Episode 486.c Bubble Guppies: The Witch in Black! (Part 3)

Plot
In Bubbletucky, lawyer Gil Gordon still grieves the death of his beloved wife Molly on the delivery of their son Nonny four years ago. His employer gives him a last chance to keep his job, and he is assigned to travel to the remote village of Cryphin Gifford to examine the documentation of the Eel Marsh House that belonged to the recently deceased Mrs. Drablow. Gil befriends Mr. Langoustine on the train and the man offers a ride to him to the Gifford Arms inn. Gil has a cold reception and the owner of the inn tells that he did not receive the request of reservation and there is no available room. The next morning, Gil meets solicitor Mr. Grouper who advises him to return to London. However, Gil goes to the isolated manor and soon he finds that Eel Marsh House is haunted by the vengeful ghost of a woman dressed in black. He also learns that the woman lost her son drowned in the marsh and she seeks revenge, taking the children of the scared locals.

Cast (Characters from the real movie)

 * Gil as (Arthur Kipps)
 * Mr. Langoustine as (Mr. Daily)
 * Daisy as (Mrs. Daily)
 * Molly as (Stella Kipps)
 * The Witch as (Jennet Humfrye)
 * Frank the Tow Truck Lobster as (Mr. Bentley)
 * Mr. Gentilella as (Mr. Fisher)
 * Sandy as (Nanny)
 * Mrs. Shaskan as (Mrs. Fisher)
 * Archaeologist as (PC Collins)
 * Mr. Imani as (Gerald Hardy)
 * Mrs. Wahler as (Mrs. Hardy)
 * Mr. Grouper as (Mr. Jerome)
 * Mrs. Grouper as (Mrs. Jerome)
 * Oona, Ashlie, and Jimberly as (The Fisher's Daughters)
 * Goby as (Nicholas Daily)
 * Sir Mulligan as (Keckwick)
 * Tobias as (Nicholas's friend)
 * Deema as (Victoria Hardy)
 * Jonesy as (Tom Hardy)
 * Joshua as (Charlie Hardy)
 * Olivia as (Lucy Jerome)
 * Avi as (Nathaniel Humfrye)
 * Snail as (Alice Drablow)
 * Crabs, Lobsters, and Snails as (Other characters)

Information

 * Genres: Drama, Horror, Thriller
 * Rating: PG for a bit of violence, a little cursing, and for many scary scenes
 * Type of film: Horror

Trivia

 * This is based on the 2012 movie "The Woman in Black." You can read about it on Wikipedia or IMDb.
 * This story has some fanon characters and some main characters.

Story
Start of Part 3.

(Scene: Gifford Arms)

(Gil sits on a bench in the market square, shell-shocked, oblivious to the stares of the elderly villagers who pass. He draws his flask from his inside pocket and goes to drink from it, not caring who sees, only to find that it’s empty. He looks over at the Gifford Arms. Nothing else for it. Reluctantly, he gets up and heads towards the entrance.)

(Scene: Entrance Hall)

(The entrance hall is deserted.)

Gil: Hello?

(Receiving no reply, he walks through to the bar room.)

(Scene: Public Room)

(The bar room is deserted, too. Not a soul here.)

Gil: Hello?

(In the empty silence, Gil can now hear a sound coming from upstairs. It’s faint, but sounds distinctly like a woman sobbing.)

(Scene: Entrance Hall)

(Gil wanders uneasily back into the entrance hall. The sound of sobbing is louder here, coming from upstairs.)

Gil: Mrs. Shaskan?

(Scene: Upper Hall)

(Gil makes his way down the hall, towards the sound...It is a moment before he realises that it is coming from the birdcage. Grimly fascinated, he stares at the mynah bird within. Its beak is open, utterly human-sounding sobs coming from it. Now for the first time Gil notices the family photograph on the wall here. The sobbing continues as he stares at it.)

Mrs. Shaskan: Mr. Gordon?

(Gil turns, a little startled, to see Mrs. Shaskan emerging from a nearby bedroom, carrying a pile of folded sheets. The bird continues its horrible imitation of her crying. There’s nothing either of them can say.)

(Scene: Public Room)

(Mrs. Shaskan pours Gil a large brandy.)

Mrs. Shaskan: Say when.

(He stares at her. The glass fills. Still he says nothing. She stares back, still pouring. Her look says she understands. She walks back to the bar, replaces the bottle and begins to busy herself wiping dust from the other bottles.)

Mrs. Shaskan: There was nothing you could have done, you know.

