1222 - Catherine bangs at the door, telling Morgan she won't let him do this. there's no way you can stop me, he insists. This isn't right, protests Catherine, crying, I drew the losing slip, you can't take my place, nobody can, not even you. That was our own rule, Catherine, says Morgan, subject to change--the curse demands only a Collins spend the night in the room; any one of us qualifies. Leaning against the door, Catherine begs him to please come out of there. I couldn't come out now if I wanted to, he says, please understand, I had no other choice--I couldn't let you do this--but I want you to know something--are you listening? Oh, yes, she sobs. I want you to know, he says, that the courage you've shown has given me all the strength I need--I thought if this time ever came for me, I would be terrified, I'm not, and I have you to thank. We've got to do something, Catherine tells Julia, who replies that there's nothing anyone can do now. Catherine runs back down the hallway. Morgan calls out, asking if Catherine is still there. She's gone, says Julia. Morgan asks his aunt to stay with her, take good care of her tonight. Julia promises to do that--and pray for him, too, and dejected, she turns and goes back down the hallway. Morgan looks around the room, dark but for candles. He touches a table, and finally just sits down, awaiting his fate.
Study - Catherine bursts in on Quentin, who is busily going through the ledger, and orders him to give her the key to the locked room. Quentin tells her to calm down, he'll give her a drink. She insists that she's not going to let Morgan do this. Yes you are, he says. Please, give me the key, she begs, holding onto his waistcoat. She sobs against his chest. I really think if I gave you that key, you'd run right upstairs and change places with him, wouldn't you? he asks. Of course I would, she says. That's exactly why I'm not going to give you the key. I don't see how you can take part in a deception like this, she says. Putting away the ledger, Quentin says it's not easy. Of course it is, you're not running any risk, are you? she accuses. He gazes at her sternly, reminding her that Morgan is doing exactly what he expects him to do--furthermore, if Morgan hadn't done it, he would have!
You would? asks Catherine. You see, my dear, says Quentin, we made a little agreement--under no circumstances would any of the women go into the room. You mean, she says, incredulous, when you let us take part in the lottery, you were just humoring us? Well, he says, I wouldn't put it exactly like that--I'll give you a drink (no, she's pregnant!) You take all this so calmly, she says, as he pours. I'm not calm, he says, I may lose a brother. And I a husband, she says. I know that, says Quentin--listen to me, even if you had the key, it's too late--Morgan is already in the room--for all we know whatever is in there may already have an effect on him, we don't know--remember Gabriel was only in there for half an hour--he hands her the glass of booze. What do we do now--just sit and wait out the night? she asks miserably. And hope, he says, slipping his own drink.
Morgan rises from his chair, gazing around, waiting. He walks, looks at the cobwebbed bed, around it. He finds a door, locked with a padlock, and rattles it. He takes a single candle from on top of an armoire and continues to investigate.
9 PM - drawing room - Catherine sits on the sofa, Quentin paces, Julia, in a chair, does needlepoint. The clock strikes the hour. Nine o'clock, says Quentin, and hopefully all is well. The three hours seemed like three years, complains Catherine, crumbling a handkerchief in her hands. We must try not to think about it, advises Julia. We have to think about it, insists Catherine, he may be dead by now. Julia and Quentin looks saddened at this suggestion. Catherine goes to the fire and Quentin starts to pour booze. Someone knocks at the door. Quentin goes to answer it, but Julia says she'll go. It's Kendrick Young, and even though Julia says she'd rather he didn't come in, he insists--this is a most urgent matter. All right, for just a few moments, she agrees. Kendrick enters and she glares at him. What is it? she asks. You know very well, he says--your nephew, Gabriel. Has he been found? asks Quentin. Kendrick says no, but he's decided he knows right where he is--here, at Collinwood. Absurd, says Julia. On the contrary, says Kendrick, the police have checked every mode of transportation, questioned many people, and the one fact they have come up with is that Gabriel is still in the area--yet still they cannot find him. So Gabriel is missing and everyone thinks he's here, is that it? asks Quentin. Yes, says Kendrick. Did it ever occur to you or them, asks Quentin, that somebody else might be hiding him out? Yes, it did, says Kendrick, but I doubt it--the logical place for him to be is right here.
He isn't here, insists Julia crisply--no one in the family has seen him--is that ALL you came to find out? Forgive me, he says, but the way you're both behaving, you seem to be hiding something, what is it? We have told you, he is not here! says Julia. We mean exactly that, says Quentin--he isn't here. Then what is the matter, something is worrying you--what is it? demands Kendrick. No one replies.
