1224 - Who is James Forsythe? asks Catherine. Forsythe put the curse on the family, explains Julia--isn't that true? Is that what the family's thought all these years? chuckles Morgan. Do you deny it? asks Julia. You're even bigger fools than I thought you were, says Morgan scathingly--I had absolutely nothing to do with the curse.
You're lying, Julia accuses. Why would I lie about a thing like that? he asks. Can you deny what Carrie said? asks Julia. I am Forsythe, he admits--after 100 years, I live again. Why wouldn't you admit it to us before? she asks. I learned a long time ago never to trust or confide in a Collins, he says--it might be fatal. Morgan come back to me! begs Catherine. He is dead and won't ever come back to you, says Forsythe. Catherine walks away, miserable. Why did you come to the cottage? asks Julia. He wanted the key to the cellar, Carrie reveals. You wanted to find Forsythe's ledger, guesses Julia--too late, we have it at Collinwood. Morgan, holding up a different book, says, I didn't want the ledger; I found what I wanted. What's that? she asks. He won't let Julia touch the book he holds out--I've said all I'm going to, he insists--good day. He leaves. Morgan! calls Catherine--please wait! "He is in his own time now," Carrie says. Catherine and Julia leave to try and find him.
Old House - Daphne sits alone by the fireplace, wearing a robe, drinking tea. Bramwell comes in. I wasn't there when you awakened, he says. They admit they both had trouble sleeping. Where have you been? she asks. I went out for a walk, he says evasively. To Collinwood? she asks. Yes, he admits--Catherine is all right--Morgan took her place in the room--Morgan is alive, but that's all I know, Julia wouldn't tell me anything--not that I care what happens to Morgan. What else is troubling you? she asks. It's no concern of yours, he replies. Your happiness concerns me, she insists. I don't feel like talking, says Bramwell--do you mind? Yes, she insists--I do mind--you haven't been in the mood to talk to me since we got married. I'm sorry, he says, I've been preoccupied with business matters--I'm anxious for my ship to come in. Will being rich make a difference in our lives? Daphne asks sadly--will it bring us closer, make us talk about what is troubling you? He doesn't reply. The answer, darling, she says is no--talk to me, she begs, for both our sakes. It has to do with something that happened before the duel, he says. Yes, she says--the duel that brought the two of us together--so ironic Bramwell agrees. It's Catherine, isn't it? she asks. He can't answer.
Oh, Bramwell, she says, near tears, it's always Catherine. She goes upstairs, leaving him alone. It's his turn to sit on the sofa and brood. (Moody, sad scene; I felt sorry for both of them, but most sorry for Daphne, who was being so reasonable and trying so hard. Catherine telling him about their child probably has made it impossible for him to even consummate his marriage to Daphne.)
Morgan enters what appears to be a fishing shack, where he opens and reads from Brutus' journal: "And as for Sarah, she is the soul of treachery, pretending loyalty to me, but all the time betraying me to her brother, just as Amanda has been doing. Sarah went to the cottage expecting to find the lovers in their trysting place, instead she found me, Brutus Collins, and now she is dead, buried where no one will ever find her!" Forsythe claps the book closed--now I know now what I must do, he says--and tonight I shall attend to it. He leaves the shack.
Catherine and Julia enter the drawing room. Where did Morgan go? Catherine wonders--Julia, do you think he'll be all right? He seems well able to take care of himself, says Julia--I just wish he would tell us about the curse. Yes, says Catherine, if only we could learn enough to end it once and for all. Have you come around to believing in the curse? inquires Julia. Something must be happening in that room, admits Catherine--first Melanie, Gabriel, now poor Morgan--do you think he'll go on, just like this, from now on? No, says Julia, there are just so many questions now. We have had our differences, says Catherine. The two women agree to try to answer those questions. Catherine suddenly feels faint. Do you feel all right? asks Julia. I felt faint for a moment, says Catherine, it must be what's been happening, last night and this morning, that's all. Julia, once again suspicious, asks, are you sure that's all it is? Of course, says Catherine. You sit down, says Julia, I'll go get you smelling salts. She leaves. Catherine totters over to a love seat and sits down. Bramwell enters, closes the doors, comes in and sits beside her. I heard about last night, he says. Have you seen Morgan? she asks. What happened to Morgan? asks Bramwell--I expected silence from other family members, but not you--you must tell me. Catherine explains about the possession--they say he may never be himself again. Is he sane? asks Bramwell. He seems to be, says Catherine, but we can't know for sure.
