1216 - Wherever he is, Gabriel smiles, probably enjoying what he thinks he put over on his family.
7:10 - Quentin and Julia return to Collinwood and enter the drawing room. They find Melanie just sitting by the fireplace, her posture indicating something is wrong. What's the matter with you? asks Julia. A tear glinting in her eye, Melanie says, "He was here--he spoke to me!" Julia kneels beside her--who did you see? she asks Who were you talking to? asks Quentin. He told me the curse isn't over! cries Melanie, the tear running down her face--and it won't be until the person who goes into that room is a Collins! Quentin and Julia look grim.
Who spoke to you? asks Quentin. Papa, she replies. Justin? asks Julia (redundant). He came to me from the grave and told me we still have obligations, says Melanie. I knew it, says Quentin, the curse can't be settled any other way, it's got to be a Collins--I don't know why we delude ourselves. He said we have to have the lottery again, reveals Melanie. Yes, agrees Quentin, it's the only way. Whether it's the only way or not, says Julia, we can't have it now--Flora isn't here and Morgan and Catherine are in the village. We'll have to call them back, insists Quentin. And what about Gabriel?--we'll never be able to find him, says Julia. If it wasn't for his cowardice, we wouldn't be here now, says Quentin--we're better off without him. Perhaps we should try to find him and force him to go into that room, suggests Julia. If we find him, I'm not sure he'll go into that room, says Quentin, I think perhaps I'll try to kill him first! Quentin! objects Melanie, you wouldn't do that!
Why not? asks Quentin, his voice filled with venom--brother killing brother--it's not the first time it's been done in the Collins family! (who else?)--you don't have to worry about him, he's safe, because I don't know where to find him--he turns to Julia--what did Carrie Stokes tell Morgan? He said he didn't really understand her, says Julia--she was cryptic. I'll have a little talk with Miss Stokes, says Quentin, hurrying out. Why does this have to happen to us? Melanie tearfully asks Julia--why were we the ones cursed?--what could our family have done in the past that was so terrible?--why is there no end to the terror we must live through? It will end, Julia insincerely tells the growing-hysterical girl. I don't believe that, says Melanie--we have done nothing, and yet for us, there can never be any peace! That's not true, says Julia, the curse will be lifted in some way--you should rest, go to your room, you've had a very trying day. Tell me the truth, Julia, asks Melanie--do you think we will ever find peace--"Do you?" Julia's lower lip trembles; she doesn't respond.
Woods - Quentin walks, as does another, unseen, man. Who's there? asks Quentin, but no one replies.
Carrie, pretty in powder blue, opens the cottage door to Quentin before he can even knock. I was just about to knock, he says. I know, she says, it's good to see you. The pleasure is all mine, he says--I understand you were at Collinwood earlier and had a long talk with my brother Morgan. Yes, I'm sorry I couldn't help him find Gabriel, she says. It's all right, says Quentin, actually, I wanted to ask you... Noticing she's behaving oddly, he asks, what's the mater? Is someone waiting for you outside? she asks. No, says Quentin, I came alone. No, she says, someone followed you, he's waiting outside now!
Quentin goes to the window to look out, but the figure we saw earlier retreats. There was someone out there, says Quentin--Carrie, how do you know that? I don't know, she answers, I just felt a presence--did you see who it was? No, he ran away, quickly, says Quentin--Ineed your help. I'll be glad to help you, she says--what is it? Quentin explains--Julia told me when Melanie was sick, she kept repeating a name, over and over, a name that meant nothing to Julia, but obviously a great deal to Melanie--James Forsythe. I've never heard it before, says Carrie. Morgan tells me that if you concentrate very hard on something, says Quentin, you can see and do things other people can't--is that right? Sometimes I can, she says. Will you concentrate very hard on that name, and tell me whatever you can about him? asks Quentin. Why is it so important to you? the girl asks. Believe me, he says, it's important to virtually everyone who lives on this estate, but I'm afraid I can't tell you why. I'll try, she promises. Good girl, he says. She stands and repeats the name "James Forsythe" over and over, concentrating. What do you see? asks Quentin. An image is starting to take form, she says--I can see Collinwood--but not the Collinwood of today--of very long ago--I don't know how long--I see two people approaching the house--the man is James Forsythe. Who's with him? asks Quentin. A woman--I can't see her face, reports Carrie. What can you tell me about the man? asks Quentin. He's young, handsome, and lives at Collinwood, she says. Lives at Collinwood--are you sure? queries Quentin. Yes, she says, the woman he's with, he's in love with her. I don't understand, says Quentin--there's never been a man by that name living at Collinwood.
