736 - (Don Briscoe) - Collinwood before the turn of the century, a time of bizarre and frightening events.  The two Collins children, Nora and Jamison, have been sent away to school against the wishes of their mother, a strange, mysterious woman only recently returned to Collinwood.  Anger by the separation from her children, she has vowed that they will not spend another night in the school.  Only moments before her vow was made, the school mysteriously caught fire.

Nora, caught in the flames, sees her mother, who assures her, I've come to take you and Jamison away!  I can't! cries Nora--the flames!  You have to, says Laura, I can't reach you--try!  Nora begs, please, Mother, come to me!  Laura, however, simply stands by the door. . .

Tim comes racing downstairs to stand beside Laura, who asks him to help get Nora out.  Tim grabs a blanket, covers his head with it, then races into the flames and lifts Nora into his arms.  The three of them dash from the school.  We see a very phony picture of what looks like a clay building of the school being consumed by flames.  Tim assures Laura that Jamison and all the other children got out, thanks to Trask and Rachel.

Collinwood - Quentin goes into the drawing room and reports to Magda that the urn isn't there.  Now? she asks.  We have to find out where she keeps it, says Q.  If it's a personal belonging, says Magda, why isn't it in her room?  Perhaps because it's too valuable, he says.  You didn't tell mer that before, says Magda, but you aren't speaking of monetary value.  You've been close to her the past few days, says Quentin--where does she go when she leaves?  Once for a walk in the garden, once to go to the school--to me, says Magda, she seems as she was before leaving Collinwood.  She isn't at all, insists Q--you wouldn't believe me if I told you--it's too fantastic.  Magda finds the urn intriguing--how do you know it exists?  Someone told me, he says--I'm not paying you to ask questions--so mysterious.  Why are we looking for this urn? Asks Magda--we don't know what it looks like or contains.I know why we're looking for it, he says.  If it isn't worth money, what IS it worth? She asks.  Laura's life, he replies.  That answer scares me, says Magda, I won't help you harm Laura.  After I get it, promises Q, I won't touch a hair on Laura's head.  Your word isn't always truthful, Magda reminds him.  Tim, Nora and Laura come bursting in with the news about the fire at the school.  Quentin asks where Jamison is; they assure him he's OK--they others are spending the night in Rockport, says Laura, but I wanted to bring Nora back to Collinwood so she would be safe where she belongs.  Nora is tired; Tim suggests she go to bed right away.  Laura is exhausted, too; Magda offers to take care of her.  Laura tells Quentin--tell Edward what happened.  Q explains that his brother went to Collinsport an hour ago--I will tell him when he gets back.  Magda asks Laura if she's all right, and the latter asks for some tea.  Magda goes to get some.  Quentin stands in the doorway, staring at Laura, who asks Magda to close the doors.  In the foyer, Quentin grabs Magda's arm and says, you aren't to let Laura out of your sight for a moment--because she is going to lead us to the urn.  How do you know that? demands Magda.  He reminds her that Laura's life depends on it.

Laura paces the drawing room, wanders to the fire, warms her hands.  She looks totally burnt out (pun intended).  Opeing the doors she finds Quentin right there.  Were you leaving? he asks--I wanted to make sure you were all right--would you like a brandy?  No, says Laura--I appreciate your concern.  He holds up the drink and says, "So, the little old schoolhouse burned to the ground."  A terrifying sight, says Laura.  And rather a bizarre way of getting the children back home again, remarks Q.  She asks what he means by that.  What do you think I mean? He asks.   Do you think I had something to do with it? asks Laura  Did you? counters Quentin.  I wouldn't risk my children's lives, protests Laura.  I was just fascinated by the way fire has played such an important part in your life this past year, he says.  Leave the room, orders Laura--I want to be alone.  He rises and toasts her--whatever you say, my dear, he says, draining his drink.  Magda returns with the tea tray. Quentin watches the scene for a few moments before closing the doors.  When Tim Shaw comes downstairs, Quentin asks him about the fire--how did it start.  One minute everything was normal, next, the entire building in flames, answers Tim--we were lucky to get everyone out alive.

Laura drinks her tea and tells Magda, I'm beginning to feel a little better.  Magda advises her to go to bed--you look tired--you had had a terrible experience.  I'm just grateful the children are safe, says Laura--I'm going outside to get some air, then I'll retire for the evening.  She opens the double doors.  Tim comes in.  Nora is asking for you, he tells Laura.  I'll go up and say goodnight when she goes up to her room, says Laura.  Tim asks to speak to Mrs. Collins.  Laura asks Magda, excuse us.  The gypsy leaves.  Tim says, something has been puzzling me since the fire--how did you get into the room with Nora?  I walked in, after the fire began, replies Laura--I knew Nora was in the room; I was leaving the building when I smelled smoke--I was terrified and went back down the corridor to see where it was coming from--I heard Nora scream and rushed in.I see, says Tim--that's what's puzzling me--I was in the corridor, too, and didn't see her.  There was a great deal of excitement, says Laura, any number of things might have happened you didn't see--I'm very happy we had this talk--I want Trask to know the courage you displayed this evening.  (sure, butter him up, LC!)  No need, says Tim.  I feels you should be properly rewarded for saving Nora's and my life, insists Laura--when you get back to Rockport, have Trask call me.  All right, Tim agrees, as she smoothly hustles him out.  He bids her good night and leaves.  She sighs, knowing she has averted suspicion--for now.

Nora, on the landing, spies her mother leaving the house and follows.  Magda sees the child leave.

Quentin goes downstairs and finds Magda standing in the doorway.  Laura left the house, she reports.  Why didn't you follow her? asks Quentin, annoyed.  Magda explains that Nora came down and followed her mother.  Quentin wants to see if he can find her.  Magda advises him to stay here--if Laura wants to be alone, she will send Nora back to Collinwood, and we can get the information from the little girl as to where her mother went.  Yes, grins Quentin, of course.

At the gazebo, Laura drops her snake bracelet on the ground when she goes to a pedestal with a weather vane contraption on it.  She opens it and takes out her urn.  When Nora calls to her, she hastily shoves it behind her back.  Why didn't you come and say good night to me? asks the little girl.  I was going to, Laura assures her--I came out here alone to look for something I hid here a long time ago.  Is that what you have behind your back? asks Nora eagerly--"Can I see it?" Yes, says Laura, but it will mean nothing to you.  She shows Nora the urn.  The little girl is disappointed--oh, it's just an urn.  Yes, agrees Laura.  Why did you hide it? asks Nora.  It's a secret, says Laura.  I like secrets, says Nora.  Go home to bed, says Laura--I'll come and tell you a wonderful story about the urn.  Nora wants her mother to come back to the house with her.I want to stay here a while, says Laura--I can't explain why, but it's necessary and I will see you later.  Nora promises to wait for her.  After the child leaves, Laura lifts up the urn and calls to her master--hear me, bearer of warmth and fire, giver of life and destroyer, and grant through your flame the energy and sustenance I must have.

Magda reports to Quentin that Nora is returning--Laura is not with her.  She sends him into the drawing room; I will handle Nora alone.  Quentin leaves.  Magda kneels, takes Nora's hands and tells her, your mother will be very upset that you left the house.  I saw my mother, and she wasn't upset, says Nora--she was in the garden and wanted to be left alone.  Magda takes Nora upstairs to bed.  Quentin, who has overheard all, is pleased.  

Magda goes to the gazebo and looks around, then asks "What if she took the urn away?"  Quentin joins her and says, I'm sure the urn is around here somewhere, all we have to do is find it.  It's a big place, warns Magda, we could be here all night.  

Laura sits down in the drawing room, seemingly pleased.

Quentin asks Magda where Nora said Laura was standing.  She shows him.  Quentin looks around and spies Laura's snake bracelet in the grass.  He picks it up, rises.  Magda asks what he has found.  He jiggles the pedestal contraption, opens it as Laura did, and finds her urn!  Is that It? asks Magda, proclaiming it a worthless piece of junk . Quentin is beside himself with glee--this is a valuable and precious thing--it contains a flame, and not an ordinary one, but one capable of giving life--but if snuffed out, the life would be snuffed out with it. . .how will it happen? he wonders, snapping his fingers--just like that?--or will the energy be slowly drained out of her?  Magda looks sickened.  We will know soon enough, says Quentin, taking sand in his hand, dousing the flame in the urn.  "Goodbye, Laura!" he says exultantly, laughing.Laura looks wildly around.  "NO!" she cries.

NOTES:  Some viewers love Laura, some don't, but do we root for Quentin to kill her or not?  Clever way to get her children away from Trask's school, but not so fast. . .we will all see soon.  Will Quentin do away with Laura?  What kind of relationship does Rachel have with touchy-feely Trask?  Does Tim love Rachel?


737 - (Roger Davis) - Collinwood before the turn of the century--a time of evil and terror for all who lives in the great house.  The unexpected return of Laura Collins has caused one person in the house--Quentin--to live in mortal fear.  He and he alone is aware of the mysterious link that exists between Laura and the supernatural.  And now, on this night, he believes he has found the way to end Laura's existence.

Quentin douses Laura's fire with a handful of sand, happily saying, "Goodbye, Laura!"  Laura herself feels her life draining away.  Contemplating his ex-lover, now enemy, Quentin laughs.

Laura, in the drawing room, helps herself around by gripping the furniture.  Judith enters, concerned about the condition of her sister in law.  I'm cold, Laura says.  Judith wants to call for a doctor, but rushes off to get her sister in law some tea.  Laura rises and walks unsteadily to the front doors.  She exits, leaving them open.  Judith returns to tell Laura her tea will soon be ready, but finds her gone.  She spots the open door.  Quentin enters.  Judith asks if he saw Laura, who just left the house--go find her!  Did she do something naughty? Asks Quentin teasingly.  No time for flippancy, scolds Judith, Laura is very ill.  Quentin thinks Laura is just being melodramatic.  No, she's ill, Judith says--she can hardly stand on her feet.  How did she get outside? Quentin wonders--Laura has always been able to take care of herself very well.  You're callous, accuses Judith.  When I saw her earlier, says Quentin, Laura was fine--a little tired after the ordeal at the school, but that's all.  Judith reminds him both Laura and Nora were trapped in flames--perhaps Laura's illness is only emotional.Quentin laughs--"Our Laura, struck down by feelings of emotion"--even you yourself said Laura was incapable of emotion.  Are you going out to find her or not? demands Judith.  No, says Q--I want to know what's come over you; you've always hated Laura and was happiest when she was out of the house.  I did hate her, agrees Judith, but I don't want harm to come to her.  (So generous!)--whatever her faults, she's a human being.  That's debatable, says Q, then apologizes for shocking his sister.  Laura did something you wouldn't do, says Judith--rush into a burning building to save her child--under the same circumstances, you would run away, coward that you are.  You can't shame me into searching for Laura, insists Q--I'm having a drink--would you like to join me?  Judith doesn't answer, she picks up the phone and calls for Dr. Pendleton.  Too late for a doctor, mutters Quentin--what she needs is an undertaker.

Laura goes to the secret hiding place of her urn and finds it gone.  Dirk spots her.  I saw you coming from the house, and you appear ill, he says.  Come here, she demands, trembling--hurry!   He realizes she is ill.  She leans her body against his, causing him to say, embarrassed, "Mrs. Collins!" (Are you trying to seduce me?)  Just stay where you are, she orders--I'm so terribly cold. . .!

Dirk urges Laura to let him take her to Collinwood--we can't stand here, someone might come and see us.  Don't be embarrassed, she urges.  Dirk can't help it.  It's lucky you came when you did, she says, although you may not know it yet.  Yes, yes, he says, we can discuss it on the way to Collinwood.  You're going to be the one, she says, and through you. . .  He doesn't know what she's talking about.  You will help me, says Laura, and come to me when I summon you.  We  can't stay here, protests Dirk, backing away from the seemingly amorous Mrs. Collins.  You will come to me when I need you, she says desperately.  I'm sorry, says Dirk, but I'm taking you back to Collinwood.  And, supporting her weak body, he does.

Reflected through Quentin's brandy glass, Judith tells Mrs. Trask on the phone that they should thank the Lord all the children are safe--I will tell him the moment he comes home.  Quentin takes it the school is beyond repair.  They have no idea how it started, Judith tells him. Shouldn't you call the doctor again? suggests Q--he should be back from his house call (what's THAT?).  Judith declares that Quentin is indifferent to suffering.  "The suffering of some people has to be seen to be believed," he snaps.  The front door closes.  Dirk helps Laura in.  Judith thanks him.  Quentin agrees that Judith was right, and assures Laura--my sister has a call into a doctor and everything will be all right.  You're a hypocrite! cries Judith.  This is no time for name-calling, says Quentin.  Get away from her! orders Judith.  I owe it to Laura to take her upstairs myself, insists Quentin--and so he does.  Judith invites Dirk into the drawing room and closes the doors.  Where did you find Laura? She asks.  The garden, looking near collapse, answers Dirk--at first I thought she had been drinking, but she's very sick.  Judith wonders what she was doing in the garden.  Dirk ventures that Laura is delirious--I don't think she knew where she was going, and nothing she said made any sense at all.  Judith again thanks him for his help.

Laura's room - Quentin helps Laura inside and into bed.  Nervous, he keeps licking his lips.  He turns on the lamp.  Laura lies there, pale, breathing heavily.  She gazes at him.  Rest, he urges-- the doctor will be here soon.  He leans in close.  "How do you feel now, too weak to talk?" he asks--what's happened to you?  You already know, she says--you're much too concerned.  Of course, he says, grinning, we wouldn't want anything to happen to you now.  I don't know how it was possible, says Laura, but you did this to me--it couldn't have been anyone else.  I don't know what you're talking about, says Q.  "You're trying to kill me," she accuses.  Oh, he says, now that is a very strong accusation--tell me, he says, touching her, do you have any way of proving that?  I'll find a way, she assures him--you'll pay for this.  I don't think you have that much time left, says Q.  He's right beside her, very close, almost in bed with her.She raises her head and orders him to get out.  He suggests she doesn't exert herself--you don't have energy to spare, do you?--ohhh, now don't look at me that way, it almost compels me to feel sorry for you.  I wouldn't want your pity, she says.  And you wouldn't get it, he retorts--and for a very good reason--I recall an incident at the cottage the other evening--we both thought that I was dying. . .I asked you to help me, and you refused, you left me there to die--now I do believe that one bad turn does deserve another?  He moves to kiss her mouth; she turns away.  He grabs her face and forces a kiss on her mouth.  "Why, your lips are ice cold," he says viciously--"Goodbye, Laura."  And after a last caress of her face and shoulder, Quentin leaves his former lover alone, presumably to die.

Judith comes downstairs and Dirk enters Collinwood, lamp in hand.  He greets Judith and tells her he's about to make his rounds.Go out on your own, says Judith--the doctor doesn't know about Laura, he doesn't know what's the matter--go out on your rounds.  Dirk leaves.

Laura climbs off the bed, desperately weak.  She speaks into the fire, asking her master, help me, I cannot die now, I'm not finished what I came here to do!  I  beg you for understanding and mercy--grant me another life-giving flame.  Wind blows  Laura begs, don't let my warmth be taken away--there's so little left!--please help me, she implores--appear to me in human form--I've chosen someone, a young man. . .  (we see Dirk entering Collinwood)--through him you can appear to me, help me--I beg you, possess him, help me, answer my plea!  Dirk walks through the dark foyer, into the living room.  He stares at the fire and lifts a bucket of water, presumably to put it out.  Laura mutters, he's near the fire now, spellbound by the flames--take possession of him and come to me, please!  Dirk puts down the water, totally entranced.  He seems to hear Laura's voice, and the flames are reflected, dancing over his face.  He speaks in a foreign language about Amen-Ra; Laura responds in the same language.  "Come to me," she begs, over and over.  "I don't want to die, I can't die, not now, not here!"  Dirk walks from the drawing room.

Laura's bedroom - She lies on the floor, unconscious.  Dirk enters, kneels beside her, lifts her into his arms and carries her to the bed. I don't understand, he says.  She regains consciousness and says, there's no need to understand, come closer, she orders.  I've been speaking foreign words that make no sense, he says.  She grabs his lapels.  "Come closer to me," she orders.  I shouldn't be here, says Dirk.  Do you want to leave? She asks.  No, he says, I want to stay and help you--I don't know why.  Because I'm going to die, she says.  You can't, you won't, he promises.  You have the power to save me, says Laura.  Dirk doesn't believe that.  Look deep in your soul, she tells him, you'll know, you must do something, there's very little time.  I don't know what to do, he says desperately--I don't know what to do!He draws her into his arms, calls her name in a rough voice.  You do have the power, she says--only you can restore me!  No! he cries, it's impossible.  Look inside yourself, and you will see the flame of eternal life.  He holds her closely, promising he will never let her go--I don't want to lose you.  Use your power, cries Laura, don't let me die!  He clasps her tightly in his arms.

NOTES:  Roger Davis does do a nice intro, his voice is low, arresting and sexy.  I wonder if Selby burned his hands on that urn.  It looks like it contains a real flame.)

So, will Dirk light Laura's fire using sex to rejuvenate her?  Sure looks like it, doesn't it?  How else would she be "restored"?

That scene between Quentin and Laura was sexy, wasn't it?  You know they were once lovers, and suspect they were wildly passionate together, but he saw her die in Egypt and knows her presence here now, alive, is impossible.  He knows she's a supernatural being and wants to destroy her.  One bad turn deserves another, and when HE was near death, she left him to die--so he does the same.  But he touches her one last time, as though establishing that they DID once have a physical relationship--and now he's taken away her very life force--really intense scene!

Love, Robin

732 - (Diana Millay) - Collinwood in the year 1897, where a woman has just appeared from far away.  She is Laura Collins, Edward's wife, and the sight of her fills one person at Collinwood with a chilling fear, for far away, in another country, Quentin Collins saw Laura die.

Quentin continues to strangle Laura, then abruptly releases her when he's filled with pain, his body enveloped in light.  He accuses her of doing something to him, but she says she's not--anger, she says, heats the blood and puts strain on the heart.  He clutches his stomach, accusing her of doing something terrible to him.  She denies it, and fears coming moving closer to him in case he tries to kill her again.  "You're dead already," he moans, writhing in agony.  Laura half-humorously suggests the pressures on his brain must be very great.  Help me! he beg.  Repeat that, Laura asks.  I promise to stop you, he vows, whatever you're doing to me.  Laura maintains, I'm doing nothing except enjoying your reaping the rewards of a rich and well spent life.  When he begs for her help, she laughs.  How does it feel to beg? she demands--to suffer?  I don't want to die, he says, walking around the room in a pain-filled shuffle.  Do you think I wanted to die in Alexandria? she asks shrilly, when the fire priests dragged me, screaming, to the sacrificial altar?-- "Quentin!" I cried, Laura reminds him, "Help me, Quentin!"  She notes that he seems to be unconscious, and callously checks to make sure he can still hear her.  He can, so she continues--I remembers the priest dragging me to the flames, asking why I was crying to Quentin for help--when he's the one who betrayed me?  I had to, groans Quentin, or they would have killed me.  I finally figured that out, she says bitterly, and now the death you evaded then has caught up with you, right here at Collinwood!She laughs--well, goodbye, she says, enjoy your rendezvous.  He tries to grab her before she exits.  Laura airily assures him, "Dying is not so bad, Quentin, once you get used to the idea!"  She leaves him alone.  Quentin sinks to the floor, unconscious.

At Collinwood, Barnabas comes downstairs and hears Rachel saying, on the phone, "You know that's not true, no, Reverend Trask, please, I don't want you to talk to Mrs. Collins or to anyone else--I just need a little more time to work it out in my own mind--yes, I remember what you taught me. . ."  Barnabas grabs the phone out of her hand and hangs up on Trask.  Don't talk to him, if he makes you so unhappy, says Barn.  Rachel explains that Trask thinks her a thief--I was sent to the school while still very young--to repay their "goodness," I promised to work for five years as a teacher--their goodness consists of torturing little children, of twisting their minds with fear and torturing their bodies with discipline--they assure the children it hurts the adults more than it hurts the child.  Barnabas sympathizes--how horrible it must have been!  Once I became a teacher, continues Rachel, if I showed them kindness, Trask would scream at me about my leniency, and he would, if he had to, destroy their bodies to save their souls--I ran away, but before I did, I took my wages, which they were saving for me--that's what they call theft.  Not, says Barn, your own money.  Rachel says, I can't prove it--do you think I have any chance with Trask?  Barnabas is distracted suddenly, looking around oddly.  I don't wants to be scared of them, says Rachel.  Don't be, ever again, says Barn.  When she asks what she should do, however, he seems far away--we'll discuss it all later, he assures her, but I've got to go.  He races off, leaving her confused and perturbed.

