DR. QUINN, MEDICINE WOMAN
"For Better Or Worse"
Parts I&II
Written
by
Beth Sullivan
Directed
by
Gwen Arner
CBS ENTERTAINMENT PRODUCTIONS
Prod. #2244-0326/0327
in association with
PRODUCTION DRAFT
THE SULLIVAN COMPANY
February 23, 1995
(C) MCMXCV
Rev. Blue, March 2, 1995
Rev. Pink, March 9,
1995
Rev. Yellow, March 10,
1995
CBS Inc.
Rev. Green, March 14,
1995
All Rights Reserved
Rev. Goldenrod, March 22, 1995
CBS INC. IS THE AUTHOR OF THIS PROGRAM
FOR THE PURPOSE OF COPYRIGHT AND OTHER LAWS
No portion of this material may be copied or distributed without the prior
consent of CBS Inc.
DR. QUINN, MEDICINE WOMAN
"For Better Or Worse - Parts I&II"
Cast List
MIKE
SULLY
MATTHEW
COLLEEN
BRIAN
LOREN
DOROTHY
HANK
JAKE
HORACE
MYRA
REVEREND
ROBERT E
GRACE
JON
INGRID
JOHN
GENERAL CUSTER
ELIZABETH QUINN
REBECCA
MARJORIE
CLOUD DANCING
FEATURED EXTRAS:
INGRID'S THREE LITTLE SISTERS
TWO TOPHATS
CUSTOMER "ESCORTED" OUT BY HANK
KIDS PLAYING TAG AT CHURCH PICNIC
SMALL BAND AT WEDDING (AMONG WHICH ARE
A BANJO, GUITAR, HARMONICA PLAYERS
STRING QUARTET AT WEDDING
PHOTOGRAPHER
UNIFORMED BRASS BAND AT TRAIN
VENDORS
MYRA'S BABY GIRL (SAMANTHA)
BACKGROUND:
QUILTING CIRCLE WOMEN
CUSTER'S DETAIL OF MEN
COOPER KIDS' FRIENDS
SOLDIERS
TOWNSFOLK
SALOON GIRLS
ANIMALS:
FLASH/WOLF
_ACT ONE_
FADE IN:
EXT. NEW HOMESTEAD - DAY TWO
10
The family wagon is out front, plus Matthew's and Sully's horses.
INT. NEW HOMESTEAD - DAY TWO
11
The family's there, including Ingrid, each engaged in some finishing task.
There's no furniture yet, except for a brand new wingback chair, just out
of its shipping crate and placed by the main fireplace. Matthew works at
uncrating a second matching chair. The kitchen does have a built-in sink
and cupboards. There's also an indoor hand water pump.
Sully's fitting some last joints together on shelves that flank the main
fireplace.
Brian sands the stair bannister, while Colleen washes windows.
Mike and Ingrid are in the kitchen area, cleaning the cupboards of sawdust.
Ingrid fights back emotion as she works, finally stopping, looking down,
trying to contain her anguish. Mike stops, too.
MIKE
Ingrid?
INGRID
It is a fine house.
Mike glances around, smiles contentedly.
MIKE
Yes, it is.
But then Mike sees the tears, goes to her, puts an arm on her shoulder.
MIKE
Ingrid, what's wrong?
But Ingrid quickly turns, wipes the tears on the back of her sleeve and
gives Mike a pleading look -- not to draw Matthew's attention. Mike drops
her arm and lowers her voice.
MIKE
What is it?
(CONTINUED)
9.
CONTINUED:
11
INGRID
We will never have house.
finish building.
Matthew is always too busy with his cattle to
MIKE
Sully's offered to help, but Matthew always seems to have a reason why he
doesn't need it.
INGRID
Yes. Always excuses.
a man...
He is stubborn with pride.
She grapples both to understand and to explain.
Matthew, working alongside Sully.
He tries to prove he is
Mike glances over at
MIKE
... when he already is one.
Ingrid nods. Yes, that's it. Mike gives Ingrid's hand a quick reassuring
squeeze, just as Brian comes clomping down the stairs, finished.
BRIAN
All done.
Sully comes over and runs his hand along the bannister.
SULLY
Good job, Brian.
Brian trails after Sully as he goes back to work.
BRIAN
Sully, can I be your "best man?"
Activity stops. Brian's the only one who doesn't realize that the question
opens Sully's wound about Cloud Dancing.
MATTHEW
You're too young, Brian.
BRIAN
But I'm too old to carry the ring.
MIKE
Says who?
BRIAN
Mrs. Godfrey.
(CONTINUED)
10.
CONTINUED:
(2)
11
COLLEEN
It says in the book that the ring bearer's supposed to be from three to
eight years old.
BRIAN
See? I'm _ten_ years old.
MIKE
Well...
This wasn't necessarily the moment she had in mind to broach the subject,
but here it is.
MIKE
... what if you had to carry more than one ring?
(to Colleen)
Does Mrs. Godfrey say anything about that?
COLLEEN
(unclear)
No...
BRIAN
But there's only one ring.
MIKE
Apparently not everyone.
Everybody knows that.
I've heard of couples exchanging rings.
BRIAN
Is that what you and Sully're gonna do?
Good question.
him.
They all await her answer, especially Sully.
MIKE
We've never even discussed such a thing...
She looks to
SULLY
We sure haven't.
MIKE
... but it doesn't mean that we can't.
She continues to hold his eyes.
MIKE
Does it?
(CONTINUED)
11.
CONTINUED:
(3)
11
SULLY
(a beat)
'Course not.
SMASH CUT TO:
INT. OLD HOMESTEAD - NIGHT TWO
12
+CLOSE ON SULLY
13
SULLY
I ain't wearin' a ring.
+WIDEN TO REVEAL
14
Sully and Mike sitting by the fire, after the kids have gone to bed.
MIKE
I thought you agreed that we could discuss it.
SULLY
That's right, and we just did.
MIKE
But you haven't even heard my opinion.
SULLY
Michaela, whatever it is, I ain't wearin' a weddin' ring, so why waste your
breath?
MIKE
A discussion implies hearing all views, _then_ deciding.
Sully takes a deep breath, sighs it out.
SULLY
Go ahead.
MIKE
Well... First of all, it's true. There are couples who exchange rings,
many in fact. I've not only heard of them, I've even met a few. Some of
my father's Libertist friends.
SULLY
"Libertists?"
(CONTINUED)
12.
CONTINUED:
MIKE
Free thinkers.
14
People who aren't afraid to defy convention...
SULLY
I'm not afraid.
MIKE
I didn't say you were.
(quickly)
Oh, please, this isn't how I wanted this to go...
SULLY
No, you just wanted me to say yes.
MIKE
(appealing)
That's not true. I simply wanted us to share our thoughts, our feelings...
You've always been fair to me, Sully. You've always heard me out.
A beat, then he takes her hands in his, ready to listen.
MIKE
If we each have a ring on our finger, we're saying to the world that we
belong to one another, that we're husband and wife... And nothing else is
necessary to prove that.
SULLY
What're you gettin' at?
She hesitates for fear of his reaction, for fear of alienating the one
person she loves most in the world. He sees the fear.
SULLY
There's nothin' you can't say to me, don't you know that?
She looks deep into his eyes, hoping that's true.
Finally:
MIKE
The rings say far more than a name.
He realizes where she's headed.
(CONTINUED)
13.
CONTINUED:
(2)
14
MIKE
Tell me honestly... How would you feel if you suddenly had to change your
name to Byron Quinn?
He looks into the fire.
MIKE
The Cheyenne don't change names when they marry.
SULLY
We're not Cheyenne.
He's had more than he can handle for one day.
SULLY
And we're not settlin' any of this right now.
He gets up...
SULLY
'Night.
... and leaves.
Mike watches the door close behind him.
EXT. GRACE'S CAFE - DAY THREE
Brian sits with Loren, Dorothy and the Reverend.
next table, as Grace delivers their lunch.
15
Jake and Hank are at the
LOREN
Two rings, you say?
BRIAN
I don't see what's so much harder 'bout carryin' two rings than one that
you gotta be older.
HANK
(interrupts)
And Sully's goin' along with it?
BRIAN
(shrugs)
Ma said they hadn't talked it over, and Sully said they sure hadn't.
Looks all around.
(CONTINUED)
14.
CONTINUED:
HANK
How'd he sound when he said that?
15
BRIAN
(thinks)
Kinda mad.
Hank smiles, announces:
HANK
Odds just doubled, folks.
BRIAN
Hey, what 'bout _my_ bet?
Hank looks at him blankly.
BRIAN
A baby brother or a baby sister?
HANK
Think you're puttin' the cart 'fore the horse.
INT. CLINIC - DAY THREE
16
Mike's at her desk, going over a medical chart, but her mind is elsewhere,
when Colleen enters, putters around, something on her mind as well.
COLLEEN
Mrs. Godfrey's book said bridesmaids just have to be older'n thirteen.
MIKE
Um...
COLLEEN
Fifteen's 'bout average, I'd say.
MIKE
Fifteen, you say?...
Colleen misreads Mike's indifference and her emotion spills over into the
tone of her voice.
COLLEEN
Yeah, _my_ age.
Mike looks up, realizes what's being said.
MIKE
Oh, Colleen... You must think...
(CONTINUED)
15.
CONTINUED:
She gets up and goes to Colleen, takes her gently by the shoulders.
MIKE
I want you to be a bridesmaid.
16
COLLEEN
You do?
MIKE
Of course.
COLLEEN
But you didn't say anything.
Mike shakes her head at herself.
MIKE
I've been much too preoccupied lately.
COLLEEN
'Cause you been hopin' to hear from Boston?
MIKE
I suppose so.
(wistful smile)
Will you please do me the honor?
Colleen smiles big, nods. Mike hugs her, but over [Colleen's shoulder, her
expression is still troubled.
omit (17-19)
EXT. ]NEW HOMESTEAD - DAY THREE
20
Mike rides up, sees Sully's horse there.
INT. NEW HOMESTEAD - DAY THREE
Mike enters, looks around surprised to find no one.
activity above her. She starts up the stairs.
21
Then she hears some
INT. MIKE'S AND SULLY'S FUTURE BEDROOM - DAY THREE
22
She enters to find Sully polishing the lone piece of furniture in the room
-- the bed he carved for them. He takes note of her presence, but doesn't
stop his work.
SULLY
I ain't had enough time to decide.
MIKE
I know.
She comes closer, runs her hand along the smooth wood until it covers his,
stopping his motion.
MIKE
I didn't come for any decisions... I came to talk about Matthew and Ingrid.
(CONTINUED)
18.
CONTINUED:
22
He pulls away, continues working.
SULLY
What about 'em?
MIKE
Apparently Matthew thinks he has to prove his manhood by building his own
homestead all by himself.
SULLY
Not such a bad idea.
MIKE
Sully...
time...
Ever since Olive left him her cattle, he hasn't had enough
Sully's worked his way close to Mike and stops, interrupting:
SULLY
Then he shoulda taken me up on my offer.
MIKE
What offer?
SULLY
To take the old homestead.
MIKE
You offered it to him?
SULLY
Months ago.
MIKE
Why didn't you tell me?
SULLY
Didn't see any reason to set you goin' on about it.
MIKE
Like now?
Is that how you see what I'm doing?
"Going on about it?"
Sully moves around her and starts polishing again.
SULLY
A man's gotta make those kinda choices for himself.
A beat.
(CONTINUED)
19.
CONTINUED:
MIKE
(2)
22
So does a woman.
