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EXT. COLORADO SPRINGS - DAY ONE 1
Colorado Springs is bustling with activity. The Sully wagon passes the train station. Inside are SULLY, MIKE, KATIE, BRIAN, and WOLF. Mike is carrying Katie in the sling made for her by Sully. The baby basket is in the back of the wagon with Brian. It's a crisp fall day; Sully, Mike and Brian are wearing jackets. Brian is enthusiastically explaining his day's plans to Mike. He's holding a drawing in his hand which is nearly completed.
I'm takin' Brian out to Red Rocks to finish his drawin'.
Then I can start the model for my school project.
Colleen's taking geology this term. Perhaps she could offer you some pointers.
What time's her train due in from Denver?
We'll be back by then won't we Sully?
+ANOTHER ANGLE - AS THE WAGON TURNS DOWN THE MAIN ROAD 2
A BANNER has been hung above the road. Brian looks up at it as they pass beneath it.
+POINT OF VIEW 3
We read it, as Sully does:
Sweetheart's Dance Saturday Night.
+RESUME ANGLE ON WAGON 4
Sully and Mike exchange a loving look (playful, not sentimental, just two people with shared memories). Brian notices something else.
+ANGLE - THE GENERAL STORE 4A
SARA, Brian's friend, comes out of the general store with a bag of supplies. She walks up the street. She smiles and waves to Brian.
+ANGLE - TO INCLUDE BRIAN 4B
Brian notices Sara and becomes paralyzed with Sudden Shyness Syndrome. He returns a slight smile and a tiny, little wave. Mike and Sully are oblivious to the romantic drama playing out between Brian and Sara. They're in their own world.
Emma has had five new orders for dresses for the dance.
+CLOSE ON BRIAN 5
As he watches Sara getting further and further away.
From the sounds of it, there is going to be quite a crowd this year.
+RESUME ANGLE 6
Sully smiles down at Katie.
Don't forget to save a dance for your pa, Katie.
Mike smiles at Sully and then looks back at Brian. She doesn't know how to interpret the sick look on his face.
Brian? Are you all right?
Brian nods, not trusting his own voice quite yet. She's not convinced. He croaks it out.
He smiles as an offer of proof. But after Mike turns back around, fear replaces confidence on Brian's face as he thinks of Sara once again. He looks at his drawing to get his mind off his dilemma.
+CLOSE ON THE DRAWING 6A
of the Red Rock formation now known as Garden of the Gods. As CAMERA MOVES IN ON THE DRAWING, we:
OMITTED (7) 7
EXT. RED ROCKS - DAY ONE (STOCK) 8
The Red Rocks formation.
Ain't no other place on earth like this one, I bet.
No place I've ever seen.
+REVERSE ANGLE TO SEE 9
Sully and Brian. Brian is sitting on a large rock, drawing. Sully is relaxing nearby. From the amount of work done, it's apparent they've been here for awhile. Wolf is sniffing around. Brian asks him a question, as casually as he can.
Sully? Can I ask you somethin'?
Say you wanted to ask somebody to a dance.
Sully plays like he doesn't already know what Brian's talking about.
Somebody -- ?
Brian is caught up enough in his terror of the dance that he doesn't see immediately that Sully is joking.
Like -- a girl, you mean?
Right. A girl. What would ya say to her?
You just say, "I would like to take you to the dance."
Brian nods, but he's troubled.
But -- what if you don't want to let on you're really askin' her?
(trying to find a way to say this without saying it)
Why not? Well, maybe she... I mean, maybe you... there could be a lotta reasons --
Like -- she might say no?
That could be one reason.
That's the risk ya gotta take.
Trying to keep his risk limited, Brian comes up with another question:
What'd you say to Ma? When you asked her?
I said "Michaela Quinn, will you do me the great honor of goin' to the dance with me?"
Who told ya to say it like that?
He and Brian share a laugh over that and then Wolf, seeing something some distance off, BARKS and starts running towards whatever it is he saw.
CONTINUED: (2) 9
Wolf runs off down a hill, Sully follows with Brian staying behind.
What is it?
