat 'im just for bein' late?
Soldiers don't need much of a reason. Just do what they want. (quieting,
almost to himself)
Only gettin' worse.
Robert E stops working a moment, turns to him.
What d'you think's gonna happen to the Indians? I mean, how long
you s'pose the army's gonna keep 'em on reservations like that?
I don't know. Don't like thinkin' 'bout it.
Robert E grows silent, understanding their plight.
Whole country fought a war to free the slaves.
Sully stops working and looks at him, meeting his sad look.
But the way folks feel 'bout the Indians -- who's gonna be willin'
to fight for 'em?
Sully considers this in thoughtful silence as:
steps over from the bank, holding the rolled-up plans to his house.
Sully! I have a wonderful idea. It literally came to me in the middle
of the night. I was wide awake, staring up at the ceiling, when
it hit me -- (unfurling the plans) -- a window!
SULLY (not following)
In the ceiling, allowing me a view of the stars in the sky.
ROBERT E (also not following)
A window... in the ceilin'.
PRESTON (trying to be patient)
Yes, Robert E...(back to Sully) A window in the ceiling.
That means I gotta tear out part of the roof --
Yes, but I've already taken into consideration the added time and
labor involved, and I've decided to give you an additional three
weeks to complete the job, plus a five-percent bonus in your pay.
(smiles) Now you'll not only have enough money to pay back your
friend Daniel, you'll also have a little extra spending money for
yourself. Get a new coat... or a tomahawk.
Sully just stares at him, sizzling.
Easy, Sully. Just a joke.
Preston rolls up the plans and holds them out to Sully.
So... what do you say?
Sully says nothing. He just takes the plans and goes back to sharpening
his tools. Preston smiles, pleased.
EXT. RESERVATION - DAY THREE
Dorothy rides up and dismounts, tying off her horse near the tent
in which Cloud Dancing is being kept. She pauses a moment to summon
her strength, then goes inside the tent, which is being guarded
by a lone soldier.
INT. ARMY TENT - CONTINUOUS - DAY THREE
An old Indian woman (70's) looks up from tending to Cloud Dancing
as Dorothy comes in. The woman looks uneasy...giving Dorothy a suspicious
It's... it's all right. I'm a friend. (in Cheyenne) Friend.
The woman nods and moves away as Dorothy comes over beside Cloud
Dancing, who is covered with a blanket. He's awake now, but his
face is still badly swollen and bruised. He brightens when he sees
her. Dorothy sits, trying to keep up a brave front for him.
Mornin', Cloud Dancin'.
She pours some hot water into a cup from a nearby kettle. Cloud
Dancing watches her, unable to speak.
Michaela says you need to drink plenty of fluids.
She reaches into her medicine pouch (the one he made for her) and
takes out some dried geranium leaves. As she mixes the herbs into
Found some wild geranium. Help you heal quicker.
She puts one hand under his head and helps him up, while feeding
him the tea with the other. He sips a little, then lies back.
She gives him a gentle, warm smile...and he manages a smile in return,
trying not to let show the extreme pain he is suffering.
EXT. MEADOW - DAY THREE
CLOSE on Katie, sitting on a blanket, surrounded by dozens of presents
and several adoring townsfolk, who have gathered to celebrate her
birthday. Among them (in addition to the family) are Dorothy, Loren,
the Reverend, Robert E, Grace, Horace, Andrew, Hank and Jake.
Sully watches as Mike sets Katie's birthday cake in front of her.
On top is a single, lit candle.
Blow out the candle, sweetheart.
Katie just stares at the candle. Mike turns to Brian.
Why don't you give her some help, Brian?
Brian leans in and blows out the candle, and everyone applauds.
Grace and Colleen step in to help Mike cut the cake and hand out
Hard to believe -- one year old already.
Still not much hair, considerin' the parents.
Cake looks good, Grace.
Dr. Mike made it.
Try not to look so surprised.
Robert E, caught, smiles sheepishly. Mike gives him a smile as she
sets a piece of cake in front of Katie.
Here you are, Katie. Let me get your spoon --
But before Mike can get the spoon, Katie immediately begins digging
into the cake with both hands, making a mess.
Grace hands two pieces of cake to Colleen, who carries them over
Thank you. (looking at Katie) She is quite possibly the most adorable
baby I have ever seen.
She sure is.
I only hope my children will turn out as beautiful.
COLLEEN (a smile)
I'm sure they will.
Nothing was implied by this, but looking at Colleen's pretty, smiling
face suddenly makes Andrew self-conscious...and a bit embarrassed...which
makes Colleen suddenly self-conscious...and a bit embarrassed.
Andrew quickly takes a bite of cake. And so does Colleen.
BACK TO KATIE
as she takes a handful of cake and holds it out to Wolf, who licks
it up happily. Mike laughs at this, then carries two pieces of cake
DOROTHY AND MATTHEW
who stand next to each other. Dorothy manages to keep a smile on
her face, despite the fact that she's still very worried about Cloud
DOROTHY (re: the cake)
Thank you, Michaela.
Thanks, Dr. Mike.
Mike sees the look on Dorothy's face.
Did you go out to the reservation today?
It's good that Cloud Dancin's awake now... but still... it's difficult,
seein' him in so much pain.
He's through the worst of it, Dorothy. I examined him yesterday.
He's doing well. In time, he'll regain his strength.
Mike puts a reassuring hand on Dorothy's arm. Dorothy gives her
a weak smile. Matthew, listening in on this, exchanges a look with
Mike before turning to see:
who has moved off to the side, watching Katie. Sully is trying very
hard to enjoy the party, but his thoughts are also with Cloud Dancing,
whose absence from the party weighs heavily on him.
Matthew steps over. The two exchange a quiet look, then:
I'm sorry 'bout Cloud Dancin'.
Sully nods his thanks, looks back at Katie.
He should be here.
MATTHEW (after a beat)
Dr. Mike says he's gonna get better.
Yeah... (looks at Matthew) This time.
Something in the tone of Sully's voice doesn't sit right with Matthew,
making him wary. Sully grows quiet again, turning his attention
back to Katie as we slowly:
INT. MIKE AND SULLY'S BEDROOM - NIGHT THREE
It's late; the room is dark. Mike lies asleep in bed, but Sully
is awake, fully dressed, sitting in a chair beside the crib. He
gazes down at Katie, gently stroking her sleeping face, his expression
But now a look of resolve forms in his eyes. He looks over at Mike,
then stands and quietly steps out of the room.
EXT. RESERVATION - NIGHT THREE
Only a few lamps are lit -- the reservation is mostly quiet and
dark. Two soldiers are posted at the main entrance. McKay walks
past them, patrolling the grounds. He passes by another soldier,
who sits near the tent in which Cloud Dancing is being kept. As
McKay walks on, we HOLD on the Soldier, who's having a hard time
staying awake -- his head keeps bobbing, dozing off.
AT THE EDGE OF THE WOODS
Sully appears, peering through the foliage. He scans the surroundings,
waits for the right moment, then steps silently onto the reservation,
moving swiftly and silently through the shadows.
He makes his way over to Cloud Dancing's tent, where he peers around
the corner to discover the soldier now fast asleep, head slumped
on his chest. Without a sound, Sully slips into the tent through
the front door.
INT. ARMY TENT - CONTINUOUS - NIGHT THREE
A very dim lamp burns, casting large shadows on the walls as Sully
steps over to Cloud Dancing, who lies asleep on the cot. But just
as Sully reaches out to touch him:
A HAND grabs Sully's shoulder. Sully spins around and instinctively
draws his knife, only to discover Walks in the Night (the Arapaho
we saw earlier) standing behind him. Also stepping over from a dark
corner of the tent is an Arapaho Elder (70's).
Walks in the Night sees the knife and raises his hands in fear,
but Sully quickly settles, whispering to him as he puts the knife
Don't worry. I'm not gonna hurt you.
WALKS IN THE NIGHT
Who are you?
Before Sully can answer, the Elder smiles, recognizing Sully.
ELDER (to Walks in the Night, in Arapaho)
He is the Indian Agent.
No. I'm not the Indian Agent anymore. (in Arapaho) Not anymore.
But the Elder just keeps smiling.
ELDER (in Arapaho)
WALKS IN THE
What do you want?
Sully turns to Cloud Dancing, sits beside him.
He's my friend. I came to see how he's doin'.
Sully notices something odd -- the top of the shirt Cloud Dancing
is wearing is visible under the blanket. Sully reacts to it, then
pulls back the blanket to reveal Cloud Dancing now dressed in Western
shirt and pants.
Who put these clothes on him?
WALKS IN THE NIGHT
The soldiers ordered it. We all must wear their clothing now.
Sully turns back to Cloud Dancing, whose eyes open. He looks up,
sees Sully. Sully looks down at him, deeply saddened to see his
friend like this.
WALKS IN THE NIGHT
Our people are angry.
Sully and Cloud Dancing continue to stare at each other, their eyes
locked in an unspoken communication.
WALKS IN THE NIGHT
We talk of leaving. To do whatever it takes to escape this life.
The Elder touches Sully's shoulder. Sully looks at him. For the
first time, the Elder speaks in English:
To live free one day holds more honor than to live a lifetime here.
Sully looks at the old man... and nods. He understands.
WALKS IN THE NIGHT
But to leave we will need help from outside. Someone to bring us
He means Sully, and Sully knows it. He looks back at Cloud Dancing,
whose eyes have not left him. After a moment, the decision is made:
I'll help you.
Walks in the Night reaches into his pocket, takes out some bills.
WALKS IN THE NIGHT
We have money for supplies. (hands the money to Sully) We will get
Sully turns back to Cloud Dancing, leaning closer to him.
As soon as you're well enough, I'm gettin' you outta here. For good.
Cloud Dancing says nothing. He just nods, seeing the determination
building in Sully's eyes as we:
END OF ACT TWO
EXT. LIVERY - DAY FOUR
Robert E looks up from his work to see Sully riding up. He dismounts
and steps over.
'Mornin', Robert E.
Got any horses for sale?
Just two. The rest are bein' boarded.
Robert E gestures to the paddock, where two horses stand. Sully
steps over, staring at the horses. Robert E follows, a bit curious.