I knew you would only find misery in this house, says Bramwell--if you had only come away with me yesterday, we'd have been able to start a whole new life. Yes, she reminds him--a life based on scandal--the parents of a child who can never marry. I don't want the child brought up in the house I hate so much, insists Bramwell. Julia enters--what are you doing here, if you hate the place so much? she demands. (HOW MUCH DID SHE HEAR??) I came to find out what you wouldn't tell me, says Bramwell--Catherine just told me. Did you come to gloat? asks Julia. My motives have been completely misunderstood, as usual, he says. You excel in feeling sorry for yourself, she accuses. Is anyone looking for Morgan? asks Bramwell. Someone will be soon, she says. Has he shown signs of being violent? asks Bramwell. Morgan is annoyingly composed and calm, Julia says--but why do you care?--there is certainly no love between you and Morgan? For Catherine's sake, Bramwell insists--may I help? Catherine quietly thanks him. He and Julia exchange cold farewells; Bramwell leaves. Julia glares at and starts in on Catherine. You two still have secrets, she accuses, haven't you? (just a very little one--right now.)
Catherine feigns confusion--there are no secrets between me and Bramwell, she assures Julia--I don't know what makes you think we do. The atmosphere and the subject change when a third party enters the room, says Julia--what were you talking about just before he talked about how much he hated this house? The locked room, says Catherine angrily, and the lottery. And he reminded you he had warned you not to come here? Julia says. Yes, he did say that, admits Catherine. He will continue to say that every time he sees you alone, warns Julia--one of many other reasons you should not see Bramwell alone--"IF (did you hear the caustic way she said that?) you understand what I mean." I don't understand, says Catherine. Julia elucidates--you are too anxious to see Bramwell, and that will NOT DO!
You have an active imagination, accuses Catherine--Bramwell has never come here at my invitation, only of his own volition. I did not say that, says Julia. Well then whatever you said was wrong! snaps Catherine. I hope you're right, says Julia. I am right! says Catherine. Then why are you so upset? asks Julia. Because I don't like your insinuations! says Catherine, adding, sadly--it's very strange--a few moments ago, we finally seemed to be getting closer to one another, but now we're as far apart as we ever were. Julia gives Catherine the smelling salts--"If you need them," she says icily, and walks away.
Morgan returns to the darkened cottage and knocks something over. Carrie, adorable in her little blue nightgown and cap, comes out--what are you doing here? she demands. He turns on a lamp--please don't be frightened, he says. You don't belong here, she says. But I do, he insists, I know this cottage much better than you do. What do you want? she asks. I want to turn back time, he says. Impossible, she says. I know, he says--this gift you possess--it helps you to sense certain things that escape ordinary circumstances. Sometimes, she admits. Are these rooms inhabited by a spirit, long since dead, who was brutally murdered? he asks--have you ever heard or felt her presence? I have never felt such a presence, says Carrie. Her name was Sarah Forsythe, he says--she was very loyal and devoted to me and died because of it--I want to find her body. Nothing you're saying makes sense to me, says Carrie--please go now. Please don't put me out, he begs, I must have time--he buried her here someplace. There's no one here except me, she objects--Mr. Collins, please... PLEASE! he shouts, do not call me by that name. You're frightening me, she says. I know he buried her here someplace, says Forsythe, and I've got to find her. Carrie tries to escape. You can't go, or tell anyone I'm here until I've done what I must do, he says--I will let you out when I am finished.
