1169 - You've got to love the expression of disbelief and astonishment on Gerard's face upon seeing Barnabas in the daytime!  Priceless!  But how did it happen?

Gerard stares at Barnabas.  What's wrong? asks Barn.  You're standing right before me--in broad daylight! sputters an amazed Gerard.  Why do you think there's something unusual about that? asks Barn, enjoying himself immensely.  You know what's unusual, says Gerard--vampirism.  Barnabas repeats the word--what makes you think I'm vampire, Gerard?  You know my answer to that, says Gerard.  As I understand it, says Barn, vampires cannot survive during the daytime--and their images cannot be reflected in mirrors--would you like me to stand in front of a mirror for you?  So? says Gerard, it's obvious you've had assistance from someone--and if I find out...  Of course I've had assistance, burbles Barnabas--I've been fortunate enough to have someone nearby, offering a kind hand.  (Count Petofi?)  Valerie enters.  "Do you want me, darling?" she asks Barnabas.  Spotting Gerard, she greets him cheerfully--how nice it is to see you--would you like to sit down?  No, says Gerard sulkily.  A glass of sherry? she offers, sounding very domestic--even if it is a bit early for that.Your composure is beautiful, accuses Gerard, take it while you can, enjoy it while you can, because I swear this wonderful little gathering won't be going on for long!  He leaves.  A triumphant Barnabas watches him go.  Barnabas immediately goes to Angelique (he calls her that) and says, when I went to you for help, I knew you'd want something in return--you didn't tell me then--tell me now what you expect.  "I expect nothing," she replies  "for once in my life, there is no price."  Julia, standing with her arms crossed, looks skeptical and says, I'm sorry--I appreciate what you've done for Barnabas, but I'm afraid I can't believe you--you've never done anything for nothing.  Julia, says Angelique sincerely, I'd only do what any woman would who loved Barnabas--believe me.  I would like to believe you, says Julia, but I'm afraid I can't--she turns away.  Barnabas goes to Julia--I think Angelique and I should have a talk alone, he says.  "Of course," says Julia, with bitter irony--"you are, after all, husband and wife."  Thank you, Julia, says Barnabas--if you hadn't warned me that Gerard knew about me, I'd be lying dead forever in that coffin right now.  He'd have had to kill me first, says Julia through gritted teeth.  "Then Angelique has saved us both," says Barnabas. (ouch!)  "Saved us for what? demands Julia--for WHAT?"

Alone now, a bemused Barnabas says, Angelique, you can pretend in front of Julia, but we know each other too well now for lies--you saved my life, tell me the price now.  There is no price, she repeats--none.  He turns away.  I don't expect you to believe me, she says, not after all we've been through, and I've only myself to blame--only myself.  You are extraordinary, he says--I've seen you play this scene many times, but I must confess, I've never been so convinced.  Perhaps it's because it's the truth, she says.  What is the truth? he asks.  That I love you, she says passionately--that no matter how much I fight my feelings, I will always love you.  Spare me this charade, says Barn, you do not love me, Angelique--you only want power over me.  She gazes at him with huge eyes and asks, why, then, did I lift your curse--you're free of me now, I have no hold over you--"Barnabas, I did want you for myself, but rather than see you dead, I would see you free of my power--and free of me--why do I love you?--you reject me, revile me, despise me..."   Barnabas surveys her skeptically--haven't you given me reason?  Yes, she says, I admit that--I wanted you, I couldn't bear to have anyone else have you--but everything I have done, none of it has given me your love.  We cannot love at will, he says gently, moving in close, anymore than we can prevent our love.  How well I know that, she sighs--that's why I ask nothing in return for your life that you can't give me willingly--all I want is your love--but only if you're able to give it--I only ask that you try.  Right now, he says softly, I almost feel like I'm an ordinary man and you're an ordinary woman (and there are beds galore upstairs).  But you are an ordinary man, she reminds him, now that the curse has been lifted.  Forever? he asks.  She turns away.  "Forever?" he repeats insistently--"You are silent."  Yes, she says, it will be forever, I swear it--oh, Barnabas, hold me--I'm so afraid of losing you--you're human now, like anyone else, you can die, and you have enemies--please, just hold me.  He takes her into his arms, holding her close.  Do you believe me now? she asks.Yes, I believe you, Angelique, he says, I cannot say that I love you, but I understand your love for the first time since you came here from Martinique.  And does that make any difference? she asks hopefully, her face alight.  I don't know, he admits.  (A great scene!)

Collinwood drawing room - "Barnabas, this is madness!" cries Julia, "you must not believe her!--if you believe her then she will be manipulating you, and you will never know where you are--oh, Barnabas, if you believe her you'll be at her perpetual mercy,  you must not trust her!"   But I do, I must, says Barnabas, she's changed and I have changed because of her--I'm free now, and I MUST believe her!  Julia shakes her head--anything you feel beyond gratitude will be a serious mistake, she says--she will use her power against you again--"Oh, Barnabas, I care for you too much..."  She stops, inches from making the three-word declaration, and he looks at her, brow furrowed.  Forcing a neutral expression onto her face, tamping down on her passion, Julia says carefully, "You're my good friend, I don't want to lose you."  You will not lose me, he assures her, not now, I am not afraid of anything anymore, I'm ready for anything that might come along because I'm human now--what am I doing standing here when I can be outside in the sun?--"Julia, excuse me, I'd like to take a walk alone for a moment."  I understand, she says, and watches him walk outside into the light of day.

4:50 - Julia meets Gerard, who is coming downstairs at Collinwood.  Are you going up for a rest? he asks.  I'm not tired, she says.  You had quite a night the other night with Valerie? he asks.  I don't know what you're talking about, she says.  Perhaps I can help you, he says--when was the last time you saw your brother Barnabas in the daylight?  About a half hour ago, she says, and before that, this morning--or you may remember that.  I'm not referring to today, he says sharply.  Oh, you mean yesterday and the day before? she asks--yes, I've seen him all those days, as a matter of fact, I think I've seen him every day since we arrived in Collinsport.  Then you are the only one that has, he says--come here.  He points to the portrait of Barnabas hanging in the hall.  Who is that? he asks.  Barnabas Collins, she replies.  Which one? he asks.  "The father," she says.  THE father? he asks.  She laughs, covering, correcting: "MY father!"  Are you certain? he asks, because I believe there is only one Barnabas Collins, just one, and I believe he is living at the Old House, and I believe he is......a vampire, finishes Julia, yes, you have already told us that--as a doctor, I'm very concerned about you--you seem to be succumbing to the hysteria in this house--you yourself are saying you are seeing vampires and supernatural creatures--Barnabas is not what you think he is--he's quite human--all-too-human, I'm afraid.  She excuses herself and goes upstairs.  Frustrated, Gerard pours himself a drink and slugs it down.  Gabriel enters.  What are you doing here? demands Gerard.  I want my check, if you don't mind, says Gabriel.  Gerard takes it out of his jacket and hands it to him.  What is this?--it's only half my allowance, complains Gabriel.  It's all you will be getting until the trial is over, says Gerard--this trial is costing this family a fortune.  (Why, is Desmond charging them?)  And I have no doubt, says Gabriel, flipping the check around, that the rest of my allowance is in your pocket--with everything else you've bled from the Collins'--he stabs his finger against the check--now this is my money!--and I demand it now!  What a bore you are, sneers Gerard, and leaves the room.  Gabriel tosses the balled up check into the fire.  He hears his father's laughter filling the room.  Terrified, he asks, Father, is that you laughing?--why have you come back?  Why?

Angelique sits writing at a desk in the Old House drawing room when a beaming Barnabas enters and asks, do you know what the daylight is like?--I've never seen more beauty than I have in these past few hours.  Happy? she asks, smiling.  I've never known such happiness, he says, more than I could ever hope to have known--I'm almost like a child, I can hardly wait for the morning!   I'm so glad, she says, smiling at him.  You seem to be very busy, he notices.  Yes, I'm answering a note from Charles Dawson, she says.  What did he want? inquires Barnabas.  He's asked me to testify, she says.  He's the prosecuting attorney, says Barnabas, he must want you to testify against Quentin.  That's right, she says--I'm going to do it.  You can't, I forbid it, says Barnabas--Quentin is innocent.  Quentin must never be set free, she says--he's evil, possessed by the spirit of Judah Zachary.  Barnabas stares at her in disbelief.

How did you know Judah Zachary? he asks her.  Isn't it remarkable, she says, all the years we've known one another, and yet you never knew who it was who made me as I am.  Then it was...? asks Barnabas.  Judah Zachary, yes, she says.  But how? asks Barnabas.  It happened long before I met you, she relates, in 1692, I had just moved to the village of Bedford, taken a position as a chambermaid there--one of the prominent families--the first time I met Judah Zachary, I loathed him, but somehow, mysteriously, I was drawn to him; without my even knowing it, I came under his spell--he made me a member of his coven--later Judah was tried for witchcraft and beheaded--one of the judges who convicted him was Amadeus Collins, your great-uncle--but it was I who testified against him--they put a black hood over him so he couldn't look at me and control me--it was my testimony that proved he was a warlock--if I hadn't testified against him, they would have beheaded me as well!--Judah died vowing to return and destroy your family--and me.  You were Miranda, marvels Barnabas, the girl the newspapers talked so much about.  Yes, she says.  And in reward for your testimony, he says, they gave you life and exile.  Yes, I went to the West Indies, she says, long after that to Martinique, where I met Josette and finally you--but I always knew that someday Judah would return for me.  But why do you think Judah possesses Quentin? Barnabas asks.  It all began with Gerard, she explains--one day he called me Miranda--I thought how would he ever know that?  Then why do you think Judah possesses Quentin and not Gerard? demands Barnabas.  I had a vision, she says, of Amadeus Collins as he was in 1692, in the courtroom, when he promised me my freedom in return for my testimony--so I knew then that Judah had returned--but not as himself--I suspected Gerard, and so I used my powers to conjure up am image of Judah as he exists here and now--and the face that I saw was that of Quentin Collins!  No, says Barnabas, if anyone is possessed, it's Gerard!--why do you think he named you Miranda?  He explained that, she says, he said he had been reading Judah Zachary's journal, the description in it had reminded him of me.  He was lying, says Barnabas, all of your strange experiences have been made by Judah, acting through Gerard.  Why are you so sure it's Gerard? she asks.  I've come from the 20th century, he says, where Gerard is an evil spirit, who will try to possess the souls of two children--the boy who is living there now, David Collins, and his friend, Hallie Stokes--and he will try and destroy Collinwood--and Angelique, I know in this time, he will murder Quentin Collins--and soon!  Gerard! she cries, if that's true, Quentin will be acquitted, but Judah Zachary will continue to exist--I'm so confused, tell me what to do!  Trust me, he says, you must refuse to testify against Quentin in the trial--will you?  Yes if you think it's best, she says.  I do, he assures her--if anyone is a threat to us, it's Gerard Stiles.She turns away, unsure and afraid.

Gabriel, hand shaking, sips a drink Julia has given him-this was most helpful, he says.  I hope so, says Julia, I've never seen you so upset--you were pale as a ghost.  Just a dizzy spell, he says, I think I'm fine now.  I'm glad, she says.  Something tells me, he says, that you dislike Gerard as much as I do, is that correct?  Why do you suggest such a question? she asks.  It's obvious you either hate him or are terrified of him--or both.  Are you suggesting it's possible he can be terrifying or hurt me? she asks.  Yes, I'm suggesting that, he says--he is a loathsome pig!--now, it's good we hate and fear--it keeps our guard up, and it needs to be up, especially mine--because Gerard knows I'm going to break my father's will.  No, Gabriel, says Daniel's voice, do not try!--do not try!  Terrorized, Gabriel hands his glass back to Julia--do you hear it? he asks.  I don't, she says.  That voice! cries Gabriel.  GABRIEL, DO NOT TRY! insists Daniel.  Gabriel wheels out of the drawing room as if pursued, shouting, "Stop it!"  Julia, puzzled, watches him go.  Something is terrifying him--what could it be?  She sets the glass down on the foyer table, grabs her cloak and leaves the house.

In his room, Gabriel's window blows open, his curtains blow as thunder and lightning fill the room.  Leave me alone, Father! he begs.  Daniel appears.  Murderer! he cries, you murdered me!  It wasn't me, it was Gerard, babbles Gabriel--he made me do it, he lied to me, told me I was going to be your heir, then he said Quentin was going to be, and he goaded me to kill you, Father, please!  You walked! accuses Daniel, you walked--lies, Gabriel, lies!--your life is a lie--you will lie no more, I'm everywhere, Gabriel, everywhere--I will do to you what you did to me--I will make you die!Gabriel covers his face with his hands, crying out.  Daniel disappears.  Gabriel continues to babble, it wasn't me, it was Gerard, please punish him, not me, punish Gerard!  Through gritted teeth, Gabriel declares, "I'M GOING TO MAKE SURE YOU NEVER HURT ME AGAIN, GERARD STILES!"

Gerard sits in the drawing room, playing chess alone.  Gabriel exits the secret panel, on foot, and creeps over to Gerard stealthily.  He slams his fist down on him, rendering him unconscious, then takes a length of rope and begins to strangle him, pulling the rope tight.

NOTES:  One of DS' pivotal episodes:  Angelique lifts Barnabas' curse (one wonders why she never did it before, but I guess she got the power to do so successfully since 1797).  She tells him she loves him, again, but this time sounds very sincere.  Julia almost confesses her love, but stops short; you know Barnabas knows it.  Her face, filled with pain and adoration, is something I will never forget, and her bitter remark that Barn and Ang are husband and wife is an admission that has to hurt her deeply.  Angelique tells Barnabas the tale of her origins, and agrees to do what he says in regards to not testifying against Quentin.  His attitude toward her is different, gentler.  From her cruelty in turning Roxanne into a vampire and her attempt to force the same fate on Julia, Angelique has seemingly turned into a completely different person.

Will Gabriel succeed in doing away with Gerard?  It seems hard to believe a little strangling can get rid of such a powerful warlock, but it could mean the death of Gerard's body and the need for Judah to find another shell to inhabit.

This is probably one of my favorite episodes, both because Angelique cures Barnabas, Julia comes within a hairsbreadth of admitting her love and because they outwit Gerard so brilliantly.  His face in that scene where Ang is inviting him to have a sherry is hilarious!

Daniel is haunting Gabriel now.  Can madness and death be far behind?


1170 - Jail - Quentin paces his cell.

Gabriel strangles Gerard to unconsciousness.  Hearing Leticia calling to Gerard, Gabriel exits through the window.  Gerard topples to the floor. Leticia runs to his side and kneels--what's happened to you? she cries, patting his face--can you hear me?  Hearing a noise, she demands,  who is there?  She looks out the window but sees no one.Only a few feet from her, Gabriel hides against the vines clinging to the house.  Hearing Gerard moan, Leticia goes to him and helps him up--you gave me such a fright! she says.  Someone tried to kill me, says Gerard, pulling the rope from around his neck.  Oh, Lord, who was it? asks Leticia.  I don't have the foggiest idea, someone obviously wanted to strangle me--when did you come in?  Just a moment ago, she says.  You must have frightened him away, says Gerard, you saved my life Leticia, I'm grateful.  I think whoever it was must have left by the window, she says, I thought I heard someone behind the drapes, but when I came here, I didn't see anybody.  He looks at the open secret panel--they might have come in by the window, he says, but they didn't leave that way.  Gerard takes some candles and decides, despite Leticia's objections, to check it out.  I'll be right back, he assures her.  I won't stay here alone, she insists.  Gabriel slips from his hiding place and walks out of the room.

In the secret passageway, Leticia and Gerard encounter lots of cobwebs.  It goes on a bit, don't it? remarks Leticia.  Staircase over there, he says, must be an exit around somewhere--maybe up there is where the assailant made his escape.

Collinwood - Carrie comes downstairs.  Gerard, back in his wheelchair, meets her and nastily asks, what are you gaping at?  Your shoes, she says, there's mud on them--how did you do that?  He looks at her and stammers, assuming it's none of your business, which it isn't, a servant was helping me from my carriage--the imbecile lost his grip--my feet hit the ground--the pain was excruciating--are you satisfied?   (Imagine how the servants hate Gabriel.)   Yes, replies Carrie, and I'm sorry I asked.  She goes to the kitchen area.  Gabriel breathes a sigh of relief and enters the drawing room as Leticia and Gerard exit the secret panel.  Well, the lord of the manor, inspecting all his properties, sneers Gabriel.  This is no time to be funny, says Leticia--there's a murderer loose in the house.  A murderer, my dear? asks Gabriel.  Someone tried to kill me a while ago, explains Gerard.  How extraordinary, smiles Gabriel--who would think a man like you would have enemies?  Did you know there was a secret passage behind that panel there? asks Gerard.  Of course I did, says Gabriel, we used to play there as children--does that make me a suspect?  I would be happy to accuse you, says Gerard, looking down at his legs--if you could walk.  There are some virtues of being a cripple, says Gabriel--one does not get unjustly accused--good night, both of you.  You're bloody calm about this all! bitches Leticia--doesn't it bother you at all that someone almost got killed?  Not as long as the someone isn't me, replies Gabriel--and, Mr. Stiles, I do pray you aren't murdered in your sleep tonight.  We both know that even you could do that, don't we, Gabriel? asks Gerard.  Pissed, Gabriel wheels himself out.

Gabriel eavesdrops outside the drawing room as Leticia reminds Gerard, someone tried to kill you tonight--don't you think you should send for the police?  I think I can handle it, he says--by the way, why did you come to the house this evening?  I almost forgot, she says, Desmond asked me to give you a message--Quentin wants you to come see him in the jail--Desmond says you never even answered his first note asking you to come--he's quite upset about it.  I don't blame him, says Gerard--I always mean to go, but I had a lot of business here to do--but I will make it a point to see Quentin tomorrow.

Next day - Curtains blow in Daphne's bedroom, where she sits on the bed, brushing her hair.  Her face fades into Quentin's, who is receiving a visit in jail from Gabriel--quite a mob outside, he remarks, what are they waiting for?  My beheading, they hope, says Quentin--it's their nightly entertainment--but as you can see, I'm quite all right--I must say, this is an unexpected pleasure.  Life does hold some surprises, says Gabriel, doesn't it?--I hear your trial is going very well for you.  Yes, Desmond's done a very fine job, agrees Quentin--what's on your mind?  I'll get right to the point, says Gabriel--the future of Collinwood and the entire family--your friend, Gerard Stiles (music miscue here), isn't a friend--I don't know how he did it, but he's behind everything that happened--your trial, the changing of the will, everything--and you're going to have to find some way to prove the will invalid.  I must admit, says Quentin, I've begun to have some grave doubts about Gerard--but I'll have to talk to him first.  What good is talking going to do? demands Gabriel--if you don't do anything right away, you'll have yourself to blame if anything happens to Tad.  He's all right, isn't he? asks Quentin.  For the moment, says Gabriel, but I don't think he's going to live to be 21 and inherit any money as long as Gerard Stiles is master of Collinwood.  I don't know what I'll be able to do, says Quentin, you'll have to give me time to think about it first.  We don't have time, argues Gabriel.  Quentin looks speculative.

Drawing room - Carrie works on a drawing of Jeremy.  Daphne comes up behind her and praises it.  I didn't hear you come in, says Carrie, hiding the picture.  Don't cover it up, let me look at it, says Daphne.  She takes the drawing from Carrie--could that possibly be Jeremy Grimes? asks the governess.  How did you know? asks Carrie, surprised.  I guessed, says Daphne.  But you've never met him, have you? asks Carrie.  Word has a way of getting around, says Daphne, sitting beside her--you must have told Tad about Jeremy, and he told me.  Smiling, she hands back the drawing.  He shouldn't have done that, says Carrie, miffed.  I'm sure he didn't mean any harm, Daphne assures her.Jeremy's father doesn't like anyone in this house, says Carrie, and if he knew Jeremy met me, he'd probably disown him--you won't say anything about it to anyone, will you?  Of course not, says Daphne--tell me, why does Jeremy's father hate the Collinses so?  I don't know, says Carrie--Jeremy says his father agrees with everything Mr. Trask says about Quentin, about him practicing witchcraft--whenever he talks to his father about it, he gets hysterical.  Daphne rises--I'm afraid he isn't the only one who has gotten hysterical, she says.  What's going to happen to Quentin? asks Carrie.  I really don't know, replies Daphne.

Jail - Quentin, I'm sorry for not coming to see you earlier, says Gerard.  So am I, says Quentin, I think you have some explaining to do.  Gerard surveys him steadily.

I don't understand, says Gerard, what is it that I have to explain?  I wonder how the prosecutor of my case happens to be your very good friend, Charles Dawson, says Quentin--and why is he so determined to crucify me?  And am I to be held responsible against the actions of a former friend? asks Gerard.  Former? asks Quentin.  Had no one told you that Charles Dawson and I are no longer friends? demands Gerard.  Quentin, arms crossed, says no, no one told me anything.  I was furious with him when he said he would accept the case! says Gerard, that he would prosecute you!--I asked him not to, begged him not to, but he refused--he's a very ambitious man, he wants to make a name for himself, even at your expense--so I told him our friendship was finished, that I was going to stand with you and not help him in any case whatsoever.  Quentin listens carefully--I don't know what to say, Gerard--you know I want to believe you very much.  Quentin, says Gerard, throwing up his arms--why don't you judge me for my actions?--he puts his hand on his shoulder--have I ever betrayed you in all the years we were at sea together?  No, says Quentin.  And I told you that as far as I was concerned, I only hold the position of a trustee or a caretaker until you are released and your innocence established, adds Gerard.  I just wonder how it is that men like Barnabas and Desmond can be so much against you, says Quentin.  I don't understand it either, admits Gerard, sitting beside Quentin on the cot--but they will be very interested to know you and I have a common enemy--I was attacked last night.  Someone tried to kill you? asks Quentin.  Very nearly did, says Gerard, and had not Leticia been there to stop them...  Leticia? asks Quentin.  Yes, says Gerard, I was in the drawing room-someone snuck in through the secret panel and Leticia entered and must have scared them off.  Did you see who it was? asks Quentin.  No, says Gerard, it happened too quickly, but it's obviously someone who knows that house quite well.  I wonder who it is at Collinwood who would want to kill you? asks Quentin.  More important, says Gerard, who's at Collinwood who wants to destroy the master of the house?  What you're saying is, says Quentin, the person responsible for putting me in here is the same one responsible for trying to kill you.  I believe so, says Gerard.  Then why can't we find out the answer? demands Quentin--how come this person is able to remain so anonymous all this time?  I don't know, says Gerard.  Has Daphne received anymore letters? asks Quentin.Yes, I'm afraid she has, even more mysterious than ever, says Gerard.  All the trouble started when I began to receive those letters from Joanna, says Quentin--it's just possible the source of those letters is the answer to all our troubles.  Yes, says Gerard, you once told me you had received letters in a very familiar pattern.  Right, says Quentin.  Well, says Gerard, perhaps Daphne received letters in the same pattern--believe me, I will find out.  And then, says Quentin, destroy the spirit.  If this is a spirit, says Gerard--spirits don't usually attack people--no, I will find the source of the notes and work from there.  Do whatever you think is best, says Quentin, smiling, and make sure nothing happens to Daphne--take care of yourself.  Believe me, now that I have been alerted, says Gerard, no one will get rid of me--"Guard!"

Daphne, finally wearing a different dress, is heading downstairs at Collinwood when she gets a whiff of Joanna's perfume--and hears her music playing in the drawing room.  She goes to the closed doors and throws them open.  Leticia is at the piano, Carrie listening.  You gave me a start, luv, says Leticia, smoothing her hair--what is it, Daphne?  Has there been anyone else in this room? asks Daphne.  No, why? asks Carrie.  There was a scent in the air, perfume, it was very familiar to me, says Daphne.  Leticia rises from the piano bench--Daphne, are you all right?  I'm fine, says Daphne, walking away.  Carrie, go up to your room now, says Leticia--run along, luv, I want to talk with Daphne.  Carrie leaves.  Leticia seats Daphne on the sofa--what's troubling you? she asks.  Is it true you have second sight? asks Daphne.  I have a certain gift, chuckles Leticia, it's hard to explain exactly what it is.  Could you use it now to help me? asks Daphne.  It isn't something you just turn on and off, protests Leticia.  Please try, urges Daphne--I want to know if there's a spirit in the house--an unfriendly spirit.  Leticia rises and concentrates--I don't feel any vibrations at all, says Leticia--I'm sorry, like I said, it don't always work.  It's all right, says Daphne.  If you could just tell me what's troubling you, begins Leticia, then stops.  We hear Judah's creepy music.  It's happening, says Leticia.  Tell me, says Daphne.  The vibrations, says Leticia, I can feel them now--there is a foreign spirit somewhere in this house.  Can you identify it? asks Daphne.  No, says Leticia, but I know it's here in this house.  In the foyer, Gerard has returned to Collinwood.

