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TRANSCRIPT:
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TEASER
FADE IN:

EXT. CHURCH MEADOW - DAY ONE
After Sunday service. A bright, sunny morning. Many have already dispersed into the meadow, laying out their picnics, children starting up games.

Some still linger at the base of the church steps, including Loren and Jake.

MIKE, COLLEEN and BRIAN head toward the meadow. MATTHEW and Ingrid are right behind them, absorbed in each other's company.

Brian spots SULLY in the background, kneeling before Abagail's cross and the smaller cross just next to it.

BRIAN
(to Mike) Can Sully have lunch with us?

MIKE
Of course.

Brian takes off running toward the cemetery. Mike calls after him...

MIKE
(continuing) Brian, don't interrupt...

...but he's oblivious. Her eyes follow him, coming to rest on...

MIKE'S POV CEMETERY / SULLY - DAY ONE
...engaged in his own private prayer.

ANGLE / ABAGAIL'S GRAVE - DAY ONE
Brian rushes up noisily, drawing a look from Sully.

BRIAN
Sorry.

SULLY
(stands) I'm done.

BRIAN
Wanna have lunch with us?

SULLY
Sure... I'd like that.

They start walking toward the others. Brian looks back at the graves.

BRIAN
How come you go there every Sunday?

SULLY
I made a promise.

That's explanation enough for Brian. He nods.

BRIAN
Gotta keep promises.

Sully nods, too.

SULLY
That's right.

ANGLE / PICNIC - DAY ONE
Mike and Colleen have spread out their quilt and, with Matthew's and Ingrid's help, are laying out the contents of the basket, as Sully and Brian approach. Suddenly:

HORACE (O.S.)
Dr. Mike!

Everyone looks to see...

MEADOW POV / HORACE - DAY ONE
...running full-out from the telegraph office, waving a telegram in his hand.

HORACE
(continuing) Dr. Mike!

Mike gets up, along with Sully and the kids, Matthew and Ingrid, as people gather around.

ANGLE PICNIC - DAY ONE
Horace runs straight up to Mike, then stops abruptly. Now that he's there, he wishes he wasn't.

MIKE
(concerned) What is it, Horace?

He can't find the words.

MIKE
(continuing) Horace?

Finally, he just holds the telegram out to her. She takes it and reads, blanching as she does.

MATTHEW
What's it say, Ma?

But Mike can only shake her head, re-reading to herself, then handing it to Colleen.

COLLEEN
(reads) "Urgent. Come at once. Mother is gravely ill. Your loving sister, Rebecca.

Looks and murmurs all around. OFF MIKE...

FADE OUT:

END TEASER
ACT ONE
FADE IN:

EXT. TELEGRAPH OFFICE - DAY TWO
Mike pulls into town in the wagon, the children all with her. Horace comes outside, as Mike drives by and hitches the wagon nearby.

BRIAN
(to Horace, excitedly) We're goin' to Boston!

COLLEEN
Grandma's sick, Brian.

Brian's tone turns guiltily somber:

BRIAN
We're goin' to Boston.

HORACE
(to Brian) I know. (to Mike) I booked you the four tickets on tomorrow's stage.

MATTHEW
Four?

MIKE
(over her shoulder) Thank you, Horace.

EXT. CLINIC - DAY TWO
Mike climbs down and goes to the wagon bed, intent, preoccupied. She picks up a small bundle of packages and hands them to Brian.

MIKE
Please take these over to Grace. They're plasters for Robert E's back in case it acts up while we're away.

Brian goes off to do that. Mike picks up a somewhat larger bundle and places it in Colleen's arms.

MIKE
(continuing) These are some things Myra might need, everything from bandages for fist fights to... (catches herself) ...well, just take them on over for me, please.

Colleen heads across the street.

MIKE
(continuing) Matthew, you and I'll take the rest to Jake.

She picks up one of the two larger remaining bundles and starts off. He grabs the other and hurries to fall in step beside her.

ANOTHER ANGLE / STREET / MOVING - DAY TWO
MATTHEW
Why'd you get four tickets?

MIKE
Because there are four of us.

MATTHEW
But I can't go to Boston.

MIKE
Why not?

MATTHEW
I got work to do.

MIKE
Nothing that can't wait.

MATTHEW
What about the homestead?

MIKE
I'll ask Sully to look after things for us.

They cross the street toward the barbershop.

MATTHEW
But I shouldn't leave Ingrid.

MIKE
You mean you don't want to leave Ingrid, and I understand. But I need your help, Matthew... Sometimes you have to do things in life that you don't necessarily want to do. (with finality) And I'm afraid this is one of those times.

She mounts the steps to Jake's and looks down at Matthew, who's stopped at the base. Her expression both begs and insists that he not argue. A beat. He doesn't. He follows her up the Steps.

INT. CABIN - DAY TWO
Mike's travel trunk sits open, empty, in the middle of the room, her suitcase likewise on the table next to it. Sully is there with Wolf, as Mike and the children go through their clothes boxes. Mike is still behaving mechanically.

MIKE
(to Sully) I want to thank you for agreeing to watch over the homestead while we're away.

SULLY
Like I said, it's no bother. Glad to do it.

MIKE
And you'll be sure to say goodbye to Cloud Dancing and Snow Bird for us?

SULLY
I promised.

BRIAN
Sully keeps his promises.

MIKE
Of course he does.

Mike folds one of her original Boston outfits. Her hands linger over the dress, the memories of her arrival, the magnitude of change in her life in less than a year.

COLLEEN (O.S.)
Dr. Mike?

Mike looks up. Colleen holds up a nice calico dress, the sort she'd wear to church.

COLLEEN
Is this good enough?

MIKE
It's very nice, but... what about the dress you made for Christmas?... or your Founders' Day dress? I think they're more appropriate for Boston.

COLLEEN
But they're my fanciest and the only two I got.

MIKE
Have. The only two I have.

Colleen exchanges a look with Matthew. He hands Mike his suit.

MATTHEW
Well, this is the only suit I "have", and the pants're highwater on me.

MIKE
Martha will let them down.

COLLEEN
Who's Martha?

MIKE
Mother's chambermaid.

As Brian tries to sneak some old overalls into the suitcase, Mike intercepts, her voice brittling.

MIKE
(continuing) I told you, you can't take those, Brian.

BRIAN
But they're my favorite.

MIKE
The knees have patches.

BRIAN
So?

MIKE
(tosses them aside) So no patched trousers in Boston.

BRIAN
Do I gotta wear my suit all the time?

MIKE
(raises her voice) Have to wear my suit. Have to!

Suddenly, she breaks, tears welling, as it finally hits her. She gets up and runs from the cabin. Brian and Colleen start after her, but Matthew holds them back. He looks to Sully, who follows her outside...

