DR. QUINN, MEDICINE WOMAN "Eye For An Eye" Written by Kathryn Ford Directed by Gabrielle Beaumont CBS ENTERTAINMENT PRODUCTIONS Prod. #2244-0420 in association with PRODUCTION DRAFT THE SULLIVAN COMPANY January 19, 1996 (C) MCMXCVI Rev. Blue, January 24, 1996 CBS Inc. Rev. Pink, January 29, 1996 All Rights Reserved Rev. Yellow, January 31, 1996 Rev. Green, February 5, 1996 Rev. Goldenrod, February 7, 1996 CBS INC. IS THE AUTHOR OF THIS PROGRAM FOR THE PURPOSE OF COPYRIGHT AND OTHER LAWS No portion of this material may be copied or distributed without the prior consent of CBS Inc. DR. QUINN, MEDICINE WOMAN "Eye For An Eye" Cast List MICHAELA QUINN SULLY MATTHEW COLLEEN BRIAN LOREN DOROTHY REVEREND JAKE HANK PRESTON ROBERT E GRACE HORACE MYRA EMMA PIERCE BECKY PAUL JARED JOHNNY REED ROSEMARY HART JASON HART BEN HART JUDITH LOGAN JUDGE MAN (SPITS ON REED) FEATURED EXTRAS: HOOKERS MAN WHO HITS MATTHEW IN THE HEAD LYNCH MOB OF 12 (INCL. JAKE/HANK) - LED BY BEN SAMANTHA PHOTOGRAPHER *OLDER WOMAN (P. 46) *SOME CHILDREN, A MOTHER AND 2 SMALL BOYS - (P. 47) BACKGROUND: PEOPLE TO SEE HANGING SALOON CROWD SCHOOL KIDS TOWNSFOLK TEASER FADE IN: EXT. MEADOW - DAY ONE 1 Laughing, MATTHEW and EMMA approach town riding together on Matthew's horse. They slow to a walk and Emma's mood sobers, realizing the afternoon together is ending. MATTHEW Next time I'll ride ya to Spencer Lake. It's got a real pretty waterfall you can slide down in the summer. EMMA Sounds like fun. Matthew gives her arm around his waist a tender squeeze. MATTHEW We'll do somethin' soon... HEY! Suddenly a MAN on horseback charges by, causing Matthew to jerk his horse away to avoid a collision. The Man glares back as he canters on to the town. Matthew calms his horse, staring after him in disbelief. MATTHEW Did you see that?! But Emma is sliding herself down, drawing his attention. MATTHEW What're you doin'? EMMA Sayin' goodbye here. Matthew dismounts. Reading Emma's nervous glance toward town, he flares. MATTHEW Look, if Hank's givin' you trouble -- EMMA (cuts him off) Let me handle Hank. MATTHEW 'Cause if he is, I can take care of him. Emma calmly considers Matthew. (CONTINUED) 2. CONTINUED: 1 EMMA Matthew, you're much more handsome when you're not so angry. Emma quickly kisses his cheek and starts backing away. EMMA Thanks for today. MATTHEW When can I see ya again? EMMA I got next Sunday free. MATTHEW ... Not anymore. Emma matches his smile before going. As Matthew watches her: INT. GENERAL STORE - DAY ONE 2 At the counter, LOREN watches BRIAN unwrap a book. LOREN It just come in today. BRIAN The name book! LOREN Got all of 'em in it. Brian eagerly opens it to look. Curious, DOROTHY drifts over. BRIAN (reads) Pamela, Pandora... Panthea? DOROTHY Your folks thinkin' 'bout names for the baby? BRIAN They ain't tryin' so hard, but this'll help. Thanks, Mr. Bray.[ (CONTINUED) 3. CONTINUED: 2 As Brian rushes out, the Man (from earlier) steps to the] counter with a new shirt and candy. He's JOHNNY REED, 30, intense and disheveled, with fresh scratches across one cheek. [Loren starts wrapping Reed's shirt as Reed digs out a wad of bills. LOREN] Shirt's seventy-five cents, and the candy's a penny. [Dorothy regards Reed's face as she takes his money.] DOROTHY Those're nasty-lookin' scratches. We got a fine doctor in town.[ REED Where do I get hot grub?] Dorothy cools to his rudeness, sets his change on the counter. DOROTHY Folks eat "food" at Grace's. Behind the Livery. Reed jams candy in his mouth and leaves. Dorothy and *Loren watch him go. As they trade amused looks -- EXT. GRACE'S CAFE - DAY ONE 3 Crowded. The REVEREND, PRESTON, JAKE, MYRA and SAMANTHA sit at various tables. Reed is there alone. Across the way, Matthew, SULLY and Colleen take seats as Brian explains his new book. BRIAN It tells ya what each name means. Like Brian means "strong." (then sheepish) I already looked up that one. MATTHEW What's it say 'bout Matthew? GRACE approaches. Brian searches the book, finds and reads: BRIAN "Gift from God." (CONTINUED) 4. CONTINUED: 3 MATTHEW Lemme see that. Matthew playfully grabs the book. Sully turns to Grace. SULLY We're gonna wait for Michaela. Grace moves on. Colleen pumps Matthew; this is fun. COLLEEN What's Ma's name mean? MATTHEW It ain't here. SULLY Pro'bly with the boy's names. MATTHEW Here it is: "like an angel." COLLEEN Sounds like Ma. What about me? Brian snatches the book and looks. Colleen waits expectantly. BRIAN Colleen means... "Girl." COLLEEN (face falls) Just "girl"? REED (O.S.) I told ya, these eggs's cold! They look over. Reed is agitated at his table, where he swigs whiskey from a bottle he slams down. Grace stands there calm, sensing she shouldn't challenge this man. GRACE I'll just cook you some fresh. She moves off. Reed sweeps his plate with biscuits off the table. REED Can't eat biscuits with no gravy, neither! Grace stops, her back to Reed. The cafe quiets. Matthew and Sully rise and Matthew starts over. As Grace moves on, Reed stands, pulls a gun from under his coat and points it at -- ROBERT E hurrying over from the Livery. Robert E stops cold. (CONTINUED) 5. CONTINUED: (2) 3 REED Don't try nothin', Boy! Everything happens fast: people duck under tables, Reverend and Jake rise cautiously, Matthew inches closer. Behind him, Sully sends Colleen and Brian to the dirt with a "stay down." He pulls his tomahawk and slowly moves to the side seeking a clear shot around Matthew and others. Reed suddenly swings his gun 180 to point at Matthew, who freezes, hands out. REED Back off! I'm warnin' ya! MATTHEW Just stay calm, Mister. Nobody here wants trouble... Reed shifts his gun to Sully, forcing him to drop his tomahawk. But Sully keeps stepping to the side, drawing Reed's aim -- Mike emerges from the alley with WOLF in tow, oblivious to any danger. Reed swings the gun on Mike, who stops dead in her tracks, hands protecting her unborn. She locks eyes with Reed in terror... SULLY Over here! Sully draws Reed's attention and aim -- ? MATTHEW REVEREND ? No -- here! (bravely) ? Over here! As Reed shifts aim to Matthew, then the Reverend, Wolf growls. Sully and Matthew dive, knocking Reed down. Robert E jumps to help, grabbing the gun. Sully twists Reed's arms hard for Matthew to cuff. MATTHEW You just bought a bed in jail! Once Reed is contained, Sully quickly goes to Mike. SULLY You alright? Mike nods, shakened. They watch Matthew and Robert E wrench Reed to his feet. As they head off, Matthew looks around. MATTHEW C'mon out. Everybody's safe! People slowly emerge from cover. Jake congratulates the Reverend, unnerved. Brian and Colleen rush to Sully and Mike. As Colleen embraces Mike in relief, we: 5A. (CONTINUED) 5A. CONTINUED: 3 (CONTINUED) 6. CONTINUED: (2) 3 ACT ONE FADE IN: EXT. MEADOW - DAY ONE 4 Near the road, Brian and Sully throw a baseball back and forth. BRIAN I wasn't scared, I knew you 'n Matthew could stop 'im... Whyd'ya think he was so mad? SULLY Looked to me like he'd been drinkin'... Things've changed now the town's growin'. We got more strangers comin' 'n goin'. Brian misses the subtle warning, throws the ball back. BRIAN Ma says Colorado Springs could be as big as Boston some day. Not exactly Sully's ideal. He throws the ball too hard, sailing it over Brian's head. Brian follows it to the edge of the grass where he sees ROSEMARY, 15, walking along the road. BRIAN Hey, Rosemary! Where were ya today? We read our stories... Puzzled, he stops. The girl keeps walking in a slow, unsteady gait. Sully comes over to have a look. SULLY That Jason Hart's girl? BRIAN She missed school today. Sully realizes something's wrong. He rounds the fence with Brian following. Rosemary halts at their approach, but gives no sign that she sees them. Her expression is blank under matted hair and dirt. She clutches her muddy coat tightly closed at her chest, her gaze a million miles away. BRIAN