1226 - Intro: Melanie has fallen in love with Kendrick.  I think the feeling is quite mutual, but they have many obstacles to overcome.

You can stop shouting, says Julia, you will be told.  She approaches Melanie, who turns away from her.  Look at me, Melanie, orders Julia.  Melanie shrugs off her hands--don't touch me!  Gently, Julia again commands Melanie, look at me.  This time, she does.  You know where you must go, says Julia--I will take you there, you must rest--now come along, she adds, as if speaking to a madwoman.  I can walk myself! insists Melanie angrily, with no help from you!  Kendrick, I will be back in a moment, promises Julia, if you will wait in the drawing room.  He goes in, unable to fathom what the hell is going on.

5:55 - The clock strikes the half hour.  Julia joins Kendrick in the drawing room and closes the doors.  Well? he says.  Now you know, says Julia, why we have sheltered her.  What's wrong with her? he asks.  It's a question I cannot answer, says Julia, no one knows what's wrong with her.  How long has she been that way? he asks.  Ten years, replies Julia.  What's been done to help her? he demands.  Nothing can be done, she says.  I refuse to believe it, he retorts.  If it were a physical ailment, says Julia, she'd have had the finest doctors available, but it's a condition of her mind--when this happens to her, her whole personality changes and she actually becomes someone else.  I've never seen anything like it, he says, stunned--she was a totally different person!  That's exactly why I've tried to discourage you from seeing her, says Julia--will you go now?  No, I want to know more, lots more! he insists.  Can't you see how impossible the entire situation is? she asks.  I know the other Melanie, the real one, the one I care about, insists Kendrick--I will decide whether the situation is impossible or not.  There is nothing more I can tell you, she says.  You can tell me the cause and how it started! he says, sitting on the sofa beside her.  She thinks it over--Melanie was very fond of Justin, she begins--she loved him as much as if he'd been her real father--10 years ago, Justin Collins suffered a stroke--the experience sent Melanie into a state of shock--what you see now is the result (lame lie).  Are you telling me Justin Collins is the cause of her illness? asks Kendrick.  It's the only cause we can see, says Julia.  I cannot believe that, or accept it, he says--how often do these transformations occur?  No set pattern, says Julia, they just happen from time to time.  Is it possible Melanie could be under a spell? asks Kendrick.  I don't know what you're talking about, says Julia.  Then let me be more specific, he says--could Melanie be under some kind of curse?  She laughs--I believe such things only happen in fiction, says Julia.  Perhaps they do, he says, but ever since I've been in Collinsport, I've heard rumors and stories about a curse on the Collins family.  Julia shrugs-- there's always been talk of a curse, she says, but that's all it is, just talk.  The villagers don't seem to think so! shouts Kendrick--I think you should begin to take their heed seriously.  You're wrong, she says, the villagers have nothing better to do with their time than to make us the prime target of their gossip--I've told you enough now, please go, Mr. Young.  Melanie enters, back to herself.  She greets Kendrick with joy--why are you still here? she asks--I thought you went to the village.He stares at her, not believing his eyes.  Has something happened? asks Melanie.  Good night, he bids her curtly, and leaves.  Melanie's forehead furrows with dismay.

Julia, why did Kendrick leave like that? asks Melanie.  Julia doesn't reply.  You said or did something him, accuses Melanie--what was it?  No, dear, says Julia, I didn't do anything, it was you.  Me, what do you mean? Melanie asks.  You had one of your attacks, says Julia, he saw you change.  Oh, no, that can't be true, cries Melanie, distressed.  I'm afraid it's true, says Julia.  Lord, what did I say, what did I do? asks Melanie--did I try to hurt him?  No, says Julia, but he did see your personality change.Melanie, horrified, says, poor Kendrick--what a terrible thing to happen to him--I should have told him before!  We knew it was bound to happen sooner or later, says Julia.  But if I'd told him, it wouldn't have come as such a shock! says Melanie.  Now you understand why I've been encouraging you not to see him, says her aunt.  He hasn't gone away forever, has he? asks Melanie.  I think it's best if he has, says Julia.  But he didn't say that, she says, he didn't say he'd never see me again--because I couldn't stand it if that happened, wails Melanie--I'm going to die if it did!  You've got to face this realistically, says Julia.  I love Kendrick, says Melanie, he's the only man I've ever loved, I can't let him just go like that.  You can't stop him, points out Julia, it's not right for somebody with your secret--you can't love anyone.  (What a terrible thing to say!)  That's not true, says Melanie, I love Kendrick, I can't help myself--I'm going to go to him, face him and tell him how I feel.  You can't do that, says Julia.  I love him, repeats Melanie, if I'm going to lose him, I must hear it from him.  That's absurd, protests Julia, it's the worst thing you could do.  I don't believe that! says Melanie, I believe he'll listen to me!  She runs to the door, Julia calling, come back!  Julia is unable to stop her and Melanie leaves.  Julia closes the door behind her.  Flora comes down--where did Melanie go? she asks.  To the village, says Julia.  What on earth for? asks Flora.  Wringing her hands, Julia explains, Kendrick Young was here, and saw her have one of her attacks.  Oh, no, says Flora, was she violent?  No, says Julia, but it was a shock all the same, and now Melanie's gone to the village to explain everything to him.  We'll get Quentin and have him go after her, before she gets into town, says Flora.  Two women, master manipulators, troop upstairs.

Woods - Hearing crunching branches, Melanie calls to Kendrick, begging, answer me!--but instead, she turns to see Gabriel standing behind her!
How nice to see you, says Gabriel, smiling, seemingly normal.  Don't touch me, she orders.  Don't run away, I won't hurt you--I'm very happy to see you, he assures her.  You are? she asks.  Yes, very pleasantly surprised, he says--I didn't think you'd be running around the woods at this hour, here you are--what are you doing here?  Looking for someone, she says.  Kendrick? he asks--yes, I heard you calling--that can wait, can't it?  I'm afraid it can't, she says, eyeing him fearfully, it's very important I see him.  I have some very important things on my mind, you know, he says, beginning to sound unhinged--I'm in desperate need of some help, I need your help, that's why I'm glad you were here in the woods.  What do you mean? she asks.  You'll find out, he promises.  Where have you been all this time? asks Melanie.  It would take so long to tell you, he says, I've been running, always running, I'm so tired of running.  Let me take you to Collinwood, she says.  I can't, he protests, the police will find me.  She takes his hands--I know, she says, but there you'd have Mama and Julia to protect you.  Listen to me, he says, there's something I want you to give Mother--this letter--make sure no one else sees it.  What is it? she asks.  Never mind, he says, give it to Mother and make sure she reads it--you will do this, Melanie, won't you?  I will, she promises, and hurriedly runs off.  Gabriel watches her go.

Collinwood drawing room - We'd just better pray Quentin finds her before she finds Kendrick, Julia, says Flora--the state she's in, she's likely to tell him more than you did.  There's nothing wrong with what I told him, says Julia defensively.  There was no reason to tell him anything at all, says Flora.  After what he'd seen? asks Julia, I had to say something to him!  How do you know he won't repeat that to everyone he meets? asks Flora.  I don't know, says Julia, but it was better than saying nothing about it!  We should have found some way of dealing with him a long time ago, says Flora--we always knew something like this was inevitable. I tried to deal with him, I even offered him money, says Julia.  He refused? asks Flora.  Yes, says Julia, he said he wouldn't take any amount of money to not see Melanie again.  Do you think seeing Melanie change that way shocked him so badly, he'll never come back? asks Flora.  I don't know, says Julia, there was no way of telling what he was thinking when he left.  We'll have to face it, says Flora, if it didn't shock him enough, he'll be more trouble than ever--if he really is in love with Melanie, we'll never get rid of him!  We've got to keep trying, insists Julia, we must convince him the situation is hopeless.  Yes, agrees Flora, but we must be careful--we don't want to happen to him what happened to...  Julia interrupts--how is Morgan? she asks.  No change, reports Flora, depressed--Catherine's been upstairs with him all evening--he just sits in a chair and stares out the window--he hasn't said one word to her!  There's nothing anyone can do for him, says Julia.

Melanie returns to Collinwood, where her aunt and mother meet her at the door.  You haven't been to the village and back so quickly? asks Julia.  Melanie shakes her head--I never saw Kendrick, she says--I was with Gabriel.  Julia and Flora are shocked.  Melanie holds the letter.

The women pelt Melanie with questions.  You've seen Gabriel? asks Flora.  Yes, I was frightened at first, says Melanie.  Where did you see him? asks Julia.  In the woods, says Melanie.  He didn't try to hurt you, did he? asks Flora.  I was afraid he might, says Melanie, but he didn't--I told him where I was going, but he said I couldn't go because he wanted me to come back here, and give you this--he said you were the only one who was to read it.  Flora opens the letter and reads aloud, "Dear Mother--I am so desperate for help--and you're the only one I can turn to, the only one I'm willing to talk to--you have never failed me in a time of need--I'm confident you will not fail me now--I'm so alone--so terribly alone, and confused about things--I beg you to meet me at midnight, in the gazebo--I need your guidance and advice--I will be waiting at midnight--Love, Gabriel."  You're not going to go, are you? asks Julia.  Yes, I will go, says Flora.  You can't--you can't take a chance like that! insists Julia.  I have no choice, says Flora--he's my son, and this may be our only hope of getting him back.  He could get violent, warns Julia.  It's a chance I'll have to take, asserts Flora.  You can't take that chance, says Julia--he could even kill you!  He must have been all right when he wrote the letter, insists Flora, it's quite coherent--Melanie, how did he seem to you when you saw him?  Fine, she says.  You said he frightened you, Julia reminds her.  He promised not to hurt me, says Melanie--I believed him.  Was he lucid? inquires Flora--did everything he say make sense?  Yes, says Melanie, he knew what he was talking about--in fact, I began to feel quite sorry for him--there was a terrible sadness about him.  There's every possibility that could change by midnight, cautions Julia.  The matter is settled, insists Flora, I'm going!  She heads for the door.  At least wait until Quentin gets here and have him follow you, advises Julia.  No, says Flora, slipping a shawl around her shoulders--and I want you to promise me, both of you, that Quentin will hear none of this!How can we promise a thing like that? demands Julia.  I'm still head of this house, says Flora, and I want both your words--now!  Melanie nods--I'll say nothing.  Julia doesn't reply at first, then agrees, too.  Flora leaves.  Melanie and Julia both look somber and worried.

Gazebo - Flora walks up the few steps, looking anxiously around for her son.  Gabriel appears from the bushes and slowly comes toward his mother, something hidden behind his back.  She gasps when she turns and sees him.  You're afraid of me, too, he says, distraught.  No, she says, of course not, you startled me.  You look so pale in this light, he says--how do I look?  Tired, she responds, so very troubled.  Do you think it was easy, he asks, running from place to place, stopping for a moment to rest, then running again?--yes, I'm tired.  My poor Gabriel, she says, but the worst is over--I'm here now.  Yes, Mother, he says, indeed you are.  She steps toward him.Unknown to Flora, he has a knife hidden behind his back.

NOTES:  Is Gabriel about to commit matricide?  He apparently is totally crazy now, and God knows how he's survived, without money and booze.

I feel sorry for Melanie.  On the one hand, I understand Flora and Julia's desire to protect her, but it seems cruel to discourage her from her feelings for Kendrick, and his for her.  Love can overcome many things, and perhaps it can overcome this problem.  They can't keep Melanie in a box forever--she deserves a chance to be happy.  At the rate things are going, she might be the only one.

Another wonderful performance by Pennock.  He does play crazy so well!

Quentin is doing a lot of stuff behind the scenes, but we aren't seeing him.  Selby hasn't left the show to have his appendix out--yet!


1227 - Gabriel turns away from his mother so she doesn't spot the knife.  Why have you turned away from me? asks Flora.  I've got to keep moving, he insists.  Listen to me, she pleads, I can't deny you failed the family (why even mention that?), but now is not the time to dwell on that--now is the time to come home and let your family take care of you.  Back to that prison at Collinwood? he asks--no, I can't go back there, no matter how cleverly you tuck me away--the police are going to find me!  It was all a mistake, protests Flora, you didn't do anything!  I'm not going to stand there and prove my innocence, he says, I'm going away--out of the country--and oh, those jewels, he exults, gazing greedily at all the sparkling, expensive items Flora is wearing, those jewels will help me--help me get far away.  If going away would help you, she says, I'd give you anything you need, but it won't help--when you have these attacks, you should be with your family, not strangers.  I don't know anything about any attacks, says Gabriel, his mouth twisting with cruelty--"All I know is, you talk too much!"  Noting the ugly change that has come over him, Flora is sickened.  Gabriel goes on, ranting, "All you Collinses are always talking, you think it's so precious, all those words!--it's not what I want, I don't want your words."  She steps forward--Gabriel, she says sympathetically.  He raises the knife, snarling, "I said I don't want your words!"  She cries out in horror--"NO!"  Give me those jewels or I'll cut them off you, he threatens, his mouth a hideous rictus.  No, Gabriel, no! she cries.  Stop calling me that, he commands--I hate that name--I hate myself--and oh, I hate you, so much...his demeanor changes abruptly, and he asks, sounding normal again, "What are you doing here?"  You asked me to meet you, don't you remember? she asks.  I did? he asks--well, you were a fool to come, he giggles.  Perhaps, she says, but I'm still your mother.  My mother? he asks, reverting back, "You know, you'd like just to stop me from what I'm supposed to do--well it's not going to stop me, all those lies--because I'm going to kill you, and everyone else!"  Listen to me, she begs, I am your mother!  He holds up the knife, pronouncing it "the only family I'll ever need," this knife!  He menaces her, about to stab her.  Kendrick appears and they begin to grapple in the gazebo.  Kendrick knocks Gabriel to the ground, retrieves the knife, and orders Flora, get out of here--I'll take care of Gabriel!  You mustn't hurt him, protests Flora, he isn't well, he's confused.  You seem very concerned, considering he was about to kill you, points out an agitated Kendrick.  He IS my son, Flora says.  And Stella was my sister, but she had no one to plead for her life, did she? asks Kendrick.Gabriel rises to his feet and attacks Kendrick.  The men get into it.  Kendrick buries the knife in Gabriel's shoulder.  Gabriel falls to the ground.  You've killed him! accuses Flora, beginning to cry.

Collinwood - Quentin knocks at Melanie's locked door--come out! he orders.  She sits in a chair, her face neutral--go away, she says.  Just because Kendrick knows about your attacks is no reason to lock yourself in the room, insists Quentin.  There's another reason Kendrick must never know, says Melanie.  Her face collapses as she confesses, "I kill his sister!--God help me, I killed that innocent girl"  You can't blame yourself, says Quentin.  Why can't I? she asks--all my life, I wanted to know who I was--well it doesn't make any difference, because I'm as much a Collins as anyone else--the mad Collinses!--and this room will be my asylum for the rest of my life.  You can't talk like that, says Quentin, still on the opposite side of the door--you've got to come out!  Why, so they can lock me someplace else? she asks bitterly.  They're not going to lock you anywhere! he says.  Stop wasting time with me, she says--go and find Mama and Gabriel (didn't she promise not to spill the beans)?  What about him? demands Quentin, instantly alerted--"What about Mother and Gabriel?"

Flora kneels beside Gabriel.  Thank heavens he's alive, she says.  Yes, alive, spits out Kendrick, to pay for the murder of Stella.  No, says Flora, leave him alone, leave us all alone, what's over is over!  What am I supposed to do, demands Kendrick, forget the fact he killed my sister?  He didn't, says Flora--whatever else he's done, or been, he did not murder your sister--I know...  You know WHAT? asks Kendrick.  Flora covers her mouth.  If Gabriel is innocent, someone else is guilty, says Kendrick--who killed my sister--tell me, who killed Stella?  She cringes at the unmitigated fury on his face.

You must tell me, says Kendrick--who murdered my sister?  I know Gabriel didn't do it, reveals Flora, but I don't know who did, believe me.  I don't believe you! screams Kendrick, brandishing the knife he took from Gabriel--you must tell me before I. . .  Before what, Mr. Young? asks Quentin, joining them on the gazebo.  Flora, relieved, goes to him.  It's all right, Quentin assures her, Mr. Young, I think you'd better go.  Oh, no, says Kendrick.  I said go, repeats Quentin.  All right, I'll go, now, says Kendrick, but do save a little time for me, Mrs. Collins, because I'll be back.  Get out of here, commands Quentin.Kendrick leaves.  Gabriel moans.  Mother, is he hurt badly, Quentin asks.  I don't think so, she says.  Quentin kneels beside his brother--"Come on, old man, I'm going to help you to your feet and we're gonna go back to Collinwood."  Gabriel holds onto him--I was at Collinwood when I was a baby, he says happy then, hopeful--there's no hope for Gabriel now.  Quentin holds his brother close and rocks him.

