1207_1208 - The duel - Bramwell's thoughts as he counts off his paces are haunted; Catherine's suicide threat repeats itself in his mind, over and over. At the crucial moment, he cannot bring himself to fire. Morgan does, however.
The bullet strikes Bramwell, who collapses to the ground. Morgan takes a few steps forward to admire his handiwork.
Catherine paces the drawing room at Collinwood. Daphne joins her--I got your note, she tells her sister--is it really true? Catherine nods. Where are they? asks Daphne--where have they gone to do it? I don't know, says Catherine. Didn't anyone try to stop them? asks Daphne. Of course I tried, they wouldn't listen to me, says Catherine desperately. There must be something we can do, says Daphne. There's nothing we can do but wait, says Catherine. No, we can send for the police and have them search the grounds, insists Daphne. The police would never get here in time, says Catherine--and even if they did, they'd only succeed in postponing everything. What do you mean? asks Daphne. The hatred between Morgan and Bramwell is too great to stop the duel, says Catherine--I found that out last night--I have been honest with Bramwell. (yeah, right) Catherine describes the aborted wedding--there was a fight, Morgan fell on the floor and hit his head--I'm sick of the way Bramwell's carrying on! complains Catherine--I tried to be open and honest, but he shut his mind to everything I had to say. How can you be honest with him when you haven't been completely honest with yourself? asks Daphne--you haven't stopped loving Bramwell, even if you can't admit it. I hate him, Catherine insists. I'll never believe it, and neither will he, says Daphne, looking out the window--the sun's just come up--it's over now, and one of them has won--I have always felt sorry for Bramwell, who has been treated as something less than human by the family his whole life--and that's a terrible thing to do to a man. The front door opens and closes. The sisters exchange fear-filled glances. Morgan enters. Catherine runs into his arms. You, too, thought it would be Bramwell, didn't you? asks Morgan. I didn't know what to think, says Catherine. Daphne's concern is all for Bramwell--is he dead? she asks. He's been wounded, quite seriously, says Morgan--I, too thought it would be Bramwell that came back--he was always better with a pistol than any of us--he raised his pistol, but never fired--I'll never know why. This news shocks both women.
Where is Bramwell now? asks Daphne anxiously. I summoned two of the servants and had him brought to the Old House, says Morgan. You shouldn't have done that, or moved him, chastises Daphne--it could have been dangerous! I don't care whether he lives or dies! rails Morgan. Well I DO care! says Daphne, and races to the door. Where are you going? asks Catherine. To see Bramwell! cries Daphne--and take care of him. She leaves. And what about you? sneers Morgan--do you want to go with your sister?--do you want to be by Bramwell's side? She turns to him, lip trembling, but doesn't reply.
In his bedroom at the Old House, Bramwell awakens to find Daphne taking care of him. He starts to rise from bed, but she pushes him down--don't try to get up, she warns. What are you doing here? he asks. Taking care of you, she says. Does my mother know? he asks. Yes, she had gone for Dr. Fletcher when I arrived, says Daphne, a doctor's daughter--I temporarily dressed your wound myself. How bad is it? he asks. The diagnosis is up to Dr. Fletcher, we'll have to wait for him, she replies. Has Morgan been boasting of his great victory to everyone? asks Bramwell. Morgan wasn't doing much boasting, she explains--he knows how fortunate he was--so do I. What is that supposed to mean? he asks. Morgan said you never fired your pistol, says Daphne--was that because of Catherine? Are you suggesting I deliberately did not fire? he asks hotly--that I allowed him to shoot at me? I know you'd never admit it, of course, says Daphne. It is NOT true, he says vehemently. "We shall each believe what we want to believe," Daphne says wisely. Were you with Catherine when he came back? asks Bramwell. Yes, says Daphne. Was she happy to see he was alive? asks Bramwell bitterly--was she? Yes, says Daphne. Morgan should have killed me, says Bramwell--everyone would have been better off with one of us dead. Daphne jumps to her feet and says, it's over now. It will never be over! he says. You mean, between you and Catherine? she asks. Between me and Morgan, he says--Catherine no longer has anything to do with it--she and I are through--she is my enemy now and always will be. Try to rest, encourages Daphne. Thank you for your kindness, he says. I'm not here out of kindness, she assure him--I wanted to see you and want to make sure you go on living.