I'll take 'em both.
He pulls out the money Walks in the Night gave him.
This cover it?
ROBERT E (takes the money)
How soon can you get more?
... which only increases Robert E's curiosity.
How many more?
As many as you can get.
ROBERT E (suspicious now)
Sully, what're you doin'?
SULLY (a warning)
You don't wanna know.
Robert E pauses a moment, the seriousness in Sully's voice concerning
I do wanna know. (beat) Sully, tell me. What's goin' on?
Sully looks at him -- he knows he's going to have to bring Robert
E into his confidence.
I'm gonna help the Indians leave the reservation.
Robert E reacts, stunned.
You mean, escape?
Sully nods. Robert E takes a moment to absorb the full impact of
what this means.
What about the army?
Sully doesn't answer.
Sully, that's treason.
I know what it is.
Sully settles a moment and turns to him -- this decision has not
come easy for him.
The Indians asked for my help, Robert E, I can't just turn my back.
(beat) Somebody's gotta be willin' to fight for 'em.
Hearing the words he spoke earlier quiets Robert E. He looks at
Sully, moved by his conviction. After a moment, he nods.
I can get you four more horses by tomorrow.
Robert E nods, shaking Sully's hand.
EXT. HOMESTEAD - DAY FOUR
Sully leads the horses he just bought into the pasture beyond the
fence, as a disgruntled Preston rides up to the homestead.
Sully... (dismounts) What are you doing?
Tendin' to my horses.
I see that. The question is -- why are you not tending to my homestead?
I'm not doin' that anymore.
Preston reacts with a smile of disbelief.
You can't quit.
I just did.
The smile fades as Preston quiets a moment, realizing that Sully
And so you're going to leave me with a half-completed house, just
Now Preston's starting to get angry.
This is ridiculous. I won't allow you to do this.
You got no choice.
I'm not paying you for the work you've done.
This catches Preston off-guard. He was expecting Sully to argue
And how do you intend to pay your friend back?
I'll find a way. But it won't be workin' for you.
Preston looks at him, then backs down, shaking his head. He climbs
up on his horse and rides off. Sully watches him go before turning
back to the horses.
EXT. STREET NEAR GENERAL STORE - DAY FOUR
Mike and Colleen walk toward the store.
Did Andrew have fun at the party?
Yes, he did.
He's quite taken with you, you know.
Really? (backing off a bit) I mean, you think so?
The smile on Colleen's face tells Mike that Colleen feels the same
I'll see you later.
Colleen peels off, heading up the street, the smile still fixed
to her face. Mike watches her go for a moment, then continues on
into the store.
INT. GENERAL STORE - CONTINUOUS - DAY FOUR
... where an insistent Hank hovers over Jake, who stands at the
counter buying cigars from Loren. The Reverend sits nearby, listening
in on the conversation with an amused smile.
Why d'you keep puttin' it off?
I ain't puttin' it off.
'Course you are. Tell him, Loren.
LOREN (to Jake)
You're puttin' it off.
Putting what off?
The town received a telegram from a woman inquiring about our school
But we already have a school teacher.
JAKE (to Hank)
You see? (to Mike) That's what I told 'em.
A "temporary" teacher." We still been advertisin'
for a permanent one.
Then we oughta make Mrs. Morales permanent. She's been doin' a good
But she's got no experience. This woman in the telegram's been teachin'
for fifteen years. I say we bring her in, give her an interview.
What do you think, Dr. Mike?
Put on the spot, Mike has to think a moment.
Well... Brian has really taken to Mrs. Morales. But since we've
been advertising, I don't see why we shouldn't at least meet the
You see? Even Michaela thinks we oughta interview her.
JAKE (his irritation building)
Just a waste a time. Why change what's already workin' fine?
And with that, Jake goes out. Hank gives the others a look, then
EXT. GENERAL STORE - CONTINUOUS - DAY FOUR
Hank comes out and stops Jake in the street.
Jake, hang on a second --
All right, all right, we'll interview her. Just leave me alone.
You like her, don'tcha?
The teacher. I mean, if you're sweet on the woman, why don't you
just admit it?
This silences Jake, confirming Hank's suspicions.
So what if she's a Mexican? You can't help how you feel.
This snaps Jake back to reality. He feigns indifference and brushes
I don't feel nothin'.
He walks off, leaving Hank shaking his head with a smile, even more
convinced than before.
EXT. LIVERY - DAY FIVE
Sully and Robert E stand at the fence, watching four new horses
roam around the paddock.
Fella just brought 'em in. Family's movin' to San Francisco, sold
'em to me cheap.
ANGLE ON SHERIFF'S OFFICE
as Matthew comes out and starts for his horse. He glances over at
the livery and sees:
of Sully giving Robert E some money. As Robert E pockets it:
I also talked to a man who's got a farm out in Deer Valley. Said
he might have two horses to sell.
Good. Let me know if you find any more.
BACK TO MATTHEW
as he reacts with a curious look and steps over to the livery.
Whatcha need horses for?
Sully turns to Matthew, growing suddenly quiet... which makes Matthew
wary. Robert E finally breaks the uneasy silence:
They're my horses, Matthew. I'm makin' a deal with Sully to use
his pasture for grazin'.
Then why was he payin' you?
Caught, Robert E thinks fast, taking the money Sully gave him out
of his pocket.
He wasn't. He was tryin' to give me back my money, thinkin' he was
gonna do me a favor.
Robert E puts the money back in Sully's hand.
But I won't hear of it.
The two look back at Matthew, who just stares at them. Something
isn't right here, but Matthew decides not to press it. Instead,
he manages a small smile.
Yeah... well, that's Sully for ya.
Robert E nods and smiles. But Sully doesn't. He just turns away,
stepping back over to the paddock.
EXT. HOMESTEAD - DAY FIVE
Mike, looking troubled and preoccupied, rides up in the wagon with
Colleen, Brian and Katie. Their attention is drawn to the six horses
now roaming in the pasture beyond the new fence.
Where'd all those horses come from?
They're Robert E's. Sully said we're just lettin' 'em graze in our
The SOUND of someone banging metal is heard from the barn. Mike
looks to it, then turns back to the kids.
Colleen, Brian, will you take Katie inside and prepare for supper?
Colleen (carrying Katie) and Brian start into the house as Mike
makes her way down to...
INT. BARN - CONTINUOUS - DAY FIVE
... where she steps into the doorway to find Sully repairing an
old bridle for one of the horses. He looks up, sees her uneasy expression
and stops working. After a quiet beat:
Preston just told me you quit working for him yesterday.
Why didn't you tell me?
Sully resumes working, trying to shrug it off.
Didn't want you frettin' over it.
MIKE (stepping toward him)
I'll find another way to pay Daniel back.
It's not that.
She's close to him now, and clearly worried. He stops working, looks
MIKE (not angry)
I care about the fact that you kept something from me. You've been
so quiet lately, so... distant.
Sully says nothing.
I know you're concerned about Cloud Dancing, but he's going to be
Not as long as he stays on that reservation.
This statement unsettles Mike.
He doesn't belong there, Michaela.
Sully resumes working.
Sully...please... I know you want to help Cloud Dancing, but if
you set foot on the reservation --
Sully suddenly cuts her off, his anger flaring:
You don't know what it's like, havin' to stay away... havin' to
rely on my wife and children to bring me news...
Mike says nothing. Sully settles a moment, then speaks softly, trying
to make her understand.
I don't want Katie growin' up, seein' him dressed in white man's
clothes, livin' in a shack. I don't want her rememberin' him like
that. (beat, a vow) I'm not givin' up on him.
It's not about giving up. It's about living... surviving. I'd rather
have Katie see him as he is now, than not see him at all.
This quiets Sully.
All I want is for him to survive. (beat) And I want you to survive
Sully looks at her, hearing her words... but his sadness is too
deep to reconcile.
But at what price?
He takes the bridle and starts out, leaving Mike alone, and increasingly
frightened as we:
END OF ACT THREE
EXT. HOMESTEAD - MORNING - DAY SIX
It's a few days later. Mike comes out the front door, dressed for
work, and steps down to the wagon, which Brian is just finishing
hitching. Colleen's already sitting in it, holding Katie.
All set, Ma.
MIKE (looking around)
He already went into town. Said he had to pick up some things from
Mike turns to Brian, sees the concerned look on his face.
Is everythin' all right with Pa?
Mike hesitates a beat, then gives him a smile, trying to sound reassuring.
Everything's fine, Brian.
Everyone falls silent as they turn to Katie, amazed at what they
Did you hear that?
She said "Pa!"
That's good, Katie!
Mike climbs into the wagon and takes Katie in her lap, her smile
laced with sadness.
MIKE (to Katie)
I wish your father could've heard it.
Off Mike's heartbroken expression...
EXT. GENERAL STORE - DAY SIX
Loren dumps several blankets into the back of the wagon as Sully
follows behind, carrying a small keg of blasting powder.
Thanks for your help, Loren.
What d'you need the blastin' powder for?
Sully loads the keg into the wagon.
Old tree stump on Preston's property doesn't wanna come out. (pats
the keg) Gonna help it along.
This satisfies Loren (who's unaware of the fact that Sully is no
longer working for Preston). Sully climbs up into the wagon and
EXT. SPRINGS CHATEAU HOTEL - DAY SIX
Colleen walks with Andrew along the porch, making their way out
to the bench in the garden area at the side of the hotel.
"Pa?" She actually said it?
Clear as a bell. Sully's been tryin' to get her to say it for weeks.
And now she finally says it, and he's not there to hear it.
That's unfortunate. I'm sure he'll be disappointed.
They arrive at the bench and sit. It's a beautiful spring day --
flowers surround them, in full bloom.
I know how he feels. Every time I come home from school, Katie's
doin' more things. Feel like I'm missin' out on so much of her life.
It's only for a short time. (off her look) When you're finished
with college and medical school, you'll come back home to practice
medicine. And then you'll be around to watch Katie grow up.
COLLEEN (not sure about this)
Come back home to practice medicine?
Well, I assumed you'd be joining Michaela in her practice.
COLLEEN (quieting, thinking)
Yeah... I s'pose.
Or you could start a practice of your own.