What's wrong with her? SULLY Better run get your ma. Brian runs off to the clinic. Sully gently reassures the girl. (CONTINUED) 7. CONTINUED: 4 SULLY We're gonna get ya some help... Think you can come with me? He reaches out, but Rosemary backs away and turns into town. Sully walks at her side, keeping a distance. From the clinic, Mike and Colleen rush outside with Brian. COLLEEN Rosemary, what happened? The girl keeps walking. Mike moves alongside while assessing her condition, then finally steps in front to block her. Rosemary stops, staring right through Mike. MIKE Rosemary, I'm going to help you. Colleen and I will take you to the clinic, alright? Mike touches her arm, but Rosemary shows no reaction. Mike and Sully exchange troubled looks, then Mike tugs on her arm. The girl gives with the pull. Colleen moves to her side, coaxing: COLLEEN C'mon. Nobody's gonna hurt you. +ANOTHER ANGLE - GENERAL STORE 5 Dorothy brings a box out to JASON HART, a kindly widower in his late 40's, loading supplies on the back of his wagon. DOROTHY You forgot your apples, Jason. HART Leave my head if it weren't stuck to my hat... Thank you. As he takes the box, Dorothy looks off down the street. DOROTHY Isn't that your girl? Hart follows her look. +THEIR POV - DOWN STREET 6 of Mike and Colleen gently leading Rosemary toward the clinic with Sully and Brian following close behind. HART (O.S.) Rosie...? 8. +RESUME ANGLE 7 Curious, Hart slowly walks down the street, then, realizing something is wrong, he drops the box and runs. Dorothy follows him to the group easing Rosemary up the clinic step. Hart panics, seeing her condition up close. HART My God -- what happened to ya? MIKE She just showed up this way. I need to examine her. HART Rosemary?! (no response) Why ain't she talkin'? Hart grabs her by the arms, but Sully calmly stops him. SULLY Let Dr. Mike look at her. MIKE Jason, I promise to speak with you as soon as I know something. Reluctant, Hart lets go. Mike and Colleen take her inside. As the door closes, Dorothy regards Hart; clearly distraught. DOROTHY She's in good hands. HART I never seen her this way... Ben 'n I left 'fore sun-up, she was gonna walk herself to school. SULLY Where's your boy now? HART ... Ben? He's at the Livery. SULLY I'll get him for ya. Matthew 'n I'll ride to your place, take a look. INT. CLINIC - SAME MOMENT 8 Rosemary sits on the table, still clutching her coat closed. Mike takes her pulse. Colleen struggles with her emotions as she cleans around Rosemary's split lip and blackening eye. (CONTINUED) 8A. CONTINUED: 8 COLLEEN You're gonna be alright... (CONTINUED) 8A. CONTINUED: (2) 8 (CONTINUED) 9. CONTINUED: (3) 8 MIKE That's fine, Colleen. Let's help her out of this coat. She tries opening the coat. Rosemary firmly holds it closed. MIKE Rosemary, we need to get this off so we can help you. Mike gently pries open the girl's fingers. Rosemary remains expressionless as Colleen helps pull open the coat and off her shoulders. Colleen reacts with horror. COLLEEN Ma?! The front of Rosemary's dress has been ripped open, exposing a torn camisole. Her bare shoulders and arms are badly bruised and scratched. Taking this in, Mike's worst fears rise. She turns to Colleen, whose composure is crumbling into tears. MIKE Colleen, perhaps it's best if you wait outside with the others. Colleen painfully meets her look, then leaves without protest. Mike retrieves a tray of instruments. She touches Rosemary's arm, her heart sinking at the realization of what's happened. MIKE Oh sweetheart, I'm so sorry... Mike picks up scissors, then gently explains. MIKE I'm going to cut your dress off so this won't hurt you. Mike waits for a response that clearly isn't coming. She lifts a torn sleeve and begins to cut. EXT. CLINIC - DAY ONE 9 A solemn group waits. BEN HART, early 20's, has joined his father on the steps. Colleen and Dorothy sit on the bench, Brian waits nearby. As Mike steps outside, Ben quickly starts over. Hart holds him back, stepping over to Mike alone, who moves aside with Hart for privacy. HART Rosemary, she gonna be alright? (CONTINUED) 10. CONTINUED: 9 MIKE Her physical injuries don't appear too serious. Still, I'd like to watch her for a few days. You're welcome to stay with her here. HART If she ain't so bad, why's she walkin' 'round like she's sleepin'? MIKE (delicately) Rosemary's reacting to a terrible trauma. Mike isn't prepared for telling a father this kind of news. MIKE I'm afraid your daughter -- she's been assaulted by a man. HART (shattered) My baby girl?... You sure? Mike glances at Colleen down the way, then nods. MIKE I examined her thoroughly. Hart stares as the meaning sinks in, a rage building. HART She tell ya who done this? Mike shakes her head and Hart hurries inside. Seeing his father's reaction, Ben follows, brushing past Mike and into the clinic. As Mike turns her concern to Colleen, Dorothy takes charge. DOROTHY Brian, you can help Loren and me at the store. Brian understands it's not a request. He leaves with Dorothy. Finally alone, Mike sits next to Colleen. An emotional beat. COLLEEN Rosemary's been havin' trouble with math. She was gonna come over with Becky tomorrow to study. Devastated, she looks up at Mike. (CONTINUED) 11. CONTINUED: (2) 9 MIKE I wish there was something I could say... COLLEEN She'd never hurt anybody. How could somebody do that to her? How can they be so cruel? Mike doesn't have an answer. Helpless, she puts her arm supportively around Colleen's shoulder. COLLEEN I hope they catch whoever did this. MIKE (beat, softly) Me, too. +IN THE STREET 10 Matthew rides through town alongside a wagon driven by Sully, his horse tethered behind. Jake and the Reverend join a crowd following the wagon to the clinic where it stops. HANK and others drift from the saloon to watch as Mike and Colleen rush over. An old woman, JUDITH LOGAN, rides numbly in the bed of the wagon next to a body covered with a quilt. Mike lifts the quilt to look. JUDITH No need to bother. My husband's dead. Mike looks into Judith's empty eyes, then sadly covers the old man's face. Sully helps Judith down. The Reverend steps up. REVEREND Come with me, Judith. They'll look after Taylor for now. He eases Judith off as some MEN step up to remove the body. Mike backs out of their way with Sully, Matthew and Jake. MIKE What happened? SULLY We found Judith on the road lookin' for help. She said a stranger rode in, shot Taylor and robbed their place. JAKE Anybody see who done this? (CONTINUED) 12. CONTINUED: 10 MATTHEW She was in the barn. Only saw the killer far away when he was leavin'. COLLEEN You think it was him? The same man who hurt Rosemary? Mike regrettably fills in Sully and Matthew. MIKE Rosemary Hart was raped. As Sully reacts, Matthew fits pieces together in his mind. MATTHEW That stranger I arrested -- he had scratches on his face. INT. SHERIFF'S OFFICE - DAY ONE 11 Reed sleeps in a cell, his back to the door. Matthew bursts inside with Sully and Mike on his heels. Jake stays back by the door. MATTHEW Wake up, Mister! (nothing) Where were you this mornin'?! Reed doesn't move. Sully finds Reed's coat and searches the pockets as Matthew grabs a cup and HITS the bars. MATTHEW Hey! I'm talkin' to you!! REED I'm sleepin' here... MATTHEW How'd you get those scratches?! Reed ignores them. Sully checks Reed's hat and finds a folded paper tucked inside; looks: SULLY Prison discharge papers... Name's Johnny Reed. He passes them to Mike so he can keep searching. Mike skims: (CONTINUED) 13. CONTINUED: 11 MIKE He served three years for stabbing a man... released last week. She looks to Matthew, who quickly unlocks a drawer. He pulls out Reed's gun and smells the barrel. MATTHEW It's just been fired. JUDITH (O.S.) That's Taylor's gun. They look over; Judith stands with the Reverend in the doorway. A small crowd is collecting outside. JUDITH He's the one kilt