Sully is close enough now to see that the object is:
OMITTED (10-11) 11
+CLOSER ANGLE 11A
a hawk. The bird is alive, but motionless. Sully takes off his jacket to cover the bird, who appears to be in shock.
Sully turns at the sound of Brian's warning just in time to see a hawk with an enormous wing spread swooping down on him.
Sully drops to the ground, holding an arm up as protection. The hawk's talons take a bit of skin as the hawk pulls up and circles for another attack. Wolf growls and barks, keeping the hawk at bay. Brian runs toward Sully.
+CLOSE ON SULLY 12
He checks his arm. A little blood, but nothing serious. As Brian joins him:
You all right?
Fine. He's tryin' to protect his mate, is all. She's alive, but she ain't movin'. If we leave her here, mountain lions'll get her.
He carries the jacket-enwrapped hawk with him as he and Brian run back toward the wagon. Wolf runs to the wagon and jumps in.
+WIDER ANGLE 13
The male hawk swoops down on Sully again. Wolf barks and leaps into the air, throwing the hawk off. Sully looks back at the red rock formation to find the nest.
+A TREE 14
We see a nest in a tree.
There's the nest.
+THE WAGON 15
Sully and Brian are already in the wagon, riding away. Brian is holding the female hawk still nestled in the jacket. The male follows them for awhile, Wolf, in the wagon, barks at the male hawk.
+CLOSER ON BRIAN 16
Brian looks down at the bundle on his lap, concerned for her safety.
INT. BARN - DAY ONE 17
CAMERA STARTS CLOSE on the hawk who is now standing on top of some straw inside a basket. As CAMERA PULLS OUT... Sully finishes tying a tether to her leg. The other side is secured to the box. Brian is looking on with concern.
Hope she's gonna be all right.
Sully glances over at him, smiles.
(re: his blood-stained shirt)
Why don't you keep her comp'ny while I take care of this.
(beat, to hawk)
Don't worry. You'll be fine.
EXT. BARN - DAY ONE 18
As Sully comes out of the barn, he is startled to see someone at his front door. Sully calls out to him; not hostile, but obviously cautious.
The man, who we will learn is WELLEND SMITH, turns at the sound of Sully's voice. Smith is in his late thirties, early forties, a handsome man with an open expression.
Lookin' for a man named Byron Sully.
I'm Sully. Who are you?
Smith's face breaks into a big grin. He hurries down the steps to shake Sully's hand.
Wellend Smith, sir. Am I glad to find you. I've come all the way from Washington, D.C. to offer you a job.
Sully is surprised by this announcement, but he doesn't give much away as Smith stands beaming at him.
END OF TEASER
EXT. COLORADO SPRINGS - GENERAL STORE - DAY ONE 19
MATTHEW and EMMA drive up in a wagon. She's holding a string of fish (four or five) they caught earlier.
+INSIDE THE GENERAL STORE 20
LOREN is going over paperwork. He glances out the window. Sees:
+MATTHEW AND EMMA 21
Playful, enjoying each other's company. As he helps her out of the wagon, Emma gives Matthew the fish and he puts them in a basket. They walk towards the door.
+ANGLE - AT THE DOOR - FROM INSIDE THE STORE 22
Thank you, Matthew. I had a good time.
For some reason they become awkward at saying goodbye.
You -- wanta have supper later?
I'd like to, but I gotta lot of work to do on those dresses.
For the dance. Sure. Well, I'll -- see ya later.
He kisses her cheek and leaves. Neither of them has seen Loren, so Emma is slightly startled at his voice:
(a big sigh)
I s'pose now I've gotten used to ya, you're gonna up and leave me.
She recovers from her surprise, but we get a sense that she's concealing something when she responds.
Leave -- ?
Just like a woman. You start to depend on 'em, they go an' get married.
She sees now that he's joking with her, in his own curmudgeonly way. She smiles at him, looks at him askance.
Who's gettin' married?
Loren realizes he's made an assumption and although what he wants to do is give her his blessing, he's not quite sure now how to extricate himself from this conversation.
I thought -- that is, the two of you --
She laughs, letting him off the hook.
I just started my new business. I ain't ready to get married yet.
