1138 - Judah, unable to attack Gerard because of the conflagration, begins to cough.  Gerard escapes from the underground vault, leaving Zachary to burn below.

Collinwood - Barnabas, begs Julia, let me go to him!  Judah is dead, says Barnabas.  No, she protests.  Leticia told us so, says Barnabas.  No, pleads Julia, I can help him, I can save him!

As the flames surround him, Judah picks up the mask and places it over his face.

Judah is dying, Julia frantically tells Barnabas--I've got to go to him, I've got to!  She is about to leave, but suddenly shivers and cries out, "He's burning--his body is burning!"  Abruptly, she stops, calmer--it's over, she says--Barnabas, why did I help him?--why did Leticia and I do it?--"Judah's eyes, staring into his eyes", she says--"Barnabas, what have we done?"  You have managed to destroy Judah Zachary, says Barnabas, smiling.  Think how close we came to making him live--it's terrible! cries Julia--the control he had over me!  He must have had enormous power, agrees Barnabas.  You can't understand how I felt, she says--he was the most important man on earth to me--I had to do whatever he said--protect him, even from you, and I did it without remorse or guilt--he was my life and everyone and everything else was an intrusion!...it's over.  (Sounds like a similar hold to what Gerard had over Julia in 1995.)  We must find out for sure, he says, we must see for certain that Zachary has been destroyed.  If somehow he isn't? asks Julia.  I don't know what we're going to find out, he says, but we've got to go there now.  The two of them hurry out of Collinwood.

Cemetery - Smoke issues from the underground crypt.  Barnabas and Julia stand over it.  Judah must be dead, says Barn, or you would still be under his power.  She looks at him pleadingly.  "You needn't come with me," he assures her.  I want to, she insists.  They both go down into the vault.  It's a shambles, observes Barnabas.  An explosion, says Julia.  The place is littered with debris.  They find an arm sticking out from under heavy stones.  Julia takes a pulse.  Where was he when you left him? asks Barnabas.  His body was on the table, says Julia.  Then he must have been there when Leticia thought he died, says Barnabas--what could have caused the explosion?  The lightning must have done it, she says--I had a great deal of ether that just exploded--where's the mask?--it was on his face.  Probably under there now and just as well, says Barnabas.  I wonder if it ended this way before, asks Julia, or have we changed history, just by being here?  We will never know, will we? asks Barnabas.  We must tell Leticia, says Julia.  Yes, he agrees--and Desmond and Quentin, too.  Julia looks around, surveying the destroyed crypt.  The hand, covered with dirt, remains motionless.  Up above, Barnabas says, Julia, close the grave.  She pulls the ring; the cover slides over the opening.  So it is a tomb again, remarks Barnabas, Judah Zachary's tomb!  He smiles, pleased.

10:40 - Drew cottage - Roxanne reads a note from Barnabas: "My future of necessity must be with my wife, Valerie--in a way, that is fortunate for you--I can say no more--you will find other happiness, I'm positive, you have the ability to make any man happy."  Any man but you, Barnabas, says Roxanne bitterly.  She reads: "I write this with great sorrow, knowing that we will never be alone again."  Trask interrupts--I've been standing here a full moment, at least--you were so absorbed.  I was just trying to understand the male of the species, she says coldly.  I would willingly offer myself for your study, my dear, he says--how are you feeling?  I think I'd prefer to leave Collinsport, she says--I prefer the city, I could study there, become one of those new professional women.  There is one place for a woman, he says--sharing the life of the man who loves her!  (Oh, please!)  She grins--what of that woman? she asks--shouldn't she love her husband--what of the woman who cannot love?  I know this mood, says Trask, you are merely impatient with your life, angry over some small hindrance.  You're right, I AM angry, she admits.  She leans on the mantle and explains, when Samantha and I were young, we had tantrums when we didn't get what we wanted--and I haven't changed--merely grown older--but why am I confiding in you?  I am honored that you are, he says, delighted.  You mean that, don't you? she asks.  He nods, smiling.  Perhaps if Father hadn't forced us on each other, then everything would be different today, she says. Your father never forced me to want to see you, he assures her.  What if he had denied you that right? she asks--what if someone had told you that you could never see me again?--what would you do?  I would leave whomever the person was and come immediately to you, he says.  Oh would you? she asks. There is not the slightest doubt in my mind, he says--the moments I've spent with you have been the happiest in my life.  (He really doesn't seem such a bad guy here, very convincing, isn't he?)  And I always thought you were happiest in your chapel, she says.  You do not love me, I know, he says, but that could change--my mother honored my father, respected him--she said that love was a luxury few could afford. (That's a sad confession, Lamar.)  Were they happy? Roxanne asks.  They were truly devoted, all their lives, he said, they protected each other.  Would you protect me? she asks solemnly, even from myself?  If I thought that was what you needed, yes, he says.  Oh, I need it so! she says desperately.  Do you want to know the peace of a settled life? he asks.  I think I do, she says sadly, yes.  The warmth, the security of knowing you could count on me? he asks--to do anything in my power to make you happy?  But I don't love you, she reminds him. That is the romantic girl speaking, insists Trask, not the woman I see now.  She turns away.  You've changed, he says, I will not even ask why, the change only makes me more interested--you want everything to be different, I can make that happen.  Can you? she asks.  If you will marry me, he says.She looks at him.  This is the last time I will ever ask you, he says, I mean that, I am a man of my word--will you marry me?

Rose Cottage - Judah Zachary, says Gerard to himself, Julia and Leticia were making him whole again--what powers that man must have had!--why am I so sleepy?--a moment ago, I felt wide awake--here I am dependent upon the whim of a woman like Flora Collins--and yet all that was going on around me--I didn't even know it.  He falls asleep, and dreams of flames, of a voice telling him, find it, find it, find it!Gerard, standing in the fire in the crypt, asks the disembodied voice, what are you looking for--what are you doing here?  Aid!  Aid! says the voice.  For what? asks Gerard.  The voice begins to laugh at him.  Gerard awakens.  Of course! he says, and races to leave his room (which looks much like Quentin's).

Gerard returns to the underground crypt, vowing to "get it."  He pulls the ring and opens the panel.

Julia sits by the fire at Collinwood, staring into the flames.  Barnabas enters--Quentin and Desmond agree with me, Julia--it's not wise to let the police know about this now.  Because Leticia and I were involved? inquires Julia.  Zachary is dead, says Barn--there will be no more murders--I think it wise we spare the family as much unpleasantness as possible.  Trask enters-- good evening, he says--it's a cold, wintry night--Julia, is Samantha home?  She is, says Julia, upstairs.  Then I shall just warm myself for a moment by the fire, he says, looking happy--unless, of course, I'm disturbing you.  Not at all, says Julia.  I heard you use the word unpleasantness as I entered the room, says Trask, I trust there has not been anymore unfortunate incidents at Collinwood.  Nothing to concern you, says Barnabas.  I am very much concerned with everyone in this house, says Trask--I feel a growing kinship with them, yes, indeed.  Barnabas and Julia look puzzled.  And how is your beautiful wife? asks Trask, rubbing his hands together with satisfaction.  Very well, thank you, says Barnabas.  Such a surprise to us all that you had a wife, remarks Trask.  Julia looks at Barnabas.  Most men do, points out Barnabas.  Yes, says Trask, I have always regretted not having entered the holy state of matrimony, until tonight, at least--now I'm glad I waited.  Oh? asks Julia.  Well I'm sure it will be of no surprise to you--you both, of course, will be invited to the festivities--nuptials require a certain amount of levity, which has always been foreign to me (oh, he'll be a fun hubby), I've never been one for social occasions, but I shall change--we have not actually set a date for the wedding, but it will be soon, I'm positive of that.  He grins--she has accepted my dear mother's engagement ring, says Trask.  Who are you marrying? asks Barnabas.  I assumed you'd guessed, says Trask, you're both quite aware of my devotion to my Roxanne.  Barnabas gets it, and isn't happy.  Trask grins at him--aren't you going to congratulate me? he asks.When Barnabas is silent, Julia says, it does come as a surprise, but we both hope you will be very happy.  Thank you, says Trask, we intend to be--yes, it is a happy night, one I have long looked forward to--I am a fortunate man.  Yes, agrees Barnabas miserably, you are a most fortunate man.

Crypt - Gerard looks around, searching through the devastated crypt.  He finds the arm sticking out, kneels and holds the hand for a moment.  He rises and begins pushing debris out of the way.  Finally, a greedy grin on his face, he spots the mask, covered with stones and dirt.He lifts it from the face of Judah Zachary, who opens his eyes and gazes directly into Gerard's.

NOTES:  Judah Zachary isn't dead, not quite yet.  Gerard thinks he's gotten an invaluable artifact, but what is he going to have to pay for it, ultimately?  Will the same fate that befell Desmond happen to him?

Roxanne, deciding Barnabas is lost to her, makes a bad decision--to accept Trask's proposal.  He has a good job, but somehow, one senses that his sensitivity will disappear once they are wed, especially when he gets her alone in the bedroom.  I fear for her happiness if she marries him, as does Barnabas, but his hands are tied, to his dismay.  Roxanne is bitter and desperate, but to do this?  I personally could never marry a man who doesn't understand levity.


1139 - Beaming, thrilled to be rubbing it in, Trask assures Barnabas, it is true--Roxanne has agreed to marry me, of her own free will, and I can assure you the wedding will take place very soon--you will be invited of course, digs Trask--and you, too, he tells Julia--I'm heading up to break the happy news to Samantha.  Trask leaves.  I never thought Roxanne would do a thing like that, says Julia.  I'm going to see her, insists Barnabas--I can't let her go through with this, she'll be ruining her life.  You can't, says Julia, remember your agreement with Angelique.  She'll never find out, says Barnabas.  He starts to go, but Julia grabs his arm and warns, she will, and she will carry out her threat to Roxanne.  Someone's got to stop her, insists Barnabas--will you go to her?

An ecstatic Gerard, now in possession of the mask, returns to his room at Rose Cottage.  He hugs the artifact, caressing the gold.  He's brought back the head of Judah Zachary, too, which is back in the glass case.  Open your eyes, he orders the head, just like you did down in the vault--show me what powers you have.  The eyes remain closed.  Open your eyes! commands Gerard--you are in my hands now, and all your secrets will be mine!  Did I just imagine the eyes were open and staring at me? he asks himself--no, I saw him look at me, I felt the strength within him--and I'm certainly not imagining this--he picks up the mask again and places it reverently on his night table, then turns off the lamp and lies down.  Between the two of them I will be able to have all the power I ever wanted! he exults.

Julia has a heart to heart talk with Roxanne at the Drew home--are you in love with Trask? she asks the younger woman.  He always said I would learn to love him, she says, sounding defeated.  Are you doing this because you feel Barnabas has rejected you? asks Julia.  That's a curious thing that he's done, says Roxanne, sending you to face me instead of coming himself.  You must try to understand, says Julia--Barnabas and Valerie have a very unfortunate relationship--he still cares about you as he always has.  (I think that was a mistake to say, Julia).  Did he tell you to say that? asks Roxanne.  No, replies Julia, but he told me how he felt--he wants you to be happy, and you won't be happy if you marry Trask--but you know that, don't you?--promise me you'll think about the step you are about to take.  I will, promises Roxanne--thank you for coming to see me.  Roxanne sits down to think.

Collinwood - So you think you made some impression on her? asks Barnabas.  Yes, I'm sure of it, says Julia--I think she was grateful to have someone to talk to.  Good, says Barn--let's hope Mr. Trask has a major surprise in store for him.  I'm getting some tea, then going to bed, she says--is there anything you want me to do?  No, he says, I'll just stay here alone for a while.  She leaves the drawing room.  Barnabas settles by the fire.  Hearing the front door open and close, Barnabas goes to see who it is--Roxanne.  "Barnabas, I've decided," she says excitedly, "I'm not going to marry Lamar Trask!"  He quickly closes the doors--you can't stay here, he says urgently. You wouldn't come to me so I came to you, she says--I love you, Barnabas!  Roxanne, please! he begs.  And you still love me, don't you? she says, her hands on his shirtfront.  You must leave here now, he says.  If you still love me, we can conquer anything, she vows, there's nothing on earth that can keep us together or apart--please, don't you understand?--we won't have anyone stand in our way!  (She is wearing a diamond engagement ring.)  I wish this were possible, he laments.  Barnabas, she says, we'll MAKE it possible--I believe in the power of love, I believe in it very deeply--she touches his face--tell me that you love me, please, my darling, I want to hear it--tell me!  Oh, Roxanne, Roxanne, I love you, he says, and kisses her.At that moment, of course, Roxanne still in Barnabas' arms, Angelique walks into the drawing room.

Well, what have we here? asks Angelique.  It isn't what you think it is, says Barnabas hastily.  You can do better than that, says Angelique.  It's exactly what you think it is! says Roxanne proudly.  Let me settle this, suggests Barnabas softly.  Be quiet, Barnabas, I think the young lady's trying to tell me something, says Angelique.  He's never loved you--never! proclaims Roxanne--he loves me and I love him.  How deeply touching, says Angelique.  Roxanne, you must stop, warns Barnabas.  No, says Ang, go on, Roxanne, let's play out this tawdry little scene to its conclusion.  I'll do anything I can to make him happy, vows Rox, but I'll never give him up.  Leave here now, let me talk to her alone, Barnabas begs Roxanne.  All right, she agrees, but my mind is made up--and nothing can change it, she viciously informs Angelique before storming past her.  Barnabas watches her go, then steels himself as he turns to face Angelique.  Listen to me, he says, you must not think it anything more than a temporary emotional outburst--if you do, you'll be making a great mistake.  I made a great mistake when I trusted you, she says, but I've made that mistake before, haven't I?  I kept my word to you, protests Barnabas, I didn't go to her or send for her, she came to me--I promise, she will not come and see me again--you mustn't do something we'll both be sorry for.  Angelique (who is really gorgeous these days), turns away from him and closes the doors, leaving Barnabas by himself in the foyer.  Julia joins him, setting a tea tray down on the table.  You heard that? asks Barnabas.  Yes, says Julia.  I don't know what to do now, he says.  The question is, what will SHE do? wonders Julia.  Barnabas doesn't know.

Roxanne returns home.  Trask awaits her.  I've been looking all over for you, he says, where have you been?  I went for a walk, she says.  Oh, he says, please sit down, my dear, I have been giving considerable thought to our wedding plans.  She springs the bad news on him--there isn't going to be a wedding.  I beg your pardon? he asks.  I've changed my mind, says Roxanne--I can't marry you--sorry, I don't know what else to tell you.  You might tell me who persuaded you to change your mind, he says testily.  No one persuaded me, she retorts, annoyed at the implication she has no mind of her own.  I find that difficult to believe, he says, where were you just now, you obviously weren't just out for a walk.  I went to Collinwood, she says defiantly, to see Barnabas Collins!  What did you go there for? he asks.  You might as well accept the fact that I'm in love with him, Lamar, nothing can change that!  His eyes stormy, he says, you can't possibly be in love with him--I'll never believe that--he has some kind of strange hold over you!--I will find out what it is!

Angelique sits by the fire, clay Roxanne doll in her hands.  She speaks to it: "If you want Barnabas so desperately, my dear Roxanne, then you shall have him--but only on my terms."  She readies two pins, hovering them over the doll's throat.

You didn't reach this decision voluntarily, Roxanne, fumes Trask--Barnabas Collins has cast some evil spell over you!  Don't you see? asks Roxanne--I'm doing you a favor by not marrying you--I never could love you, never.  It's monstrous what he's done to you! rails Trask.  He's done nothing to me, says Roxanne.  I know,  there are dark secrets in his life, says Trask.

We see Angelique's pins moving close to the doll.

How can I make you understand? demands Roxanne, I'm not marrying you because I hate you, I've always hated you!  She suddenly grabs her neck.  What's wrong? asks Trask.  Leave me alone, she says, moaning with pain.  I demand to know what he's doing to you! says Trask.  Get out! she cries.  I'll go, he agrees, but I intend to find Barnabas Collins and get to the bottom of this--he leaves.  Roxanne, her hands covering her throat, struggles to move.

Trask bursts into Collinwood, screaming, "Barnabas Collins, where are you?"  Julia comes downstairs--what are you doing? she asks.  I demand to see your brother, where is he? demands Trask.  I don't know, says Julia--is anything wrong?  I intend to find out what he's done to Roxanne, says Trask--she's been irrational ever since she left here--and just a few moments, ago, she seemed to be suffering great pain.  Take me to her at once, insists Julia, reaching for her cloak.  Only Barnabas can undo what he's done, insists Trask--where is he?  I don't know, repeats Julia, but if you care about Roxanne, take me to her right now.  They leave together.

