762 - (Clarice Blackburn) - Collinwood in the year 1897, where an anguished gypsy's curse has turned Quentin Collins into a werewolf.  Tomorrow night, he knows the moon will be full and he will become a murderous beast.  Desperate to prevent that, he is prepared to make a pact with the devil himself.


Quentin and Evan end up having a huge argument after Trask (who, ironically, responded to their call for the devil and appeared at the door) leaves. Evan is fearful of being exposed--I'm such a "respected" lawyer, that would be awful! Quentin demands that Evan continue the ceremony, but Hanley has had enough for one night.  Desperate, Quentin threatens to kill him.  Evan cruelly suggests, save your bestial behavior for the following night--you'll need it.

Collinwood - Minerva stops by to give Judith some of her plum preserves, but Quentin, who wants to upset her, keeps taunting her about how Rev. Trask and Judith are out TOGETHER, implying there is something improper going on. He offers the shocked Mrs. Trask a drink, which she refuses, of course, but he continues to drink steadily.  Quentin accepts the gracious gift for Judith, and offers to give Trask a message when he returns home "with my sister." Minerva crisply informs him she will speak to hubby herself, and leaves.

Evan and Quentin, who is still drinking, communicate later and try to reassure each other about Trask, Minerva, etc. Evan frets over what Trask's price will be for silence, considering he caught them in a satanic ceremony. Quentin reveals, I've learned something that may lower Trask's price--the Reverend has feet of clay!

At the House by the Sea (aka Worthington Hall), it's the Reverend and Mrs. Trask's turn to argue. You've had a few rich widows on your string, accuses Minserva.  It was all for the sake of the school! He assures her.You never cared about the school, she says, all you cared about was taking those women to restaurants and the theater and planning worldwide trips!--the women didn't take you seriously. Trask calls her accusations "hysterical charges"--you are a constant embarrassment to me! She suggests he's seeing Judith socially; he maintains it's only school business. (Now here's a marriage rife with strife; can you imagine how they ever managed to conceive Charity?)

At Evan's house, Trask chides Hanley for calling upon the devil--but you got ME, ironically, a spit in the face of the Big Bad One. Evan insists it was all for intellect, just an experiment, but Trask doesn't believe it.  Trask hints he might tell Judith what he saw, and ruin Evan's rep. They go back and forth.  Trask forces Evan into a moral corner and forces him to admit he has dabbled in Satanism. I'm a merciful man, asserts Trask, and might be willing to spare you. I know you want something from me, says Evan.  The self-claimed man of the cloth says, I hope you are VERY good at the black arts, very good indeed. . .

At the school, Minerva chastises Tim for allowing a student to get away with cheating, all because the poor child erased on his paper.  Trask enters and suggests, not everyone shares your suspicious mind, Minerva--I was out seeing a lawyer about a lease.  He asks her to leave, which she does, not at all happy about it.

Alone with Tim, Trask asks him to conjugate some Latin, then questions him about whether or not he's happy at the school. Tim plays it cagey at first, saying, "You taught me to endure it," finally admitting his unhappiness. Perhaps, suggests Trask, you and Charity could go away and start a life of your own together. This surprises Tim.  The lawyer I saw, says Trask, needs someone to translate a Latin manuscript--perhaps you could get a job through Mr. Hanley. The possibility that Trask would release him astounds Tim, who points out, that it would mean losing Charity, too. I'd still have the Mrs., says Trask. Tim is incredulous--I want to apologize to you for misjudging you in the past, he says. Trask assures Tim, I've never misjudged YOU, I know exactly what you are. He sends Tim to see Evan immediately.

Evan is home, mixing up a potion when Trask calls to tell him Tim just left.  All will be ready when Tim arrives, Evan assures him--I only have to paint the edges of the book with the potion--I will then ask Tim to do a precis of the book, and by the time he's finished, our mission will be accomplished. Trask is delighted--Tim is really a show-off when it comes to Latin, and now he'll have a chance to use it. . .

Tim is going through the book when Evan comes in to check on him. I'm half done, says Tim--I'm having no trouble with the Latin, just the thin pages. Your method of licking your finger, then flipping each page, works well, praises Evan. Others have always teased me about that habit, says Tim.  Evan assures him it's the perfect thing to do in this case.

Later, Tim, now under the influence of the potion, drops the book from his hands. Evan checks to make sure he is completely under. Who are you? he asks Tim.The young teacher says, I don't know.  Evan instructs, "At the right time, and at a given signal, you are going to kill someone."

NOTES:  Well, we have a glimpse into the unhappy marriage of Trask and his wife, who apparently knows her husband isn't as pious as he pretends to be and who likes stepping out with wealthy ladies. Why use poor Tim for such a grisly task, or is it that Trask still believes he murdered Minerva's brother and one more murder won't matter? The relationship between Quentin and Evan is very odd, for so-called friends, but you can see what drew them together. Interesting that Quentin is so willing to sell his soul to the devil to be rid of his curse. Even Bart Simpson can tell him how valuable a commodity THAT is!

Barnabas must be sorely sick of his 1897 family by now. There aren't many redeeming qualities amongst them, are there? Edward wants to foist "family" values on Quentin now? Too little, too late.

Tim must be a member of the Evelyn Wood Latin speedreading course.  He does go through those pages fast, doesn't he?


763 - (Grayson Hall) - The year is 1897, and the web of mystery which surrounds the great house of Collinwood grows larger, for Evan Hanley, attempting to end Quentin's curse, has fallen into the hands of an unscrupulous blackmailer.  So he must do what Reverend Trask dictates, and use an innocent man to achieve Trask's schemes.

Evan snaps his fingers and Tim repeats, "I am going to kill someone."  You must do whatever I tell you, says Evan, but you don't know why, only that you must--when the time comes, says Evan, you will have no memory of these plans.  Who am I to kill? Asks Time.  You will know when the time comes, replies Evan--we must make sure you aren't caught--there will be a signal which will give you a sense of power, of release, and you will know the time for action is at hand.  Evan holds up a card--the queen of spades--and tells Tim, when you see it, the name of the person you are to kill will be in your mind, and nothing will stop you.  He makes sure Tim looks closely at the card--it has meaning for you and you alone--it's the face of a woman who needs to be punished, and deserve everything that will come to it--you have been chosen to do it, and it will be done, says Evan firmly.

Collinwood - Quentin and Beth are playing cards in his room (couldn't think of anything more fun to pass the time?), and Q wants more than anything else to drink.  Beth tries to stop him, but he snaps, I don't need a lecture, and takes his drink.  When the moon rises, says Q, his face tight, the pain will come--how do you expect me to spend my time--an afternoon of cards, a night of murder?Beth tries to calm the distraught man, but he refuses to be comforted.  Aren't all murderers called animals? Asks Quentin--when I'm caught, which I will be, will the jury pity me for being the victim of a curse?--if I hadn't killed Jenny...one thing leads to the other--I'm finding all cliches are true.  I don't want to sit here and wait for evening, says Beth.  Do something, Quentin says, but be careful not to make it worse.  How could I? she demands.  Easily, says Q, as Evan and I found out.  Who would be the best uninvited guest at a black mass? he asks--Trask!--he won't use his Christian charity and forget it, no, we will pay!  Quentin smiles.  I'm beginning to pay for all the things I did and got away with--nothing will work.  Beth begs to be allowed to try.  Quentin keeps imagining it's already getting dark, but it's in his mind.  Beth wants to go to the one person who knows it all, Magda.  I've tried, says Quentin.  I haven't, says Beth.  You feel you have a special way of dealing with gypsies? He asks.  Yes, says Beth defiantly, and flounces out.  Quentin gazes through the window.

Magda answers Tim's knock at her door.  I want to buy something from you, he says.  She lets him in.  I want herbs, he says--I found an old manuscript which contains alchemist's secrets, and can turn copper into gold.  Magda laughs--quite a story!  I need nightshade powder, he insists.  Ah, she says, nightshade only turns warm living people into cold, dead ones.  Do you have some to sell? He asks.  Yes, she says.He offers her 10 dollars for one ounce.  Who do you want to kill? She asks.  He offers $20, no higher.  They are nose to nose.  She demands 50 gold pieces.  He nods in agreement; she orders him back in an hour.  He doesn't want to wait, but she says he must.  I trust you, he says, pulling her arms behind her back painfully--I'll kill you if you mention this to anyone!  (everyone abuses the gypsy!)

Old House - about 5:30 PM - Beth asks Magda what she cares about.  Questions! complains Magda.  Do you care about Sandor? Asks Beth.  He's my husband, says Magda, and we do fight a lot.  If Sandor were Quentin, and you were me, begins Beth. . .  Magda realizes what Beth is getting at, and no longer wishes to speak to her.  What would you do if Sandor were Quentin, and tonight, the moon would be full, persists Beth. . .  I would wear my pentagram, replies Magda.  No, says Beth, you aren't that callous, you're a woman!  So was Jenny! cries Magda.  Quentin didn't mean to kill her, Beth reminds her.  But he DID! retorts Magda--I will help you--Quentin is death to anyone who loves him--remember Jenny.  Jenny wouldn't want what you have made him, insists Beth.  You know this? asks Magda  Yes! Says Beth.  You aren't a gypsy, says Magda.  Yes, says Beth, and I'm glad--I wouldn't want the power to do the evil you do.  The gypsy says, I have helped Quentin more times than you know.  Help him now, begs Beth--you can remove the curse.  I don't want to, says Magda--it's the only way to let my sister's spirit rest, to be avenged.  She IS at rest, cries Beth, must we go on forever like this?  Every night when there is a moon, says Magda, he'll be at its mercey--for months, for the rest of his life.  Can't we do something? sobs Beth--I can't go back without some hope.  Don't go back, advises Magda cruelly.  You have no right to speak to me that way, says Beth--I could spend the rest of my life with Quentin, marry him, get money somehow, travel, and find a cure!  Magda looks unhappy--you would marry him, knowing his son, if he has one, will suffer the same fate as Quentin.   "You're mad!" says Beth, horrified.  That's the curse, says Magda.  "Then" says Beth, "you have cursed your own kin."  But Jenny had no children, says Magda.  "Remember the dolls, Magda?--dolls I gave her because her own children were taken from her."  You're lying! Magda accuses. I'll take you to them, offers Beth--twins, a boy and a girl, who live 20 minutes away--shall we go now?  I wouldn't believe it if I saw them, says Magda.  You'd have to, says Beth--the little girl looks exactly like Jenny.  How could anyone not know of this? asks Magda.  Edward and Judith are the reason, explains Beth--I will tell you everything, but you must not tell Quentin.  Magda agrees--I must know!  Jenny was aware of Laura trying to steal Quentin from her, begins Beth--when Edward found out, he forced Quentin to leave--Laura left right after--Jenny was never herself from then on--Edward decided to pay her money and get rid of her--she told him something no one else knew--she was pregnant.  Why didn't she come to me? laments Magda.  We'll never know, says Beth--Jenny was quite mad by then, and when the children were born, Edward refused to see them, wanting no reminder of his own brother, none--it was as if his own life was based on the idea Quentin had never existed."So, there is a son?" cries Magda.  "God forgive me, Jenny, forgive me!  Can you hear me, my sister, forgive me?"  Grief-stricken, Magda asks to be left alone.  Help them now! begs Beth.  Magda tells her, go to town and get a pentagram, put it around the little boy--he must wear it always, all the days of his life.  "You can't end it!" realizes Beth.  "Oh, a child," sobs Magda, her face collapsing with misery.  "A child!  I did not know. . ."  She asks Beth to leave her alone, sobbing.

7 PM - Quentin is antsy, pacing his room, looking out the window.  When Beth comes in, he says, you shouldn't be here, I know your attempt was useless.  It's dark, she tells him, do you feel any pain?  Aren't you afraid to be in the room with me? asks Quentin.  Something's happened, she suggests.  He holds her in his arms and asks, should we hope that's true, for the moment?--that the nightmare is over and the moon can go back to being something for lovers to watch?  Yes, she says, laughing through tears.  Quentin, suddenly wracked with pain, says we spoke to soon--the gods have heard us.  "It's starting!" he screams, writhing.

Quentin grunts as the pain overwhelms him.  Beth doesn't want to leave him, but he insists she must get out before it happens.  I've got to get out, I'll kill one of them--you must get out of this house and forget about me, he insists, his body going through many gyrations as he begins to morph into the wolf.

Evan gazes at the moon and tells Tim, the tides of the moon are the one thing we cannot control.  He holds up the vial of nightshade Tim got from Magda, marveling over how many it could kill--she was lavish, he says.  He takes the Latin book from Tim's hand and suggests a relaxing game of cards.  He learned to play at Collinwood; Judith is fond of cards.  Charity and Mrs. Trask play, but Rev. Trask doesn't approve.  He sees the devil everywhere, comments Evan, and perhaps he's right, even in a game like this.  Edward plays, too, says Evan, badly, of course--he always suspects everyone else of cheating.  Evan orders Tim, bring me a brandy--soon--you'll know when--and when the real moment comes, it might not be brandy, but tea, or sherry, but you understand that, right?  Yes, says Tim, we cannot control what it will be.  Evan puts down the queen of spades.  Tim, like an automaton, rises, pours a glass of brandy, then adds some of the nightshade into it. Evan, watching, smiles.  Tim brings the drink to Evan and hands it to him.  "Good!" praises Evan--"For your first time."  Evan sets down the brandy.  A puzzled look comes over Tim's face--he lifts the glass, sniffs it, and says, "You are going to drink it."  No, says Evan.You ARE, insists Tim, grabbing him around the throat, holding the poisoned glass in front of his face as though preparing to force him to drink it.

NOTES:  What a heart-wrenching scene between Magda and Beth!  Is it true that the gypsy knows how to place this curse, but not how to remove it?  Shades of Angelique!  Now she learns that she's placed a curse on her own kin.  This is where lying can get people into more serious trouble--if everyone knew about Quentin and Jenny's twins, Magda wouldn't have chosen this particular curse.  She's doomed her own kin, as Beth said.  What will poor Magda do now?  It was her passion for her family--for her dead sister--that made her curse Quentin in the first place, and now it's boomeranged back at her in a most terrible way.

Trask wants to get rid of his wife, and Evan, to save his rep, is going to use Tim to do it.  Right now, however, it looks like Evan's gotten caught in his own spidery web, because Tim just might force HIM to drink the poisoned booze from the dress rehearsal of this little scheme.  It's justice when the bad guys get into trouble for being so bad, right?  And how cruel it is to use Tim's Latin expertise against him this way!

What's going to happen now to this unhappy group of Collinsport folk?

Love, Robin

758 - (Joan Bennett) - The year is 1897, and Collinwood is filled with bitterness and hatred.  And at the Old House on the estate, revenge is being plotted, for Barnabas Collins' secret has been discovered by a woman who is determined to destroy him, and whose attempt to do that has been thwarted by the one person who refuses to let Barnabas' curse end.

Laura is melting away. She begs Ra not to forsake her--send Jamison to me!

Jamison, feverish, begins to sob about a fire at the Old House.  Judith, watching over him, tries to convince him it's just a nightmare.  He awakens and asks her for water.  When she leaves to get him a drink, he slips out of bed.

Quentin is still reading from the Book of the Dead, trying to get Ra, the sun god, to summon Laura to his breast. When the fire goes out, Angelique can't get it restarted--Laura is fighting us!  She wants Quentin to try some more incantations to another Egyptian god, Osiris, but he feels it's not good to disturb the god of death. Laura will know you took part in this, Angelique reminds him convinces him to continue. Quentin begins the incantation again and entreats Osiris to show Ra that his powers are greater and rekindle the fire once more--"Let her burn for your glory!"  The fire starts again, further melting the wax figure of Laura. Jamison shows up and insists they must stop--you're hurting my mother, stop!  The fire goes out.  Angelique shouts to Quentin, remove the boy!  I know what you're doing! Cries Jamison--I know what the doll is for!  Judith arrives and is annoyed that Quentin didn't return Jamison to the Old House.  He just arrives, says Quentin.  Judith insists the child lie down, but Jamison refuses to go unless Quentin and Angelique promise to stop. Stop what? wonders Judith.What you were doing here! accuses Jamison.  Suspicious, Judith asks just WHAT Quentin and Angelique were doing here.  We are here by chance, says Ang, we both came to see Barnabas.  Jamison tries to show his aunt the doll in the fireplace, but it is gone. My poor darling, sympathizes Judith.  They have Jamison lie on the sofa to rest; Judith wants Quentin to carry him back to Collinwood.  Judith wants to know what is wrong with the boy--the doctor found nothing.  Have you ever thought how upsetting his mother must be to him? asks Ang.  Judith agrees, and asks if Laura could be responsible for his hot flashes and delirium.  Angelique doesn't give a specific answer.  Judith asks Quentin about Laura, given that he *knows* her so much better than everyone else--is Laura capable of doing something like this?  Judith abruptly realizes that while they've been talking, Jamison has gone.  Judith wants to go after him immediately, but Quentin hangs back, assuring his sister he will catch up.  Suspicious, Judith races out.  Quentin, frantic, asks Angelique, what are we going to do now?  She requests a moment to think.  Think fast, insists Quentin, Laura is plotting against us and will seek revenge.  Bring me a full-length mirror, requests Angelique.  I have to find Jamison, Quentin says.  Laura won't harm Jamison until she's taken care of us, says Ang.  But, protests Quentin, Judith will think. . .  It doesn't matter what she thinks, says Ang--we're old enough not to have to worry about that--go upstairs and get the mirror.  Why? Demands Quentin.  I've forgotten what I look like, replies Angelique sarcastically--you may leave once you bring it--I have my secrets, even from you.

Cottage - Laura is lying unconscious on the couch when a very weak Jamison enters.  She awakens when her son, scared at her appearance, calls to her.  She slowly gets up and tells him, I'm all right, thanks to you.  She tells him Angelique, not Quentin, who is merely weak and only does as he's told, is her true enemy.  Is that wrong? asks Jamison.  For a boy, no, replies Laura, for a man, yes.  Jamison wants to know why Angelique hates her so much.  Laura explains, Angelique hates me because I know a secret that I just may be forced to tell--it's about Barnabas and why he's never seen during the day. I already know the answer to that one, says Jamison, hoping for something bigger--it's because Barnabas goes to Bangor on business.  Deciding to keep this truth to herself, Laura says, yes, he does--darling, it's so good to hold you again--it's going to be so wonderful when the three of us are all together--do you still want to come with me?Jamison hesitates a moment, then says yes.

