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MOMENT OF TRUTH

Written by Carl Binder/Directed by James Keach

TEASER
FADE IN
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.
SULLY
Pa. Say Pa.
Brian pauses to look up at the sky.
BRIAN
'Nother sunny day. Gonna be an early summer I bet.
SULLY
I hope so.
Brian starts off toward the barn.
BRIAN
I'll get the wagon hitched.
Sully nods and continues coaxing Katie, as Mike steps out of the house behind him.
SULLY
Pa. Pa. Paaaaaa...
Katie happily burbles something not even close to "Pa."
SULLY
Close. Good. Try it again -- Pa. Pa Pa Pa Pa Pa...
Mike sits beside them on the steps, smiling.
MIKE
Just wait. It won't be long, and she'll be talking constantly.
MIKE
We need to start planning for her first birthday party.
Sully nods as they watch Katie.
SULLY
She's growin' up so fast.
MIKE
Pretty soon she'll be riding horses, and going to school, and getting married --
Sully shoots her a look of sudden panic.
SULLY
Married?
MIKE (laughs)
We still have a few years before then.
She kisses him. They look into each other's eyes.
SULLY
Wish I could just stop time, stay like this forever.
MIKE
Me too.
She kisses him again, deeper, more passionate...
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.
CLOUD DANCING
I am late.
DOROTHY
It's all right.
CLOUD DANCING
I have had trouble getting day passes. I hope you did not wait long.
DOROTHY
Oh no, not at all... I'm, I'm... fine.
Her nervousness is really showing now, and Cloud Dancing can see it.
CLOUD DANCING
Is something wrong?
She hesitates a moment, then decides to plunge right in:
DOROTHY
I got somethin' to show you.
She reaches into her satchel and takes out a manuscript. Cloud Dancing looks at it, amazed.
CLOUD DANCING
Your book?
Dorothy nods, her uneasiness increasing.
CLOUD DANCING
It is finished?
DOROTHY
No. (difficult) Not yet.
She holds it out to him.
DOROTHY
Not until you've read it. (beat, off his look) I made a promise to you. If you approve of what I've written, I'll publish it. And if you don't... (beat) I'll burn it.
Now Cloud Dancing is nervous. But he sees the conviction in Dorothy's eyes, and nods quietly. Instead of taking the book from her, he steps over and sits on the log.
CLOUD DANCING
Please... I would like to hear it in your voice.
This throws Dorothy a bit, but she recovers, nods.
DOROTHY
Certainly.
She sits beside him. She takes a deep breath, trying to settle herself, then opens the manuscript and begins reading:
DOROTHY
"Many years ago, near the shores of the Great Lakes, lived men and women who spoke the tongue of the 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.
GRACE
We can have the party here, if you like.
REVEREND
Or in the meadow.
MIKE (turns to Sully)
The meadow sounds wonderful. We'll have food and games...
Loren tickles Katie with a smile.
LOREN
And lots of presents.
Matthew hurries into the cafe, sees Mike and comes over.
MATTHEW
Dr. Mike, soldier's been hurt. They're takin' him to the clinic.
GRACE
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.
MIKE
What happened?
PRIVATE
We were ridin' in, my horse got spooked by a coyote and threw me. Cut a gash in my arm.
Mike examines the cut on his arm.
MIKE
It's not too deep. But I'll still need to stitch it.
PRIVATE
Thank you ma'am, but I'll wait for the doctor.
MIKE
I am the doctor.
The Private reacts with surprise, but allows Mike to go to work.
MATTHEW
Where you headed?
PRIVATE
Palmer Creek Reservation. We're replacin' the garrison there.
SULLY
Where's your commandin' officer?
MCKAY (O.S.)
Right here.
Sully and Mike turn to see Sergeant Terence McKay stepping through the side door (he was upstairs looking for the doctor). In his late thirties, McKay is ruggedly handsome, with dark, penetrating eyes. Silent and mysterious, he commands respect through his presence alone. He doesn't talk much, and rarely raises his voice -- he doesn't have to.
MCKAY (stepping forward)
Sergeant Terence McKay. You must be Dr. Quinn.
MIKE
That's right.
MCKAY
'Preciate your help.
Mike goes back to work as McKay turns to Sully, recognizing him.
MCKAY
Byron Sully.
SULLY
Do I know you?
MCKAY
No. But I know you. Command gave me a full description. Said you used to be the Indian Agent, 'til you got fired for insubordination. S'posed to keep you away from the reservation.
SULLY (a beat, cool)
You won't get any trouble from me.
Mike gives Sully a quick look -- one that McKay notices. He turns back to Sully.
MCKAY
Good. 'Cause I'll be watchin' for you.
Sully looks at McKay, meeting his cold stare. Mike looks up, sees the intensity building between the two men. And so does Matthew. Mike quickly goes back to work, hurrying to stitch up the private's arm as we:
FADE OUT
END OF TEASER
ACT ONE
FADE IN
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.
MIKE
Be careful. You don't want to tear the stitches.
McKay is already on his horse, waiting nearby. Mike turns to him.
MIKE
I'd like to see him again in a few days to check for infection.
MCKAY
Sure. (hands her some money) Much obliged.
Mike takes the money. McKay casts a quiet look at Sully before turning back to his men.
MCKAY
Let's go.
The soldiers ride off out of town. Mike, Sully and Matthew watch them go.
MIKE
Let's hope they do a better job than the current garrison.
Sully gives her a skeptical look, then looks back at the soldiers, watching them in uneasy silence. The TRAIN WHISTLE in the distance breaks the moment.
MIKE
Colleen's train. I'd better get going.
MATTHEW
I'll go with you. (smiles) Can't believe her first year of college is already done.
Before they can start off:
PRESTON (O.S.)
Sully?
Sully turns to see Preston approaching.
PRESTON
Is there a reason you're standing here, in the middle of town, instead of out working on my homestead?
SULLY
I was just on my way out there.
PRESTON
Good. (gestures up at the sky with a smile) Because summer's almost upon us, and you wouldn't want to miss your completion deadline, now would you?
Sully glares silently at Preston, then gives Mike a quick look before heading off toward the livery. Preston tips his hat to Mike and Matthew...
PRESTON
Michaela. Sheriff.
... and continues on toward the bank.
EXT. SPRINGS CHATEAU HOTEL - ESTABLISHING - DAY ONE
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 coat.
ANDREW
Here, Mr. Gerson, take two spoonfuls of this before bedtime. It'll settle your nerves and help you to sleep.
He hands him the bottle and begins ushering him out.
ANDREW
And remember to soak in the springs at least twice a day. The more you calm yourself, the better you'll feel.
The old man starts out the door, where he nearly collides with Preston, who suddenly barges in, scaring the hell out of him.
PRESTON (bursting with excitement)
Andrew! (then, quieting) -- Oh, sorry, Mr. Gerson. I didn't mean to startle you.
The old man exits, sipping the tonic as he goes. Preston comes in (leaving the door open) and moves to Andrew, showing him what he's holding in his hands -- a framed award certificate.

