819 -Charity appears to be in a trance.  When Petofi removes his hand, Quentin asks, what did you do to her?  Do you really care what happens to her? asks Petofi.  My only concern is her silence, answers Q.  I believe you hide a soft core of sentiment beneath your hard shell, says Petofi--leave the room, I must deal with Charity alone.  Quentin asks why--is there some secret you don't want me to see?  Would you prefer Charity tell all and destroy you? asks Petofi. Quentin leaves.  Charity is docile and silent.  You're lovely, says Petofi--and you may thank me for the compliment.  She does.  It's a pity you're also a nuisance, says Petofi, people of your kind are almost always destined to end life tragically, as I shall show you in a moment.  He leads her to the window--look out and concentrate, he says--you will soon see the future reveal itself to you--your fate, dear Charity.  A picture beyond the window glows, a bright sun.  Magda paces the drawing room of the Old House, then answers a knock at the door.  It's Charity, who says, I must see you--it's very important.  Magda objects--I'm waiting for someone.  I want you to read the cards again, insists Charity--something has happened in my life--I must know my future.  Better off not, especially tonight, advises Magda.  Why? asks Charity.  The cards will only tell tragedy tonight, says Magda.  She shows Charity the cards spread on the table--I've been reading them, she says, and the end if always the same.  It wouldn't be for me, says Charity.   Magda says, every arrangement I set up shows there will be an act of violence near here tonight.  Charity asks, against who?  The man I'm waiting for is the one I must warn, says Magda--Aristede.  Charity doesn't know him.  Magda encourages Charity to go home to bed, perhaps the cards will read differently tomorrow.  The young woman leaves.  Aristede shows up.  Magda asks him where Petofi is--you must warn him, Aristede!  Of what? He asks.  The lights flicker as a storm passes through; the chandelier sways.  Magda says, I don't know what's going on, but it sure is scary!  The front door blows open.  Aristede goes outside to look around.  He sees the doors have closed, leaving him alone outside, and spies someone in a cloak approaching him.  The figure strangles Aristede, falling with him to the ground to finish the job, until Aristede is dead.  The caped, hooded creature picks up a long sword and walks away.  Magda watches him leave, then looks at Aristede, who is staring, eyes wide open in a death stare.  Charity screams, "He's dead!"  Petofi demands to know who Charity is talking about.  The young man, she answers--his name was Aristede.  Petofi demands to know what she saw--who killed him?  I don't know, answers Charity, but he was wearing a hood, like an executioner.  Petofi wants to hear more.  He strangled Aristede, says Charity, then reached down and picked up a scimitar.  Petofi admits, even I cannot fully understand the monstrous power of the hand--instead of showing you your own death, I might have been showing you my own--go on, tell me more.  I don't want to! she bleats.  He makes her watch it again, ordering her, tell me what's happening as you see it.  She sees a graveyard, which frightens her.  She watches the same man, the executioner, walking through that graveyard.  Now she sees some stones, the walls of a building she's never seen before, cold and damp--Petofi is there, being held prisoner, his hand is strapped to a chair.  We hear a door opening--someone is coming.  The executioner comes downstairs, heading for Petofi, raising the scimitar over his hand.Down goes the scimitar.  "He's cut off your hand!" sobs Charity.  "ENOUGH!" bellows Petofi--I've heard all I want to hear.  He passes his hand in front of Charity, clearly shaken, thanks her and says, you will begin a new life, one which not everyone will understand, but will be unable to do anything about it--enjoy is while it lasts, he encourages her, and leaves.  The strains of Pansy's song fill the room.  Quentin sees Petofi leave and asks, what did you do to Charity?  See for yourself, suggests Petofi, about to rush off.  Q asks, why are you in such a hurry?  "One may play many tricks with fate," says Petofi, "but one must not tempt it."  He takes his hat and leaves.

Quentin opens the double doors and looks for Charity, who appears to have disappeared.  "Charity!" he calls.  "Where are you?" he calls.  She pops out from behind the drapes, her Pansy Cockney accent in full force, laughing--I'm right here! she says--name your pleasure and it's yours--a favorite song, (she grabs a red shawl from the back of a chair), a dance, or some other demonstration of my unique talents--speak up!  Do you know who I am? He asks.  I sure do, she replies.  Do you know WHAT I am, he asks.  Pinching his cheek, she says, "You're a bit of all right, you are."--you're the reason I hung around so long, not Carl.  She pours herself a drink--  Carl was a dear to me, but he was such a barmy one!  "He put it right out of your head, didn't he?" asks Quentin.  She drinks.  Put what right out of my head? She demands--I've never forgotten a thing in my life--part of my stock in trade, Luv.  Quentin wonders, why did he leave here so quickly?--he looked frightened.  Who are you talking about? She asks.  The gentleman who was here a little while ago, he reminds her.  Ohhhhh, she says, the old gent--he left.  I know that, but why? asks Q.  I don't know, she says, but may I entertain you in my own inimitable fashion?--sit right down.  Q is already on his way out, heading upstairs.  She chases after him, asking, where are you going--don't you want to watch my act?  Pouting at first,  she begins to sing Pansy's song.

Aristede waits in the room where Barnabas is chained in his coffin.  Petofi comes in--it's pleasure to see you looking well, he says--and alive!  Aristede is puzzled.  It's a feeble attempt at levity, says Petofi--I'm in grave danger--our enemies are on the way again, how far away I don't know, but they will be here and we must take steps to avoid capture.  Aristede suggests, we must leave.  We have a prisoner much too valuable to leave behind, Petofi reminds him--Barnabas may prove to be the perfect means of escape--all our lives, we've been running, always running, complains Petofi, now the time has come to throw our enemies off, by giving them some small measure of Satisfaction--come long, we have work to do--we must leave Barnabas alone, for this is an emergency, says Petofi--and they exit.

Charity is standing in the middle of the drawing room, doing her hootchie-koo dance for no one.  (She really does have a lovely voice.)  She swivels her derriere, flips her crimson shawl in the air and only stops when Quentin comes bursting back into the house.  You're a rotter for running off like that, she bitches--I want to entertain you!  Maybe some other time, he says impatiently, rushing for the door.  She asks where he's going.  To see someone.  "A woman?" she asks, running her fingers up his arm.  Yes, he says, now you must step aside.  She caresses his face, coyly suggesting, you're having a clandestine relationship with someone, aren't you?  Move or be moved, he orders.  You want to stay here with me, she insists.  He lifts her up and out of his way--I'm in a hurry! He says.  I can wait, says Charity, you'll be back to me.  She sings Pansy's song again, right outside the front doors of Collinwood.

Cemetery - Aristede and Petofi are looking at tombstones.  Petofi pronounces John Wilkins as a name with no character, and they go on, Aristede holding up a lamp so they can read the stones.  Alexander Markham, muses Petofi--but it's a pity he died so long ago--now this is more like it, exults Petofi.  I wish you'd tell me what you're looking for, says Aristede.  Petofi insists I want to keep you in suspense--Abraham Howell--fine, strong name of a man who died recently, poor chap (1846-1897)--this gentleman will do very well--start digging.  Aristede commences to work.

Aristede, shirt sleeves rolled up, unearths the coffin.  Petofi orders him, open it.  Aristede does, dirt falling off the top.  Splendid, says Petofi, the state of decomposition is perfectly advanced.  Aristede has no idea.Take my word for it, advises Petof--hello, Mr. Howell--I'm sorry for disturbing your rest, but we have urgent need of your services...

Old House - Quentin visits Magda--we must rescue Barnabas, he insists.  Are you crazy? She asks.  No, says Quentin--I think there's a chance for us to succeed.  She refuses to listen--you tried to save him once before and are lucky you got away with your life--if you try a second time and I help you, both of us will be killed.  I believe the situation has changed, says Q.  Oh? she asks--has Petofi lost his powers?  I don't know about that, says Q, but something happened to Petofi tonight, and when he left there, I could swear he was very frightened, and he isn't a man who frightens easily--perhaps his fear will distract them while we go get Barnabas.  Magda calls him a fool--Petofi is too strong, smart, his powers too great.  Barnabas holds the key to the future, Q reminds her, now for some reason, I'm part of that future, of his time--I must find out how that will affect me--I'm going to free Barnabas, one way or another--are you with me?  She tightens her lips, thinking about it.  What do you say? he asks impatiently.She finally decides he needs someone to distract Aristede--so I will go--we must make a plan.  We will make one along the way, says Q.  He sees a face at the window.  I saw no one, says Magda.  Quentin looks, but the someone is gone.  There's one knock at the door.  Quentin goes to check it out, and finds a note stabbed into the door that says, "Between life and death, there's not room for a flea to jump."  What does it mean? he asks Magda.  Horrified, she says it's from the gypsies, from King Johnny Romano's tribe--they have come for the hand--"and for me!" she says, gasping.

NOTES:  One still must wonder why Petofi fears gypsies so much--and what makes him think, if he does attain going to the future, there won't be gypsies waiting there, with a long memory for grudges?  There are always angry descendants!  No more Charity, Petofi has transformed her into Pansy Faye, and she does sing well and tease Quentin so seductively.  Why did Petofi feel compelled to turn Charity into a completely different person?  Why didn't he just make her forget what she knows about Quentin?  Seems like he went too far just to give Charity a more fun life.  Uh oh, sounds like the gypsies have caught up with both Magda and Petofi!  What will happen to them?  Once again, Petofi shows someone a vision that does not match what he expects.  Why is this power not working properly for him?


820 - Agitated, Magda examines the knife and note left at the Old House the day before.

Charles Tate, in his studio, sketches on a pad of paper, Quentin's portrait behind him.  There's a knock at the door.  Come in, he calls to Petofi, who complains that a host usually answers his own door.  Oh, her, says Petofi, looking over Charles' shoulder at the sketch he's working on--I never understood why you persist in painting that same portrait over and over again.  I told you, says Tate, annoyed.  You're a grown man, says Petofi, only little boys invent "ideal women."  I don't want to go over this again, says Tate--I like to paint her because she's the only thing in this world that really belongs to me.  She doesn't exist, says Petofi.  She exists to me! retorts Tate.  I must tolerate your childish fantasies, says Petofi, since you serve me well.  I suppose you want something from me, says Tate.  I hope someday, Charles, you will be less bitter, remarks Petofi.  What do you want? asks Charles.  Something that requires the touch of a master's hand, says Petofi.  He touches Tate with his hand, hurting him, and says, "This."

What's your answer? demands Petofi.  Nothing you say surprises me, says Tate, nervously pacing the studio--but more grisly than your usual request.  You will do it? asks Petofi.  There are many other artists, says Tate--get one of them.  None have your touch, says Petofi.  Try the local embalmer, suggests Charles sarcastically.You've had your little joke, says Petofi--your answer?  Tate is flustered--I want no part of this or you.  You have a contract with me, Petofi reminds him.  Why do you want this? demands Charles.  Will it soothe you to know that no one will be hurt by this little deception? asks Petofi.  I don't believe that, says Tate.  I never harm anyone unless it's vitally necessary, says Petofi.  Yes, like with Charity, says Tate, I stayed up all night wondering what you inflicted on her.  Petofi assures him that Charity is fine, thoroughly happy.  I can imagine, says Tate sarcastically.  When can you start? asks Petofi, bringing over a case containing something Tate clearly doesn't want to look at.  Don't be so squeamish, says Petofi, forcing it into his hands--I'll be back this afternoon, and expect you to be finished.  Charles glances inside, then closes it, looking very ill.

Amanda, in her room, packs a suitcase.  Tim comes in--what are you doing? he asks.  Leaving, she says flatly.  And you weren't going to tell me? demands Tim.  you don't own me, and can't keep me here, she insists.  I was counting on you to help me, says Tim, just a few more visits to Trask.  That's too much, she says, I can't stand that pompous idiot.  But he's hooked, Tim says, don't spoil it for him.  You don't tell me anything, bitches Amanda--I don't know what your plans for Trask are.  I'll tell you when the time has come, says Tim.  The time HAS come, says Amanda--I'm sick of hearing that, too.You can't leave me now, says Tim, I need you.  He touches her shoulders intimately.  It would be different if you needed me yourself, but you're just using me, she says.  And paying you well, he reminds her.  I don't care that much about the money, she says.  "That's not what you told me in New York," Tim reminds her.  I've changed, she says.  Why, what made you change? he asks.  I don't know, but I have, says Amanda, and I've got to leave this town.  He takes her in his arms--one more day, he asks, caressing her--one more day.  She becomes angry--for a minute I thought you were going to enjoy my company.   I was, says Tim, I do enjoy your company--one more day will make all the difference in the world, he says--I will accomplish what's necessary and will have Trask where I want him.  I don't want either of us to stay, protests Amanda--I feel there will be disaster if we do.  I can only think of the bliss if I get what I want, says Tim.  They're sitting together on the bed; he draws her close for a kiss.  You know how I feel about you, he says--do this one last favor and I promise to take you back to NY myself.  The kiss convinces her--do you really mean it? she asks.  Yes, he replies.    What do you want me to do? she asks.  Put on your makeup and best dress, he says, and I'll tell you about the gentleman I want you to meet.  What's his name? she asks.  "Count Petofi," he says

Petofi's mill hideaway - Magda comes to see him.  Do not implore me to release Barnabas, orders Petofi.  She shows him the note that had been stuck in the Old House door.  He reads it and says, it's interesting and often true.  It's an old gypsy saying, she says, and describes how she received it.  You know, says Petofi, as I do, that the gypsies are coming here--I suspect the town will be swarming with them.  You already knew? she asks, perturbed.  It wasn't an act of clairvoyance, I learned by accident, he replies.  What will you do? she asks.  Nothing, he says--they won't be looking for me unless they know I'm here--and they don't--the note suggests they are looking for you, he says.  Help me, protect me, she says.  If I protect you, says Petofi, they may find me, he points out--I'm reluctant to endanger my own life.  Maybe they will find out you are in Collinsport, she suggests.  They won't know unless you tell them, he says, and you won't betray me because you won't be able to speak or write my name!  He touches her mouth with the magic hand--try to say it, he suggests.  Magda can't do it!  And you will not, he warns--is that quite clear?--I hope your brethren won't be too angry when they find you--I have a certain fondness for you, but you must go now.  I don't want to go back to the Old House now, insists Magda.  I have another visitor, he says, so get out.She sneers, "I hope it's King Johnny himself!" then turns and leaves.  Amanda enters, dressed exquisitely.  Who are you? he asks.  My name is Amanda Harris, she says--Tim Shaw directed me here.  So Tim has decided to disregard his advice, says Petofi.  Amanda lifts the black veil covering her eyes.  Petofi stops speaking.  Amazing, he says, shocked--come closer--I won't hurt you.--it's astonishing, you're very beautiful, one might almost say, the ideal woman--have you had your portrait painted?  No, she says.  Sit down, he says--when did you first met Charles Delaware Tate?  I don't even know the name, she says.  Petofi is further astounded--where are you from? He asks.  New York, she answers.  You were born and brought up there? He asks.  Yes, she says.  You must have been seen by Tate, he says.  Why are you so interested in my origins? she asks.  I have only half an hour, he says kindly state your business.  You're a strange man, says Amanda--I need your help--I'm in love with Tim.  Then he's very fortunate, says Petofi.  I want to get him away from here; she says--he came to get revenge on someone and I'm afraid for him--he might get hurt or killed.  Petofi asks, what does all this have to do with me?  Tim told me that you have has a talisman of great power that will ensure his revenge--let him use it just once--I'm so afraid of living in danger--help me get Tim away from here!  You must indeed be in love with him, says Petofi--has Tim told you anything about this "talisman" of mine?--has he told you what it is?--no?--  then I will--he peels off his glove and shows her the hand.  It has great power, he snarls, too much to be meddled with by the likes of Shaw--I'm not surprised by his clumsy attempt--once I congratulated him on his choice of enemies, now I congratulate him on his taste in women, but his conception of strategy is pathetically inadequate.  Without another word, Amanda leaves.  Petofi bows and says, I hope we meet again.

Magda returns to the Old House and hangs up her shawl.  The room is in total disarray, furniture overturned, draperies pulls down.  A man comes downstairs.  "King Johnny!" cries Magda as he stares balefully at her.

Johnny approaches Magda.  Are you frightened? the gypsy asks.  Have mercy! she begs.  She asks for mercy, which is good, coming from a swine like her--that's something, sneers Johnny.  What are you going to do? she asks.  I know what I'd like to do, he says, pulling out a knife--slit your throat here and now and be done with you and the problems you caused.  Please, she implores.  You will get to live your miserable life a little longer, Johnny assures her, not because of pity, but because we don't have the hand--if you return the hand willingly, and don't deceive us again, then maybe--maybe--your punishment won't be so severe--but because of Julianka's death, there is no way for you to avoid going on trial.  Kill me now, then, Magda begs, because I "ain't got the hand" and can't get it for you.  You're lying, he accuses.  You searched the house and didn't find it, she reminds him.  I'm going to search again, he says, and while I'm gone, think again, think well, if you can't remember where the hand is, then maybe I won't have to take you back for a trial.  He tucks the knife under her chin and adds, maybe King Johnny will kill you right here!

Amanda asks Tim what he's going to do.  I have to stay here, says Tim.  You can leave anytime you want, she says.  I prefer to stay, he insists.  Why is Trask so important to you? asks Amanda.  He was responsible for the deaths of two people, says Tim, one of whom happened to be very close to me--I loved her very much.  A woman? she asks.  I wasn't in love with her, amends Tim--it's a kind of love.  I understand, says Amanda.  You'd better pack, he says.  I'm going to stick around a little longer, says Amanda--you refuse to understand the danger you're in, and I can't protect you, but perhaps I can, in time, convince you to leave for your own good--promise me that you won't have anything to do with Petofi; he's the most frightening man I've ever met--he kept asking me questions about my past, but the way he asked gave me the feeling he was seeing deep inside me.  Petofi's questions weren't unusual, says Tim.  But before two years ago, says Amanda, I don't remember anything about my past.  She looks at Tim, who is perplexed.

