1244 -
"You tricked me, Morgan!" accuses Catherine--"Just as you did Bramwell!"  I plead guilty, my dear, on both counts, boasts Morgan.  Bramwell, down in the file room, overhears and heads back upstairs.  You listen to me, Morgan! cries Catherine--I would rather die with Bramwell than live with you one more day!  Then you have your wish, don't you? asks Morgan smugly--goodbye, Catherine--he walks away, smiling.  Catherine sinks against the door, crying.   Bramwell comes out.  She runs into his arms--thank God you're alive!How did you get in this room? he asks.  Morgan pretended to come to the room to let you out, then locked me in, she explains.  You can's stay here, protests Bramwell, we've got to find a way to get you out!  She caresses his face--I don't care anymore, she says, I want to stay with you.  But the child you're carrying, he reminds her, must live!  There's no future for me or the child, she says, not without you.  But we've got to find a way to get you out of here, he insists, kissing her hard.  She responds eagerly.

9 PM - Collinwood - Kendrick comes downstairs, his expression dispirited  He sits beside Julia in the drawing room--time is creeping by, he complains--there's no change in Melanie.  If there is to be a change, says Julia, it won't happen until tomorrow morning.  Kendrick, exhausted, says, I feel like tomorrow morning is a year away--if only I'd gone into that room myself.  Don't torture yourself, advises Julia--it isn't your fault.  I just feel so useless, says Kendrick--I wanted to fight this thing, and now someone else is doing it for me.  It doesn't matter who went into the room, says Julia--the curse will never end.  Kendrick leaps from his seat, furious--stop talking that way! he cries through gritted teeth.  It's been going on for 160 years, she says, it will continue until there is not one Collins left alive.  So all you can do is stand here and feel defeated! he shouts.Don't you think I'd like to help Bramwell? she asks--kill the ghost of Brutus?--I don't know how to!  Kendrick thinks this over--what about asking Carrie Stokes here?--hold a seance--maybe we could make Brutus' ghost appear.  No, she says, we have tried that and it brought us more trouble--there isn't anything you can think of that we haven't tried.  Morgan enters--Julia is right, Kendrick, he says--the curse is more powerful than all of us put together.  I might have been able to prove otherwise if you hadn't interfered! says Kendrick angrily.  I should think you'd be grateful to me! cries Morgan--after all, I saved your life!  I don't remembering asking you to! shouts Kendrick back.  Stop arguing, says Julia--Morgan, did you talk to Catherine?  Yes, I did, he says.  How is she? asks Julia.  She's fine, I assume, he says.  What do you mean, you assume? asks Julia.  Catherine is gone, he says--she's left Collinwood forever.  Kendrick and Julia look at him--huh?

Morgan smiles.  What do you mean, she's gone forever? asks Julia.  We discussed our marital differences, he says--calmly and in an adult fashion--I made my decision and she made hers--she decided to leave.  Just like that, without saying goodbye to any of us? asks Julia.  Catherine didn't say goodbye to any of you? asks Morgan, feigning surprise--that's not like her.  Morgan, I want to speak to you alone, she says--Kendrick, excuse us for a moment.  I'm a member of the family and have every right to stay, insists Kendrick.  I'm sorry, says Julia, it's important I talk to Morgan alone.  Kendrick nods--very well, he says, and leaves.  Julia closes the double doors.  I wasn't aware that we had anything to discuss, says Morgan.  "Catherine is going to have Bramwell's child, isn't she?" asks Julia--"You don't even have to answer, your reaction is enough."  Now you know the reason for the fainting spells!" says Morgan furiously.  I somehow knew they were more than just fainting spells, says Julia, but I never dreamed anything like this--"I'm terribly sorry, Morgan."  You needn't be, he says, I will survive.  How did you find out? she asks.  I followed Catherine last night, he says--instead of going to the Old House, she went to the gazebo with him--strangely enough, that's not what upset me--you see, they were talking about the child--THEIR child!  You don't have to talk about it anymore if you don't want to, says Julia.  I knew then and there what I had to do, he says, grinning--I wanted my revenge in the form of poetic justice.  And that's why you tricked Bramwell into going into the locked room, she says.  Yes, he admits.  It's ironic, isn't it? she says--it's exactly the way the curse started originally, when Brutus did it--the wife of a Collins' lover--was locked into that room, and then...Morgan!  He smiles.  Morgan, you lied!--you lied when you said Catherine had gone, says Julia, horrified--she hasn't gone at all!--you've done exactly what Brutus did--you locked her in that room with Bramwell.  Morgan smiles triumphantly.

Bramwell examine the doors--I'm going to try to break it down, he insists.  It's no use, says Catherine tiredly, leaning against one of the bedposts--we're here at least until morning, if not longer.  No, he says, our child must live!  She shakes her head--I suddenly feel so tired.  Sit down, my darling, he urges, helping her to a chair--sit over here--I'll try the door.  He picks up a wooden chair and tosses it at the door; it bounces back at him, catching him in the hand (that musta hurt!)  No, he says, then takes a letter opener and tries to break the lock.  When that fails, he tosses it to the floor, vowing in a ragged voice, I'll get you out of here!  The wind blows, the lights flicker.  What's happening? asks Bramwell--something's happening--Catherine, are you all right?  He goes to check her--thank heaven you're all right.  Why do you keep calling me Catherine? she demands--my name is Amanda!  Bramwell stares at her in dismay, shaking his head.

Catherine, he's trying to possess you! warns Bramwell.  There is nothing anyone can do, she says.  Yes there is, he insists--you can fight--you must fight!  No, she says, there is only one way for us to have peace.  You have the willpower! he says urgently.  No, Brutus will never set us free, you know that! she says.  Bramwell, his face contorted, says, I will not believe that, nor must you.  First you must kill me, she says, then yourself.  No, Catherine, he insists.  Then if you won't do it, I shall! she declares.  She finds a knife sitting on top of a small, cloth-wrapped altar.  That knife wasn't here before! says Bramwell--where did it come from?  Catherine picks it up and lifts it high, about to plunge it into her breast.The chandelier above their heads sways.  Bramwell grabs Catherine's wrist and stops her.  No, I must die! she screams, fighting him.  No, you must live, Catherine! insists Bramwell, gripping her wrist and forcing her to drop the knife.  He grabs her arms and shouts, "You are not Amanda!  You are Catherine, my Catherine!"  This breaks the spell.  She comes back to herself and hugs him--"Bramwell!"  The chandelier sways.  You will not have her, Brutus! Bramwell shouts--she is mine and you will not take her from me!  They stand together, tightly, more than ready to fight, together, the evil forces around them.

Morgan, sitting before the fireplace, says, Julia, it makes no difference where Catherine has gone--she is gone and that's all there is to that.  You have locked her in the room--admit it, demands Julia.  I will admit nothing, he says--and I'd rather not talk on this subject, if you don't mind.  Morgan, be reasonable, pleads Julia--you were in love with her once, that must mean something to you.  It means absolutely nothing! he retorts--as far as I'm concerned, Catherine Harridge does not exist!  You have lost your mind completely! she cries.  Is that all you have to say? he asks coldly, about to walk away.  Please, she begs, let me have the key, let me go upstairs and unlock the room.  I do not have the key, he says, and if I did, I would not give it to you--I am going out for a stroll--good night!  Come back! she calls--but he does not.  Kendrick runs in from the kitchen area--what happened? he asks.  Something terrible, she says--we've got to find the key to that room--I'm certain that Morgan has locked Catherine in there with Bramwell --come!--they both run upstairs.

The chandelier is still swaying above their heads as Bramwell pleads with Catherine, look at me --you know who you are?--you are NOT Amanda.  Yes, she assures him, with a wan smile, I know--just tell me what happened, that's all.  You let your guard down, he says--you allowed the spirit of Brutus to enter your mind.  But I didn't feel anything, she says, only drowsy.  You can't afford to do that, he says, anymore than I can--we must exert every bit of willpower we have.  She goes into his arms--I'm so frightened! she says.  Whatever happens tonight, he cautions, you must remain Catherine and I will remain Bramwell!  Yes, she agrees.  Listen to me, he says, we both have the strength to make it through the night.  The wind blows through the room, the lights flicker, the chandelier sways.  Stay where you are, Catherine, Bramwell orders, holding her close.  What's happening? she asks, terrified.  He's here with us, says Bramwell--Brutus, show your face to me!--show yourself--I challenge you to fight me, but I beseech you, leave Catherine alone!  Why is it so cold? asks Catherine, shivering.  You must show yourself! orders Bramwell, who suddenly grabs his throat as if fending off throttling hands.  What is it? cries Catherine.  He's choking me! yells Bramwell, I can't breathe!--I can't breathe!Fight him, Bramwell, she cries, fight him!

Bramwell, gasping, "NO!", continues to grapple with Brutus' ghost, who is choking the life from him.  Catherine watches in horror.  Suddenly, it's over.  Are you all right? she asks, holding onto his arm, clinging to him.  Yes, I am now, he assures her, his voice rough--I must heed my own advice, I wasn't ready for that--he will try once more before this night's over.

Kendrick and Julia search Morgan's bedroom, trying to find the key to the locked door.  Kendrick complains, there are too many rooms in this house, we'll never find it--he could have hidden it anywhere, might still have it on him.  She agrees--we don't have a chance unless Morgan changes his mind and tells us where it is.  "Which Morgan is not going to do!" he thunders from the doorway--how dare you come in and search this room!  You gave us no choice, says Julia.  Get out of here, both of you! he cries.  No, she says, I'm very glad we came in here, because now I know that my suspicions are justified.  What are you talking about? he asks.  Catherine could have conceivably have left without saying goodbye to anyone, she says, but she would not leave without her clothing and her jewelry--they are still here!  Morgan's face twitches--so they are, he says, smiling, pleased. You have locked her in the room, haven't you? asks Julia.  Morgan lets loose with a gale of insane laughter.  What are you laughing about? demands Kendrick.  Your concern about our little domestic triangle! chuckles Morgan--yes, I locked her in the room, Julia --and with her lover--and they just may stay there beyond the morning--I haven't quite made up my mind yet.  Julia shakes her head--no, she says, you know that door must be opened tomorrow morning.  I know no such thing, he says--you see, there are no more rules anymore--I have taken over at last--and what a pleasant sensation it is not to be at the mercy of anything or anyone--to be my own master!--the master of Collinwood.  You've lost your mind! declares Julia.  Quite the contrary, says Morgan--I have regained my senses--I am the master of Collinwood--I have such sympathy for Brutus--Kendrick listens, disturbed--how misunderstood he was--but Brutus got his revenge, didn't he?--oh, yes, and I'm getting mine--he laughs again, crazed, out of control laughter.

Quarter to six - Kendrick and Julia wait in the drawing room.  Fifteen more minutes, he says.  I know, she says, her hands in a gesture of prayer.  If the curse isn't over, I'll have lost Melanie forever, he says--I don't think I'll be able to bear it.  We'll know very soon, she assures him.  He turns to look into the fire.  Morgan enters.  Excuse me, he says, I thought you'd like to know I'm going to open the room.  I knew you would see it that way, says Julia, relieved.  I'm going there now, says Morgan.  We'll come with you, she says.  NO! insists Morgan--you and Kendrick are going to stay here--I am going there alone.  But why? asks Julia.  This is my moment, he says, and I want it for myself.  I have as much right to be there as you do! Kendrick angrily reminds him.  Your only concern at this moment is Melanie, says Morgan--I think you should worry about...  "I am coming with you!" insists Kendrick.  Very well, says Morgan, I'm not--you see, I'm the only one who knows where the key is--now do I go alone, or don't I?  Let him go alone, Julia advises Kendrick.  All right, go, says Kendrick, but I'll be waiting right here.  There's also something else I'd like to warn you, says Morgan--if I'm followed, there may be trouble.  Laughing, smacking one hand into the other, Morgan leaves.  What are we going to do? asks Kendrick.  I don't know, she admits--in his present state, he frightens me!

Locked room - Morgan, sweating profusely, enters the corridor.  "There's no way I can lose this time, Bramwell," says Morgan--"if it's either death or insanity, I will have won--and if somehow you have defied all the odds that are still against you, then I will have to use this"--he holds up the gun and bends to unlock the door.

NOTES:  Morgan's stint in the room has apparently unhinged his mind--or is it that, learning his beloved, pregnant-by-Bramwell Catherine doesn't really love him, his mind simply couldn't handle the shock?  Whichever way it was, he is clearly insane, and his actions here prove it.  That he could lock Catherine in the room is unthinkable, but to shoot dead a pregnant woman is only the act of a man who has lost his mind completely.  This episode featured some wonderful acting on Keith's Prentice's part, too.  He really improved with time in this storyline.

Where is Flora during all of this?  We know why Selby is absent, but Flora seems to have no knowledge of any of this, which, given that she is mistress of Collinwood, seems wrong.  And doesn't Josette wonder where her son is?  He disappeared shortly after Daphne's funeral.  Come to think of it, it was also odd that Josette wasn't present at Daphne's funeral.

It comes down to this, folks, the second to last episode of DARK SHADOWS.  Will Morgan get his revenge, as Brutus did?  Or will Catherine and Bramwell be luckier than James and Amanda were?