Collinwood - Melanie is lying in bed when someone knocks at her door.  Go away, she says, I don't want to see anyone.  I think you'll want to see me, says Kendrick.  She sits up on her bed.  "Kendrick," she says.  Please let me in, he says.  No, I don't want to see anyone, she says, bowing her head.  I am going to see you--now open this door! he demands, banging on it.  She lifts her head and listens as he continues to bang at the door and call her name.  She unlocks the door; he enters.  Now you see her, says Melanie, the madwoman...  Don't talk like that! says Kendrick.  Why shouldn't I? she asks.  "Because I love you!" he replies.  She looks at him, her face softening.  "You love me?" she asks in disbelief--'"Oh, if you knew how I've wanted to hear that!" You've heard it and it's true, says Kendrick--I don't want you to torment yourself anymore.  Torment myself? she asks, their faces very close--I'm not tormenting myself, you're the tormentor, you come here and tell me you love me, what else can that be but torment?--we met too late!  We met at exactly the right time, he assures her, smiling, we are right for each other--things that puzzled me are clear now--the emotional running away you were doing.  You did some running away yourself last night, she points out.  Yes I did, he admits, I had to sort things out--it's all clear in my mind and I'm back, Melanie, we're going to face these attacks together.  Together? she asks, shaking her head, what can you do?  You've got to tell me all about them, he insists, how they started, how often...  Oh, Kendrick, now! she cries, you want a happy ending, for a Collins there's no such thing.  There is, says Kendrick, just because you have these attacks...  It isn't just the attacks, she says, what if you were to find out something else about me?  Nothing you could tell me would change my love for you, he assures her.  No, she says, I'm not sure of that.  I am, he says--tell me anything you want--it can't make any difference.  She looks at him, unsure.

Well, says Melanie, I want you to know--you've got to know...  What is it? he asks, gazing at her lovingly.  I can't talk to you when you're staring at me like that, please don't look at me, she begs.  He turns away.  No, I can't, she cries.  He takes her into his arms, realizes she's trembling, and begs her, don't upset yourself, it's not worth it, please.  I'm not going to be frightened anymore, she says--in this room, no one can hurt me--and I can hurt no one as long as I'm here--so I'm never going to leave!  That's nonsense! insists Kendrick.  Is it? she asks--I've heard of cases like mine--people who couldn't face life, but didn't have the courage to die!  You are going out with me tonight, says Kendrick--if the only thing you can choose between is life and death, I won't let you make that choice--we CAN have a life together.  A life together! she says, with hysterical laughter, and what happens when my attacks come, and they will come?  If they do, he says, pulling her into his arms, we will face them together.  You seem so strong, so sure, she says.  He grins--it's strange you should say that, he says--after I learned what happened to Stella, I completely went to pieces.  Melanie turns away.  Knowing you, talking to you, he says, gave me whatever strength I have.  Please, don't talk about that now, she pleads.  I wish you had gotten to know Stella--really know her, says Kendrick, she was a lovely girl--when she was very young, she always used to come looking for me, wanted to do what I was doing--who would have guessed in the end that I would come looking for her.  Melanie sadly says, I'm so very sorry.I know how your family feels about me, he says, I know the things we have to fight, but we will overcome them.  How can we overcome anything? she demands.  By taking one step, he says--go out with me tonight!  She shakes her head--I don't know if I can leave this room, she says, I have to think.  All right, think, he says, about some young, poor, beautiful girl lying in a grave in the woods--Melanie closes her eyes in misery--she has no more chance--but you still do--if you take it!--I'll be downstairs in an hour--be there.  He leaves without another word.  Melanie locks the door.

Gabriel, wounded arm in a sling, is back in the tower room, remarking, how strange it is--I never thought I'd be in Collinwood again, and here I am, locked in the tower room, with brother Quentin--exactly the same!  No, says Quentin, not exactly.  Oh, says Gabriel, you made sure I couldn't escape this time, right?  That's not the only difference, says Quentin, you see, you haven't been in the room before, but now you've been there--so you've got to tell me what you've found out--so I can help find out about the curse--and you can help save all of us.  Morgan spent the night in the room, says Gabriel viciously, he should have saved all of us!  I don't think so, says Quentin--I don't think Morgan spending the night in the room did anything--I don't think it satisfied the demands of the room.  What does the thing want? asks Gabriel  I don't know! says Quentin, and you've got to try and remember and tell me whatever you can, so that another Collins won't have to spend another night there--Gabriel, please!--look, you owe the family something.  You're so smug, so righteous about what I owe the family! says Gabriel angrily--but you never spent the night in that room, did you?--and I did!--I did!--I can tell you, the feeling of being desperately alone, and then...you're not alone anymore...and something so hideous...that...it was just...Gabriel is gulping on his fear, then says, I don't remember--it's here in my head, I just can't...I go over it a hundred times every night, and try to remember every single thing that happened.  All right, screams Quentin, putting his hands on his brother, what is it?--take it easy, calm down, get hold of yourself and try to tell me what it is!--now come on!  Gabriel calms down--"I'm standing in the room and I feel terror, and then...Quentin, I know what terrified me--I know what happened in that room!"His eyes are huge.

What was it? asks Quentin.  What? asks Gabriel, back to the alternate personality, what are you talking about?  What you saw in the room--tell me! demands Quentin.  You know, you're always sticking your nose where it doesn't belong, says Gabriel, and, one-handed, attacks Quentin.  Quentin twists his brother's good arm behind his back.  Let go! orders Gabriel--I'll kill you!  Do you know who I am? asks Quentin.  I know who you are, screams Gabriel, I know I hate you, all of you, you hate me,--it's all out in the open!  Quentin pushes Gabriel into a chair--shut up and get some rest--I'll be back in the morning.  Quentin leaves the tower, locking Gabriel in.  Gabriel rattles the doorknob--I can't rest, he says, I've got too much to do, much killing to do--I wish I'd killed you when you were here, there would have been one less...that's all right, the door will open again, and you will all be dead!

Drawing room - Quentin reports to Flora, Gabriel was almost ready to tell me, then he had an attack and tried to kill me.  What are we going to do? asks Flora.  We've got to give him more time, says Quentin, so he can get calm.  There isn't any time, says Flora, the police are looking for him now--even though he didn't kill that girl, he's never going to be able to prove his innocence--to the police of Kendrick--oh, speaking of Kendrick, he was here earlier, one of the servants convinced him I was going out for a while--he said he'd be back.  When he comes, I'll tell him you're still out, promises Quentin.  No, says Flora, I've got to talk to him sooner or later--what am I going to tell him?--that Melanie killed his sister?--oh I wish I knew what to do.  Perhaps I do, suggests Quentin--did he say where he is?  The hotel, she says.  I'll go to the hotel and have a talk with Mr. Young, volunteers Quentin.  It won't do any good, she insists, he's a very persistent young man.  So am I, says Quentin--I'll tell him a few things, for one thing, that Melanie had nothing to do with his sister's death, none of us did--we're all very sorry and that's that.  Why should he believe you? she asks.  Because, smiles Quentin, I'm going to tell him something about the Collins family that will make him believe me.  Nothing about the room, warns Flora.  Whatever is necessary, says Quentin.  Nothing about the room, she insists--do you hear me, I forbid it!

7:30 - The clock strikes the half hour.  Kendrick knocks at the drawing room doors.  When Flora answers, he says, I'm glad to see you at home.  You're wasting your time, says Flora, I have nothing to tell you.  You're only one of the reasons I'm here tonight, he says--I've come to take Melanie out for the evening.  You've come to what? demands Flora.  I think you heard me the first time, he says.  Impossible, says Flora--Melanie can't go anywhere with anybody.  I'm not anybody, says Kendrick, I happens to love her very much--and I intend to help her--I would never harm Melanie.  The harm has already been done, she says coldly.  What does that mean? he asks.  I think you'd best forget it, she says.  What harm are you talking about? he asks--I want to know if it affects Melanie.  Melanie isn't a normal girl, Flora reminds him--you've seen that for yourself, only my family can take care of her.  The great Collins family, he mocks, that's why she runs frightened to her room every time because that's all she's ever seen.  Whatever problems we have, she says sternly, we prefer to deal with ourselves.  How can you deal with your troubles? he asks--you're building them on a wall of lies!--the truth has been missing from this house for so long, you can't recognize it--let me help you--perhaps we were enemies at one time, before I fell in love with Melanie, but now I realize we must work together and break down this door!--and let truth in--who killed my sister?--you know who she was acquainted with--who had reason to kill her? I assure you, says Flora, we know of no one who had reason to kill Stella.  Perhaps there was no reason--perhaps it was a mindless, senseless act after all! suggests Kendrick.  Gabriel did not do it, says Flora.  Someone did--who?--who? demands Kendrick.  I don't know, says Flora.  First tell me where it happened, says Kendrick, and how!  I can't tell you anything! says Flora.From the doorway, Melanie calls, "Mama--you had better tell him--I tried, but I couldn't--so you tell him--please!"

NOTES:  Does this mean they are going to name Melanie as Stella's murderer?  What will that do to the burgeoning romance between Kendrick and Melanie?  Right now, I'd say she needs Kendrick more than anyone else, and I hope that if she explains what happened--that she might have murdered Stella while her other personality took over, he will understand and accept.  It's asking a lot, but he seems willing to shoulder so much, perhaps he will understand here, too.

Gabriel is alternately himself and the other, killer, personality.  He hasn't asked for booze, I wonder, did he kick the habit while he was running away?  I certainly wouldn't trust him; he was all set to kill his mother.  How frustrating for Quentin to be unable to get the knowledge of what Gabriel went through.  Sure sounds terrifying.

I always root for Melanie and Kendrick.  They both deserve to be happy, and I truly believe they can provide it to each other.  I really like him for the way he stands up to both Flora and Julia, two very strong ladies indeed.

Love, Robin

These are the last episodes of DS being shown on the Sci Fi channel.  I will continue to post until the end of the series.  If you wish to purchase my Robservations CD, contact me at robinv@optonline.net and I'll give you ordering details.  Happy new year, DS fans!

Thanks for sharing this lovely story, Bobubas.  Mr. Green sounded like a good-humored, generous man, and you're fortunate to have gotten to know him.  Plus, he sure gave his daughter a great name, LOL!

Love, Robin

 

1220 - Quentin's into:  Today, a radiant Daphne is Bramwell's bride, but Catherine knows, that for the Collins family, even the happiest moment can hold its own terrifying secret.

Bramwell, shocked to learn of his impending fatherhood, warms up to the idea fast.  Are you sure? he asks gently.  I haven't told you this to hurt you, she says.  Hurt me? asks Bramwell wonderingly--you know how long I've dreamed you and I would have a child?--but why did it have to happen this way?   I know--I'm sorry. . .sorry, she says.  Catherine, is there a possibility...? he asks.  No, she cries bitterly, it is NOT Morgan's child!  Why didn't you tell me before? he asks.  I didn't find out until today, she says--oh, but I knew you shouldn't marry Daphne, something deep inside me (perhaps the baby) kept saying no, it must not be--I tried to warn you--I don't know what to do now, I don't know where to turn...  Bramwell, delighted, has a plan--"You and I, our child--will leave Collinwood forever."  Where would we go? she demands.   Wherever you want to go, he says--I may not have the wealth Morgan has, but we'll manage somehow--we'll go to the South of France, rent a villa, watch this child grow up--have other children.  Hopeful and happy, he presents his dream.  "The respectable Mr. and Mrs. Collins," she says sarcastically.  "No one will know or care," he counters, a modern man.  "It all sound so simple, doesn't it? she says--but we'll know we're the WRONG Mr. and Mrs. Collins!--poor Daphne, she has always been so trusting, and everyone has always taken advantage of her--and now that she is your wife, you will have to look out for her.  I would send her to hell if it would solve anything, says Bramwell cruelly.  (he is so frustrated; you can see his anger at this turn of fate eating away at him).  You don't mean that, chides Catherine--and anyway, Daphne will find hell enough here where she is!--I must go back, they are expecting mer.  He asks (rightly), what do you want of me--why did you come and tell me this?  I want nothing, she says, just to go back to my husband.  No, insists Bramwell--he already has you, but he cannot have my child!  "MY child!" blares Catherine--"As far as the world is concerned, his father will be whoever I say it is."  (How is she going to accomplish that if she never slept with Morgan?  Why bother telling Bramwell if she plans to pass off the kid as her husband's?  She told Bramwell to be fair, she claims, but how fair is she, to either man, handling things this way?)  I know you will say nothing, she says because the two of us have always been able to look deep into each other's minds and hearts, and I know you won't ever say a word--and neither will I.  Then Morgan will never know the truth, muses Bramwell (I CANNOT imagine Bramwell allowing Morgan to raise his son or daughter, can you)?  Never, Bramwell, never, Catherine says firmly.   (She had better get hubby into bed quick, then, hadn't she?)

Morgan informs the startled Flora and Julia of Bramwell and Daphne's wedding.  He's annoyed when the ladies discuss sending a wedding present to the newlyweds.  This family is not obligated to Bramwell, says Morgan.  Bramwell is a Collins, Julia reminds him, and when a Collins marries, it's customary to send a gift.  We have more important worries than wedding gifts, he says.  Morgan, it's simply a gesture, we are not going to dwell on it, we're just going to do it, says Flora.  Quentin joins them.  We've been waiting for you, says Flora.  Blame brother Gabriel, he says, frustrated, and pours a drink.  Have they found him? asks Morgan.  I've been to every sleazy boarding house on the waterfront, says Quentin sourly--nothing--no one's given him any seamen papers, no, no passage or forged passports.  He must be in the Collinsport area, says Morgan.  If he is, says Quentin, he's found a very ingenious hiding place, because he's got the police baffled, too.  You went to the police? asks Flora.  Yes, says Quentin, after I couldn't find him on the waterfront, I went back to the carriage house, so I stopped by the police--just to see if there was anybody missing that happened to be unidentified--nothing there--I did see Kendrick Young at the police department, still insisting that Gabriel killed Stella--after Kendrick left, "Lt. James apologized to me, saying he certainly couldn't believe a stranger's word over that of a Collins."  After uttering this irony, Quentin slips an arm around Julia--but I am intent on finding Gabriel because he has some questions to answer.We must find him before he harms anyone else, says Flora.  I just don't understand how no one's seen him, says Morgan--he has to sleep and eat.  Not if he's dead, says Quentin, a remark that makes Flora's brow furrow.  You think he might be dead? she asks.  It is a possibility we must consider, says Quentin.  I suppose we do, agrees Flora sadly--well, then I'm afraid with or without Gabriel, we'll have to hold the lottery again.  Tonight? asks Julia, upset.  No, we can't wait that long, insists Flora--I feel the danger is too close--we will hold the lottery this afternoon.  Everyone looks perturbed.

This afternoon? repeats Morgan.  I know how you all feel, she says, and I am no more anxious than you are to go through with this, but I am afraid of the consequences if I wait any longer--the rules will be the same.  Morgan and I have decided that we will share the risk, says Quentin.  I said the rules will be the same! insists Flora--the participants the same, too, except Gabriel.  If only we had some idea of what secret that room holds, laments Julia--if only Gabriel had been able to tell us something.  Maybe there is someone who can help, suggests Morgan, pouring a drink--Carrie Stokes found a letter in the basement of the cottage--it was addressed to James Forsythe, signed only by an A.  May I see it? asks Quentin.  I don't have it, says Morgan--it burned up suddenly when a crazy, angry spirit joined me and Carrie.  We know nothing about James Forsythe, says Flora--hundreds of people have been through Collinwood since it was built--there's no reason to think he knows anything about the locked room or its secrets.  We've got to learn everything we can about that man, says Quentin--if there was one letter down there, there may be others.  Perhaps Forsythe will tell us what Gabriel will not, says Morgan.  You really think you can break the secret of the curse? asks Flora.  I don't know, admits Morgan, but we must try everything, if only it will end that lottery.  "It's been going on well over a century now," says Flora, "you think you can stop it in a few hours?--that's all the time you have--we'll all meet here at 3 o'clock--including Catherine," she adds, irritated--"she should have been here now."  Morgan looks down--I know, he says--she wasn't feeling well and I told her she might take a walk and get some air.  Will Catherine be back in time? asks Julia.  Of course she'll be back, why shouldn't she? demands Morgan.  Flora doesn't answer, but merely stares at him.

Bramwell offers to walk Catherine back to Collinwood.  I'd rather you didn't, she says--I've been gone too long already, probably missed the meeting.  What meeting? he asks.  Now that Gabriel is gone, a new decision has got to be made about the lottery, she says.  Bramwell becomes upset--surely you won't be involved in that any longer!--my wealthy relatives may permit their women to face danger, but not when it comes to having children!--if you talk to them...  I will tell them nothing, she insists.  I will not permit you to endanger my child! cries Bramwell.  I will tell them nothing, she says--and I'm endangering no one --don't you understand, there is no real danger?  People have died, gone mad, he reminds her--so, I have no choice but to do what you won't do--if necessary, Catherine, I will go to that house and tell them that you're having a child.  You can't do that, she says--you gave me your word.  I won't tell them the whole truth, just that you're pregnant, he says.  Don't you see? she says--that IS telling them the whole truth--each of them will ask themselves how YOU came to know I was going to have a child--no, Bramwell, you can't stop me that way, or any other way--you must have faith in me--I have my own good reasons for what I'm going to do--and I intend to do it!  Nearly crying, she leaves the house. Bramwell is perturbed.  (It sounded odd to hear the word "pregnant" on Bramwell's lips; somehow, I was reminded of Scarlett O'Hara in the 1860's being scandalized when Rhett Butler used it, and this is 25 years earlier.  "With child" seems more appropriate to the time.)

