Episode 36
Episode 36: Early February, 1876
Scene 2 written by Heather
Scene 1: Liberty Creek, morning. Much of the Marshall family is gathered in front of the store. The stage is there and luggage is being loaded. Flora Campbell is standing uncomfortable beside Richard, her young son at her side. Belinda is absent, but Adam is there.
Richard: To Adam. Are you angry with me, as well, son?
Adam: Not at all, Father. You have my blessing.
Richard: Thank you. Are you still considering persuing a career in the navy?
Adam: Yes, sir.
Richard: Good, good. Perhaps you'll end up in Australia. Your uncle will be able to help you out. He has connections. You'll only be here another week. Make the most of it get acquainted with your family.
John Henry: We'll force him to. Good luck with everything, big brother. He hugs his Richard, who is surprised and a little embrassed, then turns to Flora. I think you're the only woman who could entice Richard into marriage, I'm only surprised Richard was the one who captured your heart. I thought you hated the English.
Flora: Aye, I still do, but we'll no' be livin' in England. I'll manage.
Nick: Be sure you take care of my horses, Uncle. None of them have been on a train or ship before. They may not like it.
Richard: I'm making a considerable investment, Nick. I would not dare let them be harmed. I'm glad you were willing to wait such a long period of time for payment.
Nick: I imagine Uncle Charles can be trusted to forward the money when he returns.
Driver: Okay, folks, we'll have to get movin' soon.
Flora's son, Jamie, enters first, followed by his mother and Sally.
Flora: Thank you for comin' to stand up wi' me, Sally. I know you'll be missing a week of work.
Sally: Think nothing of it. The girls are not complaining about the missed week of studies. As for myself, the week is the honeymoon Freddie and I never had. Come along, Freddie, and don't dawdle. There's no need for you to say long farewells. We'll be returning.
Louisa: Quickly steps forward. Excuse me, Mr. Marshall. Could you give Georgie something when you see her in San Francisco? She left something here.
Richard: Of course, Miss Hewitt.
He takes the package Louisa hands him, then hands it inside the stage. He bids goodbye to the other family surrounding him, then mounts one of Nick's horses as Freddie has done, holding another beside him. He leans down to John Henry.
Richard: Please tell Belinda I said goodbye.
John Henry: I will.
With a cheerful send-off, the driver pulls the stage to the middle of the street and begins driving away, Richard and Freddie riding close beside.
Scene 2: The schoolhouse, early afternoon. Madison is seated at her desk facing about 30 students between the ages of 6 and 18.
Madison glances up from her reading to see a crumpled up piece of paper fly across the room from the boys' side, hitting one of the girls in the back of the head.
Madison: Stands up behind her desk and makes her way over to the boys' section of the classroom. Matthew Cooperidge, did I just see what I think I saw?
Matthew: A young boy, about 8 years old, innocently looks up at her through his dark hair. Um... What do you think you seen?
Madison: Saw. What do I think I saw.
Matthew: What do you think you saw?
Madison: I believe I saw you throw a crumpled up piece of paper at Miss Connor’s head.
Matthew: Well, I didn't.
Madison: Smirking. We'll see about that.
Madison crosses the room and quietly speaks to one of the younger girls. She is also about eight years old, with curly brown hair. The girl nods her head, and Madison approaches Matthew once again.
Madison: Miss Connor says that she was, in fact, hit in the head with a crumpled up piece of paper not two minutes ago. What do you have to say to that young man?
Matthew: I didn’t do it.
Boy: Behind Matthew. He did to! I saw him!
Another boy: So did I!
Madison: Crossing her arms over her chest. And how do you think I should punish you for such behavior, Mr. Cooperidge?
Matthew: Shrugs. I don’t know.
Madison looks around the room as she contemplates her next move. She notices that all of the students have stopped working to watch the unfolding scene. A smile spreads across her face.
Madison: Come with me, Matthew. And bring your things.
Matthew stands up, picks up his school supplies, and follows Madison to the other side of the room.
Madison: Now... I want you to apologize to Miss Connor for what you did.
