1203 - It's thundering and lightning. Catherine awakens, sees Melanie about to stab her, and frantically reaches up to stop the attack.
Catherine slips out of bed and tries to escape, but Melanie slams the door closed. You cannot escape, says Melanie, stalking Catherine with the upraised knife--he will have his revenge! You don't know what you're doing! cries Catherine, no! She screams shrilly, holding up her hand in a last-ditch effort to ward off the knife.
Julia runs in--Melanie, put down the knife! she orders. She does not belong here, insists Melanie, sounding like someone else altogether. Look at me, Julia orders her niece. "He's not at rest and never will be!" intones Melanie. I said look at me! commands Julia. Melanie does so. Catherine, breathing heavily in terror, moves out of striking range. You should not interfere, Melanie tells her aunt. I will walk toward you, says Julia, and you will give me the knife. I must please him--you cannot stop me! says Melanie. The two of them look at each other for a moment. Julia again asks for the knife. Melanie, viciously insists, my name isn't Melanie--you know that! I do. agrees Julia. Catherine watches, perplexed. Everything will be all right, Julia assures her, moving closer to the young girl--I will take you to your room and give you some hot cocoa--you'll like that, won't you? Melanie's face softens; she lowers the knife and allows Julia to take it. Julia leads her away. Morgan, having heard a scream, comes running down the hall. Julia quietly reports, Melanie tried to kill Catherine. Oh, no! exclaims Morgan, who goes in to comfort his fiancee. Catherine hugs him in relief--I'm all right, she assures him. I'm sorry for this, he says. I'll never forget the look in Melanie's eyes, says Catherine--why did she want to kill me? Try to understand, begs Morgan, she didn't know it was you. I don't understand what her motive was, that's what you've got to tell me, insists Catherine. Morgan walks away from her. Morgan? she says. I'm afraid it's very difficult to explain, he says. You owe me an explanation, says Catherine--now tell me what's wrong with Melanie Collins!
Considering how upset you are, says Morgan, perhaps we should wait until morning. We're going to talk about it tonight, insists Catherine--what about Melanie? I don't know where to begin, he says. The beginning, she urges. Ten years ago, Justin was locked in the lottery room, begins Morgan. You mean, says Catherine, this has something to do with that room? Yes, but I don't know exactly what it is, he says. You say Melanie didn't know it was me, prompts Catherine. It's because when she's in this state, she isn't really aware of who anyone is--it goes back to the night Justin went into that room, he says. Your father was chosen in the lottery, says Catherine. They both sit on the bed. Yes, says Morgan and none of us were really aware of it, but sometime during the night, Melanie slipped from her room and went in there after him. In the morning, we went looking for Father and were shocked to find Melanie in there with him. She was cradling Father in her arms, and we knew when we looked at him that he would never be the same. And Melanie? asks Catherine. Melanie appeared frightened but fine, says Morgan--later the next evening, we were all seated at the dinner table, but Melanie's chair was empty. We began looking for her. Quentin found her huddled against the lottery room door, but Melanie looked at him as if she'd never seen him before--her whole personality had changed--she had become someone else. That's not possible, you know that, says Catherine. That's what we all thought, he says--we soon found out it was true. What could have happened to her in that room? wonders Catherine. I have no idea, says Morgan, but Melanie has been having these bouts of split personality ever since. Catherine, appalled, insists, this girl is dangerous--we must do something about her. That's the astonishing thing about it, says Morgan--this is the first time Melanie became violent. I don't understand, says Catherine, I really don't. It will never happen again, he promises--you must believe me. She kisses him, accepting, believe it or not.
Parlor - Julia tells Quentin what happened--if I hadn't walked into the room when I did, she says, Catherine would have been dead, Melanie would have killed her. Did you tell Mother? asks Quentin. Yes, she's as baffled as I am, says Julia. It's obvious violence is inevitable, says Quentin--it must manifest itself through someone, and when they brought Father out of the room, he was the one who had violent streaks--now he's dead--but violence must manifest itself through someone--you know it could probably have happened to any one of us. Do you think it might have happened because of the postponing of the lottery? asks Julia. I don't know, he says. What are we going to do? she asks. Have you and Mother ever thought of having Melanie put away? asks Quentin. She won't, says Julia, for the same reason we never put Justin away. Family pride and a fear of scandal, says Quentin--I think it's time you reconsidered.
