792 - The flashily dressed man introduces himself to Quentin as Aristede.  He again demands the hand, but Quentin refuses.  Aristede points out, you were willing to kill your friend (Evan) just a minute ago for it, but you'll give it up eventually--I can be very persuasive and persistent.  You're not getting it, insists Quentin.  Aristede draws out a curvy knife--this was made by a Persian swordsmith a long time ago, he explains--he called her the Dancing Girl--isn't she beautiful?  He holds it up to Quentin, warning, when she dances for you, it's the dance of death, and I don't really want to hurt you.  Quentin asks, how did you know?--and how did you find me?  That's my business, says Aristede--to find and get what I need.  He refuses to tell Quentin why he needs the hand--just give it to me, he demands--and quickly, the Dancing Girl is getting restless.  Suppose we come to an arrangement, suggests Quentin--I'll keep the hand until it does what it must, then give it to you.  Aristede laughs--excuse me for being rude--there's no need for any deal as long as I have the Dancing Girl.  I need the hand!, insists Quentin  Find some other way out of your difficulties, advises Aristede--I hope you do--that faces doesn't suit you at all--put the box on the desk.  Quentin tries one valiant last attempt to hang onto it, but fails, and is forced to put it on the desk as Aristede holds the knife against his throat.  "Delighted to have met you, Mr. Collins," he says.  "So sorry we won't be meeting again."  Aristede exits, laughing, leaving Quentin exceedingly pissed.

Old House - Magda worries about Quentin--where is he?--what's gone wrong?--did the police get him, or something even worse?  She hears rustling; Quentin appears.  She helps him into the house.  I went to Collinwood, then Evan's, he explains--I had the hand, but I didn't get it--someone took it away from me.   That's crazy, says Magda, who?  A stranger, says Quentin.  Someone sent by the gypsies, guesses Magda, gasping, covering her stomach with her hands--I knew Johnny Romana would send after it, but I thought we had a little time at least.  The man took the hand and left, says Quentin.  He's on his way here to
kill me, says Magda, because the hand was stolen, and someone must pay, and that would be here--I must run, or I'm dead.  You'll never escape that young man, predicts Quentin.  Magda strops struggling to get away--young? She asks--that makes no sense, they would have sent an elder of the tribe for something this important.  You must stay and help me get back the hand, insists Quentin--  together, we can do it.  No, scoffs Magda, together we can do nothing--I'm as good as dead and you're a man who's a stranger to himself--I'd laugh if there was any left in me.  All right, agrees Quentin, we're nothing, but with a powerful ally, there's a lot we can do--how about Angelique?--she owes me a favor.  She could be anywhere on earth, says Magda--or in hell!  On earth or in hell? asks Q--yes, Magda, we must summon Angelique.  No, objects Magda, she's trouble, always!  Quentin insists Angelique can take care of Johnny Romana and the entire tribe--she can get back the hand, and you won't need to run or me to hide in a world with no hiding places.Magda agrees--we have no choice, but how will we summon her?  Get some black candles, orders Quentin.  She leaves the room and returns with them, fitting three into a candelabra.  Quentin lights them.  He raises his hands and, sounding almost orgasmic, calls to Angelique--climb from the pits of hell, if that's where you are--you are needed, he calls, NOW!

Evan returns to consciousness.  As his vision clears, he hears and sees a giggling Angelique, laughing at him.  I'm here to stay, she says, but apparently at a terrible time.  He immediately searches for the hand, but it's gone.  Quentin and I had a fight, he says.  What did he take from you? she asks.  What makes you think that? asks Evan.  Come on, she chides, give me some credit--Quentin took something from you, but I have a few things to tell you, like my plan for re-establishing myself.  Meaning? he asks.  I'm returning to the bosom of the Collins family, where I belong, considering my close relation to one of its members--very simple, she says.  No so, he counters, considering your fiance was a vampire.  How was I to know that? she asks innocently--when I met him, he seemed quite charming, and after that, I merely became one of his helpless victims, forced to act as he wanted me to act, unable to remember what I did.  No one will believe you, warns Evan.Yes, they will, she says, when you tell me what I want you to--Trask and Edward, and all the others who turned against me.  They'll turn against you even more if they know the truth about you, he says.   They won't know, she says, I won't tell them THAT--I'm with you, with you declaring you knew me  before I met Barnabas, how can they ever see me as anything but a poor, unhappy victim of their cousin, the vampire.  Evan isn't certain it's such a good idea.  You know better than to hesitate, she threatens.  Whatever Trask can do to you, I can do far worse!--it is Trask you fear, right?  He's a difficult man to convince, says Evan.  You do your part, I'll do mine, she says--and Trask will be eating out of my hand.  She extends one of her pretty paws.  You're not  convinced, notes Angelique--why?--what have you been keeping from me?  He denies it.  Don't act innocent, she commands--what did Quentin steal?--what could be that valuable, I'm fascinated--don't keep me waiting, come over, sit down, and tell me all about it, dear Evan.

Quentin continues calling to the spirit of darkness to come to him, but Magda says it's no use.  He wants to keep trying, but she says, give up and goI must leave before the gypsies get me.  Quentin stops her--I don't want you to go!  Don't try to stop me! she cries.  She opens the door to leave and finds Angelique standing there.  "You answered my summons!" says Quentin.  Angelique looks at him--I didn't realize that, she says, I was just passing by.  How did you know me? he asks.  Judging by your present appearance, she says, that must be quite a powerful hand--Evan told me all about it.  What business do you have with Evan? asks Q.  You'll find out in time, she says, but right now, I want to see the hand.  You can't, says Q, I don't have it.  Evan said you did, says Ang--you'd better not be lying.  Quentin had the hand, says Magda, but someone took it from him.  Someone ELSE took the hand? asks Ang--this becomes more intriguing by the moment--who took it?  Magda describes how she took it from King Johnny Romano to try and end Quentin's curse.  Angelique, delighted, says, you sure have been busy--I think you'd better tell her everything--I don't like half truths.Quentin promises to reveal all if she promises to help him.  First I'll listen, says Ang, then perhaps--"Go on, Quentin.  Begin."

Evan stands nervously in his apartment.  The clock chimes.  He picks up the phone and calls Collinsport 332--Edward, I just had an unexpected visitor--Angelique.  The unseen, unheard Edward apparently goes into a tirade against Barnabas' fiancee.  The situation is not what we thought it was, says Evan--the poor, unhappy girl told me some things you ought to know.

Quentin explains to Angelique and Magda how he lost the hand--the man had a knife, so I had no choice.  Leave the room, Angie orders Magda.  Why? demands Magda.  Go! orders Angelique--and don't eavesdrop--what I have to say is between me and Quentin.  Magda switches her skirts and goes upstairs.  Quentin asks Ang, are you willing to help me?  For a price, she says, which I will tell you in time.  (nothing is free with Angie!)  You're asking a lot of me, she says, I may ask a lot in return--"Are you prepared to accept that?"  Quentin considers--could this be too expensive for him to accept...?

Quentin unhappily asks, what do you want from me?  I find your hesitation amusing, she says--could you possibly be in a worse predicament than you are now?  He doesn't answer.  She apologizes--you needn't answer, she says--I will recover the hand to show my good will, then I'll name my price and you can make your decision.  Q agrees.  Now, she says, tell me what this gypsy looks like.

On the docks, Aristede walks.  He takes out a cheroot and is about to light it when Angelique blows out the match.  She grins radiantly at him.  He asks, is it customary for women of this town to be here?  Are you a stranger? she asks.   Yes, he says.  So am I, says Ang--where are you from?  No place--every place, says Aristede.  She grins--that sounds intriguing, she says.  I was hoping to do so, he says.You did, she assures him, smiling.  I am someone waiting, he says.  For whom? she asks.  You, he says (smooth)!  I don't believe you, she says.   "Don't you?" he asks.  I'll pretend I do, she replies, since it's lonely being a stranger here.  Where are you from? he asks.  No place--and every place, answers Ang.  They laugh together.  Are you trying to sound like me? he asks.  I can, she says--it's my profession--I'm an actress, a puppeteer who arrived with a puppet troupe.  He asks, why aren't you with the others?  The truth is, she says, I had a quarrel with my. . .   ". . .gentleman friend," Aristede finishes.  Yes, she says--I felt so terrible, I came down here to be alone, but it's much worse being alone.  He takes her in his arms, assuring her, you aren't alone now.  She pulls flirtatiously away and offers to entertain him while he's waiting.   His eyes widen with appreciation, as he says, "I'm sure you can."  She offers to show him.  Anything, he agrees.  Give me your handkerchief, she asks, and when he does holds it up to her nose--ah, a very expensive scent!  I like what's pleasing to the senses, Aristede says.  I do, too, she agrees.  She takes out what looks like Barnabas' toy soldier--it's you, she says--do you recognize yourself?  She wraps the handkerchief around the figure.  Not so dapper as you, of course, says Ang, but definitely you--"Turn around and he'll call to you in your own voice--what's your name?"  "Aristede, at your service," he says, grandly bowing to her.  I like that, she says--turn around.  She wraps the handkerchief around the soldier's neck and calls, "Aristede!" in a girlish voice.   Aristede laughs--that isn't at all like my voice.  She agrees, her face changing from affable to crafty.  "But I did fool you," she says, tightening the red handkerchief around the soldier's throat, causing Aristede to choke.  What's happening?--what are you doing to me? he gasps.  Choking you, she says cruelly.  Stop! he begs, clutching his throat.  When I get the hand, she says.  This stuns him.  Give it quickly, she orders--any moment now, it will be too late.  She viciously twists the handkerchief around the soldier's throat. . .

NOTES:  So, we meet Aristede, the mysterious young gypsy who has, unfortunately, been introduced to Angelique's worst side.  It was great seeing her back again, in fine acting fettle, and you had to love the way she toyed with Aristede--and oh, that flamboyant gown she was wearing, the perfect puppeteer's trashy raiment.  Observe how easily Angelique is letting Barnabas swing in the breeze, forsaking her beloved fiance just to stay in good with the family who has forsaken him.  Bad girl, but looking to survive.  One always has to worry when Angelique wants to cut a deal--Quentin should be most careful.  She always wants so very much!

I find I really want to see Evan and Trask get what's coming to them.  What they have done to Judith is beyonf cruel, it's inhuman, and I feel they both deserve equal punishment.


793 - Angelique continues to choke dear, sweet Aristede.  I can't tell you where the hand is! He declares--I can't!Speak or die, she advises, about to administer the killing pull on his handkerchief.  Let me breathe! he begs.  She loosens the handkerchief and asks, is that better?  I buried it in the cemetery, he reveals, next to a tombstone--the name is John Townsend--give me back my handkerchief.  I'm not done yet, says Ang--it's not that I don't trust you,  but you can become a nuisance, and I can't trust that.  She yanks the handkerchief tightly around the little soldier's neck, sending Aristede tumbling to the ground, unconscious.  She then stuffs his handkerchief into his motionless hand.

9 PM - Beth exits the servants' quarters.  Edward calls to her as he's heading downstairs--Beth, are you going out now?  For a little while, she says.  Get your rest,he advises--you are to be up and ready to leave with me at sunrise.  Leave? She asks.  You are to accompany Judith and me to Portland, he says--her condition has gotten worse, and I'm placing her in Rushmore Sanitarium where she can be taken care of until she is herself again--it's just a matter of time before she completely recovers, he tells the concerned Beth--where are you going?  To look for Quentin, she says, to his disgust.  "He hasn't been in the house since last night," says Beth.  Just out on a spree, says Edward, he'll come back, unfortunately, as he always does.  Do you mind my looking? she asks curtly.  I just don't want you to waste your time, says Edward.  I don't feel I am, says Beth--good night, Mr. Collins.  And off she goes.  Edward enters the drawing room.

Down by the docks, Aristede's unconscious body is found by a caped figure, who orders him to awaken--and pushes him around with his foot.  Aristede stands and complains to a man wearing thick glasses and a huge, curly gray beard, "My head is throbbing."  "Look at me" the man commands Aristede, and slaps him across the face--"You didn't get the hand, did you?"  I got it, says Aristede, terrified, but have it no longer--I swear to get it back.  The man asks, was a woman, assailant, or combination?  She was no ordinary woman, Victor, blathers Aristede--she possessed powers, and almost killed me.  Victor backs him up against a pillar and angrily says she SHOULD have killed you and spared ME your ineptitude.  Aristede vows to find her and get it back.  I will do it, says Victor--if that fails, we must employ our alternative plan.  That might not be necessary, says Aristede.  The hand is vitally important, says Victor--I suspect its power has already been used--am I correct?Yes, says Aristede.  Then I must put in an appearance, says Victor--my credentials are in perfect order--I'll go to Collinwood at once, as soon as you answer a few questions about the woman you met.  Aristede gazes at his red handkerchief.

Beth goes to the Old House and calls to Barnabas and Magda.  She finds Quentin sitting in the darkness of the hooded chair.  Quentin rises and faces Beth, who screams at the sight of his disfigured face.

Beth turns to run.  Please don't run from me, says Quentin.  Quentin! she wails, it can't be you!  It is, he says.  What happened? she asks.  He sits down back in the darkness.  She kneels and again asks, what happened to you?  Full moon last night, he says, and when the dawn came, I made the transformation into this.  She asks, is this part of the curse?  I don't know, answers Quentin--but I'd rather die than look like this the rest of my life.  She presses her face into his hands.   Go back to Collinwood and forget about me, he advises.I can't do that, she says.  It's for your own good, he says, you have no future with me, not the way I am--go away, he says.  No, she insists, we will free you from this curse, and I'll stay with you until we find it.  She hugs him, he hugs her back.  (Oh, she is such a good woman, he doesn't deserve her!)

