How do you say dances with wolves in sioux

18 Epic Facts About ‘Dances With Wolves’

The prevailing logic in Hollywood 25 years ago was that Westerns, while long on history and sometimes successful, were not a genre moviegoers were clamoring to see. Any filmmaker who did get the green light would need to keep the project within budget, under two hours, and, of course, keep all the dialogue in English. Dances With Wolves defied all of that.

Directed by and starring Kevin Costner, the 1990 epic about a disillusioned Civil War lieutenant who travels west and befriends a tribe of Sioux Indians clocked in at three hours long, came in millions of dollars over budget, and included a cast full of unknown Native American actors speaking a language most audiences had never heard. In the end, the film—“a journey movie,” as Costner has called it—won seven Academy Awards (including Best Picture) and grossed more than $400 million. On the 25th anniversary of its release, here are a few things you might not know about Dances With Wolves.


Inspired by books he’d read about the Plains Indians, screenwriter Michael Blake (who died earlier this year) pitched Costner on the idea for Dances with Wolves. Costner told Blake, whom he’d met in a Los Angeles acting class, to write a novel instead of a screenplay, reasoning that a novel could generate studio interest more effectively than a cold script. So Blake spent months writing and sleeping on friends’s couches (including Costner’s). “I wrote the entire book in my car, really,” Blake said in a behind-the-scenes feature. Once finished, Blake submitted Dances with Wolves, to numerous publishers, all of whom passed on his manuscript. Finally, after more than 30 rejections, a small publisher called Fawcett accepted it.  


Turned down by American studios, Costner looked abroad for help, eventually securing startup funds from a handful of foreign investors. With only a fraction of the movie’s $15 million budget secured, he began filming. Orion Pictures eventually stepped in with $10 million, but Dances with Wolves ended up going more than $3 million over budget. Costner covered the overage out of his own pocket.


Before Blake began working on Dances with Wolves, Costner tried to get work for his friend by arranging numerous interviews with studio representatives. But as Costner told Tim Ferriss on a recent podcast, Blake spoiled every opportunity by arguing with the reps. “I really started to lose patience with him,” Costner said. The two became increasingly at odds, culminating in a physical confrontation that had Costner pinning Blake against a wall. “I said, ‘Quit pretending you want to be in Hollywood,’” Costner told Ferriss.

Blake stayed with Costner while writing Dances with Wolves, all the while pestering Costner to read his work in progress. Costner refused, and Blake quickly wore out his welcome. He eventually moved down to Arizona, where he washed dishes at a Chinese restaurant for $3.35 an hour. He called Costner asking for money, so Costner mailed him a sleeping bag and a portable stove. Blake pestered Costner again to read the book, which he’d since finished. After months of refusing, Costner finally gave in and was stunned. “It was the clearest idea for a movie that I’d ever read,” Costner recounted.


After deciding to go ahead with the project, Costner gave the script to three prominent directors (he won’t name names, unfortunately), hoping that one of them would be a good fit. But each of them had parts they wanted to cut that Costner considered crucial. “Some wanted to get rid of the opening Civil War sequence,” Costner told Tim Ferriss. “Some thought it was too long. Somebody thought it shouldn’t be a white [love interest], that that would be cliché. ” So the actor decided to step in and do the job himself.


More than a quarter of Blake’s script had to be translated into the Sioux Lakota dialect. This was admirable, considering most Westerns made Native American actors spout their lines in English. But there was one problem: Few people could speak Lakota, much less translate it. Costner heard about a teacher at South Dakota’s Sinte Gleska University named Doris Leader Charge, who taught the Lakota language and culture. He sent the script to her and got it back three weeks later, fully translated.

“I’d never even seen a script before then,” the then-60-year-old teacher said in the behind-the-scenes feature. Since none of the actors spoke Lakota, Costner brought Leader Charge onto the set for further guidance and even offered her a speaking role as Pretty Shield, the wife of Ten Bears. Leader Charge initially declined, saying she needed to return to work. So Costner called up the president of the college and got her stay extended.


In addition to filming at more than 30 locations throughout South Dakota and Wyoming, the shooting script called for 3500 buffalo, three dozen teepees, 300 horses, two wolves, and a small army of Native American extras. Add in budget headaches and complications with the weather, which ranged from 20 degrees to over 100 degrees across the July-to-November shoot, and it’s a wonder the film got made at all.


There were no trick shots or CGI wizardry behind the film’s centerpiece: That really is a herd of 3500 buffalo storming across the prairie. The crew got only one shot at filming the stampede each day, since the animals had to first be rounded up and then, once they started running, would go for miles before stopping. “The trucks began herding the buffalo at five o’clock in the morning in hopes that they would be in position by 11,” producer Jim Wilson told Entertainment Weekly. Capturing the sequence took eight days and involved 20 wranglers, a helicopter, and 10 pickup trucks with mounted cameras.


Filming required a few domesticated buffalo for close-up shots. So the crew turned to singer Neil Young, who loaned them “Mammoth,” and to a South Dakota meat manufacturer, whose mascot “Cody” played the buffalo that charged a young brave who had fallen off his horse. To get Cody to run at the camera, his handler enticed him with his favorite treat: Oreos. “You could be 100 yards away, pull out an Oreo, and he’d take off like a bullet straight for you,” Wilson told Entertainment Weekly.


Wilson estimates that Costner did 95 percent of his own riding, shooting, fighting and wolf-dancing in the film. All of which was impressive, but also kept the crew on edge. During the buffalo hunt sequence, a rider veered in front of Costner’s horse, throwing the star from his mount. “I was in the copter and all I heard was ‘Kevin’s down, Kevin’s down,’” Wilson recounted. While the crew held their breath, the star got up, dusted himself off, and hopped on his stunt double’s horse to finish the scene.


The crew employed two wolves—Buck and Teddy—to play Two Socks, the wolf that Costner’s Dunbar befriends. But even with trainers, so called “trained” wolves are notoriously temperamental. Lots of patience and meat scraps were required to get Buck and Teddy to cooperate. The filmmakers weren’t above humiliating themselves to get the shots they needed, either. Behind-the-scenes footage shows Wilson and Costner trying to get the wolves to howl by belting out their own calls of the wild.



Going against the trend of pairing a leading man with a much younger love interest, Costner said he wanted a mature, more experienced actress to play Stands With a Fist, the white woman adopted by the Sioux tribe as a child who helps John Dunbar integrate with her people, and eventually falls in love with him. They handed the role to Mary McDonnell, a then-37-year-old stage actress who learned her Lakota lines quickly and deftly handled her character’s re-learning English. Her performance garnered an Oscar nomination—plus lots of compliments about her wind-blown hair.


Hollywood insiders smelled blood after hearing about the film’s production difficulties. Some called the risky bet  “Costner’s Last Stand,” while others dubbed it “Kevin’s Gate,” in reference to Michael Cimino’s wildly over-budget Western flop Heaven’s Gate. In the end, they were all humbled by the film’s nearly $425 million box office haul.


Part of Dances With Wolves’ success was due to its appeal to both male and female moviegoers. To stoke interest, Orion took a unique step at the time by cutting separate trailers and print ads that played up different aspects of the film. The female-focused marketing played up the movie’s love story, while the male-focused campaign emphasized the gun-slinging, Wild West elements of the film.


Over the course of six months in wide release, Dances with Wolves took in $184 million domestically, rocketing it past Young Guns, Silverado, and other Westerns to become the highest grossing film in the genre. Twenty-five years later, it’s still at the top of the chart, just ahead of 2010’s True Grit. Interestingly, in all its weeks in theaters, Dances With Wolves never topped the box office charts.