She leaves.
He stops, goes to the window and looks out.
+SULLY'S POV
23
Mike riding off, strong in the saddle, her hair flowing behind her.
DISSOLVE TO:
EXT. NEW TRAIN STATION - DAY FOUR
24
The day has arrived. The train is coming. Celebration sweeps the town.
Every last decoration is in place, a uniformed BRASS BAND's been hired just
for the occasion, and VENDORS sell souvenirs and confections.
+THE PLATFORM
25
is crowded, as is the street beyond. Everyone has turned out for this
momentous event, sporting their finest.
All of the townsfolk are there. Matthew, Ingrid and her little SISTERS
stand with Robert E and Grace and Myra. Hank and his GIRLS are all decked
out.
Jake, as Mayor, stands next to a podium that's been placed on the open end
of the platform, opposite the telegraph office and ticket window. With him
are Loren and the Reverend.
+THE NEW TELEGRAPH OFFICE
26
now has all of the trappings of the old one, including the old bulletintype board for official announcements. The only difference is that in
place of the stagecoach schedule, Horace now hangs the new train schedule.
The first one's due in at 9 AM. He goes...
INT. NEW TELEGRAPH OFFICE - DAY FOUR
27
... where he glances up at the wall clock: 8:45. A message starts coming
over the telegraph. He quickly writes it down and goes back...
EXT. NEW TELEGRAPH OFFICE - DAY FOUR
28
... where he picks up a piece of chalk and writes next to the 9 AM arrival
-- "ON TIME".
(CONTINUED)
20.
CONTINUED:
GENERAL CUSTER (O.S.)
It better be.
28
Horace jumps, turns to find Custer and three MEN facing him with a smile.
Behind him is a small DETAIL OF MEN accompanying an empty wagon on the
crowded street.
GENERAL CUSTER
Patience is not one of my virtues, and I'm expecting a shipment of
munitions. Meanwhile...
He hands Horace some kind of placard.
GENERAL CUSTER
You're to place that in full public view.
Horace looks at the placard, shocked.
GENERAL CUSTER
By mandate of federal law.
Horace hesitates, but then goes to the bulletin board and picks up the
small mallet hanging from a string. He takes some of the spare nails from
the corner and now places the poster up and reluctantly nails it into
place. When he finishes, he steps aside to reveal...
+A WANTED POSTER FOR CLOUD DANCING
29
... boasting a $500 reward -- Dead or alive.
EXT. CLINIC - DAY FOUR
30
Mike, Colleen and Brian exit into the flow of traffic and excitement headed
for the train station. People checking their watches, hurrying.
EXT. GENERAL STORE - DAY FOUR
31
Mike and the kids pass just as Dorothy comes out, wearing the dress Jake
bought her for Valentine's Day.
DOROTHY
Michaela!...
Mike stops, allowing the kids to run on ahead with some of their FRIENDS.
Dorothy joins her and slips her arm through hers, as they head for the
station along with everyone else.
(CONTINUED)
21.
CONTINUED:
31
DOROTHY
You know how there's a day you plan on for such a long time, it gets so you
never think it's really gonna come, but then it does.
Mike smiles, nods, stops Dorothy.
MIKE
Dorothy, I've been meaning to ask you...
Will you be my matron of honor?
DOROTHY
(delighted)
Michaela...
They hug, but then:
MIKE
And Dorothy?...
They separate.
Mike hesitates.
DOROTHY
What is it?
MIKE
Well... I could use some... advice...
experience.
DOROTHY
(smiles)
Oh, don't you worry.
from someone who's had...
It's as easy as fallin' off a log.
MIKE
Remember, I've never... fallen off a log.
Dorothy links arms with her and starts them walking again with the flow of
the crowd.
DOROTHY
Well, I'll tell you everythin' I know, for whatever it's worth...
And they blend into the crowd pushing toward the train station.
22.
EXT. TRAIN STATION - DAY FOUR
32
Mike and Dorothy join the others. As a town council member, Mike is helped
up onto the platform by the Reverend. From that vantage, she now sees
Custer and his men. She looks to the Reverend, then to Loren and Jake. No
one seems too pleased at Custer's presence this time around. But on the
other hand, they're determined to let the dark cloud pass over quickly.
They all look away, back to their preparations. Only Mike still feels the
shadow, as she and Custer lock eyes.
EXT. NEW TELEGRAPH OFFICE - DAY FOUR
33
Horace comes out, donning his jacket to join the festivities, but instead
runs smack into Sully, who stands, staring at the poster. There're a lot
of people around, but everyone's focus is down the platform, away from
them. Horace stands there a beat beside Sully, looking at the drawing of
Cloud Dancing, now a man with a bounty on his head.
HORACE
Didn't figure you'd come to see the train.
SULLY
I didn't.
I came for somethin' else.
Horace glances over at Mike at the other end of the platform, then back at
the "Wanted" poster. A beat.
HORACE
I'm real sorry, Sully, but I had to put it up.
It's the law.
Sully nods grimly.
+ON CUSTER
34
He sees Sully at the poster, then watches him walk away from Horace, from
the crowd, from the festivities -- off into the wild.
+SUDDENLY
35
The SOUND of a train whistle in the distance.
+BACK TO SCENE
Horace glances up at the wall clock:
platform...
36
8:58.
He takes off across the
23.
+ANOTHER ANGLE
37
... to join the other town council members at the podium.
Among the crowd, the excitement grows as the train WHISTLE blows again,
closer this time.
+OUR TOWNSPEOPLE
38
react, each in turn, and the WHISTLE bursts come closer and the chug of
steam can even be heard.
Matthew lifts Brian up so he can see above the crowd.
Colleen hugs Mike in anticipation.
Mike forgets all else for the moment, straining to catch the glimpse
everyone's waiting for... and there it is!
+THE TRAIN
39
barrels around the bend and into full view. A deafening CHEER goes up.
The WHISTLE blows repeatedly as it steams into the station and slows to a
puffing stop.
At the helm of the locomotive is JOHN, the engineer Brian rescued from
Hank's trap.
BRIAN
Hey, look!
It's John!
Matthew's view is blocked by Brian.
MATTHEW
John who?
BRIAN
You know, the John who got burned in the train wreck and Ma fixed his face?
He's drivin' the train!
MATTHEW
(impressed)
No kiddin'.
The town acknowledges John with a extra CHEER, as the big man waves.
runs to greet him.
Jake takes the podium, next to a couple of TOPHATS.
for quiet and the crowd manages to settle down.
Brian
He holds out his hands
JAKE
As Mayor, it's my privilege to welcome the Denver and Rio Grande Railroad
to Colorado Springs.
(CONTINUED)
23A.
CONTINUED:
39
He shakes hands with the tophats to APPLAUSE and CHEERS.
CUSTER
My munitions, gentlemen!
Everyone quiets.
CUSTER
I should think you'd want to start off on the right foot by making your
deliveries on time.
A beat, as everyone looks to Jake for a response.
(CONTINUED)
24.
CONTINUED:
(2)
39
JAKE
General Custer, I think it's only polite we oughta wait 'til tomorrow to
unload the freight and get on with the celebratin', don't you?
Custer sizes Jake up, then suddenly smiles.
CUSTER
Why, of course.
Only polite.
Jake and Loren exchange a look, then Jake goes to the door of the sole
passenger car.
JAKE
Ladies and Gentlemen, the first passenger to travel by train to our fair
town....
He slides the door open, and there stands none other than...
+ELIZABETH QUINN
40
MIKE
Mother!
OFF Mike's reaction.
FADE OUT:
_END ACT ONE_
_ACT TWO_
FADE IN:
EXT. MAIN STREET - DAY FOUR
41
The town's still animated over the train's arrival, as Mike and the kids
round the corner on foot, with Matthew leading their horse and wagon, with
Elizabeth, and Mike's oldest sister, REBECCA, and her youngest sister,
MARJORIE in the single buckboard seat and their considerable luggage in the
wagon bed.
MIKE
(to Elizabeth)
I was worried that you weren't coming.
ELIZABETH
Not worried enough to accommodate your own mother's or your sisters'
schedules the slightest bit.
Mike tenses, realizing this unexpected arrival may not be all sweetness and
light.
MIKE
We were told that May twentieth was the day our wedding had to take place.
ELIZABETH
Told? By whom?
MIKE
A close friend.
ELIZABETH
And what on earth was this "friend" basing such a mandate upon?
MIKE
Spiritual guidance.
ELIZABETH
The _Reverend_ told you what day you had to marry?
MIKE
Well, no...
BRIAN
(proud)
Cloud Dancin' picked it.
(CONTINUED)
26.
CONTINUED:
41
MARJORIE
(her enunciation _too_ exact)
"Cloud Dancing?"
ELIZABETH
(rolls her eyes)
I should have known.
The whim of some Indian is more important than...
MIKE
(interrupts)
... than a flower show?
Indian"...
And I'll thank you not to refer to him as "some
MARJORIE
An Indian?
MIKE
... and it wasn't just a "whim".
He was given a sign.
They stop at the clinic...
REBECCA
(peacemaker)
The important thing is that we're all gathered together for the wedding of
our beloved Michaela and Mr. Sully and to celebrate it with joy.
... just as the saloon doors fly open and Hank "escorts" a CUSTOMER into
the street.
HANK
Nobody treats my girls like that, understand?
He throws the guy down in the dirt and might do further damage except that
he's distracted by Mike's entourage. The guy takes the opportunity to
scramble away, as Hank steps over.
HANK
Speakin' of ladies...
He's especially dazzled by Marjorie. He holds his hand up to help her
down, putting on his very best manners.
HANK
May I?
She looks at him as she would a rat.
(CONTINUED)
27.
CONTINUED:
(2)
41
MARJORIE
No, you may not.
He smiles, steps aside with a bow, as Matthew helps Marjorie down. As she
alights, though, Hank leans in close enough for her to feel the attraction.
HANK
Pleased to almost meet you.
And he ambles back over to the saloon, as Mike and Colleen help Elizabeth
and Rebecca down, and Brian and Matthew start on their bags.
MIKE
That's Hank. Hank is...
(at a loss how to put it to Marjorie)
... Hank.
REBECCA
He's rather charming, in a... provincial sort of way.
MARJORIE
He's a pig.
She straightens her skirt and tries in vain to brush the dust off.
MIKE
Yes... well...
Changing the subject, gesturing to her clinic sign, to Elizabeth:
MIKE
What do you think?
Elizabeth gives the building a once over.
ELIZABETH
It looks the same to me.
MIKE
I mean the sign.
ELIZABETH
Oh... yes.
MIKE
It was a birthday present from the whole town.
(CONTINUED)
28.
CONTINUED:
(3)
41
MARJORIE
(correcting)
_Entire_ town.
REBECCA
It's very nice, Michaela.
ELIZABETH
Yes. Very nice.
As the kids continue to carry luggage inside, Mike looks up at the sign,
seeing it through their eyes.
MIKE
I realize it might not look as fancy...
MARJORIE
_May_ not look, and "fancy"?
Really, Michaela, your vernacular...
MIKE
What?
MARJORIE
You're beginning to sound more like these rustics...
(gestures to the townspeople)
... than us.
Mike looks to Rebecca, genuinely surprised at this thought.
REBECCA
Well, your accent's changed somewhat, but I think it's charming.
As they all start inside:
MIKE
Really?
No one's said anything.
MARJORIE
How would they know?
Mike can't argue that.
She turns to Rebecca.
MIKE
So how do I sound now?
