Episode 14
Episode 14
Episode 14: Early September, 1875
Scene 3 (first part) written by Carole.
Scene 1: Louisa's room, early-evening. Louisa is sitting at the open door looking down at the far side of the courtyard, sketch pad and pencil in hand. She is wearing her spectacles low on her nose.
Gabe enters her bedroom and stands over her shoulder. He looks to the view, then to his daughter's drawing.
Gabe: I've never seen you draw before.
Louisa: Startled. Daddy, you scared me. She starts to put her drawing away.
Gabe: You mustn't stop, darling. You have a wonderful talent. That comes from your mother.
Louisa: Really?
Gabe: Oh, yes. Yes...
Louisa: Is there something you came for, Daddy?
Gabe: Yes, well, I—I realized that we've never really had a nice talk. I used to think I knew you quite well, but now I'm not so sure.
Louisa: Have I done something wrong?
Gabe: No, no, of course not. I'm just... I'm not at all sure you're happy in San Francisco, and when your mother died, I promised her that I would always make sure you were happy.
Louisa: Of course I'm happy, Daddy. I have you and Georgie and Steven. We have a nice home.
Gabe: Yes, but I'm away a lot, and Steven is not exactly a pleasant companion for you. Georgie might be a change for the better, but she will still be working, too. I also did not realize until a little while ago that I've never met any of your friends. You haven't gone to their homes, nor have they come to ours.
Louisa: Well, I don't have the time in school because I'm concentrating on my lessons, and there is schoolwork to do at home, too.
Gabe: Wesa, I've seen you do your exercises at home. You've never needed my help because you always understand, and you go through everything so quickly without errors. Steven works far harder than you because he has to, but he still keeps up friendships.
Louisa: The other girls have never paid much attention to me. I sit to the side of the room and I don't say much. At lunch time I've always sat by myself. She pauses and looks out distantly. Sometimes they tease me.
Gabe: I wish you'd have told me some of these things before.
Louisa: You couldn't have helped, Daddy.
Gabe: Maybe I could have. He pauses for a long while. Mr. Marshall has offered to have you stay on here, and I think it would be good for you. I would miss you terribly, but I want what's best for you.
Louisa: I couldn't! I would miss you too much... And Georgie. Even Steven.
Gabe: We could write each other every day, and visit often. I've already spoken to Georgie about this, and she thinks it might be a good idea.
Louisa: I would love to stay here, everyone's so lovely and friendly, but I—
Gabe: No buts, Wesa. You mustn't think about us. Your well-being is far more important. You could always come home whenever you wished, but I would like you to try it out for at least one week.
Louisa: What about school?
Gabe: Mr. Marshall has said that you can study with Julia and Grace. They have their own tutor who will be returning in two weeks. The three of you have become friends, I see.
Louisa: Are you sure, Daddy?
Gabe: Positive. When Steven arrives home, he'll have the rest of your things sent. And you know what? When I get back, I'll go up to the attic and find your mother's old drawings and paintings. I think you should have them.
Louisa: Really?
Gabe: Yes, and it looks to me like you should have had them long ago.
Louisa: Puts her sketchbook down, stands up, and faces her father I'm going to miss you, Daddy.
Gabe: Hugs her tightly. I know, and I'll miss you too.
Scene 2: A hall in Belleterre, evening. John Henry is walking with Christopher. They have loosened their clothing having just finished supper. Christopher has a black eye.
John Henry: I thought we might sit and have a drink and a cigar before you leave.
Christopher: Sounds good, but let's not go to your office. I always found it too constricting.
John Henry: That's right. You always preferred the library.
John Henry stops himself just in time to make the proper turn, and soon turns into the library. It is a large, spacious room with no window. There are stairs leading to the second level of shelves, and more stairs leading to the third level. Much of the ceiling is a dome- shaped stained-glass window. On the second level, a balcony juts out. Below the balcony is a grand piano. There are several tables and chairs, and a large stone fire place. There are books on every shelf of every level. Christopher takes a moment to look at it.
Christopher: Stancliff's library may be larger with more books, but I've always preferred ours.
John Henry: Gestures to the balcony. I can still clearly see the performances you children would put on. Will was, by far, the best actor, but they were still good after he left.
Christopher: We were terrible!
John Henry: You were children, they were wonderful. The last one was the best.
Christopher: The Marriage of Figaro, with Uncle Charlie's girls doing the music.
Christopher sits down in one of the large, plush chairs and rests his feet on the table. John Henry takes a cigar box from the mantle, pauses a moment in surprise as he sees that there are only five left, and offers his son one. Christopher takes one, then a match. He lights the cigar and throws the match in the fireplace.
John Henry: Drink?
Christopher: Please.
John Henry: Brandy all right? That's all I keep in here.
Christopher: That's fine.
John Henry heads for a small cabinet on the other side of the room. He opens it and looks curiously at the near-empty decanter.
Christopher: Problem?
John Henry: Yes. This was full last night.
Christopher: Maybe Old Pattie's dipping in.
John Henry: Just because Mr. Patton is senile does not mean he's a drunk.
John Henry crossed the room again and pulled the bell-pull. A white-haired old man in a suit entered the room.
Patton: Mr. Marshall?
John Henry: What happened to the brandy in the decanter?
Patton: You called me last night and asked me to fill it. I did.
John Henry: Yes, I know, but it is gone now. I'm the only one who drinks it.
Patton: I'm sorry, sir, I have no explanation. Would you like me to refill it?
John Henry: Yes, please.