As Gerard listens, Daphne asks Leticia, do you know where in the house the spirit is?  I can't tell you anymore, luv, I just know it's here, says Leticia--it wasn't a moment ago and it is now.  What am I going to do? asks Daphne.  (We see Mike R. Phone.)  I overheard, says Gerard, joining the ladies--it's Joanna.  Daphne nods--yes, she agrees.  Who is Joanna? asks Leticia.  I'm afraid she's someone who's risen from the dead, says Gerard.  Oh the one Samantha told about at Quentin's trial, remembers Leticia.  Yes that's right--excuse me, says Daphne, and hurries from the room.  Gerard, what's troubling Daphne? asks Leticia--you must tell me.  Before Gerard can reply, Daphne calls to Gerard from the foyer, where she's found another note on the table.  She hands it to him, and he reads: "Tonight I will come back, this time I shall succeed."  Succeed?--I don't understand, says Leticia.  This isn't the first warning, says Daphne--she's trying to kill me.  Kill you, why? asks Leticia.No one is going to kill you, says Gerard--you must believe me.  Come to Rose Cottage and spend the night there, Leticia orders Daphne.  I can't do that, insists the latter.  You can't very well stay here, can you, not if your life is in danger? demands Leticia.  I've got no choice, says Daphne--Samantha, Edith and Gabriel are all going out tonight; I have to stay here or Tad and Carrie will be alone.  Gerard holds the letter, musing--it's odd, isn't it? he asks--whoever sent this letter knew Daphne would be alone tonight--because I had intended to go out myself--now it's time to close the little mystery about Joanna Mills.

Midnight - Curtains blow in Daphne's room.  Someone lies under the covers.  The door opens; a hooded figure enters and raises a knife over the body.  Gerard, who has been hiding under there in Daphne's stead, darts out from under the covers and thwarts the would-be murderer.  "Yes!  My God, it's you!  It's really you!" he cries.  (And another music miscue.)

NOTES:  Who is YOU?  I don't remember, believe it or not, but it must be someone known to Gerard.

I've got to say Gerard gave a most convincing argument to Quentin why he should be trusted, and unfortunately, I believe Quentin accepted his responses.  Too bad, too, but whether possessed by Judah or not, he seems to be a man of considerable charm and persuasiveness.

Gabriel's interest is purely selfish.  He wants his rightful place in the household and as much money as he can get his greedy hands on.  No matter how terrible his life, or how much his father despised him, he has no right to be such an SOB.

Is Joanna really intent on killing her sister?  Why would she?  Because Daphne loves Quentin and vice versa?  She's jealous?  She doesn't want her sister getting the man she couldn't get?  Or would she rather see her sister dead than Quentin's mistress?

How cute that Carrie is drawing pictures of Jeremy.  Just don't expect too much from this little teen interlude.

All these and other questions will be answered, I promise!

Love, Robin

1165 - Police station - Quentin paces his cell.

Daphne stands in the drawing room, trembling.  We see a shadow reflected on the foyer side of the drawing room doors--Samantha's.  She enters the drawing room and asks what Daphne is carrying on about--she heard her all the way upstairs.  Nothing, Daphne assures her, no one, I was just frightened--I was alone and I thought I hard someone and I saw a cape there in the hallway.  A cape? asks Sam, I saw no cape.  It's by the clock, Daphne tells her.  Sam checks and finds nothing there.  You were frightened by your own imagination, says Sam nastily--I've known all along that you weren't fit to be my son's governess.  Please don't say that, it isn't true, says Daphne, I'm devoted to Tad.  I've never believed that for a moment, says Sam--my husband hired a pretty face, not a governess--suddenly spying something at the window, Samantha opens her mouth and whispers, "Oh, my God--there was a figure there by the tree--there was someone there and it disappeared!"  Who was it--tell me what she looked like! demands Daphne.  Samantha asks her how she knew it was a woman.Caught, Daphne blathers that she didn't.  Yes, you knew what I saw, insists Sam--it was some kind of spirit.  No, says Daphne, turning away.  That's why you were hysterical when I came in the room, says Sam, because you knew you weren't alone!  Daphne insists that's not true.  I know what I saw, says Sam--I could feel its evilness--and you brought it to this house--stay away from my son from now on, do you understand?  Daphne follows her from the room, trying to catch up with her, but to no avail.  Daphne stares at the empty spot where Joanna's cloak had been.

Jail - Tell me what happened this morning, Quentin asks Desmond.  A new judge, Vail, arrived today, says Desmond, I had a long talk with him--he denied a motion to postpone the trial.  That means I go on public display tomorrow? asks Quentin sourly.  I'm afraid so, says Desmond.--Amos Fuller, the county prosecutor, resigned.  Who's going to handle the prosecution? asks Quentin.  Desmond explains they have until tomorrow to decide if they keep up their current pace, I wouldn't be surprised if they named Trask.  They couldn't do that, says Quentin.  They can do anything they want, says Desmond, there are no rules of reason anymore, just hysteria and fear in this town--they can only hope they choose a prosecutor with a streak of decency in him.

Samantha finds Tad sitting on the floor in front of the fire and tells him he should be in bed.  I was, but couldn't sleep, he says--I keep thinking about tomorrow, and what's going to happen to Father--he hasn't done any of those things they said he's done--Mother, he doesn't practice witchcraft--I don't understand why they arrested him.  It does no good thinking about it, she says evasively, we must wait and hope for the best.  She tells him she'll take him upstairs.  Not yet, he says solemnly--you've got to go to court tomorrow--they'll listen to you--you've got to tell them everything they're saying against Father isn't true--will you do that?  Samantha looks guiltily at her son.

Why won't you answer me? demands Tad--you will try to help Father, won't you?  She looks away, telling him he must understand--this won't be an ordinary trial, they don't know yet what will be accepted and what won't.  All I know and care about, says Tad, is the innocence of my father.  I understand that, says Sam, you must be reasonable--there's been so much tragedy recently, and the people in the village are terribly disturbed by it.  She caresses his face.  They know he wouldn't hurt anyone, protests Tad.  Yes, but when people are terribly frightened, they don't act with reason, says Sam.You've got to go to them, Tad tells her, and show them the truth.  Yes, she says, Desmond will do everything in his power to tell them that.  He goes to stand beside her and asks, "Don't YOU want to help Father?"  Of course, she assures him (liar), I want to tell you something--no matter what happens, I love you deeply, and I ask you to have faith in me--she takes his hands in hers--will you?  I will, he says, of course I will.  Then we will see this through together, she says, hugging him. Desmond enters and Tad runs to him, asking if he's seen his father.  He's going to be fine, Desmond assures him.  Sam tells Tad to go to bed, she must speak to Desmond.  When you see my father, says Tad, tell him I've been thinking of him, and praying for him.  Desmond promises to do that, and Tad goes upstairs.  Desmond joins Sam in the drawing room, asking how Tad is taking it.  How would you expect him to take it? she asks bitterly, there must be some way I can get Tad to leave this place.  At the age of 21, says Desmond, Tad inherits the Collins fortune, if he leaves this house, he gets nothing, do you want that?  No, she says, but I can't let him stay in this place any longer, it's not healthy for him.You can't have it both ways, says Desmond, everything depends on the trial--if we can establish Quentin's innocence, Tad's place in the will becomes academic.  Quentin will return as master of Collinwood, says Sam angrily, and everything will be the way it was!  I should think you would prefer that instead of Gerard? asks Desmond.  It's choosing between two evils, Sam insists (she once had to choose a husband between them).  No matter what your personal feelings are, insists Desmond, Quentin is not an evil man and you know it!  She looks at him and doesn't reply, then turns and asks what he thinks Quentin's prospects are tomorrow?  I don't know, I can only guess, says Desmond.

At the jail, Quentin orders a reluctant Daphne to turn around and look at him--there's no use trying to hide it, something's wrong--and you're going to tell me about it.  I don't know how, she says.  It has something to do with Joanna, doesn't it? he asks.  Yes she says--she has come back from the grave--I'm sure of that now!--I found another of her notes tonight, and every moment afterwards, I could feel her presence.  What did the note say? asks Quentin.  What difference does that make? she asks, but he wants to know.  She hands him the note:  H reads: Dear sister, you're in danger and I must save you--better you're with me than with Quentin Collins--I'm coming for you now--please do not be afraid, what I do, I do with love, your sister Joanna."  I don't believe it, says Quentin, Joanna would never do a thing like this.  I know it's Joanna, says Daphne, I found her cape, but when I went back to look for her, it disappeared.  Did you see her? asks Quentin.  No, I didn't, but Samantha did, she tells him--we were in the drawing room, arguing, and then suddenly she looked up and saw Joanna's spirit behind me.  She saw the ghost? asks Quentin--did she know who it was?  No, she's never seen Joanna, says Daphne, closing her eyes, she accused me of bringing evil into the house, and told me never to go near Tad again.  Listen to me, says Quentin--she has nothing to do with that, I hired you--if anything happens, you go to Gerard and talk to him--you can depend on him--do you understand.  Yes, says Daphne, but. . .I'll do whatever you want me to.  He takes her face in his hands through the bars and tells her not to go to the village--a lot of people are talking of a witch's cult--he doesn't want Daphne connected too closely with him.  She assures him those people don't frighten her.  When you leave here, try not to be seen, he says--you didn't show these notes to Samantha, did you?  Of course not, I didn't say anything to her, Daphne says.  Good, he says, it's hard to tell what she'd do if she found out about them.  I shouldn't have told you about this, says Daphne, you've got enough to worry about with the trial tomorrow.  Tomorrow, repeats Quentin, disturbed.

Courtroom - The three-judge tribunal takes their seats, Judge Vail, seated in the center, bangs the gavel (the other judges are silent and paid less).  Judge Vail intones, "According to the provision of this statute invoked on Tuesday last, this high tribunal is now in session."  Desmond, sitting beside Quentin, rises and respectfully asks the judge how it is possible to be in session in the absence of a prosecuting attorney.  As you know, says the judge, the local prosecutor tendered his resignation early yesterday morning.  Yes, and I just learned the reason just a few hours ago, says Desmond--the defense now requests that it be put into the record that Amos Fuller resigned his post because the very idea of these proceedings was repugnant to him--I want it known there was at least one voice of reason in this wilderness of hysteria and fear.  The courtroom erupts in an outburst of chatter.  The request is granted, says Judge Vail, there is no need to editorialize on it.  I also move that this trial, or whatever it is to be called, says Desmond, be terminated on the grounds that it is unconstitutional.  This tribunal is empowered to act by a law that you are already familiar with, the judge reminds him--the motion is denied.  More chatter.  Desmond, looking pissed, goes to sit beside Quentin again.  Earlier today, says Judge Vail, it fell upon this tribunal to appoint a new prosecuting attorney.  Mr. Collins, your adversary has just arrived--Mr. Charles Dawson.  Desmond gazes at him with hatred.

This is impossible! says Desmond.  I apologize for the delay, says Dawson, bringing paperwork up to the judges, but due to the lateness of my appointment to this post, I only now have the credentials necessary for me to appear here--I'm sure you'll find these in order.  The judge takes the paperwork and looks it over.  I know how shocked you must be, Dawson tells Quentin, but someone had to prosecute this case, and I promise you at least a fair trial.  Nothing you say here can make me believe that says Desmond through gritted teeth, only the way you conduct the prosecution (get him, Des!)  Thank you very much for your concern, says Quentin.  Dawson walks away.  Quentin leans over and asks Desmond why he's so upset--he's Gerard's friend.  That is precisely why I'm so upset, says Desmond, this man is not here make the law, he's here to crucify you.  Quentin tells him they've got to give him the benefit of the doubt--they can't continue to blame Gerard for everything.  Has anyone given you the benefit of the doubt? demands Desmond, who rises and informs the judge he objects to this man being made county prosecutor, as a non-resident of Collinsport, he is not liable to practice law in this court!  Judge Vail says that Dawson has been a legal resident of Collinsport since last week.  That's not long enough, says Desmond, a man must be a resident for at least three calendar months!  Dawson says that law applies only in standard courtroom cases, not in these proceedings.  That's right, says Vail, your objection is overruled.  Exception, insists Desmond.  The judge bangs the gavel and orders Desmond to bear in mind that this is a tribunal designated to hear a charge of witchcraft brought against his client, and it's the duty of the presiding judge to lay down the rules--and the duty of both sides to abide by them--Mr. Dawson, you may present your opening remarks.  Dawson thanks the judge, and Desmond tells Quentin he'll get an opportunity to see for himself.  Dawson addresses the judges: "In recent months, the people of this community have been victimized by a series of regrettable incidents, the cause of which are not immediately discernible--however, thanks to the diligence and perseverance of certain prominent citizens, it became known that these incidents were the result of the practice of witchcraft--these same citizens soon pinpointed the source of this evil, and it is the intention of the prosecution in this case to prove, beyond a shadow of a doubt, that these willful acts of sorcery were perpetrated, with malice aforethought, by the defendant, Quentin Collins" (he points to him dramatically.)  "His guilt shall be determined here," continues Dawson, "and when it is, the prosecution will ask for the ultimate penalty under the law which has convened this tribunal--Quentin Collins shall be publicly beheaded!"  More courtroom chatter.  Desmond turns to Quentin and says well?  Send for Gerard, says Quentin, furious, I want to talk to him right away.  Do you have any opening remarks? The judge asks Desmond, who stands and says he only wants to reiterate his objections to the legality of these proceedings, I have nothing more to say, Your Honor.  The judge orders Dawson to call his first witness.  If it please the court, says Dawson, the prosecution had intended to call as its first witness Mr. Lamar Trask, whose testimony is considers vital to this case--however, I should like to postpone Mr. Trask's appearance in favor of another witness, one who came forth this morning with information I feel may expedite a decision in this case--Samantha Collins.  Objection! Shouts Desmond--under the law, she cannot take the witness stand!  May I ask why not? queries Dawson.  You know very well why not, says Desmond, she is the defendant's wife--and he would have to waive his constitutional rights--and he will NOT waive them!  The estate would point out to the counselor that the law which applies here pre-dates the constitution by almost a hundred years.  The judge tells Desmond there is nothing in the law that states a wife may not testify against her husband--there is, indeed, ample evidence that in trials of this nature, wives were allowed to take the witness stand.  Your honor, may I have a ruling? Demands Desmond.  Your objection is overruled, says Judge Vail--the tribunal calls Samantha Collins.  She enters the courtroom and Quentin stares at her with hatred.  She is sworn in on a bible and swears to tell the whole truth.  Dawson asks her how long she's been married to the defendant.  Almost 16 years, she says.  How long have you known for an absolute fact that Quentin Collins indulged in occult practices.For as long as I have been married to him, says Sam.  Desmond has his fist pressed against his forehead, and objects, insisting he wants the term occult practices defined. The judge tells Desmond the court would interpret this phrase to mean any act of witchcraft or sorcery perpetrated against another human being.  Desmond says the defense is very happy with that definition, and thus asks the prosecution to re-phrase the question.  The judge tells him to do so.  I withdraw the question, says Dawson--Mrs. Collins, I know you must have searched your conscience long and hard before deciding to take the stand against your husband--will you tell the court specifically what brought you to this decision?  My husband has always dabbled in the occult, she says, even though he's been repeatedly warned not to do so by his own father.  Objection, says Desmond, the witness is not giving a direct answer to the question.  Sustained, says the judge--Mrs. Collins, the counsel for the prosecution has asked you to testify to a specific incident--please do so.  I have witnessed the fact that my husband has communicated with the dead, and is responsible for bringing an alien spirit into the house! says Sam--I do not know why he has done this, except to terrorize all who live there--but I swear, the spirit is at large in the house.  Tell the court how you know that, asks Dawson.  Because, she replies, I have seen it.  Am I to believe the court will accept this hysterical testimony? Demands Desmond--it is not only possible, but highly likely, that what Samantha Collins saw was a figment of her own imagination!  I did not imagine it, says Sam, and I am not the only person in this courtroom who has seen the ghost!  Who else has seen it? demands Dawson.  That woman, there, Daphne Harridge, says Sam, pointing accusingly--not only has she seen the ghost, but she has known of its existence for a very long time!

NOTES:  Shame on Samantha for testifying against Quentin, especially after he begged her to help him!  Whether Quentin is his father or not, biologically, he is Tad's father as far as the boy knows, and they love each other.  This is inexcusable--she is spiteful and vindictive--there is no evidence Quentin brought this ghost out!

I always wondered just how much the DS writers wrote their own laws for 1840.  Some of this just seemed too much.  Wives testifying against husbands?  Was it ever allowed in our history?

So, is Joanna really haunting Collinwood?  Does she mean harm to Daphne, or to help her?

Love the courtroom theatrics.  Karlen is really chewing up the scenery as defending counsel, having a great time, from the looks of things.

Quentin and Samantha have been married 16 years?  They must have been teens when they wed.


1166 - Quentin gazes at Daphne as the courtroom goes wild.  Daphne Harridge knows the evil Quentin has brought to Collinwood, says Samantha, still pointing at Daphne.  Desmond objects--Daphne Harridoge is not on trial here.  The witness is stating a fact, not making an accusation, says Dawson.  Desmond says if it is a fact that Collinwood is haunted, it has nothing to do with the charges against the defendant.  I will prove that it does if I am allowed to continue, says Dawson.  Objection overruled, says the judge, continue, Mr. Dawson.  Charles goes over to a table and asks Samantha to identify her husband's diary.  Dawson goes on, saying the state intends to show that the spirit to which Mrs. Collins makes reference appeared at Collinwood in response to a summons made by Quentin and Daphne.  I invite you to read ther pertinent passage to the court, says Dawson.  Sam reads about Daphne and Quentin having a seance--they were desperate to contact Joanna's spirit--she appeared to them for a fleeting second--"I must keep trying, I must find a way to communicate with her."  Did you write that? Desmond mutters to Quentin, who just looks down in disgust.  Dawson thanks Samantha and asks if the defendant denies this is his personal journal.  We do not deny it, says Desmond.  I offer this as Exhibit A in the State's evidence against Quentin Collins, says Dawson, handing it to Judge Vail--tell the court when you first saw the spirit of this Joanna, he instructs Samantha.  Last evening, she says, I came downstairs and heard Miss Harridge behaving hysterically in the drawing room--I went in to reprimand her and saw the spirit of a woman.  A woman like the spirit Mr. Collins conjured up! says Dawson, but Desmond ojects to the phrase, "conjured up." The judge sustains that one, saying it shall be stricken.  Dawson says he has no further questions for Samantha, but before Desmond cross-examines her, Dawson requests that Daphne Harridge take the stand.  Desmond insists that's absurd, he has every right to cross-examine this witness before another is called (sounds judicial to me).  Quentin looks at Daphne.  Dawson assures Desmond he isn't challenging his rights; he will be given a chance to cross-examine Mrs. Collins.  I demand that opportunity now, says Desmond, what Counsel requests is totally ridiculous!  Judge Vail says he wishes to remind Desmond that the ordinary procedures are not operative in this trial.  That's not fair play, says Desmond--I insist I cross examine this witness now, not whenever it strikes the whim of Mr. Dawson or the court!  Vail advises him that this tribunal has not been convened to act upon whim, and it shall not so act--I see no harm in Mr. Dawson's request--he may be allowed to ask Miss Harridge to testify.  Exception, says Desmond.  Noted, says the judge, and tells Samantha to step down.  Daphne is called to the witness stand, and as she and Samantha pass each other, they exchange looks.  Daphne looks at Quentin, who gazes lovingly back at her.  Daphne stands there and refuses to testify against Quentin, she says, because he is innocent--the only testimony I will give is in his defense!  Quentin grins proudly.

Dawson asks the court to remind Daphne that she must obey its wishes, and the judge says under the law being invoked here, she is obligated to take the witness stand upon the request of either counsel.  Daphne is sworn in and pledges to tell the truth.  She goes to the witness stand.  Dawson asks if she did take part in the seance Quentin mentioned.  Yes, she admits.  He orders her to tell whose idea it was to conduct the seance.  She looks at Quentin and reluctantly says it was Quentin's.  Did the spirit of Joanna Mills appear upon Mr. Collins' summons? Asks Dawson.  Yes, she says.  Dawson asks why she was willing to particulate in this seance?  Because Mr. Collins asked me to as a favor.  But why you in particular? he asks, pointing his finger in her face.  Desmond jumps up, declaring the question irrelevant.  Sustained, says the judge.  Dawson says he has no further questions for Daphne.  Desmond comes up and says it seems his colleague overlooked the most important question of all--what was the purpose of the seance?  There had been a number of disturbances in the house, she replies, and Mr. Collins was very upset by them--Mr. Collins called them astral disturbances--thing began to appear in the house, such as gloves and a purse that belonged to Joanna Mills--and then one night Mr. Collins heard music playing that had always been associated with her--the source of the music remained a mystery.  Then Mr. Collins felt he was being haunted by someone from his past, is that true? asks Desmond.  Yes, she says.  So actually the purpose of the seance was to try to put the spirit to rest, asks Desmond.  Dawson objects--counsel is leading the witness.  The judge sustains and asks Desmond to re-phrase.  How did Quentin react to these astral disturbances? Asks Desmond.  She explains that she'd say he was emotionally upset by him.  In your opinion, asks Desmond, was he a tormented man?  Yes, she responds, I think he definitely was.  And you think his only motive for holding the seance was to rid himself of these spirits? Asks Desmond.  Yes, that was his one and only motive, agrees Daphne.  Desmond thanks her and says he has no further questions.  Daphne is told to step down.  Quentin smiles proudly at her.  Desmond now wants to call the prosecution's first witness.  The judge orders Sam to the stand.  Desmond says it's most unusual for a wife to testifying against her own husband--why did she do it?  Because, she says, I felt I had knowledge that should not have been withheld from this trial and because I thought it my duty to come forward.  Let's discuss this knowledge you speak of, says Desmond--you have alleged that you saw spirits of the dead.  Sam says it wasn't an allegation; it was a fact.  Can you describe these ghosts you claim to have seen? asks Desmond.  Yes, she says, this ghost was a woman, young, wearing a cape.  Precisely where did you see her? asks Desmond.  The drawing room at Collinwood, she replies.  And how did you know she was a ghost? asks Desmond--did she speak to you, or have you seen many ghosts in your life?  Dawson objects.  Samantha says she knew it was a ghost because she disappeared before my very eyes.  Did she say anything to you before she disappeared? demands Desmond.  No, says Sam.  In other words, accuses Desmond, she just appeared, then disappeared!  Exactly! says Sam.  Then why do you insist on putting this on the head of Quentin Collins? asks Desmond.  Dawson objects--the defendant's connection with the spirit has already been established by his own diary!  The judge sustains.  Mrs. Collins, says Desmond, you say you felt it was your duty to step forward--don't you feel you have certain duties as a wife?  In my opinion, she says, this was the higher of the two duties.  In my opinion, says Desmond, you came here because you hate him!  Dawson objects, the judge sustains.  Sam denies it's true.  The judge tells her the court isn't interested in her opinion, she will kindly confine herself to the facts.  Were you or were you not motivated by hatred of your husband? demands Desmond.  No, I was not! she cries.  DO you love Quentin Collins? shouts Desmond.  The courtroom erupts, with Dawson objecting and the judge sustaining, but Sam insists on answering, "No, I do not love my husband!"Quentin smiles at the way Desmond trapped Samantha.  The judge insists the statement will be stricken from the record.  Desmond has no further questions, and the judge tells Sam to step down.  Dawson says he has a few more questions for her, and asks Sam why she thinks her husband tried to summon up a spirit from beyond the grave--does she think his motive had anything to do with her--and tell the court why.  This woman, says Sam, whose spirit my husband was trying to bring back, Joanna Mills, was Quentin Collins mistress!  This upsets both Daphne and Quentin.

