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TRANSCRIPT:
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ACT ONE
FADE IN:

EXT. SALOON - DAY NINE
MIKE stands with DAVID. SULLY watches from a distance. In b.g., we HEAR sounds from Horace and Myra's wedding party.

DAVID
You're mistaken. I'm Andrew Strauss, from Philadelphia...

MIKE
I'm not mistaken. Your face is changed, and your voice... But your hands. (takes his hand) I remember your hands. I watched them for so many hours, in surgery.

DAVID
Would you like to see my papers?

MIKE
That's why you knew about Sully's megrim. You were always brilliant at diagnosing.

DAVID
It was a guess. A mere guess. I'm flattered that I remind you of someone you admired, but...

CLOSE ON SULLY
Watching, with rising concern.

BACK TO SCENE
MIKE
The toast you just made -- that's the toast you made at our engagement party. We were in the ballroom of your parents' house. My father stood beside us. You looked into my eyes and held my hand as you recited , "O, my luve..."
DAVID
Robert Burns is often recited at weddings.

MIKE
Why do you deny it!

DAVID
(politely but firmly) Because it is not so. The man you speak of is dead.

Mike stops, pulls herself back. Looks at him and nods.

MIKE
Perhaps you're right. I'm mistaken. (looks in his eyes) The David I knew would never lie to me.

They stare at each other. Finally, David capitulates. He can't lie to her anymore.

DAVID
Michaela... I'm sorry. (takes her arm) Let's sit down.

Mike looks like she might faint. David leads her toward a chair.

CLOSE ON SULLY
He's astonished. He considers what to do. Makes a move to approach them, but then stops, turns and walks back to the party.

EXT. GRACE'S CAFE - DAY NINE
ROBERT E is holding a white horse harnessed to the carriage for HORACE and MYRA. COLLEEN, BRIAN, MATTHEW and INGRID are tying shoes, tin cans and noise makers onto the carriage. DOROTHY is there, too.

BRIAN
Here they come!

Horace escorts Myra to the carriage, with the others following along.

MYRA
I just love that white horse. Robert E, I can't thank you enough for gettin' it.

ROBERT E
You're the princess today. And ya oughta ride off with a white horse.

Horace climbs in, then helps her up.

COLLEEN
You gonna toss the bouquet now?

MYRA
Where's Dr. Mike?

BRIAN
I don't know. She went off somewhere...

MYRA
I want her to catch it...

But people start calling for her to toss the bouquet. Myra, Horace and the three kids look about for Mike.

DOROTHY
Toss the bouquet!

HORACE
(looks around) I don't see her nowhere,
MATTHEW
She and Sully mighta slipped away.

COLLEEN
Maybe ya oughta go ahead...

MYRA
(to Horace) What do ya think?

HORACE
Sure.

She stands up on the seat, looks around at the crowd, then turns her back and tosses it over her shoulder -- to Ingrid. Everyone CHEERS.

EXT. SALOON PORCH - DAY NINE
Mike is in shock, trying to make sense of what's happening. She and David sit in chairs close together.

MIKE
It's really you, then? You didn't die?

DAVID
No.

MIKE
I can't... grasp this.

DAVID
It's a shock...

MIKE
(with wonder) David, do you know how many times I prayed... that I might see you, just once more? Now you're here. You're really alive.

She puts her arms around him with joy, and he clutches her tightly.

DAVID
I longed to see you as well. I've written you so many letters...

MIKE
I never got them.

DAVID
I never sent them.

MIKE
But why?

DAVID
I'll tell you everything... in time.

MIKE
But I want to know now. Where have you been these... what is it? Seven years? We were told you were killed at Bull Run.

DAVID
I was left for dead. The hospital tent where I was working got struck by cannon fire. I was hit in the legs, the neck. My face...

Mike looks at him, pained to hear this.

DAVID
Some farmers took me in and nursed me, but then I was captured, and shuffled from prison camp to prison camp, until I landed at Andersonville.

MIKE
Oh my God. Andersonville!

DAVID
(matter of fact) You have no idea what it was like. One of every three prisoners who came there died. And those who didn't looked like corpses, with sunken eyes, blackened faces, skin falling off from disease. We were given nothing but rancid meat and brackish water. When the war ended, I was too weak to walk or even move.

MIKE
If I'd only known, I would have come.

DAVID
I was barely conscious. And when I began to recover my senses, I knew that I would never walk again. I was half blind, crippled... I couldn't speak.

MIKE
But why didn't you send word?

DAVID
(steels himself for what he's about to reveal) I learned that I'd been reported dead. You, my family, everyone had been notified. You'd already buried what you thought were my remains. And I decided... it was better to let it be.

MIKE
But you had no right.

DAVID
You were young, and beautiful. I didn't want you saddled with a helpless invalid.

MIKE
You should have let me decide. I wouldn't have cared, as long as you were alive!

DAVID
That's just it. I knew you would have insisted on going ahead with the marriage, but it would have been from pity.

MIKE
How can you say that? Do you think my love was that shallow? I would never have pitied you. I loved your mind, your spirit...

DAVID
I wanted to spare you pain.

MIKE
Pain! I stood at your grave and felt such emptiness, I wanted to die with you. You can't imagine how I suffered, thinking I would never see you again.

DAVID
But I knew that pain would pass, as opposed to endless years of burden.

MIKE
It never passed.

DAVID
I wanted you to go on with your life, Michaela. And you have. It's a good life.

MIKE
Then why did you come back now?

David begins to pace.

DAVID
This is the strange part. I was told I could never move my legs again. But after a few years, the feeling returned. And I started to walk. I wasn't a cripple anymore.

Mike watches him intently.

DAVID
And all that time, I could never stop thinking about you. I know I made a mistake. A grievous one. That's partly why I came here...

MIKE
But why did you pretend to be someone else?