The company that distributed RoboCop, Platoon, and Caddyshack rolled out a string of poor performers in the late 1980s. By the time Dances With Wolves came to theaters, Orion’s stock was down 50 percent and the company was $500 million in debt. “We needed a hit,” David Forbes, Orion’s president of marketing and distribution, told Entertainment Weekly. Unfortunately, not even the combined success of Dances with Wolves and Silence of the Lambs (which came out the following year) was enough to recoup Orion’s losses. A year later, the company filed for bankruptcy, emerging briefly in the mid-1990s before MGM bought it. In 2014, MGM released The Town That Dreaded Sundown under the Orion label.


More than a few reviewers wrote that the film was overly sentimental and romanticized the lives of the Sioux Indians. David Sirota, writing for Salon, recently called Dances With Wolves an example of a “white savior film” that tells a familiar story about a white hero who swoops in to save a helpless tribe from destruction. Native American actor and activist Russell Means, meanwhile, called the film Lawrence of the Plains, meant as a derogatory reference to Lawrence of Arabia, and pointed out that the film’s Lakota dialect is almost all wrong. “The odd thing about making that movie is, they had a woman teaching the actors the Lakota language,” Means told High Times. “But Lakota has a male-gendered language and a female-gendered language. Some of the Indians and Kevin Costner were speaking in the feminine way. When I went to see it with a bunch of Lakota guys, we were laughing.


Criticism aside, the Sioux were pleased with a portrayal that focused on the peaceful, day-to-day life of their tribe. So they honored Costner with official membership. The induction ceremony included tying an eagle feather in his hair and giving him a hand-woven quilt. A few years later, though, Costner lost some of those good vibes when he bought several hundred acres in South Dakota’s Black Hills—a land considered sacred by the Sioux—and announced plans to build a resort. Development proved difficult, however, and Costner finally abandoned the plan in 2013.


A sequel to the book, that is. In 2001, Blake published The Holy Road, which continues the story of John Dunbar, now a full-fledged Sioux warrior, as he tries to protect his tribe from encroachment by white settlers. Critics praised the novel for the ways it portrayed westward expansion and the plight of Native Americans without coming off heavy-handed. There have been rumblings about a possible miniseries, but nothing is confirmed at this time.

Sunkmanitu Tanka Ob Waci | News, Sports, Jobs

During a recent free HBO and Cinemax preview through Direct TV, they were showing a number of fairly popular, and good movies, some Sally and I hadn’t seen on the big screen. Many of the featured films received Academy Awards in one or more categories and others received numerous nominations for Oscars. Still others were highly acclaimed and were excellent movies. Included were “American Sniper,” “The Theory of Everything,” “Unbroken,” “St. Vincent,” “Draft Day,” “The Judge,” “The Fault in Our Stars,” and one of my favorite older films, “Dances with Wolves.”

I know many of these movies will reach regular television someday. I’ve already seen one of the aforementioned films on regular television, but a big advantage of movie channels is that programming is without commercial interruption, and you can watch them theater style, just on a smaller screen.

This being Thanksgiving time, and thinking about the often-told story of the Pilgrims and Indians giving thanks for a good harvest, it seems seasonally fitting to talk about one of the movies included in the preview, a movie featuring a relationship between a cavalry soldier and Native Americans.

“Dances with Wolves” is one of those movies, which I have to watch whenever it comes on while I’m surfing for something to watch. It was one of several Kevin Costner movies made during a stretch when it seemed like he was churning out new films every couple of months, most of them being near three hours in length, if not longer. His list during this time included “Field of Dreams,” “Robin Hood; Prince of Thieves,” “JFK,” and “Dances with Wolves,” a film which he starred in and directed, which won the Academy Award for Best Cinematography, Best Sound, Best Film Editing, Best Adaptive Screenplay, Best Original Musical Score, Best Director, and Best Picture, along with receiving five other nominations for Oscars. It’s hard not to watch it every time it comes on the small screen.

There’s so much I like about Dances with Wolves. First, it’s that it co-starred Mary McDonnell, who attended Fredonia State University the same time I did. I never met her, but like to ride her coattails of success in movies and television, telling people we were fellow SUNY Fredonia Blue Devils in 1974.

Another great thing from the movie is John Berry’s original musical score. There have been times when I’ve had to drive considerable distances alone, and I’d slide the DWW soundtrack cassette tape (don’t laugh, I graduated to cassettes from my eight track player, famous in my first car rocking the world with Iron Butterfly’s “In A Godda Da Vida”) into my car’s tape player, turn up the volume and, in some parts of the score, imagine myself alone on a plain somewhere riding a horse with the wind in what’s left (not much) of my hair, or I visualize myself watching a family of wolves interacting with each other in their habitat. After the film was released, and the music score went on sale, I purchased it and would also use excerpts from it as background music for sessions of our annual Wax Museum, which my classes performed for many years during my career. It was/is music that let(s) you escape to the beauty and peacefulness of the plains, and appreciate the serenity and wonders of nature. It was/is music to think by, contemplate by, and music to which you could/can slow down and relax both body and mind.

My interpretation of the story of the movie was twofold. It was a meeting of two worlds of people, each with their own opinions about the other, though not really knowing each other, and their gradual and eventual appreciation for and a changing of feelings about each other. That didn’t mean all from each side would be appreciated, exemplified in how many cavalrymen still thought of the Plains Indians, and how the Pawnee still thought of white men and even other Native American people. But it showed how anger and hatred could be turned into trust, appreciation and friendship, shown when Wind in His Hair, who hated Lt. John Dunbar when they first encountered each other just because he was a white man, came to be his friend and who, in the last scene of the movie, sat on his horse atop a cliff professing his friendship, now and forever, to Sunkmanitu Tanka Ob Waci, in front of his tribe and anyone else who heard the echo of his voice. It also showed the trust, respect, and love that evolved between Kicking Bird and John Dunbar from their early attempts to communicate with each other, to the invitation of Lt. Dunbar to go on the buffalo hunt, to Kicking Bird asking Lt. Dunbar to watch over his family while the men of the tribe went to fight the Pawnee, to the exchange of gifts and words toward the end of the story when Kicking Bird said, “We come far, you and me,” and Dances with Wolves replied with, “I will not forget you.”

Secondly, the movie showed an appreciation of nature and how man, nature and nature’s creatures can and should co-exist. It was shown when John Dunbar cleaned up the mess of Fort Sedgwick he encountered when he arrived. It showed in the relationship between Dunbar and Cisco, Dunbar’s horse which took him across the field during a battle between Blue and Gray, making the lieutenant a hero in the eyes of a cavalry general. It showed in the way Cisco kept breaking away from captors and kept returning to Fort Sedgwick and Lt. Dunbar. It showed in the way Lt. Dunbar talked to Cisco throughout the movie, and how he reacted when the horse was shot by cavalrymen later in the story. It showed in the sadness of the Sioux when they encountered the waste of dead buffalo scattered across the prairie, killed only for their tongues and hides. And it showed in the evolution of trust between Lt. Dunbar and Two Socks, the lone wolf that kept appearing at Fort Sedgwick and on the plains, a trust which developed into a friendship and respect between the two, evidenced in how Two Socks finally took food from the hand of Lt. Dunbar, and later played with him on the plain, within sight of Lt. Dunbar’s Sioux friends, prompting the Indians to begin calling Lt. Dunbar “Sunkmanitu Tanka Ob Waci” translation Dances with Wolves.

I think two scenes, one with Kicking Bird and Dances with Wolves exchanging gifts and feelings for each other, the other with Two Socks finally trusting Lt. Dunbar enough to take food from his hand, were the real story-telling parts of the movie and both scenes can be related personally if we look at them in terms of our own existence.

I like trying to come up with possible themes and meanings of songs, movies, poems, and books. I tried to use many in teaching if it pertained to something curricular, or could help students become better people. That’s why I use them so much in this forum too. But even if you don’t want to try and analyze what you read, hear, or watch, “Dances with Wolves” is an entertaining, moving, compelling movie which I’m sure many, if not most, would enjoy, if they haven’t seen it. And even if they’ve seen the film, it’s a great movie to watch again on a cool fall evening, or a cold winter night, with a bowl of hot soup, chili, or stew, with a fire in the fireplace (if you have one). Turn up the surround sound if you have that and escape to the time of the Plains Indians and the great western civilization. Wolakota! (from the Lakota language.) Translation: Peace!

