1150 - Roxanne implores her brother to let her get into her coffin, but Randall says he cannot--this is the only way she will find peace.  Sobbing, Roxanne begs him to let her get to her coffin, but he says he can't until the sun comes up--and it's all over.  Let me live, I don't want to die, she cries, not like this, oh, please don't do this to me!  I must, he says, it's the only thing I can do, after what I've seen here tonight, I can't let you go on the way you are!  I'm not responsible for what I've become, she wails, Randall, I can't help myself!  He asks her who is responsible for making you this way, tell me! he says.  There's no time, she says, please, don't put me through this torture!  I must, he insists, I must, there's an innocent woman dying in Rose Cottage, the only way to save her...  "Randall, I'm your own sister!" screams Roxanne--"Can't you have mercy on me?"  Stricken at her words, his hand holding the cross drops.  Feeling his capitulation, a satisfied smirk comes over her face as she turns to face him.  Realizing how evil she is, he again holds up the cross, ordering her to stay away from him.  Roxanne screams and turns away.  You're not human anymore--you're not Roxanne! says Randall--you're not!  The sun begins to shine through the window.  Roxanne covers that side of her face.  "The sun is rising!" she cries, oh, I beg you please have mercy on me--oh, ohhhhh!  Oh, Barnabas, Barnabas, I need you--you're the only one who can help me now!  Barnabas!"Her body is filled with light, and as she continues to cry out Barnabas' name, screaming in pain, she disappears before Randall's eyes, leaving nothing at all behind.

Julia, lying in a bed at Rose Cottage, awakens and touches her throat.  It's over, she says, she's dead--Roxanne is dead!

Randall stands staring down at the spot where his sister writhed in agony, then kneels and places the cross in that place.  

Collinwood - Daphne reads her sister's letter, which says, "I used to be so jealous of you, now I want you to have your chance--but make a wiser choice than me, please, do not follow me--do not follow my path."  Quentin enters and she smiles and goes to him.  He just got word that Julia's at Rose Cottage.  Is that where she's been since she disappeared? asks Daphne.  No, says Quentin, she was taken there last night--the victim of another attack.  Is she all right? asks Daphne.  He explains that he was going to Rose Cottage to get Julia--would Daphne like to come along?  No, she says, turning away, I have to stay here.  But why? he says, you don't have to be with the children for a good while yet.  I know that, says Daphne, but--I've been reading this (holds out the letter) again, trying to figure out how it got into this house--what's happening to us?He tells her reading the note over and over won't help.  What will? she asks.  Quentin doesn't know.  Daphne feels her sister's spirit is restless and will remain so as long as she stays in this house.  Quentin asks if she's trying to tell him she wants to leave him.  I don't want to leave you, she assures him, I'd never want to, I've only just found you!  And she goes into his arms--but I'm so frightened, I don't know what to do she admits.  Holding her close, he assures her it's all right--just do nothing--I want you to wait until I get back from Rose Cottage, we'll try to settle matters then.  How? she asks.  He takes her face in his hands, telling her he doesn't know the answers anymore than she does--but they've just got to resolve this together.  Quentin, she says, will there ever be an answer for the two of us?  He kisses her, a nice wet one, then runs his lips seductively over her cheek.  He promises he'll be back ASAP--she'll be all right?  She nods.  He goes.

Old House - Randall enters, calling to Barnabas.  Trask has been locked in the basement; seeing Randall, he orders him, "Get me out of here!"  Randall tells Trask the door is locked.  Trask explains that Barnabas locked him in there, then left, and he doesn't know where he went.  You must tell me what's happened, says Trask--a little while ago a change came over me.  You are no longer under Roxanne's control, says Randall--she's dead.  You destroyed her? asks Trask.  I had to, says Randall, his voice tortured, don't you understand?  Yes, of course, says Trask, may the poor child rest in peace now--and may we discover the heretic that caused her to be that way.  Randall says he doesn't understand why Barnabas felt it necessary to lock him in here and then leave--why couldn't he just stay until it was all over?  Trask doesn't know, but insists Randall must free him now--he can't spend another moment down in that basement, he feels the presence of evil down there!  There's no key, says Randall, he probably took it with him.  Break the lock, says Trask.  I can't, objects Randall, the door is solid iron--someone at Collinwood must have a key, he'll go there and return as soon as he can.  Randall! calls Trask through the bars, please hurry!  Trask heads downstairs, back to the basement.  He sits down on a stair, but suddenly hears the sound of chains rattling.  Who's there, who is it? he asks.  He hears the chain again.  Take warning, whoever you are, he says, you are dealing with a man of God--I'm not afraid.  More sounds of chains.  Trask looks around, and moves toward the bricked up wall behind which his father's bones hang.  That's where the sound of chains is issuing from, he realizes.

