Second Draft
1/21/97

	FADE IN:

	A DREAM:

	INT. STABLES; PILGRIM'S STALL - MORNING

	Sunlit illuminates the darkened stable, highlighting the 
	contours of a magnificent HORSE (PILGRIM) in surreal, dream-
	like imagery: his legs, his muscles, his sheen, his mane... 
	his eyes. He shakes his head and stamps his feet. He seems 
	confined. Eager to run.

	INT. STABLES - MORNING

	Pilgrim bursts through the stall and runs out the stables 
	into a blinding white morning.

	EXT. AN OPEN FIELD LEADING TO WOODS - BRIGHT MORNING

	Whiteness. Snow and sky without any discernible line between.

	Camera is POV, as if on the horse, riding through the 
	whiteness. Snow kicks up from the side. We hear the breathing 
	of the horse. As we travel on hills, through trees, we 
	experience of sense of wild, exhilarating freedom.

	We hear the giggles of a GIRL (GRACE) on the horse. An 
	occasional line;

				  GRACE (O.S.)
		    Yeah, fly boy... that's it... go... 
		    go... go...

	END OF DREAM as we CUT TO:

	INT. GRACE'S BEDROOM - MORNING

	Grace awakens, calmly. Takes a breath. Slides out of bed and 
	stands before a window, overlooking a beautiful Connecticut 
	country house. We see a snow-covered field and distant woods. 
	Grace presses her faces against the cold, frosted window 
	eager to get out.

	INT. MACLEAN NEW YORK APARTMENT - MORNING

	Alarm rings, ANNIE MACLEAN awakens. She shuts the alarm and 
	scoots up in bed. She waits. Seconds later the television 
	across the foot of her bed turns on from a timer -- to a CNN 
	24 NEWS channel.

	INT. HALLWAY/ANNIE & ROBERT'S BEDROOM - MORNING

	Grace, fully dressed except for her boots, tiptoes past a 
	partially opened bedroom door. Her father ROBERT is asleep, 
	alone, on his huge king size bed.

	INT. MACLEAN FARMHOUSE KITCHEN - MORNING

	Grace is putting on her boots on a bench beside a back door. 
	She is wearing her mother's outfit. As she slides the boot 
	on, we see behind her a row of framed photos -- Robert, Grace 
	and Annie in happy times.

	She slaps a note on the refrigerator, with a magnet -- "Gone 
	riding. Back around 10. Love, G."

	EXT. MACLEAN FARMHOUSE, BACK ENTRANCE - MORNING

	Grace slips on her jacket and hat as she comes down the 
	steps, her feet hitting the walk...

	EXT. CENTRAL PARK - MORNING

	Annie's feet hit the ground, running -- her breath showing in 
	the cold air. She passes other joggers with ease. She crosses 
	the street and heads for an elegant CPW building.

	INT. MACLEAN'S NEW YORK APARTMENT - MORNING

	Dressed in running clothes, Annie opens the door and picks up 
	several newspapers that were delivered. She carries them into 
	the kitchen and sets them beside a huge stack of publications, 
	magazines, papers, etc... Knowing she must read all of them at 
	some point, she breathes a disgusted sign. She thumbs through 
	the POST as she pours herself a cup of coffee. Something 
	catches her eyes and she snarls:

				  ANNIE
		    That little shit!

	She dials a portable phone and moves through the apartment as 
	she talks:

				  ANNIE
		    Hi Lucy?... Did I wake you?... Have 
		    you read the Post?... They've got a 
		    little item about me and Fiske. He's 
		    saying I fired him and that I faked 
		    the new circulation figures.. Ha, ha... 
		    Oh, please... It's the last act of a 
		    desperate gnome... Set up a phone call 
		    with Don Farlow for 9:30...

	Throughout the phone call, Annie is selecting clothes, 
	turning on the shower, undressing...

	EXT. DYER HORSE FARM - MORNING

	The snow has stopped falling. Grace walks along a hill, hands 
	in pocket. Spread out on the landscape are horses, on a horse 
	farm, standing like statues in the white covered fields.