my husband. Everyone reacts. A nasty mood rifles the crowd outside. JAKE It's all I need, let's hang 'im. MATTHEW Everybody just hold on! Quiet! Matthew steps to the door, waiting for people outside to settle. He looks pointedly at Jake. MATTHEW I'm wirin' for a District Judge. He's gettin' a trial. DISSOLVE TO: EXT. CHURCH - DAY TWO 12 Days later. Wagons and horses clutter the meadow around the church where standing spectators fill the open door. A group of teenagers barred from inside are gathered around the steps; BECKY and PAUL included. Colleen focuses on JARED, who listens through the door while reporting the play by play. JARED Ole lady Logan's cryin'. Judge is 'scusin' her to sit down... He's talkin' to Reed now. 14. INT. CHURCH - SAME MOMENT 13 The makeshift court is packed, a tense and hostile mood fills the air. In the pews sits Mike, Sully, Myra, HORACE, Preston, Dorothy, Loren, Jake, Hank, Grace and Robert E. The Reverend sits with Judith and the Harts. Along the wall stand a few Hookers. Emma is there, watching Matthew at the table where Reed now stands, his hands cuffed and feet shackled. A JUDGE sits at a desk on the pulpit. JUDGE I'm offering you one last chance for counsel, Mr. Reed. (OFF Reed's silence) Before I pass judgement, have you nothing to say in your defense? Reed turns and surveys the crowd with a sardonic bravado. REED I was a Colorada Volunteer with Colonel Chivington. Fought at Sand Creek, savin' all yer butts from them hostiles... Mike and Sully trade disturbed reactions. REED And this's the thanks ya give me. BEN (jumping up) He ain't even sorry for what he done! Hangin's too good for him! People SHOUT agreement as the Judge GAVELS over the uproar. JUDGE Silence! Sit down, Sir, now! Hart pulls Ben into his seat and the crowd settles. The Judge considers Reed for a long beat. Reed smirks back defiantly. JUDGE For the murder of Taylor Logan, and the rape of Rosemary Hart, I find you guilty -- EXT. CHURCH - SAME MOMENT 14 The teenagers celebrate. Colleen and Becky embrace in relief as the group is waved silent by Jared, leaning in to the door to listen for more. He turns back to the group, grinning. JARED Ladies and Gents, we're gonna have ourselves a hangin'. (CONTINUED) 15. CONTINUED: 14 More jubilation; Paul and Jared shaking hands; others slapping backs... except Colleen, who watches, quietly growing unsettled over her friends' unabashed joy. Her discomfort catches Becky's eye. BECKY What's wrong, Colleen? COLLEEN (uncertain) Everybody's so happy 'bout it... JARED Darn straight. He's gonna pay for what he done to Rosemary! BECKY (to Colleen) Don't you want him to pay? COLLEEN 'Course I do, it's just... She hesitates, not sure why she's suddenly feeling sick. Paul leans in gleefully to Colleen, his arm around Jared. PAUL Reed's gonna meet his Maker! INT. CHURCH - MOMENTS LATER 15 Robert E, Grace, Horace, Myra and Preston join the crowd moving to the door, Ben and Hart caught in the fray. The Reverend stays seated with Judith. Sully and Mike wait up front where Dorothy makes notes. Reed is seated, WHISTLING to himself. The Judge hands papers over to Matthew. JUDGE You reach the hangman in Denver. These're the specifications for the gallows he'll expect. MATTHEW We gotta build gallows? JUDGE No hangman worth his salt'll use a tree, too messy... (shakes Matthew's hand) It's been a pleasure, Sheriff, but I have a train to catch. The Judge moves off leaving Matthew a little overwhelmed. He catches Mike and Sully's concerned looks, then yanks Reed up. (CONTINUED) 16. CONTINUED: 15 MATTHEW Get up, Reed, we're goin'. He shoves Reed forward. Mike and Sully follow. Loren, Hank and Jake are part of the group still lingering, the mood nasty. As Matthew and Reed pass -- HANK Never needed no gallows before, I say we take care 'a things now! LOREN Does seem a waste 'a good wood. Loren avoids Dorothy's look as crowd AD LIBS: "hang 'im now," "let's do it!" Matthew calmly stops in front of Hank. MATTHEW We're hangin' him proper, like the judge ordered. HANK Can't figure what difference it's gonna make. PRESTON (O.S.) A lynching is bad for business, Hank. I'd hate to see that kind of blemish on our town's fine reputation. They look over to Preston near the door, smiling at the group. Unnoticed, Colleen slips in behind him to listen. Jake considers Preston's words, hating to agree... JAKE He's right. We do this hangin' legal-like, folks're gonna see just how civilized we gotten. PRESTON People might even want to come see for themselves. And that would be good for business. Matthew pushes Reed on through as Loren and Hank trade looks with the others: Preston has a point. LOREN More'n a thousand folks went to that hangin' at Camden Falls... Sully's heard enough. Disgusted, he takes Mike's arm. SULLY Let's get outta here. (CONTINUED) 17. CONTINUED: (2) 15 He edges Mike toward the door, where Jake catches her. JAKE Hope you ain't gonna try stoppin' this hangin' like the last time, start givin' speeches. MIKE (pointed) You wanted to hang a boy for stealing food. Mike looks back at Judith, whose stoic facade has cracked. She sits with the Reverend in an empty pew, weeping. Mike absorbs the pain of a life devastated by murder. It's overwhelming. MIKE You won't get any fight from me. Colleen backs away from the door, surprised by Mike's response. Safely out-of-sight, she watches Mike pass by with Sully. HOLD on Colleen, trying to make sense of it all. FADE OUT. END ACT ONE 18. ACT TWO FADE IN: EXT. CENTER OF TOWN - DAY THREE 16 Construction on the gallows has begun with a flurry; Horace, Hank, Jake and others measuring, sawing and unloading wood, Loren directing from the blueprint, Grace serving coffee to the workers... +ANOTHER ANGLE 17 Sully drives the wagon by, headed toward the clinic. Mike sits at his side, Brian and Colleen in the back. Everyone's attention is drawn to the activity. BRIAN How come they're puttin' it there? MIKE It's only temporary, Brian. Colleen watches in silence, clearly troubled by the sight... EXT. CLINIC - CONTINUOUS 18 Sully stops the wagon and helps Mike down. As they unload laundry baskets, Colleen and Brian get down with their books. BRIAN See ya, Sully. Bye, Ma. ? SULLY MIKE ? See ya after school. Goodbye... Sully takes a basket into the clinic as the kids start off. MIKE Colleen? Uneasy, Colleen hesitates. Mike steps over, concerned. MIKE You've been so quiet. Are you alright? COLLEEN Sure... See ya. Mike watches her rush off. Sully comes out for another basket. (CONTINUED) 19. CONTINUED: 18 MIKE I'm worried about Colleen. I think she's more upset about Rosemary than she's letting on. SULLY Maybe she can't talk 'bout it yet. She'll come to ya when she's ready. A wagon passes loaded with more wood for the gallows. Preston walks alongside in shirt-sleeves. Seeing Mike and Sully, he stops. PRESTON Good morning, Michaela, Sully. MIKE Mr. Lodge. Sully takes the last basket inside. Ignoring the slight, Preston proudly regards the early stages of the construction. PRESTON That's the last of the wood we'll be needing. She should go up in no time. MIKE ... She? PRESTON Term of endearment, I assure you. Actually, it's rewarding to see the town pull together like this. Sully returns and hitches up the wagon gate, looking to Mike. SULLY I gotta get this to Robert E. PRESTON All the men are doing their civic duty, contributing a few hours to build the gallows. Can we count on your help, Sully? SULLY Nope. He climbs up, snaps the reins and drives off. Preston watches. PRESTON What is his aversion to serving justice? (CONTINUED) 20. CONTINUED: (2) 18 MIKE I don't speak for my husband, Mr. Lodge. You'll have to ask him yourself. PRESTON (covers with smile) Well... Good day, Michaela. He hurries on to the gallows. Mike watches him go, lost in thought. Dorothy interrupts the moment, coming over. DOROTHY Michaela? Are you alright? MIKE