He wants her to find a way to seize happiness before it drifts away.
Oh! Well, if that's all that's botherin' 'ya, we can work somethin' out. You could work every other day or half days --
(full of enthusiasm)
Thank you, but I don't want to work half days. I want to be here all day. Every day. This business is all I ever dreamed about.
She kisses Loren on the cheek and hurries cheerfully over to her sewing area. Loren watches her, a little puzzled.
+ANGLE - EMMA'S SEWING AREA 22A
Emma sits at her sewing machine. She opens a drawer and takes a small wooden box out from underneath scraps of material. She opens the box and removes the contents.
OMITTED (23) 23
+CLOSE ON - THE CONTENTS 24
Which consist of a letter addressed to her, General Delivery, Colorado Springs. The return address on the letter says: Gilda St. Clair, Hotel Paris, Paris, France. Along with the letter is a program from a concert in LONDON, ENGLAND with Gilda St. Clair's silhouette on it.
+RESUME EMMA 25
She holds the letter, not even wanting to read it right now, but wanting to be reassured by its presence. She smells the fading perfume. She rubs her thumb over the stamp. She turns the program over in her hand. She is obviously weighing something in her mind, but what that is right now we don't know.
OMITTED (26) 26
INT. CLINIC - DAY ONE 27
Mike is holding Katie and feeding her from a bowl. This is a pleasurable moment between mother and daughter.
My, what a big girl!
I want you to know I appreciate your eating this delicious baby food. It makes it easier for Mommy to be a doctor.
Katie gurgles and waves her hands and feet around as if she actually understands Mike. Dorothy comes hurrying into the clinic, carrying a letter.
He said yes!
Mike is delighted to see her friend, but is also still completely caught up in Katie's latest accomplishment.
Dorothy! Look how well Katie is eating prepared baby food.
Dorothy doesn't want to be side tracked but she also doesn't want to be rude to Mike or Katie. She does her best to show enthusiasm.
My. Yes. She certainly is.
(a more abrupt transition than she meant to make; re: the letter)
Look! I got the go ahead. From my publisher.
She hands the letter to Mike and continues on, pleased:
I'm writin' a new book. Not about Colorado Springs, I already done that. This one's about the Indians. Well, not all the Indians. It's about Cloud Dancin'.
Got the idea for it durin' his trial. Why, he sat there under attack, all that time, never once looked scared or angry. I got to thinkin', most people don't get to see somethin' like that. So I'm gonna write a book about it.
(she knows her friend)
And -- what does Cloud Dancing say about this book?
He doesn't know about it, yet. I'm goin' up to talk to him first thing in the mornin'.
Soon's I figure out what to say.
CONTINUED: (2) 27
On Mike's smile:
OMITTED (28-30) 30
EXT. COLORADO SPRINGS - DAY ONE 31
As Mike (carrying Katie in the sling) and Brian walk along the road.
...and then a hawk attacked him.
We come across the wounded hawk an' while we was tryin' to rescue her from mountain lions, her mate started attackin' Sully.
Brian realizes he's over dramatized just a bit too much. He backs away from it a touch.
It wasn't as bad as it sounds.
(a smile to herself)
I'm relieved to hear that.
Are you going to ask Sara to the Sweetheart's Dance?
I was gonna -- but I haven't seen her around lately.
And, of course, at that exact moment, Sara comes around the corner and nearly smacks into Brian.
(pleased to see him)
Sara! We were just talking about you.
Sara's eyes light up. She looks at Brian.
Brian, awkward and nervous, looks at Mike, 911 flashing in his eyes. Mike, realizing discretion is the better part of motherhood, makes an excuse to leave them alone together.
Oh. How silly. I completely forgot -- something. Will you excuse me? I'll be right back.
Mike moves off far enough to keep an eye on them without appearing to eavesdrop on them. Brian scuffles the dirt, looks at his feet. Sara tries to help him.
Lotta people goin' to the Sweetheart's Dance, I hear.
Brian nods, doing his best to wrangle up the courage to ask her.
You reckon' you'll be goin'?