	As Grace comes along the hill, we see another GIRL (JUDITH) 
	coming from the opposite direction. She doesn't have Grace's 
	lean elegance but her warm, friendly smile brightens her 
	face. Upon reaching her, Grace returns the smile with a hug.

				  JUDITH
		    It's warmer than I thought.

				  GRACE
		    You want to go to a movie tonight?

				  JUDITH
		    I thought your mom's coming up?

				  GRACE
			    (prickly)
		    So?

	Judith immediately senses a problem so she continues casually, 
	as they begin walking away from Camera...

				  JUDITH
		    My parents are having friends from 
		    college over. They're really nice... 
		    They have this gorgeous son who wants 
		    to be a forest ranger.

				  GRACE
		    Can I come? I'll start a fire...

	Judith laughs as they continue talking, their voices trailing 
	off, as the girls head for the stables.

	INT. STABLES, THE DYER HORSE FARM - MORNING

	There are several horses in their stalls. Grace and Judith 
	enter, talking, carrying their English saddles. Judith stops 
	at a stall, disappearing into it as she says "Hello?"..., 
	Grace continues to the end stall.

	Pilgrim (the horse from the dream) stands looking at her.

				  GRACE
		    Hello, beautiful boy.

	He's a massive figure beside her but she shows no inhibition. 
	She enters, touching his muzzle. He plays with her by nudging 
	her back.

				  GRACE
		    Stop... Will you stop!

	EXT. DYER HORSE FARM - MORNING

	They lead their horses, now saddled and ready, from the barn. 
	Pilgrim tosses his head, prancing, playing with the snow.

				  GRACE
		    Show-off.

	The girls mount the horses and ride off together.

	INT. ANNIE'S MAGAZINE OFFICE - MID-MORNING

	Annie, casually dressed, enters the empty offices of her 
	magazine. She turns on the light, revealing a large row of 
	stalls and glassed in private offices. Everywhere we look, we 
	see indications of the kind of magazine she edits.

	She strolls to her office -- the largest -- surrounded by 
	windows. The office walls are covered with photos, most of 
	which are COVER STORIES ON ANNIE.

	(One photo is of Annie's father MARTIN. A BRITISH AMBASSADOR 
	with his young daughter on his lap, her arms affectionately 
	around his neck. Her mother stands right behind them, posing 
	like a member of the royal family.)

	Annie sits and takes a breath. The only photo on her desk is 
	a family portrait, taken when Annie was given the Crystal 
	Award -- Robert, Grace, herself and the Award. She checks her 
	watch -- it is almost 9:30.

	INT. MACLEAN FARMHOUSE, MASTER BEDROOM/CLOSET - MID-MORNING

	A WALK-IN CLOSET of the master bedroom; one side is Annie's, 
	one side is Robert's.

	Robert stands before his bureau in the closet -- he has just 
	showered and is putting on his watch and ring which lay 
	beside his cologne assortment. A FRAMED PHOTO OF HE AND ANNIE 
	in India -- younger, vibrant, in love... when they first met.

	THE PHONE RINGS. Robert enters into the bedroom to pick up.

				  ROBERT
		    Hello?

	INSERT ANNIE: They speak in dulled, emotionless voices:

				  ANNIE
		    It's me.

				  ROBERT
		    Hi.

				  ANNIE
		    Hi.

	Awkward pause.

				  ROBERT
		    So, what, uh, what train are you taking?

				  ANNIE
		    I should be in by two.

				  ROBERT
		    Okay. You want me to pick you up?

				  ANNIE
		    Sure... What's Grace up to?

				  ROBERT
		    Riding with Judith.

	Beat.

				  ANNIE
		    I'm sorry about last night. I shouldn't 
		    have brought it up over the phone.

				  ROBERT
		    That's okay. We have to talk about it 
		    and we're not always in the same place
		    ... so... I just have to get used to it.
			    (beat)
		    What do you want to do about dinner?

				  ANNIE
		    I don't know. We'll figure it out.

	Pause. There is a lot unspoken but understood between them. 
	Annie's other phone line rings. Robert hears it as well.

				  ROBERT
		    Okay. We'll see you later then.

				  ANNIE
		    Yeah. Bye.

