FADE IN:

A DREAM:

INT. STABLES; PILGRIM'S STALL - MORNING

Sunlit illuminates the darkened stable, highlighting the 
contours of a magnificent HORSE (PILGRIM) in surreal, dream-
like imagery: his legs, his muscles, his sheen, his mane... 
his eyes. He shakes his head and stamps his feet. He seems 
confined. Eager to run.

INT. STABLES - MORNING

Pilgrim bursts through the stall and runs out the stables 
into a blinding white morning.

EXT. AN OPEN FIELD LEADING TO WOODS - BRIGHT MORNING

Whiteness. Snow and sky without any discernible line between.

Camera is POV, as if on the horse, riding through the 
whiteness. Snow kicks up from the side. We hear the breathing 
of the horse. As we travel on hills, through trees, we 
experience of sense of wild, exhilarating freedom.

We hear the giggles of a GIRL (GRACE) on the horse. An 
occasional line;

			  GRACE (O.S.)
	Yeah, fly boy... that's it... go... 
	go... go...

END OF DREAM as we CUT TO:

INT. GRACE'S BEDROOM - MORNING

Grace awakens, calmly. Takes a breath. Slides out of bed and 
stands before a window, overlooking a beautiful Connecticut 
country house. We see a snow-covered field and distant woods. 
Grace presses her faces against the cold, frosted window 
eager to get out.

INT. MACLEAN NEW YORK APARTMENT - MORNING

Alarm rings, ANNIE MACLEAN awakens. She shuts the alarm and 
scoots up in bed. She waits. Seconds later the television 
across the foot of her bed turns on from a timer -- to a CNN 
24 NEWS channel.

INT. HALLWAY/ANNIE & ROBERT'S BEDROOM - MORNING

Grace, fully dressed except for her boots, tiptoes past a 
partially opened bedroom door. Her father ROBERT is asleep, 
alone, on his huge king size bed.

INT. MACLEAN FARMHOUSE KITCHEN - MORNING

Grace is putting on her boots on a bench beside a back door. 
She is wearing her mother's outfit. As she slides the boot 
on, we see behind her a row of framed photos -- Robert, Grace 
and Annie in happy times.

She slaps a note on the refrigerator, with a magnet -- "Gone 
riding. Back around 10. Love, G."

EXT. MACLEAN FARMHOUSE, BACK ENTRANCE - MORNING

Grace slips on her jacket and hat as she comes down the 
steps, her feet hitting the walk...

EXT. CENTRAL PARK - MORNING

Annie's feet hit the ground, running -- her breath showing in 
the cold air. She passes other joggers with ease. She crosses 
the street and heads for an elegant CPW building.

INT. MACLEAN'S NEW YORK APARTMENT - MORNING

Dressed in running clothes, Annie opens the door and picks up 
several newspapers that were delivered. She carries them into 
the kitchen and sets them beside a huge stack of publications, 
magazines, papers, etc... Knowing she must read all of them at 
some point, she breathes a disgusted sign. She thumbs through 
the POST as she pours herself a cup of coffee. Something 
catches her eyes and she snarls:

			  ANNIE
	That little shit!

She dials a portable phone and moves through the apartment as 
she talks:

			  ANNIE
	Hi Lucy?... Did I wake you?... Have 
	you read the Post?... They've got a 
	little item about me and Fiske. He's 
	saying I fired him and that I faked 
	the new circulation figures.. Ha, ha... 
	Oh, please... It's the last act of a 
	desperate gnome... Set up a phone call 
	with Don Farlow for 9:30...

Throughout the phone call, Annie is selecting clothes, 
turning on the shower, undressing...

EXT. DYER HORSE FARM - MORNING

The snow has stopped falling. Grace walks along a hill, hands 
in pocket. Spread out on the landscape are horses, on a horse 
farm, standing like statues in the white covered fields.

As Grace comes along the hill, we see another GIRL (JUDITH) 
coming from the opposite direction. She doesn't have Grace's 
lean elegance but her warm, friendly smile brightens her 
face. Upon reaching her, Grace returns the smile with a hug.

			  JUDITH
	It's warmer than I thought.

			  GRACE
	You want to go to a movie tonight?

			  JUDITH
	I thought your mom's coming up?

			  GRACE
		(prickly)
	So?

Judith immediately senses a problem so she continues casually, 
as they begin walking away from Camera...

			  JUDITH
	My parents are having friends from 
	college over. They're really nice... 
	They have this gorgeous son who wants 
	to be a forest ranger.

			  GRACE
	Can I come? I'll start a fire...

Judith laughs as they continue talking, their voices trailing 
off, as the girls head for the stables.

INT. STABLES, THE DYER HORSE FARM - MORNING

There are several horses in their stalls. Grace and Judith 
enter, talking, carrying their English saddles. Judith stops 
at a stall, disappearing into it as she says "Hello?"..., 
Grace continues to the end stall.

Pilgrim (the horse from the dream) stands looking at her.

			  GRACE
	Hello, beautiful boy.

He's a massive figure beside her but she shows no inhibition. 
She enters, touching his muzzle. He plays with her by nudging 
her back.

			  GRACE
	Stop... Will you stop!

EXT. DYER HORSE FARM - MORNING

They lead their horses, now saddled and ready, from the barn. 
Pilgrim tosses his head, prancing, playing with the snow.

			  GRACE
	Show-off.

The girls mount the horses and ride off together.

INT. ANNIE'S MAGAZINE OFFICE - MID-MORNING

Annie, casually dressed, enters the empty offices of her 
magazine. She turns on the light, revealing a large row of 
stalls and glassed in private offices. Everywhere we look, we 
see indications of the kind of magazine she edits.

She strolls to her office -- the largest -- surrounded by 
windows. The office walls are covered with photos, most of 
which are COVER STORIES ON ANNIE.

(One photo is of Annie's father MARTIN. A BRITISH AMBASSADOR 
with his young daughter on his lap, her arms affectionately 
around his neck. Her mother stands right behind them, posing 
like a member of the royal family.)

Annie sits and takes a breath. The only photo on her desk is 
a family portrait, taken when Annie was given the Crystal 
Award -- Robert, Grace, herself and the Award. She checks her 
watch -- it is almost 9:30.

INT. MACLEAN FARMHOUSE, MASTER BEDROOM/CLOSET - MID-MORNING

A WALK-IN CLOSET of the master bedroom; one side is Annie's, 
one side is Robert's.

Robert stands before his bureau in the closet -- he has just 
showered and is putting on his watch and ring which lay 
beside his cologne assortment. A FRAMED PHOTO OF HE AND ANNIE 
in India -- younger, vibrant, in love... when they first met.

THE PHONE RINGS. Robert enters into the bedroom to pick up.

			  ROBERT
	Hello?

INSERT ANNIE: They speak in dulled, emotionless voices:

			  ANNIE
	It's me.

			  ROBERT
	Hi.

			  ANNIE
	Hi.

Awkward pause.

			  ROBERT
	So, what, uh, what train are you taking?

			  ANNIE
	I should be in by two.

			  ROBERT
	Okay. You want me to pick you up?

			  ANNIE
	Sure... What's Grace up to?

			  ROBERT
	Riding with Judith.

Beat.

			  ANNIE
	I'm sorry about last night. I shouldn't 
	have brought it up over the phone.

			  ROBERT
	That's okay. We have to talk about it 
	and we're not always in the same place
	... so... I just have to get used to it.
		(beat)
	What do you want to do about dinner?

			  ANNIE
	I don't know. We'll figure it out.

Pause. There is a lot unspoken but understood between them. 
Annie's other phone line rings. Robert hears it as well.

			  ROBERT
	Okay. We'll see you later then.

			  ANNIE
	Yeah. Bye.

Annie picks up the other line and her manner brightens, her 
energy boosts...

			  ANNIE
	DON! My love, how are you? Did you hear 
	about Fiske?... No, suing is too 
	civilized. Can't we get your friend at Le 
	Cirque to serve him a fatal piece of 
	poached salmon?... Ha, ha... That's even 
	better...

EXT. CONNECTICUT COUNTRYSIDE - MORNING

Long Shot of the girls riding at an easy pacing, talking all 
the time. Grace is an elegant rider, quite self-assured for a 
13-year-old... We come into the scene at the moment the 
girls have just shared a secret or a fantasy. Judith is 
giggling uncontrollably. Grace laughs as she says:

			  GRACE
	...Oh, come on! You think the same thing!

			  JUDITH
	I just could never say it!

They stop at the end of the field, facing the woods.

			  GRACE
	Do you want to go around by the 
	old road?

			  JUDITH
	Why don't we just cut through the 
	woods?

Grace nods. They ride into the woods, continuing their talk.

EXT. WOODS - MORNING

The girls ride down, along a stand of hickories and poplars 
to a RIVER. They stop the horses and their conversation, to 
listen to the sound of the water. Below them, off in the 
distance, they can just make out a two-lane country road.

			  GRACE
	You want to go down or stay along 
	the river?

			  JUDITH
	We already did the river. Let's go down 
	and across the old bridge. We can circle 
	back.

They begin to make their way.

INT. ANNIE'S OFFICE - MORNING

Annie's office is now crowded with a dozen or so employees; 
sitting on the couch, on the window sills, on the arms of 
chairs, against the walls... Paper bag emptied of bagels, 
cream cheese, orange juice, paper plates...

Hand Held Camera captures the energy of the room as it 
follows overlapping lines, laughter, etc... yet, no matter how 
casual it all seems, Annie is very much at the center of 
control... We enter the scene of LAUGHTER, as Annie asks 
KEVIN, a feature writer:

			  ANNIE
	... So what did you say to her?

			  KEVIN
	I said, thank you very much...
		(LAUGHTER, AD LIBS)
	I really should do the interview... But 
	perhaps if you'd like to have dinner...

LAUGHTER... Everyone starts Ad Libbing...

			  VARIOUS CHARACTERS
	Dinner!!... He's so cute.... Why don't I 
	get those kind of interviews?... Look, 
	he has husband number eight written on 
	his forehead...

			  ANNIE
	All right, all right, all right... Kevin, 
	good job. Write the interview. If I don't 
	like it, you may have to sleep with her 
	for a follow-up!
		(laughter)
	Now... I'm thinking about another fashion 
	designer spread... Who's news out there?

Characters shout out designer names and comments as the phone 
rings and LUCY picks up... speaking amdist the talking...

			  LUCY
	Hold on.
		(presses hold)
	Gottschalk.

The room goes dead quiet, instantly. Then erupts in laughter 
as everyone realizes it. Annie, however, waves her hand as 
she takes the phone...

			  ANNIE
	Quiet... Quiet!

Everyone obeys. Annie presses SPEAKER PHONE.

			  ANNIE
	David?

			  DAVID GOTTSCHALK (VO)
	Who's there?

			  ANNIE
	Everyone. Working overtime. Just for you.

			  DAVID GOTTSCHALK (VO)
	Did you speak to Farlow?

			  ANNIE
	Yes. We're suing.

			  DAVID GOTTSCHALK (VO)
	Is that absolutely necessary? It'll just 
	make it a bigger story.

			  ANNIE
	David, he signed an agreement that he 
	wouldn't talk to the press and he's 
	libeled me by saying I faked the figures. 
	You're not going soft on me, are you?

Silence. Gottschalk doesn't immediately respond. Everyone 
waits. Covert looks between characters suggest this is 
interesting -- has Annie over-stepped her bounds with the 
magazine's owner? Annie waits without a shred of anxiety -- 
even though she might have some. Finally:

			  DAVID GOTTSCHALK (VO)
	Well, I suppose we could use another 
	good public feud...

			  ANNIE
	Exactly...

Everyone silently acknowledges Annie guts and influence.

EXT. COUNTRYSIDE - MORNING

It's perfectly still. We are looking down an empty TWO-LANE 
ROAD covered with fresh snow. We see the girls slowly riding 
out of the woods, talking. They cross the road and start up 
into the woods on the other side... They are trying to sing a 
LIZ PHAIR song, "CHOPSTICKS"

			  GRACE/JUDITH
		(singing)
	"I met him at a party and he told me how 
	he like to drive me home... He said he 
	liked to do it backwards..."

			  GRACE
		(singing)
	"... I said it--"

			  JUDITH
 		(singing)
	"... and I said that"...

			  GRACE
		(stops singing)
	No, wait, it just goes... "he said he 
	liked to do-"...

Suddenly there's the SOUND OF THE METAL OF JUDITH'S HORSE 
scraping on some sheer ice hidden under the soft snow. Judith 
notices first...

			  JUDITH
	What was --

The horse staggers... Judith looks to Grace --

			  JUDITH
	Grace!

The horse tries to find tracing with his hindfeet, kicking 
up sprays of snow and ice shards. The horse suddenly falls on 
the ice and goes down hard on its knees...

			  GRACE
	JUDITH!

The horse stumbles to get back on its feet, slipping again. 
Frightened, it rears and Judith, caught off balance, is 
thrown, her foot catching in the stirrup...

			  JUDITH
	GRAAACE!

Her horse, unable to find its balance, starts to slide backward 
down the incline.

			  GRACE
	PILGRIM, COME ON! MOVE!

Grace, directly behind Judith, tries to turn Pilgrim to avoid 
being hit by the errant horse.

What follows, we see from Grace's perspective. The details 
that form the images and sounds of Grace's mind are fast, 
disembodies, almost surreal as --

Judith's horse bulldozes into Pilgrim, taking his legs out 
from under him, sending both horses careening down the icy 
slope. Grace hangs onto Pilgrim's neck. Judith, her leg 
helplessly tangled in the stirrup, is dragged, her head 
bouncing on the frozen ground.

They slide all the way back down to the COUNTRY ROAD. Pilgrim 
is the first to find his legs and stand. Grace manages to sit 
up in the saddle. She sees Judith's horse stumbling back onto 
its feet, one of his legs broken at the ankles, walking in 
confused circles, dragging Judith -- her face bleeding, her 
leg hanging from the stirrup.

			  GRACE
		(frightened)
	Jude, you okay?

			  JUDITH
		(softly, crying)
	I'm okay... I'm okay.

She tries to extricate her leg from the stirrup.

Grace sees it before she hears it. A GLINT off of steel. We 
then hear the rumbling SOUND of a TRUCK coming around the 
bend... The Girls on their horses in the middle of the road... 
The Truck, an 18 wheeler carrying logging equipment, comes 
around the turn... Grace grabs the bridle, trying to get 
Judith's horse out of the road... The driver, seeing them, lays 
on the air horn. The Horses bolt at the sound, the bridle 
slipping out of Grace's hand...

			  GRACE
	JUUDE!!!

... The horses turn apart. The Driver starts furiously 
downshifting, trying to brake... He seems to get it under 
control when suddenly THE TRUCK SKIDS on some ice. It begins 
to slide, out of control, the truck bed and the cab jack-
knifing. The truck literally plows over the helpless Judith 
and her horse -- the horse going down on the pavement, Judith 
disappearing under him. The truck's cab, like a mythic 
monster, heads right for Grace and Pilgrim... Grace looks 
right into the Driver's helpless, frightened eyes... Suddenly, 
Pilgrim rears up at the truck, sending Grace flying, bouncing 
her off the pavement and under the wheel of the truck.

Pilgrim instinctively jumps onto the hood of the truck, his 
hooves caught between the rear-view mirrors like some 
grotesque ornament. His head and chest slams into the window, 
shattering through the glass.

And then it is still.

The truck has stopped halfway in the road. Judith's horse 
lies in the road, motionless. Pilgrim, on the truck's hood, 
his legs splayed, stuck, his head and chest, bleeding. He 
shrieks, struggling to get to his feet. He manages to free 
his legs and, stepping off the cab onto the road, walks off, 
wounded, in pain, into the sanctuary of the woods...

The Driver stumbles out of the cab, his head bleeding, in 
shock. He sits on the ground. All we hear is the sound of the 
river and the wind in the trees.

Grace, halfway under the truck, frozen, stares up at the 
beautiful morning sky.

WE HEAR THE SOUND OF A HELICOPTER...

INT. MACLEAN FARMHOUSE/KITCHEN - LATER MORNING

ANGLE ON GRACE'S NOTE on the refrigerator as Robert enters 
from the outside with two bags of groceries. He places them on 
the counter near the PHONE MACHINE. He sees ONE MESSAGE is 
there. He presses PLAY as he puts away the groceries.

A BEAT LATER the PHONE RINGS and he picks up, with the machine 
still playing...

			  ROBERT
		(on phone)
	Hello? Paul, hi -- are you guys back? 
	How was it? Oh that sounds great. Oh 
	Paul.. hold on...

			  LIZ
		(on machine)
	Robert! Are you there?... Robert! It's 
	Liz!... Look, there's... there's been 
	an accident... Uh... Jesus... uh...

As Robert listens, the voice of Liz's on the machine from 
inside, pulls his attention. On hearing "accident," Robert 
lowers the receiver, frozen, as he listens to Liz...

			  LIZ
		(on machine)
		Robert, just call me on my call phone... 
		1-917-449-7805...

EXT. THE WOODS - LATE MORNING

Pilgrim is hiding in the shadows under an old railroad bridge, 
standing up to his knees in the river. His chest is cut open, 
bleeding. His face cut, contorted and swollen. LIZ HAMMOND, 
the local veterinarian, hides a hypodermic needle in her 
jacket, quietly walking into the water.

A Policeman is going into the water downstream from Pilgrim, 
whose chest is heaving, blood drips into the water. He 
watches Liz. She is almost to him when suddenly he bolts, 
running upstream.

The Policeman behind him shouts and waves his arm. Frightened, 
Pilgrim wheels back toward Liz, who manages to stick the hypo 
in his neck. He rears, knocking her down, then runs out of 
the river, the hypo still in his neck. He runs for the 
sanctuary of the woods.

INT. TRAIN - LATE MORNING

Annie sits on a train -- her laptop out, notes beside her, 
her cellular phone, ever-ready. The train passes through 
beautiful countryside but Annie is focused on an editorial 
she's writing.

The train pulls into a station and stops, causing Annie to 
take a break and stretch her arms and neck. She looks out the 
window for the first time and sees:

A MAN, his hands in his pockets, waiting on the platform. She 
watches as the Man holds out his arms to his two young 
children, who are getting off the train. He picks them up as 
his wife enters the scene, kissing him and wrapping her arm 
around his waist. The children talk a mile a minute and the 
father listens to every word.

Annie doesn't even realize she is staring. As they leave the 
platform, she turns back to her laptop. As the train begins 
to move again, Annie returns to work.

HER CELLULAR PHONE RINGS. She answers.

			  ANNIE
	Yeah?... Hi. I made the 1:00 so...

The expression on her face sinks into a stunned panic.

INT. HOSPITAL, CONNECTICUT - DAY

Annie is running through the corridors, her bags in tow. She 
sees Robert standing in the corridor talking to a DOCTOR. She 
runs for them.

When she appears, Robert and the Doctor stop their 
conversation. Robert looks to Annie, who is waiting for news.

			  ANNIE
	WHAT!?

Robert is teary eyed, beaten down.

			  ROBERT
	Judith's dead.

Annie's horrified, waiting for news of Grace.

			  ANNIE
	What about Grace?

			  ROBERT
	She was in pretty bad shape. They've 
	done a C.A.T. Scan -- she has some 
	hemorrhaging...

			  DOCTOR
	But nothing we can't handle...

			  ANNIE
		(impatient)
	Where is she now?

			  DOCTOR
	Surgery.

			  ANNIE
	Surgery! For what-?

			  ROBERT
		(interrupting)
	Annie, her leg was shattered -- what 
	they call the distal epi.. epi..

			  DOCTOR
	Distal epicondyle of the femur...

			  ROBERT
		(quietly, crying)
	They have to take the leg off.

Annie responds without tears and cries but with a quiet 
shock. We can tell her mind is racing, trying to process the 
information, until finally she asks:

			  ANNIE
	Which leg?

The Doctor and Robert are surprised by the question.

			  ROBERT
	What difference does it make?

Annie stares for a beat, then nods apologetically.

EXT. WOODS - DAY

Pilgrim is sedated, lying in his own blood in the snow, 
surrounded by Police and trackers. He is being attended to by 
LIZ HAMMOND, who is dictating to her assistant:

			  LIZ
	... His skull, cheek, and nose are 
	severely fractured. He has a deep 
	chest wound. I'm not even sure it 
	can be closed.

			  LOCAL TRACKER
		(deadpan, local accent)
	Animal should be put down -- anybody can 
	see that.

Liz looks up to him, resentfully, but knows he's right.

INT. GRACE'S HOSPITAL ROOM - DAY

Camera moves from Grace's face down her body to Robert's 
hand, which rubs her good leg. He looks at her lovingly, 
pushing the hair from her forehead.

Annie, needing to do something, tenderly straightens Grace's 
blankets. It is plain to see where her leg had once been. 
Robert can't look. Annie, one to face her fears, bravely 
looks at it head on. She notices the I.V. Bag and rises on:

			  ANNIE
	That bag's almost empty.

			  ROBERT
		(looking)
	No, it's got a little left. They'll be 
	in to change it.

			  ANNIE
		(as she exits)
	Robert, you leave it up these people...!

Robert is about to respond but Annie is already out the door. 
We hear the O.S. DIALOGUE as Robert listens.

			  ANNIE (O.S.)
	Excuse me, my daughter needs a new 
	I.V.

			  NURSE (O.S.)
	We have her down, we'll be right in.

			  ANNIE (O.S.)
	I'd like it taken care of now please.

Annie enters first.

			  ANNIE
	You have to keep on top of these people 
	or else they just sit on their --

But Robert is ignoring her. Facing Grace, smoothing away her 
hair. He's giving her the silent treatment. Annie knows this 
means Robert doesn't approve of her dictatorial behavior. 
Annoyed, she turns away as well.

The Nurse enters with a new bag and begins to replace the old 
one as Robert backs away.

			  ROBERT
	I'm sorry.

			  ANNIE
	Tch. What are you --

Annie, about to respond to his inappropriate politeness, is 
stopped by Robert, who finally looks at her. It's a powerful 
look that tells her to calm down and shut up. It's a look 
that, for all of Robert's sensitivity, affects Annie. She 
gets the message and stays calm.

As the nurse leaves, Annie is about to say thank you, but 
Robert beats her to it.

			  ROBERT
	Thank you.

Annie and Robert stand facing each other, when the PHONE RINGS. 
Annie picks up.

INTERCUT

EXT. WOODS - DAY

LIZ HAMMOND on a cellular, walking away from the crowd.

			  LIZ
	Annie, it's Liz. How's Grace?

			  ANNIE
		(journalistic)
	Her leg was shattered so they had to, 
	uh... remove it. She had some bleeding 
	but it's under control.

			  LIZ
	Oh God, Annie, I'm so sorry. I... I 
	know you're being hit with a low now, 
	I don't want to take too much of your 
	time but I have to talk to you about 
	Pilgrim.

Annie hears the name as if it's some distant echo she can't 
quite identify; Liz speaks quickly as Annie watches Grace 
breathing in her sleep --

			  LIZ
	It's not good. I've never seen an animal 
	with these injuries still breathing. I 
	know this is difficult to hear right now 
	I'd like your permission to put him down. 
	It's the really best thing we can do for --

That was too much information for Annie;

			  ANNIE
	Wait, uh, I, I don't understand. Start 
	again -- He's alive...

			  LIZ
	Yes, but he's in a tremendous pain...

			  ANNIE
	Well, of course, right...

			  ROBERT
	What is it?

			  LIZ
		(overlapping)
	We really shouldn't wait...

			  ANNIE
		(overlapping)
	Hold on, Liz...
		(to Robert)
	Something about Pilgrim...

The Doctor pokes his head in.

			  DOCTOR
		(overlapping)
	Mr. and Mrs. MacLean...

			  ANNIE
		(overlapping)
	-- put him down. She says...

			  ROBERT
		(overlapping, to Doctor)
	Yes. Hi.
		(to Annie)
	Tell her you'll call her back.

He exits with the Doctor.

			  ANNIE
	Liz, listen, the Doctor's here and I 
	just can't, uh... talk now... so --

			  LIZ
		(interrupting)
	I understand, but Annie, please...

			  ANNIE
		(overlapping)
	- See, what you can do for him --...

			  LIZ
		(overlapping)
	Annie, no matter what I do, this horse 
	will never be the same.

			  ANNIE
	... I just don't know right now! Do 
	whatever you can and when Grace is --

			  LIZ
	It isn't right to make him suffer...

			  ANNIE
	And I can say the same thing about my 
	daughter! But she is suffering! Can you 
	solve that problem!
		(Liz is quiet)
	I can't deal with this now, Liz! If you 
	need a yes or no right now, then no -- 
	don't do it! Not until I know Grace is 
	all right. Now, please! Just do what you 
	can. Okay?
	  	(softer)
	Please.

Liz is stopped by Annie's almost pleading tone.

			  LIZ
	All right...

They hang up. Annie takes a breath. Robert re-enters.

			  ANNIE
	What did he say?

			  ROBERT
	Nothing new. He's just going off duty.

Beat. Silence.

			  ANNIE
	I'm going to get all the nurses' 
	names... It's good to know all their 
	names.

Robert nods. But neither of them moves. They stand motionless 
for a beat, then Annie begins to break down and eases herself 
into Robert's arms.

Robert embraces her, kissing her head, with an almost fatherly 
comfort. His expression tells us it's the moment he's been 
expecting... and wanting. Now she'll be all right, in his arms. 
Whatever distance between them, whatever problems felt 
insurmountable last night on the phone, are now, for the moment 
-- for Robert -- gone.

But Annie's expression tells us something different. Her 
instinct to hold him was honest... but the effect isn't the 
same anymore. Something doesn't feel right. Something isn't 
working anymore about his comforting embrace.

			  ANNIE
	I should go get some of her things.

			  ROBERT
	No, let me go.

			  ANNIE
		(gently pushing away)
	No, I'll go. You stay... In case she 
	wakes up.

INT. THE UNIVERSITY ANIMAL HOSPITAL, RECOVERY STALLS - NIGHT

A line of recovery stalls with various sick and hurt animals. 
Liz, exhausted asleep, on a chair outside a stall. There's a 
slight scratching sound. A hoof against the stall. It gets 
louder, awakening Liz. She gets up and looks inside the 
paddled stall:

Pilgrim is lying in the stall, heavily bandaged. He is waking 
up. His first instinct is to kick at the paddled stall walls. 
He looks at Liz, his eyes filled with madness -- enraged to 
still be alive.

INT. GRACE'S BEDROOM IN FARMHOUSE - NIGHT

Annie opens the door and enters, flicking on the light. 
Camera is on her back, as she places a small suitcase on the 
bed and opens it. She begins her task with cool efficiency. 
Opening drawers and closets, assessing what should be taken, 
what isn't necessary.

Suddenly, she stops. She feels disoriented for a moment. She 
can't remember the last time she was inside this room. She 
takes a moment to pause and actually look around.

In the light, we now see more of Grace's inner sanctum. Horse 
riding prize ribbons in various colors adorn the walls. 
Books. A girl's bureau cluttered with teenage possession 
ranging from childhood toys to items that suggest a reaching 
towards adulthood. Annie examines some items, affectionately. 
A GOOD LUCK CHARM from India sits among her things. Annie 
takes it to pack in the suitcase.

She notices a framed 8X10 of Grace sitting proudly atop 
Pilgrim with Judith at her heel. She then notices the edge of 
another picture behind this one, in the frame. She pulls the 
Pilgrim photo out to reveal: An old 8X10 of Annie hugging 
Grace as a toddler. With her back to Camera, Annie remembers:

MEMORY:

INT. GRACE'S ROOM - A DAY REMEMBERED

Annie is playing with toddler Grace. Chasing her around the 
room. Picking her and tossing her onto a small, toddler bed. 
Blowing into her stomach. Grace is laughing uncontrollably.

END OF MEMORY

Annie slides the Pilgrim picture back into the frame, then 
returns to her task of packing.

INT. GRACE'S HOSPITAL ROOM - NIGHT

Annie enters. No one else is there. She places the suitcase 
on a chair and opens it. She takes out the INDIAN LUCKY CHARM 
and some horse books, and places them on her bedside table. 
She takes care to prop up the Lucky Charm.

She wets a cloth with some water from a pitcher and gently 
wipes Grace's sweaty brow... INSERT VISUAL FLASHBACK HERE, 
instead of in Country House.