He looks up at her, takes a deep breath, goes for it:
Speakin' a that, I was wonderin' -- uh -- I was thinkin' that -- if you weren't doin' anythin' else --
Yes -- ?
(he loses heart)
-- if you could come over sometime and see my geology project.
CONTINUED: (2) 31
(surprised and a little disappointed)
Was there anything else you wanted to ask me?
The SOUND of the train gives Brian his "out."
Colleen's train! Gotta go! Bye!
He bolts away from Sara, running for the train station.
+ANGLE - ON MIKE 32
watching the abandoned invitation with a bittersweet smile. As she hurries to catch up with Brian, we go to:
EXT. GRACE'S CAFE - DAY ONE 33
Smith is standing over a map he has spread out over one of Grace's tables. Another man, in his early fifties, stands with him, glancing at the map, glancing at Sully. Sully is examining the map with them. Smith has the bearing and dress of a sophisticated politician, while the other man, ARTHUR ("ARTIE") ECK, has all the earmarks of a mountain man.
Took Artie here three years to convince me this was a good idea. Took me another two to convince Congress to even listen to him.
(proud of their accomplishment)
Next week, President Grant will sign Senate Bill 392... let's see, here it is:
(reading from a document)
"An Act to set apart a certain Tract of Land as a great national park."
Because there's never been one before, Sully is not exactly sure what a national park is.
[Just a dressed up way of saying "protected land."
(pleased, at Artie)
Tell him how you did it, Artie.
Yeah, I pulled a deal on them boys up there, I reckon. Told 'em this land was flat out uninhabitable, not fit fer farmin' --
(a grin at Sully)
-- all in all, completely useless.
Sully smiles back at Artie, impressed by this backwoods man's sophisticated grasp of political expedience.]
We're calling it Yellowstone National Park. What do you think?
[(smiles, to Artie)]
I like it.
[Yes, well, now that the selling part is done, we're going to need someone in Yellowstone to map out the bounderies, prepare reports on the natural wonders, and protect the buffalo.]
[Sully knows that nearly all, if not all, of the buffalo have been hunted into extinction. He looks at Artie, quizically.]
[Buffalo -- ?]
[I figger I got around -- more or less two hunnerd head of 'em runnin' out there on that land. Far as I know, they're the last bunch left on the whole U.S. continent. Them animal's'll be safe if we can stop the poachers from shootin' 'em -- an' skinnin' 'em.]
President Grant -- you met him once, I gather?
CONTINUED: (2) 33
Sully half nods, half shrugs.
CONTINUED: (3) 33
He's convinced you're the man who'll fight to keep this land protected. So whaddaya say, Mr. Sully? Can we tell the President you're accepting our offer?
How soon do you need to know?
We need you in Wyoming by the end of the week.]
Sully has no idea what to say. His mind is reeling with the possibilities and the obstacles. We HEAR again the SOUND of the train and we:
END OF ACT ONE
EXT. BARN - NIGHT ONE - ESTABLISHING - STOCK 33A
INT. BARN - NIGHT ONE 34
COLLEEN, holding Katie, and Brian watch while Mike finishes examining the hawk. Sully is nearby, but deep in thought.
She doesn't seem to have any broken bones.
Why isn't she moving?
She may have bruised her chest. When I press there, even gently, she becomes quite agitated. She won't be able to move until the pain subsides.
How long will that be?
I would think a day or two at the most.
(mostly to himself)
I hope she can find her way back to her nest again.
Sully comes out of his reverie for this last line of Brian's. He speaks quietly, his mind still working on the job offer.
We'll see to it she gets back.
Smiling at Sully:
We'll have to. Hawks mate for life. They'd be lost without one another.
But Sully doesn't acknowledge her remark. He's lost in thought again.
INT. HOMESTEAD - CLOSE ON COLLEEN AND KATIE - NIGHT ONE 35
Colleen is feeding Katie more of the baby food. Colleen is tickled at how well Katie is doing.
Here you go -- open wide -- good, good, Katie.
(slight beat, then heartfelt)
When I'm at school I miss you so much, Katie.
+WIDER - TO SEE 35A
Brian is working on his clay dough model of the Red Rock formation. Sully is reading the Gazette. Mike is putting away the last of the dishes.