Magda wrings her hands nervously, walking around the mess of the Old House drawing room.  She rights the candles in the stand.  Johnny returns, empty-handed, and says, I see nothing but a lying, thieving gypsy.  She begs him.  He reminds her, call me "King Johnny."  I don't have the hand and don't know who does, she says, and I can't tell you who does.You are Magda, who can say anything you want to say, he says--maybe you need some help in remembering, he suggests--I will give you that help.  He hits her across the face, first with the front of his hand, then the back of it.  How about that?--do you remember the name? asks Johnny.  He draws out the knife--or do you need more help?  Magda spots something under an overturned chair--the box containing the hand!  King Johnny takes the box and says, you finally realized going against your people was a little too dangerous--you were clever, as always, you slipped it there while I was upstairs.  I swear I didn't, says Magda, because I don't have it--the box must be empty!  He  open it, then closes it, then moves aside.  Look for yourself, he says.  She does, staring at him,  opens it and gasps--the hand lies inside!

NOTES:  Petofi stole a hand from a corpse in the cemetery, then had Charles Tate make it look like the hand that formerly occupied that box and is now re-attached to its former owner.  What would King Johnny say if he knew the truth?  That the hand he has found is not what he thinks?  Surely he will blame Magda for the deception, and she didn't even know about it, poor, smacked-around woman!

Why did Amanda go to see Petofi?  What was the point?--to try to get back the hand for Tim?  Does he really think Petofi will relinquish it now that he finally got it back--and after so much trouble?  Petofi, of course, recognizes her as Charles Tate's "ideal woman," who the artist can't stop painting and sketching.  What will happen should Tate meet Amanda?  Is she really in love with Tim, or just think so?  What big secret is she about to reveal to Tim about her past?

What will happen to poor Magda now?

Love, Robin

815 - Petofi exultantly tells Aristede--look at the hand--it saved me, as I knew it would.  Aristede is confused.  Do you doubt me word? demands Petofi.  No even for a moment, says Aristede, sucking up big time--but to actually see it!  Petofi shows it to Barnabas--does it seem a trick to you?  No, says Barnabas, overwhelmed by it all.  Nice of you to say it, says Petofi, perhaps you are the gentleman you appeas to be.  Petofi introduces himself to Barnabas: "At your service." Barnabas turns away--I wish I could believe that, he says.  Petofi refers to Barnabas as an ideal companion for such an occasion and tells Aristede, break out the champagne--we will drink and ignore Barnabas, for it has been restored to me--what I have sought through the world for 100 years is mine again, I am whole again.  Now that you are well, is Jamison? questions Barnabas.  No doubt he enjoyed being me, says Petofi--perhaps he, too, will enjoy a miraculous recovery.  I want your word on that, insists Barnabas.  I owe you nothing, says Petofi.  You already have, says Barnabas--I gave you the hand that saved your life...  And for that I owe you thanks, says Petofi.  I want you to honor the agreement I made with Aristede, says Barnabas--I gave him the hand as long as he ensured he was empowered to deal for you.  Aristede enters bearing champagne and glasses.  It seemed the only thing to do at the time, Victor, says Aristede.  If he said he did, says Petofi, I must honor the agreement--what was it?  That you'd cure Quentin and remove the spell on Jamison, says Barnabas--he and Edward will revert back to what they were.  Aeistede takes out a cheroot and lights it in a candle.  Are you going to cure Quentin and Jamison? Barnabas asks Petofi.  Quentin has already been taken care of, says the count.  Barnabas objects--Quentin is the same as he was.  "Is he?" asks Petofi--I have my own methods of doing things, which have caused difficulty, but is the only way for me--when one deals with the unknown, it is exhausting, adds Petofi, sitting down.  I know the reason you refuse to cure Quentin and Jamison, says Barnabas--because the power in that hand is gone now that you have it back.  Indeed? asks Petofi, offering to show Barnabas.  He takes Barnabas' youthful- looking hand in his ugly, re-attached one and grips it hard.  "I take my hand away, there will be marks where my fingers have touched you," says Petofi--"until those marks have disappeared, you will no longer be able to indulge in your favorite trick--for that is what it is--isn't it, Mr. Collins?"--I was jealous when Aristede told me of it.  He releases Barnabas' hand and says, that is all there is to it.  Both Aristede and Petofi laugh.  Try to disappear, suggests Petofi, for our sake, so I know I have some power--after all, you doubted me, now you can test my powers--or are you afraid?  No, says Barnabas, but I will disappear, because I must know what has happened to Jamison.  I am interested in the boy, too, says Petofi.  I will be back no matter what happens, Barnabas assures him, to make sure you live up to your part of the bargain.  Barnabas attempts to dematerialize, but finds he can't.  He's stunned.  The other two men laugh at him.  "Well, Mr Collins," comments Petofi, "you have returned before you disappeared.  Never doubt this," he says, waving the hand in front of him.  "Never!"

Quentin, besieged with questions, checks Jamison's pulse--why hasn't he gotten better?--where's Barnabas?--still with Petofi?--did the hand accomplish nothing?--I must find Barnabas---dare I leave Jamison?--if he wakes, will he be frightened?  Resolutely, he realizes the boy will not wake, and not know if he does--I must find Barnabas before Jamison dies!  He leaves the cottage.

Aristede pours champagne for Petofi.  Join us, Petofi advises Barnabas--then we can discuss the matter like gentlemen.  Barnabas, angry, says, I made the biggest mistake of my life, trusting the two of you.  You judge us too harshly, says Petofi.  Only because he doesn't know us, says Aristede.  "I know you!" says Barnabas.  Quentin clumps downstairs, demanding to know what has happened.  Petofi offers him champagne.  "You're well," says Quentin--but Jamison is in a coma, dying--save him--you must--you possessed him, you can save him!  Can I indeed? asks Petofi--there are some thing I will not ask this hand--he holds it up to show Quentin that he's gotten it back again.  Barnabas looks damned miserable.

Barnabas asks Petofi, why do you even hesitate to save Jamison?  Petofi asks Aristede, should I do it?  I find the child interesting, says Aristede, but perhaps not worth saving.  Quentin reaches for Aristede, intending him harm, but Barnabas grabs his shoulder and stops him.  Petofi, amused, says--he's evil--his instincts are always so much more vicious than my own.  Barnabas asks, is there any humanity in you at all?  Petofi says, if I save the boy, there will be a price.  (Another Angelique?)  Barnabas reminds him, I already paid, by giving you the hand.  The price has changed, says Petofi, I want to discuss it with Barnabas alone.Quentin asks, does this have anything to do with me?  You're egocentric, comments Petofi--I find it wiser to deal with one person instead of two in matters of importance.  Barnabas urges Quentin to go back to Jamison--I will come to you after I deal with Petofi.  Quentin goes.  Barnabas asks, what's the price?  So much to the point, says Petofi, and we have much to discuss--the future, simply put, we have the future to discuss, yours and mine.  Where will we be in the year 1969?--do you think about that?--I find it fascinating to speculate about that year--or perhaps you know too well?  I don't understand, says Barnabas.  Aristede, show him the book, orders Petofi.  Aristede brings over the Collins family history, published in 1965.  Barnabas admits, I know the book, and I do come from another time, but what does this have to do with what you want?  Petofi says, my price for saving the Collinses is a trip to the year you left--a journey into the future.  Why? asks Barn.  Now that my hand is back where it belongs, says Petofi, do you think the gypsies will simply forget it?--no, they will be more determined than ever to take it as they did before--I know them, and if I went to the future, they would have all those years before they could catch up with me--80 years of peace!  With all your powers, asks Barnabas, why do you still fear the gypsies?  There is no need for you to know, says Petofi, will you pay my price?  I can't take you to 1969, says Barnabas--I don't know how to get there myself, my reason for coming was vital, and I intend to TRY to return.  We will try together, insists Petofi.  This isn't a carriage ride, explains Barnabas--I don't understand how I got here, no formula written down, I simply used my concentration--with all your powers, adds Barnabas, surely you can figure out a quicker and smoother way.  Petofi offers to show Barnabas "Why you should return to your own time while you can--I can show you, using my psychic powers, the end!  Petofi opens the doors of a cupboard and tells Barnabas to look into it--"What do you see?" asks Petofi--"Soon you will see your own death!"We see Barnabas' portrait hanging over the mantel in the Old House.  Julia Hoffman sits in one of his chairs, reading a book (yeahhhhh Julia!)  David comes downstairs, barely able to hold onto the handrail, calling Quentin.  Julia goes to him--why are you out of bed? she asks.  I must go to Quentin, says David--he needs me, please let me go!  Julia shakes her head--Quentin does not need you.  I can hear him calling to me! protests David.  Fight, reject him, urges Julia--you must!  No, says David.  She leads him to the chair she was sitting in. Reject him, begs Julia.  No! David cries, and passes out.  She goes to her doctor's bag, takes out a hypo and injects it into David's arm.  She calls his name.  He awakens and begs to see Quentin, then passes out again.  Julia looks at the boy, watching him.  Barnabas, highly agitated, asks Petofi, is David dying?  Petofi just looks at him.

"David dying?" asks Petofi--I don't seem to know the name.  Barnabas reminds him, you caused that vision to happen, you have that power--I must know.  "You saw your own death, Mr. Collins," says Petofi.  Now Barnabas is puzzled--I didn't see what you did, I didn't see what you caused, says Barnabas.  "How can you be sure?" asks Petofi.  "Who was in it?" asks Barnabas.  "David," answers Petofi.  Who else? queries Barn.  I did not recognize the others, says Petofi.  There was one other, says Barnabas--what was the name mentioned, what name do you know?  "Yours, I presume," says Petofi nervously.  Barnabas smiles and says, "Your powers do have their limits, don't they?"  Annoyed, Petofi retorts, "Obviously, Mr. Collins, I shan't be dependent on you to take me to a distant time!"--you haven't given me the answer, says Petofi, the one answer--I think we must give you a little more time.  Obviously, says Aristede.  Time to overcome his scruples, says Petofi--time to watch the Collins family disintegrate--I suggest you leave--it's nearly dawn and you have much to reflect on.  You need time, too, says Barnabas, to realize I have told you the truth, and if there were some way to accomplish what you want, I'd be forced to do it, but there is not.  We shall see, says Petofi.  Barnabas leaves the mill.  Petofi calls Barnabas most unusual.  Perhaps he was telling the truth, says Aristede, and can't return to his own time.  No, says Petofi, Barnabas thinks he can win--accomplish whatever he came to do here and disappear without me--I will do something I learned from Lord Kitchener--when the first plan of battle fails, then launch the second immediately.

Magda waits at the Old House.  She witnesses Petofi and Aristede entering the room through the double doors along the back wall.  Scared, she asks how they got in.  Aristede is very clever at finding secret tunnels, says Petofi, with the instincts of a mole.  She refuses to help them.  I think you will, says Petofi, who holds up his arm and shows her his hand--perhaps your master didn't have time to tell you about it.She gasps in horror.  You'll help us whether you want to or not says Petofi proudly.

Dawn - Magda leads Petofi and Aristede into an unused wing of the family mansion.  There's a coffin there, apparently Barnabas' new hiding place.  "We can learn from Mr. Collins," says Petofi--this is an ingenious move on his part.  Yes, you can, agrees Magda.  Aristede takes out a length of chain.  Silence! Petofi orders Magda--I am the only one who can speak.  Open the coffin, Aristede, orders Petofi.  Aristede does so.  Barnabas lies inside.  Petofi takes a gold cross, says, "I'm afraid you are fighting a losing battle, Mr. Collins," and places it on Barnabas' chest.  Aristede closes the coffin.  "Chain him," orders Petofi, "chain him securely for his long..." (I could not make out the remainder of Petofi's statement; between the chain and the music, it was muffled).Aristede puts a padlock on the chain, locking Barnabas away much as his father once did...

NOTES:  I always wondered why Barnabas didn't want to tell Petofi about I-Ching, unless he feared that the old man would go wreak havoc on his 1969 family and he'd never be rid of him.  It's a big world, surely Petofi could have found his own niche in it.  One also wonders just how Petofi has cured Quentin, but we will shortly see this play itself out.

Now we have both Jamison and David in deadly peril, and if the former dies, the latter won't even be born, technically, or anyone else in-between!  Oh, those time paradoxes do give one a headache!

Wonderful performances all around today.  Loved the interplay between Petofi and Aristede over making it impossible for Barnabas to disappear.  This is going to prove to be a huge problem soon, bigger even than the one he's got now!  Poor Barnabas, locked in a coffin with a cross keeping him imprisoned.  Must bring back some awful flashbacks to when his father and Ben did something similar.

You WOULD think that Petofi could transcend time and space, with his talents, wouldn't you?  And what's that weird business about the vision he showed Barnabas--why DIDN'T he realize that what he showed Barnabas didn't jive with what he thought he showed Barnabas?


816 - Aristede finishes locking Barnabas in his coffin.  Petofi exults that they can give Barnabas more attention at the mill than they could in the west wing of Collinwood.  Barnabas will be surprised to find himself here when he wakes, says Aristede.  I don't think so, says Petofi, putting his right hand on the coffin; Barnabas and I have been at war for sometime, this is one more battle in this war--the last one--it will go on until Barnabas gives me what I want.  It will be difficult to get the vampire to give up his mission in this time, says Aristede.  Difficult, admits Petofi, but he assures him, I shall do it--military strategy, doing what it takes to win any crucial battle--increase the pressure and increase the enemy's discomfort until he can stand it no longer.  Petofi balls up his fist--until he has no choice but to surrender.  Aristede asks, how will you increase the pressure?  Thus far, says Petofi, only those whom Barnabas cares for in this century have suffered--now I shall attack from the other side, hit him from both directions and catch him in pinchers from which he can't escape until he gives me what I want.  Now I will start working on those Barnabas loves in 1969.  Aristede points out, you cannot see that time; how will you know who those people are?  Barnabas mentioned one name with whom I can begin, says Petofi, and realize he must return to his own time, and take me along--David Collins, of course.  Petofi grins in triumph.

Aristede asks how he is going to use David.  Fist still clenched, Petofi tells Aristede to put out the lights, because darkness must call to darkness.   Aristede complies, and a weird green light covers Petofi as he says, "Jamison Collins, your spirit is still under my control.  I command it to enter into the darkness of the yet to be born, and welcome the form, feelings and knowledge of one who lives in a future time.  I command it no matter what the cost, no matter what the pain."

Jamison lies on the sofa at Collinwood.  He awakens with a terrified cry.  Nora runs to his side.  Quentin, get Quentin he cries.  She's afraid to leave him alone, but he assures her it's all right.  As she's running out, he asks her where she's going.  Puzzled, she says, I'm going to get Quentin.  Call him on the phone like we always, do, Amy! he cries.  She's shocked at the name he called her, and asks, why are you looking at me so strangely?--something's very wrong!  Jamison says, don't play tricks on me--Amy.  Your name is David, I know that, she says.  Amy leaves to get Q or Beth, but David insists she use the telephone.  Here's right in the house, she says.  Jamison says, I know that--everyone else is away, Quentin drove away Liz and Roger.Nora wonders what the heck he's talking about.  He shakes her by the arm and says, "Call him!"  Nora runs away.  "AMY!" cries Jamison, who, very weak, picks up the phone and calls to Quentin.  He loses his strength.  Quentin comes running in; Jamison is happy to see him.  He asks Q, why is Amy back in the house?  Amy? asks Quentin.  He thinks he's David and I'm Amy, reports Nora.  "David Collins?" asks Quentin.  Jamison asks, why is she back in the house?--is everyone else back, too?--Aunt Liz and Carolyn?--he doesn't want that.  Quentin encourages him to lie down and sends Nora to her room.  She turns and asks, who is David Collins?  I don't know, admits Quentin.  Nora runs along.  Quentin calls to Jamison, but gets no response.  David, asks Quentin, do you know me?  Yes, says Jamison, you're Quentin.  How do you know me?  demands Q, but Jamison is asleep and doesn't respond.  Quentin looks at him, perturbed.

Nora tells her Raggedy Ann doll, Jamison didn't mean to frighten me, I know that.  He's been sick, and when people are sick, they sometimes get mixed up.  Tim knocks at her door.  She's glad to see him.  He asks what's wrong.  I was trying to explain to my doll, explains Nora, who didn't understand--Jamison's been acting strangely--he scared me, but I don't think he meant it--you must have come back for your package, the one with the pretty box in it.  Oh, oh, Tim realizes, alarmed--she opened the cardboard box.  Nora assures him, I didn't see what was inside the pretty box--I couldn't open it.  Grateful she didn't see the contents, Tim says, you shouldn't have opened the box.  Don't be angry at me, she says.He asks for the box back.   Jamison has it, she says.  He grabs her by the shoulders and yells in her face, "AFTER EVERYHTING I TOLD YOU, YOU GAVE THAT BOX TO JAMISON???"  She gazes at him, open-mouthed, and says, Jamison took it, he made me do it--he forced me!  Did he say anything about what was in the box? asks Tim, then answers himself--he couldn't have done it.  He just took it, says Nora miserably; he's been acting so strangely these past few days.  Witnessing the awful look that comes over Tim's face, Nora apologizes and begins to cry into her hands.  Stop it, orders Tim, unsympathetic.  I didn't mean to cause trouble for you, she cries.  I know that, says Tim, but I must get back that box back from Jamison.  He's downstairs, says Nora--sick.  Tim muses her words--Jamison hasn't been acting himself, he's been sick, strange--oh, no, he couldn't have opened. . .he wouldn't have used. . .he wouldn't dare!  Tim's eyes fill with terror at the very thought.