Morgan takes the candle and, using a vase, breaks the lock on the door. He enters, pushing the door inward, and goes in, holding the candle aloft against the darkness.
He finds a staircase leading down, and follows it...
Quentin tells Kendrick he found out what he came to find out--now he suggests that he leave. Kendrick, angry, says it seems he has no choice, but he will be back. Good night, says Julia coldly. Melanie comes downstairs, smiling, glad to see Kendrick. You're supposed to be in your room, says Julia, annoyed. Why didn't you tell me Kendrick was here? asks Melanie. He was just leaving, says Julia. Melanie, holding Kendrick's hand, says no, I want to stay and talk with him for a while. Kendrick grins at her. You know that isn't possible, says Julia pointedly, on this particular night. I want to talk to him, insists Melanie, it will help me take my mind off poor Morgan. Melanie realizes she's given something away that she shouldn't have; Kendrick looks at Julia and Quentin and knows whatever is worrying them has to do with the eldest Collins brother. Melanie says it's only for a few minutes; then she'll go upstairs. Julia agrees, saying they can use the drawing room. Kendrick follows Melanie in, and she closes the doors. Are you out of your mind? Quentin asks Julia. I know what I'm doing, she retorts. She may tell him something we're all going to regret, warns Quentin. No, says Julia, she knew she made that blunder, she won't make another--if I were to antagonize her by refusing to let her see him at all, then she'd make a scene and really say something. I hope you're right, says Quentin, draining his glass. Julia asks Quentin where Catherine is--she was in the drawing room with them when Kendrick came, and she just disappeared. Quentin says he'll go upstairs and look for her, and races upstairs.
Drawing room - Smiling, Melanie asks Kendrick if he was really going to leave without seeing her. Julia invited me to leave, he says ruefully--what's wrong with Morgan? Scared, Melanie tells him he fell ill earlier this evening; the doctor is upstairs in his room with him now. She isn't even looking at him when she says that. Kendrick hopes it's nothing serious. She shakes her head. Kendrick asks her to look at him, and she does. I want you to answer me something honestly, he says--is Gabriel in the house or near the house, I must know. He isn't, says Melanie. Where can he be? wonders Kendrick, frustrated, smacking his fist into his other hand--I've gone this far, I've got to find out--for Stella's sake!--he killed my sister and he must pay for it! He didn't kill her! says Melanie. What are you saying? asks Kendrick He didn't, she says, I just know it. Kendrick pulls her around to face him, demanding, "If Gabriel didn't do it, then who did?" I don't know, says Melanie, growing upset, but someone else, not Gabriel! Kendrick stares at her. Why are you crying, you must tell me, says Kendrick. It would take so long to list all the reasons, she says, and goes into his arms. I'm willing to listen, he assures her, no matter how long it takes.
You are so good to me, she murmurs against his shoulder, so understanding. That's because I like you so much, he says, fondling her hair. You really do, don't you? she asks. Why does that always surprise you? he says, amused. I don't know, she says, maybe I'd have been different if my parents had lived--everything would be different! she adds bitterly. I still intend to make things different, he says, I told you that before. I know, she says. He looks into her face and says she's got to help him. She assures him she'll do whatever he asks her to. He takes her hands and seats her on a chair, kneeling on the floor at her feet. I want you to tell me why the Collins family adopted you, he says--I want to know that. Why that in particular? She asks. Because it was an important time in your life, he says earnestly, and it concerns me! As I said, I never knew who my real parents were, she explains, it was at the Concord Orphanage just outside Boston--Justin Collins adopted me--I was only six months old...
Catherine goes to the locked room and, tearing at that handkerchief, calls to Morgan--it's Catherine, she says--Morgan?--Morgan, are you all right? She hears someone entering and turns to face Quentin.
I had to come, she tells him. You shouldn't have, he says. Something's gone wrong, she says hysterically, I called his name and no one answered, something happened. He takes her by the shoulders and tells her that all she's going to do is torture herself, because they must wait until dawn--come on, he says, I'll take you back downstairs--and he practically drags her away.
