1228 - Melanie, what are you talking about? asks Kendrick. She turns away--my mother will tell you everything, she says. What is it? Kendrick demands of Flora. I'm sure I don't know, says Flora. But you do know, insists Kendrick, you can't pretend anymore, I demand an answer now. You have seen the attacks Melanie is prone to, says Flora, she is also prone to hysteria. Not true, says Melanie, I'm quite myself now, Mama, you know what I'm talking about, so tell him, please, Mama, for me! Darling, says Flora, there is nothing to tell--I'm sure Mr. Young is distressed to see you so overwrought. Tell him! cries Melanie, in despair, he must hear it. Hear what? asks Kendrick. That I killed Stella! cries Melanie. Don't listen to her, says Flora, she doesn't know what she's saying! Kendrick, shocked, stares at Melanie, who apologizes, near tears. How did it happen? he asks. I don't know, says Melanie. It was an accident, wasn't it? he asks. Melanie, says Flora, go to the study and wait for me. No, I've got to find out now! says Kendrick. Melanie, says Flora, did you hear me?--I said go to the study! Sobbing, Melanie runs from the room. Flora closes the doors--Mr. Young, what do you expect to learn from a girl who imagined everything she just told you? One thing is real, he says--my sister was killed. But surely you don't think Melanie killed her? says Flora. What made Melanie say it, then? he asks. Who knows what makes the troubled mind act as it does? asks Flora--how many disturbed people have confessed to crime they didn't commit, quite common, I believe. Why did she confess to this crime? asks Kendrick in a dangerously soft voice--why? I would say that your recent attentions have a lot to do with it, she says--you frighten Melanie so this is her way of... Of what? asks Kendrick--getting rid of me?--no, he says firmly, I won't take the blame or your explanation--where was Melanie when Stella was killed? Flora is silent. Please, give me an answer, he begs. I'm afraid I can't, says Flora
--because I doesn't know precisely when, why or by whom your sister was killed. You mean you have no proof of anything, one way or the other, he accuses. There are some things, says Flora, people know without having proof--and I know Melanie is innocent, and I say you take your questioning elsewhere--goodbye! She opens the doors, dismissing him. I can't be left like this! insists Kendrick. I said goodbye, repeats Flora, and leaves him standing there. He exits the house.
Foyer - Flora leads a sobbing Melanie in from the study, urging, hush, darling, don't cry. He's gone forever, wails Melanie. He wasn't right for you, says Flora. Yes he was, cries Melanie--I know it could never have worked out because of his sister, but I had to tell him the truth, even if it meant losing him. It's not the truth, insists Flora, you couldn't have killed her. I couldn't have! says Melanie, but SHE could have, that demon inside me, she could have, and did--why don't you turn me over to the police? Now listen to me, commands Flora, if Kendrick brings the police back here, you're going to deny everything you said and so am I--do you hear me?--they'll think him the one who's mad. Instead of me! says Melanie viciously, and once again the Collins family will win! Darling, it's not a question of the family, but YOU I'm trying to save, insists Flora.
Am I worth saving? asks Melanie pathetically--I don't think so--she bursts into fresh tears.
Old House - Bramwell sits looking into the fire. Daphne comes in--may I speak to you? she asks hesitantly. Certainly, he says. When I asked you to take me away, you said no, she reminds him--you said I could either stay and be your wife, or I could leave by myself--that was the choice you gave me--I've decided what I'm going to do. I see, he says noncommittally. I'm going to stay, she says, running into his embrace--oh, Bramwell, I was so lonely even for just the hour I was by myself, I know I could never live without you. You don't have to, he assures her gently. I know that, she says, but we can make this marriage work, be happy together, be happier than anyone else could be. She's touching his face, his jacket front, trying hard to be seductive. Bramwell suddenly, angrily, insists, I have to go upstairs--if you'll excuse me--and does, leaving her alone. She calls up the stairs to him, assuring him, things will be different from now on--we should go out tonight, just the two of us--"Bramwell, did you hear me?--you didn't, did you?" She realizes he is gone--"You didn't hear a word I said." She bows her head sadly.