The woman is very sad, adds Carrie, because she loves him, too, but belongs to someone else. Quentin kneels at eye level with Carrie and asks, what can you tell me about the woman? They're walking on and on, says Carrie, entering the house... She comes out of the trance--that's all I can tell you, she says, except--I'm sure that James Forsythe is somewhere nearby Collinwood. Listen to me, says Quentin--what you just told me happened in the distant past--if that's true, James Forsythe has been dead for a very long time. I can't explain it, says Carrie, but somehow I know he is here and I'm not sure whether he's dead or not. You've got to be sure, insists Quentin, because right now it doesn't make sense. I know it doesn't, she says, but you asked me to tell you what I feel, and that's what I felt. All right, says Quentin, that's good--I'll tell you all about it in due time--thank you very much--he leaves. Carrie, disturbed, closes the door behind him.
Woods - Quentin walks, hears rustling leaves, hides behind a tree. We see a man walking. All right, says Quentin, stepping into the other man's path, why are you following me? Defiantly, Kendrick Young glares back at him.
I'd like an answer to my question, insists Quentin. I have not been following you! says Kendrick angrily. Then what have you been doing? demands Quentin. I was on my way to Collinwood, if you have no objection, says Kendrick, Mr. Collins! All right, says Quentin, I have no objections, MR. Young--it just seems to me that you have better things to do with your time. What does that mean? asks Kendrick. I'm getting very tired of you asking the same questions over and over again, says Quentin. I am not going to Collinwood to ask questions about my sister, says Kendrick coldly--I heard in the village that Melanie was very ill--is that true? She was sick, says Quentin, but is much better now. I heard you were ill, too, says Kendrick. I was, says Quentin, but as you can see, I made a miraculous recovery--in fact, Melanie is so well now, that I see no reason for you to bother with a sick call.
I assure you, it is no bother at all, says Kendrick. Mr. Young, I suggest you go back to the village, says Quentin. I don't really care what you suggest, retorts Kendrick--I'm going to see Melanie. He goes on his way. Quentin stares after him, annoyed.
We see the cupid statue in the fountain on the terrace. Melanie sits there. Hearing someone coming, she asks, "Who is it?--who's out there?" Kendrick enters through the gate. She says his name--what are you doing here? I heard you were very ill, he says. I'm much better now, she says, sounding anxious. I heard that, too, he says, but you don't look very well, you look very unhappy about something. I suppose I couldn't be happy if I tried, she says. Tell me what it is, urges Kendrick. Something I'd rather not talk about! she says. Why are you Collinses always unwilling to talk about your troubles? he angrily demands. She turns to glare at him. I'm sorry for saying that, he says. Thank you for coming to see me, says Melanie--perhaps some other time, when I'm not feeling so tired, you can stay longer. Please, he begs, tell me why you're so unhappy. It may be that where you come from, she says curtly, strangers are in the habit of meddling in other peoples' business. I come from Boston, he says, and I honestly don't regard myself as a stranger to you--do you? If Julia were here, says Melanie, she would tell you to mind your manners! Julia is not here, he says, and you still haven't answered my question--do you think of me as a stranger still? No, I suppose not, she admits. He sort of smiles. When I was living in Boston, he says, I worked as a clerk in the Customs office, I had a flat overlooking the harbor--I used to paint--it was just a hobby....Why are you telling me this? asks Melanie. Because I want you to know me, he says
--it's true most people are strangers to each other and stay that way, but I think you and I have chosen each other as friends. Her face softens. At least I felt that way the first time we met, he adds. He moves in close and says, "I think you did, too." Yes, perhaps I did, she agrees. Tell me, what's troubling you? he asks. What you said is true, about our choosing each other as friends, she agrees, but sometimes friends have to take each other on trust--would you do that for me, now? He nods--yes, I would, he says. You are so different from the other men I've met--so gentle and thoughtful, she says. I have a feeling that the other men you've met have all been Collinses, he says. She turns away, perturbed. Kendrick apologizes again. You shouldn't have, she says, but you happen to be right--this has been my world--this house--this family--and even though my name is not really Collins, I've never had any other name--if I were to go into the real world now, I wouldn't know how to relate to anything--or anyone. I'd like to be able to change that, says Kendrick. It isn't possible, she says. I could try, he says. How, where would you begin? she asks. Right here, he says, smiling, "Like this"-- he kisses her. She stares at him, puts her arms around him, and goes in for a longer, bigger, deeper kiss. Julia, on the terrace, catches them and, infuriated, calls, "Melanie!"
