"In writing fiction, the more fantastic the tale, the plainer the prose should be. Don't ask your readers to admire your words when you want them to believe your story." - Ben Bova [ more quotes ]

DANCES WITH WOLVES




Written by

Michael Blake





MAY 23, 1989
Final Draft



INT. FIELD HOSPITAL TENT - DAY

A black screen.

The sound of a knife cutting through boot leather.

Fade in on the waists of two men (THE SURGEONS) hovering
around a crude operating table.

In the extreme background, TWO STRETCHER BEARERS are just
leaving.

SURGEON 1 (O.S.)
Is this the last one?

One of the bearers stops and looks back. His face is numb.
And he nods hollowly.

We cannot see the patient stretched out on the table. But we
do see that the first surgeon has succeeded in getting the
man's boot off.

SURGEON 2 (O.S.)
God, what a mess... at least there's
no gangrene.

SURGEON 1 (O.S.)
There will be if it doesn't come
off.

SURGEON 2 (O.S.)
Well I can't saw if I can't keep my
eyes open. Let's coffee up... he
can wait a few more minutes.

As the TWO SURGEONS duck through a tent flap in the background
we see a mangled foot, torn by shrapnel, it oozes blood from
a cut clear to the bone.

LIEUTENANT JOHN J. DUNBAR'S eyes are now open. He's a young
man, his features sharp and handsome. With effort, he lifts
his head and searches the room.

His eyes come to rest on the form of a legless man lying in
bloodsoaked sheets. He's whimpering like a child.

Dunbar comes to a sitting position on the operating table.
As his eyes move around the room they come to rest on a crate
filled with the boots of men who have lost their legs.

A cane travels through space and deftly hooks one of the
boots.

Lieutenant Dunbar brings the boot onto the operating table.
He tries to pull it on his mangled foot, but the pain makes
him cry out. Deliberately he breaks the cane and sticks a
piece of it between his teeth.

Tears of pain are rolling down his face. A sweat has broken
out on his forehead and with great determination he pulls
the boot on.

EXT. FIELD HOSPITAL TENT - DAY

The two weary surgeons sip on steaming mugs of coffee, their
white coats spattered with blood. Their brief respite is
interrupted by the sound of a muffled scream.

Together they turn and rush back into the tent.

INT. FIELD HOSPITAL TENT - DAY

The operating table is empty save the broken cane and a small
pool of blood. Dunbar is gone.

LEGEND: ST. DAVID'S FIELD, TENNESSEE - 1862

EXT. CIVIL WAR HILL - DAY

In a natural valley below is a peaceful field. And on either
side of the field, seperated by a hundred yards of green,
are low rock walls.

Several dairy cows are lying dead in the field.

A group of MOUNTED UNION OFFICERS, ride onto the crest of
the hill and look down at the field. The distinguished man
with a long grey beard is GENERAL TIDE.

EXT. CONFEDERATE WALL - DAY

Ragged CONFEDERATE SOLDIERS crouch sullenly behind one of
the walls.

EXT. UNION WALL - DAY

And just behind the other wall are UNION MEN, better equipped
perhaps, but just as weary as their enemies.

We hold on one man, an enlisted soldier, SERGEANT PEPPER. He
chances to glance behind and squints at a strange sight.

A solitary officer is standing a few feet behind him. The
sun is at his back, giving him a ghostly feel. Eerily he
takes a step or two forward. He's limping badly.

The sergeant recognizes him. It's Dunbar.

PEPPER
Lieutenant... izat you?

Dunbar says nothing. He just stands and stares. It unnerves
the sergeant.

PEPPER
What're you doing here lieutenant?

DUNBAR
This is where I belong... this is my
outfit.

The sergeant stares at Dunbar's foot.

PEPPER
You went to hospital?

DUNBAR
It was no good... what's going on
here?

A ping of riflefire flies overhead and the sergeant dives
for the wall. He calls over his shoulder.

PEPPER
Better come to cover lieutenant...
those boys are shooters.

Dunbar settles next to the sergeant.

PEPPER
What's goin' on here... seems to be
the question alright... you could
ask the major but he don't know.
He's busy tryin' to figger out how
come the officer's mess run outta
peach ice cream...

The sergeant nods at the distant hill and Dunbar looks too.

PEPPER
General's come up to see the show
but all he knows is there ain't no
show...

Now he nods toward the trees behind them and the lieutenant
follows. Several union men are clustered around a huge hunk
of material attached to a gondola.

PEPPER
We started a balloon up but they
shot her down fore she was ten feet
off the ground... so nobody's made a
run either way. It's been a stand-
off all damn day... and now... the
major, he's lookin' at the general
and he's thinkin' I better do
somethin', and you know what that
means...

More riflefire comes in and some of the union men answer
with a few rounds of their own. The sergeant watches the
confederate line across the field through a crack in the
wall.

Lieutenant Dunbar is not watching the enemy. He's looking at
some horses picketed in the trees behind the union lines.
There's a nice bay. There's a big roan.

PEPPER
They're 'sposed to be beat up just
like us but everybody knows that
Tucker's men are tough as cobs. I
sure don't wanna die out there with
them cows.

Dunbar is still watching the horses. He's holding on a small,
well-muscled buckskin standing a little apart from the others.
CISCO.

Now he moves away from the wall, heading for the horses.

The sergeant squeezes off a shot. Squinting across the field,
he sees a rifle with a hat on the tip of its bayonet waving
at him disrespectfully. The sergeant rolls on his side to
reload. He keeps on talking to the lieutenant, but the
lieutenant is gone.

PEPPER
Some of the boys are sayin' that if
we ain't gonna fight we could just
settle the whole business with a
little high stakes poker. Wouldn't
that be a sight... a bunch of fellas
sittin' in the middle of this field
drawin' cards...

The sergeant's chatter is interrupted by a sound... the sound
of hoofbeats rushing in behind him. Men on either side are
scattering, but there's no time for the sergeant. He turns
to the sound and cringes against the wall as the buckskinned
belly of a horse soars over his head.

Dunbar and his horse hit the ground with a thud and dig for
the confederate line.

EXT. CONFEDERATE LINE - DAY

Some of the confederate riflemen can see the wild rider headed
for their lines. A sharpshooter (RAY) calls over his shoulder.

RAY
Tucker!

A man in a slouch hat crowned by a jaunty feather looks up
from an impromptu meeting. TUCKER.

EXT. CIVIL WAR HILL - DAY

Like the others, General Tide is absorbed with the spectacle
of a single horseman riding into the teeth of the enemy. He
holds out his hand and an AIDE slips a pocket telescope into
his palm. The general sights through his telescope.

AIDE
What is it sir?

Tide lowers the telescope, glances at the aide and peers
back down at the field.

TIDE
Looks like a suicide.

EXT. BATTLEFIELD - DAY

Dunbar can see the confederate riflemen now. They're rising
up behind the wall to aim and fire.

Fifty yards from the enemy line he's still unhit. He wheels
the buckskin into a sharp left turn and they streak parallel
to the confederate flank. The buckskin is charging hard, his
heels throwing out clumps of dirt.

The firing is tremendous. The lieutenant's hat is torn away.
A slug lifts off one of the officer's epaulettes, but still
no bullet finds him.

EXT. UNION WALL - DAY

The entire union line is standing, strangely quiet in their
disbelief.

EXT. BATTLEFIELD - DAY

The lieutenant passes the last of the riflemen and pulls the
buckskin up at the far end of the field. The little horse is
pitching and rearing, ready for another run.

The lieutenant bows his head in exhaustion, but a sound coming
across the field brings his head up quickly. A great cheer
is rolling along the union line.

EXT. HILL - DAY

General Tide is furiously spurring his horse as he tears
down the hill. His aides are trying desperately to keep up.

EXT. CONFEDERATE WALL - DAY

There's action along the confederate line. The men Dunbar
passed are desperately trying to reload. Those at the end
are jeering, taunting the lieutenant to take another pass.

Tucker is moving along the line. The battle ground has
suddenly taken on a festival atmosphere and Tucker doesn't
like it.

CONFEDERATE
Come on you son of a bitch -- you
won't make it a second time...

EXT. BATTLEFIELD - DAY

DUNBAR
Alright by me.

Dunbar gazes down along his leg. Blood is pumping from his
wound.

DUNBAR
Forgive me Father.

Again he digs his heels into the buckskin's flanks and they
fly down the line. The confederates are trying to reload. A
few are able to get off a hasty shot, but they're all too
late.

EXT. BATTLEFIELD - DAY

Dunbar swerves in a little closer to the wall as he approaches
the other half of the confederate ranks. They're standing
ready, like a firing squad.

Tucker has just reached the side of Ray the sharpshooter.

The lieutenant shuts; his eyes, lets the reins flop on the
buckskin's neck and spreads his arms as they thunder toward
the line of riflemen.

Ray's finger squeezes the trigger, his keen eye sights down
the barrel of his gun. THUD... a rifle ball buries itself in
Ray's forehead.

EXT. BATTLEFIELD - DAY

The union trooper who fired the fatal shot gets up from a
kneeling position and scrambles after some of his comrades.

EXT. UNION WALL - DAY

With his aides coming behind, General Tide leaps his horse
over the wall at a dead run.

The entire Union line pours after him, screaming a thunderous
battlecry in unison. Pepper is one of the last to scurry
over the wall.

EXT. BATTLEFIELD - DAY

The union troops have the rebels in full flight, chasing
them into the woods beyond the field.

EXT. BATTLEFIELD - DAY

Suddenly the field is quiet. There is rifle fire in the
distance but otherwise everything is still. The field is
almost empty. The three dead dairy cows are still there. And
at one end of the field is a solitary buckskin horse. His
rider lies on the ground, a foot hooked in one stirrup.

The sound of men's voices is coming near. Suddenly, General
Tide is peering down at him. Dunbar stares back, glassy eyed.

DUNBAR
Don't take off my foot.

General Tide stares down into Dunbar's blank face. He kneels
next to the lieutenant and bends to whisper in his ear.

GENERAL TIDE
You rest easy son... you'll keep
you're foot. As God is my judge,
you'll keep it.

The general looks up at one of his aides.

GENERAL TIDE
Bring up my ambulance...

AIDE
Sir?

GENERAL TIDE
Bring up my ambulance. And bring my
surgeon with it. We've got an officer
who's worth something lying here.

The aide dashes off to do what he's told, as General Tide
gently removes Dunbar's foot from the stirrup and lays it
carefully on the ground. The image fades out.

EXT. PRAIRIE - DAY

The image of a boot fades in, pull back to see that a lone
rider is coming toward us. He has had a long and dusty trip.
It's Lieutenant Dunbar. He's still riding the little buckskin.

LEGEND - FORT HAYS. KANSAS - 1863

Dunbar pulls up short. He stares thoughtfully at something
in the distance.

DUNBAR (V.O.)
The strangeness of this life cannot
be measured. In trying to produce my
own death, I was elevated to the
status of a living hero.

Dunbar starts forward and the camera swings around to cover
his back. In the distance we can see an isolated and dreary
military post.

The sky is very blue. The sun is bright. A rough-hewn,
unfenced fort is straight ahead.

There are several miscellaneous stone structures, a well-
stocked stable, barracks, officer's quarters and in the center
of it all, a headquarters building.

Lieutenant Dunbar, riding straight and tall on his powerfully
built buckskin, Cisco, passes into view. He's headed for the
center of the fort.

INT. FORT HAYS HEADQUARTERS - DAY

Silhouetted against the outside, Lieutenant Dunbar pauses in
the wide doorway of headquarters. We can hear the distant
sounds of work and life coming from the outside but in here
it's strangely quiet.

A SERGEANT sits at a desk in the foyer. Across the way, at
another desk, is an enlisted CLERK. Both men glance from
their paperwork at the man in the doorway. But it's only a
glance and they go right on shuffling paper.

Footfalls sound in a hallway and a blue-eyed officer with
slick, black hair swings into the foyer. He too has a
slackness that echoes the dreariness of this post.

The blue-eyed officer, LIEUTENANT ELGIN, and Dunbar meet at
the doorway. Dunbar glances down at a scrap of paper in his
hand.

DUNBAR
Where can I find Major... Fambrough?

ELGIN
Turn right... all the way to the end
of the hall.

Being roughly the same age and rank these two might idle
awhile, but Dunbar is eager. He's already moving.

FAMBROUGH (O.S.)
Lt. John J. Dunbar.

DUNBAR
Sir?

Dunbar stops and turns, peering down the hallway. No one is
there.

INT. FAMBROUGH'S OFFICE - DAY

Sitting behind the desk, holding a set of orders is MAJOR
FAMBROUGH.

FAMBROUGH
Lt. John J. Dunbar.

Lt. Dunbar is standing in front of the desk.

DUNBAR
Yes sir?

FAMBROUGH
Indian fighter, huh?

DUNBAR
Excuse me?

FAMBROUGH
(indicating paper)
Your orders say you are to be posted
on the frontier. The frontier is
Indian country. I quickly deduced
that you are an Indian fighter.

He arches an eyebrow, challenging the lieutenant. He has sad
swollen eyes. He is an army lifer passed over too many times
for promotion and right now does not look like a well man.

FAMBROUGH
I did not ascend to this position by
being stupid.

DUNBAR
No sir.

Fambrough returns to the order. Dunbar watches him in silence.

The major's tunic is covered with food stains. Sweat has
broken out all over his head. His grooming is awful. His
hands are trembling slightly. Something is very wrong with
him.

Now the major sees something on the official paper. He looks
quickly at the lieutenant, then back at the paper, moving
his lips but making no sound.

FAMBROUGH
It says here you've been decorated.

DUNBAR
Yes sir.

FAMBROUGH
And they sent you out here to be
posted?

DUNBAR
Actually sir, I'm here at my own
request... I want to see the frontier.

FAMBROUGH
You want to see the frontier?

DUNBAR
Yes sir... before it's gone.

The major fixes Dunbar with a sly look.

FAMBROUGH
Such a smart lad coming straight to
me.

Still sly, Fambrough digs into a side drawer. There is the
distinct clink of glass on glass as he rummages. Now Fambrough
has what he wants, a blank official form. He begins to fill
it out, writing in a disturbingly childish way.

FAMBROUGH
Sir Knight, I am sending you on a
knight's errand. You will report to
Captain Cargill at the furthermost
outpost of the realm... Fort
Sedgewick.

He looks over his work with a schoolboy's excitement and
affixes his signature with a wild flourish.

FAMBROUGH
My personal seal will assure you
safe passage through many miles of
wild hostile country.

He folds the order and hands it to Dunbar.

DUNBAR
I'm wondering sir, how will I be
getting there?

FAMBROUGH
You think I don't know?

DUNBAR
No sir, it's just that I don't know.

FAMBROUGH
Hold your tongue.

The major turns in his chair to stare through a single, dusty
window. He can see a teamster outside, tying down canvas on
a heavily-loaded wagon.

FAMBROUGH
I'm in a generous mood and will grant
your boon. You see that peasant...
he calls himself Timmons... he leaves
this very afternoon for your Fort
Sedgewick. Ride with him if you
like... he knows the way. That is
all.

Dunbar stands and salutes. Fambrough returns it snappily.

The lieutenant starts for the door.

FAMBROUGH (O.S.)
Sir Knight...

Dunbar turns around. Fambrough is standing in front of his
desk. There's a large, dark splotch on the major's trouser
front.

He jams both of his hands into the front of his pants and
giggles.

FAMBROUGH
I just pissed in my pants... and
nobody can do anything about it.

EXT. FORT HAYS - DAY

Lieutenant Dunbar skips down the steps, picks up Cisco's
reins and starts leading the buckskin along the front of the
building. He looks briefly at his orders, stops and turns
back towards Fambrough's office.

And there is Fambrough with a full glass of booze in hand,
toasting the young lieutenant from the window. A wide grin
on his face.

EXT. FORT HAYS - DAY

A wagon is pulling slowly away from the lonely headquarters.

EXT. FORT HAYS - DAY

The insane face of Major Fambrough peeks around the corner
of a building. On his head is a ridiculous, plumed hat.

Now he looks both ways, as if preparing to cross a busy
street. Seeing that the coast is clear, he minces into the
parade ground in front of headquarters. The plume is waving
in the breeze and the major carries something in each hand...
an officer's sword and a revolver.

Except for these items, the unfortunate major is naked.

As he trots onto the parade ground, Fambrough is startled to
find that Elgin is following him. He begins to run faster.

Fambrough halts near the center of the parade ground and
turns back on the lieutenant and waves his pistol menacingly.

FAMBROUGH
Noooo, noooo...

ELGIN
It's alright Major.

Now Elgin sees a GRIZZLED SERGEANT approaching Fambrough
from the opposite direction.

SERGEANT
Leave him alone lieutenant... he's
cracked.

Fambrough turns on the voice behind him and waves his pistol
at the sergeant.

FAMBROUGH
Nooo, nooo...

But Fambrough finds himself staring at the barrel of the
sergeant's raised pistol.

ELGIN
Don't sergeant.

In a panic Fambrough wheels back on Lieutenant Elgin.

FAMBROUGH
Are you deaf fool. I said I'll have
my crown this instant... this instant!

Slowly and kindly, Elgin is walking toward him. He holds out
his hand.

ELGIN
Let's have the pistol.

SERGEANT
(to Elgin)
Don't do it.

But the lieutenant keeps his hand held out. Fambrough eyes
him silently. Then he screws up his face like a crybaby.

FAMBROUGH
The king is dead... long live the
king.

In one swift motion, Fambrough brings the revolver up,
swallows the barrel and pulls the trigger.

EXT. WAGON - DAY

At the sound of a single shot behind him, Dunbar twists around
on the wagon seat. Seeing nothing, he turns back to face the
front and takes stock of the driver, TIMMONS. He doesn't
like what he sees... or smells.

Timmons, is not what would be called a credit to his race.
If all teamsters were greaseballs he would be their absolute
ruler. His stink must be incredible. He leans over the side
of the wagon and hocks out a disgusting stream of spittle.

Afternoon shadows are slanting across the rolling ocean of
prairie. The wagon passes camera, headed towards an endless
expanse of prairie.

EXT. PRAIRIE - NIGHT

The sky is filled with stars. One suddenly catches fire and
shoots across the heavens.

EXT. CAMPFIRE - NIGHT

Dunbar sits at the fire watching the star burn out.

Timmons is bending over the fire. He farts, then turns to
Dunbar with a smile "good one, huh?".

He spits for good measure and for Dunbar, the moment is
broken, but not forgotten.

DUNBAR (V.O.)
Were it not for my companion I believe
I would be having the time of my
life. He is quite possibly the foulest
person I have ever met.

Looking over his shoulder at the journal, we see that this
latest entry is one of many and Dunbar is embellishing it
with a drawing of a star.

EXT. PRAIRIE - DAY

Dunbar is off the seat riding atop the mountain of supplies.
He is writing in his journal.

DUNBAR (V.O.)
We have been gone four days now and
still we have seen no signs of life.
Only earth and sky.

Dunbar stops his writing.

DUNBAR
How far do you make the fort?

TIMMONS
Far.

DUNBAR
How far?

TIMMONS
Forty or fifty miles, maybe... what's
the big hurry on Sedgewick?

DUNBAR
It's going to be my post... my home.

TIMMONS
You ain't hard to please, I'll say
that.

Timmons slows the wagon and stops. He has seen something.

TIMMONS
Look yonder.

EXT. PRAIRIE - DAY

A cluster of bones bleached white, are lying in the tall
grass. Human bones. Dunbar is squatting next to them. Timmons'
head dips into view over his shoulder and the teamster's
mouth splits into a toothless grin.

TIMMONS
Somebody back east is sayin'... "why
don't he write?" Stupid bastard.

The teamster spits and starts for the wagon. Dunbar comes to
his feet and examines the burnt out remains of a wagon. Then,
he finds an arrow in the grassy wheel. Looking off he can
only guess at the drama here. The sun is sinking fast below
the great expanse of prairie.

EXT. SEDGEWICK BLUFF - DAWN

A hatless soldier in a tattered overcoat, CAPTAIN CARGILL,
is on the bluff staring morosely through his telescope. One
hand rubs a sore spot on his jaw. He sticks the telescope in
his overcoat pocket. He wedges a hand into his mouth and
wiggles a loose tooth. He gives it a tug but it is not ready
to come out.

The breeze is coming up and Captain Cargill pulls his overcoat
closed. As he slips his last button through the hole, it
breaks off, bounces off of his foot and rolls a few feet
down the bluff.

Captain Cargill watches the button forlornly, making no move
to go after it. He raises his head once more and looks to
the east. Nothing is out there.

EXT. SEDGEWICK CUT BANK - DAWN

Cargill is walking along the base of the cut bank. He stops,
staring up at a series of holes dug into the bluff. Their
entrance covered with "found" draperies of all description.
He works up the courage to call out.

CARGILL
Corporal Guest... Corporal Guest...
Corporal Guest. Corporal Guest, you
don't have to talk to me... just
please come out.

At last there's some real movement behind one of the holes
and CORPORAL GUEST crawls through one of the curtains. He
neither salutes nor speaks. He blinks down at Cargill, looking
more like a hobo than a soldier.

CARGILL
It's the end... assemble the men in
front of my quarters.

EXT. CARGILL'S QUARTERS - DAY

The "MEN" have lined up in front of Cargill's sad, sod hut;
pitiful men. Sick, moth-eaten, crushed in spirit. There are
nine of them. Just behind Cargill is a half-collapsed supply
house and a broken down corral holding two bony horses.

Cargill has a brave face and a broken heart.

CARGILL
You hate me... but I feel none of
the same for you... you men stayed.
You stayed after they took all our
horses. You stayed after all the
others deserted. You stayed on the
promise that the army would resupply
us. I've looked for that wagon from
Fort Hays just as you have... day
after miserable day. All I can say
is that I'm proud of you. Get your
things men, we're leaving this place.
The army... can go to hell.

The zombie troops have already broken ranks, lurching back
to their holes and gear like a gang of drunks.

Cargill walks out of frame to reveal the broken down sign
that hangs askew above his quarters: "Fort Sedgewick."

EXT. SEDGEWICK BLUFF - DUSK

A solitary WOLF trots along the top of a bluff overlooking
the river. He has two white socks running up his front legs.
An old jagged scar cuts across his muzzle. He's watching the
ruins of Fort Sedgewick.

The little band of troops, all on foot, with their two lame
horses trailing behind are fading in the distance.

EXT. WAGON CAMP - DAWN

The wagon is parked in a shallow depression, its team
unhitched. Under the wagon the forms of two men lay curled
up in blankets.

Dunbar is sleeping peacefully, his nose pressed against a
jacket. Now his nostrils begin to twitch. His face turns
sour and he wakes to find that he's been sleeping against
the stink of Timmons. Flies buzz about the teamster's sleeping
body.

Dunbar quickly pulls away from the bad smell. He rolls out
from under the wagon and clambers to his feet.

Lieutenant Dunbar looks out over the prairie. It's going to
be a spectacular day.

In the far distance, a column of buzzards is circling. Dunbar
has paused to watch them. He ducks back under the wagon.

DUNBAR
Timmons... Timmons.

No response from the deep-sleeping driver. Dunbar starts to
move closer to shake him awake but the odor under there makes
him think twice. He snatches up the arrow and probes under
the wagon.

DUNBAR
Timmons.

The teamster comes awake with a squeal, he joins Dunbar
staring up at the circling birds.

DUNBAR
Something's out there...

TIMMONS
Somethin' dead.

DUNBAR
Might have a look.

TIMMONS
Might stay clear of whatever did the
killin'.

Timmons' mood is different now. He begins to hitch the team
with a new sense of urgency.

EXT. PRAIRIE - DAY

From a high point on the prairie we can see the wagon moving
west. And no more than half a mile away we can see Cargill's
column, moving east. Neither is aware of the other's presence.

Several buzzards are settling on a half-butchered horse.
It's one of the animals that was with Cargill's command. We
can hear men singing. The shaky little column from Fort
Sedgewick is marching east for Fort Hays.

