1201  - A fire crackles in the study fireplace.  Quentin sits staring into the flames.  Gabriel bursts in, insisting, I must talk to you.  He finds another canister of booze hidden inside a clock on a table.  You've got the stuff hidden all over the place, haven't you? asks Quentin wryly.  Gabriel gratefully drinks and asks, is there a way to stop big brother?--there must be a way--he's insisting the lottery be tonight--we can't do that!  It's all right, Quentin reassures him--you're simply postponing the inevitable--if it's not tonight, it will be tomorrow, or the day after--we might as well get it all over with.  That's what big brother wants, frets Gabriel, to push one of us into that room and have it over with.  There is the possibility, says Quentin, of something we never discussed--whoever goes into that room just might survive this time (yeah, this is Collinwood, so I doubt it).  You don't really believe that, says Gabriel, then adds, hopefully--do you?  I said it was a possibility, says Quentin.  Don't be a fool, says Gabriel--six people have spent the night in that room, and have either been killed or went insane--he drinks.  I wonder what really happens in that room? asks Quentin--do you ever wonder about it?  I'm SICK of wondering what happens in that room! says Gabriel desperately--listen to me, I'm going to be chosen to go in, I know it, I feel it.  Just your nerves, says Quentin.  Listen to me, please, begs Gabriel--if I go into that room, I'd rather die than end up like Father did--so just do one thing for me, if I go into that room and come out--I want you to kill me.  Quentin laughs--kill you?  Yes, I don't care how you do it, just do it! says Gabriel.  Listen to me, orders Quentin--we don't even know if you will be the one chosen, and I don't want to discuss it until we know.You're insufferable, you know that? says Gabriel angrily--you stand there pretending not to be afraid--but you're just as frightened as both of us.  That's right, agrees Quentin, sitting down, I am afraid--but I'm not going to give in to it--I'll take my chance in the lottery and do whatever I have to do--buck up, old boy--I'd be willing to bet money you won't even be the chosen one.  Do you think so? asks Gabriel anxiously, moving in close--do you know something I don't know?  Not at all, says Quentin, it's just a feeling I have, that's all.

A little past eight o'clock - Morgan answers a knock at the door--Catherine.  I didn't expect you until tomorrow, he says.  She enters--I'm sorry about your father, she says.  We're all sorry, of course, he says, but it was bound to happen.  If there's anything I can do, she offers.  I'm glad you stopped by, he says, I wanted to talk to you.  He ushers her into the drawing room with Justin's coffin in full view.  Realizing he's troubled, she asks what is it?  Sit down, says Morgan--I must warn you.  About what? she asks.  You will feel impelled to ask questions, and I must ask you to refrain from doing so, at least until tomorrow, he says.  I'll do whatever you ask me to do, she says.  As the oldest son, I've inherited certain responsibilities, he says, one of these is most serious, and must be carried out this evening--I want you to promise that if anything happens to me...  Happens to you?--what? she asks, concerned.  I didn't mean to put it that way, he says, what I'm trying to say is, if I act any different tomorrow, you must not marry me.She regards him with shock.

Not marry you? she asks--why should you be any different tomorrow than you are tonight?  You promised not to ask any questions, he reminds her.  Are you in some sort of trouble? she asks.  Of course not, he says.  But you're so distressed--I want to help you, she says.  There's nothing you can do to help, he says, if there were, you know I'd let you know.  But you can't keep me in the dark like this, it's not fair! she protests.  Catherine! he says, you must not ask anymore questions.  You're going to tell me what's wrong before I leave here tonight, she insists.  You're a very strong-willed young woman, he says, very well--he sits her down--you're going to know sooner or later, I might as well tell you now.  Tell me what? she asks.  He sits beside her and tells her about the legendary locked room and the family lottery.  Do you mean that the stories and rumors in the village are true? she asks.  Yes, I'm afraid they are, he says--there is such a room, and once during each generation, someone is chosen by lottery to spend the night in that room.  What's in the room? she asks.  I don't know, he says, no one has ever known.  What about the people who've spent the night there? she asks.  No one has ever lived to talk about it, he explains--those who spent the night there have either died or gone mad.  Do you mean what happened to Joshua Collins (blooper, should be Justin) was not the result of an accident? she asks.  That's right, he says--something happened in that room to my father that was so terrifying he was unable to think of it for the rest of his life.  You must not hold this lottery, she insists.  We must go through with it, he says.  I tell you, I will not lose you this way! she says--it's primitive, I don't even see how you can take it seriously.  Of course you would think it strange, he says, I can understand that--and I can also understand if you have second thoughts about marrying into this family.  Second thoughts? she asks--I am more determined than ever to marry you now--tell me, who participates in this lottery?  The men in the family, he says.  Including Bramwell? she asks.  (Hmm, look who her first concern is for.)  By rights it should include him, says Morgan, but he is a coward, and has refused to live up to his obligations!  Catherine's face shows that she realizes Bramwell agrees with her--whatever Bramwell's reason is for refusing, she says, it's not cowardice--Bramwell has many faults, but he's certainly not a coward.  I refuse to talk about this any further, says Morgan, or to have you defend him.  Very well, I won't mention it again, she says.  He apologizes--I didn't mean to be so harsh--I think it best if you go on home.  No, I told you, she says, taking his hand, I'm going to stay here tonight and see this through--she smiles at him.  You really do love me, don't you, Catherine?--you give me great stamina and courage.  Quentin enters--we're waiting on you, Morgan, he says.  I'm sorry, answers Morgan, Catherine arrived unexpectedly--where's Gabriel?  On his way, says Quentin--a bit unsteady on his feet, but he's all ready to meet his destiny.  Gabriel enters--what is Catherine doing here? he asks immediately--there aren't any outsiders allowed, you know that.  She is not an outsider, says Morgan, I told Catherine everything--are you ready, Gabriel?  Are you at least going to let me have my firewater? asks Gabriel--as a last gesture before one of us meets certain death?  Give him a drink, says Morgan.  Quentin tosses the key playfully into the air, making a gesture of warning to Gabriel, who tries to catch it, then unlocks the cabinet himself.  Just give me my drink, says Gabriel.  Quentin does.  Morgan holds up a vase--the lottery slips are inside, he says--two are blank, one is marked with an X--who would like to draw first?  He looks from Gabriel to Quentin.

Clutching his drink, Gabriel moves closer to Morgan.  No volunteers? asks Morgan.  Why don't we go in order of age? asks Gabriel, gulping.  That would put you last, wouldn't it? asks Morgan.  Boys, says Flora sternly from the doorway, no one is going in any order at all.  What are you doing here, Mother? asks Quentin.  Morgan, she says, prepare two more lottery slips.  For whom? asks Morgan.  Julia and me, insists Flora.  What's the matter with you? asks Quentin, you know what we've decided.  Only the men in the family, says Morgan.  Women were included in the past, she says, Julia and I insist on being included now.  (Modern women, I love it!)  If we include you, we'd have to include Melanie, too, says Gabriel.  No! asserts Flora, inasmuch as Melanie went into that room one time, to get Justin, we feel she should be excluded--she spots Catherine and says her name, surprised.  I've taken the liberty of telling Catherine everything, Mother, says Morgan--she knows what's happening.  Make out those additional lottery slips or I'll make them out myself! warns Flora.  Morgan refuses--I won't allow it--I don't care about what's happened in the past--there is no good reason for you to be subjected to this.  I'm willing to take my chances, she says, in fact, I might also say I'm eager.  You don't know what you're saying, says Quentin.  Indeed I do, she says, Justin is gone now--my reason for living is gone.  If you don't mind my saying so, says Quentin, that's rather a selfish attitude--because you know we love you and need you very much in this house.  You're young, she says, you all have something to live for--at least you should have--she shoots Gabriel a disgusted glance, causing him to feel shame and  take another slug of his drink.  We have no less to live for than you and Aunt Julia, insists Morgan--now that decision was entrusted to me, as the oldest son, and I have decided only the men will participate.  Flora turns and notices that Catherine has removed the slips from the vase.  "Catherine, what are you doing?" asks Flora, shocked.  Catherine determinedly tosses the slips into the fire.  Morgan darts forward--what is the meaning of this? he demands.  Why do you all look so frightened? she asks incredulously--I simply burned three meaningless pieces of paper--and nothing happened--you see, because nothing is going to--because this is all a lot of superstitious nonsense!  For your information, says Quentin, the history of that room is not nonsense--the facts are very well documented.  And I'm sure there are logical, rational explanations for what happened in that room, says Catherine--I'm surprised that a lot of intelligent people should take a legend so seriously!  Gabriel raises his glass--Bravo, Miss Harridge, he applauds, I agree with you 100 percent, and I don't think we should--I think we should just ignore the whole thing.  You would, says Quentin sarcastically.  I'll make up new slips, says Morgan.  Catherine restrains him--please don't go on with this, she pleads.  I told you, there is no way out! he insists--there is no other choice.  All right, she says, if you insist, allow me one request.  What is that? asks Flora.  Postpone it, suggests Catherine.  The lottery is always held within one or two days after the death of the master of the house, says Flora.  Hold it tomorrow, asks Catherine, so Morgan and I may marry tonight.  Marry, tonight? asks Flora.  Morgan's forehead creases--are you sure about this? he asks.  More sure than I have ever been, she says.  Catherine, says Flora, why do you insist on tonight?--you can just as well wait until after the lottery is held.  Holding Morgan's hands, Catherine points out, Morgan may be chosen in the lottery, and because that might happen, I want time alone with him--stand by his side and be his wife.  She stares into Morgan's eyes.  Morgan? asks Flora.  If that's what Catherine wants, says Morgan--I couldn't be happier.  Very well, says Flora, I'll arrange to have the marriage here, tonight.  Catherine is pleased.

Morgan holds Catherine's hands while they gaze into each other's eyes.  Quentin, go into the village and get the minister, instructs Flora.  All right, says Quentin, who turns to Catherine and says, you're a very brave woman--congratulations.  Thank you, says Catherine.  Morgan kisses Catherine's hand.  Flora tells a grinning Gabriel, I think the two lovers would like to be alone.  The entire family exits the room.  Morgan, says Catherine, I have to go get my sister, Daphne.  Are you sure you want to go through with it? he asks.  Yes, she says.  If you change your mind, I'll understand, he assures her.  I won't change my mind, she promises, I'm very sure--nothing can stop me now.  They hug and kiss.

Study - Quentin is putting on his waistcoat when Gabriel, very drunk, staggers in and says, "Let's all hear it for Catherine Harridge!"  You feel relived? asks Quentin.  Ecstatic, Gabriel asks, "Don't you?"  No, replies Quentin.  Why not? asks Gabriel--she gave us all a little bit more life, didn't she?  As long as you live, you'll never be a realist, will you? asks Quentin--all we've done is postpone the inevitable--and there's just about as much consolation in that as not paying gambling debts--the debts are still there and have to be paid--the room is still there, and so is the fear--that's why I'd just as soon get it all over with.  What do you think would happen if we just never played that lottery at all? asks Gabriel.  I don't know, says Quentin, and I'm not so sure I'd want to find out.  I'd want to find out, says Gabriel, because I take risks--because whatever happens wouldn't be as bad as spending the night in that room.  You know something? asks Quentin--if they ever give rewards for cowardice, I'm going to shudder at how rich you are.  Quentin leaves.  Gabriel begins to search the room for more booze.  He finds another stash and quaffs deeply.  (How is he still standing?)

Flora comes downstairs and meets Catherine in the foyer--I'm going home to get Daphne, says Catherine--my sister would never forgive me if I got married without her.  I understand, says Flora, escorting Catherine to the door.  They go outside.  Do you have your carriage? asks Flora.  It's down by the gate, replies Catherine.  Bramwell walks up and greets both women, offering his condolences to Flora.  Thank you, she says, you're very kind.  I was very fond of Justin, says Bramwell--if there's anything I can do...  There's really nothing, says Flora--the funeral is tomorrow, and the services will be simple, as he wished--you'd better be on your way, Catherine--the Minster will be here soon, I expect.  Catherine glances sideways at Bramwell, uncomfortable--Flora, she says, I'd rather tell Bramwell myself.  She had a change of plans, explains Flora.  Bramwell, I've decided to marry Morgan tonight, says Catherine.  Bramwell turns away; we can see he's rapidly thinking what course of action he should take.  We'll be waiting for you, says Flora--please hurry.  She goes into the house.  When was this decided? Bramwell asks quietly, his eyes glittering.  Only a short time ago, says Catherine.  Come with me, please, says Bramwell.  I must get home--get my sister Daphne, she insists.  Can't Daphne wait? asks Bramwell urgently--please, do me this one last favor--come with me.  Catherine goes with him.

Old House - Somewhere along the way, we sense Bramwell has had to force Catherine to stay with him; when they arrive, he propels her roughly into a small room with a brass bed and locks them both in.  Have you lost your mind? she cries.  I could ask you the same question, he says gruffly.  Realizing he has locked the door, she asks, what are you doing?  I'm not letting you out of here until you gain your senses! he insists.  You can't keep me prisoner! she protests.I can and I will, he says passionately--I'll never let you go--I'll never let you marry Morgan Collins!  He comes at her, kissing her wildly--face, lips, throat--while she protests and fights him off.

NOTES:  How romantic is that?  A guy loves you so much, he's willing to kidnap you in order to prevent your wedding and talk sense into you.  I know, it's obsessive and insane, a total reversal of Barnabas/Angelique, where she was always after him, but I love it!

Gabriel is a to-feel-sorry-for character here, too, but a real weakling, and his habit of secreting booze everywhere is almost funny.  You know he's the blackguard of the family, even if Quentin was the one who went to prison for manslaughter.

The entire family frets about being chosen in the lottery, while practical Catherine tosses the slips of paper into the fireplace.  She has no idea how far-reaching the curse might be, but she, like Bramwell, is practical and refuses to give in to superstitious nonsense.  She will learn the hard way.


1202 -Bramwell, says Catherine, you must release me!  I will never let you marry Morgan, he insists--you will leave when you agree to marry ME.  I have chosen the man I'm going to marry--can't you accept that? she cries.  No! he shoots back.  Be sensible, she says--Morgan will come and look for me--and kill you when he learns of this.  I just might kill Morgan.suggests Bramwell.  I don't understand how you can claim to love me! says Catherine, yet do everything you can to make me so miserable--why, why?  You will always be miserable, counters Bramwell --until the two of us are together.  She turns away from him, sobbing, covering her face with her hand.

Parlor - Melanie is scandalized when Quentin tells her the minister agreed to come here tonight--wasn't he a bit surprised when you told him? she asks.  Catherine and Morgan wanted to be married tonight--I suppose he was, says Quentin.  Well so am I, wails Melanie--they could have at least waited until after Papa's funeral!  They couldn't because of the lottery, says Quentin.  I don't want to think about that, says Melanie.  We can't avoid thinking about it, says Quentin--Catherine felt she and Morgan deserve some happiness before the lottery drawing, and Flora agrees to their being married before Justin's funeral.  It just seems such a lack of respect, says Melanie.  You'd better get used to the fact that this family doesn't do anything in a conventional way, says Quentin.  How long is the lottery to be put off? asks Melanie.  Until Catherine and Morgan are married, replies Quentin.  Morgan enter--Quentin, he asks, did you bring the minister?  Yes, he's downstairs in the drawing room, says Quentin.  I can't understand what's happened to Catherine, says Morgan--she should have been back by now.  This is an important night for Catherine, Quentin reminds him--she's probably just had a bad case of nerves.  Morgan pours himself a drink--Catherine's not like that, he says--I have a terrible feeling something has happened to her.  Nonsense, says Quentin.  I'm going to her house and get her, insists Morgan.  Quentin stops him--relax, he urges--everything is going to be all right.  I know something is wrong, says Morgan, and leaves.  Quentin shakes his head and looks at his brother's abandoned, almost-full booze glass.

We see feet walking, then darting backward as Morgan leaves the house (and leaves the doors open).  A man enters Collinwood, closing the door behind him.  It's Kendrick Young, who sneaks into the house and runs to hide when he hears Melanie and Quentin on the landing.  It's possible Catherine had a change of heart, suggests Melanie.  Whatever gives you that idea? asks Quentin.  Kendrick hides in the kitchen doorway.

I only said it was possible, Quentin, says Melanie as they walk downstairs--there is Bramwell--he meant a great deal to Catherine before he went away.  They head into the drawing room.  Catherine and Bramwell have been through for a long time, you know that as well as I do, says Quentin.  Kendrick exits his hiding place and goes upstairs.

Old House - Catherine gazes out a window.  Well? Catherine asks Bramwell, who is sitting on a clothing trunk at the foot of the bed.  You needn't ask me, he says firmly--my answer is still the same.  Morgan will come to look for me, he's sure to come here! Catherine reminds him.  When he does, I'll deal with him, vows Bramwell confidently.  How long do you think you can keep me here? she demands, furious.  I would like to keep you with me forever, he says.  Fire in her eyes, she looks at him.  Oh, you are the most stubborn man alive! she accuses, seeming to relent a bit.  How familiar that sounds, he says--do you remember the first time you told me that?--it was exactly a week after the first time I saw you--I tried to see you everyday--but you made it very difficult for me--told me I was brash and forward, and the fact that I was a Collins might impress other people, but it wouldn't impress you, and I loved you all the more for that--do you remember, Catherine?  She turns to him.  I do remember, she admits softly.  I followed you all along the old road, he continues, warming up to the reminiscence--it was a Sunday, and the sun was shining--you were wearing lavender, and I told you you were the fairest thing I ever saw.  She's caught up in his scenes of their youthful meeting.  I was on my way to church, she remembers.  You missed the church that day, he reminds her (bad boys make you do stuff like that).  Because of you--yes, she says.  And you weren't angry with me, he says, grinning.  No, I wasn't angry, she agrees.  From that day on, we knew, he says, smiling--didn't we?  Yes we knew, she says.  We walked all day, he says, and when it was almost dark, we found ourselves back at the church--we stood there and looked up at it and I told you someday there would be another service, and we would be part of that church and each other for all time--I don't think two people were ever happier than we were at that moment.  He gives her a gentle kiss, to which she responds, but then stops it.  Catherine, moved, her memories seductively stirred, asks, "Bramwell, why have you done this?"  "That day by the church will never die, he says--it was a day of commitment, and I knew then as I know now that nothing can ever change between us--I love you, Catherine, only you--tell me the past means nothing, and that you don't love me and I will unlock that door and let you go."  Catherine faces him--"I can't tell you that--I do love you, Bramwell," she confesses--"I do love you."  She falls into his arms, laughing, and he laughs with him, and they embrace like two teenagers caught up in uncontrollable passion.  The brass bed awaits them.

Melanie catches Kendrick searching through a desk in the study.Who are you? she demands-- what are you doing here?  Don't be frightened, he says, I'm not what you think.  Quentin! she screams.  Kendrick hastily closes the doors--please, he begs--I'm not here to steal anything or hurt anyone--I'm Kendrick Young.  I've heard the name before, she says--you're Stella's brother--but what are you doing here?  I'm looking for something, anything that can give me a clue as to where my sister is, he says.  Why are you here? she asks--Stella left Collinwood two weeks ago.  That's what people say, but I don't believe it, he says--you're a member of the Collins family?--you're certainly more friendly than the rest of them I've met.  Don't take me too much for granted, she warns, just because I haven't turned you in doesn't mean I'm not going to--you could be taken to the police.  I know, but I'm hoping you won't do that, he says, looking into her eyes.  Why don't you believe what they told you about your sister? asks Melanie.  It makes no sense, insists Kendrick, Stella was a practical, dependable girl--she wouldn't leave without leaving a forwarding address, I never believed she could or would.  Where do you think she may be? asks Melanie.  It's possible she may still be here, he says.  That's impossible, insists Melanie--if Stella was still at Collinwood, everyone would know it.  Would you? he asks--I've heard weird stories in the village about this place.  Outraged, Melanie says, you shouldn't listen to village gossip--they have nothing better to do than invent stories about us!  Kendrick smiles--I wouldn't believe anything bad they said about you, he assures her.  You're not going to get around me by flattery, she says.  I'm being sincere, he says, and I am grateful--you've at least listened to me--your Aunt Julia was impossible.  Julia doesn't get along well with outsiders, says Melanie.  That was obvious, says Kendrick--can you tell me the last time you saw my sister?  The day before the left Collinwood, says Melanie--and I do believe she left Collinwood, Mr. Young.  Can you tell me anything else, or is that all you're willing to tell me? he asks.  I've told you everything I know, she says--if I knew something more, I wouldn't withhold it.  I don't believe you would, he says, and I appreciate that--I'm glad we met.  I advise you to leave, she says, before someone else hears you.  I knew you wouldn't report me, he says, I'm staying at the Inn in the village and would like to meet with you again.  I rarely go into the village, she says-- follow me--I'll show you a way out of the house.

1:20 - Quentin exits the kitchen and checks the clock.  Morgan, frantic, enters--I'm right, he says--something has happened to Catherine--she hasn't returned home yet, and her carriage is still parked out by the gate!

If the carriage is still there, Catherine must still be on the estate, says Quentin.  That's right, agrees Morgan.  Oh no, says Quentin--Mother said they ran into Bramwell outside--she told him about the wedding tonight, and he was very upset.  Morgan races away, Quentin calling after him.  Morgan returns with a pistol.  Waving it around, he promises, Bramwell is as good as dead!  Quentin grabs his brother's shoulders--in your present state, if you go after him, you'll be as good as dead, too.  Get out of my way! orders Morgan, pushing past Quentin.  I'm not going to let you go, says Quentin, grabbing his sleeve--this thing can be handled peacefully, and I'm going to handle it.  This is my fight, insists Morgan--you stay out of it!  There's not going to be a fight, insists Quentin--if she's at the Old House, I'll go get her and bring her back here--you can handle Bramwell after the marriage--now give me the gun.  He holds out his hand.  Morgan gives him the pistol and Quentin heads out.

Catherine lies on the brass bed, watching her own hand wandering lazily, happily, between the bars...  She is sated, a woman who has just been made love to and enjoyed every second of it.  Bramwell sits on the trunk at the foot of the bed, putting on his clothes.  Are you angry with me? he asks, subdued.  (for what?--the lovemaking or kidnappingr?)  She reaches out and slips her hand into his.  I have no reason to be angry with you, she says languidly--you wanted to prove something to me, and you have proven it--but it doesn't make any difference--she rises from the bed--how can I make you understand?--I've revealed my feelings for you, but you must also accept the fact that I also love Morgan.  He rises--that isn't possible, he insists, and you know it.  It is possible, I do love him, she says--and I still plan to marry Morgan for all the reasons I outlined to you before--I know the kind of life I want, and know I can never find it with you--yet I will find it with him--it's as simple as that and you must accept it!  Bramwell, devastated, confused, just looks at her.

Quentin enters the Old house after knocking a few times and getting no answer.  Yes, says Bramwell, coming downstairs.  May I come in? asks Quentin.  But you already are, points out Bramwell humorously.  Where is Catherine? Demands Quentin.  I don't know, replies Bramwell.  You were the last person she was seen with, says Quentin.  What is that supposed to mean? asks Bramwell.  That you brought her here, says Quentin.  I suggest you go back to Collinwood and stay there, advises Bramwell, an edge in his voice.  I'm going to search this house, says Quentin.  Get out! orders Bramwell.  I'm going to do this peacefully, if I can, says Quentin--now I've never given you any trouble, like my brothers--you can't force a wedding to stop, you can only postpone it--be sensible--if she's here, let me take her.  No! says Bramwell, taking a step closer to Quentin.  All right, says the latter, I'll have to do it my own way, won't I?  He tries to go upstairs, but Bramwell blocks him--you aren't going up there?  Quentin pulls the gun on him and says, we both know there isn't a doubt in this world that I'll use the gun if I have to--right?  Chastened, Bramwell moves away, and sits down, a stormy look in his face.  Quentin goes upstairs.When he brings Catherine down, she and  Bramwell, lovers now, exchange glances before Quentin leads her outside.  Bramwell, raging, helpless and furious, sends a table toppling over.

Collinwood - parlor - I want to make Bramwell pay for what he's done, insists Morgan--I'll never forget it.  I insist the incident be forgotten and that there be no reprisals, says Catherine.  You mean I'm going to let Bramwell get away with this? asks Morgan.  It was an emotional thing, explains Catherine--he's always been headstrong, you know that, and you also know Bramwell would never do anything to hurt me--please, for my sake, just let the whole matter be forgotten.I agree to do nothing, says Morgan reluctantly.  We can send for the minister again tomorrow, she says.  Stay the night at Collinwood, insists Morgan--it's been a very terrifying evening, and the weather is so bad I want you to stay there, so I know where you are.  She holds his hands and agrees to stay.  I'll have the housekeeper prepare your room, he says.

Down in the foyer, Melanie is snuffing out candles.  Quentin joins her--it's late, he reminds her--you should be in bed by now.  I'm going to put out all the candles in the house first, she says--"So many candles, so many rooms," she whispers, sounding a tad insane.  Concerned, Quentin asks, are you feeling all right?Yes, she says with a weird smile, I feel quite well, thank you.  I'll take you to your room, he offers.  That won't be necessary, she laughs, I know the way--good night, my dear.  Quentin thinks this definitely odd.

Catherine is sound asleep.  Her door opens and a shadow falls across her bed.  Melanie, a gleeful smile on her face, raises a knife over Catherine's body.

NOTES:  Damn, it's just not safe to spend the night at Collinwood; too many people running around with knives!  What's happened to darling Melanie, anyway?   She was so sweet with Kendrick, who already seems sweet on her.  Did taking her father out of the lottery room affect her mind, too?

To me, Catherine and Bramwell's love story is what fans of Barnabas and Angelique (if both had been mortal) would have loved to see.  It is timeless, romantic, beautiful--and at this point, rife with problems.  Bramwell's gesture--kidnapping Catherine to prevent her marriage to Morgan--is something I would have loved to see happen to ME.  Their consummated passion is the kind of love that makes women like me sigh--and made the 16 year old me sigh (and fantasize) in 1971.  I think Catherine is a fool for what she chooses to do here, but then again, it sure makes for very soapy drama--high-quality, too, in this beautifully-wrought period piece. I always pictured Catherine and Bramwell in a fierce, half-naked embrace on the cover of a bodice ripper novel back then, tempestuous lovers with the whole world against them, but none more damaging than their own folly.

I did so love the Catherine/Bramwell scene.  Listening to the two of them talking about their past, their love, and realizing they were childhood sweethearts is just so touching.  Frid and Parker really did a fabulous job here, and this scene lingered in my mind for many years after I saw it.  So very romantic and lovely!  Another question for you all--was this their first time?  I always wonder.  I find it hard to believe two people as passionate as this never made love before, but it is 1841, and perhaps they were never given the opportunity.  I can't understand how Catherine could make love with Bramwell and casually tell him she will marry another man--and by definition, make love to HIM, too!  You just don't see Catherine as being that loose.  Is she just money-hungry, or is there more here than meets the eye?

Lovemaking note:  IMHO, I think Bramwell tossed Catherine on the bed, threw her dress over her head, and took her, wham bam thank you ma'am. How many women are fully dressed after lovemaking before the man, especially in these times, with all those clothes they wore?  Also, I wish they had shown a little more before the commercial.  They had Gerard lying all over Daphne in bed in 1840, and that would have been wonderful to see here.  On the other hand, the lovemaking left a lot more to my imagination).

(Dylan's "Lay, Lady Lay" was popular around this time, and I always associate that song with Catherine, Bramwell, and that narrow brass bed.)

Another comment: Catherine was wrong to make love to Bramwell.  From a moral standpoint, we assume that men and women in 1841 didn't indulge in casual sex (well, not in remote areas of Maine, anyway), and Catherine going to bed with Bramwell was, in his eyes at least, a commitment.  For her to get up and tell him, in essence, "Yes, I screwed you, but it was just this once and I'm going to marry your cousin in a few hours" was unfair to Bramwell--and Morgan, too.  A nice girl wouldn't do this.  You can just imagine how Morgan would react if he knew what had happened between Catherine and Bramwell during her "incarceration."  I doubt he'd want to marry spoiled goods, especially get sloppy seconds on his hated cousin.