Julia joins the young couple--"Mr. Young, what are YOU doing here?" she demands. He came to see me, says Melanie. Obviously, says Julia sarcastically--you know you are not welcome here! Julia, please! says Melanie. Go into the house, insists Julia, right now. No, I won't go in, replies Melanie. I beg your pardon? asks Julia, her forehead creased in disbelief. I'm not a child and refused to be treated as a child, says Melanie--I'm old enough to make my own decisions, and choose my own friends--she turns to Kendrick, who smiles approvingly at her. What have you done to her? Julia asks, incensed. Nothing at all, says Kendrick. She's never spoken to any of us like this, says Julia. Maybe, says Kendrick, she should have--she might have been better off for it! I will go to the house, says Melanie--if Kendrick can come with me. You'll WHAT? asks Julia. He is my friend, says Melanie, and everyone in this house might as well get used to it--if I'm not allowed to see him when he comes to visit me here, then I shall go to the village to see him! (You go, girl!) Melanie, says Julia, would you allow me to speak to Kendrick for a few moments alone?--then he can join you in the house. It's all right, says Kendrick, I'd like to hear what your aunt has to say. Melanie leaves. I knew the first day you came here, says Julia through gritted teeth, that you would cause nothing but trouble. I have no intention of causing trouble for anyone, says Kendrick--I happen to be very fond of Melanie. I must ask you not to see her again, says Julia. My answer to that is no! says Kendrick--I will see her as often as I can. What is it you are after? asks Julia. Nothing, he says--Melanie happens to be a sweet, sensitive child--can't you understand that? She's more sensitive than you have any idea of, says Julia--she's led a very sheltered life. Who's responsible for that? asks Kendrick. I will thank you not be arrogant with me! says Julia angrily. Have you said all you want to say, Miss Collins? he asks. No, what will it take for you to leave and never come back? she asks. Are you trying to buy me off? he asks. You might say something like that, yes, replies Julia.
They stare at each other like duelists. Every man has his price, is that it? asks Kendrick. Yes, she says. You Collinses believe money can buy anything, shouts Kendrick, and yet you're all miserable!--why are you all so miserable, if money can buy you everything--answer me that, Miss Collins! How much, Mr. Young? she persists. No amount--you're wasting your time, he says. I could take legal action, she says. You could but you won't because you know you'd lose, he says--as Melanie said, she is legally of age, she could leave right now--tonight--and you could do nothing about it. She must not leave here, ever, says Julia grimly, you will find that out. Don't you count on it, he says--and now, if you will excuse me--he leaves. Julia stands, hand on the fountain, looking as if it's the end of the world.
