830 - Charity wanders the woods, bewailing what she and Quentin are going to do with so little time--we must do something.  A hand drops on her shoulder; it's Magda, who gently asks, what are you doing here alone?  Help me, she begs Magda, it's Quentin!  What about him? asks Magda anxiously.  It's only 12 days until the day of his death--the 12th day of September, sobs Charity.
Charity cries into her hands.  How dod you find out about Quentin? Magda asks.  She saw it in a vision, says Charity--I wish it would be me instead of Quentin--I wish I didn't have this awful power; it's made me so miserable!--I always have bad visions of death and destruction.  What else did you see? asks Magda.  Nothing, only Quentin lying on the floor in the tower room, all bloody---oh, it was awful! cries Charity.  Magda leads her back to Collinwood, Charity crying all the way.

3:40 - Quentin drinks in Collinwood's drawing room.  Trask returns home.  Quentin asks how things are with Judith.  She's improved considerably, says Trask.  Put some arsenic in her tea next time you go to visit her, suggests Quentin.  (Nah, he poisoned the other wife, might look too suspicious.)  Trask accuses him of drinking.  Just one, says Q, want some?  No, I don't approve of intoxicating beverages, says Trask; I would prefer they are forbidden in this house.  (as IF!)  I thought you'd want to help me celebrate the return of Edward and Jamison, says Q.  Trask isn't happy to hear this.  They have both recovered? he asks.  Completely, says Quentin.  I'm glad to hear it, says Trask.  "So glad you could cry," says Quentin, laughter in his eyes.  I prayed for their recovery everyday, insists Trask.  You prayed for them to drop dead, and they disappointed you, says Quentin--you aren't going to be master of Collinwood, Trask, and I think that calls for a second drink.  Trask asks where Edward is.  He went out late this afternoon, answers Q.  And Jamison? queries Trask.  Stay away from him, warns Quentin.  I merely wants to talk to the boy, says Trask.  "But he doesn't want to talk to you," says Quentin menacingly.  Charity and Magda enters.  What happened to my daughter? asks Trask.  Charity races into Quentin's arms--Quentin, darling!  Quentin unwraps her from around his person.  I must speak to you, Magda tells Trask.  Control yourself! Trask orders his daughter.  Take your filthy hands off me! she orders--and stop calling me by that stupid name.  She runs into the servants' quarters.  Quentin advises Trask, take Charity with you next time you go to the sanitarium--and leave her there.  He runs upstairs.  Magda tells Trask, Charity was wandering alone in the woods.  Twisting his hands together, Trask wonders why Charity hasn't recovered as Edward and Jamison did.  Perhaps Quentin is right, says Magda--you should take her to the sanitarium.  My daughter isn't mad, insists Trask angrily, just possessed by an evil spirit!  What will you do about it? queries Magida.  I'll be guided by what the Almighty decides, answers Trask--when it's time for her to recover, the demon will leave her, and she'll be herself again. And what if she kills somebody in the meantime? asks Magda--she tried before.  There's no proof she tried to kill Beth, says Trask-- Charity is incapable of killing anyone.  No, Charity isn't, says Magda, but this one is, she's crazy, do you know what she told me when we were returning to the house?--that Quentin is in love with her!--ain't that crazy?  No, says Charity, re-entering the room, Quentin DOES love me, and neither of you is going to keep me away from him--or that harpy he thinks he's gonna marry--I lost one love in this house when Carl died, I ain't going to lose another one.  She gets in Trask's face, warning, I'll kill the next person who tries to get between me and Quentin--"You just think about that, guv'nor," she warns her father.  Magda confidentially tells Trask, I don't know about you, but I believe her.  I do, too, admits Trask--what will I do?--I don't know--perhaps I should place her temporarily in the sanitarium.  "Ohhh, and who's gonna take me there?" demands Charity from the top of the stairs--"you, maybe?--over my dead body, Luv!  OVER MY DEAD BODY!"  Trask eyes her warily.  Magda looks helpless--and hopeless.

7:55 - We hear Charity's music, sweetly playing from the gramophone.  She lies in bed, listening to it.  Do you like it? she asks Magda.  I only likes gypsy music, answers magda.  You've got to listen whether you like it or not, says Charity.  All right, concedes Magda.  Charity asks, how much longer is he going to have you keep watch over me? Magda denies she's doing this--he wants to be sure you stay calm, answers the gypsy.  I will, says Charity, as long as no one interferes with me.

Trask sits down in the drawing room, from which he can clearly hear Pansy's music upstairs.  Quentin comes in--where is Magda?  Upstairs with Charity, says Trask--I asked Magda to stay with her.  You could have told me that before I left the house, complains Q.  I didn't know you were looking for her, says Trask--I want to talk to you.  I don't have time, insists Q.  Make time! orders Trask--I want to settle the matter between you and my daughter--this disgusting infatuation she has for you.  Talk to her about that, suggests Q.  I want to know your intentions regarding my daughter, says Trask.  "My intentions?  I don't have any!" says Q.  You have led her to believe you have, says Trask.  "That's a lie!" says Q.I'm not a fool, says Trask, I saw the way she threw herself at you, and a young lady doesn't behave that way unless she's been encouraged, somehow, by the man.  Listen to me, says Q, Charity isn't MY problem, she's YOURS!--I'm not responsible for what happened to Charity and don't want to be blamed for it!  Now if you'll excuse me.  Magda stands at the top of the steps and tells "Mr. Trask"--Charity wants to see you, asked to speak to you right away.  Trask heads upstairs immediately.  Magda asks Q, what's wrong with you?  Come into the drawing room, he urges, closing the doors when she joins him.  We have to think of something to do--there's going to be another full moon tonight, and I can't live through it again, I just can't, insists Q.  We have tried everything, nothing worked, she reminds him--there's only one person who might be able to help you--Petofi.  I hate talking to that man, protests Quentin.  You "ain't" in no position to make choices, says Magda.  I had a dream last night, he says--saw Tessie Kincaid, what she looked like after she'd been attacked.  Stop torturing yourself, she begs, go to Petofi now.  It's no use, insists Quentin--I already know his answer.  You are the one person in the family he doesn't hate, points out Magda, and you know why!  Yes, I do, says Q, because I was a victim of the curse myself, and we have something in common.  He has sympathy for you, says Magda, and you're the only one in the family he didn't hurt.  He hasn't hurt me, but hasn't helped me, either, says Q, and has no intentions of doing so.  How can you say that? asks Magda.  There may be only one way to prevent tonight from happening, he says--you'll see.  He pulls open the doors.  Trask is there.  Quentin demands, how long have you been listening?  I wasn't, says Trask--I was about to enter the room.  Quentin chuckles and heads upstairs.  What's wrong with him? asks Trask--you usually makes it your business to know everyone's secrets.  I know nothing, she says, and you say you can't afford to concern yourself with Quentin, anyway.  Go stay with Charity, says Trask.  I have better things to do, protests the gypsy.  I'll make it well worth your while to keep Charity in the room, by force, if necessary, he says.  I promise you nothing, says Magda, but I will try.  She heads upstairs.  He sits down at the desk, puzzled.  Lightning flashes.  The windows blow open.  Trask looks around nervously.  The double doors close before he can leave the room.  "I have come back to warn you," says a female voice.  "Minerva, I beg you to leave me alone!" he cries.  (Sounds much younger than Minerva.)  He stands there, head darting, eyes staring, terrified.

Thunder and lightning blast and blare, winds closing and opening the windows.  Trask, frightened, assures Minerva, "I will do anything you ask!"  Leave this house, the ghostly woman's voice warns him, he's in this house, he will kill again!  I don't understand, says Trask.  The beast that walks like a man, she clarifies.  "You're not Minerva?" he asks.  BEWARE OF THE FULL MOON AND THE BEAST, says the voice.  YOU MUST STOP HIM!  Trask looks around, asking who?  He is in this house, now, says the woman.  Show yourself to me, who are you? he asks--who are you talking about, where in this house is he?  The double doors open by themselves.  "In this house--the beast who walks like a man!" says Trask.  "Somewhere in this house!"

Quentin goes into his room, breathing heavily.  The storm rages.  The spectral form of a woman appears by the window.  Who are you? he asks--speak to me.  I will be with you tonight, she tells him, lightning illuminating her body.Please, have mercy on me, have mercy! cries Q, covering his face with his hands, crying.  Abruptly, all sounds stop.  He looks, the figure is gone.  I won't let that happen again, he promises himself.  He takes paper and ink and starts to write.  Magda enters.  I heard you yelling, she says.  It's all over, says Q, the curse is about to end.  What are you doing? she asks--it isn't possible.  I'm making it possible, he says, writing a farewell note to Beth, something I should have done a long time ago, the only way to end this misery.  Magda watches him write--what are you talking about? she asks.  There's not going to be a change tonight, he says, because there won't be a Quentin.  I won't let you do it, she insists, grabbing the piece of paper, crumpling it up.  You can't stop me, he says--and give me that note!  No, says Magda, listen, if we can get you through tonight, we have a whole month to try to find a way to help you!  Magda, he says, I can't get through this night without committing another bloody murder, and I won't let it happen again.  And I won't let you take your life! insists Magda  Don't you understand? He asks--there's no other answer, I'll be gone and no one will ever know.  "You don't want to die, do you?" she asks.  No, I don't he admits.  Then we've got to find a way to get you through tonight, she says urgently--we've got to try!

Trask sits in the drawing room.  It's 6 PM.  He rises, looks at the clock, and heads upstairs.

Magda is chaining Quentin to a sturdy wooden post in his room, locking everything up.  I will stay with you, watch over you, she promises--and I have my pentagram.  All right, says Q, I said he'd go through with this, on one condition--go to my desk, in the top right hand drawer.  She hesitates.  Do it! he orders.  In the drawer, she finds a gun.  Don't just stare at it, pick it up, he says.  What do you want me to do with this? she asks.  It contains six silver bullets, says Q.  I can't escape this room, but if I get away, you are to shoot me through the heart--promise me, he says.  She shakes her head, but finally agrees to his terms.  Trask bursts in--I must speak to Quentin!  He beholds his brother in law all chained up.  "GET OUT OF HERE, TRASK!" screams Quentin.  Trask stares at him, stupefied, and refuses--I'm going to stay!  Get him out of here! Quentin commands Magda.  Trask wrests the gun away from Magda and examines the bullets.I won't ask him why the gun is filled with silver bullets, says Trask, or why you manacled yourself--I think I'll just stay--and see the answers for myself--when the moon rises!

NOTES:  This is seriously bad for Quentin, of course, to have his enemy pointing a silver-bullet loaded gun at him while he's vulnerable, mere moments from turning into the wolf.  What will happen?  Will Quentin break free after the transformation and kill Trask, or will Trask shoot him full of silver bullets and destroy Quentin?  How is it all going to end?  A very exciting cliffhanger here, of course, one I remember well from 1969.  I know what is going to happen, but I'm not telling.