Colleen nods, considering this. Andrew pauses a moment, a bit nervous
about what he's going to suggest next:
Or you could come work here.
Colleen looks at him, surprised...but not displeased.
Here? You mean, work for you?
Not for me. With me. As a partner.
Colleen can't keep the smile from sliding onto her face at this
thought. Andrew smiles, relieved by her reaction... but still wanting
Would you like that?
Colleen looks at him. They're not aware of it, but they're drifting
closer to each other.
Andrew nods, then breaks the tension by leaning in and gently kissing
her. Colleen does nothing to stop him, lingering in the moment until
he finally pulls away. He gives her a soft smile.
EXT. SCHOOLHOUSE - DAY SIX
School is letting out for the day. Kids run across the meadow on
their way home, passing by Jake, who approaches the school with
a sense of purpose. He steps up to the front door, where Teresa
Good afternoon, Mayor Slicker.
Jake plunges straight ahead with the business at hand, trying to
keep himself from showing any hint of an attraction to her. He takes
out an envelope and hands it to her.
Got your pay for the month.
TERESA (takes it from him)
Right. And I just wanted you to know, I'm goin' ahead and makin'
your job permanent.
Yeah. Remember, we only hired you on temporary.
The council has voted?
JAKE (a little too quickly)
Don't need the council. I'm the mayor, and I say the job is yours,
permanent. (beat, then)
That is, if you want it.
Teresa smiles, pleased.
Yes. Yes, I do.
Teresa expects Jake to leave, but he doesn't. He just stands there,
grappling with emotions he can't seem to suppress.
Is there something else you wish to tell me?
This is it -- should he ask her to dinner? Should he admit his feelings
for her? After a long, tortuous moment:
No. That's it. Nothing else. (beat, tips his hat) 'Afternoon.
Teresa nods, perplexed by his behavior as Jake walks off, frustrated
EXT. RESERVATION - DAY SIX
The front door flap to the army tent opens, and Mike and Walks in
the Night escort Cloud Dancing out. Cloud Dancing walks slowly,
but he looks much better -- the bruising and swelling have gone
down. He's still dressed in the Western clothes.
How do you feel?
It is good to see the sun again.
You're doing remarkably well, Cloud Dancing.
Mike and Walks in the Night help him over to his shack. The other
Indians watch on, glad to see Cloud Dancing recovering so quickly.
As they arrive at the shack, McKay approaches.
Walks in the Night helps Cloud Dancing into the shack, whispering
something in his ear, as Mike turns to McKay.
He looks good.
He still needs a lot of rest.
Listen... just thought I'd let you know, 'cause of the beatin' he
took, I managed to get his punishment reduced.
One month confinement to his shack, and no day passes for four months.
Mike reacts, obviously not happy about this. McKay's not all that
happy either, but:
Best I could do.
He walks away.
EXT. ROAD OUTSIDE RESERVATION - DAY SIX
Mike rides by on Flash, on her way back to town. As she passes by
a grove of trees, we HOLD on the trees, as Sully appears, watching
Mike doesn't see him as she rides on, disappearing around a bend.
Sully stares off after her until the SOUND of someone approaching
draws his attention to:
WALKS IN THE NIGHT
who moves through the trees, followed by four other Indians. They
step up to Sully.
WALKS IN THE NIGHT
The doctor says he is well now.
I'm still waitin' on more horses.
WALKS IN THE NIGHT
No. Cloud Dancing is ready. We must act now.
Sully looks at the Indians -- they're ready.
All right. Here's how we're gonna do this...
As Sully begins laying out the plan...
EXT. STREET NEAR GENERAL STORE - DAY SIX
Mike rides into town and starts down the street, heading for the
clinic. On the way, she overhears a voice nearby that gets her attention:
ROBERT E (O.S.)
... Let me know. A friend of mine needs all the horses he can get.
Mike reins Flash to a stop and looks over to see:
talking with a man on the porch of the store (Robert E doesn't see
ROBERT E (continuing)
The sooner the better, just bring 'em by the...
Now he stops short when he sees Mike riding Flash over, a suspicious
look growing on her face.
Are you talking about Sully?
Robert E suddenly grows quiet, not knowing what to say.
I thought all of those horses were yours.
Again, Robert E is silent, struggling with whether or not he should
reveal Sully's plan.
MIKE (suspicion building)
What does he want them for?
ROBERT E (after a beat)
Maybe you should be talkin' to Sully 'bout that.
Yes. Perhaps I should. Where is he?
Loren, sweeping the porch, hears this and steps over.
Out at Preston's homestead. (off her look) That's what he told me.
He was in here this mornin', buyin' blastin' powder to knock out
a tree stump.
Mike gives Robert E a look, her suspicion turning to concern. Without
a word, she turns Flash around and starts out of town.
EXT. HOMESTEAD - DAY SIX
Mike gallops up the road, then slows when she sees something that
only intensifies her fear:
HER POV - THE PASTURE
The horses are gone.
BACK TO MIKE
as she starts back up the road, heading toward the reservation.
EXT. WOODS NEAR RESERVATION - DAY SIX
Sully works swiftly and silently as he finishes tying off the horses.
Some of the horses have blankets and food supplies loaded on them.
He picks up the keg of blasting powder and a fuse coil and disappears
into the trees.
EXT. EDGE OF RESERVATION - DAY SIX
Sully appears along the treeline, peering through the brush. He
of Walks in the Night, standing in front of Cloud Dancing's shack.
Hearing the whistle, he looks over, seeing Sully. He nods.
sees this and starts away, disappearing back into the brush.
ON WALKS IN THE NIGHT
as he begins moving through the reservation, giving silent nods
to the Indians who are waiting for his cue.
Calmly and inconspicuously, the Indians begin spreading out through
the reservation, positioning themselves alongside or behind the
soldiers, ready to make their move.
EXT. HILLTOP ABOVE RESERVATION - DAY SIX
Sully lights a match, then holds it to the fuse, which he's attached
to the blasting powder keg. With the fuse lit, Sully moves off,
hurrying back down to the edge of the reservation.
EXT. RESERVATION - DAY SIX
McKay walks through the reservation on patrol. He notices nothing
unusual -- everything appears normal... and quiet... until suddenly:
ANGLE ON HILLTOP
as an EXPLOSION sends dirt and rocks high into the air, shaking
as McKay and the soldiers react. They turn toward the sound, stunned
and confused, and in that instant:
The Indians make their move. It all happens very fast -- the Indians,
led by Walks in the Night, go for the soldiers' guns, disarming
many of them before they can react.
But a few of the soldiers respond quickly, managing to hang onto
their weapons. Struggles begin, and then fights break out as the
revolt swiftly escalates.
A few SHOTS are fired, and people are hit -- both Indians and soldiers.
But the Indians have most of the weapons now, and the soldiers are
quickly outnumbered. McKay (who still has his gun) realizes this
and calls to his men:
Take cover! Take cover!
Walks in the Night and the Indians fire at the soldiers as they
scramble for cover. Other Indians begin fleeing the reservation,
tossing burning pieces of wood into the shacks as they go.
AT THE EDGE OF THE RESERVATION
Sully (hidden in the brush) points Indians toward where the horses
Over there! Horses and food! Go! (in Cheyenne) Over there!
As the Indians move off, Sully starts onto the reservation, moving
through the increasing melee. He tries not to be seen by the soldiers
as he stops to help some women and children into the back of a commandeered
army wagon, which then rides off out the main gate.
Sully then continues quickly toward Cloud Dancing's shack, passing
a group of Indians who tear down one of the other shacks. He sees
other Indians FIRING guns at the Soldiers and reacts with concern.
SULLY (to Indians)
Don't shoot. Run! Go on, get outta here!
But the Indians keep firing, bent on causing as much destruction
as they can before they leave.
Sully arrives at Cloud Dancing's shack. He checks to make sure no
soldiers are around, then opens the door and helps Cloud Dancing
C'mon. Lean on me.
Cloud Dancing reacts to the sight of the reservation being destroyed
as Sully leads him away.
ducking for cover behind some crates as the Indians continue to
fire at them. He turns to see a Private (the one whose arm Mike
stitched up) shaking with fear nearby.
Find a horse. Go for re-enforcements. (sharp) Now!
The Private hurries off (his arm has healed by now) and finds a
horse. He climbs up onto it and rides away as McKay fires at the
Indians, covering the Private's retreat. McKay then spots something:
of Sully, leading Cloud Dancing and several other Indians into the
woods (Sully doesn't see McKay).
hardly has time to react before a BULLET hits nearby. He quickly
ducks for cover.
OUTSIDE THE MAIN GATE
Mike rides up. She quickly ducks for cover, reacting with horror
at the sight she comes upon:
of the reservation in chaos. The shacks are burning. Most of the
army tents have been torn down. The only Indians remaining (aside
from the few that chose not to revolt) are the ones with the guns
(including Walks in the Night), FIRING at the soldiers. But they
too are starting to scatter, running off into the hills and woods.
moves onto the reservation as the SHOOTING finally subsides. Soldiers
come out from their cover and begin chasing after the Indians, following
them into the woods. Other soldiers begin rounding up the remaining
Indians and tending to the wounded.
Mike looks around, frantically searching the ruins, until:
She turns to see McKay approaching her, as angry as we'll ever see
I saw him. He was right in the middle of it, helpin' 'em. Prob'ly
started the whole thing.
(very close now) And when I find him, he's gonna pay for it.
McKay moves off to gather his troops, leaving Mike stunned and frightened,
a growing sense of desperation overwhelming her as we slowly
EXT. HOMESTEAD - DAY SIX
Mike rides up to the homestead at a gallop, calling as she approaches:
Colleen and Brian hurry out of the homestead, reacting with concern
when they see the worried expression on Mike's face.
Ma, what's wrong?
Has Sully come by the house?
Mike looks around, trying to figure out what to do.
What happened, Ma?
MIKE (fast, urgent)
There's been some trouble at the reservation. Brian, will you ride
out to Andrew's clinic? Tell him to get to the reservation -- some
Indians and soldiers have been wounded. I've treated most of them,
but some of the minor injuries still need tending to.
Colleen, I'd like you to ride into town with me and stay at the
clinic, while I go look for Sully.