Gil: Who can say? If I’d acted faster. Noticed her when I passed by...

Mrs. Shaskan: If you hadn’t done this or that. Or been distracted. If the events of the day had shifted by only a minute. Everything would be different.

(He looks over to meet her gaze.)

Mrs. Shaskan: Trust me, Mr. Gordon, thinking that way can drive you to madness.

(He drains his glass dry and tips it in her direction.)

Gil: Or drink. Join me for one?

Mrs. Shaskan: It’s getting late. You’ll miss the Bubbletucky train.

Gil: I’m not leaving Crythin Gifford just yet. I still have work to do here. More’s the pity.

Mrs. Shaskan: My husband will be back soon.

(Behind the bar, Mrs. Shaskan stands stock still. She’s not going to be serving any more drinks. Gil shakes his head in amused resignation and stands to put on his coat.)

Gil: I don’t think I’ve ever met a publican so hell bent on avoiding custom as your husband.

Mrs. Shaskan: He means well, I assure you.

(Gil smiles wistfully at her as he places a handful of coins on the bar and turns to leave. He is surprised when Mrs. Shaskan catches his arm, a little too tightly.)

Mrs. Shaskan: Mr. Gordon, Sir... Eel Marsh house is a dangerous place. You said you have a son?

Gil: Yes...

Mrs. Shaskan: Go home to him. Cherish him.

(Gil is taken aback by her odd change of mood, this strange statement. He wrests his arm from her grip.)

Gil: Believe me, Mrs. Shaskan, I wouldn’t be here if it weren’t for the fact that I love my son.

(Scene: Market Square)

(A few villagers, most elderly, toddle through the square. Gil stops one, a sullen elderly man. Though his hair is mostly grey, we can tell that he was once red-haired.)

Gil: Can you tell me the quickest way to Alton Hall?

Elderly Man Crab: By motorcar, apparently.

(The two stare one another out for a beat. Then the old man relents, pointing his walking stick towards a churchyard - beyond it are open fields and adistant manor house - and walks away.)

(Scene: Crythin Gifford Churchyard)

(Gil walks at a brisk pace through the churchyard, past row upon row of graves, many with recently-placed flowers. He pays them no mind until he notices: On one is a weather-beaten teddy bear. Threadbare and bleached silvery grey by years in the elements. Gil pauses, overcome with sadness. Then he walks on, now uneasily noticing details on the other plots he passes. One reads: Annie Brown May 25th 1861 - January 23rd 1872. The headstone bears the carved image of a lamb. On the next grave, a shrivelled daisy chain is draped over the headstone. On the next, a sleeping cherub statue and the inscription: “Taken from us too young.” The one next to that, someone has left a small wooden toy train. Though we put no emphasis on this, the observant among us may note that all these graves bear the same date of death: January 23rd 1872. Unsettled, Gil checks his watch and picks up his pace.

(Scene: Picturesque Lane)

(Gil stops at a set of wrought iron gates. Behind them is a sweeping drive, leading up to a manor house. Gil opens the gates and sets off up the drive.)

(Scene: Grounds)

(Gil is halfway to the house when Bubble Puppy the dog bounds up to him.)

Gil: Bubble Puppy! Hello boy.

(Moments later, Mr. Langoustine emerges from an avenue of trees. Gil calls out as he approaches.)

Gil: Sorry, I'm a little early.

Mr. Langoustine: No bother. I was just on my way back. Just bidding my son Goby a good night.

(The two begin to walk together, Bubble Puppy following behind.)

Gil: Lives on the estate, does he?

(Mr. Langoustine smiles ruefully and gestures beyond the trees. Gil looks back to see that the end of the avenue lies a small white mausoleum.)

Gil: My condolences, Mr. Langoustine.

Mr. Langoustine: Please call me Larry. And no need for condolences. It was a long while ago. (re: the mausoleum) Designed it myself. Just for him.

Gil: It's beautiful.

Mr. Langoustine: There’s a place in there ready for me. And my wife. So one day we can all be together again.

(Gil smiles awkwardly, unsure what to say. They are close to the front entrance of the house now, but Mr. Langoustine stops.)

Mr. Langoustine: May I ask you a favour, Mr. Gordon?

Gil: Gil.

Mr. Langoustine: Gil. My wife... It’d be for the best if you’d avoid the subject of our bereavement inconversation. Indeed the general subject of children, if at all possible.

(Before Gil can speak, the door is opened by a butler.)