DAVID
I didn't want to intrude -- if you were happy. Michaela, please believe me, what I did, I did from love. I'm sorry for the injury I caused you. And I ask your forgiveness, if you could ever find it in your heart...

MIKE
David, of course I forgive you. All that matters is... you're alive.

She hugs him, closes her eyes, and as they embrace, she's overcome by a flood of emotions.

Suddenly, we HEAR noise -- of a wagon and people, talking and laughing. Mike opens her eyes and looks over David's shoulder.

HER POV
The carriage with Myra and Horace comes around the corner from the livery. Townsfolk follow along, including the three kids, Ingrid, Dorothy, Grace, Robert E, Loren, Jake, the Reverend and, keeping off to the side, Sully. While the others have their attention on Horace and Myra, Sully looks to the saloon, and meets Mike's eyes.

BACK TO SCENE
Mike disengages from Andrew, straightens her hair.

MIKE
I must go.

EXT. TELEGRAPH OFFICE - DAY NINE
The carriage draws up to the telegraph office. Horace helps Myra down, then picks her up and carries her over the threshold into the office and through it, to their room. Crowd CHEERS and throws rice. Mike walks up to join the children, and Sully, standing just apart. Colleen spots her.

COLLEEN
There you are!

BRIAN
Ma! Can we stay for the shivaree?

MIKE
I don't think so.

COLLEEN
Please. We're the ones who fixed the carriage.

MIKE
But it's not until the middle of the night.

COLLEEN
Miss Dorothy said she'd look after us.

MATTHEW
I'm stayin'.

MIKE
I'd rather you come home with us now.

She starts walking toward their wagon, parked outside the clinic.

MATTHEW
But I can get back on my own.

MIKE
Matthew, please, come along. Besides, I don't entirely approve of shivaree. I think it's unkind.

Disappointed, the kids follow her to the wagon.

CLOSE ON MIKE AND SULLY
He helps her up. Their eyes meet, but they can't speak now.

MIKE
Thank you.

Sully starts the horse and they drive off.

EXT. ROAD - DAY NINE
They drive toward home.

BRIAN
Where'd you go off to, Ma?

COLLEEN
Myra wanted to throw you the bouquet.

MIKE
Who caught it?

MATTHEW
Ingrid.

MIKE
But that's perfect.

COLLEEN
Where'd ya disappear to? We looked for ya everywhere.

MIKE
I was speaking with... Mr. Strauss.

Mike shoots a look at Sully, then changes subject.

MIKE
What else happened at the party?

COLLEEN
Horace had too much punch.

MATTHEW
That's why he blurted out the news.

COLLEEN
Now the whole town's got weddin' fever. Everyone was asking about you two.

BRIAN
Are you gonna get married here, or in Boston?

MIKE
I don't... think we'd go to Boston.

MATTHEW
I'd like to get married in the countryside. Some place pretty. What about you, Sully?

SULLY
(after a beat) Don't matter to me.

They ride on in silence.

INT. HORACE'S ROOM - NIGHT NINE
Horace and Myra are in his room behind the telegraph office. It's spartan, with a single bed, chair and night stand. There's a screen, with a basin behind it.

Myra's in the bed, wearing a fancy night dress and robe, brushing her hair. Her pink wedding dress is on the chair. Horace is behind the screen changing out of his wedding clothes. We HEAR a moan from behind the screen.

MYRA
Horace, you all right? (another moan) Horace?

ANGLE - BEHIND SCREEN
Horace stands at the basin with his shirt off. He's been sick, from the punch. We don't actually see this, but we can tell from his face.

HORACE
Yeah.

MYRA (O.S.)
Can I help ya?

HORACE
No. I'm all right.

INT. ROOM - NIGHT NINE
Myra starts tamping down the oil lamps, lighting candles. Then she fluffs the pillow on the bed and gets back in.

MYRA
Horace? Ya comin' out? (beat) I miss ya.

HORACE
I'll be there in a minute.

Then Horace walks out, wearing a red night shirt, a sleeping cap and socks. Myra stifles a laugh.

MYRA
Hey, there.

HORACE
You comfortable? Do you want some water?

MYRA
No, thanks. I'm fine. (awkward silence) I like your hat.

HORACE
My ma knit it. Says it keeps off the chill.

MYRA
I heard that's true.

She starts to take off her robe, and, instinctively, Horace looks away.

MYRA
Feelin' sleepy?

HORACE
No. Ain't ya cold?

MYRA
A little. Wanna come sit by me?

HORACE
I... I... think we oughta say our prayers.

MYRA
(surprised) Prayers? All right.

Horace gets down on his knees beside the bed. He looks at Myra. She gets down beside him.

HORACE
Thank you, Lord, for givin' us our weddin' day. It was worth all the waitin'. And I pray you'll help me be a good husband, and let me always love and take good care of... (with emotion) ...my wife.

MYRA
Amen.

HORACE
You're my wife now.

MYRA
I am.

She rises, reaches for his hand.

MYRA
Come to sleep. (he hesitates) Don't be nervous.

HORACE
It's just... I ain't never done this.

MYRA
Oh, don t worry, I had a lot of fellas like tha... I mean, there's nothin' to fret about.

She stops herself, embarrassed. She can't look at him now. Horace sits down beside her on the bed.

HORACE
I don't want to disappoint ya.

MYRA
You could never disappoint me. I love you, and I'm gonna love you the rest of my days.

He reaches for her, tips his head down to kiss her when...

There's a burst of NOISE from outside -- fire crackers, screaming, pots and pans banging. Myra and Horace nearly jump out of their skins. Horace runs to the door and looks out, through the office, to the street. Myra comes up behind and peeks around him.

THEIR POV
In the street, the townsfolk are gathered for a frontier shivaree -- where they make as much NOISE as they can to celebrate the wedding night. Robert E has brought the carriage up, and a group of people shake it, so the noisemakers clatter.