Quentin brings a weak Julia back to Collinwood and offers her tea or brandy.  No, I'm fine, she assures him.  He sits beside her, asking about something that's been bothering him--according to Flora's note, she was pretty near death--how does she account for this incredible recovery?  I don't know, she says, I'm just glad I'm alive.  So am I, he says--at least you may be able to help us now that you know what it is, you might be able to end these attacks.  I know. . .what? asks Julia.  What attacked you, he says.  Julia doesn't know, actually.  How is that possible, he says, you must have seen.  It all happened so quickly, says Julia, I lost consciousness almost immediately.  He looks at her speculatively, as if she's lying.  Randall enters and asks Julia how she's feeling.  Weak, but I'll be all right, she says.  You know it's all over now, says Randall.  Yes, says Julia.  What's all over, demands Quentin--Randall, what do you know about this?  Randall asks Julia if she's told him.  I thought it best not to tell anyone, she replies.  Listen to me, insists Quentin, one of you tell me what's going on.Julia was attacked by a vampire, says Randall, and the vampire was Roxanne.  Quentin is stunned.

Randall explains to Quentin and Julia that Barnabas left the crypt with Trask, and he waited for Roxanne--when she arrived, he prevented her from reaching the coffin.  Julia says then it was the light of day that destroyed her.  Yes, says Randall, remembering, and takes a stiff gulp of his brandy.  Roxanne a vampire, killing people like that, says Quentin--someone had to make her do that--someone is responsible!  Yes, agrees Randall, and whoever it is is still at large--do you have any idea where Barnabas is? he asks Julia.  No, she says, I saw him last with you, leaving Rose Cottage--why?  He took Trask back to the Old House, says Randall, and locked him in the cellar--to keep him away from Roxanne--Trask was also her victim--I understand Barnabas feeling it necessary to lock him in the cellar, but then he went away and left him there all day--why?  Julia says he probably thought it a good idea.  But he knew when the dawn came, the spell would be broken, says Randall, Roxanne would be dead--I just don't understand why Barnabas couldn't stay there until it was over.  I don't know, says Julia, but why don't we go get Trask out of the cellar now?  That's what I came here for--Quentin, do you have an extra set of keys to the Old House.  No, says Julia, Barnabas gave me the only extra key--I'll go with you and open the cellar.  Quentin advises her to stay here--she's still pretty weak.  I'm all right, Julia assures him, besides, if Barnabas is back, I'd like to talk to him.  All right, says Quentin, if you think so--he asks Randall who else knows about Roxanne.  Only Flora and Trask, says Randall, why?  I don't think anyone else ought to be told, says Quentin, especially Samantha.  Julia listens.  Yes, agrees Randall, I don't think Samantha should ever know--Julia, whenever you're ready.  She goes with him.

Trask listens to the clanking chains behind the basement wall.  He hears someone moaning, and thinks he might be imagining this.  He presses his ear to the bricks.  No, my ears are not deceiving me, he says--I'm in command of my faculties, I know what I'm hearing--who is behind this wall?  Answer me!

Quentin closes the drawing room doors.  So Julia doesn't know what attacked her, either, Daphne asks him.  No, he says, sitting on the sofa beside her, but apparently she feels well enough to walk around--let's hope she has time to think things over and she may be able to help us.  I hope she does, says Daphne.Quentin starts to put an arm around Daphne and is caressing her face, touching her intimately.  She tells him she's had time to think things over very carefully and she's reached a conclusion.  She rises from the sofa and tells him she only feels they will have peace of mind if she leaves Collinwood.  No, he protests, absolutely no, out of the question.  My staying here is only making matters worse for both of us, she insists.  Listen to me, he says, caressing her hair and face, if you go anywhere, believe me, I'll follow you.  No, she says, you've got to stay here--your place is here, in this house!  He wraps his arms around her and begins kissing her cheek.  Believe me, my place is with you, he murmurs.  She closes her eyes, wanting him.  I know that now, he says, and I feel it deeper than anything I've ever felt in my life.  She draws away from him--Quentin, don't you see, it's wrong for me to stay here--that's what Joanna was trying to tell me in her note.  Joanna didn't write those notes, he says, I think someone alive did, and for a reason we cannot understand.  How can we possibly find out? she asks.  Perhaps Joanna can help us, suggests Quentin.  She's dead, says Daphne.  Maybe she can help us--if we reach her, says Quentin.  Daphne doesn't understand.  Quentin says they can try to communicate with her the only way you can reach the dead--you and I are going to conduct a seance tonight.