Gazebo - Melanie waits, sitting on the bench. Kendrick appears. Did you come with the police? She asks. Who said anything about the police? he asks, taking her hand. Mama, she says. Melanie. I would never do anything like that, even if I thought you were guilty, he assures her. I AM guilty, she says, covering her face, I know I am--Mama says I imagine things, but I don't, I know I don't--I know I killed Stella, and you've seen that person I become and you know it, too. No, says Kendrick, you didn't kill her!--maybe when you first confessed, I believe it, but I thought about it--you could not have killed her, no matter what state you were in. But that other person inside me, she says. She could not have done it, either, says Kendrick, I saw you become that other person, she was tormented, tortured, but she couldn't kill--she had no violence in her. That's not true, she says--the first night Catherine stayed in this house, I was found by her bedside with a knife in my hand--a knife! But you didn't use it! he reminds her. Only because Julia stopped me in time, says Melanie, her voice ragged--there was nobody there to stop me when I killed Stella! Stop torturing yourself! shouts Kendrick--you didn't kill her, I know it! Melanie, crying, turns to him--you can't see me as I am because you think you're in love with me. I don't think I love you, I DO love you, he assures her--you and I are destined for each other--in time, the truth will come out, what happened to Stella. I've told you the truth, she says. Forget what you told me, he insists. What about my attacks? she says, should we forget them, too? No, the truth will come out about them, too, he says. Oh, Kendrick, if you came here looking for truth, you came to the wrong place, she says. I came here to find you, to love you, he says, and to marry you. Stunned, she looks at him--to marry me? she asks. As quickly as possible, he says. I don't know, she says. You love me, don't you? he asks. You know I do, she says.
Please say you'll marry me, he says, kissing her. He holds her close--we will have a good life together, believe me, it's true. She draws away, uncertain. Don't be afraid, he says. I am afraid, that's the truth, too, she says--I'm so terribly afraid.
Collinwood - Catherine comes downstairs. How is Morgan? asks Flora. Morgan? repeats Catherine sarcastically--isn't it strange how we keep calling him that, despite what's happened?--it's not Morgan, James Forsythe went into that room that night and took Morgan's body for his own! He IS Morgan, says Flora, we must continue to think that. Do you? demands Catherine, do you really believe that man up there in that room, staring down at us, hating us because we're Collinses, that stranger--is my husband or your son? Not as he is, says Flora, I don't know how to bring my son back, except to wait. Wait for what? asks Catherine--and how much longer must we wait? I don't have an answer for either question, says Flora. I used to believe the worst thing in the world was waiting for someone you loved to die, says Catherine, but this is worse--death comes, this has no end! Would you rather Morgan had died or gone mad like the others? asks Flora angrily. No, says Catherine, shaking her head. Then no matter how long it takes, says Flora, wait and be patient--accept what is. Accept? asks Catherine--accept a stranger who hates us all? He may hate, says Flora, but thus far, he has harmed no one. No one but Morgan, says Catherine, and why didn't Morgan accept?--why did he have to go into that room, take my place? Because he loved you, says Flora, remember that--remember he sacrificed himself--for you! Catherine stares at her mother-in-law.
You don't have to remind me what I owe Morgan, says Catherine, that's why I can't just accept it, I have to do something. When Justin turned out as he was, says Flora, I swore I would help, but I couldn't--there was no help this side of the grave--only hope. You Collinses, says Catherine angrily, I can never understand you! YOU Collinses? echoes Flora--don't forget you're a Collins now! Forget it? asks Catherine, oh, no, I won't forget it--wherever Morgan's soul may be now, whatever limbo it may be in, however long it may be there--no, I'll never forget that I am his wife! (I feel for both women here, and understand Catherine's discontent. Flora is a for-better-for-worse kind of wife, but not Catherine.)
Daphne sits by the fire. Bramwell comes down--you look tired, he says--you should be in bed--it's late. He's slipping into his jacket. It's too late to go visiting, she says. I'm not going visiting, he assures her. Where are you going? she asks. To the village on business, he says. This hour, everything's closed, she points out. He makes a face--not the taverns on the waterfront, he says--there may be a man there who knows about my ship. Daphne slides her hands up the front of his jacket--can't this man wait until morning? she asks. No he can't, says Bramwell, annoyed. I'm sorry, she says--it just frightens me to think of you on the waterfront this hour. I'm capable of taking care of myself, he says, irritated. Please wait until morning, she asks softly. By morning, he may be gone, says Bramwell, I must go now! Can I come with you? she asks hopefully. Of course you can't! he says, shaking her off--you can't cling to me every minute of the day and night--that's not what a marriage is. I don't mean to cling, she says, doing just that, but I hate to be alone.
