Episode 81

Episode 81: Mid-March 1877
Scene 3 written by Padeena

Scene 1: Le Havre, France, morning. A travelling party has just entered the common area of a state room on a ship.

Two ladies, one middle-aged and one a young woman, are dressed in black. They both wear black veils but they remove both hat and veil once the door to their room is closed. The older woman wears a wedding ring and both have a symbol of the cross hanging from their necks, but other than that the two wealthy women wear no jewelry. Both appear fatigued and troubled, their eyelids drooping over forlorn eyes, but they keep up their dignified appearance and posture. They are attended by two women who also wear black, though their mourning dress is not as elaborate as their employers, and a young man who bears a black arm band. All five speak in French.

Older Lady: I shall be both glad and sorry to be leaving France. So many fond memories, but now...

One of the female attendents, a pretty blonde in her mid-twenties, approaches the woman and puts a comforting arm around her shoulders.

Attendent: Do you wish to have something to to eat, Madame, or would you like to rest?

Young Lady: It was a long journey from Paris and you have not had much sleep, Aunt Eugénie. It will not be good for your health.

Eugénie: You are right, Lise Anne. She turns to her attendent. I only wish a glass of water, Hélène. I believe that it is a pitcher by the mirror.

Hélène: Of course, Madame. Would you like a glass, as well, Mademoiselle de Gironde?

Lise Anne: Yes, please, Hélène.

Eugénie: Turns to the young man. Has our luggage been placed in our rooms, Antoine?

Antoine: Yes, Madame, I believe so.

Eugénie: Good, then I think Lise Anne and I will retire to our room; we can attend to each other. The three of you may rest or find something to eat as well.

The two ladies disappear into a second room.

Hélène: I slept on the way from Paris. Would you come with me to get something to eat, Marcelle?

Marcelle: Yes, thank you.

Hélène: And you, Antoine?

Antoine: Thank you, no. I rode outside the carriage and got no sleep.

Hélène: Suit yourself. After you, Marcelle.

Hélène opens the door and allows Marcelle to pass through first. Antoine watches Hélène from behind as she passes, taking in the length and shape of her form. He smiles to himself after she closes the door, then retreats to the far bedroom, a small room with single bed. He lifts his modest valise from the floor and sets it on the bed, then opens it and pushes aside the clothing before coming to a small, framed picture on the bottom. A woman, decadently dressed yet eerily morose, stares back at him.

Antoine: Dear Mother... worry not. Hélène would only be a dalliance. She would not distract me from making good on my promise.

Scene 2: Boise, morning. Nick and Gustavo Alvarado have just descended into the lobby of their hotel.

Nick: If we had two pictures we can split up. As it is, we only have one image of Stuart as Stuart.

Gustavo: I did not know you had one at all.

Nick: I was certain I showed it to you. He removes a folded pieces of paper from his coat and opens it to reveal a sketch of Stuart. Steven Hewitt's sister stayed at Belleterre for a time. She is quite the artist.

Gustavo: Yes. Where should we start? You know this city better than I.

Nick: There are a number of boarding houses. We should start with those, I doubt Stuart would risk staying in the rooms above a saloon.

Nick and Gustavo visit a number of boarding houses, each time receiving no information from the proprietor. At the end, they retreat to a saloon and sit down for a drink.

Gustavo: That was not encouraging. I do not know what else to do.

Nick: You tracked her this far.

Gustavo: It took me a very long time, and I knew where to look. If she was trying to get far away from whatever she was running from, I do not think she would look for work so close.

Bartender: You fellas lookin' for a lady?

Nick: Yes, a family member of his and a friend of mine.

Bartender: Got a picture o' the gal?

Nick: No, but we believe this man might know something of her whereabouts. He produces the sketch and shows it to the bartender. Seen him around? Would have been last summer.

Bartender: Lets out a hearty laugh. Last summer! You must be crazy if you think I remember some nobody from last summer. So many people come through here, you'd be lucky if I remembered somebody from last week.