Quentin and Morgan sort through papers in the cobweb-strewn cottage basement.  How long have we been here? asks Morgan.  Stop as talking and keep looking, orders Quentin.  I HAVE been looking! complains Morgan.  Quentin answers, "All right" in a tone that made me laugh.  We've found fans, dance programs, letters, but nothing that helps, says Morgan.  Maybe you're right, says Quentin, maybe we're just fooling ourselves.  Wait a minute, what is this? asks Morgan, who has found a ledger from 1678 written by James Forsythe, "in the hopes of prospering."He goes through the ledger--Forsythe was some kind of merchant, he says--there are entries, profit columns, losses, not much else.  Quentin takes the book from him.  If only the numbers could tell us something, says Morgan.  There's more than just numbers, says Quentin, but I can't make them out.  Morgan takes the ledger and reads, "Their Majesty's vessel, ANNA CREON, arrived from the Virginia Colony bearing. . .I can't make out the rest--here's something about a lost boat arriving from St. Eustace--and here's something about Brutus Collins--I can't read it all, but there are a few words here--"in league with Brutus Collins".  Perhaps a business partnership? The brothers wonder.  There is a letter to him from "A", which Quentin reads: "James--things are not always what they seem--others would tell you to look elsewhere for the truth, you must know that it lies within me, and through me it must reach you--A.  It's signed A, who could it be?  Morgan reads "five yards fine wool stuff to Mistress Amanda, a pewter tea set for Mistress Amanda."  Amanda was Brutus' wife, I read it in the history, says Quentin.  Morgan agrees, but what does it mean?--who was so anxious to speak to him?  Let's assume A was Amanda and Brutus' wife, suggests Quentin--James Forsythe, did he have a wife?--let's see if there is anything else here.  Morgan, puzzled, notes a page was started for February, 1681, and a page started for March but never written on.  Morgan, says Quentin, March, 1681--that was exactly 180 years ago.  The time the curse began, says Morgan.  Exactly, agrees Quentin--what could an ordinary merchant have to do with all the terrible things happening in this house?  "'Things are not always what they seem,'" rereads Morgan from "A's" letter.  I wonder why the spirit didn't burn this letter? asks Quentin.  Maybe he knows what we're trying to learn, and knows that we won't learn it, says Morgan.  You mean that perhaps he's laughing at us, silently, suggests Quentin, and all our frantic attempts to save ourselves.  I think that may very well be, says Morgan, downcast.

Catherine returns to Collinwood and is accosted by Julia.  That's right, says Julia when Catherine races into the drawing room, knowing she's late--there's no one here--you missed the meeting.  Was anything decided? asks Catherine.  Everything, says Julia angrily--the lottery will be held at three this afternoon--do you intend to be here?  Of course, Catherine assures her.  Do you feel well enough? snaps Julia.  Certainly, says Catherine.  Morgan said the doctor was here to see you.  Morgan fusses over me much too much, says Catherine.   What did the doctor tell you? demands Julia.  (and I swear, she was homing in on the tiny fetus in Catherine's belly).  Nothing I didn't already know, says Catherine--that the first few weeks of marriage can be a difficult, upsetting time, with everything that's happening, the lottery, like a shadow over all of us, it's not surprising I had a moment of weakness--I'm sorry to disappoint you, I haven't been a Collins very long, I'm afraid I'm still subject to those moments.  Perhaps Morgan believes that sweet little girl story, says Julia, but I don't, not for a moment--I want you to tell me the REAL reason you fainted!  (I swear, it sounds like she knows!)

I've already told you, says Catherine--I don't know what more I can say.  You're a very strong person, Catherine, asserts Julia--you have a strong mind and body--it was true when you were a child and true now--I've known you a long time--when you were a child, you never cried--others did, but not you--other brides could faint but you never would--tell me!  Catherine denies Julia's comments--I'm more defenseless than you seem to think, Julia--I cried as a child, I was just like other children--you've got to know me as I am, not as you always thought I was--more than anything, I want to make Morgan a good wife--and I will do that, you'll see--and I would like to be your friend.I'm willing to wait and see--on both counts, says Julia coldly.  (Brrrr, she reminds me of Hoffman from PT.)

Morgan and Quentin bring home Forsythe's ledger to show Flora.  Since you learned nothing new about the curse, the lottery must be held as scheduled, says Flora.

3 PM - They gather in the drawing room.  How are you, Catherine? asks Morgan.  Catherine, gazing at Julia (who stares suspiciously back at her), pointedly says, "I'm fine.  After all, I've always been very strong."  Flora explains the lottery rules again; everyone looks solemn.  Is there anyone who will refuse what has to be done if he or she is chosen? asks Flora.  I think one Gabriel in this house is enough, says Quentin.  Begin, Flora commands.  Everyone draws, Flora first--blank slip, as is Quentin's and Julia's.  Morgan, opening his slip, turns to his wife and, horror-stricken, gasps, "It's you!"Yes, says Catherine--I have drawn the X.

NOTES:  Catherine is now pregnant with Bramwell's child and will be forced to go into the locked room.  If I were her, I would back out, run away with Bramwell as he asks her to.  She can't do it, because she's not only putting her own life in danger, but the baby's, too--and you can only imagine what Bramwell will think of that.  Plus the triangle is now a quadrangle with the addition of Bramwell's marriage to Daphne.  Not nice of him to wish his new bride to hell, but he was just frustrated at the terrible timing.  Bad timing was one of Barnabas' biggest problems, too.

What made Bramwell ask exactly how she knew it was his child, not Morgan's?  Doesn't he assume she has been having sex with her husband since they got married, whereas she did the deed only that once time with Bramwell)?  With more than a little bitterness, she replies no.  (I guess this means their marriage is definitely platonic--or they are using birth control.  I recall someone once saying that a form of condom was available, even in 1841--but was it available in 1841PT?)

So, Catherine shows up and tells Bramwell she's pregnant, he is the papa, the baby's father will be whoever she says it is, Bramwell is to take care of his wife, Catherine will return to Morgan and find some way to pass the baby off as his.  She expects Bramwell to accept this, say nothing, and allow herself to draw for the lottery and place herself and his unborn child in danger.  Is this woman truly dealing with reality??


1221 - Alone in the drawing room with Catherine, Morgan wonders, how can you smile at a time like this?  She takes his hand--it's good to know I have you, she says, have someone to care about me.  I knew this would happen, he cries, I knew it would be you!  I almost think I knew it, too, she says.  I'm not going to let it happen! he insists--I'm not letting you go into that room!

The lottery has been held, she says, we agreed on the rules beforehand, I must go into the room.  Oh, but darling, he objects, hugging her, it isn't fair!--we've only been married such a short time--you don't understand, one thing or another may happen to you--you may die or go insane--I can't bear the thought of that, and won't let it happen to you--I want to take your place.  The family would never allow it, she insists.  He rises from the sofa--I'll order a carriage, he says, we can be gone long before dusk.  What are you saying? she demands.  I'm going to take you away from here--as far as it will go.  Do you think that will solve anything? she asks.  If it will keep you out of the room, I'm willing to do it, yes, he says.  This family has believed in this curse for a very long time, she says, and they all say that you can't run from it--it will find you wherever you go.  I'm willing to take that chance, he vows.  You can't run away from something you must face, she insists.  Gabriel went into that room and faced it for a short time, says Morgan--look what happened to him--he's running through the woods, crazed!--the police are after him, I don't want that to happen to you.  It won't, she assures him, because I don't believe in the curse--I never have and never will--I know what happens to people when they go into that room--they become the victims of their own fear.  Do you really believe if you go in that room, you won't die or go insane? he asks.  Exactly, she says, it's fear--fear alone--everyone who has gone in there has believed that some horrible, unknown fate awaited him, and there's no fear more terrifying than he fear of the unknown.  How do you account for Tim Braithwaite? asks Morgan--the man Gabriel hired to take his place in that room--he knew nothing about the legend.  I've thought about that, says Catherine, and I think Gabriel may have killed him.  Gabriel? asks Morgan.  Yes, she says, I know he was only in the room a short time, but he may have been there long enough for his fear to drive him mad--and if he was mad when Tim came in there, he may have killed him.  For someone who doesn't believe in that room, says Morgan, you certainly seem to been doing a lot of thinking about it.  Yes, and all my thinking hasn't changed the way I feel, she says.  Catherine, he says, you're a strong, brave woman, but it is not possible; you are wrong about that room--please let me take you away from this!  No, she says, sooner or later someone has got to prove the room and curse a myth--I will go into that room, without fear, confident I will come out tomorrow as sane and healthy as I am right now--I will break the curse--I know I will.  Her eyes gleam with hope.

Old House - Bramwell broods before the fire, re-playing Catherine's voice telling him, I am going to have your child.  Oh, Catherine! he laments, putting his head in his hand.  Daphne returns.  He looks at her as if she's a stranger and gives her a lukewarm greeting.  You don't look very happy to see me, she says.  Of course I am, he says, forcing a smile.  Has something happened? she asks.  Nothing, he says.  Perhaps you're just having second thoughts, she suggests.  You look so lovely, he says--radiant and so innocent.  I love you, she says.  They kiss, a quick peck on the lips, then hug.  Bramwell answers a knock at the door--"You look rather disappointed" she says--"were you expecting someone else?"  No, I wasn't expecting anyone, he says.  May I come in? she asks.  Please do, he says.  Julia carries a sheet-draped portrait.  I've come to offer you both congratulations on behalf of the family, she says.  Thank you, says Daphne.  And to give you this, adds Julia, handing the portrait to Bramwell.  What is it? he asks.  The official family wedding gift, says Julia.  Do open it, urges Daphne.  Bramwell unties the string securing the sheet--it's a portrait of my father, he says.  The one you've always admired so, says Julia--Flora and I both felt this was the place for it, and this the logical time to give it to you.  I've never seen a portrait of Barnabas Collins, remarks Daphne, you look very much like him, Bramwell.  So I've been told, he says--thank you Julia--please extend my appreciation to Flora.  Of course, says Julia.  Would you like to stay for a brandy? he offers.  Just one, she agrees.  Bramwell leaves to get the drinks.  Daphne, I'm glad we have this moment to talk alone, says Julia--are you aware we held the lottery again this afternoon?  I had no idea, says Daphne.  I know there's been some coolness between you and your sister, says Julia, but I feel you should know that Catherine drew the losing...You mean Catherine's got to go into that room? asks Daphne, frigthened.  Yes, says Julia, at dusk.  Bramwell overhears.  Julia, were you planning to tell me, or just Daphne? he asks.  I see no harm in your knowing it, too, says Julia with a nasty smile.  Bramwell, we have got to stop her, insists Daphne.  No one can do that, says Julia--she's been chosen, she's got to go--it is a point of honor in the family--no one would avoid doing his or her duty.  Gabriel did, points out Daphne.  Bramwell, setting down the tray, agrees--and he's paying for it now, he says--you all have to pay a price for being Collinses, don't you?  I don't know what you mean, says Julia.  You all seem to look upon that lottery with some strange pride, says Bramwell grimly--in your minds, have turned that room into some family tradition--as though it were an honor for anyone to go in there!  A duty is a duty, says Julia.  I'll keep my faith in Catherine, says Bramwell, and hope she'll retain enough common sense not to go through with this.  Catherine is resigned to what she must do, says Julia.  I don't believe that, says Bramwell.  It's true, says Julia, as if glad to be giving him this terrible news.  Bramwell turns to his bride.  Daphne, in her haste to see her sister, has already bolted from the house, leaving the door open.

Catherine closes the drawing room window and wanders around for a few moments.  Daphne rushes in--Catherine, we must put our differences aside now--"You're my sister, and I do love you, and I don't want to see anything bad happen to you--please Catherine, don't go into that room tonight!"

I'm afraid there's nothing to discuss, Catherine says, I intend to do what's expected of me.  But it's madness, insists Daphne.  Do you really believe any harm will come to me? asks Catherine.  I don't know what is going to happen, says Daphne, but I do know the history of that room, and I don't think the risk is worth taking.  I appreciate your concern, I really do, says Catherine, but I sincerely believe I'll be all right.  You do fit in with this family, says Daphne accusingly--"Your pride is just as insufferable as theirs!"  I don't believe you speak as a member of this family too, now, says Catherine.  Another branch of the family, says Daphne.  Are you happy with Bramwell? asks Catherine.  Since we've been married less than a day, says Daphne, I'd say it's a bit early for an answer.  I wonder how long it will be, says Catherine, before you realize what a mistake you've made.  I didn't come here to discuss my marriage! cries Daphne.  Then why did you come? demands Morgan from the doorway.  (He is really nasty to Daphne.)  She's trying to convince me not to go into the room, explains Catherine.  Daphne rushes to Morgan and says, "You're not going to let her go through with it?"  I tried to stop her, he says, but didn't have anymore success than you.  And so you gave up, just like that--you gave in to her? demands Daphne, incredulous--you can forbid it, you're her husband!  The subject is closed, insists Catherine.  And you won't reconsider? asks Daphne.  No, replies her sister.I think you actually WANT to go into that room! says Daphne brutally  Catherine turns away.  Is your own life so miserable, asks Daphne, that you're willing to end it?  I won't have that talk in this house, says Morgan.  Catherine gives her sister a look of defiance.  Good day, Daphne, says Morgan, dismissing her. Daphne looks from one to the other, then, without a word, leaves the house.

Gazebo - Bramwell waits impatiently, checking his watch.  Catherine joins him.  They gaze at each other for a few moments.  He looks concerned; she watches him with hope and a gentle smile.  I was afraid you hadn't gotten my note, he says.  I found it difficult to get away from the house without raising suspicion, she explains, but I know why you want to see me--so I might as well tell you what I told everyone else.  You still insist on going through with this, he says.  Yes, she says.  Even knowing what we both now know, he reminds her.  I've given you all my reasons, she says.  Have you considered the consequences of going into that room? he demands.  Yes, I have, she says.  Carrying that child--our child, he says, holding onto her arms.  I have given that the most consideration, she assures him--I hope that if I go into the room tonight, the child will be spared a lifetime of misery--perhaps 20 years from now, he won't have to go through a day of terror just like this.  You keep saying perhaps, he says, there's still a doubt in your mind.  No, she says, there's no doubt--I will go into that room without fear--and I will overcome the curse!  Have you become a Collins in such a short time? he asks, turning her around to face him--you've made up your mind, and no power on earth is going to stop you.  Your concerned because of the child, aren't you, not because of me, says Catherine.  I'm concerned about you as well as the child! shouts Bramwell--I once called this curse and lottery a lot of superstitious nonsense;I could afford to say that then because I didn't care who was going into the room, but now you're going in and that's different--nothing must happen to you, Catherine--nothing! he repeats desperately.  His face is nestled near her hair, close to her face.  I never would have dreamed, when we met before that church so long ago, she says sadly, that we would ever be forced to meet together like this.  She turns to face him.  "Catherine, my darling Catherine," he says, and kisses her, a kiss she returns with fervor.

Their kiss lasts a long time.  Catherine draws away first.  Oh, Bramwell, she says regretfully.  We'll never stop being drawn to one another, he says.  This is terribly wrong, she says, we're both married now.  But you're going to have our baby, he reminds her.  Goodbye, Bramwell, she says.  Please reconsider, he begs.  Without an answer, she simply walks away, Bramwell looking after her longingly.

Collinwood - Julia sits before the fire.  Morgan returns carrying a wrapped box.  Where have you been? she asks.  I had to go to the express office, he says, to pick up a package--why?  I was worried about you, she says--when I couldn't find you, I thought. . .  Thought what? he asks--speak up.  I know how you feel about Catherine, and that you don't want her to go into the room, and I feared you might have thought of some way of interfering.  I see, he says--I'll put your mind at ease--I've resigned myself to the fact that Catherine must go into that room--and she must do it alone--I do have one request, however--I don't think I could go with you to take her down that corridor--see her face before she goes in.  Julia nods.  I wonder, he says...  I understand, she assures him.  Will you please do it for me? he asks.  Yes, I will, she says.  Catherine joins them--I want you to know that I, too, understand, she says.  Julia smiles at them and leaves.  Catherine, says Morgan tenderly.  When the time comes, she says, her hands on his lapels, we'll have our moment right here--the two of us darling.  She kisses him hard.

Daphne looks through the window and sees Bramwell returning home.  Guiltily, he says--I felt I had to, he says, you understand?  I want to understand why you had to see Catherine, she says softly.  In times of crisis, one can never completely erase the past, he says--memories come back that demand certain actions--she's risking her life!--I couldn't let her go without trying to stop her.  Are you sure that's all there is to it? asks Daphne.He turns to face her--I'm sure, he says.  Then I do understand, she says, and I love you all the more for it.  You mustn't say that, he insists, turning away again.  Why not?--it's true, she insists--you could never hate Catherine and that's as it should be--you're a good man, Bramwell, and deep down, a very gentle one--I'm going to make you a good wife, I swear--I'll do everything in my power to make you happy.  I believe that, he says.  We'll travel and we'll work very hard together, she vows, and someday it will be you all the Collinses look up to--she touches his face--"You and your son," she says.  Startled, Bramwell looks at her--"My son?" he asks.  Someday, she says, I want to give you a son you'll be very, very proud of.  He looks down, ashamed, and hugs her--Daphne! he says desperately.  What's wrong? she asks, caressing his face--tell me what's wrong!  But he cannot respond.

