#1242/1243: Robservations 01/19/04: Morgan Collins' Revenge

[ROBINV]

1242 - Kendrick stands in the lottery corridor, gazing at the double doors through which he will soon be taken to be locked in for the entire night.

Grayson Hall's introduction tells us that what is taking place in the gazebo will soon lead to attempted murder.  In the remake of yesterday's ending, you can almost see Morgan's mind snap when he learns that Catherine is pregnant--and Bramwell the papa.

You do want the child to live, don't you, Bramwell? asks Catherine.  Of course I do, he assures her, putting his hands on her arms, whatever made you think I didn't?  She leans against him--I don't know, she says, I'm just so confused about everything.  (Damn pregnancy hormones!)  He holds and comforts her.  Morgan watches, his face seeming to turn to angry stone.  You will let me know what you plan to do? asks Bramwell.  Yes, promises Catherine--and it will be soon, but now I have to get back--I said I was only going to make a short visit to the Old House.  Stay a little longer, he begs, pulling her back into his arms.  I can't, she protests, you know I can't--but doesn't leave the circle of his embrace.  This is where you belong, in my arms, you know that, he murmurs.  I can't take that chance, says Catherine.  Bramwell caresses her back.  Morgan will be suspicious already, she warns--I must leave.  She rushes off.  Bramwell watches her leave, his ardent feelings reflected in his eyes.

Morgan returns to Collinwood, his face stoic, his mind working like a mouse in an exercise wheel.  Kendrick greets him--I came in here to put your drink down, he says, looked around, but you were gone.  I'll take that drink now, says Morgan.  Kendrick pours one for him and hands it over.  Morgan is staring into the fire.  Morgan? asks Kendrick as the other man drains the drink in one swallow--where did you go?  Out for a walk, says Morgan.  What happened out there? asks Kendrick.  Nothing, says Morgan.  Don't say nothing, says Kendrick, we had a drink a little while ago, you were fine, now you seem very disturbed about something.  Disturbed? asks Morgan--it's a mild way of talking about it.  Would it help to talk about it? asks Kendrick.  No, it wouldn't, says Morgan quickly--strange, how you can know someone all your life, then one day discover you really never knew them at all.  Annoyed by this cryptic statement, Kendrick asks, who are you talking about?  Kendrick, asks Morgan--did you ever have the overwhelming urge to commit murder?  Murder? repeats Kendrick--you're not serious, are you?  Yes, I'm quite seriously, says Morgan, furious.  Then I think you DO need to talk to someone, says Kendrick--what have you been doing for the last hour?  I spent my life talking, being reasonable, says Morgan angrily, but it's been all a waste of time!  (If you'd done more than talk in the bedroom, you might not be in this mess, Morgan!)  It will do not good to brood over it, says Kendrick--you will only defeat yourself, can't you understand that?  I appreciate your concern, says Morgan, but there is nothing I want to talk about--in fact, I'd like to be left alone.  Whatever you say, says Kendrick, who leaves the room and heads upstairs.

Morgan pours another drink.  Catherine returns home.  He calmly greets her in the foyer.  Were you waiting for me? she asks.  Yes, he says, hands behind his back.  I hope I didn't keep you waiting too long, she says.  No at all, he says--how is everything at the Old House?  She stares at him, taken aback by his tone.

Is something wrong? asks Catherine.  Whatever made you ask a question like that? Morgan queries.  I don't know, she says, you just seem different somehow.  All I did, he says with an ugly chuckle, is ask you if you went to the Old House--that is where you went, isn't it?  Yes it was, she says.  Well? he asks.

Everything's fine, she lies.  Was Josette there? he asks.  Josette?--yes, she was, replies Catherine.  How did Daphne look? he asks.  Quite peaceful, says Catherine.  Bramwell was there, I presume? asks Morgan.  Yes, he was, says Catherine.  What did he have to say for himself? asks Morgan.  I didn't speak to him, says Catherine, impatient at this interrogation--he was only there for a moment.  Does he expect the entire family tomorrow at the funeral? begins Morgan.  She interrupts--why are you asking me all these questions?  I'm sorry, my darling, he says, I didn't mean to sound as if I were interrogating you--I'm sorry.  I'm very tired, she says.  Go upstairs and rest, he urges, you're going to have quite a big day tomorrow with Daphne's funeral--it's going to be quite an ordeal.  Catherine closes her eyes--yes, she says, I will--good night.  He steps closer to her, bids her good night, and kisses her forehead, then watches her walk upstairs.