Jamison lies asleep on the sofa in the drawing room, Quentin sitting beside him.  Tim runs downstairs, nearly tripping his haste, and bangs at the closed double doors.  He tells Q, I must see Jamison--wake him up!  He's not well, protests Q.  Tim insists, I must talk to the boy.  Quentin notes this startling change in the formerly affable Tim, who is suddenly giving orders.  Tim says, I simply want to speak to "the young whippersnapper."  You can't, says Quentin-- Jamison doesn't have the hand, anyway.  Did he give it to you? asks Tim--who has that hand?  Amused, Quentin suggests, stop demanding things, now that you don't have anything to back you up.  I intend to get the hand, insists Tim.  Quentin offers him a wager on that--I could use some of your newfound fortune--or perhaps the winner could have an evening with the very beautiful young lady I saw you with at the Inn?--I want to know more--why has she come to Collinwood?--I don't know what you're up to, but I don't think I like it.  None of your business, retorts Tim--I'll thank you to tell me if you know where the hand is.  Sure, says Q, I'll tell you where you can find it--go to the abandoned mill at the end of North Road--Aristede is there--he can lead you right to the person who does have the hand.  Without another word, Tim flees the house.  Quentin smiles.  He goes back into the drawing room.  Jamison awakens and smiles at him, asking, was I sleeping long?  Quite a long time, says Q.  That's how I always thought it would go, says Jamison, I've been waiting such a long time, but now it's finally happened--you said I wouldn't be frightened, and I'm not, just as long as you're here with me.  What are you talking about? asks Quentin.  You told me, says Jamison, that we would be together forever, now that I'm dead, like you.  But you're not dead, objects Quentin, and neither am I--please, listen!  Jamison has fallen asleep again.  Quentin wonders what's happening to him--Barnabas can help me; he's got to.  He closes his eyes and calls to Barnabas--in this dark hour, I know you can hear me, I know you can come to me, so wherever you are, please come to me, and Jamison--we need you desperately.  Barnabas, can you hear me?  Barnabas!

Mill - Aristede comes into the main room and finds Tim pointing a gun at him.  I've come for the hand, says Tim--I'm going to kill you unless you tell me where the hand is.  You can't have it back, says Aristede.  I'm getting it back, insists Tim, or you die!--I should kill you just for the way you treated Amanda, you deserve to die.  We see Petofi's large shadow on the wall as Aristede asks Tim, what do you get then--me dead, but no hand!--you'll never get the hand.  Won't I? asks Tim--I will if I must turn this place inside out!  Petofi appears and tells Tim, I can't allow you to do that.  Who are you? demands Tim, aiming the gun at him.  I've grown found of this place, palace or not, says Petofi--I'd hate to see it torn apart by your misguided treasure hunt.  How do you know me? Tim asks.  I make it my business to know anyone who crosses the path of the hand of Count Petofi, says the latter.  Are you connected with him? asks Tim.  You could say that, says Petofi, both men grinning at Tim.  Plenty of bullets in the gun for both of you, says Tim, I suggest one of you tell me where the hand is.  You're mistaken, says Petofi--there aren't enough bullets in your gun for me--a man who's lived for 150 years isn't easy to kill.  Tim chuckles at this boast.  Petofi says, I've spent 100 of those years traveling from one end of the earth to the other searching for one thing, which I've found--you can't have the hand, no one can--"It's mine!  It's mine again!"He holds up the newly-reattached hand.  Tim's lips press together in fury.

You can't be Count Petofi, says Tim.  I am, says Petofi--come, now, Mr. Shaw, surely you've had the hand long enough to know some of the things you can do.  Petofi takes out a cigar.  Long enough so that expression of fear and surprise should be missing from your face.  Tim brandishes the gun, saying even the hand itself can't re-attach itself.  Why? asks Petofi, because it defies what you know of the world?  Petofi lights his cigar and says, your knowledge of the world is limited to your own moment in time--the hand is mine again and will remain so no matter who tries to take it from me.  I find this all rather difficult to believe, says Tim.  Then pretend it was a dream, advises Petofi, and the world is as it was before you fell asleep and imagined the magic hand and the fact that it has brought no evil--though good can turn to evil--the hand has made you a happy man.  No, says Tim, not happy at all, I won't be happy until I take revenge on two people who did me a most terrible injustice--Trask and Evan Hanley.  Petofi congratulates him on his choice of enemies.  Tim smiles--perhaps you'd be willing to help me wreak my revenge.  "I rarely do anything without a price," says Petofi.  Oh, says Tim, that's all right, he have plenty of money.  And a beautiful and devoted young lady, says Petofi--and neither of your assets is of the least interest to me--who knows, that may change--when one has lived 150 years, one has seen them change a good deal--good afternoon, Mr., Shaw--"We may meet again."  Tim leaves, infuriated.  Petofi is quite amused.  Aristede is pissed.  He just tried to kill me, complains Aristede, and you let him walk out of here!  You're being childish, says Petofi--haven't you realized the thrill in danger, the excitement of a gun in your ribs, the knowledge that you're only a few seconds from extinction?--I envy you the pleasure of almost dying.  He takes a puff on his cigar and orders Aristede out--two visitors are almost here--you'll see who they are on your way out.  Peeved, Aristede says, I'm going to the Blue Whale for a drink.  Have one for me, Aristede, suggests the Count, grinning.  Aristede goes.  "And if you happen to see a particularly beautiful young lady, adds Petofi, tell her that the Count Petofi sends his compliments."  He goes into the room and touches the coffin where Barnabas is imprisoned, then goes into the other room.  Quentin, carrying Jamison, comes in and says, "He's dying."  He places him on the sofa.  "Why bring him here then?" asks Petofi.  Take him to a doctor.  That will do no good, says Q, he's been possessed!  Really? asks Petofi.  An alien spirit controls him, says Q desperately, and he'll die unless you do something!  Do you know whose it is? asks the Count.  David Collins, answers Q.  Petofi asks, is he an ancestor from the past?  I'm not sure, says Quentin.  Have you heard the name before? asks Petofi.  Jamison had a dream about David Collins, says Q--he told it to Barnabas, who explained it away, saying David Collins didn't exist.  He must exist in some time, suggests Petofi, otherwise, he couldn't be possessing the boy now.  "I don't know!" cries Quentin, all I know is, you must do something to save him or he'll die!  Again, Petofi, asks, "I?"  Yes, says Q, you owe it to him, and I know you can.  Petofi finds this interesting and presumptuous idea.  Why that? asks Q, he did your work for you when you were too weak to look for the hand yourself--surely you owe him something for that.  Petofi walks away from him and says, "What I wanted, I took; I owe the boy nothing."  All right, says Q--I apologize for thinking there were any human feelings in your heart.  How very human you are, says Petofi, I find it extraordinary, the question is, do I find it extraordinary enough to save the boy?  Do you? demands Q.  To be brutally frank, says Petofi, I don't know.  Jamison calls to Quentin, who immediately rushes to his side.  The Quentin he's calling for, says Petofi--is that you?--how can that be?--you told me he was possessed by a David Collins who lived in the year 1969.He is, completely, says Q.  "Yet that David Collins calls for YOU?" demands Petofi.  Even Quentin takes pause at THAT question.

NOTES:  So is Petofi drawing any interesting conclusions here?  Will he put things together and figure it all out--that Barnabas and David are from the future and know each other?

Poor Tim, he had wealth and God knows how much more in his hands and lost it because he made the wrong decision.  He should have known nothing good happens at Collinwood.  Poor Nora felt so awful, and he made her feel worse.

Love Robin

813 - (Black and white) - Nora unties the twine on the box and begins to remove the cloth.  She shakes the cardboard box, then opens it, lifting out the box.  She opens the box, and, disappointed, closes it and shakes it again, listening for what's inside.  Disappointed, she returns the wooden box to the cardboard box.

Aristede stands in the woods, smoking.  Jamison shows up.  I've been waiting over an hour, complains Aristede.  I must conserve my strength, insists Jamison, I was resting when you summoned me, and hope you have good reason for bringing me here.  I'm sure you'll be Pleased, promises Aristede.  Weakly, Jamison says, I only have a few hours left without the hand.  The hand is within ouir reach again, reports Aristede--I've seen Tim Shaw, who arrived this afternoon, with a woman--I followed them to the Inn where they are staying--Tim and the woman, Amanda Harris, arrived from NY this afternoon, together.  There's something about this I don't like, says Jamison--Tim knows how many people want to get their hands on the hand, and that he's in danger here--why was he fool enough to come back?  Not to worry, says Aristede, we should visit Shaw.  No, says Jamison, you can't believe it's that easy--Tim probably isn't as foolish as we think, and we can rest assured we won't find the hand at the Inn.  We could "persuade" Tim to tell us where it is, says Aristede, eyes sparkling at the chance to torture someone again.  No, says Jamison, I think your particular persuasion would work better on the lady friend--I will make sure Shaw doesn't disturb you in your efforts.

Collinsport Inn - Tim downs a drink at the restaurant.  Jamison comes over to him.  I'm shocked to see you here at this hour, says Tim.  I came into town with my father, lies Jamsion--he's across the street at a business meeting.  I thought you were sick, says Tim--then, remembering he can't speak of his meeting with Nora, says I called Collinwood--Nora told me that you had been ill.  I was for a few days, says Jamison, but I've begun to feel much better today.  They agree it's good to see each other.  Where have you been? queries Jamison.  New York, on business, says Tim.  You must have done very well, comments Jamison--you don't look like the teacher who used to teach school.  Jamison admires his clothes--they make you look rich.  A successful business deal, says Tim, sipping his drink.  Are you here to stay? asks Jamison.  Just to settle a few affairs, reveals Tim, then I'm leaving for good.  Too bad, says Jamsion, I hope you'll visit me at Collinwood before you leave.  I shall, Tim promises--I don't want to keep you.  My father isn't waiting, says Jamison--he told me to take my town.  He joins Tim at the table; the former teacher checks his watch.  Are you expecting someone? asks Jamison.  Yes, answers Tim, I am.  Is it somebody that you like? asks Jamison, sounding like a mischievous little boy.  Yes, admits Tim, I met her on the train from NY, charming and attractive. I guess you won't want me to stick around once she's here, says Jamison.  You're welcome to stay and meet her, says Tim, but I want to be alone with her afterwards.  "Yes, I understand," says Jamison.  Tim looks at him oddly.

When Amanda returns to her room.  Aristede grabs her from behind, covering her mouth with his hand.

Aristede drags Amanda backwards and turns on the light.  He draws out his Dancing Lady knife and warns her, if you make one sound, you're dead.  She agrees to keep quiet.  Who are you, she asks--what are you doing here?  All unimportant, says Aristede--but you must know what I'm doing here.  She denies that.  Tell me where it is, he demands, if you want to save yourself a lot of misery.  I don't know what you mean! she wails.  "The hand, Miss Harris, the hand!" he says.  She has no idea what he's talking about, and when she tells him so, he accuses her of lying and hits her, knocking her down.  I intend to get the information from you one way or another, he warns, so make it easy on yourself.  Holding her hurt cheek, Amanda suggests, you're a lunatic!  No, just very determined, he says--I came to get the hand of Count Petofi and I'm going to get it, even if I have to kill you--believe that!  I do, she says--tell me more about the hand--is it an ornament or piece of jewelry?  He looks at her strangely; it has suddenly occurred to him she might be telling the truth--perhaps Tim Shaw was intelligent enough not to tell you about the hand, he says.  He didn't, says Amanda quickly.  Toying with his knife, Aristede suggests, you can still be of use to me.  Go to Tim Shaw, says Amanda, he's got what you want.  Even if you never saw the hand itself, you must have seen the box it's carried in, says Aristede--an ornately carved brown box?  She shakes her head--no, I don't remember anything like that.He holds the knife to her throat and suggests, check your memory again.  If I knew, I'd tell you, she sobs, but I don't, so why won't you leave me alone?  "I'm beginning to lose my patience, Miss Harris!" he warns.  There was a box in Tim's room earlier, she says.  Now you're being sensible, says Aristede.  It was an ordinary box wrapped in paper, says Amanda--Tim took it away.  Where did he take it? demands Aristede.  Crying, Amanda says, I don't know, I asked him where he was going, but he wouldn't say.  I think you're either extremely loyal or extremely foolish, opines Aristede.  I told you everything I know, insists Amanda.  Not everything, counters Aristede, "I want details--I want to know every deal Mr. Shaw made, every person he spoke to--and I advise you to remember it all, very clearly!"

I don't know when Aunt Judith will be out of the rest home, Jamison tells Tim--my father's been to see her, but says she's still pretty sick.  It appears that Trask has become quite the lord of the manor these days, remarks Tim.  Yes, says Jamison--Trask acts as if he owns Collinwood!  Enigmatically, Tim says, all things, good or evil, come to the same end.Jamison asks, what do you mean by that?  Nothing, Tim says--just a stray thought off the top of my head.  Tim checks his watch again, concerned about Amanda--perhaps I should check the desk.  Aristede appears, commenting to Tim, I almost didn't know you with your new clothes.  Tim remembers Aristede--we met in the Blue Whale and I delivered a message for Quentin.  Yes, and then you disappeared suddenly, says Aristede--I'd wondered what happened to you.  Business, says Tim, out of town.  I assume it had nothing to do with delivering messages, jokes Aristede, and they laugh together, falsely.  If you're going to be in town for a while, says Aristede, perhaps we could get together for a drink--good night.  Aristede leaves.  Very strange man, observes Tim.  Who was he? Jamison asks--I never saw him before.  I met him only once, answers Tim, and I'm not sure I like him--excuse me, I must find Amanda.  I hope to see you at Collinwood, says Jamison.  Tim, putting on his top hat, promises, I will.  Jamison grins--business completed!

Tim lets himself into the room and finds Amanda unconscious on the floor.

Woods - Aristede and Jamison meet again.  The hand isn't at the Inn, reveals Aristede--not only did the lady not know where it was, she didn't even know about the hand.  Jamison is frustrated--we don't know anymore now than we did before.  Yes, we do, says Aristede, Tim took a carton out of the Inn this evening--he wouldn't tell Amanda what was in it or where he was taking it, he only said he was taking it to someone for safekeeping.  If only we can find out where he took it to, says Jamison.  There's one slight clue, says Aristede--Miss Harris says he took a locket from her which he said he was going to give as a gift--he promised to replace it n the morning.  Then we must assume he gave the locket as an inducement to keep the charm safely hidden, surmises Jamison--and it must be a woman--at Collinwood!  Tim Shaw made one mistake when he spoke to me, earlier, says Jamison--he claimed he spoke to Nora on the telephone, but I think he spoke to her in person, at Collinwood.  So we must go to Collinwood and speak to Nora, says Aristede excitedly.  No, says Jamison, you must stay right here; after all, I'm her brother, I think I can get her to tell me what I want to know.  They part company, both smiling.

Amanda lies in bed, regaining consciousness.  She reaches for Tim, who is sitting beside her.  Don't exhaust yourself, he urges, take it easy.  My head is pounding, she moans--when I came to the room, someone grabbed me from behind, someone I'd never seen before--he said he'd kill me if I didn't tell him what he wanted to know.  Tim apologizes--I thought they'd come after me, but never dreamed they'd target you.  Who are they? she asks--what is this strange hand they keep looking for?  I'll tell you everything as soon as you tell me what happened, he says.  I had no idea our lives would be in danger, or I never would have come, bitches Amanda.I must know what the man looked like, insists Tim.  Thin, not very tall, wore a cape, had a strange, foreign-looking hat on, she says.  Aristede, guesses Tim immediately--I met him once, but know nothing about him--how much did you tell him? demands Tim, upset.  How much could I tell? he asks Shrilly--nothing he said made sense to me!  Good, says Tim, they'll be back, but not find the hand, not as well as I've hidden it.  "We can't stay in this town," says Amanda--we must get out.  No, we're perfectly safe, he assures her--as long as the hand is securely put away, we will stay until I accomplish what I set out to do!

Nora sleeps, Raggedy Ann at her side.  Jamison stealthily enters her room, closing the door.  He calls to Nora in a whisper, urging her to awaken.  She looks at him, surprised, and turns on her light.  What are you doing up so late? She asks.  I couldn't sleep, he says, I'm worried about something--why did Tim come to see you, and left without seeing me?  "Who said he came to see me?" asks Nora evasively.  He did, didn't he? asks Jamison.  Yes, she admits, but how did you know?  I peeked out of my room and saw Tim leaving, says Jamison.  "You mustn't tell anyone," cautions Nora--"he made me promise!"  It's just that he doesn't like me anymore, says Jamison, acting wounded.  No, says Nora--I told Tim you weren't feeling well and were resting.  I bet he saw everyone else in the whole house, except for me, accuses Jamison.  No, says Nora, I was the only one Tim saw.  Did he tell you that? asks Jamison.  Yes, she says.  I bet Tim saw Charity, or Beth, says Jamison. . .   He barely knows Beth, protests Nora, and he and Charity have never gotten along very well--he came specially to see me!  Wait until morning, says Jamison, I'm going to ask Beth and Charity.  "Even if he did come to see Beth and Charity," bursts out Nora, "I bet he didn't bring them a gift!"  This causes Jamison to stand stock still, silent for a moment.  "He brought you a gift?" asks Jamison, barely able to contain his excitement.  I want to see it, he insists.  I promised Tim I wouldn't show it to anyone, says Nora.  Craftily, Jamison says, you can't show anything you don't really have.  "I do SO have it!" she cries--it's in my dresser.  She takes out the locket and shows it to Jamison.  "What else did he give you?" demands Jamison, I know he gave you something else.  No, says Nora--I'm not lying to you!  "Yes you are--I can tell!" he says--somewhere in this room, he gave you a box and you've hidden it in this room.  No, she denies.  Tell me where it is, he insists.  I can't, she says, I made a solemn promise!  Jamison grabs her arm and twists it behind her back.  You're hurting me! she protests."I don't care," he says--"I don't want to hurt you, but I will unless you tell me where it is."  In agony, Nora asks, what's gotten into you?  Tell me where it is! orders Jamison.  "In my closet," she confesses, unable to take it anymore.  He releases her, then goes to her closet, where he finds the box on the bottom.  Nora nurses her painful arm.  He removes the twine and wrapping, opens the carton and takes out the wooden box.  He's beside himself with glee as he unlocks it and opens it.  He surveys the hand with joy, takes it.  "I've found it!" he says exultantly.  "At last, I've found it!"

NOTES:  And now that he's found it, what happens next?  Aristede does love to torture people to get information, doesn't he?  Donna McKechnie was never the world's greatest actress on DS, but she garnered all kinds of awards once her career fired up, and has done very well for herself.  She just managed to make a lot of folks really angry in DS fandom.

More superb performances from Henesy, and it was fun having Tim back, in his new guise as avenger.  What is his relationship with Amanda, anyway?  Friends, business acquaintances, lovers--or all in one?

I miss Barnabas!


814 - It's storming at Collinwood, inside and out.  Jamison hobbles downstairs, the box containing the hand tucked securely under his arm.  He's dying, weak, barely able to breathe.  No, he says, no, urging himself on.  He goes to the front door and leaves the house, not closing the door.  He seems terrified of the lightning.