EXT. PRAIRIE - DAY

Dunbar is walking through a little valley of tall, rich grass.
The wagon is nowhere in sight.

He looks back at Cisco who is also wandering by himself
searching for prime shoots.

Timmons' wagon comes into view now.

DUNBAR
How come we haven't seen any buffalo?

TIMMONS
Can't figger the stinkin' buffalo.
Sometimes you don't see 'em for days,
sometimes they're thick as curls on
a whore.

DUNBAR
What about Indians?

TIMMONS
Goddamn Indians you'd jus' as soon
not see, lessen the bastards're dead.
Nothing but thieves and beggars.

Timmons, as usual, laughs at his own imagined wit.

The wagon disappears over a ridge and again, Dunbar is alone.

In gentle awe, he runs his palm over the top of the grass
swirling about his waist.

A meadow lark's mournful call startles him. Dunbar brings
his head up at the sound and so does Cisco.

Now there's a sudden lifting of the breeze. It sweeps through
the valley, making the grass roll with a life of its own.

The lark's sad call and the sudden violent movement of the
wind sends a shudder through Lieutenant Dunbar. He scans the
horizon in all directions, aware all at once of his aloneness.

He flips the reins over Cisco's neck and sticks a foot in
the stirrup.

Dunbar heads for the ridge.

EXT. BLUFF - DAY

As Dunbar comes over the hill, he sees the wagon has ground
to a stop.

The wagon has paused at the edge of a bluff. Dunbar and
Timmons are peering into the little valley below

TIMMONS
Not what you'd call a going concern.

The wagon lurches over the edge of the bluff and down. We
see the pathetic remains of Fort Sedgewick.

EXT. SEDGEWICK - DAY

A full view of the deserted fort. Timmons sits on the wagon
by himself.

TIMMONS
Ain't nothin' here lieutenant.

Dunbar appears from Cargill's former quarters.

TIMMONS (O.S.)
Everybody's run off... or got kilt.

The lieutenant looks briefly at Timmons, and marches over to
the caved-in supply house. Again he ducks inside.

Dunbar emerges from the supply house and stares up at the
wagon driver.

DUNBAR
Alright...lets unload the wagon.

TIMMONS
What, and leave it all here?

DUNBAR
I'm staying too... we don't know
what's happened.

Dunbar moves around to the back of the wagon.

TIMMONS
There ain't nothin' here lieutenant.

DUNBAR
Not at the moment, no.

TIMMONS
So things bein' the way they are we
might as well turn around and get
started back.

DUNBAR
This is my post...

TIMMONS
This is my... are you crazy boy?

The lieutenant's eyes have gone absolutely black. The heel
of his hand is dropping lightly on the butt of a long revolver
at his hip.

DUNBAR
This is my post! And these are the
post's provisions. Now get your ass
off that wagon and help me unload.

Timmons leaps down.

INT. SUPPLY HOUSE - DAY

The half-caved in supply house bulges with supplies.

INT. CARGILL'S QUARTERS - DAY

Cargill's late quarters are also filled with new goods.
There's barely enough room to reach the little bunk.

EXT. SEDGEWICK - DUSK

Timmons is atop his wagon seat, reins in hand.

TIMMONS
Well... I'll let 'em know where you
are.

DUNBAR
Good.

TIMMONS
Good luck lieutenant.

DUNBAR
Thank you.

Timmons clucks to his team and the wagon pulls out. The light
on the prairie is fading fast.

EXT. SEDGEWICK RIVER BANK - DUSK

The wolf with two socks is patrolling along the edge of the
river.

INT. QUARTERS - NIGHT

A lamp turns up, casting a glow over Dunbar's incredibly
cramped quarters.

He adjusts the lamp and sits back on the bunk, his journal
on his lap. He begins an entry.

DUNBAR (V.O.)
Have arrived to find Fort Sedgewick
deserted. Am now waiting for the
garrison's return or word from
headquarters. Post is in exceedingly
poor condition. Have decided to assign
myself clean-up duty beginning
tomorrow. Supplies abundant. The
country is everything I dreamed it
would be. There can be no place like
this on earth.

Dunbar signs the entry, yawns contentedly and reaches to
turn down the lamp.

A wolf howls somewhere outside. It's low at first but it
keeps on building. At its height, the howl sounds as though
it is coming from, something gigantic.

Dunbar is still listening after it's gone. He hears wood
snap in the direction of the river then all is quiet again.
Without hesitating, he slips the big revolver out of its
holster and cradling it like a teddy bear, slips it under
his blanket.

The light is left blazing.

EXT. SEDGEWICK - DAWN

First light over the sad fort.

INT. QUARTERS - DAWN

Dunbar is sleeping quietly. He opens his eyes and rears his
head to get his bearings. Then he flops back down and shuts
his eyes, hoping for more sleep.

He hears two heavy footfalls in rapid succession.

Dunbar holds his breath staring at the doorway. Quietly, he
pulls his gun aiming it directly at the doorway.

Silence. Suddenly, a shadow starts across the threshold,
followed quickly by Cisco's big buckskin head. The horse
watches Dunbar a moment, then looks curiously around the
room.

EXT. CORRAL - DAY

Dressed in pants, old boots, and a threadbare shirt, Dunbar
bangs home a nail on the sagging corral gate. He tests the
gate's swing and satisfied with this, he latches it leaving
Cisco inside.

The lieutenant picks up a water bucket and we follow as he
walks the few, quick yards it takes to reach the bank
overlooking the river.

When he sees what lies along the slope below, he stops. At
this spot just below the fort, a garbage dump falls away to
the stream. Old containers, sacks, rags, trash, bottles, and
a thousand other miscellaneous scraps.

Dunbar hops over the steep lip of the bank and starts down
the gentle incline, eyeing the trash as he goes. Now he
reaches the stream and kneels, preparing to dip the bucket.

He sniffs a bad odor, looks across the stagnant stream and
sees something sticking out of the water.

It's a cloven hoof. And further out, another. And part of an
antler. There are decomposed antelope corpses everywhere.

EXT. RIVER - DAY

An antelope skeleton is being pulled from the muck.

Dunbar is stripped to the waist as he drags the body through
deep water. Covering his face against the stink is a bandana.
His pants are soaked and he's sweating hard.

At the stream's edge he heaves the antelope onto a pile
holding several others. Under the bodies is a huge bed of
trash which he has already collected.

The body he tosses up slips and he has to right it. Now he
wades back into the river and searches the water with his
hands for more.

EXT. RIVER BANK - DAY

Dunbar fastens the last of the traces to a pile of garbage
spread out on a sheet of canvas. He picks up a set of long
reins, clucks to Cisco and they start up the steep bank with
the load.

EXT. RIVER - DAY

A distinct change has taken place with the water. It's
running.

EXT. TRASH PILE - DAY

Oil is pouring out of a jug and onto the great heap. Dunbar
empties the last of the oil and throws the empty jug onto
the pile. He takes the match he's been holding between his
teeth and flicks it to life with a fingernail. He flips it
onto the heap.

The fire catches immediately and Dunbar has to back away a
few steps as the flames send a column of thick, black smoke
into the air.

To Dunbar's horror, the smoke billows bigger and bigger...
climbing into the sky as a signal for anyone to see.

DUNBAR
Damn... damn.

He stoops for his rifle and we follow as he scrambles up the
slope. The lieutenant clambers over the lip and stops to
scan the horizon.

But we continue, following the black smoke as it towers higher
and higher until it is just a wisp.

EXT. PRAIRIE - DAY

Four fantastic faces fill the screen, three together, one a
little apart. They are tired, frustrated faces, and also
very fierce. They are painted. Several wear their hair in
spiked roaches, one has brightly-colored eagle feathers
jutting out of his scalp at all angles. The FOUR WARRIORS
are naked from the waist up.

They are Pawnee, the scariest of all the Plains Tribes. The
man a little apart looks THE TOUGHEST. The four men are
squatting on their haunches and four scrawny ponies stand
behind them. All the men are staring in the same direction
from a low rise on the prairie.

It's smoke, a column much smaller than Dunbar's. The smoke
is drifting up from the furthest of a line of rolling gullies.

We can see the whole Indian party now: the four men and their
ponies, two injured men on travois and two extra ponies.

(PLEASE NOTE: ALL INDIAN DIALOGUE WILL BE IN NATIVE DIALECT
AS INDICATED BY TRIBE. SUBTITLES WILL BE USED.)

THE TOUGHEST
Only a white man would make a fire
for everyone to see.

1ST PAWNEE
Maybe there's more than one.

The Toughest turns back to face the others. Without another
word, he jumps on his horse. Another silence as the three
warriors consider what to do.

2ND PAWNEE
We have no rifles. White men are
sure to have rifles.

3RD PAWNEE
We should forget this and go home.

The Toughest has listened all the while, growing more and
more disgusted. He pulls the blanket from his shoulders and
flings it angrily at his companions.

TOUGHEST
Then go. I for one, will not debate
the merit of a single line of smoke
in my own country.

He starts his pony walking down the rise toward the smoke.

1ST PAWNEE
(shaking his head)
He will not quit until we are all
dead.

The Third Pawnee starts after the Toughest. The other two
follow.

EXT. PRAIRIE - DAY

We're dropping down through the smoke, right down to the
supper fire of Timmons the teamster. He's cooking slab bacon
in a pan. Risking the heat, he dips a finger into the pan
and sucks off the grease.

There's a sudden swish of sound behind him and a split-second
later, an arrow goes deep into the wagon driver's ass knocking
him clear across the fire.

Timmons screams like a half-butchered hog and starts into an
odd crippled run. He clears the gully where he's been camped
and struggles up the incline.

Another swish and another scream, as another arrow catches
him high on the shoulder.

Terrified with pain and fear, Timmons looks back as he
scrambles up the slope.

Here comes the Toughest at a lazy gallop. He's riding only
with his legs. His hands are busy with bow and arrows. Casual
but blink quick, the Toughest snatches another arrow from
the quiver at his waist, strings it and fires. This arrow
catches Timmons in the gut. He falls squirming against the
slope.

The Toughest is still coming, his face like granite as he
fires arrow after arrow.

The three warriors who came with the Toughest have reached
the wagon. Two of them are slicing away harness on the team
of nice army horses. The third is rifling through Timmons'
gear. This man unwittingly picks up Timmons' blanket. When
he gets a whiff of its stink, the warrior flings it far out
on the grass. Then he drops to one knee, scoops up some dirt
and rubs it between his soiled hands.

EXT. PRAIRIE - DAY

A lone arrow remains in Timmons' dead body, jutting out of
his privates.

Now the Pawnee warriors pass by, heading for home in no
particular hurry. The Toughest passes by with Timmons' scalp
hanging from his bow. None of the men give Timmons a parting
glance.

EXT. SEDGEWICK BLUFF - DAY

We're close on Dunbar, his face is grimy with sweat and dirt.
He's working hard at something.

We pull back and see that Dunbar is half-way up the bluff,
he's been filling up the pockmarks, the holes where Cargill's
men once lived.

Exhausted, he stabs the shovel into the fresh earth and pauses
to look over his work, all of the holes have been filled.

His eyes sweep over the prairie across the river. He sees
something moving, it's the wolf. Dunbar instinctively goes
for his rifle.

Before he can bring it up to aim, he has second thoughts. He
lowers the gun and watches the wolf a moment longer, then
walks up the hill and disappears into the sky.

EXT. SEDGEWICK BLUFF - DAY

Fingers are playing with a button. It appears to be the same
one that came off Captain Cargill's coat. Dunbar stands atop
the hill, sighting across the prairie.

DUNBAR (V.O.)
No sign of Captain Cargill's command.
I don't know what to do. Communication
can only take place if I leave and I
don't want to abandon my post.

He sticks a hand in his overcoat, pulls out a piece of dried
meat and bites off a hunk.

Dunbar starts down the hill toward the fort. He watches the
horizon as he goes.

DUNBAR (V.O.)
Made a short patrol yesterday p.m...
discovered nothing. Will go further
tomorrow.

EXT. SEDGEWICK - DUSK

His long day has drawn to a close. Dunbar sits on the stoop
of his quarters. His journal open in his lap. The sign over
the doorway has been straightened. Dunbar is staring at
something.

One hundred yards away, sitting in the grass is the outline
of a wolf.

DUNBAR (V.O.)
There is a wolf who seems intent on
the goings on here. He does not seem
inclined to be a nuisance however
and aside from Cisco has been my
only company. He has appeared each
afternoon for the past two days. He
has milky white socks on both feet.
If he comes calling tomorrow I will
name him Two Socks.

EXT. SUPPLY HOUSE - DAY

With a grunt Dunbar lugs an army saddle out of the supply
house and starts for the door. He slows to a stop and stares
down at the saddle as if in a trance. In a moment he is
tossing the saddle back where he found it.

EXT. HILLSIDE - DAY

Dunbar is leading Cisco to the top of a low hill. He glances
over his shoulder and sees that he is being followed.

The wolf with two socks stops when Dunbar looks back at him.

Dunbar watches him curiously for a moment and continues
leading Cisco up the hill. But now he's glancing regularly
over his shoulder and discovers that as he moves, so does
the wolf.

Reaching the top of the hill, Dunbar pauses. He pulls out
the pocket telescope and sweeps the prairie. There is nothing.

Now Dunbar swings onto Cisco's bare back and with a last
glance back at the wolf starts down the rise and on to the
open prairie at an easy canter. We follow for a little
distance. Dunbar glances once more over his shoulder.

The wolf is sitting on top of the hill watching. He has
decided to come no further.

EXT. SEDGEWICK - DAY

Considerable time has passed. Dunbar, bundled warmly against
the chill of an oncoming storm, and Cisco are coming back
into camp from a hunting foray. A brace of grouse is slung
over Cisco's withers.

INT. QUARTERS - DAY

It's storming outside. Rain is pouring down, its patter broken
from time to time by spectacular flashes of lightning and
the boom of thunder.

But inside it's cozy. The quarters are still crowded but
considerable order has been brought to bear on the place.

He is just finishing up the grouse and a pile of bones sits
on the table. Open at his side is his journal.

DUNBAR (V.O.)
Almost a month and no one has come.
The longer this condition persists,
the less inclined I am to believe
that anyone will. Rain has forced me
indoors for most of two days. I have
begun an awning. The work has ruined
my hands, but I am excited about the
improvement it will bring to this
place.

A great bolt of lightning strikes outside, filling the room
with violent white light. Dunbar walks to the door and tosses
out a handful of bones. Two Socks scurries to collect the
bones and retreats under the shelter of a nearby tree.

DUNBAR (V.O.)
It is the loneliest of times... but
I cannot say that I am unhappy.

EXT. PRAIRIE - DAY

Just as Dunbar did on his trip out with Timmons, someone is
running a palm over the tips of the tall prairie grass. This
hand, however, is red.

A lone Indian is standing in the grass, his pony at his side.
He is a real Indian; tough, wild and free. He is a person of
special maturity. He radiates wisdom and is a man of
responsibility in his community. He is a Sioux medicine man.
He is KICKING BIRD.

EXT. RIVER BANK - DAY

Dunbar is squatting naked at the edge of the stream, pounding
the dirt out of his trousers on a little rock ledge. He rises,
wringing out the pants, and wades across the river.

On the opposite bank he spreads the pants on a low bush.
Then he looks along the river. For some distance every bush
and shrub is draped with the lieutenant's laundry, all of it
drying in the sun.

EXT. SEDGEWICK - DAY

The spectacular face of Kicking Bird is staring at something.

He's looking thoughtfully at the "new" Fort Sedgewick; the
tidy grounds, the great awning, the repaired corral. The
beautiful, buckskin standing inside.

EXT. RIVER - DAY

Comfortable with his nakedness, Dunbar is meandering along
the stream in no particular hurry. He's very white. His skin
practically sparkles in the sun.

Dunbar is making his way up the bluff. The steepest part is
at the lip and here he drops to all fours.

Dunbar's face comes into view. He freezes.

Someone is creeping under the shade of the awning... an
aboriginal man.

Dunbar's head pops down behind the bluff.

The lieutenant is down on his naked haunches. His heart is
pounding in his ears. Sweat has broken out on his face. His
mouth is dry as ash.

He's playing back images in fragments. A deerskin shirt,
strands of hair sewn along each sleeve. Fringed leggins. A
dark, faded breechclout. Moccasins with beading. A single,
large feather drooping behind a head of shiny, black hair.
Braids wrapped in fur. A lethal stone club hanging from a
red hand. No eyebrows on a magnificent, primitive face.

Dunbar stays in a crouch, trying to think on jellied legs.
His breathing has quickened. His mouth is open.

A horses' whinny startles him.

Ever so slowly, the lieutenant peers over the bluff.

The aboriginal man is in the corral. He's walking slowly
toward Cisco. One hand is held out reassuringly, the other
is grasping a rope. He's making gentle, cooing sounds and is
only a step or two from being able to loop his line over the
horse's neck.

DUNBAR
You there!

Kicking Bird jumps straight into the air. As he lands he
whirls to meet the voice that startled him.

Dunbar is coming. His hands are clenched and his arms are
swinging stiffly at his sides.

Kicking Bird has turned to stone at the sight of this horror.
With a sharp intake of breath, he staggers back a few steps.
Then he turns and runs, tearing through the corral fence as
if it were made of twigs. He leaps onto his horse and quirts
the pony into full gallop.

Dunbar is watching from the yard. His jaw is clenched, his
hands are still fisted.

The great grassland is empty. Kicking Bird is gone.

INT. SUPPLY HOUSE - DAY

The first of three carbine boxes is lugged off the stack.

EXT. PRAIRIE - DAY

The three boxes are stacked on the open prairie. Suddenly a
shovelful of dirt flies out of an unseen spot next to the
crates. Another flying shovelful. And another.

DUNBAR (V.O.)
Have made first contact with a wild
Indian. One came to the fort and
tried to steal my horse. Do not know
how many more are in the vicinity
but I am taking steps for another
visitation. Am burying excess
ordnance, lest it fall into enemy
hands.

The last square of sod is placed carefully on the surface of
the earth. Dunbar drives a bleached rib bone into the ground
at an angle just in front of his cache.

Dunbar steps back from his work. The replaced sod is
invisible. The guns will not be found.

EXT. PRAIRIE - DAY

The lieutenant sits atop Cisco scouting along the bluff.
Fort Sedgewick lies in the background.

INT. QUARTERS - DAY

Dunbar's journal lies open on his bunk. We hear a digging
sound in the background. The lieutenant is facing the wall
of his quarters. Using a bayonet as a cutting tool, he has
carved a window out of the sod. He's nearly finished and is
just tidying up.

DUNBAR (V.O.)
Have made all the preparations I can
think of. I cannot mount an adequate
defense but will try to make a big
impression when they come. Waiting.

Finished, he retreats to his bunk and sits staring across at
his new window. He glances at the journal by his side and
has a thought. He picks it up and starts to write.

DUNBAR (V.O.)
The man I encountered was a
magnificent looking fellow.

EXT. TEN BEARS' LODGE - DAY

An old Indian man sits in the shade outside his lodge. His
skin is leathery, his hair grey and wispy but his eyes are
bright as diamonds. He is TEN BEARS, well past sixty, but
still strong enough to be the head man. He is, for the most
part, oblivious to the GRANDCHILD squirming in his lap.

He's smoking a long-stemmed pipe, but the main object of his
interest is an old woman squatting next to him... PRETTY
SHIELD. She's pounding away at something in a bowl.

Ten Bears looks up to notice Kicking Bird. The medicine man
is passing not far away and Ten Bears' eyes follow him
carefully, not glancing away until Kicking Bird has ducked
into his lodge.

TEN BEARS
Kicking Bird has been keeping to
himself these last few days. I do
not like to see our medicine man
walking so alone.

The old woman looks up from her pounding but does not respond.

TEN BEARS
What does his wife say?

PRETTY SHIELD
He is keeping to himself.

Ten Bears gives his wife a challenging look and she bristles.

PRETTY SHIELD
That's what she says.

Ten Bears accepts this. Then he looks down at the bowl.

TEN BEARS
Make sure that meat is soft... my
teeth hurt.

Ten Bears looks once more at the entrance of Kicking Bird's
lodge.

INT. KICKING BIRD'S LODGE - DAY

Kicking Bird sits next to the fire playing with his son but
he is preoccupied with something.

There is a rustle of movement at the tent flap, and Ten Bears
peers in.

TEN BEARS
May I come in?

The little boy races over to the old chief, Kicking Bird
makes a move to pull him back, but Ten Bears indicates the
boy should stay.

TEN BEARS
No, no let him sit with me.

There is silence as the two men settle themselves by the
fire, the little boy content in Ten Bears' lap.

TEN BEARS
Our country seems good this summer,
but I have not been out to see it.

KICKING BIRD
Yes... it is good. The grass is rich.
The game is plenty and not running
away.

TEN BEARS
I am glad to hear it. But the buffalo
are late. I always worry about the
bellies of our children.

A brief silence.

KICKING BIRD
I was thinking of a dance.

TEN BEARS
Yes, a dance is always a good idea.
It would be good to have a strong
sign.

Kicking Bird seems suddenly uncomfortable. The little boy
leaves.

KICKING BIRD
Yes.

TEN BEARS
There's a funny thing about signs.
They are always flying in our faces.
We know when they are bad or good
but sometimes they are strange and
there is no way to understand them.
Sometimes they make people crazy but
a smart man will take such a sign
into himself and let it run around
for two or three days. If he is still
confused he will tell somebody. He
might come to you or to me and tell
it. A smart man always does that.

Ten Bears picks up the pipe and puffs away, seemingly without
care.

KICKING BIRD
I have seen such a sign.

TEN BEARS
Oh?

KICKING BIRD
I saw a man, a white man.

Ten Bears' eyes get big for a moment. Then he thinks.

TEN BEARS
Just one?

KICKING BIRD
Just one. He was naked.

Ten Bears thinks some more.

TEN BEARS
Are you sure it was a man?

KICKING BIRD
I saw his sex.

TEN BEARS
Did you speak to him?

KICKING BIRD
No.

Ten Bears rubs at his old eyes with both hands.

TEN BEARS
We will council on this.

EXT. TEN BEARS' LODGE - NIGHT

A teenaged boy, SMILES A LOT and his two buddies OTTER and
WORM lie prone outside Ten Bears' home. They are peeking
under the tipi's rolled-up sides. Their eyes are wide, for
inside there's plenty to see and hear. The village's most
influential warriors have squeezed into the lodge for this
big and important meeting

INT. TEN BEARS' LODGE - NIGHT

The eldest and most respected men of the band, including Ten
Bears, his pal STONE CALF, an influential warrior named WIND
IN HIS HAIR, and Kicking Bird are seated around the fire.

Crowded around them, in a high state of excitement, are the
village's leading warriors. The meeting is in progress.

KICKING BIRD
He might be a god or he might be a
special chief -- that's why we are
thinking of having a talk with him.

There is a little murmuring around the fire, and it goes
silent. Wind In His Hair rises to speak.

WIND IN HIS HAIR
I do not care for this talk about a
white man. Whatever kind of white
man he is, he is not Sioux and that
makes him less. We've camped here
for ten days now and each day our
scouts find nothing. One old bull
with wolves tearing him apart, nothing
more. We need meat -- not talk.

KICKING BIRD
You are right, we need meat today
and tomorrow. But we must also have
meat in ten years.

Kicking Bird pauses here. Everyone is listening attentively.

KICKING BIRD
But the whites are coming. Our friends
the Shoshone and the Kiowa, even our
enemies, agree on this -- the whites
are coming. More than can be counted.

WIND IN HIS HAIR
Kicking Bird is always looking ahead
and that is good. But when I hear
that more whites are coming -- more
than can be counted I want to laugh.
We took a hundred horses from these
people, there was no honor in it.
They don't ride well, they don't
shoot well, they're dirty. They have
no women, no children. They could
not even make it through one winter
in our country. And these people are
said to flourish? I think they will
all be dead in ten years.

There is a surge of enthusiasm in the lodge and Wind In His
Hair is riding the crest of it.

WIND IN HIS HAIR
I think this white man is probably
lost.

This parting shot prompts a good-natured round of laughter.