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Dances with Wolves -

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Danse avec les loups ( Dances with Wolves ) or He Dances with Wolves in Quebec is a 1990 American film directed by Kevin Costner. It is an adaptation of the novel of the same name by Michael Blake. 88 years old.

Kevin Costner is both director, producer and main actor of his cinematic work. The film won seven Oscars, three Golden Globes, and a Silver Bear for excellence at the 1991 Berlin International Film Festival. This is one of the most awarded films for those who have worked in the field of directing, as well as being a producer and actor.

Danse avec les Loups describes a decorated Northern Civil War officer who, when the battle is over, joins a fort remote from any civilization. The abandoned camp on the territory is isolated from everyone. It is with the Sioux that the officer sympathizes and the rapprochement becomes fraternal. Now he has earned the nickname "Dances with Wolves" and has left his post to live near them.


  • 1 Summary
  • 2 Technical data
  • 3 Distribution
  • 4 jokes
    • 4.1 Around the movie
  • 5 Genesis of project
  • 6 Long version
  • 7 differences from the novel
  • 8 House
    • 8. 1 Cash desk
    • 8.2 Reviews
  • 9 awards
    • 9.1 Awards and nominations
  • 10 See also
    • 10.1 Bibliography
    • 10.2 External links
    • 10.3 Notes and references


In 1863, Northern Lieutenant John Dunbar suffered a severe foot injury during the Civil War. Refusing amputation, the officer gallops unarmed on a suicidal trip back and forth past enemy positions. He miraculously evades bullets, and his brilliant strike gives strength to his comrades, who launch a decisive attack. A testament to the lieutenant's bravery, General Tide will take care of him in the best possible way.

Decorated and fully recovered, Dunbar, given Cisco, the horse of his crazy ride, travels to Fort Hayes where, at his request, he is assigned to an outpost in Indian Territory to see the "Frontier" before it disappears. Major Fambro signs him a mission order to Fort Sedgwick, but not long after, the man, a victim of dementia, commits suicide. Over the course of several days, Dunbar crosses the plains of the Wild West in the company of the muleteer Timmons, who is responsible for bringing food and weapons to the fort. He also writes down all his facts in a diary. But the fort turns out to be mysteriously dilapidated and abandoned. The lieutenant decides to stay anyway, and the mule leaves again, promising to brief the army on the situation.

Now alone, Dunbar is busy rebuilding the camp. Puzzled, he discovers dug shelters adjacent to the fort, as well as dead deer in a pond. Meanwhile, Timmons is killed on the way back by Pawnee, depriving the last witness of Dunbar's presence at the fort. Unaware of these facts, the patient lieutenant patrols even further with Cisco for a month, writing down his observations in a diary while waiting for hypothetical reinforcements to arrive. He also encounters a wolf and, faced with the animal's passivity, slowly tries to tame it over several days, giving it the nickname "Socks".

One day while washing in the pond, he finds a Sioux searching the camp. The soldier hides, but when the Indian tries to grab Cisco, the officer rushes to him and scares him off. His presence indicated that Dunbar was determined to bury most of his provisions and weapons, and made regular rounds of the guards. Among the Sioux (Lakota), the Leaping Bird shaman announces the presence of a soldier at the fort and sees an opportunity to establish contact between his people and the whites. The unrestrained "Hair in the Wind" declares that he must be killed, but the wise "Stone Fist" thinks that such an act will lead to retribution, and the leader of the "Ten Bears" is left undecided. Witnesses of the meeting, the young "Smiling" and two of his friends try to steal Cisco that same evening, the next day they imitate "Hair in the Wind" with several warriors, but the horse faithful to its master will cope. to completely free yourself every time in loneliness.

Dunbar then decides to take the initiative and sets out to find the Indian camp. Along the way, he finds and rescues a white Indian woman named "Fist Clad" who has injured her forearms (a common occurrence during mourning) and returns him to his family. Once there, the contact is short and tense, but the Indians let him go. In the evening, "Our Ten" want "Hair in the Wind" and "Jumping Bird" to go talk to a soldier. Therefore, two Indians go to the fort under escort and exchange the first words with Dunbar. The following discussions help reduce mutual distrust despite difficult communication. However, Dunbar realizes that the Sioux are looking forward to the arrival of the bison.

"Dressée avec le Poing" is used by "Oiseau Leapissant" as a translator. She retained some rudimentary English, her mother tongue, after being taken in by a sorcerer at a very early age after the Pawnee massacre of her family. Trade is greatly facilitated, but Private Dunbar refuses to say too much. One night, he discovers a pack of buffalo near his fort and goes to warn the Sioux, still earning respect. The camp follows in the footsteps of the herd, but witnesses the unreasonable killing of bison by whites. The Sioux soon settle down near the herd and are able to hunt to survive, and Dunbar even saves "Smiles A Lot" from being attacked by a wounded buffalo. After several days of hunting, the Sioux set out again and left Dunbar at his fort. But the soldier gets bored with this despite having "socks" and only wants to see his new friends again.

He decides to visit them, but not wanting to risk the life of the wolf, he runs after him to scare him away, which does not escape the Indians. He spends most of the autumn with them, but is one-eyed and says little about the likely arrival of whites in the region. Since most of the warriors are leaving to fight the Pawnee, Dunbar asks to take part in this, but "Leaping Bird" asks what they now call "Dances with Wolves" to stay at the camp to look after his family.

In a few days, Dunbar perfected his Lakota language thanks to Fist Dressed, with whom he fell in love, but the woman closes because she is still mourning her husband, which Hock de Pierre will confirm to Dunbar. The man returns to his fort and finds "Socks", who manages to eat from his hands for the first time. He then finds the Fist Clad among the Indians, and both end up giving themselves to each other. But that same evening, Pawnee warriors were seen on their way to camp. Dunbar asks the "Ten Bears" to go to the fort, and with the help of "Smile A Lot", restores his stock of buried weapons. During the day, the Sioux firearms victoriously repulse the enemies, despite the loss of the Stone Fist. The warring Sioux return to the camps and Dunbar is once again seen as a hero.

On the advice of his wife "The Black Shawl", "The Heat of the Leapers" ends the mourning "Dressée avec le poing". So she and Dunbar marry with his approval and decide to have a child. Dunbar later confirms to the Jumping Bird that the whites will eventually arrive in large numbers. The Ten Bears shows them both the conquistador's helmet, inherited from his ancestors, and confirms to them that whites have always coveted these lands. They've always been rejected, but maybe not this time.

The tribe decides to move out for the winter, but Dunbar wants his diary back so as not to leave incriminating evidence. The officer returns to the fort, but once there, finds help has arrived. The lieutenant, dressed as an Indian, was shot dead by the soldiers, and his brave Cisco was mortally wounded. Captured, Dunbar renounces his rank and name and mentions his diary and mission order. But the precious document seems to have disappeared. Dunbar is called to lead a party towards the Indians, but he refuses to cooperate. Condemned as a traitor, he remains a prisoner among the illiterate and cruel people, awaiting his transfer to the east. One of them has stolen a precious newspaper and is even using it as toilet paper. But two Sioux went to the fort to reconnoiter and observe what was going on.

John Dunbar is escorted by soldiers who attempt to kill "Socks" along the way who have shown themselves to accompany their master. Dunbar tries to stop them, but fails. The officer puts an end to this stupid game, but the wolf that is touched will eventually die. As the caravan crosses the ford, the Sioux, led by Hair in the Wind, attack the convoy and kill the soldiers, while the last survivor is killed by Smiles Many. Then the boy sat down by the river, where a newspaper is now floating, which has fallen from the body of one of the jailers.