She will not be put away, insists Julia, I'm certain of that much--we'll watch her carefully and lock her in her room at night as we did with Justin, and make sure she won't harm anyone. She leaves the room. Quentin shakes his head.
Catherine brushes her hair in front of the mirror.
When Melanie enters, they stare at each other, Catherine unsure of how the young woman will react after the previous night's violence.
In her sweet voice, Melanie bids Catherine, "Good morning--did you sleep well?" Looking at her in amazement, Catherine replies, I did. Noticing the other woman's behavior, Melanie asks, is something wrong? You certainly seem cheerful this morning, remarks Catherine. I had a good night's sleep--I went to bed quite early, says Melanie. And slept through the night? asks Catherine in disbelief. Yes, says Melanie. You don't remember? asks Catherine. Remember what? asks Melanie. Nothing at all, says Catherine. Come down to breakfast, says Melanie. I'll be right down, promises Catherine. Confused, shocked, Catherine watches Melanie leave.
Quentin exits the kitchen and answers the door--Daphne. What a pleasant surprise, he says-- call me Quentin, not Mr. Collins. (She looks adorable in a bonnet.) What can I do for you? he asks. Is my sister here? asks Daphne. I thought you'd come to see me, he says. To tell you how much I enjoyed our walk into the village the other day, she says, smiling. He laughs--did you? he asks. Yes, she replies. I did, too, he agrees--perhaps we can do it again sometime. I wouldn't be a bit surprised, she says. He offers his arm to walk her upstairs to the guest room to see her sister.
Melanie, playing the piano for Julia, who is working on needlepoint, stops suddenly, rubbing her hands together. What happened to Stella Young? asks Melanie--why isn't she here anymore? She wasn't happy here, so she left, says Julia. Why did she leave us so abruptly? asks Melanie. Why are you so concerned about Stella? asks Julia. I'm not concerned, just curious, says Melanie, it seems so odd--she was Mother's secretary for such a short time, then just vanished. Vanished? asks Julia--she left. Did she leave a forwarding address? asks Melanie. No, says Julia. Isn't that rather unusual? asks Melanie. Julia rises--why are you asking all these questions? asks Julia. I told you, I'm just curious, says Melanie. There must be a reason, says Julia--does it have anything to do with that man?--Kendrick Young--has he been on the grounds, have you seen him? Melanie turns away and lies, "No, Julia." I hope you're not lying to me, says the older woman, it's imperative that if you see him, you must tell me. I haven't seen him, I swear it, says Melanie. I hope you haven't seen him, says Julia, but if you do, you must not talk to him. Why does he upset you so? asks Melanie. He doesn't, says Julia, he's just a troublemaker, arrogant and unreasonable--he will never be welcome in this house.
I will remember that, says Melanie. She returns to the piano and continues playing (I don't know the tune, perhaps some of you do). Julia looks solemn over her needlepoint.
Guest bedroom - After Quentin brought me back from Bramwell's house (I wonder if she confessed all that happened there), I was very upset, relates Catherine, so Morgan asked me to spend the night here--I'm sorry for worrying you. You've still got me worried, insists Daphne--because it's not like you to keep something from me. I'm not keeping anything from you, says Catherine, but her face says otherwise. Your experience with Bramwell might have been upsetting, says Daphne, but I doubt it was enough to frighten you--I think something else happened that did frighten you--I know because you are still frightened now, you just don't think it shows--please tell me the truth--what happened?