Dawson continues--wasn't it true, Mrs. Collins, that when Miss Mills was alive, she almost broke up your marriage?  Yes, says Sam, it's true.  But you refused to allow the marriage to be dissolved? Asks Dawson.  That's right, she says.  And because of his bitterness over your decision, says Dawson, he tried to summon the spirit of his mistress to haunt you!  Desmond objects, the judge sustains.  Dawson has no further questions, and Sam is released.  Desmond asks that Sam's testimony be stricken from the record.  On what grounds? demands Dawson.  On the grounds that she is a prejudiced witness, says Desmond--and her allegations have not been borne out--on the contrary, it has been shown here that Quentin Collins is the hapless victim in this matter, and the only purpose for holding the seance was to try to put Joanna's soul to rest.  Dawson tells the judge that Mrs. Collins' testimony does not constitute the whole of the prosecution's case, but it is vital to the overall information I intend to bring forward.  Desmond says that has nothing whatsoever to do with this case--the charge is witchcraft--and as unjust as I think it to be, I insist we adhere to this charge--and Samantha Collins' testimony has nothing to do with this charge!--anybody can hold a seance, anybody can try to communicate with the dead, that does not constitute witchcraft!  Dawson urges the judges to consider this decision very carefully.  Vail says the counsel may rest assured they will.  The judges confer and chatter breaks out in the courtroom as everyone watches the judges discuss the matter.  Miraculously, considering everything else has been going so badly for Quentin thus far, Judge Vail announces it is the opinion of this tribunal that Samantha Collins' testimony has not been proved, and in fact is not germane to the central idea of this case, namely the idea of witchcraft--therefore, the motion of the defense is to be granted--the testimony of Samantha Collins will be stricken from the record.  Dawson rises to his feet and comes to the bench, objecting like crazy.  You may take exception, instructs Judge Vail, you may not object.  Dawson chooses exception.  Noted, says the Judge, adjourning the tribunal until 10 Monday morning.  (I do like the courtroom set.)  We not it is now five minutes to four.

Samantha paces the drawing room at Collinwood.  When Daphne returns, she meets her in the foyer, remarking that it took her a long time to come back from the courtroom.  Daphne apologizes.  Did you stop in the jail to see my husband, or should I say your lover? Demands Samantha.  Daphne turns to looks at her and tells her Quentin is not her lover.  Even if that's true now, it's only a matter of time, isn't it? asks Sam.  I don't know what you're talking about, says Daphne.  You're in love with my husband, accuses Sam--that was quite evident from your testimony, you're hopelessly in love with him, just as Joanna Mills was!--well, you're wasting your time--my husband will be found guilty and then he will die.  Daphne surveys her solemnly.

You really want to see Quentin dead, don't you? asks Daphne icily.  I want the peace of mind he never gave me, says Samantha.  I don't see how you can even live with yourself after what you did today, says Daphne.  I did what I had to do, says Sam.  Is that what you're going to tell your son? demands Daphne.  If you're planning to tell Tad, says Sam threateningly.  I won't have to tell Tad, Daphne reminds her, you will--because he's bound to be curious what happened in court, what you told him, and if you lie to him, he'll know about it, he's an intelligent boy.  I know my son loves me! Samantha interrupts, I know that!--and I know he will understand I testified the only way that I could--you see, I did not go into that courtroom voluntarily, I was subpoenaed by Mr. Dawson.  Daphne smiles and asks her how she arranged that.How dare you speak to me like that! says Samantha.  I'll speak to you any way I wish now, says Daphne, because I no longer care what happens to me.  Then it won't be a surprise to you to know you are discharged as of this moment, says Sam--pack your things, get out, the sooner the better!  Daphne says, "I don't think you're capable of really loving anyone--I wish I could hate you but I don't--I only feel so very sorry for you"--and she walks away into the kitchen area.  Samantha seems about to say something further, but it silent.

Desmond grins at Quentin through the bars of his cell.  Quentin praises him, saying for a man who hasn't practiced law in a long time, he did a very good job.  This is no time to be congratulating ourselves, says Desmond, let's be realistic--we repudiated Samantha's testimony, but she's only one witness--there are still others to come.  Quentin doesn't care, he is very encouraged by today.  What will you do about your so-called friend Gerard? asks Desmond.  Quentin says he'll talk with him later.  Don't you realize Dawson is crucifying you there in that courtroom? asks Desmond, and it was Gerard's doing?  You may be very right about Gerard, admits Quentin, but I do think we have to give him the benefit of the doubt--I'll have a nice long talk with him, then we'll know what we need to know.  I only hope you know what you're doing, says Desmond.  Samantha comes in.  Quentin tells her the two of them have nothing to say to each other, so get out.  I have something to say to you, says Samantha.  Desmond excuses himself, saying he'll be back.  Say what you have to say, then leave, says Quentin, facing away from her.  It's a pleasure, she says, I have no desire to be with you any longer than necessary--I thought you would like to know your paramour has been discharged--I have dismissed Daphne Harridge as Tad's governess.  You can't do that, insists Quentin.  I have already done it, she says, smiling.You don't have the authority to do it, he says, Daphne is going to stay at Collinwood as long as I want her to!  You are no longer master of Collinwood, she reminds him, have you forgotten--Gerard Stiles is.  All right, says Quentin, Gerard is in charge--do you have his consent?  I don't need it, she says, Tad is my son, I know what's best for him.  You listen to me! he demands, I'm going to have a long talk with Gerard--I intend for Daphne to stay at Collinwood--and there's not a thing you're going to do about it.  I can take this matter to the divorce courts if you force me to, she warns him, you're in enough trouble without being involved in a romantic scandal--think of the effect that will have on Tad.  You wouldn't do that, says Quentin.  Oh yes I would, says Sam, quite frankly, I don't care whether your Daphne stays or leaves--you can have her by your side for the whole trial if you think it will do you any good--Tad is my only concern--and I don't want that girl around him--do you understand?  She gives him a last look and leaves.  Quentin leans back against the bars, exhausted.

Collinwood - Daphne reads a book in the drawing room and falls asleep in the chair.  She's wearing a nightgown, tosses her bridal dress on the bed, calls it the most beautiful room she's ever seen (it looks like Josette's room).  Gerard, I'm so happy, she exults.  She calls to him, but he doesn't respond, and she keeps calling to him, asking where he is--why has he left her alone?   The camera focuses on her wedding dress.  Daphne awakens.  It's happened again! she says--another dream!--but why can't I remember any of them?--and why are they so disturbing--why are they happening to me?--a room, there was a room I've never seen before--but where is it?  She goes searching and finds the room, pushes open the doors and turns on a lamp.Candles are lit, and it definitely appears to be a clone of Josette's room, but at Collinwood--and there, on the bed, is the wedding gown from her dream!

NOTES:  Those dreams are really something, and getting to Daphne in a big way--the previous one made her try to kiss Gerard.  Now, however, she's found something far more concrete--a real room and a real dress.  What it will all mean, where Gerard is leading her, seems pretty obvious.  Nice dress, too.

These courtroom scenes!  Is it me, or is everyone overacting all of a sudden?  There seems to be some kind of hysteria duel going between the defense and prosecuting attorneys, and it really got high-handed there for a while.  I didn't remember if the judges disallowed Sam's testimony, and I was sure they wouldn't given how unfortunate Quentin's been thus far, but that was a coup.

Where are Barnabas and Julia?  Shouldn't they be involved in all this?

Delicious fight scenes between Samantha and Quentin and then Sam and Daphne (your LOVER!?).  Samantha has a giant-sized secret, folks, that will really stun you.  She's truly is a bad lady, but so much fun to watch play with people she doesn't like.  She's embittered, perhaps rightly so, but trust me, she doesn't deserve much sympathy from or for the devil.

Two very lengthy episodes today, and my hands are tired!

Love, Robin

1161 - Gabriel grins greedily--Desmond, why are you looking at me that way? he asks--are you surprised?--did you ever think you'd see the day when I was my father's heir?  Let him read! orders Samantha.  Do, Desmond, says Gabriel, you must not make Samantha nervous--she's getting her hopes up.  Gabriel! chastises Edith.  "To my son, Quentin, I bequeath my father's timepiece which I had oft promised him."  Gabriel bursts into laughter.  His timepiece! cries Sam, is that all?  "I have come to believe my own son's guilt," reads Desmond, and therefore he is not fit to be my heir and carry on the family responsibilities so entailed."  You poisoned his mind! Sam shouts at Gabriel, rising from her seat.  He poisoned his mind as well! retorts Gabriel.  Desmond calls for silence--you wanted to hear the will, now listen to it.  Desmond continues, "The heir designated below will act as unofficial guardian of my grandson, Tad Collins, who, at the age of 21, if he is still alive, and in residence at Collinwood, will receive my entire estate--in the meantime, Tad Collins and his mother, Samantha are never to be denied room and board at Collinwood."  Gabriel turns to Sam--I'll see you get that, he taunts.  "Along with a weekly stipend to be decided upon by the said heir," reads Desmond.  "Should Samantha Collins choose to remove her son, Tad, from the estate, said heir will have no further responsibilities, monetary or otherwise, towards them."  You'll never get rid of us, Gabriel, promises Sam.  "As to the main deposition of the estate, continues Desmond, "monies, factories, fishing fleet, let me make it quite clear that I have considered carefully the results inherent in my decision--but I feel I have no other choice but to leave them until Tad comes of age to the man I regard as my rightful heir."  Gabriel leans forward in his wheelchair, anticipating.  Desmond reads, "My son--I have called him that because I have learned to love him as a son--Gerard Stiles."  Everyone is astounded.  Gerard? repeats Gabriel.  Samantha's face contorts with amazement.  No! she shouts, looking at Gerard, no!  Edith begins to laugh uproariously.I don't believe it! says a pretending-to-be astonished Gerard.  Don't you? asks Desmond.  This is what you've always wanted! shouts Samantha, what you've been working for from the beginning, I should have known--Tad will never live to be 21, will he?  She runs from the room, Gerard calling her name.  You said it was I! Gabriel accuses Gerard.  I told you, says a flustered Gerard, he said he had another son!  Samantha was right, says Gabriel, you made him think that--and you made little of me!  Who would have to do that, Gabriel? grins Edith.  I suppose I got nothing, Desmond? asks Gabriel.  Desmond reads--Gabriel, Edith and their children will always have a home at Collinwood--my heir, Mr. Stiles, will see to it that Gabriel receives an allowance commensurate with his needs.  My needs will be very small, won't they, Gerard? asks Gabriel bitterly.  Desmond reads, "As Gabriel's children are to receive certain monies at 21 from my late wife's estate, I make no further mention of them."  Desmond presses the bridge of his nose in exhaustion and disappointment.  Gabriel starts to wheel himself out--"Come on, Edith," he says.  I swear to you, says Gerard, this wasn't deliberate--I had nothing to do with this!--must we start off this way?  We started the day we met, retorts Gabriel, and I knew you wanted something here, I just didn't realize the scope of your ambition!  He starts to leave, but Desmond calls, "Wait!--there is something else that you should hear--in the event of the unlikely event that my original heir, my son, Quentin Collins, is declared innocent of all charges in his current trial, all monies, properties, commercial ventures are to be returned to him."  I'm happy he wrote that, says Gerard (not very sincerely).  Now all you're going to have to do is to see Quentin declared guilty, right? says Gabriel.  I told you once, Gerard reminds him--I will do everything in my power to see that Quentin is free!  Do you ever tell the truth? asks Gabriel--I don't think you ever do--I'm not going to accept this will, Desmond, I'm going to fight it!--AND YOU ARE NOT GOING TO GET ONE CENT OF MY FATHER's MONEY--YOU HEAR ME?  In his agitation and anger, Gabriel's left foot drops to the floor, and it looks as if he's going to rise from his wheelchair.  "Gabriel, you almost walked!" says Gerard.  Don't start that again, please, sneers Edith.  We're going to fight the will, says Gabriel--start proceedings at once!

Samantha's room - She twists a handkerchief between her two hands--Desmond, she asks, how did Daniel dare to make out that will?--if Quentin is proven innocent--IF!  I have great hopes of Quentin being proven innocent, declares Desmond.  I do not, she says.  The evidence against Quentin is purely circumstantial, he says.  What of the witchcraft? demands Samantha, of the fear of the people in the village--Lamar Trask--Mordecai Grimes?--once they give testimony, do you think Quentin is going to be released?This is a murder trial, says Desmond--Quentin isn't being tried for witchcraft--please let us work together in hopes of freeing Quentin, then the money will be yours and his.  Will my life be changed then? she asks bitterly--what do I do then, until that unlikely day?  I admit, the situation with Gerard in this house is difficult, says Desmond.  An understatement, pronounces Sam.  You loved him once enough to want to marry him, Desmond reminds her.  I didn't know him, she says, still twisting the handkerchief--he wants to be Quentin, he wants everything that Quentin has, and that includes me--that's quite an admission for a woman, isn't it, Desmond?--not even to be wanted for yourself--and now this monster wants to take charge of my child--I won't have it, I won't!--he's going to ask us to leave this house, and I know we won't--and then my child's life is in danger!--I must keep him away from Tad--please help me, Desmond, please!  Tad is in no danger as long as Quentin is alive, says Desmond.  Gerard Stiles is going to be very sorry that he was ever mentioned in that will, she vows.  Why do you spend all your time hating him when you could be helping Quentin? he asks--"Maybe hating is what you do best!"  Get out! she orders.  You are going to need a friend, he says.  It won't be you, she promises.  That would be your decision! he shouts, and starts to leave.  I'm sorry, says Sam--you don't know what it's like to be trapped in this house--I can't even take Tad and leave this place, can I?  No, says Desmond, if you do, you will receive no allowance or trust fund.  There's nothing I can do, she laments, nothing...nothing!  She sits on the bed.  Nothing except to rid yourself of this hate for Quentin, he says, and to try and help us!

Gerard answers a knock at the door--Charles Dawson.  Gerard grins.  May I congratulate you? asks Dawson.  Gerard puts a warning finger of silence to his lips--not quite yet, he says--this house still reeks of the agony of the vanquished--would you believe that inside the bedrooms lies little plotters working on their counter plots?--I haven't inherited a kingdom, but a kingdom full of vicious rebels.  All of whom you will deal with in good time, Dawson assures him.  Smiling, Gerard agrees--yes, of course--but right now we must go down to the village.  Gabriel wheels into the foyer.  Should we take your carriage, or "one of mine?" asks Gerard. "Your carriage, of course, Mr. Stiles," grins Gabriel, "and may I suggest the new one that arrived two weeks ago--no one's ever touched it, not even Father--and I think it would be fitting for you, being the new master of Collinwood, don't you?"  Dawson extends his sympathies to Gabriel, who says sarcastically, "I know where your sympathies lie, Counselor--are you two off to celebrate?"  If you mean by telling Quentin, yes, says Gerard solemnly.  Big bother in his cell, remarks Gabriel, what an appropriate place for him to hear the news--you know what?--he may kill you.  That would save you the trouble, wouldn't it, Gabriel? asks Gerard.  He and Dawson leave the house.

Jail - "And how is our prisoner tonight, Mrs. Ward?" Gerard asks Mildred.  I don't go near him unless I have to, she says--I can feel the evil the minute I go into his cell.  Oh, now Mrs. Ward, protests Dawson.  He's planning something, though, says Mildred, ever since that Mr. Desmond came to tell him about his father--he's been so quiet-like--it scares me!  He's probably in shock, says Gerard--may I enter the cell?--I know it's unusual, but I'd like to.  You're very brave, remarks Mildred.  Shrugging off his cloak, Gerard tells Dawson, keep Mrs. Ward company.  She unlocks Quentin's cell; Gerard goes in.  She re-locks the cell.  Quentin and Gerard clasp each other's arms in a gesture of friendship.  I came to talk to you about your father, says Gerard.  To have him die thinking we were enemies, laments Quentin--I mind that very much.  I know you do, says Gerard.  I shouldn't be here, says Quentin, I should be at Collinwood, trying to help--by the way, who told Tad?  Samantha, I believe, replies Gerard.  I should have told him, says Quentin--he was very fond of Father--I suppose Trask is in charge of the funeral.  Gerard nods.  Will I be allowed to attend? asks Quentin.  I'll do everything in my power to make sure you are there, promises Gerard.  I'm not going to be handcuffed, insists Quentin, I want that understood.  There is more disquieting news, reveals Gerard--the will has been read--Gabriel forced it--he wanted to find out if Daniel changed his mind--indeed he had--sorry, this is the only way I can tell you.  It's all right, says Quentin, I half-expected, I don't mind for myself, really, if I should just get out of this place, I can provide for Tad.  If you get out of here, says Gerard, you won't have to--if you're proven innocent, and indeed you will be--the whole estate reverts back to you.  But until then, Tad has to live in that house, says Quentin, with Gabriel lording it over him--I know that's a fine way to talk about my own brother, but believe me I know Gabriel and all his faults.  Gabriel won't be lording over Tad, says Gerard--the money, the estate and everything--he didn't get a penny.  Who did? asks Quentin.  "I did," reveals Gerard.You? asks Quentin.  I don't understand myself, says Gerard. You, says Quentin.  Daniel must have thought that as far as I was concerned, says Gerard, I would be in control of the money and put it in trust for you--I know he didn't trust Gabriel with it--he kept asking me about your innocence, I assured him that you were--Quentin, the money, the estate, everything, I know it's not mine, I will merely administer it until you're free.  Quentin looks at him oddly.  What's the matter, asks Gerard, you don't trust me?  Oh yes, I trust you, says Quentin.  Good, says Gerard, and as far as the work, I won't do one thing without your permission--I will see that Tad is totally undisturbed, and I will only act temporarily until your final release.  I will be released, you're sure of that, says Quentin.  Positive, Gerard assures him.  You know, Gerard, somebody is doing this to me, says Quentin.  And I will do everything in my power, promises Gerard, to make sure and find out who it is.  It's funny being here in jail, says Quentin, at least there can be no more killings, so whoever wants me in here can give me no more trouble.  Gerard has an "I wouldn't count on that" expression on his face.

Gabriel sits in the Collinwood drawing room listening to Edith rant: "Everything was going to be different!" she taunts.  Shut up! he orders.  She goes on, "You were going to be master of Collinwood!"  I'll kill you! he threatens.  "I was going to have to listen to everything you said!" sneers Edith--"I was going to have to beg you for anything YOU wanted to give me--but as usual, you have nothing to give--nothing!--I'm glad I did what I did!"  What did you do? demands Gabriel.  She doesn't answer.  They hear Gerard in the foyer making luggage and room arrangements.  He's here, in this house, mocks Edith--it belongs to HIM now!  Gabriel wheels himself to the foyer--Gerard, he says, I hope you don't mind if I save myself the embarrassment of welcoming you to Collinwood--sir.  Not at all, says Gerard.  I trust that big brother has doubts about you, too, now, says Gabriel.  I only wish your thoughts were as kind as Quentin's are, remarks Gerard.  Edith comes over and offers her hand to Gerard.  He clasps it, grinning--at least you welcome me, he says, kissing her hand--run along, Charles and I have some work to do--I'll need your help later.  She goes.  Gerard laughs as he enters the drawing room and drops his cloak carelessly on the sofa--"It is all mine, Charles!" he exults--"how do I look--quite the country gentleman--yes, it's all mine!--here, have yourself a brandy, have another, have as much as you want--everything in this house now is mine!"  For the moment at least, says Charles.  Yes, says Gerard, with less pleasure, the curious codicil in the will--if Quentin is proven innocent.  Everything is taken away from you, says Dawson, pouring drinks--and the case against Quentin is circumstantial.  Suppose he were tried for witchcraft and not murder? asks Gerard.  Dawson looks at him--no one has been tried for witchcraft in 200 years, he points out.  It's about time it happened again, says Gerard--things happen in cycles--yes, and if the case against Quentin is strong enough...  It's not, warns Dawson.  It can be, counters Gerard--Quentin said a very interesting thing to me tonight--now that I'm in jail, there won't be anymore killings.  The men chuckle together.  Killings, Charles, in the jail? asks Gerard--why do you laugh?  Oh, if someone is found dead in the jail, says Charles, no visible marks on the body.  Someone who is afraid of him, says Gerard, sipping his drink.  Mrs. Ward, suggests Charles, slipping a black scarf from his jacket pocket.  What is that? asks Gerard.  Her scarf, says Dawson, handing one end to Gerard, I pocketed it just in case you and I were thinking alike.  And indeed we are, says Gerard, smiling happily, indeed we are.

Desmond visits Quentin in jail, advising him, try to break the will by declaring your father insane.  I won't do it! insists Quentin, horrified   Quentin, warns Desmond, Gerard...  I know what you think about Gerard, but I disagree with you, says Quentin--after all, I am innocent, and I will get the money back.  And you think the man is capable of giving up all that? asks Desmond.  Gerard will, says Quentin confidently.  Your loyalty exceeds your good sense, says Desmond.  We see the shadow of Mildred Ward reflected in the translucent door leading into Quentin's cell.

Edith walks into a dark room lit by candles, Gerard and Dawson are there.  She exclaims over the place, thrilled.  You will learn to love it, Gerard assures her.  I know I will, she says delightedly.  And tonight, dear Edith, you will help us, says Gerard--in a way no one else ever could--a way that will show you you are finally a part of us--you must not be afraid.  I am not! she says with a smile.  You will hear my commands and you will obey them, says Gerard, down to every letter--and when you wake, you will not remember one single thing--you are merely an instrument on which we play the dance of death--tonight, you will live, where someone else will die.

Don't you look at me! Mildred orders Quentin.  Don't worry your little heart, Mrs. Ward, he says ironically.  I must have been feeling sorry for you, she says--I brought back your dinner that you didn't touch before.  Thank you, he says wearily, but I don't want any now, either.  She looks at him uncertainly.

Gerard holds Mildred's scarf over Edith's head and calls, "Satan, give me the power so that I may help you and secure revenge against your enemies."  He brings the scarf down to about Edith's chin level and says, "This is the devil's noose--the devil's noose and nothing ever escapes it--now Satan hear me, this, thy servant, I put the scarf around" (he arranges the scarf around Edith's throat) "but it will not hurt her--no, but the true owner of the scarf it will hurt" (he ties the scarf in a knot around Edith's throat).

"Funny," Mildred tells Quentin, "I feel something around my neck."  She covers her throat with her hands.  "You!" she cries, "You!"

Gerard ties the scarf around Edith's throat, chanting, "In that cell, you are feeling the powers of my hands!"  Edith moves her head uncomfortably.

"You're doing this--stop it!" cries Mildred, feeling the pressure increasing around her throat.  "What is it?" as Quentin.  Stop! she cries.  Finally, as Edith writhes almost in ecstasy, we quick cut back and forth between the two women, then both of them falling, falling to the floor.
Gerard rises from Edith's unconscious body--Dawson, he says, "It is done--and when she awakes, she will remember nothing and be perfectly all right--but Mrs. Ward..."

Quentin kneels beside Mildred Ward, calling her name.  "She's dead," he says.

NOTES:  This was one of the longest DS episodes I've ever Robservise!  It looks like Gerard has secured his position as master of Collinwood with this latest stunt--given that Quentin and Mildred were alone, and she is now dead, how will he explain it away?  Not only will Jim Ward but all of Collinsport be assured of Quentin's guilt as a witch--and perhaps a murderer for the second time.

Edith sure is an eager little beaver to help out in Satan's service, isn't she? (No pun intended.)

Loved the familial fighting between Gabriel, Edith and Samantha.  Given how unlikable they all are, it almost gave me pleasure to see Gerard awarded the bulk of Daniel's estate.  Of course, we know he manipulated the whole thing, but damn, I'd rather see the family dog, if there were one, get it all over any of these people!

Poor Desmond, caught in the middle of it all.  He's a nice guy, and these folks are just so greedy and nasty.  To hell with tradition, all they want to know is who's getting what.  Watching Gabriel taken down yet another peg gave me joy.  He killed his father and deserves nothing.


1162 - A horrified Trask finds Quentin kneeling over Mildred Ward's dead body.  I didn't do anything, says Quentin hastily--she must have had a heart attack.  You'll pay for this death, too, promises Trask, examining the body.  I didn't touch her! protests Quentin.  This is witchcraft, says Trask, the world will soon know it!--not enough to punish you for murder--you must be destroyed as the warlock you are!