Angelique comes downstairs at Collinwood, carrying the boxed hand.  I received a surprising telephone call from Evan, Edward says--he did his best to clear you of suspicion, but he didn't succeed--the fact that Evan knew you before you met Barnabas has no bearing on your innocence--I believe it was known all along what Barnabas is.  Not true, she says.  Edward adds, I believe you know where he is now.  No, she says, and don't want to know.  If you had nothing to fear, he asks, why did you run away?  Faltering, she says, I was terribly confused--I knew everyone would suspect me of helping Barnabas--I didn't know what else to do.  Then you did know about him? asks Edward.  No, she replies, only after we became engaged, not before.  And you remained silent while he was victimizing this community? demands Edward.  She looks at him.  The victim of a vampire has no choice, she says--I wanted to expose him, but he robbed me of my free will--just as with Charity Trask--I was a helpless slave--it was the most shameful, degrading thing that ever happened to me.  I refuse to be taken in by this show of emotion, says Edward.  She puts down the box and says, you may banish me from Collinwood if you wish, but you must know the truth.  "When I met Barnabas, for the first time, I was impressed by him--he was so charming, kind, and when I was with him, I felt warm, safe, secure.  When I finally realized the truth, it was too late--I found myself trapped.  Barnabas invited me to the Old House one evening.  When I arrived, the house was dark, but the door was open.  So I went inside and called to him.  He answered me from inside the drawing room.  When I turned to greet him, and I saw him, he was not the Barnabas I had come to know and love.  I saw instead a horrible, evil-looking creature!I was terrified, too frightened to move!  And then. . .he slowly put his arms around me and in a moment, I felt his teeth sink into my neck."  She pauses for dramatic effect.  "I fainted.  When I awoke, Barnabas told me that I was to become his bride, that I had to agree.  I had no power to resist him.  I had to agree."  "You poor child!" cries Edward--"I had no idea it was that way!"  Shortly after Barnabas was exposed as being a vampire, she explains, the marks disappeared from my neck quite suddenly, and I was free again.  That's exactly what happened to Charity, says Edward.  Angelique rises and says, I don't know what I will do or where I will go, but I'm ready to leave Collinwood.  You can remain here, he assures her, until you make your future plans.  There's a knock at the door.  Edward goes to answer it.  Angelique smiles triumphantly at her wonderful performance. (and it was damn good!)

Victor, the man who was so cruel to Aristede on the docks, says, "I'm here to see Edward Collins."  Edward invites him in.  This is a moment I've long anticipated with pleasure, says Victor--my name is Victor Fenn-Gibbons--I bring you greetings from a mutual friend in England, the Earl of Hampshire.  He hands Edward some papers and adds, these will tell you whatever you wish to know about me.  Edward unfolds the paper, which says the Earl thinks very highly of Mr. Fenn-Gibbons.  I am honored to meet you, says Edward.  I'm in America on pleasure, says Victor--I've lived his strenuous, active, sometimes dangerous life--I'm putting all that behind me.  Edward invites him to stay at Collinwood for the duration of his visit.  I don't want to impose, says Victor.  Not at all, says Edward, the Earl is a dear friend of mine.  Angelique exits the drawing room carrying the box containing the hand.  Victor sees her--and it, and stares avidly at her as Edward tells him, you will be an honored guest of ours.  Edward introduces Angelique Duval to Victor, who repeats her name and asks if she's French.  I was born in this country, she replies, but most of my ancestors were from Martinique.  I've been to most of the French colonies, says Victor, and may I say that I have never found one of them to be as exquisite as I finds you.  She thanks him and says she must be on her way--I promised to take something to a friend in town.  Victor's face is livid as Angelique thanks Edward for his kindness and understanding.  We will speak later, says Edward.  Victor calls Angelique charming.  Edward invites him into the drawing room for brandy and conversation.  Victor explains, my voice is barely above a whisper because I served with Kitchener in the Sudan, and I was caught by a sword that pierced his throat--almost gave him up for dead--splendid man, Kitchener--pride, too much perhaps, but a man among men.  Victor laughs.

Beth kneels, holding Quentin's hands, when Angelique comes in with the hand and assures Quentin--soon, very soon, your troubles will be over.  What hand? asks Beth.  Quentin wants to show her, but Angelique suggests he not open the box, considering what happened to him before--let me handle it this time, advises the witch.  Quentin walks away.  Handle what? asks Beth.  Leave, says Angelique--what must be done has to remain between Quentin and me.  Frantic, Beth insists, Quentin, I can't leave you here.  He reminds her--you said you would do anything to help me--go back to Collinwood.  All right, Beth agrees, I'll wait for you there.  She gives Angelique and the box a nasty look before exiting.  Angelique opens the box to reveal the magic hand.

11 o'clock - I have a carriage awaiting me at the gate, Victor assures Edward--thank you for your hospitality.  I'll have a room prepared for you, promises Edward.

Quentin is impatient to start.  You've waited this long, Angelique reminds him--you can wait a little longer--besides, we haven't settled on my price.  I had forgotten that, he admits.  Angelique reminds him by stating her terms:  "I want you to marry me, Quentin."  (God, she was just engaged to Barnabas!  How fickle!)  Marry you? he asks, shocked--why would you want to marry me, knowing what I am?  I have my reasons, she responds.  I want to know what they are, insists Q.  It isn't necessary for you to know--agree, she says, and I will help you, disagree, and you fend for yourself.  (oh, what a non-choice!)  I don't want to stay like this, he says--I accept.  Good, she says.  Let's get started, he says.  Sit she says, indicating the hooded chair--I will be ready in just a moment.  She lights a blue candle, holds the magic hand in hers, and calls to Lucifer, master of all revolted spirits--protect me, she begs, allow me to use the powers of the hand to do my bidding.  She stops suddenly.  Quentin asks, what's wrong?  The hand is pulling away from me! cries Angelique--I have no control over it!--I don't understand its powers--it's alive!  "It's on me!" screams Quentin.  Indeed, the hand is on his chest; he's creaming incoherently.  The pain is starting! he cries--there's no full moon, but it's happening--do something! He begs.  Both are equally hysterical.  I don't know what to do, she confesses.  "Don't let it happen again!" he begs.  The focus is on his hand.  He groans with pain as it becomes hairy, that of the werewolf.  Angelique holds onto herself, terrified, looking into the hooded chair at what Quentin has turned into.  Outside the window, Victor Fenn-Gibbons looks in, watching.

NOTES:  What does Victor have to do with all this?  What is his interest in the hand?  What is it going to do to Quentin?  Does this explain why Chris became a werewolf when the moon wasn't full, and didn't transform back into a man when he should have?

Angelique is always taking men away from the women they love!  First, she broke up Josette and Barnabas, now she's putting her foot through Quentin's relationship with Josette.  No wonder Ang wanted her out of the room!  Doesn't she realize that everyone is going to think it odd that she was just engaged to Barnabas--and here she's so quickly engaged to Quentin?  It just makes her look, well, cheap and easy!

Aristede is a fascinating character--what is his exact relationship to Victor--and why do they want the hand?  Obviously they are together in their quest to get hold of that magical hand, but Aristede is apparently Victor's servant.  Edward too easily accepts Victor into his home, but one senses that while that letter from the Earl of Hampshire is in order, we wonder if the Earl was coerced into something by the mysterious Victor.

Love, Robin

KLS is childless.  

Love, Robin

I found this weird, too, but it's just one of those deals where you have to suspend disbelief and accept.  This is the DARK SHADOWS universe, and what you would imagine happens in our own doesn't necessarily follow suit in theirs.  

I, too, thought both Edward and Judith should have recognized Quentin.  It was kind of silly that they didn't.  

I think Curtis wanted to scare us all with those two hideous faces--and of course, like Josette, Evan needed a hanging eyeball (missing on Quentin).  

Considering the lack of time involved, their makeup people did a damned good job, IMHO, in making those two look like their faces had been attacked by an eggbeater.

Love, Robin

788 - (Grayson Hall) - The first light of dawn breaks over the great estate of Collinwood, a Collinwood that has been victimized by creatures of the supernatural. On the night that has just passed, one such creature, a werewolf, has been captured and placed in a cell in Collinsport Jail.  And now, with the arrival of the dawn, a horror-stricken Edward Collins watches a strange and frightening transformation from a beast to a man.

Note: Jail is spelled "gaol" in this century, too.

Fortunately for Quentin, he transforms into a hideously deformed man, much like Evan, his face a mangled mess. "I've never seen you before!" cries Edward--"Who are you? Answer me!" The man doesn't answer, enraging Edward. Quentin tries to speak, but chokes on the words.

Quentin peers through the bars at Edward, who doesn't even recognize his brother's suit. Magda enters. She tells Edward, you were right. Right about many things, rants Edward, you've known about this creature all along!--you know who he is, don't you? She says no, he accuses her of lying. Think what you want, she retorts. Why are you here, if you aren't lying? asks Edward. Curiosity, says Magda, just as you are. Who is this man? demands Edward. I'm just as shocked by his appearance, insists Magda. Again, Edward refuses to believe her. Ask him who he is, says Magda. He can't or won't say, says Edward. She looks at the creature and says, "Unable." Edward agrees--what a pity he can't speak, because if he could, I think he could tell us something about YOU. He knows nothing about me, says Magda. Edward offers her advice--now that they've found him, it's just a matter of time before they find and destroy Barnabas, too--if you want to do yourself some good, he advises, start helping us and stop fighting us--think it over, I'll be at Collinwood in case you change your mind--are you staying? For a minute, Magda says--my curiosity hasn't been satisfied yet.If you manage to communicate with him, says Edward, let him know his days are numbered. Edward exits. (Don't the sideburns give Quentin away?) Look at me, Magda tells Quentin--do you understand nothing of what has happened? Forest of Oshden, mutters Quentin, they took me there! You don't even know who you are or who I am, laments Magda. "There were nine of them," says Quentin, "nine gypsies." The hand has changed you, states Magda. "The hand!" yells Quentin. Edward didn't recognize you, reports Magda--your secret is still safe--we must get you out of here. "Nine gypsies standing around the fire," says Quentin, "closing in on me!" Magda, fearful, realizes Quentin has no idea what she's talking about--I must tell Barnabas what has happened--he'll know what to do. When she leaves, Quentin grabs the bars and pushes his face through, staring out at her.

Edward relates to Judith the incredible story of how the animal's features turned into those of a man at the crack of dawn--a grotesque man. Judith appears to be in a trance. You haven't reacted to anything I've said, points out Edward. I'm glad they caught the animal, says Judith, but I have something else on my mind. Edward wonders--what could possibly be of more concern than the animal that almost killed you? All right, says Judith, the animal has been apprehended and we're all safe, but insist we not discuss it all day, it's morbid. This annoys Edward--what is the matter with you? he asks. Nothing, she says, tapping her beringed hand on the table. Edward stiffly asks, are you having second thoughts about your ridiculous marriage? No, my marriage wasn't a mistake, maintains Judith. "Give it time," says Edward sarcastically. I will, with the full knowledge that, if it fails, it was no more ridiculous than yours, retorts Judith. Touche, says Edward--do you want to tell me what's troubling you? I had a disturbing dream, says Judith, but I don't want to discuss it. It might be better if you told me, says Edward. Leave me alone, orders Judith. He leaves, saying I'll be in my study if you needs me. Judith thinks to herself, if I had told him the dream was about Minerva Trask, he would have laughed--why should I dream of her, why?--what was she trying to tell me? "Danger--the Queen of Spades"--that's all she kept saying!--what was she talking about?--what did she mean? I must stop thinking about it, says Judith--it was just a dream, and meant nothing. Judith turns and sees a hand of solitaire set up on a table that was empty a moment before. Judith screams. Edward comes running in and nervously agrees the cards weren't on the table when they were just talking. Judith says, I didn't leave the room since you went to your study--how did they get here? Edward doesn't know. Judith looks at the cards. Edward asks what she's doing. She turns over the top card--the Queen of Spades. She's calling me, says Judith--she wants me to go to her. Edward is aghast. Where are you going? he demands. She wanders from the room, card in hand, and leaves the house. Edward calls out for her to come back, but she ignores him.

Cemetery - We see Minerva's headstone, which says "Who departed this life 1897, age 50 years." I've come to you, says Judith--what do you want to tell me? Edward appears, calling his sister--what are you doing here? This is where she appeared in the dream, says Judith. Who? asks Edward. She's here now, says Judith. Edward reads the stone, says the dead woman's name. Yes, says Judith. He asks, have you taken leave of your senses? She's trying to tell me something, just as she did in the dream, says Judith. Edward suggests a sane, rational explanation for Judith's dream--your own guilt, of marrying Trask so soon after his wife died. Judith denies this. Come home, insists Edward. I want to stay, insists Judith--I must stay, I'm wanted here, not you.  Edward orders her to stop talking nonsense. "I'm the one," says Judith, and nearly faints, alarming Edward. Judith tips her head back and closes her eyes. Edward wants to take her home and get a doctor--come with me, he pleads."I will thank you to call me Mrs. Trask," says Judith--"I will come home when I am ready." (She seems in a total, weird trance.) Edward stalks off, leaving her there. "I know what must be done," says Judith, smiling. "I know now." We again view Minerva's tombstone.