Matthew: Mumbles. Sorry.
Madison: What was that? I don't think we all heard you.
Matthew: I'm sorry!
Madison: Mary, do you accept Mr. Cooperidge's apology?
Mary: Smiles. Yes, Miss Taylor.
Madison: Good. Now, just to be sure that you do not throw any more paper at Miss Connor, I would like you to sit right here next to her for the rest of the day.
Matthew’s eyes widen in embarrassment as he seats himself next to Mary, who is staring at him dreamily. The class erupts in laughter. Madison also chuckles slightly, although she does her best to disguise it.
Madison: All right, class! You may continue your lessons now. I do not think Mr. Cooperidge deserves any more humiliation for today.
She returns to the front of the room, sits down at her desk, and resumes her reading.
Cut to: The school yard, late afternoon. All of the children have left, and Madison is just closing up for the evening. A young man approaches her as she descends the stairs.
Man: Miss Taylor?
Madison: Yes. How may I help you?
Man: This just arrived for you, ma'am. He hands her a small slip of paper.
Madison: Thank you.
Madison takes the paper from the man and looks it over. Her smile slowly falls from her face.
Madison: Mumbles to herself. I should have known...
Scene 3: Libbie and Philip's house, a short time later. The family is gathered informally in a cozy room with a fire. The three older boys play quietly on the floor while their Grandma Eleanor holds baby Bobby and Grandpa Phil pretends not to be at all interested. Libbie works on piecing together a new dress. Lydia is reclining on a sofa while writing in a small, leather-bound book. Christopher sits rubbing her feet, which are slightly swollen.
Libbie: Why didn't you ever rub my feet, Philip?
Philip: Because I am an Elliot and we're inconsiderate. You have never seen Lydia rub Christopher's feet, after a hard day's work, have you?
Libbie: Christopher has never seen a hard day's work in his life. What are you writing, Lydia?
Lydia: Just notes really, for the baby to know what it was like before he was born.
Libbie: Oh, dear.
Phil: When are you going to build my daughter a house, Christopher? I've noticed all of your married siblings are living in homes of their own. Even young Grace has a place of her own and she isn't married.
Christopher: I plan on moving into a house of our own, but it's too late. It would be too much of a disruption for Lydia and the baby. We'll have to wait 'til after.
Philip: I should start charging rent.
Libbie: I should charge you rent, I own more of this house than you do.
Philip flushes as Libbie beams with satisfaction.
Philip: By one percent.
Libbie: Did you know, Uncle Phil, that Daddy helped make sure all of his daughters were suitable set up in homes of their own? Will and Nick had to fend for themselves, but us girls each own fifty-one percent of our homes. Well, not true completely. The Kincaids already owned a very nice home, so Daddy bought Victoria a nice parcel of land. You could consider that if you really want Lydia to have a nice home here.
Lydia: That would be lovely, Daddy.
Philip: Yes, Father, I'll even help you out if means Lydie will have something to hold over Christopher's head.
Eleanor: Breaks in. So, Christopher, if you are right and the baby is, in fact, a girl, have you chosen her name?
Christopher: Not yet Auntie. Things such as this require long and careful consideration.
Cut to: Georgie and Gabe's house in San Francisco, a short time later. Georgie and Stuart are sitting in the informal parlor. Gabe has just returned home.
Georgie: You're home early, darling. How come?
Gabe: I was called out in the wee hours this morning. I didn't want to wake you.
Georgie: An emergency?
Gabe: Yes, but the patient came through. Has Steven returned home yet?
Georgie: I believe he planned to go to a friend's house after school today.
Gabe: Ah. He nods understanding. How are you feeling this afternoon?
Gabe leans over and rests his hand tenderly on her shoulder and stomach while he kisses her.
Georgie: Smiles. Much better.
Gabe: Turns to Stuart. Miss MacKenzie, how are you feeling this fine afternoon?
Stuart: Much better, thank you. The baby has been very active.
Gabe: A good sign. Gabe sits near Stuart. I met with a couple today. They've been trying to have a baby for a five years without success. I believe they would be fine parents for your little one.