Cemetery - Daphne's poor excuse for a funeral is attended only by Catherine, Kendrick, Julia, Morgan and Bramwell.  Catherine reads from the bible, "But know that the lord is set upon the godly for himself--the lord will hear when I cry unto him, tremble and do not sing, commune with your own hearts upon your bed and be still--offer righteous sacrifices, and trust in the lord--there are many that might say, oh we might see some good--lift upon us the light of thy countenance, oh lord, who has put joy in my heart more than in a time that their grain and wine increase--in peace will I both lie down and sleep--for thou alone, oh lord, make us meet well, in safety."

As she reads, we see mourners' faces--Bramwell, Morgan.  Catherine kneels down, tears apart a bouquet and drops flowers into the grave, then hugs Morgan, who leads her away.  Julia adds her bouquet, picking it apart, kissing the last blossom before she tosses it into the grave; then she, too, rises and leaves.  Kendrick goes over to Bramwell, who bows his head, but Kendrick is unable to say anything.  Finally, alone, Bramwell kneels and drops earth into the grave, staring down with sorrow as his too-young wife is put to rest.

Morgan supports Catherine as they, Julia and Kendrick return to Collinwood.  You bore up very well, Catherine, my darling, praises Morgan.  Only on the outside, she says--you were right, it was an ordeal--I'm ready to collapse.  Why don't you let Julia take you upstairs and get some rest? he suggests.  Won't you come with me? asks Catherine.  Not now, he says, I have some correspondence to take care of.  I'll take you upstairs, volunteers Julia, then look in on Flora--she was so upset, Dr. Fletcher wouldn't let her go to the funeral--I hope her fever didn't get higher.  I think I'll go up and see Melanie once more before tonight, says Kendrick.  Do you think that's wise? asks Julia.  It's what I want, he replies firmly.  They all head upstairs, leaving Morgan alone.  He goes into the drawing room, sits down, takes out a sheet of paper, and begins to write.

Old House - Morgan brings a note and slips it under he door, then, grinning smugly, leaves.

Bramwell finds the note, reads it:  "Bramwell, I know the truth now--are you man enough to face me?--the West Wing of Collinwood at five o'clock--Morgan."  (Bramwell looks very handsome in his funeral clothes.)

The truth?--what truth is he talking about? wonders Bramwell to himself--is it possible he's learned about the child?--I must find out!

4:00 - Collinwood drawing room - The clock chimes the hour.  Three more hours until darkness, muses Kendrick, and then...I WILL break the curse--I must!  He rubs his eyes.  Morgan returns to the house and smiles at Kendrick.  Did you go up and see Melanie? asks Morgan cheerfully.  Yes, she's quite the same, says Kendrick--how are you?  How do I look? asks Morgan.  Like the cat who swallowed the canary, opines Kendrick.  Join me in a drink, suggests Morgan.  I've never seen a man change his mood so quickly, remarks Kendrick as Morgan pours them drinks.  I don't know what you're talking about, says Morgan.  You've been grim as death all day, says Kendrick, and now you're suddenly full of life again.  Morgan picks up the drinks--let's drink to the future, he suggests.  What happens to you when you go out for a simple walk? asks Kendrick.  Oh, I do a lot of thinking about life's problems and how to solve them, says Morgan.  Obviously, you just solved a big one, says Kendrick.  No, not yet, says Morgan, but I expect to before nightfall.  Nightfall, says Kendrick--it isn't far off, is it?  It's beginning to get to you, isn't it? asks Morgan, I mean about going into that room.  I don't know, maybe it is, admits Kendrick.  Put it out of your mind, advises Morgan, patting his shoulder, I've all the confidence in the world you're going to survive this night, and many more like it.