Roxanne lies on the sofa, blood dripping from her throat.  She weakly turns her head.

Julia and Trask enter the house.  Julia kneels to check on Roxanne, who murmurs, "Barnabas," then dies.  She's dead, says Julia.He kneels beside her and closes her eyes (which weren't open in the first place).  He leans his head down, seemingly on her bosom, and turns dark eyes to Julia.  Barnabas Collins will pay for this, he snarls, he's exerted an unnatural influence on her life--when I first met him, I instinctively knew there was something evil about him--something dark and sinister as the pits of hell!--someday, I will know his secret!

Collinwood drawing room - Roxanne, dead? Barnabas asks Julia, I had hoped that Angelique would understand, but of course I was a fool to think she would--if there was only some way to destroy that woman!  You know that's not possible, says Julia--the thing to worry about is the aftermath--after Roxanne is buried she will rise.  Yes, says Barnabas sorrowfully, and live a life of darkness.  Unless we do something to prevent that, says Julia.  We must put her to her final rest, agrees Barnabas, and spare her the misery of the living dead.  It's almost dawn, says Barnabas, there's no time to make plans now--meet me at dusk, then we'll decide what to do.  He leaves.

Rose Cottage - Gerard sleeps, the Judah-in-a-box across from him.  He awakens, musing to himself, I slept all night, yet still feel tired--I feel as though I haven't had any sleep at all.  He realizes the mask is missing form his bedside table, and finds it's been relocated next to Zachary's box.  I put it on the bedside table! he tells himself, how did it get over here?--no one could have come in my room, I locked the door.  He takes the mask in hand and tries his door, which is still locked.  He finds Zachary's journal on his desk--but that was in the cabinet downstairs!  He sits at the desk, opens the journal and finds a new entry, in HIS handwriting.  "My body has been destroyed--I know it can never be replaced, but I will live again."  The handwriting has changed, notes Gerard--it was mine, but it isn't now!  He looks back in the journal and sees it's the same handwriting, but on an earlier entry.  "I will live again with help from one who craves the power I can bestow upon him," reads Gerard.He closes the journal and goes to the Zachary's head, asking, what does the writing mean?--tell me!--tell me what is going on here!  The head is silent.

Gerard continues to entreat the head, tell me what the writing in the journal meant--how did the journal get into my room?--it's not my imagination--masks and journals don't usually move around by themselves--what is going on around here?  There's a knock at his door.  He hastily covers the head and moves a changing screen in front of it, then puts the mask and journal in the desk.  He unlocks the door.  It's Reverend Trask--who were you speaking to a moment ago? he asks.  I was having a nightmare, says Trask.  Nightmares are often the distorted reflections of a troubled conscience, says Trask, sounding very like Daddy Trask.  Yes, says Gerard, everyone has them now and again--what do you want?  I have sad news, says Trask--Roxanne Drew is dead.  I'm sorry, says Gerard, I knew you were quite fond of her.  More than that, says Lamar, she was to be my wife--I believe her death was caused by an act of sorcery.  Do you have any substantial proof about that? asks Gerard.  At the moment, I have only my unerring instincts, says Trask, but I feel the presence of an evil force--I believe Barnabas Collins caused her to die.  How? asks Gerard.  I was with her last night, explains Trask, when she was suddenly stricken--for no apparent reason the wounds on her neck re-opened and she began to bleed--something or someone caused that to happen.  And you think Barnabas Collins is responsible? asks Gerard.  Yes, says Trask--what we must do now is intensify our investigation into his background--I have seen your work, the seance at which you called forth my father's spirits was proof to me of your special abilities--it was amazing, indeed!--together, you and I can learn what his secret is, before he victimizes others--I trust I can still count on you.  Yes, says Gerard, of course.

Gerard returns to Collinwood, where Julia is having tea in the drawing room.  Have you seen Leticia around? he asks.  No, says Julia, I haven't seen her this morning--isn't she at Rose Cottage?  If she were, asks Gerard, do you think I would be here?  Are you upset? asks Julia.  I'm only upset, says Gerard, barely controlling his impatience, that I can't find Leticia, I need her.  Why? asks Julia.  Are you writing a book, too, Doctor? He asks sarcastically.  I'm terribly sorry, she says, if I see Leticia, where should I tell her you'll be?  I don't know where I'll be in the future, he says distractedly, all I know is I have enough time here for one drink--he pours some booze.  Julia rises from the sofa and watches him down the alcohol.  Angelique enters and sees Gerard--I don't believe we've met, she says.  He introduces himself to her.  How do you do? she says.   He stares at her.  Is something wrong? she asks.  Your name was Miranda, he says.Angelique's eyes widen in astonishment.

NOTES:  Who is Miranda?  Why does Angelique/Valerie seem so astounded at being referred to by that name?  Why is Gerard REALLY so perturbed?  Surely it's not Roxanne's death that has him rattled, but the odd goings-on with the head and the journal?  Is he now becoming possessed by Judah, too?

An angry Angelique, refusing to listen to reason, went all the way, killing Roxanne and putting her at risk for becoming a vampire.  Everyone can't figure out how Barnabas was Roxanne's sire if he was still in his coffin the first time around, but we can see what happened in this version of the timeline--Julia released him from the coffin, he bit Roxanne, and, with or without Angelique's interference, she became a vampire and lived all the way through 1970.  It's too bad Roxanne wasn't so reckless; if she hadn't insisted on going to Barnabas, she wouldn't have been caught in his arms.  And come to think of it, had Julia not told her Barnabas still loves her, Roxanne wouldn't have decided not to marry Lamar (whom she HATES!) and wouldn't have ended up dead.  Tragic story.  Can't really blame this one on Barnabas; he tried to send Julia to fix it, but she made the mistake.

Lamar is such a hypocrite!  The apple doesn't fall far from the tree!  To tell Gerard that Roxanne was going to be his wife when he knows she had changed her mind and, indeed, said she hated him, was really rotten, especially since the poor girl isn't there to refute his claim.

Will Barnabas and Julia do away with Roxanne, thus removing her from 1970?

Good episode here.  Angelique is just being so bitchy, it's fun to watch her manipulate, plot and destroy.  By the way, are you aware this Angelique is straight from 1795/96, never was Cassandra, never was Mrs. Rumson?  As far as she's concerned, she and Barnabas are married 44 years already!

Love, Robin

1133 - Quentin examines the letter, puzzled.  Trask enters--am I disturbing you? he asks--I hoped to find you at home but was afraid I would not--I had intended to come earlier, but poor Mrs. Wattleford had been called to the Great Beyond and my services were needed.  Impatiently, distracted, Quentin asks, do you sometimes work at Rocksbury?  Yes, says Trask proudly, my professional reputation is not limited to Collinsport.  Did you ever perform services for a woman named Joanna Mills? asks Quentin.  Trask thinks that over, repeating the name--it's not an unusual name.  It would have been within the last year, says Quentin.  Yes, says Trask, there was a Mills--Frank--he was killed in an accident near Cornith Bend--it was a most unusual accident.  I'm not interested in Frank, but Joanna, says Quentin.  No, says Trask, I think not, but actually, I did not come here to discuss the dead, but the living.  I can't give you too much time tonight, says Quentin, hurrying for the booze.  Perhaps you will change your mind when you hear what I have discovered, says Trask--as you may or may not know, I am most interested in the original Barnabas Collins.  Quentin drinks.  I am convinced he had something to do with the disappearance of my late father, adds Trask. What makes you feel he's still not alive? queries Quentin.  I've spoken with my father from beyond the grave, says Trask.  Quentin raises a skeptical eyebrow (yet he's supposedly so interested in the occult). Yes, says Trask, his death will be avenged!  What has this obsession to do with me? asks Quentin.  I'm leaving no stone unturned in finding out what happened on this estate in 1797, says Trask--I'm afraid my news may discredit some members of your family--it seems there is no record of the death of a Barnabas Collins in London in 1821, the year given me by his daughter, Julia.  Then he died somewhere else, suggests Quentin impatiently.  She specifically said London, says Trask.  She was wrong, obviously! insists Quentin.  You're a very trusting man, says Trask, too trusting, perhaps--for example, would it interest you to know there is no record of the present Barnabas Collins owning a house in Cadogan Square?  Obviously he sold it because he has no intention of going back to England, says Quentin.  You won't even admit to the possibility the man is an impostor? asks Trask.  If so, laughs Quentin, he looks amazingly like his father--as you can see from the portrait we just took out of Stokes' room and hung in the foyer.  Yes, says Trask, he looks almost too much like his father.  Mr. Trask, objects Quentin, I have absolutely no idea what you mean by that, and as fascinating as I find all this, I'm disturbed by the idea this all has something to do with the rivalry between you and Barnabas for the hand of Miss Roxanne Drew.  Whatever research I'm doing is on behalf of a great, illustrious family! insists Trask--your own--and I'm completely capable of handling my own relations with Miss Drew.  I'm very glad to find that out, says Quentin, hitting him in a friendly way on the arm, but I've got to go--and can I walk you to your carriage?  No, says Trask, I want to speak to your dear wife.  I'll let the servants know and they can tell her immediately that you're waiting, promises Quentin.  He exits through the kitchen door, first hitting his head hard (ouch) on the doorway.  Trask goes over to scowl at the portrait of Barnabas on the wall.  Angelique spots him and is astounded (and probably annoyed) by his resemblance to someone she once knew and despised.  Trask turns, sees her and asks, do we know each other?  She takes a deep breath--you certainly do look like someone I used to know, she says.  He introduces himself.  I'm Valerie Collins, she says.  Another new member of this ever-increasing family, remarks Trask--I wonder we've not met before.  You've probably met my husband, Barnabas, she says.  Trask's eyebrows nearly meet in astonishment.  You're married to Barnabas  Collins? he asks--I had no idea...  "...that he was married?" she finishes.  He nods, stunned.  No one did, it seems, she says, and turns away as if to cry.My poor girl, he says, reaching out comforting hands.  She apologizes--I shouldn't have said that--it's just difficult sometimes, she says--I hope you forgive me.  Of course, he says, I have just remembered a most urgent business appointment in the village--please tell Mrs. Samantha Collins that I'm sorry I could not wait.  Of course, she says.  You can't imagine what a great pleasure it has been for me to meet you, he says, bowing, smiling, and takes his leave, anxious, no doubt, to spill the beans to Roxanne.  Angelique shakes her head a little, probably in disbelief that here's yet another Trask to plague her.

Cemetery - Quentin finds Joanna's grave--"Born January 1, 1815, died November 12, 1839--the candle burned brightly, then died."Then it's true, he says aloud, she's dead--he holds up the letter and crumbles it--how?--how?

Drew home - Trask is angry to find Roxanne leaving just as he has arrived.  I didn't expect you, she says--I promised Samantha I'd spend the evening with her.  She ties on her cape.  At Collinwood? he asks.  Of course, she says.  Does Barnabas Collins know you'll be there? he asks.  I have no idea, she says.  You've been seeing him, he says.  He's been very kind to me, she says.  Has he indeed, asks Trask--wait until you hear how kind he has actually been.  What are you talking about? she asks.  His secret life, says Trask.  Have you invented one for him? she asks mockingly.  I did not have to go to that trouble, my dear, he says, it seems all the time he was smiling at you, he was concealing one very important fact about himself--he's married--I have just met his wife.  Roxanne is devastated.

I don't believe you, insists Roxanne--Barnabas Collins is not married.  Oh, but if you could have seen the anguish in his dear wife's eyes, says Trask--it seems he neglected to tell anyone of his status--I told you when you first met that man there is evil in his face.  I don't need a lecture on the subject, she assures him, but why don't you tell father about it?--I'm sure you want to--"Good night, Lamar!"  She heads for the door.  Trask calls to her--you're not still going there? he says.  Samantha is still expecting me, she says, and leaves.  He chases after her, insisting she can't leave, but she's gone.

Angelique sits by the fire in the Collinwood drawing room.  She hears the front door open and goes out to greet Barnabas.  You've come to call! she says cheerily. On Quentin, he says, turning away from her.  You'll have to settle for me, she says--you and I still have a great deal to discuss.  I think we said everything we can say to each other, he says.  No, says Angelique, you still haven't told me about my new sister in law, Julia.  He turns to face her.  I never knew I had such a CLOSE relation, says Ang sarcastically--I knew you had a sister--Sarah--but she's dead, remember?  You caused her death, Barnabas reminds her harshly--I will never forget it.  Perhaps, says Angelique, I will be equally kind to Julia.  Angelique! he explodes.  Valerie, she corrects in a hushed voice--you mustn't give me away--you'll give yourself away as well.  I'm quite aware of that, he says testily, walking away from her again.  So, she says, you have found yourself a sister--where did you find her, the woods?  (Bitchy, bitchy)  Make up any story that will satisfy you, advises Barn.  Nothing will satisfy me except the truth, she says--it seems she came here to meet you, saying she received some kind of note--but it was several days before you arrived and she became quite concerned--where were you hiding?--does she know what you are?  He turns to look at her.  I wouldn't trust her if I were you, continues Angelique. I do implicitly, Barnabas assures her.  Are you in love with her? demands Angelique.  She's a friend, that's all, says Barn.  Where did you get such a good friend, hm? asks Ang--where did you get such a good friend, and how long have you been out of the coffin?  I don't think it's wise to discuss these things here, says Barnabas.  Do you plan to answer me? she asks.  No, he says.  DO you think that's wise? she inquires, her face very close to his.  So you intend to threaten Julia? he asks.   Is she in your power?--do you plan to make her what you are? asks Ang.  No, says Barnabas, absolutely not!  Then you are not in love with her, says Ang triumphantly, which means she is in no danger whatsoever.  Can I have your word for that? he asks.  Of course you can, she promises--that is, if you decide to have a cup of tea with me--you're going to wait for Quentin, anyway, perhaps he'll be here by then--I'll get the tea.

Roxanne enters Collinwood.  Barnabas calls her name.  Excuse me, Mr. Collins, she says formally.  Mr. Collins? he repeats--Roxanne, what is it?  Hurt, she asks, is it true?--"Are you married?"  Yes, he admits, shame-faced, it is--I am.  Her mouth drops open, then closes.  I must go to my sister, says Roxanne.  Forgive me, begs Barnabas, there's no possible way for me to explain this.  She agrees--there's not, is there?  I've enjoyed your company so much, he says regretfully, we've had such understanding.I thought so too, she says, but I was terribly wrong.  Angelique appears with the tea tray.  Barnabas gulps and says, "Roxanne, this is my wife--Roxanne Drew, he says.  How do you do, Miss Drew? asks Angelique.  Mrs. Collins, acknowledges Roxanne, looking very depressed.  Won't you stay and have some tea with us? asks Ang.  No thank you, says Roxanne, sounding on the verge of tears, my sister is waiting for me.  She hurries upstairs.  Angelique looks after her.  Barnabas' forehead is creased with misery.  So, says Ang, SHE is the one!  Barnabas looks at her.

Don't bother trying to deny it, says Angelique--it's obvious.  She races into the drawing room.  You're imagining it, insists Barnabas.  I've seen that look in your eye before, says Ang, setting down the tray with a bang--I've seen you with Josette!  I barely know Roxanne, says Barnabas, she's only been here three or four times since I've been here.  But you have been to "visit" her, says Angelique, haven't you?--and if I pull that lace from around her neck, what will I find there--wounds?--you are so transparent, to me at least--I knew it had to be someone, it was just a matter of time until I found out who it was.  You must leave her alone, insists Barnabas, you must do nothing to her.  A loving husband has a right to give his wife orders, says Ang, and you are not a loving husband!--I don't think I care for my tea now--she runs upstairs.  She's nearly to the top when Barnabas, standing at the foot of the steps, begs, "Promise me!"  I will promise you NOTHING! she spits back, and runs to her room.  Barnabas, his face twisted with unhappiness, greets Quentin, who has arrived home.  Barnabas stands by the fireplace, his back stiff.  Is something wrong? asks Quentin.  When Barnabas doesn't reply, Quentin closes the double doors--have you had any reports of the headless man? he asks.  No, says Barnabas.  Then what is it? asks Quentin.  I came here to discuss it with you, says Barnabas, but...  Is it your wife? asks Quentin.  There's little I can do about her or this murder, says Barnabas, then points to another note addressed to Quentin that has been pushed under the door.  Quentin takes it, looks at the handwriting, exclaims, "Joanna!"  He opens the doors violently, hoping to catch whoever dropped the note, but no one is there.  Leave me, Barnabas, he orders.  What's wrong? asks Barnabas.  Please just go, says Quentin.  Barnabas exits the drawing room.  Quentin opens the note, which says "I cannot live without seeing you tonight--I will be at the oak tree--I will wait, please come to me, it has been so long since my eyes saw yours--tonight at last, my arms will hold you--Joanna."  (Tie a yellow ribbon 'round the old oak tree.)