Still hearing moaning and clanking, Trask runs his hands over the brick wall.  He hears a key turning in the lock upstairs, and Randall comes down, apologizing for taking so long.  Julia comes down, too.  Randall asks Trask if something is wrong.  Very wrong indeed, says Trask, pointing to the wall--there is someone behind that wall!

What are you talking about? Randall demands.  Julia assures Trask he's wrong--that's part of the basic construction of this house.  I tell you, I heard noises coming from behind that wall--first the rattling of chains, then a low, painful moaning.  I don't hear anything, do you, Randall? Asks Julia.  Nothing, says Randall.  Trask says he doesn't hear it now, either, it stopped when they came downstairs, but he knows what he heard, and he's telling them if they tear down that wall...  This is an old house, warns Julia, it might be very dangerous to tamper with that wall.  Is there some reason you don't want us to look behind that wall, Miss Collins? he asks--you know what's behind that wall?  Don't be absurd, she says coldly.  This is no time for you two to start arguing, says Randall, besides, we have more important things to tend to.  Nothing seems more important to me, says Trask, than the strange goings-on in this house.In that I'm in total agreement with you, says Randall.  Julia doesn't understand what Randall means, but he explains that her brother has a lot of questions to answer for him--he finds his behavior in this entire matter very strange indeed.  Julia doesn't know what he's talking about.  I mean Barnabas knows more about the knowledge of vampires than he is willing to let on, says Randall--he took one look at Trask here and knew he'd been Roxanne's victim--he knew if we followed Lamar, he would lead them to Roxanne, and he knew exactly what to do to put Roxanne to rest.  I'm sorry, says Julia, but I don't find that in the least suspicious--by your reasoning, if a man puts put a fire, he's guilty because he knew how to put it out.  There's one more thing, says Randall--just before Roxanne died, she cried out for Barnabas, saying he was the only person who could help her in that moment--what did she mean by it?  She was under his spell, accuses Trask, I told you that before--I knew it from the night she was stricken.  Roxanne and my brother were in love with each other, says Julia, it is not unusual, when you are dying, to cry out for the person you love.  I do not believe she was in love with him! insists Trask--I agree with you, Randall, there is something deeper and far more serious to Roxanne's dying words.  Perhaps your explanation is valid, says Randall, and then again, maybe not--I know I won't be satisfied until I have some answers to my questions from Barnabas Collins--he still has a lot to answer.  Julia doesn't reply, and they all exit the basement.

Daphne and Quentin have set up the drawing room for a seance.  A red candle stands on the table.  He asks her if she's frightened.  She says she's not, but she doesn't think they should try to disturb the dead.  Sometimes the dead are already disturbed, he points out, and it takes the living to put them at peace.  They sit at the table across from each other, and he says they must touch hands and maintain contact throughout.  She understands.  Quentin calls out to seek the spirit of one known to each of them, one they have each loved in their own way--we beseech the spirit of Joanna Mills to appear to us, to communicate through one of them, so we may put an end to the troubles that have afflicted all of our lives--please, Joanna Mills, appear to us, or gives us a sign!  Thunder booms outside.  Quentin looks over his shoulder, grinning.  Joanna, you've heard us! he cries--please help us put an end to the mystery that has burdened all of our lives!--appear to us and speak to us--speak to us.The drawing room doors blow open, and a hooded figure stands there.  Daphne's eyes widen.

NOTES:  RIP Roxanne.  That was always a heartrending scene to me.  She wanted to survive so desperately, and begged her brother to give her the chance--but he couldn't, and that had to hurt him.  To be forced to kill a sibling is a sad thing.

Barnabas is in trouble now; Randall is determined to interrogate him, and Trask is already suspicious of him.  Julia might not be able to protect him from this.

Who did Quentin and Daphne conjure up there?  Is it Joanna or someone else?

Is Trask going to find out what happened to his daddy?  Was Reverend Trask trying to get his attention and let him know that Barnabas buried him in the cellar behind that wall?

Quentin is a very seductive man, and he really wants to touch Daphne all over--but she's more cautious, as she should be.  Her situation with Quentin won't be any different from what went down with Joanne--Samantha will not free him from their marriage.