Drawing room - Quentin, rubbing his forehead, sits by the fireplace, looking through a Collins family history book. Kendrick enters. What a surprise, says Quentin--I was passing the terrace a few moments ago and saw you talking to Julia--how did you manage to ingratiate yourself with her? I didn't, says Kendrick--she tried to throw me off the grounds. Why didn't you take her advice? asks Quentin. I see you're all as hospitable as she is, notes Kendrick. We don't make the most gracious hosts, do we? asks Quentin, grinning. At least you admit it, says Kendrick. Frankly, as far as I'm concerned, you can stay here, says Quentin--I'm sure the others feel the same way--as long as you don't start asking the wrong questions-- he closes Kendrick in the drawing room, bidding him good day. Kendrick sits down on the sofa, pondering all that has gone on. The secret panel opens. Gabriel, looking much like the insane Jack Nicholson in THE SHINING, slips out. In his hand he holds a sharp knife, which he raises over the unsuspecting Kendrick, who, seeing him about to attack, leaps from the sofa to defend himself. Gabriel locks the doors. So you're back, Mr. Young, he says, with more of your questions
--you know what's going to happen to you?--the same thing that happened to your sister--he threateningly raises the knife.
NOTES: So does that mean Gabriel murdered Stella? I never was clear on that point, and always thought it was never resolved. More importantly, is he going to kill Kendrick? I sure hope not. I love the way he stands up to Julia and Quentin, and believe the latter already feels much respect for him. Plus he is exactly what Melanie needs.
Poor Melanie! Here she has a nice guy interested in her, and her family is threatening him, either verbally or physically! Melanie needs away from Collinwood, as Bramwell suggests a while ago, she needs to get out into the world and learn about it. Seems like Kendrick would love to be her teacher--in that and other things. You really root for her to get out from under the Collins influence, especially the way Julia treats her as if she's 7 years old.
Doesn't Julia seem like a real bitch in this time band?
1217 - Kendrick backs away from Gabriel, accusing, "You killed my sister." One death isn't enough, says Gabriel gruffly, holding the knife in a shaking hand--one death isn't enough--there has to be more!--indeed, there's so much death in this house--and there has to be death! You're insane, says Kendrick. You're right--I've been insane for years! smiles Gabriel--I just became sane a short time ago,. Kendrick runs from him, toward the window; Gabriel pursuing him. They fight, fists flying; Kendrick kicks the knife out of Gabriel's hand. Gabriel retrieves the knife from the floor. "I'LL GET YOU!" he promises Kendrick as the two men dart and dance around each other. I'll cut you to pieces! snarls Gbriel. Morgan, standing on the stairs, hears the ruckus in the drawing room, the men screaming at each other, and races to check it out. Finding the doors locked, Morgan tries to force his way in (and the doors don't hold well anyway, as the men bang into them during their altercation). Kendrick screams, "Mr. Collins!", begging Morgan for help. Gabriel, advancing on Kendrick, says, "He can't get in, he can't get in, Mr. Young--for once, Morgan can't do a thing." Don't come closer, orders Kendrick--don't! Morgan runs to get a key. Kendrick and Gabriel get into it, battling fiercely, Gabriel once again threatening Kendrick with the knife. They grapple, Gabriel warning Kendrick you won't get away. Finally, Gabriel stabs Kendrick in the shoulder. Kendrick stumbles to his feet for a few moments, then falls. Morgan unlocks the door and finds Kendrick on the floor and Gabriel gone. He kneels beside Kendrick--where did Gabriel go? he asks. Panel, gasps Kendrick, wall, door...
It's only a flesh wound, we'll take care of it, Morgan assures him. Yes, like you did my sister, accuses Kendrick, moaning in pain. Catherine comes in. Gabriel has gone mad, reveals Morgan. Oh no! she exclaims. Picking up the keys from the floor, Morgan says, take one of the servants and get a doctor. Daphne's upstairs, says Catherine, she'll know what to do! Morgan goes to the panel--I must go look for Gabriel, he insists. Be careful, she warns him. Kendrick clutches at his wound, groaning. Catherine kneels--we will help you, she assures him, we really will! Melanie, says Kendrick--I thought you killed Stella--I didn't believe you were acting really strange... Catherine, listening to his gibberish (and I really couldn't understand what he said) screams for Daphne.
Morgan searches for Gabriel in the corridors behind the secret panel. Gabriel backs into a suit of armor and is all set to stab it. He touches it, realizes it isn't a person, and cautiously enters a room filled with furniture--and lit with candles. He stands before Brutus Collins' portrait and says, "You're here--you're in another part of the house--but you're here--Brutus Collins, he's the one responsible for the locked room, and the lottery--that face!--you may have died once, Brutus, but you're going to die again...and again!"