	Annie picks up the other line and her manner brightens, her 
	energy boosts...

				  ANNIE
		    DON! My love, how are you? Did you hear 
		    about Fiske?... No, suing is too 
		    civilized. Can't we get your friend at Le 
		    Cirque to serve him a fatal piece of 
		    poached salmon?... Ha, ha... That's even 
		    better...

	EXT. CONNECTICUT COUNTRYSIDE - MORNING

	Long Shot of the girls riding at an easy pacing, talking all 
	the time. Grace is an elegant rider, quite self-assured for a 
	13-year-old... We come into the scene at the moment the 
	girls have just shared a secret or a fantasy. Judith is 
	giggling uncontrollably. Grace laughs as she says:

				  GRACE
		    ...Oh, come on! You think the same thing!

				  JUDITH
		    I just could never say it!

	They stop at the end of the field, facing the woods.

				  GRACE
		    Do you want to go around by the 
		    old road?

				  JUDITH
		    Why don't we just cut through the 
		    woods?

	Grace nods. They ride into the woods, continuing their talk.

	EXT. WOODS - MORNING

	The girls ride down, along a stand of hickories and poplars 
	to a RIVER. They stop the horses and their conversation, to 
	listen to the sound of the water. Below them, off in the 
	distance, they can just make out a two-lane country road.

				  GRACE
		    You want to go down or stay along 
		    the river?

				  JUDITH
		    We already did the river. Let's go down 
		    and across the old bridge. We can circle 
		    back.

	They begin to make their way.

	INT. ANNIE'S OFFICE - MORNING

	Annie's office is now crowded with a dozen or so employees; 
	sitting on the couch, on the window sills, on the arms of 
	chairs, against the walls... Paper bag emptied of bagels, 
	cream cheese, orange juice, paper plates...

	Hand Held Camera captures the energy of the room as it 
	follows overlapping lines, laughter, etc... yet, no matter how 
	casual it all seems, Annie is very much at the center of 
	control... We enter the scene of LAUGHTER, as Annie asks 
	KEVIN, a feature writer:

				  ANNIE
		    ... So what did you say to her?

				  KEVIN
		    I said, thank you very much...
			    (LAUGHTER, AD LIBS)
		    I really should do the interview... But 
		    perhaps if you'd like to have dinner...

	LAUGHTER... Everyone starts Ad Libbing...

				  VARIOUS CHARACTERS
		    Dinner!!... He's so cute.... Why don't I 
		    get those kind of interviews?... Look, 
		    he has husband number eight written on 
		    his forehead...

				  ANNIE
		    All right, all right, all right... Kevin, 
		    good job. Write the interview. If I don't 
		    like it, you may have to sleep with her 
		    for a follow-up!
			    (laughter)
		    Now... I'm thinking about another fashion 
		    designer spread... Who's news out there?

	Characters shout out designer names and comments as the phone 
	rings and LUCY picks up... speaking amdist the talking...

				  LUCY
		    Hold on.
			    (presses hold)
		    Gottschalk.

	The room goes dead quiet, instantly. Then erupts in laughter 
	as everyone realizes it. Annie, however, waves her hand as 
	she takes the phone...

				  ANNIE
		    Quiet... Quiet!

	Everyone obeys. Annie presses SPEAKER PHONE.

				  ANNIE
		    David?

				  DAVID GOTTSCHALK (VO)
		    Who's there?

				  ANNIE
		    Everyone. Working overtime. Just for you.

				  DAVID GOTTSCHALK (VO)
		    Did you speak to Farlow?

				  ANNIE
		    Yes. We're suing.

				  DAVID GOTTSCHALK (VO)
		    Is that absolutely necessary? It'll just 
		    make it a bigger story.

				  ANNIE
		    David, he signed an agreement that he 
		    wouldn't talk to the press and he's 
		    libeled me by saying I faked the figures. 
		    You're not going soft on me, are you?

	Silence. Gottschalk doesn't immediately respond. Everyone 
	waits. Covert looks between characters suggest this is 
	interesting -- has Annie over-stepped her bounds with the 
	magazine's owner? Annie waits without a shred of anxiety -- 
	even though she might have some. Finally:

				  DAVID GOTTSCHALK (VO)
		    Well, I suppose we could use another 
		    good public feud...