1245 - Here we are. . .the very last episode of DARK SHADOWS, originally shown April 2, 1971:

Having determined that he will kill Bramwell and Catherine if they survived the room, Morgan enters and is met by the ghost of Brutus Collins, who says, "You shall not have them! They are mine!"
In the secret file room, Bramwell rouses Catherine, who is sitting in a chair--it's almost dawn, he says.  They hug.  Oh my darling! she exclaims. Is our torment over? he wonders--have we ended it?  I hardly dare hope, she says.  Darling, he says.  They cling to each other.  I'm afraid Brutus will try something else, she says.  We have been defeating him all night--together, Bramwell reminds her--do you doubt we are meant for each other?--I have money now--we can leave, go away together--we won't harm anyone--it would be worse for Morgan if you stayed and played out the mockery of your marriage.  She reaches out to tenderly touch his face.  Brutus appears.  "PLANS," he says contemptuously--"Amanda!--come to me," he demands.  Bramwell tightens his grip on Catherine and faces Brutus.  "She is not Amanda!" cries Bramwell.  "Come to me!" bids Brutus again.  No, insists Bramwell, you've destroyed too often, had too many victims, it is over for you, Brutus!"  Catherine eyes Brutus with something resembling lust.  Brutus continues to entreat, "Come to me, forgive me, that is all I want, your forgiveness, Amanda!"  "Yes, Catherine says, stepping forward eagerly.  No, insists Bramwell, holding her pressed against him--you will not go to him!  "Do you still love me, Brutus?" she asks.  I have never stopped, he says--come to me--we shall share eternity!She struggles in Bramwell's grasp--"Let me go to Brutus!"  Try and fight him! begs Bramwell, who starts to choke.  The ghost laughs--"He must die!" Brutus intones.  Alarmed, Catherine is shaken from her entranced state.  "No, he must not die!" she cries--"Fight him, Bramwell, fight him!"  Come...come! orders Brutus.  Bramwell battles the strangulation as Catherine holds onto him.  The rooster crows.  Brutus continues ordering "Amanda", come to me!  However, it's dawn!  As Bramwell shakes off the throttling hold, Catherine says, "No, Brutus, I will NEVER come to you.  We will bury these bodies in holy ground, and Amanda will at last have peace.  Go, Brutus, go from this house and never return again.  It is DONE, Brutus!"  "You refuse me?", he asks, surprised.  I will never come to you! she vows.  "You have won--won!" he concedes, and fades away.Bramwell is able to breathe.  The curse is over, Catherine cries triumphantly, holding onto him frantically.  Yes, agrees Bramwell joyously--defeated by the power of our love--we must be meant for each other.  Catherine agrees--I will leave with you today.  He smiles joyously and embraces her--"Darling!  At last!" he says ecstatically--"At last!"   Morgan will never let us go, Catherine says soberly.  He must, insists Bramwell.  They head out to the main room. Hurry, cries Catherine, I'm sure I'm right, he'll never let us go free!--he doesn't want us to be happy.  Morgan appears from the shadows, holding his pistol on them.  "You are right, Catherine," he agrees-- "So, Bramwell, you have ended the curse.  And I guess you want some sort of gratitude from everyone.  Well, you're not going to get it--or HER!"He fires a bullet into Bramwell's shoulder.  "BRAMWELL!" shrieks Catherine, as her lover falls.  

Catherine clutches the wounded Bramwell in her arms.  Get away from him! screams Morgan.  "If you kill him, you're going to have to kill me first!" she insists.  "Do you love him that much?" asks Morgan.  "Yes", she says--"oh, Morgan, don't make me tell you like this!"  Morgan pulls Catherine away from Bramwell and aims at him again.  Instead of trying to deflect the bullet and save Bramwell, Catherine turns her head away.  Fortunately, Kendrick and Julia race in before Morgan fires.  No! says Julia.  Give me the gun, orders Kendrick.  "You cannot end what has already been started," says Morgan, holding Catherine tightly by his side--"Get away from that door--she will be first!"  He forces Catherine out of the room at gunpoint and propels her down the hall.  Kendrick and Julia, powerless, watch them go, then Kendrick follows, running.  Bramwell, clutching his wounded shoulder, insists, I am going after them!  Although she protests his intended action, Julia helps Bramwell to his feet.  Kendrick returns--they turned a corner, he says--when I got there, they were gone.  There's a secret passage at the end of the hall, says Bramwell.  Julia tries to stop him from going, but he leaves anyway.  Before Kendrick follows, he asks Julia, "Check on Melanie and see how she is now. . .if the curse is ended, and she is all right."  We get a glimpse of the lottery room, now empty.

Julia, says Flora, I should be looking for Morgan; perhaps I could talk to him.  We must check on Melanie, says Julia--if she's all right, the curse will be over.  I only hope she is, says Flora fervently.  They enter the tower room and look down on Melanie's placidly sleeping face.

Melanie, Flora calls.  Her daughter awakens and looks at her.  "Mama?" she says--"Has something happened to Kendrick?"Flora hugs her gratefully--you're all right!  Why are you here? wonders Melanie--I had another one of my attacks, didn't I?  But you're well now, says Flora.  You didn't hurt anyone, Julia assures her.  Where is Kendrick? asks Melanie--why isn't he here?  He'll be with you soon, darling, promises Flora.  You sure? asks Melanie, getting out of bed--Julia, you were so right--I never should have married him, I knew my attacks would go on and on, it isn't fair, I must talk with him, the marriage can be annulled.  There is no need for that, says Flora joyously--the curse is over!  Yes it is, says Julia--you are the proof of that.  Over? asks Melanie in disbelief.  Catherine and Bramwell spent the night in the room, says Flora.  And they're all right? asks Melanie eagerly.  Flora doesn't reply, but looks to Julia, who says evasively, they left the room sane.  Then I will never, never have another attack? asks Melanie.  No, says Flora, smiling.  Does Kendrick know that? asks Melanie.  Yes, replies Julia.  Why isn't he here? asks Melanie--he's left me, hasn't he?--that's what you aren't telling me?  No, says Flora.  Julia leaves to go get Kendrick.  I don't understand, says Melanie--isn't he happy for me, for us?  He will be when he sees you as you are now, Flora assures her--I'm sorry Justin didn't get a chance to see the curse come to an end--he would have been all right, too, and everything would have been different.  Everything will be different, says Melanie.  Yes, but it will never be the same, says Flora sadly--"without Justin, without Gabriel, and with Morgan as he is.  Morgan? asks Melanie.  "And I, continues Flora, will go on remembering the rest of my life and wishing things were different.  Brutus Collins had his curious revenge."  Tell me everything that has happened, says Melanie.

Julia comes down to the drawing room and sees the secret panel opening.  Morgan, she says fearfully, but it's Kendrick who emerges.  Melanie? he asks.  Your wife is all right, she says.  They hug, thrilled.  (a nice scene; the prickly Julia and Kendrick made friends after all)  I heard Catherine and Morgan's voices in the passageway, says Kendrick, but lost them--Bramwell is searching upstairs--I want to see Melanie for a moment.  Yes, she says, then you can search again afterwards.  He kisses her cheek and leaves.

Bramwell finds Catherine's dropped handkerchief in a corridor and hurries on.

Morgan's madness is real, Melanie realizes--not the result of the curse.  I don't know how I feel about Catherine, admits Flora.  I'm sure Catherine never intended to hurt Morgan, declares Melanie.  Kendrick bursts in.  He and Melanie enthusiastically embrace and kiss.  My Melanie, he croons.  Yes, she says, and they enthusiastically embrace and kiss.  In one of the sweetest moments of the entire series, he finds himself with a mouthful of her hair; he takes it out and kisses those golden strands, too.  I can't stay long, he says, I must resume the search for Morgan.  We will be happy, Melanie says, kissing him over and over--be careful--nothing must happen to you.  Nothing will, Kendrick assures her.  They kiss fervently.

Morgan drags the struggling, hysterical Catherine out on the parapet.  He drags her to the railing.  Cruelly, he says, "Admire the view, Catherine."  "Please," she begs.  "What?" he asks--"Let you be with your lover?  Even I'm not that generous.  He will find us here, Catherine, I'm going to help him find us!"  He opens the door--Bramwell! he screams.  Don't come up! Catherine shrieks out.  Morgan grips Catherine and tries to force her to look down.  "Imagine yourself falling, falling down, down, hearing yourself SCREAM all the way down until you hit the bottom and the hard ground below!  Listen, Catherine, your lover is coming, you can't stop him now."  Bramwell, don't come up! yells Catherine. He does, naturally, and screams, "NO!" when he realizes what Morgan has planned for his lover and child.  "Bramwell, you have come to see Catherine die!" Morgan cries, and starts to force Catherine over the railing.NO! moans Bramwell.

Morgan, let me take Catherine's place, begs Bramwell.  "So she can bear your child?" demands Morgan contemptuously.  "You loved her once, I would die for her," Bramwell cries.  "Oh, how gallant, Bramwell, isn't he gallant, Catherine?" asks Morgan sarcastically, holding the gun to Catherine's face--"No, she's going to die first, and you are going to watch--then you are going to die."  Desperately, Bramwell pleads with Morgan: "If we have turned you into the person that you are now, I'm sorry!  We've all made many mistakes, we cannot make anymore, we must go in peace!  Morgan!  You will forget us quicker than you will forget what you're planning to do here now!"  "Don't tell me what I can forget or remember!" shrieks Morgan--"This is the way it's got to be!"  He is about to shove Catherine over the railing when Kendrick calls, "MORGAN!", diverting his attention away from Catherine.  As Kendrick and Morgan struggle, Bramwell joins the fray.  The railing suddenly breaks; Morgan, arms flailing, falls to his death.(And, unintended, I'm sure, Kendrick nearly falls after him, doing a little dance to prevent it.)  Catherine, Bramwell and Kendrick watch Morgan's body fall inexorably to the ground, then go back inside.  We see the broken pieces of the parapet.

Drawing room - Flora (once again dressed in black, as is Julia) cries over the death of yet another son (oh, Quentin, come home now)!  There was so little happiness left for Morgan, points out Julia.  I know, says Flora--but it's very hard not to blame Catherine and Bramwell.  They broke the curse and we should be grateful to them, says Julia--we must make arrangements for Morgan's funeral.  The two women rise and, as they have done so many times before, go to do what they must.

Melanie, packing in her room, says, Kendrick, I don't think we should leave yet.  What good would it do for us to stay? asks Kendrick.  I could be of some comfort to Flora, says Melanie.  Flora has Julia, Kendrick says, taking her hands in his--we've waited so long for our lives to get started--I feel both of them will understand--we can leave tonight, stop off at the Old House to see Josette.  Kendrick, I want to as much as you want me to, she says.  Then say yes, he says.  She agrees; they kiss.  I will go to town to get my horse from the livery stable, he says--I'll be back within the hour--can you be ready?  Melanie kisses his hand--do you have any idea how much you have given me?--Bramwell once begged me to leave this house--I couldn't, I was terrified by his just mentioning it--now I'm not frightened, because I'm with you.  They kiss, long and hard.

Catherine and Bramwell share a passionate kiss, too, but Catherine's feelings are a lot more mixed.  "See, my darling," he says, "everything's going to be all right."  I feel responsible for Morgan's death and all the unhappiness I caused when I married him, admits Catherine--do you know how I feel when I look at Flora, and at Julia?  Darling, he says.  She draws away from his embrace--I feel guilty when you call me that, she says.  But you are my darling, he reminds her, drawing her close again.  Yes, she says, kissing his hand, holding it pressed to her face.  You always will be, he says--we will leave within the week--we will forget everything that happened here.  I can never forget, she vows--I'll remember now that I must follow my heart, not my head--I'll never make that mistake again.  "Never forget, you will always have my love," he says tenderly.  That I will remember, she promises, kissing his hands.  I will make you happy, Catherine, I promise, he says.  They kiss, holding each other tightly.

10 PM - Drawing room - Bramwell somberly says, Flora, I don't wish my presence to add to your grief.  I am trying to be as realistic as possible, she says--too often in the past, this family has split apart in troubled times--perhaps we have now learned that we should stay together if we possibly can.  Julia nods in agreement.  Kendrick enters, looking for Melanie--is she ready yet?  She is, says Julia. She went to say goodbye to Carrie Stokes, explains Flora.  Then I'd best go get her, says Kendrick.  No, says Flora, I sent Harris for her, I didn't want her to walk home alone tonight.  Thank you both for understanding, says Kendrick to Flora and Julia.  The front door bursts open.  Mrs. Collins! calls Harris, carrying Melanie in his arms--I found her lying in the woods.  Ben Stokes is with them, too.  They all run into the foyer, Kendrick calling, Melanie!  He takes her from Harris.  Put her on the sofa, orders Julia.  Everyone gathers around in consternation.  She must have been attacked by something, suggests Stokes--some kind of wild animal.  Look! cries Julia, pointing to two bite marks on Melanie's neck.  Harris, get a doctor, says Flora.  Kendrick, horrified at the sight of the bite wounds, asks Melanie, "What caused them?--tell me!"  Bramwell stares down at the marks.  What could have happened? wonders Flora.  What kind of animal would attack her like that? asks Julia. Says Ben Stokes, "If I didn't know better..."Yes, Stokes? asks Kendrick.  "If I didn't know it wasn't possible," says Stokes, "I'd swear there was a vampire at Collinwood."

The camera pans to a horrified expression on Bramwell's face, then Barnabas' portrait (didn't Julia give that to Bramwell as a wedding present?)  As the familiar DARK SHADOWS theme music swells, Thayer David narrates:  "There was no vampire loose on he great estate.  For the first time, the bites on the neck were indeed those of an animal.  Melanie soon recovered and went to live in Boston with her beloved Kendrick.  There they prospered and had three children.  Bramwell and Catherine were soon married, and at Flora's insistence, stayed on at Collinwood, where Bramwell assumed control of the Collins business interests.  Their love became a living legend, and as long as they lived, the dark shadows at Collinwood were but a memory of the distant past.The camera pans the foyer, the living room; lightning flashes and thunder swells as we hear the final BUM BUM BUM!

We see different still black and white pictures of Collinwood, then Jonathan Frid's wonderful voice quotes Shakespeare, poignantly, appropriately: "Our revels now are ended.  These are actors as I foretold you were all spirits and are melted into air--into thin air!  And like the baseless fabric of this vision, the cloud-capped towers, the gorgeous palaces, the solemn temples, the great globe itself--yea all which inherit it shall dissolve and like this insubstantial pageant faded, leave not a rack behind.  We are such stuff as dreams are made of, and our little life is rounded with a sleep."  

I have chosen not to include Sam Hall's Roger David-narrated speculation on what happened to the characters or what plans he had for them.  We have seen this written many times, and if someone wants to post it, please feel free.  I think ending it with Frid's Shakespearean quote is Perfect.

Gordon Russell, one of DS' writers, portrayed Harris, the second footman, in this episode.

As for me, I'm crying.  I always cry when I see this episode.  It's been 30 years since I first bid goodbye to DARK SHADOWS, yet this episode always has the power to start my waterworks flowing.

NOTES:  Bramwell and Catherine got their happy ending.  Whether you believe they deserved it or not, given the trail of bodies left in their wake, I was always pleased to see that they, with their unborn baby, married and were happy, their love "a living legend."

Melanie and Kendrick deserve every happiness that comes to them, and it sounds as if they enjoyed a happy life with a nice family.

Why did Bramwell end up with the family business instead of Quentin?  He was the next in line, wasn't he?  That's always bugged me.

I felt badly for Flora when she talked of Justin and how she wished he had lived to see the end of the curse.  I guess she and Julia just live out their lives at Collinwood, enjoying Bramwell and Catherine's baby (and other children, hopefully).  Perhaps Quentin married and stayed at Collinwood, too, with his wife and kids.

It has been my pleasure being your "Robservisor" for this wondrous show, which, then and now, has twined itself in my heart.

Love, Robin

PS - Those wishing to order my Robservations CD, containing every single episode of the show synopsized as only I can do it, please send $20, postpaid, to:

Robin Vogel
240 Broadway
Massapequa Park NY 11762

It's been a fun ride!