Stuart: Oh?
Stuart quickly looks down into her lap, avoiding eye contact with both Gabe and Georgie.
Georgie: Stuart? Are you having a change of heart? I thought you were sure that giving your baby to a couple was the best thing to do?
Stuart: I... If I give away my baby it means I can never see it again. I think I might want my child to know about me at some point in it's life.
Gabe: I could talk with the adoptive parents. I have not told them yet that I may have a baby for them, which I suppose is best if you decide not to give it up. I could ask them casually if they would be willing to let you be a part of the baby's life.
Stuart: Well... perhaps... She blurts out her suggestion. Maybe Nick and Tess could adopt the baby, or even you and Georgie.
Cut to: Olivia and Joe's house, a short time later. Joe is sitting downstairs at the table in the kitchen with a bowl of soup. He stares off into space, remembering and daydreaming.
Joe pictures in his mind the day he came across Stuart in the hotsprings, standing nude before him until she realized he was there and fell into the water. His thoughts shift to the time on the mountain while searching for the missing horse when Stuart took a fall in the rain. He'd carried her then, and she'd ridden the rest of the distance to the mountain cabin on his lap, unconscious. He'd removed her wet clothes, trying hard not to look as he did so but brushing her skin frequently. Somehow, they'd ended up kissing in front of the fire. Neither instigated it, but she most definitely continued it when he pulled away. And then he carried her again, that time to the bed... She'd been evasive when he later asked her if she was pregnant, like she'd only just thought of the possibility. She'd denied the pregnancy, but later he saw signs that she'd been lying. Joe sits at the table dreamily as his thoughts shift once again. He sees himself being led into a bedroom. Several people are waiting by the door smiling. He is met at the door by a doctor with a baby, but it is Stuart smiling at him from the bed.
Stuart: Darling, isn't she beautiful?
A noise outside startles Joe to his senses. He stands from the table and moves to look out the window. Outside, Grace, with Joey in front of her, are returning on a horse. Joe walks onto the back porch just in time to see Grace slide Joey to the ground. Joey runs to his father.
Joey: Papa, Gracie took me on her horse and we went real fast!
Joe: Did you now? I trust you were very careful, Grace.
Grace: Of course. How is Olivia?
Joe: I think she's asleep.
Grace: I'll go then. Give her my love.
Joe: I will. Thank you for taking Joey out today. He's been restless.
Grace: It was my pleasure. Bye, Joey!
Joey: Bye, Grace!
Joe watches with his son as Grace rides away, then walks with him into the house.
Joey: Starts running. I'm going upstairs to see Mama.
Joe: Quietly, son. She might be sleeping. Don't disturb her if she is.
Joe follows his son and soon finds him sitting in bed with Olivia, who is sitting up and wide away.
Olivia: Grace was here? Why didn't you invite her inside?
Joe: I thought you were sleeping.
Olivia: I never nap during the day. I sleep enough during the night as it is.
Joey: How are you feeling, Mama?
Olivia: Wonderful, darling. Better than I have in weeks. I may get out of bed soon. Louisa told me just yesterday that the baby was doing better.
Joe: You will not be getting out of bed. Louisa may be able to give you an opinion, but she's no doctor and she's only fourteen. But the baby is stronger? And you, too?
Olivia: Oh, yes, very much so. The baby has been kicking more than ever and I've never felt so rested and healthy. There was a time when I was sure I'd lose the baby. I'm sure now that I'll carry it till the proper time.
Scene 4: Will and Marietta's house, evening. Libbie and Philip, Victoria and Benjamin, Nick and Tess, Maggie and Edward, Freddie and Sally, Carey, Samantha, Belinda, Adam, and Madison are seated with their host and hostess in the formal dining room. It is a jovial scene and most are chatting and laughing.
Maggie: You really must come to England, Tess, even if you must leave stuffy old Nick here.
Tess: I would not feel comfortable in your society.
Maggie: What do you mean? You've been living in our society for a year.
Tess: It is much different here.
