1181 - What did you say your name was? asks Judge Vail. Joanna Mills, the dark-haired woman replies. Step forward to the bench, urges the judge. This is some gigantic hoax! Pronounces Dawson. Barnabas leans forward and asks Quentin, is this Joanna? I don't believe it but yes, it is, he says. My name has been mentioned in this trial, says Joanna, that's why I'm here to give testimony. I ask the court not to allow this woman to take the stand, demands Dawson. Why? the judge asks. On the grounds that she cannot possibly be Joanna Mills, says Dawson--that woman is dead, I have offered into testimony the transcript of her death certificate--this woman is an impostor! Wait a minute, orders Vail, banging his gavel, you have introduced into evidence a death certificate, but it can't possibly be the death certificate of this young woman--unless you believe that this woman you see standing before you is dead--is that what you're saying? Of course that's not what I'm saying, says Dawson, irritated. Is counsel willing to admit this woman is alive? Barnabas asks Dawson. Of course I admit that, this is ridiculous, says Dawson. Then the defense urges the court to allow this woman to testify, says Barnabas--the defendant is willing to swear this is Joanna Mills. The defendant will swear to anything to save his neck! roars Dawson. (Note, Trask is gone; when yesterday's ep ended, he was still there.) Judge Vail bangs for order. Dawson apologizes, insisting, this woman is a trick on the part of the defense--they are trying to make this trial a mockery of justice (ha, too late)! It seems to me the prosecution has already done a good job of that, retorts Barnabas. (Go, Barn!) I order the bickering stopped, insists the judge--it's leading us no where--the pertinent question before the court is the identity of this young woman--if we can prove she is Joanna Mills, says Vail, then we will be very willing to hear what she has to say. I have a solution for that, suggests Barnabas. Speak up, Mr. Collins, says the judge. The best argument for letting this woman testify was given by the prosecution himself, says Barn. What are you talking about? demands Dawson. Wasn't it Mr. Dawson himself, points out Barnabas, who first informed the tribunal of what Joanna Mills actually looked like?--I refer to the sketch he introduced into evidence not more than an hour ago. Dawson looks pissed. Barnabas smiles--all the tribunal has to do is study the sketch and decide whether the likeness is of that woman standing here, says Barn, who turns to gaze at Joanna. Dawson objects. The judge overrules--we will go a step further and take a sample of this woman's handwriting and study it together with the self-portrait, agrees Vail--we are prepared to confer on this matter and render a decision at 2 PM--court adjourned. Pleased, Quentin smiles.
Collinwood - Gerard pours himself a drink, grinning. Samantha, he says, I regret that Quentin's trial is no longer on public display--I'd so much like to be there to see the final plannings put to use--but I believe Charles will re-enact the whole situation for him. Sam looks unhappy. Why, he asks, aren't you enjoying my enjoyment? I can't forget what happened last night, she says--who left those letters? I told you, I don't know, he grumbles. It can only be the ghost of Joanna Mills, she frets, she's come back to haunt us. Why would she come back at this particular time? asks Gerard. I don't know about such things, says Sam, maybe it's because I've been writing those letters in her name--I don't know! Yes, says Gerard, you started writing those letters to Quentin and Daphne a long time ago--why didn't she appear then? I don't know, says Sam, I don't know anything anymore--hold me and tell me everything is all right, please! She goes into his arms. He hugs her, assuring her, everything is just perfect--today Trask is nailing shut the coffin on Quentin, testifying about the letter. Wait a minute, says Sam, moving away from him, you told me Dawson wouldn't introduce that letter as testimony--she puts her hand to her forehead. He didn't want to, my dear, he says, but when he saw Barnabas could tear Trask's testimony apart, he had no other choice--and so right now, three judges are sitting in conference to give the verdict to Quentin Collins. Maybe it's all over, says Sam, smiling with anticipation--right now! Gerard grins back at her, nodding--quite possibly, my dear, he says.