He proceeds to tear the portrait up with the knife. Even after it falls from the wall, but continues stabbing it.
After the portrait is completely destroyed, Gabriel growls, that isn't enough punishment for Brutus Collins. He takes a piece of paper and lights it with a candle, then sets the painting aflame.
In the corridor outside the room, Morgan overhears his brother laughing. Inside, Gabriel watches with satisfaction as the painting burns. Ah, Brutus, he says, you're going to kill them all, every one of them--you won't let any of them see the thing in that room--he laughs maniacally. Morgan enters the room, grabs a blanket and begins to beat out the flames. Gabriel runs away, locking him into the burning room.
Daphne assures Catherine, I think Kendrick's going to be all right--it looks like it's only a flesh wound, the doctor will be here soon. I'm so glad you were here, says Catherine, and you've got to stay until the doctor gets here. I don't think I can, says Daphne hesitantly. Why, asks Catherine, where are you going? Back to the Old House, says Daphne. I don't want you going through the woods, alone, says Catherine, not with Gabriel loose!
Gabriel has wandered somewhere that he's able to overhear what Daphne and Catherine are saying. I don't understand why he attacked Mr. Young, says Daphne. He's gone mad, says Catherine. I know, but how? asks Daphne, he's strange, but he's... He spent the night in that room, says Catherine. I know that, says Daphne. He didn't have to stay there the whole night, says Catherine, however, I think somehow it influenced him. You're really beginning to believe about that room, aren't you? asks Daphne. I don't want to talk about it, says Catherine. We used to talk about everything, Daphne reminds her. Catherine smiles--you're right, she says--if I'm reluctant to, it's because I don't know what I think--the thought of Morgan in there, looking for Gabriel--"I can't give in to nerves!" She rises, looking as if she's going to cry--I've got to remember that Morgan has always been able to control Gabriel--the best thing for me and you is to stay here--and wait. Julia didn't seem frightened at all when you told her about Gabriel, says Daphne. I don't think anything frightens Julia, says Catherine--except love, perhaps--except love. I really must get back to the Old House, insists Daphne--Bramwell is waiting for me, and I have to change his bandage. I told you I don't want you there taking care of him, protests Catherine. He needs me, insists Daphne. He does not! says Catherine, he's well enough to come to Collinwood. Daphne looks startled. You didn't know he came here to visit? asks Catherine--didn't he tell you? No, says Daphne. Well he did, says Catherine. And were you glad to see him? demands Daphne. I was glad to see he was alive, admits Catherine, I don't want anyone killed. Did you tell him you disapprove of my going to the Old House? asks Daphne. Of course I did, says Catherine. Why did you do that? asks Daphne, upset, it makes me sound like some sort of a child, sneaking around, doing thing she shouldn't do, and I'm not a child. You're too young for Bramwell! shouts Catherine. I didn't know it was one of your rules, says Daphne softly, that I could only see people my own age. Catherine covers her face with her hands and begins to cry--we never used to argue like this--it's just because I'm so worried about Morgan and Gabriel. Are you sure that's all it is? asks Daphne. No, admits Catherine--Daphne, are you really serious about Bramwell? Would you mind if I were? asks Daphne defiantly. It's nothing to do with me, says Catherine (yeah, right)--it's you--and the kind of life you should have. And do you know what that life is? demands Daphne. It's not living in the Old House with him, says Catherine--with his bitterness, fuming over the rich Collinses--and that bitterness, day by day, will destroy you--that bitterness is all he's got to offer you--to offer anyone. You sound like you really hate him! accuses Daphne. If I do, says Catherine, he's made me hate him--by making demands on me, interfering with my life--I never thought I'd ever speak this way about him--I loved him so, she adds sadly--but I just have no choice anymore, I have no choice--she bursts into fresh tears. Daphne tries to say something to comfort her sobbing sister, but before she can utter a coherent word, Catherine screams, "Oh, Daphne, please stay away from him--stay away from him!"--and runs out, leaving her sister sitting, upset, on the sofa.
