Episode 17: Late September, 1875

Scene 1: A small hot springs in the secluded woods near Liberty Creek. Joe Kincaid has just seen the face of the woman he was spying on. He is stunned, and can't stop staring.

Joe: My God! You?

Stuart, still trying to conceal herself, is visibly distressed. She is crying and embarassed.

Stuart: Please, could you turn around?

Joe: Takes a few steps closer. I think I deserve an explanation.

Stuart: Yes, but could you turn around?

Joe: Still moves closer. You've been posing as a man for a month and now you become modest.

Stuart: Slightly scared and incredibly distressed, grabs her gun and points it at Joe. Turn around, Mr. Kincaid. I mean it.

Joe quickly obeys.

Stuart: Calms a little. I know I've been deceitful, Mr. Kincaid, but it doesn't mean I don't have any dignity.

Joe: I'm sorry. I don't know what came over me. I was shocked, to say the least.

Stuart cautiously climbs out of the pool and slips into her clothes.

Stuart: You may turn around now.

Joe: We could start with why. And what is your real name?

Stuart: My name is Stuart MacKenzie. Mary Stuart MacKenzie. My father always called me Stuart. And I'm posing as a man because it's a hell of a lot easier to be a man on his own out here than it is to be a woman on her own. I didn't have many choices when I lost the ranch. Ranching was my first love, but I would never be hired to work with horses and cattle as a woman. Even if I was, I'm not naive, I know what would have happened to me.

Joe: They would have hired you at Belleterre regardless. I would have, Philip would have.

Stuart: I realize that now. It's why I like Grace so much. But it's too late to say anything now. How long do I have to get out of town?

Joe: What?

Stuart: Before you tell them.

Joe: I'm not going to tell anyone unless you want me to. What made you think I would?

Stuart: It's what happened at the last place.

Joe: Well, I'm sorry about that. There's just one thing I don't understand. You certainly look... He outlines the feminine form with his hands... Why didn't anyone notice before?

Stuart: Blushes. I'm not well-endowed, Mr. Kincaid. With a good cinch I look somewhat muscular. I try to keep my face a little dirty, and I don't smile. Whenever I start work at a new place I usually make it known quickly that I'm a good shot. The other men are too scared to taunt me if they think I look feminine.

Joe: Nods. Ahh. I'll leave you now. He starts to walk away, but turns briefly. For what it's worth, I don't think you need to hide anymore. John Henry's an understanding man, and what he says goes. You shouldn't have to hide.

He turns and walks up the hill. Stuart, a few strands of wet hair clinging to her face, slumps onto a rock, puts her face in her hands, and begins to weep. Joe turns around at the top of the hill and briefly considers going to her, but changes his mind and heads for his horse.

Scene 2: The Elliot home, mid-morning, the next day. Libbie, Philip, Christopher, and Lydia are in the dining room having a late breakfast.

Philip: So, Lydie, will you be joining me and... He pauses, seemingly thinking, and gestures to Christopher... what's-his-name in Chicago.

Lydia: Smiles at Christopher as he shakes his head. I think not. I've feeling ill lately.

Philip: Do you want to see the doctor in Smithson?

Lydia: Philip, I'll be fine. You have to stop worrying about me.

Libbie: Yes, Philip, really. She's married now.

Philip: Your brothers still worry about you. Nick has threatened me several times.

Christopher: Mumbles. I'll bet he never punched you.

Philip: I apologized for that a long time ago, and I'm not going to do it again. We have to stop bickering. Libbie, are you coming with us?

Libbie: Not if Lydia is staying here. Besides, Billy and Marshall are coming down with colds.

A uniformed maid enters with a stack of envelopes on a platter.

Libbie: Oh, good. The mail's here. She reaches up and takes the stack from maid. Thank you, Moira. She begins flipping through the envelopes and handing them out. Philip, from that man in Seattle. Chris, from... England. To Chris and Lydia from, oh, Captain Elliot. Lydie, from Mrs. Aimes. Ah, finally, to me, from Cousin Maggie. And, ooh, the one we've been waiting for. Judgement day, Lydia.

Lydia: Surprised. From Daddy?

Libbie: Yes, ma'am.

Lydia, hands shaking, opens the envelope. The other three watch intently as she reads. Lydia soon calms, then starts smiling.

Libbie: Well?

Lydia: He is apologizing. He was angry at first, but then Mama made him understand. The day we left, Lord Denbury went to Daddy and asked for my hand. He was going to ask me in a letter. Daddy says he had planned to do everything he could to convince me to marry Denbury, and he was angry when he found I'd eloped. Mama reminded him of their courtship, and he understood. He's mainly sorry that he was not able to give me a wedding. And he does not blame you, Christopher, he told me to stress that. And... Lydia reads a little further... Oh my! They're coming here.

Philip: Who is?

Lydia: Daddy and Mama, of course. And Uncle Charles and Aunt Mary, and the girls, except Maggie.

Libbie: Disappointed. Oh.

Philip: They're coming here?

Lydia: Yes, Philip, that's what I said. Why? You're not scared of Daddy, are you?

Philip: Defensive. No! Of course not.

Lydia: Yes, you are. You're scared Daddy won't approve of your life here. That's is ridiculous. Even if he doesn't, it is your life. Really, Philip, you should stop seeking his approval. You are not a child.

Philip: I was not the one who worried about being disowned, Lydie. When are they coming?

Lydia: Reads on. Around the end of October. They want to give us another wedding, Christopher.

Libbie: That is not much time to plan.

Lydia: You do not have to. They're staying at Belleterre.

Another maid appears in the room. She looks expectantly at Libbie, who waves her over. The maid leans down and quietly says a few words in Libbie's ear. Libbie sighs and gets up. She looks to Philip before leaving the room.

