LITTLE HOUSE ON THE PRAIRIE

Written by

Abi Morgan

Based on the books Little House On The Prairie and Little House In The Big Woods by Laura Ingalls Wilder

11th April 2014

Scott Rudin/Sony

Abe Recio ii.

When the fiddle had stopped singing Laura called out softly, "What are days of auld lang syne, Pa?” "They are the days of a long time ago, Laura," Pa said. "Go to sleep, now." But Laura lay awake a little while, listening to Pa's fiddle softly playing and to the lonely sound of the wind in the Big Woods. She was glad that the cozy house, and Pa and Ma and the firelight and the music, were now. They could not be forgotten, she thought, because now is now. It can never be a long time ago.”

LAURA INGALLS WILDER

Abe Recio 1 EXT. RIVER. WISCONSIN. DAY. 1 CLOSE ON LAURA INGALLS [13 yrs], FROZEN FINGERS SCRATCHING AT THICK ICE, spirited eyes, silently watching- Silvery salmon somewhere deep below, shadowy and elusive, SKIMMING LIKE BULLETS JUST UNDER THE ICE- On LAURA silently marveling, a fat salmon pressing its mouth to the ice, its scales and wide startled eyes close to LAURA, yet trapped under the surface. At once it darts back down- And LAURA is up, skidding along a snaking frozen river. The snaking silvery shoal dipping in and out of icy view, like bees in search of a hive. JACK, a brindle bull dog, barking at LAURA’s side- SUDDENLY ON LAURA, ARMS FLAYED, BOOTS SKIDDING, DESPERATELY TRYING TO BREAK HER FALL UNTIL- LAURA TEETERS, BOOTS ROCKING ON THE EDGE OF A FROZEN LEDGE, PEERING DOWN- Below, a waterfall, frozen mid flight, its cascades iced into a terrifying 90 ft drop. LAURA exhales, HEART BEATING, CHEEKS FLUSHED, boots teetering on the edge. Yet quietly relishing the rush until- PA (sharp) Laura- Above CHARLES ‘PA’ INGALLS [early 40’s], tall, wild-haired with bushy beard, shakes his head, wearily, still unhooking a fish from a fishing rod in his other hand. LAURA pulls herself sharply back, with a smile. SUDDENLY THE SILENCE PUNCTURED- The TANG OF METAL, DISTANT HAMMERING- PA (CONT’D) Let’s get going. JACK turns, ears pricked up, on guard. LAURA (clambering up rocks) Ssh- LAURA scoops up the pile of fish PA has caught close to a boreholeAbe in the river. Recio 2

She holds them up close, the gills still pumping in her hand, the skin so translucent that the heart of the fish is almost visible...LAURA fascinated by this. LAURA (CONT’D) It’s only loggers, Jack. Far off, two horses tethered close to the river’s edge. Cold afternoon sun dissolving across endless thick wood blanketed with snow. The TANG OF HAMMERING LOUDER NOW- SUDDENLY THE CREAK OF WOOD- On birds thrown high into the sky. A tall pine tree abruptly felled somewhere deep within the wood. On PA, unsettled.

2 EXT. TRAIL. BIG WOODS. DAY. 2 A trail edged with thick trees- A GROUP of EUROPEAN MIGRANT LOGGERS passing through the woods, guns slung over their shoulders, swinging lunch boxes and axes, as they pack up for the day. They nod to PA in passing. PA tips his hat in polite greeting, riding on. A sense of the forest thick and endless ahead. PA, LAURA, and MARY riding onwards, deeper into the woods, leaving the LOGGERS to head home in the opposite direction- PA slows his horse, coming to a still on seeing the trail of destruction the LOGGERS have left behind. A corridor of devastation slicing through the thick woods, a seemingly endless pathway of flattened land, strewn with felled trees, the sense of ongoing work- A painted notice board, stuck in the ground close by, confirms the land has been sold in preparation for a new railroad. It reads- PROPERTY OF THE NORTHERN PACIFIC RAILWAY- Acquired from the US government for the construction and extension of the federal chartered railroad under the Pacific Railway Act 1869. On PA,Abe with growing unease, clickingRecio the horses on. 3

3 EXT. BIG WOODS. DAY. 3 CLOSE ON LAURA, riding fast now, caught in fleeting, scissored view - slicing through the endless trees. Triumphant, LAURA overtakes PA - ONE HAND RAISED VICTORIOUS, SKIMMING a low slung branch overhead. Snow blots her hair. JACK streaks close at heel as LAURA rides deeper and deeper into the forest, her laughter echoing through the still- A snowy canopy of branches casting the last shadows of the day across LAURA as faster and faster she rides- Day on the edge of darkness, LAURA slows the horse’s pace to a walk- The horse steams in the cold, breath sobering- On LAURA, taking in the sounds of the forest, listening- The TAP TAP of a woodpecker- The RUSTLE of leaves, a fox slips through the undergrowth. JACK, ears up, catching a breeze- On LAURA, a chill pricking her skin, the still of the woods suddenly overwhelming- LAURA (calling out) Pa-? SILENCE- The branches sway in the breeze- LAURA stiffens, on the edge of fear- THEN SUDDENLY, PA streaks past, whipping his horse on. LAURA smiles, delighted, the chase resumed. ON LAURA riding, slicing through the trees, WHOOPING AND JEERING the horse on as she disappears deeper into the forest. JACK’s barking dissolving on the breeze- The STILL of the forest at once restored-

4 INT/EXT. STABLE. YARD. NEAR HOUSE. BIG WOODS. DUSK. 4 LAURA sliding the last saddle onto the stable door, fixing the Abebuckles as she does- Recio 4

LAURA If I had a gun- PA quietly correcting LAURA, moving the buckle up a hole, straightening the way she has left the saddle. LAURA reaches for a hoof hook, resumes, cleaning the last of the mud out of the horse’s hooves- She slides a blanket over the horses’ backs to keep them warm. PA Instinct still needs to pull the trigger. The horses chew noisily on bags of oats, hooves scuffing on the floor of the stable yard. On LAURA, fishing a pine cone, a tiny mouse skull, and a long heron’s feather out of her saddle bag, pocketing them. LAURA I’ve been watching you since- LAURA following PA out across the yard, the stable door swinging closed behind her. PA No. LAURA huffs, FINGERS GRIPPING THE MESH of the chicken shed as PA scatters a handful of chicken feed, locking them in for the night. The CLUCK and COO as they settle down to sleep. On PA - he smiles at LAURA, playfully tripping her up in passing. They bump and tussle up against one another, heading towards a little wood cabin, windows illuminated by warm, lamp light. Beyond - thick trees, dark and endless, stretching for miles.

5 INT. ATTIC. HOUSE. BIG WOODS. NIGHT. 5 CAROLINE ‘MA’ INGALLS [late 30’s], pretty yet strong face, kisses CARRIE INGALLS [3 yrs], putting her ear close to CARRIE’s forehead, as Carrie lies in a trunk bed in the corner of a wide attic. MA (tickling) AbeI can hear a dream rumbling.Recio 5

MA unpeels CARRIE’s arms from around her neck, smoothing her hair, kissing her to sleep. She stands narrowly missing a string of onions hanging from the ceiling overhead. Shelves lined with jars and cans of pickles, honeyed fruit, molasses, bags of rice all around. CAROLINE Mary, lights out. MARY INGALLS [15 yrs], LAURA’s quieter and more studious older sister, reading in bed across from CARRIE, nose deep in her ‘dime’ novel - Maleska the Indian Wife of the White Hunter. On the cover a beautiful illustration of a Sioux Indian girl standing between a white hunter and a Sioux Indian. A flowing riverbank beyond. MARY Ma- MA slides MARY’s book down, blowing out the candle on MARY’s side of the bed. LAURA sits peering through a magnifying glass at a tiny mouse’s skull. MA’s hand grazes over LAURA’s forehead. MA Put it away now Laura. LAURA hesitates, found out, hurriedly sliding a lid on her collection of tiny found objects, pushing it under her bed - Frank Millers Harness Oil just visible on the front of the tin, with an image of a horse running wild on the lid. MA smiles, heading downstairs, passing boxes of shot and gunpowder, axe blades and carriage grease, rusting wide serrated bear traps and wolf traps, springs loaded waiting to snap shut- MA (CONT’D) Night...night.

6 INT. BIG ROOM. HOUSE. BIG WOODS. NIGHT. 6 CLOSE on PA - he blows on a fish fly, laying it down in a box, next to several other brightly colored handmade flies. PA There were loggers, all along the ridge again. Lamp light casting shadows over a wide comfortable room layered with the tiny details of a life, built from the fruitsAbe of the land over the years.Recio 6

PA (CONT’D) Up almost as far as the trail. Furs on a wooden rocking chair, embroidered cushions and a tablecloth on a beautiful carved bench. PA’s heavy rifle now strung on hooks above the mantelpiece, always in waiting, overhead. PA (CONT’D) Couple more weeks they’ll be skimming our property. Lamp light plays on MA’s face, casting an elegance and poise, in spite of her surroundings, as she clocks the waning light. MA Blame Washington for selling the land. MA reaches for a can of kerosene and then, taking off the lamp’s globe, she rests it on an old copy of the Wisconsin State Journal. WASHINGTON LAND DISPUTES and the latest cure for baldness are briefly glimpsed. PA A railroad slicing through country- On PA, reaching for his bow and a nub of wax, oiling the reed. PA (CONT’D) Where does the wild go?

7 EXT. LITTLE HOUSE. BIG WOODS. NIGHT. 7 The WIND through the trees- The RUSTLE of BRANCHES- The STIR of the HORSES, EARS PRICKED UP- A WILDNESS TO THE NIGHT- The stable door LIGHTLY BANGS BACK AND FORTH IN THE WIND.

8 INT. ATTIC. HOUSE. BIG WOODS. NIGHT. 8 The MURMUR of VOICES BELOW- PA O/S There is prairie land for the Abetaking. Recio 7

MARY rolls over next to CARRIE, who is already asleep in the bed, one arm slung out, hair damp against her forehead, lost in some beautiful dream. MARY (hushed) What you doing? CLOSE ON LAURA, her ear pressed close to a dusty floorboard, light seeping through the cracks. LAURA Ssh-

9 INT. BIG ROOM. HOUSE. BIG WOODS. NIGHT. 9 MA finishes filling up the lamp with kerosene. She lights it with a taper and slides the globe over the flickering wick, casting its warm light across the room- PA $1.25 dollar an acre. MA wipes a blot of kerosene off the newspaper, her gaze falling on a story of some Indian massacre in the newspaper. PA (CONT’D) A man can buy himself 160 acres of homestead. CLOSE ON MA, looking at the newspaper story and an illustration just underneath describing a settler’s injuries. PA (CONT’D) All he has to do is build a house, show he can farm it and six months later stake a legal claim. SILENCE- PA (CONT’D) Well-? A CREEP OF A FLOOR BOARD OVERHEAD, MA and PA instinctively look up. Then at one another. MA (scrunching up the newspaper) AbePlay your fiddle, Charles.Recio 8

On PA reluctantly reaching for his fiddle. He tunes it a little. Then, reaching for his bow, he plays the opening bars of ‘Away to Wisconsin’-

10 INT. ATTIC. HOUSE. BIG WOODS. NIGHT. 10 On LAURA, BARE FEET SKIMMING THE FLOOR as she hops back into bed. JACK’s snout resting close to LAURA, as he curls up close. PA O/S (singing) Since times are so hard I must tell you, sweetheart, I’ve a good mind to sell both my plow and my cart- And away to Wisconsin on a journey to go for to double our fortune as other folks do. The SCRAPE of a branch against the window. MA O/S (singing) Oh, husband, remember the land you must clear will cost you the labor of many a year.

11 INT. BIG ROOM. HOUSE. BIG WOODS. NIGHT. 11 On MA, watching the curl of flames around the newspaper- MA O/S (singing) With horses and cattle and provision to buy... The image of the scalped man feathering into ashes in the fire grate. MA O/S (CONT’D) (singing) Why you’ll hardly get started before you must die. ON PA - he wavers mid note. MA smiles, one hand grazing his hair affectionately in passing-

12 EXT. HOUSE. BIG WOODS. NIGHT. 12 Darkness but for the glow of light from the little house in the Abebig woods- Recio 9

A fox pricks up its ears, listening as the sweet fiddle music resumes, drifting out through the darkness- The fox darts back into- Endless trees, thick and inky, sprinkled with snow, silhouetted against the night sky. The lonesome howl of the wind through the leaves and branches underscores-

13 EXT. YARD. HOUSE. BIG WOODS. NIGHT. 13 The bang of the stable door, slapping against its hinge- The cow stirs, mouth stills, mid chew- The horse, ears pricked up, hooves scuffing the hay floor, with growing agitation.

14 INT. ATTIC. BIG ROOM. HOUSE. BIG WOODS. NIGHT. 14 CLOSE ON LAURA, stirring, eyes opening- The bang of the stable door, puncturing her sleep- JACK jumps down off the bed, following- LAURA reaches for her shawl, pulling it around her, crossing the room. MARY and CARRIE sleep on.

15 INT. BIG ROOM. HOUSE. BIG WOODS. NIGHT. 15 The still of the big room- The steady SNORE of PA sleeping. MA’s breathing lightly underscores as LAURA crosses the room. JACK, now standing, alert. The DISTANT WINNOW of a horse. LAURA peers out of the window, clocking the open stable door, blown by the whistling wind. Sliding her feet into her boots, LAURA reaches for the latch, lifting it with two hands and slipping out into the darkness. JACK makes to follow- LAURA (stopping JACK) AbeNo boy... Stay. Recio 10

16 EXT. YARD. NEAR HOUSE. BIG WOODS. NIGHT. 16 Darkness- The bang of the stable door louder now. LAURA reaches for the lamp hanging from the porch hook, holding it up high, using it to cast a little light across her path. On LAURA, boots sinking into the snow- The SWING of the lamp, casting its glow. LAURA’s shadowy figure crossing the icy yard. She shivers a little, boots sinking into the snow- An owl COOS high up in the trees. LAURA stops, the wind cold on her face, ice pricking her skin.

17 EXT. OUTSIDE STABLE. BIG WOODS. NIGHT. 17 On LAURA, reaching the Dutch stable door- The top half swung open, flat against the stable. The bottom half banging in the wind. LAURA reaches out to close it- A shadowy bulk of a horse, seemingly pressing its weight against the bottom half of the Dutch door. LAURA pushes her whole body weight against it- LAURA Move over, Patty. I can’t close it. The door at once gives, jolting LAURA forward a little. The lamp slips from her hand, falling into the hay on the other side of the door. LAURA sighs-

18 INT. STABLE. BIG WOODS. NIGHT. 18 LAURA SWINGS BACK THE DOOR, bending down to scoop up the lamp.Abe Recio 11

A rustle in the corner of the stable. LAURA raises the lamp up, illuminating the darkness. Her eyes silently search the gloomy dark, the light casting its beam over- The horses. A hay rake. A pile of ropes and oat sacks. LAURA holds the lamp up higher, SUDDENLY freezing on seeing- A bear cub stirs in the corner of the stable, no bigger than JACK. He looks up from sleeping- LAURA smiles, with obvious delight, bending down to put down the lamp. The BRUSH of FUR against her side. LAURA Patty! LAURA reaches out to push away a shadowy form, hesitating on- LAURA’s FINGERS SINKING INTO THICK BLACK FUR. LAURA, turning with seeping terror as the black fur morphs into- A SNARLING MOTHER BEAR REARS UP ONTO BACK LEGS, ROARING AT LAURA- The horses frantically KICK and WHINNY, turning circles close by- CLOSE ON LAURA, momentarily frozen, before bolting out of the door-

19 EXT. YARD. NEAR HOUSE. PRAIRIE. NIGHT. 19 CLOSE ON LAURA, RUNNING NOW, STUMBLING THROUGH THE SNOW- The MOTHER BEAR POUNDING AFTER HER- LAURA trips, stumbles flat onto the ground. The MOTHER BEAR CLOSE NOW, her cub not far behind. LAURA SPRINGS BACK ONTO HER FEET, RUNNING- The MOTHER BEAR ONLY INCHES BEHIND LAURA NOW AS IT SWINGS OUT ONE MIGHTY CLAWED PAW, GRABBING AT THE HEM OF LAURA’s SKIRT, PULLINGAbe HER DOWN. Recio 12

ON LAURA, DESPERATE NOW, BACKING AWAY FROM THE SNARLING BEAR, ITS ROAR FULL FORCE IN HER FACE. TERROR ETCHED IN LAURA’s EYES AS SHE TRIES TO ESCAPE THE BEAR LOOMING OVER HER NOW- SUDDENLY - A BULLET WHISTLING THROUGH THE DARKNESS. IT SLAMS INTO THE BEAR’S SIDE. YET STILL THE BEAR KEEPS COMING - ROARING, MOUTH AGAPE, ONLY INCHES FROM LAURA’s FACE - DESPERATELY TRYING TO DEFEND ITS CUB, COWERING AT ITS FEET. THEN A SECOND WHISTLE OF A BULLET. AND A THIRD, LODGING INTO THE BEAR’S SHOULDER AND SIDE. IT LOLLS TO THE LEFT THEN THE RIGHT, WOUNDED YET REFUSING TO FALL, UNTIL- AT LAST THE BEAR ROARS AND GROANS IN GROWLING RETREAT, STAGGERING INTO THE DARK WOODS. ITS BEAR CUB, PADDING CLOSE BEHIND - ITS CRIES ECHOING ACROSS THE DARK WOODS. ON LAURA AT ONCE SCOOPED UP IN PA’s ARM - A GUN, STILL SMOKING, SLUNG BACK OVER HIS SHOULDER. CLOSE ON PA FRANTICALLY RUNNING BACK TOWARDS THE HOUSE- LAURA I’m sorry. I’m sorry, Pa.

20 INT. BIG ROOM. HOUSE. BIG WOODS. NIGHT. 20 ON PA, putting down LAURA, she is shaking with shock. Hurriedly MA wraps LAURA in a blanket- PA Get everyone into the top room. PA feeds the last of the bullets into the barrel of his gun. He pockets a handful more, reaching for his hat and knife. PA (CONT’D) Lock the door. JACK close at PA’s heel- Do not open it until I return.

21 EXT. WOODS. NIGHT. 21 Thick trees, blanketed with snow- MoonlightAbe casting eerie shadows Reciothrough the inky darkness- 13

The lolling gait of the injured bear, lumbering through the snow. The cub close behind, trying to keep up, calling out- The mother bear oblivious to a curve of rusted metal, ahead. The wide serrated jaws of a bear trap, buried deep in the snow, spring pulled back in waiting- The bear’s paw sinking into the snow. SUDDENLY the serrated jaws spring closed, digging deep into the bear’s hind leg.

22 INT. ATTIC. HOUSE. BIG WOODS. NIGHT. 22 The AGONIZED CRY of the bear, echoing through the dark. LAURA looks sharply up, listening, turning to MA- LAURA Ma- MA hurriedly makes up bedding, lighting a candle, ushering them all into a makeshift bed-

23 EXT. WOODS. NIGHT. 23 PA, gun gripped to his chest, running through the silvery trees. JACK running by his side. PA slows on seeing the injured mother bear writhing in agony, the jaws of the trap sliced through flesh to the bone. Its distressed cub close by- Slowly the bear recognizes it is trapped, its BELLOWS DISSOLVING INTO CRIES OF PAIN. Its cub nestling close to its mother, desperately trying to comfort her. On PA with weary resignation as he raises his gun, ready to shoot-

24 INT. ATTIC. HOUSE. BIG WOODS. NIGHT. 24 A GUNSHOT ECHOING THROUGH THE DARKNESS. The lone cry of the bear cub echoing through the wood. LAURAAbe stiffens, MA’s arms pulling Recio her closer- 14

MA Go to sleep. Go to sleep MA’s hand instinctively gripping the tiny gold crucifix around her neck. The lone cry of the bear cub echoing through the woods.

25 INT. ATTIC. HOUSE. BIG WOODS. DAY. 25 Dawn- SUNLIGHT SEEPS THROUGH THE WINDOW- LAURA wakes after a restless sleep. Downstairs, VOICES. THE SOUNDS OF THE HOUSE ODDLY COMFORTING. LAURA sits up.

26 EXT. YARD. HOUSE. BIG WOODS. DAY. 26 LAURA, pulling her shawl around her, stands in the doorway. The sound of HAMMERING- Far off a bear skin, billowing like a blanket as PA tethers the last corner, hammering it to a post. Pausing in his hammering, PA, barely looking up, nods to LAURA- PA Pull the rope tight. LAURA hesitantly pulling on the rope fixed to the corner of the skin, winding it tight around the final post. PA resumes hammering, with resigned sorrow. With each BLOW of the hammer, the rope TWISTS tighter. On LAURA, tears silently fall, running down her face.

27 INT. BIG ROOM. HOUSE. BIG WOODS. DAY. 27 PA sits drinking coffee. MA slides pancakes and bacon down on a plate in front of him. LAURA sinks down on the chair opposite. MA Drink your milk. On the floor CARRIE plays with her dried out pig’s tail and cottonAbe reels. MARY reads her ‘dime’Recio novel at the table. 15

SILENCE- MA, refusing to be drawn into PA’s mood, takes her place at the table, smiling at MARY- MA (CONT’D) Mary, a little more reading of the classics and a little less of your dime novels, please. MARY’s eyes dart to PA, all watchful and in waiting as PA silently sips his coffee until- MARY (sliding her book under the table) Yes, Ma. LAURA slurps her milk too loud. PA wavers, mid sip- LAURA Excuse me. AND AT ONCE PA IS UNLEASHED- PA That bear could have torn your head off, Laura. LAURA But it didn’t. MA shoots LAURA a warning look- PA You never go out alone in the dark again. Do you hear me-? On LAURA, nodding, swallowing her quiet defiance. PA (CONT’D) Instead it walked injured for half a mile. Walked right into some logger’s trap. (to MA) Trees felled so late in winter, waking up the bears when they’re ready to sleep. PA scrapes his chair back, reaching for his axe- PA (CONT’D) 160 acres of pure prairie land. No Aberailroad. Recio 16

On PA, wavering by the door- PA (CONT’D) (exiting) It is time. The DOOR SLAMS BEHIND HIM- SILENCE- CLOSE ON MA, determinedly tidying, trying to calm herself until- MA (calling after) I go nowhere until the thaw, Charles. MA hurriedly excuses herself, pulling a curtain across the room. On LAURA, peering across at MARY, who is wide-eyed. CARRIE ROARS LIKE A BEAR- MARY and LAURA stifling laughter- Far off the repetitive SWING of PA’s axe, quietly sobering their laughter. They sit, drinking their milk. On LAURA, eyes falling on a wood carving of a wagon on a trail, etched along the frame of the clock resting on the mantelpiece.

