T H E H O R S E W H I S P E R E R Screenplay by Eric Roth Revised by Richard LaGravenese Based on the Novel by Nicholas Evans 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. $B!!(J 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 --------------------------------------------------------------