1146 - Gerard races to help Daniel, who has collapsed on Quentin's staircase and is muttering, "Murderer, warlock!" Gabriel wheels in, demanding, "All right, Mr. Stiles, what have you done to my father?" It's not what I've done, says Gerard, it's... Quentin! moans Daniel, in pain, "My son." Your father's had an attack, says Gerard--go and get a doctor, quickly. Gabriel wheels off get Julia. Quentin, how could you? moans Daniel.
Quentin sits on the sofa, drinking. Daphne enters. How, he asks, do you always seem so calm and tranquil? I don't know, she says--I suppose it's just my face. More than that, says Quentin, walking toward her, a certain quality--you always seem like you have something to do and you make up your mind you're going to do it. At the moment, she says, I've made up my mind to give the children a test tomorrow. Are you sure that's all? he asks, staring into her eyes. Daphne gazes back, probably wallowing in the blue of his orbs, but breaks contact. Miss Harridge, he asks, are you frightened of me? No, she replies. Whenever I speak to you in a personal way, you never seem to be able to listen to me, he smiles--maybe you're just trying to be unobtrusive, part of the scenery around here--you can't be that--you're much more, you know. He sits by the fire--you're "an angel among gargoyles" he praises--"we are gargoyles"--the fortunate Collins of Collinwood--you know, when I was younger, before my mother died, it seemed to me we were a family, but then again, that was just another illusion, because my father murdered my mother. (how horrible for a son to have such knowledge.) Oh no! says Daphne. Oh, yes, says Quentin, it's a well-known secret--it was then I noticed we all have a strain of despair that has been bred in each of us, and we all seem to enjoy that despair--why else do we live the lives that we do? (A sad assessment that could apply to the Collins of every generation.) I can't answer that, she says. Are you sure about that? he asks. Gerard runs in--Quentin, he says, your father's had an attack. No! protests Quentin, putting down his drink. They all rush from the room.
No, moans Daniel, lying in bed, no sense to it, no sense at all!--why?--why, Quentin, why? Edith puts a comforting hand on his shoulder, calling him Father Collins. Who are you? he asks. I'm Gabriel's wife, she reminds him. Get out! he cries You must lie down, insists Edith. Don't tell me what to do, he orders. Someone has to--you've had an attack, she says, now please lie down--there, Gabriel has gone for Cousin Julia. What good will a doctor do? he asks, oh, Quentin, why, why? Father Collins, says Edith eagerly, what did Quentin do?--what? Quentin, Daphne and Gerard enter the bedroom. Quentin rushes to his father's side. You, you, you're not who you say, you're not the man you were, gasps Daniel. (How ironic, considering GERARD is the one who has changed--to another person!) Edith tries to force Quentin to leave. Get away, says Quentin. Edith tells Daphne and Gabriel, Daniel is too ill for company. Gerard leads Daphne out of the room. Why what? Quentin asks Daniel, who mutters, "It will ruin us all--I must stop it, I will stop it!" You want Daniel to die, accuses Edith. Get out of here, Daniel orders her. But Father Collins, she protests. Leave this room! he cries. Get out! shouts Quentin. Edith takes the hint and goes. I saw your stairway, says Daniel--I saw the past--you killed Lorna! No I didn't, says Quentin. Daniel passes out. Gabriel and Edith return. Where is Julia? asks Quentin. With her brother, I presume, says Gabriel--those two are inseparable, you can never find them! (LOL) Did you send for Dr. Reese? asks Quentin. I was about to, says Gabriel. I'll do it, Quentin volunteers, and runs out. Edith, smiling cattily, tells Gabriel, Quentin has done something--something Father Collins doesn't like. How can that be? asks Gabriel, Father always loves everything Quentin does. Not this time, exults Edith, this time it's different. I am going to sit with Father tonight, he says--I want you to do something about that hair of yours, and put on a black dress. He's not going to die! she says nastily. Not just yet, says Gabriel, not with the will the way it is--go make yourself presentable--you and I are going to sit with Father tonight--go on. She leaves. Gabriel wheels himself beside his father, who asks, where is Quentin? He left you, says Gabriel, I'm going to stay with you
--I want to do everything I can for you (said the spider to the fly).