Where is Sully?
Mike turns to see McKay and two soldiers riding up. As they approach,
Mike falls silent.
I wanna know where Sully's takin' the Indians.
She says nothing. McKay rides closer. His tone is not threatening
-- he only wants to get information.
How much do you know 'bout all this?
I don't know anything.
Sully was behind it, wasn't he?
Again, Mike says nothing.
Was he the one who set off the explosion? (no answer) Was he the
one who got the Indians all them horses?
Colleen and Brian react to this, and McKay sees it. He looks back
at Mike, who hesitates a moment... then:
As I said... I don't know anything.
McKay gives her a long, hard look. After a moment, he gestures to
his men and rides off in frustration. Mike looks back at Colleen
and Brian, who watch her in stunned silence.
EXT. STREET IN FRONT OF CLINIC - DAY SIX
Mike and Colleen (holding up Katie) ride up to the clinic in the
wagon. As they climb down and start toward the clinic:
I'll need to take some additional medicines with me.
I'll make sure the clinic is ready, just in case.
Thank you, Colleen.
Colleen stops Mike at the clinic door, a thought hitting her:
Ma... what should I tell Matthew?
Mike hesitates a moment -- this is very difficult for her.
Mike turns to see Dorothy hurrying over from the Gazette, looking
Soldiers rode through town earlier, warnin' everybody about an uprisin'
at the reservation. Is it true?
I'm afraid so.
Cloud Dancin'? Is he all right?
I don't know. Most of the Indians have escaped into the hills. The
army's searching for them. (beat, quieting) Dorothy... have you
From the look on Mike's face, Dorothy suddenly realizes:
Did he have somethin' to do with the uprisin'?
Mike pulls Dorothy aside, lowering her voice in a private moment.
I believe so.
Mike's emotions are starting to slip, revealing the desperation
I lied to the army, Dorothy. I told them I didn't know the extent
of his involvement. But he helped stage the revolt. He provided
horses for the Indians --
Michaela, what're you gonna do?
I don't know. But I have to do something...
Mike quiets, as she sees something off-screen that troubles her:
ANGLE - STREET CORNER
coming around the corner of the Gold Nugget is McKay, leading five
captured Indians on foot. One of the Indians is the Arapaho Elder
(the one who recognized Sully as the Indian Agent). The Indians'
hands are bound as they walk behind McKay (who's on horseback).
Following behind the Indians are two soldiers (also on horseback).
CLOSE ON MIKE
reacting as McKay rides by. He gives her a quiet look as they proceed
Hank and a few men come out of the Gold Nugget, and Loren comes
out of the General Store, as McKay leads the Indians around the
corner, heading for:
THE SHERIFF'S OFFICE
where Matthew is just riding up out front (from the direction of
the train station). Robert E and Grace come out of the livery, Preston
out of the bank, and Jake out of the barbershop, joining the other
townsfolk who gather to watch as Matthew turns to face McKay.
Sheriff, I need a place to lock up these Indians. I can't spare
any men to watch 'em -- need every soldier I got out searchin' for
ON MIKE, DOROTHY AND COLLEEN
as they come around the corner, watching as:
says nothing, hesitating, troubled by the sight of the Indians.
McKay produces a telegram.
I got orders to take over your jail, with or without your help.
Matthew finally steps aside, and McKay's men usher the Indians into
How many more are still out there?
I don't know. Thirty or forty. Maybe more. We're also lookin' for
Sully? What'd he do?
He's the one who started the revolt. Keep your eye out for him.
Let me know if you see him.
Matthew absorbs this in silence as the soldiers come back out and
Thanks for your help. (re: the Indians) We'll come back for 'em
soon's we round up the rest.
McKay turns to the people who are gathering around.
You folks best head back to your homes, where it's safe.
McKay and his men ride off out of town. Matthew, still stunned,
glances over to see:
Mike, watching him, looking increasingly worried.
BACK TO MATTHEW
who shakes his head in frustration and disappointment at Sully.
EXT. WOODS - DAY SIX
It's late afternoon as Sully and Cloud Dancing ride up to an outcropping
of rock. Wolf is with them. Sully climbs down and ties off his horse
before helping a weak and exhausted Cloud Dancing down from his
horse. He leads Cloud Dancing to shelter under the outcropping and
gently lays him down.
You all right?
I am tired.
Just rest. We'll stay here tonight.
Sully turns to stare out at the woods, scanning the surroundings.
The others should be here soon. We'll get started north in the mornin'.
Sully turns back to Cloud Dancing... and for the first time, he
sees the worried look on his face.
You must leave me.
Travelling with me will only put yourself in greater danger.
I don't care.
Your family --
I'm not leavin' you, Cloud Dancin', and that's the end of it.
Cloud Dancing quiets. The two share a look -- this is important
I'm stayin' with you 'til I know you're safe, no matter how far
Sully suddenly quiets as FOOTSTEPS are heard. He draws his knife
and waits, but then breathes a sigh of relief as:
WALKS IN THE NIGHT
and several Indians appear through the trees.
Where are the others?
WALKS IN THE NIGHT
Many were captured. The army is sending for re-enforcements.
We'll be safe here tonight, but we'll need to start movin' at first
Walks in the Night reacts with skepticism:
WALKS IN THE NIGHT
Where will we go?
North. Follow the Powder River up to Montana, to the unceded Indian
territory in the Tongue River Valley.
It is the homeland of the Northern Cheyenne.
WALKS IN THE NIGHT
And then what? Wait for the army to find us?
We will be safe there.
The territory belongs to the Indians. The whites can't --
WALKS IN THE NIGHT
The white man can do what he wants. Soon all land will be his.
Walks in the Night looks at the other Indians, sees that they share
his resolve. He turns back to Sully.
WALKS IN THE NIGHT
We were born in this land.
The army will find you.
WALKS IN THE NIGHT
The army will find us no matter where we go. But until then, we
will live free... and we will strike back at them for the deaths
of our people.
Sully's starting to get angry.
This isn't what we talked about. I didn't help you so that you could
start a war --
WALKS IN THE NIGHT (also angry)
They started the war!
Walks in the Night looks to the others as he takes out a small pouch.
He dips his fingers in the pouch, then smears red dye (made from
bloodroot) across his face.
WALKS IN THE NIGHT
And now we will finish it.
The Indians nod agreement. Walks in the Night turns back to Sully.
WALKS IN THE NIGHT (in Arapaho)
Don't do this...
But he's already moving away, leading the Indians back into the
woods. Sully looks to Cloud Dancing, who shakes his head sadly.
INT. CLINIC - LATE AFTERNOON - DAY SIX
Colleen brings a small bottle of chloroform over to Mike, who is
just finishing restocking her medical bag with supplies and medicines.
Here's the chloroform.
Mike puts the chloroform in and shuts the bag.
I think that's it.
Be careful, Ma.
Mike forces a reassuring smile and starts out.
EXT. CLINIC - CONTINUOUS - DAY SIX
Mike comes out and hangs her medical bag on Flash's saddle. But
before she mounts up, she notices Loren, the Reverend, Jake, Hank
and a few soldiers standing in front of the Gazette, watching as
McKay questions a very nervous Dorothy.
Mike starts over, stepping up beside the Reverend in time to hear:
I didn't know anythin'. The uprisin' came as a shock to me.
McKay sees Mike... but his focus is now on Dorothy. He turns back
You came by to see the Indian a lot when he was recuperatin'.
Cloud Dancin' is my friend. I was concerned.
Did he tell you anythin' durin' those visits?
Such as what they were plannin'... where they were gonna go after
I just told you -- I don't know anythin'.
McKay is finding this hard to believe.
All those visits, an' you knew nothin' about any of this.
That's what she said. How many times she gotta repeat it?
One strong look from McKay quiets Loren. Mike steps closer, intervening.
She's telling you the truth, Sergeant.
Dorothy shares a look with Mike, then turns back to McKay, adding:
We all are.
McKay turns to Mike, holding her look for a long moment... and it's
now that Mike sees just how much he's struggling with all this.
He doesn't like what he's doing, because deep in his heart, he feels
that the army's treatment of the Indians is wrong. What he says
next is to everyone, but mostly directed at Mike and Dorothy:
Look... I know you wanna help these people. But the longer they're
out there, the more trouble they're gonna be in. I'm not lookin'
to get more people hurt, I just wanna --
Everyone looks to see the Private riding around the corner with
excitement. He hurries to McKay, gesturing back over his shoulder.
Got the re-enforcements.
Mike looks over and sees something that is very unsettling:
Coming around the corner are several battle-hardened Soldiers. Leading
them is Sergeant O'Connor.
BACK TO MIKE
MIKE (apprehension growing)
REVEREND (to Mike)
Sergeant O'Conner? I thought they transferred him away from here.
O'Connor and his men ride up to McKay.
Glad you're here, Sergeant. (gestures to the hills) I got men searchin'
O'CONNOR (cutting him off)
We best get to the reservation.
I want a full account of what happened... then I'll need you to
co-ordinate the handlin' of the prisoners. Me and my men'll take
over the search.
McKay reacts -- Who the hell does this guy think he is?
I don't know how you're used to doin' things, Sergeant. But around
here, I'm in charge.
O'Connor reaches into his pocket and takes out a piece of paper,
which he hands to McKay.
... that's not what General Wooden says.
McKay's anger builds as he reads the paper. O'Connor remains calm.
McKay finishes, looks back up at O'Connor.
Now let's go. You've done enough damage for the day.
McKay gives O'Connor a cold stare... but then finally backs down.
He mounts his horse and rides off with his men.
O'Connor casts a look at Mike, tipping his cap...
Good to see you again, Mrs. Sully.
... then starts off with his men, following after McKay.
as she watches them go with increasing dread. But then she steels
herself, her expression filling with determination as she hurries
to her horse and mounts up. As she rides off toward the hills, we:
END OF ACT ONE
INT. HOMESTEAD - MORNING - DAY SEVEN
Colleen feeds Katie as Brian eats his breakfast. Both are quiet,
very worried about Mike and Sully. After a moment Brian breaks the
silence, voicing his darkest concern:
What if Ma can't find him? (then, quieter) What if Sully doesn't
wanna be found?