Good morning, Dorothy. Mike smiles, crossing over to the bench. MIKE I'm fine... Sit with me? Mike sits and pats the bench. Dorothy sits with her. The loud activity across the street draws their attention. MIKE I never expected to see our town building one of those. DOROTHY And the way the word's spreadin'? Why, it's three days off and there're families already camped at the creek. (a thoughtful beat) It's a good thing, though. Folks'll know we're a decent, law abidin' town now. We're all gonna be a whole lot safer. MIKE I wish I knew that for certain. DOROTHY 'Course we will. Criminals are gonna know they can't get away with things here. It's awful what that man done, shootin' Taylor. And that poor girl. Then he comes right in the store and buys candy!... How is Rosemary, has there been any change? (CONTINUED) 21. CONTINUED: (3) 18 MIKE She is eating now. Otherwise, she's unresponsive, even to her father. As they both fall silent... OMITTED (19-22) 22 EXT. CHURCH - DAY THREE 22A Colleen is seated alone on the steps. The Reverend exits the church carrying books for school. He's surprised to find Colleen. REVEREND Good morning', Colleen. Colleen quickly rises. COLLEEN Reverend... (a little unsure) I was hopin' maybe we could talk a minute. Before school? REVEREND Of course. He sits on a step and Colleen resumes her seat. An awkward beat. The Reverend can see that she's troubled and takes the lead. REVEREND I imagine you're here because of what's happened to Rosemary. And Mr. Logan. OFF Colleen's look, the Reverend takes a moment to sort his thoughts. REVEREND It's probably difficult to understand how such terrible things can happen to people... How God can let them happen. Colleen nods, quiet. (CONTINUED) 22. CONTINUED: 22A REVEREND He offers us guidance in how to live our lives, but He still gives us the choice, Colleen. Sadly, some people will always choose the wrong path. The path of hate and vengence. COLLEEN Like Mr. Reed. A solemn beat. The Reverend searches for the words, knowing he's giving little comfort. REVEREND I know it will never change the hurt that's been caused. But one day Mr. Reed will have to face God's judgement for his actions. And God's commandments are quite clear in this matter. "Thou shalt not kill." ON Colleen's reaction, not feeling any better... EXT. SHERIFF'S OFFICE - DAY THREE 23 Matthew watches Robert E screw a bolt to the outside of the door. ROBERT E Won't keep out nobody wantin' in, but it's gonna slow 'em down. MATTHEW Sure feel a lot better if I had a deputy. Just 'til it's over. (silence, a hint) Don't trust many men... I'd ask Sully, but I need somebody here in town. Finished, Robert E tugs hard on the bolt, testing it. ROBERT E Sorry, Matthew, I can't help ya. Robert E starts gathering his tools. He catches Matthew's disappointed reaction and stops to explain. ROBERT E I ain't sayin' that man in there don't have due what's comin' 'im... Just figure I already seen my fill 'a hangin's. (CONTINUED) 23. CONTINUED: 23 Matthew gives him an understanding nod. As Robert E leaves, Matthew slips an open padlock onto the bolt and goes inside -- INT. SHERIFF'S OFFICE - CONTINUOUS 24 In the cell, Reed polishes a boot with his shirt tail. He looks up as Matthew enters and stores his tools. REED How's the buildin' comin' 'long? (silence) Hope them gallows is right... (regards his boot) Wouldn't have no oil, would ya? MATTHEW (tightens) I ain't interested in talkin' to you, Reed. REED Ah, Sheriff. Now why is that? Matthew knows he's being mocked, but he can't resist. MATTHEW You're a sick excuse for a man. Reed stands and goes to the bars. He's got Matthew now. REED I dunno. That sweet young schoolgirl might say different -- I think she kinda fancied me. Shoulda seen the way she was carryin' on. Matthew grabs his hat and heads for the door. Reed's amused. REED What's a matter, ya jealous? EXT. SHERIFF'S OFFICE - CONTINUOUS 25 Matthew comes outside battling his revulsion. As he quickly padlocks the door closed, Reed LAUGHS hideously from inside. REED (O.S.) Hey, Sheriff! She was sweet! 24. INT. RECOVERY ROOM - CLOSE ON ROSEMARY - DAY THREE 26 The girl sits at the french doors staring into space. Behind her, Mike brushes Rosemary's hair, then comes around and sits. MIKE There, that should feel better... Would you like to see? She holds a hand mirror to Rosemary's blank face, hoping for a reaction. Nothing. Mike sets it down, takes the girl's hand. MIKE Your father brought one of your dresses. Perhaps later I can help you into it. Still nothing. At a loss, Mike looks out the french doors. EXT. CLINIC BALCONY - MOMENT LATER 27 Hart stares out over the town as Mike steps up to the rail beside him. Work on the gallows continues in the distance. HART She ever gonna get better? MIKE I believe she will... (OFF Hart's relief) I saw similar reactions to trauma on the wards during the war. And over time, most men were able to return to normal lives. HART How much time? MIKE I can't say... But I do think it's time to take Rosemary home. Perhaps familiar surroundings will help. HART (thrown) What'm I gonna do with her there? MIKE The same thing you do here. Sit with her. Show your daughter how much you love her... (beat, delicately) At some point, it would probably be wise to have a woman around for Rosemary to talk to. (MORE) (CONTINUED) 25. CONTINUED: 27 MIKE (CONT'D) Someone she feels safe with. And you'll need to watch... for pregnancy. This reality clearly hadn't occurred to Hart. He looks away. HART She's always been the strong one. Even when her ma died... Seein' her like this -- His composure slips and he stops to pull himself together. Mike squeezes his arm in silent understanding. HART Dr. Quinn, I'll do whatever you tell me. Whatever it takes to get my girl back again. As Hart looks painfully back at Mike -- INT. SALOON - NIGHT THREE 28 The crowd is bigger and drunker than usual. Ben Hart stands at the bar near Jake, nursing one of many whiskeys. Loren sits with a group, Preston plays poker where Emma is serving drinks to the men. As Hank passes, Ben holds out his glass. Hank stops, but doesn't pour. HANK Think ya had enough, Ben. Why don't ya go on home. BEN (grabs bottle) Don't tell me what I need! Weren't yer sister got shamed. Ben swigs from the bottle. Sensing trouble, Jake moves closer, but Hank signals him "it's cool." Ben finishes his drink and chokes back his rage. BEN Think any man's gonna wanna look at her now?... Ever? OFF Hank's silence, Ben swings around to face sympathetic eyes. BEN I know 'sactly what I need... But we got ourselves a town full 'a stinkin' cowards! The room grows quiet, uneasy. Hank and Jake trade looks. (CONTINUED) 26. CONTINUED: 28 JAKE Reed's gonna pay for what he -- BEN (shouts over Jake) He's still alive!... My sister don't even talk no more, and you're lettin' that animal breathe air! A troubled silence. Ben wanders the room, mocking them. BEN 'Cause we gotta do this all nicey-nice. Gotta pay a stranger to come take care 'a our business. (looks at Preston) It was your pa shot dead? (back to Jake) Or your sister spoiled?... We wouldn't be waitin' for nobody! Reed'd be dancin' from a tree, right now! INT. SHERIFF'S OFFICE - NIGHT THREE 29 Reed is asleep. Matthew sits at his desk reading by lamplight. From the distance, loud VOICES and SHOUTING catches Matthew's attention. He listens until he realizes they're coming this way. Alarmed, Matthew jumps up, grabs his coat and exits. EXT. SHERIFF'S OFFICE - CONTINUOUS 30 Matthew steps outside as Ben leads a dozen men from the saloon; Jake and Loren included. Matthew steadies himself. MATTHEW What're you doin'? JAKE Just back away, Matthew, he ain't worth gettin' hurt over. MATTHEW He's gonna hang Friday. You're all gonna get what you want -- BEN Let's get 'im! (CONTINUED) 27. CONTINUED: 30 Ben goes for the door and Matthew easily shoves him aside. But as