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

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

Love, Robin

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

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

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

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

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

Love, Robin

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

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

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

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

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

Love, Robin

780 - (David Selby) - Collinwood before the turn of the century--a time which promises death and disaster for Barnabas Collins.  His secret has been discovered by two men, and one has turned on the other and locked him in the secret room where the vampire lies, knowing that when Barnabas rises, the man will be killed...

Karlen doesn't grab onto the cross in the re-do of the previous episode's ending.  Morose, Quentin listens to his music in the drawing room.  He ignores the knock at the door, turning up the volume.  Trask enters and suggests that Quentin should play reverent hymns (as IF!).  This is MY hymn, says Quentin, grinning, calling him "Mr." Trask. The Reverend asks him to turn off the music.  Does it lead you into some unknown temptation--REVEREND--dancing, beautiful women in low-cut gowns, whispered laughter? taunts Quentin.  Trask soberly says, I've come to see Judith.  Then you'll have to wait, says Quentin; I can't keep you company, I have a meeting at dusk.  He leaves him the record playing, and suggests Trask "imagine" to his heart's content.

Cark stands outside the front door of Collinwood, knowing he must finish it now, whether Quentin is there or not!  He enters the house.  Carl is glad to see Trask.  Is Quentin here? asks Carl, his voice shaking.  He's gone, says Trask.  I want to see Judith, says Carl.  She's in town, says Trask, due back soon.  Carl doesn't know what to do; it will be dark soon--can I trust you?--I know I can, except people I think I can trust, I find out I can't!  Trask assures him, "Trust is my business."  (oh, please)!  Yes, agrees Carl, it's true.  Turning, he says, I know all about it--this vampire. . .I know how it sounds, but BARNABAS is the vampire, and I can prove it!  Trask seems to find this VERY interesting.  Come to the coffin with me, Carl urges Trask, where he spends the day, awaiting the night.  Trask starts to protest, but Carl talks him into it--we can then decide what to do.  It's my duty to investigate this possibility, says Trask.  It will be dark soon, says Carl, we must hurry--he'll be up, and that's dangerous.  I have the greatest weapon in the world, says Trask, holding up a large gold cross on a chain looped around his neck--this has the power to defeat the Prince of Evil himself--if what you say is true, this will keep us safe!

Dusk - Barnabas rises from his coffin and closes the creaking lid (WD 40, anyone?)  He looks up and sees the secret panel is ajar.  He turns his back.  Quentin enters the mausoleum.  He and Barnabas face each other.  Barnabas has his fangs bared, about to strike to protect his secret.  "Wait!" orders Quentin--"I know!  Yes, you're my only hope, I now understand why you're trying to help me escape my curse.  I know what your offer of help means."  Barnabas asks, "You can look upon me without fear?"  Quentin assures him, I'm never without fear, but we don't have time to think of that--is my brother Carl dead?  This puzzles Barnabas.  Didn't you kill him? asks Quentin--he was here.  "Carl. . .here?" asks Barnabas.  "He KNOWS!" says Quentin, to Barnabas' horror.

Quentin tells Barnabas about Carl's dream, and how he went to find Judith and Edward and instead found me.  Face to face, Barnabas asks how long ago he escaped.  I don't know, says Q--I didn't see him at Collinwood.  Go to Collinwood, orders Barnabas, at once--find him.  You should do that yourself, says Quentin.  Barn insists, I have other things to do.  What if Carl's already talked, and I can't stop him? queries Quentin.  Barnabas reminds him I offered to help you, so do as I say--go to Collinwood, and if it's too late, come to the Old House--I'll be there after I finish what I must do--HURRY--do what you can to stop him from talking.

Cemetery - Carl tells Trask, you aren't taking this seriously; he is a vampire--are you sure the cross will work?  You're in desperate need of faith, says Trask.  Oh, I've got faith, Carl assures him.  In the wrong things, insists Trask.  Carl hears a sound, but Trask doesn't.  Someone's here, says Carl, and if he's in there, what will we do?  Trask reminds him--you said it was highly unlikely Barnabas would be here, if he's what you say, he'll be out working his evil ways.  They enter the tomb.  Carl points out the secret door, which Trask says he's known about for months.  Carl is, at first, afraid Trask is on Barnabas' side, but Trask sadly says, I knew about it because Rachel Drummond was once in there.  This surprises Carl, who points out that panel was open, now it's closed.  You must open it again, says Trask.  Carl, scared, takes a deep breath and does so, assuring him, you'll find no Rachel in there now.  Trask goes in first, holding out his cross.  The secret room is once again empty, and Carl is quite put out.  IT was here! he cries.  Trask asks if he's given much to visions.  No, no, listen! cries Carl.  Judith told me, in confidence, how high-strung you are, says Trask.  Carl says half an hour ago, there was a coffin here.  Trask accuses Carl of engaging him in a charade, to make him look the fool.  You're wrong, wails Carl, I was locked in all day, and there WAS a coffin there--Quentin was here.  Then we shall ask him, says Trask.  But he won't admit it, insists Carl.  I wonder why, says Trask.  Carl doesn't know--I don't understand any of it.  Obviously, says Trask.  Stop looking at me like that, demands Carl, I'm NOT crazy, I'm NOT!!  Carl advances on Trask and screams in his face, "And don't you think I am, because you're wrong!"  There is no question of right or wrong, the devil has told you to say these things, says Trask, you're in the hands of a someone far stronger than yourself.  I'll prove what I say, says Carl, somehow, I will!  He runs out, Trask calling after him.  We must help him, the reverend tells himself, I can drive these devils of suspicion and delusion from his mind...he holds up his cross like a weapon against his enemies.

Carl stomps into the drawing room and picks up the phone.  He's calling frantically for the operator.  Spotting a bat is hanging around outside the house, Carl is terrified.  The window blows open, Carl has lost his connection--the phone isn't connected at all!  Carl stares around wildly, demanding, Who's there?"  The lights all go out and the double doors swing shut, locking Carl in.  He goes to the open windows, which close before he can escape.  "Carl!" says Barnabas' voice, filling Carl's head--"What have you done, Carl?"  Carl begins to cry.  "Whom have you told, Carl?" asks Barnabas.  Carl runs through the darkened room toward the doors, trying to get out.  No one will help you, warns Barnabas.  (This is scary!)  Carl talks back:  "Listen to me--I'll do whatever you want, I won't tell anybody, I promise--all right?  Just let me leave this room and I won't speak a word!  I swear it!  Do you believe me?"  Barnabas doesn't reply at first, then materializes before Carl, standing near the window.  "You know you will tell," says Barnabas.  Carl's lips quiver--"Don't come near me!" he cries.  "I must, Carl," asserts Barnabas--"Who else have you told?"  No one, says Carl.  Barnabas starts to throttle him."Tell me the truth, Carl!  Tell me the truth!"  He squeezes.  Carl's tongue begins to protrude from his mouth.

Carl lies on the floor, Barnabas staring down at his lifeless body.  Barnabas kneels.  Quentin comes downstairs.  Barnabas hears a sound and hides, his back against the wall by the door.  Quentin spies his brother and kneels.  Barnabas closes the door, revealing his presence.  "You had to do it," says Quentin.  "I know that, but. . .oh, God, will tonight ever see an end to all of this?"  Tonight may be a new beginning, says Barnabas solemnly--we had to do it, for both our sakes--this may give us time.  "May?" shouts Quentin, horrified--"You mean you did this without knowing for sure that it would?"  He may have told someone else, says Barnabas, but he wouldn't admit it.  There's a knock at the door.  Answer it, Barnabas orders Quentin.  I don't want to, says Q.  You must, says Barnabas, and keep whoever it is out of here--"If I'm going to help you, you must help me!" insists Barn.  I don't know how I can do this, says Quentin.  You must, insists Barnabas.  The knocking gets louder, more impatient.  Quentin answers--it's Trask, looking for Carl.  He isn't here, says Q.  I want to wait in the drawing room for him, says Trask.  Wait in the study instead, Q hastily suggests--I have a fire going there.  Carl might return without my hearing, says Trask, and goes to open the drawing room door.  "Mr. Trask!" blurts Quentin--are you in the habit of going into other peoples' homes as if you own them?--I asked you to wait in the study.  This is most important, insists Trask, or I wouldn't take the liberty.  He opens the double doors.  Quentin nervously wipes his mouth.  The body is gone.  Your brother seems to be in a most deplorable state, says Trask.  (if only he knew!)  I fear another tragedy unless something is done--certainly your sister doesn't need more worry and more concern.  Quentin sees Carl's arm drop out from behind the curtain, and doesn't hear Trask asking him, "Do you have any interest in sparing Judith more worry?--if you don't, I do!"  Then he notices Quentin's ashen face, and asks him what's the matter--are you listening to me?  Carl's body suddenly drops out from behind the curtain.  Trask, aghast, accuses Quentin of knowing about this--so Carl was not mad!  "What do you mean, I know about it?" demands Quentin, kneeling, trying to rouse Carl, screaming his name.  "He's dead!  He's dead!" Quentin cries.

Old House - Barnabas paces, a nervous vampire wreck.  He answers a knock at his door--Trask--you're out late, remarks Barnabas.  As long as it's dark, it's not too late for you, says Trask significantly, entering his house.  I don't know what you mean, says Barnabas.  "I accuse you of the murder of Carl Collins!" announces Trask.  Murder? asks Barnabas.  No need to act surprised or deny it, says Trask--I know the truth about you--you're a foul, evil creature, a bloodthirsty creature of the supernatural--beholden to Satan, sworn enemy of the Almighty.  Barnabas approaches him, calling him "Mr. Trask" in an ominous voice.  Trask pulls out his cross, holding Barnabas at bay.  The sight of the cross disturbs you, notes Trask with satisfaction--and with very good reason--a vampire is powerless before this symbol.  Barnabas, back turned, says, you have no facts, you're the victim of your fanatic imagination.  I didn't imagine Carl's dead body, points out Trask.  Nor did you witness me killing him, counters Barnabas--you merely assumed.  With good reason, says Trask, "Carl told me what you are--he saw you yesterday in your coffin!"  But he will speak no more, says Barnabas, so you have no proof against me, none whatsoever.  Smugly, Trask says, I intend to get proof, here and now--if you are innocent, you should have nothing to fear, not even the dawn of a new day--a vampire cannot exist in daylight!--"I challenge you, Barnabas Collins, stay in this room with me until the sun rises--if you survive the dawn, then and only then will I believe you are innocent."  At that moment, the cock crows.

NOTES:  Uh oh, this is one challenge poor Barnabas can't win.  Excellent performances from all.  I know folks say there were other ways to deal with Carl, other than killing him--hypnotize him, send him abroad, bite him, etc., but John Karlen was leaving for a long time, and they had to dispense with his character.  Angelique took herself out of the equation, even though she could have easily helped out.  Sure, they could have sent him to Europe on an extended vacation, but they dealt with it this way.  It makes Barnabas--and Quentin--seem so cold and calculating.  What kind of brother locks his sibling in with a creature he knows is going to kill him?  We've taken a couple of steps back here to see the self-centered Quentin.  The scene in the mausoleum where Barnabas and Quentin face each other, now knowing the full truth, is just riveting.  This last scene with Trask is tense and thrilling, both men turning in superb performances.

Yet another death.  Sad.


781 - (Nancy Barrett) - Collinwood before the turn of the century--Barnabas Collins has returned to this time and a series of evil and terrifying events in order to solve a mystery to help him save two lives in the present.  But as time has passed, Barnabas Collins' own dark secret has come under ever-increasing suspicion.  But now, as the promise of dawn lingers below the horizon, the Old House is the scene of a bizarre waiting game, and Barnabas Collins knows that his secret will not last another night.

Trask asks Barnabas, are you getting nervous?  "This is your moment--you might as well make the most of it," says Barnabas--"But we will meet again, Mr. Trask.  I will deal with you then as I dealt with your ancestor before you."  (a confession!)  And he disappears right before Trask's eyes.  The Reverend, very excited and disbelieving, whirls around and says, "I was right--you ARE a disciple of the devil.  But I know your secret now, Barnabas Collins, I know you are vulnerable during the daytime, and I will destroy you!"

We see the bookcase, where Barnabas is now climbing into his coffin--just on the other side of the wall from where Trask stands!