Don't say that.
But from the look on her face, it's been on her mind as well. Brian
looks up at her.
What if he never comes back?
He'll come back, Brian. Don't worry.
But he is worrying, and nothing Colleen can say will ease his fear.
The silence of the moment is suddenly shattered as the front door
swings open, and in barges O'Connor and two soldiers.
Search the house. Every room.
One soldier goes upstairs, while the other starts ransacking the
living room, tipping over furniture and dumping the contents of
drawers onto the floor. Katie starts crying.
Colleen and Brian react with alarm as O'Connor steps over to them.
Where's your ma?
Colleen freezes, but Brian recovers and moves to him, masking his
fear with anger.
You can't come in here!
Where is she?
She went to look in on some patients.
O'Connor looks at Colleen, who tries not to wilt under his intense
stare. He then begins searching the kitchen, making a mess of the
What do you want?
Just lookin' for clues, son. When was the last time you...
O'Connor suddenly stops short when he sees something out the window:
HIS POV - THROUGH WINDOW
of Mike riding up to the homestead. She sees the army horses in
front of the homestead and reacts with concern.
BACK TO O'CONNOR
He heads for the front door.
EXT. HOMESTEAD - CONTINUOUS - DAY SEVEN
O'Connor comes out as Mike rides up and dismounts, her concern turning
to anger at finding him here.
What are you doing here?
I learned that your husband was involved in the revolt. I'm just
trying to determine his whereabouts.
I already told Sergeant McKay that I don't know anything, so I'd
appreciate it if --
O'Connor cuts her off, his voice low and menacing:
You'd better not know. 'Cause if I find out you're hidin' anythin'
from me, I'll make sure you spend the rest of your life in jail.
Mike is rocked by this, but struggles not to show it. She looks
over, sees Colleen (holding Katie) and Brian watching from the doorway,
frightened by what they just heard.
Mike looks back at O'Connor and meets his stare, refusing to be
Get off my property.
O'Connor holds her look, until his two soldiers come out of the
house. They look at O'Connor and shake their heads. O'Connor gives
Mike a last look, then climbs up on his horse and rides off.
Mike moves to the front steps, where she sits, taking a deep breath
to calm her nerves. Colleen and Brian move to her.
Did you have any luck, Ma?
Mike looks at them, wishing she could allay their fears.
Colleen and Brian exchange a quiet look, their fears mounting.
EXT. WOODS - DAY SEVEN
ON Cloud Dancing, asleep... until a HAND reaches over and wakes
him. He looks up to find Sully ready to go.
'Mornin'. How you feelin', can you ride?
I think so.
Cloud Dancing sits up, but as he does, Sully notices a small blood
stain seeping through Cloud Dancing's shirt. He lifts the shirt
to reveal that the stitches from the operation have torn open a
Your stitches are breakin'.
Sully digs through his medicine bag, takes out some dried yarrow
leaves, which he applies to the wound.
Hold these to it.
Cloud Dancing holds the leaves to his wound as Sully helps him to
C'mon... We gotta get you sewn up again.
As he leads Cloud Dancing over to the horses...
INT. SHERIFF'S OFFICE - DAY SEVEN
Some of the Indians in the jail cell are asleep. The others (including
the Arapaho Elder) are awake, staring through the bars at Matthew,
who looks down at the paperwork on his desk, avoiding their constant
Matthew reacts to the urgency in Horace's voice and hurries out
of the office...
EXT. SHERIFF'S OFFICE - CONTINUOUS - DAY SEVEN
... where he sees Horace running up from the telegraph office.
Horace, what's wrong?
Robert E, in the livery, sees the commotion and comes over. Horace
struggles to catch his breath as he speaks:
Fella just rode into town... said he saw your homestead on fire.
Matthew reacts with shock.
Said the whole place was goin' up in flames.
Matthew quickly moves to his horse.
I'll go with you.
Matthew and Robert E mount up and ride out of town at a full gallop.
EXT. MATTHEW'S HOMESTEAD - DAY SEVEN
Matthew and Robert E ride up, then slow to a stop when they come
THE HOMESTEAD AND BARN
now completely burned to the ground, reduced to a pile of smouldering
Matthew climbs down from his horse and moves through the debris,
stunned into silence, numbed by the shock. Robert E also climbs
down from his horse. He steps toward Matthew, but doesn't know what
to do or say to ease his pain.
Matthew turns to him -- he can't believe this has happened.
ROBERT E (softly)
I'm sorry, Matthew.
Matthew looks back at the debris, asking himself the question:
How'd this happen?
You leave any lamps burnin'?
The SOUND of horses approaching gets their attention. They turn
to see Hank, Jake and Horace ride up (all have guns). They see the
destruction and realize they've arrived too late. Hank and Jake
dismount and step close to Matthew to break more news to him:
Matthew... family down the road from here just stopped us, said
they saw a buncha Indians runnin' around out here earlier.
Matthew looks at Jake, troubled by this revelation.
Looks like the Dog Soldiers all over again.
The Indians started the fire?
I don't understand it -- why would they wanna burn down Matthew's
Matthew ponders this a moment... and then it suddenly hits him:
Matthew runs back to his horse.
They wanted to get me away from the jail!
Matthew mounts up and takes off at a gallop, followed by the others,
who hurry to catch up with him
EXT. STREET - DAY SEVEN
Townspeople run for cover as a group of Indians, (now wearing war
paint on their faces) led by Walks in the Night, ride through town
FIRING guns in the air. Grace pulls the Reverend around a corner,
away from danger.
AT THE SHERIFF'S OFFICE
Two Indians kick open the front door. They run in, and a moment
later, the captured Indians follow them out, climbing up onto their
horses and riding off out of town.
Walks in the Night rides up to the Arapaho Elder (the last Indian
out of the jail) and jumps down from his horse. He helps the old
man onto the saddle, then smacks the horse, sending it galloping
off. Another Indian rides by and tosses a lit stick of dynamite
into the Sheriff's Office. A moment later it explodes, blowing out
the front of the office.
Walks in the Night steals a horse from a nearby hitching post and
rides out of town, FIRING his gun as he goes. As the streets fall
NEW ANGLE - THE OTHER END OF TOWN
Matthew, followed by Robert E, Jake, Hank, Horace ride up and turn
the corner, reacting with shock when they see the destruction at
the Sheriff's Office.
Matthew jumps down from his horse and steps over, staring in disbelief
at the hole in the wall caused by the explosion. As he peers through
the hole into the jail cell:
Matthew and the others look to see an enraged Preston coming out
of the bank, rifle in his hand.
They just escaped, rode out of town with a marauding band of savages.
Matthew looks back at the hole in the wall... and now his shock
turns to anger. He storms into the office as Grace rushes over to:
Robert E moves to her and hugs her, as more frightened townspeople
begin emerging onto the street around them.
You all right?
Grace manages a nod, but she's still scared.
They start toward their house, passing by Hank, who now sees something
down the street and reacts:
HANK (to Jake)
Jake turns to see:
staggering into town on foot, in obvious pain. She's filthy, her
dress torn and covered in soot. She clutches her arm, which is burned.
BACK TO JAKE
as he rushes over to her, followed by the others. Loren joins them
from the store, and Dorothy comes over from the Gazette, but Jake
is the first one to get to her, putting an arm around her for support.
They... burned my house.
I tried... to put the fire out...
She looks at Jake, the tears coming.
I have lost everything.
The pain and exhaustion overwhelming her, she practically collapses
in his arms. Jake lifts her up.
Let's get you to the clinic.
Michaela's not there.
Where is she?
I don't know.
Haven't seen her all day.
JAKE (to Hank)
We'll take her to Andrew.
Hank leads the way as Jake carries Teresa in his arms, heading off
to get a wagon. As Dorothy, Loren and Horace watch them go, Preston
steps over, still angry.
PRESTON (to Dorothy)
You see? This is what happens when you try to befriend them.
Now Dorothy's starting to get angry.
This has nothin' to do with that!
I told you not to get involved. The more you give them, the more
they take --
Don't you have that backward?
This is going to cause irreparable damage, not just to your career
as a journalist, but to our newspaper as well.
Spare me the lecture, Preston. (reminding him yet again) Our newspaper
is a partnership, of which I own fifty-one percent.
Preston steps close to Dorothy -- he's fed up with her.
You own it because I loaned you the money. And now, because of your
reckless handling of the enterprise, I'm forced to call in your
This staggers Dorothy.
You can't do that.
Believe me, I don't want to. But you've left me no choice.
Dorothy quiets a moment, absorbing this shock... and then she looks
back at him, trying to summon her strength.
Fine. I'll just start another paper.
Preston glances around the street, at the many people giving Dorothy
cold looks. He turns back to her.
Not after this.
He walks off, rifle in hand. Under the weight of the townspeople's
stares, Dorothy feels suddenly alone. She turns to Loren, her eyes
pleading for support.
Loren looks around at the people, knowing full well that any show
of support for Dorothy will turn them against him as well. But despite
this, he steps over to Dorothy and puts his arms around her, offering
EXT. HOMESTEAD - DAY SEVEN
Mike comes out of the homestead and steps over to Flash, who is
tethered out front. Colleen and Brian step out behind her and watch
as she hangs her medical bag on the saddle horn, then climbs up
onto the saddle.
We'll finish cleanin' up the homestead while you're gone.
Thank you, Colleen. I'll return before nightfall.
Mike attempts an encouraging smile, then starts off up the road
as Colleen and Brian head back into the house.
as she rides only a short distance before something out of the corner
of her eye stops her:
of Matthew, coming up the other road on horseback. He doesn't see
Mike -- his eyes are on the homestead.
BACK TO MIKE
as she struggles with what she should do. She quickly climbs down
and leads Flash off the road, tying her to a tree branch. She then
moves closer, taking cover behind some brush. From this vantage
point she is able to see and hear what's going on at the homestead.
What she sees is:
riding up and dismounting.
Colleen and Brian come out of the house as Matthew climbs the steps.
Matthew, what's wrong?
Where's Dr. Mike?
She just left.
Where'd she go?
Colleen and Brian suddenly grow quiet, feeling awkward.
watching this... and feeling terrible about it.