Annie then continues unpacking the suitcase. She opens 
Grace's closet and sees a hospital bag filled with Grace's 
clothes at the time of the accident. Annie examines them and 
discovers they are hers. Annie shoves the clothes into a bag 
and starts unpacking.

INT. HOSPITAL CAFETERIA - PRE-DAWN

The Clock is ticking on the wall. The cafeteria is empty 
except for one tired Intern, drinking coffee on a break.

Robert and Annie are having a cup of coffee. In the silence, 
they search for things to say. Until:

			  ROBERT
	I saw Judith's parents while you were 
	at the apartment...
		(Annie listens)
	I wanted to say something...
		(beat)
	But I... I was so relieved that Grace 
	was still... that it wasn't our daughter.

			  ANNIE
	We're very lucky.

			  ROBERT
		(nods)
	The funeral's on Friday.

He rises and crosses to the self-help coffee dispenser as he 
continues...

			  ROBERT
	Oh, uh, I meant to tell you... Alex 
	brought that fabric over...

			  ANNIE
	Okay.

			  ROBERT
	It's on the table by the phone. I didn't 
	know what to tell him...
		(returns to table, sits)
	... Whether or not we were...
		(beat)
	... if we still we're thinking of redoing 
	the couch.

Annie just nods. She senses Robert is looking for some kind 
of reassurance, but she can't give it to him. He continues;

			  ROBERT
	... And uh... Mario called about moving 
	the wisteria?

			  ANNIE
	Oh. Right. I'll call him.

Pause. Annie looks at her husband as he stares off to the 
side, deep in his thoughts. She can sense he's sinking as he 
fidgets with the napkins. She remembers:

MEMORY:

INT. A SMALLER APARTMENT, KITCHEN - A NIGHT REMEMBERED

A younger Annie stands in a bathrobe, noticeably pregnant, 
cooking at a stove -- reading instructions from a propped up 
cookbook. FRANK SINATRA IS BLASTING as she sings along, in 
full voice, without inhibitions;

			  ANNIE
	"SHE'S LOVES THE THEATRE BUT NEVER COMES 
	LATE... SHE NEVER BOTHERS WITH PEOPLE SHE 
	HATES... THAT'S WHY THE LADY IS A TRAMP!..."

A younger Robert, wearing a suit, arrives home from work. Seeing 
her, he smiles affectionately. He puts down his briefcase and 
bursts into his own playful Sinatra impersonation:

			  ROBERT
	"She loves the free..."

Startled, Annie turns around and smiles:

			  ROBERT
		(sexily undoing his tie)
	"... FRESH, WIND IN HER HAIR... LIFE 
	WITHOUT CARE... SHE'S BROKE... BUT 
	IT'S 'OK'...

			  ANNIE
		(a la fan)
	Sing it to me, Frankie!

			  ROBERT
		(a la Sinatra cool)
	How's my pregnant chick!

She moves to him and they embrace... He wraps his arms around 
her. They kiss. Annie laughs.

			  ANNIE
	You can hardly get your arms around me. 
	How depressing. You're so early.

			  ROBERT
	I had to excuse myself from a meeting. 
	It's ridiculous. I kept thinking about 
	the baby... you... and, I swear, I was 
	going to start bawling right into my 
	briefs.

			  ANNIE
		(loving it)
	Aw... that's so sweet.

			  ROBERT
	I love you.

			  ANNIE
	Do you? Do you really?

They turn to each other and kiss.

END OF MEMORY.

INT. HOSPITAL CAFETERIA - PRE-DAWN

Annie and Robert sit silently at the table in an empty hospital 
cafeteria, a lifetime later.

INT. GRACE'S HOSPITAL ROOM - DAYBREAK

The room's lights are dimmed. Dawn is being to break through.

Grace, slowly, opens her eyes coming out of sedation. She 
takes a moment to figure out where she is... to remember.

She uses her hands to hoist herself up, but she's unsteady 
and knocks into her bedside table -- knocking the Good Luck 
Charm from India off the table. It rolls under the bed, with 
a water tumbler. Grace never sees the Charm.

Grace looks where her leg once was. She feels the blanket, 
the empty space where her leg once was... just like her mother 
did (did her father couldn't). Instead of self-pity, she's 
oddly fascinated.

						  DISSOLVE TO:

INT. GRACE'S HOSPITAL ROOM - LATER THAT DAY

Daylight pours in. Robert and Annie enter. Robert, loaded 
with gifts, immediately crosses to Grace, on the side of her 
good leg. Annie takes her position beside the lost leg. 
Robert kisses his daughter;

			  ROBERT
	Hi, sweetheart...

Annie's hand finds Grace's hand, and holds one of her fingers 
tightly. Grace responds by wrapping her hand around her 
mother's. They exchange a look of respect and gratitude.

			  GRACE
	Have you heard from Judith's parents?

			  ROBERT
	No, not yet.

			  GRACE
	How's Pilgrim doing?

			  ANNIE
	Liz is taking care of him.
		(to change the subject)
	The doctor said the sooner you start 
	therapy the better the chances are you 
	can --

			  GRACE
	I can't even get out of bed yet! You're 
	already putting me in therapy!!

Annie, slightly hurt, drops it as Robert takes over:

			  ROBERT
	The doctor said whenever you're ready. 
	Take your time. You tell us... But he 
	thinks it'll only be a few months, then --

As Robert continues talking, Annie drifts to the Nurse. 
Needing to manage something, she asks:

			  ANNIE
	Did you get her fresh towels?

SOME TIME LATER:

EXT. CENTRAL PARK WEST APARTMENT BUILDING - DAY

A limousine drives up as the Doorman gets the car door. The 
weather is slightly warmer. People's clothing looks as if 
spring is coming nearer.

Annie exits first, carrying a jacket for Grace. She is 
followed by Robert, who immediately turns to help Grace. We 
hear her O.S.

			  GRACE (O.S.)
	Dad! I can do it, OK?!

			  ROBERT
	OK, OK.

Annie shoots him a disapproving look.

We see Grace's good leg exit first... then two crutches, 
followed by... a PROSTHETIC LEG. Grace scoots into view, and 
takes a breath.

			  GRACE
	You all go ahead. I'll be up by 
	Christmas.

INT. CENTRAL PARK WEST APARTMENT - NIGHT

The three sit at a dinner table, eating dinner. Grace picks 
at her food. Robert can't help staring at her. Annie eats, 
watching them both.

			  ROBERT
	Do you want something else, honey? 
	We order something else?

			  GRACE
 		No, I'm just not that hungry.

			  ANNIE
	Why don't you go lie down?

			  GRACE
	I don't want to lie down. I've been 
	lying down enough.

			  ROBERT
	You want to watch some television?

			  GRACE
		(edgy)
	Maybe... look -- just...

Robert and Annie wait. She doesn't continue. She rises, 
reaching for her crutches. Robert moves to help.

			  GRACE
	I got it! I got it!

She exits into her room. Annie looks at him disapprovingly.

INT. ANNIE AND ROBERT'S BATHROOM/BEDROOM - NIGHT

Annie and Robert stand before their separate sinks, talking 
to each other through their separate mirrors, as they wash up 
for bed.

			  ANNIE
	You've got to stop doing that?

			  ROBERT
	Doing what?

			  ANNIE
	Helping all the time! Running to her 
	every time she trips or falls... 
	Anticipating her all the time.

Robert shuts off his sink and dries his face, without a word. 
He exits into the bedroom, and gets into bed. For a beat, he 
stares up at the ceiling -- then says quite plainly.

			  ROBERT
	You know, Annie, this didn't just happen 
	to you.

Annie is applying moisturizer when she hears this. As it 
sinks in, she doesn't like it.

INT. GRACE'S BEDROOM - NIGHT

Grace stands by her door and can hear her parents muffled, 
tense voices. Annie is angry at his complacency. Robert just 
wants what's best for Grace. She closes the door. Silence. 
She puts her crutches against the wall and tries to walk 
towards her bureau without them. It is a struggle, but she 
does... almost falling, but grabbing the bureau just in time. 
The 8X10 of her and Pilgrim, falls face down. She props it up 
and looks at it -- focusing on her horse, then on Judith. 
Suddenly, she lashes out, knocking the photograph onto the 
floor...

			  ROBERT (O.S.)
	Honey, you all right? Did something 
	fall?

			  GRACE
		(angrily shouts)
	NO!

EXT. GRACE'S PRIVATE SCHOOL - MORNING

Annie pulls up in a Range Rover and stops. Grace moves for 
the door. Annie asks respectfully;

			  ANNIE
	Do you want any help?

Grace doesn't even bother to answer. She manages to get onto 
the pavements, then turns for her bag...

Annie notices other kids looking at Grace from behind, as they 
enter the school.

			  ANNIE
	Dad'll pick you up today, all right?

			  GRACE
	Okay.

Grace looks up to her mother. What is unspoken between them 
is the understanding that today will be difficult and there's 
nothing either one can do about it.

			  ANNIE
	You'll be fine.

Grace nods and turns to the school. Annie watches her go.

INT. GRACE'S SCHOOL - MORNING

Grace makes her way through the hall. It is the first time 
she has had to maneuver through a crowd. Some of the younger 
children are especially unconscious. Grace sweats her way 
through, trying to maintain her balance and her sanity.

As Grace slowly moves along, whatever small faith she had 
that she could get through this day, begins to diminish.

INT. ANNIE'S OFFICE - DAY

Annie moves about the office, hands in pocket, in front of 
her wall of windows. LUCY and her staff sitting around the 
office. Annie is speaking to a YOUNG WOMAN staff member;

			  ANNIE
	I don't care what he told you! The 
	man's a liar! The man's an actor, for 
	Christ's sake. They're all liars! 
	They'll say anything to get a cover...

The Young Woman looks insulted. AN ASSISTANT comes in to give 
Annie a note;

EXT. GRACE'S SCHOOL - DAY

Annie is crossing an empty school yard. Grace is sitting on 
the ground, her back against a wall, her "legs" in front of 
her. She has been crying. She looks up to her mother.

			  GRACE
	It's too hard.

Annie kneels before her sympathetically brushing her hair away:

			  ANNIE
	Oh, honey... What happened?

			  GRACE
	Doesn't matter. I... I don't want to 
	come back, that's all.

			  ANNIE
		(softly)
	Oh. Well, what are you going to do? You 
	have to go to school, honey. I mean, what --

			  GRACE
		(snaps)
	I'm not coming back! That's it! I want to 
	go home!

			  ANNIE
	Grace, listen to me. Your body is just 
	healing. You have to give the rest of you 
	time as well...

			  GRACE
	Is that your version of a pep talk?

			  ANNIE
	You are not staying home all day feeling 
	sorry for yourself. You're going to get 
	up and you're going to figure this out.

			  GRACE
		(snotty)
	Fine!

			  ANNIE
	It's still early. What's your next class?

With secret delight, Grace viciously utters the word:

			  GRACE
	Gym!

INT. ANNIE AND ROBERT'S BEDROOM - NIGHT

Annie is at her desk studying Grace's book on Horse Whisperers. 
Robert is on his bed with briefs laid out before him.

INT. GRACE'S BEDROOM - SAME NIGHT

The door is closed. A SONG blares on her stereo. Grace is in 
her bed watching a video of her and Pilgrim... riding at a 
horse show. There's a shot of Annie standing proudly, 
watching her ride. Another shot of her and Judith, both of 
them on their horses, waving to camera.

INT. BEDROOM - SAME NIGHT

Grace enters.

			  GRACE
	Dad?

Both Robert and Annie look up.

			  ROBERT
	What, sweetheart?

			  GRACE
		(beat)
	I want to see Pilgrim.

Robert and Annie exchange an anxious look.

EXT. DYER HORSE FARM, CONNECTICUT - DAY

It's raining. The MacLean car is parked by the barn. They 
are walking towards the stables under their umbrellas as Liz 
runs to greet them.

			  LIZ
	Hello...
		(to Grace)
	It's so good to see you. How ya 
	doing?

			  ROBERT
	She's doing just grea. Aren't you 
	kiddo?

			  GRACE
	I'm fine.

			  LIZ
	Well, come on. He's out back now...
		(leads them)
	Mind how you go. It's pretty muddy back 
	there.

			  GRACE
	Why is he in the back? Why isn't he in 
	the barn with the other horses?

Liz stops, causing everyone to stop. She turns to face Grace, 
realizing she doesn't know. She looks at Robert and Annie, 
accusingly. She tries to explain:

			  LIZ
	Well, Grace, you see... Pilgrim just... 
	isn't the same horse he used to be.
		(to the parents)
	As a matter of fact, maybe now's not 
	the best time to --

			  GRACE
	I really want to see him.

Liz looks at Annie. Annie nods. Liz leads them on.

They reach a row of empty old stalls. They cross to one of 
the stalls -- its doors are closed. Liz draws back the bolt 
on top half of the door.

There is an immediate explosion of sound inside the stall, 
the sound of fear, startling them. Then it's still. Liz 
slowly opens the door. Grace, with the aide of her cane, 
walks to the stall. She hesitates, then looks in. It takes a 
moment for her eyes to grow accustomed to the dark. She sees 
Pilgrim with his head down in the shadows...

			  GRACE
	Hello, beautiful boy...

He lifts his head at the sound of her voice. Grace, and the 
audience, see him for the first time -- His mad eyes, his 
terrible disfigurement...

Grace cries out, stepping backwards, nearly stumbling in the 
mud... What is left of her horse are gone. Annie realizes 
what's happened and, together with Robert, rush to her... They 
too see the monster Pilgrim has become and are horrified. 
Grace angrily pushes away from them and "runs" off. Robert 
goes after her.

Annie is standing in the rain with Liz -- her eyes unable to 
move away from the sight of Pilgrim.

			  LIZ (O.S.)
	You should have told her, Annie. I 
	tried to explain to you how bad it was... 
	I guess you had to see it. But, there's 
	nothing to be done. This animal's beyond 
	help. Annie, can I have your permission 
	now to put him down?

Annie stands in the rain, hands in pocket, fixed on Pilgrim 
and more determined than ever;

			  ANNIE
	No.

EXT. CENTRAL PARK WEST APARTMENT - NIGHT

Alone in her study, Annie sits before her computer searching 
the Internet for information on HORSES -- Veterinarian 
Journals, Therapies, Accidents, Eistories... We sense she's 
been at it a while...

She locates an ITEM TITLE -- HORSE WHISPERERS. Interested, she 
brings it up on the screen.

INT. NEW YORK PUBLIC LIBRARY - NIGHT

Annie sits in the huge reading room, books spread out before 
her, under a green reading lamp. Her voice tells us what she's 
reading:

			  ANNIE (V.O.)
	"It was in America that horses first 
	roamed..."

In the books, we see pictures, lithographs, paintings and 
drawings...

			  ANNIE (V.O.)
	"A million years before the birth of 
	man, they grazed the vast empty plains of 
	grass and crossed to other continents 
	over bridges of rocks... They first knew 
	man as the hunted knows the hunter, for 
	long before man saw horses as a means to 
	killing other beasts, man killed them for 
	meat..."

ANNIE'S V.O. CONTINUES OVER;

INT. PILGRIM'S STALL - NIGHT

			  ANNIE (V.O.)
	"...The alliance with man would forever 
	be fragile -- for the fear he'd struck 
	into their hearts was too deep to be 
	dislodged... Since that Neolithic moment 
	when a horse was first haltered, there 
	were those among men who understood 
	this..."

INT. GRACE'S ROOM - NIGHT

Grace sits alone in her darkened room, staring out the window 
but not looking at anything. There's a discomforting distance 
in her expression.

			  ANNIE (V.O.)
	"... They could see into the creature's 
	soul and soothe the wounds they found 
	there..."

						  DISSOLVE TO:

EXT. A FAIRGROUNDS PARKING LOT, CALIFORNIA - DAY

A hot, dusty fairgrounds horse arena. The worn wooden bleachers, 
crowded. Lines of cars and pick-up trucks.

			  ANNIE (V.O.)
	"...For secrets uttered softly into 
	troubled ears, these men were known as 
	The Whisperers..."

One particular pick-up truck has its back door opened. A 
MAN'S LEG is sticking out, putting on a pair of boots.

A moment later the Man gets out of the car. Holding a cowboy 
hat, he has a certain quality, a self-respect, that men who 
know themselves seem to have. TOM BOOKER.

A weathered redheaded woman named RONA -- late forties, strong, 
wiry horsewoman's build -- is walking towards him.

			  RONA
	Hey, darlin'.

			  TOM
	Hey, Rona. Sorry I'm late.

			  RONA
	I wouldn't know what to do if you were 
	on time.

They walk together towards the fairgrounds.

			  TOM
	You're looking fit.

			  RONA
	Fit? You want to check my teeth.
		(Tom laughs)
	Good crowd today. I think you'll have 
	some fun. You going to stay for dinner?

			  TOM
	If it's not too much trouble, I thought 
	I might.

			  RONA
		(playful)
	Kind of trouble I'm in the mood for.

			  TOM
	Oh-oh... Maybe I better get back in the 
	truck.

Rona lets out a hearty laugh as they enter the horse arena.

EXT. HORSE ARENA, CALIFORNIA - DAY

Inside the corral, a small black thoroughbred is being worked 
by Tom. As he rides and narrates into a radio microphone to 
the crowd, we sense this is a man of good humor and great 
skill --  guileless, sensible, of the earth.

			  TOM
	... It's always kind of interesting to 
	hear the horse's side of the story...

The crowd laughs warmly. He directs his comments to a WOMAN 
wearing an expensive Ralph Lauren western outfit, standing 
outside the corral...

			  TOM
	Now if he was cranky or lazy, like you 
	say he is, we'd be seeing his tail 
	twitching there and his ears back, 
	maybe. But this isn't a cranky horse, 
	it's a scared horse. You see how braced 
	he is up around the neck back there. 
	He just doesn't know which way to turn...

The Woman nods. Tom turns the horse on a dime so that he 
always stays facing the circling thoroughbred...

			  TOM
	You see how he keeps pointing his 
	hindquarters in at me? Well, I'd guess 
	the reason he seems reluctant to move 
	out is because when he does, he gets in 
	trouble for it.

			  THE WOMAN
	He's not good at transitions, you know? 
	When I want him to move from a trot to a 
	lope, say...

			  TOM
		(smiles)
	Well, I'm sure that's what you think but 
	that's not what I'm seeing. You may think 
	you're asking for a lope, but your body 
	may be saying something else altogether. 
	You might be putting too many conditions 
	on him. For instance, you might be saying 
	"GO, but, hey, don't go too fast." He can 
	tell that from the way you feel. Your 
	body can't lie. You ever give him a kick 
	to make him move out?

			  THE WOMAN
	He won't go unless I do.

			  TOM
	And then he goes and you feel like he's 
	going too fast, so you yank him back?
		(she nods)
	And next thing you know, he's bucking.
		(she nods again)
	Well, if someone told you to go, stop, 
	go, stop -- you'd buck too.

The people laugh. The Woman smiles self-consciously.

			  TOM
	It's a dance, see... Somebody has to lead 
	and somebody has to follow.

Tom gracefully moves his horse around the ring, "dancing". He 
then takes up a long coiled rope and throws it so that the 
coils slap against the black horse's flank, making it burst 
into a lope. And again... Making the animal go from a trot to 
a lope, letting it slow, then up to a lope again.

			  TOM
	I want him to get so he can leave real 
	soft. He's getting the idea now. He's 
	not all braced up and tense like he was 
	at the start. He's finding out it's okay.

He throws the rope again and this time the transition to the 
lope is a smooth one.

			  TOM
	You see that? He's getting better 
	already. Pretty soon, if you work at 
	it, you'll be able to make all these 
	transitions easy on a loose rein.
		(sotto voce, wry)
	Yeah, and pigs'll fly.
		(to Woman)
	He's going to be okay -- so long as you 
	don't go yanking on him.

She nods, but he can see she's upset, feeling foolish. He 
walks the horse over to her, turns off the microphone and 
speaks sympathetically:

			  TOM
	Look, the truth is it's all about self-
	preservation. These animals.
		(with great affection)
	... well, they just have such big hearts, 
	you know? There's nothing they want more 
	than to do what you want them to do. But 
	when the messages get all confused, the 
	only thing they know to do is try and 
	save themselves... Now, why don't you go 
	saddle up and see what happens.

Feeling better, and not a little attracted to his heartfelt 
man's man, the Woman smiles and reaches for his hand to climb 
over the rail. Her horse lets her come right up to him and 
stroke his neck. Tom comments;

			  TOM
	They won't ever hold a thing against 
	you. They're the most forgiving 
	creatures God ever made.

Turning on his mike and turning back to the crowd, he says:

			  TOM
	Okay, who's next?

A Young Boy leads a mule into the ring. Tom smiles:

			  TOM
	Now God has another idea entirely with 
	the mule.

EXT. THE FAIRGROUNDS - LATER THAT DAY

Tom has finished his "show." People are shaking his hand, 
thanking him, as he walks away from the corral, towards a 
trailer.

The Woman in the Ralph Lauren approaches:

			  WOMAN
	Excuse me.

He faces the Woman:

			  WOMAN
	Hi. I'm Dale. I just wanted to -- I can't 
	get over the way he felt under me after 
	you'd finish with him. Everything had 
	just, I don't know, freed up or something.

The Woman is flirting. Tom shrugs, uncomfortably;

			  TOM
	Well, that'll happen.

			  WOMAN
	Where did you learn all this stuff?

			  TOM
	What stuff is that?

			  WOMAN
	About horses? I'd love to learn more 
	about it myself. Do you offer any 
	private lessons for riders?

			  TOM
	 	(getting the message)
	Well... Dale... you know, a lot of this 
	stuff... it just... nuts and bolts.

			  WOMAN
	What do you mean?

			  TOM
	Well, if the rider's nuts, the horse 
	bolts.
		(smiles)
	That's the whole lesson right there. 
	You have a good day now... Just... keep 
	on freeing yourself up.

He leaves her, entering the trailer.

INT. RONA'S TRAILER - NIGHT

A small, well-used trailer. Tom and Rona are finishing dinner 
like comfortable old friends. Rona rises, taking the plates 
into the kitchen and starts rinsing them:

			  RONA
	Oh I clear forget. You had a call from 
	some woman in New York. She sounded 
	pretty wound up.

			  TOM
	I don't any woman in New York. But from 
	what I hear, most of them are wound up.

			  RONA
	The number's by the phone.

He nods but doesn't move. He just looks at Rona and smiles. 
She's a good woman. But Tom hopes she doesn't want anymore 
than what they have together. Rona notices him looking and 
smiles:

			  RONA
	What are you looking at, young man?

			  TOM
	How long were you married?

			  RONA
	Long enough.

			  TOM
	You ever miss it?

			  RONA
	Does a horse miss a saddle?

			  TOM
	Sometimes.

She chuckles, shuts the water off and crosses back to him, 
sitting beside him.

			  RONA
	Well as a matter of fact, I don't... most 
	of the time.

She starts unbuttoning his shirt.

			  TOM
	You know, Rona, we weren't all that good 
	together even when we were good together.

			  RONA
	Honey... I was always good.

Tom smiles as Rona leans in. They kiss.

INT. ANNIE'S OFFICE, N.Y.C. - MORNING

Annie is looking over a magazine cover with Lucy and her staffers. 
She is unhappy.

			  ANNIE
	You know it's perfectly shot, it's 
	perfectly cropped, it's perfectly laid 
	out and I'm so bloody bored, I'd rather 
	buy a Motor Racing magazine -- Start 
	over.

Some general whines and groans as her assistant hands her a 
note.

			  ANNIE
	Uh, would you all excuse me a moment?

She waits for them to leave as she sits before the phone. One 
of her lines is lit:

EXT. A ROADSIDE SERVICE STATION SOMEWHERE IN UTAH - DAY

An endless sky. An empty ribbon of two-lane highway in Utah. 
A small roadside station. Tom's pick-up truck, his horse 
trailer hitched to it, getting gas.

Tom is on the pay phone. We hear Annie's voice:

			  ANNIE (O.S.)
	This is Annie MacLean.

			  TOM
	Yeah. Hello. This is Tom Booker. I got a 
	message you called.

INTERCUT ANNIE in her office:

			  ANNIE
		(efficient, expeditiously)
	Oh! Yes. Thank you for calling back. Uh, 
	all right, let me try to explain my 
	situation as briefly as possible... You 
	see, my daughter had an accident with 
	her horse... They were both injured and 
	she, my daughter, she hasn't been able 
	to... fully... uh... It was an extremely 
	traumatic experience... and uh...

Tom, sensing her turmoil, listening compassionately.

			  ANNIE
	I went on the Internet and found this 
	article about you... It says you're a Horse 
	Whisperer, that you... you help people 
	with horse problems. And you have quite a 
	success rate when it comes to traumatized --

			  TOM
	Well, see, truth is, ma'am, I help horses 
	with people's problems.

			  ANNIE
	Well, you know, however you want to put 
	it -- I got your information from the 
	publisher of the article. I called 
	Montana and your sister-in-law, I think, 
	gave me this number.
		(trying to be charming)
	I'm been hot on your trail you could say 
	because I was hoping you'd consider 
	coming to New York and taking a look at 
	my daughter's horse and possibly --

			  TOM
	Ma'am, I'm very sorry about your problems 
	and I appreciate what your daughter must 
	be going through, but I'm afraid you've 
	misunderstood whatever it is you read. I 
	don't do that sort of thing.

			  ANNIE
	Well, if you could just come for the day. 
	New York's only a few hours by plane, 
	I'd have you home by dinner...

			  TOM
	Look, even if it was nearer, that's just 
	not what I do. I give clinics. And I'm 
	not even doing them for a while. I'm 
	heading back to Montana right now. I got 
	a ranch to take care of...

			  ANNIE
		(interrupts, abruptly)
	I'll pay you for your fare. I'll send you 
	to Montana first class.

			  TOM
		(getting impatient)
	Ma'am, first class to Montana is a waste 
	of good money. Now, am I being too polite 
	here or when I say NO in Utah, does that 
	mean YES in New York City?

Annie is taken aback. Tom feels badly.

			  TOM
	I, I don't mean to sound insensitive. I 
	understand your situation. But there's 
	nothing I can do. You just called the 
	wrong person, that's all. I hear there 
	are a bunch of therapists in New York. 
	Maybe you should call one of them.

			  ANNIE
	Mr. Booker, if I could just ex --

			  TOM
	I am very sorry, ma'am. Goodbye now.

He hangs up before Annie can continue.

INT. GRACE'S BEDROOM - NIGHT

Annie reaches for Grace's bedroom door, then pauses. She 
realizes she should knock. She does and whispers:

			  ANNIE
	Grace?
		(knocks again)
	Grace, it's mom.

Annie slowly opens the door. She finds Grace's bed empty. She 
looks over to the window to find Grace sitting in a chair, in 
the dark, looking out the window.

			  ANNIE
	Grace. What are you doing?

Not looking up, Grace speaks in a hollow voice.

			  GRACE
	I can't find that charm Daddy gave me 
	from India.

			  ANNIE
	I brought it to you in the hospital.

			  GRACE
	No, you didn't.

			  ANNIE
	Grace, I put it on the table near your --

			  GRACE
		(apathetic)
	Doesn't matter.

Beat.

			  ANNIE
	Have you decided about Pilgrim?

			  GRACE
	What about him?

			  ANNIE
	Well... how you feel all right about 
	telling Liz to put him down...

			  GRACE
	I think we should. It's not fair to let 
	him suffer. He's not much use anymore. 
	He'd hate living like that.

			  ANNIE
	I think that's... very compassionate 
	and... mature way of looking at it.

			  GRACE
	Mom?

			  ANNIE
	Yeah?

			  GRACE
	Maybe they should put me down too.

			  ANNIE
	What?

			  GRACE
	I mean, I'm not much use anymore. Why 
	can't they be compassionate to me?

What frightens Annie most is the calm and apathy in Grace's 
voice. She's surrendering... Annie, for the first time in a 
long time, feels she's losing control.

INT. CENTRAL PARK WEST APARTMENT - NIGHT

Annie sits alone at the kitchen table, nursing a glass of 
wine.

Robert enters and sits opposite her, wearing a tuxedo -- his 
tie and collar undone.

			  ANNIE
	How was the dinner?