1151 - Joanna? Cries Daphne.  Quentin bolts from his chair toward the figure, but Daphne tells him not to.  I've got to, he says, but the figure is gone, only a wind left in her wake.  Although Daphne protests, Quentin goes outside to look, and wants to try to contact Joanna again.  No, says Daphne, she doesn't want them to--she knows because she would have stayed.  Why didn't she speak to us? wonders Quentin.  Daphne takes his hands and says she came, isn't that enough--doesn't that tell them what they want to know--she feels all cold inside, as if she were dead, too.  Quentin pulls her into his embrace, but she pulls away, saying she knows now.  He caresses her face.  I know that I love you, he says--and you love me.  Yes, she says, I love you, but I can't stay in this house--Joanna will never be at peace as long as I'm here.  You're wrong, says Quentin, do you think she wants us to be miserable--is she so vindictive, she wants neither of us to ever be happy again?  Together, yes, says Daphne, I believe that.  You're wrong, he insists, I need you--you're the only person in this house I can trust--and he kisses her, hugs her.  Oh, Quentin, no! she cries.  He warns her that if she leaves, he'll follow her, she knows that.  He stands behind her, his hands on her, as well as his lips.  Quentin, Joanna! She reminds him.  Somehow, he vows, we'll find her the peace she deserves--believe me.  How? she asks.  I don't know, he says, his lips on her cheek, but I'll find a way--just tell me you're going to stay, please, tell me?  He caresses her hair.  She moves away from him and asks that he promise her they won't see each other alone.  He turns to look at her and asks if she really wants that.  No, she says, but I can't bear thinking that when we're together, we've drawn Joanna from her grave--now you have to promise me that or I can't stay.  He goes over to her, touches her face, and says all right--but it's going to be very difficult.  For both of us, she agrees.

Rose Cottage - Desmond searches for Judah Zachary's journal in Gerard's room--he knew he had it!  Gerard catches him with the journal and asks what he has there.  The journal I asked you about, says Desmond, the diary you said you'd never seen.  Gerard turns on the lamp and says he found it the other night on the table down in the hall--he was just returning from Roxsbury, on business there, and was meaning to ask Desmond about it.Flora accepts that kind of excuse, says Desmond, I don't.  I'm afraid you'll have to, says Gerard.  We'll see, says Desmond.  Are you threatening me again? asks Gerard, asking me to leave Rose Cottage.  This time I intend to do more than that, vows Desmond.  I await with incredible anticipation for it, says Gerard.  You won't have long to wait, promises Desmond.  Gerard stops him from leaving, asking if he might finish reading that.  Sorry, says Desmond curtly.  I hate not finishing what I've started, says Gerard.  This time, imagine the rest, advises Desmond, and leaves the room.  Gerard is pissed.

Drawing room, Rose Cottage - Gerard enters and bows to Flora, who is delighted to see him--did he have a nice trip?  Very much, he says--I see you've been writing again--people tell me you've been working rather hard, here by yourself--you must take care or you'll tire yourself out.  She tells him she can't help it, she found such an exciting new subject--vampirism--so much has happened while you've been gone--Roxanne came back from the dead as a vampire--I can't blame you for being shocked--you can imagine how we all felt!--she's at peace now--Barnabas helped Randall find, her, and he put her to rest--poor boy, how awful it must have been!  How did Barnabas get involved? Asks Gerard.  Through Julia, explains Flora--Roxanne attacked her and was keeping her hidden--Barnabas tracked her down--oh, this is going to be my most exciting adventure.  He laughs and says he's sure it will be just brilliant.  He rubs her shoulders, telling her she really should relax more, she puts so much of herself into it--by the way, has she seen Desmond at all?  He was here just a few minutes ago, she says, he put something away over there--she points--and then left--I used to worry about Desmond.  I can imagine, says Gerard.  I'm sure you've noticed the aimlessness of his life, says Flora as Gerard goes searching for the journal.  Yes, he says.  He should have studied law after he got his degree, says Flora.  Gerard says he's sure he could have been quite successful.  He asks if she has a key to this cabinet.  No, isn't it there? she asks.  No, he says, I put one of your books in there--I was re-reading CALL OF THE WILD GOOSE.  Oh, yes, she says, that's one of my better ones--Desmond must have taken the key, how strange--I have another copy upstairs.  She rises to go get it and he tells her to relax--he shall wait for Desmond's return.