KICKING BIRD
Wind In His Hair has spoken straight,
his words are strong and I have heard
them. It's true the whites are a
poor race and it's hard to understand
them. But when I see one white man
alone, without fear in our country,
I do not think he is lost. I think
he may have medicine. I see someone
who might speak for all the white
people who are coming. I think this
is a person with which treaties might
be struck.

WIND IN HIS HAIR
This white man cannot cover our
lodges, or string our bows, or feed
our children. I will take some good
men... there are many here tonight.
We will ride to the soldier fort, we
will shoot some arrows into this
white man. If he truly has medicine
he will not be hurt. If he has no
medicine he will be dead.

This is the best idea so far and there is much talk around
the fire. They quiet down as Ten Bears prepares to speak.

TEN BEARS
It is easy to become confused by
these questions. It is hard to know
what to do. No man can tell another
how he will be. But I know this...
killing a white man is a delicate
matter. If you kill one, more are
sure to come. We should talk about
this some more.

He drops his head, closes his eyes and starts to fall asleep.
The meeting is over.

EXT. TEN BEARS' LODGE - NIGHT

Inside the meeting is breaking up. But Smiles A Lot is no
longer watching. He's lost in thought, as if he has got
something on his mind.

Now he comes out of it. With a last look into the lodge, he
sneaks off into the night.

EXT. PRAIRIE - NIGHT

Three boys Otter, Worm and their leader Smiles A Lot, are
riding to the fort.

Smiles A Lot stops, just realizing that the other two have
fallen behind. He rides back to investigate.

SMILES A LOT
What's the matter now?

WORM
Otter doesn't want to go.

Smiles a Lot trots his pony over to Otter.

SMILES A LOT
If we take the horse of a white god
they will make up songs about us.

OTTER
Maybe.

SMILES A LOT
They will ask us to go on raids.

OTTER
Who gets the white god horse?

SMILES A LOT
I do... but we share... you and Worm
can ride him too. Who can say this
is not a great plan?

Otter and Worm have blank expressions.

INT. QUARTERS - NIGHT

Dunbar is snoring. The lantern is turned down low. A horse
whinnies loudly and Dunbar arises.

In the next instant there is a pounding of hooves and the
yelping of Indian boys.

Reeling with sleep, Dunbar is up and moving. He grabs a rifle
and lurches for the door.

As he runs through the door he forgets to duck under the
wooden cross beam. His skull cracks resoundingly against
the. overhang and Dunbar slumps onto his back... out cold.

EXT. PRAIRIE - NIGHT

The three boys are shrieking as they race across the prairie
with their prize. Otter has Cisco by a lead line. Smiles A
Lot gallops alongside.

SMILES A LOT
Let me take him Otter.

OTTER
I have him.

To Smiles A Lot's amazement, Otter is suddenly gone. He's
zooming backward in midair.

Otter comes to ground a few yards back, throwing up a puff
of dust. Cisco has screeched to a halt. Now he rears up,
twisting until the rope is free of Otter. Then he sticks his
tail in the air and makes tracks in the direction of the
fort. Worm chases after Cisco as Smiles A Lot sees to Otter

EXT. PRAIRIE - NIGHT

Smiles A Lot pulls his pony up next to Otter and peers down
at the fallen boy.

SMILES A LOT
What happened?

OTTER
I don't know. My arm doesn't work.

SMILES A LOT
You shouldn't have fallen down...
now we'll get in trouble.

OTTER
It was your idea.

SMILES A LOT
My idea was only to take the horse.

This squabble is interrupted by Worm's return. He gallops up
and jumps off his pony.

SMILES A LOT
Otter hurt himself.

Worm shakes his head in frustration. Otter grabs a handful
of dirt and flings it at Smiles A Lot and Worm.

OTTER
(to Worm)
You're not hurt... I'm hurt.

WORM
I will be when my father finds out,
his bow will be across my back.

INT. QUARTERS - DAWN

It's growing light and Dunbar is just coming to. He rolls to
one side and touches the egg that has risen on his forehead.
He hears movement in the yard and looks out.

Cisco is pawing the ground. The Indian line still around his
neck.

EXT. RIVER - DAY

Dunbar is sitting naked in the shallow river below the fort.
He has worked up a good lather on his face and is shaving.
The big Navy revolver and his gunbelt are slung over his
shoulder. Dunbar glances at the far bluff.

Two Socks is sitting quietly, watching the shaving ritual
below.

The lieutenant is finishing shaving his moustache. He stares
onto the surface of the water trying to get it just right.
Once again he glances up at Two Socks.

Two Socks' attention has been diverted. He's on guard, staring
intently across the river.

Dunbar looks quickly at the bluff nearest the fort. Everything
is still. He looks back at Two Socks.

The wolf is gone.

The lieutenant hears something now. Hoofbeats. Hoofbeats
coming in a rush.

He bursts from the water and scrambles up the incline.

EXT. CORRAL - DAY

They're streaming past him. FIVE MOUNTED WARRIORS bunched
around Cisco: raw, powerful men on painted, feathered ponies.
Wind In His Hair is one of them.

Their faces are streaked with colorful designs, their weapons
slung around the shoulders, their nearly naked bodies all
sinew and bone. They are the full and breathtaking glory of
war.

Dunbar is struck dumb. He stands still as the pageant passes
in front of him.

The sight of Dunbar troubles Wind In His Hair, so much that
he pulls up a hundred yards away. He sits a moment on his
whirling pony, trying to decide if he should confront this
white god.

He makes a warrior's choice. Wind In His Hair shouts to his
fellows to go on and charges down the slope... straight for
Dunbar.

Dunbar's eyes are fixed on the closing horseman. He can't
move.

Wind In His Hair is coming flat out, his lance extended. At
the last moment he pulls up so hard that the black pony skids
to a sit. The horse is up quickly and hard to manage. He
pitches back and forth only a few feet in front of Lieutenant
Dunbar.

WIND IN HIS HAIR
I am Wind In His Hair. Do you not
see that I am not afraid of you?...
Do you see?

Dunbar stares expressionlessly into the Sioux's eyes. He
doesn't blink.

Wind In His Hair suddenly turns his pony and whips after his
comrades. A big smile breaks out across his face.

Dunbar stares after the disappearing horse and rider. He
feels the weight of the gun and lets it drop to the ground.

For two or three steps he staggers toward the quarters, but
his legs give way and he falls face first in a dead faint.

EXT. PRAIRIE - DAY

Wind In His Hair is riding hard and happy. He really fixed
that white god. But as he clears the brow of a rise, a
riderless horse blows past him, running in the opposite
direction.

Cisco's running back, to the fort at full speed, the lines
of two ropes flying behind him.

The big warrior's smile is gone. He wheels his pony and
charges over the rise, nearly colliding with another warrior
who has been in hot pursuit of Cisco. The warrior pulls up
and looks helplessly at Wind In His Hair. But Wind In His
Hair's attention is focused on the rest of his party. The
three remaining warriors who rode with him are all on foot.
One is bending over a man lying unconscious on the ground.
The third is limping badly, trying to catch his horse.

Wind In His Hair glances back in the direction of the fort,
but the buckskin is already gone.

He starts down the incline to help his friends.

EXT. PRAIRIE - DAY

Wind In His Hair and his friends, two of them riding double,
are going slowly home when they see a COURIER coming in their
direction. They rein in waiting for the young man cantering
toward them.

He speaks directly to Wind In His Hair.

COURIER
The party that went against the Pawnee
is coming in...

Wind In His Hair says nothing.

COURIER
There are many hearts on the ground.

EXT. INDIAN CAMP - DUSK

Several travois are parked in a clearing. It's a scene of
terrible woe. On the travois are dead bodies. Women members
of several families are grieving as they collect the dead
men.

Some are shrieking, some are crying softly, and some are
beating themselves.

One group is just beginning to hoist a body off its litter
when a strange looking woman appears in the clearing. She's
been running. Her light, cherry-colored hair is tangled.

Her face is creased with pain and disbelief as she rushes
forward, crying out in Sioux. She pushes through the other
women and tackles the body, taking it to the ground.

She climbs atop the dead man, cradles his head against her
face and says a single word softly.

It is his name and she whispers it again.

Of course there is no answer. With each saying of the name
she is more desperate, her voice growing louder and louder.

She arches her back eerily and wails the name to the heavens
before flinging herself back at the lifeless face.

At last the other mourners feel compelled to drag her away.
The little woman does not go easily.

Her name is STANDS WITH A FIST.

EXT. SEDGEWICK - NIGHT

The lieutenant rides, a silhouette against a harvest moon.

DUNBAR (V.O.)
I realize now that I have been wrong.
All this time I have been waiting.
Waiting for what? For someone to
find me? For Indians to take my horse?
To see a buffalo?

INT. QUARTERS - NIGHT

Lieutenant Dunbar has gotten a beautiful shine out of his
best boots. He's putting the finishing touches on one of the
toes.

Dunbar places the boot next to its mate and turns to inspect
a dress tunic laid out on the bunk. His open journal is lying
next to it. He picks at little pieces of lint and brushes at
the smudges.

DUNBAR (V.O.)
Since I arrived at this post I have
been walking on eggs. It has become
a bad habit and I am sick of it.
Tomorrow morning I will ride out to
the Indians. I do not know the outcome
or the wisdom of this thinking. But
I have become a target and a target
makes a poor impression. I am through
waiting.

EXT. CORRAL - DAY

The buckskin's ears are pricked and his eyes are set.
Something has his complete attention.

The "something" is Lieutenant John Dunbar. He looks like a
recruiting poster: full dress uniform, red sash, saber
clanking at his side, hair tied in a neat pony tail, knee-
length riding boots. And all of it is gleaming... from the
brass buttons to the gold epaulettes to the army issue belt
buckle.

The red sash flutters and Cisco shies to one side. Dunbar
slaps at the sash, calms his horse and jumps on.

We stop with them at the supply house. Old Glory is standing
against one of the crumbling walls. The flag has been affixed
to a long willow branch. Dunbar sweeps it up and sticks the
staff into one of his boots.

They start off at a jog, the flag popping in the stiff morning
breeze. Just as they are getting small in the distance, Two
Socks comes into view.

EXT. PRAIRIE - DAY

Lieutenant Dunbar has ridden deep into the prairie. Watching
the sky, he takes a drink out of his canteen. The lieutenant
hears something, he turns Cisco in that direction. He listens
harder. A weird sort of singing. Warily he goes ahead.

EXT. KNOLL - DAY

Stands With A Fist is sitting under a solitary cottonwood.
Her hands are folded on her lap. A blood-stained knife is
held between them. She has ritually slashed her arms. The
cuts are not deep -- but all are running with blood. Blood
pours from a deep cut in her thigh.

She lets her song fade to nothing and bows her head. She
dabs at a large pool of blood spreading in the ground next
to her thigh. Suddenly she's alert. Stands With A Fist has
heard something too... a strange popping sound. She turns.

The gleaming buckskin horse is standing thirty or forty feet
behind her on the top of the knoll. A white soldier is sitting
on the horse. A white soldier with a sword, a bright uniform
and a red sash. And most amazing of all, no face.

A shift in the breeze has wrapped the popping red, white,
and blue flag around his head. One of the soldier's hands is
trying to claw it away from his face.

Dunbar pulls the flag away.

It's an Indian woman alright. But now that she is staring at
him open-mouthed and afraid, he can see that there is
something odd about her.

Too late for further study. She's risen and has taken a slow
step backward from the knoll. She's covered with blood.

Reflexively, he offers a helping hand and calls after her.

DUNBAR
Wait...

She's still backing down the hill, her steps a little faster
now. He's following her at a walk.

DUNBAR
Wait... you're hurt.

She's reached the base of the knoll and has begun to run.
Dunbar is trotting after her.

DUNBAR
Let me help you.

She's too weak to run and falls face first in the grass. She
starts to crawl.

Dunbar slips off Cisco and reaches down tentatively for her
shoulder. She screams at his touch and he pulls away. But he
follows on foot as she crawls.

DUNBAR
You're hurt... you need help.

He takes her again, this time holding her firmly. She
struggles mightily, twisting onto her back. She lashes out
at his face but he grabs her hands, holding them tight.
They're nose to nose.

STANDS WITH A FIST
Don't...

He can't believe he heard it and she can't believe she said
it.

She spits out a Stream of Sioux curses, throws her head back
and wails like a wolf. Then she passes out.

EXT. PRAIRIE - DAY

She's lying in the same spot, still unconscious. The cuts on
her arms have been bandaged up with strips of Old Glory.

Modestly, Dunbar lifts her dress to get at the bad thigh
wound. As he ties it off, the lieutenant notices how white
her skin is. He runs a finger over it. She is very still and
he presses an ear to her heart. She's still breathing.

EXT. PRAIRIE - DAY

Dunbar is on Cisco. His big impression is gone. The uniform,
and his hands and face are smeared with Stands With A Fist's
blood. The girl is slung in front of him.

His arms are holding her. Her face is pressed against his
chest. They've come a good distance and are approaching a
smokey cloud.

EXT. PONY HERD - DAY

Smiles A Lot, Worm and Otter (who now sports a crude splint
on his arm) are occupying an open space in the midst of a
huge pony herd.

They should be on guard against enemies but the three boys
are sitting on the ground, absorbed in a gambling game.

EXT. PONY HERD - DAY

Dunbar is skirting the edge of the herd. Leaving the horses
behind him, the lieutenant makes his way up a gentle slope.

A powerful vision is upon him.

Ten Bears' village is rising slowly, like a curtain going
up. The smoke from many fires, the willow poles fanning
against the sky, the conical houses covered with well-used
hides, the horses along the river, the children, the women,
the men. An ancient tableau, fully alive before his eyes.

EXT. VILLAGE OUTSKIRTS - DAY

Dunbar has stopped on the slope leading down to the village,
taking it all in. No one has seen him. He can hear human
voices drifting up from the camp.

Stands With A Fist coughs lightly against his tunic and the
lieutenant moves Cisco ahead at a walk.

EXT. VILLAGE - DAY

A woman and her children have come out of the breaks along
the river and are marching back to the village when one of
the kids sees him. With an ear-splitting shriek, the woman
grabs up her children and runs screaming for the safety of
the village.

There's pandemonium amongst the lodges. Everyone seems to be
running everywhere at once.

Dunbar pulls Cisco to a halt a hundred yards from the first
of the conical houses and slides off, taking the girl up in
his arms.

The people of Ten Bear's village, realizing now that there
is only one white man and that he is carrying someone, are
massing with great curiosity on the outskirts of the town.

Warriors, some of them mounted, have taken the front ranks.
The women and children and elderly are standing just behind.

Initial panic has given way to a steady buzzing as everyone
jockeys for a better look.

Still holding Stands With A Fist in his arms, Dunbar suddenly
stops on a familiar face... Wind In His Hair.

He lifts the girl resting in his arms and holds her out...
as in offering.

DUNBAR
She's hurt.

The Sioux buzz is stronger now. The mounted warriors are
getting excited.

Suddenly, Wind In His Hair breaks ranks and starts for Dunbar
at a determined walk. A nasty war club is held tightly in
hand.

Dunbar stands his ground.

Wind In His Hair halts only a few steps in front of Dunbar.
He barks at the intruder as he takes another step or two.

WIND IN HIS HAIR
You are not welcome here.

Another step and he is close enough to touch the white man.

WIND IN HIS HAIR
Go away from us...

Dunbar doesn't flinch. And Wind In His Hair's harangue is
definitely part bluster. He's very curious about the woman
in Dunbar's arms and now he peers down at her face.

The lieutenant looks down too and in a flash she is torn out
of his grasp.

Holding her in one strong arm, Wind In His Hair backs a pace
or two and shouts once more at the lieutenant.

WIND IN HIS HAIR
Go away from us... go now.

He raises his club and shakes it at Dunbar.

Though he doesn't understand the words, Dunbar gets the
message. As he goes for his horse, Wind In His Hair marches
back to his people with Stands With A Fist.

There is great commotion as the crowd surges in around Wind
In His Hair.

With a look of profound disappointment, Dunbar walks away on
Cisco.

EXT. VILLAGE - DAY

Otter, Worm and Smiles A Lot are riding in, drawn by the
ruckus in the village. They see the white soldier oh his
horse leaving the camp. They see the tumult in the village
and realize they are in trouble, again.

Some of the young, mounted warriors are shouting taunts at
the departing soldier, calling for him to come back and fight.
They seem set to take out after him when Kicking Bird suddenly
appears in front of their ponies.

KICKING BIRD
The soldier did not come to fight --
he is going away and we will let
him.

No one is going to argue with one of the band's leading men.
The young warriors shout a few more taunts and turn away.

The medicine man glances after the boys who just came in.
Each boy, confronted now by an angry father or uncle, is
being jerked off his pony. There's going to be discipline.

Kicking Bird looks back at the lieutenant.

Dunbar's head is down and his shoulders are slumped. It is a
sight that makes the wheels in Kicking Bird's head turn.

INT. TEN BEARS' LODGE - NIGHT

Another council is in progress. As before, the leading men
are seated around Ten Bears' fire while the other warriors
stand packed in the shadows. Wind In His Hair is seated close
to the elders.

TEN BEARS
I am in agreement with Kicking Bird.
We will go down and talk to the white
man and find out what kind of white
man he is.

Wind In His Hair jumps into the conversation.

WIND IN HIS HAIR
If this council decides to talk with
the man at the soldier fort then it
will be so. But in my mind it is not
right that a Sioux chief, a chief as
great as Ten Bears, goes to ask the
business of a puny, trespassing white
man... a white soldier who has only
a smart horse and a few white man
clothes.

There are many yeses in response to this. As is his custom,
Ten Bears lets the outburst subside, seeming unruffled all
the while. Casually, he pops a piece of meat into his mouth
and begins to chew.

TEN BEARS
I will not go... you will go... you
and Kicking Bird. That is all I have
to say.

EXT. SEDGEWICK - DAY

Dunbar is sitting cross-legged in the grass. His mouth is
occupied with chewing. In one hand is a knife, in the other
is a chunk of slab bacon. He saws off a slice and extends
it, waiting patiently.

The wolf is sitting only a few feet away. He wants the offered
meat but cannot bring himself to eat from a human hand.
Finally, Dunbar flips the bacon into the grass and Two Socks
pounces on it. He takes his prize toward the river and out
of view.

Dunbar starts for his quarters. He stops. The hair on the
back of his neck is standing straight up.

EXT. SEDGEWICK - DAY

Six Sioux warriors, THE ESCORT, are sitting atop their ponies
high on the ridge.

Dunbar buttons his tunic and casts a quick, backward glance
at the quarters. A rifle is standing near the door.

Dunbar decides not to go after it. He straightens his bearings
and he watches the approaching riders. It's only two -- Wind
In His Hair and Kicking Bird. The lieutenant bows at the
waist.

DUNBAR
Welcome...
(gesturing at them)
Come... please... sit down.

The two men slide off their ponies. Dunbar throws an
unreturned wave to the escort warriors.

There is a moment or two of silence.

DUNBAR
Would you like some coffee? Coffee?

There is no response.

DUNBAR
I'll get some cups.

Dunbar disappears inside his quarters.

EXT. SEDGEWICK - DAY

Wind In His Hair and Kicking Bird are sitting comfortably
under the awning, each holding steaming army-issue cups.
They are staring straight ahead with a curious expression.

Dunbar is turning a handle on a machine. It is a coffee
grinder.

The last of the beans goes down and Dunbar pauses for dramatic
effect. Then he pulls out the drawer containing the fresh
grounds and passes it to the medicine man. Kicking Bird and
Wind In His Hair both sniff the contents.

Dunbar gestures at their still full mugs -- neither one of
them has taken a drink.

DUNBAR
Is the coffee not good? Too strong
maybe? Here...

Dunbar reaches for a sack by the fire. Holding it in front
of him, Dunbar suggests that Wind In His Hair put some of
its contents into his mug.

Wind In His Hair finally does, but his blank expression
indicates that he doesn't know what difference this could
make.

Dunbar takes a lick at his fingers, suggesting that Wind In
His Hair should do the same. A smile creeps over his face as
the universal appeal of sugar is taking hold. Wind In His
Hair has licked every bit off each finger.

DUNBAR
(to Kicking Bird)
Do you want some?

Wind In His Hair doesn't wait for Kicking Bird's answer. He
reaches over and dumps a good amount in Kicking Bird's cup,
adding some more to his own for good measure.

DUNBAR
So what are you guys doing? Looking
for buffalo?

There is no response. Wind In His Hair's attention is now on
Cisco.

DUNBAR
He's a good one... good horse. My
horse.

Wind In His Hair's interest borders on rude. Prompted by a
light tap on his leg from Kicking Bird, Wind In His Hair
turns his attention back to Dunbar.

DUNBAR
Good horse.

No argument from Wind In His Hair.

DUNBAR
My horse. You see any buffalo?

Kicking Bird and Wind In His Hair are baffled.

The lieutenant is trying to jam a wadded blanket under the
back of his tunic.

DUNBAR
Wait just a bit.

WIND IN HIS HAIR
(to Kicking Bird)
His mind is gone.

Kicking Bird doesn't respond. He's still intent on the
lieutenant. In wedging the blanket under his tunic, Dunbar
has become a hunchback. He bends over in a weird attitude,
and with a finger peeking over each side of his head, he
begins a bizarre display of dancing, punctuated with snorts
and bellows.

KICKING BIRD
Buffalo.

DUNBAR
(incorrectly in Sioux)
Buffalo?

KICKING BIRD
(slowly)
Buffalo.

DUNBAR
(getting it right)
Buffalo.

Kicking Bird nods his assent and Dunbar flashes a pleased
smile.

DUNBAR
Buffalo.

EXT. SEDGEWICK - DAY

Dunbar is watching Kicking Bird and Wind In His Hair walk
their horses up the ridge to meet the waiting escort. Each
horse has a gift of coffee and sugar slung over its withers.
Occasionally, Wind In His Hair dips a hand into one of the
bags and carefully licks each finger.

Dunbar waves up at them but there is no response.

DUNBAR (V.O.)
The sugar didn't figure to last at
that rate any way. I don't believe
I'd go too far in saying that a
foundation for good relations is
being laid.

DISSOLVE INTO:

EXT. SEDGEWICK - DAY

DUNBAR (V.O.)
They have come again, as always the
same two with an escort of six.

Dunbar is standing in the same spot, it is a new day

Leaving their ever present escort behind, Kicking Bird and
Wind In His Hair ride into the fort.

Kicking Bird's pony is carrying something large and bulky on
his withers. A buffalo robe. Dunbar walks up to greet them.
Kicking Bird returns the welcome and signs to him as he
speaks.

KICKING BIRD
Have you seen any buffalo?

Dunbar can only shake his head no.

Kicking Bird accepts this and dismounts.

Dunbar throws his customary wave but the escort remains
noncommittal.

EXT. HILL - DUSK

Dunbar is lying on his buffalo robe, his hand runs against
the grain of the thick fur. He begins writing in his journal.

DUNBAR (V.O.)
I believe I am dealing with Kiowa
Indians as I have heard that word on
several occasions.

He rolls on his back, and lays aside the journal, practicing
the hand signals.

DUNBAR (V.O.)
I am learning the Kiowa words for
head, hand, horse, fire, coffee,
buffalo, hello and goodbye.

EXT. SEDGEWICK - DAY

It's raining. High on a hill, the Indian escort waits
stoically, horses heads bowed in the drizzle. On the haunches
of one of the ponies is a single deer.

Down below, Wind In His Hair and Kicking Bird are still
mounted and converse with Dunbar using sign talk.

DUNBAR
No, I haven't seen any buffalo. Are
you hungry? I have food... are you
hungry?

Dunbar suggests they take some of his supplies but Kicking
Bird will not stand for this. He waves Dunbar off. The three
men say their goodbyes, and Dunbar as usual throws a wave to
the six men on the hill.

Unexpectedly, one of them returns it and the other five react
with surprise.

ESCORT 1
He waved.

DUNBAR (V.O.)
Nothing I have been told about these
people is correct. They are not
beggars and thieves. They are not
the bogeymen they have been made out
to be.