2:40 PM - Collinwood - Magda comes downstairs. Edward returns and asks, why are you here? Looking for Beth, says Magda. I haven't see her all day, says Edward. He closes the drawing room doors and calls 453. It's the still-face-challenged Evan Hanley who hesitantly answers the phone. Come over as quickly as you can, insists Edward. (Magda listens carefully). Pop-eyed Evan asks if something is wrong--tell me what it is. I think Judith is losing her mind, reports Edward. I'm not sure I can get there at all, says Evan, despite the urgency of the situation, but I have a list of appointments and don't know if I can clear them this quickly. This is an emergency, says Edward angrily--get here this afternoon, or I'll look for another lawyer in the morning. Evan hangs up, then checks his hideous reflection in the mirror. Magda walks away from the door, making sure Edward doesn't catch her. He assures her, nothing is going on that concerns you--why are you looking for Beth? Nothing important, says Magda, I just read her cards sometimes. Why? demands Edward. She wants to look into the future, says Magda. Did you consider what we discussed earlier? asks Edward. Yes, she says, I thought it over--if I could help you find Barnabas, I would, but unfortunately, I can't. "Perhaps the future you should be concerned about is your own!" suggests Edward coldly. Gypsies aren't like other people, says Magda, "You have your little crises and they're very upsetting--our lives are one long, continuous crisis. We know it, we deal with it, we always survive it!" (I love this little speech, it's wonderful.) Judith enters, slamming the door. She gestures to Magda and asks Edward, who is she, and what is she doing here? Edward and Magda exchange looks. Well, asks Judith, isn't either of you going to speak up? Magda laughs--you're making jokes, she says of Judith. "We do not make jokes, Madame," says Judith--"We run a very proper school here." School? asks Edward. Judith isn't feeling well, says Magda. I'm feeling fine, says Judith--"If you came in answer to that ad we placed in the paper, you are wasting your time! She fingers Magda's clothing with disgust--I don't like the way you dress, and your jewelry is hideous!--send her away, Judith orders Edward, who calls her name twice. Judith ignores him, and says, send my daughter to me. Edward says, you don't have a daughter. "Of course I do," says Judith sternly, "and I wish you'd stop calling me Judith--my name is Minerva, and you may address me as Mrs. Trask!" She flounces into the drawing room as Edward and Magda exchange quizzical, stunned glances.

3 PM - Edward closes the drawing room doors, then answers a knock at the front door. It's Evan, whose face is restored! I'm glad you decided to do the intelligent thing, says Edward. Magda comes out of the servants' quarters. Evan apologizes for his hesitancy over the phone. She spots Evan and drops her purse on the floor. Edward, annoyed at her fear, asks what she's staring at. Evan is staring at Magda, who kneels to pick up her purse. She greets Hanley with a good afternoon. He tips his hat and says she's looking well. "You are, too," she says, incredulous, cowed and scared.

Magda goes to the servants' entrance and exits as Edward describes Judith's aberration--it started with a dream she had last night, about the first Mrs. Trask, then she seemed to think she was being haunted by the woman (does it seem to anyone else that scenes are missing?), and now she actually thinks she IS the first Mrs. Trask--I'm sure of this, says Edward, having spent most of the day with her. Evan asks exactly how she's been behaving--how is the illusion manifesting itself? She thinks she's Minerva Trask, responds Edward, and I'm terribly concerned about her state of mind--I'm especially concerned that Trask will take over the house if Judith isn't in her right mind. Do you believe it's gone that far? asks Evan. I'm not sure, says Edward, but if it has, it's your duty to legally protect us. Evan agrees. I want to take you in to see Judith now, says Edward. I want to speak to her alone, says Evan, I think it will be easier to evaluate the situation without a third party in the room. Edward agrees to wait in the study. As he's about to open the drawing room doors, Magda comes out, calling to Evan--I must speak with you, she says. "You and I have nothing to say to each other--GYPSY," he replies icily, through a smile.She tells him how lucky he is that his face has been restored--how did it happen? Evan laughs, and says, "Wouldn't you like to know?" Was it the hand? she asks eagerly. You're wasting your time, says Evan--I'll never tell you. I'm asking on Quentin's behalf, she says, there was a full moon last night, and Quentin transformed--the police caught him and put him in the Collinsport Jail. Then he changed back this morning and they know who he is, guesses Evan. No, says Magda, because the hand did to Quentin what it did to you--he isn't recognizable, but if your face is back to normal now...then his will be, too, then they will recognize him, and that's why you must help him! "You've come to the wrong man," says Evan. "I have no intention of any further involvement with Quentin--and I have no desire to do anything that would help YOU!" She turns away from him, sounding as if she's spitting out something disgusting.

Judith sits in the drawing room playing cards. Evan enters and asks to speak to her. "YOU! YOU ARE THE ONE!!" she cries. I don't understand, says Evan. She grabs a letter opener from the desk and approaches him threateningly with it. "You made Timothy Shaw poison me!" she accuses. Evan is shocked.She comes relentlessly forward, intent on stabbing him, getting revenge for his part in her murder!

NOTES: Interesting developments. We know why Evan wanted to speak with Judith/Minerva alone, and now his worst fears are realized--she remembers him and his part in her murder! Who will save him from her intended revenge? How did Evan get his face back to its handsome appearance? Was that an incredible scene between Barnabas and Edward at the jail or what? So sad, what their once-friendly relationship has turned into! Didn't you get the impression that Magda was treating Evan like some sort of god, even feared him, for using the hand to cure himself? She was practically bowing at his feet!

How cool that the hand actually prevented Quentin from being found out, even if it failed to cure him of the werewolf curse. I would think Edward would recognize Quentin anyway, but I guess he does look different enough to make Edward not want to be related to him! Great how they ended that earlier ep, making it seem that Edward witnessed the werewolf turning into Quentin, but we saw in the ep that followed that the creature's human form is uglier than his animal form. Doesn't it sound as if Quentin is possessed by a character we haven't seen yet--Count Petofi? We can safely assume the hand is responsible for that, too!

Good eps. I had actually forgotten Minerva possesses Judith. She will have scores to settle with Trask, too; if she knows of Evan's part, and that Tim was badly used, she should know about all of it.


789 - (Clarice Blackburn) - 1897 was a time of many terrifying events in the great house of Collinwood, and these events had a lasting effect on all who lived there, and all who would come after them. But perhaps no single event was so cruel and frightening as the deliberate plan of one evil man to induce madness in the mistress of the house.

Minerva is doing the intro? Oh boy! She tells us some evil man is inducing madness in the mistress of the house.

3:05 - Judith accuses Evan of making Timothy Shaw poison her, and she comes at him with a letter opener, holding it like a deadly knife.

Evan dodges Judith as she says, I know exactly what you did--"You and my husband planned it, didn't you?" demands Judith. You thought you could blame Shaw. Edward comes in and wrestles the letter opener away from Judith. She HAS gone completely mad, says Evan--she accused me of being responsible for Mrs. Trask's death.Judith sits quietly by the fireplace. I knew I shouldn't have let you come in alone, says Edward. Judith comes out of her trance and asks, what's happened to me--what is Evan doing here? Edward tells her, you tried to kill Evan. Judith can't believe it--I didn't know he was here. You aren't well, says Edward--can you remember anything since morning? No, says Judith, I can't--but she staunchly refuses his offer to call a doctor. Confused and scared, she says, I need a little rest, that's all. Edward tells Evan to stick around and very slowly helps his sister up to her bed. Evan, probably scared into leaving skidmarks in his drawers, helps himself to a drink. Trask comes in--where have you been for the past 24 hours, he asks Evan. We had better decide what to do about your new wife, advises Evan, and quickly--for some reason, she imagined herself your first wife, and accused me of being responsible for her death! Is this a macabre joke? Asks Trask. No, replies Evan says--she was like someone possessed--she seems to have recovered for the moment, but if this manifests itself again, we could be in serious trouble--REVEREND. Is possession by Minerva possible? asks Trask. Yes, says Evan, that Minerva's spirit is restless shouldn't come as a surprise to either of us. If the spirit is a danger to us, it must be silenced, says Trask. It's a ghost that won't rest until it causes trouble for us, warns Evan. There must be a way, says Trask--find out what it is. Evan is thinking wicked thoughts--fear, he says, even though Minerva is dead, Judith still has an enormous fear of her--perhaps we can use that fear to our advantage--by bringing Trask's first wife back to haunt Judith. Already happening, Trask reminds him. But not to our advantage, says Evan. What will you do? asks Trask. I will explain when the time comes, promises Evan--remember, Judith changed her will in your favor, and if anything happens to her, you are master of the house. Evan has a point--Trask smiles. I mean to be taken care of, says Evan. I will guarantee you nothing until I know what you plan to do, says Trask. Come to my house this evening, says Trask--I'll show you--oh, and bring a picture of Minerva, will you?--if my plan succeeds, Judith will never be a problem to Trask again, and you will be a very rich man. Trask smiles at this thought, pleased.

Edward joins Trask in the drawing room. Evan left, reports Trask. Edward is annoyed to hear this. He'll be home later this evening, Trask assures him. I'll call him later, says Edward, but I wants a word with you. I prefer to speak to Judith first, says Trask. Edward insists it cannot wait. OK, says Trask. I want you and Judith to annul the marriage, says Edward--we both know it's a disaster--Judith was never suited for marriage, nor will be. Have you always decided what's best for your sister? asks Trask. Yes, says Edward, I know her better than you do--why do you suppose she's never married until now? I neither know or care, insists Trask--I love her and will do everything in my power, devote all my time to ensure she is well and happy. He excuses himself curtly and heads upstairs.

Judith lies on her bed. She answers a knock at her door--no one is there. She closes the door, starts to return to bed. Another knock. Again, no one there. She closes the door. The third knock makes her rub her hand nervously over her face, this time she asks who it is. It's Gregory, darling, he responds. She smiles happily and opens the door--did you knock a moment ago? She asks. No, why? he asks. Someone did, says Judith, but there was no one there. Perhaps you just thought you heard a knock, he suggests. I'm so glad you're here! says Judith, and hugs him. Edward gave me quite a scare, says Trask--I'm very concerned over your state of mind. No reason to be, says Judith. That's what I told Edward, says Trask. I just had a disturbing dream, she says. I don't agree with Edward, says Trask. I'm not myself today, admits Judith, but it has nothing to do with you. We will face it together, he promises, you should not be afraid. Not as long as you're with me, she says, hugging him. I'll stay with you, says Trask, but must make one more trip to the school--I'll be back ASAP and stay with you, he promises. I'll be miserable without you, she says, a statement that seems to bring him great pleasure.

8 o'clock, Hanley residence - Evan, dressed in black velvet robes, looking quite satanic looking with his hair slicked back, flips through a book. He asks Trask, who is sitting down, "Why the long face?" Surely, says Trask, you can understand my discomfort at participating in this sort of thing.Of course, says Evan, "But we can't always be on the side of the angels, can we?" (Good dig!)-- Did you bring the picture of Minerva? Trask hands him the photo and asks, what are you going to do? Yes, this will do nicely, says Evan--the goal of our ceremony is to conjure up a black ghost of Minerva--in effect, we will create a thing that will appear to Judith--she will think it Minerva's ghost, but in fact it will be a hallucination under our control. Will this thing be visible only to Judith? asks Trask. No, says Evan, that's the one dangerous factor about the plan--when it appears, anyone will be able to see it, so you must go to Judith immediately and prevent anyone else from coming near. Trask asks, how does the photo fit in? At the height of the ceremony, says Evan, I'll set fire to the picture, and if I've been successful, the apparition will appear to Judith. Trask decides he'd better return to Collinwood at once. I will begin the ceremony at 8:30, says Evan, which will give you plenty of time.

Edward descends the stairs at Collinwood. Trask returns home, asking about Judith. I think she calmed down a bit, says Edward. I expected that after the talk we had this afternoon, says Trask smugly. Before you go, says Edward, I want to ask you some questions. I don't want to leave Judith alone anymore than necessary, objects Trask. The clock is striking 8:30 as they head into the drawing room.

Evan begins his ceremony to conjure up "The subservient spirit of Minerva to appear and show herself to Judith Collins. (Not Trask?) Wherever she may be, in a fair and human shape without deformity--show thyself presently and manifest only that which I desire. He lights the black candles and holds Minerva's photo into one of them, setting it afire.

Judith lies in her bed, reading a book. In the corner of her room, Minerva appears. Judith covers her face and screams.

Edward tells Trask--what's most curious and disturbing about Judith's behavior is what she said to Evan Hanley--she accused him of murdering Trask's first wife--why would she make such an accusation? Considering her state of mind, says Trask, she didn't need a reason--you yourself said she was completely irrational. Judith calls to Trask. He and Edward join Judith at the foot of the stairs. She hugs her husband--thank the Lord you're home! She says, upset. I said I'd be home early, he reminds her. Edward notes Judith is trembling and asks what's wrong. A slight chill in my room, she says, as the men flank her. I'd like to speak to Judith alone, says Trask, and escorts his wife into the drawing room. She sits down, he sits beside her and asks--tell me why you lied to Edward?--I can see something is wrong in your eyes. She confesses, a few moments ago, in my room, I saw Minerva's spirit in the corner of my room. He smiles quickly, then says--it had to be your imagination--even if spirits were possible, Minerva's never would, she was kind and tolerant, and I'm sure that, wherever she is now, she looks upon our union with the greatest of joy. He clasps her hand. I suppose so, says Judith. Now you know how I feel  about liquor, says Trask, but a little brandy might be just what you need right now. He gets up to pour her one to calm her nerves. Judith says, "Minerva is here again, on the other side of the room." Trask looks where Judith directed and sees Minerva sitting in a chair, doing needlepoint. Trask, of course, claims no one is there--no one in the room but us. "But you must see it," insists Judith, upset. "She's there in that chair!" It's all in your mind, says Trask. It can't be, wails Judith. Look at me, orders Trask--remember what I said earlier about being afraid. I remember, says Judith, clearly terrified. For some reason, continues Trask, the memory of Minerva is dominating your thoughts, when you should be thinking about us and our future together--if you think about THAT, everything will be all right, he assures her--it's what you want, right? Yes, very much, says Judith. Turn around and look across the room, he orders--tell me what you see. Judith sees Minerva, of course, but claims to see nothing. "There!" says Trask. Didn't I tell you? I'd like that brandy now, says Judith, who downs it quickly, hand trembling. You're still very upset, he notes. I'm all right, Judith assures him--I don't see her anymore. "Her?" asks Trask. "Your wife!" says Judith. "But Judith," says Trask, "YOU are my wife!" He grins and says, keep reminding yourself of that--"I am Mrs. Trask." Say it, he says, my students don't hesitate. I'm not feeling well, says Judith. Go upstairs to rest, he suggests. Won't you come with me? asks Judith. I have a few things to do down here, he says. Can't you do them later? asks Judith pitifully. You're acting afraid to go up to your room alone, says Trask--you aren't afraid, are you? No, says Judith, her terrified eyes almost bulging from her head. She sees Minerva, still sitting and sewing, and hesitantly asks, will you come up when you're finished? She walks through the darkened foyer, covering her face with her hands when she gets to the newel post. Slowly, she walks upstairs. Minerva follows her up. Judith turns and says, don't come any closer--"Don't come near me!" she orders the apparition.