Roxanne returns home.  Trask is there, gloating, you didn't stay very long at Collinwood.  Dejected, she closes the door--Samantha was busy with the new governess, she says.  Did you meet Mrs. Barnabas Collins?--do you believe me now? he asks.  Yes, answers Roxanne sadly--she's very beautiful.

Angelique sits by the fire in spell-casting mode.  Roxanne Drew, she intones, you wanted to be Mrs. Barnabas Collins--I could see it in your eyes--but he is MINE--and he shall remain mine.  She holds up a clay doll.  Oh, my dear Roxanne, you must pay for loving him--she sets two pins in motion toward the doll's throat.

Of course she is beautiful, my dear, says Trask, rubbing in Roxanne's hurt, what did you expect?--Barnabas Collins doesn't switch... Roxanne suddenly grabs at her throat, crying out in pain.What's wrong? cries Trask.  She collapses to the floor.

Trask kneels to check on Roxanne.  He finds the wounds in her throat have been re-opened, blood dripping thickly from them.  Roxanne! he cries.

Barnabas enters the drawing room--Quentin, he says gently, I don't know what this is all about, but if there's anything I can do to help...  I once had a mad scheme, says Quentin--at least others thought it was--that I could build a staircase--not the usual kind--but one that could, with each step I went, go further and further from the time we live in, now.  Barnabas is shocked.  A stairway, says Quentin, that could lead us to other times--the future, the past--there are theories on time as a dimension in itself--I've given it a lot of study and experimentation, and I believe a person could go back and change what has already happened--I don't know how to explain it adequately, but I feel so strongly about it--I just have the feeling everything could be so different--he chuckles sadly--the staircase is not yet built--I have to go, he says.  Where? demands Barnabas--you must let me help you!--you must tell me what the trouble is--Quentin!  But his cousin is gone.

Quentin, in the woods by "their" tree, calls, Joanna are you here?--how many times we met here--how often I waited--sometimes there would be a note.  Quentin checks a hole in the tree and finds a note--she was here, he realizes, reading it--"I don't understand why you didn't come, I waited so long--Joanna."  She's alive! he exclaims.

Collinwood - Trask reports Roxanne's collapse to Barnabas--I must get back, says Trask, Mr. Drew simply wanted me to inform Roxanne's sister.  What could have happened to her? asks Barnabas.  The doctor doesn't understand, says Trask--the wounds from that vicious animal were nearly healed, and yet they opened again and he's unable to stop the bleeding--she's very weak.  She could have died, realizes Barnabas.  Trask raises his eyes to heaven--we shall pray that that does not happen, he says.  Barnabas ushers Trask to the door--I'll send my sister over to give her a treatment right away, he tells the undertaker.  Angelique watches from the landing.  Barnabas spots her--you're responsible for the wounds re-opening in Roxanne's throat again, he accuses--where's the doll and pins?  Safely hidden, Angelique assures him.  You must get the doll and remove the pins, he insists.  So Roxanne may live? asks Angelique sarcastically.  You must, says Barnabas.  Why--because you love her? sneers Ang.  Because she has done nothing wrong! cries Barnabas.  Angelique looks at her reflection in the mirror, smoothing her hair, and asks, "Why do you want her to live?--why don't you want her to die?--then you could spend eternity together."   No more, says Barnabas.  You love her that much? asks Angelique, surprised--then her fate lies entirely in your hands.  What must I do? he asks, already knowing.  "Come and live with me," she says, "as man and wife, because that is what we are!--and because that is what I want--and if you do refuse, then she will die--from YOUR attack."  She will become as I am, he says sorrowfully.  "Yes, a vampire, she says--make up your mind, Barnabas--now!"

NOTES:  Angelique, now known as Valerie, is staking her claim, enforcing her demands, making sure Barnabas can't have Roxanne--unless it's as a vampire, which isn't what he wants.  You've got to hand this gal an award for being bitchy and going after what she wants.  I always get chills when she orders him to live with her as man and wife--because that is what they are.  I guess we can argue that, given that they both died, and "until death, yada yada yada"--but she won't brook any argument!  I just love how spiteful she is, and how she works to make Barnabas dance to her tune!

You can say anything you want, but the coupling of Angelique and Barnabas held this show together, at least IMHO.  The fireworks between these two never cease to keep me riveted.  These actors brought out the best in each other.  She gives him an ultimatum and he has no choice but to buckle.  I always thought of her as a dominatrix during much of their relationship.

Who is gaslighting Quentin?  He knows Joanna is dead, he's seen her grave, and Mrs. Purdy assured him it was so.  Who is sending him these notes, driving him crazy--and why?

So Quentin already has the staircase through time in mind!  He says he hasn't built it yet.  I gather he's going to during this storyline, right, since we know it actually exists in 1970?

Love these little domestic dramas--Quentin has a wife he doesn't love, Barnabas has a wife he doesn't love, and poor Roxanne's heart has been broken.  Reminds me of when Angelique appeared in 1897 and destroyed Rachel Drummond's hopes of a life with Barnabas in a similar manner.

Trask enjoyed bringing Roxanne the news that the man she loves is married.  He gloated over it!  If he really cared for her, he'd understand that she needs a man she can love--and Lamar isn't it!  I sense he just is lusting for her and would enjoy having such a pretty young thing in his bed.  I love Lacy's performance as Trask, but I hate that man!


1134_1135 - The body lies in the crypt as Julia prepares to join it with its head.

You can't do this to Roxanne, insists Barnabas--she has done nothing to you.  I said she would die from YOUR attack! says Valerie, not from anything I will do.  Angelique, please! he begs.  Valerie, Barnabas, she corrects--you must remember to call me Valerie--I don't want the embarrassment of being seen by the rest of the family.  She closes the double doors--what is your decision?  Listen to reason, pleads Barnabas.  I want what I know I want, she says.  Let me at least see her and talk to her, says Barn.  I've known you a long time, she reminds him, you double crossed me more than once, betrayed me.  I guarantee that I will not betray you this time, he says.  Perhaps not, she agrees, picking up and looking at a feather pen, at any rate, to avoid unpleasantness, I think you should write your dear Roxanne a letter--don't go and see her--she throws the pen on the desk.

The crypt now looks much like Julia's lab in the Old House basement once did.  She takes a notebook and fiddles with equipment.  She hears someone coming down--Leticia, bearing a bundle, who praises all the work Julia's done--and in such a short time, too!--what's the mirror for?  It reflects more light, says Julia--you've been gone a long time.  I had my job cut out for me, says Leticia, you made sure of that--I've got blisters on my feet.  Julia closes the overhead panel--was anyone in the village was suspicious?  No, I know how to handle things, Leticia assures her.  Julia sets electricity running through some wires, entrancing Leticia, who asks, how did you learn to do these things?  You wouldn't know even if I explained it to you, says Julia.  (I don't know, either.)  You're a sorceress, says Leticia, you could make a fortune in the music halls, you know that?  Julia pours something into a beaker--where are the medical instruments?  I meant to tell you about that, says Leticia--there's a very nice young man who's going to bring them to Rose Cottage.  Julia expresses concern about that.  I couldn't very well have him come here, points out Leticia--no need to worry, he won't ask any questions, I made sure of that.  How? asks Julia.  I gave him my nicest smile, says Leticia, smiling lasciviously--I said I was Dr. Collins' assistant, and if he ever got sick, I'd take good care of him, you know what I mean?  You must go immediately and get the surgical instruments, insists Julia--and hurry, because I have to get back to Collinwood before Barnabas wonders where I am.  Leticia leaves the crypt; Julia again closes the panel with a chain.

Rose Cottage - Leticia examines the instruments.  Gerard enters--where have you been? he asks--I've looked all over for you.  Round and about, she says, trying to keep my mind occupied, as it were.  I suggest you go upstairs and occupy your mind with Flora, he says--she is writing a new book in which you are to be the main character--she can't finish it without you--now get on up there!  I'm sorry, I don't have time right now, says Leticia.  What do you mean, you don't have time? he demands, grabbing her arm and swinging her around.  I mean just what I said, she says, I have something important to do.  He puts his hands on her shoulders--Flora is our last chance, he says--my plans have changed here in Collinwood, and I'm not going to do anything to get her upset.  No one wants to do that, agrees Leticia--I'll get to Flora when I have time--go up and turn on your charm, that ought to sort her out.  He follows her to the door--where are you going?  Out! she answers--we've each got our own lives to live, don't we?  He calls after her, but she's gone.

Julia sits on the sofa at Collinwood, staring straight ahead as Barnabas explains, I must do what Angelique wishes--I must--she has caused Roxanne's wounds to reopen, and when she dies, she'll become a vampire--what am I going to do?  Noticing how distracted she is, he asks, is something wrong?  No, she says, I was just trying to think of what we could do.  It's no use, says Barnabas--if we don't do something soon, she will die.  He goes to the desk and picks up the feather pen.  I have no choice, he says--I'm going to write Roxanne and tell her goodbye.  He sits down at the desk to do so.  Julia rises from the sofa--I'll be back in a few minutes, she says, I must go up to my room and get something.  She meets Angelique in the foyer, where they trade angry glances.  Angelique goes into the drawing room--I see at last you've decided to come to your senses, she says--I'll go pack my things.  Angelique, he says, what about Roxanne?  The bleeding will stop as soon as she receives that letter, she promises, smiling hugely--you don't know how much I look forward to living at the Old House again.  Resigned, Barnabas put his signature on the note.  Abruptly, he runs over to throw it into the fire, but realizes Angelique has him by the short hairs and changes his mind.

Julia finds luggage in the foyer when she returns.  Angelique exits the drawing room--are you feeling curious, Julia? she asks.  Are you going to the Old House? asks Julia.  Yes back where I belong, says Ang--I was wondering, Julia--you don't mind if I call you Julia do you?  Not at all, says Julia with a sickly smile.  Is it possible we could have met before the other evening? asks Ang.  I don't think so, replies Julia.  I had the feeling you knew who I was before Barnabas said my name, that perhaps we had met somewhere, some other time, says the blonde.  Barnabas had told me about you, says Julia.  Really? she asks--how much has he told you about me?  I don't remember, says Julia, it's been so long ago.  Yes, it's been 10 years since you've seen each other, hasn't it? asks Ang--what a marvelous story!  Julia makes a face.  Don't looked offended, dear sister in law, I simply wanted you to know that I know you are no more Barnabas' sister than I am--the intriguing question is, who are you, and what are you to him?  I am devoted to him, says Julia, you may interpret that any way you like.There's lots of time to find out about you, says Ang--for the time being, as mistress of the Old House, I feel I should warn you that you are no longer welcome there--good day, Julia.  Angelique leaves.

Julia picks up her ancient medical bag.  Barnabas comes out--are you leaving the house? he asks.  I'm afraid I must, she says.  Where are you going? he asks.  To Rose Cottage, she says, I promised Flora I'd stop by and get a copy of her new book.  With your medical bag? he asks.  I thought I'd stop and see Roxanne, on the way--perhaps I can do something, she says.  That's a good idea, he says--she should be recovered by now, but come back and tell me if she isn't--I'll go with you.  That isn't a good idea, says Julia--if Angelique saw us, she would misunderstand.  But you can't go out there at this hour, he protests.  I'll stop at the servants' quarters and get one of them to go with me, she says.  Very well, he agrees, but make sure he stays with you.  Yes, that's a good idea, I will, she says, and goes.  Barnabas sourly surveys Angelique's luggage in the foyer.

Leticia waits for Julia to return.  She sits against the stone wall, stretching, and falls asleep.  She dreams of the case, now empty of the head.  Julia has the body put together and is checking its heartbeat.  I'm sure I did nothing wrong, says Julia.  He isn't going to live? asks Leticia.  He has no pulse, no heartbeat, no vital life signs--we've failed!  There must be something we can do! cries Leticia.  I think I've done everything, says Julia.  He's going to be so angry, he's going to punish us, laments Leticia--look!  What's happening? asks Julia, something is taking shape inside the glass.  I can't look, I'm too frightened! wails Leticia.  We must look, insists Julia, he wants us to see.  What is he trying to do to us? bleats Leticia.  I don't know, says Julia, but you must look.  She does--inside the box is the jeweled mask.I don't understand, says Julia, it's only a mask!  Not an ordinary mask, says Leticia, it has powers, it's very important to us--we can't succeed without it--without it, he cannot live--he wants us to find the mask and place it upon his face--and if we don't...if we don't...!  The box is empty again.  Leticia awakens.  Julia is there.  We must find it, if we don't, says Leticia--the mask--it was a warning from him, Julia--we must find the mask, because if we don't, we shall die!

Julia and Leticia look at the head in the box.  I only saw the mask in a dream, says Leticia--it took shape right there in the case.  In your dream, you were told I must have the mask for the operation? asks Julia.  Yes, replies Leticia, but how are we ever going to find it?--I don't know where to begin to look for it.  This must be the secret place where they buried the body, says Julia, and the mask was buried with it--the mask has enormous powers.  That doesn't tell us where it is now, says Leticia.  I know, says Julia--Desmond came here and took it away.  Excited, Leticia asks, how do you knows that?  Because Desmond told Barnabas, says Julia.  Then the mask is at Rose Cottage, says Leticia.  Yes, and you must go there and bring it back to me, insists Julia--tonight.  Tonight, why? asks Leticia.  There's going to be an electrical storm tonight, later, says Julia, we must use the lightning to transmit the life force to him.  I don't understand, says Leticia.  Go to Rose Cottage and bring back that mask, orders Julia.  Leticia leaves.  Julia tends to the headless body.

Leticia returns to Rose Cottage and looks behind the curtains where the head once sat--nothing.  She begins looking through the desk, opening drawers.  She checks a cupboard and finds an ornate locked box.  She pries it open with a letter opener and inside finds the mask of Baal.  She picks up the box and runs into Gerard--you gave me a start! she exclaims.  You've been a very busy little girl this evening, haven't you? he asks.  What are you talking about? she asks.  What were you doing in that room all alone in the dark? he asks.  It was only dark for a moment, she says--I just put the light out.  You know better than to lie to me, he says, I was at the head of the stairs, saw you go into the room, you never did light the lamp.  What of it? she asks.  Why are you being so mysterious all of a sudden? he asks.  It's not your affair at all, she says.He grabs the box from her and opens it.  Well, well, he says, what do we have here?--he takes it out.  Give it to me, let me have it! she demands.  Let go, he says, holding it high in the air to admire it--where did you find this, hmm?  She gulps, not responding.

NOTES:  So, Gerard now has the mask of Baal in his hands.  Will he recognize its power?  Will Julia and Leticia end up punished, dead, because they couldn't do what Judah Zachary wants?  How did Julia get electricity into the crypt?

Valerie/Angelique has gotten what she wants, at least for now.  Why she'd want to force a man who obviously is in love with another to live with her is beyond me.  What kind of satisfaction could she get from that?  She hates Julia, and is probably going to tell Barnabas he can't see her anymore.  Julia claims she is "devoted" to Barnabas, but Ang isn't stupid, and she knows the score; she can see it in Julia's eyes.  Julia looked as if she wanted to duke it out with Ang right then and there.  We know this is going to spell but trouble for Julia down the line.

Barnabas has agreed to kowtow to his wife's demands.  He seems sad, beaten--and understandably.  Now that he's told Roxanne goodbye, will she survive Angelique being in the same town with her?  Will Rox turn to Lamar?  Stay tuned.

Love, Robin

1129 - LARA PARKER DOES THE INTRO!  Does this mean Angelique is back?

Barnabas and Julia roam the woods, hearing something heavy moving about.  Barnabas hands Julia the lantern and takes his cane in hand, holding it as a weapon.  They hear the sound retreating, and Barn figures it's only an animal.  They come across the dead body of Hortense.  Barnabas! calls Julia.

They bend down to examine the body.  Barnabas comments that it looks as if someone tried to tear her head off.  It's Hortense, says Julia, the governess at Collinwood--she's still alive, says Julia (a medical miracle), there is a faint pulse beat.  She sends him to Collinwood for her medical bag; she'll see what she can do for her in the meantime.