Foyer - Judith upbraids Quentin for not going after Jamison, who is still missing--you had to stay, I won't even think about why (translation: I'm convinced you and Angelique were having illicit relations at the Old House). Quentin, smirking, figures Judith already knows why he stayed with Angelique.  You are incredible! says Judith, furious, going behind Barnabas' back!--I won't have it--you leave Angelique alone!  Laura comes back with Jamison and sends him up to bed and chastises her for allowing Jamison out of bed. I'm surprised you brought him back, opines Quentin.  I didn't want Judith and Edward to have a scene at the cottage, says Laura--Judith, I insist that someone sit with Jamison until he's well.  Judith is about to head upstairs to undertake that take herself, but Laura stops her--I have a surprise for you--one I dislike having to tell, but I'm afraid I must--please leave us alone, Quentin.  The latter refuses to go.  Laura smiles at her former lover and says, it's about what's going on at the Old House.  The two women go into the drawing room and close the door, leaving Quentin in the foyer.  Does this have something to do with David (whoops!)...Jamison? asks Judith.  It concerns Barnabas, reveals Laura, who bursts into laughter when Judith refers to him as their cousin. Perplexed by Laura's laughter, Judith says, of course he's our cousin--just look at the portrait in the hall.  YOU take a good look at it, advises Laura, but after you hear what I have to say, you're going to want to burn it--that portrait and Barnabas Collins. . .  Angelique enters, turning Laura's voice into an incoherent croak.She seems to have lost her voice, remarks Angelique innocently, feigning concern.  Judith wants to call a doctor.  Laura gives Angelique a dirty look and rushes from the room.  Quentin asks if Laura revealed her secret. No, says Judith, I've never seen anything like it--it was as if something stopped her from saying what she wanted to say. Laura lies so much, says Q, I'm surprised she hasn't strangled on her stories by now.  Judith, wondering what Laura wanted to say about Barnabas, wishing she trusted her more, goes upstairs.  Quentin, turning on the seductive charm,  tells Angelique, You're very gifted, you know, besides being beautiful, dangerous--all the things I like.  Why do you want Barnabas Collins and not me?"  I love Barnabas, not you, she replies--Laura is in the cottage planning her revenge--we don't have time for compliments--go to the Old House and wait for me there. When are you going to tell me what's going on? Asks Q.  Shall I simply make you do it? Angelique asks.  Quentin leaves.  After he leaves, she says, "You're such a child, Quentin, but what a surprise I have in store for you."

Cottage - Laura, still voiceless, prays silently to Ra, asking why she's been forsaken.

Old House - Quentin is stunned to enter and find Angelique already there, waiting for him, playing solitaire.  She suggests they play a game of cards.  Gazing at her cards, Quentin insists she couldn't have played a whole game.  Sit down, she says.  He does, murmuring, "If I had your powers, oh, if I did. . .why do you want me here?  I wanted you to be with me when IT happened, she replies.  When WHAT happens? He asks, totally flummoxed.

Cottage - Give me the strength to crush my enemy, calls Laura--give me your precious fire!  Let it start in the depths of her soul!  Let her feel the flames inside her!  Let it happen, great Ra, for I am lost unless you do!

Old House - Angelique sits in the chair, staring, silent.  Are we in danger? Asks Quentin.  He grabs her arm, then drops it, horrified.  "Your arm--it's hot!" he cries.  "What's happening here?"  She rises and steps back.

Cottage - Laura begs to make Angelique's body like "red coals about to burst into flames!  Let the flames come, great Ra!  Let the flames come!Old House - Quentin watches, horrified, as flames surround and engulf Angelique, who begins screaming insanely.

NOTES:  Does this mean Laura has won?  What the heck is all that with Angelique and her request for a mirror?  Did she put together a little spell?  Quentin was sure crazed as he watched Ang go up in flames that way!

Isn't this a fun storyline, with the two supernatural ladies doing their utmost to outbest each other?

Loved Judith's assumption that Quentin's already doing Angelique, Barnabas' fiancee.  Hey, Quentin even tried to steal a kiss from her, but she wasn't having any, was she?  She's a one-woman gal!


759 - (Grayson Hall) - The time is 1897, a cold, gray day at Collinwood, and Barnabas Collins sleeps in his coffin, unaware that his secret has been discovered by one evil woman--but Angelique knows, and so the two women battle, a fight which must end when one is destroyed.  And in a cottage near the great house, Laura implores a pagan god for his help.

Quentin's face contorts in horror as he watches Angelique consumed, screaming, in a wall of flames.  Quentin calls to her, but she cannot respond, and finally, she disappears.  Quentin covers his face, cowering, unable to bear the sight of it.

Cottage - Laura thanks Ra, seeming weak.  Dirk comes in and holds her, urging her to rest on the sofa.  She looks around, talks to Ra--you've helped me so many times--but I've asked for your help too often, she says--and now you want me back.  Dirk tells her, you're imagining that someone wants you--you can't go away now, I won't let you.  You can't stop it, she tells him, you can't waste my time--I have so little left with so much to do.  She pulls away from him and faints.  He lifts her into his arms.  Help me! she begs.

Magda returns to the Old House to find Quentin sitting, dazed and in shock.  She chides him on not wanting to be at home, using the Old House as a public house--you come and goes as if you live here--get out!  Stop it, says Quentin.  She sees how strange his eyes look and asks, what have you seen?--have you been sneaking around the house--tell me!  He confesses, haltingly, I saw Angelique burning in this room.  Liar, Magda says.  There WAS a fire, insists Quentin--Laura's, and it killed Angelique.  No one can kill Angelique, maintains Magda.  Q reminds her that witches burn--fire is the only way--Laura knew it--she won!  Everyone beats you, says Magda cruelly.  I won't take that from you! cries Quentin--you've done enough to me.  You get what you deserve, she says--now get out!  Quentin wants to stay and tell Barnabas, but Magda orders him to get out before Laura does something to him."Run, Quentin," she smirks, "run, hide from her, hide!"  Laura had the power to stop Angelique, see what she can do to you, who plays with black magic, but can't stop Laura, can't fight her.  RUN! says Magda, her voice husky, scary.  Quentin runs off, and Magda laughs at him.

Dirk has placed the weakened Laura on the sofa, and she's returned to consciousness.  His hand on her shoulder, asks Laura, what else can we try?   The scarab, she says, Angelique has it--go to her room.  Dirk fears being caight.  No, not by Angelique, says Laura, "I can assure you of that."--if Ra wants me to find it, he'll help you, and I will know if I have more time.  Go quickly, she urges him, I'll rest for what I must do if you can't locate the scarab.

It's closing in on dusk. Barnabas rises, leaving the basement.  He sarcastically tells Magda, it's an honor to see you--where were you at dawn, when you were supposed to be protecting me?--and where was Sandor?  Magda, looking nervous, tells him to listen, but he's too angry to pay attention to her.I have news, insists Magda.  News won't deter me, says Barnabas.  It must be told, she says, and I will know how angry you can get.  Realizing this is a serious matter, Barnabas shuts up and pays attention.  Magda crosses herself and reports, "Laura--she knows about you."  Barnabas grabs Magda's arm.  Laura knows you're a vampire! reveals Magda, terrified.  Barnabas is stunned--and perturbed!

Barnabas has been told what happened.  So, he says, Angelique saved me from Laura--how curious life is--Angelique wouldn't let the curse end, give me the peace of a dark coffin.  "You wouldn't want that," opines Magda.  Barnabas snaps, I don't want your opinion.  He leans on the mantle and says, I haven't forgotten Laura would still be ignorant if you and Sandor had protected me as you should have.  Slyly, Magda suggests, you are afraid now, without your Angelique to protect you.  You've given me a jigsaw puzzle that I must figure out before I make my next move, says Barn--I wonder why Angelique allowed herself to be burned?--are Laura's powers greater, and Angelique couldn't defeat them?  Any witch can burn, says Magda.  Barn agrees, but why now, when Angelique should have been on her guard?  Quentin saw it, says Magda.  Barn is annoyed--once again, Madame, you were absent.  Perhaps, muses Barn, Q is lying for reasons of his own.  He saw it, Magda assures him.  What did Angelique tell him before? Muses  Barnabas--what does he know about me?  Quentin knows nothing, says Magda.  Did Laura tell someone else? Worries Barnabas.  No, says Magda, I'm sure that isn't so--Laura is smart--they would have come after you--Laura means to settle you herself.  Then I must settle her first, says Barnabas, and then be free to decide what to do about you and Sandor (is there a caning in someone's future?).  Magda looks quite unhappy to hear that.

Cottage - Laura scribbles a note.  Dirk comes in to report, I tore Angelique's room apart--no scarab.  Ra wants me back, then, says Laura, I can't fight, I don't have the strength.  Dirk pulls her into his arms and tells her, I can give you the strength the way I did once before--I'll do it again, now!  He kisses her, but she nearly faints.  (Roger Davis strikes again!)  Ra wanted me to live then, explains Laura, now he wants me back--we'll be together some other time (some other lifetime!)  I want to go with you now, insists Dirk. She promises to send for him, but he doesn't believe her.  One night when there is no moon, says Laura, you will feel my presence in the room, and hear someone ask if you still wish to come.  I would rather go now, says Dirk.  I've got to get my children first--that's what Ra wants, she says.  You don't have any human feelings, accuses Dirk, trying to hold her.  Laura, irritated, says, I don't have the time--go on feeling sorry for yourself and you can just get out--I'll do it alone.  Dirk agrees to help her.  Laura again promises, I will arrange for you to join me.  She gives him a note for Judith, but Dirk says she's gone to town.  Good, says Laura, so there's nothing to stop you--give it to her even if she isn't there, to Judith and no one else--it's important.  What's in it? asks Dirk.What do you remember from last night? Queries Laura.  Opening Ben Stokes' grave, going to the Old House.  What did you do there? She asks.  Hunt for Barnabas, but I didn't find him, says Dirk--I didn't see Angelique.  But Laura says, Angelique made you forget seeing her when you interfered--I will even that score.  When Judith reads the note, says Laura, you will remember what you forgot, and everyone will know about Barnabas.  Make sure Edward is asleep, then go to Jamison's room, instructs Laura--if anyone is there, get them out--nothing can go wrong--you must have a carriage ready and go to the school and get Nora--we must be away from here by midnight--go quickly!  You'd better come for me quickly, warns Dirk--they're going to know I helped you. They exchange a big smooch.  Someone, it seems, is watching them through the window.

Collinwood - Dirk is approaching the front door when he is attacked by a bat.  He backs away, but can't avoid being attacked.  Inside, the clock chimes 11 PM.

Laura enters; Barnabas grabs her shoulder.  She gasps, overacting somewhat.  He apologizes for frightening her--but it's late to be visiting, isn't it?  Late for me, early for you, she retorts, your night has just begun!--but since you have only until dawn, you have much to do.  He smiles engagingly at her and agrees--you're busy, too, he says, dressed for traveling.  That doesn't concern you, says Laura.  I'm afraid it does, he says.  I'll call Edward, she warns.  Edward isn't here, says Barnabas.  Someone is, perhaps someone who knows your secret, she suggests.  He walks away from her smiling face.  Your plan has already gone wrong, he says.  You're bluffing, she says--isn't it strange we should be standing here in this house, this year.  "You are Laura Stockbridge Collins," he tells her.  "You know me so well," she says.  "I remember when Jeremiah brought me to the Old House, you were there watching me, following me around."  "Yes," says Barn, "were you a Phoenix even then?"  Laura continues, as if not hearing him, "you were in love with me, as only a little boy can be.  Have you forgotten that?"  No, he says.  Please, she begs, allow me to take my children and go--"It's not our fault what we are!--you know that about yourself!"  I'd want you to stop me if the situation were reversed, says Barnabas.  You're only guessing, she insists.  I do know, says Barn.  Quentin, she asks?--does you trust him?  Barn shakes his head no, a slight grin on his face.  Angelique? She asks.  No, he says.  Who could you possibly believe? she demands.Offering to show her, he opens the servants' door and reveals Dirk, lying there with two puncture holes in his throat, blood running from them.  Laura gasps.  She races to Dirk, kneels, touches him; he falls over. He's dead, she accuses--"You killed him."  No, he says, I had no need to kill him, I only wanted something he had.  The letter, realizes Laura.  "Your letter," says Barn, "beautifully put.  As elegantly written as I would have wished.  Unfortunately, no eyes will see it but mine."  She glares at him.  It's already burned, he says--have you time to write another?  "I will tell!" she cries--you have no protectors.  I don't need you, says Barnabas.  You have no power over me and never will, Laura says--"I am not Dirk."  I know, says Barnabas, but I promise you won't leave the house with Jamison.  you can't stop me, she says, I'm going up to get my son right now--do what you want, she says, you'll see how powerless you are.  She starts to move away, obviously growing weak.  "Just as I suspected," she says triumphantly--"You can do nothing."  She heads upstairs.  Barnabas is smiling broadly.

Laura goes to Jamison's room.  I've come for you as I said I would, she tells her son.  She finds a dummy in the bed made of pillows, however, and hears a woman's laughter.  Standing in a green light is a hysterically laughing Angelique.  Laura's eyes bug out in disbelief, as Angelique laughs and laughs.

NOTES:  What a neat trick!  No one is a match for Barnabas and Angelique when they combine their talents!

Wasn't that a spectacular little cat and mouse exchange between Laura and Barnabas in the second to last scene?  She was so sure she was the cat, but Barnabas knew all along that Angelique was back in the picture and Laura was going to be in deep doo-doo.  Are they going to be able to rid themselves of Laura once and for all?  Witch, vampire, phoenix--who will reign supreme?

Love, Robin

754 - (Diana Millay) - The year is 1897 at the great estate of Collinwood.  And this night, a new horror hides in the forest surrounding the house as the full moon signals an evil transformation.  A child has disappeared, and one woman knows who and what may be tracking him as he runs from anyone who tries to find him.

The werewolf leaps at Beth, who screams, but can't bring herself to kill the man she loves, even in this dangerous form.  It knocks her to the ground, which attracts the attention of Edward and Barnabas, who are nearby on the same path.  Barnabas beats the werewolf off with his cane, forcing the creature to retreat.  Barnabas asks Edward, "Have you ever seen this creature before?"  No, Edward assures him.  We must take Beth back to the house, says Edward, before it returns.  Jamison is in the woods! Beth informs them, hysterical.  Barnabas wants Edward to return to Collinwood, but Edward doesn't want Barn left alone--we need a gun, and I need your help with Beth.I have my cane to protect me, says Barnabas.  The wolf, back on his boulder, watches, growling low in his throat.

Cottage - Jamison goes to Laura in the cottage and begs her to make up with his father. She is sure Edward will never forgive her, even though Jamison points out that he forgives him and Nora their trespasses all the time.  It won't work that way with me, Laura assures him.  Then I'll have to go back to the school! Complains Jamison.  No way, says Laura, you come with me instead "to a beautiful place where there is no time".  Jamison wants to know if he can come back to "see people."  You mean Quentin, says Laura, displeased--well, he's planning to leave Collinwood soon himself.  How do you know that? demands Jamison.  I thought you hated him, his mother reminds him.  I don't know how I feel anymore, the boy confesses.  Even me? she asks softly, as he joins her in front of the fire.  I know you love me, she says--go away with me--it will all be so wonderful--even time will be different!--where we're going, there is no time.  This disturbs him, so she amends it--what I mean is, people don't pay attention to time.  It must be very far away, says Jamison.  It's a place of warm sun, she describes, very sunny--you'll love it there, it's a place of special people.  Jamison wants to know what this fabulous place is called (Las Vegas?).  I'll tell you, promises Laura, if you agree to come with me--I don't want you telling your father.  I'm worried you'll leave without me if I say no, worries Jamison.  I must go, she says.  When? He asks.  I can't stay much longer, she warns him.  I don't want you to go, protests the boy.  Then come with me, says Laura--Nora will come with us, it will be just the three of us; just like when you were young--"Darling, I cry every night when I think of you and Nora in that dreadful school."  (oh, good one, Laura!)--Edward won't be able to stop us--we won't let him know when we leave.  When would we leave? He asks.  Tonight, she says--say yes, darling.  Jamison agrees--I'll go!  She hugs him, stroking his hair.  You'll learn so much so quickly, she gushes, it will be well worth what we much go through--and we shall be together, always. . ."   (brrrrrrrr!)

Barnabas finds Edward in the drawing room, examining a rifle.  Barnabas joins him and tells him Beth doesn't want them to send for a doctor.  Disbelieving, Edward recounts how the animal--if that's what it was--was wearing clothing and walked like a man.  Your bullets won't kill this creature, warns Barnabas.  Nonsense, insists Edward, desperate to go searching for his son.  Jamison might have gone to Laura, suggests Barnabas.  This makes sense to Edward, who passes his rifle onto Barnabas--"I don't put much trust in your cane."  Edward leaves.  Barnabas wishes he had silver bullets, realizing that, for the first time since I arrived in this century, I understand why I'm here.  He knows THIS werewolf is connected to Chris, and hopes to solve at least one of his riddles soon--he'll stash the creature in the mausoleum.

Laura tells Edward Jamison isn't there and throws him out, then gazes into the fireplace in order to summon Nora.  Spotting the gun, she asks, are you here to kill me?  Is Jamison here? Demands Edward.  Laura, startled at first, then mocks him--you Do have difficulty with those children--one of them always seems to be slipping away from you.  Edward angrily informs her about the creature wandering the woods--Beth was almost attacked!  Go search for Jamison, Laura urges him, annoyed.  Don't lie to me, says Edward.  Laura insists she's telling the truth.  Laura returns to gaze into the fire, caress her scarab, and call to Nora.

Beth, nervously gazing out the drawing room window, asks Barnabas if he saw "that animal." I was sure your first concern would be Jamison, remarks a curious Barnabas.  Beth uses the excuse hat she's very upset.  We need more people to help search, says Barn--do you know where Quentin is?  He's about to head upstairs to search for his cousin when Beth tells him Quentin went to town.Barnabas finds her behavior suspicious, but Edward joins them, reporting no success in his own search.  Edward starts phoning for the police and Beth shouts, "NO!"  Then she babbles that she doesn't know why she said that, and Edward continues the call.  When Quentin returns, Barnabas tells Beth, have him meet me at the cottage or the Old House--"He and I must settle Laura tonight!"  Edward returns to Barnabas--"They'll find him!" he says--"They'll hunt him down--God, if he's harmed Jamison. . .!"