Jail - Quentin paces his cell--Barnabas, he says, I don't see how they can't let Joanna take the stand. Of course they will, says Barnabas--and when they do, Dawson's case will be ruined. (He looks so tan; did his cure include a quick trip to Tahiti?) He's had setbacks before, says Quentin, he always turns up with something else. Joanna joins them--may I speak to Quentin alone? she asks. Barnabas, do you mind? asks Quentin. Of course not, says Barn, and leaves. Are you glad to see me? asks Joanna.
Of course, says Quentin, I'm just in a state of shock--everyone was convinced you were dead. I know, she says, I was shocked when I found out (?--I think she left out a line about being shocked to find out she was believed dead). There are a lot of things I don't understand, says Quentin. It's almost two o'clock, she points out, and we have very little time--I just wanted to see you again, alone, the way we used to see each other. Listen to me, says Quentin, for the past several weeks, I've been receiving notes from you, in your handwriting--now thinking you were dead, I couldn't understand how the notes got to Collinwood--now that you're alive, perhaps you can explain them to me? Are you asking me if I wrote them or if I sent them to you? she asks. Both, he says. I did not send them to you, says Joanna, as to why I had written them, I would have to see them to answer that. They were in your handwriting, I'm certain of that, says Quentin. I did write several notes to you while I was in the sanitarium, she says, but did not send them to you--I don't know how you could have received them. Quentin turns away--somebody's responsible for it, he insists--perhaps the same person responsible for me being in here. You're not going to be in here much longer, darling, she assures him--I'm going to do everything in my power to help clear you--you're in serious trouble and you need me--I was always there when you needed me--do you remember? Yes, I remember, he says, almost as if he wished he didn't, but...do you know that your sister's at Collinwood? This genuinely surprises Joanna, who says, "Daphne, living at Collinwood...I had no idea! She's been there several months, says Quentin. But she didn't know the Collinses, says Joanna, what made her come there? The fact that you were dead, says Quentin, she thought I did it--she came back to avenge your death. Surely after she met you, says Joanna, she must have realized you couldn't harm anyone. Quentin gazes at her through the bars--that's true, he agrees--things changed after that, quite a bit. I want to see Daphne as soon as possible, says Joanna. Before you do, we must have a long talk, says Quentin. I know, darling, she coos, we have so much talking to do--I'm sure so much happened while I was thought dead. Yes, agrees Quentin, and several things have changed (such as, I'm in love with your little sister). First we're going to see you get your freedom back, she says, and we'll have all the time we want to talk. I think we ought to talk first, advises Quentin. Barnabas enters and apologizes for intruding--the judges have announced they are ready.
Courtroom - Judge Vail tells those assembled, we accept this woman as Joanna Mills and will hear what she has to say--take the stand, Miss Mills. Quentin grins.
Joanna is sworn in. Dawson objects--if this woman is Joanna Mills, she isn't qualified to testify, since her last known residence was an asylum. Quentin glares at Dawson. From which, incidentally, she escaped, adds Dawson. Barnabas rises and asks the judges, are we going to go through the ordeal of questioning this woman's insanity? No we are not, says Vail firmly, the prosecutor's objection is overruled. Exception! demands Dawson. Noted, says the judge. Since the forthcoming piece of testimony is unprecedented, says Dawson, I'd like to know whose witness this woman is to be. At the moment, says Vail, she is the court's witness, but you and the defense will have ample opportunity to question her later. Dawson thanks him curtly and sits. Is it true you escaped from an asylum? Judge Vail asks Joanna. I was there, she admits, but I did not escape--I decided one day I didn't need to be there anymore, so I left. Vail: Without telling anyone you were leaving? Yes, that's right, she says. Tell us why you were in the asylum. I was quite emotionally disturbed and needed help, says Joanna--I was in love with a man I knew could never be mine. From the records we have seen, you were dead, your body was found, washed ashore, below the Bedford Cliffs--what do you have to say to that? I know nothing of that, says Joanna, except that obviously a great mistake