Rebecca searches for a way to describe it, but Elizabeth beats her to it.
(CONTINUED)
29.
CONTINUED:
(4)
41
ELIZABETH
Neither here, nor there.
She goes inside. Marjorie follows her.
Rebecca, leaving...
After a quick smile, so does
+MIKE
42
... to contemplate yet another change, this one in herself and one of which
she was entirely unaware.
BRIAN (O.S.)
Ma...
Brought back to the moment, she goes inside.
INT. RECOVERY ROOM - DAY FOUR
43
Mike ushers her mother and sisters in, with Matthew, Colleen and Brian on
their heels. Luggage is already there. Mike fusses a bit, straightening a
quilt, a vase of dried flowers...
MIKE
Luckily no one's sick enough to be needing a room right now so you'll each
have your own.
MARJORIE
Sick?
MATTHEW
These're Dr. Mike's recovery rooms.
Marjorie looks around, seeming unduly apprehensive in spite of Colleen's
reassurance:
COLLEEN
Don't worry, we clean 'em real good.
MARJORIE
(preoccupied)
"Well". You clean them well.
COLLEEN
Right.
MIKE
But if anyone comes down with something, I'm afraid you may have to double
up.
Abruptly, Marjorie picks up her bags.
(CONTINUED)
30.
CONTINUED:
43
MARJORIE
I'll save you the trouble.
I'll simply stay at a hotel.
Mike stops her busywork.
BRIAN
All the way to Manitou?
MARJORIE
Mani-what?
MIKE
Manitou.
It's ten miles from here.
That's the nearest hotel.
A beat, as Marjorie absorbs this, then sets down her bags.
REBECCA
The rooms are lovely, Michaela.
(to Marjorie)
Especially this one with the balcony, Marjorie...
MARJORIE
(wheels on her)
Stop it!
She realizes that she's lost control and tries for as much dignity as
possible in her exit. Mike looks to Rebecca, who just shakes her head,
then to Elizabeth who holds her gaze.
MIKE
Children...
They all leave. Once they're out of earshot, Elizabeth sits wearily in the
lone chair. Mike and Rebecca sit on the bed.
ELIZABETH
(staring off)
I know your sister has never had the sunniest disposition, but something is
wrong.
Mike looks to Rebecca.
REBECCA
I'm afraid it's true. It's been over a year since Everett abandoned her.
One would think she'd be feeling somewhat better, or at least resolved.
(CONTINUED)
31.
CONTINUED:
(2)
43
ELIZABETH
Instead, she grows worse by the day, more bitter by the hour.
(looks to Mike)
Have you any antidote for betrayal, Michaela?
+ON MIKE
44
If only she did...
INT. HOMESTEAD - NIGHT FOUR
45
Mike, Sully and the kids are joined at the dinner table by Elizabeth,
Rebecca and Marjorie. They eat in silence for a beat, then:
ELIZABETH
(to Sully)
Would it be possible to pick up our freight tomorrow?
SULLY
Freight?
ELIZABETH
I brought a few things for the wedding.
MIKE
A few things?
REBECCA
(smiles)
As much of Boston as would fit into a freight compartment.
ELIZABETH
And some that wouldn't.
I've ordered a string quartet from Denver.
MIKE
But Mother...
ELIZABETH
No buts. I didn't come all this way not to do this wedding properly.
Mike and Sully exchange a look.
32.
EXT. TRAIN STATION - DAY FIVE
46
In the b.g., some townspeople are taking down the train decorations.
[Mike, Sully, Elizabeth, Marjorie and Rebecca] stand on the platform, as
John checks a list against several crates and a large standing trunk.
JOHN
China... silver... crystal...
Mike and Sully exchange another look.
JOHN
... linens...
(mispronouncing)
... trousseau...
ELIZABETH
(correcting)
Trousseau.
JOHN
Trousseau.
He moves to the trunk.
JOHN
Bridal party attire and wedding gown.
This last really catches Mike off-guard.
MIKE
Mother...
ELIZABETH
It's divine.
John hands Elizabeth the freight order to sign.
MIKE
But...
MARJORIE
Mother had it made in London.
[The tails, as well.
Mike looks to Sully.]
(CONTINUED)
33.
CONTINUED:
46
SULLY
It's real nice of you to go to all this trouble, Mrs. Quinn, but Michaela
and I got our own plans. I'll go check with Horace and find out where we
can store all this 'til the weddin's over.
He heads to the telegraph office in the b.g.
ELIZABETH
Over?!
(to Mike re: the crates)
But these things _are_ the wedding.
MIKE
A wedding isn't about "things", Mother.
Mike hurries after Sully.
ELIZABETH
(to John)
Have those crates delivered to the cafe.
She extracts payment from her purse and gives it to John.
JOHN
(glances after Mike)
But...
ELIZABETH
They belong to me.
EXT. NEW TELEGRAPH OFFICE - DAY FIVE
There's a "CLOSED" sign in the window.
Mike catches up.
47
Sully looks frustrated, just as
MIKE
They're probably just at Grace's for lunch. We can go talk to Horace
there. I'm sorry, Sully, but please don't overreact.
He looks at her, then up at the "Wanted" poster of Cloud Dancing. She
follows his eyes, shocked at the sight of it. She looks back to Sully
queryly.
SULLY
Custer made Horace put it up yesterday.
(CONTINUED)
34.
CONTINUED:
47
CUSTER (O.S.)
(raised voice, announcing his presence)
Good afternoon, ladies.
Mike and Sully turn to see Custer on horseback with his detail of men,
greeting Elizabeth, Rebecca and Marjorie. The rest of their talk is lower,
out of earshot, though by the body language, introductions are being
exchanged.
+ON CUSTER AND THE WOMEN
48
ELIZABETH
... and we've traveled all the way from Boston for Michaela's wedding.
You're attending, of course?
Custer glances in Mike's and Sully's direction, then turns to Elizabeth
with a smile.
CUSTER
Of course...
I wouldn't dream of missing _the_ social event of the year.
He tips his hat to the women, then hands a freight order to John, and with
a jerk of his head thus orders his men to start loading his munitions
shipment.
Now, he rides over next to Mike and Sully.
CUSTER
You wouldn't happen to know the whereabouts of that Indian, now would you
Mr. Sully?
Sully stares him down.
Mike stare after him.
Custer just smiles, then rides off.
[Sully and
omit (49-50)
EXT. ]NEW HOMESTEAD - DAY FIVE
51
Sully and Matthew ride up, ahead of the wagon in the distance.
dismount and look up at the finished homestead.
They
(CONTINUED)
38.
CONTINUED:
51
SULLY
Sure 'preciate the help you gave me, Matthew.
MATTHEW
(shrugs)
Was hardly nothin'.
You built it yourself.
SULLY
Well, mostly I s'pose. But I didn't have anything standin' in my way...
didn't have a herd of cattle to look after.
I
Matthew realizes they're having more than a casual conversation.
SULLY
The way I see it, that herd's just gonna keep gettin' bigger and needin'
more and more of your time.
A beat, as Matthew lets the implication sink in once again, but then shakes
his head.
MATTHEW
I just can't take the old homestead from you, Sully.
SULLY
You'd be doin' me a favor.
I don't wanna see it go to ruin.
Mike turns onto the homestead road in the buckboard.
MATTHEW
You don't understand.
It's... it's just too big'a gift.
SULLY
Olive's herd wasn't too big'a gift?
MATTHEW
She died.
SULLY
(smiles)
I gotta die to give it to you?
MATTHEW
No! Don't even joke like that.
Mike pulls the buckboard to a halt.
(CONTINUED)
39.
CONTINUED:
(2)
51
SULLY
Will you at least think about it?
A beat, Matthew nods... then moves with Sully to help Elizabeth, Rebecca
and Marjorie from the wagon. The kids have jumped down and run up onto the
porch. Mike sweeps her arm in presentation.
MIKE
Isn't it wonderful?
Elizabeth and Marjorie are underwhelmed.
REBECCA
It's absolutely charming.
Mike looks to her mother.
ELIZABETH
It's larger.
REBECCA
What a beautiful view, Michaela.
MIKE
Yes, isn't it?
She looks to Marjorie.
MARJORIE
I agree with Mother.
larger.
MIKE
No...
It's the same as the other cabin, only somewhat
It's...
Mike turns to survey the new homestead. It's heaven compared to the old
homestead, but essentially, and certainly to a Boston eye, it is simply
larger.
MIKE
It's much more than that.
more rooms...
It has two stories, three fireplaces, there're
MARJORIE
It's larger.
Sully watches Mike attempt to defend their home to her family.
MIKE
But indoor plumbing...
(CONTINUED)
40.
CONTINUED:
(3)
ELIZABETH
(gestures to the lean-to toilet)
With all due respect, it's a latrine.
51
This is not a sewer system.
MIKE
But this is not Boston.
ELIZABETH
Precisely.
REBECCA
That really is the point, Michaela.
Springs.
It's a lovely home for Colorado
Rebecca turns to Elizabeth, to Marjorie.
REBECCA
That we can all agree on, can't we?
ELIZABETH
Of course.
Off a look from Elizabeth:
MARJORIE
Lovely.
Mike turns to look at the house, shaken.
Sully's hurt by her capitulation.
INT. CLINIC - NIGHT FIVE
Sully sits at Mike's desk, waiting.
enters from upstairs.
52
Goodnights are HEARD O.S., then Mike
SULLY
I asked Matthew to wait outside with the kids...
We gotta talk.
She nods, sits down.
SULLY
No, I gotta talk.
(spills out)
First, my name's not good enough, now, our house ain't good enough.
when you turned and looked at it through _their_ eyes.
I saw
She's ashamed, knows it's true.
(CONTINUED)
41.
CONTINUED:
SULLY
52
I've heard more'n I ever wanna hear 'bout Boston _or_ Colorado Springs.
Where you live's in here.
He clamps his fist to his chest.
SULLY
What I wanna know is when're we gonna start lookin at the world through
_our_ eyes?
She has no answer.
He gets up.
MIKE
Where're you going?
SULLY
There's somethin' I gotta do.
Don't know why I waited this long.
And he's out the door.
MIKE
Sully?...
But there's no answer.
He's gone...
FADE OUT:
_END ACT TWO_
_ACT THREE_
[FADE IN:
omit (53-55)
EXT. WOODS - DAY SIX
56
Sully rides with a purpose and destination in mind. But then he senses
something. He pulls up and off into some tree cover. He looks back up at
the hills he just traversed.
+SULLY'S POV - CUSTER
57
and his men, glimpsed in between hillocks. Sully considers, then dismounts
and sends his horse on down the trail and cuts back into the woods on foot.
EXT. GRACE'S CAFE - DAY SIX
The quilting circle is gathered, at their various activities.
58
The pieces of the wedding dress that Dorothy's making are now assembled on
a dressmaker's form. It's white and simple, with lace artfully adorning
the bodice. The straight, ankle-length skirt has yet to be trimmed.
Mike comes up with Elizabeth, Rebecca and Marjorie.
Greetings all around.
MIKE
I believe everyone's met...
ELIZABETH
(to Grace)
I understand you're doing the catering?
(off Grace's blank look)
The food.
GRACE
Oh... Yes, ma'am.
ELIZABETH
Here's the menu.
Grace reacts.
mike
Mother, Grace has a perfectly lovely dinner planned...
But Elizabeth has already turned to look at the lacemakers as John pulls up
in a wagon and unloads Elizabeth's crates and trunk.
elizabeth
What's this?