Gerard enters the drawing room. Daphne waits there--has Dr. Reese finished examining him? she asks. I don't know, says Gerard. She moves to leave. He stops her--I completely refuse to let you go to your room, he says. You refuse? she asks, smiling. Absolutely, he says, you see, I want to apologize. You have nothing to apologize for, she says. But I do, he insists, we were supposed to have dinner the other night, remember? I'm very surprised you do, she says. Now you're sulking, he says--is it because I didn't show up? I'm not sulking, she insists, as a matter of fact, I was relieved you didn't come--while I was waiting for you, I realized that my first instinct about you was completely right. She starts to leave. He grabs her arm and, his face growing sinister, says, wait just a minute--you will forget that I didn't come here--you will give me another chance. Never! says Daphne, and pulls her arm away. Time has power to make you change, he says. Oh, no, she says, not when I remember the look on your face just now. You will learn to like this face, he says, moving closer. No, she says, backing off, then racing from the room. Believe me, you will, he says, you will come with me, too, you will become one of us, you will become one of us. He nods as if agreeing with himself, but Daphne heard none of it.
Daphne sits writing in her diary: "Such a strange night--Gerard, that face, and Quentin--why did I feel so sorry for him?--I must not--I must guard against it!"
Gerard picks up a glove lying on the hearth. D is for Daphne, he says--and also for the devil--there is a new world awaiting you, Daphne, a world in which you will find evil and joy, like an adventurer on the sea, finding an unmarked sea, and those waters will drown you. He presses his warlock symbol against Daphne's glove. Now, your eyelids are becoming heavy, very heavy...
Daphne, writing in her journal, grows sleepy.
You will sleep, says Gerard, for in sleep, you will see what the future is to be, the future you will share with me.
Daphne lies down and falls asleep. She dreams of Gerard lighting black candles in Collinwood's drawing room. Daphne enters, arms outstretched, and kisses him passionately. Hold me, she begs, hold me. They kiss again. Will you come with me now? he asks, to a room where the ceiling is of the stars, the fire that warms us will be of the deepest red? He caresses her hair. I'll follow you anywhere, she vows; they kiss again. Will you do as I bid you to do? he asks. She nods. Then come to me tonight at the gazebo, he says. He starts to leave the room. "Don't leave me, please!" she begs. Only for a while, he promises. No, I can't bear to be without you, I can't bear to be...let me come with you, she pleads. No, he says. You're meeting someone else, aren't you? she demands angrily. He smiles--it's your face I will see, and your lips that I will remember. Gerard! cries Daphne, Gerard! She wakes up, then sits up. Why did I sleep? she wonders--what did I dream?
Gerard removes the symbol from the glove--"It is done" he says--"you will awake now and remember nothing--but in the darkest part of your mind, you will know what is to be." He returns the glove to the hearth. Daphne enters, looking very distracted. What's wrong? he asks. I forgot my books, she says. He picks them up from the hearth and hands them to her. I just fell asleep, I never do that, she says. Did you have a dream? he asks. She shakes her head. I like dreams, he says, one finds out so much about oneself--well, I bet I can make a nice dream about you--shall I? He moves to touch her. She backs off--no, no, she says, excuse me. She leaves. He laughs. Edith sashays in, remarking, a good laugh is just what this house needs. That's just what you need, too, he says. That, and a couple of other things, she says, grinning salaciously. He stares at her, rises from the sofa, and asks, "Like this?"--then plants a great big kiss on her mouth. She succumbs for a few moments, then pushes him away. The nerve you have, she accuses, treating me like some servant girl! I have more nerve than that, he assures her, caressing her face, you poor thing. How you think you can ignore me one day, she pouts, and then... You're still thinking about Daphne, he says--I've changed, I swear. You're the only one in this house who has, she says. A small, unsightly pit, he comments. When you first came here, says Edith, I thought you would make things different, but you only play games. Would you like to understand my games? he asks--would you really? Yes, I think so, she says. In order to understand my games, he says, you must change. Perhaps not as much as you think, she says. Quite a lot, he says, believe me, quite a lot--are you good at keeping secrets? That depends on the secret, she replies. Secrets that will make your life different, he says--secrets that will add powers to your life. What are you talking about? she asks excitedly. Are you interested? He asks. Who wouldn't be? she asks--what do I have to do? Do as I do, he says, and I will give you those powers and teach you how to use them. When you talk like that, she says, you aren't just talking about yourself, are you--there's something more than that. She draws closer to him, her hands on his shoulders--"What?" she asks, her eyes glowing. Edith! calls Gabriel, who has wheeled himself in and caught his wife intimately close to Gerard.
