1214 - Julia and Morgan stand outside the locked door behind which God knows what is happening to Gabriel.  We haven't heard a sound in there, notes Julia.  Morgan shushes her and puts his ear to the door--I thought I heard something.  I didn't, says Julia--I wonder if we will ever see Gabriel alive--and if he comes out alive, will he be mad, like the others were?  What could be happening there, what? frets Morgan.

I can't bear this waiting anymore, we're not helping him by standing here, says Julia.  I know, says Morgan.  I'm going to go down to see Melanie, says Julia.  I'll be in the drawing room with Catherine, says Morgan.  She leaves.  He lingers a moment at the door, listening, pursing his lips, then he, too, leaves the hallway.

7 PM - Catherine waits in the drawing room, wandering around, touching the furniture.  She sits down and puts her head in her hand.  Morgan sits beside her.  Has anything happened? she asks.  We don't know, he replies.  Why were you gone so long? she asks.  We waited a while, listening, he says.  And? she asks.  Total silence, nothing, he says.  Was it very difficult for Gabriel? she asks.  I must say, he surprised me, says Morgan; he seemed to have courage for the first time--I didn't expect that.  You mean he wasn't afraid? she asks.  Oh, he was afraid, he assures her, but he seemed to conquer it for a moment--just before he went in, he gasped and seemed to want to run, but then he went into the room--I was totally amazed--it was very strange, I didn't expect him to behave that way--as we closed the door, I saw a strange look on his face--I don't know what that means--what any of this madness means!  She turns away.  And now it's beginning to affect you, he says, something I never wanted to have happen.  He rises--I should never have involved you, married you, he says.  Don't say that, she insists, going to him--that's not true--I'm here with you, sharing everything with you--helping you if I can--oh, darling, hold me, let me hold you.  They hug frantically.  We'll never be separated, at least we know that, she says--not ever, ever!  He looks into her eyes--I love you so very very much,he says--they kiss.  She walks away from him and looks toward the stairs--poor Gabriel, she says--Morgan, what's going on in that room?--if we're going through this kind of torture down here, think what it mist be like for him!--do you suppose we'll ever know?  Only when we enter the room--after this interminable evening, says   Morgan--and God knows what we're going to find.  Catherine bows her head.

Julia applies a cold compress to Melanie's fevered forehead.  The young woman, delirious, says, I never thought he would find out--I only wanted to help him--why did he do it?--why?--we were so happy for a time, we meant no harm--but life is wrong--no right!--to be happy. . .  She cries out.  You will be all right, Julia assures her.  Why?--why, no happiness, please, no, no, Brutus, no! screams Melanie.  Brutus Collins? asks Julia.  Yes, says Melanie, then yells, no, no, no, no!

Are you talking to Brutus now or to me, Julia? asks the latter--are you answering my question--you did mention Brutus Collins?  Melanie repeats the name, gasping, and tries to get out of bed.  Julia pushes her back--stay there, she says--you're not Melanie now, are you?--but who are you?--tell me, please tell me.  Where is he? asks Melanie--James?James who? asks Julia.  James Forsythe, mutters Melanie.  Who is he? asks Julia.  He's dead now, sobs Melanie.  What happened to him? demands Julia.  He killed him! screams Melanie, writhing, he...he...she settles down, calmer.

We see the doors to the locked room.  Catherine enters the corridor, looks behind her, then walks toward them, standing before them.  She tries to turn the knob.  When someone comes up behind her, she turns with a shrill gasp.

Catherine what are you doing here? demands Julia.  You frightened me, says Catherine.  You have not answered my question, Julia reminds her sternly.  The answer to your question should be obvious, says Catherine.  I warned you not to interfere, Julia reminds her, and you are interfering with this.You just haven't told me what's going on in that room--don't forget, Julia, I could be the one who's in there right now.  Be that as it may, says Julia, I do not want you here.  I'm just so deeply concerned, says Catherine, I had to come here.  All of us are deeply concerned, says Julia.  We should be, insists Catherine--shouldn't I be?--don't I have that right?  It's not a matter of right or wrong, says Julia--I don't want you here.  Where? asks Catherine angrily--in the corridor--or in this house?  You know exactly what I mean, says Julia--now go downstairs--go!  Catherine, incensed, leaves.  Julia stands in front of the door.

Bramwell waits by the gate, then enters Collinwood's courtyard, where the fountain is.  Catherine wanders out, upset.  Bramwell comes upon her and says, "So, they've begun their madness again."  Catherine is overjoyed to see him (I stopped the tape; her smile is huge!)Bramwell! she says, it's so good to see you up, I didn't...  Yes, Catherine? he says.  You look well, she says.  Thank you, he says.  Do you feel it? she asks.  He doesn't reply.  She moves away from him.  Yes, they've truly begun again, haven't they? he asks, standing behind her--how does it feel to be part of all that--you always wanted to be a Collins, now you are--how does it feel to be a part of all that madness?  I'm so glad to see you--I really am, she says, but I don't think you should stay here--because of what Morgan will think if he sees us together.  Why should Morgan mind? asks Bramwell--you're his wife, you chose to be his wife, didn't you?  Yes, she says.  Then why should Morgan mind? asks Bramwell.  Because...I just think he will, that's all, says Catherine, looking down at the ground.  It's a poor explanation, he says--"Good evening."  He starts to go, but she calls him back, repeating, it's good to see you again, it really is.  Is it? he asks.  Yes, she says.  I'm glad, he says--how are you?  Well, she says.  I mean your life, Bramwell amends--are you happy?  Who can be happy in this house right now? she asks--it's impossible, with all that's happening here--but with Morgan--yes, I'm happy.  (She doesn't sound as if she means it.)  I don't believe you, he says.  Well I'm sorry, she says.  Do you wish I'd never come? he asks.  She nods--yes, she says.  I don't believe that, either, he says gently--are you uncomfortable with me?  Of course not, she says, I'm just concerned about what Morgan will think if he sees us.  Why? asks Bramwell, moving closer to her--would he know that you want me to touch you now?  (ohhhh, God!)  She tips her head back, probably remembering, and runs from him--I don't want you to touch me, she cries, not now, not ever again.  He follows her.  Are you sorry that I lived? he asks.  Don't say that, she begs, clinging to the gate, breathing heavily.  If Morgan had killed me in that duel, you'd never have had to go through this again, he says, but as it is, you will have to go through it over and over and over!--whether I'm here or not, you will remember, and you will long for the times we spent together.  Bramwell, please don't, she pleads.  Are you sorry I lived? he demands again.  Of course not, she says, I wanted you to live, I wanted Morgan to live--I was against the duel from the very beginning--you know that--please, don't speak of it again.  Very well, he says.  She wanders to the other side of the courtyard and sits down on the bench.  He stands looking down at her.  How is Daphne? she asks. You've just seen her, says Bramwell, smiling with amusement, you know how she is.  Catherine giggles--I don't know why I asked you that question.  Don't you? he says--she's been very kind to me--he sits beside her--I needed someone, she was there--you weren't, he adds pointedly.  She looks away.  Does that bother you? he asks.  No, she says, except that I don't think she should be there in the house with you--people would talk.  Oh come now, Catherine, you don't really think that, he chides.  All right, she says, I'll tell you what I think--I don't want Daphne there with you--she's young, impressionable --I don't want you to hurt her.  You wouldn't be jealous, would you? he asks.  For what reason does she have to be jealous? demands Morgan, interrupting them.  Both Catherine and Bramwell rise to their feet.  Go inside, Morgan orders his wife.  Catherine assures him it's...  "I said inside!" commands Morgan.  Catherine goes.  (I would have given Morgan my wedding ring, told him to stuff it where the sun doesn't shine, and left with Bramwell.)  I told you I never ever wanted to see you here again, Morgan reminds Bramwell--now get out!  You change your tone, my friend, advises Bramwell quietly--now.  We fought our duel fairly and squarely, says Morgan--I won--and I chose to have you off my property now--now!--my choice may be different next time.  As might mine, warns Bramwell.  All right, says Morgan, then goad me--you had time to fire, didn't you?--why didn't you pull that trigger?--answer me!  Bramwell looks away, then bids him good evening without answering his question.  Don't you ever come back here again, Bramwell! shouts Morgan, I'm warning you--my choice might be different next time--DO YOU HEAR ME?

Julia tends to Melanie, applying another cold compress to her forehead.  Melanie is asleep.  Josette comes to visit.  You shouldn't be there, warns Julia, it's too dangerous.  It doesn't matter, says Josette, I wanted to see Melanie.  I'd rather you hadn't come, says Julia--we would like to confine the disease to this house.  Then Daphne should never have been asked to come here, should she? queries Josette, and you should never have gone to the Old House, should you?  Without waiting for a response, she goes to Melanie's side and gazes down at her.  How is she?  asks Josette.  Worse, I'm afraid, says Julia--she seems calm now, but she's been having spells of intense delirium, and her fever is quite high.  Is she dying? asks Josette sadly.  I don't know, admits Julia.  How did this happen? asks Josette--the plague isn't heard of in these days.  It wasn't, agrees Julia.  And Quentin, I understand he has it too? says Josette.  Yes, but not as severely, says Julia.  That's a blessing, says Josette.  Melanie awakens, rises to her elbows and greets Josette chirpily, calling her visit a wonderful surprise--Julia, why are you here? Melanie asks.  The two older women exchange glances of consternation.

Melanie, are you all right? Julia asks the seemingly-healthy girl.  I think so, says Melanie, running her fingers through her hair--I--did I have another of my attacks?  No, darling, says Julia, it's just that you were very ill, and now you've gotten well so quickly.Ill?--Cousin Josette, what's she talking about? asks Melanie.  Josette, delighted, pulls Melanie into her arms, exulting, "Thank God you're well."  Melanie hugs her back--I didn't have an attack or do anything desperate? she asks.  Of course not, Julia assures her.  Did I, Cousin Josette? asks Melanie.  (Doesn't she believe her aunt?)  Of course not, echoes Josette, and I'm convinced you never have.  Melanie sinks back to the pillow with a sigh--it's very odd, she says, because I can remember the lottery--has it been held?--who?  Gabriel, responds Julia--he's in the room now, we'll know very soon.  Oh, says Melanie, poor Gabriel, if only he can make it, break the spell.  Don't think of it now, says Julia--Josette, will you be here for a while?--because I must go and see Quentin.  Oh yes, says Josette eagerly, gazing at Melanie.  I'll be back soon, promises Julia, and leaves.  Quentin? asks Melanie.  It's nothing, Josette lies.  But Julia made it sound so important, says Melanie.  The only important thing, says Josette, is that you're well again.  You mean that, don't you? asks Melanie.  With all my heart, Josette assures her.  I'm so glad you are my friend, says Melanie--stay with me for a while?  As long as you want me to, Josette promises.  Why did you come here tonight? asks Melanie--it's terribly late--was I very ill?  For a while, admits Josette.  Then you were concerned about me, says Melanie.  Almost as if you were my very own, says Josette--oh, I'm so fond of you, and I hope you are of me, too.  Oh yes! says Melanie--I think I'm just very happy--no one's ever felt about me the way you do--I've never had the feeling anyone was concerned about me--not really being a member of this family--not deeply concerned--I guess I felt no one loved me--strange, I almost have the feeling that you do.  I most certainly do, says Josette, hugging her.  (I feel so sorry for Melanie, and glad for both women that they have this close bond.)

Julia enters the drawing room--Morgan, she says, Melanie and Quentin are well--it's as if there were never a plague in this house.  Morgan is astonished.  They've recovered! exults Julia--I was with Melanie, who was in a coma, and then a moment later she sat up and had a conversation--it's incredible!   Quentin, too? asks Morgan.  Yes, says Julia, smiling--it's as if the curse has been removed from this house--as if whatever that thing up there is, it's been appeased--what about Gabriel?--if it's true, is he alive?--dead?--insane?--what is happening in that room?  Dawn will be here soon, says Morgan, we will know soon.  Dear God, prays Julia fervently--please let the curse be over--please let the curse be over.

Morgan enters the corridor and slowly walks to the room.  He unlocks the door and goes in.  The room is dark except for several candles.He enters the cobweb-strewn room and turns over a man lying on the bed.  It's not Gabriel! cries Morgan, staring down at the man's unfamiliar face--it's not Gabriel!

NOTES:  What did Gabriel do, hire someone to take his place?  It looks that way.  Coward to the end.

Josette seems excessively interested in Melanie's welfare, odd for a cousin.  Poor Melanie feels like the odd family member out, and needs Josette's love and approval, so it's good for both women.

Sizzling Catherine and Bramwell get caught on the terrace, just talking.  Of course, Bramwell can't help reminding her of the great time they had together, and she apparently remembers it well, too, but pretends not to.  When he asked her, does your husband know that you want me to touch you right now...oh, puddle time!  I gather she hasn't consummated her marriage to Morgan yet, so all she can think about, especially amidst the misery in Collinwood, is the glorious time spent with Bramwell on that brass bed.

Julia means well, you can tell, but she's so blunt sometimes--the family conscience.  Where was Flora during all this?


1215 - Morgan gazes down at the man, whose eyes are wide open, staring in terror.  Flora comes in.  "Gabriel's dead," she guesses mournfully.  Don't come in here, Mother, orders Morgan.  My youngest son, laments Flora.  It's not Gabriel, reports Morgan.  What? asks Flora.  She looks at the young man, recognizing the Braithwaite boy.  (Another of them bites the dust at the hands of the Collinses).  Yes, it's Tim, says Morgan--in Gabriel's clothing.  But I don't understand, protests Flora--you and Julia brought Gabriel to this room at dusk, and locked the door.  And I took the key with me, says Morgan.  Where is Gabriel? asks Flora.  He's certainly not here, says Morgan, and I'm sure he didn't invite Tim in here for conversation.  What happens in this room? wonders Flora bitterly--look at his eyes--filled with fear--yet now, this room is like any other room--if we could only understand.  You realize what happened to Melanie, Morgan reminds her--she was only in here for a short time--it's not safe to be in here--please go, Mother--I'll dispose of the body.  Do we have to go through the lottery again? asks Flora--"Gabriel, my poor, weak Gabriel."

6:30 - Melanie, well now, looks up at the clock, then goes into the drawing room.  She seems nervous.  Morgan comes in.  He's dead, isn't he? she asks--that's why I recovered so quickly--because Gabriel is dead.  It's not Gabriel, says Morgan.  Did you say it isn't Gabriel? she asks--then who?--Mama?  Flora has entered the room. I'm going to send one of the servants for the police, Mother, says Morgan.  Please, begs Flora, don't involve the police.  Tell me what has happened, says Melanie.  We must, insists Morgan.  Tell me who was in the room, begs Melanie.   One of Gabriel's drinking companions, says Morgan--Tim Braithwaite.  How can that be? asks Melanie.  We should tell the police the truth, Morgan quietly advises his mother--we found the body in the deserted wing of the house.  But we mustn't mention the room, says Flora.  No, agrees Morgan, I checked the body when I took it into the study--there were no marks, no signs of violence--we'll just say, of course, we have no idea how it got there.  He's in Gabriel's clothes, says Flora--how do you explain that?  The police won't know that, points out Morgan, all men's clothes look alike--we'll just use the supposition he came to rob us and had a heart attack.  But they'll want to know how you happened to find him, says Flora.  I'll say that I was taking a morning stroll and happened to find the ground floor window open--and I went to investigate--oh, I knew Gabriel wouldn't go into that room--I heard him say if he was chosen, he'd hire someone to go in in his place.  Melanie's mouth drops open.  I don't believe he'd do that, says Flora.  Believe it, says Morgan, it's the only explanation!  Why would Tim do it? asks Flora--Gabriel didn't have any money with him, you said so yourself.  Morgan hands Flora a note he found on Tim's body.  One thousand dollars, reads Flora.  Tim would kill any of us for that, says Morgan--he would have gone and done anything--just as I was gong to the Eagle to look for Gabriel, I saw Tim coming out, and I know that they must have made the transaction--that's the reason Gabriel came back so easily--I should have known then--I shouldn't have been fooled by that--he's never had any intention for us--he's only thought of himself.  Not true, says Flora.  It is true, insists Morgan, he's never thought of anyone but himself--he's never had any feelings for any of us--look at the mess he's gotten us into--is that the work of a loving son?  He was so terribly afraid, says Flora.  Fear as an excuse now, Mother? asks Morgan--see Gabriel clearly--remember the little scene he played for you, yesterday at dusk--remember the tears you cried before I took him away to the locked room?--he never had any intention of going into the room--he lied to us!--and now he's left us with the consequences--whatever they may be.  Melanie laughs and stands.  Why are you laughing? asks Morgan.  Gabriel's plan appears to have succeeded, didn't it? she asks, giggling.  He's still alive, if that's what you're talking about, says Morgan.  And so am I! says Melanie, and Quentin is alive and well, and the plague is gone--we were wrong about the spirits in that room--we thought they had to have a Collins, but they don't!  Morgan looks at his mother.  The spirits don't care, says Melanie, growing hysterical, they just want a sacrifice, a human sacrifice--anyone would do--Gabriel was right!--Gabriel was right--she tilts her head backward, laughing.

Her mood growing dark, Melanie says, it didn't matter who went into the room--but you Collins have made it into a family tradition.  You're a Collins, too, Flora reminds her.  Oh no, she says, not really--some of you have made me painfully aware of that fact--poor Papa, poor dead Papa, he need not ever have gone into that room--he need not have spent the last years of his life mad!  Justin wouldn't have done what Gabriel did, says Flora.  And if he had not gone into that room, says Melanie, clasping her hands together, I would not have gone in after him, and I would be different, so different!  She shakes her head, sobbing--what fools we are, what self-important fools, to believe that only a Collins would appease the spirits in that room--but we were wrong, we were wrong--she's laughing--don't you think it's funny, Mama?--six generations of Collins have played that lottery, and Gabriel has just shown us how unimportant it all was!--I think it's terribly funny!  Melanie is sobbing hysterically.  Concerned, Flora says, darling, please...Why aren't all of you laughing? demands Melanie, but you never laugh at yourselves, do you?--you Collins take yourselves so seriously!  Stop it! commands Morgan, stepping forward.  Papa, if he'd only known! wails Melanie.  Morgan slaps her across the face.  Morgan! protests Flora.  It does calm Melanie down.  I'm sorry, Morgan says to his sister, who is holding her cheek--I had to do that to stop you.  I know, she says, I shouldn't have said what I said--but they were all true--she leaves the room.  Do you think they were all true? asks Flora.  I don't know, he replies.  I'm going to Melanie, says Flora.  She'll be all right, Morgan assures her--there is much to decide now--what will we do about Gabriel?--if he comes back, will we take him in?  You don't think he'll come back, do you? asks Flora, shocked--don't you think he's far, far away from Collinsport now?  I hope so, says Morgan, because if I get my hands on him...  I tried so hard, says Flora, to bring him up right--to teach him to accept his responsibilities, but somehow I failed--I don't know how or why.  Please don't blame yourself, says Morgan--because he was the youngest, he's always taken advantage of you--I only wish I knew how much he told Tim Braithewaite.  About the room? asks Flora--well he wouldn't have told him the truth.  Not all of it, says Morgan--but how do you tell a man he's got to spend the night in a locked room?--he had to tell him something.  If Tim told anybody about his deal with Gabriel. . .worries Flora.  Of course, says Morgan--the police know Tim was no good--he spent a quarter of his life in and out of jail for one thing or another.  If they come here and start questioning us...? asks Flora.  I'll handle them, promises Morgan.  So it's over now, says Flora--over for this generation--well, we will not have to hold the lottery again.  Until then, says Morgan.  You're safe, she says, Catherine and Quentin are safe--we have that to be thankful for.  Morgan answers a knock at the door--Carrie Stokes.  Flora warmly welcomes the young woman--is there something wrong at the gatehouse? she asks.  No, answers Carrie, everything is fine--I was afraid you wouldn't be up, though he said you would--he said to come as close to daybreak as I could.  Who is he? asks Morgan.  Gabriel, of course, says Carrie.  Gabriel! shouts Morgan, exchanging glances with his mother.  When did you see Gabriel? asks Flora.  Last night, about a half hour after dark, says Carrie--he said to bring you this in the morning--she holds up a note.  What did he tell you--what did he say? demands Flora.  He said to give you this in the morning, repeats Carrie, and said I wasn't to give it to any of you last night, even if I saw you.Morgan and Flora, who holds Gabriel's note, look at each other, wondering.

Flora excuses herself and goes into the drawing room to open the note.  In the foyer, Carrie tells Morgan, I heard that Melanie is feeling so much better.  Yes, she's fine, says Morgan--you can go up to see her.  Morgan joins his mother in the drawing room, closing the doors.  The handwriting is so shaky, I can hardly read it, says Flora--"Greetings to you all from free Gabriel--free of you, free of that room, free of Collinwood--at last I will never enter Collinwood again--I don't expect you to forgive me for what I've done, but believe me the half hour I spend in locked that room before Tim arrived was a hell I will never forget."  Something DID happen to him, then, says Morgan.  Flora reads, "I am sane and I will keep my sanity--even if I have nightmares the rest of my life over what happened there."  We must find him, insists Morgan--if he remembers, we MUST find him!  If he hates us that much, let him go, urges Flora.  No, says Morgan, don't you see?--he remembers--maybe he can tell us what that curse is!  Melanie was in the room, Flora reminds him.  But she doesn't remember anything, says Morgan, Gabriel does, don't you see--we can end the curse!  I don't think it can be ended, says Flora, not unless someone spends the night in there and comes out unharmed.  Catherine and I had our first disagreement last night, he says--it was about our having children.  Of course you must have children, insists Flora.  She says that too, he says--I won't have children as long as that curse exists!  Morgan! says Flora disapprovingly.  I will put no child of mine through any of this, insists Morgan--we can't let that child face what we had to face last week!--I'm sick of it--I will find Gabriel and end that curse.  How? she asks--he could be anywhere by now, there's no way of telling where he is.  Carrie Stokes, suggests Morgan--remember when the McManus girl was missing?--Carrie Stokes and Gerard Stiles found her.  You don't believe that, says Flora.  Of course I do, says Morgan--Carrie is a psychic, Gerard told me.  I don't believe in them, says Flora, and I will do nothing to encourage that girl to think she's a psychic--it wouldn't be fair.  Will you tell me how they found the McManus girl? asks Morgan.  I can't tell you how, admits Flora, and don't think anyone else can, without coincidence and luck--Carrie Stokes didn't know she had this supposed power until Gerard planted it in her mind--for his own purposes, I'm sure--no, she's just an ordinary young girl.  (Nothing like RT Flora, is she?)  Carrie comes in--I was upstairs with Melanie and had the strangest feeling that Mr. Collins needed me, that he wanted to talk to me--is that true?  Morgan looks seriously at Carrie, a big bead of sweat spilling down his face.

If you didn't want me, says Carrie, receiving no response, I'll go on home.  Morgan stops her--I do, he says.  Morgan! warns Flora.  Carrie would like to help us, wouldn't you? he asks.  You've all been so kind to Father and me, she says--letting us live in the gatehouse--of course I'll help you if I can.  Flora looks defeated.  I've been told, says Morgan that you have some strange powers.  People say I have, she agrees.  If we gave you something of Gabriel's, he says, could you help us find him?  I don't know, she says--Mr. Stiles usually helps me.  We have no time to find him, says Morgan.  I've never tried it alone, she says.  Would you please try? he asks.  She nods.  Give Carrie Gabriel's letter, instructs Morgan.  Flora does so.  Will this do? asks Morgan.  I think so, she says.  She opens the letter and gazes at it, concentrating, then seems to enter a trance.Anxiously, Morgan asks, do you see Gabriel.  Carrie murmurs, "Trees...forest..."  Where? asks Morgan--near here?--can you tell that?  A stream, leading to the sea, says Carrie--trees are not tall, they are young; over the stream is a bridge, a rope bridge big enough for one.  Where is the bridge? asks Morgan.  It's so dim, I can hardly see it, she says--he stands there, staring at it...  Carrie, close to unconsciousness, comes out of the trance.  Flora is concerned for the girl's well-being.  Morgan, however, immediately asks Carrie, do you remember everything you said to us?  I think so, she says.  There's no rope bridge around here, points out Flora.  Wait a moment, says Gabriel, and leaves them.  I'm sorry for not helping you, says Carrie.  It's not your fault, Flora assures her.  Perhaps if Mr. Stiles were here...suggests Carrie.  Morgan returns with a small painting in his hands--this picture hung on the wall under the stairs, Mother, he says--the bridge over Biddleford Creek.  That's not far, says Carrie.  This is a rope bridge, says Morgan.  That was painted before I was born, says Flora, sometime in the last century--there's a stone bridge there now, you know that.  But this was there, Morgan insists, holding up the painting--is this the bridge, Carrie? Yes it is, she replies.  I'm going there, insists Morgan.  Flora protests.  I don't understand anything she's saying, says Morgan, but if she thinks Gabriel might be there, I'm going to go find him, whether you approve of it or not.  He starts to go.  No, says Carrie, Gabriel isn't there now--you must wait--Gabriel will find you--I don't know why I say that, but I know it's true.  She gazes at the letter again.

Cemetery - We heard birds chirping.  Morgan leads his mother through the tombstones, asking,  why do you insist on visiting Father's grave today?  Why do you insist on going to Biddleford Creek? counters Flora. You know how depressed you are when you leave here, he says.  I want to tell him that the curse is over for this generation, she says.  He wants to go with her, but Flora prefers to go alone.  Are you sure you'll get back to the house all right? he asks.  Of course, she says, nothing can happen to any of us--not now.  He goes off, leaving her alone.  She ascends the stairs to the mausoleum.  She gasps, horrified to find Justin's headstone cracked in half on the floor.

The clock in the foyer at Collinwood strikes 7 PM.  Melanie comes down, calling to her mother and Morgan, but gets no answer.  Why do I suddenly feel so cold? she wonders, hugging herself.  She goes into the drawing room and screams.  Justin's ghost is there.  Papa! she cries.  "No rest," says Justin--"they will not let me rest!"  Oh, Papa! wails Melanie.  "The room--someone must go into the room!" says Justin.  Melanie shakes her head.  "The lottery must be done again," insists Justin--"they are not satisfied--the lottery must be done again!"Melanie shakes her head, terrified.

NOTES:  Aw, hell, now that Justin has come back with his warning, I guess sending a non-Collins in there didn't appease the spirits after all.  It wasn't a bad idea Gabriel had, but it failed.  Now they will have to hold the lottery again--who will be chosen to go in this time?  One must wonder, too, why the plague was so quickly defeated; you would think that both Quentin and Melanie would have stayed sick if putting Tim Braithwaite in the room was the wrong thing to do.  So, despite Melanie's hysterics, it takes more than just a sacrifice to serve these angry spirits--it takes a COLLINS sacrifice!

I was thinking as I watched this episode that Morgan found that painting in the house--is it possible that's where Gabriel is hiding?  So many hiding places, right?

Mother love is so strong--even after his deceit, Flora still mourns for her weak son, Gabriel.  She probably would prefer not to see him again, but he's all hers.  She tried to raise him right, but he was the youngest and probably coddled.  Quentin and Morgan didn't end up that way.  You have to feel sorry for her, as she seems a good woman.

Carrie is back, but doesn't seem quite as shrill as in her other incarnations.  Here she's a psychic.  I don't think we see James Storm again, so perhaps she is now the psychic in residence.  I wonder who her father is, since Ben Stokes was her grandfather in RT.  Flora is more like Liz  here, not the bubble-head we saw in RT.