Nick: Well, thanks anyway. He begins to turn away.

Bartender: Hold on there. I do know something about finding people. Lots o' folks come in here looking for people, professional detectives even. A fella can learn a lot. Would this fella o' yers be travelling with his own horse or using the train or stage?

Nick: He had his own horse.

Bartender: Well, that might harder to track him, but sometimes fellas come as far as Boise on horseback or on a wagon, then sell it and take the train or stage to wherever they're goin'. There's an idea.

Nick: Yes, it is. Thank you. Shall we go, Gus?

Gustavo: Yes, certainly.

The two men pay for their drinks before making their way to the nearest livery stable. They approach a man working inside.

Man: Nick Marshall, good morning. What can I do for you?

Nick: Actually, I don't know why I didn't ask you right off. Do you remember Stuart, who worked for me?

Man: Surely do.

Nick: Did he come in here at all when he left town last summer?

Man: Sure did. Sold me his horse, took the first offer I gave him.

Nick: Mumbles to himself and kicks at the ground. Dammit, why did we waste all that time at the boarding houses? Looks back at the man. Did he say where he was headed?

Man: Thinks for a moment, then shakes his head. No, just that he was leaving the area. Headed off toward the train.

Nick: Thank you. He turns to Gustavo. Let's go.

Their brisk walk to the train station does not take long, and Nick leads Gustavo straight to the office. They approach the first available clerk.

Nick: Do you keep departure records and the names of the people on the train?

Clerk: Nope. Folks just buy the tickets. We don't care about their name.

Nick: Produces the sketch. Do you remember this man, then? He would have been through here last summer.

The clerk briefly looks at the sketch, then shakes his head no.

Nick: What about the other workers here?

Clerk: Holds up the picture and calls out. Hey, fellas, any o' you remember this man?

Nearest Clerk: Not him.

Another Clerk: Sorry, buddy.

Furtherest Clerk: Yells out. We only pay attention to the ladies!

All the clerks laugh, but Nick and Gustavo remain stern. Nick snatches the picture from the clerk and mumbles a thank you.

Nick: Well, we might as well ask the porters.

Scene 3: Belleterre, mid-day. Alicia walks aimlessly around the upper gallery of the house gazing at the various portraits and landscapes. She happens upon young Hildy Schmidt, who is doing the same, and startles her.

Alicia: Mon Dieu, I did not mean to startle you. You are Hildy, oui?

Hildy: Hildy Wee? No, just Hildy. She looks up at Alicia, and is suddenly awestruck with recognition. You are Alicia Celeste.

Alicia: Laughs. Yes, but why do you find that so special?

Hildy: I always thought you were the most beautiful lady I had ever seen, and now you are talking to me.

Alicia: I would have spoken to you before, but I so rarely see you.

Hildy: During the day I am at school, and the other times my grandmother tells my sister and me to stay out of the way.

Alicia: Why are you not at school now, and where is your Mama?

Hildy: Today is Saturday, miss, we do not go to school on Saturdays. My mother is very sick, and she had to go very far away to a hospital. My father left us.

Alicia: Oh, I am very sorry. You must miss them.

Hildy: Nods, almost whispers. Yes.

Alicia: Stares at the little girl for a moment before smiling and daring to touch her shoulder to get her attention once more. The day is bright and sunny. Perhaps you could show me how to get to the creek I have heard so much about? We could have a picnic lunch and take our time staying out of everyone's way together. This way, neither of us will be lonely?

Hildy: Her mouth drops open in surprise. You want to go on a picnic with me?

Alicia: There is no one else in this hallway, Hildy. Would you like to go?

Hildy: Very much! Thank you, miss.

Cut to: A small sitting room facing the fields, a short time later. Carey and Johnny sit with a small luncheon. Both are distant, but Carey notices Johnny's state first.

Carey: Johnny, you look as if you've just lost your best friend.

Johnny: Yes, you. Scotty monopolizes all your time now, and now the two of you are thinking of becoming globetrotters.