He smiles.  What brought that on? asks Kendrick--just before, you were as pessimistic as everyone else in this house.  Let's say that I've looked into my own private crystal ball, and seen what the future holds for this family, says Morgan. You couldn't be a bit more specific, could you? asks Kendrick.  I could be, says Morgan, but that would take all the enjoyment out of it!  Out of what? demands Kendrick.  Morgan chuckles--patience, he says--now, why don't we drink to the future?  They do.  And now, if you'll excuse me, says Morgan, I have a matter of the utmost importance to attend to.  Where are you going? asks Kendrick.  Don't worry, says Morgan, I'll be back before your time comes--he goes upstairs.  Kendrick sets down his drink, covers his face with his hands, and paces the drawing room.  Julia enters--have you seen Morgan? she asks.  Yes, he just went upstairs, says Kendrick.  Good, she says, he's probably gone to see Catherine.  I hope she can handle his mood better than I could, says Kendrick.  What are you talking about? she asks.  You know how he was all day, Kendrick reminds her, how he was at the cemetery--he came in here a few minutes ago like he just came from a festival instead of a funeral--I don't understand it.  I don't, either, agrees Julia.

4:50 - Bramwell enters Collinwood and heads upstairs.

Morgan, in the lottery room corridor, checks his pocket watch: 5 PM.  He enters the cursed room and closes the doors.  Bramwell comes in--Morgan? he calls.  Hearing a sound behind the doors, Bramwell asks, "Morgan, is that you?"  He opens the door and enters the room.

Morgan hits him over the head with a candlestick, knocking him unconscious.

Welcome to our special guest room, dear Cousin Bramwell, says Morgan smugly--I trust you'll have an interesting evening--I look forward to seeing you in the morning.  He drops the candlestick at the unconscious man's feet, leaves the room, locks the door and drops the key into a vase sitting on a table a few feet away.

Julia and Catherine sit in the drawing room while Kendrick paces.  The clock strikes.  Five thirty--one half hour to go, remarks Kendrick.  How do you feel? asks Julia.  Empty, he replies.  I wish there was something we could do to make it easier for you, says Catherine.  It seems so inadequate to tell you to have courage, says Julia.  I'm not afraid, says Kendrick, if that's what you're both worrying about.  You can hardly be blamed if you were, says Catherine.  It's the waiting, says Kendrick, I've been waiting since last night--I just want to get it over with!--he slams his fist against the mantle.  That isn't going to be necessary, says Morgan from the doorway.  Where have you been? asks Catherine.  What does that mean? asks Kendrick.  It means you aren't going to go into the room, says Morgan.  Kendrick stares at him--of course I'm going into the room, he says, I was picked in the lottery last night!  Julia and Catherine move in closer.

You'll just have to ignore that now, says Morgan--because someone else has gone in in your place.  What are you talking about? asks Julia.  Cousin Bramwell graciously volunteered says Morgan grinning.  Bramwell? cries Catherine in disbelief.  I imagined that might upset you, says Morgan triumphantly.  Is this some kind of joke? demands Julia.  If it is, he says humorously, it's on Bramwell, isn't it?  What have you done to him? demands Catherine.  Nothing at all, my darling, replies Morgan.  Bramwell would never voluntarily go into that room, says Julia--what have you done, Morgan?  You knew about this earlier, didn't you? asks Kendrick, furious--that's how you knew I would survive the room!  Morgan, give me the key to the room, orders Julia.  Catherine is standing by the liquor cabinet, apart from the others, pondering where her baby's father is right now--and how much she really does care for him.  What key? asks Morgan.  Give it to me, demands Julia, I will let him out of that room.  You are going to do nothing of the kind! insists Morgan--Bramwell is in that room and that's exactly where he's going to stay!  Catherine's face is slowly collapsing as she realizes what her treacherous husband has done.  Oh Bramwell! she cries, and runs from the room.  Bramwell, Bramwell! mocks Morgan--now you know where my wife's REAL affections lie!  You had no right to do this, Morgan! says Kendrick through gritted teeth.  I told you, Kendrick, that I'd find some solution for the future and I've found it, says Morgan--I'd just like to know if she'll love him in the morning as she loves him now!

Catherine runs to the lottery room doors and bangs on them, frantically calling, Bramwell, can you hear me?  Bramwell, still splayed out on the floor on his back, comes to and hears Catherine begging, speak to me!  Catherine, he calls, holding his aching head as he rises to his feet.  Are you all right? she asks.  He tries the door and finds it locked.  Can't you open the door? he asks.  No, she wails--Morgan has the key--he's determined that you're to spend the night in the room!