7:10 - Collinwood - A stoic Edward tells the police on the phone that the body was discovered in the drawing room about an hour ago--my brother Quentin has been no help at all.  Come at once, advises Edward, and bring the coroner--I'll be expecting you.  The front door opens--Trask.  Edward, angry, demands to know, where ha you been?--you discovered Carl's body, and thus had no right to go to the Old House, you were obligated to stay here.  You will understand my behavior when I tell you what I have discovered, Trask assures him.  He looks around, then suggests going into the drawing room.  Trask closes the doors.  Well, speak up, orders Edward.  Trask tells him Barnabas, your cousin, is the source of evil plaguing this house, and Carl is dead because he discovered Barnabas' secret--fortunately, Carl had a chance to reveal it to me before Barnabas killed him.  What secret? demands Edward.  Barnabas is a vampire, says Trask, and Dirk was only used by Barnabas to divert suspicion from himself--the secret is out now, I witnessed proof with my own eyes--the living dead can't exist in the light of day, and I challenged Barnabas to meet the dawn with me--but he was forced to vanish before my very eyes to save himself, a power he has, among others. Edward finds this incredible.  But true, says Trask.  I believe you, says Edward--a great many things are beginning to make sense now.  It's imperative to find and destroy Barnabas Collins, insists Trask.  It won't be easy to find him, says Edward.  I believe we'll find him at the Old House, says Trask.  No, says Edward, now that he knows he's been exposed, he wouldn't leave it there.  He was there until dawn, says Trask, and couldn't possibly have moved it since then (has Trask associated all this with the marks on his own daughter's throat?)--I think we should send the police to the Old House.  Edward shoots that idea down--for the sake of this family's peace of mind, no one else must ever know this terrible secret.  (Now Edward is showing emotion!)--we must go to the Old House now and do what must be done.

Old House - Through the bars of the basement door, we see Barnabas' cane hanging on the coat rack.  Magda exits the cellar, closing the door behind her.  There's a knock at the door.  Edward and Trask barge in.  Edward advises her, things will go much easier if you tell us where Barnabas is.  He's away for the day, on business, claims Magda.  You're lying, says Edward, and you couldn't have lived in this house all these months without knowing his secret.Magda plays dumb--all people have secrets, she says.  Trask grabs her arms, hurts her, accuses her of knowing the secret and helping Barnabas Collins--after we attend to him, he says, we can see you are punished, too, if you don't cooperate with us--where does he keep his coffin?  Magda insists she doesn't know what they are talking about.  Edward threatens to search the entire house.  Do it, she says, you won't find him here.  Edward, disgusted, tells Trask to come along, but the Reverend gives Magda one more chance.  She behaves haughtily.  I'm speaking to you! he says, and grabs her again, warning that the Almighty has ways of dealing with those who do the devil's bidding.  He slaps her across the face, shouting, He will smite you for the sins you have committed!   Magda nurses her hurt cheek.  Damnation and hellfire shall be yours, he warns her.  I think you've made the mistake in mixing yourself up with the Almighty, says Magda--I will remember this, and tell you an old gypsy saying--walk fast and misfortune will overtake you--walk slow and misfortune will catch you!--you'd better not walk slow, because I will never be far behind, she warns him. (Trask is a bully, and I love the way Magda handled him in this scene.)

Collinwood - Trask pores over the architectural plans of the Old House.  Edward comes.  I was able to get the silver bullets, he says, six of them, from Brathwaite.  Trask remarks, your ancestors had a penchant for secret rooms.  I'm aware of that, says Edward, I know they were a curious lot long ago.  This wouldn't be necessary, says Trask, if that old gypsy had been willing to help us.  We must get back to the Old House before Magda can help him, says Edward.  I've found four secret rooms/passageways at the Old House, says Trask, and we'll begin with the one behind the bookcase.

Barnabas rises, sits up.  Magda comes to him after first having checked downstairs, clearly perturbed.  Barnabas comes out.  I didn't know you were here, she says.  I never had the opportunity to tell you I moved my coffin, he says.  Well, you'd better move it again, advises Magda, and fast--Edward and Trask know about you.  I know, says Barnabas, it happened this morning before dawn.  They searched the entire house, plus the cellar, says Magda--where will you go?  The question isn't where, but do I have time to move anywhere else? he wonders.  I promise to help in any way I can, says Magda  I find your sympathy somewhat disturbing, says Barn--you have something to gain if I am destroyed: your Sandor will be free again.I would rather help you than MEESTER Trask, says Magda--he's an animal--we can't stand talking, we have to get you out.  There's a knock at the door.  I'll get myself out, says Barnabas, you should stall them as long as you can--I will find you, he vows, and disappears behind the bookcase.  Magda answers the door.  Trask orders her out of the way--we will search the places we didn't know about earlier today.  You're wrongs, says Magda--you searched every room.  It's too late now, says Edward, we know all about the secret rooms.  Like the one behind that bookcase, adds Trask--stand aside.  She doesn't move.  Edward icily says, "I give you one last warning--there are enough bullets here to dispose of Barnabas and you."  And he holds up the gun, pointing it at Magda.  She knows she is beaten when he says, if you don't step aside, I will shoot--your choice.  She steps aside.  The men go to the bookcase, and Trask opens it, knowing just where the secret lever is.  Edward tells Trask to raise the coffin lid, which he does.  Barnabas is gone.  Dead by day, alive by night, says Edward, revolted.  On the loose somewhere, probably in search of another victim, says Trask.  "That woman knows where he is!"  says Edward--"And this time, she's going to tell us."  But when they exit the bookcase, Magda, too, is gone.  Edward regrets not bringing her in there with him.  We have no need of her, says Trask, pleased--we have already made considerable progress by finding the coffin, to which Barnabas will have to return by morning--when he does, he will find it no longer usable, and without a coffin, he cannot exist.

Old House - Trask closes the secret bookcase and asks Edward, are you sure you don't want me to remain here with you?  No, says Edward, brandishing his pistol, I've got this.  I'll return at dawn, promises Trask.  Edward sits down on the Dreaded Purple Furniture and looks at the bookcase.  Barnabas appears inside there.   Edward hears a sound and listens through the bookcase, but returns to his seat, holding the gun ready.  Barnabas glances down and sees how coffin is chained, a cross is sitting on top of it!  (Oh, no--do they have a Motel 6 for vampires?)

Worthington Hall - Charity, dressed for bed, glances into the fire and hears the sound of a squeaking bat.  Barnabas appears before her.  You never should have come here, she says.  I had to, says Barnabas.  If my father were to find you...  Barnabas explains that Daddy Trask already knows about me and is searching for me.  Oh, no, says Charity, appalled.I'm in serious trouble and need your help, says Barnabas.  How?  she asks.  Your father wouldn't look for me at the school, says Barn, so you must hide me here.  No, objects Charity--I can't do that!  You must do it and protect me, orders Barnabas.  It's much too dangerous, objects Charity.  There's danger for me everywhere now, he says, except when I'm with you.  He'll know, says Charity, Daddy always knows when I'm trying to hide something from him!  "Charity, look at me," commands Barnabas.  She doesn't want to, but of course, she does.  "You haven't the will to resist me," he says hypnotically--"you understand that."  Yes, she agrees, softly.  You must not fail me, says Barn--I must find another coffin to rest in.  I understand, she assures him--what do you need?  I need a small amount of earth from the grave in the basement of the Old House, he says--it's too dangerous for me to go there, so you must go for me.  She's set to leave immediately, but he warns her, Edward is guarding the house, and if he sees your there, you won't be able to explain yourself.  How can I do it, then? she asks.  I'm going to tell you another way to get into the Old House, promises Barnabas, and Edward will never know you've been there.

4:20 AM.  Old House drawing room - Edward paces, then sits on the sofa.

Old House basement - Charity picks up a neat little black purse that looks rather fancy for one such as she.  She scoops some of the earth from the floor into it, but knocks over a crate with a candle on it.  Edward calls out, "Who's there?"  Charity, still in nightclothes, her eyes wide with terror, hides in a doorway as Edward comes downstairs into the basement.He orders her out of the alcove, warning her that he's prepared to use the gun--"Come out!" he demands.  Charity does so, looking absolutely terrified.  Now Edward's eyes go huge when he sees who it is.

NOTES:  I'm surprised that Trask hasn't yet made the connection between Charity and Barnabas.  Or did he think Dirk her attacker?  In any event, Charity has been found--what will Edward do now?  What will Charity do now?

Edward and Barnabas had become close friends, and I wonder how Edward feels now about his cousin?  They've talked at great length, I'm sure, Barnabas being forced to fabricate much of what he told Edward, but doesn't Edward feel badly at wanting to destroy the man he called cousin?

What a bully Trask is!  Manhandling Magda to the point that she'd rather be on Barnabas' side than his and Edward's!  Somehow, you can't wait to see Magda punish Trask, can you?

Love, Robin

776 - (Louis Edmonds) - This night has been dark and filled with dread, for an unnatural creature has been let loose to force his will upon those he claims as victims.  Dirk Wilkins has made a deadly demand upon Barnabas Collins, a demand that must be met by dawn.  And now the dawn is nearing.

What are you doing with a gun? Rachel asks Judith, who replies, in a monotone, "It has to be done."When Judith's attention is momentarily diverted, Rachel tries to escape, but is unsuccessful.  Put the gun down, Rachel says--you've got to realize  please! she begs.  Tim, standing outside the cellar, hears several gunshots.  He races into the cellar.  He asks Judith, what's going on?--what was all the shooting?  He notices Judith is holding the gun, then spots Rachel on the floor, her bodice stained with much blood.  He lifts her up.  "Oh, no!" he cries.  She whispers, I don't know why Judith pointed a gun at me.  Tim asks Judith, are you crazy?  She simply says, "I did what I had to do.  I had no choice."  I have sharp pains in my chest, says Rachel, her eyes filled with agony.  Don't talk, urges Tim--everything will be all right--it must be all right.  I'm frightened, says Rachel, and cold. . .so cold.  Judith places the gun on top of Dirk's coffin as Tim cradles Rachel in his arms.

Edward tells Trask that Dirk was all over the house at once, upstairs, downstairs; I pursued him as best I could--how can you pursue something you can't see?  Trask reassures him, it wasn't your fault, you could do nothing against this creature of darkness.  And the police can't do anything, either, laments Edward, it can't go on like this!--what does he want?--who is he, and what does he want from us?--from her?--the questions go round and round.  Trask pours a drink a gives it to Edward, hoping to calm him a little.  Edward accepts it gratefully.  The phone rings.  It's the sheriff--his men searched the woods completely, without finding Judith or her abductor.  The sheriff is widening the search and will keep him informed.  Everyone is so confused, except Cousin Barnabas, says Edward--he seems certain the creature is Dirk Wilkins.  Trask finds this interesting, and remarks I would tend to believe it is not--I don't know what reason Barnabas has for accusing Dirk, but when all is said and done, it will prove to be at odds with whatever is good for the rest of us.  Do you trust Barnabas? Asks Edward.  Trask replies, I neither trust nor like Barnabas, and never have.  (The feeling is mutual, Revvy.)  Hardly the time for personal prejudices, comments Edward.  Trask accuses Barnabas of knowing all about poor Judith's disappearance--I'm also convinced he knows where Rachel and Tim are, providing them with a place to hide.  Edward isn't sure about the latter accusation, but doesn't believe what Trask says about Judith--Barnabas is her cousin, and he has nothing to gain.  And the Collins are therefore above suspicion? asks Trask.  Let's drop the subject, suggests Edward.  "As you wish," says Trask.  The front door opens.  It's Judith.  Edward asks, are you all right?--where have you been, what happened to you?  She holds the gun pointed at him.  "Judith, what have you done?" Edward asks miserably.

Give me the gun, Judith, Edward asks.  She does, docilely.  He tells Trask it's her own gun, brought back from France by Grandmother. He examines it--three shots have been fired.  He asks Judith again what happened.  Trask feels she can't tell him anything at the moment.  Where has she been? asks Edward.  Judith repeats, "It has to be done."  Desperate for more information, Edward presses her, pointing out that they can't help her if she doesn't help them, but she is not forthcoming.  I did as he told me to do, says Judith.  The vampire, states Trask.  What did he tell you to do, who is he? demands Edward.  I'm very tired, Judith says--I want to go inside and sit down--there's nothing pressing that needs my immediate attention.Edward asks Trask, is Judith completely mad?  Not mad--possessed! says Trask--by a will much stronger than her own.  Edward asks, what should we do?  Trask advises Edward to take her up to bed--sometimes sleep separates the real from the unreal, strengthen the mind.  Edward wonders about the three missing bullets.  That will come out in time, says Trask, but right now, I want to thank the powers that be for sending Judith back to us, then seek divine guidance against the evil spirit possessing her and plaguing this house--I've been successful with the higher powers in the past.  I hope your success continues, says Edward--Judith needs it desperately.  Edward takes Judith's arm and gently suggests she get some sleep.  Yes, I must sleep, agrees Judith.   Edward helps her upstairs.  Trask closes the double doors and kneels, hands in a praying posture.  He asks for the Lord's help; together, we must help this poor, afflicted woman possessed by an evil spirit of darkness.  With Your help, we shall drive the demon back to hell from whenst it came.