28 EXT. BIG WOODS. DAY. 28 Early spring- The DRIP DRIP of snow thawing, great clumps sliding off maple branches and smashing to the ground. The CHORUS of DRIPS bleeding into the DRIP DRIP of maple syrup into endless buckets hung close to borehole pipes, stuck in tree after tree. CLOSE ON LAURA’s finger, catching the sap, sucking her thumb clean- Beyond, MARY, CARRIE, and COUSINS run, checking buckets, and swappingAbe them for empty ones whenRecio full- 17

Guided and directed by PA, UNCLE PETER INGALLS [30’s], PA’s stocky brother, and GRANDPA INGALLS [60’s], PA’s FATHER, face weathered but eyes kind, CARRIE reaches for a bucket, with help unhooking it from a tree. GRANDPA Don’t spill it. Or the bears’ll smell it.

29 EXT. BIG WOODS. DAY. 29 CLOSE ON LAURA running, slipping and sliding through the slush, towards- The distant house, now surrounded by carriages- MA just visible, sleeves rolled up, standing by a sugar shed, a small squat wooden hut, laid with several fires inside and a wide smoking chimney overhead. Great pots hang above each one, bubbling with thick maple syrup, boiling down with each new stir of a wide wooden paddle. It is hot, sticky work. CLOSE BY GRANDMA INGALLS [60’s], wide and smiling, face flushed as she stokes the fire, laughing with AUNT ELIZA INGALLS [30’s], pretty, her face crinkled with smiles as she pours another bucket of syrup into a pot- GRANDMA Thank you, my lady. MARY smiles, taking back the empty bucket, turning tail to head toward PA and GRANDPA, back in the woods, tapping syrup from the trees. GRANDPA Here we come...here we come... LAURA, MARY, and OTHERS laughing as GRANDPA and UNCLE PETER lark around, caught up in competitive racing, each challenging the other to see how many buckets he can carry to the sugar shed with the syrup still inside. The SLOP of syrup over the sides- GRANDPA curses, left behind as UNCLE PETER pours his buckets in, triumphantly the victor. CLOSE ON LAURA, following the trail of syrup, blotting the snow in a snaking path towards the sugar shed. JACK chasing at her heels. SnowdropsAbe pricking through the ground,Recio hinting at spring. 18

30 INT. HOUSE. BIG WOODS. NIGHT. 30 The STOMP of steel-toed boots TAPPING against the floorboards, making them jump and rise as SEVERAL PAIRS of FEET DANCE ACROSS the floor. With the room now stripped of furniture, and the rugs rolled back, LAURA looks on at the gathering of FRIENDS and FAMILY, PA at its heart, playing a jaunty song. MARY bounces CARRIE on her knee. CLOSE on LAURA, watching MA, oddly removed from the party; the tiny crucifix resting in the dip below her throat. MA is a little more elegant with her beautiful lace shirt, a little more pressed than the rest of PA’s family, who are rougher and less well kept. AND AT ONCE LAURA is pulled into a smiling embrace by UNCLE PETER as she is whirled across the floor, dancing along to PA’s FIDDLE. The bow ferociously slicing the strings as PA stands in the corner of the room. The room alive with candlelight, friendship and music- JACK barks from his sentry point at the top of the stairs. CLOSE ON MA, one hand reaching out to take a china figurine of an elegant woman in a bonnet as it vibrates across the mantelpiece. A dusty circle left behind, one of several marking candlesticks and picture frames, all now removed. GRANDMA (close to MA) God keep you safe, Caroline. MA smiles, nods, fighting back tears as GRANDMA grips her hand. Pushing herself on, MA grabs hold of UNCLE PETER’s hand, offered in passing, and she is pulled into the lively jig. CLOSE on PA, hair wild and springing back and forth as he slices the fiddle, playing as if his life depended on it, smiling at MA as she twirls across the floor. FASTER AND FASTER MA twirls, face flushed, throwing herself into the dance, chasing away her fear, dancing and singing, with all her heart and soul, willing for dawn never to come. The AbeMUSIC PLAYS ON- Recio 19

31 EXT. OUTSIDE HOUSE. BIG WOODS. NIGHT. 31 CLOSE on MA running with a bucket of boiling maple syrup, tailed, like the Pied Piper, by little COUSINS, LAURA, CARRIE, and MARY- MA (calling back as she runs) Hurry up... Hurry up... At once, the CHILDREN line up with mugs and MA fills each one with boiling sugar. MA (CONT’D) ...fore it sets. AND QUICKLY each child runs with his and her mug of hot syrup in search of snow. Once found, the syrup is poured into letters and star shapes and circles and twists. The hot syrup SIZZLES as it quickly hardens into sugar sweets. CLOSE ON LAURA, as she writes, etching sugar letters in the snow. GRANDMA What’s it say? GRANDMA peers over LAURA’s shoulders, her eyes filling with tears on seeing the word - Home. GRANDMA (CONT’D) There is no sweeter word. LAURA breaks off a piece of sugar, holding it out to GRANDMA to bite. GRANDMA takes it, pulling her close. Beyond, the little house illuminated with candlelight- The FIDDLE MUSIC drifting out into the dark night-

32 EXT. OUTSIDE HOUSE. BIG WOODS. NIGHT/DAWN. 32 Night on the edge of dawn- CLOSE ON MA, drawn into one last embrace with GRANDMA, AUNT ELIZA, and PETER. Then GRANDPA. He pats her on the back, wiping away her tears, helping her up onto the front of the wagon, then swinging CARRIE into her lap. PA embraces GRANDMA.Abe Recio 20

PA Goodbye Mother. GRANDMA Goodbye son. PA shakes hands with GRANDPA- PA Pa- GRANDPA pulls PA close, choked. PA nods his thanks, climbing onto the wagon next to MA. CLOSE on PA, pulling away from the little house, the wagon now laden with furniture and trunks. CLOSE on MA by PA’s side, pulling CARRIE closer, tears rolling down her cheeks, blotting her face against CARRIE’s thick coat in an unbearable goodbye to the family gathering left behind. CLOSE ON LAURA and MARY, leaning out to touch the hands of LITTLE COUSINS, running by the wheels. COUSINS Goodbye... Goodbye... Goodbye... GRANDMA, face streaming with tears, clinging to GRANDPA, huddled together with UNCLE PETER, a weeping AUNT ELIZA, and the LITTLE COUSINS, waving goodbye as if life depended on it. GRANDMA Goodbye... Goodbye... The wagon, suddenly tiny, disappearing into the dark woods.

33 EXT. STREET. PEPIN. DAWN. 33 CLOSE ON LAURA peering out through a slit in the canvas- The STILLNESS of Pepin, one house and a general store. PA driving the wagon through- A YOUNG BOY, a blanket wrapped around him as he crosses the yard back to his house, a pail in hand and a cow, newly milked, close by. A FLICKER of recognition on the boy’s face. He throws a half waveAbe to LAURA. LAURA waves back- Recio 21

CLOSE on MA, eyes falling on a window display in the general store - a family home with a mother at its heart, marveling at the latest new household invention - a washing mangle or the like. Beyond, a billboard, beautifully illustrated with drawings of a house, and the words - PEPIN VALUABLE REAL ESTATE - OWN YOUR OWN HOMESTALL AND GARDEN WITH EVERY CONVENIENCE INCLUDING INDOOR PLUMBING. A small plot of construction mid- build close by. The frames of houses taking shape. Piles of lumber and building equipment in waiting- On MA forcing herself on, pulling CARRIE close. The YOUNG BOY watching as the wagon disappears along the endless trail.

34 INT. WAGON. MISSISSIPPI. DAY. 34 A CRACK - LIKE GUNSHOT! LAURA wakes with a start- The flap of a breeze, whipping the canvas overhead- The wagon lilts to the left and then the right- The SOUND OF PA JEERING THE HORSES ON. JACK howls by LAURA’s side. MA Keep him quiet, Laura. LAURA peers ahead, just seeing MA seated at the front of the wagon, hands gripping the horses’ reins, face etched with tension- LAURA (patting him) Ssh Jack- LAURA pulls JACK close, CARRIE stirring by her side. LAURA (CONT’D) Where are we? Poking her head out of the wagon, LAURA looks out across the wide frozen Mississippi river, vast and grey, an endless slate of ice sheered for miles across the icy plain, on the edgeAbe of thaw. Recio 22

MARY The Mississippi.

35 EXT. MISSISSIPPI RIVER. IOWA. DAY. 35 The SCRAPE of the wheels as the wagon ROLLS across the stretch of ice. The CREAK of the frozen river straining beneath. The shadowy reflection of the wagon, rippling in the ice- The wagon SKIDS, wheels SPINNING a little. PA, on his feet and leading the horses from the front, grips tight onto their bridles, his face blotted with sweat as he struggles to keep the wagon upright and straight. MA at the reins, MARY and CARRIE on either side. MA’s eyes fixed on PA giving direction- PA Hold tight... Hold tight. The horses hooves SCUFFING the ICE- A CREAK LOUDER NOW, a certain give to the ice. PA pulls the horses up fast- PA (CONT’D) (shouting out) Easy... Easy. CLOSE ON LAURA, seated in the back, gripping JACK. LAURA It’s OK, Jack. AT ONCE, MA grips the reins tight, bringing the horses to a still. MA peers over the top of the horses. PA’s body stiffening, MA seeing this with growing concern. She turns, eyes freezing on seeing- MA (calling out) Charles- A THIN CRACK TRAVELING FAST THROUGH THE ICE, APPROACHING THE WAGON. PA (calm) Ease to the left, Caroline. Ease them to the left. AT ONCE, PA leans his entire body into the flank of the horse, using his weight to push one horse back against anotherAbe and away from the approaching Recio crack. 23

PA (CONT’D) (with growing urgency) Whip on...whip on Caroline. STEADILY THE WHEELS TURN ACROSS THE THICK ICE, THE DEEP DARK RIVER JUST VISIBLE FLOWING UNDERNEATH- MA (whipping) Go on... Go on... Every muscle, every nerve tense on PA’s face as he pushes hard against the horses- The CRACK PASSING INCHES FROM THE WAGON WHEEL BUT SOMEHOW THE ICE STAYS INTACT. CLOSE ON MA, face dripping with sweat, steadying her shaking hands, still gripping the reins in her lap- MA (CONT’D) Charles- PA, finds his footing close to the river’s edge, clambers up the frozen bank, then turns to pull the horses by their bridles after him. PA Keep coming, Caroline. Whip ‘em on. MA whips the horses on. The wagon tilts backwards, straining on the incline. The horses skid and slide, but PA stays firm, pulling them up until the wagon’s front wheels are halfway up- The SLIDE OF FURNITURE and TRUNKS SLAPPING HARD AGAINST THE BACK OF THE WAGON BENCH, narrowly missing LAURA, as the horses at last reach solid ground, pulling the wagon up level. At once, MA sinks back, hands rubbed raw by the leather straps, exhausted and shaking. PA leans into the horses, their velvet flanks steaming in the cold. The wagon pulling away, leaving only the wide icy river, on the edge of thawing, behind.

36 EXT. WAGON. TRAIL. IOWA. DAY. 36 Sun Abestreaming through the canvas- Recio 24

Touches of spring everywhere; crocuses banking the trail. Bird song. The last of the snow now thawed. CARRIE plays with a cotton eyed doll, singing quietly to herself- LAURA sits on the back of the wagon, legs swinging, watching JACK padding along the endless flat of Iowa, the land now almost stripped of trees. She is restless, a little bored, furniture and trunks now repacked around her. She swings an arm over a rocking chair, fingers absently tapping against the engraved letters - a heart entwined with MA and PA’s initials, C and C. LAURA You finished your book yet? MARY sits silently reading another dime novel - Young Wild West and Silver Stream or The White Girl Captive of the Sioux by An Old Scout. MARY (hushed, to LAURA) Indians have just scalped a man. Clean took the top of his head off with a tomahawk. CLOSE ON CARRIE wide-eyed, listening in horror- MA O/S Mary- MA’s tone at once silencing MARY. She quickly slides the book under the wagon blanket, pulling out Little Women by Louisa May Alcott. LAURA pokes her head between MA and PA seated in the front. LAURA You think we’ll see Indians? MA darts a look to PA, gripping the reins next to her. PA Where we’re going there’s no people. Just coyotes and bears and wolves. CARRIE Wolves? LAURAAbe seizes her chance, leaning Recio in close to CARRIE. 25

LAURA They love little girls. The smaller the sweeter. CARRIE shrieks- MARY Don’t tease her. LAURA sinks back into the back of the wagon. She stares out over the endless flat, bored and restless- LAURA What else is there to do? AND AT ONCE LAURA slips down out of the wagon- MARY (calling out) Laura-

37 EXT. TRAIL. IOWA. DAY. 37 LAURA walking, smiling up at MARY, staring out incredulous- MARY We got 500 miles to go, Laura. LAURA’s hand grazes JACK’s velvety back, as he runs by her side- LAURA I better run then. MARY shakes her head. CARRIE giggles, leaning out, waving at her. CLOSE ON LAURA, picking up her pace, determinedly following the wagon, JACK by her side. Sunlight through the canopy of trees, dappling the wagon and LAURA’s face. Beyond, distant prairie, LAURA’s eyes searching, quietly watching- JACK’s ears prick up, barking at some squirrel in passing as it shoots up a tree. LAURA laughs, her eyes catch on the last of the winter berries.Abe She picks one, eating it,Recio fingers touching on- 26

A dream catcher, a primitive circle of wood, thread, beads, and feathers, hanging from a branch. PA jeering the horses on. JACK barking, feet skipping along, delighted in the game of it all. LAURA hurrying on. The dream catcher turns in the breeze.

38 EXT. CREEK. IOWA. DAY. 38 A wide, fast flowing creek, dark foamy water swirling on the river’s skin, thrashed deep from underneath- The NOISE of the CREEK DEAFENING, THE RUSH OF FAST-FLOWING WATER HUMMING LIKE A HURRICANE- PA on the approach, the wagon parked close to the creek’s edge. MA looks at him hopefully, jiggling CARRIE in her arms, with LAURA and MARY close by- PA It’s not much narrower further up. Might as well cross here. On MA, tension etched on her face- MA There must be another way. PA If there is I can’t find it. PA reaches into the wagon box, pulling out a thick coil of rope, several yards long. AT ONCE he ties it around his waist, preparing to wade into the water- PA (CONT’D) When I shout, you ride them in, straight through. MA grips his arm with growing concern. PA’s look, pushing her on. PA (CONT’D) Girls, you stay in the back. CLOSE ON LAURA, pulling JACK close to her, CARRIE and MARY close by- MA (calling after) AbeCharles- Recio 27

YET CHARLES DETERMINEDLY IGNORES HER, SINGING ‘THE GUM TREE CANOE’ TO HIMSELF AS HE WADES ACROSS THE WATER. AT TIMES HE DIPS DOWN UNDER IT, LOSING HIS FOOTING, THE WATER NEVER LOWER THAN BELOW HIS CHEST. BUT AT LAST HE REACHES THE OTHER SIDE, STILL SINGING- PA (calling over) When I stop singing you stop. MA nods, gripping hold of the reins, JACK, MARY, LAURA, and CARRIE huddled behind her in the wagon, staring out across the swirling creeks. MA Hold tight. PA nods, and AT ONCE, MA jeers the horses on- MA (CONT’D) (jeering horses) Get up... Get up... Move on... Come on... Move on... PA’s voice across the creek, resuming his song. Pulling the rope taut, he presses his foot against the bark of a wide tree close to the creek’s edge, across from the approaching wagon. PA’s song drawing them on. The wagon sinks down into the water, floating, caught back and forth in the current. MA stands, locking her wrist around the reins as the horses hooves claw the swirly icy depths. Yet PA stays firm, pulling the wagon towards him. SUDDENLY the wagon dips, the horses struggling, neighing loudly, desperate panic in their eyes, as they disappear momentarily under the icy depths- LAURA, clinging to JACK, smacks hard against the side of the wagon- Yet PA keeps singing- The wagon dips again, lilting lower- The RUSH of WATER through the back of the wagon, weighing it down and sending trunks and furniture spinning as they float on the ever rising surface of water- LAURA ducks fast as a trunk floats past her, desperately tryingAbe to hold onto JACK- Recio 28

LAURA (screams) Pa- AND AT ONCE, JACK is FLUNG FROM LAURA’s arms, SLAMMING AGAINST THE BACK OF THE WAGON- LAURA (CONT’D) (calling out) Jack- JACK scrabbling to climb back up the nearly flooded wagon floor, to LAURA at the front. LAURA’s hands desperately trying to grab him back. LAURA (CONT’D) Here boy. SUDDENLY THE WAGON LURCHES FORWARD. LAURA, REFUSING TO GIVE UP, FINGERS CLAMBERING TO GRAB JACK BY THE SCRUFF OF THE NECK- MARY (shouting back) Laura, no- LAURA, HURLED from her seat, slides back out of the wagon, PLUNGING INTO THE CREEK’S WATERY DEPTHS, GRABBING JACK IN PASSING-

39 EXT. UNDERWATER. CREEK. IOWA. DAY. 39 CLOSE ON LAURA, sinking, momentarily stunned by the impact. JACK THROWN ONCE MORE OUT OF HER ARMS. LAURA’s HANDS REACH OUT CLAWING THE FROTHY WATER, TRYING ONCE MORE TO GET HOLD OF HIM. SWIRLING GREY FOAM BLINDING HER AS SHE FIGHTS TO REACH THE SURFACE, FIGHTS FOR BREATH-

40 EXT. CREEK. IOWA. DAY. 40 LAURA gasps for breath. JACK swirling in the water, LAURA grasping onto him, pulling him closer- MA (screaming) Charles, she’s going under again. PA fighting through the SWIRLING RIP TIDES and FOAMING WATER RACING PAST. LAURA, gripping tight onto JACK. PA AbeLet go of Jack, Laura. Recio 29

A wide trunk SWINGS past- LAURA SCREAMS, the trunk narrowly missing her. PA shoving the trunk out of his path, furious to see LAURA still holding firmly onto JACK. PA (CONT’D) (shouting) Laura, do it. SUDDENLY the RIP of a tide, snatching JACK out of LAURA’s arms. LAURA spinning round, trying to catch sight of JACK, disappearing under the water’s SWIRLING DEPTHS- On LAURA’s eyes frantically searching. LAURA (rising panic) No... No... No. SUDDENLY JACK breaks through the water’s surface, several feet down the river. THEN, JUST AS QUICKLY, JACK IS HOWLING and BARKING as the water pulls him spinning away along the river. LAURA SWIMS FAST TRYING TO REACH HIM, CAUGHT IN THE SWIRLING SLIPSTREAM, SPINNING IN THE WATER AFTER HIM, HEAVY FURNITURE and EDDYING BOXES and BEDDING NARROWLY MISSING HER NOW AS SHE IS CAUGHT IN THE FAST FLOWING WATER- PA (shouting after) LAURA... NO... * YET LAURA is determined, legs kicking, FINGERS REACHING OUT FOR JACK, DESPERATELY CLAWING AT HIS NECK, TRYING TO GRAB HIM BY THE COLLAR, MOVING FARTHER AND FARTHER AWAY FROM PA, MA and ALL- PA (CONT’D) (voice dissolving) LAURA... ONWARDS LAURA spins, close to JACK, then pulled away again, farther and farther along the churning river until- LAURA is flipped between rocks and SWIRLING PIECES OF WOOD and STRAY REEDS- LAURA, SPINNING FARTHER AND FARTHER, FASTER AND FASTER- JACK’s barking drawing her on, LAURA spins into an upturned tree, skirt catching in the branches, pulling her down. She hits her head hard against a rock, slipping down under the water-Abe Recio 30

41 EXT. UNDERWATER. CREEK. IOWA. DAY. 41 CLOSE ON LAURA, caught in an eerie web of branches, ICY WATER RUSHING FAST and FURIOUSLY AROUND HER- The BILLOW of her skirt, ballooning around her, suffocating her as it TANGLES AROUND HER, DRAGGING HER DEEPER AND DEEPER INTO THE SILTY UNDERWATER- The BURBLE OF ALMOST LUNAR SOUNDS IN THIS WATERSCAPE- CLOSE ON LAURA, HANDS DESPERATELY TEARING AT THE BILLOWING MATERIAL, TRYING TO GRIP ONTO A BRANCH, TRYING TO PULL HERSELF BACK, DROWNING- SUDDENLY FROM DEEP WITHIN THE RUSH OF WHITE NOISE- PA O/S LAURA- PA’s HANDS GRASPING, WRENCHING LAURA UPWARDS, TEARING HER SKIRT AWAY FROM THE BRANCHES, PULLING HER BACK TO LIFE, BACK TO THE SURFACE-

42 EXT. CREEK. IOWA. DAY. 42 LAURA GASPS FOR AIR, PA DRAGGING HER ACROSS THE CREEK- PA Kick your legs- LAURA furiously kicks, fixing her gaze on MA someway ahead, clinging onto CARRIE. MARY close behind, all of them thrashing in the water. Beyond, the wagon upturned on its side - furniture and possessions spilling out, spinning down the fast flowing river. LAURA dodging the scattered trunks and rocking chairs and bedding floating past- MA reaches out, helpless, for a passing ornament- PA (CONT’D) (calling over) Let it go... Let it all go. Despairing, MA, chest deep in water, clambers onto the riverbank on the other side, CARRIE in her arms. MARY close behind, still clasping onto her book- And beyond, LAURA, desperate yet kicking her legs, trying to blockAbe out the noise of- Recio 31

LAURA (weeping) JACK- JACK desperately trying to keep his snout above water- JACK’s barking dissolving into the ether as he is hurled in circles by the fast flowing current. Rocking chairs, trunks, and bedding spinning past - The wagon, anchored by the rope, now tied around the tree, bobs on its side, its entire cargo lost to the water and spinning out of view. On LAURA, despairing as PA drags her by sodden clothes onto the river bank. JACK’s howls, disappearing into the distance- PA He’s gone. He’s gone. The family scattered and sunk down on the river bank, wet, exhausted, and broken- On LAURA, blood grazing her forehead, sinking to the ground, her body engulfed with sobs. PA sinks to the ground in exhausted despair, shaking his head wearily at LAURA. CLOSE ON LAURA, desolate, weeping into her knees.