5:10 - Julia stares up at the foyer clock and meets Morgan coming down the stairs.  She's in there, Morgan, says Julia.  He goes into the drawing room, where Catherine waits.  It is time, my darling, he says.  She takes his hands.  It's not a farewell, she assures him--everything will be all right tomorrow morning, you'll see--when I come out, I'll be just the same--but you'll be different, all of you, happily different--they kiss.  She leaves his embrace and goes to Julia, who awaits her.  Morgan closes the double doors as soon as they are out of sight.

Julia leads Catherine down the corridor to the cursed room, touching her shoulder once before they arrive.  Go on, says Catherine, open the door.  Julia finds, however, that her key does not work.  There's something wrong, Catherine--I'm certain this is the right key.  "It is the right key, Julia," says Morgan's voice, coming from INSIDE the room, "but the lock has been changed."  Morgan! protests Catherine.  Yes, Catherine, he says proudly.We see him on the other side of the doors--I'm in here!.  Come out of there at once, orders Julia.  It's too late, says Morgan--Quentin has the only key to the new lock, and I made him promise to give it to no one--"I'm taking your place, Catherine--I wouldn't have it any other way."  Julia looks at Catherine, who gazes back, both in despair.

NOTES:  OK, this is a really nice gesture on Morgan's part, and I really can't stand him.  He did the right thing for his wife, but one wonders--what would he do if he knew she was pregnant by Bramwell?  And wasn't it interesting that Daphne asked her sister if her life was so miserable, she would actually consider ending it?  I doubt Catherine would have such a mindset now that she's pregnant, but Daphne apparently believes her sister is truly miserable.

I feel so sorry for Daphne, who is caught in the middle of this mess.  Her husband knows his former girlfriend is pregnant by him, and when Daphne mentioned THEIR having a child someday, he behaved very oddly.  One senses that between the guilt, worry over Catherine's plight and anger over the thought of having Morgan raise his child, he is going to have a problem doing his marital duty by Daphne, at least right now.

This complex situation couldn't get more sticky.  We witnessed Catherine and Bramwell's intense, lengthy kiss in the gazebo.  Then they returned home to their own spouses--and neither seemed anywhere near as passionate with their chosen mates.  Morgan and Daphne are in for serious heartbreak--if Morgan survives his night in the room, that is.

Julia sometimes seems to hate Catherine, doesn't she?  Yet you sense she admires Catherine's determination and strength at insisting on going into the room.

I know a lot of people didn't much care for this storyline, but I loved it.  I guess that's obvious.

Love, Robin

1216 - Wherever he is, Gabriel smiles, probably enjoying what he thinks he put over on his family.

7:10 - Quentin and Julia return to Collinwood and enter the drawing room.  They find Melanie just sitting by the fireplace, her posture indicating something is wrong.  What's the matter with you? asks Julia.  A tear glinting in her eye, Melanie says, "He was here--he spoke to me!"  Julia kneels beside her--who did you see? she asks  Who were you talking to? asks Quentin.  He told me the curse isn't over! cries Melanie, the tear running down her face--and it won't be until the person who goes into that room is a Collins!  Quentin and Julia look grim.

Who spoke to you? asks Quentin.  Papa, she replies.  Justin? asks Julia (redundant).  He came to me from the grave and told me we still have obligations, says Melanie.  I knew it, says Quentin, the curse can't be settled any other way, it's got to be a Collins--I don't know why we delude ourselves.  He said we have to have the lottery again, reveals Melanie.  Yes, agrees Quentin, it's the only way.  Whether it's the only way or not, says Julia, we can't have it now--Flora isn't here and Morgan and Catherine are in the village.  We'll have to call them back, insists Quentin.  And what about Gabriel?--we'll never be able to find him, says Julia.  If it wasn't for his cowardice, we wouldn't be here now, says Quentin--we're better off without him.  Perhaps we should try to find him and force him to go into that room, suggests Julia.  If we find him, I'm not sure he'll go into that room, says Quentin, I think perhaps I'll try to kill him first!  Quentin! objects Melanie, you wouldn't do that!Why not? asks Quentin, his voice filled with venom--brother killing brother--it's not the first time it's been done in the Collins family! (who else?)--you don't have to worry about him, he's safe, because I don't know where to find him--he turns to Julia--what did Carrie Stokes tell Morgan?  He said he didn't really understand her, says Julia--she was cryptic.  I'll have a little talk with Miss Stokes, says Quentin, hurrying out.  Why does this have to happen to us? Melanie tearfully asks Julia--why were we the ones cursed?--what could our family have done in the past that was so terrible?--why is there no end to the terror we must live through?  It will end, Julia insincerely tells the growing-hysterical girl.  I don't believe that, says Melanie--we have done nothing, and yet for us, there can never be any peace!  That's not true, says Julia, the curse will be lifted in some way--you should rest, go to your room, you've had a very trying day.  Tell me the truth, Julia, asks Melanie--do you think we will ever find peace--"Do you?"  Julia's lower lip trembles; she doesn't respond.

Woods - Quentin walks, as does another, unseen, man.  Who's there? asks Quentin, but no one replies.

Carrie, pretty in powder blue, opens the cottage door to Quentin before he can even knock.  I was just about to knock, he says.  I know, she says, it's good to see you.  The pleasure is all mine, he says--I understand you were at Collinwood earlier and had a long talk with my brother Morgan.  Yes, I'm sorry I couldn't help him find Gabriel, she says.  It's all right, says Quentin, actually, I wanted to ask you...  Noticing she's behaving oddly, he asks, what's the mater?  Is someone waiting for you outside? she asks.  No, says Quentin, I came alone.  No, she says, someone followed you, he's waiting outside now!

Quentin goes to the window to look out, but the figure we saw earlier retreats.  There was someone out there, says Quentin--Carrie, how do you know that?  I don't know, she answers, I just felt a presence--did you see who it was?  No, he ran away, quickly, says Quentin--Ineed your help.  I'll be glad to help you, she says--what is it?  Quentin explains--Julia told me when Melanie was sick, she kept repeating a name, over and over, a name that meant nothing to Julia, but obviously a great deal to Melanie--James Forsythe.  I've never heard it before, says Carrie.  Morgan tells me that if you concentrate very hard on something, says Quentin, you can see and do things other people can't--is that right?  Sometimes I can, she says.  Will you concentrate very hard on that name, and tell me whatever you can about him? asks Quentin.  Why is it so important to you? the girl asks.  Believe me, he says, it's important to virtually everyone who lives on this estate, but I'm afraid I can't tell you why.  I'll try, she promises.  Good girl, he says.  She stands and repeats the name "James Forsythe" over and over, concentrating.  What do you see? asks Quentin.  An image is starting to take form, she says--I can see Collinwood--but not the Collinwood of today--of very long ago--I don't know how long--I see two people approaching the house--the man is James Forsythe.  Who's with him? asks Quentin.  A woman--I can't see her face, reports Carrie.  What can you tell me about the man? asks Quentin.  He's young, handsome, and lives at Collinwood, she says.  Lives at Collinwood--are you sure? queries Quentin.  Yes, she says, the woman he's with, he's in love with her.  I don't understand, says Quentin--there's never been a man by that name living at Collinwood.The woman is very sad, adds Carrie, because she loves him, too, but belongs to someone else.  Quentin kneels at eye level with Carrie and asks, what can you tell me about the woman?  They're walking on and on, says Carrie, entering the house...  She comes out of the trance--that's all I can tell you, she says, except--I'm sure that James Forsythe is somewhere nearby Collinwood.  Listen to me, says Quentin--what you just told me happened in the distant past--if that's true, James Forsythe has been dead for a very long time.  I can't explain it, says Carrie, but somehow I know he is here and I'm not sure whether he's dead or not.  You've got to be sure, insists Quentin, because right now it doesn't make sense.  I know it doesn't, she says, but you asked me to tell you what I feel, and that's what I felt.  All right, says Quentin, that's good--I'll tell you all about it in due time--thank you very much--he leaves.  Carrie, disturbed, closes the door behind him.

Woods - Quentin walks, hears rustling leaves, hides behind a tree.  We see a man walking.  All right, says Quentin, stepping into the other man's path, why are you following me?  Defiantly, Kendrick Young glares back at him.

I'd like an answer to my question, insists Quentin.  I have not been following you! says Kendrick angrily.  Then what have you been doing? demands Quentin.  I was on my way to Collinwood, if you have no objection, says Kendrick, Mr. Collins!  All right, says Quentin, I have no objections, MR. Young--it just seems to me that you have better things to do with your time.  What does that mean? asks Kendrick.  I'm getting very tired of you asking the same questions over and over again, says Quentin.  I am not going to Collinwood to ask questions about my sister, says Kendrick coldly--I heard in the village that Melanie was very ill--is that true?  She was sick, says Quentin, but is much better now.  I heard you were ill, too, says Kendrick.  I was, says Quentin, but as you can see, I made a miraculous recovery--in fact, Melanie is so well now, that I see no reason for you to bother with a sick call.I assure you, it is no bother at all, says Kendrick.  Mr. Young, I suggest you go back to the village, says Quentin.  I don't really care what you suggest, retorts Kendrick--I'm going to see Melanie.  He goes on his way.  Quentin stares after him, annoyed.

We see the cupid statue in the fountain on the terrace.  Melanie sits there.  Hearing someone coming, she asks, "Who is it?--who's out there?"  Kendrick enters through the gate.  She says his name--what are you doing here?  I heard you were very ill, he says.  I'm much better now, she says, sounding anxious.  I heard that, too, he says, but you don't look very well, you look very unhappy about something.  I suppose I couldn't be happy if I tried, she says.  Tell me what it is, urges Kendrick.  Something I'd rather not talk about! she says.  Why are you Collinses always unwilling to talk about your troubles? he angrily demands.  She turns to glare at him.  I'm sorry for saying that, he says.  Thank you for coming to see me, says Melanie--perhaps some other time, when I'm not feeling so tired, you can stay longer.  Please, he begs, tell me why you're so unhappy.  It may be that where you come from, she says curtly, strangers are in the habit of meddling in other peoples' business.  I come from Boston, he says, and I honestly don't regard myself as a stranger to you--do you?  If Julia were here, says Melanie, she would tell you to mind your manners!  Julia is not here, he says, and you still haven't answered my question--do you think of me as a stranger still?  No, I suppose not, she admits.  He sort of smiles.  When I was living in Boston, he says, I worked as a clerk in the Customs office, I had a flat overlooking the harbor--I used to paint--it was just a hobby....Why are you telling me this? asks Melanie.  Because I want you to know me, he says--it's true most people are strangers to each other and stay that way, but I think you and I have chosen each other as friends.  Her face softens.  At least I felt that way the first time we met, he adds.  He moves in close and says, "I think you did, too."  Yes, perhaps I did, she agrees.  Tell me, what's troubling you? he asks.  What you said is true, about our choosing each other as friends, she agrees, but sometimes friends have to take each other on trust--would you do that for me, now?  He nods--yes, I would, he says.  You are so different from the other men I've met--so gentle and thoughtful, she says.  I have a feeling that the other men you've met have all been Collinses, he says.  She turns away, perturbed.  Kendrick apologizes again.  You shouldn't have, she says, but you happen to be right--this has been my world--this house--this family--and even though my name is not really Collins, I've never had any other name--if I were to go into the real world now, I wouldn't know how to relate to anything--or anyone.  I'd like to be able to change that, says Kendrick.  It isn't possible, she says.  I could try, he says.  How, where would you begin? she asks.  Right here, he says, smiling, "Like this"-- he kisses her.  She stares at him, puts her arms around him, and goes in for a longer, bigger, deeper kiss.  Julia, on the terrace, catches them and, infuriated, calls, "Melanie!"

Julia joins the young couple--"Mr. Young, what are YOU doing here?" she demands.  He came to see me, says Melanie.  Obviously, says Julia sarcastically--you know you are not welcome here!  Julia, please! says Melanie.  Go into the house, insists Julia, right now.  No, I won't go in, replies Melanie.  I beg your pardon? asks Julia, her forehead creased in disbelief.  I'm not a child and refused to be treated as a child, says Melanie--I'm old enough to make my own decisions, and choose my own friends--she turns to Kendrick, who smiles approvingly at her.  What have you done to her? Julia asks, incensed.  Nothing at all, says Kendrick.  She's never spoken to any of us like this, says Julia.  Maybe, says Kendrick, she should have--she might have been better off for it!  I will go to the house, says Melanie--if Kendrick can come with me.  You'll WHAT? asks Julia.  He is my friend, says Melanie, and everyone in this house might as well get used to it--if I'm not allowed to see him when he comes to visit me here, then I shall go to the village to see him!  (You go, girl!)  Melanie, says Julia, would you allow me to speak to Kendrick for a few moments alone?--then he can join you in the house.  It's all right, says Kendrick, I'd like to hear what your aunt has to say.  Melanie leaves.  I knew the first day you came here, says Julia through gritted teeth, that you would cause nothing but trouble.  I have no intention of causing trouble for anyone, says Kendrick--I happen to be very fond of Melanie.  I must ask you not to see her again, says Julia.  My answer to that is no! says Kendrick--I will see her as often as I can.  What is it you are after? asks Julia.  Nothing, he says--Melanie happens to be a sweet, sensitive child--can't you understand that?  She's more sensitive than you have any idea of, says Julia--she's led a very sheltered life.  Who's responsible for that? asks Kendrick.  I will thank you not be arrogant with me! says Julia angrily.  Have you said all you want to say, Miss Collins? he asks.  No, what will it take for you to leave and never come back? she asks.  Are you trying to buy me off? he asks.  You might say something like that, yes, replies Julia.They stare at each other like duelists.  Every man has his price, is that it? asks Kendrick.  Yes, she says.  You Collinses believe money can buy anything, shouts Kendrick, and yet you're all miserable!--why are you all so miserable, if money can buy you everything--answer me that, Miss Collins!  How much, Mr. Young? she persists.  No amount--you're wasting your time, he says.  I could take legal action, she says.  You could but you won't because you know you'd lose, he says--as Melanie said, she is legally of age, she could leave right now--tonight--and you could do nothing about it.  She must not leave here, ever, says Julia grimly, you will find that out.  Don't you count on it, he says--and now, if you will excuse me--he leaves.  Julia stands, hand on the fountain, looking as if it's the end of the world.

Drawing room - Quentin, rubbing his forehead, sits by the fireplace, looking through a Collins family history book.  Kendrick enters.  What a surprise, says Quentin--I was passing the terrace a few moments ago and saw you talking to Julia--how did you manage to ingratiate yourself with her?  I didn't, says Kendrick--she tried to throw me off the grounds.  Why didn't you take her advice? asks Quentin.  I see you're all as hospitable as she is, notes Kendrick.  We don't make the most gracious hosts, do we? asks Quentin, grinning.  At least you admit it, says Kendrick.  Frankly, as far as I'm concerned, you can stay here, says Quentin--I'm sure the others feel the same way--as long as you don't start asking the wrong questions-- he closes Kendrick in the drawing room, bidding him good day.  Kendrick sits down on the sofa, pondering all that has gone on.  The secret panel opens.  Gabriel, looking much like the insane Jack Nicholson in THE SHINING, slips out.  In his hand he holds a sharp knife, which he raises over the unsuspecting Kendrick, who, seeing him about to attack, leaps from the sofa to defend himself.  Gabriel locks the doors.  So you're back, Mr. Young, he says, with more of your questions--you know what's going to happen to you?--the same thing that happened to your sister--he threateningly raises the knife.

NOTES:  So does that mean Gabriel murdered Stella?  I never was clear on that point, and always thought it was never resolved.  More importantly, is he going to kill Kendrick?  I sure hope not.  I love the way he stands up to Julia and Quentin, and believe the latter already feels much respect for him.  Plus he is exactly what Melanie needs.

Poor Melanie!  Here she has a nice guy interested in her, and her family is threatening him, either verbally or physically!  Melanie needs away from Collinwood, as Bramwell suggests a while ago, she needs to get out into the world and learn about it.  Seems like Kendrick would love to be her teacher--in that and other things.  You really root for her to get out from under the Collins influence, especially the way Julia treats her as if she's 7 years old.

Doesn't Julia seem like a real bitch in this time band?