Drawing room - That's all there is to tell, finishes Melanie, except that I came to love Papa as if he were my own father. And the Concord orphanage had no records of your real parents' identity? Asks Kendrick. None, she says. That seems strange, opines Kendrick. I've always thought so, agrees Melanie. You never tried to find out who they were? he asks. No, not really, she says, is there anything more I can tell you? Yes, he says, smiling, a great deal--another time. He rises, as does she, and they link hands for a moment. She bids him good night, and he takes her face in his hands and kisses her, a sweet kiss goodbye.
Julia sits in the study, gazing into the fire, looking upset and distracted. Quentin comes in and tells her he found Catherine outside the door. The fool, says Julia. You can't blame her for wanting to find out, he says. We all do, says Julia, but we can't until morning. That's the crazy thing about it, says Quentin, is the waiting--he takes a sip from a drink left on the mantel. Where is she now? asks Julia. In the drawing room with Melanie, says Quentin--she promised she wouldn't do anything until the time comes. The clock strikes. It's only 11 o'clock, laments Julia. Have you ever noticed how time moves so slow when you most want it to go fast? he asks--I wonder what's happening to him? Stop thinking about it, says Julia. I can't, he replies--Julia, listen to me--if he comes out of that place in the morning, and he's normal, it's going to be all over. I said stop it! orders Julia.
Melanie brings out a gorgeous tea set and takes it into the drain groom. It's 2:10. Catherine is still ripping away at the handkerchief. Julia drinks tea and paces. Quentin drinks.
5:20 - The four of them linger in the drawing room, doing mundane things. Melanie stands and says it will soon be time, perhaps she should go upstairs and get Mama. No, says Julia, stay where you are. Let her go, insists Quentin--Mother will want to know. Julia says that she and Flora have already discussed how she is to be told--I will handle it. Quentin plays with his collar.
Dawn - 6 AM - The clock strikes. Catherine looks terrified, Melanie hopeful, Quentin nervous, Julia distracted. It's time, says Quentin. Catherine leaps to her feet, more than ready to go, but Quentin tells her to wait, actually physically stopping her. I must go to him, insists Catherine. Quentin, holding onto her, says he wants her to stay down here with Melanie--it's best that she does--does she understand?--he and Julia will go, she should just sit down. We'll be back as soon as possible, promises Julia. Catherine stands there, unhappy, and Quentin tells Melanie to take care of her. Melanie goes over and hugs Catherine, who looks as if she's going to cry.
At the locked room, Julia hesitantly tells Quentin to open the door. They go in and find Morgan sitting in a chair. Morgan? asks Julia. Morgan tilts his head to look at Quentin, who asks him if he's all right. Yes, says Morgan, in an even voice, I'm all right. Let's get him downstairs, says Quentin and he and Julia lead Morgan out of the room. Quentin closes and locks the door. Julia walks arm in arm with Morgan, who is surveying his surroundings with interest.
Melanie and Catherine wait anxiously in the drawing room. "Catherine!" says Melanie excitedly--"They have him, they're bringing him downstairs!" She sees Quentin and Julia behind him on the steps. He's alive! cries Catherine, oh thank God, he's alive--and she runs to Morgan and throws her arms around him. He said nothing all the way downstairs, reveals Julia. Morgan doesn't return Catherine's hug. It doesn't matter, exults Catherine, he's alive, that's all that matters!--he's alive--she hugs him fervently, and asks the others to leave him alone with her, please. Quentin says he thinks they had better stay here and see if there is an after-effect. I'm his wife, says Catherine, I want to be alone with him--she kisses his cheek, her hands on his chest, but he has no reaction at all. We'll be in the study if you need us, says Julia. Catherine leads Morgan into the drawing room, and he again looks around the place as if he's never seen it before. Closing the doors, Catherine, overjoyed, says, "Oh, Morgan, what's wrong--you're looking at the room as if you've never seen it before...Morgan?" Stop calling me Morgan, he orders--that is not my name!
Catherine stares at him in astonishment.
NOTES: Uh oh, looks like Morgan has been possessed in there--but by whom? Will be end up insane, too, and murderous?
I wasn't sure if Morgan really loved Catherine, but his little trick on her (and was that the new lock that came to the Express office--how long ago did he order it)? was truly the action of a man who cares deeply about a woman. He's willing to sacrifice his own life for hers, but again I wonder, what would he do if he knew she was going to have his enemy's baby?
Sweet romance budding between Kendrick and Melanie, and she needs someone like him. I thought she was going to confess that she might have murdered Stella, but she managed to exonerate Gabriel without incriminating herself. One wonders how he would react if he knew she might have murdered Stella in one of her possessed blackouts?