43 EXT. CLEARING. IOWA. NIGHT. 43 The CRACK OF A FIRE- LAURA, exhausted, sobered by her tears, a graze on her forehead. She sits alone. PA passes carrying a handful of things which he has found scattered along the riverbank. PA This is the last I could salvage. In passing, PA holds out Laura’s beaten tin of objects. The lid scratched and muddied. LAURA takes it, wiping the river silt off the lid, the remnants of her collection battered and sodden inside but still intact. Far off, MARY and CARRIE under the wagon, staring up at a canopy of stars overhead. MARY turning the pages of her soddenAbe ‘dime’ novel with despair. Recio 32

PA dumps a broken fiddle and handful of soaked clothing down by the fire, sinking down, oddly defeated. He looks across at LAURA, staring out into the dark night. CLOSE BY MA packs away the last of the salvaged pots and pans, subdued, all lost in her own thoughts. Clothes strung on a rope, tied between wagon and tree, still drying in the night air. Only the CRACK of the fire puncturing the silence- CARRIE Has Jack gone to heaven? PA climbs down next to CARRIE and MARY who are absently watching the swallows dip and dive overhead - inky against the night sky. PA God that doesn’t forget the sparrows... PA’s lips skim CARRIE’s forehead, kissing her goodnight, snuggled up under the wagon. PA (CONT’D) ...won’t leave a good dog like Jack out in the cold. LAURA looks up, listening. PA (CONT’D) Ugliest, littlest, piece of nothing you ever saw. But first time I saw him I thought... Now that is a special dog. PA croaking a little, emotion catching him out. PA (CONT’D) Mary, leave that book by the fire. PA blows out the hurricane lamp, putting out her light- PA (CONT’D) It’ll be dry by morning. MARY nods, laying her sodden book by the fire; the usual cowboys and Indians visible on the cover, catching in the firelight. SUDDENLYAbe A LONG LOW HOWL FAR OFFRecio - the call of WOLVES. 33

MARY hurries back, sinking down close to CARRIE- PA (CONT’D) It’s a sign. On MA, looking up listening- The HOWL echoing across the prairie. On MA looking at PA, hoping that he is ready to turn back. On MA’s quiet disappointment as PA heads off to check the wagon. PA (CONT’D) The prairie’s not far now.

44 EXT. CLEARING. IOWA. NIGHT. 44 MA pulls off the last of the clothes, folding them for the morning, eyes filling with tears- MA We’re going to miss a watchdog. MA in despair, pressing her head against the cool of the wagon canvas as she takes in the damage. MA (CONT’D) We have barely two plates, one cup and a gun. CLOSE ON LAURA’s POV as she pulls on her nightdress, watching MA sink, and PA’s wide gentle hand, touching MA’s back, comforting her. PA reaches into his pocket, pulling out the beautiful china figurine, still wrapped in wet paper in his pocket. Ma takes it, gratefully. PA Then we’ve nothing more to lose and all to gain. As PA turns to go, MA instinctively grips his hand in quiet gratitude. LAURA (on the approach) Ma- MA Not tonight, Laura. I don’t want to talk to you tonight. MA, sinks down on the wagon step, her back to LAURA, carefullyAbe unwrapping the china figurine.Recio 34

LAURA Did it break? MA hurriedly wraps it up, sliding it into the wagon and readying herself to sleep. MA It can be mended. Go to sleep. On LAURA, forcing back tears.

45 EXT. CLEARING. IOWA. NIGHT. 45 The THROB of CICADAS- LATER- CARRIE and MA tucked under the wheels of the wagon. LAURA lies next to MARY unable to sleep- SUDDENLY A RUSTLE THROUGH THE GRASS- LAURA stirs, eyes catching on- A pair of eyes staring at her through the tall grass. Dark and black, glinting in the firelight, uneven on the approach- LAURA (hushed) Pa... The black eyes close and then open again, growing ever closer- LAURA (CONT’D) (louder) Pa... PA stirs, waking with a start by the near burnt out fire- The CLICK of the gun catch- AND AT ONCE, PA RAISES HIS GUN, AT THE READY, FINGER ON THE TRIGGER ABOUT TO FIRE. THEN- LAURA (CONT’D) (sudden, with relief) No, Pa. It’s Jack. JACK, fur plastered with mud, crawls through the grass, shivering, barely able to drag himself to the fire, body scoredAbe with scratches and torn flesh.Recio 35

AT ONCE, all are up surrounding him, MA carrying a bleary- eyed CARRIE in her arms. PA bends down, JACK mournfully licking PA’s hand as he strokes him. JACK, barely able to raise his head, the stump of his tail beating against the grass in exhausted gratitude- PA (hushed, to JACK) Ssh. Rest now, boy. CLOSE ON LAURA, watching as MA, CARRIE, and MARY lavish him with love and tears. Even PA wiping back tears- PA (CONT’D) Laura, go get the iodine from my saddle bag. LAURA nods, determinedly heading off, GULPING BACK tears of relief, trying not to break until she reaches PA’s saddle bag hanging over the wagon board- CLOSE on LAURA, pulling out some wadding and a bottle of iodine. SUDDENLY she SOBS, pressing her forehead against the cool of the leather saddle bag, silencing a scream of relief, letting her tears flow until- CLOSE on LAURA, she wipes back one last tear, smiling on hearing CARRIE’s laughter, delighting in JACK. CLOSE ON LAURA hurrying back, iodine and wadding in hand. MA Laura- MA holds out her hand, LAURA hands MA the bottle of iodine. Ma smiles, momentarily holding LAURA’s gaze, quietly conceding. MA (CONT’D) Hold him still. CLOSE on LAURA holding JACK as MA attends to his wounds, one hand tenderly calming him. She flinches as he whimpers, the iodine stinging- LAURA (close to JACK) Ssh...Jack...ssh. LAURA’s fingers hover, as she watches MA, JACK whining as MA cleansAbe his wounds- Recio 36

LAURA (CONT’D) I can do it. MA hesitates, handing the iodine-soaked cloth to LAURA. LAURA takes it, gently stroking JACK as she cleans his wounds. On JACK calming, resting his head in LAURA’s lap. MA and PA watching LAURA, so tender and close to JACK. Deep scratches, almost like the claws of a wolf have scored JACK’s flank- PA The devil didn’t want him tonight.

46 EXT. CLEARING. IOWA. NIGHT. 46 CLOSE on LAURA, lying with JACK, close to the fire- PA, MA, CARRIE, and MARY already asleep- JACK whimpers a little, LAURA gently comforting him- LAURA Ssh boy... Ssh... It’s alright. You’re home now. (close to) I’m so glad you’re home now. Far off the HOWL of wolves. LAURA turns, listens, a breeze pricking her skin. A wide starry sky above.

47 EXT. PRAIRIE. MISSOURI. NIGHT. 47 A lone wolf sits, a dot on the landscape, etched like charcoal against the vast flat land all around, eyes glinting in the dark as it turns its head as if watching- The tiny cluster of the sleeping family, firelight illuminating them in the dark.

48 EXT. WAGON. PRAIRIE. MISSOURI. DAY. 48 CLOSE ON PA sitting at the front of the wagon, steering the horses- PA AbeWake up. Recio 37

CLOSE ON LAURA, stirring, asleep in the back of the wagon- ABOVE, the wagon canvas, torn by the creek, is folded back to reveal blue sky- An eagle soars high overhead- LAURA’s eyes, slowly focusing on the wide wingspan of the eagle who seems to almost be escorting them along the trail- Then at once, the eagle dips down and hurls himself away, disappearing towards the sun. PA, seated at the front of the wagon, turns, smiling at LAURA- PA (CONT’D) Wake up... MA stirs by his side, her head on his shoulder, smiling on seeing- PA (CONT’D) See- LAURA sits bolt upright, MARY and CARRIE stirring around her, all of them marveling at a wide blue sky, streaked with white clouds, and beyond the beautiful green of the prairie lying endless all around- TALL GREEN GRASS SWISHING, RIPPLING WITH THE BREEZE, LIKE A WIDE GREEN OCEAN, SWAYING BACK AND FORTH. The first spring flowers woven through the grass- PA (CONT’D) (with delight) Didn’t I say we were near? CLOSE on PA, face gleaming, as he shakes the reins, urging the horses on- The TURN of the wheels, in quickening pace. LAURA’s eyes graze over a long snaking state line - a sign reads Kansas as the wagon crosses inot the state. On LAURA, heart bursting, eyes alight with growing excitement. A vast wide prairie, stretching for miles ahead. A herd of antelope heads poking up out of the grass watching, bored,Abe mouths steadily chewing grassRecio as the wagon rolls past. 38

49 EXT. PRAIRIE. KANSAS. DAY. 49 The RATTLE of oats in a feedbox- The horses, TEETH GRINDING, chewing on their feed- PA stands looking over the endless prairie, smiling as he watches LAURA, MARY, and CARRIE running through the tall grass, chasing butterflies- The HUM of bumblebees- MA hands PA a mug of coffee. He drinks, with delight taking in the wide sky overhead- Meadowlarks spring from the grass, singing to one another- Squirrels and rabbits perch on branches and poke their heads above the grass. Small pearly clouds drift across the endless blue overhead. PA reaches under the wagon canvas, pulling out a rolled up map, laying out across the wagon board. On the map, marked, a snaking river. A trail. The wide open prairie- PA places a compass down, finding North, looking out over the shimmering green grass stretching out for miles. On PA, exhaling - at last he can breathe.

50 EXT. LONG GRASS. PRAIRIE. KANSAS. DAY. 50 CLOSE ON LAURA, chasing rabbits through the grass, eyes searching. Another rabbit pokes its head above the grass. She runs after it in futile chase. LAURA slows her pace, FINGERS GRAZING over the grass, plucking a beautiful flower here, peering at a bug, found on a blade of grass, turning it in her hand. She stops taking in the prairie wide and endless beyond. Closing her eyes, LAURA enjoys the feel of the sun warming her face. LAUGHTER.Abe Recio 39

Far off, MA laughing with PA. JACK barking playfully, close by to PA. On LAURA as she keeps walking through the grass, farther and farther away, leaving PA and MA and MARY and CARRIE and JACK behind until they are dots in the distance- The sun hot now, already high in the sky- LAURA stands, raising a hand to her brow, squinting in the sun. Beyond, a clearing. LAURA walks a little closer-

51 EXT. CLEARING. PRAIRIE. DAY. 51 A scrubby patch of prairie, imbued with a haunting sense of a former life. ON LAURA, crouched down, pocketing a broken piece of china. The outline of a cabin, a floor plan, almost scorched into the ground, now overgrown with tufts of grass- On LAURA walking around it, taking in a charred, blackened patch of stubble in the corner of the cabin, where clearly a fireplace once was. The shadowy remnants of a vegetable patch, unkempt and overgrown, beyond. A BREEZE THROUGH THE GRASS- LAURA stands, unsettled, a chill pricking goose bumps on her skin. The sense that something terrible once happened here. A dream catcher hangs on the broken remains of rough fencing. LAURA’s FINGERS graze over the tiny knot of braid, feathers, and a tiny mouse skull. AT ONCE SHE PULLS HER HAND AWAY. She turns, sensing someone watching her- A CROW SQUAWKS OVERHEAD, PUNCTURING THE SILENCE, MAKING HER JUMP- LAURA turns, instinctively about to shout for PA. Yet something makes her stop- On LAURA watching PA, with MA, standing far off, compass in hand. CARRIE and MARY running after him, as he marks out land.Abe Recio 40

An image of happiness- LAURA hesitates, smiles. She turns, heading back towards them, back through the grass- The BREEZE ripples the grass- The CROW SQUAWKS OVERHEAD- On LAURA, disappearing, leaving the scorched earth behind- A bright patch of primroses just visible poking out of a mound of earth close by, almost as if marking a burial ground. A handful of colored clay beads, scattered, close by, pressed into the earth. A dusty trail scoring through the grass beyond, snaking far off out of sight-

52 EXT. PRAIRIE. DAY. 52 Far across the prairie, SOLDAT DU CHENE [mid 30’s] - a lone figure - stands, a gun in his hand. A brace of bleeding prairie hens strung over his shoulder. Dark eyed and brooding, his face is marked with the cuts and lines of a violent life. A deep scar, like a claw scratched through paper, drags down the eyelid of one milky, blind eye. His head is half-shaved and patterned with the deep-inked tattoos and symbols of the Osage tribe. There is a heavy stillness to SOLDAT. A strangeness - and yet, tiny marks of another life; a gold wedding ring on a chain around his neck. A tailored waistcoat, torn and frayed, as if stolen from a bank clerk or Kansas lawman. He silently watches LAURA, oblivious to his presence, heading back to her family. The SQUAWK of CROWS circling overhead.

53 EXT. PRAIRIE. DAY. 53 On LAURA- The MURMUR of PA and MA’s excited chatter close now- LAURA’s hand grazes JACK’s back - Jack now sunk in the grass, pantingAbe in the heat. Recio 41

PA, pencil clenched between his teeth, standing with his compass, occasionally marking out a quarter section on the map. PA (pointing) 160 acres from that tree to over beyond there I reckon- MA resting a hand on PA’s shoulder, taking in the wide view - relishing the peace and the beauty. PA (CONT’D) Plenty water from the creek. Til I dig us a well. Close to the house here. We plant corn here and here. PA’s eyes darting between the map and the landscape, marking it out. PA (CONT'D) Farm it and - come spring we’re prairie landers- PA swinging MA around in his arms, stumbling in the grass- MA (laughing) Charles! LAUGHTER- MA and PA lie in the tall grass, happy and momentarily entwined. ON LAURA, eyes falling on the map, PA’s rough pencil markings- LAURA’s eyes tracing over the faint dotted line marking a trail, her gaze hesitating on- MA (CONT’D) (calling over) Laura- A CIRCLE OF CROWS FAR OFF- SOLDAT NOW GONE- LAURA deflects with a smile, falling into helping MA drag a canvas tarpaulin out from under the wagon. MA (CONT’D) Help me tie the tarpaulin to the Abeedge of that tree. Recio 42

54 EXT. CLEARING. PRAIRIE. KANSAS. MONTAGE. DAY. 54 The SWING of scythes- MA, LAURA, and MARY slicing through tall grass. Hot, sweaty work. The sun beating down overhead. The RISE of MA singing ‘Spring Time is Coming’ carries across the wide prairie- Far off the fell of trees, birds tossed into the sky above where PA, unseen, is already at work chopping down wood.

55 EXT. WOODS. PRAIRIE. DAY. 55 The SWING of an axe- The CRASH of a tree, SNAPPING branches as it falls- PA wipes his face with a handkerchief, swinging his axe back, slicing at branches as he strips bark and leaves, singing quietly under his breath, falling in with Ma’s distant song. He wraps a heavy chain around the bark of the tree, shaking it out and clipping it to the two horses grazing close by. Then slapping them on, PA SHOUTS and JEERS the horses into work, dragging the felled tree towards the clearing- PA (jeering horses) WALK ON... WALK ON...

56 EXT. CLEARING. PRAIRIE. DAY. 56 CLOSE on MA, standing shaded under the tarpaulin- The canvas flapping in the breeze- The CHINK of cutlery. The CLINK of china as MA prepares coffee and pancakes for breakfast in the makeshift kitchen. JACK close by, sleeping in the shade, a long rope fastening him to the wagon. The sense of someone watching MA- MA caught in scissored POV-

57 EXT. TRAIL. NEAR CREEK. PRAIRIE. KANSAS. DAY. 57 CLOSE ON LAURA, wading along a winding creek, the grass tall on eitherAbe side- Recio 43

The early morning sun already hot in the sky- A wood pigeon’s steady THROB audible in the trees overhead- LAUGHTER- Far off, CARRIE and MARY gather pails of water and play with stones- LAURA stops to listen, eyes catching on- A glint of color in the grass. She bends down, picking up a bright bead, holding it close, curious at the colored clay scored with primitive patterns. She looks down again, clocking another, and another, picking each one up, like Hansel and Gretel following a trail, walking deeper and deeper- The bubble of the creek, edging the grass leading her on-

58 EXT. CLEARING. PRAIRIE. DAY. 58 CLOSE ON MA, quietly singing to herself- The sway of colored beads fastened into plaited hair- The RUSTLE of soft suede fringing- SUDDENLY JACK stands to his feet, fur bristling, ears pricking up, GROWLING- MA looks up as a pot, seemingly knocked, falls to the ground. On MA, quizzical, wiping her hands on her apron, crossing to pick it up- MA Ssh Jack.

59 EXT. CREEK. PRAIRIE. DAY. 59 CLOSE on LAURA, taking in a small clearing, just visible through the trees- The remains of a fire- Logs in a circle- LAURA’s eyes search the trees, wavering on- The AbeCRACK of wood under feet. Recio 44

CLOSE ON LAURA AS SHE INSTINCTIVELY TURNS TAIL, RUNNING FASTER AND FASTER THROUGH THE TREES.

60 EXT. CLEARING. PRAIRIE. DAY. 60 MA looks up, unsettled, a knife in hand, as she prepares supper. The flicker of a figure, caught like a shadow puppet behind the tarpaulin. MA reaches out a hand, pulling the tarpaulin back, sighing with relief- Nothing but a high stack of wooden stakes in waiting for the build. MA (patting JACK) Daft dog. The endless prairie rippling beyond. MA turns to go, yet something makes her stop- A RUSTLE in the grass, unsettling- JACK GROWLS ONCE MORE- MA grips the knife, crossing slowly towards the stack of wood.

61 EXT. CREEK. PRAIRIE. DAY. 61 LAURA RUNNING UNTIL- BAM! LAURA slams into a tall bear-like figure of a man, hair fiery red, chin framed with a thick beard - MR EDWARDS [late 30’s/early 40’s] stands, gun slung over his shoulder, peering up at the tree overhead. LAURA lurches backwards- MR EDWARDS (hushed) Don’t move- The THROB of the wood pigeon’s call mimicked through MR EDWARDSAbe lips- Recio 45

MR EDWARDS (CONT’D) (hushed) It’s a cock hen. Pitch is higher. LAURA stands, frozen to the ground, eyes searching the trees- MR EDWARDS(CONT’D) (hushed) Listen- MR EDWARDS coos again. LAURA looks up, spying a fat wood pigeon perched in a tree. She smiles as the wood pigeon seems to almost answer MR EDWARDS’ call. MR EDWARDS (CONT’D) (on the approach) What you got there? LAURA hesitates, holds out her palm to reveal the handful of beads. MR EDWARDS (CONT’D) Ain’t they pretty? Osage make ‘em. You seen ‘em yet? Fearsome looking. You can trace their line back to the Omaha Sioux. Feather poking upright, back of head, like a general. See them once you won’t forget ‘em. They come from a warrior tribe. SUDDENLY FROM BEYOND- PA O/S (calling out) Laura- PA on the approach, a gun over his shoulder, carrying a newly shot rabbit in his hand- MR EDWARDS Good day to you, Sir. LAURA hurries over to PA. He puts an arm around her protectively, his eyes staying on MR EDWARDS, unsettled. He nods in greeting. MR EDWARDS raises his hat, nodding over to his horse tethered close by, loaded up with a bedding roll and provisions- MR EDWARDS (CONT’D) You’re the first folk I’ve seen for forty miles. Not since I left AbeIndependence. Recio 46

PA (nods) That’s the way I want it. MR EDWARDS nods. LAURA’s eyes silently traveling over his clothes; heavy with mud, leather breaches stiff, hair wild and unkempt as if he hasn’t washed in weeks. MR EDWARDS I’ve made a claim further up stream. PA Laura go back to your mother, with your sisters. LAURA makes to go in the direction of MARY and CARRIE, a little farther ahead. MR EDWARDS Won’t be disturbing no one. I keep myself to myself. But it’s all God’s country. Hope you don’t mind sharing it. Forgive my appearance, but I ain’t bathed in weeks but for a dip in the creek there. I been working night and day to finish my homestead. PA A man who works hard stinks only to the ones that have nothing to do but smell. MR EDWARDS smiles, laughs, PA softening- MR EDWARDS That is true, Sir, but six weeks of grits ain’t good for anyone’s digestion.

62 EXT. CLEARING. PRAIRIE. DAY. 62 MA peering over the high pile of stakes - nothing. MA smiling at her own foolishness. She makes to turn, FREEZING ON- A tall Osage youth, PAYTAH [16 yrs], head shaved, scalp tattooed with dark-inked patterns, beads plaited into a scalp lockAbe in his hair, stares back atRecio MA, bare-chested and defiant- 47

MA You get away. You hear? On PAYTAH, offering a sly smile- JACK furiously barking, frantically pulling at his leash. MA (CONT’D) (holding knife) Get away.

