1076 - David and Hallie enter the playroom. This is where the note said it would be, says David. It can't be, protests Hallie tearfully--that door leads to a closet, we looked in here before-this isn't real. It is real, says David, gazing at the turning carousel, this is where the music was coming from. Yes, you're right, says Hallie, gazing at the carousel with a smile on her face, seemingly mesmerized by it. This may be the ghost of a room, suggests David. Rooms don't have ghosts, says Hallie. I know, says David, but this room seems to appear and disappear just like one. What does it matter? wonders Hallie-we wanted to find the room and we have. And it doesn't scare you at all? asks David. Why should it scare me? asks Hallie, grinning with joy. I don't know, says David, a few minutes ago, you didn't want to come in here, now you're acting like it's the most normal place in the world. Ordinary? she asks--no, it's the most marvelous place there is. An old playroom that shouldn't even be here, remarks David. Hallie kneels down to look at the horses in the carousel--look at Apple, Charger and Jules, she says-and all the others, running a race no one would ever win. Who are Apple and Charger? asks David. The horses, silly, she says. And I suppose you knew them when you were a kid? asks David. Kid? she asks, what an odd term to use. I winder whose room this was? asks David. For the moment, says Hallie, it's ours. Yes, but all these toys, who do they belong to? asks David. Strange questions you're asking, says Hallie, sitting in the rocker. David mounts the rocking horse, looking ridiculous--I don't see anything strange in my questions, he says-all this junk must have belonged to someone at some time or other. Junk? Inquires Hallie in a voice higher-pitched than her own--"I don't understand." David gives her a look--stop acting like the world's #1 weirdo, he says. Weirdo?--what does it mean? asks Hallie. You know perfectly well that means, counters David. The word "weird" is not unfamiliar, she says, but the addition of the letter O makes it completely incomprehensible. Cut it out, orders David, jumping off the rocking horse. I'm completely at a loss, she says, rising from the rocking chair. David puts on a sailor's hat--I don't know what kind of game you're trying to play, HALLIE, he says, but it isn't very funny. Hallie? she repeats--why did you call me Hallie? I'll call you a lot worse if you don't cut it out, threatens David.
She smiles--my name isn't Hallie, she says. I'd sure like to know what it is, says David. Why it's...begins Hallie, and stops, then seems to forget. What's the matter? he asks. Nothing, she says, I just don't seem to remember. David removes the hat then moves a lever that shuts off the carousel music. You don't seem to remember your name-is that what you're trying to tell me? he asks. What? asks Hallie, confused-this room, we shouldn't be here, she says. What were you saying about your name, asks David. What about my name? demands Hallie. You said it wasn't...he falters. She interrupts him-the scent of lilacs, do you smell them? she asks. She's here, she must be here someplace, says David, but where? I don't know, says Hallie, but I want to get out of here, quick. David tries to stop her, but ends up following her. A hand turns the carousel back on. It's Daphne's ghost.
6 AM - Collinwood - Quentin comes downstairs and goes into the drawing room. Julia, who has fallen asleep in the chair, awakens. Joyfully, he says, it's over, the sun's up, it's morning. Julia is all set to go upstairs and check the children, but Quentin assures her, I've already been up there, and they are sound asleep-apparently, everything is all right. Thank heaven, says Julia gratefully. Collinwood never looked more at peace than last night, says Q. Perhaps something happened we don't know about, says Julia. Consider one other thing, says Quentin, Carolyn's cryptic warning about the night of the sun and the moon-perhaps it meant nothing at all. It was the last thing she did before she died, Julia reminds him-she wrote those clues. You said yourself Carolyn was mad, Q reminds her-perhaps the warnings of disaster came from that madness. Perhaps, agrees Julia, but there's one important thing we can't let out of our sight-this room was in ruins-the whole house was in ruins, everybody was gone except you and Carolyn, and you were both insane-I saw it, it was horrible-perhaps those clues aren't really clues, and we won't get anywhere with them, but we've got to try to prevent that total disaster and those clues are our only guide. Concerned, she leaves the drawing room. Quentin, grim-faced, watches her go.