Jamison comes out of the cottage bedroom complaining of a high fever.  He's afraid they will have to postpone their trip if he's sick.  Nothing will stop us, she promises.  He fears he'll be worse on the trip, and she assures him it will all be over by then--go back to sleep--it will be much easier than you realize--I'll be with you.  She takes him back to bed. Barnabas flies up to the window and materializes inside.  Will Nora have to get sick, too? asks Jamison.  For a little while, his mother replies--but sometimes being sick will open a whole new life--you won't remember, you'll be so happy.  Barnabas finds the scarab by the fire.  Barnabas instantly returns to the main room and demands to know, what are you doing here?--give me back the scarab!  Barnabas offers to trade the scarab for Jamison.  Laura refuses.  Barnabas notes how rare a piece it is, originally used to worship the god Re.   Laura insists she knows nothing about it and grabs it back.  I don't believe you, he says, again asking for Jamison.  He's not here, she says.  I saw him, insists Barnabas--I was watching from the window.  Run back to Collinwood and tell them! says Laura, anxious to be rid of him.  I'd prefer to take Jamison with me, says Barn--I want him to stay alive.  Do you think I'd do him any harm? She asks, feigning outrage.  I know you would, he counters--I know what you are.  I am Jamison's mother! She says, infuriated--you are nothing but a very distant relative--how distant, indeed?--someone should answer that question.  Barnabas again orders her to give Jamison to him.  Don't move, she says.  As he moves toward the bedroom, Laura waves her arm.  Barnabas is enveloped in white light and wracked with pain.  I have my tricks, she taunts, just as you have yours, whatever they are.  Jamison exits the bedroom and in his fevered state, mistakes Barnabas for Quentin.  Stay away! Laura commands Barnabas, and tries to encourage her sick son to return to bed.The boy needs a doctor! Says Barnabas and they begin shouting at each other.  Seizing the opportunity, Barnabas grabs the boy, warns Laura she hasn't seen his powers yet, and runs from the cottage. Laura, beaten, screams after Barnabas, "You'll pay for this!  Before this night is over, I'll see that you pay!"

NOTES:  Vampire vs. Phoenix!  Which is stronger?  Laura had Barnabas in a bit of pain there for a while, but he shook it off and saved Jamison--hurray!

Now Barnabas knows there is also a werewolf in 1897 and figures it must be connected to Chris somehow.

Poor Beth is beside herself--she knows the truth, all of it, and she's terrified Quentin, the man she loves, is going to end up dead.  She has good reason to be scared, too.  I wonder--if Barnabas had silver bullets, would he have just arbitrarily shot the creature without knowing who it is?


755 - (Diana Millay) - The great estate of Collinwood in the year 1897.  A year of trial for every member of the Collins family.  For the house is filled with horrifying secrets.  And as the night passes, there is more chance that each will become known.  For Barnabas Collins risked his life to save a child from a horrifying death.

Foyer - Barnabas is pacing in the foyer shortly before dawn. Beth joins him and tells him Jamison is with Edward and Judith, both of whom want to see him before he goes.  He suggests that she go to bed, but she says she can't sleep--Edward must be wrong about the creature wearing clothes and walking like a man, she says nervously, doing her best to protect Quentin--I was attacked, I should know.  I'll be all right once this night is over, says Beth. Barnabas prepares to leave, but runs into. She taunts him about playing the hero--were there tears in Edward's eyes when you brought his son home to him?--and blames the boy's illness on the school--tell Edward I've come for my son.  She tries to stall Barnabas leaving; he says, I'll leave you to plot your revenge.I will have it! Laura hisses at him--before this day is over, I will have it!  After he leaves, Laura gazes balefully at Barnabas portrait.  Beth returns to tell Laura that Edward won't allow her to see Jamison--he's worse. Has a doctor been called for? asks Laura.  Would you object if one was? wonders Beth, who is frantic to get rid of her.  I'm a great believer in doctors, says Laura--why are you watching me so closely?--were you sent to spy on me?  Beth denies her accusation; Laura advises Beth to leave.  I was ordered to lock the door after you left, says Beth awkwardly.  I don't take orders from servants, says Laura--I'm going to stay--what if Jamison calls for me?  They won't let you see him--ever, says Beth.  They'd let Barnabas see him, says Laura bitterly--and Quentin--I'm staying right here!--go upstairs and tell them!   Laura notices the ring in the portrait and starts speculating--it's the custom to wear jewelry to the grave, yes. . .am I so fascinating? She demands of Beth, sneering--perhaps I drove Barnabas away by my sheer presence.  Beth assures her, I'll come to the cottage and let you know if there's been any chance in Jamison.  Laura ignores the maid and continues to speak, almost to herself, about Barnabas' strange habits--he seems like a night creature--have you ever seen him in the daytime?  No, says Beth, but I was probably upstairs, working.  I don't think he's ever seen sunlight come through these windows, says Laura.  Over Beth's protests, Laura dismisses her, and the maid leaves.  Laura goes to the drawing room fire and prays to Re for help in killing "my enemy."

Outside Collinwood - Beth, crying, wonders where Quentin is, and hopes he'll come home soon.  She goes into the house and upstairs.

Drawing room - Laura continues to beg for Ra's help in disposing of Barnabas   She summons Dirk and sends him to go to the Old House, watch through a window and report back to her.  Tell me where to find Barnabas! Laura implores Ra.

Old House - Barnabas leaves a note for Magda--if Quentin shows up, I want to meet with him at dusk--you must remain here today, Laura has threatened me.  He heads toward the cellar, but is stopped by a wall of flames that abruptly appears before him.  He can't get around it.  Dirk watches as Barnabas solves his problem by dematerializing.

Drawing room - Dirk runs to Laura to tell her what he witnessed.  He's not human, guesses Laura, it's as simple as that.  (takes one to know one!)  She wants Dirk to return to the Old House and tells him how to open the secret passageway in the drawing room--Edward told me about it years ago.  Dirk fears Barnabas will catch him, but Laura assures him that won't be a problem--HIS secret has only to do with the day--Magda's at the cottage.  Dirk wants to know what he is searching for: old trunks containing papers, diaries, books, letters--bring me anything written within the last century.

Quentin staggers to the front door of Collinwood, but, hearing Dirk's and Laura's voices, leaves again.

Come to the cottage when you're done, Laura tells Dirk--if I'm not there, go to Collinwood.  They go outside, Dirk still protesting that they're taking a chance, Laura brushing away his fears.  They head out.  No sooner have they gone than Quentin staggers in and collapses in the foyer. Beth cries out, thrilled that he's returned.  She wakes him up and helps him into the drawing room, locking the door behind them.  Tell me what happened to me, gasps Quentin.  What do you remember? She asks.  Nothing after the pain started, he answers.  She can barely bring herself to tell him, but Quentin, impatient, insists--what do I become?--what kind of monster?She says, you attacked me. . .you changed. . .into an animal. Edward and Barnabas saw you, and Barnabas beat you away with his cane--they describe you as "a wolf that walks like a man." Quentin is overcome with horror, and buries his face in his hands.  There must be something we can do, says a crying Beth.  Who did I kill? Asks Quentin.  No one! cries Beth, overwrought.  Look at me! commands Quentin.  It isn't you! wails Beth--you don't know what you're doing--it's the curse!  I'm going to kill Magda, threatens Quentin.  No! says Beth, she's your only hope--she can reverse the curse!  It might happen again tonight, says Quentin fearfully--where can I go?--where can I lock myself up?--where can I go where I'll be safe? (not to mention where others will be safe FROM you!  We can make plans, insists Beth, we have until tonight.  We have to find out everything we can, he insists.  They hug.  Someone knocks.  It's Laura, who wants to know why Beth locked the door.  I misplaced the key, says Beth.  Quentin hides behind the curtains (a favorite Collinwood hiding spot).

At the Old House, Dirk searches the books on the shelf and locates the catch to the secret door.  He opens the panel, steps into the secret room and gazes around the cobweb-covered interior.

Right after Quentin exits through the window, Beth unlocks the door to admit Laura.  I thought I heard Quentin in here, says Laura.  Quentin?--up this early?--you should know better than that, says Beth with a nervous chuckle.  I know him well enough to know this is the time he usually comes in, says Laura dryly--unless you've changed him (bitchy, Laura!). Beth excuses herself--I must go check on Jamison.  She leaves.

In the secret room, Dirk finds a diary written by Ben Stokes (that'll teach Barnabas to show him how to read!)  "I will tell you the story of Barnabas Collins and how he died," reads the diary--"or did he die?"

Drawing room, Collinwood - Laura finishes reading Ben's diary.  Dirk points out that Ben didn't reveal the secret.  No, agrees Laura, but it does prove there IS one--so Barnabas taught Ben to read and write--he's going to regret that (no good deed goes unpunished).  Ben Stokes said that Barnabas' secret would go to his grave with him, Dirk reminds her.  So, says Laura, we'll go to his grave!  You aren't serious, says Dirk--all the book proves is that Barnabas didn't go to England.  When will you learn to do as I say? Asks the impatient Laura.

On the landing at Collinwood, Beth assures Quentin  there's no full moon tonight.  Sarcastically, he asks her, "Am I supposed to be my old self?--should we have dinner tonight?--do you think I can forget about last night--or the night before?"   What if I'm different than the books say?--suppose I change even if there isn't a full moon?  Quentin decides to check with Evan Hanley, seek his advice.  Barnabas arrives, anxious to speak to Quentin alone.  I found out a great deal about our mutual friend, hints Barn--but we must act quickly.  Not tonight, insists Quentin, and exits.  Barnabas gazes at Beth.

Cemetery - Dirk has dug up Ben's grave and has the coffin out.  Ben lived from 1756-1816.  Open it, Laura orders a reluctant Dirk.  When he does, they spy a book in the coffin, and Dirk reaches in to get it.  A storm comes up, and a clap of thunder frightens Dirk.  It's only a storm, Laura says--give me the book.  She begins paging through it when Dirk, alarmed, says, look, someone's watching.She can't quite make out the shadowy figure of Barnabas.  "Who are you?" she demands.

NOTES:  Who are you, indeed!  Quentin's got big problems and brushes Barnabas off when he reminds him of his obligation to help get rid of Laura.

Beth loves a man who turns into an animal during the full moon--and perhaps at other times, too--remember Chris' little problem.

Laura might just learn the truth about Barnabas, and once she knows how to get rid of him, she know she'll dispatch Dirk with a hammer and stake to off the vampire who's only trying to save a family who doesn't even seem to appreciate it.

Love, Robin

750 - (Terry Crawford) - Collinwood in the year 1897, a time of terrifying events that will affect the Collins family for generations to come.  On this day, as the sun slowly moves toward the horizon, one man live in relentless fear.  Quentin Collins would trade his soul to hold back the night, for he knows that with the coming of darkness a curse will be placed upon him--but what it will be and how it will destroy him, he does not know.

Quentin gazes out the window, wondering what form his curse will take.  In the cemetery, Magda assures Jenny that she will have the peace she seeks, and solemnly assures her, your death will be avenged--there will be no escape for Quentin Collins, his punishment will be worse than death, and he will suffer it all the days of his life.  (Jenny was born in 1869, died 1897.)  The headstone fades into Quentin's anxious face staring out the window, which he closes, looking resignedly at the oncoming night sky.

Sandor joins Magda at Jenny's grave.  He helps her to her feet, telling her they will go back to the house now.  Magda wants to stay longer.  We must leave tonight, insists Sandor, because when the curse begins to work, our lives will be in danger.  Patting her husband's hand, Magda assures him, I know of protection for us, but the Collinses will be in danger--each of them could be a victim of Quentin's curse--I don't want to leave, but stay and watch them be destroyed, one by one (a distant relative of Angelique's perhaps?)

Judith, wearing a lovely green velvet dress, tends to her mail.  She asks Beth into the drawing room and hands her a letter terminating her employment at Collinwood, plus two weeks' severance pay--you can thank Edward for the latter; says Judith, frankly, I was against it.  Beth timidly asks, why am I being fired?  Judith gives her a look and says, with Jenny gone, your services are no longer needed.  Beth, shocked at this abrupt dismissal, doesn't know what to say.  Judith doesn't understand why--you were only kept on to care for Jenny.  What about the children? asks Beth.  They'll stay in Collinsport with Mrs. Fillmore, replies Judith.  They could be brought back here, with Jenny gone, suggests Beth eagerly.  No, says Judith, not very practical, and how to explain two infant children suddenly arriving at the house?  Tell the truth, says Beth, that the children belong to Quentin and Jenny.  Impossible, says Judith sternly, Quentin must never know about the children.  I never understood why you and Mr. Edward decided to do that, says Beth--it seems to me Quentin should know about the children.  Judith notes, you seem very concerned about Quentin lately.  What is that supposed to mean? asks Beth.  That your infatuation for my brother hasn't gone unnoticed, says Judith--the servants have been gossiping about it for a month.  Is that the real reason for my dismissal? asks Beth.  The reason for your dismissal is stated in the letter, says Judith cruelly, sending Beth scuttling away.  Quentin returns home and Judith meets him.  Everything is settled, he says--you'll be rid of all of us by nightfall.  Splendid, pronounces Judith--where are you he going--just so I can forward your mail and refer any creditors you might have accumulated.  Quentin laughs--you do think of everything!  "I try to," she retorts.  Magda knocks at the door; Judith answers.  Quentin, heading upstairs, stops.  I have come for my sister's possessions, says Magda--or have you also buried them?  Judith curtly tells her, I'll have Beth put them together, but in the meantime, I suggest you pack your own things and be ready to leave tonight.  What makes you think we're leaving? asks Magda.  If you expect anymore money than you've already been given...begins Judith.  I wouldn't take a penny from you, insists Magda--you have always treated us badly because we are gypsies and inferior to the great Collinses, but we are faithful to something you don't practice--betraying your own flesh and blood! (You GO, Magda!)  Judith is horrified to hear they didn't take the money.Quentin listens as Magda explains, we gave it back to your brother, the murderer.  "That's enough!" Quentin orders.  Magda notes with satisfaction that he's beginning to get frightened now that the time is drawing closer.  Quentin advises her to try her curse on someone else; he's leaving Collinwood tonight.  She laughs.  Leaving won't stop the curse, she exults, you can't escape it no matter where you go.  GET OUT OF HERE! Quentin shouts.  Whatever you say, agrees Magda, I'll send Sandor for Jenny's things.  She leaves.  Judith tells Quentin he's an unspeakable liar and demands back the money.  I'm keeping it; he says, you want me to leave, don't you?  Yes, agrees Judith, but I want the gypsies gone, too.  I did my best, but for once they weren't interested in money, explains Quentin.  Then you didn't keep your end of the bargain, insists Judith.  Q tells her to stop it--I gave you a signed agreement waiving all my rights to my inheritance.  She agrees to give it back, but he doesn't want it, he wants to leave but needs a "small financial stake."  I would hardly call 10 thousand dollars a small stake, she informs him.  You're right, he says, but I'm not as good at pinching pennies as you are.  "You want the money, Judith?" he barks.  "Sue me!"  And he races upstairs, leaving her fuming.

5 PM - Beth carries Jenny's two baby dolls downstairs into the drawing room, along with the black dress we saw Jenny wearing most of the time.  She lovingly tucks them into a suitcase.  Quentin tells her to start packing her own things--we are leaving Collinwood tonight.  We? asks Beth--I have no choice in the matter?  (like she really wants one!)  I thought you wanted to go with me, he says.  I thought so, too, says Beth.  Are you changing your mind? He asks.  I don't know, she confesses--so much has happened.  I have to leave Collinwood and want you to go with me, he says.  Strange, she says, I never thought of leaving Collinwood.  Start! says Quentin--I don't see why Judith would want to keep you on.  I have been dismissed, she reveals.  So there's nothing more to think about, he says.  I still have a memory of Jenny, says Beth.  You can't afford to think of her now, says Quentin (cold man!) but Beth can't help it--that pathetic, dead face, the way she looked at both of us just before she died. . ..  It was something that couldn't be helped, he insists.  Beth isn't sure that's true.  Do you think I killed Jenny deliberately? He asks.  I don't know, she says--that's why I feel as I do--I'll never know.  He grabs her and says, "Well I didn't!  I was trying to protect the two of us, she had a knife in her hand, she would have killed us!"  She begs him not to discuss it anymore.  Are you coming with me? he asks.  Holding one of the dolls, Beth repeats, I don't know.  You have no reason to stay here, points out Quentin, do you?  She glances at the doll in her arms.  He demands an answer--do you have any reason for wanting to stay at Collinwood?I guess I don't, says Beth.  Are you coming with me? he asks for the umpteenth time.  I'll let you know later this afternoon, she promises.  That will be too late, he starts to say, but someone knocks at the door--Sandor, for Jenny's things.  They're ready, says Beth.  Sandor follows her into the drawing room, giving Quentin a look before joining Beth.  Beth closes the suitcase and tells Sandor, that's everything.  Quentin asks to speak to Sandor, who doesn't want to talk to him.  Q asks Beth to leave and closes the doors.  I consider you a practical man, says Q, and want to offer you a handsome proposition.  You have a short memory, says Sandor--your proposition was already rejected.  This is different, insists Quentin--I offered you and Magda 10 grand, now I'm offering the same amount to you alone.  "And you expect me to take it?" asks the gypsy.  Quentin chuckles--you didn't fool me down at the Old House, when I mentioned that money, your eyes bulged.  Sandor agrees it's tough to turn down.  Take it, urges Quentin, keep it for yourself--Magda need never know about it.  If I take it, asks Sandor, what do you expect from me?  You know as much about the curse as Magda does, right? Asks Q.  Maybe, says Sandor.  When Magda places the curse on me, you can remove it--whatever is done can be undone.  I don't know how, says Sandor.  Ten thousand in cash, says Quentin, all yours.  "How miserably you fail to understand us, Quentin," says Sandor.  Stop preaching; orders Quentin, you'd cut your best friend's throat for a tenth of what I'm offering you and you know it!  Of course, agrees Sandor--it hurts to see that money slip through my fingers, but would hurt me even more to lose Magda, so I can't betray her.I'll give you all the money if you just tell me what the curse is, offers Quentin.  What good will that do? asks Sandor.  I want to know what to expect so I'll be ready for it, says Q.  Sandor notes, you're beginning to sound desperate.  Quentin demands, tell me what it is!  Wait and find out for yourself, says Sandor.  No, says Q--perhaps you can't tell me, because it's just a lot of gypsy gibberish, like Edward said--if there were anything for me to be afraid of, you would relish telling me.  Only a few more hours, Quentin, says Sandor--"Only a few more precious hours."

Dusk - We see Jenny's headstone.  How much longer? Sandor asks Magda.  Be patient, she says.  I don't like graveyards, he complains.  In a few minutes, the sun will disppear, she says, and the moon will rise and it will be time--for us it will take a few moments, but for Quentin, it will last a lifetime.

Quentin, carrying his carpetbag and dressed in his cape, descends the stairs and goes into the servants' quarters.  It's 7 PM.  Beth has packed her belongings in a suitcase, which she closes.  She glances through the window.and begins tying a hat on her head.  Quentin comes in, joyously holding and pawing her.  "You decided to come with me, eh?" he asks.  Yes, she says, pulling away from him.  You don't sound very enthused, he complains.  Beth turns to look at him, then asks, why do you want me to go with you?  That's obvious, he says, for a long time--"I love you, Beth."  I've been thinking about us since the other night, she says, and if we are going away, you must be honest--you don't want me along because you love me, because I'm not sure you love me--or anyone (wise gal).  Quentin doesn't answer, but turns away from her when he denies what she said.  You want me with you, says Beth, because you're the kind of person who can't ever be alone or do anything alone--people mean nothing to you, you use them and when you're tired and bored, you discard them in favor of new ones.  If that's the way you feel, he asks gently, why have you decided to come with me?  I love you, she says, and care about what happens to you--every instinct tells me not to go, but I'm going anyway.  He takes her in his arms and assures her, you won't regret it, then plants a big kiss on her.  I'll take you back to the carriage, he says.  I have something to do, she says, a personal matter in Collinsport.  There isn't time, he says desperately--it will be dark soon, we must leave.  Beth, however, insists, I must go.