Love, Robin

1210 - The plague! Melanie cries over and over--"Going through the village!"  The black plague?--is that what you mean? asks Quentin.  Melanie goes on as if she can't hear him.  The smell of bodies burning!  Sickened, Flora says "Melanie."  It couldn't be the Black Plague, insists Quentin, it belongs to the Middle Ages.  It will happen, unless...the door, the locked door, one goes in, one must go in, says Melanie.  Who are you? asks Quentin.  No one will escape! cries Melanie.  How do you know these things? asks Quentin.  Flora asks to know, too.  He was cruel, says Melanie--he killed, he was so cruel.  Did he kill you? asks Quentin.  The Plague, it is just, says Melanie--it is just!  Tell me, says Quentin, why is it that the spirit demands one of us sacrifice ourselves?  I can tell you no more, answers Melanie--the room, go to the locked room--she passes out.  Flora comes over--are you all right?  Melanie raises her head, out of the trance--did I have one of my attacks?--did I say who it was?  No, replies Quentin, turning on the lamp, but it's my guess that you are the same woman you are when having the attacks, because when you have the attacks, you seem to know something about the curse--you remember how she was at Father's coffin, he reminds Flora.  Melanie bursts into tears--oh, Mama! she wails.  Flora wants to discuss it later, but Quentin insists they do so now.  The child isn't well, says Flora.  And she won't be until this is solved, says Quentin.  Did you at least find out why the curse was placed upon the family? asks Melanie.  No, says Quentin, but we got a clue--the Plague--it's obvious that the disease is in this house because a generation of the family one time refused to go along with the legend of the locked room.  It may be a coincidence that the disease is in this house--it's entirely possible that a seafaring man from the Orient came here just as the right moment, but that would be easy to prove by the family history or village archives.  Quentin, I don't feel we know anymore than we did before, says Flora.  You know it's also possible that the woman who possessed Melanie is also the same woman who put the curse on the family, suggests Quentin.  Please talk of something else, begs Melanie.  Flora soothingly says, I know how terrible it is for you.  How can you possibly know what it's like? demands Melanie, near hysteria.  Please, Quentin begs his sister, you've helped us very much--I'm going to go into the village and find out all I can.  Someone knocks at the door.  Who can that be at this hour? asks a harried Flora.  Melanie volunteers to answer.  We shouldn't have done this, Flora tells Quentin--I'm terrified that Melanie is going to become that other person all the time--she's been so nervous since Stella was killed--we should have kept that from her.  We have enough secrets in this house, protests Quentin--if she killed Stella, she deserves to know it.  Melanie comes to breathlessly report, the police are at the door--they want to question us about Stella's murder.The three of them look at each other in dismay.

We knew we'd have to go through this questioning, says Flora.  Take a deep breath, Quentin orders Melanie--be as calm as you can be.  Gentlemen, come in, please, Flora says regally to the unseen police.

Newlyweds Catherine and Morgan prepare for bed in his room.  Catherine is taking her clothes out of a suitcase.  My wife, says Morgan, and kisses her--I have a secret I'm, afraid to tell, he says.  You can tell me, can't you? she asks, smiling.  It's something I thought I'd never say in this house--in fact, I'm almost afraid to say it now, he confesses--I'm happy--very happy--thank you!  Oh Morgan, she says, hugging him--I want so much to make you happy--and I was so afraid I wouldn't.  You're thinking of Bramwell, he says.  No, she says, covering his lips with her fingers-- of you--the chance you took because of me.  Perhaps I learned something that morning, he says--perhaps I learned that, for whatever reason, I CAN win. Didn't you know that? she asks.  In this house, it's sometimes difficult to know, he says--but it will be quite different now that you're here.  I hope so, she says.  They smooch a little more.  I'll never be unpacked, she says, I must finish.  Tomorrow, he says, looking forward to other activities.  Tonight, she insists, putting some clothing away in the dresser.  Is there anything you don't do gracefully? he asks.  Many things, she says with a chuckle.  I don't believe that, he says--if we only had the time--think of all the wonderful things we're going to learn about each other.  We'll have the time, she assures him.  When you say that, I almost believe it, he says.  We'll spend many years in this room, she says, looking around, I can feel it--oh, Morgan, let's start a family as soon as we can--I do so want to have children--your children.  Morgan's face grows dark.  What's wrong? she asks.  It's out of the question, he says--we will not discuss it!  What? she asks.  We will never have children, he says.  You don't mean that, insists Catherine.  How can we? he asks--knowing what they would have to go through--facing the lottery someday, having to go into that room--no, we'll never mention that again.  I can't believe you're saying that, says Catherine, astounded.  What other choice do I have? he asks.  You have the choice of whether or not to let that room dictate your life, she says sharply--the fact is, you believe too strongly in a legend!  But you know what happened to my father after he went into that room--and Melanie--she tried to kill you! he reminds her--you know what happens to people who even enter it!--we won't discuss this any further.  We will, she says, I intend to live my life here as I would if I lived in any other house.  But you can't! he says.  You married the wrong woman if you think I'll give into to superstition! she cries.  That's not it, he says.  Until it's proved otherwise, that's what I'll believe, says Catherine.  You're a fool! se says.  Morgan! she chastises--just a few moments ago, you told me how happy you were--you won't be happy long--not unless we live our lives as others do--we MUST have children--we must!  I never want you to mention that again! he says furiously and stalks out.

Flora sees the police out and returns to the drawing room, where Quentin and Melanie wait.  They know I killed Stella, wails a miserable Melanie.  Then they know more than we do, says Flora.  They kept watching me, says Melanie--every time they asked me a question, they kept watching me.  Just your imagination, insists Quentin.  It was not! says Melanie--they didn't believe anything any of us said.  We can blame Stella's brother for that, says Flora.  Oh no, we cannot, says Melanie--we can blame ourselves because we were lying, every one of us, you saying Stella left the house suddenly, Quentin saying he saw her leave--and me most of all!  She begins to cry.  We should go to our rooms, advises Flora.  Quentin comforts the sobbing young woman, assuring her, the police believed every word we told them--who could deny the word of a Collins?  I do so hope you're right, says Melanie, kissing him good night and going upstairs.  She's right, you know, says Flora.  We weren't at our best, agrees Quentin.  I'm afraid our questioning has just begun, opines Flora, leaving the room.  Quentin looks equally upset.

Continuing to unpack, Catherine, alone in the bedroom, finds a letter from Bramwell in her suitcase, and reads, aloud, "My darling, I have just left your house--how unbelievable it is to me that I shall not see you again for months--or years--but I love you so much that I will make it months--in the city I will have success--I will get money--I will be able to give you everything you ever wanted--your love will make me do miracles that I couldn't do alone--we will be together soon, I promise you, and once we see each other again, we will never be parted.  You have my heart--Bramwell.

Melanie hesitantly stops by, looking to bid Catherine good night.  You're not afraid when I come into your room, are you? asks Melanie.  No, says Catherine.  I know it's going to be terribly hard for us to become friends, says Melanie.  We will, says Catherine, sniffing.  You've been crying, notes Melanie.  It's just a mood, says Catherine--I'm afraid I've never learned to control my moods.  Catherine muses on all the choices one has to make in life, Melanie, about the choices made for us.  Catherine, staring at Bramwell's letter, believes everyone makes her own choices.  Even here--at Collinwood? asks Melanie. Even here, says Catherine.  I don't know, says Melanie, I always believed I had the right to do anything I pleased with my life--but now...I guess each of us has a secret he must live with.  Catherine agrees.

Drawing room - The plague? Morgan disbelievingly asks Quentin--you're off on another wild chase.  Quentin reads from a journal--in 1748, Mortimer Collins spent five guineas to have a tooth extracted by a dentist--then spent a whole paragraph complaining about it--if any of the Collinses had the plague, believe me, it will be in here.  What does it mean if he really did have? asks Moran--oh, really, Quentin, a seance, and with a mad girl as your medium--the sooner you all realize Melanie is mad, the better off we'll all...Quentin, you're not listening to me.  The plague WAS at Collinwood, says Quentin--it says so right here--it started in this house in 1680, four members of the family died--it spread to the village, carts of the dead went daily to the burning grounds.  All spread by a diseased ghost, says Morgan sarcastically.  The first symptom, says Quentin, was a high fever, then black marks appeared--it's all right here, dear brother.  That's quite encouraging, says Morgan--if none of us have to go into that room until the plague comes, we could live for generations.  Quentin reads, it stopped as mysteriously; villagers insisted it ended so quickly because of some stronger supernatural force.  Please don't bring up anymore legends, we have quite enough as it is, asks Morgan--put that down, I want to talk to you--seriously--this is much more important than the plague--it's about Bramwell and his mother--I want them out of the Old House and off the property.  You won the duel, Quentin reminds him--isn't that satisfaction enough for you?  It is not, says Morgan.  Remember, Quentin says, Justin gave Bramwell's parents the house.  Isn't there something we can do? asks Morgan.  Yes, shouts Quentin, live up to Father's agreement--now forget it!  I can't, insists Morgan, as long as Bramwell is on this property, he's going to make trouble for me, I know it.

Smiling, Melanie tells Catherine, I know you're going to be very good for all of us here in this house.  I hope so, says Catherine, I'm going to try.  Melanie heads off to bed.  Catherine continues unpacking, putting her things in the dresser.  Morgan returns.  A wife is not supposed to argue with her husband, says Catherine meekly--she is supposed to just accept (!?)--but I'm afraid I haven't learned how to do that.  You will, predicts Morgan.  I'm not so sure that's true, she says.  You'll have to try, he says.  He discovers on the mantel the letter from Bramwell she'd been reading.  What's this? he demands, looking at the letter, becoming furious again.  It's a letter from Bramwell, isn't it? he yells--isn't it?  She looks terrified.
"'You have my heart,'" Morgan quotes from the letter, shaking.  "It was written years ago!" she explodes.  I don't believe you, he says.  Look at the date, she says, reaching to take the letter from him.  You are my wife (goodbye city life) he insists--why are you reading his letters?  I was unpacking them, she says.  You're lying! he cries.  My maid put them there--I didn't know they were there! she protests.  You brought them here? he asks.  No, she put them there! says Catherine.  You're lying--you're still in love with him, accuses Morgan.  I married you, she reminds him.  Give me his letters! insists Morgan.  Morgan! she protests, horrified.  All right, he says, going through her suitcase, I'll look for them myself.  You have no right! exclaims Catherine.  Oh yes I do! he says, you are my wife--you will never read these letters in this house again--EVER!  He tosses all of Bramwell's letters into the fire.  Catherine, upset, watches them burn.  Do you forbid me never to think of him? she asks--am I not allowed to have a past?--even one that has ended?--are you Collinses born and bred in this house the only ones allowed a past?--it's wrong, Morgan, it's so wrong.  Morgan relents, grabs her into his arms, and begs, "Oh, God, Love me, Catherine, love me as much as I love you--please love me!"

Melanie dreams:  A grieving Flora asks, what did we do to deserve this?--God, how much must we go through?--do we have to go through this now?--when will the punishment end?  Quentin stands in the doorway, Melanie's body in his arms.  She's dead, he says.I can't believe it, says Flora.  She died in my arms, says Quentin.  You shouldn't have gone into her room, says Flora.  I had to, says Quentin, staring into Melanie's dead face--she was crying, I heard her.  Take Melanie's body to the village and burn it, orders Flora--she had the plague!--she had the plague--she must be burned--it's not our fault--for everyone's sake, she must be burned...burned...burned!  Melanie awakens, screaming.  Quentin runs in and finds Melanie holding her head as if in agony.  Burned, burned! she cries, I'm, burning, burning, don't touch me.  Oh, God, the fever! says Quentin.  Flora comes to the doorway. Stay out, Quentin orders.  The plague! wails Melanie."The plague has come back!" Quentin tells his mother, horror-stricken.

NOTES:  Catherine, I believe you have grounds for annulment--he is telling you he won't have sex with you, plus denying you children, which you want, and non-consummation is as good as any other reason to free yourself from such a pompous, cruel and insensitive clod.  God, if this doesn't convince her, nothing else is going to.  Catherine, you've had great sex with Bramwell--don't be a fool! You are not the type to "accept" what your husband wants, you have too much spunk for that.  I bet Bramwell wants kids, too.   Morgan had no right to destroy Bramwell's letters to Catherine; she has a right to a past, too, just as Morgan does.  If Bramwell sent Catherine other romantic letters like that, how could she ever have gotten involved with Morgan, anyway?  It just doesn't make sense to me.

So the plague has come to Collinwood, which means the family must hold the lottery.  Who will win the privilege of going into the deadly room?

I thought Quentin said they were going to tell the police the truth about Stella.  Sounds like they lied all the way home.

I feel sorry for Melanie, but she cries too much.  I suppose she has reason, but it gets on my nerves after a while.


1211 - Flora comes downstairs and greets Julia, who has just returned to Collinwood--I've been looking all over the house for you, says Flora.  I had to go to the village, which you knew, Julia reminds her--what's wrong, what's happened?  It's Melanie, says Flora--she has the plague!

I didn't believe that was possible, says Julia.  Don't you recall--it happened once before, a long time ago, says Flora, when they refused to hold the lottery.  Yes, I remember, says Julia, and now it's happening again--what could have brought it on?  I'm afraid we brought it on ourselves, says Flora, we held a seance tonight--Quentin, Melanie and I--we tried to contact Brutus Collins--Melanie went into a trance and started muttering warnings about the plague--about an hour ago, she was stricken.  Where is she now? asks Julia.  In her room, says Flora--I sent Morgan for Dr. Fletcher--he's with her now, Quentin is, too.  Quentin shouldn't be with her! exclaims Julia.  He was the one who found her, says Flora, it's too late for him to take precautions.  What will you do now? asks Julia.  I want to hold a family meeting, says Flora--you go upstairs and tell everybody --I'll get Gabriel--he's in the study.  The women separate to perform their respective tasks.

In her room, Catherine paces, nervously looking at her hands.  Morgan comes in.  Is there any word? asks Catherine.  No, he says, the doctor is still with her and I can't go in.  Poor Melanie, laments Catherine.  She's been through so much already, agrees Morgan.  Catherine sits on the bed--I can't understand or believe how suddenly it happened, she says--Melanie was perfectly all right just a few hours ago.  Now maybe you'll believe how serious that curse is, says Morgan.  You don't think Melanie's illness has anything to do with your curse, do you? asks Catherine skeptically.  I know it does, says Morgan.  When are the people in this house going to stop thinking all their misfortunes are the work of some evil spirit? wonders Catherine.  I lived in this house all my life, says Morgan, and saw the things that happened--and it could only have happened because of that curse.  Someone knocks at their door--Julia--Flora wants to see you in the drawing room immediately, she says.  Morgan leaves.  Catherine, probably wondering if she's made a big mistake, holds onto one of the bedposts.

Drawing room - Flora tries to calm a nervous Gabriel--sit down and try to relax, she urges.  How can you relax at a time like this? he demands childishly.  I said try, she reiterates--and don't resort to your usual means--are you carrying a flask?  No, of course not, he says evasively.  Give it to me, she orders.  I just told you I...I said give it to me, commands his mother--I'll give it back to you after we're finished here.  He reaches into his pocket, pulls out a silver flask, and hands it to her.  Melanie isn't going to die, is she, Mother? Gabriel asks.  Flora places the flask on the armoire--we'll do everything we can to see to it that she doesn't, says Flora--that's why we are having this meeting.  Julia, Catherine and Morgan enter.  Quentin is still up in Melanie's room with the doctor and will be down in a moment, says Julia.  Let's make ourselves as comfortable as we can, suggests Flora.  Morgan and Catherine sit on the sofa, Julia in a chair; Gabriel stands behind another chair, holding onto it with one hand.  Flora stands before the fireplace and explains, there is hardly any need for me to tell you that what has happened to Melanie can kill her--there is no normal way she can be saved from the plague.  How can we be certain it is the plague? questions Catherine.  Under the circumstances, says Flora, I don't see how it can be anything else.  What if the doctor has another diagnosis? asks Catherine.  My dear, says Flora, you are new here, there are certain things you don't see as we do--we know and believe time might be running out for us--and if Melanie has got the plague...  From the doorway, Quentin announces, "There's no doubt about it--she does have the plague."  Everyone is horrified.  Then we will hold the lottery tonight, asserts Flora.

I take it there are no objections to the decision I have made, says Flora.  I assume I now have a full voice in family affairs, says Catherine.  Of course you have, says Flora.  Then I vote this lottery should not be held--tonight or any other time in the future, states the bride.  Flora surveys her solemnly--that's impossible, she says.  Catherine stands and moves closer to her mother-in- law--we will never be free of the misery in this house if we give in to fear, insists Catherine.  You don't seem to understand, says Flora--Melanie is upstairs dying.  She will either be saved or not saved by the doctor, not anything we do here, says Catherine--her fate is not in our hands--the most we can do for her is pray.  Catherine, says Quentin, you may believe as you wish, but if we were to take a vote on it here, you would lose, five to one.  Catherine looks at Flora, who stares right back, silently agreeing with Quentin.  The others say nothing.  Very well, says Catherine, I see no point in continuing my argument.  Quentin enters the room.  Stop and stay right where you are, orders Gabriel--you shouldn't be close to us, you were exposed to the plague--you were with Melanie when...  Will you stop talking like that? demands Quentin, advancing on Gabriel, who darts around and away from his brother.  Stay away from me, I don't want to get it! shouts Gabriel.  We're all going to get it! says Quentin, unless we go through with our little ceremony--why do you think Melanie got sick--it's a warning to all of us, don't you understand that?  Is that true, Mother? asks Gabriel.Yes, she says, it's just a matter of time for the rest of us.  Why don't we get out of this house--burn it to the ground? asks Gabriel--leave it forever?  Why do you insist on being a bad historian? Quentin asks him--you know perfectly well that one past family tried to do that--and the plague not only followed them, but caught most of them.  Gabriel sits down.  Our obligation is clear--we will hold the lottery--I will prepare the six slips, says Flora.  Why six? asks Morgan.  There are six of us in the room, aren't there? asks Flora.  Mother, we have gone through this before, says Morgan.  Then let's not go through it again, says Flora.  I said only the men would participate in this, insists Morgan.  I go along with Morgan, says Quentin.  I am with Flora, says Julia, as Catherine listens closely--I see no reason why we shouldn't participate.  I see several reasons why, says Quentin.  We have precedent on our side, says Julia--until this generation, the women have always participated in the lottery.  Precedent be damned, says Morgan.  Julia the way you are talking, says Quentin, we might as well run upstairs, get Melanie and have her join in.  I've already explained why Melanie will not participate under any circumstances, says Flora--having spent time in that locked room, if only briefly, it would not be fair to subject her again--now you will all leave the room while I prepare the slips.  No, Mother, says Morgan--you're not going to get out of this this easily.  You may be the eldest son, Flora says, but I am still mistress of this house.  But we all have an equal voice, says Quentin, except for our dear brother over here, who seems to have lost his voice.  Yes, Gabriel, agrees Morgan, why don't you say something?--your opinion would be most appreciated.  He stands behind Gabriel's chair.  Yes it would, agrees Quentin, moving nearer to Gabriel, we couldn't get you to shut up a minute ago.  There's no point in bullying him, says Flora.  We're only trying to find out where Gabriel stands, says Morgan.  I think you've forgotten, says Gabriel, the one voice that has not yet been heard.  If you want to know where I stand, Morgan, says Catherine--it's with the women--I feel we should ALL participate.

Morgan darts forward--Catherine, you can't be serious! he says.  I am serious, she assures him.  But you don't even believe in this, he says, you think the lottery is a waste of time.  That's beside the point, says Catherine.  Morgan, are you saying she shouldn't participate because she doesn't  believe in the lottery? asks Gabriel.  (conscientious objector)  Will you be quiet? says Morgan, annoyed.  You can both be quiet, says Flora--let Catherine explain.  Thank you, says Catherine--whether or not I believe in the lottery doesn't really matter, does it--since you've all decided to take part?--I think it only fair that each of us should play his part as well.  I don't and that's that, says Morgan.  Mother...begins Quentin.  Listen to me, all of you, commands Flora, we no longer have the luxury of time, and it's obvious bickering amongst ourselves isn't going to solve anything.  Then let the men draw the lots, says Morgan.  I have not finished yet, says Flora--there is only one fair way to settle this--to take a vote.  What's the use of voting? asks Quentin--there are six of us here, it will be a tie.  We will take care of that eventuality if and when we come to it, insists Flora--now a yes vote means the women participate, a no, they do not--Julia?  I vote yes, says Julia.  Catherine concurs.  Morgan and Quentin say no.  Gabriel? asks Flora.  Gabriel is silent.  Come on, speak up! orders Morgan.  Everyone stares at Gabriel.  Threateningly, Quentin says, "I want to hear you vote no."  I vote yes, says Gabriel.  Quentin runs over, grabs his brother by the lapels, hauls him from his chair and says, right in his face, "I swear to God--I'll put you in that room and throw the key away, brother!"  Flora orders them to stop it--that's enough.  Quentin shoves Gabriel back in his chair and gazes at him with contempt.  It's settled, says Flora--we will all participate--I will prepare the slips and Julia will let you know when I'm ready.  Quentin exits the drawing room, followed by Morgan and Catherine, arm in arm, then Julia.  Gabriel rises from his seat and dejectedly leaves the room.  Flora sits at the desk, takes out a piece of paper and scissors and cuts the lottery slips from a piece of purple paper.  (Did they even have such colorful paper back in 1841?)

Gabriel rushes to the study to find one of his booze canisters hidden in the base of a clock.  He drinks deeply.  Morgan enters and says, "I'm gonna kill you with my bare hands."  But you won't, Brother, says Gabriel, because that would only increase your wife's chances of going into the room, wouldn't it?  But you decreased yours, says Morgan, grabbing the canister out of Gabriel's hand--come on, admit it!--is that the reason you jeopardized the lives of three women--to save your own skin?  Believe what you like, says Gabriel, it makes no difference to me.  Mother is still the best politician in this house, says Morgan.  What's that supposed to mean? asks Gabriel.  Because she out-maneuvered Quentin and me, says Morgan--she saw the writing on the wall--she knew you'd vote yes--she knew she had this whole thing sewn up--listen to me--if I could rig this lottery, I would see to it that you would get the losing slip.  I know why you're so worked up, says Gabriel--you voted no to save your own wife's skin!  I have always been against women participating in this, says Morgan.  That's what you say now, accuses Gabriel, but this has never been brought to a vote before--now if it was just Julia and Mother, and not your wife, you'd have voted yes!  That's a lie! yells Morgan.  Well, says Gabriel, snatching back his canister, we'll never know, will we?--never know--he drinks--now why don't you just trot upstairs to your beloved wife?--this might just be the last night you two spend together.  You have got to be the most disgusting person I know, declares Morgan, and leaves the room.  Gabriel drinks.

Having prepared six slips, Flora takes a feather pen and writes an X on one.

Catherine waits in her room for Morgan.  When he joins her, she kisses him.  He sits on the bed with her--we're going to be going downstairs again soon, he says--there's something I want to tell you.  What is it, darling? she asks.  If you pick the losing slip, he says, I must insist you let me take your place in that room.

Morgan, that's out of the question, objects Catherine.  I must insist upon taking your place, Morgan repeats.  You miss the whole point of what happened downstairs, she points out.  I will not have your life jeopardized by a coward brother, he says.  There's no point in even discussing this now, she says, let's wait and see what happens.  Catherine, he says tenderly, no matter what happens, I want you to know I love you very much.  I love you, too, she assures him.  They kiss.

Study - Gabriel has run out of booze and is frantically searching for more.  He finds a flask in the top desk drawer.  Quentin enters.  What a sight, he says of Morgan.  Go on, Morgan's already had his say, says Gabriel.  You know something? asks Quentin--if a historian ever compiles a list of losers, you'll stand as a monument.  He claps Gabriel on the shoulder.  Aren't we witty for someone who may die? says Gabriel. If I'm going to die, I'm going to die, right? asks Quentin, gazing into the fire.  How philosophical of you, says Gabriel.  Quentin settles into a chair and says, "At least I won't be afraid--like you--I won't be cringing, seeking to find a refuge where there is no refuge--look what it's done for me, huh?"  I've heard this sermon so many times before, complains Gabriel, I can't hear it again.  I'm curious about something, says Quentin, and I really want to know the answer, because I don't know--I want to know how you're going to feel when Mother chooses the losing slip in the lottery--when Mother goes into that room and goes mad, or dies--and I want to know how you feel deep, way inside, when you know that your vote put her into that room--tell me, how do you feel?  Clutching his flask, Gabriel says, I don't believe she will get the losing slip.  That's not an answer, says Quentin through gritted teeth, standing to face his brother.  I believed all along it would be me, says Gabriel.Then why did you vote yes? demands Quentin, furious.  I don't know, and I don't want to talk about it, cries Gabriel.  Dear God, I should know better than to try to get an answer out of you, shouldn't I? asks Quentin, sitting back down.  Remember something I asked you once? recalls Gabriel--you never did give me an answer.  I remember, says Quentin.  You're completely wrong about me, says Gabriel, if I get chosen--if I choose the losing slip--I'm going to do my duty.  "If you choose the losing slip, we're going to have to drag you into that room," predicts Quentin.  I swear to you, promises Gabriel, if I go into that room, I'm going to go mad--I'd just rather die than end up like Father did.  On second thought, says Quentin, I don't know whether I want you to go into that room or not, because knowing you, you'll strike up a bargain with whoever or whatever is in that room and sell us all down the river.  Promise to kill me if I go insane--please! begs Gabriel.  Based on your vote today, says Quentin, it will be my pleasure.  The door opens; Julia comes in--Flora is ready, she says.  Well, says Quentin, rising, clapping Gabriel on the shoulder, buck up, old boy, the time is here.  Gabriel takes another gulp from his flask and follows Quentin out.

Drawing room - Flora, Catherine and Morgan wait, staring at the blue vase into which all the slips have been placed.  Quentin pushes Gabriel into the room and everyone is present.  Julia follows them in.  "I have prepared the slips and put them in the vase," says Flora--we will each draw a slip from the vase--five of them are blank, and one is marked with an X--whoever draws the slip with the X goes into the room--now, who will begin?  Morgan and Catherine look at each other.Everyone gazes at Gabriel.  No one seems to want to go first, but finally, Quentin says, "I'll begin."  He pulls a slip from the vase.  Julia is next, then Catherine, then Flora, then the others. . .

NOTES:  Who will get the losing slip?  Who will be voted off the island?  Sorry, that's another show.  It was fascinating to watch the family interaction today--Gabriel's alcoholic cowardice; Catherine's cynicism about the curse, but willingness to participate in this dubious family function; Quentin's and Morgan's macho bravery and insistence that women not participate, and the contempt they have for their youngest sibling.  It's fun to watch, and kind of reminds me of the quibbling siblings in 1897.

Flora is much more somber here than in 1840, but she has good reason.  It's hard to be a silly novelist when you have one son who goes to prison for 7 years, another who is an alcoholic and a third who has married a woman with a long past with another man.

Of course, since I've seen this storyline many times before, I already know who is chosen, but I won't tell.

Love, Robin

1205 - Collinwood - Julia comes downstairs--Morgan, have you seen Melanie?--I wanted to talk to her about something.  Morgan can tell something is wrong, but Julia denies it.  She's locked in her room, he reminds her--you should have gone there--she isn't there, is she? he demands--she's mad and wandering through the halls, isn't she?--is that it?--is she wandering again with a knife?  I'm afraid she is, says Julia--I didn't want to tell you, but I have to--I never dreamed anything like this would happen--we meant no harm.  Who are you talking about? asks Morgan.  Your mother and I, explains Julia--Stella did not leave Collinwood--your father tried to...he wasn't himself--that monstrous room!  Julia please tell me! he insists.  Flora and I discovered Justin threatening Stella--if we hadn't gone in there that very minute, he would have killed her--WE saved her!--but we couldn't allow her to stay in this house, not knowing what she knew about your father, and heaven knows what else--so we locked her in the tower.  You WHAT? cries Morgan.  We didn't mean her harm! exclaims Julia.  You must let her out! says Morgan.  We can't, says Julia.  This is outrageous, he says--have you lost your mind, too?  She's dead, says Julia, strangled (I thought it was a stab wound?) to death.  And knowing that, you still insist Melanie isn't mad, says Morgan.  We don't know Melanie had anything to do with this, insists Julia.  Melanie IS mad, insists Morgan, and I'm going to look for her and have her committed.  I won't let you, says Julia.  I can do it and I will do it, says Morgan.  Whatever involvement Melanie may have had, it's not her fault, says Julia.  Then will you please tell me who is to blame? asks Morgan, peeved.  The spirit in this house, says Julia.  Melanie is dangerous! says Morgan.  Everyone in the family is dangerous, asserts Julia--how will you possibly explain Stella?--everyone thinks she's out of the house.  Except her brother, Morgan reminds her.  Yes but in time he would come to believe that, too, she says--we've got no choice--we've got to find Melanie, and help her, however we can--but first we must dispose of...  The body? asks Morgan.  We can't do it, says Julia, we need your help--you're the only one who can help us--what if the police come and find out how your father became?--what if they take me and Flora away?--you have GOT to help us, I beg you!  He agrees.  Very relieved, she thanks him.  If only there were one slight chance of happiness in our lives, he laments.  What about Catherine, says Julia, you have her!  Will I have her tomorrow at this time? he asks--will I have to lead her into my world of madness like my mother did my father?--the lottery?--what a tragedy--and I'M worried about the family name--Julia, I want you to find Melanie--I'm going to the tower--no one will ever know about Stella, I promise.  He hurries off.