10 AM - Hallie gazes at the orange dress in her dresser drawer, but puts it away when David knocks. Are you all right? he asks. I don't know, she replies. Why did you run away last night? he asks. Wasn't it obvious, I was scared half to death, says Hallie. But she was going to appear to us, says David. I don't WANT her to appear to us, says Hallie--I want this whole thing to end once and for all! That room really shook you up, didn't it? he asks. I don't know what happened, says Hallie, it was so strange, so weird. Weird, repeats David, as in weirdo? What are you talking about? she asks. Don't tell me we have to go through this again, he says. Go through what again? she demands. Last night, when I called you a weirdo, you pretended you didn't know what it meant, and then there was that bit about forgetting your name. I swear I don't know what you're talking about, says Hallie-you're trying to make me more afraid than I am. Why would I want to do a thing like that? he asks. You mean I really acted like that, said those things? she asks. You honestly don't remember? he asks. I remember going into the room, she says, being so terribly afraid, and seeing all those things, and then the scent of lilacs. You don't remember forgetting your name or anything like that? he asks. Nothing says Hallie, but that settles it-she goes and takes the dress out of the drawer-this is going into a trunk in the attic-where it belongs! Don't do that, he says. David, a dress I put on, without knowing, says Hallie, music that comes from a wall-a ghost of a woman from another time-a playroom that materializes out of no where-I don't know what it means, and I have no intention of finding out! It may have been a little scary, says David, but wasn't it fun? Not for me! says Hallie. You seem to be having fun until just before you left, points out David. I should have been terrified the entire time, insists Hallie, and the fact that I wasn't frightens me most of all-this dress is going back, and that's the end of it. Hallie, wait, he urges, but she's gone.
Quentin pours himself a drink (some things never change). Julia comes in and asks, are you trying to combat the night's fatigue? Far from it, says Quentin, at least last night's excitement takes my mind off its favorite subject. Which is? asks Julia. Me-or at least my life, he says-it's been pretty drab lately. He drinks from the snifter. I hope we don't have too much more excitement, says Julia. I don't mean that, says Q-right now, I'm very lonely, there's no woman in my life. Smiling, Julia suggests, you're really looking for a drinking partner, rather than a woman. He grins--if I'm giving that impression, I don't mean to-and I'll stop, immediately. He puts the glass down on the sideboard, wanders toward the sofa and sits down. Noticing Julia sliding on her gloves, he asks, are you going into town? Yes, she says, I want to see if I can find out anything about Gerard Stiles-his birth, death, anything. Before you go, says Quentin, lifting a cup of coffee, may I compliment you on the way you look? You certainly may, says Julia (she in a high-necked navy blue dress that does look much better than the black and white tweed or the hideous green tweed they usually dress her in). And I am particularly impressed by that lovely perfume you've got on, he says. Thank you, says Julia, but I'm not wearing any perfume. There sure is a lovely scent in this room, says Quentin. i don't smell anything, says Julia. It's beautiful, he says. Try to describe the scent, she instructs. No, I really couldn't do that, says Q, sounding far away. I see, says Julia--good-bye. What is it?--I'm sure I know, he tells himself-of course, it's lilac, he says aloud, but out of Julia's hearing-the whole room, filled with the scent of lilacs. .
Cemetery - Julia and Quentin run into each other. I took it as a shortcut returning from town, says Julia. I often come here to think, he says-it's very quiet here-how was your luck in town? Not very good, no record of Gerard Stiles, she says, I don't understand it. Why can't you understand it? he asks. Because he's buried here, she says, and points out Stiles' grave. Quentin reads the tombstone and asks about the quote, IN DARKNESS HE DID LIVE AND DIE. I don't know what it means; she says, Barnabas and I saw it the other day and tried to figure it out, but couldn't. I don't understand, says Q. Look at the other tombstone, says Julia--Daphne Harridge. She died in 1841, says Quentin
--I don't think it would mean that much to me. But you talked about her in the future, says Julia--I saw her, she was a ghost. Ghost? asks Quentin. Yes, explains Julia, in 1995, you were deeply involved with her, fascinated, and she had some kind of hold over you. What did she look like? asks Quentin. Very beautiful, says Julia, impassive, (Quentin smiles), and wherever she went, there was the scent of lilac? Lilac? repeats Quentin. Yes, does that mean anything to you? asks Julia. No, nothing, he says. Julia doesn't seem to believe him. Let's go, he suggests. We get a last view of Daphne's tombstone.
Heading downstairs at Collinwood, Hallie tells David, the dress is back where it belongs and that's where it's going to stay. As long as we stop arguing about it, says David. She hears the music. Listen, says Hallie. Listen to you tell me how afraid you are? he complains. No, the music! she says. What music? he asks. The music from the playroom, she says. I don't hear any music, says David. You do, insists Hallie. If you're trying to scare me, he says, it isn't going to work. Go on ahead, says Hallie, sounding reverent, I'll be along in a while. We're going boating, you know, he reminds her. I'll be there, she promises. I'm not going to wait for you, he says. I'll be there, she says, looking into the air. I don't believe you hear music, scoffs David-you're just making it up. He leaves.
