Quentin screams in pain--the hand doesn't appear to be helping. Quentin lets out a particularly blood-curdling scream, and the hand vanishes. He slowly stands up and tells Magda, The pain is gone. The hand _did_ help, Magda exults, but Quentin corrects her: The pain always stops just before-- Just before the transformation, she finishes in horror as she takes out her pentagram in fear. Sure enough, one moment Quentin is leaning on the mantelpiece, the next moment the much shorter Alex Stevens, in full werewolf regalia and wearing a darker suit, has replaced him. The creature lunges at Magda, but she holds up her pentagram. Repelled, the werewolf backs away from her and runs out of the house.

Trask brings Charity to Collinwood. As she looks around the splendid mansion--now her own home--and expresses concern for the school. Her father replies, You must bear in mind that my marriage to Judith carries with it certain burdens and responsibilities--not the least of which is the time-consuming management of this estate. [And besides, the faculty has been pretty much wiped out.] Charity correctly infers that the school will be closing. Trask reminds her of her mother's fervent wish that Charity will become a Collins. He notes that there's still one eligible bachelor left. Quentin, Charity says, her eyes lighting up. Trask is sure that Charity can reform Quentin's character.

Magda knocks on the front door; Trask opens it. I got to see Beth, she says. You will see no one in the house without _my_ permission, he says. Oh, Mr. Trask, she says, it didn't take you long to become the master of this house. Not long at all, he says. One of my first duties concerns you. Come into the drawing room--excuse us, Charity. Never willing to give up a chance to spar with Trask, Magda follows him. I'm going out to say a prayer at my mother's grave, Charity says. I made a vow to go there each day. Get back as soon as you can, Trask says.

Trask bluntly gives Magda and Sandor twenty-four hours to pack up and leave. Utterly unconcerned, Magda replies, Oh, _Mister_ Trask, when you threaten people, don’t do it from weakness. He smiles as he replies, I can prove to the sheriff that you were helping Barnabas. That’s true, she parries, but I also have something to tell the sheriff: I sold Tim Shaw the deadly nightshade that killed your poor wife. The sheriff knows you made an alibi for Tim. I don’t care _why_ you did it, but the sheriff will. Do we understand each other? Furious at being blackmailed, Trask replies through gritted teeth, Yes, I believe we do. With a deep, mocking curtsy, she goes upstairs to see Beth, and Trask stabs the letter-opener into the little writing desk.

Meanwhile, the werewolf stalks Charity. It climbs up its favorite rock. She sees it and very sensibly screams and runs. The werewolf chases her.

Trask is staring up at Barn's portrait when Magda emerges from the servants' door. Beth wasn't in her room, she tells Trask. Have you seen her this evening? No, Trask says with angry concision. If you do, tell her I'll come back later, Magda says as if he were the servant. Before he gets a chance to say whether he will or not, they hear Charity screaming just outside. Magda flings open the door, and Charity flings herself into her father's arms and tells them that she saw the creature in the woods. I'll have the police come, Trask tells her. It must be the same creature that attacked Judith. Alarmed for private reasons of her own, Magda offers to take Charity upstairs. That isn't necessary Trask huffs. The girl is frightened and needs the understanding of a woman, Magda insists. Very well, Trask agrees grudgingly--but see to it that she goes right to bed. While Magda takes Charity up to her room, Trask does the manly thing and phones the sheriff.

Magda has settled Charity in bed with a cup of tea. Charity is recovered enough to be curious about Quentin--well, about everyone at Collinwood. But especially Quentin? Magda asks, teasing her a little, relieved that Charity’s interest is of the most innocent kind. I know Quentin was married once, Charity says. What happened to his wife? She’s dead, Magda says flatly. Sorrow flashes across her face, but she quickly recovers and takes out her pack of tarot cards. I can look into the future with these, she tells Charity. When Charity hesitates, Magda adds, I won’t charge you anything. Charity agrees, so Magda deals out five cards on the lap tray, then turns them over one by one.

The central card represents Charity--La Force, showing Hercules killing the Nemean lion. It's a good sign, Magda says. If right is on your side, you will master the events of your life. Charity smiles at this prospect. Magda turns over one of the surrounding cards, La Lune--The Moon! A bad card, Magda says--it represents a secret revealed. I don’t understand, Charity says. The next card is Les Aimants, The Lovers, which means marriage--but the card is inverted, so it means separation or infidelity. Neither Charity nor Magda likes this one. The last two cards are the Tower of Destruction, inverted; and the Hanged Man, also inverted. Magda tells Charity unhappily, There will be a man in your life very soon, and you will be very attracted to him. But you should stay away from him--he is bad, evil, destructive! Charity looks really upset at this.