BACK TO SCENE
as Colleen fumbles for an answer.
I don't know. She didn't say.
Matthew looks at her, growing suspicious. Colleen quickly tries
to change the subject:
Is somethin' wrong?
Indians just escaped from the jail. They burned the old homestead.
Colleen and Brian react with shock.
also reacting with shock. Torn, she doesn't know whether to step
forward and reveal herself, or stay hidden and go after Sully.
BACK TO MATTHEW
as he looks past Colleen through the front door, reacting with increasing
suspicion to the mess inside.
What happened in there?
Soldiers came by, messed up the place.
Matthew goes in, followed by Colleen and Brian, who shuts the door
behind them as he relates the story:
Me and Colleen were eatin' breakfast with Katie, and Sergeant O'Connor
just barged right...
The door shuts, leaving:
with a decision to make. But before she can decide what to do, a
whistle is HEARD from the woods. Mike reacts -- she knows that call.
She quickly fetches her medical bag and starts toward it.
EXT. WOODS NEAR HOMESTEAD - DAY SEVEN
Mike comes through the trees to discover Sully waiting for her.
A wave of relief washes over her as she runs to him.
He pulls her close, wrapping his arms around her in an emotional
I'm all right.
I was so worried.
He kisses her, calming her a bit. Then:
C'mon. Don't got much time.
He takes her hand and leads her further into the brush, where:
lies, looking very weak. Wolf is beside him. The two horses are
She quickly moves to him, noticing the blood stain on his shirt.
His stitches are breakin'.
Mike lifts Cloud Dancing's shirt and examines the wound.
The bleeding has stopped, but I'll need to re-stitch the wound to
make certain it doesn't start again. (to Cloud Dancing) You'll be
She moves a few steps away and opens her medical bag, preparing
a needle and thread for suturing. Sully steps close to her as she
works. She casts a glance at Cloud Dancing, then turns back to Sully
and lowers her voice, the anger inside her beginning to surface.
I can't believe you did this.
SULLY (also hushed)
They asked for my help. I couldn't turn my back on 'em --
This was not the right way to help. It's only making things worse.
Can't get any worse.
Mike pauses a moment, looks up at him.
They burned the old homestead.
Sully reacts with disappointment as Mike resumes working.
SULLY (quietly, almost to himself)
Wasn't s'posed to happen like this...
O'Connor's back. He's looking for you. He ransacked the house, frightened
Sully is angered by this, but remains unwavering.
Don't worry. Soon's I get Cloud Dancin' to safety, I'll come back,
and we'll just tell 'em I was out huntin' --
They saw you, Sully. They know you were involved.
This is news to Sully. He reacts, realizing what this means.
When they find you --
I'll figure somethin' out --
MIKE (suddenly flaring)
You should've figured it out before you went and did this! Before
you placed yourself and your family in danger!
CLOUD DANCING (O.S.)
It is my fault.
Mike quiets and looks over to see Cloud Dancing watching them.
I should not have let you do this. (beat, troubled) I should have
stayed on the reservation.
Mike steps closer, seeing the deep anguish in Cloud Dancing's eyes.
She then takes a long look at the clothes he's wearing... and the
scars he bears.
Weak and sick, he no longer resembles the proud man she once knew.
After a moment, Mike shakes her head, her voice softening:
She looks at Sully, then back at Cloud Dancing.
You don't belong there.
Sully touches her shoulder. She puts her hand on his for a quiet
moment, then begins re-stitching Cloud Dancing's wound. As she works:
Where will you go?
We'll ride north. Follow the Powder River up to the Tongue River
Sully reads the look on Mike's face, and knows what she's thinking.
I'll come back, Michaela, I promise. Just as soon as Cloud Dancin'
And then what? The army is going to arrest you --
We'll think of a way outta this. But in the meantime, you don't
know where I am. You just go about your life like normal. The less
you involve yourself in this, the better. (off her look) For the
Mike realizes that this is the right thing for her to do, but it
still pains her greatly. She nods, then finishes stitching Cloud
Try not to travel too fast, or make sudden movements. You still
need to rest as much as possible.
Cloud Dancing nods. Mike hands him the bottle of carbolic acid and
a few medical supplies (suturing needle, thread, extra bandages,
etc.) as Sully helps him to his feet.
Take these with you. You might need them.
We should get goin'.
CLOUD DANCING (to Mike)
Tell Dorothy that I am sorry I could not say good-bye to her. I
want to thank her for writing her book... and for our friendship.
I'll tell her.
Standing there facing Cloud Dancing, Mike suddenly realizes that
this is the last time she will ever see him (or so she thinks).
The emotions quickly overwhelm her.
I don't know if I can say good-bye, either.
Cloud Dancing nods. He too is struggling.
Perhaps we will see each other again.
MIKE (tears coming)
Mike moves to him and hugs him, hanging on for a long, difficult
moment. Mike finally lets go. Cloud Dancing gives her one last look...
MIKE (barely audible)
... but just as he and Sully start off:
The three look to see:
standing nearby, drawing his gun. This is a very difficult moment
for him -- he's not proud of what he must do.
MATTHEW (eyes on Sully)
You're under arrest.
Don't do this, Matthew --
MATTHEW (angry now)
You think I want to?! The whole town is in a panic 'cause a you!
People are gettin' hurt, on both sides!
Listen to me, Matthew. If you arrest us, it'll affect us all.
This hits Matthew hard... but not as hard as what Sully says next:
SULLY (re: Cloud Dancing)
And you know what they'll do to him.
Matthew looks at Cloud Dancing... and weakens.
Put the gun away... and let us go. You never saw us.
Mike looks at Matthew, waiting to see what he'll do next. Matthew
turns to her, then back to Sully...
He knows he can't arrest them, but he's angry that Sully put him
in this position. After a moment, he lowers his gun in frustration.
Thank you, Matthew --
Sully looks to Mike. He gives her a kiss, embracing her one last
SULLY (a promise)
I'll see you soon.
... then he and Cloud Dancing climb on their horses and ride off
into the woods. Mike watches them go in silent agony as we:
END OF ACT TWO
EXT. STREET - DAY SEVEN
Mike, Colleen (holding Katie) and Brian ride in the wagon, with
Matthew riding alongside on horseback as they come into town (from
the direction of the train station).
The street is mostly deserted now -- the few people out move with
purpose, looking on edge, guns in hand. Faces peer from windows
or doorways, afraid to come outside.
The family arrives at the Sheriff's Office and stops. Mike reacts
to the hole in the wall and looks at Matthew, who says nothing.
Matthew... I'd like you to come live with us at the homestead.
I can't do that --
Just until you can find yourself another one.
Matthew quiets, then relents with a nod. After a moment:
I better get back to the repairs.
I'll help you.
Brian hops down from the wagon, joining Matthew. They head into
the Sheriff's Office as Mike and Colleen ride on toward the clinic.
INT. ANDREW'S CLINIC - DAY SEVEN
Jake stands close by as Andrew finishes applying a cream to Teresa's
burn wound (which Andrew has already cleaned). She's somewhat dazed
and drowsy -- the effects of the drugs Andrew has given her.
Is the morphine helping with the pain?
Yes. It is not so bad now.
Good. Actually, the fact that you're feeling pain is a good sign.
It means the nerves aren't damaged. You should heal without complications.
What's that you're puttin' on her?
A solution of nitrate of silver. It coats the wound, and helps it
to heal properly.
Andrew finishes and begins wrapping her arm with a loose dressing.
What's important now is to watch for signs of infection. I'd like
to see you tomorrow, to check the wound and apply a fresh dressing.
Teresa nods. Jake taps Andrew's shoulder, lowering his voice:
Can I talk to you a minute?
ANDREW (to Teresa)
Will you excuse me?
She nods, and Jake leads Andrew over to the corner, where he surreptitiously
tries to hand him some money.
This cover it?
This visit. I'm payin' for it. (off Andrew's look) Her place was
burned to the ground. She lost everythin'.
Andrew quiets a moment, feeling sorry for her... but still, since
Jake is offering...
He takes the money.
casting a quick glance over to see the exchange of money, which
troubles her. She quickly looks away as Jake steps back over.
C'mon. I'll take you back to town.
Teresa nods. As Jake helps her out of the clinic...
INT. CLINIC - DAY SEVEN
Mike sits at her desk, trying to concentrate on a patient chart,
but unable to keep herself from worrying about Sully. The SOUND
of horses draws her attention to the window.
HER POV - THROUGH WINDOW
of O'Connor and two soldiers riding past the clinic on their way
to the Gazette.
BACK TO MIKE
as she stands and goes out.
INT. GAZETTE - DAY SEVEN
Dorothy, working at her press, startles as O'Connor barges in, his
two men following behind. As they did in the homestead, they immediately
begin searching the place, spilling papers and supplies, along with
furniture, onto the floor.
DOROTHY (getting angry)
What are you doin'?!
Mike steps into the doorway, her anger rising as she watches O'Connor
and his men completely ransack the place. Dorothy is helpless to
You wouldn't happen to know where Cloud Dancin' is right now?
I told the Sergeant I don't know anythin'.
O'Connor finds the medicine pouch Cloud Dancing made for her. He
studies it a moment, then looks back at Dorothy.
I talked to some of the Indians we captured. They said you spent
a lotta time at the reservation... takin' notes about some book.
A troubling realization suddenly hits Dorothy... but she tries not
to let it show. Before O'Connor can question her further, the Private
Sergeant, they just brought two more Indians to the reservation.
Put up a hell of a fight.
O'Connor turns to his men.
I want every inch of the place checked.
O'Connor gives Dorothy and Mike a last look as he follows the Private
out. As the soldiers continue their search, Dorothy edges closer
to Mike, pulling her just outside the doorway and lowering her voice
so the soldiers won't hear.
DOROTHY (very worried)
What is it?
Cloud Dancin' once told me that if he could ever live outside the
reservation again, he'd wanna go north, to join the other Cheyenne
in the Tongue River Valley.
Mike reacts, knowing this is exactly where Sully and Cloud Dancing
Dorothy, listen to me... don't say a word about that to anyone.
DOROTHY (growing dread)
I already did. (beat) It's in my book. Who knows what else is in
there they could use against him?