Comforting my wife, Mr. Stiles? asks Gabriel--was she really that upset about Father's attack? You know I was, says Edith. Quentin is looking for you, Gerard, says Gabriel--I suggest you go to him. Gerard exits. Edith looks at her husband, unafraid. You wanted him to touch you, didn't you? he accuses--you love it! I wanted someone to touch me! she retorts. Anybody but me! he says. Yes, she agrees, and starts to leave. Don't you go, he orders--whose fault is it that I never touch you?--I know you hate me, I know that! Don't go into it again! she cries. He grabs her arm in an iron grip and says, "Listen to me--you understand I want you to behave yourself--and you won't do anything that will hurt what is going to happen!" Nothing is going to happen, she says through gritted teeth, nothing happens here. Something is going to happen, says Gabriel, it's father, he's changed his mind about Quentin. Quentin will talk his way back! she insists bitterly. Not this time, says Gabriel--he looked at me differently tonight, he talked to me--he listened to Trask--Quentin is involved in the black arts and the will can be changed! She angrily pulls away from him--it certainly can be, she says--but it won't. I will see to it that it is, he says. Sure you will, but you'll ruin it, she says--you give in to that monumental self-pity, and Daniel will turn against you. Not this time, insists Gabriel.
Yes, it happens every time, she says, you cripple! That's what I am, yes, he says, that's what you married, and a cripple is all you've got to depend on. Oh no it's not, she says--I have myself! She stalks from the drawing room.
Quentin and Daphne stand by Daniel's bedside. The doctor says another attack could be fatal, says Quentin--I just don't understand--you've heard enough family problems for one night--you look tired. I'm not, she assures him--I couldn't sleep--it's as if there's something suddenly evil about sleep--let me sit here with you, I'll be much happier--you go get some rest. I couldn't sleep, either, he says, but I do appreciate it if you'd stay here until Edith gets back--there are some things I have to do. He goes. Daphne sits in a chair beside Daniel.
Gerard is checking out the staircase. Quentin enters and says, "So, the cause of the trouble." Gerard turns, thinking he's referring to him, but Quentin says, "The stairs--you were with Father when the attack occurred--I just don't understand what he could have seen on those stairs, they aren't even finished yet. Perhaps it was his imagination, suggests Gerard. But why did he see Lorna?--I didn't kill her, says Quentin--I just wonder what made him see what he did. We'll never know, says Gerard--perhaps it was something Trask said--it might have caused him to hallucinate in some way--anyway, you must stop thinking about it. What time is it? asks Quentin. 12 o'clock, says Gerard. You remember those letters I was telling you about? asks Quentin. Yes, says Gerard--Joanna's--have you received more? No, says Quentin, but I've established a pattern--I get a letter every three days--and I receive it one out of two times--either in the afternoon when I've just gone to visit the estate manager, or exactly half an hour after that, when I've finished my last walk around the grounds. Someone knows your habits very well, says Gerard. Yes, and I intend to find out who that person is--tonight--we've got to hurry.