Maggie: I'll admit that, but you would adjust. The English are still intrigued by Americans. You should be presented, as well. Did you know that you and Princess Beatrice are the same age and share the same birthday?
Tess: No, I didn't. She turns to Belinda and smiles warmly. Were you presented, Belinda?
Belinda: Of course I was. My mother is now a countess, you know.
Samantha: We were presented together. It was a lovely ball, though I'd already met Her Majesty.
Belinda: We cannot all be blessed by fathers who are dukes, can we?
Samantha: Well, I...
Maggie: When will you be bringing your lovely bride back to England, Freddie?
Freddie: June, most likely.
Maggie: And a viscountcy. Father is still determined to give you his spare one, you know.
Freddie: I am quite aware. I'm not sure I want it.
Belinda: But Freddie you must take it! It's my— I mean, it's not something one can pass up.
Maggie: Exactly. It is nice being a viscountess, Sally.
Sally: I am not a lady. You were born one, and you will eventually be a countess.
Maggie: It has nothing to do with breeding and everything to do with deportment, propriety, and education.
Sally: Propriety? Me?
Maggie: Yes, well... you did marry Freddie and not many people know about your indiscretion. We could tell everyone you've been married these past five years. I'm sure Mr. Carrol would help you in that respect. No one would remember six years ago. Edward, tell Freddie how nice it would be to be a viscount.
Edward: I wouldn't know. I'm not a real one. I only have the title because I will one day get a better one. Freddie would have his own seat in parliament.
Maggie: You see, Freddie. You'd have one up on Edward and you'd be able to take part in government.
Belinda: And think of our family's advancement in society.
Freddie: I'm as advanced as I want to be right now, but I am quite aware of how important social standing is to you. If you find some way to take advantage of the title I may or may not take, by all means take, but please do not further stain the family name. I will not be escorting you to many parties, though, if that is what you are thinking.
Lydia: If you're looking for a husband, I hear Lord Denbury is still searching for a partner.
Belinda: I don't settle for other women's discards.
Lydia: Glances pointedly at Christopher. Most men are the discard of at least one woman. I was very lucky in finding Christopher.
Maggie: Laughs with surprise and amusement. Christopher, is that true? You were a—
Christopher: Interrupts. Cousin, you forget yourself. You would not want to shock the fragile sensibilities of the unmarried ladies in the room.
Carey: Heck, Chrissy, I already knew.
Scene 5: Grace's bedroom, past midnight. She is sitting at her window with her writing tablet, the full moon providing substantial light. She wears a long white nightgown, thick slippers, and wraps herself in a quilt. A fire crackles in the fireplace.
Grace sighs, rests her tablet and pencil in her lap, and leans back while gazing out the window. Something catches her eye in the distance. It approaches, a horse and rider. They are not moving fast, and Grace just only watches as the two approach. It is a man wearing a long coat. He dismounts at the stable door and carefully enters, leading the horse. Grace raises her tablet and pencil again, turning her face from the window. She turns her page and begins to write again, but something catches her eye. She turns and looks with surprise as the same figure walks from the stable with a different horse, one of Nick's Thoroughbreds.
In an instant Grace is away from the window. She speedily pulls on trousers, boots, and a coat before grabbing her pistol and running from the room. She moves silently downstairs and dashes across the snow covered yard to the stable. She disappears inside and appears moments later leading another of Nick's horses. She jumps on and gallops, without a saddle or bridle, after the figure. The other rider is clearly unfamiliar with the terrain, and moves considerably slower than Grace, allowing her to bridge the gap in a relatively short period of time.
When Grace rides up besides, the figure does not notice immediately. She pulls her gun and holds her horse's mane with one hand as she points it at robber.
Grace: Stop!
The rider startles, pulling back suddenly on the reins. The horse rears, pitching the stranger to the ground. Grace quickly grabs the horse's reins before it runs away and calms it before walking to the stranger, who is still sitting on the ground. The stranger, clutching his wrist looks up as Grace approaches. It is not a man. It is Madison Taylor.
Grace: Good, God! Not another one. Who the Hell are you?
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