Episode 33
Episode 33: Early January, 1876
Scene 1: Late morning, the Elliot house. Lydia is standing in Libbie's dressing room surrounded by her mother, Delie (her maid), and one of Libbie's maids. Lydia is dressed in an old-fashioned gown of thirty years before, complete with voluminous skirts.
Maid: You look right stunnin', Mrs. Marshall, if I may say so.
Lydia: Thank you.
Eleanor: My Lydia is Miss Elliot for today, or for the next few hours at the least.
Maid: So sorry, madam.
Eleanor: Quite all right.
Libbie: Breezes in, blue stockings in hand. Good God, Lydia, you don't even look pregnant!
Lydia: Is that a compliment?
Libbie: I think so.
Eleanor: Is young Philip all right?
Libbie:Yes, now.
Lydia: Another button?
Libbie: You're very presumptuous and brazen for an innocent bride-to-be.
Lydia: I have been compromised, you know.
Libbie: You little hussy.
Lydia: So, what did Philly put up his nose?
Libbie: One of the beads off his moccasins.
Eleanor: That's the Elliot in him. Elliot men were known for that. Phil did it, his mother told me. Philip did it many times.
Libbie: Oh, really! I'll have to have a talk with him. He blamed it on my father.
Eleanor: Your father had an affinity for lifting up the skirts of any young woman he could find, or so I'm told. He was smart enough to stay away from the older ladies who would give him a licking, though I have it on very good authority that he did it to a certain young princess when they were still in the nursery.
Libbie: He never told me this!
Eleanor: He is a smart man.
Libbie: I have blackmail material on two men now, not to mention all my brothers.
Eleanor: I could tell you plenty of things. Charles did many things in his youth that would shock you now. I'm not sure Mary knows about them.
Libbie: How do you know about them?
Eleanor: I'll only say you should never trust your Uncle Phil with your confidences.
Libbie: A gossip?
Eleanor: Only in certain situations, if you know what I mean.
Lydia: Mother!
Eleanor: Oh, Lydie, you're married, you mustn't be such a prude.
Lydia: I do not want to hear about you and Daddy... you know...
Phil: Your mother and me which?
Lydia spun around and flushed. The other women in the room giggled, Phil stood calmly pretending he didn't know what they were giggling about.
Phil: Are you ready, darling? It's almost time to leave.
Lydia: I think so, Daddy.
Eleanor: She is ready. She kisses her daughter on the cheek. I could not be happier if this were the first time, Lydie. She takes Libbie by the arm. Come, Libbie. Let's go wrap up my grandsons. It's very cold outside.
Scene 2: Belleterre, a short time later. The library has been filled with chairs and decorated. Several maids make last-minute adjustments, but everything is prepared. The altar, the alcove under the balcony, remains untouched and peaceful.
Christopher and Nick appear on the balcony through a small door. Christopher walks to the railing, leans over, and strains to see the altar.
Christopher: Why does this feel like the first time, like we haven't already been married for five months.
Nick: That's simple. You had no family with you the first time 'round. I think the nervousness comes from having all your loved ones witness the event. I had no qualms about the ceremony itself.
Christopher: Perhaps.
Nick: Having Uncle Phil and Aunt Ellie take control can't help, either. You mustn't compromise your bride before the wedding, whether the deed has already been done or not. I understand Louisa promised to paint Lydia as slender in the wedding portrait.
Christopher: How's that little affair going, by the way? I've been so distracted, I haven't had the opportunity to ask.
Nick: Watch yourself, Chrissy. I can throw a punch harder than Philip. You wouldn't want to spend another month of newly-wedded bliss with a shiner.
Christopher: Lydia would not be pleased with you.
Nick: I think she would be amused. He takes a long look at his brother. You need a drink.
Christopher: I promised Uncle Phil I wouldn't. Besides, I have a better method of relieving tension, a talent you don't posses, I'm sorry to say.
Christopher trotted down the stairs, sat the piano, and put all his energy into pounding out Beethoven.
Scene 3: An upstairs bedroom at Belleterre, the same time. Georgie has just returned to the room to the room with Tess. Tess is dressed for the imminent occasion; Georgie has yet to change.
Tess: They all want you for their personal seamstress.