Kicking Bird and Wind In His Hair disappear over the hill,
followed by their escort.

Lightning bursts far out on the prairie.

INT. QUARTERS - NIGHT

Dunbar huddles beneath the warmth of his buffalo robe. He is
finishing up the second of two drawings. It is a portrait of
Wind In His Hair, he carefully titles it "The Fierce One."
He has already completed a likeness of Kicking Bird and
underneath it the words "The Quiet One."

EXT. KICKING BIRD'S LODGE - DAY

Several children are playing close-by as Stands With A Fist
works over a staked-out hide, scraping away the excess flesh.
Though her arms are lined with scabs her work is methodical
and unforced. She seems recovered.

KICKING BIRD (O.S.)
Stands With A Fist.

She looks up to see the medicine man looming over her.

KICKING BIRD
We will talk awhile.

INT. KICKING BIRD'S LODGE - DAY

Except for Kicking Bird and Stands With A Fist, the tipi is
empty. They are just seating themselves at the firepit in
the center of the lodge. A brief silence, during which Kicking
Bird studies the girl with the bowed head.

KICKING BIRD
Your wounds are healing well?

STANDS WITH A FIST
Yes.

KICKING BIRD
You are happy here, with my family?

STANDS WITH A FIST
I am glad to be here. I am missing
my husband.

KICKING BIRD
Perhaps you will marry again when
the time is right.

STANDS WITH A FIST
Perhaps.

Kicking Bird is leading up to something and Stands With A
Fist fears it. She keeps her head bowed.

KICKING BIRD
We have word from many places that
the whites are...

Kicking Bird stops himself, he knows this must be hard. She
brings her green eyes to bear on the medicine man, waiting
to hear more.

KICKING BIRD
They are coming into everyone's
country. They will soon be in ours I
think. This white man who lives at
the old soldier fort, the one who
calls himself loo ten tant... I have
visited him and I believe his heart
is a good one. He knows things about
the whites which we do not.

He pauses letting this sink in.

STANDS WITH A FIST
I am afraid of the man at the fort.

KICKING BIRD
He is only one man.

STANDS WITH A FIST
I am afraid that he will tell some
whites that I am here. I am afraid
that they will try to take me away.

KICKING BIRD
Every warrior in camp would fight
them if they tried.

She is not much reassured by this. In the way of a defeatist
she lowers her eyes once more.

KICKING BIRD
I cannot make the white man talk.
Loo ten tant does not know Sioux.

Kicking Bird waits. Still she does not raise her head.

KICKING BIRD
You have a certain medicine which no
other Sioux -- man or woman -- has.

STANDS WITH A FIST
It has been a long time since I made
the talk.

KICKING BIRD
I do not ask this for myself... I
ask this for all our people.

STANDS WITH A FIST
It's dead in me.

KICKING BIRD
I want you to try and remember the
the word.

STANDS WITH A FIST
I don't know how.

KICKING BIRD
You don't want to know.

This outburst shocks Stands With A Fist, she runs out of the
lodge.

EXT. KICKING BIRD'S LODGE - DAY

Stands With A Fist rushes past BLACK SHAWL, her face covered
with tears. Now Kicking Bird comes out. Black Shawl looks at
Kicking Bird, his face is not happy.

BLACK SHAWL
Will she make the white words?

KICKING BIRD
Perhaps I am asking too much.

EXT. RIVER - DAY

Stands With A Fist is tearing through the thick willows
growing alongside the river. She's crying her heart out.

EXT. RIVER - DAY

The big cry is over, but Stands With A Fist is still sniffling
as she emerges on a little patch of beach-next to the river.
She sits herself down under a cottonwood and looks hollowly
at the surface of the water in front of her.

Somewhere in the distance is the sound of many drums, with a
sigh she drops her head.

Then, as if shocked by some unseen force, her eyes spring
open. Wide and unblinking, her eyes stare deeply into space.

Someone is calling. The voice is so faint at first that the
word can't be heard. But the calling grows and suddenly the
word is upon her.

VOICE
Christine...

EXT. PRAIRIE - DAY (FLASHBACK)

A little girl of seven, CHRISTINE, is lying in the grass of
a sod roof. Next to her is ten year-old WILLIE. They are
planning their wedding and staring up at the sky.

Like many youngsters she's not eager to heed the persistent
call of her mother.

MOTHER (O.S.)
Christine... where are you?

Reluctantly, the little girl gets up and looks over the edge
of the roof to see her mother holding yet another child. She
seems anxious.

CHRISTINE
I'm right here mother...

MOTHER
Get inside both of you.

CHRISTINE
Why?

MOTHER
Just do what I... oh God! Stay where
you are. Keep down do you hear me?

FOUR PAWNEE are riding up in the background. TWO MEN are
moving out to meet them.

CHRISTINE
Who is it Willie?

Willie is peeking over the edge of the roof. An old muzzle-
loading rifle is by his side. He whispers to her.

WILLIE
They look like Pawnee... my father
and your father are talking to them.

Down in the yard, out beyond a rough table set with the
leavings of a Sunday dinner, two white men on foot are talking
to the four mounted Pawnee warriors.

It's an argument. As a baby cries somewhere inside the house
the two white men sign the Indians to go away. The Pawnee
make no move to go however, and with their patience at an
end, the two white men turn back to the house.

One of the warriors brings his hatchet down and nails a white
man between the shoulder blades. The injured man grunts and
hops sideways. The other runs for the house but is cut down
by arrows.

Women begin to scream.

Willie is scooting down the roof, his face white with fear.

WILLIE
Run Christine...

CHRISTINE
Why?

WILLIE
Just run!

He gives her a hard shove which sends her rolling down the
roof.

WILLIE
Run!

Christine runs past the point where the roof meets the natural
hillside and down into the draw. She's running toward us. In
the background we can see Willie on the edge of the roof,
aiming his squirrel gun into the yard. He fires once, then
grasping the gun like a club, he leaps off the roof and
disappears.

Christine never looks back. She runs up the draw as fast as
her skinny young legs can carry her.

EXT. HOLE - NIGHT (FLASHBACK)

The moon is up. Christine is feebly clawing at the ground,
trying to pry herself out of a tiny hole. She gives up. Then,
from the burrow's dark entrance comes the thin, cracking
voice of a little girl.

CHRISTINE
Now I lay me down to sleep. I pray
the lord my soul to keep. If I die
before I wake, I pray the lord my
soul to take.

EXT. RIVER - DAY

Stands With A Fist is still in shock. The drumming in the
village is very loud now. She rises unsteadily to her feet
and starts back to camp.

EXT. SEDGEWICK - NIGHT

The moon is full. As we look down on the fort we can hear a
new sound coming off the prairie. A light rumbling.

INT. QUARTERS - NIGHT

Lieutenant Dunbar is asleep in the moonlight. The rumbling
is getting louder. It wakes him. He gropes about, lights the
lantern and listens to the strange, powerful sound.

Something's in the air. He holds the lantern toward the
ceiling. Particles of dirt and dust are being shaken from
the roof. It's the earth that's trembling.

EXT. SEDGEWICK - NIGHT

Dressed in only pants and boots, Dunbar walks along the bluff
above the river, his lantern held out in front of him. The
sound is tremendous now. Dunbar stops as a great wall of
dust rises before him.

At the same time, he realizes something is alive behind the
wall of dust, he recognizes the sound... the sound of
thousands of hoofbeats.

He sees one veer out. And now another. And another, darting
briefly from the great cloud of dust. The most powerful force
on the prairie now seems like the most powerful force on
earth as it thunders by.

The buffalo.

EXT. PRAIRIE - NIGHT

Dunbar and Cisco are running flat out in the moonlight.

EXT. INDIAN VILLAGE - NIGHT

The village is coming up. A great fire is blazing at the far
end. Horse and rider speed past the first lodge.

It's an important mission for the lieutenant. As he gallops
through the village, he says one word over and over, trying
to remember the correct pronunciation. It's the Sioux word
for buffalo.

EXT. FIRE - NIGHT

Everyone has gathered around the great blaze. In the center
of the circle close to the fire, the buffalo men are dancing.
Others are dancing too. The music is very loud.

The little buckskin is out of his head with speed. He doesn't
answer the bit when Dunbar first tries to pull him up.

People scatter in all directions, as Dunbar and Cisco charge
into their midst.

Dunbar pulls back with all his might, and the buckskin sits
down. He's wet from his long ride, and Dunbar can't stay on
his back. As Cisco rears, he slides off and tumbles onto his
back.

Angry warriors pile on top of him. Dunbar shouts out the
word for buffalo, yelling it over and over as the warriors
pummel him.

So many men have rushed into the fray that none can deal the
lieutenant a decisive blow. They roll about in the dust.
Just as Dunbar's cries have begun to lose their strength, he
feels a sudden lessening of the weight upon him.

As the men pile off, Dunbar is left flat on his back. His
lip is split and blood is streaming from his nose.

He's looking into a familiar face. The man's head is covered
with the full skin and feathers of an eagle. Kicking Bird.

DUNBAR
Buffalo...

Kicking Bird doesn't understand or can't hear. He brings his
face close to Dunbar's.

DUNBAR
Buffalo...
(making horns with
his fingers)
Buffalo.

KICKING BIRD
Buffalo?

DUNBAR
Yes. Buffalo.

Kicking Bird raises up and yells it out to his people.

KICKING BIRD
The buffalo have come.

For a fleeting moment there is shocked silence. Then the
Sioux explode with excitement.

Still dazed, Dunbar is pulled to his feet. The people are
surging in around him with yelps of joy.

EXT. PRAIRIE - DAY

A wide stretch of prairie, falling away to nothing.

The buffalo have left a trail in the form of a tremendous
swath of torn-up ground, several hundred yards from side to
side.

Indians on horseback move into the picture.

Most of Ten Bears' camp is moving out in a long, noisy column.
Spirits are high. First come the lead scouts, followed by
Ten Bears and his advisors, Kicking Bird and wind In His
Hair among them. A large body of warriors come next. Behind
these men are the women, children and elderly. Dunbar is
riding at the head of the last group.

The attitudes of the people have changed significantly. People
who catch his eye are openly smiling at the lieutenant.

An old woman comes alongside and offers him a piece of dried
meat, patting his hand as he takes it.

Here comes Smiles A Lot, Worm and Otter, all on ponies,
galloping up beside him. They want to play.

SMILES A LOT
Loo ten tant...

He motions for Dunbar to break ranks and while the lieutenant
is puzzling this out, a chorus of cries comes from the
column's front.

Three far-ranging scouts are coming in at a run.

EXT. COLUMN - DAY

The scouts pull up in front of Ten Bears to make their report.
There's no way to know what's going on but something important
is happening.

Wind In His Hair suddenly breaks ranks and rides back to the
main body of warriors. A dozen warriors strip off their shirts
and leggings. They're ready in moments. Then, with Wind In
His Hair leading them, the party breaks away from the column
and rides east at a gallop.

The column resumes its southward march.

EXT. COLUMN - DAY

The day has grown hot as the column continues its march
through changing terrain.

Dunbar is suffering some. The heat and dust are monstrous.
At the moment however, he's most concerned with Stands With
A Fist. She's riding closeby and he watches her with interest.

It's easier to see now that she was once white.

Suddenly she looks in his direction. The lieutenant quickly
tips his hat, but she turns her shy eyes away before he has
finished the motion.

Kicking Bird is riding down the line. The medicine man
gestures Dunbar forward and the lieutenant guides Cisco out
of line.

Through her tangled hair, Stands With A Fist watches the
soldier and the medicine man ride up the line.

EXT. PRAIRIE - DAY

Dunbar and Kicking Bird are riding together at the flank of
Ten Bears' entourage.

Far in the distance, the lieutenant sees something strange
on the prairie... pink bumps are dotting the landscape up
ahead. And black specks are moving about on the bumps.

EXT. KILLING GROUND - DAY

Beneath droves of scavenging black birds lies the body of a
buffalo. His hide has been peeled off and his tongue has
been cut out. The rest of his body has been left to rot in
the sun.

The column, so noisy and happy before, winds its way through
the killing ground in silence. There must be twenty-five
buffalo like the one we saw close up, all of them stripped
and rotting.

Dunbar looks queasy. The lieutenant glances at the medicine
man riding next to him. Kicking Bird looks sick too. Dunbar
looks away. The entire column is stretched along the killing
ground, looking.

A naked cow, covered with birds, lies on her side. Her new
born calf, doomed to death, cries for his dead mother. And
next to the calf, Dunbar sees something else. He sees wagon
tracks and the booted footprints of white men.

EXT. KILLING GROUND - DAY

The column is clear of the killing ground and heading deeper
into the prairie. They have left everything untouched.

EXT. TEMPORARY CAMP - DAY

While Kicking Bird's lodge rises behind her, Stands With A
Fist digs out a firepit. She looks up from her work.

Watching bashfully from several yards away is Lieutenant
Dunbar. Now that she has seen him he starts forward, perhaps
to try some more talk.

KICKING BIRD (O.S.)
Loo ten tant...

Dunbar turns to find Kicking Bird sitting on a pony just
behind him. Two dozen mounted BUFFALO SCOUTS are gathered
around him. Kicking Bird points at Cisco, indicating that
Dunbar should join them.

Tipping his hat to Stands With A Fist, Dunbar hustles away
to his horse.

Stands With A Fist faces the pit she's digging, not bothering
to look up as hoofbeats drum their way out of the temporary
camp. She seems to have lost herself in her own hands... the
hands that are digging out the soft prairie earth.

There is crying but when Stands With A Fist looks up there
is just one of Kicking Bird's children standing there smiling
at her. She goes back to her digging.

INT. HOLE - DAY (FLASHBACK)

The first light streaks through the burrow entrance.

Christine is exerting herself mightily in an effort to move.
But she can't and again she begins to cry.

More sounds from down below in the canyon. Hoofbeats. And a
whinny or two. No way to tell whether this is friend or foe.
But she can't stay in the burrow.

CHRISTINE
Help...

She listens. The hoofbeats are gone.

CHRISTINE
(louder)
Help me...
(screaming)
Please... I need to get out.

Someone is coming up the slope.

A moment later, hands are clawing at the walls of the burrow
and she is looking into three, surprised Sioux faces. The
face in the center is recognizable. A YOUNGER KICKING BIRD.

EXT. BUFFALO DRAW - DUSK

Two dozen riderless Indian ponies are tethered at the base
of the draw.

EXT. BUFFALO DRAW - DUSK

With Kicking Bird and the other buffalo scouts, Lieutenant
Dunbar is sneaking up one side of the draw. They all reach
the summit together and peer over.

They are there by the thousands, grazing quietly in the
twilight. The buffalo.

EXT. PRAIRIE - NIGHT

The buffalo scouts, Dunbar included, are galloping back to
the temporary camp. It looms ahead of them, the hide-covered
lodges glowing like candles in the last light of day. A big
fire is blazing in the center of camp.

Dunbar hangs back as the other riders go into the noisy camp.
A special event of some kind is taking place. As he looks
this scene over, Dunbar sees something remarkable.

Back in the shadows, behind the fire, is a wagon.

Dunbar and Cisco pace back and forth on the fringes of the
camp. The lieutenant searches for any sign of the white people
who came in the wagon, but finding none, he focuses on the
dancers moving in a circle around the big fire.

One of the men waving his lance is Wind In His Hair. Dunbar's
eyes track up the lance and there he finds the white people.
Hanging from Wind In His Hair's lance tip is a fresh scalp,
blonde and wavy. Several of the other men have scalps too.
None of the hair is Indian.

Dunbar can see into the wagonbed now. A couple of dozen fresh
buffalo hides are stacked in the wagonbed. It's all come
clear. The white men who killed the buffalo for hides and
tongues have themselves been killed.

Dunbar slowly retreats into the shadows.

EXT. PRAIRIE - NIGHT

Cisco has been hobbled nearby, and with the temporary camp
glowing on the plains a half-mile away, Dunbar spreads his
blanket on the open plain.

EXT. PRAIRIE - DAWN

A huddled body lies covered by the army issue blanket. A
moccasined foot comes into view and prods the blanketed shape.
Lieutenant Dunbar's waking face pops out of the blanket.

Standing over him is Wind In His Hair, stripped of all but
his breechclout. The barrel of his rifle is hanging downward,
swaying in front of the lieutenant's face.

It is occurring to the lieutenant that his time may have run
out.

The warrior swings his rifle into a shooting position, sights
after some imaginary game and imitates the rifle's recoil.

He stares down at Dunbar with a smile, lifts his rifle
overhead and barks out a cry of victory.

EXT. TEMPORARY CAMP - DAY

The band's best hunters, two dozen of them, are making ready
to chase the buffalo. It's the big time, no event is more
important. The villagers -- mostly women, children, and
elderly -- have gathered around each of the hunters.

The largest audience has gathered around Lieutenant Dunbar
and Wind In His Hair. Wind In His Hair's pony is ready. Great
bolts of yellow lightning adorn his shoulders and rump. Right
now the warrior is drawing the same design along Cisco's
rump.

Dunbar reads this correctly as a great honor and stands by
silently. Wind In His Hair is finished. He looks at Dunbar
and nods at the paint as if asking for a response.

DUNBAR
I wish I knew what to say.

A Sioux voice, using english words, sails out of the circle
of watchers.

STANDS WITH A FIST
Say... thank you.

Startled the men turn to the sound. The other Sioux are
stunned too.

STANDS WITH A FIST
(indicating the paint)
His speed... his power... you have.

DUNBAR
Thank you.

He takes the warrior's hand in his own and shakes it crisply.

EXT. PRAIRIE - DAY

It's the first time we've seen the buffalo up close. They're
fantastic creatures, powerful, brutish, untameable animals
from another age. A great bull turns away from the others
and lifts his purple, horned head to sniff the breeze. He
can detect no sign of trouble and eventually returns to his
browsing.

EXT. PRAIRIE - DAY

The hunters are advancing across the prairie, spreading out
in a formation that will encircle part of the herd.

The lightning bolts on Wind In His Hair's pony are in motion.
Cisco's bolts are moving too.

There's a lump in Dunbar's throat. He knows nothing of what
is expected of him but he's doing it anyway. He glances to --
his right at Wind In His Hair and to his left at Kicking
Bird. They're both concentrated on what lies ahead.

From the corner of his eye, he sees Kicking Bird look back.
The lieutenant looks too.

It's a minor flap. Three or four youngsters, eager to
distinguish themselves have trailed too close to the hunters
and are being turned back. Dunbar recognizes one of them as
the boy who took charge of Cisco at the village... Smiles A
Lot.

Like Kicking Bird, Dunbar swings his face back to the front.
They're close enough now to hear the low bellowing of the
herd.

EXT. PRAIRIE - DAY

A strike far up on the horned formation. Their ponies leap
forward. The mad dash is on.

Dunbar's hat flies off at first spurt and now the lieutenant
and his horse are hurling over the prairie. The little
buckskin seems to know what is expected of him and has put
every ounce of his muscle to speed. They're burning up the
ground.

When Dunbar looks back over his shoulder, he's shocked to
find that the best buffalo ponies the Sioux's have are far
behind. He and Cisco are on their own.

The herd is in full flight and the sound of their stampede
is overwhelming. The buffalo are very fast but Cisco is
gaining with every stride. They've formed a great running
wall in front of him and now Dunbar can see their rumps and
tails and flying hooves.

Dunbar takes a solid grip on his rifle and shuts his eyes as
if in prayer. The sound of thousands of hooves is deafening.

Dunbar and Cisco have caught the buffalo. A few more strides
and they'll be in.

Dunbar and Cisco are running with the buffalo. A shaggy head
moves in and swipes at Cisco, but the little horse is too
quick and too smart. He dodges away, nearly dumping the
lieutenant in the process.

Dunbar rights himself and fires. It's a wild shot, only
grazing the buffalo's shoulder. The report of the gun
instantly scatters the herd and Dunbar pulls up, dust swirling
all around him.

EXT. PRAIRIE - DAY

Sioux hunters stream past him, every man for himself zeroing
in on targets.

Dunbar starts to dismount but something he sees stops him.

A hundred yards away a small hunter is after a handful of
buffalo who have splintered off from the rest. It's Smiles A
Lot, trying to make a kill of his own. As Dunbar watches,
the boy's inexperienced horse shies away and bucks, pitching
the kid to the ground.

A big bull breaks away from the splinter group, lowers his
head and charges.

Dunbar kicks Cisco into a run, spits a spare bullet from his
mouth and rams it into the chamber.

Smiles A Lot is picking himself off the ground. The bull is
in full charge.

Dunbar is riding with his knees. Both hands are holding the
rifle. He'll never make it to the boy in time. He's got to
make the shot. He squeezes the trigger.

The bullet plows home, exploding the bull's heart. The big
buffalo's legs collapse but the momentum of his charge puts
him into a skid. He comes to rest only a few yards away from
Smiles A Lot.

The boy stands as the lieutenant rides up. Smiles A Lot is
dazed but he's okay.

Dunbar hops off next to the dead buffalo. He's a huge one, a
real grandfather and the lieutenant loses himself for a few
moments in contemplation of this tremendous kill. Now he
looks back to check the boy.

Smiles A Lot has caught his pony and is racing away from the
scene of his humiliation.

The sounds of approaching riders turns Dunbar's attention in
a different direction.

The entire village is streaming onto the plains for the
butchering.

The riders bearing down on him are being lead by Wind In His
Hair.

Wind In His Hair jumps off his pony and, smiling broadly,
slaps Dunbar's back with a good-natured blow of
congratulations.

EXT. PRAIRIE - DAY

The buffalo has been split open and Wind In His Hair, kneeling
at the bull's side, is feeling around in the cavity. He finds
what he's looking for and gives it a jerk.

It's the liver, still warm and steaming. He offers it to
Dunbar but the lieutenant, not having the faintest idea,
only looks at it blankly.

A sizable crowd has gathered to watch this ritual.

Wind In His Hair sticks the fresh liver in his mouth and
happily bites off a chunk, letting the juices run from the
edges of his mouth. Now he figures the lieutenant knows what
to do, and hands the liver back to him.

Dunbar doesn't want to do this, but with the pressure of so
many eyes and so much good will, he has little choice.
Tentatively, he bites off a small piece and chews it
thoughtfully. It's good.

Encouraged by this good taste, Dunbar takes a man-sized bite.
Shrill Sioux voices rise all around him as they cheer the
lieutenant. Dunbar holds the liver triumphantly over his
head.

EXT. KILLING GROUND - DAY

Little butchering parties cluster around each fallen buffalo.

EXT. TEMPORARY CAMP - NIGHT

Flame begins to lick at each of the bodies and we match
dissolve -- the clusters of people have become groups
surrounding fires at the temporary camp.

EXT. FEASTING FIRE - NIGHT

All over camp people are crowding around fires, feasting on
fresh meat. Children are playing everywhere, the dogs are
having a field day with scraps and the voices of the people
are happy.

At a little distance, we see Lieutenant Dunbar and Wind In
His Hair excusing themselves from one of the fires. They
start toward us. Wind In His Hair is sucking on a rib bone
and seems to show no sign of slowing down his celebrating.
Dunbar, following a couple paces behind, is a different story.
He's had it. He spreads his hands to indicate an over-sized
belly.

DUNBAR
Look I'm full... I can't tell the
story again.

Wind In His Hair doesn't seem to hear. He points at the
epaulettes on Dunbar's tunic.

DUNBAR
Go ahead.

Wind In His Hair reaches out and fingers the gold lieutenant's
bars. He fingers a couple of the brass buttons as well. The
tunic is something he obviously puts much store in.

DUNBAR
(signing)
You want to try... put it on.

He unbuttons the tunic.

DUNBAR
Here.

He sloughs off the tunic and hands it over. Wind In His Hair
slips out of the magnificent bone-pipe breastplate he's
wearing and gives it to Dunbar as he wriggles into the tunic.
The fit is too tight, the material too scratchy but those
things are of little consequence to Wind In His Hair. He
loves the tunic.

With urging signs he asks the lieutenant to put on the
breastplate. Dunbar slips it over his head and Wind In His
Hair helps him with the ties.