He stares at her, surprised by her depth of feeling.
Collinwood - Morgan demands a direct answer from Catherine, who can't stop thinking about it--I'm just so sorry this all happened, she says. Well I'm not! yells Morgan--maybe this incident will bring him to his senses, which I doubt is possible. If this feud goes on, says Catherine, it will end in tragedy--you know that, don't you, Morgan? I know that, he replies. He notices she is looking out the window, in the direction of the Old House--"Is that where you'd like to be, Catherine?" he asks--"I'm waiting for an answer." Her answer is to turn around, run into his arms and kiss him.
Eagle - Gerard Stiles introduces himself to Kendrick, who offers him a drink. Business first, says Gerard--you're not from Collinsport, are you?--how did you find out about me? I made certain inquiries about you in the village, says Kendrick--I understand you have certain psychic powers. I prefer abilities, says Gerard. Then it's true? asks Kendrick. It may be true, however, says Gerard, I'm not a magician--I occasionally have psychic vibrations. But you have been known to be able to locate missing persons? asks Kendrick--I want you to locate my sister, who was a private secretary to Mrs. Flora Collins--three weeks ago, she suddenly vanished. Have you inquired at Collinwood? asks Gerard. Several times, says Kendrick, they all say the same story--she was unhappy and left without leaving a forwarding address--all this is not true. But if you're wrong, she could be a thousand miles away by now, and no way I could possibly help you, says Gerard. I feel she is still at Collinwood, says Kendrick. That's rather a serious accusation, points out Gerard--are you suggesting the Collins are lying? Covering up--what, I don't know, says Kendrick. What exactly do you want from me? inquires Gerard--to go to Collinwood, help you find her? Both, says Kendrick--I understand you have an entry at Collinwood. Yes, says Gerard, I used to work for the Collinses--I'm a good friend of theirs--I was a seafaring man at one time, working on one of their whaling vessels--it was there I discovered these abilities--why haven't you gone to the police with your problem? I consulted the police, says Kendrick, but because of the tremendous influence wielded by the Collins family, and without proof, they did nothing to help me--are you willing to help me? Money, Mr. Young, says Gerard, smiling--I will help you if the price is right.
8:45 - Laughing, Catherine and Morgan return to Collinwood, where an angry Daphne, has been anxiously, impatiently, pacing, waiting for them for over an hour. We went to he village, says Catherine happily. Bramwell's condition has not changed--it's very serious, says Daphne.
Beaming, Morgan says, even I could muster up a little sympathy for Bramwell this evening--Catherine and I just got married. Catherine smiles at her sister, who does not return the smile.
Daphne, are you going to help us celebrate? asks Morgan. Yes, she says, and insincerely offers congratulations. Jovial, Morgan goes to get champagne. Daphne accuses Catherine of being callous, not waiting for Bramwell to get better. There was no reason to wait for Bramwell to recover, retorts Catherine--and possibly stop the wedding again. He wouldn't have done that, insists Daphne. You don't know him as well as I do, says Catherine. Daphne turns away. I knew this was the only way we could ever get married, says Catherine--when Bramwell was incapacitated and not able to stop it--I'm just sorry it had to happen this way. So am I, agrees Daphne. No matter how much I do regret it, says Catherine, I can't help but think he brought it on himself--I did my best to dissuade him, he didn't listen to me! Who's going to tell him about the marriage? asks Daphne. He'll find out about it one way or another, says Catherine. You've got to tell him, insists Daphne, it's cruel of you not to! I have no intention of doing that! says Catherine. Morgan enters, carrying a tray--who would like to join me in a glass of champagne? je asks. He pours, offering "Mrs. Morgan Collins" a glass. Yes, darling, she says. Someone knocks at the door. Morgan closes the double doors to go answer it. He finds Gerard and Kendrick outside. Gerard asks to see Quentin. He isn't in, says Morgan says he isn't in, he's in the village this evening. They ask to wait for him. Tell me the nature of your business--perhaps I can help you, says Morgan. We are trying to locate Kendrick's missing sister, says Gerard. Morgan realizes Kendrick is Stella's brother, and, knowing he only recently buried the girl, becomes defensive, insisting, I told you everything I know about your sister--I want you to stop troubling us. I have no desire to cause trouble! says Kendrick, furious--when I find my sister, I will leave you all in peace! Out of their sight, Gerard is holding a handkerchief in his hand, rubbing it. I told you, says Morgan, I don't know where your sister is--I told you before and I'm telling you again--if you don't mind, I must insists you leave my house. You will not get rid of me so easily this time, says Kendrick. It's all right, Gerard assures him, Mr. Collins is quite correct--we have no warrant, we're not here on official business, we shall do exactly as Mr. Collins says--good evening. Gerard leads Kendrick out.
