1187 - "Dark and stormy night," says Grayson Hall's intro.
Daphne and Gabriel stare at each other for a frozen moment, then the camera pans back and we see he's in another wheelchair. What the devil's the matter with you? he asks. Nothing, says Daphne. Were you expecting to find someone else here? he asks. No, she says, I was just in Edith's room and I saw your wheelchair there! You saw it was empty, so your imagination went to work on you, did it? asks Gabriel mockingly. I couldn't imagine what had happened, says Daphne--I had a strange feeling when I was in Edith's room that something was wrong (did Gabe and Edith have separate bedrooms)?--I thought I heard footsteps in the corridor. It was your imagination, insists Gabriel, we're the only ones here. Where is Edith? Daphne asks? She had an appointment to go to, says Gabriel--did it ever occur to you that I might have two wheelchairs? No, says Daphne, I never thought of that. By the way, he says, when did you get home, I didn't hear you come in? I've been back for over an hour, she says--there's something very strange happening in one of the rooms in the East Wing. That's been closed for years, he says, guarded--what were you doing there? I heard a piano being played somewhere, she explains. That's ridiculous! he says--we're the only ones here. We're not, she says, it's so strange, I don't know how to explain it--I went off to see where the music was coming from, and it was coming from the room in the East Wing. Out in the foyer, Stokes and Julia have entered and overheard Daphne's last remark--"But when I walked into the room, it was empty, finishes Daphne. Julia and Stokes listen. Then the most amazing thing I've ever seen happened, says Daphne--suddenly, the room changed right before my eyes and it was fully furnished and brightly lit--and then a man walked in, a man I'd never seen before. Julia and Stokes enter the drawing room as Gabriel mockingly inquires, did you ask the nice man who he was? I should have known better than to tell you! shouts Daphne--you just forget everything I said! Tell us, Daphne, urges Julia, we'd like to hear about-where was this room you saw? In the East Wing, says Daphne. You're not going to believe for a moment she saw anything are you? asks Gabriel, incredulous (and fearful that someone will find the dead Edith, no doubt). We're willing to listen, says Stokes. This is absurd, outrageous, pronounces Gabriel, there's no one up there! Daphne, would you show Julia and me that room? asks Stokes. Terrified, Gabriel says, this is ridiculous; there's no one up there--no one's used that wing for years--she's hallucinating. Julia gazes at Gabriel--why are you so upset? she asks. I'm not upset, he says, wheeling himself toward the booze, I just think it's ridiculous, that's all. Perhaps it is, but there doesn't seem to be any harm in trying to find out, says Julia. All right, if you want to waste your time, you're entitled to it, says Gabriel. Come with me, I'll take you there, says Daphne. They leave Gabriel, boozing it up alone, in his wheelchair.
East Wing - Daphne shows them the room. Stokes opens the doors, but the room is dark and empty, lightning flashing against the windows. I know it sounds fantastic, says Daphne. To someone like Gabriel it might, says Stokes, but not to Julia or me. You mean you believe me, says Daphne, relieved. Yes we do, Julia assures her. I want you to tell me everything you remember seeing and hearing in this room, after it changed, says Stokes. I can remember the whole thing, says Daphne, well, there was no one in the room at first, then a man entered. A man you had never seen before in your life, prompts Julia. Yes, but I knew he was a member of the family, says Daphne--his name was Morgan Collins. How did you know that? asks Julia. Because Valerie called him that, says Daphne. Valerie? asks Julia, was she in the room, too? Yes, at least I thought it was Valerie, says Daphne, but the man called her Catherine Harridge.
