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INT. HOMESTEAD - BY THE FIREPLACE - DAY ONE 1
KATIE's smiling face FILLS THE SCREEN. She's three months old,
and happily looking up at something --
REVEAL her grinning, proud parents, MIKE and SULLY, sitting in
front of the fireplace as Mike buttons up her dress, having
just finished nursing Katie, who lies on her lap.
(giddy with pleasure)
Look at her little fingers -- the
way she wiggles them when she's
(looking at Sully)
Isn't she beautiful?
How many times have I said that
They grin at each other.
Only thing is -- you're right.
They kiss softly...
+REVEAL COLLEEN AND BRIAN, 1A
who stand near the front door. Colleen holds up Mike's medical
You're gonna be late.
Mike and Sully rise (Mike carrying Katie) and join Colleen and
I really appreciate you taking
care of Katie this morning,
I'm happy to do it, Ma.
I'll go get the horses.
He kisses Katie goodbye, and goes out the front door. Mike
reluctantly gives Katie to Colleen:
I know I've been planning this for
Everything's gonna be fine --
The town's gonna be so happy to
have you back.
Perhaps I should take her with me
to the clinic after all...
It's better to give yourself the
morning to settle in -- I'll bring
her in time for you to nurse.
Mike nods, kisses Katie, and heads to the door. She takes one
last look back. Colleen waves Katie's little hand goodbye to
Mike. That does it: Mike comes back for one last kiss
goodbye, then leaves.
Colleen feels that the baby is wet, turns to Brian.
She hands Katie to Brian, who also feels that she's wet:
As they move to the kitchen table:
How 'bout tomorrow I cook
breakfast, and you change her
But you're so good at it.
CONTINUED: (2) 1A
You're good at it, too.
Brian... remember the last time
you cooked breakfast?
(considers a beat;
Hand me that diaper.
OMITTED (2) 2
EXT. HOMESTEAD - DAY ONE 3
As Mike and Sully mount their horses, Sully looks at her, with
the twinkle of a teasing dare in his eye:
Been a while since you been
ridin'. We can take it easy, go
That's all the prodding Mike needs. She nudges FLASH and they
Sully grins -- this is just what he intended -- and takes off
after her. They race each other down the road --
EXT. ROAD - DAY ONE 4
Mike and Sully ride like the wind, neck and neck, laughing with
the sheer joy of the speed and each other's company --
EXT. HILL AND FIELD - DAY ONE 5
Mike and Sully bound over the top of the hill, perfectly paced
for each other, when suddenly --
Mike turns and cuts across a field, taking a short cut. Sully
laughs and follows her --
EXT. STREET LEADING TO LIVERY & SHERIFF'S OFFICE - DAY ONE 6
Mike is just ahead of Sully as they barrel into town, whooping
it up. They rein their horses to a stop in front of the
livery, laughing as they dismount:
'Cause you cheated...
MATTHEW is there, with ROBERT E.
(with a smile)
Oughta arrest you two for
disturbin' the peace.
They all smile greetings to each [other.
Robert E] returns to the livery.
Horace was lookin' for you, Sully
-- this just come for you.
CONTINUED: (2) 6
He hands a telegram to Sully as Mike tethers Flash to a post.
From General Wooden...
About Cloud Dancing? Has he
agreed to send him back here?
Doesn't say. Just says he'll see
me for five minutes tomorrow
afternoon at the Denver train
He wouldn't even see you before,
this has to be a good sign.
Sounds like those letters you
wrote to Washington did some good.
(nods; he hopes so)
I'll take the train tomorrow
Could sure use your help Sully --
I [gotta] ride out to Widow
Flanders -- some thieves stole a
few of her horses last night...
Is she alright?
She's fine, but they tore up her
fence pretty bad. Told her I'd
patch it up.
(taking Mike's hand)
Promise me you won't overdo things
on your first day back -- let
Andrew help you out.