Outside, Kendrick suggests to Gerard, we should get a warrant. Not necessary, Gerard assures him, holding up the handkerchief, apparently Stella's--your sister is not in that house--I had certain psychic vibrations--she was there recently, but not now. What shall we do? asks Kendrick. There are other homes and buildings, says Gerard, I suggest we conduct a search--come along. The two men head off.
Daphne returns to Bramwell's side. I feel neither better or worse, he says--what brings you here again? I didn't expect to be coming back, she says, but...well, I felt I had to. What's wrong? he asks. I've just been at Collinwood, she says--they went into the village earlier tonight. Sensing what's coming, he looks at her. Yes, Bramwell, they are married, she says. He turns away.
Seeing his stunned, saddened face, she sits on his bed--I'm so sorry," she says.
Gerard and Kendrick walk through the woods, searching for Stella. Why are you stopping here? ask Kendrick--there are no buildings around. We're no longer looking for a building, says Gerard--tool shed--we must find a tool shed, and if I remember correctly, there is one inside the stable--come along. They hurry off.
Morgan sits by the fire. Catherine asks what's troubling him. Nothing, he assures her, smiling. You haven't been yourself since those two men came to the door, says Catherine--who were they?--did they bring you bad news? They were unsavory drinking buddies of Gabriel's, lies Morgan--I'm sorry, I shouldn't let anything bother me this evening--we're going to have another glass of champagne and go upstairs. They kiss.
Gerard and Kendrick return to the woods bearing shovels. Gerard, running the shovel like a psychic divining rod over the dirt, says, unless I am very much mistaken, we are standing on top of a grave, a rather unorthodox one to be sure, however, there is a body. Oh no, says Kendrick, turning pale.
So, Mr. Young, let us start digging, advises Gerard. They do.
NOTES: Is this where Morgan just recently buried Stella? Is there any way to connect her death to the Collins? Kendrick may yet find himself up against a brick wall in his attempt to find out what happened to his sister.
Daphne's concern for Bramwell seems more like a girl with a crush. Remembering WUTHERING HEIGHTS, the tale upon which this storyline is loosely based--is Daphne in for heartbreak? Catherine was a fool for marrying Morgan, but I suspect she'll find that out soon enough. She is wrong to bury her real feelings; it never works, not in the real world nor in Collins country.
1209 - Gazing down into the freshly-dug hole, Kendrick and Gerard find Stella's blue-clad body. Kendrick kneels there, unable to believe it. I'm sorry, says Gerard. Kendrick stands--I knew it, he says--the first time I went to Collinwood, I knew something like this had happened--I wanted so much to be wrong--I wanted to believe everyone, go away, and hope one day Stella would come to me with an explanation--I couldn't, I had to stay. He closes his eyes miserably--Stella, who could have done this to you?