PRESTON
Look what arrived on today's train.
ANDREW (reading the award)
"Certificate of Merit... American Medical Society."
PRESTON
I hope you don't mind my opening the package, but when I saw it was from the Medical Society, I couldn't resist. (putting an arm around Andrew's shoulder) You see, Andrew? All the work we've been doing here is paying off. This is an award of the highest distinction. And well deserved, I might add.
Andrew takes the award and stares at it, his look of surprise turning to joy.
ANDREW
I don't believe it.
PRESTON
I've already alerted the Denver papers, as well as other publications throughout the territory and beyond. This is going to do wonders for your practice.
Something else now catches Andrew's eye:
Colleen, who's stepping up to the doorway, still dressed in her travelling clothes. Andrew smiles when he sees her.
ANDREW
Colleen. You're home.
COLLEEN
My ma just picked me up at the station. School's out for the summer.
ANDREW
That's wonderful.
PRESTON (waving her in)
Come join in the celebration, Colleen.
COLLEEN
Celebration?
Andrew turns his award around so that she can see it.
ANDREW
I've received an award.
PRESTON
The first of many.
Colleen's smile is tempered with a touch of skepticism.
COLLEEN
How nice.
PRESTON
Well, if you'll excuse me, I have more telegrams to send.
Preston gives Andrew a smile and a clap on the back before going out. Colleen steps over and reads the certificate. When she sees the name of the organization who gave the award, she can't help but be impressed.
COLLEEN
The American Medical Society. (looks at him) This is wonderful. Congratulations.
ANDREW
Thank you. (looking back at the award) This is going to do wonders for my practice.
Colleen shares a smile with him, then takes the certificate and looks around the room.
COLLEEN
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.
DOROTHY
"... forced to change the way he lives, he has become the embodiment of a people no longer permitted to speak their language or practice their medicine, dwelling not in the tipi, but in crude wooden shacks. Alone at night, with his ancestors watching from a dark and distant sky, he asks himself, 'Now who will be taught? Now who will know?'"
Dorothy closes the manuscript, and for a moment stares down at it, unable to bring herself to look up at Cloud Dancing. After a beat she takes a deep breath and looks up, meeting his eyes in a long, powerful silence.
Finally, he speaks, deeply moved:
CLOUD DANCING
It is beautiful.
Overjoyed, Dorothy impulsively throws her arms around him. Cloud Dancing reacts, and so does Dorothy, who suddenly pulls back, feeling a bit awkward. After a moment, they both smile, then:
DOROTHY (heartfelt)
Thank you, Cloud Dancing.
He reaches out, takes her hand in his and gently holds it.
CLOUD DANCING
Thank you.
Dorothy smiles, savoring this moment, clutching the manuscript with one hand while not letting go of Cloud Dancing with the other.
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.
HANK
'Nother trip to the reservation.
JAKE
Heard her tell Loren she finally finished her book.
HANK
That right? (looks back at the Gazette) So what happens next?
JAKE (shrugs, then:)
Think she'll invite us to the weddin'?
Hank smiles, envisioning it:
HANK
Mrs. Dorothy Dancing.
The two men laugh at this, until Jake sees something that quiets him:
HIS POV
of Teresa, walking from the school toward the General Store. As she passes by, she casts a glance at Jake.
TERESA (courteous)
Good afternoon, Mr. Mayor.
BACK TO JAKE
as he watches her, a bit mesmerized.
JAKE
'Afternoon, Mrs. Morales.
Hank looks at Jake, raising a curious eyebrow, but Jake's still watching Teresa...until he suddenly becomes aware of himself and snaps out of his reverie. He turns to see Hank staring at him.
JAKE
What?
HANK
You tell me.
Jake shrugs it off and starts back into the Gold Nugget.
JAKE
I need a drink.
HANK (following him in)
I'll say.
EXT. RESERVATION - DAY ONE
Cloud Dancing walks back to the reservation, entering through the main gate, where a Corporal calls to him.
CORPORAL
You. Hold it.
Cloud Dancing stops as the Corporal comes over, followed by two other soldiers.
CORPORAL
Where's your pass?
Cloud Dancing takes out his day pass and hands it to him. The Corporal looks at it, doesn't like what he sees.
CORPORAL
You're late. That's the second time this week.
CLOUD DANCING
It will not happen again.
CORPORAL
Damn right it won't.
The Corporal suddenly lashes out, punching Cloud Dancing hard in the face, sending him tumbling to the ground.
CORPORAL
Won't happen again, 'cause you ain't ever leavin' this reservation again.
The Corporal kicks Cloud Dancing in the stomach and ribs.


OTHER INDIANS
watch in growing anger, but as a few step forward, soldiers move in and stop them. One Indian in particular, a young Arapaho man (early 20's) named WALKS IN THE NIGHT, watches with increasing fury as:
THE CORPORAL
continues to kick Cloud Dancing, whose face is bleeding now.
CORPORAL (loud enough for all to hear)
You see, we got rules here. You don't follow 'em, you get punished.
He kicks him again. The Corporal reaches down and pulls Cloud Dancing up, about to deliver another punch, when a voice suddenly stops him:
MCKAY (O.S.)
That's enough, Corporal.
The Corporal looks over to see McKay dismounting his horse. His garrison dismounts behind him as McKay steps over to the Corporal, who dumps the unconscious Cloud Dancing on the ground and attempts to explain:
CORPORAL
This Injun was late comin' back on a day pass, Sergeant.
MCKAY
Like you said, we got rules. And punishment for violatin' a day pass is confinement.
(looks around) Where's the Indian Agent?
CORPORAL
Denver. Some kinda political fund raiser. He's hardly ever around.
McKay crouches, rolls Cloud Dancing on his back. McKay tries not to react to the severity of his wounds, but we can see in his eyes that it troubles him. This is a man struggling with himself over the job he's been assigned to do.
He quietly checks Cloud Dancing's neck for a pulse.
MCKAY
He's alive. (to Soldier #1) Ride back into town, get that woman doctor.
The Corporal reacts with disbelief as Soldier #1 rides off.
CORPORAL
Sergeant, he don't need no doctor...
McKay stands and faces the Corporal, cutting him off, his voice low and lethal.
MCKAY
You listen to me, Corporal. As of right now you're relieved of duty. I want you and your men off this reservation by sundown.
CORPORAL
You gotta be kiddin' --
MCKAY
Sundown.
The look in McKay's eyes tells the Corporal that he means business. The Corporal backs down, walking away with his soldiers as McKay's men move in and pick up Cloud Dancing, carrying him over to an army tent.
EXT. CLINIC - LATE AFTERNOON - DAY ONE
Mike is closing up for the day as Dorothy excitedly relates the news of her book.
DOROTHY
I'm leavin' next week. Gonna take the train to New York to deliver my book in person.
MIKE (smiles)
All the way to New York?
DOROTHY
I don't wanna take a chance sendin' it by mail. Don't wanna let it outta my sight.
MIKE
I'm so happy for you, Dorothy. I can't wait to read it.
DOROTHY
Oh, Michaela...now that the book's finished, and Cloud Dancin' has given it his blessin', I feel like it's the most important thing I've ever done. (beat, quieting) Sounds silly, but...I feel like everythin' that's happened to me in my life has pointed me right to this moment... like it's all happened for this very --
SOLDIER #1 (O.S.)
Dr. Quinn!
Mike and Dorothy look to see the Soldier ride up, reining his horse to a stop.
SOLDIER #1
Need you out at the reservation. One of the Indians is hurt.
Mike and Dorothy exchange a look.
DOROTHY
I'm goin' with you.
As the two climb up into Mike's wagon...
INT. ARMY TENT - LATE AFTERNOON - DAY ONE
The tent flap opens, and McKay ushers in Mike and Dorothy, who react with shock when they see Cloud Dancing lying unconscious on a cot. He's bruised and bleeding, and sweating profusely. Mike immediately goes to work, checking his pulse, trying to suppress her anger.
MIKE (to McKay)
How did this happen?
MCKAY
That ain't important.
Mike glares at him, demanding an answer.
MCKAY
The soldier responsible has been relieved of duty.
Dorothy wipes the blood from Cloud Dancing's face as Mike finishes checking his pulse and examines his eyes, pulling down the lower lids.
MIKE
His heartbeat is rapid. He's in shock.
She lifts up his shirt and begins examining his chest.
MIKE
Some ribs are broken. There's severe bruising on his right side... internal bleeding.
She takes out her stethoscope and listens to his breathing. Dorothy watches, trying not to panic.
MIKE
His lungs are clear. The site of the trauma is elsewhere.
DOROTHY
What can you do?
MIKE
I'll have to operate.
DOROTHY
Here? Now?
MIKE
We can't risk taking him back to the clinic. We have to stop the bleeding, and I won't know the source until I open him up.
As Mike digs in her bag for her carbolic acid and scalpel:
MCKAY
Will he live?
MIKE
I don't know.
McKay, forcing himself to maintain his professional demeanor, turns to another soldier.
MCKAY
I want two guards posted outside.
MIKE
Guards? What for?
MCKAY
You do what it takes to help this man. But he's still under arrest for violatin' the rules governin' this reservation.
Mike's anger boils as she gives him a cold look. But she has no time to argue -- she turns to Dorothy (who's also struggling to restrain her anger), exchanging a silent look, then resumes preparing for the operation as we:
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
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 appearance.
BRIAN
Ma!
SULLY
They said in town that you went out to the reservation. What happened?
Mike looks at him, not sure how to break the news to him. But Sully now notices the dried blood on her clothing.
SULLY
Michaela, what happened?
He looks at her, bracing himself for what he knows is not good news.