was made--after I left the asylum, I went to Boston and led a very quiet life. No further questions, says the judge--Mr. Dawson, do you wish to interrogate the witness? Dawson stands--the prosecution still contends this woman is not a valid witness in the case, he says, therefore we have no questions. Barnabas is asked to cross-examine the witness. Smiling confidently, Barnabas rises and asks, "You said your emotional disturbance stemmed from your love of a man you knew you could not have--are you willing to identify that man now?" She replies, "I was and am in love with Quentin Collins." Barnabas: How long ago did you return to Collinsport? Three days ago, she answers. Why did you return? I wanted to see him again. Why? demands Dawson, to resume your illicit affair, to try to destroy the Collins' marriage? Barnabas objects. Vail sustains--Mr. Dawson, your opinions are out of order--you were given your chance and declined it, and this court will entertain any valid objections you may have, but I have to ask you to keep your personal emotions under control!--go on, Mr. Collins. Barnabas asks Joanna about the letter the prosecution alleges was left in a tree by the spirit of someone they think is she--do you have any knowledge of this letter? Yes, I do, she says. Tell the court who wrote it. I did, she says. How did you come to write the letter? Dawson looks angry. The evening I decided to visit Quentin at Collinwood, on my way there, I stopped at the large oak tree in the woods where we used to meet, she says--leave notes for each other there--when I moved close to it, I was surprised to discover a note for me from Quentin--I thought somehow he'd learned I was back and this was his way of surprising me, so I decided to return the surprise by answering his note--then, when I returned to the village, I found out Quentin didn't know I was back, because he was on trial for his life--I didn't know where that first note came from or what it was doing in the tree. The defense is grateful for your testimony, says Barn--you may leave the stand. She does. I thinks it's very clearly established there was nothing supernatural about the letter, says Barnabas--the spirit Mr. Trask thought he saw was obviously someone who is alive--this witness--her testimony shows there was absolutely no communication between the living and the dead--in light of Joanna Mills' testimony, I move that the testimony of Lamar Trask be stricken from the record.
The tribunal is willing to consider that motion, says the judge. They confer. Quentin smiles with delight; Dawson looks as if he's about to spit nails.
It's the opinion of this tribunal that the remarks made by Miss Mills under oath clearly invalidate the earlier testimony of Lamar Trask, announces Judge Vail. Dawson rises and shouts, "This is outrageous!" Let me finish! orders the judge, banging his gavel--therefore, the motion of the defense is granted, and the testimony of Trask is stricken from the record. Barnabas grins with satisfaction. The judge continues--it's the further finding of this court that Miss Mills' testimony has raised some rather serious questions regarding certain events and evidence in this trial. Dawson rises and races to the bench--I ask that your last statement be clarified! To Dawson, Barnabas says, I believe it has become very obvious, not just to the court, but all of us here, that someone is deliberately trying to incriminate the defendant. I was addressing the court, Mr. Collins, says Dawson gritted teeth, not you. Mr. Dawson, says Vail, the court is now most curious about earlier testimony concerning the appearance of a so-called ghost at Collinwood, but I'm sure the defense is amply prepared to deal with that subject. I am, says Barnabas confidently. Dawson requests a recess, which is granted, until 10 AM tomorrow morning.
9:10 - Courthouse - Gerard is amazed when Dawson reports that Joanna appeared in court and took the stand--how do you explain this? I told you it was dangerous to use that letter! Dawson reminds him. Are you absolutely sure? asks Gerard. Of course I'm sure, says Dawson. Explain it, demands Gerard. I'm not interested in explaining it, says a furious Dawson, we had it, we had it--that judge was only syllables away from offering a verdict favoring the prosecution, and then she walked in!--we are in very serious trouble at the moment--we need a stronger weapon--I am aware of the dangers involved, but I say we must use the head of Judah Zachary!--are you listening to me? Yes, I heard you, says Gerard, I just need time to think. We don't have any, says Dawson, we have to have something big by 10 tomorrow morning.