Gerard's room - "I know, Gerard," says Trask--you think Quentin Collins has become an obsession with me, that his continued defense of Barnabas incriminates him, too, in the death of Roxanne--Barnabas and Quentin are involved in the ways of witchcraft together, together they do the work of their master, Lucifer, and together they try to destroy us.  Why would they use Roxanne as a vampire? Gerard asks.  To destroy their enemies for them, says Trask--I was one of the first victims--yes, she attacked me!  Barnabas is responsible for her destruction, by Randall? Asks Gerard.  Only because she disobeyed them and attacked Julia Collins, Barnabas' sister, says Trask--but they will seek other ways to try and stop us, so we must strike the first blow, Gerard, a blow against Barnabas and Quentin--but especially Quentin!  Why especially Quentin? asks Gerard.  Remember Lorna Bell? Asks Trask--remember the mark on her forehead?--t was the mark of the devil, remember it?  Gerard appears to have a dizzy spell.  Trask shows him a paper with the symbol from Quentin's ring--think carefully, says Trask, have you ever seen that mark before.  Yes, says Gerard, it's on Quentin's ring.  Exactly! says Trask, he has the arrogance still to wear it--it must have been a gift from the devil himself.  I'm afraid you're wrong, says Gerard--I gave him that ring.  You? asks Trask.  Yes, says Gerard, we were in a little village in Brazil, up the river, and one of the crew members got suddenly ill--Quentin had heard of a witch doctor who could perform miracles, or so Quentin said.  You let him take a Christian soul to a pagan? Asks Trask.  Gerard explains it wasn't his decision--but when the witch doctor was doing his incantations, Quentin mentioned the ring he was wearing--when the ceremony was over, I could see plainly Quentin wanted that ring very much, but was afraid to ask for it--so I bought it for him.  So now Quentin has this symbol of the demon seed! says Trask.  That's ridiculous, insists Gerard--why would Quentin be interested in witchcraft or the devil's worship?  For the same reason Barnabas is--power! says Trask--power over the minds and bodies of this around him--power to destroy their souls, twist their minds to do his bidding--make them tools of Satan, even as they did Roxanne.  I certainly hope you're wrong, says Gerard, because Quentin is a very good friend of mine.  Sooner or later, says Trask, you'll have to drop this schoolboy loyalty--because my case against Quentin becomes more and more clear to me.  He leaves the room.  Gerard grins with satisfaction and opens a box, extracting the same symbol he's used before to perform evil rites.

Quentin asks Desmond why he wants HIM to talk to Flora--why can't he handle his own mother?  Desmond says he needs an outside voice--Flora likes and trusts Quentin.  Desmond pours them both drinks.  What do you want me to tell her? asks Quentin.  Desmond looks unhappy and rises from his chair.  Gerard Stiles must leave this house, insists Desmond.  Are you serious? Asks Quentin.  Desmond says he most certainly is--because Gerard is dangerous and evil.  Do you have reason for saying that? asks Quentin.  I found the diary of Judah Zachary in his room, says Desmond.  Come on, that's not a reason, says Quentin.  He told me he had never seen it, says Desmond, he swore he hadn't, but there it was, in his desk--he gave me some foolish reason that he'd found it there!  Maybe he did, says Quentin, a maid could have taken it into the room.  Why don't you trust me, why do you take his side against me always? asks Desmond.  I'm not taking anyone's side, says Quentin, I just don't want to be part of it--Gerard is my friend.  Quentin, says Desmond, forget him, he'll ruin your life, believe me!Trask enters and asks, "Family quarrel, gentlemen?"  Quentin says if it is, it's no concern of his.  Evil is a most corrupting agent, says Trask.  I've' always wondered what your fine rhetoric is all about, says Quentin, now suppose you give me an answer.  He grabs Trask by his shirt front and swings him around to face him--I said, give me an answer! Demands Quentin.  Trask snarls, "There's evil in your face!"  What are you talking about? asks Quentin.  I shall win out over it! insists Trask, soon everyone shall know what I know!  He frees himself from Quentin's grasp and leaves.

In Gerard's room, the latter asks Quentin why he should apologize--he was the one who found it--he was the one who ought to apologize to me--he came into my room as if I were some common thief!  Yes, says Quentin, I know that, I just want you to try to get along with him--I'd ask you to come back to Collinwood, but...  Samantha, finishes Gerard--there's more trouble with her?  Not only her, says Quentin.  What is it? asks Gerard, have you found more letters?  Yes, says Quentin--and Daphne--I'm in love with her, and she with me.  Gerard smiles.  Well, he says, I envy you--tell me about it.  I'm afraid I can't, says Quentin, really, I shouldn't mention it--I simply came by to tell you to do something about Desmond, before he goes to Flora.  Gerard claps Quentin on the arm and assures him he will.  Quentin leaves his room.  Gerard says to himself, "You always get what I want, don't you, Quentin?--no, Quentin always got what Gerard Stiles wanted--but I am Judah Zachary now--I want her as Judah Zachary once wanted Miranda--and I will have her!"  He takes the circular symbol out and holds it near the flame.  Daphne, says Gerard, Daphne, wherever you will be, you will fall into a very soft sleep--sleep...