Now it's the lieutenant's turn to be amazed. The breastplate
as craftsmanship at its finest. He runs his fingers over the
ridges of bone now covering him from neck to waist. He looks
up at Wind In His Hair.

The warrior nods approvingly, as though a good deal has heen
struck.

DUNBAR
This is too much... I can't take
this...

But for Wind In His Hair it is already a trade.

Wind In His Hair spots the next fireside and veers toward
it. Dunbar holds him back.

DUNBAR
I can't... No more...

Wind In His Hair grins. He holds up a single finger.

WIND IN HIS HAIR
One more... eat...

DUNBAR
I can't, I'm full... very full...

Still holding up the finger, he guides Dunbar into the
firelight of the next party.

Immediately, men jump up to greet the celebrities. Women
begin to saw off more meat.

EXT. FEASTING FIRE - NIGHT

As Dunbar gnaws on a rib, he glances at the friendly faces
around the fire. His eyes suddenly stop their roving.

A BIG WARRIOR is wearing the military hat he lost on the
hunt. It's a little too big. The brim touches the top of the
big warrior's ears.

Now the Big Warrior notices that Dunbar is staring at him.
Their eyes meet.

DUNBAR
That's my hat.

At the sound of these words the cheerful talk around the
fire begins to fade.

Dunbar touches the top of his head and points to his hat.

DUNBAR
My hat.

BIG WARRIOR
I found it on the prairie. It's mine.

A silence falls between the two men. wind In His Hair speaks.

WIND IN HIS HAIR
That hat belongs to my friend here.

BIG WARRIOR
He left it on the prairie. He didn't
want it.

WIND IN HIS HAIR
You can see that he wants it now.

The Big Warrior shakes his head. He won't budge.

WIND IN HIS HAIR
We all know that is a soldier hat.
We all know who wears it. If you
want to keep it that's alright. But
give something for it.

The other men around the fire murmur their assent. The Big
Warrior thinks for a moment then abruptly gets to his feet.

He looks at his waist and unfastens a knife in a beautiful
worked scabbard. He tosses it across to Dunbar.

The lieutenant examines the trade item a moment. Now he looks
back at the big warrior. A smile breaks slowly across his
face and Dunbar nods. At last he smiles back. It's a trade.

And at that, the cheerful voices around the fire are at it
again.

Dunbar takes his new knife out and as he watches the light
flicker off the blade a voice comes into his ear.

WIND IN HIS HAIR
(pointing to his head)
Good trade.

Dunbar looks into his smiling face. He laughs.

DUNBAR
Yes, it's good. But, I have to sleep.

He excuses himself and walks away from the light of the fire,
finds himself alone in the shadows, still marveling at his
breastplate.

EXT. TEMPORARY CAMP - NIGHT

Wind In His Hair finishes sucking on the rib bone and tosses
it to a dog that's been trailing him. Kicking Bird is walking
toward him. He notices the new tunic and gives wind In His
Hair a dubious look.

KICKING BIRD
Where is loo ten tant?

WIND IN HIS HAIR
I ate him.

Kicking Bird reaches out and feels the strange material on
either side of Wind In His Hair's chest.

WIND IN HIS HAIR
I traded for it.

KICKING BIRD
Does it scratch the skin?

WIND IN HIS HAIR
A little. But do you see how good it
looks. Everyone says it looks good.
Everyone.

EXT. TEMPORARY CAMP - NIGHT

Dunbar keeps to the shadows as he makes his way through camp.
Now he slows his step.

Light from another fire is spilling into his path. There's
music too. And singing. The voices are high and feminine.

Dunbar peers around a lodge. A group of young women are
dancing in a clockwise circle. Their steps are light-hearted.
This is dancing purely for the fun of it.

One of the young women spots him standing behind the lodge
and there's a wave of shy giggling as news of "loo ten tant's"
presence is passed along. Embarrassed, Dunbar starts along
the fringe of the fires, nodding politely to the women as he
goes.

One has more courage than the others. She breaks out, takes
his hand and steers him gently into the dance circle. Whatever
resistance he might have is buried by the girl's insistent
encouragement. She keeps showing him the step and the
lieutenant tries to pick it up.

The movement is simple and the music is mesmerizing. Awkward
at first, Dunbar quickly gets the hang of it. In short order,
he's keeping up with the others. And he's enjoying himself.

Soon he has relaxed enough to shut his eyes, carried along
by the eternal sound of the drums. He doesn't notice that
the circle has begun to shrink. There is a touch of the devil
in their eyes.

He bumps into somebody and the woman behind bumps into him.
But the girls just laugh and so does Dunbar. It was a pleasant
accident. But quickly there's another accident. And then all
their bodies are squeezing against his. The girls are
murmuring good things to him. Their hands are touching him
everywhere.

It's okay with Dunbar. Everybody's having a good time. The
drumming suddenly stops however, and the women scatter away
from the fire, leaving Dunbar suddenly alone. Kicking Bird
is standing not far off.

DUNBAR
They asked me to dance...

The medicine man says nothing.

DUNBAR
I was just dancing...

The lieutenant does a step or two, trying to explain. Finally,
that strange half-smile appears on Kicking Bird's face.

EXT. KICKING BIRD'S LODGE - NIGHT

Stands With A Fist has been watching everything from the
tipi flap. Now she ducks back inside.

INT. KICKING BIRD'S LODGE - NIGHT

The fire is still burning in the center of the lodge. Dunbar
is sleeping soundly.

It's not a moment later that we hear the soft sounds of
mumbling somewhere in the lodge. Then it's quiet. There's
that mumbling again. And now a woman's giggle.

Dunbar stirs, waking and curious, sits up a little and looks
across the fire. There is movement on Kicking Bird's platform.
The medicine man's head and that of his wife come into view
for a second or two before they sink back down into shadow.
The movements and sound that follow become more forceful.
They're having sex.

Embarrassed, the lieutenant averts his eyes, they happen
over the forms of Kicking Bird's deeply sleeping children,
the low-burning fire, and settle on Stands With A Fist's
back.

Lieutenant Dunbar, the sounds of lovemaking floating over
him, peers again in that direction only to meet the smiling
eyes of Kicking Bird and his wife.

Embarrassed again, he stares open-eyed at the ceiling. He
looks like a man who knows something is happening but doesn't
know what it is.

Stands With A Fist's eyes are open too. She doesn't move.

EXT. VILLAGE - DAWN

The faintest seam of light is starting to glow on the eastern
horizon.

EXT. KICKING BIRD'S LODGE - DAWN

The camera pans off the tipi to the eastern horizon.

It's the pony herd. And Dunbar is walking in that direction.
His feet leave a trail in the wet grass.

First one, then two, then whole groups of ponies lift their
heads and prick their ears at Dunbar's approach.

Dunbar walks to the edge of this great sea of horses, he
stops and gives a long whistle.

A figure, previously unseen, sits up on the back of a pony.
It's Smiles A Lot. He and Dunbar glance blankly at each other.
But in a moment, both are distracted by movement in the herd.

Horses are being gently eased out of the way by Cisco who is
answering Dunbar's call. A moment later and they are reunited
at the edge of the herd.

Grasping a hunk of Cisco's mane, Dunbar starts to lead him
back to the village. The temporary camp is starting to come
to life. And with Cisco at his side, Dunbar pauses to take
in the scene.

EXT. SEDGEWICK - DUSK

An escort of six warriors is galloping up the bluff to join
the rest of the column as they make their way back to camp.
Dunbar looks on, a travois of meat next to him and gives a
last wave.

DUNBAR (V.O.)
To stay any longer would've been
useless. We had all the meat we could
possibly carry. We had hunted for
three days, losing half a dozen ponies
and only three men injured. Many
times I have felt alone but until
this afternoon, I have never felt
completely lonely.

INT. QUARTERS - DAY

The person we see from the waist up bears little resemblance
to the Lieutenant Dunbar we've known.

His long hair hides his face on his slightly bent head. His
skin is not so white anymore, and the great bone-pipe
breastplate covers his torso.

Dunbar starts to write and stops, he repeats this action. It
is clear that as Lieutenant Dunbar, he can find nothing to
say. He lays the pen down momentarily.

DUNBAR (V.O.)
Made a long patrol today. There is
nothing to report. The truth is I am
bored.

There is the scurry of movement and the scratch of tiny paws.
His eyes roam to the place in the corner where sacks of flour
and hard biscuits and other provisions are stored. Watching
the sacks more closely, he sees that they are infested with
mice.

Restlessly, he walks to the doorway, gazing out onto the old
fort. The awning is beginning to tear at the corner. And
then he spots something.

EXT. QUARTERS - DAY

A large prairie chicken is lying in front of the quarters.
Dunbar squats next to it. It's neck carries punctures, and
when he dabs a finger on the wounds, he finds that the blood
is still wet. The lieutenant rises slowly, his sharp eyes
sweeping the fort.

He's waiting patiently in his usual spot on the bluff
overlooking the river. Two Socks.

Dunbar smiles and shakes his head. Watching his old friend,
he picks up the bird and begins to pluck with an ease that
suggests he's had some experience.

EXT. QUARTERS - NIGHT

Dunbar is gnawing happily at the last of the bird, still on
its skewer. After a couple of bites, he slips the carcass
off the stick and chucks it out to Two Socks. He licks his
fingers and gazes out into the night.

DUNBAR (V.O.)
Though only two days it seems like a
week. I am missing the company of my
new friends. I can see all of their
faces, but somehow it is not enough.
Tomorrow, I will make an unannounced
visit. After all, they are my
neighbors, what can it hurt?

EXT. BLUFF - NIGHT

Two Socks has taken his dinner and retreated to the shadows.
He munches contentedly until a strange sound jolts him to
attention.

At the fort is an odd sight. Dunbar is dancing around the
fire, occasionally singing out an energetic whoop.

Two Socks is caught up in the scene and lets out a howl of
his own. It could be the stone age.

EXT. BLUFF - NIGHT

The silhouettes of three Indians are watching the strange
performance below. One of them is Wind In His Hair. Down
below Dunbar continues to dance.

EXT. PRAIRIE - DAY

There is nothing for miles.

Cisco and Dunbar are walking toward us. His boots are pretty
worn and his striped trousers have faded to almost nothing.
The breastplate shines in the sun. His rifle lies in the
crook of his arm, Indian style.

Dunbar twists around on Cisco and looks back across the
prairie. He calls out.

DUNBAR
Go home.

Dunbar watches a moment to see if he's done any good, then
turns forward with a sour look.

DUNBAR
Damn him.

Dunbar makes his way through a small, grassy valley borders
by rolling slopes. He looks across the prairie. Two Socks is
about fifty yards out, trotting parallel to Cisco and Dunbar.

Exasperated Dunbar pulls Cisco up and slides off. Two Socks
sits, waiting and watching.

EXT. BLUFF - DAY

Far down in the valley the figure of Lieutenant Dunbar is
striding through the grass. He looks angry. When he's within
a few feet of Two Socks, Dunbar waves his arms and stamps a
foot Two Socks scurries to one side but doesn't go far.

DUNBAR
C'mon Two Socks... you can't go...
so go home.

Dunbar repeats his shooing motion and the wolf hops a few
feet.

DUNBAR
Alright then, don't go home. But
stay... stay right here.

Dunbar turns away and as he does a long, low and mournful
howl swells behind him. He looks back. Two Socks muzzle is
high in the air and one eye is trained on Dunbar hoping for
a good reaction.

Like an angry father who's had too much, Dunbar charges Two
Sock with a roar.

DUNBAR
You go home.

The wolf races away this time and Dunbar immediately runs
for Cisco, hoping to reach his horse and ditch Two Socks.
But he's running long before the wolf comes bouncing
alongside. Dunbar weaves out at him, startling Two Socks. He
sidles away but as he does the lieutenant reaches out and
gives the base of his tail a good hard squeeze.

It might as well be a firecracker. Tow Socks gives a yelp
and shoots off with his tail tucked. Dunbar laughs out loud.
He watches until the wolf has gone a fair distance without
sign of slowing down.

Then still chuckling to himself, he turns once again and
starts for Cisco at a trot. But moments later, something
grabs at one of his ankles, the lieutenant's legs tangle and
he goes down face first into the grass.

Dunbar's lying on his belly. Not knowing what hit him, he
rolls onto his side for a closer look. There's Two Socks,
sitting in the grass a few feet back. Dunbar sits up cross-
legged and smiles at his old friend.

Two Socks catches something suddenly, perhaps from a shift
in the wind, and starts to slink away. Dunbar peers over the
grass up at the bluff. It's Stone Calf, Kicking Bird and
Wind In His Hair.

EXT. PRAIRIE - DAY

The Indian entourage is riding slowly toward Lieutenant
Dunbar. Stone Calf is at Kicking Bird's side.

STONE CALF
You were right about loo ten tant --
he is a special white man.

Kicking Bird watches Dunbar as he replies.

KICKING BIRD
Yes, he is special... he should have
a real name.

EXT. INDIAN VILLAGE - DAY

Lieutenant Dunbar's arrival this day is different from the
ones which have gone before.

Young mounted warriors have ridden out to swarm around him,
but they're full of good cheer reserved for a special friend.
There's much backslapping and a few of them lean in to shake
hands as they have seen him do.

But some of the men have chosen to remain in front of their
lodges. Their expressionless faces anything but friendly.
None of this is lost on Wind In His Hair. He has the look of
a secret service man watching a president, as the parade
moves through the village.

EXT. KICKING BIRD'S LODGE - DAY

The escorts dismount and so does the lieutenant. Smiles A
Lot suddenly comes forward and grasps Cisco's reins. There's
a brief tug of war. But before it gets out of hand, Kicking
Bird is reassuring Dunbar with calm words and a smile, with
the lieutenant watching, the boy takes Cisco's muzzle between
his hands and blows breath into each nostril. He too gives
Dunbar a reassuring smile.

In the next moment, the lieutenant finds himself being gently
pushed into Kicking Bird's lodge.

As Kicking Bird is about to duck in behind him, a hand on
his arm stops him. It is Wind In His Hair and his tone is
strong with friendly advice.

WIND IN HIS HAIR
Not everyone thinks it is a good
idea that he is here.

KICKING BIRD
I know.

Wind In His Hair turns to the people that have gathered about.

WIND IN HIS HAIR
Kicking Bird has business with the
white man. Let him do it.

INT. KICKING BIRD'S LODGE - DAY

Kicking Bird's pipe is a beautiful piece of work. It's being
smoked.

Kicking Bird puffs away a few times and hands the pipe to
Dunbar. The lieutenant, aware that the pipe is something
special, handles it with care.

He looks to Kicking Bird for guidance as he puts his mouth
to the tip. The medicine man reassures him with a wave of
the hand and Dunbar begins to puff.

Dunbar coughs lightly at the harsh tobacco but he smokes
well, watching the bowl pulse with life at each puff.

He stops now and lowers the pipe. He stares down. The pipe
seems almost alive as it lays in his hands.

Dunbar hands the pipe back, and as Kicking Bird takes it he
hears the light tinkling of bells.

Dunbar hears it too. As he looks toward the sound, a shadow
falls across the arbor's entrance.

KICKING BIRD
We were waiting for you.

Stands With A Fist ducks through the arbor's entrance and
seats herself between Dunbar and Kicking Bird.

Stands With A Fist is wearing a band of bells around one
ankle. She has a pair of simple but pretty moccasins on her
feet. Her dress is old but well-cared for. Animal teeth are
sewn along her bodice. On her wrist is a solid brass bracelet.
Her hair is tied back loosely with a bret, accenting the
feminine in her face.

Her whiteness seems to show more than ever. But it is not
dominant. The Sioux is dominant.

KICKING BIRD
(to Dunbar)
Welcome. It is good that you are
here.

Kicking Bird looks to Stands With A Fist. She takes her time
and the words are accented but they are close enough.

STANDS WITH A FIST
Hullo. You here... good.

The words are sweet music to the lieutenant. He replies with
a feeling of great relief.

DUNBAR
Thank you... I feel good.

STANDS WITH A FIST
(to Kicking Bird)
He thanks you. It is good.

KICKING BIRD
Ask him why he is at the soldier
fort.

STANDS WITH A FIST
(to Dunbar)
Uhh... you... come...

Dunbar jumps in. There are things he wants to know, has waited
a long time to know.

DUNBAR
Wait... what is your name?

STANDS WITH A FIST
Our... names?

KICKING BIRD
What does he say?

STANDS WITH A FIST
He wants to know how we are called.

KICKING BIRD
Ahhh... He's right. I'm sorry.

The medicine man nods agreeably. He smiles at Dunbar, quite
right, introductions should come first.

STANDS WITH A FIST
He... he... Kick...

DUNBAR
Kick?

STANDS WITH A FIST
More.

She kicks at the ground with the toe of her moccasin. Dunbar
doesn't get it. She kicks a little harder.

DUNBAR
Kicking?

STANDS WITH A FIST
Kicking... yes... Kicking... Bird.

DUNBAR
(to Kicking Bird)
Kicking Bird...
(to Stands With A
Fist)
What does he... is he a chief?

Stands With A Fist has the word but it takes a few seconds
to make it come out of her mouth.

STANDS WITH A FIST
Hul... hal... ho-lee... holy... holy
man.

DUNBAR
Oh...
(glancing at Kicking
Bird)

A brief silence. Kicking Bird seems ready to speak but Dunbar
is too quick.

DUNBAR
(to Stands With A
Fist)
Your name... you.

She thinks. It's hard. She smiles thinly.

STANDS WITH A FIST
I don't know.

An idea comes to her. She stands up quickly.

DUNBAR
Up? Get up?

STANDS WITH A FIST
No.

She repeats the movement again.

DUNBAR
Stand.

Her smile is a little wider this time.

STANDS WITH A FIST
Yes... Stands.

Dunbar starts to speak but she cuts him off.

STANDS WITH A FIST
More...
(thinking)
Wiff...
(quickly)
With.

She draw something in the dirt. It's an "A".

DUNBAR
Stands With A...

Now she makes a fist and holds it close to Dunbar's face.

DUNBAR
Fist?

She nods.

DUNBAR
Stands With A Fist. I'm John... John
Dunbar.

STANDS WITH A FIST
John Dunbar.

DUNBAR
Yes.

EXT. VILLAGE - DAY

Kicking Bird and Dunbar are strolling through camp engaged
in a real conversation, Stands With A Fist is just behind
them.

DUNBAR (V.O.)
I try to answer all of Kicking Bird's
questions but I know he is frustrated
with me. He always wants to know how
many more white people are coming. I
tell him that it is impossible for
me to say. When he persists I tell
him that the white people will most
likely pass through this country and
nothing more.

Kicking Bird and Stands With A Fist are walking away from
Dunbar, who takes a few steps in the opposite direction before
pausing. Toward the end of the following speech he glances
back at them and Stands With A Fist glances back at him.

DUNBAR (V.O.)
But I am speaking to him in half-
truths. One day there will be too
many, but I cannot bring myself to
tell him that. I am sure that Stands
With A Fist knows.

INT. DUNBAR'S LODGE - NIGHT

His surroundings are completely Indian, Dunbar is cleaning
the big navy revolver.

DUNBAR (V.O.)
A war party is going against the
Pawnee soon and I have asked to go.
I sensed that I have made a mistake
in doing so but I could not bring
myself to take it back. They are my
friends and from what little I gather
the Pawnee have been very hard on
these people. I hope I have not
overstepped my bounds.

The lodge flap rustles and in comes Stands With A Fist and
Kicking Bird. Dunbar stands to greet them.

DUNBAR
I'm glad to see you... please sit.

Kicking Bird speaks and Stands With A Fist translates.

STANDS WITH A FIST
(translating)
Kicking Bird wants to know why you
want to make war on the Pawnee. They
have done nothing to you.

DUNBAR
They are Sioux enemies.

STANDS WITH A FIST
(translating)
Only Sioux warriors will go.

DUNBAR
I asked that he would think about my
going.

STANDS WITH A FIST
He has.

DUNBAR
Then tell him this. I have been a
warrior for longer than many of the
young men that will go on this war
party. Tell him.

STANDS WITH A FIST
(translating)
He says that the Sioux way of being
a warrior is not the white way. You
are not ready.

DUNBAR
I know, I understand. But I cannot
learn these ways in camp.

She translates this to Kicking Bird. The medicine man
hesitates then speaks once more.

STANDS WITH A FIST
He asks that you watch over his family
while he is gone.

Dunbar looks to Kicking Bird then to Stands With A Fist unable
to mask his disappointment.

STANDS WITH A FIST
(on her own)
This thing he asks you... it is a
great honor for you.

Dunbar thinks a moment longer and speaks directly to Kicking
Bird.

DUNBAR
I will be happy to watch over your
family.

STANDS WITH A FIST
(translating)
He thanks Dances With Wolves for
coming.

DUNBAR
Who is Dances With Wolves?

STANDS WITH A FIST
It is the name which everyone is
calling you now.

He thinks and remembers the night with Two Socks.

DUNBAR
Dances With Wolves... that's right.
(to Stands With A
Fist)
How do you say it?

STANDS WITH A FIST
(in Sioux)
Dances With Wolves.

DUNBAR
(in Sioux to Kicking
Bird)
Dances With Wolves.

The medicine man smiles.

EXT. KICKING BIRD'S LODGE - DAWN

Black Shawl is hurrying out of the lodge with her husband's
bow and arrows.

A war party of twenty warriors is mounted and everyone except
sleeping children is out to say goodbye.

Stands With A Fist is helping to load Kicking Bird's horse
with last minute preparations. Out of the tipi comes Kicking
Bird's eldest child. He is sleepy but almost on the verge of
tears as he knows what is happening.

Kicking Bird picks up the boy. What is said is between father
and son. And it is just a look.

He hands the child to Stands With A Fist, and pauses to speak
with his wife. She comes close to tears but there will be no
crying. None from Kicking Bird either. He steps back to his
horse.

KICKING BIRD
(to Stands With A
Fist)
Keep on with the white man talk if
it pleases you.

STANDS WITH A FIST
I like to make the white man talk.

Dances With Wolves is standing alone in front of his lodge.
Wind In His Hair is riding past. He reaches down and shakes
Dances With Wolves' hand. The big warrior smiles.

Dances With Wolves watches the warriors go by, but his eyes
begin to wander. He's looking for someone among the faces of
the women. Who ever it is, he can't find her.

INT. ARBOR - DAY

Dances With Wolves sits alone in the arbor. He's fidgety.
Now he hears a light tinkling of bells, the sounds he's been
waiting to hear.

Her feet appear in the doorway.

STANDS WITH A FIST (O.S.)
Dances With Wolves?

DANCES WITH WOLVES
I'm here.

EXT. VILLAGE - DAY

Dances with Wolves and Stands With A Fist are walking through
the village, talking and pointing things out to each other.

STANDS WITH A FIST
(slowly in english)
Grass grows on the prairie.

DANCES WITH WOLVES
(not sure in Sioux)
Fire lives on the prairie.

Stands With A Fist chuckles but politely checks herself.

STANDS WITH A FIST
Wrong.

She smiles and tries again.

STANDS WITH A FIST
(in english)
That man is a fighter.

He really wants to get one right on the first try. His brows
come together as he concentrates.

DANCES WITH WOLVES
Again.

He listens hard.

STANDS WITH A FIST
That man is a fighter.

Dances With Wolves thinks some more. When he speaks it is
with quiet confidence.

DANCES WITH WOLVES
(in english)
Alright... I have it...
(in Sioux)
That man...

STANDS WITH A FIST
Yes...

DANCES WITH WOLVES
Is...

Dances With Wolves' eyes get big. He leans forward for
emphasis his whole face lit with the joy of having the right
answer.

DANCES WITH WOLVES
A... bone!

Stands With A Fist doubles up and falls onto her side,
laughing all the way.

DANCES WITH WOLVES
A bone... right?

Stands With A Fist doesn't really hear. She's rocking back
and forth on the floor of the arbor, laughing so hard that
her eyes are tearing.

Her laughter subsides to an occasional chuckle but Dances
With Wolves is quiet. He gazes at her face.