You will have my answer tonight, promises Gerard...Samantha--I forgot to tell Samantha!
Collinwood drawing room - Samantha sits on the sofa and rises to answer the door. It's Joanna Mills. Sam is stunned.
My name is Joanna Mills--I understand my sister Daphne works here--may I see her? Joanna Mills, says Sam through trembling lips. Yes, says Joanna, you are Mrs. Quentin Collins. Yes, says Samantha, I am. You and I know of each other even though we've never met, says Joanna--I assure you I don't mean to disturb you, I only want to see my sister. Your sister is upstairs, says Sam. Joanna thanks her and enters. Sam stares after her, disbelieving. Gerard enters the house--Samantha, he says, something has happened. They both watch Joanna drift cross the upstairs landing. Gerard offers to pour her a brandy. Sam follows him into the drawing room--SHE is the one I saw by the tree, she reveals. Get hold of yourself, he commands--there's nothing to worry about, even if she has returned. "That woman is dead," states Samantha. Control yourself! he orders. She's dead, insists Sam. Obviously there's been a mistake, says Gerard. No, there's no mistake, she says. Anyone in their right mind can tell Joanna Mills is alive, says Gerard.
"No, she's dead!" cries Samantha--"I know, because I killed Joanna Mills!"
NOTES: What's this? Sam is a murderer? If that's true, how can Joanna be here? Samantha sure was shocked to see her! How will Daphne react when her sister goes up to see her? And it seems that Joanna still carries a torch for Quentin, which could mess up his new relationship with Daphne, her sister. Awkward, possibly dangerous, possibilities there.
Great courtroom theatrics--I love watching Dawson squirm. Will Gerard be forced to use the head of Judah Zachary to accomplish what he wants--Quentin's death by beheading?
Lee Beery isn't a very good actress--or is it just me?
1182 - In the re-shoot of yesterday's final scene, Samantha reveals, "I killed Joanna Mills!" with much more force and passion. That's impossible, insists Gerard, whatever you're saying, Joanna Mills is alive--tell me everything. Samantha twists her hands together--I don't want to talk about it, she says. You must, he says, her appearance has put a damaging effect on the trial against Quentin--you must tell me everything, if it is true, I must know!--you do want Quentin dead? Yes...no, she says--I don't love him, I love you, do you know what my life has been like?--the guilt, anguish, pain?--I didn't mean to do it, please believe I didn't mean to do it!, she sobs--and now she's come back for her revenge! She falls into his arms. He pushes her away, angrily ordering her, get hold of yourself--there's no need for this, you've caused enough trouble as it is--I demand you get control of yourself and tell me everything! She moves away from him. Now, from the beginning, he says, when you first learned of Joanna Mills, what did you do? Nothing, says Sam, I couldn't let anyone know that I knew--oh, Gerard, I just couldn't! And when Quentin came to you for the divorce, what did you do? asks Gerard. I refused him, of course, you know that--and I almost won--he was going away for a while, but he was going to come back to me and I had won!--I couldn't bear the thought of her taking me away from him again--I was almost happy for a while--until those letters started coming from the asylum--it was the same thing all over again! She bursts into fresh tears. Hold onto yourself, he says--what was in the letters? There were two, one from the administrator of the asylum, says Sam, asking Quentin to come there
--it appears she had become quite ill and that she was calling Quentin's name. Why didn't he go? asks Gerard. Because he was away at sea, says Sam, I was very frightened--I knew that if he'd been here, he'd have gone to her--I was feeling threatened by her all over again, so I went in his place--I didn't tell anybody, nobody knew, not even at the asylum. We flash back now, getting a picture, as Sam continues, explaining, I went to the grounds and found Joanna there alone. I knew her immediately--she was exactly the same girl I'd seen once before, with my brother, at a concert in the village. We see Joanna sitting there, a rose in her hand, which she brings to her lips. Except for one difference, says Samantha--now she was mad. Samantha watches Joanna clutch the rose, singing a few bars, then reaching out and murmuring, "Quentin! Quentin!"--and she sinks down on a bench, crying. Samantha approaches her. Did you come with a message? asks Joanna. No, replies Sam. Why are you here? asks Joanna, I was expecting someone else. Expecting someone HERE? asks Sam. Joanna, wrapped in a white shawl, asks, is that so strange?--my lover is coming soon, and when I heard you, I thought you were he.