HANK shoots off fire crackers, as do JAKE and LOREN. Dorothy bangs on a cowbell. GRACE hits tin pans together. Others blow whistles, play fiddles, shout and laugh.

INT. HORACE'S ROOM
Horace and Myra are huddled on the bed, covering their ears from the deafening NOISE. The furniture is shaking from the noisy vibrations. Their intimate moment is shattered.

EXT. HOMESTEAD PORCH - NIGHT NINE
Sully is waiting outside, while Mike puts the kids to bed. He looks off at the trees, paces.

Door opens. Mike walks out and goes to him, searching for words to begin.

MIKE
Sully, the most extraordinary thing has happened.

SULLY
I know.

MIKE
(surprised) You know?

SULLY
I heard you before, outside the saloon. You and...

MIKE
David.

Sully nods, looks at her.

SULLY
Ya wanna talk about it?

MIKE.

I hardly know what to say. It's such a shock.

SULLY
Ya glad to see him?

MIKE
Glad? Yes, I'm glad. I'm thrilled he's alive. And I'm upset that he deceived me all these years. And I'm... frightened. (turns to Sully) What are we going to do?

Sully searches her face.

SULLY
What do ya wanna do?

HOLD ON MIKE, as she wonders this, herself.

FADE OUT.

END OF ACT ONE
ACT TWO
FADE IN:

HOMESTEAD - DAY TEN
Mike is trying to explain to the children about David.

BRIAN
I don't get what you're sayin'.

COLLEEN
Andrew is David?

MIKE
As I said, David was horribly injured. His body was so crippled and disfigured that he didn't want to come home. So he took on another man's name.

BRIAN
What are we supposed to call him now? David or Andrew?

MATTHEW
And who's Andrew Strauss?

MIKE
Another prisoner at the camp. They served together, and he died in David's arms.

COLLEEN
But... whets this all mean?

MATTHEW
What about Sully?

COLLEEN
Are you and David still engaged?

MIKE
Well, technically, I suppose we are. It was never broken off.

COLLEEN
If he hadn't died, or said he died, would you have married him?
MIKE
Yes, I'm sure I would have.

BRIAN
So are you gonna get married to him now? Will he be our Pa?

COLLEEN
Our pa?!

MATTHEW
Do ya want me to get your ring back?

MIKE
Hold on, now. I gave it to you. It belongs to you and Ingrid.

BRIAN
But I thought you and Sully were engaged.

MIKE
We are.

COLLEEN
So... You're engaged to two men?

CLOSE ON MIKE.

She's flummoxed.

INT. DAVID'S ROOM - DAY TEN
Mike has come to see David. She knocks -- he opens the door. She comes in.

MIKE
I wanted to see you again, in the daylight. I still can't believe it's true.

DAVID
I know. I didn't sleep at all.

MIKE
The children were asking all sorts of questions...

DAVID
Michaela, I never meant to disturb your life here. Once I saw that you were happily settled with a practice, a fiance, a family -- I packed my things to leave.

MIKE
I'm very glad you didn't.

DAVID
But I think... maybe it's best if I leave now.

MIKE
How could you suggest that?

DAVID
I'm afraid my presence will only cause greater pain.

MIKE
Why don't you let me decide that, please?

DAVID
Michaela...

MIKE
You can't show up after seven years of being thought dead and walk away again. There's so much I want to know. So much I want to tell you. Please, stay for a while longer. (beat) I think you owe me that.

David is touched that she wants him to stay. He relents.

INT. GENERAL STORE - DAY TEN
Colleen, Brian and Matthew are shopping for supplies. Loren, Dorothy, Grace, Jake and the REVEREND are there also. The children have just informed them of Mike's predicament.

LOREN
Engaged to two men!

JAKE
(to Reverend) Ya hear that? Dr. Quinn's a... what do you call it? A... bigamist.

REVEREND JOHNSON
No, that's when you're married to two people.

GRACE
So what's she gonna do?

COLLEEN
She's not sayin'.

MATTHEW
I don't think she knows.

LOREN
Well, this fella Andrew...

BRIAN
David.

LOREN
Whatever his name is. She was engaged to him first, so he's got the prior claim.

GRACE
But that was seven years ago. I'd say it expired.

DOROTHY
He let her think he was dead. That's the same as breakin' it off. I think she's a free woman.

GRACE
Besides, she loves Sully.

REVEREND JOHNSON
But she loved this David, too. Probably still does.

DOROTHY
People change in seven years. No tellin' what the war did to him. Look what it did to my boy.

JAKE
What's Sully say 'bout this? If it was me, I'd run that flowerpickin' jackass right outta town.

LOREN
But a promise is a promise. This fella was off riskin' his life for his country. A woman oughta wait for a man...

DOROTHY
Even if he's dead?

LOREN
But he wasn't.

MATTHEW
Stop it! (people fall quiet) This ain't none of your business. They're gonna work it out among 'em, somehow. So let 'em be.

Door opens. Myra walks in, carrying a box with Dorothy's dress in it. People try to go back to their business.

LOREN
Well, good mornin', Mrs. Bing.

MYRA
Mornin', Mr. Bray.

LOREN
(poking Jake) Ya sleep good last night?

MYRA
Why, sure.

JAKE
She's lyin'.

She walks up to Dorothy, hands her box.

MYRA
Here's your dress. Thanks for what ya did.

DOROTHY
You looked beautiful, Myra. (draws closer) How'd everythin' go?
MYRA
Fine. Just fine.

But Dorothy senses this isn't so.

MYRA
Well, I better be gettin' back.

She turns and walks out.

INT. CABIN - DAY TEN
Mike is examining a nine-year-old girl, ELSIE, who's in bed with a fever. Her MOTHER stands nearby, as does David. Mike looks at the girl's arm -- there's a few red spots.