Mike tries not to panic.
Where is it?
In my satchel.
of Dorothy's satchel, on the floor near the back door. The soldiers
have not found it yet.
BACK TO MIKE AND DOROTHY
as Mike thinks fast.
I'll distract them, you get the book.
Dorothy nods. Mike steps back inside, looks around...
... then makes a mad lunge for a stack of files sitting on a side
table. She creates a lot of noise, drawing the attention of the
soldiers, who see her grab the files and try to run out the front
The soldiers immediately move in on her, but as they reach for the
files, Mike spills them onto the floor.
She tries to scoop them up, but the soldiers quickly bend down,
grabbing for the many pieces of paper.
During all this, Dorothy quietly makes her way to the satchel, scooping
it up and going out the side door.
EXT. GRACE'S CAFE - CONTINUOUS - DAY SEVEN
Dorothy exits the Gazette, coming into Grace's Cafe, which is deserted,
but with half-eaten meals and pots and pans still in evidence. Even
Grace is not here (she, like the other patrons, went home when the
Indians raided the Sheriff's Office).
Dorothy clutches the satchel as she looks around.
of soldiers patrolling the road by the meadow. They don't see Dorothy.
BACK TO DOROTHY
as she starts in the other direction, heading toward the alley next
to the Sheriff's Office. But suddenly, she stops.
HER POV - THE ALLEY
as two soldiers step into the alley, heading toward her.
as she tries to figure out what to do. The two Soldiers see the
nervous look on her face and start her way. Dorothy moves off toward
the livery, trying to mask her growing apprehension.
AT THE LIVERY
Dorothy pauses when she sees the forge, still burning.
CLOSE ON DOROTHY
realizing what she must do. With the Soldiers getting closer, she
steps over to the forge, staring down at the flames.
She opens her satchel and takes out her manuscript, clutching it
tightly, fighting the tears that are welling in her eyes.
She hesitates a long, agonizing moment... then steels her resolve...
and lays the manuscript in the fire, her hand only letting go when
the heat from the flames becomes too intense.
She stands unmoving, unable to hold back the tears as she stares
at the forge, watching her book burn before her eyes.
EXT. RESERVATION - DAY SEVEN
New army tents have been erected in the midst of the debris, which
is being cleaned up by several Indians (under the close eye of the
soldiers). O'Connor rides up with the Private, passing a guarded
area used to house the re-captured Indians.
He stops and dismounts as Soldier #2 steps up to him.
Where are they?
Over here. We already tried questionin' 'em, but they won't talk.
O'Connor says nothing as the Soldier leads him over to a lean-to,
under which sit Walks in the Night and the Arapaho Elder, both bound.
Walks in the Night's face is bruised and bleeding, the result of
his struggle with the soldiers.
O'Connor stares down at them in silence. Walks in the Night won't
look at him, but the Elder does, meeting O'Connor's stare head-on.
ELDER (in English)
We know nothing.
O'Connor looks at Walks in the Night (who still won't look at him),
then back at the Elder.
You sure about that?
No response. O'Connor calmly draws his gun and aims it at the Elder,
who doesn't flinch... but Walks in the Night does. He looks up to
find O'Connor staring right at him, gun still pointed at the Elder.
Where are the others?
O'Connor cocks the gun, his eyes not leaving Walks in the Night's.
On Walks in the Night, struggling with what he should do...
EXT. GOLD NUGGET - DAY SEVEN
The streets are still empty as Jake helps Teresa gently down from
Easy now... there you go.
He starts to lead her into the Gold Nugget.
C'mon, I'll get you a room.
No. (off Jake's look, grateful) You have done enough for me. I will
stay at the boarding house.
It's no trouble. Really. I'm co-owner, I can get as many rooms as
Please. I appreciate your kindness, but I cannot accept. I will
pay you back for the doctor...
That was nothin' --
And I will make arrangements to pay for my next visit.
Jake starts to protest again, but he sees in her eyes that she won't
be swayed. He finally concedes with a nod, then helps her over toward
the boarding house.
EXT. RESERVATION - DAY SEVEN
McKay and two men bring in a small group of captured Indians. They're
met by the Private. As McKay dismounts:
Sergeant O'Connor said to tell you to assume command while he's
Away? Where'd he go?
After Sully. Guess he found out where they're headed.
MCKAY (not pleased)
'While ago. Two Indians told 'im everythin'.
Did O'Connor say where Sully went?
No. Just got on his horse, took two men with 'im and rode out.
Where're those Indians? I wanna talk to 'em.
Over there. But I don't think you're gonna get much out of 'em.
McKay steps over to the lean-to and stops when he comes upon:
WALKS IN THE NIGHT AND THE ELDER
lying on the ground, dead. They've both been shot.
CLOSE ON MCKAY
as his anger builds.
INT. CLINIC - DAY SEVEN
Colleen finishes changing Katie's diaper on the examination table
as Mike stares out the window in troubled silence. Colleen lifts
Katie in her arms.
I'll put Katie down for her nap.
Thank you, Colleen. (kisses Katie) Sleep tight, sweetheart.
Colleen goes out as a KNOCK is heard at the front door. Mike steps
over and opens it, revealing McKay. Mike sees him and suddenly grows
I need to talk to you.
Mike says nothing.
The genuine concern in his voice sways Mike. After a beat, she steps
back, allowing him in.
One of the captured Indians told O'Connor where Sully and Cloud
Dancin' are headin'.
(off her reaction) He's gone after them.
Mike absorbs this with increasing apprehension.
O'Connor didn't tell anybody which way he was goin', he just up
an' left. With the condition Cloud Dancin' is in, it's only a matter
of time 'fore he catches up to them.
He steps closer, trying to get through to her.
Dr. Quinn, your husband is wanted for a crime that's punishable
by hangin'. And you know if O'Connor finds him, that's exactly what's
gonna happen. (beat) But if I can get to him first, I'll do everythin'
I can to get that sentence reduced to life in prison. You got my
word on it.
Both of these options are horrifying to Mike.
At least he'll be alive.
Mike struggles, not knowing what to do.
Look... O'Connor, he does things different from me. Just 'cause
we wear the same uniform, don't make us the same man.
She looks up at him, meeting his imploring stare.
So please... you gotta trust me. You want your husband to live?
Then tell me where he is.
Mike stares hard at him, hoping with all her might that he'll keep
his word. Something in his eyes tells her he will. After a long
They went north... along the Powder River up to the Indian territory
in the Tongue River Valley.
McKay takes this in a moment... then nods his thanks.
EXT. CLINIC - MOMENTS LATER - DAY SEVEN
Mike follows McKay out of the clinic. Dorothy steps over from the
Gazette, joining Mike as she watches McKay and his men mount up
and ride off. Colleen steps out of the clinic, sees the distraught
look on Mike's face.
Ma... what happened?
Mike looks at her, then turns to Dorothy.
O'Connor found out where Sully and Cloud Dancing are.
Dorothy reacts, devastated by this revelation. Mike gestures to
the departing soldiers.
McKay's going after them...
Dorothy is troubled by this. But now Mike's expression changes.
She's not about to sit around waiting...
... and so am I.
I'm goin' with you.
Colleen, will you look after Katie?
Mike looks back to Dorothy.
As the two start off toward the livery, we:
END OF ACT THREE
EXT. POWDER RIVER VALLEY - ESTABLISHING - DAY EIGHT (STOCK)
The sun rises over the river and the rolling hills. In the distance
loom the stark, imposing mountains.
EXT. COUNTRYSIDE - MORNING - DAY EIGHT
McKay and his men ride by at a full gallop, heading toward the mountains.
A moment later, Mike and Dorothy appear, following them at a discreet
distance. Both are tired after riding all night, but they keep up
the pace, refusing to stop.
EXT. HILLTOP CLEARING - DAY EIGHT
Sully (with Wolf nearby) gently wakes the napping Cloud Dancing.
We should get movin'.
Cloud Dancing nods. As Sully helps him to his feet, something in
the distance suddenly catches his eye. Cloud Dancing follows his
THE VALLEY BELOW
where, from this vantage point, we can see three riders approaching
in the distance, kicking up a cloud of dust.
CLOUD DANCING (O.S.)
As the riders draw closer, we recognize the man in front -- it's
BACK TO SULLY
O'Connor. (concern growing) We better split up. I'll draw 'em away
No, Sully --
We don't got time to argue.
I will not let you --
Sully quiets a moment and steps close to him, struggling against
emotions that suddenly well inside him.
Was a time you helped me find my path. (beat) Let me help you find
Cloud Dancing sees that Sully will not be swayed. He nods silently,
but he too is fighting his emotions. This is the moment neither
of them was looking forward to...
Say good-bye to the children for me.
Sully nods, fighting tears.
My spirit will be with you, though I am not.
SULLY (beat, in Cheyenne)
You are my brother.
Cloud Dancing nods, his voice breaking:
CLOUD DANCING (in English)
The two embrace for a long, painful moment... then Cloud Dancing
climbs on his horse. They exchange one last look, then Cloud Dancing
rides off, disappearing into the woods.
Sully watches him go, lingering for a moment afterwards... then
he snaps back to the situation at hand and looks around the clearing,
figuring out his plan...
EXT. SPRINGS CHATEAU HOTEL - DAY EIGHT
Colleen walks with Andrew along the porch, just outside the clinic.
The tension from the town has spread out here. A few Armed Guards
patrol the grounds.
I won't be able to come out here as much the next few days. I'm
lookin' after Katie and the clinic while Dr. Mike is away.
Of course. It's terrible, what happened at the reservation. Hopefully
everything will work out for the best.
Colleen nods, then looks over to see Jake and Teresa pulling up.
As Jake helps Teresa down from the wagon, Preston steps out of the
hotel, watching the following exchange with increasing interest:
Good morning, Mrs. Morales, Jake. (to Teresa) How are you feeling?
There is still pain. But I am better today.
Good. Well, come on in and let's have a look.
First... I must make arrangements for paying you.
Andrew casts a questioning look at Jake, who just shakes his head
-- he's not paying.
I have no money now...
... which really gets Preston's attention.
But next month, when I receive my salary, then I will pay you.