The small group finally reaches the winter camp, and Dances with Wolves can find their lover. Soon after, he told the council that the army considered him a traitor and his search risked endangering the community. He convinces his friends to move out of the camp, but also declares that he will have to leave them in order to be able to explain himself one day. But Ten Bears put things into perspective; for him, he was no longer a soldier, only Dance with Wolves remained. But his decision is irrevocable, and "Clothed in a Fist" wishes to accompany him.

After a final exchange with "Jumping Bird" and "Many Smiles" who returned to him his diary he had found in the river, "Dances with Wolves" and "Fist Dressed" left the Sioux amid admiring cries of "Hair in the Wind". Later, the army will find an abandoned camp, a howling wolf in the distance. The last title mentions that 13 years later, the last free Sioux would submit to white rule at Fort Robinson in Nebraska. The great culture of the plains has died out, the "frontier" is a thing of the past.

Technical description

Unless otherwise noted, this data sheet is based on IMDb .

  • English name: Dance with Wolves
  • Original title: Dances with Wolves
  • Director: Kevin Costner
  • Screenplay: Michael Blake, based on his own novel
  • Artistic Director: William Ladd Skinner
  • Kits: Lisa Dean (en)
  • Costumes: Elsa Zamparelli (in)
  • Photo: Dean Semler
  • Sound: Robert Fitzgerald
  • Editing: William Hoy
  • Music: John Barry
  • Production: Kevin Costner, Jim Wilson (en)
  • Film Companies: Tig Productions, Majestic Films International
  • Distribution companies: Image Entertainment, MGM Home Entertainment, Orion Pictures Corporation (US) , Guild Home Video, (United Kingdom) , AMLF (France)
  • Production budget: $19,000,000 $90,004 $90,150
  • Country of origin: USA , UK
  • Language: English, Lakota, Pawnee
  • Format: Colors - 2. 35:1 - Audio 35 mm DTS Dolby Digital SDDS
  • Genre: Adventure, Drama, Western
  • Running time: 181 minutes / 236 minutes (1992 full version, updated)
  • Theatrical Release Dates:
    • US :
    • United Kingdom:
    • France:


  • Kevin Costner (VF: Jean-Marie Winling; VQ: Marc Bellier) : Lt. John J. Dunbar / A Dance with Wolves (Lakota: Šuŋgmánit Tȟáŋka b Wačhí)
  • Mary McDonnell (VF: Marie Vincent; VQ: Claudine Chatel) : adult Christina / "Dressed in a Fist" (Lakota: Napépȟeča Nážiŋ Wiŋ)
  • Graham Greene (VF: Benoît Alleman) : "The Leaping Bird" (Lakota: Ziŋtká Nagwáka), tribal sorcerer.
  • Rodney A. Grant: "Hair in the Wind" (Lakota: Pȟehíŋ Otȟáte)
  • Floyd Westerman: "Ten Bears" chef (Lakota: Matȟó Wikčémna)
  • Jimmy Herman (ep): "Jarret de Pierre" (Stone Calf in VO ) (Lakota: Inyan Ptehíŋčala) aksakal of the tribe
  • Nathan Lee chasing a horse (en) : "Smiles A Lot", (Lakota: Iȟá S'a) young Sioux warrior
  • Cardinal Tantu: "Black Shawl" (Lakota: Sheena Sapa Wiu), wife of the Jumping Bird.
  • Wes Studi: A brutal Pawnee warrior who is killed by the entire Sioux.
  • Michael Spears: "Otter" (Otter in original version ) (Lakota: Ptáŋ)
  • Jason R. Lonely Hill: Worm ( in original version ) (Lakota: Waglula)
  • Doris Leader: "Jolie Bouklier", wife of chef Dix Ours.
  • Donald Hotton (VF: Jean Michaud) : Northern General Tide
  • Tom Everett (VF: Jacques Bouanich) : North Sergeant Pepper
  • Frank P. Costanza: Southern Trooper Tucker
  • Maury Chaikin (VF: Michelle Barbie; VQ: Yves Massicotte) : Major Fambro
  • Robert Pastorelli (VF: Jean-Yves Chatelet; VQ: Luis de Cespedes) : Muleteer Timmons
  • Wayne Grace (VF: William Sabatier; VQ: Ronald France) : Major Hatch, new commander of Fort Sedgwick
  • Charles Rocket: Lieutenant Elgin
  • Larry Joshua (en) (VQ: Aubert Pallascio) : Sergeant Bauer
  • Tony Pierce (VQ: Sébastien Dhavernas) : Spivey
  • Kirk Baltz (QV: Bernard Fortin) : Edwards
  • Annie Costner : Christina as a child
  • Jim Wilson (VF: Eric Herson-Macarell) : Doctor
  • Michael Horton ( out ) (VF: Patrick Poivy) : Captain Cargill (long version)
Sources and legend : French version (VF) on Allodublage


  • Roles in the films in the film. or re-learned the Sioux language: The Lakota, in particular, thank Doris Leader Charge, the only true Sioux of South Dakota. .
  • Kevin Costner 's first film was filmed primarily in South Dakota , but also in Wyoming .
  • The shooting schedule was set for 60 days, but was set for 108, forcing Kevin Costner to pour a good quarter of the budget out of his pocket to complete the film.
  • At the beginning of Jesse Dylan, How High , Silas, the main character, quotes from the movie Kevin Costner and calls "a bag of bullshit" afterwards.
  • Fist Raised character inspired by Cynthia Ann Parker.

Project Genesis

Michael Blake wrote the first screenplay in the early 1980s. When Kevin Costner found out about this, he suggested to Blake that it be turned into a novel instead to increase his chances of making a film. The screenwriter followed his advice and in 1988 found a publisher. Costner immediately bought the rights to the book for the theater to film Dances with Wolves .

Long version

One year after the film's release, a long version of the film will appear in select theaters around the world. This new 236 minute montage restores almost an hour of scenes that were removed for its original release.

This long director's cut of was then released on Laserdisc in 1993. It was later re-released on a special edition DVD in 2003. Finally, in 2009, the film was released on Blu-ray in the same version.

These cut scenes are present in the novel and help shed light on the script:

  • We learn about what happened at Fort Sedgwick before Dunbar arrived. Horses were stolen from the detachment that preceded it; several people deserted, and management seems to have forgotten about them for a long time. Captain Cargill, who was in charge of the fort, decided to leave the area on foot with the rest of his troops.
  • "Jumping Bird" does not immediately reveal to his family the presence of a soldier in the fort. Disturbed by what he saw, he would remain silent for two days before surrendering himself to The Ten Bears.
  • "Raised with a fist", she weeps over the body of her late husband, who was killed in a fight, which later justifies her desperate gesture.
  • Hair in the Wind, Many Smiles, and other members of the tribe help Dances with Wolves gather gifts to give to Jumping Bird to accept her marriage to her adopted daughter. Note that in the novel, it is "Jarret de Pierre" and not "Very Sour" that will help Dance with Wolves.
  • While riding through the mountains, Dances with Wolves and Leaping Bird discover an abandoned hunter's camp; the environment is polluted, devastated, many animals have been killed. This will push the former soldier to confirm the imminent arrival of whites in Indian territory.