The moon has risen.  It's time, Magda tells Sandor.  She scoops up dirt from Jenny's grave and says, "Let my voice be carried by the wind, be taken to the surrounding countryside, heard by all the tribal chiefs and prophets. . ..I speak for one of us who has been struck down and for whom we must secure justice.  Listen!  Hear my words!  Honor my wish!"  She makes the two-fingered sign and says, "I place this curse upon Quentin Collins, and upon all his male kin of succeeding generations..."Quentin shakes Beth, demanding she tell him what she must do in town, but she, equally adamant, insists, I can't explain it--let me go!  Forget it and come with me! he says.  I want to go, pleads Beth, it will only take a few minutes.  There isn't that much time! he shouts.  Why not? she asks.  It's getting dark out, he says, and the gypsy told me. . .Quentin abruptly begins to experience terrible, terrible pain, tearing at his insides--I can't bear it! he cries, I feel like I'm going to die!--get a doctor, before it's too late!  As she runs from the room, Quentin falls to the floor, writhing in agony.  A dog howls.  We see the full moon.

NOTES:  Magda's curse against her brother in law has officially begun!  Wait until she learns she has cursed her own kin, her niece and nephew, whose existence she isn't even aware of.  Edward and Judith hate Quentin so much, it's scary to see siblings feel this way about each other.  Beth's feelings about Quentin are right on the mark, so true--he can't love anyone, at least not now.  His cowardice was embarrassing to watch today; he really was acting like a terrified girl!  Loved Terry Crawford's performance.  She has such dignity, and even though she knows Quentin probably doesn't really love her, she loves him and that's enough to make her go with him.  A loyal woman, too.  Her desire to bid goodbye to Quentin and Jenny's children is so sweet.  That Judith and Edward agreed to keep such a secret about Quentin's children is shocking, unconscionable!  I also felt it wrong for Jenny to be buried so quickly, without her family in attendance.  One wonders why they bothered with a headstone at all--but of course, for the sake of propriety.  Did anyone in the village know of Quentin's marriage to Jenny?  Didn't anyone wonder where she disappeared to so suddenly?

Wonderful episodes, and fabulous performances by all.


751 - (KLS) - Collinwood in the year 1897.  In the cemetery, Jenny Collins lies, newly dead.  At her grave, her grieving relatives wreak their gypsy vengeance against the man who murdered her.  And in Beth's room at Collinwood, Quentin Collins begins to feel the stirrings of the curse that was put on him.

Beth rushes to the phone (which today is conveniently located on the table in the foyer.) There's a knock at the front door.  Forgetting for a moment that she doesn't work at Collinwood anymore, she puts down the phone to answer it. Rachel enters, panicked, out of breath--I must speak to Judith or Edward or Quentin--somebody--about Jamison! She insists.  Nobody's home except Quentin, says Beth, and he's gravely ill. She returns to the phone and calls the doctor, who isn't in. She leaves a message for him to call back, then tells Rachel she's got to return to Quentin.

At the new Worthington Hall (which looks pretty much like the old one, even though it's supposed to be at the House by the Sea now), young teacher Dorcas Trilling reports to Reverend Trask the results of her evening of spying on Rachel--she pretended to be asleep, tattles Dorcas, then got up and went to Collinwood.I figured she'd do that, says Trask, to tell them about Jamison. He thanks Dorcas for her excellent report.  Dorcas, clearly smitten with the Reverend, tells him, you inspire me (to lust, one would assume, but God knows why).  You're a comfort to me, praises Trask, but certain other teachers here (Rachel, I guess), are a trial. Why don't you just get rid of Rachel? Asks Dorcas bitchily.  Because Rachel sometimes makes me feel animal instincts, confesses Trask, like anger and ugliness (and unmitigated lust?), so having her around gives me an opportunity to face those feelings and fight them, so I can ultimately overcome my baser self.  (pardon me while I hurl!) Therefore, he finishes, I will keep her here until I become as pure as I wanna be.  (my paraphrase)

Back at Collinwood, Beth and Rachel go to Beth's room and find it ransacked, Quentin gone.  As Beth looks around, Rachel starts trying to tidy up. Speculating that Quentin might have had some sort of seizure and wrecked the room this way, Beth tearfully begs Rachel, help me!

Trask and Dorcas continue his admiration party in the classroom. I can't imagine you being cruel or angry, trills Dorcas. He reminds her of times he's raised his voice, and even the time he locked Jamison in the "mediation room." That was righteous cruelty, righteous anger, insists Dorcas, and makes me admire you all the more.  Trask appreciates her assessment.  I'll pray for the day that Rachel stops being a trial to you, Reverend, says Dorcas prayerfully, so you can send her away (and maybe you will then lust after ME!). In the meantime, says Trask, I have to do something about Rachel's visit to the Collins family tonight--Dorcas, give Jamison his supper, but not too much--"Just enough to make a liar out of Rachel." He looks immensely pleased with himself.

Beth and Rachel search the house but found no trace of Quentin. Beth suggests that Quentin might have been dragged from the house by some horrible mad creature--he might be dead! Rachel wants to call the police.  Beth says Judith believes the police always get in the way, and she's right. We should tell Judith, or Edward, suggests Rachel.  Beth nixes that, too--Judith is in Bangor, Edward dining at the Old House. Rachel suggests calling the Old House and even picks up the phone, but Beth reminds her the Old House has no phone.  Rachel, growing impatient, wonders if there's something Beth isn't telling her, then says, I don't understand the Collinses and their secrets. "What is it they try to protect Beth?" she screams--I'm glad I'm just the governess and not a member of this nutty family. Beth reveals, I might be a member of the family myself one day--Quentin and I were planning to go away together, start a new life--if we could only get away, I'm sure everything would be all right.

Back at Worthington Hall Trask is praying when Dorcas enters the room with a tray for Jamison. I've changed my mind, says Trask--I don't want you to take the food to Jamison after all, because that's exactly what Rachel would want me to do--I'm going to call Judith and tell her I'm trying to save two deluded souls--a boy who cheated on his exams, then lies to his teacher, to convince her he was being mistreated.  Dorcas remarks that it's hard to imagine Jamison having to cheat on his exams--he's such a bright child.  Trask, amused at Dorcas' innocence, says Jamison is smart, too smart, and sometimes a little arrogant about it, so confessing to something he didn't do is just the thing to humble him. He calls Collinwood, Beth answers. Judith isn't here, she says.  Trask asks for Rachel. Beth hands Rachel the phone.  Trask starts intimidating her right away. He uses the murder and robbery accusation when she threatens to tell Edward that Jamison is being denied food. Trask insists the boy's soul is having "a glorious feast."  He orders her to come back to the school immediately and hangs up. Trask, meanwhile, caresses Dorcas' shoulder.  Rachel beaten once again, tells Beth, I have leave. What did you want to see Quentin about in the first place? Asks Beth.  It's not important, says Rachel in a small voice.

Out in the woods, Rachel thinks she hears someone approaching. Hearing the footsteps coming closer, fearing for her life, she does what any woman would do who believes herself being pursues--she stands perfectly still and screams.  Reverend Trask comes up behind her.  She tells him, I thought I heard someone following me. You're safe with me, he assures her (says the big bad wolf to Little Red Riding Hood).  He takes her back to the school.

At Collinwood, Beth is on the phone with Evan Hanley, who has no information about Quentin. He says he'll come by tomorrow, and Beth, discouraged, hangs up.

Meanwhile, at the school, Trask accuses Rachel of lying about hearing footsteps in the woods. They argue about her wickedness (she says she's not, he says she is), Rachel stealing food for Jamison, and a few other gripes between them.Trask says he'll drop the charge of stealing if she'll pay for the food with one week's salary. Rachel screams that that's a pretty high price, especially since, you took the food from me before it ever got to Jamison in the first place. Trask doesn't like her attitude, so he cries, I have heard enough, and slaps her.  Afterwards, Trask insists, everything I'm doing is for your benefit. He leaves to meditate.  Rachel catches Dorcas outside the door eavesdropping. They get into a big argument about Dorcas' spying on Rachel.Rachel tells Dorcas you and Trask deserve each other, then leaves. A moment later, a window shatters, and Dorcas screams in horror, "Stay away from me!"

Trask, hearing the screams, runs to the classroom. Rachel is already there, gazing at Dorcas, dead body on the floor, crying, in dismay, "Her body is mutilated!"  Trask, surveying this suspicious scene, wants to know who did this.

The next morning, Beth finds Quentin lying unconscious on the floor of the foyer, wearing a bloody, torn shirt (nice view!).His hair is disheveled and he's covered with leaves.  Quentin comes to and asks what happened.  She describes how he disappeared, and says, you've been gone all night--where have you been?--how did you get like this?  They're both dismayed to realize he doesn't remember a thing.

NOTES:  Trask and Dorcas had a neat little mutual admiration society going there.  One can imagine him making love to her while fantasizing she's Rachel, since she's the one who has captured his heart--or some other portion of his anatomy.  Trask is worse than his father, who at least believed in what he was doing.  Trask seems given to all the back temptations and then some.  That he's influenced Dorcas so easily is really scary, and Lord knows what perverse things he has her performing on him in the name of righteousness.

At least Rachel cares enough to see to it that the kid has gotten a bit to eat.  Beth cares about Quentin, too, and is frantically trying to locate him.  When she finds him, his state of dishevelment terrifies both of them.  Because of what we've witnessed happening to Chris, WE know he killed Dorcas, but at this point, Quentin, a newly-minted werewolf, has no idea what he's done.  Which brings up another question--is Chris related to Quentin somehow?  It seems likely.  Why, then, didn't Tom end up a werewolf, too?

Love, Robin

748 - (Grayson Hall) - The time is 1897.  Here in the past, Collinwood harbors secrets that can affect the lives of the Collins family for many generations to come.  Barnabas Collins has returned to the great house in this era gone by in an effort to save the lives of two people in the present.  One by one, the dark secrets of Collinwood have been unfolded to him.  Now he has learned of the existence of Quentin Collins insane wife, Jenny, who has killed before, and on this night is ready to kill again.

Beth sees Jenny approaching over Q's shoulder and screams.Quentin and Jenny grapple for the knife.  Jenny screams incoherently at Beth, then tries to attack her.  Quentin and Jenny continue to battle for the knife, Quentin trying to force the weapon out of Jenny's hand.  He finally forces her to drop it, but immediately after doing so he encircles her throat with his hands and squeezes.  Beth tries to make him to let her go, but Quentin says, "I can't, I won't."  He puts more pressure on his wife's throat, pushing her down onto the bed with all his strength.  When he's done, Jenny is dead.  Shocked at what he's done, Quentin runs out.  Beth leans over Jenny.  "Oh my God!" she sobs.  Jenny's eyes are half open, but she is definitely dead.  Beth, too, runs from the room.

Edward returns home, looking quite spiffy in his top hat.  He takes off his coat.  Beth runs out, sobbing.  She tells him Jenny is dead, that Quentin accidentally killed her--he didn't mean to do it, Jenny had a knife!  Edward orders the hysterical woman to get hold of herself.  In the face of his stoicism, Beth calms down and tells him, Jenny is in my room--dead.

Drawing room - Quentin holds out his hands and stares at them in disbelief.  These are the hands that murdered my wife!  He sneaks from the drawing room and goes upstairs.

Edward takes Jenny's pulse and agrees she's dead, all right.  Beth moans in horror.  Edward demands an explanation.  All Beth can says is, "I didn't want her to die!"  Edward orders her to listen--you must tell me what happened.  Quentin was there protecting me, blathers Beth, he killed Jenny, but didn't mean to.  Why did Jenny attack you? asks Edward.  We didn't know she was in the room, Quentin and me--she was hiding.  Edward asks what she and Q were going there, but she can't tell him, and he figures out for himself that she was in Quentin's arms.  When Jenny saw her faithful servant betraying her, her first and only instinct was to kill, accuses Edward.  Beth begs him to stop.  Where is Quentin? Asks Edward.  He ran from the room, says Beth.  Of course, says Edward, finding the knife on the floor.  He orders Beth to return it, and with shaking hands, she takes it from him.  Why did Jenny come to your room in the first place? Queries Edward.  I don't know, answers Beth.  What are the clothes doing on her dresser? He asks.  I was taking them into the village, to the children, says Beth.  Yes, says Edward, Jenny's children.  And Quentin's, too, Beth reminds him.  "God help them," says Edward, "she must have seen them here."  Yes, agrees Beth, sobbing--Quentin doesn't know, I'm sure.  He orders her to get rid of them--and when you're finished doing that, get rid of the knife and fix the cut on your face--you did it by accident.  Beth touches the scratch and tries to talk to him, but he commands her to just get busy--much to be done, little time to do it.  Beth puts down the knife, touches the baby clothes, and cries her heart out.

Quentin, bag in hand, cape on, starts sneaking downstairs, intent on escape.  Edward spies him and grabs the bag.  I can't stay, insists Quentin.  You aren't going anywhere, Edward insists, you're staying right in the house!

Drawing room - Edward closes the doors.  Quentin tells his brother he didn't mean to kill her.  Edward believes it because Q is too cowardly to commit murder.  The police won't believe it, says Q desperately--that's why I must leave.  No way, says Edward.  Quentin refuses to go to jail for something he didn't mean to do.  While Edward would like to see him punished, he assures him he isn't going to jail--listen carefully to me, he tells Quentin and Beth--Beth, an hour ago, you found Jenny at the foot of the stairs--she appeared to be dazed, and you took her to your room, where she said she felt dizzy--you left the room to get help, and when you returned, you found Jenny lying on your bed--when you tried to revive her, you realized she was dead.  That isn't true, points out Beth.  Quentin insists no one will believe it.  Edward snarls at them that this is the story they are handing out, and no one will have any choice but to believe it.  Why are you protecting him? asks Quentin  It's not for you, says Edward.  Family honor and pride, suggests Q.  Edward agrees--no besmirching the family name!This is one time you can't do it, says Quentin--there are too many people who will ask questions.  I thought only Judith and Dirk knew of Jenny's being here, says Edward.  Q brings him up to date--a lot has happened while you were away, and Barnabas met and talked to Jenny--he and Judith are searching for her now.  Edward is sure that, being a Collins, Barnabas will back them up, even if he knows the truth.  What about the gypsies, they know, too, says Quentin.  Their silence will be paid for, says Edward.  No, says Q, what you didn't know was, Jenny was Magda's sister.  This stuns Edward: "YOU MARRIED A GYPSY?"  This is no time to be socially offended, says Quentin, there is no use in trying to cover this up!  Edward insists otherwise.  Someone knocks at the door.  Edward says I will take care of the problems myself--you two are not to move until I come back.  And he closes the double doors and answers the front door.  It's Magda and Sandor.  She demands to know where Jenny is--we're worried about her and know she came here to see Quentin--has she been found?  Yes, admits Edward.  Magda wants to be taken to her, but Sandor realizes something has happened.  Yes, an accident, says Edward--Jenny is dead.  Magda's face crumples as Edward explains she fell and hit her head coming down the stairs, and died a few minutes later.Quentin listens at the door.  Edward tells Magda, I know you are related, and I'm sorry.  He agrees to take Magda and Sandor to Beth's room, where Jenny's body lies, but the gypsies insist on going alone.

Edward joins Quentin and Beth--you heard it all, he realizes.  I can't face them if they come in, says Quentin.  Edward yells, they are coming back, and you will calmly face them!  How? asks Q.  Edward grabs his arm and says, do exactly as I tell you--it's your only hope for survival.

Magda and Sandor enter Beth's room where Jenny rests on the bed.  Magda bursts into tears, kneels, takes her sister's hand.  If she had stayed with us, she would have been alive today, wails Magda.  What might have been can never be, says Sandor.  Magda touches her sister, folds her hands over her chest, and cries.  In Jenny's hand, she finds a button, which she holds up to show Sandor.

Magda and Sandor realize Edward lied to them; Jenny fought for her life.  They find bruises on her neck.  Jenny was strangled to death! says Magda, vowing to avenge her death.

Edward goes over her explanation of what happened with a hesitant Beth--remember every word of it, orders Edward--Quentin was outside searching the grounds.  Beth gasps at the knock at the door.  I'll do all the talking, insists Edward--don't speak unless spoken to.  Sandor and Magda enter--we have questions--who saw her fall downstairs?  No one, says Edward.  How do they know she did?  Are you suggesting she was pushed? Edward asks Magda.  Maybe, replies the gypsy.  Quentin looks uncomfortable.  She was alone, continues Edward, so she must have tripped and fell downstairs--Beth found her at the foot of the stairs and took her to her own room.  Sandor gazes at Quentin.  Magda asks Beth if it's true.  Edward demands, do you doubt me?  I have reason to doubt you, replies Magda.  Sandor points out that Quentin is missing a button from his coat--it marches one Magda found in Jenny's hand.  "MURDERER!" Magda mutters to Quentin, who claims not to know what she is talking about.  Edward wants to know what she's doing.  "You killed my sister!" accuses Magda, attacking Quentin physically.  Sandor tries to pull her away from Quentin.  Edward continues to insists Jenny had an accident.  Magda tells Edward he's lying to protect Quentin.  Edward insists it's the truth--if you don't believe me, I'm sorry.  She threatens him with the police.  What will you tell them? he asks.  That Quentin strangled my sister, says Magda--it wasn't an accident.  Edward asks her who the police will believe--a gypsy or a Collins?--they will demand proof, and all you have is a button Quentin could have lost, and you could have found, anywhere.  Magda thinks it over and realizes Edward is right--she turns to Quentin--I warned you if anything happened to Jenny, you would be sorry--I will keep my word--I will set a curse on you that will last all the days of your life--"You will suffer as she suffered--you will wish that you were as dead as she is!But it will not be possible!"  She spits at him (we hear it, but don't see it).  Then Magda and Sandor stomp out, dignity intact.  Quentin begs Edward to stop her--she's serious, she'll do it, put a curse on me!--I believe it, she can do it!  Words, says Edward, our only defense, and if you believe she can do it, you are past saving.  Edward heads off to tell Judith and Barnabas of the unfortunate accident.  Beth races to leave.  Quentin begs her not to go.  Terrified, she stares at him, then runs off.  "Beth!"  he calls.  Left alone in the drawing room, Quentin remembers Magda's threat to set a curse on him that will stay with him all the days of his life.  He sees her fingers outstretched in the "curse" position and covers his head as if trying to hide.