In the woods, a constable tells Trask that they've set out some bear traps and warns him to be careful. When Trask returns to Collinwood, he warns Magda about the traps--and adds that she could make her life easier by helping him and Edward find Barnabas. Abruptly she tells him to go see his daughter: She needs you more than I do.

Even though the script is by Gordon Russell and not Violet Welles, Charity sleeps and has a dream: She sees lights and hears music. Quentin is sitting--somewhere--in a chair, listening to his favorite tune on the Victrola. The darkness is lit by a single chandelier. Charity herself approaches from the shadows and calls his name. I’ve been waiting for you, he says as he rises from the chair. She steps toward him with a look of longing. I missed you so much while you were away, she tells him. I missed you, too. he replies. I don’t want you to go away agin, ever, Charity pleads. I feel so lonely without you. Our destinies are guided by the strange wheel of fortune, he tells her. Don’t you remember Magda telling you that? Yes, Charity replies, and I didn’t understand it, but it frightened me. It frightened me too, Quentin says. Many things frighten me, he continues, the strange wheel of fortune, the Tower of Destruction, and the moon--the most frightening of all. Why? Charity asks. That is a secret that no one must know, Quentin replies. I don’t think about it when you are here and I’m listening to my music. It frees my soul and allows me to dream, he tells her. Listen carefully, and you will hear my dream. As the music starts up again, he recites a poem (and very nicely too) as they gaze at one another lovingly:

Shadows of the night
Falling silently
Echo of the past
Calling you to me

Haunting memories
Veiled in misty glow
Phantom melody
Playing soft and low

In this world that we know now
Life is here, then gone
But somewhere in the afterglow
Love lives on and on

Dreams of long ago
Meet in rendezvous
Shadows of the night
Calling me to you

He stands up, takes Charity in his arms, and kisses her slowly and passionately. They move apart as the music ends. It’s beautiful, Charity whispers. Go upstairs and wait for me, he tells her, I’ll be there in a little while. She turns to walk away, but suddenly hears growling. What’s that sound? she asks, already fearful. Quentin leans back, shuts his eyes, and tells her, I hear only my music. No! It’s that animal, she says frantically, the animal that attacked me. Still sitting in his chair, eyes shut, lost in his music, Quentin murmurs, Goodnight, Charity. The next moment, the animal springs up from behind Quentin’s chair. It’s in the room with us! Charity cries. Peaceful and soothing, Quentin murmurs, ignoring Charity completely. Help me, Quentin, save me! Charity screams, but he doesn’t budge, so she runs away in terror. The werewolf calmly stands behind Quentin’s chair as he tells her, The wheel of fortune spins, Charity. You mustn’t be frightened by it. Good night, my darling. Good night, good night, good night.… The camera closes in on the chandelier lights that started the dream.

Charity wakes up abruptly, but for the first and possibly only time in the history of Collinwood, she does NOT scream. Instead she covers her racing heart with her hand.

In the woods, the werewolf attacks the constable while he’s setting another trap. As they struggle, the creature howls in pain as its foot gets caught in the trap....

Sure thing! But now I'm going to feel like I have to throw in a strange word every day! 

Thanks, MT!

Bitey bitey indeed! There's plenty of garlic in HoDS, but that wasn't being filmed yet.

And you're right about "outsmart," MT. According to Merriam Webster on line, the first known use was in 1924. Maybe Edward has done some private time traveling.

I think that like Barnabas, the crate with the melted candle has moved throught time and space. I first remember seeing it when David is in the fishing shack and nearly gets incinerated with his mother. Then it was in the fishing shack in 1795/6. I'm sure I've missed a few instances, and I'm sure we'll see it again.

Are you getting nervous, Mr. Collins? Trask inquires hopefully. Barnabas replies, This is your moment. You might as well make the most of it. But we will meet again, _Mister_ Trask, and I will deal with you then as I dealt with your ancestor before you. [This is the closest he ever gets to confessing!] Then he vanishes before Trask’s astonished eyes. Hardly able to believe what he’s just seen, Trask whirls around as if looking for Barnabas. He declares, I was right! You _are_ a disciple of the devil! But I know your secret now, Barnabas Collins! he gloats. I know you are vulnerable during the daytime, and I will destroy you!

Barnabas can surely hear him, because he has rematerialized behind the bookcase (though his cloak is now on the coat tree near the door). He is climbing into his coffin--just on the other side of the wall from his enemy!