Quentin paces the drawing room.  Barnabas enters and tells him something terrible has happened--his governess was attacked in the woods.  Barnabas tries to go upstairs, but Quentin stops him and insists he tell him what he knows.  Barnabas says the girl is almost dead--Julia's with her, and asked for her medical bag.  This news rocks Quentin.  Julia returns and tells Barnabas to come back, she can't do anything; Hortense just died.  Quentin asks her if she has any idea how it happened.  Yes, says Julia, but I don't know whether to believe it or not.  Barnabas joins them  She became conscious for a few seconds just before she died, says Julia--she spoke to me--something about a headless man.  Quentin mutters, "No!" and runs out.  Barnabas tries to follow, saying he'll help him bring back Hortense, but Quentin calls back that he isn't going to see her.  Barnabas tries to get him to wait, but Quentin can't.  Where can he be going? wonders Julia.  He isn't concerned about the girl at all, Barnabas says, but the thing that attacked her.  A headless man? says Julia, how can there be such a thing?--she must have just been hysterical.  Barnabas isn't so sure--Quentin seemed to know and understand it.  Whatever it is, it frightened him, observes Julia--what's out there?  Barnabas says he's going to notify the police.  Julia heads back to the house to look for Samantha, who she hasn't seen this evening--she doesn't know where she is.

8:30 - Collinwood, drawing room - Julia has reported the governess' fate to Samantha.  Poor Hortense, laments Samantha, what a horrible way to die!--I knew something was wrong when she didn't meet me at Rose Cottage, that's why I came here--I don't know what I'll do without her, she was devoted to Tad--if only she hadn't gone into the woods, she would still be alive--she must have been on her way to see me, to tell me...she stops.  Julia asks, "Tell you what?"  Samantha reveals that she and Quentin have decided to get a divorce.  You're going to marry Gerard? asks a stunned Julia.  Does that surprise you? asks Samantha.  I thought because of Tad, you would stay with Quentin, says Julia.  Tad is staying with me, of course, says Samantha--and I had told Hortense to meet me at Rose Cottage to tell me when he was ready--Julia, you said that Quentin left the house when he heard the news--where did he go?  He refused to tell us, says Julia.  Samantha takes a gun from the desk and tells Julia she's taking Tad to Rose Cottage, Gerard is waiting there for them.  You're not going to take him there with whatever it is loose in the woods, protests Julia. I just came from Rose Cottage without any harm, points out Samantha.  You were fortunate, says Julia, you could have been killed.  Tad and I will be all right, Samantha insists--I have this (she clasps the gun) and I can get one of the servants to drive us in a carriage--Julia, would you speak to the housekeeper and ask her to arrange that for me, please?  Julia asks her if she's sure she doesn't want to wait until daylight.  I've known nothing but tragedy in this house and want to leave it ASAP, insists Samantha, Tad and I will be all right in the carriage--if you don't want to do it, I'll take care of it myself.  Julia assures her she'll do it, since she can't stop her, anyway.  Samantha thanks her and heads upstairs.  Quentin returns and stops her on the landing.  So you decided to take Tad yourself, he accuses.  I don't know what you're talking about, says Sam.  Quentin orders her to come down before he comes up and drags her down.  Holding she gun, she surveys him steadily, unmoving.

Samantha and Quentin stare at each other, but only when he starts heading upstairs does she come down.  He grabs the gun out of her hand as she hurries past him into the drawing room.  This gun wouldn't have done you any good, he says sharply, and there's no use denying it, I found out what you were up to this afternoon--I think it's the lowest thing you've ever done.  I can do without your sermons, she assures him.  He says if she'd been successful in getting Tad out of this house, he'd have police in every state looking for her--and just how did she think she'd get away with it?  You haven't stopped me yet, you know, she says.  I have two servants guarding his room, Quentin informs her, unlike Hortense, they are loyal to ME!  Don't you dare mention her name, commands Samantha, you're responsible for her death!  And if she'd been successful in getting Tad out of this house, says Quentin, he'd be dead now and you'd be responsible for that!  Absurd! pronounces Samantha, she would never let anything happen to him.  There's a maniac loose in those woods, says Quentin, and I don't think she could have done anything to prevent it!--if you don't have sense enough to look after your own son's safety, at least I do.  Thank you for referring to him as MY son, says Samantha.  You listen to me, says Quentin, I don't want to hear anymore about that.  You're going to have to face it sooner or later, says Sam.I said that's enough! Quentin barks.  He's not your son! cries Samantha, and he slaps her hard across the face.  Stunned, she looks at him.  He doesn't say a word, then puts the gun down on the desk.  You can do what you wish to me, she says, but you can't change the truth.  At the moment, says Quentin, I don't care if it's the truth or not, and don't you taunt me with it.  If I'm forced to stay in this house, she says, I will say what I please.  Quentin tells her angrily that no one's forcing her to stay; as far as he's concerned, she can get out and stay out!  She says not without Tad.  FOR THE LAST TIME, TAD IS STAYING HERE! shouts Quentin--you have no legal or moral right to that boy!  Since when are you the authority on morals? she asks, you with your clandestine affairs!  There was only one other woman, says Quentin, just one, and you know it.  You mean one I found out about! accuses Samantha.  You didn't find out about her, I told you about her, says Quentin.  Oh, yes, she smirks, honest Quentin, always doing the proper thing, always the perfect gentleman--I HATE YOU!  I think you'd better get upstairs, advises Quentin.  She promises him he's going to be sorry for this night, she's going to stay in this house and do everything to make his life a living hell.  She goes upstairs.  (This scene between them is very passionate and powerful; the acting is superb.)  Quentin looks very sad and defeated.  He pours himself a drink.  Barnabas enters the drawing room and says he wants to talk to him.  Not now, says Quentin.  It must be now, Barnabas tells him--the murder of that girl in the woods must be dealt with.  Let the police deal with it, insists Quentin, sipping his drink.  Barnabas asks what Hortense meant by headless creature?  Just what makes you think I know anything? asks Quentin.  Because Julia and I both saw it in your face when she told you about the girl's dying words, says Barn.  You were both imagining it, says Quentin.  Why did you leave the house so quickly, interrogates Barnabas, where did you go?--why didn't you go to the police?--is there a headless creature?  Quentin walks to the window, drinking his drink.  I don't know! he says defensively.  What DO you know? demands Barnabas.  Nothing, says Quentin.  Listen to me, says Barnabas, this may lead to a whole series of disasters at Collinwood--if what that girl said in her dying moment is true, then we are dealing with something supernatural--if you're holding something from us that we must know, you're jeopardizing the lives of everyone at Collinwood.

Quentin and Barnabas, seated now, are discussing the situation, and Quentin has apparently revealed all.  Judah Zachary, repeats Barnabas--his body is out there tonight?--what about the disembodied head?  Somewhere near is, guesses Quentin, still drinking--when Desmond found out the head was missing, we both assumed the head and body had somehow been joined together again.  Now we know that isn't true, says Barnabas.  When did Judah Zachary live? asks Barn.  1692, says Quentin, he was condemned to death as a warlock in the village of Bedford.  Why was he beheaded? asks Barnabas.  The villagers, explained Quentin, thought his evil was so great, he couldn't die like an ordinary man, so they separated the head from the body--no one knows where the body is buried, it's a well-kept secret, but the head was put on public display as a warning to all his followers--since 1692, the head has reappeared several times, and each time it reappears, murders follow in its wake--what am I going to do, Barnabas?  Prevent the return of Judah Zachary, advises Barn--find the body and head and destroy them both.  Attempts have been made to destroy the head, says Quentin, no one has ever succeeded.  Barnabas asks if anyone ever tried to destroy the body.  Quentin takes another swig of his drink.  That's what we must try to do, says Barnabas, in whatever way we can--we can begin by taking weapons and starting a search immediately.  No, says Quentin, Desmond and I have already searched and we didn't find anything.  We must try again, insists Barnabas.  Quentin agrees, and leads Barnabas to his study, where he says there are guns.

Midnight - As Barnabas and Julia enter the drawing room, he tells her he and Quentin combed the entire woods and found nothing.  You really do believe this headless creature exists? Julia asks.  Yes, says Barnabas, but I don't know where--we'll have to search again tomorrow--it will get anyone who's in it's way--I'm convinced that the girl just happened to stumble on this creature in the woods.  Julia asks Barnabas if he knows what Hortense's death means.Yes, says Barnabas--that the position of governess in this house is now open.  And from what we know in 1970, says Julia, this is the time Daphne will make her appearance as governess in this house.  If we keep Daphne from becoming governess here, says Barnabas, events will take a difference course--that way, we can prevent the destruction of Collinwood in 1970.  Yes, agrees Julia, that's true, but how can you stop her?  I don't think I can, says Barnabas, but you might be able to.  She looks at him, puzzled.

Dawn - Daphne writes in her diary, and puts it away in a box when someone knocks at her door.  Julia says it's urgent she speak to her--may she come in?  Daphne says of course, and asks how she can help her.  You can't help me, says Julia, but perhaps I can help you--you must leave Collinsport immediately.  Why? asks Daphne.  Because if you don't, says Julia, you will probably die.  Daphne looks at her, startled.

Believe me, says Julia, I'm not exaggerating, it is a matter of life and death.  Who are you? demands Daphne, why are you threatening me?  I'm not threatening you, just trying to warn you, says Julia, I know it's very difficult to accept what I'm going to tell you, but you must--you must leave Collinsport, or it will be a matter of serious danger to your life. What do you mean? asks Daphne.  Sometime soon, says Julia, you will be offered a position as governess in Collinwood.  Why would anyone do that? asks Daphne.  I promise you, says Julia, it will happen--if you accept that position, it will lead to your death.  Who are you? asks Daphne again, why are you trying to frighten me?  I'm not trying to frighten you, but to save your life, says Julia.  Daphne asks how she can know what's going to happen to her--she's never seen her before, she doesn't know her--or has she seen her before?  No of course not, says Julia, lying badly.  I don't believe you, says Daphne, you knew my name and you knew what I looked like--how is that possible if you've never seen me before?  The position of governess will be offered to you--do not accept it, says Julia firmly.  Daphne says she thinks it highly unlikely that anyone will offer her a job at Collinwood, and she has no intention of asking for one.  For your own sake, please...begs Julia, but Daphne interrupts:  Please, she says, I am not leaving.  All right, says Julia, I've done what I can, please don't tell anyone anything that we've said--if you do, I will says we've never spoken to each other--we will be seeing each other again, we will be meeting very soon.  She leaves, and a disturbed Daphne considers her words.  (I can understand Daphne's finding Julia's visit very peculiar--there had to be another way.)

Barnabas returns to Collinwood, where Julia dejectedly tells him she failed to convince Daphne to leave--what will they do now?  Barnabas tells her they will wait for the next step and try to prevent that.  Why should Quentin offer her the job as governess? asks Julia--she has no training for it (Never stopped anyone before.)  I don't know, says Barnabas, all I know is, that he will try to do it, and he will have a reason.  Julia points out that Quentin is leaving the house, and asks Barnabas when he thinks it will happen.  They look at each other.

Quentin goes to Daphne's room at the inn.  She invites him into her room.  He says he's in a hurry and will get to the point, quickly, about the reason for his visit--his cousin Desmond recommended her to him--he'd like to offer her the position as his son's governess.  Daphne is stunned.  Quentin tells her he knows this has come up all of a sudden, but he never expected such shock.  Forgive me, she says, but she doesn't know what to say.  Is there a reason you can't say yes? he asks.  She tells him she's so overwhelmed, she can't say anything just yet.  Does the position interest you? he asks.  She says yes, indeed it does.  Well, then says Quentin, if you don't mind, I'd like to have your answer, because I'm in a hurry.  She says she's grateful for his offer, and pleased to accept it.Quentin asks if she has any reservations about working at Collinwood.  Oh no, she says, believe me, it's just what I wanted--and she has a sly grin on her face.

A hooded figure carries a lantern through the cemetery.  This person goes into the Collins mausoleum and reaches for the ring in the lion's head to open the secret panel.The person sees the coffin is gone.  We see the face of the hooded person.  "He's gone!" says Angelique--"I wouldn't have thought it possible!--but I will find him--he will never get away from me!"

NOTES:  She's baaaaack!  Angelique has returned to Collinsport and we know things are going to get stirred up to the max.  She's found her hubby gone from his coffin and she's not happy.  Wheeee!

How did you like that violent argument between Quentin and Samantha, during which she smacked him across the face?  These two sure do have passion, but it's not the good kind.  Perhaps they had it once.  Given the circumstances, I probably would have back-handed Samantha, too.  There were no blood tests to determine parentage back then.  If Quentin isn't the boy's father, who is?  And where are Tad and Carrie, anyway--they are supposed to figure prominently in this storyline?

Daphne was warned not to take the job at Collinwood, yet she did so anyway.  Why?  She must have an ulterior motive, which we have yet to discover, but what would make her want to risk her own life--always assuming she believes Julia.  We know she wants to kill Quentin, and this brings her close enough to do so.  Why didn't he even question her about her educational background?

I always find it amusing that Julia, confronted with a new supernatural creature, like a headless man, deems it impossible.  She's come in contact with vampires, werewolves, ghosts, witches--what's a headless man in the mix?

The tragedy has been set in motion now; how will it all come down?


1130 - Nancy Barrett's introduction tells us that this night is the anniversary of the night, long ago, when Barnabas became a vampire.  I wonder if that is chronologically true, and I think it's incorrect.  Is it January in 1840?

Angelique calls to Laszlo, a colorfully-dressed gypsy, who joins her in the secret room.  An empty tomb, he asks?--why haven't I been allowed here before--now we made this same pilgrimage last year and the year before and I always have to wait outside--and here there's nothing to see!--what do you come here for?--you know what I think?  She curtly interrupts him, saying he's never at his best when he thinks.  Then I'll go back to my accustomed place in the cemetery, he says, giving her a mocking bow, your humble, obedient servant.  No! she says, you will remain here!  This is different than the other nights, he remarks, when we left this tomb last year, you were smiling.  Of course, she says, because I was happy.  What was in this tomb that made you happy? he asks.  She doesn't reply, and asks him why, since she never answers any of his questions, he doesn't get tired of asking them.  Laszlo says she will, sooner or later--she'd be surprised to learn how many she had already answered since they've met.  She smiles and says, dear Laszlo...  Now you want something, he guesses.  She takes his hand and says that he will get it for her as he always does--that's why she allows him to travel with her--there is an estate here named Collinwood, and a man named Daniel Collins lives there, with two sons, Quentin and Gabriel--go there and talk with one of them.  Do these men know you? he asks.  You're not to mention my name, she warns him.  How do I get in? he asks.  She says she'll leave that up to his gypsy ingenuity.  I'll talk to one of these men, says Laszlo, what will I find out?  You're to find out about a man named Barnabas Collins, she instructs--find out if he's in Collinwood, if anyone knows him.  If he's a relative, says the gypsy, of course someone is going to know him.  She gets a look in her eye and says they may not.Who is this guy? asks Laszlo, and what's his connection with this room?  "Barnabas Collins is the only man I've ever loved," says Angelique.  Laszlo laughs--except me, of course, he says.  She clasps his hands and, laughing, agrees, except you, of course--now go, and hurry--be very careful--one last thing--you must not mention Barnabas' name until it is mentioned to you first.  Why? he asks.  There are reasons that need not concern you, she says.  Barnabas Collins, says Laszlo, another of your mysteries.  Yes, she says, and the most important mystery of all--now hurry.

Barnabas knocks at Leticia's door.  She lets him in and says you're a bit of a surprise--"Ducks."  With your second sight, I'm surprised I would be, he says.  I don't use it every day, luv, she giggles, I like some things to be a surprise, it makes life more interesting.  It all depends on what the surprises are, says Barn.  She sees how serious he is, and asks if something is wrong.  You know, she says, you seem like a man who's lived a long, long time.  Do I? he asks, uncomfortable.  She says he seems to know everything.  How I wish that were true, he says--I've come here tonight because there IS something I don't know, something that Quentin and Desmond say you do know.  They're wrong, she says, if you're talking about that head--I wouldn't lie to Desmond!  Even if you thought it was for his own sake? asks Barn--you must realize it was having a terrible effect on him.  That's MY business! she snaps, and Desmond's--why did he send you here?  I came on my own, insists Barnabas.  He should have believed me, she says.  You must not blame him, says Barnabas, it's very important that we find... Well then look for it someplace it MAY be! she cries, walking away from him.  The body roams the woods, says Barnabas--the children's governess was killed tonight, on her way to this house.  Leticia looks upset.  Barnabas asks her if she has any idea where that head is--tell me the truth, he says, giving her his mesmerizing look.  She tears her glance away and says she doesn't want Desmond thinking she's lying to him--it's not trustful of him at all, and Barnabas can tell him--the head is evil and if none of you ever sees it again, it will be for the best.  Barnabas says he only hopes for her sake that she doesn't know where that body is.  And, she shouts after the departing Barnabas, you'll have to tell Desmond to apologize to me for sending you here!  She closes her door and locks it.  She opens her closet, where the head, still in its class case, sits.