Cool that Angelique cured Jamison and Edward, guess her powers are greater than Petofi's.  Love it!  Now Quentin is betrothed, but notice he hasn't told a soul, and Magda didn't flinch when Charity mentioned "that harpy," which could only have meant Angelique (or perhaps Beth)?

One wonders--if Edward hadn't changed back to his old self, would Charity have given him some fun favors?  Did Trask think, just for a moment, that Magda and Quentin were playing some "M&M" games in his room?

Interesting how Trask kept thinking it was Minerva haunting him, when it was either Tessie or Dorcas or one of Quentin's other victims.  Wonder why she, whoever she was, came to Trask?  I guess that's why I figured it had to be Dorcas, with her crush on the Rev and all.

Pretty good eps, love Nancy Barrett, but miss Barnabas!


831 - (Did Magda chain Quentin with the same chains used to keep Barnabas imprisoned in his coffin?  How ironic, if so.)

Fashion blast from the past - Magda is wearing the same color of lip gloss I used to, I noticed--nice stuff.

Trask has a cruel gleam in his eye as he threatens to see the answers for himself when the moon rises.  Quentin looks lost, helpless and trapped.

Magda and Quentin exchange frightened looks as Trask boasts, the two most loquacious people I know are utterly speechless.  Magda says, we both must leave.  Only you will go, insists Trask-- and get used to doing what I tell you--your involvement with this man-beast, has placed you completely at my mercy--I will deal with you after I deal with Quentin.  What are you going to do to us? she demands.   I am going to dispose of Quentin altogether, he says, but I haven't decided your fate yet--go to Charity's room.  Quentin agrees that Magda should do as told.  Before she leaves, Trask pries the keys to the shackles from her hand, hurting her in the process.  "Go!" he barks.  He smiles at Q--imagine what this will look like in the newspapers, one of the staid and proper Collins (Quentin staid and proper?)  a creature of the supernatural, a maniacal murderer--I can hardly wait to see the look on Edward's face!  If you don't get out of here, warns Quentin, you won't EVER get to break your story to the newspapers; if you stay here after the transformation takes place, I'll kill you.  Thanks for the warning, says Trask, and releases him from the shackles--there's an hour before the moon rises, so I'm taking you to the police; since they will know the whole story anyway, might as well let them watch it happen.  He holds the gun on the freed Quentin, who smiles and says, I know you're enjoying this, but you know, you've forgotten one important detail--if you take me to the police, there will be a double scandal, and you will be in it up to your neck--ah, says Q, seeing Trask's dismayed face, I see I don't need to dust off your memory--I do indeed still have the incriminating confession in my possession.  It's a fake, insists Trask.  We know it's a fake, says Q, but the police...you don't know about them, they tend to believe everything in writing.  Trask asks, where is the confession?--I want it.  Quentin giggles--you want it, go look for it.  Trask holds the gun to his head--tell me where the confession is, he orders, or I'll kill you.  Oh, no you won't, says Q, if I die, the curse ends, and the transformation won't take place.  I don't believe that, says Trask.  Shoot me and find out, advises Q.  Turn around, orders Trask.  What for? Q asks.  "Just turn around!" repeats Trask.  Quentin turns away from Trask, who slams him over the head with the gun.  With Quentin unconscious, Trask begins frantically searching Quentin's desk, pushing papers and books onto the floor.  He kneels beside Quentin and looks through his pockets, finding the confession in his breast pocket.

Magda paces downstairs in the drawing room.  Angelique enters.  Trask knows about Quentin, reveals the gypsy--you must do something before he takes him to the police--he's with Quentin and has a gun with the silver bullets.Keep calm, says Angelique, not terribly calm herself.  It's going to be dark soon, bleats Magda.  Angelique assures her, I will take care of Trask, don't worry--come with me, she tells Magda.  They head upstairs together.

Trask leads Quentin, who is holding his aching head, to the same cell in which Jamison was imprisoned, and locks him in.  The stalemate has ended, says Trask, I have the paper now.  Why did you bring me down here rather than taking me to the police? asks Q.  I may not have time now before the moon rises to get you into Collinsport, says Trask, so I will witness the transformation myself, then bring the police to see you in your "other" form.  "You're as good as dead right now, Quentin," gloats Trask.

Angelique finds Quentin's room empty.  Magda joins her.  Perhaps Trask took him to the police, says Magda.  Go to Trask's room and get me something of his, commands Angelique, a close personal possession--and hurry!  Angelique kneels by the fire and takes a necklace from around her neck and into her hands.  Jewel of antiquity, dispatch your powers on reflection, she says, through these flames, bring me an image of those I seek--show me where they are this moment.  The blue jewel in the center turns into a mini TV--we see Quentin in the cell.  She holds the necklace lovingly.  Magda returns with Trask's reading glasses, which Ang says will do well.  Trask has him in the basement cell, says Angelique--Magda, leave the room.  The gypsy goes, not at all pleased.  Angelique takes the glasses in one hand and the necklace in the other.  She holds the glasses over the necklace, swaying them back and forth, then in a circle.  Mr. Trask, you will hear my voice, but only in your mind, she says--I will enter your mind and your willpower will crumble before my commands--and your mind and your thoughts will be under my control.  You will do what I tell you to do.

Quentin sits in the cell, head in hands.  You have another half an hour, says Trask, only 30 more minutes.  (Trask is so pleased, one wishes to slap him.)  Trask begins to touch his head, hearing Angelique's voice inside it.  "Now, Mr. Trask," she says, I am taking control, now!  Your mind belongs to ME, you must accept that, there are no other choices open to you.  You will lift up the pistol, Mr. Trask.  He does.  And you will take the pistol to the drawing room.  Quentin asks Trask what he's doing, but the latter has fallen into a complete trance.  Angelique continues--when you get to the drawing room, you will know what to do.  Quentin demands, Trask, tell me where you're going.  The Reverend simply leaves.

7:30 PM - Trask comes in from the servants' entrance, gun in hand.  He opens the double doors and enters, then sits before the desk and puts the gun down.  He takes the inkwell and pen, and writes, "Tonight, there will be another full moon.  I can no longer bear the thought of changing into the animal and spilling more blood.  I must take my own life, it is the only escape for me."  The front door opens.  Trask takes the gun and puts it into the desk.  He rises.  Petofi enters carrying something large and bewrapped.  He cordially greets Trask, who is standing there like an automaton.  I'm looking for Quentin, says Petofi.  I haven't seen him, says Trask.  Curious, says Petofi, I was sure you'd know where he was.  No, says Trask, slowly and carefully.  Charles Tate finished Quentin's portrait, says Petofi--I consider it an extraordinary likeness.  Petofi notices Trask is ignoring him, and says, "Someone has decided to prevent you from pursuing your duties--I won't have that, Mr. Trask, you must come within reach of your triumph, but only within reach."  (Ah, so he set all this up!  Probably gave Charity the visions.)  The ultimate triumph for tonight will be Petofi's, but I shall have it!  Petofi puts the portrait in the foyer, leaning it against the table.  Magda comes in, sees him, and tries to flee.  Petofi stops her, demanding to know where Angelique is.  I ain't seen her, says Magda.  Stop lying, orders Petofi, you know where she is and what's she's doing.  Magda denies this.  Petofi grabs her around the throat, threatening to tear her gypsy heart out before he asks again.  She chokes out, she's upstairs in Quentin's room.  He throws her to the ground and takes the portrait upstairs.

In the drawing room, Angelique speaks to Trask: "The pistol.  Take the pistol in your hand."  He does so.  "And raise it to your temple."  Trask does so...
Angelique tells Trask, at the count of three, you'll pull the trigger.  She begins to count, but before she can reach three, Petofi bursts in.  "You live dangerously for one so lovely, my dear," he says--"I tolerated your interference once before, I cannot tolerate it again."  He puts down the portrait.  Tonight is far too important to me.  And to me, retorts Angelique--do you know what will happen to Quentin if Trask isn't stopped?  I do, says Petofi.  And you want it to happen? she asks.  Yes, says Petofi.  Well I do not, she asserts--I will not allow Quentin to be sacrificed.  "You will do just what I tell you to do," says Petofi, taking the necklace from her hand.  She cries out when he does this.He crushes her necklace in his magic hand (actually, we hear the sound, but not much happens to the necklace.)  "So much for your petty black magic," says Petofi, "now Mr. Trask can resume his duties.  She moves to smack him across the face, but he easily stops her and says, I admire your spirit and temper, I like you, and find you most appealing.  He takes both her hands in both of his and says, while Trask recovers his wits, I want to show you something--and he slips the cover off Quentin's portrait.

Trask sits there, dazed, and reads the note he had previously written.  He crumbles it up and tosses it into the fireplace.  He checks his watch, takes the gun, and heads out of the room.

Petofi shows Angelique Quentin's portrait--don't you find it magnificent? He asks--don't be too angry with me, I do assure you everything will turn out for the best--what is meant to be, must be--come with me, I don't want you out of my sight  until the moon has risen.  "It will be my night," cackles Petofi.  "My night!"  She leaves, Petofi following.

Magda comes hurriedly downstairs, explaining, Angelique is trying to help you, but Petofi learned about it and stopped her--we must get him out.  She takes the key from the wall and starts to open the door. "Gypsy!" cries Trask, holding the gun on her--get away from the door, unless you want to be locked in with your friend and get a really good view of what's going to happen.  No, says Magda.  Get out and stay out, orders Trask.  Moaning, she leaves.  It almost worked, Quentin, says Trask, but whatever was happening could not stand up to one who has the Almighty on his side!  Trask grins.  "There is no help for you now, Quentin, and there never will be.  In exactly one minute, the moon will begin to rise, and I will be witness to the fact that the transformation took place in my presence--then the whole world will know what your secret is!"Quentin's eyes show abject terror.

NOTES:  Quentin's in big trouble now!  Will he transform in front of Trask, revealing that he is the werewolf responsible for all the killings?  Will Trask shoot him with the silver bullets?  Will Petofi be able to save Quentin from what seems to be an inevitable fate?  What does the portrait Tate painted of Quentin have to do with anything?  Portraits on this show often possess powers of their own--is that the case here?  Poor Quentin--what will his fate be?  He's turning into a decent guy, does this mean he's going to end up with cruel fate abusing him?

Love, Robin

826 - It's Johnny Romano who asks Magda, did you really think you could get away from me?