63 EXT. NEAR CREEK. PRAIRIE. DAY. 63 LAURA, pail in hand, walking barefoot through the creek with MARY and CARRIE close by- SUDDENLY SHE STOPS, HEARING JACK BARKING FAR OFF- THEN, MA’s blood curdling scream carrying along the creek- LAURA (shouting out) Ma- The SLAP of LAURA’s pail, dropped in her wake. CARRIE and MARY running, close behind-

64 EXT. CLEARING. PRAIRIE. DAY. 64 CLOSE on MA, writhing in agony, the spill of the heavy wooden stakes all around. MA impaled, a stake puncturing her thigh, poking straight through the fabric of her skirt. JACK WILDLY BARKING, STARING OFF ACROSS THE PRAIRIE. Ma’s knife dropped on the ground close to her- LAURA (on the approach) Ma LAURA, MARY, and CARRIE breathless and panic stricken, sink down next to MA. PA and MR EDWARDS only yards behind. PA Caroline- MA screams, the pain overwhelming her- MA AbeI saw an Indian. I chasedRecio him away. 48

At once, PA’s eyes search the horizon, LAURA following his gaze - PAYTAH just visible, running, some distance away, across the prairie. MR EDWARDS Don’t move Ma’am. MA screams out in pain as MR EDWARDS gently crouches down next to her. PA grips MA tight. MR EDWARDS takes out a knife, ready to cut MA’s dress- MR EDWARDS (CONT’D) May I? PA hesitates, nods as MR EDWARDS cuts at the fabric, tearing it away to reveal- A femur bone sticking out of MA’s flesh, snapped in two by the stake. On MARY, looking away. Yet LAURA determinedly looks on, watching as MR EDWARDS cuts more and more of the fabric away. PA Mary, start the fire, heat up the water. Shaking, MARY does not move. LAURA grabs her by the wrist- LAURA (looking into eyes) Mary... Find the flint for lightin’. MARY nods as LAURA takes charge- LAURA (CONT’D) Carrie, go get more wood. On LAURA, crossing over to the wagon- JACK still barking, pulling hard on his leash. LAURA (CONT’D) Ssh, Jack. Ssh.

65 EXT. PRAIRIE. DAY. 65 Running through tall grass, PAYTAH with DAKOTA [15 yrs], his younger brother, and ENAPAY [14 yrs], their cousin. All marked with the tattoos and beaded scalp locks of the Osage tribe.Abe Boys on the edge of manhood, Recio swaggering and arrogant. 49

Far off, JACK’s barking audible. Suddenly something makes ENAPAY look back- The lone figure of LAURA, watching, holding ENAPAY’s gaze until- PAYTAH (calling back) Enapay. ENAPAY, his strong muscled torso scissoring through the grass, running after PAYTAH. Their WHOOPING and LAUGHTER carried on the breeze.

66 EXT. NEAR HOUSE. PRAIRE. DAY. 66 On LAURA, watching, gripping her fists in quiet anger- LAURA Ssh... Boy... Ssh...

67 EXT/ INT. HOUSE. CLEARING. PRAIRIE. DAY. 67 The last of the sun fading over the prairie- Nine hours have passed. MA lies, feverish, blood seeping through the makeshift bandage around her leg- The BUZZ of midges all around. MARY presses a cold flannel against her forehead. On LAURA reaching for more torn cloth, tying it tighter around MA’s leg, blood blotting the fabric. CARRIE sits close to MA, cuddled up next to her, comforting her. Overhead, PA pulling a canvas down devising a makeshift covering over the half-built log house, cutting out the light and sinking them into shadow below. On MA, lost in feverish sleep. PA enters, watching as LAURA scoops up the bowl of bloodied dressings, heading outside to throw them in the fire. PA (touching MA’s forehead) AbeGet more water. Recio 50

MA slips out of consciousness. LAURA nods, hurrying on, picking up the pail in passing.

68 EXT. CREEK. PRAIRIE. DUSK. 68 LAURA, sinking her bloodied hands in the water. Hurriedly washing them, she turns, scooping up the bucket of water and turning toward home. LAURA (hushed, to herself) Let her live and I won’t ever be bad again. I’ll do my sums. I won’t cheek back. Tall grass scratching her arms, water slapping against her leg. The first bats of the night SWOOP and FLUTTER, SKIMMING OVERHEAD. LAURA (CONT’D) (hushed, to herself) Let her live and I won’t ever be bad again. I’ll do my sums. I won’t cheek back. I’ll ride side saddle like she likes. Please don’t let her die. FAR OFF THE SOUND OF HORSES ON THE APPROACH- LAURA picking up her pace- LAURA (CONT’D) (murmuring) Just please don’t let her die.

69 EXT. YARD. NEAR HOUSE. PRAIRIE. DUSK. 69 THE THUNDER OF HORSES ON THE APPROACH. CARRIE’s eyes widen, JACK by her side watching MR EDWARDS on the approach, with a second horse close behind- DR TANN [early 40’s], smart in suit and overcoat, rides, a medicine bag strapped to his side. His dark black skin framed with grey flecked hair, as he dismounts the horse almost as soon as he reaches the clearing. PA stepping out to greet them. DR TANN pulls out his medicine bag, hurrying into the makeshift house- PA AbeLaura- Recio 51

At once, LAURA takes DR TANN’s and MR EDWARDS’ horses, leading them over to the other horses, tying them up and fetching them water.

70 EXT. NEAR HOUSE. CLEARING. PRAIRIE. NIGHT. 70 An hour later- LAURA, MARY, and CARRIE wash dishes, finishing up their chores, watching DR TANN fall into conversation with PA- PA Fix some coffee. AND AT ONCE, MARY is on her feet, reaching for a coffee pot strung over the fire. BUT EVEN QUICKER LAURA holds out two tin cups, in waiting- MARY He asked me. LAURA stays firm, MARY reluctantly concedes, pouring coffee into the cups and hurrying over to PA and DR TANN and MR EDWARDS. DR TANN The bone’s broken in two places. DR TANN drinks his coffee- DR TANN (CONT’D) You’ll need to keep it clean. I’ve seen when the rot gets in on the battlefield. If it does, she’ll lose it. ON LAURA, quietly digesting this- PA reaches into his pocket, but DR TANN stops him with his look. DR TANN (CONT’D) I don’t take money for helpin’ people on a first visit. You should thank Mr Edwards here. MR EDWARDS looks across from helping stack the lumber back into shape. DR TANN (CONT’D) He must have ridden near half a day to get to me. Abe(MORE) Recio 52 DR TANN (CONT’D) I was on my way to visit my cousin in Virginia and he wouldn’t let me leave til I came back to see you. MR EDWARDS (shrugs dismissive) Only what anyone would do. DR TANN You got the start of a fine house here. DR TANN smiles, aware of LAURA staring at him. DR TANN (CONT’D) Might have thought twice about building it so close to the trail though- PA Says on the map its disused. DR TANN Can’t rely on a map with Washington always changing and rearranging the boundaries. It’s still used. By the Osage. They came down from Missouri long time ago. The government gave them this land. Now the government wants it back again. Offering money but they won’t take it. On PA, face darkening- PA Why? DR TANN They’ve lived and died here. This is their home by ancient rights. So you’re squatters to them. Their teepees are about a mile down. You don’t normally see them more than once...maybe twice a year. But this land situation. A few of them are more fired up than you might like. DR TANN picks up his medicine bag, stamped with the words Lieutenant Tann. LAURA’s eyes catching on this. DR TANN crosses over to his horse and straps it to the saddle. DR TANN (CONT’D) My advice? You cut your losses, Abekeep on riding. Recio 53

PA I’ve half built the house. DR TANN Your wife is going to need three months to recuperate and even then? Her leg might never be straight. PA Well then we can’t move anyway. DR TANN, shrugs, concedes. DR TANN I wish you well. But come September when you’ve got grasshoppers eating your corn, rain’s still not come... On PA, taking in DR TANN’s words, unsettled, but refusing to concede. DR TANN (CONT’D) I’ll ask Mrs Scott to drop by, change the dressing. She and her husband. They’re about two hours away. Pulling himself up onto his horse, DR TANN nods towards MR EDWARDS. DR TANN (CONT’D) If you need a hand, there’s no finer carpenter. You could do worse for a neighbour. He’ll get you a roof on that house. Hey Nathaniel, maybe Mr Ingalls could help you with that well you keep threatening to dig? And with a wave, DR TANN is gone. JACK stands at the edge of the clearing watching him ride away. MARY (close to) You ever seen a man as black as that? LAURA shakes her head, her hand grazing JACK’s coat as she watchesAbe DR TANN dissolving into Reciothe distance. 54

71 EXT. CLEARING. PRAIRIE. NIGHT. 71 MR EDWARDS, finishing up, hammering a piece of stray tarpaulin over the half-built house. He climbs down, crossing over to his horse, sliding hammer and nails into his saddle bag. MR EDWARDS I’ll bring you nails in the morning. You need them an inch longer. PA nods, crouched down, hand grazing over the snaking track weaving its way down to the creek, hoof marks scored in the grass. MR EDWARDS (CONT’D) (pointing towards the creek) You can see their fires sometimes. About a half a mile down the creek. PA nods. MR EDWARDS looks over to MARY and LAURA washing up, getting ready for bed. MR EDWARDS (CONT’D) Good night. Miss Mary. Miss Laura. Good night Little Bit. CARRIE GIGGLES, poking her head out from under the canvas. PA Thank you. MR EDWARDS, WHISTLING A BEAUTIFUL NIGHTINGALE SONG, CHARMING MARY and CARRIE, CARRIE waving him goodbye- MR EDWARDS (riding off) I ain’t done nothing.

72 EXT. PRAIRIE. NIGHT. 72 CLOSE ON SOLDAT, the breeze rustling the beads and feathers braided into his scalp lock. One long lock of hair braided, the rest of his head shaved and inked with primitive symbols and patterns. SOLDAT with brooding gaze, watching PA, ushering the girls inside the makeshift house. SUDDENLYAbe the night is punctured Recioby the HOWL of a WOLF- 55

SOLDAT turns, listening. CLOSE on SOLDAT, lost deep within himself, jeering the horse on, riding away- A dark primitive symbol of a wolf, snaking up his arm.

73 EXT. CLEARING. PRAIRIE. DAY. 73 The FLAP of sheets in a spring breeze- MRS SCOTT [late 40’s], apple-cheeked and stout, dips down under the flapping cotton, placing a basket onto a makeshift table. CARRIE, LAURA, and MARY peering out. MRS SCOTT squeezes cheeks, barely breaking her flow as she takes out a pie, lemonade, a jar of honey, and freshly laid eggs and home made bread- MRS SCOTT When I told Mr Scott we had neighbors I had to stop him hitching up the rig there and then to ride to visit you- (to LAURA) You find me plates and forks, honey. I brought my best honey case the pie is a little tart. MRS SCOTT reaching for a tin cup, resting on a trunk close by, pouring a cup of lemonade. MRS SCOTT (CONT’D) (pointing at CARRIE) You, sweet cheeks. You like lemonade? (handing a cup) Course you do- Beyond, PA, MR EDWARDS, and MR SCOTT [early 50’s], short and stocky but with broad shoulders, all working on the house; hammering and sawing and shaving wood, one making a room, another hammering a front door- MRS SCOTT (CONT’D) (knocking door in passing) Knock...knock-

74 INT. HOUSE. PRAIRIE. DAY. 74 MRS SCOTT gently pulling back the dressing on MA’s leg; the wound, quietly shocking, seeping a little. Yet MRS SCOTT makes light of it, reaching for clean dressing and cleaning it asAbe she talks. Recio 56

MRS SCOTT Very nicely done. We’ll have you dancing by Saturday. MRS SCOTT looks for somewhere to put the bloodied dressings. At once LAURA takes them. MRS SCOTT (CONT’D) Well thank you little lady. LAURA hurries off, throwing them in the fire. MRS SCOTT (CONT’D) (looking up) Mr Scott, be careful, I don’t want you landing on her ankle and her in a bed another week. MR SCOTT waves MRS SCOTT away, a mouthful of nails clasped between his teeth, smiling down at MA as he helps PA nail down a roof overhead. MRS SCOTT finishes up, dressing MA’s leg. MRS SCOTT (CONT’D) Now I hope you are giving her a mantel. MRS SCOTT takes in the space, peering through the cut out hearth to see MR EDWARDS slapping mud onto bricks, building the chimney beyond. MRS SCOTT (CONT’D) A house isn’t a home unless a woman has somewhere to display her most treasured possessions. MA looks up at PA, stifling a smile- MRS SCOTT (CONT’D) Know where might I find a broom, Mrs Ingalls? MARY and LAURA jump out of MRS SCOTT’s path, MRS SCOTT hot on their tails as she finds a broom. MRS SCOTT (CONT'D) We may not be ready but we can be civilized. Abe Recio 57

75 EXT. OUTSIDE HOUSE. PRAIRIE. DUSK. 75 MRS SCOTT hands out pie and coffee to PA, MR EDWARDS, and MR SCOTT. MARY and CARRIE close by stringing Indian beads onto thread. LAURA sits listening. MR SCOTT Dr Tann is right. Osage are jumpy. Used to be you were lucky if you saw them twice a year. MRS SCOTT Twice is still too many if you ask me. Only good Indian is a dead Indian- MR SCOTT Louise- MRS SCOTT I’m only telling them what they should know. There was a family from Clarksville, Mississippi. The O’Neils, settled just... (pointing across Prairie) ...past there few years ago now- LAURA, MARY, and CARRIE listening. PA seeing this, unsettled. PA Laura take your mother some pie. Mary, you take your little sister to bed please. LAURA, tailed by MARY and CARRIE, reluctantly takes a plate of pie towards the house, leaving behind the MURMUR of voices- MRS SCOTT (hushed) They kept seven guns at the ready, but the night the Indians come, they knew they were dead. When the marshall rode out in the morning he found seven bodies, still lying in their night gowns. Heads scalped. Throat slit. All dead. CLOSE ON LAURA, lost in listening- MRS SCOTT (CONT’D) (hushed) Youngest was no more than six months. And they never found the little baby. Abe(MORE) Recio 58 MRS SCOTT (CONT’D) Though little bones were found a year later. They say wolves took him from the Indians whilst they slept. MURMURS of DERISION- MRS SCOTT (CONT’D) Only saying what they should know. MR SCOTT points towards the creek, PA following his gaze. MR SCOTT Stole two of our horses last winter.

76 INT. HOUSE. PRAIRIE. DUSK. 76 LAURA slides the plate of pie down next to MA, both now listening- MRS SCOTT O/S At night sometimes you can still hear that baby crying... The MURMUR of voices underscores- MA That woman talks nonsense. You can go a thousand miles and still find those wishing to gossip. It’s just stories, Laura. To make you fearful. LAURA (sudden) I’m glad you didn’t die. MA (quizzical) No one’s going to die. MA instinctively reaches out a hand, looks at LAURA, quizzical- MA (CONT’D) Laura-? LAURA nods. MA smiles as CARRIE holds up a string of colored beads- CARRIE AbeI made you a necklace. Recio 59

MA, admiring the beads, burying her face in CARRIE’s cheeks, smothering her with kisses. CARRIE (CONT’D) Laura found the beads. MA wavers, eyes looking to LAURA, MARY just entering- LAURA They’re all along the creek. On MA with quiet concern- MA They’re just stories- MA looks beyond at the shadowy figures of PA, MR and MRS SCOTT, and MR EDWARDS hunched around the fire. MRS SCOTT lost in animated conversation. MA (CONT’D) (almost to self) ...and people love stories better than a broken bit of truth. PA looks up, towards the house, sensing MA looking at him.

77 EXT. YARD, NEAR HOUSE. PRAIRIE. DUSK. 77 On PA, preparing to wave off the SCOTTS and MR EDWARDS. LAURA, CARRIE, and MARY stand by the door, MRS SCOTT squeezing cheeks in passing- MR EDWARDS Mary- MR EDWARDS reaches into his saddle, pulling out a well worn ‘dime’ novel. The image of a beautiful lady and next to her a young Squaw, holding out an offering of beads. The Woman Trapper or Arkansas Sal and the Apaches. MR EDWARDS (CONT’D) (offering to Mary) Your Pa tells me you have an affection for the dime novel. I read them too quick. MARY smiles, MR EDWARDS climbing onto his horse. MR EDWARDS (CONT’D) It’s good to find a use for them. On MARYAbe with obvious delight, alreadyRecio turning the pages- 60

MARY Thank you. CARRIE, following MARY inside- PA goes to close the makeshift stable door, stopping on seeing- Claw marks scored into the wood. He traces his FINGERS OVER THE SCRATCHES WITH GROWING UNEASE- Then something makes him freeze. Close to the SCRATCHES- A twist of twigs, feathers, and colored Indian beads, marked with blood and ash, hanging from the wood. PA touches it, letting it twist in the breeze. On PA, eyes darkening, looking out to the prairie beyond. Above a brooding thunderous sky-

78 INT. HOUSE. PRAIRIE. DUSK. 78 MA lies in a makeshift bed, CARRIE by her side, turning the pages of MARY’s dime novels - images of Sioux, tall and stiff- backed, heads shaven with a lone feather sticking out, quietly captivating CARRIE. PA There’s scratches all along the stable door. PA fiddling with the broken instrument, pulling out the strings. PA (CONT’D) Probably coyote. CLOSE on LAURA, sliding an animal’s tooth into her oil tin. Several new additions visible including the colored beads. LAURA’s hands hesitate on the Maple leaf, given by GRANDPA, now almost dried out. MARY close by, reading. MA Least we know we got neighbors. PA If we’d wanted neighbors we would have stayed in Wisconsin, Caroline. We came here to get away from Abepeople. Recio 61

MA (hushed) What you going to do? Keep them in the house? You can’t coop up children like chickens. (hushed) We could send them to my mother. PA, inwardly recoils, MA seeing this- MA (CONT’D) There’s a stage coach goes as far as Missouri from Independence... She could meet them there. PA No. MA We won’t survive the summer let alone one winter if I can’t chop wood and plant and bring water - what if something happened to you too? Then how would we eat? There are worse things than Indians, Charles. PA looks up, holds MA’s gaze, trying not to buckle- MA (CONT’D) You think I want to be parted from my children? On MA, trying to hold back her tears, looking away. MA (CONT’D) I won’t let them starve to death because we can’t feed them. On LAURA unable to listen any longer, heading outside, the tension palpable. On MARY drawing CARRIE into a game. SILENCE UNTIL- PA Mary knows how to plant. Carrie can water. We can all lay a fire. The girls can make grits, coffee and bread while I’m on the crops. MA AbeAnd who will hunt then?Recio 62

SUDDENLY FROM BEYOND- The SOUND OF THE CHOPPING OF WOOD. MA and PA look outside, quizzical The CHOPPING GROWING LOUDER AND LOUDER.

79 EXT. CLEARING. PRAIRIE. DUSK. 79 PA stepping out from the makeshift house- LAURA now outside, swinging a great axe, determinedly chopping wood until- On PA, watching LAURA, considering, reaching for his gun. PA (calling out) Laura- On LAURA, refusing to concede defeat. PA (CONT’D) Go get my gun. On LAURA, slamming the axe into the wood with a WHOOP of JOY- Overhead a thunderous sky.

80 EXT. YARD. NEAR HOUSE. PRAIRIE. DAY. 80 The SLAM of RAIN RUNNING OFF THE LITTLE HOUSE ROOF- PA and LAURA drenched and standing in the yard. MA stands on the porch, a makeshift crutch under her arm, looking on with quiet concern. MARY reading her book close by. The RAIN BEATS DOWN HEAVY, BLACK SKY OVERHEAD- CLOSE ON PA, gun aimed, eye peering down the barrel until- Bullets slam into a row of tin cups. LAURA, eagerly takes the gun, holding her hand out for bullets. LAURA corrects herself, cocking open the gun and flicking the safety catch down as PA at last hands her the bullets.Abe Recio 63

PA Feed them in one by one. Then close. LAURA clicks the gun closed. PA stands behind her, his arms straddling hers, cupping her hands as she takes aim. PA (CONT’D) It’ll fire with a kick so be ready. Don’t jump. Go with it. LAURA’s finger pressing down on the trigger, nose close to the barrel and- LAURA inwardly curses, birds scatter, leaves shake, as a bullet whistles past the cups in a perfect miss. Far off, PAYTAH, ENAPAY, and DAKOTA sit, astride horses, LAURA’s quiet audience- RAIN BEATING DOWN, ROLLING OFF THEIR FACES, YET STILL THEY WATCH FASCINATED- On LAURA, scowling at them. PA (CONT’D) Laura- They LAUGH and JOKE together- On PA, following LAURA’s gaze, unsettled, yet refusing to be thrown, nodding to LAURA to load the gun. PA (CONT’D) Again. The RAIN BEATS ON-

81 EXT. CREEK. PRAIRIE. DAY. 81 LAURA PLANTING HER FEET IN THE MUD, GUN POISED, FINGER READY- The WHISTLE OF A BULLET, SKIMMING A TREE TRUNK. A lone deer stares back at LAURA, unfazed. On LAURA, defeated. PA Get up- LAURA hesitates, PA’s hand roughly YANKING her up by the back of herAbe jacket to standing- Recio 64

ENAPAY and PAYTAH watching LAURA, scissored through the trees. LAURA looks up. They duck down. LAURA scowls. The RAIN BEATS ON-

82 EXT. CLEARING. PRAIRIE. DAY. 82 BLISTERING SUNSHINE- WASPS HOVER HEAVY OVERHEAD- On LAURA, crouched down, looking at the tiny mound of earth, punctured with flowers now. A series of tiny crosses embedded in the ground - seven in total. The CROWS SQUAWK OVERHEAD. LAURA’s horse tethered close by- LAURA stands. The gun slung over her back, she walks around the charred outline of the former cabin, quietly singing to herself. She hesitates, bends down, picks up a fragment of a mirror edged with an ornate wooden frame, a name half carved into the wood - MARY O’NEIL. SUDDENLY LAURA spies a prairie hen, FLAPPING its wings only inches from her. LAURA quietly reaches for the gun strung across her book. She pulls it round, braces herself, then- BAM! A flurry of feathers as the prairie hen SLAMS on the ground. LAURA YELPS IN DELIGHT, running through the tall grass in search of her catch. SUDDENLY she stops. SOLDAT stands holding up the dead prairie hen- On LAURA terrified, shaking her head, backing away. Hurrying towards her horse, she pulls herself onto the saddle, the reins gripped tight, JEERING her horse on. FASTER AND FASTER LAURA RIDES, SLICING THROUGH THE TALL GRASS, BRIEFLY LOOKING BACK TO SEE- SOLDAT NOW GONE. A BROKEN PIECE OF FENCING SUDDENLY IN HER PATH, YET LAURA - UNWAVERINGAbe - CLEARS IT, RIDING ON.Recio 65

83 EXT. TRAIL. NEAR CREAK. DAY. 83 On LAURA, at last slowing, HEART PUMPING, exhausted, sinking against the horse, BREATH SOBERING UNTIL- LAURA hesitates, just hearing- CHILDREN’s LAUGHTER. THE SOUND OF WATER SPLASHING. On LAURA, eyes searching, on seeing- The shimmer of water, the twist of the creek scissored through the tall grass- Slipping off her horse, LAURA lets the reins drop, quietly walking towards the creek-

84 EXT. OSAGE CAMP. NEAR CREEK. DAY. 84 On LAURA as she crouches down, close to the rushes- A twisting bend in the creek, farther down- A settlement of ten, perhaps fifteen teepees clustered around the creek’s edge. Two OSAGE WOMEN stand, bent over, washing twists of cloth in the creek. The THWACK of twisted cloth as it slaps against the rocks. Beyond, OSAGE CHILDREN play, spitting water like fountains and splashing one another. The CHINK of the beads in plaits hanging down the backs of their shaved heads. CLOSE ON LAURA, gaze wavering on- PAYTAH, laughing and joking with DAKOTA and a gang of young OSAGE YOUTHS, trying to catch fish with their bare hands. A group of ELDER OSAGE MEN sit around a fire, lost in conversation. SUDDENLY NAS [40’s] - thin and snake eyed, an Osage elder - berates PAYTAH and his friends. He falls back into talking with the ELDER OSAGE MEN, drawing on a pipe, tapping the tobacco tight as he relights it again. There is a certain weight and authority that NAS clearly has amongst the ELDERS, the sense that in conversation, his opinion is sought. On LAURA, watching with both fascination and quiet terror. SUDDENLYAbe the reflection of ENAPAY Recio rippling in the creek- 66

LAURA turns. Enapay is standing next to her. AT ONCE, LAURA SPRINGS AT HIM- LAURA You hurt my mother. She won’t ever walk proper because of you. You near killed her. Always watching us. I see you through the grass. Think I can’t fight you? ON LAURA SLAPPING AND PUNCHING HIM- LAURA (CONT’D) Come on... Come on... Come on. Fight back. Come on. In one swift move, ENAPAY PULLS HER ROUND, TIGHT TO HIM, PLACING HIS HAND OVER HER MOUTH- LAURA following his gaze. An ANTELOPE stands drinking water on the other side of the creek, less than two yards away. Hesitantly he pulls away his hand. On LAURA, quietly fascinated, the antelope only feet away; eyes marveling at the animal’s beautiful skin. SUDDENLY the antelope turns, stares at LAURA, eyes wide with surprise. WHIPPING a knife out of the sheath in his ankle, ENAPAY throws himself at the animal, slicing hard into the ANTELOPE’s neck. It drops at once to the ground. The blood blots like ink into the water. ON LAURA watching, curious, as ENAPAY cleans his knife, skillfully trussing the antelope’s legs with twine.