Cottage - Quentin lies on the floor, Angelique standing over him.  She's got one hand up to her forehead, as if trying to concentrate.  Barnabas enters.  You certainly took your time, she complains.  He starts to say he knew she was up to something, but. . .then he spies Quentin on the floor and asks if he's dead.  Very close, she replies--but the world will be much better off without him--but you won't be.  He isn't supposed to die this way, protests Barnabas.  He'll die any way I choose, insists the witch.  Barnabas rises and looks at her--"unless you come to your senses," she finishes.  He asks what she means.  Stop fighting me, she orders--we were meant to be together, you and I, and no other woman is ever going to have you, including Rachel.  Their faces are inches apart.  Do you understand? She asks.  I have to, when you threaten me with Quentin's death, sighs Barnabas.  It's just that I care for you so much, Ang says, so very much, that I would kill anyone to have you (oh, baby, that's some sick way to love another person)!

Barnabas surveys Quentin and asks Angelique, is killing and hurting your only way of proving your power over people?  I don't want that, she says.  So, you've changed? he asks.I'll be sweet, gentle and tender if that's the kind of woman you want your wife to be, promises Ang--I've got a deal for you--Quentin will not die now, as he so easily could, he'll go on with his rather sordid life until the right moment--if you will allow me to assume my rightful position as Mrs. Barnabas Collins.  Barnabas repeats the name; Ang remarks how nice it sounds.  I won't force you to introduce me as your wife immediately, she assures him, just your fiancee, for now, the woman you love.  Barn asks, will you let Quentin rise?  Yes, I will, she replies--I did it before.  "You!" he ejaculates, stunned.  I used Trask and his fervent, frantic prayers, says Ang, but he never would have gotten far without me.  I should have known, says Barn.  My way of getting you to notice me, says Ang.  "The idea of a life with you..." begins Barnabas.  Is it so bad? she asks, so bad that you would allow yourself to fail, to let young David Collins die--the possessor and possessed are one, which you know, if one dies, the other dies--right now, she says, David is as close to death in his room as Quentin is--when Quentin leaves. . .  If, amends Barnabas. . .  She senses a change in his attitude--are you ready to accept my terms? She asks.  All right, agrees Barn, so be it, but make Quentin rise--now. Oh, no, says Ang, linking her arm in his, it will be much more impressive if it were done by Barnabas' fiancee, I'll be much more concerned about the health of my own family. . .they exit the cottage together; Angelique gives a triumphant giggle.

Laura, in Collinwood's drawing room, walks, thinking.  Rachel enters and introduces herself--I've been looking forward to meeting you, she says, but sorry about the circumstances.  Laura is under the impression the children are upstairs.  Rachel informs her they aren't--they were sent to Trask's school an hour ago, and you must get them out of there.  "EDWARD!" calls Laura--if he thinks he can take my children away from me. . .  Laura falters and starts to fall, as if losing strength.  Rachel asks what's wrong.  Leave me alone, orders Laura, I need help, but not from you.  Laura seems to pass out, a fly buzzing over her face.  She calls to the sun God, Ra, asking that her veins be filled with fire--without you, I cannot live.  We see an urn with fire burning inside it appear, then fade away into her chest.  

11:30 - Rachel comes downstairs and answers the knock at the door.  It's Barnabas, followed by a grinning Angelique.  Rachel starts to say, I really wanted to speak to you. . .   Angelique asks for an introduction.  "This is Miss Rachel Drummond," says Barnabas, dropping silent.  Angelique greets her, and says, a setting as elegant as this one demands all the formalities be fulfilled.  "Barnabas," she says, "would you introduce me, please."  (Let's twist that knife, Ang, you are enjoying yourself far too much!)  Angry and depressed, Barnabas says, "This is Angelique."  Ang won't let it rest at that, she tells Barn that Rachel is wondering who I AM.Caught between the two women, Barnabas miserably finishes, "Angelique is my fiancee."  Rachel's mouth drops open in dismay.

Angelique admires the house, wondering if Rachel would show her around.  Not possible, says Rachel, clearly in distress.  Angelique apologizes--I just had the feeling that you and I would have a great deal in common (here she slyly gazes at Barnabas, who gives her a withering look).  Rachel excuses herself and leaves the house.  Angelique comments, Rachel doesn't have the best manners.  "Do you?" asks Barnabas--"Pretending to be her friend?"  I only said that she and I have a great deal in common, says Ang, and we do.  WE have something in common, too, Barn reminds her, Quentin Collins--"Make Quentin rise."  I will, promises Ang, giggling.  "I will."

Outside, terrace.  The fountain gurgles.  Rachel sits on a bench, miserable.  When Barnabas comes out, she turns with a start.  You're full of surprises, she says--I feel foolish, assuming we were friends.  We will always be friends, he assures her, but perhaps soon, I can offer you more.  (what?--a threesome with his fiancee?)  A man with a newly-arrived fiancee shouldn't be talking that way, says Rachel.  I agree, says Barn, but these are special circumstances--she's here for a reason.  The reason is obvious, she says--you want to marry her.   It seems that way, he says, but in the same way as Trask talks about goodness and practices the opposite, so sometimes things aren't what they seem--sometimes the truth only comes with time and trust--do you still trust me?  (that's asking a lot, Barn!)  I don't know, she says forlornly.  The camera pans on the cupid in the fountain.

Cottage - Angelique touches Quentin's face and tells him to return from death's dark borderline--"to the land of the living, return, return."  He opens his big baby blues and sits up, blinking, then asks what happened. Your health is rather shaky these days, says Ang.  Laura did this to me, insists Quentin.  Ang says no, I did it, I was forced to, by my feelings for Barnabas.  What do you have to do with me? asks Q.  A great deal, reveals Ang--Barnabas and I are engaged.  This is a shocker to Quentin, who asks, aren't you a rather odd choice for Barnabas' bride to be?   Congratulate me and let it go at that, she says.  Quentin refuses--I think there's more to it.  "Goodbye, Quentin," she says.  He stops her, grabbing her arm.  Furious, she tells him never to do that to her again, or you'll find yourself beyond the borderline of death!  I only wanted to ask a small favor, he says--I want you to get rid of Laura, the last thing I'll ask--surely someone of your talents could kill her? asks Q.  Yes, if that's all there was to it, answers Ang.  I'm not quite sure what more there is, he says, but maybe you can tell me.  The fire in Alexandria, comments, Ang, could she have survived that?  No, says Q, yet she's here--please, help me find the answer.  She looks into the fire, hand held pensively to her mouth, and spies the urn.  There's a flame inside, says Ang--it's her life--when the flame is extinguished, her life is over--nothing is left but the darkness of death--if you find the urn. . .  He demands Angelique tell him where it is.Find it yourself, orders Ang, put out the flame and be rid of her, forever.  Quentin grins, a very happy (and oddly vampirelike) smile.

NOTES:  So, we thought Laura made Quentin hurt, but it was merely another ploy of Angelique's to get Barnabas into her clutches.  Poor guy, he was really making headway in his relationship with Rachel, and Ang goes out of her way to force him to introduce her as his fiancee, totally breaking Rachel's heart.  And the governess thought she could trust Barn to help her against Trask!  Those Ang/Barn scenes are always wonderful, and I love watching them go at it.  She's forever blackmailing him, putting a price on her help, just as she did in 1796 with Sarah--marry me and I'll cure your little sister.  So when Laura told Quentin she wasn't putting him in pain, she was telling the truth!  Good stuff, and you can already smell catfight in the air vis a vis Laura and Angelique.

733 - (Grayson Hall) - Collinwood in the year 1897, where Quentin Collins has once more met the woman he saw die on a flaming altar in Alexandria.  Dark forces have told him there is an urn that controls the heat and fire of her life.  And now he must find it to be rid of her forever.

Quentin returns to Collinwood intent on finding Laura's urn, ridding himself of her forever.  Laura sits in the drawing room, listening to weird voices coming from the fireplace.  They sound like voices spoken in foreign tongues.

In Laura's room, Quentin diligently searches, but she catches him and demands to know what he's doing here.  (The light goes on before she actually touches it.)  You were just in the drawing room! says Quentin.  How is that possible when I'm here? She asks--what are you doing in my room?  I want the letters, he says.What letters? Asks Laura.  Don't play innocent, he commands, the way you did when you used to kiss Edward good night, then sneak off to see me!  I don't want to discuss old times, she says.  I want to get the letters I sent to you in a post office box in Collinsport, he insists.  She's hysterical to think he really thought she kept them, and laughs at him.  Judith is knocking, and lets herself in just in time to see Quentin about to shake the giggles out of Laura.  Judith apologizes--no one heard me, so I just walked in, she says--I want to know how Laura is--Rachel told me she was ill, but now, observes Judith, you're well enough to "entertain."  Quentin isn't here on a social call, says Laura.  Quentin hastens to tell his sister "it" involved family business.  Judith feels "it" should be taking place in the drawing room.  Quentin, furious, leaves, slamming the door behind him.  "Poor, plain Judith," says Laura, "Grandmother's handmaiden."  (Nasty!)--I can hardly believe Judith is ordering people around.Judith insists she does it for the good of her family.  They begin to argue about Judith sending the children to school; Judith feels they should be with other children, Laura believes they should be with their mother--and they will be.  Each woman agrees that she shall see about that.  Laura accuses Judith of wallowing in her new position, being so jealous of the pretty wives her brothers brought home.  Laura preens.  I came to ask about your health, Judith says angrily.  Laura asks her about Jenny, "since there's so much family concern in this house."  Judith remarks that Jenny is the last person Laura would inquire about.  Laura agrees, but still wants to know how she is.  I don't know how she is or where she is, says Judith, she had no reason to stay here after you ran off with her husband.  Judith leaves with that parting shot.  Laura opens a desk and finds her precious urn.  She holds it up and rubs it, looking relieved and happy.

Terrace - Quentin paces.  Magda comes to him; he tells her to help Laura move to the cottage--she will pay you for it--I want a small, Egyptian urn in her possession.  What will you pay me? asks Magda.  It's valuable only to Laura, says Q, no one else, so you are to bring it to me and not sell it for a better price.  Magda agrees to do it, even if she doesn't understand why.  

Quentin returns to the house, where Judith sharply calls his name.  "Oui, mon capitaine," he says humorously--how can I help you--black your boots, polish your brass?  Judith, not amued, warns him to keep away from Laura.  I was in her room on family business, after some letters I wrote her that Laura will use to blackmail Edward, says Quentin--I assure you that you don't want to know the content of the letters.  Judith says, I can't see you as reputation of the family rep--or David--Edward's honor, considering you and your elder brother don't "admire" each other.  You're too ladylike, complains Quentin, you mean Edward and I hate each other's guts.  You really do, observes Judith.  Yes, agrees Quentin--I hate Edward, but, dear sister, I hate Laura even more...

Laura's room - She stares into the fire.  Rachel enters and asks how she is.  Much better, says Laura.  Rachel wants to talk to her--speak to Edward about bringing the children back from the school, begs the governess.  "*I* convince them of anything?" laughs Laura.  You must try, urges Rachel, I lived there, first as a student, then a teacher--kids are punished physically and mentally abused, and there's nothing the Trasks won't do to impose their will--on everyone--I ran away.  With a man, says Laura.  How did you know? wonders Rachel.  Because I know how hard it is for a woman to make her way in this world alone, says Laura.  There was nothing improper, says Rachel.  Laura doesn't care about that--I have much to do before I move into the cottage.  I believe the kids could die at the school, says Rachel.  Laura tells the young woman, you have an interesting imagination.  After Rachel leaves, Laura drops the dress she took from the closet and looks into the fire again.

A dark haired, sour-faced woman knocks at the door of Collinwood.  Rachel answers, and isn't pleased.  "Are you ready, Rachel, to come back with me?" asks Minerva Trask--Mr. himself wasn't feeling well, so he sent me to get you.  I'm not going back with you, says Rachel.  Minerva comments, you were a pretty child and a pretty girl--quite a burden for you, wasn't it?  Your trip is wasted if you came to get me, says Rachel.  Minerva says, my husband used to say pretty people are the devil's playthings, and he was right in your case.  Tilting her head, Rachel asks what she means by that.  The devil made you into a thief, insists Minerva--and then a murderess, too!  Rachel is stunned by this accusation.  Minerva insists they find a place to talk about this further.

Laura is caressing her urn when someone knocks.  It's Magda, who offers to help her move to the cottage.  Laura agrees.  Magda admires a dress and asks if Laura will give it to her when she gets tired of it.  Perhaps, says Laura, if I decide to go away, suddenly.  (ah ha!)

Drawing room - Minerva tells Rachel the day she and Tim left was the most tragic day of Rev. Trask's life.  Why did you call me a murderess? demands Rachel.  Minerva prefers to let her stew.  It's not easy to tell of it, says Minerva, but the Reverend, that poor, fine man, has never been the same.  Rachel insists.  Minerva says Trask will take you to court for stealing if you don't return to the school and fulfill your contract.  Rachel asks again about the murderess accusation --why?  My brother died that night, says Minerva--Simon, the best man the world has known--he was killed by thieves.  I never even saw the man, insists Rachel.  This causes Minerva to cry "thief, murderer and liar" at her.  Rachel denies all.  Minerva insists, you surprised Simon in the kitchen and hit him with a fireplace poker and left him for dead.  I didn't go there, cries Rachel, Tim went there for food, but...uh oh!--Tim didn't say anything about that, that anything happened in the kitchen--and he wouldn't do such a thing.  Well, Minerva informs her, Tim already confessed to doing it.  Rachel is horrified.  Tim returned to Worthington Hall, where he belongs--where Rachel belongs, says Minerva.  Poor Tim, laments Rachel.  If you miss him, you can see him soon, says Minerva, let me guide you as I have before--come back with me--don't be foolish--aren't a few years with people who love you better than many years with strangers in prison?   They wouldn't send me to prison, says Rachel--I'm not a murderess.  Minerva tells her that the innocent must suffer, Providence sometimes tests them by putting them in jail--or the gallows-- much as the Reverend would regret it, he'd have to tell the authorities about the thieving and murdering that took place that night--it would break his heart, just as it would break Rachel's neck, but he'd have to!  Judith interrupts.  Minerva says they really want Rachel back at the school, especially since she isn't needed here.  Judith says it might work out very well--Nora and Jamison would be delighted to see her. . .  Rachel begs her to stop, but insists nothing is wrong.   Start packing, orders Minerva--I want to be back to fix the Reverend's custards, which he loves when he isn't feeling well.  Judith murmurs how lucky he is to have her for a wife.  Minerva smiles and says, I'm fortunate, too--I'm glad Rachel is coming back in time for the wedding between Tim and Charity.  Judith congratulates her; Rachel looks dumbfounded.  Get packing, urges Minerva, before long, you'll be back at Worthington Hall, where you belong.  Rachel races upstairs, clearly miserable and confused.

As Magda exits Laura's room, Rachel races past her.  I must get away, cries Rachel.  Are the police after you? asks Magda, grinning.  They will be, says Rachel, when I go back to the school--they claim I stole money, and I didn't!  Don't be so sensitive, says Magda, money is supposed to go from pocket to pocket.  I'm innocent, says Rachel, of the thievery and the murdering--I had nothing to do with the man's death, but at trial, anything can happen.  Magda says it's better not to wait and find out.  Rachel thinks she can go to Boston and find a job.  Magda says, you aren't the kind of person who can get a job and tell fortunes.  I have no family, no one to help me, says Rachel--Tim is marrying Charity, and Barnabas is marrying Angelique.  Magda looks at Rachel's palm.  Oh, no! she says--when I read it before, I told you you had an enemy--the enemy is still here, but closer, like a shadow of death behind you--you must go, fast, says Magda, I have an idea, but you must be brave, or you will die.

7:30 - Minerva wonders what is taking Rachel so long, it's been an hour.  Judith goes up to get her, but first asks, why doesn't Rachel seem happy about going with you?  We are Rachel's family (Addams?) says Minerva, and in every family, along with a deep, abiding love, there are often conflicts and differences, even in the Collins family.  Laura joins them; Judith introduces Minerva to her, then leaves to get Rachel.  Minerva compliments Laura on her children, and tells her about her own daughter, Charity, who is to be married to one of their teachers.  Laura feigns interest, and not very convincingly.  Minerva thinks matrimony is the bomb, people going down the path of good works through life.  Laura admits her marriage isn't like that, but. . . Minerva blathers on about giving a daughter in marriage is a marvelous moment in a woman's life, as Nora will someday be grown and married.No, says Laura, my dreams for my daughter are somewhat...different.  Judith comes to the landing and reports that Rachel is gone.

Magda leads Rachel to the mausoleum.  Why here? asks Rachel.  You won't go to the Old House, says Magda, and you need to leave town by carriage.  Trask could easily find me, protests Rachel.  I know a man who has a carriage, says Magda, but much money is needed--are the garnets in your brooch real?  Poor Rachel says, it was was mother's and all I have.  I can take them to town, says Magda, get you 20-30 dollars and get you to Boston, anyway.  Rachel sadly hands over the brooch.  Magda takes her into the mausoleum.  Rachel is horrified to learn she has to spend the night in the secret room.You'll be safe there, one night, that's all, encourages Magda--if Trask finds you, you will have many nights worse than this.  She opens the secret panel.  Rachel looks inside, hand to her mouth, horrified, gasping.

NOTES:  Love Minerva.  She's exactly the right woman for old Trask, a hypocrite and a bitch.  Poor Rachel seems to be jumping from the frying pan into the fire, making rash, unwise decisions in her haste to get away from a life of forced servitude (and God knows what else) with Trask.  Can you picture Charity married to Tim?

Wonder what plans Laura does have for her daughter, if not marriage?

Love, Robin

728 - (David Selby) - Collinwood in the year 1897. Barnabas Collins has gone back in time, hoping to unravel the mysteries of the past in order to save the life of a young boy in the present. But his progress has been impeded by several obstacles, including the appearance of old enemies who would like to destroy him. But his severest handicap is one he has long been familiar with, for back in this time, Barnabas Collins must suffer the terrible curse that was placed on him so long ago. Once again he is a creature of the night--one of the living dead.

Post-bite, Barnabas asks Charity if she's aware of what has happened to her. Yes, she says.Do you remember where you are? He asks. Yes!--I don't feel the urge to run away from you, she says, I feel I belong with you. And so you do, he says--you will come to me when I call to you--you are under my influence and cannot resist me. She understands, and seems damn happy about it. She promises not to tell anyone about him, or fail him. "Good night, Charity," he says, leaving her looking like a very sated, happy lover.

Daytime - Nora stares into the fire in the drawing room. She hears the front door close--her father is home. She greets him with a hug and tells him she's so glad he's back. He asks what's wrong with her. She tells him they were afraid he wouldn't get back in time--aunt Judith tried to send them away last night to a school in Rockport. Edward gives her the bad news--the idea of the school was MINE--the house is a world of adults, you need to be with other children. She plaintively asks if he doesn't want them here anymore. Absurd, he says, kneeling to hold her--it isn't that. It seems that way, she says. I want to do what's best for you, he says, think of your future. We like Collinwood, and Rachel, she's so nice, protests Nora. I like Rachel, too, says Edward, try to understand my reasons. She begins to cry, saying, if we are sent away, I'll just DIE! Edward, upset, assures her that after dinner, the three of us will sit down and I'll tell you about the school. No good, she says, because Jamison isn't here anymore, he ran away last night, saying Trask was cruel and mean to him and would rather die than go to the school. Edward is horrified--I thought you'd like the idea of the school! Nora clings to him and begs him to let them stay at Collinwood, please! I need to think and find Jamison, he tells her, run along and play. Edward goes into the drawing room, pours himself a drink, downs a gulp. Charity comes downstairs; he greets her and asks for her father. He left Collinwood to attend to something at the school, she says. I only just learned about Jamison, says Edward, but I'm not worried--he's hiding on the estate somewhere until he gets his way. Charity remarks that he sounds strong-willed, but lacking in discipline. Edward agrees to both. Worthington Hall will do him a world of good, says Chatty. But we must get him there first, says Edward. She almost faints and complains how bright it is--the light hurts my eyes. He finds that odd. She excuses herself--I want to be alone. He heads to his study to phone her father. She leaves the house, closing her eyes against the glaring sun, then covering them.