1217 - Kendrick backs away from Gabriel, accusing, "You killed my sister."  One death isn't enough, says Gabriel gruffly, holding the knife in a shaking hand--one death isn't enough--there has to be more!--indeed, there's so much death in this house--and there has to be death!  You're insane, says Kendrick.  You're right--I've been insane for years! smiles Gabriel--I just became sane a short time ago,.  Kendrick runs from him, toward the window; Gabriel pursuing him.  They fight, fists flying; Kendrick kicks the knife out of Gabriel's hand.  Gabriel retrieves the knife from the floor.  "I'LL GET YOU!" he promises Kendrick as the two men dart and dance around each other.  I'll cut you to pieces! snarls Gbriel.  Morgan, standing on the stairs, hears the ruckus in the drawing room, the men screaming at each other, and races to check it out. Finding the doors locked, Morgan tries to force his way in (and the doors don't hold well anyway, as the men bang into them during their altercation).  Kendrick screams, "Mr. Collins!", begging Morgan for help.  Gabriel, advancing on Kendrick, says, "He can't get in, he can't get in, Mr. Young--for once, Morgan can't do a thing."  Don't come closer, orders Kendrick--don't!  Morgan runs to get a key.  Kendrick and Gabriel get into it, battling fiercely, Gabriel once again threatening Kendrick with the knife.  They grapple, Gabriel warning Kendrick you won't get away.  Finally, Gabriel stabs Kendrick in the shoulder.  Kendrick stumbles to his feet for a few moments, then falls.  Morgan unlocks the door and finds Kendrick on the floor and Gabriel gone.  He kneels beside Kendrick--where did Gabriel go? he asks.  Panel, gasps Kendrick, wall, door...It's only a flesh wound, we'll take care of it, Morgan assures him.  Yes, like you did my sister, accuses Kendrick, moaning in pain.  Catherine comes in.  Gabriel has gone mad, reveals Morgan.  Oh no! she exclaims.  Picking up the keys from the floor, Morgan says, take one of the servants and get a doctor.  Daphne's upstairs, says Catherine, she'll know what to do!  Morgan goes to the panel--I must go look for Gabriel, he insists.  Be careful, she warns him.  Kendrick clutches at his wound, groaning.  Catherine kneels--we will help you, she assures him, we really will!  Melanie, says Kendrick--I thought you killed Stella--I didn't believe you were acting really strange...  Catherine, listening to his gibberish (and I really couldn't understand what he said) screams for Daphne.

Morgan searches for Gabriel in the corridors behind the secret panel.  Gabriel backs into a suit of armor and is all set to stab it.  He touches it, realizes it isn't a person, and cautiously enters a room filled with furniture--and lit with candles.  He stands before Brutus Collins' portrait and says, "You're here--you're in another part of the house--but you're here--Brutus Collins, he's the one responsible for the locked room, and the lottery--that face!--you may have died once, Brutus, but you're going to die again...and again!"He proceeds to tear the portrait up with the knife.  Even after it falls from the wall, but continues stabbing it.

After the portrait is completely destroyed, Gabriel growls, that isn't enough punishment for Brutus Collins.  He takes a piece of paper and lights it with a candle, then sets the painting aflame.

In the corridor outside the room, Morgan overhears his brother laughing.  Inside, Gabriel watches with satisfaction as the painting burns.  Ah, Brutus, he says, you're going to kill them all, every one of them--you won't let any of them see the thing in that room--he laughs maniacally.  Morgan enters the room, grabs a blanket and begins to beat out the flames.  Gabriel runs away, locking him into the burning room.

Daphne assures Catherine, I think Kendrick's going to be all right--it looks like it's only a flesh wound, the doctor will be here soon.  I'm so glad you were here, says Catherine, and you've got to stay until the doctor gets here.  I don't think I can, says Daphne hesitantly.  Why, asks Catherine, where are you going?  Back to the Old House, says Daphne.  I don't want you going through the woods, alone, says Catherine, not with Gabriel loose!

Gabriel has wandered somewhere that he's able to overhear what Daphne and Catherine are saying.  I don't understand why he attacked Mr. Young, says Daphne.  He's gone mad, says Catherine.  I know, but how? asks Daphne, he's strange, but he's...  He spent the night in that room, says Catherine.  I know that, says Daphne.  He didn't have to stay there the whole night, says Catherine, however, I think somehow it influenced him.  You're really beginning to believe about that room, aren't you? asks Daphne.  I don't want to talk about it, says Catherine.  We used to talk about everything, Daphne reminds her.  Catherine smiles--you're right, she says--if I'm reluctant to, it's because I don't know what I think--the thought of Morgan in there, looking for Gabriel--"I can't give in to nerves!"  She rises, looking as if she's going to cry--I've got to remember that Morgan has always been able to control Gabriel--the best thing for me and you is to stay here--and wait.  Julia didn't seem frightened at all when you told her about Gabriel, says Daphne.  I don't think anything frightens Julia, says Catherine--except love, perhaps--except love.  I really must get back to the Old House, insists Daphne--Bramwell is waiting for me, and I have to change his bandage.  I told you I don't want you there taking care of him, protests Catherine.  He needs me, insists Daphne.  He does not! says Catherine, he's well enough to come to Collinwood.  Daphne looks startled.  You didn't know he came here to visit? asks Catherine--didn't he tell you?  No, says Daphne.  Well he did, says Catherine.  And were you glad to see him? demands Daphne.  I was glad to see he was alive, admits Catherine, I don't want anyone killed.  Did you tell him you disapprove of my going to the Old House? asks Daphne.  Of course I did, says Catherine.  Why did you do that? asks Daphne, upset, it makes me sound like some sort of a child, sneaking around, doing thing she shouldn't do, and I'm not a child.  You're too young for Bramwell! shouts Catherine.  I didn't know it was one of your rules, says Daphne softly, that I could only see people my own age.  Catherine covers her face with her hands and begins to cry--we never used to argue like this--it's just because I'm so worried about Morgan and Gabriel.  Are you sure that's all it is? asks Daphne.  No, admits Catherine--Daphne, are you really serious about Bramwell?  Would you mind if I were? asks Daphne defiantly.  It's nothing to do with me, says Catherine (yeah, right)--it's you--and the kind of life you should have.  And do you know what that life is? demands Daphne.  It's not living in the Old House with him, says Catherine--with his bitterness, fuming over the rich Collinses--and that bitterness, day by day, will destroy you--that bitterness is all he's got to offer you--to offer anyone.  You sound like you really hate him! accuses Daphne.  If I do, says Catherine, he's made me hate him--by making demands on me, interfering with my life--I never thought I'd ever speak this way about him--I loved him so, she adds sadly--but I just have no choice anymore, I have no choice--she bursts into fresh tears.  Daphne tries to say something to comfort her sobbing sister, but before she can utter a coherent word, Catherine screams, "Oh, Daphne, please stay away from him--stay away from him!"--and runs out, leaving her sister sitting, upset, on the sofa.

Behind the secret panel, Gabriel listens, then opens it with a lever, peering in at Daphne.  Gabriel leaps out into the drawing room.  Daphne jumps from the sofa and faces him.  Don't scream, he warns--I'll throw this (the knife)--I'm very good at it.  Daphne, gulping, says his name.  You know I'm going to kill you, don't you? he asks, advancing on her.  No, Gabriel, she says, warding him off with one outstretched arm, backing away.  I already killed one man, he says.  No you haven't, she says, Mr. Young is all right, he's going to be all right.  Another turn, maybe Morgan, says Gabriel--and maybe soon, we'll smell smoke!  What are you talking about? she asks.  He grabs her arm and she screams.  He holds the knife close to her--I told you not to yell!  She puts her hand to her mouth, trying to keep silent.  They struggle.  I won't kill you, he promises, you're too pretty, but I have to, and he's here, and there's so much trouble and sickness in this house!--and death is the only cure for it.  You don't want to kill me, pleads Daphne, struggling to free herself, I haven't done anything to you!--we'll help you--please don't make it so we can't help you!  No one can help me, ever! he insists.From the doorway, Bramwell calls Gabriel's name, diverting his attention so he releases Daphne.  She runs into Bramwell's arms.  Gabriel escapes through the window.  Bramwell comforts her--are you all right?  She's gasping with fear.  Catherine runs in-- what happened? she asks.  Take care of Daphne, orders Bramwell, who runs out after Gabriel.  Gasping for air, Daphne goes to sit on the sofa--Catherine, Gabriel was here, he ran away when Bramwell came.  Where's Morgan? asks Catherine.  Gabriel said something about smoke, about fire, says Daphne.  No, we've got to find him! cries Catherine.  She goes into the secret panel, ordering Daphne, stay here.  Daphne gulps, trying to catch her breath.

Kendrick comes downstairs, weak, his shirt blood-stained.  Daphne stops him from leaving--you shouldn't be up, she says, the doctor hasn't come yet.  I'll find him in town, says Kendrick.  It's dangerous outside, insists Daphne, Gabriel was here, he escaped.  I'm just waiting for my chance to meet him again, says Kendrick, an ugly expression on his face.  You're in no condition...begins Daphne.  The sooner I leave this house, interrupts Kendrick, the better!--I'm beginning to believe the only sane person in this house is Melanie. There are many sane people in this house, says Daphne, they've just lived through experiences you can't even imagine.You can tell them all for me, when I find Gabriel, they will have one less Collins to worry about, vows Kendrick.  Daphne closes the door after him.

Woods - Gabriel runs from his pursuers.  Hearing someone approaching, he holds up the knife, ready to attack.  Bramwell passes by him, not seeing him, thus saving himself a stab wound.  Gabriel suddenly looks at the knife as if he'd never seen it before.  What am I doing? he asks, as if awaking from a dream.  What am I doing?

Nearly 7 PM - Drawing room - Morgan, we shouldn't have let Daphne go, says Catherine.  Darling, says Morgan, we sent a servant to take Daphne back to the Old House--he'll stay with her until she comes back--then he'll take her home--we've done everything we can for her!  (I don't like his attitude at all!)  Catherine apologizes.  I keep wishing this night were over, he says, but tomorrow will be no better, because we will have to hold that lottery again!  Morgan! cries Catherine, sorry for him.  And tomorrow night, he says, another Collins will be in that locked room.  Don't think about it, she says.  What else can I think about? he asks, Gabriel?--Bramwell?--Bramwell--if he finds Gabriel, he'll take him to the police!  And he should! insists Catherine, eyes blazing, you know that Gabriel was ready to burn this house down and kill us all?  Only because of what happened in that locked room! says Morgan.  You Collinses always have a very good alibi, don't you? asks Catherine angrily--whenever any of you have done anything wrong, you blame it on the locked room!  You know that! he says.  Maybe it was this time, admits Catherine, covering her eyes.  What was Bramwell doing here? asks Morgan.  It's a good thing he came! retorts Catherine.  I don't want to be grateful to him for anything, insists Morgan.  He saved my sister's life! Catherine reminds him--I'll never forget that--and neither will you.

Old House - Daphne sits on the sofa, clearly worried.  Bramwell, exhausted, comes in.  I'm glad you didn't find Gabriel, says Daphne--he might have killed you.  Smiling indulgently, Bramwell touches her arm and walks past her.  Thank you, she says.  For walking in when I did? he asks--it's strange, I had no intention of going to Collinwood tonight--I know how my visits are welcome there--but I had to...you know, I don't believe in premonitions.  Perhaps you wanted to see Catherine, suggests Daphne.  No! he says, protesting too much--do you believe me? he asks.  If you say it, I do, she says, smiling.  Do you believe anything I say? he asks.  Shouldn't I? she asks, moving in close.  As a rule, most people don't, he says.  But I'm not just anyone, she says.  No, you're not, are you? he asks--tell me one thing.  Anything, she assures him.  "Are you in love with me?" he asks gently.She turns away, thinking, but we don't hear her reply.

You can think what you like about Bramwell, says Morgan, but I know him!--he's going to try to use this somehow, for his own good.  Haven't we talked enough about him? asks Catherine, disgusted.  Yes, you're right, he says, we've got more important things to worry about now--how am I going to tell Mother about Gabriel?  Haven't you? she asks, incredulous.  I didn't want to upset her after the things she's been through, says Morgan.  You must tell her, now, insists Catherine--shall I come with you?  No, I've got to do this, he says--you go to bed.  I'll hardly be able to sleep, she says.  I don't want you down here alone! he whines.  I'll be all right, she assures him, I will!  I'm going to have one of the servants patrol the house, he says.  That's a very good idea, she agrees.  Will you be in our bedroom? he asks (?)  Yes, she says.  He walks upstairs.

6:00 - The clock strikes.  Catherine sits in the drawing room, trying to read.  She hears a knock at the door and hesitantly goes to answer it.  It's Daphne.  Catherine is upset to see her out, under the circumstances.  I know, says Daphne, excited, but I thought you'd understand.  I told you it was dangerous! says Catherine.  I'm not talking about that, says Daphne, I came to tell you about something I'm going to do.  What? asks Catherine.  "I'm going to marry Bramwell," says Daphne.Catherine violently shakes her head and bolts from the house.  CATHERINE! Daphne screams after her.

Old House - In the tradition of most of the rest of his family, Bramwell stands before the fireplace, having a brandy.  Catherine bursts into without knocking, standing before him looking as if she's going to break into pieces.  Of course you came--I knew you would, he says--but tell me this--you know, you're not going to stop this marriage anymore than I stopped yours.  Catherine's face seems about to crumble.

NOTES:  This portion of the story is following along pretty closely with WUTHERING HEIGHTS, if I recall correctly.  In retaliation for Catherine marrying Morgan, Bramwell is going to marry Daphne.  That's pretty rotten of him.  At least Catherine honestly thinks she loves Morgan, but we know Bramwell doesn't feel more than fondness for Daphne, and he's taking advantage of her crush on him.  She's really got it bad--he knows it, and is using her for the purpose of revenge.  It's so wrong.  Of course, one of the reasons I love Catherine and Bramwell is that they ARE so flawed.  Reminds me of real people.

I don't know how Catherine can love Morgan.  He's so stiff, so steeped in overwhelming familial responsibility, and he still doesn't want to have children, something she does want.  I would be thinking annulment if I were her, especially since I still don't think, with the lottery and other worries, that they have consummated their marriage.  That Morgan seemed more concerned with Bramwell being there than Daphne's safety shows that he has no idea where his priorities should be.

Gabriel apparently went temporarily insane because he only spent a short time in the room, but in that time, he nearly killed Kendrick (will he still want to court Melanie after this?) and Daphne, too.  Pennock does insane so well, but he tends to garble his dialogue so I'm not sure what he's saying.  Didn't make those attack scenes any less exciting, though.

Bramwell has told Catherine she won't stop his marriage anymore than he stopped hers.  How will this odd quadrangle ever end?  Bramwell marrying Daphne would only be compounding this tragedy.

Lots of action scenes here today, and given the small amount of room they had to work with, they did an excellent job (although that was a big blooper with the double drawing room doors).

We are soon to see the "lost" episode of DARK SHADOWS.  This is the only ep that had no tape or kinescope available, so they use still pictures, Lara Parker's narration and the beginning of the following day's ep for the end--a very, very startling revelation, too!

Love, Robin

1212 - Everyone clutches his or her lottery slips in their hands, not opening them at first.  Are we ready to announce? asks Flora.  Everyone has an "I don't wanna be first" look on their faces.  Let's get this over with, urges Quentin--I'll begin--and starts to open his.  Flora stops him, insisting, I'll go first.  She opens her slip--I drew a blank, she says.  Quentin, too, draws a blank, as does Julia.  I can't bear this! wails Gabriel.  Be quiet, Quentin (?) orders Flora--be quiet, Gabriel.  Morgan opens his--blank.  Catherine? says Flora.  Catherine opens hers and turns to hug Morgan, relieved.  Catherine--she drew the X, says Gabriel hopefully.  Catherine turns and shakes her head--no, Gabriel, she says, holding out her paper--I drew the last blank.  It can't be! protests Gabriel, already trying to bolt.  Open the slip, orders Quentin.  Gabriel refuses and throws the unopened slip away.  Morgan retrieves it--Gabriel, you drew the X and shall have to go into the room, he says.  I won't go, insists Gabriel, backing away from his family, you hear me, I won't go!  I'm afraid you have no choice, says Flora.  This isn't fair, says Gabriel, looking as if he's about to cry.  Listen to me--it's as fair as it possibly can be in a thing like this, says Quentin--you predicted you'd get it, now it's come true.  You voted to jeopardize the lives of the three women, says Morgan, it's what you deserve--now please don't expect me to have any sympathy for you, because I don't!  Morgan, chides Flora, this is a time to set personal feelings aside--whoever goes into that room deserves the sympathy of the whole family.Gabriel runs from the room--you'll never get me!  He closes the double doors, locks them in and races away.  Morgan retrieves the key from a drawer; he and Quentin take off after their brother.  Flora sits down.  Poor Gabriel, she says, I wish it hadn't been he, or any of you--I'd rather that I had been chosen.  They'd never permit that, says Julia--no, they have to find him and he has to go through it. It's not fair, says Catherine sharply--not to him or any of us--I think what you have done to Gabriel and us is revolting.  She, too, flees the room.