Daphne leans back in her chair in the Collinwood drawing room, but continues reading a book.

Don't fight me, intones Gerard, surrender--surrender to me and though you will not remember when you come to me or why you come to me, you will be one step closer to being completely mine!

Daphne falls asleep, leaning her head against the chair.She dreams Gerard enters the drawing room and stands smiling at her.  She goes to him, into his arms.  I mustn't stay, he says.  You must! She insists, caressing his face and hair.  This house is too dangerous for me, he says.  Nothing is dangerous for you when you're with me, she vows.  How about Quentin? he asks her.  Do you think I care about Quentin? she asks, grinning, and kisses him passionately, then holds her.  Whenever you want to see me, he says, you will have to come--you will have to come.  I'll see you always, she says, don't stop me from holding you--and she kisses him again.  He backs away, and tells her to come to him whenever she wants to see him--you'll come--you'll come.  He backs away, Daphne calling his name over and over.  Daphne awakens, rises from the chair, looks around, puzzled, then hastily leaves the house.

Daphne goes to Rose Cottage, where Gerard greets her.  I was expecting you, he says.  How could you be? she asks.  Or shall we say I was hoping you'd come, he says.  She says she doesn't understand why she's here.  Think and you'll remember, he says, you've come to see me, haven't you--well, haven't you?  Yes, she says, but I don't...What is it? he asks her--you don't realize how important I am to you, do you?  You are, she says, shaking her head, and I...  Why are you always fighting me--why? he asks.  He caresses her hair, her face.  She looks at him.  Desmond enters, and, finding them in a rather intimate moment, is furious.  Daphne excuses herself and leaves.  Daphne? asks Desmond, but she is gone.  What are you up to now? demands Desmond.  Gerard suggests he asks Daphne.  She must have had some reason to leave like that! insists Desmond.  I only wish, says Gerard, that I had the powers you think I do--and he leaves the room.  Desmond is furious.  He opens the cabinet and takes out Judah's journal--I wonder why he took the journal? Thinks Desmond--what could he have learned from reading it?  He sits down and opens the journal.  Gerard watches him from the doorway.  Flora comes to Gerard, who asks if she finished her writing for the day.  Mother, says Desmond.  Flora enters and he orders her to close the door.  Really, Desmond, she chastises, even my own son shouldn't tell me what to do in my own house.  She closes the door.  I do not want him to listen, says Desmond.  Why would Gerard be interested in our conversations? Asks Flora.  I want him out of this house, says Desmond.  Where would he go? asks Flora.  I don't care, insists Desmond.  I do, says Flora--he's invaluable here.  Mother, he has got to go! says Desmond.

Well, Desmond, says Gerard, his face ugly, now start talking and talk very, very quickly.  Gerard loops one of Desmond's handkerchiefs around the throat of a clay doll.

Desmond, says Flora, you're not being logical and that's one thing you've always been.  Desmond asks if it isn't enough he's asked her to get rid of Gerard--isn't it?  I don't know, she says.

This is your last chance, Desmond! Cries Gerard--talk very, very quickly--and he pulls the knot he's made around the clay doll's neck tightly.

Desmond grabs his throat and begins to choke.  Flora asks him what's wrong, and he staggers to a chair as she tries to help him.  Flora screams for help.  Gerard respond immediately, asking what's happening.  He's choking! Reports Flora.  Gerard comes forward, asking Desmond what's the matter what happened.Stay away from me! gasps Desmond.  Gerard goes to pour a brandy.  He's only trying to help! insists  Flora. Gerard brings him a brandy, but Desmond knocks it from his hand.  Gerard apologizes to Flora for trying to help.  He spots Zachary's notebook on the floor and bends down to pick it up.  Desmond orders him to get out.  Please begs Flora, he's only trying to help you.  Gerard leaves the room grinning, the book in his arms.  Behind him, Desmond continues choking, trying to free the invisible hands throttling off his air.

NOTES:  Will Gerard do away with Desmond?  Will Flora replace her own son with Gerard?  Will Quentin ever learn that Gerard is not to be trusted?

Gerard is insidiously working on Daphne, undermining her feelings for Quentin.  Will he turn her affections his way?

Interesting how Gerard admitted to Trask he gave Quentin that symbol, but I suppose he has his reasons.