Tim, carrying Rachel, enters the Old House, frantically calling for Barnabas--for anyone!  He helps her lie down on the sofa.  I feel very weak, she says.  Of course, he says.  The pain is gone, she says.  That's good, says Tim.  No, it's bad, she says.  Tim calls over and over for Barnabas, speculating he doesn't hear me.  Rachel thinks Barnabas isn't here.  Tim says you're hurt bad, but that doesn't mean...you'll be all right, you need a doctor to fix you up.  No, doctor, she tells him.  Yes, he insists, I'm going into town to get a doctor--I hate to leave you here, but I have to.  Rachel doesn't want him to go.  I must he says--you'll be all right, really.  No, I won't be, she says, and if you go into town, they'll catch you.  I'm willing to take that chance, says Tim.  Please, she begs, they're looking for you.  I only have to go to the edge of town to Dr. Brooks' office, says Tim.  No, she objects.  Please stop saying no, begs Tim.  You don't understand, she says--if they catch you, they'll kill you.  Her body rises as she feels pain.  I'm going for the doctor, he says.  She begs him to stay with her.  It wouldn't do any good for me to stay, says Tim.  Rachel remembers how, when we were children, we used to pretend our fathers were whaling captains, and that's why we were at the school?--we used to sing sea chanties.  I remember, he says, clearly distressed.  We used to sing softly, so Trask wouldn't hear us, recalls Rachel, her strength ebbing.  There's no point in us keeping up this pretense, says Tim--you're dying, you know it.  Yes, I do, says Rachel.  If I don't get help, you're going to die, do you want that? he asks desperately.

Collinwood - Judith lies in bed, asleep.  Edward sits down in a chair and watches her.  Judith hears Dirk calling her.  She answers him, in her mind.  Follow me, he orders, find me where I lie waiting for you--"Find me!"  I've found you, says Judith, and in her mind's eye, she sees his coffin,  him inside it, fangs bared.  "I want you to come to me!" he commands.  I did what you said, Judith reminds him.  I know that, he says, and you were quiet when they tried to make you talk.  (Must be hard to speak with those fangs in his mouth.)  "Come to me so that I may reward you--let nothing stand in your way!"  Judith rises from bed.  Edward asks where she's going.  She leaves the room, walking the robotic walk.  Edward realizes she's going to HIM, the vampire, as Barnabas said, and Edward follows.

A dying Rachel asks Tim, "Can you keep a secret?"  What is it? he asks.  My father's coming back, she says, to take me to live with him, in a big white house--I used to tell you about the beautiful white house overlooking the ocean--he's going to come soon, but you must not tell Rev. Trask--it must be our secret.  Rachel dies.  Tim, calling her name, hastily checks her pulse, his voice shaking.  He presses his head to hers, mourning.  His childhood friend and confidant is dead.

Edward follows Judith to Dirk's coffin.  "I have come, as you commanded me to," says Judith, her hands on the closed coffin.  Edward orders Judith, stand away from the coffin!  Calmly, she says, you have no right to be here.  "Is he here? asks Edward.  "Is this where he hides during the day?"  He only summoned me! says Judith  Get out my way, orders Edward.  Don't hurt him! says Judith.  I'll do more than hurt him! vows Edward angrily.  I won't let you, says Judith.   I'm trying to save you, and all of us! cries Edward.  Judith bangs on the top of the coffin, calling, "Dirk, Dirk!  He's going to destroy you--you mustn't let him!"--wake up and kill him before he destroys you!  Judith passes out and Edward puts her limp body off to the side.  He opens the coffin and sees the vampire slumbering inside.  It's Dirk! he realizes (wasn't that the name Judith was yelling?), and hastily closes the coffin.  It's almost night, mutters Edward, there isn't much time.  He finds a large rock on the floor, then searches for something to serve as a stake, heading upstairs.  It's dusk.  He returns with a stake (did he make it or find it?) and re-opens Dirk's coffin.  He takes the rock and stake and, looking sickened, hesitates just long enough for Dirk to awaken and reach out to grab him.Edward quickly pounds the stake into Dirk's chest.  The vampire succumbs, eyes open, blood flowing from his mouth as he sags back into the coffin.  (Pretty graphic for DS.)

Notes:  We lose two in this episode, Dirk and Rachel.  KLS was going to Africa with her boyfriend, Ben Martin, so she's written out of the script for quite a while, but we will see her later on in a different, very interesting, role.  Same thing happens to Roger Davis.  Trask is very suspicious of Barnabas, and one can't help but wonder if that isn't inherited from the Trask line to the one and only Barnabas Collins, LOL.  Sad scene between Rachel and Tim.  Her memories of their happier childhood always make me feel so sad for both of them.  She didn't want him to get a doctor because she feared for his safety, but did she doom herself to death?  Perhaps her wounds were too serious, even if Tim had gotten a doctor.  They--and we--will never know.   I do like how Edward closed ranks against Trask when he insinuated that Barnabas knew more than he was saying, but Edward himself tried to trick Barnabas with his own sketchy vampire knowledge as he brought Barnabas and Judith together to see her reaction.  No trust, Eddie!


777 - (Kaye Frye) - Collinwood in the year 1897, and the dread cry of VAMPIRE is in the air.  To keep his own secret safe, Barnabas Collins has been forced to turn Dirk Wilkins into a vampire.  Now Dirk Wilkins has been destroyed, and with his death, his victims no longer remember their ordeal.  But certain things cannot be forgotten, as Judith Collins will learn this day.

Judith, still looking rather vacant, expresses frustration over the lost hours of her life as Trask hands her a cup of tea in the drawing room.   He urges her, don't dwell on it--you know what Edward and I told you--Dirk's hold on you is over.  He caresses her throat, commenting, even the marks on your neck are gone.  She smiles, seeming to enjoy his touch.  (Ewww!)  He suggests they think of the future.  Tim enters.  Trask holds him at gunpoint, ordering Judith to call the police and tell them Minerva's murderer has been captured.  He and Tim stare each other down.

Tim suggests Judith not make the call, for her own good.  Judith is puzzled.  If you tell the police about me, I'll have to tell them about you as well, warns Tim.  Huh? says Judith.  Trask tells her to just make the call.  Judith wants to know what Tim means.  Tim wonders how she can have forgotten shooting Rachel Drummond.  Again, Judith can't believe it.  Rachel is dead because you killed her, accuses Tim.  Trask calls him crazy.  I had no reason to kill Rachel, says Judith, and don't remember seeing her.  Tim says, you sure did see her, in the abandoned house, and I found you standing over Rachel with a gun--come to the Old House and see for herself, suggests Tim, that's where I took her, but it was too late.  Judith asks, could I possibly have done this?   More likely, says Trask, Tim himself turned on poor Rachel--the way he turned on Minerva.  Prove it, says Tim.  Something in the back of my mind, says Judith--I remember coming back to Collinwood, but not from where, but I recall you and Edward examining a gun--whose was it?--  Gregory, I asked whose gun it was?  Yours, admits Trask, but that doesn't mean. . .  Then Edward said, continues Judith...how many times was Rachel shot?  Three, says Tim succinctly, giving Trask a look.  Yes, says Judith, and three bullets were missing from my gun--I did kill her!  Judith sits down and covers her face with her hand.  Trask comforts her.  Isn't it enough, he asks Tim, that you destroyed one fine woman?  Rachel's dead, too, Tim reminds him--shall we all simply forget about her?  He leans on the mantle.  Forget Rachel?--never, says Trask, but we must put grief aside and concentrate on the living--if Judith shot. . .   IF! shouts Tim--no if about it, and she even admitted it.  She wasn't morally responsible, argues Trask, under the spell of an unnatural creature.  And so was I when I killed Mrs. Trask, says Tim.  That's a convenient excuse, says Trask.  I must admit it, says Tim, I had something to do with Minerva's death, but I don't know how or why or who cast me under this spell--but I think I'll have the leisure to discover who that was--NOW.  He looks at Trask significantly, and the Reverend looks stonily back.  Judith calls to "Gregory."--I still want to call the police--but you, Gregory, must make it for me.Tim says, that isn't such a good idea, is it?, focusing on Trask.  The latter suggests Judith just rest.  I can't, she says--you must call the police and tell them there are two murderers at Collinwood.  "She doesn't know what she's saying," says Tim.  Trask escorts him out, saying I have to speak to Judith, but don't do anything you'd regret, he advises.  He closes the double doors on Tim, dismissing him.  You must understand, he tells Judith--you had no control over what happened.  But I did kill her, says Judith, how do you think I feel?  How do you think I feel? asks Trask, for so many years I was responsible for Rachel's soul, may it rest well in heaven tonight. (oh, give me a break!)  I can't bear it anymore, says Judith, I want you to call the police and get it over with.  Be strong, he urges her, putting his hand under her chin and making her look at him--I have fought against evil all my life and recognizes the enemy--I know what the evil force wants you to do next--permit yourself to be destroyed because of Rachel's murder.  But I did it, objects Judith.  Only if you confess to the crime, only then will you be evil, says Trask, only then will you be lying--you didn't kill Rachel, Dirk did.  But Dirk is dead, says Judith.  And so is Rachel, says Trask--will it restore her for even one moment if you, Judith, are destroyed too?--and you could easily go to the gallows.  This horrifies Judith.  And if you died, says Trask, my life would be bleak, dark, meaningless, that I would soon die, too.  Do you mean that? she asks.  Every word, swears Trask--you should be silent--I will speak to the police myself.  What about Tim? she asks.  Relax, says Trask, I will do what has to be done.  You can't keep Tim from telling the police about me, says Judith.  Trask assures her, I can.  He picks up the phone.  There is a way, he says, asking for the sheriff's office.

Out in the foyer, Tim starts to sneak off, then changes his mind.  He listens at the door, walks away.  Judith listens as Trask tells the sheriff Tim Shaw is at Collinwood with him now...

3 PM - Tim listens at the door again, pacing.  Judith looks miserable.  Trask tells the sheriff Tim spent the night in Bangor; in the excitement of the night, I had forgotten I'd sent him there for supplies.  No, I had no idea she was dead and am extremely shocked--you can speak to Tim, yes, but he's a most unlikely suspect--you'll have to look elsewhere for the fiend who murdered my wife.  I'm very honored, Judith tells Trask--you set free Minerva's murderer to save me.  I had no choice, says Trask, and I'm sure Minerva would have understood, she was that kind of gal.  He goes out to get Tim, who enters the drawing room.  Trask explains, I've finished speaking with Judith and the police--I told them I sent you to Bangor, and I am sure you will support that story.  Gladly, says Tim.  Then you will leave Worthington Hall, says Trask.  Even more gladly, replies Tim--do you think Mr. Hanley will still help me find a job?  Trask advises him against seeking that avenue for work.  Perhaps I should speak to Mrs. Collins, suggests Tim--after all, I obviously do need a new position.  Trask suggests, leave this part of the country--the world is wide for a young man.  Collinsport is world enough for me right now, says Tim.  Sternly, Judith says Mr. Edward handles the hiring.  But I'm not the usual applicant, says Tim, smiling, I'm industrious, well-educated, ambitious--besides, I have an exceptionally good memory.  Judith promises to speak to Mr. Edward.  Carl interrupts--I already spoke to Edward, he says angrily, and I learned Dirk is dead--you never asked him about his Pansy.  Judith insists, Edward was never in any position to ask Dirk anything.  He could have asked him SOMETHING, insists Carl, if he wasn't selfish, like everyone else in this family!--what does any of you care about my Pansy, dying of thirst or hunger, or even if she's dead?--no, she can't be dead!  Judith tells him, I don't want to hear another word about Pansy!  Carl shuts up.  Trask tells Carl about Rachel's death.  A search party was out combing the woods for a vampire, and someone heard her moving around and accidentally shot her.  Judith bows her head guiltily as Trask tells this lie.  Who did it? asks Carl.  We don't even know that, answers Trask--I found the poor child dying and took her to the Old House--the nearest place to go for help, but Rachel was beyond help.  Judith moans and covers her mouth.  Trask tells Carl Judith is most upset--we must put ourr shoulders together and bear the burden for her.  Carl agrees.  Trask will send the police to the Old House.  Judith says, I want Rachel brought back here, so she can be buried immediately.  Carl asks his sister, are you feeling all right.  She's most upset, says Trask, Rachel was very dear to her.  Why are you acting as if she died of the plague? Asks Carl--why do you want her buried immediately?  The poor child had no family, says Trask, why should we delay putting her to rest?  Carl is still puzzled by the rush.  Trask sends Carl and Tim to the Old House to await the police--sooner started, sooner ended, he says.  The two young men leave.  Trask tells Judith, you must be more cautious--even Carl is suspicious.  Judith knows--I'm sorry, I tried, but I couldn't.  Yes you can, he says, you can do anything, I have supreme faith in Judith Collins.  We will have the service this afternoon, says Judith.  Yes, as soon as I've spoken to the police, he says.  She thanks him.

Old House - Tim tells Carl, "It's difficult for me, even now, to realize she's gone--it seems almost as though I myself had died--we were close once, very close."  I don't believe it, says Carl, I don't believe Rachel died by accident--there have been too many accidents happening around here, and no one explains them well enough for old Carl's satisfaction--my Pansy didn't disappear by accident, I know that, my missing fiancee--I'm going to the police about it, I would have mentioned it to them before, but I prefer not doing it when my sister is around--my Pansy is a wonderful girl, he says, beautiful, refined, cultured--she's English, and just disappeared, he says unhappily.  He suggests they return to Collinwood.  Tim says he'll join him in a moment.  After Carl leaves, he picks up a scarf from the purple piece of furniture and suddenly hears Pansy' singing her song.  He listens.  The curtains blow in, and he's afraid.  Pansy's ghost appears before him.Who are you? he asks, where did you come from?  You aren't the one I'm looking for, says Pansy--I have so little time, I must find him.  Barnabas? he asks.  She wanders past him.  I must keep looking, she says.  Terrified, Tim races for the door, screaming, "CARL!"  Carl returns.  Tim meets him outside--there's a very strange woman in there; she came from nowhere and came in asking for you, says Tim.  Hysterical, Carl enters the room and calls to Pansy, his darling Pansy, in a lost, high-pitched voice, but she is no where to be seen.