(Scene: Entrance Hall)

(Daisy, 58, appears behind the Butler, grinning broadly.)

Daisy: Mr. Gordon! I’ve been so looking forward to meeting you!

Gil: The pleasure's all mine.

(The butler helps Gil out of his coat, but as he does so, Gil’s jacket is momentarily pulled open.)

Daisy: Good heavens, is that blood on your shirt? Are you quite alright?

(Gil looks down to see: spatters of Deema Wahler’s blood on his white shirt. He rearranges his jacket.)

Gil: Oh, no I... I’m fine, thank you. Earlier this afternoon I - (he remembers not to mention children) I cut myself shaving... I apologise for not changing. It seems I’m unexpectedly without a room at the Gifford Arms any longer. Some sort of mix-up.

Daisy: Well then you must stay here, mustn’t he, Larry?

Mr. Langoustine: Aye. Come. Let me get you something to drink.

(Mr. Langoustine steers Gil towards the drawing-room.)

Daisy: Oh but first you must meet the twins! (calling up the stairs) Dotty! Bud!

Mr. Langoustine: My dear, I’m sure Mr. Gordon doesn’t -

(He tails off as we hear a scampering noise on the stairs, and two little dogs bound down into the hall. Both wear immaculate little dresses and bonnets, with white mittens on their fore-paws, and patent leather booties on their hind ones.The overall effect falls somewhere on the wrong side of the line between comical and disturbing, and Gil tries to hide his discomfort.)

Daisy: Now now you two, what have I said about running about?

Gil: What a... charming pair.

(Daisy scoops up one dog in either arm, cradling them on their backs, beaming with pride.)

Daisy: (to the dogs) Say hello to Mr. Gordon.

(Gil nods awkwardly. Mr. Langoustine gives his wife a sharply disapproving look, which she ignores.)

(Scene: Langoustine's Dining Room)

(Gil and the Langoustines follow the Butler into the formal-looking room, but anger floods Mr. Langoustine’s face as he sees: Two additional places - with tiny china plates - have been set at the table before two infants’ high chairs.)

Mr. Langoustine: (to butler, testy) We have a guest, Pronto. The... twins won’t be dining with us this evening.

(The Butler moves swiftly to begin clearing the tiny plates.)

Daisy: But, Larry!

Gil: (to Mr. Langoustine) Truly, it makes no odds to me.

(Larry sighs and nods tersely to the Butler, who replaces the plates as Mr. Langoustine and Gil take their seats. Daisy places the dogs in the high chairs and ties bibs around their necks before sitting down in between them. Two maids step in and serve the first course. Daisy begins to feed one of the dogs with a teaspoon.)

Daisy: I am glad you’ll be staying with us tonight, Mr. Gordon. Ought we to have Pronto collect your bags from the Gifford Arms? It would be no bother.

Gil: Actually, I’m without my possessions at present. I left my case at the house where I’m working.

Daisy: Bud! Table manners! We have a guest (to Gil, calm again) I'm so sorry Mr. Gordon. Whatever must you think of us!

Gil: It’s really... quite alright. (a beat) Actually you may know the place -

Mr. Langoustine: (cutting in) Oh let’s save talk of business until after supper shall we? Tell me, how is Bubbletucky these days? It’s been a long time since I’ve visited.

Daisy: Stuff Bubbletucky! I should like to know more about Mr. Gordon. Are you married?

(Before Gil has a chance to reply, Daisy looks sharply to her husband, who is looking away, stony-faced, feeding a table-scrap to Bubble Puppy, who sits at his feet.)

Daisy: Larry! I have told you not to feed that animal at the table! (brightly, to Gil) Any children?

Gil: (avoiding Mr. Langoustine's eye) A son.

Daisy: Glad to hear it. You don’t want to end up like this poor sap. Wealthiest man in the county, and no one to leave it all to. The good Lord’s little joke. (a beat) Did he tell you about Goby?

Mr. Langoustine: Daisy...

Daisy: That's him.

(She points across the room to a portrait on the wall. A rather tacky, chocolate-box number featuring a little boy wearing a sailor suit in a pastoral setting, rendered slightly creepy by the presence of a heavenly “doorway” of bright white light near him, obscuring much of the sky. Gil looks at it uncomfortably.)

Gil: A... handsome portrait.

Daisy: I painted it myself. I love to paint and sketch.

Gil: Well, it's excellent. You're -

Daisy: Goby loved to sketch, too. (a beat) He still does.

Mr. Langoustine: Daisy...