Edward finds Quentin in the study, looking through papers, and is shocked. Edward slams the door. "You're back," says Quentin. Why aren't you searching for Jamison instead of going through my personal papers? demands Edward. Quentin assures him, your son will come back when you abandon the idea of sending him to that ridiculous school. What were you looking for? asks Edward. Information, says Q, but now I can ask you--I want to know where Jenny is. Edward is shocked to learn Quentin knows. A lot happened while you were away, says Q--one night, my dear wife escaped and found me in the cottage--I was quite surprised at seeing her--that was nothing compared to how I felt when she put the knife in my chest--rather shocking, isn't it? Edward comments on his miraculous recovery. Yup, at one point I was actually declared dead, Q informs him. Edward is stunned. But I'll spare you the grisly details, says Q--where is Jenny being kept?--I don't intend to let her have another go at me. I understand a great deal, says Edward testily, including her desire to kill you. Quentin leaps to his feet--are you going to tell me where she is? I am NOT, says Edward--after you deserted your wife, I assumed full responsibility for her, I had her protected and cared for and will continue to do so. The woman is stark, raving mad, shouts Quentin. Edward retorts, "A condition for which you are solely to blame yourself!" Quentin wants Jenny out of he house. Edward promises not to let Jenny near him again. Quentin says it already happened once, but Edward assures him it won't happen again. "Your pomposity is disgusting," pronounces Quentin, "oh, Edward, you're so brave and proud, and enjoy your role as custodian of the family secrets." Quentin chuckles--you've conquered all of us, and we know we've been wasting our lives because you will always be here, pasting us together again, to perpetuate the myth of family honor and dignity--"You're everything each of us is not--solid, strong and honest--and your mind is hermetically sealed!" We've only discussed MY wife, says Q, we haven't gotten around to yours. And we aren't going to, insists Edward. Why haven't you asked me about Laura since I returned? Quentin asks. I don't care, Edward says. "But Edward, she's your wife--now surely you must be curious as to what became of her when she followed me out of this house and halfway around the world." (Ah, now we understand why these two hate each other so much--once again, Q was a bad boy.) Not in the least bit curious, says Edward, she no longer exists for me. Quentin tells him, flippantly, I last saw her in Alexandria, Egypt. Edward doesn't want to hear more, and forbids him to mention her name in this house.Quentin laughs, liking that--it's so like you! Nora interrupts--I want to sit at your desk and draw for a while, she asks. No problem, I was just leaving, says Edward, and does so. Nora asks Quentin if her mother is ever coming back. What made you ask? Q queries. I don't know, says Nora, I've just been thinking about her all day long--is she ever coming home? the little girl asks plaintively. Quentin touches her shoulders and says, I don't know, then excuses himself and leaves the room.

Edward is on the phone, asking someone, "Call me back as soon as he returns." Quentin joins him and asks that they strike up a bargain about Jamison--tell me where I can find Jenny, and I'll reveal where you can find Jamison--when Jamison heard about the hideous school you were going to send him to, he came to me for help, says Q. And you took it upon yourself to hide him? demands Edward. You took it upon yourself to hide Jenny, Quentin reminds him. Not the same thing--Jamison is my son, says Edward. AND JENNY IS MY WIFE, says Quentin, and I have a right to see her--and demand to. Edward gives him an hour to get Jamison back to the house--otherwise, I'll notify the authorities and have you charged with abduction--"I'll do it, Quentin, and you know it!" All right, Quentin agrees, you can have your son, and you needn't tell me where Jenny is--I'll find her myself, and when I do, I'll kill her! Hearing this declaration, Edward looks perturbed.

Study - Nora has drawn some Egyptian-looking symbols on the paper. Barnabas knocks, looking for Edward, but Nora hasn't seen him since late this afternoon. She shows him her drawings and asks if he likes it. He looks at the paper. Yes, he says, but the symbols under the pyramid appear to be Egyptian hieroglyphics--did you copy from a book? No, they came to me in my head, she says. Strange, observes Barnabas--I wonder what they mean.I know, says Nora--would you like to know?

Nora asks if something is wrong. Barnabas wonders if she's playing a little joke on him--how could she know what these symbols mean, they're older than the pyramids themselves? I do know, she says joyously--my mother is coming home. How do you know that? he asks. I don't know, admits Nora, but I know one means mother, and one means house, and when I finished the drawing, the thought kept running through my head--my mother is coming home. She admits she loves and misses her mother, who's been gone about a year--I'm sure she's coming back. Edward enters on the tail end of this conversation, dismisses Nora, then turns on Barnabas--I overheard you questioning Nora about her mother, and I thought it was understood that. . . Barnabas stops him--it was Nora who brought up the subject of her mother, he says, describing her curious drawing--which I found disturbing, to say the least. He shows her picture to Edward.

Nora is in the foyer when she seems drawn into the drawing room, where she closes the doors behind her.

Edward examines the picture. It means nothing to me, he insists--or Nora. How could she know the symbols, then? asks Barn. Edward pronounces it more of Quentin's nonsense--he refuses to stop interfering in the lives of my children, especially Jamison--I can't get rid of Quentin, so I thought to send him away to school. Barnabas wants to discuss the school. I just had a long talk with Jamison, who is back and in his room, says Edward--I promised I would wait a day or so before considering the matter again.

Nora gazes into the flaming fireplace. She hears voices coming from it, and leans in closer. Her mouth drops open.

Barnabas tells Edward he thinks it wise to consider the matter carefully. I'm not doing this because Jamison ran away, says Edward--I refuse to be intimidated by anyone, least of all my own son, but he did seem overly concerned when we mentioned it to him. Edward invites Barnabas to dinner, but the latter leaves--he's seeing someone in town. Edward hears Nora crying, "No, no, please!" She runs into his arms. The fire! she cries--I could hear something inside it, could feel it trying to reach me. It's your imagination, says Edward--I'll take you in there and prove it to you. He has to drag the poor kid in. He insists she look into the fire--look! he demands. Nora screams, "My mother, I see her face, in the flames!"Edward stares, shaken. We see a skeleton head with blond curls appearing in the fireplace.

NOTES: The coming of Laura, never one of my favorite characters, but she's fun as Angelique's adversary. The scenes between Barnabas and Charity are always erotic and fun, and I'm glad to see he got himself a meal, finally. I was beginning to wonder when we'd see him feasting again, and he combined good taste with necessity--Charity should be of enormous help to him!

729 - (David Selby) - Collinwood in the year 1897, a time of uncertainty and fear for all who live within the great house--a time of intrigue and of dark, mysterious family secrets--a time when supernatural happenings were commonplace and threatened to destroy the Collins family forever.

9:40 - Edward asks Nora what she's talking about. I saw my mother's face, she insists. You DIDN'T see her, Edward insists.What does it mean? asks Nora. Nothing, her father replies. Why are you carrying on about your mother this way--because of Quentin talking of her? No, she says, he hasn't said a thing--I just have a feeling she's coming back. Not to this house, says Edward testily--don't talk of her again--I'm almost sorry you and Jamison didn't leave for the school last night--I believe it would be a wholesome change for both of you. Nora clings to his arm and begs him not to send them there--I promise I won't mention my mother! (Poor kid, Edward is a pompous fool!) We'll see, says Edward. Beth comes in and asks to speak to him alone--I have to go into the village now, she says significantly, and you said you wanted me to deliver a note to Mrs. Fillmore. He hands her an envelope and quietly tells Beth if she has any comment, you can find me in the study when you return--bring upstairs and into bed. Beth takes the little girl's hand and notices how upset she is, but as she's leading her to the stairs, Quentin interrupts--"Beth, I have to speak to you," he says curtly. I'm busy, she says. It's too important, responds Quentin--it must be now. Nora assures Beth she can take herself up to bed, and Quentin quickly agrees--an escort isn't necessary.  Nora promises to go right to bed and runs upstairs. Quentin leads Beth into the drawing room. You never cease to amaze me, he says, nothing ruffles you, not even the sight of someone you believed dead the last time you saw me--how do you do it? Judith explained everything, says Beth. How could she, asks Q, when she doesn't know everything? I know a lot more now than I did a few days ago, however, I know why you're still at Collinwood--you knew about Jenny all along--why didn't you tell me she was still here--and mad? What would you have done if I had told you? asks Beth. I don't know, admits Quentin. Beth does--you'd have done everything you could to get rid of her. In view of the fact she just tried to kill me...I feel she should have been gotten rid of a long time ago. He grabs Beth's arm--and since no one did, I am going to do it myself, right after you tell me where she is!

Nora hears the sound of flames, which suddenly appear before her in the hallway. She screams and runs. Beth races away, saying, I shouldn't have left her alone. Beth runs to the stairs and Edward meets her there--what are you doing down here, I told you to put Nora to bed. She tries to explain, but he cuts her off, and they both rush upstairs. Nora runs out and tells her father there's a fire--the corridor outside my room is burning!

Quentin paces the drawing room, angry, frustrated. He gazes out the window. Where is that wife of his? He spots Beth's purse on a table, an envelope sticking from it. He reads to whom it is addressed and smiles.

Edward, Beth and Nora find no fire anywhere. Nora doesn't know where it went. Annoyed, Edward suggests one day soon, you'll tell me the sky is falling. Nora insists there was a fire, I did see it, right over there! There isn't even a sign there was a fire, says Edward, kneeling to her level--you imagined it--you need a good night's rest. Beth volunteers to take Nora to her room, but Edward says I'LL do it--you have an errand in the village--when you return, report to me. Beth leaves, and Edward escorts Nora into her room.

Quentin tears open the envelope, which is filled with cash. His eyes gleam, and he grins, looking devilish and handsome.

Beth comes downstairs hurriedly. She angrily tells Q, I hope you haven't cost me my job. I doubt it, says Q. Edward is furious with me, Beth reminds him. Edward's fury is like the common cold, remarks Quentin, a nuisance, but it always goes away. Beth says, I'm sorry we can't continue our conversation, I have to go to the village. She picks up her purse. Quentin stands idly by, whistling innocently. She turns and demands, give me the envelope that was in my purse! He feigns innocence, but she says I won't play games--give it to me or I will have Edward get it from you.  Quentin takes the envelope from his pocket and comments, you carry some interesting items in your purse. She grabs the cash out of his hand. He assures her it's all there. You were going into the village last time I saw you with a large sum of money--what do you do with it? It's none of your business, I don't wish to discuss it further, says Beth coldly. I won't let you go, says Q--I still want to discuss Jenny, and you had better make time--I just might find her while you are gone, and you won't have a job when you come back, because your mistress would be very dead."You wouldn't kill her?" asks Beth plaintively. Q reminds her his wife tried to kill him. She isn't in her right mind, protests Beth, and didn't know what she's doing. Sure she did, insists Q, she isn't that crazy. Beth begs him not to go looking for her--leave her alone!--I promise Jenny won't try to harm you again. What will you do, sit up day and night with her to make sure she doesn't get out again? asks Quentin. She won't get out, we'll be much more careful, promises Beth, Judith and me. Quentin, his lips very close, tells her, I will stop looking for Jenny and leave you to deal with her, on one condition. And what is that? she asks. He kisses her, hard, and this time, she clutches his head and lets him. "I want you, Beth," he says (oh, shudders!) She turns away, unsure. (Is this Let's Make a Deal time?)

Nora is in bed, sleepy now. Her father notes that, and says it's good--you've had more than your share of excitement for a little girl. She thanks him for sitting with her. He kisses her forehead and bids her good night, turning off her lamp and leaving before giving her one last glance.

Nearly midnight - Nora has a dream, and it causes her to moan and twist in her sleep. There's a knock at her door. She sits up, climb from bed. Edward answers the front door. A hooded woman stands there. "You, how dare you come back here!" he yells. "You are forbidden to enter this house, you no longer exist, for any of us. Get out of here, and don't ever come back!" He closes the doors on her. Nora stands on the landing. He sent her away! Mother, come back, she cries, opening the door. Her father stands there holding a large version of her drawing. "She's never coming back!" he cackles, laughing, tearing up her picture. Nora walks through the woods, searching for her mother. She finds a red-caped figure and says, "You are here! You didn't go away again!" But the figure collapses, leaving behind nothing but her cape. Edward, still tearing the picture, is chortling, "Gone forever! Never coming back! Never coming back!", just laughing and laughing, then tossing the pieces of her picture up. Nora awakens from the dream, sitting up with a scream.

Beth races into Nora's room, asking what's the matter. He sent her away, sobs Nora, her mother, she was downstairs at the door and her father sent her away. Beth assures her she was dreaming, no one came to the door tonight. No, says Nora, it was more than a dream--she's going to come back. Maybe, says Beth, she doesn't know, but don't worry about it. She urges Nora back under the covers and tells her to try and get some sleep. Nora lies back. Beth leaves her room.

Quentin exits the servants' quarters and enters the drawing room, where Edward is, in Q's words, burning the midnight oil. Edward, flipping through the mail, asks what he wants. A word, says Q. Make it brief, I'm tired, requests Edward. They're a tired family, says Quentin. Edward doesn't know what that means. Q wants to let him know he won't harm Jenny, and will stop looking for her--but he expects Edward to do his best to keep her under control. Edward reminds him he was intent on killing her earlier, what changed his mind? (I guess Beth promised to give it up.) Quentin decided it would be a mistake to do anything rash. He can tell Edward doesn't believe him.Edward knows Q doesn't do anything without an ulterior motive. What is it this time? Quentin suggests a drink.

Nora sleeps. We hear the sound of rushing wind, and a banging sound awakens Nora. She leaves her room.

Edward rubs his chin, thinking, and accepts a drink from Quentin, who says there is no further explanation about his decision--he's already told all. Nora is heading downstairs. Edward says he'll take him at his work, but remain skeptical. Quentin says if he harmed Jenny, he'd be in a great deal of trouble. Nora leaves the house. Indeed, agrees Edward. Quentin has enough problems without involving himself with the police. If he's sincere, says Edward, he's just make one of his rare, intelligent decisions. He lifts his glass in a toast to Quentin. Wonder of wonders, marvels Q, smiling, my brother has paid me a compliment, half-hearted, but a compliment nevertheless. "Credit where credit it due," says Edward. "How unshakably fair you are," says Quentin and they clink their glasses and survey each other with the usual mistrust. (Love this family!)

Nora goes to the same place she was in her dream, calling to her mother. She was so sure it was going to come true! She drops to her knees and finds the cape she saw in her dream. Grinning she lifts it up, then feels a gloves hand with what looks like a snake bracelet circling the wrist touch her shoulder.Nora, mouth open wide, looks up. . .

NOTES: When the Laura storyline played out on DS the first time, during the first year of the storyline, not too many people were watching, so I guess Dan Curtis decided to invite Diana Millay back to reprise her role, sort of, and join he 1897 storyline. She isn't my favorite, but she does add some fun here, especially when she later clashes with Angelique. We know her motives are definitely those of self-interest. Great scenes between Selby and Edmonds, as the brothers strive to find some common ground. That they end their toast with that "I don't trust you anymore than I can throw you" look speaks sad volumes for a very dysfunctional family.

Love, Robin

724 - (Thayer David) - The great house at Collinwood stands deserted. A ghost walks the silent rooms, waiting for a possessed child to die. But Barnabas Collins, determined to thwart the spirit, finds himself back in the year 1897. And Barnabas discovers his presence there changes the history he knows happened. For Quentin, killed and buried, has risen from his grave, a robot following the orders of the vengeful Angelique.

Quentin carries Rachel's limp body through the woods.

Old House - Magda encourages Sandor to eat his soup before Barnabas rises. She complains she doesn't like what's happened to him since Barnabas showed up--he doesn't throw the knives like he used to, he doesn't complain. "I like my soup hot," complains Sandor. "Then get up earlier," she retorts as he spoons up his soup. He doesn't even talk of going on the walk in the spring, bitches Magda. Sandor's magic elixir doesn't seem so magic now, he says. No, it's Barnabas Collins, she says sarcastically--I should have read it in your palm. "Don't tell me you read his palm too!" says Barnabas, stepping into the conversation--I thought it a trick for strangers, and to frighten little girls. Magda starts to leave, but Sandor grabs her and tells her not to. Sandor won't help you, says Barn, and you know why--I'm glad you remember--it will keep you in line--go to Rachel's room--I'm afraid for her, and my presence has caused a spell to be cast. You bring trouble wherever you are, Magda slings at him. I'm not that callous, insists Barn, I want no harm to come to Rachel. What is the spell? she asks. You don't need to know that, insists Barn. I won't go! Says Magda. You must, says Barn--Quentin is buried and Rachel may be summoned to the grave--a ridiculous trick Angelique will like--tell Rachel I sent you, he commands her, and tell her that she isn't to leave the room and no one will get in there--report to me at dusk. Payment, says Magda. My gratitude, says Barn. Not enough, says Magda. Sandor rises from his soup and tries to intervene. "He is under your control, not mine!" snaps Magda. Barn reminds her, I can easily change that. Sandor begs his wife to go--do as he says. Furious, she leaves. Sandor assures Barn his wife doesn't mean to sound as she does, but Magda hates orders. Barn asks Sandor if he's heard of a zombie. Sandor crosses himself and asks, is your enemy THAT evil?--has she done that to Quentin?If he's buried. . .begins Barn. He will be back, says Sandor firmly--his body isn't in his control, and can't rest until she lets him. Then we must break Angelique's control over him, insists Barnabas--surely you know how. Sandor shakes his head--I know the legends--Quentin's body wants the grave, want to escape from the power, it wants to lie in peace, but it can't.

Quentin brings Rachel to his open burial plot. He lays her down and she awakens, begins to scream. He covers her mouth, trying to silence her; they struggle. His open coffin awaits. . .who?

Old House basement - Barnabas laments to Sandor, my coffin is my prison, and on this, of all mornings, I would like to see the dawn most of all--Rachel may need me. Sandor asks what will happen if his enemy sends Quentin to him with a stake. No, says Barnabas, she won't do that yet, she will tease me, prolong it, make me realize how little power I have--without me to torment, she would be lost. Magda joins them. Barnabas is furious with her--I told you not to leave Rachel! She's gone, says Magda. Barnabas is horrified. Her bed hadn't been slept in, adds Magda. Barnabas explains that Quentin, now a zombie, has risen. She gasps and crosses herself as Sandor did (and does again). Sandor asks Barn if his enemy could have drawn her to the cemetery. Barnabas asks, is there time for me to get there? Magda and Sandor tell him no way--it's almost light now. Barnabas orders Sandor to go check Quentin's grave. No, says Magda, what if he has risen?--we know the strength of zombies! Harshly, Barnabas replies, "Just as he knows the power of a vampire, Madame." Magda's lips tremble as she eyes Barnabas over his coffin. A cock crows; he opens his coffin. Magda watches Barnabas climb in, her lower lip still trembling. She touches the closed coffin and mouths a silent epithet, looking as if she wishes she had the nerve to destroy him.

Quentin and Rachel struggle at his grave site, Rachel screaming shrilly. He renders her unconscious, lifts her, places her in his open coffin. Sandor watches from behind some bushes and takes out his sword, then goes over and shows himself to Quentin, touching his back to attract his attention. Quentin rises to go after this new threat. Sandor calls to Rachel to get out. She climbs from the coffin, but Quentin goes back to get her, Sandor following him. Quentin knocks Sandor unconscious and goes after Rachel.