Catherine sits in her cottage, staring into the fire.  Someone knocks at her door, but won't respond when she asks who it is.   "Morgan?" she calls.  Bramwell opens the door; they gaze at each other for a few moments.  Go away, she orders.  No, he says solemnly, I remember what happened yesterday between us, and so do you.  Despite what happened yesterday, she says, I don't want to see you.  You said you loved me, he says.  I did, she says--once--no more--I love Morgan.  He turns her around to face him, touches her cheek, her throat, with gentle, searching fingers.  "A lover's touch," he says softly, "only a few hours ago, there was nothing you wanted more than mine--has that changed?"  He runs his fingers over her cheek, exploring familiar territory.   "Can that change?" he asks--"I love you, Catherine, I love you very much."  He moves in for a kiss, but their lips barely touch.  "Don't be gentle," she pleads--"frighten me. . .threaten me. . .make me run away from you, but please, don't be gentle with me.".  She turns and, with an impassioned moan, drags his face to hers, frenziedly kissing him.  He wraps his arms around her; they embrace and kiss with growing fervor.  Believing he has her at passion's precipice, he starts to propel her into her bedroom.  They just about make it through the door when she pulls away and returns to the living room.  No, Bramwell, please don't, she says--you know me so well, better than I know myself--you ARE a demon--and the demons in me are in league with you--but I won't have it--get out of here!--just get out--I love Morgan, I'm going to marry him, do you understand that?-- (screaming) I don't want you anymore!  To this, Bramwell quietly replies, "You want me more than anyone--and you always will--I will be back, Catherine, because you will want me back."  He leaves.  She is breathing heavily, trembling.

Melanie lies unconscious by the lottery room doors (which are decorated in crowns).  She comes to and, with difficulty, stands.  Realizing where she is, she gasps with fear, backing away.  What am I doing here? she asks herself, how did I get here?  She runs away.  The camera pans to the doors of the room.

Drawing room - Well, Morgan? Julia asks.  The grisly disposal of Stella's body is done, he assures her--did you find Melanie?  No, replies Julia.  The body is gone, sighs Morgan--Stella was an innocent, harmless girl--she belongs to us now--and will reside forever at Collinwood (that is chilling).  Melanie enters.  Morgan rises from the sofa, furious--will you ever stop? What? she asks, truly not understanding.  We know what you did with her--Stella, says Morgan.  What about Stella, I know nothing about her, insists Melanie.  He knows about Stella, says Julia.  What does he know? asks Melanie--what about Stella?  That you murdered her! accuses Morgan, and that you tried to murder Catherine!What are you talking about? asks Melanie.  Stella is dead, murdered, says Julia.  She can't be, I was just talking with her, says Melanie--she was so much alive!  Really? asks Morgan---was she alive when you were in her room?  Morgan, leave me alone with Melanie, commands Julia.  Gladly, says Morgan--she's your problem--and mother's--how long is it going to take before you realize my solution is the only way out?  He leaves.  What does he mean--his solution?--asks Melanie--he thinks I killed her--do you think I did it?  I don't know, says Julia, but if you were involved, it wasn't your fault.  Then you do think I might have had something to do with it?--Melanie puts her hand to her forehead, near tears--no, don't answer, I know you do--you may be right--because I can't remember things!--I can't stand it very much longer--why would I want to kill Stella?  You probably didn't, says Julia--you said you were in the room with her.  Yes, but I only went there to ask her to forgive you and Mama--I didn't murder her, Julia, I left her alive!--tell me I didn't do it!  What did you do when you left her room? asks Julia.  I went to my room and stayed there! insists Melanie, I didn't until just now, when I found myself outside the room where Papa went mad--and I don't remember going there at all.  Do you remember being locked in your room before the funeral? asks Julia.  No, says Melanie.  Do you know your room is locked now? asks Julia.  Now?--I was locked in? asks Melanie--but now I'm here and the room is still locked--she covers her face, shoulders shaking--oh, Julia!  Her aunt slips an arm around her--let me help you, Melanie--try to remember, she says gently.  I want to remember, says Melanie, maybe Morgan is right--maybe I did do it--did I kill Stella--did I?  She goes into her aunt's comforting embrace.

7:35 - Morgan answers Catherine's knock at the door.  I'm very glad you're here, she says.  He notices how agitated she is.  I need you to hold me, she says.  I need it, too, he agrees, and they move into each other's arms for a hug.  Do you love me? she asks.  That's a silly question, he says, I love you more than anything in the world.  And you know I love you, don't you? she asks.   Yes, he says.  Then please, let's not wait until tomorrow, she says--will you marry me tonight?  He looks at her, not comprehending.

Looking at her eager, anxious face, Morgan is thrilled--do you really mean it--tonight?  Yes, she says, from my heart--she hugs him again.  Oh my darling, of course we can be married tonight, he assures her--we've had the license for days!--forgive me, I hope you don't mind me asking this--is there anything wrong?--for the reason you suddenly came here this evening?  Nothing, she says evasively, I've just been home, alone, and I was thinking about you--about what you're going through, what you must continue to go through, and I thought to myself Morgan needs me, now, more than ever--I must go to him and help him--I love you, darling--she kisses him.  I love you, too, he says--we'll get married tonight, I'll call the minister--and we'll take the black mood of this house and turn it into one of the brightest ever.  I want it, you know I do, she says, but please can we make it simple and quiet--just a witness if we need one, but just you and me?  Anything you want, he says.  Before leaving to get the minister, he asks, because of everything you know about this house, and the lottery, are you sure you want to do this?  She runs into his arms--I'm more sure than I've ever been of anything, she says--yes, yes, darling.  They kiss.

Melanie joins Kendrick, who awaits her at the gazebo.  I was afraid you weren't going to come, he says.  Whatever made you think that? she asks.  Probably because I wanted you to too much, he says.  I've done what you asked about Stella, says Melanie, not facing him, and it's true about her.  Are you absolutely certain? he asks.  Yes, says Melanie, I've asked Mama and Julia, she did leave Collinwood two weeks ago and without notice.  They could be lying to you, too, says Kendrick.  But they're not, she says-- I'm sorry, I was hoping I could be of more help to you--that's all there is to say, so there's no need for you to come to Collinwood anymore--I wish for your sake none of this had happened--I know this must be terribly painful for you--she begins to cry.  Kendrick takes her in his arms and holds her, comforting her--and then kisses her.  She responds eagerly at first, then draws back.  Please don't, she says.  What's wrong? he asks.  Don't come back here, she says, ever again--ever!--please!.  She runs off, leaving a stunned Kendrick alone in the gazebo.

Melanie returns to Collinwood's drawing room, crying.  Bramwell calls out her name.  I didn't know anyone else was here, she sobs, covering her face with her hand.  Can I help you? he asks.  No, no one can, really, she replies--you know about me too?  I know you're a very lovely young woman, he says quizzically.  Do you also know I'm mad? she asks.  Are you? he asks.  Yes, she says.  You don't seem to be, he says (he's so good with her)--anymore than the rest of us.  She laughs--thank you for pretending, she says--I always thought they were just being cruel when they wouldn't let me go and lead my own life--but now I know they were just trying to protect me, from myself.  What do you mean, tell me? he asks.  I want to, she says, I need to tell someone who doesn't know.  Morgan enters--Bramwell, he says, it's nice to see you--are you here for something important?--"You must be."  No, says Bramwell, I just wanted to tell Flora my mother has come back from Boston--she asked my mother to go up there to look in the archives for something, and she did.  I'll tell mother, says Morgan--oh, and if I forget, Melanie, would you tell her, please?  Melanie shoots him a dirty look.  Go to your room, Melanie, orders Morgan.  Bramwell's forehead creases.  Yes, she says.  Go on now, says Morgan.  Bramwell, she says.  Whatever you want to say to Bramwell can wait until tomorrow, insists Morgan.  We'll talk, the sad-faced girl tells Bramwell, very soon.  I hope so, he says, I want you to tell me what you were gong to tell me.  She leaves.  I was in the village this afternoon, says Morgan, and someone told him that your ship from the Orient may be coming in soon.  I hope so, says Bramwell.  Yes, you must, smiles Morgan--if it does, you will be a wealthy man at last.  Yes, says Bramwell.  How odd life is, grins Morgan--I wish you luck with the ship.Do you? asks Bramwell, suspicious--why?--it's so unlike you to be interested in my activities.  Well that's been wrong of me, says Morgan, a man must have something--it's time you had what you wanted (since I'm getting what you want, unspoken)--now, if you'll excuse me, I'm expecting someone--oh, tomorrow might be quite different for you--I mean when your ship comes in.  He closes the double doors, laughing--yes, quite different, chuckles Morgan, leaving Bramwell mystified.

9:10 - Catherine, accompanied by Julia, comes downstairs, dressed not in white, but a lovely multi-colored, mostly-orange gown with what looks like marshmallows on the sleeves.  I know how much Morgan wants this, says Julia, but are you certain that it's the right thing to do?--knowing what you do know--I know you must love Morgan very much, but are you sure it's the right thing to do?  I've never been more sure of anything in my life, Catherine assures her--thank you for your concern.  They enter the drawing room, where the minister and Morgan wait.  Come forward--we shall begin, says the minister.  Julia closes the doors.  "Your love has brought you here, before God, to be joined together in the bonds of holy matrimony, says the minister--if any man knows any reason why these two should not be joined together..."Right on cue, Bramwell enters the room.  Catherine's eyes widen.

NOTES:  I don't know how Catherine can marry Morgan, especially given the weird situation at Collinwood, after that near-seduction by Bramwell at her cottage.  It was so HOT! I can't blame Bramwell for trying, either, since Catherine did give in to him the previous day.

Poor Melanie.  Kendrick already seems to like her, and she let him kiss her, yet knowing she might have murdered Stella has to doom that relationship before it's even started.  Of course neither Melanie nor we know for sure she is the one, but it looks likely, doesn't it?  Who else?

Morgan was nasty, baiting Bramwell that way.  I believe Morgan loves Catherine, in his way, but I agree with Bramwell that he's spoiled and arrogant--and that he wants Catherine because his hated cousin does.  It was nice of Morgan to bury Stella (didn't Julia and Flora bury Trask themselves?), but what would Catherine have said/done if she knew about it.

I think Catherine wants to marry Morgan so quickly because she's afraid of her passion for Bramwell.


1206 - Catherine, says Bramwell, you and I will not end this way--"You will not marry Morgan!"  Bramwell! cries Catherine, unable to believe he's done this.  Pandemonium ensues as Morgan orders Bramwell out.  He does not love you, insists Bramwell, literally pushing Morgan from Catherine's side and grabbing her arm--this marriage is a mockery--show him how you feel for me--he begins to kiss her as she protests and fights him off.  Morgan and Bramwell get into a fist fight.  Bramwell sends Morgan falling to the floor, then grabs Catherine and says, you're coming with me!  No! she screams.  Bramwell, let go of Catherine, orders Morgan, and the two men get into it again.I don't know how, but Morgan ends up falling and hitting his head.  What have you done? demands Catherine--I'm never going with you--never!  She runs to her unconscious fiance and screams at Bramwell, "I never want to see you again!"  You did what you came to, Bramwell, says Julia--there will be no wedding this night--get out!  Catherine, murmurs Bramwell desperately.  I never want to hear you say my name again, she says fiercely.  Catherine, he asks, could you really go through life hating me?  In disbelief, he leaves Catherine cradling Morgan in her arms.

Old House - Melanie and Josette, Bramwell's mother, talk at the Old House.  Melanie has come to see Bramwell.  Boston exhausts me, says Josette, who doesn't know where Bramwell is, three days there and all I can do is dream of the quiet of this house.  I was so sure he'd be here, says Melanie--I thought he left Collinwood.  It's important you see him isn't it? asks Josette.  Yes, perhaps, says Melanie, confused, it's so easy to talk to Bramwell, he's so understanding, yet so strong--"I'm not making any sense--but then, I never do."  Josette is dismayed to hear Melanie sees herself this way--I know you better than you think, says Josette--though Bramwell and I aren't in the Collins inner circle, I have always been interested in you--Justin, before he went mad, was an exceptional man--he loved you, and I have always been interested in those Justin loved.  I miss him so, laments Melanie--he would have told me--what I must know now--I've wanted to know for years, without having any reason--but now I do have a reason--and I must find out who my real parents were--are they mad, too, locked in a asylum somewhere?  This puzzles Josette.  I suppose there's no point in keeping this from you, says Melanie, I have attacks that I don't remember--when I'm having them, I'm not myself, but someone else.  My poor darling, murmurs Josette.  Insanity runs in families, explains Melanie, I know that--they blame it on my going into the room after Papa--they say I've had the attacks ever since then--but I don't believe that the room caused them--if Papa were here, he'd tell me the truth, if my mother and father were like this, he'd see that I have to know for my own sake--Cousin Josette, you were living here before Papa found me and adopted me, weren't you?  Yes, she says--my husband Barnabas had died just two years before.Didn't Papa ever tell you who my real mother and father were? asks Melanie.  No, I don't think he ever told anyone, says Josette.  Melanie bursts into tears.  Whoever they were, I am sure you have nothing to worry about regarding your parentage, says Josette--please try to believe that.  Bramwell comes in.  Where have you been? she asks--Melanie came to talk to you.  Good, says Bramwell, I wanted to finish our conversation, and didn't think we ever could.  Why? asks Melanie.  From this day on, he says, I am not welcome at Collinwood, ever again.  Josette and Melanie regard him, dismayed.

Morgan mumbles, "Bramwell" and tries to rise from his bed.  Julia tries to stop him, ordering, stay in bed.  Morgan climbs out of bed, insisting, I must get to him.  Julia stands there, scared.

Catherine meets Morgan in the doorway and overhears Julia telling him not to go.  Where? asks Catherine.  To Bramwell, says Julia.  Oh, no, sit down, orders Catherine--I know how much you want to go to him, she says, kneeling at his feet, but you're in no condition to go to him now--we'll be married tomorrow!  He'll try and stop us again, says Morgan.  No he won't, says Catherine, we'll go away so he won't see us, take the carriage to a neighboring village.  Julia agrees.  You bless this union now, says Morgan, when you were so against it.  I didn't think it was the right time, says Julia.  Leave us alone, says Catherine.  Listen to Catherine, says Julia--perhaps she is what this family needs now--a woman with common sense.  She leaves.  We could have been married by now, says Morgan.  I know, says Catherine--what Bramwell did was unforgivable.  Did you give him any reason to do it? asks Morgan.  She doesn't answer.  I'm sorry, he says, I didn't mean it--I know you didn't (going to bed with him doesn't count, does it?)--he's a very persuasive man, I know that--I must make him leave Collinwood--after tonight, he must go.  You can't just force Bramwell to leave, points out Catherine--please forget about Bramwell.  How can I do that? he asks.  We'll marry, she says, ignore him--promise me you'll do nothing.  I can't promise that, he insists.  You can, now, she says--for the moment.  For this moment, he says, yes.  She smiles at him.

And when I saw the minister's carriage arriving, Bramwell explains to Melanie and Josette, I knew it was going to happen and I knew what I had to do.  Josette is upset--more bad blood between us and those at Collinwood!  I'm not going to apologize, says Bramwell, not even to you.  You love Catherine so much, says Melanie.  Do I? says Bramwell, I wonder--coming back here, I thought what an obsession she has become for me--is it love, or has it become hate?--if she can't be happy with me, do I simply make her happiness impossible?  I don't believe that, says Melanie.  You're so much like your father, Barnabas, laments Josette--"so full of dark feelings."  But he married the woman he loved, points out Bramwell.  Yes, she says.  Seven years ago, when I left, I should have taken you and Catherine with me, he says, but what a fool I was to let you talk me out of that--but you had to stay here, for reasons I never did understand.  There's certainly no point in going into them now, says Josette.  If I'd only taken Catherine with me, married her, what a different life I would have led, says Bramwell--but no, I thought I had to have position and money--that I'd get all those things and come back for her--oh, this yearning that I felt for her--it's still not gone--what did I accomplish by doing what I did tonight?--no matter what I do, I should have killed Morgan!  Bramwell! chides Josette.  You wouldn't have! says Melanie.  That is the only way it will end, opines Bramwell.

Julia sees the doctor out.  You see, Morgan, says Catherine, the doctor says you'll be fine.  Physically, at least, says Morgan angrily.  Stop brooding! orders Catherine.  He looks at her.  I'm sorry, she says, I have a headache.  He rises--perhaps you can get something for it, he suggests.  I'll go see if I can catch the doctor before he leaves, says Julia.  That won't be necessary, Catherine assures her.  Julia goes. You don't want one for tomorrow, points out Morgan.  You're right, says Catherine--Morgan, Bramwell won't be able to make us unhappy, not once we're married.  No, he agrees, he won't.  She leaves the room.  Morgan sits on the bed, brooding, then stands and determinedly leaves, checking first to make sure no one has seen him.

Old House - I'll hear no more talk of killing, Bramwell, says Josette--there have been quite enough tragedies between us and those at Collinwood.  Bramwell, angry, goes upstairs.  Josette, I wish one of us could help them, says Melanie.  What a nice girl you are, says Josette.  You can say that--after all I've told you? says Melanie, pathetically pleased--oh, I'm so glad I came here this evening--I'm very sorry about Bramwell, but I'm so glad we talked--we never have, you know, really.  I always knew we would someday, says Josette.  Did you? asks Melanie, delighted, I'm glad--she kisses Josette on the cheek.  Josette looks troubled.

Catherine returns to Morgan's room and finds him gone.  She calls to Julia, who immediately comes in and says, he couldn't have gone to the Old House--we were sitting in the drawing room, and would have seen him.  He must have gone the back way! screams Catherine.  Both women run out.

Old House - Bramwell sits brooding by the fire, silent.  You haven't asked me, says Josette, but I must say it--you must forget Catherine.  If I only could, he sighs.  But you must, she says--perhaps your life won't ever be what you want it to be, that's one of the things we learn--we can do without the things we most dearly desire.  Well if you made that adjustment, says Bramwell, I haven't, and I cannot.  But you'll have to, she insists.  Annoyed, he says, talking isn't going to help me make my decision.  No, she says, it probably won't--your emotions are too deep and uncontrollable--you never give up--you don't take after me in that respect.  Josette goes upstairs to bed.   Morgan comes in, brandishing a pistol.  Bramwell rises and says, "You have come to kill me, because you think that she loves you--well, you're wrong--she loves me and you know it."  You must not listen to her, says Morgan.  I know it's the truth! says Bramwell.Or me, says Morgan--there is only one way to settle this--he strikes him across both cheeks with a glove, challenging  him to a duel.

Bramwell eagerly accepts the challenge.  The two men quickly make their plans--pistols will be the weapon, they will do this alone, dawn at the gazebo.  Bramwell advises against seconds--the less people that know about this, the better--they will try to stop us.  I always knew you and I would have a fight someday, says Morgan, but I thought it would be with our hands (didn't you two already do that?)--but pistols are better.  No, screams Catherine.  She and Julia stand there.  Go back to Collinwood! orders Morgan.  There will be no duel! insists Catherine.  That is up to us! says Bramwell.  Think of the scandal, warns Julia.  What a ridiculous reason to stop this duel! says Morgan--we are going back to Collinwood, he orders Catherine and Julia.  I will not let you kill each other! cries Catherine.  We are leaving, commands Morgan; he and Julia wait by the door.  Josette stands on the stairs, listening.  Catherine gazes at Bramwell with hatred.  "You caused this!" she yells, and goes out the door ahead of Julia and Morgan.

Josette, says Julia, I urge you to stop your son--this must not take place--for the family's sake.  Ah, that is the wrong reason, says Josette, I am concerned for my son's life, not family pride.  Without another word, Julia leaves.  Bramwell, says his mother, I order you not to duel.  I have accepted Morgan's challenge, he says.  Is there nothing I can say to make you change your mind? she asks.  Nothing, he assures her, there will be a duel, and I will shoot to kill!

Morgan, begs Catherine, go to Collinsport and bring the minister here--we'll be married this evening, leave Collinsport immediately.  No! he says.  Why? she says, we'll have won then--we'll have what we want!  I feel we will not have what we want until Bramwell is dead, says Morgan.  She continues to sob.  Morgan demands, "Who are you crying for--Bramwell, or me?"  She runs out, still crying.  Morgan opens a drawer and takes out a boxed set of pistols.  He begins to examine them.

Catherine is heading to the Old House.  Don't go, urges Julia urges, it will only cause more trouble.  I must, insists Catherine, and leaves.  Julia closes the door after her, not knowing where all this will end, and fearing the worst

Catherine bursts in on a brooding Bramwell.  Breathing hard, she gazes at him, furious.He challenged me, Bramwell reminds her--he knew what I said was true.  You don't love me, she accuses--with all your words, all you have done is to make me unhappy.  That's not true, he says.  You simply want to impose your will on me, she says, well I won't have it--I won't let you make me a widow before I'm a bride!--I want you to give me a note to Morgan saying you will not meet him.  I cannot do that, says Bramwell--it must happen!  Why? she asks--because of your pride, your honor--or because you can't bear for him to have something you want?--or because you can't admit that you're wrong--the Bramwell I loved COULD admit he was wrong--you've changed.  If so, it's because of you! he says--because of your insane insistence that you love Morgan!  Insane? she cries--if you kill Morgan, I will be dead before he is in his grave--I swear to you, I will kill myself!  She runs out, slamming the door behind her.

Morgan is in the gazebo, readying the pistols, when Bramwell shows up.  Your choice of weapons, offers Morgan, holding up the case for Bramwell.  Bramwell chooses a pistol; Morgan takes the other.  Ten paces, I believe, says Bramwell, very civilized about it all.  Morgan nods.  Bramwell offers his hand to Morgan, but his cousin ignores the gesture, and says, impatiently,  "Let's get on with it."Bramwell and Morgan stand back to back, weapons raised.  They pace off the required 10 steps, and...

NOTES:  Such high drama in this episode, I loved it!  The relationship between Josette and Melanie is touching, and it's interesting to see what a sensible, loving and gentle woman Josette turned into in this parallel universe.  You get the impression she has known great sadness in her life, and this is another mystery we will see solved soon.  As for Morgan and Bramwell, boys will be boys, and they must fight for the lady they want--to the death!   Bramwell's love for Catherine must be genuine, if somewhat excessive (ahhhh--for years, we watched Angelique pursue Barnabas with obsessive adulation; now the tables are turned).  Catherine played dirty pool with Bramwell, and I still feel she handled this whole situation badly.  Perhaps she thought having sex with Bramwell would assuage his feelings somehow, but it appears to have had the opposite effect.  He's confused, and understandably so.  Who will pay for her vacillating behavior?

Does this attractive older woman we know as Josette seem anything like the young woman we met in 1795?  So sensible.  She seems to have a sad secret of her own.  All that talk about not being able to have your heart's fondest desire--well, that seemed to have poignant significance for her.

There are those of us who love Catherine and Bramwell (I'm one of them) and others who can't tolerate them.  To each his own taste, as they say.  I love their passion, and even their selfishness, but more than anything, I am entranced by their passion, both physical and otherwise, for each other.  You know these two hate and love with equal passion.  Frankly, Morgan is so dull, IMHO, I can't imagine what she sees in him--but he is loyal to his family.

Love, Robin

1201  - A fire crackles in the study fireplace.  Quentin sits staring into the flames.  Gabriel bursts in, insisting, I must talk to you.  He finds another canister of booze hidden inside a clock on a table.  You've got the stuff hidden all over the place, haven't you? asks Quentin wryly.  Gabriel gratefully drinks and asks, is there a way to stop big brother?--there must be a way--he's insisting the lottery be tonight--we can't do that!  It's all right, Quentin reassures him--you're simply postponing the inevitable--if it's not tonight, it will be tomorrow, or the day after--we might as well get it all over with.  That's what big brother wants, frets Gabriel, to push one of us into that room and have it over with.  There is the possibility, says Quentin, of something we never discussed--whoever goes into that room just might survive this time (yeah, this is Collinwood, so I doubt it).  You don't really believe that, says Gabriel, then adds, hopefully--do you?  I said it was a possibility, says Quentin.  Don't be a fool, says Gabriel--six people have spent the night in that room, and have either been killed or went insane--he drinks.  I wonder what really happens in that room? asks Quentin--do you ever wonder about it?  I'm SICK of wondering what happens in that room! says Gabriel desperately--listen to me, I'm going to be chosen to go in, I know it, I feel it.  Just your nerves, says Quentin.  Listen to me, please, begs Gabriel--if I go into that room, I'd rather die than end up like Father did--so just do one thing for me, if I go into that room and come out--I want you to kill me.  Quentin laughs--kill you?  Yes, I don't care how you do it, just do it! says Gabriel.  Listen to me, orders Quentin--we don't even know if you will be the one chosen, and I don't want to discuss it until we know.You're insufferable, you know that? says Gabriel angrily--you stand there pretending not to be afraid--but you're just as frightened as both of us.  That's right, agrees Quentin, sitting down, I am afraid--but I'm not going to give in to it--I'll take my chance in the lottery and do whatever I have to do--buck up, old boy--I'd be willing to bet money you won't even be the chosen one.  Do you think so? asks Gabriel anxiously, moving in close--do you know something I don't know?  Not at all, says Quentin, it's just a feeling I have, that's all.

A little past eight o'clock - Morgan answers a knock at the door--Catherine.  I didn't expect you until tomorrow, he says.  She enters--I'm sorry about your father, she says.  We're all sorry, of course, he says, but it was bound to happen.  If there's anything I can do, she offers.  I'm glad you stopped by, he says, I wanted to talk to you.  He ushers her into the drawing room with Justin's coffin in full view.  Realizing he's troubled, she asks what is it?  Sit down, says Morgan--I must warn you.  About what? she asks.  You will feel impelled to ask questions, and I must ask you to refrain from doing so, at least until tomorrow, he says.  I'll do whatever you ask me to do, she says.  As the oldest son, I've inherited certain responsibilities, he says, one of these is most serious, and must be carried out this evening--I want you to promise that if anything happens to me...  Happens to you?--what? she asks, concerned.  I didn't mean to put it that way, he says, what I'm trying to say is, if I act any different tomorrow, you must not marry me.She regards him with shock.