As for Trask, Gerard is goading him into his witchhunt, and that can only have bad consequences.

OK, those who love Quentin, could YOU not want to be alone with him?

Love, Robin

1146 - Gerard races to help Daniel, who has collapsed on Quentin's staircase and is muttering, "Murderer, warlock!"  Gabriel wheels in, demanding, "All right, Mr. Stiles, what have you done to my father?"  It's not what I've done, says Gerard, it's...  Quentin! moans Daniel, in pain, "My son."  Your father's had an attack, says Gerard--go and get a doctor, quickly.  Gabriel wheels off get Julia.  Quentin, how could you? moans Daniel.

Quentin sits on the sofa, drinking.  Daphne enters.  How, he asks, do you always seem so calm and tranquil?  I don't know, she says--I suppose it's just my face.  More than that, says Quentin, walking toward her, a certain quality--you always seem like you have something to do and you make up your mind you're going to do it.  At the moment, she says, I've made up my mind to give the children a test tomorrow.  Are you sure that's all? he asks, staring into her eyes.  Daphne gazes back, probably wallowing in the blue of his orbs, but breaks contact.  Miss Harridge, he asks, are you frightened of me?  No, she replies.  Whenever I speak to you in a personal way, you never seem to be able to listen to me, he smiles--maybe you're just trying to be unobtrusive, part of the scenery around here--you can't be that--you're much more, you know.  He sits by the fire--you're "an angel among gargoyles" he praises--"we are gargoyles"--the fortunate Collins of Collinwood--you know, when I was younger, before my mother died, it seemed to me we were a family, but then again, that was just another illusion, because my father murdered my mother.  (how horrible for a son to have such knowledge.)  Oh no! says Daphne.  Oh, yes, says Quentin, it's a well-known secret--it was then I noticed we all have a strain of despair that has been bred in each of us, and we all seem to enjoy that despair--why else do we live the lives that we do?  (A sad assessment that could apply to the Collins of every generation.)  I can't answer that, she says.  Are you sure about that? he asks.  Gerard runs in--Quentin, he says, your father's had an attack.  No! protests Quentin, putting down his drink.  They all rush from the room.

No, moans Daniel, lying in bed, no sense to it, no sense at all!--why?--why, Quentin, why?  Edith puts a comforting hand on his shoulder, calling him Father Collins.  Who are you? he asks.  I'm Gabriel's wife, she reminds him.  Get out! he cries  You must lie down, insists Edith.  Don't tell me what to do, he orders.  Someone has to--you've had an attack, she says, now please lie down--there, Gabriel has gone for Cousin Julia.  What good will a doctor do? he asks, oh, Quentin, why, why?  Father Collins, says Edith eagerly, what did Quentin do?--what?  Quentin, Daphne and Gerard enter the bedroom. Quentin rushes to his father's side.  You, you, you're not who you say, you're not the man you were, gasps Daniel.  (How ironic, considering GERARD is the one who has changed--to another person!)  Edith tries to force Quentin to leave.  Get away, says Quentin.  Edith tells Daphne and Gabriel, Daniel is too ill for company.  Gerard leads Daphne out of the room.  Why what? Quentin asks Daniel, who mutters, "It will ruin us all--I must stop it, I will stop it!"   You want Daniel to die, accuses Edith.  Get out of here, Daniel orders her.  But Father Collins, she protests.  Leave this room! he cries.  Get out! shouts Quentin.  Edith takes the hint and goes.  I saw your stairway, says Daniel--I saw the past--you killed Lorna!  No I didn't, says Quentin.  Daniel passes out.  Gabriel and Edith return.  Where is Julia? asks Quentin.  With her brother, I presume, says Gabriel--those two are inseparable, you can never find them! (LOL)  Did you send for Dr. Reese? asks Quentin.  I was about to, says Gabriel.  I'll do it, Quentin volunteers, and runs out.  Edith, smiling cattily, tells Gabriel, Quentin has done something--something Father Collins doesn't like.  How can that be? asks Gabriel, Father always loves everything Quentin does.  Not this time, exults Edith, this time it's different.  I am going to sit with Father tonight, he says--I want you to do something about that hair of yours, and put on a black dress.  He's not going to die! she says nastily.  Not just yet, says Gabriel, not with the will the way it is--go make yourself presentable--you and I are going to sit with Father tonight--go on.  She leaves.  Gabriel wheels himself beside his father, who asks, where is Quentin?  He left you, says Gabriel, I'm going to stay with you--I want to do everything I can for you (said the spider to the fly).