				  ANNIE
		    Exactly...

	Everyone silently acknowledges Annie guts and influence.

	EXT. COUNTRYSIDE - MORNING

	It's perfectly still. We are looking down an empty TWO-LANE 
	ROAD covered with fresh snow. We see the girls slowly riding 
	out of the woods, talking. They cross the road and start up 
	into the woods on the other side... They are trying to sing a 
	LIZ PHAIR song, "CHOPSTICKS"

				  GRACE/JUDITH
			    (singing)
		    "I met him at a party and he told me how 
		    he like to drive me home... He said he 
		    liked to do it backwards..."

				  GRACE
			    (singing)
		    "... I said it--"

				  JUDITH
	 		    (singing)
		    "... and I said that"...

				  GRACE
			    (stops singing)
		    No, wait, it just goes... "he said he 
		    liked to do-"...

	Suddenly there's the SOUND OF THE METAL OF JUDITH'S HORSE 
	scraping on some sheer ice hidden under the soft snow. Judith 
	notices first...

				  JUDITH
		    What was --

	The horse staggers... Judith looks to Grace --

				  JUDITH
		    Grace!

	The horse tries to find tracing with his hindfeet, kicking 
	up sprays of snow and ice shards. The horse suddenly falls on 
	the ice and goes down hard on its knees...

				  GRACE
		    JUDITH!

	The horse stumbles to get back on its feet, slipping again. 
	Frightened, it rears and Judith, caught off balance, is 
	thrown, her foot catching in the stirrup...

				  JUDITH
		    GRAAACE!

	Her horse, unable to find its balance, starts to slide backward 
	down the incline.

				  GRACE
		    PILGRIM, COME ON! MOVE!

	Grace, directly behind Judith, tries to turn Pilgrim to avoid 
	being hit by the errant horse.

	What follows, we see from Grace's perspective. The details 
	that form the images and sounds of Grace's mind are fast, 
	disembodies, almost surreal as --

	Judith's horse bulldozes into Pilgrim, taking his legs out 
	from under him, sending both horses careening down the icy 
	slope. Grace hangs onto Pilgrim's neck. Judith, her leg 
	helplessly tangled in the stirrup, is dragged, her head 
	bouncing on the frozen ground.

	They slide all the way back down to the COUNTRY ROAD. Pilgrim 
	is the first to find his legs and stand. Grace manages to sit 
	up in the saddle. She sees Judith's horse stumbling back onto 
	its feet, one of his legs broken at the ankles, walking in 
	confused circles, dragging Judith -- her face bleeding, her 
	leg hanging from the stirrup.

				  GRACE
			    (frightened)
		    Jude, you okay?

				  JUDITH
			    (softly, crying)
		    I'm okay... I'm okay.

	She tries to extricate her leg from the stirrup.

	Grace sees it before she hears it. A GLINT off of steel. We 
	then hear the rumbling SOUND of a TRUCK coming around the 
	bend... The Girls on their horses in the middle of the road... 
	The Truck, an 18 wheeler carrying logging equipment, comes 
	around the turn... Grace grabs the bridle, trying to get 
	Judith's horse out of the road... The driver, seeing them, lays 
	on the air horn. The Horses bolt at the sound, the bridle 
	slipping out of Grace's hand...

				  GRACE
		    JUUDE!!!

	... The horses turn apart. The Driver starts furiously 
	downshifting, trying to brake... He seems to get it under 
	control when suddenly THE TRUCK SKIDS on some ice. It begins 
	to slide, out of control, the truck bed and the cab jack-
	knifing. The truck literally plows over the helpless Judith 
	and her horse -- the horse going down on the pavement, Judith 
	disappearing under him. The truck's cab, like a mythic 
	monster, heads right for Grace and Pilgrim... Grace looks 
	right into the Driver's helpless, frightened eyes... Suddenly, 
	Pilgrim rears up at the truck, sending Grace flying, bouncing 
	her off the pavement and under the wheel of the truck.