MIKE
(to mother) She has chicken pox. There's no need to worry. It's not serious, but your other children will probably come down with it in... let's see, the incubation period is...

DAVID
Five days.

MIKE
So keep her in bed, give her quinine for the fever. (to Elsie) And try not to scratch.

Elsie nods. Mike rises to go.

MOTHER
I'm real grateful. We ain't got no money right now , but would ya take a side of mutton?

MIKE
That'll be fine.

David gives her an amused look.

EXT. CABIN - DAY TEN
Mike and David drive away in her wagon. Mike drives.

MIKE
Don't you miss practicing medicine?

DAVID
No, I couldn't go back to it after the war, after Andersonville.

MIKE
Why was that?

DAVID
I couldn't bear to see more suffering. I'd seen enough.

MIKE
But you had such talent, David.

DAVID
All my talents were useless, in the camp. I saw men I could have cured with simple things, like clean water, and I couldn't get any. Can you imagine what it's like to watch people suffer and die, hour after hour, knowing you could help them and being powerless to do it?

MIKE
But that was an extreme situation...

DAVID
I was sickened by what humans could do to humans. And it wasn't just the enemy. Our own men beat and killed for a shoelace. So I retreated. I went to the mountains, to nature, for solace.

MIKE
I can understand that.

DAVID
Things in nature are fair and clean. When it rains, it rains on everyone. There's nothing personal. Animals only kill what they need to survive. They don't kill for sport. (looks at Mike) Or principle.

They ride in silence a moment.

DAVID
And you, Michaela. Are you happy?

MIKE
About many things, yes.

DAVID
(light) I never saw you as a mother.

MIKE
I was the most unlikely person to adopt three children, but now, I can't bear to be without them. I want you to know them, David. Would you come to supper?

DAVID
It wouldn't be awkward?

MIKE
No. They've heard so much about you. They want to know you too.

David smiles at her, as they drive on.

INT. CLINIC - DAY TEN
Colleen's taking care of business at the clinic while Mike is off on rounds. Sully walks in.

COLLEEN
Hey, Sully.

SULLY
Colleen. Dr. Mike's not here?

COLLEEN
She's out doin' rounds.

SULLY
Oh, that's right.

COLLEEN
He went with her.

SULLY
Guess they got a lot to catch up on.

COLLEEN
I don't think it's fair, him dropping back in on her after all this time.

SULLY
Lot of things ain't fair.

COLLEEN
I just want him to go away.

SULLY
I expect he will, after a time.

COLLEEN
You're supposed to be our pa.

Sully puts his arm around her to comfort her.

SULLY
Things'll work out. Ya just gotta trust that.

But she doesn't look reassured. Neither does Sully.

INT. TELEGRAPH OFFICE - DAY TEN
Jake, Loren and the Reverend come into the office to see Horace, who's looking crestfallen.

JAKE
Horace, how's the groom doin' today?

LOREN
You a changed man?

HORACE
I'm busy right now...

JAKE
Did ya like our serenadin'? Cause we could come back again tonight...

HORACE
Don't you dare.

REVEREND JOHNSON
We didn't mean any harm, Horace. It's just a custom -- for havin' a little fun with newlyweds.

HORACE
It couldn't a come at a worse time. We'd just finished prayin'...

JAKE
Prayin'!

REVEREND JOHNSON
I applaud that.

HORACE
We was startin' to feel real nice and lovin' and then -- that noise started up.

Loren laughs.

HORACE
Wasn't funny. I plum lost the mood.

JAKE
You'll get it again.

HORACE
You ever lose the mood?

JAKE
Me? Never.

LOREN
I never did neither.

REVEREND JOHNSON
Horace, if I could have a word with you? (to Loren and Jake) Some business we have to attend to.

Loren and Jake look at each other, shrug and leave the office.

REVEREND JOHNSON
I just want to tell you, (looks to make sure they're alone) All men lose their moods some time.

HORACE
Really?

REVEREND JOHNSON
They just don't let on about it.

HORACE
So... what do I do?

REVEREND JOHNSON
Don't think about it too much. But next time the mood is there, let me give you some advice. Don't wait. Act.

HORACE
(considers this) Thank you, Reverend.

INT. HOMESTEAD - NIGHT TEN
David is sitting at the dinner table with Mike and the kids. There's tension in the air. The kids are cool to him.

DAVID
What do you like to do, Brian?

BRIAN
I don't know.

MIKE
He likes fishing.

DAVID
With worms?

BRIAN
If I can find 'em.

DAVID
I could help you with that. I've spent a lot of time watching worms.

COLLEEN
Sounds boring.

DAVID
Actually, it's quite interesting. Worms keep the ground airy and fertile. Did you know that every inch of the earth's surface has passed through the body of a worm?

COLLEEN
Never thought about it.

David's charm and enthusiasm aren't working tonight. There's a knock on the door, and then it opens. It's Sully, who's surprised to see David there, sitting in his place. The children all greet him with excitement.

MATTHEW
Sully!

SULLY
Hope I'm not interruptin'.

MIKE
Not at all. Would you like some supper?

DAVID
(stands) Please, join us.

BRIAN
(to David) Ya gotta move. That's Sully's seat.

MIKE
Brian, that's rude.

BRIAN
But it is.

David starts to move, but Sully stops him.

SULLY
Don't bother. I ain't hungry.

MIKE
Please, Sully, I'd like you to stay.

DAVID
So would the children...

SULLY
They can talk for themselves.

DAVID
Sorry. But there's no reason we can't be civil.

SULLY
Civil? Ya lied to me, Andrew. Ya lied to all of us. You call that civil?

DAVID
I regret that. But I had reason...

SULLY
If you had any honor, ya woulda told us who you were from the start. 'Stead of lettin' us take ya in as a friend, while you were pryin'...