Collinwood drawing room- So you can tell the future, huh, gypsy? an amused Gabriel asks Laszlo--I'm afraid there's not much of a need for that in this house--although if you could explain the present, your services would be much desired.  The present is simple, says Laszlo, one just simply uses one's eyes.  What if one's eyes see a headless man? asks Gabriel, sending Laszlo into gales of laughter.  Not a joke, Gabriel assures him, we live in a very unusual world, and people say there is a headless man roaming the woods.  This house is covered by a veil, says Laszlo, raising his hands high--a veil pierced by lightning!  Gabriel says so they are doomed, is that what you're trying to say--that the vengeful gods are against us?  Laszlo says perhaps it's just themselves they are against.  Very good, excellent, praises Gabriel, I think you just might go far in your profession--tell me, how are we against ourselves?  For a modest fee, begins Laszlo...  Oh, no, says Gabriel, I brought you out of that storm, I don't think you want to go into it again--read my palm.  Laszlo gazes into Gabriel's palm and tells him he has a long lifeline.  Some people in this house might be very upset to hear that, quips Gabriel.  Laszlo then tells him that this house looms over him, he's surrounded by many people who... ...tell me not to trust them? finishes Gabriel.  Since last year, since this exact day last year, says Laszlo, waving his hand over the palm, I see a change...  This day? asks Gabriel.  Laszlo says he can't see exactly what, but...  Barnabas enters.  Come in, says Gabriel, my future is not a private matter--this is another Collins, says Gabriel, you can read his palm after you've finished with mine--are you a believer, Barnabas?Laszlo catches the name and listens closely.  I'm afraid not, says Barnabas.  I could make you believe, says Laszlo.  That's not possible, says Barn,  Behind you, says Laszlo to Barnabas, standing behind you, very far away, waiting, but not for long.  Oh, come, gypsy, says Gabriel, you can do better than that!--are your English gypsies any better than he is, Barnabas?--go on, tell him what's waiting behind him.  GABRIEL! objects Barnabas.  Laszlo rises to his feet and says he can say no more.  Pay him, says Gabriel, let him go.  (Foisting off payment for his fortune on Barnabas, eh?)  No, you owe me nothing, Laszlo assures them.  Such a silly game, the future, remarks Gabriel, and bids Laszlo good night.  Lazslo bows.  If you happen to be going into the village, I'd advise you to be careful, says Barnabas--there are strange things happening here tonight.  Laszlo says, "I know--far better than you."

Leticia looks at the head and says to it that she has tried before and will again--"Body of Judah Zachary, she calls, "show me where you are, for I have been chosen to find you--by the powers that I possess, let me see. . .let me see--men, I see men searching for you--where are you?--where are you?--this is danger for you, I must find you before they do, for they are enemies--body of Judah Zachary, show yourself to me!"  She sees a vision of boots, of the creature lying on the ground covered in leaves.  Yes, she says, yes!  She turns to the head and says I know what I must do now, Judah Zachary.

We see flames in a fireplace.  Gabriel asks Barnabas why he didn't let the gypsy read his palm--are you concealing a deep, dark secret, too?  Barnabas explains that he didn't want to encourage him to remain--isn't it rather odd that a gypsy should walk onto the estate?  It's just the luck of the Collins that he's here, says Gabriel, we seem to attract every oddity on earth (he should only know about the vampire and witch!)--how are you coming with your headless man?  You don't believe he exists, do you? asks Barnabas.  No, says Gabriel, not on the basis of the evidence of a constantly hysterical, dying governess--she's the reason I sent my children away to school.  I do believe he exists, says Barnabas, and I'm going out to join the search before he kills someone else.  He leaves.

The headless creature lies on the ground in the woods.  Leticia finds him and pulls the leaves off him.  She turns him over and he immediately starts to attack her.

Leticia struggles with the headless creature, calling him Judah Zachary, telling him she's been sent to guide him--he'll be safe with her.  It tries again to strangle her, but she begs it to let her help him.  It releases her.  She helps it to stand tall and assures it that it will be all right.It reaches for her hand, and she takes it, urging him to follow her.  She leads it through the woods.

Angelique paces the empty secret room.  Laszlo enters.  Well? she asks.  I learned nothing at all, he tells her.  You fool! she cries.  No one was home, he says.  (He obviously loves to tease her.)  You could have talked to the servants! she insists.  He says he doesn't talk to servants.  She turns her back on him, furious.  Laszlo laughs and says, "He looks like a man you could love."  Turning back to him with hope, her face alight, Angelique says, "You saw him?"We were introduced, admits Laszlo.  Tell me, she says, does he still have that same strange, intent look in his eyes?  Laszlo says she'll think so.  And his smile, says Angelique, grinning herself, when he smiles does his face suddenly go gentle.  He didn't smile at me, says Laszlo, amused.  Is he living there? she asks.  He seemed perfectly at ease, says Laszlo--I gathered that he just recently came from London.  Oh, so that's the story, she says.  His story? pounces Laszlo--where does he come from?--this room?  You saw him yourself, she points out, he couldn't be a ghost.  Laszlo says he has something to do with this room--what?  Where Barnabas Collins came from, she says coldly, is no concern of yours!--neither is what he has to do with this room--do you understand?  I recognize the tone of voice, he says.  Good--remember it! she orders.  He says she will tell him sooner or later, or he'll find out for himself.  He starts to exit, but she assures him that if he tries, he will be punished.  Some day you'll learn that I can do some punishing of my own, too, he warns her--now what do we do now that we know he's here?  Angelique smiles.  Is it too much or too foolish to ask why we couldn't leave this foolish town?  Angelique tells him too foolish, very foolish indeed.  She's grinning.  (Theirs is an interesting relationship, isn't it?)

In the crypt where the body originally lay, Leticia leads the headless man down the stairs and assures him he will be safe here. She releases his hand and he flails around, searching for her.  It's all right, she assures him, I must go now, but I will be back.  She helps it to sit down and tells him, "You will stay here."

9:15 - Collinwood - Gabriel reads a book in the drawing room and answers the door.  It's Angelique, who bids him good evening and says, "I'm Mrs. Barnabas Collins."  Gabriel eagerly invites her in, closing the door.  So you're Mrs. Barnabas Collins? he asks, smelling gossip in the air.  Is my husband here? she asks.  Yes, but not at the moment, says Gabriel, no.  Oh, she says, I wanted to much to surprise him.  You certainly surprised me--I'm Gabriel Collins, he says, a cousin.  Very pleased to meet you, she says, I had the most ghastly trip--my trunk was stolen off the stage from Boston, and the storm has frightened me so much--when will my husband be back?  He didn't really say, Gabriel explains, actually, he's living at the Old House now.  Is it on the estate? She asks.  Yes, he says.  Then I shall go there, she says.  He says he wouldn't if he were here, there have been many attacks tonight--he's out with the men--let me give you some brandy, that should take the chill off.  A glass of brandy would be fine, she says, and looks around happily--Collinwood (did she say Hollywood?)--I never imagined I'd see it, she says.  It's a much better place to imagine than live in, he says, believe me--your husband never mentioned you, you know.  Oh? she asks.  Obviously an oversight on his part, says Gabriel.  He hands her a brandy.  Thank you, she says.  He asks her if she's from England, too?  Yes, she says, I can't wait to see the expression on his face when he sees me.  Gabriel chuckles and ponders who might still be up--Julia, his sister.  Oh, yes of course, says Angelique, hiding well her initial startlement, I've never met her--do see if she's still up.  Angelique considers this, drinking her brandy--a sister, eh?

Leticia returns to her room at Rose Cottage and closes and locks the door.  She opens the closet and covers the head.

Collinwood - Angelique sits by the fire.  Gabriel comes in and says he can't imagine where Julia is, she must be at the Old House.  Barnabas is very fond of her (Julia), says Angelique.  Yes, agrees Gabriel, and she's very fond of him--she was most upset when he wasn't here.  Oh? asks Ang.  Yes, says Gabriel, she was expecting him to be here, and he wasn't.  I wonder what could have happened? asks Ang.  I don't know, I thought perhaps you knew, says Gabriel--Barnabas did write you, didn't he?  The post is dreadful, you know, she says.Isn't it? he says, staring at her.  She asks if he minds her waiting there.  Of course not, he says, I find it most fascinating.  As do I, she says, what a happy moment it will be when I see him again--and to meet Julia at last--it's almost like the end of a dream.  (And the beginning of a nightmare for Barn and Jul.)  She smiles.

The headless creature sits where Leticia left him.  She enters bearing the case with the head inside, and tells him she's back.  She takes off the cover and says, "Now, you will be whole again."  The body moves forward, reaching for it's own head.

NOTES:  Head and body, body and head, he, it--this is hard to write.  I don't know whether to refer to it!  Hope I didn't get too confusing, but I'm confused!  Will head and body be reunited?  What will happen when they do?  Is the head as murderous as the body?  This could be bad.  And to imagine, Leticia had it all along and was keeping it a secret!  It must have her under its power, too.

Angelique is back and badder than ever.  She's already causing Barnabas trouble by calling herself his wife.  Gabriel was fascinated, and wonders why Barnabas never mentioned he had a spouse.  Wait until Barnabas sees her!  He's going to go ballistic.  And Angelique must be wondering who Julia is.  Laszlo is already a fun character, and his dialogue with Angelique sparks much interest.  They have apparently been traveling together a long time, and he thinks she "loves" him.  Does she?  Have they gone all they way, we wonder?

You sense that Gabriel is bored with his sedentary life, and good gossip like Barnabas' unmentioned wife showing up is excellent fodder for his sharp, wicked mind.  Angelique always did love making Barnabas' life hell, and are they REALLY married, considering they both died in 1796--marriage is supposed to be until death do us part.

Well, I've always loved when Angelique returns to a storyline, because she's so much fun.  Stay tuned, folks, she will stir up more trouble that you can possibly believe!

Love Robin

A very happy birthday, J99--enjoy every second of it--and every second for the rest of your very long life!

I say age is completely a state of mind.  I'm turning 50 in December, but my body has been telling me for quite a while now that I'm REALLY 100!  My brain refuses to believe it, so I've got a 20 year old brain in a 100 year old body.  Talk about your middle-age spread!

Party like it's 2999, my friend!

Love, Robin

 

Please ease your mind, Anne--before my doctor put me on cholesterol-lowering Lipitor a few years ago, he had me do some liver tests just to make sure my liver was all right.  It's precautionary, just to rule out any problems in that area before you're placed on a cholesterol lowering medication, which, as someone here mentioned, can affect the liver.

I also have to wonder--how good is your doctor if this is the first time you've ever had your cholesterol tested?  I wonder if he isn't just covering his butt because he waited too long to have you tested?  At your age, you should have the complete battery of blood work once a year, including blood sugar, lipid profiles, etc.

Please don't worry.  I am sure everything will be all right!

Love, Robin
 

1125- Desmond feverishly writes down Green's clues--the noose, an unmarked stone, the ring, the stairs!  What does it all mean?  Why did you have to die before you could tell me? he demands of the dead Otis Green.  At the foot of the hill, direct line, unmarked stone!  Desmond gazes hatefully at the head--I will find out what it means before the night is over, he vows--I'll know.  Hearing Leticia enter, he tries to prevent her from discovering old Otis, but she sees him, screams, and asks, Oh, Lord, what have you gone and done, Desmond?"  He looks very guilty.

Why did you do it? she asks.  Get out of here, he orders.  Who is he? asks Leticia.  His name is Otis Green, says Desmond.  Is he dead? she asks.  Yes, he says.  It wasn't you done it at all, she assures him, and herself--it was that awful thing you have here!  What thing? asks Desmond--I don't know what you're talking about.  I saw it here, she admits, I came back down while you was out.  You did what? he asks, furious.  It's no good trying to hide it from me anymore, she says, because I know all about it!  She pulls open the curtains and reveals the head.  I uncovered it, she says, and looked at it.  You shouldn't have done that, he says.  Didn't I tell you I felt evil in this room? she asks, and I was right, wasn't I?--and now it's killed that poor old man.  He died of a heart attack, says Desmond, I must tell his family.  He didn't die of no heart attack! she rails, he died of fear, he did--fear of that awful thing!--why did you ever bring it here, it can kill you, too, you know that, don't you?  Nothing is going to happen to me, he assures her, but he seems miles away from the fun-loving guy we met.  You're wrong! she says--it's already begun to happen--you're afraid of it just like Green was--there's something it wants you to do, and you're afraid not to do it.  You just stop talking like that! he says, pointing a finger at her.  Let me help you, she begs--I don't want no harm to come to you.  Maybe you can help me, says Desmond--this man, before he died, told me something, but I don't know what it means--it concerns something very important that I must find.  What is it? she asks.  I can't tell you, he says, it's a secret.  Her voice rises; she points accusingly at the head and says, you can't tell me because that THING wants you to find it!  That's not true! he cries, turning away.  Why don't you understand how evil this is? she asks--you must get free of it before it does something horrible to you.  He takes her hands in his--I need your help, he says.  Can't you see? she asks, it's already begun to change you--you're not like you was when I first met you--it would be wrong for me to help you and I won't do it.  He grabs her painfully--all right, don't help me! he says, then explodes--but don't tell anyone, either--do you understand?  Horrified by the change in him, she runs from the room.

Collinwood drawing room - Leticia enters.  Only Gerard is there.  All alone, are you? she asks coldly.  So you finally decided to talk to me again, he says.  But not to forgive you, she says, not likely--sarcastically, she adds, where's your sweetheart?  She went to Boston to be with her son, he says--what are you doing here, anyway?  I'm here to see you, she says.  So, you want something from me, he says--I never knew you to turn off your temper so easily--what's the matter?  I don't want to stay at Rose Cottage anymore, she says, it frightens me--I want you to take me somewhere else.  Frightens you? asks Gerard, what are you talking about?  There's been a definite change she says, there's an evil spirit there, I can feel it.  He starts to laugh.  Don't laugh at me! she orders--I feel it, you have to believe me--I want to go someplace else--if I ever meant anything to you at all, you must help me now--she goes into his arms--please, she begs, as he caresses her hair.  Gabriel enters and says my, my, your sympathetic shoulder is always available, isn't it, Mr. Stiles?  (I love this guy!)

Gerard and Gabriel glare at each other.  Leticia, everything will be all right now, says Gerard--go back to Rose Cottage.  Don't make me go there, she begs.  Do as I say, he commands--I'll be there as soon as I can--go along, now.  She leaves.  Gabriel, you have a talent for coming into the room at exactly the wrong time, remarks Gerard.  Or exactly the right time, counters Gabriel, it depends on how you look at it, Mr. Stiles.  Leticia and I are friends, that's all, says Gerard.  Don't be upset, says Gabriel--I won't mention it to SAMANTHA.  How can I ever thank you? asks Gerard sarcastically.  Are you going to move to Rose Cottage, pending the outcome of his marital mess? Asks Gabriel.  I have, says Gerard.  What are you doing here? demands Gabriel.  So I'm not allowed to be on these premises? asks Gerard.  Gabriel grins--my dear brother Quentin took quite affront of you, didn't he?--you thought when he returned, he'd claim her for his own--you never thought he'd leave the decision up to her, did you, and now you're scared to death that she's going to choose you--he laughs--I find that highly amusing.  What makes you think that I don't want Samantha to choose me? asks Gerard.  Do you think I'm an idiot? demands Gabriel, his laughter gone, don't you think I know why you married Samantha?  Because I love her, says Gerard.  You love her money, says Gerard, that's all you're capable of loving--100 percent is better than 10 percent no matter how you look at it--what a masterful job you've done of outsmarting yourself!  Gabriel laughs again, then continues--here you are, married to a woman--another man's wife--and you don't even love her, you think nothing of her, and you're worried, as you should be, that you'll end up saddled with her for the rest of your life!  Are you quite finished? Gerard coldly asks.  I haven't even gotten to the best part yet, says Gabriel--what Samantha's decision will be.  You don't even know that yourself, says Gerard.  Would you care to place a small wager, asks Gabriel--say, a thousand dollars?  I don't even have that much, says Gerard.  I don't need it, says Gabriel, I can't lose--because I guarantee you, she'll choose YOU--sort of jolts you, doesn't it?  Gerard grins, then shrugs his shoulders--why should it? he asks--I hope Samantha does choose me--however, I can't believe she would ever leave Quentin and everything she has here. You'd better start believing it, advises Gabriel--because she doesn't love Quentin--she never has--the only reason she stayed with him is because of Tad--but now you've given her the golden opportunity--you've given her love at last--and I hope the two of you will be very happy--you two deserve each other!  Gerard stops him as he's about to wheel himself out, and asks, Gabriel, might I make a little confession to you?--whether you believe it or not--I do love Samantha very, very much--and even if I didn't, I would ask her to marry me--not because of the money, but because of YOU.  Because of me? asks Gabriel.  I would do anything to see you squirm, says Gerard, I would do anything to prevent you getting one single penny from Daniel Collins--of all the rotten apples I've come across in my life, you are on the top!  (major diss!)  Gerard says, I do hope Samantha takes me, just to prove how wrong you are.  YOU LIAR! screams Gabriel, three times, after the departing Gerard.