Carl searches for his beloved fiancee, but, dejected, asks Tim, did you really see her?  I saw SOMEONE, says Tim.  It must be my Pansy, says Carl.  We have to get to the funeral service, says Tim.  Go on without me, urges Carl.  We searched the entire house, says Tim, and she isn't here.  Go, go, insists Carl.  Tim leaves.  Carl speaks to the air, telling Pansy I know you were angry at the way Judith acted, but please, please, please, please, don't be angry with me, I can't stand it, sweetheart, please come out, begs Carl.

Trask speaks over Rachel's coffin, the hypocritical bastard:  "Hardly more than a child herself, she had a wonderful way with children, they loved her as we loved her; we will long remember her bright smile, her youthful radiance, but most of all, her devotion, her dedication, to duty.Tonight, the littlest angels will have a lovely new teacher to care for her."  Judith, dressed in black, walks away from the coffin, crying into a handkerchief.  Tim and Carl stand by.  Trask tells the young men to take Rachel's body to the graveyard, he isn't coming because he doesn't want to leave Judith alone.  He doesn't think it would be a good idea for her to go to the cemetery, she's much too upset.

Tim and Carl finish burying Rachel.  A dejected Tim decides to go into Collinsport and get drunk.  Carl tells him if he sees Pansy, to tell him he's looking for her.  Carl says he's going back to the Old House, and Tim tells him that if he sees Barnabas, he should tell him what happened-- he was a very good friend.  Tim will come back later with flowers--after he gets drunk.  Carl, left alone, hears Pansy singing to him, "I Wanna Dance For You."  He talks to the air, begging her to come out.  He gets angry, telling her if she doesn't come out, he's leaving!  Oh, Pansy, he begs, she should be frightened in the graveyard, alone with the dead--unless. . ."You're dead, too!"  Carl's mouth drops opens as he considers this terrible possibility.

NOTES:  Poor Carl--have his worst fears been realized?  Although you sense he's brought more than his share of "tarts" home, he seems to genuinely care for Pansy.  It's not wise to bring loved ones to Collinwood, is it?

How dare Trask speak over Rachel's coffin, given that he's partially responsible for her ending up dead way before her time.  As for Tim, I wouldn't give him any prizes for his treatment of Rachel, either.  And the poor governess probably felt Barnabas betrayed her, too.  Farewell, Rachel, you weren't too bright, but didn't deserve this untimely death.

Love, Robin

772 - (Clarice Blackburn) - The year is 1897.  The place is Collinwood.  The time is an hour before dawn.  A precious hour for Barnabas Collins, for Barnabas, afraid that his secret will be discovered, has turned an enemy into a vampire--a vampire who, when he is caught, will leave Barnabas free to perform his mission in the past.  But the vampire has disappeared, and Barnabas knows he must be found.

An hour before dawn. . .Barnabas is superimposed over the Old House, a pretty nifty sight.

Barnabas, frantic, notes that beside the fang marks, there is a rope around Pansy's neck (which wasn't there at the end of the previous Episode; they want us to believe she was strangled, not bitten, to death), and locks the door.  When Carl knocks, begging to talk to Pansy, Barnabas stands there, the corpse in front of him, trying to figure out how to handle this.

Barnabas hides Pansy's body in the secret room.  Carl, still calling "Barnabas!" over and over, continues knocking.  Barnabas hangs up his cloak, lets Carl in and claims not to know where Pansy is.  You must know, says Carl.  I went out to look for Dirk, claims Barn.  Carl is unhappy Pansy was left alone.  She said she'd be all right, Barn assures him.  Carl figures Pansy guessed Judith didn't like her, and wonders, what'll I do?--Judith says I'm not in love, but she's always trying to tell me how I feel--Pansy and I love each other, she's a fighter--she wouldn't just leave!--  Pansy hasn't had an easy life, she wouldn't get mad and leave because Judith left.  Barn apologizes for not being more helpful.  I don't know what to do! wails Carl, who finds Pansy's purse on the purple horror and says, she'd never leave without that.  But she isn't here, points out Barnabas, a tad desperate--perhaps the strain. . .  Carl finds money in the purse.  That means she's still in the house, insists Carl, despite what you say.  Do you thinks I'm lying? asks Barn.  "I don't know," answers Carl, confused--maybe something happened to her; maybe Dirk. . .  You must be sensible, urges Barnabas--and besides, Pansy said Dirk was dead.  Pansy wouldn't leave the purse! insists Carl.  She could have decided to go to Collinwood herself, suggests Barn--take the purse, she's probably there.  Carl suspiciously suggests, you're trying to get rid of me.  I'm just busy, says Barn.   If she isn't at Collinwood, I'm coming back here, says Carl.  Barn calmly tells him, if she isn't there, you're free to search the whole house for her--I'll be looking for Dirk--perhaps Pansy got lost in the woods and went to the cottage or the house Trask is using as a school.  I didn't think of that, says Carl--you don't think anything terrible happened to Pansy, do you?  Barn replies, whatever has happened is as much of a mystery to me as to you.  The clock strikes five AM; Barnabas encourages Carl to leave.  Barnabas opens the secret room.

Carl bothers Charity at the school with his concerns about Pansy.  She understands, but, obviously annoyed, dismisses him and tells him to have faith--you'll find her.  Thanks, he says insincerely.  Charity brings in some coffee for Tim, who's been up all night, working on Hanley's project.  So much work, he says, licking his finger, turning a page, remarking that the Latin is so archaic, it's given me a lot of. . .  He seems to sag in his chair, a weird look on his face.  "The queen of spades," he says.  Charity gives him some coffee, commenting, my mother would be furious for my bringing it in here.  "Your mother," he says, taking out the vial of nightshade.  She demands to know what it is.Leave me alone to do what I have to do, orders Tim.  Then it sounds like he passes out on the desk as Charity looks on in horror.

Barnabas buries Pansy Faye.  Rest in peace, he tells her.  He takes the shovel and buries her (he usually has someone else to do the physical work).  The cock crows, signaling dawn, and he hurries to finish his task.

Tim writhes in his narrow bed.  When Charity comes in, he awakens with a start, rising to his feet.  I was having a nightmare, he says.  Why are you behaving so strangely? she asks.  I'll be OK once the work for Evan is completed, he says.  He must want it badly, she says, handing him a message from Evan.  Tim wants to open it later, but the messenger is awaiting an answer, says Charity, if there is one.  Written on the paper is QUEEN OF SPADES.  Reading it, Tim gets a faraway look in his eyes.  Tonight, Tim tells himself--he told me when he sent me this, I'd know when the time had come--it must happen tonight.  Tim tells Charity there's no answer to the message and returns to his Latin.  Is this the way you'll be after we're married? Asks Charity-- never talking or explaining anything to me?  Before he can answer, Minerva enters, berating Charity for allowing the school to run itself--you have a class on the Old Testament, she reminds her daughter.  Charity explains to her mother about the message from Evan to Tim.  Indeed, scoffs Minerva, Mr. Hanley--Charity, go to your class; you don't want to add to your long list of sins (if only mama knew!)  She turns her anger on Tim after Charity leaves.  "What do you want?" he demands.  What we've been paying for, answers Minerva--all you've been working on is this job for Mr. Hanley, turning down your work at the school.  Your husband got me this job, Tim reminds her.  I don't care if he did or he didn't, snaps Minerva--Trask leaves the running of the school to me, as you well know--Trask is a thinker, not a doer, I am the one.. . .  Tim orders her, leave me alone.  Did I hear you correctly? she rails--let you what?  Alone, he says succinctly--I want to finish the Latin today!  You're impertinent, she accuses--we'd be better off without you.  You'll get your wish, he says, once I finish the job for Mr. Hanley.  You won't leave without paying the debt you owes us, she warns.  Oh, yeah, says Tim--the famous debt, how shall I pay it--I never will be able to do so, will I?--no, there's no way I can do it because of yours and Trask's bookkeeping--it will never be paid up!  Are you accusing me of dishonesty? Demands Minerva.  YES, he says.  You'll be sorry, says Minerva, we should go see Trask right now--you're afraid, she says, you know what he'll say to you.  Yes, I know, Tim says sarcastically, yes, indeed, I can quote it for you line by line, but I'm busy, so if you don't mind--GET OUT and leave me to finish!  We'll see what happens, she threatens--Mr. Shaw.  Before she leaves, we see Charity listening at the door, then hurrying off.

Carl returns to the Old House, miserably calling to Pansy.  He sees the cellar door and finds it locked (well, it looks like he's about to open it, but doesn't).  He calls to Pansy and hears her humming her theme song.  Thrilled, he looks around, asking, where are you hiding?--please come out, he pleads, racing around calling to her.  The music stops.  Carl calls out, I've decided not to let Judith run my life--my grandmother gave me my own place to live, she said so in her will!--you can stay there, too--where are you?  Hearing her singing "I Wanna Dance For You" again, he says, I like jokes, too, but come on, please, don't be mad at me.  Barnabas comes in and asks if he can help Carl.  Carl begins to wildly shake Barnabas, demanding to know where his Pansy is.  Tell me now! screams Carl.

Barnabas orders Carl, to let go of me!  Not until you tell me where she is, insists Carl.  I don't know! says Barn.  I'm sure she's in the house, says Carl, I heard her singing her favorite song.  It's your imagination, says Barn.  Don't speak to me the way Judith would, says Carl--it wasn't my imagination, I heard her.  Barnabas quietly says, I understand you're upset, but you know Pansy isn't here.  You sound so sincere, as if you know where Pansy is, remarks Carl, and aren't telling me.  Carl, says Barnabas soothingly--why would I lie to you?--why would I keep her a prisoner?  I don't know, says Carl, but she couldn't just have disappeared--did I imagine her singing the song?  It would be understandable if he did, says Barnabas quietly (who seems to be dealing with Carl much the same way he dealt with Jenny).  Am I going crazy? asks Carl--I searched the cottage, went to Collinsport and the school--Pansy is just missing.  As is Dirk, says Barnabas.I think Dirk came to the Old House and forced Pansy to go with him! suggests Carl--if he's done anything to hurt her. . .we must find Dirk, Barnabas.  Barnabas, his own urgency to find the other vampire clear in his voice, says, "I know."

Charity goes in to Minerva and tries to get out of talking to her mother by saying, I have to listen to the children's prayers.  There's time, says Minerva--what do you think of Carl Collins?  Charity, puzzled, says, I don't think of him at all.  It's time you began to, says her mother--Tim Shaw doesn't have the proper qualities of leadership and will never be the man Trask is.  Tim is very different from my father, says Charity.  Too different, says Minerva--I think you should end your engagement--I don't want to hear sentiment, or that you're in love with Tim.  Charity agrees, I do like Tim, but there is someone else--Barnabas!Minerva hides a chuckle and tells Charity, your instincts are correct, but Barnabas is only a cousin, not one of the brothers--be practical and fall in love with Carl Collins, advises Minerva.  (are you kidding me?)  There's a knock at the door.  That's Tim, says Minerva--I will go hear the children's prayers while you break off your engagement.  Minerva sharply tells Tim, my daughter wants to speak to you, then hurries off.  Charity confesses to Tim--I'm not in love with you, I'm in love with someone else--I don't think you're in love with me, really.  Did Minerva tell you this? demands Tim, angry.  No, says Charity, she didn't.  I'll apologize to Minerva for this morning, says Tim.  This has nothing to do with that, says Charity--I can't marry you, although I like you a lot.  I still want to apologize, insists Tim.  Before Charity can answer, her mother barges in and says, your duties aren't over until you says goodnight to the children.  Charity hurries off dutifully.  "You, too," orders Minerva.  After they both leave, she sneaks out a deck of cards hidden from some books.  Tim enters while she's playing with them.  I know you play, he assures hers.  Everyone does, she says--no one is absolutely perfect, and if you've come to plead about Charity, it's useless--I never interfere with my daughter's decisions (!)  I came to apologize, says Tim.  Apologies are the devil's invention, sniffs Minerva, covering evil behavior.  She sips her tea.  I wouldn't want you to think badly of me, says Tim.  It would be a sin on my part to disregard your behavior, she says.  Trask and I have discussed the possibility of my leaving, says Tim.  Just as well, opines Minerva.  Evan Hanley has agreed to help me, says Tim, but you write the references. . .  Annoyed, she tells him, I just wanted to sit, relax and have my tea--now you've gotten me upset!  She throws down the Queen of Spades.  Tim offers to fill her cup.  That isn't necessary, says Minerva.  Tim, in a trance, insists, I want to do something for you.  As he puts drops poison in her tea, she nastily assures him small favors won't alter my opinion of you--I tried to be as fair as God will let me, but there are things I just can't forget, like that scene this morning, no matter how polite you are now. . .  After he hands her the cup of tea, she dismisses him--there is nothing further to talk about, she says.I don't want to leave until I make sure the tea is all right, he says.  Minerva takes it and lifts the cup to her lips. . .