The music isues from the playroom as Hallie approaches. Why did I come here? she wonders aloud. The door opens by itself. She goes inside and gulps, breathing hard. Daphne is there, gazing solemnly at her. Hallie walks toward the ghost--I knew you'd be here, she says. Daphne holds up the orange dress. How did you get it? Hallie asks. She holds it out to Hallie.
I don't want it, says the young woman-I put it back, please, I don't want it. Her face still stern, Daphne holds out the dress. Tell me who you are, begs Hallie--why do you want me to have that dress?--I won't take it, I won't!, insists Hallie, turning away. Yet, she's compelled to look again as the carousel spins, playing it's tune. She accepts the dress from Daphne.
Quentin sits on the sofa at Collinwood, drinking again. Daphne Harridge, he murmurs to himself, the scent of lilacs...he rises from the sofa and wanders the room, as if looking for something. He sits in a chair, leaning back, and drifts into sleep, tilting his head back. He dreams. The drawing room door opens. Daphne enters, carrying a bouquet of lilacs.
He wakes up and looks at her, smiling. Daphne, he says. She backs away. He calls her name--no, wait, don't go away, Daphne...Daphne! He awakens, stands, opens the double doors and looks around the foyer. Just a dream, of course, he says, stupid of me-but then he spots the bouquet of lilacs on the table, left by Daphne in his dream-but for real. He sniffs them. Daphne, I knew it was you, he says aloud, I knew it, you were in this same room, and your name is Daphne-appear to me, please-Daphne? Daphne? The camera goes long. We see Quentin holding the bouquet, a grinning goofily as he brings the flowers closer to his face.
NOTES: Daphne has now made contact with both Hallie and Quentin. You can already see Quentin becoming lovesick, and Hallie has accepted the dress from the unrelenting Daphne. What is Daphne's connection to Gerard, and to the living members of the household? Does she mean evil or good? One senses the former, but she doesn't have a mean face.
Love David and Hallie's bickering, they already sound like an old married couple. It appeared that she was possessed when they were in the playroom together, not comprehending words like "junk" and "weirdo." Was she perhaps possessed by Carrie? Why didn't Tad also possess David? It almost seems like the ghosts are playing divide and conquer.
Sorry, I have trouble believing the incredibly handsome, charming Quentin is having problems finding a woman. Perhaps living as long as he has, falling in love as much as he must have, watching women he cares for grow old and die, a dead woman is his best bet. In any case, Daphne has already begun to toy with his mind-but to what purpose?
Enjoyed the humorous scenes between Quentin and Julia. The blue dress really did become her; even if it was somewhat shapeless; she should always have been dressed like that, or better.
So, is Julia right? Does Quentin need a drinking partner more than a woman? Any volunteers on either (or both) scores?
1077 - Quentin cuddles the lilacs and says, "You were in the same room-and your name is Daphne-please, I beg you to appear to me, please, Daphne. He puts down the flowers, calling to her, but gets no response at first. Then she appears before him.
Sounding lovesick, Quentin says, "Daphne-oh, Daphne." She takes the flowers off the table and offers them to him. He takes them, smiling. She caresses the side of his face.
Your touch, so soft and real, he croons, staring into her eyes. She walks away. Wait, don't go, Daphne, please-but she is gone, and the lights go out. Quentin lights a candle and calls to her--what happened?-don't go, come back! On the floor are the lilacs, pulled to pieces. He picks one up and sadly drops it.
David's room, Maggie holds a book and lectures him on coming home before dark when he takes out the boat-I've been worried sick about you! I just wanted to go to the lighthouse and back, he says. Not after dark, she warns him. There are lights all over the dock, he reminds her. I'm serious, she assures him--a fog or storm could come up. I know how to handle a boat, he says. I know you do, says Maggie, but sometimes things can come up unexpectedly and the best sailor in the world wouldn't know what to do. David's attention has been caught by a beautiful, modern model ship. Are you listening to me? asks Maggie. Of course I am, he says. Where did the boat came from? She asks. This? he asks, I found it in the attic, with a whole bunch of other old stuff. Really? she asks. Yes, where else would I get it? he asks. It's extraordinary, she remarks. I kinda like it myself, he says. Take care of it--it looks very valuable, she says. I will, I promise, he says. She puts an arm around him--confine your after-dark sailing hours to ships like that, she suggests. They laugh together. She leaves.