1240 - Flora's room - Flora, dressed in black, gazes into the fireplace, where no flame is burning.  Morgan, sporting a black armband, says, no one knows better than I how you feel, but it's just as well you didn't see Gabriel.  I feel so guilty, she says--he deserved a better fate.  That could be said for all of us, points out Morgan.  Somehow I felt closer to Gabriel than any of the rest of you, she says--he was the weakest--he needed me most.  I understand, says Morgan, but Gabriel is gone now--at least he's met his peace.  Yes, he's at peace, she agrees, sighing.  Julia, also in black, joins them--we must hold the lottery again, she says--as soon as possible!

What's happened? asks Morgan.  It's Melanie, explains Julia--Kendrick and I had to lock her in the tower room.  She's had another attack? asks Flora.  Yes, only this one may be permanent, says Julia--she tried to kill Kendrick with a knife, we got it away from her.  Why do you say this might be permanent? asks Flora.  After we took her up to the tower room, we went back downstairs--we thought it just another attack--then Kendrick and I saw the ghost of Brutus Collins--he was laughing at us, then he spoke, and he said Melanie would never be sane until another Collins goes into the locked room.  All of them express dismay.  We have no choice, we must do it! cries Julia.  We must do this, for Melanie's sake, agrees Morgan.  Poor Melanie, laments Flora, she was married only last night--it's almost as if the ghost of Brutus waited for that moment of happiness, then deliberately struck her down--what a cruel and evil man he must have been..  We mustn't waste anymore time talking, says Morgan--when would you like the family assembled?  Inform everyone we will hold the lottery late this afternoon, says Flora, in the drawing room as usual.  Everyone isn't here, he reminds her--Quentin went to Boston and won't be back until Monday.  (Selby had already been stricken with appendicitis, and is out of the show.)  Then we'll have to hold the lottery without him, says Flora.  We've never done that before, protests Morgan--we've never done it without the entire family.  Morgan, for Melanie's sake, says Flora, we cannot afford to wait!  Morgan nods.  Get Kendrick, Flora tells Morgan--I want to speak to him.  He leaves.  Flora sits down, depressed.  There's nothing you can do to avoid this, says Julia.  I know, says Flora--I cannot bear the thought of the lottery anymore--who will it be, Julia?--who in the family will we lose this time?

Kendrick returns to Collinwood and joins Catherine in the drawing room.  She, too, is dressed in black; he wears a black armband.  Has Julia come downstairs yet? he asks.  No, I haven't seen her, says Catherine--did you go for a walk this morning?  Yes, he says, I found the house quite depressing.  Why, has something else happened? asks Catherine (I guess two deaths in the family isn't enough).  If you don't mind, let's wait for Julia, he says.  Of course, she agrees.  I didn't have time to tell you how I felt when I heard the news about Daphne, he says--I'm sorry, I don't know what else to say.  There is nothing else to say, she says sadly.  When is the funeral? he asks.  I don't know, it's up to Bramwell, she says, and starts to faint.  Kendrick immediately catches her--are you ill? he asks.  No, I'm fine, she says.  Obviously not, he says.  It's just emotional stress, she says as he helps her to the sofa, I'm perfectly all right.  That may be so, he says, but you're going to sit down.  She thanks him.  Morgan comes in and asks what's wrong.  Catherine gazes at him uncertainly.

Please don't get yourself alarmed, Morgan, she says.  He sits beside he--answer my question, he says--what's wrong?  Nothing at all, I just felt a little dizzy, that's all, she says--it's just emotion--I'm still very upset about Daphne.  I think it's much more than that, he says, and I'm going to send for Dr. Fletcher.  No! she cries, I'm perfectly healthy, please don't call the doctor.  I think there's more you're not telling us, he says.  That's absurd, she insists--if there was anything at all wrong, wouldn't you be the first to know?  (Nope.)  I don't know, he says.  You must realize if there were anything wrong, I'd tell you right away, she says--but there is nothing to tell--stop all this nonsense about a doctor.  Kendrick, says Morgan, Flora wants to see you in her room right away.  Kendrick excuses himself and leaves.  I have very bad news, Catherine, says Morgan--he takes down the lottery vase--we are going to have to use this again.  The lottery? she cries.  Yes, he says, it's going to take place later this afternoon.  But why? she demands.  Please listen to me, he says--there is a lot to explain.

Kendrick joins Julia and Flora.  His mother-in-law says, I'm so sorry about what happened to Melanie.  I should have taken her away from here the moment we were married, he says, as far away as possible.  You know that wouldn't have done any good, she says--Melanie is subject to these attacks no matter where she is.  I would have found help for her, he says, I swear I would!  I also want to speak to you about something else, she says--I think you should have your marriage annulled--I know it shocks you, but under the circumstances, what sort of marriage can you expect to have?  Kendrick adamantly refuses to consider it.  What if the prophecy is true? she asks--what if she stays this way permanently?  She won't, he says.  How can you be sure of that? she asks.  There will be no annulment! he insists--Melanie is my wife!--I vowed to take care of her in sickness and health and I will not break that vow!  But you wouldn't be! says Flora.  I will not discuss the point any further! shouts Kendrick--I have made up my mind.  (Stick by your gal, Kendrick, that's the spirit!)--I have felt that Melanie will be herself again when the curse is broken.  And when will that be? asks Julia.  When I end it, he says.  You? asks Flora.Don't be surprised, he says--I am a Collins now, and I intend to take part in the lottery when it happens--and furthermore, I intend to be the one chosen to go into the room!  (He has the same good intentions as Catherine did--look what happened to her.)

Bedroom - Catherine gazes out the window of their bedroom and nervously asks Morgan, how long will we have to wait?  A couple of hours yet, he says, but you needn't worry about it, because you're not going to take part in it.  Of course I am! she insists.  You went through with your obligation in the last lottery and you were chosen then, he says.  But you took my place, she reminds him.  I'll do it again, he assures her, taking her in his arms--please let me have my way--you've been through so much already, and I don't want you to have to go through anymore--you're going to have to put all your effort into Daphne's funeral.  (No funeral for Gabriel?)  Very well, she says, but if the family insists I take part, then I shall.  Don't worry, he says, I'll handle the family.  Passionately, they kiss.

Drawing room - Julia sits by the fire.  What are you thinking about? asks Kendrick.  How few of us there are left, she says.  Don't let it depress you, he says.  I can't help it, she says--you know, I never used to think about what it would be like to go into that room, I suppose I always felt I would never be the one chosen, but now...  ...now you think you will be the one, he finishes.  Yes, she says, and the thought frightens me--perhaps it's because I know more about the room now--ever since Morgan took me there during the day, something happened there that frightened me more than anything I ever felt.  Can you describe this feeling? he asks.  It happened when I went into the secret file room, she says.  When you saw the two bodies? he asks.  You can't possibly just call them two bodies, she says--two ordinary corpses would have rotted to nothing but bone in 160 years--these two somehow mummified and preserved all these years--and I have this frightening feeling about them--they might still be alive.  You know that's impossible, he says.  When I was there looking at them, she says, I could have sworn one of them moved.  Julia! he says--under the circumstances, you could have easily imagined it.  That's what Morgan said, she says, I'm not sure, I wish I could stop thinking about it--why are you looking at me like that?  I'm amazed at your fear of this, he says--I always thought you the strong one in the family--I think it's quite interesting that I thought I knew you so well, but now I see a part I never knew existed.  Flora enters--Kendrick are you certain you want to go through with this? she asks.  Yes, I'm certain, he says.  Very well, I can't stop you, she says--you are a member of the family now as you said--Julia, where are Catherine and Morgan?  In the master bedroom, shall I get them? she asks.  No, says Flora, let them enjoy a few moments more alone together--I'll prepare the slips for the lottery.  She begins cutting up a piece of paper.

4:50 - Morgan gazes at the clock--Catherine, it will be time soon, he says--this could be goodbye.  I'm sure it's not, she says.  I've had the strangest feeling all day that I will be a victim of fate, he says--how convenient it would be if I were to go into the room and die--and with Bramwell already free, that would leave you free.  She runs to him--I can't bear to hear you talk this way, she says--with my sister dead not a day--how can you think I could be thinking that?  I want you to promise me something, he says--if I should go into the room and die. . .  Please stop talking like that! begs Catherine angrily.I want you to promise, he says, that you will not marry Bramwell!  It is not going to happen, she cries, you are not going to die!  He looks at her stoically, pointing out, you haven't answered my question.  Julia knocks at the door--everyone is ready, she announces.  Morgan gives Catherine a significant look, and leaves with Julia.  Catherine throws herself on her bed and cries.

Five slips, one marked with an X, wait next to the lottery vase.  Julia and Morgan join Kendrick and Flora, who asks, where is Catherine?  She's not going to participate, says Morgan--she was chosen the last time.  And you took her place, says Flora--according to your reasoning, you shouldn't participate, either.  Mother, I'd rather not discuss it, insists Morgan--now let's get on with it.  Flora tears up one slip--I have prepared four slips, she says, three blank, one marked with an X--whoever draws the X will sleep in the room (I would have loved to see Flora rip up the X-marked slip, resulting in everyone getting a blank!)--we will each draw a slip from the vase, but no one is to open theirs until everyone has drawn--Kendrick, do you understand?  Yes, he says.  Flora draws first, then Kendrick, then Morgan, and finally Julia.  Flora opens a blank, as does Morgan.  That leaves you and me, says Kendrick, gazing at Julia.  Shaking, holding her slip in two hands, she says, you go first.  Everyone's face shows dread and fascination.He opens his slip--he chose the X.  Julia sighs with relief as Kendrick shows them his slip.

NOTES:  Kendrick decides to take part--and of course, the new guy in the family gets chosen.  How unfair.  He seems to share the same attitude as Catherine when she first participated--that he is going to break the curse!  Perhaps he will--or perhaps he will be the next victim.

No funeral for poor Gabriel?  Seems wrong.  He deserves one.  They are dropping like flies in this storyline, which is how we know it's drawing to a close.

Catherine never did promise Morgan she wouldn't marry Bramwell if he died in the room.  I guess that's a moot point now, but Morgan's behavior seems very odd these days, doesn't it?

I love the relationship that has formed between Julia and Kendrick now, they're now compadres.

It does get wearing, watching them do the lottery over and over.

Love Robin

1236 - Julia and Morgan behold the two perfectly preserved, cobweb-covered bodies of Amanda Collins and James Forsythe, lying side by side on the tables where Brutus left them so many years ago.Voice trembling, Julia says, it's horrible for them to lie this way, never changing, never finding the comfort of the grave.  She steps forward toward the bodies.  Morgan takes her arm and stops her.  Don't go over there, he warns--I remember going in there and touching him--and then I remember nothing else.  Then that moment of contact was when his spirit possessed you, she says.  Yes, that's when it happened, he agrees.  We can't let them lie here any longer, protests Julia--it's time for them to be taken away and given a Christian burial.  We can't take them anywhere, says Morgan--that's not in Brutus' plans for them.  But he can't punish them forever, she insists.  The lights go out.  We've got to go, right now, she says, but the door closes.  They find it locked.  Julia panics.  Morgan, banging on the door, assures her, someone will come, you shouldn't be afraid.  Julia looks back at the bodies and cries out.  One of them moved! she wails.

Catherine, asleep in bed, awakens from a dream with a horrific scream.  Melanie, sitting with her,  runs to take Catherine in her arms and comfort her as Catherine sobs.  Forget your dream, it's all over, says Melanie.  How can I forget what I've done to Daphne? asks Catherine, sinking back to the pillows in misery.  You've done nothing to Daphne, Melanie assures her.  I'm responsible for her being in a coma, insists Catherine, crying.  You're exaggerating, says Melanie.  She was calling out to me again and again but I wouldn't listen to her, says Catherine--that's what she was doing in the dream--and when I tried to help her, I couldn't!--they wouldn't listen to me, I begged them to stop, but they wouldn't, it just went on, closing her grave!  Listen to me, urges Melanie gently, you had every right to choose what you wanted and to marry whomever you wanted--Daphne had the same right.  But I didn't have the right to make her life miserable, protests Catherine.  Even if what you say is true, says Melanie, you weren't the only person who didn't realize help was needed--all of us have failed someone.  That's not the worst of it, if it was, says Catherine, perhaps I could live with it.  What else have you done to Daphne? asks Melanie.  Catherine begins to cry again, unable to reply; she just lies back down and sobs, "Bramwell!"

Records room - Julia and Morgan survey the bodies.  In the darkness, he says, it must have appeared that one of them moved--but they are way beyond moving again.  They're just as Brutus wants them to be, says Julia, adding, frightened--and what plans does he have for us?  What do you mean? asks Morgan. He sent us into this room nobody knows about, she says, he's locked the door and nobody will ever find us--help!--help! she screams, banging at the door.In the outer room, Brutus' ghost, laughing, appears.

Catherine's bedroom - It's best not to think too much at a time like this, advises Melanie, you don't want to see things as they really are, you only want to punish yourself, and that won't help Daphne get well--you must accept that, Catherine.You're right, the other woman admits, and yet...  It takes so much time, finishes Melanie.  I do feel better, though, says Catherine, perhaps I can sleep now, without dreaming.  Would it be all right if I leave you alone for a few minutes? asks Melanie--perhaps when I come back, I could read to you, or...  Realizing Catherine has fallen asleep, she covers her with an afghan.  Melanie leaves the room, passing by Gabriel, who is hiding in an alcove.  Gabriel sneaks into Catherine's room, where she lies asleep--vulnerable.  He quietly walks over to her.  Is that you, Melanie? she asks, eyes still closed.  She opens her eyes and sees who it is--"Gabriel!" she cries, staring up at him fearfully.  I haven't much time, he says.  What are you doing here? she asks.  What is Gabriel doing? he repeats, referring to himself in the third person--Gabriel is leaving--nothing became his life more than the leaving it--I read that in a play somewhere--oh, you didn't know Gabriel could be clever and witty, did you?--he chuckles.  Catherine sits up, then stands--I should call someone to help you, she says.  He grabs her--call no one, he orders--no one must know anything about this--we wouldn't want anyone else to know what we're up to, he asks, would we?  His face is very close to hers, as though he's going in for a kiss.  Terrified, she asks, what do you want from me?  Money! he cries, that's the only way I can get out of here--the only way I can get them to open the gates of hell and let me out!  I don't have any money, she says, not enough for you to get away from Collinwood!  Desperate, he says, you must--you're my only help--if I stay here, I'll die--that's what staying here means--dying.  That's not true, she says.  You know it is, he says, you and I are the only sane ones here--we knew the lottery was wrong--all the others, they didn't believe us, they didn't believe us--they're all mad!--they couldn't kill me before, but they'll keep at it until they do!  He has drawn very close to her, doing something we can't see.  All they want to do is take care of you, she says, that's all.  He draws back and sarcastically says--they want to take care of me?--they'll take care of me by locking me in a room and throwing the keys away so no one will know what they're doing to me--I remember, in the tower room, you know what my mother gave me?--a book!--my father's favorite book of meditations--ease your mind with this, she said--well he's gone now, and now they want me to take his place--they always want a victim, that's the way they play their little game--well I'm not going to be their victim--and that's why I came to you.  I want to help you, I really do, she says, terrified but under control, but I don't have any money.  You're lying! he accuses.  I'm not, she says, I only have a few dollars, that won't get you away from here.  So they've taught you to lie, he says--well, now I'm going to have to teach you something--he pulls out a knife and holds it up threateningly.  Gabriel, no! she screams.  It's not difficult to die, he assures her in a calm voice, it's very easy to kill.  Please listen to me, she begs--you said I was your friend, killing me won't get you away from here.  You're not my friend, he says, you're no better than all the rest!  Please listen to me, begs Catherine, I do want to help you.  You're lying, I can tell! he cries.  No, she says, I do want to help you!--I don't have any money, but I do have something else I can give you--she runs to the dresser and takes out a shiny, glittering piece of jewelry.  Give it to me! he demands.Give me the knife, she counters, holding the bauble out of his reach.  Give it to me, he orders again.  No, she says--go ahead and kill me if you want to, but I'll scream first and someone will hear me, and then they'll come in here and perhaps you won't get away after all.  He charges at her; she slips away and, shaking the necklace, says, give me the knife, then go on your way.  He lifts the knife and looks at it, then nods and hands it over.  She passes the bauble on to him.  Looks fake to me, but he might not know.