That's your last name, says Julia. Yes, I know, says Daphne--and that's the most amazing part of all, because after the man left the room, the next person who came into it was ME!--now you think I imagined it. On the contrary, says Stokes, I'm more convinced than ever that it actually happened--do you remember what the people in the room were talking about? Yes, says Daphne--Morgan had summoned Catherine to the house to ask her to marry him--she seemed receptive, but she put off giving him an answer. What was the other Daphne doing then? asks Julia. As I said, describes Daphne, she came in later and had overheard the conversation--she reminded Catherine that there was another man she loved since childhood, a man who would soon be returning to Collinwood. Did anything else happen in that room? queries Stokes. No, she replies, nothing except that there was something about the house that I was frightened of--she said she didn't see how any bride-to-be could be happy here. Did you try to communicate with those people? asks Stokes. Yes, of course I did, says Daphne, but they couldn't see or hear me--and I even tried to get into the room, but I couldn't--there was some sort of barrier that kept me out! I presume you've never heard of something called parallel time, says Stokes. No, what is that? she asks. The existence of two of more worlds in different time bands, running concurrently, says Stokes--the people you saw in that room, were, in effect, the people you know in this world--but because they made different choices in their lives, obviously, their behavior was different, although they looked the same--Julia and I once shared a similar experience; she'll tell you about it on the way downstairs--I think you'd better get some rest--and I think we'd better get out of this room--it may revert to parallel time without warning--if we're in it, we cannot get out. (others have.) What will you do? Julia asks Stokes. I'll wait in the corridor and see if anything happens, says Stokes--don't say anything more to Gabriel, let him think she imagined it. I understand, says Daphne. Julia leads the younger woman out, Stokes following. He looks around the room once before exiting, then closes the doors behind him. He hears voices behind the door after the ladies leave, Catherine saying, "Oh, Morgan--you startled me!" I thought when you left the house, you'd gone to think about my proposal, says Morgan. I had, she says. I thought you might have come back, he says--I hoped you might have made a decision. Stokes throws open the doors and watches Catherine ask Morgan, "You do love me, don't you?" More than you can possibly imagine, he says, taking her into his arms--more than anyone you've ever loved before. Do you mean more than anyone who's ever loved me? she asks wistfully. He moves away--I'm sorry, he says, I shouldn't have said that--you've made it quite clear enough the past is forgotten, and I accept that. Oh, you are a good, gentle man, says Catherine, and I do love you--all I need is time, just a little more time, I shouldn't have raised your hopes--I simply came back because I forgot my purse. Stokes spots a Julia look-a-like watching the scene between Morgan and Catherine.
Good evening, Catherine, bids PT Julia. Good evening, says Catherine. How long were you standing there? asks Morgan, his mouth a tight line. Just a few moments, she replies, I heard voices and I wanted to talk to you--but I suppose it's too late, we can do it some other time. Not at all! says Catherine, I know my way to the door--Morgan, you stay here and talk to your aunt--good night. It's always nice to see you, Catherine, says Julia, not sounding as if she means it. Thank you, says Catherine, and leaves. You've asked her to marry you, haven't you? Julia asks Morgan, her voice icy. Nothing that happens in this house ever escapes you, does it? asks Morgan coldly. The proposal was inevitable, we've all known it, she replies--I suppose she did not give you an immediate answer? You suppose correctly, as always, he says. Catherine knows her own mind, says Julia, she's strong and loyal--and if she accepts you, she will make a fine wife. You're leading up to something, my dear aunt--what is it? The question of where you and Catherine will live, she replies--after you're married. We're going to live here, of course, says Morgan. You know very well that you cannot bring anyone into this house! hisses Julia, and you know very well why. I refuse to let my fears be decided by the fears that exist in this house, insists Morgan. I am speaking of realities, says Julia--how can you possibly deal with the problem--if Catherine is living here?--how can you explain to her that she's got to lock her doors every night, that her life is in constant danger--what in the world will you tell her? I will tell her nothing, says Morgan, because I believe she is what this house has needed for a long time--I believe things will change if she were here! They will change only if you told her the whole truth, says Julia vehemently, and your mother and I would never accept that--you know you must never tell anyone. Now listen to me, insists Morgan, we can't allow this secret to go on any longer--we can't live in this atmosphere of fear!--we can't lock our doors every night, we cannot walk down the halls without feeling fear! Please lower you voice now, cautions Julia. The servants are in bed, says Morgan, there's no one listening. They may or may not be, she says, I don't want to take the chance of anyone overhearing--she closes the doors in Stokes' face. When he throws them open again, the room is empty once more. He goes in and walks around, looking.