NOTES:  As before, this Tim killing Minerva portion of the storyline really isn't that interesting to me, although I rooted for Tim to do away with the nasty bitch, the way she was treating him, and the way she's trying to force her daughter into marriage with a man she doesn't know--but who She thinks has money.  Minerva didn't even question her daughter about her feelings for Barnabas; doesn't she wonder how they got started?  Poor Carl, losing his gold-digging Pansy this way.  Weird how they added the rope, but I guess it was so we wouldn't think she would become a vampire, too--she was bitten and strangled to death, apparently.  Barnabas is very gentle with Carl, obviously feeling guilty for being indirectly responsible for yet another innocent's death.  Will the stain of blood ever leave this poor guy?


773 - (Nancy Barrett) - It is 1897, and Collinwood lies under a strange spell.  On the grounds of a great estate in a house by the sea, a young man, controlled by the spell, watches a woman play solitaire, knowing that when he sees the Queen of Spades, he must kill her.

Minerva sips her tea as Tim stands approvingly by, watching, an enigmatic smile on his face.  Minerva finds the tea very bitter--I shouldn't have let it steep so long, she complains.  He tries to grab the cup and offers more sugar, but she chooses instead to just add hot water.  She drinks more of the tea, proclaiming it better.  Tim watches as she sips, sips, sips.  She notices him staring at her and orders, go to your room and finish your work--what are you waiting for?--what's wrong?  She stands, apparently feeling the effects of the poison.  "What's wrong with YOU?" asks Tim, gazing raptly at her.  Clutching her chest, she tells him, I have high blood pressure--Trask tells me not to get too excited.  I didn't know that, says Tim.  It's no concern of yours, says Minerva.  She feels the pain intensifying in her chest--why don't you leave? she asks, rising.   Sit down, Tim advises--I'll call a doctor.  She's afraid, uncertain of what this is.  Tim picks up the phone and calls the operator.  The light is fading for Minerva.  Our line seems to be out of order, says Tim.  It can't be, she says, I phoned Collinwood earlier and it worked--why are you just standing there, not helping me?--help me! she screams, fighting her way to the door, calling for Charity.  She grabs her chest and sinks to the floor, unconscious.Tim grins down at her, then gazes down at the Queen of Spades on the table, and the cup. . .

Charity drinks tea in another room, demanding of Rachel, how can you fail Allison Ainsley (?) in sewing?  Rachel, a ledger book in hand, says, she hasn't finished one thing I gave her to do.  Well, says Charity, Allison, a banker's daughter, came highly recommended.  And I told her I'd fail her if she didn't finish the bonnet--and the girl chose not to, says Rachel primly.  We can't send a failing mark home, insists Charity--let's give her a D--don't sulk about it, I know that look on your face.  I want to finish the report, says Rachel.  You're in a hurry, Charity notes--do you have permission tog out this evening?--you certainly didn't waste much time, notes Charity--I knew he'd come to you first thing, but I want you to know that I broke the engagement.  I have no idea what you're talking about, says Rachel--Tim told me nothing.  He will, says Charity, and probably propose to you--I think the two of you might be able to be happy, and work out the problems you each obviously have.  (whatta bitch!)  I want to get back to the grades, says Rachel.  Charity, however, goes on, undeterred--Tim isn't ambitious enough for me--if you want to spend the rest of your life teaching at this school. . .  You have other plans? asks Rachel.  Yes, or at least Mama has, says Charity, and I wouldn't be at all surprised if my life were to change completely--imagine, having closets full of beautiful dresses, jewels. . .father wouldn't approve, but if he were living at Collinwood, he might, realizing I had to keep up a certain position--Mama would make him realize that.

Charity's mother lies in her chair, still alive, moaning.  She opens her eyes and sees Tim.  You did this to me, she accuses--why?  You played the Queen of Spades, he tells her.  "Murderer!" she calls him, finally sinking back in her chair, dead.  "I had to," he says, as if it were the most obvious thing in the world, "you played the Queen of Spades--he told me when you played the queen, it would happen."  The door opens; Evan Hanley walks in.  "Who told you, Tim?" he asks, assuring him, it's all right--I will help you--this is like an experiment; it's as if we are in a laboratory, and we must remain very clinical.  Evan checks out Minerva, taking her pulse.  He glances at Tim and says, "You did well."  Evan takes the Queen of Spades and tells Tim, look at me, straight into my eyes--I can see you're troubled by what you've done, but I am going to help you again.  Tim looks away.  Evan orders, don't take your eyes from mine. . .do you want my help, Tim?  Tim nods.  This is the Queen of Spades, he says, showing him the card, and when you carry it out, you will remember none of what has happened, you will forget all the visits you paid to my house, the talks we had, the plans we made, you will forget all about Mrs. Trask--you want that, don't you, Tim?Tim nods.  Evan hands Tim the card, ordering him to tear it up.  Tim does so.  When Tim comes out of the trance, Evan points to Minerva and cries, "You did that, Shaw!"  Tim immediately goes to Minerva's aid and realizes she's dead.  Evan says, I heard her last words: "Murderer!"  Tim protests, I didn't do anything!  Evan orders, don't try anything.  Upset, Tim stands and says, I swear I didn't do it--I don't know why I'm in the room, or even here.  Evan picks up the phone and starts to ask for the police, but Tim wrenches the phone away from him.  The grapple.  Evan grabs what at first appears to be a stick, but turns out to be a stick hiding a sword.  Tim grabs the stick, leaving Evan waving the sword at him.  Evan thrusts, but Tim ends up slamming Evan over the head.  Tim runs out.

Tim listens at the door of the room where Rachel and Charity are talking.  The latter is telling Rachel, the grades are either too low or too high; Father won't be pleased.  Rachel says, I'll be happy to explain them to your father.  He'll insists upon it, says Charity, Father despises favoritism in any form.  She leaves the room.  Tim is hiding, and when Charity is gone, he knocks on Rachel's door, ordering he to lock it.  She does. He begs for her help.

A stunned Charity kneels before her mother's dead body (I saw Mama blink).  Evan asks her, did Tim had any motive for killing your mother?--I'm sorry, I know it's been a terrible shock--the police will be here soon, and I want to spare you as much unpleasantness as I can.  "She's not dead," murmurs Charity.  Evan assures her the police will find Tim without difficulty--he can't have gotten far.  She can't be dead, says Charity, what will Father say?--he won't let her be dead!  Your father will be grief-stricken, Evan assures her--where is he?--he should be here.He went into Collinsport, says Charity, but I have no idea where he went.  She looks at her mother and burst into tears.  Evan tries to comfort her.  She snaps at him, "Why aren't you looking for Tim?  What can you hope to do here?"  I didn't go because I didn't have the foresight to bring a gun, says Evan--Mr. Shaw is violent, the police will deal with him.  Charity reveals to Evan that Tim is with Rachel--she'll help him, she hated Mama, and she's with him. . .Charity opens a drawer and takes out a gun.  Father keeps this, she tells Evan, handing it to him.  He asks where Rachel's room is.

Tim, pacing the room, tells Rachel, I need money.  Why would Evan come here? she wonders.  Tim kneels on the floor and asks, do you believes me?  I do, she assures him, though not convincingly.  I did hate her, Tim admits--but I felt sorry for her, having to live with that man day after day, but I didn't kill her--all I remember is standing outside, then walking in the door--I wanted only to apologize, that's all--why don't I remember anything?--people don't just lose minutes from their lives like that.  Maybe Evan killed her, suggests Rachel, and is trying to put the blame on you!  How can I prove it? asks Tim--I must get out.  Rachel objects--you aren't guilty--you've got to stay and fight.  I don't think I have a chance, Trask will be the leader of the rat pack to string me up and hang me, says Tim.  Go to that abandoned house, advises Rachel, where we went to hide the first night we ran away--right near the Collins estate. Peabody's farm, remembers Tim.  Yes, she says, go there and wait, I'll bring you as much money as I can tomorrow morning.  They'll be watching you, warns Tim--they'll think I went straight to you--be careful.  They hear someone trying to get into the room.  Evan knocks.  I know you're in there, he tells Rachel, and I hope, for your sake, alone.  Open the door immediately, he demands.  Rachel and Tim gaze at each other in fear.

Evan calls Rachel "Miss Shaw," then covers the error by saying if Shaw is in there, you can be charged as an accomplice to murder.  Tim opens the window and Rachel helps him out.  She calls to Evan, I was getting ready for bed! closes the window, and lets him in.  Evan bursts in, gun in hand.  I don't know what you' are doing here, says Rachel, startled.  Yes you do, he says, searching her closet.  She asks what happened.  Tell me, he orders, where is Tim Shaw?--did he go through the window, running through the woods?  Why would Tim be going anywhere? Asks Rachel.  Evan grabs her arm--"Don't you lie to me!"  You're hurting me, objects Rachel.  He doesn't release her, demanding, where is Tim?  I don't know, she says--you're hurting me!  You have the perfect face for it, praises Evan--those great, innocent eyes. . .tell me where he is, I knows you're lying, you're glad Mrs. Trask is dead.  This shocks Rachel.You do THAT very well, too, says Evan--where is he?--did you and Shaw plan it together?  Tim didn't plan anything, insists Rachel, and if Mrs. Trask is dead, Tim had nothing to do with it--what are you doing here, she asks--you aren't a friend of anyone here.  What are you implying? Asks Evan.  I don't know, she replies, it's just strange you're here.  I came for the translation I commissioned Tim to do, he says--where is he?  He grabs her arms and forces her to look into his eyes.  I don't want to, let me go! she wails--I don't know where Tim is!  You do! he insists.  He tosses her around a bit, then grabs her around the throat.  She continues to bleat that she doesn't know where Tim is, or what's happened--let me alone, she cries.  Evan leans in close and says, you're lying to me--shall I get rough with you--I can, you know--or would you prefer to wait until after you've lied to the police? presses Evan--would you prefer Rev. Trask and I to question you THEN?  (He's good, isn't he, very menacing?)  He releases her, but takes the key to her room.  Don't worry, he assures her--you won't be alone.  He locks her in.  All Rachel can do is mumble, helplessly, "Tim!"

Tim opens a cellar door built into the ground and climbs down, terrified.  There is evidence of recent occupancy--a red candle, which Tim lights.  He takes it and begins to look around the dank, dark, creepy cellar.  Finding a coffin, he sets the candle down on it.  He pulls over a box, then, while the rest of us may have thought better of it, opens up the coffin to behold. . .?

NOTES:  There was something very seductive in the scene between Evan and Rachel.  His voice was really sexy, coaxing, as if he were offering her seduction, instead of threatening her.  You wondered if he was going to either beat her or rape her, the way he was behaving, but he simply threatened her and left her alone.

What is going to happen to Tim?  Will he be caught and tried for murder?  Did you think Evan was going to wipe his memory clean, then accuse him of murdering Minerva?  I was surprised!  What vampire is resting here--has Tim inadvertently found Dirk's hiding place?

I'm not sorry Minerva is dead, she was a nasty, manipulative bitch!

Love, Robin

768 - (Joan Bennett) - On this night in 1897, a young boy has had a dream in which the ghost of Quentin Collins described key events that signal his death.  A silver bullet was discovered outside Collinwood. The one person who could have saved him was murdered.  And the one person he loved turned against him.  Jamison told the dream to Barnabas who later watched Edward Collins display a silver bullet found on the path outside Collinwood--and now he wonders how much time is left for Quentin Collins.

In Collinwood's drawing room, Quentin comes in, offering the brooding Barnabas a penny for his thoughts.  Jamison's dream, says Barn.  Aren't you disturbed by that silver bullet? Asks Quentin.  I have no explanation for that, says Barnabas.  I believe someone knows what has happened and has joined the hunt, says Q--someone is planning to kill me, and I think you know who it is.Quentin finds his cousin's silence disturbing.  Don't' jump to conclusions, advises Barn.  Quentin holds up the silver bullet--for a werewolf--and wonders, who knows enough to have one made?--a few names come to mind, and yours is one of them--it's interesting that this bullet was found so soon after you concerned yourself with my situation.  I'm only trying to help you says Barn, probably fed up with his cousin's suspicions by now. Quentin grins--if that's true, he asks, where did the bullet come from--who had it made?  I don't know, says Barn--the bullet wasn't used, so we should put it out of our minds.  Quentin says, you can convince others to trust you--but not me!--there are answers I must know, I can't forget the bullet and must find out who is planning to kill me--and kill that person first.