12:20 - I'll walk you to the gate, Gerard, says Quentin clearly and loudly in Collinwood's foyer--I never can sleep without my evening stroll. Come back to Rose Cottage and have a brandy with me, suggests Gerard. Good idea, says Quentin, do me good to get out of this house. The men leave.
Quentin re-enters Collinwood through the drawing room window. He sits down in a chair, in the dark, watching the doors. We see the kitchen door open, but not who comes out. The front doors are opened. "You," says Quentin in disbelief.
Daphne stands there, a letter in her hand.
NOTES: Did you guess Daphne was the mysterious letter sender?
Gerard has plans to make Daphne one of his coven--and one of his ladies--but not the only one. He wanted her to know that, apparently, that as head of the coven, he has his pick of his female members, and she, while he might care for her in his own evil way, still regards her as one of the crowd.
Edith sure is a slut when it comes to Gerard, but then again, she seems the passionate sort, greedy in all ways (I sense she's the one who doesn't care if Daniel lives or dies, as long as she stands to gain from it), and living with Gabriel must be quite frustrating, sexually. She can't stand having her husband touch her, but Gerard is another matter. How did she and Gabriel ever have children, I wonder?
Daphne fights her feelings of sympathy for Quentin, but you sense it's going to be a losing battle. What will he do now that he knows she is the one who's been gas-lighting him?
Daniel's addled mind can't seem to sort out fact from fiction, and he already has begun to mistrust his oldest son. We know how he feels about Gabriel, so, if he decided to cut Quentin from his will, who will be next in line?
Gerard's web closes more tightly around Quentin, who still believes the Judah-possessed man is his friend.
1147 - Give me that letter, demands Quentin. I beg your pardon, says Daphne. I said give it to me, he repeats. I don't understand, she says. You were going to leave it here, weren't you? he asks. Leave it here--why? says Daphne. Don't act innocent with me and don't stare at me like that, he says--you don't fool me any longer. I don't know what you're talking about, she says. Why are you doing it? he demands--and how do you know about Joanna? I don't understand! she insists. Oh yes you do, he says, grabbing the letter from her hand--I'll take this. Give me back my letter! she commands. He reads the recipient: Desmond. Your cousin asked me to go riding tomorrow, she angrily informs him, and I couldn't. He apologizes. May I have it back? she request. He hands it over. She thanks him sarcastically, shaking her head, and says a curt good night. I'm truly sorry, he says. You're a difficult man to understand, she says. I'd like to explain, he says, but I can't. She stalks away, upstairs. I'm a fool, Quentin tells himself. He finds another letter addressed to him on the desk--Joanna, he says, it can't be--how did it get in here? He looks around, then opens it: Remember how we used to laugh, how warm the cottage seemed with the snow outside--how I hated it when you finally had to go--but the day is coming when you will not leave, when we will be together--soon--and when we are, you must sit at the piano--you must play for me the song which has come to mean your love--do you remember it still? Oh yes, he says, smiling, I remember. He goes over to the piano, sots down, and begins to play. (I HATE this song, folks, always have, always will, sappy, sappy, sappy!) What a lovely song! applauds a sarcastic Samantha--what is it? I don't remember, he says. Are you going to finish it? she asks. No, he says. Are you in one of your moods again? she inquires. He fixes a drink. They always used to worry me, she says, I never knew how to deal with them, but I guess I don't have to now, do I? You must have wanted something if you came in here, he says. Don't pull that tone of voice with me, she warns--you insisted that I stay in this house. I only insisted that you not take OUR son--should I repeat that?--our son! He says. At least I tried to be civil, she says--I simply came here to tell you your father is much better, but he's very disturbed about those insane experiments of yours--you should get rid of them--and that staircase!--you really must destroy it! Before it's finished? he asks. Finished! she cries--a staircase through time, really, Quentin--when Daniel told me about it, I almost doubted your sanity. Of course! he says--I think a staircase would be very good here at Collinwood--you've got to admit that one or two times you would have used it since you've come here. Don't talk nonsense, she advises--people will think you're mad. Do you? he asks. About this, yes, she says, what if Mr. Trask found out? My dear, he says, I will finish that staircase simply because of Trask, and I shall send him to another century! You really believe it, don't you? she asks incredulously--Lamar Trask is a very dangerous enemy--of course, I don't believe his insinuations that you had anything to do with Lorna Bell's death... Oh, thank you, dear, he says sarcastically, for your confidence in me. Don't be sarcastic, she says, grinning, you're going to need all the friends you can get.