DANCES WITH WOLVES
What is the word for beautiful?

Stands With A Fist hesitates in her answer, meeting his gaze.
A little boy pokes his head in.

LITTLE BOY
What are you doing here?

The moment is broken. Stands With A Fist brings herself to
respond.

STANDS WITH A FIST
It is hot. We are sitting in the
shade.

This makes so much sense to the little boy that he trots in
and flings himself on Stands With a Fist's lap. Then a squirm
or two.

LITTLE BOY
I'm hungry.

STANDS WITH A FIST
Alright.

Stands With A Fist leads the little boy off to a lodge. Dances
With Wolves watches her walk away. From out of nowhere, Smiles
A Lot appears. He's been milling about the arbor
eavesdropping, and looks over to Dunbar with a teasing smile.

SMILES A LOT
...a bone.

INT. KICKING BIRD'S LODGE - NIGHT

Black Shawl is settling the youngest children in for bed,
Stands With A Fist is playing with the oldest of the children.
They're setting up a child's tipi.

BLACK SHAWL
How is Dances With Wolves?

Stands With A Fist stares straight ahead as if she were
wondering the same thing. Which she was.

STANDS WITH A FIST
What do you mean?

BLACK SHAWL
How is he learning?

STANDS WITH A FIST
He learns well... he is fast.

Case closed, she goes back to playing and Black Shawl
continues putting the kids to bed.

She looks again at Stands With A Fist wondering "what did
you think I meant?"

EXT. KICKING BIRD'S LODGE - DAY

Dunbar is sitting on Cisco. It's plain he's been waiting for
someone.

Stands With A Fist pulls aside the lodge flap, she's lugging
a couple water bags.

DANCES WITH WOLVES
You go for water?

His Sioux is perfect, and she smiles.

STANDS WITH A FIST
Yes.

DANCES WITH WOLVES
Let us take you.

EXT. RIVER TRAIL - DAY

Cisco makes his way down the river trail, he shies at the
flurry of wings as a covey of quail fly up before them. Stands
With A Fist tightens her grip around Dances With Wolves waist.

EXT. RIVER - DAY

Stands With A Fist draws water into a set of bladder bags.
Dances With Wolves squats next to her, staring at the eddying
stream.

DANCES WITH WOLVES
How did you get your name?

Stands With A Fist smiles to herself as she fills up the
last of the bags.

STANDS WITH A FIST
I was not very old when I came to be
with the people... I was made to
work.

She lugs the filled bags onto shore and sits next to Dances
With Wolves.

STANDS WITH A FIST
I worked every day... very hard...
there was a woman who didn't like
me. She called me bad names...
sometimes she beat me. One day she
was calling me these bad names, her
face in my face, and I hit her. I
was not very big, but she fell down.
She fell hard and didn't move. I
stood over her with my fist and asked
if any other woman wanted to call me
bad names...
(laughing at the
recollection)
No one bothered me after that day.

DANCES WITH WOLVES
I would not think so.

A little silence.

DANCES WITH WOLVES
Show me where you hit her.

He taps his jaw. She makes a fist and brushes very gently at
the point of his jaw. Dances With Wolves' eyes flutter. They
roll up in his head and he keels over backward... out cold.

She goes with the joke. Bending over him she slaps lightly
at each side of his cheeks, until Dances With Wolves revives.
He sits up, rubbing his jaw.

Neither one acknowledges the joke and, a sudden awkwardness
falls between them. Stands With A Fist fiddles shyly with
the ties on the water bags while Dances With Wolves draws
lines in the earth with a stick.

Finally he works up the courage to ask a delicate question.

DANCES WITH WOLVES
Why are you not married?

The question comes as a jolt to Stands With A Fist. She stops
her fiddling. A visible stiffness overtakes her. She quickly
stands up.

STANDS WITH A FIST
I must go.

Dances With Wolves doesn't know what to do. He only knows
that he should not have asked the question. She slings the
heavy bags over her shoulders and starts back up the path.
Dances With Wolves jumps to his feet.

DANCES WITH WOLVES
I'm sorry. Let me help...

But the words are delivered to her back. She is already
hurrying up the path with her heavy load.

STANDS WITH A FIST
No.

Five ponies have wondered into the middle of the path. She
kicks violently at the nearest innocent bystander. The horses
shy out of the way.

He's left alone at the waters edge, frustrated and confused.
He watches her go for a moment. Then he lets the stick drop
from his hand. He stares at it for a second then gives it a
vicious little kick.

INT. KICKING BIRD'S LODGE - DAY

Stands With A Fist is sitting in the middle of the lodge,
she starts when Black Shawl walks in.

BLACK SHAWL
You are not talking today?

STANDS WITH A FIST
No, I'm not.

Black Shawl gives her a deeper look, then lets it go.

INT. ARBOR - DUSK

The sun is setting and the village is settling in for the
evening.

INT. DANCES WITH WOLVES' LODGE - NIGHT

Lying on his bed, Dances With Wolves looks sleepy as he stares-
across at the small fire. Even, in his drowsiness, it is
easy to see he's concentrating... in this case on a certain
someone.

INT. ARBOR - DAY

Again, Dances With Wolves is waiting. This time, not so
patiently. He gives up and leaves in search of something.

EXT. INDIAN VILLAGE - DAY

Dances With Wolves is wandering through the village, half-
heartedly looking for Stands With A Fist. The day is very
hot and the village is quiet. Most of the people have gone
to shade.

He sees Stone Calf sitting in the shade behind a lodge. A
newly made shield hangs from a tripod and he is painting a
design on it.

EXT. STONE CALF'S LODGE - DAY

Dances With Wolves sits in the shade with Stone Calf, watching
the older man paint.

STONE CALF
Some of your words are wrong... but
you are learning fast. That is good.
What can I tell you today?

Dances With Wolves is a little taken aback. The elder has
read his mind. He decides to speak it.

DANCES WITH WOLVES
I want to know about Stands With A
Fist.

For the first time, Stone Calf leaves his work. He gives his
visitor a quick and penetrating look. Then he goes back to
his shield.

STONE CALF
What is your question?

DANCES WITH WOLVES
There is no man with her.

Stone Calf considers before he speaks. It is not something
he wants to get into.

STONE CALF
She is in mourning.

DANCES WITH WOLVES
I do not understand "mourning".

STONE CALF
She is crying for someone.

DANCES WITH WOLVES
Crying for who?

STONE CALF
It is not polite to speak of the
dead... But I will tell you... you
are new. She cries for her husband.
He was killed not long ago.

The blood has gone out of Dances With Wolves' face. He tries
to digest this.

DANCES WITH WOLVES
How long will she cry?

STONE CALF
It is Kicking Bird's place to say
when she is finished.

INT. KICKING BIRD'S LODGE - DAY

Stands With A Fist kneels before Black Shawl, the older woman
is combing out the tangles in her hair. Black Shawl senses a
tension in the girl and gently tries to pry it out of her.

BLACK SHAWL
People are talking about you...

Stands With A Fist stiffens a bit.

STANDS WITH A FIST
What are they saying?

BLACK SHAWL
They are proud of the medicine you
are making with Dances With Wolves.

Stands With A Fist is quiet.

STANDS WITH A FIST
I have hurt him and I must go talk
to him.

BLACK SHAWL
You can't, he is gone.

Stands With A Fist bolts up, racing to the lodge flap -- she
pulls it aside and is stunned by the sight of Dances With
Wolves' abandoned lodge -- Cisco is nowhere to be seen.

She turns away, tears coming to her eyes. Black Shawl is
beside her watching -- the girl's emotions have betrayed
her.

Black Shawl takes the crying girl into her arms. A child
runs into the lodge but Black Shawl indicates "not now."

The message is clearly understood, and the child digs in his
heels and heads the other way.

EXT. FORT - DAY

The breeze is up and the remaining shreds of canvas that
were once the awning are flying like tattered flags.

Leading Cisco, Dances With Wolves walks into view. It will
be his last visit to his old home and he is taking his time.

He watches the blowing canvas. The sound of it snapping is
all that can be heard.

He steps over to the supply house. He starts to peer in, but
when he places a hand against the sod, part of the wall gives
way.

INT. QUARTERS - PAY

Part of the old bed has collapsed but some of it is still
strong enough for support and here Dances With Wolves is
sitting as he leafs through his beloved journal.

He reads a little entry here and there, sometimes smiling at
the memory.

A few blank pages remain at the back of the book. Reaching
these he closes the journal and holds it on his lap, letting
his mind run for a moment.

Now he notices the old pen and ink. He picks them up and
opens the journal for one last entry.

He writes: "I love Stands With A Fist" and signs himself
"Dances With Wolves."

Something is moving outside and Dunbar stops, drawing his
gun out. He drops the book on the bed and carefully moves
outside.

EXT. QUARTERS - DAY

Lying in the sun a few feet away is Two Socks. He looks up
hopefully at Dances With Wolves. The two partners stare at
each other for a moment.

Then Dances With Wolves reaches into a little day pouch at
his side and pulls out a strip of jerky. He squats close to
the ground and offers the meat to the wolf.

Two Socks is up now. He takes several tentative steps. His
nose sniffs at the meat and he opens his mouth. Teeth and
fingers touch as the wolf takes the meat delicately.

Now, in his customary style, he moves away, heading out onto
the prairie with his prize.

Dances With Wolves watches a moment longer. Then he vaults
onto Cisco's back and they canter off in the direction of
the village.

EXT. RIVERSIDE - DAY

Stands With A Fist is wading through the water, her mind is
far away.

In a moment there is a shift in the wind. The rustling of
the trees alerts her to a presence she had not thought to
feel before.

Gradually, she raises her eyes to see the figure of a man
moving through the trees... Dances With Wolves.

Stands With A Fist walks slowly out of the water. He opens
his arms and she melts into them, letting her head rest
against his chest.

STANDS WITH A FIST
I am in mourning.

DANCES WITH WOLVES
I know... Stone Calf told me.

She presses her body full against his, feeling all of him.

STANDS WITH A FIST
No one can know... we must be careful.

DANCES WITH WOLVES
Yes.

STANDS WITH A FIST
We must be careful.

She climbs higher into his arms for a moment. Then, supporting
each other, the lovers move into the cover of the willow
breaks along the river.

EXT. RIVER PATH - DAY

The path leading to the river is deserted.

Suddenly, a couple steps out of the cover of the willows
alongside the path. Stands With A Fist and Dances With Wolves
look up and down the path. They start for the village, holding
hands.

As they near the top of the trail their hands part. A few
steps later and someone calls from the bushes startling Dances
with Wolves.

SMILES A LOT
What are you doing?

Smiles A Lot, Worm and Otter are sitting pathside. Worm is
holding a sack.

DANCES WITH WOLVES
Nothin'.

Smiles A Lot looks to Stands With A Fist.

STANDS WITH A FIST
Nothin'.

Worm opens the sack. A large, wriggling snake lies in the
bottom.

WORM
We got a snake.

OTTER
We're gonna see if it can swim the
river. You wanna come?

DANCES WITH WOLVES
Okay.

The two parties split up and everyone says goodbye to Stands
With A Fist. She makes her way up to the village.

Dances With Wolves watches her go. Turning back to head down
to the river, he is greeted by the open hissing mouth of
Worm's snake.

DANCES WITH WOLVES
Don't do that!

Worm and Otter laugh and race off down the path.

Smiles A Lot and Dances With Wolves follow, Dances With Wolves
a little ahead. Something on his back, something curious,
has captured Smiles A Lot's attention.

There's a strange coating of fuzz on Dances With Wolves'
back.

Something occurs to Smiles A Lot. He stops and turns, his
eyes going up the trail.

Stands With A Fist is walking toward the village, it's there
on her back too... cattail fuzz.

Smiles A Lot laughs and runs to catch Dances With Wolves.
The boy slaps Dunbar with a knowing pat and a big grin.

INT. DANCES WITH WOLVES' LODGE - NIGHT

Dances with Wolves sits at his cozy fire, working on a pipe.
He follows a low rumble of thunder as it rolls overhead.
Thunder booms again and suddenly Stands With A Fist comes
through the lodge flap.

Dances With Wolves comes to his feet. They stare across at
each other. Dances With Wolves walks slowly to her and they
embrace lightly. Stands With A Fist starts to slip out of
her dress.

EXT. INDIAN VILLAGE - NIGHT

Indian riders are coming into camp. There are three or four
of them. One man is slung over a pony's back. He's dead. All
of the others are wounded.

INT. DANCES WITH WOLVES' LODGE - NIGHT

Dances With Wolves and Stands With A Fist are having sex.
The sounds of their love-making are suddenly joined by more
insistent sounds from outside. Urgent yelling.

The lovers freeze. Stands With A Fist props herself on an
elbow, listening.

STANDS WITH A FIST
Trouble...

EXT. INDIAN VILLAGE - NIGHT

Dances With Wolves hurries through a light rain to the scene
of a commotion going on at Ten Bears' lodge. There's a real
sense of panic in the air by the time he reaches the fire
outside Ten Bears' lodge.

It's a wild scene. Ten Bears is trying to huddle with his
advisors, the wounded men are trying to tend their injuries
and the rest of the warriors in camp are holding little skull
sessions amidst much shouting. Women are running to and fro,
rounding up their children.

Dances With Wolves spots Stands With A Fist making her way
toward him. Her eyes are big with terror.

STANDS WITH A FIST
Pawnee... a big party... thirty or
forty men.
(indicating wounded)
The Kiowa hunters found them not far
to the north. The Pawnee are coming
his way. Soon they will find our
camp.

Stone Calf is just passing by. Dances With Wolves stops him.

DANCES WITH WOLVES
Stone Calf... I follow you.

The older man doesn't mince words.

STONE CALF
The Pawnee do not come for horses,
they come for blood... and with many
men gone, we are few.

Dances With Wolves nods.

STONE CALF
Get your weapons and come to my lodge.

STANDS WITH A FIST
(to Dances With Wolves)
I will go.

She rushes off and Dances With Wolves falls into step behind
Stone Calf. He hasn't gone two steps before a revelation
hits him.

DANCES WITH WOLVES
Stone Calf... wait...

The older warrior faces him.

DANCES WITH WOLVES
I have guns... many far-shooting
guns.

EXT. TEN BEARS' LODGE - NIGHT

Amid the pandemonium of the village, Dances With Wolves and
Ten Bears are talking. Stone Calf stands at Ten Bears' side,
listening.

TEN BEARS
No, the ride is long... the weather
is bad. We can spare no men.

DANCES WITH WOLVES
Guns would make one warrior like
two.

The idea intrigues Ten Bears. As he thinks, he looks to Stone
Calf. But the elder warrior says nothing.

TEN BEARS
Take one man and go quickly.

Dances With Wolves turns away now, hoping to make a quick
choice. But in their excitement all the warriors are busy
running to and fro. Only one person is standing resolutely.
He is staring straight at Dances With Wolves. It is Smiles A
Lot, and from the look on his face it's easy to see that he
wants to be chosen.

Dances With Wolves returns the boy's stare, trying to make
up his mind. He turns to Ten Bears.

DANCES WITH WOLVES
I will take Smiles A Lot.

Ten Bears looks briefly at Smiles A Lot. He too can see
resolve in the boy's face. Now he looks once again at Dances
With Wolves. He nods.

EXT. PRAIRIE - NIGHT

Rain is pouring now. Thunder is still booming. A great fork
of lightning illuminates the ruins of the old fort. And
nearby, it reveals two riders out in the grass.

Dances With Wolves and Smiles A Lot have brought a couple
extra horses with travois, but is is dark and in the rain
they've been reduced to looking for a needle in a haystack.

Dances With Wolves' face is grim with frustration as it covers
the ground at Cisco's feet.

Smiles A Lot and his pony are walking the soggy ground. Over
the tumult of the storm there is the faint but distinct sound
of a "snap".

He's staring curiously at the ground beneath his pony's feet.
Smiles a Lot jumps off and, going on all fours, he paws over
the ground.

His hand grasps something and he holds it up to his face.
It's a sliver of bone shattered at one end. Quickly he gropes
some more and finds the other half. Together they are a
buffalo rib.

SMILES A LOT
(shouting over the
storm)
Dances With Wolves... Dances With
Wolves.

EXT. PRAIRIE - NIGHT

Frenzied hands claw away mud and sod. Something wooden is
uncovered; the lid of a rifle crate.

EXT. PRAIRIE - DAWN

The sky is still full of thunder and lightning but in the
breaking dawn the storm can be seen to be lifting.

The village is just ahead down a long slope as the gun finders
come into view.

A great bolt of lightning hits just as Dances With Wolves
starts down the slope. He sees something.

DANCES WITH WOLVES
Wait.

Smiles A Lot stops. Dances With Wolves squints into the feeble
light. He can see the outline of the village below, but
upriver the light is still too murky to make anything out.

Another bolt of lightning flashes. There they are. A long
line of horsemen crossing river a mile or so upstream from
the village. The Pawnee.

EXT. INDIAN VILLAGE - DAWN

In front of Ten Bears' lodge, Dances With Wolves is passing
out the last of the rifles. Warriors are grabbing handfuls
of bullets out of an open ammo box.

Ten Bears is watching this procedure. And while he watches,
he thinks.

The guns have been passed out and, except for a slight murmur
among the warriors, it's strangely quiet. The band's best
fighters are gone and many men don't know what to do next.
They're looking to Ten Bears for leadership.

But the old man is looking at Dances With Wolves. He holds
up a hand for quiet.

TEN BEARS
Hear us now.
(to Dances With Wolves)
A white soldier with many far-shooting
guns... how would he fight the Pawnee?

Everyone is waiting.

DANCES WITH WOLVES
I would hide in the village.

The warriors send up a chorus of derisive cries but Ten Bears
angrily quiets them.

TEN BEARS
Dances With Wolves has not finished.

DANCES WITH WOLVES
I would let the enemy think we are
asleep... let him come close. Then
we would shoot together and run to
fight them, drive them into the river
and kill so many that they would
never trouble us again.

Ten Bears smiles.

TEN BEARS
I am of the same mind as Dances With
Wolves... we should kill so many
that they never trouble us again.

EXT. RIVER - DAWN

Two of the camp dogs are lapping water at the river's edge,
behind them lies the quiet village. Suddenly both heads jerk
up.

INT. KICKING BIRD'S LODGE - DAWN

Dances With Wolves steps into the lodge, followed by Smiles
A Lot. They both have rifles and Dances With Wolves' old
long-barreled revolver is holstered at his waist.

Before him is a quiet, tense scene.

The women are huddled together on a single sleeping platform.
Kicking Bird's three children nestled between them. Two of
the kids are crying softly.

Black Shawl grips a hatchet and Stands With A Fist has a
rifle. They will both fight. But they are both scared.
Everyone in the village has a life at stake. In one glimpse,
Dances With Wolves understands what he will be fighting for.

He looks once more at the women and children and ducks out
of the lodge.

EXT. RIVER - DAWN

The feet of the enemy are moving past the dogs, whose bodies
are still and riddled with arrows. In front of them the river
is full of Pawnee crossing over toward the village. There is
no sound.

EXT. INDIAN VILLAGE - DAWN

It has stopped raining but the ground is still soaked and an
early morning fog is swirling through the camp. Clumped in
groups of five or six, behind the lodges nearest the river,
are Sioux warriors with rifles. They're absolutely quiet as
they wait for the enemy.

Dances With Wolves looks across a clearing that slopes down
to the breaks fronting the river. Nothing.

Wait. A movement. And another. Another. The heads of men
lurking in the fog. He glances at the defenders.

Most of the warriors are huddled behind the line of lodges
watching him. Ten Bears raises a hand.

The Pawnee are visible now, a war party at its fiercest,
painted and feathered and armed to the teeth.

Coming on foot, the first of them have reached the edge of
the clearing. They start into a stealthy trot, more and more
of them breaking into a run.

A Pawnee war cry goes up and, as the others join in. Ten
Bears lowers his hand.

EXT. BATTLEFIELD - DAWN

In ragged formation, the Sioux pour from behind the lodges
and thirty rifles fire into the vanguard of the Pawnee charge.

The smoke of many rifles mixes with the ground fog as the
Sioux run screaming down on the Pawnee. Dances With Wolves
screams too as he runs flat out down the slope.

A Pawnee warrior suddenly looms out of the smoke and they
crash together violently.

The two fighters tumble over the ground, each grappling for
an advantage. The hand to hand fighting all around them is
furious and, shrouded in smoke and fog, it has a surreal
quality.

Dances With Wolves works the Navy revolver from its holster
and shoots the Pawnee in the face.

EXT. KICKING BIRD'S LODGE - DAWN

A child sticks his head out from under the edge of the lodge.
Momentarily he is jerked back into the lodge out of sight.

INT. KICKING BIRD'S LODGE - DAWN

Now there's a ripping at the lodge entrance. The flap is
being torn away. Black Shawl is desperately pulling the child
back from the edge of the lodge.

Suddenly, there he is... a Pawnee warrior. But now it's his
turn to be surprised. He sees Stands with A Fist taking aim,
and it's too late. She fires the rifle and the Pawnee explodes
back out of the lodge.

EXT. VILLAGE - DAWN

Through the smoke, Dances With Wolves can just catch a glimpse
of Ten Bears. He is moving through the village at a trot,
loading his gun.

He spots a Sioux warrior grappling with a Pawnee, sights and
shoots the Pawnee point blank. He trots off, reloading once
more.

EXT. BATTLEFIELD - DAWN

Dances With Wolves is bumped from behind and is knocked to
his knees. It's a frantic Pawnee war horse, loose on the
battlefield. Dances With Wolves grabs a hunk of mane and
swings onto his back.

He has a real view now. The Pawnee are taking a terrible
licking. Already they are being beaten back to the river.

A turbaned enemy is falling back to the river, firing arrows
as he goes. Dances With Wolves goes after him.

EXT. TEN BEARS' LODGE - DAWN

Still clutching his hatchet, a wounded Pawnee half staggers
toward Ten Bears' lodge. He is bleeding profusely and in a
very bad mood. He reaches the closed lodge flap.

INT. TEN BEARS' LODGE - DAWN

Pretty Shield stands in front of a group of children, ready
to defend them.

The Pawnee is inside now. He has a wild desperate look and
in a moment his hatchet will be flailing its way through
these people.

But he never takes a step. Instead he suddenly sinks to his
knees and we see another arrow join the one that is already
buried in his back. The warrior keels over and Pretty Shield
looks through the open flap to see the grinning face of Stone
Calf.

Without hesitation, Pretty Shield snatches a half-burned log
from the fire and finishes the Pawnee.

The children watch, their faces a mixture of horror and
intrigue.

EXT. BATTLEFIELD - DAWN

Coming off the pony like a rodeo bulldogger, Dances With
Wolves crashes through the river taking the Pawnee in a
headlock.

Somehow they both keep their feet and hurtle down the hill
at a weird run. A small cottonwood stops their momentum, the
Pawnee taking most of the blow.

Dances With Wolves grabs either side of the man's head and
starts banging his skull against the tree trunk. Shortly, he
notices that the man's eyes are dead.

The Pawnee was impaled on impact by the stub of a broken
branch low on the trunk.

Dances With Wolves shrinks back from this gruesome sight and
staggers toward the village.

EXT. VILLAGE - DAWN

Stone Calf, his bow and arrow at the ready, is looking for
more enemies to kill.

Suddenly from the corner of his eye the old man senses an
attack. But he is too late. A Pawnee war club crushes his
skull and the old man collapses.

Now we can see his attacker. It is the fierce Pawnee warrior
who killed Timmons the wagon driver. He glowers down at the
body of Stone Calf and swings his club toward the old man's
head once again.

EXT. BATTLEFIELD - DAWN

Dances With Wolves squints toward the village just in time
to see the Toughest take another shot at the prostrate, white-
headed form of Stone Calf.

Dances With Wolves begins to run.

EXT. VILLAGE - DAWN

The Toughest has his knife to Stone Calf's forehead and is
preparing to scalp his victim when something strikes him in
the lower leg.