DAVID
I did what I thought was best. I know you're angry, but I have as much right to be here as you. Michaela and I...

SULLY
I heard enough.

Sully starts out.

MIKE
Sully, don't go.

DAVID
Wait.

Sully keeps going. David is on his feet and puts an arm on Sully to stop him.

SULLY
Take your hands off me.

Sully whirls around and knocks David's arm off, pushing him against the wall. They begin to scuffle.

MIKE
Stop. Please. Stop it.

Matthew gets between them.

MATTHEW
Easy. Come on. Take it easy, all right?

They pull apart and stand, glaring at each other. David turns to Mike.

DAVID
Michaela, I told you I didn't want to cause more pain. But I find that my feelings for you are as strong as ever. Can you tell me that you have no feelings for me now? Because if you can, I'll leave tomorrow.

Everyone looks at Mike, waiting to hear what she'll say. Sully watches her intently. Mike looks at Sully, at David, at the children. Then turns to David.

MIKE
Don't leave.

Sully reaches for the door.

MIKE
Sully! This has all been so sudden. I need time to think. We all need time to think...

SULLY
'Bout what? Our engagement's off.

MIKE
I didn't say that.

SULLY
Yeah, ya did. Just now.

He goes out and closes the door. HOLD ON MIKE, as we
FADE OUT.

END OF ACT TWO
ACT THREE
FADE IN:

EXT. GRACE'S CAFE - DAY ELEVEN
Dorothy is sitting at a table by herself, writing on a pad, when Mike walks up. Grace is in b.g., preparing strawberries for canning.

MIKE
Dorothy, may I speak with you a moment?

DOROTHY
(startles) Michaela, sit down. I was just writin' my story 'bout the weddin'.

MIKE
(alarmed) Wedding?

DOROTHY
Horace and Myra's.

MIKE
(relieved) Oh, yes.

DOROTHY
(reading her) I wouldn't be writin' 'bout yours. Not now.

MIKE
Oh, Dorothy...

DOROTHY
It's gotta be so unsettlin' for ya.

MIKE
It is.

DOROTHY
Some folks'd envy ya, havin' two men wantin' to marry ya. But I know what it's like to be in the middle. Ya got no peace.

MIKE
And yet, I used to wish for this. It was always on my mind -- what if David hadn't died?

DOROTHY
Are ya sure it's him you were wishin' for?

MIKE
What do you mean?

DOROTHY
Sometimes your mind plays tricks on ya. Ya remember all the good things, and the rough spots sorta fade away. Until it's not the person anymore, it's this rosy memory.

MIKE
He was my first love. The first man I kissed.

DOROTHY
Ya never forget the first.

MIKE
We come from the same world. When I'm with him, my mind moves more quickly. We can talk about things I could never share with Sully. (beat) And yet, Sully knows me in a way David never has. Sully stirs something in me, something I can hardly put into words.

DOROTHY
(penetrating) Does David?

MIKE
(looks down, then meets Dorothy's eyes) Yes.

DOROTHY
I see.

MIKE
I can't imagine life without Sully, and yet, I can't bear to let David go, either. What am I to do?

DOROTHY
I guess ya gotta take some time, and decide. (Mike nods) But don't wait too long.

HOLD ON MIKE, as she considers this.

EXT. SCHOOL - DAY ELEVEN
Parents are gathered outside the school for a Spring concert. The Reverend has the children line up, including Brian and Colleen. Mike sits on a blanket. Brian runs over.

BRIAN
Where's Sully?

MIKE
I don't know.

BRIAN
But he promised he'd be here.

MIKE
You better join your class.

Brian goes back to the group. Mike looks around, nervously.

REVEREND
Welcome to our spring concert. For our first number we're gonna do, "Sweet Betsy from Pike."
He raises his arm to direct the children, and they start the song. Sully comes up to where Mike is sitting. She motions him to sit down. They listen for a few beats. Then they start to speak softly, under the SINGING.

MIKE
Sully, I'm sorry. I never wanted to hurt you, and it pains me that I have. I don't want to break things off. I didn't plan this...

SULLY
I know. You had no say 'bout him showin' up.

Sully waves to Brian, who breaks into a smile.

SULLY
But ya got a say in what happens now.

MIKE
I just need time...

SULLY
I think it's time ya let go of the past. Like ya told me to do, with Abigail.

MIKE
That was different. Abigail was a memory.

SULLY
So is David.

The children have finished their song. Everyone APPLAUDS, including Sully and Mike, who smile and nod at the kids. They start another song, "Down by the Riverside."
SULLY
That man's not the same man he was then.

MIKE
I know that.

SULLY
What you and I got is somethin' that's real. Somethin' we been buildin'. I asked ya to marry me, and you said, yes. Maybe that scares you, so you want to go back...

They both talk at once.

MIKE
No, that's not it...

SULLY
... to a time when you were younger, and full 'a dreams and David was part of 'em. But you'll never get back what you lost.

Another SONG ends, and they applaud.

SULLY
And ya might lose what ya got now.

MIKE
What do you mean?

SULLY
I got no reason to stay here. I'd be movin' along, if it wasn't for you.

They look at each other, as the children SING in the b.g.

EXT. GRACE'S CAFE - DAY ELEVEN
Sully and Mike are taking Brian and Colleen to Grace's for pie, after the concert. Grace is at the stove, boiling fruit and jars to make preserves.

BRIAN
Hey, Grace.

GRACE
How was the concert?

MIKE
Wonderful. I told the children they could have pie...

SULLY
Think I'll be goin'...

COLLEEN
No, please, stay and eat with us.

GRACE
Set yourselves down. I'll be right with ya.

Sully considers whether to go or stay. After a beat, he sits down. Grace leaves her canning to get the pie.