Magda paces outside the Old House. A breathless Rachel comes running up and tells her Sandor is all right--Quentin came after me, but I lost him in the woods. Magda leads the hysterical Rachel into the house. I can't understand, cries Rachel--he said it was over, Quentin was dead--I have to tell all this to Barnabas. No, says Magda, Barnabas isn't here, he had to go to Bangor. Leave, says Magda--I must go to Sandor. Rachel accuses her of lying--I saw Barnabas not more than half an hour ago and he said nothing about going to Bangor.Someone was waiting here for him, lies Magda, most urgent, and he had to go suddenly. This really upsets Rachel, who insists it makes no sense. Sandor returns; his wife calls him a hero. I'm all right, he assures her. She hugs him, calling him her big fat old hero. He tells her to shut up--I can't hit you because my arm is too sore. Magda clings to him, calling him a brave, foolish man for fighting a zombie. He grins. Rachel thanks him for his bravery. He gallantly kisses her hand; he doesn't like to see a beautiful lady buried before her time. Magda chastises him that he could have been killed. At least that would have made you cry, says Sandor, asking for hot water for his hurt arm. Now I have to nurse you, she mock-complains--better the zombie should have finished you. When she leaves to get the water, Sandor advises Rachel to try to forget. How can I? she asks--how did you know to come there? Barnabas, he says, he sent Magda to stay with you at Collinwood, because he was afraid this would happen. And yet he left? wonders Rachel. He couldn't help it, says Sandor, he didn't want to go. Rachel still doesn't understand--how can a man be dead and yet walk?--you know, don't you? she asks Sandor--I used to believe in one set of rules--a man lives and a man dies, and anything else was fantasy.There has to be truth to make a story, says Sandor. Should I believe in ghosts, witches, werewolves? asks Rachel angrily (and vampires, honey, don't forget them)! Sandor says, I do. While I'm intrigued by fantasy, says Rachel, this is reality and there must be some explanation--Quentin can't be dead--but why does he look as he does?--why doesn't he speak?--such cold eyes!--what will I do?--if he is after me, why?--what will I do? Sandor has no answer.

Old House - Magda lights candles in the drawing room. It's time for Barnabas to awaken. Sandor looks out the window and shows her that Quentin is outside. Lock the door, she says. He's come for Barnabas, says Sandor, and locking the door won't stop him. Quentin approaches the door and tries the handle. Magda and Sandor cling together, wondering where they can go. Quentin pushes the doors in as if the lock wasn't there, entering the house. Sandor grapples with the zombie; Quentin pushes the gypsy to the door. Quentin shoves his way into the basement and heads downstairs. Sandor rushes to protect Barnabas, but Magda, face filled with satisfaction, closes and locks the door, fighting him off. "I won't let you stop him!" cries Magda. "I must!" cries Sandor, trying to get into the basement. "He will kill you!" shouts Magda. Give me the key! demands Sandor. Magda runs out the front door, Sandor chasing after her. Down in the basement, Barnabas rises and sits up. Quentin is sitting behind his coffin in a chair, so when Barnabas shuts his coffin, his first view is of the zombie. "Quentin, you cannot hurt me, you know that, too, don't you, Quentin?" asks Barnabas. Sandor comes racing downstairs, protesting, I couldn't stop him! Angelique sent him there to taunt me, show me her power, says Barnabas--go to the attic and find a very old trunk. Sandor assures him, we didn't take anything from it, I swear! Good, says Barnabas, find a packet of letters addressed to Jeremiah, that I put there--go find them. To Quentin, he says, "Since Angelique sent you here, let us make the best possible use of you." Quentin sits, eyes so wide you expect his eyeballs to pop right out.

Barnabas, Magda beside him, glances through a letter he found in a small trunk--I should have remembered these before, says Barn--Sandor, arrange the chairs in a circle around Quentin. Magda grins, wondering what black magic he's going to do now. Barnabas tells her it isn't black magic--it's white magic. Are you capable of doing it? she asks. I'm capable of trying, replies Barnabas--the chairs must be separated so the spirit can enter the circle--Quentin's spirit. Sarcastically, she asks if it's simply floating around the room, waiting for the path to him? Barnabas tells her the spirit is in the body of a boy, Jamison. And there it will stay, insists Magda. Barnabas is annoyed at her cynicism and says, I wouldn't allow you here, except I need three of us (the power of three?). Magda asks if he wants her to wake Rachel. "She is here?" he asks, shocked. Yes, says Magda. No, he says, his voice shaking, I want her to know nothing about this--I saw this performed in Martinique 100 years ago and wrote of it to Jeremiah in detail, knowing he would be fascinated--ideally, we need Jamison here, but when I saw it happen before, the body containing the spirit wasn't present.Sandor asks, "And the spirit passed from him and into the body of the zombie?" Barnabas explains, "There is a point in the ceremony where the spirit would enter the body (finally saw Quentin blink) of the zombie or the body could go back to the grave and die." And will he rise again? questions Sandor. No, says Barn, the spell will be broken, but if the spirit does return to the body, Quentin will leave this room alive. He orders them to seat themselves on either side of Quentin, then, hand on Quentin's heart, begins to read, "His heart waits for the breath of life. In this circle, there is a man whose heart waits for the spirit to tell it to beat again. Spirit of Quentin Collins, you live in another body now, but your own body waits for you. Come to us here, now! Come to us!  If you are in this room, speak to us, for you the spirit of the voice of Quentin Collins, do not let your body die as it must unless you return to it--speak to us!" Magda shakes her head, protesting, "No, no!" Barnabas ignores her and cries, "Speak to us!" "I cannot," says Quentin, lips not moving--"She will not let me!" "You can! You must!" says Barn--"Fight her!"--"Try!" Quentin rises. Magda stands and begins to cackle with dismay. "Stop him!" orders Barnabas. Sandor chases after the zombie. Quentin fights off both Barnabas and Sandor. "You must come back!" protests Barnabas--"You will die!" Quentin walks upstairs. Barnabas tells the gypsies that there's only one other chance--if he gets to that grave, he will be gone from us--stay here--when Rachel awakens, send her back to Collinwood and make sure she stays there, because whatever happened there tonight, no one must ever know.

Quentin is on his belly, inching toward his grave, intent on only one purpose--getting back there!

NOTES: Selby gets the Eyes Wide Open award for his amazing ability to, well, keep his eyes open! He's really good at that! I guess this is all Angelique's way of having one on Barnabas, but it really is a silly thing, a roadblock in the plot. Love the love between Sandor and Magda, it's so sweet, rough and real. Wonder if Barnabas told Uncle Jeremiah about the blonde he met in Martinique and how WILLING she was--or were his letters relegated to tales of zombies and such? They play it seriously, and I give them all credit, but this segue just annoyed me.


725 - (David Selby) - Collinwood in the year 1897, where Barnabas Collins has returned to save a life in the present. Barnabas' mission is in jeopardy, for Quentin has died before his time, and returned as a zombie. And his spirit has inhabited a child. Now Barnabas must try desperately to lure the spirit from the child into the unthinking body.

Selby does the intro, a rarity, but I guess they figured since he had no dialogue, they might as well give him something to say.

We see Jamison standing on the landing. There's a knock at the door; he flees. Barnabas enters, calling for Judith. He asks her for Jamison--I must take him along with me--Quentin isn't buried any longer--he walks, and his spirit is in Jamison's body--we have to return the spirit to Quentin's body.Barnabas insists Judith accept it, but she doesn't want to let Jamison go with him. Barnabas warns her that if she doesn't do this, Quentin will wander the estate and Jamison will never be the same for the rest of his life. She can't deal with it. If I don't get to Quentin before he reaches his grave, says Barn, Jamison will be lost forever!

In the meantime, Quentin is reaching, reaching to get back into his grave!

Barnabas tells Judith if she lets him take Jamison, Quentin may live again as he was. She asks, what kind of madwoman do you think I am, to believe this?--I can't accept that he's walking the earth after being buried. Barnabas urges her to go to the grave and see for herself, but she refuses. Barnabas reiterates that he must have Jamison, or everyone in Collinsport will know what's happened here. The specter of scandal scares Judith more than anything else Barn said, and she finally relents. Before going upstairs for the boy, she asks Barnabas if both he and Jamison will be in danger. No, he assures her. She asks what special power he has over Quentin, but he turns away and simply asks her to get Jamison. She goes upstairs, giving him an odd, angry look before she disappears.

Quentin's body is twisting as he attempts to get back to his grave; he collapses. Jamison and Barnabas appear. "Get up!" demands the child, kneeling beside Quentin. Get up now, don't let her do this to you! Barnabas calls the boy Jamison, who says, "Jamison is a child, Barnabas, you know that." Barnabas kneels, too, and asks Quentin (in Jamison's body) to take the zombie's hand in his. It's cold, Jamison protests, but Barnabas promises it will grow warmer--concentrate, and think of how much Quentin wants to live, to get revenge on who did this to him."I hate her!" cries Jamison--"I've always hated her!" Use every bit of willpower you have to bring him back to life, says Barnabas, who stands and tells the spirit to depart from the body in which it's found refuge--go into your own body, let the force of life start your heart beating again. Let movement come to the hands, the limbs, let your eyes see again. Jamison is moaning; his eyes close. Quentin's eyes flutter, then open; he sits up, stands. Barnabas calls to him, begging him. Jamison laughs uproariously. "I told you not to call me Jamison anymore," he says, grinning, and Barnabas looks at Quentin and realizes he is still a zombie.

Judith waits in the drawing room. What's happening out there? she wonders. What is happening at Quentin's grave, to all of them? Until Barnabas arrived, everything seemed the same, but what has he to do with it? Something, I'm sure. He knows too much. He's involved himself so quickly, as if he were the center of it. She answers the door. A gray-haired, grinning man named Reverend Gregory Trask stands there, cordially introducing himself, asking to come in--I thought Edward had mentioned me--apparently, Nora and Jamison's father had considered sending the children to my school--I only hope my establishment can be worthy of the very wealthy Collins family. Judith explains that Edward isn't here. Trask tells her that Edward talked to him about  the urgent need to take the children to Worthington--so I came in person to talk you (Judith) into it. Judith tells him he's kind. Trask asks for a few moments of her time--I will prove what an inspiring experience my school will be for your nephew and niece.She tells him, I'm not feeling well--my nerves. He comments that peace (piece?) is what we are all after--it's so enormously difficult to find, and one must begin with the child, and let the seed of contentment grow, show the child how to protect himself from the forces of anarchy which exist in all of us--that's what we do at Worthington Hall! Jamison returns to Collinwood, calling Judith "dear sister." Trask smiles at the boy. Judith orders Jamison to his room, now, but Trask intervenes. "They are coming, Judith," says a grinning Jamison--"It has failed!" Trask comments that Jamison is overly familiar with his elders, and asks Jamison to come to him. Judith tries to stop that, but Trask asks Jamison to shake his hand. Jamison, wanting  to act as a "proper Collins," obliges the Reverend and shakes his hand. Trask calls Jamison handsome, but the boy insists, I must go. Trask wants to talk to him, but Judith insists this isn't the time. She asks about his earlier statement that "they're coming." Jamison says "Right now." She tells Trask she can't speak to him right now. Trask says, I'm convinced Jamison is disturbed. Tomorrow, says Judith. Trask wants to privately interview Jamison. No, she says, but he threatens to give Edward a negative report. I'm in charge, she informs him, not Edward. Trask remarks that Edward is wise to leave the house in such capable hands--my wife, Minerva, and daughter, Charity, are my right hands, further advantage of my school--I want to interview the children, or my whole trip will be in vain. Nora is ill, says Judith, and Jamison isn't himself, which sounds strange. Trask says I'm used to interviewing children. He convinces Judith, and assures her he'll find his own way, without her assistance, as he wants to set up this new relationship without a close relative's interference. She warns him again that Jamison is in a strange mood, ordinarily not like this--I wouldn't allow it if Edward hadn't insisted. Trask says, if I see the problem, I will be able to solve it. Judith advises Trask that Jamison has an overactive imagination--don't believe everything he says. Properly channeled, says Trask, imagination often leads to genius. He goes to Jamison. Barnabas returns with the zombie Quentin. Judith says they can't come in. We must, insists Barn. She tells him about their unexpected visitor. There's a small pulsebeat, Barnabas tells her, their noses nearly touching--Quentin must be near Jamison. He's with the visitor, protests Judith. "Are you willing to let him die again?" demands Barn. She relents. She moves out of the way and Barnabas leads Quentin into the foyer, then the drawing room. Judith closes the double doors, saying, I can't bear to look at them--"Can he hear us?" Barnabas doesn't know. What will I do, frets Judith?--if he comes downstairs, he'll see Quentin!--this can't be known! Barnabas tells her that he's learned that nothing can be known for sure. This must be kept secret, she insists. Barnabas re minds her this isn't Quentin's fault. It isn't mine, says Judith--I've seen books in his room, terrible pamphlets, those wands he brought back from the Orient--he's being punished for his godless life! Quentin stares straight ahead. Barn says whether it's true or not, it isn't solving our current problem. Judith believes there's no way to solve it. I need Jamison, says Barnabas. Judith tells him, you must wait. Barnabas paces, Judith sits, Quentin sits and stares.

9 PM - Judith opens the double doors and gazes at the clock. She hears Trask coming downstairs, calling his chat with Jamison "interesting," and hastily closes the doors. Trask and Jamison stand at the head of the stairs. The boy says, "He's in this house! I know, I can feel his body waiting!" Judith tells him not to talk like that. I've  always talked like that, dear sister, says Jamison, or have you forgotten? Judith quickly tells Trask that whatever Jamison told you, he did it deliberately, lying so he wouldn't have to go to your school. Jamison grins. Judith points this out--he knows he's wrong. No, he doesn't, says Trask, and for one very good reason--"The boy is possessed!"--where is Quentin--I can help--I want to give you the peace I know! He holds her shoulders and asks for her tragic story--grief is to be shared. Barnabas comes out and observes this Trask ancestor with horror. He's with Barnabas! cries Jamison--"Quentin's in there!" TRASK! shouts Barnabas. The Reverend asks, how do you know my name? Judith figures she mentioned it and says they should tell Trask everything--perhaps he can help them--he must! Barnabas gazes on the face of his old enemy with shock and disbelief. (Should Barn have asked, "Didn't I wall you up in another century?")

Everyone is in the drawing room. Trask gazes at Quentin and says this is beyond belief, but then again, the devil's work always is. Barnabas objects--you're wasting time. Trask says not--I needed the true facts before I could begin. Begin what? demands Barnabas. An attempt to end this dreadful situation--by prayer! Responds Trask. Barnabas turns away. Trask asks him if he is a doubter in the value of prayer. Barnabas turns to him and says, I've lived long enough to learn to doubt nothing--but I don't expect miracles. Neither do I, says Trask, but I must make some effort to end the pain I see in this house. Judith tells Barn they must give Trask a chance. Barnabas objects. She reminds him HE was willing to take other chances. Indeed, sir, says Trask, interested--perhaps you know of other ways.I don't, says Barn. Trask asks, why do you object to MY efforts? Judith sternly says she wants to know that, too, and feels Trask deserves an answer. I have none, admits Barnabas. Trask asks to begin--but first, Judith and Barnabas must leave the room. Barnabas refuses. Trask says it isn't possible because I sense in you a spirit which is alien to my cause--I'm sorry, but in these matters, I must trust my instincts, and I want you to go. Jamison asks Trask what he's going to do. Trask says, to make you the handsome young man you want to be, as you were, and there's nothing to fear. Judith and Barnabas leave the room. Trask closes the doors on them.

Barnabas asks Judith what she knows of Trask. She explains about the school. Having seen the way he handled Jamison--"I don't trust him!" says Barnabas unhappily.

Trask darkens the room. He orders Jamison to kneel. At first, he refuses, but finally gives in, when Trask demands it again. Trask raises his arms and says this small, lost lamb needs his help. . .a small, frail body possessed by a giant evil force leaving the cold, dead body of what once was a man. Have mercy, have mercy! The devil has been in these rooms, and he has inhabited the bodies of these two and looked with favor upon them. The devil must be vanquished and driven from them, before he can be driven from this house! He has taken refuge in their bodies and is using them against their wills!  Have mercy!" Jamison begins to rock, moan and pant. "Have mercy! Have mercy, our lord!"

We see the portrait of Barnabas in the foyer. Judith asks why he keeps staring at it. I was thinking about Barnabas and the time he lived, replies Barn. Why? she asks. There is some connection, says Barnabas. Judith says, I can only think about what is happening behind those doors. Softly, Barnabas agrees with her. She asks what will happen if Trask doesn't succeed, what then?--will they be this way the rest of their lives? Jamison suddenly screams. Judith calls to Barnabas, who immediately runs to opens the doors. Trask orders him not to come in--"You will only aid the devil's work!" (DISS!) Jamison continues to scream. Barnabas flings open the doors. . .

NOTES: I love all the Trasks, they're such hypocrites and so much fun. Some say this was the worst Trask, but that's a discussion for some other time. What was Barnabas thinking of--Bathia's attempts to rid him of the vampire curse? Here we actually saw Barnabas reacting to a familiar face--with horror, mistrust and disgust. The last time he saw a Trask, he was walling him up in 1796! Imagine going to a school run by this pious Trask who appears to be a chip off the old block!

Will Trask succeed where Barnabas failed? Will Jamison survive, and Quentin?

Love, Robin

720 - (Marie Wallace) - Collinwood in the year 1897. The strange and terrifying events of that year are gradually being revealed to Barnabas Collins. He must unravel a mystery of the past in order to save the life of a young boy in the present. Before this night is over, he will learn of the existence of a strange woman in the great house, a woman plagued by madness. And this madness may change the course of history.

10:20 PM - Beth brings Dirk a compress for his aching head. He wishes it would just stop pounding. You shouldn't have turned your back on Jenny, she says. I thought I could handle her, says Dirk--has Judith found her yet? No, says Beth. He suggests she might not be in the house--Judith had better find her soon, before she does more damage. Beth doubts she'll do more damage, but her big fear is that someone else will discover Jenny. The landing door opens. It's Jenny, who cautiously comes out and looks down into the foyer, then slowly starts downstairs.

Dirk tells Beth he's feeling better. I'm sorry this happened to you, she says, Judith should never have involved you, but waited for me to return from the village. Dirk curtly tells her he knows her big, dark secret and will keep it because he's being paid to.He asks her how long she's known about Jenny. From the beginning, reveals Beth, when she had her breakdown and Edward sent her to the tower room. Removing the compress, he stands and wants to know what caused Jenny's breakdown. Beth says she doesn't know. Dirk he is sure she does, being Jenny's personal maid. She repeats, I didn't know. As they're talking, Jenny appears in the foyer and passes right by them without either spotting her (which doesn't seem terribly realistic). They spot Jenny only after she has opened the door and left the house. Both of them dart after her, calling her name. They can't see Jenny. We must find her, insists Beth. They decide to split up--Beth to take the path to the cottage, Dirk to the Old House.

Old House - Barnabas stares into the fire. There's a knock at his door.  It's Quentin, who says, "Surprised to see me, Cousin Barnabas?" Should I be? asks Barn. Perhaps, says Q--did you think me dead by now? Barnabas doesn't know what he's talking about. Quentin reveals, Magda told me I'm marked for death--very soon, too--do you know about that? No, not at all, says Barn. Do you think Magda is lying? asks Q. How would I know? queries Barn. Shouldn't we lay all our cards on the table? demands Quentin--since you came to Collinwood, it's obvious you know more than you let on, a fact, and while I still doubt you came here from England, you didn't come for an ordinary visit, but with a purpose in mind--you've consistently interfered in family business--with no proof to go on, you accused me of stealing Edith's will--you said it would be returned, and it was--I suspect you had something to do with its return. If I did, would I admit it? asks Barn. No, says Q. Barnabas asks about this threat of death--I don't want anything to happen to you--we are related. Very touching, says Quentin. I mean it, says Barnabas, your welfare is important to me. I welcome neither your help or concern, snaps Q--I want you to leave Collinwood. Barn is shocked--why? Simple, says Q, I believe you're up to something, don't trust you, and have certain plans I wants to fulfill--which I believe you will thwart--I can't make it any clearer. Barnabas agrees, but nevertheless says, I intend to stay at Collinwood.All right, says Q, but fair warning--if you go on interfering with me, you do so at your own risk--do you understand? Oh, yeah, Barnabas assures him. Stop fretting about the gypsy's death warrant, advises Quentin, his nose about 1.5 inches from Barnabas'--no one is going to kill Quentin Collins--no one. I hope not, says Barnabas. "Goodbye, Cousin," says Quentin. Barn stops him and says, I want to give YOU fair warning now--about Angelique. This name stops Quentin--how do you know her? Just be careful of her, warns Barn, trust her, you're a fool--she's a friend to no man, and would just as soon cut your throat as look at you, if it suits her purposes. Quentin doesn't understand how Barnabas knows Angelique--there's more to you than meets the eye--I think you have your own share of secrets and I'm going to find out what they are--yes, perhaps that's how I'll get rid of you, he adds, grinning. Barnabas looks solemn and unhappy. As Quentin leaves, with a jaunty step, Jenny watches, and appears to follow him. . .