85 EXT. FARTHER DOWN CREEK. PRAIRIE. DAY. 85 CLOSE ON ENAPAY skimming a water bottle made out of skin in the creek, filling it with water. LAURA, close by, sitting on the creek bank, looks over at him, drinking from his water bottle. He offers it to her. LAURA, hesitant, takes it, drinks, then holds it out. She SCOWLS and looks away as he takes it. He smiles. ENAPAY (in French) AbeMerci. Recio 67

On LAURA quizzical. ENAPAY touches the Indian beads now strung around her neck. From beyond- PAYTAH (in Osage) What’s she doing here? ENAPAY turns, startled. PAYTAH standing close by. ENAPAY holds up his water bottle. ENAPAY (in Osage) She was thirsty. PAYTAH SLAPS IT OUT OF ENAPAY’s hand. ENAPAY picks it up, irritated. PAYTAH pushing past him, moves closer to LAURA, face to face with her now. On LAURA shaking, refusing to show it. LAURA I’m not scared of you. ENAPAY GOES TO INTERVENE, TO PROTECT LAURA. LAURA PUSHES HIM AWAY. ENAPAY LANDS HARD IN THE WATER- On PAYTAH LAUGHING - ENAPAY HUMILIATED, SOAKED IN THE CREEK. PAYTAH (in Osage) Look at the big man now. LAUGHTER- Even LAURA can’t help but smile. ENAPAY, stung on seeing this. PAYTAH pats him benignly on the back- PAYTAH (CONT’D) (in Osage) Fool. ENAPAY FLIPS, SHOVING HARD INTO PAYTAH, AND AT ONCE THEY FALL INTO A ROUGH GRAPPLING FIGHT AS THEY TUMBLE INTO THE CREEK, ROLLING AROUND IN THE WATER UNTIL- ENAPAY PUSHES PAYTAH AWAY. BUT, TOO QUICK, PAYTAH grabs ENAPAY, shoving his head in the water, until- AT ONCE LAURA HITS OUT AT PAYTAH, TRYING TO DRAG HIM OFF ENAPAY. PAYTAH SLAPS HER HARD ACROSS THE MOUTH. LAURA TOUCHES HER LIP, BLOOD BLOTTED ON HER HAND. SHE TURNS, THE GUN SLUNG ACROSS HER SHOULDER, CHARGING AT PAYTAH, ANGER STINGING HER FACE,Abe CLOSE TO PAYTAH’s NOW- Recio 68

LAURA Mrs Scott’s right. The only good Indian is a dead Indian. SUDDENLY PAYTAH grips the gun, turning to face LAURA with a goading smile. He tries to YANK the gun out of her hand, JOSTLING WITH HER UNTIL- THE BUTT OF THE GUN SMACKS AGAINST A ROCK, ACCIDENTALLY FIRING- A BULLET SKIMS THE WATER, NARROWLY MISSING PAYTAH. PAYTAH and LAURA SPRING BACK, SHOCKED AND SHAKING AS THE SHOT RINGS OUT ACROSS THE CREEK- FAR OFF, the CHILDREN stop their play. The OSAGE WOMEN pause in washing their clothes. The ELDERS break away from their conversation. NAS at once heading down the creek, eyes searching, with brooding concern on seeing the sodden trio of LAURA, PAYTAH, and ENAPAY- LAURA desperately scrabbles back up the bank of the creek, PA’s gun slung over her shoulder. NAS (in OSAGE) Stop. On LAURA, pulled back by NAS, shoved up against PAYTAH and ENAPAY. PAYTAH goes to speak. NAS silences him with his look. PAYTAH sinks, NAS reaching for LAURA’s gun. He takes it off her, emptying the bullets into the creek. ON LAURA terrified until- She grabs the gun, turns tail and runs, scrabbling back up the creek towards her horse. NAS shakes his head, shoving ENAPAY and PAYTAH on. PAYTAH looks back, with humiliated menace. ON PAYTAH, looking to ENAPAY. ENAPAY shoving him way-

86 EXT. OUTSIDE HOUSE. PRAIRIE. DUSK. 86 The shadowy figure of MR EDWARDS closing the gate on a makeshift stable. He shakes a pail of chicken feed out, lockingAbe the last cockerel in forRecio the night- 69

MA Will you stay for supper Mr Edwards? MA wipes her hands on a tea cloth by the front door, smiling at MR EDWARDS on the approach- MR EDWARDS No thank you, Ma’am. I just wanted to make sure you were safe. It’s a days ride to Independence. MA Charles will be back in the morning. We were running low on bullet lead. MA hesitates on seeing LAURA returning, heading to the stable with the horse, the gun slung across her shoulder. MA (CONT’D) (calling out) There you are. Where have you been? On LAURA, barely looking up, hurriedly dragging off the saddle and leading the horse back to the stable. LAURA Hunting. MA Did you catch anything? SILENCE- MA (CONT’D) Laura-? LAURA (calling back) No. On MA unsettled, watching LAURA, seeing LAURA is hiding something. MA deflects, smiling as MR EDWARDS holds out two fresh eggs, found in the chicken coop. MA Don’t you get lonely so far down the creek? MR EDWARDS Man’s only as lonely as he wants to Abebe. Recio 70

DISTANT DRUMS. MR EDWARDS nods towards distant firelight, about a mile away, just visible through the trees- MR EDWARDS (CONT’D) Never alone with the Osage so close. Playing their drums. That’s what happens when you build in Indian country. But it doesn’t belong to any of us. God’s waistcoat and we just try it on for size - temporarily. DRUMS LOUDER- MR EDWARDS (CONT’D) I could sit up by the fire. LAURA passes, barely offering a smile to MR EDWARDS. MA seeing this- MA We’ll be fine. You have your own animals to feed. MR EDWARDS concedes, climbing back onto his horse, riding away. He tips a nod to MARY, standing by the door in her nightdress. MR EDWARDS How’s Apache Sal? MARY Nearly finished. MR EDWARDS I’ve got The Notorious Maxwell Brothers for you next. MR EDWARDS passing LAURA washing her hands and face with a bowl by the door. MR EDWARDS (CONT’D) May God bless you again. MR EDWARDS hands LAURA a tiny blue bird’s egg in passing. She takes it, with thanks, as MR EDWARDS smiles at MARY. MR EDWARDS (CONT’D) (half wave) And again. The AbeCOO as if an owl was in the Reciotrees- 71

MR EDWARDS (CONT’D) (as rides away) And wish you well. MR EDWARD smiles, seeing LAURA and MARY, eyes searching the tree for the owl. He throws another COO, as he rides away- MR EDWARDS (CONT’D) (singing) Oh I’m a gypsy King! I come and go as I please! I pull my night cap down, And take the world at my ease. CLOSE ON MA, eyes staring off towards the creek. MR EDWARDS’ song dissolving into the night. The flicker of firelight from the Osage camp, far off through the trees. MA watching. LAURA following her gaze. The DRUMS STEADY, UNSETTLING. MA turns to head inside, hesitating on seeing- MA Laura- The shot prairie hen, now plucked and hanging from the fence post. MA (CONT’D) (holding it up) You did catch something today. On LAURA, nodding, surprised as MA holds up the plucked prairie hen LAURA shot earlier. MA (CONT’D) You plucked and gutted it nicely. On MA - she hesitates, clocking the cut to LAURA’s lip. MA (CONT’D) You been in the wars? LAURA deflects, resumes washing the blood off her mouth. LAURA I caught it on a bramble. On MA nodding, clearly not convinced, yet heading inside with the Abeplucked prairie hen. Recio 72

MA (calling out) Laura caught us supper. On LAURA looking out across the prairie, eyes searching in the fading light, unsettled, wavering on-

87 EXT. PRAIRIE. DUSK. 87 Far off, the little house illuminated in the distance. LAURA following MA inside, closing the door- SOLDAT wiping his hands on a cloth. A circle of plucked feathers and prairie hens close by. He looks across at the little house, LAURA just visible heading inside. On SOLDAT, wiping his knife clean until- He climbs back onto the horse, riding off across the prairie into the night.

88 EXT. O’NEIL CLEARING. PRAIRIE. NIGHT. 88 The RUSTLE of wind through the trees- The sound of SCRATCHING. A wiry grey WOLF, one milky eye glinting in the moon light. He raises his snout, catching a breeze- A wide paw, one sharp claw clearly missing. And beyond, a pack of forty more wolves, snouts up, HOWLING TO THE MOON. The STEADY RHYTHM OF THE DRUMS CATCHING ON THE BREEZE-

89 EXT. HOUSE. PRAIRIE. NIGHT. 89 On LAURA, turning the blue bird’s egg in her hand as she eats her supper. LAURA What does ‘merci’ mean? On MA quizzical. LAURA hurriedly picks up her plate, ignoring MA’s gaze. LAURA (CONT’D) AbeI read it in one of Mary’sRecio stories. 73

MA nods, unsettled. LAURA hurrying to add the egg to her oil tin. The STEADY RHYTHM OF THE DRUMS THROUGH-

90 EXT. HOUSE. PRAIRIE. DAWN. 90 CLOSE ON LAURA, waking with a start on seeing- JACK GROWLING CLOSE TO HER- LAURA Ssh Jack- PAYTAH standing at the end of her bed, looking at her, biting on an oat biscuit stolen from MA’s jars. JACK GROWLS MORE. The RATTLE of NAILS- LAURA sits up, looking through the open window, in waiting for a window pane, and sees- DAKOTA in the yard, rifling through PA’s toolbox, its contents upturned on the ground. On LAURA looking back at PAYTAH, a knife sheathed at his wrist. He chews on his biscuit, nonchalantly. LAURA’s eyes flick to the hooks above the mantelpiece, sinking on seeing PA’s gun gone. SUDDENLY MARY stirs, SCREAMING ON SEEING DAKOTA now standing in the doorway, PA’s axe in hand. CLOSE BY, MA wakes with a start, springing up from her bed, arms raised, INSTINCTIVELY SHIELDING CARRIE by her side- On MA, taking in the chaos, already made - PAYTAH and DAKOTA slowly walk around the room, knocking over candlesticks and tipping over chairs. They pick up ornaments, flick through books. PAYTAH spies LAURA’s oil tin, kicking it out from under her bed. He peers in, hesitating on seeing the colored beads. He holds one up at LAURA, dropping the box onto the bed, before moving on. He rifles through clothing, jewelry, holding up a necklace to DAKOTA who swipes it out of PAYTAH’s hand. LAURA hesitates on seeing PA’s gun, its muzzle just sticking out from under a pile of blankets, where it has been knocked. LAURAAbe stands, hesitantly crossing Recio the room towards it. 74

On MA seeing this, looking over at PAYTAH now slicing a piece of meat he’s found on the counter with his knife. SUDDENLY he reaches on arm out, knife in hand, STOPPING LAURA mid-walk. LAURA looks at him, eyes blazing with hatred. LAURA (CONT’D) My Pa will kill you. LAURA makes to strike- MA (shouting out) Laura- AT ONCE, MA is up, reaching for her shawl. MA (CONT’D) Quieten that dog. JACK barking furiously now. LAURA reluctantly pulling JACK back, calming him. MA (CONT’D) (to Paytah) Are you hungry? DAKOTA peers up from dipping his finger in a jar of jam on a shelf. The slide of metal plates, crashing to the floor. AT ONCE, MA seizes the moment, reaching for her shawl. PAYTAH reaches for his knife- MA (CONT’D) Breakfast? MA STILLS, CALMLY pointing to a frying pan. MA (CONT’D) I could make you breakfast? PAYTAH hesitates, nods for her to move. MA exhales, hurriedly preparing breakfast, standing in the middle of the trail of destruction. She determinedly tries to cook, trying to keep calm. MA (CONT’D) Grits and ham? On LAURA, CARRIE, and MARY gripping her hand. MA (CONT’D) AbeGirls, plates, cups please-Recio 75

LAURA does not move- MA (CONT’D) You too Laura. MA reaches for a jug, pouring a glass. It visibly shakes in her hand. She nods to CARRIE to sit at the table as MARY and LAURA hurriedly lay the table around DAKOTA and PAYTAH and MA cooking. MA (CONT’D) Carrie, drink your milk. CARRIE legs swinging, eye fixed on PAYTAH’s brother, DAKOTA, as she SLURPS on her milk. DAKOTA SNIFFS, then SNEEZES into a box of loose tea. On CARRIE quietly fascinated, staring at his shaved head as he pulls a knife out of a sheath at his ankle, using it to prize open another tin. CARRIE stares at the sharp knife. LAURA glares at CARRIE, DAKOTA seeing this. CARRIE hurriedly looks away, her hair plait hanging down. She quickly tucks it inside her collar.

91 EXT. HOUSE. PRAIRIE. DAY. 91 MA, LAURA, MARY, and CARRIE standing outside, stiff with tension, washing cups and plates in a bowl but all the while peering into the house watching- PAYTAH, just inside the door, holding up a pair of spectacles, trying them on, squinting at their strength, as DAKOTA rifles through clothes, pulling on MA’s blouse. JACK scratches at the ground, now chained to a gate close by- SUDDENLY MA’s gaze falls on the china figurine, now in DAKOTA’s hand. PAYTAH puffs on a pipe, PA’s spectacles now resting on his forehead, carrying through the open door knives and forks in one hand and a coffee pot in the other, strapping them to his horse. Then something makes him stop- MARY’s dime novel left on the step of the porch. PAYTAH flicks through the pages, curious at the illustrations of devilish Indians and handsome cowboys. He pockets it, leaving the porch, WHISTLING to DAKOTA to follow, EYES STAYING ON LAURA as he climbs back onto his horse. On LAURA,Abe inflamed. Recio 76

LAURA (shouting out) No- Yet MA gently grips her wrist, quietly holding her back until- MA Laura- THEN AS QUICK AS THEY ARRIVE, PAYTAH and DAKOTA are gone, riding off into the distance, bare back and WHOOPING- On LAURA, looking on furious, PAYTAH and DAKOTA RIDING AWAY- On MA looking at LAURA, then looking away, her hands gripping the washbowl, trying to stop herself from breaking until- LAURA Ma- MA turns away, resolutely resuming washing. LAURA (CONT’D) We can’t just let them take our things. MA continues washing- MA They’re only things, Laura. On LAURA - infuriated, she turns tail, heading back into the house.

92 INT. HOUSE. PRAIRIE. DAY. 92 LAURA rifling under the blankets, retrieving PA’s gun. She reaches for the last of the bullets, hurriedly feeding them into the barrel.

93 EXT. PRAIRIE. DAY. 93 LAURA, gun in hand, striding across to Patty, the horse, and clambering on. MA LAURA...NO- CLOSEAbe ON LAURA riding away- Recio 77

MA (CONT’D) (calling after) LAURA-

94 EXT. PRAIRIE. DAY. 94 On LAURA riding fast down towards the creek- Ahead, PAYTAH, laden down with stolen pots, coffee, furs. DAKOTA, close behind, one arm holding on tight to a bundle of clothes- The WHIP of a blouse, snatched out of his hand, catching on the grass. WHOOPING AND GOADING LAURA WITH THEIR CRIES- On LAURA, refusing to admit defeat, close on their tails now. FASTER AND FASTER SHE RIDES UNTIL- LAURA reaches out a hand, YANKING DAKOTA off his horse, on to the ground. He staggers up, winded, looking on helpless as his horse bolts away across the prairie. LAURA Give me back our things. Ahead, PAYTAH, laughing, stops astride his horse- LAURA (CONT’D) It’s not funny. I want our things- SUDDENLY LAURA’s face falls on seeing the prairie RIPPLING. A vast pack of wolves, ahead of her, seeping around PAYTAH like ink. Maybe forty, fifty sharp-toothed animals and their cubs, snouts low, on the hunt for fresh meat- They graze PAYTAH’s legs, PAYTAH’s laughter sobering to a still. He grips the reins, trying to calm his terrified horse, trying to keep him still. On DAKOTA, at once frozen, the wolves now brushing past him. On LAURA, one hand silently reaching for her gun strapped to the saddle, spying a lone wiry grey wolf, larger than the others, leading the pack in her direction. The grey wolf blinks, one milky eye, circling all three now, LAURA and PAYTAH on their horses and DAKOTA standing terrified in the grass. The wolves edge them closer and closer together, squeezingAbe them in- Recio 78

TEETH SNARLING, BACKS ARCHED, FUR STIFF, SCRATCH THE GROUND, SNIFFING AT DAKOTA. AT ONCE HE TRIES TO REACH FOR HIS KNIFE, BUT THE LONE GREY WOLF TURNS, SENSING THIS- PAYTAH (in Osage) Don’t move. THE GREY WOLF’S EYES NARROW. THE OTHER WOLVES FOLLOW THE DIRECTION OF ITS GAZE AND CHANGE COURSE, ALL MOVING IN ON DAKOTA. PAYTAH (CONT’D) (in Osage) Dakota. On DAKOTA, terrified, his knife at once dropped, lost in the tall grass. The WOLVES SNARLING AND GROWLING NOW, MOVING CLOSER AND CLOSER TO DAKOTA. AT ONCE, LAURA whips down her gun, READY TO FIRE- SUDDENLY FROM BEHIND, A bullet WHISTLES PAST SLICING through the tail of the grey wolf. The wolf drops to the ground, WRITHING IN PAIN, SNARLING and SNAPPING, the tail sliced off at the stump. He turns, SNARLING, eyes darkening, staring at LAURA, just dropping her gun. LAURA looks back, PAYTAH and DAKOTA following LAURA’s gaze, unsettled on seeing- SOLDAT astride his horse, a gun smoking in his hand, eyes fixed on the wiry grey wolf, writhing in pain from the bullet SOLDAT has just shot. SOLDAT and the wolf look at one another with a kind of burning hatred that pricks LAURA’s skin. THEN AT ONCE, the wiry grey wolf is gone, momentarily scattering the pack. IMMEDIATELY THEY REGROUP, moving like water round a rock, FUR grazing LAURA’s legs on either side of her as they pass- On LAURA, watching the pack dissolve across the prairie. She looks away, distracted by PAYTAH as he leans down from his horse, scooping up the wolf’s bloodied tail. He touches the bleeding tail, smearing the wolf blood in a stripe on his cheek. He looks back at LAURA. A flicker of mutual excitement held in their eyes as they lookAbe at one another until- Recio 79

PAYTAH looks beyond to SOLDAT, chilled by SOLDAT’s icy stare. AT ONCE, PAYTAH kicks his horse on, pulling DAKOTA onto the back of his saddle as he rides. DAKOTA turns, looks back at LAURA, holding the TAIL LIKE A SOUVENIR FROM A FAIRGROUND RIDE, WHOOPING WITH DELIGHT. CLOSE ON LAURA, excitement once more turning to fury. LAURA (calling after) Bring back our things. Bring them back. Bring them back. The WHOOPING and JEERING dissolving on the breeze. At once SOLDAT, riding fast after PAYTAH and DAKOTA. On LAURA as she slides down from the horse, crossing the grass. She bends down, FINGERS touching a pool of wolf blood in the grass. Instinctively she smears her cheek with a stripe, like PAYTAH’s. On LAURA, heading back towards her horse, picking up the trail of dropped things; a spilt bag of flour, a fork, a pan, MA’s blouse, all caught in the tall grass. Blood blotting MA’s blouse. On LAURA looking far off across the prairie, back towards the house, with a sense of dread.