Drawing room, Collinwood - Having been told the theory of parallel time, Daphne tells Julia, I can't quite comprehend it all--a time warp! If the room changed once, it will change again, says Julia--the danger, the problem is, we don't know when it will change, so the only thing to do if you go to the room, do not go inside it. Do you mean I could be trapped in that other time? asks Daphne. Exactly, warns Julia--do not go inside that room!
9 o'clock - Gabriel wheels himself into the drawing room--Daphne, he asks, have our visitors left? Yes, a few moments ago, she replies. Did they find any strange people wandering around the East Wing? he asks. No, she says, they found nothing. Precisely as I thought they'd find, he says--Edith didn't come in, did she? Not yet, says Daphne. Of course not, says Gabriel--the nature of her appointment would require more than an hour. What are you talking about? asks Daphne. I'm talking about my wife's mad infatuation with Gerard Stiles, says Gabriel--they've been doing that for quite some time now--they have a little trysting place, and they go off together from time to time.
Daphne stands--I can't believe that, she says. Why would I lie about a thing like that? he asks, it's quite true--actually, it's rather amusing--you see, Edith doesn't know it, but Gerard has had his fill of her--she's become an albatross around his neck and he can't wait to for a time to dispose of her. I don't know how you can talk like that! cries Daphne, I really don't! She runs from the room. It's easy, my dear, says Gabriel, sitting back with a sly expression on his face--incredibly easy.
East Wing - Edith's body falls at Daphne's feet. Daphne screams, then kneels to check the body. She's dead! Daphne realizes, hearing Gabriel's voice in her mind
--Edith has become an albatross around Gerard's neck, and he cannot wait to find a way to dispose of her.' Gerard!--it must all be true, thinks Daphne--what Barnabas and Quentin told me in the jail cell and what Gabriel said just now--oh, no! She runs off, leaving Edith's body in the hallway, and runs downstairs screaming for Gabriel--but throws open the double doors and instead finds Gerard. What do you want with Gabriel? he asks. Nothing, babbles Daphne, it's not very important, really. I think you're lying to me, he says--I think you're hiding something. No, she assures him, I'm not, I've just been very upset all day, ever since I heard the news about Quentin. She turns her back to him. Is that all it is? he asks. Yes, says Daphne, squeezing her hands together nervously. I suggest you go upstairs and try to get some sleep, he advises. I'll try to do that, she agrees. I think it's a good idea, says Gerard. Good night, she says and heads upstairs, but first exchanges a glance with him that convinces him something is up.
Daphne enters Edith's bedroom and looks around (such a dreary room). She finds a cufflink on the floor. G--Gerard! she says to herself--I'm right! They must have had a fight here and Gerard dropped his cufflink. She hears footsteps and hides behind a dressing screen. Gerard enters the room and looks around, very close to where Daphne is hiding. He closes the door behind him and leaves. Daphne listens at the door and opens it--Gerard is standing there. What are you up to? he demands. Stay away from me, Gerard! she cries. Neither one of us is going to leave this room until you tell me what you're up to, he warns.
When he turns to close the door, she hits him over the head with a candlestick, then steps over his unconscious body and leaves him lying on the floor, locking the door behind her.