Records room - Morgan lights an oil lamp.  Julia, still terrified, says, now we can see death when it comes for us.  Stop talking like that, he says, annoyed.  It's the truth, she says, he's coming for us, we're going to die, we're dead just like James and Amanda, we're dead--she goes into hysterics, sobbing. Morgan slaps her across the face, stopping her hysteria, then places a comforting hand on her shoulder as she cries.

Melanie hears Morgan banging on the door below, and his cries for help.  She enters the room--Morgan?  Come down, he says, we are behind the iron door, which can only be opened from the outside--please open it.  Are you sure you're really Morgan? asks Melanie.  Yes, of course, he assures her.  She opens the door.  Julia races past her, crying wildly.  Our aunt was a little frightened, says Morgan.  What do you mean? Melanie asks, trying to see into the room.  He prevents her from viewing the grisly sight of Amanda and James and says, let's get out of here.  They leave.

Gabriel comes downstairs and heads for the door.  Gabriel! calls Brutus.  Who are you? asks Gabriel.  It is not yet time to go, says Brutus.  Who's calling me? asks Gabriel.  Come to me, orders Brutus.  Wherever you are, what do you want from me? asks Gabriel.  Come to me, says Brutus--you will find out!  Gabriel looks around and slowly walks back upstairs as Brutus' voice beckons, "Come to me!"

Drawing room - Morgan looks into the flames--we have got to do something about Brutus' room, he says, and the two in the other room--after tonight, it's impossible to just leave it.  He rises.  Melanie is tending to Julia.  If we do something, she says, it might make him angrier, more dangerous--and what would happen to us then?  She looks at him helplessly.

Gabriel goes to the corridor, to the lottery room, following Brutus' voice, but once he reaches the door, refuses to go in.  I demand it, says Brutus.  Not again! protests Gabriel.  I demand it! yells Brutus--you hear me?--come inside--I am here!   Gabriel opens the door and enters.  All right, he says, I'm here, where are you?  He finds a knife lying there, waiting for him.  Brutus appears to him.  Brutus Collins! says Gabriel.  Yes, says the ghost, the master of Collinwood--then, now and always--why did you not pick up the knife as I commanded you?  I don't understand, says Gabriel, sweating.  A servant need not understand, only obey! orders Brutus.A servant? asks Gabriel.  Make no mistake, says Brutus, you are my servant and will do my bidding--it pleases me to see them all die--and you will kill them, one by one, with that knife--and anyone who crossed me will die!

I have given my orders, says Brutus, you will carry them out--do you not appreciate the honor I am bestowing on you?--allow you to kill my enemies--you must prove yourself worthy of such a mission.  I will be, says Gabriel, picking up the knife, and he leaves.  Brutus' ghost fades away, but not before we hear his laughter.

Their bedroom - Catherine relates to Morgan what happened with Gabriel.  My poor Catherine, he says.  I'm all right, she assures him, he didn't hurt me.  I'll go get Quentin, he says, and we'll look for him together.  Let him go, says Catherine--if he can find some kind of peace away from Collinwood, let him find it!  What do you want me to do, then? he asks.  Take me away from here, she begs.  Yes, of course, he says, sounding a bit loony, you have been through a lot--you need a rest--perhaps a trip to New York.  I don't want a trip, she says, I want to go away from here forever, and never come back!  That's not possible, he says.  Anything is possible, she insists, if we just will it so!  I'm not so sure, he says--what I have to say to you might sound very cruel.  Cruelty is nothing new at Collinwood, she says.  Between us it is, he says--I love you very, very much--but I don't think you love me.  Of course I love you, she says.  You say anything is possible if we will it, he says, but can you will love to come and go?--I don't think so.  You're talking nonsense, she says, I don't know what you're talking about.  I think you do, he says reasonably, but I'll speak more plainly--if anything happens to Daphne, Bramwell will be free again--and I think that's what you're afraid of.  I am afraid, she says, you're right, but it has nothing to do with Bramwell and Daphne--it had to do with us, and this house--so many terrible things have happened to us, and will happen to us--I'm so afraid of losing you--she embraces him--we could have such a wonderful life together somewhere else!  He holds her close and says, anywhere else is not my home.  This house is cursed! she insists.  We are all cursed, says Morgan, and where we go we take it with us--it does no good for anyone to run away, not me, not you, not Gabriel--Catherine, do you love me?  Yes, she says, of course I love you.  Then stay here with me, he says--I will deal with my ghosts, you will deal with yours.  I have no ghosts, she says.  What about the feelings you once had for Bramwell? he asks.  They are dead, she assures him, they will not rise.  Then there is no reason for us to leave Collinwood--ever! he says.  (what his wife wants doesn't seem to concern him in the least.)

10:40 - Collinwood drawing room - Julia, I should think after what's happened to you in this house, you'd be glad to see me leave, says Melanie.  Julia says this is not an ordinary house, nor are you an ordinary girl.  Perhaps I will be after I marry Kendrick, says Melanie.  It's not as simple as that, says Julia.  I KNOW it's not as simple as that, says Melanie, but he loves me, knows what I am and wants to take care of me--he could make me well!  Everybody wants to help you, insists Julia.  I know, says Melanie, but your idea of helping me is to keep me confined in this house, cut off from life--and love, but you can't anymore, not now--I have Kendrick, and I am going to marry him!  All right then, says Julia, you will marry Kendrick, you will have a husband--but what will Kendrick have?--not a wife--a patient, perhaps, not a wife.  Stop it! commands Melanie, refusing to listen further to her aunt--don't waste your breath--none of your arguments matter any longer--I have my own life, my own dreams and hopes, and Kendrick and I will make them come true.  I wish you would just wait a while, says Julia.  No, says Melanie, no more waiting--whatever happiness is coming to me, I'm going to take--right now!  All right, says Julia, annoyed, I suppose all I can do now is give you all my best wishes.  Upset, she leaves the room.  It will be all right with Kendrick, says Melanie exultantly, now alone--I'm going to live, really live for the first time in my life!  She turns to see Gabriel standing there, grinning.  Where did you come from? she cries.  Through the secret panel, he says, didn't you know there are many secrets and panels all over this house?  What are you doing here? she asks.  I've come for a specific reason, he says in a soft, dangerous voice--he raises the knife--to kill you!Kill me--no! she cries, and tries to run past him.  He stabs her in the shoulder.  She falls to the ground.  Gabriel surveys his handiwork with pleasure.

NOTES:  The bodies in the records room--eww.  Brutus was a sick puppy, no doubt about it, and he chose the best vehicle for his murderous intent--insane Gabriel, brilliantly played by Pennock.  Now he has Gabriel doing his dirty work, and he's already stabbed Melanie, who is so joyously anticipating a life with Kendrick.  I sure hope he doesn't finish her off, and she gets to marry the guy she loves.

Even Catherine can't escape Collinwood.  Her husband doesn't want to go.  Both Harridge gals asked their respective hubbies to leave the old homestead, but both got negative responses.  Collinwood won't let its own go; even Bramwell, who wants to stay, I'm sure, because of his and Catherine's baby.

Julia showed herself to be extremely vulnerable in this episode.  Who would have expected her to be so upset seeing the two bodies--and her fear at being locked in was way beyond what I'd expect of the stoic Julia we've seen thus far.  Is it possible she, too, was somehow possessed by something evil in that room that altered her personality?  It looked that way to me.

HAPPY NEW YEAR, ALL! It's my pleasure to provide the final episodes of DS through Robservations. Please contact me at ROBINV@OPTONLINE.NET if you wish to order my Robservations CD, containing every single episode!

1232 - Julia gently strokes Morgan's face, encouraging him, wake up.  He opens his eyes and looks at her.  Morgan? she asks.  Julia? he says.  Thank heavens your're yourself again, she says.  Myself? he asks.  I'll explain later, she says.  He climbs off the bed--how did I get here?  It's a long story, she says, and I'd better start with the last thing that happened.  Julia! he says delightedly, I've survived the room--I'm alive and well and I've broken the curse!  No, she says, a moment ago, the spirit of Brutus Collins appeared here and he said the curse is not ended--it will go on and lead to more tragedy than ever before!

I don't understand, says Morgan--Brutus' original letter stated that if I went into the room and survived, that everything would be all...  No, interrupts Julia, I'm aware of all that, but I just learned something we never knew before--it wasn't James Forsythe that put on the curse, but Brutus Collins.  Morgan is shocked.  The man was obviously half mad, says Julia, and despised by everyone in his family except his sister--and when she turned against him, he became completely mad, and that's when he put on the curse.  Then it was a Collins who did it, says Morgan.  Yes, says Julia, and Brutus who killed his wife, Amanda, and Forsythe.  But why? asks Morgan.Brutus and James were business partners, she explains--Brutus was cheating Forsythe; the latter found out about it and told Brutus that he knew--Brutus killed him to protect himself.  But why would he kill his own wife? wonders Morgan.  Forsythe and Amanda were lovers, says Julia.  How did you find all these things out? he asks.  You told me, she says--what's the last thing you remember when you went into the locked room?  I remember discovering a secret door in the room, he says, and I opened it to discover another room.  And you found a flight of stairs, she says, that led to a room that had old ledgers in it--and two corpses.  Yes, but how did you know that? he asks.  The two corpses were Amanda and James Forsythe, she says, and somehow, when you were there, Forsythe's spirit possessed you.  You mean I came out of that room as James Forsythe? he asks.  Yes, she says--we were afraid you'd never be yourself again.  How long was I like that? he asks.  Over a week, she says--at first you seemed quite harmless, but then you began to change, and you started to become violent--earlier this evening, we held a seance, hoping to exorcise the spirit from your body.  And you succeeded, says Morgan.  No, she says, the ghost of Brutus Collins managed to get Forsythe's spirit back to his tomb.  I want to learn the rest downstairs, says Morgan--I'm going to find Catherine at once.

Daphne gazes out the Old House window for a few moments, then leaves the house and paces in front of her doorway.  She hears someone coming--Josette, who asks where Bramwell is.  I don't know, says Daphne, turning her back, he's been gone most of the evening.  Are you feeling all right? Josette asks.  Yes of course, says Daphne.  You haven't been happy here, have you? the older woman asks.  Whatever made you say that? asks Daphne.  I know it's true, Josette says, there was a quality about you when you first came here--a spirited, zestful quality--I don't see it anymore, and I know why.  There's really nothing wrong, says Daphne, holding Josette's hand--you've been awfully kind and considerate toward me--nothing that won't work itself out in time--she excuses herself to get some fresh air. Josette gazes sadly after her, then looks at a letter in her hand, addressed to Bramwell.

Morgan comes downstairs to the drawing room and asks Julia, who is doing needlepoint, where might Catherine be?  Haven't you found her? asks Julia.  No, I've looked all over the house, he says impatiently.  Julia, looking circumspect, says, I have no idea where Catherine might be.  Do you know something you aren't telling me? he asks--what else happened while I was possessed?  Nothing, says Julia.  How many times did Bramwell come to this house? he asks.  Now you really must not get upset by that, says Julia, going over to the liquor cabinet.  How often did Bramwell come to this house--I can't believe he stayed away the entire time I was possessed, says Morgan--how often was he here?  A few times, admits Julia.  More like every day, guesses Morgan angrily.  Don't start imagining things, says Julia.  I'm not doing that, he says, I'm just angry, and would like to know why my wife isn't here where she belongs.  (Like a possession, for God's sake--being possessed didn't improve Morgan one bit.)

11:05 - Bramwell's letter sits on the mantel.  He comes home, looking dejected.  Where have you been all evening? asks Josette.  Out walking and thinking, he says.  She hands him the letter, which he anxiously opens.  This is wonderful! he exults, this could be the news I've been waiting for--I'm to meet Daniel Cabot at midnight -he's the one who will have news of my ship!  Josette looks at him.  Aren't you excited? he asks.  Even if the news is good, she says, will it change anything?--will it make life anymore bearable for Daphne?  Bramwell looks guilty.

I don't know what you're talking about, says Bramwell.  Yes you do, says his mother, and it's time you faced up to it.  Faced up to what? he demands.  You're just like your father, she says, he could talk about anything but his own emotional crises.  We'll have to discuss this later, insists Bramwell, I'm going to the village.  No! says Josette, we're going to speak now--if you aren't able to realize the mistake you made, it is up to me to point it out to you.  What mistake are you talking about? he asks.  Your marriage to Daphne, she says--you do know it was a mistake, don't you?  No I don't know, he says, turning away.  Look at me, she says, do you love her?--do you really love her?  I think I do, he says.  You don't THINK you love a person, Bramwell, she says, you know.  All right then I know, he says.  That makes you rather unique, doesn't it? she asks.I don't know what you mean, he says.  No man can divide his love between two women--you're still in love with Catherine and you know it, she says.  My feelings for her will pass, he says.  You don't believe that anymore than I do, she says--if a man makes a mistake and hurts only himself, that's one thing--but in this situation, Daphne is the one being truly hurt--can't you see that?  Bramwell, ashamed, asks, has Daphne been talking to you?  She hasn't had to, says Josette, it's obvious enough just looking at her.  Where is she now? he asks.  She went out for some air, says Josette.  I do have deep feelings for her, he admits.  Why can't you show them? asks Josette.  I don't know, he says--I want to be close to her, I want our marriage to have some meaning, but for some reason, I haven't even been able to try.  Some reason other than Catherine? asks Josette.  Possibly, he says evasively.  (Oh, just the matter of your unborn grandchild, Josette.)  Do you know what it is? she asks.  No I don't, he says--but at least I'll begin to make an effort, I promise you that.  Don't promise me, promise yourself, begs Josette (she's a good mama), she's a fine woman, and devoted to you--it would take so little to make her happy.  If this is what I think it is, he says, holding up the letter, everything will be different after tonight, believe me--and he leaves.  Josette gazes after him, probably thinking, he believes money will change everything, thus proving he missed her point entirely.