NOTES:  Poor, sad, luckless Jenny.  Did she have to die?  Quentin had already gotten the knife away from her, yet he persisted in strangling and killing her.  It seems like such a sad fate for a pretty woman whose only crime was in wanting to rise above her gypsy status and marry a man she clearly loved.  And if Quentin married her, must he not have loved her?  Given how "free-spirited" he is, one would assume he wouldn't ever have gotten married--what made him choose to marry Jenny.  Beth, torn between wanting Quentin for herself and her loyalty to Jenny, wishing she would just disappear so she can have him--it's tough to love a married man!  Lots of facets there.  Notice how completely Edward took over, the keeper of the family's good name (yeah, right).  However, there are much deeper layers to this tragedy, more than Magda knows.  Now we know that Jenny and Quentin had REAL children, and that Beth has been bringing money and clothing to whoever is watching them.  Wonderful performances by Edmonds, Wallace, Hall and David.  Note how horrified Edward was to discover Quentin had married a gypsy!  Such a snob!  A classic episode here.


749 - (Louis Edmonds) - Not even the bright dawn of a new day will dispel the terror of one man who live sin the great house of Collinwood.  Quentin Collins has spent a sleepless night in his room.  His has become an existence of uncertainty and fear.  But he knows that in the Old House on the Collins estate, two people are plotting his destruction.

(Quentin seemed far more concerned about his own hide than the fact that he killed his wife.  He still has a long way to go to works towards redemption.)

Old House - Magda tells Sandor, I found what I wanted; I'll mix it with the potion and it will be ready.  Sandor advises her to just kill Quentin and get it over with, but she tells him a curse is far more satisfying, even if it's not as easy.  Are you sure it will work? he asks.  Yes, she says--I haven't done it before, but have seen it happen.  She flicks her hand over a flame onto what appears to be Blair's cup.  Magda tells Sandor that once, many years ago, a very old gypsy woman agreed to help Count Petofi (first mention of a future character) rid himself of an enemy.  She did it for him, but he didn't pay her--to get revenge, she placed a curse on him--I saw what happened to that man--I would tell you, Sandor, but better for you to see it happen to Quentin.  She pours some amber colored liquid into what looks like a test tube and holds it up.

Quentin, in his room, is having a tough time of it.  He stares at himself in the mirror, sits down, leans back, then stands again, as if he's itching all over.  He hears a knock at his door; it's Edward.  Quentin takes a key from his pocket and lets him in.  Edward observes he looks frightful and advises him to get some sleep.  I can't, says Quentin.  Your body will give in, says Edward, sooner or later--I've explained Jenny's "accident" to Barnabas, and our cousin accepted it. How can he be sure? asks Q.  He has no way of finding out the truth, says Edward evenly.  Quentin tells Edward not to be so stupid--the gypsies know and can tell Barnabas everything!--they know!  They are powerless, says Edward.  I'm sure Magda will put a curse on me, says Quentin, I'm sure of it!  You're being foolish, says Edward. Quentin yells at his brother--I need lots of money, perhaps I can buy Magda off--if you do this for me, I promise I won't ask another thing as long as I live.Edward considers it, rubbing his chin, drawing it out to make Quentin sweat.  "I'm begging you!" wails Quentin.  How much will it take? inquires Edward.  A lot, says Quentin, ten thousand, in cash.  Edward doesn't have it, but Judith does, they agree.  I will ask Judith if, on receipt of the 10 grand, you will sign a paper waiving your inheritance in Grandmother's will, says Edward--you will leave Collinwood and never return.  This offer horrifies Quentin.  The terms aren't negotiable, says Edward--think about it.  Q immediately accepts his terms--just please get  me the money! cries Q.  Edward eagerly leaves to take care of everything. Quentin locks the door after him and stares at his terrified reflection.

Edward opens the front doors to Magda and Sandor and warns, you had better not be here to levy anymore ridiculous charges.  "We have come for my sister's body," says Magda quietly--according to custom, she will be laid to rest by her own kind.  Too late, says Edward, for your pagan rituals--Jenny was buried this morning.  "You had no right to do that!" shouts Sandor-- "She was of our family!  It was your guilt that made you do it!" he says, getting right into Edward's face.  Magda informs Edward that he hasn't heard the last of them, or of Jenny, whose spirit won't rest.  They leave.  Edward looks self-righteous.

Quentin paces his room, awaiting doom.  He sits down in a chair and, exhausted, falls asleep.  He hears Jenny calling him, telling him not to sleep, but to stay awake and very alert--because she's coming back for him.  Quentin calls Jenny frantically.  He sees one of her dolls on a table.  Did Jenny's ghost leave it there? (Accuracy note:  That's a modern doll with a hole in her mouth for feeding.  I doubt they had such dolls in the 19th century.)

Quentin takes the doll in his hands, then slams it back down on the table.  He abuses his chair, too.  Edward visits him again.  I just heard Jenny's voice, Quentin says--she was warning me she'd come back.  Jenny is dead, says Edward, and all you heard was your own conscience.  My conscience didn't leave that doll! Quentin cries.  They look again--the doll is gone.  It was there, protests Quentin, just a few minutes ago.  You imagined it, says Edward.  I DIDN'T! says Quentin.  Edward grabs his arm and tells him to get hold of himself.  Quentin plops down in a chair and buries his face in his arms.  Edward informs him that Judith added one condition to the deal--you must persuade the gypsies to leave with you--you'll have to wait for the check until this afternoon; Judith went to Evan Hanley to make it very legal.  Quentin squeals unhappily to hear this.  The paper will be ready by mid-afternoon, then the money is yours, says Edwards.  Quentin wants it expedited, but that's impossible--sleep, Edward advises. I can't, says Q--stay with me, Edward, he begs, to Edward's amazement).  Quentin is near tears as he begs his brother not to leave him alone--just until Judith comes back--I don't want to be alone, blares Quentin.  Call your maidservant friend, suggests Edward.  I don't want Beth to see me like this, protests Q.  I don't blame you, says Edward contemptuously, and leaves him alone.  Quentin locks the door and picks up a book.  He once again drifts off to sleep (seemingly) and hears Edward telling him to sleep, sooner or later his body will give in--he must. . .Quentin dreams.  He sees and hears a tambourine shaking.  Magda enters his room and asks if he's ready.  He tells her to stay away from him.  Don't be frightened, she says, this is a simple ceremony.  He refuses to come with her, but she says you must--Jenny is waiting for you.  He refuses, ordering her out.  Magda shakes the tambourine, telling him, you can't resist.  No, he says, "I won't go, please don't make me do this, I'm begging you."  He goes with her anyway, compelled to, protesting all the way.  She assures him it will only take a moment.  He follows the sound of the tambourine through darkness, into Collinwood's drawing room.  She knocks at the door.  Sandor answers.  You have brought him--good, he says--we can begin the ceremony now.  What ceremony? asks Q.  "An old belief among the gypsies--the body and spirit of one who has been murdered cannot sleep until it has been blessed by it's murderer."  Q swears, I didn't murder her--she had a knife in her hand and was going to kill me.  Sandor assures him there is no need to defend himself, there is no hatred or anger here.  He leads Q into the drawing room where Jenny's body lies and tells him to look at her--see how beautiful she is, says Sandor.  As beautiful as the day she married you, adds Magda.  She's so different, says Quentin, so peaceful now.  Sandor says, she can't find peace until you bless her.  It will bring both of you the peace you need, says Magda.  You won't rest until you do this, says Sandor--go to her, touch her hand.  Quentin reaches out his hand and touches Jenny's.  She opens her eyes.  "You're alive!" he moans.  "Only for a moment, Quentin," Jenny tells him--"long enough to give you a kiss of death."  She kisses him.Sandor smiles and says, "The kiss of death!"  Magda declares the ceremony complete with the kiss of death, and shakes her tambourine to signal it.

Quentin awakens, twisting in his chair, screaming in a high-pitched wail of protest. NO! he screams.  Edward knocks at his door.  Quentin, staggering, unlocks and lets him in.  It's all right, he says, I had a nightmare--I know what Magda is going to do--keep Jenny here to haunt me--that's my curse--Edward, we must do something.  It's done, Edward assures him--he gives Quentin the agreement, which Quentin takes without even reading, and demands the money.  Quentin grabs the envelope from Edward.  Judith wants you and the gypsies gone by tonight! calls Edward.  They'll be gone, says Quentin, running out.  Edward grins with pleasure, surveying his hated brother's signature on the contract.

Sandor tells Magda, who is looking at amber fluid in the vial, Quentin will suspect us, whatever we do--how can we get him to drink the potion without him knowing it?  He won't suspect if he doesn't know, says Magda--my plan will work, she assures him, we have the rest of the afternoon to think of a way.  Sandor looks out the window and tells her, Quentin is coming; our prayers have been answered.  She puts the vial in the desk, then answers the door.  You aren't welcome, she starts to say.  Quentin assures her, I can make it worth your while to remove the curse--now--I know what the curse is--Jenny's ghost has already appeared to me and won't let me rest--I'm willing to give you all the money I have if you stop it.  "You came to buy me!" exclaims Magda, making a face at him.  Sandor, grinning, tells her to wait.  I'm insulted at his offer of filthy money, insists Magda.  Quentin admits, I came to buy you off and aren't ashamed to admit it--I want to tell you how much. Yes, he hasn't said how much, smiles Sandor.  Magda says her husband's  name in an angry, disbelieving voice.  Let him show us, then he can go, suggests Sandor.  Quentin offers them 10 thousand dollars, cash--I have it right in my pocket.  Sandor wants to see the money, but Q insists on hearing Magda's answer first.  Sandor points out, we could travel very far on so much money.  Quentin agrees.  We could do all the things they always wanted, live like kings!, adds Sandor.  Magda wants to see it.After your answer, says Quentin.  "May my poor sister forgive and understand me," says Magda, pointing at Quentin with the two-fingered gypsy salute.  "I remove the curse, she says, and all your suffering."  He hands her the money, gratefully thanking her.  Sandor suggests a drink to seal their bargain, saying Quentin has been relieved of a very heavy burden.  While Magda counts the money in her lap, Sandor prepares three drinks, pouring the amber liquid into one of them.  Magda happily says, we are all satisfied--we are rich and you are free!  Sandor hands out the drinks and suggests a toast to that.  Quentin drains his doctored drink, stands and says, I'll be on my way now--minus ten thousand dollars, of course, but it's worth it--at least I'm free of the curse.  He starts to leave.  Magda informs him, the curse has actually just begun--you thought the curse was Jenny's haunting.  She tosses the envelope filled with money at him--that was just your guilt--"Keep your rotten money," she says, "I just pretended to take it so you could relax and have a drink, because the potion that would make the curse effective was in that drink.  THE CURSE WILL START TONIGHT!"

Quentin's eyes widen in horror.

NOTES:  OK, Quentin was totally fooled, and if he'd really known the meaning of family loyalty, he would have realized he was getting off too easily and quickly.  Magda's ire over losing her sister was huge, so much more than Quentin could comprehend, because he doesn't seem to have much use for any of his siblings, and all they want is for him to leave Collinwood, get out of their lives, so there is no love lost on either side.  Now, however, Magda has rejected the money, there isn't enough in the world to compensate for her immense loss, and ironically, she placed the curse upon him by giving him what he always seems to crave, whether in celebration or sorrow to drown his memories--a drink of booze!  Quentin is in deep poop now--what curse has she REALLY placed on him?  It's going to be anxious hours for Quentin.  Barnabas' curse came because he made love to the wrong woman; Quentin's is happening because he killed the wrong woman.  Those Collins cousins are always in dutch, aren't they?

Love, Robin

744 - (Joan Bennett) - The year is 1897.  And on this night, two women are joined in common cause--to destroy Quentin Collins.  One is Laura Collins, who opened a locked door and let a madwoman free.  The other is the crazed Jenny Collins, out of her cell at last, and hunting her prey with terrible purpose.

Jenny wanders through Collinwood's foyer.  Dirk asks where she's going.  To the Old House, smiles Jenny, to see Quentin.  You must have a weapon, says Dirk, and you will have--I'll get you one--you must stay right here and wait for me, he cautious her.  He heads into the kitchen area.  "Wait for me," says Jenny.  "Yes!  Wait for me, Quentin!  I'm coming to kill you!"  And her face twists with mad joy.

Jenny looks around the foyer.  Dirk returns with a knife.This is for you, he says, and now you can go to the Old House.  He orders her to wait, and she begins to struggle in his arms.  He drags her into the drawing room and locks her in there until he comes back.  As Dirk turns around, Judith enters the house and heads for the drawing room.  She orders him to help Trask get the House by the Sea ready for his school.  She notices he's preoccupied, but he assures her all is well.  Go upstairs and check, she orders, "Go on, Dirk!"  He does so, casting a nervous glance over his shoulder.  Judith is puzzled.

Jenny looks at the knife she holds in her hands (or is that a letter opener)?  She wanders the drawing room and hears Quentin's music, then Q's voice: "They lied to you again, didn't they?--telling you I was at the Old House!"   She stabs a chair in her rage and demands to know where he is hiding.  She stabs at the sofa.  Here I am, Jenny, says Quentin's voice in her mind.  When she knocks flowers off a table, Judith hears.  Jenny stabs another piece of furniture to Quentin's laughter--where is he hiding!?  She races to stab something else.  Judith enters the drawing room, looking around to see who is there, but sees no one.  Then she hears a wild giggle.  It's Jenny, looking for Quentin.  Judith tells her Quentin is far away.  Jenny accuses her of lying.  I'm not, insists Judith.Yes, you are, and Laura lied to me, too.  That's all right, says Judith.  I know Quentin is at the Old House, says Jenny, and that's where I'm going.  Quentin will be gone for a long time, says Judith, and you must go back to your room.  No, says Jenny, raising the knife.  Judith, horrified, orders her to put it down.  "Put my knife down?" says Jenny.  Before you hurt herself, cautions Judith.  I'M not the one who will be hurt, says Jenny--not anymore.  She approaches Judith with the knife, backing her towards the wall.  Judith doesn't notice when Jenny grabs a candlestick holder; the redhead hits the brunette over the head, knocking her unconscious on the floor.  Quentin enters Collinwood and sees Jenny standing there, back to him, holding a knife.  Jenny murmurs, "She lied to me, but I lied to her, too, about who I am.  My father was a king of India and my mother was a princess, and I am a princess, and when I raise my hand (she raises the hand holding the knife) and say die, then of course, someone dies!"  She stares insanely at the blade in her hand.

Jenny leaves Collinwood.  She smiles, gazing at the blade.  Quentin witnesses her leaving and hides from her.  He enters the house and finds Judith conscious, sitting in the drawing room.  They each tell the other what they already know--Jenny is heading to the Old House with a knife!  We must go after her, says Judith, and put her back in her basement prison.  How did she get out, demands Quentin, by prayer and fasting? Perhaps she stole a key, suggests Judith, from either Beth or Dirk.  Dirk? asks Quentin.  Dirk helps with her, says Judith.  If Dirk knows about Jenny, that means Laura knows, fumes Quentin.  Judith doesn't believe that, but Quentin tells her the problem of Jenny can't be contained in the four walls of a locked room, not anymore.  Judith agrees to send Jenny far away.  No place is far enough, protests Quentin--I brought Jenny here and I'll see to it that she leaves--my mistake was in letting everyone else deal with her, and that mistake almost cost me my life.  What are you going to do? asks Judith.  "What do you think I mean, sister dear?" he asks.  He leaves, determined to do what must be done.

Jenny stands near the Old House.  She hides the knife in a pocket, then knocks at the door, over and over, trying to fix her wild hair.  Barnabas answers the door and stares at her.  She asks,  where is Quentin--I know he's here.  No he isn't, says Barnabas.  She orders him to stop lying to her.  Who else lied to you? asks Barnabas.  Edward, says Jenny, and Judith, and sometimes Beth, but not so much.  She asks his name, and he tells her.  She introduces herself--Jenny Collins.  Barnabas assures her, I'm not lying--come in and see for yourself that Quentin isn't here.  She enters, looking around.  Barnabas locks her in the house with him.  She admits, I don't see Quentin--but he sometimes makes himself invisible and all I can hear is his tormenting voice--I came from Collinwood, where I live.  Is it lonely for you? asks Barn.I have my children, says Jenny.  Your dolls? he asks.  My children, she corrects, smiling--what's upstairs?  Barnabas invites her to look.  No, I must go out and find Quentin! Insists Jenny.  Quentin is coming back, says Barn, and said for you to wait for him.  This surprises Jenny.  (He's so good and gentle with her!)  She eagerly, childishly asks, did Quentin tell you anything else about me?  Yes, says Barnabas, he said how beautiful you are.  She's tickled to hear this--it's why Quentin married me, she explains--he was very handsome.  She shows Barnabas a picture of Quentin in her locket.  "There were many girls in love with him, but he married me," brags Jenny.  Barnabas looks at the photo, then puts the locket down on his desk.  Jenny wanders upstairs, and says, "I am Mrs. Quentin Collins, who are you?"  He introduces himself again.  His family disapproved, says Jenny angrily, because I was a singer--do you like singing?  Yes, he says.  After the children were born, says Jenny, I'd sing them to sleep.  She sinks down in the step and, peering at Barnabas through the railing, sings, "Hushabye," the song about the pretty little ponies.  (a lovely voice, too.)  She stops singing and asks Barnabas if he knows the rest of it.  No, he says regretfully.  Oh, it used to soothe the babies, she says.  "You mean the dolls," he says.  Jenny becomes furious, asking why he keeps calling them that.  The boy, she says--he would fall asleep almost immediately, but the girl, she was more restless.  A boy and a girl, says Barnabas, realization hitting him.  I was afraid some harm would come to them, says Jenny, and I don't know why, but they took my children away.  Where? asks Barnabas.  "They didn't take them anywhere!" she cries--"They're with me!"  This shocks Barnabas.  Of course, she says, this afternoon, I dressed them for the funeral!  She sees the basement door and wants to check it to see if Quentin is down there.  He isn't there, insists Barnabas.  You're lying, like all the others, accuses Jenny--he isn't coming soon, he's here right now, hiding down there, waiting to kill me--well, I'm going to kill him instead!  NO! says Barnabas.  She raises the knife threateningly at him.  "If you try to stop me, I'm going to kill YOU!" wails Jenny.  Barnabas stares at the knife held aloft in her shaking hand.