EXT. HOMESTEAD - DAY TWO
...where she sits on the steps, weeping into folded arms. Sully tentatively puts his hand on her shoulder, and she turns and wraps her arms around him, sobs deeply. He holds her, strokes her hair, waits patiently... until she calms enough to speak.

MIKE
My mother's never had a sick day in her life.

She looks up at Sully, trying to wipe her eyes.

MIKE
(continuing) She's always been the strong one in the family.

SULLY
You're every bit as strong.

She shakes her head in a moment of self-doubt.

MIKE
I don't think so.

SULLY
Then you're not thinkin' clear. You're just worryin'.

MIKE
You're right. I am worried, but not only about Mother -- about going home. I mean to Boston. This is my home now, but...

SULLY
Where we're born's always got some kinds pull on us, whether we like it or not.

She nods, thoughtful.

MIKE
Where were you born, Sully?

SULLY
Nowhere.

She stiffens, pulls away.

SULLY
(continuing) No, wait. It's true. I was born on a ship somewhere 'tween England and America. I don't know where. I don't even know the name of the ship. Honest.

MIKE
And your parents?

A beat. He doesn't want to talk about this, but he knows she needs him to.

SULLY
They were just regular folk.

MIKE
Were?

SULLY
My Pa died 'fore I can remember. My ma said all he knew was farmin', so when they got to New York and he had to work odd jobs away from the land, his heart just gave out. She always said "was the city done broke it."
MIKE
What happened to her?

SULLY
She drowned in the Hudson River.

A beat indicates the questionable circumstances of the death. Sully's grateful that she doesn't press.

SULLY
(continuing) I was ten. That's when I headed west.

MIKE
All by yourself?

SULLY
That's right... Just like you did. All by yourself.

They share a look of recognition, connection.

EXT. GENERAL STORE - DAY THREE
The stagecoach is loading. Mike's and the children's luggage is already up top. They stand next to the open door, surrounded by Sully, Loren, Horace, Ingrid, the townsfolk, and many of Brian's and Colleen's classmates.

Jake and Hank both keep an eye on the proceedings from the porches of their respective establishments.

At the coach, there's a lot of hugging and well-wishing. Loren produces some tins of sweets.

As the time comes to board the coach, the good-byes begin, more hugs, some tears now. Ingrid and Matthew hold each other, devastated at the prospect of separation as only first loves can be. Ingrid cries openly. Matthew kisses her, then steels himself and joins Mike and the children, climbing into the coach, closing the door behind them. As the driver takes up the reins and hails the horses into motion, Mike and the children lean out the windows, waving. The townsfolk and Sully wave.

ON MIKE
as her eyes come to rest on him. She waves her last wave to him, just before the coach rounds the corner and is gone...

DISSOLVE TO:

EXT. TRAIN / MOVING - DAY FOUR
Mike is framed in the window of the moving train. She looks thoughtful, as does Matthew beside her. Across from them sit Colleen and Brian, his face pressed to the window, fascinated by the passing landscape...

INT. TRAIN / MOVING - DAY FOUR
BRIAN
Look, Ma! Nothin' but grass, far as the eye can see! No mountains or trees or nothin' for two whole days!

...however monotonous it might be.

EXT. PLAINS (STOCK SHOT) / BRIAN'S POV - DAY FOUR
Just as he said, nothing but flat, seemingly endless prairie rolling by.

INT. TRAIN / MOVING - DAY FOUR
BRIAN
It sure don't look like Colorado.

MIKE
(gazing out) No, it certainly doesn't. (more to herself) Nothing does.

DISSOLVE TO:

INT. BOSTON TRAIN STATION - DAY FIVE (STOCK SHOT)
An enormous arched terminal. Trains departing and arriving with all the attendant activity and commotion.

EXT. BOSTON TRAIN STATION - DAY FIVE
The bustle of this eastern big city is a startling contrast horse-drawn carriages crowding the entrance to the train station, porters hurrying to-and-fro pushing cartloads of baggage, well-dressed passengers coming and going. Coats indicate the briskness of the fall weather even though the sun shines brightly.

ANOTHER ANGLE
An elegant carriage is among those waiting, and a couple in their early forties, MARJORIE and her henpecked husband, Everett (extra), stand beside it. Marjorie scans the crowd, looking for...

MIKE AND THE CHILDREN
...and spotting them as they exit the station.

MARJORIE
(to Everett) There she is. (waves, calls out) Michaela!... (louder) Michaela!

Across the throng, Mike hears her name, looks, sees Marjorie and waves back, pulling the children and the porter in the right direction.

IN THE FOREGROUND
Marjorie watches them approach. Everett hovers at her elbow.

MARJORIE
(continuing) Look, Everett. Rebecca was right. She brought them with her... My, they are rough-hewn.

As Mike and the kids draw nearer:

MARJORIE
(continuing) Thank goodness Mother has already met them, so it won't be such a shock.

As now they're nearly upon them, Marjorie's tone shifts, and she goes to Mike with open arms, embracing her.

MARJORIE
(continuing) Michaela!

Mike tries her best to feign warmth toward Marjorie, but it's clear there's no positive emotional history between these women.

MIKE
Marjorie. It's good of you to come for us.

MARJORIE
Don't be silly.

MIKE
(to both Marjorie and Everett) Please meet my children -- Matthew, Colleen and Brian. (to kids) This is my sister, your Aunt Marjorie, and her husband, your Uncle Everett.

Everett nods.

MARJORIE
How do you do?

BRIAN
Fine, thanks. How's Grandma?

She looks to Brian...

MARJORIE
Well...

...then to Mike.

MARJORIE
(continuing) Perhaps we should go home to Mother's and get you all settled.

MIKE
Actually, we'd all like to see Mother as soon as possible.

MARJORIE
Surely, you'd like to freshen up first...

MIKE
I appreciate your concern for our hygiene, Marjorie, but Rebecca's telegram said urgent, and it's already taken us five days, so we'd like to stop at the hospital first, if you don't mind.

MARJORIE
(a beat) Mind? Now, why on earth would I mind?

She turns to the porter, gestures to the rear baggage compartment, then tersely:

MARJORIE
(continuing) Put it in the boot.

MIKE
(to porter) Please.

A look between the sisters.

INT. CARRIAGE / MOVING - DAY FIVE
Mike sits on one side between Colleen and Brian. On the opposite side, Marjorie sits between Everett and Matthew, who's opposite Brian.

Brian is amazed by the kaleidoscope of new images flashing by outside, as is Colleen. Even Matthew can't help but be impressed.

EXT. VARIOUS STOCK SHOTS OF PERIOD BOSTON LANDMARKS
BRIANIS POV / STREET / MOVING - DAY FIVE
Grand old buildings, bright storefronts -- one a dazzling corner confectioner's shop.

INT. CARRIAGE / MOVING - DAY FIVE
BRIAN
(to Matthew, points) Look!

Matthew glances out listlessly, unseeing. Brian cranes to look back, but the carriage turns.