Daisy: (to Gil) Goby wants to draw a picture for you right now.

Mr. Langoustine: Daisy, no!

(Gil looks at Mr. Langoustine in desperate confusion, then back to Daisy... Whose eyes roll back into her head as she begins to have some kind of seizure. Her arms flail, and she knocks her plate to the ground. Her little dogs bark. Mr. Langoustine leaps up and runs from the room leaving Gil alone. Gil watches in mute distress as Daisy blindly grabs for her steak knife. A beat, then she begins frantically to carve into the surface of the table. All the while, the two dressed-up dogs bark in their highchairs. Momentarily, Mr. Langoustine returns with the maid, who is carrying a bottle of laudanum. The two struggle to subdue Daisy and administer it. She fights them, still stabbing at the table until the knife is eventually wrested from her grip.)

Daisy: No! Goby hasn't finished!

(Finally, the medicine administered, she falls silent. The dogs do, too. The maid loosens Daisy’s collar as Mr. Langoustine stands up to leave the table. He gestures for Gil to follow him.)

Gil: Is she going to be alright?

Mr. Langoustine: Aye.

(Scene: Mr. Langoustine's Study)

(The men sit by the fire drinking. On the table by Mr. Langoustine are a number of family photographs, mostly featuring his son.)

Mr. Langoustine: I’m very sorry, Gil. I thought some youthful company might do her good.

Gil: Please, think nothing of it.

Mr. Langoustine: If she’d only take her medication... But she believes there’s nothing wrong with her. Says it’s our son, using her to communicate. I take it you’re not one for all this fashionable spiritualist claptrap?

Gil: Tried it once. My wife wasn’t in the habit of ringing bells and wobbling tables when she was alive, so...

Mr. Langoustine: Forgive me, I didn’t... Bloody charlatans. Preying on those mostin need. Makes my blood boil.

Gil: Well... It’s good to meet a fellow sceptic. They seem in short supply round these parts.

Mr. Langoustine: The locals been telling you stories?

Gil: Oh yes.

Mr. Langoustine: Problem is, Gil, even the mostrational mind can play tricks. Fill a man’s head with enough rot and any shadow glimpsed from the corner of the eye may - in the mind - become a witch in black. (off his look) You not heard that one?

(Mr. Langoustine indicates a photo nearby. The same school portrait we saw at Eel Marsh. He points to the smiling teacher.)

Mr. Langoustine: Hypletta Wahler. She was Mrs. Snail’s sister. Taught at the village school for a while. Doesn’t look scary to me, does she you?

Gil: Doesn’t look like she’s in black either. How did she... Was it the accident? On the marshes?

Mr. Langoustine: No, no. Hanged herself.

(Scene: Gate-Keeper's Cottage)

(A flash back comes to Gil from the bedroom window. In the tree by the cottage, the Witch in Black hangs, silhouetted against the sky, swaying in the wind.)

(Scene: Mr. Langoustine's Study)

(Gil can't hide his discomfort. Mr. Langoustine reads it.)

Mr. Langoustine: No such thing as ghosts, Gil. You and your wife, me and Goby... we will be together again. When you die, you go up there. You don’t stay down here.

Gil: I'd like to believe that.

Mr. Langoustine: I have to. Else how would I get out of bed.

(Scene: Bedroom)

(Gil holds up a large pair of pyjamas that have been left on the bed for him to borrow. He removes his jacket, hangs it over the back of a chair and searches the inner pocket. It’s empty. Quietly, he opens the door and steps out into the hall.)

(Scene: Upper Hall)

(As Gil creeps down the hallway, he passes the open door to Daisy’s bedroom. At first his eye is drawn to two cradles, one empty, one occupied by a dog in a nightgown. Then: a disconcerting glimpse of Daisy sitting up in bed, cradling the other dog. Oh my god, is she nursing it? Gil hurries past, but it’s too late - she’s seen him.)

Daisy: Mr. Gordon?

Gil: (averting his eyes) Sorry to disturb you. I needed to fetch something from my coat.

Daisy: Someone close to you is ill. That’s why you’re still here.

Gil: Excuse me?

Daisy: Goby told me. He knows these things. And he says the situation is graver than you know.

Gil: I... I see. I hope he's wrong.

Daisy: Goby is never wrong, Mr. Gordon.