CONTINUED: (3) 6
They kiss. Sully and Matthew take off. Mike turns and starts
down the street toward the corner --
EXT. STREET LEADING TO CLINIC - CONTINUOUS - DAY ONE 7
Mike turns the corner and stops -- there it is. The clinic.
She takes a deep breath, and walks toward it...
As she approaches, DOROTHY comes out of the Gazette, sees Mike.
They greet each other with warm smiles, and walk toward each
other, meeting up near the door to the clinic.
Well here you are Michaela -- your
first day back.
Now don't be nervous, Andrew's
been doin' a real good job...
Exactly one of the things that's making Mike nervous.
It'll probably be a slow day
That's right -- I can get settled
in, go home early...
Dorothy takes Mike's hand, gives it a friendly squeeze:
It's good to have you back.
And she walks off (towards the store). Mike takes a deep
breath, opens the clinic door --
INT. CLINIC - CONTINUOUS - DAY ONE 8
Mike halts in her tracks with a gasp of horror as she sees:
LOREN, lying on the table, GROANING with pain, an umbrella
sticking out of his bloody stomach. ANDREW works on him
furiously, looks up, sees Mike:
He tripped in the store -- !
Mike swings into action, moving swiftly to the table:
How could this have happened?
Loren sits bolt upright on the table, smiling into Mike's face:
And it's not even raining!
Mike freezes -- what the heck?! JAKE and the REVEREND burst in
through the hall door, grinning, and they all yell:
The guys laugh; Mike shakes her head, amazed, getting it:
Wonderful to have you back, Dr.
Mind you, I think Andrew coulda
performed an umbrella-ectomy
without your help.
Mike smiles, being a good sport. Andrew hands her a bouquet of
Ain't he the greatest?
Go on -- get out of here...
He ushers the men out; they laugh, pat him on the back, and
call their "Welcome backs" to Mike over their shoulders.
Mike and Andrew are left alone in the clinic. It's a bit
uncomfortable. They smile at each other. After a moment:
Well... I guess I'd like to start
by catching up on my patients'
I thought you might -- so I
organized these records for you...
CONTINUED: (2) 8
He points out some charts which are laid out on the desk. They
both move behind the desk at the same time, but Andrew, in his
enthusiasm, gets there first. No sooner does he sit down, than
he immediately pops back up, embarrassed, motioning for her to
CONTINUED: (3) 8
Sorry -- please.
Mike slips behind the desk and sits down. Mike looks at the
Well, everything certainly seems
to be in order... very impressive.
Andrew smiles and moves beside her, looking over her shoulder:
I had to perform an appendectomy
on Mr. Frobush, and Emily Grange's
stomach is getting worse...
(then, looking at
her, a little
It's good to have you back... Dr.
(giving him the
compliment of the
Andrew glows under her compliment, then moves some more charts
up for her inspection. Mike, however, can't help but wonder
whose clinic this is.
Mrs. Green's hip is improving,
Anthony's condition seems to be
END OF TEASER
EXT. GENERAL STORE - DAY TWO 9
Matthew comes up to Loren, hands him a flyer:
Can you post this, Loren?
Railroad's offerin' a reward for
information 'bout a gang who's
been robbin' the trains --
Hang the train -- what I wanna
know is what're you gonna do 'bout
He points out a broken window. GRACE and Robert E, who are on
their way out of the store with purchases, hear that:
Was anythin' missin'?
No, but that ain't the point...
It's terrible -- seems like nearly
every day some stranger takes off
without payin' for their meal --
And I had some more horseshoes
stolen last night from the
As Loren pins up the flyer, Grace looks at it:
Gettin' so you don't feel safe
OFF Matthew, concerned despite himself...
EXT. TRAIN STATION - DAY TWO 10
Sully, holding Katie, is about to get on the train. Mike
smiles as she looks at Sully, the father, talking to his
You take care your ma while I'm
You're only going overnight.
(looks at Mike for a
... Harder to leave nowadays.