Daphne comes to Collinwood and hesitates before knocking.  She remembers Bramwell's words to Catherine--"It is you I love, and always will love!--nothing can ever change that"  Daphne knocks,  Morgan answers the door.  Realizing he's back to himself, she asks, are you recovered?  Yes, completely, he says.  I'm happy to hear that, she says--we were all terribly concerned about you.  I'm sure Bramwell wasn't very concerned, says Morgan.  She looks down--I'd like to talk to Catherine, she says--is she in?  No, says Morgan, I'd like to talk to Catherine myself.  It's getting late, where is she? asks Daphne.  I think you know the answer to that, says Morgan.  Daphne looks at him.

Morgan walks into the drawing room and pours himself a drink.  Explain what you meant by that, demands Daphne.  I think it's quite obvious what I meant, he says.  I don't think it's obvious at all, says Daphne--I don't know where Catherine is.  Do you know where Bramwell is? he asks.  No, she says.  Do you think it's possible they might be together? he queries.  Is that something you know or just suspect? she asks resentfully.  He sips his drink and says, it's a very real possibility--you see, the week I was possessed, your husband took advantage of me--he saw Catherine every day!--that doesn't seem to surprise you very much--or maybe you didn't know anything about it. No, I didn't KNOW anything, she says.  Then why aren't you defending your husband? he asks.  I don't think it's necessary! she says, if you're implying that Catherine and Bramwell have been unfaithful, I don't believe it! You don't or won't? he demands.  I think the things you said are shocking, accuses Daphne--do you really believe Catherine could be unfaithful to you?  Morgan thinks that over--you're right, he says, I must never think anything like that--I'm sorry--but I'm no less angry at Bramwell--he must not see her anymore, because if he does, I'm going to kill him.  Julia comes in--that isn't the answer, she chastises--I told you not to get upset about this.  I can't help it, he says.  If Catherine and Bramwell have been seeing each other, says Julia, you must believe it's out of friendship.  That isn't the point, says Morgan.  I want you to know something about Catherine, too, says Julia, before you see her--when you were possessed, she was with you all the time, even when you became dangerous, she wanted to be near YOU!  Where is she now? he asks--why isn't she here?  One of the servants just told me she's gone to the Stokes cottage, says Julia.  What is she doing there? she asks.  Carrie was here when we held the seance, explains Julia--at the height of the seance, Morgan ran from the room and Carrie fainted--I suppose Catherine went there to care for her.  I'm going there to get her, he insists.  Morgan, says Daphne, tell Catherine--she raises her hand to her forehead, looking as if she's going to faint.  Julia and Morgan call her name--what's wrong?  I suddenly felt very dizzy, says Daphne.  You'll be better when we take you back to the Old House, says Julia.  I'll be all right, Daphne assures her.  You'll be better off in bed, advises Julia.  No, says Daphne, I want to stay here--I've got to talk to Catherine.  It can wait until morning, says Julia.  Daphne agrees--I feel a bit weak.  Julia and Morgan lead Daphne out of the house.

Josette sits at a table in the Old House drawing room, playing solitaire.  She rises, impatient, and hears the front door.  It's Julia with Daphne, who explains that the young woman got dizzy at Collinwood.  They help Daphne to sit on the sofa, where she pretty much passes out.
Josette comes downstairs with smelling salts.  Daphne's fever has gotten worse, says Julia, running the salts under Daphne's nose.  Daphne awakens, complaining, I feel so warm.  Let's get you upstairs, suggests Julia, holding her hand.  Where's Bramwell? asks Daphne anxiously.  He had to go into the village, says Josette.  Let's go upstairs, says Julia.  No, I want to wait here for Bramwell, insists Daphne.  You're too ill to sit here and wait, objects Julia.  He's never coming back to me, is he? Daphne asks Josette, alarmed.  Taking her other hand, Josette says, of course he is, my dear.  Oh, Josette, how I wish I could believe that! murmurs Daphne.  You must believe it, says Josette, because it's true--let us get you to your feet.  They help her up.  Julia, says Josette, send for Dr. Fletcher.  Yes, says Julia--do you have some alcohol?  Yes, says Josette, I know what to do. They support Daphne between them, but Josette alone helps her upstairs.  Julia leaves.

Morgan opens the case of pistols and takes one out, examining it.  When Julia enters, he puts the gun back.  Have you been with Daphne all this time? he asks.  Almost all, she says--the doctor should be there about now--I'm worried about her, have you seen Catherine?  Yes, he says, she's upstairs.  Did you tell her about Daphne? she asks.  No, I didn't think it was anything serious, he says, but if you think it is, I'll go tell her. Let's wait until we hear what the doctor says, suggests Julia.  You know, says Morgan, I believe I know what is it--I believe Daphne knows where Bramwell's feelings really lie--she knows why he married her--and she's unable to live up to that.  He places his hands on the pistol case--"The man should be shot!"  (Sounds like he might be making secret plans to do just that, doesn't it?)

Old House - Daphne, wearing a pretty white nightgown, comes downstairs. Josette, shocked to see her out of bed, asks, what are you doing?  I want to be here, insists Daphne, to greet Bramwell when he comes home.  But you know what the doctor said, protests Josette--you need complete rest--you must stay in bed.  When is he coming home? asks Daphne.  Soon, promises Josette, very soon.  She helps the ill young woman slowly back upstairs.

Collinwood - Morgan pours himself another drink.

Josette leads a nearly fainting Daphne back to bed, the same one in which Bramwell recuperated from being shot.  Why did Bramwell go into the village? asks Daphne.  He had to meet a man, at midnight, says Josette, covering her with blankets, something to do with his ship.  He's been so worried about his ship, says Daphne.  I know, says Josette--now lie back and try to rest.  You bring him here as soon as he comes home? asks Daphne.  The very moment he arrives, says Josette.  Thank you, says Daphne.  Josette looks at the door, miserable.  Why do you look so sad? asks Daphne.  I'm not sad at all, says Josette, tears in her voice.  Bramwell comes home--Daphne! he calls excitedly--I have wonderful news!  Daphne sits up in bed--Josette, she says, let me be alone with Bramwell.  Whatever you say, says Josette.  Bramwell comes running in, looking like a little boy on Christmas day.  He races to Daphne's bedside--it's happened, he exclaims--my ship has come in and we're rich!  I'm so happy for you! she says, her face lighting up.  Everything is going to be so different now, he promises, holding her hand, kneeling beside her--I know I haven't been a very good husband, but I've done a lot of thinking on my way back here, and everything will be different--we'll travel, you'll have everything you wanted in life.  Daphne looks at his joyous face--I always wanted to hear you talk like that, she says.  You don't seem very excited, he notes.  I am, she assures him.Something is wrong, he says--you're pale and have a fever.  It's nothing, she assures him, holding his hand, the doctor was here and he said I'd be all right in a few days--hold me, Bramwell, please, hold me in your arms.  He does, tightly--nothing must ever happen to you, he insists--nothing.

Downstairs, Josette wrings the hell out of a handkerchief.  Bramwell comes downstairs--what happened to Daphne? he asks.  It came so suddenly, she says.  What did the doctor say? he asks.  She turns away, unable to reply.  Again, he demands, "TELL ME WHAT THE DOCTOR SAID!"She's dying, Bramwell, says Josette sadly--Daphne's dying.

NOTES:  Oh, hell, does Daphne perhaps have the plague?  I guess not, since they didn't say so.  Is she really going to die?  That would be so terrible now that Bramwell has decided to be a devoted husband, but it would be true to the irony we see on DS.  Look what they did to Angelique at the end of 1840.  Bramwell now has the bucks and even the resolve to become a good husband--but is it too late?  Will Young-Ingenue-Mysterious-Soap-Opera-Disease claim Daphne's life?

Morgan seems back to his nasty self..  Did he have to say all those cruel things to Daphne?  I think he was left with some residue of that room.  They never showed his reunion with Catherine, an oversight, I think.  She must have been very happy to see him back to himself after dealing with Forsythe for a week.

1228 - Melanie, what are you talking about? asks Kendrick.  She turns away--my mother will tell you everything, she says.  What is it? Kendrick demands of Flora.  I'm sure I don't know, says Flora.  But you do know, insists Kendrick, you can't pretend anymore, I demand an answer now.  You have seen the attacks Melanie is prone to, says Flora, she is also prone to hysteria.  Not true, says Melanie, I'm quite myself now, Mama, you know what I'm talking about, so tell him, please, Mama, for me!  Darling, says Flora, there is nothing to tell--I'm sure Mr. Young is distressed to see you so overwrought.  Tell him! cries Melanie, in despair, he must hear it.  Hear what? asks Kendrick.  That I killed Stella! cries Melanie.  Don't listen to her, says Flora, she doesn't know what she's saying!  Kendrick, shocked, stares at Melanie, who apologizes, near tears.  How did it happen? he asks.  I don't know, says Melanie.  It was an accident, wasn't it? he asks.  Melanie, says Flora, go to the study and wait for me.  No, I've got to find out now! says Kendrick.  Melanie, says Flora, did you hear me?--I said go to the study!  Sobbing, Melanie runs from the room.  Flora closes the doors--Mr. Young, what do you expect to learn from a girl who imagined everything she just told you?  One thing is real, he says--my sister was killed.  But surely you don't think Melanie killed her? says Flora.  What made Melanie say it, then? he asks.  Who knows what makes the troubled mind act as it does? asks Flora--how many disturbed people have confessed to crime they didn't commit, quite common, I believe.  Why did she confess to this crime? asks Kendrick in a dangerously soft voice--why?  I would say that your recent attentions have a lot to do with it, she says--you frighten Melanie so this is her way of...  Of what? asks Kendrick--getting rid of me?--no, he says firmly, I won't take the blame or your explanation--where was Melanie when Stella was killed?  Flora is silent.  Please, give me an answer, he begs.  I'm afraid I can't, says Flora--because I doesn't know precisely when, why or by whom your sister was killed.  You mean you have no proof of anything, one way or the other, he accuses.  There are some things, says Flora, people know without having proof--and I know Melanie is innocent, and I say you take your questioning elsewhere--goodbye!  She opens the doors, dismissing him.  I can't be left like this! insists Kendrick.  I said goodbye, repeats Flora, and leaves him standing there.  He exits the house.

Foyer - Flora leads a sobbing Melanie in from the study, urging, hush, darling, don't cry.  He's gone forever, wails Melanie.  He wasn't right for you, says Flora.  Yes he was, cries Melanie--I know it could never have worked out because of his sister, but I had to tell him the truth, even if it meant losing him.  It's not the truth, insists Flora, you couldn't have killed her.  I couldn't have! says Melanie, but SHE could have, that demon inside me, she could have, and did--why don't you turn me over to the police?  Now listen to me, commands Flora, if Kendrick brings the police back here, you're going to deny everything you said and so am I--do you hear me?--they'll think him the one who's mad.  Instead of me! says Melanie viciously, and once again the Collins family will win!  Darling, it's not a question of the family, but YOU I'm trying to save, insists Flora.Am I worth saving? asks Melanie pathetically--I don't think so--she bursts into fresh tears.

Old House - Bramwell sits looking into the fire.  Daphne comes in--may I speak to you? she asks hesitantly.  Certainly, he says.  When I asked you to take me away, you said no, she reminds him--you said I could either stay and be your wife, or I could leave by myself--that was the choice you gave me--I've decided what I'm going to do.  I see, he says noncommittally.  I'm going to stay, she says, running into his embrace--oh, Bramwell, I was so lonely even for just the hour I was by myself, I know I could never live without you.  You don't have to, he assures her gently.  I know that, she says, but we can make this marriage work, be happy together, be happier than anyone else could be.  She's touching his face, his jacket front, trying hard to be seductive.  Bramwell suddenly, angrily, insists, I have to go upstairs--if you'll excuse me--and does, leaving her alone.  She calls up the stairs to him, assuring him, things will be different from now on--we should go out tonight, just the two of us--"Bramwell, did you hear me?--you didn't, did you?"  She realizes he is gone--"You didn't hear a word I said."  She bows her head sadly.

Gazebo - Melanie waits, sitting on the bench.  Kendrick appears.  Did you come with the police? She asks.  Who said anything about the police? he asks, taking her hand.  Mama, she says.  Melanie.  I would never do anything like that, even if I thought you were guilty, he assures her.  I AM guilty, she says, covering her face, I know I am--Mama says I imagine things, but I don't, I know I don't--I know I killed Stella, and you've seen that person I become and you know it, too.  No, says Kendrick, you didn't kill her!--maybe when you first confessed, I believe it, but I thought about it--you could not have killed her, no matter what state you were in.  But that other person inside me, she says.  She could not have done it, either, says Kendrick, I saw you become that other person, she was tormented, tortured, but she couldn't kill--she had no violence in her.  That's not true, she says--the first night Catherine stayed in this house, I was found by her bedside with a knife in my hand--a knife!  But you didn't use it! he reminds her.  Only because Julia stopped me in time, says Melanie, her voice ragged--there was nobody there to stop me when I killed Stella!  Stop torturing yourself! shouts Kendrick--you didn't kill her, I know it!  Melanie, crying, turns to him--you can't see me as I am because you think you're in love with me.  I don't think I love you, I DO love you, he assures her--you and I are destined for each other--in time, the truth will come out, what happened to Stella.  I've told you the truth, she says.  Forget what you told me, he insists.  What about my attacks? she says, should we forget them, too?  No, the truth will come out about them, too, he says.  Oh, Kendrick, if you came here looking for truth, you came to the wrong place, she says.  I came here to find you, to love you, he says, and to marry you.  Stunned, she looks at him--to marry me? she asks.  As quickly as possible, he says.  I don't know, she says.  You love me, don't you? he asks.  You know I do, she says.Please say you'll marry me, he says, kissing her.  He holds her close--we will have a good life together, believe me, it's true.  She draws away, uncertain.  Don't be afraid, he says.  I am afraid, that's the truth, too, she says--I'm so terribly afraid.