95 EXT. HOUSE. PRAIRIE. DAY. 95 On LAURA, returning, CARRIE and MARY sunk on the front step- MARY You’re in so much trouble. On LAURA determinedly ignoring them, tying her horse to the fence post next to PA’s. DR TANN’s horse close by. CARRIE holds up a candy stick. CARRIE (with a smile) Pa brought peppermint. On LAURA, reluctantly heading inside, MA’s blouse and other thingsAbe still in her hand. Recio 80

96 INT. HOUSE. PRAIRIE. DAY. 96 On PA, sorting through the wreckage of the house. He looks up, on the edge of exploding- LAURA Pa- DR TANN attends to MA, examining her leg as she lies on the bed close by. MA Laura- Yet LAURA is fixed on PA’s brooding silence. LAURA I couldn’t just do nothing. PA That is exactly what you do. You do nothing. You do nothing and they leave us alone. LAURA They came to the house, Pa. PA Who brought them? LAURA wavers- PA (CONT’D) I know you’ve been down the creek. Even when I told you not to. I know, Laura. LAURA I’m sorry. PA How many people are in this family? LAURA You left me the gun, Pa. You taught me how to shoot it. PA To hunt. To feed this family. LAURA AbeI was protecting this Reciofamily. 81

PA What were you going to do - shoot them all? On LAURA- PA (CONT’D) You point a gun at a man and that man will point that gun right back at you. And let me tell you Laura, he is a better shot. On LAURA, fighting back tears, angry and humiliated, trying not to cry. PA (CONT’D) There are five people in this family and the moment you rode off after them you forgot that. MA Charles- PA (to LAURA) No - she has to know. Trouble has come to our door and instead of keeping your head down, letting it pass, you’ve run right back at it. You think they’ll leave us alone now? You think the Osage are going to go away? They’re not. They live here. They think this is their land. You could have been killed. Or killed someone. I don’t know which is worse. LAURA Pa. PA You take the grease and rag over there and you grease every bit of ironwork in this house. Do you hear me? LAURA nods, weeping now. PA (CONT’D) What-? LAURA AbeYes. Recio 82

SILENCE UNTIL- DR TANN (finishing up) It’s healing nicely. LAURA reaches for the tin of heavy work grease and an old rag in a wooden box close by. PA That’s something. PA, one hand grazing MA’s- MA We’re alive, Charles. PA picking up a knocked over chair, falling into clearing up with MARY, CARRIE, and LAURA- PA For how long? On PA, weary and tired, picking up a broken cup. PA (CONT’D) I found one of those bone and feather things hanging outside again. Bringing their bad luck. DR TANN They’re not for bad luck. PA looks across at DR TANN, washing his hands in a bowl close by. DR TANN (CONT’D) Osage leave them. To protect. To ward off bad spirits. They’re not to bring you bad. They’re to bring you good luck. LAURA passes, carrying the tin of grease and rag outside, passing DR TANN. LAURA There was a wolf. PA What are you talking about? LAURA AbeThe Osage man shot it.Recio 83

PA Which Osage man? LAURA The strange one. The one always riding alone. On DR TANN packing up the last of his things into his medicine bag. DR TANN I know him. Did he kill it? LAURA (shakes head) Got its tail though. PA nods to LAURA to move on. LAURA heads outside, sinking down on the front step with the grease and the rag and bits or ironwork. DR TANN His name is Soldat Du Chene. On PA, quizzical- DR TANN (CONT’D) He’s different from the rest. Keeps himself to himself. Married a white woman. He speaks English. The other Osage respect and hate him for it. A settler woman. Long time ago. She left her people for him to live with the Osage. But they never accepted her... Pretty woman. Always smiling. They had a baby but it died- PA How? DR TANN shoots a look towards LAURA, MARY, and CARRIE, deflecting with a smile as he picks up his bag. DR TANN (to Ma) We’ll get you walking yet.

97 EXT. HOUSE. PRAIRIE. DUSK. 97 DR TANN and PA drinking coffee and smoking tobacco on the porchAbe step- Recio 84

DR TANN She was taken by a wolf. No more than a week old. Soldat asked me to save her. CLOSE ON LAURA listening by the door, oiling a mound of hooks, bridle bits, tools, candleholders on newspaper close by. DR TANN (CONT’D) She was too injured by the time I got to her. Must have sneaked that little baby girl while they were sleeping. Soldat blinded that wolf in the eye with a poker but he still got away. The baby died before they even named her. In Osage law baby’s not ‘real’ if you don’t name her. The woman grieved so hard she didn’t want to be alive. They found her few weeks later drowned in the creek. You see him most nights roaming the land still looking for that wolf. On LAURA- DR TANN (CONT’D) Mrs Scott may be a gossip but sadly she is not always wrong. Osage are tied to this land more than we are. DR TANN finishes up his coffee, preparing to leave. DR TANN (CONT’D) Weather’s getting warmer and the buffalo hunt’s coming and they’ll be more riding down from the North, along that trail. They’re getting ready for a fight.

On PA, looking across at the distant trail, unsettled. DR TANN (CONT’D) Washington may say they have to go, but a man will fight for the land where his children are born and Abeburied. Recio 85

98 INT. HOUSE. PRAIRIE. NIGHT. 98 ON MA lying in bed, CARRIE asleep close by. PA holds up a wrapped pane of glass and a ream of calico to MA- PA Which d’you want to open first? MA rips off the paper to reveal the pane of glass, smiling- PA (CONT’D) That way you can always see who’s coming whatever time of the day it is. MA, determined, stands from the bed, holding the pane of glass up to the window with a smile. She sobers on seeing PA, heavy with mood. ON PA, reaching for his fiddle, taking a new string out of his pocket and absorbing himself with fixing it. On MA, looking back, holding up the pane of glass, eyes catching on- The wide prairie and flickering lights of the Osage settlement beyond.

99 EXT. PRAIRIE. NIGHT. 99 The THROB of the CICADAS- The FLICKER of a candle by the door- Far off, the shadowy outline of an OSAGE WOMAN, with a child and her HUSBAND, passing on horseback. They ride along the trail, silhouetted against the wide night sky. On PA standing in the doorway, fiddle in hand, pensive, watching them as they pass far off, following the snaking trail towards the creek- MA comes out, watching by his side. PA resumes twisting the strings tighter, quietly tuning up, playing a haunting song- My Sabbath Home- The OSAGE COUPLE stop in their tracks, ears pricked listening- PA’s haunting song carrying across the prairie, the little houseAbe illuminated by candle lightRecio beyond. 86

100 EXT. HOUSE. PRAIRIE. DAWN. 100 Dawn- LAURA stepping out of the house, stopping on seeing- PA’s spectacles, MA’s china figurine, PA’s good boots. A bag of flour. A box of coffee. MARY’s dime novel - all returned. On LAURA looking up, just seeing SOLDAT walking away. LAURA (in French) Thank you. SOLDAT hesitates, looking back at LAURA. He nods. SOLDAT You’re welcome. On LAURA with surprise, PA coming out, looking down at his spectacles. He holds them up, trying them on for size with a smile. Close by, MA approaches, carrying a pail of milk from the stable. She smiles on seeing her china figurine, marveling as she turns it in her hands. ON LAURA watching SOLDAT walking across the prairie. LAURA (almost to self) Soldat.

101 EXT. PRAIRIE. MONTAGE. SUMMER. DAY. 101 The sway of CORN turning golden in the brutal summer sun- The GRAZE OF PA’s fingers, breaking off a head, looking up at the sun beating down overhead. On PA, heading back towards the little house- The BUZZ of lazy wasps-

102 EXT. HOUSE. PRAIRIE. SUMMER. DAY. 102 On MA, wiping sweat from her brow, trying to turn the dry earth. She picks at some wilted beans, shouting over to LAURA- On LAURA, MARY, and CARRIE, hot and irritable, sitting on the porch. The Abesun beating down overhead. Recio 87

103 EXT. CREEK. MONTAGE. DAY. 103 The TRICKLE of water running down the creek, the creek low- On LAURA, filling her pail from the trickle of water- She SLAPS a hand against her arm, killing another mosquito, before turning and heading back to the house. On LAURA walking, boots idly following a snaking crack in the dry and arid earth.

104 EXT. PRAIRIE. MONTAGE. SUMMER. DAY. 104 On PA, FINGERS GRAZING his crops, the corn now wilting in the heat- PA kicks the earth, frustrated- The sun beating overhead.

105 EXT. CREEK. MONTAGE. SUMMER. DAY. 105 The creek now dry as a bone. On LAURA, standing trying to fill the pail once more with water- On LAURA defeated, slamming the bucket onto the ground.

106 EXT. YARD. NEAR HOUSE. PRAIRIE. SUMMER. DAY. 106 A hot afternoon, the air muggy, the sun beating down through a hazy sky- Midges BUZZ in clouds all around- The HOVER of lazy wasps underscore- The GRASS and CROPS DRY AND SCORCHED ALL AROUND- The horses sweat under the trees, SWATTING AWAY FLIES with their tails. Even JACK doesn’t know what to do with himself, slumped under the cool of the porch. On MR EDWARDS holding a divining stick, stopping just above an aridAbe piece of ground. He nodsRecio to PA and MR SCOTT. 88

PA You sure? MR EDWARDS Hell no. But we’ve tried everywhere else. PA hesitates, nods wearily. MR EDWARDS (CONT’D) If we can just find a seam. This place was once filled with natural springs. AT once they start digging- Beyond, several other attempts at searches for water, various holes half dug in the ground. MRS SCOTT stands twisting onions into ropes. She blots her face with a cloth- MRS SCOTT How anyone is meant to keep their elegance in this weather... CLOSE ON MA, digging up onions, tailed by MARY, who shakes and cleans the onions before handing them to MRS SCOTT to twist into onion ropes. MRS SCOTT (CONT’D) You’re going queer with your digging? MA hesitates, irritated. MRS SCOTT gesturing towards the line MA is digging along. MA swallows her irritation, resuming, exchanging a smile of mutual understanding with MARY. MRS SCOTT (CONT’D) There are twelve more teepees and twice that many Indians. I made Mr Scott drive the jig the long way round past the creek. (close to MA) You know sometimes you see them naked in the water. MARY GIGGLES. MA silencing her with her look. MA (nodding to dropped onion) AbeYou dropped one. Recio 89

MRS SCOTT (picking up) I did. LAURA helps CARRIE collect eggs, digging deep into the hay in the hen coop. Each new egg is greeted with delight, a game in the finding, as LAURA counts- CARRIE That’s only eleven. FAR OFF THE SOUNDS OF HORSES PASSING- LAURA grips CARRIE tighter, as a convoy of more OSAGE MEN and WOMEN pass. The MEN’s heads shaved and their faces and hands inked with the same dark symbols and tattoos. The OSAGE WOMEN nurse BABIES, wrapped in heavy blankets as they ride, silently turning to watch LAURA and CARRIE standing, holding eggs- Far off, PA looks up from digging the well hole, MR SCOTT helping him, with MR EDWARDS close by- MA and MARY look up, knelt in a vegetable patch pulling up the last of the onions and knotting them into braids. ALL FALL SILENT AS THE CONVOY PASSES ALONG THE TRAIL WEAVING DOWN TOWARDS THE CREEK- They fall back into working, once the convoy is gone- MR SCOTT You best get those crops in before the buffalo come, Charles. They’ll be trampling all over your land. MRS SCOTT stands, looking after the last OSAGE disappearing along the dirt track- MRS SCOTT Sooner Washington get them moved off and somewhere else. The better. MR SCOTT Says in the newspaper they’ve been offered a settlement in Oklahoma. MRS SCOTT Well then that’s fine. MRS SCOTT slaps away another mosquito. MRS SCOTT (CONT’D) AbeDamn this heat... Recio 90

MRS SCOTT shakes her head, mopping her face with the hem of her apron- MRS SCOTT (CONT’D) Let Oklahoma have them ‘fore we’re all scalped in our beds. They’ll be twenty more by sunset. MA SLAMS her shovel into the ground. MA Mrs Scott, will you please stop putting more fears in my children’s heads? MRS SCOTT resumes picking up the onions and twisting them into ropes, with obvious offence. MA (CONT’D) We have enough to worry about. ON MA as she resumes digging up onions, MARY and MRS SCOTT knotting them into bunches, following along MA’s line. SUDDENLY CARRIE scoops up a last egg, delighted- CARRIE Twelve, Laura. We got twelve. MR EDWARDS crouches down low, peering through the grass- MR EDWARDS Sure I don’t see a chick there. ...teasing them with perfect chicken and cockerel noises, delighting CARRIE as she searches for eggs. PA pokes his head up from the well- PA There’s no damned water. How are we meant to farm this land when there’s no damn water? On PA, slapping down his hat, striding towards his dried out crops. MA stands looking on, watching PA striding off into the distance- LAURA It’s too hot. LAURAAbe wipes her face with her hat.Recio 91

MA No- LAURA Just five minutes. Can’t we just go put our feet in the creek? On MA, heading off after PA. MA I don’t want you going anywhere near that creek.

107 EXT. PRAIRIE. DAY. 107 PA snatching at a blackened corn cob, slamming it onto the ground. He turns, wildly, smashing down tall, dry corn stalks, frustration overwhelming him until- MA It’ll do for chicken feed. PA hangs his head, defeated. MA standing close by. PA There isn’t enough chicken in the world for this blackened corn. On PA, striding off, angry and broken. On MA, one hand grazing over JACK by her side. LAURA Is Pa alright? MA spins round, surprised to see LAURA- MA Hot heart...hot head. (with a smile) You had to have got it from somewhere. LAURA Is this our land or the Osage’s, Ma? On MA, slipping her arm around LAURA- MA I will spread out my hands to the Lord; Abe(MORE) Recio 92 MA (CONT'D) the thunder will cease and there will be hail no longer, that you may know that the earth is the Lord's- MA smiles, moving on, leaving LAURA looking up- LAURA Then what are we doing here? On MA hesitating, stopping to take in the wide prairie its strange beauty stretching out for miles- On LAURA following her gaze. On MA, moving on. The WIND THROUGH THE TREES- A BLACKBIRD, ITS SONG HAUNTING AND BEAUTIFUL OVERHEAD- On LAURA, listening, looking up, taking in- The DARK CLOUDS GATHERING OVERHEAD-

108 INT. HOUSE. PRAIRIE. NIGHT. 108 Night on the edge of dawn- CLOSE ON LAURA, lost in restless sleep, face blotted with sweat, nightdress clinging to her legs. Above, the window open, bringing nothing to this airless room - muggy and oppressive. Far off the BEAT OF DRUMS- On LAURA as she stirs, looking across at MARY and CARRIE still sleeping. The GENTLE BACK AND FORTH of PA snoring, MA by his side. The BEAT of the DRUMS LOUDER NOW- The RUMBLE OF THUNDER UNDERSCORES-

109 EXT. PRAIRIE. DAWN. 109 Night on the edge of dawn. The first shards of sunlight trying to seep through dark thunderousAbe clouds. The sky on theRecio edge of a storm- 93

On LAURA, in nightdress, stepping out onto the porch. The BEAT OF THE DRUMS, UNDERSCORING THE ROLLS OF THUNDER, LOUDER NOW- On LAURA, curious, just seeing- Far off, a darkening haze on the horizon, gathering in size. The haze spilling out across the prairie, finding form. Darkening as it moves, it stirs hazy clouds. CLOSER AND CLOSER IT COMES, the CLOUDS REVEALED AS BILLOWING CLOUDS OF DUST- The RUMBLE OF THUNDER UNDERSCORED WITH A RUMBLE OF HOOVES, GROWING IN VOLUME WITH EACH SECOND UNTIL THE SOUND IS THAT OF A HUGE STAMPEDE- On LAURA, with slow realization, the CLOUDS OF DUST CLEARING TO REVEAL- LAURA (almost to self) Buffalo. A SEA OF BUFFALO, VAST AND EXPANSIVE ACROSS THE PRAIRIE. BROAD-BACKED, WILD-EYED AND LONG-HORNED, THEY CHARGE- On LAURA, running towards the stable, scooping the saddle and bridle up. Swiftly she tacks up the horse, eyes watching- THE GATHERING HERD, SKIMMING CLOSE TO THE HOUSE. THE THUNDER OF HOOVES MELDING WITH THE ROLLING THUNDER OVERHEAD- THE DARKENING SKY MIRRORED ACROSS THE DARKENING SEA OF BUFFALO. NOISY. DIRTY. WILD. ON LAURA, riding into its heart.

110 EXT. PRAIRIE. DAWN. 110 On LAURA, eyes afire, JEERING HER HORSE ON, ITS EYES WILD AND NOSTRILS FLARED, RACING AS IF FOR ITS LIFE. THE WILD SWARMING HERD OF BUFFALO RACING ACROSS THE WIDE PRAIRIE,Abe BILLOWING CLOUDS OF SMOKERecio DUST- 94

LAURA KICKS HARDER, PUSHING HER HORSE ON, HAIR FLAMING BEHIND HER, CAUGHT IN THE RISING WIND- OVERHEAD, THE THUNDER SPARKING NOW THE CRACKLE OF ELECTRICITY- The CRY of the OSAGE, a SHRILL SCREECH TRAVELING ACROSS THE PRAIRIE UNDERSCORED WITH DISTANT DRUMS- Young OSAGE MEN - ENAPAY and DAKOTA amongst them - encircling the swarming herd of buffalo, readying themselves for the hunt. On LAURA, every fiber in her body alive, JOSTLED and PUSHED in the midst of the buffalo herd, CAUGHT IN THE NOISY, SWIRLING CLOUDS OF DUST. THE SHRILL SHRIEKS OF THE OSAGE AND WINNOWING HORSES FLEETING, SLICING PAST LAURA as the OSAGE MEN SHEPHERD THE CRAZED BUFFALO TO THE LEFT AND THEN TO THE RIGHT- ABOVE THE SKY CRACKS WITH LIGHTNING - FORKS JAGGED THROUGH THE BILLOWING GREY CLOUDS- SUDDENLY PAYTAH, spear aloft, BUMPS LAURA with his horse, goading her with his smile. LAURA SHOVES him hard back, racing on. Yet PAYTAH blocks her at every turn, pushing her FASTER AND FASTER in a terrifying, exhilarating ride, WHOOPING AND JEERING, spear aloft, passing ENAPAY with a victorious smile. AT ONCE, ENAPAY WHIPS his horse on, racing to catch up with them, leaving the JOSTLING herd of buffalo behind. ON LAURA, LOOKING AT ENAPAY WITH AN INVIGORATED SMILE, WEAVING IN AND OUT OF TREES, CLEARING DIPS IN THE GRASS- ON LAURA - never has she been so alive. Higher and higher, LAURA, ENAPAY, and PAYTAH climb, the wide prairie graduating up in to a sharp incline. SUDDENLY THE THUNDER BREAKING INTO A VIOLENT CRACK OF LIGHTENING AS AT LAST- RAIN POURING DOWN-

111 EXT. HOUSE. PRAIRE. DAWN. 111 On PA, standing outside the little house, awoken by the SHRILL CALL and CRACK of the electrical storm- The swarming herd of buffalo and circling OSAGE MEN disappearingAbe across the prairie- Recio 95

And beyond, just visible on the horizon- LAURA, ENAPAY, and PAYTAH, spear aloft, inked out against the wide stormy sky- On PA, with growing horror. PA (calling out) Laura- The JAGGED CRACK OF LIGHTNING ONCE MORE TEARING THROUGH THE SKY-

112 EXT. PRAIRIE. DAWN. 112 On LAURA, the rain, HOT and SHARP on her face, PAYTAH and ENAPAY almost neck and neck with her now. On LAURA, looking over at ENAPAY, then PAYTAH, both vying for her attention, both trying to outdo the other, PUSHING THEIR HORSES ON- On LAURA, RIDING FASTER AND FASTER UNTIL- The CRACK of LIGHTNING SPARKING ACROSS THE PRAIRIE. ON ENAPAY, JOY TURNING TO CONCERN- ENAPAY (calling out) Laura- CLOSE on PAYTAH, RAIN SLAPPING AGAINST HIM NOW, NOW SEEING WHAT ENAPAY CAN SEE- PAYTAH (calling out) Laura- YET LAURA RIDES ON, FASTER AND FASTER, HIGHER AND HIGHER, THE PRAIRIE RISING IN SHARP INCLINE AS LAURA RIDES ON LEAVING ENAPAY and PAYTAH BEHIND UNTIL- LAURA SCREECHES AT ONCE TO A HALT- CLOSE ON LAURA, REINS PULLED SHARPLY UP, THE HORSE TEETERING ON THE EDGE. ON LAURA LOOKING DOWN TO SEE- A SHARP DROP INTO A NARROW ROCKY VALLEY, STEEP AND TERRIFYING BELOW.Abe Recio 96

ON LAURA looking back at PAYTAH and ENAPAY, raising her hand in obvious victory. ON LAURA, exhausted but exhilarated, RAIN NOW LASHING AGAINST HER FACE- LAURA I won. I won. On ENAPAY, smiling with relief- On PAYTAH, FACE HARDENING, SUDDENLY JEERING HIS HORSE ON DETERMINED TO MAKE THE LEAP. ON LAURA AS PAYTAH STREAKS PAST HER, HIS HORSE TAKING FLIGHT, LEAPING ACROSS THE ROCKY VALLEY. 1...2...3... IT LANDS. ON PAYTAH SMILING, VICTORIOUS, STANDING ON THE OTHER SIDE OF THE ROCKY VALLEY. ON LAURA, defeated yet conceding with a smile. ENAPAY now by her side. SUDDENLY a FORK OF LIGHTENING CRACKS AGAINST PAYTAH. CLOSE ON LAURA, freezing on seeing- PAYTAH SHUDDERS, HANDS CONTORTING, SEARED BY THE BOLT OF LIGHTENING - ELECTRICITY RUNNING THROUGH HIS VEINS. On LAURA, watching in horror, knowing at once PAYTAH is dead. His lifeless body SLUMPS forward. Yet his horse keeps on going, charging away. LAURA (CONT’D) (almost to self) PA- On LAURA, calling out in growing desperation- LAURA (CONT'D) (louder) PA! ON LAURA, looking back. On ENAPAY, gripped with shock, his horse at last at a still. The AbeTHUNDER RUMBLES FADING INTO RecioSTILLNESS- 97

113 EXT. PRAIRIE. DAY. 113 The aftermath of the storm- A rumbling grey sky, casting dark shadows across the flattened prairie, ravaged and torn apart- A cold bleak chill whips across the grass. The DRIP of raindrops steady, then coming to a still- An eerie calm settles over the land. The land seems brutal and forbidding in the silver light. THEN THROUGH THE dark clouds, a thin, cold, sliver of clean bright light breaking through- AND SUDDENLY a lone blackbird punctures the eerie silence with its beautiful song.