Daphne runs downstairs at Collinwood into the drawing room.  You heard the news and came to congratulate me, says Gerard--yes, my dear Daphne, I really am master of Collinwood.  You really do enjoy upsetting everyone, she accuses him, don't you?  You're partially right there, he says, sitting down by the fireplace, but now I would like to explain myself so you would understand and maybe know me a little better.  I think I already know you well enough, she says.  You don't know me at all--yet, he says.  I know you took advantage of the friendship Quentin offered you to steal his inheritance away, she says angrily.  You're like everyone else, he says, but the truth is a little different--everyone thinks I've come here to spend the great Collins fortune, but they're wrong--he smiles--no, when Quentin returns, I will relinquish everything, most willingly and very gracefully--more gracefully than Gabriel possibly could--don't you believe me?  No, she says.  Why? he asks.  I don't know, she says.  You're going to have to trust me, he says, if we are going to have a nice future together.  We won't have any future together at all, she assures him.  You're wrong there, he smiles, when Quentin comes back, I shall leave Collinsport--but I won't be alone.  I don't know what you mean, Mr. Stiles, she says.  Eventually, he says, you will be leaving with me.  That will never happen! she says angrily.  There you are, says Desmond, entering, I'm glad I found both of you together.  I was just leaving, says Daphne.  Why? asks Desmond, is something wrong?  Yes, Daphne, is something wrong? repeats Gerard.  She looks down, not answering.  If there isn't, I would like to discuss Tad, says Desmond.  Ah, yes, a subject we're both interested in, says Gerard--I assured Quentin that I would look after the boy.  Samantha is afraid that you will upset the child, says Desmond--she wants you to stay away from him.  Really? asks Gerard, you're afraid I'll deliberately hurt the boy?--not acknowledge his existence when he enters the room?--he pours himself a drink--no, my dear friend, I'm afraid that boy is the only friend I really have--isn't that true, Daphne?  I don't think Tad should be subjected to anymore of this dissension, she replies.  And he won't be, either, says Gerard, if any comes, it will be from Samantha.  The front door bangs.  Trask rushes in--Desmond, he says,  it's good that you're here--I understand you're reviving your dormant careers as an attorney, while you and this poor, misguided girl here have resisted every clue to Quentin's true nature--but you can no longer.  What has happened? asks Gerard.  Witchcraft in the citadel of justice, says Trask, in the jail itself--I have just come from there--the jailer's wife is dead--and Quentin Collins responsible.  Desmond's face twitches with fury.

Witchcraft, scoffs Desmond--there must be a definite cause of death.  Yes, says Trask, a warlock named Quentin Collins--I suggest you go to your client, counselor, I'm sure he needs you very much.  I will go to him, simply to get the truth, vows Desmond--Lord knows I wouldn't believe you--he hurries out.  And neither would I! says Daphne, going into the foyer and beginning to cry.  Don't be frightened, begs Desmond.  I don't know whether what I feel is fear or anger, she says.  Let it be anger, suggests Desmond, there is no reason for fear.  Isn't there? she asks.  No, there isn't, he says, I'll be back as soon as I talk to Quentin.  I want to go with you, she says.  This should be a lawyer-client meeting, insists Desmond--will you be up later?  I'll stay up, she swears, I have to know how he is!  Desmond leaves.  Daphne, her hands covering her mouth, stands with her back to the door, horrified.

Drawing room - I certainly don't want any taint of witchcraft around Collinwood, Gerard tells Trask.  Come out into the open then, suggests Lamar, support me.  What a primitive mind you have, says Gerard--there are other ways of helping you other than repeating everything you say publicly--no, I think it would be best if I just remained in the dark shadows.  (How often has anyone actually said that?)

We see Quentin's shadow reflected on the cell wall as he asks Desmond, do you think Mildred Ward died because she feared me--or was it witchcraft?--and I don't mean my own--was she killed by the same person trying to destroy me?--I think of poor Jim Ward--his face when he saw his wife...  The coroner is performing the autopsy now, says Desmond, to establish the cause of death.  Supposing there's no viable cause? asks Quentin.  We will worry about that later! says Desmond.  You know, says Quentin, earlier tonight, I said to you, that at least since I was in jail, there would be no more killings--and now there's been another one.  (Didn't he say that to Gerard?)  You cannot be accused of murder because a woman was found lying dead here, insists Desmond--or because you were kneeling beside Randall's body--the evidence is all circumstantial!--you will walk out of that inquest tomorrow a free man--there is no case against you!  Trask claims he found a voodoo doll in my lab, says Quentin--he says that I used it to try and strangle you--and he's going to bring up the ring I wear, the one he says has the mark of the devil--the same mark on Lorna Bell--Trask isn't merely crying murder--he's accusing me of witchcraft!  Be sensible, says Desmond, you cannot be tried for witchcraft in this day and age, not since 1696, it is not legal!--the inquest tomorrow is merely to establish if there is any concrete evidence that you killed Randall Drew--and of course there isn't--I will ask them to throw the case out of court--and they will!--you'll be home tomorrow night a free man--faced with the problem of getting rid of Gerard Stiles.

Foyer, Collinwood - Gerard grins evilly--it's certainly good that Gabriel is in charge of his father's funeral, Trask--it makes him feel important.  Yes, it's really quite tragic it should come on the same day as the inquest for Randall's death, says Trask--no chance is there that Quentin is responsible for Daniel's death, too?  (Give it a rest, Lamar!)  None at all, says Gerard.  Then the Almighty spared Daniel, says Trask--will you be at the inquest tomorrow?  No, says Gerard, I have duties to attend to--you understand.  Perfectly, says Trask, we both have duties--tomorrow, how my poor, late father would have looked forward to it--I've always been convinced a Collins was responsible for his death, but never able to prove it--tomorrow, my father, wherever he is, will be smiling.  Trask grins.

Drawing room - Hopeful, smiling, Daphne asks Desmond, be completely honest with me--do you really think Quentin will be free tomorrow?  She hugs him, delighted, but draws away when she feels his response.  I think it's time to say it, he says with a rueful smile--once, not long ago, I had hoped you'd run to me because of me--Quentin's a lucky man.  You're so sweet, she says--what will happen when Quentin returns?  I need Leticia's second sight to see that, he says, but there's one thing I do know--these extraordinary incidents--this careful plotting against Quentin--it will not stop.  It must stop! Insists Daphne?  Why? demands Desmond, do you think whoever is behind it will be discouraged?--I don't!   I think it's Gerard that's doing it, says Daphne.  You think so, too, says Desmond.  I don't have any reason at all, she says, but he frightens me so, especially now that he's in the house.  Does he know how you feel about him? asks Desmond.  He doesn't know he frightens me, she says, he does know I don't trust him.  That's too bad, says Desmond, I was never really able to check up on him at Rose Cottage--he knew how antagonistic I felt--but perhaps you...  Looking uncertain, she suggests, I could watch him very carefully.  You must, insists Desmond, we need positive proof he's doing something wrong--otherwise, Quentin will never believe us.If it is witchcraft, says Daphne, then that means Gerard is...  That's right, says Desmond, unaware Trask is listening--are you afraid to try to trap him?  I won't let myself be afraid, she says.  Good girl, praises Desmond, now get to bed--nothing more can happen tonight.  They go to the doors.  Trask quickly moves away.  Desmond, says Daphne, as long as Gerard is in this house, something evil can always happen--I know that, though I don't understand  why.  Don't worry about tomorrow, says Desmond.  You've made me feel much better, honestly, she says.  Remember, watch Gerard, he reminds her.  He kisses her hand, then leaves.  She follows him to the door and sees him out.  Trask exits the kitchen area and stands there, smiling.

4:20 - So Trask, you say that Desmond and Daphne are plotting against me, grins Gerard--she won't be plotting for long.  Easy for you to say, says Trask, but I believe you're blinded by her beauty.  I will worry about her, Gerard assures him, you just go along and worry about the inquest--good night.  Good night, says Trask, and exits the drawing room.  Now, Daphne, says Gerard, taking from his pocket the witch's symbol, shall I show you more of the future that you're afraid of?--the dreams that you don't understand?--now, he says, holding it up, closing his eyes, "Sleep, and in your sleep, you will think of me, kindly, more kindly than you would if you were awake--so, now what is to happen?"
Daphne, fully clothed, lies on her bed, sleeping.  She dreams of many dripping candles adorning the foyer of Collinwood, of bridal music playing as she, dressed in a stunning white wedding gown, walks slowly across the landing.  She stands at the top of the stairs.  You must, she admonishes herself, you must!  You want to go through with it--you love him so much, when you see him, run to his arms!  Holding her bouquet, she walks regally downstairs and smiles at her groom, Gerard--who holds out his hand.  My darling, he says.  She goes to him, kisses him.  You want to marry me, he says--I can tell, as I want to marry you--I can think of no other life together, but you and me, you by my side as my wife--the powers, I will share them with you--now, come to me.  They kiss.  Daphne awakens with a gasp.  I must have had that dream again! she cries--why can't I ever remember it?  She opens her door and finds Gerard standing there, smiling at her.

Gerard licks his lips. What are you doing here? demands Daphne.  I thought you called me, he says.  I couldn't possibly have called you, she protests, I've been asleep.  You must have had another dream, he says, why don't you come downstairs and have a sherry with me?--it would relax you.  He takes a step toward her.  No! she cries, and closes the door in his face.

Courtroom - Desmond stands before one judge--on behalf of my client, he says, I wish to state that if he is held further and charged for a murder which is impossible to prove that he did, it will not only embarrass the state, but be an injustice to Mr. Collins--therefore, I request that the charges against Mr. Collins for the murder of Randall Drew be dismissed and dropped from the calendar court.  The judge, played by none other than Addison Powell, AKA Dr. Eric Lang, says, I have investigated the charges against Quentin very carefully--you will notice that I have not asked the prosecutor to be present here.  We have noticed, says Desmond.  The reason I did that, says the judge, is because there is no reason for it--I see no conclusive evidence pointing to a link between Mr. Collins and the murder of Mr. Drew--I hereby dismiss all charges--the case will not come to trial.  A relieved, smiling Quentin rises from his seat--thank you, he says.  The judge bangs his gavel.  We appreciate your wisdom, sir, says Desmond.  Quentin puts an arm around his cousin--I can't believe I'm free, he says.  You are not completely free as yet, warns the judge--Mr. Trask, you may enter, if you please.  Trask comes in and hands some depositions to Judge Wiley.  What depositions, your honor? asks Desmond as the judge shuffles through the papers.  Trask responds: Depositions testifying that Quentin Collins is a warlock.  This is a court of law, says Desmond as Quentin reacts with uncertainty to this accusation--a man may not be indicted for being a witch under the law in 1840.  The judge bangs his gavel, calling for silence--"I have not given the counsel permission to speak--I am going to peruse these documents in my chamber--court is adjourned until three o'clock!"  But you must explain, sir, insists Desmond.  I need explain nothing until I have perused the documents, insists the judge.  He leaves the bench.  But there is no law! protests Desmond.  Is your client above the law? asks Trask--because he is in league with the devil?

Tears runs down Daphne's cheeks as she stands before Quentin's cell--I can't believe they're going to bring up this charge? she cries.  Quentin takes her face in gentle hands--somehow, he assures her, we will get together. We have to! she says, drying her eyes.  We will, he vows.  Desmond enters--it's nearly time, he says.  Did you find anything in the lawbooks? asks Quentin.  Not a thing, says Desmond--I have no idea what Trask is up to.

Courtroom - Judge Wiley, have you read the depositions? asks Trask.  "I have," replies the judge.  All brought to you by a private citizen as prescribed by law, says Trask.  What law? demands Quentin, approaching the bench.  "Order in the court!" cries the judge.  Desmond joins them--Judge, he says, my client is only seeking his legal rights--he wants to know by what authority and action he is being held.  "I am not considering holding your client," says Judge Wiley, "I have no choice but to hold him."  Trask grins triumphantly at Quentin.  Judge Wiley continues, "Under the power vested in me according to the laws of this state, number 119 dated 23rd of April, 1696..."  There is no such law! interrupts Desmond, Maine was not a state then!  "Counselor," says the judge, banging his gavel, "I do not need you to tell me the laws of this state that I am honor-bound to withhold--the articles of our statehood specify that we keep those laws engendered upon us when we were a part of the royal colony of Massachusetts--therefore, in accordance with law 119, dated 23 April, 1696, a citizen can be charged with witchcraft if there are depositions from six citizens claiming from personal experience acts of witchcraft and naming the perpetrator of said evil--therefore, Quentin Collins, I hereby, by the power invested in me, charge you with the infamous practices of witchcraft."   "No," mutters Quentin.  Judge Wiley continues, "I order you to be held without bail or bond in the county jail--until such time as you come to a trial, under a special tribunal of three judges chosen specifically according to his law--upon completion of this trial, if you are found guilty, your punishment will be death in the manner prescribed by the law--beheading."

NOTES:  Is DS playing fast and loose with 19th century law?  Is all this true, or just a figment of the writers' imagination?  I would assume the latter.  I know a lot of people have been insisting that no one can be tried for witchcraft in 1840, but somehow, they've accused Quentin, and one has to wonder if it has any basis in fact.

I just want to murder Trask!  He's such an idiot, misguided and stupid.  When he overhears Daphne and Desmond discussing Gerard's possible part in all this, does he even consider for one moment that it might be true?  No, because he wouldn't want to admit to being duped, the narrow-minded fool.

Quite a pretty wedding for Daphne in her dream, huh, all those candles and white lace?  Given that he heads up a coven, would Gerard actually want a traditional wedding with one of his members?  What would Edith think of that?

Now Trask has what he wants, as does Gerard.  The fact that the latter refused to go public with his agreement with Trask's accusations of witchcraft on Quentin should also have alerted Lamar, but didn't.  There are none so blind as those who will not see, I guess.

We're really having fun, aren't we?

Love, Robin

No, but honestly, I think its Gozer from Ghostbusters.

No, it's really Zul.  Let's show this prehistoric bitch how we do things downdown!

Love, Robin

1154_1155 - Randall closes the box holding the mask.  Edith has joined him in Gerard's room.  Where is Gerard? She asks--and what are you doing here?  What are you doing here? counters Randall.  Hesitantly, Edith says, I came to give Gerard a message from Gabriel.  You're a very modern woman, smirks Randall, coming to a man's bedroom, even to deliver a message from your husband.  Someone has to--he can't walk, replies Edith.  Aren't you feeling a little sorry for yourself? he asks--are Gerard and Gabriel friends?  Yes, in a way, she says.  How well do they know each other? asks Randall.  Well enough, she says.  Do you know Gerard better? he asks.  Stop cross-examining me, she demands, I have done nothing wrong in coming here--you never said what YOU were doing here--that's really what I'd like to know--and I'm sure Gerard would like to know, also.  Curiosity, that's all, says Randall -I wouldn't be a very good lawyer if I weren't curious.  What do you have to be curious about Gerard for? she asks--he hasn't done anything.  Hasn't he? asks Randall--how did my sister Roxanne feel about him?  I don't know, says Edith, she hardly knew him.  How well does Gerard know Quentin? asks Randall.  Everyone knows they're best of friends, says Edith--why?  Best of friends?--I see, says Randall.  Would you prefer that they be enemies? asks Edith.  Randall excuses himself.  Where are you going? asks Edith.  Collinwood, he says--shall I tell your husband you haven't been able to deliver his message?  There's no need to tell him anything, says Edith, I'll be back soon.  Would you prefer we kept this meeting a secret? he asks.  Would you? she counters.  For the moment, he says.  I don't tell Gerard about you. she says.  And I don't tell anyone about you, he finishes with a crooked grin--that might be best, I think.  He leaves.  Edith nervously touches her hand to her mouth and sits on Gerard's bed, removing her shawl, looking around.

Collinwood - Gabriel impatiently calls to the absent Edith, receiving no response--where in blazes is she?  A man walks into the house without knocking and rudely asks, where is your brother?  Manners, Mr. Grimes, insists Gabriel--when you come here, you use manners!  Is he home? demands Grimes.  Address me properly, I'll tell you then, says Gabriel.  Mr. Collins, says Grimes, his hate obvious.  That will suffice, says Gabriel, my name is all I wanted to hear--my brother is not at home.  Then I'll go straight to the constable, says Grimes.  Is this a serious matter? asks Gabriel.  I don't believe in calling in the constable except as a last resort, says Grime--a thing should be settled man to man.  That's a remarkably primitive point of view, opines Gabriel, Quentin should be back quite shortly.  Where is he? asks Grimes.  I don't know, his comings and goings have been most mysterious, says Gabriel.  With good reason, says Grimes.  Push me in, says Gabriel.  Grimes turns the chair and wheels Gabriel into the drawing room.  How are things at the Weatherby farm? asks Gabriel.  They've been better, replies Grimes.  Don't tell me you've finally decided to sell your property to us? asks Gabriel.  I wouldn't do that, insists Grimes, I told your brother that a hundred times--I won't be forced off the land my father left me no matter what you do!  Are we "doing" things again? asks Gabriel.  You know, says Grimes.  No I don't know, says Gabriel, as far as I know, you are giving US trouble--your cows broke through the fence on the south 40 yesterday.  They're all dead now, says Grimes.  Well, says Gabriel, that's a very drastic punishment, isn't it--but you've always been a stern disciplinarian, haven't you?  Grimes, upset, says all your fancy words won't cover up what's going on here.  If only they would, we'd be most happy, says Gabriel.  I know, says Grimes--the whole town knows what's happening in this house.  Quentin enters--Mr. Grimes, what is happening in this house? he asks.Witchcraft, says Grimes--Mr. Collins, my herd was killed by witchcraft, and I hold you responsible for it!  Gabriel smiles.

So I'm practicing witchcraft, says Quentin--and who have you been talking to--Lamar Trask?  Not just Trask, says Grimes, the whole town is talking about it--they know you've always wanted my farm.  I've made it no secret, says Quentin, and I would still like to buy your farm, not steal it.  Gabriel, grinning, says, you're right, you could have put a spell on him very easily.  So, you admit it, says Grimes.  Don't be a fool, orders Quentin, giving Gabriel a dirty look.  Quentin pushes Gabriel's wheelchair out, calling him "dear brother," and something else that was drowned out by the thunder.  Gladly, Gabriel answers.  The vet said there was nothing wrong with my herd, says Grimes, but they all died--you told me to keep them on my own property or you'd have to do something and you did it!  I had nothing to do with the death of your cattle, says Quentin.  What about the killing of Lorna Bell? asks Grimes--the weird things that have been happening around here lately, why your own sister in law... GET OUT! orders Quentin.  I see the evil in you, says Grimes, high and mighty just because you're a Collins...  Grimes! says Quentin, I said get out!  Leaving here won't stop me thinking the way I do, insists Grimes.  No one can make you do that, says Quentin, but if I were you, I'd watch what I said to anyone else--or you might be sorry, Mr. Grimes.  Quentin mockingly holds up his "magic" ring, scaring Grimes, who cries, don't touch me--I don't want the devil's hand on me!  Grimes hurries from the house.  The devil's hand, Gabriel giggles girlishly--that's very flattering.  It's not funny, says Quentin.  You've lost your sense of humor, says Gabriel, and I think you will.  He laughs.  Quentin angrily goes upstairs.

Woods - Grimes, heading for home, stops and looks around nervously.  Someone approaches him (we see men's boots).  Collins! he yells, come out and fight me like a man--I'm ready for you--you may be a warlock, but you can be killed like anyone else.  Drawing a pistol, he fires a shot; the figure retreats.  Randall meets up with Grimes, who claims, Quentin Collins is after me--help me catch him!  Randall follows Grimes through the woods.  They find a paper stuck into a tree with a dagger.It's the devil's mark, says Grimes, removing the paper from the tree.  What are you talking about? asks Randall.  It's the same sign Quentin wears on that ring of his, replies Grimes--the same sign on Lorna Bell when they discovered her body--he left it as a warning for me--witchcraft--he took my herd by witchcraft, and he knows I'm going to the police, and he's trying to scare me off, but I won't be scared!  Are you sure it was Quentin? demands Randall.  Of course, there was some bushes between us, but it was him, insists Grimes, I'd know him anywhere--get that sister of yours out of that house and away from Quentin---before she ends up like Roxanne.  Grimes, says Randall, I want you to tell me everything you can about Quentin Collins and witchcraft.

Rose Cottage - Gerard, grinning, enters his room and turns on a lamp.  Edith closes the door--where have you been? she asks.  Never mind, he says, warming his hands by the fire.  I've been waiting here for you such a long time, she says.  I've merely been amusing myself, he says.  Aren't you going to be nice to me? she simpers, or are you going to be awful like you are sometimes?  He gives her a long, rough kiss, then draws away.  That's what you came for, isn't it? he asks.  I don't know what I came for, she says, all I know is I feel terrible at Collinwood--sometimes I feel like I can't stand it anymore.  You took a very big chance coming up to my room, he warns.  You should be glad I did, says Edith.  Why? he asks.  Nothing, she says--you said you had plans for me--I want to know what they are.  And I want to know what you meant that I should be glad you're up here, he says.  You said you could change my life, she says.  I can, he says, but you must learn the lessons first--the first being that you must tell me everything--you must not keep any secrets from me--tell me what you know.  Randall was here in this room, she says, I caught him--he was at the desk.  The desk? asks Gerard, who finds the box containing the mask on top of the desk--the lock has been forced open, he notes, furious.

What's in the box? asks Edith--why is it so important?  You'll find out very soon, some night, he says.  You're always so mysterious about everything, she says flirtatiously.That even intrigues you more, doesn't it? he asks.  Grinning, she says, be nice to me--I'd do anything for you.  Yes, and there's something I want you to do right now, he says--where did Randall say he was going?  Back to Collinwood, she says.  I want you to go there, he says.  I don't want to, not now, she protests.  Listen to me, he says, I said I want you to go there--now when you arrive, if he's already left, I want you to make sure you tell me everything--also, if he leaves, I want you to find out who he talked to, and if he's arrived before you get there, you know what to do--make sure he doesn't get rid of you.  What are you going to do? she asks.  I'm gong to the village, he says-- there's still a chance he could be at Trask's.  I wish I knew what you were up to, says Edith.  It's very dangerous to know so much, he says, and touches her face.  You frighten me sometimes, she says.  And you even like that, don't you? he asks--we're on the same side, Edith, you just don't realize it yet, but you will very soon--he locks lips with her and sends her on her way--hurry!  She gives him a look before she leaves.  Gerard takes the box and searches for another place to hid it.  He finally finds a spot behind the curtains.

9:30 - Gabriel sits biting his nails.  Edith returns.  Were you out for a midnight stroll? he asks--you're lucky you have legs that can take you anywhere you want to go--where have you been?  The Old House, she says.  Did you go there because of Barnabas Collins? he demands, is he the object of your rather frantic devotion these days?  I won't answer that, she says petulantly, has Randall been here?  Randall?--ah ha, I think Randall is more your type, says Gabriel, I think Barnabas is far too cultivated to be attracted to the likes of you.  Has Randall been here? Edith asks again.  It does interest you, doesn't it? he asks--I'll tell you, my dear lady, I don't know, because I don't sit and clock all the comings and goings at Collinwood.  I'll find out from someone else then, she says.  He grabs her arm--you're an impatient lady, he says--we're going to sit here and have a chat--about why you went to the Old House--if you did.  All right, I did not go to the Old House, she says.  I'm waiting, he says.  For what, the truth? she asks, you won't face it about yourself or anyone else--so why bother with me, Gabriel?  Randall enters, bidding them both good evening--I'm glad the two of you are here--before I go to the police, I'd like to have your explanation of what is happening in this house--he holds up the paper with the witch's symbol on it.

What is that paper? asks Gabriel.  The same mark as Quentin's ring, says Edith.  It was left as a warning for Mordecai Grimes, says Randall.  You're borrowing phrases from Lamar Trask, observes Gabriel, aren't you?  I'm saying what I believe, says Randall.  You've come over to Lamar's way of thinking, says Gabriel, I thought you were a lawyer.  If you had told me what has happened to me since I arrived in Collinsport, I wouldn't have believed it, says Randall--but now I know there was something supernatural about my sister's death--Trask was right about that--and tonight is the final proof--there's more--Desmond's attack, and the recovery when the ascot was removed from the neck of the voodoo doll--Quentin's doll!  Why would Quentin want to harm Desmond? asks Gabriel--they're very good friends.  Not as good as you think, says Randall, let me ask you this--how close is Quentin to Gerard Stiles?  Very close, says Gabriel, but you're going to give Quentin a chance to defend himself, aren't you?  That's why I came over here tonight, says Randall.  He should be back very shortly, says Gabriel.  I have to meet Trask at the park opposite the police station in 20 minutes, says Randall--I can't wait--tell Quentin I was here.  Randall, I admire you, says Gabriel.  I didn't expect that reaction, says Randall.  I admire the way you can step outside your emotions--your family, really--and just put yourself into a situation objectively, even if it means harming your sister, your nephew, your brother in law...  I have no choice, insists Randall, and exits.  Gabriel, says Edith excitedly, if Quentin is arrested...  Don't be happy yet, he warns her, it hasn't happened.  You think it will, don't you? she asks.  I don't want to think about it, he says, plans make me very nervous, and if Quentin goes to jail, I have plans, many plans--but right now I'm thinking about you, and why you were so anxious that Randall was here.  Samantha mentioned that he might come here, says Edith.  Not good enough, says Gabriel--let's have another answer.  There is no other answer, says Edith.  Quentin joins them from the kitchen--I came through the back door, he says.  You have the most phenomenal good luck I've ever seen, says Gabriel, now you have all the time in the world to come up with the proper answers.  Answers for whom? asks Quentin.  The police, says Gabriel--Randall is going to rendezvous in the park with Lamar in town in 20 minutes--and then they're going to the police station.  Randall and Trask? asks Quentin disbelievingly.  Yes, says Gabriel, everybody here thinks my dear brother is a warlock.  It's insanity, proclaims Quentin--when did Randall leave?  Just now, says Gabriel.  Quentin heads for the door.  Keep your temper, brother mine, advises Gabriel--Edith go to bed, we'll continue this discussion tomorrow morning.  I don't want to go to bed, she says.  Through gritted teeth, he shouts, GO TO BED.  She gives him a last look and leaves.