Cottage - Beth searches for Jenny, calling to her. She checks the bedroom. "It's Beth," she says, "I want to help you, Jenny." She lights a candle with a taper. The door opens. Beth whirls around--it's Quentin. This is more than I could have hoped for, he exults--I didn't think you'd come here voluntarily--how did you know to look for me here? (he sure is self-centered, isn't he?) I didn't, she says. He caresses her arms intimately and asks if she just came looking for him. He's about to lay a kiss on her neck when she pulls away from him. No, I was looking for. . .she stops, remembering she can't tell him that. Who? he asks. No one, she says--I was walking through the woods. "On your way to grandmother¢â‚¬Ëœs house," he quips, and who should you meet but the big bad wolf." She tells him she must return to Collinwood. He grabs her into his arms, calling her ridiculous (real romantic, Q)--you finally decide that you want to see me alone, work up the courage to come, and now get cold feet. It isn't like that, says Beth. He yanks her closer and tells her. I understand--we were meant to be together. Not here, not now, she says. Yes, here and now, he insists, it's time and we both know it. He kisses her, hard, but she pulls away--I have to leave!--and she does. He leans back against the door. "You'll be back--sooner than you think," he predicts.

Barnabas comes downstairs at the Old House and hears a banging sound. He looks out the window, then goes to the door. He opens it, goes outside, and finds Dirk. What are you doing here? he asks him. Dirk whirls around, speechless at first, and tells Barn one of the kids is missing. Which child? asks Barn.Jamison, says Dirk, he's been missing two hours. Not very long, says Barnabas, are you sure he disappeared? He could be hiding, says Dirk, but usually plays in this area. Barn suggests, I would have seen him, if that were true. Dirk agrees, apologizing for bothering him. You're free to search the house if you like, offers Barnabas, and invites him in. If we can't find Jamison after searching the house, I'll go searching with you, says Barnabas. This unnerves Dirk, who asks what for?--you don't have to join the search, most of the family is out searching already. Who? probes Barnabas. Dirk stutters--the servants, most of the family--they might have found "her" by now. (you said it was the boy!)Barnabas asks what's wrong--you're not telling me everything. Nothing, says Dirk, it's not my place to object your joining the search, and I'm sorry if I gave you that impression. Barn asks if the child might be in danger. No, says Dirk, but I'm still worried, that's all--the kid shouldn't be out alone in the woods--you're free to join the search, if you want. Barnabas leads him upstairs to search.

Alone at the cottage, Quentin sits in a chair, legs outstretched. There's a knock at the door. "Good girl, Beth, you haven't disappointed me," he says, grinning. He opens the door and his eyes widen hugely as he beholds Jenny standing there.

Jenny, says Quentin. Yes, she responds. "You're the one!"--I didn't know you were still here, no one told me. You're the one who found me, she says wonderingly--I was singing that night--and you saw me! She enters the cottage--and brought me to the cottage, adds Jenny. It's good to see you again, says Quentin, totally taken aback. "Then you went away!" she snarls--"Suddenly. . .you went away and left me all alone." You knew I'd come back, didn't you? he asks. No, she says. Well I did, he says, just as I always intended to."Your name is Quentin, she says--"And mine is Jenny." He asks what's happened to her. I thought we were going to be so happy together, she says. We still can be, he says, nothing has changed--"You're still my wife, Jenny!" (SURPRISE!!!!!!) She's excited to hear this. Yes, she says, I am--why did you go away and leave me? He suggests they discuss that on the way back to Collinwood. She pulls away from him and says they aren't allowed. Yes we are, he assures her--it's all right, you're safe. I knew you were back, says Jenny, I heard the music from that room they keep me in. He wants to take her back there. I knew I'd find you here, she teases, and you know why, don't he?--you always came here, to meet people, remember? No, he says. "To meet other women!" she shrieks. He denies it. You thought me pretty, she says, getting in close--do you still? Yes, he says--it's getting late, we must go back to Collinwood. She asks him to kiss her first--you mustn't be frightened of me! I'm not, he claims. Then kiss me! she demands. He doesn't look thrilled at the prospect, but he does, on the lips, for a brief moment. "You won't go away anymore, Quentin," she says. He looks guilty. "And you won't lie to me, either, I feel so sure of that," she says. He suggests they go now. Yes, it's time to go, she agrees, a huge, scary grin on her face.

Old House - Dirk suggest to Barn they search the cellar. No, says the vampire, I lock that door and there's no other entrance. Dirk says I had better go--is Barnabas coming? I'll join you later, says Barnabas, I have things to do. Dirk leaves, running his hand over his face in relief. Barnabas gazes out the window at his retreating figure.

Beth calls to Jenny as she returns to Collinwood. I went to visit someone, Jenny says, someone you know--I don't think I should tell you. Beth insists, I have to know, in case someone saw you--you shouldn't have left your babies alone. Jenny is immediately upset--did something happen to them? No, Beth assures her, and tries to lead her inside. Hanging back, Jenny whispers, "Quentin is gone." Yes, for a long time, Beth agrees. Jenny remarks it doesn't seem that long. Beth begs Jenny to come inside, and she finally goes.

Cottage. Dirk comes in and calls, "Anybody here?" In the dark, he finds a body on the floor. It's Quentin, who has that letter opener sticking from his chest. Dirk kneels, then hears something behind him--Barnabas! He looks up, terrified, realizing how it looks, leaps to his feet and tries to flee. Barnabas easily detains him. "No, Wilkins," says Barnabas harshly, "You're going to stay here and answer a lot of questions!"

NOTES: Pretty darn good episode! So, Magda's prediction came true--a "J" stabbed Quentin. What a shock to learn it was his own wife! We were all so sure she was Edward's wife, but Jenny seems to hate all the Collinses! More surprises are in store, big ones, and soon. Great performances, amazing surprises, DS at its best. Looks pretty bad for Dirk, the classic of the innocent standing over the corpse! Loved the Barnabas/Quentin confrontation, and Jenny meeting hubby Quentin where he thought he was about to have a tryst with Beth (who, unlike Quentin, had more important things on her mind than sex) was marvelous, exciting and really quite sad. Why did someone like Quentin marry Jenny--or anyone, for that matter? He certainly doesn't seem like the marrying kind, at least not voluntarily!


721 - (Lara Parker) - Collinwood in the year 1897. The strange and terrifying events of a time gone by are gradually being unfolded again before the eyes of Barnabas Collins. His goal is to unravel the mystery of the past in order to save the life of a young boy in the present. But on this night, in a small cottage on the estate, an event has occurred which may change the course of history. To avoid that, Barnabas Collins will be forced to turn to his oldest enemy for help.

Dirk struggles out of Barnabas' grasp. Barnabas asks, do you want to speak to ME or the police? Dirk assures him he had nothing to do with this. Barn suggests a motive--Beth--Quentin was winning her, so Dirk got angry, came here, killed him. Dirk calls Barnabas crazy and asks, how did you get here so soon after I did? Dirk says you arrived one minute after I did, so I had no time to kill Quentin--and you can tell the police THAT. Barn agrees to help Dirk--but only if you help me--I need questions answered--I know you lied when you claimed to be searching for a missing child. I was, protests Dirk. If that were true, you'd have welcomed my joining the search, says Barn, but you didn't--you were very nervous when I suggested coming along--who are you really looking for?Dirk tries the old "I'm just an employee" excuse, but Barn won't buy it--you know more than you pretend to--who were you looking for? Dirk admits, I can't tell, I gave my word. Before there was a murder, says Barnabas, and you are the prime suspect. Dirk figures you know I'm innocent and won't let me be accused of a crime I didn't commit. Barnabas strongly hints that I can and will--there are things I need to know, says Barnabas, like who killed Quentin--I figures you must know the culprit, since you were was searching for someone in the woods, someone dangerous. I have a good job, protests Dirk--I don't want to lose it. Barnabas promises him his job won't be jeopardized. Dirk confesses, I was looking for Jenny Collins. This is a new name to Barnabas. Dirk explains Jenny escaped from me, stole my keys, and escaped--Jenny is crazy, says Dirk, and could hurt herself--or someone else. Beth and Miss Judith are in on this, says Dirk, leading Barnabas to conclude Jenny was the one being imprisoned in the tower room. Dirk says they put her in a basement cell a couple of nights ago. Barnabas asks if Jenny is Edward's wife. Not quite, says Dirk, she's Quentin's wife. Barnabas is shocked!

Beth leads Jenny back to the cell where her "babies" await her--they were crying, says Beth--you shouldn't have left them alone--promise me you won't do it again. Jenny, however, is off on another mind-tangent, rocking her babies, grinning, remembering the first time she met Quentin--the good times, when we were so happy--our happiness came and went with the passing of one spring--there was no summer that year, mourns Jenny, he took it with him when he went away--he kissed me tonight--I knew he wasn't happy to see me, yet kissed me anyway. Beth is puzzled to hear this, then it hits her--Jenny saw Quentin. Yes, says Jenny. He knows, realizes Beth--what will we do? He seemed frightened of me, says Jenny. "Oh stop it, Jenny!" barks Beth cruelly--"Stop rambling!" Now that Quentin knows I'm here, says Jenny, you'll do everything you can to send me away--no, says Jenny happily, nor will he be frightened. It's no use talking to you, says Beth, you don't know what a danger he is, you never did. There's no danger anymore, Jenny assures her, Quentin is gone, forever!--I made him go away!  How? Beth asks.Jenny looks angry--he would have taken away my babies! She tilts her head and says, "I had to kill him!" Beth gasps.

Quentin lies on the floor, Barnabas kneeling beside him. Dirk tells him we must notify the family, but Barnabas says no to that, at least not yet. He won't explain why, but just asks Dirk to trust him. Dirk insists, I must return to Collinwood sometime. Go back now, advises Barnabas, but tell them you saw no one here. Dirk asks the same question and Barn repeats the same answer (a blooper that seems to delight some people; I have no idea who missed a line or what). Dirk agrees, and asks what Barnabas will do. Never mind, says Barn, just go. Dirk agrees, but says Barnabas is responsible for whatever he decides to do. Yes, yes, says Barn impatiently, and locks the door after Dirk goes. Barnabas sits in a chair, staring down at Quentin, who still has the letter opener sticking from his chest. Barnabas, probably wishing with all his heart he didn't have to do it, beseeches Angelique: "Come to me!"

Jenny plays with her dolls while an impatient Beth demands, where did you see Quentin? Jenny says, you're acting like I did a bad thing, but you're wrong--I couldn't let him take my babies from me. Beth spits out, he has absolutely no interest in those babies! Jenny admires one of her "children" and tells Beth, he never knew how much I suffered when he went away. Beth gently tries to encourage Jenny to remember where it happened--and tell me. I was walking and saw Quentin in the woods--"The night air was so fresh!" gushes Jenny, hugging a doll. Never mind that, says Beth, what about Quentin? Jenny seems to come back to a less mad state and wants to know why Beth is so interested in Quentin. I must know if you're telling me the truth, insists Beth. I never lie, says Jenny, but both Quentin and Judith did--but I never did!--Quentin has gone away, and will never come back. Where did you send him away from? asks Beth--and how? Jenny accuses Beth of being in love with Quentin. Beth denies it. I saw the way you looked at each other and I knew! insists Jenny, twisting her fingers around each other--so many other women, he was never very careful--"You ARE in love with him!" Beth denies it. I can tell, says Jenny--I don't care anymore, I'm happy with my babies. "Where is Quentin, Jenny?" demands Beth. Jenny pats Beth's face and asks, do you really want to see him? Yes! cries Beth. "But why?" asks Jenny, clutching her shoulders--you're a nice girl, you won't like that place--Quentin's little love nest. The cottage, realizes Beth, Jenny found him there. Jenny laughs--Quentin never thought he'd see me there! Beth asks, is he still there?, and she goes to leave. Jenny doesn't want her to go. Beth says, I must find out what you've done--I promise to return to you! Jenny shakes her head. "Poor, poor Beth," she croons.

Barnabas grows impatient, ordering Angelique to come to him. "I need you!" he begs. "Why thank you," she says, appearing at last, "you have no idea how gratifying it is after all these years to hear you finally admit that YOU need ME!" She grins at him. Barnabas looks as if he's wondering if this was such a great idea after all.

Angelique giggles. Barnabas tells her to gloat as much as she wants--but I need your help. She notes with satisfaction how desperate he sounds, then kneels to check the corpse. Did you kill him? she asks Barnabas. Barnabas points out, I wouldn't need a knife to kill someone. Forgive me, she asks, what do you want from me? Restore Quentin's life, he asks. Ang doesn't understand--you hate Quentin and should be glad to see him dead. I'm not, says Barn--will you do this for me? I want to know your motive, she says and my price--you DID know there would be a price, right? Oh, yes, says Barn, I know you well enough for that. I'll take the motive first--why do you want Quentin alive? She asks. He isn't supposed to be dead, at least not know, says Barn. When, then? she asks. By being sealed up in his room at Collinwood, says Barn, and if he stays dead now, the course of history will be changed. I warned you, she says, your presence would do this--even if I take care of this little problem, other things will be changed, the longer you're here. . . I know, says Barn, but must take that risk--I came to Collinwood to get information to save two lives in the future, and if Quentin stays dead now, I will fail. She observes how important this is to him, and Barnabas gruffly says, "You know it is! Now name your price!" No, she says, not now--I want to be certain that when I lay down my terms, you will agree to them--you've rejected me so many times in the past, but this time will be different--I'll do everything in my power to show you how hopeless it would be to reject me again.What are you going to do? He asks. I will see to it that Quentin rises and lives, she promises, but that is all he will do--you'll see what I mean when it happens. There's a knock at the door; Barnabas looks out. It's Beth. We must do something with the body, says Barnabas, but the witch has disappeared, and fruitlessly, he calls her name. Barnabas opens the door and holds it only halfway open as he tells Beth Quentin isn't here. I was told he was, says Beth. Someone lied to you, he insists, but she pushes the door open and enters the cottage. She beholds Quentin's body on the floor, screams and immediately becomes hysterical. I told you not to go to him! shouts Barnabas, hustling her back outside and closing the door. Quentin is dead, he says. I knew it was true, but didn't want to believe it, she says forlornly. You came here knowing he was dead? asks Barn. Yes, she says. Then you found Jenny? He asks. How do YOU know about Jenny? she demands. Oh, I know lots of things you don't know I know, retorts Barnabas. Yes, you've been curious and inquisitive since you arrived--why? asks Beth--his body will be taken back to Collinwood, says Beth solemnly, and Miss Judith will take care of seeing to it that he's buried. No, says Barnabas, I want to keep him there--you are to return to Collinwood and tell them you saw nothing here. Beth doesn't understand why he wants to keep the body here; he assures her he has his reasons and can't tell her. Beth informs him crisply that I'm going to tell Judith about this, and I'm sure she'll be most interested. Beth leaves.

A candle burns. Quentin lies in a coffin in Collinwood's drawing room. Beth stands beside him, touching him. Barnabas asks if she spoke to Judith. No, I'll do it in the morning, she says. Why not tonight? he asks. Beth explains she realized getting him into trouble with Judith wouldn't accomplish anything--I'd still like to know why you wanted to keep the body at the cottage. You wouldn't understand, but I'll tell you another time, says Barn. You're a strange man, says Beth, and I'm not sure I trust you--you aren't at all like the rest of "us"--I find you very disturbing.And yet you chose not to tell Judith about me, notes Barn. Yup, says Beth--and I find that even more disturbing. She bids him goodnight and heads upstairs. Barnabas looks at Quentin's body (Selby got some nice snoozing time in this ep), then closes the double doors and leaves, too. Angelique appears in the corner in eerie red light. She steps forward and approaches Quentin. "When I give the command, Quentin, you will rise and walk again, and you will do whatever I tell you to. My wish shall be your goal, my goal your goal, and together we shall bring Barnabas Collins to his knees!"

NOTES: Great seeing Ang up to her old tricks, and I bet even the cast got a kick out of hearing the term "making Quentin rise" over and over. Great scene between Barn and Ang at the cottage. I bet he wishes he had been a warlock so he could have performed his own spells without having to ask his witch-wife for favors all the time. Cause when Ang demands payback, it's REALLY a bitch!

Love, Robin

716 - (Joan Bennett) - Barnabas Collins finds himself unexpectedly back in time in the year 1897, when Collinwood is filled with intrigue and terror--a terror that the new governess in the great house will discover if she finally encounters the secret kept in the locked tower room.

Rachel holds her amulet in her hand as she lets herself into the tower room and demands to know who's in there. She looks around in the darkness, hearing a woman's laughter. As Rachel turns and screams, lightning illuminates where the woman's figure was--but it's gone now!

Again, Rachel asks who's there, walking through the darkness and searching. Suddenly, she's attacked by a woman with a knife. They struggle; Rachel falls to the ground. The woman, wearing a dark dress, leaves the tower room and locks Rachel in, then takes the key and throws it over the staircase, where it clatters to the floor below.

Judith is working on her needlepoint when she spies Dirk in the foyer. She asks him to come in--aren't you supposed to be checking the grounds? she asks. Dirk explains he came to see if Mr. Edward had any special orders for him. Not tonight or any other night, Judith crisply informs him. He might be expecting someone, says Dirk, and I'd need to leave the gate open. In future come to me about that, advises Judith. Dirk is flustered--shouldn't I ask Edward?Judith orders him not to pretend he doesn't know about Edith's will--I know how the servants gossip about the family--Collinwood is mine now, be wise to remember that. Dirk agrees and asks if she has any orders. I want you to stick close to the house; she says, I have a feeling something is going to happen--watch carefully. I always do, says Dirk. Tonight is different, she says--I want you to let me know exactly how you make your rounds so I can send for you if I need you. He begins to give her his itinerary.