Collinwood - Catherine comes downstairs.  How is Morgan? asks Flora.  Morgan? repeats Catherine sarcastically--isn't it strange how we keep calling him that, despite what's happened?--it's not Morgan, James Forsythe went into that room that night and took Morgan's body for his own!  He IS Morgan, says Flora, we must continue to think that.  Do you? demands Catherine, do you really believe that man up there in that room, staring down at us, hating us because we're Collinses, that stranger--is my husband or your son?  Not as he is, says Flora, I don't know how to bring my son back, except to wait.  Wait for what? asks Catherine--and how much longer must we wait?  I don't have an answer for either question, says Flora.  I used to believe the worst thing in the world was waiting for someone you loved to die, says Catherine, but this is worse--death comes, this has no end!  Would you rather Morgan had died or gone mad like the others? asks Flora angrily.  No, says Catherine, shaking her head.  Then no matter how long it takes, says Flora, wait and be patient--accept what is.  Accept? asks Catherine--accept a stranger who hates us all?  He may hate, says Flora, but thus far, he has harmed no one.  No one but Morgan, says Catherine, and why didn't Morgan accept?--why did he have to go into that room, take my place?  Because he loved you, says Flora, remember that--remember he sacrificed himself--for you!  Catherine stares at her mother-in-law.

You don't have to remind me what I owe Morgan, says Catherine, that's why I can't just accept it, I have to do something.  When Justin turned out as he was, says Flora, I swore I would help, but I couldn't--there was no help this side of the grave--only hope.  You Collinses, says Catherine angrily, I can never understand you!  YOU Collinses? echoes Flora--don't forget you're a Collins now!  Forget it? asks Catherine, oh, no, I won't forget it--wherever Morgan's soul may be now, whatever limbo it may be in, however long it may be there--no, I'll never forget that I am his wife!  (I feel for both women here, and understand Catherine's discontent.  Flora is a for-better-for-worse kind of wife, but not Catherine.)

Daphne sits by the fire.  Bramwell comes down--you look tired, he says--you should be in bed--it's late.  He's slipping into his jacket.  It's too late to go visiting, she says.  I'm not going visiting, he assures her.  Where are you going? she asks.  To the village on business, he says.  This hour, everything's closed, she points out.  He makes a face--not the taverns on the waterfront, he says--there may be a man there who knows about my ship.  Daphne slides her hands up the front of his jacket--can't this man wait until morning? she asks.  No he can't, says Bramwell, annoyed.  I'm sorry, she says--it just frightens me to think of you on the waterfront this hour.  I'm capable of taking care of myself, he says, irritated.  Please wait until morning, she asks softly.  By morning, he may be gone, says Bramwell, I must go now!  Can I come with you? she asks hopefully.  Of course you can't! he says, shaking her off--you can't cling to me every minute of the day and night--that's not what a marriage is.  I don't mean to cling, she says, doing just that, but I hate to be alone.He withdraws from her grasping hands--I'll be back as soon as I can, he promises.  Hurry then, she calls--I'll wait for you.  She closes the door after him, crying.

Flora answers the door to Bramwell.  "You're up very late," she notes.  I couldn't sleep, he says, I was passing by and hoped someone would be up--may I come in?  Of course, says Flora--is something particular disturbing you?  Yes, says Bramwell, I was concerned about Morgan--has his condition changed?  No, it hasn't, says Flora.  I'm sorry to hear that, he says.  Are you? she asks--your concern for Morgan doesn't ring true.  He looks ashamed.  Nor does your story about passing by, says Flora.  What's happened to Morgan is a terrible thing, says Bramwell, I'm certainly capable of some compassion for him.  Your compassion is not for Morgan, says Flora, it's for his wife, for Catherine, and I will not have that--no matter what I have to do, that is something I will not have!

I can't deny I'm concerned about Catherine, too, admits Bramwell, after all, we are old friends.  You were much more than friends, says Flora, but no more--you are married to Daphne, and Catherine to my son--thank you for your concern about Morgan--in the future, please stay away from here--let us each take care of our own.  I assure you... he says.  You will never assure me no matter what you say, insists Flora, leave us alone--leave Catherine alone!  That's all she is to you, says Bramwell, growing angry, just your son's wife!--she's become a Collins possession now, you can tell her what to do and how to act.  I think, says Flora, if you're honest, you'll admit, Collins or no Collins, there is only one way she can.  And what way is that? asks Bramwell.  She married Morgan for better or worse, in sickness and health, Flora reminds him.  You can't expect her to go through life in that unbearable situation! insists Bramwell.  Do you think MY life was bearable? asks Flora--but I never forgot I was Justin's wife--and what about Morgan?--is his situation less suffering?  Collinses always come back to themselves, don't they? asks Bramwell bitterly--what they feel and what they suffer--that's all that's important to you!  Go home, orders Flora, where you belong--go home to your wife who's waiting for you.  I wish it could be that easy for me, says Bramwell, to turn my back on you--to let you destroy yourselves the way you deserve!--but I can't do that, because you're going to destroy Catherine and my....  (!)  He stops, realizing what he's about to give away.  And your what? demands Flora.  It's late, he says, I think you'd better get some rest--good night, Flora.  He leaves.  She closes the door behind him, and  says, aloud, "Stay away from us, Bramwell, please stay away."  She closes her eyes.  (What would she say if she knew what Bramwell almost spilled?)

Gazebo - Catherine sits, pondering her life.  Bramwell joins her--I'm sorry for frightening you, he says.  It's all right, she says, I didn't expect anyone to be out this late.  I couldn't sleep and decided to walk, then asks, "Why should I lie to you?--I didn't decide just to walk, I've been everywhere tonight, looking for you, hoping I'd find you."  She gazes at him adoringly and says, I won't lie, either--I remembered your habit of walking late at night, and hoped to see you.  Our lives have become nothing but lies, haven't they? he asks.  I don't want you to misunderstand me, she says, stepping closer, I wanted to see you because you were my truest friend.  I'm much more than that! he says.  I know, she says, but it's a friend I need now, please, I need one desperately, I'm so concerned about Morgan.  Morgan! he says, pulling her into his arms--be honest a little longer--Morgan means nothing to you.  He does because I'm his wife, protests Catherine.  Because you are stubborn and willful! he says through gritted teeth.  I don't want to talk about the past! she insists, pulling away, but he gathers her back into his arms and asks, should we talk of the future?--you can't spend the rest of your life with a man hopelessly possessed!  He went into that room to save me, says Catherine brokenly, that's why I have to stay!--why I have to help him, even if it takes the rest of my life.  You are remarkably generous with the rest of your life, says Bramwell, considering it belongs to me!--every minute you breathe is mine, just as every breath I take is yours.  No, she says.  There is no Morgan, he says, there never was--other people are only shadows we frighten each other with--hurt each other with--it's true, isn't it?  Morgan did it for me, cries Catherine, he went into that room to save me!  We are the only ones, you and I, insists Bramwell.  She says his name, her voice filled with despair.  It is only you that I love and always will be, he says gently--it can never be anything else  He takes her into his arms and kisses her.  She responds ardently, holding him close.Unknown to either of them, Daphne is hiding in the bushes, seeing and hearing everything that has gone on between them.

NOTES:  Poor Daphne.  To be rejected by her bridegroom over and over, then to find out he and Catherine still love each other.  This is where Catherine and Bramwell are too human, too fallible, and while I don't give a hoot about what they are doing to Morgan, Daphne is a sweet young woman who is a victim of her sister's love for her husband.  This is a real tragedy.  I feel terrible for her, and while I know I should despise Bramwell and Catherine, I always root for them to get together forever.

Loved the confrontation between Flora and Bramwell.  I understand how she feels about him, why she wants him away from her son, but that couple, who "use other people as shadows to hurt each other with," are linked together in every way possible, including a child now.  At least they didn't discuss THAT within Daphne's hearing; it would have destroyed her.

Kendrick is one understanding guy!  Melanie has confessed she might have killed his sister, and not only is he willing to overlook it, he proposes, too!  He and Melanie are adorable together, but damn, would any real person be so forgiving?


1229 - Downcast, disbelieving, Daphne watches her husband kiss her sister.  Catherine finally breaks away--we can't do this, she says--it can only lead to tragedy.  I only know we cannot help ourselves, insists Bramwell.  She shakes her head--no, she says.  Admit to me you feel as I do, he says, whirling her around to face him--let me hear you say it!  What good would it do to say it? asks Catherine, it's all hopeless, you know that.  Let me hear you say it, he commands.  "I love you and I will always love you," confesses Catherine--"but it changes nothing--you're married to Daphne and I to Morgan--our whole situation is hopeless, there's no end for us, Bramwell!"  Daphne leaves her hiding place.

Collinwood - We see the lottery vase, lifted by Forsythe's hand.  Good morning, Julia greets him--you're up very early.  I've not been to bed, he replies, examining the vase--sleeping is not one of the safest things you can do in this house.  Wasn't Catherine looking after you? asks Julia.  No, he says.  Where was she? asks Julia.  I don't know or care, he replies.  Why are you holding that particular vase? She asks.  You're asking altogether too many questions, he complains.  Are you aware that is the lottery vase? she asks.  He touches his forehead.  Aren't you feeling well? she asks.  He mutters about "something just returning from the Indies"--I found this in her cargo and gave it to Brutus for Christmas.  How well did you know Brutus? asks Julia casually.  Who are you trying to fool? he demands--it was you, Constance, who introduced me to Brutus--you always seem to forget that, but I assume that's because of your strange loyalty to him--because you are his sister.  His sister Constance, repeats Julia.  What are you mumbling about? he asks.  Nothing at all, she says--tell me, why are you so bitter about Brutus?  The two of you are just exactly alike, he accuses, so despicable, deceiving.  Why do you hate us so? asks Julia.  Such a stupid question, says Forsythe.  I'm just trying to understand, she says.  Understand? he asks, you and Brutus are totally incapable of understanding anything--you know perfectly well the reason I hate you so much--and I refuse to go on boring the two of us because of it.  Where are you going? she asks.  To get away from you, he retorts, as far as I can possibly get.  She tries to stop him, but he warns "Constance," stay away from me--I'm warning you!--stay away from me!  He leaves.  Julia is shaken.

8:15 - Daphne enters Collinwood and enters the drawing room, agitated, very upset.  "I'm married to Morgan, you are married to Daphne, nothing can change that--our whole situation is hopeless!" she recalls her sister saying--"There's no end for us, Bramwell!"  Daphne wanders the room, distracted.  She spots the dueling pistol box, opens it, and takes one of the guns into her hand.

Daphne is moving the gun toward her temple when she hears the front door slam and puts it down quickly.Bramwell asks, what on earth are you doing here?  I might ask you the same question, she says.  I came to see Flora, he says, she and I had a rather unpleasant argument last night, and there were a couple of matters we left unresolved.  Oh, what was your argument about? asks Daphne, barely controlling her feelings.  Just an old family quarrel, nothing to worry you about, he says.  I see, she replies, I took a long walk this morning, a very enlightening walk--I decided to come here and speak to Catherine--you wouldn't know where she is, would you?  No, he says.  Then I'll just wait for her, says Daphne, sounding out of breath.  Are you all right? he asks.  Of course I am, she says--suppose you tell me if anything is wrong.  He gazes at her quizzically--what are you talking about?  Julia and Catherine are coming downstairs, Catherine asking, do you have any idea where he went?  He warned me not to follow him, says Julia.  Catherine and Julia enter the drawing room.  Catherine happily greets her sister.  Good morning, says Daphne, walking away from all of them toward the window.  How is Morgan? asks Bramwell. It seems something new has happened to him, reveals Julia--earlier this morning, he was convinced I was Catherine (Constance) Collins, the sister of Brutus Collins--he also became much more hostile than usual.  Catherine is staring at Bramwell, intently, and he is staring back with equal intensity.  Someone should go find him, says Catherine--the state he's in, there's no telling what he could do.  You don't know where he is? asks Bramwell.  No, replies Julia, he ran from the house, I wasn't able to stop him--if only we could find and question him when he's this way, I'm sure we'd find out more about the curse.  Bramwell volunteers to go find him.  Catherine, very grateful, says, I'd appreciate that so much.  He looks at her lovingly and leaves, Julia behind him.  Catherine closes the doors--Daphne, she says, I don't know what I'm going to do.  You mean about Morgan? asks Daphne.  Yes, says Catherine, life used to be so simple, when we were children, wasn't life simple?  Yes, says Daphne coldly, so was love, we did love each other THEN, didn't we?  I don't understand, says Catherine, you're still my sister--I love you very much.  Daphne turns away--it's good to know, she says--I was thinking this morning, about how you warned me against marrying Bramwell.  Yes I did, says Catherine--what about it--are you really that unhappy?  If you don't mind, says Daphne, I'd really like to be alone.But Daphne, says Catherine.  Please, says Daphne.  Very well, agrees Catherine, and leaves the room.  Daphne stares at the box of pistols again, opening it, taking one out.  Oh God, I can't! she cries, I can't--and returns it to the case.

Forsythe goes to the Stokes cottage, calling, "Amanda, I'm here--please come to me!"  Receiving no reply, he continues to call to Amanda, then sits down in a chair to wait.

Collinwood - Julia finds Daphne sitting by the fire--have you been here all day? asks Julia.  No, says Daphne, turning away, I left and came back.  You're upset about something, what is it? asks Julia.  Nothing, says Daphne.  Please, tell me what it is, says Julia.  I said it's nothing! cries Daphne.  It's Catherine and Bramwell, isn't it? asks Julia.  What? asks Daphne, surprised.  I know they've been seeing each other secretly, says Julia.  How did you know that? demands Daphne.  I try to keep in touch with everything that's happening, says Julia--I believe there's still something between them, in a lost, romantic way, something that will pass, even though their feelings for each other will always be.  Julia, laments Daphne, I love him!--I've got to find a way to win his love--I just can't live without it!  It will take time, predicts Julia, but he will learn to love you.  Daphne doesn't look as if she believes that.

Forsythe sits in the cottage, rubbing his hands around and around each other.  Carrie walks right past him, about to turn on the lights, and notices him.  You! she cries.  Turn on the lights so I can see your face, he says.  Shaking, she does not comply.  Turn them on, he orders. . .Sarah, I didn't expect you, he says, smiling--what are you doing here?  I don't know what you're talking about, says Carrie, scared and dismayed.  Why are you trembling? he asks--has someone at that house done something to you?  No! she cries.  Is it me?--you know how much I love you, he protests--I wouldn't harm you for anything--come on, Sarah, he says, trying to put his arms around her.  No! she says, pulling away, please.  What is it? he asks--why did you come here?--there must be a reason for it!  Leave me alone, she begs.  Did you have a message for me? he asks eagerly, what is it?--is this from Amanda?--did Amanda tell you to come here and tell me she wasn't coming?--is that it?--why?--who is trying to stop her?--is it Constance?--did Constance find out Amanda was going to meet me?  Carrie stares at him, aghast--I don't know anyone named Constance, she says.  Yes, says Forsythe, Constance knew you were coming here, isn't that right?--isn't that right?  Please, I don't know, just leave me alone, begs Carrie.  Yes, of course, he says, it was Constance--I knew all her tricks and how deceitful she is--but I will deal with her!--I will put an end to the treachery, you will see, Sarah!   He leaves.  Carrie locks the door, trembling violently.