Collinwood drawing room - I murdered her! cries Melanie, who else could have done it?--you believe I killed her, too, don't you, Mama? Of course not, insists Flora--you mustn't think that, darling. Yes you do! wails Melanie, you all do--why don't you send me away?--why do you keep me here, knowing I'm mad? Please, begs Flora. Did I really go to Catherine's room with a knife? asks Melanie, sobbing in a chair. Don't put yourself through this, pleads Flora. Then I did go into that room, says Melanie, and if I hadn't been stopped, Catherine would be dead now, too--wouldn't she? Flora, miserable, doesn't respond. You can't even answer me, says Melanie--what am I going to do, Mama? I don't think you were responsible for Stella's death, says Flora--you must believe that--for Julia, and for me, as well as for yourself--because if we hadn't locked Stella in that room, she wouldn't be dead now--so you must protect us, too--we're innocent, yet terribly guilty. Mama! says Melanie, you didn't murder her, didn't stab her to death--I did! She sobs. You could be next, warns Melanie, do you want that? Stop it, begs Flora. I don't remember what I do, says Melanie--you could be next. Stop it, says Flora--even if you did murder Stella, you didn't know what you were doing--you don't know! Melanie's face collapses. Oh, darling, says Flora, I'm sorry, I didn't mean that. Mama! cries Melanie, you do think I killed her!--and so do I! Melanie goes into her mother's arms--Oh, Mama, I want to die. Flora holds her--I'm so very sorry, Melanie. Someone knocks at the door. Flora assures Melanie, I'll be right back. It's Kendrick and Gerard, who ask to come in. This isn't a good time, insists Flora, there's been much sadness here, as you know. I realize the time isn't appropriate, says Kendrick, but I must insist--may I be allowed to speak to you for a few moments? Only a few moments, agrees Flora. The men enter the house. Kendrick greets Melanie. What do you want? asks Flora. It is about my sister, says Kendrick--she is dead. Flora regards him stoically; Melanie covers her face with her hands, horrified.
I'm so sorry, Mr. Young, says Flora--is there anything I can do? Yes, he says, may I be allowed to ask you a few questions? Of course, says Flora--Melanie, go to your room. If you don't mind, says Kendrick, I would like Melanie to stay. No, she's too upset over her father's death, insists Flora. No, says Melanie, I'll be all right--I want to stay. They all go into the drawing room--sit down, offers Flora. Only Kendrick sits, and asks, Mrs. Collins, tell me the truth now--all of it. That implies I didn't tell you the truth before, says Flora. I'm sorry, says Kendrick, but that is what I suspect. Melanie listens intently. I know your sister's death has come as a great shock to you, says Flora, but I have just lost my husband, and I don't feel this is the time to discuss the matter. When you hear where we found Stella, says Gerard, I'm sure you will understand we cannot believe the stories you told Mr. Young--Stella's grave was found in the woods, on this estate! Melanie busts into tears. This is too much for Melanie, protests Flora--we'll have to discuss this some other time. Stella! sobs Melanie. Kendrick rises--Melanie, I'm so sorry it had to happen this way, he says--I wish I could have made it easier for you. Please stop! begs Melanie, crying, moving away from him. Please listen to me, he says--more than anything I want your mother and aunt to be telling the truth--I hope that both of them had nothing to do with my sister's death--but that's impossible for me to believe now--Melanie, please, look at me! She turns to face him. You are the only one I can truly believe in this house, he says, that may be unfair, but nevertheless, if you tell me your mother's story is true, that Stella left this house two weeks ago without a word, if you tell me that no one has seen or heard from her since, I will believe you. Flora regards Melanie hopefully.