Libbie: Your namesake has removed the button from his trousers again and now cannot remove it from his nose.

With that, she straightens herself and walks calmly from the room.

Scene 3: Belleterre, a short time later. Julia, Grace, and Louisa are gathered round a table in a room connected to the library, waiting patiently.

Grace: Leans toward Louisa. Miss Mason is consistently late.

A tall, pretty, chunky woman in her mid-twenties with slightly disheveled hair breezes into the room. She is holding a large, wrapped package with several books stacked atop it. After placing the items on the table, she looks at the three girls, then at Grace directly.

Miss Mason: I heard that, Gracie. She begins organizing her books, then stops. By the way, I've decided you may call me by my first name this year.

Grace: That being...

Miss Mason: Sarah, but I prefer Sally. Now, before we start on the lessons, Louisa has received a package.

Louisa: I have?

Sally: Yes, from San Francisco.

Louisa: Mama's paintings?

Sally: I did not open it, dear. It is addressed to you.

Louisa begins unwrapping the package. The others watch intently as she opens the box. She pulls out several rolled canvases; a few small, framed paintings; and a sheaf of papers with penciled sketches on them. The four young ladies looked through them together.

Grace: Holds one of the rolled canvases for Louisa to see. Is this your mother?

The painting brings Louisa to tears. In it, a greatly pregnant woman is working on a large painting in front a window in a sparsely furnished attic. The woman's painting is almost identical, only hers contains a slender woman and a little girl with braids and a pink dress.

Louisa: Yes, that's her. She points to the little girl. She never actually lived to see me at that age.

Grace: Your mother was beautiful.

Sally: And very talented.

There were more drawings and paintings like the first. Most were of Louisa, Steven, and Gabe. When Louisa finally recovered from the moment, the paintings were set aside and Sally began her first lesson at the black board.

Sally: All right ladies, I know you'll all enjoy this. We started a little last year.

In big block letters, she writes ALGEBRA.

Scene 4: Louisa's bedroom, night. The moon is bright, and Louisa is staring at the painting of her mother. It is framed and hanging on her wall. Beside a window sits a blank canvas an easel, with a tray of paints beside it.

Louisa finally throws back her covers and dons her robe and slippers. Lighting two lamps, she sits on the chair before the easel and prepares her paints. After looking from her mirror to her mother's painting and back again, she starts in on the canvas. Some time goes by. The clock on her desk changes from eleven to midnight, then from midnight to two-thirty in the morning. Louisa sets down her brush, stands up, and examines her work. She has painted herself painting. The painting within the painting is much like her mother's. Louisa is sitting at an easel with her mother, looking much the same but aged slightly, smiling over her shoulder. Smiling, Louisa removes her robe and slippers and crawls back into bed.

Scene 5: The yard outside Tess and Nick's home, afternoon. Stuart has ridden up and tethered her horse. She looks to the house, contemplating walking up. She does, but turns back to her horse half- way. Tess opens the door, however, and calls to her.

Tess: Stuart! It's good to see you again! Come on inside!

Stuart pauses for a moment, but soon turns around and follows Tess into the house.

Tess: You're in luck. I've just started tea. They walk into the kitchen and Tess gestures for Stuart to sit. Would you like some apple pie? It's my best yet.

Stuart: Thank you, that would be nice. She waits as Tess places a piece in front of her, then tastes it. Mmm, this is good.

Tess: How is the round-up going? How come you aren't out there now? Tess: I see. She pours the tea and takes it to the table. You don't take anything in your tea, do you? Stuart shakes her head. Have you been to any of the nearby towns since we last talked? Any lady friends?

Stuart: Takes a sip of tea to hide her blush. No, to both questions.

Tess: Ahh, well. I had to ask. So are you—

Stuart: Cuts her off, talking quickly. May I tell you something? Realizes she's cut Tess off. I'm sorry, continue.

Tess: No, it's quite all right. What was it you wanted to say?

Stuart: I'm going to tell you something that will shock you, and I hope you will find it in your heart to keep it a secret.

Tess: Unless you've murdered someone in cold blood, I'll think I'll be able to keep your secret.

Stuart: Takes a deep breath. I'm... I'm a woman.

Tess chokes on her tea, then jumps from her chair when she recovers. She takes refuge behind a counter.

Tess: Please leave, Mr. MacKenzie.

Stuart: Tess, please understand...

Tess: I'm sorry. I will not. If you're... that kind... it is none of my business. But you are clearly a man, and nothing is going to change that.

Stuart: Allows her true, feminine voice to show through. That's just it. I'm not a man. I was born Mary Stuart MacKenzie and my father raised me a lady. Look. Stuart unbuttons her shirt, quickly reveals her cinched up chest, and buttons up again. I've just... I've just been keeping it a secret for so long. I wanted a friend again. A real girlfriend.

Tess considers it for a moment, then slowly sits down and takes Stuart's hands in her own.

Tess: Why don't you tell me about it?

Cut to: Tess's parlor, some time later. Tess and Staurt are sitting side-by-side on a sofa. Tess is holding Stuart around the shoulder. Stuart is drying her eyes.

Stuart: ... and after the foreman found me bathing, he tried to force himself on me. I fought him and managed to get my gun, but I didn't shoot him. He told me I had twenty-four hours to get out of town. That's when I decided to come up here. Stuart looks up at the time. Oh, but I have to be going. The two stand, and Stuart hugs Tess. Thank you for listening... and for understanding.

Tess: Still hugging Stuart. If you ever need to talk, you can always come to me.

The front door opened. Stuart and Tess broke from their hug and stared at the new arrival. Nick glared back at them.

Continue to Episode 18

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