I know that, he says, I shan't count you as one of them, though, I warned you, I tried to help, she points out--remember that. Thank you, he says insincerely. You can finish your song, now, she retorts before leaving.
Daphne reads from her diary: Sometimes, I think it would be easier to make him fall in love with me--to make him know the torment, but then something happens, just like now, when I feel such hate, no, he must fall in love with me! Who do you hate, Daphne? asks Tad--tell me?
What are you doing in here? she demands. Who is it you hate? he persists. What else did you see? She asks. Only that you may fall in love with him, Tad replies. And what else? she demands, her voice shrill. You didn't answer my first question, he says--I was taught to answer questions--weren't you ever? I was taught not to sneak into peoples' rooms, she says. I didn't sneak in, he insists, I just walked in and you were too busy to see. A diary is personal, she says, I write in it things I wouldn't tell anyone. Our minister says hate is evil, points out Tad. I suppose it is, she says, but sometimes, you can do nothing else. Is it someone in this house? he asks eagerly--the one you hate? I'm not going to discuss it with you, she says. It's all right with me, he says, I'll find out--I'm very good at finding things out.
Playroom - A frustrated Carrie is going over her lessons--Daphne, she complains--why do I have to learn Latin?--no one ever speaks it anymore. If you know Latin, says Daphne, it will be easier for you to learn other languages. I'm not going to learn other languages, says Carrie. You may at least learn French, says Daphne--you might travel when you grow up. She thinks she's grown up now, says Tad. Carrie shoots him an angry glance, then reads aloud the Latin conjugation of the word love. Tad interrupts when she arrives at "She loves," finishing it, "She loves Gerard." Annoyed, Carrie says, oh, really! It's true, Tad tells Daphne--you should see all the notes she writes him, and never even mails them. Tad, that's enough! cries Carrie. But it's true, points out Tad, and you shouldn't be ashamed of something that's true. I'm not ashamed! she insists, you're just too old to... That's enough! interrupts Daphne. Well he DOES! whines Carrie. It was fun having you here when you first moved in, says Tad, but now... He'll just never grow up, that's all, sighs Carrie. Samantha enters--Miss Harridge, she demands angrily, if this is the way you encourage discipline... It was just an argument, says Daphne. Children are in school to learn, not argue, says Samantha--perhaps I should see you alone, Miss Harridge--children, get your coats--we'll spend the rest of the afternoon at Rose Cottage. Oh, will we? asks Carrie happily. I know why YOU want to go there, teases Tad. Stop it, Tad! says Carrie, hurrying off with Tad right behind her, telling her, "Gerard isn't going to be there now." The children have at least two more hours of work to do, insists Daphne. Miss Harridge, if I had wanted Tad to have regular hours, says Sam, I'd have sent him to the school in the village (but that's not the Collins way). If you'll excuse me, says Daphne, Tad needs the discipline of regular hours. It's up to ME to decide what Tad needs, says Samantha--he's not well, as I told you before, ever since he returned from that voyage with his father, he's been very delicate. You make my job very difficult, says Daphne--if I thought Tad were ill, I wouldn't force him to do a thing. I know my son far better than you do, says Samantha, and I know what's best for him--I refuse to have you discipline or criticize my child anymore--is that clear? Yes, says Daphne, your attitude it very clear--Tad is a dear boy, and I'm very fond of him--I do think I've gotten to know what he needs. Do you? asks Samantha venomously, I wouldn't presume so much if I were you--Tad is not your whole life, he is mine. She leave. Daphne is furious.