DOROTHY
The lace.
It's goin' all over Michaela's weddin' dress.]
ELIZABETH
(auspicious)
Well, you can stop your worrying about a wedding dress...
She [walks to the trunk, unlatches it and opens the doors. She reaches in
and lifts out a billowy vision of white taffeta. ]The women GASP. Mike
stares at it, both fascinated and aghast at her mother's domination of the
situation.
ELIZABETH
(to Mike)
Well?
MIKE
It's... stunning.
Dorothy's bruised.
Elizabeth's oblivious, smiles.
ELIZABETH
Of course it is...
long.
Will you look at this skirt, and the train is six feet
MIKE
Yes, I especially like long trains on wedding dresses.
ELIZABETH
And these puffed sleeves, aren't they delicious?
MIKE
Well... actually, the top is a bit too flouncy for my taste, and I miss the
lace...
She gestures to where Myra and the other's are busy making it.
Dorothy
seems to brighten, but Elizabeth simply chooses to ignore Mike's objections
and barrels on, as she returns the dress to the trunk.
(CONTINUED)
46.
CONTINUED:
(2)
58
ELIZABETH
And there is a groom's tuxedo, bridesmaid's dresses, usher's suits...
of course, a lovely matron of honor's dress for Rebecca.
Now, Dorothy is crushed.
and,
Rebecca sees this.
REBECCA
Mother, I believe Michaela already has a matron of honor...
Elizabeth follows Rebecca's look to Dorothy.[
DOROTHY]
I don't mind.
MIKE
But...
DOROTHY
No, really, Michaela, your ma's right. It's tradition.
(gestures to the trunk)
And that weddin' dress... well, nothin' _we_ can make could ever compare to
that.
MIKE
That's not true.
DOROTHY
Yes, it is, and we all know it.
She glances around to an uncomfortable concensus, then quietly starts
unpinning the dress from the form.
(CONTINUED)
47.
CONTINUED:
(3)
Mike looks from Dorothy to Elizabeth, then back again.
move to stop her.
EXT. WOODS - DAY SIX
58
Torn, she makes no
59
Custer and his detail of six men come up on Sully's horse, trotting along.
Custer knows he's been had. He jerks his horse around to double back, his
men following, bringing Sully's horse with them.
EXT. WOODS - DAY SIX
60
Sully sits cross-legged, very still, eyes closed. He is tucked into a
small glade that bears no special landmarks or qualities to set it apart
from any other.
The sun filters down through the leaves, the small SOUNDS of wild life are
all that break the silence until...
+A TWIG CRACKS
61
Sully's eyes open without alarm.
+CLOUD DANCING
62
stands before him. He wears the wedding shirt that Mike made for Sully.
Sully rises and, without a word, they embrace.
Once they part:
SULLY
I have missed my brother.
Cloud Dancing returns the sentiment with a nod, but this is a shadow of the
great man Sully knew. Cloud Dancing gestures for them to sit, doffing a
small pack roll.
CLOUD DANCING
You will marry soon.
SULLY
Yeah, but that's not why I came...
CLOUD DANCING
A good marriage is one of the most important things a man can make in his
lifetime.
Sully nods, mindful of this advice.
(CONTINUED)
48.
CONTINUED:
CLOUD DANCING
We are the lucky ones.
a good marriage.
62
We found women strong enough to carry the weight of
Sully nods again, thoughtful of Mike.
CLOUD DANCING
That you will find happiness with a wife, this reminds me of the happiness
I had with Snow Bird.
SULLY
(saddened)
We think of her.
CLOUD DANCING
I do not.
(off Sully's look)
I do not have to.
He makes a gesture to encompass his being.
CLOUD DANCING
She fills me.
He unrolls his pack.
CLOUD DANCING
That is why I no longer need this.
He takes out a magnificent Indian shirt and hands it to Sully.
CLOUD DANCING
This was my marriage shirt from Snow Bird.
wedding day.
You must wear it for us on your
Sully holds it to him, overcome.
SULLY
I wanted you to be my best man.
To stand at my side.
CLOUD DANCING
(understands)
Best man.
(ironic)
After all that has happened I often wonder if I am still a man at all.
(CONTINUED)
49.
CONTINUED:
(2)
62
SULLY
'Course you are. You're a thousand times the man Custer is...
(recalls his mission)
Cloud Dancin', he's put a bounty on your head.
CLOUD DANCING
Why is this? I no longer ride with the Dog Soldiers.
their bloodshed. I am alone, of no harm to anyone.
I have no heart for
SULLY
Custer wants you 'cause you're a leader, a Medicine Man.
Cloud Dancing stares off for a beat, then:
CLOUD DANCING
If Custer is meant to kill me, there is nothing I can do to stop this.
SULLY
Yes, there is.
Run.
Get as far away from here as you can.
CLOUD DANCING
One cannot run from fate.
Suddenly, he hears something that Sully does not.
taking the remains of his pack roll.
He stands abruptly,
CLOUD DANCING
I will be this "best man" for you.
SULLY
No. No, it's too dangerous.
Cloud Dancing smiles wistfully, then disappears into the brush.
Now, Sully HEARS what Cloud Dancing heard -- horses approaching. He
quickly picks up his bow and pulls an arrow from his quiver. He takes aim
into the brush, his back to Custer and his men who break into the glade
behind him. He lowers his bow and turns. Several rifles are trained on
him.
SULLY
You lost me my prey.
CUSTER
No, Mr. Sully, you lost me mine.
(CONTINUED)
50.
CONTINUED:
(3)
62
They roughly take Sully into custody.
DISSOLVE TO:
INT. CHURCH - NIGHT SIX
63
A lovely buffet table is laid with linen, all of Elizabeth's fine china,
crystal and silver, including a candelabra.
The candles have burned over halfway down, indicating how long everyone has
waited. And everyone is there, dressed in their Sunday best, biding their
time. Jake, Robert E, Horace and Myra are among those present.
+MIKE
paces near the door.
OMIT (65)
64
Rebecca is with her.
65
+AT THE BUFFET TABLE
66
Elizabeth hovers over the buffet with Grace.
ELIZABETH
The salmon mousse is slipping, the souffle is falling, the ice is
melting...
GRACE
_My_ rehearsal supper wouldn't've been slippin', fallin' or meltin'.
She walks off, past...
+MATTHEW AND INGRID
67
Matthew pulls on his starched collar.
INGRID
As soon as Sully comes, you will tell him yes, yes?
MATTHEW
_If_ he comes, and I didn't say that.
He heads for the punchbowl, Ingrid on his heels.
They pass...
51.
OMIT (68)
68
+LOREN
69
going up to Dorothy, offering her a glass of punch.
LOREN
Did I tell you you look lovely tonight?
DOROTHY
No, you been too busy fawnin' over Mrs. Quinn.
She walks away, over to the Reverend, passing...
OMIT (70)
70
+HANK AND MARJORIE
71
... who sit together. Well, he sits next to her, but she is tolerating
him. Actually, she looks flushed and under the weather.
HANK
You don't look so good.
(off her look)
I mean, you look beautiful, but a little outta sorts.
Tentatively, ever so gently, he reaches the back of his hand to her cheek.
She lets him touch her.
HANK
Hey, you're burnin' up.
We oughta get you some cool air.
He starts to help her up, but she winces with abdominal pain. He sits back
down with her. No one's noticed except him. He holds his punch cup to her
lips.
HANK
Here.
Drink some.
She does. There's a look between them, as she uncharacteristically allows
herself to be tended to this way.
EXT. WOODS - NIGHT SIX
72
Sully sits, hands tied behind his back, across a fire from Custer at his
encampment.
(CONTINUED)
52.
CONTINUED:
72
SULLY
I got people waitin' on me.
They're gonna worry.
CUSTER
And so they should.
SULLY
You can't hold me forever.
CUSTER
True...
I could just kill you now and be done with it.
SULLY
But you won't do that.
CUSTER
No?
SULLY
No, you been doin' a little too much of that lately.
you. People in high places.
People got an eye on
Custer despises him for calling it.
CUSTER
But I _can_ kill your friend.
Sully stares at him across the fire.
SULLY
You could...
But then I'd have to kill you.
Custer first smiles, then laughs out loud.
disdain.
Sully watches him with silent
CUSTER
Well, now, you've amused me, Mr. Sully, and for that, I set you free.
Custer gestures to one of his men, who unlocks Sully's handcuffs.
stands.
Sully
SULLY
My horse?
CUSTER
Come now. You have a reputation to protect. You're the mountain man who
doesn't need things like guns or horses, isn't that right?
(CONTINUED)
53.
CONTINUED:
(2)
72
Sully doesn't answer.
CUSTER
Yes, that's right...
Now go on, before I change my mind.
A beat, then Sully disappears into the darkness on foot.
INT. CHURCH - NIGHT SIX
73
+MIKE AND REBECCA
74
still pace near the door.
REBECCA
Don't worry.
He'll be here.
MIKE
You don't understand... Sully left two nights ago. He was angry with me,
and I don't blame him. I've let Mother barge in here and take over
everything. I've made demands on him that may be impossible...
She goes into Rebecca's arms.
MIKE
I wouldn't blame him if he's changed his mind.
never comes back.
+OFF MIKE
fearing this, the worst...
FADE OUT:
_END ACT THREE_
I wouldn't blame him if he
75
_ACT FOUR_
FADE IN:
EXT. CLINIC - DAY SEVEN
76
Mike, Colleen and Brian, dressed for church, pull up in the buckboard, as
various townsfolk make their way toward the meadow. The church bell RINGS
for attendance. Elizabeth, Rebecca and Marjorie sit in a row on the porch
bench. Elizabeth stands.
ELIZABETH
You're late.
Mike and the kids get down.
MIKE
I trust you had a good breakfast at Grace's.
MARJORIE
It was, as they say, "hearty".
MIKE
(re: church bell)
We'd better hurry.
They start toward the church. They walk in silence for a moment, then
Elizabeth can't contain herself.
ELIZABETH
I take it you've heard nothing from Mr. Sully?
MIKE
He must be unable to get word to us.
may have happened...
In fact, I'm worried that something
ELIZABETH
(interrupts)
Something did, indeed, happen.
MIKE
I mean to Sully.
ELIZABETH
And I mean to you.
You were stood up.
MIKE
Don't be ridiculous.
But Mike can't help but share a glance of doubt with Rebecca, as they cross
the bridge.
(CONTINUED)
55.
CONTINUED:
76
COLLEEN
Sully'd never do that to Ma.
BRIAN
Yeah, he loves her.
ELIZABETH
I'm afraid love has nothing to do with it. There are simply some men, who,
when faced with the final commitment, leave women standing at the altar.
MIKE
He didn't leave me standing at the altar, Mother.
ELIZABETH
Yes, at least he had the good grace not to wait until your wedding day...
Mike stops in the church yard and faces Elizabeth.
MIKE
Stop jumping to conclusions!
The outburst brings activity around them to a halt, the focus on them.
ELIZABETH
I'm simply trying to protect you from further humiliation, Michaela.
can't actually plan to proceed?
MIKE
I plan to find out what's happened to him.
help...
He may be hurt.
You
He may need
MARJORIE
Why would he leave in the first place, if what Mother's saying isn't true?
REBECCA
He must have his reasons.
COLLEEN
Yeah, even if he was one of those men like Grandma said, he'd never just
run away.
(CONTINUED)
56.
CONTINUED:
(2)
76
BRIAN
(suddenly apprehensive)
Pa ran away.