he does, another MAN delivers a blow to Matthew's head and he drops to the ground. Ben and three others disappear inside. Jake leans down to Matthew trying to recover from the blow. JAKE I told ya, just stay outta the way. Men exit with Reed. As Jake joins the mob dragging him off, Emma rushes through to Matthew on the ground. +ANGLE - WATERTOWER 31 where Hank throws a rope with noose over the frame as the group drags Reed up the street. Preston drifts over to watch. A cowboy runs up leading a horse -- OMITTED (32) 32 +BACK IN THE STREET 33 Dorothy exits the store. Nearby, Loren sees her reaction and quickly defends. LOREN Gonna happen sooner or later. May's well be sooner. DOROTHY (watches, disturbed) No... Not like this -- LOREN He's guilty! Judge said so. Hank helps lash Reed's hands behind his back. Reed's cool demeanor crumbles as he struggles, fighting for life. As the group SHOUTS for revenge, Matthew races up. MATTHEW Stop!... Hank, you can't -- Men close ranks to block him. Matthew sees Reed thrust onto the horse and Hank grabbing the noose. Just as Matthew realizes it's futile -- a SHOTGUN BLASTS. Everyone freezes. Robert E holds his shotgun pointed in the air. Matthew quickly pushes through to Reed: (CONTINUED) 28. CONTINUED: 33 ROBERT E Sheriff's tryin' to get this done the right way. Figure we oughtta be backin' him. +ANGLE - GRACE 33A Terrified, she watches Robert E from her porch... +BACK IN STREET 33B Matthew pulls Reed down off the horse. He faces the crowd with a mixture of anger, fear and relief. MATTHEW It's over. Everybody go home! He shoves Reed through the men. Robert E falls in step with Matthew. Suddenly: BEN (O.S.) Reed! Matthew and Reed turn and a gun FIRES. Reed collapses against Matthew and they both go down. Ben hovers nearby, pointing a gun. Jake jumps, pulling Ben back and wrenching away the gun. JAKE You coulda hit one of us! Reed writhes on the ground, shot in the left arm. Matthew looks back at the men, barking orders: MATTHEW Get his gun! Somebody grab him! Matthew scrambles to his feet, helping Robert E pull Reed up. Hank quickly shoves Ben in the opposite direction. HANK Better get outta here!... Go! Panicked, Ben runs. And nobody there is going to stop him. INT. SHERIFF'S OFFICE - SECONDS LATER 34 Matthew and Robert E drag Reed inside and to the cell where they drop him on the cot. Matthew quickly goes back to close the door. He listens... Only distant SOUNDS of the crowd breaking up. Matthew slowly relaxes his guard, but his heart still pounds. Robert E comes over, still holding the shotgun. He peeks out the window as Matthew studies him, grateful. (CONTINUED) 29. CONTINUED: 34 MATTHEW Sounds like they're breakin' up... Thanks. Robert E meets his look, unsure how he feels about it all. ROBERT E He's bleedin'. I'll ride out for Dr. Mike. MATTHEW No... It's just a fleshwound. Matthew grabs a rag from the table and throws it in to Reed, who struggles to sit up, clutching his bloodied arm. Any feelings Matthew has are tightly sealed over. MATTHEW Let her sleep. Matthew goes to his desk. ON Robert E's reaction, we: FADE OUT. END ACT TWO 30. ACT THREE FADE IN: OMITTED (35-37) 37 EXT. SHERIFF'S OFFICE - DAY FOUR 38 Sully and Mike come up to the office. Sully tries the door, but it's locked from the inside. He KNOCKS. SULLY Matthew?... Open up. Mike peers in the window as Matthew unlocks and opens the door. She looks him over closely. MIKE Are you alright? MATTHEW I'm fine. SULLY We just heard 'bout the lynch mob. INT. SHERIFF'S OFFICE - CONTINUOUS 39 Matthew lets Mike and Sully in. He calmly plays down the event. MATTHEW Robert E helped break it up. Nobody got hurt. MIKE Thank God for that. She glances at the cell where Reed is propped against the wall, half-conscious, the rag tied around his arm soaked in blood. Incredulous, Mike takes this in as Sully, unaware, continues with Matthew. SULLY Who was behind it? MIKE He's been shot!... Did this happen last night? Matthew grabs a pot from the stove and sits. He calmly pours his coffee, emotions in check. (CONTINUED) 31. CONTINUED: 39 MATTHEW Ben Hart didn't feel like waitin'. (to Sully) Can't say as I blame 'im much. MIKE Why didn't you send for me? MATTHEW Didn't wanna bother you. He's gonna be dead tomorrow. Mike and Sully trade looks, disturbed by his casual demeanor. MIKE Unlock the cell, please. SULLY (uneasy, to Mike) That ain't such a good idea. MIKE I don't have a choice, Sully. He's suffering. MATTHEW He sufferin' like he made Rosemary suffer? Or Mrs. Logan? Mike holds his hard look. She spies keys on his desk, grabs them and goes to the cell. Matthew jumps and meets her at the cell door, but realizes it's futile. Off her determination, he takes the keys back, unlocks and opens the door. Sully holds Mike back so he can enter first, drawing his tomahawk. Reed is delirious with pain. Sully leans in close, getting Reed's faint attention. Sully's warning is clear. SULLY You move one muscle to hurt her... But Reed is too weak for anything. He shifts his good arm and Sully sees it's cuffed to the cell bars. Satisfied, Sully moves aside allowing Mike in. She's all doctor; opening her bag, donning her stethoscope -- until she meets Reed's glazed look. Mike stares into the eyes of a killer... And with a mixture of feelings, she goes to work. Removed, Matthew watches from the cell door... EXT. SCHOOL - ESTABLISHING (STOCK) - DAY FOUR 40 LAUGHTER spills out the open door. 32. INT. SCHOOL - DAY FOUR 41 Class assembled, including Becky, Colleen and Brian. Most kids are gathered around Paul and Jared sitting atop their desk taking full advantage of the Reverend's absence. The LAUGHTER disturbs Colleen, listening at her seat. JARED My pa saw that hangin' at Camden Falls. Says it weren't pretty. PAUL That's why they cover the face with a pillowsheet. COLLEEN Do we have to talk about this? PAUL Right... Can't upset the girls. JARED Colleen can handle it, she's tough. But Paul shoots Jared a conspiratorial glance, then grabs him by the back of the collar and pulls up. Jared playfully makes a face and kicks his legs wildly. The younger kids laugh at the sight, but Brian shifts nervously, seeing his sister's obvious discomfort. COLLEEN (flares) It's not funny! Somebody's gonna die tomorrow. Before they can react, the Reverend ENTERS. Everyone scrambles to their seats as he walks to the front... Colleen calms, relieved by his arrival. REVEREND Good mornin', class. I apologize for my tardiness, but I was payin' a visit to Rosemary Hart. The room quiets quickly. Colleen raises her hand. COLLEEN When's she comin' back to school? REVEREND I'm afraid Rosemary won't be returnin' to class for some time. Her father will be takin' her to Denver. She has an aunt there. A somber silence as he lets the class absorb this news. Then: (CONTINUED) 33. CONTINUED: 41 REVEREND I'm supposed to remind you, there won't be any school tomorrow... (pointedly at Jared) Although I doubt the occasion has slipped many of your minds. INT. SHERIFF'S OFFICE - DAY FOUR 42 From his desk, Matthew feigns interest in paperwork as he keeps an eye on the cell. Reed is now more coherent, but feeling no pain. His shirt is off and Mike bandages his arm. Inside the cell, Sully leans against the wall watching Mike work. Reed watches her, too. REED Got 'nother 'a them morphine shots? MIKE I believe you've had enough. REED Tell me... How'd a pretty thing like you get ta be a doctor? MIKE I hold nothing but contempt for you, Mr. Reed. So don't misunderstand my actions. I'm here because I took an oath. She ties off the bandage. Reed chuckles, whispers with a wink: REED Fiesty. Like that 'n my girls. As Mike reacts, Sully's there in an instant, pushing the tomahawk handle against Reed's throat. SULLY This was up to me, my wife wouldn't be here. I ain't warnin' you again. Mike quickly calms Sully with a touch. MIKE It's alright. I'm finished. He slowly releases his pressure and Mike puts away her instruments. Approaching VOICES outside grab Matthew's attention. He jumps at the sound. With a glance at Sully, Matthew heads outside. 