He looks down to find a small arrow imbedded in his calf. He
looks up to see three boys, Otter, Worm, and Smiles A Lot,
huddled at the edge of the battlefield.

He turns back to finish the job when another arrow hits him.
Enraged he breaks off the arrow, leaps onto a horse and
charges the kids.

Their faces go ashen as the Toughest bears down on them.

Otter's arrow flies weakly into the air. The boys turn and
run for their lives.

The Toughest would catch them with ease but now, he sees
half a dozen howling Sioux warriors angling in to cut him
off. He knows in a glance that the fight has been lost. He
also knows that he can still escape if he changes direction.
He veers for the river.

The Sioux are distraught. The Toughest will get away.

But wait, Dances with Wolves is at full speed now. He is
streaking across the battlefield.

Suddenly, the Pawnee himself is hurtling through space, driven
there by the full force impact of Dances With Wolves' shoulder
which has caught him rib high.

Both men hit the ground grappling and rolling.

A knife flashes in the Toughest's hand and Dances With Wolves
can only react quick enough to keep the knife from a vital
spot. As it is, the blade lays open a huge gash on his arm.

They square off. The Toughest knows the advantage is his. He
smiles grimly at Dances With Wolves and grunts sadistically.

But the sound from his throat is cut short by the simultaneous
arrival of five Sioux arrows. Before the Pawnee can fall,
six Sioux warriors are on him tearing him to pieces.

EXT. BATTLEFIELD - DAY

Dances With Wolves climbs to his feet and discovers that the
battlefield is no longer so. The fighting has stopped.

It's a scene of carnage and joy. The Pawnee attackers lay
where they fell.

SIOUX 1
I killed this one.

SIOUX 2
This one still breathes.

The Sioux victors are in high spirits as they hop around
finishing off the wounded and counting coup on the dead.

Dances With Wolves looks down at himself. His body is streaked
with blood, much of it his own. His arm is bleeding freely
but he is too repulsed to move forward and too exhausted to
retreat into the breaks.

Dances With Wolves now looks up to see the lifeless body of
Stone Calf. Ten Bears is hugging him. Pretty Shield starts
to kneel beside her mourning husband.

SIOUX 3 (O.S.)
Dances With Wolves...

Before he knows it, Sioux fighters are moving all around
him, chanting his name. Like ants rolling a pebble up a hill,
they push him into the middle of the battlefield. In a daze
he allows himself to be carried along.

When he looks up again he can see women and children emerging
from the lodges.

DANCES WITH WOLVES (V.O.)
It was hard to know how to feel. I
had never been in a battle like this
one. This had not been a fight for
territory or riches or to make men
free. This battle had no ego. It had
been fought to preserve the food
stores that would see us through
winter, to protect the lives of women
and children and loved ones only a
few feet away. I felt a pride I had
never felt before.

Dances With Wolves looks down and recognizes the face of a
man he has just killed. Several warriors are crowding around
him now. Dances With Wolves points at the body.

DANCES WITH WOLVES
I shot this one.

1ST WARRIOR
Yes, I saw you shoot him.

2ND WARRIOR
You killed that one too.

As the sun breaks fully through the clouds, the little knot
of warriors, Dances With Wolves in their midst, continues
its triumphant tour of the battleground. The men are hugging
and slapping each other on the back.

DANCES WITH WOLVES (V.O.)
I had never really known who John
Dunbar was. Perhaps because the name
itself had no meaning. But as I heard
my Sioux name being called over and
over, I knew for the first time who
I really was.

EXT. PRAIRIE - DAY

The war party with Kicking Bird and Wind In His Hair at its
head has halted in the middle of nowhere. The Sioux riders
are coming toward them at a run. They pull up, excited with
what they have to tell.

The returning war party and the two riders who met them start
ahead at a gallop.

INT. KICKING BIRD'S LODGE - NIGHT

Black Shawl and Stands With A Fist are clearing things away.
The medicine man has hosted a dinner party which is now
winding down.

Wind In His Hair is there, Dances With Wolves and several
other prominent warriors. It's purely social and all the men
are enjoying themselves.

Dances With Wolves sneaks a look of affection at Stands With
A Fist, and she returns it.

Then, with more theatricality than is really necessary, he
stretches his arms and yawns. Wind In His Hair looks at his
friend with surprise.

Dances With Wolves gets to his feet.

WIND IN HIS HAIR
There is gambling tonight... at Horse
Back's lodge. Horse Back's games are
always good.

DANCES WITH WOLVES
I am tired... and Horse Back already
has a good rifle of mine.
(to Kicking Bird)
thank you...
(to all)
goodnight.

He slips out. In a few seconds, the men have pick up another
topic to jawbone.

They pay no attention to Stands With A Fist's momentary exit,
But Black Shawl does, it doesn't bother her, but she notices.

INT. KICKING BIRD'S LODGE - NIGHT

The medicine man's wife is already in bed as he slips under
the covers with a grunt.

BLACK SHAWL
How long will Stands With A Fist
mourn?

Kicking Bird gives his wife an odd look.

KICKING BIRD
I don't know.

BLACK SHAWL
I hope it will not be too long.

Kicking Bird rises on his elbows.

KICKING BIRD
Something has happened? Well what?

BLACK SHAWL
She has found love again.

KICKING BIRD
With who?

BLACK SHAWL
Dances With Wolves.

KICKING BIRD
Are you certain of this?

BLACK SHAWL
When you see them together you will
know.

Kicking Bird stares wearily across the floor.

KICKING BIRD
What are people saying? They're not
angry?

BLACK SHAWL
No. They like the match. It makes
sense. They are both white.

KICKING BIRD
I suppose I will be the one to say
something.

A brief silence.

BLACK SHAWL
She's your daughter now.

Kicking Bird glances up frustrated with himself.

BLACK SHAWL
You can't see everything coming.

EXT. INDIAN VILLAGE - DAY

Stands With A Fist is walking through the village with Kicking
Bird's youngest child. They're both carrying armloads of
firewood.

Here comes Kicking Bird. He's out of breath.

KICKING BIRD
Stands With A Fist.

STANDS WITH A FIST
Yes.

KICKING BIRD
You are no longer a widow.

Kicking Bird turns abruptly and stalks off, leaving Stands
With A Fist to ponder the meaning of his curt announcement.
A smile gradually works onto her face.

INT. DANCES WITH WOLVES' LODGE - DAY

Dances With Wolves sits waiting as a voice comes to him from
the outside.

Wind In His Hair's face pokes through the entrance. He steps
inside, followed by Smiles A Lot.

WIND IN HIS HAIR
There's talk that you want to get
married.

DANCES WITH WOLVES
To who?

Wind In His Hair and Smiles A Lot share a smile.

SMILES A LOT
To Stands With A Fist.

WIND IN HIS HAIR
That's the one isn't it?

DANCES WITH WOLVES
She's in mourning.

SMILES A LOT
Not today.

WIND IN HIS HAIR
She has been released. Kicking Bird
did it.

DANCES WITH WOLVES
He did?

Wind In His Hair isn't really listening. He glances around
the lodge curiously.

WIND IN HIS HAIR
What are you doing?

DANCES WITH WOLVES
Kicking Bird told me to wait.

WIND IN HIS HAIR
You might be waiting a long time.
Smiles A Lot says he saw Kicking
Bird riding on the prairie...

Smiles A Lot whispers in the warrior's ear.

WIND IN HIS HAIR
He says he was talking to himself.
When a medicine man is the last to
know he can take it pretty hard.

DANCES WITH WOLVES
What do I do?

Wind In His Hair looks around at the sparse furnishing.

WIND IN HIS HAIR
You are pretty poor my friend and a
Sioux girl is not for free. I don't
know if you can get married.

A long silence. Dances With Wolves looks around his lodge.
Wind In His Hair is right. He really has nothing.

DANCES WITH WOLVES
I have the buckskin...

WIND IN HIS HAIR
That's too much medicine.

DANCES WITH WOLVES
(to Smiles A Lot)
Do you think the buckskin is too
much medicine?

Smiles A Lot is on the hot seat. He looks to Wind In His
Hair, but no luck -- he's on his own.

SMILES A LOT
For a girl.

WIND IN HIS HAIR
Maybe we can help you... wait here
for us.

Wind In His Hair and Smiles A Lot leave.

EXT. DANCES WITH WOLVES' LODGE - DAY

Wind In His Hair and Smiles A Lot are greeted by seven
chuckling warriors. They've been listening to the exchange
and move off with the two "helpers".

EXT. DANCES WITH WOLVES' LODGE - DAY

Dances With Wolves is inspecting several new ponies which
are tied outside his tipi. Now he notices an old couple
approaching.

The old couple leaves a gift along with others that have
already been brought. The old folks are shy and so is Dances
With Wolves. They glance at one another and smile but do not
speak.

DANCES WITH WOLVES (V.O.)
I thought we had been discreet but
apparently we fooled no one.

EXT. VILLAGE - DUSK

Dances With Wolves ties the last of the ponies in front of
Kicking Bird's lodge and starts back toward his own home.

DANCES WITH WOLVES (V.O.)
Wind In His Hair said if the match
was acccepted the ponies would be
gone in the morning.

Dances With Wolves looks over his shoulder at the standing
ponies then he continues on.

INT. DANCES WITH WOLVES' LODGE - NIGHT

Dances With Wolves tosses and turns in his bed. He slips out
of the covers and ducks his head through the lodge flap,
checking again on the ponies.

EXT. KICKING BIRD'S LODGE - DAY

The ponies are gone.

INT. DANCES WITH WOLVES' LODGE - DAY

Dances With Wolves' hair is shiny. His breastplate gleams,
the officer's pants have been dusted and his old boots have
something resembling a shine. The groom is ready.

WIND IN HIS HAIR
Turn around...

Dances With Wolves does a three-sixty.

WIND IN HIS HAIR
Pretty good...

A brief silence as Wind In His Hair contemplates something
he wants to say.

WIND IN HIS HAIR
You know, the man she mourned for
was my best friend.

DANCES WITH WOLVES
I didn't know that.

WIND IN HIS HAIR
He was a good man. It's been hard
for me. I am not the thinker Kicking
Bird is. But I think he went away
from her because you were coming.
That is how I see it now.

The sound of music and people outside distracts both men.

EXT. DANCES WITH WOLVES' LODGE - DAY

Kicking Bird is leading the wedding party. Stands With A
Fist by his side. She glows with the special beauty of a
bride.

Many people are standing about quietly, more like simple
observers than participants. The whole village is as peaceful
as we will ever see it.

Kicking Bird steps forward, his wife and Stands With A Fist
following in his footsteps.

KICKING BIRD
This is a good day for me.

DANCES WITH WOLVES
And for me.

KICKING BIRD
Stands With A Fist... if you want
this man, take his hand in yours.

Shyly, she holds out a slender, graceful hand. Dances with
Wolves meets it with one of his own.

The medicine man looks Dances With Wolves in the eyes for
several seconds.

Dances With Wolves also begins to speak... internally. At
first the volume of his voice and that of the medicine man
are nearly equal, but Kicking Bird's voice quickly begins to
fade.

DANCES WITH WOLVES (V.O.)
I had never been married before. I
don't know if all grooms have the
same experience. But as Kicking Bird
began to speak about what was expected
of a Sioux husband, my mind began to
swim in a way that shut out everything
but her. The tiny details of her
costume. The contours of her shape.
The light in her eyes. The smallness
of her feet. I knew that the love
between us would be served.

The medicine man's voice cuts back in. He's had to say it
twice.

KICKING BIRD
Have you heard all that I have said?

DANCES WITH WOLVES
Yes.

KICKING BIRD
Good, then take her inside... she is
your wife.

DANCES WITH WOLVES
Oh... good... thank you... goodbye...

The newlyweds disappear into their new home. The flap is
dropped and there it stays. The light begins to change,
growing darker, the wind comes up, blowing leaves against
the door. In the distance there is thunder.

EXT. INDIAN VILLAGE - DAY

The lodge flap is still closed. But now it is covered in
sunshine.

Smiles A Lot, Worm and Otter are just across the way, bundled
now against the chill of oncoming winter. They're watching
too. Smiles A Lot is standing next to Worm, -- Otter is on
his haunches. Both are gnawing at a breakfast of dried meat
as they talk nonchalantly.

WORM
Dances With Wolves' door is closed
alot these days.

SMILES A LOT
They're trying to make a baby.

The two older boys look down at Otter.

OTTER
I know that.

SMILES A LOT
You would think they could have made
a baby by now.

WORM
Maybe they're having a hard time.
Some people have a hard time.

SMILES A LOT
I don't think they're having a hard
time.

OTTER
Me neither.

A silence as the boys watch smoke curl out of the lodge.
Worm laughs to himself.

OTTER
Maybe we should pull the smoke flap
closed. Then they would come out.

The boys look at each other for the first time, their eyes
brightening. What a great idea!

The two boys are stalking toward Dances With Wolves' lodge
when they see something that makes them peel off in another
direction.

It's Kicking Bird, coming to call.

KICKING BIRD
Dances With Wolves, are you in there?

In a moment the lodge flap opens and Dances With Wolves steps
outside. He's fully dressed but a little disheveled.

KICKING BIRD
I am riding today to a far away place.
It is a place I haven't seen for a
long time. A sacred place. I would
like you to come with me.

Dances With Wolves ponders this.

EXT. PRAIRIE - DAY

Kicking Bird and Dances With Wolves are cantering side by
side across the open prairie.

They pull their horses to a walk and Kicking Bird glances
Dances With Wolves' direction.

Dances With Wolves' glances back and smiles.

DANCES WITH WOLVES
It's good to be out.

KICKING BIRD
Yes it must be.

DANCES WITH WOLVES
We are trying for a baby.

KICKING BIRD
No waiting?

DANCES WITH WOLVES
No waiting.

The medicine man keeps looking at his protege. There is
virtually no semblance of Lieutenant Dunbar left.

KICKING BIRD
I was just thinking that of all the
trails in this life, there is one
that matters more than all the others.
It is the trail of a true human being.
I think you are on this trail and it
is good to see.

Dances With Wolves doesn't reply, but he is blushing a little.

EXT. PRAIRIE - DAY

Dances With Wolves and Kicking Bird gallop their horses to
the crest of a steep hill and rein to a halt.

Down below, miles distant, is the curving line of a river.
But there is a section of river, directly before them, that
cannot be seen. It is screened by a mammoth stand of trees,
some of them towering a hundred feet or more.

He glances at Dances With Wolves but his companion doesn't
see. He's staring in wonder at the great forest before him.

KICKING BIRD
It is said that all the animals were
born here... that from here they
spread over the prairies to feed all
the people. Even our enemies say
this is a sacred place.

They start toward the river at a walk.

EXT. BROKEN FOREST - DAY

The two riders come out of the sunlight and onto a shaded
path leading into the forest. They've only gone a few yards
when Kicking Bird pulls to a stop. The men sit on their horses
in complete silence. Dances With Wolves is still fully
entranced.

DANCES WITH WOLVES
It's quiet.

But Kicking Bird does not acknowledge his companion's words.
He seems to be concentrating on the quiet. The quiet is wrong
and Kicking Bird knows it. He moves forward slowly.

Following behind Kicking Bird, Dances With Wolves' attention
is focused on the tree tops above him. A curious buzzing
sound has started up and is growing louder by the moment.
Perhaps there are bees swarming in the branches overhead.

Now he is distracted by Cisco coming to a stop. Kicking Bird
too has stopped. Just ahead the forest opens into an
incredible cathedral-like expanse. Sunlight streams down
onto the floor in beautiful pools.

But still there is a deathly quiet and Dances With Wolves
can see now that this remarkable place has been horribly
desecrated.

Trees have been felled everywhere, most of them left to rot
for no explicable reason.

At the same time he sees this destruction Dances With Wolves
realizes that the strange buzzing sound is not coming from
overhead but from the forest floor.

The insects are not bees. They are flies and they are swarming
over dozens of carcasses strewn over the ground. Badgers,
skunks, squirrels and other small animals, nearly all of
them killed merely for target practice.

The men and their ponies move on. Deer carcasses are
everywhere, many of them horribly mutilated. A choice flank
portion is cut away here and there, while ninety-five percent
of the bodies have been left to rot.

Heads and legs have been chopped off. Dances With Wolves
passes by a spot where several deer heads have been placed
nose to nose as if the heads were having a conversation.
Someone's perverted idea of humor.

The men ride through the carnage in a sad daze.

Now they reach the center of the cathedral and here they
find a few crude leantos, hewn from freshly cut wood. The
people who stayed here had bigger plans for all the felled
wood, but lost ambition and settled for these ugly hovels.

A great pile of wild turkeys, perhaps twenty birds in all,
sit to one side. They haven't even been plucked. Just shot
and left to rot.

Dances With Wolves notices half a dozen liquor bottles in a
heap of trash.

He cannot bring himself to look at Kicking Bird. Any man
would be repulsed at these sights, but in Dances With Wolves'
case there is a feeling of shame as well.

DANCES WITH WOLVES
We must wait for these people...

Kicking Bird says nothing for a long time.

KICKING BIRD
No, they've been gone a week maybe
more... we will water the horses and
go home.

He turns his pony away.

EXT. PRAIRIE - DAY

Kicking Bird and Dances With Wolves are alone on a great sea
of prairie.

There's a little fire going. A sage hen is being roasted,
but for some time we hear nothing but the light crackle of
the fire. Each man is preoccupied with his own thoughts,
thoughts of the broken forest.

DANCES WITH WOLVES
You have asked me many times about
the white people... you always ask
how many more are coming.

Dances With Wolves looks at his friend and mentor.

DANCES WITH WOLVES
There will be a lot my friend...
more than can be counted.

KICKING BIRD
Help me to know how many.

DANCES WITH WOLVES
Like the stars.

This is what Kicking Bird wanted to know. And it hits him
like a rock.

Kicking Bird bows his head in thought while Dances With Wolves
raises his. He never wanted to say this, he wishes it wasn't
true.

DANCES WITH WOLVES
It makes me afraid for all the Sioux.

INT. TEN BEARS' LODGE - DAY

The old man puffs away at his trusty pipe. Now he lays it
down. Kicking Bird and Dances With Wolves are waiting
patiently.

TEN BEARS
It's hard to know what to do.

The old man gets up, walks to his bedside, reaches up into
the sacred rigging above an takes down a melon-sized rawhide
bundle. He brings this back to the fire and unwraps it slowly.
Inside is a rusted hunk of metal, the helmet of a Spanish
conquistador.

TEN BEARS
The men who wore this came in the
time of my grandfather's grandfather.
Eventually, we drove them out. Then
the Mexicans came. In my own time
the whites came... the Texans. They
have been like all the others who
find something they want in our
country. They take it without asking.
I have always been a peaceful man,
happy to be in my own country and
wanting nothing from the white people.
Nothing at all. But I think you are
right. I think they will keep coming.
When I think of that, I look at this
bundle. Our country is all that we
want. We will fight to keep it.

He picks up his pipe and puffs deeply.

TEN BEARS
Tomorrow morning we will strike the
village and go to the winter camp.

EXT. INDIAN VILLAGE - DAY

The whole camp is being struck. There is activity everywhere.

INT. DANCES WITH WOLVES' LODGE - DAY

Stands With A Fist is packing and so is Dances With Wolves.
He is putting away the shield that Stone Calf once worked
on. She pauses to stroke her husband's leg tenderly.

STANDS WITH A FIST
You have everything from the soldier
fort?

DANCES WITH WOLVES
No, there is nothing for me there.

Stands with A Fist laughs as she starts out of the lodge.

STANDS WITH A FIST
That's good.

But as he tightens the leather thongs on the shield case,
Dances With Wolves' face begins to cloud.

EXT. DANCES WITH WOLVES' LODGE - DAY

Dances With Wolves bolts out of the lodge and snatches up
Cisco's reins. He calls urgently to Stands with A Fist.

DANCES WITH WOLVES
Stands With A Fist... wait...

EXT. KICKING BIRD'S LODGE - DAY

The village is about ready to move, just a few last minute
flurries of activity.

DANCES WITH WOLVES
The words in the book are like a
trail for people to follow. It tells
everything about my life here. I
must get it.

KICKING BIRD
We cannot wait for you.

DANCES WITH WOLVES
I will catch up.

EXT. PRAIRIE - DAY

Dances With Wolves and Cisco are cantering quickly over the
open prairie.

EXT. SEDGEWICK - DAY

Old Fort Sedgewick is just beyond the next rise. Dances With
Wolves eases Cisco into a full run.

They fly so quickly over the rise that Dances With Wolves
has no time to react.

There must be forty or fifty of them; talking, walking,
working and playing. Old Fort Sedgewick is crawling with
them. Blue-coated soldiers.

Just in front of him is a deep-bedded wagon carrying a cargo
of SOLDIERS. They've been out cutting wood. But now the men
in the wagon are scrambling for their rifles and screaming
out the alarm... "Indians!"

Dances With Wolves puts everything he has into pulling Cisco
up.

The soldiers in the wagon, a collection of pimply-faced teen-
agers and middle-aged rabble, are aiming their rifles. Cisco
rears high in the air as the volley is fired from the wagon.

Dances With Wolves is pitched off to one side, landing hard
on the ground. When he gets his senses back the first thing
he sees is Cisco. The buckskin is lying very still.

Oblivious to the shouts of the soldiers racing toward him,
Dances With Wolves runs crab-like to his horse's side.

Cisco's been shot several times, one bullet taking him in
the heart. He's dead.

Dances With Wolves whirls to face the soldiers.

DANCES WITH WOLVES
You killed him...

That's the last thing he says. A rifle stock slams into the
side of his face and as soldiers swarm over him, everything
goes black.

EXT. COLUMN - DAY

Ten Bears village is on the trail. Kicking Bird is riding
down the line. He notices Stands With A Fist. She is terribly
distraught.

Kicking Bird glances at the sun. The day is more than half-
over. He kicks his pony back up the line next to Wind In His
Hair.

KICKING BIRD
Something has happened... Dances
With Wolves is not coming.

WIND IN HIS HAIR
He must have trouble.

KICKING BIRD
Pick two good men with fast ponies
and send them back to the soldier
fort.

INT. SUPPLY HOUSE - DAY

Dances With Wolves lies unconscious on the floor of the ruined
supply house. One side of his face is grotesquely swollen
from the blow he took. Blood still seeps from a long split
of the skin along his cheek.

He groans. Voice are playing about his ears, the voices of
white men. He opens his eyes.

A bearish, bearded SERGEANT BAUER, is squatting directly in
front of him. Behind the sergeant, peering over the crumbled
walls like visitors at a zoo, are a crowd of ordinary
soldiers.

BAUER
Spivey...

A pitiful looking man, SPIVEY, who is a soldier by name only,
answers up.

SPIVEY
Yessir sergeant...

SERGEANT BAUER
Tell the major he's wakin' up... and
move your worthless ass.

The sergeant's smallish eyes are fixed on Dances With Wolves.
With some effort he manages to get himself into a sitting
position against the back wall.

SERGEANT BAUER
Got yourself a helluva shiner, didn't
ya?

Dances With Wolves only blinks at him. His cheek is crushed
and so is his spirit.

Someone calls attention and two officers walk into the
roofless supply house. One is a MAJOR, one is a young
lieutenant -- Lieutenant Elgin -- the officer Dances With
Wolves bumped into at Fort Hays. Neither one recognizes the
other.

MAJOR
Does he speak english?

SERGEANT BAUER
Don't know sir... you speak english?
Talk english?
(kicking at one of
Dances With Wolves'
boots)
Talk?

DANCES WITH WOLVES
I speak english...

Everyone is shocked at the clarity of the words.

MAJOR
Who are you?

DANCES WITH WOLVES
Lieutenant John. J. Dunbar. This is
my post.

MAJOR
Why are you dressed like this?

DANCES WITH WOLVES
I came out from Fort Hays last April.
But there was no one here.

The major and the lieutenant exchange whispers.

ELGIN
You have proof of that?

DANCES WITH WOLVES
My journal is on the bunk in my
quarters. My orders are in the
journal. It will tell you everything.

ELGIN
Spivey, you and Edwards were here
first. Did you find anything... a
journal.