Not marry you? she asks--why should you be any different tomorrow than you are tonight?  You promised not to ask any questions, he reminds her.  Are you in some sort of trouble? she asks.  Of course not, he says.  But you're so distressed--I want to help you, she says.  There's nothing you can do to help, he says, if there were, you know I'd let you know.  But you can't keep me in the dark like this, it's not fair! she protests.  Catherine! he says, you must not ask anymore questions.  You're going to tell me what's wrong before I leave here tonight, she insists.  You're a very strong-willed young woman, he says, very well--he sits her down--you're going to know sooner or later, I might as well tell you now.  Tell me what? she asks.  He sits beside her and tells her about the legendary locked room and the family lottery.  Do you mean that the stories and rumors in the village are true? she asks.  Yes, I'm afraid they are, he says--there is such a room, and once during each generation, someone is chosen by lottery to spend the night in that room.  What's in the room? she asks.  I don't know, he says, no one has ever known.  What about the people who've spent the night there? she asks.  No one has ever lived to talk about it, he explains--those who spent the night there have either died or gone mad.  Do you mean what happened to Joshua Collins (blooper, should be Justin) was not the result of an accident? she asks.  That's right, he says--something happened in that room to my father that was so terrifying he was unable to think of it for the rest of his life.  You must not hold this lottery, she insists.  We must go through with it, he says.  I tell you, I will not lose you this way! she says--it's primitive, I don't even see how you can take it seriously.  Of course you would think it strange, he says, I can understand that--and I can also understand if you have second thoughts about marrying into this family.  Second thoughts? she asks--I am more determined than ever to marry you now--tell me, who participates in this lottery?  The men in the family, he says.  Including Bramwell? she asks.  (Hmm, look who her first concern is for.)  By rights it should include him, says Morgan, but he is a coward, and has refused to live up to his obligations!  Catherine's face shows that she realizes Bramwell agrees with her--whatever Bramwell's reason is for refusing, she says, it's not cowardice--Bramwell has many faults, but he's certainly not a coward.  I refuse to talk about this any further, says Morgan, or to have you defend him.  Very well, I won't mention it again, she says.  He apologizes--I didn't mean to be so harsh--I think it best if you go on home.  No, I told you, she says, taking his hand, I'm going to stay here tonight and see this through--she smiles at him.  You really do love me, don't you, Catherine?--you give me great stamina and courage.  Quentin enters--we're waiting on you, Morgan, he says.  I'm sorry, answers Morgan, Catherine arrived unexpectedly--where's Gabriel?  On his way, says Quentin--a bit unsteady on his feet, but he's all ready to meet his destiny.  Gabriel enters--what is Catherine doing here? he asks immediately--there aren't any outsiders allowed, you know that.  She is not an outsider, says Morgan, I told Catherine everything--are you ready, Gabriel?  Are you at least going to let me have my firewater? asks Gabriel--as a last gesture before one of us meets certain death?  Give him a drink, says Morgan.  Quentin tosses the key playfully into the air, making a gesture of warning to Gabriel, who tries to catch it, then unlocks the cabinet himself.  Just give me my drink, says Gabriel.  Quentin does.  Morgan holds up a vase--the lottery slips are inside, he says--two are blank, one is marked with an X--who would like to draw first?  He looks from Gabriel to Quentin.

Clutching his drink, Gabriel moves closer to Morgan.  No volunteers? asks Morgan.  Why don't we go in order of age? asks Gabriel, gulping.  That would put you last, wouldn't it? asks Morgan.  Boys, says Flora sternly from the doorway, no one is going in any order at all.  What are you doing here, Mother? asks Quentin.  Morgan, she says, prepare two more lottery slips.  For whom? asks Morgan.  Julia and me, insists Flora.  What's the matter with you? asks Quentin, you know what we've decided.  Only the men in the family, says Morgan.  Women were included in the past, she says, Julia and I insist on being included now.  (Modern women, I love it!)  If we include you, we'd have to include Melanie, too, says Gabriel.  No! asserts Flora, inasmuch as Melanie went into that room one time, to get Justin, we feel she should be excluded--she spots Catherine and says her name, surprised.  I've taken the liberty of telling Catherine everything, Mother, says Morgan--she knows what's happening.  Make out those additional lottery slips or I'll make them out myself! warns Flora.  Morgan refuses--I won't allow it--I don't care about what's happened in the past--there is no good reason for you to be subjected to this.  I'm willing to take my chances, she says, in fact, I might also say I'm eager.  You don't know what you're saying, says Quentin.  Indeed I do, she says, Justin is gone now--my reason for living is gone.  If you don't mind my saying so, says Quentin, that's rather a selfish attitude--because you know we love you and need you very much in this house.  You're young, she says, you all have something to live for--at least you should have--she shoots Gabriel a disgusted glance, causing him to feel shame and  take another slug of his drink.  We have no less to live for than you and Aunt Julia, insists Morgan--now that decision was entrusted to me, as the oldest son, and I have decided only the men will participate.  Flora turns and notices that Catherine has removed the slips from the vase.  "Catherine, what are you doing?" asks Flora, shocked.  Catherine determinedly tosses the slips into the fire.  Morgan darts forward--what is the meaning of this? he demands.  Why do you all look so frightened? she asks incredulously--I simply burned three meaningless pieces of paper--and nothing happened--you see, because nothing is going to--because this is all a lot of superstitious nonsense!  For your information, says Quentin, the history of that room is not nonsense--the facts are very well documented.  And I'm sure there are logical, rational explanations for what happened in that room, says Catherine--I'm surprised that a lot of intelligent people should take a legend so seriously!  Gabriel raises his glass--Bravo, Miss Harridge, he applauds, I agree with you 100 percent, and I don't think we should--I think we should just ignore the whole thing.  You would, says Quentin sarcastically.  I'll make up new slips, says Morgan.  Catherine restrains him--please don't go on with this, she pleads.  I told you, there is no way out! he insists--there is no other choice.  All right, she says, if you insist, allow me one request.  What is that? asks Flora.  Postpone it, suggests Catherine.  The lottery is always held within one or two days after the death of the master of the house, says Flora.  Hold it tomorrow, asks Catherine, so Morgan and I may marry tonight.  Marry, tonight? asks Flora.  Morgan's forehead creases--are you sure about this? he asks.  More sure than I have ever been, she says.  Catherine, says Flora, why do you insist on tonight?--you can just as well wait until after the lottery is held.  Holding Morgan's hands, Catherine points out, Morgan may be chosen in the lottery, and because that might happen, I want time alone with him--stand by his side and be his wife.  She stares into Morgan's eyes.  Morgan? asks Flora.  If that's what Catherine wants, says Morgan--I couldn't be happier.  Very well, says Flora, I'll arrange to have the marriage here, tonight.  Catherine is pleased.

Morgan holds Catherine's hands while they gaze into each other's eyes.  Quentin, go into the village and get the minister, instructs Flora.  All right, says Quentin, who turns to Catherine and says, you're a very brave woman--congratulations.  Thank you, says Catherine.  Morgan kisses Catherine's hand.  Flora tells a grinning Gabriel, I think the two lovers would like to be alone.  The entire family exits the room.  Morgan, says Catherine, I have to go get my sister, Daphne.  Are you sure you want to go through with it? he asks.  Yes, she says.  If you change your mind, I'll understand, he assures her.  I won't change my mind, she promises, I'm very sure--nothing can stop me now.  They hug and kiss.

Study - Quentin is putting on his waistcoat when Gabriel, very drunk, staggers in and says, "Let's all hear it for Catherine Harridge!"  You feel relived? asks Quentin.  Ecstatic, Gabriel asks, "Don't you?"  No, replies Quentin.  Why not? asks Gabriel--she gave us all a little bit more life, didn't she?  As long as you live, you'll never be a realist, will you? asks Quentin--all we've done is postpone the inevitable--and there's just about as much consolation in that as not paying gambling debts--the debts are still there and have to be paid--the room is still there, and so is the fear--that's why I'd just as soon get it all over with.  What do you think would happen if we just never played that lottery at all? asks Gabriel.  I don't know, says Quentin, and I'm not so sure I'd want to find out.  I'd want to find out, says Gabriel, because I take risks--because whatever happens wouldn't be as bad as spending the night in that room.  You know something? asks Quentin--if they ever give rewards for cowardice, I'm going to shudder at how rich you are.  Quentin leaves.  Gabriel begins to search the room for more booze.  He finds another stash and quaffs deeply.  (How is he still standing?)

Flora comes downstairs and meets Catherine in the foyer--I'm going home to get Daphne, says Catherine--my sister would never forgive me if I got married without her.  I understand, says Flora, escorting Catherine to the door.  They go outside.  Do you have your carriage? asks Flora.  It's down by the gate, replies Catherine.  Bramwell walks up and greets both women, offering his condolences to Flora.  Thank you, she says, you're very kind.  I was very fond of Justin, says Bramwell--if there's anything I can do...  There's really nothing, says Flora--the funeral is tomorrow, and the services will be simple, as he wished--you'd better be on your way, Catherine--the Minster will be here soon, I expect.  Catherine glances sideways at Bramwell, uncomfortable--Flora, she says, I'd rather tell Bramwell myself.  She had a change of plans, explains Flora.  Bramwell, I've decided to marry Morgan tonight, says Catherine.  Bramwell turns away; we can see he's rapidly thinking what course of action he should take.  We'll be waiting for you, says Flora--please hurry.  She goes into the house.  When was this decided? Bramwell asks quietly, his eyes glittering.  Only a short time ago, says Catherine.  Come with me, please, says Bramwell.  I must get home--get my sister Daphne, she insists.  Can't Daphne wait? asks Bramwell urgently--please, do me this one last favor--come with me.  Catherine goes with him.

Old House - Somewhere along the way, we sense Bramwell has had to force Catherine to stay with him; when they arrive, he propels her roughly into a small room with a brass bed and locks them both in.  Have you lost your mind? she cries.  I could ask you the same question, he says gruffly.  Realizing he has locked the door, she asks, what are you doing?  I'm not letting you out of here until you gain your senses! he insists.  You can't keep me prisoner! she protests.I can and I will, he says passionately--I'll never let you go--I'll never let you marry Morgan Collins!  He comes at her, kissing her wildly--face, lips, throat--while she protests and fights him off.

NOTES:  How romantic is that?  A guy loves you so much, he's willing to kidnap you in order to prevent your wedding and talk sense into you.  I know, it's obsessive and insane, a total reversal of Barnabas/Angelique, where she was always after him, but I love it!

Gabriel is a to-feel-sorry-for character here, too, but a real weakling, and his habit of secreting booze everywhere is almost funny.  You know he's the blackguard of the family, even if Quentin was the one who went to prison for manslaughter.

The entire family frets about being chosen in the lottery, while practical Catherine tosses the slips of paper into the fireplace.  She has no idea how far-reaching the curse might be, but she, like Bramwell, is practical and refuses to give in to superstitious nonsense.  She will learn the hard way.


1202 -Bramwell, says Catherine, you must release me!  I will never let you marry Morgan, he insists--you will leave when you agree to marry ME.  I have chosen the man I'm going to marry--can't you accept that? she cries.  No! he shoots back.  Be sensible, she says--Morgan will come and look for me--and kill you when he learns of this.  I just might kill Morgan.suggests Bramwell.  I don't understand how you can claim to love me! says Catherine, yet do everything you can to make me so miserable--why, why?  You will always be miserable, counters Bramwell --until the two of us are together.  She turns away from him, sobbing, covering her face with her hand.

Parlor - Melanie is scandalized when Quentin tells her the minister agreed to come here tonight--wasn't he a bit surprised when you told him? she asks.  Catherine and Morgan wanted to be married tonight--I suppose he was, says Quentin.  Well so am I, wails Melanie--they could have at least waited until after Papa's funeral!  They couldn't because of the lottery, says Quentin.  I don't want to think about that, says Melanie.  We can't avoid thinking about it, says Quentin--Catherine felt she and Morgan deserve some happiness before the lottery drawing, and Flora agrees to their being married before Justin's funeral.  It just seems such a lack of respect, says Melanie.  You'd better get used to the fact that this family doesn't do anything in a conventional way, says Quentin.  How long is the lottery to be put off? asks Melanie.  Until Catherine and Morgan are married, replies Quentin.  Morgan enter--Quentin, he asks, did you bring the minister?  Yes, he's downstairs in the drawing room, says Quentin.  I can't understand what's happened to Catherine, says Morgan--she should have been back by now.  This is an important night for Catherine, Quentin reminds him--she's probably just had a bad case of nerves.  Morgan pours himself a drink--Catherine's not like that, he says--I have a terrible feeling something has happened to her.  Nonsense, says Quentin.  I'm going to her house and get her, insists Morgan.  Quentin stops him--relax, he urges--everything is going to be all right.  I know something is wrong, says Morgan, and leaves.  Quentin shakes his head and looks at his brother's abandoned, almost-full booze glass.

We see feet walking, then darting backward as Morgan leaves the house (and leaves the doors open).  A man enters Collinwood, closing the door behind him.  It's Kendrick Young, who sneaks into the house and runs to hide when he hears Melanie and Quentin on the landing.  It's possible Catherine had a change of heart, suggests Melanie.  Whatever gives you that idea? asks Quentin.  Kendrick hides in the kitchen doorway.

I only said it was possible, Quentin, says Melanie as they walk downstairs--there is Bramwell--he meant a great deal to Catherine before he went away.  They head into the drawing room.  Catherine and Bramwell have been through for a long time, you know that as well as I do, says Quentin.  Kendrick exits his hiding place and goes upstairs.

Old House - Catherine gazes out a window.  Well? Catherine asks Bramwell, who is sitting on a clothing trunk at the foot of the bed.  You needn't ask me, he says firmly--my answer is still the same.  Morgan will come to look for me, he's sure to come here! Catherine reminds him.  When he does, I'll deal with him, vows Bramwell confidently.  How long do you think you can keep me here? she demands, furious.  I would like to keep you with me forever, he says.  Fire in her eyes, she looks at him.  Oh, you are the most stubborn man alive! she accuses, seeming to relent a bit.  How familiar that sounds, he says--do you remember the first time you told me that?--it was exactly a week after the first time I saw you--I tried to see you everyday--but you made it very difficult for me--told me I was brash and forward, and the fact that I was a Collins might impress other people, but it wouldn't impress you, and I loved you all the more for that--do you remember, Catherine?  She turns to him.  I do remember, she admits softly.  I followed you all along the old road, he continues, warming up to the reminiscence--it was a Sunday, and the sun was shining--you were wearing lavender, and I told you you were the fairest thing I ever saw.  She's caught up in his scenes of their youthful meeting.  I was on my way to church, she remembers.  You missed the church that day, he reminds her (bad boys make you do stuff like that).  Because of you--yes, she says.  And you weren't angry with me, he says, grinning.  No, I wasn't angry, she agrees.  From that day on, we knew, he says, smiling--didn't we?  Yes we knew, she says.  We walked all day, he says, and when it was almost dark, we found ourselves back at the church--we stood there and looked up at it and I told you someday there would be another service, and we would be part of that church and each other for all time--I don't think two people were ever happier than we were at that moment.  He gives her a gentle kiss, to which she responds, but then stops it.  Catherine, moved, her memories seductively stirred, asks, "Bramwell, why have you done this?"  "That day by the church will never die, he says--it was a day of commitment, and I knew then as I know now that nothing can ever change between us--I love you, Catherine, only you--tell me the past means nothing, and that you don't love me and I will unlock that door and let you go."  Catherine faces him--"I can't tell you that--I do love you, Bramwell," she confesses--"I do love you."  She falls into his arms, laughing, and he laughs with him, and they embrace like two teenagers caught up in uncontrollable passion.  The brass bed awaits them.

Melanie catches Kendrick searching through a desk in the study.Who are you? she demands-- what are you doing here?  Don't be frightened, he says, I'm not what you think.  Quentin! she screams.  Kendrick hastily closes the doors--please, he begs--I'm not here to steal anything or hurt anyone--I'm Kendrick Young.  I've heard the name before, she says--you're Stella's brother--but what are you doing here?  I'm looking for something, anything that can give me a clue as to where my sister is, he says.  Why are you here? she asks--Stella left Collinwood two weeks ago.  That's what people say, but I don't believe it, he says--you're a member of the Collins family?--you're certainly more friendly than the rest of them I've met.  Don't take me too much for granted, she warns, just because I haven't turned you in doesn't mean I'm not going to--you could be taken to the police.  I know, but I'm hoping you won't do that, he says, looking into her eyes.  Why don't you believe what they told you about your sister? asks Melanie.  It makes no sense, insists Kendrick, Stella was a practical, dependable girl--she wouldn't leave without leaving a forwarding address, I never believed she could or would.  Where do you think she may be? asks Melanie.  It's possible she may still be here, he says.  That's impossible, insists Melanie--if Stella was still at Collinwood, everyone would know it.  Would you? he asks--I've heard weird stories in the village about this place.  Outraged, Melanie says, you shouldn't listen to village gossip--they have nothing better to do than invent stories about us!  Kendrick smiles--I wouldn't believe anything bad they said about you, he assures her.  You're not going to get around me by flattery, she says.  I'm being sincere, he says, and I am grateful--you've at least listened to me--your Aunt Julia was impossible.  Julia doesn't get along well with outsiders, says Melanie.  That was obvious, says Kendrick--can you tell me the last time you saw my sister?  The day before the left Collinwood, says Melanie--and I do believe she left Collinwood, Mr. Young.  Can you tell me anything else, or is that all you're willing to tell me? he asks.  I've told you everything I know, she says--if I knew something more, I wouldn't withhold it.  I don't believe you would, he says, and I appreciate that--I'm glad we met.  I advise you to leave, she says, before someone else hears you.  I knew you wouldn't report me, he says, I'm staying at the Inn in the village and would like to meet with you again.  I rarely go into the village, she says-- follow me--I'll show you a way out of the house.

1:20 - Quentin exits the kitchen and checks the clock.  Morgan, frantic, enters--I'm right, he says--something has happened to Catherine--she hasn't returned home yet, and her carriage is still parked out by the gate!

If the carriage is still there, Catherine must still be on the estate, says Quentin.  That's right, agrees Morgan.  Oh no, says Quentin--Mother said they ran into Bramwell outside--she told him about the wedding tonight, and he was very upset.  Morgan races away, Quentin calling after him.  Morgan returns with a pistol.  Waving it around, he promises, Bramwell is as good as dead!  Quentin grabs his brother's shoulders--in your present state, if you go after him, you'll be as good as dead, too.  Get out of my way! orders Morgan, pushing past Quentin.  I'm not going to let you go, says Quentin, grabbing his sleeve--this thing can be handled peacefully, and I'm going to handle it.  This is my fight, insists Morgan--you stay out of it!  There's not going to be a fight, insists Quentin--if she's at the Old House, I'll go get her and bring her back here--you can handle Bramwell after the marriage--now give me the gun.  He holds out his hand.  Morgan gives him the pistol and Quentin heads out.

Catherine lies on the brass bed, watching her own hand wandering lazily, happily, between the bars...  She is sated, a woman who has just been made love to and enjoyed every second of it.  Bramwell sits on the trunk at the foot of the bed, putting on his clothes.  Are you angry with me? he asks, subdued.  (for what?--the lovemaking or kidnappingr?)  She reaches out and slips her hand into his.  I have no reason to be angry with you, she says languidly--you wanted to prove something to me, and you have proven it--but it doesn't make any difference--she rises from the bed--how can I make you understand?--I've revealed my feelings for you, but you must also accept the fact that I also love Morgan.  He rises--that isn't possible, he insists, and you know it.  It is possible, I do love him, she says--and I still plan to marry Morgan for all the reasons I outlined to you before--I know the kind of life I want, and know I can never find it with you--yet I will find it with him--it's as simple as that and you must accept it!  Bramwell, devastated, confused, just looks at her.

Quentin enters the Old house after knocking a few times and getting no answer.  Yes, says Bramwell, coming downstairs.  May I come in? asks Quentin.  But you already are, points out Bramwell humorously.  Where is Catherine? Demands Quentin.  I don't know, replies Bramwell.  You were the last person she was seen with, says Quentin.  What is that supposed to mean? asks Bramwell.  That you brought her here, says Quentin.  I suggest you go back to Collinwood and stay there, advises Bramwell, an edge in his voice.  I'm going to search this house, says Quentin.  Get out! orders Bramwell.  I'm going to do this peacefully, if I can, says Quentin--now I've never given you any trouble, like my brothers--you can't force a wedding to stop, you can only postpone it--be sensible--if she's here, let me take her.  No! says Bramwell, taking a step closer to Quentin.  All right, says the latter, I'll have to do it my own way, won't I?  He tries to go upstairs, but Bramwell blocks him--you aren't going up there?  Quentin pulls the gun on him and says, we both know there isn't a doubt in this world that I'll use the gun if I have to--right?  Chastened, Bramwell moves away, and sits down, a stormy look in his face.  Quentin goes upstairs.When he brings Catherine down, she and  Bramwell, lovers now, exchange glances before Quentin leads her outside.  Bramwell, raging, helpless and furious, sends a table toppling over.

Collinwood - parlor - I want to make Bramwell pay for what he's done, insists Morgan--I'll never forget it.  I insist the incident be forgotten and that there be no reprisals, says Catherine.  You mean I'm going to let Bramwell get away with this? asks Morgan.  It was an emotional thing, explains Catherine--he's always been headstrong, you know that, and you also know Bramwell would never do anything to hurt me--please, for my sake, just let the whole matter be forgotten.I agree to do nothing, says Morgan reluctantly.  We can send for the minister again tomorrow, she says.  Stay the night at Collinwood, insists Morgan--it's been a very terrifying evening, and the weather is so bad I want you to stay there, so I know where you are.  She holds his hands and agrees to stay.  I'll have the housekeeper prepare your room, he says.

Down in the foyer, Melanie is snuffing out candles.  Quentin joins her--it's late, he reminds her--you should be in bed by now.  I'm going to put out all the candles in the house first, she says--"So many candles, so many rooms," she whispers, sounding a tad insane.  Concerned, Quentin asks, are you feeling all right?Yes, she says with a weird smile, I feel quite well, thank you.  I'll take you to your room, he offers.  That won't be necessary, she laughs, I know the way--good night, my dear.  Quentin thinks this definitely odd.

Catherine is sound asleep.  Her door opens and a shadow falls across her bed.  Melanie, a gleeful smile on her face, raises a knife over Catherine's body.

NOTES:  Damn, it's just not safe to spend the night at Collinwood; too many people running around with knives!  What's happened to darling Melanie, anyway?   She was so sweet with Kendrick, who already seems sweet on her.  Did taking her father out of the lottery room affect her mind, too?

To me, Catherine and Bramwell's love story is what fans of Barnabas and Angelique (if both had been mortal) would have loved to see.  It is timeless, romantic, beautiful--and at this point, rife with problems.  Bramwell's gesture--kidnapping Catherine to prevent her marriage to Morgan--is something I would have loved to see happen to ME.  Their consummated passion is the kind of love that makes women like me sigh--and made the 16 year old me sigh (and fantasize) in 1971.  I think Catherine is a fool for what she chooses to do here, but then again, it sure makes for very soapy drama--high-quality, too, in this beautifully-wrought period piece. I always pictured Catherine and Bramwell in a fierce, half-naked embrace on the cover of a bodice ripper novel back then, tempestuous lovers with the whole world against them, but none more damaging than their own folly.

I did so love the Catherine/Bramwell scene.  Listening to the two of them talking about their past, their love, and realizing they were childhood sweethearts is just so touching.  Frid and Parker really did a fabulous job here, and this scene lingered in my mind for many years after I saw it.  So very romantic and lovely!  Another question for you all--was this their first time?  I always wonder.  I find it hard to believe two people as passionate as this never made love before, but it is 1841, and perhaps they were never given the opportunity.  I can't understand how Catherine could make love with Bramwell and casually tell him she will marry another man--and by definition, make love to HIM, too!  You just don't see Catherine as being that loose.  Is she just money-hungry, or is there more here than meets the eye?

Lovemaking note:  IMHO, I think Bramwell tossed Catherine on the bed, threw her dress over her head, and took her, wham bam thank you ma'am. How many women are fully dressed after lovemaking before the man, especially in these times, with all those clothes they wore?  Also, I wish they had shown a little more before the commercial.  They had Gerard lying all over Daphne in bed in 1840, and that would have been wonderful to see here.  On the other hand, the lovemaking left a lot more to my imagination).

(Dylan's "Lay, Lady Lay" was popular around this time, and I always associate that song with Catherine, Bramwell, and that narrow brass bed.)

Another comment: Catherine was wrong to make love to Bramwell.  From a moral standpoint, we assume that men and women in 1841 didn't indulge in casual sex (well, not in remote areas of Maine, anyway), and Catherine going to bed with Bramwell was, in his eyes at least, a commitment.  For her to get up and tell him, in essence, "Yes, I screwed you, but it was just this once and I'm going to marry your cousin in a few hours" was unfair to Bramwell--and Morgan, too.  A nice girl wouldn't do this.  You can just imagine how Morgan would react if he knew what had happened between Catherine and Bramwell during her "incarceration."  I doubt he'd want to marry spoiled goods, especially get sloppy seconds on his hated cousin.

Love, Robin

1197 - In the remake of yesterday's final scene, Judge Vail, Trask and Barnabas have now joined the spectators at Quentin's execution.  We see the blade being tested for sharpness right before Quentin's eyes; Gerard tells Quentin, I wouldn't have missed this thing for the world, followed by Quentin's attacking him and being restrained by the guard; Quentin refuses the blindfold and announces, when I was born, I saw the light of day, and when I die, I'm going to see the dark of the night.  He places his head down on the chopping block, looking like a little boy about to go to sleep, we see the basket, awaiting Quentin's severed head, at the base of the chopping block.  The executioner lifts up the blade over Quentin's neck...