NOTES:  Morgan's revenge, sweet to him, evil tasting to Bramwell and Catherine.  I watched Catherine's face change as the full import of what her husband had done to her lover hit her, and rejoiced that she finally realizes who she should have married in the first place.  What will become of Bramwell?  Will he die or go insane--or will he finally be the one to break the curse?

You've got to love Kendrick.  He's a plucky, wonderful guy, and we have to hope he and Melanie will finally find happiness after all this horror.  He was all set to meet his fate, but Morgan once again took it upon himself to decide that someone else should go into the room other than the lottery winner.

What a sad funeral for poor Daphne, so few mourners!  I realize the family is being decimated here, but Curtis used to spring for extras here and there (as you will see in the pre-Barnabas eps).  It would have been nice to see other people saying farewell to Daphne, who was so sweet, and a doctor's daughter, she should have had plenty of mourners.

The suspense is growing now as we head to the last four shows of DARK SHADOWS.

Love, Robin

[Mysterious Benefactor]

1243 - Catherine, asks Bramwell--is Morgan the only one who has the key to this room?

Yes, she says, he's hidden it and won't tell anyone where he put it.  This trick must mean Morgan has gone insane, says Bramwell.  I wish I could help you, says Catherine tearfully.  What about breaking down the doors? he asks--no,  they're too heavy.  There is no other way out of there? she asks.  There's no other way out, so, resigned, he says, I'll stay here and do whatever I must.  I'll stay too, she assures him--all night, right outside the door--we can talk to each other.  No, that won't do any good--whatever is destined to happen will happen regardless of what we do, he says--it would be just as well if you don't stay by the door.  I wonder what happened? muses Catherine--how was Morgan able to get you to come up here?  Bramwell reads her Morgan's letter. "The truth?" she says--what does he mean by that?  It could only mean one thing, says Bramwell.  She closes her eyes in despair--Morgan must have learned about the baby, she realizes.  Yes, agrees Bramwell.  How? asks Catherine--I never told anyone and I'm sure you didn't, either!  I don't know, he says, but when I came in here to look for him, Morgan was waiting for me, and hit me from behind--I don't know what he's done--you must go downstairs and face him.  I don't want to leave you, she protests.  Catherine, says Bramwell, there's nothing you can do for me, if I thought you could, I'd say stay--go downstairs, I'll look after myself the best way I can.

Morgan, come to your senses! Begs Julia.  You're wasting your time, he asserts.  This is the last time I'm going to ask you, she warns.  You may ask, demand, cajole, threaten me until hell won't have it, but Bramwell will spend the night in the room! insists Morgan  What do you hope to gain by doing this? asks Kendrick.  The satisfaction of seeing him insane or dead in the morning, says Morgan, pouring a drink.  What about Melanie? asks Kendrick--don't you care about her?  I took her into consideration, Morgan assures him--the prophecy said she would remain insane until someone went into that room, and someone has.  I was the one picked to go into the room! shouts Kendrick.  It makes no difference who goes in, says Morgan--Brutus only wants a sacrificial lamb--a family member--and Bramwell is eminently more qualified than you.  I will hold you responsible if Melanie isn't well when the night is over! vows Kendrick.  Are you threatening me? demands Morgan.  No, promising you, says Kendrick.  How dare you, says Morgan, advancing on Kendrick.

Stop it, orders Julia, getting between and separating them--we have a whole night to get through, we must not fight.  Quite "wite," Julia, says Morgan there's no point in that.  Morgan, asks Julia, why have you done this, why now?  Catherine enters.  Coldly, Morgan suggests, "For an answer to that, why don't you ask the little mother?"

Everyone stares at Catherine.  The little mother? repeats Julia--what on earth does that mean?

