Episode 80
Episode 80: Early March 1877
Scene 2 written by Padeena
Scene 5 written by Heather
Scene 1: Belleterre, sunrise. Grace is waiting with one stable hand in a large stall; a heavy, distressed cow stands near them.
Stable Hand: We can't wait for Mr. Hewitt no more, Miss Grace. There's something wrong with the old girl.
Grace: Pauses briefly. You're right.
Grace and the stable hand spring into action, helping the cow as best they can, but their faces show their disappointment.
Stable Hand: There ain't no doin', Miss Grace. One of 'em idn't gonna survive this.
Grace: I know, let's... save the calf, I suppose.
Steven: Runs inside. I'm sorry it took me so long. He looks about, and Grace barely regards him. What's wrong?
Grace:
We couldn't wait for you. She looks up briefly. The mother is going to die and the
calf might, too.
Steven: Begins removing his jacket and entering the stall. How can I help?
Grace: Does not look up. You can't.
Steven stands speechless for a moment, and Grace finally stands.
Grace: I'm sorry you came all the way out here, but you really can't do anything and you'll only get in the way. Why don't you go up to the house? Mrs. Anders should be up already, she'll get you something for breakfast.
Steven: But, Grace, I want to help.
Grace: You can't, I'm sorry. Please go so we can concentrate.
Steven pauses for a moment, then adjusts his coat and leaves the stable.
Cut to: The kitchen at Belleterre, a short time later. Steven sits alone in the room, dejected.
Julia tiptoes into the room, a robe tied around her and her hair falling down her back in a loose braid.
Julia: Steven? Is that you?
Steven: Looks up. Good morning.
Julia: Sits across from him. What are you doing here so early?
Steven: Grace was going to let me help her deliver a cow... I know, it sounds strange. I'm a medical student, I was curious.
Julia: Why are you inside, then?
Steven: Grace told me to leave... I don't know why she's angry with me.
Julia: She has quite a temper. She can get angry over the silliest things sometimes.
Steven: We are very young... perhaps I should not have gotten so... attached.
Julia: You may be right. She lightly touches his hand. I am going to get more properly dressed. Then maybe we can find something to eat and have a nice talk.
Scene 2: Belleterre, a few hours later. Alicia is watching out a window in the front foyer at Belleterre, the long train of her dark green, velvet riding habit draped over one arm.
When Johnny comes into view, riding one horse and leading another, she appears puzzled and opens the door.
Johnny: Good morning, Mademoiselle de Gironde. I was just heading out on my morning ride when they told me you, too, were planning one. Would you care to accompany me?
Alicia: Not at all, Monsieur Pritchett. It is very kind of you to want to escort me around the grounds.
Johnny: It is my pleasure.
He jumps down from his own horse to assist her into the side-saddle of the gentle mare beside his own horse. She smiles shyly up at him before lowering her eyes to concentrate on mounting the horse. Johnny smiles to himself at the small tint of color that appears on her cheek. They ride into the open fields and are companionably silent for a time before Johnny ventures to speak.
Johnny: Did you enjoy your trip to America?
Alicia: Glances at Johnny, paying particular attention to the early morning breeze blowing his hair down on his forehead. It was very long and relaxing. I have never been out of Europe before, so the excursion was an exciting one for me. Though I must admit a slight disappointment when I first laid eyes on America. Aside from the port city, it seemed so... unoccupied.
Johnny: Laughs. Yes, I suppose at first sight it does seem that way, especially that rather dull area across the middle. But the longer I stay here, the more I like it. The people are friendlier and more decent, and the air is cleaner. Do you think you will miss the continent much?
Alicia: Thinks for a moment. Perhaps, but I think there are more opportunities here for young ladies. I have heard that people are more open to the idea of women furthering their education.
Johnny is caught up in the picture she makes with the wind blowing her loosed curls down her back and around her face, her flushed cheeks, and her sparkling eyes. For a brief moment he forgets to breathe.
Alicia: Touches her face. Is there something out of place?
Johnny does not hear her at first. He blushes when he first realizes he's been caught staring, but his own wind-flushed cheeks hide most of the extra color.
Johnny: Do forgive me, Mademoiselle. I don't know what came over my senses.
Scene 3: Belleterre, some time later. Marietta has joined Elizabeth for breakfast in an upstairs sitting room.
Elizabeth: These past few days have been difficult for me, losing my brother, it barely sunk in that your father was gone as well. How have you been, ma chère?