I miss all of you.
You could quit school and come home.
Sometimes I wish I could. But I love school, too.
I'm so pleased to hear that, Colleen.
There is somethin' about bein' away that makes you feel -- funny -- when you come back.
What'a ya mean "funny?"
Well, you don't even notice that you're missin' home, and then you get off the train and -- there it is. The place you know. The people who know you.
Everything is right where you left it and -- it makes you feel happy, but kinda sad at the same time.
That's because your roots are here. You want to grow and branch out, but you also need to know that your feet are still firmly planted in home soil.
I never thought about people havin' roots.
I believe people need roots the same as trees do.
She picks up Katie.
Come along, Katie. Time to get you ready for bed.
Mike carries Katie up the stairs to the bedroom, leaving Colleen, Sully and Brian downstairs. Sully is thinking about what Mike just said. Colleen moves over to the table and looks at the model.
You're doing a good job, Brian.
You think people need roots, Sully?
I never did much thinkin' about it before.
He watches Brian and Colleen working for a moment, then gets up and walks out the front door.
EXT. HOMESTEAD PORCH - NIGHT ONE - A SHORT TIME LATER 36
Sully is sitting on the porch. Mike comes out, sits down next to him.
This is my favorite part of the day.
They enjoy the beautiful Colorado night together.
CONTINUED: (2) 36
You've been very quiet tonight. Is there something on your mind?
I was thinkin' about the first time the train came to town.
You were so opposed to it -- you said you'd have to leave Colorado Springs if the train came through here and -- I --
It was a complex issue, but Sully simplifies it.
You said you wouldn't.
You make it seem so simple.
(beat, remembering the pain of the time)
But it wasn't simple at all.
She waits for him to go on. When he doesn't:
What made you think about that?
He's not ready to talk about this yet, even though he'd thought he was.
Just -- crossed my mind. That's all.
We HOLD ON THEM sitting in silence, each lost in his/her own thoughts. And we:
EXT. INDIAN RESERVATION - DAY TWO 37
As close to dawn as we can manage. Dorothy rides onto the reservation. She looks around for Cloud Dancing. She sees him, and gives her horse to a soldier.
CLOUD DANCING turns to see her. Dorothy dismounts, walks toward him.
(a little nervous)
I was wonderin' if I -- could I talk to you -- about somethin'? My name's Dorothy. I am --
Michaela's friend. I know.
He smiles warmly at her, a little curious about what might bring her to talk to him. He walks with her...
As Dorothy and Cloud Dancing walk. The deterioration of the reservation and its people underscores what Cloud Dancing will later say about them. Dorothy starts in with as much confidence as she can muster.
Goodness it's hard to know where to start. Fact, I was up most a the night, tryin' to find the right way to say this --
You -- know that I wrote a book about Colorado Springs -- ?
Well -- I wrote to my publisher about another book -- and he said he'd publish it.
He smiles at her, pleased for her.
I -- I was gonna write the book about you.
His face becomes immediately expressionless as he listens to what else she has to say. He gives away none of his thoughts, but she feels the palpable change which has come over him.
So many people are -- scared and misinformed. I -- want to show them that not all Indians are bad.
She hears how bad that sounds the minute it's out of her mouth and she'd give anything to take it back, but it's too late. It's already hanging in the air.
That isn't what I meant to say at all. What I meant to say is --
She thinks a moment about what it is she did mean to say and she recognizes it right away and says it to him with great vulnerability and honesty.
-- that I know you are -- dif'rent than what most people think Indians are like. And I want them to see you the way I do.
He is touched by her obvious sincerity.
I am honored that you wish to write a book about me.
Dorothy is holding her breath.
But I cannot allow it.
But -- but -- Why not?
The reasons are not important.
They are to me.
She's right. He thinks a moment, then, with no bitterness, just resignation:
My people are scattered and dying.
CONTINUED: (2) 37
CLOUD DANCING (CONT'D)
I can not see how any good will come from giving the white man more knowledge about them.
He turns and walks away from her. She watches him go, devastated.