MIKE
It's Cloud Dancing. The soldiers beat him.
Sully says nothing, the rage slowly building inside him.
COLLEEN
How bad was he hurt?
MIKE
He was bleeding internally. I had to tie off the cystic artery, and bandage some broken ribs.
(back to Sully) He's still unconscious... but I believe he will recover.
This doesn't quell Sully's anger.
BRIAN
Why'd they beat him?
MIKE
For returning late to the reservation.
Sully can no longer contain himself. He grabs his tomahawk belt and coat and pushes past Mike and the kids, heading out the door.
MIKE
Sully...
EXT. HOMESTEAD - CONTINUOUS - NIGHT ONE
Mike comes out after Sully as he makes his way to the barn to get his horse (still holding his belt and coat in his hands).
MIKE
Sully, wait. Don't go out there!
But he doesn't stop. Mike hurries to catch up to him.
MIKE (loud, sharp)
Sully, stop!
He finally stops, but doesn't turn to her. She steps up behind him, her voice softening, pleading to him:
MIKE
If you go out there, you'll only make it worse for him. For all of us.
Sully lets this sink in. He knows she's right, which only intensifies his frustration. Finally, he turns to face her, meeting her imploring stare.
MIKE
Please, Sully... don't go.
Unable to restrain his anger, he suddenly heaves his belt and coat into the darkness, then turns to lean against the corral, furious at this feeling of utter helplessness. Mike steps up to him, putting a comforting hand on his shoulder as we:
DISSOLVE TO:
EXT. GOLD NUGGET - DAY TWO
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.
JAKE
That "Free Drink" advertisement didn't pay off. We shouldn'ta required a two week stay.
HANK
Told ya we shoulda got a billiard table.
Horace steps up, holding a telegram, and hands it to Jake.
HORACE
This just come for you, Jake.
Jake reads the telegram and reacts with some confusion.
JAKE
What is this?
HORACE
She's a school teacher, lookin' for a job. Got years of experience, lots of recommendations --
JAKE
I can read that. Why is she contactin' me? We already got us a school teacher.
HORACE
But she's only temporary, remember?
Jake gives him a look -- No, he doesn't. Horace reminds him:
HORACE
The council voted to hire Mrs. Morales only on a trial basis. In the meantime, we was to keep advertisin' for a real teacher.
HANK
Well...as a newly appointed member of the town council, I say we call a meetin' to discuss it.
Jake looks at Hank, who just smiles. Jake is hesitant... but after a moment, he finally relents with a nod.
EXT. LIVERY - DAY TWO
Robert E helps Sully sharpen his tools before heading out to work on Preston's homestead. Wolf is nearby.
ROBERT E
They beat 'im just for bein' late?
SULLY
Soldiers don't need much of a reason. Just do what they want. (quieting, almost to himself)
Only gettin' worse.
Robert E stops working a moment, turns to him.
ROBERT E
What d'you think's gonna happen to the Indians? I mean, how long you s'pose the army's gonna keep 'em on reservations like that?
SULLY
I don't know. Don't like thinkin' 'bout it.
Robert E grows silent, understanding their plight.
ROBERT E
Whole country fought a war to free the slaves.
Sully stops working and looks at him, meeting his sad look.
ROBERT E
But the way folks feel 'bout the Indians -- who's gonna be willin' to fight for 'em?
Sully considers this in thoughtful silence as:
PRESTON
steps over from the bank, holding the rolled-up plans to his house.
PRESTON
Sully! I have a wonderful idea. It literally came to me in the middle of the night. I was wide awake, staring up at the ceiling, when it hit me -- (unfurling the plans) -- a window!
SULLY (not following)
A window?
PRESTON
In the ceiling, allowing me a view of the stars in the sky.
ROBERT E (also not following)
A window... in the ceilin'.
PRESTON (trying to be patient)
Yes, Robert E...(back to Sully) A window in the ceiling.
SULLY
That means I gotta tear out part of the roof --
PRESTON
Yes, but I've already taken into consideration the added time and labor involved, and I've decided to give you an additional three weeks to complete the job, plus a five-percent bonus in your pay. (smiles) Now you'll not only have enough money to pay back your friend Daniel, you'll also have a little extra spending money for yourself. Get a new coat... or a tomahawk.
Sully just stares at him, sizzling.
PRESTON
Easy, Sully. Just a joke.
Preston rolls up the plans and holds them out to Sully.
PRESTON
So... what do you say?
Sully says nothing. He just takes the plans and goes back to sharpening his tools. Preston smiles, pleased.
EXT. RESERVATION - DAY THREE
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 look.
DOROTHY
It's... it's all right. I'm a friend. (in Cheyenne) Friend.
The woman nods and moves away as Dorothy comes over beside Cloud Dancing, who is covered with a blanket. He's awake now, but his face is still badly swollen and bruised. He brightens when he sees her. Dorothy sits, trying to keep up a brave front for him.
DOROTHY
Mornin', Cloud Dancin'.
She pours some hot water into a cup from a nearby kettle. Cloud Dancing watches her, unable to speak.
DOROTHY
Michaela says you need to drink plenty of fluids.
She reaches into her medicine pouch (the one he made for her) and takes out some dried geranium leaves. As she mixes the herbs into the water:
DOROTHY
Found some wild geranium. Help you heal quicker.
She puts one hand under his head and helps him up, while feeding him the tea with the other. He sips a little, then lies back.
She gives him a gentle, warm smile...and he manages a smile in return, trying not to let show the extreme pain he is suffering.
EXT. MEADOW - DAY THREE
CLOSE on Katie, sitting on a blanket, surrounded by dozens of presents and several adoring townsfolk, who have gathered to celebrate her birthday. Among them (in addition to the family) are Dorothy, Loren, the Reverend, Robert E, Grace, Horace, Andrew, Hank and Jake.
Sully watches as Mike sets Katie's birthday cake in front of her. On top is a single, lit candle.
MIKE
Blow out the candle, sweetheart.
Katie just stares at the candle. Mike turns to Brian.
MIKE
Why don't you give her some help, Brian?
Brian leans in and blows out the candle, and everyone applauds. Grace and Colleen step in to help Mike cut the cake and hand out servings.
LOREN
Hard to believe -- one year old already.
JAKE
Still not much hair, considerin' the parents.
ROBERT E
Cake looks good, Grace.
GRACE
Dr. Mike made it.
ROBERT E
Really?
HANK (smiles)
Try not to look so surprised.
Robert E, caught, smiles sheepishly. Mike gives him a smile as she sets a piece of cake in front of Katie.

MIKE
Here you are, Katie. Let me get your spoon --
But before Mike can get the spoon, Katie immediately begins digging into the cake with both hands, making a mess.
Grace hands two pieces of cake to Colleen, who carries them over to Andrew.
COLLEEN
Cake?
ANDREW
Thank you. (looking at Katie) She is quite possibly the most adorable baby I have ever seen.
COLLEEN
She sure is.
ANDREW
I only hope my children will turn out as beautiful.
COLLEEN (a smile)
I'm sure they will.
Nothing was implied by this, but looking at Colleen's pretty, smiling face suddenly makes Andrew self-conscious...and a bit embarrassed...which makes Colleen suddenly self-conscious...and a bit embarrassed.
Andrew quickly takes a bite of cake. And so does Colleen.
ANDREW
Good cake.
COLLEEN
Yeah.
BACK TO KATIE
as she takes a handful of cake and holds it out to Wolf, who licks it up happily. Mike laughs at this, then carries two pieces of cake over to:
DOROTHY AND MATTHEW
who stand next to each other. Dorothy manages to keep a smile on her face, despite the fact that she's still very worried about Cloud Dancing.
DOROTHY (re: the cake)
Thank you, Michaela.

MATTHEW
Thanks, Dr. Mike.
Mike sees the look on Dorothy's face.
MIKE
Did you go out to the reservation today?
Dorothy nods.
DOROTHY
It's good that Cloud Dancin's awake now... but still... it's difficult, seein' him in so much pain.
MIKE
He's through the worst of it, Dorothy. I examined him yesterday. He's doing well. In time, he'll regain his strength.
Mike puts a reassuring hand on Dorothy's arm. Dorothy gives her a weak smile. Matthew, listening in on this, exchanges a look with Mike before turning to see:
SULLY
who has moved off to the side, watching Katie. Sully is trying very hard to enjoy the party, but his thoughts are also with Cloud Dancing, whose absence from the party weighs heavily on him.
Matthew steps over. The two exchange a quiet look, then:
MATTHEW
I'm sorry 'bout Cloud Dancin'.
Sully nods his thanks, looks back at Katie.
SULLY
He should be here.
MATTHEW (after a beat)
Dr. Mike says he's gonna get better.
SULLY
Yeah... (looks at Matthew) This time.
Something in the tone of Sully's voice doesn't sit right with Matthew, making him wary. Sully grows quiet again, turning his attention back to Katie as we slowly:
DISSOLVE TO:
INT. MIKE AND SULLY'S BEDROOM - NIGHT THREE
It's late; the room is dark. Mike lies asleep in bed, but Sully is awake, fully dressed, sitting in a chair beside the crib. He gazes down at Katie, gently stroking her sleeping face, his expression deeply troubled.
But now a look of resolve forms in his eyes. He looks over at Mike, then stands and quietly steps out of the room.
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 away:
SULLY
Don't worry. I'm not gonna hurt you.
WALKS IN THE NIGHT
Who are you?
Before Sully can answer, the Elder smiles, recognizing Sully.
ELDER (to Walks in the Night, in Arapaho)
He is the Indian Agent.
SULLY
No. I'm not the Indian Agent anymore. (in Arapaho) Not anymore.
But the Elder just keeps smiling.
ELDER (in Arapaho)
Indian Agent.