MARJORIE
(to Mike, re: Brian)
You see, even a child is being more realistic than you.
Sully has never been a suitable choice for a husband.
MIKE
Face it, your
Since when are you an expert on choosing husbands?
didn't run off and leave me for some trollop...
I know one thing, Sully
Marjorie slaps Michaela, stunning everyone, even herself. She runs back
toward the clinic. Mike is angry, ashamed, frightened -- a whirl of
emotions. She realizes that everyone is staring. Rebecca tries to take
her arm, but she pulls away and strides back to town.
Colleen and Brian start to go after her, but the Reverend has come over and
gently restrains them. He leads them, instead, into the church, setting
the example for everyone else to follow.
EXT. SALOON - DAY SEVEN
77
Hank leans against the hitching post, as Marjorie runs by and into the
clinic, slamming the door behind her. He starts across the street, as Mike
comes up from the bridge.
HANK
Better lemme talk to her.
MIKE
I beg your pardon?
HANK
Marjorie and me, we understand each other.
MIKE
Oh, really?
do that?
Then perhaps you can explain why she's so vile to me, can you
HANK
Yeah.
His tone is dead serious.
This slows Mike down finally.
(CONTINUED)
57.
CONTINUED:
77
MIKE
You can?
HANK
(nods)
First of all, it's plain as the nose on your face.
Always has been.
Mike shakes her head.
MIKE
She had all the boyfriends...
HANK
And where'd it get her?
MIKE
Jilted and sick.
She's jealous of you.
Sick?
HANK
Guess you're too close to see, Doc.
MIKE
What're you talking about?
HANK
The fevers, those stomach aches that come and go. I seen it in my girls
plenty of times... That husband left her a little more'n anybody suspects.
Mike realizes what Hank is saying.
OMIT (78)
78
INT. RECOVERY ROOM - DAY SEVEN
79
Marjorie sits on the bed, red-eyed from crying. She dips a cloth into a
water basin, squeezes it out and holds it to her feverish forehead, as Mike
opens the door.
MARJORIE
Leave me alone.
Mike comes in and closes the door behind her.
MIKE
No, I won't.
It seems you've had too much of being left alone.
(CONTINUED)
58.
CONTINUED:
79
MARJORIE
Save your pity.
MIKE
It's not pity...
I'm feeling fairly alone myself at the moment.
Marjorie looks up at this, affected. Mike sits next to her, tries to take
her hand, but Marjorie recoils. No matter how much she may long for
contact, her walls are high.
MIKE
I was only trying to give you this.
She holds out a bottle of flaxseed.
Marjorie takes it.
MARJORIE
What is it?
MIKE
Flaxseed. I want you to drink a tea brewed from this several times a day
until the infection subsides.
Marjorie looks at her sharply, but doesn't have the heart to protest.
MIKE
Then I'll give you an injection of silver nitrate.
that's necessary, but in any case, it is curable.
That's usually all
A beat, as Marjorie stares at the bottle.
MARJORIE
I kept meaning to go to Dr. Kittridge...
MIKE
I understand.
But it's not your fault.
Everett gave it to you.
Marjorie nods, bitter.
MARJORIE
Everett...
A beat.
MIKE
Marjorie, can't we talk?
(CONTINUED)
59.
CONTINUED:
(2)
79
MARJORIE
You want me to apologize for slapping you?
MIKE
No...
MARJORIE
All right, I apologize.
MIKE
No, I meant...
MARJORIE
You want me to thank you for this?...
(holds up bottle)
... Then, thank you.
MIKE
I didn't come because I want apologies or thank yous.
to be friends... Perhaps even sisters?
Marjorie's defenses crumble.
All I want is for us
They embrace.
MARJORIE
I hope Sully does come back, Michaela.
Mike nods, holds on tight.
EXT. CHURCH - DAY SEVEN
79A
Church is letting out. Brian walks off by himself in a melancholy mood.
John notices and heads off across the meadow, following, as...
+MIKE
79B
... crossing the bridge to join the others.
+ANGLE ON
79C
John catches up to Brian, falling into step beside him.
JOHN
Hey, Brian.
(CONTINUED)
60.
CONTINUED:
79C
BRIAN
Hey, John.
JOHN
Something botherin' you?
BRIAN
(shrugs)
I just ain't fittin' in.
be an usher or best man.
I'm too old to be a ring bearer and too young to
JOHN
(nods)
You know, the last time I was here, it was me who didn't fit in, remember?
BRIAN
Yeah, but that was just 'cause of your train accident and your face bein'
all burned up. But Ma fixed you, and now you're a train engineer again and
everything.
JOHN
I owe that to you, Brian... And now I'm gonna help _you_ fit in.
BRIAN
How're you gonna do that?
JOHN
[Well...
The train's laid over for repairs... and ]I got an idea...
But just then, Brian spots someone coming over the rise back near the
church...
BRIAN
It's Sully!
Brian's cry reverberates across the meadow.
All activity stops, looks.
OMIT (80-87)
87
+MIKE
88
has joined Loren and her family.
lights up at the sight of Sully.
She shields her eyes, looks.
Her face
Mike runs the short distance, caring nothing of how this appears, caring
only to reach Sully.
(CONTINUED)
60A.
CONTINUED:
88
As they collide into an embrace...
61.
OMIT (89)
89
+ANOTHER ANGLE
90
Mike and Sully hold onto each other.
MIKE
I'm sorry.
SULLY
No, I'm sorry 'bout missin' the rehearsal.
Custer had me...
She pulls back in alarm.
MIKE
Custer?
SULLY
I wanted to warn Cloud Dancin'.
Custer and his men followed me.
MIKE
Cloud Dancing?...
SULLY
I found him, but Custer didn't.
He's all right... For now.
Relieved, Mike embraces Sully again. By now, those nearest have gathered
around, with others joining, and Brian in the background, still running the
length of the meadow. Everyone hangs back, respectful of their privacy,
but not so much that they don't listen in.
MIKE
Let's just elope. I don't care about a fancy wedding.
being your wife and you being my husband.
I only care about
She pulls back only far enough to see his face.
MIKE
I'm ready to start looking at the world through _our_ eyes.
He sees that she means it with all her heart.
SULLY
Then there's no reason to elope.
We just gotta do this our way.
She nods.
(CONTINUED)
62.
CONTINUED:
90
SULLY
For starters, how 'bout I don't wear a weddin' ring... and you don't change
your name?
She smiles, deeply moved.
MIKE
I think it's a very good start.
Just then, Brian reaches them and throws his arms around both.
This gives
Colleen and the others permission to step into their sphere, everyone
except Elizabeth...
FADE OUT:
_END ACT FOUR_
_ACT FIVE_
FADE IN:
ext. *GENERAL STORE - DAY EIGHT
91
In the b.g., Elizabeth is at the counter, chatting with Loren, while Mike,
Rebecca and Marjorie stand over Dorothy, as she works her printing press,
and copies of The Gazette pile up.
DOROTHY
I know it don't look like much compared to your Boston Globe...
REBECCA
No, I think it's very impressive that you manage the entire publication on
your own.
DOROTHY
Why, thanks.
MIKE
Dorothy...
Dorothy pauses in her printing.
MIKE
Rebecca and I spoke last night about this matron of honor business...
DOROTHY
Oh, I don't mind.
MIKE
No, I didn't feel right about what happened, especially the way it
happened, and as it turns out, neither did my rather enlightened sister...
She smiles, puts an arm around Rebecca's shoulder.
MIKE
... so if you don't mind, I'd like you both to be my matrons of honor.
At this point, [Loren and Elizabeth exit the store just in time to hear:]
DOROTHY
But your ma's right.
(CONTINUED)
64.
CONTINUED:
ELIZABETH
(to Dorothy)
Why, thank you...
91
What am I right about?
DOROTHY
It bein' tradition that the matron of honor is your elder sister, 'less you
don't have one.
Elizabeth looks to Mike, sensing a problem.
ELIZABETH
I thought we settled all that.
MIKE
Well, actually, I changed my mind.
my matrons of honor.
ELIZABETH
But...
MIKE
I also asked Marjorie...
MARJORIE
But I'm not in a wedding mood.
REBECCA
I want both Rebecca and Dorothy to be
(to Elizabeth)
Don't worry, Mother, we're just bending the rules a bit, and Marjorie will
be in the mood...
MARJORIE
You have no right to speak for me.
between anyway?
Who appointed you the ever-cheerful go-
Rebecca is both embarrassed and provoked to uncharacteristic anger.
REBECCA
I'm not "ever cheerful."
MARJORIE
Oh? And what makes you sad?
REBECCA
You. You and all your petty miseries.
If you're sick...
MARJORIE
Who said I was sick?
(CONTINUED)
65.
CONTINUED:
(2)
91
REBECCA
No one, but if melancholy accounts for your wretched disposition, then you
owe it to everyone around you, let alone yourself, to seek a cure.
MARJORIE
(mocking)
"Melancholy?"
ELIZABETH
Yes, melancholy.
Ever since Everett's been gone, you've...
MARJORIE
"Gone"? You make it sound as though he died.
Well, I only wish he had.
ELIZABETH
Marjorie!
MARJORIE
It's true. If I were a widow, I'd get respect, sympathy. Instead,
everyone sniggers that I wasn't woman enough to hold onto that lout. As if
I wanted him. I could barely tolerate him, the way he tried to force me to
be meek and submissive, the way he'd insist on his right to my bed...
ELIZABETH
That's enough!
(to Loren and Dorothy)
Please forgive us.
She takes Marjorie firmly by the arm and *leads her away.
head, to Rebecca re: Mike:
LOREN
Loren shakes his
And I thought _this_ one was bad.
He goes back *inside the store.
EXT. GENERAL STORE - DAY EIGHT
92
Mike and Rebecca exit and walk down the street toward the train station.
(CONTINUED)
66.
CONTINUED:
REBECCA
Marjorie's right.
92
I do always try to be cheerful.
MIKE
Is that such a bad thing?
REBECCA
I mean, she's right about my always trying to make everyone else happy. As
far back as I can remember, it was what everyone expected of good little
Rebecca, so I did it... Sometimes I don't even know what I really feel,
because I'm so busy acting the way I'm supposed to.
As they near the train station...
MIKE
(nods, thoughtful)
It's as if a family is like a play and we're all cast in certain roles from
the moment we're born.
REBECCA
Yes, exactly...
Why can't we just stop playing them and be ourselves?
Mike slips her arm through Rebecca's.
MIKE
Why, indeed?
EXT. TRAIN STATION - DAY EIGHT
93
[Brian and John exit the train, carrying one of the seats. They notice
Mike and Rebecca coming up the steps and hurry back inside. Mike and
Rebecca pass without noticing them.
Brian and John peek out to make sure the coast is clear, and once Mike and
Rebecca go inside the telegram office, out they come again, carrying the
train seats.]
EXT. LIVERY - DAY EIGHT
Sully comes up to where Robert E is working.
(CONTINUED)
94
68.
CONTINUED:
94
SULLY
How's my buck saw comin', Robert E?
ROBERT E
I... uh... ain't got to it yet.
SULLY
(surprised)
Oh... Well, when you can.
ROBERT E
Sure thing.
Matthew comes through the back of the livery from Grace's.
MATTHEW
Hey, Robert E.
ROBERT E
Hey, Matthew.
MATTHEW
Say, Sully, can I talk to you?
SULLY
What's on your mind?
Matthew shrugs and lowers his voice so Robert E can't hear.
MATTHEW
It's kinda private.
SULLY
Oh... well...