He withdraws from her grasping hands--I'll be back as soon as I can, he promises. Hurry then, she calls--I'll wait for you. She closes the door after him, crying.
Flora answers the door to Bramwell. "You're up very late," she notes. I couldn't sleep, he says, I was passing by and hoped someone would be up--may I come in? Of course, says Flora--is something particular disturbing you? Yes, says Bramwell, I was concerned about Morgan--has his condition changed? No, it hasn't, says Flora. I'm sorry to hear that, he says. Are you? she asks--your concern for Morgan doesn't ring true. He looks ashamed. Nor does your story about passing by, says Flora. What's happened to Morgan is a terrible thing, says Bramwell, I'm certainly capable of some compassion for him. Your compassion is not for Morgan, says Flora, it's for his wife, for Catherine, and I will not have that--no matter what I have to do, that is something I will not have!
I can't deny I'm concerned about Catherine, too, admits Bramwell, after all, we are old friends. You were much more than friends, says Flora, but no more--you are married to Daphne, and Catherine to my son--thank you for your concern about Morgan--in the future, please stay away from here--let us each take care of our own. I assure you... he says. You will never assure me no matter what you say, insists Flora, leave us alone--leave Catherine alone! That's all she is to you, says Bramwell, growing angry, just your son's wife!--she's become a Collins possession now, you can tell her what to do and how to act. I think, says Flora, if you're honest, you'll admit, Collins or no Collins, there is only one way she can. And what way is that? asks Bramwell. She married Morgan for better or worse, in sickness and health, Flora reminds him. You can't expect her to go through life in that unbearable situation! insists Bramwell. Do you think MY life was bearable? asks Flora--but I never forgot I was Justin's wife--and what about Morgan?--is his situation less suffering? Collinses always come back to themselves, don't they? asks Bramwell bitterly--what they feel and what they suffer--that's all that's important to you! Go home, orders Flora, where you belong--go home to your wife who's waiting for you. I wish it could be that easy for me, says Bramwell, to turn my back on you--to let you destroy yourselves the way you deserve!--but I can't do that, because you're going to destroy Catherine and my.... (!) He stops, realizing what he's about to give away. And your what? demands Flora. It's late, he says, I think you'd better get some rest--good night, Flora. He leaves. She closes the door behind him, and says, aloud, "Stay away from us, Bramwell, please stay away." She closes her eyes. (What would she say if she knew what Bramwell almost spilled?)
Gazebo - Catherine sits, pondering her life. Bramwell joins her--I'm sorry for frightening you, he says. It's all right, she says, I didn't expect anyone to be out this late. I couldn't sleep and decided to walk, then asks, "Why should I lie to you?--I didn't decide just to walk, I've been everywhere tonight, looking for you, hoping I'd find you." She gazes at him adoringly and says, I won't lie, either--I remembered your habit of walking late at night, and hoped to see you. Our lives have become nothing but lies, haven't they? he asks. I don't want you to misunderstand me, she says, stepping closer, I wanted to see you because you were my truest friend. I'm much more than that! he says. I know, she says, but it's a friend I need now, please, I need one desperately, I'm so concerned about Morgan. Morgan! he says, pulling her into his arms--be honest a little longer--Morgan means nothing to you. He does because I'm his wife, protests Catherine. Because you are stubborn and willful! he says through gritted teeth. I don't want to talk about the past! she insists, pulling away, but he gathers her back into his arms and asks, should we talk of the future?--you can't spend the rest of your life with a man hopelessly possessed! He went into that room to save me, says Catherine brokenly, that's why I have to stay!--why I have to help him, even if it takes the rest of my life. You are remarkably generous with the rest of your life, says Bramwell, considering it belongs to me!--every minute you breathe is mine, just as every breath I take is yours. No, she says. There is no Morgan, he says, there never was--other people are only shadows we frighten each other with--hurt each other with--it's true, isn't it? Morgan did it for me, cries Catherine, he went into that room to save me! We are the only ones, you and I, insists Bramwell. She says his name, her voice filled with despair. It is only you that I love and always will be, he says gently--it can never be anything else He takes her into his arms and kisses her. She responds ardently, holding him close.
Unknown to either of them, Daphne is hiding in the bushes, seeing and hearing everything that has gone on between them.