King Johnny and Istvan lead Magda to the cemetery, where the trouble started--where you found Barnabas Collins.  Istvan unties her.  How do you know about him? asks Magda.  All there is to know, he says--a lion, a ring, a door, where that door leads.  Who told you? she asks--Sandor?--I suppose you tortured him a lot to make him reveal that.  Your Sandor was a nice fellow, says Johnny, walking toward the Collins tomb--I hated to see him die.  You killed him, accuses Magda.  You did it yourself, insists Johnny, you made me do it when you stole the hand.  He opens the wrought iron door; they enter the tomb.  This is where it all started, says Johnny, opening a door you should have left closed--this is where it will end--you will go on trial, right now.  Here? asks Magda--what about Boston?  Forget Boston, says Johnny.  Where is the jury? She asks--no one else is here!  I will be judge and prosecutor, says Johnny.  That ain't fair, insists Magda.  Open the door to the secret room, commands Johnny, and see what you find--this time!  She does as ordered, pulling the ring in the lion's mouth.  Inside is a table, candles.  The jury will be here in time, says Johnny--do you remember Andras, the gypsy who strangled my wife years ago?--and Milo, who killed my brother?--they're on your jury.  But they're dead! says Magda.  Yes, says Johnny, the whole jury, murderers all--they're what you deserve and what you're gonna get--"Black as the night, as death, as wings of the raven!" calls Johnny, arms upraised.  "Cat that howls in the night, black as the depths of hell where your souls are condemned--let these candles light your way back to earth.  Andras!  Marcos!"  A ghost appears and walks past Johnny, then another.  Magda watches in horror.  "Stefan, Gregor!" yells Johnny.  Two more gypsies come in, one wearing an eye-patch.  "Sergio!"  Another gypsy appears and walks down the steps.  All are very motley-looking fellows.  All condemned to death by their people, says Johnny, murderers all!--Istvan, take your place, the trial will begin.  Johnny introduces Magda as "one of your own--a thief--she stole the hand of Count Petofi, the most precious possession, to use on a gadjo, an outsider.  Magda speaks up--I also took it for Jenny's baby!  Silence, orders Johnny, I'm talking now!--she stole the hand, charge one; charge 2, she murdered Julianka, no ordinary gypsy.I didn't! Magda protests.  Julianka had the power, the touch, the sight to see into people, says Johnny--Magda didn't respect these gifts, and murdered her.  I didn't! repeats Magda.  "She left her tribal life and now she's dead, ain't she?" asks Johnny--you DID kill her, and the jury will decide which of us is telling the truth--killing Julianka was bad enough, but when you killed the infant. . .you'd think anyone would have mercy on a helpless infant.  But Julianka put the curse on me, protests Magda--that anyone I loved would die; I tried every way to keep those babies alive!  Liar, says Johnny, and adds another charge--when I came looking for the hand, you tried to trick me with a false hand, tried to pull the bajor on ME!  I didn't, insists Magda.  The case is closed, pronounces Johnny--how are you going to vote?  "Wait a minute," protests Magda, you can't close the case yet!--there's got to be somebody to tell my side of it!"  I want a witness, Barnabas, who sent me to Boston.  You can only have gypsies at a gypsy trial, Johnny coldly informs her.  There are none to testify for me, says Magda--Sandor, Jenny, are dead.  And if they weren't, which would you call? asks Johnny.  "My beloved Sandor!" cries Magda--I trust my life to him.  Maybe you will have your chance, says Johnny--Istvan, bring me the lamp and put out all the lights.  Johnny holds up the lantern and passes it over the heads of the dead jury, calling to Sandor to make himself visible.  Magda sees Sandor standing in the doorway, looking very drugged!

Magda calls to Sandor and tries to run to him, but Istvan pulls her back.  Johnny orders the latter to light the candles.   Magda anxiously asks Sandor if it's all right for him.  "Raise your hand," Johnny orders--"Swear on the graves of the slaughtered nine, on the honor of the Romany children, swear to tell me the truth."  I swear, says Sandor.  Question him, orders Johnny, lighting one black candle with another--you have the time until the candle burns down to do it.  Who killed you? asks Magda.  The jury already knows YOU murdered him, says Johnny.  Let him answers, says Magda, he'll tell you I didn't do it.  Don't put words in the witness' mouth, orders Johnny--ask him a different question!  Who killed Julianka? asks Magda.  How could he know, he was in Boston when she died, barks Johnny--ask him something he knows.  What can I ask him? Magda says softly.  "Who wanted Julianka here, when she died," suggests Johnny--who was that, Sandor?  "Magda Rakosi," replies Sandor.  Tell us why I wanted Julianka here, says Magda--to cure Jenny's children.  Cure them of what? asks Johnny.  The curse, replies Magda.And who put the curse on those beautiful gypsy babies, Sandor? asks Johnny.  Magda, he answers again.  Louder! demands Johnny.  Magda begins to cry--you aren't letting me ask the witness "nothin.'."  Your time is over anyway, says Johnny.  She protests, you said I had until the candle burns.  He bands over the blows it out.  She gasps.  The case is closed, pronounces Johnny, adding, "Sandor, your time is over now, too. Go back to your grave."  Not yet, protests Magda.  Sandor disappears.  Time to decide whether she lives or dies, says Johnny, asking the jury, do any of you have anything to say in her defense?  There is silence.  The gypsies all look like true scum.  Istvan raises his hand and gives Magda a thumbs down.  "How do you like that--Istvan has spoken," says Johnny--he says you die!  No! cries Magda.  Are you surprised? demands Johnny.  I have the feeling there aren't too many surprises in King Johnny's court, says Magda--how am I going to die?  We will play a game, he says, called hunt the weasel--and you are the weasel.  Where will they hunt for me? she asks.  Wherever you go, says Johnny--wherever you CAN go--let her go, Istvan.  The latter exits the secret room, Magda following.  She asks Johnny, "You mean, you're going to let me go free?"  No trick, says Johnny, just a game.  What if I hide and you can't find me? she asks.  Then you win the game--you are free, says Johnny--and if I find you--you're dead!  How much time before they come after me? asks Magda.  You'll find that out later, he promises--now run, Magda, run--the game is about to begin.  Thunder rolls.  Magda leaves the mausoleum and races off, King Johnny watching, laughing uproariously.

Magda runs to the woods, looking around for her pursuants.  Back in the tomb, Johnny and the jury look at a candle.  "Now it's time for us to play the game," he says, blowing out the candle.  The murderous gypsies follow him.  The storm rages around Magda.  To her horror, one of the ghosts appears before her.  She lights a match and orders Sergio back to hell where he belongs--you don't belong here, your crime is best kept in the dark; when this light goes out, go back to the darkness.  Sergio is enveloped in bright light, and, screaming, disappears (even though Magda's match went out way too soon).  She's thrilled and relieved--I got rid of him!  She stands there, breathing heavily, but hears Johnny's laughter--"but you ain't got rid of me," he tells her.  She calls to him, asking, where are you? but he reminds her the game is to find YOU, not me--I like the way you got rid of Sergio--if you gets rid of the others, perhaps you'll win--get moving, Magda, he orders, got to keep the game going until it's over.  She picks up her skirts and runs off.  In the cemetery, she wanders amongst the tombstones, breathing hard.  She realizes to her dismay that she's been running in a circle and is now backed like a rat in a trap--she must hide somewhere.  She turns and sees another ghost, and another.  "If I only knew how you died," she wails, "maybe I would know how to banish you, but I don't know nothing...nothing, and there ain't nothing but death for me!"The ghosts close in on the sobbing woman as she hangs her head and cries.  Then she stops, holding out her hand.  "In the name of gypsy women who wept for you," she intones, "I know your crime, I order you to go back to sleep without ending, back to death before the tears are dry on my cheek, go walk the earth no more!"  She cries, patting the tears on her face, and all the ghosts disappear.  She hears Johnny's laughter and is hysterical, begging him, stop the game, it isn't a game--stop it!  Keep going, running, he orders, the game isn't over--I'll tell you when it is!  She runs off.  Johnny appears where she was just standing, laughing and laughing.

Magda, breathless, stands on Widows' Hill.  Sandor appears, calling her name.  She reaches out to him.  Sandor, help me, she begs. I've come to help you, to take you back with me, he says.  No, I can't go back with you, she protests--"You're dead!"  You've got to, he insists, there's no other place I can hide you where you won't be found.  "No," she sobs, "I don't want to die!"  I miss you, he says--we should be together.He reaches out to her.  You belong to the dead, sobs Magda, bending down to take a handful of earth in her hand.  Holding it, she says, "Oh, death, who makes the earth grow, bear witness that this spirit may no longer walk the earth, guide his spirit back to the dead."  Sandor disappears.  Magda finds herself alone with Johnny and Istvan.  Congratulations on getting rid of Sandor--of all of them--praises Johnny, but you haven't gotten rid of me, and there is nothing you can do about either me or Istvan.  She moves closer to the edge of the cliff.  Johnny takes out a knife and asks, are you sure you want to go that way?--it's a long way down--all right, the game is over, and you lost.  He approaches her, grinning, threatening her with the knife, moving closer and closer...

NOTES:  Poor Magda!  That kangaroo count reminded me a great deal of Barnabas' going on trial by a jury of those he killed as a vampire, including Nathan Forbes and the dock whores he feasted on.  It seems unfair that she so cleverly got rid of the ghostly motley crew only to end up on Widows' Hill with Johnny on one side and the cliff on the other.  Will someone save her?  I can't help but wonder if this is the way gypsies really conducted their business--seems pretty dog eat dog and cruel.


827 - Another Fridian intro!

Caught between Widows' Hill and Johnny and his deadly knife, Magda doesn't know which way she wants to die.

Johnny asks her which it will be--the rocks down there or my knife?  He grabs her just as she's about to launch herself over the cliff.  "Let her go!" demands a familiar voice--Barnabas!  Johnny sends Istvan after the vampire, but he's immediately subdued by Barnabas' hypnotic stare.  Barnabas threatens to show him some stuff--if you don't let Magda go now--you won't like it.  Johnny refuses.  Barnabas locks eyes with Istvan.Johnny realizes Barnabas has put a spell on Istvan, but insists, "I can take it off."  Istvan heads toward the cliff's edge, Johnny calling, "Come back!"  Istvan stumbles as he stands on the rock ledge, then tumbles over, his muffled screams echoing along with the thunder.  Magda and Johnny are horrified.  "Now, let Magda go or I will send you after Istvan," says Barnabas quietly.  This is Barnabas Collins, the one you found in the tomb, says Johnny--you won't send me nowhere, he says, holding out a cross as Magda gasps--  "You ain't got no power over King Johnny."--you can't even come close as long as I'm holding the cross.  He threatens to send Magda over the cliff with Istvan.  Barnabas, back turned, warns him, if you do that, you will never bring the hand of Count Petofi back to your people.  "You brought it to him," accuses Johnny--"You helped her kill Julianka!"  No, says Barnabas, but I know who did kill Julianka and also has the hand--he's only a few miles from here--let Magda go, promise she is completely free, and you will get the information.  How do I know I can trust you, help me get the hand back? asks Johnny.  The hand has caused a great deal of pain and misery for all who've touched it, says Barn--it belongs to the gypsies, and I'm sorry Magda ever brought it.  You've told me what's in it for the gypsies, says Johnny--what's in it for you, Mr. Barnabas? The man who has the hand now has caused great unhappiness for my family, continues Barnabas--I want you to take the hand from him--take those powers away--the choice is yours--kill her or get back the hand.Magda assures Johnny that Barnabas is telling the truth, he can help you--put the cross away!  Johnny slowly lowers the cross.  Barnabas turns and looks at him.