BRIAN
(continuing; to Matthew) You missed it! It was a whole store with nothin' but candy!

Colleen looks out her side of the carriage, equally astonished, but by an altogether different building.

COLLEEN'S POV / CITY LIBRARY - DAY FIVE
An impressive structure, granite with gold leaf detailing. People come and go, carrying books under their arms, in satchels.

INT. CARRIAGE / MOVING - DAY FIVE
Colleen's attention is drawn back inside when...

MIKE
(to Marjorie) What exactly is Mother's diagnosis?

Marjorie looks at the children uncomfortably.

MARJORIE
Something about her liver... I'm sure the doctors will explain everything.

OFF MIKE
INT. HOSPITAL ROOM - DAY FIVE
Mike's mother, ELIZABETH, lies in bed in nicely-appointed private quarters, not your average hospital room. She looks sallow and weak, as two doctors attend her, while her oldest daughter, REBECCA, fifty, holds her hand.

The elder doctor, DR. JOHN HANSON, is discreetly palpating her sheet-covered abdomen. His junior partner, DR. WILLIAM BURKE, observes and comforts her when she moans, in spite of her determination not to.

WILLIAM
So sorry, Mrs. Quinn.

She waves away his apology, ashamed at having shown her pain. Doctor Hanson pulls the blankets back up, shoots a knowing look at William, when they're interrupted by a KNOCK at the door.

DOCTOR HANSON
Come in.

The door opens and Marjorie barges in, followed by Everett, then Mike and the children.

ELIZABETH
(surprised) Michaela...

Brian runs up to the bed aid takes her free hand.

BRIAN
Hey, Grandma.

Mike hugs her mother and the children follow suit. Elizabeth's expression shows as much pleasure as she's able to experience in her debilitated condition.

ELIZABETH
Now, who dragged Michaela and these poor children all this way for nothing? I'm perfectly well. Just a little digestive...

REBECCA
I sent for them, Mother, because...

ELIZABETH
(to children, good-naturedly) Because Rebecca has no idea what an appalling trip it is.

Mike moves to put an arm around Rebecca. There's genuine warmth between these two.

MIKE
Because Rebecca knew we'd want to be with you.

BRIAN
(to Elizabeth) Same as you when Ma was sick with the 'fluenza.

ELIZABETH
Ah, yes. That time you... (indicates Matthew) ...were the telegram culprit.

He shrugs, manages a smile.

MARJORIE
(to Mike, interrupting) These are mother's doctors, Michaela.

Mike turns to face...

MARJORIE
(continuing) Doctor John Hanson and Doctor William Burke.

...and offers her hand to shake.

MIKE
Doctor Quinn.

Doctor Hanson nods politely, but William takes her hand, fascinated.

WILLIAM
A pleasure.

MARJORIE
I think Mother's had enough excitement for now...

ELIZABETH
I told you I'm perfectly well.

DOCTOR HANSON
Your daughter's quite right, Mrs. Quinn. You need your rest.

REBECCA
We'll be back first thing in the morning, Mother.

She kisses Elizabeth's cheek.

MIKE
Yes, first thing, Mother.

She, too, kisses Elizabeth's cheek. Marjorie follows, but with a more perfunctory peck. Mike gathers the children ahead of her, as they all file out.

BRIAN
(over his shoulder) See you tomorrow, Grandma.

He waves. Elizabeth smiles and, with effort, waves back.

INT. HOSPITAL CORRIDOR - DAY FIVE
William is the last out, closing the door gently.

MIKE
(to Rebecca) Would you mind going ahead with the children? I'd like to speak with the doctors for a moment.

Rebecca is respectful of Mike's professional status, even admires her for it.

REBECCA
Of course.

She and the children start down the corridor, followed by Everett, then Marjorie.

MARJORIE
(pointedly) We'll be waiting.

Mike waits for her family to walk out of earshot.

DOCTOR HANSON
We're in a bit of a hurry, Miss Quinn.

MIKE
Doctor Quinn. And before you leave, I'd like to discuss my mother's condition as one physician to another.

WILLIAM
(quickly) Of course.

This draws William a look from Hanson, but he opens the door for Mike.

MIKE
No one has yet to even give me a diagnosis.

DOCTOR HANSON
Cancer of the liver. But then I've been over all this with your brother-in-law.

MIKE
Who is a banker, not a doctor. Now, exactly what presenting symptoms led you to your determination?

DOCTOR HANSON
The usual. Jaundice. Swelling. Pain on inverse palpation. Various signs of systemic toxicity.

MIKE
Such as?

DOCTOR HANSON
(impatient) Unnatural accumulation of body fluids. Inability to take solid foods.

Mike takes it all in, thinking, assessing.

MIKE
I'd like to examine her myself, with your permission, of course.

Hanson flushes red, about to object, when:

WILLIAM
Doctor Hanson has always taught me that a second opinion can be most valuable.

Hanson flashes William an angry look.

DOCTOR HANSON
(to Mike) Good day.

He strides off down the corridor. William lowers his voice.

WILLIAM
Come before nine o'clock tomorrow morning. I'll bring your mother's chart.

She's struck by both his respect and kindness.

MIKE
Thank you, Doctor Burke.

She offers her hand again. He shakes it.

WILLIAM
Doctor Quinn.

DOCTOR HANSON
(from down the hall) Doctor Burke!

William holds her hand another beat, before letting go and following Doctor Hanson. Mike stares after him a beat, then turns and walks the opposite direction down the hospital corridor...

FADE OUT:

END ACT ONE
ACT TWO
FADE IN:

EXT. BEACON HILL / FAMILY HOME - DAY FIVE
Marjorie and Everett's carriage pulls up to a large, elegant townhouse on one of the nicer streets in this wealthy neighborhood. Everett is first out, helps his wife, then Rebecca, Mike and the children from the coach. The children are again awed by the size and elegance of their grandmother's house. The driver unloads their luggage from the boot. Matthew tries to take one of the suitcases, but HARRISON, the butler, quickly takes it from him. Matthew's surprised, certainly not used to being waited on, as Harrison picks up other bags.

INT. FAMILY HOME / FOYER - DAY FIVE
Marjorie breezes in, immediately giving instructions to Harrison and the chambermaid, MARTHA, as the others follow her through the front door, the driver bringing up the rear, lugging the travel trunk on his back.

MARJORIE
Harrison, see to it that this luggage gets upstairs immediately, and, Martha, see to it that everyone is shown right to their rooms.

Harrison jumps at her command, but Mike interrupts with a formal, but warm hug, causing him to put down the luggage.

MIKE
Hello, Harrison. (turns to the maid) Martha... (another hug) It's good to see you both.

HARRISON
And a pleasure to see you, Ma'am.

MARTHA
(re children) Yes, Ma'am... And are these your young ones the missus talks about?

COLLEEN
(pleased) Grandma talks about us?

MARTHA
She certainly does.

This pleases them all, even Matthew.