Catherine icily says, I want to talk to Morgan alone.  I demand an explanation for what you just said, says Julia.  "Don't leave everyone in suspense, darling," says Morgan.  Reluctantly,  Catherine admits, I'm going to have a child.  "A baby," says Julia--"my congratulations to both of you.  But what does that have to do with..."   Kendrick looks speculative.  Morgan interrupts Julia--the happy little announcement has been made now, that's all that needs to be discussed, if you don't mind--I have something to discuss with my wife. Catherine, did you go to the room? asks Julia.  I spoke to Bramwell, who is all right for now, answers Catherine.  Morgan hustles his wife upstairs.  Kendrick is puzzled about this odd exchange.  I think I am beginning to understand, says Julia--I won't explain it to you, Kendrick, not now, perhaps, not ever.  (I guess just in case they decide to pass the baby off as Morgan's, why else would she have said this?)  You know a lot more about the locked room than I do, says Kendrick--what IS going to happen to Bramwell?  I have no idea, she says.  You must have some idea, he says--you've seen what has happened to others.  No one has ever known what happens to anyone in the room, says Julia--death, madness or possession are the three possible results of going into the locked room.  But didn't you and Morgan go into the room? he asks.  Yes, she says, Morgan took me there during the day when it was safe, but it was still a terrifying experience--Morgan took me into an adjoining secret file room...  She suddenly remembers--Bramwell must not touch either of those corpses or risk possession!  Julia explains about the two people murdered in 1680 by Brutus Collins--still perfectly preserved.  Kendrick is astonished.  Bramwell must not touch either of the corpses, says Julia.  They dash to the locked room to warn him.

Bramwell, sitting, in a chair, hears wind blow through the room, then the sound of tinkling glass.  Seeing the candles gutter, he stands, listening, and demands, Brutus, show yourself and be finished with it!  He lifts a candelabra and goes through the door leading to the secret file room.  In the records room, he finds the two corpses (who don't appear to be played by Prentice and Barrett at this point); they are covered with lots more shrouding over their faces.)  Bramwell, startled by this sight, examines the dead bodies, sets the candelabra down and reaches to touch the dead James Forsythe.

Hearing Julia's voice calling his name prevents Bramwell from laying a hand on the body.  Kendrick stands besides Julia.  Bramwell returns to the main bedroom--I hear you, he assures her.  Are you all right? she asks.  Yes, he says.  I found the secret room, and was in there when I heard you.  Hand to her throat, Julia warns, whatever you do, you must not touch either of the corpses--because that's the mistake Morgan made, and what led to his possession.  Who are those people? asks Bramwell.  Julia relates the grisly story of Brutus' murder of James Forsythe and Amanda Collins.  What a horrible way for them to have died, says Bramwell, bowing his head.  Remember what I said--stay away from them, cautious Julia.  Yes, he says, yes, can you tell me anything else?  No, she says.  How is Catherine? he asks.  She's with Morgan, says Julia--Bramwell, I want you to know we're praying for you.  Beside her, Kendrick nods.  Bramwell thanks her and heads back into the secret file room.

The confrontation in the Morgan-Catherine bedroom is hotter than their sex life.  He asks for an explanation, but she doesn't know how to begin.  At the beginning, he suggests--but I suspect that would take you all the way back to your and Bramwell's childhood--that IS when your cheap little love affair began, isn't it?  I know I have done you a great wrong, she admits, but can't defend myself.  He needles her--"Tell me, were you intimate from the beginning, or was that a development after you met me?"  Please, Morgan, don't! she begs, sitting on the bed.  How completely blind I was, continues Morgan, to blame Bramwell alone for Daphne's death--you are just as much to blame as he is--more, because she was your own sister!"  Catherine, furious, says, you know I never wanted to hurt Daphne!  "Daphne is dead, that is true, you and Bramwell killed her, that is also very true! he accuses.  No, says Catherine.  You are the one who is false, rants Morgan, you and Bramwell, Daphne knew it from the beginning, just as I did.  You did? asks Catherine, surprised.  But there was a difference between Daphne and me, says Morgan--she wasn't able to lie to herself as I was, convince herself that everything would turn out all right, as I did--until something happened that even I couldn't rationalize away--I followed you last night, saw you in his arms in the gazebo...and I heard you talking about the child!"