Differences from the novel

  • The opening scene of the film about Dunbar's suicide, as well as the story of his recovery, is told in the novel in the form of a memoir of the hero, then already at Fort Sedgwick.
  • Unlike the movie (in its extended version), the novel details the fate and happy ending of Captain Cargill and his men. Major Fambro, who sent Lieutenant Dunbar, did not commit suicide either. Having become decrepit, he is sent back to the east, and if his statements make it possible to understand the dispatch of the cart, no one will know about the officer's presence at Fort Sedgwick.
  • In the novel, Dunbar meets Comanches, not Sioux, which implies that the locus of action is different.
  • Some names have been slightly changed, at least in the French version: "Dressée avec le Poing" was called "Celle Qui Se Dresse Avec Un Poing Fermé", "Oiseau Leapissant", "Oiseau Frappeur", "Socks", "Deux Boots", "Hair in the Wind", "Wind in the Hair" and "Jambe de Pierre", "Jarret de Pierre".
  • There are two wives in the novel "Uaz Jump".
  • In the novel, we learn that Fist Clad becomes an Indian at 14, while in the film, the one still called Christine seems to be less than 10 years old. In addition, it will be much more difficult for a young woman to re-learn how to speak her native language than in the film.
  • In the book, Indians kill whites who are guilty of killing bison.
  • While hunting, Dunbar saves "Smiles A Lot" from being attacked by a wounded bison, the scene is not in the book.
  • "Stone Fist" appears in the novel only after the departure of the warriors who went to fight the Pawnee. In the film, he attends the first Indian council and takes the place of another sage from a book called The Buffalo Horn. Also, it would be him, and not Big Smiles, who would escort Dunbar to the fort to retrieve the rifles in the company of two other men. Also, Fist of Stone, unlike the movie, will also survive the Pawnee battle.
  • In the movie Socks, soldiers are killed while crossing Dunbar. In the book, a wolf is killed in the vicinity of Sedgwick and his body is returned to the fort, causing Dunbar to erupt in anger, as does the latter's reaction in the film to the sight of Cisco's body.
  • In the novel, "Jumping Bird" and "Stone Fist" are present during Dunbar's river rescue, while "Smiling A Lot" is absent.
  • The ending of the film is also slightly different from the ending of the novel. Thus, in the latter case, if the "Dance with Wolves" wishes to leave the tribe with his wife, the end remains open whether they leave the camp or not. The final exchange would also take place between him and the Ten Bears; the last scenes from The Jumping Bird, Many Smiles (very few in the book, by the way), and Hair in the Wind are only in the film.


    This section lists the film's major awards and nominations. For a comprehensive list, please refer to the Movie Database at Internet .

    Awards and nominations

    Year Difference Category Surname Results
    1990 Los Angeles Film Critics Association Best movie Dances with Wolves Nomination
    Best Director Kevin Costner Nomination
    Price New Generation Award Kevin Costner Nomination
    National Board of Review Best Film Dances with Wolves Laureate
    Best Director Kevin Costner Laureate
    top 10 films Dances with Wolves Laureate
    1991 Berlin Festival Silver Bear for Exceptional Achievement Kevin Costner Laureate
    golden bear Kevin Costner Nomination
    Chicago Film Critics Association Best photo Dean Semler Laureate
    Best movie Dances with Wolves Nomination
    Best Director Kevin Costner Nomination
    Best Screenplay Michael Blake Nomination
    David di Donatello Best Foreign Film Kevin Costner Nomination
    Best Foreign Actor Kevin Costner Nomination
    golden globes Best Director Kevin Costner Laureate
    Best Screenplay Michael Blake Laureate
    Best Dramatic Film Dances with Wolves Laureate
    Best Actor in a Drama Film Kevin Costner Nomination
    Best Supporting Actress Mary McDonnell Nomination
    Best Film Music John Barry Nomination
    Academy Awards Best movie Dances with Wolves Laureate
    Best Director Kevin Costner Laureate
    Best Editing Neil Travis Laureate
    Best Music in a Film John Barry Laureate
    Best Photo Dean Semler Laureate
    Best Sound Mixing Bill W. Benton, Geoffrey Perkins, Gregory H. Watkins, Russell Williams II Laureate
    Best Adapted Screenplay Michael Blake Laureate
    Best Actor Kevin Costner Nomination
    Best Supporting Actor Graham Greene Nomination
    Best Supporting Actress Mary McDonnell Nomination
    The best landscapes Geoffrey Beecroft, Lisa Dean Nomination
    Best Costume Design Elsa Zamparelli Nomination
    1992 BAFTA Awards Best movie Kevin Costner, Jim Wilson Nomination
    Best Director Kevin Costner Nomination
    Best Actor Kevin Costner Nomination
    Best Screenplay Michael Blake Nomination
    Best Photo Dean Semler Nomination
    Best Editing Neil Travis Nomination
    The best makeup and hair Francisco X. Perez Nomination
    Best Film Music John Barry Nomination
    Best Sound Bill W. Benton, Geoffrey Perkins, Gregory H. Watkins, Russell Williams II Nomination
    Grammy Award Best Original Score John Barry Laureate
    Mainichi Film Award Best Foreign Film Kevin Costner Laureate
    silver ribbon Best suits Elsa Zamparelli Nomination

    See also


    • (en) Michael Blake, Dances with Wolves , Ballantine Books, 1988, 320 p. (ISBN 978-0-449-00075-5)
    • (en) Michael Blake, Holy Way , ZOVA Books, 2011, 352 pp. (ISBN 978-0-615-51057-6)
    • Michael Black, A Dance with Wolves I read (ISBN 2-277-22958-X) (pocket size)

    External Links

    • Audiovisual Resources :
      • Allocine
      • National Film and Film Center
      • Cinematheque Québec
      • Film Database
      • (en) Allmovie
      • (en) American Film Institute
      • (en) BFI National Archives
      • (en) Internet Movie Database
      • (en) Metacritic
      • (en) Movie Review Request Engine
      • (de) OFDb
      • (in) Academy Awards
      • (en) Rotten Tomatoes
    • (in) Dances with Wolves on Box Office Mojo
    • (fr) Dance with Wolves on Canal +
    • (en) Dances with Wolves in TCM Movie Database

    Notes and links

    1. (c) "Dances with Wolves" on IMDb.
    2. ↑ David Humbert, "A Dance with Wolves", on Le Monde, .
    3. (c) " Complete Movie Team " on IMDb.
    4. (in) " Loans to Company " on IMDb.
    5. (c) " Technical " on IMDb.
    6. (in) " Release Dates " on IMDb.
    7. ↑ " Kevin Costner " on Allocin.
    8. ↑ " Mary McDonnell " on Allocin.
    9. ↑ " Graham Greene " on Allocin.
    10. ↑ " Rodney A. Grant " on Allocin.
    11. ↑ " Floyd Westerman " on Allocin.
    12. ↑ "French dub of the film", on AlloDublage.
    13. (in) Angela Alyss, Making the White Man Indian: Native Americans and Hollywood Films, Westport, CT. 2005 $ 145 .
    14. ↑ Dances with Wolves on Film Censorship.
    15. ↑ Blake 1991, pp. 279-281.
    16. ↑ Blake 1991, pp. 33-39.
    17. ↑ Blake 1991, pp. 17-19.
    18. ↑ Blake 1991, pp. 51.
    19. ↑ Blake 1991, pp. 70.
    20. ↑ Blake 1991, pp. 52.
    21. ↑ Blake 1991, pp. 45.
    22. ↑ Blake 1991, pp. 64.
    23. a and b Blake 1991, pp. 246.
    24. ↑ Blake 1991, pp. 53.
    25. ↑ Blake 1991, pp. 72.
    26. ↑ Blake 1991, pp. 151–153, 194–195.
    27. ↑ Blake 1991, pp. 171.
    28. ↑ Blake 1991, pp. 176.
    29. ↑ Blake 1991, pp. 65.
    30. ↑ Blake 1991, pp. 266-268.
    31. ↑ Blake 1991, pp. 273-275.
    32. ↑ Blake 1991, pp. 302.
    33. ↑ Blake 1991, pp. 306.
    34. ↑ Blake 1991, p. 310-317.
    35. ↑ François Forestier, " A Dance with Wolves: Kevin Costner's Surprise Success ", on L'Obs, .
    36. (c) " Box Office/Business " on IMDb.
    37. (c) " Dances with Wolves " on Rotten Tomatoes.
    38. (c) " Awards " on IMDb.
    39. ↑ " Seven Oscars for A Dance with Wolves ", on Les, .

