Stolen Women (Sun. (16), 9-11 p.m., CBS) Filmed in Kansas by CBS Prods. Executive producer, Leigh Murray; producer, Vanessa Greene; director, Jerry London; writer, Richard Fielder; camera, Frank Prinzi; editor, Bernard Gribble; production design, Bryan Ryman; sound, Joseph A. Melody; music, Nancy Severinson; casting, Lisa London, Rene Haynes. Cast: Janine Turner, Jean Louisa Kelly, Patrick Bergin, William Shockley, Michael Greyeyes, Rodney A. Grant, Saginaw Grant, William Lightning, Dennis Weaver, Selina Jayne, Kateri Walker, Apesanahkwat. Period meller ripped from the headlines of 1868, “Stolen Women,” based on actual events, is an interracial soap opera set amid Kansas homesteaders featuring lovely Janine Turner as a feisty frontier wife in the Juliet role and hunky Michael Greyeyes as the Lakota Romeo. It’s all so romantic and beautifully photographed, auds will forget the opening settler slaughter that brought the two lovebirds together. “Women” bows with the Lakota attacking a wagon train, but sexy Tokalah (Greyeyes) refrains from killing Anna (Turner), and Anna can’t figure out why the warrior gave her the long, deep stare that he did. Turner makes her way to Ft. Hays, Kan., where she’s set to marry rock-steady farmer Daniel Morgan (Patrick Bergin). But shortly after the wedding , Tokalah and friends invade the modest Morgan log cabin and kidnap Anna and her girlie-girl girlfriend Sarah (Jean Louisa Kelly). A U.S. Army posse fails to find the women; meantime, Turner transforms into a beautiful squaw and realizes that Tokalah is the man of her dreams. Great use of locations and camerawork by Frank Prinzi, and snappy direction by Jerry London gloss over some more troublesome aspects of “Women,” but the main focus of Richard Fielder’s script is the romance of Anna and Tokalah. And an old-fashioned caveman-type romance it is: She is kidnapped by a half-naked hardbody who, as Tokalah tells Anna, had seen her in a vision and knew that she was his destiny. Oh, be still my heart! Like “Dances With Wolves,” which raised popular awareness of the Native American plight in the late 1800s, “Women” is sensitive to the Lakotas, using the Lakota language (with subtitles) and Native American actors. Story is couched in the emotional context of racism, with the tangled politics of manifest destiny left back at the ranch. Turner and Greyeyes are fine, but rest of cast, including Dennis Weaver, who seems somewhat punch-drunk, and William Shockley as an arrogant George Custer (featuring a gorgeous head of Metallica-like blond hair) skim through the telepic, barely making an impression. Kelly, as the obstinate Sarah, is annoying, but that’s her role, to be annoying and frivolous, as if the Lakota snatched Amy from “Little Women,” and then regretted it. Tech credits are tops.