Barnabas easily disarms Jenny, taking the knife away from her.  She cowers against one of the columns, fearing he will kill her now.  He assures her he won't do that, takes the knife and tosses it into the fireplace.  "No more knife," he assures her.  Quentin is going  to hurt me, says Jenny.  No he won't, says Barnabas.  Why is he coming here? she asks.  He kneels and tells her, "You know why--because he's in love with you--there were other girls, but he married you."  Yes, she says joyously, in a church (imagine Quentin taking vows in a church!)--when is he coming back?  As soon as he can, says Barnabas--you must be ready for him.  I don't understand, she says.  Wash your face, comb your hair, put on a pretty dress, to show Quentin how beautiful you are, urges Barnabas.  Yes, I'd like that, she agrees.  Barnabas leads her upstairs.  Doubts assail her--are you sure Quentin won't hurt me when he gets back?  Barnabas promises he won't--no one will.  Jenny goes upstairs, eager to get pretty for her husband.

Quentin, meanwhile, has gotten himself a gun and is standing on the landing, loading it.  Judith calls to him and asks what he's doing.  Going hunting, he replies.  She's a poor, mad creature, Judith reminds him.  I view her in a different light, says Quentin--she's an animal that has to be struck down ASAP--an animal with a knife.  Judith points out YOU'RE an animal with a gun.  Step aside, orders Quentin--this is my problem and I prefer to handle it alone.

Jenny tells Barnabas I love the room (Josette's) you've brought me to--I'm sorry I have no change, my husband always carries the money--we've only been married two months.  (She thinks Barnabas is a bellhop?)--we're on our way to see his family, she says.  Horror-stricken Jenny spots her hideous reflection in the mirror.  Who is that? she asks Barnabas--that stranger, she scares me.  Barnabas says, I can make her go away--find a comb and some powders, and some dresses in the chest--wear one of them.  Of course, she says, I always makes myself beautiful for Quentin.  She sits down, searching for the comb, but can't find it.  Barnabas looks and finds it for her, then hands it to her.  She thanks him and begins trying to comb out the tangles.  She lets loose with a little scream--the mirror!--I am in the mirror-- then where am I?

When Quentin questions him, Dirk denies letting Jenny out--I know how dangerous she can be, says Dirk.  So does Laura, says Quentin.  Let's stop talking and start looking for her, suggests Dirk.  "YOU?" asks Quentin, when did you join the search party?  I feel badly she got out, admits Dirk.  Judith suggests Dirk help find her.  Yes, says Quentin, you can look near the cottage.

Jenny's hair looks much better.  She ties it back with a ribbon.  Barnabas enters and tells her, I must go now, but you must stay until Quentin comes for you--some people will be here to look after you, he explains.  Do you like the way I look? asks Jenny.  I do, says Barn.  She teases him--you shouldn't flirt with me--Quentin is very jealous.  Quentin will be here soon, he assures her, then locks her in and calls to Magda.  Jenny hears the name.  "Magda?" she says, then pulls a gown out of the trunk.  "Magda--and Sandor!" she says.

Barnabas writes a note.  Hearing the cock crow, he leaves the keys on top of the note, then retires to the basement for his daily slumber.

Quentin enters the Old House, gun in hand.  He finds the note and keys on the desk.  Dear Magda--the woman upstairs in Josette's room, he reads.  Quentin tosses the note into the fire, takes the keys, and heads upstairs, his face a mask of angry determination.  (He looks much like the cruel, unyielding ghost who terrorized the kids now.)

Looking much more presentable with her hair tied back, wearing a pretty green dress, Jenny is talking to her reflection in a hand mirror.  Don't be frightened, she says, it doesn't matter that Quentin's family doesn't like you.  Quentin loves you, that's all that matters.  Fool!  Fool! She falls down on the bed, seemingly asleep.  Quentin knocks at the door.  "Is that you?" she asks.  Yes, he says, it's me.  You were away so long, I was beginning to worry, says Jenny."I'm sorry, Jenny," he says, brandishing the gun, "but you'll never have to worry again!"

NOTES:  The scenes between Jonathan Frid and Marie Wallace were poignant, heartbreaking, a true joy to watch.  They played so well off each other, and whatever you think of Jenny, you had to feel sorry for her here.  Why Barnabas kept insisting her babies were dolls when he knows she is insane didn't jive, but now he has another piece of this puzzle in his grasp--a boy and a girl...  You can't blame Quentin for wanting to kill his wife, since she already killed him once, yet you can't help but feel sorry for this poorly used woman who only wanted to love and be loved by Quentin.  Laura is such a bitch, considering she is responsible for the woman's insanity, at least partially, and you see how immoral the Phoenix in human form really is.  Kudos to everyone, but especially Wallace and Frid, for today's shows.


745 - (Grayson Hall) - The time is 1897 and the place is Collinwood.  Barnabas Collins is attempting to unravel the twisted skeins of the past to save two people in the present.  In the Old House in the great estate, dawn has forced him downstairs, leaving in the house above a prisoner--a prisoner that one man would love to kill.

Quentin reads the note about Jenny, intended for Magda, and takes the keys to Josette's room after destroying the note.  Grinning maliciously, Quentin heads upstairs to do away with his insane wife, who has prettified herself for him.  She assures herself that Quentin loves her, and that's all that matters, then calls herself a fool.  Quentin approaches the door, gun in hand, and knocks.  "Quentin, is that you?" asks Jenny eagerly.  Yes, he tells her.  She goes to the door and tells him she was worried, he was away so long.  He apologizes, but assures her, "You will never have to worry again!"

Quentin tries to unlock the door with one of the keys on the ring, assuring Jenny, I'll be with you very soon.  He hears a door slam, tells Jenny not to make a noise, and assures her he will be back.  Beth listens at the door and screams when Quentin leaps out at her.  Jenny asks, "Who's with you?"  Beth grabs for the gun--I she won't let you do this, Quentin!--I'll wake Barnabas, she threatens-- "I will!" she swears.  The both walk away.  Jenny asks Quentin, wasn't I pretty enough?  She looks at her reflection in the mirror, realizing he never saw her.  Why am I so scared, I didn't used to be so silly...I must wait, she resolves, he told me that, and be quiet. . .I don't want to wait! she cries, but he told me to, so I must...she touches her hair nervously, then sits down on the bed, looking like a frightened bride, to wait.

Downstairs, Beth demands Quentin give her the gun.  Are you  that fond of Jenny? asks Q.  Think, Beth begs.  I am, he says, of YOU, he's doing it for you, I swear that--I love you.  She's your wife, objects Beth.  Exactly, says Quentin.  She again asks for the gun.  He insists she return to Collinwood and forget she ever came there.  If I leave now, says Beth, I'll be an accomplice to Jenny's murder.  Quentin promises her she will forget that.  (?)  . . .when we are married, he adds--he hadn't mentioned marriage before.  Beth turns away from him, which puzzles him.  She pulls away when he tries to touch her--all I can think about is what you have in your hand! She cries.  (Hmmm, dirty mind, Robin.)  Beth begs, if you want to marry me. . .  he says I'm not sure I want to, if that's your reaction, he says.Well, it IS, says Beth--if you shoots her, how will you get away with it--being a Collins?--that's it--the Collins are above the law, but not this time--I myself would make sure--if you kill Jenny, you must kill me, too, she says--will you?  She finds Jenny's locket on the desk.  Your picture is in it, points out Beth--how could you plan to kill her?  He grabs her arm and reminds her Jenny tried to kill ME.  Once, yes, but I won't let her escape again, Beth swears--I don't want you to hang, and you would, she says, and begs again for the gun--"YOU WOULD HANG, QUENTIN!" she says again.  He puts the gun down on the desk.  She asks him to go wake Barnabas.  I want to ask Barnabas why he locked her in that room, says Quentin--a very interesting question.  Beth asks him not to start trouble.  We lock up our pet secrets, muses Quentin, but why should I?  Ask him that, suggests Beth.  I don't know where Barnabas sleeps, says Q.  Go find him, suggests Beth, sitting on the sofa, looking sick.  An exhausted.  Magda comes in and is surprised to see Beth.  Magda is upset to hear that Quentin has gone upstairs to wake Barnabas.  We must see him, insists Beth.  Why? demands Magda.  I can't tell you, says Beth, but it's important--Barnabas will explain it to you.  Beth snatches the locket from the desk, but Magda catches her.  They grapple with each other for a few moments, Magda the victor.  She gasps--it's not yours!--not yours!--I know whose it is!

Magda asks where Beth got it.  I found it here, says Beth.  You know more than you're saying, you're lying, insists Magda--"Tell me!"  Quentin comes downstairs.  Beth will tell you nothing, Magda, he insists--but we need some information.  Magda shows him the locket.  Take it to the jeweler for an appraisal, suggests Quentin--"Where's Barnabas?"--he isn't upstairs.  He went out, says Magda.  He left me here over an hour ago, says Q.He left suddenly, responds Magda.  You're lying, says Q.  Magda orders him out.  No, I'm going to wait for his return, states Quentin.  Magda says, he won't be back until dusk and tries to evict him again, but Quentin sits down--I have has no intention of going--I want to trade information--I know something you don't.  Beth starts to says that Judith won't. . .   Magda laughs--you are children and should go ask Judith for permission to tell your secrets--go!  We will go, says Quentin--perhaps Barnabas will return.  Not until dusk, says Magda, who sits down and gazes at the locket after they go (I bought myself something very similar around that time).

In Josette's room, Jenny wonders forlornly if Quentin is coming back for her.  He left me all alone!  No, she tells herself, Quentin WILL keep his word, he will come back!  This time will be different, not like the others!  It won't!  (such a pitiful woman!)

Sandor returns to find Magda very upset over the locket.  She shows it to him--it was here!  He examines it.  Impossible, he says.  It must mean something, says Magda.  Don't start, he says, don't ask me questions I can't answer--get my breakfast.  You can yell as much as you want to, she says, but you care about THIS as much as I do.  "She is far, far away," he tells his wife, who pensively holds the locket, "and she's better off for it."  It's a sign, insists Magda.

Jenny listens at the door.  We see a microphone shadow.  She calls to Quentin--"Are you there?"  No response.  I look so pretty in the dress--where is Quentin, and who was that woman?  It was the man who brought me to this room, she tells herself, whose  face hangs at Collinwood.  That man has done something to Quentin, this is his house, he found Quentin and has killed him!  She sobs, "He's killed him!"  She screams for her husband, growing hysterical.  "He's dead!" she sobs, falling onto the bed.

Downstairs, Magda and Sandor hear the noise and run upstairs to investigate.  Jenny is sobbing; Magda recognizes her voice.  As Magda bangs on the locked door, Sandor finds the keys on the floor.  They let themselves in and Magda runs toward Jenny, who screams, "I told you never to speak to me again!"  We were so worried about you when you disappeared from Collinwood! Cries Magda.  GET OUT! rants Jenny--Quentin is coming, you must not see him.  Quentin went to Collinwood, says Sandor.  I told you yesterday I would kill you both if you told him! shouts Jenny.  That was years ago, says Sandor, mystified.  Jenny is confused.  No, she says, it was. . .no, it wasn't.  "Quentin and I are married," says Jenny--"Do you have any idea what it's like to be a Collins?  I am a Collins, Quentin loves me."  Magda points out what Quentin has done to her.  Jenny orders her not to speak to her like that--don't talk of Quentin--YOU GYPSY!  "You are a gypsy, too," says Magda.  (Wow, what a stunning revelation!)  "What I was is not what I am," insists Jenny--what I am is what I will be. . .why did we ever come here?--I looked out the window this morning and there was your caravan--go back where you came from!  Magda asks, do you remember anything since then?  My husband Quentin, says Jenny fondly, where is he, he won't let anyone see me, he loves me so much--he locked me up here. . .no, that wasn't Quentin, who loves me, he does lock me in the room, but only because he doesn't want anyone to see me...  Magda closes her eyes miserably.  No, continues Jenny, Quentin is very jealous, he doesn't want anyone to see me."Oh, God, God, she has a devil in her!" mourns Magda--Sandor, get the cross.  Sandor leaves.  Oh, Jenny, cries Magda, sister. . .   Sister? asks Jenny, her face shaking as she falls into Magda's comforting arms.  Magda holds her crying sister and cries, too, patting and soothing her.  Jenny mutters some incoherent words.  I know, Magda assures her--but why did you run away after he left you?  Run away? asks Jenny--oh, yes, she laughs, to my lovely, lovely room, filled with her memories, they put me there so I could remember him.  They kept you locked away all this time? asks Magda, shocked and disgusted.  Quentin never left me, insists Jenny.  We will take care of you, Magda assure her.  No, Quentin will, says Jenny--I don't need you.  No, says Magda, they won't lock you up again, we will go away together, you, Sandor and me.  No, Jenny cries, I must see Quentin.  Yes, and then you will leave, and be as you were before, says Magda.  You won't let me see Quentin, will you? asks Jenny.  Magda assures her, you will, but Jenny doesn't believe her.  Magda calls for Sandor.  When her back is turned, Jenny hits her over the head with a big book.  Magda tumbles to the floor, forcing Grayson Hall to hold her black wig on her head.  "You won't let me see him," says Jenny, "you wouldn't!"  And she wanders away, leaving Magda unconscious and alone for Sandor to find.  He falls to his knees to check on her.

Downstairs, Jenny calls to Quentin, looking for him--are you hiding because they found me? she asks--where?  She opens the unlocked basement door and wanders down there.

Magda tells Sandor to check upstairs for Jenny--I will go downstairs and look outside--we must find her--she has a devil in her!

Jenny goes down into the basement and finds Barnabas' coffin.  She believes Quentin is in there, dead, and, heartbroken, first clings to the coffin, then starts to open it...

NOTES:  I must say, Beth is very giving.  She is having an affair with Quentin, loves him, yet she wants his wife to stay alive.  She has morals, which makes her a poor companion for the immoral Quentin.  Why was the basement door left unlocked?  Someone was careless!  Another bravura performance by Wallace.  And the amazing revelation that Magda and Jenny are sisters!  Did the family know that Quentin married a gypsy?  Did HE know?  We can only imagine Judith and Edward's disdain over Quentin's wife, if they did know.  What a fascinating development, huh?

Love, Robin

740 - (Thayer David) - The time is 1897, and Collinwood is a place of intrigue and fear, for the strange events which happened here are beyond the comprehension of most. But Barnabas Collins, on a mission to save a boy's life, knows more than the others, and if he tries to piece together their story, he endangers his own survival.

Magda returns to the Old House and peers through the cellar door bars. She checks the clock anxiously. When Barnabas comes in, she advises him to leave here tonight. Why? he asks. Agitated, Magda suggests, perhaps I shouldn't tell you anything, I should go to Sandor, tell him to hitch up the wagon and we will leave--you have taken Sandor from me; when they find you in your coffin. . .Who will find me? demands Barnabas. Did you think you'd always get away with it? she asks--the girls in the village, I can understand why you think you'd get away with that... Impatient, Barnabas grabs her arm and orders her to speak. They found the marks on Charity Trask, says Magda--"YOUR marks!"

I think you wanted Trask and Judith to know, didn't you? asks Magda I didn't do this by choice, insists Barn, but I don't expect you or anyone else to understand--my only mistake is my unwillingness to give up what life I have--can I be blamed for that? Magda reveals the doctor they sent for connected Charity's case with the others in the village, but Judith doesn't believe that, and plans to question Charity. Barnabas is sure Charity will say nothing--I'm more confident of her than I am of you! he tells Magda.I won't say a word, she promises--you know that--when they come to find you--and they will--what will they do to me and Sandor, who have helped you? You've been paid for that, says Barnabas. Not enough, says Magda--"You have taken Sandor from me!" I will release him in good time, Barnabas assures her. Magda sees no end to Sandor's enslavement. I swear there will be, says Barn. Not the one you want, says Magda. Barn assures her, my time will end as I want it--it must, a boy's life, a man's fate depends on it--Sandor did not stumble upon me, I summoned him to my coffin. If you continue to see Charity, warns Magda, others will be summoned to your coffin, too, and they will come to destroy you. Barn agrees. He orders Magda to go spend the evening with Laura--make whatever excuse is necessary. I was here when Laura first came, explains Magda, but know only what everyone else knows. He shows her the portrait--when I was a boy, he says, I watched her pose for this very portrait, talking with her, laughing. Magda crosses herself, remarking, evil always follows you. Sandor, looking very jolly, comes in and accuses his wife of always looking at the negative side of things. Barnabas tells her to go--you have your orders for the evening. I don't like orders unless I understands them, she protests. No need for that, says Barn, just go. So he has met an old friend, Magda says to Sandor--your his master has uncovered another secret at Collinwood. She gives Barnabas an angry look and goes. Sandor asks Barn what's going on. Barn says he's studying ways to defeat death. There is no way, asserts the gypsy.Tell that to anyone but me, advises Barn (LOL!)--Go to the cemetery and look for a tombstone that says, "Laura Stockbridge, died 1785."--if I'm correct, they buried her in the crypt below the old meeting house--go there and find the tomb--I must know the truth about her, I have this fear she will defeat me unless I find out, says Barn.

Collinwood - Edward and Laura run into each other on the stairs. He starts back down, furious. She asks him if it doesn't take much effort to go on hating her so. She steps beside him. Perhaps you have to, she continues, to keep yourself from feeling something else, like love--you did love me very much, she reminds him. I remember, says Edward, and I also recall the provisions under which I let you back in the house--DO YOU? I do, she says. Why are you living here--I gave you the cottage. The cottage needs work, she protests. You're concerned about your comfort here? Demands Edward--did you think about that when you ran away--did Quentin keep you in luxury? It still bothers you, she notes. Edward steps away from her, ordering her out of the house by morning. Impossible! She says. Their argument is interrupted by Magda's arrival. I'm glad to see you, says Edward--you are to help Laura move to the cottage tonight. . .there--it's settled, make the best of it! he says. Laura is infuriated.

Sandor goes to the tomb and, holding up a lantern, examines the headstones set into the wall. He finds one that says, IN MEMORY OF LAURA STOCKBRIDGE COLLINS WHO DIED IN 1785.

Magda stokes up a fire in the cottage, then dusts some furniture. Laura comes from the bedroom. Quentin will mind my being here just as much as I do, says Laura--he'll have to find another place for his little games and to rendezvous--take everything that belongs to Quentin and put it in a box, then return it to him. Magda nods. Do it now and unpack later, Laura orders. Magda begins rifling through the items in the desk as Laura ponders who Quentin is meeting here now--the pretty governess? Beth? He always liked her. Magda finds a deck of Tarot cards. Quentin knows how to read them, says Magda. No one knows what an obsession it all is to him, says Laura, who finds Angelique's knitted doll and notes with surprise there are no pins in it--he must be saving it for someone special. "You, perhaps, Madame," suggests Magda ironically. (Loved her delivery.) No, says Laura, this isn't for me, he's done everything to me he possibly can--and soon I will return the favor--will luck be with me?--read the cards. But you don't believe in them, Magda says. That's OK, says Laura, I just want a sign that things will go as they must--I don't have much time, but I will get my children, they will come with me, and Quentin... Is he to come, too? asks Magda. No, says Laura, I have other plans for Quentin--read the cards, and tell me if I will be successful. They sit down. The first card is the death card. Start again, demands Laura--you can't start with that card. There must be a reason, says Magda. You didn't shuffle the cards, says Laura. Magda shuffles again--and again picks the death card first. Perturbed, Laura accuses her of doing it deliberately. Why are you so terrified of death in this house? asks Magda. There is no death yet, says Laura. There will be, says Magda. Yes, says Laura, smiling, perhaps soon, right in this room, that would be just, yes, right in his own sanctuary! Laura laughs. She asks Magda to tell her when the death will come. Magda picks more cards--it has already taken place, she says. Laura angrily brushes the cards off the table and tells the gypsy, you have lost your touch--you have no second sight anymore--take the cards and return them to Quentin--let it be his death, yes!