Old House - Magda opens the front door and lets Johnny and Barnabas in.  The house is empty, she assures them.  We must be cautious, says Barn, my safety is in doubt because of the man who has the hand.  Johnny says I forgive everything, just tell me who has it.  You might find it difficult to believe, says Barnabas, but the hand is again with Count Petofi.  And he's here in this place, asks Johnny?  Yes, says Barnabas.  So, I will finally see him, says Johnny--the owner of that hated crest!  His crest was on Julianka's forehead when I found her dead, reveals Barnabas.  Petofi killed Julianka? asks Johnny, and turns to Magda.  He put a spell on me, she says, so I couldn't say anything, betray him.  Johnny vows, Petofi won't put anymore spells on MY gypsies, or kill anymore of them, either.  Barnabas warns, it's dangerous to go after Petofi alone.  It isn't dangerous for ME, boasts Johnny--I can't tell you why, but Count Petofi will know--where can I find him?  A few miles from here, says Barnabas, who asks for one last condition--that you use the hand on Quentin Collins.  Johnny protests--I can only use it on gypsies.  Barnabas points out--Quentin married a gypsy, his children are part gypsy--you'll be using it against your own people if you don't cure Quentin..Magda listens anxiously.  Johnny agrees, I haven't time, there's more important things to do--there is something that must be done, and it takes time.  He leaves the house, ordering them, wait for me.

Barnabas paces the living room.  Magda sits on the sofa, watching him.  Thunder booms.  Johnny's been gone a long time, frets Barnabas--are you sure you didn't tell him where to find Petofi?  How could I, after what Petofi did to me? asks Magda.  I don't understand it at all, says Barnabas.  There's a knock at the door and Magda and Barnabas exchanges glances before the vampire goes to hide in the back.  Magda asks who it is.  King Johnny, dressed in a very fancy velvet ceremonial robe.  He twirls around so Magda could admire it.  Johnny asks for Barnabas, who comes out.  You thought I tricked you when I ran off, says Johnny, tell the truth, that'[s what you thought.  Yes, says Barnabas.  I promised to cure Quentin, says Johnny, and I will--have him here by dawn.  I will do that, promises Barnabas but I can't be there myself.  Where is Petofi, asks Johnny.  Barnabas tells him about the abandoned mill.  I will find it, says Johnny--yes, and take care of things as soon as I take care of Petofi.  He pulls out the Golden Scimitar of the Romana tribe.  A hundred years ago, says Magda, it severed Petofi's hand from his wrist--it has always been sacred to the gypsies.  Tonight, it will be more sacred, says Johnny.  "So that's how you're going to get it back," says Barnabas.  It's going to do more than that, Johnny assures him--much more with me behind it.  Barnabas asks for an explanation.  You want to know too many gypsy secrets, says Johnny--just leave it to me.  He returns the scimitar to its sheath.  What if you don't find Petofi? asks Magda--I fear he's too smart to just sit and wait for the gypsies to find him--suppose he is gone? she asks Barnabas.

Mill - Johnny walks downstairs in his gorgeous velvet and fur robe.  No one appears to be home.  He ain't here, says Johnny.  He looks at a book opened on a table and picks it up.  The history of the Collinses.  We see Petofi's ruby-beringed hand curl around King Johnny's throat!  The gypsy struggles, gasping for breath.

Johnny struggles in Petofi's grasp, and succeeds in pushing Petofi's hand away from his throat.  Am I what you expected? Asks Johnny--and you WERE expecting me, weren't you?  Petofi nurses his hurt wrist.  Every time you killed a gypsy, you were expecting me, says Johnny.  I had no idea what you'd be like, says Petofi.  So every gypsy filled you with terror, deduces Johnny, for any one of them could have been me--the greatest, most magnificent!--there was no way of telling, was there?--was there?  No, admits Petofi, clearly scared.  So I'm not a disappointment, says Johnny--I am worthy of Petofi.  The latter picks up a knife.  "Put that down!" demands Johnny.  Petofi obeys.  (What is the source of the gypsy's power?)  It won't do you any good and you know it, says Johnny.  "I was so close to escaping you forever," boasts Petofi.  That's all over now, says Johnny, there is no escape for you now--to me and all the other gypsies, you were was a legend, until my grandfather Mateo died--nine days later, I had a dream, as my uncle Zago had, telling me that I was now the keeper of the hand--he told me that I was the only gypsy in the world that Count Petofi had no power over--"and you do fear me, don't you?"  Yes, admits Petofi, I do fear you.  Tell me why, says Johnny.  Because you are the one gypsy in the world I have no power over, says Petofi.  The one gypsy who has power over YOU, says Johnny.  Petofi begs to be allowed to talk for five minutes.  "My name is KING Johnny!" he reminds Petofi.  I won't call you, insists Petofi, you're no king--a king doesn't wear tawdry robes or have bits of glass and tinsel ornaments, bright handkerchiefs--a real king has rubies, diamonds, the real thing, furs, beautiful women to wrap them around, his palace is full of treasure he can't even count--and I can make all that real for you--the hand will give it to you, and you know its true power--the gypsies don't, and can't gain from it as I can.You think King Johnny is a fool? asks the gypsy--do you think I'd leave this room with my pockets stuffed with diamonds, and that hand still with you, roaming the same earth as the gypsies?--I wouldn't give up that hand for all the treasure in the world.  But we won't be roaming the same earth, says Petofi--I have a friend with exceptional powers, to a time almost 75 years from now--with that much distance between us, we will never meet again--it will all be over between Petofi and the gypsies when Barnabas Collins takes me to the future!  Johnny laughs--Barnabas Collins isn't your friend, nor is he taking you to the future--he told me where I could find you, and the hand.  Petofi, sits down, cradling his hand, and asks, what are you going to do?  You know, says Johnny--what was done to you 100 years ago.  "Take. . .my hand," says Petofi in a sickened voice--is there no hope, no mercy? he cries.  The same mercy you showed slaughtered gypsies in the Forest of Oshden, says Johnny--the same mercy you showed any gypsy unfortunate enough to cross your path--that is the mercy I will show you!  Then there's nothing more to be said, says Petofi.  Only this, says Johnny, drawing out the scimitar.  "How the knife gleamed when it came close to my hand," says Petofi--"The agony as it was severed from my wrist!--it was 100 years ago and I still remember!--I don't want to remember!"  This time you won't have to remember for long, says Johnny--"I am going to cut off your hand, Count Petofi, it will happen like it did 100 years ago."--there will be one difference--after I've taken the hand, I'm going to take your life, and there's no way you can stop me.  Petofi stares at him, totally fear-stricken and seemingly helpless for the first time.

Magda looks out the window, nervous, fretting--why isn't Johnny here?--what if Petofi is gone?  I don't think so, says Barnabas--Petofi went to a great deal of trouble having that false hand created, setting you up as scapegoat--I thinks he wants to stay here for some time--Johnny will succeed in his mission, Barnabas assures her, so why don't you go to Collinwood, get Quentin, and wait for Johnny--I think this will be the most important day of all our lives!

I've waited for this moment a long, long time Johnny tells Petofi.   The latter, sitting in a chair, suggests, you have waited TOO long--think of yourself instead, what you could gain if you let me go--you're sensible, we both are, there must be some arrangement we could make--I could give you things beyond your expectations, beyond your dreams!  What I want, I'm going to take, says Johnny--right now--I don't need any arrangement to do it--"Nine sacred candles, all burning."  We see nine candles lit before him.  "All ready!"  He pulls out the sword.  "Mateo, Zarco, all you of the Romano tribe who bore the honor and the glory and the power to stand up against our hated enemy, wherever you are, see this moment and make it your triumph, too.  King Johnny Romana, of all the men of his tribe, has found Petofi!--King Johnny Romana alone is going to do what must be done!"  He takes the scimitar and walks over to the terrified Petofi, whose arm rests on the chair's armrest.  Petofi's eyes widen to the size of robin's eggs as, overcome with terror, he watches King Johnny raise the scimitar high above his hand!

NOTES:  Whew!  Is Petofi going to lose his hand again, now that he's finally gotten it back?  Wasn't Barnabas' saving Magda wonderful, cementing the weird friendship they've developed over all this time?  Neat that Johnny has this ability to withstand Petofi's power.  You could see how fearful the Count was, and now we know why he's been so afraid of this pursuer for all these years.

Love, Robin

Ringo said:

I always consider pants optional.

Why doesn't that surprise me?

Love, Robin

Paging Dr. Hoffman, Dr. Julia Hoffman--we have a woman here who desperately needs: a sedative, a strait jacket and a life!

Don't ever change, Patti, you're delightful!

Love, Robin

817 - Jamison continues to call Quentin in a lost little voice.  He's calling to you from the 20th century, says Petofi, so there must be a Quentin in that time.  Quentin doesn't know whether there is or not, he did seem to recognize me.  Petofi wants to know more about that other Quentin Collins--ask him.  I can't, says Q--he's sleeping again; he looks so weak and far away.  There must be a way to make you save him, says Q desperately; surely you want something from us.  (AH HA!)  Yes, there is, says Petofi, but only your Cousin Barnabas can give it to me.  Barnabas will give you whatever you want, Quentin assures him; he won't allow the boy to die.Are you sure of that? asks Petofi.  As sure as I am of anything in this world, says Q.  I am going to give you a chance to test your unwavering faith in your cousin--you can ask him yourself if he's willing to save Jamison's life--convince him it's the only way.  Quentin looks puzzled--where is Barnabas? he asks.  In his coffin, says Petofi.  It's after dark, points out Q.  So it is, says Petofi, come with me, I assure you, Jamison will be quite all right alone--he will live--at least until our business is finished.  He leads Quentin into the room where the chained coffin rests.  "Behold the elusive Barnabas Collins!" says Petofi.  "What have you done to him?" demands Q, turning around to grab Petofi, balling his fist.  "WHAT HAVE YOU DONE TO HIM?" Quentin shouts, eyes blazing with fury.  Chained him up and brought him here, says Petofi--it wasn't difficult, once I put my mind to it.  The difficulty now, says Petofi, is waiting for anger to turn to desperation, desperation to despair, despair to hopelessness, then I will let him out--if he gives me what I want.  What do you want? asks Quentin.  Barnabas will tell you that, says Petofi, he's quite able to speak (which surprises Quentin).  Oh, sure, Barnabas is fine, says Petofi--he can do anything--except get out of that coffin.  (Poor Barnabas!!!)  "Because you have him locked in chains," says Quentin.  When you remove the chains, says Petofi, you'll find he's still unable to move.  "When *I* remove the chains?" asks Quentin.  Yes, says Petofi, I want the two of you to have a good talk, and you to be at your most convincing when you tell Barnabas Jamison is dying.  He hands Quentin a key--start removing the chains, says Petofi.  Quentin opens the first of the padlocks.  When he finishes with the others, he opens the coffin as Petofi stares at him.  Quentin finds it hard to do this.  When he beholds Barnabas lying in the coffin, a cross sitting on his chest, eyes filled with helplessness, all he can mutter is a sympathetic, "Barnabas..."  What a touching reunion, taunts Petofi--I feel like an intruder on this touching little scene--why don't I leave the room?  This offer surprises Quentin.  Petofi warns him-- unconventional as it looks, this IS a prison--abide by existing rules--you may talk to your cousin, but not touch him, especially the cross on his breast if you wish him to remain "healthy."  Tell him about Jamison, advises Petofi, and I'll be in the next room if you have good news for me--Barnabas will be able to speak as soon as I leave.  Petofi closes the door behind him.   Barnabas instantly calls to Quentin, asking if Jamison is alive.  Yes, says Quentin.  Thank heavens, says Barnabas.  Don't give thanks yet, advises Q, he's worse off now than before--he's been possessed by David Collins.  Barnabas raises his head, stunned, perplexed.