    Oscar for Best Picture

    1920-1930s Wings (1929) · Broadway melody (1930) · All quietly on the Western Front (1931) · Simarron (1932) · Grand-Otel 9010)) Cavalcade (1934) · Not to be taken with you (1939)
    1940s-1950s Gone with the Wind (1940) Rebecca (1941) That it was my green valley (1942) · Mrs. Minivive (1943) · Casablanca (1944) · Moving (1945) 9010 Life (1947) · invisible wall (1948) · gamlet (1949) · All kings (1950) 9010 (1952) Around the world for eighty days (1957) · Bridge across the KwAI River (1958) · GIZHI (1959) 9000 9000 0101010101010101010AL10101010101010101010ARED0007                        
    1960-1970 Ben-Hur (1960) Apartment (1961) · Wesets History (1962) · Arabian (1963) · Tom Jones (1964) 9010 The Sound of Music (1966) Man for Eternity (1967) In the midst of the night (1968) Oliver! (1969) Midnight Cowboy (1970) · PATTON (1971) · French communications (1972) Cross Father (1973) 9010 and Part (1975) · Flight in the cuckoo nest (1976) · Rocky (1977) · Annie Hall (1978)
  • 0010 (1979)
  • Years 1980-1990 Kramer v. Cramer (1980) Amadeus (1985) From Africa (1986) Platoon (1987) 9The last emperor (1988) · rain people (1989) · Miss Daisy (1990) · Dances with wolves (1991) · Silence 92 (1992 ) · Setter Webated (1993) · Schindler List (1994) · Forrest GAMP (1995) · Courageous heart (1996) · 904 · English patient (1997) · Titanic (1998) · Shakespeare in love
    2000-2010 Beauty in American-American (2000) · Gladiator (2001) · Lovely mind (2002) · Chicago (2003) · Owner REVELOV: Return Korol: Return Korol: Return Korol. 0010 (2004) · Baby per million (2005) from slums (2009) · Offended cabinet (2010) · Speech King (2011) bondage                      
    Years 2020-2030 Parasite (2020) Nomadland (2021)

    Golden Globe Award for Best Drama Film

    1950s place under the sun (1952) · The greatest show on Earth (1953) · on the embankment (1955) · To East of Edem (1956) · · days (1957) Bridge over the River Kwai (1958) Chain (1959)
    1960-1970 Ben-Gur (1960) · Spartak (1961) · Navarona guns (1962) · Arabian (1963) 9010 Becket (1965) Doctor Zhivago (1966) Love Story (1971) 75) · Flying over the cuckoo’s nest (1976) · Rocki (1977) · 2 turning point (1978) $ 9000 (1979) (1979) (1979)
    Years 1980-1990 Kramer vs. Kramer (1980) Ordinary people (1981) Lake house (1982) Alien (1983) (1988) · rain people (1989) · Born July 4, (1990) 0007 Output time (1993) · Schindler List (1994) · Forrest GAMP (1995) · Reason and sensitivity (1996) · English patient (1997) Titanic (1998) Saving Private Ryan (1999)
    2000-2010 Beauty in the American-American (2000) · Gladiator (2001) · Lovely mind (2002) · Clock (2003) · Vlastelin Ranitz: Return Korolin Korolin Return: Return Koroli ) · Aviator (2005) · Gorbatai mountain (2006) · Babylon (2007) ·

    103 (2009)

    · Avatar (2010) · Social Network (2011) · descendants (2012) · Argo (2013) 2014) · adolescence (2015) · survivor (2016) · Lunar light
    (2017) 0010 (2019)                    
    Years 2020 1917 (2020) Country of nomads (2021)

    Read Dances with Wolves online by Olesya Riyako - LitRes


    ... - And again the question - kind little I am a bird that sees no evil... or just stupid?

    - Enough! I don't want to hear another word from you!

    Derek laughed louder than before and asked, narrowing his eyes like a cat:

    – What do you want, little bird?

    - Leave. Vivienne said boldly and pursed her lips, preparing for a new portion of jokes in her direction.

    - So go. - Suddenly, the owner of the house calmly answered, waving towards the door, to which the girl was only a step away.

    Sensing a catch, but not wanting to give up the opportunity, Viv stepped towards the exit and even managed to pull down the heavy copper handle, but… her. He pressed his hands against the door on either side of her head, leaving no wiggle room. Vivienne shuddered as she felt his lips touch the back of her neck... and noisily inhaled the scent of her hair.

    Instantly seething with indignation and anger, the girl turned sharply to him, meeting Derek's gaze. Eye to eye, that viscous amber in his irises seemed to glow from within. For this light, the reflections of the fire in the fireplace and the moon outside the window were enough: full, calling, gloomy, because of the clouds that covered it.

    Vivienne involuntarily looked down at Derac's lips. Plump, vulgar, such would suit some girl more. They were the only sensual part of his appearance, but for some reason they suited him without detracting from his masculinity.

    The girl trembled slightly from a strange thought that came to her mind :

    the light went out, in an instant making the air in the room as if a thousand times thicker and denser.

    The smell of dust accumulated on the old velvet upholstery of the chairs in the auditorium and the stuffy perfume of one of the teachers, as if on purpose right now they were ousting all the oxygen from here.

    - Hey! What's happening?! – breathed dissatisfied male voice.

    Smoky and rude, which was difficult to confuse with another - the voice of Dean Haggen.

    Vivienne pressed her hands trembling with excitement to her chest and exhaled noisily, trying to collect herself. After all, she barely had time to start dancing!

    - Call Mike, what a mess!

    The impenetrable twilight buzzed with the displeased hubbub of whispering spectators. There were few of them. Only five teachers and maybe a dozen guys who wished to stay after their own performance to look at the numbers of others. But even that Vivienne was enough to be confused.

    It was as if she did something wrong: she fell during the performance or forgot to move in the middle of performing the combination ... and not an unknown force de-energized the hall, abruptly breaking off the dance in front of the selection committee.

    Somewhere in the abyss of darkness, several flashlights and phone screens lit up. And then, at the back of the hall, a door opened, revealing a male silhouette in a stream of bright daylight.

    - Sir, we have nothing to do with it. It's all over the building. The entire body is de-energized, at least! I have no idea what's wrong.

    - Well, figure it out!

    The dean flared up and exhaled noisily, waving his hand at the stage, on which a frail red-haired girl in a thin blue tunic over a skin-tight gymnastic suit huddled with excitement.

    – Miss…

    – Eller. Vivienne Eller, sir.

    - Uh... yes, exactly. Let's take a break. Wait in the lobby, if the electricity is not fixed, then my assistant will tell you the new interview time.

    “Excuse me, sir… I… maybe I…” the girl turned to him guiltily, but no one was listening to her anymore.

    All the members of the selection committee, led by the dean, had already left their seats and, talking noisily, went to the only source of light in the hall - the wide-open door.

    Vivienne clenched her fists painfully and clenched her teeth tightly, holding back her indignation. After all, from the very morning everything seemed to be against her.

    Cautiously, almost by touch, the girl descended into the auditorium and picked up her sports bag from the floor, which had been left by the stage.

    Under a thick raincoat with the logo of a famous sports brand, the phone immediately vibrated.

    Three calls from a blocked person, six messages from Debbie and one very fresh voice message from Clara.

    Viv rolled her eyes in displeasure and slung her bag over her shoulder as she trudged out of the room.

    – Phew… Clara, you know I hate voice…

    I couldn’t find the headphones in my bag to listen to, so I decided to postpone the message from my cousin Vivien until later. Debbie, as always, was in her repertoire:

    07:33 "Where are you?"

    08:54 “I just found your note! How could you leave without me and not even tell me anything?! A note under your pillow? Seriously?! We got together next week!”

    09:10 “I was offended. Don't call me again.”

    And then:

    09:12 “I was joking. How was it?"

    11:05 “Look, I certainly know that you must have had a good reason to break into an interview without even saying anything to me, but you have put the whole boarding school on the ears. Madame Inners is looking for you. HERSELF! Just came into our room!”

    12:45 “I was being questioned by your uncle's lawyer just now. Viv, what have you done? If you need help - just tell me, you know, I'll put eyes on any terminator's ass for you! I'm not complaining, but WHAT THE HELL IS HAPPENING?!"