NOTES: Poor Daphne. To be rejected by her bridegroom over and over, then to find out he and Catherine still love each other. This is where Catherine and Bramwell are too human, too fallible, and while I don't give a hoot about what they are doing to Morgan, Daphne is a sweet young woman who is a victim of her sister's love for her husband. This is a real tragedy. I feel terrible for her, and while I know I should despise Bramwell and Catherine, I always root for them to get together forever.
Loved the confrontation between Flora and Bramwell. I understand how she feels about him, why she wants him away from her son, but that couple, who "use other people as shadows to hurt each other with," are linked together in every way possible, including a child now. At least they didn't discuss THAT within Daphne's hearing; it would have destroyed her.
Kendrick is one understanding guy! Melanie has confessed she might have killed his sister, and not only is he willing to overlook it, he proposes, too! He and Melanie are adorable together, but damn, would any real person be so forgiving?
1229 - Downcast, disbelieving, Daphne watches her husband kiss her sister. Catherine finally breaks away--we can't do this, she says--it can only lead to tragedy. I only know we cannot help ourselves, insists Bramwell. She shakes her head--no, she says. Admit to me you feel as I do, he says, whirling her around to face him--let me hear you say it! What good would it do to say it? asks Catherine, it's all hopeless, you know that. Let me hear you say it, he commands. "I love you and I will always love you," confesses Catherine--"but it changes nothing--you're married to Daphne and I to Morgan--our whole situation is hopeless, there's no end for us, Bramwell!" Daphne leaves her hiding place.
Collinwood - We see the lottery vase, lifted by Forsythe's hand. Good morning, Julia greets him--you're up very early. I've not been to bed, he replies, examining the vase--sleeping is not one of the safest things you can do in this house. Wasn't Catherine looking after you? asks Julia. No, he says. Where was she? asks Julia. I don't know or care, he replies. Why are you holding that particular vase? She asks. You're asking altogether too many questions, he complains. Are you aware that is the lottery vase? she asks. He touches his forehead. Aren't you feeling well? she asks. He mutters about "something just returning from the Indies"--I found this in her cargo and gave it to Brutus for Christmas. How well did you know Brutus? asks Julia casually. Who are you trying to fool? he demands--it was you, Constance, who introduced me to Brutus
--you always seem to forget that, but I assume that's because of your strange loyalty to him--because you are his sister. His sister Constance, repeats Julia. What are you mumbling about? he asks. Nothing at all, she says--tell me, why are you so bitter about Brutus? The two of you are just exactly alike, he accuses, so despicable, deceiving. Why do you hate us so? asks Julia. Such a stupid question, says Forsythe. I'm just trying to understand, she says. Understand? he asks, you and Brutus are totally incapable of understanding anything--you know perfectly well the reason I hate you so much--and I refuse to go on boring the two of us because of it. Where are you going? she asks. To get away from you, he retorts, as far as I can possibly get. She tries to stop him, but he warns "Constance," stay away from me--I'm warning you!--stay away from me! He leaves. Julia is shaken.
8:15 - Daphne enters Collinwood and enters the drawing room, agitated, very upset. "I'm married to Morgan, you are married to Daphne, nothing can change that--our whole situation is hopeless!" she recalls her sister saying--"There's no end for us, Bramwell!" Daphne wanders the room, distracted. She spots the dueling pistol box, opens it, and takes one of the guns into her hand.
Daphne is moving the gun toward her temple when she hears the front door slam and puts it down quickly.
Bramwell asks, what on earth are you doing here? I might ask you the same question, she says. I came to see Flora, he says, she and I had a rather unpleasant argument last night, and there were a couple of matters we left unresolved. Oh, what was your argument about? asks Daphne, barely controlling her feelings. Just an old family quarrel, nothing to worry you about, he says. I see, she replies, I took a long walk this morning, a very enlightening walk--I decided to come here and speak to Catherine--you wouldn't know where she is, would you? No, he says. Then I'll just wait for her, says Daphne, sounding out of breath. Are you all right? he asks. Of course I am, she says--suppose you tell me if anything is wrong. He gazes at her quizzically--what are you talking about? Julia and Catherine are coming downstairs, Catherine asking, do you have any idea where he went? He warned me not to follow him, says Julia. Catherine and Julia enter the drawing room. Catherine happily greets her sister. Good morning, says Daphne, walking away from all of them toward the window. How is Morgan? asks Bramwell. It seems something new has happened to him, reveals Julia--earlier this morning, he was convinced I was Catherine (Constance) Collins, the sister of Brutus Collins--he also became much more hostile than usual. Catherine is staring at Bramwell, intently, and he is staring back with equal intensity. Someone should go find him, says Catherine--the state he's in, there's no telling what he could do. You don't know where he is? asks Bramwell. No, replies Julia, he ran from the house, I wasn't able to stop him--if only we could find and question him when he's this way, I'm sure we'd find out more about the curse. Bramwell volunteers to go find him. Catherine, very grateful, says, I'd appreciate that so much. He looks at her lovingly and leaves, Julia behind him. Catherine closes the doors--Daphne, she says, I don't know what I'm going to do. You mean about Morgan? asks Daphne. Yes, says Catherine, life used to be so simple, when we were children, wasn't life simple? Yes, says Daphne coldly, so was love, we did love each other THEN, didn't we? I don't understand, says Catherine, you're still my sister--I love you very much. Daphne turns away--it's good to know, she says--I was thinking this morning, about how you warned me against marrying Bramwell. Yes I did, says Catherine--what about it--are you really that unhappy? If you don't mind, says Daphne, I'd really like to be alone.