MIKE
Harrison, Martha, this is Matthew, Colleen and Brian.

MARJORIE
(pointedly) Who are no doubt exhausted and would like to rest.

Harrison goes back to the luggage, while Martha shows the way upstairs. The children follow.

REBECCA
(to Mike) We'll be back for supper.

MIKE
And Maureen and Claudette?

REBECCA
Oh, yes. In fact, they sent their regrets at not being able to greet you, but household affairs didn't allow...

Rebecca trails off, simply no good at lying, even white lies to prevent hurt feelings.

MIKE
Don't worry, Rebecca.

BRIAN
Who's Maureen and Claudette?

MIKE
My sisters.

BRIAN
Boy, how many you got, Ma?

MIKE
(smiles) Just four.

Rebecca smiles too, but Marjorie interrupts abruptly, to Mike:

MARJORIE
We'll see you later.

She and Everett are out the door. A look between Mike and Rebecca, then she follows them out and Mike follows the children up the staircase.

INT. UPSTAIRS HALLWAY - DAY FIVE
Martha leads the way, then Mike and the children, with the luggage bringing up the rear.

MARTHA
(to Mike) Would you be wanting your old room, Ma'am?

MIKE
Is it the same?

MARTHA
Just the same.

MIKE
Then, no, Martha, I think Colleen would enjoy it more than I, don't you?

Martha smiles and nods, stopping at a door and opening it, ushering Colleen inside...

INT. MIKE'S OLD ROOM - DAY FIVE
...where she's awed by the perfection of every girl's dream room -- white French lace canopy bed, matching curtains on a bay window seat, an antique vanity with perfume bottles, a crackling fireplace.

COLLEEN
This was really yours?

MIKE
Um hum.

Mike puts an arm around Colleen's shoulder, taking in the loveliness herself, remembering.

INT. DINING ROOM - NIGHT FIVE
A large room with sideboards prepared for dinner service. A table, fully set, runs nearly the length of the room and seats seventeen, with one seat at the head of the table conspicuously empty. Mike's two sisters Rebecca and Marjorie, their husbands and various children, ranging in age from twelve to twenty-two are there; Maureen and Claudette are absent.

INT. FOYER - NIGHT FIVE
Mike and the children hesitate at the entrance to the dining room. They're all dressed in their very best, but both Brian's and Matthew's suits are plain and out of style, plus the latter's pants are three inches above his ankles. Likewise, Colleen's dress is short on her. Mike's dress is proper, but faded from wear. She looks them all over, smoothing Brian's hair, straightening Colleen's collar, ignoring Matthew's pants.

MIKE
You all look very nice. Everything's going to go wonderfully. I mean, we're all family, right?

She turns and enters the dining room with a flourish and -- wrong. A condescending, judgmental hush falls over the "family"... except for Rebecca, who stands and manages a smile, in spite of the lack of support around her. She lifts a water glass in toast.

REBECCA
May we all welcome Michaela home and make her children feel as though they have always been and shall ever more be a part of our family.

The expressions range from reluctance to distaste, but all are condescending. Dutifully, they follow Rebecca's lead, raising their glasses.

ON MIKE AND THE CHILDREN
Feeling decidedly out of place. Mike puts her arms around them protectively, then looks to Rebecca and nods her appreciation.

INT. HOSPITAL - DAY SIX
Mike walks along a corridor, turns the corner and is greatly relieved to see...

MIKE'S POV / WILLIAM - DAY SIX
...waiting by her mother's door, a file under his arm. His face spontaneously lights up at the sight of her.

INT. HOSPITAL - DAY SIX
She joins him at the door.

MIKE
I can't tell you how much I appreciate this, Doctor Burke.

WILLIAM
Actually, we owe you an apology, Doctor Quinn. Doctor Hanson would normally be agreeable to consultation, but... well... he adheres to the old school of thought...

He trails off.

MIKE
That women shouldn't be doctors.

WILLIAM
Mind you, I hold no such belief.

She's charmed by his tact and humility.

MIKE
No, I can see that.

She holds his look for a moment, then knocks gently on her mother's door.

INT. HOSPITAL ROOM - DAY SIX
Mike and William enter. Elizabeth is awake, but even paler than the previous day, her voice wispier.

MIKE
Mother?

ELIZABETH
Michaela... Doctor Burke.

WILLIAM
Mrs. Quinn, I've asked your daughter to give a second opinion in your case, if you don't mind.

Mike looks to him with gratitude. Elizabeth looks from him to Mike and back to him, then nods. Mike takes her mother's chart, opens it and scans it quickly, then places it at the foot of the bed.

MIKE
I'm going to have to examine you, Mother.

Elizabeth makes no protest, so Mike pulls the blanket down and, through the sheet, palpates her mother's upper abdomen.

MIKE
(continuing; to William, lowered voice) The liver is enlarged, but I don't feel any tumor.

WILLIAM
Doctor Hanson believes it must be on the lateral side of the liver.

Mike probes further. Elizabeth winces.

MIKE
I'm sorry this is painful, Mother, but I need to know which is worse -- when I press in... (she does) ...or when I let go --

She lifts her hand away suddenly. Her mother cries out involuntarily. Mike and William exchange a significant look, then:

MIKE
(continuing) I recall that you like oysters, don't you, Mother?
ELIZABETH
What on earth does that have to do with anything?

MIKE
Do you eat them often?

ELIZABETH
Yes, but I don't see...

She's interrupted by the door opening and Doctor Hanson walking in.

DOCTOR HAMSON
What's going on here?

MIKE
A medical examination, Doctor Hanson. And a diagnosis.

He sees the open chart, grabs it and slaps it shut angrily.

DOCTOR HANSON
Doctor Burke?

MIKE
Dr. Burke was kind enough to afford me the professional courtesy I'm due as a physician, and I'm afraid I differ with your diagnosis of my mother's condition.

ELIZABETH
Michaela, you have no right to contradict Doctor Hanson.

MIKE
Yes, I do, Mother. Especially when your life depends on it. (to Hanson) I believe she's suffering from Hepatitis.

DOCTOR HANSON
Absurd. A disease of the poor and unclean.

MIKE
But a recent article in a French medical journal also links it to certain seafoods, oysters in particular.

A look from Elizabeth to Doctor Hanson. And a lightbulb goes on in William's head.

DOCTOR HANSON
Ridiculous.

WILLIAM
(to Hanson) No... Actually, I read the same article. It was very well documented, Sir.

MIKE
My point is, I have a treatment for liver detoxification. It's not commonly known, but I've discovered it in my new practice.

DOCTOR HANSON
Oh, you've discovered a liver cure-all, have you? Some sort of "snake oil" or "patent medicine" is it? I hear there are plenty of quacks selling such things out West.

MIKE
I didn't buy it. It's a fermented tea that flushes the liver. It's a proven cure hundreds of years old. (a beat) I learned of it from the Cheyenne Indians.