34. EXT. SHERIFF'S OFFICE - CONTINUOUS 43 Matthew exits as Horace approaches with a telegram. The small crowd in tow includes Jake and Hank. Curious, Robert E stops his work nearby to watch. Preston drifts over from the bank, Loren from the store. Horace hands the telegram to Matthew. MATTHEW What is it? HORACE It ain't good news. The hangman in Denver got throwed from his horse -- broke his leg. Matthew reads the telegram as Sully and Mike, with medical bag, step out. Hank slides over to offer an aside to Mike: HANK Good to know yer doin' your job, Michaela. Hate seein' a man die 'fore he's all patched up. Mike ignores him, her focus on Matthew as Horace continues. HORACE He recommends this hangman in St. Louis, but he can't come 'til the end 'a the month. JAKE Nobody's gonna wait that long. Matthew hides his distress, calmly folding the telegram. HANK I'd be happy to oblige -- MATTHEW No, I'll do it. Caught off-guard, Mike reacts. MIKE Matthew, nobody expects you to -- MATTHEW (convincing himself) I'm the law, I should be the one. HANK Sure yer up to it, Sheriff? Matthew avoids Sully's eyes as he boldly addresses the crowd: MATTHEW The hangin'll be tomorrow, as scheduled. Twelve o'clock. (CONTINUED) 35. CONTINUED: 43 Satisfied, the group begins to disperse, except Mike and Sully. As he goes, Preston leans in to Matthew, offering reassurance: PRESTON Don't worry, I found killing one who deserves it quite satisfying. You'll see. He slaps Matthew on the back and moves off. As Matthew turns to go back in, Sully and Mike stop him. SULLY Maybe you oughta think this through -- MIKE You can wait for someone else. MATTHEW Long as it's legal, what's it matter who does it? His question throws her. Point made, Matthew returns inside. ON Mike's reaction, disturbed by the sudden turn of events. INT. CLINIC - NIGHT FOUR 44 Listening in the corner, Colleen carefully places dirty medicine bottles into a wood box. Sully and Brian wait as Mike packs up to go. The mood is tense. MIKE I don't want you watching an execution. BRIAN (matter-of-fact) Everybody at school gets to go. And you're lettin' Matthew do it. Mike reacts and trades looks with Sully. Things feel different... MIKE Matthew makes his own decisions now. Unfortunately, he feels it's part of his job. SULLY Your ma said no, Brian... C'mon, help me get the wagon ready. Brian reluctantly follows Sully outside. Mike's focus turns to Colleen, her back turned; still loading bottles. Mike goes over. (CONTINUED) 36. CONTINUED: 44 MIKE We don't have to wash these tonight. COLLEEN No. I want to. Colleen keeps loading, distant. Concerned, Mike helps, studying Colleen thoughtfully. MIKE I know this has been a difficult time for you. With Rosemary, all that's happened... (OFF Colleen's silence, gently probes) And even though you're concerned for your friend, it's perfectly natural to think about... how easily it could have been you. COLLEEN (uncertain) That ain't it. MIKE (hopeful) Then what?... You can tell me. This is difficult for Colleen, but she needs to talk. COLLEEN I dunno... Maybe it's what we're doin' 'bout it... MIKE What do you mean? COLLEEN ... Killin' him. It's not what Mike expected. MIKE Colleen, as harsh as hanging must seem, we have laws. People must be accountable for their actions. COLLEEN (bewildered) But you wanna kill him, too -- just like everybody else. MIKE (unnerved) I want him punished. (CONTINUED) 37. CONTINUED: (2) 44 An uncomfortable beat as Colleen struggles to sort it out. COLLEEN The Reverend's always sayin' how bein' vengeful is bad. (a beat, troubled) You're all gonna do the same thing he did. Feeling all the disappointment rising, Colleen waits for Mike to make it right again... to say something. But Mike can only stare back. And her silence only adds to Colleen's anguish. Colleen turns back to the box for a miserable beat, then picks it up and walks outside. OFF Mike's reaction -- INT. SHERIFF'S OFFICE - NIGHT FOUR 45 Matthew unlocks and opens the door to discover Emma waiting with a large tray of food. He's surprised to see her. EMMA Ain't ya gonna let me in? Matthew backs out of the way so she can enter, then closes the door, leaving it unlocked. He turns to Emma, glad to see her. EMMA I asked Miss Grace to fix a big tray. Figure you'd be hungry. MATTHEW Thanks... Hadn't much thought 'bout food. He clears the table. As they sit, Emma glances at Reed, who watches them, noticeably recovered. Emma quickly turns her attention back to dishing fried chicken onto a plate. EMMA Is it true what ever'body's sayin'? You're the one doin' it? MATTHEW Somebody's got to. EMMA ... Ever kill anybody before? Surprised, Matthew catches her look as he accepts the plate. MATTHEW (matter-of-fact) This ain't killin'. (CONTINUED) 38. CONTINUED: 45 He starts eating. Conflicted, Emma dishes another plate. She looks back at Reed, then decided, she takes the plate over. EMMA Want somethin' to eat, Mister? Got fried chicken and corn bread. Stunned, Matthew watches Emma set the plate on the ground next to the bars. Reed scootches over and sits there on the floor, digging in with his good hand. Ravished, he talks through a full mouth. REED My mama useta cook fried chicken. EMMA (softly) Where's your mama now? REED ... My mama? Reed looks up into her eyes, transferred back to another time and place; the monster gone for a flicker of a moment. Suddenly Matthew pulls Emma up and to the door. She struggles. EMMA Matthew... let me go! EXT. SHERIFF'S OFFICE - CONTINUOUS 46 Outside, Matthew releases her arm. Their emotions are charged. MATTHEW I don't want you doin' that -- EMMA His life's over, Matthew. Tomorrow. What harm's gonna come from givin' him some food? MATTHEW (incredulous) He is a monster! Emma studies him before looking off. Calming, she remembers: (CONTINUED) 39. CONTINUED: 46 EMMA "There but for the grace, Emma." (beat, then explains) Grandma always said that to me. "There but for the grace 'a God." MATTHEW (confused) So what're you sayin'? EMMA Means Mr. Reed pro'bly never had no family lovin' 'im like yours. MATTHEW (beat, contained) Still don't excuse what he done. Emma nods, suddenly weary of it all. She starts to leave. MATTHEW Emma, wait... Emma?! But Emma hurries off, disappearing into the night... INT. SULLY AND MIKE'S BEDROOM - NIGHT FOUR 47 Sully sleeps. He stirs, realizes he's alone and looks for Mike. She's in her rocker by the fireplace, staring into the fading fire, deep in thought. Wrapping himself in a blanket, Sully comes over and slides down beside her. SULLY Baby keepin' ya up? He reaches over to feel their baby. Mike shakes her head. MIKE Actually, it's Colleen. And you. SULLY Me? MIKE (beat) You don't approve of what they're doing tomorrow, do you? SULLY The hangin'?... Not much. MIKE Why haven't you said anything? (CONTINUED) 40. CONTINUED: 47 SULLY I don't have a need to change how folks think 'bout things. You do. That's good, but it ain't me. MIKE But how you feel, what you think matters to me. Very much. She waits. Sully takes a moment to sort out his thoughts. SULLY Wasn't so long ago, the army wanted to execute me. MIKE You were taking a stand. This man is a murderer, Sully. He'd do it again without blinking. SULLY It's why we got prisons. MIKE And when he gets out again? SULLY Don't let 'im out... We could do that if we wanted. MIKE What if he escapes? SULLY Make the prisons better. (OFF Mike's skeptical reaction) Look, if you're askin' me to give you some kind 'a guarantee, I can't do that. I'm just sayin' there're other ways... Folks think they're gonna feel all better after he's dead. Ben Hart thinks it's gonna take away his hatin'. (a knowing) Revenge don't taste so sweet. He's hit