Randall, waiting for Trask, checks his watch.  He hears someone approaching.  You! he says.The person grabs him around the throat and chokes him to death, then thrusts a dagger into the ground next to his body, holding in place another piece of paper with the witch's symbol on it.

NOTES:  Quentin should NOT have teased Grimes with that ring of his; he was feeding the man's fear, and it was a foolish move on his part.

Someone just murdered Randall, who was it?  He seemed amazed, whoever it was.  Can this hurt Quentin further?  And who came after Grimes in the woods?  It seems to point to Quentin all the way, but...

Edith is a slut, obviously, and one who wants everything Gerard can give her.  Right now, he's using her, but you sense she doesn't really mind, since she likes everything he gives her in return. Gabriel knows how loose his wife is, but pairing her with Barnabas is a weird combination.  He seems to think she goes after every man--hard to believe of that elderly lady we see in 1897, isn't it?

Another wonderful performance by Thayer David as Mordecai Grimes.  He takes every character he portrays and turns it into gold.

Loved Gabriel today, he's so caustic, cruel and fun.  Does he love Quentin, hate him, or a combination of both?  He seems to want the worst to happen to him, as does Edith, that harpy wife of his.


1156 - The intro tells us, someone wants to stop the action--someone with STRONG HANDS.

Quentin finds Randall's body in the woods, the witch symbol beside it.  He removes the dagger and looks at the note.So, says Trask, standing over him, this is where your evil had led you!  Quentin looks up at him.

I didn't kill him, insists Quentin, he was lying here like this when I found him.  Randall was coming here to meet me, says Trask, to go to the police about you!  I said I didn't kill him, repeats Quentin.  You came out to stop him, accuses Trask.  Yes, but not by murdering him, says Quentin.  A higher authority than I will judge you, says Trask.  I should know better than to try and talk to you, says Quentin, and turns to leave.  Where are you going? demands Trask.  To get the police, says Quentin.  You really think me naive enough to believe that? asks Trask, holding a gun on him.  Put that away, says Quentin.  We are going to the police, Trask assures him, you and I together.  Not with that gun in your hand, we're not, says Quentin.  Don't try to escape, advises Trask, because I will shoot you, and then it would be quite obvious how guilty you were.

Collinwood - Samantha comes downstairs and enters the drawing room.  Seeing Gabriel, she starts to retreat.  If you're going on my account, please stay, he begs--I'd rather not be alone tonight--is that too much of an admission for you to believe?  Almost, she says, you make it such hell for anyone to be with you--I always try to avoid the rooms you're in.  I usually doesn't mind being alone, he says, but not tonight.  She sits by the fire and works on needlepoint.  Does that give you peace of mind? he asks. Keeps my hands busy, she says.  What about your mind? he asks, what occupies it?--you can't think about Tad 24 hours a day.  You're starting again, she says, rising.  Do you ever think of Quentin, really think? he asks.  Of course, she says.  What do you really think, what? he asks.  Whatever I think is none of your business, she insists.  Oh, but it is, says Gabriel--Mordecai Grimes was here tonight, he accused Quentin of witchcraft, and after he left, your brother Randall came--what do you think of that?  She just looks at him.  Someone knocks at the door.  Who that can be? she wonders.  It's Trask--Samantha, prepare yourself, he says--another tragedy has struck one you love--I know of no way to make this news easier to bear--Quentin has killed your brother Randall.  Samantha is stunned.

Randall is dead? sobs Samantha, oh, no!  She sinks into a chair, crying.  How do you know that Quentin did it? demands Gabriel, I don't believe you, Trask, I think this is just a product of your diseased, filthy mind.  There is no doubt of Quentin's guilt, says Trask, I found him kneeling beside the body.  How did he die? asks Samantha.  The official cause of death is strangulation, reports Trask.  Samantha bursts into fresh sobs--why did it have to happen?  Because Randall knew the truth about Quentin, says Trask, he was going to help me put a stop to this witchcraft forever!  First Roxanne, now Randall, cries Samantha.  I feel as deeply as you do, Trask assures heres.  Your brother...your brother! says Sam.  Do you really think Quentin did this? asks Gabriel.  Randall never had a life, she says, never had a woman of his own because of Quentin--now he'll never have a home or a son--it's all over!--I must go to him, she says.  Trask talks her out of it--the body is at the coroner's, it's not wise to go there. I want to see for myself, she says.  Please accept my word, he begs.  We were so happy growing up together, laments Samantha, now I'm the only one left--what gods are against us?  The devil is against you, says Trask, and I say that with great sorrow--the devil!

Are you going to arrest me? Quentin asks the constable, calling him Jim.  Did you do it? demands Jim.  Of course not, insists Quentin, you have to have a motive for murder--I'm sure Trask gave you one.  Randall Drew was very upset about Roxanne's death, I believe, says the Constable.  Because he didn't understand the circumstances under which he died, explains Quentin.  Neither did anyone else in the village, says the constable--do you know what caused her death?  Why do you ask me that? inquires Quentin--I'll tell you why you asked me that, because there's one word everyone's afraid to mention in this place--witchcraft--Grimes was here to visit you, wasn't he, and I know what he says--he thinks I destroyed his cattle--it's a lie--he's had a grudge against me for years.  Randall Drew was supposedly coming here with proof of those accusations, says the constable.  How do you know that? asks Quentin.  Lamar Trask said so in his statement, explains Jim.  How does he know that, how does anyone know that? demands Quentin.  The charge is murder, says the constable.  Are you going to charge me with murder? asks Quentin.  Was there any bad feeling between you and your brother in law? asks Jim.  None at all, says Quentin--if Trask hadn't found me there, I would have been right here to report Randall's death--then you never would have suspected me.  If I let you go back to Collinwood, will you give me your word you won't leave there? asks Jim.  Of course, says Quentin.  There will be an investigation, warns the constable.  I want an investigation, Quentin assures him.  It will begin tonight, says the constable.  Jim, asks Quentin, you've known me my whole life--do you really think I'm practicing witchcraft?  Jim's body language suggests he isn't sure.  Come on, says Quentin, be sensible about this--this is 1840--the witch-hunt was over 40 years ago.  Maybe the trials, agrees Jim, but the people never believed the practices stopped--there's always been talk about it--and now with everything going on here, folks are scared--they're believing everything that happens to them is caused by witchcraft--fear is spreading through this town like wildfire--I just hope it doesn't get out of hand.

Collinwood - Trask drops a hand to Samantha's shoulders and offers to order some tea for her--I've always felt it great help in times like this.  She thanks him.  He closes the doors behind him and enters the foyer--go in to her, Gabriel, urges Trask--she shouldn't be alone.  I'm not very good at comforting people, says Gabriel.  The woman suffered two such losses in such a short time, Trask reminds him.  I think you're one of those peculiar emotional vultures who likes to fly around looking for a disaster, then swoops down, accuses Gabriel--shouldn't you be out there trying to claim the body of poor Randall?  They hear horses outside.  They're bringing him home, guesses Gabriel.  Perhaps it's the constable, suggests Lamar.  Or perhaps it's Quentin, says Gabriel nastily--I don't think he'd like it very much if you were here.  Trask decides to go wait in the study.  Quentin enters.  Big brother's in trouble, says Gabriel--how much trouble?  I can handle it, Quentin assures him.  Do you believe that or are you just saying it? asks Gabriel.  I've got to find out who did it, and quickly, says Quentin.  Samantha enters.  Quentin--why did you kill him--why? she asks.

Quentin doesn't reply.  What are you doing here? demands Samantha--why didn't they lock you up?  She retreats back into the drawing room.  Excuse me, Gabriel, he says, I want to speak to my lovely wife alone.  He closes the doors.  What am I going to tell Tad? she asks Quentin.  That's I'm innocent, he insists.  Another lie! she cries.  You really believe I did it, is that it? he asks.  I know you and your temper, she says, you knew Randall was going to the police about you!  You'd be happy to see me with a noose around my neck wouldn't you? asks Quentin--you've hated me ever since I wouldn't let you take Tad with you--all this is going to make you very glad!  How could I be glad? she demands--my brother is dead!  I grieve for him, too, says Quentin, although you find that very difficult to believe.  Why should I? she asks, you've never shown a human emotion in your life--no pity, no love, only that mind of yours, crude, guilty, only interested in things it shouldn't be interested in!  So I'm guilty of witchcraft, is that it, my dear? He asks.  I pleaded with you to give up the occult, she says, begged you to stop reading those books, stay away from that lab, I knew it would come to this.  It hasn't ended yet, he reminds her.  And it won't be ending now, she says, my son--of course, he'll grow up with the fact that his father...IF I am his father, dear, he says sarcastically--don't you think it's about time to tell me whom you meant when you said I wasn't his father, if I'm to be such an embarrassment to him?  How callous and cruel you are, she says.  You've used those words for me, he says, don't you think it was cruel and callous to tell me I wasn't Tad's father?--you accuse me just like Trask does, but believe me, if I'm callous, we are evenly matched.  He walks out on her, upstairs.

11:40 - Collinwood - Constable Ward asks Gabriel, did Randall speak with you earlier this evening?  And my wife, Edith, yes, says Gabriel.  What was the purpose of his visit? asks Jim.  Merely paying a visit, seeing his sister, says Gabriel.  So it was a social visit? asks Jim.  Yes, agrees Gabriel.  Your brother Quentin told me that you said he was on his way to the police, reveals the cop--Randall's reasons for going to the police must have been mentioned.  Yes, says Gabriel--Randall thought the police weren't concerned enough about the animal attacks in the woods.  So, says the constable, he was coming to see us at midnight to censure us?  That was very much like Randall, yes, says Gabriel.  And completely untrue! says the constable, he's been in town for quite a few days and we haven't heard from him--you're lying to protect your brother, aren't you?  Quentin can protect himself! says Gabriel.  Then why do you bother? asks Jim--I think I'll have a talk with Mr. Trask before I see you again--but I will see you again.  Gabriel smiles after the constable leaves.

Collinwood - Samantha looks out the window.  Trask enters--I don't think I should leave until the constable makes his decision, he says.  Where is the constable now? asks Samantha.  He just left Gabriel and has gone up to see Quentin, says Trask.  What am I going to do when he comes down? she asks.  Whatever your conscience dictates, my dear, says Trask.  My son...says Samantha.  Trask reminds her, it would be worse for him to grow up in this atmosphere of evil--when I think of the heinous practices that have gone on in this house!  Please, Lamar, she begs.  Painful as it is, says Trask, you must protect your son from his own father.  I must, she agrees, I never really believed Quentin's interest in the black arts was anything more than a foolish eccentricity, but I must now--I do!  You have just made the most important choice of your life, says Lamar--you have crossed the river of indecision and joined those on the other side that would be saved!  Sam smiles proudly.

I loved Quentin once, I really did, says Sam.  Your love could not save him, says Trask, but you must remember that you tried.  She nods.  The constable enters--may I see you alone? he asks Sam. Trask leaves.  I'm sorry for your difficult time, says Jim.  Thank you for being so understanding, she says.  Were your brother and Quentin friends? he asks.  Yes, she says, but not close.  Was there long-standing enmity between them? asks Jim.  No, she says.  Are you sure? he asks--I'm sorry for bringing this up--some years ago, your brother was friends with a Miss Mills.  Yes, says Sam testily, I do remember that, but what does it have to do with this?  There were rumors that your brother left Collinsport because of a disagreement with Miss Mills--one in which your husband was the central figure.  Do I have to go through this? asks Sam.  Yes, says the constable--were your brother and Quentin friends after your brother returned?  Yes, says Sam impatiently, yes!  Did your brother ever hint to you that he suspected your husband of witchcraft? asks Jim.  No, says Sam, Randall would never have done that without proof--oh why did I not stay here this evening?--this never would have happened, none of it--Randall would have come to me and this never would have happened, never!  She sits and leans her head on her hand, miserable.

Study - Trask asks Gabriel, do you believe Quentin guilty?  No, says Gabriel.  But do you believe him? asks Trask.  I don't have to answer to you, insists Gabriel.  Do you prefer to go on living here surrounded by his madness and evil--how long do you think you would be spared?--you're in danger even now, living in the house with a murderer! says Trask.  Quentin would never harm me! says Gabriel angrily.  Are you willing to risk your life on that?--Edith's life? asks Trask.  Look, says Gabriel, he's the only person I've ever felt remotely close to.  That is your greatest danger, says Trask--Quentin will enmesh you in his evil, and you will not even know it until it is too late--think of your children if you will not think of yourself--you must tell the Constable what Quentin said before he rushed out after Randall, or you will be thought a member of his people--are you?--are you already a member of Quentin's coven?  No, replies Gabriel.  You must prove it, insists Trask, and, running into the constable as he's leaving the study, he says, Gabriel would like to describe in greater detail the events of this evening.  Trask stands and listens as Gabriel tells the constable, I don't know how to say this.  Just tell me the truth, instructs the constable.  Randall knew about the witchcraft, says Gabriel--there was a lot of trouble here between Mordecai Grimes and Quentin, who left in a rage after Mordecai accused him of witchcraft--  Quentin left the house, I don't know where he went--Mordecai met Randall in the woods (how does he know this)?  Mordecai swore someone--Quentin--was trying to kill him--we found a note stuck in a tree by a knife, and on the note was the mark of the devil.  Similar to the one found by Randall's body, says Trask.  Go on, encourages the constable.  Randall brought the paper to Edith and me, continues Gabriel, and asked what we knew--we told him nothing--he asked for Quentin, we said Quentin wasn't here; Randall said he couldn't wait and he met Trask.  Randall told me he would investigate Quentin, says Trask, and if he found evidence of witchcraft, he would meet me and we would come to the police.  What happened after Mr. Drew left? asks the constable.  Quentin came in, says Gabriel--I told him of Randall's visit and his plan to go to the police.  Go on, man, go on, says Trask.  There was a look on Quentin's face, says Gabriel, a look that said he knew what he was going to do, and he said, "I will stop him"--and then he left.  Were those his exact words? asks the Constable.  You don't know how much I wish they weren't, says Gabriel in a low voice.  The constable leaves the study.  Trask smiles down at Gabriel.

Quentin is having a drink in the drawing room.  The constable enters.  Quentin anxiously asks, have you questioned everybody?  I have, says the Constable--there's nothing I can do--you are under arrest--for murder.Quentin looks resigned, as if he knew this was going to happen.

NOTES:  Gabriel isn't exactly telling the truth, plus he's talking of events he couldn't possibly have witnessed.  Something just isn't right here.

Gerard has managed to get Quentin arrested by killing Lorna, Grimes' cattle, and perhaps even Randall. That last one's a mystery, but we can be pretty sure that Quentin is innocent and someone else is guilty.

Where is Jonathan Frid here?  Is this when he was negotiating to get out of playing Barnabas and taking on another role in DS?

Samantha really did seem to once love Quentin, once, but something happened to derail that.  She didn't want to implicate him in this witchcraft business, but her hatred overpowered everything else.  Trask is too damn persuasive.  Gabriel, too, hates his brother, that's very apparent now, and he wants him out of the way so he can have the inheritance.

Love, Robin

1150 - Roxanne implores her brother to let her get into her coffin, but Randall says he cannot--this is the only way she will find peace.  Sobbing, Roxanne begs him to let her get to her coffin, but he says he can't until the sun comes up--and it's all over.  Let me live, I don't want to die, she cries, not like this, oh, please don't do this to me!  I must, he says, it's the only thing I can do, after what I've seen here tonight, I can't let you go on the way you are!  I'm not responsible for what I've become, she wails, Randall, I can't help myself!  He asks her who is responsible for making you this way, tell me! he says.  There's no time, she says, please, don't put me through this torture!  I must, he insists, I must, there's an innocent woman dying in Rose Cottage, the only way to save her...  "Randall, I'm your own sister!" screams Roxanne--"Can't you have mercy on me?"  Stricken at her words, his hand holding the cross drops.  Feeling his capitulation, a satisfied smirk comes over her face as she turns to face him.  Realizing how evil she is, he again holds up the cross, ordering her to stay away from him.  Roxanne screams and turns away.  You're not human anymore--you're not Roxanne! says Randall--you're not!  The sun begins to shine through the window.  Roxanne covers that side of her face.  "The sun is rising!" she cries, oh, I beg you please have mercy on me--oh, ohhhhh!  Oh, Barnabas, Barnabas, I need you--you're the only one who can help me now!  Barnabas!"Her body is filled with light, and as she continues to cry out Barnabas' name, screaming in pain, she disappears before Randall's eyes, leaving nothing at all behind.

Julia, lying in a bed at Rose Cottage, awakens and touches her throat.  It's over, she says, she's dead--Roxanne is dead!

Randall stands staring down at the spot where his sister writhed in agony, then kneels and places the cross in that place.  

Collinwood - Daphne reads her sister's letter, which says, "I used to be so jealous of you, now I want you to have your chance--but make a wiser choice than me, please, do not follow me--do not follow my path."  Quentin enters and she smiles and goes to him.  He just got word that Julia's at Rose Cottage.  Is that where she's been since she disappeared? asks Daphne.  No, says Quentin, she was taken there last night--the victim of another attack.  Is she all right? asks Daphne.  He explains that he was going to Rose Cottage to get Julia--would Daphne like to come along?  No, she says, turning away, I have to stay here.  But why? he says, you don't have to be with the children for a good while yet.  I know that, says Daphne, but--I've been reading this (holds out the letter) again, trying to figure out how it got into this house--what's happening to us?He tells her reading the note over and over won't help.  What will? she asks.  Quentin doesn't know.  Daphne feels her sister's spirit is restless and will remain so as long as she stays in this house.  Quentin asks if she's trying to tell him she wants to leave him.  I don't want to leave you, she assures him, I'd never want to, I've only just found you!  And she goes into his arms--but I'm so frightened, I don't know what to do she admits.  Holding her close, he assures her it's all right--just do nothing--I want you to wait until I get back from Rose Cottage, we'll try to settle matters then.  How? she asks.  He takes her face in his hands, telling her he doesn't know the answers anymore than she does--but they've just got to resolve this together.  Quentin, she says, will there ever be an answer for the two of us?  He kisses her, a nice wet one, then runs his lips seductively over her cheek.  He promises he'll be back ASAP--she'll be all right?  She nods.  He goes.

Old House - Randall enters, calling to Barnabas.  Trask has been locked in the basement; seeing Randall, he orders him, "Get me out of here!"  Randall tells Trask the door is locked.  Trask explains that Barnabas locked him in there, then left, and he doesn't know where he went.  You must tell me what's happened, says Trask--a little while ago a change came over me.  You are no longer under Roxanne's control, says Randall--she's dead.  You destroyed her? asks Trask.  I had to, says Randall, his voice tortured, don't you understand?  Yes, of course, says Trask, may the poor child rest in peace now--and may we discover the heretic that caused her to be that way.  Randall says he doesn't understand why Barnabas felt it necessary to lock him in here and then leave--why couldn't he just stay until it was all over?  Trask doesn't know, but insists Randall must free him now--he can't spend another moment down in that basement, he feels the presence of evil down there!  There's no key, says Randall, he probably took it with him.  Break the lock, says Trask.  I can't, objects Randall, the door is solid iron--someone at Collinwood must have a key, he'll go there and return as soon as he can.  Randall! calls Trask through the bars, please hurry!  Trask heads downstairs, back to the basement.  He sits down on a stair, but suddenly hears the sound of chains rattling.  Who's there, who is it? he asks.  He hears the chain again.  Take warning, whoever you are, he says, you are dealing with a man of God--I'm not afraid.  More sounds of chains.  Trask looks around, and moves toward the bricked up wall behind which his father's bones hang.  That's where the sound of chains is issuing from, he realizes.

Quentin brings a weak Julia back to Collinwood and offers her tea or brandy.  No, I'm fine, she assures him.  He sits beside her, asking about something that's been bothering him--according to Flora's note, she was pretty near death--how does she account for this incredible recovery?  I don't know, she says, I'm just glad I'm alive.  So am I, he says--at least you may be able to help us now that you know what it is, you might be able to end these attacks.  I know. . .what? asks Julia.  What attacked you, he says.  Julia doesn't know, actually.  How is that possible, he says, you must have seen.  It all happened so quickly, says Julia, I lost consciousness almost immediately.  He looks at her speculatively, as if she's lying.  Randall enters and asks Julia how she's feeling.  Weak, but I'll be all right, she says.  You know it's all over now, says Randall.  Yes, says Julia.  What's all over, demands Quentin--Randall, what do you know about this?  Randall asks Julia if she's told him.  I thought it best not to tell anyone, she replies.  Listen to me, insists Quentin, one of you tell me what's going on.Julia was attacked by a vampire, says Randall, and the vampire was Roxanne.  Quentin is stunned.

Randall explains to Quentin and Julia that Barnabas left the crypt with Trask, and he waited for Roxanne--when she arrived, he prevented her from reaching the coffin.  Julia says then it was the light of day that destroyed her.  Yes, says Randall, remembering, and takes a stiff gulp of his brandy.  Roxanne a vampire, killing people like that, says Quentin--someone had to make her do that--someone is responsible!  Yes, agrees Randall, and whoever it is is still at large--do you have any idea where Barnabas is? he asks Julia.  No, she says, I saw him last with you, leaving Rose Cottage--why?  He took Trask back to the Old House, says Randall, and locked him in the cellar--to keep him away from Roxanne--Trask was also her victim--I understand Barnabas feeling it necessary to lock him in the cellar, but then he went away and left him there all day--why?  Julia says he probably thought it a good idea.  But he knew when the dawn came, the spell would be broken, says Randall, Roxanne would be dead--I just don't understand why Barnabas couldn't stay there until it was over.  I don't know, says Julia, but why don't we go get Trask out of the cellar now?  That's what I came here for--Quentin, do you have an extra set of keys to the Old House.  No, says Julia, Barnabas gave me the only extra key--I'll go with you and open the cellar.  Quentin advises her to stay here--she's still pretty weak.  I'm all right, Julia assures him, besides, if Barnabas is back, I'd like to talk to him.  All right, says Quentin, if you think so--he asks Randall who else knows about Roxanne.  Only Flora and Trask, says Randall, why?  I don't think anyone else ought to be told, says Quentin, especially Samantha.  Julia listens.  Yes, agrees Randall, I don't think Samantha should ever know--Julia, whenever you're ready.  She goes with him.

Trask listens to the clanking chains behind the basement wall.  He hears someone moaning, and thinks he might be imagining this.  He presses his ear to the bricks.  No, my ears are not deceiving me, he says--I'm in command of my faculties, I know what I'm hearing--who is behind this wall?  Answer me!

Quentin closes the drawing room doors.  So Julia doesn't know what attacked her, either, Daphne asks him.  No, he says, sitting on the sofa beside her, but apparently she feels well enough to walk around--let's hope she has time to think things over and she may be able to help us.  I hope she does, says Daphne.Quentin starts to put an arm around Daphne and is caressing her face, touching her intimately.  She tells him she's had time to think things over very carefully and she's reached a conclusion.  She rises from the sofa and tells him she only feels they will have peace of mind if she leaves Collinwood.  No, he protests, absolutely no, out of the question.  My staying here is only making matters worse for both of us, she insists.  Listen to me, he says, caressing her hair and face, if you go anywhere, believe me, I'll follow you.  No, she says, you've got to stay here--your place is here, in this house!  He wraps his arms around her and begins kissing her cheek.  Believe me, my place is with you, he murmurs.  She closes her eyes, wanting him.  I know that now, he says, and I feel it deeper than anything I've ever felt in my life.  She draws away from him--Quentin, don't you see, it's wrong for me to stay here--that's what Joanna was trying to tell me in her note.  Joanna didn't write those notes, he says, I think someone alive did, and for a reason we cannot understand.  How can we possibly find out? she asks.  Perhaps Joanna can help us, suggests Quentin.  She's dead, says Daphne.  Maybe she can help us--if we reach her, says Quentin.  Daphne doesn't understand.  Quentin says they can try to communicate with her the only way you can reach the dead--you and I are going to conduct a seance tonight.

Still hearing moaning and clanking, Trask runs his hands over the brick wall.  He hears a key turning in the lock upstairs, and Randall comes down, apologizing for taking so long.  Julia comes down, too.  Randall asks Trask if something is wrong.  Very wrong indeed, says Trask, pointing to the wall--there is someone behind that wall!