NOTE: Evan and Trask are absolutely horrible men who deserve to die. What they are doing to poor Judith, on top of what they have done to Minerva, is unspeakably disgusting. Evan has been the Collins family lawyer a long time; how can he gaslight the woman who has probably made him rich this way?

Poor Judith! Every man in her life that she's trusted has turned against her!

Love, Robin

784 - (Grayson Hall) - Collinwood, 1897--Barnabas Collins' mission to the past has been thrown into jeopardy by the discovery that he is a vampire.  And now, even while he tries to help Quentin with the legendary hand of Oshden, he must hide in a secret cave from those who would end his curse forever.

Evan advises Barnabas, who has his back turned away from the cross, not to walk out into the light--I don't want to be deprived of an interesting conversation.  How did you find me? asks Barnabas.  I would think you would be more interested in knowing what I plan to do now that I have, says Evan--I understand you can disappear at will, but where would you go, without another coffin for you to go to--an unfortunate lack of foresight).  Have you brought a hammer and stake, or six silver bullets? asks Barnabas.  Which would you prefer? queries Evan.  Do whatever you want with me, says Barnabas with dignity, but do it now--I'll stand with my back to you; take out your pistol, if that's what's to be, and get it over with--if it's to be the end, let it be now.  Evan, holding up the cross, smiles.

The cock crows.  You're quite right, Evan tells Barnabas, you have very little time and there is much I want to know--should I lower the cross, so we can look at each other?  Evan does so.  Barnabas turns and says, I don't trust you.  Evan agrees--I'm not to be trusted--but I'm not going to kill you now.  Later, says Barnabas, of course.  Depends, says Evan.  I don't want to be at your mercy, says Barnabas.  Evan grins, big, enjoying himself--you have no choice, he tells the vampire, You're at my mercy as long as I wish it to be so--I find you fascinating to have under my control, and feel you knows much I would wish to know.  "So I am to be impaled by a pin and put under a microscope," says Barnabas.  "No, Mr. Hanley."  You'll enjoy it eventually, maintains Evan--you've forgotten the pleasures of confession.  I never knew them, insists Barn, and don't plan to start now.  The question is academic, says Evan.  Are you going to make me your personal secret? Wonders Barnabas.  That depends, says Evan--the hand, Mr. Collins, from the forest of Oshden.  You're a romantic, says Barnabas--I'll have to explain it all when I have more time.  I have read about the Hand of Count Petofi in a thousand books, says Evan.  I know nothing, says Barnabas, but admire your imagination and sense of fantasy.  "I want the hand that cured Charity Trask," insists Evan.  Barnabas whirls around."Ah, so you do remember now?" asks Evan cunningly.  "NO!" shouts Barnabas.  Stop lying to me, orders Evan--I want the hand that removed your marks from her neck, the saved her from becoming a vampire and your slave--"I have brought you some news.  Give me the hand, Mr. Collins."  I don't have it, says Barnabas, but I can tell you who does.  Is it in the cave? Asks Evan--should I wait for the light and then search?  No, says Barnabas, it's not here.  When will it be? asks Evan.  At dusk, says Barnabas.  I will return then, Evan vows.  And I must be alive at dusk if you're to get it, says the vampire, and you are to keep my secret.  I'm good at keeping secrets, Evan assures him, you'll find that out--until dusk--and if you fail me, it will be the last dusk you ever see.  Evan holds one hand over the cross, but waves it at him warningly.  Evan leaves the cave and Barnabas retires for the day.

Collinwood - Judith is stunned when Trask reveals the truth about Barnabas--so Barnabas was the secret that Grandmama wanted to tell us! says Judith, amazed--sometimes I think the family is cursed.  The evil men do live after them, says Trask.  I'm ashamed at what you must think of us, says Judith.  "I make no judgments, Judith," he says, "it is not my province."--I have come on a very sad mission.  She's upset--what's happened? she asks.  It's been in my mind, a battle raging endlessly even in the midst of her tragedy, he says.  I want to help you, insists Judith.  I have decided to close Worthington Hall and leave Collinsport forever, says Trask.  This boggles Judith's mind.  No! she cries.  Trask admits, it's been a difficult decision, and I don't want you to dissuade me.  You must reconsider, she insists, for the sake of the children.  I can't think of them, says Trask.  I think you're leaving because of my family, says Judith, and all that has happened.  No, he says, just one of the Collinses has made me come to this decision.  Judith guesses Edward, then Quentin, but Trask pretends he can't confess at first.  Then he tells her, reluctantly, YOU are the one.  Have I done something to offend you? she asks.  No, you've been here, he says, and that's the reason I must leave--you're in this house, and I'm no more than 10 minutes away, thinking of you, wondering what you're doing (with your money), contemplating your goodness, faith, your hold on the virtues of life (and all that money)--"Oh, Judith, I cannot bear it any longer!  You would never consider marrying me!"  (Whoa baby, his wife isn't even cold yet!)  Judith is shocked--marry you?  "Judith, would you marry me?" he asks.  She stares at him, stunned by his proposal.

Judith looks angry at first.  She rises from the sofa, silent.  He apologizes--I thought I had learned to contain my natural impetuousness--you're insulted by my presumption (Judith interrupts and says that isn't true), "but believe me, Judith, even in my innermost thoughts in my wildest dreams, I know there is no hope for my suit, but at least now you know the real reason I must leave Collinsport--it is impossible!"  Judith interrupts his rant--I can't let you leave!  I know I have affronted you, he says, I'm sorry.  Stop it! Judith orders.  She walks toward him and says, no one has ever proposed to me before, something I've never admitted to anyone.  I can't believe it, says Trask.  Grandma said I frightened men away, admits Judith--I was too strong.  You were forced to be strong, says Trask, not your doing, your family position made you assume a burden you didn't want--it's my fondest dream to share that burden (especially all that money!) with you--I realize we are both thinking of Minerva--the circumstances of her death, the short time that has elapsed, it's all I can think of--I'll say nothing unkind about the dead, but the thought of a new life here, with you. . .  Judith smiles.  I can't deny myself the opportunity, says Trask--if you knew the hours I'd spent in prayer and contemplation (none!).  I know, she assures him.  We could marry, he says, but she hasn't said. . .  "Yes?" finishes Judith--"Is that what I've not said?--then I must say it--I will marry you, it will be an understanding between us--and after a proper period of time, we'll announce it."  Trask, undoubtedly overjoyed, says, we can't worry about what others think--do as your conscience guides you and you will not offend Leviticus.  Judith is unsure, but Trask presses--I know you are thinking of Edward and Quentin, but don't you owe yourself happiness?  Yes, she says, but we must be cautious.  We are being so, insists Trask--we're living according to a spiritual need for each other and must marry today, before someone comes between us, because they will try, he says passionately.  Oh, no, says Judith.  Your brothers will not be happy about our union, says Trask--they are too used to this home you have made for them--do you trust me?  Completely, she says.  "Then come with me now, and when we return we will be man and wife," he says, "united by God."  I can't be married this way, insists Judith.  You don't trust my judgment, says Trask.  Yes I do, Judith assures him.  If you did, he says, you'd come with me.  It can't happen this way, reiterates Judith, it will be such a shock to everyone!  They will learn to accept it, he says, and as for the people who talk, we won't hear them, for we shall be together (and he holds both her hands and kisses them).  Oh, Judith, he says, hugging her, "the impermanence of life, we've seen so many examples of it lately!--dare we waste this hour?"No, she agrees, convinced.  He smiles.  "Come, let's go into the village now," he says.  "Yes, Gregory," she agrees, and they head out.

Barnabas waits outside the cave.  The wind is blowing hard.  He enters the cave, paces its tight confines.  Magda comes in, box in hand.  Barnabas angrily says, your psychic abilities failed you.   I'm here, she says, with the hand.  You took so long, complains Barnabas--he could have been here by now.  She's horrified to learn that Evan Hanley has learned of this hiding place, and about him, too, and that he wants the hand.  Magda nervously says, I'll dig a hole in the woods so he never finds it.  She starts to leave, but Barnabas stops her.  The hand is in my keeping; she reminds him--I'm not going to let Evan have it!  Barnabas insists, if I'm to complete my mission, I must outwit Evan, who's on his way.  Sarcastically, Magda reminds him, you've lived so cleverly for so many centuries and now. . .  Now, says Barnabas, I must depend on the hand.  He takes the box--will it work for us, do what must be done?  Magda doesn't know--I'm willing to try for Quentin, she says, because he must be free from his curse.  "And I must be free of Evan Hanley," says Barnabas--the hand cured Charity, if it can do good, can it also do evil?Yes, Magda replies.  "Then you must make it turn Evan Hanley into my servant," insists Barnabas.  I don't know how, says Magda--it isn't my mind, my words that make it do as it does--no, it's the hand of Count Petofi, and somewhere in this world, or perhaps in another, somewhere, he is, and this hand does what he wants it to do--this hand, cut from his arm for a payment, it cannot stop from doing what he wants--legend says that some nights he cries for the hand to come back to him, but the hand cannot do that--my people have seen to that end of things, and it's the only thing the hand can deny him, she finishes smugly.  How mad the world has become, says Barnabas, that my, David and Chris' fates depend on a man we have never known.  In a chanting voice, Magda asks the hand, help us, save us--I did something bad, yes, I put a curse on my own kin, and now this man, he will make the curse stay unless you help us--he wants you, too!  Evan enters the cave, asking Magda if she's talking to herself.  He spies the hand--ah, she's talking to something far more interesting!  You're a man of your word, Evan praises Barnabas--"Give me the hand, please," says Evan.  Magda closes the box.

Evan orders Barnabas to tell Magda of the bargain they made--tell her to give me the hand.  If she does, it will do you no good, says Barnabas.  Nonsense, insists Evan, laughing.  The hand belonged to the most evil man in the world, says Barnabas, and if you look upon it while wearing the cross. . .  "What will happen?" asks Evan.  Magda advises Barnabas, let Mr. Hanley look upon it, see for himself.  Evan chuckles, then asks, did the two of you hash out this plot yourselves?--how clever you must have thought yourselves, but I won't remove my cross while I'm with Barnabas.  "Let it kill him," pronounces Magda.  No, says Barnabas--he didn't kill me while I rested, he was honest with me.  All right, agrees Magda, look at it, if you dare.  Holding the cross covered in his hand, he moves to opens the box.  "Leave the cave," demands Evan.  He reminds Barnabas, who at first refuses, you had better get used to taking orders from me.  "I am not accustomed to them," says Barnabas.  "All in due time," promises Evan.  Barnabas leaves Magda and Evan alone in the cave.  Evan takes off his cross, and slowly opens the box.

Judith, in the foyer, admires the big, fat wedding ring on her finger.  I can't believe it, she says.  You will, promises Trask.  It's wrong to feel the way I do, says Judith.  You will become accustomed to happiness, Trask assures her.  He looks around the drawing room.  We must do something about the room, he says, get rid of its frivolous air--you don't want anyone to think us frivolous.  No, she says, but many of them are keepsakes from the family.  We won't make changes quickly, he says.  Did we do the right thing? asks Judith.  Of course, says Trask--I know you're afraid of the family, but I will handle them.  He hugs her.  Leave everything to me, he says--you are going to be a proper wife.  Suddenly, Judith spies something hideous over her new groom's shoulder--Gregory's wife, Minerva!--I saw her! wails Judith.

Evan opens the box containing the hand, but receives a terrible shock--it rises from the box and attacks him, covering his face.  Magda, her own face contorting over the sight, covers her mouth with her hand.  Barnabas re-enters the cave.  They look down at Evan.  "He's dead," says Magda--"I know it!"  We can't take the chance of using the hand on Quentin, insists Barnabas.  She agrees.  She looks in the box; the hand is there.  Barnabas takes a lantern and holds it over Evan.  "Oh my God!" he cries.Evan's face is a ruined mess, one eyeball popping out, his entire face distorted, like melted candle wax.  The hand has writ, and now it moves on!

NOTES:  Pretty good makeup job on HAA in that last scene--or did they just make up a dummy head?  Pretty gross!

Oh, can you imagine that Judith actually fell prey to Gregory's whirlwind courtship and elopement?  I know the poor woman is a spinster and probably starved for sex, but to marry a man whose wife is still probably warm in her grave is insane.  How could she not realize he's after her money?  Or does she care?  Big wedding ring there!

Great scene between Evan and Barnabas.  The hand of Count Petofi showed who had the upper "hand" (groan) in this situation, although Evan really had Barn by the short hairs in the earlier scene.  Barnabas is so dignified, and it was killing him to have to submit to such an SOB.

DS really stretches the imagination in wild, wicked and fun-filled ways!