But Daphne, says Catherine. Please, says Daphne. Very well, agrees Catherine, and leaves the room. Daphne stares at the box of pistols again, opening it, taking one out. Oh God, I can't! she cries, I can't--and returns it to the case.
Forsythe goes to the Stokes cottage, calling, "Amanda, I'm here--please come to me!" Receiving no reply, he continues to call to Amanda, then sits down in a chair to wait.
Collinwood - Julia finds Daphne sitting by the fire--have you been here all day? asks Julia. No, says Daphne, turning away, I left and came back. You're upset about something, what is it? asks Julia. Nothing, says Daphne. Please, tell me what it is, says Julia. I said it's nothing! cries Daphne. It's Catherine and Bramwell, isn't it? asks Julia. What? asks Daphne, surprised. I know they've been seeing each other secretly, says Julia. How did you know that? demands Daphne. I try to keep in touch with everything that's happening, says Julia--I believe there's still something between them, in a lost, romantic way, something that will pass, even though their feelings for each other will always be. Julia, laments Daphne, I love him!--I've got to find a way to win his love--I just can't live without it! It will take time, predicts Julia, but he will learn to love you. Daphne doesn't look as if she believes that.
Forsythe sits in the cottage, rubbing his hands around and around each other. Carrie walks right past him, about to turn on the lights, and notices him. You! she cries. Turn on the lights so I can see your face, he says. Shaking, she does not comply. Turn them on, he orders. . .Sarah, I didn't expect you, he says, smiling--what are you doing here? I don't know what you're talking about, says Carrie, scared and dismayed. Why are you trembling? he asks--has someone at that house done something to you? No! she cries. Is it me?--you know how much I love you, he protests--I wouldn't harm you for anything--come on, Sarah, he says, trying to put his arms around her. No! she says, pulling away, please. What is it? he asks--why did you come here?--there must be a reason for it! Leave me alone, she begs. Did you have a message for me? he asks eagerly, what is it?--is this from Amanda?--did Amanda tell you to come here and tell me she wasn't coming?--is that it?--why?--who is trying to stop her?--is it Constance?--did Constance find out Amanda was going to meet me? Carrie stares at him, aghast--I don't know anyone named Constance, she says. Yes, says Forsythe, Constance knew you were coming here, isn't that right?--isn't that right? Please, I don't know, just leave me alone, begs Carrie. Yes, of course, he says, it was Constance--I knew all her tricks and how deceitful she is
--but I will deal with her!--I will put an end to the treachery, you will see, Sarah! He leaves. Carrie locks the door, trembling violently.