Edward phones the police to tell them about Carl's death. Edward shows no trace of emotion except when he says irritably that his brother (Q.) has been no help at all. Trask walks into the house without even knocking, and Edward chides him for going to the Old House. Trask is bursting with the news that Barnabas is the vampire! Edward can't believe this of a Collins, but Trask reports his first-hand experience. I believe you, Edward says after a moment’s thought--perhaps he remembers how close he and Barnabas have become, even if Barnabas had to make up a back story out of whole cloth. Edward continues, A great many things are beginning to make sense now. It's imperative to find and destroy Barnabas Collins, Trask insists. It won't be easy to find him, Edward points out. I believe we'll find his coffin at the Old House, Trask says confidently. No, Edward says and points out, Now that he knows he's been exposed, he wouldn't leave it there. He was there until dawn, says Trask, and couldn't possibly have moved it since then. [Trask makes no mention of the marks he saw on Charity’s throat. Probably he connects that evidence too but may be too mortified to admit that his own daughter has been debauched by a vampire.] I think we should send the police to the Old House, Trask urges. That’s impossible, Edward declares. At last he reveals emotion as he declares, For the sake of this family's peace of mind, no one else must ever know this terrible secret! We must go to the Old House now and do what must be done. Accordingly they depart, presumably leaving poor Carl still lying dead on the drawing-room floor.

Just as his father did with Victoria in 1795, Trask shows what a bully he is when he threatens and then slaps Magda, trying to get her to show him and Edward Barnabas's coffin. When she refuses, he promises that she'll burn in hell. Drawing herself up, she warns him coldly, You have made a mistake, mixing yourself up with the Almighty. I will remember this. There is an old gypsy saying: Walk fast, and misfortune will overtake you; walk slow, and misfortune will _catch_ you. You’d better not walk slow--because I will never be far behind you.

Later, at Collinwood, Trask is poring over the architectural plans of the OH when Edward returns with six silver bullets that he had "old" Braithwaite (presumably the father of "old" Ezra of 1969) make. Trask says he's found four possible hiding places for the coffin and says they'll start with the one behind the bookcase. (But Gregory Trask never discovers where Barnabas sealed up his father.)

That evening, Barn emerges from behind the bookcase to find Magda waiting--and now eager to help him. I find your sympathy somewhat disturbing, Barnabas observes. Why aren’t you helping Edward and Trask? After all, you have something to gain if I am destroyed: Your Sandor will be free again. I would rather help you than that _Meester_ Trask, Magda snarls. He's an animal! We can't stand here talking, we have to get you out. But before they can do anything, they hear a knock at the door. I'll get myself out, Barnabas says. Stall them as long as you can. Where will you go? Magda asks. I will find you, he vows. Once again he slips behind the bookcase, leaving Magda to face Trask and Edward, who trains the gun on her. She watches helplessly as Trask--who knows exactly how to do it--operates the hidden lever, causing the bookcase to swing open. The coffin is still there, and the two men take a moment to gloat over their success. But in that moment, Magda runs out, as they discover when they turn to face the drawing room. The two aren't too disappointed, though--without the coffin, Barnabas can't exist.

Closing the bookcase, Trask asks Edward, Are you sure you don't want me to remain here with you? No, I've got this, Edward replies as he brandishes the pistol. (No doubt he is still hoping to keep it strictly a family affair.) I'll return at dawn, Trask promises and leaves. Edward sits down on the strange round purple settee and takes up his solitary vigil, pistol in hand.

Barnabas rematerializes behind the bookcase. Edward hears a sound and gets up to listen through the bookcase, but decides he imagined it. He resumes his vigil, still holding the pistol. Barnabas is dismayed when he sees that the coffin is chained shut. The chains would be a trifle to his unhuman strength--if he didn’t first have to deal with the large silver cross on the lid.

Charity is preparing for bed in her bright green room at Worthington Hall when Barnabas materializes. She's dismayed that he's at the school, but Barnabas tells her that's the last place her father will look for him. He has to use his vampire gaze to get her to do what he needs: She has to go to the Old House basement and get a little bit of earth for him to rest in, once he gets a new coffin. He promises to show her how to get into the OH without Edward's seeing her.

At 4:20 a.m., Edward is still on watch in the drawing room at the Old House. He paces the room, then sits on the sofa.

In the cellar, Charity--still wearing her nightgown under a shawl--scoops some earth into a little beaded black reticule that looks rather ornate for a reverend’s daughter. She straightens up--and promptly knocks over a crate with a candle on it. Edward hears the noise and calls out, Who’s there? Instead of sensibly running back the way she came, Charity freezes in panic. When she hears Edward coming down, she ducks into an alcove. Edward arrives and calls out, Come out of there! I can see your shadow! I have a gun--and I’m prepared to use it! He is amazed when Charity, looking terrified, emerges....

Welcome, Vickis Ghost! I actually remember a scene like this happening in the 1840 portion of the show. I don't remember all the details, but I'm sure some of our more expert fans will have a more precise answer.

Once again, I have to wonder who was responsible for the emphatic anti-clerical thread that runs throughout the series. Jerry Lacy is outstanding.