We hear Quentin's music playing.  Beth comes in.  Quentin asks where have you been?  Evasively, she says, I took some things to someone who was ill.  To who? he asks.  Alice Austin, who used to work here, lies Beth--she's in Portland and her mother's all alone.  Quentin sarcastically calls Beth a doer of good deeds.  She asks him to stop making fun of her, and he assures her he's never been more serious.  He demands she meet him at the cottage in an hour, but she says that might be difficult.  He grabs her arms and demands to know why.  She pulls away and says, Judith wants me to stay in at night.  "But going to Alice Austin's old mother is just fine, huh?" asks Q venomously.  Why can't we talk here? she asks.  It's too important to talk about here, says Quentin.  We see Judith on the landing, listening.  He asks Beth, are you afraid to be alone with me?.  Don't be ridiculous, she says--I'll meet you in an hour.  She disappears into the servant's quarters.  Judith joins her brother in the foyer.  Stop staring at me as if I were some kind of exhibit! He orders, and storms out.

Judith joins Barnabas in the drawing room and asks if he knows what's wrong with Quentin.  I don't, he replies.  His behavior is terrible, says Judith--he yelled at me and Charity, is drinking too much, and was so upset about that silver bullet--why would that bother him?  Barnabas insists, I'm sure I don't know.  Dirk watches through the window, grinning.  I believe Quentin is in some kind of trouble, says Judith, and I want to learn what it is before it involves the entire family.  Barnabas offers to talk to him, but Judith says talking doesn't help--I'll handle him.  She asks Barnabas to check on Jamison, who awakened a short time ago.  He admires you so, praises Judith, as I do--I'm so happy you decided to stay here with us.  (This must have made Barnabas finally feel good about his efforts.)  Barnabas thanks her, and says it makes him  happy.  He leaves.  Judith closes the double doors.  Dirk steps into the room.  Judith turns and sees him, demanding, where have you been for the past few days?  He doesn't answer, but looks at her oddly, like she's food.  She reminds him he's employed by their family and has a responsibility. . .does he understand that?  I know what I have to do, he says, and I'm doing it right now, just what SHE said.  Who is she? asks Judith.  Laura, he replies, she told me to give you this letter, and you have to read it very carefully (he looks and sounds insane) because it's about Barnabas Collins!His eyes glow, his grin untamed and crazy.

He hands Judith the envelope with her name on it.  Laura gave it to you to give to me? she asks Dirk, puzzled.  Just open it, he says--you don't have to understand, just open it--Laura said it was very important that you read it; Barnabas tried to kill Laura, but she was clever and escaped--you don't have to worry, Laura is coming back!  That isn't true, says Judith, Laura won't be back.  No, protests Dirk, you already read the letter, you want Laura to return, don't you?  Laura is dead, says Judith.  No, says Dirk, who said that, Barnabas?--Quentin?  No one had to tell me, says Judith.  Dirk insists he can prove it's not true.  He asks for Jamison--he knows that Laura isn't dead, as does Nora--they both know.  You aren't going to speak to the children, insists Judith, this is my house and you'll do as you're told!  I only do what LAURA says, he insists.  Get out of here, orders Judith--get off the property--you're dismissed!  He wags a finger at her and accuses her of always hating Laura--I watched the way you watched her, and you always had a tight, pulsing thing in your neck (he demonstrates on his own neck, still wearing a hideous, creepy smile).  "You know what I wanted to do--CHOKE you!" he yells, and begins to strangle her.  Barnabas enters.  Dirk has gone mad! Reports Judith.  Leave this house, Barnabas orders Dirk, but the newly-minted vampire darts toward Barnabas and says, there's something I have to do here.  No, there isn't, says Barnabas, not anymore.  Dirk turns and leaves.  Judith nurses her throat.  Beth comes downstairs.  Barnabas tells her there was some trouble with Dirk, but it's all right now.  He's gone mad, says Judith, completely mad--he gave me a letter from Laura!  This surprises Barnabas.  Dirk said it was about Barnabas, says Judith, but the paper is blank.  He is mad, says Barnabas.  Judith supposes it was wrong to order him off the property (after strangling her?) but I didn't know what else to do.  It was for the best, says Barnabas.  I'm not sure what is best or right anymore, says Judith.  You look tired, says Beth, and offers her something.  Judith decides to go up to her room.  "I will need you later," Barnabas tells Beth, in a deep, resonant voice--in about an hour, at the Old House.  (A late dinner, I would assume?)  Oh, no, our girl made two dates for the same time!  What is she going to do?

Cottage - Dirk sits before the fireplace and calls to Laura.  He tells her, I gave Judith the letter, and now she knows all about Barnabas, exactly the way you said.  "Why are you still hiding from me!" he demands in a nutso voice.  Quentin tells him, she isn't hiding from you, she's gone, and no matter how many fires you stare into, she's gone.  Dirk accuses him of trying to fool him as he did Laura.  Quentin says, I'm not fooling you, you're fooling yourself.  Dirk accuses, "Laura said right from the first, you hated her--you were one of the reasons she had to go!--I made a vow and you know what that vow was?--I hated you and I vowed that I was going to avenge it sometime--and I think the time is now."  He punches Quentin in the stomach.  They begin to fight in earnest.  Beth comes in and orders Dirk to get out right now--or I'll tell Judith.  "High and mighty, all of you--even the maid," pronounces Dirk breathlessly, swiping Beth with his scarf before exiting the house.  I'll be back, he promises, then leaves.  Beth tells Quentin, Dirk makes my blood cold--I'm glad I came when I did.  You're early, remarks Quentin.  I was anxious to see you, she says.  Were you? he asks, you didn't seem to be before.  You seemed troubled, says Beth--I wondered what was wrong.  What do you think? He asks.  I don't have time to trade questions with you, says Beth.  Why are you in such a hurry? He asks--oh, that's another question.  She relates what happened with Dirk and Judith--I want to go back and make sure she's all right.  You're suddenly very devoted to everyone in the family, says Q--but me!  How can you say that? she asks.  You begrudged any time you've spent with me, he accuses.  Not so, she says, but I do have duties.  Like what? he asks.  Looking after Judith, she replies.  And what else? he presses--do you have a nice lie made up for me?  Why don't you tell me, instead of accusing me? cries Beth.  I haven't begun his accusations, he says--is Dirk mad or just pretending--are you in love with me or are you just pretending?--it would be nice to have some sort of mirror in which we could watch each other and see the truth--what would you look like in it, or Dirk and Judith--or our dear cousin Barnabas?--(that might be a problem.) I'd pay a lot to see that.  And then of course, in that great mirror of truth, here comes Quentin Collins, and what does he look like--at least, in the light of the moon?--you know exactly, and exactly how to kill me!  She gazes at him, wounded.  He notes how pale she has become, and grabs her--why?--because I've hit on the truth?  He shakes her a little--"You are trying to kill me, aren't you?"She looks at him, miserable, hurt, disbelieving...

Uncomprehending, Beth asks, how can you accuse me of that?  He shows her the silver bullet--for a werewolf--how many know my secret--you, Evan, Barnabas and the gypsies--I don't think it was Barn or the gypsies, so that leaves Evan and you, who once loved me.  "I still love you," says Beth, brokenly.  So easy to say, says Quentin cruelly.  His music begins to play.  But is it so easy to do, considering what I am?--confess, Beth, do you think the monster doesn't deserve to live, or perhaps you feel it's your duty to society to kill him, or ending my suffering?--I can think of a great number of reasons to want to kill me, all high-minded, and all accomplished with one silver bullet--he holds it up.  Beth, crying, assures him neither Evan nor I would ever hurt you.   I don't believe you for a minute, baby, snaps Quentin.  I'd never lie to you, she says.  He slaps her hard across the face.  "LIAR!" he blares at her.  He chuckles, then, as she holds her throbbing face, adds, that slap gives you another reason to want to kill me--one more reason!--don't you want to know why I call you a liar? He asks.  I don't care, Beth mumbles.  I'll tell you! he says--red headed Alice Austin's mother died five years ago of pneumonia!--I helped comfort poor Alice on that sad occasion (wonder how he comforted her?)  and remember it well.  Beth claims it's Alice's aunt--I'm confused.  About a lot of things, snaps Quentin.  How can I help when you makes accusations, she asks.  He grabs her again, screaming, "Wouldn't you want to kill me?"  No, she says pleadingly--and that's when he spies the vampire bites and asks what they are--I think they look like animal bites.  It was Mrs. Austin's cat, claims Beth, it was kind of wild.  She begs him, believe me--"I love you, I'll never hurt you--and Quentin, if you love me, promise you won't hurt me."  He stares at her, unsmiling, unforgiving.

Old House - Beth tells Barnabas, Quentin insisted I meet him at the cottage--he accused me of wanting to kill him, which surprised me--he kept asking questions about why I went into town, and I got so confused, I almost told him about the children.  That would have been a grave mistake, says Barn.  She explains the lie she told Q about the old lady, the cat, and getting bitten.  He saw the marks, realizes Barnabas.  She sobs, everything that could go wrong, went wrong.  Calm down, says Barn.  I can't, she says hysterically, I've been telling one lie on top of another and soon they will all come crashing down on me, I don't know how much more I can take, and there's no one in the world I can turn to. . ."Except me," he assures her, "except me."  (That was hot!)  They are face to face.  "And you have me, to do whatever has to be done," she says, calmed now.  "And now I'll tell you what has to be done," he says.  With Magda and Sandor in Boston, you must guard me.  "I will," she promises.  It will be difficult, but you must do it, he says, handing her a gun--there are winds blowing in all directions, you must be watchful.  She promises that, too.  He goes into the cellar.  Beth sits upright in a chair, gun in hand.

5:20 AM.  Beth drifts off to sleep.   Dirk enters; what are you doing here? she asks.  I'm here to  visit Barnabas, he says.  He's away, she says.  Oh, yeah? he asks--what are you doing here, then?  I came to get something for Judith, replies Beth.  No, says Dirk, you're here like a watchdog.  He makes a doggy sound and points to the cellar door.  "He's right there in that cellar, where he is every other day."  She warns him not to go down there, pointing the gun at him--I'll kill you if you make one more move toward that door!  He gazes at the gun and asks humorously, "Are you serious?"  I sure am, she says.  He easily wrestles the gun away from her and points it at her.  Didn't your mother tell you that you should only play with dolls? he asks teasingly.  (He's such a FUN vampire, best RD role ever!)  You're the one who'll be hurt if you go down there! warns Beth--he'll kill you if he isn't. . .  Isn't what? asks Dirk.  Beth begs him not to go down there.  And what if he's not what? demands Dirk--I've been down there, I just don't remember now--I think I should go down there and find out!  He opens the door and heads downstairs.  Beth watches him, then walks to the window and hears the cock crow--it's morning.

Dirk comes downstairs and recalls being in the basement before, but the coffin was empty last time I was here--but not this time!  Laura told me, of course--oh, Barnabas, you're just in the wrong place at the wrong time!  "And I'm gonna kill you!  Because you. . .Laura, I'm going to kill him because I love you.  I love you."  He opens the coffin.Barnabas realizes the danger he's in and struggles with Dirk, who backs away and pump one shot after another into Barnabas' chest.  Barnabas slumps over as Dirk continues to fire the bullets into his unmoving body.

NOTES:  Yes, when this final scene aired the first time, I wondered if Barnabas was a goner and I was going to lose my favorite vampire.  What an amazing cliffhanger!  I have to give Roger Davis a lot of credit for these two episodes, he plays the insane vampire to the hilt, but in a GOOD, fun, over the top way that I actually enjoyed watching.  Loved the scenes between Barnabas and Beth, although I figured he wanted her at the Old House to nibble her neck, not discuss her worries.  Of course, he was easily able to soothe her, but she didn't turn out to be the best bodyguard, as easily subdued as she was.  Perhaps he bit her first, before we saw them together.  What would Quentin say if he knew where those marks had really come from?

The scene in the cottage between Quentin and Beth was riveting, amazing.  Their performances, especially Selby's, were so amazing, I was totally enraptured.  Their rage, passion, and sorrow came through brilliantly, and I felt very sorry for Beth and truly angry at Quentin.  He finds a woman who is willing to stick with him, love him, despite his curse, and he treats her like s**t.  Not right.  He's understandably upset, but to turn on Beth is unforgivable.

Great episode, and very lengthy for Robservations.


769 - (Terry Crawford) - To save a dying boy in the present, Barnabas Collins has gone back to the year 1897.  But at that moment in time, Barnabas is a vampire, and vulnerable from dawn to dusk.  Now, in the last few minutes before dawn, an enemy, crazed with grief, comes seeking him at the Old House.