OMITTED (38) 38
INT. CLINIC - DAY TWO 39
Colleen, Mike and Katie come in. Colleen puts Katie in her bassinet. Mike starts putting on her apron.
(trying to be casual)
I wonder when Andrew's coming back from Boston.
(casual, teasing Colleen)
He is back.
He usually has coffee at Grace's before coming into the clinic.
Colleen glances out the window, turns back, trying not to show how anxious she is to see him. Mike lets it sit for a tiny, little beat, just long enough to wind Colleen up.
You could go let him know that we're here.
(trying to appear unconcerned)
If you really want me to --
Colleen sprints for the door, still two parts young lady, one part wild-spirited teenager. Mike smiles after her.
EXT. GRACE'S CAFE - DAY TWO 40
Smith and Artie are eating breakfast at Grace's. Colleen comes in, looks around, sees ANDREW sitting by himself, having a cup of coffee, reading the Gazette.
He looks up, smiles, happy to see her.
She hurries over to his table. There is an awkwardness between them as they greet each other, each obviously happy to see the other, but not wanting to appear too smitten, either.
Your mother -- mentioned that you were coming home for the Sweetheart's Dance.
Colleen is embarrassed that Mike would relay this information to him.
(trying to appear nonchalant)
I didn't come home just for the dance.
Not that I don't want to go. Of course I want to go. I just meant there are other reasons, too --
She's digging herself further in, but fortunately she is saved by:
Colleen and Andrew look up to see BECKY hurrying over to their table. Becky seems unusually awkward and tongue tied.
I'm sorry I -- couldn't make it to the train station yesterday, but I was gonna come see you -- today. After -- awhile -- at the clinic.
Colleen thinks perhaps Becky is embarrassed because she has interrupted Colleen and Andrew. Colleen tries to make her friend feel better.
Sure. That'll be fine. I'll be there in another half hour or so.
Andrew and Becky stare at her. Colleen is baffled by their behavior. Is it possible they think she's being rude? She changes direction:
Or -- you're welcome to join us for a cup of coffee, if you like.
Becky looks at Andrew, wondering if she's misunderstood something along the way.
Join -- you?
Andrew jumps in to explain to Colleen:
Oh! I had -- already invited -- uh -- Becky. To have breakfast. With me.
Colleen is mortified by her misinterpretation of the situation. She tries to salvage any part of pride or ego still intact.
(as cheerful as possible)
I see. I didn't realize -- I mean I forgot that --
Becky interrupts her, trying to make things better.
You could join us.
No! No. Thank you. Ma's waitin' for me at the Clinic. I just stopped by to let Andrew know she's here. That's all.
CONTINUED: (2) 40
Then... I'll see you later. At the clinic.
Colleen turns and walks away as quickly as she can without looking like she's fleeing. Becky wants to go after her -- a little bit. More of her wants to stay with Andrew.
EXT. CLINIC - DAY TWO 40A
Colleen comes running around the corner of the building from Grace's Cafe. She stops abruptly once she's around the corner. How could she have made such a blunder? She's embarrassed, and a little hurt, and confused. As she sorts out her feelings, and catches her breath, we:
INT. GENERAL STORE - DAY TWO 41
Brian is helping Loren stack merchandise as Loren responds to a question.
The first time I asked a girl to a dance?
Yeah. What'd you say to her?
Oh, I practiced a lotta things, but by the time I got the courage up to ask her, it was too late. She'd already agreed to go with somebody else.
(worried this could happen to him)
So what'd you do?
I asked her sister.
Sara comes into the General Store. Loren is surprised to see her.
Sara! Shoppin' twice in one day?
Sara doesn't lie very well:
My ma -- forgot somethin'.
She hands Loren a piece of paper with one word written on it: soap.
Loren glances over at Brian and sees that he's turned into a statue. Loren understands immediately what the situation is.
Soap! Of course. Soap.
Ya know, I just got some new soap in the other day. Your ma'll like it. It's better than the other kinds --
(realizing he's still talking instead of leaving)
You kids talk while I go get it.
Brian makes no move. Loren nudges him.
(whispering to Brian)
He who hesitates is lost!