(to Robert E, re: saw)
Be back for that later.
Robert E nods, but then as Sully turns to go with Matthew, Robert E tosses
Matthew a conspiratorial nod, removes his apron and slips around the back
of the livery.
EXT. SALOON - DAY EIGHT
95
As Matthew and Sully near the saloon in silence, curiosity finally gets the
better of Sully.
SULLY
Matthew?
MATTHEW
(looks around)
Not out here.
As if there's no other choice, Matthew nods toward the saloon.
(CONTINUED)
69.
CONTINUED:
95
MATTHEW
In here.
SULLY
Hank's?
You know how I feel 'bout saloons.
MATTHEW
(urgent)
It's just this once.
(off Sully's look)
I'll owe you one.
A beat.
Sully acquiesces, following Matthew inside...
INT. SALOON - DAY EIGHT
96
... where the place is packed with the men of the town -- all except for
Loren. Horace leads a round of "For He's A Jolly Good Fella".
Sully looks to Matthew, who just laughs and slaps him on the back.
The song ends with a whoop of CHEERS, then Hank sets them up, pouring
whiskey for all, tossing back one as he does.
HANK
Tennessee's finest.
(to Jake)
And, no, it ain't been watered.
SULLY
'Preciate the offer, Hank, but...
HANK
Yeah, yeah... not a drinkin' man.
Well, I'll take yours.
He tosses back another one.
HANK
Help ease the pain you caused me.
Everyone laughs.
JAKE
Hank lost a few bucks bettin' you'd fly the coop.
Now, even Sully smiles.
HANK
(to Jake)
And _you_ didn't?
(CONTINUED)
70.
CONTINUED:
96
Jake shrugs, tosses one back himself.
More laughter.
Hank gets a different bottle and pours three glasses, for Sully, Matthew
and Horace.
HANK
Sarsaparilla.
Horace hoists his glass for a toast.
Others follow suit.
HORACE
To Sully and Dr. Mike.
HANK
You're gettin' a hell of a woman.
ROBERT E
Good luck, Sully.
JAKE
You're gonna need it.
More laughter, as the men down their toast, Sully joining them, then: Hank
takes a longish, brown paper-wrapped package from behind the bar and puts
it in front of Sully. The men look to him expectantly.
SULLY
What's this?
JAKE
We all chipped in and got you a little somethin'.
Sully looks at him, then the others, then the package -- with good-humored
suspicion. The guys pick up on it and play it, stepping back. Hank even
ducks down behind the bar. Sully sniffs the package. Some muffled
laughter.
HORACE
Go on.
A beat.
Open it.
Sully does.
It's a brand new buck saw.
JAKE
(re: Robert E)
A little bird said you might be needin' one.
Sully's genuinely moved.
SULLY
Thanks, fellas.
The men carry on, as Sully leans on the bar with Matthew.
(CONTINUED)
71.
A beat.
CONTINUED:
(2)
96
SULLY
I'm holdin' to your promise.
MATTHEW
What promise?
SULLY
You owe me one.
Matthew smiles, clinks glasses with him.
MATTHEW
Just name it.
SULLY
(a beat, then:)
Take the homestead.
Matthew lowers his glass.
SULLY
Pride's a foolish man's burden, Matthew... I oughta know.
Matthew considers. Sully holds up his glass.
his glass and they clink...
A beat, then Matthew raises
DISSOLVE TO:
EXT. GRACE'S CAFE - DAY NINE
97
The place is gaily decorated with pastel bows and bunches of white daisies.
The townswomen are all gathered, dressed nicely for this occasion of Mike's
bridal shower. Elizabeth's, Rebecca's and Marjorie's "simple tea dresses"
still make the others' look dowdy.
Mike sits at a front table, in the midst of opening her presents. Dorothy
is keeping the bows, making the traditional "bouquet" out of them.
Mike unties a simple gingham ribbon from a plain brown wrapper, revealing a
quilt.
Smiles pass among the women who made it, including Colleen and Ingrid.
Mike stands and holds it up, revealing its beauty.
MIKE
From the quilting circle...
Oh, it's lovely...
Thank you all so much.
(CONTINUED)
72.
CONTINUED:
COLLEEN
97
It's called "Double Weddin' Ring".
MIKE
(smiles)
The only ones there'll be in this family.
The women laugh. She sits back down, as Myra takes the quilt and folds it
up and Grace hands her another present. It's small and, again, wrapped
simply in a checked napkin and tied with twine.
GRACE
It's from me.
Mike unwraps it, revealing a heart-shaped metal object.
GRACE
It's a cookie cutter that stamps M plus S.
Mike holds it up to reveal the "M" and "S" inside.
MIKE
How clever.
Thank you, Grace.
GRACE
I figured it out and Robert E made it for me.
MIKE
Now, all you have to do is teach me how to make cookies.
More smiles, as the cookie cutter is set aside, and Colleen hands Mike the
last unopened present, a large, beautifully wrapped box.
COLLEEN
Saved this for last.
The women GASP at the wrapping alone. Showy paper covered in a pretty
floral pattern and topped with a big, gauzy bow. Mike reads the card,
announcing to no one's surprise:
MIKE
From Mother.
Mike hands the bow to Dorothy, who places it in the center of the
"bouquet", as Mike ever so carefully tries to unwrap the package to save
the paper.
ELIZABETH
Oh, just tear it, Michaela.
73.
+REACTIONS
98
MIKE
I'm afraid we can't even find paper like this around here, Mother.
She carefully finishes and hands the paper to Colleen, then opens the box
to billows of tissue paper, finally revealing a satiny negligee. Mike
holds up a gorgeous silk peignoir. "Oohs" and "Aahs". The women of
Colorado Springs have never seen the likes of this delicate garment.
MYRA
Oh... it's surely the best present of all.
ELIZABETH
Yes, isn't it magnificent?
Paris.
France.
MURMURS of agreement, but the women can't help but measure their gifts
against this vision... and come up short. Mike is pained at seeing them
feel bad.
ELIZABETH
Don't you like it, Michaela?
MIKE
Of course. It's beautiful. Thank you, Mother.
(quickly, to others)
All of my presents are beautiful.
(reaches for the quilt)
The hours upon hours that went into stitching this quilt...
(picks of the cookie cutter)
... the care that went into creating this cookie cutter...
(coming back to the peignoir)
... everything is equally lovely. Thank you all, so much.
Elizabeth is wounded.
She stands and walks away.
MIKE
Mother?...
But Elizabeth keeps going. Mike is torn between going after her and
leaving her guests, but both Dorothy and Grace speak for the group with
their nods for her to follow Elizabeth. She does.
74.
INT. RECOVERY ROOM - DAY NINE
99
Elizabeth sits stoically in the chair by the window, staring out, intent on
holding back her tears.
Mike enters. Elizabeth hears, but will not acknowledge her.
sit on the edge of the bed, facing her mother's profile.
Mike goes to
MIKE
I'm sorry, Mother, but I didn't didn't want the others to feel bad.
Elizabeth continues to stare.
MIKE
(gently)
Your gift doesn't have to be the best.
love.
This gets to Elizabeth.
ELIZABETH
There are other ways to express
Do you _try_ to hurt me, or is it just in your nature?
MIKE
I've never tried to hurt you.
trying to please you.
In fact, I feel as though I've spent my life
ELIZABETH
Please me? You can't be serious.
direct defiance of my opinions.
Everything you've ever done was in
MIKE
I'm not saying that the choices I've made in life were to please you, but
that, in spite of being true to myself, I've tried my best to gain your
approval.
ELIZABETH
And what on earth does my approval matter to you?
MIKE
Oh, it matters very much. Being understood and accepted for who we really
are -- well, I believe that's what love is, Mother.
A beat, as Elizabeth absorbs this, then:
(CONTINUED)
75.
CONTINUED:
ELIZABETH
And does it go both ways?
99
Am I to be understood and accepted, as well?
MIKE
Of course.
ELIZABETH
Well, who I am wants my daughter to be married properly.
MIKE
That's not who you are, Mother, that's you trying to influence who I am.
There's a difference.
EXT. UPSTAIRS CLINIC HALLWAY - DAY NINE
100
Sully comes along, looking for Mike, but then stops at the sound of
Elizabeth's voice coming through the partially open door to the recovery
room. He stops and, in spite of himself, listens.
ELIZABETH (V.O.)
What is it you want from me, Michaela?
INT. RECOVERY ROOM - DAY NINE
101
ELIZABETH
There must be something, or we wouldn't keep going on like this would we?
MIKE
(encouraged)
No, we wouldn't.
She reaches out and takes her mother's hand.
MIKE
And, yes, there is something I want from you.
Elizabeth waits, both hoping she can and fearing she can't fulfill whatever
Mike is about to request.
MIKE
With Father gone, there's no one in the world I would prefer to have give
me away.
Elizabeth stiffens.
Mike feels it.
(CONTINUED)
76.
CONTINUED:
101
MIKE
You're my parent. You and Father made me who I am, and I'm asking you,
please, Mother, to give me away on my wedding day.
EXT. UPSTAIRS CLINIC HALLWAY - DAY NINE
102
Sully reacts to Mike's poignant plea.
INT. RECOVERY ROOM - DAY NINE
103
Elizabeth suddenly pulls her hand from Mike's, shaking her head.
ELIZABETH
No... No, it's not done. Mothers don't give their daughters away.
not give you away. No. You've gone too far.
I will
Mike takes this in, then stands.
MIKE
You were right, Mother...
Elizabeth looks to her hopefully.
MIKE
... when you said that I'm neither here nor there. Neither Boston, nor
Colorado Springs. I'm starting a whole new life that isn't about either
one. A life that Sully and I and the children are creating for ourselves.
I only wish that you could be a part of it, but perhaps I've changed more
than will ever be tolerable to you. Perhaps, as you say, I've gone too
far.
She hesitates, hoping for some reply, but Elizabeth turns to stare back out
the window. Mike heads for the door.
INT. UPSTAIRS CLINIC HALLWAY - DAY NINE
104
Sully disappears around the corner, just as Mike comes out the door.
closes it gently, but firmly, then leans against it, disheartened...
She
FADE OUT:
_END ACT FIVe_
_ACT SIX_
FADE IN:
EXT. HOMESTEAD - ESTABLISHING - DAY TEN (STOCK)
105
INT. HOMESTEAD - DAY TEN
106
It's very early and Mike has just awoken. She sits up and looks around the
familiar room, as if memorizing every detail. She looks down at the bed,
runs her hand over it, realizing she has slept her last night alone...
OMIT (107)
107
EXT. ROAD INTO TOWN - DAY TEN
108
As Mike and the kids come into town in the buckboard, they're amazed at the
mass commotion of activity in preparation for the wedding...
EXT. MEADOW - DAY TEN
109
As they ride by, they see Matthew draping the constructed altar with white
bunting -- the Reverend and Jake laying out rows of benches to sit on -Dorothy and Myra placing flowers everywhere. In the b.g. is a dance
platform, surrounded by more benches and a few large sawhorse tables.
Everyone sees them go by.
Waves and greetings.
EXT. GRACE'S CAFE - DAY TEN
110
As they ride by, they see Grace, with several assistants, deep into
preparations for an enormous feast. Robert E helps, lifting onto the stove
a big iron pot that none of the women could manage.
More waves.
EXT. MAIN STREET - DAY TEN
111
As the buckboard rounds the corner, everyone is all smiles and salutations.
It's a great day in Colorado Springs...
78.