Naturally, I cringed when Quentin gave a pregnant woman a drink, but they didn't know about fetal alcohol syndrome back then! And I can understand Catherine's dismay at his saying that he and Morgan agreed that one of them would take the place of any woman chosen to go into the room. Chauvinism, meant with love, but chauvinism nevertheless!
Good suspense as they played the waiting game, each dealing with it in his or her own way.
1223 - I don't know what you mean, she says. I believe you heard what I said, Morgan says coldly, now if you don't mind, I'd like to be left alone. Did something happen to you up in that room, asks Catherine fearfully. I presume the Morgan you keep referring to is a Collins, he says. She gazes at him, stunned. Yes, of course, he would have to be, says Morgan--how unfortunate--but a man in my position can hardly be selective. Morgan, please! begs Catherine. He again demands she stop calling him Morgan. Terrified, Catherine opens the double doors and calls for Julia. He asks if Julia is the mistress of the present family. Present family? Asks Catherine. I see you're confused, he remarks--well, the less you know, the better off you'll be. Less I know about what? asks Catherine. Julia enters, asking what's wrong, Melanie right behind her.
Something did happen to him up in that room, reports Catherine to the two women, but he won't tell me what it was. Morgan wanders the room, looking around. Morgan? asks Julia. Catherine tells Julia and Melanie that he keeps saying that isn't his name. Poor Morgan, says Melanie, suggesting that he now has the madness. Madness, did you say? he asks--if you're referring to me, you're wrong!--oh, yes, there is madness in this house, but not from me, and it has been going on for years--do you understand that? Yes, says Melanie, I'm sorry. Julia tells him to leave Melanie alone. He repeats the latter's name, remarking that it's pretty--too bad it has to belong to a Collins--you are a Collins, aren't you? You know I am, says Melanie. I know nothing of the sort, he says, and frankly, care even less--I want nothing to do with any of you--if you don't mind, I'd like to be left alone to do what I must do. And what might that be? queries Julia. I don't believe that's any of your business, he says. You're quite certain you're not Morgan Collins? asks Julia. Quite certain, he says, arms crossed over his chest. Then who are you? she asks, but he says he doesn't believe he has to tell her that. Are you aware you just spent the night in a locked room in the West Wing? She asks. Yes, he says, staring at a portrait of a Collins ancestor, my mind is functioning quite well, but I must admit one thing my body is tired. Do you know anything about the curse and the connection with that room? she asks. Nothing, he says. You're lying, she accuses. Very well, he says, I'm lying, if that will make you happy--now if you don't mind, I'm very tired and would like to rest. Catherine tearfully suggests maybe some sleep will help him to be himself. I AM myself, Madame, he says, very much myself--in fact, you might even say I'm liberated. I wish I could understand it, says Catherine. Julia tells her to take Morgan up to the master bedroom. I do not have to be taken anywhere, he says nastily. Oh, you know your way around this house, then? she asks. H gives her a crafty look, and doesn't reply--very well, he says, you may show me the way. He follows her as they go upstairs, Julia and Melanie worriedly watching them go. (Quick, Catherine, now's your chance to sleep with him!)
When Catherine leads "Morgan" up to their room, he says it's nicely done--very much in the Collins tradition. Why are you staring at me like that? he asks. Don't you recognize anything about me? she asks. Yes, I do, he says, and she's happy--until he adds that she, too is very much in the Collins tradition. She's disappointed. I'll turn down your bed, she says. He assures her that won't be necessary. If you're going to sleep...she says. He won't sleep long, he says, he has important, private matters to attend to. He lies down on the bed. She asks him to please tell her who he thinks he is. I know who I am, he says, of course, you all think me mad, but he'll use that to his advantage at the moment. You will tell me nothing, she says, kneeling beside him, putting her hand on his arm--you know if there's anyone in this house you can trust, it's I. And why should I trust you and not the others? he asks. Because I'm your wife, she replies. Into her hopefully smiling face, he says, "My dear madam, I have no wife."