Aristede speaks to Petofi in a room at the abandoned mill, promising him, I WILL bring it--can you hear me? he asks.  The huge man lies still, his face vulnerable without his glasses.  Jamison walks through the woods, clinging to trees, telling himself, I must get to him, I must.  Unable to continue, he drops the box containing the hand and falls to the ground, unconscious!

Quentin finds Jamison--what happened? he asks the child.  Jamison climbs to his feet, refusing to allow Q to help him.  "Take your hands off me!" cries Jamison.  What's in the box? asks Quentin.  Jamison claims it's a present for someone.  Who? demands Q.  It's none of your affair! says Jamison.  "You're my affair," cries Quentin--Jamison, you're not well.  Don't call me by that name! Commands Jamison--I'll be all right in a few seconds--the gift is a present for Nora.  Quentin grabs it from him and unwraps it--the hand.  He's exultant to have found it.  "Yes, it is the hand," says Jamison, falling to the ground again.

Aristede checks his watch, concerned that Jamison is taking so long.  Time--we have no time!--what if Jamison doesn't find the hand?--what will I do without Victor?--I'll have to think for myself (LOL--the horror!)  Aristede goes back into the room where Petofi lies, kneeling beside him, stroking his hair.

Cottage - Barnabas opens the box, revealing the hand.  We have it at last, he gloats.  Jamison lies on the sofa, Quentin tending to him.  I tried using the hand to make Jamison well, says Quentin, but nothing happened.  Barnabas also kneels beside Jamison and calls to the boy.  He won't answer to that name, says Quentin--he's still possessed.  Does Petofi mean him harm, wonders Barn--want him to be sick?--is this part of the plan?--we must get him to a doctor.  It won't do any good, says Quentin, it's all part of the spell--and we both know it.  Barnabas calls to Jamison, open your eyes if you hear me.  Jamison does.  "The hand," he boy says weakly.  We have it, says Barnabas.  Give it to me or I'll die, says Jamison.  Why must you die? asks Barn, why?  What started in the forest of Oshden will end in this drafty room, says Jamison--"You must give me the hand."  "You are dying, Count Petofi," states Barnabas.  Quentin says a warning, "Barnabas. . ."  Barn asks Jamison, do you think the hand will help you?  It will, says Jamison.  How? asks Barn.  Only I and the deadly gypsies know that, says Jamison--don't let me die.He speaks to someone who isn't there: "Aristede, where is the boy?  Why hasn't the boy come with the hand yet?  Aristede, have they got him?  Are they keeping him somewhere with the hand?"  Barn and Quentin exchange glances.  Barnabas asks Jamison where Aristede is.  They have played their tricks, says Jamison, but they don't know how to use the hand--give it to me, don't let me die, he begs Barnabas.  Where is Aristede, queries Barnabas--I will take the hand to him.  "Barnabas..." warns Quentin.  "Tell me!" thunders Barnabas.  No, says Jamison, you will keep the hand, you want it for yourself.  You must trust me, says Barn, where is he? At the abandoned mill, reveals Jamison.  Where they had me--where you saved me, Quentin says.  Get the hand, please, whispers Jamison, passing out again.  Quentin observes how weak the boy is--you can't take the hand, says Quentin, it's my only chance.  And what of Jamison--what chance has he? demands Barnabas.  Angry now, Q says, if you give them the hand, they will just disappear, they don't care about Jamison.  Perhaps they do, counters Barnabas, a great deal, because Jamison IS Petofi now.  Petofi's dying too? asks Q.  No one has seen him since before Jamison became possessed, Barnabas reminds him--it's possible he used his last ounce of strength to possess the boy and is now lying somewhere, almost dead, and Jamison is merely doing what he is doing.  If Petofi dies. . .begins Quentin.  Then Jamison will die, too, says Barn grimly.  Barnabas leaves, sans the hand--I'll be back, he says--wait with Jamison.  Quentin kneels beside Jamison and takes his hand.

Petofi lies still, seemingly in a coma.  He moves his hand.  Aristede stops pacing and says, I'm going to Collinwood to find the boy, and bring back the hand--I promise!  Aristede starts to leave, but Barnabas has just entered the mill and is looking around.  Aristede opens the door between the two rooms and, spotting him, quietly closes it.  Aristede takes out a cross looped around his neck and goes out to greet Barnabas.  He sarcastically apologizes for the accommodations--we don't get visitors very often;  it's not what we are used to (presumably much grander quarters).  Barnabas insists on seeing Petofi.  He isn't here, says Aristede, pulling out his cross to hold Barnabas at bay--leave now.  Barnabas offers him another choice--the hand--I know where it is--*I* have it now!  Aristede's eyes widen.

You have brought us the hand because you know we have been searching for it, says Aristede sarcastically.  I'm serious, says Barnabas.  I'm not the fool you think I am, says Aristede--play your games somewhere else.  I got the hand from Jamison, reveals Barnabas.  Aristede puts the cross out of sight and pays attention.  Barnabas turns, able to face him, and says--I want to see and tell my story to Petofi--he is dying, isn't he?--"Your face admits it although you don't."How do you know? asks Aristede.  Because Jamison is also dying, reveals Barnabas--give me one moment with Petofi.  It wouldn't do any good to see him, says Aristede, if you have the hand, give it to me, it can save them both!  Not until I have a promise from Petofi, says Barnabas.  He can't promise anything; sys Aristede--he can't speak, hasn't been able to speak since he possessed Jamison.  I must get a promise from Petofi, insists Barnabas--even a flicker of an eye or a hand raised that he will cure Quentin and end this reign of terror at Collinwood.  I will promise that, Aristede assures him.  I refuse to accept your word, says Barnabas--I want to talk to Petofi. You must trust me, says Aristede, or the child will die.  Barnabas thinks a moment and agrees--I'll get the hand.  Hurry, urges Aristede.  I know, says Barnabsa, and leaves.  Aristede looks worried.

Quentin kneels beside Jamison.  You've got to live, you've got to, begs Quentin--can you hear me?--can you?--listen, please--you're the only one I've ever loved, cared for in this whole place--you know that, don't you?--keep on trying, don't give in to it--please don't.  Barnabas returns and tells Quentin, I'm giving them the hand--Petofi is dying, too--Aristede has promised to end the curse if we end Petofi's first.  We can't trust either Aristede or Petofi, points out Quentin.  I can't let Jamison die, protests Barnabas--he will recover as Petofi does--stay with Jamison until he's well, says Barnabas, then come to the mill, and we will then force Petofi to cure you.  Barnabas scoops up the hand.  Petofi may cure himself, warns Quentin, then leave Collinwood before we can stop him.  I won't allow that, swears Barnabas, leaving the cottage again.  Quentin looks at Jamison.

Aristede tells Petofi that Barnabas is bringing the hand--you must stay alive until he comes.  He hears a door opening and closing.  Barnabas insists on giving the hand to Petofi himself.  Impossible, says Aristede, give it to me!  Reluctantly, Barnabas hands over the box.  Aristede opens it--wait here, he orders Barnabas--don't come after me into the room or you might affect what must happen.  Barnabas gives his word, unhappy about it.  I have the hand, Aristede tells Petofi.  He opens the box and takes it out, bringing it in both hands, as if it were a crown, to his master.  Aristede says, "Mighty hand that touched the face of the Sphinx, hand of infinite power come home at last, heal this man, force breath into his body, make his heart strong, for without you, he cannot live.  If he dies what was begun in the forest of Oshden will end, for his body is your body, and his mind is your mind, his life, your life!  Heal him!He places the hand on top of Petofi's chest...

In the other room, Barnabas desperately waits.  Aristede comes out--I did what Petofi told me to do, says Aristede.  He knew he'd get the hand, says Barnabas.  Well, Aristede says, it's safe to say he hoped it would turn out in his hands (?)  He offers Barnabas some tea.  No, says Barn.   Ignoring him, Aristede pours a special blend of the finest Chinese leaves.  "I want no tea!" says Barnabas harshly.  Aristede tastes the tea, complaining, it's gotten a bit cold.  Barnabas asks, how can you sit sipping tea with what's going on with Petofi?  I can do nothing about it, says Aristede.  What IS happening? asks Barnabas.  I'm not isn't privy to all my master's secrets, says Aristede.  I've seen the hand work, seen it change people in an instant, says Barnabas.  The hand knows what it must do, says Aristede.  Barnabas, impatient, says, I'm going in there.  No, says Aristede, you won't, for Jamison's sake--"Just sit down and wait," advises Aristede, "it's all you can do now."  Barnabas sits.  He and Aristede stare at each other.

In the cottage, Quentin, looking out the window, hears Jamison moaning and immediately goes to him.  "Help me!" Jamison begs him.  How? asks Q.  The hand--why doesn't it move from my chest?  There's nothing on your chest, says Quentin.  Why is it still there, why is it where Aristede placed it? asks Jamison.  You must come to your senses, urges Quentin.  "Oh, hand, hand that was once mine, help me!" implores Jamison--"Before it is too late!"--has it lost its power?  Lie back and be quiet, says Quentin.  "Why doesn't it do as I say?" asks Jamison--why?  He lies back.

Aristede plays cards.  It's been an hour since you went into the room, says Barnabas.  I don't know how long it's supposed to take, says Aristede.  "Petofi has died, I know it," laments Barnabas.  "And if he has, Jamison has, too, and my mission here..."  Aristede asks exactly what that mission is--tell me about it, perhaps it will make the time go.  Never, says Barnabas.   Perhaps you'll change your mind, says Aristede.  One of us should go check on Petofi, insists Barnabas.  I have my orders, says Aristede--if you're so concerned, why don't you go to Jamison?

Quentin checks Jamison--almost no pulse at all--he's dying!--God, don't let them die; don't let that happen, please, he begs.

Aristede deals another hand.  Barnabas tries to go into the other room--one of us must! he cries!  I'll use force, if necessary, threatens Aristede--get away from the door.  "We haven't heard anything in over an hour," Barnabas says--"There is some plan here, have you given that hand to Petofi and he's disappeared, because if he has, I will kill you!"  Don't be so suspicious, cautions Aeistede.  "You have made me that way, says Barnabas--I am going in there."  No! says Aristede, grabbing him.  Barnabas pushes him down onto the sofa.  They both hear the cackling, triumphant laughter of Count Petofi."IT IS MINE!  It is mine again!" he cries, holding up the hand, which has been restored to his wrist!

NOTES:  What now?  Wasn't it funny, watching Aristede and Barnabas sitting there, waiting, waiting, Barnabas always wanting to check, Aristede ordering him not to?

Quentin's feelings for Jamison surely come through here--he loves the boy, even if he has used him wrongly in certain black arts rituals.  His tenderness showed how very much he could have loved his own son, if given the chance.

How hard it must be for Barnabas and Quentin to give the hand back to Petofi--he could very well flee and leave Quentin a werewolf, and could, if he wanted, kill Jamison, endangering the Collins family of the future (no Liz or Roger if there's no Jamison).

Convoluted, but so much fun to watch!

Love, Robin

809 - Due to circumstances beyond my control, I was unable to provide you with the detailed synopsis that you've come to expect from Robservations. The explanation is long and I feel like a total fool, but promise all will be back to normal by tomorrow.

Since I had no tape to work from, I ended up having to turn to an ancient loose-leaf book in which, 32 years ago, I wrote a daily journal of the happenings on DARK SHADOWS. This one is dated July 31, 1968, which means I was 14 years old when I began keeping it--so if the language is less sophisticated than you're used to, my apologies. I figure it's better than nothing, or at least I hope so.

Quentin comes back to consciousness and drops his head in his arms in despair when he sees what he's done to the woman lying nearby, and realizes that Charity has guessed the truth about him. Through clenched teeth, he warns her, "If you tell anyone my connection with this, I'll kill you!"He assures her, I will take care of this woman. Terrified, Charity races away. Suddenly, Jamison appears and suggests, "Perhaps we can use this unfortunate occurrence to our advantage."

Charity returns to Collinwood to be told by her father that the Trasks have been sent to save the Collins family; thus, you must marry Quentin by the end of the week. She cries, "No! I won't! I won't ever marry Quentin Collins--y-you don't know him!" Jamison bursts in and tells Trask he found a woman dying in the woods. Although Trask is skeptical, Charity reminds her father about Dorcas and the beast in the woods, and he is convinced. After Trask leaves, Jamison joins Quentin in the drawing room and sarcastically says, "Uncle Quentin, let's play treasure. Find the important paper--you'll need it soon--here are some clues: Twice burned, once torn, but still intact and fear is born--the secret of the Reverend Trask reveals a face behind the mask--he's hidden it for none to see, but the paper's where IT wants to be." Quentin searches through the desk and, finding the confession, smirks and says, "So, they made Tim Shaw murder Mrs. Trask..." Trask enters, carrying the dead girl. Quentin slips the paper into his coat pocket. Call a doctor and the police, orders Trask. While Trask and Charity are sitting by the girl, she comes to and asks for Quentin. Before Charity brings him upstairs to see the woman, Quentin explains that Tessie is just a casual friend of his (although not in Charity's dream!)

When Trask questions him, Quentin tells Trask he knows Tessie, a New Bedford girl, only as a frequent patron of the Blue Whale. He also admits he'd forgotten to call the police, as Trask had ordered him to do. When Trask leaves to do so, Tessie wakes up and sees Quentin. When he tries to go to her, she shrinks away and gasps in fright. Plasae don't look at me like that, he begs.She cries out and lies still.

Drawing room - Quentin stops Charity from calling the police and reveals that the girl has died. Pounding on his chest, Charity cries, "You killed her! I'm going to tell father everything--EVERYTHING!"

NOTES: Sorry again for the lack of detail, my friends. I couldn't find my homemade tape that followed the last one, and have no idea where it disappeared to, so beginning tomorrow, I'll have to tape the episodes daily and use those to write Robservations until I reach the next tape I recorded from the Sci Fi channel. Oh, yes, and I must remember that the channel for Sci Fi has changed here, and tape the correct one.

Lots to come over the next several days, gang, and before long, a visitor from the future makes a visit to the past. I don't want to spoil anything, but she has red hair...


810 - Charity is on the phone, calling the police, but when she actually reaches them, Quentin slips out of the secret panel, takes the phone from her, and hangs it up. Why call them? he asks. My father told me to, she says. You're going to tell them nothing now, says Q, she's dead. Charity grows hysterical, accusing him of killing her. She begins to bang on his chest, threatening to tell her father everything. Quentin prevents her from leaving and locks the double doors, turning with his back against them. Why, Charity? he asks, are you afraid to be locked in with a beast, a murderer, a creature of the supernatural? He comes at her; she backs away, terrified.

"Don't you come near me," she pants--I'm not afraid of you. Lying's a sin, says Quentin. Murder is a far worse sin, she counters, and you've murdered!--not only the girl upstairs, but Dorcas, too. You don't have to remind me, says Quentin. "Then why do you go on?" she demands. I can't help myself, confesses Quentin. Then you should be locked away, she wails. "And you're the one that's going to do it," he says.Father will see that you're turned over to the police, she says. No, says Q, not your father. He comes toward her again. I'll scream! she threatens. I won't hurt you, he promises, and you won't scream--sit down, we're going to talk. When she objects, he pushes her down in the "lover's chair." You've been working hard enough for this moment, he says, and now we're close enough so I can put his arm around you, kiss you (he's caressing her shoulder, but she doesn't look happy about it). "Now you've been wanting that for a long time, haven't you?" he asks (and he's VERY sexy). "How dare you say that?" she squeals. You know the truth now, everything is different, he says--I couldn't help what I did. No excuse, she says, you did it. OK, if there's no excuse for murder when you know what you're doing (and he removes the confession from his pocket to show to her), what excuse is there when a man coldly plots with someone else to murder his wife. Where did you get this? she asks. Never mind, what's important is that I have it, says Q. She rises. It's impossible, she insists--Father burned it and when it reappeared, he tore it up. Quentin remarks, if I had any doubts about the authenticity of this confession, I have none now--so Trask has had his encounter with the truth. Charity insists it isn't true--he didn't sign it knowingly, he was tricked into it by an enemy. Quentin says he'd like to meet the enemy capable of tricking Trask. "I hope you never do," says Charity, "it's Satan!"--Satan is determined to take over Collinwood, and only my father can prevent that. Because FATHER wants Collinwood all for himself! cries Quentin. Father wants only to help you, all of you, says Charity tearfully--please allow my father to help you! How, by letting him cart me off to jail? asks Q. You must give me the confession, insists Charity. No, no, says Q, not a chance. If you don't, you'll be doing the devil's work, she warns him. "Then it's the devil's work I'll do," says Q, if it means keeping you quiet. What do you mean? she asks. You know what I mean, he retorts. "If I tell Father about you. . ." begins Charity. "Then I'll tell the police about Father," says Q, grinning--sweet and simple--I may hang for murder, but your father will be dancing at the end of a rope, too. He's innocent! cries Charity--Tim Shaw murdered my mother, I know it! Try telling it to the police when they have this (he brandishes the confession) in their hands--"Now, Charity, what are we going to do--keep quiet or both tell our stories?" Miserable, Charity says, if I keep quiet, I will be guilty of murder, too--when the next full moon rises, and you become what you are, you'll kill again, won't you? I don't know that I will, he replies. But you don't know you won't, she says, and if there's a poor girl in the woods, or another Dorcas Trilling, I will have helped you murder by keeping quiet. Quentin says, if you talk, your father, Evan Hanley and I myself will die. If you keep quiet, there's a small chance that I might be cured by the time the next full moon rolls around, and this nightmare will be over. I don't know what to do, laments Charity. There will be no more victims, presses Q. I want to go, she says, and pray, for guidance. He lets her out--go pray, he urges--but if you feel "guided" to your father, remember the paper I have in my pocket. She leaves the drawing room.