Valerie, holding in her arms the covered box containing the head of Judah Zachary, races in at this very moment.  "Stop, you're killing the wrong man!"  she declares.  Valerie! cries Barnabas.  Let's get on with the execution, insists Trask immediately.  "No!" cries Valerie, "Quentin and Desmond are innocent--there is the man who is guilty--Gerard Stiles!"  Stop him! someone yells; a guard restrains Gerard.  I beg you to listen to me! cries Valerie.  I will listen to you, Judge Vail assures her--everyone stay right where they are until this matter is explained--and Mr. Stiles, he adds, you must refrain from any further demonstrations.  Valerie places the head on a nearby flat surface and pulls off the cover.  "She's insane, Your Honor!" insists Gerard.  That is for me to decide, says the Judge--you have made a serious charge against this young man.  And I can prove it, your honor, says Valerie.  I want to first know who you are, says Vail.  My name is Valerie Collins, she says.  She's my wife, adds Barnabas.  What proof have you brought with you? demands the judge.  During the trial, says Valerie, the prosecution mentioned the disembodied head belonging to Judah Zachary--Mr. Dawson said this head possessed Quentin Collins.  I recall that, says the judge--what about it?  Quentin looks puzzled, then delighted, as Valerie reveals, I found the head in the home of Charles Dawson.  Everyone is silent for a moment.  You found this in Dawson's house? asks Vail.  Yes, she says.  Where is Mr. Dawson now? he asks.  He is dead, she says.  You killed him, accuses Trask.  That will be enough of that, Mr. Trask, orders Judge Vail.  Mr. Trask is right--for once--says Valerie, I did kill him--he was holding me prisoner, we struggled, I hit him over the head and he fell to the floor--I thought he was unconscious, but when I tried to revive him, I saw he was dead, so I searched his house --and found the head.  Barnabas listens, wonderment and pride on his face.  How did you come to be in Charles Dawson's house? he asks.  I was taken there--by Gerard Stiles! she accuses.  She's lying, insists Gerard.  Everything Mr. Dawson said was true--except that the head possessed Quentin Collins--the man the head possessed and still possesses is Gerard Stiles, explains Valerie.  How do you know all this? demands the judge--we have to have more than your word in this matter.  She gazes at everyone; Barnabas nods his approval--tell them!  Gerard looks sick, Quentin hopeful.  I knew Judah Zachary, for many years, she confesses, I knew him intimately.  But Judah Zachary died in 1692! says the judge, as a grateful smile glimmers around Barnabas' lips.  I'm aware of that, says Valerie--it was my testimony that sent him to his death.  This is the most astonishing thing I've ever heard! declares Vail.  This is outrageous! pronounces Gerard--the woman is telling us she lived in the year 1692.  You know I did, Judah! she cries, approaching him, and you know you bewitched me, and I remained a witch, until last night, when you took away all the powers you had given me.  I have no idea what she's talking about, insists Gerard--the woman is obviously deranged.  You must be aware, your honor, points out Barnabas--it's significant that the head of Judah Zachary was found in the house of the prosecuting attorney.  How do we know where she found it? demands Gerard, we only have her word.  Yes, she may have placed it there herself, says Trask.  Your point is well taken, says the Judge, but with Mr. Dawson dead, how can we be sure where the head was found?   I am prepared to swear under oath everything I say is true, she says.  Even if you were to take an oath, says Vail, as Desmond looks on anxiously, that wouldn't constitute proof.  But I have brought you the head of Judah Zachary! she cries.  How can we know with any certainty who this head possessed, if it indeed possesses anyone? asks the judge.  I beg you to listen to me--these men are innocent! declares Valerie desperately.  Desmond suddenly reaches into the pocket of the guard standing beside him, draws out his pistol, screams, "JUDAH!" and fires it into Gerard's body at point-blank range.
Somebody get a doctor! orders Vail.  Gerard staggers and falls, Trask rushing to his side.  The head of Judah Zachary begins to burn, disintegrate, until finally, only a blackened skull remains.  Look at the head! Barnabas yells to the judge.  Seeing the burnt skull, Vail says, "I don't believe it!"  But we must believe what we've seen, insists Barnabas--it is not only Gerard Stiles who is dying, but Judah Zachary--now we need no more proof than this!  Trask rises from the fallen Gerard, who weakly mutters, "Judah is dead, and I am free."  The possession is ended, announces Valerie.  I want to see Quentin, says Gerard.  Quentin kneels beside the dying man-- I'm right here, he says.  Pressing his blood-stained hand against his chest, Gerard begs, "Forgive me, please--I wasn't myself--forgive me."  It's all right, Quentin assures him, I understand--and forgive you.  Gerard dies.(Say what you want, this was unexpected and really sad.)  He's dead, says Quentin, closing his eyes in sorrow, rising to his feet.  Are you convinced now? Barnabas asks the judge.  Yes, says Vail, I'm convinced--Quentin and Desmond Collins are hereby released--we will go into my chambers and take care of the necessary legal department.  That woman is s self-claimed witch, Trask reminds Judge Vail--surely you're not going to release her--I demand she be arrested!  I haven't forgotten Mrs. Collins, says Vail--there are many things she has to explain, and will be placed under arrest until she does so.  Judge, asks Barnabas, will you grant me time to have a short talk with my wife, for just a few minutes, alone?--I will be responsible for her.  Very well, says Vail, you may have 5 minutes, then she is to be brought inside and turned over to the constable--Johnson, you wait here with her in the yard.  Barnabas goes over to Valerie--I don't know what to say, he murmurs--except thank you.  She gazes at him with luminous eyes.  It hardly seems adequate, considering what you have done, adds Barnabas.She smiles modestly and says, "You know why I did it."  Yes, I know why, he says, and I'm deeply grateful to you--you must forgive me, Angelique, I didn't expect any of this to happen, but now that it has, I'm afraid I can't think very clearly.  Perhaps it isn't the time to say anything, Barnabas, she agrees--I did what I felt I had to do--the rest is up to you.  Our first concern is to get you out of this, he says--I don't know how I will do it, but I promise I will.  I'll wait to hear from you, she says.  He gives her one long, last look, then leaves.  Valerie goes to the guard, who leads her into the jailhouse.  She gazes at the courtyard with its burning torches and unused chopping block for a moment, then goes inside.

Collinwood - Barnabas, Quentin and Desmond return.  I can't believe it's finally over, exults Desmond.  It is, says Quentin, now we've got to find Daphne--I'm sure Gerard locked her in one of the rooms.  We had better start looking, urges Desmond.  No use for you to do it, says Quentin, Barnabas and I can handle it--why don't you go back and see about Leticia and Flora?  I'll bring Leticia, she'll be worried about Daphne, says Desmond, who leaves. Barnabas, says Quentin, you search the East Wing, I'll cover the rest of the house.  Barnabas goes upstairs.

Daphne lies on the bed in the bridal chamber.  Hearing footsteps, she grabs a candlestick and is about to hit her visitor over the head--then sees it's Quentin.  They fall into each other's arms, kissing joyously.  I'm all right, he assures her--Gerard is dead.  They kiss again, then sit on the bed and kiss some more, unable to get enough of each other.  He hugs her and holds her tight as they delight in their reunion.

Barnabas searches the East Wing--Daphne! he calls.  He opens the doors to the PT room and sees Catherine standing there, looking solemn.  It's obvious that Barnabas is thinking how much she resembles Angelique.  A door opens.  Bramwell Collins, son of Barnabas and Josette, enters.  I have come back, as I promised I would give years ago, he says.  Overcome with joy, she says his name.  Catherine, he says, my Catherine--they rush together to share a long kiss.  No, she says, pulling away, this is insane!  What is it?--you're happy to see me? he asks.  She hesitates, not replying.  For the love of heaven, he begs, tell me what's wrong.  You've been gone five years, she says, did you expect me to stay the same?  In the doorway, Barnabas listens closely.  I expected your love to stay the same, says Bramwell, as mine did--you know what we mean to each other--so I came back to marry you!  No! she says, you can't--I'm going to marry Morgan Collins.  What? asks Bramwell, totally blown away.  Morgan has asked me to marry him and I've agreed, says Catherine.  Look at me, commands Bramwell--LOOK AT ME!  She does.  You love me, tell me that you love me! he demands passionately.  No, she says, her face showing how torn she is.  You don't love Morgan, you love me, insists Bramwell, as I love you!--that's the way it should be--he pulls her into his arms--that's the way it always has been--you and I--Catherine and Bramwell--there's no other way.  I'm sorry, she says, withdrawing from of his embrace.  I won't listen to you say you're sorry, he growls, I will not let you destroy both our lives.  There's no point in putting yourself into one of your vicious tempers! she retorts.  I will show my temper when I see Morgan, he vows.  There's no reason for you to see Morgan, she says.  I have every reason to see Morgan, he says--I would like to kill him.  Oh, you haven't changed, she says with a bitter smile--no one could ever talk to you when you were angry.  How did you expect me to react to what you just said? he demands.  I expected you to listen to me while I try to explain, she says.  I'll listen, he agrees.  When I made the decision to marry Morgan, it was a very difficult one, she says--you know how I've always felt about you--how I still do feel--but I also know the kind of life I want--and I know the two of us could never find it together.  But you and Morgan will? he asks. Yes! she says. You are telling yourself lies! he says, we belong to each other!  No, we're too much alike, she protests, we'd destroy one another--and we could never find the kind of stability I must have if I'm to be happy.  In other words, a poor Collins won't do, he accuses--you must have a rich one.  That isn't fair, she says.  But it's TRUE! he shouts--look at me and tell me you love Morgan Collins.  I do love him, she says.  I don't believe that, says Bramwell, I don't believe you love him, nor do I believe he loves you--he only wants you because he doesn't want me to have you!  That's not true! she says.  Not only is it true, says Bramwell, it's been the story of my life at Collinwood--my father, Barnabas, who was driven to his grave by this family--from that day on, they devoted themselves to making me and my mother miserable.  Justin Collins always loved you, Catherine reminds him.  Yes, says Bramwell, he was the one exception--but before he could give me my rightful place in the business, that accident happened, and from that day on, his (two--there are three?) sons saw that I stayed the poor relation--yes, Bramwell Collins must stay in his place--and that's why I left Collinwood--and now I return to find that they have claimed you, too.  She rises--no one has claimed me, she says--the decision was mine to make and I made it.  This is the final insult, says Bramwell, I suppose they rejoiced when you said yes to Morgan.  I never expected you to be so bitter! she cries.  Bramwell looks at her intensely and says, "I will be much more bitter than this--I said five years ago to you that I would live to see the day the Collins family came crawling to me--and now your decision reinforces my determination--I will break them, Catherine, I will break their backs, all of them!"   Bramwell! she chides, putting her hand to her forehead.  He spins her around, looks into her eyes and, his voice gentle, says, they've taken my soul away from me--because you were that, Catherine--without you, I will have no life--and neither will they!  He presses his lips to hers in a fierce kiss, gazes into her eyes one last time, and leaves.  Catherine watches him go, not knowing what to do or say.

Quentin and Daphne, glowing with love, walk downstairs.  Where is Valerie now? asks Daphne.  She was ordered into custody, explains Quentin--she's going to be questioned by the tribunal.  They go into the drawing room, arms around each other.  I still don't understand it all, says Daphne.  Neither do I, he says--what I really don't understand is, I can't believe Valerie was telling the truth--about herself, I mean.  You said the judge believed her, says Daphne.  Yes, he did, says Quentin, he really believed her when he saw what happened to the head when Gerard died.  You're back where you belong now, and that's all that matters, she says.  I love you, he says, and draws her close for a kiss.  Barnabas enters--Daphne, he says, I'm glad to see you're all right.  I found her in a locked room, explains Quentin.  Noticing that Barnabas seems sad, Quentin asks, what's wrong?  I had the most curious experience in that room in the East Wing, says Barnabas.  You mean you saw something in parallel time? asks Daphne.  "Yes, and it made me realize something I've always known," says Barnabas, his face intense, "but never admitted."  What are you talking about? asks Quentin.  Someone I love, says Barnabas--I must go to her and tell her.  He leaves.

Barnabas returns to the courtyard and stops Judge Vail--I must talk to you.  What is it? asks the judge.  I want to discuss my wife's case, says Barnabas.  But there's nothing to discuss, says Vail heartily.  Oh, but there is, insists Barnabas, if it hadn't been for her, two innocent men would have died tonight!  I'm aware of that, says Vail.  She came here at great sacrifice to herself, says Barn, about her past.  It's too late for you to plead your wife's case, says Vail--she left here 20 minutes ago--she was questioned by the whole tribunal and then released.  You mean she's free? asks Barnabas, thrilled.  Yes, says Judge Vail, she's free.

Collinwood - Bags are packed, waiting in the foyer.  Quentin exits the drawing room with a note from Samantha (don't ask me how that happened) the contents of which he dubs "beautiful:"  "Dear Quentin--I've done you a great injustice in regard to Tad--whatever else went wrong between us, it didn't involve Tad--I lied to you, he is your son--for Tad's sake, you must know the truth--Samantha."  They hug each other joyously.  Come on, the carriage is waiting, says Quentin.  Barnabas enters.  I'm glad you got back before we left, says Quentin--we're going to Boston to pick up Tad, and then we're going to be married there.  Congratulations, wishes Barnabas, and shakes Quentin's hand.  A gleam in his eye, Quentin asks, are you wondering where Valerie is?  You've seen her? asks Barnabas.  Yes, she's in the drawing room, says Quentin.Goodbye, Barnabas, says Daphne, kissing his cheek--God bless you.  The dewy-eyed couple leaves.  Barnabas, looking uncertain, goes into the drawing room, unaware that Trask, pistol in hand, has exited the kitchen area and is right behind him.  Angelique, says Barnabas.  Barnabas, says Angelique.  I know now, says Barnabas, I know how I feel.  Trask enters and raises the pistol.The judges refused to hold you! he rants, but I am not afraid of you--"DIE," witch!.  He fires at her.  "NO!" screams Barnabas.  Angelique, shot in the chest, begins to fall.

NOTES:  An episode chock full of happy endings and unexpected happenings.  We now know that Angelique knew Judah "intimately," she said so herself.

It seemed to me that given what Angelique told Judge Vail, she wouldn't have just been freed, but held for trial and eventually beheaded.  That would have ruined our story.

I felt terrible for Gerard.  He may have been a blackguard anyway--we know his real name was Ivan Miller--but when he asked for Quentin's forgiveness, my eyes welled up.  He wasn't as bad as Judah, but died for his sins anyway.

Will Angelique die before Barnabas can tell her how he feels?  We'll know shortly.  It certainly was an amazing episode as Barnabas watched the man who, in another time band, would have been his son with Josette, the passionate, brash and fluffy-haired Bramwell.  Catherine is following in the unfortunate footsteps of Catherine in WUTHERING HEIGHTS--and we all know how that story ended!  I love this fiery couple, and although I didn't know we'd never again see Jonathan Frid play Barnabas, I was so glad they gave him--and Lara Parker--different characters to play.  I might be in the minority, but I love this pair!

Daphne and Quentin are happy and getting married, but where did that note from Samantha come from--did her ghost come back to write it?  You'd think instead of writing a note assuring him he's Tad's father, she'd want to haunt Quentin for the rest of his life in revenge.  And since chances are that Daphne and Quentin had kids of their own, how would that affect the future?  This storyline never did revolve around the children, Tad and Carrie, as we were led to believe, but I suppose Barnabas and Julia being there changed that, too--plus David Henesy chose to leave the show.

Let's go see what happens in the next episode--the last in 1840/41?


1198 - Stokes does the intro, the first time we've seen him as Stokes since his last brief appearance in 1841.

Barnabas grabs Trask's arms; they struggle wildly.  Barnabas grabs him in a chokehold and enraged, reminds him--I told you before--when you walled me up--I should have finished you then!  Trask's eyes bulge; he falls unconscious to the floor.  From the sofa where she has fallen, Angelique calls softly to Barnabas, who runs to the doorway and bellows "Julia!!!."  He returns to Angelique and sits beside her.  She'll do you no good now, Angelique says, her voice faint.  He gathers her into his arms and says, "Oh, my darling."  I'm dying, she says.  No, he protests.  Hold me, she asks.  He does.  He reaches into his pocket for a handkerchief and wipes away the blood running form her chest wound.  Angelique, he says, I never knew.  What? my darling, she says.What you did tonight, he says.  That I always loved you, she says.  I love you, he says, that's why you must live--I love you, Angelique--after all those years, all that happened between us--I can say it now because I know it's true--I love you.  Her eyes have closed, however, and, pressing his face to hers, he realizes she is gone.  Tears clog his voice as he says, "Angelique....no...Angelique!--you never heard me--you never heard me--oh, my love--my love--he kisses her mouth--you were never to know until it was too late," he mourns.  Trask returns to consciousness.  Barnabas flies at him.  You killed her! he shouts, attacking Trask.  The two men struggle.  Trask races upstairs, Barnabas vowing, you will pay for this with your life!  Barnabas chases after him.

They end up in the East Wing in a room with a desk and a letter opener on the table.  When Barnabas enters, Trask attacks him, burying the letter opener in his shoulder.  The men battle ferociously.Barnabas forces Trask to drop the knife, picks it up, and drives it into Trask, who stumbles away into the parallel time room, which changes around him.  Trask, the letter opener stuck in his stomach, asks "What's happening?"  Barnabas watches him from the doorway.  "You have escaped me!" he yells, disappointed.  Where am I? asks Trask, what's happening, where am I?--and the room changes back to it's empty self.  Barnabas enters, staring around.  He's gone, he says, clutching his shoulder--he's in that other time!

Barnabas returns downstairs, holding his wounded shoulder.  He finds the gun on the floor and picks it up, looking at it.  Angelique's body lies on the sofa.  So this is how it ends, says Barnabas sadly, putting the gun down on the table.  He goes to Angelique and kneels beside her.  "Your beautiful face, so quiet, as if you were asleep," he says--"am I never to see your eyes again?--so often they looked at me with love, and I returned nothing but hate--I was blinded by my fury--that my rejection of you caused--and so throughout the years, we battled and fought, and I never guessed beneath my rage I felt a love as strong as yours."  Julia enters.  She's dead, he says.Julia composes her face into a neutral mask.  Trask killed her before she knew, laments Barnabas, I loved her, Julia--she is my only love and I never knew it.  He winces with pain.  Realizing he's been wounded, Julia asks, what happened?   Trask tried to kill me as he killed Angelique, says Barnabas--he's upstairs in that room--in that other time--Julia, without even planning it, I've committed the perfect crime!  He almost collapses.  Sit down, don't move at all, urges Julia--I'll be right back with my medicine bag.  Barnabas gazes at his dead wife.

Rose Cottage - Where can Leticia be? Desmond demands of Flora, slapping his fist into his hand.  I told you five times, she replies, I do not know!  I have been back over two hours, she was not at Collinwood--I stopped there on my way back from the jail, says Desmond.  I'm sure she'll be back soon, soothes Flora--oh, darling, I still can't believe you're free.  It's all over, Mother--Gerard is dead, he says.  How could I have been so blind? she asks, I thought I was such a good judge of character--I couldn't see beneath his charm--perhaps it will make me wiser next time--but he did bring us Leticia.  What if Leticia tried to do something to herself? asks Desmond, worried.  She wouldn't, Flora assures him.  How can you be sure? asks Desmond, she was terribly upset at the cell this evening--I've got to go out and look for her.  Where? asks Flora.And at that moment, Leticia comes in, runs into Desmond's arms, and kisses him lustily. Now I'm going to show you what a good mother-in-law I'm going to be, quips Flora--I've learned the first rule--when to disappear.  Smiling, she leaves.  I am dreaming, exults Desmond.  No, luv, I am, she says.  Where have you been? he asks,  Walking, she says, on the beach, looking at the sea.  Crying tears you didn't need to cry, he says.  Wondering how I'd be able to make it through tonight, tomorrow and forever, she says, tears in her voice.  She hugs him.  On my way through town, I heard about you and Quentin, she says--I couldn't believe it!  Believe it, he says.  I must have lost my second sight, luv, she says, or I'd have known about you--you were alive--I guess I lost it when I fell in love.  They kiss up a storm, ecstatic.  We're leaving Collinsport tonight, he tells her.  We are? she asks.  Yes, and we're going to New York, he says--we're going to be married there.  I love New York, she says--oh, my darling!--Mrs. Desmond Collins!

Barnabas enters the drawing room, where Stokes and Julia await him.  What happened? she asks.  The police accepted my story, he explains--Angelique is to be buried in the family mausoleum.  We can't stay here any longer, says Stokes--we must go back to our own time.  How? asks Barnabas.  I came from 1970 down Quentin's staircase through time, says Stokes--now we must try to go back up those same stairs.  (But Barnabas came via E-Ching, what about that?)  Barnabas sits listlessly on the sofa.  You've done what you came here to do, Stokes reminds him, you'll never know how well you succeeded in changing history until you return to Collinwood--it's 1971 there now--is the house destroyed?--are Elizabeth and the children dead?--are Quentin and Carolyn mad?  Barnabas, troubled, says, "Our time, 1971, it seems almost impossible to believe we've come from that time to this--Eliot, we could be certain about what our visit has done to us, but I don't what it has done to Collinwood in 1971?"  Desmond comes in and overhears Barnabas' question.  What are you talking about? he demands--have you gone mad?--1971?--why it's a hundred and thirty years from now.  There's an awkward, silent moment.  Finally Julia replies, "But that is where we have come from, Desmond."  How is that possible? he asks.  We came down Quentin's staircase, says Eliot.  Quentin's staircase is a joke! yells Desmond.  No, says Stokes, not a joke by any means--those stairs must be destroyed--Quentin intended to destroy them before he left, but I persuaded him not to.  You and Julia will leave me here, says Barnabas.  No! protests Julia.  You must go with us, insists Stokes.  Barnabas, says Desmond, all this is beyond me, but if it's Valerie's funeral that is keeping you here, then Leticia and I will stay until tomorrow--my mother will take care of everything.  Well, Barnabas, says Stokes, what if you try to go up the stairs and the conditions are not right?  You'll never be able to tell if they are right or not, points out Julia worriedly.  Barnabas sighs--we will try, he agrees.  They all smile at each other.

Collinwood basement, Quentin's staircase - You certainly know how to shock someone, Desmond tells the trio--first you tell me about you, then about those stairs, then finally about the room in the East Wing--the room Trask went into and it changed--I don't understand it still--Trask is actually in another band of our time?  Yes, says Barnabas, and you must check that room, because if he should somehow escape, he will try to kill you as he did Valerie.  If he escapes, I will settle with him, Desmond promises, you can be sure of that.  We're counting on you for a great deal, Desmond, says Stokes.  I will tell no one the secret except Leticia and Quentin, promises Desmond.  Stokes checks his watch--the time has come to begin our journey, he says--goodbye Desmond.  They shake hands.  Julia steps forward--I wish you both happiness, she tells Desmond and Leticia.  Desmond kisses her on both cheeks--goodbye, he says.  "My cousin, my friend," says Barnabas emotionally, clasping both Desmond's hands, "Goodbye."  How will I ever know if you have made it? asks Desmond.  You must always think we have, responds Barnabas.Stokes ascends the staircase first.  What if we find Collinwood destroyed? asks Julia--what if it's the way we left it in 1970?--what will they do?  The best we can, says Barnabas.  Julia follows Stokes, then Barnabas.  Desmond, amazement on his face, watches them go to the door at the top of the stairs, where whirling colors and God knows what await them.  Barnabas closes the door behind them.

Stokes, Julia and Barnabas exit the door at the other end of time.  Good Lord! exclaims Eliot.  It's not the way it was before! says Julia--Collinwood was not destroyed--Barnabas, we have changed everything, we have!  She's thrilled.

8:10 - Barnabas and Stokes have changed into 1971 attire.  Two hours! complains Barnabas to Eliot, we haven't seen anyone--there isn't a sign of a single person in the whole house.  The refrigerator is filled with food, says Stokes, that's an encouraging sign.  It still concerns me, says Barnabas.  Julia, wearing her navy blue dress, joins them, smiling--I had completely forgotten how comfortable these clothes are--it's so hard to believe this--this house is exactly the way it was when I first came here--there's no sign that the ghosts of Gerard and Daphne were ever here.  I wish I could be as confident as you are, Julia, that everything's all right, says Barn.Elizabeth suddenly bustles in, annoyed--"Barnabas, Julia!--really, the three of you are impossible --you're very late!"  Late for what? asks Julia.  "Have you forgotten?" asks Liz--"the opening of the historical center--I wouldn't have come back, but Roger forgot his speech--so do let's hurry--Eliot, I know that Barnabas and Julia are always pre-occupied, but it's not like you to forget something we've been planning for so long!"  Stokes apologizes--it slipped my mind, he says.  As Liz looks through papers on the desk for the speech, Julia hesitantly asks, are David and Hallie there?  Of course! says Liz.  And Quentin and Carolyn? queries Barnabas.  Where else would they be? asks Liz, finally finding what she's looking for.  Where indeed? echoes Barnabas.  Liz tucks the speech under her arm--it's so like Roger, she says--he hates making speeches--why are all of you staring at me so strangely?  It's so nice to see you, says Julia.  Thank you, says Liz--it's really been a warm and cozy winter, hasn't it?--so calm and peaceful--I've quite enjoyed it--shall we go?--you can drive in with me.  We'd be delighted, says Stokes, following her out.  I found the most incredible thing in the West Wing this afternoon, says Liz (Mike R. Phone makes an appearance in the corner of the screen)--I'm going to give it to the Historical Society tonight--I found a journal written by an ancestor of mine called Flora Collins (Barnabas exchanges looks with Julia)--I don't believe I've ever heard her mentioned--I understand she's written many novels--we must find and read them.  It should be most interesting, agrees Stokes.  He and Liz leave the house.  So, says Barnabas, the ghosts of Gerard and Daphne never came here.  We changed all their lives by being in 1840, says Julia.  As well as ours, agrees Barnabas--think back to 1840, Julia, those stairways are likely no more--Desmond has probably destroyed them by now.  We'll never forget any of them, says Julia.  Never, he says.  Together, they walk into the camera--and DARK SHADOWS history.
1841 - Desmond destroys the staircase, wondering where the three of them are now--did they manage to get back to their own time?  From the drawing room, Leticia calls to Desmond, then warms herself by the fire, pacing back and forth.  Desmond joins her.  I got worried about you, she says, afraid something had happened to you.  Something has--come on, he says, we're going to a room in the East Wing, a room Barnabas told me about--a room where something may be happening now--I'll explain it to you later--he leads her upstairs to the parallel time room.  Apparently he explained it to her along the way, because when they arrive at the PT room, she comments, I can't believe it--Valerie dead, murdered--and Trask wounded in another band of time?--Desmond Collins, you've gone mad, she accuses, cupping his face in her hands.  Wait until you hear the rest, he says.  They stand in front of the closed doors.  Well open it, luv, she urges.  Desmond seems reluctant, but finally throws the doors open.  It's empty, says Leticia, and starts to walk in.  No, he warns, holding her back, don't go in there.  Right before their eyes, the room changes--they spot Trask fall to the floor, the letter opener in his gut.  It's all true, says Desmond--parallel time!

Help! Trask calls weakly--somebody help me!  He falls over, bloodstains on his shirtfront.  He's dead, says Leticia. They watch PT Julia enter and discover the dead undertaker.After examining him, she calls frantically for Flora, who joins her.  Oh no! she says.  Who is he? asks Julia--have you ever seen him before?  Flora shakes her head--it's happened, she says, it's finally happened.  Where did he come from? asks Julia, why was he here?  I don't know, says Flora, but it's finally happened--what we've feared and dreaded!  Shh, cautions Julia, closing the double doors in Desmond's and Leticia's faces.  The young couple stares at each other.

1841PT - No one must know, says Julia quietly.  Everyone will, objects Flora.  Not if we're clever, says Julia.  First poor Stella, now this stranger! laments Flora.  Shush, says Julia, someone is in the hall. What will we do? asks Flora.  Julia opens the doors to checks, returns to Flora and says, we must get id of the body--now.  The two women get down to the task.  It's 11:50.

Mama, Julia! cries Melanie, out in the hallway outside the parallel time doors--she enters the room, noting that it's two o'clock--Mama, where are you?  Julia and Flora enter.  Mama, where have you been? asks Melanie-we've been hunting for you for hours!  What is it? asks Julia.  Has someone come? queries Flora.  Tell us! says Julia.  It's Papa, he's dying! wails Melanie.Then the lottery will happen again, says Julia--before the week is over.  Flora looks solemn, Melanie, horrified.

NOTES:  Curtis sprang for quite a large cast in this last show of 1840/41/1971, seven or eight, plus all those extras for guards and executioners?  His limit was usually six.

I know that those who feel Julia and only Julia deserved Barnabas, watching this episode was especially hard.  To confess to poor Julia that Angelique was his one true love and never knew it had to hit her hard--but they returned to a future where Angelique no longer existed, although in some fan fiction, she comes back with a vengeance.  Back then, I felt it most romantic and appropriate.  I accepted that Angelique had changed, incredibly rapid though it may have been.  I was only 16, of course, and wanted Barnabas to end up with someone young--and somehow, it seemed as though he and Angelique had been together, in one way or another, since 1795, and had a long shared history--and deserved each other.  Now, 30+ years older, I feel Julia deserves him.  Still it always chokes me up to see Barnabas and Angelique's final goodbye.

It is wonderful to know that everything in 1971 is all right, the Collinses don't even remember the haunting (unlike 1897 where they somehow did).  Everything is normal, Roger is making a speech, the kids, Carolyn and Quentin are just fine, and as far as Liz is concerned, Stokes, Julia and Barnabas have never been anywhere but right there.

I am thrilled Desmond and Leticia got their happy ending, too.  I liked this sweet young couple very much, and rooted for them then, and do so now.  They deserve happiness, and you know they'll have it.

Only Barnabas got the short end of the stick in 1840/41--again.  Poor guy, I hope that someday, he gets the happiness he has earned by doing so much for others.

We never see Joanna Mills again; I guess we can take it that she returned to her grave.  Perhaps her ghost forced Sam's ghost to write that note telling Quentin the truth about Tad!  LOL!  We'll never know.  But don't Daphne and Quentin wonder where Joanna went?

Now, and this is a BIG spoiler, so don't read it if you don't want to know something huge!  This was the last episode we shall ever see of this show in regular time.  You will never again see RT Barnabas or Julia, or see their love lives resolved.  DARK SHADOWS finishes its run with 1841PT, the final storyline, which we will see now, and which, at the accelerated rate of two eps per day, will only last another month and a half.  I didn't know this when we went to 1841PT the first time, and only learned of DS' upcoming demise a month before it left the air--a very sad time for me.  I fully expected to see at least one more episode or even a scene from 1971RT, but had no idea that Jonathan Frid no longer wished to play Barnabas and he had put that role behind him--hence, Bramwell Collins.