a nerve and Mike reacts. MIKE That's what you think I want -- revenge? I want my family protected. (CONTINUED) 41. CONTINUED: (2) 47 SULLY Michaela, when he was pointin' that gun -- if he'd 'a hurt you? I'd've killed 'im right there with my bare hands. I know I got that in me... MIKE (beat) It could've been me... or Colleen. SULLY The point is he can't hurt anybody now... Tomorrow, when Matthew puts that noose over his head, Reed's hands are gonna be tied behind his back. He won't be pointin' a gun. He lets her digest this. Unsettled, Mike runs her hands over the baby. Clinging to her position, she shakes her head. MIKE No. Hanging him is the only way to be sure. I want to know our children will be safe... Safe from men like that. Sully rises, gently covering her hand with his own. SULLY So do I. He kisses her forehead and goes back to bed. Mike looks back at the fire; she won't be getting any sleep tonight... EXT. NIGHT SKY - NIGHT FOUR 48 Clear and peaceful. Notice a LAUGH in the distance. Suddenly a loud THUMP is followed by the WHINE of rope stretching under a heavy load. PAN DOWN TO: Matthew on the gallows, hand on the trapdoor lever, watching the rope swing around the drop-hole with a heavy sandbag tied to the end. He's alone, making sure all is working right... HANK (O.S.) Sandbag ain't the same as droppin' somethin' live. Matthew startles, swings around to find Hank stepping from the shadows. (CONTINUED) 42. CONTINUED: 48 HANK Better be sure you set the knot right. Goes slidin' 'round, you got a man kickin' 'n gaspin' for half hour. Hank grins at Matthew's obvious discomfort. MATTHEW What do you care? HANK Don't want the customers losin' their mood for drink... (as Matthew reacts) Look Matthew, you're gonna need somebody helpin' tomorrow. Reckon I'm 'bout the only one here knows what they're doin'. A strained silence as Matthew holds his gaze. Hank shrugs. HANK Change yer mind, ya know where to find me. Hank returns to the saloon. Clearly shakened, Matthew turns his attention back to the rope, still swaying under the weight. The reality of what he's about to face is beginning to sink in... FADE OUT. END ACT THREE 43. ACT FOUR FADE IN: EXT. ROAD TO TRAIN STATION - DAY FIVE 49 Headed for town, Sully drives the wagon with Mike, Colleen and Brian, all riding in solemn silence. As they approach the station -- From the town, Hart walks with Rosemary to the station, carrying a traveling valise. Rosemary's condition is the same, and he guides her with his free hand. Hart stops, seeing the wagon approach. Sully stops the wagon. It's an uncomfortable moment as everyone trades nods of greetings. HART Thought it's time to be on our way. MIKE We'll be thinking about you. COLLEEN (reassuring) Don't worry 'bout school, Rosemary. I'll help ya catch up when you get back. Rosemary stares ahead, unresponsive. Stoic, Hart nods again, and continues onto the platform. Silence as the horrible impact on this family is felt. Sully squeezes Mike's hand. As he starts their wagon forward... INT. SHERIFF'S OFFICE - DAY FIVE 50 Matthew tries to focus on paperwork as he glances at the clock. In the cell, Reed painfully pulls off his bloodied shirt. REED Make yerself useful, Sheriff. Give over my shirt. Matthew grabs the new shirt from its open wrapper on the table, takes it to the cell door. Reed reaches out and grabs it, but Matthew holds on. Their eyes lock, faces inches apart. REED Lookit you, ain't hardly wet behind the ears. 'N they think you can do a man's job today? (CONTINUED) 44. CONTINUED: 50 MATTHEW (cool, unwavering) Just watch me, Reed. He finally lets go and Reed pulls the shirt through the bars. He struggles into it, grinning as Matthew walks away. REED Knew this'd come in handy... I'm gonna make you look good. There's a KNOCK. The Reverend enters, clearly uncomfortable. Matthew meets him at the door and they trade silent nods. REVEREND I was wonderin' if I might have some time with your prisoner? Matthew grabs his coat. The Reverend studies him with concern. REVEREND You look a little pale, Matthew. Are you alright? It's a loaded question Matthew would rather not touch. MATTHEW I'm fine. He exits, leaving the Reverend unconvinced. REED Come to save my soul, Preacher? The Reverend catches Reed's caustic grin, and remembers why he's there. He ignores the knot in his stomach. REVEREND I suppose that's up to you. EXT. SALOON - DAY FIVE 51 Hank exits the saloon to find Matthew waiting. Hank revels in knowing why Matthew's there. Matthew shifts, this is hard. HANK Heard you was lookin' for me. MATTHEW I'll be needin' a deputy today. HANK Thought you'd never ask... Do I get a badge? (CONTINUED) 45. CONTINUED: 51 MATTHEW Hangin's at noon. Be at the jail early. Matthew notices Emma watching through the door. He holds her gaze, then goes. As he walks up the street, Matthew can't resist a glance over to the town clock. The clock reads: 8:49. DISSOLVE TO: INT. CLINIC - CLOSE ON CLOCK - DAY FIVE 52 The clock reads: 10:11. WIDER TO INCLUDE Mike sweeping the floor, distracted. Colleen does homework at the desk. Sully repairs a leg on the bed while watching Mike. SULLY Soon as I finish here, we can get started on them lamps. Mike manages a smile, but her attention is on Colleen. MIKE What is it you're studying, Colleen? COLLEEN (not looking up) Just history. The air between them is still strained. Mike catches Sully's look and turns back to sweeping. She stops at the clock. Mike grabs the key and winds it. Sully and Colleen trade looks. MIKE Do you think this time is right? OMITTED (53) 53 EXT. CAFE 53A Preston checks his pocketwatch as Grace stops to re-fill his coffee. As she moves on through the crowded cafe, Preston looks off toward the road where people converge on the town in wagons, riding horses -- INT. GENERAL STORE 53B Dorothy sits at her desk deep in thought. Loren unties his apron, catching her eye. As Dorothy grabs her notepad -- 46. EXT. BANK 53C An OLDER WOMAN pushes Samantha's baby carriage away as Horace waits for Myra to lock the door. Then, together they start into the street -- INT. CHURCH 53D The Reverend, alone in a pew, finishes his prayer. EXT. BARBERSHOP 53E Through the window, SEE Jake flipping his sign to "closed." He exits and locks his door, then looks across to: INT. SHERIFF'S OFFICE 53F Matthew rises at Hank's arrival with a mixture of relief and disdain. He grabs a shotgun from the wall and passes it to Hank. Then, Matthew takes the handcuffs to the cell. MATTHEW Get up, Reed. Turn 'round and stick your hands through. Reed rises, eyes burning into Matthew as he turns. Matthew covers any hint of emotion as he cuffs Reed's hands thrust between the bars. As Reed waits, he begins to WHISTLE... INT. CLINIC - DAY FIVE 54 The clock reads: 11:51. Mike checks it for the hundredth time. Feeling Colleen's eyes, Mike continues replacing wicks in lamps she's gathered on the exam table. Across the way, Colleen re-focuses on her studies. The strained silence is palpable as they each feign interest in their work. Sully and Brian come downstairs with more lamps. SULLY This is the last of 'em. MIKE Thank you. Brian helps Sully fill lamps with oil. As Sully works, his gaze makes Mike uncomfortable and she looks away. He trades looks with Colleen, who checks the clock. So does Mike. She finishes her lamp, wiping her hands. MIKE I better get going. SULLY Sure you're up to this? (CONTINUED) 47. CONTINUED: 54 MIKE A doctor has to certify the death. Mike puts on her coat, looking for her medical bag. It's on her desk, right by Colleen. Uneasy, Mike goes over and grabs it. As she does, she pauses; her eyes locking with Colleen's for a difficult moment... EXT. LIVERY - DAY FIVE 55 Robert E methodically POUNDS on a horseshoe. He looks up to see Reed being led from the Sheriff's Office by Matthew and Hank, who flank him holding his arms, Hank carrying the shotgun. As they turn