Dirk returns upstairs.  Beth, panicked, races to him.  She wants to go to Barnabas, but he assures her all dead things look the same, a big smile on his face.He can't be dead, she insists.  He is, Dirk insists--I did it because of Laura, to get revenge.  Dirk addresses the ceiling and tells Laura, I'm not through yet--this is just the beginning--before I'm through, I'll get them all.  Beth tells him Laura wouldn't want him to kill anymore.  He turns on her and asks, how would YOU know, you hated Laura from the start and always told Judith lies about her.  That isn't true, protests Beth.  Dirk rants on a different tangent--weren't you happy when I was dismissed from this place?  (Davis plays the loon so well!)  No, says Beth.  He touches her chin and asks if she's happy now.  When she moves to leave, he points the gun at her and promises she won't get very far.  What are you going to do to me? asks Beth.  He seems to revel in her fear--you're afraid you're going to be the next on my list, aren't you? he asks, then grabs her from behind--since you're so friendly with Barnabas, he suggests, as they struggle, maybe you can join him!  Are you going to kill me without giving me a chance? Asks Beth.  He hands her the gun, which is learns is empty after firing it at him.  Do you think I'd give you a loaded gun?--of course it's empty! cries Dirk--I want to have some fun watching you go and tell Judith about Barnabas being in the coffin in the cellar, and how you will be down there next to him, with an empty gun!  (Dirk tosses her downstairs.)  That will be some tale to tell, how, won't it? asks Dirk, sucking his thumb, and you can pretend you're guarding Barnabas--poor, sweet Barnabas. . .he laughs.  Beth goes downstairs and finds Barnabas hanging down over his coffin.  Gently, she re-arranges his body and closes the lid.  Miserably unhappy, Beth leans over the coffin and begins to cry.

Jamison is at the cottage when Dirk enters.  I've been busy, he tells the boy, but "they" wouldn't let me see you.  Who was that? asks Jamison.  Your mother's enemies, blathers Dirk, which is why she had to leave--to get away from them.  Jamison seems to think Dirk is nuts, too, as the  former foreman assures the boy, tonight, your mother will be happier than ever before.  Jamison is perplexed.  How long have you been here? asks Dirk.  Fifteen minutes, says Jamison.Dirk says, that's long enough to see the flames get bigger, come alive, your mother's way of telling you she's happy--and why?--because, says Dirk, Barnabas Collins is dead.  This shocks Jamison--I just saw him last night.  I can't reveal how Barnabas died, says Dirk, because your mother's enemies would come after me and I wouldn't be able to finish what I have to do.  Jamison refuses to believe him.  Dirk grabs the boy's arm and assures him it's true, Barnabas is dead in the cellar in the coffin at the Old House.  This is all incredible news to Jamison, who asks why Barnabas has a coffin.  Because of what he is, says Dirk insanely, eyes bulging, because of his SECRET!--the secret he hurt Laura with.  Jamison asks Dirk, let me go, you're hurting me.  Dirk shakes Jamison fiercely, demanding he promise not to tell anyone.  Jamison says, I must get back to the house.  Dirk demands the promise, explaining, the reason Barnabas killed your mother is because of this secret.  Jamison doesn't get it--it's the secret Barnabas was going to hurt your mother with--you have to tell them the vampire is gone.  This really scares the kid, who insists Dirk is just trying to frighten him--there's no such thing as vampires!--is there?  Dirk advises him to go to the Old house and see for himself, laughing wildly in his face.  Don't worry, says Dirk, I killed him--the vampire is dead!  He releases Jamison, who races from the house.  Dirk laughs.

Dusk - Beth is sitting beside the coffin when it starts to open.  She's terrified--it can't be!  Barnabas calls her name.  I thought you were dead--I saw him--Dirk came. . .shot you.Barnabas knows all about it--I saw him, while in my coffin--dawn came and my life force left me unable to deal with Dirk then; if he'd come a few minutes earlier, I would have killed him.  Beth doesn't understand--he shot you!  Barnabas reminds her, I don't live as other men do, so what makes you think I can die as others do?  He's too cool for all that.  I wonder where the bullet holes are? says Beth--I saw them!  There are only two ways to destroy me, Barnabas tells her--a stake through the heart or silver bullets, and Dirk had neither--when night came, I was able to rise again--eye of the sword--Dirk's gun was no danger to me--but Dirk is still a danger, because he knows about me.  Dirk thinks he killed you, points out Beth.  That won't keep him quiet, says Barn.  Suppose he talked already? She asks.  No, says Barn, you were here guarding me and no one came to the house, so it's unlikely anyone has found out, or they would have done something about me by now--I'm going to deal with Dirk, silence him.  Beth asks, is that necessary?  Yes, says Barnabas.  Beth gets teary and tells Barnabas, take care of yourself--if anything happened to you. . .   Quentin would stand alone, finishes Barnabas.  Yes, she says--I'm sorry to be thinking about him, when you are in danger, but. . .  Barn assures her I'll be fine, but I must deal with Dirk in time, and I'm sure I can.  What do you want me to do? she asks.  Be calm, he says, don't tell Quentin anything--the less he knows, the safer we will be--Quentin can be dangerous, destroy all of us, warns Barnabas.  Beth says he's not usually like that, he's just frightened now (an acceptable reason to hit her)?  Barnabas, his face inches from hers, says, you are a soft-hearted girl, and in this world of heartless people, you will be hurt.  I used to be, she says, until I stood in this very house and pleaded with Quentin not to kill Jenny--but I'm not anymore--I'm hoping you find Dirk quickly, and do whatever he must to silence him.  I will, says Barn, I won't allow Dirk to get in the way of what I must do.

Cottage - Dirk speaks into the fireplace, going on and on about how I took care of Barnabas, what he tried to do to you, tried to hurt you--no more!--does that make you happy, Laura?  The way I told Jamison--I know it did, is that what you wants from me?--give me a sign, one little sign, the crazy man begs.  The door flies open, Dirk thinks it's Laura--is it you, or the wind? he asks.  The lights go out.  Are you here, Laura?  He looks into the fireplace, sure she's happy because of what he did.  Barnabas' laughter fills the room, terrorizing Dirk.  Who's there? he demands.  He orders the laughter to stop.  Barnabas' voice asks him if he's frightened--you do recognize me, right?  Impossible, says Dirk.  No, says Barnabas.  I thought I killed you! says Dirk.  Barnabas asks, how can you kill someone already dead?  "This isn't happening!" yells Dirk, covering his ears.  Face it, taunts Barnabas, you failed--and you know what happens to people who fail.  The door slams closed--"You will never leave this house, Dirk," warns Barnabas.  Dirk struggles with the doorknob, but the vampire appears behind him, grabs him, turns him around.  "You thought you could kill me, didn't you?" asks Barn, as Dirk cowers.  Barnabas advances on the insane man, who keeps insisting, I killed you!  "Was I really dead?" asks Barnabas, turning on a lamp.  YES! screams Dirk, moving away from him--what are you going to do to me? What do you think? asks Barnabas.  Kill me? asks Dirk.  Yes, says Barn, I have no choice--you went where you shouldn't have gone, saw what you shouldn't have seen, and what you know will never be spoken now--what you saw will be reflected in your dead eyes forever, and no one else will ever know that you've been in this house.  Wild-eyed, Dirk reveals, I've already told somebody!  Barnabas grabs him by the collar, furious.  I've already told somebody, repeats Dirk, so even if you kill me, you're going to be destroyed.  You're lying! Barnabas accuses.  I'm not, Dirk says, and Laura will get her revenge--you will learn in time who knows your secret."I WILL FIND OUT NOW," says Barnabas softly, his fangs already bared.  No, says Dirk.  Barnabas comes at him, even as Dirk begs, "No, no, no!"

Jamison enters the Old House and looks in.  (I can see a figure standing back there in a light shirt.)

Barely able to stand on his feet from blood loss, Dirk reveals who he told:  "Jamison."  You told Jamison? demands Barnabas.  Dirk grabs for Barnabas' cape and falls to the floor.  Beth knocks at the door and comes upon the scene.  Is he. . .?  Not dead yet, says Barnabas--I did what was necessary.  Did he tell anyone? asks Beth.  Yes--Jamison, says Barnabas--it may be all right--go to Collinwood and keep Jamison from talking to anyone.  Judith and Edward are in town, says Beth, so that helps.  If Jamison tells you, says Barnabas, be subtle--keep asserting that Dirk was mad, spinning fantasies that aren't true--and you must make Jamison believe you.  She promises to try.  Above all, don't mention any of it to Quentin, cautions Barnabas.  I promises not to, says Beth.  Remember, warns Barnabas, in case you're tempted, that I am Quentin's only hope--if I'm found out, there's no telling where it will end, and with what victim.  I promise to do whatever I can, Beth assures him.  Don't harm Jamison, no matter what, orders Barnabas.  What will you do with Dirk? asks Beth.  I have a plan, he says--you go to Jamison now.

Jamison troops downstairs into the Old House cellar and spots the coffin.  It's true! he realizes.  What Dirk said--it's true!

NOTES:  Excellent performances by Davis and Frid today, and Crawford was no slouch, either.  This is very exciting, wondering if Barnabas will now be found out.  Jamison has seen evidence that what Dirk said was true.  Loved the babbling Dirk vs. Barnabas in the cottage scene, it was scary and weird and wired.  It's true that nothing must happen to Jamison, he's Roger and Liz' father, and if he dies. . .well, the present day family will presumably disappear, too, leaving Barnabas no one to return home to.

Love, Robin

764 - (Joan Bennett) - Collinwood, 1897, a house haunted by terror.  For a curse has been laid upon Quentin Collins.  When the moon is full, he becomes a wolf that walks like a man.  And in the fearful village, one man pays the consequences for having tried to help Quentin.  Blackmailed by the Reverend Trask, Evan Hanley trains an innocent man to commit a mysterious murder.

Tim tries to force the brandy down Evan's throat; the lawyer struggles away from the poisoned drink.

Tim insists to Evan, you ARE going to drink; I saw the queen of spades!  Evan manages to push Tim away, but the young teacher tries to strangle Evan, who tells him, mine isn't the right face--you saw the face in the card!--THE FACE IS IN THE CARD!Tim releases him.  Evan reminds him, I'm your friend--you must get back to work, and follow my orders.  Tim, bewildered, sits back down in a chair and picks up the little book he was working on.  Evan straightens his clothing and answers the phone--it's Beth, calling from Collinwood.  Come out as soon as you can, she begs--have you seen the moon?  Yes, he says.  It happened again! cries Beth  He can't help, says Evan.  Bring something silver, says Beth, to protect yourself.  I can't! objects Evan  Someone must find him, she wails, before anything happens.  I can't go out, insists Evan.  But there's no one else, says Beth--Quentin has helped you, you owe him!  Judith stands on the landing, listening in.  If this goes on, he'll be caught, says Beth--we must help him!  Judith asks what's wrong.  Beth hastily hangs up.  Nothing is wrong, she says.  The conversation wasn't important--I was talking of a cousin of mine in the village who's in trouble.  Perhaps after you leave Collinwood, you can help your family, suggests Judith.  Beth asks, do I have to go now?--I know my two weeks are almost up, but I want to stay a while--Mrs. Fillmore called and said the baby boy has a fever--I want to bring him medicine--can't I stay?  Because of the babies? asks Judith--that's no problem, I'm planning to tell Quentin about the children.  No, says Beth, you can't, please don't.This about face on Beth's part puzzles Judith, but the maid insists, Quentin can't know now.  Perhaps Quentin needs responsibilities, suggests Judith, children do change a person--is Quentin in his room?  No, says Beth, he went to Evan's house for the evening--don't tell him!  Why have you changed your mind? asks Judith.  He'd be upset with the boy ill, unable to help him, babbles Beth, don't tell him yet.  Judith agrees, and says Beth can stay until it's settled.  Beth picks up some stuff and says, I have an errand in the village, then I will be with the children at Mrs. Fillmore's if you want me.  As Beth leaves, a wolf howls, and to herself, she laments, "Quentin. . .oh, Quentin!"

Judith sits at a table playing cards.  Barnabas opens the front door and together they listen to the wolf howling.  It isn't a dog, as you think, says Barn--last month, when the moon was full, that teacher was killed.  That animal is back, says Judith.  Barnabas agrees.  They enter the house and he closes the doors.  I heard it when I was leaving the Old House, says Judith, and Magda thought she saw the animal in the woods.  Barnabas asks, why is that animal always on their grounds--Beth and the teacher were both attacked by it?  True, says Judith, the police say there have been no further reports about seeing the animal anywhere but here--what does it mean?  We will have to find out, he says.  The phone rings--Ezra Braithwaite.  Judith leaves to use the study phone to call the police.Barnabas takes the phone and the very young Braithwaite informs him that Beth Chavez ordered a pentagram charm, and changed it to Quentin--she ordered it tonight and is in a big hurry for it.  Before hanging up, Barnabas tells the young man,  (a sweet gesture, too) you will be a great addition to your father's firm.  Beth knows now it's a werewolf, he realizes, how did she find out?  Who is the pentagram for?  The baby whose grave he and Chris opened--where is that baby?  I must find out, tonight.  The dog howls.  Judith enters and tells him the police are sending some men here, thank goodness--I wish there were something else I could do besides calling the police.  Barnabas asks her when Beth left.  About an hour ago, she replies--do you think something has happened to her?  I hope not, says Barn--how long has Beth has been with you? Two years, answers Judith--she's from Collinsport.  Is her family from here? Barn asks.  A cousin--why? asks Judith.  I know so little about her, says Barnabas.  For the best, opines Judith--it doesn't pay to be too interested in servants, we found that out in this house.  The dog howls.  Barnabas looks out the window at the full moon.  He takes his cane and says he's leaving.  Judith is concerned he's going out with that animal out there.  I might find it before the police arrive, says Barnabas.  You can't go out, insists Judith.  I am well-armed, Barnabas assures her, showing her his cane.  Be careful, she says, and deals another card.