Old House - Daphne waits for her husband, again gazing out the window. He returns, looking more tired and defeated. You shouldn't have waited up, he says. You have business matters, says Daphne, I have a marriage to tend to--you left without saying a word. I know, he says, pouring a drink, looking guilty and ready for a fight at the same time. I suppose I should be getting used to that by now, she says. I'm sorry, says Bramwell. I don't imagine I have to ask where you've been, she says. He admits going to Collinwood. You've been there since early this afternoon? she demands. No, he says, I found out about Morgan, then went away--I've been in the village. What about Morgan? she asks. Morgan is "no longer himself," explains Bramwell--possessed--there isn't much they can do for him, and they can't even find him. How is Catherine taking it? asks Daphne. Understandably upset, says Bramwell, drinking. And you're...upset, too, just as you were this morning, she points out. I am too tired to talk, he says, and heads for the stairs to get some rest. "Did you tell Catherine what was troubling you, Bramwell?" asks Daphne with shrill anger, "or did she already know?" Furious at her question, he demands, why did you ask? I'm glad it aroused some sort of emotion in you, she says. You have no right to make such an insinuation, insists Bramwell. And you have no right to become angry just because I want what is due me as a wife, she counters. I'm sorry for not telling you I was leaving the house, he says. It isn't just that, she says--why do you have to see Catherine alone?--didn't it occur to you I might want to see my sister? There was nothing to stop you from going to see her yourself, says Bramwell. We should have gone together, says Daphne--we're husband and wife--or was there some reason we couldn't? No, there wasn't, he says. Then why didn't we? she asks. Because I had other things on my mind and didn't think about it, he hurls back at her--I've made my s apologies, the subject is closed! He goes upstairs. When he's halfway up, Daphne reaches for him, clings to him, holding onto his jacket, gazing up at him. Take me away from here, she begs--we can't live in Collinsport, Collinwood, there's no chance for happiness--as long as we're here, the past will always be a barrier for us--I don't know what we can do--the only way to be happy is to leave--take me away--tomorrow. No, says Bramwell cruelly--not tomorrow, or the day after or ever--we are staying at Collinwood! Don't you understand there is no hope for us here! she cries. There's hope wherever we are, he insists--you are never to forget that. You won't give us a chance, cries Daphne, you want to stay near Catherine because of the past, because you still love her.
"Listen, Daphne," says Bramwell, "we're not leaving here because I don't want to. If you do--go. If you want to be my wife, you'll stay--it's as simple as that." He stomps upstairs. Daphne stares after him, tears brimming in her eyes.
Down in the basement, Forsythe has dug up the bones of Sarah (who wears a black wig) and is talking to her: "You thought no one would ever find you here," he says--"but he was wrong, wasn't he?--wasn't he?" Things in the room begin to sway as a spirit enters the room; a wind ruffles Forsythe's hair. Yes, I have found her, Brutus, says Forsythe, and I know you were in this room, I am ready for you--show yourself to me, Brutus, let me fight you again!--I knew your spirit would follow me here. "Show yourself to me, Brutus!" Seeing Brutus' spirit appear, Forsythe says, it is you--after 160 years, he exults, we are face to face again!
NOTES: Now that Forsythe has found the Sarah's bones, what will he do? Will he and Brutus get into a cosmic battle? Which of them will win?
There is no doubt that Bramwell is a prime SOB here in his treatment of his bride, but he is torn up about Catherine's pregnancy, so his emotions are a shipwreck. He never should have married Daphne in the first place, but he did, and this will play itself out to its conclusion. It's just a shame that Daphne is caught in the middle and he can't tell her why he is such a mess--that her sister is pregnant with his child.
Julia really does seem to suspect what's going on with Catherine, and that can't bode well. Did she overhear anything they spoke of?