INT. TELEGRAPH OFFICE - DAY ELEVEN
Horace is sitting at his desk, working, when Myra comes in, carrying a tray with tea and cookies. She sets it down.

MYRA
Hey, darlin'. Brought ya some cookies.

HORACE
Oh, my goodness. That's so sweet. Where'd ya get 'em?

MYRA
I made 'em. Grace has been showin' me. Ya like 'em?

HORACE
(takes bite) Mmmm, real good. But ya know what I like even better?
MYRA
What's that? I'll learn to make it.

HORACE
Just havin' ya here.

Myra smiles and sits down in his lap.

MYRA
I like bein' married.

She gives him a peck on the lips, then snuggles against him. Horace starts to feel "the mood." He suddenly jumps up.

MYRA
What'cha doin'?

He runs and SLAMS the door shut. Locks it. Grabs her hand to take her to the bedroom.

MYRA
Horace?

HORACE
Come on.

INT. HORACE'S ROOM - DAY ELEVEN
In his hurry to seize the mood, Horace pulls Myra to the bed and begins kissing her. He tries to unfasten some of her clothes, but he's clumsy and his fingers get stuck on the buttons.

MYRA
Horace, it's the middle of the day...

HORACE
It don't matter...

MYRA
What if a customer comes?

HORACE
They can wait.

MYRA
Someone might hear us.

HORACE
I was told, when the mood comes -- act.

But it's clear now that Myra's not in the mood.

HORACE
Myra? If ya don't want to...

MYRA
It ain't that.

HORACE
What's wrong? It's not... one of them times, is it?

MYRA
No, it's just... I ain't never done it like this before.

HORACE
We can wait 'til night time, then.

MYRA
What I mean is, it's always been... business. I never done it with someone I love. Someone I let... get close to me. It's kinda scary.

Horace looks at her with such understanding, and acceptance.

HORACE
I understand. It's kinda the first time for both of us, then. That's all right. We'll learn together.

He takes her in his arms, hugs her with warmth and love, and she hugs him back. In the glow of his acceptance, she starts to relax, and feel stirrings.

Suddenly there's an EXPLOSION, and SCREAMS from outside. Horace and Myra jump up to see what's happened. Once again, their mood is broken.

EXT. GRACE'S CAFE - DAY ELEVEN
Grace is by the stove, covering her eyes with her hands, screaming in pain. A glass jar blew up in her face as she was lifting it out of the boiling water. Mike, Sully and the two kids run to help her. Robert E comes rushing over from the livery.

MIKE
What happened?

GRACE
My eyes!

SULLY
Glass jar blew up...

ROBERT E
Grace!

MIKE
Let's get her to the clinic.

Robert E picks her up and carries her to the clinic. The others follow.

INT. CLINIC - DAY ELEVEN
Mike is examining Grace's eye, but she's in great pain. Colleen, Sully, Brian and Robert E are there.

MIKE
Colleen, get the chloroform.

GRACE
I can't see!

MIKE
You're going to be all right. I'm going to give you chloroform so I can take care of this without hurting you.

Mike turns to Robert E and speaks soothingly.

MIKE
Would you go across the street and find... David? Please tell him to come at once. (glances at Sully) I need his help.

Robert E nods and goes out the door. Colleen hands Mike the chloroform. Mike dabs it on a cloth and places it over Grace's mouth.

MIKE
Just breathe normally. Try to relax.

GRACE
I'm not gonna be blind, am I?

MIKE
Take a deep breath now... easy. There.

Grace goes under. Mike hands cloth to Colleen, who keeps applying it. Mike is now free to take a closer look at Grace's eye.

MIKE
(to Sully) Would you bring the light over?

Sully comes over with a surgical candle.

MIKE
Oh, dear.

SULLY
What is it?

Door opens, and David walks in, with Robert E.

DAVID
What's happened, Michaela?

MIKE
Thank you for coming. Robert E, would you wait outside, and take Brian with you? I'll be out as soon as we've taken care of her.

ROBERT E
How long'll that be?

MIKE
Not too long.

He and Brian go out.

MIKE
There's a piece of glass embedded deep in the cornea. I don't think I can pull it out...

David moves over to take a look.

DAVID
No, you'll damage the tissues. You have to make an incision...

MIKE
I've never worked on the eye.

DAVID
You don't want to dig or probe, or you could sever a nerve.

MIKE
Would you do it?

DAVID
Michaela, I haven't touched a scalpel in seven years.

MIKE
But you've worked on eyes. I don't know how deep to go. I'd only be guessing.

DAVID
I'm sorry...

MIKE
Please, David. I know you can do it. I'm afraid I might cause her permanent damage. You're the best chance she's got.

David looks at Sully and Colleen, who seem to be asking him with their eyes to help. All concerns have been dropped, for the moment, except their concern for Grace.

DAVID
You have a cataract knife?

MIKE
(hands him knife) Scarpa's needle?

DAVID
(takes it) Good. Can you clamp the lid open?

Mike takes a clamp and applies it so the eyeball is exposed. David looks closely.

DAVID
It's pierced all the way to the vitreous humor. I'm going to make a cut above it, and squeeze. When you see it begin to rise, use a forceps -- the smallest you have.

Mike picks one up. David prepares to cut. Their heads are bent together over the patient.

CLOSE ON SULLY
Watching them work together.

BACK TO SCENE
David cuts.

DAVID
There. Now it should just slide up...

MIKE
Try more pressure on the right.

DAVID
Here it comes.

MIKE
Got it.

She pulls the glass piece out, sets it on a tray.

DAVID
Let's just check... make sure there's nothing more.

MIKE
I think that's it.

DAVID
ROBERT E
How is she?

DAVID
Very well. We were able to remove all the glass. She'll need to keep her eye covered... until it heals. But I don't expect any permanent damage.