WALKS IN THE NIGHT
What do you want?
Sully turns to Cloud Dancing, sits beside him.
SULLY
He's my friend. I came to see how he's doin'.
Sully notices something odd -- the top of the shirt Cloud Dancing is wearing is visible under the blanket. Sully reacts to it, then pulls back the blanket to reveal Cloud Dancing now dressed in Western shirt and pants.
SULLY
Who put these clothes on him?
WALKS IN THE NIGHT
The soldiers ordered it. We all must wear their clothing now.
Sully turns back to Cloud Dancing, whose eyes open. He looks up, sees Sully. Sully looks down at him, deeply saddened to see his friend like this.
WALKS IN THE NIGHT
Our people are angry.
Sully and Cloud Dancing continue to stare at each other, their eyes locked in an unspoken communication.
WALKS IN THE NIGHT
We talk of leaving. To do whatever it takes to escape this life.
The Elder touches Sully's shoulder. Sully looks at him. For the first time, the Elder speaks in English:
ELDER
To live free one day holds more honor than to live a lifetime here.
Sully looks at the old man... and nods. He understands.
WALKS IN THE NIGHT
But to leave we will need help from outside. Someone to bring us supplies, horses.
He means Sully, and Sully knows it. He looks back at Cloud Dancing, whose eyes have not left him. After a moment, the decision is made:
SULLY
I'll help you.
Walks in the Night reaches into his pocket, takes out some bills.
WALKS IN THE NIGHT
We have money for supplies. (hands the money to Sully) We will get more.
Sully turns back to Cloud Dancing, leaning closer to him.
SULLY
As soon as you're well enough, I'm gettin' you outta here. For good.
Cloud Dancing says nothing. He just nods, seeing the determination building in Sully's eyes as we:
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
EXT. LIVERY - DAY FOUR
Robert E looks up from his work to see Sully riding up. He dismounts and steps over.
SULLY
'Mornin', Robert E.
ROBERT E
Sully.
SULLY
Got any horses for sale?
ROBERT E
Just two. The rest are bein' boarded.
Robert E gestures to the paddock, where two horses stand. Sully steps over, staring at the horses. Robert E follows, a bit curious.
SULLY
I'll take 'em both.
He pulls out the money Walks in the Night gave him.
SULLY
This cover it?
ROBERT E (takes the money)
Sure.

SULLY
How soon can you get more?
... which only increases Robert E's curiosity.
ROBERT E
How many more?
SULLY
As many as you can get.
ROBERT E (suspicious now)
Sully, what're you doin'?
SULLY (a warning)
You don't wanna know.
Robert E pauses a moment, the seriousness in Sully's voice concerning him.
ROBERT E
I do wanna know. (beat) Sully, tell me. What's goin' on?
Sully looks at him -- he knows he's going to have to bring Robert E into his confidence.
SULLY
I'm gonna help the Indians leave the reservation.
Robert E reacts, stunned.
ROBERT E
You mean, escape?
Sully nods. Robert E takes a moment to absorb the full impact of what this means.
ROBERT E
What about the army?
Sully doesn't answer.
ROBERT E
Sully, that's treason.
SULLY (sharp)
I know what it is.
Sully settles a moment and turns to him -- this decision has not come easy for him.

SULLY
The Indians asked for my help, Robert E, I can't just turn my back. (beat) Somebody's gotta be willin' to fight for 'em.
Hearing the words he spoke earlier quiets Robert E. He looks at Sully, moved by his conviction. After a moment, he nods.
ROBERT E
I can get you four more horses by tomorrow.
SULLY
Thank you.
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.
PRESTON
Sully... (dismounts) What are you doing?
SULLY
Tendin' to my horses.
PRESTON
I see that. The question is -- why are you not tending to my homestead?
SULLY
I'm not doin' that anymore.
PRESTON
What?
SULLY (flatly)
I quit.
Preston reacts with a smile of disbelief.
PRESTON
You can't quit.
SULLY
I just did.
The smile fades as Preston quiets a moment, realizing that Sully means it.

PRESTON
And so you're going to leave me with a half-completed house, just like that?
SULLY
Yup.
Now Preston's starting to get angry.
PRESTON
This is ridiculous. I won't allow you to do this.
SULLY
You got no choice.
PRESTON
I'm not paying you for the work you've done.
SULLY
Fine.
This catches Preston off-guard. He was expecting Sully to argue the matter.
PRESTON
And how do you intend to pay your friend back?
SULLY
I'll find a way. But it won't be workin' for you.
Preston looks at him, then backs down, shaking his head. He climbs up on his horse and rides off. Sully watches him go before turning back to the horses.
EXT. STREET NEAR GENERAL STORE - DAY FOUR
Mike and Colleen walk toward the store.
MIKE
Did Andrew have fun at the party?
COLLEEN
Yes, he did.
MIKE
He's quite taken with you, you know.
COLLEEN (thrilled)
Really? (backing off a bit) I mean, you think so?
MIKE
Trust me.
The smile on Colleen's face tells Mike that Colleen feels the same way.
COLLEEN
I'll see you later.
Colleen peels off, heading up the street, the smile still fixed to her face. Mike watches her go for a moment, then continues on into the store.
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.
HANK
Why d'you keep puttin' it off?
JAKE
I ain't puttin' it off.
HANK
'Course you are. Tell him, Loren.
LOREN (to Jake)
You're puttin' it off.
MIKE
Putting what off?
REVEREND
The town received a telegram from a woman inquiring about our school teacher's job.
MIKE
But we already have a school teacher.
JAKE (to Hank)
You see? (to Mike) That's what I told 'em.
HANK
A "temporary" teacher." We still been advertisin' for a permanent one.
JAKE
Then we oughta make Mrs. Morales permanent. She's been doin' a good enough job.

LOREN
But she's got no experience. This woman in the telegram's been teachin' for fifteen years. I say we bring her in, give her an interview.
REVEREND
What do you think, Dr. Mike?
Put on the spot, Mike has to think a moment.
MIKE
Well... Brian has really taken to Mrs. Morales. But since we've been advertising, I don't see why we shouldn't at least meet the woman.
HANK
You see? Even Michaela thinks we oughta interview her.
JAKE (his irritation building)
Just a waste a time. Why change what's already workin' fine?
And with that, Jake goes out. Hank gives the others a look, then follows him.
EXT. GENERAL STORE - CONTINUOUS - DAY FOUR
Hank comes out and stops Jake in the street.
HANK
Jake, hang on a second --
JAKE
All right, all right, we'll interview her. Just leave me alone.
HANK (smiles)
You like her, don'tcha?
JAKE
What?
HANK
The teacher. I mean, if you're sweet on the woman, why don't you just admit it?
This silences Jake, confirming Hank's suspicions.
HANK
So what if she's a Mexican? You can't help how you feel.
This snaps Jake back to reality. He feigns indifference and brushes Hank off.

JAKE
I don't feel nothin'.
He walks off, leaving Hank shaking his head with a smile, even more convinced than before.
EXT. LIVERY - DAY FIVE
Sully and Robert E stand at the fence, watching four new horses roam around the paddock.
ROBERT E
Fella just brought 'em in. Family's movin' to San Francisco, sold 'em to me cheap.
ANGLE ON SHERIFF'S OFFICE
as Matthew comes out and starts for his horse. He glances over at the livery and sees:
HIS POV
of Sully giving Robert E some money. As Robert E pockets it:
ROBERT E
I also talked to a man who's got a farm out in Deer Valley. Said he might have two horses to sell.
SULLY
Good. Let me know if you find any more.
BACK TO MATTHEW
as he reacts with a curious look and steps over to the livery.
MATTHEW
Whatcha need horses for?
Sully turns to Matthew, growing suddenly quiet... which makes Matthew wary. Robert E finally breaks the uneasy silence:
ROBERT E
They're my horses, Matthew. I'm makin' a deal with Sully to use his pasture for grazin'.
MATTHEW
Then why was he payin' you?
Caught, Robert E thinks fast, taking the money Sully gave him out of his pocket.
ROBERT E
He wasn't. He was tryin' to give me back my money, thinkin' he was gonna do me a favor.
Robert E puts the money back in Sully's hand.

ROBERT E
But I won't hear of it.
The two look back at Matthew, who just stares at them. Something isn't right here, but Matthew decides not to press it. Instead, he manages a small smile.
MATTHEW
Yeah... well, that's Sully for ya.
Robert E nods and smiles. But Sully doesn't. He just turns away, stepping back over to the paddock.
EXT. HOMESTEAD - DAY FIVE
Mike, looking troubled and preoccupied, rides up in the wagon with Colleen, Brian and Katie. Their attention is drawn to the six horses now roaming in the pasture beyond the new fence.
COLLEEN
Where'd all those horses come from?
BRIAN
They're Robert E's. Sully said we're just lettin' 'em graze in our pasture.
The SOUND of someone banging metal is heard from the barn. Mike looks to it, then turns back to the kids.
MIKE
Colleen, Brian, will you take Katie inside and prepare for supper?
COLLEEN
Sure, Ma.
Colleen (carrying Katie) and Brian start into the house as Mike makes her way down to...
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:
MIKE
Preston just told me you quit working for him yesterday.
SULLY
That's right.
MIKE
Why didn't you tell me?
Sully resumes working, trying to shrug it off.