			  ROBERT
		   (wry)
	All our "favorite" people were there 
	saying all their "favorite" things about 
	their "favorite" subjects. I thought to 
	myself, we've been friends with these 
	people almost twenty years and nobody 
	knows anybody. We're so afraid we won't 
	like each other and have nobody go to 
	dinners with.

			  ANNIE
	Why did you go?

			  ROBERT
		(surprised)
	They're still our friends, Annie. It's 
	nothing serious. You kid about them all 
	the time... And I could tell Paul really 
	appreciated me being there.

He drinks Annie's wine as she looks at him.

			  ROBERT
	Did you get a hold of that horse guy?

			  ANNIE
	Yeah.

			  ROBERT
	What did he say?

			  ANNIE
	No.

Robert nods. Accepting. Silence. Annie sips her wine. Then:

			  ROBERT
	I was thinking... Maybe we should think 
	about the three of us going someplace 
	warm... Remember that house we rented in 
	Bermuda... The pink one with the --

His arm accidentally spills the wine.

			  ROBERT
	Shit.

As he bends down to wipe it up with a napkin, Annie watches 
Robert clean the spill. Something about his movements, his 
posture -- a sense of weakness, of surrendering, of not having 
the inclination to fight, of just accepting and smoothing 
over the rough sports -- strikes her hard. Annie realizes the 
love she feels for Robert isn't fading. It's gone.

He finishes cleaning and sits.

			  ROBERT
	What was I saying?

			  ANNIE
	About us going someplace warm... 
	Someplace Grace'll have to wear shorts 
	or bathing suits or summer dresses...

Robert looks at her and realizes it's a bad idea. He nods, 
again, getting the message. Silence. In that silence, Annie 
looks at him... and makes a decision:

			  ANNIE
	Robert, I want to take Pilgrim out to Mr. 
	Booker. Drive him out to Montana... With 
	Grace.

Robert is confused... and a little worried.

			  ROBERT
	I don't understand. You just said he 
	said no.

			  ANNIE
	He did, but... I think I can change his 
	mind.

			  ROBERT
	That's the craziest thing I ever heard. 
	Absolutely not.

			  ANNIE
	Robert, Grace isn't adjusting to school. 
	And she can't sit in this apartment all 
	day... I think it would be good for her.

		  	  ROBERT
		(at a loss)
	NO! What are you -- you're serious about 
	this?

			  ANNIE
	I've called Liz. They can set me up with 
	a trailer for Pilgrim. I thought we'd 
	stay at motels along the way...

			  ROBERT
		(overlapping)
	You've already made arrangements!?

			  ANNIE
	No. I was just researching. Calm down.

			  ROBERT
	I come home and you tell me we're going 
	to drive a psychotic horse to Montana! I 
	can't just pick up and leave...

			  ANNIE
	I'm not asking you to. I'll do it.

			  ROBERT
	You want to do this by yourself? How? 
	You can't take care of Pilgrim all the --

		 	  ANNIE
	He'll be sedated. I know horses, Robert. 
	I'm the one who taught Grace how to ride.

			  ROBERT
		(overlapping)
	What... Bo-... What about the magazine?

			  ANNIE
	I'm in charge. I went back very soon 
	after the accident. They didn't expect me 
	for a couple of months. I'll just take 
	that time now... I can still oversee 
	things from Montana... Take my fax... 
	My computer...

Beat. Robert fears this is about the marriage. Yet --

			  ROBERT
	No. It's, uh... No, I really don't think 
	it's a good idea

			  ANNIE
	Why?!

			  ROBERT
		(searching)
	Her psychiatrist... said... she needs 
	security now... stability...

			  ANNIE
	I can't say he's been all that effective 
	with her.

			  ROBERT
	Are you a psychiatrist? He said it takes 
	time.

			  ANNIE
	I don't care what he says! We have to do 
	something, Robert! I can't sit here and 
	trust everything's going to work out just 
	by pretending it will.

			  ROBERT
	I'm not pretending anything!

Beat. Robert just stares at her. He looks concerned... almost 
worried. Annie gets uncomfortable.

			  ANNIE
	What?

It is very difficult for Robert to say;

			  ROBERT
	I thought... well, ever since the 
	accident, I just thought we...

He stops. Annie knows where he headed and prays to God he 
doesn't continue. He doesn't. A thick silence hangs between 
them.

			  ROBERT
	I really wish I could understand why 
	you think this is so necessary.

			  ANNIE
		(frustrated)
	Robert, we're losing her. We're losing 
	her.
		(he listens)
	I don't care what the doctors say. The 
	truth is, they don't know anymore than 
	we do -- less, when it comes to Grace... 
	This may not sound sensible or... logical, 
	but nobody's suggesting anything better. 
	I can't explain it, Robert. I just have 
	this feeling... this annoying... bloody 
	feeling that if... if, somehow, Pilgrim 
	can be made all right... then so can Grace. 
	I just know it!

Robert can feel the strength of her will. He can find no way 
around it.

			  ROBERT
	What if she doesn't want to go?

			  ANNIE
	She will if you think she should.

			  ROBERT
	And you think it's best if I don't come.

			  ANNIE
		(hesitates)
	No, that's not what I said. I'm not a 
	dictator. If you feel you should come, 
	then come. Just do whatever you think 
	is right.

At some moment, they realize Grace is standing at the entrance 
to the kitchen. They are surprised.

			  GRACE
	I'm not going! I don't care what she 
	says!

Annie lowers her head. Robert stares at Grace as she walks to 
him.

			  GRACE
	Daddy?... I don't want to go.

Grace stands next to Robert. He holds her hands. Annie looks 
at him, without sympathy. Robert looks back. In his face is 
the total acceptance of what must be. As well as the sadness 
of it's inevitability. He looks back at his daughter, whose 
eyes have never left him.

EXT. JOAN DYER STABLE - DAY

Pilgrim is being loaded into the trailer by four strong stable 
men, violently kicking and pulling all the way.

Annie watches with anxiety -- an almost giddy Liz by her side.

			  ANNIE
	Maybe we should give him another 
	sedative.

			  LIZ
	Problem is, there aren't many 
	volunteers. He's already had enough 
	to sink a battleship. You have a 
	pin, just in case?

			  ANNIE
	Of course not.

			  LIZ
	Probably best. You may want to shoot 
	yourself half way to Ohio.

In the back seat of ANNIE'S SUBURBAN sits Grace -- her back to 
the action. Hearing Pilgrim's struggle. Putting her walkman 
on her ears and raising the volume... We hear --

GRACE'S MUSIC, ON THE SOUNDTRACK, bringing us to:

EXT. A HIGHWAY, IN PENNSYLVANIA - DAY

Annie's Suburban drives along Route 80, pulling the horse 
trailer behind.

INT. SUBURBAN - DAY

Grace, in the back seat, wearing her headphones, listening to 
her music (maybe LIZ PHAIR OR HOLLY COLE). Detached. Non-
committal. As trucks pass by, their time slapping the pavement, 
she reacts and turns to the other window.

Annie, in sunglasses, shifts her attention between the road 
and her rear-view mirror -- checking on Grace.

EXT. HIGHWAY IN - EARLY MORNING

The Suburban drives as the sun begins to set.

EXT. MOTEL IN OHIO - NIGHT

The Suburban and Horse Trailer are parked in the lot.

INT. MOTEL ROOM, OHIO - NIGHT

A small furnished motel room with two twin beds.

Grace sits up in bed watching TV, with no expression. A sitcom 
with canned laughter serves as a hypnotic drug.

Annie enters from the bathroom, after showering, drying her 
hair. Grace doesn't bother to look up.

			  ANNIE
	You want to take your bath?
		(Grace shakes her head)
	We have to get up early tomorrow. You 
	may not have enough time to --

			  GRACE
	Fine -- I'll take my bath.

She begins moving off the bed.

			  ANNIE
	No, I don't mean you have to. It's just 
	that we may not have enough --

			  GRACE
	-- enough time tomorrow. I know.

			  ANNIE
	Look, if you want to take it in the 
	morning, that's fine.

			  GRACE
		(interrupts on "fine")
	I don't care.

Annie realizes she may have pushed too hard, but she also 
realizes there's no talking to Grace now. So, she achieves 
her goal --

			  JANNIE
	Take it now.

Grace hobbles off the bed, enters the bathroom and shuts the 
door.

INT. MOTEL ROOM IN OHIO - NIGHT

The lights are off. Annie lays in bed, wide awake. It is the 
middle of the night.

Grace, asleep in the other bed, begins whimpering. She's 
having a bad dream. Annie rises -- considering whether or not 
to intercede... Finally, Grace begins to cry out... softly at 
first, but with increasing intensity until she awakens in 
fear... Annie appears right by her side.

			  ANNIE
	What, sweetheart? What?

Shaken, Grace cannot fight how much she needs her mother at 
that moment. She wraps her arms around her, tightly, and tries 
to catch her breath.

			  ANNIE
	It's sleeping in a strange bed, 
	that's all. Happens sometimes. It's 
	Ok. It's OK.

EXT. ANOTHER ROAD, MID-WEST - DAY

The Suburban continues its journey.

Once again -- Annie, in the front, and Grace, in the rear, 
drive without a word between them.

INT. SUBURBAN - DAY

Grace and Annie occupy their same positions. Annie is on the 
car phone with her office.

			  ANNIE
	Okay, listen -- let's do this. When 
	I get to the next motel, I'll see if 
	they have a fax. If not, I'll call 
	you tomorrow to --

Annie continues O.S. when we hear a shifting, a rocking in 
the trailer behind them. As if Pilgrim made a sudden move. 
Grace quickly turns her head. Annie looks in the rear view at 
Grace.

			  ANNIE
	Uh Lucy, look, I have to go. OK... 
	Later.

Annie hangs up and smiles at Grace through the mirror. Grace 
reaches for her walkman and headphones. Annie offers;

			  ANNIE
	Grace! GRACE!

Grace lowers one side of her headphones;

			  ANNIE
	Would you like to put your music on 
	up here?

Grace shrugs. Annie shrugs it off as well. Grace replaces the 
headphone. Annie turns on the radio -- nothing but country or 
gospel or religious talk shows... She shuts it off. Frustrated, 
Annie looks up ahead and sees:

A TRUCK STOP DINER

Annie yells to be heard through the headphones;

			  ANNIE
	IT'S ALMOST LUNCHTIME. ARE YOU 
	HUNGRY!?

			  GRACE
		   	 (shrugs)
	Whatever you want.

			  ANNIE
	Fine!

			  GRACE
	Fine.

Annoyed, Annie pulls onto the gravel and stops, talking to 
herself --

			  ANNIE
	Fine!

She exits the car, banging the door. As she walks acrund the 
car to help Grace, she talks to herself in a sarcastic whisper:

			  ANNIE
	"Whatever you want!" Well, this is what 
	I want. I want to eat lunch and I want 
	to smoke a cigarette and I want to keep 
	talking to myself for the next two 
	thousand fucking miles..."!

She opens Grace's door. Grace senses her mother's anger.

INT. TRUCK STOP DINER - DAY

Annie and Grace enter. They look around:

Formica floors, truckers in caps and beer bellies stuffed 
into booths or at the counter. There is not a single space 
available.

Annie and Grace stand near the entrance. Another Trucker 
enters and they step aside, huddled together in this foreign 
land.

INT. MOTEL IN IOWA - NIGHT

Grace and Annie enter the room to find A DOUBLE BED instead 
of two twins. Neither comments.

Annie exits O.S., carrying the bags inside, as she says:

						  DISSOLVE TO:

			  ANNIE
	You should call your dad before it 
	gets too late.

			  GRACE
	I already did.
		(Annie's surprised)
	This morning. When you went running.

			  ANNIE
	Oh. You didn't tell me.

			  GRACE
	I didn't know I had to.

			  ANNIE
		(stares angrily, speaks 
		 softly)
	You don't.

Silence. Annie exits past her to the car.

						  DISSOLVE TO:

LATER

Grace is asleep in her twin bed. Once again, Annie is wide 
awake. The clock reads: 4:55 AM. But Annie can not sleep. 
Camera moves away from Annie, past her side of the bed, to 
the other side of the room.

WE SEE THE SHADOW OF A WOMAN coming towards the bed. She 
comes in camera angle and we follow to her back to the bed, 
which has now transformed into --

A BED FROM THE PAST, IN WHICH A TEN-YEAR-OLD ANNIE IS 
SLEEPING WITH HER YOUNGER BROTHER GEORGE.

WE ARE IN MEMORY.

The Woman gently shakes little Annie awaken.

			  WOMAN
	Annie... Annie, sweetheart... wake 
	up.

The little girl, with sleep in her eyes, turns and sees her.

			  WOMAN
	Bad news I'm afraid. Your Daddy's 
	gone.

END OF MEMORY.

Annie, in present time next to Grace, thinks of this as she 
stays awake. Putting her jogging parka on over her nightgown, 
she goes outside.

EXT. IOWA MOTEL - NIGHT

She crosses the motel parking lot to the horse trailer. She 
looks in through the siding at Pilgrim, checking on him. She 
sees he is caught his halter on the side of the van. She 
crosses to the trailer door, hesitates, then opens it. 
Pilgrim looks at her. Gathering her courage, she climbs 
inside. He is still, looking at her. She carefully frees his 
halter. And suddenly he bares his teeth, biting at her. She 
stumbles back out of the trailer, slamming the door shut. She 
stands leaning against the trailer -- wondering if she's out 
of her mind for attempting this.

						  DISSOLVE TO:

EXT. IOWA MOTEL - LATER THAT SAME MORNING

Annie is returning from her jog, sweating. As she crosses to 
her motel room, she stops by the window, looking in to see:

Grace, on the floor, straining to do her exercises.

Annie fills with compassion for her girl -- reminded of the 
struggle she faces everyday.

EXT. THE BADLANDS - DAY

In the distance, the Suburban and horse trailer look like a 
dot on the horizon, moving across the Badlands.

INT. THE SUBURBAN - ANOTHER TIME, DUSK

Grace leans against the window in the back, in one of her 
darker moods. Annie switches radio stations, from Bible 
thumping to Farm reports. She shuts it off. Silence.

She sees a ROAD SIGH: "LITTLE BIGHORN NATIONAL MONUMENT".

			 ANNIE
	Grace, look!

Grace reads the sign.

			  ANNIE
	Would you like to see that?

			  GRACE
	I don't care.

			  ANNIE
		(overlapping)
	I don't care.

Annie's comic mimicking, throws Grace off center.

Annie turns off onto the exit. They drive by a massive casino 
-- it's neon sign flickering. They drive up a hill past a cafe, 
two Indians in high crowned Cowboy hats standing outside of 
the cafe. She drives up a hill towards the parking lot of the 
Monument...

			  ANNIE
	This'll be nice. We haven't seen any 
	of the sights yet. It's history. When 
	I was thirteen I used to love seeing 
	things like this.

			  GRACE
	You were never thirteen, Mom.

Annie laughs, taking it as a joke. Grace almost smiles.

But, Annie drives up to sign only to find a CLOSED SIGN. The 
park was closed at six. Annie stops the car. She's hit a 
brick wall once more. Silence. Finally, Grace speaks with her 
usual sarcasm;

			  GRACE
	Great idea. So now what?

Beat. Annie's patience snaps;

			  ANNIE
	How long is this going to go on?

			  GRACE
	What?

			  ANNIE
	You know what I mean?
		(turns to the back seat)
	Is this it now? Is this the way we're 
	going to be from now on?

Ignoring her, Grace edges to the passenger side and exits the 
car. Annie gets out of the driver's side and walks around as 
she speaks:

			  ANNIE
	Do you want us to turn around and go 
	back home? Do you?

			  GRACE
	What are you asking me for? You didn't 
	ask me if I wanted to come in the first 
	place -- now I get to decide? Forget it!

She begins to turn away. Annie grabs her arm.

			  ANNIE
	Who do you think I'm doing this for? 
	I'm doing this for you!

			  GRACE
	Bullshit! It's about you! About you 
	deciding! About you always being 
	right! You always getting everything 
	your way, controlling everybody -- 
	like we work for you or something!

			  ANNIE
	I don't believe this!

			  GRACE
	You just want to get away from Daddy 
	and you're using me to do it!

			  ANNIE
	That's not true! Whatever problems your 
	father and I are having, have nothing 
	to do with this.

			  GRACE
	You're amazing! You act like I don't 
	live in that house! Don't you think I 
	hear the two of you!? Don't you think 
	I can tell what's going on? I'm not 
	five years old, Mom!
		(Annie is stopped)
	You want to divorce Daddy and Daddy 
	doesn't want to.

			  ANNIE
	Did he tell you that?

			  GRACE
	He doesn't have to! It's, like, so 
	obvious you can't stand him.

			  ANNIE
	That's not true!

			  GRACE
	Then why do you want to leave?

			  ANNIE
	It's... it's not that simple to explain. 
	I know you think it is, but it's not. 
	The truth is, I don't really know what 
	I want to do. I don't have all the 
	answers.

			  GRACE
	No, you just act like you do.

Annie is choked with fury. She doesn't know whether to 
scream, cry or strangle Grace. She turns away and begins 
walking quickly, blindly, up past a grove of trees. She comes 
to a CEMETERY enclosed by a black railing. At the crest of 
the hill there's a stone monument "The Little Bighorn 
Cemetery."

In the growing darkness, she sees, scattered on the hillsides 
below her, white tombstones. A place of sorrow. A cool breeze 
ruffles her coat and she sticks her hands in her pockets. 
Frustrated, alone, at a complete loss as to what to do, what 
action to take -- Annie, for the first time in frozen, 
standing still -- and with her, comes a rush of emotion.

She sits with her back against the monument and begins to 
weep. For Grace, for Robert, herself, for the tombstones, for 
everyone.

A FLASHLIGHT shines on her face. It is a PARK RANGER.

			  PARK RANGER
	You okay, ma'am?

			  ANNIE
		(wipes face)
	Yes. Fine.

			  PARK RANGER
	That young lady is getting a little 
	worried.

Annie realizes she left Grace alone as it got darker.

			  ANNIE
	I'm sorry. I'm sorry...

Annie rises and is escorted back to the Suburban by the 
Ranger. She sees:

Grace is sitting in the front seat now, waiting for her -- 
like a little girl lost.

INT. SUBURBAN - CONTINUOUS

Annie gets into the driver's seat. Buckles up. Grace holds 
back tears.

			  ANNIE
	You buckled up?
		(Grace nods)
	You cold?

			  GRACE
	Little.

Annie reaches into the back seat and pulls a blanket out, 
handing it to Grace, making sure it covers her. Grace turns 
towards the window and closes her eyes. Annie starts the car.

EXT. MONTANA, BACK ROAD - MORNING

C.U. on Pilgrim's head in the trailer as we PULL BACK to 
reveal the Suburban coming down an empty, seemingly infinite 
stretch of two-lane road in Montana.

INT. SUBURBAN - MORNING

Annie and Grace, both in front seats, eating doughnuts and 
coffee. They stop.

POV -- Through the windshield is an endless sky and a rolling 
sea of land.

			  GRACE
	Gee, this looks like a fun place.

			  ANNIE
	Don't they believe in signs here?

			  GRACE
	What would they say? "Ten miles to big 
	rock." "Twenty miles to bigger rock."

			  ANNIE
	There was supposed to be a turn off. 
	Did I miss it?

			  GRACE
	I didn't see it.

Their Suburban is the only vehicle on what seems like miles 
of road. Annie sighs and puts the Suburban in drive.

EXT. PETERSON'S MOTEL & STABLES, RED FORK MONTANA - DAY

The Suburban and the horse trailer, pulls into Peterson's -- a 
collection of motel cottage adjacent to an expanse of land 
that includes stable, corral, a main house and various riding 
trails into the mountains.

Mr. Peterson runs out from the main house to greet Annie as 
she gets out of the car.

INT. SUBURBAN, ON ANOTHER MONTANA BACK ROAD - LATER THAT DAY

Annie, showered and changed, is trying to follow Mr. 
Peterson's directions to Tom's ranch -- written on Peterson 
motel stationary. She is lost once again.

			  ANNIE
		(reading)
	... after left, stay on main road until 
	rise, then...
		(frustrated)
	What bloody rise?!? What main road!?

She stops the Suburban (no longer carrying the trailer).

EXT. ANOTHER MONTANA BACK ROAD - CONTINUOUS

From outside the Suburban, we see, but cannot hear, Annie 
hitting the steering and cursing in frustration.

INT. SUBURBAN - CONTINUOUS

Annie, panting, looks ahead and sees nothing but empty space, 
above and below -- as if the earth and sky met with nothing in 
between.

She sighs and starts the car again. As she moves forward, she 
senses an almost indistinguishable rise in the road -- as we 
follow her POV up the road through the windshield to reveal:

POV -- A BREATHTAKING VALLEY just beyond the rise, hidden 
from view only a few yards before. THE DOUBLE DIVIDE RANCH 
sits nestled in the valley, a few miles away. Annie is 
impressed.

EXT. THE DOUBLE DIVIDE RANGE - DAY

Men are working in the corral, saddle horses standing nearby, 
trying to get a sick calf to suckle a cow. One of the men is 
Tom Booker, working along side his brother FRANK, and his 
nephew, JOE. Frank is a good man -- solid work ethic, 
Christian fearing, wry sense of humor. With the build of a 
football player, his strength never overwhelms his boyish, 
good-natured heart. Joe is eleven, wearing his cowboy hat 
like a badge of honor. The three men seem as inseparable to 
each other, as they are to the land. As they work:

			  JOE
	Can we take a look at Bronty's foal 
	when we're done here, Dad?

			  FRANK
	Sure. As long as she don't mind.

			  JOE
	There's a kid at school says we 
	should've imprint-trained him.

Tom and Frank don't say anything. Just nod, knowingly.

			  JOE
	He says if you do it soon as they're 
	born, it makes them real easy to handle 
	later on.

			  FRANK
	That's what some folks say.

			  JOE
	There was this thing on the TV about a 
	guy who does it with geese. He has this 
	airplane and these baby geese all grow 
	up thinking it's their mom, and he flies 
	it and they just follow.
		(to Tom)
	You hear 'bout that, Uncle T?

			  TOM
	Yeah, I hear about that.

			  JOE
	Well, what do you think about that 
	stuff?

			  TOM
	Well, Joe, I'll tell ya -- I don't know 
	a whole lot about geese. Maybe it's okay 
	for them to grow up thinking they're 
	airplanes. But horses, as far as I can 
	tell, can't fly.

Frank laughs. Joe smirks as Tom messes his hat up. There's the 
sound of a car. They turn.

The Suburban is coming over the ridge, heading down the 
driveway in a cloud of dust.

			  JOE
	We expecting company?

Frank shakes his head. As the Suburban slows down, Tom 
recognizes the driver.

			  TOM
	I don't believe it.

			  FRANK
	You know her?

Annie, out of her element, hiding behind sunglasses, gets out 
as Tom approaches her by himself. Annie girds herself for the 
confrontation.

			  ANNIE
	Hello, Mr. Booker. Annie MacLean. From 
	New York. We talked on the phone.

She extends her hand. TOM shakes it, nodding, staring at her 
curiously.

			  ANNIE
	It's, uh... beautiful country. I had a 
	little bit of a hard time finding the 
	place. There are no signs.

			  TOM
	Plenty of signs -- just none of them 
	printed. Who do I get the idea you're 
	not just passing through!

			  ANNIE
	Well... OK... here it is... Uh... I'd 
	like you to take a look at my horse. 
	Now -- it won't take long and if, after 
	that, you still don't feel...

			  TOM
	Were you thinking of personally driving 
	me back East?

			  ANNIE
	Oh no. She's here. I brought him along. 
	And my daughter, too. We're staying at 
	Peterson's...

			  TOM
	You mean you hauled him all the way out 
	here? Just like that?

			  ANNIE
		(slightly taken aback)
	Well... yes... I had a trailer. It's not 
	like I made him run along side of the car.

			  TOM
	All by yourself?

She nods. Tom cannot help be impressed by her guts and fortitude.

Camera cuts away for a moment to a window in the ranch house, 
through which DIANE -- Frank's fiery, loyal pioneer wife -- 
looks at the duo with suspicion.

			  TOM
	I uh... ha, ha... I don't think I ever 
	met a lady quite like yourself and I 
	appreciate all the pains you've gone 
	through to --

			  ANNIE
	Look! Please! Don't do the "shucks, 
	ma'am" thing again!
		(Tom, surprised, listens)
	I've driven a few thousand miles for a 
	few minutes of your time. I've brought 
	him here -- to your neck of the...
		(seeing no woods)
	-- mountains. Just take a look at him. 
	If you still feel the same way, I'll 
	be on the road by morning and you'll 
	never see me again. OK? Deal?

Tom tries to hide a smile of respect. Annie, thinking she may 
have him, starts backing away towards her car -- as one would 
a dangerous animal they think they might have tamed...

			  ANNIE
	We're at Peterson's. Whenever you're 
	free. You don't even have to call.

She gets into the Suburban. Tom watches her drive off.

EXT. ANNIE AND GRACE'S COTTAGE - DAY

Tom walks up some wooden steps to a door and knocks. He hears 
a TV on inside. And Grace's Voice:

			  GRACE (O.S.)
	MOM! The door!

He hears Annie's muffled reply from O.S. He hears some banging 
as Grace fumbles for her crutch and comes to the door. She 
opens it only so far as to reveal her upper body:

			  GRACE
	Yeah?

			  TOM
	Uh, I'm Tom Booker. Your mother 
	around?

Grace hops to the side as Tom walks by her, into the room. 
Grace is closing the door as he turns to see, for the first 
time, that Grace is one leg.

			  GRACE
	She'll be right out. She's on the 
	phone.

Grace hops back to the bed in front of the TV. Tom nods and 
puts his hat down -- noticing the prosthetic leaning against 
the window, near her bed. He hears Annie on the phone and 
looks to the other room, the door ajar -- seeing only her 
legs, seated on the edge of her bed, as she talks. Her foot 
taps impatiently.

			  TOM
	First time in Montana?

Grace, rudely nods, still looking at the TV.

Beat. Tom doesn't like her manner, but can easily see through 
it. He sits.

			  TOM
	She gonna be long?

			  GRACE
	Probably. She's on the phone twenty-
	three hours a day.

			  TOM
	What does she do?

			  GRACE
	She's an editor.

			  TOM
	Mmm. An editor.

			  GRACE
	Not like books or literature or anything. 
	Just a magazine... Just in case she 
	hasn't told you -- which I'm sure she 
	hasn't -- I don't want to be a part of 
	this, OK?

Tom just sort of nods. A beat or two later, Annie enters.

			  ANNIE
	Sorry about that. Hi. Grace, this is 
	Mr. Booker... Have you looked at 
	Pilgrim?

Tom sees Grace turn away, just as Annie enters. He takes a 
moment. He could say no right there, but something stops him.

			  TOM
	Uh, no. I was gonna take a look now.

			  ANNIE
	You want us to come with you? I just 
	have to run to the main house and give 
	Mr. Peterson a check.

			  TOM
	Doesn't matter.

			  ANNIE
	Grace?... Grace, you want to come with 
	us, take a look at Pilgrim?

Grace keeps looking at the TV. No reply. Tom is half way out 
the door when he says to Annie -- making sure Grace can hear --

			  TOM
	Probably best she stays behind, anyway.

He disappears. Annie gives Grace a final look and exits, closing the door.

Alone, Grace flings her body across the bed, reaching for her 
prosthetic -- putting it on feverishly. She is completely 
intrigued by Tom.

EXT. PETERSON'S STABLES - DAY

Tom stands alone at the stable. Opening the bottom door, 
ducking under the stall, he goes inside.

			  TOM
	Okay now... Okay now...

Walking towards him, Tom raises his hand, showing Pilgrim a 
sign of respect, of trust... He quietly makes his way along 
Pilgrim's side, along his flank, prompting Pilgrim to move 
out from the shadows, into the light. Tom moves to look at 
him. And Pilgrim suddenly kicks out at him. Tom, not cowed, 
stands his ground. He bends, looking at Pilgrim's withered 
legs. He looks up at his scarred head. He looks into the 
pools of the horse's tortured eyes. Pilgrim stands still -- 
allowing Tom this brief intimacy.

As Grace walks towards the stable, she realizes that the door 
is open and Tom must be inside. She is amazed.

Annie, appearing behind her, is also impressed.

Tom exits the stable and sees them, as he closes the doors.

			  ANNIE
	Well... You're closest anyone's 
	gotten.