Love, Robin

1197 - In the remake of yesterday's final scene, Judge Vail, Trask and Barnabas have now joined the spectators at Quentin's execution.  We see the blade being tested for sharpness right before Quentin's eyes; Gerard tells Quentin, I wouldn't have missed this thing for the world, followed by Quentin's attacking him and being restrained by the guard; Quentin refuses the blindfold and announces, when I was born, I saw the light of day, and when I die, I'm going to see the dark of the night.  He places his head down on the chopping block, looking like a little boy about to go to sleep, we see the basket, awaiting Quentin's severed head, at the base of the chopping block.  The executioner lifts up the blade over Quentin's neck...

Valerie, holding in her arms the covered box containing the head of Judah Zachary, races in at this very moment.  "Stop, you're killing the wrong man!"  she declares.  Valerie! cries Barnabas.  Let's get on with the execution, insists Trask immediately.  "No!" cries Valerie, "Quentin and Desmond are innocent--there is the man who is guilty--Gerard Stiles!"  Stop him! someone yells; a guard restrains Gerard.  I beg you to listen to me! cries Valerie.  I will listen to you, Judge Vail assures her--everyone stay right where they are until this matter is explained--and Mr. Stiles, he adds, you must refrain from any further demonstrations.  Valerie places the head on a nearby flat surface and pulls off the cover.  "She's insane, Your Honor!" insists Gerard.  That is for me to decide, says the Judge--you have made a serious charge against this young man.  And I can prove it, your honor, says Valerie.  I want to first know who you are, says Vail.  My name is Valerie Collins, she says.  She's my wife, adds Barnabas.  What proof have you brought with you? demands the judge.  During the trial, says Valerie, the prosecution mentioned the disembodied head belonging to Judah Zachary--Mr. Dawson said this head possessed Quentin Collins.  I recall that, says the judge--what about it?  Quentin looks puzzled, then delighted, as Valerie reveals, I found the head in the home of Charles Dawson.  Everyone is silent for a moment.  You found this in Dawson's house? asks Vail.  Yes, she says.  Where is Mr. Dawson now? he asks.  He is dead, she says.  You killed him, accuses Trask.  That will be enough of that, Mr. Trask, orders Judge Vail.  Mr. Trask is right--for once--says Valerie, I did kill him--he was holding me prisoner, we struggled, I hit him over the head and he fell to the floor--I thought he was unconscious, but when I tried to revive him, I saw he was dead, so I searched his house --and found the head.  Barnabas listens, wonderment and pride on his face.  How did you come to be in Charles Dawson's house? he asks.  I was taken there--by Gerard Stiles! she accuses.  She's lying, insists Gerard.  Everything Mr. Dawson said was true--except that the head possessed Quentin Collins--the man the head possessed and still possesses is Gerard Stiles, explains Valerie.  How do you know all this? demands the judge--we have to have more than your word in this matter.  She gazes at everyone; Barnabas nods his approval--tell them!  Gerard looks sick, Quentin hopeful.  I knew Judah Zachary, for many years, she confesses, I knew him intimately.  But Judah Zachary died in 1692! says the judge, as a grateful smile glimmers around Barnabas' lips.  I'm aware of that, says Valerie--it was my testimony that sent him to his death.  This is the most astonishing thing I've ever heard! declares Vail.  This is outrageous! pronounces Gerard--the woman is telling us she lived in the year 1692.  You know I did, Judah! she cries, approaching him, and you know you bewitched me, and I remained a witch, until last night, when you took away all the powers you had given me.  I have no idea what she's talking about, insists Gerard--the woman is obviously deranged.  You must be aware, your honor, points out Barnabas--it's significant that the head of Judah Zachary was found in the house of the prosecuting attorney.  How do we know where she found it? demands Gerard, we only have her word.  Yes, she may have placed it there herself, says Trask.  Your point is well taken, says the Judge, but with Mr. Dawson dead, how can we be sure where the head was found?   I am prepared to swear under oath everything I say is true, she says.  Even if you were to take an oath, says Vail, as Desmond looks on anxiously, that wouldn't constitute proof.  But I have brought you the head of Judah Zachary! she cries.  How can we know with any certainty who this head possessed, if it indeed possesses anyone? asks the judge.  I beg you to listen to me--these men are innocent! declares Valerie desperately.  Desmond suddenly reaches into the pocket of the guard standing beside him, draws out his pistol, screams, "JUDAH!" and fires it into Gerard's body at point-blank range.
Somebody get a doctor! orders Vail.  Gerard staggers and falls, Trask rushing to his side.  The head of Judah Zachary begins to burn, disintegrate, until finally, only a blackened skull remains.  Look at the head! Barnabas yells to the judge.  Seeing the burnt skull, Vail says, "I don't believe it!"  But we must believe what we've seen, insists Barnabas--it is not only Gerard Stiles who is dying, but Judah Zachary--now we need no more proof than this!  Trask rises from the fallen Gerard, who weakly mutters, "Judah is dead, and I am free."  The possession is ended, announces Valerie.  I want to see Quentin, says Gerard.  Quentin kneels beside the dying man-- I'm right here, he says.  Pressing his blood-stained hand against his chest, Gerard begs, "Forgive me, please--I wasn't myself--forgive me."  It's all right, Quentin assures him, I understand--and forgive you.  Gerard dies.(Say what you want, this was unexpected and really sad.)  He's dead, says Quentin, closing his eyes in sorrow, rising to his feet.  Are you convinced now? Barnabas asks the judge.  Yes, says Vail, I'm convinced--Quentin and Desmond Collins are hereby released--we will go into my chambers and take care of the necessary legal department.  That woman is s self-claimed witch, Trask reminds Judge Vail--surely you're not going to release her--I demand she be arrested!  I haven't forgotten Mrs. Collins, says Vail--there are many things she has to explain, and will be placed under arrest until she does so.  Judge, asks Barnabas, will you grant me time to have a short talk with my wife, for just a few minutes, alone?--I will be responsible for her.  Very well, says Vail, you may have 5 minutes, then she is to be brought inside and turned over to the constable--Johnson, you wait here with her in the yard.  Barnabas goes over to Valerie--I don't know what to say, he murmurs--except thank you.  She gazes at him with luminous eyes.  It hardly seems adequate, considering what you have done, adds Barnabas.She smiles modestly and says, "You know why I did it."  Yes, I know why, he says, and I'm deeply grateful to you--you must forgive me, Angelique, I didn't expect any of this to happen, but now that it has, I'm afraid I can't think very clearly.  Perhaps it isn't the time to say anything, Barnabas, she agrees--I did what I felt I had to do--the rest is up to you.  Our first concern is to get you out of this, he says--I don't know how I will do it, but I promise I will.  I'll wait to hear from you, she says.  He gives her one long, last look, then leaves.  Valerie goes to the guard, who leads her into the jailhouse.  She gazes at the courtyard with its burning torches and unused chopping block for a moment, then goes inside.

Collinwood - Barnabas, Quentin and Desmond return.  I can't believe it's finally over, exults Desmond.  It is, says Quentin, now we've got to find Daphne--I'm sure Gerard locked her in one of the rooms.  We had better start looking, urges Desmond.  No use for you to do it, says Quentin, Barnabas and I can handle it--why don't you go back and see about Leticia and Flora?  I'll bring Leticia, she'll be worried about Daphne, says Desmond, who leaves. Barnabas, says Quentin, you search the East Wing, I'll cover the rest of the house.  Barnabas goes upstairs.

Daphne lies on the bed in the bridal chamber.  Hearing footsteps, she grabs a candlestick and is about to hit her visitor over the head--then sees it's Quentin.  They fall into each other's arms, kissing joyously.  I'm all right, he assures her--Gerard is dead.  They kiss again, then sit on the bed and kiss some more, unable to get enough of each other.  He hugs her and holds her tight as they delight in their reunion.

Barnabas searches the East Wing--Daphne! he calls.  He opens the doors to the PT room and sees Catherine standing there, looking solemn.  It's obvious that Barnabas is thinking how much she resembles Angelique.  A door opens.  Bramwell Collins, son of Barnabas and Josette, enters.  I have come back, as I promised I would give years ago, he says.  Overcome with joy, she says his name.  Catherine, he says, my Catherine--they rush together to share a long kiss.  No, she says, pulling away, this is insane!  What is it?--you're happy to see me? he asks.  She hesitates, not replying.  For the love of heaven, he begs, tell me what's wrong.  You've been gone five years, she says, did you expect me to stay the same?  In the doorway, Barnabas listens closely.  I expected your love to stay the same, says Bramwell, as mine did--you know what we mean to each other--so I came back to marry you!  No! she says, you can't--I'm going to marry Morgan Collins.  What? asks Bramwell, totally blown away.  Morgan has asked me to marry him and I've agreed, says Catherine.  Look at me, commands Bramwell--LOOK AT ME!  She does.  You love me, tell me that you love me! he demands passionately.  No, she says, her face showing how torn she is.  You don't love Morgan, you love me, insists Bramwell, as I love you!--that's the way it should be--he pulls her into his arms--that's the way it always has been--you and I--Catherine and Bramwell--there's no other way.  I'm sorry, she says, withdrawing from of his embrace.  I won't listen to you say you're sorry, he growls, I will not let you destroy both our lives.  There's no point in putting yourself into one of your vicious tempers! she retorts.  I will show my temper when I see Morgan, he vows.  There's no reason for you to see Morgan, she says.  I have every reason to see Morgan, he says--I would like to kill him.  Oh, you haven't changed, she says with a bitter smile--no one could ever talk to you when you were angry.  How did you expect me to react to what you just said? he demands.  I expected you to listen to me while I try to explain, she says.  I'll listen, he agrees.  When I made the decision to marry Morgan, it was a very difficult one, she says--you know how I've always felt about you--how I still do feel--but I also know the kind of life I want--and I know the two of us could never find it together.  But you and Morgan will? he asks. Yes! she says. You are telling yourself lies! he says, we belong to each other!  No, we're too much alike, she protests, we'd destroy one another--and we could never find the kind of stability I must have if I'm to be happy.  In other words, a poor Collins won't do, he accuses--you must have a rich one.  That isn't fair, she says.  But it's TRUE! he shouts--look at me and tell me you love Morgan Collins.  I do love him, she says.  I don't believe that, says Bramwell, I don't believe you love him, nor do I believe he loves you--he only wants you because he doesn't want me to have you!  That's not true! she says.  Not only is it true, says Bramwell, it's been the story of my life at Collinwood--my father, Barnabas, who was driven to his grave by this family--from that day on, they devoted themselves to making me and my mother miserable.  Justin Collins always loved you, Catherine reminds him.  Yes, says Bramwell, he was the one exception--but before he could give me my rightful place in the business, that accident happened, and from that day on, his (two--there are three?) sons saw that I stayed the poor relation--yes, Bramwell Collins must stay in his place--and that's why I left Collinwood--and now I return to find that they have claimed you, too.  She rises--no one has claimed me, she says--the decision was mine to make and I made it.  This is the final insult, says Bramwell, I suppose they rejoiced when you said yes to Morgan.  I never expected you to be so bitter! she cries.  Bramwell looks at her intensely and says, "I will be much more bitter than this--I said five years ago to you that I would live to see the day the Collins family came crawling to me--and now your decision reinforces my determination--I will break them, Catherine, I will break their backs, all of them!"   Bramwell! she chides, putting her hand to her forehead.  He spins her around, looks into her eyes and, his voice gentle, says, they've taken my soul away from me--because you were that, Catherine--without you, I will have no life--and neither will they!  He presses his lips to hers in a fierce kiss, gazes into her eyes one last time, and leaves.  Catherine watches him go, not knowing what to do or say.

Quentin and Daphne, glowing with love, walk downstairs.  Where is Valerie now? asks Daphne.  She was ordered into custody, explains Quentin--she's going to be questioned by the tribunal.  They go into the drawing room, arms around each other.  I still don't understand it all, says Daphne.  Neither do I, he says--what I really don't understand is, I can't believe Valerie was telling the truth--about herself, I mean.  You said the judge believed her, says Daphne.  Yes, he did, says Quentin, he really believed her when he saw what happened to the head when Gerard died.  You're back where you belong now, and that's all that matters, she says.  I love you, he says, and draws her close for a kiss.  Barnabas enters--Daphne, he says, I'm glad to see you're all right.  I found her in a locked room, explains Quentin.  Noticing that Barnabas seems sad, Quentin asks, what's wrong?  I had the most curious experience in that room in the East Wing, says Barnabas.  You mean you saw something in parallel time? asks Daphne.  "Yes, and it made me realize something I've always known," says Barnabas, his face intense, "but never admitted."  What are you talking about? asks Quentin.  Someone I love, says Barnabas--I must go to her and tell her.  He leaves.

Barnabas returns to the courtyard and stops Judge Vail--I must talk to you.  What is it? asks the judge.  I want to discuss my wife's case, says Barnabas.  But there's nothing to discuss, says Vail heartily.  Oh, but there is, insists Barnabas, if it hadn't been for her, two innocent men would have died tonight!  I'm aware of that, says Vail.  She came here at great sacrifice to herself, says Barn, about her past.  It's too late for you to plead your wife's case, says Vail--she left here 20 minutes ago--she was questioned by the whole tribunal and then released.  You mean she's free? asks Barnabas, thrilled.  Yes, says Judge Vail, she's free.

Collinwood - Bags are packed, waiting in the foyer.  Quentin exits the drawing room with a note from Samantha (don't ask me how that happened) the contents of which he dubs "beautiful:"  "Dear Quentin--I've done you a great injustice in regard to Tad--whatever else went wrong between us, it didn't involve Tad--I lied to you, he is your son--for Tad's sake, you must know the truth--Samantha."  They hug each other joyously.  Come on, the carriage is waiting, says Quentin.  Barnabas enters.  I'm glad you got back before we left, says Quentin--we're going to Boston to pick up Tad, and then we're going to be married there.  Congratulations, wishes Barnabas, and shakes Quentin's hand.  A gleam in his eye, Quentin asks, are you wondering where Valerie is?  You've seen her? asks Barnabas.  Yes, she's in the drawing room, says Quentin.Goodbye, Barnabas, says Daphne, kissing his cheek--God bless you.  The dewy-eyed couple leaves.  Barnabas, looking uncertain, goes into the drawing room, unaware that Trask, pistol in hand, has exited the kitchen area and is right behind him.  Angelique, says Barnabas.  Barnabas, says Angelique.  I know now, says Barnabas, I know how I feel.  Trask enters and raises the pistol.The judges refused to hold you! he rants, but I am not afraid of you--"DIE," witch!.  He fires at her.  "NO!" screams Barnabas.  Angelique, shot in the chest, begins to fall.

NOTES:  An episode chock full of happy endings and unexpected happenings.  We now know that Angelique knew Judah "intimately," she said so herself.

It seemed to me that given what Angelique told Judge Vail, she wouldn't have just been freed, but held for trial and eventually beheaded.  That would have ruined our story.

I felt terrible for Gerard.  He may have been a blackguard anyway--we know his real name was Ivan Miller--but when he asked for Quentin's forgiveness, my eyes welled up.  He wasn't as bad as Judah, but died for his sins anyway.

Will Angelique die before Barnabas can tell her how he feels?  We'll know shortly.  It certainly was an amazing episode as Barnabas watched the man who, in another time band, would have been his son with Josette, the passionate, brash and fluffy-haired Bramwell.  Catherine is following in the unfortunate footsteps of Catherine in WUTHERING HEIGHTS--and we all know how that story ended!  I love this fiery couple, and although I didn't know we'd never again see Jonathan Frid play Barnabas, I was so glad they gave him--and Lara Parker--different characters to play.  I might be in the minority, but I love this pair!

Daphne and Quentin are happy and getting married, but where did that note from Samantha come from--did her ghost come back to write it?  You'd think instead of writing a note assuring him he's Tad's father, she'd want to haunt Quentin for the rest of his life in revenge.  And since chances are that Daphne and Quentin had kids of their own, how would that affect the future?  This storyline never did revolve around the children, Tad and Carrie, as we were led to believe, but I suppose Barnabas and Julia being there changed that, too--plus David Henesy chose to leave the show.

Let's go see what happens in the next episode--the last in 1840/41?


1198 - Stokes does the intro, the first time we've seen him as Stokes since his last brief appearance in 1841.

Barnabas grabs Trask's arms; they struggle wildly.  Barnabas grabs him in a chokehold and enraged, reminds him--I told you before--when you walled me up--I should have finished you then!  Trask's eyes bulge; he falls unconscious to the floor.  From the sofa where she has fallen, Angelique calls softly to Barnabas, who runs to the doorway and bellows "Julia!!!."  He returns to Angelique and sits beside her.  She'll do you no good now, Angelique says, her voice faint.  He gathers her into his arms and says, "Oh, my darling."  I'm dying, she says.  No, he protests.  Hold me, she asks.  He does.  He reaches into his pocket for a handkerchief and wipes away the blood running form her chest wound.  Angelique, he says, I never knew.  What? my darling, she says.What you did tonight, he says.  That I always loved you, she says.  I love you, he says, that's why you must live--I love you, Angelique--after all those years, all that happened between us--I can say it now because I know it's true--I love you.  Her eyes have closed, however, and, pressing his face to hers, he realizes she is gone.  Tears clog his voice as he says, "Angelique....no...Angelique!--you never heard me--you never heard me--oh, my love--my love--he kisses her mouth--you were never to know until it was too late," he mourns.  Trask returns to consciousness.  Barnabas flies at him.  You killed her! he shouts, attacking Trask.  The two men struggle.  Trask races upstairs, Barnabas vowing, you will pay for this with your life!  Barnabas chases after him.

They end up in the East Wing in a room with a desk and a letter opener on the table.  When Barnabas enters, Trask attacks him, burying the letter opener in his shoulder.  The men battle ferociously.Barnabas forces Trask to drop the knife, picks it up, and drives it into Trask, who stumbles away into the parallel time room, which changes around him.  Trask, the letter opener stuck in his stomach, asks "What's happening?"  Barnabas watches him from the doorway.  "You have escaped me!" he yells, disappointed.  Where am I? asks Trask, what's happening, where am I?--and the room changes back to it's empty self.  Barnabas enters, staring around.  He's gone, he says, clutching his shoulder--he's in that other time!

Barnabas returns downstairs, holding his wounded shoulder.  He finds the gun on the floor and picks it up, looking at it.  Angelique's body lies on the sofa.  So this is how it ends, says Barnabas sadly, putting the gun down on the table.  He goes to Angelique and kneels beside her.  "Your beautiful face, so quiet, as if you were asleep," he says--"am I never to see your eyes again?--so often they looked at me with love, and I returned nothing but hate--I was blinded by my fury--that my rejection of you caused--and so throughout the years, we battled and fought, and I never guessed beneath my rage I felt a love as strong as yours."  Julia enters.  She's dead, he says.Julia composes her face into a neutral mask.  Trask killed her before she knew, laments Barnabas, I loved her, Julia--she is my only love and I never knew it.  He winces with pain.  Realizing he's been wounded, Julia asks, what happened?   Trask tried to kill me as he killed Angelique, says Barnabas--he's upstairs in that room--in that other time--Julia, without even planning it, I've committed the perfect crime!  He almost collapses.  Sit down, don't move at all, urges Julia--I'll be right back with my medicine bag.  Barnabas gazes at his dead wife.

Rose Cottage - Where can Leticia be? Desmond demands of Flora, slapping his fist into his hand.  I told you five times, she replies, I do not know!  I have been back over two hours, she was not at Collinwood--I stopped there on my way back from the jail, says Desmond.  I'm sure she'll be back soon, soothes Flora--oh, darling, I still can't believe you're free.  It's all over, Mother--Gerard is dead, he says.  How could I have been so blind? she asks, I thought I was such a good judge of character--I couldn't see beneath his charm--perhaps it will make me wiser next time--but he did bring us Leticia.  What if Leticia tried to do something to herself? asks Desmond, worried.  She wouldn't, Flora assures him.  How can you be sure? asks Desmond, she was terribly upset at the cell this evening--I've got to go out and look for her.  Where? asks Flora.And at that moment, Leticia comes in, runs into Desmond's arms, and kisses him lustily. Now I'm going to show you what a good mother-in-law I'm going to be, quips Flora--I've learned the first rule--when to disappear.  Smiling, she leaves.  I am dreaming, exults Desmond.  No, luv, I am, she says.  Where have you been? he asks,  Walking, she says, on the beach, looking at the sea.  Crying tears you didn't need to cry, he says.  Wondering how I'd be able to make it through tonight, tomorrow and forever, she says, tears in her voice.  She hugs him.  On my way through town, I heard about you and Quentin, she says--I couldn't believe it!  Believe it, he says.  I must have lost my second sight, luv, she says, or I'd have known about you--you were alive--I guess I lost it when I fell in love.  They kiss up a storm, ecstatic.  We're leaving Collinsport tonight, he tells her.  We are? she asks.  Yes, and we're going to New York, he says--we're going to be married there.  I love New York, she says--oh, my darling!--Mrs. Desmond Collins!

Barnabas enters the drawing room, where Stokes and Julia await him.  What happened? she asks.  The police accepted my story, he explains--Angelique is to be buried in the family mausoleum.  We can't stay here any longer, says Stokes--we must go back to our own time.  How? asks Barnabas.  I came from 1970 down Quentin's staircase through time, says Stokes--now we must try to go back up those same stairs.  (But Barnabas came via E-Ching, what about that?)  Barnabas sits listlessly on the sofa.  You've done what you came here to do, Stokes reminds him, you'll never know how well you succeeded in changing history until you return to Collinwood--it's 1971 there now--is the house destroyed?--are Elizabeth and the children dead?--are Quentin and Carolyn mad?  Barnabas, troubled, says, "Our time, 1971, it seems almost impossible to believe we've come from that time to this--Eliot, we could be certain about what our visit has done to us, but I don't what it has done to Collinwood in 1971?"  Desmond comes in and overhears Barnabas' question.  What are you talking about? he demands--have you gone mad?--1971?--why it's a hundred and thirty years from now.  There's an awkward, silent moment.  Finally Julia replies, "But that is where we have come from, Desmond."  How is that possible? he asks.  We came down Quentin's staircase, says Eliot.  Quentin's staircase is a joke! yells Desmond.  No, says Stokes, not a joke by any means--those stairs must be destroyed--Quentin intended to destroy them before he left, but I persuaded him not to.  You and Julia will leave me here, says Barnabas.  No! protests Julia.  You must go with us, insists Stokes.  Barnabas, says Desmond, all this is beyond me, but if it's Valerie's funeral that is keeping you here, then Leticia and I will stay until tomorrow--my mother will take care of everything.  Well, Barnabas, says Stokes, what if you try to go up the stairs and the conditions are not right?  You'll never be able to tell if they are right or not, points out Julia worriedly.  Barnabas sighs--we will try, he agrees.  They all smile at each other.

Collinwood basement, Quentin's staircase - You certainly know how to shock someone, Desmond tells the trio--first you tell me about you, then about those stairs, then finally about the room in the East Wing--the room Trask went into and it changed--I don't understand it still--Trask is actually in another band of our time?  Yes, says Barnabas, and you must check that room, because if he should somehow escape, he will try to kill you as he did Valerie.  If he escapes, I will settle with him, Desmond promises, you can be sure of that.  We're counting on you for a great deal, Desmond, says Stokes.  I will tell no one the secret except Leticia and Quentin, promises Desmond.  Stokes checks his watch--the time has come to begin our journey, he says--goodbye Desmond.  They shake hands.  Julia steps forward--I wish you both happiness, she tells Desmond and Leticia.  Desmond kisses her on both cheeks--goodbye, he says.  "My cousin, my friend," says Barnabas emotionally, clasping both Desmond's hands, "Goodbye."  How will I ever know if you have made it? asks Desmond.  You must always think we have, responds Barnabas.Stokes ascends the staircase first.  What if we find Collinwood destroyed? asks Julia--what if it's the way we left it in 1970?--what will they do?  The best we can, says Barnabas.  Julia follows Stokes, then Barnabas.  Desmond, amazement on his face, watches them go to the door at the top of the stairs, where whirling colors and God knows what await them.  Barnabas closes the door behind them.

Stokes, Julia and Barnabas exit the door at the other end of time.  Good Lord! exclaims Eliot.  It's not the way it was before! says Julia--Collinwood was not destroyed--Barnabas, we have changed everything, we have!  She's thrilled.

8:10 - Barnabas and Stokes have changed into 1971 attire.  Two hours! complains Barnabas to Eliot, we haven't seen anyone--there isn't a sign of a single person in the whole house.  The refrigerator is filled with food, says Stokes, that's an encouraging sign.  It still concerns me, says Barnabas.  Julia, wearing her navy blue dress, joins them, smiling--I had completely forgotten how comfortable these clothes are--it's so hard to believe this--this house is exactly the way it was when I first came here--there's no sign that the ghosts of Gerard and Daphne were ever here.  I wish I could be as confident as you are, Julia, that everything's all right, says Barn.Elizabeth suddenly bustles in, annoyed--"Barnabas, Julia!--really, the three of you are impossible --you're very late!"  Late for what? asks Julia.  "Have you forgotten?" asks Liz--"the opening of the historical center--I wouldn't have come back, but Roger forgot his speech--so do let's hurry--Eliot, I know that Barnabas and Julia are always pre-occupied, but it's not like you to forget something we've been planning for so long!"  Stokes apologizes--it slipped my mind, he says.  As Liz looks through papers on the desk for the speech, Julia hesitantly asks, are David and Hallie there?  Of course! says Liz.  And Quentin and Carolyn? queries Barnabas.  Where else would they be? asks Liz, finally finding what she's looking for.  Where indeed? echoes Barnabas.  Liz tucks the speech under her arm--it's so like Roger, she says--he hates making speeches--why are all of you staring at me so strangely?  It's so nice to see you, says Julia.  Thank you, says Liz--it's really been a warm and cozy winter, hasn't it?--so calm and peaceful--I've quite enjoyed it--shall we go?--you can drive in with me.  We'd be delighted, says Stokes, following her out.  I found the most incredible thing in the West Wing this afternoon, says Liz (Mike R. Phone makes an appearance in the corner of the screen)--I'm going to give it to the Historical Society tonight--I found a journal written by an ancestor of mine called Flora Collins (Barnabas exchanges looks with Julia)--I don't believe I've ever heard her mentioned--I understand she's written many novels--we must find and read them.  It should be most interesting, agrees Stokes.  He and Liz leave the house.  So, says Barnabas, the ghosts of Gerard and Daphne never came here.  We changed all their lives by being in 1840, says Julia.  As well as ours, agrees Barnabas--think back to 1840, Julia, those stairways are likely no more--Desmond has probably destroyed them by now.  We'll never forget any of them, says Julia.  Never, he says.  Together, they walk into the camera--and DARK SHADOWS history.
1841 - Desmond destroys the staircase, wondering where the three of them are now--did they manage to get back to their own time?  From the drawing room, Leticia calls to Desmond, then warms herself by the fire, pacing back and forth.  Desmond joins her.  I got worried about you, she says, afraid something had happened to you.  Something has--come on, he says, we're going to a room in the East Wing, a room Barnabas told me about--a room where something may be happening now--I'll explain it to you later--he leads her upstairs to the parallel time room.  Apparently he explained it to her along the way, because when they arrive at the PT room, she comments, I can't believe it--Valerie dead, murdered--and Trask wounded in another band of time?--Desmond Collins, you've gone mad, she accuses, cupping his face in her hands.  Wait until you hear the rest, he says.  They stand in front of the closed doors.  Well open it, luv, she urges.  Desmond seems reluctant, but finally throws the doors open.  It's empty, says Leticia, and starts to walk in.  No, he warns, holding her back, don't go in there.  Right before their eyes, the room changes--they spot Trask fall to the floor, the letter opener in his gut.  It's all true, says Desmond--parallel time!

Help! Trask calls weakly--somebody help me!  He falls over, bloodstains on his shirtfront.  He's dead, says Leticia. They watch PT Julia enter and discover the dead undertaker.After examining him, she calls frantically for Flora, who joins her.  Oh no! she says.  Who is he? asks Julia--have you ever seen him before?  Flora shakes her head--it's happened, she says, it's finally happened.  Where did he come from? asks Julia, why was he here?  I don't know, says Flora, but it's finally happened--what we've feared and dreaded!  Shh, cautions Julia, closing the double doors in Desmond's and Leticia's faces.  The young couple stares at each other.

1841PT - No one must know, says Julia quietly.  Everyone will, objects Flora.  Not if we're clever, says Julia.  First poor Stella, now this stranger! laments Flora.  Shush, says Julia, someone is in the hall. What will we do? asks Flora.  Julia opens the doors to checks, returns to Flora and says, we must get id of the body--now.  The two women get down to the task.  It's 11:50.