They kiss as Sully cradles the baby between them.
COLORADO SPRINGS CONDUCTOR (O.S.)
Sully hands Katie back to Mike, then steps onto the train.
Good luck with General Wooden.
Sully waves goodbye from the steps as the train takes off...
Mike watches the train leave, then hears from the top of the
What'dya mean you didn't send my
Mike turns to see --
+JAKE AND HORACE 11
Jake, frustrated, confronts HORACE, who watches the train pull
out; he looks depressed, distant.
The deadline for me and Hank's
loan application is tomorrow.
You want Preston to have the only
hotel in town?
I'll send it now.
He walks off. Jake follows him toward the telegraph office.
concerned, follows them, carrying Katie --
+AT THE TELEGRAPH OFFICE 13
Jake addresses Horace through the window. Horace doesn't
respond, just numbly sends a telegram:
(with some sympathy)
Sorry I barked at you, but I gotta
get that application out.
Get another letter from Myra?
It's been three months since she
left, you gotta face facts -- she
ain't comin' back.
No response. Jake shakes his head, frustrated, and walks away,
passing by Mike, who approaches the window:
Horace... I know how much you miss
Myra and Samantha --
Don't wanna talk 'bout it.
He moves away from the window. Mike watches him, concerned...
INT. CLINIC - DAY TWO 14
Andrew sets down a crib in the corner of the clinic; Mike
follows him, carrying Katie.
I guess Katie will be starting her
medical training early.
Thank you Andrew.
She puts Katie down in a crib, as Robert E comes in, holding a
cloth gingerly around his arm, in some pain:
Burnt myself on the forge -- it
ain't too bad, but...
Let me have a look --
She moves toward him... But Katie starts CRYING. Mike looks
over at her, then looks back at Robert E:
I'm sorry, Robert E -- do you mind
waiting just a few minutes?
Mike goes to the crib, picks up Katie.
No need -- I can take care of
Thanks, Dr. Cook.
Andrew starts to carefully unwrap the cloth.
Mike carries Katie toward the recovery rooms, looking back over
her shoulder at Andrew examining Robert E, with very mixed
INT. DENVER TRAIN STATION WAITING ROOM - DAY TWO 15
Sully comes in, spots GENERAL WOODEN giving orders to a couple
of Soldiers, and goes to him:
General Wooden? I'm Agent Sully.
Wooden turns to Sully, regards him with disdain. He's brusque
and all business, and barely conceals his contempt:
Former Agent Sully. I don't know
how you did it, but you got
Washington breathing down my neck.
That is a feeling I am
unaccustomed to and I want it
stopped. What's it going to take?
One man -- Cloud Dancing.
Sully is surprised it was that easy; he presses his advantage:
And get rid of O'Connor.
(weighs that a
Now that he's got things under
control at Palmer Creek, he'll be
more useful elsewhere...
But -- in return you agree to
never again involve yourself with
That hits Sully hard; he hadn't expected that.
No interfering with the new Agent
at Palmer Creek -- or any Indian
business anywhere. No letters, no
telegrams -- if I even hear the
whisper of your name, I'll
transfer your Indian friend where
you'll never find him.
Sully realizes he has no choice. He reluctantly sets his jaw
I'll have him here on the troop
train at nine o'clock tomorrow
morning. Be here to sign for him.
He turns away from Sully, and walks off talking to his
Soldiers. OFF Sully, taking this in --
EXT. GRACE'S CAFE - DAY THREE 16
It's breakfast time. Mike, on her way into the cafe, spots
Loren wincing as he stands. He looks tired and in discomfort.
Loren...? Are you alright?
Loren looks up, surprised -- and strangely uncomfortable in
Well... it's just that my...
(changes his mind)
It's nothin', I'm fine.
Loren takes off, clearly not wanting to talk. Mike watches him
She spots Horace eating breakfast by himself, and goes over to
Do you mind if I join you, Horace?