Melanie takes a deep breath--it is true, she lies. Kendrick thanks her. Melanie looks as if she's going to explode into tears. Thank you, Mrs. Collins, for listening to us, says Kendrick--I'm sorry for disturbing you--good night. Melanie clasps a handkerchief to her breast. Where are you going now? asks Flora. To the police, of course, says Kendrick. Of course--I'll see you out, says Flora. That won't be necessary, says Kendrick, thank you. Still angry, he leaves with Gerard. Flora closes the doors and tells the again-sobbing Melanie, do not dare utter one sound--she listens for the door closing--how did they find her, how?--I must get Julia. Why didn't I just tell him I killed her? frets Melanie. Please, begs Flora, don't start that again! Why? asks Melanie, because they may find out that I am mad--well, I'm not really your daughter, Mama--your family name won't be soiled! Darling, comforts Flora, that isn't what I meant. PLEASE, Mama, please live with it! pleads Melanie--live with the knowledge that I have killed and will kill again--I know that, I can't stand it any longer--I've got to tell someone. Flora chases after her. Please don't stop me! screams Melanie, who opens the double doors and runs right into Quentin. He grabs her. "Let me go!" she screams, struggling in his arms. What's going on? asks Quentin. Stop her, yells Flora, she's going to tell! Tell what? demands Quentin, fighting his sister, who is still trying to free herself. That I murdered Stella Young! cries Melanie. Quentin gazes at his mother, who looks ashamed.
9:30 - Drawing room - You're telling me that Stella has been in this house all along without anyone knowing about it? asks Quentin. They are seated on the sofa. Only Julia and I, says Flora. When Father threatened her, says Quentin, why didn't somebody come and tell me?--there must have been a better solution than keeping her prisoner in this house! I'm sure there was, agrees Flora, but we were so frightened, we didn't think. All right, says Quentin, I don't mean to blame you--this whole thing has become a nightmare--all right--we're in it--we've got to deal with it--just where do we begin? The police will be here soon, says Flora--what will we tell them? I don't know, he says, rising, perhaps we'll tell them the truth for a change--I'm getting very tired of all our lies. So am I, says Flora--I think I want them to know the truth--except for Melanie--we must never let them find out about her--they must not get near her! (How can they possibly tell the truth then?) Quentin agrees--she seems so sure she did it--maybe she did. Don't say that! says Flora. It's a possibility, says Quentin. She must not be blamed for it, says Flora, I cannot see my daughter taken away--the police will be here soon--let's end this quickly--I'll tell them I murdered Stella--after all, if I hadn't locked her in the room, this wouldn't have happened--I think that's best, don't you? I don't believe what I'm hearing, drawls Quentin--you don't make a bit of sense--now we just said we were going to try and stay to the truth--that is exactly what we're going to do, Mother--if we can just find a way of telling the truth without anyone knowing what really happened. We see Melanie standing over Stella's grave, staring down at her body, crying. From behind a bush, Gerard watches her.
Gerard comes out of his hiding place, scaring Melanie--who are you and what do you want? she demands. I'm sorry for frightening you, he says, introducing himself--I came earlier to see you with Kendrick. What are you doing here? she asks. Waiting for Kendrick and the police, he says--I thought someone should watch over Stella. Yes, agrees Melanie. I can see you were very close to Stella, says Gerard. Why do you say that? she asks. Your grief seems very real, he says. I was, very, says Melanie. What are you doing here? he asks. What business is that of yours? she counters. None, Melanie, he says--I may call you Melanie?--I just thought perhaps the police would be very interested in hearing of your involvement with Stella, that's all.
She looks at him, scared, and runs off.
Drawing room, Collinwood - Quentin paces, complaining to his mother, generation after generation of our family has been tormented by that room--that's where all our troubles begin and end, including the lies, cheating, secrets--there's got to be a way to escape! You know as well as I do, says Flora, there is no way. There must be, insists Quentin--all we've got to do is begin at the beginning--we've got to find a way out of this--start with Brutus--find out whatever he did that created the evil in that room--the letter--there's got to be something in that letter. He begins rummaging through the desk. We've looked at the letter time and time again and found nothing, says Flora. Quentin takes out the letter and looks it over. Melanie, in her possessed state, enters and grabs the letter away from her brother. He got so much less than he deserved! she says viciously--there is no suffering deep enough to punish him for what he did!--he had to have everything his way, always, he learned there are others with wills just as strong as his--oh yes, he learned!
--and every Collins from now until the end of time will learn...and learn...and learn... she giggles, madness in her eyes.