I don't know why I tried to keep it from you, agrees Catherine, you were bound to find out sooner or later. Find out what? asks Daphne, sitting on the bed. Catherine joins her--remember the day you met Ezra Robinson in Collinsport, who told you about a locked room and the lottery held every generation--everything he told you is true. How did you find that out? asks Daphne. Morgan told me last night, says Catherine. I still don't think that's all that's upset you, insists Daphne. I was almost murdered last night in my bed, reveals Catherine, by Melanie Collins--Julia came in and stopped her, but when Morgan came in to console me, he told me Melanie has been suffering from some kind of illness for over 10 years
-- and from time to time, her whole personality is different. This is incredible! says Daphne. It's not as bad as it sounds, says Catherine, because this is the first time she's ever been violent, it's never happened before. Morgan thought that would console you? asks Daphne incredulously. He was very upset, says Catherine. He should have been! says Daphne--now that you know all of this, you surely aren't going to marry Morgan! Of course I am, says Catherine. You aren't going to consider living in this house? asks Daphne, are you?--after what happened last night? I don't know what do about Melanie, says Catherine, but what's important is that I believe all those things Morgan told me are just superstitious nonsense. You can't be serious, says Daphne. Yes I am, says Catherine, I think the only thing wrong with the Collins is a hundred and sixty years of accumulated fear--I'm going to come to this house, marry Morgan, live here, and do everything in my power to make this a happy, sane place to live. She smiles confidently. (Oh, Catherine, you are so naive!)
Quentin sits in the parlor, thinking. Daphne comes in--I must talk to you, she insists. Anytime, he says, but I don't like the look on your face. You aren't going to like what I have to say either, I'm afraid, she says severely. Speak right up, he urges. I know all about the lottery and the locked room, she reveals. Just what in God's name did your sister tell you? asks Quentin, immediately furious. It won't do you any good to get angry, says Daphne--I know about it and that's all there is to it. No, my dear, that's not all there is to it, says Quentin. Catherine has pledged me to secrecy, says Daphne, and I wouldn't do anything to upset her--your family secret is safe--but I've come to you because I don't know who else to go to. Just what are you talking about? asks Quentin. My sister can be very stubborn about certain things, says Daphne--I have urged her not to come live in this house, but she's refused to listen to me, so I want you to promise me something--Catherine says the lottery will take place after she and Morgan are married--I want you to promise me you won't allow her to become involved in it. Quentin shakes his head--no, I can't make that kind of promise--if Catherine marries in the family, she becomes part of it, and must abide by all decisions made by the family--if it is decided everyone will take their chance in the lottery, Catherine will be one of those.
Melanie exits the drawing room, a book in her hands. She meets Julia, who is carrying a tray, in the foyer. I thought you were in your room, says Julia, not pleased to see her. I left my book in the drawing room and came down to get it, says Melanie--where are you taking the tray? To my room, where else? asks Julia. I don't know, it just seemed so strange, says Melanie--you carrying a tray of food--you always have Cook bring it to your room. I dismissed Cook directly after diner, reports Julia--good night, Melanie. (Wonder what bad thing Cook did?)
Julia leaves the tower room with the now-empty tray and locks the door behind her. She finds Melanie standing there. You following me, accuses Julia. I knew you weren't telling me the truth, says Melanie--why did you lie to me? You should not have come up here, says Julia sternly. You were taking that food to someone in the room, weren't you? asks Melanie. Julia shakes her head. Who is it? asks Melanie--who is in that room? Julia just stares at her.
NOTES: Who IS in the room? The mysterious Stella, perhaps? Or did Trask survive being stabbed and they're hiding him in the tower?
If I were Catherine, I'd be gone so fast from that house, and break my engagement to Morgan with equal speed. She has hope, and determination, but to think she can buck all those years of sick lottery tradition is just asking for trouble. She should go as fast as possible to the Old House, where she found such passion in Bramwell's arms.
Melanie sounds like she has a couple of personalities there, one murderous. She should perhaps be committed, but the family would never take that step. They stick together, which makes it hard for outsiders to get in. Catherine has her work cut out for her.
It must have been so terrible for Melanie, going to find her father in the locked room, trying to help him. Obviously, it affected her mind.
1204 - Melanie, says Julia, there is no one in that room. I can't stand anymore secrets, says Melanie, and rushes to open the door. Stella sits in a chair, bound and gagged.
Melanie runs to her and removes the gag--Julia, why are you keeping her here? asks Melanie. That's no concern of yours, insists Julia. Melanie, help me! begs Stella. Why did she put you in here, Stella? demands Melanie. Mr. Justin Collins, answers Stella. Papa had nothing to do with it, I know that, says Melanie. But he did, says Julia. He tried to kill me, says Stella. With a knife, adds Julia--it's the truth that I've been trying to keep from you and the rest of the world.