Horace doesn't look up from his plate, just barely nods. Mike
sits, decides to plunge right in:
You're looking tired...
Not sleepin' too good.
Have you tried chamomile tea?
That sometimes helps me...
(trying to help
When I don't get enough sleep,
whatever problems I'm having seem
even worse --
Horace changes the subject, reaches into his pocket and pulls
out a telegram:
I was lookin' for you at the
clinic -- this come for you last
Mike opens it, and her face lights up with joy as Dorothy and
Grace join them:
Good news, Michaela?
Sully's coming back today with
That's wonderful -- !
There's an awkward beat as they see that their happiness isn't
shared by Horace. Grace nudges Dorothy, who tries to use
what's just happened to amplify their mission:
CONTINUED: (2) 16
And it just goes to show you how
important Horace is to all of us -
- delivering news like that
(for his benefit)
Don't know what we'd do without
Horace doesn't respond, just eats his breakfast listlessly.
The women exchange looks with Mike. She realizes what they're
doing, and shares their concern:
We were thinkin' we should have an
end-of-the-summer picnic -- maybe
up by Spencer Lake?
It would be a good opportunity to
visit... and welcome Cloud Dancing
Nothing from Horace. Dorothy continues, trying to make it
sound more appealing:
We can fish and swim, and have
games for the children --
She stops on a dime, realizing she's said the wrong thing.
Horace sighs, puts down his fork. Dorothy feels awful; she
finally lets down the charade and speaks more naturally to him:
Oh Horace, I didn't mean to --
it's just that I want you to...
(not knowing how to
He starts to leave, but is stopped by PRESTON, who arrives, all
CONTINUED: (3) 16
Horace, a chandelier I purchased
is being shipped on today's train
-- I need to advise whoever
handles the baggage in Denver of
They'll take care of it.
(not to be brushed
It took a great deal of time and
expense to find the appropriate
fixture for the hotel dining room,
and I want to make sure it arrives
here safely. Can't we send a
Horace takes off. Preston follows him, with a nod to the
ladies, who watch Horace leave, troubled...
EXT. CLINIC - DAY THREE 17
Mike arrives at the clinic to find Andrew unlocking the door on
his way in.
Good morning, Michaela -- where's
that beautiful baby of yours?
Colleen's taking her for a [walk
in her carriage...]
(something on her
She's a wonderful girl, Colleen --
Mike looks at him, surprised by the familiarity. He adds,
quickly clarifying -- or perhaps back-pedalling:
I mean, she's been a great help --
I don't know what I would've done
without her --
(still not right)
Without her nursing skills.
He holds the door open for her. Mike precedes him in --
INT. CLINIC - DAY THREE - CONTINUOUS 18
Mike turns to Andrew as he comes in the door, asking too
casually (revealing how important it really is to her):
By the way, Andrew... I was
wondering -- what are your plans?
Now that I'm back at work.
I hadn't really thought about
You've done such a good job in my
absence -- and I greatly
(which only makes
You're a fine doctor...
That means a great deal, coming
But you must be anxious to get
back to Boston and start your own
work -- with your uncle.
I'm in no hurry, I'm happy to help
you get settled in...
(not what she hoped
That's very thoughtful...
A few days, a week, a month,
whatever you need -- then I'll go
Mike isn't sure what to say. Andrew adds hopefully:
I can't imagine you'd want to jump
in full-time right away? With
Katie and all.
(knows she could use
Well if you'd care to stay a
little while, to assist me...
(not quite what he
had in mind)
Of course... and perhaps, if you
want to go home early, or come in
late -- or take a whole day off
now and then...
(not quite what she
had in mind)
I'm sure we can work all this out.
Actually, I do have to leave early
today -- Sully is coming home with
Well that's good news...
OFF Mike, still not sure that they've resolved this...
EXT. SPUR JUNCTION POINT - DAY THREE 19
CLOSE ON a padlocked track switch. Suddenly, the lock is
shattered by a GUNSHOT...