Your lover--might I know him? asks Sam. Oh, yes, everyone knows him, says Joanna. What is his name? demands Sam. It's a most beautiful name, says Joanna, holding the rose--his name is Quentin...Quentin--she sings a bit more. What will you do if he doesn't come back, today or ever? Sam demands angrily--what will you do then? But he will come back, insists Joanna--today! He's gone away for many months, says Sam, long months, lonely months. No, protests Joanna. Yes, says Sam, and you might never see him again! Crying hysterically, Joanna sits back down on the bench, cowering away from Samantha--who are you? she asks--I hate you--get away! Samantha leans forward to taunt Joanna--Quentin will never see you again--never--never--never! Stop it, stop it, stop it! shrieks Joanna, crying wildly--she stops, more calm, and asks, "You never forgave me for leaving your brother, did you?" You know who I am, realizes Samantha. Yes, of course, says Joanna, you always looked so proud--carried it better than anyone--Mrs. Quentin Collins--oh, how I envied you that!--I used to watch you, I'd sit in my carriage and watch you moving in and out of the shops, so proud to be his wife--Mrs. Quentin Collins, oh, I did envy you. They told me you were mad, says Sam resentfully, you're not mad at all--you're just horribly cruel. Cruel?-- for loving him? asks Joanna--for giving him something no other woman had ever given him? You are a monster! blares Sam. Oh, I'm sorry, says Joanna, whoever you are, you must go--Quentin is coming to hold me--thank you for your message--good day--and, loopy again, she sings, rubbing the red rose against her chin.
We return to Gerard and Samantha in the present. Vindictively, Sam says, "I should have killed her then--oh, why didn't I kill her?--can you imagine me standing there listening to her telling me what their life had been like together?--telling me about all the things that had been denied to me--oh, how I loathe that woman!"
Why, asks Gerard, did you go to her again?--she was obviously insane--Quentin would never have gone back to her--it wouldn't have been allowed. At that time, possibly not, says Sam, but by the time the next letters arrived, it was quite clear that she had changed--the letters were addressed to Quentin, in her hand, because he was away, I read them. Of course, says Gerard. She was not the same woman--she was sane, there's no doubt about that, says Sam, she told him as much, and said she wanted to leave the asylum, asked him to come for her--I didn't know what I was going to do, but I knew I had to stop her--I wrote her to meet me on the grounds...
Back to the asylum in the past, and Sam continues her story: Joanna waits on the same bench. Samantha emerges from the fog. Why are you here? asks Joanna--I was expecting Quentin--did he receive my letter? No, he's away as sea, answers Sam. Did you send it on to him? asks Joanna. No, says Sam. I see, says Joanna--will you? No, says Sam. You cannot keep us apart, insists Joanna, not this time--we know what it's like not being together, and we won't let you keep us from being together. Isn't there anything I can say or do to stop you? demands an infuriated Samantha. Nothing, says Joanna quietly, I have suffered too much--I need him, and I will have him. He's away at sea, trying to forget, says Sam--don't do this, please give him a chance! Give who a chance? asks Joanna--you never cared for Quentin--you only cared about yourself--you and your insufferable pride, going in and out of the shops with your back held high and your head high! I love my husband! cries Samantha. You never loved your husband, denies Joanna, that's why I could have him--that's why he came to me! You can never have him, declares Sam bitterly--you won't have him--I'll stop you, you'll see, I'll stop you! Never! says Joanna, I will know when he returns and will be there waiting for him--and I will hold him again!
No! says Samantha, grabbing Joanna, who promptly falls over the cliff edge. Samantha kneels to look down, horrified.