up the street -- +ANOTHER ANGLE - THE TRIO 56 walking with purpose toward the gathering in the center of town. +MATTHEW'S POV - CENTER OF TOWN 57 Where the townsfolk and more have gathered for the event; many standing on wagons for a better view, others perched on the balconies and steps. Some children playfully dash through the crowd. A MOTHER appears, sternly grabbing the hands of TWO SMALL BOYS and whisking them away. The Reverend waits near the edge of the crowd holding his Bible. A HUSH falls over the carnival atmosphere as all eyes turn this way. +ANGLE - MATTHEW 58 Setting his mind on the task ahead... +ANOTHER ANGLE - CLINIC 59 Mike steps outside carrying her medical bag. With a mixture of feelings she walks to the back of the gathering, stopping unseen next to Dorothy. Mike looks down the way just as -- +ANGLE - CENTER OF TOWN 60 Matthew and Hank approach the Reverend with Reed. As the Reverend joins them, a MAN suddenly steps up and spits on Reed. Caught off-guard, the men pause. Reed regards the mess on his new shirt in disdain, helpless with his hands cuffed behind. As the foursome continues forward, he spits back at the man... 48. +BACK OF CROWD 61 As Mike reacts, Dorothy notices her, surprised. DOROTHY Michaela, I didn't 'spect to see you here. MIKE I have a job to do. Unsettled by her words, Mike turns her focus ahead to -- +THE GALLOWS 62 Where the Reverend climbs the steps. As Matthew and Hank follow with Reed, Matthew looks over -- +MATTHEW'S POV - SALOON 62A Where Emma watches him from the boardwalk. Disturbed, she goes inside. +RESUME ANGLE 62B As Matthew pulls Reed up onto the platform where they stop. Reed gazes out over the spectators who fall eerily still. Matthew pulls a paper from his pocket. Stealing himself, he reads it aloud: MATTHEW "Johnny Reed, you are ordered by the Colorado Territory to be hung by the neck until dead." (folds paper, to Reed) You got any final words, better say 'em now. Reed stares coldly into Matthew's eyes. REED Get it done. Matthew and Hank exchange looks, then Matthew places Reed on the trapdoor, where Hank quickly straps Reed's legs together. +ANGLE - MIKE 62C Watching, uncomfortable... 49. +BACK TO PLATFORM 62D Waiting, Matthew avoids Reed's eyes. Hank rises and hands the hood to Matthew. Uncomfortable, Matthew pulls the hood down over Reed's head, then quickly fits on the rope, placing the knot under the left jaw. Hank leans in to check it, whispers: HANK See ya in hell. +ANGLE - THE GATHERING 63 PAN the spectators watching, including Jake, Loren and Preston near the front, where a PHOTOGRAPHER double checks his camera. Suddenly everyone bows their heads. REVEREND (O.S.) The Lord is my shepherd; I shall not want. He maketh me to lie down in green pastures... +ANGLE - REVEREND ON GALLOWS 64 REVEREND He leadeth me beside still waters. He restoreth my soul. +ANGLE - MIKE 65 Her head is bowed. She suddenly looks up and stares ahead at the platform. REVEREND (O.S.) He leadeth me in the paths of righteousness for his name's sake... Clearly troubled, Mike looks around at the gathering before her. +MIKE'S POV 66 of her neighbors and friends: Dorothy; Myra standing with Horace; the widowed Judith supported by friends; Becky, Paul, Jared and other teenagers on the store balcony, all heads bowed. REVEREND (O.S.) Yea, though I walk through the valley of the shadow of death, I will fear no evil, for thou art with me... 50. +RESUME ANGLE 66A as Mike absorbs the images, listens to the words... INT. CLINIC 67 Brian and Sully continue filling the lamps in silence. Colleen sits frozen at the desk, lost in troubled thoughts. REVEREND (O.S.) Thy rod and thy staff they comfort me. Thou preparest a table before me in the presence of mine enemies; Colleen can't just sit. She spies an instrument on the desk. Using it as an excuse, she grabs it and jumps up. COLLEEN Ma's gonna need this. As Colleen hurries to the door -- EXT. SALOON 68 Ben Hart steps out from the side of the building, moving closer to watch the proceedings, his hate alive and well. REVEREND (O.S.) Thou anointest my head with oil; my cup runneth over. Surely goodness and mercy shall follow all the days of my life... GALLOWS 69 The Reverend stands by Reed, now fully prepared, rope in place. REVEREND And I will dwell in the house of the Lord forever. Amen. ALL Amen. The Reverend looks up and begins SINGING "Nearer My God To Thee." As the gathering joins him in song, he steps to the back where Matthew and Hank wait. BACK OF CROWD 70 Where Mike isn't singing, but instead grows increasingly disturbed by the sights. As the HYMN CONTINUES, she sees Colleen approaching from the side. Colleen stops, catching Mike's troubled gaze. They stare at each other, and then Mike begins to move forward into the crowd. (CONTINUED) 51. CONTINUED: 68 Mike slowly passes boys atop father's shoulders, families standing in wagons, her neighbors SINGING God's words. Mike grows sickened by the images as she walks through the maze... +ANGLE - HORACE AND MYRA 71 Nearing the end of the song, Myra turns, unable to watch. +MATTHEW 72 his face tensing as he sings -- +MIKE 73 drawn towards the front, finally stopping by Jake, Loren and Preston all righteously SINGING. Mike looks at them, then at the photographer ducking under his cover... And Mike slowly shakes her head, coming to a resolve. +GALLOWS PLATFORM 74 as the HYMN ENDS, the Reverend looks to Matthew. Fighting his emotions, Matthew steels himself and places his hand on the trapdoor lever -- +FRONT OF GALLOWS 75 Decided, Mike looks up at Reed. MIKE (to herself) No... (louder to Matthew) Wait! Matthew don't -- +ANGLE - MATTHEW AND HANK 75A Hand on the lever, Matthew looks at Mike. He hesitates, looking back at his hand on the lever. Seeing this, Hank quickly grabs the lever and shoves it down. +BACK TO MIKE 75B As there's a loud THUD. Mike reacts, frozen with horror. She finally looks away from the sight of Reed's legs swinging before her. (CONTINUED) 52. CONTINUED: 75B PAN THE GATHERING as people react, some turning away sickened by the sight, others watching with grisly fascination, still others nodding with uneasy satisfaction. +BACK OF GATHERING 76 Sully comes up to Colleen's side, who's turned her head, sickened by the sudden silence, and the realization. Understanding her struggle, Sully puts an arm around her, pulling her close to him. +FRONT OF GALLOWS 77 Loren watches, uncomfortable. But Jake stares up at Matthew with a newfound respect. JAKE I'll be damned. Didn't think he had it in 'im... Nearby, Mike recovers enough to look up to the platform... +ANGLE - PLATFORM 78 Shakened, Matthew swallows hard, fighting to stay composed as he stares out at nothing... The Reverend is clearly unsettled by the body swaying beneath them... Hank grins with satisfaction, yells: HANK First drinks're on the house! The sudden breaking of silence jolts Matthew back to reality. He goes down the steps and stops, looking to Mike at the bottom. They stare at each other, sharing a disturbing realization that's clearly come too late for them both. Preston steps forward, sincerely offering his hand to Matthew. PRESTON Congratulations, Sheriff. You've made this town proud. Matthew stares numbly at Preston; nothing was how he expected it to be. Battling the sickness rising from the pit of his stomach, Matthew walks by, ignoring Preston's outstretched hand... Mike sadly watches Matthew weave through the dispersing crowd, ignoring quiet congratulations, walking right past -- 53. +COLLEEN 79 coming this way. She stops, sympathetic to Matthew walking by her in silence, then Colleen hurries on forward, searching for her mother. +WIDER 80 Mike spots her and rushes to her daughter's emotional embrace. They hold on to each other painfully, ashamed and forgiven, but with renewed faith and conviction... and a shared understanding that Mike will never wait this long