SULLY
Didn't want you frettin' over it.
MIKE (stepping toward him)
Sully --
SULLY
I'll find another way to pay Daniel back.
MIKE
It's not that.
She's close to him now, and clearly worried. He stops working, looks at her.
MIKE (not angry)
I care about the fact that you kept something from me. You've been so quiet lately, so... distant.
Sully says nothing.
MIKE
I know you're concerned about Cloud Dancing, but he's going to be fine.
SULLY
Not as long as he stays on that reservation.
This statement unsettles Mike.
SULLY
He doesn't belong there, Michaela.
Sully resumes working.
MIKE
Sully...please... I know you want to help Cloud Dancing, but if you set foot on the reservation --
Sully suddenly cuts her off, his anger flaring:
SULLY
You don't know what it's like, havin' to stay away... havin' to rely on my wife and children to bring me news...
Mike says nothing. Sully settles a moment, then speaks softly, trying to make her understand.


SULLY
I don't want Katie growin' up, seein' him dressed in white man's clothes, livin' in a shack. I don't want her rememberin' him like that. (beat, a vow) I'm not givin' up on him.
MIKE
It's not about giving up. It's about living... surviving. I'd rather have Katie see him as he is now, than not see him at all.
This quiets Sully.
MIKE
All I want is for him to survive. (beat) And I want you to survive as well.
Sully looks at her, hearing her words... but his sadness is too deep to reconcile.
SULLY
But at what price?
He takes the bridle and starts out, leaving Mike alone, and increasingly frightened as we:
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
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.
BRIAN
All set, Ma.
MIKE (looking around)
Where's Sully?
COLLEEN
He already went into town. Said he had to pick up some things from Mr. Bray.
BRIAN
Ma?
Mike turns to Brian, sees the concerned look on his face.
BRIAN
Is everythin' all right with Pa?
Mike hesitates a beat, then gives him a smile, trying to sound reassuring.
MIKE
Everything's fine, Brian.
KATIE
Pa.
Everyone falls silent as they turn to Katie, amazed at what they just heard.
COLLEEN
Did you hear that?
KATIE
Pa.
BRIAN
She said "Pa!"
COLLEEN
That's good, Katie!
Mike climbs into the wagon and takes Katie in her lap, her smile laced with sadness.
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.
SULLY
Thanks for your help, Loren.
LOREN
What d'you need the blastin' powder for?
Sully loads the keg into the wagon.
SULLY
Old tree stump on Preston's property doesn't wanna come out. (pats the keg) Gonna help it along.
This satisfies Loren (who's unaware of the fact that Sully is no longer working for Preston). Sully climbs up into the wagon and drives off.
EXT. SPRINGS CHATEAU HOTEL - DAY SIX
Colleen walks with Andrew along the porch, making their way out to the bench in the garden area at the side of the hotel.
ANDREW
"Pa?" She actually said it?
COLLEEN
Clear as a bell. Sully's been tryin' to get her to say it for weeks. And now she finally says it, and he's not there to hear it.
ANDREW
That's unfortunate. I'm sure he'll be disappointed.
COLLEEN
Yeah.
They arrive at the bench and sit. It's a beautiful spring day -- flowers surround them, in full bloom.
COLLEEN
I know how he feels. Every time I come home from school, Katie's doin' more things. Feel like I'm missin' out on so much of her life.
ANDREW
It's only for a short time. (off her look) When you're finished with college and medical school, you'll come back home to practice medicine. And then you'll be around to watch Katie grow up.
COLLEEN (not sure about this)
Come back home to practice medicine?
ANDREW
Well, I assumed you'd be joining Michaela in her practice.
COLLEEN (quieting, thinking)
Yeah... I s'pose.
ANDREW
Or you could start a practice of your own.
Colleen nods, considering this. Andrew pauses a moment, a bit nervous about what he's going to suggest next:
ANDREW
Or you could come work here.
Colleen looks at him, surprised...but not displeased.
COLLEEN
Here? You mean, work for you?
ANDREW
Not for me. With me. As a partner.
Colleen can't keep the smile from sliding onto her face at this thought. Andrew smiles, relieved by her reaction... but still wanting confirmation:
ANDREW
Would you like that?
Colleen looks at him. They're not aware of it, but they're drifting closer to each other.
COLLEEN
Partner?
Andrew nods, then breaks the tension by leaning in and gently kissing her. Colleen does nothing to stop him, lingering in the moment until he finally pulls away. He gives her a soft smile.
ANDREW
Partner.
EXT. SCHOOLHOUSE - DAY SIX
School is letting out for the day. Kids run across the meadow on their way home, passing by Jake, who approaches the school with a sense of purpose. He steps up to the front door, where Teresa stands.
TERESA
Good afternoon, Mayor Slicker.
JAKE
'Afternoon.
Jake plunges straight ahead with the business at hand, trying to keep himself from showing any hint of an attraction to her. He takes out an envelope and hands it to her.
JAKE
Got your pay for the month.
TERESA (takes it from him)
Gracias.
JAKE
Right. And I just wanted you to know, I'm goin' ahead and makin' your job permanent.
TERESA
Permanent?
JAKE
Yeah. Remember, we only hired you on temporary.
TERESA
The council has voted?
JAKE (a little too quickly)
Don't need the council. I'm the mayor, and I say the job is yours, permanent. (beat, then)
That is, if you want it.
Teresa smiles, pleased.
TERESA
Yes. Yes, I do.
JAKE
Good.
TERESA
Gracias.
JAKE
Right.
Teresa expects Jake to leave, but he doesn't. He just stands there, grappling with emotions he can't seem to suppress.
TERESA
Is there something else you wish to tell me?
This is it -- should he ask her to dinner? Should he admit his feelings for her? After a long, tortuous moment:
JAKE
No. That's it. Nothing else. (beat, tips his hat) 'Afternoon.
Teresa nods, perplexed by his behavior as Jake walks off, frustrated with himself.
EXT. RESERVATION - DAY SIX
The front door flap to the army tent opens, and Mike and Walks in the Night escort Cloud Dancing out. Cloud Dancing walks slowly, but he looks much better -- the bruising and swelling have gone down. He's still dressed in the Western clothes.
MIKE
How do you feel?
CLOUD DANCING
It is good to see the sun again.
MIKE
You're doing remarkably well, Cloud Dancing.
Mike and Walks in the Night help him over to his shack. The other Indians watch on, glad to see Cloud Dancing recovering so quickly. As they arrive at the shack, McKay approaches.
MCKAY
Dr. Quinn.
Walks in the Night helps Cloud Dancing into the shack, whispering something in his ear, as Mike turns to McKay.
MCKAY
He looks good.
MIKE (cool)
He still needs a lot of rest.
MCKAY
Listen... just thought I'd let you know, 'cause of the beatin' he took, I managed to get his punishment reduced.
MIKE
Reduced?
MCKAY
One month confinement to his shack, and no day passes for four months.
Mike reacts, obviously not happy about this. McKay's not all that happy either, but:
MCKAY
Best I could do.
He walks away.
EXT. ROAD OUTSIDE RESERVATION - DAY SIX
Mike rides by on Flash, on her way back to town. As she passes by a grove of trees, we HOLD on the trees, as Sully appears, watching her.
Mike doesn't see him as she rides on, disappearing around a bend. Sully stares off after her until the SOUND of someone approaching draws his attention to:
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.
SULLY
I'm still waitin' on more horses.
WALKS IN THE NIGHT
No. Cloud Dancing is ready. We must act now.
Sully looks at the Indians -- they're ready.
SULLY
All right. Here's how we're gonna do this...
As Sully begins laying out the plan...
EXT. STREET NEAR GENERAL STORE - DAY SIX
Mike rides into town and starts down the street, heading for the clinic. On the way, she overhears a voice nearby that gets her attention:
ROBERT E (O.S.)
... Let me know. A friend of mine needs all the horses he can get.
Mike reins Flash to a stop and looks over to see:
ROBERT E
talking with a man on the porch of the store (Robert E doesn't see Mike yet).
ROBERT E (continuing)
The sooner the better, just bring 'em by the...
Now he stops short when he sees Mike riding Flash over, a suspicious look growing on her face.
MIKE
Are you talking about Sully?
Robert E suddenly grows quiet, not knowing what to say.
MIKE
I thought all of those horses were yours.
Again, Robert E is silent, struggling with whether or not he should reveal Sully's plan.
MIKE (suspicion building)
What does he want them for?
ROBERT E (after a beat)
Maybe you should be talkin' to Sully 'bout that.