We can only assume that she is dead, says Gerard--if she fell on those rocks--but if she didn't fall on the rocks--if there had been a high tide at the time, the water would have covered them. It doesn't matter, she fell, she's dead, insists Sam. Unless another body washed up on the shore, suggests Gerard. I don't care what you say, I don't care if you say she didn't die, wails Samantha, I know that she did--and she's come back to kill me--she propels herself into his arms, begging, help me, please, I'm so frightened!
Daphne enters Collinwood and spots her sister standing at the top of the stairs. "Joanna," says Daphne, "you've come back--you've come back for me!" Joanna smiles lovingly at her sister.
Joanna starts downstairs. Terrified, Daphne begs, don't do this--I don't want to go with you--I don't want to die--help me!--somebody please help me! She covers her face with her hands. Gerard opens the double doors. Daphne runs into his arms, begging for help. It's all right, Gerard assures her, your sister is alive--she testified at Quentin's trial--she is alive! Daphne turns to her sister-- "Alive?--you're not...dead?" (Oh, that is too lame!) No, smiles Joanna, hold my hand. Daphne does so, feeling its warmth. I'm alive, says Joanna. Daphne hugs her tightly. My darling sister! croons Joanna--are you afraid of me still?--I don't want you to be--I know some of the strangeness that's been going on in this house. I don't understand you, says Daphne, hugging her again. Sam gazes resentfully at the sisters. Daphne, let's go up to your room and talk, urges Joanna--please forgive us, she asks Gerard and Samantha. Talking, they go upstairs. Gerard closes the doors. Joanna is obviously alive, Samantha, he insists--her hands wouldn't be warm if she were dead--she is not a ghost. Won't anyone listen to me? cries Sam--that woman is dead, I tell you, she's dead.
Daphne's room - Daphne, asks Joanna, are you feeling better--I don't know how I feel about being such a shock to everyone. You always liked surprising people, says Daphne--I remember that. Surprise, yes, says Joanna, but... Do you remember Mother's birthday was the last time I saw you? asks Daphne--Mother was so ill, and I was there, I baked a cake for the two of us--and suddenly you appeared--you'd traveled a hundred miles!--while you were there, Mother was almost as well as she was before she was taken sick. I should have been a doctor, says Joanna.
Do you know what else I remember about you? asks Daphne, smiling--you always made everything right. No, says Joanna, I only tried to make things right, for a moment. You're wrong, says Daphne, you always made things right, you came back and testified for Quentin and now perhaps he'll be saved-- and it's because of you. You make me sound like a good fairy from one of your storybooks, laughs Joanna. That's what you always were to me, Daphne assures her. They hug. It's so good to have you back, says Daphne--when I was told you were dead, I didn't think I'd ever known such pain--or hatred--for Quentin--I blamed him at first for your death, and wanted him dead, too, it was as if a part of me died with you. Darling, you shouldn't blame Quentin, says Joanna. I don't anymore, says Daphne, I know now Quentin would never deliberately hurt anyone. Never, agrees Joanna. But then those terrible letters started coming, letters in your handwriting, explains Daphne, they were to Quentin and me, and suddenly, you became a dreadful threat to my life--and I'd loved you so much! Poor darling, sympathizes Joanna. They were in your handwriting, says Daphne, how could that be? They couldn't have been, insists Joanna, I didn't write those letters--except those I wrote to Quentin while I was in the sanitarium, but I never mailed those! But, says Daphne, taking one of the letters out of her desk--what about this one, it terrified me, I was certain you'd written it. Those aren't my esses or t's, points out Joanna--she writes, showing her sister how she makes them. I see, says Daphne, but if...it doesn't matter--I'm just so glad to have you back--she takes Joanna's hands in hers and asks--what did you do?--where did you go when you left the asylum? I went to Boston, says Joanna. What for? asks Daphne. I don't know, says Joanna, I guess I went there because I wanted to be in a city where I could be one of many. But why Boston? asks Daphne. For the obvious reason, says Joanna, I wanted to be close to that part of my life that gave me the most joy--and pain. You mean Quentin? asks Daphne hesitantly. I suppose so, says Joanna. You're still in love with him, aren't you? asks Daphne. Laughing, Joanna says, you still think of me the way you did when you were a little child--you're such an incurable romantic--we must have many, many talks like this, long ones, may I come and see you again, soon? Of course you may, says Daphne, any time--we've got to be very sure nothing ever happens to you again, never again! I promise you, my darling sister, says Joanna, nothing will. She gazes at her little sister with love.