Marietta: Not good. This morning was the first time I left my rooms. I
keeping thinking about Annie... she will never know him. He will never know his
grandchildren.
Elizabeth: He will know them. He will watch over Annie for you, and send you more children to love.
Marietta: And Maman loved him so. I wish I could be there to comfort her.
Elizabeth: I know. Eugénie is my oldest and dearest friend.
John Henry: Appears at the door. Excuse me, ladies. He holds up a slip of paper. There's just been a telegram.
Elizabeth: Dear God, Jean Henri, I do not think I can deal with more bad news.
John Henry: It is not bad news. Samuel apparently had left instructions that should anything happen to him, Robert and Eugénie were to see that Lise Anne got to us safely. This telegram is from Eugénie... immediately following Robert's funeral, which should be today, she will bring Lise Anne here. They are both coming.
Scene 4: Tess and Nick's house, a short time later. Nick, Tess, and Gustavo are sitting around the kitchen table eating breakfast.
Gustavo: Mary... Stuart is one of my closest living relatives. A distant cousin. Family is very dear to me, and when I found out all the troubles Mary... Stuart, I suppose I should get used to that if that is what she prefers... when I found out about her troubles I wanted to help her, especially since I am in a position to do so.
Nick: Stuart was very adamant about her privacy and I would be hesitant to help anyone find her if she didn't want to be found, but she was under the impression that she had no family. She deserves to know she does.
Gustavo: Do you have any idea why she just left?
Nick: I'm not going to lie to you, I do know, but it was a very personal reason for Stuart. If she would like you to know, she had better be the one to tell you.
Gustavo: I understand. Will you help me find her?
Nick: As best I can, but it will be difficult. She could be anywhere, doing anything. She had many skills, and she could disguise herself well.
Tess: I think you should start looking as soon as possible.
Nick: It may mean I'd be gone for a long time.
Tess: I can handle myself. Grace can help with things. This is important. Find Stuart.
Scene 5: Liberty Creek, late morning. Jack is visiting Cole at Madison’s cabin.
Cole: It was good of you to stop by and tell me the news, Jack. I’ve just been so occupied with my own personal problems that I had no way of knowing—
Jack: Cuts him off. Not to worry, Cole. I myself just found out yesterday.
Cole: It certainly is a tragedy. Be sure to send my condolences to the Marshalls.
Jack: I will. Now, what are these personal problems that you speak of?
Cole: He sighs deeply. My wife came to visit me this past week.
Jack: Your wife? I wasn’t aware that you were married.
Cole: I was, but I thought she was killed in a fire five years ago. She came back to tell me about our son…
Jack: A son you never knew existed, am I correct?
Cole: Yes, Jacob. He is four years old, turning five in September.
Cole stands and rushes to put on his coat.
Cole: I am sorry to rush out on you like this, Jack, but I promised my wife I would meet her in Boise to discuss our son.
Jack: I understand. Let me know how things turn out.
Cut to: Boise, a few hours later.
Cole slowly approaches the closed door of a hotel room and knocks softly. When there is no answer, he opens the door a crack and peers inside. Isabella is lying on the bed, apparently sleeping. He enters the room, closing the door behind him, and sits in a chair next to the bed. A letter is lying on the bed next to Isabella, along with a picture of a young boy. Cole picks up the picture and looks at it, smiling. He then notices that the letter is addressed to him, so he picks it up and reads.
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Dearest Cole, If I had known how you were going to react when I told you about Jacob, I never would have done what I did back East. Forgive me, but I have given our son away to a lovely couple. They have taken him somewhere—I know not where—to raise him as their own son. This picture was taken only a few months ago. I thought you at least deserved to know what he looks like… he does look so much like you.
I am just so ashamed of what I have done. Not only have I given away our son, but I have
also deceived you by leading you to believe that you would have a chance to get to know
him one day. The pain I have certainly caused you is almost as great as the pain I am
striving to leave behind here in this hotel room. The pain will be gone by the time you
read this letter…
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Cole, realizing what he has just read, quickly jostles Isabella and, when she does not awaken, checks her for a pulse. When he can not find one, he frantically reads the last line of the letter: “I cannot live this life alone.” His eyes well up with tears and he places his head in his hands, then begins to sob quietly beside Isabella’s lifeless body, the picture of his son still in his hand.
Cole's response has greater impact than he
realizes Nick and Gustavo's search does not start
well Julia makes a mistake that will change the
course of her life
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