Mama, Julia! cries Melanie, out in the hallway outside the parallel time doors--she enters the room, noting that it's two o'clock--Mama, where are you?  Julia and Flora enter.  Mama, where have you been? asks Melanie-we've been hunting for you for hours!  What is it? asks Julia.  Has someone come? queries Flora.  Tell us! says Julia.  It's Papa, he's dying! wails Melanie.Then the lottery will happen again, says Julia--before the week is over.  Flora looks solemn, Melanie, horrified.

NOTES:  Curtis sprang for quite a large cast in this last show of 1840/41/1971, seven or eight, plus all those extras for guards and executioners?  His limit was usually six.

I know that those who feel Julia and only Julia deserved Barnabas, watching this episode was especially hard.  To confess to poor Julia that Angelique was his one true love and never knew it had to hit her hard--but they returned to a future where Angelique no longer existed, although in some fan fiction, she comes back with a vengeance.  Back then, I felt it most romantic and appropriate.  I accepted that Angelique had changed, incredibly rapid though it may have been.  I was only 16, of course, and wanted Barnabas to end up with someone young--and somehow, it seemed as though he and Angelique had been together, in one way or another, since 1795, and had a long shared history--and deserved each other.  Now, 30+ years older, I feel Julia deserves him.  Still it always chokes me up to see Barnabas and Angelique's final goodbye.

It is wonderful to know that everything in 1971 is all right, the Collinses don't even remember the haunting (unlike 1897 where they somehow did).  Everything is normal, Roger is making a speech, the kids, Carolyn and Quentin are just fine, and as far as Liz is concerned, Stokes, Julia and Barnabas have never been anywhere but right there.

I am thrilled Desmond and Leticia got their happy ending, too.  I liked this sweet young couple very much, and rooted for them then, and do so now.  They deserve happiness, and you know they'll have it.

Only Barnabas got the short end of the stick in 1840/41--again.  Poor guy, I hope that someday, he gets the happiness he has earned by doing so much for others.

We never see Joanna Mills again; I guess we can take it that she returned to her grave.  Perhaps her ghost forced Sam's ghost to write that note telling Quentin the truth about Tad!  LOL!  We'll never know.  But don't Daphne and Quentin wonder where Joanna went?

Now, and this is a BIG spoiler, so don't read it if you don't want to know something huge!  This was the last episode we shall ever see of this show in regular time.  You will never again see RT Barnabas or Julia, or see their love lives resolved.  DARK SHADOWS finishes its run with 1841PT, the final storyline, which we will see now, and which, at the accelerated rate of two eps per day, will only last another month and a half.  I didn't know this when we went to 1841PT the first time, and only learned of DS' upcoming demise a month before it left the air--a very sad time for me.  I fully expected to see at least one more episode or even a scene from 1971RT, but had no idea that Jonathan Frid no longer wished to play Barnabas and he had put that role behind him--hence, Bramwell Collins.

Love, Robin

1193 - The ghostly Joanna reveals her true, grotesque visage to Samantha, who, horrified at the hideous sight, backs away and topples off Widows' Hill.  Joanna kneels, gazes down the cliff wall, observes her handiwork, rises, smiling slightly, and leaves.

Collinwood - Gerard comes downstairs where, on the floor, he finds the note Joanna wrote to lure Samantha to Widows' Hill.  Joanna comes in.  Gerard shows her the note, which she glances at without comment.  I didn't know you'd gone out, he says.  I went out for a breath of air, she says.  I see, he says--by any chance have you seen Samantha around?  Not since our terrible experience earlier this evening, says Joanna--I hope she's behaving more rationally--is something wrong?  Yes, but I'm not sure what, he says, still holding up the note.  I don't understand, she says.  I found this note, he says, showing it to her.  It's from you, she points out.  No, it isn't, he says--it was written by someone else who signed my signature.  How curious, she says.  Yes, isn't it? he agrees--are you sure you haven't seen Samantha?  Positive, replies Joanna--excuse me.  Gerard leaves the house, Joanna watching him.

Fishing shack - Julia fixes a bandage on Desmond's wound.  Julia, it's nearly dawn, warns Quentin--you'd better get back to Collinwood.  As soon as I finish with Desmond, she says.  You'd better go back now, advises Quentin, we don't want Gerard asking any questions.  I can answer any of Gerard's questions, Julia assures him--there, she says, finishing up, and hands Quentin Desmond's blood-stained shirt, which he helps his cousin into.  I think he should rest at least 24 hours, says Julia--he should be able to travel tomorrow at dawn.  If he needs more time, we'll wait, says Quentin.  You can't afford to wait, insists Desmond--go without me.  Julia feels Desmond's forehead.  Desmond, when we go, says Quentin, you and Leticia are going, too.  He buttons up Desmond's shirt.  I wouldn't mind staying, comments Desmond, if I could get my revenge on Gerard.  Someday, promises Quentin.  Desmond winces in pain.  We'll plan on leaving dawn tomorrow, decodes Quentin.  Let's get him into the other room, she suggests.  Julia and Quentin help Desmond to his feet and lead him carefully into the adjoining room.

Collinwood - Joanna sits by the fire.  Daphne enters, smiling, tea tray in hand--good morning, she says--what are you doing here so early?  Actually, I never left, says Joanna, I went for a long walk and then when I found out what time it was, I decided to come back here and wait for you.  You must be exhausted, remarks Daphne.  No, says Joanna, I'm fine--you got some sleep yourself, didn't you?  Yes, and I had a good night's sleep, I'm glad to say, says Daphne.  Gerard enters, balancing a drenched, limp, bruised Samantha in his arms.What happened? asks Daphne.  I found her below the cliff at Widows' Hill, he says--she's dead!

First Edith, then Gabriel, then Samantha, lists Daphne--three deaths in the past 24 hours--there just seems no end to the tragedy in this house!  Gerard joins them and says, I asked the servants to contact the police.  How did you happen to find her? asks Daphne.  I went up on Widows' Hill, looking for her, says Gerard, sounding truly shocked.  But why? asks Daphne.  I had found a note addressed to her, says Gerard, supposedly just to her, it was supposed to be from me, but it wasn't--it asked her to meet me on Widows' Hill, but I didn't write the note--obviously, someone wanted to lure her there.  You mean you think someone pushed her over the edge? asks Daphne.  Believe me, I don't think she would jump, he replies.  But who would do such a thing? asks Daphne.  I don't know, says Gerard, all I do know is that this will raise more suspicion against Quentin.  Quentin--it's impossible! insists Daphne.  That might be, says Gerard, but the police know Quentin hates Samantha because she testified against him at his trial--he had the oldest motivation of all--revenge.  I won't listen to that, insists Daphne--Quentin did not kill Samantha.  Joanna solemnly looks at Gerard, who says I hope for your sake you're right; however, I'm sure this tragedy will intensify the search for Quentin--excuse me, I must go to Trask's Memorial Chapel--I must prepare for the funeral of both Samantha and Edith--yes, she was found upstairs last night in the East Wing by one of the servants.  He leaves.  Poor Edith, and Samantha, says Daphne.  I know it's difficult not to dwell on these things, says Joanna, but you must consider other things right now.  What do you mean? asks Daphne.  Samantha did stand in the way of your happiness, Joanna reminds her, and now that she's gone, you and Quentin can be married.  I can't even think about that right now, says Daphne.  You've got to, insists Joanna, your future and Quentin's depends on it--if you don't think about it, what will you do?  I can't help thinking about the effect this is going to have on Tad, says Daphne--first, his father's conviction, now this--it might be a shock he'll never recover from.  I'm going to see Quentin, says Joanna, I'll be back later this afternoon.  Daphne sighs sadly.  Everything is going to be all right, Joanna assures her--you'll see--she hugs her, then hurries away.  Daphne sits on the sofa, unsure of the outcome of all this.

Fishing shack - Told the news, Quentin can't believe Samantha's dead.  Yes, and Gerard thinks you'll be the first suspect, says Joanna.  Quentin chuckles--yes he does, and I'm sure Gerard will do everything in his power to see that I am.  Are you going to allow this to change your plans? she asks.  It's already changed my plans, he says.  But you have to leave soon, she says.  That's not what I mean, Quentin says, it's just become obvious that we must get away from here as quickly as possible.  How is Desmond? asks Joanna.  He's still weak, says Quentin--Julia says he can travel in the morning--we're going to need your help.  I'll do anything you ask, she says.  We'll need a carriage, he says.  I'll arrange for one in the village, she promises.  We'll plan on leaving dawn tomorrow, he says--we'll go to Boston to get Tad, (who was supposed to have a much greater part in this storyline) he's living with relatives there--now that Samantha is gone, there's no one to prevent me from taking him with me.  Gerard may try, points out Joanna.  Of course he'll try, but he won't succeed, says Quentin--next time he sees him, Tad will be 21 years of age and he'll be master of Collinwood--there's not much time, so you'd better get back to Collinwood.  She nods.  Arrange for the carriage, he says, tell Daphne everything, and arrange for her to be here at 3 o'clock tomorrow morning.  I will, she says.  Quentin sees her out.  I'll be careful, she promises.  Quentin looks shocked and unhappy.

Julia returns to Collinwood, exhausted and achy.  Gerard exits the drawing room and asks if she's been treating another patient.  Yes I have, she says evasively.  His name wouldn't be Desmond Collins, would it? he asks.  She looks at him.

No, Gerard, says Julia icily, I have not been treating Desmond Collins.  Could you tell me who you have been treating? he asks.  Just a patient, no one you know, she says, and heads for the stairs.  He must be very ill, you've been out all night, observes Gerard.  Yes I have, says Julia.  Do you know what the penalty is for aiding and abetting an escaped prisoner? he queries.  You don't believe me, is that it? she asks.  I believe one thing, he says--that Desmond was wounded trying to help Quentin escape--Quentin would never leave Collinsport without medication, so I'm sure he wouldn't risk looking for other doctors, so you would be the logical choice.  There's only one flaw in your logic--it makes too much sense, says Julia--Quentin would know that's what you'd think, so he wouldn't have called me to help.He would, says Gerard, if he had no other choice.  Apparently he did have another choice, says Julia--frankly, I think they're 100 miles away from here by now--excuse me--she goes upstairs.  Gerard thinks it over.

Daphne, heading for her room, finds herself instead draw to the parallel time room (better than television)!  She opens the doors--PT Julia enters, opens the window and, using binoculars, gazes down at Kendrick Young meeting PT Samantha in the woods.  You took a terrible chance sending me a note here, says Samantha.  I had no choice, he insists, I must get answers to my questions.  There's nothing I can tell you that you don't already know yourself, she says.  You were the closest friend my sister had in that house, Kendrick says--you must know something.  All I know is she left the house, says Samantha, very suddenly, Without giving notice? asks Kendrick.  Apparently so, says Samantha.  If you know my sister, says Kendrick, you know that isn't like her at all.  Maybe it isn't, agrees Samantha, but that's what happened.  Do you know why she left? he asks.  No, says Samantha.  Was she unhappy?--did she have a disagreement with someone? he asks--there must be some reason.  I told you, I don't know, says Sam, I was shocked she didn't even say goodbye to me.  Julia Collins said she left no forwarding address, says Kendrick, is that true?  If that's what Mrs. Collins said, then it must be true, replies Sam.  I don't believe her story about my sister, says Kendrick, I had the feeling she's been hiding something all along--that's why I'm asking you.  There's nothing I can tell you, says Sam, I honestly don't know where your sister is.  What are you afraid of? he asks.  Nothing, she says.  That's not true--everyone in that house is afraid of something, he says, and I'd like to find out what it is and if it has anything to do with my sister's disappearance.  Take my advice, says Samantha--go away from here and don't ask anymore questions.  What am I supposed to do, just go away and forget about Stella? asks Desmond.  You'll be hearing from her, I'm certain of that, Sam assures him, and she'll tell you what happened.  I wish I could be as optimistic as you are, he says.  I think you'd better go, she warns, if you're found, you'll get into serious trouble.  Kendrick turns to her--I'll leave the grounds, but not the village, he says--not until I learn what happened to my sister--I'll go to the police if necessary, and you can tell that to the family for me!  Sam looks unhappy.  Julia drops her binoculars from her eyes, done with spying.
PT Samantha enters the room.  What did you tell him? demands Julia.  Tell whom? asks Samantha--what are you talking about?  I saw you talking to that man on the terrace, says Julia, holding up the binoculars--there's no need for you to lie to me.  He sent me a note requesting that I meet him out there, explains Samantha.  You needn't have acknowledged it, says Julia.  Daphne listens in the doorway.  He was already anxious and suspicious, says Sam, if I had ignored his note, it would have made matters worse.  What did you tell him? asks Julia.  Just what you told him, says Sam--that she left very suddenly.  My words didn't make any sense to him? asks Julia.  He felt...begins Samantha.  He felt what? demands Julia.  That you are hiding something from him, says Samantha.  He's an arrogant fool! bitches Julia.  What did happen to Stella? asks Sam. Nothing happened to her, insists Julia, you know that--she just left.  But why?--there must have been some reason, says Sam.  She was unhappy here, explains Julia, my sister and I tried to find out, but she wouldn't tell us.  It just doesn't make any sense, says Sam.  Whether it makes any sense or not needn't concern you, says Julia--now I want you to tell me everything that man said to you, all the details, then we'll never talk of Stella again, is that clear?  Yes, agrees Samantha.  Daphne's show is over when Julia closes and locks the PT doors.  Sighing, Daphne steps away.  Joanna joins her--I've been looking for you everywhere--you've looked into that other room again?  Yes I did, says Daphne.  Do you understand what's happening there? asks Joanna--how can that be possible?--Julia tried to explain it to me, but it just doesn't make sense to me--the idea of being able to see another occurrence in another time--she called it parallel time?  Yes, agrees Daphne--parallel time.  What did you see in there? asks Joanna.  I saw people who are just as troubled as we are, perhaps even more so, says Daphne--I guess it doesn't matter what band of time you live in--people are different, but their problems and fears are just the same as ours.  Yours and Quentin's problems are going to be over after tonight, Joanna assures her--all the arrangements have been made--at three o'clock tomorrow morning, you and Daphne (she means Quentin) are going to leave Collinsport forever!  Both women smile, delighted.

Collinwood - Julia comes downstairs, unaware that Gerard is watching her from the drawing room.  She leaves the house.

Fishing shack - Quentin looks out the window and opens the door to Julia.  Have there been any problems with Desmond? she asks.  He's been asleep since you left, says Quentin.  Good, she says, I'll wait a few moments, then wake him and examine his wound for the last time--you're not leaving any too soon--Gerard started asking me questions--I didn't tell him I knew where you were.  You weren't followed, were you? he asks.  No, she says, I took a very roundabout way of getting here.  Someone knocks at the door; Quentin goes to hide in the other room.  Julia lets Daphne in.  What are you doing here? asks Quentin, it's only 9 o'clock, you were supposed to stay there until everyone went to bed.  I couldn't stay at the house one minute longer, says Daphne.  Julia goes into the other room to tend to Desmond.  Is something wrong back there, Daphne? asks Quentin.  No, she says.  But if Gerard finds out you're gone...says Quentin.  I don't care if Gerard finds out, says Daphne, I just wanted to be with you until it's time to go.  He takes her into his arms--it's all right, he assures her, you can stay here.  I was sitting in my room and realized that Gerard and I were the only two people in the whole house--I couldn't stay there, I was frightened.  He hugs her--you'll never have anything to be afraid of as long as you're here with me.  You know about Samantha? she asks.  Yes, he says.  I'm so sorry it happened that way, she says.  It's all right, he says, there's nothing we can do about it now--look at me--he takes her face in his hands, smiling--I love you, you know that.  I love you, she says back.  When we get to Boston, he says, will you marry me?  You know I will, she says.He kisses her enthusiastically.  Gerard stands outside the door, listening to everything.

NOTES:  Oh, no, Gerard has overheard all and is probably just waiting to make his move and sic the police on Quentin.

More mysteries in parallel time.  What have the Collinses done to Stella?  Is she dead or alive?  Why is Julia being so secretive?

Farewell, Samantha.  I think it's really creepy that Joanna did away with Sam and returned to Collinwood, posing as a living human being, with such ease.  Why did she really come back?

I wondered why David Henesy was barely in this storyline, but I recall a story--Henesy wanted more money, and Curtis refused to give it to him.  Henesy threatened, "I can always go back to high school."  Perhaps that's exactly what he did!


1194 - HAA's intro: Samantha's death is being considered a suicide, but it has freed Quentin from his marriage, and given him, even in his peril, a chance for a new life.

Rose Cottage, Leticia's room - It seems so strange to be making these plans with Samantha not even buried, says Daphne.  Samantha never loved Quentin, ducks, says Leticia, the only time love came into her eyes was when she looked at Gerard.  Quentin says we can take no more chances of being separated, says Daphne with a grin.  Leticia smiles back--he's right, she says.  I'll be so happy just to get out of this village, sighs Daphne.  I remember when we first came here, says Leticia, when Gerard brought me to this house--I never had any idea I'd be leaving like this!  We must be very careful, cautions Daphne--Joanna's arranging for a boat to meet us at the cove at three o'clock--we'll sail from here and go to Boston to pick up Tad.  And then? asks Leticia.  Europe, says Daphne excitedly, Quentin says we'll live in Europe--we can't bring anything with us, we don't want anyone to know when we're going.  Where's Gerard? asks Leticia.  At Collinwood, says Daphne.  Do you have to go back there? asks Leticia.  Yes, says Daphne.  Be careful, warns Leticia.  I will, Daphne, assures her--Quentin's given me the combination to the safe--there's money there, money we'll need.  Be as natural as you can with Gerard, warns Leticia, don't let your fear of him show--Daphne, do you think I can leave without telling Flora?  Telling Flora what? asks Flora, entering the room--I wrote this scene in one of my novels, I believe, it was called WINTER SECRET--two girls eloping, all very romantic.  Leticia begins to say something, but Flora interrupts--I've been very patient with you, aware for some time you know where Desmond is, but I haven't questioned you, because I thought the fewer people who know, the better the chances are for Quentin and Desmond--but now something new has developed, hasn't it?--oh, you don't have to tell me, I can see it in your faces.  We're leaving tonight, at three o'clock, reveals Leticia.  Is he well enough to travel? asks Flora.Julia thinks so, Daphne assures her.  Are all four of you going? asks Flora.  Yes, says Leticia.  Well, Desmond is using good sense, says Flora--if he should take anyone from this village, it should be you.  Flora, oh Flora! cries Leticia, running into her arms to hug her--I'm so happy you approve!--I'll make Desmond very happy.  I have no doubt of it, says Flora, and you'll make me happy, too, but I'm selfish enough to want you to begin now--I want you to tell me where Desmond is.  Leticia exchanges a troubled look with Daphne.  I must say goodbye to him, insists Flora, surely you both understand that.  We do, Leticia assures her.  But you mustn't tell Gerard, or anyone at all, cautions Daphne.  I love my son too much to let anyone harm him, says Flora--Gerard Stiles will learn nothing from me, she vows.

Charles Dawson paces Collinwood's foyer.  When Gerard enters, Dawson anxiously asks, where have you been?  On an expedition, dear Dawson, smiles Gerard.  Don't dear Dawson me!--I expected you to use your powers--Quentin Collins has been at large for three days! Dawson reminds him.  And you are worried? asks Gerard.  Of course I'm worried! says Dawson--he said in court that he would settle his score with me.  Fear is a most unpleasant thing to see, remarks Gerard.  It's even more unpleasant to live through, bleats Charles, now you've got to do something right now!  Quentin and Desmond will be in jail by tomorrow morning, Gerard assures him, I promise you.Charles smiles--you found him?  Obviously, my dear Dawson, says Gerard --just now.  Have you told the police where they are? asks Dawson eagerly.  No I haven't, says Gerard, but may I remind you I am still in charge here, and if I want the police to continue into this investigation, I shall ask for them--is that quite clear, do you understand?  What are you waiting on? asks Charles exasperated.  You may indeed, says Gerard--you see, I feel he has not suffered quite enough--no, I want him to know who his real enemy is--I have a plan--a marvelous plan that includes someone else--of course, it will take time to work out.  Who is the other person? asks Dawson.  The front door slams.  Well, come in, we were just talking about you, Daphne, says Gerard.

I'm sorry to have interrupted you, says Daphne, starting to move toward the stairs.  You haven't really, Dawson assures her.  Mr. Dawson would like to see you, says Gerard.  Dawson looks at Gerard oddly.  Oh, really? asks Daphne, well, I'm afraid I can't help Mr. Dawson in any way, I don't think.  She turns away from both men. I can vouch for Daphne, says Gerard--she doesn't know anything about where Quentin is, and I'm sure Mr. Dawson will trust my word--there should be no further questions, I'm sure.  Dawson smiles at Daphne, who excuses herself.  You're not going to bed right now, are you? asks Gerard--I was wondering if we could play a game of whist later on.  I'm sorry, Gerard, says Daphne, I'm not in the mood for games tonight.  I would like to talk to you, says Gerard earnestly, would you mind very much if I came to your room later?  She shakes her head and disappears upstairs.  Gerard closes himself and Dawson in the drawing room.  She knows, says Dawson.  And so she should be, remarks Gerard.  She knows where he is? asks Dawson.  Of course she does, says Gerard, a bit of romantic lovers playing a childish game.  I trust you won't allow Quentin to escape, says Dawson--this plan of yours--why can't you put it into operation now?  Paperwork, my dear Dawson, replies Gerard, paperwork--certain legal papers are very important to me, and you being a county prosecutor, should be able to get them for me.  I'll do anything! says Dawson eagerly.  Of course you would, says Gerard, anything --now, here's how the plan works, and I want you to do it very quickly.  He outlines the plan.

6:00 - Leticia and Daphne are in the foyer.  Four more hours, says Leticia--did you find Quentin's money?  I was just going to when you came, says Daphne.  I was so worried about you, says Leticia--where's Gerard?  He was here, says Daphne, Dawson was here with him--they've left, but Gerard will be back.  You'd better look for the money while he's gone, advises Leticia.  You're right, agrees Daphne, and goes upstairs.  Leticia sits down in the drawing room, exhausted.

Gerard returns to Collinwood and hangs up his cloak.  Leticia, in the drawing room, bids him a cool good evening.  Aren't you at least going to smile? he asks.  I haven't smiled at you for some time now, she reminds him sourly.  I think you should, he says--I'm feeling in a sentimental mood--do you remember the first time I brought you to Collinwood?  You was different, she says.  Yes, and I even changed you, too, he says--you've become somewhat more...  Oh, you've changed me, I'll grant you that, she interrupts.  Champagne? he offers--to celebrate, of course.  (Conveniently, there's a bucket with the champagne in it.)  I've got nothing to celebrate, she says.  He cradles the bottle--let's think of something, then, he says, in order to have a drink together.  You can drink alone, she suggests coldly.  No, my dear, he says, we shall drink together--to a wedding!  She looks surprised.  Yes, he says, smiling, there will be a wedding tonight at Collinwood!

Gerard pours what looks like a glass of Cold Duck for Leticia, who asks, who are you marrying?  I didn't say I was marrying anyone, he points out, sipping his own glass.  You're the only person left in this house, she says, you and Daphne.  But she thinks she's in love with Quentin, does she not? he asks--is Daphne seeing Quentin tonight, Leticia?  What do you mean, luv? she asks.  Oh, my dear, he says, you tell me so much--perhaps I meant them--they were going to get married.  At Collinwood?--not bloody likely, says Leticia--if Quentin Collins has an ounce of sense, he's a thousand miles away from here by now.  As the wounded Desmond is, too? he asks--what has happened to you?--you used to be so charmingly amoral, but now you've lost your sense of humor, you've lost everything, you are just like the rest of the hicks down in the village.  I prefer what's happened to me to what's happened to you, she says--who is getting married, Gerard?  That was merely to amuse you, he says, I had forgotten you lost your sense of humor.  I got to find Daphne, says Leticia.  Do you have a message for her? asks Gerard.  Yes, from Flora Collins, says Leticia, getting a brainstorm--she wants to invite Daphne for dinner, tomorrow night.  Please stay and help me finish some champagne, he asks, sipping his drink.

Someone is playing Quentin's theme in the parallel time room.  Hearing the music, Daphne wonders, if I open this door, will I see into that other time?  She opens the doors and observes PT Flora, who doesn't respond when Daphne calls her.  Why can't you hear me? frets Daphne.  PT Flora calls to Melanie--do you feel all right?  Of course, why? asks the young woman.  You didn't answer me when I called you, says Flora--you seem so inside yourself--where were you going?  I don't know, says Melanie.  You weren't going to the West Wing, were you? asks Flora.  No, I wasn't, says a shocked, scared Melanie--why did you think I was?--why?  I'm sorry, darling, says Flora, I just had a feeling.  I don't go to the West Wing, ever--you know that, says Melanie, shaky.  You must not, agrees Flora.  I told you, I never go there, insists Melanie--why do you keep saying I mustn't?--why do you keep talking about it?  I'm sorry for upsetting you, says Flora--the West Wing has been on my mind all day--your father went there last night.  Oh no! cries Melanie.  They found him in the corridor, says Flora, outside the room.  Why does this have to happen? asks Melanie, upset.  Nothing has happened, comforts Flora, we found him.  But if he goes there one more time, he will die, wails Melanie--he can't die!--he can't--I love him so--he can't die--we couldn't stand to have that lottery again.  Don't call it that! insists Flora--never!--darling Papa's not going to die, I'm sorry I told you that.  You had to tell me, says Melanie, we should leave this house, all of us.  A generation ago, says Flora, William Collins found that didn't help--it happens to us wherever we go.  We must keep Papa alive, insists Melanie.We will, Flora assures her--now, Papa wants to see you, but you must not mention any of what happened--because he doesn't seem to remember what happened last night--we don't want him to, do we?  No! agrees Melanie breathlessly, I only wish no one remembered.  The two women leave the room, Daphne watching them in consternation.

Fishing shack - In less than three hours, we'll be on our way, Flora, says Quentin.  I'm sorry to disagree with your plans, she says, but Desmond is in no condition to travel.  Julia said he'd be all right, Quentin assures her.  I don't care what she says, insists Flora, that's a serious wound.  Our position here is very serious, too, he reminds her--the police could catch us here any moment, you know that--look, you know I'm going to take care of Desmond, and he's not going to die--there are enough things against us, don't you be, too.  She looks at him soberly.

Daphne sits in the Collinwood drawing room, relaxing on the sofa.  Gerard watches her, witch's symbol in hand: You will sleep, Daphne, sleep, you will have your last dream, the dream you must have and learn that we must be man and wife--sleep, Daphne, sleep--and you will remember the reason for our love...sleep, sleep, sleep!  Daphne falls into slumber and dreams.  We see packed suitcases, Gerard in the foyer trying to put his arms around Daphne, asking why are you leaving me?  She pulls away--don't touch me, she orders.  I must, he says--you're the only thing that's ever meant anything in my whole life--why are you leaving?  She tries to get away.  Is there someone else? he asks.  I don't remember! she cries--why don't I ever remember anything when I'm with you?--she goes to him for a deep, wet kiss.  You remember the most important things, he says, you remember that I love you--he kisses her forehead, then her mouth again as he continues speaking--that I adore you--you will remember that, won't you?  Yes, she says, continuing to kiss him.  And that you love me, too? he asks--you do, don't you?  Yes, she says, I know that--she kisses him some more.  Don't ever leave me, he says, promise that you'll never, never leave me.  He hugs her.  I promise I'll never leave you, she says.  This is only a dream, he says, but when you wake, you will realize that this must be.  She nods.  We will share our lives together, he says.  Yes, she agrees, oh, yes, Gerard!  This dream will come true, he says.  She smiles--I want it to so! she says  The first thing in the morning when you look, your eyes will see mine, he says--you will feel my arms around you, and I will feel yours--for you know that I love you--and when you wake, you will remember that I love you--and you love me--you will remember you love me...you will remember...you will remember.
He awakens Daphne--you had a bad dream, he says.  She grins at him, rising--not a dream, she says--so real--she gives him a real, sloppy kiss.  We will get married, he says.  Yes, she agrees, swiping away what is either her hair or saliva still connecting them.  Yes! she says eagerly.  We will call for the Minster shortly, he promises--do you want me as much as I want you?  Oh, yes, she says, I do!  He closes the doors, leaving her in the foyer.  Where have you been, luv? asks Leticia urgently, running downstairs--I've been waiting for you in your room--we got to go.  No, I'm not going, says Daphne--tell Quentin I'm sorry.  What's wrong with you? demands Leticia, what did he do to you?  No one's done anything to me, says Daphne, I've just changed my mind, that's all, I don't want to go any longer.  Why?--why? asks Leticia frantically.  I'm going to marry Gerard, says Daphne.  Leticia runs from the house, horrified.  Daphne goes upstairs.