Georgie: I find it very flattering. Mary actually offered to pay me to come with her to England for a time. I suppose she wasn't told my past.
Tess: And have the poor dear faint? You could still move here. We could provide you with plenty of work. And the town needs a doctor.
Georgie: Maybe in time. Grandmother is still in San Francisco, though, and my business, and the hospital. Gabe loves his hospital.
Tess: I know, but we're the best of friends and we haven't spent much more than a month in each other's company.
Georgie: It is not needed, dear. We formed a bond a year ago—it will be a year in two weeks, you know—and it is like you are in the room speaking with me whenever I read one of your letters.
Tess: It isn't the same.
Georgie: You and Nick should come visit us in San Francisco, then. You've never seen the Pacific, and Stuart is very close to agreeing to return with me until she has the baby.
Tess: Nick doesn't like traveling, he tells me, but I'm sure I could convince him eventually. How is Stuart doing, by the by? You and Gabe have had more opportunity to speak with her in the past few days than I have.
Georgie: Gabe claims she's still over-working herself, but she and the baby are perfectly healthy.
Tess: I hope that continues. I only wish Stuart could keep the baby. She needs some joy in her life.
Georgie: Yes, I agree, but she wants to give the baby a better chance. Whether she comes back with us or not, she has already agreed to let Gabe find a home for the little one. Now, can you help me out of this dress?
Tess: Of course, but you should design them so women can take them off and put them on without aid, independent woman that you are.
Georgie: Dear, the prettiest dresses are the hardest to put on, everyone knows that.
Tess: Perhaps you can bring about some change.
Scene 4: A snow-covered lane a short distance from Belleterre, early afternoon. Lydia and Phil are riding in a small, open carriage with Phil at the reins. Lydia's dress takes up much of the seat, and her heavy veil covers her face.
Phil: I'm glad you're doing this for me, Lydie. You haven't any idea how happy it makes me.
Lydia: I know, Daddy. You've told me several times.
Phil: Have I?
Lydia: Yes, many times. There is a long pause. Both are silent. Daddy?
Phil: Yes, dear.
Lydia: What did you really think when you discovered Christopher and I were married?
Phil: I already told you, Lydie.
Lydia: Not really. Please, tell me the truth.
Phil: Well... He pauses, not sure what to say. I was angry at first, of course. Not at you, at Christopher. I was disappointed that you hadn't trusted me enough, but after a few days I came to realize why you did not. Then I was more angry at myself. I was trying to improve our family's standing by marrying you to some titled buffoon without considering your well-being. Christopher is a fine young man, Lydia, and he loves you. I may know him better than I know my own son.
Lydia: So you truly are glad I married him?
Phil: I would be disappointed if you'd married anyone else.
Cut to: An upstairs bedroom at Belleterre. Eleanor, Elizabeth, Mary, and the unmarried ladies of the house are gathered in wait. Eleanor keeps vigil at the window, nervously waiting for Phil and Lydia to appear coming down the lane.
Elizabeth: They are not late, Eleanor. There is no need to worry.
Eleanor: Lydia was ready when we left. The should have come along directly behind us.
Elizabeth: Phil is likely driving slower to have more time with Lydia. There is no need to worry.
Grace: I'm worrying. If I don't get out of this thing soon, I'll faint. Julia laced me too tight.
Mary: It will do you good to faint a few times, dear. You need to learn how to do it gracefully.
Grace: Why do I need to do it at all?
Mary: So your man can catch you, of course. That is how you catch them. It worked with your uncle Charles, though I was mortified at the time.
Grace: I'm related to all the men here.
Mary: And you're too young, but you need the practice.
Grace mutters an unintelligible expletive, then gets an idea. She smiles and composes herself, apparently accepting her fate.
Eleanor: Are you sure that... whatever you call him knows the proper vows? Whoever heard of an all-purpose holy man?
Elizabeth: Reverend Harris is the only minister in this area and the religions are quite varied. He knows the customs of all the major denominations. He has performed this particular ceremony several times.
There is a scuffle at the door. Someone opens it, and a red ball of hair dashes in. Connie runs after it a short time later.
Mary: I told you to keep that little mongrel in your room for today, Constance Imogene.