Leticia returns to Rose Cottage and through the closed doors, hears Desmond mumbling the clues again, fretting over how many they are and what they mean.  He pulls open the doors, catches her there, drags her into the room and accuses her of eavesdropping.  I couldn't help hearing your voice when I passed by! she says.  How much did you hear? he asks.  What I heard didn't make no sense to me, she says, it and what you're doing makes no sense, either--where is the body?  His son came and took it away, says Desmond--where have you been?  I just went out for a walk, she says.  Did you tell anyone what you saw here? he demands.  I didn't, I swear, she says--oh, Desmond, if you could see the look in your eye--you got the devil in you--that thing is making you do things you don't want to do--you've got to take it away before it's too late.  I have no time to waste on you! he rages, and leaves the house.  She opens the curtains--you must be gotten out of this house, put away, she tells the head--someplace you can't harm anyone ever again!

Collinwood - Gabriel looks into the fire.  Desmond enters--I'm glad you're here, he says--I need to talk to you, I need your help.  If it's financial help...says Gabriel, shaking his head.  No, I don't need money, says Desmond, I need the help of a good mind.  You flatter me, says a pleased Gabriel.  You know this area better than I do, notes Desmond--this evening a man named Otis Green came to Rose Cottage and tried to tell me something, but he died before he could, he had a heart attack.  Right there in Rose Cottage? asks Gabriel.  Yes, says Desmond.  What was he trying to tell you? asks Gabriel.  The location of something very important, says Desmond.  What? asks Gabriel.  I have no way of knowing until I figure out Green's last words, insists Desmond, but they were so cryptic, I don't understand--perhaps you can help me figure them out--I'd be grateful if you'll at least try.  How grateful? asks Gabriel, eyes a-gleam--tell me what's in it for me.  Just a minute, I came here asking you a favor, says Desmond.  I think there's something you aren't telling me, says Gabriel.  I swear it, says Desmond.  Tell me this, says Gabriel--if you don't know what you're looking for, why is it that you're going to such lengths top find it?--it must be very important.  YES IT...begins Desmond, in a near-scream, but he calms himself down and says, this is only a feeling I have, I could be wrong.  All right, suppose we pursue Mr. Green's dying words, says Gabriel, then we'll go on.  Desmond takes a paper from his pocket and shows it to Gabriel, who examines the paper.  This ring intrigues me, Gabriel says--Mr. Green might be talking of missing jewelry, or buried treasure--in which case I would be very interested.  What about the other clues? asks Desmond.  At the foot of the hill, reads Gabriel.  There are many hills around here, says Desmond, you could be...  Be quiet and listen, says Gabriel--I have a hunch, but I could be completely wrong.  Tell me, man! urges Desmond.  Don't interrupt me, don't be so impatient, insists Gabriel--let's discuss business first, hm?--if I am right, and you do find something of value, we split 50/50, right?  Of course, says Desmond hastily, it's only fair--now tell me your hunch.  I believe Mr. Green is talking about Gallows Hill, says Gabriel--on the top of the hill is a scaffold and noose, commemorating the witches' trial, and at the foot of the hill, a cemetery, and there you will find, I think, your unmarked stone.  He triumphantly hands the paper back to Desmond, who eagerly asks, what about the rest of it?--the noose, the stairs!  I've given you enough, says Gabriel you can take it from there--go to Gallows Hill and see if I'm right or wrong.  Desmond leaves.  Gabriel smiles, contemplating the riches this might bring him.

Gerard finds Leticia sitting in a chair, staring into the fire at Rose Cottage.  Do you feel a little better? he asks.  Look who wants something now, she says.  I can't hide it, he admits, I do.  And what might it be? she asks.  I'll be honest, he says--the suspense is killing me--I must find out what the future holds for me!  She looks at him and asks, "You want me to tell you?"  Yes, he says forcefully, then adds, "Please."  You weren't willing to help me at Collinwood, she says, I don't believe I'll help you now.  I would help you, he says but you wouldn't tell me anything--I'll help you now, if you want to say anything to me.  It's all right, luv, she says, I don't need your help now--you'll just have to manage your little problem by yourself.  Now, you don't mean that, he says.  Yes I do, she insists--you haven't treated me right, Gerard.  He puts his hands on her shoulder, calls her "my darling"--Leticia, you really don't believe I'm in love with Samantha, do you? he asks, caressing her face.  Why did you marry her? asks Leticia.  For the future, he says, I had plans for the future which included you--he touches her mouth--you know how I feel about you--he begins to kiss her neck.  I don't believe you, she says sadly--now that Quentin's ruined everything for you, I believe you'd tell me anything to work my favors--I'm not having it--not a bit of it!  I can't believe you could talk this way to me after all we've been through, he says.  Don't start making me feel sorry for you, she says.  He smiles--my feelings for you will never change, he says. He tries to caress her face again, but she throws his hand off, saying, in a ragged voice, I don't want to hear that speech again, I know it by heart--I'd rather help you than listen to it again.  I knew you would! he says, thrilled, kissing her shoulder and hugging her.  Stay away from me, she orders, walking out of his embrace.  She takes a crystal ball, puts it on the table and sits in front of it.  What do you see? He asks.  Be quiet, she says--there's an image forming...  She gazes into the crystal ball.  I see you, and a woman, she says, her back is to you, and she's talking to you.  Samantha! he guesses.  You are listening very intently to what she's saying, says Leticia--a strange look is coming out of your face and you're turning away--the woman has said something to you that's made you terribly unhappy--can't tell whether she chose you or rejected you--but suppose you tell me, Gerard--which one would make you unhappy?

Desmond, delighted, has located the noose on Gallows Hill.  A storm rages above him.  I'm in a direct line with it, he realizes--now, if Gabriel's right, I just keep walking until I come to the unmarked stone.  Desmond finds a blank stone and examines the earth around it.  He finds a ring set into a footstone and pulls it, wondering about the stairs clue.  A hole yawns open in the earth.  Desmond walks down leaf-strewn stairs into it.  Down in a room carved into the earth, he finds a coffin, topped with a giant cross.  He opens he head of it and finds a jewel-encrusted gold mask.Desmond's eyes go huge at this astounding find.

NOTES:  A hole in the earth, a coffin, a jeweled mask--perhaps Gabriel is right, and untold riches hide here.  But the rest--brrrr!

Gerard has a way with all the ladies, doesn't he?  Look at the way he got poor Leticia, who is already pissed at him for marrying Samantha, to read his future.  He probably romanced Samantha in a similar manner.  Clearly, the guy is an accomplished seducer.

Desmond has gone loony, but sometimes he still seems like himself.  Will he end up dead like Ben and Otis?  He doesn't seem to care; the head has taken possession of him and that bodes ill for his future.

1126 - Desmond gazes down at the ornate jeweled mask.  Jewels! he exclaims, examining the huge wooden cross covering the casket.  He tries to move it, but can't, and decides to leave to get help.  Before doing so, he closes the cover over the mask.  Outside, Desmond pulls the ring, once again hiding the opening into the underground crypt.

Rose Cottage - Gerard sits before the crystal ball, agitating over why Leticia couldn't see which man Samantha was going to choose.  Flora interrupts--are you trying to read your own future? she asks.  He smiles--I see nothing but  happiness, he says.  I hope that's true, she says.  He takes her hand--who could deny me anything? he asks.  A woman with a husband and a child, answers Flora.  Depressed, he rises from the chair.  Dear Gerard--you love her so much? inquires Flora sympathetically.  He nods, rubbing his hands together--Samantha must remain with Quentin, he says. Yes, agrees Flora, you must be prepared for it--of course you'll stay on here with us, won't you?--after Samantha tells you her choice?  She takes his hand.  Gerard seriously says, your son resents my being in this house.  Nonsense, insists Flora.  No, says Gerard, I'm not imagining it--Desmond does not like me here.  I will see to him, Flora promises, now sounding more like Judith than the flighty Flora--don't worry--I can handle Desmond.  She hugs Gerard.  Thank you so much, he says, and they hug again.  I beg your pardon, says Trask from the doorway. Has someone died? asks Flora--you do look so mournful.  If I do, says Trask, it's because I'm under considerable stress.  I'm sorry to hear that, says Flora--in this house we always combat stress with levity--what can I do for you?  Somberly, Trask says, I must speak with Leticia Faye.  She's resting now, says Flora.  Wake her, if you will, says Trask, it's most important.  Gerard listens.  I didn't know you'd even met, says Flora.  Yes, indeed, he says, a most fateful meeting--she has changed my life, opened a new door to me--a door to the hidden past--I must find out what is through that door--only she can tell me.  Gerard looks disturbed.

Leticia opened a new door, says Flora, speaking to Gerard, and she never even told us--she introduces the two men--Gerard, Trask, from the Trask Memorial Chapel.  At your service, sir, says Trask, bowing.  I hope not yet, please, thank you, says Gerard.  Give Miss Faye my message, please, says Trask.  Of course, Flora assures him, exiting.  Mr. Stiles, are you responsible for bringing Miss Faye to this establishment? asks Trask.  Yes, says Gerard, I am.  She has many powers which should be used for the good of man, says Trask.  I'm sure she would agree with you there, says Gerard.  Do you know if Barnabas Collins has talked with her recently? asks Trask.  Why would he? wonders Gerard.. There are many things, perhaps, that Barnabas Collins doesn't want brought to light, says Trask--he might try to dissuade her from doing what she should consider her duty--my father's last remains must be found!--you seem a good judge of character--what is you opinion of Barnabas Collins?  I have made none, sir, replies Gerard.  You are in an excellent position to find out much about him, says Trask.  Only if it is worth my while, says Gerard.  It can be, says Trask. Smiling, Gerard praises Trask's simplicity.  Then we do understand each other, grins Trask.  I do find Barnabas Collins quite odd, says Gerard--there are certain questions that lie unanswered about him.  I can answer one of them for you, says Trask--he told me he came from England on a certain boat--but there is no Barnabas Collins on the passenger list--why did he lie?  I have no idea, says Gerard--however, I could guess for you.  I'm not interested in guesses, says Trask--fact is what I pay for.Then I shall go out, sir, and get the facts, promises Gerard.  Flora returns--Leticia isn't in her room, Mr. Trask--I hope she didn't go out in that storm.  I'm surprised she's gone out at all, considering the vicious attacks in the village, says Trask.  Flora, you must not worry, says Gerard--no harm can come to Leticia.  I tend to agree with you, says Trask--our maker tends to look after those whose eyes are as his own (he gestures to heaven)--would it be inconvenient if I wait? Trask asks Flora.  She smiles graciously, not at all, she says--you two shall have tea and I shall have a brandy (LOL)!

At the tavern, Desmond finds Tim, a drunken sailor, sleeping slumped over the table.  He shakes him awake and waves a coin in his face--do you know what this is?  Twenty dollars, responds Tim.  You've still got your faculties--good, says Desmond--do you want this, Tim?--do you?  Tim, reaching for the coin, asks what do you want me to do?Triumphantly, Desmond closes his hand over it and snatches it away, grinning wickedly at him.

Desmond holds out the coin--that's right, he says, 20 dollars, but what I want you to do you may not like.  You want somebody beat up--is that it? asks Tim--you Collinses ain't got no reason to want me to steal anything.  No, says Desmond--this is an errand of mercy.  Just lay it out, commands Tim.  Desmond rises and slaps Tim on the back--come on! he urges.  Tim grabs Desmond's shirtfront--I've got to know what it is, he insists.  No questions, now or afterwards, growls Desmond, and sits down again--if you're going to do this, he warns, you'll never be able to tell anyone--you game?  Maybe I'd better have another drink first, suggests Tim.  Oh, no, I want you sober for this, warns Desmond--you don't need anymore.  I say I do! insists Tim, sweat running from his eyes, messing up his makeup--you want me to come with you, you better buy it for me.  Desmond signals to the barmaid and gestures to Tim's tankard on the table--just one, Tim.  Where do we have to go to do this? asks Tim.  The Gallows Hill Cemetery, says Desmond, right near the town of Bedford.  The barmaid brings over another drink.  An errand of mercy? asks Tim, in a cemetery that hasn't been used in centuries?  Desmond slams his hand on the table, angry, and says, "I told you no questions--I thought I could trust you!"  He stands as if to leave.  So does Tim, prying the coin from his hand--you can, he assures him--you can!  Then come on, orders Desmond.  Tim drains his tankard and follows Desmond out of the tavern.

Flora and Gerard sit sipping tea at the table while Trask paces, wondering where Leticia could have gone.  The dear child has no sense of time, says Flora.  Fortunately, says Trask, she has other, far more important senses.  I'm glad to see she has made a convert out of you, remarks Gerard.  A convert? asks Trask--hardly a word I would choose, sir--she is merely aiding me to implement our maker's will.  It sounds so fascinating, trills Flora--whatever did she do for you?  She had a vision, explains Trask--my late father, an esteemed man of the cloth, disappeared in 1797--he was last seen as he entered the gates of Collinwood--I am convinced he was the victim of foul play--Miss Faye corroborated my opinion--when I asked her to locate my father's last remains, she had a vision of the Old House.  That is where the original Barnabas lived, says Flora, before the main house was built.  That's true, says Trask true, but I do think he had something to do with it.  You don't think he had something to do with it? asks Flora.  What I think is my business, says Trask.  I've always been told that Barnabas was a very gentle man, says Flora--even Daniel told me the original Barnabas was remarkably like his son.  Then I feel that I must warn you to beware of Barnabas Collins, says Trask, for he is here for a reason--what it is, I know not, but when I went to the Old House, following Miss Faye's vision, he refused to let me search, though he knew I wanted nothing more than my father's earthly remains!  I can't imagine why he would object to your finding them, says Flora.  He has a reason, says Trask--unknown, but it exists.  There is no reason for it to be unknown, says Gerard--none at all--if you would like to speak with the spirit of your father, says Gerard, I can perform a seance.  That's a marvelous idea! coos Flora, of course, we'll do it.  What do you know of such things? asks Trask, awed.  I have sat with Leticia many, many times, says Gerard--I am quite well versed in the ritual, believe me--this mystery interests me as much as it does you.

Tim and Desmond have arrived at Gallows Hill Cemetery.  Thunder crashes.  Maybe this ain't a good idea, suggests Tim.  You're not scared, are you? taunts Desmond.  You won't tell me what we're doing, Tim reminds him--this ain't like you, Desmond.  I've changed, Tim, says Desmond; as lightning illuminates his face, we can see just how much.  Desmond opens the panel in the ground.  Looking down at it, face shaking, Tim asks, "What's that?"  Go down the stairs and see! says Desmond.  Into a grave? asks Tim.  Desmond laughs--it's not just a grave, he assures him--come downstairs and see for yourself.  We hear footsteps coming into the tomb, Tim's voice echoing as he asks Desmond, is this real?  It sure is! says Desmond.  Why would anybody build all this? asks Tim, eying the huge cross topping the casket.  I told you back at the bar, no questions! says Desmond--we've got to get that coffin back to my house.  We can't carry it, insists Tim--it's too far, we'll be seen--how are we going to explain carrying a coffin around? (Seems to me that won't be so difficult in Collinsport.)  On my way out to the livery stable, I hired a cart, says Desmond--but we must get that cross off that coffin first--now you start.  Tim looks at him, asking, face shivering, "You're going to leave me?"  You've got nerve to do anything, encourages Desmond--haven't you, Tim?--right?  Right, agrees Tim.  Nothing's going to happen to you here, says Desmond--I'll be back soon--you aren't going to run out on me, are you, Tim?  No, the other man says, I said I'd do it and I will.  All right, says Desmond, and leaves the tomb.  Tim grabs hold of the cross, then notices the hinged top of the coffin and opens it.  He finds the jeweled mask.  Diamonds, emeralds! he exclaims, his face alight with greed.

Aloud, Tim says, "This must be worth a fortune--if I could just get my hands on it!"  He again grabs hold of the cross.