This warrants a look of surprise even from William.

DOCTOR HANSON
Good Lord!

ELIZABETH
Michaela! Your father would be ashamed of you talking such mumbo jumbo!

MIKE
But, Mother...

Elizabeth collapses back onto her pillow from the exertion.

ELIZABETH
Just leave me alone.

DOCTOR HANSON
(to Mike and William) Go on, both of you!

A last look at her mother, then Mike goes out into...

INT. HOSPITAL CORRIDOR - DAY SIX
...the busy corridor, followed by William. She leans against the wall, shaken.

MIKE
The Indians have been studying medicine just as long as we have, they've simply gone about it differently. Sometimes my medicine works. Sometimes theirs. I would have died from influenza if it hadn't been for one of their teas...

WILLIAM
I believe you.

MIKE
You do?

WILLIAM
Yes.

MIKE
Why?

WILLIAM
(shrugs, smiles) French oysters, I suppose.

This gets a feeble smile from her.

WILLIAM
(continuing) The point is, how to convince Doctor Hanson.

MIKE
Or at least my mother.

WILLIAM
Do you have any documentation?

MIKE
I've written papers on several of the Cheyenne compounds, and I've submitted them to every medical journal in existence. They've all been rejected.

WILLIAM
I'd like to read them.

MIKE
Really?

WILLIAM
Yes, really.

MIKE
Unfortunately, they're all in Colorado. But thank you for your open-mindedness, Doctor Burke.

WILLIAM
Please... William.

She looks at him, sees his compassion, his feeling.

WILLIAM
(continuing) May I call you Michaela?

MIKE
No... You may call me Mike.

He smiles, as she goes off down the corridor.

EXT. BOSTON / STREET - DAY SIX
Mike walks along with her sister, Rebecca, past store-fronts and offices. Rebecca shakes her head, attempting to make sense of it all.

REBECCA
Oysters... when I think of the number of oysters we've all eaten in our lifetimes...

MIKE
It only takes one that's contaminated.

REBECCA
The odds against it must be...

She hesitates, searching for the right word.

MIKE
Astronomical.

Rebecca shakes her head again, as they approach the telegraph, office.

REBECCA
But mother has always had such good luck.

Mike stops in front of the...

EXT. TELEGRAPH OFFICE - DAY SIX
...and turns to hug Rebecca.

MIKE
Don't worry. Mother's luck will hold if I have anything to say about it.

They part and Mike starts inside, but Rebecca stops her.

REBECCA
You will. (smiles) I have anything to say about it.

Mike returns the smile, and arm-in-arm, they go inside.

MIKE (V.O.)
To Mister Byron Sully, Colorado Springs, Colorado...

DISSOLVE TO:

INT. HORACE'S TELEGRAPH OFFICE - DAY SIX
Horace watches as Sully stands across the counter, reading the telegram.

MIKE (V.O.)
Dear Sully, please send by telegraph the medical papers located in the bottom drawer of my clinic desk...

INT. CLINIC - DAY SIX
Sully opens the bottom drawer of Mike's desk and takes out several documents.

MIKE (V.O.)
(continuing) ...My mother's life may depend upon them.

He closes the desk drawer and starts out, but pauses at the table by the door...

SULLY'S POV / MIKE'S PHOTO - DAY SIX
...where sits the photo of Mike's medical school graduating class. Mike, even in the severe hairdo and stern black dress, looking every bit as beautiful as ever.

MIKE (V.O.)
Thank you, Sully. For everything. Fondly, Dr. Mike.

FADE OUT:

END ACT TWO
ACT THREE
FADE IN:

EXT. COLORADO SPRINGS - DAY SIX (STOCK ESTABLISHING SHOT)
INT. TELEGRAPH OFFICE - DAY SIX
Horace sits at his transmitter with the medical papers next to him. Sully stands over him.

HORACE
This'll be the longest telegram I ever sent.

He starts in, dotting and dashing.

OFF SULLY
watching over every word.

DISSOLVE TO:

INT. BOSTON FAMILY HOME / CONSERVATORY - DAY SEVEN
It's the veranda, really, enclosed against the approaching fall chill. At one end, Mike sits with her FOUR SISTERS at a table laid for tea. At the opposite end, Colleen sits at an identical table with her two youngest female COUSINS (16 & 12 years old; 12 is extra). All overlooks the garden where, in the background, Brian and Matthew can be seen "conferring" with their two youngest male COUSINS (12 & 16).

AT MIKE'S TABLE - DAY SEVEN
A maid, FIONA, pours the tea, finishing with Mike.

MIKE
(to Fiona) Thank you...

Fiona is surprised, not used to being thanked for her tasks...

MIKE
(continuing) I'm sorry, I don't believe we've met.

...or addressed socially.

FIONA
Fiona, Ma'am.

MIKE
Michaela.

She offers her hand. Fiona looks at the other sisters, afraid to take it. They exchange looks among themselves. Finally, Mike simply takes her hand and shakes it.

MIKE
(continuing) Nice to meet you.

Fiona curtsies and hurries from the room.

CLAUDETTE
You embarrassed her.

MIKE
Well, that wasn't my intention at all. It's just that she's new since I left, and I'm not used to being waited on by nameless servants.

Maureen plops two sugar cubes in her tea and stirs daintily.

MAUREEN
It's best not to get to know them anyway. Scullery maids come and go so quickly.

Claudette passes some tiny sandwiches.

CLAUDETTE
A very unstable lot.

MARJORIE
No loyalty whatsoever.

MIKE
Perhaps if they were treated with more respect, you'd receive more loyalty in return.

MARJORIE
Are you questioning my manners?

CLAUDETTE
(to Marjorie) Oh, no... She's questioning all of our manners.

REBECCA
Mike may have a point...

MAUREEN
(to Rebecca) Will you please stop using that ridiculous nickname?
MARJORIE
Maureen's right. With Father gone there's no need to humor anyone with it anymore.

REBECCA
I don't think that's fair...

MAUREEN
Call her whatever you like, but don't expect us to.

An awkward silence, as Marjorie, Claudette and Maureen sip their tea in unison.

MIKE
The truth is, I'm simply not used to being waited on at all anymore. I have to admit, it makes me a bit uncomfortable.

Marjorie rolls her eyes. Rebecca tries to break the tension.

REBECCA
Yes, I imagine it's quite different out West. Do tell us all about it, Michaela.

CUT TO:

COLLEEN'S TABLE - DAY SEVEN
COLLEEN
Well... Everything's a lot littler. I mean, not the things themselves.

She smiles. The girls don't. Her smile drops.

COLLEEN
(continuing) Everythin's normal size and all, but the whole town's smaller... And not nearly so grand... And the streets are just dirt, not like the rocks you have.

FIRST COUSIN
Cobblestones.

COLLEEN
(nods) Cobblestones.

FIRST COUSIN
Go on.

COLLEEN
And everybody knows everybody.