Connie: Her name is Prinnie, Mama, and she had to go wee-wee. Then she got away from me.
Mary: Let the help take her outside, Connie. We can't have her ruining our dresses.
Maid: I'll take her outside, your Grace.
Mary: Please, do. Then return her to Lady Constance's room. Connie, you will stay here. All that running around you'll ruin your dress.
Eleanor: Oh! They're coming.
Elizabeth: Come, we'll go down to the library now. You girls wait here.
Mary: Carey, you know how it's to be done. Make sure everything goes smoothly.
Carey: I'm an experienced maid of honor, Mama. I know what to do.
Scene 5: Outside at Belleterre, an hour later. Joe, carrying Olivia, is about to leave. Christopher and Lydia, still in full dress, stand together to say goodbye.
Olivia: It was a beautiful wedding, Chrissy.
Christopher: I'm glad Dr. Hewitt let you come.
Christopher gives his sister a hug and kiss. Lydia steps forward and does the same thing.
Lydia: Get well, Olivia. Our babies need to play together.
Olivia: I'm trying. I'm sick of being useless. You two are newlyweds again. Take advantage of it.
Christopher: We plan to.
Grace runs out of the house just then. She has changed out of her bridesmaid's gown and is wearing a split skirt.
Grace: You don't mind if I leave you, do you, Lydie?
Lydia: Where are you going?
Grace: I thought I'd help Joe get Livie settled back in bed.
Olivia: You're a darling, Gracie. Of course Lydia doens't mind.
Lydia: I don't, Grace.
Grace: Thank you. You can take her on ahead, Joe. I'll saddle my horse and catch up.
Cut to: Joe and Olivia's house, some time later. Olivia is settled in her bed, and Grace is seated beside her with Joey in her lap.
Olivia: Thank you for coming, Gracie. You should visit more often.
Grace: I will. Then I can... She attacks Joey with tickles. He bursts into giggles and high-pitched screams. ... tickle my nephew. Libbie's and Vic's children don't let me do it.
Joey: Will you... Will you... Grace lets up and allows Joey to sit. Will you take me riding some time? Mama can't to it no more and Papa doesn't ride fast with me. Mama says you ride horses real good.
Grace: I'd love to, Joey. Right now I'd better go back to the house, though.
Olivia: Thank you, Gracie. She whispers something in Joey's ear.
Joey: I will see you to the door, Aunty Gracie.
Grace: Thank you, Joey. You're such a gentleman.
Cut to: Tess and Nick's house, some time later. Grace has just ridden up.
Grace leaves her horse in the barn, but does not find Stuart. She walks to the house, onto the porch, and does not knock when she walks in. She hears singing, but it is a female voice. The words are not English. The music comes from the first bedroom. Confused, she knocks on the door.
Stuart: Softly, from within. Come in.
Grace enters and stops short. There, just ten feet from her, is Stuart. Stuart wears trousers, but her shirt is untucked and pulled up, revealing her obviously pregnant state. She has not bound her chest. Stuart continues to caress her stomach and doens't look up.
Stuart: I didn't think you'd be back so soon. She begins to look up and turn around, letting her shirt fall. How was the— Oh, my God! Grace, I— Grace, wait! Let me explain!
But it is too late. Grace has already run from the house. Stuart rushes back to her room, pulls on her boots and some warmer clothes, and runs out to the barn. She pulls a horse out of its stall, doesn't bother with a saddle, and is racing out of the barn seconds later. She catches up to Grace in the middle of the field and yells at her to stop, but Grace ignores her. Stuart moves closer, grabs the reins, and forces Grace to stop.
Grace: You've been lying! You've been lying all this time! And living in Tess's house doing God-knows-what with my brother!
Stuart: Grace, it's not what you think. I— Ohhh!
Stuart doubles over in pain and starts slipping off the horse. Grace jumps off hers just in time to prevent Stuart from dropping to the ground. She takes off her coat and a blanket from her saddle and wraps both around Stuart.
Stuart: Clutches at Grace's sleeve. Get Dr. Hewitt. Quickly. Grace pauses, not knowing what to do. Please! I'll explain everything to you later.
Grace finally swings back onto her horse and races back toward Belleterre.
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