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The Horse Whisperer Movie Script

Writer(s) : Eric Roth

Genres : Drama, Romance

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	The Horse Whisperer

	Screenplay by
	Eric Roth

	Revised by
	Richard LaGravenese

	Screenplay by
	Erich Roth

	Based on the Novel by Nicholas Evans
	Revised by
	Richard LaGravenese

	Second Draft
	1/21/97



	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