FIRST COUSIN
(shakes her head) What a dreadful bore.

COLLEEN
Yeah, all my friends are interested in is gettin' married.

That's all these girls are interested in, too, though on a much higher social register.

FIRST COUSIN
If it's the right young man...

COLLEEN
But don't you wanna go to college first?

FIRST COUSIN
You mean finishing school, and of course we do.

COLLEEN
(unsure) Dr. Mike never calls it that. She always says I need a college education before I can go to medical school.

FIRST COUSIN
(surprised) Medical school? Girls aren't allowed in medical school.

COLLEEN
Yes, they are.

CUT TO:

EXT. GARDEN - DAY SEVEN
BRIAN
No, they aren't.

FIRST COUSIN (12)
Yes, they are.

The boys are having an argument, Matthew hanging back.

BRIAN
The Indians aren't savages. Tell 'em, Matthew.

MATTHEW
(quietly decisive) It's the Army that're savages.

SECOND COUSIN (16)
(condescending) If you're referring to a few unfortunate massacres...

MATTHEW
(interrupts) They struck before dawn at Sand Creek, killed women and children mostly. They hired men to kill off all the buffalo and starve the Indians out.

FIRST COUSIN (12)
How do you know?

BRIAN
'Cause they're our friends.

CUT TO:

INT. CONSERVATORY / MIKE'S TABLE - DAY SEVEN
CLAUDETTE
Your "friends"?

MIKE
That's right. A Cheyenne medicine man, Cloud Dancing, saved my life.

MARJORIE
Oh, honestly!

REBECCA
Marjorie...

MARJORIE
(ignores) Can you hear yourself?

MIKE
I don't expect you to care about the things I do. I'm not asking anyone to.

MARJORIE
The question is, do you care about yourself anymore? Look at you. You're getting far too much sun, you let you hair fly loose, your hands have calluses.

MIKE
It's my skin, my hair, my hands. Why are you so concerned?

MARJORIE
Well, here you are upsetting Mother on her deathbed...

REBECCA
Marjorie!

The girls look over from the other table, as the room goes silent. Just then, the maid enters unknowingly, carrying a flat package.

FIONA
Excuse me, but...

MARJORIE
(snaps) We didn't call for you!

FIONA
(unnerved) But it's... it's...

REBECCA
What is it, Fiona?

FIONA
A telegram for...

She hesitates to say her name, but looks squarely at Mike.

EXT. BROWNSTONE MEDICAL OFFICE - DAY SEVEN
Mike rounds the corner nearby at a run, the flat package under her arm. She finds the correct address and hurries inside...

INT. BROWNSTONE MEDICAL OFFICE - DAY SEVEN
...a well-appointed reception room. A few patients wait. Mike goes to the FEMALE NURSE RECEPTIONIST's desk.

MIKE
I have to see Dr. Burke.

RECEPTIONIST
Do you have an appointment?

MIKE
No, but this is an emergency. Please, tell him Dr. Quinn is here.

The nurse gives her a skeptical look, but gets up and goes back down the hallway, knocks at a door, opens it. There's a muffled exchange, and to the nurse's obvious surprise, William comes bounding out, smiling, to greet Mike.

WILLIAM
What an unexpected pleasure.

She smiles back, but then holds out the package to him.

MIKE
My medical papers...

He takes note of the package, sees that they've been telegraphed.

MIKE
(continuing) ...including my article on the liver detoxification tea.

WILLIAM
(nods) I'll read it right now.

She reacts, not surprised really, but nonetheless moved by his support. He escorts her to the waiting area.

WILLIAM
(continuing) Please, have a seat.

MIKE
Thank you.

As she sits, she watches him retreat to his office and close the door behind him. She looks around at the patients, then across at the nurse receptionist, who's watching her. Suddenly, she stands.

MIKE
(continuing) I'm just stepping out for a breath of fresh air. I'll be back before Dr. Burke is through.

The nurse barely nods, and Mike goes outside...

EXT. BROWNSTONE MEDICAL OFFICE - DAY SEVEN
...where she literally does stop and take a deep breath. Then she starts to walk.

EXT. BOSTON STREET / NEARBY - DAY SEVEN
Mike walks past upscale offices and storefronts, turns a corner...

EXT. ANOTHER BOSTON STREET / NEARBY - DAY SEVEN
...and comes upon the Opera House, an imposing, columned structure. She stops at the glass-enclosed poster, advertising the current production of "La Traviata". The picture is a poignant pose of the diva as the tragic heroine. Mike stares at it wistfully for a moment, then moves on.

INT. BROWNSTONE MEDICAL OFFICE - DAY SEVEN
Mike re-enters the reception area. The nurse glances up. None of the previous patients are still there, but a new one is waiting. Mike sits. The nearest office door opens and out comes Dr. Hanson with one of the previous patients, bidding the man goodbye. Dr. Hanson sees Mike. A beat, as they regard each other, then he turns without any acknowledgement and goes back into his office. Mike stares at the closed door behind him, avoiding the nurse's eyes, when William comes out of his own office to her rescue. He waves the paper in his hand. She stands expectantly, awaiting his judgment...

WILLIAM
Excellent!

...and is deeply relieved.

WILLIAM
(continuing) Let's go.

He grabs his coat from a rack.

MIKE
Where?

CUT TO:

INT. HOSPITAL CORRIDOR - DAY SEVEN
Mike and William stride down the hallway and into the open door of...

INT. HOSPITAL ROOM - DAY SEVEN
...Where Elizabeth is refusing to be hand-fed by a female nurse.

ELIZABETH
(weak, but adamant) I'm not hungry.

The nurse tries again to spoon something to Elizabeth, when she sees Mike and William.

ELIZABETH
(continuing) Thank goodness. (re: nurse) Please inform this woman that I mean what I say.

MIKE
(to nurse) She means what she says. She always has, and she always will.

Elizabeth reacts to the pride she hears in Mike's voice. The nurse shakes her head and exits with her tray. William closes the door behind her. Mike is brave enough to take the initiative...

MIKE
(continuing) Mother...

...but William knows that tactics are of the essence.

WILLIAM
Mrs. Quinn, you know that I graduated Harvard Medical School at the top of my class...

Mike didn't know this. She's impressed.

WILLIAM
(continuing) ...And you know that I've practiced for ten years with Dr. Hanson, who is arguably the best physician in Boston. I would hope that you trust my medical knowledge and not take what I'm about to say lightly.

He pauses.

ELIZABETH
Well, say it.

WILLIAM
I've read your daughter's research on the detoxification treatment she recommended and I strongly advise you begin taking it immediately.

ELIZABETH
What about Dr. Hanson? What does he advise?

WILLIAM
With all due respect to my senior physician, I believe he's allowing non-medical reasoning to affect his medical judgment.

ELIZABETH
Because Michaela is a woman.

WILLIAM
I'm afraid that's correct.