We see only the feet of the escaped woman walking the corridor, and hear Dirk's voice telling Judith what she needs to know. The woman opens a door as Dirk explains that he winds up in this wing of the house about 2 o'clock. Judith gives him permission to start his rounds, and wonders what's wrong with her. Upstairs we hear a door close. The slippered feet of the woman walk along the corridor. Dirk, outside, hears rustling and catches Nora hiding. They struggle. He drags her toward the house, and literally has to pick her up as she screams she won't go into the house. Judith orders Dirk to bring Nora in. Kicking and screaming in Dirk's grasp, Nora insists she wants to see "her" when she gets back. No one is coming to the house tonight, insists Judith--behave or I will lock you in your room--go, Dirk--I'll take care of this. Nora doesn't want to tell her aunt who is coming back--because I don't want her to come back! Who? asks Judith. My mother, says Nora--"I had a dream, last night and the night before--she came, she did, and she looked just as pretty as she did before, and she woke me with hugs and kisses. . ." "Now Nora," cautions Judith. "Don't tell me dreams don't come true," commands Nora, "because they do--Jamison dreamed about her, too." Judith tells her that her mother is away for treatment. People get better, insists Nora. She hasn't, says Judith. "Did you get a letter from her?" asks Nora eagerly--if that's true, why didn't she write her and Jamison? She didn't write, says Judith, the doctor did. Nora wants to go see her.You can't, says Judith--she isn't strong enough. Edward and I listened to what the doctor said, explains Judith. Daddy didn't hear from the doctor, says Nora. (oops, caught, Judy!) Gently, Judith tells her, you and Jamison must try to forget your mother. We both tried writing our mother, says Nora, but we know the letters never mailed, because we found them in Daddy's desk--you won't let us write to her, or answer any of our questions, wails Nora. When you're older, says Judith, you'll realize there are questions for which there is no answer--now go upstairs to bed; you get cranky when you don't get enough sleep. Reluctantly, Nora goes upstairs, Judith right behind her. We see the woman's slippers and black hem of her dress as Nora complains that she won't be able to get to sleep. Judith assures her, you're more tired than you realize. Nora asks if she can stay in Rachel's room tonight, but Judith pronounces that a bad idea. The woman enters a room--Edward's, and we see a wild-haired redhead retreating behind the curtains. You never let me do anything I want to do, Nora complains to her aunt. They arrive at Nora's room, and she's surprised to see the door is open. Judith figures that's how she left it. No, I didn't, says Nora, I closed it. Nora is nervous about this, and Judith basically tells her not to let an open door scare her--a draft probably blew it open--there's no one on the house that shouldn't be here. Judith follows Nora into her bedroom and asks the child if she said her prayers. Yes, says Nora, who climbs into bed and pulls the covers over herself. Judith kisses her goodnight. Nora asks her not to leave--I'm frightened--she asks Judith to stay just a little while; if you leave, I'm sure I won't get to sleep. Judith sits beside her and tells her to close her eyes. Behind the drapes, the wild-haired, wild-eyed woman in a black dress caresses what looks like a Raggedy Andy doll that is very out of place in 1897. Lightning flashes over her face.

I don't want to go to sleep, Nora tells Judith, I'll dream about my mother coming back, I know I will. Judith encourages her not to think about it, and the rest of her dialogue is blotted out by thunder--forget about your mother, advises Judith--that sounds cruel, I realize, but I explained why downstairs--it's necessary. Nora doesn't understand. Then nothing I say will make any sense to you, conclude Judith. Nora is upset when her aunt leaves her, but Judith promises to come back. The wild-haired redhead hugs her Raggedy doll tightly, looking upset.

Rachel comes back to consciousness in the tower room, holding her aching head. She finds herself locked in and immediately begins to call to be let out--help!

Nora, sleeping, tosses and turns. The wild-haired woman tries to leave her hiding place, but the restless little girl sends her scurrying back behind the drapes. "Nora!" she murmurs, smiling, hugging the doll.

Judith traipses downstairs. The front doors blow open and she asks, "Who is it?" twice before closing them. Nervous, she backs toward the stairs.

Rachel wanders the tower room, calling out the window for help as lightning illuminates her face. Dirk, at the front door, hears her cries. He stares up at the tower room. Rachel, growing more upset, hears someone coming upstairs. She begs for someone to let her out. Dirk asks who it is, and she tells him. There's no key, he says, and orders her to back away from the door. He throws his body against it and rescues her. Rachel catapults into his arms, sobbing, "Dirk, thank God!" He tells her she isn't supposed to be up there. She asks what's wrong. He tells her to speak to Miss Judith about that--I don't want to know, so don't tell me. (great caretaker!) He helps her out of the tower room. We see a bed tucked into a corner there.

Nora sleeps as the red-haired woman slips from her hiding place, doll in hand. She puts down the doll and spots a picture of Edward on the dresser.Her face contorts with misery and fury. "Your father!" she whispers twice, venomously.

Down in the drawing room, Rachel describes to Judith how kept seeing lights in the tower and went to investigate. Judith nastily says, you imagine a lot of things.When Rachel tries to continue explaining, Judith stops her. She orders Dirk to wait outside until she sends for him. He isn't thrilled having her ordering him around, but complies. Judith returns to Rachel, who insists that what happened to her was quite real. "How do you know?" asks Judith. Rachel is sure of that, and has to admit to stealing the key from the pantry to get into the tower room--and while they're sitting here, a maniac is running loose in the house. Nonsense, says Judith. Someone did attack me, insists Rachel. Did you see the person who attacked you? asks Judith--the gypsy--that man, Sandor--he was looking for something to steal, as gypsies do. I spoke to Magda just before, admits Rachel Did the gypsy know you were going to the tower? asks Judith. Yes, says Rachel, but Magda would have stopped me if she had known Sandor would be there. The gypsy woman never knows where he is, snaps Judith, it's not the first time Sandor was caught lurking around Collinwood--mystery solved, insists Judith, unless Rachel intends to keep bringing it up. Rachel apologizes, turning away from Judith, but she doesn't understand why Sandor. . . "Are you doubting me?" demands Judith. No, says Rachel, holding her head, I'm just not feeling well. Go to your room, commands Judith, upset--tomorrow I'll decide how serious these infractions are--go straight to your room.

The red-haired woman returns Edward's photo to the mantle. She goes over to Nora, and from under the cover slips the doll the little girl had brought to bed with her (the one Beth purchased). The woman rocks the doll, seeming to sing a silent lullaby to it. She rocks the doll, walks with it, then listens at the door as she's about to leave Nora's room.

Rachel, about to enter her own room, decides to be really foolhardy--heck, she's gone this far, she has to see this through--Miss Collins thinks I'm wrong for the job now, at least now she'll learn what really happened. She hurries away from her own door, and as soon as she's out of sight, the redhead returns Nora's doll to her, then wanders toward the door.

Rachel goes outside and finds Dirk there. You heard Mrs. Collins, he says, I was told to go outside and wait. In the storm? asks Rachel. It's going to blow over, out to sea, predicts Dirk. Did you see Sandor? she asks. Yes, about half an hour ago, he says, when I checked the Old House--I think he was there all evening. "Thank you, Dirk," she says, and starts to hurry away. Why? asks Dirk, did Judith say Sandor locked you in the tower? Yes, she says, trying to pull away from his grasp. I'll explain tomorrow, she says, rushing away.

Judith goes into Nora's room, asking, "Are you in here? Are you?" She goes back into the hall, and there's the redhead, laughing wildly, pointing to her. "YOU!" cries Judith, and the woman disappears down the hall.

Nora awakens and leaves her bed. She opens her door and finds Rachel outside--were you in my room? asks Nora--did you close my door? No, says Rachel. Someone did, says the little girl. Rachel turns on the light. Nora gets back into bed. Rachel glances around; Nora asks her who she's looking for. Nothing, no one, says Rachel. Nora asks if she's expecting someone, too. Rachel ask, who are YOU expecting? Someone who's not going to come, says Nora sadly, then climbs out of bed, hugs Rachel and asks, "Why do people disappear? Why do people die? No one else here will, will they? Promise me you won't disappear, promise me!" (Because this is Collinwood, honey, and that's SOP.) Nora hugs Rachel.

Judith figures the mysterious woman might have returned to her home, so she walks the corridor outside the tower room and goes in. "You are in this room, aren't you?" she asks. The door slams shut. Judith whirls around. The redhead, laughing insanely, is armed with a huge pair of scissors, and she lunges at Judith, holding it aloft.

NOTES: OK, they give us the definite impression this redhead hates Edward--is she  the missing Mrs. Collins? Was that Nora's mother giving her kisses and comfort? Why is Rachel so dense and insistent on getting herself into serious trouble? Whoever this wild-haired woman is, she doesn't like Judith much, either. Is this who tried to burn Edward alive in his bed?

Getting to be a fascinating mystery, and I really do envy you first-time watchers, for whom it is all as brand-new as it was for me decades ago.


717 - (KLS) - Collinwood in the year 1897. In the tower room of the great house, a tragic secret has been locked behind a door. But a newcomer to Collinwood, spurred on by her own fears, has inadvertently opened the door, and now a woman mad with grief roams the halls, knowing only that she has been hurt, and that she must hurt in return.

Interesting, for those of us who have already seen this storyline, how they have led us to believe that this red-haired woman is Edward's wife, isn't it?

The redhead holds up the scissors and tells her, "My name is Jenny Collins. I am your sister."--that's what you said, when HE brought me home--you kissed my cheek and you told me we would be sisters--did he tell you I was a singer, or did he keep it from you? Judith reminds her, you used to sing for us, songs like "My Love is Like a Red, Red, Rose." Jenny sings the first line, then says there's one person, when I came, always wore dark dresses and hated me. No one hated you, protests Judith. You did, accuses Jenny, you were jealous--and I remember now who it was--you!--you!! Jenny's face turns from a smile to a snarl; she hisses at Judith, insisting, you keep me here because of jealousy. Judith assures her, I didn't do it--we are keeping you here for your own good. Jenny brandishes the scissors at Judith threateningly. When I came, says Jenny, you just kept staring. I stared because you were so pretty, says a trembling Judith, and wore a pale green dress. Because you were jealous, says Jenny, and you whispered, and you waited, and locked me in here! It wasn't that way at all, cries Judith, but Jenny says it was. I have been waiting too, says Jenny, chasing Judith with the upraised scissors. Judith is terrified.If we are sisters, says Jenny, why must I stay here when you can go anywhere in the house?--I've seen you in the garden, and sometimes you wear MY green dress--it doesn't do you any good, you still look cold and dead--like winter! shouts Jenny. Judith opens an armoire to show Jenny that her clothing is here. Jenny doesn't believe that--or anything you say--forget the dresses, I'll buy you more dresses. Do you still think me pretty? Jenny asks Judith--as pretty as when I first came? Judith, very close in stabbing distance says YES. Jenny accuses her of lying--"but you won't lie anymore--no more!" She attacks Judith with the scissors. Beth rushes in. Jenny tells Beth, Judith lied to me--locked me up and lied to me! Listen! Beth tells Jenny--your babies are crying. Yes, says Jenny, I hear it. Beth carefully slips the scissors from Jenny's hand. Jenny goes to the cradle and rocks her "babies," crooning to them not to cry. Judith, relieved, gasping, into the hallway. Beth goes to Jenny, who cradles her new doll in her arms and tells her, I'm a good mother. The best in the world agrees Beth. No one thought I would be, says Jenny, given where I came from, what I was--when my babies came, suddenly it was all different. Yes, Jenny dear, says Beth, I know. Jenny begins to croon "My Live is Like a Red, Red Rose" to her babies.

Rachel rushes from the servants' quarters. Judith comes downstairs, stopping her. I'm going out--for a walk, Rachel says--Nora's fallen asleep--I couldn't sleep, and taking a walk gives me a chance to sort out my problems. What's worrying you? asks Judith. I'm nervous about my lessons with the children, says Rachel, and confesses--I'm not good at math. "You're very quick about other things," says Judith ironically. Rachel wishes her good night--I hope you feel better. That's a strange thing to say, opines Judith. Why? asks Rachel--I think you looks a bit upset, perhaps a little pale. Judith denies being either, and sternly suggests to Rachel, you hear and imagine things that don't exist at all. Rachel merely says goodnight and heads out. Beth comes downstairs. She tells Judith Jenny put the "babies" back to sleep. Judith calls Beth a fool--we are all turning as mad as she is--those aren't babies, but breakable dolls--she's had dozens of them, and can't tell the difference between them. She can't tell the difference between anything anymore, rants Judith, including life and death--and I won't have it, not now that all this is mine. I said nothing against you, insists Beth, she just happened to find you there--all Jenny is afraid of is that you'll take her babies away. Beth, she must go, insists Judith. She has no where to go, says Beth, and you know that. Rachel is beginning to suspect more than she should, says Judith, and mustn't know about Jenny--nobody must. Beth heads back upstairs. We see Barnabas' portrait.

Old House - Rachel knocks at the door, somewhat frantically. Barnabas answers. She's glad he's there--someone tried to kill me last night. She relates to him her attack in the tower room--someone in that room was determined to destroy me--I don't know who, but I do know that Beth and Judith claim it didn't happen--they're lying--Beth's lied to me before, like the time she claimed she wasn't in the tower room, and I had seen her there myself--she's lied about other things, too, strange, silly things. Barnabas is upset about the attempted murder, and assures her, I do believe you. I was afraid I was losing my mind, says Rachel. These ladies are apparently hiding something, says Barn--tonight, we will find out what--I'm returning to Collinwood with you--I have a plan--I wish you had come to me earlier; you could have been badly hurt going to the tower alone. Rachel explains she had to after what Magda read in her palm. What did she see? asks Barnabas. A powerful enemy, says Rachel--and I knew it was that person in the tower room--I knew I'd have to face that person and learn why I'm hated--but there must be a mistake--who could hate me?--I've only been here a short time.Barnabas explains to her that here at Collinwood, old hurts don't die, they lie in wait for the innocent and unsuspecting--when we return to Collinwood, I want you to give me the tower room key--when everyone is asleep, I'll go find the secret that seems worth killing for. She's concerned for his safety, but he assures her he's lived through danger before (hell, yeah, he was married to Angelique!) No one must know we are working together, he says--you really can't trust anyone there, no one is quite what they seem. Except you, Barnabas, she says. He turns away and says, "Except me, of course," hiding the biggest secret of all. He admires her lovely hand, wondering why anyone would want to harm her--Judith is asleep, he figures, so off they go.

Beth asks Jenny why she attacked Judith with the scissors--you shouldn't have done it. She lied to me, says Jenny, inspecting her tangled hair--they all lie to me--what color is a lie, wonders Jenny?--blue? Green? Red, like fire:? Annoyed, Beth says she doesn't know--nobody knows. Jenny rises, musing, Blue? Green? Green like the dress I had? Yellow? The sun is yellow. Beth orders her to stop rambling, and takes Jenny's face in her hands--if you do what you did today, Miss Judith will send you away, warns Beth. Jenny insists Judith can't do anything; she's nobody. Beth says that's not true anymore--she owns the house now, everything, gives all the orders, even to her brothers-- everyone! says Beth bitterly--and you must, too--you have got to be good, and quiet and try to understand or she'll send you far away.This upsets Jenny, who asks, Will she let me take my babies with me? Yes, Beth assures her. Jenny calms again--that's all that matters. No, says Beth, try to understand--you must be good!--will you be good? Yes, says Jenny, covering her "babies"--the climate I used to live in was warmer than here--do you think my babies will get a chill? Resigned to the madwoman's inattention, Beth assures her they will be fine. Jenny demands to know if Beth is lying to her. No, says Beth, I'm not lying. Light dawns on Jenny--Beth, she says, I know what color a lie is--red, like blood! Jenny lies down and stares upward, her eyes filled with madness.

Barnabas and Rachel return to Collinwood. She promises to get the key and come right back. He calls her brave. She assures him she's a coward--but it's much easier with you here. She kisses his cheek, then says she didn't mean to do it. . .yes, I did, she amends. He gazes into her eyes and tells her to go get the key. Yes, she says, seemingly dazed--"You can't get into the tower room with it." Rachel runs upstairs and is surprised to discover Judith is still up--and wants to discuss the children--how are they doing with their studies? Very well, says Rachel--they're bright, and I enjoy teaching them. Rachel is distracted; Judith suggests she's upset. I walked toward the cottage, says Rachel, might have caught a chill--I'll go right to bed. Judith orders her to come have some sherry--you can't go to bed with a chill. Judith pours some sherry, explaining that her grandfather had quite a collection, and she's beginning to enjoy the delicacies more and more--when my grandmother was alive, she always knew to the drop what was left, but now, of course. . .she hands Rachel a glass--now it's different--everything is different. She suggests they drink a toast to the differences. Barnabas paces outside the front door. He looks up at the tower and sees a light up there. Judith pours more sherry; after that, I'll go to Grandmother's room--her room--grandmother is in her grave, she doesn't need her room or bed anymore--although sometimes, on nights like this, it seems she's not willing to give them up. Rachel sits on the sofa, listening to Judith's ramblings. The governess says, I want to go to bed. No, insists Judith, I still wants to talk to you, and goes on to explain that her grandmother enjoyed all kinds of music, especially singing--I was a disappointment, because I couldn't sing--do Jamison and Nora sing well? Rachel says both are good--I'm teaching them songs. Judith asks for specifics, and just as Rachel is about to tell her, Beth comes in. Judith rudely dismisses Rachel, bidding her good night. Rachel leaves the room. Judith looks disturbed.

Barnabas notes that the tower light is gone and wonders why it went out--I must know!--I don't need a key to open the tower door, but must do it Rachel's way and use a key--where is she?The door opens and Rachel comes out with the key, explaining how Judith detained her Barnabas tells her to go to bed and stay there--let me handle it. She tells him to take care of himself--I've never had many friends. Neither have I, confesses Barn. They hold hands and look into each other's eyes.

3 AM - Fire still in the fireplace, lights all on. Barnabas enters the unlocked Collinwood. He walks upstairs. Judith exits the tower room and paces. Beth comes out and locks the door. It's all OK, Beth assures her--no slip-ups. Beth is sure, Judith pleased--remember, Beth, no one must know. Beth assures her she never would. Barnabas lets himself into the tower room and closes the door. The room appears deserted. He looks in the now-empty cabinet that had held Jenny's dresses. He picks up a grisly object--a doll's head that looks burnt and scarred. He replaces it on the floor of the cabinet and closes it. The doorknob turns and whoever comes in brings a stunned, horrified expression to Barnabas Collins' face.

NOTES: Love Crazy Jenny. What a sad, poignant and pathetic person she is, and how wonderfully Marie Wallace portrays her. Why is she mad? What was Judith's real relationship to her? Why has made Barnabas look to frightened? Judith seems fearful of her new role as mistress of Collinwood, and why was she detaining Rachel that way--or was it just to pass the time until Beth returned from her "errand?" Subterfuge, keep her busy until Beth could finish her job of emptying the tower room? Barn sure does seem enamored of Rachel, and the feeling is mutual. How about that lie about being what he seems? It's tough being a vampire again, especially with this sweet, delicious, vulnerable Josette clone available to him.

Love, Robin

712 - (Roger Davis) - This is Collinwood as it looked in the year 1897. A grave emergency in the present has caused Barnabas Collins to go into the past, back to a time when intrigue and terror filled the lives of all who lived on the Collins estate. There, in that time, Barnabas has begun to relive old experiences and suffer the tortures of an old enemy.

It's can't be Josette, it isn't possible, insists Barnabas. He turns to Rachel, who can't breathe. Angelique is pulling the string tighter around the doll's neck, saying that Barnabas forgets so easily--he may love anyone he wishes, but no one may love him, no one may even have the chance to love him. Dirk enters the cottage, interrupting her. He demands to know who she is and what she's doing there. Released from the spell, Rachel recovers. Barnabas cautions her not to speak, and helps her to the sofa.

Angelique asks if he always enters rooms without knocking, and he tells her it's part of his job.He's overseer of the estate. He saw a light, and the cottage isn't supposed to be occupied. Does the family know she's there? Not all the family, she says, and he wants to know who does know--it's part of his job to keep strangers off the estate. She gets into his face and assures him she isn't a stranger. He says she is until he finds out who brought her there. She tells him Quentin asked her to meet him here. "I might have known," says Dirk, annoyance in his voice. No other member of the family would arrange a "meeting" here. He knows Quentin too well, and she asks about him. She's better off not knowing, he insists, by her or any other woman. He ruins everything he touches. She asks Dirk if he isn't taking a chance talking this way in front of her. How does he know she won't tell. Dirk says she can tell him anything he'd like--nothing would please him more. Oh, I see, says Ang. Dirk doesn't think she'll tell. She says he doesn't know her or her life, but he thinks she's very nice, and he advises her to leave this place and never come back. She's flattered and appreciates his concern, but she's going to stay--she must. She's a big girl, he says, and knows what she's doing. He asks for her name and she says it doesn't really matter. If she comes back after tomorrow night, he'll know who she is soon enough, and if she doesn't. . .it doesn't make a difference, does it? He supposes not. If they do see each other again, she says, she thinks they will become good friends. She bids him good night, a weird smile on her face.