REVEAL a tough-looking guy (FIRST ROBBER) holding a pistol that
he's just fired. We're at a junction point, where a spur leads
out from the train tracks that reach in either direction. The
First Robber's horse stands nearby; two other saddled horses
are tied loosely to it.
The First Robber takes the shattered lock off the switch,
tosses it aside, and pulls the lever. The tracks shift onto
the spur, and the signal shifts from green (straight ahead), to
red (at a ninety degree angle). He grabs the signal and breaks
it, forcing it back so that it reads green, straight ahead.
He mounts his horse, and starts out the spur, leading out the
two other horses...
INT. DENVER TRAIN STATION - DAY THREE 20
A couple of tough-looking guys (SECOND ROBBER and THIRD
ROBBER), seated on a bench, surreptitiously adjust the bulges
inside their jackets; we see the glint of pistols, and know
that they're packing.
Ten-thirty express boarding for
Colorado Springs and Pueblo on
The Robbers rise, almost bumping into Sully (who's carrying a
small satchel of food). He passes them by on his way to the
CONDUCTOR, who he addresses, worried:
You know anythin' 'bout a troop
train -- was s'posed to be here at
The Conductor shakes his head, no. Sully looks around,
wondering what's going on, when he sees --
Four Soldiers coming through the crowd, flanking CLOUD DANCING,
who stumbles along, trying to keep up with them, looking
terrible: he coughs and looks weak, poorly nourished, and
roughed up (some bruises, maybe a black eye).
Sully hurries to them. They block him from Cloud Dancing.
Sully nods, his eyes locked with Cloud Dancing's.
Sign for this.
He holds out a form. Sully signs it, without taking his eyes
off Cloud Dancing.
The Soldiers take off, leaving the two friends looking at each
other, filled with emotion: Sully is happy to have his friend
back, but upset by his condition; Cloud Dancing is physically
weak, overwhelmed by what he's been through.
Sully steps up to Cloud Dancing, takes his arm. The touch is
electric, and they look at each other, fighting back the
emotion, then they embrace each other.
All aboard for Colorado Springs
They separate, look at each other.
Let's go home.
As they leave the waiting room, we
END OF ACT ONE
INT. TRAIN PASSENGER CAR - DAY THREE 21
Sully (carrying the small satchel of food) and Cloud Dancing
sit in the crowded train car (which contains a stove).
Passengers look at Cloud Dancing with distrust, nervousness,
and in some cases, hatred.
The Conductor approaches them:
No Injuns allowed.
I bought him a ticket --
Sully looks at Cloud Dancing, who looks weak and tired.
What about the baggage car?
The Conductor weighs that; Sully presses it:
Railroad gets to keep its rules...
(holds up their
And make its money.
The Conductor nods. Sully starts to lead Cloud Dancing forward
through the car, passing the Second and Third Robbers, who look
at each other, clearly having overheard this interchange...
EXT. MEADOW - DAY THREE 22
Colleen is giving Andrew a riding lesson; he's not very
comfortable on a horse:
Just give him a little nudge...
Andrew flicks his heels and the horse takes off in the opposite
direction. Colleen can't help but laugh. She turns her horse
to catch up to Andrew:
You've been here three months
already, Andrew --
CONTINUED: (2) 22
And never met a horse I liked...
They laugh, enjoying each other's company. There's a real
spark between these two.
Took me a long time to get used to
'Sides, I guess ridin' won't be
much use to you when you go back
Or to you, when you go to college
I still haven't heard from 'em.
(pleased he has such
faith in her; but:)
It's gonna be hard on Ma -- me
leavin' at the same time as she's
got Katie to take care of.
That's just what I was telling her
-- I mean, that it would be a good
idea if I stayed to help at the
Colleen lights up; that's just what she was hoping for:
And then we can visit -- I'll be
comin' home regular...
I'd like that.