Fishing shack - I don't believe it! cries a disbelieving Quentin, she's going to marry Gerard?--what did he do to her?--why didn't you try to drag her out of the house?  I tried to, says Leticia (when?), there was nothing I could do--she wouldn't listen to me.  Quentin exits the shack, Leticia calling, don't go--it's a trap!  She closes the door, looking hopeless.

Still in her red governess dress, Daphne stands with Gerard before the minister, who asks, do you take Gerard to be your lawful husband?  I do, she says.  Do you take this woman to be your wedded wife? asks the minister.  I do, says Gerard, holding her hand and sliding a ring on her finger.  What God hath joined together, let no man put asunder, intones the minister--I pronounce you man and wife.Daphne and Gerard are deep in mid-kiss when Quentin comes in, realizes what has happened, and cries out, "No!"

NOTES:  Seems like Daphne is officially Mrs. Gerard Stiles, but it was under Dream Duress, so is that legal?  Who knows?  The big problem here is that Quentin has revealed himself, and I'll bet Gerard has cops just waiting to get him.  Poor Desmond and Leticia, caught up in this ugly maelstrom!

More clues from parallel time.  There is a problem with the West Wing, something bad, and it sounds like Melanie's father (presumably Flora's husband) is affected by it.  Melanie loves her father a great deal, that's clear, but there's a lot of bad stuff going on with this PT family.

Flora loves her son and is understandably concerned about his health--but Quentin is right--they must leave ASAP.

Gerard stepped up his plans for Daphne, and managed to keep her under his spell enough to marry her right out from under Quentin's nose--and now he's free of Samantha, too!  Sigh.  Too sad and ironic.

Kate Jackson sure enjoys kissing her male co-stars, she puts so much gusto into it!

Will Quentin be re-captured?  Will Daphne come out of her reverie and find herself married to her hated enemy?  Will Gerard consummate their marriage before that happens?

Love, Robin

1189- 2:50 - Foyer - Joanna, having apparently avoided being throttled by Gabriel, comes downstairs at Collinwood, dressed in her cape.  Did you see your sister? asks Gabriel, wheeling over to her.  No, I couldn't--do you have any idea where she could be? she asks.  I'd be the last to know, says Gabriel, but when I see her, I'll let you know--it's obviously quite important to you.  I thought if I could see her, we might be able to do something to help Quentin, says Joanna.  Why would you want to help a man who is condemned, a man who has no right to appeal? asks Gabriel.  I should think you would try, remarks Joanna.  I happen to be in mourning, as you know, he says, a man who has recently lost his wife has other problems (yeah, explain that to your kids!)  Quentin is going to die! cries Joanna.  I'll let your (wife?) know if I see her, says Gabriel, wheeling himself into the drawing room.  Joanna follows--what about the wing of the house your family doesn't use? she asks--does anyone go in there?  No, why? he asks, guarded.  I thought I heard someone there last night, she says, someone opened the door.  No one goes in there, he says, that had to be your imagination.  I'm sure I heard the door open, she says.  I wouldn't think about it if I were you, he says, although it might have been a ghost--did you know that wing of the house is supposedly haunted?  She grins--I don't believe in ghosts, she says, and leaves the house.  From his breast pocket, Gabriel pulls out the rope he was going to use to strangle her, working it in his hands.

Jail - Yes, of course I'm glad to see you, Quentin assures Joanna--please don't take it personally, I've just been doing a lot of thinking about the trial, my sentence, and the worst and most difficult thing of all is looking at people, seeing the look in their eye--"how's Quentin taking it, is there anything I can do to help?'  That's what I'm here for, she assures him.  There isn't any way, he says.  There is, she insists.  The worst thing about it is Desmond, says Quentin, poor man--he tried to help me by taking my case, now he's down the hall in a cell just like this one--if they found me guilty, they're going to find him guilty.  We can take Desmond with us, she says--I thought and thought, I even bought a pistol, but I was afraid to bring it, I knew they would search me.  You never take a chance like that, warns Quentin.  If you can manage to break out of jail, she says quietly, I can have everything worked out.  You're serious, aren't you? he asks.  Yes, she says, tonight at 11:30, there's a boat in Indian Cove, I know the captain--he's willing to take us to England--us, I said us, Quentin, it's not a mistake--you can be free.  What about Daphne? he asks unhappily.  You can talk to her when we get to England, says Joanna, whether you want to see her or not, you can send for her--you've got to be at that fishing shack--it's your only chance.  Quentin thinks it over, walks away from her. Why do you hesitate? she asks--we must do this.  I'm thinking about my son, he says, if I do this, it will be an admission of guilt.  You're mad, she says, you can explain to him when he gets older--please!  All right, he says, I'll be at Indian Cove at 11:30--I don't know how but I'll be there (she's delighted)--now listen to me, he continues--you get the guard and tell him you want to see Desmond--tell him everything we've talked about--go back to Collinwood and tell Daphne that I'll send for her--promise me you'll tell her.  But she's not there, says Joanna.  All right, says Quentin, find Leticia and tell her.  But I don't want to tell anyone I don't have to, protests Joanna.Desmond would want Leticia to know, says Quentin--then you try and find Daphne--you'd better go, you have a lot to do.  Be careful, darling, she says, reminding him again to be at the fishing shack.

Fishing shack - Told the news, Leticia is thrilled to hear Joanna's plan--I've been pondering and pondering what I can do about Desmond and Quentin--and you have it all figured out!--oh, me, and they say I got second sight--11:30.  The light leaves Leticia's eyes when she has a premonition--I have a feeling it isn't going to work--they're never going to get on that ship. But they must! cries Joanna.  No, says Leticia, something is going to happen.  Don't even say things like that! begs Joanna.  Sweeping her feelings aside, Leticia admits, you're right, I shouldn't, I don't even know what I was thinking--yes I do, I'm not ever going to see Desmond again after tonight.  You can come with us, Joanna assures her.  You mean you're going? asks Leticia--what about Daphne--and Quentin?  Uncomfortable, Joanna says, you barely know me--I care very much about Quentin.  But Quentin loves Daphne, Leticia reminds her.  He's infatuated with her, yes, says Joanna, but she's so young and beautiful--but he'll realize he belongs to me when he gets to England.  Leticia looks skeptical.  "He will, Leticia, he will!" insists Joanna.  Have you told her? asks Leticia.  The less people that know about it, the better, says Joanna--don't stare at me like that!  Sorry, luv, says Leticia, hands on hips, I was just wondering why you wanted to tell me.  Quentin and Desmond wanted me to tell you, explains Joanna--Desmond wants you here at 11:30, you can come with us!  No, says Leticia.  There's room on the ship! protests Joanna.  Desmond ain't asked me, she says, and I couldn't very well be standing here with my bags packed and find out he just wanted me to wave goodbye--but I'll be here when they come.  Where are you going now? asks Joanna.  I've got an errand to do, says Leticia.  Promise to keep this a secret, begs Joanna, they're both in such danger.  I won't do anything that will make things worse for Desmond or Quentin, promises Leticia--and thank you for telling me.  Joanna closes the door to the shack after Leticia leaves.

Drawing room, Collinwood - Where can little Daphne be indeed? Gabriel asks Leticia--I had no idea how many friends she had--and the way she charmed herself into our little circle--but perhaps she's made an enemy.  What do you mean by that? asks Leticia.  You know our friend Gerard better than any of us, says Gabriel--she's missing, so is he.  Exasperated, she says, I wish you would come out and tell me what's on your mind.  You haven't heard what's happened tonight, he says--picture the scene, dear Leticia, hysterical Daphne in Edith's bedroom, Gerard enters, Daphne grows more hysterical, she hits him over the head and leaves him unconscious in Edith's bedroom.  Daphne did all that? asks Leticia.  Gerard was rather angry when he left in search of Daphne, says Gerard.  He's so fond of Daphne, says Leticia.  Ah, yes, but there is a relationship between love and hate, says Gabriel, and our Gerard has quite a temper.  Leticia agrees--lately, he has had.  I think Gerard has something to do with Daphne's disappearance, opines Gabriel. You honestly think...begins Leticia.  Living in this house, says Gabriel, I can only expect the worst!  Upset, Leticia insists we've got to find her, we've got to!  We? asks Gabriel, I really don't know how I'm going to do that with these legs of mine.  It's 11 o'clock, notes Leticia.  What the devil has time got to do with all this? demands Gabriel.  Nothing, she says, it's just that it's so late and I'm so worried about her--what can we do?--I don't know what to do.

Quentin notes the time, too, and bangs for the guard.  What's wrong with you? demands the guard.  My stomach, says Quentin, doubling over--it's the bloody food you've been feeding me--you've got to get me something for it!  There's nothing wrong with it, insists the guard.  There is, says Quentin, falling to the cot.  The guard enters the cell to check on him. Quentin ably knocks him out with his fist.

Quentin takes the guard's keys and leaves his cell.  He frees Desmond, too.  Did you kill the guard? asks Desmond.  Not up for murder yet, says Quentin, come on.  The guard comes to and grabs Quentin, grappling with him.Desmond comes to help, but ends up being shot.  Quentin fights with the guard, knocking him out again.  Quentin goes to his wounded cousin, who is huddled against the wall.  Go without me, urges Desmond.  Come on, orders Quentin, we're going together.  Together, Desmond moaning in pain, they escape jail.

Fishing shack - Joanna anxiously checks outside and reports to Quentin and Desmond, Miles is signaling--the boat is coming ashore.  Quentin is checking Desmond's bloody chest wound.  Go...go, Quentin, mutters Desmond.  You're going to be all right, Quentin assures him--Joanna, he says quietly, we are going to take Desmond with us.  There's no doctor on the boat, protests Joanna.  I said we're taking him, says Quentin, he'll die if we leave him here.  Desmond is muttering Leticia's name.  We aren't going anywhere until Leticia gets here, insists Quentin--we're going to wait for her.  Where is she? asks Joanna.  Leticia arrives--Quentin, Daphne has disappeared, she reports--Gerard has her.  This is horrifying news to Quentin.  Leticia notices the injured Desmond--"Oh my God!" she cries--"Oh, my Desmond!"

Desmond smiles at Leticia.  She covers his wound with a handkerchief--we can't take him anywhere, not like this, she says.  Quentin agrees--and I can't go, either--because of Daphne.  I'll go to Collinwood, find Julia, volunteers Leticia--she'll know what to do.  She leaves.  Quentin gazes down at his cousin and says, "We almost made it, didn't we, old man?--almost but not quite--free for an instant--free enough to run, but not free enough to forget."  You're talking about Daphne, aren't you? asks Joanna sadly--you're not free of her.  I've got to get to Collinwood, insists Quentin, heading for the door.  You can't, says Joanna, please, you'll be captured there, they'll kill you--the police will be at Collinwood--you can't forget about Daphne?  No, I can't, he says, what I'm going to tell you is the truth--I did a lot of thinking in jail, and I came to realize I couldn't live without Daphne--so whatever future there was, if she wasn't with me, it really didn't matter--you understand?  Yes, she says--I thought the past could be our future--I was a fool.  Joanna, he says, I don't want to hurt you anymore than I have.  At least get on the ship, she pleads.  I can't, he says, you've got to understand that.  Then none of us will go, she says--I've got to tell Miles.  I'll take you to the boat, says Quentin.  They head off, Quentin insisting, I've got to figure out where to find Daphne.

Desmond is breathing heavily when Leticia returns.  She kisses his hand--Julia is coming, she assures him--I found her at the Old House--she had to go to Collinwood to get her medical bag--is the pain very bad?  No, he says, shaking his head with a weak smile.  I don't believe you, Desmond Collins, she says.  It's not when I hold your hand, he says.  I knew, she says tearfully, that something like this was going to happen.  You shouldn't be here, he murmurs.  Where should I be? she asks.  What if the police come? he asks.  They'll find me at your side, she vows.  We might have been on that ship together, he says.  We? she asks.  In England, just once more, you'd have like that, wouldn't you? he asks.  You meant for me to come with you? she asks--oh, Desmond--she kisses his hand--"I didn't know!"  Why do you think I told Joanna? he asks.  I didn't know, she says.  "I love you, Leticia--there I said it, I love you."  And I love you, she says, kissing him.  He falls back, in agony.  Of all the strange things to happen, this is the strangest, he says, me finding you now.  She kisses his hand again.

On foot, Gabriel goes to the East Wing and hears his own voice saying, "The last of the brandy--and I'm sure the other bottles are all locked up--has Mother given you the keys, Stella?--then I'll have a time!"  Gabriel gazes through the parallel time room doors and sees himself talking to Stella, who is writing at a desk, telling PT Gabriel, she hasn't given me the keys.  Oh, yes, she made that mistake with the last secretary, laughs Gabriel, but what Mother didn't know was that the last secretary liked to drink as much as I did--he laughs--the best old times--are you fond of brandy, Stella?  I never touch spirits, she says.  Oh, says Gabriel, Mother chose well.  I must finish this accounting, she says.  Am I making you nervous? he asks mockingly--do you think that all of us Collinses are strange?--well we are, you know--has mother laid down the ground rules yet?--about what rooms not to go into--keep your door locked at night--obviously, she has--I'd advise you to do it--make no mistake--do it.  Why? she asks, why should I lock my door?  That is the question, isn't it? he asks--I keep mine locked at night.  Do you know the reason? she asks.  People in the village say we're proud, all of us Collinses, that we keep to ourselves because of pride--he laughs--oh I think you'd better leave, Stella, because if you don't, you'll end up just like us.  This is a job, insists Stella, I have no intention of leaving.  You don't? he asks.  I've got to finish this accounting, she says, your mother will be angry.  In other words, I've interrupted enough, he says, setting his glass down on the desk--all right--I shall go pursue my only hobby--and do you know what that is?--picking locks--there's a cabinet downstairs in the drawing room, and that's where they keep all the brandy for the company--the company that never comes--and I'm the nicest of us all--well, I warned you--he leaves.RT Gabriel, stunned, watches Stella rise, shaking her head, and starts to close the doors in his face.  Oh, it's you! she says--did you just come in?--why don't you answer me?--have you been hiding behind the door all this time?--why do you have that knife in your hand?--what's wrong with you--put down that knife!--get away from me, leave me alone!  NO!"  The door closes in his face.  Gabriel bangs at it, yelling, let me in!

NOTES:  Sounds like poor Stella was getting murdered in parallel time, but Gabriel can't help her.  Looks like his counterpart is a drinker and lout in PT.  Bad penny on both sides.

Cute, touching scenes between Desmond and Leticia.  They make a nice couple, and Barrett and Karlen look great together.  Will he live?  Will he and Quentin escape or get re-captured. Leticia's premonition is, I fear, correct.

Given how murderous he is in RT, why does Gabriel want to help a stranger in PT?

Why does Joanna think she can go back to the past and have Quentin loving her again?  She tried to manipulate things so she could be alone in England with Quentin, but now he's told her the truth.  Will she be so anxious to help him now that she's lost him romantically?

Great prison break there, at least for DS.


1190 - Daphne struggles against her bonds in the East Wing.  Gabriel continues to pound fruitlessly at the door, and when he finally opens them, the room is empty.  He looks around inside.

Leticia rips up cloth for bandages for Desmond.  Quentin and Joanna enter.  Has the boat left? asks Leticia. Yes, replies Quentin, he had to sail because of the tide.  You should have left without Daphne, insists Joanna.  Joanna! chides Quentin, you know I couldn't do that--how's Desmond, Leticia?  Julia's with him now, reports Leticia, he's very bad, I'm afraid.  He's going to live, isn't he? asks Quentin.  He's got to, insists Leticia fearfully, he's just got to!  (I gather Desmond and Julia are in another room.)   Joanna, says Quentin, I must go to Collinwood.  The police will be there, looking everywhere, she warns him.  If I've lost her, I've lost everything, says Quentin, do you understand that?  I understand so much more than I did before, she says, I returned to Collinwood to be with you--because my feelings had not changed, I assumed yours hadn't--but they have!--I know now that you're every bit as much in love as I am, but not with me--I accepted that the moment we didn't get on the boat.  I'm sorry, he says softly.  Don't be, she says.  He smiles slightly--I have an idea, he says--it may be possible that you might be able to help, because you're free, I'm not.  Yes, Quentin, she says eagerly.  Go to Collinwood and talk to Gabriel, he says, he's never had any love for me, but he may be able to help--just because he wouldn't want Gerard to end up getting Daphne.  I'll do everything I can to find Daphne, promises Joanna--if she's at Collinwood, I'll find her.  Just be careful, cautious Quentin.  She leaves.  Quentin paces the shack, gazing out the window, and finally joins Desmond and Julia in the other room.

Gabriel sits on the bed in the room where he has imprisoned Daphne.  I've told you everything I know about that strange room, I don't understand it anymore than you do, she says.  I wasn't thinking about that room, he says.  What were you thinking about? asks Daphne.  You, he says.  She looks at him--what about me? she asks.  I was thinking how curious it is that you can live under the same roof with someone and not notice certain qualities, things about them, he says.  Like what? she asks.  Like your eyes, he says, they're really beautiful--there's an innocence about them--it's easy to miss innocence in this house--he rises from the bed--I can see exactly why Quentin and Gerard were so attracted to you.  He kneels, looking at her face.  She shakes her head--"Can you?" she asks.  Yes indeed, he says lustfully.  It's really a shame all this has happened to you, says Daphne, I mean you've been forced to do such--you were even forced to bring me here.  Why do you say that? asks Gabriel.  Well, she says, there's no point in going into it--you wouldn't believe me now.  Say what you were going to say, he insists, please.  I was just going to say that I've always thought that you're probably the most misunderstood person in the entire house, she says.  He rises--the most underestimated, he adds.  That too, she agrees--and  now that I see you out of the wheelchair, I realize people tended to overlook the fact that you're really a very attractive man. He stares at her--do you really feel that? he asks.  Yes, she says.  Why didn't you tell me that you were sympathetic to me before? he asks.  That would have been impossible, she says, you were a married man.  Oh yes, married to a pig that reviled and despised me every day she was alive, he says--but she isn't alive anymore, is she?  Not looking at him, Daphne says, Edith shouldn't have treated you the way she did.  She learned her lesson, didn't she? he brags.  He drops his hand to her shoulder and squeezes it--if you were Edith, how would you have treated me? he asks, squeezing and releasing her shoulder.  I've had tried to understand you, she says, lying as best she can, and helped you when I could.  I believe you would do that, he says, kneeling behind her--oh, Daphne, I think I just might change my plans about you--he begins to kiss and nuzzle her cheek and ear.  Yes, he says, kissing her over and over, I think after I get my money from Gerard, I'll just keep you with me--oh, I'll be so good to you, Daphne, I'll give you anything you want--anything you want.  Her face contorts with disgust; when he swivels her face to kiss her mouth, the pretense is broken.  She cries out her aversion, sliding her lips away.  Realizing that she was lying to him, stringing him along, Gabriel stands.  You didn't mean anything you said? he cries, not a word of it--you lied to me--you don't think I'm attractive, you think I'm nothing, like Edith and everyone else--let me tell you something--I'm going to give you one chance to prove that you're nice--and mean it!--and be nice to me!--one chance to be nice to me, or you'll be dead--he stuffs the gag back in her mouth, leaving it loose--I promise you he'll be back, maybe in a few minutes, maybe a few hours, but I'll be back.  She struggles against the bonds, holding the gag in her mouth with her teeth.  Spotting the lit candle, she bounces her chair toward it, finally getting close enough to hold her bound wrists over the flame.

Joanna returns to Collinwood--I'm looking for my sister, she tells Gabriel.  Have you heard that big brother Quentin has escaped from jail? he asks.  Yes I have, she says.  The police were just here searching for him, says Gabriel--I thought that was a rather daring thing for him to do--I didn't think he had it in him.  Quentin asked me, says Joanna--he said you might be able to tell me where Daphne is.  Gabriel, perturbed, asks, have you spoken to Quentin?--do you know where he is?  Yes, she says, I do, but if you tell anyone, I'll deny it.  I wouldn't do that, Gabriel assures her, it would give Gerard Stiles too much satisfaction--you should have seen Gerard's face when he found out Quentin had escaped--he looked like a doomed man--he's out there right now, with the police, searching for him--unfortunately, the weather won't help matters.  Do you think Gerard might have had something to do with Daphne disappearance? asks Joanna.  In front of the police he was terribly concerned about Daphne's disappearance, says Gabriel, but I think that was a cover-up.  Assuming he is responsible, says Joanna, what could he have done with her?  I don't know, says Gabriel, you'll have to give me time to think about that one.

Daphne succeeds in freeing one of her hands, then unties the other.  She uses the gag as a bandage for her burnt wrist.  She listens at the door, breathing heavily with fright, recalling Gabriel's promise to be back--maybe in a few minutes, maybe a few hours--but I'll be back!  I've got to get out of here! cries Daphne, running to bang at the boarded up window.  She drags down what appears to be a servant-summoning sash and behind it finds a lever.  She gives it a pull, opening a secret door leading into a brick-walled area.  She picks up the candle she used to free herself and goes in, closing the door behind her.

Foyer - Do you think Gerard could have harmed Daphne? Joanna asks Gabriel.  I don't think Gerard would do that, replies Gabriel, I think this move of his is purely sadistic--he doesn't want Quentin to see Daphne before the execution.  Then there's a very good chance he has her right in this house, suggests Joanna.  I don't know, says Gabriel.

Daphne walks through a corridor, shines a light on a skewed portrait, and becomes tangled in some chains for a moment.

What about the closed off East Wing? asks Joanna--there's not supposed to be anyone there, but when I was there the other night, I'm sure there was.  No, says Gabriel, I'm sure Gerard wouldn't take her to the East Wing.  There wouldn't be any harm looking again, says Joanna.  No, but I think you should check her bedroom first, says Gabriel--we can't be sure it was Gerard--Daphne could have left on her own--maybe she went to her bedroom and left something there to bear that out.  Daphne wouldn't go anywhere without telling anyone, says Joanna--I'll look again, just in case.  She heads upstairs, leaving Gabriel alone.

Daphne continues walking with her candle, opening a door, going into a corridor, walking, walking...  She finds herself back where she started from, and realizes she passed this area once before and has just gone around in a circle--I'm lost!

On foot, Gabriel finds Daphne gone.  Frantic, he checks the window, finds the sash on the floor, then the secret lever, which he opens to reveal the door.  He goes in.  Joanna has found the room, too, ropes hanging from the chair and a plate of half-eaten food.  She was here, Joanna thinks to herself as Gabriel listens from the other side of the secret panel--she was being kept in this room!  She leaves.  Gabriel continues on, searching for Daphne.  Daphne, her candle dangerously low, hears footsteps.  She drops the candle and backs into a table, knocking down a pitcher.  Gabriel hears the sound and looks for her; Daphne hides behind a chimney, pressing herself against it desperately.

Fishing shack - Quentin, Desmond is sleeping, reports Leticia.  Any change in his condition? asks Quentin.  No, she says, he's still very weak--he's lost a lot of blood--Joanna still hasn't come back?  No, says Quentin, annoyed, she's been gone three hours--I'm beginning to think something has happened to her.  Don't start imagining things, says Leticia.  Then why isn't she back? asks Quentin--all she had to do was talk to Gabriel.  Maybe she's onto something, suggests Leticia--maybe she's found out where Daphne is.  Maybe Gerard's gotten to her, says Quentin, I've got to go back.  Leticia grabs onto him--don't go back, she begs--you've got to stay!--there are police and townspeople out looking for you everywhere--if you was to go out now, you'd get yourself killed--please stay a bit longer--Joanna will be back--I'm sure of it.  All right, he says, if she does, what is she going to tell me--that Daphne's dead?--alive?--or simply that she's gone forever?  I believe in fate, says Leticia, and I believe that fate meant for you and Daphne to be together, just as it meant for me and Desmond to be together.  You really believe that? asks Quentin.Yes, she says softly.  Why? he asks.  Because I must, she says--if it is to happen--she begins to cry.  Quentin hugs her.

Joanna continues to search for her sister, calling to her--can you hear me?--it's Joanna!--if you can't speak, make a noise!  She hears voices from the parallel time room, what sounds like Leticia telling someone, "You always know the answer to things."  Then Gabriel replies, "Oh, that's not true, but it's very flattering."  "I'm sure you can tell me what I want to know," says the Leticia sound-alike.  Joanna listens at the door, then knocks and opens it.  "I want you to tell me what happened to Mother's secretary--to Stella," says the young girl, dressed in a brilliant orange gown, who sounds like Leticia, but obviously isn't.  Joanna gazes at the PT pair, including a non-crippled Gabriel, and puts her hands to her mouth in astonishment.

Gabriel, you're walking! cries Joanna.  PT Gabriel helps himself to a drink from a secret hiding place in a clock.  She tries to enter, but can't--why can't I get in? she wonders.  "Leticia, can you hear me?" calls Joanna.  Gabriel closes the door in the clock with his foot and pours himself a shot.  Answer me, Gabriel! demands Joanna.  What are you pouring from that canister? asks the Leticia look-alike.  What do you suppose I'm pouring, Melanie? asks Gabriel, pouring himself another.  Don't be angry with me, begs Melanie.  I'm drinking liquor, says Gabriel with a flourish, drawn barleycorn, my poppet, part of my private stock which is secreted in this house, all over the place.  He sits down and stretches out his legs, still sipping.  I never knew liquor came in a canister, says Melanie.  It's my latest piece of deception, he brags, I think it should last perhaps a month before Mother finds out--or before you tell her--which I wouldn't do if I were you.  Why don't you trust me? Melanie asks sadly.  My dear, I don't trust anyone, he says, except this--he holds up the glass of booze--I think this is the only reliable thing in the whole world--he drinks.  I've never told on you before, you know that, she says.  You know what I think? he asks, I think you'd just as soon slit my throat as look at me.  Stunned, hurt, Melanie murmurs his name.  I don't know--maybe you would, maybe you wouldn't, he says, going over to refresh his drink, who cares?  I've tried so hard to be friends with you, she says, as he lights a cigar in a candle.  He chuckles--friends, yes, he says, but not brother and sister.  He blows smoke at her.  You never get tired of reminding me, do you? she asks, hurt.  What else is there to do in this life? he asks, the only thing that gets you through this bloody awful mess is to know who you are and where you're at (?)--I am a Collins, you are not a Collins, you have the name because you were adopted--you're not one of us--don't you ever forget it.  With you here, says Melanie, I don't see how I can.  I'm sorry, he says, maybe I'm doing you a favor by constantly reminding you--maybe you'll find out one day that it's good not to be a Collins.  He pours himself another drink.  I don't think so, says Melanie--Gabriel, you still haven't answered my question--what happened to my mother's secretary--to Stella?  Nothing happened, she just went away, that's all, says Gabriel--sitting down, smoking.  Without giving any notice?--why? asks Melanie.  Haven't you lived here long enough to know that you can't ask questions around here? says Gabriel, putting an arm around her--they're never answered.--things that happen just happen, and it's not healthy to ask questions.  I don't understand so many things that happen here, she laments.  Don't try, he advises, examining his cigar--just try to understand that yesterday my mother had a secretary named Stella, today there is no Stella, she just went away from Collinwood and she's not returning--that's the end of the story and of our official conversation.  He pops the cigar in his mouth and closes the doors, leaving Joanna wondering why he called Leticia "Melanie"--what's happening here?--Daphne, I must keep looking for her.

Daphne continues trying to find her way out of the maze--it's hopeless!--I have no idea where I am is or how to get out--for all I know, I've just been going around in circles.  She notices lightning flashing through the bars on what is apparently an outside door--foliage has grown through the bars.Outside in the storm, for a few heady moments, Daphne thinks she's free--until she is grabbed by a laughing Gabriel, who puts his hand over her mouth to muffle her screams.

NOTES:  Gabriel PT doesn't seem much better than Gabriel RT, but so far as we know, he's only a drinker who is cruel to his adopted sister, Melanie.  What happened to Stella?  Did he murder her, as Gabriel RT might just murder Daphne when we return tomorrow?