Love, Robin

1193 - The ghostly Joanna reveals her true, grotesque visage to Samantha, who, horrified at the hideous sight, backs away and topples off Widows' Hill.  Joanna kneels, gazes down the cliff wall, observes her handiwork, rises, smiling slightly, and leaves.

Collinwood - Gerard comes downstairs where, on the floor, he finds the note Joanna wrote to lure Samantha to Widows' Hill.  Joanna comes in.  Gerard shows her the note, which she glances at without comment.  I didn't know you'd gone out, he says.  I went out for a breath of air, she says.  I see, he says--by any chance have you seen Samantha around?  Not since our terrible experience earlier this evening, says Joanna--I hope she's behaving more rationally--is something wrong?  Yes, but I'm not sure what, he says, still holding up the note.  I don't understand, she says.  I found this note, he says, showing it to her.  It's from you, she points out.  No, it isn't, he says--it was written by someone else who signed my signature.  How curious, she says.  Yes, isn't it? he agrees--are you sure you haven't seen Samantha?  Positive, replies Joanna--excuse me.  Gerard leaves the house, Joanna watching him.

Fishing shack - Julia fixes a bandage on Desmond's wound.  Julia, it's nearly dawn, warns Quentin--you'd better get back to Collinwood.  As soon as I finish with Desmond, she says.  You'd better go back now, advises Quentin, we don't want Gerard asking any questions.  I can answer any of Gerard's questions, Julia assures him--there, she says, finishing up, and hands Quentin Desmond's blood-stained shirt, which he helps his cousin into.  I think he should rest at least 24 hours, says Julia--he should be able to travel tomorrow at dawn.  If he needs more time, we'll wait, says Quentin.  You can't afford to wait, insists Desmond--go without me.  Julia feels Desmond's forehead.  Desmond, when we go, says Quentin, you and Leticia are going, too.  He buttons up Desmond's shirt.  I wouldn't mind staying, comments Desmond, if I could get my revenge on Gerard.  Someday, promises Quentin.  Desmond winces in pain.  We'll plan on leaving dawn tomorrow, decodes Quentin.  Let's get him into the other room, she suggests.  Julia and Quentin help Desmond to his feet and lead him carefully into the adjoining room.

Collinwood - Joanna sits by the fire.  Daphne enters, smiling, tea tray in hand--good morning, she says--what are you doing here so early?  Actually, I never left, says Joanna, I went for a long walk and then when I found out what time it was, I decided to come back here and wait for you.  You must be exhausted, remarks Daphne.  No, says Joanna, I'm fine--you got some sleep yourself, didn't you?  Yes, and I had a good night's sleep, I'm glad to say, says Daphne.  Gerard enters, balancing a drenched, limp, bruised Samantha in his arms.What happened? asks Daphne.  I found her below the cliff at Widows' Hill, he says--she's dead!

First Edith, then Gabriel, then Samantha, lists Daphne--three deaths in the past 24 hours--there just seems no end to the tragedy in this house!  Gerard joins them and says, I asked the servants to contact the police.  How did you happen to find her? asks Daphne.  I went up on Widows' Hill, looking for her, says Gerard, sounding truly shocked.  But why? asks Daphne.  I had found a note addressed to her, says Gerard, supposedly just to her, it was supposed to be from me, but it wasn't--it asked her to meet me on Widows' Hill, but I didn't write the note--obviously, someone wanted to lure her there.  You mean you think someone pushed her over the edge? asks Daphne.  Believe me, I don't think she would jump, he replies.  But who would do such a thing? asks Daphne.  I don't know, says Gerard, all I do know is that this will raise more suspicion against Quentin.  Quentin--it's impossible! insists Daphne.  That might be, says Gerard, but the police know Quentin hates Samantha because she testified against him at his trial--he had the oldest motivation of all--revenge.  I won't listen to that, insists Daphne--Quentin did not kill Samantha.  Joanna solemnly looks at Gerard, who says I hope for your sake you're right; however, I'm sure this tragedy will intensify the search for Quentin--excuse me, I must go to Trask's Memorial Chapel--I must prepare for the funeral of both Samantha and Edith--yes, she was found upstairs last night in the East Wing by one of the servants.  He leaves.  Poor Edith, and Samantha, says Daphne.  I know it's difficult not to dwell on these things, says Joanna, but you must consider other things right now.  What do you mean? asks Daphne.  Samantha did stand in the way of your happiness, Joanna reminds her, and now that she's gone, you and Quentin can be married.  I can't even think about that right now, says Daphne.  You've got to, insists Joanna, your future and Quentin's depends on it--if you don't think about it, what will you do?  I can't help thinking about the effect this is going to have on Tad, says Daphne--first, his father's conviction, now this--it might be a shock he'll never recover from.  I'm going to see Quentin, says Joanna, I'll be back later this afternoon.  Daphne sighs sadly.  Everything is going to be all right, Joanna assures her--you'll see--she hugs her, then hurries away.  Daphne sits on the sofa, unsure of the outcome of all this.

Fishing shack - Told the news, Quentin can't believe Samantha's dead.  Yes, and Gerard thinks you'll be the first suspect, says Joanna.  Quentin chuckles--yes he does, and I'm sure Gerard will do everything in his power to see that I am.  Are you going to allow this to change your plans? she asks.  It's already changed my plans, he says.  But you have to leave soon, she says.  That's not what I mean, Quentin says, it's just become obvious that we must get away from here as quickly as possible.  How is Desmond? asks Joanna.  He's still weak, says Quentin--Julia says he can travel in the morning--we're going to need your help.  I'll do anything you ask, she says.  We'll need a carriage, he says.  I'll arrange for one in the village, she promises.  We'll plan on leaving dawn tomorrow, he says--we'll go to Boston to get Tad, (who was supposed to have a much greater part in this storyline) he's living with relatives there--now that Samantha is gone, there's no one to prevent me from taking him with me.  Gerard may try, points out Joanna.  Of course he'll try, but he won't succeed, says Quentin--next time he sees him, Tad will be 21 years of age and he'll be master of Collinwood--there's not much time, so you'd better get back to Collinwood.  She nods.  Arrange for the carriage, he says, tell Daphne everything, and arrange for her to be here at 3 o'clock tomorrow morning.  I will, she says.  Quentin sees her out.  I'll be careful, she promises.  Quentin looks shocked and unhappy.

Julia returns to Collinwood, exhausted and achy.  Gerard exits the drawing room and asks if she's been treating another patient.  Yes I have, she says evasively.  His name wouldn't be Desmond Collins, would it? he asks.  She looks at him.

No, Gerard, says Julia icily, I have not been treating Desmond Collins.  Could you tell me who you have been treating? he asks.  Just a patient, no one you know, she says, and heads for the stairs.  He must be very ill, you've been out all night, observes Gerard.  Yes I have, says Julia.  Do you know what the penalty is for aiding and abetting an escaped prisoner? he queries.  You don't believe me, is that it? she asks.  I believe one thing, he says--that Desmond was wounded trying to help Quentin escape--Quentin would never leave Collinsport without medication, so I'm sure he wouldn't risk looking for other doctors, so you would be the logical choice.  There's only one flaw in your logic--it makes too much sense, says Julia--Quentin would know that's what you'd think, so he wouldn't have called me to help.He would, says Gerard, if he had no other choice.  Apparently he did have another choice, says Julia--frankly, I think they're 100 miles away from here by now--excuse me--she goes upstairs.  Gerard thinks it over.

Daphne, heading for her room, finds herself instead draw to the parallel time room (better than television)!  She opens the doors--PT Julia enters, opens the window and, using binoculars, gazes down at Kendrick Young meeting PT Samantha in the woods.  You took a terrible chance sending me a note here, says Samantha.  I had no choice, he insists, I must get answers to my questions.  There's nothing I can tell you that you don't already know yourself, she says.  You were the closest friend my sister had in that house, Kendrick says--you must know something.  All I know is she left the house, says Samantha, very suddenly, Without giving notice? asks Kendrick.  Apparently so, says Samantha.  If you know my sister, says Kendrick, you know that isn't like her at all.  Maybe it isn't, agrees Samantha, but that's what happened.  Do you know why she left? he asks.  No, says Samantha.  Was she unhappy?--did she have a disagreement with someone? he asks--there must be some reason.  I told you, I don't know, says Sam, I was shocked she didn't even say goodbye to me.  Julia Collins said she left no forwarding address, says Kendrick, is that true?  If that's what Mrs. Collins said, then it must be true, replies Sam.  I don't believe her story about my sister, says Kendrick, I had the feeling she's been hiding something all along--that's why I'm asking you.  There's nothing I can tell you, says Sam, I honestly don't know where your sister is.  What are you afraid of? he asks.  Nothing, she says.  That's not true--everyone in that house is afraid of something, he says, and I'd like to find out what it is and if it has anything to do with my sister's disappearance.  Take my advice, says Samantha--go away from here and don't ask anymore questions.  What am I supposed to do, just go away and forget about Stella? asks Desmond.  You'll be hearing from her, I'm certain of that, Sam assures him, and she'll tell you what happened.  I wish I could be as optimistic as you are, he says.  I think you'd better go, she warns, if you're found, you'll get into serious trouble.  Kendrick turns to her--I'll leave the grounds, but not the village, he says--not until I learn what happened to my sister--I'll go to the police if necessary, and you can tell that to the family for me!  Sam looks unhappy.  Julia drops her binoculars from her eyes, done with spying.
PT Samantha enters the room.  What did you tell him? demands Julia.  Tell whom? asks Samantha--what are you talking about?  I saw you talking to that man on the terrace, says Julia, holding up the binoculars--there's no need for you to lie to me.  He sent me a note requesting that I meet him out there, explains Samantha.  You needn't have acknowledged it, says Julia.  Daphne listens in the doorway.  He was already anxious and suspicious, says Sam, if I had ignored his note, it would have made matters worse.  What did you tell him? asks Julia.  Just what you told him, says Sam--that she left very suddenly.  My words didn't make any sense to him? asks Julia.  He felt...begins Samantha.  He felt what? demands Julia.  That you are hiding something from him, says Samantha.  He's an arrogant fool! bitches Julia.  What did happen to Stella? asks Sam. Nothing happened to her, insists Julia, you know that--she just left.  But why?--there must have been some reason, says Sam.  She was unhappy here, explains Julia, my sister and I tried to find out, but she wouldn't tell us.  It just doesn't make any sense, says Sam.  Whether it makes any sense or not needn't concern you, says Julia--now I want you to tell me everything that man said to you, all the details, then we'll never talk of Stella again, is that clear?  Yes, agrees Samantha.  Daphne's show is over when Julia closes and locks the PT doors.  Sighing, Daphne steps away.  Joanna joins her--I've been looking for you everywhere--you've looked into that other room again?  Yes I did, says Daphne.  Do you understand what's happening there? asks Joanna--how can that be possible?--Julia tried to explain it to me, but it just doesn't make sense to me--the idea of being able to see another occurrence in another time--she called it parallel time?  Yes, agrees Daphne--parallel time.  What did you see in there? asks Joanna.  I saw people who are just as troubled as we are, perhaps even more so, says Daphne--I guess it doesn't matter what band of time you live in--people are different, but their problems and fears are just the same as ours.  Yours and Quentin's problems are going to be over after tonight, Joanna assures her--all the arrangements have been made--at three o'clock tomorrow morning, you and Daphne (she means Quentin) are going to leave Collinsport forever!  Both women smile, delighted.

Collinwood - Julia comes downstairs, unaware that Gerard is watching her from the drawing room.  She leaves the house.

Fishing shack - Quentin looks out the window and opens the door to Julia.  Have there been any problems with Desmond? she asks.  He's been asleep since you left, says Quentin.  Good, she says, I'll wait a few moments, then wake him and examine his wound for the last time--you're not leaving any too soon--Gerard started asking me questions--I didn't tell him I knew where you were.  You weren't followed, were you? he asks.  No, she says, I took a very roundabout way of getting here.  Someone knocks at the door; Quentin goes to hide in the other room.  Julia lets Daphne in.  What are you doing here? asks Quentin, it's only 9 o'clock, you were supposed to stay there until everyone went to bed.  I couldn't stay at the house one minute longer, says Daphne.  Julia goes into the other room to tend to Desmond.  Is something wrong back there, Daphne? asks Quentin.  No, she says.  But if Gerard finds out you're gone...says Quentin.  I don't care if Gerard finds out, says Daphne, I just wanted to be with you until it's time to go.  He takes her into his arms--it's all right, he assures her, you can stay here.  I was sitting in my room and realized that Gerard and I were the only two people in the whole house--I couldn't stay there, I was frightened.  He hugs her--you'll never have anything to be afraid of as long as you're here with me.  You know about Samantha? she asks.  Yes, he says.  I'm so sorry it happened that way, she says.  It's all right, he says, there's nothing we can do about it now--look at me--he takes her face in his hands, smiling--I love you, you know that.  I love you, she says back.  When we get to Boston, he says, will you marry me?  You know I will, she says.He kisses her enthusiastically.  Gerard stands outside the door, listening to everything.

NOTES:  Oh, no, Gerard has overheard all and is probably just waiting to make his move and sic the police on Quentin.

More mysteries in parallel time.  What have the Collinses done to Stella?  Is she dead or alive?  Why is Julia being so secretive?

Farewell, Samantha.  I think it's really creepy that Joanna did away with Sam and returned to Collinwood, posing as a living human being, with such ease.  Why did she really come back?

I wondered why David Henesy was barely in this storyline, but I recall a story--Henesy wanted more money, and Curtis refused to give it to him.  Henesy threatened, "I can always go back to high school."  Perhaps that's exactly what he did!


1194 - HAA's intro: Samantha's death is being considered a suicide, but it has freed Quentin from his marriage, and given him, even in his peril, a chance for a new life.

Rose Cottage, Leticia's room - It seems so strange to be making these plans with Samantha not even buried, says Daphne.  Samantha never loved Quentin, ducks, says Leticia, the only time love came into her eyes was when she looked at Gerard.  Quentin says we can take no more chances of being separated, says Daphne with a grin.  Leticia smiles back--he's right, she says.  I'll be so happy just to get out of this village, sighs Daphne.  I remember when we first came here, says Leticia, when Gerard brought me to this house--I never had any idea I'd be leaving like this!  We must be very careful, cautions Daphne--Joanna's arranging for a boat to meet us at the cove at three o'clock--we'll sail from here and go to Boston to pick up Tad.  And then? asks Leticia.  Europe, says Daphne excitedly, Quentin says we'll live in Europe--we can't bring anything with us, we don't want anyone to know when we're going.  Where's Gerard? asks Leticia.  At Collinwood, says Daphne.  Do you have to go back there? asks Leticia.  Yes, says Daphne.  Be careful, warns Leticia.  I will, Daphne, assures her--Quentin's given me the combination to the safe--there's money there, money we'll need.  Be as natural as you can with Gerard, warns Leticia, don't let your fear of him show--Daphne, do you think I can leave without telling Flora?  Telling Flora what? asks Flora, entering the room--I wrote this scene in one of my novels, I believe, it was called WINTER SECRET--two girls eloping, all very romantic.  Leticia begins to say something, but Flora interrupts--I've been very patient with you, aware for some time you know where Desmond is, but I haven't questioned you, because I thought the fewer people who know, the better the chances are for Quentin and Desmond--but now something new has developed, hasn't it?--oh, you don't have to tell me, I can see it in your faces.  We're leaving tonight, at three o'clock, reveals Leticia.  Is he well enough to travel? asks Flora.Julia thinks so, Daphne assures her.  Are all four of you going? asks Flora.  Yes, says Leticia.  Well, Desmond is using good sense, says Flora--if he should take anyone from this village, it should be you.  Flora, oh Flora! cries Leticia, running into her arms to hug her--I'm so happy you approve!--I'll make Desmond very happy.  I have no doubt of it, says Flora, and you'll make me happy, too, but I'm selfish enough to want you to begin now--I want you to tell me where Desmond is.  Leticia exchanges a troubled look with Daphne.  I must say goodbye to him, insists Flora, surely you both understand that.  We do, Leticia assures her.  But you mustn't tell Gerard, or anyone at all, cautions Daphne.  I love my son too much to let anyone harm him, says Flora--Gerard Stiles will learn nothing from me, she vows.

Charles Dawson paces Collinwood's foyer.  When Gerard enters, Dawson anxiously asks, where have you been?  On an expedition, dear Dawson, smiles Gerard.  Don't dear Dawson me!--I expected you to use your powers--Quentin Collins has been at large for three days! Dawson reminds him.  And you are worried? asks Gerard.  Of course I'm worried! says Dawson--he said in court that he would settle his score with me.  Fear is a most unpleasant thing to see, remarks Gerard.  It's even more unpleasant to live through, bleats Charles, now you've got to do something right now!  Quentin and Desmond will be in jail by tomorrow morning, Gerard assures him, I promise you.Charles smiles--you found him?  Obviously, my dear Dawson, says Gerard --just now.  Have you told the police where they are? asks Dawson eagerly.  No I haven't, says Gerard, but may I remind you I am still in charge here, and if I want the police to continue into this investigation, I shall ask for them--is that quite clear, do you understand?  What are you waiting on? asks Charles exasperated.  You may indeed, says Gerard--you see, I feel he has not suffered quite enough--no, I want him to know who his real enemy is--I have a plan--a marvelous plan that includes someone else--of course, it will take time to work out.  Who is the other person? asks Dawson.  The front door slams.  Well, come in, we were just talking about you, Daphne, says Gerard.

I'm sorry to have interrupted you, says Daphne, starting to move toward the stairs.  You haven't really, Dawson assures her.  Mr. Dawson would like to see you, says Gerard.  Dawson looks at Gerard oddly.  Oh, really? asks Daphne, well, I'm afraid I can't help Mr. Dawson in any way, I don't think.  She turns away from both men. I can vouch for Daphne, says Gerard--she doesn't know anything about where Quentin is, and I'm sure Mr. Dawson will trust my word--there should be no further questions, I'm sure.  Dawson smiles at Daphne, who excuses herself.  You're not going to bed right now, are you? asks Gerard--I was wondering if we could play a game of whist later on.  I'm sorry, Gerard, says Daphne, I'm not in the mood for games tonight.  I would like to talk to you, says Gerard earnestly, would you mind very much if I came to your room later?  She shakes her head and disappears upstairs.  Gerard closes himself and Dawson in the drawing room.  She knows, says Dawson.  And so she should be, remarks Gerard.  She knows where he is? asks Dawson.  Of course she does, says Gerard, a bit of romantic lovers playing a childish game.  I trust you won't allow Quentin to escape, says Dawson--this plan of yours--why can't you put it into operation now?  Paperwork, my dear Dawson, replies Gerard, paperwork--certain legal papers are very important to me, and you being a county prosecutor, should be able to get them for me.  I'll do anything! says Dawson eagerly.  Of course you would, says Gerard, anything --now, here's how the plan works, and I want you to do it very quickly.  He outlines the plan.

6:00 - Leticia and Daphne are in the foyer.  Four more hours, says Leticia--did you find Quentin's money?  I was just going to when you came, says Daphne.  I was so worried about you, says Leticia--where's Gerard?  He was here, says Daphne, Dawson was here with him--they've left, but Gerard will be back.  You'd better look for the money while he's gone, advises Leticia.  You're right, agrees Daphne, and goes upstairs.  Leticia sits down in the drawing room, exhausted.

Gerard returns to Collinwood and hangs up his cloak.  Leticia, in the drawing room, bids him a cool good evening.  Aren't you at least going to smile? he asks.  I haven't smiled at you for some time now, she reminds him sourly.  I think you should, he says--I'm feeling in a sentimental mood--do you remember the first time I brought you to Collinwood?  You was different, she says.  Yes, and I even changed you, too, he says--you've become somewhat more...  Oh, you've changed me, I'll grant you that, she interrupts.  Champagne? he offers--to celebrate, of course.  (Conveniently, there's a bucket with the champagne in it.)  I've got nothing to celebrate, she says.  He cradles the bottle--let's think of something, then, he says, in order to have a drink together.  You can drink alone, she suggests coldly.  No, my dear, he says, we shall drink together--to a wedding!  She looks surprised.  Yes, he says, smiling, there will be a wedding tonight at Collinwood!

Gerard pours what looks like a glass of Cold Duck for Leticia, who asks, who are you marrying?  I didn't say I was marrying anyone, he points out, sipping his own glass.  You're the only person left in this house, she says, you and Daphne.  But she thinks she's in love with Quentin, does she not? he asks--is Daphne seeing Quentin tonight, Leticia?  What do you mean, luv? she asks.  Oh, my dear, he says, you tell me so much--perhaps I meant them--they were going to get married.  At Collinwood?--not bloody likely, says Leticia--if Quentin Collins has an ounce of sense, he's a thousand miles away from here by now.  As the wounded Desmond is, too? he asks--what has happened to you?--you used to be so charmingly amoral, but now you've lost your sense of humor, you've lost everything, you are just like the rest of the hicks down in the village.  I prefer what's happened to me to what's happened to you, she says--who is getting married, Gerard?  That was merely to amuse you, he says, I had forgotten you lost your sense of humor.  I got to find Daphne, says Leticia.  Do you have a message for her? asks Gerard.  Yes, from Flora Collins, says Leticia, getting a brainstorm--she wants to invite Daphne for dinner, tomorrow night.  Please stay and help me finish some champagne, he asks, sipping his drink.

Someone is playing Quentin's theme in the parallel time room.  Hearing the music, Daphne wonders, if I open this door, will I see into that other time?  She opens the doors and observes PT Flora, who doesn't respond when Daphne calls her.  Why can't you hear me? frets Daphne.  PT Flora calls to Melanie--do you feel all right?  Of course, why? asks the young woman.  You didn't answer me when I called you, says Flora--you seem so inside yourself--where were you going?  I don't know, says Melanie.  You weren't going to the West Wing, were you? asks Flora.  No, I wasn't, says a shocked, scared Melanie--why did you think I was?--why?  I'm sorry, darling, says Flora, I just had a feeling.  I don't go to the West Wing, ever--you know that, says Melanie, shaky.  You must not, agrees Flora.  I told you, I never go there, insists Melanie--why do you keep saying I mustn't?--why do you keep talking about it?  I'm sorry for upsetting you, says Flora--the West Wing has been on my mind all day--your father went there last night.  Oh no! cries Melanie.  They found him in the corridor, says Flora, outside the room.  Why does this have to happen? asks Melanie, upset.  Nothing has happened, comforts Flora, we found him.  But if he goes there one more time, he will die, wails Melanie--he can't die!--he can't--I love him so--he can't die--we couldn't stand to have that lottery again.  Don't call it that! insists Flora--never!--darling Papa's not going to die, I'm sorry I told you that.  You had to tell me, says Melanie, we should leave this house, all of us.  A generation ago, says Flora, William Collins found that didn't help--it happens to us wherever we go.  We must keep Papa alive, insists Melanie.We will, Flora assures her--now, Papa wants to see you, but you must not mention any of what happened--because he doesn't seem to remember what happened last night--we don't want him to, do we?  No! agrees Melanie breathlessly, I only wish no one remembered.  The two women leave the room, Daphne watching them in consternation.

Fishing shack - In less than three hours, we'll be on our way, Flora, says Quentin.  I'm sorry to disagree with your plans, she says, but Desmond is in no condition to travel.  Julia said he'd be all right, Quentin assures her.  I don't care what she says, insists Flora, that's a serious wound.  Our position here is very serious, too, he reminds her--the police could catch us here any moment, you know that--look, you know I'm going to take care of Desmond, and he's not going to die--there are enough things against us, don't you be, too.  She looks at him soberly.

Daphne sits in the Collinwood drawing room, relaxing on the sofa.  Gerard watches her, witch's symbol in hand: You will sleep, Daphne, sleep, you will have your last dream, the dream you must have and learn that we must be man and wife--sleep, Daphne, sleep--and you will remember the reason for our love...sleep, sleep, sleep!  Daphne falls into slumber and dreams.  We see packed suitcases, Gerard in the foyer trying to put his arms around Daphne, asking why are you leaving me?  She pulls away--don't touch me, she orders.  I must, he says--you're the only thing that's ever meant anything in my whole life--why are you leaving?  She tries to get away.  Is there someone else? he asks.  I don't remember! she cries--why don't I ever remember anything when I'm with you?--she goes to him for a deep, wet kiss.  You remember the most important things, he says, you remember that I love you--he kisses her forehead, then her mouth again as he continues speaking--that I adore you--you will remember that, won't you?  Yes, she says, continuing to kiss him.  And that you love me, too? he asks--you do, don't you?  Yes, she says, I know that--she kisses him some more.  Don't ever leave me, he says, promise that you'll never, never leave me.  He hugs her.  I promise I'll never leave you, she says.  This is only a dream, he says, but when you wake, you will realize that this must be.  She nods.  We will share our lives together, he says.  Yes, she agrees, oh, yes, Gerard!  This dream will come true, he says.  She smiles--I want it to so! she says  The first thing in the morning when you look, your eyes will see mine, he says--you will feel my arms around you, and I will feel yours--for you know that I love you--and when you wake, you will remember that I love you--and you love me--you will remember you love me...you will remember...you will remember.
He awakens Daphne--you had a bad dream, he says.  She grins at him, rising--not a dream, she says--so real--she gives him a real, sloppy kiss.  We will get married, he says.  Yes, she agrees, swiping away what is either her hair or saliva still connecting them.  Yes! she says eagerly.  We will call for the Minster shortly, he promises--do you want me as much as I want you?  Oh, yes, she says, I do!  He closes the doors, leaving her in the foyer.  Where have you been, luv? asks Leticia urgently, running downstairs--I've been waiting for you in your room--we got to go.  No, I'm not going, says Daphne--tell Quentin I'm sorry.  What's wrong with you? demands Leticia, what did he do to you?  No one's done anything to me, says Daphne, I've just changed my mind, that's all, I don't want to go any longer.  Why?--why? asks Leticia frantically.  I'm going to marry Gerard, says Daphne.  Leticia runs from the house, horrified.  Daphne goes upstairs.

Fishing shack - I don't believe it! cries a disbelieving Quentin, she's going to marry Gerard?--what did he do to her?--why didn't you try to drag her out of the house?  I tried to, says Leticia (when?), there was nothing I could do--she wouldn't listen to me.  Quentin exits the shack, Leticia calling, don't go--it's a trap!  She closes the door, looking hopeless.

Still in her red governess dress, Daphne stands with Gerard before the minister, who asks, do you take Gerard to be your lawful husband?  I do, she says.  Do you take this woman to be your wedded wife? asks the minister.  I do, says Gerard, holding her hand and sliding a ring on her finger.  What God hath joined together, let no man put asunder, intones the minister--I pronounce you man and wife.Daphne and Gerard are deep in mid-kiss when Quentin comes in, realizes what has happened, and cries out, "No!"

NOTES:  Seems like Daphne is officially Mrs. Gerard Stiles, but it was under Dream Duress, so is that legal?  Who knows?  The big problem here is that Quentin has revealed himself, and I'll bet Gerard has cops just waiting to get him.  Poor Desmond and Leticia, caught up in this ugly maelstrom!

More clues from parallel time.  There is a problem with the West Wing, something bad, and it sounds like Melanie's father (presumably Flora's husband) is affected by it.  Melanie loves her father a great deal, that's clear, but there's a lot of bad stuff going on with this PT family.

Flora loves her son and is understandably concerned about his health--but Quentin is right--they must leave ASAP.

Gerard stepped up his plans for Daphne, and managed to keep her under his spell enough to marry her right out from under Quentin's nose--and now he's free of Samantha, too!  Sigh.  Too sad and ironic.

Kate Jackson sure enjoys kissing her male co-stars, she puts so much gusto into it!

Will Quentin be re-captured?  Will Daphne come out of her reverie and find herself married to her hated enemy?  Will Gerard consummate their marriage before that happens?