1225 - So you are free again, James! says Brutus (played by Louis Edmonds) to Forsythe. Yes, and I shall stay free, says Forsythe. And you think you can change the things I did so long ago, but you can't, Brutus insists. I have already begun, says James, and I shall succeed--my sister Sarah will be given a proper burial. She betrayed me! accuses Brutus, and deserved what she got. You were the creature of treachery, not Sarah, says James--all she did was tell me that you had planned to betray me, and you killed her for it, just as you killed me and your wife Amanda--because she tried to help me, too--I am free, and I am going to right the wrongs that you have done all these years--and you cannot stop me! Take my warning, warns Brutus, go back to your tomb! Never! cries James.
Brutus seems to swell, and advances threateningly toward Forsythe.
Melanie, agitated, paces the drawing room, back and forth. Julia returns home. Is there any news? asks Melanie. Morgan seems to have disappeared just as Gabriel did, says Julia, but Quentin and the servants are looking for him still. Get some rest, Melanie urges Julia. I won't be able to, insists Julia--I'm still concerned about Carrie, who was so upset about what happened with Morgan at the cottage this afternoon--she kept asking me questions--she wanted to know why Morgan behaved so differently, and I couldn't answer her questions, because I couldn't tell her about the curse or the locked room. No, of course not, agrees Melanie. Be very careful when you see Carrie again, says Julia; you've been very close, and she's sure to think you will tell her everything. I'll be careful with Carrie, says Melanie. Carrie, sobbing, a blanket wrapped around her, comes to the door--Morgan is back at the cottage, acting crazy, babbles Carrie--he grabbed me and locked me in the room--I got out through the window. Melanie, says Julia, stay here in case Quentin gets back; I'm taking Carrie back to the cottage. As they are about to leave, Kendrick comes to the door--I was just about to knock, he says. What do you want? asks Julia. To see Melanie, says Kendrick. All right, says Julia--I must leave for a few minutes, but when I return, I would like a word with you myself. I'll make a point to wait for you, says Kendrick. Julia and Carrie leave. Kendrick smiles at Melanie--I have something important to say to you, he says. Come into the drawing room, she says. I don't want to be overheard, he says--can we go outside? I'm supposed to wait here until Quentin comes back, she says. It won't take long, he says. All right, she says--I'll leave a note for Quentin on the table. She starts to write one.
Basement, cottage - We hear Julia upstairs--I don't see anyone here, she says. I'm sure I heard someone going down into the basement, says Carrie. The cellar door is open, agrees Julia. They go downstairs and find Forsythe lying unconscious on the floor. Julia kneels and checks him. Is he dead? asks Carrie. He's still breathing, says Julia--we've got to find a way to get him back to Collinwood--what could have happened to him down here? I don't know, says Carrie, but I feel the spirit again, the same angry spirit I felt at Collinwood the other day. Morgan told me about that, says Julia. I'm frightened, says Carrie. I don't think you should stay here tonight, says Julia--stay at Collinwood. Yes, I think I'd like that, agrees Carrie. I'll try to revive him, says Julia. Wind blows through the room. What's happening? asks Julia. It's him! says Carrie, the spirit--he doesn't want you to touch him--we've got to get out of here. They notice the unearthed skeleton of Sarah Forsythe. Morgan asked me if I felt her spirit in the room, sobs Carrie--he said he knew she was down here someplace, that must be her. Who is she? asks Julia. I don't know, says Carrie, but we must get out of here.
You go back to Collinwood, says Julia, holding the girl's hand--find Quentin and send him here at once. What are you going to do? asks Carrie. Stay and watch Morgan, says Julia. It isn't safe! cries Carrie. I'll be all right, says Julia--do as I told you to. Carrie leaves. Julia kneels, her hand on Morgan's chest.