He walks straight towards them -- veering more to Grace. He 
stops in front of her and they look into each other's eyes -- 
in a way that reminds us of how Tom looked at Pilgrim.

Except, Grace is made even more uncomfortable by the intimacy. 
She turns away and walks to the corral, to lean on a post -- 
as if she doesn't care. Tom turns to Annie.

			  TOM
	I have to be honest. I still feel 
	you made a long trip for nothing.

He looks at Annie. Annie has no more words -- just an ever-
present pleading in her face.

Tom watches as Grace makes a small, naked movement -- putting 
her hand on her cheek, like a hurt child.

He can't help but see these three being connected by one wound.

			  TOM
	But before I even think about it, I 
	need to know something here and now. 
	It's a question for Grace here.

Grace stiffens.

			  TOM
	When I work with a horse, it's no good 
	just me doing it. It doesn't work that 
	way. The owner needs to be involved too.

			  ANNIE
	Well, that'll be a little complicated --

			  TOM
	You can make it as complicated or as 
	easy as you like. But she's the one 
	who's gonna be riding him, am I right? 
	So here's the deal. I'm not sure I can 
	do anything, but I'm prepared to give 
	it a go --
		(to Grace)
	-- if you'll help.
		(Grace gives a bitter laugh)
	You have a problem with that?

			  GRACE
	Isn't it like, obvious?

			  TOM
	Not to me. Either you want to or you 
	don't.

			  ANNIE
	Look, I'll talk to Grace and call you 
	later--

			  TOM
	Excuse me, with all due respect, but 
	this is her decision, not yours. And I 
	don't want to waste anybody's time -- 
	mostly mine.

Grace reacts anew to Tom's remark. She likes her mother being 
dis-empowered. Annie keenly understands the importance of Tom 
putting it this way to Grace. Grace has all eyes on her -- 
just what she wants. All waiting for her response. She turns 
away, flicks her head and says:

			  GRACE
	Well, there's nothing else to do around 
	here.

Annie smiles in relief. But Tom isn't satisfied.

			  TOM
	Not good enough. I can't help you.

He starts walking away. Annie doesn't know what to do. Grace 
mumbles.

			  GRACE
	What do I have to do?

Tom keeps walking out... Grace says it louder.

			  GRACE
	I said, what do I have to do?!

Tom stops and looks at her. Annie holds her breath.

INT. THE RANCH HOUSE, DOUBLE DIVIDE - NIGHT

Frank, Tom, Joe and TOM TWIN BOYS, 6 years old, sit at a dining 
table eating dinner, as Diane serves. We parachute into the 
middle of the conversation:

			  DIANE
	... well, I just think she's got a lot 
	of nerve showing up here. Draggin' that 
	child and that poor animal all the way...
		(TO ONE OF THE TWINS)
	You eat with those fingers again and you 
	know what'll happen!
		(the boy cowers)
	Frank, don't you think she's got a nerve?

			  FRANK
	Oh hell, I don't know... According to Tom, 
	she's a pretty determined woman. Must've 
	thought it was worth it.

			  DIANE
		(sits down)
	I guess they'll want feeding and all, out 
	here all day long.

			  TOM
	I don't believe they'll expect that.

			  DIANE
	What, they ain't going forty miles into 
	Choteau everytime they want a hamburger.

			  FRANK
	Mixed salad.

			  DIANE
	What?

			  FRANK
		(slyly)
	I believe women from New York eat mixed 
	salads. Ain't that right, Tom?

Tom hides a grin -- he knows Frank into teasing her now.

			  TOM
	I believe so. Saw it on a television 
	show, once.

			  DIANE
	Well, that's just what we need on a cattle 
	ranch -- a vegetarian from New York.

Everyone eats. Beat.

			  JOE
	When you figure on branding?

			  FRANK
	Weekend after next...

			  TOM
	If the weather holds.

Frank nods. Silence again. Everyone eats. Beat.

			  JOE
	What's an editor do anyway?

			  DIANE
		(playing)
	We're not sure, sweetheart, but they 
	eat like rabbits.

Tom and Frank chuckle. Diane smiles -- in on the joke with 
them. The children are curiously confused.

INT. ANNIE AND GRACE'S MOTEL ROOM - NIGHT

Camera moves to reveal Annie on the phone in front of her 
computer and fax...  plugging in extension cords as she talks:

			  ANNIE
	... the phone company's putting in extra 
	lines. I'll call back with the numbers. 
	Oh, and I want you to get in touch with 
	this lady in town here -- they say she's 
	sort of a physical therapist for the 
	rodeo boys but keep the one at the 
	hospital we already contacted on call...

Grace sits alone in the living room. Watching TV, but anxious 
and disturbed about what she's committed herself to.

INT. DOUBLE DIVIDE KITCHEN - CONTINUOUS - NIGHT

Diane is in her bathrobe doing bills at the kitchen table, as 
she listens to a BOOK OF TAPE. Her hand on her forehead, her 
other hand writing. Tom enters to take his hat off the 
sideboard. He moves to the table and reaches over for a 
cookie from a plate of cookies. Without looking up, Diane 
slaps his hand. Tom then pours himself a cup of coffee... then 
swiftly sneaks his hand back and grabs a cookie. Diane smiles. 
Tom exits.

It is only then that Diane looks up after him.

INT. UPPER FLOOR OF RANCH HOUSE - NIGHT

Camera follows Tom towards his bedroom --  passing the others. 
Perhaps we see Frank sprawled out asleep already in his 
underwear. We might see the Twins in their bunks. One of the 
Twins' lower torso is laying outside of the blanket. He 
casually flips the blanket over the kid's bare feet and 
continues to his room.

INT. TOM'S BEDROOM - NIGHT

Tom enters and closes the door. Turns on a stereo which plays 
a cello piece by Yo-Yo Ma. Books fills his room. He sits at 
his desk, puts on eye glasses and looks through some paperwork. 
Suddenly he stops, looking over the paperwork, into space. A 
thought passes by. We don't know what.

						FADE OUT:

EXT. THE RANCH, A CORRAL - DAYBREAK

First light of day. Pilgrim stands stock still in the middle 
of the corral. Tom, motionless, is crouched on his haunches 
in the corral -- watching him.

TOM'S POV: As Pilgrim moves, he can see that the horse is 
stove up.

He softly tosses a handful of dirt at Pilgrim's withered 
legs... Pilgrim, sensitive to the slightest provocation, 
bucks, wheeling away from him. Then stops. Tom sits on his 
haunches again... and watches him.

Frank appears, exiting from the barn (perhaps).

			  FRANK
	Tom?

			  TOM
	Yeah.

Tom leaves Pilgrim, hooking up with Frank -- the two brothers 
go off, discussing the ranch work that is ahead of them.

						  DISSOLVE TO:

EXT. THE RANCH - ANOTHER DAY

Annie and Grace arrive in the Suburban. They exit. As they 
head towards the ranch, they see in the distance:

Pilgrim standing along the fence of a round pen. Tom stands 
in the pen, holding a rope, looking at Pilgrim.

EXT. THE ROUND PEN - DAY

Tom stands in the pen with Pilgrim. He looks to see Annie and 
Grace approaching but makes no acknowledgement. He turns his 
focus back to Pilgrim.

Annie and Grace appear. Grace takes a position (that is to 
become her regular spot) a distance away from the pen. Annie 
moves in closer, beside SMOKEY (a ranch hand) with one leg 
up on the pen fence.

			  SMOKEY
	Howdy...
		(sees Grace)
	Howdy.

He and Annie watch as Tom stands before Pilgrim -- turning 
sideways... then standing...

			   ANNIE
	What's he doing?

			   SMOKEY
	Trying to get his eye.

			  ANNIE
	How's it going?

Smokey doesn't respond -- how it's going is exactly how it 
looks. Tom takes a few steps, stops and stands still again. We 
sense the process is long and requires great patience.

						  DISSOLVE TO:

EXT. ROUND PEN - DAY

Two hours later. Grace is in the same spot. Smokey is gone, 
doing his work. Annie has taken a different position, looking 
over SEVERAL PAGES OF FAXES on her lap.

Tom is still standing in the pen trying to get Pilgrim's eyes.

Joe has joined the proceedings, sitting on the pen rail.

Tom deftly throws a hoolihan, gently lassoing Pilgrim around 
the neck. And Pilgrim, at the touch of the rope, crazed, 
resists, pulling back, striking at the rope... The rope 
cutting into Tom's hands. Tom gives him some slack, giving 
his head, letting him relax... then gently heads him by the 
rope, walking him around the pen, getting his feet to moving.

Grace's eyes never leave Tom.

						  DISSOLVE TO:

EXT. DOUBLE DIVIDE - DAY

Tom, off in the distance -- against a sky that seems to be 
touching the land -- is riding along a creek. Closer up, we 
see he's rustling the bushes with a stick. Some stray cows 
run out of the bushes. Tom races after them. His horse 
shepherds the cow across the creek and up a hillside.

At the top of the hill, with the ranch spread out endlessly 
before him, Tom sees Frank on his horse, chasing strays. Tom 
whistles. Frank waves back. In the near distance, a pickup 
truck is parked on the range.

Joe and the TWINS are throwing food pellets out of the back 
of the truck. Cattle come from across the range for the food. 
What begins as a handful of cows becomes dozens, then 
hundreds -- the truck virtually disappearing among them.

Tom stops for a moment to look out at his ranch. Far off in 
the distance, he sees Annie's Suburban coming along the road 
to the ranch. He watches as Annie's distant figure gets out 
of the car with Grace. Annie instinctively turns and looks 
across the land. Even though there is such a distance, 
there's a sense Tom and Annie are looking at each other.

Tom senses Joe driving Frank's truck, slowly moving off the 
range -- the Twins in the back, the cattle following. Tom sits 
on his horse atop the hill.

EXT. THE DOUBLE DIVIDE - ANOTHER DAY

Pilgrim, his scarred head above water, legs moving in odd 
sycopation, swimming. We discover he is in a pond, tethered 
to a pole... Except for the sound of his legs in the water, 
everything is quiet and focused on Pilgrim.

SMOKEY, holds the pole, walking on the outside of the pond, 
leading Pilgrim back and forth as he swims. Tom, crouched by 
the pond, silently concentrating on Pilgrim...

Grace watches, off by herself... Annie stands beside Joe. She 
can't help but be intrigued by the sight. She asks Joe;

			  ANNIE
	I though horses were afraid of 
	water?

Joe doesn't answer her. Grace likes that. Annie, frustrated, 
feels she has the right to simple shout out to Tom.

			  ANNIE
	Is that to get his strength back?

Tom pays her no mind -- concentrating on Pilgrim.

Suddenly, Annie's CELL PHONE rings, jarring the proceedings. 
Tom turns to Annie. She hides her embarrassment by answering 
it, walking away. Tom gives her a look. Grace is loving this. 
Tom turns back to Pilgrim. After a few moments --

Tom, taking the rope tether, unhooks it from the pole. He 
starts to lead Pilgrim out of the water. Pilgrim, fearful, 
fights him. He rears, splashing Tom, not wanting to come out 
of the water. Grace is worried. She looks to Joe and sees he 
is concerned too, though he stands quietly.

Annie hears the commotion from where she stands and finishes 
her call to return to the pond.

Tom enters the pond, waist deep in water, trying to grab 
Pilgrim's rope. Pilgrim rises up, rearing at him. Joe and 
Smokey, sensing danger, come closer to the pond. Annie 
appears beside Grace and watches as Tom reaches for the rope 
again. Pilgrim rears again. Tom stumbles backwards from his 
hooves. Annie gasps. Grace turns to walk away from the pond. 
She can't watch -- it brings back too much. But as she does, 
she is stopped by the sight of --

Tom, righting himself, unphased, calmly walks back to Pilgrim. 
The horse, baffled by this man's lack of fear, lets him take 
the rope and walk him out of the pond.

Grace can't help but be impressed. Joe nods. Annie is shaken.

			ANNIE
	Mr. Booker, I'm not at all comfortable 
	with you taking those kinds of chances...

As Tom leads Pilgrim out, the horse suddenly whirls, bolting, 
knocking Tom down...

			  ANNIE
	Oh, God!

Pilgrim runs off, pulling the wet rope behind him. Joe runs 
over and grabs for the rope.

			  TOM
	NO... LET HIM GO!

Joe obeys. Pilgrim runs past the corral and down into a hill 
out onto a pasture, He keeps on running into the distance --
running across the pasture, not knowing where he is going...

Tom, arms folded across his chest, watches him run. A 
concerned Annie approaches.

			  ANNIE
	She's running away! How are you going 
	to get him back?

Tom doesn't respond. He walks off down the hill out onto the 
pasture, stops, arms folded and watches Pilgrim. Annie turns 
when she hears Smokey, who appears behind her:

			  SMOKEY
	He don't really want to run. Don't 
	know where he's going. All this open 
	space scares the daylight out of him.

Confused, Pilgrim stops running and walks, in no particular 
direction.

			  SMOKEY
	My guess is he's spent his life in a 
	six-by-eight stall... He's forgot what 
	it's like to be a horse...

Smokey ambles off and she turns back to see Tom crouching on 
his haunches, sitting in the grass, just waiting. Pilgrim 
walks back towards the ranch, stops a distance from Tom, 
looks at him... Annie, needing to know exactly what's going 
on, crosses down the hill to him.

			  ANNIE
	So what now? Should we leave?

Tom continues watching Pilgrim. Annie looks at him, sitting 
there motionless and feels like an idiot. Clearly she doesn't 
understand all this and clearly no one thinks this is the 
time to explain to her.

			  ANNIE
	Well, we're going to go then...

Without looking at her, Tom just nods. Annie, awkwardly, 
walks back up the hill to where Grace is...

ON THE GRASSY HILLSIDE, Grace is watching the scene by herself 
as Joe appears, staring at her leg... It makes her uncomfortable. 
She turns to him with a curt, impatient tone;

			  GRACE
	What?

Their eyes meet. Joe is so guileless, Grace is taken off guard 
when he asks in such a compassionate voice;

			  JOE
	Does that hurt you?

Grace tries to think of an answer -- and of how to say it:

			  GRACE
	Only when I kick somebody.

Her gentle delivery makes him smile. She smiles, then:

			  GRACE
	Don't you go to school?

			  JOE
	Twice a month they give you a day off 
	to work on the ranch.

He tips his hat down as he looks out to Pilgrim with respect;

			  JOE
	Look at him out in the pasture -- Yeah, 
	he must've been a big, beautiful looking 
	horse. How was he to ride?

Grace is uncomfortable again. She looks away, just struggling. 
Joe senses she's done talking;

			  JOE
	Excuse me. I got chores to look after.

He tips his hat and walks off, passing Annie as she arrives.

			  ANNIE
	You ready to go?

Grace hesitates. Then mother and daughter take one more look --

POV -- Pilgrim standing in the pasture with Tom crouching in 
the grass waiting for him.

						  DISSOLVE TO:

EXT. PASTURE - LATER THAT DAY

Tom is still sitting in the grass, just where we left him -- 
waiting patiently. Pilgrim is still out in the pasture.

						  DISSOLVE TO:

EXT. PASTURE - STILL LATER THAT DAY

Afternoon shadows cross the ranch. Tom is in the exact same 
spot and position. Pilgrim is somewhat closer -- but still at 
a distance -- watching him.

Frank rides back from work. As he passes Tom, the two nod as 
if nothing usually is going on. Frank rides up to the barn.

INT. PETERSON'S MOTEL -

Grace is flicking the television -- repeating the only three 
channels over and over...

Annie works at her computer, surrounded by work. She notices 
the time, gets a thought and dials the phone...

			  ANNIE
	Hello, Mr. Booker... Oh, hello, Frank. 
	This is Annie MacLean... I was 
	wondering, has-...
		(listens)
	Uh-huh... And Pilgrim?...
		(listens)
	Still?... Uh-huh...
		(politely cheery)
	Okay then. Thank you.

She hangs up, pauses, then speaks to the window out loud enough 
for Grace to hear --

			  ANNIE
	He's still sitting in that damn 
	field.

			  GRACE
		(w/o looking at her)
	I think they call it a pasture.

Annie looks at her as if to say the last thing I need to know is 
a lesson on the local lingo...

			  ANNIE
	Let's go see what's going on, then 
	get something to eat.

EXT. DOUBLE DIVIDE RANCH - DUSK

The sky is changing colors, the temperature has dropped. Tom 
is still sitting in the grass, although someone has brought 
him a blanket for his shoulders. Pilgrim is in the pasture, 
but now -- he too is motionless, looking back at Tom.

The sound of a car makes Tom turn to see Annie driving up. 
She gets out, stands by the car with a proprietary air, 
watching Tom and Pilgrim. Grace remains in the car. There's a 
sound. She turns to see Diane coming out of the house...

			  DIANE
	There's coffee inside... I was just 
	bringing this to Tom.

			  ANNIE
	Would you mind if I did? I'd like to 
	talk to him.

Diane, knowing full well Tom ain't in a talking mood, hands 
her a cup...

			  DIANE
	Sure.
		(seeing Grace in car)
	Does your daughter want to come 
	inside?

			  ANNIE
	Uh, no, we're going to dinner... Is 
	this the way to the pasture?

			  DIANE
	Pasture? Oh, that stretch of field near 
	the hill? Yeah.

She's gone. Annie grimaces, then crosses the hillside to 
where Tom is squatting down. She appears to his side and, 
without speaking, tries to indicates she has his coffee by 
leaning it toward him. Tom sees her and accepts it with a 
grateful nod. Annie waits. Nothing happens. Feeling foolish, 
she begins to walk back.

At some point, she turns to see Pilgrim moving across the 
pasture toward Tom. He stops in front of him, just a few feet 
away. Tom says something to him. Annie is intrigued -- and she 
knows enough to stay quiet now. She watches Pilgrim walk over 
to him. She watches as Tom gets up and pats Pilgrim's scarred 
head. In spite of herself, Annie is somewhat moved by this act.

Only we see Grace, peering out from the car, seeing this act 
of communion as well. Only we see her reaction to it.

As Tom turns and walks back to the ranch, Pilgrim follows him. 
As he passes Annie, all he says is...

			  TOM
	From now on, leave your phone 
	somewhere else...

As he moves past her, Annie responds;

			  ANNIE
	But I have business calls I have 
	to --

Tom keeps heading for the barn as he suggests, without turning 
back;

			  TOM
	Then drop off Grace in the morning, 
	go on back and do your business. 
	Come pick her up around dinner.

Standing there, Annie has the impulse to respond to this 
suggestion, but has no idea what to say and saying it wouldn't 
make much sense since Tom is already out of ear shot.

Diane appears from the house and calls out:

			  DIANE
	Mrs. MacLean -- why don't you and 
	daughter stay for dinner?

			  ANNIE
	Oh uh, thank you. No, we don't want to 
	impose.

			  DIANE
	No imposition. Plenty of food. Gonna 
	get pretty dark soon. Hard to find a 
	place.

Annie looks up to the alien sky and realizes she's right. She 
looks to Grace, who doesn't seem to oppose the idea.

INT. RANCH HOUSE/KITCHEN - NIGHT

Everyone sits around the kitchen table. Joe, still wearing 
his hat, eyes Annie and Grace with acute curiosity.

			  DIANE
	Joe, take off the hat -- I'm not 
	going to say it again.

Joe obeys. Diane puts the last of the serving plates on the 
table -- pork chops, potatoes, gravy, peas, bread... And a big 
bowl of mixed salad. The boy can't help eyeing how the 
"vegetarians" will act.

Annie and Grace eye the food. Annie reaches out for a serving 
ladle, picking up Grace's plate to serve her as Grace reaches 
for a piece of bread, when:

			  FRANK
	Dear Lord, we are humbly thankful 
	for...

Annie and Grace freeze as Frank continues his prayer -- they 
notice everyone's head bowed slightly.

			  FRANK
		(continues)
	these gifts. For the blessings on our 
	home, our family and our guests. Bless 
	those that aren't as fortunate. Bless 
	all God's creatures.

			  EVERYONE
	Amen.

Everyone begins eating. Annie and Grace breath a sigh of relief. 
Silence. Utensils hitting plates, the only sound.

			  FRANK
	Bank out us a couple more men to run 
	the cattle.

			  TOM
	We should be fine, then.

Beat. Annie and Grace listen...

			  JOE
	Teacher asked me why we raise Black 
	Angus-Herefords 'stead of Pure Herefords.

			  FRANK
	Tell her they suit the weather better. 
	Their udders are black, 'stead of pink.

			  TOM
	They don't get burned by the sun bouncing 
	off the snow. And they're good mother.

			  FRANK
	Our daddy raised Pure Herefords.

Silence... Eating... Annie tries her hand at conversation:

			  ANNIE
	You know, that's interesting. I always 
	wondered when I went into a restaurant 
	what was the difference between a regular 
	steak or a Black Angus steak. I couldn't 
	taste any difference although I could 
	swear one was more tender. I didn't know 
	there was that big a difference between 
	cows...
		(silence)
	I've never been on a cow farm before. I 
	must say, the bulls seem to have the 
	best time of it. Just laying around the 
	fields all day until they're asked to...
		(uncomfortable)
	do their... work.

			  FRANK
	Well, get born a bull, got a ninety 
	percent chance of getting castrated and 
	served up as hamburger. On a balance I 
	reckon I'd choose being a cow.
		(to Grace)
	Would you mind passing that salad 
	young lady?

			  DIANE
	How's Peterson's holding up for you?

			  ANNIE
		(lying)
	It's fine. Comfortable. I still can't 
	get used to how dark it gets around here, 
	though. When we leave the ranch, I 
	always hold my breath until I can see 
	the motel.

			  FRANK
		(innocently)
	You know, Tom, while you're working on 
	that horse of theirs, Annie and Grace 
	should move into the old Creek house.

Diane and Tom react accordingly; Diane hiding her annoyance, 
Tom hiding his surprise and pleasure.

			  FRANK
	Nobody's using it. Silly for her to be 
	driving back and forth when she don't 
	know her way around that well...

			  ANNIE
	Oh, I don't know...

			  FRANK
	Well, I know Peterson's. Old place is as 
	good as falling down around your ears.

			  DIANE
		(overlapping)
	They're already all settled in, Frank. 
	Anyway, I'm sure Annie wants her privacy.

			  FRANK
	It's got doors, Diane. Private as can be. 
	Tom?

			  TOM
	I don't have a problem with that. It's up 
	to Annie.

			  ANNIE
	Well, it's worth it, really? I mean, how 
	much longer do you think you need to work 
	with Pilgrim?

			  TOM
	That's up to Pilgrim.

Everyone waits on Annie's answer as she considers this.

INT. MOTEL ROOM - NIGHT

Grace is on the phone with Robert. Annie is packing things 
up. Grace is telling him about the day;

			  GRACE
		(listens)
	I know. Me, too. Why don't you come 
	one weekend?

Annie reacts to this.

			  GRACE
	We'll have more room because we're 
	moving onto the ranch. They have this 
	empty house near this creek. It's 
	actually pretty... OK... I love you.
		(to Annie)
	Dad wants to talk to you.

			  ANNIE
		(takes the phone)
	Hi.

INTERCUT

INT. CENTRAL PARK WEST APARTMENT - NIGHT

Robert is burning the midnight oil in the study with files 
all around him.

			  ROBERT
	Hey... She sounds like she's doing 
	all right. How is she?

Grace exits into the bathroom. Annie talks softly;

			  ANNIE
		(cautious)
	Yeah. She seems to be getting more 
	comfortable on the ranch, which is why 
	I said yes to this move. But, whenever 
	it's just the two of us, I don't know... 
	Anyway... what's happening with the 
	Delco lawsuit?

			  ROBERT
	Taking forever. I just got an additional 
	list of sixty-two employees to interview 
	before Monday. I don't know how I'm going 
	to do it.

			  ANNIE
	Well, it's good that you're there.

Robert didn't mean to validate his separation from them.

			  ROBERT
	So, how are you doing in Marlboro 
	country? Is the magazine complaining at 
	all?

			  ANNIE
	Yeah, but nothing I can't handle. Lucy 
	tells me she thinks Gottchalks's 
	plotting, but what else is new.

			  ROBERT
	When are you coming home?

			  ANNIE
	You know, I just asked that myself 
	tonight. He doesn't know.

			  ROBERT
	Well then... maybe I will take some 
	time... come visit.

			  ANNIE
	Okay.

Beat. Annie knows Robert needed an invitation from her. But 
she can't do it. Robert tries again.

			  ROBERT
	I miss you, Annie.

			  ANNIE
	I know. We miss you too.

			  ROBERT
	Good night.

			  ANNIE
	Night.

Awkwardly, they hang up. Grace exits the bathroom.

			  GRACE
	Did you ask him to come visit?

			  ANNIE
	You already did.

			  GRACE
	Did he mention it?

			  ANNIE
		 (resumes packing)
	Yeah, he's going to think about it. 
	You want me to pack for you?

Grace looks at her disapprovingly as she passes to go to the 
bathroom. Annie registers this.

INT. RANCH HOUSE - LATE DAY

Diane is washing windows while listening to an audio book on 
her tape player. Through the windows, she sees:

Joe and the Twins helping Annie and Grace move into the Creek 
House.

Diane has conflicting feelings about this. She continues her 
work.

INT. CREEK HOUSE - LATE DAY

VARIOUS SHOTS of ANNIE CONNECTING HERSELF BACK TO THE REST OF 
THE WORLD, BY PLUGGING IN HER COMPUTER, FAX, ETC...

Grace is in the other room, as she was in the motel. Alone. 
With no television, she is just listening to her music laying 
on the couch. The two women remain separate no matter where 
they are.

But we see a small difference. Grace rises and walks to the 
window. She looks out;

POV: She sees people working about the ranch. Maybe Joe is 
among them -- riding his horse as he works. Or maybe it's 
just a vision of people with tasks to complete -- who do so 
with pride, discipline and clarity.

Grace looks out the window longingly.

EXT. THE RANCH - ANOTHER DAY

A cloud of dust. A dozen or so horses are running in an arena 
by the stables. Tom is riding among them, holding a long stick 
with an orange flag at the end of it, waving it at the young 
horses, making them run away from him. The colts stay close 
together. One of the horses, PILGRIM, stays at a distance, off 
to himself.

Grace watches from along the railing. She alternates her 
attention from the horses... to Tom.

			  TOM
	 What we're doing here, Grace, is 
	 trying to get him to learn how to 
	 be a horse again.

He cracks the flag, the horses move together...

	  	 	  TOM
	The others already know, see. That's 
	how they are in the wild -- herd 
	animals...
		(cracks the flag)
	...When they've got a problem, like 
	they have now with me and this flag, 
	they look to each other. But old 
	Pilgrim there has forgotten. I'm the 
	rock and they're the hard place. He 
	thinks he hasn't got a friend in the 
	whole wild world...

C.U. on GRACE, who clearly feels the same way... but wants 
desperately not to. She watches him ride off towards Pilgrim 
who has stopped like all the others at the far end of the 
ring. He stands by himself, tossing his head, snorting, not 
wanting to be around other horses. Tom cracks the flag, 
keeping them moving. Pilgrim does his own private dance.

Tom rides by Grace and hands her the stick;

			  TOM
	Hold this for a minute...

Grace stiffens. She doesn't want to, but she's afraid to say 
"No" to Tom. He just insists by tossing it to her...

			  TOM
	Hold onto it, go on...

She's forced to catch it. He turns and rides away, chasing 
down Pilgrim, trying to edge him toward the herd. For a 
moment, he has him breaking to the left with the horses. But 
as soon as he's clear of Tom, he separates himself and comes 
to stop on his own.

Tom rides back to Grace, taking back the flag.

			  TOM
	We'll get there, Grace.

As he says this, he flashes a small, reassuring smile and a 
little wink. Grace melts just a little. As he rides away.

Annie appears, having come from the Creek House. She calls:

			  ANNIE
	Grace? The clinic just called... 
	They had to change your physical 
	therapy appointment. We have to 
	leave now.

Grace frowns a little -- her mother's "perfect timing." Annie 
approaches the arena, watching Tom riding. As he passes her;

			  TOM
	Hello, Annie...

Annie notices how he says her name.

			  ANNIE
	Mr. Booker...