INT. GENERAL STORE - DAY TEN
112
Sully enters and, to his relief, finds Loren alone behind the counter,
going over a ledger book. Loren looks up. Sully leans on the counter,
clearly not there to shop. Loren closes the ledger.
SULLY
I know this ain't been easy on you.
LOREN
(philosophical)
Aw, nothin' is, it seems.
SULLY
Well, I just wanted you to know that I 'preciate the past, 'fore I go
askin' you this favor.
LOREN
What favor?
SULLY
Dr. Mike doesn't have anybody to give her away today. She doesn't know I
know, but she asked her ma and her ma turned her down.
LOREN
Elizabeth did?
Sully nods, shrugs.
LOREN
That's a shame.
SULLY
(a beat)
I know it's askin' a lot, Loren, but I don't think Abigail'd begrudge it.
Another beat.
Her name's finally been spoken.
LOREN
No. She had a heart as big as the world, she did.
SULLY
She did.
Sully waits, as Loren ponders, then:
LOREN
I'll be honored to give Dr. Mike away.
(CONTINUED)
79.
CONTINUED:
112
SULLY
Thank you, Loren.
Sully holds out his hand.
Loren looks at it a beat, then grasps it.[
omit (113)
EXT. ]CEMETERY - DAY TEN
113A
Sully kneels at Abigail's grave, apart from any activity in the meadow.
takes his knife and ceremoniously cuts his braid off. He holds it out,
speaking low:
SULLY
I let this grow ever since the day you died.
Abigail... But now, I gotta move on.
He gently places it on the grave.
last time, then walks away.
He
It kept you with me,
A beat, then he stands, stares down one
80.
INT. RECOVERY ROOM (ELIZABETH'S) - DAY TEN
114
Elizabeth stands in front of a chest of drawers and mirror, fastening her
necklace. As she lowers her hands, she's finished and looks elegant. She
stares for a moment at herself in the mirror, seeming to look beyond her
appearance for something more... when there's a KNOCK at her door. She
turns away from the mirror.
ELIZABETH
Come in.
Loren enters, dressed in his finest for the wedding.
ELIZABETH
You look very dashing, Loren.
LOREN
You, too, Elizabeth.
ELIZABETH
Why, thank you.
Loren stands there, trying to figure out how to say what he's come to
say...
ELIZABETH
Something's on your mind.
LOREN
That's right. Has been for ten years.
(off her look)
I was fool enough not to even go to my daughter's weddin', and I've never
stopped regrettin' that I wasn't there to give my girl away.
She realizes what he's getting at.
ELIZABETH
Please...
LOREN
Don't make the same mistake I did, Elizabeth.
A beat, then she shakes her head.
ELIZABETH
You don't understand.
Another beat.
LOREN
No... Guess I don't.
(CONTINUED)
81.
CONTINUED:
He leaves.
114
Elizabeth looks back in the mirror, searchingly...
OMIT (115)
115
EXT. TRAIN STATION - DAY TEN
116
John and Brian, all dressed for the wedding, exit the passenger car, on
which all of the window shades are now drawn. Brian shares a look of
triumph with John, then they shake hands.
INT. RECOVERY ROOM (REBECCA'S) - DAY TEN
117
The room has been transformed into the bridal dressing chamber.
The regal
wedding dress brought by Elizabeth hangs on a special stand, at the center
of everything, the star of the scene. Mike stands like a mannequin in her
under garments, staring at it, as Rebecca, Dorothy and Colleen scurry
around, helping Mike into a corset, placing silk flowers in her hair and
attaching a bracelet to her arm, respectively. Elizabeth sits back, the
overseer. Marjorie stands in the b.g., looking on.
Mike turns her head to look sideways at the dress.
DOROTHY
Michaela, please don't move, I'm tryin' to...
But Mike steps forward, pulling the corset strings loose.
REBECCA
Michaela...
Mike reaches to touch the dress with the hand that Colleen is working on.
The bracelet falls to the floor.
COLLEEN
Ma...
But Mike is oblivious. Something's brewing, and the other women wait, as
Mike examines the dress like an unknown object. Finally, she turns to them
and announces matter-of-factly.
MIKE
This isn't my wedding dress.
Looks among the women -- What?
ELIZABETH
It was made especially for you and for you alone, with all of your
preferences...
(CONTINUED)
82.
CONTINUED:
117
MIKE
(interrupts, without rancor)
_Your_ preferences, Mother.
ELIZABETH
But you said yourself it's stunning.
MIKE
And it is.
Once again, trying to head off trouble.
REBECCA
(to Mike)
You did say you especially liked the lovely train on the skirt.
She holds it out. But then Marjorie holds out the puffy sleeves.
Rebecca, her look and tone a peace offering:
To
MARJORIE
But she also said she thought the top too flouncy and missed having lace
like the dress Dorothy made.
Rebecca holds Marjories's look a beat, then seizes the opportunity:
REBECCA
True.
MIKE
Dorothy, would you mind getting the dress you made?
Surprised, Dorothy looks to Rebecca and Marjorie, who both nod their
approval.
DOROTHY
Why, sure.
She hurries out, as this hits Elizabeth:
ELIZABETH
You are not wearing that dress!
MIKE
You're right, Mother, I'm not...
But I'm not wearing this dress either.
(CONTINUED)
83.
CONTINUED:
(2)
117
ELIZABETH
What nonsense are you talking?
(to Rebecca)
Reason with her.
REBECCA
It sounds as though Michaela is perfectly clear.
ELIZABETH
"Clear"? Clear about what?
MARJORIE
That she's going to wear _her_ wedding dress.
Mike smiles at her sisters, grateful for their understanding, hugs them
both. Elizabeth feels entirely excluded, exits abruptly.
INT. BARBER SHOP - DAY TEN
118
This is the place that's been designated for Sully to prepare.
He draws
the last of the shades and turns to look at the Boston tuxedo with tails,
hanging on a hook. He sits in the barber chair and contemplates it some
more. Finally, he spins around in the chair and goes to his pack roll,
undoes it and lifts up the beautiful wedding shirt that Cloud Dancing gave
him...
EXT. MEADOW - DAY TEN
119
The wedding decorations are complete, and the entire meadow has been
transformed into a chapel. People are already arriving.
Matthew, Horace,
Jake and Robert E wear ushers' suits and escort guests to their seats.
Loren is there, talking with Hank and the Reverend. Also Brian, with John.
Loren notices Elizabeth joining the growing crowd and breaks away to meet
her, offering his arm, which she gratefully takes. They begin to stroll
among the goings-on. Elizabeth surveys the setting.
ELIZABETH
It looks lovely.
LOREN
Sure does...
Boston.
And a lot of it's thanks to the things you brought from
She glances at him sideways.
(CONTINUED)
84.
CONTINUED:
119
ELIZABETH
Don't try to make me feel better, Loren Bray.
He shrugs.
A sudden commotion draws everyone's attention.
+CUSTER
120
has arrived, in full formal regalia.
LOREN
Aw, look. Dr. Mike and Sully ain't gonna like this.
him anyway?
Who the heck invited
ELIZABETH
(a beat)
I did... It seems I can't do anything right, can I?
And she breaks away to walk by herself...
INT. RECOVERY ROOM (REBECCA'S) - DAY TEN
121
Mike, Rebecca, Marjorie, Dorothy and Colleen are at work on the two wedding
dresses, disassembling them, switching pieces -- never quite revealing what
it will ultimately look like.
EXT. MEADOW - DAY TEN
122
Sully appears, wearing Cloud Dancing's wedding shirt over his tux pants.
Reactions ripple through the growing number of guests, but no one is nearly
as shocked as Elizabeth. He goes up to her.
SULLY
Please don't take it personal.
ELIZABETH
You may wish to reserve your apology.
Her eyes go to Custer.
Sully follows her gaze, sees him.
ELIZABETH
You can blame me for that, as well.
SULLY
(shrugs)
You didn't know.
(CONTINUED)
85.
CONTINUED:
122
He moves off to join Matthew and some others, leaving Elizabeth, moved by
his generosity of spirit.
INT. RECOVERY ROOM (REBECCA'S) - DAY TEN
123
The reconstructed dress now hangs ready to wear, but at an angle that still
prevents seeing it fully.
Mike's attendants -- Rebecca, Marjorie, Dorothy and Colleen -- sit her down
for this last moment of time-honored ceremony...
REBECCA
Something old...
Rebecca hands her a delicate lace handkerchief.
REBECCA
This handkerchief came all the way from Ireland with great Grandma Quinn.
She carried it on her wedding day.
Mike nods, moved.
A beat, then:
COLLEEN
Something new.
She presents her with a lovely pair of white satin pumps.
her, amazed.
Mike looks at
COLLEEN
(shrugs)
Bought 'em with my butter and egg money.
Mike chokes up.
A beat, then:
MARJORIE
Something borrowed.
Marjorie fastens a beautiful strand of pearls around Mike's neck.
MARJORIE
And I want them back.
Mike smiles through her tears.
A beat, then:
DOROTHY
Somethin' blue.
Dorothy presents her with a glorious bouquet of blue cornflowers with white
silk streamers, homespun and elegant all at once.
(CONTINUED)
86.
CONTINUED:
123
DOROTHY
Picked 'em myself.
Mike's tears spill over.
EXT. MEADOW - DAY TEN
124
The crowd is at maximum capacity, as the moment grows nearer.
+SUDDENLY
125
Matthew spots someone on horseback on the ridge overlooking the meadow.
nudges Sully to look.
+THEIR POV / CLOUD DANCING
He
126
has kept his word.
+BACK TO SCENE
127
Jake and the other townsmen follow their look and see Cloud Dancing start
his horse down toward the meadow. They all look to Custer, who's still
oblivious, but not for long.
Disaster is seconds away, when Jake picks up an empty wooden bench.
JAKE
Think this oughta go over here instead.
And just as Custer catches a glimpse of Cloud Dancing, Jake swings the
bench in a full arc, artfully clobbering Custer and knocking him out cold.
HORACE
Oh, my gosh.
Conspiratorial looks.
ROBERT E
Better get him to the clinic.
JAKE
Yeah.
Jake and Robert E quickly whisk him away, as people become aware of Cloud
Dancing riding toward them. Again, surprise, but since it's Mike's and
Sully's wedding, people expect the unexpected.
(CONTINUED)
87.
CONTINUED:
Cloud Dancing rides right up to Sully and dismounts.
127
They embrace.
INT. CLINIC - DAY TEN
128
Jake and Robert E deposit the unconscious Custer on the examining table,
tying him down with bandages.
EXT. MEADOW - DAY TEN
129
The organ MUSIC begins -- a prelude to the wedding processional. Everyone
turns to look. Crossing the bridge are the bridesmaids -- Colleen, Myra,
Ingrid, Marjorie and Grace. As they part, they reveal Dorothy and Rebecca.
EXT. MEADOW - DAY TEN
130
Jake and Robert E hurry back as inconspicuously as possible and take their
places next to Matthew, Horace and Jon at the aisle to the altar.
+NEW ANGLE
131
Now the actual wedding processional begins, and the women move
ceremoniously nearer, parting to take the arm of an usher -- Colleen and
Jon, Myra and Horace, Ingrid and Matthew, Marjorie and Jake, Grace and
Robert E -- until their pairings finally reveal...
+MIKE
132
... breathtaking in the stunning final version of the wedding dress.
+ELIZABETH
133
glows with pride, with love, as she watches Mike approach, and as she nears
and as Loren starts to step forward to take Mike's arm... Elizabeth stops
him. With a look, she takes his place, offering her arm to Mike.