Foyer - Carrie, don't get so excited, advises Tad--Gerard isn't going to be there now. How do you know that? she asks. Arms crossed, he replies, because Mother wouldn't be taking us there if he would be. What are you talking about? asks Samantha, joining them. Nothing, says Tad, and challenges Carrie to a race to the cottage. She runs after him, Sam on their heels.
Daphne paces her room, slamming her fist into her hand, angrily muttering, "That woman!" Quentin enters. What's wrong? she asks. He just looks at her. Why have you come here? she asks--oh, it's about Tad. No, he says, I've come to apologize. You said you were sorry last night, she reminds him. Then to explain, he says. Not necessary, she assures him. You don't want me to explain, is that it? he asks--of course not, why should you?--it's not your job--we're not exactly friends. I think you need a friend, she says, and so do I. So you want me to stay, he says--am I translating you correctly? She smiles and nods. Good, he says--this room, it's no good, you shouldn't be in here--you should have a room of light and sun--I don't know what I'm talking about, I came here to talk about myself, didn't I, not about your room. She looks at him earnestly. It's very difficult, he says, you've seen the strain in this house. I've even felt some of it, she agrees. Samantha? he asks. Yes, she says, she loves her son. Does he? he asks. In the wrong way, perhaps, suggests Daphne. Yes, agrees Quentin, her love for him comes out of her hatred for me. She hates me, too, says Daphne--she stopped classes today. What? he asks. Oh, I shouldn't have told you that, says Daphne--that's my affair and I will deal with it. He chuckles--yes, he says, getting close, you're so young and innocent--you're going to change this house, aren't you? You keep trying, she says. Do I? he asks. You hired me, she points out. I see, he says, I keep forgetting things like that--I did, didn't I?--sometimes I think I'm just marking time, letting things just drift along--I need you to tell me that I'm not. Has there always been someone who tells you that? she asks--someone who reminds you of what life really is? She walks away--I shouldn't have asked you something so personal. We aren't strangers, are we? he asks. Sometimes I think we are, she says, but then. And then last night? he asks. Or the night at the oak tree, she adds. At least you've seen me at my rudest--tell me, he asks gently, do you know what it is to be without love? Love is something I know very little about, she says. I don't believe that, he responds. It's always frightened me, she admits. Sometime it won't, he promises. I don't like what it does to people, she says. What has it done to you? he asks. She looks at him. Ah, so you have a secret, he says--someone you love? She shakes her head. So you say, but you do, he says, and so do I--but we mustn't keep secrets--they only harm us, they don't want us to forget things that are all over. His voice seductive, he moves in close, adding, we've got to forget them, because "you and I are alive", you know--oh, Daphne is her name. Quentin, she murmurs, smiling. He touches her face and says, that's the first time you've ever called me that.
They kiss, lustily; she returns it with equal passion. He hugs her. Oh, yes, he says, now I have something else to apologize for--but I won't--because I wanted to--and I think you wanted to. Yes, she agrees. I won't ask questions, he says, questions simply ruin things--I feel very peaceful now--I came here to talk and now talking is something we can't do--I've got to walk very slowly now--because I don't want anything to happen to the way I feel--do you feel the same thing? She replies by kissing him; they go at it with fervor. Oh, yes, he whispers, you've got to depend on me, and I've got to depend on you--and much more important--we've got to trust each other, because up until an hour ago, we didn't trust each other. She nods, and they kiss again. I'm leaving Collinwood in about an hour, he says. Where are you going? she asks. I've got to take care of something very important, he says, that concerns both of us--you'll be all right while I'm gone, won't you?--are you going to stand in here asking yourself if you've done the wrong thing, what have I done, what have I started?--am I frightened?--you're going to be here when I get back, aren't you? He touches her chin. She nods--I'll be here, she promises. You'd better be, he says, and leaves her room. She paces, clinging to the bedpost, trying to assure herself, I didn't feel as he did, I didn't!--it's part of my plan, that's all, just part of my plan. She hugs the bedpost, denying vehemently.