Gazebo - I was quite surprised to see you at the door, says Melanie. Why? asks Kendrick. I haven't seen you for three days, she says. Did you miss me? he asks. Yes, she confesses, I did--I was beginning to think you'd forgotten me. You didn't really believe that, did you? he asks. I didn't want to believe it, she says, the thought frightened me. I could never forget you, he says, the fact is, I've devoted the last three days exclusively to you. Is that what you wanted to talk to me about? she asks. Yes, he says, and I want to ask you again just how your family came to adopt you. I told you everything, she says, upset. I know, he says, but I must know again just to be sure. I now know a bit more than the last time we spoke, she says--I always thought my parents were dead when I was adopted--I found out my mother was alive. How did you find that out? he asks. I found a page from a letter written by Papa, Justin Collins, she explains--it had no salutation, but it concerned my adoption and I know it was written to my real mother. Where is this letter? asks Kendrick. I don't have it, she says, Julia found it and took it from me. He looks dejected. She told me the letter was not written to my real mother, says Melanie, but I don't believe her. Tell me how Justin Collins found you, he says. I was six months old, at the Concord Orphanage outside Boston, says Melanie--Papa was on the board of directors there. That part is true, says Kendrick--Justin was on the Board of Directors, but he never found you there. What are you saying? she demands. There is absolutely no record of you at the Concord Orphanage, he says--you were never there! She stares at him, astonished.
I was never at the orphanage? she asks. That's right, he says, I went there and searched the records. That's what you've been doing the last three days? she asks. Yes, he says. Why would you do a thing like that? she asks. For you, he says, because I felt you had certain doubts about your parents--your real parents--because I felt it disturbed you--and because it disturbed you, I didn't think you could be happy. I'm grateful for your concern, she says, you've always been open and honest with me, which is more than I can say for my family. Who first told you you were at the orphanage? asks Kendrick. I don't remember, she replies--I suppose it was Papa, but everyone in the family knew it. But did everyone in the family know it was a lie? wonders Kendrick--I'm sure they didn't, I'm sure they just believed it was told to them by Justin, but he knew it was a lie. I don't understand why Papa would find it necessary to lie to me, says Melanie. That's the big question, agrees Kendrick, why was it necessary?--but he's dead and we'll never be able to answer that.
Julia knows, says Melanie--it's just a feeling I have--Julia's whole life has been one of protecting secrets.
Collinwood - Forsythe lies on the sofa in the Collinwood drawing room, Julia anxiously watching him. He awakens--do you ever smile? he asks. There's nothing in this house to smile much about, says Julia. It's always been thus, he says. I had hoped when you came to, you'd be yourself again, she says. I am myself again! he shouts--though not Morgan Collins--how did I get back here? Quentin and two of the servants brought you, she says. I see, he says--well if you think I'm going to shower you with gratitude, you're going to be disappointed again. I don't want gratitude, she retorts--what were you doing in the cellar of the cottage? You've forgotten what I told you this morning, he says, rising from the sofa--I'm not here to help you! Hasn't it occurred to you it might be to your advantage? she asks. Dealing with a Collins is never to anyone's advantage, he says. Why do you hate us so? demands Julia. Because you ARE Collinses, he says. The feelings all date back to 160 years ago, she says--we have done nothing to you--we're not guilty--we must not be enemies when we can possibly help each other! I don't need help, you do, he says. Who was buried in the cellar? she asks--why were you digging up a skeleton? That is my concern, and mine alone, says Forsythe. Why were you unconscious? she asks--what happened to you? You're wasting your time, he says. Were you aware you were in some danger? she asks. I am, he says. Then you must not go back there, she insists. I'll agree to that on one condition, he says--that someone goes to the cellar, gets the skeleton and makes sure she gets a proper burial--she deserves that much. She? says Julia--who is she?
That much I don't mind telling you, he says sadly--Sarah Forsythe--she was my sister.
How did your sister come to be buried in the cottage? asks Julia. I have answered all the questions I'm gong to answer, he says--if you want the answers, why not ask your ancestor, Brutus Collins?--his spirit still haunts this house, and the grounds--try and contact him--I think you'll find it a most illuminating experience--good night, Miss Collins! He goes upstairs.