Parlor - Flora explains to Melanie--we didn't want to lock the girl up, but if we hadn't come in at just the right minute, Justin would have killer her--he wasn't being himself--we had to lock her up, or she'd have gone to the police--don't you understand?--they would have taken Justin from us--we didn't tell you about it because we knew how much you loved Justin. You shouldn't have locked Stella up! cries Melanie. What were we to do? asks Flora--we were so frightened--try to understand. I do, says Melanie--but it's wrong. We know that, Julia assures her.
But you just put the gag back in her mouth, locked her in there again! protests Melanie. Do you want the police to be here tomorrow, the day of her father's burial? asks Julia. They can do nothing to Papa now! says Melanie. They can to Flora, and to me, Julia reminds her (busy ladies--burying the dead Trask, kidnapping Stella). Yes, says Flora, we're guilty of holding her captive. Her brother will never accept our actions, says Julia. They shouldn't, says Flora, we both know that--and she begins to cry, upsetting Melanie, who puts an arm around her, assuring her, I do understand, except you knew you couldn't go on keeping Stella in the tower room. We've tried to think of what to do, says Julia. You must do something now, says Melanie--her brother was here yesterday, and I promised I would help--please do something now--let her go, ask her not to tell. We will do something, vows Flora, after the funeral. You will let her go? queries Julia. Somehow, some way, says Flora--I don't know how, but we will--all I can think of now is poor Justin--she wipes her nose with a handkerchief. I know, Mother, says Melanie, but after the funeral, you must set her free! Flora looks at Julia, who regards her solemnly.
Quentin stands with his hands on his father's coffin--Morgan, he says, I know you're upset about Melanie's attack on Catherine, but she didn't know what she was doing, and it won't happen again--she won't do it again, Quentin promises. She will, I know that, says Morgan. You don't know that, protests Quentin--you know, it started just as Brutus Collins' letter said it would--there is a penalty for not having the lottery. You're the one who's always pooh -poohed it, points out Morgan. I know, says Quentin, perhaps I thought that would be easier, perhaps because I didn't want to face up to it, but I really believe that if we had gone ahead with the lottery, if one of us had spent last night in that locked room, Melanie wouldn't have done what she did. I don't want to believe that, insists Morgan, because when Catherine threw the slips in the fire, nothing happened. Then, says Quentin, no--but now we shall see what happens on this day. Father's burial day, says Morgan--even this has to be mine--Gabriel started drinking soon after he got up. Where is he now? asks Quentin. Asleep, says Morgan--he's in no condition to go to the funeral. Did you tell Mother? asks Quentin. No, says Morgan, who notices that the vase they had used for the lottery now sits on top of Justin's coffin. How did that get there? asks Quentin-- no one came in the room. That's the vase I was going to use for the lottery, says Morgan, nervously licking his lips--where I put the lottery slips before Catherine burned them--the ghost put that in here. Quentin picks it up, sees there's something in it, and reaches inside.
There's a note containing a list of names: Quentin, Morgan, Gabriel, Melanie, Flora and Julia. The ghost brought that in here, says Morgan.
No, the lottery, says Quentin--these are the names to go into the lottery--check this and see if it's the same as Brutus' handwriting. It's impossible! says Morgan, Brutus Collins was the ghost's first victim. Look and see, please, says Quentin. Morgan snatches the note from him, takes out Brutus' letter, and note that the handwriting is the same. I wonder why we can't find out what it's all about, says Quentin--this has been going on for six generations and we don't know anymore than we did in 1680--has anyone ever tried to find out the truth about Brutus Collins?--after all, he was the one originally involved, the one who caused the curse--Morgan, are you listening to me? We're not going to get off free, are we? asks Morgan--there's going to have to be a lottery--we must not tell Mother what happened in this room this evening. Not now, agrees Quentin, but should we keep it from her?--because something else is going to happen--he smiles--it's fascinating, Morgan. You're always outside looking in at us, aren't you? accuses Morgan. You forget, I've been away for seven years, says Quentin, there's not much you can do in prison except watch and listen--no, I was thinking of Melanie--what if her attack on Catherine is linked to the ghost?--what will Melanie do next?