Julia brings a tray into the drawing room--Daphne, she asks, are you feeling any better?  A little, yes, says Daphne.  I brought you some tea, says Julia, I want you to drink it. You're really being awfully understanding, says Daphne.  And that surprises you? asks Julia, smiling.  Yes it does a little, says Daphne, we've never known each other very well.  I'm known for saying what is on my mind, says Julia, that hasn't always made me very popular--this will be a difficult period for you--you'll need all the patience and courage you can muster--do you understand?  Bramwell returns--I wasn't able to find Morgan, he says--he must have gone into the village.  If he's gone there, and talks to anyone the way he talked to me, frets Julia, we'll know about it very quickly, I'm sure.  Daphne, asks Bramwell, have you been back to the Old House all day?  She shakes her head--no, she says, I didn't want to be alone.  Are you all right? he asks, sensing something amiss.  Yes, she says coolly--if you'll excuse me, I'll go say good night to Catherine.  She leaves.  Something is disturbing her, says Bramwell.  Nothing that being a proper husband couldn't cure, retorts Julia.  What do you mean by that? he asks.  I'll do you a favor of not lecturing to you, she replies, since you don't like lectures.  Thank you for sparing me that, he says sarcastically.  Your  reasons for marrying Daphne are your own affair, says Julia, but I do think you could be kind to the child.  Who said I wasn't kind to her? asks Bramwell.  Nobody, says Julia, but your actions are speaking for themselves--she wants some of the love you promised her when you married her, and she's not getting any of it--that's all that's wrong.  I can't believe she said all that to you, says Bramwell.  It wasn't necessary to say anything, says Julia, looking toward the stairs--they're coming down, she warns Bramwell.  Julia and Bramwell go into the foyer.  Catherine and Daphne come down.  I'm going back to the Old House, says Daphne--are you coming?  Yes, I'm coming with you, he says, bidding Julia and Catherine good night.

Outside, Bramwell asks Daphne, how long were you with Julia? he asks--and exactly what did you say to her?  We talked about a great many things, says Daphne, I got to know Julia a little bit tonight.  She walks away, leaving Bramwell to follow.  Forsythe stands in front of the door, twisting a knotted rope in his hands.

Julia closes herself and Catherine in the drawing room--I want a word in private with you, says the older woman.  Very well, says Catherine, resigned--what is it?  I had a long talk with your sister tonight, reveals Julia--she's a very unhappy young lady.  I am aware of that, says Catherine, but there's nothing I can do about it now.  Yes there is, says Julia sternly, you can stop seeing Bramwell, and stop encouraging him to see you.  What are you saying? demands Catherine.  You needn't act so shocked, says Julia, I know very well you and Bramwell have been seeing each other secretly.  And aren't old friends allowed to speak with one another? asks Catherine resentfully.  Your relationship with Bramwell is more than that of old friends, says Julia.  If you are insinuating...begins Catherine angrily.I'm not insinuating anything, says Julia, I am telling you to come to your senses before it's too late.  Too late? asks Catherine, incredulous.  You and Bramwell have been in love with each other for a long time, Julia says--you're both married now--to other people--for you to go on seeing each other now, secretly, is wrong, and could be scandalous!--it must stop!  I have had just about enough! cries Catherine--of your lectures and moralizing--ever since I came to this house, you have never given me a chance--well I only have one thing to say to you--as long as my conscience is clear, and as long as I am faithful to my husband, and I will be, I shall do exactly as I please--and there is nothing you can do about it--good day, Julia!"--she runs from the room in a fury.  Julia sits down, probably thinking about how too much Catherine did protest.

Forsythe enters Collinwood quietly, rope in hand.  Julia, reading a book, can't see him as he lifts the rope and slips it around her neck, throttling her.  You can't stop me, Constance! he cries, nobody can--you are never going to stop me from seeing Amanda again!Julia struggles against the rope as he pulls tighter.

NOTES:  Weren't they just saying that Forsythe/Morgan hadn't done anything violent?  Well, now he is--will Julia become his victim?  He thinks she's Constance and hates her, just as he terrorized poor Carrie Stokes, thinking she was his sister, Sarah.  What a nut job!

I can understand Catherine's ire at Julia, but the truth is, she and Bramwell DID meet in the gazebo and smooch each other pretty good--plus, in Daphne's hearing, they admitted their love, sending that poor young woman into a froth over her husband's infidelity.  Ironically, Catherine and Bramwell haven't been "together" in the traditional sense since the day they conceived their baby, and they weren't married to other people at the time.  Now things are truly in a mess.  That Daphne felt such despair she was about to kill herself is very sad indeed.  She says she doesn't like being alone, and can't live without Bramwell's love; she's become quite obsessive since her wedding.  I still don't think Bramwell has touched her, intimately, and that's probably upsetting her terribly.  When Julia speaks of his not being a proper husband, that's one thing she's probably obliquely referring to.  I was glad to see Daphne showing some anger, but perhaps she would have been better off confronting her sister and husband about exactly what she had seen.

I can understand Catherine being furious with Julia for all her lectures and edicts, but Julia is actually right, and she was very nice to Daphne.

Loved the romantic scenes between Catherine and Bramwell--the longing, the realization that their situation is hopeless, their declaration of love.  OK, I know they broke Daphne's heart, and I do feel for her, but perhaps she should have listened to her own feelings that theirs had never died.

Love, Robin

1224 - Who is James Forsythe? asks Catherine.  Forsythe put the curse on the family, explains Julia--isn't that true?  Is that what the family's thought all these years? chuckles Morgan.  Do you deny it? asks Julia.  You're even bigger fools than I thought you were, says Morgan scathingly--I had absolutely nothing to do with the curse.You're lying, Julia accuses.  Why would I lie about a thing like that? he asks.  Can you deny what Carrie said? asks Julia.  I am Forsythe, he admits--after 100 years, I live again.  Why wouldn't you admit it to us before? she asks.  I learned a long time ago never to trust or confide in a Collins, he says--it might be fatal.  Morgan come back to me! begs Catherine.  He is dead and won't ever come back to you, says Forsythe.  Catherine walks away, miserable.  Why did you come to the cottage? asks Julia.  He wanted the key to the cellar, Carrie reveals.  You wanted to find Forsythe's ledger, guesses Julia--too late, we have it at Collinwood.  Morgan, holding up a different book, says, I didn't want the ledger; I found what I wanted.  What's that? she asks.  He won't let Julia touch the book he holds out--I've said all I'm going to, he insists--good day.  He leaves.  Morgan! calls Catherine--please wait!  "He is in his own time now," Carrie says.  Catherine and Julia leave to try and find him.

Old House - Daphne sits alone by the fireplace, wearing a robe, drinking tea.  Bramwell comes in.  I wasn't there when you awakened, he says.  They admit they both had trouble sleeping.  Where have you been? she asks.  I went out for a walk, he says evasively.  To Collinwood? she asks.  Yes, he admits--Catherine is all right--Morgan took her place in the room--Morgan is alive, but that's all I know, Julia wouldn't tell me anything--not that I care what happens to Morgan.  What else is troubling you? she asks.  It's no concern of yours, he replies.  Your happiness concerns me, she insists.  I don't feel like talking, says Bramwell--do you mind?  Yes, she insists--I do mind--you haven't been in the mood to talk to me since we got married.  I'm sorry, he says, I've been preoccupied with business matters--I'm anxious for my ship to come in.  Will being rich make a difference in our lives? Daphne asks sadly--will it bring us closer, make us talk about what is troubling you?  He doesn't reply.  The answer, darling, she says is no--talk to me, she begs, for both our sakes.  It has to do with something that happened before the duel, he says.  Yes, she says--the duel that brought the two of us together--so ironic  Bramwell agrees.  It's Catherine, isn't it? she asks.  He can't answer.Oh, Bramwell, she says, near tears, it's always Catherine.  She goes upstairs, leaving him alone.  It's his turn to sit on the sofa and brood.  (Moody, sad scene; I felt sorry for both of them, but most sorry for Daphne, who was being so reasonable and trying so hard.  Catherine telling him about their child probably has made it impossible for him to even consummate his marriage to Daphne.)

Morgan enters what appears to be a fishing shack, where he opens and reads from Brutus' journal: "And as for Sarah, she is the soul of treachery, pretending loyalty to me, but all the time betraying me to her brother, just as Amanda has been doing.  Sarah went to the cottage expecting to find the lovers in their trysting place, instead she found me, Brutus Collins, and now she is dead, buried where no one will ever find her!"  Forsythe claps the book closed--now I know now what I must do, he says--and tonight I shall attend to it.  He leaves the shack.

Catherine and Julia enter the drawing room.  Where did Morgan go? Catherine wonders--Julia, do you think he'll be all right?  He seems well able to take care of himself, says Julia--I just wish he would tell us about the curse.  Yes, says Catherine, if only we could learn enough to end it once and for all.  Have you come around to believing in the curse? inquires Julia.  Something must be happening in that room, admits Catherine--first Melanie, Gabriel, now poor Morgan--do you think he'll go on, just like this, from now on?  No, says Julia, there are just so many questions now.  We have had our differences, says Catherine.  The two women agree to try to answer those questions.  Catherine suddenly feels faint.  Do you feel all right? asks Julia.  I felt faint for a moment, says Catherine, it must be what's been happening, last night and this morning, that's all.  Julia, once again suspicious, asks, are you sure that's all it is?  Of course, says Catherine.  You sit down, says Julia, I'll go get you smelling salts.  She leaves.  Catherine totters over to a love seat and sits down.  Bramwell enters, closes the doors, comes in and sits beside her.  I heard about last night, he says.  Have you seen Morgan? she asks.  What happened to Morgan? asks Bramwell--I expected silence from other family members, but not you--you must tell me.  Catherine explains about the possession--they say he may never be himself again.  Is he sane? asks Bramwell.  He seems to be, says Catherine, but we can't know for sure.I knew you would only find misery in this house, says Bramwell--if you had only come away with me yesterday, we'd have been able to start a whole new life.  Yes, she reminds him--a life based on scandal--the parents of a child who can never marry.  I don't want the child brought up in the house I hate so much, insists Bramwell.  Julia enters--what are you doing here, if you hate the place so much? she demands.  (HOW MUCH DID SHE HEAR??)  I came to find out what you wouldn't tell me, says Bramwell--Catherine just told me.  Did you come to gloat? asks Julia.  My motives have been completely misunderstood, as usual, he says.  You excel in feeling sorry for yourself, she accuses.  Is anyone looking for Morgan? asks Bramwell.  Someone will be soon, she says.  Has he shown signs of being violent? asks Bramwell.  Morgan is annoyingly composed and calm, Julia says--but why do you care?--there is certainly no love between you and Morgan?  For Catherine's sake, Bramwell insists--may I help?  Catherine quietly thanks him.  He and Julia exchange cold farewells; Bramwell leaves.  Julia glares at and starts in on Catherine.  You two still have secrets, she accuses, haven't you? (just a very little one--right now.)

Catherine feigns confusion--there are no secrets between me and Bramwell, she assures Julia--I don't know what makes you think we do.  The atmosphere and the subject change when a third party enters the room, says Julia--what were you talking about just before he talked about how much he hated this house?  The locked room, says Catherine angrily, and the lottery.  And he reminded you he had warned you not to come here? Julia says. Yes, he did say that, admits Catherine.  He will continue to say that every time he sees you alone, warns Julia--one of many other reasons you should not see Bramwell alone--"IF (did you hear the caustic way she said that?) you understand what I mean."  I don't understand, says Catherine.  Julia elucidates--you are too anxious to see Bramwell, and that will NOT DO!You have an active imagination, accuses Catherine--Bramwell has never come here at my invitation, only of his own volition.  I did not say that, says Julia.  Well then whatever you said was wrong! snaps Catherine.  I hope you're right, says Julia.  I am right! says Catherine.  Then why are you so upset? asks Julia.  Because I don't like your insinuations! says Catherine, adding, sadly--it's very strange--a few moments ago, we finally seemed to be getting closer to one another, but now we're as far apart as we ever were.  Julia gives Catherine the smelling salts--"If you need them," she says icily, and walks away.

Morgan returns to the darkened cottage and knocks something over.  Carrie, adorable in her little blue nightgown and cap, comes out--what are you doing here? she demands.  He turns on a lamp--please don't be frightened, he says.  You don't belong here, she says.  But I do, he insists, I know this cottage much better than you do.  What do you want? she asks.  I want to turn back time, he says.  Impossible, she says.  I know, he says--this gift you possess--it helps you to sense certain things that escape ordinary circumstances.  Sometimes, she admits.  Are these rooms inhabited by a spirit, long since dead, who was brutally murdered? he asks--have you  ever heard or felt her presence?  I have never felt such a presence, says Carrie.  Her name was Sarah Forsythe, he says--she was very loyal and devoted to me and died because of it--I want to find her body.  Nothing you're saying makes sense to me, says Carrie--please go now.  Please don't put me out, he begs, I must have time--he buried her here someplace.  There's no one here except me, she objects--Mr. Collins, please...  PLEASE! he shouts, do not call me by that name.  You're frightening me, she says.  I know he buried her here someplace, says Forsythe, and I've got to find her.  Carrie tries to escape.  You can't go, or tell anyone I'm here until I've done what I must do, he says--I will let you out when I am finished.