Spivey shifts uncomfortably.

SPIVEY
We didn't see nothin' sir.

ELGIN
Where's Edwards?

SPIVEY
He's outside. But he didn't see
nothin' either.

Elgin indicates to the major that he will get to the bottom
of this and walks out the door -- the major follows.

Dances With Wolves lets his head slump forward. The men
gathered around the supply house murmur among themselves,
commenting on the prisoner. They can't take their eyes off
him. Neither can Sergeant Bauer. He watches the prisoner
from a distance. Then he walks across the floor, squats in
front of him and whispers coarsely in his face.

SERGEANT BAUER
You turned Injun, din'cha?

Dances With Wolves lifts his head and stares at the sergeant.

SERGEANT BAUER
Din'cha?

The major and the lieutenant suddenly reappear.

ELGIN
What is your name?

DANCES WITH WOLVES
Dunbar... D.U.N.B.A.R... John.

ELGIN
You say you are an officer?

DANCES WITH WOLVES
Did you read my orders?

ELGIN
No.

DANCES WITH WOLVES
It was in my journal.

ELGIN
There are no orders and there is no
journal.

There is a silence as Dances With Wolves takes this in.

Elgin tries again.

ELGIN
Why are you out of uniform?

Dances With Wolves takes a long time to answer.

DANCES WITH WOLVES
I have to relieve myself.

EXT. SEDGEWICK - DAY

Surrounded by guards, Dances With Wolves is being walked
toward a clump of bushes.

He glances out at the prairie. Cisco's body lies where it
fell. Black birds are pecking it.

GUARD
Here you... eyes front.

A rifle butt bangs him hard between the shoulder blades and
Dances With Wolves attacks. Before anyone else can move he
has taken the offending soldier to the ground and is
strangling him.

Another rifle butt crashes against his skull and again
everything goes black.

INT. SUPPLY HOUSE - DAY

Water drips from Dances With Wolves' head and he comes to
again. As he moves he hears a jangling and discovers that
his hands and feet are in chains. Everyone has assembled.

ELGIN
Why are you out of uniform?

DANCES WITH WOLVES
What is the army doing out here?

Sergeant Bauer shoves Dances With Wolves with his gun.

BAUER
Lieutenant's askin' the questions
here.

Elgin quickly steps in.

ELGIN
We are charged with apprehending
hostiles, recovering stolen property
and retrieving white captives taken
in hostile raidings.

DANCES WITH WOLVES
There are no hostiles.

MAJOR
We will ascertain that for ourselves.
Now if you guide us to these camps
and serve as an interpreter, your
conduct will be reevaluated.

DANCES WITH WOLVES
What conduct?

MAJOR
Your status as a traitor might improve
should you choose to cooperate with
the United States Army.

DANCES WITH WOLVES
(quietly)
There is nothing for you to do out
here.

Elgin can see that the major's attitude and inexperience has
killed any chance of communication. He makes one last try on
his own.

ELGIN
Are you willing to cooperate or not?

MAJOR
Well, speak up...

DANCES WITH WOLVES
(lowly in Sioux)
I am Dances With Wolves...

MAJOR
What's that?

DANCES WITH WOLVES
(loudly in Sioux)
I am Dances With Wolves... I have
nothing to say to you. You are not
worth talking to.

The major is surprised. Elgin is not. The major turns on his
heel and walks out. Lieutenant Elgin stares at Dances With
Wolves.

ELGIN
Sergeant... have a detail take him
down to the river... let him clean
up his face.

EXT. RIVER - DAY

Dances With Wolves kneels by the river, splashing water
lightly on his battered face. Half a dozen soldiers are
lounging around watching him.

EXT. BUSHES - DAY

Trooper Spivey is crapping in the bushes. Another soldier,
CRAPPER, is crapping not far away. Spivey can see Dances
With Wolves in the distance, still splashing water on his
face.

Now he slips something out of his tunic. It's the journal.
He opens it and starts to tear out a page, trying hard not
to make noise.

CRAPPER (O.S.)
You got paper over there Spivey?

SPIVEY
What's it to you?

CRAPPER
Well gimme some shitbird.

Spivey thinks.

SPIVEY
Can you read?

CRAPPER
Naw, I can't read. What the hell do
you care... you can't either.

Spivey looks down at the stolen journal, thinking.

SPIVEY
Alright... hold your horses.

EXT. SEDGEWICK - DAY

Two Sioux scouts watch from the brow of a slope above the
fort. Having spotted Dances With Wolves, they withdraw.

We see Dances With Wolves at a distance, being marched back
to his "cell" by the detail of soldiers. He's moving awkwardly
in his chains.

INT. SUPPLY HOUSE - DAY

Dances With Wolves is half-dozing against the wall when Spivey
walks in with a plate of army gruel. He's followed by Sergeant
Bauer. Spivey sets the plate in front of the prisoner. He
admires the breastplate and like a crow eyeing something
shiny, he thinks to grab for it.

Suddenly a pair of manacled hands lock on his wrists. Dances
With Wolves face is inches away from Spiveys. Terrified,
Spivey pulls away, kicking over the plate of food as he
scrambles to safety across the room.

SERGEANT BAUER
Lap it up Injun.

Dances With Wolves sticks a toe under the lip of the plate
and flips it over. Most of it hits Spivey, a little splashes
on Bauer. Spivey moves to kick the prisoner, but Bauer
intercedes with his rifle.

SERGEANT BAUER
Go on ahead Injun... You'll just get
hungrier is all... but mebbe that
don't matter. Word is they're gonna
ship you back to Hays. And they'll
hang you once you get there.

Bauer and Spivey leave him and Dances With Wolves kicks out
viciously at the spilled plate.

EXT. TEMPORARY CAMP - DAY

There's a tremendous upheaval. Ten Bears' band has halted
its march. SIX PAINTED WARRIORS all heavily armed are jumping
onto their ponies and being handed the lines to spare mounts.
Wind In His Hair is their leader.

The whole village is up to see them off.

Smiles A Lot, painted and carrying a bow and quiver rides
into the midst of the group. Wind In His Hair studies the
resolute boy.

WIND IN HIS HAIR
You will hold our horses... nothing
more.

Smiles A Lot nods.

With a great whooping from the villagers, the rescue party
roars out of camp.

EXT. SEDGEWICK - DAY

The wagon is pulling out with an escort of SEVEN SOLDIERS.

Dances With Wolves' spirits are very low as he sits in the
bed of the jolting wagon. Spivey is guarding him. Elgin is
leading the detail.

EXT. PRAIRIE - DAY.

Dances with Wolves watches a ridge in the distance for any
sign of riders.

SPIVEY
I don't see nobody.

EXT. PRAIRIE - DAY

Elgin and one of the escort soldiers are scouting far out on
the prairie. The lieutenant pauses and looks back at the
wagon. It is far behind in the distance, but still coming.

EXT. WAGON - DAY

Dances With Wolves is dozing as the wagon jolts across the
ground. Suddenly a shot rings out. Dances With Wolves opens
his eyes.

The wagon driver is aiming his rifle out at something on the
prairie. He fires again.

Dances With Wolves looks over the wagon bed and sees Two
Socks. He's standing still, fifty yards away. Staring in his
old inquisitive way at the wagon.

SPIVEY
Lookit the stupid bastard... he ain't
even runnin'.

Two shots ring out in rapid succession.

BAUER
Don't shoot, I seen 'em first...
it's my shot.

Sergeant Bauer fires his own round. Everyone has missed.
Bauer is jamming another cartridge into the chamber.

DRIVER
It's my shot goddamit.

Now Spivey decides to get into the act. He rises up with his
rifle aiming.

SPIVEY
You dumb sons a bitches.

Before he can fire, there's a rattling of chains. And the
next moment, Spivey's feet are being pulled out from under
him by Dances With Wolves. His rifle fires harmlessly into
space.

Bauer turns from the wagon seat and slams the back of the
prisoner's head with the gunstock. Dances With Wolves falls
back, letting go of the shaken Spivey.

Bauer smiles at Spivey contemptuously.

BAUER
He mighta killed you.

In the next instant, Spivey gives Dances With Wolves a
resounding crack in the sternum with the butt of his rifle
and he goes down on his back.

More shots are fired. Dazedly, Dances With Wolves looks out
and sees Two Socks still running parallel to the wagon.

There's another shot and then shouting.

SOLDIER 1
I got him...

SOLDIER 2
The hell you did...

SOLDIER 1
I got him... dead shot boys.

Spivey is still poking Dances With Wolves.

SPIVEY
You want more?... get up... get up.

ELGIN
Spivey!

Elgin has ridden alongside the wagon.

ELGIN
I see you bash the prisoner once
more and I'll put those shackles on
you...

Elgin's men are headed up towards Two Socks when shots ring
out.

ELGIN
You men! Get back to your places.

The camera continues over the hill to Two Socks' body, but
it is no where in sight. Instead the Indian war party of six
is waiting silently in ambush. Frustrated, they will try
again.

EXT. RIVERBANK - DAY

The wagon is making its way steadily down, toward the river.
Dances With Wolves watches the line of growth along the river
get closer, his eyes and ears and nose full alert.

If they come this will be the place to do it. Dances With
Wolves will make the most of this hope.

The wagon moves down a narrow pathway, not much more than a
game trail. The lieutenant raises his hand and the wagon
halts at the river's edge.

A soldier rides back and forth in the water on the other
side of the river. He's checking for any signs of ambush.
The soldier starts back to them.

SOLDIER
All clear lieutenant...

Elgin starts into the water, followed by the wagon. The "all
clear" sign means nothing to Dances With Wolves. He's all
keyed up.

EXT. RIVER - DAY

Elgin and a soldier are leading the way. They're only a few
yards from the opposite bank when the lieutenant is taken.
Elgin is completely surprised to find an arrow buried in his
chest.

The outrider is about to pull up his gun when an arrow hits
him square in the gut. He brings his head up to see the full
force of Wind In His Hair, stringing up another arrow and
taking aim.

Just as the outrider is struggling to raise his gun, Wind In
His Hair fires off another arrow deep into the man's heart.
The impact sends him flying out of the saddle, dead.

Wind In His Hair comes on, leading five Sioux warriors.

EXT. WAGON - DAY

Dances With Wolves has looped the shackles around Spivey's
neck in a death grip when he sees Bauer leveling his rifle
at the approaching riders.

Dances With Wolves aims a vicious kick at Bauer, sending the
rifle flying, and Bauer over the edge of the wagon. Bauer
flounders in the water, fumbling for his pistol. He sends
off a round taking one of the on rushing warriors in the
shoulder. The Sioux looses his seat and tumbles off the pony
into the water, wounded.

EXT. WAGON - DAY

Dances With Wolves snaps the loop around Spivey's neck as
hard as he can and bone breaks.

Dances With Wolves is beating Spivey furiously with his
chains. He keeps whacking until the blood is spreading on
the surface of the water.

The frantic driver is about to make a run for it when he is
impaled with a Sioux lance.

EXT. RIVER - DAY

The two soldiers in the back of the wagon have turned tail
and are splashing back across the river.

As they scramble up the bank, two Sioux warriors meet them
and cut them down with hatchets.

EXT. RIVER - DAY

In the midst of the smoke and confusion of the battle, Bauer
has made his way to the cover of the weeds along the river
bank.

Crashing through the thicket, he comes to a clearing and
there in the shallows, comes face to face with Smiles A Lot.
The boy is standing in the shallows holding the extra horses.

The boy is so frightened at the sudden sight of this white
soldier that he doesn't move. Bauer sticks his revolver into
Smiles A Lot's face and pulls the trigger. But the hammer
only clicks. The gun is empty.

Bauer pistol-whips the boy, knocking him to the ground and
grabs for the closest of the horses. But the ponies are all
stirred up now and starting to run down the river.

Bauer succeeds in grabbing a hunk of mane, but the horse
he's gotten hold of is moving too fast for him to get on.
But now Bauer hears a bone-chilling whoop. Wind In His Hair
is coming.

His pony plows through the water at full speed. A skullcracker
dangles from one hand. The warrior begins to whirl it around.

Terrified, Bauer turns to run. Before he can take a step, a
hatchet buries itself to the hilt. Smiles A Lot is at the
other end. But Bauer is not through.

His hands are around the boy's neck, choking him with his
last seconds of life. A larger than life Wind In His Hair
draws even and swings his club. Bauer's head explodes,
covering Smiles A Lot in blood -- the sergeant's hands cannot
be seen.

EXT. RIVER - DAY

Still in chains, Dances With Wolves and Wind In His Hair are
dragging Elgin's body onto shore. Dances With Wolves rifles
through the dead man's pockets. He finds a set of keys and
plops down to unlock his shackles.

The wounded Indian warrior is being tended to. Smiles A Lot
is downstream washing Bauer's blood off.

EXT. RIVER - DAY

A warrior is stripping down Spivey. He holds up the dead
man's tunic, but doesn't notice that something plops out.

It's the journal. It floats off into the current, well out
of Dances With Wolves field of vision. It is lost forever.

EXT. RIVER - DAY

The journal continues its downstream journey. Suddenly a
small hand reaches down and scoops it out of the water.

Smiles A Lot holds the book close to his face amazed at the
sight of words.

EXT. RIVER - DAY

The party is mounting. Smiles A Lot rides up next to Dances
With Wolves.

SMILES A LOT
Dances With Wolves... look.

He offers the book. Dances With Wolves takes it, regarding
the journal.

EXT. PRAIRIE - DUSK

The rescue party is cantering across the prairie.

DANCES WITH WOLVES
(to Wind In His Hair)
We go South?

WIND IN HIS HAIR
We will ride South for two days...
then turn East. No one must follow.

This doesn't seem to bother Wind In His Hair. But it sets
Dances With Wolves to thinking.

EXT. CANYON TRAIL - DAY

The sound of a single drum calls attention to eight
silhouettes on horseback making their way down the ridge.
The entire village begins to rumble with excitement as the
news spreads.

EXT. CANYON TRAIL - DAY

The rescue party is walking down the trail single file. Dances
With Wolves is a few slots back. All the village is racing
up the canyon to greet them.

Stands With A Fist leads them all. She runs to Dances With
Wolves. She jumps all over her husband and finally he lifts
her up on his pony.

INT. DANCES WITH WOLVES' LODGE - DAY

The couple we have come to know are sitting on their bed.

Dances With Wolves is combing Stands With A Fist's hair.
It's something he is doing with care and affection. She is
loving it as much as he. They are together as two people can
be and yet it is a hard time.

DANCES WITH WOLVES
You have nothing to say?

STANDS WITH A FIST
What can I tell you?

DANCES WITH WOLVES
What ever is on your mind.

STANDS WITH A FIST
We have decided. You are my husband.
I am your wife. That is all I know.

Dances With Wolves lays his forehead on her back. He sighs.
Then he pulls away, slips a robe around his shoulders and
walks out of the lodge.

Sadly, she watches him go.

EXT. PRAIRIE - DAY

We follow a pair of boots walking in the snow. Pan up to
find an ORDERLY bringing coffee to a MAJOR. He is surrounded
by other officers and in front of him a large column of men
is moving toward the snow covered mountains.

The Major tosses the remaining coffee in a fire and he
prepares to mount.

We pan up with the smoke and the steam.

EXT. TEN BEARS' LODGE - DAY

It's cold in the Sioux camp. A warm column of smoke is
spiraling out of Ten Bears' lodge.

INT. TEN BEARS' LODGE - DAY

Several men are gathered around Ten Bears' fire, including
Kicking Bird, Wind In His Hair and Dances With Wolves.

All the men are draped with blankets. The wind is howling
outside. The men are engaged in small talk as the pipe goes
around the circle.

The pipe comes around to Dances With Wolves, and the man
next to him must nudge him to attention. Dances With Wolves
takes the pipe and begins to smoke.

Ten Bears watches him closely.

TEN BEARS
(to Dances With Wolves)
Dances With Wolves is quiet these
days.

He does not reply. He smokes a little more and passes the
pipe.

TEN BEARS
Is his heart bad?

Dances With Wolves glances at the men around the fire.

DANCES WITH WOLVES
Killing the soldiers at the river
was a good thing. It made me free
and my heart was big to see my friends
coming to help me. I did not mind
killing those men. I was glad to do
it.

He searches for the right words.

DANCES WITH WOLVES
But the soldiers hate me now like
they hate no other. I am more than
an enemy to them, I am a traitor.
They will hunt for me. They will not
give up. And when they find me they
find you and that cannot happen.

Objections break out all around the fire. Wind In His Hair
jumps to his feet and even Kicking Bird is protesting.

TEN BEARS
Quiet!... sit down Wind In His Hair.
You are hurting an old man's ears
with your loud talk.

EXT. FOREST - DAY

The column of soldiers can be heard but not seen. They are
moving forward, singing the Battle Hymn of The Republic.

INT. DANCES WITH WOLVES' LODGE - DUSK

Stands With A Fist is building up the fire in their cozy
home. Dances With Wolves works on a long-stemmed pipe which
is in the last stages of completion.

TEN BEARS (O.S.)
Dances With Wolves?

Dances With Wolves gets up, opens the flap and admits the
old chief. A few snowflakes cling to his wispy hair.

He goes straight to the fire and sits.

TEN BEARS
Ahh... this is a nice fire... at my
age a good fire is better than
anything.

Stands With A Fist brings two small bowls of food, places
them next to the men and busies herself with something else.
Though neither one is much interested they begin to eat.

TEN BEARS
I wondered how your bad heart was
doing and though I would come by and
see for myself. This place doesn't
look so bad-hearted.

Dances With Wolves smiles.

DANCES WITH WOLVES
No, we are happy.

TEN BEARS
But you are leaving anyway?

DANCES WITH WOLVES
I have talked with Stands With a
Fist and we will go together.

TEN BEARS
Have you told this to Kicking Bird
or to Wind In His Hair.

It's anguish for Dances with Wolves to think about his
friends. He shakes his head "no". Ten Bears thinks again in
silence.

TEN BEARS
You are the only white man I have
ever known. I have thought about you
alot. More than you know.

DANCES WITH WOLVES
That does not surprise me.

TEN BEARS
You have always spoken with your
heart. And like all of us, you are a
free man and can do anything you
like. When I look across this fire,
I do not see a white soldier. I see
only a Sioux named Dances With Wolves.
And there is nothing they hate so
much as a Sioux.

Ten Bears words always have purpose and as always, he makes
his point.

He pauses for a moment and notices Dances with Wolves' nearly
finished pipe.

TEN BEARS
You are making a pipe?

DANCES WITH WOLVES
Yes?

Ten Bears holds out a hand and Dances with Wolves hands the
pipe to him. Ten Bears inspects it briefly.

TEN BEARS
This might be a pretty good pipe...
how does it smoke?

DANCES WITH WOLVES
I don't know, I haven't tried it
yet.

TEN BEARS
Let's smoke it awhile... it is good
to pass the time this way.

EXT. WINTER CAMP - DAWN

From a little distance, Wind In His Hair is watching Dances
With Wolves' lodge. His face is full of uncertainty and a
kind of pain we have never seen before. He is in agony.

He starts forward but after a few yards he stops to think.
He turns back but has only gone a few steps when he stops
and turns to face Dances With Wolves' lodge once more. He
starts for the tipi again, but he can't go thru with it. The
proud warrior turns away and walks quickly out of sight.

EXT. PRAIRIE - DAY

The column is moving at a leisurely walk when the horses
start to bunch up. They're stopping.

Everyone waits while far up ahead, a group of ten or twelve
men examine the ground. White officers sits atop their horses,
while their scouts scour the ground. They've found a
significant trail.

The scouts are Indian, and by their distinctive dress, we
recognize them. They are Pawnee.

The Pawnee scouts come racing up. Their horses are wet and
have come a good distance. The scouts are very excited.

The men have dismounted. They prepare for battle, removing
any equipment that might rattle -- tin cups, plates, etc.,
tossing the discards into a growing pile.

INT. KICKING BIRD'S LODGE - DAWN

Black Shawl watches as Kicking Bird slips a magnificent pipe
into its buckskin case. Now he looks at her. The medicine
man too is in a kind of pain we have not seen before.

EXT. WINTER CAMP - DAWN

Carrying the pipe he made, Dances With Wolves walks through
the village. Suddenly he stops. Kicking Bird is standing in
the middle of the empty avenue.

Like gunfighters, the two men approach each other at a slow
and deliberate walk.

Gradually they realize that each has selected the same parting
gift. It's heartbreaking. Kicking Bird tries to cover with a
casual question, but it's all fake.

KICKING BIRD
You've finished your pipe? How does
it smoke?

DANCES WITH WOLVES
I'm told it smokes well.

Dances With Wolves moves to make the exchange. Kicking Bird
does the same. From one hand to the other. Men couldn't be
closer.

KICKING BIRD
It doesn't seem possible that we
could come this far.

DANCES WITH WOLVES
You were the first man I ever wanted
to be like. I will not forget you.

Neither can speak. There is only goodbye.

EXT. PRAIRIE - DAY

The column of soldiers is not in a rush, but they're trotting
now to make better time.

EXT. WINTER CAMP - DAY

Stands With A Fist sits on a pony outside the lodge. Two
pack horses are loaded with their things.

Dances With Wolves swings onto his pony's back and we follow
as they start out of the village. No one is standing in rose
to watch them leave. No one is crying. In fact, people are
making the motions of going about their regular work.

But it's all fake too. The whole village is sad and the most
obvious sign is that there is no sound. In the awful quiet,
most people avert their eyes as the two pass by.

EXT. CANYON TRAIL - DAY

Dances With Wolves and Stands With A Fist have reached the
head of the trail leading out of the winter camp. They have
just begun to ascend when a voice, calling from afar, brings
them to a halt. The sound echoes through the canyons, through
the village.

WIND IN HIS HAIR (O.S.)
(calling)
Dances With Wolves...

EXT. CANYON - DAY

His pony is jacked up and, as always, Wind In His Hair looks
the perfect warrior. But now his face is full of stress as
he screams out the message he could not deliver in person.

WIND IN HIS HAIR
I am Wind In His Hair...

EXT. WINTER CAMP - DAY

Everyone in the camp has stopped to listen.

WIND IN HIS HAIR (O.S.)
Can you not see that I am your friend?

EXT. CANYON TRAIL - DAY

Dances With Wolves looks ready to crack.

WIND IN HIS HAIR (O.S.)
Can you not see that you will always
be my friend?

Dances With Wolves lets the unhappy echo of these words fade
away before he starts his pony again. We follow for a few
yards. Then the call comes a second time. If anything, more
urgent than before.

WIND IN HIS HAIR (O.S.)
Dances With Wolves...

Dances With Wolves stops. He drops his head painfully as the
sound of his own name booms through his head.

EXT. CANYON TRAIL - DUSK

Troops are moving through the trees quietly, sabers drawn.

EXT. CANYON RIM - DUSK

The rest of the troops have moved to the edge. They too are
quiet. Down below, the Pawnee scouts are milling about looking
for sign.

The soldiers from the canyon floor are silently arriving on
the scene. The Pawnee look to the lead scout on the canyon
rim. They have no answer, and the lead scout has none to
give the general at his side. Ten Bears' village is gone.

EXT. CANYON RIM - DUSK

Wind In His Hair and several other warriors are just drawing
back from unseen vantage points on the canyon rim. Wind In
His Hair glances back and hesitates, as though waiting for
someone. A great, yellow full moon has just appeared above
the opposite rim of the canyon. The yellow is brilliant, a
great spotlight of golden color.

A wolf steps into the light on the opposite rim. He's walking
in the backdrop of the moon. The wolf suddenly arches his
back, sticks his muzzle in the air and produces a spine-
tingling howl. The sound bounces all over the canyon.

Dances With Wolves is at the canyon's rim. He listens a long
time, fully entranced by the wolf's howl. He is still
listening when it is gone. A whisper floats out of the night
behind him.

WIND IN HIS HAIR (O.S.)
Dances With Wolves...

Dances With Wolves shrinks back from the canyon's rim, turns
and trots off into the darkness, following his friends.

FADE TO BLACK

THE END

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