Tower room - Stella, you will be set free tonight, I swear it, says Melanie--we know it was wrong, locking you here, I know you can never forgive us, but we were so afraid you'd go to the police and Papa taken away from us--Papa is dead now, please don't make anymore trouble for Mama and Julia--please don't--I'll see you go free, I swear I will--but please don't make anymore trouble for them--you think about it--I often change my mind about things after thinking them over--Stella, you will leave this house tonight--I swear it! Melanie leaves the tower room, locking the door behind her, but leaves the key still in the lock.
Drawing room - What time is it, Quentin? asks Flora. About one, he replies. They'll be here soon, she sighs, to take all of us to the services at the grave. She begins to cry. Quentin comforts her, his hand on her shoulder. Mother, he says. No, I'm all right, she says, trying to be brave--I was just remembering your father as he was when I married him--such a handsome man--I wonder what he'd have been like if he hadn't been born a Collins. But he was, says Quentin. Yes, she says, and proud of it in a way, as if the good outweighed the bad things. You think he was wrong? asks Quentin. With a sob, Flora says, I don't know anything anymore--I just doesn't know. Melanie comes in, laughing uproariously. Why aren't you ready for the funeral? Flora asks her daughter and she and Quentin stare at Melanie, shocked. Melanie goes over to the coffin, puts her hands on it and says, giggling, "They don't pay any attention to you, do they?--you tell them what they must do, and then you die!--but they don't have that lottery, oh, no, they're much too smart for that!" Melanie, please! begs Flora. Melanie continues, "It must go on, don't they realize that, the lottery must happen again!"
She laughs, chillingly.
The lottery must happen again and again and again, laughs Melanie--they deserve it! She's that other person, again, Flora tells Quentin. I know, I must take her to her room, says Quentin. They're so smart, those Collins are always so smart, says Melanie sarcastically, shaking her head, they can turn a gold piece into 50! Her voice has turned vicious. Come with me, says Quentin. She looks at him craftily--you're very attractive, she says--the most attractive. Melanie, no! sobs Flora. You haven't even started crying yet! says Melanie cruelly, you haven't started crying! As Quentin tries to lead her away, Melanie says, your tears will do you no good--he cried, and so did I, but tears never got anyone out of anything! Quentin drags her away. Flora puts her hands on her husband's coffin--why did Melanie have to go into that locked room after you? she asks--why couldn't I have been the one to rescue you? Morgan enters--are you all right? he asks. Melanie had another attack, she says. We're going to have to put Melanie away, he insists--she is dangerous! Never to speak that way again about Melanie, orders Flora--she loved your father, what happened to her was out of love--and don't you forget that!
Melanie, hands on hips, lightning flaring through the window behind her, laughingly asks Quentin, do you really think locking me in my room is going to change what is to happen? Go to bed, he says--get some sleep. She bursts into fresh laughter. Perhaps it's best this way, he says, the girl that I knew so well couldn't stand to see Father buried. He leaves, locking her in the room. She tries the door and laughs.
Julia, exhausted, enters Collinwood--Flora, Morgan, the hearse has arrived, she says. Tell the men to come in, says Morgan--they are ready. Wait, where's Gabriel? asks Flora. Morgan and Julia exchange looks. Gabriel will not be going to the funeral, says Julia evenly. So that's how he shows respect for his father--with brandy! says Flora distastefully--I shan't forget that!
Quentin, umbrella in his hands, stands in the rain over the gravesite. "Dear Lord," he says, "he was my father, and I can say that with love--he was a very brave man--perhaps bravery died with him--each one of us here is going to have to ask himself that--his life was not always filled with happiness, he had many trials and tribulations, and he always maintained the ability to love--I can't pay him any higher confidence. Amen, says Flora and Julia. (There are umbrellas there that seem to have no people under them, I guess to give the illusion there are people there who really aren't.) The file away from the gravesite together, Morgan with his arm around his aunt. Suddenly, the two of them spot the woman in white. Oh, no! says Julia.