785 - (Joan Bennett) - The time is the turn of the century.  A new day at Collinwood brings no answers to the terrifying questions that hang over the great estate.  And in the Old House, on its grounds, a gypsy puzzles over the powers of a mysterious hand--a hand that can do good--or do evil.

Old House - Magda toys with her necklace, looking down at Evan, who sits in the same chair that once hid Jenny from us.  (I guess it was moved from Collinwood.)  When Quentin knocks at the door, Magda leads Evan to the basement door and orders him down.  He just stands there.  Annoyed, she says, you don't understand "nothin'".  She urges him down.  Quentin bursts in when she opens the door, complaining, you took long enough.  He asks where Barnabas is.  He moved again, answers Magda, I don't know where.  Quentin is concerned about the expected full moon--what if it gets dark before Barnabas comes?--I'll turn into that animal.  Quentin hears a sound and knows someone is there--and heard me--who do you have locked in the basement?  Evan gazes out at Quentin, who gasps upon seeing the ruined face--but doesn't recognize him.  He asks Magda who it is, demanding to in a harsh voice as the creature gazes out at him.

Magda claims not to know the identity of the man locked in the basement.  I'm concerned the creature heard what I said, worries Quentin.  If you don't know who it is, says Magda, it doesn't matter.  Let him out, Q orders.  She refuses.  Give me the key, he demands, and takes it from her hand.  He frees the man.  Who are you?--what did you hear? asks quentin--you were listening!  He has no mind, says Magda, let him go!  Evan staggers unsteadily over to the same chair in which he was sitting as Quentin watches.  Why is he here? asks Q, and what does he have to do with me?  Nothing says Magda.  Quentin doesn't believe her--where did he come from?  I found him in the woods, says Magda--Barnabas told me to bring him here.  Why? asks Q suspiciously.  Perhaps he felt sorry for him, says Magda evasively.  Quentin demands the truth.  His mind has been destroyed, says Magda, we found him this way.  He has nothing to do with me? asks Q.  Yes, says Magda--go now!  Quentin grabs her arm--I want an explanation.  Upset, Magda tells  Q, return to Collinwood, I don't want to answer anymore questions.  All right, agrees Q, but what happens tonight when the moon starts to rise?--get rid of this man first, I don't want to hear it in front of me.  No, says Magda, *I* decide what happens in this house--I will show you what will happen here later tonight.  She leaves the room.  While she's gone, Quentin gazes at the man as if he's looking at a freak show.  He asks, did Magda tell me the truth about you--can't you hear me? Quentin kneels and stares at the man's face, even touching it, then backs away.  Magda brings out the box.  Quentin asks to see the hand.  Evan reacts, turning his head away.  The man is frightened, says Quentin.  Magda takes Evan and leads him away.  Why was the man frightened? asks Quentin--was it because of the hand?  He opens the box, wondering if the man has seen it before.  Quentin closes the box and walks away from it, declaring, it's enough to frighten anyone.  It will cure you, says Magda.  How? asks Q.  I'll place the hand on your heart, says Magda, and it will tear the curse from your body.  Are you sure? asks Q--I'm not sure you are.  I know the power of the hand, says Magda.  Quentin asks about the risks.  I can tell you better, she says, of your chance of changing tonight, or getting caught as a wolf.  Quentin doesn't want to hear those.  The hand isn't my servant, says Magda, I tell it what to do, yes, but it has powers I don't possess."What else can it do besides cure me?!" shouts Quentin.  Only the ancient gods know, says Magda, in truth, you must make up your mind.  Quentin looks down at the hand in the box and thinks, before all this happened to me, magic was a game, to be used for excitement on long winter evenings--the black arts!--know every world, not just the one around you--or that was my theory--I sure wish I knew the world as the rest of the world knows it, the world of living and dying, he says bitterly.  The clock chimes 2 PM.  You must decide by dusk, says Magda.  "Oh, God," he says despairingly, "Oh, God!"

A bit after 2:30, Collinwood - Judith is on the phone, trying to reach Evan, and without success.  She asks the operator to check the line again and gazes at her new wedding ring.  Edward returns home, Quentin right after him.  Edward notes Quentin's long face and says my trip to Bangor was not fun--I hate quick trips.  Quentin isn't sure how things are.  I hope that with everything going on, you would have stuck around for once, says Edward sourly.  Sorry to disappoint you, says Quentin, but I was enjoying the dubious pleasures of the village (bet that village rocks, huh).  On the phone, Judith says she doesn't understand, but thanks the operator for trying.  Edward reminds Quentin, you're a Collins as they enter the drawing room.  I wish I could forget that, says Quentin.  Judith, hiding her arms behind her back, asks Edward, did you have a pleasant trip?--I have news to tell you.  Good news? asks Edward--bad news everyone just blurts out.  (Judith is in hot pink, no mourning for Carl?)  I hoped dear Gregory would be here by the time you got back, says Judith.  I don't understand how Trask became so important to this family, remarks Edward--"dear Gregory," indeed--he's just a schoolmaster.  Judith turns around and says, he's more than that--"He's my husband."  Edward chokes on his drink.  "YOUR husband?" says Quentin, and bursts out laughing. Judith is annoyed he's making light of it.   "You married that man?" demands Edward. Yesterday, says Judith.You're mad! says Edward.  "Did you expect Edward to have any other reaction, sister? asks Quentin--now do I say best wishes to the bride or is it congratulations?--you know, Granny always said one of them was for the groom, but I could never remember which one it was, so I shall say both to you."  He sips his drink.  Edward refuses to do either--I like Gregory as my son's tutor, but that doesn't mean I want him in the family.  Judith angrily says, you don't want anyone in the family--you never wanted me to marry.  Frankly, says Edward, I never thought anyone would have the courage to ask you.  (ooh, diss!)  He asked you because of the money, says Edward harshly.  "Don't say that!" orders Judith, and smacks her brother across the face.  Quentin stands by the fireplace, laughing.  Edward holds his cheek.  Quentin says, "You know, I'd completely forgotten how evenly matched as you two are--shall I serve as referee?"  Don't be vulgar! says Judith--Edward, Gregory will be living at Collinwood, I want nothing to interfere with my marriage.  Meaning, says Edward, if I don't like it, I can get out.  Entirely up to you, says Judith.  He reminds her, our grandmother's will specifies that Quentin and I can live here the rest of their lives.  Yes, says Judith, and if he show Gregory the respect and brotherly affection he deserves, you can happily live here.  Quentin tells Edward, marriage has turned Judith into an optimist.  You're right, for once, says Judith--marriage has changed me, and it will be a relief to have someone else take charge.  Of what? demands Edward.  I'm not going to concern myself with business, says Judith.  Edward reminds her, Grandmother left you with the money.  "I knew that was bothering you," says Judith.  And after you, it goes to my son, says Edward.  When he's 21, adds Judith.  What if you die before Jamison is 21? asks Edward.  Then dear Gregory will administer the estate, says Judith--I've drawn up the papers, and once Evan sees to it, it will be finalized.  "He certainly will not!" says Edward stuffily, taking the paper from her and looking it over.  "And there is not one thing in the world you can do to change it," says Judith.  Edward stomps out without another word.  He is very persistent, remarks Quentin.  Edward goes into the study, Judith chasing after him.  "He never wanted me to be happy," says Judith, "never."  Quentin asks, do you honestly believes in happiness?--I see you do and offers you some advice as a wedding present:  "Happiness does not exist."  And he runs upstairs.

Judith notices the drawing room doors have closed by themselves.  When she opens them, she finds her changed will ripped to pieces, scattered on the floor.  She hears a sound, and demands to know if someone is there.  She looks out the window, sees nothing, but gasps when she turns back to the desk and spots a bible with a letter opened stabbed into the page.  She reads, "The righteous perish, no man taketh it to heart.  None considering that the righteous are taken away, but the evil is still to come."  Who is doing this to me? asks Judith aloud--who?On the wall is a drawn picture labeled MRS. TRASK.  "Minerva!" says Judith, and backs away from the picture.

5 PM - study - Edward angrily asks Quentin to stop looking at the clock.  Time is my hobby, says Q.  That means nothing, says Edward, focus on the problem at hand.  I have no solution, says Quentin.  We must find one, says Edward, we know why he married her.  I never really thought much about Judith's charms, says Quentin.  We both know that isn't why Trask married her, says Edward--if she thinks for one minute that HE will be master of Collinwood--Quentin, do you have plans tonight?--we should go see Evan--there must be a way of annulling this mistake.  "Don't count on me," warns Quentin.  Edward huffily says, in this we must be united.  "I SAID DON'T COUNT ON ME!" shouts Quentin, and leaves the room.

Judith answers the door to Magda.  "Ah the happy bride, best wishes, Lady," she says.  Judith asks, what do you want?  To see Quentin, says the gypsy.  I'm astonished you dare to come here, says Judith, considering you worked for Barnabas.  He is a Collins, like you, says Magda--all Collins are hard to work for.  Quentin enters.  Leave us alone, Judith, he tells his sister.  Judith leaves, first tossing Quentin a dirty look.  I had to know, says Magda, I had this feeling. . .if you don't try tonight, I feel you'll never be able to try again, and I trust my feelings.  I'll be there at dusk, promises Quentin.  Edward comes out.  Magda says, "Ah, Mr. Edward, you must be so happy to have a MAN in the family at last!" (oooh, nasty diss against both Quentin and Edward!) She laughs as she exits.   Edward asks Quentin what he's doing with Magda at dusk--are you turning down Evan Hanley for her?  "You'd never understand, Edward--ever," says Quentin.

Judith looks at the bible.  Edward comes in to talk sense into her, but she reminds him, I'm Mrs. Trask, Judith Trask--it's already done.  Do you regret it? asks Edward.  No, no matter what happens, says Judith--I will never regret it.  I promises to see that you do, vows Edward, stalking from the room.

Quentin first knocks at the door to the Old House, then lets himself in.  He calls upstairs to Magda--no response.  He sees the grotesque creature sitting in a chair and asks, who are you?  The man tries to talk, and manages to say, in a mangled voice, "I am Evan Hanley."  No! insists Quentin.  It's true, Evan insists.  Magda enters carrying the box containing the hand.  A nearly hysterical Quentin demands, "Is this really Evan?"  She nods.  Evan says, "The hand!"  Quentin grabs the box and shows it to Evan, who recoils from it.  Magda leads Evan away.  Quentin holds the box, looking like he isn't sure he wants anything to do with it.  Magda hides Evan down in the cellar.  Quentin opens the box.  The moon is rising, warns Magda, you had better decide.  It disfigured Evan's face, says Quentin, changed it so completely, what will it do to me?--"NO, I DON'T WANT ANY PART OF IT!" shouts Quentin, and is about to flee when he is overcome with the pain.  It isn't too late to use the hand, says Magda.  It won't help, says Quentin, his body twisting against the agony.  Whatever it does couldn't be worse than what you're going through now, she points out--let me try!  All right, agrees Quentin, try.  Magda takes the hand from the box and holds it in her own, asking that it invoke the powers granted in the forest of Oshden, that took the curse from Count Petofi--use these powers now to reach into this man's heart and remove the curse from him forever.She places it on Quentin's chest. . .

NOTES:  Is Minerva's ghost actually haunting Judith or is this just part of Trask's big plan to drive her nuts and take her money?  Quentin and Edward were horrible to her; granted, they know Trask is only after her money, but they were so mean, I was glad when Magda made that excellent crack about there finally being a real man in the house.  Gooooo, Magda!  Evan seemed to recover his power of speech and brain power, too, enough to tell Quentin who he was.  I can understand Quentin's reluctance to use the hand, given what it did to Evan, but I guess pain is a strong convincer.  Great performances all around.

I wonder if Judith and Trask have done "it" yet?  I would think she'd be smiling more if they had.

Love, Robin

Selby looks so young and cute here!  Yummy, indeed!  Thanks, Connie, for this treat!

Love, Robin

782 - (Jerry Lacy) - Collinwood before the turn of the century--And on this night, the longest and most agonizing night of his life, Barnabas Collins finds himself in the role of the fugitive.  The Collinwood he has known for so long is no longer open to him, nor is his beloved Old House.  The secret he has kept hidden for so long is now out in the open, and there are those who are prepared to kill him on sight.  In order to survive, he has enlisted the aid of a young woman and sent her on a dangerous mission to the cellar of the Old House.

Edward asks Charity, what are you doing down here?  Don't tell my father, begs Charity--he'll be very angry.  Edward demands an answer.  She lies, I was walking on the beach alone, found a tunnel and followed it, and that led me here.  He points out the ungodliness of the hour.  I wasn't able to sleep, she explains, so I went out for a walk.  Edward accuses her of lying, but Charity, growing upset, swears she's telling the truth.  I know of the tunnel, says Edward, but I also believe you didn't stumble on it our of curiosity--you had a reason for coming down there--what was it?  Nothing, says Charity, please believe me.  Come into the light, where I can see you better, bids Edward, assuring her, you needn't be afraid of the gun.  He quickly locates the marks on her neck.  "Good Lord, you are one of his victims!" exclaims Edward.  Let go of me, says Charity.  Barnabas is the reason you're here, says Edward--you're under his power!--why did he send you here?  He didn't! insists Charity, wrenching away from him.  He grabs her.  Passionately, he says, this man is a monster, using you for his own evil purposes, and you must reveal everything you know about him, not just for your own sake, but the sake of other innocent people.  She admits--Barnabas sent me.  Why? demands Edward.  I can't do that, she says, he'll kill me.  I promise he will never get near you again, he says.  I feel so ashamed, she moans, it's been so degrading for me.  Don't blame yourself, urges Edward, you couldn't help it.  I feel I should have been strong enough to resist him, says Charity--I've gone against everything my father ever taught me, and can never face him again!  She bursts into sobs.  Edward holds her, comforts her, assuring her everything will be all right.  No, I'll never be the same again, never live through the humiliation of it all, she cries.  Edward again says, I must know why he sent you here.  Charity, her eyes darting innocently, yet slyly back and forth, tells him I don't know.  Edward finds this odd.  "He makes me do things against my will," she says in a childlike voice--"And I don't even know why I'm doing them--it's all so terrible," she says, wrapping her arms around him, "Mr. Collins, you must help me. . .PLEASE!"  Edward agrees.  I'm taking you to your father, at once.  He helps her up the stairs.