114 EXT. PRAIRIE. DAY. 114 The creek flowing fast with water- The leaves still dripping with the last of the rain. CLOSE on LAURA riding along the creek towards the Osage settlement. Ahead, ENAPAY walks, PAYTAH’s dead body straddled across the saddle of his horse. OSAGE WOMEN look up from grinding flour and collecting water by the creek. CHILDREN stop midway through their games. OSAGE ELDERS seated around fires break off from their talking, NAS amongst them. NAS, slow on the approach, yet with growing concern, his quizzical gaze changing to sorrow as- ENAPAY climbs off his horse, gently easing PAYTAH’s body down. He turns, carrying him slowly through the village until- APONI [30’s], PAYTAH’s mother, looks up from tending a fire, face falling on seeing- And at once, APONI and other OSAGE WOMEN surround LAURA- NAS pushing through them, gently easing PAYTAH’s body out of his arms, carrying him over to a wide teepee. SUDDENLYAbe DAKOTA, PAYTAH’s brother, Recio rides into the village- 98

He slides down from his horse, ENAPAY close behind him. ENAPAY gently comforts DAKOTA, stopping him, ready to charge at LAURA- ENAPAY (in Osage) It was the lightning. It was the lightning. DAKOTA angrily shrugs ENAPAY off, wiping back angry tears, striding off towards the teepee- On LAURA, seated astride her horse, turning, riding away.

115 EXT. HOUSE. PRAIRIE. DUSK. 115 On LAURA, waxing the horse’s saddle, staring out over the flattened earth- Far off, the OSAGE MEN return, dragging back dead buffalo on leather stretchers behind their horses. On LAURA watching - the prairie damp and flattened beyond. On MA pulling a cake tin from the hearth- Outside CARRIE plays with her beads on the porch. MARY sits reading the latest dime novel from Mr Edwards - The Notorious Maxwell Brothers. The DISTANT SOUND OF DRUMS- SUDDENLY MA slams down the cake tin. LAURA looks up from waxing the horse’s saddle with PA seeing- MA Charles- SILENCE- MA (CONT’D) We can’t sit here and do nothing. No one should bury their child, Charles. How that mother must ache tonight. How I would ache. I could not bear that alone. MA reaches for a basket, sliding the cake in it. MA looks up, sees PA staring at her- MA (CONT’D) AbeWe cannot let them bearRecio that alone. 99

She heads inside, coming out gathering the few scraps of food they have left; a piece of cheese, a small slice of ham, a handful of flowers plucked from a vase. MA (CONT’D) If nothing else they need to eat. On MA, picking up the basket, heading towards the creek. On LAURA, looking at PA until- On LAURA following MA, MARY, and CARRIE close behind. PA goes to following, reaching for his gun. MA (CONT’D) (turning back) Don’t you dare bring your gun. Not today, Charles. PA hesitates, concedes, following after them. On JACK close behind.

116 EXT. OSAGE CAMP. NEAR CREEK. DUSK. 116 Sunset- CLOSE on LAURA, PA, MA, MARY, and CARRIE on slow approach- Beyond, the Osage settlement gathered around a circle of trees - their burial ground. An ELDER OSAGE MAN, daubed in ash and animal blood, burns herbs as he circles a mound of stones, slowly being piled around PAYTAH’s seated dead body. ENAPAY wavers, about to cover the top of Paytah’s head with the last stone, one hand briefly touching his hair. APONI, NAS, and the OSAGE TRIBE ALL GATHERED- A YOUNG BOY SORROWFULLY BEATS A LONE DRUM AS THE ELDER OSAGE MAN MURMURS SACRED OSAGE PRAYERS. On MA, aware of eyes silently traveling over her, her gaze catching on the faces of the OSAGE WOMEN; old and young, they look back at her, silent, with dark curious eyes. MA observes the tiny details of a familiar life. On PA looking over the OSAGE MEN, surrounding NAS. They hesitate on seeing PA but do not break from their HAUNTING MOURNING SONG- On LAURA,Abe falling into line nextRecio to MA and PA. 100

A YOUNG OSAGE MOTHER feeding her baby looks at LAURA sorrowfully. The OSAGE CHILDREN stare, curious, at CARRIE and MARY. CARRIE hides her face behind MA’s skirt, peering out. On NAS looking over at PA with a cold, hard, despairing gaze. ON MA, taking out the small bunch of flowers, walking over to PAYTAH’s grave. NAS goes to stop her, but APONI gently holds him back. MA looks to APONI. She nods, MA lays the flowers down by the funeral mound. On LAURA’s eyes grazing over the other burial mounds. Generation after generation buried here; piles of stones, some decorated with chains of dried flowers, some with beads, some with feathers, some with fruit. A tiny burial mound, close by. LAURA’s gaze lingering on it. Close by, but a little apart, SOLDAT stands, leather hat in hand. The HAUNTING MOURNING SONG BUILDS-

117 EXT. PRAIRIE. NIGHT. 117 On PA and MA walking with LAURA, MARY, and CARRIE back to the house. The flickering lights of the Osage camp left far behind. SUDDENLY MA stops- MA Listen. They stop, all turning to listen to- The MOURNING SONG NOW EVOLVING INTO A SHRILL HAUNTING WAIL, ALMOST LIKE A WAR CRY, TRAVELING ACROSS THE PRAIRIE FROM THE CREEK- MARY (with quite terror) Are they coming for us, Pa? On PA, listening, the tension palpable until- LAURA (with realization) AbeIt’s crying. They’re crying.Recio 101

On MA, hurrying on, inconsolable, heading back towards the little house. On CARRIE hurrying to catch up with MA, slipping her hand in hers. ON PA looking back, listening- On LAURA.

118 INT. HOUSE. PRAIRIE. NIGHT. 118 The house quiet, all asleep. On LAURA lying in bed listening to- MA, quietly weeping in her bed. PA lightly snoring by her side. On LAURA, creeping over to MA and PA, gripping MA’s hand- LAURA (gentle) Ma- On MA, face turning to LAURA- MA Oh Laura, how lost I would be if I lost any one of you. On MA, weeping, beyond reason, LAURA gently comforting her, one hand lightly stroking MA’s hair.

119 EXT. PRAIRIE. DAY. 119 Winter- CLOSE ON LAURA smashing an ice barrel with an ice claw. Her FINGERS WAVER, SCRATCHING AT THE ICE, PEERING IN, NOSE CLOSE TO THE ICE- ON LAURA peering at her reflection; a little older, a little wiser now. LAURA hangs the ice claw above the stable door, dunking a bucket in the barrel and pulling out water- On LAURA freezing on seeing- A snaking trail of wolf prints close to the stable door. The Abeprairie blanketed in endless Recio icy white snow beyond- 102

120 INT. HOUSE. PRAIRIE. NIGHT. 120 MR EDWARDS and PA drink whisky as MA clears around them. PA sits reading the KANSAS JOURNAL. The headline clear- WASHINGTON FEARS WORSE - OSAGE DIVIDE AT SIGNING OF LAND TREATY. MR EDWARDS Never bet your money on another man’s game. That’s what my Pa always said. MR EDWARDS rolls his glass, warming the whisky close to the fire, lost in thought. MR EDWARDS (CONT’D) I’m done. I reckon I’ve been on my own too long anyhow. The remains of roast prairie hen and the aftermath of supper on the table- MR EDWARDS (CONT’D) I need to get me a wife. LAURA, MARY, and CARRIE listen, crouched by the fire, eating the last of MA’s sugar cakes, licking sugar off their fingers. MA Won’t you stay until after Christmas? MR EDWARDS shakes his head, a heavy sorrow threatening to puncture the room. MR EDWARDS deflects with a weary smile- MR EDWARDS So fore I leave, Christmas best come early. I met Santa Claus on my way and he said creek’s roaring from all that snow anyway. It’s going to get too cold for him to travel so he asked me to bestow on you the gifts... MR EDWARDS reaches into his pocket, bestowing gifts - a carved comb for MA, a dime novel for MARY, a tiny doll’s plate and spoon and cup for CARRIE, a new pipe for PA. And for LAURA, a bird whistle. MR EDWARDS shows her how it works; the sweet sound of a blackbird emanating from it as he blows. MR EDWARDS (CONT’D) Abe...that he could not bring.Recio 103

LAUGHTER as LAURA fails and then succeeds, at last, to blow the whistle. MR EDWARDS (CONT’D) I’ve got a brother in ‘ssippi always tellin’ me to visit. Well I’m going to take him up on his word. If I cross that river now I might just make it before it freezes- MR EDWARDS drinks, raising a glass, a little drunk, face flushed but good natured. MR EDWARDS (CONT’D) You can sweat and sweat in this place. And my it is beautiful. But it comes at a price. Rumor has it only reason government wants this land is to sell to the railroad. On PA’s surprise, looking over at MA. MR EDWARDS (CONT’D) It’s about dollars and dimes in the end. They don’t care about us. They don’t care about the Osage. The nickle is King. MR EDWARDS eyes fill. MR EDWARDS (CONT’D) We’re all living on borrowed time. On MA, sinking down in her chair, quietly devastated. MR EDWARDS (CONT’D) I’m getting dark and maudlin. It’s the rye- (knocking back drink) Go on Charles. Let the light back in. PA reaching for his fiddle, FINGERS gently touching the bow as he plays Auld Lang Syne- MR EDWARDS (CONT’D) (singing) Should auld acquaintance be forgot, And never brought to mind? Should auld acquaintance be forgot, AbeAnd auld lang syne! Recio 104

On LAURA and MARY, firelight catching their faces, all listening to MR EDWARD’s mournful song, stopping in whatever they are doing. MR EDWARDS (CONT’D) (singing) And surely ye'll be your pint- stowp! The haunting sadness of the song filling the room, enveloping them- MR EDWARDS (CONT’D) And surely I'll be mine! On PA, lost in the music, a depth and sorrow to his playing tonight. On MA, her eyes glistening, pulling CARRIE close. MR EDWARDS (CONT’D) (singing) And we'll tak a cup o'kindness yet... MR EDWARDS stumbles, choked, sadness threatening to overwhelm him until at last he pushes himself on- MRS EDWARDS (singing) For auld lang syne.

121 INT. HOUSE. PRAIRIE. NIGHT. 121 CLOSE ON LAURA, on the edge of sleep- PA’s fiddle playing drifting through the house- MA (close to LAURA) Happy Christmas Laura. MA slides a tiny parcel under LAURA’s pillow. LAURA It’s not Christmas for a week, Ma- MA shrugs, smiles, kisses her forehead. MA Your grandma always wanted to go to France. LAURAAbe quizzical. Recio 105

MA (CONT’D) For those words in Mary’s ‘stories’. LAURA wavers, sees in MA’s smile that she knows. LAURA opens it to reveal a small well-thumbed French dictionary; Charlotte Quiner 1808 just visible written in the front. On LAURA, flicking the pages open, eyes searching for- LAURA (looking up) Do you think Soldat’s a French word? MA wavers, shrugs- MA I don’t know. Look it up.

122 EXT. HOUSE. PRAIRIE. NIGHT. 122 Far off, the beat of drums traveling across the icy prairie. MR EDWARDS pulls his coat closer. SUDDENLY MARY runs to him, slinging her arms around him. On MR EDWARDS, croaking back tears, patting her gently on the shoulder, face buried into his. MR EDWARDS Til we meet again. He clambers up onto his horse, laden with heavy saddle bags, pulling his gun close to his chest as he rides. PA and MA stand waving, standing in the doorway of the little house, watching as MR EDWARDS rides away. On PA and MA listening to the drums, heading inside.

123 EXT. STREET. INDEPENDENCE. KANSAS. DAY. 123 PA stands waiting outside an official looking building. A sign reads KANSAS STATE LAND REGISTRY. LAURA, CARRIE, MARY, MA, and MRS SCOTT sit in a carriage close by, steaming in the cold- The snow still thick on the ground. MR SCOTTAbe nervously turns his hatRecio in his hands, waiting- 106

At last, the door opens, and an OFFICIAL CLERK nods to let them in- Beyond, clapboard houses, general stores, horses and people.

124 INT. MAIN HALL. LAND REGISTRY OFFICE. DAY. 124 A wide map- PA and MR SCOTT stand over it as the OFFICIAL CLERK’s FINGER TRACES along a line, marking the creek- OFFICIAL CLERK So I am pleased to tell you your papers are all in order, Mr Ingalls. The OFFICIAL CLERK hands over the paperwork, stamping it. OFFICIAL CLERK (CONT’D) The land is yours now. Of course it will have accrued in value since the government sold it to the railroad. On PA, inwardly buckling a little, worst fears confirmed. PA When? OFFICIAL CLERK A week ago. With the claims in place. Soon as the Osage agreed to the treaty. Though some of those Osage are still not happy. The good news is there will be a 6:45 train running from here to Baltimore come next September. Should skirt your land about- The OFFICIAL CLERK TRACES A FINGER OVER A WIDE MAP ON THE WALL- OFFICIAL CLERK (CONT’D) Here. On PA, PEERING CLOSE AT THE MAP WITH UNEASE. MR SCOTT wearily shakingAbe his head. Recio 107

OFFICIAL CLERK (CONT’D) Our unofficial advice is if you want to hold onto your life and your livelihood you give up any claim and move as close to the town as you can. Forthwith. PA’s eyes dart to MA seated with MRS SCOTT, MARY, LAURA, and CARRIE on her knee. MR SCOTT No Indian or railroad is gonna move me off my land. MR SCOTT exits, slamming the door after him. It swings on its hinges. MRS SCOTT Oh Lord!

125 EXT. STREET. INDEPENDENCE. KANSAS. DAY. 125 PA, MA, MR and MRS SCOTT, MARY, LAURA, and CARRIE heading away from the land registry, walking down the main street. MR SCOTT flushed and irate, turning his hat in his hands. On PA and MA, still shell-shocked, carriages and smartly dressed TOWNSFOLK muffled up against the cold, standing outside dress shops. ELEGANT LADIES gathered on the steps of a small wooden church in conversation with the local MINISTER greeting them, prayer book in hand. A stuffed BLUEBIRD atop a LADY’s HAT. On LAURA, peering at it, with morbid fascination. Walking on, they pass a butcher’s shop. On LAURA, silently watching as a BUTCHER slams his knife into a pig carcass. Chickens and rabbits now plucked and skinned and ready to be packaged. On LAURA watching as they are wrapped in paper and slid into LADIES SHOPPING BASKETS. Across the street in a saloon, a WELL DRESSED MAN tucks into a rich meal with his equally WELL DRESSED WIFE, cramming their faces, as a WAITER hovers close by serving wine. Outside a TRAVELING SALESMAN prods a bear cub in a cage, wearing a ruff around his neck, for the entertainment of the CUSTOMERS. The SALESMAN occasionally prods the bear, brushing his teeth with a toothbrush. TRAVELING SALESMAN Made from the finest bristles. Ladies, your husband’s teeth will Abebe as strong as a bear’s.Recio 108

On LAURA, with quiet horror, watching the STIFF little GIRLS in bonnets and thick coats laughing at the mournful bear cub in his cage. A MUFFLED UP LITTLE BOY chases his FRIEND, a wooden gun in his hand, taking aim. A cowboy to the other BOY’s INDIAN. But too quick an arrow strikes him in the shoulder. BOY I got you... I got you... Indian’s got you... The BOY waves his bow, triumphant, palm beating against open lips in a Navaho war cry, chased by his cowboy FRIEND. MRS SCOTT I don’t see it as so bad. The wide entrance of a wooden general store; a glass shop window revealing a display of cotton reels and calico; MRS SCOTT pressing her face to the window- MRS SCOTT (CONT’D) Wouldn’t it be pleasant when you needed a needle or some cotton or some candle grease? MRS SCOTT turns, MR SCOTT already hitching the horses to the carriage. MA, PA, and the CHILDREN close behind. All still shell-shocked. MRS SCOTT desperately trying to make the best of it. MRS SCOTT (CONT’D) You could just walk to the store, buy it and be home soon enough. ON MA, the ebb and flow of PEOPLE quietly overwhelming. MA But so many people...? MRS SCOTT pushing herself on- MRS SCOTT One would get used to it soon enough. On MA, stepping back, a carriage SLICING PAST- MA Not if one has got out of the way Abeof it... Recio 109

PA helps MRS SCOTT back onto the wagon, then MA. LAURA, MARY, and CARRIE clamber onto the duck board behind. JACK tails them as MR SCOTT pulls the carriage out- MRS SCOTT But what conversation - what nice conversation must these ladies have in Independence? MRS SCOTT nods and smiles at passing LADIES out in all their finery. CHILDREN en route to school, lunch pails in hand. CLOSE ON MARY, looking towards a distant school. MA following her gaze- A NEAT and PRETTY SCHOOL TEACHER swarmed by EAGER CHILDREN as she walks to school, books in hand. MRS SCOTT (CONT’D) There might be any number of advantages to living here. MR SCOTT Louise hold your mouth and don’t open it again until we pass those trees way over there, please. MRS SCOTT nods, for once silent, fighting back tears. On LAURA, looking at PA, staring straight ahead, land deeds tightly in his grasp. Two new horses fastened to the back of MR SCOTT’s jig, riding alongside them.

126 INT. HOUSE. PRAIRIE. NIGHT. 126 PA and MA lie in bed, restless, in the depths of the night- The wind whistling outside. SILENCE until- MA It has a nice school. And a general store. Mary’s ready. Laura too. They should both have gone long ago. We start again, Charles. MA rolls over, face pressed close to his, PA staring straight up atAbe the ceiling brooding- Recio 110

MA (CONT’D) We’ve worked and worked this land but no one owns the wilderness. No man or God. We’re only here to tend it. And when that gets too hard. Either way we stay here we lose, Charles. Mrs Scott’s right. Independence might not be so bad. PA turns, a quiet despair evident on his face- MA (CONT’D) We worked on this little house. Like we did with the last. And I left it when you asked. On PA, silent. MA sinks back down against the pillow, looking up. MA (CONT’D) It is not the things you have that make you happy. It is love and kindness and helping each other and just plain being good. It’s the rest. You let it go. It lightens your load.

127 EXT. CLEARING. PRAIRIE. DAY. 127 On LAURA clearing thawing snow from the burial mound. Tufts of snowdrops sprouting through- The shard of mirror etched with the name Mary O’Neil now pressed into the mound. LAURA looks up, sensing someone watching her- SOLDAT stands, staring at her. LAURA springs to her feet. They look at one another- LAURA I’m sorry you lost your baby. SOLDAT stares at her. LAURA reaches into her pocket for the tiny French dictionary, scrabbling through the pages. LAURA (CONT’D) (in French) AbeYour baby. I’m sorry. Recio 111

On SOLDAT, a flicker of pain grazing his eyes- LAURA (CONT’D) (in French) Soldat. It means soldier. SILENCE- On LAURA, her eyes tracing over the dark wolf tattooed on his arm, nervous. LAURA (CONT’D) Did that hurt? SILENCE- LAURA nods, disappointed, almost turning to go. SOLDAT (in English now) A little. On LAURA, she turns, smiles, with obvious surprise. LAURA I saw a man once with only one thumb. His dog bit clean through it. SOLDAT His dog must not have liked him much. LAURA wavers, a surprising warmth to SOLDAT. LAURA Is it true your wife died too? SOLDAT hesitates, nods. LAURA (CONT’D) That’s sure unlucky. My grandpa died but I never met him. My Ma said he looked just like me. (beat) He had a white beard. So not just like me. LAURAAbe trails off- Recio 112

LAURA (CONT’D) I figure if your name means soldier then you must have fought for something. But I’d really prefer it if you didn’t fight me. On LAURA, defiant until- SOLDAT holds up a newly shot rabbit. SOLDAT For your father. LAURA hesitates, nods, taking it. LAURA Thank you. LAURA smiles. They stand in awkward silence. LAURA (CONT’D) (in French) Merci.

128 EXT. PRAIRIE. DAY. 128 CLOSE on LAURA, rabbit in hand, on her approach seeing- PA hammering a new leather strap across the stable door, stops on seeing- SOLDAT by LAURA’s side.

129 EXT. HOUSE. PRAIRIE. DUSK. 129 PA and SOLDAT sit sharing a pipe of tobacco- MA stirring stew over the fire- The MURMUR of their conversation underscores. SOLDAT My great grandfather spoke French. To trade furs with the European merchants. Few speak it now. My wife taught me English. She was of Dutch descent. In turn she spoke a little Osage. The vowels are not dissimilar though I like to think I was the better student. PA smiles.Abe SOLDAT smiles, staring Recio into the fire. 113

SOLDAT (CONT’D) When I was a boy there were over 5,000 of my people. Now we are not even half of that. Every time they have moved us, less and less of us survive. We have suffered great hardship. Even greater loss. And now we must move again. Because a government decrees it. For some it is too hard. They cannot be moved again. MA holds out a bowl of stew. SOLDAT sniffs it suspiciously, tentatively eating. CARRIE stares wide-eyed from behind MA’s skirt. Soldat smiles at her. She smiles back, one hand reaching up touching a beaten up gold locket around his neck. He flicks it open for her, revealing a tiny photograph of a beautiful woman. MA (looking at it) She’s very pretty. SOLDAT nods. MA smiles at him. He gently closes it. SOLDAT She had a terrible temper. LAUGHTER- PA likes this man. SOLDAT (CONT’D) But very green eyes. A KNOCK at the door- MA looks to PA, quizzical, as she turns, opening it- DR TANN enters, surprised on seeing SOLDAT. DR TANN nods his greeting- DR TANN I’ve come to warn you- FAR OFF THE SOUNDS OF DRUMS- DR TANN (CONT’D) The Scotts have packed up. Left this morning. I’m riding round telling all those with a homestead- THE AbeDRUMS LOUDER NOW- Recio 114

DR TANN (CONT’D) (in French) You must talk to them, Soldat. SOLDAT stares once more into the fire. SOLDAT We are people born of the land. No certificate confirms that. It is within us. It is our history. Our future and our past. You take the land from us and you take part of us. For some of my people that is unbearable. They believe if the Osage cannot own it- On SOLDAT, lost deep within in himself. SOLDAT (CONT’D) (almost to self) ...then no one shall.