What are you talking about? Randall demands.  Julia assures Trask he's wrong--that's part of the basic construction of this house.  I tell you, I heard noises coming from behind that wall--first the rattling of chains, then a low, painful moaning.  I don't hear anything, do you, Randall? Asks Julia.  Nothing, says Randall.  Trask says he doesn't hear it now, either, it stopped when they came downstairs, but he knows what he heard, and he's telling them if they tear down that wall...  This is an old house, warns Julia, it might be very dangerous to tamper with that wall.  Is there some reason you don't want us to look behind that wall, Miss Collins? he asks--you know what's behind that wall?  Don't be absurd, she says coldly.  This is no time for you two to start arguing, says Randall, besides, we have more important things to tend to.  Nothing seems more important to me, says Trask, than the strange goings-on in this house.In that I'm in total agreement with you, says Randall.  Julia doesn't understand what Randall means, but he explains that her brother has a lot of questions to answer for him--he finds his behavior in this entire matter very strange indeed.  Julia doesn't know what he's talking about.  I mean Barnabas knows more about the knowledge of vampires than he is willing to let on, says Randall--he took one look at Trask here and knew he'd been Roxanne's victim--he knew if we followed Lamar, he would lead them to Roxanne, and he knew exactly what to do to put Roxanne to rest.  I'm sorry, says Julia, but I don't find that in the least suspicious--by your reasoning, if a man puts put a fire, he's guilty because he knew how to put it out.  There's one more thing, says Randall--just before Roxanne died, she cried out for Barnabas, saying he was the only person who could help her in that moment--what did she mean by it?  She was under his spell, accuses Trask, I told you that before--I knew it from the night she was stricken.  Roxanne and my brother were in love with each other, says Julia, it is not unusual, when you are dying, to cry out for the person you love.  I do not believe she was in love with him! insists Trask--I agree with you, Randall, there is something deeper and far more serious to Roxanne's dying words.  Perhaps your explanation is valid, says Randall, and then again, maybe not--I know I won't be satisfied until I have some answers to my questions from Barnabas Collins--he still has a lot to answer.  Julia doesn't reply, and they all exit the basement.

Daphne and Quentin have set up the drawing room for a seance.  A red candle stands on the table.  He asks her if she's frightened.  She says she's not, but she doesn't think they should try to disturb the dead.  Sometimes the dead are already disturbed, he points out, and it takes the living to put them at peace.  They sit at the table across from each other, and he says they must touch hands and maintain contact throughout.  She understands.  Quentin calls out to seek the spirit of one known to each of them, one they have each loved in their own way--we beseech the spirit of Joanna Mills to appear to us, to communicate through one of them, so we may put an end to the troubles that have afflicted all of our lives--please, Joanna Mills, appear to us, or gives us a sign!  Thunder booms outside.  Quentin looks over his shoulder, grinning.  Joanna, you've heard us! he cries--please help us put an end to the mystery that has burdened all of our lives!--appear to us and speak to us--speak to us.The drawing room doors blow open, and a hooded figure stands there.  Daphne's eyes widen.

NOTES:  RIP Roxanne.  That was always a heartrending scene to me.  She wanted to survive so desperately, and begged her brother to give her the chance--but he couldn't, and that had to hurt him.  To be forced to kill a sibling is a sad thing.

Barnabas is in trouble now; Randall is determined to interrogate him, and Trask is already suspicious of him.  Julia might not be able to protect him from this.

Who did Quentin and Daphne conjure up there?  Is it Joanna or someone else?

Is Trask going to find out what happened to his daddy?  Was Reverend Trask trying to get his attention and let him know that Barnabas buried him in the cellar behind that wall?

Quentin is a very seductive man, and he really wants to touch Daphne all over--but she's more cautious, as she should be.  Her situation with Quentin won't be any different from what went down with Joanne--Samantha will not free him from their marriage.


1151 - Joanna? Cries Daphne.  Quentin bolts from his chair toward the figure, but Daphne tells him not to.  I've got to, he says, but the figure is gone, only a wind left in her wake.  Although Daphne protests, Quentin goes outside to look, and wants to try to contact Joanna again.  No, says Daphne, she doesn't want them to--she knows because she would have stayed.  Why didn't she speak to us? wonders Quentin.  Daphne takes his hands and says she came, isn't that enough--doesn't that tell them what they want to know--she feels all cold inside, as if she were dead, too.  Quentin pulls her into his embrace, but she pulls away, saying she knows now.  He caresses her face.  I know that I love you, he says--and you love me.  Yes, she says, I love you, but I can't stay in this house--Joanna will never be at peace as long as I'm here.  You're wrong, says Quentin, do you think she wants us to be miserable--is she so vindictive, she wants neither of us to ever be happy again?  Together, yes, says Daphne, I believe that.  You're wrong, he insists, I need you--you're the only person in this house I can trust--and he kisses her, hugs her.  Oh, Quentin, no! she cries.  He warns her that if she leaves, he'll follow her, she knows that.  He stands behind her, his hands on her, as well as his lips.  Quentin, Joanna! She reminds him.  Somehow, he vows, we'll find her the peace she deserves--believe me.  How? she asks.  I don't know, he says, his lips on her cheek, but I'll find a way--just tell me you're going to stay, please, tell me?  He caresses her hair.  She moves away from him and asks that he promise her they won't see each other alone.  He turns to look at her and asks if she really wants that.  No, she says, but I can't bear thinking that when we're together, we've drawn Joanna from her grave--now you have to promise me that or I can't stay.  He goes over to her, touches her face, and says all right--but it's going to be very difficult.  For both of us, she agrees.

Rose Cottage - Desmond searches for Judah Zachary's journal in Gerard's room--he knew he had it!  Gerard catches him with the journal and asks what he has there.  The journal I asked you about, says Desmond, the diary you said you'd never seen.  Gerard turns on the lamp and says he found it the other night on the table down in the hall--he was just returning from Roxsbury, on business there, and was meaning to ask Desmond about it.Flora accepts that kind of excuse, says Desmond, I don't.  I'm afraid you'll have to, says Gerard.  We'll see, says Desmond.  Are you threatening me again? asks Gerard, asking me to leave Rose Cottage.  This time I intend to do more than that, vows Desmond.  I await with incredible anticipation for it, says Gerard.  You won't have long to wait, promises Desmond.  Gerard stops him from leaving, asking if he might finish reading that.  Sorry, says Desmond curtly.  I hate not finishing what I've started, says Gerard.  This time, imagine the rest, advises Desmond, and leaves the room.  Gerard is pissed.

Drawing room, Rose Cottage - Gerard enters and bows to Flora, who is delighted to see him--did he have a nice trip?  Very much, he says--I see you've been writing again--people tell me you've been working rather hard, here by yourself--you must take care or you'll tire yourself out.  She tells him she can't help it, she found such an exciting new subject--vampirism--so much has happened while you've been gone--Roxanne came back from the dead as a vampire--I can't blame you for being shocked--you can imagine how we all felt!--she's at peace now--Barnabas helped Randall find, her, and he put her to rest--poor boy, how awful it must have been!  How did Barnabas get involved? Asks Gerard.  Through Julia, explains Flora--Roxanne attacked her and was keeping her hidden--Barnabas tracked her down--oh, this is going to be my most exciting adventure.  He laughs and says he's sure it will be just brilliant.  He rubs her shoulders, telling her she really should relax more, she puts so much of herself into it--by the way, has she seen Desmond at all?  He was here just a few minutes ago, she says, he put something away over there--she points--and then left--I used to worry about Desmond.  I can imagine, says Gerard.  I'm sure you've noticed the aimlessness of his life, says Flora as Gerard goes searching for the journal.  Yes, he says.  He should have studied law after he got his degree, says Flora.  Gerard says he's sure he could have been quite successful.  He asks if she has a key to this cabinet.  No, isn't it there? she asks.  No, he says, I put one of your books in there--I was re-reading CALL OF THE WILD GOOSE.  Oh, yes, she says, that's one of my better ones--Desmond must have taken the key, how strange--I have another copy upstairs.  She rises to go get it and he tells her to relax--he shall wait for Desmond's return.

Gerard's room - "I know, Gerard," says Trask--you think Quentin Collins has become an obsession with me, that his continued defense of Barnabas incriminates him, too, in the death of Roxanne--Barnabas and Quentin are involved in the ways of witchcraft together, together they do the work of their master, Lucifer, and together they try to destroy us.  Why would they use Roxanne as a vampire? Gerard asks.  To destroy their enemies for them, says Trask--I was one of the first victims--yes, she attacked me!  Barnabas is responsible for her destruction, by Randall? Asks Gerard.  Only because she disobeyed them and attacked Julia Collins, Barnabas' sister, says Trask--but they will seek other ways to try and stop us, so we must strike the first blow, Gerard, a blow against Barnabas and Quentin--but especially Quentin!  Why especially Quentin? asks Gerard.  Remember Lorna Bell? Asks Trask--remember the mark on her forehead?--t was the mark of the devil, remember it?  Gerard appears to have a dizzy spell.  Trask shows him a paper with the symbol from Quentin's ring--think carefully, says Trask, have you ever seen that mark before.  Yes, says Gerard, it's on Quentin's ring.  Exactly! says Trask, he has the arrogance still to wear it--it must have been a gift from the devil himself.  I'm afraid you're wrong, says Gerard--I gave him that ring.  You? asks Trask.  Yes, says Gerard, we were in a little village in Brazil, up the river, and one of the crew members got suddenly ill--Quentin had heard of a witch doctor who could perform miracles, or so Quentin said.  You let him take a Christian soul to a pagan? Asks Trask.  Gerard explains it wasn't his decision--but when the witch doctor was doing his incantations, Quentin mentioned the ring he was wearing--when the ceremony was over, I could see plainly Quentin wanted that ring very much, but was afraid to ask for it--so I bought it for him.  So now Quentin has this symbol of the demon seed! says Trask.  That's ridiculous, insists Gerard--why would Quentin be interested in witchcraft or the devil's worship?  For the same reason Barnabas is--power! says Trask--power over the minds and bodies of this around him--power to destroy their souls, twist their minds to do his bidding--make them tools of Satan, even as they did Roxanne.  I certainly hope you're wrong, says Gerard, because Quentin is a very good friend of mine.  Sooner or later, says Trask, you'll have to drop this schoolboy loyalty--because my case against Quentin becomes more and more clear to me.  He leaves the room.  Gerard grins with satisfaction and opens a box, extracting the same symbol he's used before to perform evil rites.

Quentin asks Desmond why he wants HIM to talk to Flora--why can't he handle his own mother?  Desmond says he needs an outside voice--Flora likes and trusts Quentin.  Desmond pours them both drinks.  What do you want me to tell her? asks Quentin.  Desmond looks unhappy and rises from his chair.  Gerard Stiles must leave this house, insists Desmond.  Are you serious? Asks Quentin.  Desmond says he most certainly is--because Gerard is dangerous and evil.  Do you have reason for saying that? asks Quentin.  I found the diary of Judah Zachary in his room, says Desmond.  Come on, that's not a reason, says Quentin.  He told me he had never seen it, says Desmond, he swore he hadn't, but there it was, in his desk--he gave me some foolish reason that he'd found it there!  Maybe he did, says Quentin, a maid could have taken it into the room.  Why don't you trust me, why do you take his side against me always? asks Desmond.  I'm not taking anyone's side, says Quentin, I just don't want to be part of it--Gerard is my friend.  Quentin, says Desmond, forget him, he'll ruin your life, believe me!Trask enters and asks, "Family quarrel, gentlemen?"  Quentin says if it is, it's no concern of his.  Evil is a most corrupting agent, says Trask.  I've' always wondered what your fine rhetoric is all about, says Quentin, now suppose you give me an answer.  He grabs Trask by his shirt front and swings him around to face him--I said, give me an answer! Demands Quentin.  Trask snarls, "There's evil in your face!"  What are you talking about? asks Quentin.  I shall win out over it! insists Trask, soon everyone shall know what I know!  He frees himself from Quentin's grasp and leaves.

In Gerard's room, the latter asks Quentin why he should apologize--he was the one who found it--he was the one who ought to apologize to me--he came into my room as if I were some common thief!  Yes, says Quentin, I know that, I just want you to try to get along with him--I'd ask you to come back to Collinwood, but...  Samantha, finishes Gerard--there's more trouble with her?  Not only her, says Quentin.  What is it? asks Gerard, have you found more letters?  Yes, says Quentin--and Daphne--I'm in love with her, and she with me.  Gerard smiles.  Well, he says, I envy you--tell me about it.  I'm afraid I can't, says Quentin, really, I shouldn't mention it--I simply came by to tell you to do something about Desmond, before he goes to Flora.  Gerard claps Quentin on the arm and assures him he will.  Quentin leaves his room.  Gerard says to himself, "You always get what I want, don't you, Quentin?--no, Quentin always got what Gerard Stiles wanted--but I am Judah Zachary now--I want her as Judah Zachary once wanted Miranda--and I will have her!"  He takes the circular symbol out and holds it near the flame.  Daphne, says Gerard, Daphne, wherever you will be, you will fall into a very soft sleep--sleep...

Daphne leans back in her chair in the Collinwood drawing room, but continues reading a book.

Don't fight me, intones Gerard, surrender--surrender to me and though you will not remember when you come to me or why you come to me, you will be one step closer to being completely mine!

Daphne falls asleep, leaning her head against the chair.She dreams Gerard enters the drawing room and stands smiling at her.  She goes to him, into his arms.  I mustn't stay, he says.  You must! She insists, caressing his face and hair.  This house is too dangerous for me, he says.  Nothing is dangerous for you when you're with me, she vows.  How about Quentin? he asks her.  Do you think I care about Quentin? she asks, grinning, and kisses him passionately, then holds her.  Whenever you want to see me, he says, you will have to come--you will have to come.  I'll see you always, she says, don't stop me from holding you--and she kisses him again.  He backs away, and tells her to come to him whenever she wants to see him--you'll come--you'll come.  He backs away, Daphne calling his name over and over.  Daphne awakens, rises from the chair, looks around, puzzled, then hastily leaves the house.

Daphne goes to Rose Cottage, where Gerard greets her.  I was expecting you, he says.  How could you be? she asks.  Or shall we say I was hoping you'd come, he says.  She says she doesn't understand why she's here.  Think and you'll remember, he says, you've come to see me, haven't you--well, haven't you?  Yes, she says, but I don't...What is it? he asks her--you don't realize how important I am to you, do you?  You are, she says, shaking her head, and I...  Why are you always fighting me--why? he asks.  He caresses her hair, her face.  She looks at him.  Desmond enters, and, finding them in a rather intimate moment, is furious.  Daphne excuses herself and leaves.  Daphne? asks Desmond, but she is gone.  What are you up to now? demands Desmond.  Gerard suggests he asks Daphne.  She must have had some reason to leave like that! insists Desmond.  I only wish, says Gerard, that I had the powers you think I do--and he leaves the room.  Desmond is furious.  He opens the cabinet and takes out Judah's journal--I wonder why he took the journal? Thinks Desmond--what could he have learned from reading it?  He sits down and opens the journal.  Gerard watches him from the doorway.  Flora comes to Gerard, who asks if she finished her writing for the day.  Mother, says Desmond.  Flora enters and he orders her to close the door.  Really, Desmond, she chastises, even my own son shouldn't tell me what to do in my own house.  She closes the door.  I do not want him to listen, says Desmond.  Why would Gerard be interested in our conversations? Asks Flora.  I want him out of this house, says Desmond.  Where would he go? asks Flora.  I don't care, insists Desmond.  I do, says Flora--he's invaluable here.  Mother, he has got to go! says Desmond.

Well, Desmond, says Gerard, his face ugly, now start talking and talk very, very quickly.  Gerard loops one of Desmond's handkerchiefs around the throat of a clay doll.

Desmond, says Flora, you're not being logical and that's one thing you've always been.  Desmond asks if it isn't enough he's asked her to get rid of Gerard--isn't it?  I don't know, she says.

This is your last chance, Desmond! Cries Gerard--talk very, very quickly--and he pulls the knot he's made around the clay doll's neck tightly.

Desmond grabs his throat and begins to choke.  Flora asks him what's wrong, and he staggers to a chair as she tries to help him.  Flora screams for help.  Gerard respond immediately, asking what's happening.  He's choking! Reports Flora.  Gerard comes forward, asking Desmond what's the matter what happened.Stay away from me! gasps Desmond.  Gerard goes to pour a brandy.  He's only trying to help! insists  Flora. Gerard brings him a brandy, but Desmond knocks it from his hand.  Gerard apologizes to Flora for trying to help.  He spots Zachary's notebook on the floor and bends down to pick it up.  Desmond orders him to get out.  Please begs Flora, he's only trying to help you.  Gerard leaves the room grinning, the book in his arms.  Behind him, Desmond continues choking, trying to free the invisible hands throttling off his air.

NOTES:  Will Gerard do away with Desmond?  Will Flora replace her own son with Gerard?  Will Quentin ever learn that Gerard is not to be trusted?

Gerard is insidiously working on Daphne, undermining her feelings for Quentin.  Will he turn her affections his way?

Interesting how Gerard admitted to Trask he gave Quentin that symbol, but I suppose he has his reasons.

As for Trask, Gerard is goading him into his witchhunt, and that can only have bad consequences.

OK, those who love Quentin, could YOU not want to be alone with him?

Love, Robin

1146 - Gerard races to help Daniel, who has collapsed on Quentin's staircase and is muttering, "Murderer, warlock!"  Gabriel wheels in, demanding, "All right, Mr. Stiles, what have you done to my father?"  It's not what I've done, says Gerard, it's...  Quentin! moans Daniel, in pain, "My son."  Your father's had an attack, says Gerard--go and get a doctor, quickly.  Gabriel wheels off get Julia.  Quentin, how could you? moans Daniel.

Quentin sits on the sofa, drinking.  Daphne enters.  How, he asks, do you always seem so calm and tranquil?  I don't know, she says--I suppose it's just my face.  More than that, says Quentin, walking toward her, a certain quality--you always seem like you have something to do and you make up your mind you're going to do it.  At the moment, she says, I've made up my mind to give the children a test tomorrow.  Are you sure that's all? he asks, staring into her eyes.  Daphne gazes back, probably wallowing in the blue of his orbs, but breaks contact.  Miss Harridge, he asks, are you frightened of me?  No, she replies.  Whenever I speak to you in a personal way, you never seem to be able to listen to me, he smiles--maybe you're just trying to be unobtrusive, part of the scenery around here--you can't be that--you're much more, you know.  He sits by the fire--you're "an angel among gargoyles" he praises--"we are gargoyles"--the fortunate Collins of Collinwood--you know, when I was younger, before my mother died, it seemed to me we were a family, but then again, that was just another illusion, because my father murdered my mother.  (how horrible for a son to have such knowledge.)  Oh no! says Daphne.  Oh, yes, says Quentin, it's a well-known secret--it was then I noticed we all have a strain of despair that has been bred in each of us, and we all seem to enjoy that despair--why else do we live the lives that we do?  (A sad assessment that could apply to the Collins of every generation.)  I can't answer that, she says.  Are you sure about that? he asks.  Gerard runs in--Quentin, he says, your father's had an attack.  No! protests Quentin, putting down his drink.  They all rush from the room.

No, moans Daniel, lying in bed, no sense to it, no sense at all!--why?--why, Quentin, why?  Edith puts a comforting hand on his shoulder, calling him Father Collins.  Who are you? he asks.  I'm Gabriel's wife, she reminds him.  Get out! he cries  You must lie down, insists Edith.  Don't tell me what to do, he orders.  Someone has to--you've had an attack, she says, now please lie down--there, Gabriel has gone for Cousin Julia.  What good will a doctor do? he asks, oh, Quentin, why, why?  Father Collins, says Edith eagerly, what did Quentin do?--what?  Quentin, Daphne and Gerard enter the bedroom. Quentin rushes to his father's side.  You, you, you're not who you say, you're not the man you were, gasps Daniel.  (How ironic, considering GERARD is the one who has changed--to another person!)  Edith tries to force Quentin to leave.  Get away, says Quentin.  Edith tells Daphne and Gabriel, Daniel is too ill for company.  Gerard leads Daphne out of the room.  Why what? Quentin asks Daniel, who mutters, "It will ruin us all--I must stop it, I will stop it!"   You want Daniel to die, accuses Edith.  Get out of here, Daniel orders her.  But Father Collins, she protests.  Leave this room! he cries.  Get out! shouts Quentin.  Edith takes the hint and goes.  I saw your stairway, says Daniel--I saw the past--you killed Lorna!  No I didn't, says Quentin.  Daniel passes out.  Gabriel and Edith return.  Where is Julia? asks Quentin.  With her brother, I presume, says Gabriel--those two are inseparable, you can never find them! (LOL)  Did you send for Dr. Reese? asks Quentin.  I was about to, says Gabriel.  I'll do it, Quentin volunteers, and runs out.  Edith, smiling cattily, tells Gabriel, Quentin has done something--something Father Collins doesn't like.  How can that be? asks Gabriel, Father always loves everything Quentin does.  Not this time, exults Edith, this time it's different.  I am going to sit with Father tonight, he says--I want you to do something about that hair of yours, and put on a black dress.  He's not going to die! she says nastily.  Not just yet, says Gabriel, not with the will the way it is--go make yourself presentable--you and I are going to sit with Father tonight--go on.  She leaves.  Gabriel wheels himself beside his father, who asks, where is Quentin?  He left you, says Gabriel, I'm going to stay with you--I want to do everything I can for you (said the spider to the fly).

Gerard enters the drawing room.  Daphne waits there--has Dr. Reese finished examining him? she asks.  I don't know, says Gerard.  She moves to leave.  He stops her--I completely refuse to let you go to your room, he says.  You refuse? she asks, smiling.  Absolutely, he says, you see, I want to apologize.  You have nothing to apologize for, she says.  But I do, he insists, we were supposed to have dinner the other night, remember?  I'm very surprised you do, she says.  Now you're sulking, he says--is it because I didn't show up?  I'm not sulking, she insists, as a matter of fact, I was relieved you didn't come--while I was waiting for you, I realized that my first instinct about you was completely right.  She starts to leave.  He grabs her arm and, his face growing sinister, says, wait just a minute--you will forget that I didn't come here--you will give me another chance.  Never! says Daphne, and pulls her arm away.  Time has power to make you change, he says.  Oh, no, she says, not when I remember the look on your face just now.  You will learn to like this face, he says, moving closer.  No, she says, backing off, then racing from the room.  Believe me, you will, he says, you will come with me, too, you will become one of us, you will become one of us.  He nods as if agreeing with himself, but Daphne heard none of it.

Daphne sits writing in her diary:  "Such a strange night--Gerard, that face, and Quentin--why did I feel so sorry for him?--I must not--I must guard against it!"

Gerard picks up a glove lying on the hearth.  D is for Daphne, he says--and also for the devil--there is a new world awaiting you, Daphne, a world in which you will find evil and joy, like an adventurer on the sea, finding an unmarked sea, and those waters will drown you.  He presses his warlock symbol against Daphne's glove.  Now, your eyelids are becoming heavy, very heavy...

Daphne, writing in her journal, grows sleepy.

You will sleep, says Gerard, for in sleep, you will see what the future is to be, the future you will share with me.