Aristede admires himself in the mirror, fiddling with his hair. Magda sarcastically asks, did you send for me so there would be two of us to admire you? Be quiet, he orders--tonight, when Barnabas rises from his resting place, you are to do nothing--make sure you are the perfect servant, loyal friend and trusty confidant--he must suspect nothing has changed since he left last night. Of course I will say nothing, says Magda, but Barnabas isn't easy to fool. Use every ounce of your gypsy cunning, he advises, if you want to stay alive. "What will YOU use?" she asks--I've got my gypsy cunning, what do you have to protect you from Barnabas? He holds up the medallion he wears around his neck--this can protect me from "Mr. Barnabas," he says--it's beauty is in it's strength, it can do anything.All right, we both have something to protect us, I will leave now. One more thing, says Aristede--I want the hand! Tim Shaw has it, she reminds him. Find Tim Shaw, warns Aristede--he hasn't just vanished from the earth. Maybe he's got a different face now, suggests Magda, getting right in Aristede's face--maybe something worse has happened to him, the hand has done more evil by now. If you think you know anything about this hand, you flatter yourself, says Aristede. If you understand it so well, you should go find it, she retorts. Right now, he says, "WE. . .I cannot, that's why I have to rely on PEOPLE like you!" Why? asks Magda. None of your business, he says, you must find the hand before time runs out. Before time runs out for who? she asks--Quentin?--me?--for who? She gasps--you mean when Petofi comes back!--when will that be? Don't ask questions, says Aristede, find Tim Shaw! She leaves the lair.

Quentin answers a frantic knock at the door--it's Mrs. Fillmore. What are you doing here? he asks. You must come, says Mrs. Fillmore, it's Lenore--this morning she was fine, but she developed a high fever, similar to when your little boy fell sick. What did the doctor say? asks Quentin He's with her now, says Mrs. Fillmore.Go back, says Quentin, I'm going to try and find someone who can help--hurry, he says. She leaves.

In the drawing room, Charity takes a swig of brandy straight out of the snifter. She grimaces at the taste and goes to answer the door. It's Magda. What are you doing here, my father doesn't like you here, says Charity. But I'm here, points out Magda. Charity lets her in. Magda thinks Charity is entertaining someone, but the young woman says I'm quite alone. Magda observes the smell of brandy. Charity claims she was having some brandy filled chocolates, sent to Judith for Christmas. (HOLIDAY MENTION!) Chocolate? questions Magda, looking at her sharply. "Then I had a small glass of brandy," confesses Charity--a very small glass--why do you ask? "I ain't asking, you're telling me," points out Magda. What am I telling you? asks Charity. That a man has made you unhappy, guesses Magda. That's not it, says Charity. Then why would a lady like you open a bottle of brandy? asks Magda. It's being in this house, moans Charity--if only Mama hadn't died, I wouldn't be here--I hate it!--when I was little, I dreamed of the day I'd be married and move into a house like this--now I wish I had never seen Collinwood! Some changes are very strange, says Magda--you wanted to be in a big house and now you don't--you wanted a man, and now he's far away. What man? asks Charity. Tim Shaw, says Magda, you were supposed to marry him. This excites Charity, who asks--could you bring Tim Shaw back here, if I wanted him?--could you find out from the cards? I can try, agrees Magda, but you must answer some questions--does he have a family? No, he was an orphan, says Charity, my parents are the only family he ever had (poor guy). Was there a place he mentioned wanting to visit? Asks Magda. Yes, San Francisco, says Charity--he and Steve Simmons discussed going there--Steve was Tim's best friend, and he's working in a bank in Worcester--I received a Christmas card from him, I'll go get it. She stops, asking Magda, why do you need the address to read the cards? If you want him back, says Magda, go get the address, and leave the gypsy magic to me. If Tim does come back, asks Charity, he'll have to tell the truth, won't he? Magda nods. Charity goes to get the address, meeting Quentin coming downstairs. "How did you hear?" he asks the gypsy. Hear what? asks Magda. "The news about my daughter," says Q. Magda gasps, "She's dead?" She's dying, says Quentin, of the same thing as my boy. (oh, that's so heartbreaking!) It's because she's got gypsy blood, says Magda--because Magda Rakosi loves her--she cannot die, because if she does, Barnabas says the future is dead, too. I don't care about the future, insists Quentin, just my daughter--the doctor is with her now. The doctor can't do anything, says Magda, but maybe there is something...she describes Aristede's powerful, protective medallion--it protects him from Barnabas and Angelique--perhaps it could protect the baby from Julianka! I don't know where Aristede is, says Quentin. I do, says Magda--the old abandoned building at the end of North Road. The pendant may work, it must, says Q. Be careful with Aristede, warns Magda, he's very dangerous. Quentin vows to get it. Magda picks up Charity's glass of brandy and finishes it off.

Quentin finds Aristede asleep at the switch, but the latter immediately awakens and says, "No, Mr. Collins, you can't surprise me, even when I'm sleeping." Give me the pendant, demands Quentin. No way, says Aristede--it protects me from witches, warlocks, and unnatural spirits. How does it do against flesh and blood? asks Q. For that, says Aristede, I have the dancing lady--and he pulls it out. "Then let 'er dance, Aristede, let 'er dance," says Quentin. They grapple, knocking things over. Quentin pushes Aristede against a chair, rendering him unconscious, and pulls the medallion from around his throat. "Pray there's still time," says Quentin, holding the medallion in his hands.

Fillmore home - Magda and Mrs. Fillmore stand vigil over Lenore. Quentin enters--how is she? he asks. No change, says Magda. He anxiously goes to the cradle. The doctor has come and gone, says Mrs. Fillmore--he says there is nothing more he or anyone can do. She observes his disheveled state and asks, are you all right? I am, he says, please go. She leaves the room. Quentin is about to place the medallion on the baby, but Magda stops him--perhaps it will hurt her, maybe it's evil. We have no choice, says Quentin, we must do it no matter what happens. DO it, she says, go on. He places the medallion on the child's chest. Nothing happens.No change in color or breathing says Quentin. "She will die because of Julianka's curse," moans Magda, "and there's no way of stopping it, if only..." Wait, says Q, I have an idea--if Julianka put on the curse, she might be able to take it off. Summon her again? asks Magda. Do you think you can? he asks. I don't know, she says. Try, urges Quentin. But if she does come, asks Magda, how do we know Julianka won't make the curse even worse? "Magda," says Quentin, "you have nothing to lose--except your life." I would gladly give up my life for this child, if it would do any good, says Magda, but Julianka is so angry because she died before her time." Call her, demands Quentin, we have very little time. She agrees--I will pray nothing gets worse. Magda takes the three-candle candelabra in her hands and calls to Julianka of the Romana tribe, beseeching her to come, not asking for myself, I accept my own punishment, but for this little baby, Lenore, who is too young and tender to walk down death's path alone--let her live Julianka, let her know life! Thunder booms. Quentin demands, what's happening? The cradle begins rocking by itself. "Julianka has come," says Quentin, exultant. We must pray she's come with pity for the child, says Magda. Jenny's spirit appears before them and says, "No, not with pity, Magda!" Quentin and Magda stare at Lenore's beautiful mother.

NOTES: Magda? Who expected THAT? Not I! Will she be able to help her ill daughter and ensure that the Jennings line comes into existence?

Enjoyed Quentin's fight with Aristede--isn't it wonderful to see him caring so much about another person? Learning of his kids might have changed Quentin even sooner, if Judith and Edward hadn't kept them from him.

Love, Robin

805 - Barnabas ushers Jamison into a cell in the Old House.  The boy plaintively asks "Cousin Barnabas" why are you doing this to me--take me back to Collinwood--I'm going to be afraid all alone.  No, Magda will be with you, promises Barnabas.  Jamison, playing little boy to the hilt, begs, please let me go!  I will, says Barn, as soon as HE leaves you alone and is gone.  He locks him in.  "If that's what you intend to do, Mr. Collins, I'm afraid that you're stupid and incompetent.  If you choose to wait until I've left, the boy will simply grow old and die in this cell--or just simply die!"

Charity, back in Pansy mode once more, admires her reflection in the foyer mirror, singing her song, twirling her red shawl.  Trask comes in and demands to know what's going on.  He grabs her arm and demands, what's the meaning of this?  What's it look like, luv? she asks--I'm a girl trying to get along in the world...He forbids her to sing that song--or to continue playing this sinful game.  What game is that?, she asks.  He points out her piled-up hair, the shocking (very made up) condition of her face.  She grins.  Oh, I think I look pretty good, she says, admiring herself in the mirror--I was thinking of going on the stage, might change my name--to Pansy Faye.  "Pretty, ain't it?"  (The color goes to black and white here for some reason.)  Trask asks, do you know who you are?  I know, she sneers, I'm Charity Trask, but that doesn't mean I have to like it, not with a old crow like you for a dad.  Furious, Trask smacks her across the face and orders, honor your father and mother.  She holds her stinging cheek and says, "Mama is dead,"--I was just going out to her grave.  "Like this?" asks Trask.  She gazes down at herself, back in Charity mode, and is horrified--madness is going through this house; she says, while you were away, Quentin and I had to lock Edward in the tower room--he's lost his reason, and so has Jamison.  This interests Trask--go get the boy, he says--whatever this madness, it hasn't touched you, and will not, you aren't a Collins, and this madness obviously lies in them--first my poor Judith, then Edward, now Jamison--soon there won't be any Collinses left, he says, apparently thrilled.  Except Quentin, Charity reminds him.  Trask grins--of course, except Quentin--I want to see how Jamison is.  She promises to go get him, but doesn't move--there's something about the boy now that frightens me, she confesses.  There's nothing about Jamison that frightens ME, says Trask, I'm up to the task, which is now to care for this poor, afflicted family.  (oh, Jeez!)

Evan appears to be playing with a Scrabble set, the letters on the table before him.  He hears something; the doors blow open.  He asks the demon or spirit--leave me in peace--I've had enough of it all!  When Barnabas appears to him, he's surprised.  No demon or spirit, Barnabas assures him--what's the matter--you seems disenchanted with your former delights.  When a man has been under the evil hand of Oshden, says Evan, he'd be a fool to continue to find black arts fascinating.  The hand is the reason for my visit, says Barn.  I don't wish to discuss it, says Evan.I do, insists Barnabas.  Talk to Tim Shaw, if he's still alive, advises Evan.  I know Tim has it, says Barn--where is he?  I don't know or care, says Evan, except to hope he's as far away from ME as possible.  I can't believe you'd let him walk out the door with such a powerful instrument, says Barn, unless you knew where he was going and when he was coming back.  I know nothing, maintains Evan, or his plans.  "Are you sure they don't include you?" presses Barnabas.  How many times must I tell you, says Evan, they don't!  Until I can be sure that a man as greedy as you wouldn't close the door on power and wealth, says Barnabas.  Evan laughs--I had the hand for a while, and all it brought me was a face so grotesque, it scared me to look in the mirror--now I can look at myself.  But I cannot, says Barnabas--remember that, so listen-- "You are not going to lie to me," says Barnabas.  "It would be very hard for you if you don't tell me the truth..."

Trask sits at the desk in the drawing room.  Charity reports that Jamison isn't in the house--I want to ask a servant to look for him; in the state he's in, he might wander off and get hurt.  Trask doesn't seem to care--I'm running this house, you must remember that!

Believe me, says Evan, I know nothing--I've found nothing in my books to protect me from your gaze--I hate these books and all that's in them, I HATE them!  Someone knocks at the door.  I'm expecting no one, says Evan. It's Trask.  Wait a minute, says Evan.  Barnabas disappears as Trask explains--my business is urgent.  Evan opens the door on a grinning Trask.

Trask tells Evan, I went to see Judith, who is "no better than can be expected, poor lady."--she'll be at the sanitarium for quite a while.  Then what's his urgent business? asks Evan.  Poor Judith's madness seems to have afflicted both Edward and Jamison, says Trask--Edward sits in the tower room, convinced he is the perfect servant; I went to see him, and Edward insisted on dusting my coat.  How horrible, says Evan.  And, adds Trask, Charity tells me that Jamison has been touched by madness, too--I only know that through Charity, because I haven't seen Jamison myself--the boy has run away, and I dosn't know where--I'm not in any hurry to find him.  Evan doesn't understand.  Are you stupid tonight? asks Trasks--it means that once Quentin is taken care of, I will be master of Collinwood, not just until Judith's brain heals, but for all time!  Things are working out well for you, remarks Evan.  Brilliantly, boasts Trask, not just well--I want you to draw up the necessary papers declaring father and son mentally incompetent.  I can do it, I suppose, says Evan, but I'm not sure I want to--I don't like what is happening at Collinwood and prefer to have nothing more to do with it.Not a matter of preference, says Trask, when it's a matter of doing the right thing.  Evan bursts into bitter laughter.  Trask continues--you can't have a man who has no idea who he is and a boy who thinks he is some foreign count running around loose--"He thinks he's a Count Petofi," says Trask.  "WHAT?" asks Evan--Petofi didn't go, he's still here, watching, mutters Evan--it's worse than I thought--now I am convinced!  To do as I asked? queries Trask.  "To have nothing more to do with the whole matter!" blares Evan.  Trask rises to his feet and reminds Evan, you aren't dealing with some nobody who runs a small school (is that how Trask viewed himself?)  "You're dealing with the master of Collinwood!"  Retorts Evan, eyes blazing, "And you are dealing with Count Petofi, you have no chance against him, neither do I, neither do any of us--the difference is, I know it--you don't--good night."  Trask, angry, says, you are my lawyer--I came to you for advice.  Then I'll give it to you, says Evan--do nothing to Edward or Jamison, particularly Jamison, not now.  You're a fool! says Trask.  Evan gets in his face and says YOU'RE the fool, pitting yourself against Petofi--do you know what evil he carries with him?--do you know what strength he has?  I have strength and powers, too! shouts Trask--I have the higher forces of heaven fighting on my side.  I didn't think the higher forces of heaven fought on the side of the cruel and the greedy (get him, Evan!)  Trask turns away, snarling, and says, "Taking over Collinwood is the kindest thing I can do--can I leave the lunatics to run the asylum?--the animals to run the zoo?--I will expect you to bring me the papers I need.

Jamison, standing in the cell, continues to check over his black book--"Gregory Trask, Magda Rakosi, Evan Hanley..."  Evan is next, he decides, a big smile on his face.  He closes his eyes, calling to him in his mind.  "Evan Hanley!" he repeats over and over.  Who is calling me? asks Evan--"Who are you?  Why can't I see you?"  Jamison appears before him.  Evan asks, what are you doing here this time of night?  I'm afraid to go home, says the boy, then sets up letters spelling TRASK on the table.  (Was Scrabble invented yet?)  He won't hurt you, Evan assures him.  "But he's been telling so many lies about me," says Jamison, sounding like the boy, rather than the man.  Are they lies? asks Evan.  Yes, you know me, I'm Jamison Collins, and now it's dark and I'm afraid to go home--take me home?  Evan eagerly agrees.  Jamison thanks him profusely and gives him the kiss on the cheek that  signals...what?"Yes," says Evan, "I will take you right to Collinwood and we will speak to Mr. Trask about this whole matter!"  Jamison disappears, leaving Evan searching for him--didn't you want me to take you home?  "You will know what I want you to know," says Jamison's voice--"Do you understand me?"  Evan dips his head in agreement.

Back in the cell, Jamison flips through his black book and says, "Yes, he'll know what to do!"  Evan seems to awaken from sleeping in his chair.  He takes a piece of paper and pen, and as Jamison dictates, writes, "To whom it may concern..."

Trask gazes out the drawing room window, describing to Charity how Edward babbled on about serving the Earl of Hampshire and wanted nothing more now than to serve the Collinses--that's what he said when you locked him in there, wasn't it?  "Who?" asks Charity, looking over what appears to be a flute.  "Edward!" says Trask, grinning--I wish I could give him a place as a domestic on the staff--I could do it and still be master of Collinwood--it would serve him right.  I found a recorder in the study, says Charity, and want to learn to play it.  She smiles.  I disapprove of frivolous music, he says.  I love music, and singing, it's so cheerful, she says, and begins to hum Pansy's theme again.  Stop singing at once! He orders.  She turns and, once again in Cockney Pansy mode, asks, "Don't you like music?"  She moves her body flirtatiously.  "Carl did, all the way back to Atlantic City, I sang and told him stories, some of them bawdy, but he laughed anyway, particularly after we drank some brandy."  She giggles.  "Do you know the story about the vicar's daughter, named Alice?" she asks, bursting into laughter.  Trask grabs her, forces her to her knees--where you belong, so you can pray!  She rises, laughing, hits him gently with the recorder and tells him, I don't remember how to pray.  He grabs her arm again and says, you're going to, because it's a part of you, of your life, like the blood in your veins!  She continues laughing.  He repeats, "It's your life blood--now pray, Charity, pray!"  She comes back to herself and obediently says, "Yes, Father."  She falls to her knees, in praying posture.  Keep praying, he orders--this madness must not touch you again.  He kneels beside her, says, "Never again," and puts his hands together in prayer, too.  "My plans are too close to completion," he says intensely.  The door opens.  It's Evan, who asks, am I interrupting something?  "Morning devotional," says Trask, we are just about finished.  Good, says Evan, I want to get down to business.  Trask agrees--go to your room, Charity, he says, and read a chapter or two.  She complies.  I'm glad to see you carrying a paper, says Trask--I assume your reservations have been removed and you found yourself able to do what must be done.  Yes, says Evan, it's the only thing to do.  He places it on the desk and says, sign it--let's get it over with.  Trask signs--I saw Edward again, he says, and if ever a man cries out to be committed, it's he--he's completely insane.  Trask reads over what he signed and, horrified, proclaims Evan insane.  Why? asks the lawyer.  Why? cries Trask--no sane man would put on paper what you put on this!  It's the truth, isn't it? asks Evan.  "And I signed it!" says Trask.  "I signed it too," says Evan, "after all, we both murdered Minerva."  Be quiet! orders Trask.  It would do no good to be quiet, says Evan, they'll find us!  Tim Shaw murdered Minerva, says Trask.  No, we did, protests Evan, "You know that."  No one else knows that, says Trask, and no one else will, because I'm going to destroy the paper, right now!  He tosses it into the fire.  You can't burn murder, Evan reminds him, nor drown it, or even poison it-- you can't kill murder.  Get out and stay out! Orders Trask--and don't say anything to anyone about this paper I burned, because if you do, I swear you'll hang for worse than murder!  He pushes Evan toward the door.  The paper burns in the fireplace.  On the empty desk, however, it reappears, signed, sealed, delivered!