Elizabeth walks her down the aisle...
+SULLY
134
takes his place at the altar with Cloud Dancing, watching Mike come toward
him.
88.
+AT THE ALTAR
Mike arrives on Elizabeth's arm.
Elizabeth steps back.
135
Mike takes her place at Sully's side, as
Mike and Sully exchange looks, then:
REVEREND
Dearly beloved: We have come together in the presence of God to witness
and bless the joining together of this man and this woman in Holy
Matrimony... The union of husband and wife in heart, body, and mind is
intended by God for their mutual joy; for the help and comfort given one
another in prosperity and adversity.
(a beat)
Into this holy union Michaela Quinn and Byron Sully now come to be joined.
If any among you can show just cause why they may not lawfully be married,
speak now; or forever hold your peace.
Reactions of the principals, then:
REVEREND
Who gives this woman to be married to this man?
ELIZABETH
I do.
Mike exchanges a look with her mother, before the latter now takes her
seat. The Reverend nods to Sully, who then takes Mike's hand in his.
REVEREND
Do you, Sully, take Michaela to be your wife, to have and to hold from this
day forward, for better for worse, for richer for poorer, in sickness and
in health, to love and to cherish, as long as you both shall live?
SULLY
I do.
(CONTINUED)
89.
CONTINUED:
135
REVEREND
Do you, Michaela, take Sully to be your husband, to have and to hold from
this day forward, for better for worse, for richer for poorer, in sickness
and in health, to love and to cherish, as long as you both shall live?
MIKE
I do.
The Reverend looks to Cloud Dancing, who produces the wedding band and
gives it to Sully.
REVEREND
Bless, O Lord, this ring to be a sign of the vows by which this man and
this woman have bound themselves to each other.
The Reverend nods to Sully, and he slips the ring onto Mike's finger.
Now, the Reverend takes each of their right hands and joins them.
REVEREND
Now that Michaela and Sully have given themselves to each other by solemn
vows, with the joining of hands and the giving and receiving of a ring, I
pronounce that they are husband and wife. Those whom God has joined
together, let no man put asunder.
CROWD
Amen.
REVEREND
You may now kiss the bride.
Sully turns to Mike and kisses her to the joyful CHEERS of the gathering,
at which point, Cloud Dancing quietly steps back and slips away into the
brush. Both Mike and Sully sense something and break apart to look back,
beyond the Reverend, catching a glimpse of Cloud Dancing riding off. They
look at one another with concern, as the crowd continues to cheer...
FADE OUT.
_END ACT SIX_
_ACT SEVEN_
FADE IN:
EXT. MEADOW / DANCE PLATFORM - DAY TEN
136
The guests are all gathered around the dance platform, where a SMALL BAND
strikes up a waltz. Sully leads Mike, flushed and radiant, solo around the
floor for the first few turns, then the Reverend invites Elizabeth to
dance, and they're subsequently joined by Loren and Dorothy, Matthew and
Ingrid, Horace and Myra, Grace and Robert E, Rebecca and Jake -- Hank and
Marjorie -- among others...
DISSOLVE TO:
EXT. MEADOW / BUFFET TABLES - DAY TEN
137
Between Elizabeth's elegant dining ware and Grace's cooking, it's an
impressive spread.
Just before everyone digs in, Loren taps a glass for attention and raises
his own glass for a toast...
DISSOLVE TO:
EXT. MEADOW - DAY TEN
Everyone eats and drinks heartily.
INT. CLINIC - DAY TEN
138
Lots of rowdy fun and laughter.
139
Jake enters to find Custer struggling against his bonds, goes to untie him.
CUSTER
Where in damnation have you been?!
JAKE
Sorry, General.
I've been yelling for over an hour!
With the weddin' music, 'fraid nobody could hear you.
CUSTER
What am I doing tied up here?!
(CONTINUED)
91.
CONTINUED:
139
JAKE
(still untying)
Well, you got hit in the head right 'fore the ceremony -- by accident
'course -- and we brought you here to rest, but we figured it was best to
tie you so's you wouldn't go fallin' off and hurtin' yourself worse.
Custer gets free, jerks to his feet, though his head is pounding.
CUSTER
I saw the Indian.
JAKE
Beg your pardon?
CUSTER
The Indian.
I saw him.
JAKE
(shakes his head)
You took a pretty nasty hit there, General.
CUSTER
I know what I saw, and I know Mr. Sully is in on it.
Custer grabs his hat, puts it on, careful of the pain.
CUSTER
You aren't in on it, too, are you, Mr. Slicker?
A beat, as fear threatens to get the best of Jake, but finally:
JAKE
Don't know what you're talkin' 'bout, General.
CUSTER
And I'm sure no one else in town will either, correct?
JAKE
Like I said...
CUSTER
(cuts him off)
If Mr. Sully thinks he can get away with this, he'll soon learn otherwise.
(CONTINUED)
92.
CONTINUED:
(2)
139
He's exits to...
EXT. CLINIC - DAY TEN
140
... as Jake follows and watches Custer mount up and ride out of town.
then heads back to the meadow and the wedding festivities.
EXT. MEADOW - DAY TEN
Jake
141
A PHOTOGRAPHER has his equipment set up in front of the altar.
He has the
wedding party posed perfectly still, goes behind his camera hood and the
flash pot goes off...
DISSOLVE TO:
EXT. MEADOW / BUFFET TABLE - DAY TEN
142
With a FLOURISH from the violin and viola, wedding cake is carried by
Robert E and Matthew and placed on the table to GASPS from the crowd.
Grace stands by proudly. Elizabeth puts a congratulatory hand on her
shoulder, as Mike and Sully are led up by Colleen to cut the cake. Hand
over hand, they make the first slice, to the APPLAUSE of the guests...
DISSOLVE TO:
EXT. MEADOW / DANCE PLATFORM - DAY TEN
The MUSIC becomes louder, rowdier.
143
More dancing, more raucous.
The string quartet is joined by banjo, guitar and harmonica players, and
urged into a more up-tempo tune -- the violin transformed to a fiddle.
+MONTAGE OF MIKE
144
swirling around with various partners, first the Reverend, then Matthew,
then Loren, ending with...
+SULLY
145
... as they laugh and careen around the floor, until Sully is distracted by
something below eyeline. He glances down. It's...
93.
+BRIAN
... tapping on his back, cutting in.
off with her youngest.
146
Sully relinquishes Mike, who waltzes
Sully turns and unexpectedly comes face-to-face with Elizabeth,
partnerless. A beat, then he smiles and offers his hand. She takes it and
they dance off into the crowd...
DISSOLVE TO:
EXT. MAIN STREET - DAY TEN
147
The entire wedding crowd makes its way through town, following a horsedrawn, painted-white wedding buggy with Mike and Sully in it. They're
showered with rice.
The buggy turns the corner, heading toward the train station.
EXT. TRAIN STATION - DAY TEN
148
The buggy arrives at the platform, where the train sits, all steamed up and
ready to go.
+JOHN
149
is in the locomotive.
+BRIAN
150
waves to him excitedly, their conspiracy on the verge of fulfillment.
+SULLY
151
hops down from the buggy, helping Mike out.
Everyone in the wedding party is there. Elizabeth steps forward with the
wedding bouquet and gives it to Mike. They embrace. Then hugs all around
for Mike -- Rebecca, Marjorie, Dorothy, Myra, Grace, Ingrid -- while the
men all shake hands with Sully -- Horace, Loren, Jake, the Reverend, Hank - except for Robert E, who gives him a bear hug.
Mike prepares to throw the bouquet.
around.
All of the unmarried women gather
+MIKE
152
turns her back and ceremoniously tosses the bouquet high over her head.
sails through the air. Dozens of hands reach up to grab it.
It
94.
+REBECCA
153
pushes Marjorie into the bunch of women at the last moment, and...
+SWISH
... the bouquet falls directly into Marjorie's hands.
she laughs, in spite of herself.
154
Everyone CHEERS, and
John climbs down from the locomotive and goes to where Mike's and Sully's
luggage sits. He gives Brian a "thumbs up" sign, and Brian returns it,
joining Mike and Sully, taking each of their hands and pulling them toward
the passenger car. John follows with the luggage.
They must push their way through the throng of well-wishers -- more hugs,
kisses and tears -- until they reach the train door.
Brian pulls them on
board, followed by John and family and friends.
INT. PASSENGER CAR - DAY TEN
155
Mike and Sully step inside to be amazed at the sight of...
+THEIR POV OF CAR
156
... not a normal, many-seated railcar, but that which could pass for a
honeymoon suite in the finest of hotels -- draperies and rugs, plants and
flowers, plus Mike's new wing-back chairs and Sully's carved bed.
Everyone gathers in behind them, equally amazed. John busily raises the
many blinds, so that everyone can get a good look.
JOHN
(announces)
Brian did it.
Everyone's impressed, congratulatory.
MIKE
So this is what you were up to.
BRIAN
Yep.
Sully gives him a hug.
SULLY
Nice work, pal.
MIKE
What a wonderful surprise.
(CONTINUED)
95.
CONTINUED:
156
She embraces him.
ELIZABETH
I suggest we all allow these newlyweds to be on their way to Denver.
Reluctant MURMURS of agreement. More hugs, culminating with Mike clasping
Matthew, Colleen and Brian to her, Sully at their side.
MIKE
We'll miss you very much, but the two weeks will fly by in no time.
COLLEEN
Don't worry 'bout us.
and Aunt Marjorie.
We got plenty planned with Grandma and Aunt Rebecca
Mike looks up at her mother and sisters.
MIKE
Thank you.
A beat, then:
ELIZABETH
Come along, now, everyone.
She herds them all off the train.
EXT. TRAIN STATION - DAY TEN
157
The train starts to pull out of the station, a large "JUST MARRIED" banner
draped across the rear and lots of tin cans tied on, CLANKING along the
tracks. The crowd waves wildly, some still throwing rice.
Mike and Sully wave from the rear platform.
John gives the train WHISTLE celebratory bursts.
+FAMILY AND FRIENDS
158
wave and watch the train recede, each with their own particular blessing
gained from this wedding...
INT. HONEYMOON CAR - DAY TEN
159
Sully closes the drapes on the rear window, leaving him alone with Mike at
last. He takes her into his arms and kisses her.
(CONTINUED)
96.
CONTINUED:
159
As they part, he sweeps her up into his arms and carries her to the bed,
placing her on it gently. He sits beside her, kisses her again, more
passionately, leaning back with her. He begins unfastening the clasps on
her gown. She responds, but as she realizes where this is headed:
MIKE
Sully?...
SULLY
Um?...
MIKE
It's not even dark yet.
He looks around at the open windows, then back at her and smiles.
SULLY
But it's gettin' darker.
She looks puzzled, as he gets up. He pulls down a shade, then turns and
gives her a kiss. Another shade, he unbuttons another clasp. Another
shade:
SULLY
Darker and darker.
She smiles, as this game continues with Sully orchestrating clever moves
around the car. Her smiles turn to laughter until he reaches the last
shade, next to the bed. He gives her a playful look, but before he can
pull it, she leans forward, grasps the tassle and pulls it down herself. A
look between them, then he goes into her arms, lowering her to the bed,
kissing her deep and long, through the blasts of the train WHISTLE, through
the lurch of the train as it accelerates -- a kiss to end all kisses.
EXT. COUNTRYSIDE - SUNSET (STOCK)
A silhouette of the train as it heads off into the distance...
159A