Petofi holds his right hand over Jamison's head, commanding, David, open your eyes.  The boy awakens and asks, who are you?  A friend, replies Petofi.  Where's Quentin? asks the boy.  I'll find him for you, Petofi offers, if you tell me what he's like...  Jamison says, he's got dark hair, blue eyes, and he's tall, very tall--I'm so sleepy, I'm going to sleep until Quentin comes.  Sleep, urges Petofi, you've earned your sleep.

When it was apparent that Jamison was possessed by David Collins, says Quentin, I tried to find you; when I couldn't, I brought him here--Petofi said he'd cure him--for a price, a price only you could give--I told Petofi you would give him anything if he'd save Jamison.  But you're wrong, says Barnabas, I can't give him what he wants.  Quentin leans down.  Perhaps I'm not making myself clear enough, says Quentin--Jamison is dying in the next room--what could be more important than that?  "He wants me to take him to the future," reveals Barnabas, "to my own time, immediately."  And won't you do that, even to save Jamison's life? begs Quentin.  In his time, says Barnabas, there are many terrible questions--I came here because somewhere here there are answers; I haven't been able to find any of them, not yet.  "But you do know that they are more important than Jamison's life?" asks Quentin.  Nothing is more important than that, says Barnabas, if he dies, the Collins line in the future will never have existed--I know that and so does Petofi, so in spite of his threats, he's going to try to keep Jamison alive.  "Then David Collins does exist in your time," says Quentin.  "Yes," says Barnabas.  "How very odd," says Q, "your David Collins seems to know me.  How could that be possible?"  Evading that loaded question, Barnabas reminds him, it won't be long before Petofi returns, and when he does, take the cross from my chest.  Can I, without hurting you? asks Q.  You must try, says Barnabas.  I'm afraid for you, protests Quentin.  Do it, orders Barn, immediately, quickly.  Quentin reaches for the cross, but is unable to move his hand close enough.  Petofi, in the other room, is clearly causing this to happen.  Barnabas asks what's the matter.  I don't know, says Quentin--I can't move my hand any further.  Of course you can't, says Barnabas--he wouldn't have let you stay here if there was any chance you'd help me escape.  Quentin balls the hand into a fist, frustrated, in pain.   Barnabas says, it isn't going to be easy to get rid of him, not at all.  Quentin asks, suppose it's impossible?--suppose you can't get out of here unless you give him what he wants?--that's a possibility you must face.  When I told Petofi I can't take him to the future, I was being more precise than I realized--I cannot take him, the truth is, I don't know the way back--I can't even take MYSELF!  There has to be a way to get you out of here, Petofi or no Petofi, says Quentin.  "There just may be," says Barnabas, "come closer."  Quentin kneels and listens carefully.  Petofi touches his ear and apparently listens in, too.  Barnabas tells Q, they must go to sleep sometime; go now, take Jamison with you, come back later tonight.  Petofi touches his left ear with his right hand;suddenly, Quentin can't hear Barnabas any longer.  I can't hear you, Quentin tells Barnabas.  Petofi comes in--"Quentin, right or wrong--you said he'd do anything to save the boy."  He claims he can't take you back to the future with him, says Q.  He came here, insists Petofi, he could take us both back.  I believe Barnabas is lying, says Petofi, and am no longer interested in either Quentin or the boy--get him out of here, demands Petofi, get out, and don't try to come back, or you will regret it very, very much!  He opens the door.  Quentin leaves.  Petofi is laughing as he closes Barnabas' coffin, imprisoning him once more.

Collinwood - Beth closes the window in Jamison's room.  He lies in bed.  She straightens his covers.  He stirs, asking for Quentin.  He'll be back in a minute, she says.  "Beth," he murmurs.  "You know me," she says.  Of course, says Jamison.  You aren't delirious anymore, notes Beth-- Quentin will be so happy.  Does it hurt when you die? Jamison asks.  This upsets Beth, who urges, don't go on about that--you'll get well.  You promised to answer anything, he reminds her.  I can't answer your question, she says, how could I--I never died.  Yes you have, he says, Quentin says you killed yourself.This unnerves Beth--he couldn't have said that, you must have dreamed it.  Quentin told me you killed yourself--why did you do it? asks Jamison--why?  Her forehead furrowed, Beth doesn't know how to answer him.

Petofi stands over Barnabas' closed coffin, reminding him, you're still locked in there--and there's no way to get out unless you take me to the future with you--I mean it, no other way!  Inside the coffin, Barnabas lies in darkness, silently telling Petofi there is another way--and I shall soon find out what it is!  "Beth!" he calls.  "Beth Chavez.  I need you.  Come to me!"

Beth, standing in Jamison's room, hears the summons.  Quentin enters the room and touches her shoulder.  She turns to look at him.  He asks what's happening to her.  How could you have told Jamison such terrible things about me? she asks--you told him I committed suicide.  Quentin denies saying it.  He says you told him, she insists. Jamison's been so sick, he reminds her.  He knew me, she says shakily--he called me Beth, and then he said I died!  Quentin looks suddenly Uncomfortable.  What's wrong? she asks.  He looks as if he saw something terrible in her face.  She puts her hands on his chest and says, I'm frightened, I feel as if something terrible is closing in on us--hold me close, she begs, never let me go!

Barnabas continues to call to Beth to come to him--I'm in danger from my enemy, he says.

Beth raises her head from Quentin's shoulder.  We should just hold each other very quietly, he says.  "Quentin, I must go," she insists, starting to walk away.  Where? he asks, stopping her.  I must go, now, she repeats.  Wait! he calls.  Jamison says his name; Quentin sits on his bed.  Why is it so dark? asks Jamison.  Quentin turns on the lights.  Jamison continues to ask why it's so dark, it frightens me!  It's all right, Quentin assures him, covering him up--go back to sleep.  "The way you look frightens me," says Q to himself, "Barnabas says Petofi won't let you die, I wish I were so sure.  Barnabas summoned her," realizes Quentin.

Barnabas lies in the coffin, still calling to Beth, who is working on the chains holding him prisoner.  Remove the chains, orders Barnabas--open the coffin, remove the cross--save me from Petofi!  She's trying, working diligently, but Petofi catches her.  "Such frantic activity," he says, "what a pity it is all to no purpose!"  "You chained him!" she accuses.  "As he shall remain chained," proclaims Petofi.  She pulls out a gun and says, "I'm getting him out of here!"  He warns her--you will regret it if you do, as you will regret nothing else in your life--would you like to know why?  Yes, she says, tell me.  I'll do better, I'll show you, he promises--come along.  She drops the gun to her side, but says, I'm not going with you, you're Barnabas' enemy.  No, says Petofi, Barnabas is your enemy and executioner (he easily take the gun from her hand), "Aren't you curious to see your own death?"  My own death? she asks.  A privilege offered to very few people, he reminds her, but I'm offering it to you.  She precedes him into the other room, leaving only one chain undone.  Don't go with him, don't listen to him, don't watch what he shows you, commands Barnabas' voice--it's lies, all lies!  Petofi shows her what will happen if she sets Barnabas free.  He opens the magic cupboard and reveals a bat hovering outside a window, red candles, and Beth standing and watching as Barnabas turns into a man.  He comes toward her, brushes her hair away from her neck, and bites into her throat.  She falls to the floor, unconscious.

What happened? asks Beth.  Because of your devotion to Barnabas, says Petofi, you have just died!  In the vision, Barnabas stands looking at Beth's corpse, fangs bared.  Died? asks Beth--I don't believe it--it's some kind of trick.  There is more, says Petofi.  Beth rises from the floor and stands, looking at Barnabas.  Her neck drips blood; she opens her mouth to reveal two very sharp fangs!
Beth screams at this vision, sobbing, it can't happen that way!  Yes, agrees Petofi, It will unless you do exactly as I say--go to him.  She walks slowly toward the adjoining room.  This is the very last time that you will go to him, promises Petofi.  But I must go to him whenever he calls me, protests Beth--he is my master!  He WAS your master, says Petofi, but no longer--turn your back on him, or you will die and spend eternity as a vampire.  Miserably, Beth turns her back and leaves the room.  Petofi touches Barnabas' coffin and says, "She came to you because you were strong, she left you because I was stronger--surely you must realize now you have no choice, Mr. Collins, there is no one left to help you.  You must take me with you into the future!"

NOTES:  Back then, it hurt me to see Barnabas lying there, all squooshed up, impotent in all the ways that counted, and to see Quentin's own impotence at being unable to help him.  Petofi lied to Beth, because Barnabas would not have turned her into a vampire.  Quentin so obviously loves Jamison, it's hard to watch him trying so desperately to save him--and I hate Petofi for so many reasons, I don't have time to list all of them!  I wish him death, slowly, painfully, and soon!  That's great acting on the part of Thayer David!


818 - Petofi opens Barnabas' coffin and triumphantly informs him--because there is no one left to help you, you must take me to the future.