130 EXT. HOUSE. PRAIRIE. NIGHT. 130 PA and DR TANN watch SOLDAT ride away- An icy wind shaking the grass- Far off, the glow of the Osage fires- The DRUMS LOUDER-

131 EXT. PRAIRIE. NIGHT. 131 The grey wolf staring out across the prairie- The little house illuminated far off in the dark. The grey wolf HOWLS- Beyond, the pack of wolves throw back their heads, HOWLING too. THE DRUMS BEATING THROUGH-

132 EXT. PRAIRIE. NIGHT. 132 ThroughAbe the tall grass- Recio 115

The GLINT of the FIRE. The OSAGE ELDERS locked in furious debate, NAS silent in the face of Soldat’s impassioned pleas- The SCRATCH of CLAWS- The shadowy circling of the WOLVES, the grey milky-eyed WOLF pacing back and forth. The WAR CRY LOUDER- A surly DAKOTA sits amongst a gang of OSAGE YOUTHS, looking on, watching SOLDAT in heated exchange with the OSAGE ELDERS. On DAKOTA, staring deep into the fire, a brooding anger in his eyes, threatening to boil over. SUDDENLY NAS shoves SOLDAT away, the sense that talk is over. NAS nods to DAKOTA, who is clambering onto his horse. Several OSAGE YOUTHS follow suit, riding after him. On ENAPAY following, trying to stop them. On SOLDAT, with sinking resignation, turning tail and heading off. On APONI, looking on sorrowfully. The DRUMS, FINGERS FASTER AND FASTER AGAINST TAUT DRUM SKINS- The WOLVES’ HOWLS BLURRING INTO-

133 EXT. PRAIRIE. NIGHT. 133 The THUNDER of HORSES HOOVES- The SWAY OF BEADS, TASSELED LEATHER SLAPPING AGAINST HORSE FLANKS. On NAS, DAKOTA, and the gang of OSAGE YOUTHS coming to a still, astride their horses. NAS raises a torch, casting its light across a sign newly hammered into the ground- PROPERTY OF THE KANSAS PACIFIC RAILWAY- Acquired from the US government for the construction and extension of the federal chartered railroad under the Pacific Railway Act 1869. On NAS, leaning down, a flaming torch in hand, lighting first the base of the sign. He turns, leaning down low, dragging the flaming torch along the Abe prairie’s edge, his face caughtRecio in flickering light. 116

The FLAMES at once spark, catching light, licking up the signpost- A WIND RUSTLING THROUGH THE GRASS, DRAWING UP THE FIRE- The prairie AT ONCE SMOKING, GLOWING WITH THE START OF THE FIRE- ON ENAPAY, riding fast on the approach- ENAPAY (shouting out) No- CLOSE ON DAKOTA, throwing his head back in a SHRILL WAR-LIKE SCREECH-

134 INT. HOUSE. PRAIRIE. NIGHT. 134 LAURA caught in restless sleep- A FLICKERBOARD OF IMAGES BLURRING IN AND OUT OF ONE ANOTHER- The BRUSH of a wolf against skin- A BABY crying- A GUN SHOT- OSAGE MEN dancing and singing, beating drums. The CRACKLE of a FIRE- LAURA’s restless dreams punctured by MA’s voice- MA (shouting) Laura. Wake up. Wake up- LAURA stirs, MA frantically shaking her- Through the glass, the glow of endless flames, licking the land for miles-

135 EXT. PRAIRIE. NIGHT. 135 The SHRILL SCREAM of NAS, DAKOTA, and the gang of OSAGE YOUTHS RIDING ACROSS THE FLAMING PRAIRIE- NAS, one fist raised, grasping the flaming torch, a TERRIFYINGAbe WAR CRY emanating fromRecio his mouth- 117

The CRACKLE of FLAMES, FILLING THE AIR WITH SMOKE- ON NAS sobered on seeing- Far off, the flaming prairie, surrounding the little house. On DAKOTA, slowing to a still, looking on, oddly troubled.

136 EXT. PRAIRIE. NIGHT. 136 MA desperately pumping water, handing pails in a fireman chain along the line of GIRLS until PA at last takes it, throwing it over the flames licking the edge of the yard. Their faces dirtied with charcoal. Their lungs filled with smoke. They furiously work- MA It’s no good. It’s no good. PA Saddle up the horse. Laura do it. At once, LAURA races towards the stables, flames licking the edge of the stable door.

137 EXT. PRAIRIE. NIGHT. 137 ANTELOPES, DEER, RABBIT, SQUIRRELS, and BIRDS FLEEING THROUGH THE TALL GRASS- The FLAMES AND SMOKE CLOUDING THEIR JOURNEY AS ALL FLEE-

138 INT. STABLE. PRAIRIE. NIGHT. 138 The stable on fire, flames licking up the wooden walls- The RESTLESS HORSES FRANTICALLY CIRCLE, TRAPPED IN THEIR STALLS. On LAURA, her shirt pulled over her mouth, fighting her way through the smoke and flames, face beaded with sweat and blackened soot. Reaching up, LAURA gripping the horses by the bridles, leading them past the flames- The heat overwhelming, LAURA slides a saddle onto a horse, FINGERSAbe fumbling to tighten the Reciostraps until- 118

SUDDENLY the horse rears, cantering away through the flaming barn door. MA Laura- On LAURA, SMOKE and FLAMES THREATENING TO ENGULF her as she desperately leads out the second horse- MA (CONT’D) Laura- MA desperately trying to see through the haze, LAURA just visible coming through the billowing smoke- MA (CONT’D) Keep coming towards me- FLAMES LICKING THE ROOF, BURNING BEAMS THREATENING TO FALL OVERHEAD- MA (CONT’D) (on seeing) Laura- SUDDENLY A BEAM CRASHES DOWN, MA forced back outside-

139 EXT. OUTSIDE STABLES. PRAIRIE. NIGHT. 139 On MA, hysterical now- MA (screaming) Laura- SUDDENLY ENAPAY, on the approach, riding into the searing heat, streaking past MA- ENAPAY (shouting out) Laura-

140 INT. STABLE. PRAIRIE. NIGHT. 140 On LAURA slapping away the flames licking at her skirt, gripping tight onto the reins, trying to stop the horse from rearing. LAURA Ssh...girl...ssh- The Abeheat, almost unbearable now.Recio 119

On LAURA, steering the horse around the burning mound, the smoke and heat overwhelming her until- ENAPAY riding through the flames, reaching out for LAURA and pulling her into the saddle, close to him. ENAPAY (in Osage) Hold on to me. On LAURA, coughing and barely able to breath, near suffocating in the smoke- ENAPAY (CONT’D) (in Osage) Hold on Laura. Yet ENAPAY stays firm, reaching for the reins of the horse, leading them out-

141 EXT. OUTSIDE STABLES. PRAIRIE. DAY. 141 LAURA gasps for air, cradled in ENAPAY’s arms as he rides the horse out. ENAPAY (close to LAURA) Laura- On LAURA, eyes flickering open, close to ENAPAY. He smiles with relief. LAURA Enapay- ENAPAY wipes the black from her face with his hand. ENAPAY Ssh- On LAURA, looking back - a wall of fire consuming the last of the stable and the little house, the heat overwhelming her. SUDDENLY MA, just visible through the smoke, running to ENAPAY and LAURA, overwhelmed with relief. MA (calling out) Charles...she’s here. Laura’s here. At once, PA grabs the second horse, lifting CARRIE then MARY thenAbe MA onto it, handing the reinsRecio to ENAPAY. 120

PA (to Enapay) Take them to the creek. Get them to the creek. ENAPAY nods- PA (CONT’D) (reaching out a hand) Caroline- On MA, refusing to let PA go. MA I won’t leave without you. SUDDENLY PA looks up - SOLDAT sits astride his horse. He holds out his hand to PA. SOLDAT Here. On PA as he hesitates, looking back at the burning house. SOLDAT (CONT’D) It’s gone. On PA, despairing yet resigned. Gripping SOLDAT’s hand, he clambers onto the horse behind him. JACK barks frantically, close by- LAURA (calling out) Jack! On LAURA bending down, pulling JACK up onto her lap- She looks back just seeing- The flames enveloping the little house- PA Follow the creek. Ride down the creek. SOLDAT nods, CLICKS the horse on as together they ride down towards the creek- Far off, the OSAGE racing across the burning prairie, their shadowy forms silhouetted against the night sky, illuminated by fire,Abe running mile after mile.Recio 121

CLOSE ON LAURA, one hand gripping SOLDAT’s arm, eyes falling on the tattoo of the wolf, snaking up SOLDAT’s arm. IN THE DISTANCE, THE SHRILL CALL of THE OSAGE RINGING INTO THE NIGHT SKY-

142 EXT. CREEK. PRAIRIE. DAY. 142 Dawn- A blanket of devastation all around- Trees, blackened and ash white, stand like bones in the ground for miles and miles- The land stripped of all life- The SILENCE DEAFENING, NOT A BIRD IN THE SKY- CLOSE ON MA, PA, LAURA, CARRIE, and MARY exhausted and shell- shocked, scattered close to the water. JACK drinks from the creek. LAURA stands in the creek, washing black soot off her arms and face. All around, tiny signs of the animal exodus - deer and antelope drink close by. The call of the wood pigeon overhead- An eerie calm descended across the land. MA sits, drinking water, holding a cupped hand up to CARRIE’s face- MA Drink baby. MARY, shell-shocked, stands, clutching the remains of her charred novel - The Notorious Maxwell Brothers - the pages spilling into the creek. On MARY weeping as she bends down to pick them up. LAURA (close to) Ssh... Sshh. On LAURA, tearing off a piece of her skirt and dipping it into the creek as she uses it to gently wash the smoke from MARY’sAbe face. Recio 122

Beyond, PA washes down the soot covered horses. JACK wading into the water close by- Farther up the creek, a low WHISTLE- LAURA looks up to see APONI and OTHER OSAGE WOMEN bringing bread and berries, clean clothes and leather moccasins, laying them down next to the creek. APONI GRIPS MA’s HAND, sorrowfully, offering a brief smile of solace, before moving away. Beyond, a sense of the OSAGE SETTLEMENT packing up- SOLDAT looks over at PA, nods sorrowfully- THEN, turning, he walks away, followed by ENAPAY and the rest of the OSAGE tribe. Beyond - NAS and DAKOTA, looking on, defiance on their faces, etched with shame. On APONI as she angrily shoves DAKOTA ahead of her. On NAS, turning, sorrowfully, walking away.

143 EXT. HOUSE. PRAIRIE. DAY. 143 CLOSE ON LAURA, PA, MA, MARY, and CARRIE, JACK at their heels as they slide off the horses and take in the devastation- For miles, the land blackened, the trees scorched and ghostlike, the grass burnt to the ground- The little house, a charred skeleton-

144 INT. HOUSE. PRAIRIE. DAY. 144 Utter desolation- The burnt remains of all they have built- The outline of the stable and house scorched in the grass. An entire life incinerated, bar the wagon, which still stands, smoke-damaged but oddly untouched, inches from where the fire burnt itself out- Sifting through the charred embers of the house, MA picks up pieces of broken china, the scorched remains of the china figurine, found. MA wipes away the black soot to reveal- The Abebeautiful lady’s face still Reciointact- 123

Tables, chairs, curtains incinerated, ghostlike and contorted in charred form. MARY picks up a pencil box, opening it to see a pencil and a notebook still intact, pocketing it before moving on. On LAURA, crouched down, finding the charred oil box lid, and little else. The French dictionary, destroyed but for a few singed pages - CHARLOTTE QUINER’s name half burnt away, yet still visible on a blackened page. PA (entering) It didn’t touch the wagon. Stopped four inches from it. MA nods, quietly weeping. On LAURA, resigned, letting the charred remains of her things fall out of her hands. PA (CONT’D) You’re right. We can start again, Caroline. What are things? What is home except for the people? And we kept the people. PA holds up his charred fiddle- PA (CONT’D) I need to teach myself the piano. I’m done with fiddling. SUDDENLY PA falters, on the edge of breaking. MA No. MA at once putting her arms around him, holding his face in her hand. MA (CONT’D) The sun is shining. We have food in our bellies. We have air. We still breath, Charles. We still can breath. There's no great loss without...without...small gain. PA nods, MA forcing him on- MA (CONT’D) We start again. Home is in here. (tapping his chest) Keep it lit in here. TheyAbe kiss- Recio 124

AT ONCE, CARRIE flings her arms around their legs. PA laughs, puts his hand around her, then MARY, then LAURA all locked in an embrace until- They break apart, all falling into salvaging what they can, sifting through the remains of a life. LAURA bends down, picking up a broken string of Indian beads. HORSES ON THE APPROACH- On PA, looking up, smiling on seeing- SOLDAT, leading PA’s lost horse close behind- SOLDAT I found him five miles beyond the creek. ON PA smiling his thanks, approaching SOLDAT; one hand smoothing down the horse’s exhausted, sweat-blotted flank. PA Thank you. ON SOLDAT - he nods, sobered by the devastated prairie-

145 EXT. PRAIRIE. DAY. 145 On LAURA taking in the charred remains of the stable- The ice hook still hanging on the door where she last left it. The water barrel burnt to the ground. PA O/S (calling over) Laura- On LAURA taking the stable in for one last time before turning- PA You seen Carrie? LAURA shakes her head, hesitating on hearing- LAURA (calling out) AbeCarrie- Recio 125

CLOSE ON LAURA, steady on the approach, drawn by the sound of CARRIE singing- CARRIE (singing to herself) I was hangin' 'round town, just spendin' my time... Out of a job, not earnin' a dime. A feller steps up and he said- CARRIE crouched on the ground, lost in playing in the ashes as she sings to herself. LAURA Carrie, Pa’s looking for you? CARRIE’s face breaks into a smile on seeing LAURA- SUDDENLY a SCRATCHING coming from the corner of the charred stable- LAURA quizzical, eyes searching the dark, freezing on seeing- SUDDENLY FROM BEHIND LAURA- SOLDAT Keep her still. SOLDAT, standing behind Laura, his eyes fixed on- The wiry grey wolf at once circling close to CARRIE, half dead, fur charred and blackened. LAURA (gentle) You count them up, Carrie. How many beads did you find? On LAURA, HEART BEATING, CARRIE playing on oblivious until- CARRIE Four...five...six...seven... CLOSE ON THE GREY WOLF - IT THROWS ITS HEAD BACK, FUR STIFF, ARCHED READY TO POUNCE- From behind, MA on the approach, just seeing- MA (shouting) No. The Abegrey wolf leaps, TEETH BARED, Recio READY TO ATTACK- 126

ON CARRIE, the beads falling from her hands- INSTINCTIVELY LAURA reaches for the ice hook hanging on the door and in one mighty sweep- LAURA SWINGS THE HOOK BACK WITH ALL HER MIGHT, SLAMMING IT INTO THE WOLF’S GUT. AGAIN AND AGAIN, SHE SWINGS THE HOOK- THE SPRAY OF BLOOD AND FUR ACROSS HER FACE, YET STILL SHE DOES NOT STOP, POUNDING THE HOOK AGAIN AND AGAIN UNTIL- PA Laura- On LAURA, HEART PUMPING, HANDS SHAKING, covered in blood, as she scoops up CARRIE, crying- LAURA You alright, Carrie. Carrie? On CARRIE, FINGERS TOUCHING LAURA’s face. CARRIE Carrie fine. On LAURA, smiling with relief, looking over at the wolf dead on the ground; its one milky eye still open wide. MA Charles-? CARRIE runs into MA’s arms. On MA, taking in the dead wolf. Gently, PA takes the ice claw from LAURA’s hand until- CLOSE ON LAURA, pressing her head into PA’s chest, her body SHUDDERING with sobs. PA Ssh...ssh- CLOSE ON PA, pulling LAURA into a tight embrace. PA (CONT’D) It’s over. It’s over. Ssh...Laura... ON SOLDAT, crouching down, wanting to be sure the wolf is dead. On PA watching him, seeing the emotion in SOLDAT as he placesAbe a hand on the wolf’s body.Recio 127

SOLDAT It’s done. On PA staring out over the blackened prairie.

146 EXT. PRAIRIE. DAY. 146 On LAURA, climbing onto the wagon as PA pulls the last strap tight- MA We ready? PA nods, climbing into the front of the wagon next to MA- LAURA, CARRIE, and MARY taking their places in the back, JACK tailing the wagon by the wheel- They look back at the house. On MA and PA, looking back at MARY, LAURA, and CARRIE - three strong little girls, seated on the back of the wagon. They turn smiling at MA and PA. LAURA (nods) Yes. We’re ready now. On PA - he nods, turning back to jeer the horses on. On MA, looking at the girls, then turning to face the road ahead, both of them quietly moved. The wagon rolling along the trail- SUDDENLY PA stops, all seeing- A snaking convoy of OSAGE PEOPLE - NAS at its head, leading them on; OSAGE MEN, WOMEN, CHILDREN, YOUNG AND OLD seated astride horses, dragging sleighs of rolled teepees and bedding. A hundred or more, all moving out, all riding into a future unknown. DAKOTA, APONI, and ENAPAY amongst them, riding close to NAS. They nod at PA and the family as they pass the wagon- SUDDENLY LAURA stands up on the back of the wagon- LAURA (CONT’D) (calling out) Enapay. Instinctively LAURA jumps down, running after ENAPAY as he rides.Abe At once, they grip hands- Recio 128

LAURA (CONT’D) (in French) Good bye. Their hands drop away- ENAPAY (in English) Good bye Laura. ON MA looking over at APONI. She smiles. ON APONI as she nods, smiles, and waves back - a quiet connection made. The family watching as APONI and the snaking trail of OSAGE ride away. LAURA turns back to follow the wagon, stopping on seeing SOLDAT, astride his horse, riding at the end of the snaking line. She smiles at him. He reaches into his pocket, pulling out the wolf’s tail - now beaded and threaded, a lucky talisman - holding it out to LAURA. She takes it, staring at it. Then looks up- SOLDAT Thank you. On LAURA watching the Osage tribe riding away. She looks down at the wolf’s tail, a grey stripe running down the fur. Then, taking it, she ties it to the belt of her skirt, looking back at SOLDAT- On SOLDAT, riding away. LAURA raises a hand as if to call out, but something makes her stop. She looks up, taking in the wide prairie- The SILENT DEVASTATION - no BIRDSONG. NO RUSTLE OF WIND THROUGH THE GRASS- YET, through the grey sky, the first shards of sunlight...the hope that spring will come again. LAURA looks back at the little house on the prairie. A burnt out shell. On LAURA as she turns, tiny against the vast blackened landscape, watching the snaking trail of the Osage riding away. On LAURA, looking up at the sky- The AbeCHILL of the wind, pricking Recioher skin. 129

She looks around her - the vastness of the blackened land overwhelming her. Tears well in her eyes, quietly humbled, silenced by this wide, wide endless land. She turns, running after the wagon, hurrying to catch it before it slips away.

147 EXT. TRAIL. PRAIRIE. DAY. 147 ON LAURA, walking now, the blackened grass bleeding out into new green meadow- The wagon rolling on ahead. The wolf’s tail swings against her long skirt- On MARY seated in the back of the wagon, watching her, something different about the way LAURA walks, taller, stronger. LAURA wavers on this, half smiles. LAURA What? MARY shakes her head- MARY Pa says you better run if we’re to make it to Independence by night. On LAURA. She smiles, pulling herself up onto the wagon next to MARY, and takes CARRIE onto her lap- MARY (CONT’D) I’ve no stories to read. On LAURA, taking in the vast prairie beyond, reaching over and taking MARY’s notebook and pencil salvaged from the wreckage. She opens it, looking back, then slowly she writes, the words one by one taking shape... Little... House... On... The... Prairie... by Laura...Abe Recio 130

Ingalls. On LAURA looking down at these words, definite, etched onto the page. LAURA (almost to self) We’ll write new ones. The wagon rolling on.

148 EXT. PRAIRIE. DAY. 148 The roll of the wagon, coming to a crossroads scratched in the dirt- On MA, looking at a wooden signpost carved with the words - Independence 40 miles, an arrow pointing to the East and to the West- A wide green prairie, spreading out like a shimmering blanket as far as the eye can see. On MA, a quiet decision made. PA by her side, just about to steer the wagon towards Independence- MA (sudden) Ride on, Charles. On PA turning to look at MA- MA stares straight ahead, looking out over the vast and endless prairie - looking out over an uncertain future and the life ahead. On PA, eyes filling with quiet pride and gratitude, JEERING the horses on- MA’s hand gently cupping PA’s, squeezing it tight as he grips the reins. MA’s voice just audible singing ‘There is a Happy Land’, guiding them on, falling into singing as the wagon rolls away- MA (CONT’D) (singing) There is a happy land. Far, far away. Where saints in glory stand, bright, bright as day. Oh, how they sweetly sing, worthy is our Savior King, Abe(MORE) Recio 131 MA (CONT’D) Loud let His praises ring, praise, praise for aye. CLOSE on LAURA, seated with MARY and CARRIE in the back of the wagon, looking back at the dusty road left behind. LAURA/MARY (singing) Come to that happy land, Come, come away. Why will ye doubting stand, why still delay? Oh, we shall happy be, when from sin and sorrow free. The wagon disappearing into the distance, until it is a dot on the horizon. ‘There is a Happy Land’ fainter and fainter, dissolving across the swaying grass. THE END

Abe Recio