David looks at the magnificent ship, then turns to find Daphne standing there, smiling softly at him.
Did you give it to me? he asks the spirit, I've never seen it before-or have I?--was it in the playroom, is that where it came from?-did you give it to me? She nods. I knew it, he says, tell me who it belonged to, I've never seen one like it before-is there a real one like it?--is there? Quentin knocks at David's door, making Daphne disappear. Quentin has brought his camera, which David wanted to borrow for the picnic (another clue!). Thank you, says David. i must say your gratitude is less than overwhelming, says Q, you've been wanting to use my camera for the last year, and now...Quentin stops. David, he says, I'd swear that I smelled lilacs. It's too late for them to bloom, says David. I know that, says Quentin, but it must be something else. Must be, agrees David. Unless someone was here wearing lilac perfume, says Q, sounding weirded out-Maggie or Carolyn here? Maggie just a few minutes ago, says David. It could be her, says Quentin-want to know something interesting?--I've heard it said that a scent like this, one that seems to fill the room for no reason at all, indicates that a spirit is present. A spirit? repeats David. Yes, you've never heard that? asks Q. Are you trying to tell me a spirit's in this room? asks David, smiling-if I didn't know any better, I'd think you were trying to scare me. Would it frighten you if you knew there was a spirit here? asks Quentin. Of course it would, says David. Quentin pats his shoulder, assuring him, I didn't mean to scare you--if you have any questions about the camera before the picnic, just ask. I will, David promises-thank you. Quentin leaves. David remarks, "The scent is gone now", and returns to examining the wooden ship, which we see is called the Java Queen.
Carolyn stands in the drawing room, a business card in her hand. She seems to be pondering what to do. She closes the double doors and dials the phone number on the card. Maggie bursts in, apologizing for interrupting her. I was afraid it might be my mother, says Carolyn-isn't that ridiculous-a woman my age being afraid her mother will catch her on the telephone talking to the wrong person? Who were you trying to call? asks Maggie. Jeb, answers Carolyn. Spotting astonishment on the other woman's face, Carolyn adds, "He's alive-I've seen him with his own eyes in this very house." You aren't speaking of Sebastian Shaw, are you? asks Maggie. Then you've seen him, too, says Carolyn, smiling. No, but I heard he bears a striking resemblance to Jeb, says Maggie. Couldn't he be Jeb? asks Carolyn.
I know how much you miss and love Jeb, says Maggie, but you've got to accept the fact that Jeb is dead--Shaw is an entirely different person. How can you be so sure? demands Carolyn-we both know there are so many things in this world that can't be explained. She walks away from Maggie, who follows her and says, I would do anything in this world if it would bring Jeb back to you, but if you go on thinking this way, you'll only cause yourself more pain-and you've suffered enough. Carolyn gazes into the fireplace-what am I going to do? she asks-I want so much for it to be Jeb, I know it's wrong, to love the dead and go on looking for them, but I loved Jeb so much, I can't help looking, hoping I'll find him.
Quentin, in the hallway, wonders if Daphne had been in David's room-the scent of lilacs-did David see her and not want to tell me?--no, I'm sure he would have been too frightened not to tell me. Quentin senses someone following him-not Daphne. He looks around the corridor, turns and spots Daphne. She walks off. Quentin follows.
Quentin follows Daphne to a door. She opens it and goes in, closing it behind her. Quentin opens it, too, and enters. He calls to Daphne. The room is obviously unused; the bed is unmade and cobwebs abound. He lights a candle. picks it up, and finds a note on the desk. He reads, "I tried not to tremble, but I couldn't help myself-nothing in my life has terrified me more than the thought that you love me-nothing in my life has..." that's all it says, it was never finished-someone loved her, and it frightened her. He calls to Daphne--I have so many questions to ask, and only you can give me the answers-why do you come to me, then go away?--you must have led me here for a reason-if you need help, there's nothing I won't do, but you must appear to me. The note disappears. Quentin calls to Daphne, but she doesn't respond. He blows out the candle and leaves the room.