I sure would have loved to see Julia actually treating Desmond.  Why did it have to take place off-screen? We can be sure she would approve of Quentin and Desmond escaping and doing everything she can to help them.  It would have been nice to see her "doctoring" Desmond--and maybe there would even have been a flash of bare chest, given where his wound was.

Daphne's daring attempt to make Gabriel think she liked him fell apart when he tried to give her a real kiss.  If only she'd been able to keep her disgust in check, for just a little while, she might have escaped him.  Then again, I think if I were in that position, I'd have let him kiss me--and more--to ensure my escape.  I couldn't help but feel sorry for Gabriel, who is under the impression, correctly, that everyone despised him, including his own wife and father.  No wonder he grew up so twisted.

Is Daphne next to die?  Who will save her?  Joanna?

Love, Robin

1185 - Quentin, morose, sits in his cell.

Carrie rises from Mordecai's body, crying out "No!", sobbing.  Jeremy comes in--what are you doing here? he asks, warning, my father...  She takes his hands n hers--your father is dead, she says.  Jeremy stares at her, stunned.  I came here to talk to him, she says, hoping to explain about the two of us--I found him over there, she points.  Jeremy runs to check his father, kneeling beside the body.

Father! calls Jeremy, beginning to cry--he's dead, he says, backing away from his father's body, he's dead.  I'm so sorry, says Carrie.  How did it happen? asks Jeremy--he was never sick one day in his life.  When I first came in, she says, he had just fallen--the way he was moaning...  You mean he was alive when you came in? asks Jeremy--did he say anything before he died?  Carrie gazes at him, terrified, sick, and walks away.  Did he say anything to you? demands Jeremy.  Yes, he did! wails Carrie, inconsolable.

9:05 - Courtroom - The police have been at the Grimes residence for several hours now, Gerard gleefully informs Dawson --soon you shall be getting the coroner's report.An important witness for the prosecution murdered to keep him from telling what he knows, exults Dawson.  And will this finally finish off Quentin? inquires Gerard.  I don't see how we can lose, replies Dawson--by the way, who discovered the body?  Carrie Stokes, says a grinning Gerard--I was saving that as a bonus for you, Charles.  I like that very much, agrees Dawson.  I wish I could say I had planned how it turned out, says Gerard.  It's no bother, says Dawson, I'll have the subpoena prepared at once--you know, it's curious, just the other day I was talking to Mordecai, telling him how useless his appearance in court would be--and now, in death, it would appear he's going to win the case for us.

Barnabas arrives at the jail with bad news for Quentin--Mordecai Grimes is dead.  How did it happen? asks Quentin.  No one knows, says Barn, the coroner hasn't completed his report yet--the body was discovered late last night by Carrie Stokes.  How is this going to affect my trial? demands Quentin.  As far as anyone knew, Mordecai Grimes was in perfect health, says Barnabas--suddenly on the eve of his appearance in court, he dies--this is going to be a field day for Dawson.  Grimes was his last witness, says Quentin--who else was he going to call to the stand?  I have no idea, says Barnabas, but I know one thing for certain--he'll do his best to attribute this death to witchcraft.  Grimes could have died of a heart attack, points out Quentin, perhaps the coroner's report will even show that.  Or it may say the cause of death is unknown, says Barnabas somberly, that's all Dawson needs.  Even if that happens, says Quentin, I don't see how he can prove it.  Neither do I, says Barn, we both know how Dawson cherishes the element of surprise.  We've overcome all his other surprises, says Quentin, we'll do the same with this one.  Let's hope so, says Barnabas, all we can do it wait--the next move is his.

Judge Vail bangs his gavel, calling the court to order--Mr. Dawson, resume the case for the prosecution.  I believe the court has been informed that Mordecai Grimes, whom I had intended to call for a witness this morning, suffered an untimely death last night, says Dawson.  Are you prepared to rest your case? inquires Vail.  I most certainly am not, says Dawson--quite the contrary, I in fact intend to call two entirely new witnesses, because I think I can prove beyond a shadow of a doubt that Mordecai Grimes met his end at the hands of sorcery, and the murderer sits in this courtroom--he points to Quentin.  Barnabas stands--objection!--this court is not a forum for Mr. Dawson's opinions.  I agree completely, says Judge Vail, we will get on with the case, Mr. Dawson--are you prepared to call your first witness?  I am, says Dawson, who turns to the door and calls, Carrie Stokes to the stand.  She enters, staring fearfully, sadly, at Quentin and Barnabas.  Dawson leads her to the stand, where she is sworn in.  Were you acquainted with Mordecai Grimes? asks Dawson.  Yes, she says, gulping.  Tell the court where and when you last saw Mordecai Grimes.  Last night, replies Carrie, at his house.  What did you see at the Grimes house last night?  At first I didn't see anything, says Carrie, I called for Mr. Grimes, but he didn't answer--I heard a moaning sound and looked around and found Mr. Grimes on the floor.  Did you realize at that time that he was dying?  No, she says, at first I thought he had a bad fall, but then...then I saw the look in his eyes, and I knew--I never saw anything like that before--something had changed in his eyes, his pupils were like half-moons, like a frightened animal.  And it was at this point that you realized he was dying?  Yes, says Carrie.  How much time passed before Mordecai died?  Not more than a minute, she says.  And during that time, did he say anything to you?  Carrie looks horrified.  Well, did he or didn't he?  Carrie gazes at Barnabas and Quentin.  Will the court direct the witness to answer the question, orders Dawson.  You are obliged to answer the counsel's question, says Judge Vail.  She looks as if she's going to cry, and finally says, "Yes, he did speak to me before he died."  Will you tell the court the dying words of Mordecai Grimes?" asks Dawson.  Carrie hesitates, looking at all the men, then cries, "No, I can't, I can't!"  You've taken an oath to tell the whole truth, Dawson reminds her--do you remember that?  Yes, she wails.  Then you must tell us what Mordecai Grimes said just before he died, insists Dawson.He said, says Carrie, he said, "Quentin Collins!"  Quentin stares at Carrie in disbelief.

Quentin didn't kill him, I know that! wails Carrie, shaking her head.  Miss Stokes! warns Dawson.  Quentin isn't guilty of anything! Carrie says, he wouldn't hurt anyone--you must believe that.  As Quentin gazes fondly at Carrie, Dawson orders her remarks stricken from the record.  The judge agrees.  Dawson turns to Carrie--no further questions, he says.  The defense has no questions, says Barn.  The judge dismisses the sobbing Carrie, who grabs Quentin's hands for reassurance, then leaves the courtroom.  Dawson brings the autopsy report over to the judges, prepared by the county coroner, establishing the fact that Grimes was in excellent health--there were no visible marks on the body, and the cause of death is officially stated as unknown.  Barnabas and Quentin look pensive.  The prosecution submits, says Dawson, that a mysterious death like this can be caused by only one thing--an act of sorcery!  Barnabas bangs his hand on the table--objection!--this is pure conjecture on Mr. Dawson's part!  The judge sustains--Mr. Dawson, get on with his case, orders Vail.  Jeremy Grimes to the stand, calls Dawson.  The young man enters the room and is sworn in.  Dawson holds up a letter--do you recognize it?  Yes, I do, says Jeremy--it contains a note my father wrote last night before he died.  And to whom did he write the note?  To you, sir, says Jeremy--and after he sealed the envelope, he asked me to deliver it to you at your home (did they have envelopes back then)?  And did you do that?  Yes, sir, I did, replies Jeremy.  I'll read this most urgent message sent to me by the deceased before he died, volunteers Dawson:  "Dear Mr. Dawson, it is imperative that I see you at once, for I have uncovered new evidence of a most serious nature, evidence which I am convinced will prove, beyond all doubt, the guilt of Quentin Collins--I feel we must discuss this matter before resumption of the trial tomorrow, please come as soon as possible--Mordecai Grimes."  Dawson holds up the note--is this your father's handwriting? he asks. Yes, it is, says Jeremy.  When your father handed it to you, did he seem to be in good health to you?  Yes, says Jeremy, he was.  Was there ever a time within your memory when your father was physically unfit?  Never, says Jeremy. Your witness, Dawson tells Barnabas.  When your father gave you that letter last night, says Barnabas, was it sealed?  Yes, it was, says Jeremy.  So you never knew the contents of that letter?  No I didn't, says Jeremy.   Did your father tell you the contents of that letter?  No, says Jeremy.  So, the only two people who had any knowledge of that letter at all were your father and Mr. Dawson--now one of those men is dead.  Dawson rises--I resents these implications, he insists.  I only want the court to take note of how conveniently this trial has been altered in the past 24 hours, says Barnabas.  And I, says Dawson, would like the court to take note of the fact that counsel is out of order.  Judge Vail bangs the gavel and agrees that Barnabas' last remark will be stricken from the record--go on, urges the judge.  No further questions, says Barnabas.  Step down, the judge orders Jeremy--Mr. Dawson, call your next witness.  Dawson rises--the case for the prosecution rests, he announces.  You may present the case for the defense, Mr. Collins, says Judge Vail.  There is only one man here, says Barnabas, who can tell the complete truth as to the matter of guilt or innocence, and I refer to the defendant himself--will Quentin Collins come to the stand?  Quentin rises.

4:35 - Barnabas:  You say you argued with Mordecai Grimes.  Yes, says Quentin, but everyone did--Mordecai was one who loved to disagree.  And when he refused to sell you his land, did you threaten him?  No, I did not, replies Quentin.  Did you have anything to do with Mordecai Grimes' death?  Absolutely not, says Quentin.  One last question--the prosecution has made much ado about your interest in the occult--has this interest ever motivated you to practicing what is known as the black arts?  I have never practiced witchcraft in my life, says Quentin--I wouldn't even know how.  Thank you, says Barnabas--your witness.  Dawson: Mr. Collins, it has already been established that Desmond Collins returned to this country with the legendary head of the warlock, Judah Zachary--isn't it true that he searched all over the world for that head and brought it here at your request?  It was a request, says Quentin, that I casually...  Just answer yes or no, Mr. Collins, did you ask him for it or didn't you?  Yes, I did, says Quentin.  Tell the court why you wanted that head.  No specific purpose, responds Quentin, it was merely curiosity.  Merely curiosity--you hadn't heard that the head was said to have certain powers?  Yes, I had heard that, admits Quentin.  But you weren't interested in those powers at all, were you--you were motivated simply out of curiosity?  That is all, states Quentin.  Dawson paces behind him--"Come ON, Mr. Collins, isn't it true you longed to have such powers?"  NO, I did not! insists Quentin.  Well I submit that you did! says Dawson, I say that Desmond Collins brought that head to you, and you used the powers of the warlock Judah Zachary as a convenient way of disposing of your enemies--I say those powers were used as an instrument of murder, they were responsible for the death of Lorna Bell and Randall Drew, they also struck down the jailer's wife and Mordecai Grimes and you cannot deny it!  I do deny it! shouts Quentin--furthermore, I'm sick and tired of your lies and insinuations!  Barnabas rises--"Quentin!" he cautions.  Quentin Collins is out of order, says Dawson. "The only person who's out of order here is you!" yells Quentin--"You're not a lawyer, you're an executioner, and it will take more than your vicious lies to strike me down--and when I get through with this, I'll deal with you!"  Dawson grins at Quentin's untimely loss of temper.  The judge bangs his gavel--Mr. Collins, you're out of order--one more outburst like that and you'll be held in contempt!  Barnabas stares down, miserable.  Go on, Mr. Dawson, says the judge.  "I believe the defendant himself has given a more adequate demonstration of what I was trying to prove," says Dawson--"I have no further questions."  The witness may step down, says Judge Vail angrily.  Quentin returns to his seat next to Barnabas.  Does the defense wish to call another witness? asks Vail.  The defense rests, says Barnabas.  Very well, says the judge, I assume that both counsels are prepared to give their closing remarks--Mr. Dawson?  Thank you, your Honor--the defendant is here charged with the practice of witchcraft--not opinion, but facts support the prosecution's contention that he is guilty as charged--Quentin Collins was the last person to be seen with Lorna Bell before she was murdered.  He was discovered standing over the dead body of Randall Drew--both victims bore the brand of the devil's mark--the same symbol found on Quentin Collins' own ring--it has been established that Quentin Collins actually believed he had some power over time itself, by the construction of a strange staircase capable of leading one into the past or the future.  It is an incontrovertible fact that he possessed a mysterious pagan head--the prosecution contends he has used the head of Judah Zachary for his own evil purposes--in fact, we are dealing here with the living embodiment of the warlock, Judah Zachary, a man who swore eternal revenge against all of his enemies just as Quentin Collins swore revenge against me in this courtroom a moment ago.  Finally, I submit that he is guilty of the murder of Mordecai Grimes, who had found evidence that he intended to use against the defendant--using the considerable powers at his command, he STRUCK that man down as one would strike down a helpless animal!  I ask the court to find the defendant guilty as charged!"  The judge calls Barnabas up to bat.  "Your honor," begins Barnabas, "what Mr. Dawson claims as fact has either been hearsay or the crudest sort of circumstantial evidence--not one of his witnesses is truly a witness in the strict sense of the word--yes, the defendant was the last person seen with the dead body of Lorna Bell (?), yes, he was discovered over the body of Randall Drew; yes, he did argue and fight with Mordecai Grimes, but this man did not kill any one of them, and no one alive can say with any conviction that he did!  Now, that is the only incontrovertible fact in this case, and on the basis of that fact alone, the defense fails to see how the tribunal can return with anything but a verdict of not guilty."  Thank you, Mr. Collins, Judge Vail tells Barnabas--the tribunal is ready to begin its deliberations--court is recessed until such time as this tribunal is ready to render its verdict.

Jeremy sits alone in his home.  Carrie enters and kneels before him--the judges have gone in to make their decision, she reports.  I don't see what there is to decide, he says flatly--Quentin Collins is guilty.  How can you say that? cries Carrie.  Because he killed my father, insists Jeremy.  You don't really believe that, do you? she asks.  My father said so himself, just before he died, Jeremy reminds her--that's what you told the court--and me.Your father was wrong in what he said, says Carrie--how could he harm your father from the jail cell?  He could if he is what they say he is--a warlock, says Jeremy--and I believe he is.  I've never heard you talk like this before! says Carrie, you sound just like...  Just like what? he asks.  Like your father, she says.  Maybe I should have started listening to him a long time ago, says Jeremy--if I had, then maybe he'd be alive now.  You can't blame yourself, protests Carrie.  I'm not, he retorts, I'm blaming Quentin Collins, and I hope they execute him.  I can't believe you mean that, she says, rising to her feet--I don't want to believe it!  She leaves the house--and Jeremy.

The judge bangs his gavel, bringing the court to order--the tribunal has deliberated and arrived at a verdict--the defendant will stand and hear the verdict of the court.  His face defiant, Quentin rises to his feet.

NOTES:  What will the judges decide here?  Barnabas is right, it's all circumstantial, but there's so much of it--and too many dead bodies to account for!

I guess we can safely say the relationship between Jeremy and Carrie has been nipped in the bud.  I don't think we ever see him again.  This little Romeo and Juliet interlude is over.

HAA did a great job with Dawson's summation, and he really seemed to enjoy himself.  He was flamboyant, while Barnabas was more quiet.  Both did a terrific job.

Too bad Quentin had that unfortunate outburst in the courtroom; he's just too volatile to keep calm when everything is falling down around him--and his temper flared at the worst possible time, complete with threats against Dawson.


1186 - Jonathan Frid does a rare, resonant intro.  Oh, THAT VOICE!

Quentin stands, awaiting the judges' decision.  "Quentin Collins," says Judge Vail, "it is the judgment of this court that you are guilty as charged, and you will be punished in the manner prescribed by the law which convened this tribunal--on a date which shall be decided by the tribunal, you shall be taken to the public square, and there, before the eyes of your fellow citizens, you shall be beheaded--and may God have mercy on your soul!"   Barnabas looks totally bamboozled, while Quentin's face seems to crumple.

Barnabas rises--this decision will be appealed! he insists.  There are rules for this under the law governing trials of witchcraft, says Judge Vail, and no provision for appeal.  With all due respect, says Barnabas, the right of appeal is basic to the judicial system.The court can do nothing to stop your trying, says Judge Vail--do you have anything else to say?  No, says Barnabas, sounding as if he desperately wishes he had--nothing more, your Honor.  Very well, says Vail, case is closed, court is adjourned.  Quentin grabs the railing in front of him in both hands, looking as if he might snap it.

Jail - Daphne, disbelieving, says, Quentin, I still can't believe it really happened.  It did, he says--Barnabas has gone to see the judge again--"But I think it's a waste of time."  Don't talk like that, pleads Daphne, as long as you're alive, there's hope.  As long as I'm alive, says Quentin, I've got to be realistic now, start talking about what's going to happen when I die.  Maybe you can talk that way, she says, convinced you're going to die, but I can't--now if there was only some way we could get you out of here.  Yes, if, he says, but there isn't, so there's no point in discussing it--you listen to me--the most important thing for you to do is forget about me.  No, she protests, there will be a way--you know I love you.  They're holding each other through the bars when Barnabas enters--I've just come from the judge, he reports.  Is there a chance? asks Daphne anxiously.  They won't listen to reason, says Barnabas, defeated, I'm afraid that Grimes' death and the letter he wrote to Dawson turned the tide--I tried to convince them the trial was deliberately planned by someone out to destroy you, but it did no good.  Did you tell them Gerard was behind the whole thing? asks Quentin.  (He finally gets it!)  Gerard? repeats Daphne.  Yes, says Quentin, does that surprise you?--think about it for a while--in material gains, he has the most to gain if I'm out of the way.  No, Gerard said he was for you, I always thought he was, says Daphne.  That may have been his most brilliant tactic, explains Barnabas--if Quentin were found guilty, then Gerard stood to win and keep everything--but if Quentin were found innocent, he would still win, because he remained Quentin's friend and stood by him.  Daphne paces, taking all this in.  He has both sides to play, says Quentin, but believe me, he intends to see this through to the end--but he can't claim a complete victory until they've taken my head!  Don't talk that way! begs Daphne, you're not going to die--Barnabas, there must be a chance for an appeal!  I urged them to consider this, but I had no success, says Barnabas sadly--unless we find some other solution, I'm afraid, Quentin, that it's all over.  Quentin looks as if it already is.

Gerard returns to Collinwood, smiling hugely, very pleased with himself.  He puts on a sorry face when he enters the drawing room and sees Gabriel, who asks, why aren't you smiling?--you finally won  On the contrary, says Gerard, sitting on the sofa, putting tears into his voice, I've lost a friend, the best friend I've ever had.  Isn't that touching? sneers Gerard--isn't it time you stopped this cheap little charade of yours?--you've secured the family fortune, that's what you wanted--why don't you just admit it like a man?  I haven't changed roles here at all, insists Gerard--I'm still trustee until Tad reaches the age of 21.  But he'll never reach that age, will he? asks Gabriel, you'll see to that, won't you, old boy?  Gerard stands and walks threateningly toward Gabriel--"Now you listen to me," he says--"I've cut you off once with your allowance, I can do it again if you keep talking as you have been."  My, my, mocks Gabriel, the lord of the manor is angry.  Yes, says Gerard, the lord may giveth and the lord may taketh away--bear that in mind.  Edith enters--Gerard, she says in a lilting voice, I just heard the news about Quentin.  Don't be so happy, my dear wife, says Gabriel, wheeling himself out--we may regret Quentin's departure yet!  Edith closes the double doors, and, grinning, asks Gerard, did you see the on Gabriel's face?  Yes, says Gerard, I'm afraid he doesn't like it at all.  Isn't that too bad? she asks, giving him a long, hungry kiss. "I want to see you tonight," she says intensely.  Tonight? he asks uncertainly.  Yes, she says, let's say about 11--the same place?--you can make it, can't you?  Yes of course, he says.  Good, she says leaning her head against his face, now that I've done my part, I hope you haven't forgotten that you said I have something coming to me when it was all over.Gabriel, his ear to the door, listens to this exchange. Not at all, my dear, promises Gerard--you will get what you deserve--don't worry about that--you will get yours.  (!)

4:20 - Edith, joyous, sits by the fire.  Gabriel wheels in--are you thinking about tonight? he taunts.  What does that mean? she asks.  I thought maybe you and your friend would plan a party celebrating Quentin's forthcoming execution, he says.  I don't know what you're talking about, she retorts.  I happen to know you're going to meet Gerard tonight, he says.  Oh, don't be ridiculous! she says.  Edith, I always knew you never had any class at all, he says, but I never thought you'd allow a fraud such as Gerard to get such a curious hold over you.  Gerard has no hold over me, insists Edith, but if he did have, it would be because he, unlike you, is a man who gets what he goes after--"I'm through with you, Gabriel, I'm going to start living before it's too late."  I doubt that, Edith, says Gabriel, I really do.  And who's going to stop me? she asks.I'm going to stop you, he says.  How? she asks, incredulous--you're a hopeless cripple--well, I am going to meet Gerard this evening, and there is nothing you can do to stop me--so why don't you just wheel yourself up to your bedroom, have your cup of steaming cocoa, get into bed and cuddle up with your hot water bottle?"  Laughing at him, she goes upstairs.

Barnabas and Daphne return home.  I still can't believe it, she says, he's innocent, we KNOW he's innocent!  The powers that be won't believe it, says Barnabas.  We can't just sit by and watch him die! insists Daphne.  I have no intentions of doing that, he assures her.  What are you going to do? she asks.  I don't know, he says, at least we have a week to think about it--you look tired--you should go upstairs and get some rest.  I don't think I'll be able to sleep--perhaps I'll try, she says--good night, Barnabas.  She heads upstairs.  On her way up, she thinks to herself, Barnabas says he will do something--but can anyone do anything anymore?--maybe there isn't hope--why did it all happen?--this house--why does it affect people's lives so?--it does something to everyone who comes into it!--oh, I wish I'd never come here!  Beginning to cry, she hears Quentin's theme playing somewhere.  Checking the upstairs bedroom, she realizes it's coming from the East Wing, which isn't possible--that part of the house has been closed for years.  She goes in.

Nearly 11 PM - Edith exits the kitchen, book in hand, and enters the drawing room.  She closes the double doors and hears something banging outside in the storm.  Nervous, she closes the noisy window, but hears another sound, followed by footsteps.  Who's out there? she calls.  No reply.  Who just came in?  She listens against the double doors, then opens them, but no one is there.  I know someone is out here, she says--who is it?  The front door blows open, terrifying her; she closes it.  Please answer me! she begs--who came in this house?  The lights flicker off.  Gerard, is it you? she asks--have you come back?--please answer me, Gerard!  She runs upstairs and bangs on Gabriel's door--someone is in the house! she wails, but receives no response.  Gerard, she says, tell me it's you, oh, I'm so frightened!  She enters a bedroom and finds Gabriel's wheelchair--without Gabriel in it.  She swivels around and finds herself facing her husband, standing on two feet.  Your lover isn't here to protect you now, is he, Edith? asks Gabriel--no, it's just you and me, alone in this house.  You can walk! she cries.I've been able to walk for years, he says, shutting the door. You've been lying all these years, no one ever knew! she says.  Someone knew, says Gabriel, two people--Randall, Father...  Randall...your father, repeats Edith--you killed them!  That's right, Edith, says Gabriel, wrapping his strong hands around his wife's throat--and you're never going to live to tell about it.  No, Gabriel, stay away from me, no! she shrieks.  Gabriel babbles incoherently about "taking something from you," about being a man and getting what I want tonight--and I want you DEAD!!  He throttles her to death (although she blinks a few times and rocks her head).  How do I dispose of the body? wonders Gabriel--I know a place that you loved--somewhere in the hallowed halls of Collinwood--I'm going to find a spot to bury you!

Daphne follows the sound of Quentin's song to the East Wing, but doesn't understand how.  She pushes open the doors, finding only an empty room.  She enters.  I don't understand it, she says, looking around, I'm sure the music came from this room!--she backs out, closing the doors again.  Hearing someone knocking, she re-opens the doors, but this time, it's filled with light and furniture.  What's happening to me? wonders Daphne--I'm dreaming, I must be dreaming.  She finds herself unable to enter, stopped by the same barrier that usually prevents people from entering parallel time.  She sees a man with dark hair enter--"Come in," he calls.  A blonde woman who looks just like Valerie enters the room.  "Valerie!" calls out Daphne.  Well, you look like a man with a most intriguing secret, the blonde says to the dark-haired man.  One of the things I love about you, Catherine, he says, is that you know me so well--I can't say that about my own family.  Daphne listens, perplexed.  Isn't it the burden of the arts to be misunderstood? asks Catherine.  For most of us, he replies, but I've never been troubled by it.  I know, that's what I admire about you, says Catherine, your reluctance to abide by social convention.  Such as? he asks.  The fact that we're alone in this room, unchaperoned, points out Catherine--your mother would take a dim view of that.  I've always made my own rules, the man says, and as long as they don't hurt anyone, I believe that's the way you should live--you do, too, that's why you're here.  Yes, says Catherine, that's true--so why don't you tell me what your secret is--why did you ask me here tonight?  I suspect you've already guessed, he says.  But you didn't ask me here to guess, says Catherine, I want to hear it from you.  Will you, Catherine Harridge, take me, Morgan Collins, to be your lawfully wedded husband? he asks.  Daphne is startled to hear her own last name.  Catherine's eyes widen as she turns to him--"Oh, Morgan."  My proposal shouldn't be that much of a surprise to you, he says, surely you know how much I've loved you.  Yes, I do know that, she says, and I promise you you'll have my answer very soon--I mean a woman shouldn't make up her mind about a proposal of marriage on the spur of the moment--even if she does know in her own heart what she wants.  I can give you everything you've always wanted, promises Morgan--you know you belong here at Collinwood.  You don't have to convince me, she assures him, there's no one that I love more than I love you--I just need a little time to think, that's all.  You shall have it, he says, kissing her mouth--I love you--if you should make up your mind before you leave this evening, you'll find me in my studio.  He caresses her chin with his fingers and leaves the room.  Catherine sighs, smiles, looks dreamy-eyed.  There's a knock at the door.  Who is it? asks Catherine.  It's me, responds a girl's voice.Daphne gasps as she sees her double join Catherine.  I thought you were going to wait downstairs, says Catherine.  I cannot tell a lie, confesses Daphne--I followed you up here and waited in the corridor.  And listened? demands Catherine.  Daphne nods.  That's unforgivable, teases Catherine.  I know, says Daphne, but you'll forgive me because you would have done the same thing yourself.  If I couldn't control my curiosity, perhaps I would have, admits Catherine, smiling.  I want to know why you didn't give Morgan an answer just now, says Daphne.  You heard what I said, Catherine reminds her.  I know, says Daphne, but I didn't believe your reason--Catherine, you're my sister and I love you, and I have to be honest with you, especially when you aren't being honest with yourself--you asked for more time because you're not sure of your love for Morgan.  But you heard me tell him...begins Catherine.  I know what I heard, says Daphne--and I also know your entire life, you've only loved one man.  Catherine turns away--he's been gone five years, she says.  I know, says Daphne, but there are rumors he's coming back!  I don't want to talk about it, says Catherine.  It's something you can't avoid, says Daphne--even when you were children, everyone knew how you felt about each other.  When he left Collinwood, he left my life, insists Catherine.  No, says Daphne, he'll never leave your life--and you'll never leave his.  He belongs to the past, says Catherine, and I must lead my life by what is to be--not by what has been.  He would be the last person in the world to accept that, says Daphne.  We're discussing my life, not his, Catherine reminds her sister, and I will decide what is to be, not anyone else.  Including me, says Daphne, and I'm very sorry if I seem to be interfering.  Oh, no, I know you meant well, Catherine assures her--you're so thoughtful and considerate, I've always considered myself lucky to have a sister like you.  I only want you to be happy, says Daphne--I just don't see how you can be in this house, I know I couldn't--there's a coldness here, a kind of terrible hostility, I feel it every time I come here--it frightens me.  Perhaps if I come here, everything will change, suggests Catherine.  I'm not sure that anything can change this house, says Daphne.  We'll see, predicts Catherine.  She walks away.  Daphne RT is suddenly faced with an empty room again.  She enters the dark room and looks around, sure she's having hallucinations--how can this be possible?--but no, I know what I just saw--but how?  She closes the doors and leaves.