Daphne lies down and falls asleep.  She dreams of Gerard lighting black candles in Collinwood's drawing room.  Daphne enters, arms outstretched, and kisses him passionately.  Hold me, she begs, hold me.  They kiss again.  Will you come with me now? he asks, to a room where the ceiling is of the stars, the fire that warms us will be of the deepest red?  He caresses her hair.  I'll follow you anywhere, she vows; they kiss again.  Will you do as I bid you to do? he asks.  She nods.  Then come to me tonight at the gazebo, he says.  He starts to leave the room.  "Don't leave me, please!" she begs.  Only for a while, he promises.  No, I can't bear to be without you, I can't bear to be...let me come with you, she pleads.  No, he says.  You're meeting someone else, aren't you? she demands angrily.  He smiles--it's your face I will see, and your lips that I will remember.  Gerard! cries Daphne, Gerard!  She wakes up, then sits up.  Why did I sleep? she wonders--what did I dream?
Gerard removes the symbol from the glove--"It is done" he says--"you will awake now and remember nothing--but in the darkest part of your mind, you will know what is to be."  He returns the glove to the hearth.  Daphne enters, looking very distracted.  What's wrong? he asks.  I forgot my books, she says.  He picks them up from the hearth and hands them to her.  I just fell asleep, I never do that, she says.  Did you have a dream? he asks.  She shakes her head.  I like dreams, he says, one finds out so much about oneself--well, I bet I can make a nice dream about you--shall I?  He moves to touch her.  She backs off--no, no, she says, excuse me.  She leaves.  He laughs.  Edith sashays in, remarking, a good laugh is just what this house needs.  That's just what you need, too, he says.  That, and a couple of other things, she says, grinning salaciously.  He stares at her, rises from the sofa, and asks, "Like this?"--then plants a great big kiss on her mouth.  She succumbs for a few moments, then pushes him away.  The nerve you have, she accuses, treating me like some servant girl!  I have more nerve than that, he assures her, caressing her face, you poor thing.  How you think you can ignore me one day, she pouts, and then...  You're still thinking about Daphne, he says--I've changed, I swear.  You're the only one in this house who has, she says.  A small, unsightly pit, he comments.  When you first came here, says Edith, I thought you would make things different, but you only play games.  Would you like to understand my games? he asks--would you really?  Yes, I think so, she says.  In order to understand my games, he says, you must change.  Perhaps not as much as you think, she says.  Quite a lot, he says, believe me, quite a lot--are you good at keeping secrets?  That depends on the secret, she replies.  Secrets that will make your life different, he says--secrets that will add powers to your life.  What are you talking about? she asks excitedly.  Are you interested? He asks.  Who wouldn't be? she asks--what do I have to do?  Do as I do, he says, and I will give you those powers and teach you how to use them.  When you talk like that, she says, you aren't just talking about yourself, are you--there's something more than that.  She draws closer to him, her hands on his shoulders--"What?" she asks, her eyes glowing.  Edith! calls Gabriel, who has wheeled himself in and caught his wife intimately close to Gerard.

Comforting my wife, Mr. Stiles? asks Gabriel--was she really that upset about Father's attack?  You know I was, says Edith.  Quentin is looking for you, Gerard, says Gabriel--I suggest you go to him.  Gerard exits.  Edith looks at her husband, unafraid.  You wanted him to touch you, didn't you? he accuses--you love it!  I wanted someone to touch me! she retorts.  Anybody but me! he says.  Yes, she agrees, and starts to leave.  Don't you go, he orders--whose fault is it that I never touch you?--I know you hate me, I know that!  Don't go into it again! she cries.  He grabs her arm in an iron grip and says, "Listen to me--you understand I want you to behave yourself--and you won't do anything that will hurt what is going to happen!"  Nothing is going to happen, she says through gritted teeth, nothing happens here.  Something is going to happen, says Gabriel, it's father, he's changed his mind about Quentin.  Quentin will talk his way back! she insists bitterly.  Not this time, says Gabriel--he looked at me differently tonight, he talked to me--he listened to Trask--Quentin is involved in the black arts and the will can be changed!  She angrily pulls away from him--it certainly can be, she says--but it won't.  I will see to it that it is, he says.  Sure you will, but you'll ruin it, she says--you give in to that monumental self-pity, and Daniel will turn against you.  Not this time, insists Gabriel.Yes, it happens every time, she says, you cripple!  That's what I am, yes, he says, that's what you married, and a cripple is all you've got to depend on.  Oh no it's not, she says--I have myself!  She stalks from the drawing room.

Quentin and Daphne stand by Daniel's bedside.  The doctor says another attack could be fatal, says Quentin--I just don't understand--you've heard enough family problems for one night--you look tired.  I'm not, she assures him--I couldn't sleep--it's as if there's something suddenly evil about sleep--let me sit here with you, I'll be much happier--you go get some rest.  I couldn't sleep, either, he says, but I do appreciate it if you'd stay here until Edith gets back--there are some things I have to do.  He goes.  Daphne sits in a chair beside Daniel.

Gerard is checking out the staircase.  Quentin enters and says, "So, the cause of the trouble." Gerard turns, thinking he's referring to him, but Quentin says, "The stairs--you were with Father when the attack occurred--I just don't understand what he could have seen on those stairs, they aren't even finished yet.  Perhaps it was his imagination, suggests Gerard.  But why did he see Lorna?--I didn't kill her, says Quentin--I just wonder what made him see what he did.  We'll never know, says Gerard--perhaps it was something Trask said--it might have caused him to hallucinate in some way--anyway, you must stop thinking about it.  What time is it? asks Quentin.  12 o'clock, says Gerard.  You remember those letters I was telling you about? asks Quentin.  Yes, says Gerard--Joanna's--have you received more?  No, says Quentin, but I've established a pattern--I get a letter every three days--and I receive it one out of two times--either in the afternoon when I've just gone to visit the estate manager, or exactly half an hour after that, when I've finished my last walk around the grounds.  Someone knows your habits very well, says Gerard.  Yes, and I intend to find out who that person is--tonight--we've got to hurry.

12:20 - I'll walk you to the gate, Gerard, says Quentin clearly and loudly in Collinwood's foyer--I never can sleep without my evening stroll.  Come back to Rose Cottage and have a brandy with me, suggests Gerard.  Good idea, says Quentin, do me good to get out of this house.  The men leave.

Quentin re-enters Collinwood through the drawing room window.  He sits down in a chair, in the dark, watching the doors.  We see the kitchen door open, but not who comes out.  The front doors are opened.  "You," says Quentin in disbelief.Daphne stands there, a letter in her hand.

NOTES:  Did you guess Daphne was the mysterious letter sender?

Gerard has plans to make Daphne one of his coven--and one of his ladies--but not the only one.  He wanted her to know that, apparently, that as head of the coven, he has his pick of his female members, and she, while he might care for her in his own evil way, still regards her as one of the crowd.

Edith sure is a slut when it comes to Gerard, but then again, she seems the passionate sort, greedy in all ways (I sense she's the one who doesn't care if Daniel lives or dies, as long as she stands to gain from it), and living with Gabriel must be quite frustrating, sexually.  She can't stand having her husband touch her, but Gerard is another matter.  How did she and Gabriel ever have children, I wonder?

Daphne fights her feelings of sympathy for Quentin, but you sense it's going to be a losing battle.  What will he do now that he knows she is the one who's been gas-lighting him?

Daniel's addled mind can't seem to sort out fact from fiction, and he already has begun to mistrust his oldest son.  We know how he feels about Gabriel, so, if he decided to cut Quentin from his will, who will be next in line?

Gerard's web closes more tightly around Quentin, who still believes the Judah-possessed man is his friend.


1147 - Give me that letter, demands Quentin.  I beg your pardon, says Daphne.  I said give it to me, he repeats.  I don't understand, she says.  You were going to leave it here, weren't you? he asks.  Leave it here--why? says Daphne.  Don't act innocent with me and don't stare at me like that, he says--you don't fool me any longer.  I don't know what you're talking about, she says.  Why are you doing it? he demands--and how do you know about Joanna?  I don't understand! she insists.  Oh yes you do, he says, grabbing the letter from her hand--I'll take this.  Give me back my letter! she commands.  He reads the recipient: Desmond.  Your cousin asked me to go riding tomorrow, she angrily informs him, and I couldn't.  He apologizes.  May I have it back? she request.  He hands it over.  She thanks him sarcastically, shaking her head, and says a curt good night.  I'm truly sorry, he says.  You're a difficult man to understand, she says.  I'd like to explain, he says, but I can't.  She stalks away, upstairs.  I'm a fool, Quentin tells himself.  He finds another letter addressed to him on the desk--Joanna, he says, it can't be--how did it get in here?  He looks around, then opens it:  Remember how we used to laugh, how warm the cottage seemed with the snow outside--how I hated it when you finally had to go--but the day is coming when you will not leave, when we will be together--soon--and when we are, you must sit at the piano--you must play for me the song which has come to mean your love--do you remember it still?  Oh yes, he says, smiling, I remember.  He goes over to the piano, sots down, and begins to play.  (I HATE this song, folks, always have, always will, sappy, sappy, sappy!)  What a lovely song! applauds a sarcastic Samantha--what is it?  I don't remember, he says.  Are you going to finish it? she asks.  No, he says.  Are you in one of your moods again? she inquires.  He fixes a drink.  They always used to worry me, she says, I never knew how to deal with them, but I guess I don't have to now, do I?  You must have wanted something if you came in here, he says.  Don't pull that tone of voice with me, she warns--you insisted that I stay in this house.  I only insisted that you not take OUR son--should I repeat that?--our son! He says.  At least I tried to be civil, she says--I simply came here to tell you your father is much better, but he's very disturbed about those insane experiments of yours--you should get rid of them--and that staircase!--you really must destroy it!  Before it's finished? he asks.  Finished! she cries--a staircase through time, really, Quentin--when Daniel told me about it, I almost doubted your sanity.  Of course! he says--I think a staircase would be very good here at Collinwood--you've got to admit that one or two times you would have used it since you've come here.  Don't talk nonsense, she advises--people will think you're mad.  Do you? he asks.  About this, yes, she says, what if Mr. Trask found out?  My dear, he says, I will finish that staircase simply because of Trask, and I shall send him to another century!  You really believe it, don't you? she asks incredulously--Lamar Trask is a very dangerous enemy--of course, I don't believe his insinuations that you had anything to do with Lorna Bell's death...  Oh, thank you, dear, he says sarcastically, for your confidence in me.  Don't be sarcastic, she says, grinning, you're going to need all the friends you can get.I know that, he says, I shan't count you as one of them, though, I warned you, I tried to help, she points out--remember that.  Thank you, he says insincerely.  You can finish your song, now, she retorts before leaving.

Daphne reads from her diary:  Sometimes, I think it would be easier to make him fall in love with me--to make him know the torment, but then something happens, just like now, when I feel such hate, no, he must fall in love with me!  Who do you hate, Daphne? asks Tad--tell me?

What are you doing in here? she demands.  Who is it you hate? he persists.  What else did you see? She asks.  Only that you may fall in love with him, Tad replies.  And what else? she demands, her voice shrill.  You didn't answer my first question, he says--I was taught to answer questions--weren't you ever?  I was taught not to sneak into peoples' rooms, she says.  I didn't sneak in, he insists, I just walked in and you were too busy to see.  A diary is personal, she says, I write in it things I wouldn't tell anyone.  Our minister says hate is evil, points out Tad.  I suppose it is, she says, but sometimes, you can do nothing else.  Is it someone in this house? he asks eagerly--the one you hate?  I'm not going to discuss it with you, she says.  It's all right with me, he says, I'll find out--I'm very good at finding things out.

Playroom - A frustrated Carrie is going over her lessons--Daphne, she complains--why do I have to learn Latin?--no one ever speaks it anymore.  If you know Latin, says Daphne, it will be easier for you to learn other languages.  I'm not going to learn other languages, says Carrie.  You may at least learn French, says Daphne--you might travel when you grow up.  She thinks she's grown up now, says Tad.  Carrie shoots him an angry glance, then reads aloud the Latin conjugation of the word love.  Tad interrupts when she arrives at "She loves," finishing it, "She loves Gerard."  Annoyed, Carrie says, oh, really!  It's true, Tad tells Daphne--you should see all the notes she writes him, and never even mails them. Tad, that's enough! cries Carrie.  But it's true, points out Tad, and you shouldn't be ashamed of something that's true. I'm not ashamed! she insists, you're just too old to...  That's enough! interrupts Daphne.  Well he DOES! whines Carrie.  It was fun having you here when you first moved in, says Tad, but now...  He'll just never grow up, that's all, sighs Carrie.  Samantha enters--Miss Harridge, she demands angrily, if this is the way you encourage discipline...  It was just an argument, says Daphne.  Children are in school to learn, not argue, says Samantha--perhaps I should see you alone, Miss Harridge--children, get your coats--we'll spend the rest of the afternoon at Rose Cottage.  Oh, will we? asks Carrie happily.  I know why YOU want to go there, teases Tad.  Stop it, Tad! says Carrie, hurrying off with Tad right behind her, telling her, "Gerard isn't going to be there now."  The children have at least two more hours of work to do, insists Daphne.  Miss Harridge, if I had wanted Tad to have regular hours, says Sam, I'd have sent him to the school in the village (but that's not the Collins way).  If you'll excuse me, says Daphne, Tad needs the discipline of regular hours.  It's up to ME to decide what Tad needs, says Samantha--he's not well, as I told you before, ever since he returned from that voyage with his father, he's been very delicate.  You make my job very difficult, says Daphne--if I thought Tad were ill, I wouldn't force him to do a thing.  I know my son far better than you do, says Samantha, and I know what's best for him--I refuse to have you discipline or criticize my child anymore--is that clear?  Yes, says Daphne, your attitude it very clear--Tad is a dear boy, and I'm very fond of him--I do think I've gotten to know what he needs.  Do you? asks Samantha venomously, I wouldn't presume so much if I were you--Tad is not your whole life, he is mine.  She leave.  Daphne is furious.

Foyer - Carrie, don't get so excited, advises Tad--Gerard isn't going to be there now.  How do you know that? she asks.  Arms crossed, he replies, because Mother wouldn't be taking us there if he would be.  What are you talking about? asks Samantha, joining them.  Nothing, says Tad, and challenges Carrie to a race to the cottage.  She runs after him, Sam on their heels.

Daphne paces her room, slamming her fist into her hand, angrily muttering, "That woman!"  Quentin enters.  What's wrong? she asks.  He just looks at her.  Why have you come here? she asks--oh, it's about Tad.  No, he says, I've come to apologize.  You said you were sorry last night, she reminds him.  Then to explain, he says.  Not necessary, she assures him.  You don't want me to explain, is that it? he asks--of course not, why should you?--it's not your job--we're not exactly friends.  I think you need a friend, she says, and so do I.  So you want me to stay, he says--am I translating you correctly?  She smiles and nods.  Good, he says--this room, it's no good, you shouldn't be in here--you should have a room of light and sun--I don't know what I'm talking about, I came here to talk about myself, didn't I, not about your room.  She looks at him earnestly.  It's very difficult, he says, you've seen the strain in this house.  I've even felt some of it, she agrees.  Samantha? he asks.  Yes, she says, she loves her son.  Does he? he asks.  In the wrong way, perhaps, suggests Daphne.  Yes, agrees Quentin, her love for him comes out of her hatred for me.  She hates me, too, says Daphne--she stopped classes today.  What? he asks.  Oh, I shouldn't have told you that, says Daphne--that's my affair and I will deal with it.  He chuckles--yes, he says, getting close, you're so young and innocent--you're going to change this house, aren't you?  You keep trying, she says.  Do I? he asks. You hired me, she points out.  I see, he says, I keep forgetting things like that--I did, didn't I?--sometimes I think I'm just marking time, letting things just drift along--I need you to tell me that I'm not.  Has there always been someone who tells you that? she asks--someone who reminds you of what life really is?  She walks away--I shouldn't have asked you something so personal.  We aren't strangers, are we? he asks.  Sometimes I think we are, she says, but then.  And then last night? he asks.  Or the night at the oak tree, she adds.  At least you've seen me at my rudest--tell me, he asks gently, do you know what it is to be without love?  Love is something I know very little about, she says.  I don't believe that, he responds.  It's always frightened me, she admits.  Sometime it won't, he promises.  I don't like what it does to people, she says.  What has it done to you? he asks.  She looks at him.  Ah, so you have a secret, he says--someone you love?  She shakes her head.  So you say, but you do, he says, and so do I--but we mustn't keep secrets--they only harm us, they don't want us to forget things that are all over.  His voice seductive, he moves in close, adding, we've got to forget them, because "you and I are alive", you know--oh, Daphne is her name.  Quentin, she murmurs, smiling.  He touches her face and says, that's the first time you've ever called me that.They kiss, lustily; she returns it with equal passion.  He hugs her.  Oh, yes, he says, now I have something else to apologize for--but I won't--because I wanted to--and I think you wanted to. Yes, she agrees.  I won't ask questions, he says, questions simply ruin things--I feel very peaceful now--I came here to talk and now talking is something we can't do--I've got to walk very slowly now--because I don't want anything to happen to the way I feel--do you feel the same thing?  She replies by kissing him; they go at it with fervor. Oh, yes, he whispers, you've got to depend on me, and I've got to depend on you--and much more important--we've got to trust each other, because up until an hour ago, we didn't trust each other.  She nods, and they kiss again.  I'm leaving Collinwood in about an hour, he says.  Where are you going? she asks.  I've got to take care of something very important, he says, that concerns both of us--you'll be all right while I'm gone, won't you?--are you going to stand in here asking yourself if you've done the wrong thing, what have I done, what have I started?--am I frightened?--you're going to be here when I get back, aren't you?  He touches her chin.  She nods--I'll be here, she promises.  You'd better be, he says, and leaves her room.  She paces, clinging to the bedpost, trying to assure herself, I didn't feel as he did, I didn't!--it's part of my plan, that's all, just part of my plan.  She hugs the bedpost, denying vehemently.

Tad and Carrie enter the playroom.  She's carrying a large wooden box.  You were with Gerard all day, and Mother is furious at you, says Tad.  She likes him, too, insists Carrie.  Not anymore, she doesn't, says Tad.  He gave me something, she says--he knows so much--did you know I was psychic?  You? he asks in disbelief.  I am, she says--he gave me this (she lifts out a crystal ball)--I can see things in it.  Sure you can--prove it, scoffs Tad.  She sits down and gazes into the ball.  He shouldn't have given you that, says Tad--they won't let you have it, you know.  She stares into the crystal--it's changing, she says, the fog is drifting away.  Don't talk like that, says Tad, nervous.  The future, she cries.  If you can see the future, he says, tell me what our new governess is going to look like, because this one surely isn't going to last long.  Carrie gasps, oh, Tad!--she backs away from the crystal--I saw you, she says, and me--we were...we were...we were lying there, in this room, we were dead!  Tad is horrified.

You are crazy! accuses Tad.  No, I saw it--we were dead! insists Carrie.  If you believe these things so much, says Tad, you shouldn't look in it!  I do, she wails, I do!  We're too young to die, he says.  I'm so frightened, she says--we looked like we did now, which means it may be soon!

Daphne writes in her diary.  Samantha bursts in and holds out a note "from my husband--he came to see you this afternoon?"  Yes, admits Daphne reluctantly.  Did you cry and tell him what an ogre I was? demands Sam.  No, I did not, says Daphne.  Well, says Sam, and reads "and I will not have you upsetting Tad's school routine."  I mentioned it to him, yes, says Daphne, I felt he should know.  I run this house, insists Samantha, Quentin does not.

But you were Joanna's doctor! Quentin protests to an old man sitting across from him in an office.  I told you, says the doctor, there was little we could do for her--she lived in the past.  But when she escaped? asks Quentin.  Oh, we sent out an alarm, of course, says the doctor, we thought she would return to her home, but she didn't--then her body was found on the beach.  Did she ever have any visitors? asks Quentin.  No regular ones, replies the doctor, no, few families bother coming once a relative is to be committed here--just before Joanna disappeared, she did have one--I remember because she was quite violent after the girl left.  Do you know who the girl was? asks Quentin.  Let me see, try to remember, says the doctor.

6 PM - Collinwood - Quentin returns home and finds Daphne sitting in the drawing room.  She stands up, thrilled to see him, but he is very angry.I know who you are, he says--you're the sister of Joanna Mills!  She looks at him solemnly.

NOTES:  How's that for a revelations, folks?  Now we know why Daphne has come to kill Quentin, and why she has decided to make him fall in love with her--but there's a complication, because she's falling in love with him, too, and that was not in her plan.  Where will they go from here?

I wasn't really missing the kids in this storyline, but was wondering when they would appear, since we saw them ad nauseum just before venturing into 1840.  They are supposed to play a huge part in this storyline, and now, with Carrie seeing herself and Tad dead in her crystal ball, the current story is meshing with that we saw before.  It seemed odd that they were around so little.

There is already a clash between Samantha and Daphne; what would the bitchy redhead say if she knew about all those kisses exchanged between the governess and hubby in this ep?

I find Tad and Carrie as boring now as I did Hallie and David in 1970.  The fate of these children simply doesn't interest me, but if Tad dies, what will it mean for the Collins in present time?

When Quentin wants to be seductive, he's very good at it, isn't he?  I understand Daphne falling in love with him.  He's got sex appeal to spare!

Tad really is nervy, talking to his governess that way, insisting on knowing her personal business.  All the Henesy characters have this princely attitude that makes you want to hit them!

Another heated argument between Quentin and Samantha.  I wonder--were they as passionate lovers as they are arguers?

Love, Robin

1142 - The name of the man bearing the "gift" of the head of Judah Zachary is Charles Dawson.  I don't want it, says Gerard.  You know what this is, says Dawson (does he have a creek named for him?) you didn't really think you could get rid of it, did you?  Gerard cowers.  Look at him, Mr. Stiles, Dawson commands, setting it back down on the table where he'd originally placed it.  Who are you? demands Gerard, terrified--where did you get that?  His servant, as my great-grandfather was, says Dawson.  He removes the cover--look at Judah, he orders.  Gerard does, reluctantly, realizing, I will soon be nothing, as I was promised in a dream.  He moves closer to the glass case and staring inside it.  Judah's eyes are open, staring up at him, locking minds with him.

I have chosen you and you will become me, says Judah inside Gerard's mind--through you, I will live again--the mask--put on the mask.  Dawson brings the mask over to Gerard.  Whatever we want will be ours, promises Judah--you will know my secrets, you will have servants as faithful as this man--anyone you want will be in our power!--put on the mask--put on the mask. . .Judah Zachary!  Gerard turns to see Dawson is holding out the mask.He takes it and covers his face with it.  In the glass case, Judah's eyes close; he looks as if he's concentrating very hard.  "It is done," says Dawson, removing the mask from Gerard's face (and with so little fanfare, too).  We now see on Stiles' face the frightening scowl that was the calling card of the ghostly Gerard in 1995.  Dawson puts his hands in a praying pose of obedience and says, "My coven and I have waited so long for your return--Judah!"  Call me Gerard, he orders--take it away, keep it and guard it well--how many people are in our coven now?  Only six, says Dawson, we need to complete the 13.  Will I know their names?--will their ancestors follow me as yours did?  Some of them, Charles says.  And the others?--what happened to them, the ones who swore eternal allegiance? demands Gerard.  They were afraid, says Dawson--when the trial was over, they returned to the other faith. I can move again, exults Gerard, taking a few steps around the room--I can feel the warmth within my body--I know who my enemies are, I live amongst them.  But we must go carefully, says Dawson.  Are you giving me orders? asks Gerard threateningly.  No, says Dawson, but you must realize...  I realize everything, insists Gerard.  Do you? the man asks--you have been invincible for so long, you are not now!  Gerard chuckles--do you think I'd let anyone kill me?  Gerard Stiles' body can die, the other man reminds him.  It won't, says Gerard.  But you must be careful, says Dawson--your body is mortal, never forget that.  It has powers, says Gerard.  Yes, you have powers, says Dawson--more than I, more than anyone in our coven--that is why we will do what you tell us.  Just before I died, says Judah, that hooded executioner raised his ax, I vowed this moment would come--that I would punish all those responsible--yes, Miranda--she still lives, here in Collinwood--she is now the wife of Barnabas Collins--she calls herself Valerie--she still knows me as Gerard Stiles; it will remain that way until the golden moment--but she will not be the first--no, there were three judges at my trial, and out of all of them, only one family survives--that of Amadeus Collins!--now there will be a new witchcraft trial, with a new prisoner in the dock, with a new executioner, and this time, I will be the witness--and the man's head on the block will be that of Quentin Collins!

Collinwood drawing room - Samantha is having a hard time believing Roxanne is really dead, Quentin tells Trask, who's sitting on the sofa-I doubt if she'll be able to attend the funeral--I really think, aside from Tad, that Samantha loved Roxanne more than anyone else.  Aside from you, of course, says Trask.  I sympathize with you also, says Quentin, I know how fond you were of Roxanne.  My life had a meaning it never had before, says Trask, rising from the sofa, I cannot forget the look on her face last time I saw it--and I cannot forget her strange, curious illness--do you not think it an odd way to die in this day and age--to bleed to death?  Julia found it as mysterious as you do, says Quentin.  I must speak with utter frankness, says Trask--perhaps Julia Collins was not the right person to treat "my poor Roxanne".  She was successful with her before, Quentin reminds him.  Yes, but she does have her brother to protect, says Trask--Roxanne came to this house shortly before the bleeding started--did you know that?  No, says Quentin.  She told me herself she saw Barnabas, reveals Trask.  I'm sure she saw other people, says Quentin, beginning to bristle.  Other people are not important, insists Trask.  You're becoming ridiculous, says Quentin.  Am I? asks Trask, am I indeed?  You have such an obvious dislike for Barnabas, says Quentin--he did nothing to Roxanne.  Nothing? asks Trask--you listen to me, Quentin Collins--I don't know what Barnabas did, but I will find out, because I believe more firmly than I believe anything in my life, that Barnabas Collins caused Roxanne to die.  Quentin looks at him.