    12:46 "Viv! I didn’t say anything to him, but he saw the interview invitation envelope on your nightstand!”

    – Miss Eller?

    Vivien turned around in fear. Directly behind her stood a short, balding man in a dull charcoal suit and a white, immaculately pressed shirt. She had not seen him before, but from the contented smile that touched his lips only for a moment, she immediately understood that he recognized her.

    - Who are you?

    - Simon Wright, your uncle's lawyer. You made me run in the morning.

    Vivienne grimaced in displeasure, making no attempt to hide her attitude towards his words.

    - Sorry, but I didn't force you.

    The man snorted, surprised at the audacity of a girl who was barely eighteen. Most likely, moving only in the same circles as her uncle, he was hardly accustomed to dealing with someone for whom his status and merits did not matter.

    - Anyway, I'm glad I finally found you. - With these words, the lawyer politely offered her a bent elbow. - Let's go.

    The girl looked at him disdainfully and, adjusting the wide strap of her sports bag on her shoulder, leaned against the wall behind her and defiantly folded her arms across her chest.

    – I have a speech before the admission committee soon. And anyway, what makes you think that I'm going somewhere with you? I'm already eighteen. My uncle is no longer my guardian and I am not obliged to obey his orders.

    Mr. Wright smiled unpleasantly. Vivien literally felt his annoyance with her skin. As if a little more and the mask of decency will fall off his face, and the lawyer himself will slide into rudeness and threats in an attempt to force her to do what his employer wants.

    But she wasn't afraid of him. And my uncle too.

    After all, there were a lot of people around, in the hall of the Institute of Arts, where she came hoping to enter the faculty of modern dance. And Vivienne, as she already said, albeit only two days ago, but turned eighteen.

    - I'm afraid you won't be speaking today. Didn't you hear? There's some kind of electrical problem here. The entire body is de-energized.

    Viv widened her eyes in fear and immediately pursed her lips.

    – You… what did you do?

    - No, you are. I'm a lawyer, not an electrician. The man laughed. “Just a lucky coincidence. And since we found out that you are not busy today, then...

    - It doesn't matter. I won't go anywhere with you.

    Viv wanted to pass him, but Simon caught her by the arm and unexpectedly painfully dug into her with hard fingers, pulling the girl to him so that only she could hear the following words:

    – You will go. Miss Eller, although we've never met before, I know more about you than you can imagine. For example, I know that you are not a stupid girl at all. So, I don’t even have to explain to you that your further resistance will definitely deprive you of the opportunity to enter this institute as well. And generally in any other where you can try to get a scholarship. On the contrary, if you stop bickering, your uncle will no doubt gladly assist you on the path to your bright goal.

    “I don’t want anything from him…” the girl growled through her teeth. “I'm tired of being his china doll. As if for furniture ... as if I had no feelings! Go there, do it... I'm an adult! Now I will decide for myself. I have a right to it.

    Sternly she rapped out every word right in his face.

    The lawyer looked at her thoughtfully and suddenly let her go, taking a step to the side.

    - You are right. Decide for yourself, Miss Eller. But I will still hope for your prudence, and therefore a car with a driver will be waiting for you at the entrance. And yet ... - he turned around, having already taken a few steps away. “Mr. Smith may not be the easiest and most pleasant person to deal with, but ... are you sure that after all that he has done for you, your uncle is not worthy of even a drop of respect?

    Chapter 2

    – Phew…

    Vivienne touched her temples with her fingers and grimaced, her head ached, and everything in her eyes swam so that it was impossible to open them without feeling sick.

    It seems that she was sick on the road, and she herself did not notice how she fell into a dream. The crazy nervous night the day before, which included an escape from the boarding school, a hitchhiking trip to the city, and the first descent into the crowded morning metro in her life, had an effect.

    For a girl who saw the crowds and the noise of the big city only in films, all this turned out to be an incredible stress. Needless to say about the excitement before the performance, which, in the end, did not take place.

    Vivienne had the feeling that at least a month had passed since that fateful call from her uncle, and not just a day. And after all, could it be worse to congratulate a niece on her eighteenth birthday than Eliot Smith did?

    “I want you to come. Tomorrow.

    - Hello, uncle. Thank you for your congratulations! I was so happy to receive your gift!

    Vivien cooed into the phone, deliberately feigning joy.

    - What gift?

    Her uncle's hoarse voice came from the other side of the line.

    - Exactly. Viv grinned mirthlessly into the phone. “Clara, of course, sent me the box on your behalf as well. But I know that you have not laid a finger on any of my gifts for all eighteen birthdays.

    Uncle's annoyance seeped into the air in her room even through the tube.

    - All these years I paid for your education and supported you, and you decided to scold me for not sending you a teddy bear with balloons?

    Viv closed her eyes as she felt his indifference pierce her heart like a sharp needle. Again. For the umpteenth time in her entire life ... and after all, her uncle was, in fact, her only loved one.

    The only one who remembered her parents alive and could share with her these precious memories for an orphan.

    - So that's how you see it...what a fool you are, Eliot. Do you really think all I want from you is money? Really, it never even occurred to you that a girl who was left without parents at only six years old might need anything from you except money ...

    - Save these sentiments for another occasion. I need you to...

    - Uncle, it's my birthday!

    - ... returned home. Don't delay, I'll send a driver.

    Vivienne sighed wearily. Yes, his coldness still hurt her. But she was already used to pain and coldness.

    - I can't. I have things to do.

    - I don't want to hear anything. I need you here.

    - Bye, Eliot. And thanks for the congratulations."

    After spitting out those words as if she was bitter, Vivienne ended the call and immediately added her uncle's number to the blacklist.

    The girl knew that Eliot Smith couldn't take no for an answer. Especially from those who, like Viv, depend on him for everything. But she wasn't going to take it anymore.

    On that day, Vivienne Eller decided to act in order to regain her freedom no matter what!

    But fate decreed otherwise, disrupting her speech before the selection committee. Going against her uncle, she could only count on a scholarship and she had every chance for this ... but there was no time.

    It was impossible to hide from my uncle, and if he found her, he would, as his lawyer said, really do everything to put his niece, who decided to taste independence, in her place.

    But what could be such an urgent need for her to return home that her uncle even raised the whole boarding school to its ears and sent his chain lawyer for Vivien?

    The girl leaned forward a little, looked at the driver, who was intently looking at the road, and looked out the window.

    There was a forest all around, no matter which way you looked. And the car went deep into it along a knurled, but slightly bumpy road. Viv looked fearfully at the short-cropped back of the driver's head and cautiously asked:

    - How much longer?

    The man either did not hear her, or deliberately ignored her. And only the girl was about to repeat the question, as the big black SUV in which she was traveling turned onto a gravel road that had come from nowhere.

    The forest parted a little ahead and Vivien held her breath as she saw a huge mansion ahead.

    Finished with light stone, in the light of the moon it seemed unreal. Its walls reflected light, as if making them glow from within. Tall columns above the entrance supported a large balcony on the third floor. There were no lights in almost all the windows facing the forest.

    - This is some kind of mistake... Where are you taking me?

    The girl knew that her uncle was not a poor man. But he certainly couldn't be that rich.

    The driver again did not answer his passenger, but she was afraid to ask again. Because ahead, at the vast marble stairs leading to the house, she already saw two gangster-looking men, closely following the approaching SUV.

    In a panic, the girl rushed to the passenger door and pulled on the handle. But she didn't give in. Vivien furiously kicked the front seat, shouting to the driver:

    - Stop immediately! Hey! Do you hear? Let me out of here!

    But the man didn't even pay attention to her, continuing to taxi to the driveway.

    - Well, that's it! I'm calling the police!

    With these words, the girl ran her hand over the seat where she had left her purse with the phone inside. But she felt only emptiness...

    And cold, viscous fear immediately took possession of her body.