Rachel drinks some water and Barnabas takes the glass and asks if it helped. Yes, she says, thanking him. He asks what happened. Nothing like it has ever happened before. She kept murmuring "Widows' Hill," but Rachel has no idea what that is. It's a place that overlooks the ocean, he explains. She can't figure out why she would say it when she doesn't know what or where it is. He suggests she overhead someone in the house mention it, but she doesn't think so. What else did she say? He turns away from her, but doesn't tell her what else she said beyond Widows' Hill.It makes no sense, she says, she thought she was dying, and suddenly was all right. She insists there's something wrong with her, but he disagrees. It's the only answer, she cries, falling into his arms. He surveys her pretty neck, the one Ang just strangled a few moments before, and has to fight the urge to bite into it.

Edward comes in, demanding to know the meaning of what looks like some form of foreplay. Edward demands that Rachel explain herself, but Barnabas gallantly jumps in and tells his cousin that she summoned from a shock a few moments ago, and fainted. Edward asks Rachel what caused her to faint, and she says she doesn't know. He suggests calling a doctor right away, but she objects. It might happen again, he says, but she doesn't think it will. She doesn't know that, he argues, but she assures him she feels fine, and has always been in perfect health. Suspiciously, he asks if there's some reason she doesn't WANT to see a doctor (does he think she's pregnant?) No, she assures him, she's sure it was just fatigue and anxiety over her work. Edward immediately asks if she's unhappy about her work, and Barnabas jumps to her defense, assuring him she was just telling him how fond she is of the children. Edward is glad to hear that, and trusts she hasn't been treated badly since she's been there. No, everyone has been considerate and helpful--and she's fine.

Angelique tells the doll she isn't finished yet--this is the first of many "experiences," and each will seem very mysterious to you, but not to Barnabas, for he has lived through it all before, and will know soon enough what has happened. Rachel, she says, Rachel you will leave Collinwood now, you will not tell anyone where you are going, you will walk through the woods to the cottage door, and enter it, now. Leave Collinwood--now! Rachel, seeming in a trance, tells the men she wants to go to the terrace for fresh air. Barnabas offers to join her, but she refuses--she'll go there for a few minutes, then to her room. She thanks Edward, and trails out. Edward admires the music box, which Barnabas says he brought to Rachel as a gift. Perhaps what happened to her was his fault, suggests Barn. Why, asks Edward. He was telling her the legend of the music box, an unpleasant story, and perhaps he frightened her, says Barnabas. He opens the music box and the melody plays.

Rachel leaves Collinwood, hearing Angelique's voice ordering her to come to the edge of the woods and follow the path to the cottage. Rachel complies.

Edward doubts the legend Barnabas related could have scared Rachel into fainting. It must be something else. Perhaps, says Barn. He asks Edward about Rachel's background. She's well-educated, her references are quite good and she managed herself nicely during the interview. What about her childhood or family? Edward doubts those things caused her fainting spell. Barnabas agrees, then asks if Edward's wife is deceased. Guarded, Edward wants to know why he asked. He was bound to ask sooner or later, says Barn. He's met the rest of the family, all but his daughter and a few others. Edward stiffly says he misjudged Barnabas, thinking him a man shrewd enough to know which subjects they were discuss and those they wouldn't. Barnabas apologizes for offending him, but Edward says he isn't offended, just disappointed. His wife isn't dead, she's away, and is going to stay away. That tells him all he needs to know, says Edward. Barnabas says that's more than he needed to know, and assures him the subject won't be brought up again. Edward thanks him.

Rachel shows up at the cottage, looking around. Angelique lights up in a corner. "I have been waiting for you, Josette," the witch tells the clone. "My name is Rachel," says the governess. So it is, says Ang, but you will be Josette whenever I want. I am someone you will never know, Angelique assures Rachel. Rachel says she wants to return to Collinwood, but Ang says no. The night isn't over and she isn't finished yet, with Barnabas. Rachel asks what she wants with her, and Ang says she must be a part of this cruel game. It isn't necessary for Rachel to understand--just look into her eyes. . .Rachel will do everything she tells her to do--is that clear?Yes, agrees Rachel. And she won't remember any of it. You went outside to get some air, and after that, you remember nothing. Rachel understands.

Edward offers Barnabas a glass of sherry, but he refuses saying it's getting late and he should return to the Old house. Edward leads Barnabas to the door, and they run into Dirk on the way. Edward introduces him as someone who can help him if he should need it--he looks after the entire property. Dirk assures Edward he completed his rounds and wants a word with him. Edward assures him he can speak in front of his cousin. Dirk describes the light he saw when he went to the cottage. He found a young lady there, who wouldn't reveal her name, but she said she was there to meet his brother (Roger Davis had some problems with his line here, and Edmonds assisted him). "My brother Quentin?" barks Edward, disgusted. Edward is furious that Quentin, who isn't welcome at Collinwood as it is, has now brought some person he's attracted to to stay at the cottage. Dirk says he feels she seemed rather respectable. Edward finds it hard to believe Quentin is developing a taste for respectable women. She was very pretty, says Dirk, long blonde hair, and (this interested Barnabas a great deal) very large, blue eyes; he'd never seen anything like them before.At Barnabas' probing, Dirk admits he was very impressed with this woman. She might have looked innocent, says a disgusted Edward, but if she was there to meet Quentin, she was anything but. Barnabas leaves Edward to deal with his brother's indiscretions; he's sure they are none of his business (if only you knew that your one and only wife is this woman)! Barnabas bids the others good night. Edward orders Dirk to tell this woman, should he encounter her again, that she isn't welcome on Collins property. He will speak to Quentin and tell him to keep his women off the estate. He bids Dirk good night and head upstairs.

Barnabas goes to the cottage. He walks through the dark living room, checks the bedroom, but all is still and quiet. He picks up a candle (Angelique's knitted Rachel doll is right there) but then hears the cock crow--time for him to get back to his resting place!  He heads down into the basement and opens his coffin. To his horror, Rachel is inside!

NOTES: LOL! That Angie, she just loves tormenting the man who won't return her love! Edward's reaction to Quentin's latest tryst was hilarious. I thought Dirk was going to keep quiet about Ang, but he broke that promise quickly enough. I think Barnabas smelled Angelique all over this one, and decided he was going to investigate. If he'd found the mysterious doll, I'm sure he would have put two and two together. What's the story with Edward's wife, and no FLAMES, please!


713 - (Grayson Hall) - Collinwood in the year 1897. Strange and terrifying events of that year remain a mystery to Barnabas Collins. He must unravel this mystery in order to save the life of a young boy in the present. Now, in the past, he must live by night, for day would claim him as a victim. But as he returns to the one place he thinks he is safe, he finds terror there.

Who's been sleeping in my bed?

Rachel stares up at Barnabas and asks him not to take her with him. "You're dead!" she whispers, then passes out. Barnabas lifts her head, pondering who could have done this. He decides only one person could do such a monstrous thing--Angelique!

Barnabas brings Rachel upstairs and seats her in a chair. He tries to rouse her. She awakens wondering how she got to his house--she doesn't remember coming here! I remember seeing you, then going out for a walk--how did I get here?He fibs and tells her, I found you in the woods, dazed--when I brought you into the house, you fainted. Rachel wonders what's wrong with her. Nothing, he assures her, but you did have that choking spell and now this wandering in a daze business--something must be wrong! My mind is a blank, she says, I didn't see anyone in the woods--do you know something you aren't telling? He denies it. The clock clangs. Rachel says she has to return to Collinwood. Lucky for Barn she refuses his offer of a walk home, because he has to get into his coffin--and fast!

Magda finds Barnabas' coffin empty. She paces, hands on hips. When Barnabas comes downstairs, she demands to know where he was. I really needs your help, says Barnabas--I am expecting trouble from an old, formidable enemy--I'll pay you well, he promises, and asks her for an amulet to protect him against a witch. This upsets Magda--if there IS a witch, I need that amulet for myself. No, says Barn, you aren't in danger, but Rachel is. Magda is puzzled--why does Rachel need the protection if this is your enemy? Barn has no time to explain now--just get me the amulet, he orders. She asks him to promise to return it to her should she need it, and he agrees, requesting two more favors--first, guard me during the day, so the witch can't get near me--I don't know why she's here or how she got here--I haven't seen her yet, but the witch effectively made her presence known. Her name is Angelique, says Barn, and she has one mission--to destroy me--go to Collinwood and take your cards with you--tell Judith you've seen a sign in your cards that will solve the mystery of the missing will.Magda is fascinated--do you know where it is? Don't play innocent, orders Barnabas--you knew Sandor had it and was forging a copy for Quentin when I found and took it from him--I hid it somewhere in Collinwood--you are to tell Judith where it is, but not that I had anything to do with it--she must believe you found the will through your cards' magic. Why do you want me to look good? Asks Magda suspicious. Perhaps I have a fondness for gypsies who have fallen on hard times, suggests Barn. Magda doesn't believe that. Barnabas advises her not to look his favor in the mouth and stop asking questions. He opens his coffin and gives her an upraised eyebrow look. He returns to Magda, pushes her hair from her throat, and warns her not to betray him: "You know what I can do," he says, running his hands over her exposed throat. (Magda almost looked as if she enjoyed it, and Julia would have loved it!) Barnabas climbs into his coffin. Magda, looking very nervous, touches the lid and looks both angry and serious.

Collinwood, 3:15 - Rachel exits the servant's quarters. Judith comes downstairs and asks how she's feeling. Fine today, says the governess, smiling. Judith tells her when she spoke with Mr. Collins this morning, he was very concerned about what happened to her last night. (Which Collins? Edward? Quentin?) Rachel says it was kind, but she's going to take the kids for a walk after their lessons--I like the children a lot, but Jamison is a bit of a daydreamer. Judith blames this on Quentin, who has always been a bad influence on his nephew--the boy is young and impressionable, and Quentin, who has been to sea and is a ladies' man, fills the boy with stories of romance and adventure, none of which are true--she knows Quentin, who never tells the truth to anyone else. Jamison dreams of being like Quentin, and Judith hopes the boy will wake up and realize what a fraud his uncle is. Beth enters carrying a doll and a package. Rachel greets her and comments on the beautiful doll. Judith asks her where she got it.Beth says it just came in from Boston, in one of the stores in the village. Rachel assumes it's for Nora. Beth, exchanging glances with Judith, tells her it IS for Nora. When Judith asks for a word with Beth, Rachel offers to bring the doll to Nora. No, says Beth, I'll bring it up in a few minutes. Still carrying the doll, she joins Judith in the drawing room. Judith shuts the doors. Rachel can hear the first words Judith almost shouts: "Have you lost your mind?" Beth apologizes. Judith is upset she just marched in through the front door as though nothing were wrong. Rachel continues to eavesdrop. Anyone could have been standing in the foyer, rants Judith; both agree Beth didn't think about her actions. I am annoyed that I have to keep reminding you how careful you must be, chastises Judith--you can't become emotionally involved. Beth insists she isn't becoming that way. You must have been, insists Judith, or you wouldn't have been so careless. Again Beth apologizes--I felt sorry for "her," she says, she's so lonely. Feeling sorry for her isn't part of your job, Judith reminds her--you know what your job is--if you can't do it without becoming involved, a change will have to be made. Beth says yes and Rachel, having heard all, hurries upstairs.

7 PM - Barnabas rises from his coffin. Magda, hands on hips, stands guard over him.

Rachel asks Beth for her help--when did Jamison and Nora's mother go away? Rachel wants some information. You know I can't give you any, says Beth. Rachel persists.Mrs. Collins is a forbidden subject, Beth reminds her. Rachel explains, I'm in a difficult situation with the children--I'm with them a lot and they talk about their mother now and then. Beth asks what they say. They want to know if she's coming back, says Rachel, and I know so little about her, I can't answer. That's how Mr. Collins wants it, says Beth prissily. Why? asks Rachel. He has his reasons, says Beth, and I won't tell you what they are. Will she ever come back? asks Rachel. Even though she's still alive, says Beth, Mr. Collins refers to her as the LATE Mrs. Collins. (Whew, nuff said!)--does that answer your question? Yes, says Rachel, I suppose it does. No one knows where she is now, says Beth--I advise you to forget about Mrs. Collins and ask no further questions about her--if Miss Collins learns of your curiosity, it could mean trouble for yoiu. Beth promises not to tell anyone Rachel was asking questions. Judith, heading downstairs, overhears the last part of this, and Beth scuttles away. Judith tells Rachel there's nothing wrong with being curious--just don't let it go too far and embarrass someone--Beth gave you good advice--I hope you listen to it. Yes, I will, says Rachel, and scurries off.

Judith answers a knock at the door. It's Magda--I have something urgent to tell you. Judith is not at all pleased to see the gypsy and tells her that she and her husband are no longer welcome at the house. Magda thinks she will be when she knows why she's there. Judith nastily tells her if you're trying to ingratiate yourself with ME as you did with my grandmother, you're wasting your time. You're wrong, says Magda, I'm here to tell you where to find the will--"Now may I come in?" she asking, grinning.

"You have something up your sleeve, gypsy," accuses Judith. "What is it?" I have seen signs in the cards, says Magda. If that's all it is, leave now, says Judith disdainfully. You know we were right before when we predicted the stranger, says Magda. That's no stranger, that's my cousin, says Judith--I think you ran into him in the village somewhere before you came there to make your "prediction." Again, Magda says, I have seen a sign in the cards, and if you don't hear it, perhaps no one will find the will. She starts to march off, but Judith stops her, admitting--I do want to hear what you have to say.

They go into the drawing room and Magda begins to lay out the cards. The arrangement means nothing to you, but it will, soon, assures Magda--you have the card of the queen, inverted, representing your mother after death--below the queen, the joker, on the side of the queen, the tower of destruction--the three card surround the ace, protecting them from the outer circle of kings and knaves and fools. You're making no sense, complains Judith. It's simple, says Magda--the tower is the room where your grandmother died--the secret is safely hidden in the "heart" of the room, from all the family members. Where's the heart of the room? asks Judith. It's a book that was very important to Edith, a very, very old book, reveals Magda. The family history, suggests Judith. Magda agrees that that's the place, all right. I'll check the family history book tonight, says Judith. She and Magda walk to the door, where Judith assures her if there is a will, everyone will know soon enough. The door barely closes behind Magda when Judith races upstairs.

Outside the front door, Barnabas asks Magda, how did it go? Beautifully, as I was brilliant, Magda brags--Judith is as greedy as the rest of them and didn't suspect a thing. Barnabas orders her to wait for him at the Old House; she nods and walks off. Barnabas knocks at the door. Rachel answers. They greet each other. I came to give you something, he says--I want you to wear this, a good luck charm--if you wear it constantly, no harm will come to you. He hands her a Coptic cross on a chain. She laughs. I want you to put it on and keep it on, he says. Are you serious? asks Rachel. I couldn't be more so, he assures her--and call me Barnabas. Rachel smiles and agrees. She slips the cross around her neck. I'm not sure it will stop me from fainting the way I did last night, she says, but I appreciate the thought and will wear it just for you. I must be going, says Barnabas--may I see you tomorrow night? Rachel, thrilled, accepts. Don't remove the charm, cautions Barn. I promise not to, says Rachel. She gazes at it, tickled at her new present and new potential suitor.

Judith, her face glowing with joy, the will clutched in her hand, runs downstairs. She closes the double doors behind her and thinks, "I can't believe it--she said she'd take care of me, but I never imagined it would be anything like THIS! I'm in control now, control of everything, and things are going g to be very different in this house, from this day on." Rachel knocks at the door and asks to speak to her--without thinking, I asked Nora how she liked her new doll, and the child said Beth never gave her a doll. I will speak to Beth about the doll and see to it that she gives it to Nora, Judith assures her.

Outside the tower room, Beth walks, carrying a lantern in one hand and the new doll in another. "Jenny, it's Beth," she says outside the door. "I'm coming in with a nice surprise for you." Beth unlocks the door and goes in.

NOTES: Who is Jenny? Why didn't Nora get the doll? Don't Barnabas and Rachel look like a couple of high school kids together? How much did Judith get--everything? These questions and many others will be answered, perhaps even in the next episode of DARK SHADOWS!

Love, Robin

708 - (Grayson Hall) - The great house at Collinwood stands deserted. The living have sought refuge elsewhere, leaving an evil spirit to roam the cold, empty corridors alone. At the Old House, Barnabas Collins remains in a deep trance. He has employed the mysterious powers of the I-Ching and gone through the door to the infinite, hoping to find and defeat the spirit who haunts Collinwood. But beyond the door, he has been transported back in time to the year 1897, where an old woman lies dead, taking with her a terrifying secret that the rest of the family tries to uncover--a secret that could destroy Barnabas forever.

Edward opens the door to Barnabas, who says he came as soon as he received his message. Quentin looks down from the landing as Edward leads Barnabas to the study, where Edith lies in her coffin. Edward observes how peaceful she looks; Barnabas agrees. She isn't at peace, says Edward--she tried to tell me the secret--it's always been told to the eldest son, and no question of her not telling me--there's a possibility that in my absence, she told someone else--like you, for example--the truth is, I think she did--what is the secret?--what's in the mausoleum? Barnabas looks quite perturbed at this highly personal question.?I don't understand why you think Edith confided the secret to me, says Barn. Magda told us that Edith revealed the secret to someone else, answers Edward. Barnabas is astounded that Edward believes the Magda. Edith liked Magda, who told her many things, says Edward--Carl was with the gypsy when Edith died, and there was a living person who knew the secret. "So you accuse me," says Barnabas testily. I've made sure no one else knows, says Edward, not Judith or Carl. "Or Quentin?" demands Barn. Edward is sure his grandmother never would have told Quentin--but you, a total stranger who so resembles the original Barnabas. . .her mind was wavering--I appeal to you, Barnabas, to tell me the secret. Barnabas, acting insulted, assures Edward that Edith and I only exchanged a few words about the necklace I brought her--I find it incredible that you take the gypsy woman so seriously. I must, insists Edward--for over 100 years, the eldest son has always known the secret, and I won't rest until I know, too. I can't help you, says Barnabas. Edward wonders if she didn't write it somewhere, she was such a secretive woman. Perhaps she had to be, suggests Barnabas  Edward says the list of her distrusts would be very long--she distrusted lawyers, so there's even some speculation about her will--she left a sealed envelope for Judith, telling where it could be found--if only I'd been here before her last illness, everything would have been different--I'd have seen to it. Edward leaves the room.

Quentin opens the door to admit Evan Hanley (happy days for HAA fans)! Evan, looking handsome in a goatee and hat, greets Quentin and expresses his condolences. Quentin begins to laugh. "You loathed my grandmother," he says, "because she knew about you!" There's nothing to know, says Evan. I'll remind you of that at our next meeting, says Quentin. Evan furtively asks him not to mention "those" here--"Really, Quentin." Are you here to hold my hands while the will is read? asks Q. Judith asked me here, says Evan--she has reason to believe the gypsies witnessed the will, for all anyone knows, she might have left everything to them. No, says Quentin, the money will go to a Collins, I'd hoped you knew the will, might be able to tell me if I got anything, and if I got nothing, to help me. It's too late after the will is read, says Evan. Would you help me? asks Quentin--if I got hold of the will, it could be changed? You can't, says Evan. Quentin offers the lawyer 10 percent of his inheritance; for that, he could get someone to imitate Grandmama's handwriting. There's no time, says Evan, Judith is bringing me the letter, and I can't turn the will over to you first. You could invent difficulties, prods Quentin--one quarter, he offers Evan. Evan objects--his position. . .Quentin reminds Evan he knows SEVERAL positions (do tell!)--his private life, and his public life. Evan asks if Quentin is thinking about blackmail, and reminds him he knows as much about Quentin. People expect ME to be bad, says Quentin, but you need money--or has that changed?--you shouldn't have married such an extravagant wife. . .Evan paces, ponders, and finally asks how Quentin will get the will."You'll help me?" asks Quentin. Evan agrees. Quentin promises to get it--one hour, and leaves the house. Evan looks unsure about this unsavory deal.