Love, Robin

1189- 2:50 - Foyer - Joanna, having apparently avoided being throttled by Gabriel, comes downstairs at Collinwood, dressed in her cape.  Did you see your sister? asks Gabriel, wheeling over to her.  No, I couldn't--do you have any idea where she could be? she asks.  I'd be the last to know, says Gabriel, but when I see her, I'll let you know--it's obviously quite important to you.  I thought if I could see her, we might be able to do something to help Quentin, says Joanna.  Why would you want to help a man who is condemned, a man who has no right to appeal? asks Gabriel.  I should think you would try, remarks Joanna.  I happen to be in mourning, as you know, he says, a man who has recently lost his wife has other problems (yeah, explain that to your kids!)  Quentin is going to die! cries Joanna.  I'll let your (wife?) know if I see her, says Gabriel, wheeling himself into the drawing room.  Joanna follows--what about the wing of the house your family doesn't use? she asks--does anyone go in there?  No, why? he asks, guarded.  I thought I heard someone there last night, she says, someone opened the door.  No one goes in there, he says, that had to be your imagination.  I'm sure I heard the door open, she says.  I wouldn't think about it if I were you, he says, although it might have been a ghost--did you know that wing of the house is supposedly haunted?  She grins--I don't believe in ghosts, she says, and leaves the house.  From his breast pocket, Gabriel pulls out the rope he was going to use to strangle her, working it in his hands.

Jail - Yes, of course I'm glad to see you, Quentin assures Joanna--please don't take it personally, I've just been doing a lot of thinking about the trial, my sentence, and the worst and most difficult thing of all is looking at people, seeing the look in their eye--"how's Quentin taking it, is there anything I can do to help?'  That's what I'm here for, she assures him.  There isn't any way, he says.  There is, she insists.  The worst thing about it is Desmond, says Quentin, poor man--he tried to help me by taking my case, now he's down the hall in a cell just like this one--if they found me guilty, they're going to find him guilty.  We can take Desmond with us, she says--I thought and thought, I even bought a pistol, but I was afraid to bring it, I knew they would search me.  You never take a chance like that, warns Quentin.  If you can manage to break out of jail, she says quietly, I can have everything worked out.  You're serious, aren't you? he asks.  Yes, she says, tonight at 11:30, there's a boat in Indian Cove, I know the captain--he's willing to take us to England--us, I said us, Quentin, it's not a mistake--you can be free.  What about Daphne? he asks unhappily.  You can talk to her when we get to England, says Joanna, whether you want to see her or not, you can send for her--you've got to be at that fishing shack--it's your only chance.  Quentin thinks it over, walks away from her. Why do you hesitate? she asks--we must do this.  I'm thinking about my son, he says, if I do this, it will be an admission of guilt.  You're mad, she says, you can explain to him when he gets older--please!  All right, he says, I'll be at Indian Cove at 11:30--I don't know how but I'll be there (she's delighted)--now listen to me, he continues--you get the guard and tell him you want to see Desmond--tell him everything we've talked about--go back to Collinwood and tell Daphne that I'll send for her--promise me you'll tell her.  But she's not there, says Joanna.  All right, says Quentin, find Leticia and tell her.  But I don't want to tell anyone I don't have to, protests Joanna.Desmond would want Leticia to know, says Quentin--then you try and find Daphne--you'd better go, you have a lot to do.  Be careful, darling, she says, reminding him again to be at the fishing shack.

Fishing shack - Told the news, Leticia is thrilled to hear Joanna's plan--I've been pondering and pondering what I can do about Desmond and Quentin--and you have it all figured out!--oh, me, and they say I got second sight--11:30.  The light leaves Leticia's eyes when she has a premonition--I have a feeling it isn't going to work--they're never going to get on that ship. But they must! cries Joanna.  No, says Leticia, something is going to happen.  Don't even say things like that! begs Joanna.  Sweeping her feelings aside, Leticia admits, you're right, I shouldn't, I don't even know what I was thinking--yes I do, I'm not ever going to see Desmond again after tonight.  You can come with us, Joanna assures her.  You mean you're going? asks Leticia--what about Daphne--and Quentin?  Uncomfortable, Joanna says, you barely know me--I care very much about Quentin.  But Quentin loves Daphne, Leticia reminds her.  He's infatuated with her, yes, says Joanna, but she's so young and beautiful--but he'll realize he belongs to me when he gets to England.  Leticia looks skeptical.  "He will, Leticia, he will!" insists Joanna.  Have you told her? asks Leticia.  The less people that know about it, the better, says Joanna--don't stare at me like that!  Sorry, luv, says Leticia, hands on hips, I was just wondering why you wanted to tell me.  Quentin and Desmond wanted me to tell you, explains Joanna--Desmond wants you here at 11:30, you can come with us!  No, says Leticia.  There's room on the ship! protests Joanna.  Desmond ain't asked me, she says, and I couldn't very well be standing here with my bags packed and find out he just wanted me to wave goodbye--but I'll be here when they come.  Where are you going now? asks Joanna.  I've got an errand to do, says Leticia.  Promise to keep this a secret, begs Joanna, they're both in such danger.  I won't do anything that will make things worse for Desmond or Quentin, promises Leticia--and thank you for telling me.  Joanna closes the door to the shack after Leticia leaves.

Drawing room, Collinwood - Where can little Daphne be indeed? Gabriel asks Leticia--I had no idea how many friends she had--and the way she charmed herself into our little circle--but perhaps she's made an enemy.  What do you mean by that? asks Leticia.  You know our friend Gerard better than any of us, says Gabriel--she's missing, so is he.  Exasperated, she says, I wish you would come out and tell me what's on your mind.  You haven't heard what's happened tonight, he says--picture the scene, dear Leticia, hysterical Daphne in Edith's bedroom, Gerard enters, Daphne grows more hysterical, she hits him over the head and leaves him unconscious in Edith's bedroom.  Daphne did all that? asks Leticia.  Gerard was rather angry when he left in search of Daphne, says Gerard.  He's so fond of Daphne, says Leticia.  Ah, yes, but there is a relationship between love and hate, says Gabriel, and our Gerard has quite a temper.  Leticia agrees--lately, he has had.  I think Gerard has something to do with Daphne's disappearance, opines Gabriel. You honestly think...begins Leticia.  Living in this house, says Gabriel, I can only expect the worst!  Upset, Leticia insists we've got to find her, we've got to!  We? asks Gabriel, I really don't know how I'm going to do that with these legs of mine.  It's 11 o'clock, notes Leticia.  What the devil has time got to do with all this? demands Gabriel.  Nothing, she says, it's just that it's so late and I'm so worried about her--what can we do?--I don't know what to do.

Quentin notes the time, too, and bangs for the guard.  What's wrong with you? demands the guard.  My stomach, says Quentin, doubling over--it's the bloody food you've been feeding me--you've got to get me something for it!  There's nothing wrong with it, insists the guard.  There is, says Quentin, falling to the cot.  The guard enters the cell to check on him. Quentin ably knocks him out with his fist.

Quentin takes the guard's keys and leaves his cell.  He frees Desmond, too.  Did you kill the guard? asks Desmond.  Not up for murder yet, says Quentin, come on.  The guard comes to and grabs Quentin, grappling with him.Desmond comes to help, but ends up being shot.  Quentin fights with the guard, knocking him out again.  Quentin goes to his wounded cousin, who is huddled against the wall.  Go without me, urges Desmond.  Come on, orders Quentin, we're going together.  Together, Desmond moaning in pain, they escape jail.

Fishing shack - Joanna anxiously checks outside and reports to Quentin and Desmond, Miles is signaling--the boat is coming ashore.  Quentin is checking Desmond's bloody chest wound.  Go...go, Quentin, mutters Desmond.  You're going to be all right, Quentin assures him--Joanna, he says quietly, we are going to take Desmond with us.  There's no doctor on the boat, protests Joanna.  I said we're taking him, says Quentin, he'll die if we leave him here.  Desmond is muttering Leticia's name.  We aren't going anywhere until Leticia gets here, insists Quentin--we're going to wait for her.  Where is she? asks Joanna.  Leticia arrives--Quentin, Daphne has disappeared, she reports--Gerard has her.  This is horrifying news to Quentin.  Leticia notices the injured Desmond--"Oh my God!" she cries--"Oh, my Desmond!"

Desmond smiles at Leticia.  She covers his wound with a handkerchief--we can't take him anywhere, not like this, she says.  Quentin agrees--and I can't go, either--because of Daphne.  I'll go to Collinwood, find Julia, volunteers Leticia--she'll know what to do.  She leaves.  Quentin gazes down at his cousin and says, "We almost made it, didn't we, old man?--almost but not quite--free for an instant--free enough to run, but not free enough to forget."  You're talking about Daphne, aren't you? asks Joanna sadly--you're not free of her.  I've got to get to Collinwood, insists Quentin, heading for the door.  You can't, says Joanna, please, you'll be captured there, they'll kill you--the police will be at Collinwood--you can't forget about Daphne?  No, I can't, he says, what I'm going to tell you is the truth--I did a lot of thinking in jail, and I came to realize I couldn't live without Daphne--so whatever future there was, if she wasn't with me, it really didn't matter--you understand?  Yes, she says--I thought the past could be our future--I was a fool.  Joanna, he says, I don't want to hurt you anymore than I have.  At least get on the ship, she pleads.  I can't, he says, you've got to understand that.  Then none of us will go, she says--I've got to tell Miles.  I'll take you to the boat, says Quentin.  They head off, Quentin insisting, I've got to figure out where to find Daphne.

Desmond is breathing heavily when Leticia returns.  She kisses his hand--Julia is coming, she assures him--I found her at the Old House--she had to go to Collinwood to get her medical bag--is the pain very bad?  No, he says, shaking his head with a weak smile.  I don't believe you, Desmond Collins, she says.  It's not when I hold your hand, he says.  I knew, she says tearfully, that something like this was going to happen.  You shouldn't be here, he murmurs.  Where should I be? she asks.  What if the police come? he asks.  They'll find me at your side, she vows.  We might have been on that ship together, he says.  We? she asks.  In England, just once more, you'd have like that, wouldn't you? he asks.  You meant for me to come with you? she asks--oh, Desmond--she kisses his hand--"I didn't know!"  Why do you think I told Joanna? he asks.  I didn't know, she says.  "I love you, Leticia--there I said it, I love you."  And I love you, she says, kissing him.  He falls back, in agony.  Of all the strange things to happen, this is the strangest, he says, me finding you now.  She kisses his hand again.

On foot, Gabriel goes to the East Wing and hears his own voice saying, "The last of the brandy--and I'm sure the other bottles are all locked up--has Mother given you the keys, Stella?--then I'll have a time!"  Gabriel gazes through the parallel time room doors and sees himself talking to Stella, who is writing at a desk, telling PT Gabriel, she hasn't given me the keys.  Oh, yes, she made that mistake with the last secretary, laughs Gabriel, but what Mother didn't know was that the last secretary liked to drink as much as I did--he laughs--the best old times--are you fond of brandy, Stella?  I never touch spirits, she says.  Oh, says Gabriel, Mother chose well.  I must finish this accounting, she says.  Am I making you nervous? he asks mockingly--do you think that all of us Collinses are strange?--well we are, you know--has mother laid down the ground rules yet?--about what rooms not to go into--keep your door locked at night--obviously, she has--I'd advise you to do it--make no mistake--do it.  Why? she asks, why should I lock my door?  That is the question, isn't it? he asks--I keep mine locked at night.  Do you know the reason? she asks.  People in the village say we're proud, all of us Collinses, that we keep to ourselves because of pride--he laughs--oh I think you'd better leave, Stella, because if you don't, you'll end up just like us.  This is a job, insists Stella, I have no intention of leaving.  You don't? he asks.  I've got to finish this accounting, she says, your mother will be angry.  In other words, I've interrupted enough, he says, setting his glass down on the desk--all right--I shall go pursue my only hobby--and do you know what that is?--picking locks--there's a cabinet downstairs in the drawing room, and that's where they keep all the brandy for the company--the company that never comes--and I'm the nicest of us all--well, I warned you--he leaves.RT Gabriel, stunned, watches Stella rise, shaking her head, and starts to close the doors in his face.  Oh, it's you! she says--did you just come in?--why don't you answer me?--have you been hiding behind the door all this time?--why do you have that knife in your hand?--what's wrong with you--put down that knife!--get away from me, leave me alone!  NO!"  The door closes in his face.  Gabriel bangs at it, yelling, let me in!

NOTES:  Sounds like poor Stella was getting murdered in parallel time, but Gabriel can't help her.  Looks like his counterpart is a drinker and lout in PT.  Bad penny on both sides.

Cute, touching scenes between Desmond and Leticia.  They make a nice couple, and Barrett and Karlen look great together.  Will he live?  Will he and Quentin escape or get re-captured. Leticia's premonition is, I fear, correct.

Given how murderous he is in RT, why does Gabriel want to help a stranger in PT?

Why does Joanna think she can go back to the past and have Quentin loving her again?  She tried to manipulate things so she could be alone in England with Quentin, but now he's told her the truth.  Will she be so anxious to help him now that she's lost him romantically?

Great prison break there, at least for DS.


1190 - Daphne struggles against her bonds in the East Wing.  Gabriel continues to pound fruitlessly at the door, and when he finally opens them, the room is empty.  He looks around inside.

Leticia rips up cloth for bandages for Desmond.  Quentin and Joanna enter.  Has the boat left? asks Leticia. Yes, replies Quentin, he had to sail because of the tide.  You should have left without Daphne, insists Joanna.  Joanna! chides Quentin, you know I couldn't do that--how's Desmond, Leticia?  Julia's with him now, reports Leticia, he's very bad, I'm afraid.  He's going to live, isn't he? asks Quentin.  He's got to, insists Leticia fearfully, he's just got to!  (I gather Desmond and Julia are in another room.)   Joanna, says Quentin, I must go to Collinwood.  The police will be there, looking everywhere, she warns him.  If I've lost her, I've lost everything, says Quentin, do you understand that?  I understand so much more than I did before, she says, I returned to Collinwood to be with you--because my feelings had not changed, I assumed yours hadn't--but they have!--I know now that you're every bit as much in love as I am, but not with me--I accepted that the moment we didn't get on the boat.  I'm sorry, he says softly.  Don't be, she says.  He smiles slightly--I have an idea, he says--it may be possible that you might be able to help, because you're free, I'm not.  Yes, Quentin, she says eagerly.  Go to Collinwood and talk to Gabriel, he says, he's never had any love for me, but he may be able to help--just because he wouldn't want Gerard to end up getting Daphne.  I'll do everything I can to find Daphne, promises Joanna--if she's at Collinwood, I'll find her.  Just be careful, cautious Quentin.  She leaves.  Quentin paces the shack, gazing out the window, and finally joins Desmond and Julia in the other room.

Gabriel sits on the bed in the room where he has imprisoned Daphne.  I've told you everything I know about that strange room, I don't understand it anymore than you do, she says.  I wasn't thinking about that room, he says.  What were you thinking about? asks Daphne.  You, he says.  She looks at him--what about me? she asks.  I was thinking how curious it is that you can live under the same roof with someone and not notice certain qualities, things about them, he says.  Like what? she asks.  Like your eyes, he says, they're really beautiful--there's an innocence about them--it's easy to miss innocence in this house--he rises from the bed--I can see exactly why Quentin and Gerard were so attracted to you.  He kneels, looking at her face.  She shakes her head--"Can you?" she asks.  Yes indeed, he says lustfully.  It's really a shame all this has happened to you, says Daphne, I mean you've been forced to do such--you were even forced to bring me here.  Why do you say that? asks Gabriel.  Well, she says, there's no point in going into it--you wouldn't believe me now.  Say what you were going to say, he insists, please.  I was just going to say that I've always thought that you're probably the most misunderstood person in the entire house, she says.  He rises--the most underestimated, he adds.  That too, she agrees--and  now that I see you out of the wheelchair, I realize people tended to overlook the fact that you're really a very attractive man. He stares at her--do you really feel that? he asks.  Yes, she says.  Why didn't you tell me that you were sympathetic to me before? he asks.  That would have been impossible, she says, you were a married man.  Oh yes, married to a pig that reviled and despised me every day she was alive, he says--but she isn't alive anymore, is she?  Not looking at him, Daphne says, Edith shouldn't have treated you the way she did.  She learned her lesson, didn't she? he brags.  He drops his hand to her shoulder and squeezes it--if you were Edith, how would you have treated me? he asks, squeezing and releasing her shoulder.  I've had tried to understand you, she says, lying as best she can, and helped you when I could.  I believe you would do that, he says, kneeling behind her--oh, Daphne, I think I just might change my plans about you--he begins to kiss and nuzzle her cheek and ear.  Yes, he says, kissing her over and over, I think after I get my money from Gerard, I'll just keep you with me--oh, I'll be so good to you, Daphne, I'll give you anything you want--anything you want.  Her face contorts with disgust; when he swivels her face to kiss her mouth, the pretense is broken.  She cries out her aversion, sliding her lips away.  Realizing that she was lying to him, stringing him along, Gabriel stands.  You didn't mean anything you said? he cries, not a word of it--you lied to me--you don't think I'm attractive, you think I'm nothing, like Edith and everyone else--let me tell you something--I'm going to give you one chance to prove that you're nice--and mean it!--and be nice to me!--one chance to be nice to me, or you'll be dead--he stuffs the gag back in her mouth, leaving it loose--I promise you he'll be back, maybe in a few minutes, maybe a few hours, but I'll be back.  She struggles against the bonds, holding the gag in her mouth with her teeth.  Spotting the lit candle, she bounces her chair toward it, finally getting close enough to hold her bound wrists over the flame.

Joanna returns to Collinwood--I'm looking for my sister, she tells Gabriel.  Have you heard that big brother Quentin has escaped from jail? he asks.  Yes I have, she says.  The police were just here searching for him, says Gabriel--I thought that was a rather daring thing for him to do--I didn't think he had it in him.  Quentin asked me, says Joanna--he said you might be able to tell me where Daphne is.  Gabriel, perturbed, asks, have you spoken to Quentin?--do you know where he is?  Yes, she says, I do, but if you tell anyone, I'll deny it.  I wouldn't do that, Gabriel assures her, it would give Gerard Stiles too much satisfaction--you should have seen Gerard's face when he found out Quentin had escaped--he looked like a doomed man--he's out there right now, with the police, searching for him--unfortunately, the weather won't help matters.  Do you think Gerard might have had something to do with Daphne disappearance? asks Joanna.  In front of the police he was terribly concerned about Daphne's disappearance, says Gabriel, but I think that was a cover-up.  Assuming he is responsible, says Joanna, what could he have done with her?  I don't know, says Gabriel, you'll have to give me time to think about that one.

Daphne succeeds in freeing one of her hands, then unties the other.  She uses the gag as a bandage for her burnt wrist.  She listens at the door, breathing heavily with fright, recalling Gabriel's promise to be back--maybe in a few minutes, maybe a few hours--but I'll be back!  I've got to get out of here! cries Daphne, running to bang at the boarded up window.  She drags down what appears to be a servant-summoning sash and behind it finds a lever.  She gives it a pull, opening a secret door leading into a brick-walled area.  She picks up the candle she used to free herself and goes in, closing the door behind her.

Foyer - Do you think Gerard could have harmed Daphne? Joanna asks Gabriel.  I don't think Gerard would do that, replies Gabriel, I think this move of his is purely sadistic--he doesn't want Quentin to see Daphne before the execution.  Then there's a very good chance he has her right in this house, suggests Joanna.  I don't know, says Gabriel.

Daphne walks through a corridor, shines a light on a skewed portrait, and becomes tangled in some chains for a moment.

What about the closed off East Wing? asks Joanna--there's not supposed to be anyone there, but when I was there the other night, I'm sure there was.  No, says Gabriel, I'm sure Gerard wouldn't take her to the East Wing.  There wouldn't be any harm looking again, says Joanna.  No, but I think you should check her bedroom first, says Gabriel--we can't be sure it was Gerard--Daphne could have left on her own--maybe she went to her bedroom and left something there to bear that out.  Daphne wouldn't go anywhere without telling anyone, says Joanna--I'll look again, just in case.  She heads upstairs, leaving Gabriel alone.

Daphne continues walking with her candle, opening a door, going into a corridor, walking, walking...  She finds herself back where she started from, and realizes she passed this area once before and has just gone around in a circle--I'm lost!

On foot, Gabriel finds Daphne gone.  Frantic, he checks the window, finds the sash on the floor, then the secret lever, which he opens to reveal the door.  He goes in.  Joanna has found the room, too, ropes hanging from the chair and a plate of half-eaten food.  She was here, Joanna thinks to herself as Gabriel listens from the other side of the secret panel--she was being kept in this room!  She leaves.  Gabriel continues on, searching for Daphne.  Daphne, her candle dangerously low, hears footsteps.  She drops the candle and backs into a table, knocking down a pitcher.  Gabriel hears the sound and looks for her; Daphne hides behind a chimney, pressing herself against it desperately.

Fishing shack - Quentin, Desmond is sleeping, reports Leticia.  Any change in his condition? asks Quentin.  No, she says, he's still very weak--he's lost a lot of blood--Joanna still hasn't come back?  No, says Quentin, annoyed, she's been gone three hours--I'm beginning to think something has happened to her.  Don't start imagining things, says Leticia.  Then why isn't she back? asks Quentin--all she had to do was talk to Gabriel.  Maybe she's onto something, suggests Leticia--maybe she's found out where Daphne is.  Maybe Gerard's gotten to her, says Quentin, I've got to go back.  Leticia grabs onto him--don't go back, she begs--you've got to stay!--there are police and townspeople out looking for you everywhere--if you was to go out now, you'd get yourself killed--please stay a bit longer--Joanna will be back--I'm sure of it.  All right, he says, if she does, what is she going to tell me--that Daphne's dead?--alive?--or simply that she's gone forever?  I believe in fate, says Leticia, and I believe that fate meant for you and Daphne to be together, just as it meant for me and Desmond to be together.  You really believe that? asks Quentin.Yes, she says softly.  Why? he asks.  Because I must, she says--if it is to happen--she begins to cry.  Quentin hugs her.

Joanna continues to search for her sister, calling to her--can you hear me?--it's Joanna!--if you can't speak, make a noise!  She hears voices from the parallel time room, what sounds like Leticia telling someone, "You always know the answer to things."  Then Gabriel replies, "Oh, that's not true, but it's very flattering."  "I'm sure you can tell me what I want to know," says the Leticia sound-alike.  Joanna listens at the door, then knocks and opens it.  "I want you to tell me what happened to Mother's secretary--to Stella," says the young girl, dressed in a brilliant orange gown, who sounds like Leticia, but obviously isn't.  Joanna gazes at the PT pair, including a non-crippled Gabriel, and puts her hands to her mouth in astonishment.

Gabriel, you're walking! cries Joanna.  PT Gabriel helps himself to a drink from a secret hiding place in a clock.  She tries to enter, but can't--why can't I get in? she wonders.  "Leticia, can you hear me?" calls Joanna.  Gabriel closes the door in the clock with his foot and pours himself a shot.  Answer me, Gabriel! demands Joanna.  What are you pouring from that canister? asks the Leticia look-alike.  What do you suppose I'm pouring, Melanie? asks Gabriel, pouring himself another.  Don't be angry with me, begs Melanie.  I'm drinking liquor, says Gabriel with a flourish, drawn barleycorn, my poppet, part of my private stock which is secreted in this house, all over the place.  He sits down and stretches out his legs, still sipping.  I never knew liquor came in a canister, says Melanie.  It's my latest piece of deception, he brags, I think it should last perhaps a month before Mother finds out--or before you tell her--which I wouldn't do if I were you.  Why don't you trust me? Melanie asks sadly.  My dear, I don't trust anyone, he says, except this--he holds up the glass of booze--I think this is the only reliable thing in the whole world--he drinks.  I've never told on you before, you know that, she says.  You know what I think? he asks, I think you'd just as soon slit my throat as look at me.  Stunned, hurt, Melanie murmurs his name.  I don't know--maybe you would, maybe you wouldn't, he says, going over to refresh his drink, who cares?  I've tried so hard to be friends with you, she says, as he lights a cigar in a candle.  He chuckles--friends, yes, he says, but not brother and sister.  He blows smoke at her.  You never get tired of reminding me, do you? she asks, hurt.  What else is there to do in this life? he asks, the only thing that gets you through this bloody awful mess is to know who you are and where you're at (?)--I am a Collins, you are not a Collins, you have the name because you were adopted--you're not one of us--don't you ever forget it.  With you here, says Melanie, I don't see how I can.  I'm sorry, he says, maybe I'm doing you a favor by constantly reminding you--maybe you'll find out one day that it's good not to be a Collins.  He pours himself another drink.  I don't think so, says Melanie--Gabriel, you still haven't answered my question--what happened to my mother's secretary--to Stella?  Nothing happened, she just went away, that's all, says Gabriel--sitting down, smoking.  Without giving any notice?--why? asks Melanie.  Haven't you lived here long enough to know that you can't ask questions around here? says Gabriel, putting an arm around her--they're never answered.--things that happen just happen, and it's not healthy to ask questions.  I don't understand so many things that happen here, she laments.  Don't try, he advises, examining his cigar--just try to understand that yesterday my mother had a secretary named Stella, today there is no Stella, she just went away from Collinwood and she's not returning--that's the end of the story and of our official conversation.  He pops the cigar in his mouth and closes the doors, leaving Joanna wondering why he called Leticia "Melanie"--what's happening here?--Daphne, I must keep looking for her.

Daphne continues trying to find her way out of the maze--it's hopeless!--I have no idea where I am is or how to get out--for all I know, I've just been going around in circles.  She notices lightning flashing through the bars on what is apparently an outside door--foliage has grown through the bars.Outside in the storm, for a few heady moments, Daphne thinks she's free--until she is grabbed by a laughing Gabriel, who puts his hand over her mouth to muffle her screams.

NOTES:  Gabriel PT doesn't seem much better than Gabriel RT, but so far as we know, he's only a drinker who is cruel to his adopted sister, Melanie.  What happened to Stella?  Did he murder her, as Gabriel RT might just murder Daphne when we return tomorrow?

I sure would have loved to see Julia actually treating Desmond.  Why did it have to take place off-screen? We can be sure she would approve of Quentin and Desmond escaping and doing everything she can to help them.  It would have been nice to see her "doctoring" Desmond--and maybe there would even have been a flash of bare chest, given where his wound was.

Daphne's daring attempt to make Gabriel think she liked him fell apart when he tried to give her a real kiss.  If only she'd been able to keep her disgust in check, for just a little while, she might have escaped him.  Then again, I think if I were in that position, I'd have let him kiss me--and more--to ensure my escape.  I couldn't help but feel sorry for Gabriel, who is under the impression, correctly, that everyone despised him, including his own wife and father.  No wonder he grew up so twisted.

Is Daphne next to die?  Who will save her?  Joanna?

Love, Robin

1185 - Quentin, morose, sits in his cell.

Carrie rises from Mordecai's body, crying out "No!", sobbing.  Jeremy comes in--what are you doing here? he asks, warning, my father...  She takes his hands n hers--your father is dead, she says.  Jeremy stares at her, stunned.  I came here to talk to him, she says, hoping to explain about the two of us--I found him over there, she points.  Jeremy runs to check his father, kneeling beside the body.

Father! calls Jeremy, beginning to cry--he's dead, he says, backing away from his father's body, he's dead.  I'm so sorry, says Carrie.  How did it happen? asks Jeremy--he was never sick one day in his life.  When I first came in, she says, he had just fallen--the way he was moaning...  You mean he was alive when you came in? asks Jeremy--did he say anything before he died?  Carrie gazes at him, terrified, sick, and walks away.  Did he say anything to you? demands Jeremy.  Yes, he did! wails Carrie, inconsolable.

9:05 - Courtroom - The police have been at the Grimes residence for several hours now, Gerard gleefully informs Dawson --soon you shall be getting the coroner's report.An important witness for the prosecution murdered to keep him from telling what he knows, exults Dawson.  And will this finally finish off Quentin? inquires Gerard.  I don't see how we can lose, replies Dawson--by the way, who discovered the body?  Carrie Stokes, says a grinning Gerard--I was saving that as a bonus for you, Charles.  I like that very much, agrees Dawson.  I wish I could say I had planned how it turned out, says Gerard.  It's no bother, says Dawson, I'll have the subpoena prepared at once--you know, it's curious, just the other day I was talking to Mordecai, telling him how useless his appearance in court would be--and now, in death, it would appear he's going to win the case for us.