I knew you were behaving strangely when you came home last night, says Catherine--you had changed--I should have guessed why.  Morgan:  "I can never hope to describe to you how I felt, to suddenly know it was never me you loved."  That isn't true! protests Catherine.  This is not time for denials, he insists--it is true--you love Bramwell. . .the only thing I couldn't understand was, why couldn't you be honest?--how could you let it go so far?"  I didn't know, protests Catherine, it was a moment of weakness.  A moment of weakness? he sneers--how charitable you are with your own sins!  It happened before we were married, she points out.  But while we were engaged, he says--or are you going to deny that, too?   I can't deny it, she admits tearfully.  But you went ahead and married me anyway! he says bitterly.  I didn't dream. . .I didn't learn about the baby until after we were married, she says, crying--I don't expect forgiveness.  That's fine, he says cruelly, because I won't give you any!  What will you do? she asks, about us--and Bramwell?  At least you admit your concern for Bramwell, he notes.  I don't want anyone else to be harmed ever again, she says.  Hurt isn't as easy to remove as it is to inflict, says Morgan.  I know I can't undo the wrong I've done, she agrees.  Correct, he says, but there is one way I can gain some small measure of satisfaction, and I have done it.  By locking Bramwell in the room? she asks.  Yes, says Morgan, and I hope he rots there!  Catherine begins to cry harder--please have mercy, she beg--take your wrath out on me, because I deserve it, but set Bramwell free--if you do, I swear as God is my witness, I won't set eyes on him again.  Coldly, Morgan says, "I don't believe you, Catherine, and my guess is, God doesn't believe you, either.  No power on this earth can ever separate you and Bramwell."

Then, in a gesture that probably produced a few wet dreams, then and now, Catherine sinks to her knees, grabs Morgan's coat and hem and pleads, "I humiliate myself in front of you, get down on my knees, I swear I will do anything in the world you ask, if you do this one last thing for me, I'll be yours, yours forever!"  Is your love for Bramwell that great? he asks. She doesn't respond.  All right, he says, we will go to the locked room together, and I will unlock the door and let him out.  Eagerly, thrilled, Catherine follows him, unaware that madness has taken over his soul and she has sealed her fate by offering to sacrifice herself for her child's father.

Drawing room - It's only eight o'clock, notes Kendrick--still 10 hours to wait.  I know, says Julia.  How can you sit there so calmly? he asks.  I'm not in the least calm, says Julia, I've just learned to endure the waiting.  Why bother to wait at all? he asks--why don't we just go up there and break down the door?   No, she says, that would only make matters worse--someone must spend the entire night in the locked room, that's how it's always been.  What if it was changed this time? asks Kendrick.  We've tried to break the curse before, says Julia, but if we get Bramwell out ahead of time, it will make Brutus' ghost angrier than ever.  How, wonders Kendrick, can you all bear it?  You will, she predicts, when you've been here long enough.  He leaves to see Melanie.

Catherine presses her ear to the locked lottery room door--I don't hear anything, Morgan, she says.  He's most likely in the secret file room, says Morgan--I'll get the key.  He retrieves the key from the vase.  Thank you, she says.  Don't thank me, he suggests coldly.  You won't regret it, I swear to you, she says, giving him what can only be described as a coquettish look.  No, he says, I'm sure I won't.  Morgan unlocks the door.  Catherine steps in.  He gives her a solid push, then slams and locks the door behind her.  Morgan, no! she cries, trying the doorknobs and finding them unyielding--what are you doing?  He shouts, "You don't believe I believed a word you said for a minute, do you?"  "You're not going to shut me up in this room?" she wails.  "Oh yes, I can, my dear unfaithful wife," he brags.  Morgan, you can't! she protests.  "You and Bramwell wanted to be together," says Morgan, "well you are together--and I hope you rot together like James and Amanda did!"  Catherine stares fearfully behind her, terrified, at the room where so many Collinses died or went insane.

NOTES:  What a guy Morgan turned into, huh?  Locking a pregnant woman in a room known to cause death or madness.  Well, I give him the Prick of the Year Award, hands down.  And I must say, Keith Prentice turned in his best performance to date here.  Too bad it's almost over.

That scene between Morgan and Catherine was quite something.  That she got down on her knees to beg for Bramwell's life, promising, essentially, to remain Morgan's wife and never look at Bramwell again, convinced him where her true feelings were, if nothing she said before did.  The problem is, he would never be able to look at the child created by Bramwell and Catherine without hating it, and that surely would have destroyed their marriage eventually, anyway.

Poor Kendrick and Julia are forced to stand watch over this insanity.  I already think Julia suspects the real reason Morgan has done this to Bramwell, especially now that Catherine's pregnancy has been revealed.  Once Julia realizes that Morgan has pushed Catherine into the room, too, she will know for sure, if she doesn't already.  Morgan would never condemn his own child to what goes on in that room.

That piece of statuary guarding the double doors is very creepy.  I just wanted to make note of it.

Love, Robin