The old gentleman nods, takes the decanter, and walks from the room. John Henry lights his own cigar and sits in the chair across from Christopher.
Christopher: I still say he's dipping in.
John Henry: Have some respect for the man, Christopher. He's been with us since before you were born. And get your feet off my table.
Christopher, pretending to be quite put out, slowly drops his feet to the floor.
John Henry: So, why do you not wear a wedding ring?
Christopher: We didn't have one, for one thing. Lydia and I are also thinking about having another ceremony, one for family.
John Henry: That's right. Your mother mentioned that. Why have you not yet done it?
Christopher: Uncle Phil isn't here, is he? We wanted to invite everyone, but we're waiting for the reaction letter we hope to receive from Uncle Phil or Aunt Ellie.
John Henry: You're lucky they're your godparents, my boy.
Christopher: Hopefully, the shock has worn off. I don't want another black eye.
Scene 3: Belleterre, night. Elizabeth, in her nightgown and robe, descends the stairs. She begins to turn left, then turns right when she hears music.
She follows the sound till she reaches the door of the library. It is closed, but she opens it quietly. The music reaches a crescendo. Robert, her youngest son, is hunched over the keyboard of the grand piano completely absorbed in the passion of the moment. He is oblivious to her presence, though she has begun advancing towards the piano. His faced is flushed and his hair is disheveled. His whole body vibrates with the effort his is throwing into the series of complex chords and runs he is playing. The music begins to soften and it slowly subsides into an intricate, sad movement. The muscles of Robert's back and shoulders visibly relax as he allows himself to flow into this new mood, and finally to the fading notes that mark the end of the piece.
Elizabeth: Speaks softly, puts her hand on his shoulder. Chopin. Robert stiffens and freezes, but remains seated on the piano bench staring straight ahead. I did not know you could play so well. You were always an unwilling student when you were younger.
Robert rises in a stiff and formal manner which exaggerates his height. He looks down at his mother briefly, almost haughtily, then gives a formal bow.
Robert: Ma chère Maman, you have no idea just how much one can change in three long years. No doubt the future will hold many surprises for you.
He takes a step towards the door, then turns back to retrieve the half-full glass which he has left on the edge of the piano. The suddenness of the move throws his balance for a moment. He grabs the piano for support, and quickly regains both his balance and his dignity. Elizabeth, in shock with tears in her eyes, makes a futile attempt to reach out to him. Robert gives his mother another formal bow, then leaves.
Elizabeth stares after him, even when the door is closed. She soon comes to her senses and notices the decanter, two-thirds empty, on the piano. She takes it and leaves the library. Robert is no where to be seen, but as she passes a staircase, she hears footfalls. She quickly places the decanter on a side table and stands in front of it.
Grace: Mama? Is that you?
Elizabeth: Oui, chèrie. Why are you not in bed?
Grace: I thought I heard the piano.
Elizabeth: You did? On your side of the house?
Grace: I'm a light sleeper. Was it you?
Elizabeth: Yes. I could not sleep. The piano soothes me. Go back to bed, Gracie. You need your sleep.
Grace: Goodnight, Mama.
Elizabeth: Goodnight.
She waits for Grace to disappear up the stairs again, then takes the decanter and continues down the hall. In the kitchen, she descends to the wine cellar and refills the decanter. Once back in the library, she carefully places it in the liquer cabinet. Before leaving the room, she scans it to be sure there are no signs left. Satisfied, she closes the door behind her.
Scene 4: Liberty Creek, morning. Georgie, Gabe, Steven, and Louisa are standing outside the stagecoach. Robert is already seated in side. Only John Henry has come to see them off.
Steven: Hugs his sister. I suppose you're glad you're finally rid of me.
Louisa: Smiles. I've been waiting for this moment for over fourteen years.
Steven: I will miss you.
Louisa: I'll miss you, too, Stevie.
Louisa moves to Georgie.
Georgie: Hugging her tightly. I sure am gonna miss you. But I'll come visit soon. Or you'll come see me. And bring Tess with you.
Louisa: I will. I love you, Georgie.
Georgie: I love you, too, darlin'. She slips Louisa an envelope. Give this to Tess for me. I wanted to give it to her on her wedding day, but we were distracted.
Louisa: I will.
Georgie: And make sure you do everything your father will not let you do. Wear trousers like Grace and don't wait to be spoken to.
Gabe: Stop corrupting her. He pulls his daughter to him. Remember your manners, act like a lady, and write every day. That is all I ask of you. Do you promise?
Louisa: I promise, but you forgot my studies.
Gabe: Concentrate on your studies.
John Henry: Stepping forward. I'll make sure she does not turn completely into Grace. He turns to Georgie. It was an honor meeting you, Mrs. Hewitt.
Georgie: As it was you, Lord John. She laughs and kisses him on the cheek. Thank you for having us. Make sure your son takes care of Tess.
John Henry: I will. He shakes Gabe's hand, then Steven's. You're welcome back here any time.
Georgie, Gabe, and Steven get in the stagecoach and sit down. John Henry holds the door and nods to the driver, who climbs to his own seat.
John Henry: Robert, be good. I don't want to hear of anything similar to what you did at the other school. This is university now. Write us when you get settled.
John Henry closes the door and takes a few steps back. The driver urges the horses down the street, and John Henry stands and waves with Louisa. When the stage disappears around the corner, he leads her back to the carriage.
John Henry: Now, let's see if we can't make you into a cursing, gun- slinging, cowboy.
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