Drawing room - Daphne races in--Gabriel, something terrible has happened!--it's Edith--she's dead!--she's been murdered. Oh no! says Gabriel, his face a horror-stricken mask. I know who killed her, says Daphne--we've got to go to the police! Wait a minute, he says, breathing nervously. You were right--it was Gerard, says Daphne--Gerard killed Edith, he nearly killed me--I was just in Edith's room! Wait a minute, says Gabriel, you were just in Edith's room. Yes, she says, and Gerard followed me there--I knocked him out with a candlestick, I locked the door--I'll get the carriage and go for the police. We've got to do this right, says Gabriel--don't panic, we're safe--now just tell me exactly what--he's up in a room and the room's locked! He's in the room, says Daphne--aren't you even shocked by all this? Of course I'm shocked by it! insists Gabriel, I tried to warn Edith, again and again, but she wouldn't listen--it's vital that I know everything that happened--close the doors--close them. She does so. How are you so sure it's Gerard? he asks. I've got proof, she says. What kind of proof? he asks. This, she says, holding up the cufflink with the letter "G" on it--I found it in Edith's room--they must have struggled and Gerard must have lost it. She hands it to him. Now how are you sure this is enough proof for the police? he asks. Of course it's enough proof! she blathers--they'll come here, question Gerard, find the missing cufflink--you can tell them about the affair Edith and Gerard were having, and of course they'll arrest him. You're quite right, my dear, he says, staring at the cufflink, but you know it's rather frightening to think that something so insignificant as a missing cufflink--he holds up the one she found next to the one in his own shirt sleeve--could condemn a man. Oh, no!--no! bleats Daphne, backing away from him. Yes, it's mine, he says, and I'm much obliged that you brought it back to me--and so saying, he rises to his feet. Daphne covers her mouth with her hands, gasping in disbelief. Gabriel steps over the ever-present afghan that covered his lap and says, "You're right, Daphne, you're going somewhere--but you're not going to the police!" He comes at her.
NOTES: Did enough happen for you in this episode? We're getting more embroiled in the lives of the characters from 1841PT, including the seemingly cold Julia Collins. What is the secret the family is hiding that they don't want outsiders to discover? Will Catherine change the household, as Morgan hopes? Or will Collinwood change her?
Daphne is in serious trouble here. Funny that since Gabriel put the notion in her mind that Gerard wanted to get rid of Edith, it never once occurred to Daphne that the cufflink she found with a G on it was actually Gabriel's, not Gerard's. I wonder if the writers were far-seeing enough to anticipate this plot development. It was very suspenseful, and well played out.
It always makes me laugh when a "body" appears on DS. Clearly, that was just an empty dress or a body double appearing as Edith's body. Heaven forbid they should pay the actual actor to play dead. When Willie Loomis was in the hospital, they kept him in an oxygen tent much of the time, so they didn't need Karlen to actually play him--any body would do.
Great acting on everyone's part today, especially Pennock. How ironic that Daphne knocked out the man who would save her, and ran to Gabriel. It didn't even occur to her that he was the murderer. I guess Gabriel figured he couldn't bluff it out, perhaps take off the other cufflink and put on new ones, so he had to reveal himself--and what an exciting revelation it was! Back then, other soaps just never got this good.
If I were Catherine, I wouldn't want to marry Morgan, but that's just me.
1188 -
Gabriel covers the struggling Daphne's mouth with his hand--it won't do any good to scream, he says, there's no one to hear you, except Gerard, and he's unconscious, remember?--yes, I can walk, and yes, I killed Edith, and now you know everything, and that's why I'm going to have to kill you, because you know too much for your own good.
Gerard lies unconscious, the candlestick beside him. He comes to, holding his aching head, and picks up the candlestick. He stands, tosses the candlestick aside, and realizes he's locked in. Daphne, are you out there? he calls, but receives no response. He opens a drawer next to the bed
Gabriel is tying Daphne to a chair in a deserted room in the East Wing. Why did you kill Edith? she asks. "Because she was rotten," he replies, "no one deserved to die more than Edith did--and I killed Randall Drew, too." Daphne turns away in horror at this new revelation. It's all right you know everything now, he says--it was all part of my plan to get rid of Quentin--and it worked. You're unspeakable! she accuses. It didn't quite work as well as I thought, he says. You actually thought you would become master of Collinwood? she asks, incredulous. I didn't think it would be Gerard, says Gabriel, I tried to dispose of him, too, but he seems to have more lives than a cat--however, his time will come--I'm going to see to that. What do you mean? she asks. Why do you think I brought you here? he asks--why do you think I didn't kill you? I don't know, says Daphne. Because you're the only one Gerard is capable of loving, you're his weakness, my dear, and my bargaining power--Gerard is going to pay everything he owes in the world to see you alive--and I'm going to get it--I'm going to be financially independent for the rest of my life--and then I'll go far away from here, and then notify Gerard as to where you are. I don't know how you can let me live, says Daphne (not wise, girl!)--you know if you do I'll go to the police and tell them everything. That's just a risk I'll have to take, says Gabriel--the police will have to find me, won't they, but I'll be so far away, they never will. What about Quentin? wails Daphne, you can't let him die! It's either me or Quentin, says Gabriel--not much of a choice, is it?