He flashes a smile in her direction and Annie's expression 
comically matches her daughter's reaction. She quickly covers 
it, however. Her eyes follow him as he glides around the 
arena. It's like watching a great ballet -- his control of the 
horses, his effortlessness, his grace, his strength... She 
smiles to herself in appreciation. Then catches herself:

			  ANNIE
		(to Grace)
	You got everything you need?

			  GRACE
	If I had everything I need, I wouldn't 
	be going to physical therapy.

Tom approaches as he overhears Grace respond;

			  ANNIE
		  (trying to cheer her)
	Honey, come on. Would you like to stay 
	in town for dinner? Maybe see what 
	movie's playing tonight?

			  GRACE
	Why? There's no food in the house?

			  ANNIE
	No. I just thought... forget it.

He's getting a clearer view of their relationship.

			  TOM
	You know, we're branding here 
	tomorrow. If you two want to come 
	by to watch or give a hand, you're 
	welcome.

			  ANNIE
		(laughs)
	Branding?
		(sarcastic)
	I haven't branded in years.

Tom chuckles.

			  GRACE
	I'll come.

			  ANNIE
	Uh, I don't, honey. Branding? Oooh... 
	I think we'd just be in Mr. Booker's 
	way.

			  TOM
	As long as you don't get in the way of 
	the branding iron, it doesn't matter too 
	much.

Annie smiles. She turns to Grace, questioningly. Grace says 
matter-of-factly, to prove her point.

			  GRACE
	I watched Margo Neuberger get a 
	tattoo.

Tom squints. Annie shrugs and nods.

			  ANNIE
	Okay.

As Grace and Annie walk to the car, Tom says:

			  TOM
	Hey, Grace -- maybe we can get your 
	mom to put me and you branding on the 
	cover of her magazine. Start a whole 
	new fashion craze.

They continue walking as Grace smiles, enjoying being singled 
out for his joke. Annie responds, almost flirtatiously.

			  ANNIE
	Try not to fall off your high horse, 
	Mr. Booker.

Tom tips his hat and rides away... Annie smiles and nods... 
Grace doesn't like their sudden familiarity. Or her mother's 
coy manner. As they enter the Suburban, Grace asks point blank;

			  GRACE
	Did you call Dad today?

Annie is caught off guard.

Tom, riding in the arena, catches himself looking after them... 
then goes riding after Pilgrim.

EXT. DOUBLE DIVIDE - DAY

The air smells of scorched flesh. There is nothing but NOISE. 
Calves, separated from their mothers, "cry." They are moved 
out through a series of connected pens into a narrow chute, 
and then one by one into a holding pen. They're clamped and 
lowered sideways onto a table and given a shot, a yellow 
insect tag in one ear, branded, then sent back to their 
mother's. The bulls, in a pen by themselves, stand haughty, 
paying no attention. Frank helps "doctor" the calves. Joe 
brands.

Annie and Grace are standing by the railing, watching with a 
mixture of fascination and disgust.

Tom moves in the feeder pen, waist deep in calves, moving them 
through the chute. He looks to Annie.

			  TOM
	Hey, over there, you want to make 
	yourself useful?

It isn't a question.

			  TOM
	Hank, I got you a volunteer!

Annie and Grace realize they have no choice.

-- WHAT FOLLOWS IS A SEQUENCE OF SCENES SHOWING ANNIE AND 
GRACE PARTICIPATING IN THE BRANDING. AND HOW THEY GRADUALLY 
COME TO LOSE THEMSELVES IN THE EXPERIENCE.

SEQUENCES WILL INCLUDE:

-- HANK, A RANCH HEAD, HELPING ANNIE INTO THE CHUTE... ANNIE 
GETTING KICKED BY A CALF.

-- GRACE BEING SHOWN HOW TO HOLD THE BRANDING IRON.

-- HANK TEACHING ANNIE HOW TO SAY "HYAH!!"...

-- TOM IN THE HOLDING PEN WITH HIS ARMS AROUND GRACE, SHOWING 
HER HOW TO APPLY THE BRAND... GRACE, A LITTLE FRIGHTENED OF THE 
BRAND, IS IN HEAVEN IN TOM'S ARMS...

-- ANNIE IS STILL TRYING TO SAY "HYAH"!! WITH THE PROPER FORCE. 
SHE CLAPS HER HANDS, PUSHING THE CALVES ALONG, KNEE DEEP IN 
COW SHIT.

-- GRACE CLOSES HER EYES AND THE IRON TOUCHES THE CALF'S HIDE.

			  TOM
	That's good... firm but gentle...
		(Grace opens her eyes)
	It hurts but he'll get over it.

Grace smiles proudly.

			  TOM
	You handled that pretty well. Think 
	it's time you earn your keep around 
	here. So, when we're not working 
	and when you don't have your therapy, 
	I'd like you to help out with the 
	horses... Rubbing them, cleaning up 
	the stalls... You think you can 
	handle that?

Grace knows him well enough to know;

			  GRACE
	That's not a question, is it?

			  TOM
	You're catching on.

Grace smiles.

-- Annie turns and, not looking where she's doing, trips over 
a calf, falling down. And calves, coming down the chute, 
start to run towards her. Suddenly, Tom grabs her by the leg 
and pulls her to safety. He helps her up and dusts her off.

			  TOM
		(not wanting to smile, 
		 but...)
	You okay?

			  ANNIE
	It is cocktail hour yet?

Tom laughs. She takes a big breath.

EXT. THE RANCH - LATE AFTERNOON

The ranch is colored in amber light.

Near the house, two long tables pushed together to make one 
long one... A gentle breeze ruffles the tablecloth. Everyone 
is seated for a meal. We hear laughter and conversation... We 
parachute into the middle of the moments;

-- Hank helping with his wife get to their three children to 
sit still for dinner...

-- Diane organizing the women and their various plates of side 
dishes...

-- The Ranch Hand piling up their plates and kidding each 
other...

-- Joe is instructing Grace on the various sauces for the 
ribs. The Twins are making fun of him behind his back.

-- Tom and Smokey are barbecuing, the last one to sit.

-- Frank assists his frail mother, ELLEN BOOKER, at the table, 
filling her plate with all the things she can't reach for.

						  DISSOLVE TO:

The faces are beautiful. Laughing. Eating. Everyone is tanned 
and exhausted after a long day, but filled with life and 
eager to live it. The tables are covered with heavy food. 
The communion at this table is as much a part of the ritual 
as the branding itself...

Annie and Grace look different to us. Tanned from the sun, 
their bodies sore -- they feel softened, yet more vital. As if 
the artifice had been worn off... the armor of urban life. As 
the table thrives with conversations, we focus on:

Annie and Ellen Booker. Annie looks calmer than we've seen 
her -- and more naturally beautiful. She is seated beside 
Ellen Booker. We sense they have been talking for a while. 
Annie is so sincerely interested in listening to her, she's 
hardly touched her own plate...

			  ELLEN BOOKER
	... he was a blacksmith by trade, my 
	father. My grandson Joe was named 
	for him. But he always dreamed of 
	having his own place and raising 
	horses...

We see Tom a few places down and across from Annie and his 
mother -- but fully aware of their conversation.

			  ELLEN BOOKER
	He'd heard of some land. What's 
	Stockett now. Rode out there. Got off 
	his horse and walked about as far as 
	he could in one way. Then he walked as 
	far as he could another way and 
	another until he got back to where he 
	started and that's where he put his 
	roots down... That's where my husband 
	and I ranched and raised Frank and 
	Tommy...

She motions proudly to Tom who looks up. Annie smiles to him. 
He looks to her with gratitude for the respect she's showing 
his mother.

			  ELLEN BOOKER
	Quite a different life from what you 
	know, I expect. Which place to you 
	call home?

			  ANNIE
	Well, I was born in London, but my 
	father was an ambassador and we 
	moved constantly. I've lived in a lot 
	of places but I don't really know what 
	I'd call home.

Tom listens to this.

			  ELLEN BOOKER
	An ambassador! My! That's very 
	important.

			  ANNIE
	He was a wonderful man.

She looks to Tom and he can sense a sadness around this in her 
eyes.

			  DIANE
		(to Grace)
	I sure hope you're gonna eat more 
	than that, young lady. You're a 
	growing girl.

			  GRACE
	I've never eaten this much in my 
	life.

			  DIANE
	Probably never worked so hard, 
	neither. Those arms of yours are 
	gonna be pretty sore tomorrow. I'll 
	give you a little bit of ointment I 
	make. It's a magic recipe my Mama 
	gave me.

			  FRANK
	We used to call Diane's mother 
	Medicine Woman. None of us never went 
	to the doctor when she was alive.

Annie and Grace listen in...

			  HANK
	Too bad she wasn't here for old 
	Henry Vanoker...

			  FRANK
	Not much would have helped him.

			  DIANE
	I never got that whole story, what 
	happened?

			  HANK
	Old Henry was changing a flat tire on 
	his truck over on 118 when that...
		(laughs)
	... two-hundred-year-old jack he has 
	gives way and the side of that truck 
	come slamming down on that rock he 
	calls head...

There's laughter -- everyone knows Old Henry. Except:

			  ANNIE
	What happened?

			  HANK
	Knocked him out for a while. He woke 
	up, finished putting on the tire and 
	drove himself to the hospital.

			  DIANE
	Old Fool... Darling, pass down those peas 
	for me, thank you.

Annie and Grace don't know how to respond... But everyone else 
takes it their stride as they continue eating...

Grace notices Joe is whispering something to Frank, who nods 
his head and speaks to the table.

			  FRANK
	Huh, Joe here has something to say.

Joe stands, somewhat formally, with his hat on.

			  JOE
	I wrote this for you Grandma...

Mrs. Booker, and Diane, beam. Annie and Grace don't know what 
to expect. Joe stands straight as an arrow and recites a poem 
from memory...

At first, Annie and Grace appear to be embarrassed for the boy 
but soon they can't help but be won over by his guilessness. 
He finishes and everyone applauds. Hank's wife asks:

			  HANK'S WIFE
	That was lovely. Who wrote that, 
	Joe?

			  JOE
	I wrote it myself, ma'am.

			  FRANK
	Now son, you tell 'em when it came 
	from.

			  JOE
	Be honest, I can't say I did it all 
	myself. My grandma helped me get the 
	words right.

OOoo's and aah's and smiles and conversations erupting over 
each other.

Only we see, Grace looking over to Joe who gives her kickass, 
shy grin...

			  TOM
		(raising his beer)
	Well, I'd like to welcome Annie and 
	Grace to their first branding...

			  FRANK
	And next time, Miss Annie, you can run 
	down the calves...

			  ANNIE
	I'll drink to that...

Everyone toasts and drinks. Annie and Tom exchange a look. 
She smiles, but not in a alluring way -- rather, in a grateful 
way. Grateful for this brief moment of community and good 
feeling. And somehow, Tom knows what she's feeling.

No one notices this silent exchange -- except for Diane, who 
sees everything that's going on.

INT. RANCH HOUSE, DINING ROOM - NIGHTFALL

The Women are bringing in dishes and plates and food from the 
tables through the house and into the kitchen. Annie is among 
them, feeling apart of the group. She enters carrying a large 
bowl, that held the corn.

Diane is replacing newly-cleaned forks and knives in her 
dining room drawers, above which are several FAMILY PICTURES.

			  ANNIE
		(referring to clean bowl)
	Where does this go, Diane?

			  DIANE
	Oh, you can just set up on the dining 
	table. I have to rearrange my shelves 
	tomorrow.

Annie complies. She notices the framed pictures on the wall in 
the dining room.

			  ANNIE
	Is this Mr. Booker? Tom's 
	grandfather?

Diane looks at a faded photo circa late 1800's.

			  DIANE
	Mm-mm. I never knew him. He died 
	before Frank and I met. This here's...
		(another photo)
	Frank and Tom's mother and father... 
	there's little Frank and Tom...

			  ANNIE
	She calls him Tommy...

			  DIANE
	Always did. I think she favored him a 
	little. You tend to when you have more 
	than one, even though you love 'em all 
	the same.

She studies the old faces of Tom's Parents -- although 20th 
Century people, there is still a pioneering strength in their 
visage... a stoicism and power.

			  DIANE
		(putting away forks)
	Ha, she loves telling this story about 
	how when he was two years old, he ran off. 
	They found him in the barn, sleeping 
	between two giant hooves of a Percheron 
	stallion. She said that horse was 
	protecting him and nobody could convince 
	her otherwise.

			  ANNIE
	I got a little confused though. The ranch 
	Ellen was talking about -- that's not this 
	one?

Diane is sorting silverware throughout the following:

			  DIANE
	No. See, Frank and Tom were raised near 
	the Clark's Fork River, right between the 
	Pryor and Beartooth Mountains. Beautiful 
	piece of land. But they had this uncle 
	Ned -- useless man, never interested in 
	ranching. And when the grandparents died, 
	he left for the city and sent word 
	through lawyers he wanted his claim to 
	the land so he could sell it. Three years 
	of legation broke their father. Frank took 
	it all in stride, but Tom... Tom loved that 
	land. I don't think he ever got over it -- 
	His home being sold out from under him. 
	Seeing his father like that. Once he and 
	Frank got their folks set up in a new 
	place, Tom left... went off. We didn't see 
	him for years...

Annie is intrigued by what she's learning about Tom. 
Something outside the window catches her eyes. She watches:

POV;

Tom and Frank, on either side to Ellen, are escorting her to 
a car that will drive her home.

EXT. RANCH HOUSE - NIGHT

Annie wanders out, passing Grace and Joe on her way out. The two 
are sitting in a glider. As Annie exits O.C., we hear them;

			  GRACE
	Why do you always wear that hat?

			  JOE
	Because it fits my head. You want to 
	try it on?

Grace doesn't know if she should.

Annie continues towards Tom who's sitting in a rocker playing 
with the twins.

			  TWINS
	Show us again! Come on! One more time! 
	It's my turn now!

			  TOM
	All right, al right. Hold out your 
	finger.

Annie takes a seat nearby and watches as Tom holds out the 
first finger of his right hand. The Twins holds out his. Tom 
splits his focus between Annie and the Twins as he takes a 
small piece of rope out of his back pocket. He ties the ends 
together making a loop. He puts the loop over the Twin's 
finger. And holding the other end of the loop taut with his 
left hand, he draws one side of the cord over the other with 
the middle finger of his right hand. Then he rolls his hand 
over so it's under the loop, and back over it again, so that 
his finger is tip to tip with the Twin's. The loop seemingly 
knotted around their touching fingertips, and can only be 
removed if their touch is broken.

			  TOM
	The loop's knotted, right.
		(Twins nod)
	Looks like the only way to take it 
	off, is if we break our touch...
		(they nod)
	Watch now...

Annie and the Twins look down at the touching fingers as Tom 
gently pulls the rope away, revealing they are still knotted, 
and without even breaking their touch...

			  TWINS
	Again! Again. One more time!

			  TOM
	Oh, no. No, no. I only fall for that 
	once. Go inside now before your mother 
	starts hunting you down. Go on.

The Twins exit. Annie and Tom make eye contact.

			  TOM
		(smiles, relaxes back)
	So how was your first and last day of 
	branding?

			  ANNIE
	Don't be so sure it's my last. There 
	are a few people back home I'd like 
	to put under a red hot iron.

Tom looks at her with a sly expression, and notices she's 
shivering.

			  TOM
	You got too much sun today... 
	Here...

He takes his jacket and puts it around her shoulders.

			  ANNIE
	Thank you.

He sits back down. Annie crosses her arms over her chest, 
looks around, unconsciously swinging her foot. Tom watches 
her leg. Annie notices him watching;

			  ANNIE
	What?

			  TOM
	You ever just stand still for a 
	minute?

			  ANNIE
	You stand still too long in New York 
	you get hit by a bicycle messenger.
		(smiles wryly)
	You know, sometimes, I get the feeling, 
	Mr. Booker, that you're laughing at me. 
	Why is that?

Tom shrugs. Annie waits a beat, then:

			  ANNIE
	That's your cue to say you're not 
	laughing at me.

			  TOM
	Oh, I see, you write both sides of the 
	conversation?

			  ANNIE
	It's a man's world, Mr. Booker. Most 
	women have to.

			  TOM
	Well, maybe I am laughing a bit... I 
	just thought, as long as you're here, 
	it would be nice for you to relax into 
	the place a little.

			  ANNIE
		(understanding)
	Well... It's beautiful country, I'll give 
	you that. And I could see having some 
	kind of vacation place. Retreat. But I 
	don't know how you do it full time. Don't 
	you miss the rest of the world?

			  TOM
	What's that to miss?

			  ANNIE
	Ha... if you've never lived in a city 
	with museums, theater, music, restaurants, 
	uh... god, a million things, then it's 
	something I can't explain.

			  TOM
		(thinks, teasing a bit)
	Does Chicago count?

			  ANNIE
		(surprised)
	You lived in Chicago?

			  TOM
	When I was first married.

			  ANNIE
		(stunned)
	You were married to a woman in 
	Chicago?

Tom likes disturbing her picture of him as the predictable 
cowboy. He smiles;

			  TOM
	I once heard Itzhak Perlman guest star 
	with the Chicago Symphony Orchestra. 
	He played Rachmaninov's Vocalize Opus 34. 
	No. 14. It was one of the most beautiful 
	pieces of music I ever heard. I actually 
	forgot where I was for a time.
		(Annie is floored)
	You seem surprised?

			  ANNIE
		(not wanting to insult)
	Well, I, uh... you didn't...

			  TOM
	Just who's been laughing at who here?

Tom says this with a wry smile. Annie returns with a smile -- 
as an understanding is reached between them: they've both 
stereotyped the other. They are both pleased -- and attracted -- 
by what they don't know.

INT. CREEK HOUSE - NIGHT

Grace is fast asleep, exhausted. She does not stir when the 
phone rings.

Annie picks up from her own bed, awakened, still dressed in 
her branding clothes, having just passed out on the bed.

			  ANNIE
	Hello?

INT. CENTRAL PARK WENT APARTMENT - NIGHT

INTERCUT: Robert, alone, in the vast apartment.

			  ROBERT
	I thought you guys were going to call 
	me.

			  ANNIE
	Oh, Robert, I'm sorry. We were so tired 
	from the branding. Grace barely made it 
	to her bed and I didn't have the energy 
	to take my clothes off.

			  ROBERT
	Oh well... branding will do that to you.

			  ANNIE
	Everything all right.

			  ROBERT
	Huh-huh. You?

			  ANNIE
	Fine. Actually, today was a good day. 
	You should have seen her.

			  ROBERT
	I wish I did.

The sound of self-pity was so obvious for both of them, so 
Robert quickly re-groups, resorting to something he knows is 
important to her;

			  ROBERT
	Well, uh the real reason I called, 
	actually, was to tell you I saw Lucy 
	at Jo-Jo's tonight and she seems very 
	worried.

			  ANNIE
	About what?

			  ROBERT
	Apparently, Gottschalk's been seen around 
	town lunching with some very prominent 
	magazine editors. Lucy said she tried to 
	call you, but no one answered so she faxed 
	you the list of names. She said one of 
	them have contracts up fairly soon.

			  ANNIE
	Oh. I didn't look at my faxes today. We 
	left before sunrise.

			  ROBERT
	Honey, I hope you're not endangering 
	your position. Listen, if you need to 
	come back and you want me to come take 
	over, for a while, I'll work it out. I 
	mean, the firm's got other lawyers, but 
	the magazine's got only one of you.

After a day of hard work and simple pleasures, Annie begins to 
succumb to old anxieties and pressures.

INT. CREEK HOUSE - NIGHT

Annie is awake reading the faxes Lucy sent. One after other. 
As she flips through them, one falls to the floor near the bed.

She gets down on all fours to retrieve and sees something 
under the bed. AN OLD, BATTERED CELLO CASE. She pulls it out 
to find the initials R.B. carved on the top. She opens it to 
find papers, receipts, bills -- all from Tom's married life.

EXT. THE DOUBLE DIVIDE - EARLY MORNING

Tom rides a young colt along the creek. He hears footsteps. 
He turns and sees Annie running along the creek on the other 
side. He stops to watch. When his horse SNORTS, Annie looks 
up to see him. She stops. He tips his hat to her.

			  ANNIE
	I've decided it's impossible to 
	properly say hello in this place 
	without a hat.

			  TOM
	A jogger, huh?

			  ANNIE
	I don't jog, Mr. Booker. I run.

			  TOM
	Lucky for you. The grizzlies around 
	here only go for joggers.

			  ANNIE
	If I can survive rush hour, I figure I 
	can handle grizzlies...

			  TOM
		(smiles)
	You sleeping all right in that house?

			  ANNIE
	I don't sleep all right anywhere. But 
	the house is fine.

Tom walks his horse across the creek to her, comfortable in 
the silence. Annie moves about, uncomfortable in the waiting.

			  ANNIE
	Who's R.B.?

Tom is finding Annie's blunt curiosity more endearing.

			  ANNIE
	I found this old cello case filled with 
	bills and receipts.

			  TOM
	Sorry about that. I thought everything 
	got cleared out. R.B. is my wife... 
	ex-wife... Rachel. We used to live in 
	that house 
	together.

			  ANNIE
	I thought you lived in Chicago?

			  TOM
	I thought you were an editor, not a 
	reporter?

Annie smiles and nods, realizing she's asking too many questions. 
She tries to casually reach out to touch the horse's head, but 
it's too abrupt and the horse tosses his head away, taking a 
couple of steps back. Annie is embarrassed.

			  ANNIE
	I have a way with animals.

			  TOM
	It's all right. He's young. Just hold 
	out your hand a little lower so he can 
	get the smell of you.

			  ANNIE
	Oh yes. I forgot.

She does and the horse sniffs at her hand.

			  ANNIE
	He's beautiful.

			  TOM
	Why don't you ride anymore? Grace told 
	me you used to ride when she was 
	younger.

			  ANNIE
	She did?

Annie is somewhat moved by her daughter telling him that.

			  ANNIE
	I don't know, really. No time mostly.

A cold wind blows. She folds her arms across her breasts.

			  ANNIE
	I thought it was supposed to be spring.

Tom can't help but notice her nipples are hard from the cold. 
He looks away. She laughs.

			  ANNIE
	Are you shy, Mr. Booker?

			  TOM
	Just polite. Well, maybe you'd like 
	to try riding again, some time before 
	you go home.

Annie is struck by the words "before you go home." Tom ambles 
off on his horse.

			  TOM
	Enjoy the day.

			  ANNIE
	You too.

Annie steps across the rocks at the ford, crossing the creek. 
Her foot slips, one of her shoes goes into the water.

			  ANNIE
	Shit.

			  TOM
	Need a lift?

			  ANNIE
	I can handle it!

She crosses the creek. She turns, giving him a small wave. He 
touches his hat. She runs off. Tom watches her go, head down, 
concentrating...

INT. CREEK HOUSE - DAY

A tense Annie is having a difficult phone with DAVID GOTTSCHALK;

			  ANNIE
	... David, we've been behind a day or 
	two before. But Lucy just Fedexed me all 
	the material and it'll be approved by 
	the end of the day.

			  DAVID GOTTSCHALL (V.O.)
	If nothing goes wrong. If the faxes don't 
	go down. If the phone lines are opened. 
	I can't have this magazine hitting the 
	streets by the skin of its ass, Annie.

During David's lines, Diane has entered, carrying fresh towels 
-- she crosses into the bathroom.

			  ANNIE
	Oh, come on! This is such bullshit! The 
	work is getting done, David. Lucky keeps 
	me on top of everything.

			  DAVID GOTTSCHALK (V.O.)
	Lucy isn't you. We're losing something 
	without you being here. Now, I know this 
	is a rough time for you, but I think we 
	should make another arrangement.

Without Annie's awareness, Diane re-enters and takes her time 
leaving, so she can take in all of Annie's things; her 
business "office," books, etc...

			  ANNIE
	What the hell does that mean? How much 
	more do I have to do to prove how 
	important this magazine is to me?

			  DAVID GOTTSCHALK (V.O.)
	If this magazine is so important to you 
	Annie, why are you in Montana?

Diane can't help but notice a slight vulnerability in Annie.

			  DAVID GOTTSCHALK (V.O.)
	Look, this is what we're going to do. 
	Finish up this issue. I'll set up a 
	conference call in a few weeks. Just 
	you, me and your lawyer and we'll 
	just work this out so that everyone 
	will be taken care of. Fair enough?

Annie is now aware of Diane's presence and chooses to play it 
cool. It's not the moment.

			  ANNIE
	Uh, yes... Sure, David.

			  DAVID GOTTSCHALK (V.O.)
	All right. Speak to you then.

He hangs up. Annie forces a smile to Diane.

			  ANNIE
	Thank you. You're all doing too much.

			  DIANE
	Oh, it's... I wanted to tell you that, 
	if you'd like, you being so busy, I 
	could take Grace to her therapy 
	exercises for you. I have to go in 
	once a week for shopping anyway.

Annie doesn't know whether or not to accept.

			  ANNIE
	Oh... Well... thank you very much. I 
	don't --

Before she finishes her line, the Phone Rings again.

			  ANNIE
	Sorry.
		(to phone)
	Hello? Hi, yeah, I just spoke to him. 
	Oh, you know David, Mr. Strong Arm...

Diane feels out of place and exits. Annie doesn't notice 
until she hears the door close. She pushes back her hair and 
takes a deep breath. She looks out through the side window 
and sees:

Grace and Joe doing chores. Grace looks involved and not at 
all self-conscious. A moment of gratitude and calm for Annie.

EXT. THE DOUBLE DIVIDE - DAY

Pilgrim bursts out of a chute and into the riding arena. He 
runs to the far end and abruptly stops. Tom is holding the 
orange flagstick, and coiled rope, coming through a gate 
into the arena, crossing to the middle of the ring. Something 
in his demeanor tells us that fun and game are over.

Pilgrim and Tom stand there, motionless, eyeing each other. 
Pilgrim snorts and takes a few, small steps backward. Tom 
takes a beat, then starts slowly towards Pilgrim, lifting the 
flag and "cracking" it. At the sound, Pilgrim whirls away from 
him and runs, around the arena. He starts to slow, looking at 
Tom. Again, Tom cracks the flag and Pilgrim runs, round and 
round the arena... like a ringmaster, Tom keeps Pilgrim 
moving, cracking the flag.

Something about Tom's demeanor tells us it isn't going well.

EXT. THE RANCH - DAY

Tom, carrying a saddle, comes around the side of the barn. 
Through the slats, he sees Grace working in the barn, 
watering a horse. She has stopped and is looking through the 
cracks of Pilgrim's stall at him. She turns and sees Tom 
through the slats. She goes back to work as Tom comes to the 
barn door.

			  TOM
	Come and take a ride with me.

EXT. THE RANCH - DAY

They walk towards his pick-up truck.

			  TOM
	Can you drive?

			  GRACE
	Drive? I'm not old enough yet.

			  TOM
	It's never too soon to start.

He enters the passenger side.

			  GRACE
	I can't...

			  TOM
	I don't have all day.

She hesitates and gets into the truck.

INT. PICK-UP TRUCK - DAY

Grace doesn't know what to do.

			  TOM
	Put the key in and turn it.
		(Grace obeys)
	The right pedal is gas, the other 
	one's the brake.

			  GRACE
	I don't know if I can with my leg.

			  TOM
	Well, there's only one way to find out.
		  (puts truck in gear)
	Give it a little gas.

She awkwardly puts her prosthetic foot on the gas pedal. Too 
much. It lurches forward. She takes her foot off.

			  TOM
	Well, we know you can. Now you just 
	got to feel how much. Try it again.

She does. They slowly, very slowly, move along the dirt road.

			  TOM
	Nice, real nice. There's a little 
	road down at the end here, turn onto 
	it.

Grace badly oversteers, but makes the turn. She drives along 
the road, across a pasture, heading toward distant mountains.

			  TOM
	Just follow this. Nothing to it. I'm 
	going to shut my eyes here for a 
	little while. Just keep going till 
	you run out of road.

			  GRACE
		(afraid)
	I don't know if I can.

			  TOM
	Not a question of if you can -- you 
	are. Just keep your eyes on the road 
	and your foot on the pedal and the 
	rest will take care of yourself.

Folding his arms over his chest, shutting his eyes, Tom 
relaxes back. Grace locks her hand on the steering wheel and 
her eyes straight ahead...

EXT. DOUBLE DIVIDE - DAY

The truck is parked at the foot of a mountain. Grace, very 
pleased with herself, sits beside Tom on the cab's roof, 
looking around them at the great Montana. After a beat;

			  TOM
	Where did you get Pilgrim from?