NOTES:  Once again, Nancy Barrett delivers a loopy, wonderful performance, dancing back and forth between Charity and Pansy.  Trask's reaction to his daughter's own form if madness is quite humorous.  And Pansy's musical interests seem to be "bleeding over" into her alter ego, Charity.

I just loved it when Trask read over what he'd signed!  He was so sure Evan was on his side, what a shocker to learn the opposite.  Petofi, acting through Jamison, is moving the everyone affiliated with the Collinses, as well as the family itself, to his own amusement.  How he expects this to get him back the hand, I don't know, but it's great fun to watch it all unfold.  Will Trask and Evan get punished for their role in Minserva's murder?


806 - Roger Davis gives pretty good intro.  The hand of Count Petofi comes at us against the background of Collinwood, as if beckoning us inside.

The damning confession Evan wrote reappears on he table in the drawing room.  Charity comes downstairs and enters, looking around.  She sits down on the sofa, then stands, goes to the desk, and picks up the confession.  Her eyes grow wide as she reads how her father and Evan killed her mother.  Trask comes into the drawing room.  He smiles at his daughter, wishing her good morning.  He sees the horror on he face, spots the signed confession in her hand.  She tells him what it is--it says you and Mr. Hanley murdered my mother!Now Trask's eyes bulge with dismay.

Trask darts forward, demanding to know--what do you have there?  He snatches the paper away from her--where did you find it?  I found it on the desk, she says.  How? he wonders.  I burned it!  Then you knew about it? she asks.  Yes, I read every word, he says.  It isn't true, is it? she tearfully asks.  I see you're ready to believe it IS true, he accuses, scanning the paper.  I don't know, she says, I feel so shocked.  Trask shouts--how dare you give credence to this foul and libelous attack!  I didn't say I believed it, she protests.  For the deliverance of your soul, he says, I can fight the evil forces against me, for I am the only one who can secure salvation against them all...

Magda looks into the cell at the sleeping Jamison (pretty pillow, definitely more 1960's than 1897).  She calls his name, awakening him.  He sits up, smiling at her--such a creepy smile.  Have you been assigned to guard my cell? he asks.  Barnabas has good reasons for keeping you, she says.  Would you be good enough to tell me what they are? he asks.  I will let Barnabas himself explain when he comes down this evening, she says.  I'm afraid of what's happening at Collinwood, says Jamison.  How can I know? asks Magda.  He explains--the truth can be very destructive--Beth found that out, and Edward, and Charity, and now Mr. Trask--they're all suffering after learning what they are really like inside.  I can't believe this is happening, she says--you are Jamison. . .   And yet I'm not, finishes the possessed boy--does that frighten you?  She turns away from him, saying no, it doesn't but it clearly does.  You know your own time will come, he says, eventually.  She walks away--my own time? she asks--I don't understand.  Very soon, you'll begin to see yourself, and not like what you see, he says.  I don't believe you--nothing will happen, asserts Magda.  That's what Trask said, but it's happening to him anyway, says Jamison.  What's happening to him? asks Magda.He's at Collinwood now, says Jamison, but not the Collinwood he dreamed of mastering--it's like a prison to him, and he is trapped alone in it, with his conscience, tortured by the truth he can't erase from his mind.

At Collinwood, Trask is all set to again toss the confession into the fireplace.  This time, he chooses to tear it into pieces.  The room darkens, wind blows, thunder rolls.  Trask turns on a single lamp, then tosses the balled up paper into the trash can.  The window blows open; the room is filled with eerie, outer-space sounds.  Scared, he closes the window, looks around himself, and seems to be trying to escape something.  He covers his ears against the awful noise, then runs into the foyer.  Minerva! he cries--I know you're here, and why--leave this house!--do you hear me?--Minerva, stop doing this to me!  He begs her to stop, sinks to his knees, covers his ears, screaming, "Stop it!" over and over.

The lights in the drawing room come on; all sounds subside.  Trask asks Minerva, listen to me--I'm innocent!  The wind howls and the supernatural sound returns, as if disputing his claim.  He rises to his feet--Minerva, an evil force has roused your spirit against me, you must believe that!  He covers his ears again.  Silence once more, lights returning.  Charles Delaware Tate asks him, are you all right?  He's dressed all in black, with a weird hat on his head.  Tate tells Trask, I knew who you were because of how you were dressed--your servants called you a man of the cloth--who were you talking to? asks Tate--I heard you addressing someone named Minerva.  Trask says, there's no one else in the room aside from us, I was meditating when the sudden storm came up, it frightened me.  Tate says, I just came from outside--there was no wind all day long.  Trask is nonplussed.  What is your business? he asks Tate.  The latter says, I'm an artist, commissioned to do a portrait of Quentin Collins.  Do I know you? asks Trask.  We haven't met, I'm sure, says Tate, admiring the portraits on the walls.  I've heard your name, says Trask--are you THE Charles Tate?  Yes, says Tate.  I know your work is famous all over the country, says Trask, I imagine you command a rather large fee.  I do, says Tate.  Are you aware Quentin has practically no money? asks Trask--did he commission you?  No, it was his late grandmother, Edith Collins, explains Tate, I just wasn't able to get around to doing the portrait until now.  Trask says it's a pleasure to welcome a man of your fame and talent to Collinwood.  I've taken a studio in the village, says Tate.  There are any number of rooms here you could have used at Collinwood, says Trask.  Quentin doesn't want me to do his portrait, says Tate--as a matter of fact, he said I'm not welcome here at all.  That's outrageous, says Trask, apologizing for Quentin's behavior--*I*, Trask, am master of Collinwood.  Tate explains, I'm doing the portrait from a photograph, and was hoping you knew where some other pictures of him might be.  Trask rummages in the desk for another, and to his dismay, the blasted confession is there!  It falls on the floor, to be picked up by Tate.  "Give me that!" shouts Trask, yanking it from his hand.  Tate gives him a weird look.  Trask apologizes for his outburst, explaining, it was an important letter I was sending to a friend.  He looks again for the photograph and finds one.  He hands it to Tate and says, keep it as long as you need it--how long will you be staying in Collinsport?  About two weeks, says Tate.  Perhaps you'd consider painting my daughter, Charity--money is no object, says Trask.  Tate puts an arm around Trask's shoulder and laughs--I'd be delighted to discuss it as soon as I finish Quentin's portrait--it will be a pleasure.

Quentin sits in his room, dejected, listening to his music.  Charity comes to visit him.  He invites her in, with great reluctance. I heard your music playing, she says, and knew you were here--would you like to take a walk along the beach with me?  Some other time, says Q, closing his eyes.  A walk would be good for you, she says.  I don't like walks, he says.  (bedroom exercises are more his speed.)  We could sit down somewhere and talk to each other, she suggests, watching as he pours himself a drink and seats himself at his desk.  "Charity, you've simply picked the wrong day," he says.  Are you sad about something? she asks.  No, he says.  I think you are, she says, caressing his face--"Why don't you come with me, Quentin?"--maybe I can help you forget your problems.  He pushes her away and firmly says, I'm going to stay right here.  He turns off the music and says, you had better leave--I don't think your father would understand finding you in my room.  I don't think that would upset him so much as knowing who you were with last night, she says--when I passed by your room, I heard you talking to Barnabas.  You were imagining it, he says.No, I wasn't, says Charity--I know his voice when I hear it (she sure should).  What are you going to do, asks Quentin, tell your father?  I should, she says, but I'm not going to.  She puts her hands on his shoulders in another caress, adding, "You might remember that the next time I invite you somewhere."  (Is this blackmail?)  She turns to leave, and does, giving him a significant look.  Magda is at the door as she opens it.  Charity and the gypsy exchange glances, and Charity leaves.  Quentin asks Magda, how long have you been out there, listening?  I just arrived as she opened the door, says Magda--come to the Old House, Jamison insists on seeing you.  Is he still possessed? asks Q.  Yes, she answers.  Then it's not Jamison who wants to see me, is it, it's Petofi, says Q.

Quentin, at the cell, asks Jamison, did you ask me here to remind me the moon will be full tonight?  No, says Jamison, for an opportunity to avoid your fate--I know much more about your problem than you do--how it begins, manifests itself, and how it can be ended--I'm anxious to leave this place, so I make this offer--I'll cure you in exchange for my freedom from the cell.You offered to cure me once before, and nothing happened, Q reminds him.  I'll make good on that promise, says Jamison, cure you if you let me out of here--I must have your answer.  How do you know you can really do it? demands Q.  You have my word--and my word is good, says Jamison--the keys are on the wall.  Magda comes in, calling to Quentin.  I told you to wait upstairs, says Q.  I knew something like this might happen, says Magda, so I came down to listen--you are a fool if you do what Jamison wants!  Don't listen to her! insists Jamison.  You had better listen, because I know what I'm talking about, says Magda, leading him away from the cell.  Why shouldn't I do it? asks Quentin.  You aren't thinking, she says--you're so desperate because of tonight's full moon, you aren't thinking!--the hand, he can't cure you without it, and he doesn't have it!  She's right, says Q, Julianka told me before she died that the hand was needed to cure the curse.  Quentin turns to the boy--"You tried to trick me!"  Jamison turns a baleful gaze on Magda and says, I warned you once before that your time would come--perhaps it shall come a little sooner than you or I expected.

Tate studio, once the Evans house - Tate is painting Quentin's portrait while talking to Charity--your father said he wanted a portrait of his daughter, but didn't say what she looked like--it's come as a pleasant surprise.  Charity thanks him--I hope having visitors in the studio while you work doesn't disturb you, she says.  No, I don't mind at all, says Tate--I'm almost finished for the day, anyway.  Your studio is charming, she says--how did you find it?  A friend of mine rented it last summer and told me about it, answers Tate--I'm done for the day--excuses me while I Clean my hands.  Left alone, Charity stares at Quentin's painting.  He isn't smiling in it.  The face in the portrait turns into that of a wolf.  Charity screams.

NOTES:  Amazing scene between Trask and his daughter, as he literally bullies her into not believing what she had read--that he helped kill her mother.  You can see how he manipulated all the ladies in his life--Judith, Rachel, Charity and God knows how many others.  I assume Evan's "gift" from Petofi is the need to tell the truth, something that will surely undermine his career as a lawyer (think LIAR, LIAR and Jim Carrey).

Why has Quentin's face in the portrait turned into that of a wolf?  What does this mean?  Is it possible that Count Petofi CAN cure Quentin without the missing hand?

Love, Robin

800 - Collinwood - Quentin comes downstairs to answer a knock at the door to find a hysterical Magda. I was just coming to see you, he says. She breathlessly says, "You can't go there." She asks for whiskey, which he gives her. I'm so scared, she says--the hand crawled out of the fireplace toward me--I ran. Did you have a few glasses of whiskey before this one? he asks. No, she swears, I'm sober, but scared--I knew the hand was evil, but not how much, if I only knew what it would take from me! We have all lost a lot, agrees Quentin. She sarcastically thanks him for being so understanding. He, with equal sarcasm, reminds her the child who died was my son--remember?--my son, who I never got to see. Yes, he was a pretty baby, she says, good baby, the little girl, too--every day I wake up, wondering if she is still alive--my head aches from thinking--what can I do to help her? And if you could help her, asks Quentin, so she can grow up to be a beautiful young girl--what happens then?--when she marries?--to her children? Her sons will dread the full moon, says Magda, sipping her drink. If I could do something about that, asks Quentin, should I do it? Of course, she says. Suppose I said I needed the hand to accomplish it? he asks. She reminds him what the hand has done. Because we didn't know how to use it, he says--but there is someone who does--if I give him that hand, he'll end my curse. How do you know he can? Magda asks. I don't know, admits Q--but I'm going to take the chance--we're going to the Old House to get the hand, and give it to this man. What's the name of the man who claims he can cure it? asks Magda. Quentin turns cagey--you might not understand, he says--it's Aristede. He's going to HELP you? she asks, incredulous--he tried to kill you. Listen, says Quentin, what Aristede did wasn't done to me personally--he had to do it because he needed the hand very badly--there's nothing wrong with that. There is, insists Magda--the hand belongs to the gypsies and was in their possession for over 100 years. Then your people are going to have to do without it, retorts Quentin, because I'm giving it to Aristede, and he'll cure me. You're a fool, says Magda. I'm willing to be a fool if I can be cured, says Quentin--and keep my little girl from carrying it to her sons--would you take that chance, for Jenny's child? asks Quentin.Magda looks miserable. Quentin pushes--if we're giving the hand, then let it cure me--maybe Aristede won't be able to keep it and will return it to her people. "Already you're thinking of betraying him," chides Magda. I'm thinking of nothing but being cured, says Q, and we are going to the Old House. Go without me, says Magda. Surely you aren't frightened of it, says Quentin. You would be, too, if you'd seen it coming out of the fireplace, she says. People are frightened when they have something to lose, says Q--we are in that strange, satisfying state of having nothing further to lose, so why be frightened anymore?

9 PM - Evan's house - He sits, reading a book. There's a knock at the door, very slow. He answers, but only the hand is there, hanging suspended in air. Evan, horrified, is about to close the door, but Tim comes out of the shadows, box in hand, and warns him, "Don't do that--we have some very important business to discuss this evening..."

Old House - Quentin and Magda search for the hand, but can't find it. Where can it be? he asks--did anyone else see it? No one else even knows about it, says Magda, except us and Evan Hanley. I'm sure he didn't take it, says Quentin. It must be your good friend, Aristede, says Maga, and his friend, the grand man, Victor. Aristede claims Victor and Aristede don't know each other, says Quentin. Maybe true, maybe not, says Magda, maybe nobody took it, the hand has a will and desire of its own, wherever it is, it wants to be there.

Tim holds the hand up before Evan, laughing--I've been very curious about my new possession, says Tim. What about it? asks Evan.I hope you can answer that, says Tim. My field of study is law, not gypsy artifacts, says Evan. What makes you think it has something to do with gypsies? asks Tim. I've seen boxes with carvings like that before, answers Evan. But not with similar contents, says Tim, this hand is unique, isn't it? I don't know, replies Evan. I think you do know; says Tim, I heard Magda talking. Is that why you came here? queries Evan. One of the reasons, says Tim--it will do for a start. He holds the hand out to Evan, who backs away, warning--if you don't know how to use it, that's one dangerous thing. I know enough about how to use it, says Tim, and before we are finished speaking, will know a great deal more--won't I? demands Tim. Evan keeps backing away. Dangerous for you, but not for me, says Tim, because I intend to let the hand work its will on you. Noticing how much this scares Evan, Tim deliberately pushes the hand closer to the lawyer's terrified face.

Evan describes to Tim how the gypsies removed the curse of the werewolf from Count Petofi--but their price for doing so was the hand, so they took it, and with it, his powers. So whoever controls the hand has the power? asks Tim. No one knows for sure, says Evan, the only certainty is that the hand, like its former owner, brings evil. Well, says Tim, you answered that one nicely, now let me try something a little more recent--I have this paper, and I've been puzzling over what it means, but suspect not much longer. He hands Evan the paper, making the lawyer very nervous. Curious, says Evan. The queen of spades, says Tim, reading from the paper, now what can that mean?--"You're going to tell me, Evan, aren't you?" I don't know what it means, claims Evan. I know differently, says Tim--you wrote it--why? Evan tries to walk away, but Tim calls to him. The hand lifts itself up in the air, threatening Evan. Make it go away, begs Evan. There's no place for you to run, says Tim--answer my questions!--why did you write that note? Trask made me write it! cries Evan, trying to fend off the hand as it comes closer. I knew he was behind all this--why? asks Tim. It was a plot that we worked out together to kill Trask's wife, confesses Evan. Oh, and you simply made me do it, says Tim. Yes, confesses Evan. How? demands Tim--begin at the beginning, tell me what you did, and what happened, everything! Evan closes his eyes in misery, knowing he has no choice.

Aristede meets Victor in the woods. The older man demands, why are you late?--waiting always makes me fretful! I couldn't help it, says Aristede. I'll accept your apology, says Victor--in exchange for the hand. I don't have it, says Aristede hesitantly. Victor, furious, slaps him back and forth across the face, calling him stupid and incompetent. Please, begs Aristede, it's not my fault, it's Quentin's--we were supposed to meet at the Blue Whale, and he showed, but didn't have the hand--he claimed he lost it.And you believed him, demands Victor, incensed. Yes, says Aristede, there's no reason for him not to give me the hand. Yes, he has a brain in his head, which you don't behind that lovely face, taunts Victor. He grabs Aristede by the lapels and says, I knew all along he was lying to you. Then why make me meet him at the Blue Whale? cries Aristede. Because I was desperate! shouts Victor, to do anything, even to do the job myself--I've been relying on you too long, and circumstances forced me to be patient, but I can't afford that any longer--do you know that? I can't come out into the open, insists the younger man, it's too dangerous. "What about the danger if I do not get the hand?" asks Victor in a steely, barely-controlled voice--"I tell you I must have that hand!"

Old House - Petofi and Aristede are searching the drawing room for the hand when Quentin and Magda enter. "What's going on here?" demands Quentin. I think you already know that, responds Victor--I regret that I've been less than completely honest with you in the past, but sometimes, from the purest motives, one is forced to follow the most devious roots. I want to know those motives, says Quentin, and they had better be pure, or you won't leave alive. Please, says Victor, threats make me extremely uncomfortable--I'm sure we can conduct our business in a more pleasant manner. What business? asks Q. Yes, our odd methods aside, says Victor, this is a matter of business. You have something, I want it--the hand, and I've wanted it for a long time. Why? asks Quentin. Because it is unique in the entire world, says Victor, because I collect the unique and pursue anything that meets the standards I set, which is why I am the one person who shall have it--may I be completely honest?--once, I had the hand, I asked no more of it than was my due to ask. Why don't you have it now? asks Quentin. A good question, praises Victor--I owned the hand at one time, but if you don't know it, let me tell you that there are men who are unscrupulous, men who smile and steal easily--I who know so much about some things is a mere babe in arms about others, but I do not regret it--I must maintain a certain innocence in order to be worthy of the beauty I constantly seek. "We ain't got what you want," Magda says. I think you do, says Victor. No, says Quentin. She told you she doesn't, says Victor, she told you it disappeared before her startled gypsy eyes--one thing I've learned during my career is that every gypsy has a price--whatever that price may be, I will pay it. I'm telling the truth, insists Magda--we don't have it. I don't always trust the word of a gypsy, says Victor. I never trust is, chimes in Aristede, who slaps her, accusing her of lying--you will do what I say! Victor stops the fight--"No, Aristede! She will do as I say!" Indicating Aristede, Victor describes him to Quentin: sometimes stupid, sometimes cruel, but generally, a nice boy. Get out, Victor orders Aristede--I'll handle this myself--you've upset the lady and we are trying to woo her--now get out! Victor apologizes to Magda, who is holding her hurt cheek. She refuses his apology--I want nothing from you, she says. Aristede did it because he knew he was anxious to get the hand, says Victor--what a passion it has become to him--smile, he says--gypsy women are very beautiful. I ain't got nothing to smile at, she retorts. There's always something to smile at, says Victor--the expectation of a new possession, the river of life that runs through a glass of wine. He pours her a drink. If you do, he says, you will feel better, then we can get down to talking business. She accepts the glass, then moans with dismay. Quentin asks what's the matter. The cuff button, cries Magda--the mark was the same mark on Julianka's forehead! Victor tries to leave, but Quentin stops him, grabbing Victor's right hand--which comes off! "You!" cries Magda--"You are Count Petofi!"Victor stands there, his empty sleeve showing nothing but darkness.