Old house - Barnabas pours a drink for Edward. Edward asks for a favor, explaining that Judith asked Trask to move the school to the estate. Here? asks Barn. (think of all those little schoolgirls in uniform!) Yes, says Edward. At least he'll be in closer contact with you, points out Barnabas. Yes, and that's the problem, says a disgruntled Edward--I don't want the school on the property--do you understand? No, answers Barn. It's Laura, says Edward with difficulty. Barnabas remarks it's the first time I've heard you say her name. I wish it were the last, says Edward sourly--how well do you know Laura? I can't honestly answer, says Barn. You've met my charming wife, says Edward. I'm too old to trust first impressions completely, says Barnabas. Edward tells him, I must speak of her--she ran off with Quentin, followed him. Quentin can be most charming, says Barn neutrally. Yes, says Edward, if you don't look too deeply--and Laura doesn't look too deeply--I can't understand why Laura is determined to take the children. You can stop that, points out Barnabas. I've never been able to stop Laura, laments Edward, there are certain women I have never known how to fight. Barn asks, how did you met her? Here, says Edward--she never liked questions about her family--she claims she was born in NY and attended an eastern college. But you don't believe that, guesses Barnabas. I know, says Edward; after she left me, I wrote to the college--she had mentioned a guardian aunt living in the middle west--and the college replied they had no records of a Laura Murdoch ever attending.So she appeared from no where, suggests Barnabas. Surely you can see she's not the sort of person who should be around the children, says Edward--speak to Judith, please, she respects you--tell her it's not a good idea to have the school here. Sandor interrupts. Barnabas tells him sternly, I'll be with you in a moment. I'll speak to Judith, Barnabas promises Edward. I won't detain you any longer, says Edward--I dreaded coming to see you, feared being embarrassed by revealing it all, but it wasn't as difficult as I'd feared. He thanks Barnabas sincerely and offers his hand. They shake hands. Edward leaves. Sandor tells Barnabas, I found it, in the crypt. Barnabas orders him to open it--I'll be with you at midnight, then takes down the portrait and looks at it. "But first, I must pay a visit to an old friend," says Barn.

Laura sits by a fire in the cottage. There's a knock at the door. Laura assumes it's Quentin, who's heard she moved in. She asks Magda to answer the door. The gypsy finds Barnabas there. I have something for you, he tells Laura, who asks him in cheerfully--I brought you a gift. She takes it and starts opening it--the walls could certainly use a picture, she says. I found it in the Old House attic, he explains--I was so surprised--wait until you see it. She looks very uncomfortable upon opening it, agreeing it's incredible, and urges Magda to come look at it--I might have sat for it myself! Yes, agrees Barnabas, you must have had a near relative living in these parts 100 years ago. Either that or many women look like me, suggests Laura. Untrue, although many regret it, says Barnabas suavely. (always giving those ego boosters, is our charming vampire!) She thanks him for the compliment. The more I looks at it, the less I think it resembles me, says Laura to Magda--"Is my chin really that pointy?" Magda nods-- "They look the same to me." Laura remarks to Barnabas that in a moment, you will have me thinking I and the portrait are one and the same, which is impossible--I will take it as a good omen.They smile at each other. She thanks him. I could hardly resist giving it to you (subtle, real subtle!), says Barnabas--I must leave, I will see you soon. I need friends, says Laura, and hate being lonely. I'll do everything I can to see it doesn't happen, Barnabas assures her (WHAT doesn't happen?). After he leaves, Laura orders Magda to put it in a closet--I never want to see it again! Magda points out that Barnabas will wonder... What, that we have different tastes in paintings? snaps Laura. She again orders Magda, who is gawking at the portrait, to put it away. Laura sits down by the fire again.

Tomb - Sandor tells Barnabas he believes in spirits--and I don't want to disturb the one that lives in this place. Barnabas tells him he's sure no spirits will be disturbed--the woman buried here walks at Collinwood tonight--now, start opening it, he orders--"GO ahead--now!" Sandor reluctantly begins to chisel open the tomb.

Somehow, Laura hears the sound of Sandor's work. When Magda comes out, Laura questions her about the noise, which the gypsy doesn't hear. It sounds like chipping stone, says Laura, and is getting louder. Rest, encourages Magda. Laura cries out, "Oh, God!" and races from the cottage.

Sandor has the coffin out. He crosses himself. If the body is here, we will be punished, he warns Barnabas, who twice orders him to open it. The coffin opens and...

NOTES: Such delightful performances in both episodes. Everyone was right on the mark, and the scenes between Barnabas and Edward, Barnabas and Magda, Barnabas and Sandor, hell, between everyone and everyone, were wonderful. Seeing Angelique, even briefly, was so good, and she and Barnabas together are always a pleasure to see. Her digging him about biting Charity, then giving him leave to go after dock whores, was really funny. I enjoyed the 1897 episodes, but they are producing lengthy Robservations.


741 - (David Selby) - The time is 1897, and intrigue and terror are rampant at Collinwood as Barnabas Collins makes a desperate effort to piece together the jigsaw puzzle of the past in order to save a boy's life and a man's fate in the present. But Barnabas' efforts meet constant obstacles, and now he seeks to discover the secret of a woman whom he has reason to believe he knew over 100 years ago.

(Interesting that Laura cried out, "Oh, God!" You'd think she would have called out to Ra, right?)

Sandor is reluctant to open the coffin, so Barnabas does it. Laura trails in and observes them as they look into an empty coffin.Her eyes widen.

Barnabas tells Sandor there's no sign the body was ever there. Sandor suggests a mistake--maybe she was never buried here at all. . .grave robbers, perhaps. No, insists Barnabas, shushing Sandor--I hear something. . .Sandor asks what's wrong. I feel a presence, says Barnabas. Sandor fears spirits. Although Laura quietly leaves the tomb, Sandor fears something is still there. No, says Barnabas, it's gone (as is Laura). Sandor doesn't look at all sure about that.

Cottage - Quentin angrily orders Magda not to play the silent gypsy with him--where is Laura--with Dirk? No, says Magda. What would make her leave the "nest" the very night she moved in? he asks. Quentin jauntily suggests a guessing game--at Jamison's bedside, since her mother's instinct has kicked in? He wants the truth, but Magda wants cold hard cash to reveal anything. I must speak to Laura about Jamison, says Q. She left half an hour ago, says Magda, just ran out. Oh, ho, says Q, why?--A shock?--Sudden surprise?--A premonition?--Laura is much given to them. Magda testily says she doesn't know--I swear. A year ago, you would have blamed ME for the surprise/shock, wouldn't you? he asks--now I'm innocent, so who else is interested in Laura? That's the next question...

Sandor puts the coffin back into the tomb and seals it up. Laura is no ghost, that's for sure, insists Sandor. How do you know? wonders Barn. I have seen ghosts, says Sandor, they don't breathe or eat. But the portrait? asks Barn--coincidence? Sandor doesn't know. Barn doesn't believe in coincidences. Perhaps a descendent? queries Sandor. The original never had children, says Barn, I was there. I want to get out of here, insists the gypsy. Barnabas is pondering how Laura Collins died. Sandor asks what difference it makes. A great deal, says Barn--it was a sudden death, that he remembers, says the vampire, going through some books on the shelves--my father wrote to tell me that my Uncle Jeremiah was very disturbed, and not to tell him when he returned home. One way of dying is the same as another, says Sandor. Not necessarily, says Barn--I should know. He finds the book he was looking for. Laura Collins died January 25, 1875, (he must mean 1785) cause of death--fire! How could I have forgotten that?--or did my father change the course of history again? wonders Barn--was there something about her death that made him conceal the cause? Sandor warns him the watchman will be here soon. Quentin can tell me, says Barn, what happened when he and Laura went away together. Alexandria, says Sandor, I know that much. What if Quentin found out what he believes to be the truth--what if he left her there? Asks Barn. He won't tell you, says Sandor. Barnabas agrees--but he may say something he didn't intend to--my only hope.

Cottage - Laura stares into the fire. Magda asks if she needs anything else done. Transfixed, Laura tells Magda to get the portrait and put it in the fire. Magda wants HER to do it, but Laura insists the gypsy must do it for her. Magda wants to take it to the Old House, in case it's worth a lot. Do as I order you, says Laura, and tell no one--if Barnabas asks, tell him it just disappeared. Magda doesn't understand, but Laura orders her to burn it nevertheless. Magda returns with the small painting and places it into the fire. Is it burning? Asks Laura, seemingly relieved. "It's been so long," she says rapturously--"So long!" The flames engulf the painting.

Barnabas returns to Collinwood and spies a telegram--from Alexandria--lying on the hall table. Quentin comes in and greets "the elusive Cousin Barnabas." They each agree they will never understand each other's life, but Quentin remarks, "I'm home sometimes--you never are."--I was just at the Old House and found you gone, as you always are--night and day. I don't need much rest, says Barn. (Just 8 hours in the daytime.) I envy you, says Quentin. You interest me a great deal, says Barnabas, and I regret we got off to a bad start. You could be such help to me in adjusting myself to my new surroundings, says Barnabas--everyone is so secretive. With reasons, says Q. You're so open with your friends, says Barnabas. Too open, Judith thinks, says Quentin. "What do you think about Laura Collins?" asks Barn (very subtle). Quentin is immediately suspicious. "What happened in Alexandria?" persists Barnabas--"You were both there together!" "Sorry," says Quentin, "whoever told you that is wrong." Barnabas gives him a look and shows him the cable from Alexandria--perhaps it will refresh your memory?
Quentin takes the cable very reluctantly. Two and two don't always add up to four, as you should know, says Quentin--the cable is from my oldest friend, who is devoting his life to travel and is presently in Egypt. What a fortunate coincidence, comments Barnabas. Q advises, if you're that interested in learning about Laura, you should run to the gossip who said she was with me. Common knowledge, says Barn. (Carnal knowledge?) Why are you so interested in Laura? Demands Q. I'm interested in anyone I meet, says Barn. I think you're lying, says Q--not the first time I've thought so. And not the last, retorts Barn. What does that mean? asks Quentin-- (It's 5 AM.) That you aren't going to stop?--what if I decide to find out everything I can about you--you're much more mysterious than Laura. Barnabas is gazing at the chiming clock, saying, I don't mean to be. What business are you in? Investments, replies Barnabas, which is why I travel to Bangor so often. Are you going to Bangor today? Quentin asks. I haven't decided yet, says Barn. I'd like to go with you, says Q, if you do go. The cock crows. Barnabas nervously says, I must be going. I think my questions have unnerved my cousin, says Q. Not at all, Barnabas assures him. Cook will make us a marvelous breakfast, promises Quentin. Barnabas, heading for the door, insists he doesn't eat breakfast. Quentin suggests lunch, if Barnabas doesn't go to Bangor. Barnabas looks at him penetratingly. Q asks, "You do eat lunch, don't you, Cousin Barnabas?"

Magda and Sandor approach the front door of Collinwood. Magda is annoyed because Sandor is more concerned about Barnabas than about her. It will be light soon, says Sandor, something is wrong--Quentin is keeping him there on purpose! Magda asks if Sandor thinks Quentin knows, but all Sandor knows is that Barnabas should be in his coffin this very moment.

Barnabas tells Quentin they will have lunch, very soon. Quentin presses for a definite date, since this evening seems mysteriously inconvenient. Quentin lets in Magda and Sandor. "There you are," says Barn. Sandor tells him a messenger has arrived from Bangor. Quentin questions the early hour. Barnabas says he wasn't expecting on, it must be an emergency, and asks to be excused. Of course, says Q, I have no choice, do I? Sandor says it's most urgent. Barn orders Magda to stay with Quentin, in case he follows them. Magda enters the drawing room. Did your master tell you to stay? Quentin asks her. She grins--Barnabas isn't my master, no, I stayed because she wanted to tell you Laura returned soon after she left--didn't say where she'd been. He dismisses her, but she continues on--Laura was most upset, says Magda, she thinks someone is threatening her. Quentin doesn't believe it--he knows Magda is playing each of them against the other--he's no fool--we're alike, he says, but you play for pennies, while I at least ask for everything.He takes the cable from his pocket and reads it. He's stunned. I knew it! he says. Magda asks for details, but he keeps saying, I knew it!--what am I going to do now?

Madga asks what's happening. Nothing, he says. I know you're lying, she says. I used to be able to believe my own lies, says Quentin--how very fortunate I was, and I didn't realize it until tonight--has Laura changed? She still likes to order me around, laughs Magda--do you think she's changed? Yes, says Quentin. She is more desperate, suggests Magda, about the children, and she wasn't terribly interested in them before. Hmmm, says Q, then asks her to be on his side and answer honestly--and swear--has Laura any powers? She has a certain sensitivity, says Magda, but no powers. Are you positive? asks Q. Tonight Laura asked me to read the cards, says Magda--would she have done that if she had any powers of her own?--when she's angry, she takes it out on me--a woman with powers doesn't need to do that--you don't need to worry, you will be safe--you can do whatever you're planning, she assures him.

Cottage - Quentin enters, slowly, stealthily. He finds Laura sitting, very prim and proper, before the fire. She rises, annoyed that he startled her. It's late, she says. "We've been here later," he reminds her. You'd like to say you don't remember--but you do, he says, as I do--why did you come back? She calls him a little boy--have you wondered that ever since I appeared?--weren't you able to decide that for yourself? He doesn't think she came back for the children. Yes, I need them, she says. What will you take in their place? asks Quentin--money, anything? She laughs. He tells her I'm serious--I'll steal it, but I'll get it--I'll do anything to make you leave--I have powers, and I'll use them to help you. All I want is my children, she cries--why is that so difficult for you to accept? "BECAUSE I KNOW WHAT WILL HAPPEN TO THEM IF YOU TAKE THEM!" he shouts in her face. Laura retorts, I know what will happen to them if they stay here--you will ruin Jamison, and I know why--because he is the heir--you will get money by using him, and I won't let that happen--"You can't have him, Quentin!" But at least he'll be alive! Quentin says passionately. Are you starting that again? she asks--I died in a fire in Alexandria. . . Yes, says Q, I'm starting that again. It's very foolish, she insists. It's not, says Quentin--now, I have this (the cable). More paper? she asks.It's from the police in Alexandria, says Quentin--"Police records confirm Laura Murdoch Collins died by fire, March 7, 1896. Death certificate follows."
Laura merely stares at him.

NOTES: Great arguments between Quentin and Laura, and cat and mouse game between Barnabas and Quentin. Poor Barn, it's almost as if Q knows he's a vampire, the way he was keeping him out after light, LOL!

Love, Robin

738 - (Nancy Barrett) - Collinwood in the year 1897.  And on that night, Quentin Collins has succeeded in destroying the urn which contains the essence of Laura Collins' existence.  And now Laura watches in panic as the fires around her begin to bank and die, knowing that when the fire is out, there is nothing left for her but eternal darkness.

We see a different version of the previous episode's ending, with Dirk and Laura mostly standing, rather than sitting on the bed.  He speaks some foreign words to her, but it ends with Laura begging him not to let her die, holding out her arms to him from where she lies on the bed.

3 o'clock - As Quentin heads upstairs, there's a knock at the door--it's Jamison and Charity.  Jamison is shaking, he's so frightened.  Quentin assures him nothing can harm him, but Jamison wants to go to his mother.  She's sleeping, says Quentin.  I've had had a dream my mother died, says Jamison.  He awakened screaming, explains Charity, and I couldn't quiet him--I was afraid Jamison would get sick if I didn't bring him.  Quentin kneels and suggests to Jamison, go get a cup of tea, wake someone up to get it for you!--someday you'll be master of Collinwood, and everyone will have to do your bidding.  This intrigues Jamison, who says I'll go wake up someone right now.  Charity is about to leave, but Quentin wants to talk to her.  He ushers her in and explains that dreams sometimes reveal painful truths.  Charity doesn't understand--surely the boy's mother isn't. . .  She's ill, says Quentin, but there's nothing physically wrong with her.  Charity asks if there's anything she can do.  Yes--prepare Jamison, advises Quentin, to show him there are people in this world who love him very much.  Jamison is fortunate to have his uncle's love, opines Charity.  No, says Q, I'M the fortunate one--you may hear people say Quentin Collins is a wicked man.  I can't believe that, says Charity.  True, he says, I've committed all the sins you just read about.  (LOL!)  Charity turns away.  Do I shock you? he asks.  No, she says.  And more, many more, adds Q.  All that can cost a man a great deal, spiritually, she reminds him.  Through Jamison, I have a second chance, says Q, and I want to devote my life to that boy.  You aren't wicked with the kind of concern you're showing tonight, she says.  It's a grave night, Q says.  The poor lady is really dying? asks Charity.  That poor lady, says Q, may be dead by now.  From the landing, there's a giggle, and Laura herself, obviously "restored," says, "As usual, Quentin, you are wrong--the poor lady never felt better!"  And she giggles uproariously.

Charity is puzzled--Laura was so ill.  No, says Laura, there was nothing wrong with me--"What's the matter, Quentin, aren't you pleased to see me?"  Quentin is stone-faced.  Jamison comes from the kitchen and darts into his mother's arms.  I had a horrible dream about you, he says, but Quentin told me everything was all right.  Laura takes her son into the drawing room for a little talk, closing the doors on Quentin, who takes it out on Charity by demanding, "Miss Trask, why don't you mind your own business instead of interfering in mine?"  Then he apologizes--I was upset.  Charity is too busy staring at Barnabas' portrait Quentin notices her scrutiny.  She doesn't know what he apologized for, and she drifts to the door.

Jamison tells his mother, I was afraid I'd lost you again--now that you're here, I want you to stay with us.  I can't, she says, there is someone in the house who wants to hurt me.  They can't, Jamison assures her--one day, very soon, I'll be master of this house and no one will dare lay a hand on you.  Right now, that isn't the case, says Laura.  You can stay, says Jamison--Quentin will help you if I ask.  She orders him, get into your nightshirt and come to my room--I have a great deal more talking to do with you.  When she flings open the doors, Quentin is right there.  She marches upstairs haughtily. Jamison promises his uncle he will speak to him later.  Quentin looks pissed.