	Pilgrim instinctively jumps onto the hood of the truck, his 
	hooves caught between the rear-view mirrors like some 
	grotesque ornament. His head and chest slams into the window, 
	shattering through the glass.

	And then it is still.

	The truck has stopped halfway in the road. Judith's horse 
	lies in the road, motionless. Pilgrim, on the truck's hood, 
	his legs splayed, stuck, his head and chest, bleeding. He 
	shrieks, struggling to get to his feet. He manages to free 
	his legs and, stepping off the cab onto the road, walks off, 
	wounded, in pain, into the sanctuary of the woods...

	The Driver stumbles out of the cab, his head bleeding, in 
	shock. He sits on the ground. All we hear is the sound of the 
	river and the wind in the trees.

	Grace, halfway under the truck, frozen, stares up at the 
	beautiful morning sky.

	WE HEAR THE SOUND OF A HELICOPTER...

	INT. MACLEAN FARMHOUSE/KITCHEN - LATER MORNING

	ANGLE ON GRACE'S NOTE on the refrigerator as Robert enters 
	from the outside with two bags of groceries. He places them on 
	the counter near the PHONE MACHINE. He sees ONE MESSAGE is 
	there. He presses PLAY as he puts away the groceries.

	A BEAT LATER the PHONE RINGS and he picks up, with the machine 
	still playing...

				  ROBERT
			    (on phone)
		    Hello? Paul, hi -- are you guys back? 
		    How was it? Oh that sounds great. Oh 
		    Paul.. hold on...

				  LIZ
			    (on machine)
		    Robert! Are you there?... Robert! It's 
		    Liz!... Look, there's... there's been 
		    an accident... Uh... Jesus... uh...

	As Robert listens, the voice of Liz's on the machine from 
	inside, pulls his attention. On hearing "accident," Robert 
	lowers the receiver, frozen, as he listens to Liz...

				  LIZ
			    (on machine)
 		    Robert, just call me on my call phone... 
 		    1-917-449-7805...

	EXT. THE WOODS - LATE MORNING

	Pilgrim is hiding in the shadows under an old railroad bridge, 
	standing up to his knees in the river. His chest is cut open, 
	bleeding. His face cut, contorted and swollen. LIZ HAMMOND, 
	the local veterinarian, hides a hypodermic needle in her 
	jacket, quietly walking into the water.

	A Policeman is going into the water downstream from Pilgrim, 
	whose chest is heaving, blood drips into the water. He 
	watches Liz. She is almost to him when suddenly he bolts, 
	running upstream.

	The Policeman behind him shouts and waves his arm. Frightened, 
	Pilgrim wheels back toward Liz, who manages to stick the hypo 
	in his neck. He rears, knocking her down, then runs out of 
	the river, the hypo still in his neck. He runs for the 
	sanctuary of the woods.

	INT. TRAIN - LATE MORNING

	Annie sits on a train -- her laptop out, notes beside her, 
	her cellular phone, ever-ready. The train passes through 
	beautiful countryside but Annie is focused on an editorial 
	she's writing.

	The train pulls into a station and stops, causing Annie to 
	take a break and stretch her arms and neck. She looks out the 
	window for the first time and sees:

	A MAN, his hands in his pockets, waiting on the platform. She 
	watches as the Man holds out his arms to his two young 
	children, who are getting off the train. He picks them up as 
	his wife enters the scene, kissing him and wrapping her arm 
	around his waist. The children talk a mile a minute and the 
	father listens to every word.

	Annie doesn't even realize she is staring. As they leave the 
	platform, she turns back to her laptop. As the train begins 
	to move again, Annie returns to work.

	HER CELLULAR PHONE RINGS. She answers.

				  ANNIE
		    Yeah?... Hi. I made the 1:00 so...

	The expression on her face sinks into a stunned panic.

	INT. HOSPITAL, CONNECTICUT - DAY

	Annie is running through the corridors, her bags in tow. She 
	sees Robert standing in the corridor talking to a DOCTOR. She 
	runs for them.

	When she appears, Robert and the Doctor stop their 
	conversation. Robert looks to Annie, who is waiting for news.

				  ANNIE
		    WHAT!?

	Robert is teary eyed, beaten down.