Sara smiles at Brian as Loren goes off to get the soap.
EXT. MATTHEW'S HOMESTEAD - DAY TWO 42
There are a few chickens roaming about. Sully's horse and Matthew's horse are nearby. Sully and Matthew are fixing the wheel on a wagon. They work in silence a few moments.
Matthew is deep in thought. Sully notices. Finally, Matthew confides in him.
Sully, how do you know -- when it's the right thing to ask somebody to marry ya?
There ain't any doubt. You know.
Matthew nods, not reassured.
You 'n Emma makin' plans?
Been thinkin' about it a long time. Sometimes I feel real good about it.
And other times?
I feel -- bad -- that I don't feel good about it.
Sully waits for Matthew to explain.
Ya couldn't find anybody sweeter -- or prettier. She makes me laugh. She's always pointin' out things I woulda missed -- like a squirrel runnin' up a tree or a deer on a ridge. I don't think I ever had a better friend.
Sully knows this is hard for Matthew. He helps him with:
But -- ?
Matthew struggles with a way to say it that softens it, then just says it simply and honestly:
But -- I don't feel about her like I felt about Ingrid.
Sully understands, nods, then looks out over the land surrounding the homestead, thinks for a long moment.
CONTINUED: (2) 42
What do you want to do?
I -- wanna do what's right.
Sully realizes that's exactly what he needs to do as well.
Then tell her how you feel.
Matthew looks over at him, a little surprised and a little scared.
You're afraid of tellin' her 'cause you don't wanta upset her. Hurt her feelin's.
Matthew nods; that sounds right.
Problem is, you'll hurt her a lot more not bein' honest with her.
(beat; to himself)
You're only foolin' yourself if ya think you're protectin' her.
(a lighter mood, a brisk determination)
Which reminds me, I gotta go talk to your ma.
Matthew, puzzled, watches him go.
EXT. HOMESTEAD - DAY TWO - CLOSE ON MIKE 43
She's standing with herbs she's just collected from her garden.
Wyoming?! That's -- so far away.
+WIDER - TO INCLUDE SULLY 44
Sully stands quietly, but with conviction about the rightness of his decision, while she expresses her feelings.
We would have to give up everything we've worked so hard for -- this beautiful house -- all our friends --
(another shock wave)
Matthew. And Colleen. They couldn't come with us. We need time to think things through, carefully, so we don't make a decision we'll later regret.
(gently, he knows this is hard for her)
They hafta know by the end of the week.
I need more time than that! Why didn't you talk to me about this last night?
I knew you'd want me to turn it down.
Then why are we discussing it now?
I don't want to turn it down.
And you expect me to say yes, just like that?
Not "just like that," Michaela. I've given it a lot of thought, now I'm askin' you to do the same.
She looks at him and then turns and goes into the house without another word. Sully watches her go. He looks around at the homestead. How can he help her understand how important Yellowstone Park is -- can be -- to so many people. An idea starts to form, and we:
OMITTED (45-46) 46
INT. BARN - DAY TWO 47
We can see the hawk flying. Now we see Sully still has her on the tether. He puts his arm out. She flies back to him and perches on his arm.
INT. HOMESTEAD - NIGHT TWO 48
Colleen is by the fireplace. Three of her books are open beside her. She makes cross-reference notes on a pad of paper. Mike comes down the stairs, takes in the room. It seems spacious, peaceful to her. She broaches a question to Colleen.
(still slightly agitated)
Does it seem -- crowded, here -- in Colorado Springs. I know compared to Denver, it must seem very quiet, but compared to how it was when I first met you, has the town changed very much?
Colleen answers the question honestly and simply.
In some ways it hasn't changed at all. But in other ways -- the railroad, the bank, the new hotel goin' up. It's like --
(she finds the right metaphor)
-- it's like Katie. You're around her all the time so you don't see how much she's changed. But anyone comin' back after bein' away can't help but see it.
It makes sense to Mike, even though it wasn't what she was hoping to hear. At that moment, the door opens and in walks -- Matthew. Mike is surprised to see him.
Matthew! I didn't know you were stopping by tonight. Would you like something to eat.