It's 5:20.  Barnabas, waiting in Charity's room, is concerned about how close it is to his bedtime.  He hears a knock at the door and hides in an alcove behind curtains.  Amy comes in, looking for Charity.  She enters the room, looking around, puzzled, but doesn't see anyone.  She stays in the room, closing the door, and sits down to wait for Charity.

Trask is shocked--my own daughter, in league with the devil's agent!  (Has he forgotten she was discovered with fang marks a few weeks ago?)  Charity begs for forgiveness--I don't know what I was doing!  Is that all you can say? rants Trask, after all you've been taught?  Charity clasps her hands and says, "Oh, Father, if I had had the strength, I would have been able to resist, but I was weak, I fell across the path of temptation" (she's on her knees now) "and now I beg you to help me, you're the only one who can save me--don't shun me now, or I'll be lost forever."  Her begging turns into a whine.  Trask agrees, probably just to shut her up, putting his hand on her head.  "Yes, Charity," he says, "I will help you."  He helps her rise to her feet, and says, you must also help us.  I promise to do anything I can, she says.  Where is Barnabas? asks Trask.  I don't know, she replies--I saw him earlier this evening, in the woods, where he summoned me--I don't remember why.  Trask shoots an annoyed glance at Edward, then asks his daughter, how can you have forgotten something that happened just a few hours ago?  He has that power, to make one forget, says Charity, rubbing the purse containing the earth between her hands.  Trask asks, what did Barnabas send you to get in the Old House basement?--stop playing with the purse--I want an answer.  "It's no use," she says, "he's made me forget."Edward points out, if Barnabas sent you to get something for him, he'll have to communicate with you before dawn, so the next move is up to Barnabas--all we must do is stay by Charity and be ready for his appearance.  Edward holds up his gun in triumph.  This plan horrifies Charity, who put on a damned good performance to protect her vampire.

Charity's room - Barnabas looks at Nora, who is just sitting there.  Charity, Edward and Trask enter the room.  Nora explains, I had a bad dream and came to tell Charity about it.  Charity sits next to Nora, looking absolutely exhausted.  Alarmed, Nora asks, what happened to you, you look sick.  Nothing, says Charity, I'm just tired.  Trask advises Edward to take the child back to her room.  Edward agrees and holds out his hand to Nora, who asks, will Charity be all right?  Edward assures her Charity is fine.  I don't want anything to happen to Charity, says Nora.  Nothing will, says Edward, leading her off to bed.  Trask asks Charity, are you frightened?  Not as long as you're here with me, she replies  Pray now, he suggests, pray for the deliverance of your soul.Charity, still clutching the purse (which she finally puts down on the dresser) kneels and prays only a foot or two from Barnabas' hiding place.  Spotting him, she bends her head forward, covering her mouth.  He puts a warning hand up to his lips, urging her silence.  Charity rises, saying, I hope the Lord will take pity on me and forgive me.  It will take time, says Trask, but there is no greater power than that of prayer--if you had only remembered that, you could have resisted Barnabas Collins.  I know that now, says Charity--how soon it will be dawn?  A few more minutes, answers Trask--I'm staying with you--I can't leave you now--if that creature is to make his appearance, it will have to be soon.  What if he doesn't appear? asks Charity.  Barnabas listens, worried.  We have won the first phase of this struggle, says Trask--we have Satan on the run and will pursue him to his destruction.  Charity admires her father's strength of character and courage.  A cock crows; she reacts, as does Barnabas.  Time is running out, declares Trask.   Charity says I want to pray again--but I want the Book of Meditations that my mother was so fond of.  He agrees to bring it to her--after the sun comes up.  Charity says, I want it now.  He refuses to leave her alone now.  It wouldn't take more than a minute to get it for me, she insists.  She gives him a winning look.  Why are you so anxious to have it now? he asks.  I feel the need for it, she says; it will help me fight the evil forces that have beset me--you don't need to worry, you've made me see the light, and nothing can happen to me now.  He gazes at her sharply and says,   There is some reason you want me to leave the room--he's trying to communicate with you, isn't he?  No, says Charity.  Barnabas can't come to you, says Trask, so he's trying to urge you to come to him!  Behind the curtains, Barnabas looks perturbed.  Charity says, I'm not going to leave, I promise.  "You have not been able to free yourself!" shouts Trask--"You are still under his spell!  Get down on your knees and pray again for your deliverance.  I shall pray with you."  They both kneel.  There's a scream--Nora--and they both quickly rise.  Edward enters and says, I was sitting beside Nora on her bed--her window was open--a large bat appeared outside, terrifying the poor child.  Trask says, "A bat--the vampire is nearby--we only have a few moments to find him!"  He and Edward race off, leaving Charity alone in her room.  She grins gleefully when she sees Barnabas take her purse, reach in his hand, and sift the earth inside through his fingers.

Trask puts a cross in Charity's window--stay in your room, he orders.  Do you think Barnabas will try to come back? She asks.  I don't know, he says, there is no way of telling if he survived, but we've taken every possible precaution, including garlic flowers on the door--he is powerless to enter your room.  Charity asks, will you stay with me?  No, he says--it's nearly time for evening devotions, and I will pray for you to be forgiven.  She thanks him.  I suggest that you also hold a small cross in your hand as an extra precaution, says Trask, who goes to look for one in her purse, which he saw on her dresser this morning.  It's gone.  What did you do with it? he asks.  I must have put it away somewhere, she says--go do what you must do, I'll find it.  He leaves.  She closes her eyes in relief.  Another hurdle over!

Nora joins her father in the school's drawing room.  "Father, you told me there was nothing wrong with Charity," she says accusingly.  There isn't, he says.  Then why she hasn't left her room all Day? asks Charity.  I have no idea, says Edward, and I'm in no mood for questions--run along.  When can I see Charity? She asks.  I don't know, replies Edward, but I'll ask Trask when he comes back.  Don't forget, she says.  I promise I won't, says Edward--shouldn't you be in class?  They're over, she says.  Run along to your room, her father says, I'll talk to you later.  "Everyone is so upset," laments Nora.  "I wish someone would explain to me what's happening."  (Poor little rich girl.)  Trask enters just as Nora leaves.  Edward says the coffin hasn't been touched.  Then we know Barnabas didn't spend the day there, says Trask.  Yes, says Edward, and that's all we know--I have a feeling he's outsmarted us, I don't know how, but it's obvious his powers are more formidable than we thought.Trask assures him Barnabas' days are numbered.  What concerns me most right now is the possibility that someone else might learn this dreadful secret, says Edward, ruining my family's reputation.  Trask agrees the Collins name must be protected.  Edward remarks, it will be dark in another hour--another opportunity to get him--we must make the most of it!

Dusk - We see the cross in Charity's window.  She's dozing by the fire. Barnabas calls to her--do as I tell you to do, he says.  Charity stirs in the chair.  I must see you, says Barnabas, I must come to you, but the way is barred--open your eyes, he commands.  She does.  Rise! He says.   She does.  Go to the window and remove the cross, and then I will appear to you, he promises.  Looking very pleased at this prospect, she takes down the cross and puts it away in her dresser drawer.  Barnabas appears.  She's very relieved--I thought about you all day, she says--there was so little time before the dawn, I was afraid...I didn't know if you have found safety or perished.  "I am safe now," he says smiling, "thanks to you."  "I have pleased you?" she asks.  "Very much," he responds.  It's too dangerous for you to come back here, says Charity.  Your father believed it would be impossible for me to come back here, says Barnabas, but he's underestimated my powers.  Charity looks puzzled--you must not stay long, she warns Barnabas--you must make other plans, find a permanent hiding place, and then take me there with you--I want to be with you, she says, "Oh, Barnabas, that is what I want."He sinks his fangs into her proffered throat.  At that moment, Nora opens the door and walks in on them!

NOTES:  Well, I guess many parents know the embarrassment of having young children walk in on them during lovemaking, but this?  I don't know, I think permanent scars might be in the offing, although to Nora's young eyes, it just might look like Barnabas is kissing Charity's throat.

It saddens me to see Edward so against Barnabas, because it seemed they had formed a close friendship.  I'm sure Edward is annoyed with himself that he didn't see through this cousin of his, but it is a shame.

Always love it when Barnabas disappears right before Trask's eyes, but it's unfortunately the reason Trask knows Barnabas is a vampire for sure.  It was still a great scene.

Once again, Charity and Barnabas deliver steamy heat in their pre-biting scene.  I wonder why Barnabas didn't talk her out of wanting to be with him?  I guess he was more interested in getting some sustenance and indulging in vampire foreplay.

Edward behaves as if Carl's death barely affected him.  Very cold.

Once again, a man manhandles a woman, this time Trask vs. Magda.  I wish she'd put some nasty curse on him.  He's really an SOB, isn't he, and I'm glad Magda didn't buckle under.  Her decision to help Barnabas was mostly because she hates Trask more, but I'm glad she was on the vampire's side, because Trask is the worse of two blackguards.


783 - (Grayson Hall) - Collinwood, 1897--and Barnabas Collins is hunted down in terror, for all know he is a vampire.  But not all fear him.  On this night, one of his victims waits eagerly for him.  But his visit may cost her life itself.  To protect her from Barnabas, her room has been made safe for her--but those who are trying to save her did not count on her own needs.

Nora backs away from Barnabas.  You're bad! she cries, you've hurt Charity--they say they'll find you!  Charity caresses the marks on her throat and admits, I let him come here.  You weren't supposed to, says Nora--Barnabas did something terrible, I don't know what, but. . .  Barnabas calls Nora's name.  Charity begs him, don't hurt her.  Look at me, Nora Barnabas orders, but she refuses and instead runs into Charity's arms.  "Don't let him hurt me!" the child begs.  Charity promises he won't, then appeals to Barnabas, who again orders Nora, just look at me--nothing will happen to you.  Nora faces him, then reluctantly, fearfully goes to him, head down.  We were friends not so long ago, he reminds her, and I haven't changed.  Why are they hunting you? she asks.  Look into my eyes, he says again.  She turns away.  Keep looking at my eyes, instructs Barnabas and you will see that I want all to be well for you, that I won't hurt you.She finally admits, I see that.  Keep looking, he says, because there's something else I want you to understand--I'm going away now, and after I'm gone, you won't remember I was ever in this room--do you understand?  She dips her head in a nod.  Barnabas orders her to close her eyes and listen--when you open your eyes, you won't remember I was ever here at all.  And he fades from sight.  "Don't leave me!" cries Charity, darting forward.  Nora, baffled, asks who were you talking to?--not me.  Charity looks like her lover abruptly fled, leaving her alone in bed, and suddenly falls forward in a near faint.  Nora is set to run for Trask, but Charity assures her, I'm all right.  Weakly, Charity demands, Nora tell me if you saw anyone else--did you, Nora?  Who else would I see in my room? asks Nora.  Charity, relieved, nearly faints, to Nora's concern.  Let me rest, says Charity, slipping back into bed--"Just let me. . .rest," the young woman tells the crying child, who hastily leaves Charity's room.  After Nora is gone, Charity calls to Barnabas, "Are you here?  Oh, Barnabas, I feel so afraid when you're gone, so terribly afraid.  Come back to me!  Please come back!  Please!"  And she seemingly passes out.

Downstairs at the school, Evan finds Nora sobbing heartbrokenly.  "She's going to die!" wails Nora.  Evan kneels.  Who? he asks.  "Charity!" cries Nora--please help her.  Evan asks if Charity was alone--I know what's happening at Collinwood--was Barnabas Collins with Charity?  No, replies Nora.

Magda carries the box containing Petofi's hand through the woods.  The wind blows, and the gypsy is nervous.  She walks into a cave, Barnabas' new home, and assures him, "No one followed me--I had to see you."  Why did you bring the hand? Barnabas asks.  Quentin came to the Old House, wanting to see the cure I have, says Magda--tomorrow there is a full moon--I told Quentin that we will have to wait until the moon starts to rise before we use it--I made him leave, but I know Quentin will come looking for this.  "The hand of the legendary Count Petofi," says Barnabas--Oh, Magda!"--I'm afraid of it, he confesses, afraid it will change Quentin in 1897 and Chris Jennings in the present--don't forget, there is a man in another century locked in the secret room in the mausoleum, a man who has changed into a werewolf and cannot change back--it seems like such a chance, we know nothing about what this hand can or cannot do.  It's evil and good, explains Magda.  Barnabas wonders--will it be good for Quentin?--how do we know that simply because you stole it, it won't turn against us?If you're scared, there's a way we can show what it can do, says Magda--we can use it tonight--not on Quentin, but someone else.  Charity! says Barnabas.

Charity sleeps.  Evan knocks at her door, then enters her room.  Charity lies very still, the marks clearly visible on her throat.  Evan gazes at them and takes Charity's pulse.  She stirs.  He calls to her.  "Barnabas has been here," says Evan--you know where he is?  She smiles dreamily, but doesn't respond.  Do you realize what you're doing to yourself by not telling? asks Evan--you're going to die.  I will be with him, she says.  "You will be dead," he warns.  "No, with him!" she insists.  Barnabas is dead and you will be too, he informs her.  No! she wails.  Unless you help us, says Evan, you have no power to resist him--you can help by telling us where he is--do you want to die, to leave this world?  Charity shakes her head.