Old House - Daphne waits for her husband, again gazing out the window.  He returns, looking more tired and defeated.  You shouldn't have waited up, he says.  You have business matters, says Daphne, I have a marriage to tend to--you left without saying a word.  I know, he says, pouring a drink, looking guilty and ready for a fight at the same time.  I suppose I should be getting used to that by now, she says.  I'm sorry, says Bramwell.  I don't imagine I have to ask where you've been, she says.  He admits going to Collinwood.  You've been there since early this afternoon? she demands.  No, he says, I found out about Morgan, then went away--I've been in the village.  What about Morgan? she asks.  Morgan is "no longer himself," explains Bramwell--possessed--there isn't much they can do for him, and they can't even find him.  How is Catherine taking it? asks Daphne.  Understandably upset, says Bramwell, drinking.  And you're...upset, too, just as you were this morning, she points out.  I am too tired to talk, he says, and heads for the stairs to get some rest.  "Did you tell Catherine what was troubling you, Bramwell?" asks Daphne with shrill anger, "or did she already know?"  Furious at her question, he demands, why did you ask?  I'm glad it aroused some sort of emotion in you, she says.  You have no right to make such an insinuation, insists Bramwell.  And you have no right to become angry just because I want what is due me as a wife, she counters.  I'm sorry for not telling you I was leaving the house, he says.  It isn't just that, she says--why do you have to see Catherine alone?--didn't it occur to you I might want to see my sister?  There was nothing to stop you from going to see her yourself, says Bramwell.  We should have gone together, says Daphne--we're husband and wife--or was there some reason we couldn't?  No, there wasn't, he says.  Then why didn't we? she asks.  Because I had other things on my mind and didn't think about it, he hurls back at her--I've made my s apologies, the subject is closed!  He goes upstairs.  When he's halfway up, Daphne reaches for him, clings to him, holding onto his jacket, gazing up at him.  Take me away from here, she begs--we can't live in Collinsport, Collinwood, there's no chance for happiness--as long as we're here, the past will always be a barrier for us--I don't know what we can do--the only way to be happy is to leave--take me away--tomorrow.  No, says Bramwell cruelly--not tomorrow, or the day after or ever--we are staying at Collinwood!  Don't you understand there is no hope for us here! she cries.  There's hope wherever we are, he insists--you are never to forget that.  You won't give us a chance, cries Daphne, you want to stay near Catherine because of the past, because you still love her."Listen, Daphne," says Bramwell, "we're not leaving here because I don't want to.  If you do--go.  If you want to be my wife, you'll stay--it's as simple as that."  He stomps upstairs.  Daphne stares after him, tears brimming in her eyes.

Down in the basement, Forsythe has dug up the bones of Sarah (who wears a black wig) and is talking to her: "You thought no one would ever find you here," he says--"but he was wrong, wasn't he?--wasn't he?"  Things in the room begin to sway as a spirit enters the room; a wind ruffles Forsythe's hair.  Yes, I have found her, Brutus, says Forsythe, and I know you were in this room, I am ready for you--show yourself to me, Brutus, let me fight you again!--I knew your spirit would follow me here.  "Show yourself to me, Brutus!"  Seeing Brutus' spirit appear, Forsythe says, it is you--after 160 years, he exults, we are face to face again!

NOTES:  Now that Forsythe has found the Sarah's bones, what will he do?  Will he and Brutus get into a cosmic battle?  Which of them will win?

There is no doubt that Bramwell is a prime SOB here in his treatment of his bride, but he is torn up about Catherine's pregnancy, so his emotions are a shipwreck.  He never should have married Daphne in the first place, but he did, and this will play itself out to its conclusion.  It's just a shame that Daphne is caught in the middle and he can't tell her why he is such a mess--that her sister is pregnant with his child.

Julia really does seem to suspect what's going on with Catherine, and that can't bode well.  Did she overhear anything they spoke of?


1225 - So you are free again, James! says Brutus (played by Louis Edmonds) to Forsythe.  Yes, and I shall stay free, says Forsythe.  And you think you can change the things I did so long ago, but you can't, Brutus insists.  I have already begun, says James, and I shall succeed--my sister Sarah will be given a proper burial.  She betrayed me! accuses Brutus, and deserved what she got.  You were the creature of treachery, not Sarah, says James--all she did was tell me that you had planned to betray me, and you killed her for it, just as you killed me and your wife Amanda--because she tried to help me, too--I am free, and I am going to right the wrongs that you have done all these years--and you cannot stop me!  Take my warning, warns Brutus, go back to your tomb!  Never! cries James.Brutus seems to swell, and advances threateningly toward Forsythe.

Melanie, agitated, paces the drawing room, back and forth.  Julia returns home.  Is there any news? asks Melanie.  Morgan seems to have disappeared just as Gabriel did, says Julia, but Quentin and the servants are looking for him still.  Get some rest, Melanie urges Julia.  I won't be able to, insists Julia--I'm still concerned about Carrie, who was so upset about what happened with Morgan at the cottage this afternoon--she kept asking me questions--she wanted to know why Morgan behaved so differently, and I couldn't answer her questions, because I couldn't tell her about the curse or the locked room.  No, of course not, agrees Melanie.  Be very careful when you see Carrie again, says Julia; you've been very close, and she's sure to think you will tell her everything.  I'll be careful with Carrie, says Melanie.  Carrie, sobbing, a blanket wrapped around her, comes to the door--Morgan is back at the cottage, acting crazy, babbles Carrie--he grabbed me and locked me in the room--I got out through the window.  Melanie, says Julia, stay here in case Quentin gets back; I'm taking Carrie back to the cottage.  As they are about to leave, Kendrick comes to the door--I was just about to knock, he says.  What do you want? asks Julia.  To see Melanie, says Kendrick.  All right, says Julia--I must leave for a few minutes, but when I return, I would like a word with you myself.  I'll make a point to wait for you, says Kendrick. Julia and Carrie leave.  Kendrick smiles at Melanie--I have something important to say to you, he says.  Come into the drawing room, she says.  I don't want to be overheard, he says--can we go outside?  I'm supposed to wait here until Quentin comes back, she says.  It won't take long, he says.  All right, she says--I'll leave a note for Quentin on the table.  She starts to write one.

Basement, cottage - We hear Julia upstairs--I don't see anyone here, she says.  I'm sure I heard someone going down into the basement, says Carrie.  The cellar door is open, agrees Julia.  They go downstairs and find Forsythe lying unconscious on the floor.  Julia kneels and checks him.  Is he dead? asks Carrie.  He's still breathing, says Julia--we've got to find a way to get him back to Collinwood--what could have happened to him down here?  I don't know, says Carrie, but I feel the spirit again, the same angry spirit I felt at Collinwood the other day.  Morgan told me about that, says Julia.  I'm frightened, says Carrie.  I don't think you should stay here tonight, says Julia--stay at Collinwood.  Yes, I think I'd like that, agrees Carrie.  I'll try to revive him, says Julia.  Wind blows through the room.  What's happening? asks Julia.  It's him! says Carrie, the spirit--he doesn't want you to touch him--we've got to get out of here.  They notice the unearthed skeleton of Sarah Forsythe.  Morgan asked me if I felt her spirit in the room, sobs Carrie--he said he knew she was down here someplace, that must be her.  Who is she? asks Julia.  I don't know, says Carrie, but we must get out of here.You go back to Collinwood, says Julia, holding the girl's hand--find Quentin and send him here at once.  What are you going to do? asks Carrie.  Stay and watch Morgan, says Julia.  It isn't safe! cries Carrie.  I'll be all right, says Julia--do as I told you to. Carrie leaves. Julia kneels, her hand on Morgan's chest.

Gazebo - I was quite surprised to see you at the door, says Melanie.  Why? asks Kendrick.  I haven't seen you for three days, she says.  Did you miss me? he asks.  Yes, she confesses, I did--I was beginning to think you'd forgotten me.  You didn't really believe that, did you? he asks.  I didn't want to believe it, she says, the thought frightened me.  I could never forget you, he says, the fact is, I've devoted the last three days exclusively to you.  Is that what you wanted to talk to me about? she asks.  Yes, he says, and I want to ask you again just how your family came to adopt you.  I told you everything, she says, upset. I know, he says, but I must know again just to be sure.  I now know a bit more than the last time we spoke, she says--I always thought my parents were dead when I was adopted--I found out my mother was alive.  How did you find that out? he asks.  I found a page from a letter written by Papa, Justin Collins, she explains--it had no salutation, but it concerned my adoption and I know it was written to my real mother.  Where is this letter? asks Kendrick.  I don't have it, she says, Julia found it and took it from me.  He looks dejected.  She told me the letter was not written to my real mother, says Melanie, but I don't believe her.  Tell me how Justin Collins found you, he says.  I was six months old, at the Concord Orphanage outside Boston, says Melanie--Papa was on the board of directors there.  That part is true, says Kendrick--Justin was on the Board of Directors, but he never found you there.  What are you saying? she demands.  There is absolutely no record of you at the Concord Orphanage, he says--you were never there!  She stares at him, astonished.

I was never at the orphanage? she asks.  That's right, he says, I went there and searched the records.  That's what you've been doing the last three days? she asks.  Yes, he says.  Why would you do a thing like that? she asks.  For you, he says, because I felt you had certain doubts about your parents--your real parents--because I felt it disturbed you--and because it disturbed you, I didn't think you could be happy.  I'm grateful for your concern, she says, you've always been open and honest with me, which is more than I can say for my family.  Who first told you you were at the orphanage? asks Kendrick.  I don't remember, she replies--I suppose it was Papa, but everyone in the family knew it.  But did everyone in the family know it was a lie? wonders Kendrick--I'm sure they didn't, I'm sure they just believed it was told to them by Justin, but he knew it was a lie.  I don't understand why Papa would find it necessary to lie to me, says Melanie.  That's the big question, agrees Kendrick, why was it necessary?--but he's dead and we'll never be able to answer that.Julia knows, says Melanie--it's just a feeling I have--Julia's whole life has been one of protecting secrets.

Collinwood - Forsythe lies on the sofa in the Collinwood drawing room, Julia anxiously watching him.  He awakens--do you ever smile? he asks.  There's nothing in this house to smile much about, says Julia.  It's always been thus, he says.  I had hoped when you came to, you'd be yourself again, she says.  I am myself again! he shouts--though not Morgan Collins--how did I get back here?  Quentin and two of the servants brought you, she says.  I see, he says--well if you think I'm going to shower you with gratitude, you're going to be disappointed again.  I don't want gratitude, she retorts--what were you doing in the cellar of the cottage?  You've forgotten what I told you this morning, he says, rising from the sofa--I'm not here to help you!  Hasn't it occurred to you it might be to your advantage? she asks.  Dealing with a Collins is never to anyone's advantage, he says.  Why do you hate us so? demands Julia.  Because you ARE Collinses, he says.  The feelings all date back to 160 years ago, she says--we have done nothing to you--we're not guilty--we must not be enemies when we can possibly help each other!  I don't need help, you do, he says.  Who was buried in the cellar? she asks--why were you digging up a skeleton?  That is my concern, and mine alone, says Forsythe.  Why were you unconscious? she asks--what happened to you?  You're wasting your time, he says.  Were you aware you were in some danger? she asks.  I am, he says.  Then you must not go back there, she insists.  I'll agree to that on one condition, he says--that someone goes to the cellar, gets the skeleton and makes sure she gets a proper burial--she deserves that much.  She? says Julia--who is she?That much I don't mind telling you, he says sadly--Sarah Forsythe--she was my sister.

How did your sister come to be buried in the cottage? asks Julia.  I have answered all the questions I'm gong to answer, he says--if you want the answers, why not ask your ancestor, Brutus Collins?--his spirit still haunts this house, and the grounds--try and contact him--I think you'll find it a most illuminating experience--good night, Miss Collins!  He goes upstairs.

9:45 - Julia carries out a tray, sets it on the coffee table, and closes the drawing room doors.  She sips her beverage and hears Melanie thank Kendrick--for everything--outside in the foyer.  I hope I haven't upset you, he says.  No, she says, I'm very glad you care the way you do--thank you.  They kiss, a nice one, and she heads upstairs.  He's about to leave when he sees Julia standing and watching.  I wanted to talk to you--remember? she reminds him.  It slipped my mind, he says.  Come in, please, she offers.  He does, not looking happy about it.  I will come right to the point, she says.  You usually do, he says.  You've been interfering again, which does not surprise me, she says coldly.  Interfering, how? he asks.  You have put ridiculous thoughts into Melanie's mind, she accuses.  You think being interested in someone's background is ridiculous, he says.  Melanie is troubled enough, she reminds him, without you making matters worse.  Yes, I should be more careful, he says--because Melanie may begin to learn the truth about herself, and you wouldn't like that, would you?  I don't know what you're talking about, she says, lifting her head high.  Why is everyone lying to Melanie about her background, about where she came from? demands Kendrick--and the identity of her real parents?  No one is lying to her, asserts Julia, no one knows the identity of her real parents!--Justin Collins did, he adopted Melanie from the Concord Orphanage, near Boston.  You tell a lie with such ease, he says.  HOW DARE YOU? snarls Julia, beyond furious.  I might as well tell you, he says, I have been to the Concord Orphanage, there is no record of Melanie there.  Julia looks uncomfortable.  Now, he says, that is the truth, Miss Collins--what is it that no one wants Melanie to know? I think you had better leave now, advises Julia.  That solves nothing, insists Kendrick, I will continue with my search until I find out!  This is my last warning to you, says Julia, tight-lipped--I want you to leave here and never return!--if you do, I will not be responsible for what happens!  What will happen? he asks--the same thing that happened to my sister, Stella?  I will see you to the door! she says curtly.  She opens the doors and sees Melanie walking downstairs, holding onto the banister, muttering, "Death is the only answer--until no one is left!--until the curse has been appeased."  Julia hastily closes the doors--perhaps we can talk for a few moments longer, Mr. Young, she says.  Something is wrong, he says, you saw something in the hall you didn't want me to see.  There's nothing, she assures him, that's absurd.  Then I'll look in the foyer, he insists.  Julia tries to stop him.  I'm going to look in the foyer! says Kendrick. He opens the doors and finds Melanie standing there, staring straight ahead.  He calls her name; she doesn't reply.  What's wrong? he asks.  She turns to him with a look of hatred.  Say something, begs Kendrick.  You're not a Collins! says Melanie--who are you?  Who am I? he echoes, confounded.  You shouldn't be here! she says, you don't belong--she looks left and right--everyone in this house is destined to die, she whispers.  Kendrick, face shaking, turns to Julia--tell me what's wrong with Melanie, he says.Julia, terrified, doesn't reply.  TELL ME! he screams.

NOTES:  Poor Melanie.  She's got a really nice guy in Kendrick, one who takes three days of his own time to check out her falsified background in Boston.  Will he stick around when he realizes that she's actually another person sometimes, and a vicious, murderous one at that?

We have James Forsythe, whose sister apparently died at Brutus' hands, much as Kendrick's sister died at the hands (most likely) of a Collins.  There are going to be other parallels between the 1600's and 1841, which will be revealed later.  We know that Brutus murdered Sarah, James and Amanda, but we don't know why, except that Amanda apparently betrayed him in some way.  It sounds at this point as if Amanda, Brutus' wife, and James Forsythe were having an affair, and Sarah helped them tryst.  Brutus seems like a nasty ghost, so we can safely assume he was pretty cruel in life, too.  But a triple murderer?

So what is the truth about Melanie's parentage, anyway?  Why the big cover-up, claiming she came from an orphanage?  Who was the women Justin was speaking to in that partial letter, if not Flora as Julia claims?  Julia is determined to keep the truth from Melanie, and we have to wonder why.  Kendrick wisely realizes that Melanie can't be truly happy until she knows more about her background, but he's finding obstacles in the way of the truth.

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