Woods - Gabriel runs from his brothers, who are right on his trail.  He hides and they rush past him, but they come upon him seconds later.  The three siblings get into a fight.  Either try to kill me or take me back now! shouts Gabriel, struggling in his brothers' grasp.  You were headed for the village, weren't you? demands Quentin.  Listen to me, pleads Gabriel.  There's nothing to talk about, insists Quentin.  I'll give you anything, every cent of my inheritance! cries Gabriel, near hysteria.  All right, settle down! orders Quentin, silencing him--you said if you lost, you'd take this like a man.  I don't care about taking it like a man, says Gabriel, still struggling, I'm not going into that room, I can't, don't you understand that?  We understand, dear brother, Morgan assures him, but it makes no difference.  Gabriel, says Quentin, you're going back--I can hit you and carry you back--but tomorrow night, you're going back to that room.  Gabriel's brothers drag him back to Collinwood.

We see the vase, then the slips, which Julia viciously crumbles and throws into the fire.  Quentin and Morgan, looking as if they are escorting a prisoner, bring Gabriel back into the drawing room.  You ought to be ashamed of yourself, Julia says venomously.  Don't you start lecturing me, says Gabriel--there's nothing wrong with being afraid to go into that room.  Any one of us would have been afraid, says Julia, but would have gone in with courage.  That's fine for you to say, Gabriel retorts--you didn't get picked, did you?  Are you aware of what your behavior has done to your mother? Julia demands.  What does she expect? Asks Gabriel--what do any of you expect?   What are we going to do with him, Aunt Julia? asks Morgan--if we let go of him, he'll just run away again.  Keep him under lock and key in the tower room, says Julia.  Not the tower room, protests Gabriel.  You've given us no other choice, says Julia, even if you gave us your word you wouldn't leave, we could not accept it.  Oh what a lovely little civilized family you are, sneers Gabriel.  You'll be given anything you want until tomorrow evening, promises Julia, including all the liquor you need.  You're really beginning to sound like an executioner, Gabriel accuses, preparing a last meal for the for the condemned man--why don't you get a minister, and have him perform the last rites?  Quentin places his hand on Gabriel's shoulder.  I'm not enjoying any of this, says Julia.  Yes you are, says Gabriel--you all are--you're so glad that you didn't get chosen--where's Mother?  She's in her room and can't help you now, says Julia, then adds, with disgust--take him upstairs.  Come on, says Quentin, that's it, boys--and he and Morgan haul their younger brother upstairs.

Catherine paces her room.  Julia visits her--I have something rather important to say to you, she says--it concerns certain attitudes you've had since coming to this house--you've been against the lottery from the beginning--it had to be postponed because of you--because it was postponed, Melanie became seriously ill.  Are you accusing me of Melanie's illness? asks Catherine in disbelief.  If the lottery hadn't been postponed, says Julia, she would not have been ill.  That's absurd, says Catherine.  Tonight, you tried to stop the lottery again, says Julia icily.  When I saw that I couldn't, I agreed to go along with the feelings of the rest of the family, says Catherine.  You're new here, says Julia, new to our ways--of course you're entitled to whatever opinions you have--but I would caution you not to try to impose yourself on this house too quickly.  What exactly do you mean by that? asks Catherine  I mean, says Julia severely, that you are not the mistress of this house.  Is it your impression that I am trying to take over the family? demands Catherine.  You are an ambitious person, says Julia--there's nothing wrong with ambition, as long as it doesn't affect the rest of the family--we don't like change, we will not accept it.  Catherine, her forehead creased, says, "I see--are you finished?"  Not quite, says Julia, since you objected so to the lottery, I might assume you would do something to change its outcome--you probably think you're alone in feeling sorry for Gabriel--that's not true--we all feel very sorry about the ordeal he has to face, but not one of us would stop him from going into that room.  And you think that I might, suggests Catherine.  Yes I do think you might, says Julia--you would regret it--the curse must be appeased, and it's our duty as a family to appease it--there's no other way.  Having made her point, Julia leaves.

Heading for the tower room, Gabriel is sandwiched between Quentin, leading the way with a lantern, and Morgan, taking up the rear.  If you need anything, ring the bell, says Quentin.  Thank you so much, says Gabriel sarcastically.  Quentin tosses the key into the air, catches it, gives Gabriel a warning look, and he and Morgan exit, leaving the terrified Gabriel alone to contemplate what is to come.

Drawing room - We once again focus on the lottery vase on the table.  Flora gazes at it with hatred, then moves it to the top of the armoire.  Morgan and Quentin join her.  How is Gabriel? asks Flora.  He'll be all right after a while, says Morgan, he has a flask with him.  I'd like the key to the tower room, request Flora, I want to go up and see him.  I don't think it a good idea, says Quentin.  I owe it to him to be with him now, says Flora.  You owe him nothing after what he did here this evening, insists Morgan.  He's still my son, says Flora, I don't care what he's done--perhaps I can give him some small amount of courage.  Very small indeed, opines Morgan.  I understand how you feel, says Quentin, but I think it would be very dangerous, you might even feel very sorry for him.  He'll encourage it, Mother, adds Morgan.  I'm afraid you might do something we would all regret very much, says Quentin.  I give you my word, she says, I will only try to comfort him--which of you has the key?  Morgan retrieves it from his pocket and hands it to his mother.  Thank you, she says, and leaves.  As Quentin pours a drink, Morgan suggests, one us should go up there while Flora is with Gabriel.  No, says Quentin, her word is good enough for me--she said she wouldn't let him go, and she'll keep her word.  Quentin drinks, an odd look passing over his face.  Are you all right? asks Morgan.  I just felt dizzy for a minute, says Quentin, that's all.  Morgan glances at him sharply--would you like me to get Dr. Fletcher? offers Morgan.  Of course not, says Quentin, I'm all right, it's been a very strenuous night.  He leaves the room.  Again, we see the lottery vase.

Gabriel, who has already drained his flask, licks the remnants hungrily from the top.  He wanders the tower room, pacing like a caged animal.  Flora comes in and gazes at him sadly.  Gabriel looks at her expectantly, pleased--you've come to take me out, haven't you? he asks eagerly--tell me yes, I've been sitting up here the whole while, thinking how Mother always used to protect me in the past, and let nothing happen to me, and she certainly wouldn't let anything happen now, would she?  Flora closes the door, staring at him. "You've got to show some mercy, please!" he begs.  Realizing there is nothing encouraging in her expression, he turns away from her and sits on the bed.  Flora sits beside him--we are helpless to change our destiny, she says--we were born with a curse and there's nothing we can do about it but try to endure it.  Clinging to the bedpost, Gabriel says, "You're not going to help me, are you?"  When the lottery was held last, your father drew the slip marked with an X--he spent the night in the locked room, he did so bravely and with a sense of family responsibility--you are your father's son, and it has fallen on you to carry out the most serious obligation this family has.  Mother, I thought I was going to get some pity from you, bleats Gabriel, but all you're doing is encouraging me to go into the room.  If I had drawn the losing slip, I'd go in without hesitation, she says.That's fine for you! says Gabriel, angrily slapping his thigh, but you're you and I'm me and where does that leave us? (He sounds like a spoiled brat.)  Where we started, says Flora, handing him a small booklet--you're your father's son and the tradition is yours to uphold--I brought you this--I thought it might give you some comfort tomorrow night.  What is it? asks Gabriel.  It was your father's, she says, his favorite book on meditation--he took it into the room with him that night.  A fat lot of good that did him, says Gabriel cruelly, don't you know that isn't what I need?--I don't need a book of meditation, don't you understand?  I understand very well, says Flora, what you need is something I can't give you.  You can get me out of here, he says hoarsely.  No I cannot, says Flora, much as I would like to, it's impossible--you were chosen fairly, and the one who's chosen cannot be changed.  Gabriel lunges for the door and opens it, intent on escape, but Morgan waits in the doorway, blocking his exit.  I'm sorry, my son, says Flora, I will pray for you.  She leaves the room; Morgan locks the door.  Gabriel sits on the bed, dejected, and picks up his empty flask.

Julia enters the drawing room and finds Quentin lying on the floor, loosening his tie as if it's choking him.  It's hot, so hot, he moans--Julia, stay away--it's the plague--the plague!  Julia gazes at him in horror.

Catherine paces her room, listless and upset.  Miserably, she leans her head down on the mantel.  Morgan enters--I just came from Melanie's room, he says--she's weaker--I just hope she will last until tomorrow night.  Until Gabriel goes into the room, says Catherine--and you think that will solve everything, don't you?  What's wrong? he asks.  Everything that's happened tonight, she says--this lottery is barbaric, terrible!  There's no point in going through all this again, he says.  Stop and think about it--clearly, she urges.  I know how strange it all seems, he says.  Strange? asks Catherine incredulously--I think we should all be ashamed of ourselves--we couldn't be more cruel to Gabriel if we just took him out and shot him to death.  You're being irrational, he accuses.  I'm the only rational one, she counters--I think it vicious to force Gabriel to go into that room.  You're the one who thinks this curse is a farce, he reminds her, if you're right, nothing will happen to Gabriel when he goes in.  Think of the torture he's going through right now, she says, shaking her head.  Please, let's don't discuss this further, he says, let's just forget about it.  Now you're beginning to sound like Julia, she says.  He stands at the mantel--what is that supposed to mean? he asks.  She came in here a while ago and decided to give me a little lecture, says Catherine resentfully--she tried to put me in my place--accused me of being ambitious, of trying to impose my feelings on the rest of the family.  She had no right to do that, says Morgan.  I admit, says Catherine, I do have opinions, but I always felt I had the right to express them without fear of retaliation--I've never been so humiliated in my life.  I will see to it that it never happens again, promises Morgan.  Their door opens; Julia enters--Morgan, come quickly!  I want to speak to you about something, he says.  There's no time, insists Julia--the plague--Quentin has the plague!  Morgan and Catherine quickly follow Julia out.

6:05 - Flora comes downstairs--Julia, the doctor confirmed what we already knew, she says.  By tomorrow night, says Julia, we may ALL have it.  Yes, agrees Flora.  The two go into the drawing room, where Morgan and Catherine wait.  I think Gabriel should go into the room this evening, advises Morgan.  No, she says, there's not enough time left tonight--whoever spends the night in the room must spend a full night--all we can do is wait and pray for Melanie and Quentin.  And Gabriel, adds Catherine.  Yes, says Flora--Morgan, I think Gabriel should be told about Quentin.  I don't think that will give him any encouragement, objects Morgan.  Quentin is his brother, he ought to know, insists Flora.  I'll tell him, agrees Morgan.  I'll come along and see if there's anything I can do, offers Julia.  Left alone together, Catherine apologizes to Flora--I'll be in our bedroom if I'm needed--she leaves.

Morgan and Julia unlock the door to the to find the room empty.He's gone! cries Morgan.  The two of them look around.

NOTES:  Gabriel has escaped--wonder how?  He must have found a secret passageway out of there.

Interesting how Catherine objects to the family lottery and what is to happen to Gabriel.  She is a newcomer, so skeptical, yet she's already seen two family members fall to the plague.  Perhaps she shouldn't have married into it; Julia's already on her case about her bad attitude, and Catherine is a strong woman with her own feelings and opinions.


1213 - How did he get out? asks Julia.  Morgan finds bed sheets tied together, hanging out the window.This way, he says--what a pity it didn't break (he wishes death on his brother)--I'm going after Gabriel.  Julia stops him--you don't know where he is or how far he's gone--we must have the lottery again--now, one of us must stay in that room tonight.  No, says Morgan, he was elected, and it's going to be Gabriel.  We don't know how long ago he left, says Julia--he may be in another town by now--no, Melanie is dying and Quentin might...  He couldn't have gone far, insists Morgan, he didn't have any money on him--I don't understand, maybe I can--I'll go look for him.  Maybe he hasn't gone far, says Julia, you may be right.  Wait a minute, says Morgan--he went to Bramwell Collins!  Bramwell wouldn't loan him any money, says Julia.  Indeed he would--he'd do anything to spite me, says Morgan--especially our family--what irony--Bramwell Collins, the only man who wouldn't participate in the lottery--giving money to the loser--while a plague settles over our house.  I doubt Bramwell gave him any money, says Julia, but we can find out soon enough--you should go to the stables and see if a horse and carriage are missing--I will go to the Old House and talk to Bramwell--he'll tell me if he's seen Gabriel.  I doubt it, but it's worth a try, says Morgan.  They leave.

Old House - Bramwell lies in bed.  Hearing horses pounding by outside, Daphne wonders, who could that be?  Any number of people, I would imagine, he says.  Whoever it is seems to be in a great hurry, says Daphne, gazing out the window--it's Gabriel!  Now you know--come away from the window, says Bramwell, irritated.  He looks so frightened, as if he were being chased, says Daphne. Gabriel was born like that, says Bramwell, annoyed--now come away from the window.  Daphne lets the drapes fall--Bramwell, she says, there's such sadness in Collinwood.  Don't mention Collinwood, orders Bramwell, or anybody there again.  If you hate them so, what must you feel for Catherine? asks Daphne. You know what I feel about Catherine, says Bramwell--she was trapped by them, lured into that house by its high style and grand fashion--by the inhabitants who buy everything they want.  Except happiness, Daphne reminds him--they haven't been able to buy that.  Morgan certainly didn't buy happiness when he bought Catherine, says Bramwell bitterly.  You're being so unfair to her, I know she wouldn't have married Morgan unless she had great feeling for him, says Daphne.  Are you saying she loves him? asks Bramwell.  No, I'm not sure she does, says Daphne, but I know she must care for him a great deal or she never would have mar...never would have gone there.  Bramwell smiles nastily--say it, he sneers--you said it before, you might as well say it again--she never would have married him.  Bramwell, chides Daphne softly.  Say it! he commands.  All right--she never would have married him, says Daphne--I'm sorry if I upset you.  It wasn't you, Bramwell says, you're a sweet, tender child, you'd never upset anyone deliberately.  I'm not a child! she insists, I'm a woman!--well, I'm a rather young woman, but still a woman. Yes you are--aren't you? asks Bramwell, speculatively, looking at her as if for the first time.

I guess I made the mistake of thinking of you as the young girl I knew when I went away, says Bramwell--a great deal must have happened to you, tell me about yourself--I don't think I even know you.  Do you really want to know? she asks eagerly.  Yes, very much, he says.  I don't think anything terribly interesting happened, she says--I just grew up, that's all--it's really funny, I always thought it would be different, but it's not different at all.  You mean being an adult? he asks.  Yes, she says.  Why should it be different? he asks.  I don't know, she says, I thought it would bring some freedoms that I didn't have as a child--I guess if I were a man, it would have, I don't know--but as a woman, well, I'm still living in Collinsport, as restrained as always, yet wanting so much to go beyond it.  It's no better out there, I've been there, he says, but if you're so sure of it, go--you must have a sweetheart--marry him and go together.  You make it sound simple, says Daphne, but I don't have a sweetheart, so that's out.  I find that difficult to believe, remarks Bramwell.  It shouldn't be, says Daphne--the young men want to leave Collinsport, too, and so they do, they go off and find jobs or go to school, some of them come back--but with wives--I did go out for a while with Gerard Stiles.  Who? asks Bramwell.  Don't you remember him? she asks.  I guess not, says Bramwell.  He's the man with the psychic powers, reveals Daphne, grinning, he taught me how to read palms--would you like me to read yours?  If you want to, he says--do you think you can?  I know I can, she says, no one else believes me--you don't really want me to.  Of course I do, he says, holding out his hand.She takes it in both of hers.  What do you see? he asks.  It's really very nice, she says, I don't think you'll believe it because of the way you're feeling now--but all that will change.  Tell me what you see, he urges.  I see happiness, she says, great happiness.  Impossible, he says--when?  Very soon, she says.  You know I don't believe you, he teases, smiling.  You'll find out, she promises.  Julia knocks at the door--sorry for interrupting, she says, has Gabriel been here?  I saw him ride by, says Daphne.  He didn't stop--why should he? asks Bramwell--there's no reason for any of you people to stop here!  I know you're bitter, says Julia, and I'm sorry, but I do need your help--we held the lottery last night--Gabriel was chosen.  And? asks Bramwell.  He ran away, says Julia.  Naturally, says Bramwell.  Gabriel wouldn't do that, says Daphne.  You don't know Gabriel, insists Julia.  What are you doing here, Julia? asks Bramwell--what has that got to do with any of us?--you think I was helping him? (Julia looks away)--of course you did--and Morgan thought of it--I'll wager he did--well I would have helped Gabriel--you can tell Morgan that--let Morgan and Quentin draw again.  More is involved than Morgan and Quentin, says Julia--we all draw.  The women? asks Bramwell.  Catherine? asks Daphne. Yes, says Julia.  But why? demands Daphne.  Because she's a Collins now, says Julia, as is Bramwell.  A fact that I'm trying to forget, says Bramwell.  Julia closes her eyes--I'm sorry, I don't mean to continue old quarrels, she says--but if Gabriel comes here, will you keep him here for a while and let us know?--for Catherine's sake, if no other reason (shrewd, Julia)--because we've got to find him--if we don't, we'll have to have another lottery--and next time, Catherine could be chosen.Or Morgan, suggests Bramwell curtly--good day, Julia.  Without another word, Julia leaves.  What's happening? Daphne asks Bramwell--why does Catherine have to draw?  If she's so determined to be a Collins, says Bramwell, let her do as the rest of them do--let her draw!