Barnabas and Edward join Evan, who expresses his condolences and shakes Edward's hand. Edward introduces Barnabas, who says it's a sad time for a visit and shakes the lawyer's hand. Evan asks to pay his respects for a very gallant old lady (what a hypocrite!), gushing about her being the last of her kind as Edward leads the lawyer to the study. Barnabas, probably pondering how much Evan resembles Nicholas Blair, looks suspicious. Left alone, Barnabas hears raucous laughter, and whirls around to see Jamison standing on the landing. He greets the boy, who bursts out, "He HATED her!--and she thought he was a shyster!" He observes that Barnabas DOES look like his ancestor. Yes, agrees Barn. Jamison tries to slide down the banister, but it really isn't long enough for that, so he just jumps off and walks the rest of the way. "You must be Jamison," says Barnabas. The boy asks, did you hear I was a good boy or bad boy--but that would depend on who you spoke to, adds Jamison. I spoke to no one about you, answers Barnabas. Jamison seems disappointed--they've all forgotten about me since great-grandmother died, laments Jamison--have you seen her? Yes, replies Barn. I've never seen a dead person before, says Jamison; I'm going in with Quentin, I'm not scared when he's with me. Barnabas tells him, I haven't seen Quentin--are you very fond of him? Yes, says Jamison, of course, and what a silly question. Belligerently, he accuses Barnabas of not liking him--he's just like the rest of them!--"Well I don't like you either!" shouts Jamison--"So there!" And he runs toward the servants' quarters.

Magda returns to the Old House. Quentin attacks her from behind, pushes her into a chair and begins strangling her. "You can be free so easily, Magda," he says as she tries to fight back. "All you have to do is tell me where the will is!" She struggles. "No!" she cries. He continues to throttle her. She orders him to let her go, finally promising to reveal where the will is. Nursing her painful throat, she tells him it will take five dollars. He asks if she values her life that cheaply. It's a joke, she says, since she knows he doesn't even have that much. He gives her a 20 dollar bill, delighting her. The will, he reminds her--who has it? He grabs her by the arms and demands, "TELL ME WHERE IT IS!" She pulls herself out of his grasp, then says, I don't care who gets it, what happens--my friend is dead, and Judith won't even let me see Edith's body--"It's in her casket," reveals Magda. Quentin doesn't believe it, but she assures him it's in the lining--she wanted you all to think of her as EDITH, not the money! says Magda--you'll have to look at her body to find the will, Edith said that--she knew all of you would fight over the money and not think of her at all! Quentin asks Magda if she knows what's in the will--I know you-- you wouldn't be satisfied until you knew--I didn't write the will, says Magda, and perhaps Edith told me. . . Quentin takes a knife from the table. "I understand you're afraid of knives," he says. "Well, onboard ship, I became quite good at throwing these. . .shall I show you!" He makes a sudden movement as if he's going to launch the knife right at Magda. She gasps, cringes, then tells him, you get nothing in the will. He accuses her of lying.Edith felt no matter what she gave you, you'd have nothing left at the end of the year; says Magda--you could start with what you ended up with, and that's what she told me the first night you came back, chortles the gypsy, laughing. Quentin is stunned--tell me where in the lining the will is, he demands, holding the knife to her face. Facing her right hand, says Magda. Quentin hands her back the knife and takes his leave. "Wait!" she calls. Barnabas watches as Quentin and Magda exit the house. "You have a plan," she says, "I know that. I know what is in the will. I will tell. You have to give me money to keep me quiet." "Blackmail in advance," grumbles Quentin--I wouldn't have thought of that quite yet--I can still learn things from you, he says, and stalks off. Barnabas comes to Magda's side as she bites her thumb and spits in fury at Quentin's departing form. Barnabas greets her and asks about her new friend. No, an old enemy, she corrects him. Enemies become allies quicker than friends, I've found out, says Barnabas--what did you tell him?--that someone knew the secret? She looks ashamed--caught! You are accumulating things you will pay for, Madame! warns Barnabas.

Edward tells Jamison, who is fiddling with a piece of jewelry, that of course he must view his great-grandmother. I don't want to now, says Jamsion. What would Judith say at your refusal? asks Edward as Evan listens in the background. She hasn't gone in, points out Jamison. She was overcome with grief, says Edward, who turns and tells Evan, you must talk to Judith, I'm sure she'll agree the will must be read. Evan feels it's more respectful to wait until after the ceremony. We can discuss it with Judith and Carl, says Edward. As he leaves, he orders Jamison to prepare herself for going in to see his great-grandmother.

Quentin, holding out his hand and begging for "Alms for the poor and needy!" knocks at the window and Jamison lets him in. "What have you for a poor old beggar? asks Quentin querulously, bending his tall body like an old man's. Jamison hands him the piece of jewelry he was toying with. Quentin thanks him--it glitters as if it were a diamond--and I wish it was, he says in his normal voice. Quentin wants to know what's upsetting Jamison. The boy explains that Edward told him he must go in and look at Edith! Quentin agrees. Jamison wants Quentin to go in with him. Quentin kneels and asks Jamison, did I ask you to go to sea with me? I would have gone, insists Jamison. I had to go alone, says Quentin, otherwise I wouldn't have grown up--I went, scared as I was. Honest, asks Jamison? Quentin reminds him, I've never lied to you--I was so scared I couldn't sleep the first night, says Quentin--why are you afraid to go into the study? I'm afraid Grandmother will sit up, start to rise from her coffin, frets Jamison. That would be worth going through, laughs Quentin, just to see. It isn't funny, says Jamison. No, of course it isn't, agrees Quentin, but it will be, after I go into the room--I'll listen outside the door, and at the slightest noise, I'll come in--I dreamed there was a secret place in the coffin, a false lining facing her right hand, and there's a message in there for me--I want you to bring it to me.The boy accuses his uncle of making it up, but Quentin says I'm not--the dream said you would bring me the message and never say word to anyone--will you do it--or are you scared? Spurred on by his beloved uncle, Jamison runs to the study.

Evan and Edward are coming downstairs. The lawyer tells Edward that Carl should have been informed that Judith had given him the envelope containing the information about the location of the will. Nonsense, says Edward, "Let's open it and get it over with." As they enter the drawing room, Edward says he supposes Evan will require Quentin's permission, too. Evan and Quentin lock eyes. Edward opens the envelope. . .

Jamison enters the study and, standing a distance back, stares at his great-grandmother in her coffin. Getting up his courage, he starts to touch her hand, then stops. He finds the note (on the left side of the coffin, not the right) and takes it.

Barnabas comes down and overhears Edward wondering why Quentin wants to wait for Carl--perhaps if he learns he gets nothing in the will, he'll leave Collinwood. He certainly will, agrees Quentin--if you have anything to do with it. We're getting the will, insists Edward--the very fact that she ordered it put into her coffin is proof she wasn't in her right mind. "So you're prepared to try and break the will if you're disinherited?: asks Quentin. "Why should I be disinherited?" scoffs Edward, then apologizes to Barnabas--we're under all this tension.

Jamison, overhearing Quentin objecting to Edward that it's inhuman to get the will now, tucks the will into his pocket. Edward asks Quentin, did you expect me to accept YOU as a judge of humanity? Jamison hides. Edward enters the study--I'll do this alone. He searches the coffin lining, but finds nothing.

Quentin tells Evan that Edward is insufferable and always has been. "Now, Quentin," cautions Evan, but Quentin says he doesn't care what his cousin thinks. Barnabas walks downstairs, smiles and observes that Quentin "is extremely nervous." Evan asks why he shouldn't be; it's his experience that death causes as much ill-feeling as life. Edward returns--the will isn't there, he says, I don't understand it. Perhaps she never got to put it where she intended, suggests Quentin. Barnabas listens intently. Evan suggests the gypsies took it. Quentin thinks they should search the house, make a game of it--Find Grandmama's Will. No, says Edward, we won't make a game of it, but we will find it. Edward and Evan head upstairs, Edward calling to Judith. "So the merry chase begins!" says Quentin to Barnabas. "There's one way to stop it," says Barnabas--"And you can do it!" How? asks Quentin. "You have the will, Quentin," says Barnabas--"I'll leave you now. There's only one thing you have to decide in the next hour--how to give it back--because if you don't, I will have to do something about it--something DRASTIC!" Giving him an evil look, Barnabas leaves Cousin Quentin considering what he just threatened to do.

NOTES: This is the longest set of Robservations ever, folks, it broke the record. I guess Barnabas doesn't care what history he changes, because he's diving n with both feet. Evan is an unscrupulous lawyer, must be a descendent of Nicholas Blair. Sending a terrified boy whom he supposedly loves to steal something that doesn't belong to him in the first place--Quentin's morals just keep getting better and better, don't they?


709 - (KLS) - The great house at Collinwood stands deserted. The living have sought refuge elsewhere, leaving an evil spirit to roam the cold, empty corridors alone. At the Old House, Barnabas Collins remains in a deep trance. He has employed the mysterious powers of the I-Ching and gone through the door to the infinite, hoping to find and defeat the spirit who haunts Collinwood. But beyond the door, he has been transported back in time to the year 1897, a time of crisis for every Collins, a time of suspense and sorrow, for the matriarch of the house is dead.

Judith and Barnabas enter the study to see Edith. My grandmother will always be alive to me, says Judith--I wish you had known her; your life would have been enriched. Barnabas murmurs agreement. Edith raised us when our parents died, explains Judith. Barnabas comforts her. She loved us all, even Quentin, says Judith--"I suppose I must look at her, mustn't I?" she asks Barnabas. Yes, he says, leading her to the coffin. She gazes at her grandmother. Barnabas suggests she'd feel better if she let herself cry. Grandmother didn't approve of showing emotion, says Judith; she believed in going on and holding one's head up high (that explains much about the Collinses)!--I must act as she would want me to, even though everything else is wrong--do you believe in the hereafter? He turns the question back to her--do you? I sometimes wish not, confesses Judith; if she's watching us, how distressed she must be--I don't believe anyone took the will--she just didn't put it where she said she would. Barnabas admits he has considered the possibility someone took it. Judith asks, why would HE take it? Barnabas calls her on that "he." She begs him to tell her, if he knows, who took it.

Barnabas refuses to speculate on who might have taken the will or why--Edith wasn't the sort of woman who would have placed the will in a certain place in her coffin and forgotten to put it there. Perhaps Magda kept it, says Judith; it must be she. Barnabas reminds her of that HE, but Judith won't discuss it.

Quentin has the will in his room, holds it in his hand. He speaks to Evan on the phone, revealing, "I got absolutely nothing--the gypsy was right--you must alert your man so we can get started," insists Quentin. Barnabas knocks at his door. Quentin hangs up, first tucking the will into his pocket before letting Barnabas into the outer room. You're an odd man, says Quentin--I wonder what you want in the house--why are he here? Rather than discuss himself, Barnabas wants to know--aren't you curious to learn why I accused YOU of stealing the will? Quentin chuckles--I'm used to being accused of everything bad that happens. He invites Barnabas into his room. Barnabas grabs the I-Ching wands on the desk into his hands, asking Quentin, are you interested in this? I got them in the Far East, answers Quentin, a trip I took when the family felt it a good idea I "see more of the world"--I know nothing about them. "Don't you?" asks Barn. Why did you accuse me of taking the will? Asks Quentin. Because I believe you did, says Barn. What evidence do you have? queries Quentin. Very little, admits Barn. Except an eye for character? asks Quentin. You won't get away with it, warns Barnabas--your grandmother won't let you. My grandmother is in heaven with the rest of the family, Quentin says--I'm sure the Collins have a special section picked out to be alone forever. I think Edith is still here on this earth, counters Barn--where I come from, there's a theory that when someone dies with business unfinished, their spirit lingers to finish it. Quentin scoffs at this notion--should I be looking for Grandmother's ghost, then?Stranger things have happened, replies Barnabas; I wouldn't be a bit surprised if Edith is listening to this conversation. You're wrong, says Quentin, my grandmother wouldn't be quiet this long. The Mrs. Collins I knew, counters Barnabas, wouldn't let anything interfere with her plans for that will--she will not rest in peace until it's found, he says, then, getting into his cousin's face, says, "You will discover that, Quentin."

Judith tells Rachel that the children will attend the funeral, of course, Nora in black and Jamison in his black suit. She hopes Rachel has something appropriate to wear; they must conduct a simple, dignified funeral. Barnabas enters; Judith introduces Rachel to him. She rises and looks at him, greeting him politely. Judith informs Barnabas that he will be a pallbearer--at the funeral being held at 2 PM tomorrow (oh, no, that's not vampire hours!) Barnabas says he can't be there; he has business in Bangor that he can't cancel. Judith is shocked--surely you can try to cancel this business? He promises to try, "but please don't count on me." Judith, perturbed, says this is going to really upset Edward--I must tell him at once. This gives Barnabas a chance to speak to Rachel, who is grading a composition of Jamison's. The house has been so unsettled for everyone, she says softly. Barn asks her if she's ever been to the house where he's staying--the Old House has a portrait of a girl who bears a strong resemblance to you. Was she a Collins? asks Rachel. Yes, she came from Martinique to marry an ancestor of mine, says Barn smoothly, and she got her name from him--they never did marry; she married his uncle, and so Barnabas killed his Uncle Jeremiah in a duel. Rachel exclaims that it's a tragic story and asks if it really happened. Yes, says Barnabas painfully. She tells him, I'm fascinated by the past (Vicki II), and a reason I chose to become a governess--sometimes what I teach is as alive for me as your story--I'd love to see the portrait sometime--your story has rendered Jamison's composition dull--I'm a romantic. You should be, he says softly.I feel I carry it much too far, she says, only seeing the things I want to see, ignoring what's unpleasant--I could never write an accurate composition or history; even if I wrote a story about the present Collins, I'd ignore death and somehow find love, mystery and romance--I'm trying to become a realist, she concludes. Barnabas beams, clearly entranced by this latest Josette clone.

Quentin tells Judith that Edward isn't here--and if Barnabas can't attend the funeral, curious as that may be, there is one person who can, and someone who should be pallbearer--Sandor. Judith is scandalized. Edith adored them, Quentin reminds her. Judith curtly tells him, if you can't be serious, be quiet--your suggestions make me think you capable of anything. (This puts me in mind of the kindly Barnabas who was liberal enough to teach Ben to read.) Judith spots a lace glove on the floor. Quentin picks it up despite her warning. It was on Edith's hand in the coffin, says Judith, that was her favorite pair of gloves--it was on her hand, and you know it! Quentin stares at the glove, perturbed.

Judith tells Quentin she's frightened. He retorts, you were always a scaredy-cat and I hated playing with you. I'm not a child, she says--open the door. They both go into the study. A glove is indeed missing from the old lady's hand. I must sit down, mutters Judith, unnerved, and does.  Quentin says it's a deliberate trick to scare one of us--for once, you can't accuse me. Judith asks, do you think her spirit. . .? What would a spirit be doing, wearing a glove? demands Quentin--there's a logical explanation for this--she can't be. . .this isn't logical. No one did this, says Judith, I know it; she's looking for her will.Ridiculous, says Quentin, she's been in the coffin all along. Judith thinks someone must stay in the room--the body can't be left alone. I won't do it, says Quentin, so you must. (not it!) She accuses him of being frightened, but he denies it. He gives her back the glove and stalks from the room. If you could only speak, laments Judith, gazing at Grandmama's body, there's so much left to tell us.

Quentin is clearly nervous when Beth joins him in the drawing room. You're just the person I wanted to see; he says. Beth doesn't believe him. Why should you? asks Quentin you never believe anything I say. Very little, she admits. It was true, he insists--sometimes, at night, this house. . .when I think of all the strange, inexplicable things that have happened here--as if a curse had been put on it. I don't believe in curses, she assures him. You're much too modern, chides Quentin. I hope so, she says. I like that, he says, his face very close to hers--no matter how far away I've gone from Collinwood, I seem to belong to it more and more¢â‚¬¦that makes me very unhappy. It must, says Beth quietly. He observes that for once--you're not snapping and biting, taking the opposite side. I know what it's like, wanting to get away from certain people and things, she says--I'm sorry I said that--you won't stop trying to find out more about it. We are friends, Quentin reminds her--after years of battling, and in two minutes, we're friends--perhaps you'll even agree we can be more than friends. She changes the subject, telling him, Miss Judith wants me to sit in the coffin room with her a while. Can we talk more later? asks Quentin. I'm not sure, she replies. "I need you," he tells her--"I'll be in my room." "I'm not sure," she responds again, and hurries off, and runs into Dirk Wilkins, apparently her boyfriend, who tells her he has a carriage waiting. I can't go, she says, I have to sit with Miss Judith--they won't let me off. They did me, says Dirk, taking her arm: "You didn't ask, did you?" he demands. Yes, of course I asked, she says. Dirk knows differently. He grabs her into his arms and warns her, someday, you're really going to make me mad. Quentin interrupts; Beth pulls out of Dirk's grasp. "Well, backstairs excitement!" quips Quentin--"Sorry to surprise you, Dirk, your taste is excellent." Dirk asks Quentin what he's doing downstairs--I just passed your room and heard you inside--or someone was. Quentin thanks Dirk and hurries upstairs. Dirk asks Beth, "Tomorrow night?" She tells him she isn't sure. He repeats, "Tomorrow night" not as a question, but a done deal. "We'll see," she says. He puts his arms around her and begs to know why she's treating him this way, but she doesn't respond.

Quentin enters his room and finds it trashed, furniture overturned, everything a total mess.

Barnabas returns to Quentin's room with him. Quentin has apparently accused him of turning his rooms into a shambles. Did I supposedly do all this--plus putting your grandmother's glove outside? demands Barnabas. "You know it," insists Quentin. I've been a busy man, jokes Barn. You made the mistake of doing more than a ghost could, insists Quentin (how does he know?). I thought ghosts often searched for missing items, opines Barnabas. "YOU are the ghost," says Quentin. "Prove it," retorts Barn. Quentin orders him to stop it. Barnabas tells him he didn't start it. If not you, who? Asks Quentin. "That's for you to decide, Quentin," says Barnabas--did your grandmother find the will--is that what's upsetting you? "GET OUT!" orders Quentin. Barnabas leaves, closing the door behind him. In a fury, Quentin begins putting his room to rights. All the lights go out, and there's the sound of a heartbeat. Quentin demands to know who is in the room and darts into the outer-room. "Who are you?" he cries. He dashes into the hallway and orders Dirk to get him an oil lamp. The heartbeat grows louder. Dirk enters with the lamp, asking why the lights are only out in this room. Quentin asks Dirk where the sound is coming from, but Dirk doesn't hear the heartbeat. You must hear it! insists Quentin--it sounds like a heart!Have you been drinking? Dirk asks. Quentin, terrified, tells Dirk, get me a carriage--I must go into town. It's late, the stable boys are asleep, says Dirk. Wake them up! demands Quentin. I'm overseer of the grounds, Dirk reminds him, and that isn't my job--you should wake them yourself. The heartbeat is louder, but Dirk still doesn't hear it. Quentin grabs and shakes Dirk, accusing him of being in on this, of lying. They get into a scuffle; Dirk tosses Quentin aside and orders him never to call him a liar. He leaves Quentin alone in the room with the heartbeat. "Stop it!" begs Quentin.

Dirk finds Beth about to knock on Quentin's door. She claims that Judith sent her here. It's just an excuse, accuses Dirk--you're here to see him, aren't you? Judith wants Quentin to come sit with the body, says Beth. Let the Collinses bring their own messages! orders Dirk--I've seen the way you look at Quentin--stay away from him!

Quentin races downstairs, the heartbeat still pounding in his brain. The lights go off and he runs. In the study, he stands over Edith's coffin and sees something that makes his mouth drop open and his face shake with terror.

NOTES: Has Grandmamama risen from the dead? Will she wreak revenge upon her wayward grandson, Quentin?

Who is responsible for the glove and Quentin's trashed room, Granny herself or Barnabas--or some other angry force?

Beth must be a sort-of boyfriend to Dirk, but she prefers Quentin (what woman wouldn't?), the bad boy, and we all know bad boys can be fun, but trouble, too!

Will Quentin get his just desserts for being a total blackguard? And yet, we see goodness in him, too, in suggesting that Sandor be a pallbearer at their grandmother's funeral. Judith would never allow it, of course, but Quentin at least has a good heart when it comes to doing the right thing.

Barnabas is back to his old tricks of mooning after a Josette lookalike, you could see him falling in love with all her talk of history and being a romantic.

Love, Robin