Mike looks at William with deep admiration. Elizabeth catches this.

ELIZABETH
(to Mike) What's all this nonsense about oysters?

MIKE
Mother, we don't think it's nonsense, but the diagnosis isn't really the issue. If I'm wrong and you don't have Hepatitis, then the tea simply won't help. But Dr. Burke agrees that the ingredients in no way interfere with Dr. Hanson's treatment of his diagnosis.

ELIZABETH
Cancer.

William nods.

ELIZABETH
(continuing) Isn't that usually fatal?

A look between Mike and William.

MIKE
(gently) Yes, Mother.

A beat, then to them both:

ELIZABETH
What're you waiting for?

Mike hugs Elizabeth.

MIKE
It shouldn't take long.

WILLIAM
Thank you, Mrs. Quinn.

She shoos them out with a wave of her hand. They leave. She stares after them, as the door closes...

INT. HOSPITAL CORRIDOR - DAY SEVEN
...behind them. Mike turns to William and spontaneously hugs him.

MIKE
Oh, William, you were wonderful!

She realizes what she's done and lets go. He's flustered. So's she.

MIKE
(continuing) I'm sorry... I...

WILLIAM
Please don't apologize... Mike.

A look. A beat, then he holds up her paper. He offers his arm, she takes it. They move off down the corridor, round the corner and disappear.

FADE OUT:

END ACT THREE
ACT FOUR
FADE IN:

INT. HOSPITAL ROOM - DAY EIGHT
Elizabeth is sitting up in bed, looking much better. Doctor Hanson, William, Mike, the Cooper children and Mike's four sisters are all present to witness her improvement.

REBECCA
It's a miracle. (tears up) Oh, thank you, Doctor Hanson.

ELIZABETH
(matter-of-fact) Don't thank him.

This draws reactions from all.

ELIZABETH
(continuing) At least not for curing me. For trying to, yes. I do thank you for that, Doctor Hanson.

DOCTOR HANSON
(nonplussed) I don't understand...

ELIZABETH
And I know my husband would thank you, as well, if he were still with us. But I also know he would have been very disappointed at how you discounted his partner's advice in my case.

DOCTOR HANSON
His partner?

ELIZABETH
Dr. Michaela Quinn, M.D.

Mike reacts. And Matthew, Colleen and Brian are pleased to hear Elizabeth acknowledge her this way. Hanson looks to Mike for an explanation.

MIKE
My patient's improvement began two weeks ago with her first infusion of the tea I told you about.

DOCTOR HANSON
Your patient?...

MARJORIE
Mother!...

CLAUDETTE
(to Mike) You snuck something to Mother?

MAUREEN
(to Mike) Behind Dr. Hanson's back?

As it sinks in, Hanson starts to fume, looks to William.

DOCTOR HANSON
You went along with this?

WILLIAM
With all due respect, Sir...

DOCTOR HANSON
(explodes) You're fired!

Doctor Hanson storms out.

MARJORIE
Mother, Doctor Hanson would have...

ELIZABETH
(cuts her off) ...escorted me to my grave. And you may thank your sister for preventing that. She saved my life.

Marjorie looks to Mike. They all do. Rebecca goes to her, hugging Mike fiercely.

REBECCA
Dear Michaela. How can we ever thank you enough!

The children move to Elizabeth's side, as Maureen and Claudette follow Rebecca, Marjorie last. In spite of her jealousy, this is one moment when the realization of nearly losing her mother unearths her sincerity.

MARJORIE
Thank you, Michaela.

She hugs Mike, who then turns to William.

MIKE
And thank you, Dr. Burke.

WILLIAM
You're welcome, Dr. Quinn.

EXT. BOSTON STREET - DAY EIGHT
Mike, William and the children walk along. Matthew walks a little apart, the physical distance a clear expression of his emotional distance.

MIKE
(to William) I'm sorry about your job.

WILLIAM
Don't be. I'm not. In fact, I feel as though a great weight has been lifted off my shoulders. I've known for a while that it was time for me to be on my own. I've even had my eye on a little office for rent that I could afford and still do my pro bono work.

BRIAN
What's... (pronouncing) ...pro bono?

WILLIAM
It means treating patients who can't afford to pay.

COLLEEN
(smiles) That's all of Ma's patients.

Mike gives a little laugh, hugs both Colleen and Brian.

MIKE
Sometimes it seems like that. But most people find some way to compensate me. It's sort of a barter system.

WILLIAM
Just like the old days. It must be very quaint.

MATTHEW
We're not a bunch of hicks.

MIKE
Matthew...

WILLIAM
(to Matthew) No, I apologize if that sounded condescending. I was merely being nostalgic. (Off Matthew's look) Boston keeps growing by the minute. It's not the same place it was when I was your age.

They arrive in front of Doctor Hanson's brownstone office. William offers Matthew his hand. Matthew shakes it halfheartedly.

WILLIAM
(continuing) Now, I'll just clean out my desk and go see if that office is still for rent.

MIKE
Is there anything we can do to help?

WILLIAM
Well... actually, there is something.

MIKE
Gladly.

WILLIAM
It would be a great comfort to me if you'd consent to be my guests this evening for a celebratory supper. I'd say we all have quite a bit to celebrate today.

MIKE
We certainly do.

WILLIAM
Is that a yes?

MIKE
(smiles) Yes.

He smiles back, bounds up the stairs to the brownstone.

WILLIAM
I'll come for you at seven.

He goes inside. They start walking.

MATTHEW
I wanna go home.

MIKE
We will. As soon as Mother's better.

MATTHEW
She's already better. Isn't that what we're celebratin' tonight?
MIKE
I meant, as soon as she's well.

Something just beyond catches Brian's eye and he runs ahead.

MIKE
(continuing) Brian?...

They catch up to him...

EXT. CONFECTIONER'S SHOP - DAY EIGHT
...staring in awe at a display of pretty glass canisters, containing all sorts of candy, in the window of a charming corner store. He snaps himself out of it, grabbing Mike's hand and pulling her inside...

INT. CONFECTIONER'S SHOP - DAY EIGHT
...where a veritable wonderland of sweets surrounds them. Colleen and Matthew follow them in. Brian's awe turns to reverence, as he slowly turns to take it all in -- the shiny glass display cases, the taffy pullers, the soda fountain.

MATTHEW
(to Mike) You said sweets rot our teeth.

MIKE
If you overindulge, yes, but it doesn't hurt to splurge occasionally. (more to herself) Everyone should be a little extravagant now and then.

Brian runs ahead to the soda fountain and climbs up on one of the stools.

BRIAN
Look, Ma! Ice cream! All different kinds!

She smiles, joining him.

MIKE
And which one do you want?

EXT. CONFECTIONER'S SHOP - DAY EIGHT
They exit and walk along. Mike's particularly cheerful.

MIKE
(to Brian) I can't believe you ate that entire sundae. You're going to burst the buttons on your shirt, young man.