No! No. I just stopped by to -- spend some time with Colleen.
(too fast and too nervous)
Yes! I forgot to tell you, Ma. I'm sorry.
But Mike smells a plot. Curious, but not wary:
What's going on, here?
Fortunately, Brian runs in, saving Matthew and Colleen from having to deny anything.
Ma! The hawk! You gotta help her, quick!
Brian turns and runs back out to avoid any questions he can't answer. Mike follows him.
EXT. HOMESTEAD - NIGHT TWO (CONTINUOUS) 49
Brian waits on the porch as Mike hurries down the stairs. She stops at the bottom of the stairs, hearing the sounds of a horse galloping down the road. We cannot tell who the rider is until he pulls the horse to a stop (the horse rearing to his hind legs as the rider does so) and swoops Mike up.
+CLOSER ON THE HORSE 49A
to see the rider is Sully. Mike is astonished and completely baffled.
Sully! What are you doing?! Put me down! Sully!!!!!
Without a word, he urges the horse on and it gallops off into the night.
+ANGLE - ON THE PORCH 49B
Colleen and Matthew slip out of the house to stand by Brian and watch Sully and Mike disappear.
+ON THE KIDS 50
watching them ride off at a gallop.
I don't know if Ma is gonna like bein' kidnapped.
Sully wouldn't do it, 'less he had his reasons.
He said it was important and she'd understand.
Colleen and Matthew turn and go back into the house. Brian stays outside until he can no longer hear the pounding horses hooves.
Sure hope he was right.
He stays on the porch a moment longer, as we:
END OF ACT TWO
EXT. WOODS - NIGHT TWO 51
Sully and Mike come riding into a clearing in the woods. She is still angry at his actions.
I cannot believe you are dragging me off into the woods in the middle of the night.
He's in a cheery mood, confident she'll come around to his way of thinking. He slides off the horse, moves over to an area where he has already laid the firewood for a fire.
What if Katie needs me?
The kids're with her. They know where we are.
He takes a match from his pouch, lights it and gets the fire going.
There could be an emergency at the clinic --
Andrew's stayin' there 'til we get back.
By the light of the fire, she can see their wagon. He has already been out here to bring bedrolls, a coffee pot, the hawk and to prepare the fire wood. She's starting to relax, let go of her pride and play with him a little.
The least you could've done was ask.
If I asked, don't ya think somethin' woulda come up -- so you couldn't go?
She has no reply -- he's dead on right. He stands up, moves to her, pulls her close to him, kisses her long and hard. When he releases her, she's speechless. Not to mention, breathless.
I -- just wasn't expecting to be -- kidnapped.
That's why they call it a surprise.
He smiles at her, she smiles back, questioningly. He goes back to tending the fire.
OMITTED (52-53) 53
INT. BARN - NIGHT TWO 53A
Brian is talking to a cow.
"Sara, would you do me the great honor of goin' to the dance with me?"
Doesn't seem right to him. He tries with a different inflection:
"Sara, would you do me the great honor of goin' to the dance with me."
Brian whirls to see:
+ANGLE -- AT THE BARN DOOR 53B
Matthew is standing at the barn door watching Brian.
What're you doin'?
+RESUME WIDER ANGLE TO INCLUDE BRIAN 53C
He confesses, a little embarrassed.
For Sara? Why? It's not like ya don't know her. You gave her your dog, Fifi. You even kissed her once.
That was dif'rent.
There's a dif'rence between knowin' somebody and askin' them to a dance. What if she doesn't -- think about me like that? What if she says no?
Matthew sits down next to him. He has a different question:
What if she says yes?
That'd be great.
Matthew can see that Brian unhesitatingly knows his heart.
Then just ask her.
Brian looks at Matthew. Can it be that simple?
Just ask her?
Yeah. Just ask her.
On Brian, considering this radical thought.
EXT. RESERVATION - MORNING - DAY THREE 54
Dorothy rides up to the reservation again. She dismounts, walks through the reservation looking for Cloud Dancing.
+ANGLE - ON ONE OF THE CABINS 55
little more than a shanty. Cloud Dancing has a small fire going in front of his c