Why didn't you let me to go the funeral--why? Melanie begs Quentin--I loved him more than any of you did!--why did you lock me in my room?--can't you tell me? Flustered, upset, Quentin asks, don't you remember anything that happened in the drawing room? I wasn't there, she insists. Yes you were, he says. Don't tell me where I was, I know! she says--I came to my room to dress for the funeral--I felt suddenly very sleepy, I had a dream. What did you do in the dream? he asks anxiously. I don't remember, she says. You've got to try to remember, he says. Why? you don't believe anything I say, she wails, you told me I was in the drawing room! You had an attack, reveals Quentin. You're making it up, she accuses. You remember when Father was in that room, you went after him, says Quentin. Don't mention that, she says, no one ever mentions that. I have to, he says, because you've been having attacks ever since. That's impossible, I would know, she says. You couldn't, he says, hugging her--listen to me, please, God, listen--you couldn't remember because no one wanted to tell you, we kept hoping the attacks would disappear. She pulls away from him. Don't you even remember the rest home? he asks--you went there after you came out of that room. I was sick, she says, I had typhoid, Mama told me that. No! says Quentin, all she was doing was telling a very kind lie--you change when these attacks occur, you become a completely different personality--you don't make any sense. I'm going to ask Mama, says a distraught Melanie, she'll tell me the truth. He stops her, taking her arm--please listen, he says, you can go and tell them if you want to, but they'd be very upset to learn you knew--Father didn't want you to know. Why did you tell me? she asks. Because I had to, says Quentin, because, if we can find out who you are during these attacks, then perhaps we can find out what's in the room, something about the curse. She sobs--please leave me alone, she begs--I must be alone--what am I like then?--what do I say? If I could make any sense out of what you said, he says, I wouldn't have told you what I just did--I swear. He closes and door and locks her in. Melanie cries.
Drawing room - Flora, we must do something about Stella, says Julia. Flora agrees. We've been mad not to consider the consequences of locking her in the tower room, says Julia. I'd do it again, admits Flora--Justin was with us such a short time anyway. I know, says Julia--do you know what to do now? I can't think, says Flora, tears in her voice. I can, says Julia, I have $5,000 here--I know it may not be the answer, but I think we should give it to Stella and ask her to leave Collinsport tonight--she places the money in a bag--and not ever mention anything that's happened to anyone. Will she do it? asks Flora. I don't know, says Julia, drawing the strings tightly on the bag, but we must try. We must, agrees Flora. They head to the tower room.
Once there, they unlock the door and enter. (The room had a bed and dresser, and doesn't look too bad.)
They find Stella lying on the floor, a knife in her chest. Julia checks her--she's dead, Flora. Melanie threatened Catherine with a knife, says Flora, looking down at Stella's dead body with dismay.
Flora and Julia go to check Melanie's room (it was once Quentin's in 1897), but find her gone. How could she get out? asks Flora--the door was locked from the outside. The window, suggests Julia. With the shutters, says Flora, there's no possible way. Where is she? frets Julia--why isn't she here?
Melanie stands at the doors to the locked lottery room, banging at them furiously, begging, "LET ME IN!--I WANT TO BE WITH YOU" over and over. She falls to the floor, unconscious.
NOTES: We have one dead Stella, possibly killed by Melanie, possibly by...? Who else would have had a motive? Could it have been a ghost? It really was foolhardy of Julia and Flora to imprison the young woman, but I guess from their point of view, there was no other choice. Now she's dead, and they are partly responsible, since she couldn't have escaped her attacker. What will Kendrick do when he finds out?
Melanie is certainly a problem child. I felt sorry for her when she felt she'd been denied her father's funeral, but the person who possessed her was cruel, calculating and would have wreaked havoc at Justin's funeral. I loved the empty umbrella--Curtis was too cheap to spring for extras, and you'll notice Gabriel couldn't attend his father's funeral--probably so they wouldn't have to pay Pennock for the episode.
They are going to have to hold the lottery, perhaps before the wedding of Catherine and Morgan--the spirits are restless, and even left a note describing who should participate--plus, the woman in white appeared yet again. What will befall them if they don't heed the warning?
(Fashion notes: Julia and Flora are dressed in black, Morgan and Quentin sport black arm bands.) Melanie never changed out of her very bright outfit to wear black.
Love, Robin