Another exchanged smile. Colleen blushes, and nudges her horse
off toward town. Andrew gives his horse a nudge, and, to his
great surprise, his horse follows Colleen's...
OMITTED (23) 23
INT. TRAIN BAGGAGE CAR (MOVING) - DAY THREE 24
Sully and Cloud Dancing sit on a couple of the many crates that
are piled around; an elaborate packing crate is labelled:
"FRAGILE: CHANDELIER," and addressed to "PRESTON LODGE,
COLORADO SPRINGS, COLORADO."
Sully has taken bread and meat out of his satchel; during the
following, he breaks the bread and slices the meat with his
Her name is Katie.
A good name.
[Tse - heh - stoh - nah - toha.]
(a beat; then:)
Your daughter is my daughter.
Sully nods, appreciating this. It's a moment between them.
Then Sully hands Cloud Dancing a piece of meat:
I ain't Indian agent no more --
they fired me. The new one's
runnin' things by the book.
Then how did you arrange my
(a beat; knows he has
to be honest)
Said I wouldn't make no more
(shakes his head;
that's even worse)
The General traded me to get rid
I got rid 'a O'Connor in the
Still, it makes them both feel like... the piece of meat Cloud
Dancing holds in his hand:
At East Fork, I had to trade for
everything -- for food, medicine.
Now they make you trade yourself
It would have been better to leave
me at East Fork.
Before Sully can respond, the Second and Third Robbers suddenly
come into the [car, guns drawn.]
Sully and Cloud Dancing freeze, the guns trained on them.
Sully, thinking fast, surreptitiously reaches behind himself
with the hand holding his knife (with which he'd been cutting
the meat) --
+BEHIND SULLY'S BACK 25
Sully [hides his knife behind his back, underneath his jacket
(which he has set down on top of a crate).]
+BACK TO SCENE 26
The [Third] Robber sees Sully's hand come out from behind his
back and thinks he's going for his tomahawk:
Hold it! That payroll's ours.]
Sully and Cloud Dancing exchange a look: this is news to them.
(to Second Robber)
Get his tomahawk.]
While the [Third Robber keeps his gun trained on both of them,
the Second Robber takes Sully's tomahawk off his belt. The
Third Robber throws him some rope:]
Tie 'em up.]
The [Second] Robber turns Sully around to start tying him up.
EXT. CLINIC - DAY THREE 27
Mike comes out of the clinic, talking over her shoulder to
Andrew, who's inside:
I'll be back right, I'm going to
the Gazette to check on Katie --
Take your time...
That was said cheerfully, but it has its effect on Mike as she
closes the door. As she turns, she sees Loren waiting on the
bench, looking even more uncomfortable than he did at the cafe
Loren... were you waiting to see
Well... no -- I...
I can come right back --
No -- I'm just... takin' in the
Mike looks at the view -- of the saloon. Something's wrong:
Are you sure you're alright?
(forcing a smile)
Mike walks away. Before she goes into the Gazette, however, she
glances back at the clinic window, and sees:
+MIKE'S POV - THROUGH THE CLINIC WINDOW 28
Andrew rises as Loren comes in. They don't see Mike.
Her heart sinks: What can this mean?
INT. TRAIN BAGGAGE CAR (MOVING) - DAY THREE 30
I'm goin' up front -- keep your
eyes on them.
The Third Robber leaves through the door that leads out to the
tender, as the Second Robber approaches the strongbox that
holds the payroll.
Sully and Cloud Dancing sit opposite each other against crates,
individually tied up (their hands behind their backs, their
+BEHIND SULLY'S BACK 31
Sully secretly [wedges his knife between a couple of crates,
and starts to work the rope against it.] He can only move his
hands a little at a time, or he'll reveal what he's doing. The
knife slowly cuts through the rope that binds his hands...
