Episode 26
Episode 26: Mid-November, 1875
Scene 1: Belleterre, late afternoon. A driver is waiting with a small buggy outside the main door, Lazarus just inside the open door with John Henry.
John Henry: You're welcome to stay longer.
Lazarus: Must return to the little wife. She doesn't say so, but she doens't like being home by herself.
John Henry: You haven't mentioned that fountain of yours in a while.
Lazarus shrugs and says nothing.
John Henry: Chuckles. Your silence speaks volumes. It froze, didn't it?
Lazarus: Yes, yes it did.
John Henry: I warned you. Sanderson carved beautiful statues, but the inner pipes were weak. Mine burst once, too. You can fix them in the spring.
Lazarus: You're quite amused by this, aren't you?
John Henry: Not by your troubles, I assure you. By your stubbornness.
Lazarus: Frowns, agitatated. I'll be back, Marshall. I'm coming to see Princess every day.
John Henry: And your new granddaughter.
Lazarus: I really don't see how you and your brother can be so amused by Lady Connie's affection for me. She's a sweet child who has never known a grandfather.
John Henry: You don't seem to be the sort of person to enjoy the company of young children, especially considering your infamous history in the courtroom. You also now use her title when you address her, yet you refuse to use it for anyone else.
Lazarus: A paradox. Tell Lady Connie that I will see her tomorrow.
Cut to: Liberty Creek, a short time later. The driver has let Lazarus out in front of the store. Lazarus goes inside and stands by the shopkeeper (in an apron) and another man who are playing checkers by the front window.
Shopkeeper: Back so soon, Judge? Some men had bets you'd be out there at least a week.
Lazarus: I'll be visiting her every day. I've come to place an order.
Shopkeeper: Do you mind takin' care o' that yourself? I don't trust Zeb here not to cheat. Paper's on a shelf underneath the register.
Lazarus completed his task and returned to stand by the checker players just as the stage pulled up outside. All three men watched the four passengers alight. The three male passengers, one older and two young, wore long coats while the young woman wore bright red, fur-lined mantle, sable hat, and muff. They looked up and down the street critically.
Lazarus: I'll bet you five dollars they're here to see John Henry.
Shopkeeper: That's a sucker's bet, Judge.
Lazarus, wearing a worn coat and a woolen cap, looked quite peasant-like when he walked outside to meet them.
Lazarus: I trust your journey was pleasant?
Belinda: Scoffs. Hardly. The road was riddled with bumps and holes and the seats in that... contraption... thoroughly insufficient.
Lazarus: I'm sorry to hear that. I always thought the trip much more pleasurable than the other stage lines I've ridden in my day.
Belinda: Is that supposed to make me feel better, old man?
Lazarus: Raising an eyebrow. Pleasant conversation, young lady, I suggest you try it some time.
Richard: I say, old man, I must insist you treat my daughter with the respect demanded by her position.
Lazarus: You are the second Marshall brother, aren't you?
Richard: I am the duke's brother, yes. That makes my daughter a lady.
Lazarus: Mumbles, but loud enough for Richard and Belinda to hear. Perhaps if she were legitimate. He tips his hat first to Belinda, then to Richard. He smiles sardonically. Good day to you, Lord Richard.
Belinda: Scowls after Lazarus, hands on her hips. The nerve! Aren't you going to do anything about that, Father?
Richard: What do you suggest I do, daughter? Rudeness is not a crime. He captures the attention of the driver. You there! Man! Where might we acquire transport to the place they call Belleterre?
Driver: Considers for a moment. For an extra five dollars, I'll take you there myself.
Richard: We'll do that then.
Scene 2: A train speeding across a flat plain, nearly dark. In a sleeper car, several men pass along the hall. A door opens a crack, and one of the men stops. Nervously, a young woman leaves her room and looks curiously at the man for several moments before realizing that he was waiting for her to continue along the hallway.
Walking somewhat stiffly, Stuart walks toward the end of the car. She is unsure of what to do with her hands, and wary of the small hat on her head. She walks through two more cars before coming to the dining car. A waiter greets her.
Waiter: Surprised. You are dining alone, miss?
Stuart: Yeah. Then quickly. Yes, I'm alone. My companion is... ill.
Waiter: I see. Well...
Older woman: Near Stuart and the waiter. You come sit with me, dear. My son has left me here alone in favor of the smoking car, insolent child.
Stuart: Is unsure of herself. Thank you, ma'am.
Stuart walks to the table and sits in the chair held for her by the waiter. Her first try fails, as she is not used to the bustle.
Older woman: Whispers. Never got used to those things myself. She extends her hand. Mrs. Busby.
Stuart: St— She corrects herself once again. Mary MacKenzie.
Mrs. Busby: Pleased to meet you Mary. Your companion is ill?
Stuart: Blushing. I fibbed a bit, I must admit. My companion left me at the last stop. Thankfully I get off at the next stop and will be met by friends.
Mrs. Busby: That's good to know. I would worry for a pretty girl like you travelling alone, but what will you do tonight?
Stuart: Lock my door and keep my gun handy.
Mrs. Busby: You keep one too? My son tells me I'm paranoid for having one. We should compare later. Now, what will you order for dinner? I wouldn't suggest the veal. It was simply terrible. Oh, I do so love the way you've styled your hair. You must show me later...