MIKE
Yes. Perhaps I should. Where is he?
Loren, sweeping the porch, hears this and steps over.
LOREN
Out at Preston's homestead. (off her look) That's what he told me. He was in here this mornin', buyin' blastin' powder to knock out a tree stump.
Mike gives Robert E a look, her suspicion turning to concern. Without a word, she turns Flash around and starts out of town.
EXT. HOMESTEAD - DAY SIX
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 WHISTLES.
HIS POV
of Walks in the Night, standing in front of Cloud Dancing's shack. Hearing the whistle, he looks over, seeing Sully. He nods.
SULLY
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 the ground.
RESUME
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:
MCKAY
Take cover! Take cover!
Walks in the Night and the Indians fire at the soldiers as they scramble for cover. Other Indians begin fleeing the reservation, tossing burning pieces of wood into the shacks as they go.
AT THE EDGE OF THE RESERVATION
Sully (hidden in the brush) points Indians toward where the horses are:
SULLY
Over there! Horses and food! Go! (in Cheyenne) Over there!
As the Indians move off, Sully starts onto the reservation, moving through the increasing melee. He tries not to be seen by the soldiers as he stops to help some women and children into the back of a commandeered army wagon, which then rides off out the main gate.
Sully then continues quickly toward Cloud Dancing's shack, passing a group of Indians who tear down one of the other shacks. He sees other Indians FIRING guns at the Soldiers and reacts with concern.
SULLY (to Indians)
Don't shoot. Run! Go on, get outta here!
But the Indians keep firing, bent on causing as much destruction as they can before they leave.
Sully arrives at Cloud Dancing's shack. He checks to make sure no soldiers are around, then opens the door and helps Cloud Dancing out.
SULLY
C'mon. Lean on me.
Cloud Dancing reacts to the sight of the reservation being destroyed as Sully leads him away.
ON MCKAY
ducking for cover behind some crates as the Indians continue to fire at them. He turns to see a Private (the one whose arm Mike stitched up) shaking with fear nearby.
MCKAY
Find a horse. Go for re-enforcements. (sharp) Now!
The Private hurries off (his arm has healed by now) and finds a horse. He climbs up onto it and rides away as McKay fires at the Indians, covering the Private's retreat. McKay then spots something:
HIS POV
of Sully, leading Cloud Dancing and several other Indians into the woods (Sully doesn't see McKay).
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:
HER POV
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.
MIKE
moves onto the reservation as the SHOOTING finally subsides. Soldiers come out from their cover and begin chasing after the Indians, following them into the woods. Other soldiers begin rounding up the remaining Indians and tending to the wounded.
Mike looks around, frantically searching the ruins, until:
MCKAY (O.S.)
Sully's gone.
She turns to see McKay approaching her, as angry as we'll ever see him.
MCKAY
I saw him. He was right in the middle of it, helpin' 'em. Prob'ly started the whole thing.
(very close now) And when I find him, he's gonna pay for it.
McKay moves off to gather his troops, leaving Mike stunned and frightened, a growing sense of desperation overwhelming her as we slowly
FADE OUT
PART II
ACT ONE
FADE IN
EXT. HOMESTEAD - DAY SIX
Mike rides up to the homestead at a gallop, calling as she approaches:
MIKE
Colleen! Brian!
Colleen and Brian hurry out of the homestead, reacting with concern when they see the worried expression on Mike's face.
COLLEEN
Ma, what's wrong?
MIKE
Has Sully come by the house?
COLLEEN
No.
Mike looks around, trying to figure out what to do.
BRIAN
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.
BRIAN
All right.
MIKE
Colleen, I'd like you to ride into town with me and stay at the clinic, while I go look for Sully.
COLLEEN
Where is Sully?
MCKAY (O.S.)
Good question.
Mike turns to see McKay and two soldiers riding up. As they approach, Mike falls silent.
MCKAY
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.
MCKAY
How much do you know 'bout all this?
MIKE
I don't know anything.
MCKAY
Sully was behind it, wasn't he?
Again, Mike says nothing.
MCKAY
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:
MIKE
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:
MIKE
I'll need to take some additional medicines with me.
COLLEEN
I'll make sure the clinic is ready, just in case.
MIKE
Thank you, Colleen.
Colleen stops Mike at the clinic door, a thought hitting her:
COLLEEN
Ma... what should I tell Matthew?
Mike hesitates a moment -- this is very difficult for her.
MIKE
Nothing...
DOROTHY (O.S.)
Michaela!
Mike turns to see Dorothy hurrying over from the Gazette, looking very worried.
DOROTHY
Soldiers rode through town earlier, warnin' everybody about an uprisin' at the reservation. Is it true?
MIKE
I'm afraid so.
DOROTHY
Cloud Dancin'? Is he all right?
MIKE
I don't know. Most of the Indians have escaped into the hills. The army's searching for them. (beat, quieting) Dorothy... have you seen Sully?
DOROTHY
No, why?
From the look on Mike's face, Dorothy suddenly realizes:
DOROTHY
Did he have somethin' to do with the uprisin'?
Mike pulls Dorothy aside, lowering her voice in a private moment.
MIKE
I believe so.
DOROTHY
Oh, Michaela...
Mike's emotions are starting to slip, revealing the desperation she's feeling:
MIKE
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 --
DOROTHY
Michaela, what're you gonna do?

MIKE
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 into town.
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.
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 the others.
ON MIKE, DOROTHY AND COLLEEN
as they come around the corner, watching as:
MATTHEW
says nothing, hesitating, troubled by the sight of the Indians. McKay produces a telegram.
MCKAY
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 the jail.
MATTHEW
How many more are still out there?
MCKAY
I don't know. Thirty or forty. Maybe more. We're also lookin' for Sully.
Matthew reacts.
MATTHEW
Sully? What'd he do?
MCKAY
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 mount up.
MCKAY
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.
MCKAY
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
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.
SULLY
You all right?
CLOUD DANCING
I am tired.
SULLY
Just rest. We'll stay here tonight.
Sully turns to stare out at the woods, scanning the surroundings.
SULLY
The others should be here soon. We'll get started north in the mornin'.
CLOUD DANCING
Sully...
Sully turns back to Cloud Dancing... and for the first time, he sees the worried look on his face.

CLOUD DANCING
You must leave me.
SULLY
No.
CLOUD DANCING
Travelling with me will only put yourself in greater danger.
SULLY
I don't care.
CLOUD DANCING
Your family --
SULLY
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 to Sully.
SULLY
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.
SULLY
Where are the others?
WALKS IN THE NIGHT
Many were captured. The army is sending for re-enforcements.
SULLY
We'll be safe here tonight, but we'll need to start movin' at first light.
Walks in the Night reacts with skepticism:
WALKS IN THE NIGHT
Where will we go?
SULLY
North. Follow the Powder River up to Montana, to the unceded Indian territory in the Tongue River Valley.
CLOUD DANCING
It is the homeland of the Northern Cheyenne.
WALKS IN THE NIGHT
And then what? Wait for the army to find us?
CLOUD DANCING
We will be safe there.
SULLY
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.
SULLY
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.
SULLY
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)
Thank you.
SULLY
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.
COLLEEN
Here's the chloroform.
MIKE
Thank you.
Mike puts the chloroform in and shuts the bag.
MIKE
I think that's it.
COLLEEN
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:
DOROTHY
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 to her.
MCKAY
You came by to see the Indian a lot when he was recuperatin'.
DOROTHY
Cloud Dancin' is my friend. I was concerned.
MCKAY
Did he tell you anythin' durin' those visits?
DOROTHY
Such as...?
MCKAY
Such as what they were plannin'... where they were gonna go after the revolt...
DOROTHY
I just told you -- I don't know anythin'.
McKay is finding this hard to believe.
MCKAY
All those visits, an' you knew nothin' about any of this.
LOREN (irritated)
That's what she said. How many times she gotta repeat it?
One strong look from McKay quiets Loren. Mike steps closer, intervening.
MIKE
She's telling you the truth, Sergeant.
Dorothy shares a look with Mike, then turns back to McKay, adding:
DOROTHY
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:
MCKAY
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 --
PRIVATE (O.S.)
Sergeant!
Everyone looks to see the Private riding around the corner with excitement. He hurries to McKay, gesturing back over his shoulder.
PRIVATE
Got the re-enforcements.
Mike looks over and sees something that is very unsettling:
HER POV
Coming around the corner are several battle-hardened Soldiers. Leading them is Sergeant O'Connor.
BACK TO MIKE
MIKE (apprehension growing)
O'Connor...
REVEREND (to Mike)
Sergeant O'Conner? I thought they transferred him away from here.
O'Connor and his men ride up to McKay.
O'CONNOR
You McKay?
MCKAY
That's right.
O'CONNOR
O'Connor.
MCKAY
Glad you're here, Sergeant. (gestures to the hills) I got men searchin' the --
O'CONNOR (cutting him off)
We best get to the reservation.
MCKAY
What?
O'CONNOR
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?
MCKAY
I don't know how you're used to doin' things, Sergeant. But around here, I'm in charge.
O'CONNOR
Funny...
O'Connor reaches into his pocket and takes out a piece of paper, which he hands to McKay.
O'CONNOR
... 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.