Reverend Trask! calls Gerard, as he, Flora and Trask hold hands in proper seance formation around the table.  A single candle sits on the table.  Reverend Trask, is your spirit at rest? asks Gerard--there is a person here who wishes to speak to you--your son, Lamar--he has come here to speak with you and to avenge your death--speak to us, Reverend Trask, speak and show us the way to your grave--speak so that justice can be done--speak!  Justice...justice, says Reverend Trask's voice, causing Lamar's eyes to grow huge.Father! cries Trask.  If you are here now, intones Gerard, appear to us now!  Evil! calls Reverend Trask--evil, evil in this room!  Where, Father?--tell us! begs Trask.  Yes, agrees Gerard--tell us!  A glowing light on the wall is apparently Reverend Trask, who, says, I can feel evil!--you are surrounded by evil!  We see the back of the head in the glass case.  Father, who murdered you? asks Lamar--name him for me--tell me what I must know!  The cross!--the cross! says Reverend Trask--beware the cross!

With great effort, Tim has finally removed the giant cross from the top of the casket.

Back at Flora's, the doors blow open by themselves; a piece of statuary falls to the floor and shatters.  Flora starts to stand.  No! cries Gerard--no, no!  She sits back down again.  The circle must not be broken, insists Gerard--you are here, show yourself!  Evil is joining evil! warns Reverend Trask, evil will walk again--evil will walk again, now!  We see the head, eyes closed, through the curtains.

Tim slams a rock down on the coffin.

Gerard turns the lamp back on--we have learned no more this evening, he laments to Trask and Flora--whatever evil he was talking about, he didn't want the seance to continue--it is finished--but what is starting?

A body lies in the casket, the mask appearing to be its face.  A fortune, says Tim reverently, a fortune--and it's all mine!  He lifts the priceless mask, gazes down at the body and gasps,  "My God, there's no head!" he says.                                  

We must continue with the seance, insists Trask--we must discover the evil.  I'm sorry, says Gerard, it is all over, it's too late!  We must try, we must, says Trask.

Tim holds the mask in his hands.  Mine--a fortune, and it's all mine! he exults.  He turns around and suddenly drops the mask.  No! he cries, trying to stave off something attacking him with a chunk of stone.A hand reaches out of the grave.  The headless body rises from the hole, climbing out, reaching, searching. . .

NOTES:  We see that the drunken guy Desmond used to help him was named Tim Braithwaite, so it appears that yet another Braithwaite has fallen victim to a supernatural Collins scheme.  I can't imagine that Tim is still amongst the living.  Like Willie Loomis, he learned that greed doesn't pay.  Why Desmond left him alone down there is a mystery, unless he knew exactly what would really happen to poor Tim and didn't want to witness it.

Lamar Trask wants to find out what happened to Daddy Trask, understandably, but the latter returned to warn them about the evil head, not reveal who killed him.  Gerard is so sure it's OVER, but why?  Did he gain some insight during the seance?  It would seem so.

Desmond seemed like such a nice guy when we first met him, but that head is doing things to him that are turning him evil.  Now the body has been freed, and surely it will come looking for its head.  What will happen if they come together?--what new evil will be unleashed at Collinwood?

Another delightful performance by Jerry Lacy.  He and Joan Bennett seemed to have some trouble with their lines during the pre-seance scene.  It was awkward and choppy.

Didn't it seem almost as if Trask interrupted an intimate embrace between Gerard and Flora?  He acted as if he had!  But it seems that everyone is having a bit of erotic fun except Trask!

Love, Robin

1121 - Samantha is quite stunned to see her not-quite-dead hubby walk through the door.  It turns out Tad is all right, too, but hearing this unexpected news sends Samantha running upstairs, ordering Gerard to "Tell him!"  Tell me yourself, Quentin calls after the fleeing woman.  Listen, tries Gerard.  Oh, so that's how you look forward to my homecoming! shouts Quentin after his retreating wife.  She thought you were dead, explains Gerard, so did we all--when the boat docked here, I came here as soon as I could.  My friend, says Quentin.  I thought you and Tad had been lost in that storm, says Gerard, I didn't want to send a stranger here, I was afraid, so I thought I should come myself.  Put out by the implications, Quentin says, "And so she has been very happy."  No, she grieved, insists Gerard.  You call that grief? asks Quentin sarcastically--I understand your coming to help, and I appreciate it very much.  How did you escape the sea? asks Gerard.  I'll tell you--later, promises Quentin, and starts to go upstairs.Wait, says Gerard, there's something else you don't know.  Out with it, man, says Quentin.  It's hard to explain, says Gerard.  Come on, speak up, urges Quentin.  Samantha and I were married this afternoon, reveals Gerard.  Quentin is silent, and Gerard repeats the news, asking if he didn't hear what he said.  Quentin bursts into wild laughter, then runs upstairs, Gerard calling after him in disbelief.  "It has become a comedy!" roars a chuckling Quentin on the landing--"I thought when the storm came, it would all end up into a great tragedy, but no, fooled again--congratulations!"  And he goes through the door to the upstairs bedrooms, laughing.

Samantha meets Quentin in the hallway and asks where Tad is, accusing him of lying to her--something's happened!  He's in Boston, he assures her.  What's he doing there? demands Samantha, her voice rising with hysteria, why didn't you bring him with you--something's happened.  Quentin orders her to listen to him, and says Tad just has a fever which he got in Brazil, and it just keeps recurring, but he's all right.  You left him in a hospital--why did you leave him in a hospital? rails Sam.  I didn't leave him in a hospital, and he's not alone, says Quentin, he's with Luke Simms, a man who saved our lives practically everyday--believe me, honest, he's all right.  She goes into her bedroom and he follows her in.  You must hate me, she says.  He denies it.  Don't pretend, she says.  I never pretend, he says--all you did was think I was dead--and I very nearly was.  I can't believe it, why didn't you write? She asks.  I did, from Brazil, Chili--if the letters didn't get here, you can blame the towns I was passing through, he says.  There must have been some way to let us know, she says.  Not the way I was traveling, he says, no money, no friends--all I could do was try to get through everyday, get enough food for Tad and myself, that's all--there was this one night--I concentrated very hard and tried to reach you--I thought I did--I thought I could make you understand my thoughts.  You always fall back on the occult, says Samantha.  I thought I had reached you, he insists, that you knew--I wanted to believe that so very much--oh, what are we doing, standing here talking like this?  What else can we do now? she asks.  There's so much you've got to tell me, says Quentin.  So very much, she agrees.  Are you ready to talk about us? he asks.  Are you? she counters.  He looks guilty, then asks, "How's Father?"  She asks him what she's going to do--tell her!  You tell me, he says, because you're the one who's going to have to make the decision.  She looks at him, uncertain.

I have to decide? she asks.  You married Gerard, points out Quentin, you must have a feeling for him.  But that doesn't mean I don't have a feeling for you, she says.  I know that, he says softly.  MY decision...she says.  He reminds her she's made a lot of decisions in their marriage.  So have you, she says accusingly--to stay in that room in the basement with all those experiments.  While you coddled our son! Accuses Quentin.  Coddled him?--if I'd coddled him, says Sam, he wouldn't have gone with you!  That time I won! He says.  And look at the result, just LOOK at it! she points out.  Their voices are rising, growing angrier.  Oh, I'm sorry, says Samantha, turning away.  Quentin asks her to believe him, he wants what is best for her, but he certainly can't make the decision for her--consider their marriage--obviously, she has some bitterness.  So do you, she says.  Your decision depends on whether you feel like starting over with me or starting with him, says Quentin--he's a good man, he's been a very good friend.  Let him speak for himself, says Samantha, the way I want you to do.  Quentin looks at her and says, my dear, just what do you want me to say.  Tell me that you love me, she says.  You are the mother of my son, he says (nice way to sidestep, Quentin), I chose you--I love you (but he doesn't sound sincere).  Of course, she says--love for you is something I do not understand.  Love is a word that is very much misused, says Quentin.  Not in this house, she says bitterly.  Quentin says he doesn't understand her--he's giving her the chance to make her own decision about her own destiny--that should prove to you that I do have some feeling for you--you always want brute force, and when you get it, you're always unhappy.  Don't explain me to myself! she cries.  Someone needs to, says Quentin.  Samantha begins taking clothing out of her top dresser drawer.  So you're leaving? He asks.  I'm going to Boston to be with Tad, she says.  Postponing the decision, he says.  I can think of no one but Tad, she says.  If you are going to leave, says Quentin, I think it's safer for you to start in the morning.  No, she says, tonight, I must go tonight.  All right, he says, I'll get you a carriage, and go see Father.  You can't, insists Sam, he's not well, worse than he was--they had to keep him up in the tower room--he seems all right, then suddenly goes mad--his heart is worse, he's only recently gotten used to the fact that you're dead--if he sees you now.  Quentin says that Ben Stokes will help him with him, and starts to leave, but Samantha calls his name sharply, stopping him, telling him so much has happened that he doesn't know--Ben Stokes killed himself.  Quentin is stunned.

Trask Chapel - Mournful music plays as Barnabas sadly stands waiting.  Trask comes out and asks him if he may be of service.  Barnabas says he came to view the body of Ben Stokes.  There is no viewing of the bodies after dusk, says Trask--it is a rule (thus, no vampires welcome).  Barnabas says one that must be broken--it must be, he has no other time to come.  Trask asks him to please lower his voice, they are conducting a special service for another dear departed this evening--the services for Ben Stokes will be at four o'clock tomorrow.  Barnabas tells him he will be out of town--he must see him now.  Are you a relative? asks Trask.  Barnabas explains who he is, which startles Trask, who says he's waited a long time to meet him--"My name is Trask, is that familiar to you?"  Barnabas' face takes on a look of irony and he asks if it should be.  Your father, Barnabas Collins, knew my late father, the Reverend Trask, says Lamar--in 1796--my father was an emissary of the Almighty, sent to strike the cloven hoof from this poor, wretched village.  Was he successful? asks Barnabas--I don't think my father ever thought of Collinsport as being particularly sinful.  (A flagrant lie, Barnabas!)   Indeed, sir, he did not, says Trask, I'm afraid, sir, your father was blind to the devil's work (doubtful)--the Reverend Trask was a martyr to his cause--he disappeared and only the Almighty knows where his bones rest--but someday, I shall find out.  Be that as it may, says Barn, I want to see Ben Stokes--you must know he was a faithful friend to my father--now, take me to him at once.  I will show you more courtesy, says Trask, than your father ever showed mine, sir (sounds like fightin' words to me).  He opens some door and shows Barnabas into the room where Ben's flower-covered coffin rests.  "Dear friend, says Barnabas, I can't believe you would have killed yourself."  There is no doubt of that, says Trask.  Isn't there? asks Barnabas.  In all my days of preparing souls to meet their maker, I have never seen anything like it, says Trask--it was as if he tried to cut off his own head!--the devil spoke to him in a loud voice.  He wouldn't have listened, says Barnabas proudly (I loved that; especially since Ben faced down the devil in the form of Angelique more than once, and Barnabas himself, after he became a vampire).  You seem to know him so well, says Trask, for one who has been in the village a short time.  My father often spoke of him, says Barn.  Evidently, says Trask, but you may cease your doubts about his death--I was brought to the body the night it lay in the woods--the knife was still in his hand.  Who discovered the body? asks Barn.  A certain Gerard Stiles, says Trask--why of course, you must know him.  Yes, indeed I do, says Barnabas.  A most earnest and heroic young man, pronounces Trask, although I must admit to a certain disappointment in him.  Oh, why? asks Barnabas.  I am not given to gossip, says Trask.I'm sure of that, says Barnabas, but please give me your opinion of why you'd say that.  Trask points out that it's not for him to judge a fellow mortal--he leaves that to a higher authority (he gestures to heaven).  And Quite rightly, say Barnabas.  The Almighty works in mysterious ways, intones Trask, perhaps this is one of them--although it does seem a bit callous for him to discover this body and marry in the same afternoon.

Drawing room, Collinwood - Gerard assures Samantha she is quite right to go to Boston to be with her son.  Am I? she asks, oh Gerard, I want someone to tell me what to do.  She pulls her hand out of from his.  No, he says, let me touch you.  Please, she says.  I have the right, he says, holding her shoulders--the right?--that's not what I wanted to say, he adds.  He moves away from her and says he will have their marriage annulled--why can't I even say that with conviction?--because you don't want to hear how I feel?  I know how I want you to feel, she says.  Trapped, in a cage, unable to move! He says viciously--this afternoon, this evening, for the first time in my life, I felt my love and yours--what happened to those psychic--why didn't I have a premonition that through that door, the one thing that would ruin my life and everything I wanted would come?--finished!  She looks out the window, crying.  He goes to her and begs her not to cry--he can't bear it when she cries.  Gerard, she says, someone's watching us!  Who is it? he asks, looking out into the darkness.

Gerard closes the window and asks if she's sure she saw someone.  She thought so.  A man or a woman? He asks, but she isn't sure--she puts her hands on his shoulders, then drops them, insisting she must pack.  Yes, he agrees, following her through the foyer, and you must let me see you before you leave.  I can think of no one but Tad, she says, hurrying upstairs.  Gerard chews the inside of his cheek.  Barnabas enters and Gerard asks if he saw anyone on his way over here--Samantha thought she saw someone through the window, that's all.  Barnabas congratulates him, but Gerard says congratulations are a bit premature, and he doesn't wish to discuss it any further. Of course, says Barnabas, and joins Gerard in the drawing room, explaining that he just came from viewing Ben's body.  Most regrettable business, remarks Gerard.  Did you know him well? asks Barnabas.  We lived in the same house for several months, says Gerard.  Did you have much actual contact with him? asks Barn.  No more, no less than anyone else--why all these questions?  You discovered the body, says Barnabas. By chance, says Gerard.  How long do you think the body had been dead? asks Barnabas.  Gerard doesn't know, he isn't the county coroner--why is Barnabas asking all these questions?  I don't believe Ben Stokes committed suicide, says Barnabas.  Are you accusing me, then? asks Gerard, be careful, because I'm not in the mood.  If you have any reason to believe that Ben Stokes would have killed himself, I wish you'd let me know, that's all I meant.  Is it? asks Gerard--your concern over a gentleman you just met is a bit excessive, isn't it?  He was a wise old man, says Barnabas, I respected his wisdom.  I find your relationship rather strange, says Gerard, it's almost as though you've known each other for years.  You know that wasn't possible, says Barnabas, a chuckle in his voice--my father knew him well, I wish I'd seen more of him.  Yes, agrees Gerard, I do, too, that way you would have known he gave in quite a bit to depression because of his health and his age--if you'll excuse me.  Gerard starts to leave just as Quentin enters the room.  "Quentin!" whispers Barnabas, shocked.  I recognize you because you so resemble your father's portrait, says Quentin, but how do you know me--I don't remember our having met before.  I saw a drawing of you upstairs, says Barnabas, covering, one done by Ben Stokes' granddaughter--it bears a remarkable resemblance to you.  Oh, yes, smiles Quentin.  I'm so astonished to see you, says Barnabas--I thought...  You thought I was dead, finishes Quentin--I'm going to have to put a notice in the village newspaper announcing my miraculous arrival.  I'm sure you two have much to talk about, says Barnabas.  Quentin says certainly you'll stay, cousin--if I may call you cousin?--after all, we could certainly use an impartial third party here tonight.  Quentin, says Gerard warningly.  Quentin turns to Gerard and says this is his house and they will do what he thinks best--he pours a drink--after all, we do have a rather scandalous and idiotic situation here, wouldn't you agree, Cousin Barnabas?  An unfortunate one, says Barnabas carefully.  Quentin says he and Gerard have been through a lot together.  Gerard tells Quentin he's leaving this house.  Not before the good woman has a chance to make up her mind about what she's going to do with her own life, says Quentin.  Do you mean that? asks Gerard.  I shall make no demands on her, vows Quentin.  And I shan't, either, says Gerard--I will leave tomorrow morning and go to the Inn, or perhaps to Rose Cottage--Flora Collins often invited me there, and whatever decision Samantha makes, I will stay with it.  Quentin smiles with satisfaction and says that they have handled this situation like gentlemen.  Barnabas listens to this exchange carefully.  Oh, says Gerard, you are the most important friend I have--you must believe that--it is with the greatest difficulty that I must say this one thing--whatever the decision Samantha makes, I have lost a friend--and he leaves the house.  Quentin sips his drink.  Don't trust him too much, warns Barnabas.  You make quick character readings, Cousin, says Quentin.  Barnabas says he speaks frankly because I think the situation demands it.  I've known the man longer than you have, points out Quentin, after all, I have sailed around the world with him.  Samantha, ready for traveling in her cloak and hood, comes in.  You're ready, I see, says Quentin, I'll see you to the carriage.  Barnabas tells her he hopes she finds her son better.  She thanks him and says goodbye.  Quentin, holding her bag, asks her if she wishes to say goodbye to Gerard.  No, she says, I don't have time.  She leaves, Quentin behind her.  Gerard comes out of the kitchen area into the foyer with Barnabas and asks him if he has psychic gifts.  No, says Barnabas why would you ask that?  Gerard points out that he seems rather comfortable here, and knows so much.  My family has made me that way, says Barn.  I see, says Gerard--tell me, I didn't know Ben Stokes' granddaughter was an artist--does she have a great deal of talent?  For a child, yes, says Barnabas.  Tapping his lower lip, Gerard says maybe he ought to have her draw something for him.  Quentin returns to say Samantha has gone.  Gerard expresses his hope that she have a pleasant trip--and he bids them good night and heads upstairs.  Certainly you're going to stay here, with us, Quentin tells Barnabas (move the casket right in!)  No, my sister is, says Barnabas, but I'm quite comfortable at the Inn for the moment.  Samantha told me Father gave you the use of the Old House, says Quentin, I certainly don't envy your repairing it.  I'll certainly enjoy doing it, Barnabas assures him.  I'll see you in the morning, says Quentin.  Barnabas tells him he won't be here in the morning; he's out of town, I regret I'll be unable to attend Ben Stokes' funeral.  They wish each other good night.  Barnabas takes his cape and leaves the house.  Outside, he spots a woman with long hair and asks who it is.She hurries away.  He realizes who it is, and says her name--"Daphne!"