Preston quickly intervenes before Andrew can be swayed:
That's very considerate of you, Mrs. Morales, but I'm afraid Dr.
Cook has a full slate of patients to see today...
Preston lowers his voice to Andrew:
One of whom is waiting in your clinic as we speak. (reminding him)
Mrs. Negley? Congressman Negley's wife?
Andrew remembers. Preston turns apologetically back to Teresa.
I'm terribly sorry. Perhaps Dr. Quinn will see you --
She's not around.
Preston gives Colleen a clipped smile, then turns to Andrew, whispering
Settle this matter and see to your patient.
Preston walks off, leaving Andrew torn. He steps closer to Teresa,
giving her an uneasy smile as he casts a cursory glance at her arm.
Your arm... looks good. I doubt there's any infection. All you need
to do is change the dressing and make certain --
Wait a minute. You're not gonna even look at it?
It's really not necessary. As long as the wound is kept clean, it
should heal properly. I would need to examine it only if --
TERESA (cutting him off)
Only if I could pay.
This silences Andrew, cutting right to the chase. He looks over,
sees Colleen watching him, waiting to see what he will do, which
only makes the moment more difficult for him. After a strained beat,
he turns back to Teresa, making his decision:
I'm very sorry... but my patients are waiting...
Andrew quickly turns and hurries off, leaving Colleen stunned by
what she just witnessed.
She turns to Jake and Teresa, but before she can say anything to
them, Jake helps Teresa up into the wagon.
C'mon. Let's get outta here.
Colleen watches them go, deeply hurt by Andrew's actions.
EXT. HILLTOP CLEARING - DAY EIGHT
O'Connor and his men ride up to the clearing, where O'Connor suddenly
raises his hand, stopping them. He climbs down from his horse, eyeing
the tracks on the ground.
They stopped here.
He moves ahead on foot, eyeing the ground... and then reacts to
something he sees:
The tracks separate. (gesturing) One this way. Other down there.
They split up.
(heads to his horse) Must think we're pretty stupid.
O'Connor climbs back on his horse.
You two follow that one. I'll stay on this one.
The soldiers nod and ride off in the direction Cloud Dancing went,
while O'Connor heads after Sully.
INT. BARBERSHOP - DAY EIGHT
CLOSE on Teresa's burned arm, as Jake gently unwraps the dressing.
WIDEN to reveal Teresa sitting in the barber chair (with Jake sitting
next to her), trying not to show the intense pain she's experiencing.
Jake knows this hurts, and tries his best not to make it any worse.
Sure you don't want any whiskey?
She shakes her head no. Jake continues working.
The last of the dressing comes off, and Teresa breathes a sigh,
relaxing a bit. Jake examines her arm, likes what he sees.
Looks good. No infection.
Jake begins applying the silver nitrate solution to the burn.
Tell me if this hurts.
She nods. As he works, Teresa steals a look at his face, watching
his focused expression. There's genuine compassion and concern in
his eyes, and this touches her. He glances up, catches her looking
at him, and she quickly looks back down at her arm. Jake looks back
down, finishing with the solution. He then carefully wraps her arm
with a fresh dressing.
She looks back up at him. He gives her a tender smile.
Neither one moves an inch. Although they're fighting it, the attraction
they're feeling is starting to overpower them. Jake studies her
eyes for a long moment... then he leans slowly in to kiss her. Their
lips almost meet, when Teresa suddenly pulls back, her voice quiet,
I am still in mourning.
Jake takes this in, then nods his acceptance. He lifts her hand
and softly kisses it. Teresa lingers, taking his hand in hers and
pressing it to her cheek, savoring this moment of comfort and safety.
EXT. WOODS - ENTRANCE TO BOX CANYON - DAY EIGHT
O'Connor rides along through the trees until the SOUND of horses
up ahead gets his attention. He quickly reins his horse to a stop
and dismounts, drawing his gun as he leads his horse behind some
brush. He peers through the brush to see:
riding up. O'Connor's soldiers.
BACK TO O'CONNOR
as he reacts angrily and steps out from behind the brush.
What're you doin'?
Followin' the trail, like you told us.
O'Connor reacts to this, then looks down, examining the tracks on
the ground. What he sees is confusing:
Tracks come together. They've joined up again.
ANGLE - DISTANT RIDGE ABOVE THEM
Sully (with Wolf beside him) smiles down at O'Connor, pleased that
his trick worked. He moves off, mounting his horse and riding on
into the canyon as:
continues to examine the tracks. He stands at the spot where the
tracks join together and looks where they lead:
They're headin' into the canyon. (gazing up at the canyon) I know
this area. It's a box canyon -- walls close in, there's no way out.
(turns to his men) You stay here, block their exit. I'll ride in
and flush 'em out.
The men dismount and wait as O'Connor mounts up and rides on into
the steep, imposing canyon.
EXT. COUNTRYSIDE - DAY EIGHT
Cloud Dancing rides out of the trees and up to the crest of a hill,
where he surveys the spectacular valley below him. A tranquil river
flows through the valley, the sight of which brings a smile to Cloud
He casts a final look over his shoulder, and for a moment, his smile
fades with the thought of the friends he's leaving behind...
But then he turns back toward the valley. He glances down at the
Western shirt he's still wearing, and then tears it off, throwing
it to the ground as he rides on, heading down into the valley...
EXT. WOODS - ENTRANCE TO BOX CANYON - DAY EIGHT
McKay and his men ride up to discover O'Connor's men waiting at
the entrance to the canyon.
He went ahead into the canyon.
Is Sully in there?
Yeah. O'Connor's gonna flush 'im out.
Is the Indian still with him?
I think so. They split up for awhile, took separate trails. But
they joined up again right here.
No they didn't.
McKay turns to see Mike and Dorothy on their horses, stopped not
far behind them.
It was a trick, meant to confuse you. Which it obviously did. (quieting,
to Dorothy) My guess is Cloud Dancing is well on his way to freedom
As Dorothy reacts to this, McKay rides over, furious that Mike has
What are you doin' out here?
The same thing as you. Looking for my husband. (to Dorothy) Come
And with that, she and Dorothy ride on, continuing into the canyon.
But they keep riding. McKay spurs his horse on, leading his men
into the canyon after Mike and Dorothy.
EXT. TRAIL - BOX CANYON - DAY EIGHT
Sully rides along the steep canyon trail, until the footing becomes
difficult for his horse. He hops down and ties off the horse before
moving ahead to check out the terrain.
he suddenly stops when he comes to the edge of a sheer cliff. Below
is the river, its banks lined with huge rocks and boulders.
Sully stares down at it a moment, then turns to start back to his
horse. He only gets a few feet before he finds his way blocked by:
who calmly aims his gun at him.
Stop right there.
Sully, realizing he's trapped, quietly raises his arms in surrender.
Been waitin' a long time for this.
O'Conner moves in on him. Sully watches him intently, waiting for
the right moment to strike. He suddenly lashes out, spinning as
he kicks the gun out of O'Conner's hand, sending it over the edge
of the cliff.
O'Connor recovers and steps toward him, raising his fists. Sully
watches, mindful of the edge of the cliff behind him.
O'Connor swings, and Sully dodges it. O'Connor recovers and swings
again, this time connecting, sending Sully tumbling to the edge
of the cliff.
O'Connor moves in on him, but Sully swiftly kicks, knocking his
feet out from under him. As the fight escalates:
EXT. BOX CANYON - DAY EIGHT
Mike, Dorothy, McKay and his men ride furiously, pressing further
into the narrowing canyon as:
EXT. CLIFF - BOX CANYON - DAY EIGHT
Sully and O'Connor continue to fight. O'Connor connects with a few
punches, rocking Sully, but not dropping him. He moves in and swings
again, but Sully ducks and delivers a hard blow to O'Connor's stomach,
doubling him over.
Sully then throws a fast series of staggering blows that knock O'Connor
backward, sending him tumbling to the ground.
O'Connor (like the last time they fought) reaches for his boot knife,
but Sully, anticipating this, quickly kicks the knife out of his
hand before delivering another barrage of punches that floor O'Connor.
CLOSE ON O'CONNOR
Dazed and bleeding from the nose and mouth, he is obviously beaten,
and he knows it. He looks up -- seeing Sully standing over him in
victory is infuriating, and O'Connor refuses to let it end this
With all the strength he has left in him, O'Connor suddenly lunges
forward, plowing into Sully and knocking him off balance.
Sully tries to push him away, but O'Connor hangs on, driving him
backward, sending both men hurtling over the edge of the cliff...
EXT. TRAIL - BOX CANYON - DAY EIGHT
Mike and the others come upon Sully's and O'Connor's horses. As
Mike's fear intensifies, Wolf runs up, barking wildly.
Mike, Dorothy and McKay jump down from their horses and follow Wolf
where they find no one. Mike and Dorothy look around, confused.
Where are they?
McKay steps to the edge of the cliff and looks down, reacting somberly
to what he sees.
Mike and Dorothy rush to the edge and peer down.
of O'Connor, lying sprawled on the rocks by the river, dead. Near
him on the rocks is a smattering of blood... but no Sully.
BACK TO MIKE
as she reacts in horror.
She runs off, making her way down the trail to:
EXT. RIVERBED - MOMENTS LATER - DAY EIGHT
Mike is the first on the scene, along with Wolf. McKay is next,
followed by Dorothy. Mike steps over to O'Connor's body. No need
to check for a pulse. She sees the smattering of blood on the rocks
nearby, then looks around frantically for Sully.
McKay steps up beside her and looks down at the blood. He sees the
utter devastation in Mike's eyes and is saddened for her.
He must've hit the rocks, then fell into the river.
MIKE (to herself)
He's all right... he's all right...
I'll have my men check downstream for him.
... please let him be all right...
Mike turns to see Dorothy fishing something from a crevice in the
rocks. She holds it up for Mike to see. It's Sully's medicine bag,
torn and bloodied.
Mike looks up at the cliff, then down at the blood on the rocks.
She looks at Dorothy, who has tears in her eyes, then over at McKay.
No... (struggling) He's alive...
She takes the medicine bag and gazes down at it, not allowing herself
to give up hope.
I know he's alive...
She stares off down the river, refusing to believe what she fears
might be true. And it's on her tortured look that we