(Scene: Cloakroom)

(Gil's coat is hanging here. He rifles desperately in the inner pockets. Relief washes over him as he retrieves:  Nonny's calendar. He raises it to his face and closes his eyes, searching for the comforting scent of his son. Then he turns the page, draws a pencil from his pocket and draws a line through the box marked “Wednesday”. He flips forward through the next page to the final one - Friday, the picture of himself, Nonny and the train. He presses the calendar close to his heart, then turns back tothe blank “Thursday” page and rolls it up again.)

(Scene: Entrance Hall)

(Still holding the calendar, Gil makes his way back towards the stairs. As he walks, however, his attention wanders to the open door of the dining room. He reacts in alarm and fear at something within. With a sense of dread, he changes course for a closer look.)

(Scene: Dining Room)

(Gil stops cold in the doorway as we now see: The drawing, carved into the surface of the table by Daisy. Incomplete, child-like, but easily recognisable as a depiction of the witch in black, a noose around her neck.)

(Scene: Mr. Langoustine's Car)

(Mr. Langoustine's automobile chugs down a country lane. Inside, Gil sits beside Mr. Langoustine with Bubble Puppy on his knee.)

Gil: This is very good of you.

Mr. Langoustine: Pleasure. Been a while since I felt useful.

(Scene: Gifford Arms)

(Market day is in full swing, and the entire village seems to have descended on the square. Mr. Langoustine’s automobile drives through the crowds at a crawl. Market-goers stop and stare coldly at Mr. Langoustine and Gil as they pass, and those who must move out of the path of the car do so grudgingly.)

(Scene: Mr. Langoustine's Car)

(The market square behind us now, we find the side streets deserted and silent. The automobile drives on. The shops and offices we pass are closed, the houses dark. Unsettled, Gil looks back to see, in the window of one deserted home, two very young children. They return his stare.)

(Scene: Mr. Grouper's Office)

(Mr. Langoustine and Gil climb out of the car. Gil knocks on the door to Mr. Grouper's office. No response.)

Mr. Langoustine: Like I said, he might be at market.

Gil: Even better.

(Gil opens the door. Mr. Langoustine stands lookout by the door, peeking out onto the street while Gil rifles through a drawer of files. Within moments, he has produced a bundle of documents. He shakes his head in disbelief.)

Mr. Langoustine: The deeds?

(Gil unties the string binding the bundle and waves the topmost document aloft.)

Gil: A legal man, obstructing the sale of property... He’s insane.

Mr. Langoustine: Grouper? A superstitious fool is what he is. Just like the rest. A frightened, superstitious fool.

Gil: Frightened? Of what?

Mr. Langoustine: Outsiders. People who don’t understand the ways of Crythin Gifford.

Gil: What ways? You’re talking in riddles.

Mr. Langoustine: (sighing) Staying clear of Eel Marsh house.

Gil: (mocking) For fear of disturbing the spirits?

Mr. Langoustine: Something like that, yes.

(Before Gil can respond, both men hear an unmistakable noise from beneath the floorboards. Bubble Puppy barks and snuffles at the ground.)

Gil: (whispering) That noise... I heard it before. From the cellar below. There’s someone down there.

(Mr. Langoustine and Gil hurry outside followed by Bubble Puppy. A quick check reveals that the street is still deserted. Gil signals silently for Mr. Langoustine to stay and keep watch. As Mr. Langoustine looks up and down the street, Gil ventures down the cellar steps, down to where he first saw Mrs. Grouper.)

(Scene: Mr. Grouper's Cellar)

(Gil tries the door. It’s locked. He puts his ear to it, but now all is silent within. He puts his eye to the keyhole and peers inside. We see a limited view of the cellar. It has been converted into some kind of room for habitation, with a bed in one corner. But it seems to be unoccupied. We hear Gil breathing, but gradually we realise that this is not all: someone else is breathing too. A split second later, our view of the room is obscured by an eye looking back at us! Gil leaps away in distress, and at the same time, we hear from a scream from within the cellar - the owner of the eye, just as shocked as Gil. Gil braces himself to look again, and sees: a pale girl, 12, scuttling backwards, terrified.)

Gil: Wait! Don’t be afraid! I mean you no harm!

(The girl huddles in a corner of the cellar, silent. Hearing the commotion, Mr. Langoustine and  Bubble Puppy run down the steps.)

Mr. Langoustine: Whatever is it?!

Gil: (low, to Daily) A girl! A young girl! He’s keeping her imprisoned or... (through the door) We’re going to get you out.

Mr. Langoustine: Gil -

(The girl turns around now, imploring and desperate.)

Pale Girl: Leave me alone!

Gil: I'm not going to hurt you, I promise.