Cave - Can the hand cure Charity? Barnabas asks Magda--I don't want her to die--it won't be safe to take it to her, if they discovered it...  You can make her come here, says Magda, no matter how sick she is.  Barnabas leaves the cave and summons Charity--come to me--in the cave under Widows' Hill--don't be afraid, I will guide you through the forest--"Come to me!  Come to me!"  Evan realizes something is happening to Charity, whose mouth parts in a smile as Barnabas calls to her one last time.  "Rise from your bed now. . .NOW!  Come!"  Charity sits up and orders Evan to leave her.  He refuses.  You must, it is time, she insists.  Time to go to him again? Evan demands.  "Barnabas," she says in a lover's voice.  Evan grabs her--I won't let you go to him!  Barnabas continues to call to Charity--you cannot disappoint me--come!  She orders Evan to let go of her, but he refuses; they struggle.  Count Petofi's hand is out of the box, sitting on top of Barnabas' coffin.  Wind blows.  I know someone is stopping Charity, says Barnabas.  Perhaps the girl has died, suggests Magda.  No, says Barnabas, she'd be here if she had--someone is stopping her from coming, and I can't do a thing about it.  Magda suddenly realizes the hand is gone!

Charity is struggling to wrench free from Evan's detaining grasp.  I will never let you go! He says.  He needs me so, she moans.  No, he is using you, insists Evan.  I know that, says Charity, I've admitted it to myself--yes, she sobs, then stops struggling and goes to the window.  Evan looks outside--is he out there?  "He doesn't want me anymore," says Charity, near tears.  Evan supports her.  He stopped calling me, laments Charity.  Evan helps her into bed.  Someone must help you, he says.  No one can help me, says Charity.  Evan heads off to get the doctor, but Charity suddenly lets loose with one hell of s scream.Evan stares, eyes huge.  Count Petofi's severed hand covers Charity's face as she screams uncontrollably.

Evan watches, transfixed and horrified, as the hand disappears  Charity's head falls to one side.  Evan searches the room, seeing nothing amiss, then realizes the marks are gone from Charity's throat.  Charity awakens, and primly tells "Mr. Hanley" you should not be in my room.  "Don't you remember?" he asks--the hand that appeared in your room, the legendary hand of Oshden--it was here, he sent that hand, Barnabas did, he sent it to defeat us, and you are well.  This puzzles her.  Look in the mirror, says Evan.  She stands, prudishly covering herself with a shawl, and looks at her neck.  I do remember the marks, she says.  You've been spared for the moment, says Evan, but he will strike again as soon as he feels secure enough--what else do you remember?  Charity holds her unmarked throat and looks helpless.

Cave - Magda is beside herself--the hand is gone, if I've lost it. . .she moans, crossing herself.   It's gone on a mission, Barnabas assures her--perhaps the hand responded to my wish, and when Charity couldn't come to me, it went to her.  I've heard of the hand having that power, says Magda, but even I didn't believe it.  If the hand is gone, she laments, I'm in big trouble, since I stole it, I'm in big trouble.  Now you can stop worrying says Barnabas, who has seen the hand reappear on top of his coffin.  it's a miracle, pronounces Magda, the hand is all they say.  Barnabas orders, take the hand back to the Old Houseand hide it from Quentin--he still doesn't trust it--I will go see Charity, return, and tell you what she knows.  Magda picks up the hand and tells it, "You will help Quentin, I know you will--I KNOW!"

Barnabas, in bat form, appears outside Charity's window, seconds later, the man himself stands beside her empty bed.  Where is she?  Why isn't she here, what has happened?  The cock crows.  If I only had time! he laments.

Schoolroom - Charity, back to herself, assures Nora, I'm all right now.  I was so worried, says Nora.  I promise to stay well and not fall into the valley of sin again, says Charity.  Nora asks, is getting sick a sin?  No, responds Charity, but it's a sin to give in to desires you know are wrong--I hope you never understand that, Nora--we should pray, since prayer is the only weapon we have against the devils that exist.  Both of them kneel to do just that.

Barnabas returns to the cave, and to his coffin.  He hears a sound.  "Magda?" he calls, then cries, "It is you!"Evan holds up a cross; Barnabas turns away.  "Good evening, Mr. Collins, or should I say, good morning," taunts Evan.

NOTES:  How is our vampire going to get out of this pickle?  Will Angelique step in?  Charity?  After Barnabas did the right thing and released the dying Charity from his control, does it seem right that he will be destroyed now?

Pretty cool, the way Barnabas hypnotized Nora into forgetting him--why couldn't he did that with Carl?  
Charity truly fell in love with Barnabas and seemed willing to die to be with him--and be like him.  Even Josette, when push came to shove, didn't want a life (or death) like that!

Love, Robin

778 - (Grayson Hall) - Collinwood at the turn of the century is a maze of secrets, jealously guarded.  For most who dare to pursue them, there is only frustration.  But for Carl Collins tonight, the maze will reveal an unexpected and dangerous turn.

Barnabas is saddened to hear about Rachel's untimely death.  Judith explains, Trask (Tim, I'm sure she mans) took Rachel to your house, but you weren't there.  No, I wasn't, agrees Barnabas sorrowfully.  She died almost immediately, says Judith--she had no chance.  She should never have come to Collinwood, laments Barn--she should have gone anyplace else.  I know you were very fond of Rachel, sympathizes Judith--we all were.  Why do we destroy the people we love? asks Barnabas.I don't see why you say that, says Judith--the girl died in a tragic accident.  It was no accident, says Barnabas solemnly, but they are interrupted by Carl, who runs in to announce, "Pansy is dead!"  Judith asks how it happened; Barn looks very uncomfortable.  I don't know, says Carl, but you can bet I'll find out--in the graveyard, I heard a voice, I didn't exactly find her, she was singing--she is dead, says Carl, I'm sure of it.  Judith, annoyed, insists, I don't want to hear anymore about Pansy, dead or alive.  Carl's lower lip quivers, and he walks away from his unsympathetic big sister.  Judith offers Barnabas a drink; he refuses and says I must go.  She walks him to the door.  Carl starts in--Pansy met with foul play, and I have a pretty good idea who did it (he eyes Barnabas suspiciously).  Judith retorts, we've had enough tragedy here today, and no one is in the mood to listen to you.  I'm sorry for having to be the one to tell you the sad news, she tells Barnabas--and I'm sorry you weren't here for the beautiful service--I hope knowing how lovely it was is a comfort to you.  He thanks her and goes.  Carl asks if she noticed that Barnabas couldn't get away fast enough.  Barnabas was fond of Rachel, says Judith, and he didn't want to listen to your prattling.   My fiancee is dead, and you call it prattling? asks Carl.  She isn't dead, insists Judith.  She is, says Carl--when I heard that voice in the graveyard, it chilled my bones--it was no human voice, but Pansy calling from beyond the grave.  Hallucinations! says Judith.  How can you be so callous? asks Carl--the girl is dead.  Gently, Judith says, Carl, dear, she isn't dead, she's gone away--can't you understand it?--she came to Collinwood, looked over the situation, realized she wouldn't make a cent out of it and left town ASAP.  No, says Carl, not my Pansy--oh, no, she's met with foul play, and Barnabas is my prime suspect.  Judith orders him, leave Barnabas out of this farce.  Whose house was she last seen in? demands Carl--we both know! Judith warns him if he keeps up like this, she may have to send him away for a long "rest."  I just had one, in Atlantic City, Carl reminds her, looking ready to cry--I think that Pansy would still be alive if I hadn't taken her away from there--I'm going to find her if I have to turn the Old House inside out and upside down!Judith crisply tells him, I've had my say--if you don't listen, you'll be sorry--I'm not fooling and not playing games--tread carefully!

Somber, Barnabas returns to the Old House.  He sits on the Dreadful Purple Furniture and barely acknowledges Magda.  He tells her of Rachel's death.  "She had death in her hand," says Magda.  "From the moment she met me, she did," he says.  Magda asks how it happened.  She was shot, says Barnabas, an accident, they don't know who did it.  Magda offers to read the cards, but Barnabas knows who killed her--I'm as responsible for her death as if I'd shot her myself; she'd be alive now if not for me.  No, insists Magda, there was death in Rachel's hand, I saw it a long time ago.  If I hadn't failed her, laments Barnabas, the same way I have with every woman I ever loved--by being what I am--is your news good or bad?  Magda smiles--very good!--I didn't locate the daughter of the old gypsy, but that doesn't matter--I went to Boston and asked King Johnny Romana if he knew where she was--he said she was dead, like her mother--the one who cursed Count Petofi.  I was afraid of that says Barnabas--did you mention Quentin's name?I didn't, she assures him--I said there was a certain party who needed help, and two gypsy children--he knew a way, she says, a sure way of ending the curse--"You will see, Barnabas," she says--the end of Quentin's curse rests right here, in this box.  She shows him an ornate wooden box and explains, "It's not an ordinary box--every one of these carvings has a meaning, ancient as the gypsies, it is a very precious box."  Barnabas asks to be spared this gypsy nonsense.  It isn't nonsense, she assures him--he wouldn't have given it to anyone, and he only gave the valuable box to me because of the two gypsy children.  (Notice they're all gypsy to their Aunt Magda.)--and because King Johnny always liked me--and Jenny--a lot, brags Magda sentimentally.  Impatiently, Barnabas asks, show me what's in the box.  She opens it.  Barnabas looks disgusted as he beholds the grisly sight of a severed hand, the ring finger bearing a ruby ring, inside.

How can this hand end Quentin's curse? asks Barnabas.  When the moon is full, says Magda, just before the curse seizes Quentin and turns him into an animal, we will lay this hand on Quentin's heart--it will draw the curse from him--and Quentin will be cured forever.  As simple as That? asks Barn.  The simplest magic is often the strongest, she says.  She puts a candle on the table and removes the hand from the box.  Holding it, she says, "The blood of the slaughtered nine has been washed away. . .and you who are against us are now with us.  Released by the guardians of the chains and blessed by the custodians of the 12 days, grant us the use of your powers, the powers of life and death, of night and darkness. . .the time comes, you will know what must be destroyed, and you will destroy it!"  Magda stands.  There, she says, it is done--His Excellency's hand will obey our command.  "His Excellency?" asks Barn.  In the Old Country, says Magda, he was a very important person.  Who was he? asks Barn.  It doesn't make a difference, says Magda.  I doubt this grotesque thing can help us at all, says Barnabas.  It can, she assures him, King Johnny Romano swears it.  And you believe him? asks Barnabas.  Would one gypsy lie to another? counters Magda.  Two gypsies might lie to someone else, says Barnabas--were you afraid to return with no good news?  I knew you'd be disappointed when you learned of the death of the gypsy girl, admits Magda.  So, you discussed it with your gypsy king, says Barnabas, and no doubt the two of you got together and came up with an idea--why not bring back a strange, powerful hand to solve all our problems? he says sarcastically.  Magda promises is will solve the problems.  Barnabas swears, if you're lying, you'll regret it.  Magda suddenly cries out--I saw the hand move!  I didn't see what you saw, says Barn--I have work to do.  Don't be angry she coaxes, you'll see, the hand will work when the moon is full.  I believe you'd lie to save your neck, he says, but I don't believe any of it.It's true, she says--I have lied to you, but what you don't know is that I risked my own neck--Johnny Romano wouldn't give me the hand, not even for the two gypsy children, so I stole it, and we must get it back very soon--when he learns it's missing, he will send someone, and whoever he sends to get it back will do whatever it takes, including killing, if necessary.  Barnabas gazes at the hand, unhappy to learn this piece of bad news.

Carl, asleep, dreams.  We see a pretty multi-colored lamp beside his bed, a ball atop the legs of a jester balancing it.  Pansy hums her song.  He calls to her, over and over.  She's in her dressing room, getting ready for her show, dressed in spangles, all made up.  Carl comes to her and she tells him he's just in time for her farewell performance--I'm going away!  Why? he asks.  The way things worked out, she says, it's time to retire.  You can't go, he objects.  It's the way things worked out, she repeats--and it ain't been all roses for Pansy, ya know--psychic powers take it out on a girl.  He kneels and tells her, if you stay with me, I'll but you a big house, beautiful clothes, and we'll go around the world together!  Sorry, luv, she says, it's time for Pansy's farewell, and you can't stop me, the show must go on--and what a revealing show it's going to be! she grins--come and see for yourself, luv, she invites.  We hear applause, see PANSY FAYE in glitter.  She stands onstage and says, "There is one answer we seek tonight, and it must be found.  She asks for a volunteer, and points to Barnabas, who shakes his head, no.  She asks Judith to come up, not to be afraid, give her a hand! she calls.  She instructs Judith to concentrate on the answer, which will come slowly, but it will come.  Judith says she can't concentrate on the answer without knowing the question.  You know the question, says Pansy harshly, everyone at Collinwood does!  Judith doesn't!  Carl comes up and squeals, "I do!"  Pansy invites him up.  "The question is this!" says Carl.  "Who is the vampire?!"No, says Judith.  What do you mean, no, demands Pansy.  Judith insists, you know what I mean.  "I certainly do," says Pansy--"your mind's a pane of glass to me--you think the vampire dead!"  He is, says Judith.  No, says Pansy, the vampire is not dead, he lives, he walks among you.  Judith runs off, screaming.  Barnabas watches her flee.  Pansy asks for another volunteer, and points to Barnabas.  No, he says again, "but how about this boy--he's the brightest of the lot."  Carl, ecstatic, races up onstage.  Pansy kisses his mouth, for luck, then says, "The question."  "Who is the vampire!" says Carl.  Pansy raises her hands and says, "Hidden by day, stalking by night, killing those who cross his path, Pansy will tear away his mask, Pansy will find his hiding place, and put a picture of it in your mind--concentrate. . .concentrate...is there an image for me?"  Carl says he can't tell yet.  Don't fight it, she urges, see it with your mind, your inner eye, your psychic soul. . .see it!"  A vision of the Collins mausoleum comes to Carl, who yells out, "I see it!"--I don't understand--what does the picture of the mausoleum mean?--who will I find there, you must tell me more!  "There is no more tonight--or any other night," she says (and it's spooky, too, the way she grins).  "My music, please!"  Applause. She sings her song, off-key, not matching the music.  Carl comes out of his dream with a start.  "The mausoleum!" he says.  "I must find out what it means!"