I've never heard anything more absurd in my life, says Quentin--just how did he do it?  I told you I don't know, says Trask.  Barnabas was here, Quentin reminds him--you were with Roxanne when the bleeding started!  I'm aware of that, says Trask.  And yet you refuse to be logical, says Quentin.  Logic, scoffs Trask, will not give us the answer.  You obviously mean something by that--what? asks Quentin.  There is a world, says Trask, an evil world which exists for some men--these men deal with the dark forces, learn their arts.  Incredulously, Quentin asks, are you accusing Barnabas of witchcraft?  You, of course--are defending him? accuses Trask. If you are accusing him, I certainly will, says Quentin.  Be careful with whom you ally yourself, warns Trask.  I don't believe this conversation, says Quentin--I think you are losing your mind.  You will regret saying that, warns Trask.  I won't regret anything, insists Quentin--and I don't want to hear another word about Barnabas.  You will hear more! promises Trask, much more, in due time.  And if I do, it won't be in this house! cries Quentin, furious--it will be someplace where I can walk out of, do you understand?  Indeed I do, sir, says Trask--the devil himself has friends who try to shield him, too--I tried to warn you.  He leaves.

Trask funeral chapel - Gerard looks down at Roxanne in her casket.  Trask enters and greets him:  "Come to pay your respects on this sad occasion--she looks lovely, doesn't she, if I do say so myself."  (LOL!)  There is a certain beauty in death, agrees Gerard.  What a strange thing to say, says Trask.  Serenity, says Gerard, I'm afraid you didn't quite understand what I meant.  Perhaps we don't understand each other as well as I thought, says Trask--you've brought me no information about Barnabas Collins.  I was concerned with a great many other things. explains Gerard.  Obviously, says Trask, you were incredibly short with me earlier.  I apologize for that, says Gerard--however, I don't think this is the time or place to discuss such matters--but I will help you finish what you have started.  It is the time, says Trask--and what place could be better to discuss sorcery than before the body whose death it caused?--yes, Mr. Stiles, there is sorcery abroad in this village--I can feel it as I walk in the streets--and even more strongly when I enter certain houses--it must be ferreted out--her death must be avenged!  I will help you, promises Gerard.  You said that before, says Trask.  Perhaps I've changed, suggests Gerard--perhaps I didn't realize the seriousness of it all--I will help you, with no extra cost.  A woman dressed in trashy red, sporting a boa, looking quite the tramp, enters and greets Trask, who calls her Lorna Bell.  It's been three years since my return to Collinsport, she says--I heard about Roxanne.  I was not aware you were friends, says Trask.  We went to school together, Lorna says, looking into the coffin--I always thought she would have a happy life.  Gerard smiles.  Where she is now, says Trask, she will enjoy the happiness denied her on this earth.  You should have been a minister, Lamar, says Lorna, I always thought so.  If you will view the body and sign the guest book, please, says Trask.  They leave Lorna alone in the coffin room.  The nerve of that woman, Trask fumes to Gerard--she has hoodwinked many, but never me.  I find her quite attractive, remarks Gerard.  That has been her downfall, says Trask--I've heard rumors from Boston about her behavior there--she does not move in polite society and for good reason.  Has she relatives here? asks Gerard.  No, none that will receive her, says Trask, excusing himself--more flowers have arrived.  Gerard returns to Lorna and introduces himself.  I was wondering, she says, grinning at him.  At your service, he says--and though I didn't know Roxanne as well as you, I want you to know I am very deeply affected by her death--it may seem odd to you, certainly a bit sudden, however, I feel that you would like to take part in it.  Take part in what? she asks flirtatiously--hasn't Lamar told you I haven't been a part of anything in Collinsport?  You will be a part of this, he assures her--a most important part.

However, says Gerard, I feel you might not even want to come.  I'm very bad at saying no (I bet!), says Lorna, caressing his face, even if I don't know what you're talking about.  Yes, he says, it is to be kept a secret--Lamar Trask is not to know, he wasn't invited--friends of Roxanne are giving a memorial service in her remembrance--it is to be private.  I can understand you not wanting Lamar, says Lorna. Then you will come? he asks, playing with her hair.  Of course, she says, but why should I be so important?  Perhaps because I want to take you home afterwards, he says.  That's what I thought you meant, she says.  Then of course, you will come along? he asks.  Frankly, says Lorna, I'd be more interested in that than the memorial service (what a slut).  He takes her in his arms--very good, he says--then I will send a friend to pick you up in a carriage in about an hour.  I'll be in the lobby of the Inn, she says.  All right, but remember, this is a secret, says Gerard--no one can know about it, especially Trask.  Hello, says Quentin, interrupting them.  Lorna grins at him.  Why, yes it is, says Quentin--Lorna Bell.  You're very naughty, says Lorna, going over to touch Quentin's vest, you never let me know when you're coming to Collinsport.  I certainly will the next time, he chuckles.  Gerard excuses himself.  Such a sad occasion, says Lorna, do give my condolences to Samantha.  Trask comes in bearing flowers--is poor Samantha still overcome, Quentin?  Yes, says Quentin.  She is a woman of rare virtue, says Trask--she cannot disguise her feelings.  Lorna and Quentin exchange looks; she says, "I will see YOU later."  Oh? asks Quentin.  Don't worry, she assures him, I won't say a word.  Trask overhears, puzzled.  She goes to him--I won't be at the services tomorrow, she says--I have an engagement in Boston, so I'll say goodbye.  She's about to leave when Quentin asks, just what do you mean about seeing me later?  You know, she says--the memorial services for Roxanne?  What memorial service? asks Quentin.  Don't worry, I won't say anything to Lamar, but I must sign the guest book--goodnight, she says.  Quentin, looking after her, grins.

Charles Dawson escorts Lorna into a house.  Are we the first ones here? she asks.  I believe so, he says.  Where is Mr. Stiles? she asks.  You'll see soon, he says, we're going to use this room--he throws open double doors.  It's dark, she observes.  He lights the lamp.  I've never been to a memorial service before, says Lorna--were you and Roxanne friends?  Come in, Miss Bell, he says.  She enters--it's a strange room, she comments.  You think so? he asks.  There's an altar, she notes (and candelabra with black candles).  For the ceremony, he says.  Ceremony? she asks, suddenly nervous--where is Mr. Stiles?--I don't understand this, any of it!  He will explain, promises Dawson.  Where is he? she asks.  I will go and get him, says Dawson, closing the doors, locking her in.  Let me out! she begs, banging at the door.  She spots someone standing by the windows--who is it?--what's happening?  The man, dressed in black robes, turns.  He's wearing the jeweled mask.Lorna screams and tries to escape, but Dawson blocks her path.  You should be honored to be chosen, he says--our leader returns after 150 years tonight, and this night, you will help us celebrate his return--you will be our offering.  Offering? she asks.  Yes, he says, you will be our offering to celebrate the return to our coven of Judah Zachary--the devil's son.  She screams and tries to flee, but he grabs her, assuring her, there is no one to hear you--now, come and meet Judah!  Gerard, the mask of Baal on his face, raises a knife.  No! screams Lorna, terror-stricken--oh no!

Trask hears a knock on his chapel door--Gerard.  I came as soon as he got your message, he says--what is it?  Sorcery, pronounces Trask, that's what it is--proof of the black arts--when the constable summoned me, I didn't know what to expect, when I found it was Lorna Bell, I assumed that her evil ways had brought about her downfall.  That woman I met here today--what happened to her? asks Gerard.  Murdered, says Trask.  How? asks Gerard.  No one knows, says Trask--her body was found in an empty field by a Mr. Charles Dawson as he was returning to his home--the body is unmarked except for proof that there are witches among us--devil worshippers.  What proof do you have? asks Gerard.Trask takes Gerard into a room where Lorna lies.  He draws the cover back from her face to reveal a circle with an X in the center of it drawn on her forehead.  Do you know who she left here with tonight? asks Trask--your friend, Quentin Collins, sir.

Collinwood - Trask brings the news of Lorna's death to Quentin.  Lorna Bell dead, murdered, mutters Quentin--it just doesn't make sense--such a light-hearted thing--there's so much violence in the village--there never used to be.  Indeed there is, agrees Trask--I didn't tell the constable she left with you.  That's good, because she didn't leave with me, says Quentin.  I also didn't tell the constable I overheard her say she would meet you later, says Trask.  I had no idea what she meant by that says Quentin.  I didn't tell the constable anything, says Trask, because I want to wait until I have conclusive evidence.  Evidence? demands Quentin--look here, Trask, I've had about enough.  Where did you meet her? asks Trask.  I didn't meet her anywhere, insists Quentin.  Oh no? asks Trask, I heard you arrange it!  Trask, says Quentin warningly, are you trying to say I have murdered Lorna Bell?  I shall pray for you, vows Trask. You'd better pray for yourself, advises Quentin, to get some sense into that head of yours.  I know what you're up to, I know what you're practicing, accuses Trask. Tell me, I'd be glad to hear it, says Quentin.  Lorna was found with the mark of Satan on her forehead, says Trask.  Quentin is startled.  I knew that would interest you, I thought so, says Trask.  Quentin grabs him by the collar and says, Trask, you get out of here, and stay out.  The mark of Satan, Mr. Collins, says Trask, the same mark you wear--the same mark that is on that ring!  He holds up Quentin's hand, which bears a ring that matches the symbol drawn on Lorna Bell's forehead.

NOTES:  See what happens to bad girls?  They become sacrifices in satanic rituals!  Be careful!  By the way, Marilyn Chris portrayed Lorna Bell, and Christopher Pennock eventually marries--and divorces--her in real life.

Creepy, the way Judah took over Gerard's mind--and now we perhaps understand a bit better why Gerard seemed more than just a two-bit hustler/womanizer as a ghost.  He is imbued with the devil's son!

Looks like Trask has made himself an enemy of Quentin.  I loved the way the latter defended Barnabas and essentially ordered Trask never to darken Collinwood's door again.  Family first, right?

That Lorna sure looks like the town tramp, doesn't she?  One can picture her letting all the boys do whatever they wanted, Lamar and Quentin included!  She certainly seemed familiar with both of them, and eager to be familiar with Gerard.

Looks like Gerard/Judah is already setting things up so Quentin will be accused of witchcraft.  He killed Lorna and drew that symbol on her forehead--but how is it that Quentin has a ring with the same symbol?  We'll have to wait and see.  Now that he's made an enemy of Trask, Quentin will find that he, in cahoots with Gerard, will makes his life a living hell.  Gerard wasn't Quentin's enemy, not truly, but Judah is, and now Trask, and together, they will do all they can to bring on the downfall of the Collins family.


1143 - Barnabas sits brooding by the fire at the Old House.  He answers a knock at the door, wearily rising from his chair.  It's Randall Drew, Roxanne's brother.  Barnabas invites him in.  Terrible about Roxanne, says Barnabas, extending his deepest condolences--I wasn't aware the Drew ladies had a brother.  I've been away from Collinsport for some time, reveals Randall, practicing law in New York.  And you've returned for the funeral, says Barnabas.  Yes, says Randall, who gets right to the point--what do you know of my sister's death?--Lamar Trask told me he has reason to believe Roxanne died of an act of sorcery--and that you were somehow implicated.

An act of sorcery? repeats Barnabas.  I'm not implying that I believe Trask, says Randall, although it did depress me quite a bit, but he must have some reason for believing as he does.  I have no idea what that could be, says Barn.  I can't, either, says Randall, but when Trask is pinned down, he becomes rather vague--what do you think was the cause of Roxanne's death?  No doubt you've heard about the animal attack, says Barnabas--I assume she died from the wounds she received.  I understand that happened a few weeks back, says Randall--you were one of the last people to see her the night she died--did she seem ill then?  No, says Barnabas, as a matter of fact, she was in exceptionally high spirits.  He bows his head guiltily.  Yet three hours later, she was dead, says Randall, and Trask tells me the wound on her neck mysteriously re-opened--how could that have happened?--who could have wanted to harm her?  I have no idea, says Barnabas--she was loved by everyone that knew her.  Were you in love with her? asks Randall. Yes, admits Barnabas.  Aren't you a married man? queries Randall.  Yes I am, says Barnabas, but I must confess I loved her very much--of course my own circumstances have not allowed me to think of any future with her, and I told her that.  I see, says Randall, I don't know what to make of Trask's opinions.  Perhaps you should know that Mr. Trask has been in an exceptionally disturbed state--he was engaged to Roxanne, but just before she died, she broke off her engagement.  Are you sure about that? asks Randall--she broke the engagement?  Absolutely sure, says Barnabas--perhaps Mr. Trask couldn't face the fact she broke off the engagement simply because she didn't love him, so he had to find another reason.  I believe that may be completely understandable, says Randall, and hope these questions haven't bothered you--I just wanted to clear my mind about all this.  I understand, says Barn.  Julia comes in and Barnabas introduces her to Randall.  My condolences, offers Julia.  Thank you, he says, to both Julia and Barnabas--I must be going.  Randall leaves.  What did he want? asks Julia.  It seems Trask has been filling him with stories of sorcery, reveals Barn.  Do you think Randall believed Trask? asks Julia.  No, says Barnabas, but he may believe if Roxanne becomes a vampire.  (ya think??)  The arrangements for the funeral have been completed, says Julia, it will be early tomorrow afternoon.  She will not rise until tomorrow, says Barnabas--you know what to do.  Yes, says Julia, tomorrow when everyone comes back to the house, I will go to the crypt.  Roxanne, laments Barnabas, I cannot bear to think of a stake through he heart.  It must be done, insists Julia, it's the only way she can rest in peace.  Yes, he says--peace.

Peace? says Samantha angrily to Valerie--I will be wondering as long as I live why she had to die and who was responsible for it.  Valerie turns away and says, "You are certain that someONE is responsible."  There is a monster on the loose, says Sam, and Roxanne wasn't his only victim--our governess was viciously attacked in the woods.  Isn't it possible that both of these deaths were caused by some animal? asks Valerie.  Not if what Hortense said before she died was true, says Samantha--something about a strange, bodiless head--I know it sounds absurd, but a person's dying words cannot be dismissed lightly.  Who did she say it to? queries Valerie.  Julia--she and Barnabas found Hortense's body in the woods, says Sam.  Randall enters and soberly greets his sister, who introduces Valerie to her brother.  Mrs. Barnabas Collins? he asks.  That's right, says Valerie--I'm sure you want to be alone to discuss things--I have to go back to the Old House--excuse me.  So that's his wife, remarks Randall.  Where have you been? she asks, I haven't seen you since lunchtime.  (Samantha is dressed in black, and her brother sports a black armband.)  I stopped at the Old House to meet him, he says, because of what Trask told me--what do you know about Barnabas Collins?

I'm sure Randall will speak to me at Collinwood, Barnabas, says Julia, since I was the one who declared his sister dead.  If he does, what can he find out? asks Barnabas.  Nothing, I suppose, says Julia, but I don't need lawyers' probing questions at this point.  I know, says Barnabas, by dusk tomorrow, let's hope it will all be over.  Valerie enters, pissed.  Hands on hips, she icily accuses Julia, "dear sister in law", of not listening very well--I told you that you were no longer welcome here--now are you going to leave, or do I have to force you to leave?  Barnabas gazes in consternation at Valerie.

Julia, go back to Collinwood, says Barnabas--"I want to speak with HER alone."  Wordlessly, Julia leaves.  I know exactly what you're going to say, so don't bother, orders Valerie--I warned you what would happen if you ever went near Roxanne again.  What have you gained by doing this? demands Barnabas.  Valerie smiles--I have my husband back, she says, and in time, there will be a reconciliation.  There's no chance of that ever happening and you know it! he says bitterly--do what you want--I no longer care.  There's something about you in this time, she says, you've undergone some kind of change, you're not the same man I used to know--you're even more bitter to me now than you were before--there has to be some reason why you've changed, and I know what it is--Julia.What has she to do with us? asks Barnabas.  I don't know, says Valerie, but I know as well as you do that she's not your sister, and I intend to find out who she is and why she's so important to your life.

Collinwood - Randall, says Samantha, I wish you wouldn't go back to New York--there are so many things happening here--I'm terribly frightened.  I've thought about staying, he says.  You wouldn't have any trouble starting a practice, she says, and anyway, dearest, you belong here.  I'd be better off joining an existing firm, he says, like Thorndike and Hanley.  No, she says, I don't want you working for them, they're the Collins family lawyers.  I feel no bitterness toward the Collins family, he says--and I'm sorry you do.  You above all people have a right to feel bitter about Quentin Collins, she reminds him--you introduced him to the girl you loved--he took her away from you, despite the fact he was married to me--how can you forget Joanna?--you can't even bear to hear her name, can you?It is past history and best forgotten, he says, I haven't seen her in four years, and don't plan to see her again, even though I know it's over between her and Quentin.  Julia enters the room--I'm sorry for interrupting, she says.  It's quite all right, says Randall--please do come in.  I'd like to know about the schedule tomorrow, if you feel up to talking about the funeral, says Julia.  Yes, says Sam, these things must be done.  Valerie comes in and overhears Samantha telling Julia, we will be leaving the house shortly before one o'clock--you will be in the carriage with Gabriel and Edith--the ceremony at the cemetery will begin promptly at one-thirty.  Valerie quietly goes upstairs, unseen.  It will be very brief, says Samantha, as I feel that's the way she would have wanted it--Reverend Stone will give the eulogy--Lamar Trask insisted on that honor--it gave me great pleasure to turn him down.  (She says this last with great hatred.)

Valerie enters Julia's bedroom and begins searching her closets and drawers.  She finds the clothes Julia was originally wearing when she came to 1840, and finds inside it a journal, which she begins to avidly read.

Julia sits by the fire.  Valerie, holding the journal behind her back, stands watching her.  How long have you been standing there? asks Julia.  Only a moment, says Valerie.  Did you want to say something? asks Julia.  Only that you are far more fascinating than I even imagined--tell me, who is Professor T. Eliot Stokes, Dr. Hoffman?

Come, come, dear sister in law, you're not usually at a loss for words--who is T. Eliot Stokes?  I don't know, says Julia--I've never heard that name before.  Perhaps I should mention a few more, suggests Valerie--Elizabeth Collins Stoddard, Carolyn Stoddard, Chris Jennings?  I don't know what kind of game you're playing, says Julia.  I'm not playing any kind of game, says Valerie, you know all those names well, and you know those people exist in 1970.  I haven't the faintest idea what you're talking about, says Julia.  I'm talking about this curious document I found in your room, says Valerie, whipping out the journal she found--Dr. Julia Hoffman, appointments, 1970--I had a lot of thoughts about where you came from, but I never dreamed it was the future--now why don't you stop playing games and tell me all about it?  Julia looks at the proffered book--there's nothing to tell, she insists.  Please, Julia, begs Valerie with a laugh, this is no time for modesty--that you succeeded in transcending time, that lone is a miraculous accomplishment, and as I look through this little journal of yours, I find the name mentioned most often is Barnabas Collins--that's even more fascinating--to think that Barnabas will be alive and active in 1970--so you see, there is a great deal to tell, and you might as well tell me now, because you will have to eventually.  All right, says Julia--I've come from another time--I first met Barnabas in 1967.  Knowing what he was? asks Valerie.  I didn't at first, says Julia, but I soon found out.  Why didn't he kill you? she asks.  Because I swore I would keep his secret, says Julia, and I have kept it.  I don't believe that--I know Barnabas too well, says Valerie, to think he would trust...  No, says Julia, you don't know Barnabas well enough--not now or ever.  Valerie stares at her--or ever?--you mean that I also will exist in 1970?--answer me, Julia!  I first met you in the spring of 1968, reveals Julia, you were married to Roger Collins and called yourself Cassandra.  Valerie hugs the journal to her breast--fascinating, she says, to think I will be alive, here, more than 100 years from now.  That isn't necessarily true, says Julia.  What do you mean? asks Valerie.  Julia explains--Collinwood is destined to suffer a great disaster in 1970, and Barnabas and I hope to alter certain events that will take place here and change the future--so if the future is changed, you may never get to Collinwood in 1970 (said with a great deal of satisfaction).  If history is changed, you may never get there, either, says Valerie--it's possible for both you and Barnabas to become permanent members of THIS time--and I care far more about that than I do about the future--what was your relationship with him in 1971? (should be 1970)  The best of friends, as we are now, retorts Julia.  Do you really expect me to believe that? sneers Valerie.  It's true, says Julia curtly.  I'll tell you what I believe, says Valerie--I think you have some kind of influence over his thinking, and you've decided he will never come back to me--possibly because you yourself are in love with him and you've poisoned his mind against me!  You're being completely irrational, says Julia.I trust my instincts implicitly, says Valerie, I have always known when I was in the presence of an enemy, and you are an enemy, and I will deal with you as such.  I know your powers, says Julia--why haven't you tried to destroy me before this?  It would have been too easy, says Valerie, and now that I know all about you, I'm very glad that I haven't, but I warn you, your time will come--for you, the future will change--I puh-romise you.  She leaves Julia to think that over.

Cemetery - crypt - Randall and Samantha alone stand beside Roxanne's coffin.  His hands on her shoulders, he offers, let me take you back to Collinwood with the others.  Let them wait, she insists--I want a final look at her to say goodbye--please, open the coffin for me.  He does.  She looks down upon he sister's lovely face and cries.  "I wanted so much for her--I wanted her life to be so different from ours--she had the capacity for happiness--why did this have to happen to her--why?"  Randall comforts her and closes the coffin, then leads Samantha out of the crypt.

In her bedroom, Julia opens her doctor's bag and drops in a hammer and stake.

Valerie, sitting by the fire in the Old House, holds up a clay doll--Julia, she says, you will not go now--I know what Barnabas wants you to do--but you mustn't go now, because you're tired, so very tired--you'll sleep--sleep, Julia--she rubs one of Julia's handkerchiefs (conspicuously marked with a J) over the doll's body.  Indeed, Julia drops off to sleep on her desk, head resting on her medical bag.

5:45 - Julia wakens and sees the clock.  Oh no! she cries, and hastily leaves.

Collinwood - Randall offers brandy to Samantha.  Brandy won't bring her back, says Sam sadly--we must face the fact she's gone, life must continue.  Valerie asks Samantha, who the young man was standing at the grave beside Mr. Trask?  You mean Mr. Stiles? asks Samantha bitterly.  If you don't want to talk about it...says Valerie.  No, you'll be meeting him sooner or later, says Samantha, and I had best prepare you for it--Gerard is the most devious man I've ever met--greedy, ambitious and selfish--he thinks nothing of using people for his own selfish ends, and the less either of you have to do with him, the better.  Who is Gerard Stiles? asks Randall.  He came to Collinwood six months ago, says Sam, to brink us news of Quentin being lost at sea.  And he's been here ever since? asks Randall.  Yes, says Samantha.  Why? her brother queries.  I'm afraid I'm responsible, says Sam--I thought him someone I could trust--but he turned out to be quite different from that.  Perhaps you should have that brandy after all, suggests Randall.  I can't imagine why Barnabas wasn't at the funeral, says Sam, he was so terribly fond of Roxanne.  Only Valerie spots Julia exiting the house, doctor bag in hand.  Valerie smiles smugly.

Julia enters Roxanne's crypt and opens her coffin.  Roxanne is gone, however.Hearing a sound behind her, Julia turns and sees Roxanne standing there, arms raised, fangs bared, homing in to attack her.

NOTES:  Valerie wants Julia to become Roxanne's victim, and she has made it happen, or so it appears.  Why she would want to subject Julia to such a grisly attack is just plain bitchy, but she knows it will really upset Barnabas.  She refuses to believe Barnabas and Julia don't have a romantic relationship, and damn, she isn't having that!

Roxanne does make a lovely vampire, doesn't she?

I didn't think the Gene Lindsey was a very good actor, rather wooden, in fact.  He does look like a Drew, though, I suppose.  Randall just seemed so unemotional.

Wait until Barnabas learns what Valerie did!  He's going to be so pissed!

Trask continues to try to discredit Barnabas, this time with Roxanne's brother.  Sounds like Randall at least has a steady head on his shoulders, and he's planning to stick around, too.  Interesting that Randall was in love with Joanna first, and Quentin apparently stole her away.  I can see why any woman would prefer Quentin to Randall, but still, it's pretty shabby to go after your brother-in-law's girlfriend.

Valerie found the stories about the future quite interesting, but I gather she no longer needs Julia and wants to do away with her.  Ang took childish delight in learning that she herself will be in the future, but she is determined to change Julia's, and she's already got a head start on that.  Brrrr.  Roxanne looked quite creepy as she attacked.

Love, Robin