Julia reports to Melanie that she told Flora and Quentin of the latest about Morgan. How did Mama take it? asks Melanie. She was as shocked as we were, says Julia. What about Bramwell, did you tell him? asks Melanie. I only told Bramwell hat Morgan took Catherine's place in the room, but not the outcome. He'll know that soon enough, says Melanie--he'll know that Morgan has been added to the mad ones who spent the night in that room. You're wrong, says Julia, Morgan did not go mad in that room. What would you call his condition but madness, asks Melanie, he doesn't even know who he is! I believe he does, says Julia--his behavior is unlike that of any one who's ever gone into that room--think about that for a moment--everything he says is coherent, lucid--not the behavior of anyone who's mad. Why does he think he's someone else? asks Melanie. It could happen through possession, says Julia uneasily. By whom? asks Melanie. By whomever or whatever is in that room, says Julia. A spirit? Asks Melanie--like what happens to me sometimes. Yes, agrees Julia--an unfriendly spirit is possessing Morgan--hostility came through in everything he said to us--but I didn't get any sense of violence. Melanie reminds her she doesn't give any impression of violence, either, and yet...I know, says Julia, I have not ruled out that possibility with Morgan. Catherine comes in and tells them he's sleeping now. Julia asks her if he said anymore to her upstairs. I didn't learn anything new, if that's what you mean, says Catherine, but he did tell me he doesn't have a wife. Julia, says Melanie, if what you said is true, about his being possessed... Possessed? Asks Catherine. Yes, if he actually is possessed, says Melanie, if he is someone else, then what's happened to Morgan? If it's true, says Julia, then Morgan's own mind is dormant, says Julia--the main question is, how total is the possession--and will Morgan ever be himself again? They all speculate on the possibilities, solemn and worried.
Julia is looking through James Forsythe's ledger. Melanie comes in, kneels at her feet and asks her to tell her everything she knows about her parents. Why do you ask that? asks Julia. I've become very curious lately, says Melanie. I don't know anything about them--I've told you that before, says Julia--what's brought on this curiosity? Nothing at all, insists Melanie. It's Kendrick Young, isn't it? demands Julia. Melanie gulps. I told you you must not see him, insists Julia--he's bad for you, you must believe that. I don't want to believe it, protests Melanie, and it's not true--he's been kind and understanding. Yes, agrees Julia, and puts thoughts in your head that shouldn't be there. Like thinking I want to know something about where I came from? asks Melanie--what's wrong with that?--and why does it upset you so whenever I mention it? I'm not upset, says Julia. Melanie says Julia is behaving defensively, as if she had some secret to protect--you do know more about it than you've ever told me, don't you? If I tell you everything I know, says Julia, will it satisfy you? Yes, replies Melanie. Julia sits down and explains that Justin was on the Board of Directors of the orphanage from which Melanie was adopted, and that's where he found her. But there must have been hundreds of other children at that orphanage, says Melanie, why did he choose me? He had know both your parents, Julia says. Why didn't he ever tell me that? demands Melanie. I don't know, says Julia, but he told me they were in an accident and killed, which is why Justin felt an obligation to adopt her. Melanie asks her real parents' names. Julia doesn't know, but your name has always been Collins, and that's all matters. Melanie thanks her and leaves. Julia returns to reading the ledger.
Morgan is asleep. Catherine, who should have jumped his bones when she had the chance, quietly enters the room and watches him sleep for a moment, then looks out the window. He awakens, sees her and comes up behind her, startling her--she thought he was sleeping. He asks what she's staring at. Nothing, she says, I was just staring. The grounds are as beautiful as ever, he comments. You speak as if you know them well, she says carefully. Every inch of them, he says, they haven't changed all these years. How many years? She asks. He smiles and ruefully suggests they're all about to choke on their own curiosity, aren't they?--that cottage over there, who lives in it? Why? she asks. Answer me! he says. The caretaker, Ben Stokes, and his daughter, Carrie live there now, she explains. Why are you interested in the cottage? she asks. I didn't say I was, he says, and leaves the window. What have they been saying about me downstairs? He asks. Nothing, she assures him, everyone is as concerned about him as she is. Being Collinses and suspicious by nature, he says, I expect they intend to keep me watched, don't they? They haven't said anything about that, she tells him--if I can't appeal to you as my husband, perhaps you can try to understand me as a human being--this has come as a great shock to me--it's as thought my own husband were dead. She sees him standing at the door. I'm sorry, he says, but I do not like to be spied on--I must have my privacy. He locks her in the bedroom and leaves while she bangs on the door, begging to be let out. Stoically, he walks away.