Julia brings a tray into the drawing room--Daphne, she asks, are you feeling any better? A little, yes, says Daphne. I brought you some tea, says Julia, I want you to drink it. You're really being awfully understanding, says Daphne. And that surprises you? asks Julia, smiling. Yes it does a little, says Daphne, we've never known each other very well. I'm known for saying what is on my mind, says Julia, that hasn't always made me very popular--this will be a difficult period for you--you'll need all the patience and courage you can muster--do you understand? Bramwell returns--I wasn't able to find Morgan, he says--he must have gone into the village. If he's gone there, and talks to anyone the way he talked to me, frets Julia, we'll know about it very quickly, I'm sure. Daphne, asks Bramwell, have you been back to the Old House all day? She shakes her head--no, she says, I didn't want to be alone. Are you all right? he asks, sensing something amiss. Yes, she says coolly--if you'll excuse me, I'll go say good night to Catherine. She leaves. Something is disturbing her, says Bramwell. Nothing that being a proper husband couldn't cure, retorts Julia. What do you mean by that? he asks. I'll do you a favor of not lecturing to you, she replies, since you don't like lectures. Thank you for sparing me that, he says sarcastically. Your reasons for marrying Daphne are your own affair, says Julia, but I do think you could be kind to the child. Who said I wasn't kind to her? asks Bramwell. Nobody, says Julia, but your actions are speaking for themselves--she wants some of the love you promised her when you married her, and she's not getting any of it--that's all that's wrong. I can't believe she said all that to you, says Bramwell. It wasn't necessary to say anything, says Julia, looking toward the stairs--they're coming down, she warns Bramwell. Julia and Bramwell go into the foyer. Catherine and Daphne come down. I'm going back to the Old House, says Daphne--are you coming? Yes, I'm coming with you, he says, bidding Julia and Catherine good night.
Outside, Bramwell asks Daphne, how long were you with Julia? he asks--and exactly what did you say to her? We talked about a great many things, says Daphne, I got to know Julia a little bit tonight. She walks away, leaving Bramwell to follow. Forsythe stands in front of the door, twisting a knotted rope in his hands.
Julia closes herself and Catherine in the drawing room--I want a word in private with you, says the older woman. Very well, says Catherine, resigned--what is it? I had a long talk with your sister tonight, reveals Julia--she's a very unhappy young lady. I am aware of that, says Catherine, but there's nothing I can do about it now. Yes there is, says Julia sternly, you can stop seeing Bramwell, and stop encouraging him to see you. What are you saying? demands Catherine. You needn't act so shocked, says Julia, I know very well you and Bramwell have been seeing each other secretly. And aren't old friends allowed to speak with one another? asks Catherine resentfully. Your relationship with Bramwell is more than that of old friends, says Julia. If you are insinuating...begins Catherine angrily.
I'm not insinuating anything, says Julia, I am telling you to come to your senses before it's too late. Too late? asks Catherine, incredulous. You and Bramwell have been in love with each other for a long time, Julia says--you're both married now--to other people--for you to go on seeing each other now, secretly, is wrong, and could be scandalous!--it must stop! I have had just about enough! cries Catherine--of your lectures and moralizing--ever since I came to this house, you have never given me a chance--well I only have one thing to say to you--as long as my conscience is clear, and as long as I am faithful to my husband, and I will be, I shall do exactly as I please--and there is nothing you can do about it--good day, Julia!"--she runs from the room in a fury. Julia sits down, probably thinking about how too much Catherine did protest.
Forsythe enters Collinwood quietly, rope in hand. Julia, reading a book, can't see him as he lifts the rope and slips it around her neck, throttling her. You can't stop me, Constance! he cries, nobody can--you are never going to stop me from seeing Amanda again!
Julia struggles against the rope as he pulls tighter.
NOTES: Weren't they just saying that Forsythe/Morgan hadn't done anything violent? Well, now he is--will Julia become his victim? He thinks she's Constance and hates her, just as he terrorized poor Carrie Stokes, thinking she was his sister, Sarah. What a nut job!
I can understand Catherine's ire at Julia, but the truth is, she and Bramwell DID meet in the gazebo and smooch each other pretty good--plus, in Daphne's hearing, they admitted their love, sending that poor young woman into a froth over her husband's infidelity. Ironically, Catherine and Bramwell haven't been "together" in the traditional sense since the day they conceived their baby, and they weren't married to other people at the time. Now things are truly in a mess. That Daphne felt such despair she was about to kill herself is very sad indeed. She says she doesn't like being alone, and can't live without Bramwell's love; she's become quite obsessive since her wedding. I still don't think Bramwell has touched her, intimately, and that's probably upsetting her terribly. When Julia speaks of his not being a proper husband, that's one thing she's probably obliquely referring to. I was glad to see Daphne showing some anger, but perhaps she would have been better off confronting her sister and husband about exactly what she had seen.
I can understand Catherine being furious with Julia for all her lectures and edicts, but Julia is actually right, and she was very nice to Daphne.
Loved the romantic scenes between Catherine and Bramwell--the longing, the realization that their situation is hopeless, their declaration of love. OK, I know they broke Daphne's heart, and I do feel for her, but perhaps she should have listened to her own feelings that theirs had never died.
Love, Robin