    Meanwhile, the machine slowed down and stopped.

    As soon as the unlocking of the locks clicked, the door on your side opened and two hefty hands grabbed the girl, pulling her out against her will.

    - Get your hands off me! Let go! I will scream!

    – Hehe… yes, come on, shout, and we will listen! one of the thugs laughed, obviously waiting for her.

    - Yeah, no one else. Here for a hundred kilometers there are only Christmas trees, and squirrels ha ha ha! ' said another to him.

    Vivien jerked with all her might, trying to break free of the thug's grip, but the thug only tightened his grip on her shoulders.

    - AAA! Help!

    A hefty hand immediately covered the girl's mouth, practically depriving her of the opportunity to breathe. Viv thrashed in the thug's arms, but it was all in vain.

    - Hey, take it easy! Derek won't thank you for a dead girl!

    - Do you think? And I think he'll be fine. He hates redheads!

    – But I love…

    The bald man smiled carnivorously and his eyes seemed to glow in the darkness, reflecting the moonlight.

    He came closer to the girl and in a businesslike way removed a bright red strand from her tear-stained face.

    She twitched and whimpered from impotence. But that was all she had.

    - After the selection, I will ask for it for myself. Do you hear, redbone? You will be mine, I promise you! Ha ha ha!

    Chapter 3

    With her hands behind her back like a criminal, Vivienne was dragged into the mansion through the wide-open front doors. The bald man roughly pushed the girl in the back of the head, forcing her to look down at the floor. All she could see was a huge winding staircase to the upper floors and a dark space, lined with marble and wood, like in some kind of Victorian castle.

    - Just try to raise your head! - the bald man boomed with a threat, - you decide to stare around - you will get it without warning!

    Vivien was not led, but practically carried up the stairs. All she could see through her thick red strands falling over her face was how dark it was. And yet, where the light of the moon penetrated through the uncurtained windows, the girl noticed individual elements of luxurious but outdated furnishings. The floors of the house were covered with carpets, the walls were covered with old portraits and dark landscapes...

    Suddenly, the movement stopped, and her guards hesitated for a while at the door, apparently waiting for it to be opened from the other side. At that moment, Viv managed to look up and look around without them noticing.

    The long corridor she was in diverged in different directions as far as the eye could see, and then curved. They must have been in that wing of the mansion that looked like a tower from the outside. Gently looking around the space so as not to be noticed, the girl’s gaze met eyes… No, not with real ones, but with painted ones, but this look, frozen on her, seemed to look into her very soul and awakened something gloomy in Vivien… As if a long-forgotten memory or a dream in which she had already met someone with the same bright, tenacious gaze.

    The crackling of logs in the fireplace, an earthenware mug warms your hands, over which steam with the aroma of currant leaves and wild rose berries curls, and opposite it he is this man from the portrait. Only as if the other - much younger, brighter, lighter and in the features of his face much more kindness.

    Viv closed her eyes, driving away a strange, as if not her own, inspired memory, and carefully, trying not to draw attention to herself, looked at the portrait of a stranger.

    From an old canvas darkened by time, a man with beautiful, but slightly predatory features was looking at the girl. Under his bright, piercing gaze, Vivienne suddenly felt like an animal hiding in a dark corner, hushed, but realizing that the predator had already attacked her trail. And with these luminous eyes from the darkness her very death is looking at her.

    Squeezing her eyes shut in fearful foreboding, Viv implored wordlessly:

    “If there's someone up there… don't leave me, please! Mommy, daddy... I know that you don't leave me, what do you hear... and have always been by my side, even despite what happened to you. Please, someone help… Just give me a chance to escape, and I will use it!”

    The door in front of the girl quietly creaked and opened. The brute, without ceremony, pushed her inside and followed him along with the bald one.

    And Viv, taking two quick steps forward into the darkness, almost knocked over the girl. She awkwardly held her hands, and their eyes met. Thin, dark-haired, with blue eyes that seemed brighter because of the tears standing in them. She silently wept and trembled.

    Turning around, Viv saw a whole crowd of men at the far end of the room, by the fireplace, and a dozen more girls rounded up in the center. All hunted, trembling, crying or frightened, covering their faces with their hands. These girls had one thing in common - they were beautiful and young. Hardly older than herself ... more like the same age.

    However, looking closer, Vivienne realized that not all of them were scared. Confused, yes, but some looked with strange interest at the men frozen behind them. The same ones stared unabashedly at the girls from the twilight of the room, talking, laughing, pointing fingers at one or the other. ..

    And perhaps it only seemed to her from fear, but their eyes seemed to gleam from time to time. Like wild predators in the night… like that man in the portrait… or the guy from her forgotten dream…

    Of all the sources of light in this huge room, most like a living room or a fancy dining room, there was only a fireplace with coals burning in it.

    Almost all the windows here were drawn with thick curtains, and the moonlight, breaking through the only open one, was barely enough to illuminate the silhouettes of men walking around the hall.

    The door - the only way out - was left behind them and Vivienne raised her chin high, deciding that no matter what happened to her next, she would never succumb to fear, like other girls. And he won't give up without a fight.

    But not even a moment passed before they noticed it. The bald man flew up to her unexpectedly and pushed her in the neck so that the girl could not stay on her feet.

    - I said eyes on the floor!

    Biting her lip in anger and resentment, Vivien looked up at him full of hatred, but at the same moment the door behind the man burst open, and someone from the crowd gathered here loudly shouted:

    – On your knees! On your knees before Alpha, fools!

    The girls, one after the other, began to obediently fall down onto the cold parquet. Vivienne also froze. But she did not lower her head, as before. Just a little bit to let the unruly red locks hide her gaze.

    Through thick strands that fell over her face, she saw a pair of rough man's boots come to a stop at a brunette woman doubled over.

    The one who a couple of moments ago did not let her fall.

    – Twelve… Only twelve?!

    A low voice reverberated over the girl's head, as if it were a deep vibration in her own lungs.

    - People seem to forget what they pay me for...

    - That's all there is, master! came an alarmed voice from the direction of the fireplace. - There are fewer and fewer followers ... Their offspring are leaving for other cities and countries. Twelve girls born in the year of the wolf is already a lot ...

    - That's not enough! boomed the voice of the one they called the master, and Viv felt her body rush to the floor on its own.

    “Just to become more inconspicuous, just not to catch the eye of this terrible man…” she thought.

    – For two hundred years, among the hundreds, there was not a single suitable one… And now you brought me only twelve?!

    The silence that descended on this hall became absolute. So much so that Vivienne could even hear the breathing of the dark-haired girl closest to her and the creaking of the parquet under the rough boots of the man.

    “Please, master… just look at them!”

    - Of course I'll take a look. Because if none of them fit... I will break the contract with people and I myself will take from them what belongs to the pack! he growled with such anger that Vivien's breath caught in fear.

    And not only her. The men behind him whispered softly. Someone excitedly, someone not hiding their joy. And Viv, taking advantage of the moment, cautiously raised her eyes above and looked at this formidable “master” of them.

    In the twilight of the moon, filtering into the room through a barely open window, she saw a tall man in dark jeans and a loose black silk shirt. He stood with his back to her. Dark hair fell in unruly waves over his broad shoulders. Smooth silk, like a second skin, outlined the powerful relief of muscles. Not only the stranger's voice, but also his appearance was awe-inspiring, and Viv noticed the men on the other side of the room backing away, just looking at him. And some even duck their heads when he touches them with his eyes.

    “It's not just…”

    Viv's eyes narrowed with bad forebodings, Viv thought that all these girls were not brought here as free labor… And not even to demand a ransom from their relatives. Because if you think about the words of the “owner”, they were the ransom for this terrible man ... but ransom for what? It remained a mystery to Vivien.

    Trembling with fear and uncertainty, the girl bent down to the floor just in case. Hoping that this terrible "master" will start choosing someone else from the girls, and look at her last. In the end, the bald one said that he hates redheads ..

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