Melanie, candle in hand, goes into Justin's study and in the secret drawer in the desk finds a letter written from Justin to an unknown woman. "We've already discussed this matter thoroughly, and a decision has been made," she reads. "Melanie shall be adopted by me. My dear lady, I am aware of your opposition to this and respect your feelings in the matter--surely you can understand how I feel--from the moment I saw her, I loved her--I knew she belonged at Collinwood and I had hoped you would share that feeling, that you did not came as a severe disappointment to me."
Julia comes in and glares at Melanie.
Julia closes the door behind her and asks what she's doing here. You lied to me, says Melanie--why? I have never done a thing like that, says Julia. Yes you did, insists Melanie, you told me my parents were dead when I was adopted--that's not true! How do you know a thing like that? asks Julia. I found a page from a letter in the secret drawer of Papa's desk--it was written to my mother just before my adoption. Let me see it, orders Julia, who looks at it and points out there's no salutation or signature. I told you, says Melanie, it was a part of a letter--but it is in Papa's handwriting and could only have been written to my mother! Wishful thinking on your part, says Julia. No it isn't, says Melanie, read it and you'll see! I have already read it, says Julia, and I know who this letter is to--Flora. Melanie is shocked. Yes, says Julia cruelly, Flora grew to love you when you came to Collinwood, but she was much opposed to the adoption--for Melanie's sake--she was afraid that the boys, who were growing up then, might not accept her. Melanie finds this hard to believe. Julia says it's true--and stay out of this room from now on--she should never have come here--you may go now! Melanie obediently leaves. Julia closes the door, rolls up the letter and holds in the candle flame, destroying evidence forever.
Morgan slips downstairs without being seen and enters the kitchen door. Melanie, having just missed him, comes downstairs, looking depressed. Morgan exits the kitchen door, slips past Melanie, and leaves the house.
Stokes cottage. Carrie is reading a book when Morgan enters without knocking. Mr. Collins, she says, surprised. He bids her good evening and asks if her father is here. No, she says, she's alone. She stares at him, and he asks what's the matter. I don't know--you seem different somehow, she says.
I have undergone a change, he admits, but that's something I don't think you'll understand--I need your help--I'm looking for something very important and need your cooperation--there's something I'm looking for, I think it might be in the cellar--he looks at her threateningly and says, "Give me the key to the cellar, Carrie." What is it? she asks, what's happened to you? I said give me the key! he demands. No, I don't think I should, she says. I am here for a very important reason, he says--and I do not want to have to use force. No, I won't help you, she cries, I'm going to Collinwood to tell them! He grabs her when she tries to run off, telling her, "You are going no where." He seats her in the chair and stares into her eyes, which grow wide, sending her into an unblinking trance. He asks what's the matter with her--what's happened--he waves his hand in front of her face, but her expression doesn't change. He takes a fireplace poker and breaks the lock on the basement.
Julia, hearing Catherine banging on the door, begging for anyone to let her out, releases Catherine from the bedroom. Catherine tells her that Morgan locked her in when her back was turned. Where did he go? asks Julia--he must be somewhere in the house--we've got to find him. Catherine says she doubts he's in the house--he was talking about the cottage over there--he seemed very interested in it, but wouldn't tell her why. Julia says they should go, and the women leave the room.
Carrie still sits, fully engulfed in her trance. Morgan comes out of the basement with a book, and he stares at Carrie. Julia and Catherine come in. Catherine looks at Carrie and Julia asks Morgan what he's doing here. I told you, says Morgan--I do not like to be followed--I go where I please and when I please. Catherine tells Julia to look at Carrie. Julia kneels and gently pats Carrie's face, but can't get her to respond. Julia demands to know what he did to her. I assure you, he says, I did nothing to her--I don't know what's happened to her--she suddenly went into that strange state. Julia again pats Carrie's face, asking if she can hear her. Carrie comes out of her trance, looks at Morgan and says, "I know who you are! You're James Forsythe!"
Julia looks up at him, stunned.
NOTES: Ah, so that's who is possessing Morgan now--but for what purpose? What is that book he took from the cottage basement, and why? This new persona doesn't seem as dependent on the TelePrompTer as Morgan was! Hurray!
It's obvious Julia knows everything about Melanie's adoption, but fears it would hurt her to reveal the truth--or is it someone besides Melanie that Julia is protecting? One senses this version of PT Julia knows everything, and is very judgmental of all souls. Was that letter really from Justin to Flora, or from Justin to Melanie's biological mother?
Poor Catherine--technically, her husband came out from the room alive, but possessed by another man. Does this mean she can get an annulment?
Love, Robin