			  GRACE
	We bought him in Kentucky. My mother 
	and I took a trip down there to see 
	him.

			  TOM
	That must have been pretty special.

Grace nods. It is a pleasant memory. He motions for her to be 
quiet. An old ELK with a prodigious rack of antlers, has come 
down out of the mountains. Seeing them, he stops in his 
tracks, dead still. They watch each other. Then the elk turns 
and runs back up into the mountains. Tom smiles at Grace who 
smiles back -- partly because of the elk, partly because she's 
alone with Tom.

			  GRACE
	Are you afraid of anything?

			  TOM
		(thinks)
	Getting old. Not being of much use, 
	I guess.
		(beat)
	What went on out there, Grace? With 
	Pilgrim?

Grace doesn't say anything. Tom nods then;

			  TOM
	You see, Grace, I've got a problem. 
	When I'm working with a horse, I like 
	to know its history. Now, most times, 
	the horse can tell you pretty much the 
	whole story, but sometimes he can be 
	so messed up in his head that you need 
	more to go on. You need to know exactly 
	what went wrong. Often times, it's the 
	obvious thing, but something that went 
	wrong just before that, maybe even some 
	little thing...

Grace is quiet. She doesn't want to think about that.

			  TOM
	It's like if I'm driving and run into 
	a tree. When somebody asks me, "Well, 
	what happened?", I don't say, "Well, 
	I plowed into a tree." I'd say, "The 
	sun was in my eyes." or "I skidded." or 
	"I took my mind off the road for a 
	second." See what I mean?
		(Grace nods)
	I don't know how you feel about talking 
	about it and I can understand you might 
	not want to. But if I'm going to figure 
	out what's going on in his head, it'd 
	sure help if I knew exactly what 
	happened that day.

Grace looks away. Tom smiles and gently puts his arm around 
her shoulders, which has a soothing effect on Grace -- making 
her feel safe...

			  TOM
	Not today -- whenever you feel like it. 
	I leave it up to you.

Grace looks into Tom's eyes, wanting so much to unburden herself 
to him and have him make everything all right. She nods.

EXT. RANCH HOUSE - LATE AT NIGHT

Tom is making his way to the house at the end of the day, when 
he stops and looks over to the Creek house --

POV -- the lights are on. And he can see Annie, exhausted... 
approving pages, talking on the phone and faxing all 
simultaneously.

He gets an idea.

EXT. CREEK HOUSE - MORNING

Annie sits on the porch of the creek house, with a guilt over 
herself, sipping coffee and deep in thought. She looks up to 
see:

Tom riding towards the house on his horse, leading another 
horse behind him. He looks to her and smiles.

			  ANNIE
		(murmurs)
	Oh-oh.

Tom reaches the house as Annie rises.

			  ANNIE
	The answer's no.

			  TOM
	You haven't heard the question yet. Truth 
	is, you'd be doing me a favor. I got all 
	these eager young colts need riding and 
	poor old Rimrock here is feeling kind of 
	left out...

			  ANNIE
	Poor thing.

			  TOM
	He'd be grateful, he'd take real good 
	care with you.

			  ANNIE
	Is this how you're going to make me pay 
	my phone bill?

			  TOM
	No, ma'am, I'm afraid that's extra.

She gives him a crooked smile.

EXT. THE RANCH, PASTURE - DAY

Annie, in Levis and a jacket, rides Rimrock beside Tom across 
the pasture. We overhear them in the midst of talking.

			  TOM
	Relax our center... It's just sitting 
	in a bucket.

			  ANNIE
	Yeah, it's been a while, but I... I 
	remember the basic ideas...

			  TOM
	OK. I'll stop talking then.

He rides a few steps ahead as Annie realizes she doesn't 
remember. She just went into automatic "I don't have to be 
told anything" mode.

			  ANNIE
	Actually, I never rode Western. I'm 
	sorry. Go ahead.

			  TOM
	Well, he don't know that. Just sit the 
	horse.
		(watches her ride)
	Good... You have a nice seat.

			  ANNIE
	Thanks.

			  TOM
	Feel good?

			  ANNIE
	Yeah.

			  TOM
	You look all right. You want to pick 
	it up a little?

			  ANNIE
	OK.

Tom urges his horse into a center. Annie canters alongside.

			  TOM
	Watch your reins, he'll go with you, 
	give him some room, let him do the 
	work. Relax, don't grab him with 
	your thighs, just so long as he can 
	feel your body.

Annie responds to every suggestion without resistance. And 
she experiences this sense of pleasure -- this great animal 
beneath her, the physicality and the surrender of letting 
someone else lead...

			  TOM
	You want to let it go some more?

She begins to let herself go, losing herself in the experience. 
She just nods... Tom breaks into a full gallop... Annie follows 
suit... She lets everything go -- her job, her marriage, 
motherhood, guilt, anxiety... all of it. Her only focus is the 
horse beneath her, and the man on the horse leading her...

						  DISSOLVE TO:

EXT. DOUBLE DIVIDE - DAY

They ride along the creek, crossing at a ford. They ride up 
towards the mountains.

					  LAP DISSOLVE TO:

EXT. THE MOUNTAINS - DAY

They ride through a narrow pass with sheer rock walls, riding 
by a waterfall...

					 LAP DISSOLVE TO:

They ride across a meadow, cattle stepping lazily aside to 
let them pass. And as they ride alongside each other, 
appreciating the silence...

					 LAP DISSOLVE TO:

They ride up along a sloping ridge covered with pine trees. 
They come to the rim of a high bluff. They stop. They look 
out at the twin valleys that gave the ranch its name. And 
they can just see the old CREEK HOUSE hidden in the shade of 
some trees along the creek...

Tom looks over at Annie, who is looking out over this 
beautiful vista.

			  ANNIE
	It's a whole other world you have 
	going on here. It just goes along, 
	doing what it has to. And you're a 
	part of it, you just wake up and, 
	and there you are... And everything 
	that seems like life or death some 
	place else -- doesn't affect any of 
	this one bit.

Tom is impressed by her feelings. He sees her saddle cinch 
needs fixing and gets off his horse.

			  TOM
	Lift your leg.

Annie complies once she realizes what he's doing.

			  ANNIE
	How long did you live here with your 
	wife?

			  TOM
	Five years. My son was born here.

			  ANNIE
		(opens her eyes)
	Son?

			  TOM
	Yeah. I haven't seen him in a while. He 
	used to come to the ranch over summers, 
	but then he started having friends and 
	was going off to college, so... Good boy. 
	Hal. Lives in New York near his mom.

			  ANNIE
	How did you meet her?

			  TOM
	College. In Illinois. She was playing 
	the cello. I hadn't heard cello music 
	growing up. She had the reddest hair, 
	the bluest eyes. When she played, it 
	was...

Tom can't find a beautiful enough word. But Annie understands.

			  TOM
	She was the most beautiful thing I'd 
	ever seen.

Annie sees Tom as if with new eyes -- his love for this woman 
he lost.

			  ANNIE
	Why didn't it work out?

			  TOM
	She was never really happy here. She did 
	the best she could.

Annie looks at him and for the first time senses a kinship -- 
an understanding they both have of being torn between two 
worlds... a desire for home...

			  TOM
	Grace told me you have a country house 
	in Connecticut. Sounds like a beautiful 
	place.

			  ANNIE
	It is. It's lovely.

			  TOM
	Ever think of moving there full time?

			  ANNIE
	We did at one point. When we thought 
	we'd have more children. And we after 
	tried. We tried everything, but... 
	wasn't meant to be.

There is an awkward silent beat for a moment. Annie is 
momentarily self-conscious. Tom helps by speaking of himself;

			  TOM
	I hear that! See, I knew she was never 
	going to be a ranchest, but I wanted 
	to try -- I thought maybe she'd give 
	music lessons to the kids in town or at 
	the school, maybe even recitals. My son 
	would grow up here. Maybe have one or 
	two more. I'd teach 'em what I could. 
	They'd play with my brother's kids. All 
	grow up together. And even if they all 
	decided to go out into the world, they'd 
	always know where home was -- cause we'd 
	keep it for 'em...

			  ANNIE
	That's very important to you, isn't it? 
	Home.

			  TOM
	Yeah, I think it is. And I don't mean 
	everybody's got to be married, have kids
	-- It's more like, knowing where you're 
	from, where you belong, what feeds you, 
	where you can go no matter what happens... 
	Knowing what you're supposed to be doing 
	while you're here.

			  ANNIE
	How did you find out all that?

Tom looks right into her eyes and confesses without a shred 
of self-consciousness.

			  TOM
	I got lost.

They smiles.

EXT. CREEK HOUSE - NIGHT

The world is in silhouette. Off in the distance, we see Tom 
standing by his horse, offering his hand to Annie, helping 
her off. There's an awkward moment, neither of them wanting 
the day, or the moment, to end.

INT. CREEK HOUSE - NIGHT

Grace is standing by the window, looking out at them. Their 
movements indicate an intimacy that upsets her.

EXT. CREEK HOUSE - NIGHT

After a beat;

Tom gets back on his colt. He takes Rimrock's reins and leads 
him off. Annie stops for a moment, watching him ride away...

She watches her mother walk towards the house;

INT. CREEK HOUSE - MOMENT'S LATER

Grace watches her mother stand there a moment, then turn and 
walk towards the house. Grace moves away from the window, 
her emotions churning -- jealousy, anger -- and enters her 
bedroom, shutting the door.

						  DISSOLVE TO:

EXT. THE PASTURE - EARLY MORNING

Joe, hat tipped low, is riding his horse, leading some young 
horses, exercising them in the morning pasture. He sees Grace, 
walking with her cane, coming across the pasture.

			  JOE
		(shy)
	Hi...

She stops. After a beat;

			  GRACE
	Would you let me ride your horse?

			  JOE
		(hesitates)
	Have you talked to Tom about it?

			  GRACE
	Of course I have.

			  JOE
		(beat, then:)
	I don't know... You sure Tom said it's 
	all right?

She nods. He hesitates.

			  GRACE
	Are you going to give me a hand or 
	aren't you?

He gets off his horse and holds it. She puts down her cane, 
then puts her hand on the saddle horn. She puts her 
prosthetic leg into a stirrup. Frightened, she starts to 
shake;

			  JOE
	You sure?

Angry, determined, Grace tries to swing her leg onto the 
horse. She can't do it. Tears of frustration on her face. She 
tries again. She manages to pull herself halfway on, her 
prosthetic leg buckles and she falls. Frightened, Joe runs to 
her.

			  JOE
	You okay?

She gasps to catch her breath. He reaches to help her up. She 
pulls her hand away. Embarrassed, she "runs" off. Joe remains 
still. He hears a little VOICES. He turns and sees the TWINS 
having been watching the whole thing from a small hill. As 
they run off, he yells, threateningly.

			  JOE
	You better not say anything!!!

EXT. CREEK HOUSE - NIGHT

We follow Joe running towards the creek house, fastening a 
good shirt. He's dressed and cleaned for dinner. He's late.

INT. CREEK HOUSE - NIGHT

Annie is in the midst of making a spaghetti dinner. She's a 
little frazzled but she's on top of it. Grace enters wearing 
a lovely dress -- it is the first time we have seen her in a 
dress. Annie hears her enter before she sees her, asking;

			  ANNIE
	Honey, would you see if anybody 
	wants --

Annie notices Grace standing there, in her dress. She stops.

			  ANNIE
	You look really pretty.

Grace is a little self-conscious but grateful. She begins 
taking forks out of her dress pocket.

			  GRACE
	I thought there were too many forks 
	on the table.

			  ANNIE
	Well, one was for salad...

			  GRACE
	Mom, they don't mind eating with one 
	fork.

			  ANNIE
		(thinks, then;)
	You're right. Good.

Grace puts them away.

			  ANNIE
	Does anybody out there want 
	something to drink?

			  GRACE
	I'll take care of it.

			  ANNIE
	Thanks, honey.

Grace nods and exits to the living room.

LIVING ROOM:

The room is silent because every Booker is READING A 
DIFFERENT COPY OF ANNIE'S MAGAZINE. Frank covertly glimpses 
at the scantily-clad models... The Twins sharing a magazine, 
doing the same thing as their father, but keeping an eye out 
for mom... Diane is looking at pictorial exposes on the kind 
of lives she only hears about on audio tapes...

Tom sits off to the side, amused by the sight.

Grace enters as Joe enters. They nod across the room to each 
other with a little smile.

			  GRACE
	Would anyone like something to drink?

We hear a CRASH in the kitchen, then:

			  ANNIE (O.S.)
	SHIT!

Everybody looks up for a minute. The Twins giggle. Diane gives 
them a dirty look.

			  TOM
	I'll give your mom a hand.

Diane watches him enter the kitchen, then returns to her 
magazine.

INT. KITCHEN - CONTINUOUS

Annie has dropped a hot pot into the sink, after pouring the 
tomato out of it, and into a terrine.

			  TOM
	Everything under control?

			  ANNIE
		(laughs)
	Not really. I'd forgotten how long 
	it's been since I've done this. And 
	I couldn't get any Parmesan cheese.

			  TOM
	Just make yourself comfortable.

			  ANNIE
	I am comfortable.

			  TOM
	Ha, ha... all right, well, uh I guess 
	you can bring out the pasta.

She undoes her apron and crosses towards the bowl. Tom's eyes 
never leave her. It's the first time he's seen her in her 
dress, sans apron. As she lifts the bowl to hand to him, she 
realizes he's been looking at her. There's a silent moment, 
then;

			  ANNIE
	You missed a button.

			  TOM
	Huh?

She looks for it. Tom crosses to her and buttons it, then 
takes the bowl.

			  ANNIE
	Thank you.

They're quiet for a beat as they exchange a look. Suddenly, 
Grace enters -- she clearly doesn't like the two of them being 
alone, Annie quickly covers;

			  ANNIE
	Oh, good, Grace, would you bring in 
	the bread... I'll get the salad and 
	then we're all set.

Tom has already exited by the time Annie finishes, and Grace 
grabs the bread basket.

INT. CREEK HOUSE - LATER THAT NIGHT

We parachute into the middle of the meal. The spaghetti is a 
hit... We cut to different conversations and reactions around 
the table.

Frank is in the middle of saying;

			  FRANK
	It'd be a whole lot easier to pay 
	the feed end of the month...

			  TOM
	I don't think Warren would go for that.

Grace is talking to Joe and the Twins.

			  GRACE
	... like, for instance, you can go on 
	the Internet and access this thing 
	called The Visible Man -- who was this 
	murderer they caught in Texas that was 
	executed and donated his body to 
	science and you can call him up on the 
	screen and dissect him, like in Three-D...

Grace eats as she talks. Joe and the Twins are fascinated.

Annie asks Tom, Frank and Diane;

			  ANNIE
	Well, did you ever think about hiring 
	a business manager?

			  FRANK
	We have a business manager. The best 
	around.

			  DIANE
	Ha...

			  TOM
	Diane takes care of the books. I don't 
	know how, but at the end of every 
	month, everything adds up to the penny.

			  DIANE
	Ain't brain surgery.

			  ANNIE
	It's pretty impressive. Where I come 
	from, you'd be a gold mine.

Diane doesn't know how to accept that, but inside she's 
bursting with pride. She focuses on the Twins who fight;

			  TWINS
	This is MY fork. That's YOUR fork, ya 
	idiot!

			  DIANE
	Hey. You stop that kind of talk at the 
	table.

			  FRANK
	I'll have another round of that 
	spaghetti if may?

			  ANNIE
	Absolutely. I made enough for an army.

			  DIANE
	I uh... I like the sauce very much. Maybe 
	I get the recipe.

Annie is so pleased and is about to reply, but Grace, noticing 
Tom smiling at Annie:

			  GRACE
	It's from a jar.

There's an odd silence as a deflated Annie serves Frank.

			  FRANK
	Thank you.

Finally, Diane saves it.

			  DIANE
	Well, I tried jar sauce once -- 
	wasn't this good. Ya gotta know 
	which brand to buy. I'd like to 
	get the name of this one.

Annie is grateful. Grace feels foolish.

			  TWIN (SCOTT)
	Can we see the dead body on the 
	screen?

			  DIANE
	What?

			  GRACE
	It's just my computer.

			  DIANE
	Oh, I don't --

			  ANNIE
	It's okay. Grace, show them. I'm going 
	to put the coffee on. I made an apple 
	tart for dessert.

The Twins excitedly move to the computer. Joe waits for Grace.

			  DIANE
	I'll help you with the coffee.

			  ANNIE
	Well... I know I should reject that 
	offer, but I'm not going to.

			  DIANE
		(jovial)
	No reason you should, no reason you 
	should.

They exit into the kitchen. Frank continues eating.

Tom looks around -- Grace showing the boys the computer. Annie 
and Diane in the kitchen. For a second, we see Tom realize an 
image of the life he once thought he could.

INT. KITCHEN - NIGHT

As Diane and Annie prepare coffee and dessert;

			  DIANE
	I was looking in one of your magazines 
	and saw that picture of the couple 
	getting married at the Pyramids. Were 
	you ever in Egypt?

			  ANNIE
	I was there for that shot, actually.

			  DIANE
	What was it like?

			  ANNIE
	Oh, God -- I think it was the fourth 
	or fifth time I'd been there, so all 
	I remember was the heat and how 
	incompetent the photographer was...

She laughs as she directs this last line to Diane, who just 
smiles. And Annie realizes that's not what she meant at all. 
This woman is starving for glimpses into this other life.

			  ANNIE
	But, uh, Egypt is, well, it's like 
	nothing else. It's like going back in 
	time.
		(Diane listens)
	I remember as a kid trying to imagine 
	what a kid my age, centuries ago, 
	walking over that same ground, was 
	wondering about or, if they had the 
	same problems as me... and I felt, 
	connected to... to time itself, almost. 
	Ha, I never realized how hard it was 
	to describe.

			  DIANE
	I'd love to go there one time...

			  ANNIE
	You and Frank ever take a vacation?

			  DIANE
	Soon. We're going to Branson, Missouri 
	to see my cousin Emma married. Frank 
	loves in there.

Annie can sense the disappointment in her voice, and at the 
same time, the comfortable resignation.

Suddenly, from inside, they hear LOUD OVERLAPPING VOICES as 
the children fight.

			  TWIN (SCOTT)
	IT WAS MY TURN!

			  JOE
	YA JUST HAD A TURN. IT WAS NOT.

			  TWIN (SCOTT)
	WAS SO!

LIVING ROOM:

Diane and Annie enter to find Joe and Scott fighting, as Tom 
tries to break them up...

			  TOM
	Boys! Settle down!

			  TWIN (SCOTT)
	You never let me have a turn!

			  JOE
	Don't be such a baby!

			  TWIN (SCOTT)
	You just showing off for her!

			  JOE
	You shut up, stupid!

			  TWIN (SCOTT)
	You're the one who's stupid -- letting 
	her go and fall off your horse!!

Everyone goes quiet, except for the computer screen.

			  JOE
	You little shit!

			  DIANE
	JOE!

			  TWIN (SCOTT)
	I saw 'em. In the pasture. Her trying to 
	get on Gonzo! I saw 'em.

			  ANNIE
	What does he mean?

			  GRACE
	Nothing.

			  ANNIE
	Did you go riding?

			  JOE
	Little shit!

Joe lunges for Scott and the two start rolling in a fight. 
Frank and Tom work to pull them apart as Diane yells.

			  DIANE
	Annie, I'm so sorry, but they're just 
	tired. We'll have dessert another time. 
	Frank, get them out of here.
		(to other Twin)
	Come on. Say good night and thank 
	you...

Voices everywhere. Yelling. "Thank you's!!" During which, 
Grace quickly turns and exits. Annie eyes follow her out of 
the room, but with her guests and the chaos, she doesn't know 
whether or not to leave.

			  FRANK
	Dinner was delicious. Thank you.
		(to Twins)
	Say thank you!!

Diane and Frank usher the kids out. Tom holds onto Joe until 
they're gone, then lets him go.

			  JOE
	Sorry, ma'am, I thank you for dinner. 
	It was very good.

			  ANNIE
	Did Grace try to ride, Joe?

			  JOE
		(hesitates)
	I expect you should talk to Grace about 
	that, ma'am. And if I did anything 
	wrong, then I am sorry.

Ever the gentlemen, Joe exits. Annie looks to Tom. He's about 
to leave, when he stops and says:

			  TOM
	Don't let her turn you away.

Tom exits.

Annie stands and faces Grace's closed door. Slowly, she 
lowers herself to her knees and sits on them, thinking... 
reminiscent of Tom, waiting for his moment with Pilgrim, in 
the field.

INT. CREEK HOUSE, GRACE'S ROOM - LATER THAT NIGHT

We don't know how long Annie waited, but she knocks gently, 
then enters to find Grace, in her nightgown, on her bed, with 
the night stand light on. Her prosthesis is against the wall.

			  ANNIE
	Grace? Is everything all right?
		(no answer)
	Can we talk?

			  GRACE
	About what?

			  ANNIE
	Well...
		(nervous)
	So you tried riding again?

			  GRACE
		(snotty)
	Yeah. Does that mean I'm cured?!

			  ANNIE
	Honey, nobody's trying to cure you --

			  GRACE
	... You worried everything all right 
	now and we'll have to go home?

			  ANNIE
	What are you talking about?

			  GRACE
	You... not wanting to go home because 
	you hate daddy so much.

			  ANNIE
	Grace, I don't hate your father.

			  GRACE
	I can't remember the last time you 
	made him dinner.

			  ANNIE
	I was just trying to say thank you to 
	Diane and Frank and --

			  GRACE
	Tom?

Annie sits by the bed, Grace moves away a little.

			  ANNIE
	Look, I just wanted to say, I think 
	it's great you're riding again. 
	And... and I think I know why you, 
	you needed to do it alone... without 
	anyone knowing...

			  GRACE
	Yeah, you know everything!!

			  ANNIE
	STOP IT! Why can't I talk to you!!

			  GRACE
	NO, YOU STOP IT! Stop pretending like 
	you care! Like this really isn't about 
	you and Tom.

			  ANNIE
		(angry)
	WHAT?! How can you --
		(at a loss)
	I'm sorry if my friendship with Tom 
	bothers you so much, but I happen to 
	value having someone to talk to, 
	especially when my own daughter 
	ignores me night and day because no 
	matter what I say, it's wrong and no 
	matter what I do, it's wrong... I'm 
	sorry I'm such a disappointment to 
	you.

			  GRACE
	Well, now you know what it feels like.

Beat.

			  ANNIE
	I don't deserve that. I have never 
	looked at you as a disappointment. If 
	I'm on your back to do better, if I 
	push you to try harder it's because 
	I want you to be the best you can be.

			  GRACE
	FOR YOU! Because I'm your daughter 
	which means you're the best mother! 
	Isn't that what you're always talking 
	about in interviews -- having it all, 
	the great career, the great family... 
	Proving everybody wrong. Wanting 
	everybody to think you're this perfect 
	woman!

Beat. They're both exhausted.

			  ANNIE
	Listen, if... if there's a part of you 
	as parent that... that takes pride in 
	your child -- that, you can look at 
	them and see something you've 
	accomplished as well... if that's wrong, 
	then I'm sorry.
		(no answer)
	But it wasn't my intention. I don't push 
	for me. I do it for you... So you don't 
	waste half your life feeling like you 
	don't know where you belong.

			  GRACE
	Yeah, well, you've done a great job.

Beat. Annie feels deeply hurt.

			  ANNIE
	Well, then I do apologize... But what 
	I'm most sorry for is turning you 
	into a spoiled brat who can only 
	think about what she's feeling... who 
	can't admit when she's wrong and who 
	can't forgive when she's not.

			  GRACE
	LEAVE ME ALONE!!

Annie stops to exit as Grace says something under her breath. 
Annie stops.

			  ANNIE
	What did you say?

			  GRACE
	I said... I started.

Grace starts to sob. Annie doesn't understand.

			  ANNIE
	Started what?

			  GRACE
	My period.

			  ANNIE
		(softer)
	When? Tonight?

			  GRACE
		(nods)
	I felt it happen downstairs and when 
	I went into the bathroom.

Annie reaches down to touch Grace's shoulder. Grace turns -- 
there is no anger in her face. Annie sits and takes her in 
her arms. Grace clings to her and sobs like a little girl. 
Annie sees tears run -- gratefully, lovingly.

			  GRACE
	Who's going to want me now?

			  ANNIE
	What?... Oh baby...

			  GRACE
	Who's ever going to want me? Nobody 
	will.

			  ANNIE
	That's not true.

			  GRACE
	Why should they?

			  ANNIE
	Because you are... one of the most... 
	incredible, bravest, most beautiful 
	woman I have ever met. The efforts 
	you make. Your courage and your 
	dignity.
		(laughs thru tears)
	I don't know where you got it? I 
	honestly don't know how I would have 
	handled all this if I were you.

Grace is so grateful, they cling to each other even harder. 
As the tears subside, Grace manages to admit...

			  GRACE
	I'm sorry... about what I said. It's 
	just that -- all those times you 
	and Daddy were trying for another 
	kid, I... I used to pray at night that 
	it would work. And not because of 
	you guys or that I wanted a brother 
	or sister... but... just so I wouldn't 
	have to be...

			  ANNIE
	What?

			  GRACE
	So special. Because I was the only 
	one. You both wanted me to be so 
	good at everything, so perfect and 
	I wasn't. I was just me. And now I've 
	completely ruined everything, 
	anyway...

They both start crying again as Annie rocks her gently.

			  ANNIE
	Sshhh... Ssshhhh...

They hold each other as if for dear life...

LATER -- CAMERA PANS to discover mother and daughter, fast 
asleep, in each other's arms.

INT. TOM'S ROOM, RANCH HOUSE - NIGHT

Tom sits alone, writing at his desk. His music is playing. 
He stops to look out the window overlooking the Creek House.

Annie and Grace fell asleep with the lights still on in the 
living room.

Tom is thinking of Grace and Annie -- wondering what happened 
after he left... conflicted by what he feels for Annie... And 
remembering why they're here in the first place...

					 DISSOLVE TO:

INT. CREEK HOUSE - NEXT MORNING

The phone rings, awakening Annie first, then Grace.

			  ANNIE
	Hello?

			  OPERATOR (V.O.)
	Hello, this is ATT Conference Service. 
	Is this Annie MacLean?

			  ANNIE
	Yes.

			  OPERATOR (V.O.)
	I have a conference call scheduled for 
	you with Mr. Gottschalk and Mr. Farlow.

			  ANNIE
		(remembering)
	Oh. Oh, yes. One moment, please.

			  GRACE
	Who is it?

			  ANNIE
	Uh, nothing. I'm going to pick it up 
	in the other room -- would you hang 
	this up for me?

			  GRACE
	Sure.

Annie moves to the other room, sits down at her office space, 
takes a breath, then picks up, yelling to Grace;

			  ANNIE
	Okay, Grace...
		(click)
	Operator?... I'm ready.

EXT. RIDING ARENA - LATER THAT MORNING

Annie and Grace are standing by the arena fence. Frank, Joe 
and the Twins are sitting on the fence rail. Joe is holding a 
saddle and a bridle, standing in some shadows in an empty 
arena. Pilgrim comes running into the ring. Out of habit, he 
starts circling the ring. He sees Tom holding a saddle. 
Pilgrim walks towards him. Curious, he stops, looking at him. 
Tom puts the saddle down, sitting crossways on it. Pilgrim 
walks towards him again. He stops, looking at Tom again. Tom 
just sits there, playing with the bridle. Pilgrim walks 
around him. Tom doesn't show him any interest. Pilgrim comes 
closer. He looks at the saddle. He runs off. He stops, 
looking back. Tom just sits. Pilgrim walks back over. Tom 
stands and shows him the bridle. Pilgrim comes closer, 
sniffing it. He rubs his nose against the leather. Tom pats 
his head. Then, in one quick, but deft motion, he puts the 
bridle on him. Pilgrim tosses his head, but it doesn't seem 
to bother him. Grace and Annie watch intently. Tom takes the 
reins, walking Pilgrim around the ring. He walks him to the 
saddle. Pilgrim paws at it with his hoof. He turns and runs 
off. Tom lets him go. Pilgrim runs around the ring, slows 
down, looks over at Tom. Tom picks up the saddle. Pilgrim, 
cautiously, comes back over. Tom, with the saddle, walks away 
from him. Pilgrim, again curious, follows him. He nudges Tom. 
Tom stops. Pilgrim comes around to take a good look at the 
saddle. Tom rubs his back. And gently, like laying down a 
sheet, puts the saddle on his back. Pilgrim shuffles slightly 
at the touch. Tom quickly cinches it. Taking up the reins, he 
walks Pilgrim around the ring again. He starts to jog. 
Pilgrim jogs with him. And in the middle of the jog, Tom 
grabs onto the saddle horn, and without breaking his stride, 
pulls himself back up onto his back. He lays across the 
saddle, letting Pilgrim feel his weight. He sits up, and 
without letting him break his stride, he urges Pilgrim with 
his thighs, keeping him in the jog, riding around the ring.