Barnabas is at home, writing a letter.  Charity knocks at his door; he invites her in.  I hope you don't mind, she says.  "Of course not, my dear child," he assures her--I don't mind your coming here.  "I feel so ashamed of myself," she says, her eyes glowing, "but I had to come--I couldn't stay away."  I understand completely, he says, helping her off with her shawl.  She tells him about the burning of the school--it was completely gutted--my father's life work, destroyed--but I don't care, it gave me an excuse to come to you.  (She's got the hots bad!)   He assures her she needs no excuse to come to him, and knows it--come whenever you feel you must.  I do want to, she says, I've never known anyone like you--you've made me see the world as a warm, beautiful place--"Barnabas, is there a mirror?" she asks--I want to look into one, because in your world, I feel that I, too, am beautiful.  The vampire is taken aback by this request.  "You are beautiful," he assures her, "you need no mirror to know that.  Look into my eyes and you will see."  She turns to him, full of love. . .

Dirk tells Laura, I can't believe you need me.  You must, she says--when I was dying, your warmth restored me to life, and only you can do that for me.  I swear to do anything for you, he vows.  Anything? she asks.  Yes!--ask Ra for the scarab, says Laura--Ra is our master, and I need that scarab to fight my enemy.  How can I ask him? queries Dirk.  Do what you did before, she says.I can't, insists Dirk.  You can and you will, she says--summon the scarab from the flames.  They go to the fireplace, where Dirk says: The scarab is eternal life.  The scarab will help me vanquish him forever!  He speaks in a foreign language again, and a beetle-like scarab appears in the flames.  Laura reaches down and takes it from the fireplace, thanking Ra for sustaining her.  Jamison knocks at the door.  Laura hides the scarab in her pocket.  Jamison is disconcerted to see Dirk--I thought you would be alone.  Dirk was just helping me with something I needed, Laura explains (tell your son what, Laura, I dare ya!).  Jamison orders Dirk to go.  Laura wonders how her son could speak to Dirk that way.  Quentin says servants must know their proper place, says Jamison.  Laura is angry to hear this--Quentin is the person trying to hurt me, she tells him, but Jamison doesn't believe her.  It's true, she says.  She kneels and tells him, you didn't have a dream, but a vision--you saw me dying because Quentin wanted me to die.  Jamison is stunned.

Barnabas tells Charity, I'll take you back to Collinwood; you can spend the night there.  Must we go immediately? she asks, having something different in mind.  No, but soon, he says.  I don't understand it at all, muses Charity-- this is so different from what I feel for Tim. Is it? he asks.  It's as if I had no will of my own, she says, as if I wanted no will of my own, as if I have to do anything you want me to do, and that was the only way I could be happy.  "Oh, Barnabas," she whispers, "make me happy."She turns to face him, his fangs are bared.  "I will," he promises and sinks his fangs into her proffered throat.  (sizzling!)

Quentin tells Jamison, who's running down the stairs, that he wants to talk to him.  Jamison complains that he's cold.  Quentin knows something is wrong--are you all right?  Of course, says Jamison--someday, I'll be master of Collinwood, this house will be mine, and everyone in it will have to do as I say--right?  Quentin agrees.  Including you, adds Jamison--Quentin--"Do you know what I want you to do?"  Tell me what it is and I'll do it, promises Quentin.  "I want you to get out of my sight and stay out of my sight!" rages Jamison.  Why? asks Q.  "I'll tell you why--because I HATE you!"  Horrified, Quentin stares at his nephew.

Don't be silly, Quentin tells Jamison.  The boy orders him, don't call me that!  You couldn't hate me, insists Quentin.  Yes, I could, says Jamison--because you hurt my mother.  She told you that? asks Q.  Yes, Jamison says.It isn't true, Jamison, says Q, I wouldn't do that (but you DID!).  My mother told me you made her sick, accuses Jamison (not in bed, I hope).  Sometimes, says Q, when people aren't well, they misunderstand things--you get angry at the person who says you have to stay in bed, or gives you bitter medicine--but that person only does it for your own good.  Laura comes downstairs, asking what Quentin is talking about in reference to bitter medicine.  She ignores Quentin when he asks how she's feeling, and encourages Jamison to go up to bed--I will take you, she says.  We should talk, Quentin tells Laura.  No, says Jamison, you might hurt her again.  Laura assures her son it's all right--go upstairs to bed--I'll be safe.  She kisses his cheek and watches him go upstairs.

In the drawing room, Quentin snaps--it's disgusting, watching you pretending to be a good mother.  And what about you? counters Laura, pretending to be a good uncle to your nephew, the heir to Collinwood.  I'm not pretending, he retorts, since neither his father nor his mother gives him what he needs.  His mother gives him exactly what he needs, insists Laura.  By trickery and lies, says Quentin.  That you will hurt me again is no lie, says Laura.  What about the rest of the truth? demands Quentin, about us being together?  Should I tell him the real meaning of the little games you taught Jamison? she asks--how you seek evil in the darkness and your heartless schemes?  Heartless? asks Q, incredulous--"You're the one who's heartless!"  No, you are, says Laura.  Dirk bursts in, intending to attack Quentin.  No! cries Laura.  So this is really what you've come down to? grins Quentin--"One of the servants.  You surprise me, Laura--you've always pretended to be such a lady."  Dirk again goes to attack Quentin, but Laura tells him no, Quentin is leaving.  Yes, says Q, and does exactly that.  Dirk mutters, he always talks like lord of the manor.  That's one of Quentin's self-deceptions, says Laura, but I don't want to waste time talking about him.  He wraps his arms around her to "warm" her again, but instead has to answer a knock at the door.  Barnabas and Charity stand there.  I saw her wandering around the estate, confused, says Barnabas.  Dirk, annoyed, promises to see to it Charity gets a room.  I thought you went into town, Laura says.  I started to, explains Charity, but got lost--Barnabas was kind enough to bring me back here.  Barnabas stares at Laura, astounded.  She introduces herself to him, but he doesn't respond.Gulping, he covers with a smile and says, "Edward never told me you were as young and beautiful as you are."  Edward wouldn't, says Laura sourly.  She holds out her hand to Barnabas, who gives it a quick squeeze instead of his usual gallant kiss.  Laura remarks, it's late and heads upstairs.  Charity follows Barnabas and asks what's the matter.  "It can't be!" he whispered.  "I saw her, heard her voice, touched her hand--but that woman has been dead for over 100 years!"  Charity's huge blue eyes widen.

NOTES:  Many think the "Make me happy, Barnabas," line is one of DS most erotic, and I tend to agree--that, or when he asks Carolyn to "Comfort me."  Barnabas got very sensual with Charity, who seems to blossom under his thrall.  It's a shame he didn't have a mirror, but it's understandable.  Dirk has become quite the protector, hasn't he, lighting her fire and all.  Barnabas' startlement was total on seeing Laura.  Wait until you hear his explanation of why!

Great stuff, and it was good to finally see Barnabas.

739 - (Joan Bennett) - Collinwood in the year 1897, where Barnabas Collins has come to try to save young David Collins' life.  Here he has met many of the people who made up that time in the past.  But tonight, for the first time, he has met Laura Collins, and seen to his horror that beyond this past lies another past containing even more terror than he has yet dreamed of.

Charity insists Barnabas must be mistaken about Laura.  He assures her that Laura is much more than she seems--and exactly what she is is what they will find out.  He want Charity to stick around--tonight, we will investigate the mystery of Laura Collins.

I'm frightened, says Charity.  He slips an arm around her and asks, "When you are with me, my dear child, there is nothing to be frightened of--ever."  Yet even he seems unsure of his own powers.  He pushes open the doors and there stands Angelique.  Oh there you are, she says.  "And there you are," he echoes unhappily.  "And there she is," says Ang, looking at Charity--"Quite a cozy little threesome."  (sexual overtones there.)  How do you know who I am? Charity asks.  I make it a point of knowing all Barnabas' friends, says Angelique--I think I owe him that interest, considering we are engaged.  Charity, horrified, gives Barnabas a look.  This is terrible, she cries--"I feel so ashamed!"  She runs off.  After all these years, taunts Ang, I would think your taste in women would have improved (youch!)--"She seems rather thick-witted--and I think you had better leave her alone," warns Ang.  Amusing advice, he says, coming from you, who made me what I am.  Charity is nothing but trouble, says Angelique.  I see you've forgotten about the Trasks, Barn reminds her.  No, she assures him, I remember dear Rev. Trask well, the man who tried, and failed, to destroy the witch.  "Thanks to me," Barnabas reminds her.  They are seated in a loveseat.  Angelique compliments him on the sweet irony of the way he handled Trask's execution--walling him up in your own cellar.  "I always rather appreciated that," she comments.  "Thank you," says Barnabas.  (This exchange made me laugh, it was so weird, underscoring the fact that these are two supernatural beings.)However, warns Ang, this Trask isn't your problem, don't make him one--if Trask suspects you are going after Charity, he'll hunt you down like an animal!   I can deal with him, says Barnabas.  Ang reminds him, you're not here to deal with Trask, but to find out what's making David ill in the future.  I'm touched by your concern, says Barn.  She rises and says, I don't want anything to happen to you--intruding in a time not your own can be very dangerous.  Do you mean that? he asks--then undo what you did to me and make me human--then there will be no need for Charity Trask or any of the others.  He, too, has risen to his feet and their faces are inches apart.  Except Rachel, she says--she's the one you'd really like to be with, the one you'd run to if you were human.  "Angelique, your concern for me is, as usual, concern for yourself," says Barn pointedly.  She looks away.  I must leave, he says.  She stops him and says, "For your own sake, as well as what you're trying to do here, spend your time with girls down at the docks, girls with no names, no homes, no hopes---and most of all, no fathers."  (so generous, allowing her fiance to "date" other women, LOL!)

Charity dreams:  Angelique appears at her bedside and says, it's a very special day.  Charity rises from bed--it's her wedding day!  I'm here to help you get dressed, ready for HIM, says Angelique, showing her a black wedding veil.  Charity protests--a wedding veil is supposed to be white!  Yes, says Ang, giggling, it must--when you're marrying death. Trask asks who will give the bride away.  Ang, laughing, says, I will, of course.  "Let the music begin!" intones Trask.  We hear a funeral dirge.  Charity, in night dress and black veil, appears before him.  "Ashes to ashes, dust to dust, the body of this, our daughter, we consign to the earth forever!"  It's the wrong ceremony, says Charity, horrified--I'm getting married!  No, my dear, says Trask, you're being buried!--that's how it is when you're dead!  "I'm not dead!" cries Charity--I'm your daughter, and I'm not dead.  I had a daughter once, he says, but she died, she was killed by...  No, says Charity, that's not true.  Oh yes it is, says Angelique.  I won't hear anything you say against him, Charity tells Angelique--"I love him."  You love him? asks Ang--who do you love?--not Tim Shaw, the man you're supposed to marry.  Yes, that's it, I love Tim Shaw, agrees Charity, and I'm not dead.  Is that Tim Shaw standing there? Asks Angelique.  Yes, says Charity, happy, but when she runs to him, he's gone.  But he's coming back, says Ang, and when he does, he'll know everything.  How can you say that? demands Charity--and how can you make him go away that way, make him disappear?--it's not human.Ang giggles--you aren't isn't dealing with humans, Charity!  Help me! Charity begs a man we cannot see.  Barnabas turns and bares his fangs; his face is replaced by that of a skull with bared fangs (a super-creepy image.)  Charity screams; Ang laughs and laughs.  Charity awakens in her bed, hysterically screaming for real.

Charity feels her throat where Barnabas has marked her.  When someone knocks at her door, she settles back.  It's four o'clock in the afternoon, says Judith.  When she opens the drapes to let in the afternoon sun, Charity protests the abrupt light in the room.  I'm awake, she tells Judith, but don't know how I feel--the light hurts my eyes--other than that, I'm fine--I just feel so weak.  It's no wonder, says Judith--bringing Jamison back last night after the shock of the fire was too much.  I had to come back, says Charity.  It's no surprise you're tired and pale, says Judith--your father is coming for you.  This upsets Charity--I can get back by myself.  He's coming because I want to see him, says Judith--you stay in bed.  When she tries to drape a black shawl over her, however, Charity becomes upset and says, take it away, I don't want it!  Rest, urges Judith.  Charity lies back against the pillows.

Angelique answers the door at Collinwood.  It's Trask.  She greets him as if she knows him, explaining, I'm Barnabas' fiancee--it's an honor to meet the famed Reverend Trask.  She caresses his hand and comments, I hold in my hand the hand that has shaped the destiny of so many.  (laying it on thick, this was hilarious.)  I didn't realize my reputation was so wide-spread, he says, flattered.  He asks about her wedding plans.  Ihope to marry Barnabas very soon, she replies.  He tells her about Charity's upcoming wedding to Tim, which she already knows about.  I know much about Charity, she says--marry her off as quickly as possible.  With the fire, it will have to be put off, he says.  She warns him, there are many fires raging around us, and many ways for people to get badly burned--you shouldn't put it off.  (even jealous of his victims!)  She excuses herself, leaving him puzzled by her vague warnings.  Judith comes downstairs and tells him Charity is sleeping.  At this hour? he asks--I hate sloth.  Charity isn't feeling well, says Judith.  What's the matter? He asks.  The shock of the fire, says Judith.  She invites him into the drawing room.  He says, "My dear lady, I would follow you anywhere."  (where are my hip boots, it's deep in here!)  She sits down and tells him the fire was a great shock to all of them.  Yes, he agrees--seeing the building I worked so hard to put up was terrible, but I will rebuild when I can.  I want to help you rebuild, she says--and in the meantime, I would allow you use of one of the buildings on the estate to set up a temporary school.  Trask is flabbergasted--you would do all this for me?--for us, he amends.  It would be an honor, she replies.  I'm not easily overcome, says Trask, overcome, but right now...I'm just offering money, she says, and when one has it, it's not difficult to offer.  But sometimes money doesn't give you all the rewards you'd wish? does it, he asks--I recognize your need in making this generous offer.  (I bet he does.)  She suggests they go see Charity.  Trask realizes he embarrassed her--it was necessary, he says, I see there are problems in your heart and soul that must be uncovered, talked about to a dear friend--and I'm going to be that friend!  (His eyes gleam when money is mentioned.)  I can't tell you how much I admire you, she says, yet you, like everyone else, is so uncomplaining, despite your hardships and ill health.  This surprises Trask--where did you hear of it? he asks.  Your wife mentioned it, says Judith, when she was here.  How strange of Minerva, he remarks, since SHE is the one who is in ill-health.  (Does anyone else think a lightbulb went off over the rev's head right about now?)  "Increasingly ill health."

7:10 PM - Barnabas rises from his coffin and sits up.  He calls to Charity.  "I need you--there is much to be done.  Hurry, my dear, hurry!"

In the hallway outside Charity's room, Judith tells Trask that Charity seemed pale and strangely lethargic, but she's sure she'll be better after she sees her father.  When they go into the room, however, Charity is gone!

Barnabas opens a trunk in the Old House basement.  The door upstairs opens; Charity walks downstairs.  They greet each other warmly.  She assures him she's feeling very well.  When I met your fiancee, I was upset and depressed, says Charity, but then lying in bed, thinking about it, it didn't seem to matter that the two of us are engaged to others.  "Because of this special thing we have between us," he says.  Yes, she agrees, I know that now and it makes me feel elated, as if something extraordinary might happen.  It might, he says--we might be on the brink of a discovery--this trunk belonged to Jeremiah, and many of its contents have crumbled with the years, but others are more substantial.  He shows Charity a picture of Jeremiah's first wife, Laura Stockbridge.  "It's she!" cries Charity--"The same woman!"  (The portrait doesn't look much like Laura.)  "Yes," says Barnabas, "the day she came to Collinwood, she was wearing a bright orange riding habit.  No one else could wear it, but on her, it was magnificent.  I remember the first time I saw her, I was a child of 10 and I thought there could never be no more beautiful woman as long as I lived."  Charity asks, "When you were 10 years old?"  She was like a flame, says Barnabas, coming toward the house, that day in her bright orange riding habit.  How ironic that fire should kill her.  Charity is horrified to hear of a woman who dies in flames and walks, who is dead but bears no scars--and he who was born in a lifetime she will never know--all this frightens me terribly!--I must go away, she cries.  Where would you go? he asks.  Sometimes, I think, anywhere but here.  You did say this was the one place that made you feel beautiful, right? he reminds her.  She turns away from him.  "She was beautiful!" cries Charity, gesturing to the portrait--"And now she's dead!"  Don't think about that, says Barnabas, think about us.  She looks up at him, mesmerized and calm again.  "Us. . .you and I," she murmurs.  "And the special thing we have between us, he says--do you still want to go, Charity?"  No, I never want to go away from you, she agrees.  Good, he says--we still have much to find out to see if Laura Collins and Stockbridge are one and the same--and finding out will be very dangerous indeed.

Trask says it's as if my daughter vanished--no sign of her.  She's probably in some sort of shock, suggests Judith.  I would like to believe that, says Trask, but don't--I realize evil lurks deep inside everyone, and could be let out, which is why I so relentlessly pursue it.  Surely not your daughter, says Judith.  No one's daughter is immune from evil, he says--Angelique said something curious--that I should watch my daughter, apparently I haven't done so closely enough--she's always been a perfect child, but I see now that may have been the devil's disguise for what is lurking inside her.  Judith suggests he's being harsh with Charity; he agrees.  Perhaps she went for a walk and became ill, suggests Judith.  She knew I would be here, says Trask--no reason for her not to show up!  Judith is about to get Dirk to help search the grounds when Charity walks in.  You had better have an explanation for me, says Trask sternly--where have you been?  he demands--and what have you been doing?  (just a little kinky vampire sex, Dad!)  She starts to reply, but instead falls to the floor in a faint.  Trask rushes to her side.The first thing he finds, and Judith witnesses, are the fresh fang marks on her throat!

NOTES:  Loved those erotic scenes between Charity and Barnabas.  She realizes her "lover" is way older than she imagined, but he is easily able to calm her through their bond.  And I imagine that when he really wants to make her docile, he puts the bite on her--and perhaps makes love to her, too.  

Now that Trask has uncovered the "evil" in his daughter, what will he do?  Does he realize she's a vampire victim, and if so, how will he fight it?  Didn't it seem that Angelique was actively trying to get her fiance into trouble with Trask, warning him to get his daughter married off fast?  (As if that would prevent Barnabas from visiting Charity if he wanted to, married or not!)  

Barnabas knew Laura previously, when he was a 10-year old boy.  Now, that means there is more of an age difference between Jeremiah and Barnabas than we were led to believe.  At what age could Jeremiah have married Laura?  15?  16?  Yet another seeming discrepancy pops up in DS lore!

Love, Robin