Carey: You are too dependent on me, my friend. But you've been complaing about all that for some time now. This is new. Anyone in particular you may be thinking of? The lovely French cousin, perhaps?

Johnny: Pauses, then nods. Yes... I haven't had the opportunity to speak with her since our morning ride a few days ago. Could she be avoiding me?

Carey: I don't think so. All this is so new to her, the family I mean. And with Aunt Elizabeth now in mourning... it is just difficult for her. She glances out the window, then looks again more closely as she notices Alicia walking with Hildy. Speaking of your lady love...

Johnny: Looks out the window. Who is that little girl?

Carey: Hildy, the cook's granddaughter.

Johnny: Ah, that crazy woman's daughter.

Carey: Yes, her. They look to be off for a picnic. You could join them.

Johnny: I don't want to force myself into her company if I am unwelcome.

Carey: If you take that attitude, you will get nowhere.

Johnny: Not necessarily. The next time we meet by chance I can judge her impression of me.

Carey: You could, but it still seems as if you're too sissy to go see her now.

Johnny: You did not like men forcing their company on you, Carey, don't force my company on another unsuspecting young lady.

Carey: Point taken.

Scene 4: Tess and Nick's house, a short time later. Grace has just emerged from the stable, wiping her hands on her pants.

Grace jogs to the back of the house, entering through the kitchen door. Tess looks up from the stove and smiles.

Tess: Everything all right out there?

Grace: Yes, the hands are doing fine work on their own.

Tess: Lunch is almost ready if you're interested... Steven will be joining us.

Grace: I, uh... I should get home.

Tess: Come now, Grace. You can't avoid him forever.

Grace: Sighs, begins removing her dirty boots. All right. I'll go wash up. Can I borrow some clean clothes?

Tess: Teases. From my side of the closet or Nick's?

Grace: Hides a smile. I'll be down shortly.

Grace takes the back stairs up to the second floor and enters Tess and Nick's bedroom. She removes her dirty shirt and trousers and washes her face and hands at the wash basin before taking down her hair, brushing it, and tying it in a braid. She then stands at the open door of the closet in just her underclothes, first looking just at Tess's side, then chuckling to herself. She dons one of Nick's dress shirts and fastens a cravat around her neck, then steps into a petticoat and skirt from Tess's side of the closet. A waist coat completes the ensemble. She leaves the bedroom and approaches the stairs, but a baby's cry grabs her attention and she follows the sound to the nursery instead.

Grace: Are you all done with your nap then, Andrew?

She leans over the crib and the four month old baby boy stops crying for a moment to look up at her. The calm lasts but a few moments, and he resumes voicing his demands full force. Grace reaches in to check his diaper.

Grace: So it's a wet bottom, is it? I can fix that.

Grace lifts Andrew from the crib and sets him on the nearby change table. He continues crying until all his soiled clothes are removed. Steven appears at the door and Grace looks up. Their eyes meet for a moment but she quickly returns her attentions to her nephew.

Steven: Oh, I'm sorry. I didn't know you were in here, Grace. Hello.

Grace: Hello, Steven.

Steven: You're looking... He takes a moment to fully view her clothing... well.

Grace: As are you.

Steven opens his mouth to say something, then decides against it. There is an uncomfortable pause before he speaks again.

Steven: Well, I will see you at lunch, then.

He turns and leaves the room, but Tess enters soon after.

Tess: He really likes you. He usually kicks when he's impatient and angry. She joins Grace at the change table and watches as Grace finishes dressing the baby. That's an interesting ensemble you chose.

Grace: Smiles. Just for you. My own clothes are dirty and damp. Do you mind if I wear this skirt home when I leave?

Tess: Not at all. She pauses for a moment. I was listening to you and Steven outside the door.

Grace: Oh?

Tess: Grace, you'll never patch things up with him if you remain so incommunicative.

Grace: I know, I'm just...

Tess: What?

Grace: Embarrassed. I started it.

Tess: All the more reason for you to be the one to fix it.