Maggie, Carolyn and David are in the woods, where David is taking Maggie's picture, telling her not to smile. Carolyn stands by, looking preoccupied. Don't smile? asks Maggie--David, that's how pictures are supposed to be. I want it to look natural, says David. Thanks, says Maggie sarcastically. David snaps the picture-good, he says-you pose, Carolyn. She apologizes-I'd rather not, she says, I've been such a grouch this afternoon, I'd look even more "natural" than Maggie. Thanks, says Maggie sarcastically but good-naturedly. I only have two shots left--come on, urges David. Carolyn kneels. David takes another photo of both of them. There's a blanket on the ground; Maggie is eating something. We should have gone out on the boat, says Carolyn. Maggie disagrees--not with a storm coming up. I wouldn't care, says Carolyn--oh, I'm sorry, I don't want to spoil the picnic, I'm just in one of my moods. Quentin joins them--David should take the pictures, he advises--it's going to rain soon. Maggie begins gathering up the picnic, mumbling, mouth full, we'd better go. I only have one shot left, says David-let me take one of Maggie and Quentin. My pleasure, says Quentin, helping Maggie to her feet. He takes up the picnic jug while she holds the basket, his arm around her. Should we smile or look natural? asks Maggie. David snaps the photo we saw in 1995 in Carolyn's album. David starts to tell them how to pose, then stops--I thought someone was standing behind you, says David. There's no one there, Maggie assures him. I guess I was mistaken, he says reluctantly. Quentin, his face intense, asks, was anyone in particular waiting there? I thought it might be Hallie, home from visiting her uncle, says David-now let me get this picture before the storm breaks. (It's been thundering for a while now.) Ready when you are, says Quentin, looking grim. Aren't you going to smile? Asks David. I wish you'd make up your mind, complains Maggie, laughing. He snaps the picture. We'd better get going, says Maggie. They gather up the picnic while Quentin stares off into the distance.
Collinwood - Carolyn looks out the window at the storm-I'm glad we got our picnic in before the storm broke, she tells Maggie-I'm sorry for sulking. You weren't sulking, you were thinking, says Maggie, who is sitting in a chair, working on needlepoint. It did help clear my mind, anyway, says Carolyn-last night I was being so stupid about Shaw. You were thinking about Jeb, that's all, says Maggie. No, says Carolyn, sitting in the chair near Maggie, I was going to call him, ask him all sorts of inane questions-now I'm not going to, at least I hope I'm not-I don't want to do anything stupid, I just hope I don't.
Quentin enters the drawing room. Did David get the pictures developed? asks Carolyn-I promised I'd have a look. She leaves for David's room. Quentin holds a large book in his hands. Will Carolyn ever get over Jeb? asks Maggie. She will, in time, I suppose replies Quentin. It's so futile to love someone who's dead, says Maggie. Quentin shoots her a forlorn look. He sits on the sofa, looking at the book--it's part of family history from around 1840, he explains. Is it interesting? she asks. It seems that I had a great-grand uncle with the same name as mine, he says--Quentin Collins-it's very strange to think that someone had my name, lived in this same house, 130 years ago.
David's in his darkroom, developing the photo of Quentin and Maggie holding the picnic stuff. Carolyn knocks; he invites her in. May I see the pictures? She asks. Some of them aren't bad, he comments. Did the storm ruin the last two? She asks. I don't think so, he says. She looks at the wet photo of Quentin and Maggie--it looks fine to me, she says. He agrees. It's a very good picture, she praises-may I see the rest? He takes back the photo and asks Carolyn, do you see anything special? Only that Quentin is handsome and Maggie, beautiful, responds his cousin, smiling-why? Look behind them and tell me what you see, says David. A lot of leaves, says Carolyn. You don't get the feeling that there's someone there, watching us? asks David. She looks at him, then at the picture, and says, I don't know-is there? I don't know, either, says David.
We see Gerard stands behind them, watching with his patented evil snarl on his face. If there is, David asks, who is it? Lightning fills the room as Gerard glares at the Collins cousins, who do not see him.
NOTES: That last scene with Gerard scared the crap out of me! I was glancing down at my keyboard, then looked up and saw his creepy, malevolent face-and it gave me a start! Brrr. Now we know that not only Daphne is here, haunting the children, but is working on Quentin, too, making the lonely man fall in love with a dead woman. Is she setting him up for Gerard?
Such a sad picnic, yet another incident that preceded the disaster.
Nice to be a rich boy with your own darkroom, huh? David's a lucky kid. Didn't Carolyn expose the photos when she came in that way? Photo experts?
Carolyn mourns Jeb, understandably, but does she really believe Sebastian Shaw is him, or his reincarnation? Poor woman.
Love, Robin