Cottage - Tate works on Quentin's portrait, painting away, thinking--this portrait has captured Quentin's heart, mind and soul--it IS Quentin Collins, and once it's finished....suppose it was never finished, what if I destroy it now, take my palette knife and rip it to . . .  He takes the knife and is about to destroy the painting when Petofi lets himself in and stops him.  Why so startled, he asks Tate, I've always been interested in your work?  Aristede told me that you were sick, says Tate.  That's a pallid way to describe my recent state of health, says Petofi; I was dying, but I have recovered, more than my health, but every power I once possessed.  He holds out his bare, beringed, restored hand to Charles, who calls it amazing.  More than that, says Petofi--would you like a demonstration?  No, says Tate.  You'll get one anyway, Petofi assures him, if you go on thinking what you were thinking when I came in--you won't destroy the picture--both you and Quentin would suffer if you destroyed it.  Tate mutters, I have a feeling Quentin will begin to suffer the moment that painting is finished.  Inaccurate feeling, Petofi says, annoyed--I find it remarkable that one with your lack of perception should have become so successful in such a sensitive profession.  He hits his head on the lamp, then picks up and begins to examine some brushes.  Tate tells Petofi, someone came here and saw the face in the portrait change and an animal's face take it's place.  Petofi takes one of the brushes in his hand, commenting on how dirty they are--I wonder how you manage to paint them at all.  Seeing that Petofi is about to add to the painting, Tate demands, what are you going to do?  "Help you," says Petofi, applying some brush strokes, or have you become so sure of yourself that you refuse help, your head turned by too much praise from too many critics?--history records stories of artists who talent came suddenly--and disappeared just as quickly.  (Sounds like a warning to me.)  Tate looks uncomfortable.  They ended badly, continues Tate, bemoaning the fate that brought them from success to failure--you wouldn't like that, would you?--you wouldn't want it known that you are a third-rate hack, would you?  He grabs Tate around the throat--give me an answer to my question.  Take away the hand, Tate begs.  Petofi asks again--do you want that to happen?  No, Charles says hastily.  Petofi releases him.  Then keep on behaving like a good chap, advises Petofi, giving him a couple of friendly pats on the cheek.  He pushes a brush into Tate's hand, reminding him, your job is to paint, as long and as well as you can.  He looks at the painting and Charles looks back at him...

Beth returns home, clearly upset and exhausted.  She gazes at the portrait of Barnabas on the wall and grows even more upset.  Quentin exits the double doors of the drawing room and demands she come in.  She looks as if she's about to be executed.  Quentin closes the doors.  She asks how Jamison is.  Sleeping since you left, says Q.  She sits down, dejected.  He asks, did you go see Barnabas--don't lie, I know you did, but you couldn't help him--I know all about the chained coffin, he says--I couldn't do anything more against Petofi than you could, but there has to be a way to free Barnabas.  Harshly, Beth says, I WANT Barnabas to stay chained there forever, and he will if he waits for me to come to him again--I'll never go again.  Quentin sits down with her--you never could have made this decision by yourself, he says--Petofi must have helped you make it--how?  He showed me the future, says Beth, MY future, and when I saw what would eventually happened to me, saw myself rising from the dead, with those fangs, I knew I'd never listen to Barnabas again.  How do you know that Petofi showed you the real future? asks Quentin.It will all happen if I don't get away from Barnabas, says Beth--let's leave Collinwood, with all its evil, anguish and sorrow--the two of us, and your little daughter--we should get away from this place.  She's already away from here, says Q evasively, and adds darkly, she's going to remain with Mrs. Fillmore.  Collinwood casts a long shadow, warns Beth, it will get her if we don't take her away from here!  And become what? asks Quentin, a pretty little family?  We can try, she says.  And what will we do? he asks sarcastically.  Anything we want, says Beth.  I know you like to travel, he says, smiling, all right, all three of them will try it, Paris, Berlin, Rome, would she like that?--"And when the night comes, we can all look up at the sky and watch the moon!--you can see the moon all over the earth, you know."  Her gleeful smile fades.  Here at least, he says, there's a hope for ending the curse.  Beth disagrees--there is nothing here for us but despair, and death, and I'm afraid of death.  She runs from the room.  He tries to follow her, touch her, but she turns away from him, sobbing.  "All right, dry your own tears!" he says, annoyed, I've got other things to do.  "Quentin!" Beth cries.  Charity stands up on the landing, watching.  Beth bursts into tears and starts climbing the stairs.  Don't go, says Charity, I must speak to you.  What about? asks Beth.  You and Quentin, replies Charity, and you must listen--her life might depend on it.

Charity closes the double doors, telling Beth her quarrel with Quentin is a blessing in disguise--I heard the two of you.  Just what did you hear? asks Beth.  You're a clever girl, says Charity, you'll find someone else--Quentin Collins isn't for you--I knows so, and not because you work here and he's a Collins--most would say you aren't good enough for Quentin, but I know better--he isn't good enough for you.  He's wild and irresponsible, selfish, and even cruel sometimes, says Beth, but I know all that about him.  You don't know the really terrible thing about him, do you? asks Charity--just stay away from him!  What terrible thing? asks Beth.  You'll pay with your life if you don't keep away from him, says Charity--maybe I'm saying he's a murderer, maybe I'm saying much worse, at least a murderer is a human being, but...  What? Demands Beth.  Just stay away from Quentin, cries Charity.  Why, demands Beth?--because you're implying terrible things about him--or because you're in love with him yourself?  Charity denies it.  I've seen the way you peek behind closed doors at him, accuses Beth, staring across rooms with that wide-eyed lovesick little girl look.Charity admits, I did find him handsome, once.  And maybe you still do, suggests Beth.  No, says Charity, when I see him now, I see another face, ugly, cruel animal.  Too many things have happened here at Collinwood, says Beth--don't spread malicious rumors you will regret.  Perhaps they aren't just rumors, says Charity softly.  Of course they are, says Beth, I know Quentin very well.  Not as well as you think you do, says Charity--"Leave Quentin alone!"

Tate paints while Petofi glances through a small booklet--I always admire your work, says the Count--these are superb--you have an embarrassing amount of talent.  Petofi looks at the painting--he thinks it's finished.  Tate objects--I have more work to do on it.  No need, says Petofi.  Charles is insistent.  Very well, work, says Petofi, quickly, work!  There's a knock at the door.  Tate isn't expecting anyone--I won't answer if you don't want me to.  Of course you must answer, says Petofi--I'll wait in the next room.  Tate answers the door.  It's Charity.  He invites her in.  You took a while answering, she says, staring at Quentin's painting.  I was just absorbed in my work, he says--look at that, it's almost finished.  So I see, says Charity.  How do you like it, considering I'll soon be painting a portrait of you? he asks.  Looking a trifle ill, she says, I don't want you to paint my portrait--I changed my mind.  Why? he asks.  She walks away from him.  What do you think of Quentin's portrait? He asks again--I guess you don't think me much of a painter, do you?  She turns to face him and says, I think you paint TOO well, and I fear when you paint me, I will find some horrible secret, just as I did in Quentin.  Is there really a horrible secret there? he asks.  Not now, but there was, she says, when the face of Quentin turned into that of a wolf!  Taking her face between his hands, he says, I thought I convinced you that had been your imagination.  Yes, then, she says, but I didn't know then what I do now--the reason the portrait changed.  What is that? asks Tate.  She turns again to face him--if I thought I could convince you to believe me...perhaps I should tell you--I must tell someone or go mad! she cries hysterically.  Petofi listens in the other room.  Not right now, Father is expecting me at home, she tells Tate--stay away from Quentin Collins, he isn't good for you, or for anyone else--on nights when the moon is full, stay inside, warns Charity, and keep your doors locked.  Tate doesn't understand.  Just do it! she begs, and leaves Tate standing there, puzzled.  Petofi comes out of the room.  "So that's it," says Tate--"I knew the moment that portrait changed that Quentin had some vile secret--that portrait actually did change."  "And now you think you know what his secret is, says Petofi.  Yes, says Tate, he's a werewolf, isn't he?  Yes, admits Petofi, the unfortunate young man is afflicted with that terrible curse.  What does his portrait have to do with this? demands Tate.  My plans for Quentin are peculiarly my own, says Petofi, and none of your business.  You forgot I'm the one painting that portrait, Tate reminds him.  And YOU forgot I'm the one who allowed you to, says Petofi--you must always remember that, my dear Charles--that young lady was very agitated, she could think of nothing else, talk of nothing else, fortunately, she talked only to you, but I must deal with her immediately.  What do you mean? asks Tate.  Do you remember the story of Echo, a nymph that talked too much? asks Petofi--she made the gods angry and they were forced to deal with her--much to her eternal sorrow...

Charles puts the finishing touches on Quentin's portrait while Quentin, deep in though, listens to his music in the Collinwood drawing room.  He answers a knock at the door, walking slowly, reluctantly, to find Petofi there.  Quentin isn't glad to see him, but Petofi humorously says, I'm sure Edward would warmly greet me, seeing as how I have such a good recommendation from the Earl of Hampshire and all.  "My brother Edward is a madman," says Quentin nastily, "thanks to you--Jamison is possessed and perhaps dying."  Stop worrying about your family, urges Petofi (what a bastard!)--they may all still recover at the proper time.  And Barnabas, asks Q--will he recover his freedom?  Petofi gazes at Barnabas' portrait and says, Barnabas and I have a matter between us that only we can settle--and settle it we will--as to my reason for coming, I have come to save you.  Why should I believe that, along with your other lies? demands Q--"Mr. Fenn-Gibbons."  Petofi admits, I often lie, true, but tonight I'm telling the truth--like you.  "But not enough to end my curse--if you can," says Quentin.  I can, Petofi assures him, walking into the drawing room and standing next to the gramophone--your taste in music is so melancholy, for a young man with the whole world before him, but perhaps you were brooding about the fact that your cousin Barnabas can no longer help you.Why? asks Quentin.  I can, and will, Petofi swears--again at the proper time.  What god do you swear on? Asks Quentin.  Petofi responds, "I have but one, and his name is Petofi!"--you're in grave danger from Charity Trask, showing her her father's confession didn't silence her.  I know, says Quentin--she talked to Beth.  She also talked to Charles Tate, reveals Petofi.  "WHAT?" asks Quentin.  I will deal with Charity, Petofi assures him.  Who will deal with Charles Tate? asks Q.  There's no reason to worry about him, says Petofi--because I say so--if there is any danger, I will deal with it; I'm determined nothing will happen to you.  Why? asks Q.  Because there is no longer any question in his mind, says Petofi, you are a part of the future, the ghost of David Collins knows you well--something impossible has happened--perhaps together, we will find out why.  Charity comes in and launches an immediate verbal attack on Petofi--"You!  I knew I heard your voice!"  I'm delighted to see you, says Petofi.  Don't be polite to me, she orders--get out immediately or I will summon my father.  I don't think you will summon your father or anyone else, he says, amused.  "How dare you?" she cries.  Are you enjoying your stay at Collinwood, asks Petofi, or do you find the responsibilities too heavy for your fragile shoulders--have I guessed right?--"Oh dear, you can't tell me, you've lost your voice," he says--I can help you--I'm said to have a very healing touch.  He touches her throat with his hideously deformed hand as she silently cries out...

NOTES:  Is it time for Charity's moment of truth?  Will she turn back into Pansy?

Why, I wonder, does Petofi like Quentin so much?  Is it because he's the only one to face his own truths, or because Quentin seems like a young Petofi to him?

What do you think of this Tate role for Roger Davis?  Kind of bland, huh?  Weird to see him playing another role in the same storyline--and no mention of his resembling Dirk!

Interesting little cat fight between Beth and Charity.  They both love him, and both know the truth about him--but Beth can forgive and stand by him, while Charity cannot--even though her own father is a deliberate murderer!