Sam paces the drawing room--Gerard, how long do they plan to stay up there? demands Sam--they're plotting to kill me--you must stop them, Gerard, you must stop them! Stop it, he says, you're acting like a hysterical little child. Joanna knocks, apologizing for intruding--thank you for letting me see my sister, she tells Samantha. Yes, says Sam. And this gentleman, she says, referring to Gerard, I don't believe we've met, I think I neglected to introduce myself. They exchange introductions. It's such a pleasure to meet you, says Joanna--I trust we shall see each other again. She leaves. Did you hear that? asks Sam, her voice shrill--did you hear what she said?--she's coming back--I killed her, she's dead and she's going to come back to kill me! Her voice rises with hysteria. Gerard grabs hold of her, ordering, listen to me! She begins to cry. He takes her in his arms--go upstairs and relax, he urges--take a rest--go on. Don't leave me, she begs. Never, he swears. He closes the doors when she leaves. Joanna Mills, he says, I may learn to become quite fond of you--you can perhaps be most helpful with Samantha--and certainly with Daphne. He fishes his devil's symbol from his pocket and says, sitting by the fire, "There is a world, Daphne, awaiting you, a world you don't know very much about, but slowly, slowly, slowly coming to it--that world you want, Daphne, and that world wants you, so now, dream, and in your dreams you will not remember except in the darkest channels of your mind!"
Daphne yawns, realizing it's happening again--I want to sleep, I must sleep--what is really happening? She falls asleep and dreams: Gerard, wearing a dressing gown, in bed with her in the bridal chamber. Let me just look at you, he says, you're so very beautiful--those eyes, those lips...every day you become more and more beautiful, more fascinating, more real, more woman--I want to see the changes that you feel--I love you, so very much. She reaches up to him--I love you, too, she murmurs--and need you. They kiss passionately. You told me you'd show me a world I'd never known, says Daphne--and you have, and it's filled with happiness and joy--I don't know why, I don't understand it and I don't care--all I know is that I have you and that's all I ever want. They kiss. I thought once I wanted another man, she says, I was so foolish--I love you, Gerard! The dreams ends. Daphne awakens and leaves her room.
She goes to the bridal chamber and finds Gerard there. You look as if something is bothering you very badly, he notes--well it's time, my dear, time to make a very important decision for the both of us--he takes her hands in his and asks, "Daphne, will you marry me?"
NOTES: Have Gerard's dreams been effective enough to convince her, in her real life, to love him and want to marry him? It doesn't seem that way, but who knows? Perhaps this last dream did the trick. Perhaps Daphne will feel concerned about Joanna's relationship with Quentin and want to get out of their way.
I do not like Joanna and never have. I can't imagine Quentin loving her, not one bit. She doesn't seem at all like his type. While I was glad to see Daphne get her sister back, their scenes together left me cold.
I am, however, enjoying the torment Samantha is going through. This is one of the best-drawn, multi-layered characters on DS, especially in the episodes since Barnabas was introduced that focused on the spooky stuff. You can understand why Sam did what she did, although it doesn't appear she intended to kill Joanna; that was an accident. But she was angry enough to do so, at least IMHO.
So, is Joanna truly dead? Sam seems so sure she must be, yet here she is. Gerard is stringing poor Sam along and romancing Edith while courting Daphne in her dreams. Where will this all end--which woman, if any, will get Gerard/Judah?
Love, Robin