Tim is licking his finger and reading the text.  He has four pages left to go.  Evan tells him he's done quite enough; he's very impressed with his work.  He suggests they "try the card."  Yes, says Tim vacantly.  They sit at the table.  This time, no mistakes, Tim, warns Evan, when the real time comes, all must go without error.  Evan deals the cards and talks of a primitive tribe in the Brazilian jungles--the brightest youth is chosen to deliver death to those condemned by the elders--truthfully, isn't our society a primitive tribe, too--you must consider it an honor to be chosen.  He orders Tim, who is listening raptly, to pick up his cards.  Tim does.  Evan talks of the emotional significance attached to cards.  The heart signifies romance, for example, the spade--what does a spade mean to Tim?  Death! replies Tim.  All spades mean that? asks Evan. Yes, says Tim.  When you played the four of spades, you had no desire to kill anyone, right? Queries Evan  No, says Tim, because it isn't the right card!  Evan puts down the queen of spades--is this the right card?  Tim rises and pours the brandy again, then adds the poison.  He brings the glass over to Evan and hands it to him.  Evan thanks him and puts it down on the table.  He tells Tim to sit down now.  Tim does as he's told.  Evan tells him you've done well--you've learned nearly enough, yes, the moment is very near. . .

Beth returns to Collinwood.  Judith comes into the foyer and asks if she saw the police.  Yes, one walked me here from the gate, says Beth. They can only hear the animal, says Judith--how's the boy?  He has a fever, says Beth--there are no other symptoms.  Beth answers the door to Tim.  You shouldn't be out tonight, advises Judith.  He comes in and tells Judith, we didn't know of all this at the school, Trask asked me to stop by for Jamison and Nora.  Neither you nor the children are going back tonight, decides Judith--Beth, prepare a room for Tim.  Beth goes.  Judith assures Tim, I will call Trask.  Tim says, my staying the night might not be necessary, surely all those men out there. . .surely the beast will be caught. . .   Beth listens on the landing, looking anxious.  Judith tells Tim, I'm eager for the children to return to the school, considering how difficult the last few weeks have been for them, especially Jamison.  Yes, the Reverend is anxious to have them back, as well, says Tim.  Judith gushes how IMPRESSED she was with the school; the children behaved angelically.  Tim remarks that Trask does require very strict discipline.  So do I, says Judith--my father was strict, and god-fearing, and would have been an ardent supporter of Trask.  Tim watches her play cards, but refuses her invitation to sit down.  She comments that she hopes Rachel is happy at her work.  All Tim says is that Rachel is an exceptional teacher.  As was Miss Trilling, says Judith, and I know Trask was upset to lose her.  Judith is holding the queen of spades in her hand and is about to put it down when they hear gunshots right outside.  They both race out.  Beth joins them, her face twisted with fear.  Perhaps they got the animal, suggests Judith.  Barnabas comes over and tells them it got away.  Beth heaves a sigh of relief.  They wounded him, says Barnabas, at close range, and the bullet went through his chest; they might catch up with him.  Beth starts to faint; Judith catches her.  Are you all right? Asks Barn.  Beth runs back into the house.  I'm going to rejoin the search, says Barnabas--I knew you'd be alarmed at the shots.  She thanks him, but says, be careful--the animal will be more vicious than ever, now that he's wounded.

A bat appears outside Beth's bedroom.  When she comes in, her face creased with worry, she finds Barnabas standing in her room.  How did you get in? she demands, you were just outside?--how did you get here ahead of me?  Unimportant, he says--you ordered a pentagram from Braithwaite and Sons tonight.  Beth's eyes widen--how do you know?  "There's a wounded animal prowling in the woods," he says, "You know that animal is a werewolf and he will change back into a human being in the morning--you must tell me who it is."  Are you threatening me? asks Beth.  I'm warning you, he says--time is short, you must give me the answers I need.  I can't help you, she says, I know nothing about the animal in the woods--please leave!He advances on her; she backs away.  Stay away from me! she cries--"Oh my God, what are you?"  He bends down and puts the bite on her throat!

NOTES:  Another victim, another show!  This time, it's understandable that Barnabas needs to take this victim because she knows much that he must know, if he is to help Chris and David.  Frankly, the Tim/Evan stuff got boring.  I adore HAA and think he's wonderful, but it just seems repetitive and I could have done without seeing it twice.  I know, Tim got it right the second time, but it just never interested me that much.  There was a lot of card-playing in these two eps, wasn't there?

Quentin and Beth, Judith, Evan and Tim.  I loved Barnabas' comment to young Braithwaite.  It was just really a nice thing to say.  Selby in his pre-werewolf agony pangs was a bit over the top today, IMO.  Sometimes these scenes just go on too long.


765 - (Grayson Hall) - Collinwood before the turn of the century.  The great house is surrounded by darkness.  And somewhere in that darkness there prowls a terrifying creature who threatens the very existence of the Collins family.  Only a few people know the secret behind this creature.  And Barnabas Collins must use every means available to him in order to learn it from one of them.

Beth lies on her bed as Barnabas checks his handiwork on her throat.  Are you all right? He asks.  Yes, she answers dreamily--I don't want you to leave.  He's pleased--tell me what I need to know, he says.  What will you do when you know? she asks.  I'm not sure yet, he admits--who is the werewolf?  Reluctantly tells him:  Quentin.  He's shocked--how did it happen?  Quentin killed Jenny, unintentionally while trying to protect me, says Beth, but Magda accused him of being a murderer, setting a curse on him and all his male descendants.  So, it was Magda? says Barn.  I bought the pentagram to help the baby boy, says Beth, and describes how, when Quentin left two years ago, Jenny was pregnant, but he didn't know--she had twins, a boy and a girl, and after that, she went crazy, cries Beth--Edward sent the babies to Mrs. Fillmore to be cared for.  Are they are still alive? asks Barn.  Yes, she says--but Quentin doesn't know about them--there were times, confesses Beth, when I wanted to tell him, but I can't tell him now, it would kill him.  Barn points out, Quentin must know sooner or later.  If he lives long enough, says Beth.  I will make sure he does, Barnabas promises.  He's wounded, she reminds him, and might already be dead.  Not by ordinary bullets, says Barn, he will be all right when he reverts back to Quentin again--it's possible, however, that the police might capture him and put him in a cell, revealing Quentin's secret to everyone.  Beth doesn't understand why he's so interested in them.  Barn asks, do you trust me?  I don't know, she says.  In time you will, he says.  I just want Quentin to be rid of the curse, and well again, says Beth.  Barn asks, are you in love with him?  Her voice filled with tears, Beth admits, I am--I want to believe everything will be OK, but I don't see how it can--I lie awake wondering how and where it will all end.  I know how and where, , says Barnabas, but still have to find out when.  He leaves her.  A wolf howls.  She opens her drawer and takes out the pentagram, which is on a chain, and holds it in her hands.

Magda comes to Collinwood, gun in hand.  She fills it with silver bullets outside the front doors.  Judith hears her and asks who it is.  Magda hides the gun in a planter, then identifies herself.  Judith opens the door and demands to know, what do you want?  I need to see Beth, says Magda.  It's late to be peddling your wares, insists Judith.  It's important, and between Beth and I Beth, says Magda.  Judith tries to close the door on her, saying, "Beth's gone to bed."  Magda wants to awaken Beth--it's that important, but Judith advises her to go to her own bed and stay there--it's no night for anyone out alone.  I heard about the animal, says Magda, but I'm not afraid.  I needn't worry about you, then, says Judith, and tries to close the door on her once again.  Magda, however, is insistent on seeing Beth.  Judith and Magda get into an angry back and forth argument about which has more arrogance.  That's enough! Says Judith, and orders her to go.  Magda gives her a look and starts to leave, slowly.  NOW, Magda! says Judith.  Judith goes back into the house and we see the planter, the deadly gun hidden inside.  Judith begins to turn off lights.  She closes the double doors and heads upstairs.  Magda looks in the drawing room window, and enters the house through it as a wolf howls loudly.

Magda stands in the darkened drawing room, then walks out into the foyer.  She hears Beth and Barnabas talking.  I never should have told you, laments Beth.  You had no choice, he reminds her.  I'm afraid Quentin will hate me when he finds out, says Beth.  He won't, Barn assures her.  I'm concerned Quentin will demand to know how you learned his secret, says Beth.  I know I will have a difficult time, admits Barnabas, but I will try to convince Quentin I want to help him--after I get Quentin back to Collinwood, I plan to have a talk with Magda, and try to make her reverse the curse--(by force, if necessary, is implied).  Magda overhears this.  I'm going to wait up for you to bring Quentin back, says Beth.  Thank you, says Barnabas, and leaves.

Magda joins Beth in the foyer and says, I came in "her own way" since Judith wouldn't let me in--did youget the pentagram to the baby boy?  Yes, says Beth, and one for myself, which she shows Magda is around her neck--the boy is wearing it now.  And does Barnabas know everything? asks the gypsy.  Yes, says Beth--I had to tell him.  You're a fool, says Magda.  He wants to help Quentin, says Beth.  He can't, argues Magda, I'm the only one who can, and will tonight--I found the only way to end the curse.  Beth asks what it is.  Magda checks the maid's throat, spots the marks and gasps, I won't tell you!  Are you going to harm him? asks Beth.  I can't anymore than he has already been harmed, says Magda--trust and believe in me and know that what I do will end his misery.  She takes her leave, retrieving the gun from the planter.  She loads it with silver bullets and heads off.

The werewolf, growling, prowls the woods, then spots Collinwood.  Beth paces the foyer, wringing her hands.  Judith comes to the landing and asks, why haven't you gone to bed?  I couldn't sleep, says Beth.  Judith suggests tea--have you been in the drawing room, Beth, I noticed the doors are open.  Perhaps the wind, suggests Beth, when Barnabas went out the front door.  Barnabas was here? asks Judith, perplexed.  He came by earlier to check on everyone, says Beth, and we talked a few minutes.  Feeling a draft, Judith turns on lights and checks the window, which was closed when I went upstairs--someone has been in the room.  I don't know who and don't want to make any attempt to find out, says Beth.  We should go to our rooms and lock the doors for the night, says Judith.  I don't feel danger in the house, says Beth.  We are in danger until the creature is killed, insists Judith--Beth, go to your room.  The phone rings, Judith answers--it's the sheriff--the wolf was wounded, but is still around, so you're in danger.

Beth finds her room a shambles and leans against her dresser for a scared moment, then leaves her room.

I hope the animal has crawled off to die somewhere, says Judith--Sheriff, keep looking.  She makes another call, but gets no answer.  She again turns off the lights.  (Love her red velvet dressing gown.)  Hearing a noise outside, she goes into the foyer.  The growling wolf waits on the landing.  He climbs over and comes at her.  Judith screams as he advances, pawing at her menacingly.

Judith backs away from the wolf.  Beth comes out and raises her pentagram into his line of sight, holding him at bay.He races into the drawing room and leaps out the window.

Magda searches the woods, holding the gun ready.  She hears footsteps and hides.  It's Barnabas, holding his cane in front of him like a weapon.  Magda comes out after he has passed by.

Beth calls the sheriff and reports the incident with the wolf man.  Miss Collins is very shaken up, she reports, and wants your men to come guard the house. . .he's taking care of it, she assures Judith.  I fear we'll all die if the creature returns, frets Judith--what it was about you that scared off the animal?  Beth pretends not to know.  I wasn't blind, says Judith--I saw everything--when he saw you, he started for you, then stopped, as if frightened of you.  That makes no sense, says Beth.I saw it happen, insists Judith--why?  He was more frightened than we were, asserts Beth, he was wounded, I could see him bleeding, and if an animal is badly wounded, it's badly frightened.  He's no ordinary animal, notes Judith, he wears men's clothing, and stood like a man, too.  Let me take you upstairs to rest, Beth offers.  No, says Judith, I wants to await the police, and I want you to wait with me.  Whatever you say, agrees Beth.  Judith rants about how the sheriff ought to be replaced; he said the animal was probably so weak, it crawled off to die.  (Beth looks absolutely miserable.)  Yet he was strong enough to almost kill me, says Judith.  Beth offers her more tea, hoping to shut her up.  Judith paces the room and complains, we must find that beast and destroy it--I can't take another night like this!

The wounded wolfman climbs up on a rock, growling low in his throat.  He seems to pass out.  Magda approaches, hears him.  They spot each other; he crouches to attack.Magda holds up the gun and shoots the creature, sending him tumbling to the ground.

NOTES:  Is he dead?  Has Magda killed Quentin?  Was this her solution to the problem of the wolfman?

Love, Robin