Old House - Barnabas' wolf's head cane hangs on the coat rack.  He takes it.  Magda asks, will you be safe at the mausoleum?  Yes, he says, Dirk was destroyed--there's no reason to suspect there's a vampire at Collinwood.  You're lucky they found Dirk so quickly, remarks Magda.  I knew they would, says Barnabas--Dirk's not very clever, but he served his purpose--I'll sleep here tomorrow.  Magda again asks, are you sure you'll be all right?  Perfectly, he says.  I don't know, says Magda--I have a feeling.  The hunt is over, says Barnabas--"I am safe."  He leaves.  Magda uneasily shakes her head.

Mausoleum - Carl walks up to the gate and peers in, remembering this is where Pansy said he'd find the vampire.  He opens the gate. . .

NOTES:  Barnabas is far too self-confident.  Why is he sleeping at the mausoleum, anyway, why not stay in the basement--or is it because he moved his coffin to the tomb when Jamison claimed to have seen it?  How awful to have Trask perform Rachel's service, and what a meager turnout.  You'd have thought some of her students would have wanted to be there, or Charity, but I guess she's grieving for her mother.  Even Tim would have had more sincere things to say about Rachel.  Somehow, you expected Trask to expound on how much he'd have loved to see her naked.   An eye for an eye, and what a deal Trask made--Judith and Tim, both murderers, somehow cancel each other out!  Amazing, and yet one has the idea such deals are made all the time in the real world.  Judith and Tim were both acting under spells, but both know they committed murder, and that's got to push the guilt meter up to the max.  Well, for those of you who don't like Rachel, you won't have her to kick around anymore.

Loved Carl's dream, very surreal.  I got chills when Pansy declared this her final performance.  Judith's dress was lovely, and Pansy was appropriately showgirl and sleazy.

We have met Count Petofi's hideous hand.  Magda stole it, which wasn't a wise move, but she's desperate, both for her niece and nephew and to keep Barnabas from killing her.

Will Carl figure out where Barnabas is hiding?  What will happen when/if he does?  Is the vampire hunt really over?  Hasn't anyone figured out that someone had to sire Dirk?  Where--and who--is that someone?  Only Carl is suspicious.


779 - (Lara Parker) - Night over Collinwood in the year 1897, a night filled with strange dreams and somber threats for Carl Collins.  A night in which his fiancee has appeared from the dead to tell him that the vampire is still alive--and in an old house on the estate, Barnabas Collins, not knowing of Carl's discovery, makes his plans.

As Barnabas heads toward the tomb, he spots Rachel's grave (born 1876, died 1897), and kneels.  That I should come to this century and find you so like Josette, and lose you, he laments, and that I should be the one responsible--will we meet again?--will I ever get a chance to right this wrong?  Behind him, Angelique remarks, "Very touching."  He asks, what are you doing here?  I watch over you, she says.  He starts to tell her there's no need to do that, but she interrupts, "Isn't there?"  He apologizes (a rarity), and says, you surprised me--I must go, it's almost dawn.  Stick around, she advises.  I must go, he says, adding bitterly, you're responsible for this necessity--you and your curse.  She begs him to listen--you have very little time left here--I warned you you might be trapped in the past, and now it's almost too late--come back to your own time with me, begs Angelique--I wouldn't ask it if it weren't necessary.  I can't, insists Barnabas--I haven't done what I came to do.  FORGET ABOUT THAT! she urges.  I can't, he says, I'm too close, it's within my reach, to save David and Chris.  Let them save themselves! she cries.  I can't, repeats Barnabas--David will die if I don't, and Chris will keep on as an animal--I must help them.  This is your last chance, she says--trust me, just this once, trust me and forget about the past--we both will.  "Is it so terrible, what I have faced?" he asks.  You'd rather face anything alone than commit to me, she says--that's it, isn't it?--all right, do it, do it!--why do I always think you will change?" she angrily asks--"Remember that I have helped you in the past?  Oh, go on, Barnabas, go on," she says softly.  I must, he agrees, and leaves.  She brushes her cape over Rachel's flimsy tombstone, gazing at the front of it for a moment, then at Barnabas, who turns and looks back at her before disappearing into the mausoleum.  Unknown to him, Carl is watching his every movement--he sees Barnabas pull the ring to open the secret panel and slip inside.  Barnabas looks up a moment.  Carl hugs the building, his back to it.  He watches through the bars of the gate as Barnabas climbs into his coffin.  "Barnabas is the vampire!" cries Carl, and runs away in horror.  (Where is Angelique now, I wonder--she decided to let Barnabas stew in his own homemade juices?)

Collinwood - Quentin, drinking, listens to his music in the drawing room.  Magda enters.  Ah, the gypsy back from her mission of mercy, he says--come in and shut the doors.  She does so.  You must speak softly, he warns, these walls have ears, and what you have to say must be heard by no one else.  He turns off the music.  What do you have for me? he asks.  Magda doesn't reply.  Cruel to the end, accuses Quentin--so, you visited with your tribe and compared notes on picking pockets and exchanged secrets of all your curses and laughed--how they must have laughed when they heard you had turned a Collins into a werewolf!  No, says Magda, I told no one but Johnny Romana.  A king?--I'm impressed, says Quentin bitterly--so did he sign a royal decree ending all curses?  Magda knows Quentin is drunk and wants to return when he's slept it off.  He grabs her arm.  Through clenched teeth, he demands, "Is it good news?"  She winces, but finally nods.  He lets her go.  Is it a potion I can take?--give it to me now, he orders.  She shakes her head.  Why not, I've got to! cries Quentin--do you have any idea what it's like for me, counting the days until the full moon?  You must wait until then, says Magda.  Is this a game or joke? He asks, grabbing her again when she denies it.  When the moon starts to rise, she says, painfully, because he's clutching her arms, there's a ceremony I can perform, but it can be done at no other time--let go of me, begs Magda.  Why are you willing to help me? he asks.  She looks guilty, then asks, isn't it enough I'm willing to help?--I have a precious relic, the miraculous hand, and I will put it on your heart and it will draw the curse from you--I've risked much to bring this back, broken many of our laws.  He asks, are you sure it will work?  I would not have stolen it if I weren't.  He laughs, hearing of this thievery.  I'd take the change from your pocket right now if I could, she says, angry, tight-lipped.  Admit the real reason you're suddenly on my side! Demands Quentin  She shakes her head.I didn't know, she moans--I did not know!  WHAT? he asks.  I remember how much Jenny loved you, she says softly.  Carl enters, in a frenzy, commanding that Quentin get rid of Magda--I won't speak in front of her.  She chucks Carl under the chin and asks, don't you like me anymore?  Carl turns away and says, just go, please.  It's always a pleasure to leave this house, says Magda--Quentin, Barnabas wants to see you this evening, at dusk.  Carl reacts--dusk, yes!  He asks Quentin, where are Judith and Edward?  Both are dreaming of Judith's money (funny), says Q.  We must wake them, says Carl, we must do something.  Do what? asks Quentin--there are so many things waiting, such a choice.  Not about this, says Carl--sometimes I wishes I hadn't had the dream--the one where Pansy told me the vampire isn't dead.  Dream again, says Q--Edward described the staking of Dirk in great, graphic detail.  No, says Carl, not Dirk, there's another, Pansy said so in my dream--she said who made Dirk a vampire.  Laura, guesses Quentin.  No, says Carl--I can prove it--I saw the vampire go to his coffin--I know you won't believe this.  Quentin suggests, you've gone mad.  No, says Carl--Pansy told me to go to the mausoleum--there's a coffin there, I swear it--you must believe me--I know who the vampire is!  Tell me, demands Quentin.  "Barnabas," says Carl.  Quentin tips his head back and laughs; his laughter fades as realization strikes him--Our cousin we never see during the day, who always appears at dusk, says Q.  Carl describes--Barnabas went into the mausoleum, and I saw the door close--but I did note how to open it--but there's so much I don't know.  A vampire stays in his coffin all day, says Quentin, lying there as if dead--at the mercy of whoever finds him.  Hysterically, Carl says, "He made Dirk a vampire, and all of us are next!"  Quentin rises from his chair and says, we're going to the tomb--I don't know what we'll do when we get there.  We must kill him, says Carl, and goes to get a gun.  Quentin stares at Barnabas' portrait.  Barnabas is my only hope, realizes Quentin--without him, what will I do?  Barnabas. . .

Mausoleum - Carl approaches the gate, Quentin trailing behind him.  Carl asks, are you sure Barnabas is asleep?--I'm afraid to go in there, he admits.  I'm not sure what I'm feeling, says Quentin.  He opens the gate; they go in.  I wonder why Barnabas came to us? says Carl.  Perhaps he didn't, says Quentin, maybe he's been here all the time, waiting for someone to let him out.  This makes Carl really nervous.  Then he's the real Barnabas, our ancestor? asks Carl.  Quentin nods.  That makes it worse, says Carl.  Open the door, orders Quentin.  Carl does so, holding the gun in one hand.  Quentin enters first, spots the coffin, and puts his hands on it.  Open it, says Carl, nervous, excited.  Hand over the gun, says Quentin--unless YOU want to do it...  Carl quickly gives his brother the gun.  Quentin opens the coffin.  Barnabas is sleeping.  Quentin and Carl stares down at him.  Do it! begs Carl.  Instead, Quentin closes the coffin.  What are you doing, you have no choice! shouts Carl.  Yes, I do, says Q, holding the gun on his brother.  I'm the one who always plays the jokes, objects Carl, gazing at the gun in his brother's hand.  "I'll kill you, Carl," warns Quentin, "if you run."  For God's sake, asks Carl, what are you doing?  What I must, says Quentin, moving to exit the secret room--do you know how to get out, Carl?  NO! cries Carl.  Then you'll have to stay here, says Quentin, until dusk, at least.Horrified, crying, Carl begs his brother not to do this, his mouth a bowed down clown's face.  Yes, says Quentin, I'm closing it, and remember, I can do it with one hand while the gun is in the other.  "Oh, no Quentin, for God's sake, Quentin!"  Quentin shuts the door, listening to his brother pleading with him not to do this, and closes his eyes in guilt and misery.

Magda asks Quentin, "What's the matter with you--what do you want?"  I want to find out why you are so willing to help me, he says.  He checks Magda's throat and notes she is unmarked by Barnabas' fangs.  You have a lot of secrets, he says, not the least of which is how you managed to exist in this house with a vampire.  Magda is stunned.  Yes, Q says, I know--everything--I've seen Barnabas in his coffin.  Are you going to tell? asks Magda?  Carl will, if Barnabas lets him live when dusk comes, says Quentin--yes, he admits, Carl is there, in the tomb.  I know Barnabas will kill Carl, says Magda, and I lament yet another murder, when so many are suspicious now--we must stop it, wails Magda, or we will all be found out!--it is in the cards, she tells him.

Carl leans against the door, frantically begging to be let out.  He falls to the floor, huddling against the door, looking with terror at Barnabas' coffin.

Angelique is bemused and tickled that Magda has come to ask for her help--after all your own tricks, teases Ang--was it the cards or crystal ball that sent you to me?--I always wonder how amateurs handle these things.  It was the cards, says Magda--"You love Barnabas--I've seen you watching him, he needs your help now."  He always needs me, says Angelique, sounding tired of it.  Carl Collins is in the mausoleum with him, reveals Magda--in an hour, he will awaken and kill Carl Collins--I want you to force Carl to lose his memory--you have the power, you must do it.  Angelique coldly refuses--let Barnabas learn, she says--find out how important I am to him. If they learn about Barnabas, warns Magda, they will know about you, too--"His fiancee," taunts Magda--"no, they will know you are more than that, and for your sake..."   I will take care of myself, decrees Angelique, and Barnabas will do the same for himself, this time--let him try to live without me--I don't care anymore.  It must not end this way, insists Magda.

Carl checks his pocket watch.  It must be getting dark, he realizes, I have to get out!  He bangs on the coffin with both fists, then seems terrified.  Be logical, he encourages himself, somehow there's a way to open that door--"THERE'S GOT TO BE!" he screams--I must get Edward or the police. . .did the top move, or was it my imagination?. . .figure it out, now, it's just like those Chinese puzzles I have!  Carl searches and locates the stone step that moves, inside, the lever.  When the door opens, he's laughing and crying with glee.  He exits the mausoleum, his face crazed, and grabs onto a swaying cross.  "We'll get him tonight!" he yells, laughing.  "We'll get Cousin Barnabas tonight!"  And he runs off. . .

Note:  Quite a turn-around for Angelique, huh, deciding to let Barnabas stew in his own juices?  Wonder why she chose to do this now?  She was so determined to save him from Laura, yet now, she wants to back off.  Superb performance from John Karlen, who seems nearly as insane as Dirk.  Now that the man has escaped, is Barnabas going to be safe?  Magda was right.  If Barnabas had only stayed in the basement or behind the bookcase!   As for Magda, she is watching a tragedy unfold, and you can tell that, in her own way, she does care about Barnabas.  Or is she just trying to save her own skin?

Love, Robin