Suddenly, the Second Robber, Sully and Cloud Dancing are
lurched sideways --
The Second Robber knocks the lock off the strongbox containing
the payroll with the butt of his gun:
Don't worry boys, just takin' a
OMITTED (33-34) 34
INT. TRAIN ENGINE CAB (MOVING) - DAY THREE - CONTINUOUS 35
The ENGINEER and FIREMAN are surprised:
We're on the spur -- what happened
to the signal?!
He reaches for the brakes, but before he can pull them --
A GUNSHOT rings out, and the Fireman falls dead against the
side of the cab. The Engineer, shocked, turns back toward the
EXT. TRAIN TENDER (MOVING) - DAY THREE - CONTINUOUS 36
The Third Robber stands on top of the tender, near the engine,
holding the pistol that he just shot into the cab. He moves
toward the cab --
Don't touch those brakes --
INT. TRAIN BAGGAGE CAR (MOVING) - DAY THREE - CONTINUOUS 37
Sully and Cloud Dancing react to the gunshot, trading worried
glances with each other.
+BEHIND SULLY'S BACK 38
Sully works faster on the rope...
EXT. SIDE OF THE TRAIN TRACKS - DAY THREE - CONTINUOUS 39
The Fireman's body falls to the ground beside the tracks, as we
HEAR the train passing by...
INT. TRAIN ENGINE CAB (MOVING) - DAY THREE - CONTINUOUS 40
The Third Robber stands behind the Engineer, his gun trained on
Keep it goin' to the old mine --
EXT. SPUR - MODEL - DAY THREE - CONTINUOUS 41
The train continues at full speed down the spur...
EXT. CLINIC - DAY THREE 42
Mike leaves the Gazette, heading back to the clinic, just as
Andrew shows Loren out of the clinic. It's an uncomfortable
moment for all of them. Loren takes off. Andrew quickly tells
Believe me, it was completely his
He didn't want to consult me?
It's just that... it's a very
sensitive condition -- a male
concern -- and he feels more
comfortable talking to a man about
But I'm a doctor.
And I'm a male doctor. Not that
it's better or worse -- it's just
easier for him to talk to me.
After all this time...
Mike shakes her head; this feels as frustrating as it felt the
first day she arrived in town.
It's just because his problem's in
an... embarrassing location.
The first condition I treated
Loren for was a hernia, which was
also in a rather embarrassing
location. But at that time he
didn't have a choice.
(feeling badly about
Since you've been his doctor for
so long, I'd certainly want to
consult with you about his
Mike nods -- it doesn't solve the problem, but she appreciates
what Andrew's trying to do.
He's been having some difficulty
urinating -- he feels as if he
needs to frequently, but there's
been retention of the urine --
A problem with his prostate
gland... that's not uncommon in a
man his age.
CONTINUED: (2) 42
I examined him, it's enlarged, but
it didn't seem to be malignant.
He can try warm hip baths, and
iron alum, or tincture of chloride
That's what I told him -- he's
coming back in tomorrow...
(hesitantly -- he
feels he has to:)
If you want to be there...
No, you're right. It's the
Preston comes up, full of news:
Andrew, I've located the perfect
homestead property for you -- it's
near a stream, with some beautiful
old trees, just as you requested.
What was that? Mike cuts her eyes to Andrew, who avoids her
gaze. Preston picks up on the tension, and likes it:
If you're going to be running the
clinic at my hotel, we've got to
find you an appropriate place to
Now wait -- I never told you I was
going to run your clinic --
Just remember -- it's never too
soon to grab a piece of Colorado
He takes off with a big grin. Andrew immediately tries to
CONTINUED: (3) 42
I didn't actually request that he
look for me... He just asked if I
was interested, and I said, well,
if the right thing came along, I'd
have a look at it, just to have a
He finally shuts up, realizing he's digging himself deeper.
Mike, letting him off the hook, nods her head with a forced
smile, and goes into the clinic.