--I'm going to leave you now; I doubt that your screams will be heard (he extracts a handkerchief from his pocket). No! protests Daphne. I'm not going to take that risk, he adds-- he balls up the handkerchief and stuffs it into Daphne's mouth, stemming her screams. Sorry about the discomfort, he says--I'll be back from time to time, to remove it. He leaves, locking the door behind him, and pockets the key. Daphne begins to struggle against her bonds, screaming against the gag.
Gabriel exits the East Wing and hears voices coming from the PT room. "You wanted to see me, Mrs. Collins?" asks a girlish voice. "Yes, Stella, sit down," says an older woman. Gabriel pushes open the double doors and spots two women, one of whom looks exactly like Flora!
What are you doing in there, Flora? calls Gabriel, but there is no response--why did you enter the room?--answer me, Flora! He tries to enter, but finds himself barred. Stella, asks Flora, are you happy with your position at Collinwood? Of course, replies Stella. I was under the impression you had a good memory, or so you told me when you applied for the position a month ago, says Flora. Yes I have, replies Stella uncomfortably. Then what made you forget the rules and regulations I outlined to you when you came here? asks Flora. My forgetting wasn't the question, ma'am, I was afraid someone was in terrible trouble? says Stella. Who? asks Flora. I had no way of knowing who it was, says Stella. Is it your position to provide protection for my family? asks Flora. No, ma'am, says Stella. You were engaged as a private secretary for me, is that correct? Yes, says Stella. You enjoy working good hours, earn good wages, and get your room and board free, says the older woman. I know all that, says Stella, I appreciate your having me here--I'm very sorry for the misunderstanding. There was no misunderstanding, says Flora sternly, you were instructed when you came here to remain in your room after dinner, yet last night at nine o'clock, you were found in the hallway leading to the north tower! Agitated, Stella stands--I told you I heard a terrible scream coming from the tower room, she says--Cook heard it, too. I've already talked to Cook, says Flora, she heard nothing. But she was there in the corridor with me, protests Stella--Mrs. Collins, it sounded like someone was dying. Are you telling me someone was killed in that room last night? demands Flora. I don't know, bleats Stella. (Gabriel's eyes widen; are they speaking of him?) If someone had, I'd have known about it, wouldn't I? asks Flora, and done something? Yes of course, says Stella miserably. Nothing happened here last night, insists Flora, nothing out of the ordinary
--this is a very old house, and you must learn not to become hysterical every time you hear a strange noise in the night--do you understand? Yes, says Stella. My demands on you are very few, says Flora, but I must insist you remain in your room after diner, and pay no attention to any sounds you hear outside your room. Stella nods--yes, she says, just as you wish. We have some correspondence to attend to, says Flora, closing and locking the door. Gabriel tries to get back in, but can't.