Gerard carries Edith's body in his arms--you're going to love it in the East Wing, he assures her--such solitude you've never known.  Hearing someone coming, he hides until Daphne hurries past.  Then he drops Edith into a chair and goes elsewhere.  Daphne finds a table overturned in the hallway.  She calls to Edith, but finds only Gabriel's empty wheelchair.  Gabriel appears in the doorway, but Daphne doesn't see him.  She rushes from the bedroom.  Gabriel runs downstairs, turns around in the foyer, and closes himself in the drawing room.  Daphne heads downstairs--"Edith?" she calls.  Gabriel listens from the other side of the doorway.  Daphne opens the double doors and gasps when she sees Gabriel staring at her, blood in his eyes.

NOTES:  There is a huge discrepancy here--this Edith is supposed to be the ancient lady we see in 1897, Quentin's grandmamama, the one with the will hidden in the coffin lining.  Here she has died.  There are many ideas about how this can be so, but a popular one is that Gerard/Judah brought her back to life.  There must be some explanation for her dying here, yet appearing in 1897 as an old woman.

Is Daphne doomed?  Will Gabriel add her to his list of murderees?

What strange parallel word did Daphne see?  Catherine, Morgan, Daphne II?  Who is the mysterious man Catherine has loved since childhood, but who she seems ready to forget and marry artist Morgan and live at Collinwood, which neither Daphne cares for?

Gerard didn't even seem all that thrilled about meeting Edith for sex.  One suspects with all the girlfriends he's amassed thus far, the man must be exhausted, son of Satan or not.  He's only in a human body, after all.

It doesn't sound good at all for Quentin, does it?  Will he beheaded?  What about Desmond, what will his fate be?  Stay tuned.  We're coming to the end of 1840/41.

Great performance by Pennock.  I couldn't understand much of what he was screaming at Edith as he strangled her, but the look on his face said it all.  He was giving her what she deserved, and if he hadn't gotten it at the hands of her husband, it sounds like Gerard was going to give her what she deserved, too--all very kinky, especially for 1970.

Love, Robin

1181 - What did you say your name was? asks Judge Vail.  Joanna Mills, the dark-haired woman replies.  Step forward to the bench, urges the judge.  This is some gigantic hoax! Pronounces Dawson.  Barnabas leans forward and asks Quentin, is this Joanna?  I don't believe it but yes, it is, he says.  My name has been mentioned in this trial, says Joanna, that's why I'm here to give testimony.  I ask the court not to allow this woman to take the stand, demands Dawson.  Why? the judge asks.  On the grounds that she cannot possibly be Joanna Mills, says Dawson--that woman is dead, I have offered into testimony the transcript of her death certificate--this woman is an impostor!  Wait a minute, orders Vail, banging his gavel, you have introduced into evidence a death certificate, but it can't possibly be the death certificate of this young woman--unless you believe that this woman you see standing before you is dead--is that what you're saying?  Of course that's not what I'm saying, says Dawson, irritated.  Is counsel willing to admit this woman is alive? Barnabas asks Dawson.  Of course I admit that, this is ridiculous, says Dawson.  Then the defense urges the court to allow this woman to testify, says Barnabas--the defendant is willing to swear this is Joanna Mills.  The defendant will swear to anything to save his neck! roars Dawson.  (Note, Trask is gone; when yesterday's ep ended, he was still there.)  Judge Vail bangs for order.  Dawson apologizes, insisting, this woman is a trick on the part of the defense--they are trying to make this trial a mockery of justice (ha, too late)!  It seems to me the prosecution has already done a good job of that, retorts Barnabas. (Go, Barn!)  I order the bickering stopped, insists the judge--it's leading us no where--the pertinent question before the court is the identity of this young woman--if we can prove she is Joanna Mills, says Vail, then we will be very willing to hear what she has to say.  I have a solution for that, suggests Barnabas.  Speak up, Mr. Collins, says the judge.  The best argument for letting this woman testify was given by the prosecution himself, says Barn.  What are you talking about? demands Dawson.  Wasn't it Mr. Dawson himself, points out Barnabas, who first informed the tribunal of what Joanna Mills actually looked like?--I refer to the sketch he introduced into evidence not more than an hour ago.  Dawson looks pissed.  Barnabas smiles--all the tribunal has to do is study the sketch and decide whether the likeness is of that woman standing here, says Barn, who turns to gaze at Joanna.  Dawson objects.  The judge overrules--we will go a step further and take a sample of this woman's handwriting and study it together with the self-portrait, agrees Vail--we are prepared to confer on this matter and render a decision at 2 PM--court adjourned.  Pleased, Quentin smiles.

Collinwood - Gerard pours himself a drink, grinning.  Samantha, he says, I regret that Quentin's trial is no longer on public display--I'd so much like to be there to see the final plannings put to use--but I believe Charles will re-enact the whole situation for him.  Sam looks unhappy.  Why, he asks, aren't you enjoying my enjoyment?  I can't forget what happened last night, she says--who left those letters?  I told you, I don't know, he grumbles.  It can only be the ghost of Joanna Mills, she frets, she's come back to haunt us.  Why would she come back at this particular time? asks Gerard.  I don't know about such things, says Sam, maybe it's because I've been writing those letters in her name--I don't know!  Yes, says Gerard, you started writing those letters to Quentin and Daphne a long time ago--why didn't she appear then?  I don't know, says Sam, I don't know anything anymore--hold me and tell me everything is all right, please!  She goes into his arms.  He hugs her, assuring her, everything is just perfect--today Trask is nailing shut the coffin on Quentin, testifying about the letter.  Wait a minute, says Sam, moving away from him, you told me Dawson wouldn't introduce that letter as testimony--she puts her hand to her forehead.  He didn't want to, my dear, he says, but when he saw Barnabas could tear Trask's testimony apart, he had no other choice--and so right now, three judges are sitting in conference to give the verdict to Quentin Collins.  Maybe it's all over, says Sam, smiling with anticipation--right now!  Gerard grins back at her, nodding--quite possibly, my dear, he says.

Jail - Quentin paces his cell--Barnabas, he says, I don't see how they can't let Joanna take the stand.  Of course they will, says Barnabas--and when they do, Dawson's case will be ruined.  (He looks so tan; did his cure include a quick trip to Tahiti?)  He's had setbacks before, says Quentin, he always turns up with something else.  Joanna joins them--may I speak to Quentin alone? she asks.  Barnabas, do you mind? asks Quentin.  Of course not, says Barn, and leaves.  Are you glad to see me? asks Joanna.Of course, says Quentin, I'm just in a state of shock--everyone was convinced you were dead.  I know, she says, I was shocked when I found out (?--I think she left out a line about being shocked to find out she was believed dead).  There are a lot of things I don't understand, says Quentin.  It's almost two o'clock, she points out, and we have very little time--I just wanted to see you again, alone, the way we used to see each other.  Listen to me, says Quentin, for the past several weeks, I've been receiving notes from you, in your handwriting--now thinking you were dead, I couldn't understand how the notes got to Collinwood--now that you're alive, perhaps you can explain them to me?  Are you asking me if I wrote them or if I sent them to you? she asks.  Both, he says.  I did not send them to you, says Joanna, as to why I had written them, I would have to see them to answer that.  They were in your handwriting, I'm certain of that, says Quentin.  I did write several notes to you while I was in the sanitarium, she says, but did not send them to you--I don't know how you could have received them.  Quentin turns away--somebody's responsible for it, he insists--perhaps the same person responsible for me being in here.  You're not going to be in here much longer, darling, she assures him--I'm going to do everything in my power to help clear you--you're in serious trouble and you need me--I was always there when you needed me--do you remember?  Yes, I remember, he says, almost as if he wished he didn't, but...do you know that your sister's at Collinwood?  This genuinely surprises Joanna, who says, "Daphne, living at Collinwood...I had no idea!  She's been there several months, says Quentin.  But she didn't know the Collinses, says Joanna, what made her come there?  The fact that you were dead, says Quentin, she thought I did it--she came back to avenge your death.  Surely after she met you, says Joanna, she must have realized you couldn't harm anyone.  Quentin gazes at her through the bars--that's true, he agrees--things changed after that, quite a bit.  I want to see Daphne as soon as possible, says Joanna.  Before you do, we must have a long talk, says Quentin.  I know, darling, she coos, we have so much talking to do--I'm sure so much happened while I was thought dead.  Yes, agrees Quentin, and several things have changed (such as, I'm in love with your little sister).  First we're going to see you get your freedom back, she says, and we'll have all the time we want to talk.  I think we ought to talk first, advises Quentin.  Barnabas enters and apologizes for intruding--the judges have announced they are ready.

Courtroom - Judge Vail tells those assembled, we accept this woman as Joanna Mills and will hear what she has to say--take the stand, Miss Mills.  Quentin grins.

Joanna is sworn in.  Dawson objects--if this woman is Joanna Mills, she isn't qualified to testify, since her last known residence was an asylum.  Quentin glares at Dawson.  From which, incidentally, she escaped, adds Dawson.  Barnabas rises and asks the judges, are we going to go through the ordeal of questioning this woman's insanity?  No we are not, says Vail firmly, the prosecutor's objection is overruled.  Exception! demands Dawson.  Noted, says the judge.  Since the forthcoming piece of testimony is unprecedented, says Dawson, I'd like to know whose witness this woman is to be.  At the moment, says Vail, she is the court's witness, but you and the defense will have ample opportunity to question her later.  Dawson thanks him curtly and sits.  Is it true you escaped from an asylum? Judge Vail asks Joanna.  I was there, she admits, but I did not escape--I decided one day I didn't need to be there anymore, so I left.  Vail: Without telling anyone you were leaving?  Yes, that's right, she says.  Tell us why you were in the asylum.  I was quite emotionally disturbed and needed help, says Joanna--I was in love with a man I knew could never be mine.  From the records we have seen, you were dead, your body was found, washed ashore, below the Bedford Cliffs--what do you have to say to that?  I know nothing of that, says Joanna, except that obviously a great mistake was made--after I left the asylum, I went to Boston and led a very quiet life.  No further questions, says the judge--Mr. Dawson, do you wish to interrogate the witness?  Dawson stands--the prosecution still contends this woman is not a valid witness in the case, he says, therefore we have no questions.  Barnabas is asked to cross-examine the witness.  Smiling confidently, Barnabas rises and asks, "You said your emotional disturbance stemmed from your love of a man you knew you could not have--are you willing to identify that man now?"  She replies, "I was and am in love with Quentin Collins."  Barnabas: How long ago did you return to Collinsport?  Three days ago, she answers.  Why did you return?  I wanted to see him again.  Why? demands Dawson, to resume your illicit affair, to try to destroy the Collins' marriage?  Barnabas objects.  Vail sustains--Mr. Dawson, your opinions are out of order--you were given your chance and declined it, and this court will entertain any valid objections you may have, but I have to ask you to keep your personal emotions under control!--go on, Mr. Collins.  Barnabas asks Joanna about the letter the prosecution alleges was left in a tree by the spirit of someone they think is she--do you have any knowledge of this letter?  Yes, I do, she says.  Tell the court who wrote it.  I did, she says.  How did you come to write the letter?  Dawson looks angry.  The evening I decided to visit Quentin at Collinwood, on my way there, I stopped at the large oak tree in the woods where we used to meet, she says--leave notes for each other there--when I moved close to it, I was surprised to discover a note for me from Quentin--I thought somehow he'd learned I was back and this was his way of surprising me, so I decided to return the surprise by answering his note--then, when I returned to the village, I found out Quentin didn't know I was back, because he was on trial for his life--I didn't know where that first note came from or what it was doing in the tree.  The defense is grateful for your testimony, says Barn--you may leave the stand.  She does.  I thinks it's very clearly established there was nothing supernatural about the letter, says Barnabas--the spirit Mr. Trask thought he saw was obviously someone who is alive--this witness--her testimony shows there was absolutely no communication between the living and the dead--in light of Joanna Mills' testimony, I move that the testimony of Lamar Trask be stricken from the record.The tribunal is willing to consider that motion, says the judge.  They confer.  Quentin smiles with delight; Dawson looks as if he's about to spit nails.

It's the opinion of this tribunal that the remarks made by Miss Mills under oath clearly invalidate the earlier testimony of Lamar Trask, announces Judge Vail.  Dawson rises and shouts, "This is outrageous!"  Let me finish! orders the judge, banging his gavel--therefore, the motion of the defense is granted, and the testimony of Trask is stricken from the record.  Barnabas grins with satisfaction.  The judge continues--it's the further finding of this court that Miss Mills' testimony has raised some rather serious questions regarding certain events and evidence in this trial.  Dawson rises and races to the bench--I ask that your last statement be clarified!  To Dawson, Barnabas says, I believe it has become very obvious, not just to the court, but all of us here, that someone is deliberately trying to incriminate the defendant.  I was addressing the court, Mr. Collins, says Dawson gritted teeth, not you.  Mr. Dawson, says Vail, the court is now most curious about earlier testimony concerning the appearance of a so-called ghost at Collinwood, but I'm sure the defense is amply prepared to deal with that subject.  I am, says Barnabas confidently.  Dawson requests a recess, which is granted, until 10 AM tomorrow morning.

9:10 - Courthouse - Gerard is amazed when Dawson reports that Joanna appeared in court and took the stand--how do you explain this?  I told you it was dangerous to use that letter! Dawson reminds him.  Are you absolutely sure? asks Gerard.  Of course I'm sure, says Dawson.  Explain it, demands Gerard.  I'm not interested in explaining it, says a furious Dawson, we had it, we had it--that judge was only syllables away from offering a verdict favoring the prosecution, and then she walked in!--we are in very serious trouble at the moment--we need a stronger weapon--I am aware of the dangers involved, but I say we must use the head of Judah Zachary!--are you listening to me?  Yes, I heard you, says Gerard, I just need time to think.  We don't have any, says Dawson, we have to have something big by 10 tomorrow morning.You will have my answer tonight, promises Gerard...Samantha--I forgot to tell Samantha!

Collinwood drawing room - Samantha sits on the sofa and rises to answer the door.  It's Joanna Mills.  Sam is stunned.My name is Joanna Mills--I understand my sister Daphne works here--may I see her?  Joanna Mills, says Sam through trembling lips.  Yes, says Joanna, you are Mrs. Quentin Collins.  Yes, says Samantha, I am. You and I know of each other even though we've never met, says Joanna--I assure you I don't mean to disturb you, I only want to see my sister.  Your sister is upstairs, says Sam.  Joanna thanks her and enters.  Sam stares after her, disbelieving.  Gerard enters the house--Samantha, he says, something has happened.  They both watch Joanna drift cross the upstairs landing.  Gerard offers to pour her a brandy.  Sam follows him into the drawing room--SHE is the one I saw by the tree, she reveals.  Get hold of yourself, he commands--there's nothing to worry about, even if she has returned.  "That woman is dead," states Samantha.  Control yourself! he orders.  She's dead, insists Sam.  Obviously there's been a mistake, says Gerard.  No, there's no mistake, she says.  Anyone in their right mind can tell Joanna Mills is alive, says Gerard."No, she's dead!" cries Samantha--"I know, because I killed Joanna Mills!"

NOTES:  What's this?  Sam is a murderer?  If that's true, how can Joanna be here?  Samantha sure was shocked to see her!  How will Daphne react when her sister goes up to see her?  And it seems that Joanna still carries a torch for Quentin, which could mess up his new relationship with Daphne, her sister.  Awkward, possibly dangerous, possibilities there.

Great courtroom theatrics--I love watching Dawson squirm.  Will Gerard be forced to use the head of Judah Zachary to accomplish what he wants--Quentin's death by beheading?

Lee Beery isn't a very good actress--or is it just me?


1182 - In the re-shoot of yesterday's final scene, Samantha reveals, "I killed Joanna Mills!" with much more force and passion.  That's impossible, insists Gerard, whatever you're saying, Joanna Mills is alive--tell me everything.  Samantha twists her hands together--I don't want to talk about it, she says.  You must, he says, her appearance has put a damaging effect on the trial against Quentin--you must tell me everything, if it is true, I must know!--you do want Quentin dead?  Yes...no, she says--I don't love him, I love you, do you know what my life has been like?--the guilt, anguish, pain?--I didn't mean to do it, please believe I didn't mean to do it!, she sobs--and now she's come back for her revenge!  She falls into his arms.  He pushes her away, angrily ordering her, get hold of yourself--there's no need for this, you've caused enough trouble as it is--I demand you get control of yourself and tell me everything!  She moves away from him.  Now, from the beginning, he says, when you first learned of Joanna Mills, what did you do?  Nothing, says Sam, I couldn't let anyone know that I knew--oh, Gerard, I just couldn't!  And when Quentin came to you for the divorce, what did you do? asks Gerard.  I refused him, of course, you know that--and I almost won--he was going away for a while, but he was going to come back to me and I had won!--I couldn't bear the thought of her taking me away from him again--I was almost happy for a while--until those letters started coming from the asylum--it was the same thing all over again!  She bursts into fresh tears.  Hold onto yourself, he says--what was in the letters?  There were two, one from the administrator of the asylum, says Sam, asking Quentin to come there--it appears she had become quite ill and that she was calling Quentin's name.  Why didn't he go? asks Gerard.  Because he was away at sea, says Sam, I was very frightened--I knew that if he'd been here, he'd have gone to her--I was feeling threatened by her all over again, so I went in his place--I didn't tell anybody, nobody knew, not even at the asylum.  We flash back now, getting a picture, as Sam continues, explaining, I went to the grounds and found Joanna there alone.  I knew her immediately--she was exactly the same girl I'd seen once before, with my brother, at a concert in the village.  We see Joanna sitting there, a rose in her hand, which she brings to her lips.  Except for one difference, says Samantha--now she was mad.  Samantha watches Joanna clutch the rose, singing a few bars, then reaching out and murmuring, "Quentin!  Quentin!"--and she sinks down on a bench, crying.  Samantha approaches her.  Did you come with a message? asks Joanna. No, replies Sam.  Why are you here? asks Joanna, I was expecting someone else.  Expecting someone HERE? asks Sam.  Joanna, wrapped in a white shawl, asks, is that so strange?--my lover is coming soon, and when I heard you, I thought you were he.Your lover--might I know him? asks Sam.  Oh, yes, everyone knows him, says Joanna.  What is his name? demands Sam.  It's a most beautiful name, says Joanna, holding the rose--his name is Quentin...Quentin--she sings a bit more.  What will you do if he doesn't come back, today or ever? Sam demands angrily--what will you do then?  But he will come back, insists Joanna--today!  He's gone away for many months, says Sam, long months, lonely months.  No, protests Joanna.  Yes, says Sam, and you might never see him again!  Crying hysterically, Joanna sits back down on the bench, cowering away from Samantha--who are you? she asks--I hate you--get away!  Samantha leans forward to taunt Joanna--Quentin will never see you again--never--never--never!  Stop it, stop it, stop it! shrieks Joanna, crying wildly--she stops, more calm, and asks, "You never forgave me for leaving your brother, did you?"  You know who I am, realizes Samantha.  Yes, of course, says Joanna, you always looked so proud--carried it better than anyone--Mrs. Quentin Collins--oh, how I envied you that!--I used to watch you, I'd sit in my carriage and watch you moving in and out of the shops, so proud to be his wife--Mrs. Quentin Collins, oh, I did envy you.  They told me you were mad, says Sam resentfully, you're not mad at all--you're just horribly cruel.  Cruel?-- for loving him? asks Joanna--for giving him something no other woman had ever given him?  You are a monster! blares Sam.  Oh, I'm sorry, says Joanna, whoever you are, you must go--Quentin is coming to hold me--thank you for your message--good day--and, loopy again, she sings, rubbing the red rose against her chin.

We return to Gerard and Samantha in the present.  Vindictively, Sam says, "I should have killed her then--oh, why didn't I kill her?--can you imagine me standing there listening to her telling me what their life had been like together?--telling me about all the things that had been denied to me--oh, how I loathe that woman!"

Why, asks Gerard, did you go to her again?--she was obviously insane--Quentin would never have gone back to her--it wouldn't have been allowed.  At that time, possibly not, says Sam, but by the time the next letters arrived, it was quite clear that she had changed--the letters were addressed to Quentin, in her hand, because he was away, I read them.  Of course, says Gerard.  She was not the same woman--she was sane, there's no doubt about that, says Sam, she told him as much, and said she wanted to leave the asylum, asked him to come for her--I didn't know what I was going to do, but I knew I had to stop her--I wrote her to meet me on the grounds...

Back to the asylum in the past, and Sam continues her story:  Joanna waits on the same bench.  Samantha emerges from the fog.  Why are you here? asks Joanna--I was expecting Quentin--did he receive my letter?  No, he's away as sea, answers Sam.  Did you send it on to him? asks Joanna.  No, says Sam.  I see, says Joanna--will you?  No, says Sam.  You cannot keep us apart, insists Joanna, not this time--we know what it's like not being together, and we won't let you keep us from being together.  Isn't there anything I can say or do to stop you? demands an infuriated Samantha.  Nothing, says Joanna quietly, I have suffered too much--I need him, and I will have him.  He's away at sea, trying to forget, says Sam--don't do this, please give him a chance!  Give who a chance? asks Joanna--you never cared for Quentin--you only cared about yourself--you and your insufferable pride, going in and out of the shops with your back held high and your head high!  I love my husband! cries Samantha.  You never loved your husband, denies Joanna, that's why I could have him--that's why he came to me!  You can never have him, declares Sam bitterly--you won't have him--I'll stop you, you'll see, I'll stop you!  Never! says Joanna, I will know when he returns and will be there waiting for him--and I will hold him again!No! says Samantha, grabbing Joanna, who promptly falls over the cliff edge.  Samantha kneels to look down, horrified.

We can only assume that she is dead, says Gerard--if she fell on those rocks--but if she didn't fall on the rocks--if there had been a high tide at the time, the water would have covered them.  It doesn't matter, she fell, she's dead, insists Sam.  Unless another body washed up on the shore, suggests Gerard.  I don't care what you say, I don't care if you say she didn't die, wails Samantha, I know that she did--and she's come back to kill me--she propels herself into his arms, begging,  help me, please, I'm so frightened!

Daphne enters Collinwood and spots her sister standing at the top of the stairs.  "Joanna," says Daphne, "you've come back--you've come back for me!"  Joanna smiles lovingly at her sister.

Joanna starts downstairs.  Terrified, Daphne begs, don't do this--I don't want to go with you--I don't want to die--help me!--somebody please help me!  She covers her face with her hands.  Gerard opens the double doors.  Daphne runs into his arms, begging for help.  It's all right, Gerard assures her, your sister is alive--she testified at Quentin's trial--she is alive!  Daphne turns to her sister-- "Alive?--you're not...dead?"  (Oh, that is too lame!)  No, smiles Joanna, hold my hand.  Daphne does so, feeling its warmth.  I'm alive, says Joanna.  Daphne hugs her tightly.  My darling sister! croons Joanna--are you afraid of me still?--I don't want you to be--I know some of the strangeness that's been going on in this house.  I don't understand you, says Daphne, hugging her again.  Sam gazes resentfully at the sisters.  Daphne, let's  go up to your room and talk, urges Joanna--please forgive us, she asks Gerard and Samantha. Talking, they go upstairs.  Gerard closes the doors.  Joanna is obviously alive, Samantha, he insists--her hands wouldn't be warm if she were dead--she is not a ghost.  Won't anyone listen to me? cries Sam--that woman is dead, I tell you, she's dead.

Daphne's room - Daphne, asks Joanna, are you feeling better--I don't know how I feel about being such a shock to everyone.  You always liked surprising people, says Daphne--I remember that.  Surprise, yes, says Joanna, but...  Do you remember Mother's birthday was the last time I saw you? asks Daphne--Mother was so ill, and I was there, I baked a cake for the two of us--and suddenly you appeared--you'd traveled a hundred miles!--while you were there, Mother was almost as well as she was before she was taken sick.  I should have been a doctor, says Joanna.Do you know what else I remember about you? asks Daphne, smiling--you always made everything right.  No, says Joanna, I only tried to make things right, for a moment.  You're wrong, says Daphne, you always made things right, you came back and testified for Quentin and now perhaps he'll be saved--  and it's because of you.  You make me sound like a good fairy from one of your storybooks, laughs Joanna.  That's what you always were to me, Daphne assures her.  They hug.  It's so good to have you back, says Daphne--when I was told you were dead, I didn't think I'd ever known such pain--or hatred--for Quentin--I blamed him at first for your death, and wanted him dead, too, it was as if a part of me died with you.  Darling, you shouldn't blame Quentin, says Joanna.  I don't anymore, says Daphne, I know now Quentin would never deliberately hurt anyone.  Never, agrees Joanna.  But then those terrible letters started coming, letters in your handwriting, explains Daphne, they were to Quentin and me, and suddenly, you became a dreadful threat to my life--and I'd loved you so much!  Poor darling, sympathizes Joanna.  They were in your handwriting, says Daphne, how could that be?  They couldn't have been, insists Joanna, I didn't write those letters--except those I wrote to Quentin while I was in the sanitarium, but I never mailed those!  But, says Daphne, taking one of the letters out of her desk--what about this one, it terrified me, I was certain you'd written it.  Those aren't my esses or t's, points out Joanna--she writes, showing her sister how she makes them.  I see, says Daphne, but if...it doesn't matter--I'm just so glad to have you back--she takes Joanna's hands in hers and asks--what did you do?--where did you go when you left the asylum?  I went to Boston, says Joanna.  What for? asks Daphne.  I don't know, says Joanna, I guess I went there because I wanted to be in a city where I could be one of many.  But why Boston? asks Daphne.  For the obvious reason, says Joanna, I wanted to be close to that part of my life that gave me the most joy--and pain.  You mean Quentin? asks Daphne hesitantly.  I suppose so, says Joanna.  You're still in love with him, aren't you? asks Daphne.  Laughing, Joanna says, you still think of me the way you did when you were a little child--you're such an incurable romantic--we must have many, many talks like this, long ones, may I come and see you again, soon?  Of course you may, says Daphne, any time--we've got to be very sure nothing ever happens to you again, never again!  I promise you, my darling sister, says Joanna, nothing will.  She gazes at her little sister with love.

Sam paces the drawing room--Gerard, how long do they plan to stay up there? demands Sam--they're plotting to kill me--you must stop them, Gerard, you must stop them!  Stop it, he says, you're acting like a hysterical little child.  Joanna knocks, apologizing for intruding--thank you for letting me see my sister, she tells Samantha.  Yes, says Sam.  And this gentleman, she says, referring to Gerard, I don't believe we've met, I think I neglected to introduce myself.  They exchange introductions.  It's such a pleasure to meet you, says Joanna--I trust we shall see each other again.  She leaves.  Did you hear that? asks Sam, her voice shrill--did you hear what she said?--she's coming back--I killed her, she's dead and she's going to come back to kill me!  Her voice rises with hysteria.  Gerard grabs hold of her, ordering, listen to me!  She begins to cry.  He takes her in his arms--go upstairs and relax, he urges--take a rest--go on.  Don't leave me, she begs.   Never, he swears.  He closes the doors when she leaves.  Joanna Mills, he says, I may learn to become quite fond of you--you can perhaps be most helpful with Samantha--and certainly with Daphne.  He fishes his devil's symbol from his pocket and says, sitting by the fire, "There is a world, Daphne, awaiting you, a world you don't know very much about, but slowly, slowly, slowly coming to it--that world you want, Daphne, and that world wants you, so now, dream, and in your dreams you will not remember except in the darkest channels of your mind!"

Daphne yawns, realizing it's happening again--I want to sleep, I must sleep--what is really happening?  She falls asleep and dreams: Gerard, wearing a dressing gown, in bed with her in the bridal chamber.  Let me just look at you, he says, you're so very beautiful--those eyes, those lips...every day you become more and more beautiful, more fascinating, more real, more woman--I want to see the changes that you feel--I love you, so very much.  She reaches up to him--I love you, too, she murmurs--and need you.  They kiss passionately.  You told me you'd show me a world I'd never known, says Daphne--and you have, and it's filled with happiness and joy--I don't know why, I don't understand it and I don't care--all I know is that I have you and that's all I ever want.  They kiss.  I thought once I wanted another man, she says, I was so foolish--I love you, Gerard!  The dreams ends.  Daphne awakens and leaves her room.
She goes to the bridal chamber and finds Gerard there.  You look as if something is bothering you very badly, he notes--well it's time, my dear, time to make a very important decision for the both of us--he takes her hands in his and asks, "Daphne, will you marry me?"