9:45 - Julia carries out a tray, sets it on the coffee table, and closes the drawing room doors. She sips her beverage and hears Melanie thank Kendrick--for everything--outside in the foyer. I hope I haven't upset you, he says. No, she says, I'm very glad you care the way you do--thank you. They kiss, a nice one, and she heads upstairs. He's about to leave when he sees Julia standing and watching. I wanted to talk to you--remember? she reminds him. It slipped my mind, he says. Come in, please, she offers. He does, not looking happy about it. I will come right to the point, she says. You usually do, he says. You've been interfering again, which does not surprise me, she says coldly. Interfering, how? he asks. You have put ridiculous thoughts into Melanie's mind, she accuses. You think being interested in someone's background is ridiculous, he says. Melanie is troubled enough, she reminds him, without you making matters worse. Yes, I should be more careful, he says--because Melanie may begin to learn the truth about herself, and you wouldn't like that, would you? I don't know what you're talking about, she says, lifting her head high. Why is everyone lying to Melanie about her background, about where she came from? demands Kendrick--and the identity of her real parents? No one is lying to her, asserts Julia, no one knows the identity of her real parents!--Justin Collins did, he adopted Melanie from the Concord Orphanage, near Boston. You tell a lie with such ease, he says. HOW DARE YOU? snarls Julia, beyond furious. I might as well tell you, he says, I have been to the Concord Orphanage, there is no record of Melanie there. Julia looks uncomfortable. Now, he says, that is the truth, Miss Collins--what is it that no one wants Melanie to know? I think you had better leave now, advises Julia. That solves nothing, insists Kendrick, I will continue with my search until I find out! This is my last warning to you, says Julia, tight-lipped--I want you to leave here and never return!--if you do, I will not be responsible for what happens! What will happen? he asks--the same thing that happened to my sister, Stella? I will see you to the door! she says curtly. She opens the doors and sees Melanie walking downstairs, holding onto the banister, muttering, "Death is the only answer--until no one is left!--until the curse has been appeased." Julia hastily closes the doors--perhaps we can talk for a few moments longer, Mr. Young, she says. Something is wrong, he says, you saw something in the hall you didn't want me to see. There's nothing, she assures him, that's absurd. Then I'll look in the foyer, he insists. Julia tries to stop him. I'm going to look in the foyer! says Kendrick. He opens the doors and finds Melanie standing there, staring straight ahead. He calls her name; she doesn't reply. What's wrong? he asks. She turns to him with a look of hatred. Say something, begs Kendrick. You're not a Collins! says Melanie--who are you? Who am I? he echoes, confounded. You shouldn't be here! she says, you don't belong--she looks left and right--everyone in this house is destined to die, she whispers. Kendrick, face shaking, turns to Julia--tell me what's wrong with Melanie, he says.
Julia, terrified, doesn't reply. TELL ME! he screams.
NOTES: Poor Melanie. She's got a really nice guy in Kendrick, one who takes three days of his own time to check out her falsified background in Boston. Will he stick around when he realizes that she's actually another person sometimes, and a vicious, murderous one at that?
We have James Forsythe, whose sister apparently died at Brutus' hands, much as Kendrick's sister died at the hands (most likely) of a Collins. There are going to be other parallels between the 1600's and 1841, which will be revealed later. We know that Brutus murdered Sarah, James and Amanda, but we don't know why, except that Amanda apparently betrayed him in some way. It sounds at this point as if Amanda, Brutus' wife, and James Forsythe were having an affair, and Sarah helped them tryst. Brutus seems like a nasty ghost, so we can safely assume he was pretty cruel in life, too. But a triple murderer?
So what is the truth about Melanie's parentage, anyway? Why the big cover-up, claiming she came from an orphanage? Who was the women Justin was speaking to in that partial letter, if not Flora as Julia claims? Julia is determined to keep the truth from Melanie, and we have to wonder why. Kendrick wisely realizes that Melanie can't be truly happy until she knows more about her background, but he's finding obstacles in the way of the truth.
Love, Robin