NOTES:  Long episode, folks!  Daphne has made an appearance, but I knew she was in the ep because she did the intro.  Otherwise, she was silent here.  What is she doing here?

This was the most "soap operaish" storyline I remember in DS--a triangle without an (as yet) supernatural character.  Who will Samantha choose to stay with?  Who would you stay with?  She and Quentin don't seem to have a very happy marriage, with lots of baggage on both sides.  And there's even more, as you will soon see

Gerard and Quentin are handling the parceling off of Samantha like gentlemen.  I found it pretty funny.

Trask and Barnabas, together again!  Lamar is determined to find out who did away with Daddy, but he doesn't know the man who walled up his father was standing right there.  Poignant that Barnabas wanted to pay his last respects to Ben, sad that Trask has this "rule."  Anti-vampire!  It was fun to listen to the real son of the man who was walled up talking to the first and only Barnabas Collins.  It was a fun scene.


1122 - Barnabas catches up to and grabs hold of Daphne, who orders him to let go of her.  What are you doing here? he demands.  I've done nothing wrong, she insists.  You're meeting someone, he accuses.  No, she says, my carriage has broken down on the road as I was leaving Collinsport--the driver went for help and was gone so long I thought I might find someone here who could fix it.  Why didn't you go to the house and ask for help? inquires Barnabas.Why are you asking me all these questions? she asks.  Because I believe you're waiting for Gerard Stiles, he says.  Who? she asks.  You heard the name, says Barn.  Yes, she agrees, but I've never heard it before.  Her response leave Barnabas perplexed.

Laughing, Desmond and Quentin exit the drawing room, Desmond telling his cousin how good it is to have him back.  It's good to be back, says Quentin.  I only hope whatever decision Samantha makes, says Desmond, it's the one you want.  I want Samantha, says Quentin--it's as simple as that (coulda fooled me). Desmond asks him to come to Rose Cottage tomorrow, he brought something back from the Far East that will fascinate him.  What? asks Quentin eagerly.  You come to Rose Cottage and see for yourself, says Desmond.  Quentin agrees, and they bid each other good night at the door.  When Desmond is gone, Quentin's smile fades, and he looks unhappy.

Woods - Daphne asks Barnabas what makes him think she was waiting for this Gerard Stiles--he doesn't know her, does he?--have we met before?  Of course not, says Barnabas.  How do you know about me, why are you so suspicious? she asks him.  I know nothing about you, he says, but you must admit, your story is rather odd--you might have sent your coachman to the house.  Daphne spiritedly says she doesn't know who HE is or whether he belongs here, either.  I can assure you I do, he says--I'm Barnabas Collins--you haven't told me your name.  There's no need for me to, she says.  I would hate to have to force you, he says.  (A touch of vampire persuasion, perhaps?)  Why would you do that, Barnabas? calls Desmond, joining them.  My carriage has broken down by the main gate, says Daphne hurriedly.  Desmond, chuckling, says they'll have to fix it for her--I mean, it wouldn't be gallant not to.  He's already interested.  The coachman's probably back by now, says Daphne.  She mustn't walk through the woods alone, must she? Desmond asks Barnabas.  Daphne assures him she'll be all right.  No, there have been many attacks in the woods lately, says Desmond, there's a vicious animal at large--isn't that so, cousin?  Yes, apparently there is, agrees Barnabas.  Desmond volunteers to take her to her carriage, but she says not to bother.  It's no bother, he assures her, I need the air to relax--you see, he says to Barnabas, I found Cousin Quentin's predicament quite unsettling.  But we should be grateful he's still alive, says Barn, as Daphne listens intently.  Desmond says he's grateful indeed, Quentin is his closest friend--shall we go? he asks Daphne.  Yes, I'd be delighted to have your company, she says.  Desmond Collins, at your service, he says, and bids Barnabas good night, leading Daphne off.  She tells him she doesn't know what's wrong with the carriage.

Julia exits the drawing room, looks around to see if anyone is around, and leaves the double doors ajar while she speaks to Barnabas.  So Daphne is here, she says, why didn't she know Gerard's name?--why would she be staring at the house--if her carriage had broken down...she would have come here, finishes Barnabas--exactly--no, she was here for some other purpose, the curious thing is, she said she was leaving Collinsport tonight.  Julia says that in the present, they thought Daphne and Quentin were in love--it's such a jigsaw puzzle.  And Daphne is the last missing piece, says Barnabas, and now the drama will begin to unfold--we must change it, Julia, you and I--or else Collinwood in 1970 will be destroyed.

At a tavern, over tea, Desmond is telling Daphne it makes  no difference that her carriage started working.  I thought the driver stopped because he said he had to work on it, she says, I must have misunderstood him.  I'm glad you did, says Desmond, I wish you'd let me persuade you not to leave Collinsport.  She says he might regret it if she stays.  Never, he says.  You sound positive, she says.  I am, he assures her, I have a good feeling about you.  Looking uncomfortable, she stands and says she really must go.  You haven't finished your tea, he reminds her, you promised to have a cup of tea with me--what are you afraid of, we Collinses have a very respectable reputation.  She smiles and says, "Do you?--tell me about the Collinses, please."  Anyone in particular? he asks--I could ramble on about my mother, the world's worst and fastest novelist, or I could tell you what little I know of Cousin Barnabas, who you so curiously met--or I could speak of Gabriel.  Quentin, she says, tells me about Quentin Collins.  (Hmmm!)

So, Desmond relates to Daphne, here you have what should be a happy ending--only Quentin Collins has come back to more trouble--and that's the saga of Quentin, so far--have I bored you?  No, she says.  You seem so withdrawn, he remarks.  It's hard to imagine what it's like to be someone else, she says.  I wouldn't want you to be anybody else, he says--you aren't planning to, are you?  What do you mean? she says.  Just that I like you the way you are, he says, gazing at her raptly.  Thank you, she says, then asks if Quentin and his wife were happy.  I never heard either of them complain, chuckles Desmond.  Didn't you? she asks.What is this? he says--you're a very serious girl.  It's just that I'm tired all of a sudden, that's all, she says.  Desmond says he isn't going to let her start--look, you said yourself the only reason you're leaving town is because there is nothing here for you--now you've met me--things will change, you'll see.  I really must go, she says, rising.  You can't leave tonight, he says, I'll take you to the Inn--you should at least get a good night's sleep.  She agrees to go to the Inn.  He asks her not to leave until he sees her tomorrow.  She says if she stays, she has a lot to do.  I'll help you, he says.  No, she says, what I have to do, I must do alone.  Desmond drops money on the table and follows her out.

Collinwood - Gabriel wheels himself into the drawing room where Julia greets him, offering him some coffee.  He comments that she's an early riser, and that he takes his coffee black.  He calls her Miss Collins, at first, then asks if she's Dr. Collins.  Miss, she says, will be fine--would you like a muffin?  He accepts, and she brings the coffee and muffin to him.  How did you become a doctor? he asks.  Oh, I was very interested in it, she says, I spent years studying with a physician privately.  How unusual, he comments, do you have a license to practice?  Not here, no, she says, sitting down on the sofa.  I thought someday you might have a look at my legs, he says--not that anything can be done, of course.  You were in an accident? asks Julia.  Gabriel sips his coffee.  Yes, as a child, he says, taking a bite of muffin, my brother, Quentin...  He suddenly drops both muffin and plate to the floor, staring in stunned disbelief, his mouth hanging open.  It's Quentin, grinning, who assures his brother he's not a ghost and picks up the plate and muffin.  I should have pinned a notice to the door, says Quentin, saying missing brother is back alive and relatively well--and you must be Julia Collins--I met your brother Barnabas.  Yes, she says, I heard you'd been rescued, isn't it wonderful.  You may be one of the few people who thinks so, says Quentin.  Gabriel, still stunned, asks why no one told him.  You were asleep when I came, says Quentin.  You could have wakened me, insists Gabriel.  Quentin says he had a lot of things on his mind.  He pours coffee for himself.  Indeed you did, says Gabriel--how did you get home, out of that storm?  You can read it in my memoirs, quips Quentin, edited, of course, by my dear Cousin Flora--please, Gabriel, let me finish my coffee without going on about anything like that--and so, how is our Cousin Julia enjoying Collinwood?  Gabriel asks how he can act as if this is just a normal autumn morning in Collinwood?  Because I simply prefer that it is, says Quentin.  And will Mrs. Gerard Stiles walk through that door soon? demands Gabriel.  There is no Mrs. Gerard Stiles, says Quentin, there's only my wife, Samantha, and she is in Boston--Tad is ill there, not serious--my my, I think there's going to be a storm tonight--he opens the window.  The weather seems to follow our moods, says Gabriel.  If you'll excuse me, says Julia, I'm sure you have a great deal to say to each other.  She leaves the drawing room.  Gabriel faces Quentin and asks if he found out what Samantha is REALLY like.  I found out she's a woman who cannot bear loneliness, says Quentin, sipping his coffee.  Did you know, asks Gabriel, squeezing his ball, that while you were gone, she tried to throw me out of the house I was born in?Did she? asks Quentin, laughing ironically, if she did, I'm sure you gave her a good reason--I've always stood up for you--I don't know why, perhaps it's because I feel some responsibility for the way you are--yes, I know, you're just about to say that I should, aren't you?--but you know, you've become so bitter, even I find it hard to find affection for you--and, coffee cup in hand, he leaves the room.  Gabriel gazes after him with hatred.

Rose Cottage - Desmond abruptly pushes open the curtains covering the head-in-a-glass-case as if trying to catch it with its eyes open.  He stares at it, circling the case.  Quentin knocks at the door--he's come for his present.  Desmond looks as if he's in a trance.  Flora, calls Quentin, I thought you said Desmond was here?  Desmond stares at the head, breathing unevenly, spellbound.

Desmond closes the curtains and opens the doors.  There you are, says Quentin, sorry to disturb you, but you did ask me over to come get my present--and believe me, I'm in dire need of a marvelous present.  Desmond's expression makes Quentin ask him what's wrong.  Nothing, says Desmond, you surprised me, that's all.  Why, you knew I was coming, says Quentin.  Yes, yes I did, says Desmond, as if in a fog.  Quentin asks him if he's going to start acting strange, too, is he?--I'm beginning to think it wouldn't have been a bad idea if I'd been lost at sea.  Don't you ever think that, says Desmond.  Quentin says he thinks it time he got back some of his old interests--time I start finding some of the lost world we can't understand or even see--what did you bring me?--something that has a lot of distractions in it for me, I hope.  Something like that, agrees, Desmond.  Well what, man, tell me! says Quentin.  Books, says Desmond, rare books on the occult, I have them right here.  He hands Quentin two books, one he says is a treatise on white witches, and a study of the Druids use of the supernatural.  Quentin thanks him and sits down to look at once of the books.  Desmond wanders over to peek through the curtains at the head, saying he never believed any of that, although he knows Quentin always has, and Mother does now--but it always seemed to me silly.  What made you change your mind? asks Quentin.  Desmond doesn't reply at first, and Quentin calls his name again and asks if something is wrong.  Desmond says yes, he just realized, he's got to get to the village--he'll drive him to Collinwood.  Quentin says no, he hasn't finished yet, he'd like to look at the book.  No, I don't have time, and neither do you, says Desmond--remember, Ben's funeral is this afternoon.  Oh yes, Ben, says Quentin, I'd forgotten all about him--I wonder whatever made him even try to cut his own head off.  Let's not even think about it, says Desmond--come on, my carriage is outside.  Quentin and Desmond leave.  The camera pans to the curtains, behind which the head, eyes closed, waits.

Desmond returns to Rose Cottage and furtively looks in on the head.  Barnabas greets him from the room's darkness.  Desmond asks him how long he's been here.  Just a few minutes, says Barn--why?  You just surprised me, that's all, says Desmond--we missed you at Ben's funeral.  I'm sorry, says Barnabas, but I had some urgent business to attend to, but I've come here about something very important to me--I want you to tell me everything you know and found out about that girl last night.  And may I ask why you're so interested in her? demands Desmond, annoyed.She reminds me of someone I met once, says Barnabas--where is she staying?  I wish I knew, says Desmond, I left her at the Inn, this afternoon she was gone, left no forwarding address.  Barnabas says then she must have left Collinsport.  Desmond doesn't know, but something curious--her carriage wasn't broken at all last night--where did she go to?  Barnabas asks what her name is.  Daphne Harridge, says Desmond--I really want to see her again.  Yes, so do I, says Barnabas.

Daphne stands at the front door of Collinwood, hand on the knob.

Inside, the drawing room's double doors are ajar.  Inside, Barnabas asks Julia if she checked both boarding houses in town.  Yes, says Julia, there's no one who matches the description, and neither of the houses had any new rooms today.  Daphne quietly enters Collinwood as Barnabas is telling Julia she must have left town.  Daphne drops a note on the foyer table.  The only thing we know, says Julia, is that she will be back.  Yes, but when? asks Barnabas--how long can we keep up this charade, pretending to be people we're not?  He closes the door and says he thinks he'll go to Quentin, tell him everything.  Absolutely not, insists Julia.  But he's the only person, says Barnabas that would understand.  No, she says, we don't know him well enough and we've got to decide what we'll do.

Quentin comes downstairs and finds the note on the foyer table.  He opens it and reads it, then pushes open the drawing room doors and demands of Barnabas and Julia, "Who left this note for me--who?"

At Rose Cottage, a window blows in the wind from the storm.  Desmond, looking ragged, closes it.  He goes over to look at the head, staring down at it.  Can the legends me true? he wonders, smiling, and walks away.  The head's eyes are open, staring at Desmond, who now has his back to it.  When he turns to look again, the eyes are closed.  Desmond sits down on a love seat and opens the book Ben gave him, but seems too tired to read it.  He sinks back and falls into a nightmare-plagued asleep, in which the head speaks to him--"Help me!  You will help me!"

NOTES:  That head has begun to take over Desmond.  He didn't give it to Quentin as planned, and that dream--creepy stuff.  It looks totally evil, and I have no doubt it has evil intent toward Desmond and perhaps others.

Daphne has arrived, but she's a mystery woman who doesn't even know Gerard or Quentin.  She lied about her carriage--why?  Desmond already seems to like her, yet she was in love with Quentin.  What's the real story?  What's in that note she left, and why is Quentin so upset about it?

We see that Quentin and Gabriel have a Cain/Abel relationship.  Quentin had something to do with Gabriel's paralysis, although we didn't find out the specifics today.  We will eventually.  In any case, Quentin is fed up with Gabriel's bitterness, and now Gabriel, who is as far from receiving the family money as he ever was, despises his brother.

Julia and Barnabas are playing detective again, not getting very far.  Will they be able to head off the inevitable.  I don't think confiding in Quentin is such a bad idea.  If there was more communication back in 1970, this wouldn't have happened the way it did.

Daphne must have overheard Barnabas asking Julia how long they can keep on with their charade of pretending to be people they aren't.  She could easily use this against them in the future.

Love, Robin