Scene 5: Liberty Creek, afternoon. Cole is approaching on foot, slightly stumbling. He is carrying a bottle in one hand and clutches a small card in the other.

Cole opens the door and places the bottle on the table, but keeps the card clutched in his hand. He shuffles around before finding a satchel, then hurriedly shoves some of his own clothes into it. He has particular trouble with one shirt, and eventually gives up in frustration. Slumping onto the bed, he picks up the bottle and takes another swig. After putting the bottle back on the table, he holds up the card in his hand—the photograph of his son. He sighs and starts to stand up again, but wavers and collapses on the bed, unconscious.

Cut to: Some time later. Julia approaches the cabin, a basket under one arm, and knocks on the door. There is no answer.

Julia: Mr. Branden? Mr. Branden, I just saw Dr. Jackson in town. He told me about... well, I just came to offer my condolences. She waits, but there is still no response. She frowns and knocks again. Mr. Branden?

Julia slowly turns the nob and opens the door, gasping when she sees Cole passed out on the bed. She places her basket on the floor and kneels beside him, briefly looking at the picture of his son, which has fallen from his hand to the floor.

Julia: You poor man.

She gazes at his face and lifts her hand to brush the hair from his brow, hesitates, then does it anyway. She gently sits on the edge of the bed.

Julia: I don't know what's wrong with me. Steven and Grace don't seem to be as close anymore and he talks to me now, but it not the same way. He doesn't look at me the same way. And you seemed to fancy me at New Years, but then you just seemed to ignore me after that. I wish...

Julia's speech trails off and she gazes at Cole's face again—his closed eyes, the place where she brushed the hair from his forehead, the line of his jaw, his lips. Her gaze lingers at his lips.

Julia: It wouldn't be terrible, would it?

Julia slowly lowers her head over Cole's face, pausing several times to check that his eyes are closed, before gently touching her lips to his. At the same moment, Cole stirs.

Dream: Cole is lying in the bed of his old house in Boston. Just as he stirs and opens his eyes, Isabella leans over him.

Cole smiles as she kisses him, and he wraps his arms around her. She seems hesitant, but warms to the embrace and his deeper kisses. He slowly caresses her body, so gently that she doesn't notice at first. She is surprised with the touch, but makes no attempt to repel it. She moves willingly as he positions her completely over top of him, and does not protest as he eases her skirts up to her waist and unties her drawers. He continues to kiss her, but she returns it fully and welcomes the touch of his hands on her thighs. Her eyes dart open and she tenses as he begins caressing the most personal part of her being, but the feelings his touch incites soothes her trepidation. Soon she begins to moan and rotate her hips. Their kiss breaks but her eyes remain closed. With one hand he fumbles at his trousers, long since tight and bulging. He pulls her down on him quickly. She lets out a weak scream but he doesn't notice as he achieves his release. But when he opens his eyes to look at Isabella, it is Julia Marshall's face he sees. Confused, he watches as she jumps up from the bed and runs from the room.

Cole awakes from his dream with a start. He sits up and the headache that rushes to him almost sends him back down. He slides his legs off the bed and sits on the edge, cradling his aching head in his hands. Jacob's innocent face stares back up at him, and Cole takes the picture off the floor and slips it into his pants pocket. His looks quizzically at his opened pants, but shakes it off and does them up. He returns to his packing, but stops when he sees the basket lying on the floor. Opening it, he finds enough pre-cooked food to last him several days, along with a Biblical passage artistically written on a sheet of paper—Psalm 23. He looks up just as the wind catches the unlatched door and blows it open. He briefly glimpses a woman running down the wooded path, but she is far away and disappears around a corner before he can look more closely. He pauses for a moment, then rises to close the door and continue his packing.

Coming up in Episode 82:

Nick and Gustavo continue their search for Stuart, receiving some hope

Grace decides to patch up her relationship with Steven, but finds him consoling Julia and misunderstands

Cole leaves just as Julia comes to terms with what happened, but will Cole remember?

Continue to Episode 82

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