Behind the secret panel, Gabriel listens, then opens it with a lever, peering in at Daphne. Gabriel leaps out into the drawing room. Daphne jumps from the sofa and faces him. Don't scream, he warns--I'll throw this (the knife)--I'm very good at it. Daphne, gulping, says his name. You know I'm going to kill you, don't you? he asks, advancing on her. No, Gabriel, she says, warding him off with one outstretched arm, backing away. I already killed one man, he says. No you haven't, she says, Mr. Young is all right, he's going to be all right. Another turn, maybe Morgan, says Gabriel--and maybe soon, we'll smell smoke! What are you talking about? she asks. He grabs her arm and she screams. He holds the knife close to her--I told you not to yell! She puts her hand to her mouth, trying to keep silent. They struggle. I won't kill you, he promises, you're too pretty, but I have to, and he's here, and there's so much trouble and sickness in this house!--and death is the only cure for it. You don't want to kill me, pleads Daphne, struggling to free herself, I haven't done anything to you!--we'll help you--please don't make it so we can't help you! No one can help me, ever! he insists.
From the doorway, Bramwell calls Gabriel's name, diverting his attention so he releases Daphne. She runs into Bramwell's arms. Gabriel escapes through the window. Bramwell comforts her--are you all right? She's gasping with fear. Catherine runs in-- what happened? she asks. Take care of Daphne, orders Bramwell, who runs out after Gabriel. Gasping for air, Daphne goes to sit on the sofa--Catherine, Gabriel was here, he ran away when Bramwell came. Where's Morgan? asks Catherine. Gabriel said something about smoke, about fire, says Daphne. No, we've got to find him! cries Catherine. She goes into the secret panel, ordering Daphne, stay here. Daphne gulps, trying to catch her breath.
Kendrick comes downstairs, weak, his shirt blood-stained. Daphne stops him from leaving--you shouldn't be up, she says, the doctor hasn't come yet. I'll find him in town, says Kendrick. It's dangerous outside, insists Daphne, Gabriel was here, he escaped. I'm just waiting for my chance to meet him again, says Kendrick, an ugly expression on his face. You're in no condition...begins Daphne. The sooner I leave this house, interrupts Kendrick, the better!--I'm beginning to believe the only sane person in this house is Melanie. There are many sane people in this house, says Daphne, they've just lived through experiences you can't even imagine.
You can tell them all for me, when I find Gabriel, they will have one less Collins to worry about, vows Kendrick. Daphne closes the door after him.
Woods - Gabriel runs from his pursuers. Hearing someone approaching, he holds up the knife, ready to attack. Bramwell passes by him, not seeing him, thus saving himself a stab wound. Gabriel suddenly looks at the knife as if he'd never seen it before. What am I doing? he asks, as if awaking from a dream. What am I doing?
Nearly 7 PM - Drawing room - Morgan, we shouldn't have let Daphne go, says Catherine. Darling, says Morgan, we sent a servant to take Daphne back to the Old House--he'll stay with her until she comes back--then he'll take her home--we've done everything we can for her! (I don't like his attitude at all!) Catherine apologizes. I keep wishing this night were over, he says, but tomorrow will be no better, because we will have to hold that lottery again! Morgan! cries Catherine, sorry for him. And tomorrow night, he says, another Collins will be in that locked room. Don't think about it, she says. What else can I think about? he asks, Gabriel?--Bramwell?--Bramwell--if he finds Gabriel, he'll take him to the police! And he should! insists Catherine, eyes blazing, you know that Gabriel was ready to burn this house down and kill us all? Only because of what happened in that locked room! says Morgan. You Collinses always have a very good alibi, don't you? asks Catherine angrily--whenever any of you have done anything wrong, you blame it on the locked room! You know that! he says. Maybe it was this time, admits Catherine, covering her eyes. What was Bramwell doing here? asks Morgan. It's a good thing he came! retorts Catherine. I don't want to be grateful to him for anything, insists Morgan. He saved my sister's life! Catherine reminds him--I'll never forget that--and neither will you.