Catherine sits in Collinwood's drawing room, exhausted.  Morgan enters.  Catherine calls him "darling."   A horse is missing from the stables, reveals Morgan--I think Gabriel has gone into town, and I'm going after him.  Catherine stops him--be careful--in his condition, there's no telling what Gabriel will do to you.  I can handle him, he assures her.  That poor, poor man, she laments--I just feel so sorry for him.  Start feeling sorry for both of us, advises Morgan--if I can't bring Gabriel back, one of us might have to go into the room--I'm going to leave.  Darling, please be careful, she begs, hugging and kissing him.  I'm sorry for being abrupt, he says.  It's all right, she says--You have every reason to act this way--and I'm sure you will find Gabriel.  I must, says Morgan, and he must go into that room tonight.  He goes.

Catherine is helping Morgan on with his cloak when Julia returns--Gabriel wasn't at the Old House, she says, but Daphne saw him riding by on a horse.  What is Daphne doing with Bramwell Collins? asks Morgan.  Catherine reacts, too.  I suppose since Daphne has had experience as a nurse, she's treating the wounds that he got during the duel, says Julia.  Catherine, you must ask Daphne to come back to Collinwood, urges Morgan--Bramwell is my enemy.  Be sensible, says Julia, Daphne can't come here--this place is infected with plague--you don't want to expose her to it.  You were just with her, right? asks Morgan--then she's been exposed.  Stop it! Catherine orders both of them--Julia's right--I've been so involved with what's happening here I didn't even think of that--you can't go into the village--if Daphne's been exposed, it's too late for her, but the good people of the village must be protected--they must.  The one thing we must do is bring Gabriel back to the house to go into the room, insists Morgan--if it's the last thing I do!  He leaves, exiting the front door Julia left open.

Gabriel sits at a table in the Eagle, laughing, getting soddenly drunk.  Morgan joins him.  Sith down, invites Gabriel.  Come back to Collinwood now, orders Morgan.  Please, just for a few minutes, begs Gabriel.  Morgan tries to grab hold of him, ordering him, come on.  No, says Gabriel--sit down, please.  What do you want? demands Morgan.  I have something to tell you--I think this is going to surprise you, says Gabriel.  Nothing you ever do surprises me, says Morgan coldly--revolts me, yes, surprises me, never.  This is going to surprise you, says Gabriel--I didn't have to stop here, I could have gone right on going, but I didn't--I wanted you to find me here--I wanted somebody to find me.  If that's all you had to say, Morgan says, you've said it, now let's leave.  Wait a minute, says Gabriel, there's something more--you see, I knew I couldn't get away, really--I knew I'd have to go in there--and I know when I do, I'll die--and you know that may be the luckiest thing that ever happens to me--I'll die in there--I could go insane--insane!  I know all about that, says Morgan impatiently, what are you trying to say to me?  I'm trying to tell you that I'm willing to do it now, says Gabriel--I wasn't willing then, last night, whenever it was--but I am now--all I needed was one more day--a day of grace?--I needed my day of grace--and I just live one day at a time, anyway.  Yes, that's all any of us can do, agrees Morgan, more gently.  But now that this is gonna be my last day, says Gabriel--and it is my last day, you know that--I had to have one free day, just to be my own man, you know?--I did it and I'm ready to go home.  I wish I could trust you, says Morgan.  You won't have to trust me, says Gabriel--I'm going home to die!  No more tricks? asks Morgan.  No, says Gabriel, how can I trick my way out of it--wherever I'd go, it would follow me--I can't go through my life running away from it--it would find me, whatever it is--I'm ready now--I'm going to go home, Morgan, and who knows?--maybe I won't die--maybe I'll be the first one to end the Collins curse.  He rises, walking unsteadily, and waits for Morgan to come along with him.

Collinwood - Daphne and Catherine walk downstairs.  Catherine, asks Daphne, why do you want me to stay away from Bramwell when you know he needs someone to watch over him until he recovers and you know I'm trained to do it?  He can hire someone, insists Catherine--it's not good for you to be in that house--besides, you know it doesn't look proper.  Morgan asked you to say these things, didn't he? queries Daphne.  All right, yes he did, says Catherine, but I happen to agree with him--Bramwell has caused nothing but trouble since he came here--and it's not going to help matters at all for you to be in that house.  You mean, counters Daphne, it's not going to help matters for Morgan?--I know he's your husband, but I would appreciate it if he would kindly stay out of my life--Bramwell's a strange, bitter man, and frankly, I think he's got good reason to be.He's been working on you already, hasn't he? asks Catherine.  He hasn't been working on me at all, insists Daphne--I just think behind that facade he shows to the world is a kind, gentle man, and he needs a friend--I'd like to be his friend.  It frightens me to hear you talk like that, says Catherine--I know him so well--don't let him use his charm on you--it can be devastating--you'll be trapped, I know you will!  You sound almost as if you miss that charm, remarks Daphne.  Catherine doesn't reply.  Morgan and Gabriel return; the latter drunkenly says, "Ah, it's my dear sister in law, Catherine!--and my dear brother in law's brother's sister in law, Daphne--welcome to our happy home, ladies!"  Let's go, says Morgan, annoyed.  Just a moment, says Gabriel, pulling away from his brother's grasp--Daphne, sweet Daphne--I've heard that the kiss of a good woman on a condemned man's lips assures his soul of eternal peace--and do you know I'm shortly going to become a martyr to our blessed family name?--so I think that calls for a kiss--and he leans in to get one.  Morgan yanks him away--you're acting like a fool, he says.  Laughing, Gabriel lurches into the drawing room, repeating, "A martyr to our precious family name!"  Julia comes from the kitchen, walks past the other ladies and coldly asks Gabriel, where have you been?  Isn't that obvious? he asks.  Are you aware of what's been happening in this house? she asks.  He rocks in his chair a bit before replying, that surely is a rhetorical question.  Is it? she asks--do you know that Melanie is dying because you are such a coward?  You shut up! orders Gabriel, suddenly sober.  And do you know, continues Julia, that Quentin may very well die, and that would be because of you, too.  You shut up! orders Gabriel again.  And if they both die, continues Julia relentlessly, you will be murderer!  This time, Gabriel again tells her to shut up, but rises from the chair and lunges at his aunt--"I said shut up!"  That's enough, insists Morgan, grappling with him as Julia backs away.  If she's going to call me a murderer, says Gabriel, let me have at her!  Morgan shoves Gabriel back into the chair--shut up, he commands.  She knows I'm going into the room, says Gabriel.  Yes, says Julia, you certainly are, as soon as it gets dark--and I will take you there myself and see that you go in.  Gabriel thinks that over.

6 PM - Drawing room - Gabriel listens to the clock striking the hour.  Julia stands watching him, silent, as is he.  Morgan enters--Gabriel, he says, it's time to go.  Gabriel looks at his aunt, then walks, slowly, toward the stairs, Morgan and Julia following.  They reach the room.  Gabriel stares at the doors, licking his lips.  He turns to his brother and aunt--"Goodbye," he says--just remember that I said my last good-byes with a sober, even voice."  Morgan unlocks the door and opens it.  Gabriel goes in.Morgan closes the doors and locks them behind Gabriel.  He and Julia gaze at each other in satisfaction, just standing there, gazing at the doors.

NOTES:  Kudos to Chris Pennock once again for his excellent portrayal of the drunken, cowardly Gabriel.  He isn't much better in this storyline than he was in RT, but at least he doesn't pretend he can't walk.  Will he die or become insane in the room?  His drunken speech to Morgan at the bar was touching, in some ways, and his final walk into the room, with dignity--combined with his sad little speech--also poignant.  We knew what made RT Gabriel a bad guy, since we met Daniel and know he murdered his sons' mother.  You have to wonder what Justin and Flora did to turn their son into a pathetic drunkard.

I enjoyed the conversation between Daphne and Bramwell about her growing up.  He's noticing her as a woman, and in some ways, Catherine's warning is apt--Bramwell can be devastatingly charming--and we sense Catherine doesn't want anything to happen between Bramwell and her sister more for herself than Daphne.

Morgan does seem cold in so many ways, but now that his father's dead, I suppose he feels like the head of the family.  His treatment of Melanie and Gabriel is terrible, and it's hard to decide whether he hates Bramwell more than Bramwell hates him or vice versa.  At least Bramwell offered his hand to Morgan at the duel.

Julia is something of a bully in this storyline, isn't she?  She's almost as hard as Morgan.

I felt sorry for Flora trying to imbue Gabriel with courage.  That's a lost cause.

Love, Robin

Thanks so much, my dear friends!  I did have a wonderful birthday--even though yet another snowstorm tried to do in my great time!  My son treated me to my favorite restaurant, which was gorgeously decorated for Christmas, as well as a complete spa treatment (hourlong massage, too) and my husband, who gave me a dainty diamond tennis bracelet, drove us through whiteout snow conditions!

It's not so bad being 50 after all!  I even managed to get to the gym this morning for my 30 minute circuit workout.  I won't let 50 get the best of me!

Oh, and MB, Chanukah doesn't start until 12/20, so no need for the belated wishes!

And Midnite, *I* remember "Gift me, Merry Boardsters" as if it were yesterday!

Love, Robin

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

1203 - It's thundering and lightning.  Catherine awakens, sees Melanie about to stab her, and frantically reaches up to stop the attack.

Catherine slips out of bed and tries to escape, but Melanie slams the door closed.  You cannot escape, says Melanie, stalking Catherine with the upraised knife--he will have his revenge!  You don't know what you're doing! cries Catherine, no!  She screams shrilly, holding up her hand in a last-ditch effort to ward off the knife.Julia runs in--Melanie, put down the knife! she orders.  She does not belong here, insists Melanie, sounding like someone else altogether.  Look at me, Julia orders her niece.  "He's not at rest and never will be!" intones Melanie.  I said look at me! commands Julia.  Melanie does so.  Catherine, breathing heavily in terror, moves out of striking range. You should not interfere, Melanie tells her aunt.  I will walk toward you, says Julia, and you will give me the knife.  I must please him--you cannot stop me! says Melanie.  The two of them look at each other for a moment.  Julia again asks for the knife.  Melanie, viciously insists, my name isn't Melanie--you know that!  I do. agrees Julia.  Catherine watches, perplexed.  Everything will be all right, Julia assures her, moving closer to the young girl--I will take you to your room and give you some hot cocoa--you'll like that, won't you?  Melanie's face softens; she lowers the knife and allows Julia to take it.  Julia leads her away.  Morgan, having heard a scream, comes running down the hall.  Julia quietly reports, Melanie tried to kill Catherine.  Oh, no! exclaims Morgan, who goes in to comfort his fiancee.  Catherine hugs him in relief--I'm all right, she assures him.  I'm sorry for this, he says.  I'll never forget the look in Melanie's eyes, says Catherine--why did she want to kill me?  Try to understand, begs Morgan, she didn't know it was you.  I don't understand what her motive was, that's what you've got to tell me, insists Catherine.  Morgan walks away from her.  Morgan? she says.  I'm afraid it's very difficult to explain, he says.  You owe me an explanation, says Catherine--now tell me what's wrong with Melanie Collins!

Considering how upset you are, says Morgan, perhaps we should wait until morning.  We're going to talk about it tonight, insists Catherine--what about Melanie?  I don't know where to begin, he says.  The beginning, she urges.  Ten years ago, Justin was locked in the lottery room, begins Morgan.  You mean, says Catherine, this has something to do with that room?  Yes, but I don't know exactly what it is, he says.  You say Melanie didn't know it was me, prompts Catherine.  It's because when she's in this state, she isn't really aware of who anyone is--it goes back to the night Justin went into that room, he says.  Your father was chosen in the lottery, says Catherine.  They both sit on the bed.  Yes, says Morgan and none of us were really aware of it, but sometime during the night, Melanie slipped from her room and went in there after him.  In the morning, we went looking for Father and were shocked to find Melanie in there with him.  She was cradling Father in her arms, and we knew when we looked at him that he would never be the same.  And Melanie? asks Catherine.  Melanie appeared frightened but fine, says Morgan--later the next evening, we were all seated at the dinner table, but Melanie's chair was empty.  We began looking for her. Quentin found her huddled against the lottery room door, but Melanie looked at him as if she'd never seen him before--her whole personality had changed--she had become someone else.  That's not possible, you know that, says Catherine.  That's what we all thought, he says--we soon found out it was true.  What could have happened to her in that room? wonders Catherine.  I have no idea, says Morgan, but Melanie has been having these bouts of split personality ever since.  Catherine, appalled, insists, this girl is dangerous--we must do something about her.  That's the astonishing thing about it, says Morgan--this is the first time Melanie became violent.  I don't understand, says Catherine, I really don't.  It will never happen again, he promises--you must believe me.  She kisses him, accepting, believe it or not.

Parlor - Julia tells Quentin what happened--if I hadn't walked into the room when I did, she says, Catherine would have been dead, Melanie would have killed her.  Did you tell Mother? asks Quentin.  Yes, she's as baffled as I am, says Julia.  It's obvious violence is inevitable, says Quentin--it must manifest itself through someone, and when they brought Father out of the room, he was the one who had violent streaks--now he's dead--but violence must manifest itself through someone--you know it could probably have happened to any one of us.  Do you think it might have happened because of the postponing of the lottery? asks Julia.  I don't know, he says.  What are we going to do? she asks.  Have you and Mother ever thought of having Melanie put away? asks Quentin.  She won't, says Julia, for the same reason we never put Justin away.  Family pride and a fear of scandal, says Quentin--I think it's time you reconsidered.She will not be put away, insists Julia, I'm certain of that much--we'll watch her carefully and lock her in her room at night as we did with Justin, and make sure she won't harm anyone.  She leaves the room.  Quentin shakes his head.

Catherine brushes her hair in front of the mirror.When Melanie enters, they stare at each other, Catherine unsure of how the young woman will react after the previous night's violence.

In her sweet voice, Melanie bids Catherine, "Good morning--did you sleep well?"  Looking at her in amazement, Catherine replies, I did.  Noticing the other woman's behavior, Melanie asks, is something wrong?  You certainly seem cheerful this morning, remarks Catherine.  I had a good night's sleep--I went to bed quite early, says Melanie.  And slept through the night? asks Catherine in disbelief.  Yes, says Melanie.  You don't remember? asks Catherine.  Remember what? asks Melanie.  Nothing at all, says Catherine.  Come down to breakfast, says Melanie.  I'll be right down, promises Catherine.  Confused, shocked, Catherine watches Melanie leave.

Quentin exits the kitchen and answers the door--Daphne.  What a pleasant surprise, he says-- call me Quentin, not Mr. Collins.  (She looks adorable in a bonnet.)  What can I do for you? he asks.  Is my sister here? asks Daphne.  I thought you'd come to see me, he says.  To tell you how much I enjoyed our walk into the village the other day, she says, smiling.  He laughs--did you? he asks. Yes, she replies.  I did, too, he agrees--perhaps we can do it again sometime.  I wouldn't be a bit surprised, she says.  He offers his arm to walk her upstairs to the guest room to see her sister.

Melanie, playing the piano for Julia, who is working on needlepoint, stops suddenly, rubbing her hands together.  What happened to Stella Young? asks Melanie--why isn't she here anymore?  She wasn't happy here, so she left, says Julia.  Why did she leave us so abruptly? asks Melanie.  Why are you so concerned about Stella? asks Julia.  I'm not concerned, just curious, says Melanie, it seems so odd--she was Mother's secretary for such a short time, then just vanished.  Vanished? asks Julia--she left.  Did she leave a forwarding address? asks Melanie.  No, says Julia.  Isn't that rather unusual? asks Melanie.  Julia rises--why are you asking all these questions? asks Julia.  I told you, I'm just curious, says Melanie.  There must be a reason, says Julia--does it have anything to do with that man?--Kendrick Young--has he been on the grounds, have you seen him?  Melanie turns away and lies, "No, Julia."  I hope you're not lying to me, says the older woman, it's imperative that if you see him, you must tell me.  I haven't seen him, I swear it, says Melanie.  I hope you haven't seen him, says Julia, but if you do, you must not talk to him.  Why does he upset you so? asks Melanie.  He doesn't, says Julia, he's just a troublemaker, arrogant and unreasonable--he will never be welcome in this house.I will remember that, says Melanie.  She returns to the piano and continues playing (I don't know the tune, perhaps some of you do).  Julia looks solemn over her needlepoint.

Guest bedroom - After Quentin brought me back from Bramwell's house (I wonder if she confessed all that happened there), I was very upset, relates Catherine, so Morgan asked me to spend the night here--I'm sorry for worrying you.  You've still got me worried, insists Daphne--because it's not like you to keep something from me.  I'm not keeping anything from you, says Catherine, but her face says otherwise.  Your experience with Bramwell might have been upsetting, says Daphne, but I doubt it was enough to frighten you--I think something else happened that did frighten you--I know because you are still frightened now, you just don't think it shows--please tell me the truth--what happened?