Tad and Carrie enter the playroom. She's carrying a large wooden box. You were with Gerard all day, and Mother is furious at you, says Tad. She likes him, too, insists Carrie. Not anymore, she doesn't, says Tad. He gave me something, she says--he knows so much--did you know I was psychic? You? he asks in disbelief. I am, she says--he gave me this (she lifts out a crystal ball)--I can see things in it. Sure you can--prove it, scoffs Tad. She sits down and gazes into the ball. He shouldn't have given you that, says Tad--they won't let you have it, you know. She stares into the crystal--it's changing, she says, the fog is drifting away. Don't talk like that, says Tad, nervous. The future, she cries. If you can see the future, he says, tell me what our new governess is going to look like, because this one surely isn't going to last long. Carrie gasps, oh, Tad!--she backs away from the crystal
--I saw you, she says, and me--we were...we were...we were lying there, in this room, we were dead! Tad is horrified.
You are crazy! accuses Tad. No, I saw it--we were dead! insists Carrie. If you believe these things so much, says Tad, you shouldn't look in it! I do, she wails, I do! We're too young to die, he says. I'm so frightened, she says--we looked like we did now, which means it may be soon!
Daphne writes in her diary. Samantha bursts in and holds out a note "from my husband--he came to see you this afternoon?" Yes, admits Daphne reluctantly. Did you cry and tell him what an ogre I was? demands Sam. No, I did not, says Daphne. Well, says Sam, and reads "and I will not have you upsetting Tad's school routine." I mentioned it to him, yes, says Daphne, I felt he should know. I run this house, insists Samantha, Quentin does not.
But you were Joanna's doctor! Quentin protests to an old man sitting across from him in an office. I told you, says the doctor, there was little we could do for her--she lived in the past. But when she escaped? asks Quentin. Oh, we sent out an alarm, of course, says the doctor, we thought she would return to her home, but she didn't
--then her body was found on the beach. Did she ever have any visitors? asks Quentin. No regular ones, replies the doctor, no, few families bother coming once a relative is to be committed here--just before Joanna disappeared, she did have one--I remember because she was quite violent after the girl left. Do you know who the girl was? asks Quentin. Let me see, try to remember, says the doctor.
6 PM - Collinwood - Quentin returns home and finds Daphne sitting in the drawing room. She stands up, thrilled to see him, but he is very angry.
I know who you are, he says--you're the sister of Joanna Mills! She looks at him solemnly.
NOTES: How's that for a revelations, folks? Now we know why Daphne has come to kill Quentin, and why she has decided to make him fall in love with her--but there's a complication, because she's falling in love with him, too, and that was not in her plan. Where will they go from here?
I wasn't really missing the kids in this storyline, but was wondering when they would appear, since we saw them ad nauseum just before venturing into 1840. They are supposed to play a huge part in this storyline, and now, with Carrie seeing herself and Tad dead in her crystal ball, the current story is meshing with that we saw before. It seemed odd that they were around so little.
There is already a clash between Samantha and Daphne; what would the bitchy redhead say if she knew about all those kisses exchanged between the governess and hubby in this ep?
I find Tad and Carrie as boring now as I did Hallie and David in 1970. The fate of these children simply doesn't interest me, but if Tad dies, what will it mean for the Collins in present time?
When Quentin wants to be seductive, he's very good at it, isn't he? I understand Daphne falling in love with him. He's got sex appeal to spare!
Tad really is nervy, talking to his governess that way, insisting on knowing her personal business. All the Henesy characters have this princely attitude that makes you want to hit them!
Another heated argument between Quentin and Samantha. I wonder--were they as passionate lovers as they are arguers?
Love, Robin