Old House - Daphne sits on the sofa, clearly worried. Bramwell, exhausted, comes in. I'm glad you didn't find Gabriel, says Daphne--he might have killed you. Smiling indulgently, Bramwell touches her arm and walks past her. Thank you, she says. For walking in when I did? he asks--it's strange, I had no intention of going to Collinwood tonight--I know how my visits are welcome there--but I had to...you know, I don't believe in premonitions. Perhaps you wanted to see Catherine, suggests Daphne. No! he says, protesting too much--do you believe me? he asks. If you say it, I do, she says, smiling. Do you believe anything I say? he asks. Shouldn't I? she asks, moving in close. As a rule, most people don't, he says. But I'm not just anyone, she says. No, you're not, are you? he asks--tell me one thing. Anything, she assures him. "Are you in love with me?" he asks gently.
She turns away, thinking, but we don't hear her reply.
You can think what you like about Bramwell, says Morgan, but I know him!--he's going to try to use this somehow, for his own good. Haven't we talked enough about him? asks Catherine, disgusted. Yes, you're right, he says, we've got more important things to worry about now--how am I going to tell Mother about Gabriel? Haven't you? she asks, incredulous. I didn't want to upset her after the things she's been through, says Morgan. You must tell her, now, insists Catherine--shall I come with you? No, I've got to do this, he says--you go to bed. I'll hardly be able to sleep, she says. I don't want you down here alone! he whines. I'll be all right, she assures him, I will! I'm going to have one of the servants patrol the house, he says. That's a very good idea, she agrees. Will you be in our bedroom? he asks (?) Yes, she says. He walks upstairs.
6:00 - The clock strikes. Catherine sits in the drawing room, trying to read. She hears a knock at the door and hesitantly goes to answer it. It's Daphne. Catherine is upset to see her out, under the circumstances. I know, says Daphne, excited, but I thought you'd understand. I told you it was dangerous! says Catherine. I'm not talking about that, says Daphne, I came to tell you about something I'm going to do. What? asks Catherine. "I'm going to marry Bramwell," says Daphne.
Catherine violently shakes her head and bolts from the house. CATHERINE! Daphne screams after her.
Old House - In the tradition of most of the rest of his family, Bramwell stands before the fireplace, having a brandy. Catherine bursts into without knocking, standing before him looking as if she's going to break into pieces. Of course you came--I knew you would, he says--but tell me this--you know, you're not going to stop this marriage anymore than I stopped yours. Catherine's face seems about to crumble.
NOTES: This portion of the story is following along pretty closely with WUTHERING HEIGHTS, if I recall correctly. In retaliation for Catherine marrying Morgan, Bramwell is going to marry Daphne. That's pretty rotten of him. At least Catherine honestly thinks she loves Morgan, but we know Bramwell doesn't feel more than fondness for Daphne, and he's taking advantage of her crush on him. She's really got it bad--he knows it, and is using her for the purpose of revenge. It's so wrong. Of course, one of the reasons I love Catherine and Bramwell is that they ARE so flawed. Reminds me of real people.
I don't know how Catherine can love Morgan. He's so stiff, so steeped in overwhelming familial responsibility, and he still doesn't want to have children, something she does want. I would be thinking annulment if I were her, especially since I still don't think, with the lottery and other worries, that they have consummated their marriage. That Morgan seemed more concerned with Bramwell being there than Daphne's safety shows that he has no idea where his priorities should be.
Gabriel apparently went temporarily insane because he only spent a short time in the room, but in that time, he nearly killed Kendrick (will he still want to court Melanie after this?) and Daphne, too. Pennock does insane so well, but he tends to garble his dialogue so I'm not sure what he's saying. Didn't make those attack scenes any less exciting, though.
Bramwell has told Catherine she won't stop his marriage anymore than he stopped hers. How will this odd quadrangle ever end? Bramwell marrying Daphne would only be compounding this tragedy.
Lots of action scenes here today, and given the small amount of room they had to work with, they did an excellent job (although that was a big blooper with the double drawing room doors).
We are soon to see the "lost" episode of DARK SHADOWS. This is the only ep that had no tape or kinescope available, so they use still pictures, Lara Parker's narration and the beginning of the following day's ep for the end--a very, very startling revelation, too!
Love, Robin