ROBERT E
Thank the Lord. (to David) And thank you. I'm real grateful you was here.

DAVID
Glad I could help.

He turns to walk away.

ANGLE
David walks down the street toward the meadow. After a few beats, Sully falls in step with him.

DAVID
I owe you an apology, Sully. You were right. I should have identified myself.

SULLY
You were packin' up to leave. I was the one who called ya back.

DAVID
You didn't know.

SULLY
(after a beat) I been askin' myself what I woulda done in your place. If I'd been blinded and crippled. I mighta done the same.

They walk on.

DAVID
I tried to forget her. I walked through the mountains, across the plains. I thought I was putting miles between us. I only learned by accident she was here. I was passing through Pueblo and heard about a lady doctor named Quinn. I had to come and see.

SULLY
(nods) Hard to plan what the heart's gonna do. After my wife died, I thought I'd never love anybody again. Thought I'd be on my own the rest of my days. And that was all right.

DAVID
I told myself the same thing.

SULLY
I hadn't counted on meetin'... Michaela.

David nods. The two men stop and look at each other. Beneath it all, there's a bond. They understand one another and wish the other could have what he wants. But they're at cross purposes.

EXT. HOMESTEAD - DAY TWELVE
Mike is in the garden, tending her plants, when Sully comes up.

MIKE
Sully, I'm glad to see you.

SULLY
There's something I gotta say to ya.

MIKE
Please. I know this is terribly hard, but if you could give me more time...

SULLY
Ya got it.

Mike looks at him -- what does he mean?

MIKE
You're not going away, are you?

SULLY
No. But I been thinkin'. When you love someone, you want 'em to be happy, don't you?

MIKE
Yes, of course.

SULLY
I want you to do what's gonna make you happy. What's gonna be best for you. And whatever that is, I'll be behind you.

MIKE
Oh, Sully.

SULLY
You gotta know that.

She goes into his arms, and holds on, tight. She's grateful and moved by what he's said. And yet, she's not sure what she wants to do.

FADE OUT.

END OF ACT THREE
ACT FOUR
FADE IN:

EXT. WOODS - DAY THIRTEEN
Mike is collecting plants. David is sitting on a rock, sketching her.

MIKE
Have you thought about what you'll do... after you finish this book?
DAVID
I thought of going to Yosemite, to see the "range of light." I met John Muir when he was lecturing.

MIKE
I hear he's inspiring.

DAVID
But there's plenty to keep me busy here.

He and Mike exchange a look.

MIKE
Sully told me about your idea for a wilderness park.

DAVID
(gestures around him) This could be a place of pure wildness, where all living things are protected. People could come here for renewal, or to commune with forces greater than themselves. But we have to act now...

MIKE
Why? Because of the railroad?

DAVID
Not just that. The mining companies are stripping the soil, and the lumber companies are mowing down trees...

MIKE
All in the name of progress.

DAVID
Muir says, any fool can destroy trees. They can't run away,
MIKE
(smiles) Or fight back.

DAVID
Some of these trees are a thousand years old. God has saved them from fires, avalanches and floods. But He can't save them from fools.

MIKE
Maybe you can.

DAVID
I'll be up against powerful adversaries. The timber barons. Railroad bosses. Banks. (appeals to Mike) But if a few people raise their voices, they can make something happen.

MIKE
We saw that, didn't we, with abolition?

DAVID
Yes. Remember the speeches we wrote together?

MIKE
How could I forget? The first time, we were up all night...

DAVID
But what a speech we wrote. I would start a line, and you'd complete it.

MIKE
You understood my thoughts, before I could say them.

DAVID
And when we finished, we walked along the Charles. We stopped on the bridge and watched the sun come up.

MIKE
The flower sellers were setting out their wares. Remember? You bought me lilacs.

She turns her eyes to him, and he leans across to kiss her. Then he takes her in his arms for a long, electric moment. She pulls away, looks at him, and bursts into tears.

DAVID
Michaela...

She shakes her head, unable to speak. She feels love again, and guilt, and confusion. He tries to comfort her.

EXT. HOMESTEAD - DAY THIRTEEN
Sully is with the kids, teaching Brian how to ride the velocipede. Sully runs along beside him, holding on. Matthew and Colleen cheer.

BRIAN
Don't let go!

SULLY
I got ya.

MATTHEW
Keep pedalin'.

COLLEEN
That's it!

ANGLE
Mike walks up by herself, with the basket of plants. She stops when she sees Sully with the children.

BACK TO SCENE
BRIAN
Don't let me go!

But Sully has already let go. Brian is riding alone.

SULLY
I'm not holdin' on anymore.

BRIAN
Sully! Help!

SULLY
You're ridin' on your own, Brian.

Brian looks behind -- sees that Sully's not there. A smile breaks out on his face.

BRIAN
I can do it!

Then he spots Mike ahead of him.

BRIAN
Ma! Look!

He comes to a stop in front of Mike. She puts down her basket and throws her arms around him.

MIKE
I knew you could.

BRIAN
It's so much fun!

Sully comes over and ruffles Brian's hair.

BRIAN
You tricked me.

SULLY
It worked, didn't it? Now ya just gotta keep practicin'.

He glances at Mike.

SULLY
See ya tomorrow.

He turns to leave.

BRIAN
Ain't ya stayin' for supper?

SULLY
Not tonight.

Sully smiles at Mike, waves to the kids and walks off into the woods. Mike looks after him.

BRIAN
(calls out) Thanks, Sully.

HOLD on Mike, watching Sully walk away.

INT. HOMESTEAD - NIGHT THIRTEEN
Colleen is setting the table for dinner. Brian shells peas. Matthew's sharpening a knife, while Mike works at the stove.

COLLEEN
How many places should I set?

MIKE
Just four.

MATTHEW
Andrew's not comin'? I mean David.

MIKE
Not tonight.