Grace and Annie cheer. Tom tips his hat to them...

INT. THE BARN - DAY

Grace is cleaning stalls, etc... She exits one of the stalls 
with a pail and stops -- looking down the barn to where she 
knows Pilgrim is. She places the pail down and gathers her 
courage. She walks to Pilgrim's stall. She stands motionless 
for some moments before she opens the doors and enters...

Pilgrim steps back a bit. He looks at her. He pins his ears 
back. Stomps his feet. Grace is about to turn and leave, but 
she stops herself and remains still.

Slowly, she reaches out to touch Pilgrim's head... and he 
lets her. We see in Grace a maturity of character, a 
willingness to face what she must face... the beginning of a 
compassion, not only for Pilgrim, but perhaps for herself as 
well.

EXT. DOUBLE DIVIDE - NIGHT

A full moon lights the ranch. Tom pulls up to the ranch house 
in his truck, parks and gets out. As he walks towards the 
house, he hears:

Grace exits the Creek House and coming towards him, a coat 
over her nightgown. Tom waits until she reaches him.

			  GRACE
	I was waiting for you to come back.

Tom instinctively knows what she wants.

			  TOM
	You hungry?

INT. RANCH HOUSE, KITCHEN - NIGHT

Grace sits at the table. Tom is cooking at the stove. It feels 
as if they are the only two people on earth. Grace gets up her 
nerve... and begins:

			  GRACE
	Judith was telling me about this boy 
	she really liked. She never even had 
	a chance to tell me his name...

She starts to quietly cry, but it doesn't stop her.

			  GRACE
	We were going to go around by the 
	railroad bridge...

And we see the accident all over again... But this time, a 
movie -- as clear as reality -- but in deathly silence. Just 
the sound of Grace's voice, and her heartbeat...

EXT. THE WOODS, CONNECTICUT - EARLY MORNING

The horses are going up the icy path...

			  GRACE (V.O.)
	We were laughing about something, I 
	don't remember what. Her horse fell...

Judith's horse suddenly stumbles on the ice, going down, 
throwing Judith, her foot helplessly caught in the stirrup. 
Her horse sliding back down the hill.

Grace tries to move Pilgrim to avoid the errant horse, but 
it's too late, the horse plows into them, the horses sliding 
back down the hillside onto the empty COUNTRY ROAD...

EXT. COUNTRY ROAD, CT. - EARLY MORNING

Pilgrim is first to find his legs. Judith's horse, its leg 
broken at the ankle, walks in a confused state. Judith's foot 
is helplessly caught in the stirrup...

			  GRACE (V.O.)
	... Judith's foot was caught in the 
	stirrup... she couldn't get up, she 
	was so scared...
		(cries)
	I saw this truck, coming around the 
	turn...

She sees the glint of the steel. The Truck suddenly appears 
from around the bend.

			  GRACE (V.O.)
	...He was honking, trying to get us to 
	move... I tried to grab the reins to 
	get Judith's horse out of the way...

Grace grabs the reins of Judith's horse. The horses are 
spooking...

			  GRACE (V.O.)
	...And the truck started skidding...

The truck skidded on the icy road, going out of control, jack-
knifing, heading right for them...

			  GRACE (V.O.)
	...It was coming right at us... There 
	wasn't any time to do anything... It 
	ran right into Judith's horse...

The truck bed plows into Judith's horse...

			  GRACE (V.O.)
	...Judith just disappeared... And it 
	came right at Pilgrim and me...

We see this...

			  GRACE (V.O.)
	...And Pilgrim reared up at the truck 
	and I fell off...

Grace falls onto the road, the truck running over her.

INT. RANCH HOUSE, KITCHEN - NIGHT

Grace sobs uncontrollably now.

			  GRACE
	Judith... Oh God, Judith. I'm sorry...

Tom is near and holds her as she puts her head on his chest.

			  TOM
	I won't tell you it'll stop feeling 
	this bad... But I can tell you, you 
	didn't do anything wrong... The same 
	thing would have happened to me... or 
	Frank... or Joe... And there's no 
	sense in looking for a reason why 
	things happen...
		(self-reflective)
	I used to try and... always came up 
	short. I don't think the why so's 
	important as... what we do with what 
	we get. I remember this boy I'd see 
	up on the Blackfeet Reservation. He 
	was sixteen. Great kid. Strong. He'd 
	gone swimming and dived headfirst into 
	a rock. Snapped his neck, paralyzed 
	him... After the accident, I'd look 
	in on him from time to time... and he 
	wasn't there anymore. His mind, his 
	spirit, whatever you want to call it, 
	it just disappeared. And what was left 
	was nothing but anger... It's like the 
	boy I knew just went away somewhere...

			  GRACE
	I know where he goes.

			  TOM
	I know you do. Don't you disappear.
		(holds her tighter)
	You do whatever you have to, to hold 
	on...
		(thinks)
	I'll tell you one more thing... When 
	Pilgrim reared up to face that 
	truck... you know what I think?... I 
	think that damn horse loved you so much, 
	he was trying to protect you... That's 
	what I think.

Grace listens to this. As Tom holds her in silence, it's 
almost as if they were father and daughter...

EXT. THE CORRAL - PRE-DAWN

Tom stands with Grace in the corral. Tom's horse, Rimrock, is 
saddled nearby. Tom takes Grace's cane.

			  TOM
	Let me hold that...

Grace stands, looking at the horse...

			  GRACE
	I can't... not yet...

			  TOM
	There's no hurry. Take you time.

She's trying so hard to be brave. After a moment, she reaches 
for the saddle horn. She puts her prosthetic leg in the 
stirrup, takes a breath and swings her leg up -- slipping, 
falling to the ground. Tom doesn't say anything. She pulls 
herself back up. She repeats the action... determinedly. She 
swings her leg over again and sits squarely on the horse. Tom 
remains still, but proud.

As the day breaks, we leave them in silence -- Tom standing, 
hands in pocket... Grace sitting up on the horse, proudly.

EXT. DOUBLE DIVIDE, THE PASTURE - EARLY MORNING

Endless sky. Annie is jogging off in the distance when she 
looks up and stops to see: Tom and Grace, both on horses, 
stopped on a rolling hill. They do not see her.

Annie is filled with emotion... pride for her daughter, 
gratitude for this amazing man.

As the two ride off into the distance we do a slow:

					 FADE OUT:

					SHOCK CUT:

BRIGHT SUNSHINE... CATTLE DRIVE...

EXT. THE MOUNTAINS - DAY

Frank and Diane, with the Twins, dogs at their heels, ride in 
front of the herd. Behind them, Joe riding alongside Grace. 
Smokey and some Hands ride among the herd, keeping them moving.

And riding behind the herd are Annie and Tom...

MONTAGE OF VARIOUS MOMENTS THROUGHOUT THE DAY DURING THE CATTLE 
DRIVE... Highlighting, in particular, those in which the rising 
sexual tension between Tom and Annie is apparent.

EXT. THE MOUNTAINS - NIGHT

The cattle stands in silhouette. We hear singing.

Everyone is sitting around a campfire. Frank's playing the 
guitar, singing along with Tom. They laugh when a lyric or a 
note goes wrong. Everyone is enjoying it.

Annie, her arms around her knees, sits off by herself. The 
song ends and people applaud.

Frank hands the guitar to Hank;

			  FRANK
	Play that sweet one you know. The one 
	makes my wife here so friendly.

			  DIANE
		(slaps his shoulder)
	You!

Hank begins to play and sing a painfully pretty song. His 
sweet voice is stark contrast to his gruff, strongman 
appearance. Frank offers his hand to Diane, she slaps it away 
and laughs, he helps her up and they start to dance. As 
everyone watches...

Joe stands and offers his hand to Grace;

			  JOE
	You wouldn't want to dance with me, 
	would you?

			  GRACE
	I don't thinks you'd want me tripping 
	all over you in front of everybody.

			  JOE
		(sweetly)
	I wouldn't let happen.

			  GRACE
		(affectionately)
	You know, you're a good kid.

Joe smiles and helps her up. They come together and start 
dancing.

Annie is watching, holding her breath with gratitude.

Tom notices Annie off by herself and crosses to her. He 
extends his hand. She hesitates, looks again to Grace with 
Joe, then accepts...

His hand slide to her back. Her hand to his shoulder. They 
dance. Their bodies closer than they've ever been. Slowly, 
she leans her head against his body. And surrenders, for the 
moment...

Diane sees them. She holds her husband fast, and buries her 
head on his neck.

EXT. THE MOUNTAINS - DAY

MORE CATTLE DRIVE MANTAGE -- Taking Tom and Annie a bit 
further in their intimacy; perhaps Tom takes extra special 
care to explain things to Annie, or fix her saddle cinch, or 
make her laugh...

EXT. THE MOUNTAINS - EVENING

The cows stands in the pasture, grazing. Annie and Diane are 
cleaning some pots and pans in the stream.

			  DIANE
	Must be nice for you to take a few 
	days off from your work, huh?

			  ANNIE
	Well, I have more than a few days, ha, 
	ha... I uh... I'm sort of... not an 
	editor anymore... right now... First 
	time I've said it out loud.

			  DIANE
	They fired you?

			  ANNIE
	No, it's more like a leave of-
		(stops)
	Ha, ha, ha. Yeah, they fired me.

			  DIANE
	You don't seem to upset?

			  ANNIE
	Delayed shock. Or maybe not. I know 
	I could talk my way back if I wanted 
	or... go to another magazine, 
	someplace... Just not sure if I want 
	to.

			  DIANE
	Guess you don't have to figure it out 
	until you go home.

This phrase "go home" stings Annie -- though Diane said it 
innocently.

			  ANNIE
	Did you always know this was the life 
	you wanted?

			  DIANE
	I fell in love. After that, I never 
	thought about being anything but a 
	rancher's wife. I never saw it like I 
	was losing some other life, just felt 
	like I was gaining one. I know that's 
	not a popular opinion nowadays and I 
	ain't saying it's the right one. We 
	all have to find the life meant for us.

			  ANNIE
	Frank's a good man.

			  DIANE
	They don't come better. But I don't 
	deny there are times I wonder about 
	things I won't have. Maybe one day I'll 
	get to see Egypt. Maybe not. But I know 
	if you try too many different lives, 
	you can wind up with no life at all...

			  ANNIE
	Sounds like something Tom would say.

			  DIANE
	Yes, it does.

Annie and Diane resume washing the dishes in silence. Annie 
deep in thought. Until Diane stops. After a beat, Annie 
notices.

			  ANNIE
	What?

			  DIANE
	Annie, I'm not good at this kind of talk 
	-- goes round and round a thing but 
	never comes to it -- so let's just say 
	what it is. When you first came here, 
	I didn't like you and I was worried. Tom 
	means a lot to me and this family. Don't 
	go looking here for whatever you looking 
	for. Don't make that man go through 
	something it took him a long time to see 
	his way clear out of the first time.

			  ANNIE
	I don't think anybody can make Tom do 
	anything he didn't want.

			  DIANE
	He's a good man, Tom is. He's got a 
	gift, come from heaven above, I swear. 
	But he's still a man. And a woman can 
	lead a man into the middle of a mountain 
	lake -- and still make him think he's on 
	dry land.

Diane's words ring in Annie's head.

EXT. THE MOUNTAINS - DEAD OF NIGHT

Dead in stillness. The cattle dark and motionless. Everyone 
asleep in bedrolls around the pasture.

Annie awakens, looks up at the moon, watching it go in and 
out of the clouds. She looks over to sleeping Grace... Then 
looks to where Tom is -- and sees his sleeping bag is empty. 
Quietly, she rises and looks for him.

She starts across the grass and sees him crossing on his 
haunches, wearing a slicker, sitting in the grass by the 
stream, drinking some water. She watches him.

Tom senses something and turns. For a moment, they just look 
at each other -- half disbelieving the inevitable is so close 
at hand. Annie approaches as Tom rises.

They meet. They kiss. Tentative at first, but more, just to 
make that very, precious first moment of discovery last as 
long as it can. The kiss grows more passionate. They begin to 
lose themselves in each other.

Until, suddenly, aware of their surroundings, they part. No 
words. Their expressions to each other tell all. Annie 
separates herself and goes back to her bedroll... Tom stands 
in the grass, by the stream... the moving water, the night's 
only sound.

					 DISSOLVE TO:

EXT. DOUBLE DIVIDE - DAY

The cattle drive returns. Tom, Annie, Grace, et al... are on 
their horses, heading back towards the ranch when Grace sees 
in the distance;

			  GRACE
	Dad?

Annie looks up and sees:

POV -- ROBERT has come to the ranch. He is waiting for them 
with his luggage beside a rental car... standing out like an 
Like The Man In The Gray Flannel Suit in the middle of 
Wyeth's "Christina's World."

EXT. RANCH HOUSE - DAY

Everyone is being introduced to Robert, as Grace hugs him 
from the side, never letting go of him. Frank, Diane -- who 
introduce their kids, then Tom and Robert shake hands...

			  ANNIE
	This is Mr. Booker, Robert.

			  TOM
		(extends hand)
	Tom.

			  ROBERT
	Hi. It's a pleasure. I'm very grateful 
	for the way you took in my girls here. 
	I bet you were surprised when they 
	just showed up out of nowhere.

			  TOM
	Oh yeah...

Laugh. Awkward silence...

			  ROBERT
	Well I uh... I can already see a change.
		(hugging Grace)
	And I'm very grateful to you.

Robert is so sincere -- in that openly, modern, "express your 
feelings" kind of way. Tom just nods.

			  GRACE
	Did you notice -- no cane?

			  ROBERT
	I know. Amazing.

			  GRACE
	Can we show him Pilgrim, Tom?

			  TOM
	Oh, we're gonna show your dad plenty. 
	Why don't you all get settled in and 
	we'll do the tour. Excuse me.

As Tom walks away, a nervous Robert feels compelled to say:

			  ROBERT
	See you later!

Tom just nods and keeps walking. Annie and Robert face each 
other for a beat.

			  ANNIE
	Let's bring your bags inside.

			  GRACE
	Wait till you see this -- we have the 
	whole house to ourselves...

The MacLean walk to the Creek House.

EXT. DOUBLE DIVIDE - DAY

In the distance, we see the pick-up truck parked out in the 
pasture. Tom is standing with Robert -- in jeans, now -- and 
Grace, telling Robert about the ranch. Robert has his arms 
around Grace, asking questions, interested in everything... 
Grace is loving being with her two favorite men...

EXT. RANCH - DAY

Grace waits in the truck as Tom leads Robert through the cows 
and cowshit, climbs up and hops over a wood fence. Robert 
follows suit -- not as gracefully -- and gets a splinter...

INT. RANCH KITCHEN - DAY

Diane is busy in the kitchen when Annie enters.

			  ANNIE
	Is there anything you need? I'm going 
	food-shopping.

			  DIANE
	Well, I am going to go after lunch.

			  ANNIE
	No, no, I'll go -- just give me a 
	list.

Annie is determined. She needs to be by herself for a bit.

EXT. ANOTHER PART OF THE RANCH - DAY

Tom continues his tour as the dogs run about them. Tom pays 
the dogs no attention, except to bark an order. Robert, 
however, engages with them -- picking up a stick and throws 
it. A dog returns and gives it back. Robert kneels and begins 
rubbing the dog's fur, talking to it, looking like an 
anachronism in his baggy jeans with designer cowboy belt and 
spanking new designer cowboy boots.

Tom waits patiently for Robert, who... and carries on with 
the dog a bit too long. When Robert gets up, he habitually 
brushes the dirt off his jeans, maybe even his boots, and 
makes sure his outfit is hanging properly.

INT. BARN - DAY

Grace is in the stall with Pilgrim. Once again, close enough 
to touch him, which he allows.

Outside the stall, stand Robert and Tom. Robert squeezes his 
splinter...

			  ROBERT
	I can't believe it's the same horse.

			  TOM
	We still have a way to go.

			  ROBERT
	How much longer do you think?

Tom understands this man wants his family back.

			  TOM
	Well, like I told your wife, it's 
	really up to Pilgrim.

			  ROBERT
	I understand...

					 DISSOLVE TO:

INT. KITCHEN - EARLY MORNING

Everyone is seated around the table, eating, talking, laughing. 
Grace is right by her father's side. Frank's in the middle of 
telling Robert:

			  FRANK
	We thought we lost him in the snow 
	storm... Told the kids. Had a funeral 
	for the damn thing. Finally, snow 
	stops. Staring to warm up. I go out 
	and start cleaning the truck... 
	Goddamn if that dog doesn't jump out 
	from the back seat covered in snow... 
	I nearly stained myself.

			  TOM
	He thought it was a ghost.

			  JOE
	A dog ghost!

Laughter all around.

					 DISSOLVE TO:

EXT. RANCH HOUSE - NIGHT

Everyone is outside enjoying the night after a long day.

Diane and Annie are on the porch. Diane is showing Annie how 
she does her needlepoint. Annie is genuinely interested.

Tom and Frank and Robert are sitting out front. Grace is at 
Robert's feet. Joe sits on the ground in front of his father, 
opposite Grace.

			  TOM
	Is the poverty worse, now, you 
	think?

			  ROBERT
	I haven't been back in over twenty 
	years, but I wouldn't be surprised. 
	The population's larger.

			  FRANK
	What were you doing over in India?

			  ROBERT
	Uh, this was right after college. I 
	was in the Peace Corps.

			  FRANK
	That right?

Back on Diane and Annie, who hear the laughter O.S. and look. 
Diane smiles, seeing how much Grace is enjoying her dad.

			  DIANE
	She sure loves her daddy, huh?

Annie smiles and looks herself. Yes, she does, she thinks. Why 
can't I?

Back to the others. Everyone is very interested in Robert's 
stories... especially Tom.

			  ROBERT
	... and I thought before I settled 
	into law school -- everybody knew that 
	was the plan -- I'd take this time for 
	myself.

Grace rises to go to the Creek House.

			  ROBERT
	And I tell you, Frank, it was one of 
	the --

As Grace passes by, she stumbles a bit and Robert habitually 
rises to help, but Grace ignores him and rights herself, 
continuing. Robert quickly sits back down, continuing.

			  ROBERT
	... one of the uh... greatest times 
	of my life... I had experiences that, 
	I think, changed my outlook forever. 
	I came back a different person, 
	literally.

Tom listens with great interest and respect.

Back to Diane and Annie, who watch as Joe follows Grace.

			  DIANE
	I think I'm going to have my hands 
	full with the son of mine when you 
	leave. Just might be his first 
	broken heart.

			  ANNIE
	Oh, how sweet.

A burst of laughter pulls their attention to the group -- 
Robert is now standing, acting out a story.

			  ROBERT
	... and I have no idea what he's 
	saying because I don't understand 
	Hindu...

Everyone is listening, with big expectant smiles. Annie 
watches -- having heard this story before. Her eyes gradually 
shift to Tom, who is enjoying the story.

			  ROBERT
	... So, finally I'm trying to explain 
	to him that I'm allergic to wool and 
	would he please get his sheep out of 
	my car --

Laughter. Robert continues, giving a quick look to Annie -- 
who is looking at Tom... Robert lets it go, continuing his 
story.

INT. CREEK HOUSE - NIGHT

Grace is asleep. Robert sits by her bed, lit by the moon 
through a window. He stares at this creature he loves so 
much. He rises and enters Annie's room.

			  ROBERT
	Tired?

Annie shrugs. Robert looks at the bed. He teases.

			  ROBERT
	Small bed. Maybe I should sleep in 
	the barn.

			  ANNIE
		(teases back)
	You're allergic to hay.

			  ROBERT
		(smiles)
	I apologize for the surprise, but the 
	days only opened yesterday and I 
	figured...

			  ANNIE
	You don't have to explain. You have 
	every right to come.

			  ROBERT
	I can see why you put your faith in 
	him. He's a genuine... good guy... 
	Good at what he does. That's rare.

Annie nods. She tries to hide her discomfort. Robert sits on 
the bed before her.

			  ROBERT
	You were right about coming here. I'm 
	sorry for not thinking...

			  ANNIE
	No, it's okay. Believe me, there were 
	plenty of times I didn't know what 
	the hell was right.

			  ROBERT
	How are you feeling about work?

			  ANNIE
	Let's not talk about that now.

And they're quiet. He moves to kiss her. It's awkward. They 
look to each other -- as they try to remember how to make love 
together...

			  ROBERT
	I feel like I'm on a first date.

Annie smiles sympathetically.

EXT. BARN DANCE, HANK'S RANCH - DUSK

Cars and pick-up trucks haphazardly parked along a dirt 
road... Smoking open grill barbecues. Ranchers and families 
move about the ranch, sit and eat at picnic tables with 
gingham tablecloths... Some teenagers hanging around the 
corral, talking. Diane and some other women, eating and 
talking... Frank with a group of men, drinking beer, telling 
stories.

A BAND has been set up by the barn. People are dancing under 
the harvest moon. Grace is dancing with Joe... Tom is dancing 
with a local woman... Annie with a rancher... Everyone is 
having a good time...

Robert is enjoying a smoke with some men. He looks over to 
the dance floor and smiles when he sees Grace and Joe.

Joe and the Rancher trade place... Joe dances with Annie, the 
Rancher with Grace... But Tom sees his chance and switches 
with the Rancher so that he can dance with Grace... She is 
thrilled and he guides her effortlessly across the floor.

Joe and Annie are interrupted by another couple. Joe switches 
partners, but Annie smiles and excuses herself -- she wants to 
rest.

Robert continues talking with some of the men. He puts out 
his smoke and looks over to the dance floor. He sees Grace now 
dancing with Tom... His eyes search for Annie. He moves away 
from the men until he sees, from a distance;

Annie, sitting by herself, amidst the crowd... No one would 
notice her unless they were looking for her... But Robert does 
-- and what he sees is Annie looking at Grace and Tom... then, 
only looking at Tom... Smiling to herself gently... Watching 
his every move. Suddenly, she rises and exits out of the barn 
to get some air.

EXT. HANK'S RANCH - NIGHT

Annie finds an isolated spot, behind the main house, to be by 
herself and catch her breath.

INT. BARN - NIGHT

Tom and Grace continue dancing. She's in heaven. Robert 
approaches and Tom quickly allows him to take over. Grace 
loves the attention from both men. As they dance off, Tom 
crosses the dance floor and is met by Hank's wife;

			  HANK'S WIFE
	Oh Tom, would you check the shed and see 
	if there's anymore chairs.

			  TOM
	Sure.

EXT. HANK'S RANCH - NIGHT

Tom is walking along when he turns the corner of Hank's house 
and finds;

Annie sitting alone, staring up at the night. They see each 
other. From behind the house, no one else can see them.

It is as if the fates brought them face to face and alone. 
Without any will to stop it, they embrace and kiss 
passionately. But when they look into each other's eyes, 
there is no joy in the kiss. Tom releases her and walks away, 
heading for the shed. Annie quickly pulls herself together 
and enters the main house through the back door.

INT. DOUBLE DIVIDE RANCH, KITCHEN - NIGHT

Diane is once more sitting at the kitchen table, looking over 
some bills before bed. Her tape player is on softly. Tom 
enters and crosses to the sink to get a glass of water.

Diane looks up, seeing Tom with his back to her -- standing at 
the sink, filling his glass -- staring out the window over the 
sink. She looks to the dish of brownies on the table.

			  DIANE
	I have some brownies left over. Want 
	one?

			  TOM
		(w/o turning around)
	No thanks.

Diane senses an uneasiness in Tom. She looks as he drinks his 
water.

MEDIUM CLOSE-UP ON TOM'S BACK, as if from Diane's POV.

But when we pull back we find ourselves;

INT. BARN - NIGHT

Tom is standing in front of Pilgrim's stall. He opens the 
door. They look at each other. He strokes him and begins to 
whisper;

			  TOM
	There's something you have to do 
	tomorrow, boy...

Camera gently moves away... and Tom whispers to Pilgrim what 
must be done...

EXT. THE RIDING ARENA - DAY

There's a stillness. A sense of import. Annie, Robert, Frank, 
Diane, Joe and Smokey, are all at various spots along the fence.

Grace stands inside the ring. Tom is standing beside Pilgrim 
in the middle of the ring. Pilgrim is bridled and saddled. 
Tom adjusts he stirrup. He walks over to Grace...

			  TOM
	All set?

Grace swallows hard, nodding. She's worried...

			  TOM
	Sure?

			  GRACE
		(softly)
	Sure.

Tom puts his arms around her shoulders and walks out to 
Pilgrim. The horse pricks up his ears as they approach. Tom 
motions Grace to stop a short distance from Pilgrim so as not 
to crowd him. Tom walks over alone, reaching to gently take 
hold of him. Holding him by the bridle, he puts his head 
beside Pilgrim's, quietly speaking to him, soothing Pilgrim's 
neck with his other hand...

Annie and Robert are fascinated. Anxious.

Pilgrim never takes his eyes off Grace. Tom tries to ease him 
forward. Pilgrim resists, lifting his head and looking at 
Grace so you can see the white at the top of his eye. Tom 
turns him away, walking him in circles, trying to calm him. 
He leads him back to Grace. Pilgrim tosses his head and 
stomps his feet.

Robert grows more anxious. Annie is calmer, more focused.

Tom climbs up on him, riding him around the arena in an easy 
lope. Grace watches them go round the ring. She looks at her 
parents and tries to smile. They try as well.

Tom dismounts and leads Pilgrim back to Grace. Pilgrim balks 
again, violently throwing his head, kicking... Grace's 
shoulders slump, she presses her hands in her pockets, 
fighting not to cry...

			  TOM
	Smokey...

Smokey climbs over the rail into the ring as Tom says something 
to him. Meanwhile Frank reassures Grace:

			  FRANK
	He'll be okay, Grace. Just you hang 
	on there a minute or two. Tom'll get 
	him, okay, you'll see...

Smokey jogs over to the gate, climbing it, and disappearing 
into the barn. Tom crosses to Grace.

			  TOM
	There's still something going on 
	inside of him I can't reach. So me 
	and Smokey here, we're going to 
	try laying him down. Okay?

			  GRACE
	What does that mean?

			  TOM
	It's more or less how it sounds. 
	Sometimes it's not pretty to watch. 
	Some horses fight it real hard. 
	Your fella's already shown us he 
	likes a good fight. So if you don't 
	want to watch, I'll call you when it's 
	done.

			  GRACE
	I want to watch.

Smokey re-enters the ring, carrying some rope. He talks 
briefly to Tom. Pilgrim, sensing something, turns and runs to 
the far side of the ring. Tom, his arms spread, walks over 
to him, keeping him by the fence. Tom takes him by the 
bridle. Smokey comes beside him. Tom unhitches the bridle and 
in its place slips a rope halter Smokey passes to him. 
Smokey then hands him two long ropes, one at a time. Tom 
fastens one under the halter and ties the other to the saddle 
horn. Tom asks Smokey.

			  TOM
	You got that soft rope?

Smokey hands it to him. Tom quietly talks to Pilgrim, runs 
his hand down Pilgrim's left foreleg and lifts his hoof. 
Pilgrim slightly shifts. And when he's still, Tom slips the 
loop at the end of the soft rope over the hoof making sure 
it's snug. And taking the other end of the rope, he hoists the 
weight of Pilgrim's raised hoof and ties the rope to the 
saddle horn. Pilgrim stands on three legs -- an explosion 
waiting to happen. Tom moves away from Pilgrim, taking the 
halter line from Smokey. Pilgrim, trying to move, finds he's 
crippled. Scared, he lurches, hopping on his right foreleg. 
Seeing he can't walk, panicked, he tries to run. Tom and 
Smokey, brace themselves, lean back on their ropes and force 
him around them in a tight circle. He goes around and around 
like a crazed rocking horse with a broken leg. Tom looks over 
and sees Annie has left Robert outside the ring to stand by 
an anguished Grace -- her hands on her shoulders, gripping 
her. Robert watches, feeling too much a foreigner...