Pale Girl: You killed her.

Gil: I... I don’t know who you think I am, miss, but -

Pale Girl: Deema Wahler is dead because of you. My Daddy told me. But I’m safe down here.

Gil: The girl at the police station? This is absurd! Why would he say -

Pale Girl: Go away!

(Scene: Mr. Grouper's Office)

(A shell-shocked Gil walks back to the car with Mr. Langoustine.)

Gil: Do you think she’s going to be alright?

Mr. Langoustine: Aye. As well as she can be with the Groupers for parents.

(Scene: Mr. Langoustine's Car)

(Mr. Langoustine's car drives through the countryside. Gil sits beside Mr. Langoustine, Bubble Puppy on his lap, hindering his efforts to leaf through the papers in the stolen file.)

Gil: And here - look. Two attempted sales by Mr. Grouper himself. Both buyers from outside the area. Seems he wasn’t always so fearful of visitors to Eel Marsh house.

Mr. Langoustine: People find reason to believe, Gil. It’s as I said before - just as any shadow may turn to a spectre, so any act of misfortune may be taken for the work of a curse. And presto, another wise man is turned to a superstitious fool.

Gil: A curse? Mr. Grouper has suffered misfortune?

Mr. Langoustine: All families suffer misfortune at some time, Gil. That’s just what I mean.

(They round a curve. The marshes and causeway come into view ahead... Along with a line of people - Mr. Grouper, Sir Mulligan, Mr. Gentilella, the Archaeologist, Mr. Imani, the Elderly Man that Gil asked for directions, and four other village men - forming a human blockade. Mr. Langoustine slams on the brakes and the car comes to a stop. Mr. Langoustine and Gil catch their breath and exchange looks. The men walk towards the car.)

Mr. Grouper: Your work here is complete, Mr. Gordon.

Mr. Gentilella: We don’t wish you any ill. We just think it’s high time you went home.

Archaeologist: For your own good. For the good of us all. (to Mr. Langoustine) Turn this contraption around, Mr. Langoustine.

(The mob stand, silent and menacing, waiting for him to comply. A tense stand-off. Finally, Mr. Langoustine puts the car into reverse.)

Gil: Larry, no! I’m not leaving! I have to... All Mrs. Snail’s documents - I can’t return to Bubbletucky without them!

Mr. Langoustine: Calm yourself, Gil.

(The car continues to reverse erratically down the lane, away from the mob and the marshes.)

Gil: What are we going to do?

Mr. Langoustine: Take you to the one place the village idiots won’t dare follow.

(Mr. Langoustine changes gears and the car lurches violently forwards. Mr. Langoustine’s car veers off the lane and into a field, circumventing the mob entirely. The men watch in disbelief as the car circles behind them, back onto the path and out onto Nine Lives Causeway.)

(Scene: Eel Marsh House)

(Gil exits the car. Mr. Langoustine passes him a small lunch sack.)

Mr. Langoustine: I had cook make up some supper. Late tide’s due at eleven. Shall I come for you half past ten?

Gil: You're very kind, Larry.

(Gil begins to walk towards the house. Mr. Langoustine calls after him.)

Mr. Langoustine: Gil? Do something for me? Take Bubble Puppy. For company.

(Gil and Bubble Puppy stand by the front door, dwarfed against the landscape as they watch the car shrink into the distance. Gil looks up at the house, hesitates. Then he turns the door handle.)

End of Part 3.

Recap
Back to his lodgings, Gil thinks he hears the soft cries of a woman, so he calls out for Mrs. Shaskan, but it's a pet raven which mimicks the whimpering voice of a woman. Mrs. Shaskan serves him a drink. At the dinner, the conversation is a little awkward, but everything seems to go well, until Daisy has a fit and has to be sedated. In a later conversation, Mr. Langoustine says that there are many superstitions in the town, but that everything is an illusion. Later that night, Gil sees Daisy caressing one of her dogs, caressing and soothing it in an all-white laced craddle. Gil goes looking for Mr. Grouper, but what he finds is a terrified girl imprisoned in a room, who tells Gil to let her alone because he has killed Deema. The villagers cry for another lost girl, but Mr. Langoustine disregards their pain as superstition. Mr. Langoustine drives Gil around in his motorcar, and this is the second that the images focus on a cross planted at a side of the watery path. Mr. Langoustine takes Gil to the house, and offers to pick him up at 10:30, but Gil prefers to spend the night there. Mr. Langoustine lends him his dog.