Collinwood - The clock strikes 6, but it's actually a few minutes past. Holding his head, Gerard comes downstairs, calling for Daphne. Gabriel wheels into the foyer--what are you trying to do, Gerard--wake the dead? Have you seen her? asks Gerard. No, is she lost? questions Gabriel. Something is wrong with her, says Gerard--something terrified her in this house tonight, I went to talk to her to find out, she wouldn't tell me--I went to Edith's room to find out, and she hit me over the head with a candlestick. He touches his sore head. Sounds as if she was afraid of you, says Gabriel. She has no reason to be afraid of me--that's what I wanted to tell her, says Gerard--I looked all over the house for her, upstairs, all over--she's nowhere in sight. She's not down here, either, says Gabriel--by the way, when did you get back? About an hour and a half ago, why? asks Gerard. I was wondering if you ran into Edith on your travels this evening, says Gabriel. What would I want with Edith? asks Gerard. Come, come, old boy, says Gabriel, I know what you're up to, I know you plan to meet her tonight--and I know what's been going on. "Nothing has been going on between me and your precious little wife" Gerard informs him--although she has tried--out of sheer boredom--she's your responsibility, old boy, now if you keep her away from me, I'll see to it you get an increase in allowance--if you'll excuse me, I have to go to Rose Cottage to see if Daphne's been there. Gabriel grins as Gerard exits the house.
Drawing room - Gabriel stares into the fire. Samantha enters. He greets her cordially. Where is Gerard? she asks. He went off to Rose Cottage, says Gabriel, to look for Daphne. What is she doing there at this hour? demands Sam. He's actually not sure she's there at all, says Gabriel, but he's desperately trying to find her. Why is he desperate to find her? asks Sam impatiently. I don't really know, says Gabriel--all I know is that there are some very peculiar things going on in this house--part of the continuing game of life and death we all seem to play. The front door opens, Gerard comes in--I went to Rose Cottage but Daphne wasn't there, he says--Flora hasn't see her all evening. What is all this about Daphne? asks Sam nastily. I can't tell you that, my dear, until I see her, says Gerard--the last time I did see her, she was in a hysterical state--he pours himself a drink--she wouldn't talk to me, instead she just hit me over the head with a candlestick. Are you all right? asks Sam, concerned. Gerard is annoyed at her question. Why would little Daphne do a thing like that? wonders Gabriel--oh perhaps she realized you were rendezvousing with my wife Edith--that might upset her. Sam is shocked and pissed off at this accusation. Gabriel wheels himself out of the drawing room. Gabriel! calls Gerard. Sam closes the double doors--never mind about Gabriel, she says--what is this about Edith? You know how Gabriel is, says Gerard, he talks just to embarrass me. He's never gone so far as to connect you and his own wife, says Sam. You don't think I would be interested in someone like Edith? She could very easily become interested in you, says Sam resentfully. She already has, says Gabriel, more than once. Of course, says Sam, you didn't respond. No I did not, says Gerard, I will never help a woman who acts like a complete and utter fool. Sam gazes at him and is about to speak when someone knocks at the door. Gabriel answers. It's Joanna, asking to see Daphne. It's Joanna Mills, Sam tells Gerard--for heaven's sake, get rid of her! You must relax while she's here, says Gerard. I don't want her in this house, she's dangerous, insists Sam. There's been no evidence of her being dangerous, says Gerard. She's up to something, I know, says Sam--she's just biding her time, then she'll get even with me. If that is true, says Gerard, then I suggest you try to remain cool and calm like she does. Don't tell her anything about Daphne, advises Sam, then she'll never leave. Gerard exits the drawing room and joins Joanna and Gabriel in the foyer. I'm sorry for coming so late, says Joanna, but I must see my sister--it's very urgent. I'm afraid she's not here, says Gerard. Do you know where I might find her? queries Joanna. No, I don't--she left the house, I don't know when she'll return, says Gerard. Gabriel listens with interest. Do you mind if I wait? asks Joanna. Can't you take care of your business with your sister in the morning? asks Sam curtly--it's very late, you know. I know my presence here is unwelcome, says Joanna, but as I said, my business is very urgent. We understand, says Gerard--why don't you wait in your sister's room? Thank you, says Joanna, that's very kind. Heading upstairs, Joanna says, Mrs. Collins, I've been informed that my things were sent here when I left the sanitarium--I'd very much like to have them back--at your convenience. Samantha just looks at her.