Melanie! calls Quentin. That isn't who she is now, Flora reminds him, she's someone else. Melanie continues still reading the letter. Who are you? asks Quentin--were you talking about Brutus Collins? She flings the letter down on the desk and glares at him. Do you know who Brutus Collins is? he asks--please, help us--if you do know who it is, why don't you tell us whatever you know? He tries to take her arm, but she pulls away. In order for us to help you, you've got to help us, he says gently. Don't touch me! she orders, and tries to run from the room. He catches her, holds her, says, I don't want to hurt you--I just want to know who you are. I will never tell you that! she screams, and nearly faints before coming back to herself. She looks up at Quentin, recognizes him, and realizes it happened again. As he hugs her close, she sobs helplessly.
In Kendrick's room at the Collinsport Inn, Kendrick complains to Gerard, I find it impossible to believe the police found nothing--there must be at least one clue somewhere as to who did it. Yes, but that will take a great deal of time, says Gerard. Time? asks Kendrick--if I had found Stella two days ago, I'd have found her alive.
Yes, agrees Gerard. Just two days, agonizes Kendrick, that means Stella was still at Collinwood when I came to this town--and yet they assured me she wasn't!--even Melanie!--why did they lie to me?--what is the secret of that house?--your psychic abilities led me to my sister Stella--will you help me discover the secret of that house?--I think that is where our answer lies--will you stay and help me find out who murdered my sister. I'll be more than happy to help you, says Gerard with an enigmatic smile.
Drawing room - Quentin tells Flora, there's no doubt now that the spirit possessing Melanie was very close to Brutus. So it would seem, she says. All we've got to do is find out who, says Quentin, and why she hates him so much--the curse started with Brutus, and I know it can end with him. There's only one person who knows what's at the heart of the curse, why it was put on this family. Brutus Collins? guesses Flora. Exactly, says Quentin, you run upstairs and get Melanie, we're going to have a little talk with Mr. Collins--you go upstairs and get Melanie--I'll make the preparations. Quentin looks hopeful
10:45 - The drawing room is set for a seance. Do you think we should do this? asks Flora. I'm frightened, says Melanie. I'm not quite sure Melanie can take it, worries Flora. I'm sure Melanie can, says Quentin--all of us are scared, we love each other, don't we? Yes, she says. We've got to help each other, he says--you help us, we can help you--we don't have much time, none of us do, so we've got to do this, and now--please, he begs--Flora and I are going to be right here with you, we'll love and protect you. I love you, too, both of you, so very much, she says. Please? he asks again. She nods--yes. He holds her face in his hands, expressing his approval. They sit seance-style. Quentin calls upon "our dear, departed ancestor"--one who remains so very close to all of us--his pain is our pain--come to us now, Brutus Collins, so that we may free your spirit as you may free ours--can you hear us?--give us a sign! Melanie screams, goes into a trance, and cries out, "Lottery, now! Or all will die! Plague! Die! Plague! Die! Plague! Die!"
Flora horrified, sickened, listens as Melanie screeches the same words over and over.
NOTES: While Melanie has her sympathetic moments, I found this one of my least favorite of Nancy Barrett's DS roles. She's too sobby, cries too much. While her acting is usually pretty good when she's possessed, especially the "mad" scenes, sometimes she's a bit over the top. I guess I prefer my madness more subtle. I do feel sorry for Melanie, being possessed and having violent attacks, having to wonder if she killed Stella while in that other persona, having to lie to Kendrick, who she clearly already cares for.
It sounds as if James Storm's Gerard will have a larger role in 1841PT, but don't hold your breath. I'm not even sure we'll be seeing him again. Once they suspected DS was going off the air, they probably got rid of most characters they considered superfluous.
I never could make up my mind if we're supposed to like Morgan. I guess not, but he has his good qualities, family loyalty being chief amongst them. I just don't like him, and can't imagine any sane woman choosing Morgan over Bramwell, especially after having carnal knowledge of the latter.
Quentin wants to learn more about Brutus and the curse, but it sounds like this one should be left alone. Plague? That doesn't sound like a happy consequence!
Love, Robin