Wouldn't today's shrink have a grand time with these ladies on the couch?

Love, Robin

821 - Jonathan Frid does the intro, a rare happening.  He does a splendid job, of course, with THAT voice.

Johnny Romano is thrilled he's gotten the hand back for his people--King Johnny, he proclaims--for today I am truly a king!  He returns the hand to the box and asks Magda--what are you?--a liar and murderer of your own people.It wasn't my fault Julianka died, protests Magda.  Are you going to tell me you didn't kill her when she came for the hand? demands Johnny.  No, says Magda, but can't tell him the name of who did.  You're a liar to the very end, accuses Johnny, with the hand in this very room, you lied, and all the time trying to keep it to yourself, instead of returning it to your people--that's all finished now--I have the hand and you, too.  What will happen to me? she asks.  You will go back to Boston to be tried, he says, as soon as I give thanks for finding the hand--and you should give thanks, too, for if I didn't find it, I hate to think of what would happen to you--you will give thanks, then we will go.  Johnny opens his arms and calls to wild flowers of the field, birds of the air, gypsy children--thank you for the return of this, our most previous possession.  Magda tries to sneak out the door, but there is a towering, colorfully dressed black man standing there, blocking her escape.  She cries out in dismay.   Johnny says, you've been living with the gadjos too long if you think a king would just let you go. He tells Istvan, the huge man--she won't go anywhere but where we tell her to go--she will go on trial, he says--no one ever used the hand against another gypsy before, but Magda isn't even a gypsy anymore.  That hand, says Magda. . .nothing.  Can I say goodbye to Jenny and Sandor and Jenny's baby before I go? She asks.  No, he says, no time for that--and perhaps you'll be saying hello to them quicker than you think.  Istvan bursts into weird laughter at this jest, grabs Magda and forces her out the door behind King Johnny.  Aristede appears, looking pleased.

Petofi's mill  - He walks around the coffin.  Aristede enters.  It went exactly as you said it would, he tells Petofi--they came to the house, found the hand where I had left it, and took the gypsy witch away with them--I watched the whole thing, laughs Aristede.  I had one terrible fear of what might have gone wrong, says Petofi--what if the gypsies had tried to use the hand?  Nothing? asks Aristede.  Although Tate's artistic talents made the false hand a perfect match for my own, says Petofi, I doubt the recently departed Abraham Howell could give the gypsies what they want--by now they would be swarming all over us with that pursuing instinct they seem to possess.Petofi admires his own hand.  We got what we wanted, says Aristede.  Petofi agrees--we got time--I was standing by Barnabas' resting place, thinking about the future a great deal--bring me the Collins family history book--I need guidance, and hope the book will guide us to the future--I'm especially interested in knowing if Magda's tribesmen hurt her.  They weren't "kind" to her, laughs Aristede.  Petofi laughs along and says, they will be less kind in a very little while--I'm very pleased with the way you handled this matter; I wish I could see the gypsies when. . .no, better not, like black cats, they bring misfortune.  Petofi pages through the Collins family book, looking to see what the future may hold.

Aristede puts some sheet music on a very unusual stand.  Someone enters the mill. Aristede asks who is there, but all he hears is a wind that knocks first the music off the stand, then tips over several pieces of furniture.  I'm not afraid, Aristede tells the entity, but when the candles blow out, he calls for Petofi, scared.  Someone is here, says Aristede, but I see no one.  Petofi seems to know who it is, and asks the alien spirit "to depart in peace, depart unsatisfied, before there is nothing left but eternal wandering--return before the grave closes behind you forever," intones Petofi.  The lights comes back on.  Petofi assures Aristede, we will be troubled no more.  Who was it? asks Aristede.  Probably the good man whose hand we took the previous night, says Petofi, he's understandably restless and disturbed--pick up my music, I have something else for you to do.  It surprises me, says Aristede, that with a ghost on the premises, you can still think about your music.  Ghosts come and go, says Petofi, even gypsies can finally be gotten rid of, but music and pleasure of the senses endure forever--I wonder--the music, paintings, beautiful people of 1969--what will they be like?--I burn to find out!  (Take Petofi to see HAIR.  He'll love it!)

Dusk - Petofi opens Barnabas' coffin and removes the cross from his chest.  You can move, says Petofi, but not very far.  He backs up against the door and holds up a cross.  What has happened? asks Barnabas.  Since you closed your tired eyes, quite a lot, says Petofi--Jamison is still ill and possessed by David.  Barnabas has risen to his feet, standing before Petofi.  "Then everything is the same," says Barn.  Petofi says, I didn't say that--he's in far worse condition, because I am far more anxious to get to the future--do you follow me?  I can't give you that secret! insists Barnabas.  I'm still disposed to think you are lying, says Petofi--I've been studying your family history with great interest, and wonder why you came back here--I know it concerns some of those people, right?  I can only say what I have before, says Barnabas--I can't pass through time, nor take you.  "BUT YOU WILL NOT EVEN TRY!" screams Petofi.  He calms down, even smiles--if you will say no more, I must remain what I am, a restless spectator in a play about to begin--I sit in my seat, staring at the program, wondering what will happen onstage--but supposing there is NOTHING when the curtain rises but a bare stage?--allow me to make my meaning clear.  Aristede comes in holding two flaming torches.  In my time, explains Petofi, I destroyed entire gypsy villages with them--with them, I could burn Collinwood to the ground--what need of the building if there are no Collinses?--if Jamison dies, there will be no Elizabeth, Roger and David, all will cease to exist in 1969!--I have studied my history very carefully.  "I see," says Barnabas--I am surprised, I expected better from you--"You are incompetent."  "How dare you call me incompetent?" snarls Petofi.  "In one night I could destroy a whole generation of Collinses."  Aristede, holding the torches, offers to go to Collinwood right now--I will do the job quickly, accurately and efficiently.   Think about it, Petofi advises Barnabas--no Collinwood, no Collinses!--ask yourself, suggest the count, if your secret is worth as much as that...

King Johnny and Magda are in the woods, a fire built.  We will have our supper, he says, then march to the caravan, then journey on to Boston--Istvan, gather more wood.  The man goes. He doesn't say much, comments Magda, not a word.  He was once accused of a crime by another gypsy, says Johnny, and set to go on trial before the others--he ran away, and when caught, he was punished--because his tongue is cut out!-- he would tell you, Magda, if he could talk, to stay very close to the campfire tonight--very close!

I never thought I'd be going back like this, laments Magda.  Neither you nor Jenny should have left your people, says Johnny--both of you forgot what it means to be gypsies.  Istefan alerts them with grunts that someone has rifled through their belongings.  Johnny is mystified--who could have gotten past us?  Somebody did, says Magda with a gasp.

As Aristede holds his flaming torches aloft, Petofi again asks Barnabas, is you secret worth Collinwood's destruction?  We will have to work that out together, says Barnabas--if there is to be no Collinwood or Collinses, there can be no future for me, which means none for you, either.  (Barnabas, you are clever!)  I suggest you send Aristede off with his fireworks, advises Barnabas.   Incensed, Petofi pushes the cross in Barnabas' face, complaining, it wearies me to talk to you.  Barnabas cowers away.  Petofi orders Aristede, be careful--he's our prize specimen. Barnabas looks very unhappy indeed.  "I will find a way to get free, Count Petofi," vows Barnabas.  Not before I find a way to get to the future, says Petofi.

Magda suggests some tramps opened the knapsack and took the hand.  No way, says Johnny, no tramp lives I can't see or hear--besides, they didn't take anything--I am going to bless the hand right now--I was going to wait until we got to Boston, but have decided to do it now.  You have no reason to change your plans, says Magda.  There have been too many non-gypsies near this hand, says Johnny, and that's bad--I must bless it now.  You won't use it now, will you? she asks.  Why not? he demands.  She looks unsure.  He accuses her of letting a non-gypsy get near this, use it!  She shakes her head.  A wind blows up, followed by lightning and thunder.  A ghost missing his right hand appears before them.  What do you want? Asks Johnny.  The ghost takes the false hand and stuffs it into his empty jacket sleeve.Johnny sees the hand in the box has disappeared.  I don't know who that was, insists Magda.  But you do, says Johnny--you got a good look at him when you opened the grave and took his hand!  Magda denies it.  You tried to pull the "bajor," the big switch, accuses Johnny, the oldest gypsy trick in existence.  He grabs her--you tried to pull the bajor on me, on all of us!  I didn't do it, I swear! bleats Magda.  Who did? he demands.  I still can't say, she tells him.  Put out the fire, Johnny orders Istvan,--gather up our things, we are going back to the caravan, back to Boston now!  The men start tossing stuff into the knapsack, but Magda has slipped away.  Istefan, find Magda and bring her to the caravan at the edge of the lake! Orders Johnny--we will go back to Boston--bring her back--anyway he can!  Magda, hiding in the bushes, watches Istvan head out to find her.

NOTES:  King Johnny is pretty cool.  I always did like him, even though he intended Magda harm she didn't entirely deserve.  I loved the scene between Petofi and Barnabas, and the way Barnabas one-upped him.  Barnabas has a valid point--what difference does it make to him to get Petofi to the future, to do anything for the bullying megalomaniac, if his own family is destroyed and he has nothing left to return to?

Its really unfortunately for Amanda that she loves Tim Shaw and he loves revenge and himself.  He is using her, she knows it, but it sounds like she has a weird past, and why doesn't she remember anything before two years ago, anyway?  You sense Tim likes her, but would just as soon discard her once his own pioneer justice is served.

Once again, we see Magda being physically abused, this time by one of her own.  That made me wince.  I wouldn't want to stick with people who hit me, that's for sure!  The story Johnny told Magda about Istvan and why he can't speak is chilling.

Glad for Mr. Howell returning to get his own hand, even if it did mess things up for poor Magda.  Will she escape Istvan?  Will she come out of this mess alive?  She doesn't even have Barnabas to help her now!

CD Tate leaves me cold.  It was fun to watch Petofi hit him with an extracurricular painting job.  That hand looked damn close to the real one, didn't it?


822 - Tate's studio - Petofi lights a cheroot and tells Charles, you've been of enormous value and I owe you much thanks--you transformed an ordinary hand into a work of art, so like mine, I felt a twinge of pain when I planted it for the gypsies to find.  The gypsies will know it's a fake, warns Charles.  Yes, but I have another plan, Petofi assures him, a most daring exploit, a journey into the unknown--can you imagine what the world will be like 80 years from today?Petofi gazes over Tate's shoulder and sees he is painting a brooch.  You have an eye for jewelry, says Petofi, just as good as your eye for beauty--I can never look at the portrait without being overwhelmed by the girl's eyes--the truth--who modeled this for you?  No one, and you know it, answers Tate.  She's so real and lifelike, says Petofi, you must have seen her somewhere and forgotten, as if you were a camera and took the picture without knowing it.  I'd never have let her go, insists Tate.  More interesting still, cackles Petofi--how long ago did you start painting her?  Two years, says Charles.  What will you put in now, the brooch? Asks Petofi.  I didn't ask you here, Tate reminds him--you came to ask me about something I didn't want to do, and thanked me--let me alone so I can work.  This brooch will look beautiful on her, comments Petofi--did you find this design...  Tate snatches the painting from Petofi's hand.  I know you don't want to share anything with me, says the Count, but at least answer that question.  I dreamed she was wearing it, says Tate.  You're in love with her, says Petofi.  I'm in love with all my paintings, says Tate.  That's an unsatisfactory answer, says Petofi, laughing--you're in love with that face, those hands, and it's not healthy--I'm not an angel on an errand of mercy, but I have met a girl I think you would be most interested in, a girl you must see. . .   Tate looks at him, confused.