NOTES: It's really tough writing down all of Victor's flowery prose, so forgive me if I leave out a few things here and there. That man does go on and on! More interesting bits on the relationship between Aristede and Victor. He's the brawn, Victor the brains. You must love (and question) the man's loyalty to someone who seems to despise him as much as Victor does.

Charity was so cold to the man she was once engaged to, but very warm to Quentin, who seems to have no use for her at all. His cruelty to her was actually pretty funny, in a twisted way. She even accepted a drink, but then again, Cousin Barnabas introduced her to apple wine when they were "dating." Frankly, why she would want to pursue a man clearly her opposite is beyond me. She seems both disgusted and fascinated by him.

Once again, Magda is manhandled, the poor woman. Quentin's apparent love and gentleness for his baby daughter is really touching. I do believe knowing about these kids, especially since he killed their mother, would have turned Quentin into a more responsible man--if he had been told about them sooner.

No more Mr. Nice guy in our Tim, huh? He forced the truth out of Evan and now he has possession of the hand. What about revenge on Trask? We have to wait for that, but it does come.


801/802 - Quentin holds up Victor's fake hand and presents it back to him. Don't give it back, warns Magda, he is Count Petofi, demon from hell! You're a romantic, says Victor--if I really were who you think, would I let you babble on so? Yes, says Magda, if you did something to me, they would know you are him.If I were Petofi, says Victor, would I be ashamed of it? Magda turns to Quentin and says, 100 years ago, he was a werewolf. Victor laughs. 100 years ago, continues Magda, we cut off his hand as payment for the cure! Quentin looks at the gloved fake hand. Fascinating story, says Victor, and true, I've been informed--I do admit to knowing of the strange, sad story of Petofi, the last recorded man to own a unicorn. Oh, says Magda, you are the only one who could know that. But you know it, too, points out Victor--the saddest morning in the late Count's life was when he awoke after the might of a full moon to find his unicorn had been killed by a wolf. "Just a minute, Count Petofi," says Quentin, citing the one thing that convinced him--the saddest morning of the count's life was when he found a unicorn slaughtered. Werewolves don't remember what they do--I know that, and so do you, from personal experience. Magda warns Q, don't make him madder. Your interruptions, says Victor, are intolerable, the cawing of a mad cat--shall I silence you? Victor bows and says to Quentin, "Count Petofi, sir, at your service." Quentin gives him back his hand. "Quentin, he is dead," warns Magda. A mere conjecture, says Petofi. He's got to be, says Magda. What does it matter? asks Q, I've seen ghosts before. So, you believe her about that, too, says Petofi--how eagerly you believe your own lies, ignoring the truth wherever you can--I'll humor you. He picks up a letter opener. You have seen ghosts, you say? Petofi cuts his face with the letter opener and asks, do ghosts bleed, Mr. Collins?--and you, Madame, have you heard tales around the tribal campfire of ghosts that have blood?--what would a ghost want with a petrified hand?--I've never heard of a gypsy being logical--but try, do try! Urges the Count--only a man would want that hand, says Petofi. Surely you have some explanation for how long you've lived, comments Quentin. I'm not required to give it to strangers, says Petofi, all you need know is that I'm determined to have that hand. We don't have it, says Magda. You have until morning, warns the Count, I still have some powers left, but would hate to use them--I feel a certain kinship for you, Mr. Collins, you make me remember feelings I'd forgotten for a hundred years--I will be at Collinwood for a while, says Petofi. Quentin walks behind him and picks up the letter opener. I think it would be wise for you to decide what you are going to do, advises Petofi. Quentin holds the letter opener aimed at the burly Count. Since you're human, says Q, you can also die!--now, how were you cured--tell me, if you want to live. Petofi smiles broadly.

Quentin shakes the latter opener threateningly at Petofi, demanding the cure. Don't anger him, begs Magda. Petofi asks her, should I hypnotize Quentin?--or paralyze him completely, leave him here, and when the moon comes out--would you like that, gypsy? Magda begs Q, let him go! For once, you are right, says Petofi, slamming his hand down on Quentin's wrist, making him drop the weapon. Nursing his injured wrist, Quentin asks, in a heartbreaking voice, "Why won't you help me? If you know what it's like, why won't you?" To get something, you must pay the price, says Petofi--a little bargaining, perhaps. I'm willing to bargain, says Quentin. You're only willing to cringe, says Petofi, to make inept excuses--you must learn--I paid my price (he holds up his false hand) you must pay yours! Petofi leaves. Magda laments, "Quentin, Quentin!" You stole the hand, says Quentin, and you brought him here--I should kill you for that. Don't talk such foolishness, she says, we must get that hand, he won't leave us alone if we don't. Unless we can fight him, suggests Quentin. Magda gets an idea--Evan has books that tell about Petofi, he even knows about the hand! But Evan and I aren't friends any longer, says Q--I must try to fix up our relationship. Be careful, says Magda, don't do anything foolish--promise me! He leaves without another word. Magda knows the hotheaded Q is heading for trouble.

Evan's house - he jumps from his chair, races to his sofa and yells, "There it is!" He pulls away a pillow. "It was there!" I saw the fingers! He tosses down the pillows and says I must get hold of himself--that hand is not in this house. He hears a weird, slow knocking at the door. It's Quentin (he wouldn't knock that way; was it Evan's imagination?. Evan answers the door. Old friend! says Evan enthusiastically. Quentin asks, what's wrong with you? It's clear that Evan is a nervous wreck. I thought you had forgotten our friendship, says Quentin. Nonsense, says Evan. Beth tried to call you several times, says Q. I've been busy, says Evan. Just when I especially needed you, says Quentin--the moon was full. I don't need your reproaches, says Evan, looking wildly around. Q asks, what are you looking at? "Do you see it?" demands Evan, sounding not quite sane. Quentin looks around and points out nothing is there at all. Evan chuckles--I'm sorry, I haven't been myself lately. Obviously, says Q. Evan suggests they go out. No, says Q, I came to ask for your help--you know all about the hand, Magda said so--you have books. I don't want anything to do with it, insists Evan."Give me the books!" says Quentin--"I have to fight it." You can't take the chance, no one can, asserts Evan, his eyes darting crazily--I tried to tell you that! Who did you try to tell? asks Q. No one, says Evan. You lie as badly as ever, says Quentin--you know who took the hand, tell me! I fear he will use it against me if I tell, says the lawyer. "Evan..." says Q warningly--"tell me or I'll kill you, right here, tonight--I mean it--I've caused too many deaths to think about one more." Tim Shaw, reveals Evan--he had it here, I keep thinking it has come back, he won't let it come back--don't come to me about the hand again--I want nothing more to do with it! I never thought I'd see you so frightened, remarks Quentin, and leaves. Evan locks the door after him.

Magda calls the god of the gates to the future, asking to see--give me power to look at the road ahead--I have no right to know, after all I did, but show me in the crystal ball, she begs, what will happen--I've got to see, please! Quentin enters--Tim Shaw has the hand, he says. We must go to him right away, says Magda. That's impossible, says Quentin, we underestimated dear Mr. Shaw, if we ever thought of him at all--took his clothes, everything he owns, plus the hand, and left. Petofi and Aristede killed him, suggests Magda. No, says Quentin--he left alone on the evening train, no forwarding address--where would you go with all that power in your suitcase? he asks. We can't do anything? asks Magda. Nothing says Quentin bitterly--nothing.

Petofi comes downstairs at Collinwood. A suitcase stands in the foyer. Jamison enters and says, I knew this bag was yours. A spur of the moment decision, says Victor--I'm very much like you, Jamison, he says, I do just what I want when I want. I'm not like that, says the boy, I have all sorts of people who tell me what I have to do. But you don't always obey them, do you? asks Petofi. Sometimes, if I have to, says Jamison. One of the few virtues of age is that you don't have to, says Petofi--you'll see. Jamison says, you never finished telling me about Lord Kitchener and all his battles. When I come back, promises Petofi. You're coming back? asks Jamison. Quite possibly, says Petofi--have you ever run away? I tried to once, says Jamison. Petofi says, I'm running away. I'll miss you, says Jamison. Petofi says, I'll see to it that you don't. How? asks Jamison. I have all sorts of tricks you haven't seen yet, laughs Petofi, but there's no time to tell you any now--kiss me goodbye. Jamison hesitates. Are you afraid? asks Petofi--I thought we were friends. We are, says Jamison, it's just that I don't understand how you're going to stop me from missing you.You don't have to understand everything, says Petofi, goodbye, for now. Jamison kisses his cheek. Magda and Quentin enter. Run along, Petofi tells Jamison--they've come to say goodbye. Jamison goes upstairs. I was expecting you, Petofi says, and obviously your mission was a failure--you came to plead with me. The hand isn't in Collinsport, says Magda. Your fault, says Petofi, you are a very careless custodian. You know where it is, don't you, and are going to get it now? accuses Magda. No, replies the Count, I am going to wait for you to find it for me--you played some rather dangerous tricks on my hand, but I should have expected that--all of you are children in this house--never have I seen a group of people so willing to live lies. Quentin refuses to hear anymore. It will be fascinating to see which of you will be able to live and face the truth, says Petofi--and which of you will die--already, one by one, the lies are falling away--Quentin, at least, admits what he is, and because he's closer to the truth than the others, I am leaving him a very surprising and rather interesting present---he won't like it at first, but he'll thank me for it in time. I want nothing from you, says Quentin. "Of course you don't," chuckles Petofi, "but you can't prevent me from giving it to you."--perhaps I'll be back in a little while, when I have the hand, then I will undo the mischief I'll be blamed for--goodbye--"Remember, I'll be watching you, even though you don't see me." He walks out the door. Don't let him scare you, Quentin advises Magda--he has no powers--if he did, he'd use them. Magda crosses herself, and says, "He's alive, ain't he? It takes powers to live for 150 years!"

At the top of the stairs Jamison says, "I beg your pardon," not sounding at all like himself. Quentin steps forward. Isn't the child isn't in bed? asks Jamison--don't children go to bed at a decent hour these days? (Not at Collinwood) Quentin and Magda exchange glances. Jamison says, "Lord Kitchener once told..." Magda suddenly seems to understand and is horrified. Come down, Quentin tells Jamison. "Mr. Collins, says Jamison, I'm not in the habit of being interrupted." What are you talking about? demands Quentin--don't play jokes. Jamison chides "Mr. Collins" for always being the one that's speaking of jokes. The boy has his arms hidden behind his back in a Count Petofi-like pose. Quentin grabs him, looks at him, turns to Magda. When Jamison slips his hands out from behind his back, we see they are encased in black gloves."Why are you staring at my gloves?" Jamison asks--"You know that I always wear gloves." Horrified, Magda says, "Ohh, he's possessed!" Quentin stares at his smiling nephew.

NOTE: Shivers! Be prepared for some awesome acting on David Henesy's part. He is really amazing here.

What did Petofi mean about learning the truth about everyone? What dubious gift is he leaving Quentin--or is Jamison's possession by the Count the gift?

So what will happen now that young Jamison is in charge of lies and truth?

Love, Robin

796 - This episode recaps the end of the previous, but it was re-shot.

Angelique tells Aristede--I want to see Quentin, show him to me.  While I wasn't brilliant on the last occasion we met, he says, I'm not that stupid.  I don't have the hand, admits Ang.  Get it, he says.  How can I, if I don't know where it is? She asks.  Find it, he says again.  Look at me, says Ang, the hand means nothing to me, no matter what you believe--it means so little to me, I gave it to someone else--don't look away, she says, keep looking into my eyes--let us go now, to where Quentin is,  "Lead me to him--you must do as I say."  He bursts into laughter, unlocking his eyes from hers, and shows her an amulet he's wearing around his neck--protection against youi--f you gave the hand away, which I find impossible to believe, get it back.   I need time, says Ang.  You know how much time you have, says Aristede, and it's all your friend Quentin has, so hurry!

Barnabas lifts the box containing the hand and asks Julianka, how will you save Quentin--how?  You ask too many questions, complains Julianka.  I'm concerned for his safety, says Barn.  You still do not trust me? she asks.  I must know what will happen, he insists.  You can never know, she says--my great-grandmother took pity on Count Petofi, turned him back from wolf to man, and it's her secret I know, but I am the only one who will know it, until my daughter is born--"This hand and I are the only ones who know."  We tried to use the hand before, says Barn.  Yes, how brave you and Magda were, scoffs Julianka, holding the hand in hers--only I can guide the hand.  Must you use it? demands Barnabas.  Yes, and that's all I will say, says Julianka, returning the hand to the box--there is much to be done--this must be done the moment before the moon disappears, for when it does, it must take the curse with it to the underside of time.  Barnabas,  puzzled, says, I don't know where Quentin is.  Find him, orders Julianka--I must go get precious herbs--the leaf of the nightshade, the prickly stem of the devil's satch--in the woods--I will find them and come back in time--have Quentin here, she tells him, and leaves.  (She doesn't act like one of Barnabas' usual victims, too much piss and vinegar.)

Aristede, cheroot in hand, returns to the perspiring Quentin, who, terrified, watches and struggles as the pendulum swings ever downward.  Its placement now looks like it's going to...shall we say...affect his ability to ever have more children.  (Sorry, Beth.)  Aristede tells Quentin, your fiancee is charming, not a woman I'd ever trust, but some men like to live in doubt--do you think your fiancee wants him to live?--"I see by your eyes you have some doubt--so do I. . .but we shall see, won't we?"  He laughs at Quentin, then adds, "At least I will.  You may never know."  He laughs harder as the pendulum swings inexorably downward.

Old House - Barnabas asks Angelique--why didn't you tell me about Aristede?  We aren't in the habit of confiding in each other, she reminds him.You should have told me this, says Barn--who could this man be?--if he has Quentin. . .  He DOES, says Angelique, and we must give Aristede the hand.  I don't intend to let Quentin die, he assures her.  Wouldn't it be safer just to give him what he wants? asks Angelique--for once not to have some elaborate plot that might not work out?  "How human you suddenly sound," he chides her, amused--perhaps you have changed--I wish I could trust you.  Leave me out of it, says Ang.  I can't, he says, I have a small, nagging wonder at your even being here--you can control this Aristede if you want, make him lead you to Quentin.  She shakes her head.  I can't believe this, says Barnabas, considering you made me what I am.  Barnabas, she says, Aristede has a medallion, so I have no control over him.  Why would he? asks Barnabas--he isn't of the gypsies--Julianka is our effort to get that hand.  Who he is doesn't matter, says Ang, we are wasting time.  When are you to meet? he asks.  Fifteen minutes, she says--the woods outside Collinwood.  Meet him, says Barnabas.  It will be useless without the hand, says Ang, picking up the box.  You can't take that, insists Barn.  If I had no power over him, neither will you, says Ang.  I have advantages you don't, he says--is the medallion in the form of a cross?  No, she replies.  Then I'll try my luck says Barnabas.  "How arrogant you are," accuses Ang--"It must please you very much to have saved the day when I cannot."  Barnabas responds, "I'm saving him for his sake, not for yours or for mine, but for him, and David Collins and Chris Jennings--they are my reasons."--we must plan, says Barnabas.

Aristede admires himself in a mirror as the pendulum comes closer to unmanning Quentin.  "One must look one's best at all important moments," says Aristede, his back is to Quentin, who has managed to free his left hand from the ropes.  "As your emissary, I'm sure you want me to be at my best."  It's time for me to go for Angelique's answer, says Aristede.  The pendulum is now about two inches from target.  Aristede jovially asks Quentin, are you a gambling man?--I want to make a wager--"Aww, you don't think it's in the best of taste--you may be right," agrees Aristede--"I'll see you again."  Quentin tries to attack him with his free hand.  Aristede says, you aren't strong or clever enough.  He ties the free hand back down.  I've shown you what I believe, says Aristede--I don't trust Angelique, either--you don't think she's going to save you--well, I can't make any mistake now--I've been warned, threatened even--"This machine can be used more than once, and I have too much respect for my body to even think about lying on that table!"  Aristede smiles and bids Quentin au revoir--"At least you hope so."  And the sweating, terrified Quentin stares at the descending pendulum.

Woods - Angelique calls to Aristede, who appears.  I see you didn't bring it, he observes.  I couldn't, says Ang.  "Quentin knows you well," remarks Aristede.  I need more time, says Ang--I will get it for you.  You ask the one thing I'm powerless to grant, he says, and turns to go.  Wait, begs Ang.  I suggest you get into your clothes of mourning, he says--you'll look beautiful in black!  She turns and runs from him.  Aristede is furious at being thwarted.  He turns and stops when he hears Barnabas' voice calling, "Aristede."  A dog howls.  "You cannot go," says Barnabas--"Not yet--where is Quentin Collins?"  I don't know, says Arisede--show yourself!  Barnabas appears from the shadows.  Aristede asks, who are you?  Who are you is more the question, says Barnabas.  "Stay away from me," orders Aristede.  "You will stay here," says Barnabas, "I will willingly go, but you will not let me--if you tell me where Quentin is, you will be much better off."  No, says Aristede.  Yes, you would, insists Barnabas.  Barnabas admires his medallion--it's old, isn't it?--look into my eyes--"Look at me!"  Aristede does.  "You are powerless to resist me," says Barnabas--"You see my will in my eyes, don't you?"  Yes, says Aristede.  "We have so little time--you must tell me where Quentin is! Insists Barnabas--you understand that?"  Yes, agrees Aristede."Take me there the quickest way," orders Barnabas--"Start now, Aristede!"  Aristede walks as if in a trance.