				  ROBERT
		    Judith's dead.

	Annie's horrified, waiting for news of Grace.

				  ANNIE
		    What about Grace?

				  ROBERT
		    She was in pretty bad shape. They've 
		    done a C.A.T. Scan -- she has some 
		    hemorrhaging...

				  DOCTOR
		    But nothing we can't handle...

				  ANNIE
			    (impatient)
		    Where is she now?

				  DOCTOR
		    Surgery.

				  ANNIE
		    Surgery! For what-?

				  ROBERT
			    (interrupting)
		    Annie, her leg was shattered -- what 
		    they call the distal epi.. epi..

				  DOCTOR
		    Distal epicondyle of the femur...

				  ROBERT
			    (quietly, crying)
		    They have to take the leg off.

	Annie responds without tears and cries but with a quiet 
	shock. We can tell her mind is racing, trying to process the 
	information, until finally she asks:

				  ANNIE
		    Which leg?

	The Doctor and Robert are surprised by the question.

				  ROBERT
		    What difference does it make?

	Annie stares for a beat, then nods apologetically.

	EXT. WOODS - DAY

	Pilgrim is sedated, lying in his own blood in the snow, 
	surrounded by Police and trackers. He is being attended to by 
	LIZ HAMMOND, who is dictating to her assistant:

				  LIZ
		    ... His skull, cheek, and nose are 
		    severely fractured. He has a deep 
		    chest wound. I'm not even sure it 
		    can be closed.

				  LOCAL TRACKER
			    (deadpan, local accent)
		    Animal should be put down -- anybody can 
		    see that.

	Liz looks up to him, resentfully, but knows he's right.

	INT. GRACE'S HOSPITAL ROOM - DAY

	Camera moves from Grace's face down her body to Robert's 
	hand, which rubs her good leg. He looks at her lovingly, 
	pushing the hair from her forehead.

	Annie, needing to do something, tenderly straightens Grace's 
	blankets. It is plain to see where her leg had once been. 
	Robert can't look. Annie, one to face her fears, bravely 
	looks at it head on. She notices the I.V. Bag and rises on:

				  ANNIE
		    That bag's almost empty.

				  ROBERT
			    (looking)
		    No, it's got a little left. They'll be 
		    in to change it.

				  ANNIE
			    (as she exits)
		    Robert, you leave it up these people...!

	Robert is about to respond but Annie is already out the door. 
	We hear the O.S. DIALOGUE as Robert listens.

				  ANNIE (O.S.)
		    Excuse me, my daughter needs a new 
		    I.V.

				  NURSE (O.S.)
		    We have her down, we'll be right in.

				  ANNIE (O.S.)
		    I'd like it taken care of now please.

	Annie enters first.

				  ANNIE
		    You have to keep on top of these people 
		    or else they just sit on their --

	But Robert is ignoring her. Facing Grace, smoothing away her 
	hair. He's giving her the silent treatment. Annie knows this 
	means Robert doesn't approve of her dictatorial behavior. 
	Annoyed, she turns away as well.

	The Nurse enters with a new bag and begins to replace the old 
	one as Robert backs away.

				  ROBERT
		    I'm sorry.

				  ANNIE
		    Tch. What are you --

	Annie, about to respond to his inappropriate politeness, is 
	stopped by Robert, who finally looks at her. It's a powerful 
	look that tells her to calm down and shut up. It's a look 
	that, for all of Robert's sensitivity, affects Annie. She 
	gets the message and stays calm.

	As the nurse leaves, Annie is about to say thank you, but 
	Robert beats her to it.

				  ROBERT
		    Thank you.

	Annie and Robert stand facing each other, when the PHONE RINGS. 
	Annie picks up.

	INTERCUT

	EXT. WOODS - DAY

	LIZ HAMMOND on a cellular, walking away from the crowd.

				  LIZ
		    Annie, it's Liz. How's Grace?

				  ANNIE
			    (journalistic)
		    Her leg was shattered so they had to, 
		    uh... remove it. She had some bleeding 
		    but it's under control.