NOTES:  Have Gerard's dreams been effective enough to convince her, in her real life, to love him and want to marry him?  It doesn't seem that way, but who knows?  Perhaps this last dream did the trick.  Perhaps Daphne will feel concerned about Joanna's relationship with Quentin and want to get out of their way.

I do not like Joanna and never have.  I can't imagine Quentin loving her, not one bit.  She doesn't seem at all like his type.  While I was glad to see Daphne get her sister back, their scenes together left me cold.

I am, however, enjoying the torment Samantha is going through.  This is one of the best-drawn, multi-layered characters on DS, especially in the episodes since Barnabas was introduced that focused on the spooky stuff.  You can understand why Sam did what she did, although it doesn't appear she intended to kill Joanna; that was an accident.  But she was angry enough to do so, at least IMHO.

So, is Joanna truly dead?  Sam seems so sure she must be, yet here she is.  Gerard is stringing poor Sam along and romancing Edith while courting Daphne in her dreams.  Where will this all end--which woman, if any, will get Gerard/Judah?

Love, Robin

1176 - Desmond waits in the jail cell, his face morose.

Rose Cottage.  Flora, says Gerard, I know the strain you're under is interfering with your work--it's quite obvious.  I'm worried about Quentin, she says, if only there was something I could do!  Desmond is doing enough, he assures her.  We should all do more to help clear Quentin, insists Flora.  Is that aimed at me? asks Gerard.  My dear Gerard, I did not mean you specifically, she says.  I'm glad, because I am doing everything I possibly can, he says.  That's the trouble with this whole thing, says Flora, we all get nervous and turn on each other.  I know you didn't mean to turn on me, he says.  Where is it all going to end? she asks, this trial goes on and on!--and where could Barnabas have gone?--he's been missing for three days!--what could have happened to him?  Trask seems to think... begins Gerard.  I don't care what Trask thinks, says Flora curtly.  Please, he says, Trask seems to think Barnabas left town because he didn't want to testify for Quentin.  How dare he think a thing like that? demands Flora--Gerard, you seem to be taking Barnabas' disappearance very easily.  Now, Flora... objects Gerard.  Yes you do, she insists--Barnabas left this house after dinner with us and hasn't been seen since.  Leticia bursts in, crying.  How did the trial go? asks Flora.  (I should think that obvious).  Covering her mouth and shaking her head, Leticia hugs Flora, sobbing, "Desmond!"  What happened to my son? pleads Flora.  He's been arrested! reports Leticia--for witchcraft.  Flora turns an accusing eye on Gerard.

I can't believe it, says Flora--how can that be?  It's all my fault, wails Leticia.  I want to go to him immediately, says Flora.  They won't let him see anyone for an hour or so, says Leticia--I tried.  On what grounds did they arrest him? asks Flora.  If they only hadn't made me testify! cries Leticia.  What could they possible make you tell, what did you say? asks Flora.  They asked me about the head, she says--it is the head of Judah Zachary.  That head was in this house? asks Gerard--that is why Desmond had the journal of Judah Zachary.  What are you talking about? demands Flora.  A warlock, reveals Leticia, who lived in Bedford 150 years ago, tried for witchcraft and found guilty, and beheaded, just like Quentin and Desmond are going to be--she puts her face in her hands and cries harder--I'm sorry, but what are we going to do?  You're going to finish telling me about Judah Zachary, insists Flora.  The head was put on display in the town square as a warning to Zachary's followers, explains Leticia, but it disappeared.  Disappeared, says Gerard, yes, I remember, it's a legend, the head has certain powers, it can possess a man.  It can, says Leticia, it did, it possessed Desmond, I saw it--Flora!--Desmond was fighting it, but losing--I stole the head from him, hid it, and then it began to possess me--the eyes would open, stare at me, and I'd hear a voice in my mind telling me what to do--I told the court that this afternoon--why didn't they arrest me instead of Desmond?  Where is the head now? asks Flora.  Destroyed in the tomb, says Leticia, but Dawson says it wasn't destroyed, that Desmond brought it to Quentin, and now Quentin's been possessed by Judah.  I don't believe any of this! insists Flora.  There is a curse, says Gerard, I remember reading about it in Zachary's journal--before he was beheaded, he vowed he would serve revenge against the three judges and all their families that sentences him to death--Amadeus Collins was one of the judges.  Flora hurries to go to Desmond.  Why didn't you tell me about the head? Gerard asks Leticia--I could have helped you.  We need help NOW, she says--if you want to help someone, help Quentin or Desmond.  IF, Leticia? he asks--if?--if I wish to help someone, this case can be easily solved--all we have to do is find the head and prove it has been destroyed--Quentin can't be possessed by something that no longer exists; Desmond is merely a victim, and no court will ever behead a victim.

Jail - So you told Mother, Leticia, I guess you had to, says Desmond, covering his eyes with his hands--I can just imagine that scene--she'll be here pretty soon, dressed in black, and we'll play out a chapter of one of her novels--I'm not being fair--I wish to God I could make light of this.  Maybe it's not so bad, she says--if we can prove that the head has been destroyed, Gerard says that will end it all.  He does, does he? asks Desmond--if Judah is possessing the body of anyone in Collinsport, that person is Gerard Stiles--prove it, I can't, but I know it, I just know it!  Leticia stares at him--you really think Gerard has the head now?  It's too perfect, says Desmond--Zachary vowed revenge after his death--vowed to kill the judges and all their families--maybe Amadeus escaped, but we haven't--just look at the Collinses now--Daniel dead, Barnabas disappeared, Quentin on trial for witchcraft, me here--who does that leave, Leticia, who?  Gabriel, she replies.  And Tad, says Desmond.  He must never harm Tad, insists Leticia, not the Gerard that brought me to Collinsport, he wouldn't.  He is NOT the same Gerard who brought you to Collinsport, says Desmond, Gerard Stiles is Judah Zachary, and Judah is now master of Collinsport--and the sooner you realize it, the better.  I must go speak with Gerard, says Leticia.  You should not, insists Desmond--please, I don't want him to hurt or kill you, and if you make him force his hand, he will.  Is there no one who can help us? she asks, her eyes sad--no one?  If only Barnabas were here, say Desmond forlornly.

Collinwood  - Julia, where is Barnabas? asks Valerie--right now, I would give every power I possess if I could just see where he is.  Are you really in love with him? asks Julia.  Valerie reaches out and touches her arm--do you still doubt me?  I don't know, replies Julia--no, I suppose I don't, not anymore.  The only comfort I have, says Valerie, is I think he understood at last that I love him--oh, Julia, we've got to find him, he mustn't be... she cries helplessly.  Leticia runs in.  We already know about Desmond, says Julia.  We must go to Judah's tomb, Julia, insists Leticia.  Leticia! cries Julia.  Why would you go there? asks Valerie.  Did you tell her about it, Julia? asks Leticia.  No, says Julia.  Everyone in town knows now, it doesn't matter, says Leticia--we must find out whether the head is still in that tomb, because if it isn't, Desmond thinks he knows where it is.

Flora goes to see Desmond--why didn't you tell me about Judah Zachary? she asks.  Oh, Mother! he says, turning away.  You sound as you did when you were a little boy, she says, and I used to irritate you about your homework--well, we're going to find the best possible lawyer, one who will simply overpower this Charles Dawson.  If only it were that easy, says Desmond, what I don't understand is how Dawson found out so much about that head, and Judah Zachary--it had to be from Gerard, of course.  But Gerard only knew this evening that the head was in Rose Cottage, protests Flora.  Mother, do you believe everything he says? demands Desmond.  I have no reason not to, she says.Am I not reason enough? cries Desmond.  Let's not quarrel, she begs.  Please, just listen to me logically, he says--the journal was read in court this morning; Dawson found the journal in Quentin's lab--how did it get there?--three weeks ago, I found it in Gerard's room, I took it, but before I could read it, I had my mysterious attack--in the excitement, the journal disappeared--there were only two people in that room--you and Gerard.  And you think Gerard took it and put it in the laboratory for Dawson to find? she asks.  But I can't prove it, says Desmond.  I can't be so wrong about someone, says Flora.  Mother, you are--face it! pleads Desmond.

Heading into the drawing room at Collinwood, Valerie spots Gerard sitting there, reading a book.  She wheels around and stops, her back to the wall outside the drawing room.  He is Judah Zachary, she says to herself, he must know where Barnabas is--I've got to make him tell me, but how?--Judah loved me once, when I was Miranda, even though I betrayed him, some part of Judah must love me still.  She enters the room.  Have you heard from Barnabas yet? he asks, rising from his chair, putting down his book.  No, she says, you were at Rose Cottage the last night he was here--didn't he say anything that might give us some clue as to where he is?  I was thinking over the conversation we last had, explains Gerard, he didn't give any indication where he was... he stops; Valerie has begun to cry.  Oh, my dear, he says, you mustn't cry.  She turns, right in his arms, within kissing distance.  How can I help it? she asks.  You and your husband were quite estranged when you first came here, he says.  That doesn't mean we didn't love each other, she says seductively, were you ever in love, Gerard--deeply in love?  Yes, he says, once--very long ago.  But you still remember her? she asks.  Oh yes, he says, at night I would sometimes dream about her.  And if she were ever in trouble, you would still try to save her, wouldn't you? she asks.  No, I would not, he says coldly, never!Taken aback, she says, if you still dream about her, you must love her.  I dream about her only because I hate her and everything she ever did to me, he says--she may not remember, but I would certainly never help her now.  He leaves a frustrated Valerie standing there.

Collinwood drawing room - Julia and Leticia report to Valerie--the head is not in that tomb.  Gerard has it, says Valerie.  Where is Gerard keeping it? asks Julia--if we can find that out, if we can somehow get the court to realize Gerard is possessed by the head...  I wish I could be as sure it's Gerard as you are, says Leticia.  Judah would never let the head be far away from him, says Valerie.  How do you know? asks Julia.  I just know, that's all, says Valerie.  Would Gerard have it in his room? asks Julia.  He's just gone to Rose Cottage, says Valerie, I should go there and look, shouldn't I?--I spoke so bravely just then--I don't feel that way at all, not about searching for that head--I'm just as frightened as both of you are.  She hurries out.  Julia, I've been thinking, says Leticia--if Dawson found the journal in Quentin's lab, maybe we could find something that might help him.  What could we find they didn't? asks Julia.  We can at least make sure there's nothing else they could come back and find, says Leticia.  Let's go there, agrees Julia--if they plant something there, tomorrow or the next day, we'll know something at least.  They leave the house (isn't Quentin's lab in the basement at Collinwood; why did they leave the house?)   The camera focuses on Barnabas' portrait.

It's funny, it sure is, remarks Leticia--a staircase with a door on top!--if you want my opinion, Quentin can be tried for being crazy--imagine building that here, in this room!  Quentin was very serious about this, says Julia, it was an experiment, eccentric, perhaps, but an experiment to transcend time--if you walked up those stairs and opened that door, you might find yourself in another century.  Leticia gazes upstairs eagerly--it's true, I know it, she says--it's true--these stairs lead from our time in 1840 to some other time--I know it!  She starts to go upstairs.  Don't! cries Julia.

Julia pulls Leticia back--what happened to you? she asks.  It's as if I heard someone calling to me! says Leticia.  Who? asks Julia.  I don't know, replies Leticia, we've got to get rid of these stairs--if Dawson ever brings this up in court...  Listen, says Julia, you must never tell anyone the effect these stairs have on you, no one.  I wouldn't, Leticia assures her--would you mind very much me leaving you alone?--it's something about the stairs.  Of course not, says Julia, you go, I'll keep looking.  Leticia coughs and leaves the basement, meeting Valerie at the door, who reports, the head of Judah isn't in Gerard's room, not anywhere.  I'm relieved to know it, in a way, says Leticia--maybe it's not true Gerard is possessed--if only there was some real way of finding out!  She exits.  Julia, where is Leticia going? asks Valerie She's afraid-these stairs, explains Julia--I never knew when I came down them that anything like this would happen.  When you came down them? questions Valerie.  Yes, says Julia, I came down them, that's the way I came here--Barnabas and I had seen the stairs appear and disappear many times--near the playroom in Collinwood in 1970--that final night, when the ghost of Gerard had killed the two children, and the house was burning, and he'd almost captured me--and I suddenly saw the stairs--Barnabas and I were running down the upstairs hall--I reached the stairs--Barnabas wasn't able to--I started to go up, not knowing where they would lead, and when I came down them, I was here in 1840--I don't know whether to be grateful for the stairs, or hate them--because they may have led to Barnabas' death.  Valerie looks despondent.

Leticia plays cards in the Collinwood drawing room.  Reading your own fortune, my pet? asks Gerard.  Startled, she smiles and says, I was just trying to find out what's going to happen to Desmond.  I think he'll have a happy ending, opines Gerard--I'm quite sure--don't your cards tell you that?  I suppose I was too frightened to finish, she admits--sit down, Gerard, let me tell your future.  You've already told it, he points out, and you said of course I would become extremely wealthy.  He sits at the table with her.  That's come true, hasn't it? she asks.  Yes, it has, he says, also that you said I'd never truly love a woman.  She picks up a card and smiles--either I was wrong, or you've changed, luv.  She shows him a queen with dark hair.  Does that mean another woman? he asks.  She takes another card--queen of spades--she will replace someone you loved and lost, predicts Leticia.  He chuckles--you already told me I will never truly love another woman, he reminds her.  She takes the ace of clubs--she will marry you, hating you, says Leticia.  What do you mean? asks Gerard, annoyed.  I only tell you what the cards say, she says.  You're making this up, he accuses angrily her.  Why would I do that? she asks.  I don't know, he says, but it's sheer nonsense!--I will believe only the previous reading.  He walks away, pissed.

Jail - Desmond is angry at Leticia--you never should have taken a chance like that, for your own sake, Gerard must never suspect you--don't play games like that again!  I had to find out, she insists.  Are you convinced now? asks Desmond.  The cards don't lie, says Leticia--the first time I read them for him, I saw his future as he would be as himself--tonight I read the fortune of another man--I saw the future of Judah Zachary--I know it--Gerard has been possessed by Judah.  There's only one way to end this, says Desmond, sounding crazed--if I could get out of this jail I would kill him myself!  No! she cries.  You still feel for him, accuses Desmond.  Gerard? she says--oh, Desmond, you are so kind, when I was possessed by Judah, doing what he was telling me to do, you wouldn't have killed me--you'd have tried to help me, wouldn't you?  Yes, says Desmond, you know I would have.  Then you must try to do the same for Gerard, she says, there must be a way of saving Gerard from Judah.How? asks Desmond.  I don't know, but I must! she cries, I must!

Valerie and Julia search Quentin's lab.  We've found nothing to help Desmond, nothing at all, says Valerie, discouraged.  We may, says Julia.  I'm still thinking about Barnabas, says Valerie--I'm going upstairs, I think I should go into town and speak to Lamar Trask--I still think he's behind this in some way.  I don't think Trask would endanger himself in any way, says Julia--he wants everything at the trial to go just the way he wants it--he won't take any chances!  I'm still going to talk to him, insists Valerie, and leaves.  Julia continues to search drawers.  She hears footsteps and asks, "Who is it?"  She realizes the footsteps are coming from Quentin's staircase.  The door flies open.Someone's coming, says Julia, seeing sparkling light at the top--from where?--who?

NOTES:  So, a visitor from another time approaches?  Will it be friend or foe, or someone Julia doesn't know at all?  How unfortunate that Judah no longer loves Miranda/Angelique/Valerie.  If he had, it would have been so much easier--but then again, Gerard doesn't really know where Barnabas is.

I love the way the three ladies are working together to try to save Quentin and Desmond, and the way Desmond's relationship with Leticia is blossoming.  They are so cute together! Things are starting to close in on Gerard--now Leticia knows who he really is, as does Julia and Valerie--what will he do to them to prevent his secret from getting out?

I guess Julia believes Valerie loves Barnabas, but so does she.  It's so odd to see Angelique behaving like a normal woman whose husband has disappeared.  Normally, her powers would help her find him, but at present, she is as helpless as a mortal woman in the same predicament.  How will this end?  Will he even come back to claim one of the ladies who love him?


1177 - To Julia's surprise and delight, her visitor on Quentin's staircase is none other than Eliot Stokes, who smiles at her from the top of the stairs.  Grinning, she holds out her hands--Eliot! she cries with pleasure.  I don't think I'm half as amazed as you are, he says--but then, I've been planning to do this for several days.  You couldn't have come at a worst time for you, she says, but a better time for us--she closes and locks the door.  He sits down--I have a feeling what I read in Flora Collins' journal is the truth, he says.  Where did you find Flora's journal? she asks.  In the ruins of Collinwood, he says.  What did you read that upset you so? asks Julia.  It told of the year 1840, he says--Barnabas Collins had disappeared and was never heard of again, nor his body found--was what she wrote true?  Julia nods sadly--he's been missing a week, she says.  (Weren't we just told it was 3 days?--surely he'd be a goner after a week.)  And you have no idea where he might be? asks Eliot.  None, she says miserably, shaking her head.  Then we shall simply have to change the course of history and find him, says Stokes.We've tried, says Julia, her face crumbling, we've tried--how did you know about the staircase?  After you left, Barnabas told me about it, he says, when I decided to come here, I returned to the playroom, stayed there almost 36 hours (the man is so patient!), waiting--suddenly a door appeared, I opened it, I saw those stairs and knew what I had to do.  I hope you don't regret it, she says.  Well, it's an adventure, he says.  An adventure that has ended badly for Barnabas, she says.  And is Gerard Stiles here? asks Stokes.  He is the master of Collinwood, reveals Julia--there's a witchcraft trial in Collinsport--Quentin Collins is on trial for witchcraft, and Desmond has been put in jail, both accused of being warlocks.  And you think Gerard is responsible, says Eliot.  Yes she says, but I can't prove it, but I do believe it--we've got to work out a complete history for you--I'll introduce you as a friend of mine from Pennsylvania, you're a professor at the college there--you have not met Barnabas yet, but you have corresponded with him on matters of philosophy of interest to you both--you've come in answer to an old invitation from him.  Eliot smiles at her made-up background for him and asks, does Gerard suspect you and Barnabas?  Oh, yes, you've got to be very careful, warns Julia--we must get you some clothes.  Someone tries the upstairs locked door--Gerard.  Julia, he calls, unlock the door immediately.  Uh oh, what is Julia going to do with Stokes?

Julia hides Eliot behind some draperies, picks up a book and lets Gerard in.  Are you alone? he asks.  Yes, she says.  I thought I heard you talking, he says.  I have a secret vice, she says--when I'm alone and I read, I read aloud.  I find out new and fascinating things about you every day, Julia, he says--fascinating!  He looks around, wandering close to the green drapes behind which Eliot hides--are you sure no one is here? he asks.  Yes, answers Julia nervously.  He abruptly pushes back the drapes, but Stokes is sitting on the bottom of the staircase, out of Gerard's view.  Why would anyone want to hide anyone from you? asks Julia.  What were you doing in this room? demands Gerard nastily.  Your friend, Charles Dawson, begins Julia.  He is no longer a friend of mine! insists Gerard, since he became county prosecutor.  Nevertheless, says Julia, he was the one who found Judah Zachary's journal in this room, I wanted to make sure there was no evidence against Quentin.  So you would destroy it? asks Gerard.  If necessary, yes, she says--wouldn't you?  That is exactly why I'm here, claims Gerard.  I've looked everywhere, says Julia, and there doesn't seem to be anything incriminating to Desmond or Quentin.  Tell me something, says Gerard, why did you bar the door?  I didn't want to be disturbed, says Julia--don't you trust me?  Of course, he says, bowing, if only you would return the compliment.  Of course I'll try, she giggles.  That's good, he says, at least we're starting off in the right direction, although I'm not really sure I believe you.  Why don't we discuss it upstairs, she suggests.  Together, they leave the lab.

7:40 - Collinwood foyer - And will you see Quentin today, when you go into town? Gerard asks Julia.  If I have time, she says, I have many errands to do--by the way, a friend from Philadelphia is coming here--I just got the letter, he's arriving tonight.  I know, the Postal Service is quite bad, says Gerard  (hey, they're my employers!)  Isn't it? agrees Julia--if I don't get back in time, will you make him comfortable?  Of course, promises Gerard (looking as if he'll gladly plop some arsenic in Eliot's tea)--who is he?His name is T. Eliot Stokes, says Julia.  Ah, a relative of Carrie's? asks Gerard.  Yes, as a matter of fact, says Julia, that's how we got to be friends--when I met him at the university in Philadelphia, and he heard the name Collins, he told me he had an uncle who worked for some people named Collins in Maine--his uncle was Ben Stokes, of course.  Quite a coincidence, smiles Gerard.  Isn't it? asks Julia.  It's odd that he didn't come to Ben's funeral, remarks Gerard.  I wrote him about it, of course, says Julia, but he was traveling, and he just got the letter on his return.  Is he also a friend of Barnabas'? asks Gerard.  They've corresponded, says Julia--he'll be terribly upset about what's happened to Barnabas.  Yes, as we all are, agrees Gerard.  Valerie enters from the kitchen area.  I want to speak to you, Valerie, says Julia.  Of course, says Valerie.  I'll tell the servants to prepare Ben's room, says Gerard.  Thank you, says Julia.  He exits into the kitchen area.  What is it? asks Valerie.  Julia hustles her into the drawing room and closes the doors.  Listen carefully, I don't have very much time to explain, says Julia quietly, but a man has come down Quentin's staircase--a man from 1970, a friend who can help us--he knows you.  Knows ME? asks Valerie.  He knows you're a witch, says Julia.  Oh, Julia! says Val, upset.  In 1968, says Julia, you called yourself Cassandra, and you were a student of his at a local college--he was the one who introduced you to Collinwood--there's only one thing that bothers me--I don't know how to explain about your being married to Barnabas--because as far as he is concerned, Barnabas, in 1970, is just an ordinary man--he  doesn't know he was born in the 1790's (you mean the 1700's, Julia).  Valerie, brow furrowed, insists, we must explain some way that we're married.  The only thing I can think of is to say you traveled through time, too, says Julia, that you have an obsession about Barnabas--and that you said if he didn't agree to this story of your marriage, you'd tell everybody that he came from 1970.

Apparently told the made-up tale, putting on the clothing she's found for him, Stokes asks Julia--about this obsession of Valerie's about Barnabas--it's like starting a whole new life--with all the disadvantages--suddenly, I feel afraid of doing the wrong thing, or saying something to the wrong person.  I'll tell you everything that you need to know, she assures him.  Yes, says Stokes, just seeing Gerard down there in Quentin's lab was enough to make me realize how very vulnerable I am.  When I came here in 1840, says Julia, your ancestor, Ben Stokes, did all the things for me that I'm doing for you--he's dead now, he was a true friend--when I got here, everything was so different than I expected it to be in 1970.  Gerard Stiles was here, says Stokes.  Yes, says Julia, but he was living at Collinwood, a friend of the family--he had come to tell the details of Quentin and Tad's drowning.  You mentioned Quentin, says Stokes.  Yes, he's alive, says Julia, but we didn't know it then.  And how about Daphne? asks Stokes--she didn't come with Gerard?  No, she came much later, says Julia--Gerard was living in this house--Samantha, Quentin's supposed widow, and Gerard, were obviously in love.  Stokes smiles--a whole new complication, he remarks.  Yes, agrees Julia, because the very day that Quentin and Tad were miraculously rescued at sea, and the day they arrived at Collinwood, was the day Gerard and Samantha were married.  A classic dilemma, exclaims a smiling Stokes, a typical Victorian situation--1840 is living up to my expectations--and what did Samantha do then?  Quentin had her make the choice, says Julia, and since her marriage with Quentin hadn't gone very well, she chose Gerard.  Ah, a romantic lady, says Stokes--I expect to like her.  I doubt that, says Julia--Gerard was marrying her for her money; Daniel Collins, Quentin's father, was very ill--Gerard knew Samantha would get the fortune--Daniel was never very fond of his other son, Gabriel.  So Quentin has a brother, says Stokes.  Yes, he's a very embittered man, says Julia, perhaps because he can't walk--he's confined to a wheelchair.  And is Samantha still with Gerard? asks Stokes.  No, says Julia, Quentin wouldn't let her have their son, Tad, and so she gave up Gerard for the child.  But Gerard stays on here all the same, says Stokes.  No, not here, not at Collinwood, he's at Rose Cottage with Flora Collins, explains Julia--Quentin feels Gerard is his dearest friend, and he won't hear anything bad about him, and that's one of the things that makes everything so difficult.  I don't understand, says Stokes, what you've told me is a perfect period piece of domestic drama, but where does the witchcraft come in?  There's one element we never thought of in 1970, says Julia--we blamed everything on Gerard Stiles--perhaps we were wrong.  Why? asks Stokes--whom would you have blamed?  Judah Zachary, says Julia.  The warlock? Stokes asks.  You know of him--how? she asks--tell me everything you know--we might be able to save Quentin's life!

You forget that occult history is my academic specialty, says Stokes, of course I'm familiar with the trial of Judah Zachary, condemned for being a warlock in 1692 in Bedford, Ma--he was beheaded--his severed head was believed to have strange powers, but it subsequently disappeared.  Yes, says Julia, Desmond Collins found it and brought it for Quentin, but he never gave it to him, because Judah Zachary still has control of that disembodied head--it possessed first Desmond, then Leticia, a family friend, then me--now the State charges Quentin is possessed by Judah Zachary, and Quentin is carrying out his revenge, I think it's possessing Gerard Stiles--he's changed so much---he was just an opportunist when I first came here--he's change completely, he's different, I feel it; Leticia feels it, too, and she knows him well.  What evidence does the state have against Quentin? asks Stokes.  A farmer he fought with says Quentin destroyed his herd through witchcraft; a woman was found dead with the mark of Satan on her forehead; it's the same mark Quentin wears as a ring.  Purely circumstantial, comments Stokes.  Oh it is! agrees Julia--Quentin was found kneeling over the body of Randall Drew, his brother in law, he'd been murdered; the jailer's wife mysteriously died right outside Quentin's cell, a victim of witchcraft, possibly yes--but Quentin is not the warlock!  What is Barnabas' involvement in all this? asks Stokes.  None, says Julia--Gerard and Lamar Trask are trying hard to involve him, Trask especially, but Barnabas was on his way to testify for Quentin the day he disappeared!  And you think Gerard and Trask caused his disappearance? asks Stokes.  It must be true, says Julia, but there's no way of finding out--now listen--I'll take you out the side  entrance into the village--there's a stage that arrives from Boston at 9--you be there and hire a carriage (with what money?) and come here--you'll be here about 9:30 and I'll be here to meet you.  One more question, says Stokes--what about Daphne?  She's here, says Julia, she's the governess, takes care of the children.  She's in love with Gerard, of course? he asks.  No, says Julia, she's frightened of Gerard, she's in love with Quentin--let me see if it's clear for you to leave now.  Julia, says Stokes, you've just presented me with the most complicate crossword puzzle I've ever heard of, says Stokes--and I have to solve it.

9:15 - Julia, asleep on the sofa, dreams:  Julia! calls Roxanne.  Julia rises--Roxanne! she calls, and finds her at the front door.  He's dying, Julia, Barnabas is dying! cries Roxanne--follow me--follow me--she gestures for Julia to follow her.  Where? asks Julia, where?  Follow me, bids Roxanne, over and over, Barnabas is dying!  They go to the docks.  You must save him, Roxanne, says Julia.  I can't, insists Roxanne, you must follow...follow me!  Yes, says Julia.  Oh, there is little time, hurry, Julia, hurry! cries Roxanne--you must hurry!  Valerie shakes Julia awake.  Julia sits up--Valerie, she says, she was taking me to Barnabas--you've ruined it--you've ruined it! cries Julia helplessly.

(For some odd reason, the scene of Eliot's "arrival" at Collinwood and his meeting up with Gerardis not summarized.)

Docks - She kept telling me to follow her, explains Julia--I begged her to tell me where he was, but she refused.  Perhaps it was just a dream, suggest Valerie.  No, says Julia, noting an "office for rent" sign on the brick wall--I saw this--the dream did mean something!  Why doesn't she appear to us? asks Valerie.  Perhaps she can't, says Julia--oh, Valerie, Barnabas is here somewhere, I know it--Roxanne, can your spirit hear us?--help us!--help us to find Barnabas, help us, please Roxanne.  Come to us, pleads Valerie--Julia, we will wait.Unknown to them, right around that corner, is the Trask Memorial Chapel.  Roxanne's ghost materializes next to the wall behind which Barnabas is imprisoned.  "Oh, Barnabas!" wails Roxanne, "why doesn't Julia come?--you have so little time, so little time!"  We see the solid walls of bricks behind which Barnabas is dying, or possible already dead.