Gerard leads Joanna to Daphne's room--I hope you'll be comfortable, he says. Thank you very much, says Joanna. I'll be here all night, he assures her, if there's anything you need. She goes into Daphne's room.
A nervous Sam paces the drawing room. Gerard joins her. Why did you let Joanna stay in this house? demands Sam. Why not? he asks. Because this woman is trying to kill me! cries Sam. You'll have to prove that, he points out, and if you do, you'll reveal certain things you did against her, and I wouldn't advise that, my dear. Does that mean I have to stand around and do nothing about her presence? asks Sam. He puts his hands on her shoulders--you must wait until Joanna makes the first move, he advises. Oh, fine, says Sam sarcastically, it might be too late then. It won't be, he says, I promise I'll protect you--I've told you that repeatedly. I don't quite believe you, she says. You will, he says, you must--by the way, there is a question I wish to ask you--someone told me a little earlier this afternoon that you put Tad on a stagecoach bound for Boston--I just wanted to know whether that was true or not. He was very upset about his father's conviction, says Sam, I sent him away to relatives in Boston. That's all?--what about me? asks Gerard.
You? asks Sam. He's in line to be heir to this estate when he reaches 21, says Gerard --do you find his life in danger? No, she says, why do you ask that? Merely curious, he says--so, my dear, he will come back, soon. Yes, she smiles, intimately touching his face--soon. That's all I wanted to know, he says. They kiss, both harboring their secrets.
Gabriel pulls the gag out of Daphne's mouth. How does "my little Daphne" feel? he asks. How do you suppose I feel? she retorts. I am sorry about the discomfort, he says, but the ropes and gag are necessary, you know--you'll never guess why I came back to see you--it seems I owe you an apology--you know the strange room you talked about--I've just come from there, right after I dropped you off here. What did you see--what was in the room? she asks. No, my dear, he says, I'm not going to tell you anything--you're going to tell me every single thing you know about that room. Gabriel, she cries, I don't know anything except what I saw. I don't believe you, he says, I saw how anxious Mr. Stokes and Julia were to hear your story about the room--what did they say?--did they see the room change? Stokes did, she says. What did he say--how did he explain it? asks Gabriel. He said some things to me I didn't understand, says Daphne--but... But WHAT, Daphne, tell me, I want to know! shouts Gabriel. Julia told me something that might be quite interesting to you, she says--she explained to me that what is in that room is part of a whole different world from the one we live in--it's something called parallel time. What is that? asks Gabriel. I can't really explain it, says Daphne, I don't really understand it, but if you are in that room when it changes, you become a part of the world going on in that room. Why would I want to do a thing like that? he asks. Don't you understand? she asks, this could be your means of escape!--even if you get what you want from Gerard, you'll never be completely free--but if you go into that room and are there when it changes, you would become part of a different world, a whole new time, and no one could ever find you, ever! That sounds fascinating, incredible, grins Gabriel, I think I'll do that--but only after I get what I want from Gerard--he stuffs the gag back into her mouth as she protests.
Joanna leaves her sister's room, exploring. Gabriel exits the East Wing, spots Joanna (who doesn't see him), and quickly moves away, closing the door. Joanna opens the door he just shut--is anyone in here? she asks.
Gabriel stands hidden behind a pillar, twisting a rope in his hands, ready to throttle her.
NOTES: Is Joanna going to become Gabriel's next victim? I swear, he Gerard are running neck and neck in their murder sprees. And Daphne might just starve to death if he leaves her there long enough. There's no evidence that he's giving her food or water.
More mystery in the parallel time room. Imagine taking a job that doesn't allow you out of your room after 9 PM. I'd ditch that job if I were Stella. Flora's 1841PT counterpart doesn't seem nearly as much fun as RT Flora.
Gabriel seems to be losing what little grip he had on sanity. Will he really attempt to escape into PT? What if there's already a Gabriel there? Can two exist together?
This isn't the first time we've seen someone get a handkerchief stuffed in their mouth as a gag. It doesn't make much sense to me--can't the person just push it out with her tongue and scream away?
Love, Robin