				  LIZ
		    Oh God, Annie, I'm so sorry. I... I 
		    know you're being hit with a low now, 
		    I don't want to take too much of your 
		    time but I have to talk to you about 
		    Pilgrim.

	Annie hears the name as if it's some distant echo she can't 
	quite identify; Liz speaks quickly as Annie watches Grace 
	breathing in her sleep --

				  LIZ
		    It's not good. I've never seen an animal 
		    with these injuries still breathing. I 
		    know this is difficult to hear right now 
		    I'd like your permission to put him down. 
		    It's the really best thing we can do for --

	That was too much information for Annie;

				  ANNIE
		    Wait, uh, I, I don't understand. Start 
		    again -- He's alive...

				  LIZ
		    Yes, but he's in a tremendous pain...

				  ANNIE
		    Well, of course, right...

				  ROBERT
		    What is it?

				  LIZ
			    (overlapping)
		    We really shouldn't wait...

				  ANNIE
			    (overlapping)
		    Hold on, Liz...
			    (to Robert)
		    Something about Pilgrim...

	The Doctor pokes his head in.

				  DOCTOR
			    (overlapping)
		    Mr. and Mrs. MacLean...

				  ANNIE
			    (overlapping)
		    -- put him down. She says...

				  ROBERT
			    (overlapping, to Doctor)
		    Yes. Hi.
			    (to Annie)
		    Tell her you'll call her back.

	He exits with the Doctor.

				  ANNIE
		    Liz, listen, the Doctor's here and I 
		    just can't, uh... talk now... so --

				  LIZ
			    (interrupting)
		    I understand, but Annie, please...

				  ANNIE
			    (overlapping)
		    - See, what you can do for him --...

				  LIZ
			    (overlapping)
		    Annie, no matter what I do, this horse 
		    will never be the same.

				  ANNIE
		    ... I just don't know right now! Do 
		    whatever you can and when Grace is --

				  LIZ
		    It isn't right to make him suffer...

				  ANNIE
		    And I can say the same thing about my 
		    daughter! But she is suffering! Can you 
		    solve that problem!
			    (Liz is quiet)
		    I can't deal with this now, Liz! If you 
		    need a yes or no right now, then no -- 
		    don't do it! Not until I know Grace is 
		    all right. Now, please! Just do what you 
		    can. Okay?
		  	    (softer)
		    Please.

	Liz is stopped by Annie's almost pleading tone.

				  LIZ
		    All right...

	They hang up. Annie takes a breath. Robert re-enters.

				  ANNIE
		    What did he say?

				  ROBERT
		    Nothing new. He's just going off duty.

	Beat. Silence.

				  ANNIE
		    I'm going to get all the nurses' 
		    names... It's good to know all their 
		    names.

	Robert nods. But neither of them moves. They stand motionless 
	for a beat, then Annie begins to break down and eases herself 
	into Robert's arms.

	Robert embraces her, kissing her head, with an almost fatherly 
	comfort. His expression tells us it's the moment he's been 
	expecting... and wanting. Now she'll be all right, in his arms. 
	Whatever distance between them, whatever problems felt 
	insurmountable last night on the phone, are now, for the moment 
	-- for Robert -- gone.

	But Annie's expression tells us something different. Her 
	instinct to hold him was honest... but the effect isn't the 
	same anymore. Something doesn't feel right. Something isn't 
	working anymore about his comforting embrace.

				  ANNIE
		    I should go get some of her things.

				  ROBERT
		    No, let me go.

				  ANNIE
			    (gently pushing away)
		    No, I'll go. You stay... In case she 
		    wakes up.

	INT. THE UNIVERSITY ANIMAL HOSPITAL, RECOVERY STALLS - NIGHT

	A line of recovery stalls with various sick and hurt animals. 
	Liz, exhausted asleep, on a chair outside a stall. There's a 
	slight scratching sound. A hoof against the stall. It gets 
	louder, awakening Liz. She gets up and looks inside the 
	paddled stall:

	Pilgrim is lying in the stall, heavily bandaged. He is waking 
	up. His first instinct is to kick at the paddled stall walls. 
	He looks at Liz, his eyes filled with madness -- enraged to 
	still be alive.

	INT. GRACE'S BEDROO