Barnabas arrives at the jail with bad news for Quentin--Mordecai Grimes is dead.  How did it happen? asks Quentin.  No one knows, says Barn, the coroner hasn't completed his report yet--the body was discovered late last night by Carrie Stokes.  How is this going to affect my trial? demands Quentin.  As far as anyone knew, Mordecai Grimes was in perfect health, says Barnabas--suddenly on the eve of his appearance in court, he dies--this is going to be a field day for Dawson.  Grimes was his last witness, says Quentin--who else was he going to call to the stand?  I have no idea, says Barnabas, but I know one thing for certain--he'll do his best to attribute this death to witchcraft.  Grimes could have died of a heart attack, points out Quentin, perhaps the coroner's report will even show that.  Or it may say the cause of death is unknown, says Barnabas somberly, that's all Dawson needs.  Even if that happens, says Quentin, I don't see how he can prove it.  Neither do I, says Barn, we both know how Dawson cherishes the element of surprise.  We've overcome all his other surprises, says Quentin, we'll do the same with this one.  Let's hope so, says Barnabas, all we can do it wait--the next move is his.

Judge Vail bangs his gavel, calling the court to order--Mr. Dawson, resume the case for the prosecution.  I believe the court has been informed that Mordecai Grimes, whom I had intended to call for a witness this morning, suffered an untimely death last night, says Dawson.  Are you prepared to rest your case? inquires Vail.  I most certainly am not, says Dawson--quite the contrary, I in fact intend to call two entirely new witnesses, because I think I can prove beyond a shadow of a doubt that Mordecai Grimes met his end at the hands of sorcery, and the murderer sits in this courtroom--he points to Quentin.  Barnabas stands--objection!--this court is not a forum for Mr. Dawson's opinions.  I agree completely, says Judge Vail, we will get on with the case, Mr. Dawson--are you prepared to call your first witness?  I am, says Dawson, who turns to the door and calls, Carrie Stokes to the stand.  She enters, staring fearfully, sadly, at Quentin and Barnabas.  Dawson leads her to the stand, where she is sworn in.  Were you acquainted with Mordecai Grimes? asks Dawson.  Yes, she says, gulping.  Tell the court where and when you last saw Mordecai Grimes.  Last night, replies Carrie, at his house.  What did you see at the Grimes house last night?  At first I didn't see anything, says Carrie, I called for Mr. Grimes, but he didn't answer--I heard a moaning sound and looked around and found Mr. Grimes on the floor.  Did you realize at that time that he was dying?  No, she says, at first I thought he had a bad fall, but then...then I saw the look in his eyes, and I knew--I never saw anything like that before--something had changed in his eyes, his pupils were like half-moons, like a frightened animal.  And it was at this point that you realized he was dying?  Yes, says Carrie.  How much time passed before Mordecai died?  Not more than a minute, she says.  And during that time, did he say anything to you?  Carrie looks horrified.  Well, did he or didn't he?  Carrie gazes at Barnabas and Quentin.  Will the court direct the witness to answer the question, orders Dawson.  You are obliged to answer the counsel's question, says Judge Vail.  She looks as if she's going to cry, and finally says, "Yes, he did speak to me before he died."  Will you tell the court the dying words of Mordecai Grimes?" asks Dawson.  Carrie hesitates, looking at all the men, then cries, "No, I can't, I can't!"  You've taken an oath to tell the whole truth, Dawson reminds her--do you remember that?  Yes, she wails.  Then you must tell us what Mordecai Grimes said just before he died, insists Dawson.He said, says Carrie, he said, "Quentin Collins!"  Quentin stares at Carrie in disbelief.

Quentin didn't kill him, I know that! wails Carrie, shaking her head.  Miss Stokes! warns Dawson.  Quentin isn't guilty of anything! Carrie says, he wouldn't hurt anyone--you must believe that.  As Quentin gazes fondly at Carrie, Dawson orders her remarks stricken from the record.  The judge agrees.  Dawson turns to Carrie--no further questions, he says.  The defense has no questions, says Barn.  The judge dismisses the sobbing Carrie, who grabs Quentin's hands for reassurance, then leaves the courtroom.  Dawson brings the autopsy report over to the judges, prepared by the county coroner, establishing the fact that Grimes was in excellent health--there were no visible marks on the body, and the cause of death is officially stated as unknown.  Barnabas and Quentin look pensive.  The prosecution submits, says Dawson, that a mysterious death like this can be caused by only one thing--an act of sorcery!  Barnabas bangs his hand on the table--objection!--this is pure conjecture on Mr. Dawson's part!  The judge sustains--Mr. Dawson, get on with his case, orders Vail.  Jeremy Grimes to the stand, calls Dawson.  The young man enters the room and is sworn in.  Dawson holds up a letter--do you recognize it?  Yes, I do, says Jeremy--it contains a note my father wrote last night before he died.  And to whom did he write the note?  To you, sir, says Jeremy--and after he sealed the envelope, he asked me to deliver it to you at your home (did they have envelopes back then)?  And did you do that?  Yes, sir, I did, replies Jeremy.  I'll read this most urgent message sent to me by the deceased before he died, volunteers Dawson:  "Dear Mr. Dawson, it is imperative that I see you at once, for I have uncovered new evidence of a most serious nature, evidence which I am convinced will prove, beyond all doubt, the guilt of Quentin Collins--I feel we must discuss this matter before resumption of the trial tomorrow, please come as soon as possible--Mordecai Grimes."  Dawson holds up the note--is this your father's handwriting? he asks. Yes, it is, says Jeremy.  When your father handed it to you, did he seem to be in good health to you?  Yes, says Jeremy, he was.  Was there ever a time within your memory when your father was physically unfit?  Never, says Jeremy. Your witness, Dawson tells Barnabas.  When your father gave you that letter last night, says Barnabas, was it sealed?  Yes, it was, says Jeremy.  So you never knew the contents of that letter?  No I didn't, says Jeremy.   Did your father tell you the contents of that letter?  No, says Jeremy.  So, the only two people who had any knowledge of that letter at all were your father and Mr. Dawson--now one of those men is dead.  Dawson rises--I resents these implications, he insists.  I only want the court to take note of how conveniently this trial has been altered in the past 24 hours, says Barnabas.  And I, says Dawson, would like the court to take note of the fact that counsel is out of order.  Judge Vail bangs the gavel and agrees that Barnabas' last remark will be stricken from the record--go on, urges the judge.  No further questions, says Barnabas.  Step down, the judge orders Jeremy--Mr. Dawson, call your next witness.  Dawson rises--the case for the prosecution rests, he announces.  You may present the case for the defense, Mr. Collins, says Judge Vail.  There is only one man here, says Barnabas, who can tell the complete truth as to the matter of guilt or innocence, and I refer to the defendant himself--will Quentin Collins come to the stand?  Quentin rises.

4:35 - Barnabas:  You say you argued with Mordecai Grimes.  Yes, says Quentin, but everyone did--Mordecai was one who loved to disagree.  And when he refused to sell you his land, did you threaten him?  No, I did not, replies Quentin.  Did you have anything to do with Mordecai Grimes' death?  Absolutely not, says Quentin.  One last question--the prosecution has made much ado about your interest in the occult--has this interest ever motivated you to practicing what is known as the black arts?  I have never practiced witchcraft in my life, says Quentin--I wouldn't even know how.  Thank you, says Barnabas--your witness.  Dawson: Mr. Collins, it has already been established that Desmond Collins returned to this country with the legendary head of the warlock, Judah Zachary--isn't it true that he searched all over the world for that head and brought it here at your request?  It was a request, says Quentin, that I casually...  Just answer yes or no, Mr. Collins, did you ask him for it or didn't you?  Yes, I did, says Quentin.  Tell the court why you wanted that head.  No specific purpose, responds Quentin, it was merely curiosity.  Merely curiosity--you hadn't heard that the head was said to have certain powers?  Yes, I had heard that, admits Quentin.  But you weren't interested in those powers at all, were you--you were motivated simply out of curiosity?  That is all, states Quentin.  Dawson paces behind him--"Come ON, Mr. Collins, isn't it true you longed to have such powers?"  NO, I did not! insists Quentin.  Well I submit that you did! says Dawson, I say that Desmond Collins brought that head to you, and you used the powers of the warlock Judah Zachary as a convenient way of disposing of your enemies--I say those powers were used as an instrument of murder, they were responsible for the death of Lorna Bell and Randall Drew, they also struck down the jailer's wife and Mordecai Grimes and you cannot deny it!  I do deny it! shouts Quentin--furthermore, I'm sick and tired of your lies and insinuations!  Barnabas rises--"Quentin!" he cautions.  Quentin Collins is out of order, says Dawson. "The only person who's out of order here is you!" yells Quentin--"You're not a lawyer, you're an executioner, and it will take more than your vicious lies to strike me down--and when I get through with this, I'll deal with you!"  Dawson grins at Quentin's untimely loss of temper.  The judge bangs his gavel--Mr. Collins, you're out of order--one more outburst like that and you'll be held in contempt!  Barnabas stares down, miserable.  Go on, Mr. Dawson, says the judge.  "I believe the defendant himself has given a more adequate demonstration of what I was trying to prove," says Dawson--"I have no further questions."  The witness may step down, says Judge Vail angrily.  Quentin returns to his seat next to Barnabas.  Does the defense wish to call another witness? asks Vail.  The defense rests, says Barnabas.  Very well, says the judge, I assume that both counsels are prepared to give their closing remarks--Mr. Dawson?  Thank you, your Honor--the defendant is here charged with the practice of witchcraft--not opinion, but facts support the prosecution's contention that he is guilty as charged--Quentin Collins was the last person to be seen with Lorna Bell before she was murdered.  He was discovered standing over the dead body of Randall Drew--both victims bore the brand of the devil's mark--the same symbol found on Quentin Collins' own ring--it has been established that Quentin Collins actually believed he had some power over time itself, by the construction of a strange staircase capable of leading one into the past or the future.  It is an incontrovertible fact that he possessed a mysterious pagan head--the prosecution contends he has used the head of Judah Zachary for his own evil purposes--in fact, we are dealing here with the living embodiment of the warlock, Judah Zachary, a man who swore eternal revenge against all of his enemies just as Quentin Collins swore revenge against me in this courtroom a moment ago.  Finally, I submit that he is guilty of the murder of Mordecai Grimes, who had found evidence that he intended to use against the defendant--using the considerable powers at his command, he STRUCK that man down as one would strike down a helpless animal!  I ask the court to find the defendant guilty as charged!"  The judge calls Barnabas up to bat.  "Your honor," begins Barnabas, "what Mr. Dawson claims as fact has either been hearsay or the crudest sort of circumstantial evidence--not one of his witnesses is truly a witness in the strict sense of the word--yes, the defendant was the last person seen with the dead body of Lorna Bell (?), yes, he was discovered over the body of Randall Drew; yes, he did argue and fight with Mordecai Grimes, but this man did not kill any one of them, and no one alive can say with any conviction that he did!  Now, that is the only incontrovertible fact in this case, and on the basis of that fact alone, the defense fails to see how the tribunal can return with anything but a verdict of not guilty."  Thank you, Mr. Collins, Judge Vail tells Barnabas--the tribunal is ready to begin its deliberations--court is recessed until such time as this tribunal is ready to render its verdict.

Jeremy sits alone in his home.  Carrie enters and kneels before him--the judges have gone in to make their decision, she reports.  I don't see what there is to decide, he says flatly--Quentin Collins is guilty.  How can you say that? cries Carrie.  Because he killed my father, insists Jeremy.  You don't really believe that, do you? she asks.  My father said so himself, just before he died, Jeremy reminds her--that's what you told the court--and me.Your father was wrong in what he said, says Carrie--how could he harm your father from the jail cell?  He could if he is what they say he is--a warlock, says Jeremy--and I believe he is.  I've never heard you talk like this before! says Carrie, you sound just like...  Just like what? he asks.  Like your father, she says.  Maybe I should have started listening to him a long time ago, says Jeremy--if I had, then maybe he'd be alive now.  You can't blame yourself, protests Carrie.  I'm not, he retorts, I'm blaming Quentin Collins, and I hope they execute him.  I can't believe you mean that, she says, rising to her feet--I don't want to believe it!  She leaves the house--and Jeremy.

The judge bangs his gavel, bringing the court to order--the tribunal has deliberated and arrived at a verdict--the defendant will stand and hear the verdict of the court.  His face defiant, Quentin rises to his feet.

NOTES:  What will the judges decide here?  Barnabas is right, it's all circumstantial, but there's so much of it--and too many dead bodies to account for!

I guess we can safely say the relationship between Jeremy and Carrie has been nipped in the bud.  I don't think we ever see him again.  This little Romeo and Juliet interlude is over.

HAA did a great job with Dawson's summation, and he really seemed to enjoy himself.  He was flamboyant, while Barnabas was more quiet.  Both did a terrific job.

Too bad Quentin had that unfortunate outburst in the courtroom; he's just too volatile to keep calm when everything is falling down around him--and his temper flared at the worst possible time, complete with threats against Dawson.


1186 - Jonathan Frid does a rare, resonant intro.  Oh, THAT VOICE!

Quentin stands, awaiting the judges' decision.  "Quentin Collins," says Judge Vail, "it is the judgment of this court that you are guilty as charged, and you will be punished in the manner prescribed by the law which convened this tribunal--on a date which shall be decided by the tribunal, you shall be taken to the public square, and there, before the eyes of your fellow citizens, you shall be beheaded--and may God have mercy on your soul!"   Barnabas looks totally bamboozled, while Quentin's face seems to crumple.

Barnabas rises--this decision will be appealed! he insists.  There are rules for this under the law governing trials of witchcraft, says Judge Vail, and no provision for appeal.  With all due respect, says Barnabas, the right of appeal is basic to the judicial system.The court can do nothing to stop your trying, says Judge Vail--do you have anything else to say?  No, says Barnabas, sounding as if he desperately wishes he had--nothing more, your Honor.  Very well, says Vail, case is closed, court is adjourned.  Quentin grabs the railing in front of him in both hands, looking as if he might snap it.

Jail - Daphne, disbelieving, says, Quentin, I still can't believe it really happened.  It did, he says--Barnabas has gone to see the judge again--"But I think it's a waste of time."  Don't talk like that, pleads Daphne, as long as you're alive, there's hope.  As long as I'm alive, says Quentin, I've got to be realistic now, start talking about what's going to happen when I die.  Maybe you can talk that way, she says, convinced you're going to die, but I can't--now if there was only some way we could get you out of here.  Yes, if, he says, but there isn't, so there's no point in discussing it--you listen to me--the most important thing for you to do is forget about me.  No, she protests, there will be a way--you know I love you.  They're holding each other through the bars when Barnabas enters--I've just come from the judge, he reports.  Is there a chance? asks Daphne anxiously.  They won't listen to reason, says Barnabas, defeated, I'm afraid that Grimes' death and the letter he wrote to Dawson turned the tide--I tried to convince them the trial was deliberately planned by someone out to destroy you, but it did no good.  Did you tell them Gerard was behind the whole thing? asks Quentin.  (He finally gets it!)  Gerard? repeats Daphne.  Yes, says Quentin, does that surprise you?--think about it for a while--in material gains, he has the most to gain if I'm out of the way.  No, Gerard said he was for you, I always thought he was, says Daphne.  That may have been his most brilliant tactic, explains Barnabas--if Quentin were found guilty, then Gerard stood to win and keep everything--but if Quentin were found innocent, he would still win, because he remained Quentin's friend and stood by him.  Daphne paces, taking all this in.  He has both sides to play, says Quentin, but believe me, he intends to see this through to the end--but he can't claim a complete victory until they've taken my head!  Don't talk that way! begs Daphne, you're not going to die--Barnabas, there must be a chance for an appeal!  I urged them to consider this, but I had no success, says Barnabas sadly--unless we find some other solution, I'm afraid, Quentin, that it's all over.  Quentin looks as if it already is.

Gerard returns to Collinwood, smiling hugely, very pleased with himself.  He puts on a sorry face when he enters the drawing room and sees Gabriel, who asks, why aren't you smiling?--you finally won  On the contrary, says Gerard, sitting on the sofa, putting tears into his voice, I've lost a friend, the best friend I've ever had.  Isn't that touching? sneers Gerard--isn't it time you stopped this cheap little charade of yours?--you've secured the family fortune, that's what you wanted--why don't you just admit it like a man?  I haven't changed roles here at all, insists Gerard--I'm still trustee until Tad reaches the age of 21.  But he'll never reach that age, will he? asks Gabriel, you'll see to that, won't you, old boy?  Gerard stands and walks threateningly toward Gabriel--"Now you listen to me," he says--"I've cut you off once with your allowance, I can do it again if you keep talking as you have been."  My, my, mocks Gabriel, the lord of the manor is angry.  Yes, says Gerard, the lord may giveth and the lord may taketh away--bear that in mind.  Edith enters--Gerard, she says in a lilting voice, I just heard the news about Quentin.  Don't be so happy, my dear wife, says Gabriel, wheeling himself out--we may regret Quentin's departure yet!  Edith closes the double doors, and, grinning, asks Gerard, did you see the on Gabriel's face?  Yes, says Gerard, I'm afraid he doesn't like it at all.  Isn't that too bad? she asks, giving him a long, hungry kiss. "I want to see you tonight," she says intensely.  Tonight? he asks uncertainly.  Yes, she says, let's say about 11--the same place?--you can make it, can't you?  Yes of course, he says.  Good, she says leaning her head against his face, now that I've done my part, I hope you haven't forgotten that you said I have something coming to me when it was all over.Gabriel, his ear to the door, listens to this exchange. Not at all, my dear, promises Gerard--you will get what you deserve--don't worry about that--you will get yours.  (!)

4:20 - Edith, joyous, sits by the fire.  Gabriel wheels in--are you thinking about tonight? he taunts.  What does that mean? she asks.  I thought maybe you and your friend would plan a party celebrating Quentin's forthcoming execution, he says.  I don't know what you're talking about, she retorts.  I happen to know you're going to meet Gerard tonight, he says.  Oh, don't be ridiculous! she says.  Edith, I always knew you never had any class at all, he says, but I never thought you'd allow a fraud such as Gerard to get such a curious hold over you.  Gerard has no hold over me, insists Edith, but if he did have, it would be because he, unlike you, is a man who gets what he goes after--"I'm through with you, Gabriel, I'm going to start living before it's too late."  I doubt that, Edith, says Gabriel, I really do.  And who's going to stop me? she asks.I'm going to stop you, he says.  How? she asks, incredulous--you're a hopeless cripple--well, I am going to meet Gerard this evening, and there is nothing you can do to stop me--so why don't you just wheel yourself up to your bedroom, have your cup of steaming cocoa, get into bed and cuddle up with your hot water bottle?"  Laughing at him, she goes upstairs.

Barnabas and Daphne return home.  I still can't believe it, she says, he's innocent, we KNOW he's innocent!  The powers that be won't believe it, says Barnabas.  We can't just sit by and watch him die! insists Daphne.  I have no intentions of doing that, he assures her.  What are you going to do? she asks.  I don't know, he says, at least we have a week to think about it--you look tired--you should go upstairs and get some rest.  I don't think I'll be able to sleep--perhaps I'll try, she says--good night, Barnabas.  She heads upstairs.  On her way up, she thinks to herself, Barnabas says he will do something--but can anyone do anything anymore?--maybe there isn't hope--why did it all happen?--this house--why does it affect people's lives so?--it does something to everyone who comes into it!--oh, I wish I'd never come here!  Beginning to cry, she hears Quentin's theme playing somewhere.  Checking the upstairs bedroom, she realizes it's coming from the East Wing, which isn't possible--that part of the house has been closed for years.  She goes in.

Nearly 11 PM - Edith exits the kitchen, book in hand, and enters the drawing room.  She closes the double doors and hears something banging outside in the storm.  Nervous, she closes the noisy window, but hears another sound, followed by footsteps.  Who's out there? she calls.  No reply.  Who just came in?  She listens against the double doors, then opens them, but no one is there.  I know someone is out here, she says--who is it?  The front door blows open, terrifying her; she closes it.  Please answer me! she begs--who came in this house?  The lights flicker off.  Gerard, is it you? she asks--have you come back?--please answer me, Gerard!  She runs upstairs and bangs on Gabriel's door--someone is in the house! she wails, but receives no response.  Gerard, she says, tell me it's you, oh, I'm so frightened!  She enters a bedroom and finds Gabriel's wheelchair--without Gabriel in it.  She swivels around and finds herself facing her husband, standing on two feet.  Your lover isn't here to protect you now, is he, Edith? asks Gabriel--no, it's just you and me, alone in this house.  You can walk! she cries.I've been able to walk for years, he says, shutting the door. You've been lying all these years, no one ever knew! she says.  Someone knew, says Gabriel, two people--Randall, Father...  Randall...your father, repeats Edith--you killed them!  That's right, Edith, says Gabriel, wrapping his strong hands around his wife's throat--and you're never going to live to tell about it.  No, Gabriel, stay away from me, no! she shrieks.  Gabriel babbles incoherently about "taking something from you," about being a man and getting what I want tonight--and I want you DEAD!!  He throttles her to death (although she blinks a few times and rocks her head).  How do I dispose of the body? wonders Gabriel--I know a place that you loved--somewhere in the hallowed halls of Collinwood--I'm going to find a spot to bury you!

Daphne follows the sound of Quentin's song to the East Wing, but doesn't understand how.  She pushes open the doors, finding only an empty room.  She enters.  I don't understand it, she says, looking around, I'm sure the music came from this room!--she backs out, closing the doors again.  Hearing someone knocking, she re-opens the doors, but this time, it's filled with light and furniture.  What's happening to me? wonders Daphne--I'm dreaming, I must be dreaming.  She finds herself unable to enter, stopped by the same barrier that usually prevents people from entering parallel time.  She sees a man with dark hair enter--"Come in," he calls.  A blonde woman who looks just like Valerie enters the room.  "Valerie!" calls out Daphne.  Well, you look like a man with a most intriguing secret, the blonde says to the dark-haired man.  One of the things I love about you, Catherine, he says, is that you know me so well--I can't say that about my own family.  Daphne listens, perplexed.  Isn't it the burden of the arts to be misunderstood? asks Catherine.  For most of us, he replies, but I've never been troubled by it.  I know, that's what I admire about you, says Catherine, your reluctance to abide by social convention.  Such as? he asks.  The fact that we're alone in this room, unchaperoned, points out Catherine--your mother would take a dim view of that.  I've always made my own rules, the man says, and as long as they don't hurt anyone, I believe that's the way you should live--you do, too, that's why you're here.  Yes, says Catherine, that's true--so why don't you tell me what your secret is--why did you ask me here tonight?  I suspect you've already guessed, he says.  But you didn't ask me here to guess, says Catherine, I want to hear it from you.  Will you, Catherine Harridge, take me, Morgan Collins, to be your lawfully wedded husband? he asks.  Daphne is startled to hear her own last name.  Catherine's eyes widen as she turns to him--"Oh, Morgan."  My proposal shouldn't be that much of a surprise to you, he says, surely you know how much I've loved you.  Yes, I do know that, she says, and I promise you you'll have my answer very soon--I mean a woman shouldn't make up her mind about a proposal of marriage on the spur of the moment--even if she does know in her own heart what she wants.  I can give you everything you've always wanted, promises Morgan--you know you belong here at Collinwood.  You don't have to convince me, she assures him, there's no one that I love more than I love you--I just need a little time to think, that's all.  You shall have it, he says, kissing her mouth--I love you--if you should make up your mind before you leave this evening, you'll find me in my studio.  He caresses her chin with his fingers and leaves the room.  Catherine sighs, smiles, looks dreamy-eyed.  There's a knock at the door.  Who is it? asks Catherine.  It's me, responds a girl's voice.Daphne gasps as she sees her double join Catherine.  I thought you were going to wait downstairs, says Catherine.  I cannot tell a lie, confesses Daphne--I followed you up here and waited in the corridor.  And listened? demands Catherine.  Daphne nods.  That's unforgivable, teases Catherine.  I know, says Daphne, but you'll forgive me because you would have done the same thing yourself.  If I couldn't control my curiosity, perhaps I would have, admits Catherine, smiling.  I want to know why you didn't give Morgan an answer just now, says Daphne.  You heard what I said, Catherine reminds her.  I know, says Daphne, but I didn't believe your reason--Catherine, you're my sister and I love you, and I have to be honest with you, especially when you aren't being honest with yourself--you asked for more time because you're not sure of your love for Morgan.  But you heard me tell him...begins Catherine.  I know what I heard, says Daphne--and I also know your entire life, you've only loved one man.  Catherine turns away--he's been gone five years, she says.  I know, says Daphne, but there are rumors he's coming back!  I don't want to talk about it, says Catherine.  It's something you can't avoid, says Daphne--even when you were children, everyone knew how you felt about each other.  When he left Collinwood, he left my life, insists Catherine.  No, says Daphne, he'll never leave your life--and you'll never leave his.  He belongs to the past, says Catherine, and I must lead my life by what is to be--not by what has been.  He would be the last person in the world to accept that, says Daphne.  We're discussing my life, not his, Catherine reminds her sister, and I will decide what is to be, not anyone else.  Including me, says Daphne, and I'm very sorry if I seem to be interfering.  Oh, no, I know you meant well, Catherine assures her--you're so thoughtful and considerate, I've always considered myself lucky to have a sister like you.  I only want you to be happy, says Daphne--I just don't see how you can be in this house, I know I couldn't--there's a coldness here, a kind of terrible hostility, I feel it every time I come here--it frightens me.  Perhaps if I come here, everything will change, suggests Catherine.  I'm not sure that anything can change this house, says Daphne.  We'll see, predicts Catherine.  She walks away.  Daphne RT is suddenly faced with an empty room again.  She enters the dark room and looks around, sure she's having hallucinations--how can this be possible?--but no, I know what I just saw--but how?  She closes the doors and leaves.

Gerard carries Edith's body in his arms--you're going to love it in the East Wing, he assures her--such solitude you've never known.  Hearing someone coming, he hides until Daphne hurries past.  Then he drops Edith into a chair and goes elsewhere.  Daphne finds a table overturned in the hallway.  She calls to Edith, but finds only Gabriel's empty wheelchair.  Gabriel appears in the doorway, but Daphne doesn't see him.  She rushes from the bedroom.  Gabriel runs downstairs, turns around in the foyer, and closes himself in the drawing room.  Daphne heads downstairs--"Edith?" she calls.  Gabriel listens from the other side of the doorway.  Daphne opens the double doors and gasps when she sees Gabriel staring at her, blood in his eyes.

NOTES:  There is a huge discrepancy here--this Edith is supposed to be the ancient lady we see in 1897, Quentin's grandmamama, the one with the will hidden in the coffin lining.  Here she has died.  There are many ideas about how this can be so, but a popular one is that Gerard/Judah brought her back to life.  There must be some explanation for her dying here, yet appearing in 1897 as an old woman.

Is Daphne doomed?  Will Gabriel add her to his list of murderees?

What strange parallel word did Daphne see?  Catherine, Morgan, Daphne II?  Who is the mysterious man Catherine has loved since childhood, but who she seems ready to forget and marry artist Morgan and live at Collinwood, which neither Daphne cares for?

Gerard didn't even seem all that thrilled about meeting Edith for sex.  One suspects with all the girlfriends he's amassed thus far, the man must be exhausted, son of Satan or not.  He's only in a human body, after all.

It doesn't sound good at all for Quentin, does it?  Will he beheaded?  What about Desmond, what will his fate be?  Stay tuned.  We're coming to the end of 1840/41.

Great performance by Pennock.  I couldn't understand much of what he was screaming at Edith as he strangled her, but the look on his face said it all.  He was giving her what she deserved, and if he hadn't gotten it at the hands of her husband, it sounds like Gerard was going to give her what she deserved, too--all very kinky, especially for 1970.

Love, Robin