A girl I must see? asks Charles--I don't want to seem jaded, but I've seen lots of girls in my day--I'm more serious about my work than social life.  I worry about you, says Petofi--someone must, you're far too self-contained.  I have no interest in meeting anyone you wish to introduce me to, says Tate, because it would be a favor for you--get out and let me work!  If I come back for you this afternoon, will you at least go look at her? asks Petofi.  All right, Tate agrees, if that will make you leave.  Six PM, says Petofi, when the lady is in the habit of leaving her room for dinner.  Charles agrees.  Petofi says, if you knew how determined I am that you meet Amanda Harris...  Charles gives him a look as he leaves.

Collinwood - I thought I saw him on the street, the man I ran away from, an upset  Amanda relates to Trask--it wasn't him, but I felt all the same emotions, the desire to run...  And the desire to stay and see him, adds Trask, to see him, enter again into that forbidden relationship.  "You know me so well," she coos.  I've been blessed with certain gifts, insights, he says.  Perhaps--he touches and squeezes her shoulder--we should consider a new, positive step, perhaps your faith isn't strong enough to carry you over the shoals of this life--perhaps I expected too great a change too quickly.  I promise to do anything you suggest, says Amanda--you're my only hope!He takes her hands in his--"My dear child," he says, staring into her eyes, lust very obviously on his mind.  He steps away from her--you  need more personal attention than you've been getting, he says, so when you feel moments of weakness, you will have my strength to help fight them.  Yes, she says, playing the helpless woman to the hilt.  I think you should move into Collinwood, says Trask.  Move here? she asks.  In these secluded halls, perhaps you will find the inner tranquility we all need, he says.  Would it seem proper? she asks--if I came to live here, it might be misinterpreted.  Only by those whose minds dwell on evil, responds Trask.  You've told me so often evil in the eye of beholder often becomes fact, Amanda reminds him.  I might have said that, agrees Trask, but not specifically regarding this.  He touches her shoulder--you must consider herself ill, he says.  But I must also consider that you have a wife who is also ill, she says (her face conveys barely-controlled distaste).  My wife would be the first to tell me to do my duty, he says, and you are my duty--I will send a carriage for you this afternoon.  I must think, she protests.  But when you came to me, you promised to follow my recommendations, he says.  Within reason, she reminds him.  What could be more within reason than my saving you from yourself? he asks.  "But are you, sir?" she asks, "Or are you simply offering me new temptations?"  Trask smiles, assuring her, there will be none of that--I count on my own strength to see to that.  I just can't move here, she says.  You must think it over, he advises--I will show you to a room where you can be alone, and in the peace of this brilliant day, see that I want only good for you--and I, personally, will bring your luggage here.  No, I must think, she insists, you can't force me into this!  She runs off, Trask calling, "Wait!"  He races past Pansy/Charity, who teases him about having had a fight with his girl...  He calls her Charity.  She asks why--you know who I am, I'm Pansy Faye!  She sings her song and bumps him with her hip (an absolutely riotous scene), swinging her butt around.  Trask demands she come into the drawing room.  She bursts into laughter.  No, you don't get me into that room, no sir, she says, I know your kind.  He demands, break through this possession.  I could use some company, she admits, and joins him in the drawing room--I'm not used to being alone, I like crowds in my business, lots of people visiting me backstage like Carl did. . .like Carl, she says sadly.  You are NOT Pansy Faye, insists Trask.  There you go, telling me who I am, she complains--I can prove it.  She takes the crimson shawl and drapes it over her shoulders, introducing herself as the leading songstress, Miss Pansy Faye.  She offers to tell him the future--I can tell you everything that will happen.  "My dear, my dear," he laments.  She asks, what do you want to know about yourself?--I know all, see all, tell all.  The devil has captured this house, says Trask, you, Edward, Jamison--where will it all end?  Do you want to know that? she asks--I can tell you by looking in your face and see your death--"Your death!  You will die alone.  A rope.  You are tied with a rope.  Are you hanging?  No, you are not hanging, you are tied in a room, alone, you scream for help, but no one hears you, no one can hear you, and you die alone!"Trask looks at her, horrified.

Trask tells Charity, only the highest authority above can tell us when we will die, and how--you are being blasphemous!  Looking a little sickly, she pulls away from him--no, she says.  I want you to stop saying these thing she says.  I say what I see, she insists--Luv--only it isn't like it used to be before Carl, I used to just say it, but now, since I came here, it's as if there was another voice telling me what to say.  And we both know whose voice that is, says Trask--the Prince of Darkness himself.  She bursts into laughter and says, that might be what you call it.  I'm glad your dear mother isn't here to share my sorrow at seeing you like this, he says.  My mother taught me everything she knows, protests Pansy, she was in pantomime.  I am going to take you upstairs until you recover yourself, he insists, and he drags her to the stairs.  She protests, I didn't sing my song yet, and that's how I always end my act!  She sings it as she walks upstairs, very sexily.  Trask follows her as she impudently bumps her butt at him.

Amanda tells Tim, you can't expect me to stay at Collinwood with that old fool.  Doesn't seem like such a bad idea, says Tim--perhaps you might grow to enjoy it.  I would not!, she says--don't ask me to do it, don't even try--I can understand your desire for revenge, but where is this all leading?  So, Trask is in love with you? he asks--and then we will get all we want, all the Collinses have--a man like Trask doesn't love someone without doing something about it!--when Minerva was in his way, he got rid of her, and soon Judith, and then you will be a bride.  No! insists Amanda.  And soon thereafter, a widow, says Tim--I don't think he'd let your marriage last long, you won't have to do anything you don't want to do.  (like bang boots with the Rev?)  I don't like this, says Amanda--why don't you go to the police and tell them how Evan and Trask tricked you?  I can't, says Tim, whatever those two pillars did to me, the point is, I put the poison in Mrs. Trask's tea, and those two will pay dearly for that.  When we have all the money we need, he says, we can go to Europe.  Why are you so determined to punish him? she asks--you are free!--don't think about the past.  Be like you? he asks.  I don't know anything about my past, or I wouldn't be here, she says angrily--Amanda Harris in Collinwood--when you told me about this in NY, I thought it an easy job, an adventure, but nothing worked out right--that first night, when you asked me to give you the jade pendant, that should have been an omen it wouldn't be a happy visit.  I promised you diamonds that night, he reminds her.  I haven't forgotten, she says, you have.  I haven't, he assures her.  Prove that statement, she says, jewelry can do a lot for a girl--"when she's like me."  Sometimes, says Tim, you don't really know what you're like, and that's what's so interesting about you.  He sits down on the bed and puts an arm around her.  I'll stay as long as I never have to stay at Collinwood, says Amanda.  We'll see, he says.  No, she says, I want a promise on that.  "How many diamonds did you say you wanted?" he asks in mock puzzlement.  More than you can ever buy me here, she says.  They kiss, nice and deep.

Later, Tim returns from Brathwaite and Sons, where he claims to Amanda, I bought cufflinks.  You bought something for me, she insists, knowing I needed a present.  I got there and found nothing really good enough for her, he says, not like in NY.  Stop, she orders--give me the box.  I did decide to you her a little something, says Tim, but it isn't as expensive as I would have liked.  She opens it, tells him it's beautiful, and kisses him lavishly.

Petofi and Tate (sounds like a law firm) enter the Collinsport Inn.  Are we  just going to stand here and see if she appears? Tate asks.  She will, Petofi assures him--I know her habits well.  I can imagine, says Tate--I he see your mind working on all of this, you have a reason, and I demand to know what it is.  I must play out this scene as I conceived it, says Petofi, urging Charles to sit down--you will thank me later.  Petofi rises from the chair--I'll be leaving now--one should be alone when something important is going to happen to one--others, even someone who knows you as well as I do, is an unnecessary distraction.  Charles is furious.  I know you'll stay, says Petofi--your curiosity will ensure it--she's leaving her room at this very moment, walking down the corridor toward the staircase--when you see her, you will come to see me, and I will want to, but until you do, au revoir. Upset, pissed, but very curious, Tate sticks around.

Amanda and Tim walk downstairs, laughing.  My mood changes every time I get something I want, she says.  (like a child)  Tim goes to check for messages, leaving Amanda standing in full view of Tate.  He stares at her, seeing she is wearing the very same brooch he himself painted earlier that day!  Charles states, absolutely stunned.Tim returns.  The clasp is loose, complains Amanda.  I was going to get you some diamonds, he says, fixing the clasp, but when I saw this brooch, I had to get it for you.  I'm glad you did, she says.  Everything is all right, Tim says, kissing her.  She agrees.

Back at his studio, Tate gazes at the painting of the brooch he did earlier that morning,  then at the painting we have yet to see.  The brooch is painted on the bosom of a woman in the painting who looks exactly like Amanda Harris!  It's not possible, murmurs Tate, staring at the portrait incredulously.

NOTES:  So what's this?  Tate paints a portrait, over and over, of a girl he's never met and claims never posed for him--yet here is Amanda Harris, not only an exact duplicate, but wearing the very brooch he painted?  What gives here?  What mystery is this?  Is Petofi involved?  He sure seems fascinated at the outcome, didn't he?

Amanda, like a child, loves shiny jewelry.  Does that mean anything?  Not yet, perhaps, but it will!

Love Charity/Pansy.  She predicts Trask's death--sounds like the kind someone of his ilk deserves!  Alone!  A prisoner!  And isn't it fun to watch Trask's "new" daughter interact with him?  A worse papa for Pansy couldn't be imagined!

Love, Robin

I had my entire room plastered with Barnabas photos, and Quentin, too, when he first appeared, but Barn was my greatest DS love.  

I collected both sets of bubble gum cards and put together the gigantic posters on the back, painstakingly putting them together with Scotch tape and hanging them on my walls.  Sad to say, I didn't keep those, but I kept plenty of other items--magazines, Josette's music box, the records, comic books, gad, it goes on forever!  Plus I have been collecting more wonderful DS stuff from eBay and other places since 1996, when I decided to give my heart to DARK SHADOWS again--with the help of the internet!

I think I will always, to some degree, remain a DS fan.  It's in my blood and I can't shake free--nor do I want to!

Love, Robin