NOTES:  Notice that Roxanne called only to Julia to help Barnabas, not Valerie?  I guess she's still pissed at her for turning her into a vampire, and who can blame her?  When Barnabas was once walled up previously, I believe Josette saved his butt then.  Lucky that man's girlfriends all still care about him even after death, or he'd have been a goner by now.

Gerard is going to quiz Eliot about Julia now; will he be able to give satisfactory answers?  He picked off Gerard in the Philadelphia/Baltimore challenge, but what more intimate questions can Gerard pose to a vulnerable Eliot?  Great seeing him again, but don't get used to it.  It almost seems as if they brought Eliot to 1840 so Julia could give him (and the audience) a synopsis of what's happened so far in 1840.  Supposedly, the plot was getting too complex for everyone, so maybe TPTB thought a rundown was necessary.  The story Julia created about Valerie is a tad confusing, isn't it, and let's face it, hearing about Cassandra had to confuse Valerie, who hasn't been through that timeline yet.

I really enjoyed this episode, as repetitive as it was hearing Julia recount everything I already knew, but Stokes' delight in hearing the details made it all worthwhile.

Love, Robin

1171 - Gerard's hooded assailant turns out to be Samantha!  I knew it all along! exclaims Gerard, holding her arm away so she can't stab him.  She tries to run; he pursues her to the door.  Sit down, he orders--you have a little accounting you have to do.  I don't have to account to you, says Sam petulantly.  Would you prefer explaining your actions to a judge, in a court? demands Gerard.  He turns on the lamp---"Tell me it all," he encourages.  She pulls off her gloves--I won't tell you anything, she says.  Tell me about the notes, he coaxes.  I don't know what you're talking about, what notes? asks Sam.  Supposing the judge would like to hear more about your testimony in court about the ghost--the ghost that turned out to be you, he says.  That's a lie, snaps Sam.Is it? asks Gerard--Daphne received a note that said someone would try to murder her, and here I find you over her bed with a knife.  What were you doing here tonight? she shoots back.  When she showed me the note, he says, someone tried to kill me last night--I started to think--who might want to dispose of both Daphne and me?--and the only name I could think of was yours--he grabs her shoulders and says, "You tried killing me last night, didn't you?"  No, I didn't, she says, smiling through gritted teeth--not that I wouldn't love to see you dead.  I don't deny that, says Gerard, but you don't deny that you could have sent those messages to Daphne, and wanted her dead since she's been here.  I had no intention of killing her, says Samantha.  Then what were you doing standing by her bed with a knife? asks Gerard.  I will tell you nothing, says Sam, pulling away from him.  Yes, you will, my dear, he threatens, before this night is out, you will--why did you write the notes--what have you gained by them?--come on, Samantha, start talking, or it will be the police asking the questions!  She looks up at him--on what charges? She asks.  Attempted murder, he says.  All right, says Sam, rising from the chair, I didn't want to kill her, just frighten her--I wanted her to leave this house desperately, just as I want you to leave it.  You planned to get rid of her and start working on me, says Gerard--yes, you answered a few questions--you will be very useful to me, very useful indeed.  She looks at him, perplexed.

I don't know what you have in mind, she replies, but if you think I'm going to help you, you're insane.  Putting a hand on her shoulder, he asks, why don't you just stop and think for a while?  Don't touch me, she orders, moving away from him.  Does my touch really disturb you? he asks.  I can't bear to be in the same room with you, she snaps.  That will change, he predicts.  I'd rather die than lift a finger to help you with anything, she says.  Stop acting like a little schoolgirl, insists Gerard--if you know what you want, and I assume you do...  Yes, I know what I want, she says.  Then why don't you help me, and I will help you, he says--first tell me about the notes, then all you know about Joanna from the beginning.  What if I refuse? she asks, right in his face.  I will make sure you go to the authorities, he says--I promise you, it won't be too beneficial to Quentin, as he will have no acquittal, and for you, I will make sure you are prosecuted at the highest degree--now what will it be--work with me or with the law?  She sits on the bed, thinking.  Yes, my dear, he says, take your time and think--I don't mind being in the same room with you--as a matter of fact, I rather enjoy it.  They stare at each other, and this time, she looks like a schoolgirl in love.

Rose Cottage - I was beginning to think you didn't get my note, Lamar, says Flora.  I'm sorry for being so late, he says, but the trial is taking up a great deal of my time.  The trial seems to be occupying much of everyone's time, snaps Flora--I sent for you because I wanted to know the results of your investigation--the other day when you and Gerard left this house, you were convinced Barnabas was a vampire.  Our suspicions appear to be unfounded, he says--Gerard went to the Old House and saw him during the light of day.  Well! says Flora, that certainly proves his innocence--he couldn't appear in broad daylight and be a vampire--I, for one, am very relieved--you don't look too pleased about it all.  I'm still upset by my experience in the cellar of the Old House, says Trask--Gerard and I discovered the remains of my poor, unfortunate father there, sealed up behind a brick wall.  How dreadful! exclaims Flora.  He was left there to die by Barnabas Collins' father in 1797, says Trask.  Why do you think Barnabas' father would do a thing like that? asks Flora.  My instincts tell me, he insists.  Instincts do not constitute proof, she says, and I doubt Barnabas' father would do a thing like that--in any case, you can't hold one generation responsible for the misdeeds of another.  Misdeeds? says Trask--what a curiously ineffective word you use to describe an act of cold-blooded murder--but then, I've always noticed how deviously clever you Collinses can be.  What do you mean by that? she asks.  How protective you can be, says Trask, especially when it comes to a matter of family guilt.  I think you'd better explain yourself, she says.  And I think you'd better watch your step, Flora! counters Trask.  I beg your pardon, she says.  Don't think I haven't noticed how interested you've been in matters of the occult, accuses Trask--seances, books on vampires, trafficking with the dead--all you Collinses seem to take that in your stride!--and who but another Collins would defend another on charges of practicing witchcraft?--mark my words, Flora, your son's defense of Quentin Collins places all Collinses, including yourself, under some suspicion!  He storms out (what an ungrateful wretch)!

Samantha watches Gerard pace back and forth in Daphne's room.  You are against Quentin, aren't you? she asks.  Yes, he grins.  That also means you're against Tad, and that's why I won't cooperate with you, she says.  No, you're wrong there, he says, I'm quite fond of the boy, and he of me, oh, Samantha, he says, sitting beside her on the bed, don't you think I understand why you're against Quentin, why you've been miserable all these years?  She looks at him, her defenses breaking down--I can't believe anyone knows what a living hell it has been in this house, she says--I've never been loved, not by Quentin--do you understand why I must get even with him for all the misery he has caused me?  Of course I do, Gerard assures her, and that's what I'm trying to tell you--I do understand.  She looks at his face--I met Joanna briefly; she says--she was seeing my brother Randall at the time--Quentin met and fell in love with her--and took her away from Randall--even asked me for a divorce--of course I said no--I thought that was the end of the affair--he went away to sea to forget about her, but I knew he wouldn't--what I didn't know was that his leaving would affect her in such a strange way--it made her live in a complete fantasy world--she was trying to recreate the life she had with Quentin--eventually, she says resentfully, they sent her to an asylum--the authorities got so alarmed by her deterioration, they got in touch with Quentin here--that's how I found out where she was--I decided to go see her--I knew that she had freedom of the grounds, and I saw her one day, standing there--nobody saw us, you're the first person who knows about this visit, it's been a secret until this moment.  Why did you go see her? asks Gerard sympathetically.  She rises from the bed--I wanted to know what it was that was destroying my marriage, she says--I talked at great length--when I learned of the passion she and Quentin had experienced, it made me hate him even more!--there had been love there, the kind Quentin never showed me (we get great insight into Sam here, jealous over her loveless, passionless marriage)--after that I heard she escaped the asylum and a week after that, her body washed ashore on some beach--since Quentin was the only one she ever mentioned, all her belongings and effects were sent here--I've had them locked in a closet upstairs ever since.  And that's how you received possession of the notes, says Gerard.  Yes, says Sam, she was writing to Quentin from the asylum, convinced somehow her letters would bring him back.  Tell me, he says, how did Daphne and Quentin come into this position so easily?  At first I used her notes, says Sam, then I began to copy her handwriting--then I could say anything I wanted!--at first, I merely wanted to torture him a little, then when Daphne came here and I realized she was Daphne's sister, I knew I had to go farther, I knew that I had to drive her from this house.  Wait a minute! says a shocked Gerard--Daphne is Joanna's sister?  Yes, says Sam. Gerard laughs--of course, he says, that's why she had the pistol.  What pistol? asks Sam.   When I first met her, says Gerard, she was carrying a pistol in her purse--I asked her about it and she explained to me, and I believed her.  I don't understand, says Sam.  Gerard laughs--how ironic and incredibly beautiful it all is, he says--she came here to avenge her sister's death by murdering Quentin, and if it wasn't for you, she might have done it--you sending her the notes merely brought Quentin and Daphne closer together--she will never murder him now!  Perhaps that's just as well, says Sam nastily--dying that way is too good for him--I'd rather see him beheaded--that's a fitting end to Quentin Collins!  Have you always hated him this deeply? asks Gerard.  He's responsible for ruining any happiness I might have had, she says sadly.  You still have a chance, he says--did it ever occur to you that I was forced into treating you like I did when you had to choose between Quentin and me?  I don't believe that! she says.  You must believe it, because it is true, he says--Samantha, I knew there wouldn't be any chance between you and me if Quentin was still around.  He tries to touch her, but she moves away.  You must understand and believe me, he says tenderly, putting his hand on her shoulder, kissing her temple, it's true.  (She is really sweating!)  We can have a new life together, he murmurs in her ear, kissing her temple a few more times.  I would believe you if you'd help me get Daphne out of this house, she says craftily.  It's impossible, he says.  Why, because you love her? she asks venomously.  No, he says, because I want you to write more letters--Quentin will lose everything, and his faith in the letters will disappear if he finds out that Daphne is out of the house--so we must keep her here--and then we will put the final touches on Quentin Collins--they will both be gone--and only you and I will remain.  He kisses her, nice, slow and hot.

Collinwood drawing room - Gerard, says Trask, I haven't slept very well ever since your encounter with Barnabas Collins that day--"I'm haunted by the ordeal my father must have gone through--Gerard, your mind seems to be somewhere else at the moment, I trust I'm not boring you."  Not at all, I'm sorry, says Gerard, I understand your feelings.  I've resigned myself to the reality that we will never get Barnabas Collins by legal means, says Trask, the man is far too clever--but I do have a way of dealing with him--I'll need your help.  Of course, says Gerard, I'll be happy to help.  Barnabas will be at Rose Cottage this evening, reveals Trask.  I know, says Gerard, Flora has invited me with several other people for dinner.  I'm aware of that, says Trask--I want it to be known to Barnabas Collins that for the past three nights at midnight, the spirit of Roxanne Drew has appeared to me in the cellar of the Trask Chapel--she has not spoken to me yet, but I have reason to believe she will tonight--will you see he gets this information?  Of course I will, promises Gerard, but you must remember, I called Barnabas a vampire--and he's been suspicious of me ever since--so I will have Flora tell him.  Thank you, says Trask.  I do hope you're not going to keep me in suspense, says Gerard--what are you going to do with Barnabas?  I believe it is the holy obligation of a son to avenge his father's death, says Trask--even if that act of vengeance must be carried into the second generation.  Gerard nods.

Rose Cottage - Barnabas praises Flora for the lovely dinner.  Flora has no fear as a hostess here, says Gerard, so I asked he to serve in that capacity at Collinwood.  He holds out a chair for Flora; she sits down.  That's very dear of you, Gerard, she says.  If you will excuse me, he says, I have work to do.  He kisses her hand good night.  Flora pours tea--I feel I must explain why I was so insistent in your coming here tonight, she says--it's because I feel guilty.  About what? asks Barnabas.  I began to have strong suspicions about you after we had the seance to contact Roxanne, she says, if you remember, you broke contact during the seance just as Roxanne was telling us the name of who made her a vampire--she said it was Angelique, and I had the feeling you did it deliberately, because you knew more about Roxanne's death than you cared to admit.  If you recall, says Barnabas, I told you my mother's name was Angelique.  Yes, I know, she says--then Gerard and Lamar came to see me and we discussed the dreadful events of 1797--and well, we all thought it possible you were responsible for the death of Roxanne, that you were indeed the vampire.  Now you know it's not true, he says, sipping his tea.  I can't tell you how ashamed I am, she says, and I hope you won't hold it against the others--I only wish the whole thing hadn't had such a terrible effect on poor Lamar--quite frankly, he hasn't been the same since, he's become quite bitter, and now he's having this curious experience with the spirit of Roxanne.  What are you talking about? he asks.  For the past three nights, explains Flora, Lamar has seen the spirit of Roxanne in the basement of his chapel.  Perhaps he's only imagined he's seen it, says Barn.  If you could talk to him, says Flora, you'd know it was not his imagination--I'm quite sure she appears just as he says, each night at midnight.  Did she speak to him? asks Barnabas.  Not yet, says Flora, oh how I wish I could speak to her--but he won't let me go, and won't even go himself anymore--he says it's too dangerous--but I'm not afraid--she went to her grave with a great secret--I'd give anything to learn it.  So would I, says Barn--if you'll excuse me, it's getting terribly late and I have a lot to do in the morning.  Won't you stay for brandy? she asks.  Thank you so much, he says, I must be getting back to the Old House--thank you so much for a lovely dinner.  The pleasure's been mine, she says.  They bid each other good night.  He grabs his cape, a tortured expression on his face, and leaves Rose Cottage.  Gerard stands by the closed door.

We see coffins propped up against the wall in the Trask Chapel basement, hear Barnabas calling first Trask, then Roxanne--I must speak to you, he implores her.  Trask, holding a pistol, appears from hiding--she's not here, he says, and won't be here.  So it was a trap, says Barnabas.  Yes, says Trask, a carefully conceived and executed trap--you're all alone, Mr. Collins, I've waited a long time for this moment.  Why did you want me to come here? asks Barnabas.  I shouldn't think you'd have to ask that, says Trask, but if you're really in need of an explanation, I suggest you look carefully at the far wall.  Barnabas gazes down with horror at a pile of bricks and wet mortar, ready for use.  My father's death must be avenged, insists Trask--and you are the one who must pay--I think it fitting that you die the same way he did--sealed up behind a brick wall!  Do you really think you'll get away with something like this? Barnabas asks.  Trask smiles--consider how long my father's tomb went undetected, he says--now move, he orders, into that alcove--and if you're thinking of escape, remember, I'm prepared to use this pistol.  Barnabas walks slowly toward the alcove.  At one point, says Trask, I was really convinced you were a vampire, but now I'm glad you're human, as human as my father was--it makes my revenge so much more complete--so much more fulfilling!  Put on the manacles, commands Trask.  When Barnabas hesitates, he repeats--"The manacles if you please."  Looking as if he's going to cry, Barnabas slips one hand into a manacle.

NOTES:  Another brick in the wall, Collins/Trask style.  I guess these two families are doomed forever to repeat the "Cask of Amontillado" on each other.  Trask, seemingly mad, sure seems to be having fun.  How ironic that this should happen to Barnabas just after he regains his human status; as a vampire, he'd have escaped easily, but then again, if he were a vampire, Gerard would have done away with him via silver bullet the other day.  I always loved these melodramatic scenes!

So Samantha knew Joanna better than we thought, and SHE'S been writing the notes.  Who saw that coming?  Great performance by Vestoff there, she really is a terrific actress.  When Samantha is at her most vulnerable, Gerard starts romancing her again; between Gerard and Judah, she doesn't stand a chance.  She's lonely, depressed, bereft, angry--and he's taking full advantage of it.

Gerard is going to romance her, Daphne and Edith?  I hope he has super-strength to keep up with his harem/coven of ladies!


1172  - Quentin sits in his cell.  The intro tells us that Barnabas has volunteered to testify on Quentin's behalf, but on this night, Barnabas himself, now no longer under Angelique's curse and vulnerable to death, will become the target of a vengeful man.

We see the freshly bricked-up wall behind which Barnabas is imprisoned.  Only two bricks remain to be slotted in.  Trask slaps wet mortar on another brick--I'm almost finished, he tells Barnabas  You're insane! says Barnabas, his voice and face filled with fear--you'll never get away with a thing like this!  Your pleas will fall on deaf ears, says Trask, as my father's did in the cellar of the Old House.  My wife and sister will not rest until they find me! cries Barnabas.  No one will find you, says Trask, fitting another brick into place--at least not for a long, long time!--my own father's remains were not found for 40 years--how long do you think he was able to survive without food and water?  Trask, says Barnabas, this will not be the last time you'll see my face--you'll see it again!  Trask laughs as he prepares the final brick.  After this last brick is in place, says Trask, no one will ever see you again!--or hear you--these walls are thick--your cries will not be heard!--you know, it is with a sense of triumph to me that I am not only avenging my father's death, but preventing you from testifying on behalf of the heretic, Quentin Collins--he smiles--now, Mr. Collins, goodbye!--he fits the final brick into place, cutting off Barnabas' light.

Collinwood - Gerard comes downstairs.  Julia enters the house.  Good morning, he cheerily greets her.  Don't pretend we're friends, she says icily--we both know you tried to kill Barnabas yesterday--I will be civil to you when people are around, but that is all.  My my, what a temper you have, he says, it matches the color of your red hair--tell me, are you looking for your brother?--he pours tea.  Have you seen him? asks Julia anxiously.  Isn't he supposed to be in court today? asks Gerard.  Yes, she says.  Perhaps he's started for the village earlier, suggests Gerard.  No, says Julia, we were leaving the Old House together and going to the village--I went to the Old House, but he wasn't there--Valerie hadn't seen him since last night.  Gerard sips his tea and remarks, how strange that is.  Not strange, objects Julia, he might have gone for a walk early this morning.  Of course, he says, but then why are you so uneasy?  Should I be? she asks.  Not as far as I'm concerned, he says--if I see Barnabas, should I tell him you're looking for him?  If you see him, I doubt very much he'll talk to you, she says, but you can tell him I've gone to see Quentin in the village.  The front door opens.  Trask greets Julia good morning.  She surveys him, coldly says good morning, then leaves the house.  Trask smiles triumphantly and joins Gerard in the drawing room.  I gather she is unable to find her brother, says Trask.  That's right, says Gerard.  Well, says Trask, I can appreciate her concern for a missing loved one, can't you?  What do you mean? asks Gerard.  But then of course, he's only been missing for one day, says Trask--wait until the days stretch into years, then she'll know how I felt.  Trask, asks Gerard, what are you trying to tell me?  Nothing at all, insists Trask.  What do you mean--'the days will turn into years?' asks Gerard.  Just a feeling I have, says Trask.  You know where Barnabas is--what have you done with him? asks Gerard.

Trask smiles--do you really think I'd do anything to harm Barnabas Collins? he asks--didn't you tell me he was not guilty of vampirism as we suspected--didn't you see him in the light of day?  Yes, replies Gerard.  Well then, replies Trask, do you really think I'd do anything to harm an innocent man?  What have you done to him? asks Gerard, grinning.  Let me put it this way, my friend, says Trask--whatever fate has befallen Barnabas Collins, I'm sure it is well-deserved, but I suspect that we may have seen and heard the last of him.

Jail - Quentin clutches the bar.  Julia enters.  I'm sure glad someone finally showed up, says Quentin.  Barnabas hasn't been here? asks Julia, terrified.  No, says Quentin, he was supposed to come and discuss his testimony with Desmond before he took the stand--Desmond finally gave up and left an hour ago.  Julia shakes her head.  What's happened to him? asks Quentin.  I don't know! she says fearfully.  Where's Barnabas? asks Quentin--I don't understand--do you think he's changed his mind about testifying for me?  You know he'd never do that, says Julia.  Then why isn't he here? demands Quentin.  I can't tell you, says Julia, I just don't understand it myself, this isn't like him--Valerie and I looked everywhere for him this morning and couldn't find him--I can only decide he's just disappeared--the last thing he'd do is desert you at a time like this--the only conclusion I can come to is that something has happened to him--something dreadful.  They'll go to any length, won't they? he asks--the people who are out to get me--they didn't want Barnabas to testify, and now they've seen to it that he won't.  Do you really think that's the answer? she asks.  After what's happened, says Quentin, I'm convinced those people are capable of just about anything.  He looks discouraged and tired.

Hanging suspended in the bricked up alcove, Barnabas hears a sound and returns to consciousness.  Someone walks down into the basement--Trask.  Can you hear me, Mr. Collins? he asks.  Yes, replies Barnabas weakly.  I thought you might like to hear how the trial is progressing, taunts Trask--your failure to appear came as a severe shock to the defense--he smiles happily--in fact, it was a most embarrassing moment for Desmond Collins--I believe it may have been a turning point in the trial--so you see, in your own way, you've made a contribution to the case for the prosecution.  Hearing this travesty, Barnabas closes his eyes in misery.

Collinwood - Gerard looks outside the window and sits on the sofa, drinking a cup of tea.  Daphne enters.  Good morning, he says, how was your stay at Rose Cottage?  I hardly slept at all, I couldn't stop thinking about that latest note, she says--tell me what happened last night?--you were going to stay in my room and see if Joanna's spirit appeared.  Nothing happened, he lies, nothing at all.  You're not telling me the truth, she accuses.  Nonsense, why would I lie to you? he asks.  I don't know, she says, but you are lying--please, if something happened, you must tell me.  Very well, he relents, something happened--I was in your room for about an hour when it appeared--Joanna's spirit--she moved toward your bed carrying a knife!

Joanna really wants to kill me! cries Daphne.  What else can we think? he asks--she moved toward the bed and when she found it empty, she vanished.  Do you think I should leave Collinwood? she asks.  No, he says, it's the one thing you must not do--there are answers here, and we will find them.  She shakes her head--Joanna was so good to me in life, she'd never try to hurt anyone--I don't understand this.  There are answers, Gerard assures her, and we will find them--perhaps if we communicated with her in some way.  We already tried that, we had a seance, says Daphne, she appeared, but only for a few seconds, then disappeared.  If we can't communicate directly, perhaps indirectly we can, he suggests--when Quentin confided in me about the notes, he told me about the great oak tree, where he and Joanna used to meet.  That's right, says Daphne, she even left two of the notes there.  If Quentin would write another note, suggests Gerard, and have someone leave it there for her, a note explaining how he feels about you, then I'm sure she would understand.How would we know? asks Daphne.  She would be bound to answer Quentin's note, he says, and that way, we'd know everything.  You may be right, she says.  You sound a bit doubtful, he says.  I'm thinking about Quentin, the chance he would be taking, she says, they've already accused him once of trying to communicate with the dead; if anyone should find the note, they could accuse him again.  It is the only chance we have, he says--I'd do it if I were in his position--for you--you must go to Quentin and tell him what danger you are in.

Trask Chapel basement - Lamar comes downstairs again to check on Barnabas--how do you feel, Mr. Collins--you're nearing the end of your first full day--are you getting hungry and thirsty?--well, it will get worse as time goes by--slow, agonizing death is the worst kind, you know.  Laughing, he leaves.  Barnabas, his eyes still open, thinks to himself, "How right he is--and how ironic it all is--Angelique lifted the curse in order to help me and now I am totally helpless--my powers are gone!--I have no way of communicating with anyone--it is possible no one will ever find me here."  He leans his head back and closes his eyes in despair.

Jail - Quentin reads Joanna's note: "I will come back, and this time I shall succeed--Joanna."  When did you get it? he asks.  I found it in the foyer last night, she says.  Did anything happen? he asks.  Yes, she says, I stayed at Rose Cottage and Gerard stayed in my room--Joanna's spirit appeared--she was carrying a knife.  Then she really intended to kill you? he asks, and kisses her forehead.  Yes, she says, I shouldn't have worried you with this, I know, but if we don't stop it now, she'll try again, and next time she may do it--she may kill me!
Quentin caresses Daphne's face--you must leave Collinwood, he insists--I'll talk to Desmond and he'll arrange...  No, running isn't the answer, she interrupts, wherever I go, I will always love you, and that's what Joanna really wants to kill, that love.  All right, says Quentin, what else can we do?  She describes Gerard's potentially dangerous idea for Quentin to write a note to Joanna explaining his feelings, appealing to her sense of reason--then maybe she'll understand.  How do we know it will work? asks Quentin.  How do we know it won't if we don't try? she says--Quentin, we must try, we must!  All right, he says, but how do I get a note to Joanna?  The one place she'd be most likely to appear is the oak tree, says Daphne, so, I'll take it there.  But if anybody catches you, says Quentin, you'll be implicated in all this, and that's the last thing I want--now I think it's best if we find someone else to bring the note.  We can't bring anyone else into this, we can't afford to, says Daphne--I've got to do it, but it's your decision, I'll do whatever you want me to do.  He caresses her face--I don't want anything to happen to you, he says--I want you to be waiting for me when I get out of this place.  You know I'll be waiting, she assures him.  All right, he agrees, asks the constable for some pen and paper.

Gerard closes the double doors--Trask, I see you wasted no time.  Your note made it clear that the matter was urgent, says Trask.  It is, says Gerard, I have a secret from a very unimpeachable source that says Quentin will communicate tonight with the dead.  You don't say, says Trask.  Yes, says Gerard.  Did your source say why he intends to make this move? asks Trask.  It seems as though he has lost all faith in the help in his trial, answers Gerard--and he will enlist help from the spirit world.  How very interesting, remarks Trask--how does he intend to communicate with this spirit world?  Sit over there, Trask, and I will tell you--and listen very carefully.  Lamar sits on the sofa.

Julia returns.  Daphne, heading downstairs, asks, is there any news about Barnabas?  No, says Julia, he's completely disappeared--Valerie and I have notified the police, they're searching the woods for him now.  I wish there was something I could do, says Daphne.  There's nothing anybody can do except pray for him, says Julia, a note of desperation in her tone--wherever he is--what are you up to?  I've got an errand to do, she replies.  Julia nods and smiles wanly.  She enters the drawing room and asks Trask and Gerard, whose fate are you deciding now?  I don't know what you mean, says Gerard.  "What have you done with my brother?" demands Julia.  What an odd question, says Gerard, I told you this morning...  I know what you told me this morning, she says, but I know Barnabas too well to believe he could disappear this way--he had to be trapped into it--and you two both had reason to stop him from testifying for Quentin.  If you are going to make these formal charges, says Gerard, I do hope you've prepared proof!   I know I can't prove anything, she says, but we are in this together, and I don't know why you won't admit you're working hand in hand with Trask, Mr. Stiles.  On the contrary, says Trask, I still have not convinced Mr. Stiles that Quentin is the heretic I know him to be--his stubborn loyalty to Quentin continues to mystify me--and as far as your brother is concerned, I suspect that the prospect of severe questioning by Charles Dawson was simply too much for him and he ran away...good night.  Julia, arms crossed, gives the departing Trask a glance of hatred.  I know how upset you are, he says gently, but you mustn't make accusations like that against me--I don't know where Barnabas is, I told you that--you must believe me--why don't you come in and have a drink with me?  He tries to take her arm, but she shrugs him off and leaves.

Woods - Daphne walks to the oak tree.  She is about to place the letter, addressed to Joanna, inside it when Trask accosts her and grabs away the note."I'll take that note, Miss Harridge," he insists.  She surveys him with alarm.

NOTES:  Bad enough that Trask walled up poor Barnabas behind that wall, but was it really necessary to come back and continually taunt him?  I can't remember if Barnabas did the same to Reverend Trask when he walled him up, but I sure hope so.

I feel Julia's desperation, fury and frustration as she tries to find Barnabas.  I don't imagine it will take him too long to die in those conditions, and the irony of his situation didn't escape him, either.  The scenes with Barnabas trapped in the wall were very disturbing and sad to see.  Great performance by Frid, Hall and Lacy, too.  And Gerard is doing a great job driving us crazy pretending to be Quentin and Daphne's friend.  At least he admitted the truth to Samantha.

Now that Trask has caught Daphne with Quentin's note to Joanna, is his fate as a warlock be sealed?  It won't look good, surely, but one would hope that Daphne and Quentin will figure out this betrayal could only have been Gerard's.

Good stuff.

Love, Robin