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...
O'CONNOR
Good to see you again, Mrs. Sully.
... then starts off with his men, following after McKay.
ON MIKE
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:
FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
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:
BRIAN
What if Ma can't find him? (then, quieter) What if Sully doesn't wanna be found?
COLLEEN
Don't say that.
But from the look on her face, it's been on her mind as well. Brian looks up at her.
BRIAN
What if he never comes back?
COLLEEN
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.
O'CONNOR
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.
O'CONNOR
Where's your ma?
Colleen freezes, but Brian recovers and moves to him, masking his fear with anger.
BRIAN
You can't come in here!
O'CONNOR
Where is she?
COLLEEN (quickly)
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 place.
BRIAN
What do you want?
O'CONNOR
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.
MIKE
What are you doing here?
O'CONNOR
I learned that your husband was involved in the revolt. I'm just trying to determine his whereabouts.
MIKE
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:
O'CONNOR
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 intimidated.
MIKE
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.
COLLEEN
Did you have any luck, Ma?
Mike looks at them, wishing she could allay their fears.
MIKE
No.
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.
SULLY
'Mornin'. How you feelin', can you ride?
CLOUD DANCING
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 bit.
SULLY
Your stitches are breakin'.
Sully digs through his medicine bag, takes out some dried yarrow leaves, which he applies to the wound.
SULLY
Hold these to it.
Cloud Dancing holds the leaves to his wound as Sully helps him to his feet.
SULLY
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 stare.
HORACE (O.S.)
Matthew! Matthew!
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.
MATTHEW
Horace, what's wrong?
Robert E, in the livery, sees the commotion and comes over. Horace struggles to catch his breath as he speaks:
HORACE
Fella just rode into town... said he saw your homestead on fire.
Matthew reacts with shock.
MATTHEW
What?
HORACE
Said the whole place was goin' up in flames.
Matthew quickly moves to his horse.
ROBERT E
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 upon:
THE HOMESTEAD AND BARN
now completely burned to the ground, reduced to a pile of smouldering ruins.
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:
MATTHEW
How'd this happen?
ROBERT E
You leave any lamps burnin'?
MATTHEW
No. Nothin'.
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:
JAKE
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.
HANK
Looks like the Dog Soldiers all over again.
ROBERT E
The Indians started the fire?
HORACE
I don't understand it -- why would they wanna burn down Matthew's homestead?
Matthew ponders this a moment... and then it suddenly hits him:
MATTHEW
The jail...
ROBERT E
What?
Matthew runs back to his horse.
MATTHEW
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 silent...
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:
PRESTON (O.S.)
They're gone.
Matthew and the others look to see an enraged Preston coming out of the bank, rifle in his hand.
PRESTON
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:
GRACE
Robert E!
Robert E moves to her and hugs her, as more frightened townspeople begin emerging onto the street around them.
ROBERT E
You all right?
Grace manages a nod, but she's still scared.
ROBERT E
Where's Anthony?
GRACE
Home.
ROBERT E
C'mon.
They start toward their house, passing by Hank, who now sees something down the street and reacts:
HANK (to Jake)
Look...
Jake turns to see:
TERESA
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.
JAKE
What happened?
TERESA
They... burned my house.
HANK
The Indians?
She nods.
TERESA
I tried... to put the fire out...
She looks at Jake, the tears coming.

TERESA
I have lost everything.
The pain and exhaustion overwhelming her, she practically collapses in his arms. Jake lifts her up.
JAKE
Let's get you to the clinic.
DOROTHY
Michaela's not there.
JAKE
Where is she?
DOROTHY
I don't know.
LOREN
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.
DOROTHY
This has nothin' to do with that!
PRESTON
I told you not to get involved. The more you give them, the more they take --
DOROTHY
Don't you have that backward?
PRESTON
This is going to cause irreparable damage, not just to your career as a journalist, but to our newspaper as well.


DOROTHY
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.
PRESTON
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 loan.
This staggers Dorothy.
DOROTHY
What?
PRESTON
Effective immediately.
DOROTHY
You can't do that.
PRESTON
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.
DOROTHY
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.
PRESTON
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 comfort.
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.
COLLEEN
We'll finish cleanin' up the homestead while you're gone.
MIKE
Thank you, Colleen. I'll return before nightfall.
BRIAN
Good luck.
Mike attempts an encouraging smile, then starts off up the road as Colleen and Brian head back into the house.
ON MIKE
as she rides only a short distance before something out of the corner of her eye stops her:
HER POV
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:
MATTHEW
riding up and dismounting.
MATTHEW
Dr. Mike!
Colleen and Brian come out of the house as Matthew climbs the steps.
COLLEEN
Matthew, what's wrong?
MATTHEW
Where's Dr. Mike?
BRIAN
She just left.
MATTHEW
Where'd she go?
Colleen and Brian suddenly grow quiet, feeling awkward.
ON MIKE
watching this... and feeling terrible about it.
BACK TO SCENE
as Colleen fumbles for an answer.
COLLEEN
I don't know. She didn't say.
Matthew looks at her, growing suspicious. Colleen quickly tries to change the subject:
COLLEEN
Is somethin' wrong?
MATTHEW
Indians just escaped from the jail. They burned the old homestead.
Colleen and Brian react with shock.
COLLEEN
Oh, Matthew...
ON MIKE
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.
MATTHEW
What happened in there?
BRIAN
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:
BRIAN
Me and Colleen were eatin' breakfast with Katie, and Sergeant O'Connor just barged right...
The door shuts, leaving:
MIKE
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.
MIKE (hushed)
Sully!
He pulls her close, wrapping his arms around her in an emotional embrace.
SULLY
I'm all right.
MIKE
I was so worried.
He kisses her, calming her a bit. Then:
SULLY
C'mon. Don't got much time.
He takes her hand and leads her further into the brush, where:
CLOUD DANCING
lies, looking very weak. Wolf is beside him. The two horses are tethered nearby.
MIKE
Cloud Dancing...
She quickly moves to him, noticing the blood stain on his shirt.
SULLY
His stitches are breakin'.
Mike lifts Cloud Dancing's shirt and examines the wound.
MIKE
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 fine.
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.
MIKE (hushed)
I can't believe you did this.
SULLY (also hushed)
They asked for my help. I couldn't turn my back on 'em --
MIKE
This was not the right way to help. It's only making things worse.
SULLY
Can't get any worse.
Mike pauses a moment, looks up at him.
MIKE
They burned the old homestead.
SULLY
The army?
MIKE
The Indians.
Sully reacts with disappointment as Mike resumes working.
SULLY (quietly, almost to himself)
Wasn't s'posed to happen like this...
MIKE
O'Connor's back. He's looking for you. He ransacked the house, frightened the children.
Sully is angered by this, but remains unwavering.
SULLY
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' --
MIKE
They saw you, Sully. They know you were involved.
This is news to Sully. He reacts, realizing what this means.
MIKE
When they find you --
SULLY
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.

CLOUD DANCING (to Sully)
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:
MIKE
No...
She looks at Sully, then back at Cloud Dancing.
MIKE
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:
MIKE
Where will you go?
SULLY
We'll ride north. Follow the Powder River up to the Tongue River Valley.
Sully reads the look on Mike's face, and knows what she's thinking.
SULLY
I'll come back, Michaela, I promise. Just as soon as Cloud Dancin' is safe.
MIKE (concerned)
And then what? The army is going to arrest you --
SULLY
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 kids' sake.
Mike realizes that this is the right thing for her to do, but it still pains her greatly. She nods, then finishes stitching Cloud Dancing's wound.
MIKE
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.
MIKE
Take these with you. You might need them.
CLOUD DANCING
Thank you.
SULLY
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.
MIKE
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.
MIKE
I don't know if I can say good-bye, either.
Cloud Dancing nods. He too is struggling.
CLOUD DANCING
Perhaps we will see each other again.
MIKE (tears coming)
Perhaps.
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...
CLOUD DANCING
Good-bye.
MIKE (barely audible)
Good-bye.
... but just as he and Sully start off:
MATTHEW (O.S.)
Stop.
The three look to see:
MATTHEW
standing nearby, drawing his gun. This is a very difficult moment for him -- he's not proud of what he must do.
MIKE
Matthew --
MATTHEW (eyes on Sully)
You're under arrest.
SULLY
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!
SULLY
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.
SULLY
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.
SULLY
Thank you, Matthew --
MATTHEW
Just go!
Sully looks to Mike. He gives her a kiss, embracing her one last time...
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:
FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
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.
MIKE
Matthew... I'd like you to come live with us at the homestead.
MATTHEW
I can't do that --
MIKE
Just until you can find yourself another one.
Matthew quiets, then relents with a nod. After a moment:
MATTHEW
I better get back to the repairs.
BRIAN
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.
ANDREW
Is the morphine helping with the pain?
TERESA
Yes. It is not so bad now.