Scene 3: A large, upstairs room at Belleterre; twilight. Marietta and Tess stand on separate boxes with half-sewn, early century dresses hanging from their shoulders. Libbie and Victoria, respectively, are pinning the seams. The other young female cast members, including Charles' daughters, of the play are gathered around the room reading or chatting, save Louisa, who is sketching.
Samantha (Charles' second-oldest in attendance): Holding a sheaf of paper. Tess? Nick and Marietta kiss in the play and you don't mind?
Tess: It's feud of sorts between Nick and Will.
Samantha: Oh?
Tess: Will accuses Nick of making advances on Marietta almost daily. Jane and Bingley never kiss in the book, but the girls added it so they might cast Marietta and Nick in those parts.
Marietta: Speaks with a half-desguised English accent.I'm trying to perfect my Engligh accent, but Will tells me it still needs work.
Tess: You're doing just fine, Mari. Much better than I would if I tried a French—Ouch!
Victoria: Sorry. I'm helping you to become Mrs. Bennet with her complaints and maladies, though I must admit Christopher did a much better job at helping Lydia prepare for her role.
Lydia: Shocked and scandalized. Just what is that supposed to mean?
Victoria: In gaining weight for the role. It's already taking affect now, I see.
Lydia: Clutches her stomach. It is not, and you have a filthy mind Victoria Kincaid.
Olivia: It is, Lydia, as is mine.
Connie: What are you all talking about?
Victoria: Ask your mama, honey. I don't think she wants us discussing it with you.
Connie: I'm going to ask Mr. Carrol when he comes tomorrow. He'll tell me.
Victoria: Then your mama can scold him and instead of us.
Scene 4: A large family room at Belleterre, twilight. The entire family is gathered in different groups throughout the room. Some play cards, some sew, and some simply chat. Julia, Grace, and Louisa sit in conference with Sally Mason.
Grace appears stiff and uncomfortable in her tightly laced gown and more than slightly annoyed with her high collar and long sleeves covering almost every inch of her body. She frequently shoots icy glances toward her mother. Her only defiance is her posture—underneath the skirt she is sitting cross-legged.
Sally: It appears we will need the scripts after all. Where did we leave them?
Grace: Upstairs where we were doing the costume fittings. She gets to her feet. I'll run and get them.
Grace serenely walks through the room, then runs upstairs once the door is closed behind her. The large room upstairs, unlike the one she had just been in, has windows facing the outside. She happens to glance out one of these windows as she collects the papers and sees the approaching stagecoach. Making a tremendous noise, she runs back downstairs, papers in hand, and follows Mr. Patton to the door.
Grace: Who is it?
Mr. Patton: I don't know, Miss Grace. You'd best stay inside. There's a good chill this evening.
Grace watched from a window as Mr. Patton went out to meet the guests. The three younger people are stranger to her, but she recognizes the older man the second he steps from the stage. Hiking up her skirts, she runs through the halls almost to the other end of the house. She bursts into the family, demanding everyone's attention. She says nothing, handing the script to Sally as she passes on the way to the table occupied by her father, Charles, and the older Philip. She whispers something that only they can hear.
John Henry: Gracie, you must be mistaken.
Charles: I don't know, John, I wouldn't put it past him. The three younger people, Gracie—a tall, handsome, red-headed man; a sour-faced young woman, and an average young man with brown hair?
Grace: Yes, they looked just like that. Mr. Patton was just going outside to meet them.
John Henry got to his feet, visibly perturbed.
Elizabeth: What is it, Jean-Henri?
John Henry: He starts for the door, not looking at anyone. It seems we have some unexpected guests.
Charles: Speaks after John Henry has left the room.. It appears our brother and his three children have decided to pay us a visit.
John Henry walks through the hall with a determined stride, meeting Mr. Patton along the way.
Mr. Patton: Sir, a man has just arrived claiming to be your brother.
John Henry: So Grace tells me. It's all right. I'll see to it.
John Henry continues on his way. When he reaches the foyer, his brother and his family do not notice him at first. All four are examining a large family portrait on the opposite wall.
John Henry: Well, well. Can it be? Has the prodigal son returned to be embraced by the loving warmth of his circle of family and friends?
Richard: Turns around. John Henry, my beloved baby brother! I was reading the paper several weeks ago and came across news of my nephew's elopement and impending renewal of vows. I thought it could not be possible that my dear baby brother forgot to invite me to yet another of his childrens' marriages and assumed the invitation was lost in the mail. I'm certain you have room for us in this grand house of yours.
John Henry: What are you really doing here, Richard?
Richard: You and Charles have ignored me long enough. I thought it time my children and I were reacquainted with our family. But how rude of me! You have not met my children, have you? Allow me. He waves his children over and presents them youngest to oldest.. Adam, my youngest, will be working alongside me when we return to London. Belinda, my girl. You must remember her mother, Lady Ellen Hayden. And Frederick, my firstborn so far as I know.
John Henry: Yes, Frederick. I've heard things about you.
Freddie: All good I hope.
John Henry: Some good, yes. John Henry sighs and looks his brother in the eye for several seconds. Well, you might as well come back and meet everyone, but I'll have you know right now that I'm not happy with this unexpected visit.
Richard: No, I didn't think you would be.
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