INT. TRAIN BAGGAGE CAR (MOVING) - DAY THREE 43
The Second Robber is taking stacks of bills and bags of silver
coins out of the payroll crate and putting them into saddle
bags. Sully keeps his eye on him, moving his hands behind his
back every so slightly --
+BEHIND SULLY'S BACK 44
Sully finally manages to cut his hands [free, and grabs his
Keeping his hands behind his back as if they are still bound,
Sully glances at Cloud Dancing, and nods his head, warning
Cloud Dancing to get ready...
Sully focuses on the Second Robber, who is putting more bills
and bags into saddle bags. Sully waits until the Robber is
holding bags in both hands, and then:
Sully suddenly lunges at him (his feet still bound together).
The Robber sees the movement, drops the money and [reaches for
his gun --]
But before he can [get it, Sully tackles him backwards. Sully
has the advantage of surprise, but his legs are bound. There's
a brief struggle, Sully punches him out with the butt of his
[Sully cuts] through the rope that binds his feet, and goes to
Cloud Dancing, cutting him free:
Tie him up -- I'm gonna go after
the other one.
Sully gives Cloud Dancing his knife and [hurries out of the
car, picking up his jacket and gloves on the way out --]
EXT. TRAIN TENDER (MOVING) - DAY THREE - CONTINUOUS 46
Sully climbs over the top of the tender, toward the engine cab
INT. ENGINE CAB (MOVING) - DAY THREE - CONTINUOUS 47
The Third Robber has his gun trained at the Engineer, and is
peering down the tracks. The Engineer nervously looks at the
Robber, sees something behind him, is startled --
The Robber sees his surprise, follows his eyes, and sees:
+THEIR POV 48
Sully comes toward them over the top of the tender --
+INSIDE OF THE CAB 49
The Engineer takes advantage of the distraction to grab the
Robber's gun arm, trying to disarm him. The Robber shoots the
Engineer in the chest --
+THE ENGINEER 50
falls dead, hanging out the side of the window.
EXT. TRAIN ON SPUR - MODEL - DAY THREE - CONTINUOUS 51
The train speeds down the spur --
INT. TRAIN ENGINE CAB (MOVING) - DAY THREE - CONTINUOUS 52
Sully and the Third Robber are in a tight clinch, struggling
for control of the pistol, which the Third Robber holds, trying
to aim it at Sully --
Sully kicks the Robber back, and punches him, sending him off
the side of the train.
Sully spins around, looks out the front of the train --
+SULLY'S POV - OUT THE FRONT OF THE ENGINE CAB - MODEL 53
The train approaches the barrier that marks the end of the
applies the brakes, pulls the Johnson bar backwards --
EXT. TRAIN WHEELS - MODEL - DAY THREE - CONTINUOUS 55
The wheels SPARK as the metal SCREECHES against the tracks --
EXT. TRAIN - MODEL - DAY THREE - CONTINUOUS 56
The train breaks through the barrier, crashing it to bits, and
careens off the end of the tracks --
INT. TRAIN PASSENGER CAR (MOVING) - DAY THREE - CONTINUOUS 57
The Passengers SCREAM as the car bounces back and forth --
OMITTED (58) 58
+THE STOVE 59
slides across the floor --
+THE PASSENGERS AND CONDUCTOR 60
try to hang onto something, anything, as the car starts to tip
EXT. TRAIN - MODEL - DAY THREE - CONTINUOUS 61
The train crashes through the dirt, hurtling towards a cliff --
INT. TRAIN BAGGAGE CAR (MOVING) - DAY THREE - CONTINUOUS 62
Cloud Dancing is bounced around as the car starts to turn over
INT. ENGINE CAB (MOVING) - DAY THREE - CONTINUOUS 63
Sully hangs onto the brakes when he is suddenly sprayed with
SCALDING STEAM. He YELLS in pain --
EXT. TRAIN - MODEL - DAY THREE - CONTINUOUS 64
The train speeds toward the cliff, and finally comes to a stop
on the very edge, teetering precariously, as we
END OF ACT TWO