She stops in front of a haberdashery window, displaying both a handsome evening suit and a beautiful evening gown.

MIKE
(continuing) Which reminds me -- new clothes.

MATTHEW
Just 'cause we're goin' to some fancy restaurant tonight?

MIKE
No, because you can't keep wearing the same thing everyday. That suit was worn out in the first place, and with Martha cleaning it every night, it's going to end up in tatters. Besides... (points) ...even with the cuffs let down, the trousers are still too short.

MATTHEW
For Boston?

MIKE
That's where we are, Matthew. That's where we are.

She herds the children in front of her into the store.

HOLD ON HABERDASHERY WINDOW:

on the lovely evening gown.

DISSOLVE TO:

INT. ELEGANT RESTAURANT - NIGHT EIGHT
Mike appears wearing the gown, looking radiant, on the arm of William.

WILLIAM
(to the maitre d') Dr. Burke.

The children are right behind them, the two boys looking stiff in their new suits, Colleen reveling in a pretty new dress. This place is another benchmark in their exposure to the "finer" things in life. They're all awed by the decor, the elegant clientele -- a dish being served flambé right in front of them.

ANOTHER ANGLE - LATER
Seated now, waiters hover around them -- snapping napkins open and draping them across laps filling crystal water glasses, proffering menus, uncorking a champagne bottle. Colleen takes it all in, captivated, leans over and whispers to Brian.

COLLEEN
Isn't it beautiful?

BRIAN
Yeah... but not as good as the candy store.

William raises his glass.

WILLIAM
To a new lease on life.

They toast. A flash of eyes between Mike and William, as their glasses clink, glinting light from the candelabra flames.

DISSOLVE TO:

EXT. CAMP - NIGHT EIGHT
The flames of a campfire. Sully and CLOUD DANCING sit, warming themselves. Sully stares into the fire, uneasy.

CLOUD DANCING
What troubles you, Sully?

Sully, looks up as if to deny it, but then:

SULLY
Dreams.

CLOUD DANCING
Dreams are the spirits telling us of the past... or of the future.

SULLY
I dream that I'm in Boston.

CLOUD DANCING
(nods to himself) Where Dr. Mike is.

Sully nods.

CLOUD DANCING
(continuing) You have never been there before?

SULLY
Never.

CLOUD DANCING
Then it is a dream of the future.

Sully looks at Cloud Dancing. OFF SULLY.

EXT. COUNTRY ROAD - DAY NINE
Sully stands in the roadway, flags down the approaching stagecoach. The two drivers are wary. The one riding shotgun literally hoists the weapon. A few words are exchanged, some coins change hands, and Sully climbs inside the coach. It takes off down the road.

DISSOLVE TO:

EXT. BEACON HILL / FAMILY HOME - DAY TEN
The entire brood is assembled in front -- Mike and the children, her sisters and their families, plus the servants behind them -- all awaiting...

ANOTHER ANGLE
...the arrival of the family carriage. The coach door opens and William steps out, then turns and helps Elizabeth down.

ANOTHER ANGLE
Brian doesn't know what everyone's waiting for. He runs out, throws open the gate and takes Elizabeth's free hand.

BRIAN
Welcome home, Grandma!

She smiles down at him, and this somehow signals the rest into motion, as they crowd around, greeting her, complimenting her, ushering her en masse into...

INT. FAMILY HOME / FOYER - DAY TEN
...where Mike takes charge.

MIKE
Everyone, please...

A few quiet, but the chatter still continues, so Mike takes a few steps up the staircase to command attention.

MIKE
(continuing) Please...

Everyone quiets.

MIKE
(continuing) Mother needs her rest.

ELIZABETH
Nonsense, I feel perfectly well.

William steps up to join Mike.

WILLIAM
Doctor's orders.

ELIZABETH
(negotiating) A nap... But then I'm coming down for supper...

MIKE
Mother.

ELIZABETH
...and that is final.

WILLIAM
Mother's orders.

Mike smiles, shakes her head. As Rebecca and her husband escort Elizabeth up the staircase and past Mike and William, Mike watches her mother ascend with a growing understanding and appreciation.

MIKE
(aside to William) Whenever anyone used to comment on my being my father's daughter, he'd always tell them not to let my choice of profession fool them, that it was my mother I was most like, not him... it was the only thing he ever said that made me truly angry at him. (a beat) And now... finally... I realize he was right. And what's more... (turns, smiles at William) I'm proud of it.

EXT. BOSTON TRAIN STATION - DAY TEN
All of the big city bustle in full swing -- taxi carriages jostling for position, porters wending their way through the throng of people, megaphone announcements of train arrivals and departures adding to the din.

ANGLE ON THE MAIN ENTRANCE
Out of the station and into the midst of this mayhem steps...

SULLY
...who stops, overwhelmed by what he sees. Standing still adds to his conspicuousness, as if his appearance wasn't enough. People openly point and stare at him, a complete oddity in his buckskins and beads.

Slowly, as he orients himself, he becomes aware that he's the main attraction. He moves off, disappearing into the crowd.

INT. FAMILY HOME / DINING ROOM - NIGHT TEN
Elizabeth has now resumed her place at the head of the table. The entire family is once again assembled for dinner. The second course is being served by Fiona and another maid.

Mike is seated next to William, Brian on the other side of her and Colleen on the other side of William.

Matthew sits next to Colleen, more resigned at this moment to being here in Boston than at any time previous. He even seems more comfortable in the suit he's wearing.

ANOTHER ANGLE / MIKE AND WILLIAM - NIGHT TEN
They engage in their own conversation.

WILLIAM
This is quite a treat for me, a large family dinner like this.

MIKE
But I thought you were born here.

WILLIAM
My father moved his business to Baltimore five years ago and took most of the family with him... But then, of all people, you certainly must know the sorrow of living so far from your family now.

MIKE
(nods) Yes. Yes, I do... Now. (a beat) I must admit, at first I was relieved to get away. And I have come to love Colorado dearly... But being here, seeing my mother through new eyes, watching the children enjoy themselves, meeting...

She looks into his eyes.

MIKE
(continuing) ...new friends... It's all made me miss Boston more now that I'm here than I ever did while I was gone.

ANOTHER ANGLE / ELIZABETH - NIGHT TEN
She sees Mike and William talking. It pleases her.

SUDDENLY:

There's a commotion in the foyer, insistent voices, then...

ANGLE ON DOORWAY
...there stands Sully -- braid, tomahawk and all -- the flustered butler, Harrison, right behind him.

MIKE
Sully?!...

The family, even Matthew, Colleen and Brian, is too stunned to speak... Elizabeth stands, takes charge, does the only sensible thing under the circumstances.

ELIZABETH
Mr. Sully. You're just in time for supper. Won't you join us?

Mike and Sully exchange a look.

FADE OUT:

END ACT FOUR

TO BE CONTINUED...

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