Colleen looks heavenward, in thanks.

BRIAN
Good.

Mike covers the pot and turns to face the kids.

MIKE
I know how fond you are of Sully. And I know you don't really know David. But he's a good man, and I'd like you to give him a chance.

The kids don't respond.

MIKE
You think you could do that?

Still no answer.

MIKE
Do you feel it would be disloyal to Sully?

COLLEEN
No, Sully told us to be fair. To try and get along with him.

MIKE
Really?

MATTHEW
(to Mike) Said you gotta think about your whole life, not just the next few years.

MIKE
When did he say that?

COLLEEN
Just now. While you were away.

BRIAN
He said we're gonna grow up and move away.

COLLEEN
So you gotta do what's best for you.

MIKE
Sully said that?

The kids nod. Again, Mike is moved by Sully's generosity of spirit, and concern for her.

INT. HORACE'S ROOM - NIGHT THIRTEEN
Horace and Myra are in bed, lying side by side with their eyes open. Horace wears his red night shirt and cap. Myra's in her gown.

MYRA
Awful quiet tonight.

HORACE
No serenadin'. No explosions.

MYRA
I got a feelin' it's gonna stay quiet.

HORACE
(sighs) I don't know what happened to my mood.

MYRA
Don't worry 'bout it.

HORACE
I feel like I'm lettin' you down.

MYRA
No, you're not. A lot of marriages are... friendship marriages. Least that's what I hear. That's the most important thing, anyway -- friendship. So let's just snuggle.

He puts his arm around her, and they snuggle up close.

MYRA
We don't gotta do nothin' else.

HORACE
But are ya happy, Myra?

MYRA
Course I am.

HORACE
Why?

MYRA
I get to sleep next to you every night. Wake up with you every mornin'. For the rest of my life, I got a home with you.

HORACE
That's right, you do.

She hugs him and kisses his cheek. Horace starts to feel a surge. He grabs her and kisses her more passionately.

MYRA
Horace, I said we don't have to... (more kisses) Oh, Horace. Oh... Yes...

DISSOLVE TO:

EXT. TELEGRAPH OFFICE - DAY FOURTEEN
Matthew comes up to the office and knocks, tries the door. It's locked. He knocks again. Waits. No response. Loren comes up and reaches for the door.

MATTHEW
It's locked. Been that way all mornin'.

LOREN
(pounds on door) Horace!

There's no answer. Loren turns to Matthew.

LOREN
He never closes. Rain or shine, sleet or snow...

MATTHEW
Ya think somethin's wrong?

LOREN
I don't know. Maybe we oughta break in?

MATTHEW
Horace! Myra!

Suddenly, the door opens and Horace is there, in his night shirt and cap askew, rumpled but beaming.

HORACE
We're closed!

MATTHEW
It's the middle of the day.

LOREN
I gotta send a wire.

MYRA (O.S.)
(come hither tone) Horace!

HORACE
(calling to her) Be right there. (to men) Come back tomorrow.

He pulls the door closed. Matthew and Loren look at each other, then smile and walk away.

EXT. CLINIC - DAY FOURTEEN
Mike comes out of the clinic, looks across the street and spots David, in front of the saloon. They walk toward each other and meet in the middle of the street.

DAVID
Would you like to take a walk?

MIKE
All right. It's a beautiful day.

He takes her arm to guide her as they start walking away from town.

DAVID
I think it's just the day for us to make some decisions.

MIKE
You do?

DAVID
I want to stay with you, Michaela. I know you care for Sully. But marriage is a lifetime partnership. You and I were meant to be together. We knew it from the start. And now that fortune has reunited us, we should carry on where we left off.

MIKE
But so much has happened in the interim.

DAVID
Of course. But we're the same people, at heart.

MIKE
I was young, then, without attachments. I have children now. Responsibilities.

DAVID
They'll be our responsibilities.

MIKE
And Sully... Sully gave us a home here, when no one else would. Whenever there's a problem, or when the children need help, he's there -- every minute of every day. He wants what's best for us. He's the father of my children. And we're... a family.

DAVID
But do you love him?

MIKE
Yes.

DAVID
More than you love me?

Mike turns away, looks in her heart for the answer, and hears it, clearly, at this moment. She looks in David's eyes.

MIKE
Do you really want me to say?

He holds up a hand to stop her. They both look away.

DAVID
I'll be leaving tomorrow morning, at dawn.

He looks at her, hoping for something, but she knows what she wants now.

MIKE
God bless you, David.

He takes her in his arms, for a final embrace.

EXT. WOODS - DAY FOURTEEN
Mike is walking toward the place where Sully has his lean-to. She stops for a moment. Looks up at the sky, thinking.

EXT. LEAN-TO - DAY FOURTEEN
Sully's chopping wood when Mike appears in the clearing. He sees her and keeps on with his task.

MIKE
Hello, Sully.

SULLY
What brings ya out here?

MIKE
I want to tell you how much appreciate what you did.

SULLY
What's that?

MIKE
Left me free, to decide.

SULLY
So ya musta decided.

MIKE
How do you know that?

SULLY
I know.

He keeps chopping. She hesitates, wondering how to begin.

SULLY
You love David.

MIKE
Yes. I'll always love him.

Sully nods.

MIKE
But that's the past. You're the present. We're the present. If you'll have me. (beat) Will you, Sully?

Sully stops his task and smiles. He's delighted, but he's going to have a little fun with this.

SULLY
Will I what?

MIKE
Will you... marry me?

He looks at her a moment. Mike watches him, nervous, wondering if she waited too long. Then he smiles, reaches for her hand.

SULLY
Yes.

They start walking off. CAMERA PULLS BACK. After a few paces, they stop and Sully draws her to him. CAMERA CONTINUES PULLING BACK as they embrace.

FADE OUT.

THE END

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