ANDREW
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.
JAKE
What's that you're puttin' on her?
ANDREW
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.
ANDREW
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:
JAKE
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.
JAKE (hushed)
This cover it?
ANDREW
What?
JAKE
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.
ANDREW
Thank you.
ON TERESA
casting a quick glance over to see the exchange of money, which troubles her. She quickly looks away as Jake steps back over.

JAKE
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 stop them.
O'CONNOR
You wouldn't happen to know where Cloud Dancin' is right now?
DOROTHY
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.
O'CONNOR
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 runs in:
PRIVATE
Sergeant, they just brought two more Indians to the reservation. Put up a hell of a fight.
O'Connor turns to his men.
O'CONNOR
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)
Michaela...
MIKE
What is it?
DOROTHY
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 are headed.
MIKE
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.
MIKE
Where is it?
DOROTHY (gestures)
In my satchel.
THEIR POV
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.
MIKE
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 door.
The soldiers immediately move in on her, but as they reach for the files, Mike spills them onto the floor.
MIKE
No!
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.
HER POV
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.
ON DOROTHY
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.
O'CONNOR
Where are they?
SOLDIER #2
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.
O'CONNOR
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.
O'CONNOR
Where are the others?
O'Connor cocks the gun, his eyes not leaving Walks in the Night's.
O'CONNOR
Tell me.
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 the wagon.
JAKE
Easy now... there you go.
He starts to lead her into the Gold Nugget.
JAKE
C'mon, I'll get you a room.


TERESA
No. (off Jake's look, grateful) You have done enough for me. I will stay at the boarding house.
JAKE
It's no trouble. Really. I'm co-owner, I can get as many rooms as I want.
TERESA
Please. I appreciate your kindness, but I cannot accept. I will pay you back for the doctor...
JAKE
That was nothin' --
TERESA
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:
PRIVATE
Sergeant O'Connor said to tell you to assume command while he's away.
MCKAY
Away? Where'd he go?
PRIVATE
After Sully. Guess he found out where they're headed.
MCKAY (not pleased)
When?
PRIVATE
'While ago. Two Indians told 'im everythin'.
MCKAY
Did O'Connor say where Sully went?
PRIVATE
No. Just got on his horse, took two men with 'im and rode out.
MCKAY
Where're those Indians? I wanna talk to 'em.
PRIVATE (pointing)
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.
COLLEEN
I'll put Katie down for her nap.
MIKE
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 cold.
MCKAY
I need to talk to you.
Mike says nothing.
MCKAY
Please.
The genuine concern in his voice sways Mike. After a beat, she steps back, allowing him in.
MCKAY
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.
MCKAY
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.
MCKAY
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.
MCKAY
At least he'll be alive.
Mike struggles, not knowing what to do.
MCKAY
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.
MCKAY
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 beat:
MIKE
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.
COLLEEN
Ma... what happened?
Mike looks at her, then turns to Dorothy.
MIKE
O'Connor found out where Sully and Cloud Dancing are.
Dorothy reacts, devastated by this revelation. Mike gestures to the departing soldiers.
MIKE
McKay's going after them...
Dorothy is troubled by this. But now Mike's expression changes. She's not about to sit around waiting...
MIKE
... and so am I.
DOROTHY
I'm goin' with you.
MIKE
Colleen, will you look after Katie?
COLLEEN
Sure.
Mike looks back to Dorothy.
MIKE
Let's go.
As the two start off toward the livery, we:
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
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.
SULLY
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 gaze to:
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.)
Soldiers.
As the riders draw closer, we recognize the man in front -- it's O'Connor.
BACK TO SULLY
SULLY
O'Connor. (concern growing) We better split up. I'll draw 'em away from you.
CLOUD DANCING
No, Sully --
SULLY
We don't got time to argue.
CLOUD DANCING
I will not let you --
SULLY (firm)
Cloud Dancin'...
Sully quiets a moment and steps close to him, struggling against emotions that suddenly well inside him.
SULLY
Was a time you helped me find my path. (beat) Let me help you find yours.
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...
CLOUD DANCING
Say good-bye to the children for me.
Sully nods, fighting tears.
CLOUD DANCING
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)
My brother.
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.
COLLEEN
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.
ANDREW (understanding)
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:
ANDREW
Good morning, Mrs. Morales, Jake. (to Teresa) How are you feeling?
TERESA
There is still pain. But I am better today.
ANDREW
Good. Well, come on in and let's have a look.
TERESA
First... I must make arrangements for paying you.
Andrew casts a questioning look at Jake, who just shakes his head -- he's not paying.
TERESA
I have no money now...
... which really gets Preston's attention.
TERESA
But next month, when I receive my salary, then I will pay you.
Preston quickly intervenes before Andrew can be swayed:
PRESTON
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:
PRESTON
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.
PRESTON
I'm terribly sorry. Perhaps Dr. Quinn will see you --
COLLEEN
She's not around.
Preston gives Colleen a clipped smile, then turns to Andrew, whispering an order:
PRESTON
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.
ANDREW
Your arm... looks good. I doubt there's any infection. All you need to do is change the dressing and make certain --
JAKE
Wait a minute. You're not gonna even look at it?
ANDREW
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:
ANDREW
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.
JAKE
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.
O'CONNOR
They stopped here.
He moves ahead on foot, eyeing the ground... and then reacts to something he sees:
O'CONNOR
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.
O'CONNOR (gesturing)
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.
JAKE
Sure you don't want any whiskey?
She shakes her head no. Jake continues working.
JAKE
Almost done...
The last of the dressing comes off, and Teresa breathes a sigh, relaxing a bit. Jake examines her arm, likes what he sees.
JAKE
Looks good. No infection.
Jake begins applying the silver nitrate solution to the burn.
JAKE
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.
JAKE
There.
She looks back up at him. He gives her a tender smile.
TERESA
Gracias.
JAKE
Sure.
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, struggling...
TERESA
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:
TWO SOLDIERS
riding up. O'Connor's soldiers.
BACK TO O'CONNOR
as he reacts angrily and steps out from behind the brush.
O'CONNOR
What're you doin'?
SOLDIER #2
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:
O'CONNOR
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:
O'CONNOR
continues to examine the tracks. He stands at the spot where the tracks join together and looks where they lead:
O'CONNOR
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 Dancing's face.
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... to freedom.
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.
MCKAY
Where's O'Connor?
SOLDIER #2
He went ahead into the canyon.
MCKAY
Is Sully in there?
SOLDIER #2
Yeah. O'Connor's gonna flush 'im out.
MCKAY
Is the Indian still with him?
SOLDIER #2
I think so. They split up for awhile, took separate trails. But they joined up again right here.
MIKE (O.S.)
No they didn't.
McKay turns to see Mike and Dorothy on their horses, stopped not far behind them.
MIKE
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 by now.
As Dorothy reacts to this, McKay rides over, furious that Mike has followed him.
MCKAY
What are you doin' out here?
MIKE
The same thing as you. Looking for my husband. (to Dorothy) Come on.
And with that, she and Dorothy ride on, continuing into the canyon.
MCKAY
Wait! Stop!
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.
UP AHEAD
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:
O'CONNOR
who calmly aims his gun at him.
O'CONNOR
Stop right there.
Sully, realizing he's trapped, quietly raises his arms in surrender.
O'CONNOR
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 way.
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
Wolf!
Mike, Dorothy and McKay jump down from their horses and follow Wolf out onto:
THE CLIFF
where they find no one. Mike and Dorothy look around, confused.
MIKE
Where are they?
McKay steps to the edge of the cliff and looks down, reacting somberly to what he sees.
MCKAY
There.
Mike and Dorothy rush to the edge and peer down.
THEIR POV
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.
MIKE
No!
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.
MIKE
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.
MCKAY
He must've hit the rocks, then fell into the river.
MIKE (to herself)
He's all right... he's all right...
MCKAY
I'll have my men check downstream for him.
MIKE
... please let him be all right...
DOROTHY
Michaela!
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.
MCKAY
I'm sorry.
MIKE (quiet)
No... (struggling) He's alive...
She takes the medicine bag and gazes down at it, not allowing herself to give up hope.
MIKE
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
FADE OUT
THE END

 

 

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