Back in the old mill, the pendulum is within cutting distance of Quentin's cojones...

Quentin tries to scream for help through his gag.

Aristede lights a candle and tells Barnabas, "We wouldn't keep him in the foyer, sir."  "WE?" asks Barnabas.  Aristede explains, I often speak about myself that way.  Take me to him, commands Barnabas, calling to Quentin.  You'll wake the dead, warns Aristede.

Quentin looks around at the place where Aristede has taken him.

Aristede bursts into laughter, causing Barnabas to grab his lapels.  "You tell me, sir," says Aristede, "will he ascend to heaven or descend to hell?"  "You have tricked me!" accuses Barnabas.  No, says Aristede, you and Angelique--you didn't bring the hand.  Barnabas demands to know where Quentin is.  What difference does that make?--he only has a moment or two left, says Aristede--and he's miles from here.  Where?--I want to know, says Barnabas.  I'll tell you, agrees Aristede.  Barnabas tosses him against the wall.  If you want to go for the body, a useless thing to me, says Aristede. . .you can congratulate me on my cleverness--he's in an abandoned mill by Sutter's Creek.  Barnabas asks, are you lying?  There's no reason for me to lie, says Aristede--you could never get there in time to save him.  Barnabas promises, we will meet again, and disappears.  Aristede, flabbergasted, hears the sound of squeaking--where did Barnabas go?

Barnabas races into the old mill and pushes the table against the wall, saving Quentin from a horrible, painful and very bloody death.  Quentin gasps, very relieved.  The pendulum slams harmlessly into the table, right near his foot...

Old House - Julianka lights candles (including a black one, of course).  She holds up a glass of nightshade, "a gift of the devil god for those who hunt rest without peace."  The devil's thatch, a gift to remind us that agony is not only human, for the spirit lives on, and when there is spirit, there is agony.  Great god of the distant mountains, beloved of my people, help me tonight when the moon begins its downward path--give me the power that was my mother's--let me help this man."  She holds her hands in prayer.  Barnabas and Quentin enter.  She looks at the latter and says, I see the sign over his head.  Rest, she tells Quentin.  He sinks down on the purple thing and asks, can you cure me?  She nods.  Are you sure? he asks--if you use the hand, might I not turn into something even more frightening?Not if the ancient gods are with us, she says--and they will be--I must go in a moment, find the one thing that will draw them here--it will not fail-- the new blood of the orris root.  Quentin turns away, disgusted.  "You do not believe me," says Julianka.  "You will.  Wait!  You are luckier than Count Petofi.  Before my great grandmother cured him, he had to pay her with his hand."  (don't make me say anything now, please!)  Why must you go out again? Asks Barnabas--why didn't you get it the first time?  The gods will only come if they are summoned the moment we begin, explains Julianka--it is now 10 minutes past 3, and the moon will be where it must be at 4 o'clock.

Later - Angelique looks at the clock and assures Quentin, you are safe.  You should have let me die, says Quentin--where is she?--she should have been here by now--is this another gypsy joke?  No, says Barnabas.  You seem so positive--why? asks Quentin--she's run out on me.  We have 10 minutes, says Barnabas--"I'll go look for her."--Angelique, make sure Quentin doesn't leave the house.  There's no need for you to stay here, says Quentin.  "I'd like to," she says softly.  He laughs--now don't sound human, I'm not impressed--I remember where you came from, how you came here and why.  I'm sure you do, says Ang--I will have to make you forget all that, won't I?  She grins at him.

Barnabas searches the woods, calling to Julianka.He finds her, on the ground, moaning, a strange mark on her forehead.

NOTES:  Other soaps seems pretty humdrum compared to DS.  Imagine, a pendulum threatening one of the heroes!  Did it get any better than this?  I read that both Selby and Stroka couldn't remember their lines and there was no room for the TelePrompTer in that small space, so they ad-libbed their lines--and the scene turned out perfect, time-wise.  Both Barnabas and Quentin accuse Angelique of being "human," and she really did seem so today.  Robbed of her powers by the medallion, she had to turn this one over to Barnabas--yet Aristede wasn't taken in by him.  I guess Aristede doesn't know Barnabas is a vampire, and that he can get to places much faster than a mortal man.  Gripping episode--when this one began, and we saw that Quentin was destined to be sliced in that very sensitive spot, didn't you want to go ouch, guys?  What has happened to Julianka, who seems to be Quentin's last hope for beating the curse?

Stroka plays a wonderful, oily villain--you can see he loves to torture people, like a cat with a mouse.  He'll be doing some of that to one of our favorite people in the not too distant future.


797 - (Black and white) - Magda and Quentin gaze out the Old House window, both looking somber.  Quentin asks why Julianka hasn't returned--the ceremony must begin by a certain time.  Magda suggests she just got lost, wandered farther than she thought, and she knows better than you when the ceremony must start.  Then where is she? he asks, unnerved--I wish you'd let Angelique stay; it was a mistake to let Barnabas go out, since he might have been spotted.  Magda rifles through her tarot cards and reminds Quentin--no one sees Barnabas unless he wants to be seen.  Then where are they? demands Quentin--can you tell me that--and don't look at the cards, they are bound to show misfortune?  If you go on like this, says Magda, you won't be in any shape for the ceremony.  Sorry, he says, but I'm more than just an interested spectator, he reminds her.  So am I, says Magda, picking up the box containing the hand.   Why? asks Quentin--I don't get your concern.  Let it be understood, she says that I want Julianka to come back as much as you do.  Barnabas returns, looking very, very sad.  They both ask, did you find her?  Yes, he says soberly, "She is dead."

Barnabas arranges Julianka's body on a bed in the secret room behind the bookcase.  He hands Magda the orris root he found in her hand, and says--"The mark was on her forehead, and she was dead."  It isn't a gypsy mark, says Magda, I never saw such a mark--no, wait, I have, but I can't remember where (although she clearly does, and doesn't wish to say), and adds, I might be wrong.  Perhaps you know something that can help us, says Barnabas, begging--try to remember--it might be able to help us discover who murdered her--can you recall anything?  And if she knew, says Quentin, would it make a difference?--would it make those dead lips tell their secrets?--no, it's gone, forever, just like my hope.  Don't give up hope, urges Barnabas.  Why, demands Q, what will we do next?  Barnabas swears, I'll think of something.  And it will fail as surely as everything else has, says Q, our only hope died with that girl, the one person who could have saved me.  They leave the secret room; Magda closes the bookcase.  Quentin is clearly about to leave.  Barnabas asks, where are you going?  I don't know, says Quentin--there's nothing to be done here, or anywhere else.  We'll think of something else, Barnabas promises.  Spare me your rosy optimism, says Quentin, it's completely unappreciated--perhaps you can bear your own burden bravely, but I find mine intolerably heavy.  Will you be at Collinwood? Asks Barn.Quentin retorts, "What for?  To help carry the gypsy back to her grave?  I'm sorry, but I'm carrying burden enough--I don't know how much longer I'll be able to do it."  Quentin leaves.  Barnabas sinks slowly into a chair, as if exhausted, and says, I didn't think it would happen this soon.  What? asks Magda.  The second event that's happened, says Barnabas, describing Jamison's disturbing dream--in which I learned three things would happen--first the silver bullet being brought to Collinwood (the one Magda dropped).  Before I had a chance to realize it, the first event was over and done with.  The second event occurred tonight, with Julianka's death.  Magda laments, I never should have stolen the hand.  She takes it from the box.  I didn't know the trouble it could cause, I swear it, she says.  I know that, Barnabas assures her--the vision, unfortunately, improves a great deal after the thing has happened--in the case of the third event, I must find out before it happens--Quentin will be rejected by the one person he truly loves--if that happens, it's too late--for all of us, for shortly after that, Quentin will die, and everything I have worked for will end tragically.  Magda gasps with dismay.  I must learn when the third even will happen, so I can be prepared for it, says Barn.  There's no way of definitely knowing the future, says Magda--there are tea leaves and tarot, but based on a calendar, no--how do we even know there's a future?--now it's 1897, suppose I say 1927, 1967 (the year Julia and Barnabas show up on DS), how do I know that date will ever really arrive?  Of course there's a future! insists Barnabas, because the future for you is the present for me, and I'd give anything to be able to go back there for 10 minutes.  Would that help? asks Magda.  In my time, there is a history of the Collinses printed in 1965, says Barnabas, which would have printed the date of Quentin's death (inaccurately, I bet)--that would help me a great deal--if only Eve hadn't gone back to the past to get that book for Vicki, who brought it back to the 18th century when she went there, so Eve brought it back to the present.  Eve, Vicki, who are these people? asks Magda, confused--when did she take the book?  Not too long ago, says Barnabas--don't concern yourself--these people are shadows of my present and your future.  He turns and says, yes, it didn't happen too long ago--it hasn't happened yet--there's still a chance to save Quentin--because by looking in the book that lies in the old Colonial courthouse--Eve did take it, which happened in 1968, which hasn't happened yet--so the book must still be in the courthouse now.  Magda tells him that part of the courthouse collapsed two years ago--they never fixed it, but built a new one--the old one is closed up.  You could go there, says Barn.  You really think this book would help? she asks.  I thinks someone should at least search there for it, he replies.  I could get in there, she says, and will go right now.  Right now, he agrees--I was caught unprepared twice, I can't get caught unprepared again, says Barnabas to himself.

Quentin enters Collinwood, exhausted.  He pours a drink.  Beth enters.  I've been waiting for you to come back, she cries--it was so terrible, knowing you were out there. . .  He suddenly drops the glass, which shatters, and says, "No, stay away from me!"  This upsets her--what have I done?  Quentin spots the mark of the pentagram on her forehead.It's not what You've done, he says but what I will do.  He stares at the pentagram on her forehead with self-loathing.  What you'll do to whom? she asks.  To you, he says.  Why would you want to do anything to me? she asks.  Do you think I had control over what I did to anyone else? he asks--what makes you think I'll have control the next time?--please, go away, he begs, get out of Collinwood now--any minute now, I could become the beast and you my prey.  She moves in close, her mouth inches from his, touching his chest.  "Beth, I don't want to think about the possibility of killing you!" he says desperately.  You can't kill me, she reminds him, not as long as I have the pentagram.  Pentagram or not, the mark was there, says Quentin, and a time will come when you're without it, and at the mercy of the beast.  I won't take it off, says Beth.  "Stop trying to convince me, Beth! yells Quentin--now that beast is going to kill you, unless you run so far, he won't be able to find you."  Far from him means far from you, says Beth tearfully, and I don't want that, because I lo...   Love me, finishes Quentin bitterly--"Well I hope your love is strong enough that you won't mind dying for it when the time comes."  Stop talking that way! she begs.  Why, does it frighten you? he asks cruelly?  Yes, she admits.  Good, says Quentin, then maybe you'll have sense enough to go away.  No, she says, as he pours himself another drink, I won't leave you--where are you going?  To my room, he says, it's a more comfortable place to get absolutely death-blind drunk.  I want to come with you, says Beth.  Come along, he says softly--perhaps I'll get drunk enough to forget I saw that mark on your forehead, and we can have a few minutes of "forgetfulness."  He touches her chin teasingly.  I'd like that, says Beth, smiling.  "Good girl, Beth," he says, "and always faithful--loyal to the end--maybe they'll put that on your tombstone."  (Oh, that is soooo mean!)  He walks past her; Beth trails after him, despite his bitterness and the fact that he doesn't seem to want her at all.

Barnabas exits the secret bookcase room.  Magda comes in, seemingly empty-handed.  I went to the courthouse, she says, and got the book (she takes it from her shawl).  Barnabas eagerly takes the book and rifles through the end of the century.  Aw, hell, the date of Quentin's death isn't written.  Magda takes the book and reads the note written there--before the year 1875 (1897)  ended, Quentin Collins left Collinsport for a voyage around the world.  What does that mean? she asks.  Barnabas explains--it's one of the ways the Collins family said something terrible happened, so bad it cannot even be printed--and so, a socially accepted lie is devised--a trip to London (that one was for you, Barn!), a trip to anywhere else--anything so the world is kept away from what really happened.  There isn't much time, says Magda.  I wish I had realized the gypsy girl was the only one who could have saved Quentin! Laments Barnabas--I'd have watched over her and kept her from being murdered!  Barnabas whirls around--the gypsy girl--they can get her spirit to speak to them from beyond the grave!--perhaps she can still tell us how to save Quentin!I don't like that idea, says Magda.  You've been involved with death before, he reminds her, why hesitate now? Have a seance without me, suggests Magda.  I cannot do without you, says Barnabas impatiently, since you and Julianka are both gypsies--what's the matter?  Magda confesses, reluctantly, that if Julianka is anything like her grandmother, who was very scary when angered--when I was a child, she used to scare me and the other children.  But you are no longer a child, reminds Barnabas--Jenny's children need to know what Julianka can tell us--two gypsy children are doomed without your help.  Convinced, Magda asks, when will we have the seance?  As soon as you get Quentin, says Barn--and remember, whatever happens must do so before dawn!  Magda says, perhaps I'm a fool, but something about all this frightens me.  "You are a fool, and a coward!" shouts Barnabas, furious.  This insults Magda, who asks--would a coward go to the courthouse?--get that book for you?--do for you what I do everyday?  We have no time for your gypsy temper, he warns.  I still have this terrible feeling, says Magda. . .  "AND WE HAVE NO TIME FOR YOUR GYPSY FEELINGS!" shouts Barnabas, right in her face, his countenance twisting with fury--go get Quentin, and hurry!

Quentin's room - his music plays.  He's drinking, listening, looking depressed.  Beth kneels and suggests--when this is all over, perhaps we can take a trip somewhere.  The only trip we are going to take is to hell, remarks Q, drinking.  Stop thinking like that, orders Beth.  Do you know any other way? queries Quentin.  Please stop drinking, adds Beth, it isn't good for you.  Sure, says Q, we must keep the condemned man healthy for his execution.  He slumps back in his chair.  Stop, she begs.  Be quiet, says Quentin, I'm trying to listen to my music (both Collins cousins are very pissy in this episode, aren't they?)  Beth stands, smiling, and says, I've always wanted to go to Vienna, and wear silk gowns, and diamond earrings.  She sways, dancing, "and waltz all night long," she adds.  Quentin says, "And may I suggest if you're ever going to go, it had better be now."  I want to go with you, insists Beth.  Drunkenly, Quentin says, I don't think that can fit into my schedule right now--go on dreaming, because dreams are all you get at Collinwood--and one last nightmare.  Beth continues to dance and dream.  She looks at Quentin when someone knocks at the door.  It's Magda--Barnabas wants you, and fast, she says--he has a plan.  Beth asks what plan?--I'm coming, too.  Magda says Barn only wants Quentin.  Q claps Magda on the shoulder and says all right, Quentin he'll get--you must excuse me, Beth, I must beg off the next waltz.  Beth starts to blather something about Barnabas' plan working.  Quentin ignores her optimism and says, let's go, Magda, mustn't keep our ever-hopeful cousin waiting.  And they go.  Beth sits down in the chair Quentin vacated, looking as if she's going to cry.  And the music plays.

Old House - seance - Barnabas calls to Julianka's spirit--gypsy of the Romana clan, only you can tell us what we must know--break the silence of the grave and speak to us--penetrate the darkness of the grave and speak to us!  Magda and Quentin, who have joined hands with him, look nervous, especially Magda.  Wind fills the room.  Thunder rolls.  Julianka's spirit calls to them:  "I do not like death at all!" she complains, appearing to them.  Tell us what we must know, says Barnabas--I beg you.  Beg from now until the time I am made flesh and blood again, she snarls, stepping creepily down--I will tell you nothing--you called me here, I came, I died before my time.  "How could we know, we needed your help?" asks Barnabas desperately.  You meant me no harm, but caused my murder, chides Julianka--I am dead now!  We had nothing to do with your death, says Barnabas.  I met my blood in your woods while I was gathering the blood of the orris root to take a curse from one of your number, says Julianka--the orris root was in my hand when I died, but it was my blood that was on it--"and he who is cursed among you will remain cursed forever!, forever, forever.. . ."  Quentin cries, I can't listen to this!, and runs out.  It wasn't Quentin's fault, protests Barnabas, nor is he the only one who suffers from the curse--there are two young children whose mother was a gypsy!  I refuse to help them, says Julianka, my own blood or not--they no longer deserve the name because of her--and she points an accusing finger at Magda, who cries out.  Stay away from me, begs Magda.  Julianka says, I will go away and stay away forever, but before I do, I will lay my curse upon you.  "You stole the hand from your own people, you who severed the chains that must be linked together forever.  You who dishonored us--you deserve to die!"  Then let me die, sobs Magda.  No, says Julianka, my curse will bring you tears and more tears, and more graves and only loneliness...   What do you mean? asks Magda.This is the curse I lay upon your head, says Julianka--first will come three knocks on the door--hear them and begin to weep, for they will herald the beginning, but not the end--the first but not the last--you will live, Magda Rakosi, but everyone you love will die!  Magda rises and begs, don't do this--listen!  Julianka, however, has already faded way.  "Barnabas," sobs Magda, "she is gone, she is gone, what shall I do!"  Barnabas goes to her and says, "She came once, perhaps she will come again--you must plead with her to undo what she has done before it happens!"  Yes, agrees Magda, I will.  Unfortunately, at that very moment, they hear three knocks at the door.  "It is already too late!" Magda cries.

Note:  Curses!  It's always a woman who sets them on DS.  This was a really cruel one for poor Magda, who has already lost so much.  Quentin's treatment of Beth was horrible.  We know he's upset, but she loves him desperately--can't he at least try for her sake?  He seems a lot less mature about his situation than Barnabas.  Julianka's curse left me feeling cold all over.  What new tragedy will befall poor Magda now?  Is Beth doomed to die at Quentin's furry hands?

Love, Robin