I don't know why I tried to keep it from you, agrees Catherine, you were bound to find out sooner or later.  Find out what? asks Daphne, sitting on the bed.  Catherine joins her--remember the day you met Ezra Robinson in Collinsport, who told you about a locked room and the lottery held every generation--everything he told you is true.  How did you find that out? asks Daphne.  Morgan told me last night, says Catherine.  I still don't think that's all that's upset you, insists Daphne.  I was almost murdered last night in my bed, reveals Catherine, by Melanie Collins--Julia came in and stopped her, but when Morgan came in to console me, he told me Melanie has been suffering from some kind of illness for over 10 years-- and from time to time, her whole personality is different.  This is incredible! says Daphne.  It's not as bad as it sounds, says Catherine, because this is the first time she's ever been violent, it's never happened before.  Morgan thought that would console you? asks Daphne incredulously.  He was very upset, says Catherine.  He should have been! says Daphne--now that you know all of this, you surely aren't going to marry Morgan!  Of course I am, says Catherine.  You aren't going to consider living in this house? asks Daphne, are you?--after what happened last night?  I don't know what do about Melanie, says Catherine, but what's important is that I believe all those things Morgan told me are just superstitious nonsense.  You can't be serious, says Daphne.  Yes I am, says Catherine, I think the only thing wrong with the Collins is a hundred and sixty years of accumulated fear--I'm going to come to this house, marry Morgan, live here, and do everything in my power to make this a happy, sane place to live.  She smiles confidently.  (Oh, Catherine, you are so naive!)

Quentin sits in the parlor, thinking.  Daphne comes in--I must talk to you, she insists.  Anytime, he says, but I don't like the look on your face.  You aren't going to like what I have to say either, I'm afraid, she says severely.  Speak right up, he urges.  I know all about the lottery and the locked room, she reveals.  Just what in God's name did your sister tell you? asks Quentin, immediately furious.  It won't do you any good to get angry, says Daphne--I know about it and that's all there is to it.  No, my dear, that's not all there is to it, says Quentin.  Catherine has pledged me to secrecy, says Daphne, and I wouldn't do anything to upset her--your family secret is safe--but I've come to you because I don't know who else to go to.  Just what are you talking about? asks Quentin.  My sister can be very stubborn about certain things, says Daphne--I have urged her not to come live in this house, but she's refused to listen to me, so I want you to promise me something--Catherine says the lottery will take place after she and Morgan are married--I want you to promise me you won't allow her to become involved in it.  Quentin shakes his head--no, I can't make that kind of promise--if Catherine marries in the family, she becomes part of it, and must abide by all decisions made by the family--if it is decided everyone will take their chance in the lottery, Catherine will be one of those.

Melanie exits the drawing room, a book in her hands.  She meets Julia, who is carrying a tray, in the foyer.  I thought you were in your room, says Julia, not pleased to see her. I left my book in the drawing room and came down to get it, says Melanie--where are you taking the tray?  To my room, where else? asks Julia.  I don't know, it just seemed so strange, says Melanie--you carrying a tray of food--you always have Cook bring it to your room.  I dismissed Cook directly after diner, reports Julia--good night, Melanie.  (Wonder what bad thing Cook did?)

Julia leaves the tower room with the now-empty tray and locks the door behind her.  She finds Melanie standing there.  You following me, accuses Julia.  I knew you weren't telling me the truth, says Melanie--why did you lie to me?  You should not have come up here, says Julia sternly.  You were taking that food to someone in the room, weren't you? asks Melanie.  Julia shakes her head.  Who is it? asks Melanie--who is in that room?  Julia just stares at her.

NOTES:  Who IS in the room?  The mysterious Stella, perhaps?  Or did Trask survive being stabbed and they're hiding him in the tower?

If I were Catherine, I'd be gone so fast from that house, and break my engagement to Morgan with equal speed.  She has hope, and determination, but to think she can buck all those years of sick lottery tradition is just asking for trouble.  She should go as fast as possible to the Old House, where she found such passion in Bramwell's arms.

Melanie sounds like she has a couple of personalities there, one murderous.  She should perhaps be committed, but the family would never take that step.  They stick together, which makes it hard for outsiders to get in.  Catherine has her work cut out for her.

It must have been so terrible for Melanie, going to find her father in the locked room, trying to help him.  Obviously, it affected her mind.


1204 - Melanie, says Julia, there is no one in that room.  I can't stand anymore secrets, says Melanie, and rushes to open the door.  Stella sits in a chair, bound and gagged.Melanie runs to her and removes the gag--Julia, why are you keeping her here? asks Melanie.  That's no concern of yours, insists Julia.  Melanie, help me! begs Stella.  Why did she put you in here, Stella? demands Melanie.  Mr. Justin Collins, answers Stella.  Papa had nothing to do with it, I know that, says Melanie.  But he did, says Julia.  He tried to kill me, says Stella.  With a knife, adds Julia--it's the truth that I've been trying to keep from you and the rest of the world.

Parlor - Flora explains to Melanie--we didn't want to lock the girl up, but if we hadn't come in at just the right minute, Justin would have killer her--he wasn't being himself--we had to lock her up, or she'd have gone to the police--don't you understand?--they would have taken Justin from us--we didn't tell you about it because we knew how much you loved Justin.  You shouldn't have locked Stella up! cries Melanie.  What were we to do? asks Flora--we were so frightened--try to understand.  I do, says Melanie--but it's wrong.  We know that, Julia assures her.But you just put the gag back in her mouth, locked her in there again! protests Melanie.  Do you want the police to be here tomorrow, the day of her father's burial? asks Julia.  They can do nothing to Papa now! says Melanie.  They can to Flora, and to me, Julia reminds her (busy ladies--burying the dead Trask, kidnapping Stella).  Yes, says Flora, we're guilty of holding her captive.  Her brother will never accept our actions, says Julia.  They shouldn't, says Flora, we both know that--and she begins to cry, upsetting Melanie, who puts an arm around her, assuring her, I do understand, except you knew you couldn't go on keeping Stella in the tower room.  We've tried to think of what to do, says Julia.  You must do something now, says Melanie--her brother was here yesterday, and I promised I would help--please do something now--let her go, ask her not to tell.  We will do something, vows Flora, after the funeral.  You will let her go? queries Julia.  Somehow, some way, says Flora--I don't know how, but we will--all I can think of now is poor Justin--she wipes her nose with a handkerchief.  I know, Mother, says Melanie, but after the funeral, you must set her free!  Flora looks at Julia, who regards her solemnly.

Quentin stands with his hands on his father's coffin--Morgan, he says, I know you're upset about Melanie's attack on Catherine, but she didn't know what she was doing, and it won't happen again--she won't do it again, Quentin promises.  She will, I know that, says Morgan.  You don't know that, protests Quentin--you know, it started just as Brutus Collins' letter said it would--there is a penalty for not having the lottery.  You're the one who's always pooh -poohed it, points out Morgan.  I know, says Quentin, perhaps I thought that would be easier, perhaps because I didn't want to face up to it, but I really believe that if we had gone ahead with the lottery, if one of us had spent last night in that locked room, Melanie wouldn't have done what she did.  I don't want to believe that, insists Morgan, because when Catherine threw the slips in the fire, nothing happened.  Then, says Quentin, no--but now we shall see what happens on this day.  Father's burial day, says Morgan--even this has to be mine--Gabriel started drinking soon after he got up.  Where is he now? asks Quentin.  Asleep, says Morgan--he's in no condition to go to the funeral.  Did you tell Mother? asks Quentin.  No, says Morgan, who notices that the vase they had used for the lottery now sits on top of Justin's coffin.  How did that get there? asks Quentin-- no one came in the room.  That's the vase I was going to use for the lottery, says Morgan, nervously licking his lips--where I put the lottery slips before Catherine burned them--the ghost put that in here.  Quentin picks it up, sees there's something in it, and reaches inside.

There's a note containing a list of names: Quentin, Morgan, Gabriel, Melanie, Flora and Julia.  The ghost brought that in here, says Morgan.No, the lottery, says Quentin--these are the names to go into the lottery--check this and see if it's the same as Brutus' handwriting.  It's impossible! says Morgan, Brutus Collins was the ghost's first victim.  Look and see, please, says Quentin.  Morgan snatches the note from him, takes out Brutus' letter, and note that the handwriting is the same.  I wonder why we can't find out what it's all about, says Quentin--this has been going on for six generations and we don't know anymore than we did in 1680--has anyone ever tried to find out the truth about Brutus Collins?--after all, he was the one originally involved, the one who caused the curse--Morgan, are you listening to me?  We're not going to get off free, are we? asks Morgan--there's going to have to be a lottery--we must not tell Mother what happened in this room this evening.  Not now, agrees Quentin, but should we keep it from her?--because something else is going to happen--he smiles--it's fascinating, Morgan.  You're always outside looking in at us, aren't you? accuses Morgan.  You forget, I've been away for seven years, says Quentin, there's not much you can do in prison except watch and listen--no, I was thinking of Melanie--what if her attack on Catherine is linked to the ghost?--what will Melanie do next?

Tower room - Stella, you will be set free tonight, I swear it, says Melanie--we know it was wrong, locking you here, I know you can never forgive us, but we were so afraid you'd go to the police and Papa taken away from us--Papa is dead now, please don't make anymore trouble for Mama and Julia--please don't--I'll see you go free, I swear I will--but please don't make anymore trouble for them--you think about it--I often change my mind about things after thinking them over--Stella, you will leave this house tonight--I swear it!  Melanie leaves the tower room, locking the door behind her, but leaves the key still in the lock.

Drawing room - What time is it, Quentin? asks Flora.  About one, he replies.  They'll be here soon, she sighs, to take all of us to the services at the grave.  She begins to cry.  Quentin comforts her, his hand on her shoulder.  Mother, he says.  No, I'm all right, she says, trying to be brave--I was just remembering your father as he was when I married him--such a handsome man--I wonder what he'd have been like if he hadn't been born a Collins.  But he was, says Quentin.  Yes, she says, and proud of it in a way, as if the good outweighed the bad things.  You think he was wrong? asks Quentin.  With a sob, Flora says, I don't know anything anymore--I just doesn't know.  Melanie comes in, laughing uproariously.  Why aren't you ready for the funeral? Flora asks her daughter and she and Quentin stare at Melanie, shocked.  Melanie goes over to the coffin, puts her hands on it and says, giggling, "They don't pay any attention to you, do they?--you tell them what they must do, and then you die!--but they don't have that lottery, oh, no, they're much too smart for that!"  Melanie, please! begs Flora.  Melanie continues, "It must go on, don't they realize that, the lottery must happen again!"She laughs, chillingly.

The lottery must happen again and again and again, laughs Melanie--they deserve it!  She's that other person, again, Flora tells Quentin.  I know, I must take her to her room, says Quentin.  They're so smart, those Collins are always so smart, says Melanie sarcastically, shaking her head, they can turn a gold piece into 50!  Her voice has turned vicious.  Come with me, says Quentin.  She looks at him craftily--you're very attractive, she says--the most attractive.  Melanie, no! sobs Flora.  You haven't even started crying yet! says Melanie cruelly, you haven't started crying!  As Quentin tries to lead her away, Melanie says, your tears will do you no good--he cried, and so did I, but tears never got anyone out of anything!  Quentin drags her away.  Flora puts her hands on her husband's coffin--why did Melanie have to go into that locked room after you? she asks--why couldn't I have been the one to rescue you?  Morgan enters--are you all right? he asks.  Melanie had another attack, she says.  We're going to have to put Melanie away, he insists--she is dangerous!  Never to speak that way again about Melanie, orders Flora--she loved your father, what happened to her was out of love--and don't you forget that!

Melanie, hands on hips, lightning flaring through the window behind her, laughingly asks Quentin, do you really think locking me in my room is going to change what is to happen?  Go to bed, he says--get some sleep.  She bursts into fresh laughter.  Perhaps it's best this way, he says, the girl that I knew so well couldn't stand to see Father buried.  He leaves, locking her in the room.  She tries the door and laughs.

Julia, exhausted, enters Collinwood--Flora, Morgan, the hearse has arrived, she says.  Tell the men to come in, says Morgan--they are ready.  Wait, where's Gabriel? asks Flora.  Morgan and Julia exchange looks.  Gabriel will not be going to the funeral, says Julia evenly.  So that's how he shows respect for his father--with brandy! says Flora distastefully--I shan't forget that!

Quentin, umbrella in his hands, stands in the rain over the gravesite.  "Dear Lord," he says, "he was my father, and I can say that with love--he was a very brave man--perhaps bravery died with him--each one of us here is going to have to ask himself that--his life was not always filled with happiness, he had many trials and tribulations, and he always maintained the ability to love--I can't pay him any higher confidence.  Amen, says Flora and Julia.  (There are umbrellas there that seem to have no people under them, I guess to give the illusion there are people there who really aren't.)  The file away from the gravesite together, Morgan with his arm around his aunt.  Suddenly, the two of them spot the woman in white.  Oh, no! says Julia.

Why didn't you let me to go the funeral--why? Melanie begs Quentin--I loved him more than any of you did!--why did you lock me in my room?--can't you tell me?  Flustered, upset, Quentin asks, don't you remember anything that happened in the drawing room?  I wasn't there, she insists.  Yes you were, he says.  Don't tell me where I was, I know! she says--I came to my room to dress for the funeral--I felt suddenly very sleepy, I had a dream.  What did you do in the dream? he asks anxiously.  I don't remember, she says.  You've got to try to remember, he says.  Why? you don't believe anything I say, she wails, you told me I was in the drawing room!  You had an attack, reveals Quentin.  You're making it up, she accuses.  You remember when Father was in that room, you went after him, says Quentin.  Don't mention that, she says, no one ever mentions that.  I have to, he says, because you've been having attacks ever since.  That's impossible, I would know, she says.  You couldn't, he says, hugging her--listen to me, please, God, listen--you couldn't remember because no one wanted to tell you, we kept hoping the attacks would disappear.  She pulls away from him.  Don't you even remember the rest home? he asks--you went there after you came out of that room.  I was sick, she says, I had typhoid, Mama told me that.  No! says Quentin, all she was doing was telling a very kind lie--you change when these attacks occur, you become a completely different personality--you don't make any sense.  I'm going to ask Mama, says a distraught Melanie, she'll tell me the truth.  He stops her, taking her arm--please listen, he says, you can go and tell them if you want to, but they'd be very upset to learn you knew--Father didn't want you to know.  Why did you tell me? she asks.  Because I had to, says Quentin, because, if we can find out who you are during these attacks, then perhaps we can find out what's in the room, something about the curse.  She sobs--please leave me alone, she begs--I must be alone--what am I like then?--what do I say?  If I could make any sense out of what you said, he says, I wouldn't have told you what I just did--I swear.  He closes and door and locks her in.  Melanie cries.

Drawing room - Flora, we must do something about Stella, says Julia.  Flora agrees.  We've been mad not to consider the consequences of locking her in the tower room, says Julia.  I'd do it again, admits Flora--Justin was with us such a short time anyway.  I know, says Julia--do you know what to do now?  I can't think, says Flora, tears in her voice.  I can, says Julia, I have $5,000 here--I know it may not be the answer, but I think we should give it to Stella and ask her to leave Collinsport tonight--she places the money in a bag--and not ever mention anything that's happened to anyone.  Will she do it? asks Flora.  I don't know, says Julia, drawing the strings tightly on the bag, but we must try.  We must, agrees Flora.  They head to the tower room.

Once there, they unlock the door and enter.  (The room had a bed and dresser, and doesn't look too bad.)They find Stella lying on the floor, a knife in her chest.  Julia checks her--she's dead, Flora.  Melanie threatened Catherine with a knife, says Flora, looking down at Stella's dead body with dismay.

Flora and Julia go to check Melanie's room (it was once Quentin's in 1897), but find her gone.  How could she get out? asks Flora--the door was locked from the outside.  The window, suggests Julia.  With the shutters, says Flora, there's no possible way.  Where is she? frets Julia--why isn't she here?
Melanie stands at the doors to the locked lottery room, banging at them furiously, begging, "LET ME IN!--I WANT TO BE WITH YOU"  over and over.  She falls to the floor, unconscious.

NOTES:  We have one dead Stella, possibly killed by Melanie, possibly by...?  Who else would have had a motive?  Could it have been a ghost?  It really was foolhardy of Julia and Flora to imprison the young woman, but I guess from their point of view, there was no other choice.  Now she's dead, and they are partly responsible, since she couldn't have escaped her attacker.  What will Kendrick do when he finds out?

Melanie is certainly a problem child.  I felt sorry for her when she felt she'd been denied her father's funeral, but the person who possessed her was cruel, calculating and would have wreaked havoc at Justin's funeral.  I loved the empty umbrella--Curtis was too cheap to spring for extras, and you'll notice Gabriel couldn't attend his father's funeral--probably so they wouldn't have to pay Pennock for the episode.

They are going to have to hold the lottery, perhaps before the wedding of Catherine and Morgan--the spirits are restless, and even left a note describing who should participate--plus, the woman in white appeared yet again.  What will befall them if they don't heed the warning?

(Fashion notes:  Julia and Flora are dressed in black, Morgan and Quentin sport black arm bands.)  Melanie never changed out of her very bright outfit to wear black.

Love, Robin