			  GRACE
	What is he doing this?

			  FRANK
	It'll be OK, Grace.

But even Frank isn't so sure. Pilgrim, covered in sweat, 
still circles. As he runs, his hobbled foot jabs at the air, 
trying to find peace. He runs and runs as Tom and Smokey lean 
on the ropes -- until he can't run any more and stops. Tom and 
Smokey let the lines go slack. Pilgrim, stands there, his wet 
sides heaving, panting like an asthmatic, making loud rasping 
sounds. Tom and Smokey speak. Smokey hands him his rope. 
Turning, he gets a coiled lasso out of the sand. He swings 
the rope in a wide loop and makes it fall over Pilgrim's 
saddle horn. He pulls it tight. And he takes the other end of 
the rope to the far side of the fence and ties it in a quick 
release knot to the bottom rung. Coming back he takes the 
other two lines from Tom. Tom crosses to the rail. He starts 
putting pressure on the rope. Pilgrim feeing it, braces 
himself. The pressure tilts the saddle hold downward.

			  FRANK
		(to Grace and Annie)
	He's trying to get him to go down 
	on his knees...

Pilgrim fights. Tom pulls on the rope. Pilgrim, slowly, 
begrudgingly, gives ground. Tom, brings him to his knees, 
but it is short lived. Pilgrim is muscling his way back to 
his feet. Tom pulls him down to his knees again. Pilgrim, 
fighting with every bit of strength, slowly gets to his feet 
again. But the pressure Tom is putting on the saddle is too 
strong and relentless and finally Pilgrim goes down on his 
knees and stays down. Yet Tom keeps the pressure on... Tom 
shouts to Smokey.

			  TOM
	Drop the lines and come help me...

Smokey, dropping the line, runs over. They both pull on 
the saddle rope.

			  GRACE
	That's enough! Stop it!

Pilgrim snorts and foams at the mouth, fighting. But 
slowly, like a wounded bird, she starts giving in. He 
rolls over on his side and lays his head in the sand and 
is still. It seems like a total, humiliating surrender. 
Grace starts to sob, burying her face in Annie's chest. 
Robert feels impotent to help.

			  TOM
	GRACE!

Tom and Smokey stand over the fallen horse like two big 
game hunters at the carcass of a kill.

			  TOM
	GRACE! Will you come here, please!

Grace shakes her head "NO." Frank motions to Annie for 
her to let Grace go... to let stand alone... We see 
that it's not easy for Annie to trust this, but she does. 
And she steps back to where Robert stands...

Tom, his face set, walks toward Grace...

			  TOM
	Grace, I need you to come with me.

Grace violently shakes her head "NO"... Robert gets up the 
courage to say aloud:

			  ROBERT
	Well maybe she shouldn't be here...

Annie quickly turns to him and says with quick intensity:

			  ANNIE
	Robert! Let him handle it! Please!

Robert can't watch this. He turns and takes a few steps. 
Just stops... standing behind and apart from Annie, to 
just watch... slowly becoming transfixed, like someone 
who can't stop staring at an accident.

Tom reaches Grace and puts his hand tenderly on her shoulder...

			  TOM
	Grace, I need you to come with me.

			  GRACE
	No, you're only going to hurt him 
	some more.

			  TOM
	He's not hurt. He's okay. Look at him.

			  GRACE
	  	(turned away)
	No!

			  TOM
	Grace, Listen... you've got to do this. 
	Just trust me one more time.

Grace looks into his eyes and is reminded of all this man 
has done for her... and she remembers her trust.

			  GRACE
	Do what?

Tom, prouder of her now than ever before.

			  TOM
	I'll show you.

Tom leads her across the ring, with his arm around her 
shoulder. Annie tries to maintain her composure. Robert 
remains still and focused.

Tom and Grace come to Pilgrim, lying in the dirt, his 
breathing plaintive. Tom speaks gently;

			  TOM
	I want you to lay down with him. I 
	want you to stroke him. I want to 
	start with his hindquarters and rub 
	him, feel him all over.

Grace is shaking her head "NO." He speaks more firmly.

			  TOM
	Grace, you've got to do what I say.

Grace knows there's no way out. She takes a breath and slowly 
kneels in the dirt beside him, with Tom's help. She lays on 
him, rubbing him, his hindquarters, his legs, his side, 
softly rubbing his neck and the wet silky side of his head.

			  TOM
	Now, listen. I want you to stand on 
	him.

			  ANNIE
	What?!

Tom responds to their voice without looking at them:

			  TOM
	PLEASE!
		(they stop)
	Grace, do what I'm telling you. Stand 
	on him... now!

Grace obeys him through her tears. She lets Tom take her hand 
and guide her up onto the curve of Pilgrim's belly. Then he 
lets go. Grace stands there with teas steaming down her 
face -- standing on the animal she loved most in the world.

			  ANNIE
	It's so cruel.

			  FRANK
	No. He had the choice.

			  ANNIE
	What choice!!?

			  FRANK
	Either fight the way things are or 
	accept it.

Robert, however, is hypnotized by the event. He is having a 
private epiphany of sorts.

Grace sits in the dirt by Pilgrim and strokes him quietly -- 
she begins talking to him, the way Tom does. Tom watches, as 
he cautiously steps further away. Pilgrim looks up at Grace 
out of the dark pool of his one sad eye. They look at each 
other. And we understand there's a connection once more. A 
moment of understanding... and forgiveness.

Grace starts to untie his ropes. Smokey is about to stop her 
but Tom shakes "NO"...

Pilgrim, like an infant coming out of the water, breathing 
life for the first time, gets to his feet. Grace and him look 
to each other. And all is still.

Grace grabs the saddle horn. Pilgrim shuffles as if he's 
going to bolt. Grace quietly reassures him... She then 
carefully puts her prosthetic leg in the stirrup. Pilgrim 
shifts slightly. Annie covers her mouth so as not to scream 
out her fear. Robert breaths heavily. They watch as Grace 
swings her leg, determined, and pulls herself into the 
saddle. Sitting on his back, Pilgrim tosses his head and 
looks as he's going to run off. But Grace puts her arms 
around his neck, and once again, quietly reassures him.

She starts to ride him, slowly, her arms around his neck, 
talking all the while, around the ring.

Annie laughs as she cries -- emotion overwhelming her. Robert 
feels almost numb with fascination, gratitude, confusion...

The slow ride turns into a trot... then a lope... then a 
canter... round and round the ring. Frank and Diane smile. 
Diane looks to Tom and knows what he's feeling...

Tom watches as any father would -- his heart pounding with 
pride for the miracle of his child. But he doesn't let on for 
a second.

Grace brings Pilgrim to a stop, lifts her arms to the 
heavens, victorious. Everyone cheers. Smokey helps her off 
the horse. She stops to look at Tom, who busies himself with 
picking up the ropes... So she re-focuses on her parents. They 
run to each other and embrace... First, she and Annie... then, 
she and her father...

But, as Robert and Grace hold each other and begins to exit, 
Annie manages to make eye contact with Tom... and tell him 
with one look, how grateful she is... and how much she loves 
him. And he receives it...

EXT. DOUBLE DIVIDE - DAY

WE FOLLOW THE DAYS AFTER THIS EVENT...

Work on the ranch goes on as usual while Tom and Grace keep 
nurturing Pilgrim back to life.

EXT. PASTURE - ANOTHER DAY

Grace and Annie go riding...

EXT. MOUNTAIN TRAIL - DAY

Robert takes an isolated hike up the mountain until he comes 
upon a ridge overlooking an inspiring vista. We can tell 
Robert is moved by the sight. Sweaty, tired, he find a place 
to sit... to be still... and to consider his life.

EXT. THE RANCH HOUSE - DAY

Frank's car is parked up for the trip to the airport that 
will take the Bookers to Branton, Missouri for Diane's 
cousin's wedding...

Grace, Annie and Robert are outside saying goodbye to the 
Bookers; Diane, the Twins... and Joe... Joe awkwardly shakes 
her hand... then removes his hat and puts it on her head. 
Everyone laughs. They want to hug each other, but don't know 
if they would...

Frank and Tom are packing the car...

			  DIANE
	Oh Frank, don't forget the wedding 
	present -- it's behind the door in 
	the laundry room.
		(to Robert and Annie)
	I got her a pasta maker from the 
	catalogue... Not that they'll know 
	what to do with it in Branton, 
	Missouri... Probably use it as a 
	planter.

			  FRANK
	Diane!

			  DIANE
		(whispers)
	Frank's touchy about his cousins.
		(they laugh)
	Well, it was nice to meet you, Mr. 
	MacLean.

			  ROBERT
	Same here, Mrs. Booker. Thank you 
	again for all your kindness.

			  DIANE
	Ah...

Diane turns to Annie. Robert instinctively steps away, saying 
goodbye to Joe and the boys... The two women look at each 
other with respect and concern.

			  DIANE
	Now, are you sure you want to drive 
	that horse back yourself? There are 
	plenty of people 'round here who do 
	that sort of thing.

			  ANNIE
	I already know the way... and it's 
	not like I have a job I have to rush 
	home for.
		(Diane nods)
	Between you and me, I could use the 
	time alone.

Diane understands.

			  DIANE
	And you'll be all right by yourself 
	here,
		(referring to Robert and Grace)
	after they've gone?

Tom hears this bit of info as he passes by with the wedding 
present and puts it in the truck. Annie makes sure to avert 
her look.

			  ANNIE
	It's just one night. If I get 
	uncomfortable, I'll go over to 
	Hanks.

			  DIANE
		(double meaning)
	Promise?

			  ANNIE
	Promise.

Diane just nods, knowingly. She extends her hand. The women 
shake.

			  DIANE
 		Good luck to you, Annie.

			  ANNIE
	You too, Diane.

They part. Diane starts giving order as she gets in the car:

			  DIANE
	All right, everybody in. Frank, we 
	all set...

Camera wides as we hear the voices of departure... see the 
MacLeans waving... See Tom off by himself, waving... but 
thinking of something else...

INT. CREEK HOUSE - NIGHT

In the midst of packing, Annie has made dinner for Grace and 
Robert. In the midst of eating, Robert asks:

			  ROBERT
	Shouldn't we have invited Tom over?

			  GRACE
	I did. He said he had work to do 
	until late.

Annie remains silent.

EXT. RANCH HOUSE -- NIGHT

Tom exits with a small, leather satchel. He crosses to his 
truck, tosses in the satchel, gets in and drives off.

						  DISSOLVE TO:

EXT. BARN - MORNING

Grace enters the barn to say goodbye to Pilgrim.

INT. BARN - CONTINUOUS

She moves to his stall and opens the doors. He stands there, 
without any fear of her. She smiles and enters. She wraps her 
arm around his neck, pets him and whispers.

			  GRACE
	I'll see you home... OK?

INT. CREEK HOUSE - DAY

Everything is being packed up. Robert is dressed for travel. 
Annie is taping up the boxes containing her computer 
equipment.

			  ANNIE
	Are you going to stay in the city or 
	go up to Connecticut?

			  ROBERT
	Connecticut. I told the office I'd 
	work out of there next week. When are 
	you planning to start back?

			  ANNIE
	Probably first thing in the morning. 
	It's too late to start now. I'm going 
	to try not to do too much driving in 
	the dark.

			  ROBERT
	May I have a suggestion?

			  ANNIE
	Yeah, what?

			  ROBERT
	Take your time.

			  ANNIE
		(innocently)
	What do you mean?

Annie looks up from the box to see Robert is calmly staring 
at her. His demeanor is different. Something's going on.

			  ANNIE
	You look like something's wrong.

This is Robert's moment. He knows it. He takes a breath and 
hopes it comes out right:

			  ROBERT
	I'll tell you something, Annie -- I 
	stood there looking at what was 
	happening to that horse... And, I 
	swear, it felt like the same thing 
	was happening to me.

			  ANNIE
	I don't understa-

			  ROBERT
	  	(continues)
	And I have two choices. I can either 
	fight the way things are, or accept 
	them.
		(Annie waits; he smiles)
	See, I always knew I loved you more. 
	Didn't bother me. I always felt 
	lucky... a little amazed... that such 
	a vibrant, beautiful woman would want 
	to be with a man like me... And I 
	guess I thought as long as I did 
	everything right -- if I was the best 
	husband I could be, the best father... 
	even being a good lawyer only mattered 
	to me because of what it meant for 
	us... if I could do all that, it 
	wouldn't make any difference if we 
	loved each other the same or not... 
	I wasn't asking for more. I told myself 
	I didn't need more.
		(smiles)
	But you don't know how you feel about 
	me. You don't know... if you want a 
	life with me anymore...
		(bravely)
	And I don't want you to come home 
	until you do know...
		(the hard part)
	... one way or the other.

Annie cannot remember a time when she ever loved her husband 
more than in this moment -- knowing what it took for him to 
say this. She would not disrespect it with denials. Her 
throat is choked with tears, she swallows down. She nods.

Robert nods, feeling both pride and heartbreak in the same 
moment. He picks up his bag, kisses her goodbye and exits.

EXT. RANCH HOUSE - DAY

Annie and Robert walk towards the car to find Grace, leaning 
against it -- looking depressed.

			  ANNIE
	What's the matter, honey? Gonna miss 
	Pilgrim?

			  GRACE
	Tom's gone.

Both Robert and Annie are surprised.

			  GRACE
	Smokey told me he left last night to 
	look at some horses in Sheriden. He 
	won't be back for three days. I can't 
	believe he didn't want to say goodbye.

			  ANNIE
		(hiding her own distress)
	Well... honey... you know... that's 
	just not his way. Maybe you can write 
	him a letter or something. Say thank 
	you... Don't think about it... You 
	take care and I'll see you home.

She embraces Grace and, over her shoulder, watches Robert 
enter the car. Grace follows suit. The car drives off leaving 
Annie alone at the Double Divide.

EXT. CREEK HOUSE - DUSK

The ranch is still. Annie stands on the porch, her arms 
folded, vulnerable, looking at the ranch. All her boxes are 
packed and stacked in the room. She looks over to the Ranch 
House... to Tom's window.

INT. TOM'S ROOM - DUSK

A light goes on. Annie enters, cautiously. She's never been 
in this room. She crosses to the desk, touches it. She 
notices a tape player and pushes it on. MUSIC PLAYS... She 
sees a small framed photo -- of Tom's son, years ago.

Suddenly, she feels like an intruder. She shuts the music off 
and exits...

INT. BARN - DUSK

Annie faces Pilgrim... she gently lifts her hand and caresses 
his face. He returns her gentleness. Annie is remembering 
Robert's words, her heart is heavy with conflict. She jokes:

			  ANNIE
	Why do I get the feeling you know 
	what I should do, but you're not 
	telling me?

She hears a truck pull up... Then, a door open and close. Her 
heart races...

EXT. BARN - DUSK

Annie exits the barn and sees:

Tom, walking away from the truck with the headlights left 
on... is walking right towards her.

Annie begins moving towards him, When they meet:

			  TOM
	I won't apologize for this. And I 
	won't hide it. Not for anybody.

			  ANNIE
	I won't ask you to.

He takes her in his arms and they kiss.

EXT. RANCH HOUSE - NIGHT

Tom leads Annie to the front door. She waits as he unlocks it.

INT. RANCH HOUSE, SECOND FLOOR, TOM'S ROOM - NIGHT

Tom leads her to his room. Annie cups his grasp on her with 
both hands. He opens the door for her, ushers her in, then 
closes the door. He hangs his hat. She turns to him. They 
embrace, surrendering to each other's passions.

					 DISSOLVE TO:

INT. RANCH - DAWN

Camera pas from Tom's window, bright with dawn, past his 
desk upon which his classical music is playing, over to the 
two lovers in bed, kissing and embracing. Then:

			  ANNIE
	Oh, God, what are we going to do? 
	I'm supposed to --

			  TOM
	Ssshhh...
		(she stops)
	Stand still, Annie. Takes what we've 
	got, just for now. Can you do that?

Beat. She nods. The permission Tom is giving her acts like a 
great burden being lifted, and for the time being, she 
surrenders and accepts the gift of what they feel. They kiss.

EXT. THE RANCH - DAY

Since the ranch must continue, Tom and Annie move through a 
day of ranch chores --

-- TOM AND ANNIE CLEANING STALLS AND FEEDING THE HORSES.

-- TOM IS TRYING TO SHOW ANNIE HOW HE HAS TO FIX SOMETHING. 
ANNIE INTERRUPTING WITH HER OWN IDEAS... TOM TRIES TO EXPLAIN 
BUT ANNIE KEEPS TALKING, EXCITED BY HER PLAN... TOM LAUGHS.

INT. CREEK HOUSE - DAY

ANNIE HAS UNPACKED HER COMPUTER AND HOOKED IT UP, SHOWING 
TOM HOW TO USE IT. HE PUSHES THE THRONG BUTTON AND MAKES A 
FRIGHTENED FACE... ANNIE SCREAMS, THEN LAUGHS AND HUGS HIM.

					 DISSOLVE TO:

THEY ARE MAKING LOVE ON A BLANKET AMIDST OF THE MOVING BOXES IN 
THE MIDDLE OF THE DAY.

INT. KITCHEN, RANCH HOUSE - DAY

-- ANNIE COOKING LUNCH IN THE KITCHEN, SEEING TOM WORKING WITH 
SMOKEY...

EXT. PASTURE - DAY

-- THE TWO ARE EATING LUNCH IN THE PASTURE. THEY ARE TALKING 
SERIOUSLY ABOUT SOMETHING... PERHAPS EVEN DISAGREEING... ANNIE 
SHAKES HER HEAD, NOT WANTING TO LISTEN. THEY EAT IN SILENCE.

					 DISSOLVE TO:

-- THEY ARE WALKING AND DISCUSSING, HOLDING HANDS... UNTIL TOM 
WRAPS HIS ARM AROUND HER AND HOLDS HER CLOSER... ANNIE, BURYING 
HER HEAD IN HIS BODY.

EXT. THE MOUNTAINS - DAY

Tom and Annie, their horses packed with gear, ride across the 
high mountain pasture through the grazing cattle...

EXT. THE MOUNTAINS - DAY

Annie and Tom sit overlooking a breathtaking view. Tom is 
showing her the rope trick... She looks down at their touching 
fingers and he gently pulls the rope away, still knotted, and 
without ever breaking their touch... Annie looks into his 
eyes, understanding what this means, raises his hand to her 
mouth and kisses it. She looks up at him with a curious 
expression;

			  ANNIE
	Show me again.

			  TOM
	Annie!

			  ANNIE
	One more time.

EXT. THE MOUNTAINS - DUSK

Annie lays asleep in Tom's arms, under a blanket. He picks up 
another blanket with his free hand and shimmies it under her 
head, laying her down. She snuggles with the blanket and 
keeps sleeping.

Tom takes a moment to look at her as she sleeps, gently 
brushing her hair away from her eyes. He's deeply in love 
with this woman and wants to keep her with him. But there is 
a sad resignation in his look. A confusion.

He rises and walks to a stream nearby. He bends down to take 
some water when he hears something. He looks up and sees on 
the other side:

A WILD HORSE giving birth to a foal in the tall grass. And a 
WHITE STALLION steps in between Tom and the mare, as if 
protecting her.

Tom rises slowly to his feet. Then stands stock still. He and 
the Stallion penetrate each other.

Suddenly this beautiful, powerful Stallion rears -- violently. 
Tom remains still, but clearly the horse is treating him as 
an invader...

It's as if the Whisperer is now being guided by the Horse 
towards understanding. As Tom receives it, he remembers;

			  TOM (V.O.)
	Summers are short here, Annie. There 
	isn't much of a fall. Before you know 
	it, the roads are closed... the nights 
	get long.

WE BEGIN TO FADE OUT ON TOM

			  ANNIE (V.O.)
	I don't care! We'd be together.

			  TOM (V.O.)
	Two people can't just be alone together 
	in the world. At least not us...

			  ANNIE (V.O.)
	I can't do this. I can't leave you...

Voice-Overs have carried over into a...

					 DISSOLVE TO:

INT. CREEK HOUSE - NIGHT

Tom and Annie make love...

			  ANNIE (V.O.)
	I won't.

But there is a difference in their lovemaking. There's a 
slowness, a reverence... a sense of two people so bounded, that 
they are outside of time... Their love is so strong it almost 
feels like despair -- their need to connect has gone beyond 
their bodies and into their spirits, for which there is no 
earthly satisfaction.

EXT. CREEK HOUSE - MORNING

The sun has risen.

INT. CREEK HOUSE - MORNING

Annie awakens in bed and discovers she is alone. She looks 
around for Tom. She rises and enters the other room to 
discover:

All her boxes and all her luggage have been removed.

Her heart sinks. Tom re-enters, fully dressed, to get the 
last box. He sees on her face a look of confusion and hurt.

			  TOM
	I figured, whenever you decided to 
	go, you'd be all set.

			  ANNIE
		(curt)
	How thoughtful of you. And what if 
	I decide not to go?

Tom doesn't know how to respond. He looks away and bends down 
to reach for the box when Annie commands:

			  ANNIE
	Leave me alone!

Beat. They stand awkwardly for a moment, until;

			  TOM
		(pleadingly)
	Annie, please...

Tom reaches to embrace her, but Annie attacks him. Punching 
his chest... pulling at his shirt as Tom tries to put his 
arms around her...

			  ANNIE
	NO!... NO!... YOU DON'T DECIDE 
	THIS!... NO!...

Tom's heart is breaking as he manages to get his arms around 
her and hold her... as she breaks down and softly, the rage 
passes... Annie speaks softly.

			  TOM
		(struggling)
	I don't know any other way, Annie.

			  ANNIE
		(more adamant)
	Why?

Suddenly;

			  TOM
	You think this is easy for me!?

Annie is struck by the powerful sincerity of his words;

			  TOM
	It's just happened this way sometimes. 
	I can't explain it. But I look at you 
	and see Grace and I see Robert, and 
	no matter what you decide about him, 
	I just know this is right. Your life 
	isn't here and you know it.

Annie looks into his eyes and asks, softly defiant;

			  ANNIE
	Then what have we been doing? I mean 
	what was the point?

			  TOM
		(confused by her question)
	The point was to love each other.

			  ANNIE
	Why?

As if there has to be a result... Tom looks at her and says 
with an almost innocent conviction:

			  TOM
	Because we had to... And I'll never 
	stop loving you, Annie. Here. Where 
	my life is.

The simplicity, and truth, of it hits Annie strongly.

Annie releases herself from him and turns away... despondent. 
Realizing the utter truth and inevitability of what he says. 
She starts shaking her head. Tom can't hear it... He reaches 
for her;

			  TOM
	Annie...

She turns back into his arms and they kiss passionately... 
holding each other... as if for the last time.

EXT. RANCH HOUSE - DAY

Tom is escorting Pilgrim into the trailer attached to the 
Suburban. He looks across the ranch to see the figure of 
Annie, standing alone, perfectly still, in the pasture, 
looking out to the horizon... (reminiscent of Tom earlier in 
the film)

EXT. THE PASTURE - DAY

Tom approaches Annie from behind, stopping a few feet away.

			  TOM
	Annie?

She doesn't answer... as if she has found her own private 
place within her, at last... A place of strength. She looks as 
if she knows what must be done... She hears him about to walk 
away when she asks:

			  ANNIE
	Can we go for one more ride?

Tom stops. Considers this. Then:

			  TOM
	Sure. I'll saddle them up.

He exits. Not seeing the tears in Annie's eyes.

INT. BARN - DAY

Tom enters the barn slowly. He crosses to Rimrock's stall... 
then stops. As if he is waiting. As if he knows...

Then... he hears the sound of Annie's Suburban starting up. He 
looks up and knows she's leaving. He waits.

EXT. DOUBLE DIVIDE - CONTINUOUS

Wide angle of Annie driving away in the Suburban with the 
trailer.

INT. SUBURBAN - CONTINUOUS

Annie doesn't look back -- her eyes wet with tears -- but no 
sobs.

INT. BARN - CONTINUOUS

Tom lowers his head. It is not his way to say goodbye. And he 
is moved by Annie's knowing.

EXT. HIGHWAYS & ROADS ACROSS AMERICA - DAYS & NIGHTS

A MONTAGE of images of Annie traveling home...

Across different terrains, we see Annie driving -- missing 
Tom... thinking of what she will decide by the time she gets 
home. Remembering IMAGES OF TOM:

-- Riding on Rimrock and tipping his hat to her...

-- Sitting in the pasture, staring at Pilgrim. Ignoring her.

-- Seeing her arrive at the ranch for the very first time.

EXT. A DIFFERENT HIGHWAY OR COUNTRY ROAD - DAY

Annie drives, she continues remembering...

-- She and Tom in the branding...

-- She and Tom dancing around the camp fire at the cattle drive.

-- She and Tom kissing in secrecy behind Hank's house the night 
of the barn dance...

EXT. ANOTHER HIGHWAY OR COUNTRY ROAD - DAY

Annie continues driving and remembering;

-- Annie and Tom coming towards each other that first night 
after everyone had left the ranch...

-- Tom opening the front door to the ranch house...

SUDDENLY WE;

							CUT TO:

INT. ROBERT'S HOUSE IN INDIA - A DAY REMEMBERED

A much younger Annie waits, surrounded by luggage, as A DOOR 
OPENS revealing a much younger, more vital, very handsome 
Robert:

			  ROBERT
	Yes?

			  ANNIE
	Hi. Um, there doesn't seem to be any 
	hotel room available and someone told 
	me to come here and ask for "Tubab" 
	who might to have a place for me to 
	stay. Are you "Tubab"?

			  ROBERT
	No. I am a "tubab."

			  ANNIE
	What do you mean?

			  ROBERT
	Tubab means white man.

Annie is first surprised, then embarrassed but Robert seems so 
charming and his smile breaks into a laugh, that she just nods 
and laughs herself.

INT. ROBERT'S HOME IN INDIA - A NIGHT REMEMBERED

Over a meal, Robert talks excitedly of his experiences. Annie 
is captivated.

INT. ROBERT'S BEDROOM IN INDIA - A NIGHT REMEMBERED

After Annie and Robert have made love, Robert sleeps with his 
arms wrapped around Annie. She lies awake, feeling safe and 
loved.

						FADE OUT:

EXT. LITTLE BIGHORN NATIONAL MONUMENT - TWILIGHT

Annie stands where she stood when she and Grace stopped here on 
their way to Montana...

She removes from her pocket the KNOTTED LOOP he made for her, 
and looks at it.

						  DISSOLVE TO:

EXT. MACLEAN CONNECTICUT HOME - DAY

A car is driving up the driveway to the house. It stops.

Robert and Grace get out as Annie exits from the front door. 
She looks beautiful -- but in a completely different way than 
ever before. There is a calm center to her. A softness and a 
strength. She smiles and walks to meet them.

			  ANNIE
	Oh, I miss you. You look beautiful.

			  GRACE
	So do you.

			  ANNIE
	How's everything?

			  GRACE
	Good.

			  ANNIE
		(to Robert)
	Hi.

			  ROBERT
	Hi.

They kiss as Grace watches.

			  ROBERT
	Was the trip okay?

			  ANNIE
	Mmm. I made good time.
		(to Grace)
	Pilgrim's in the back. I found a new 
	stable, but they can't take him until 
	tomorrow.

			  GRACE
	Great!

			  ANNIE
	Go ahead...

Grace exits excitedly O.C. Annie and Robert face each other. 
Robert doesn't know what to expect... but he softens when Annie 
smiles:

			  ANNIE
	I have so much to tell you.

			  ROBERT
	You want to take a walk with me?

			  ANNIE
		(a little nervous)
	Where to?

			  ROBERT
		(smiles)
	I don't know. Let's just go and... 
	we'll see...

Annie nods. He reaches for her hand, and Annie gives it 
willingly... They begin to walk away from Camera... together.

Annie begins to speak, telling him what we already know. How 
he will react or what will happen, is unknown. But these two 
people will no longer avoid their life together... somehow, 
they will make the effort to face it together.

As Camera Widens, we see included in the frame, Grace and 
Pilgrim... as she strokes him and whispers in his ear... and 
leads him for a walk...


			THE END