Gerard enters the drawing room.  Daphne waits there--has Dr. Reese finished examining him? she asks.  I don't know, says Gerard.  She moves to leave.  He stops her--I completely refuse to let you go to your room, he says.  You refuse? she asks, smiling.  Absolutely, he says, you see, I want to apologize.  You have nothing to apologize for, she says.  But I do, he insists, we were supposed to have dinner the other night, remember?  I'm very surprised you do, she says.  Now you're sulking, he says--is it because I didn't show up?  I'm not sulking, she insists, as a matter of fact, I was relieved you didn't come--while I was waiting for you, I realized that my first instinct about you was completely right.  She starts to leave.  He grabs her arm and, his face growing sinister, says, wait just a minute--you will forget that I didn't come here--you will give me another chance.  Never! says Daphne, and pulls her arm away.  Time has power to make you change, he says.  Oh, no, she says, not when I remember the look on your face just now.  You will learn to like this face, he says, moving closer.  No, she says, backing off, then racing from the room.  Believe me, you will, he says, you will come with me, too, you will become one of us, you will become one of us.  He nods as if agreeing with himself, but Daphne heard none of it.

Daphne sits writing in her diary:  "Such a strange night--Gerard, that face, and Quentin--why did I feel so sorry for him?--I must not--I must guard against it!"

Gerard picks up a glove lying on the hearth.  D is for Daphne, he says--and also for the devil--there is a new world awaiting you, Daphne, a world in which you will find evil and joy, like an adventurer on the sea, finding an unmarked sea, and those waters will drown you.  He presses his warlock symbol against Daphne's glove.  Now, your eyelids are becoming heavy, very heavy...

Daphne, writing in her journal, grows sleepy.

You will sleep, says Gerard, for in sleep, you will see what the future is to be, the future you will share with me.

Daphne lies down and falls asleep.  She dreams of Gerard lighting black candles in Collinwood's drawing room.  Daphne enters, arms outstretched, and kisses him passionately.  Hold me, she begs, hold me.  They kiss again.  Will you come with me now? he asks, to a room where the ceiling is of the stars, the fire that warms us will be of the deepest red?  He caresses her hair.  I'll follow you anywhere, she vows; they kiss again.  Will you do as I bid you to do? he asks.  She nods.  Then come to me tonight at the gazebo, he says.  He starts to leave the room.  "Don't leave me, please!" she begs.  Only for a while, he promises.  No, I can't bear to be without you, I can't bear to be...let me come with you, she pleads.  No, he says.  You're meeting someone else, aren't you? she demands angrily.  He smiles--it's your face I will see, and your lips that I will remember.  Gerard! cries Daphne, Gerard!  She wakes up, then sits up.  Why did I sleep? she wonders--what did I dream?
Gerard removes the symbol from the glove--"It is done" he says--"you will awake now and remember nothing--but in the darkest part of your mind, you will know what is to be."  He returns the glove to the hearth.  Daphne enters, looking very distracted.  What's wrong? he asks.  I forgot my books, she says.  He picks them up from the hearth and hands them to her.  I just fell asleep, I never do that, she says.  Did you have a dream? he asks.  She shakes her head.  I like dreams, he says, one finds out so much about oneself--well, I bet I can make a nice dream about you--shall I?  He moves to touch her.  She backs off--no, no, she says, excuse me.  She leaves.  He laughs.  Edith sashays in, remarking, a good laugh is just what this house needs.  That's just what you need, too, he says.  That, and a couple of other things, she says, grinning salaciously.  He stares at her, rises from the sofa, and asks, "Like this?"--then plants a great big kiss on her mouth.  She succumbs for a few moments, then pushes him away.  The nerve you have, she accuses, treating me like some servant girl!  I have more nerve than that, he assures her, caressing her face, you poor thing.  How you think you can ignore me one day, she pouts, and then...  You're still thinking about Daphne, he says--I've changed, I swear.  You're the only one in this house who has, she says.  A small, unsightly pit, he comments.  When you first came here, says Edith, I thought you would make things different, but you only play games.  Would you like to understand my games? he asks--would you really?  Yes, I think so, she says.  In order to understand my games, he says, you must change.  Perhaps not as much as you think, she says.  Quite a lot, he says, believe me, quite a lot--are you good at keeping secrets?  That depends on the secret, she replies.  Secrets that will make your life different, he says--secrets that will add powers to your life.  What are you talking about? she asks excitedly.  Are you interested? He asks.  Who wouldn't be? she asks--what do I have to do?  Do as I do, he says, and I will give you those powers and teach you how to use them.  When you talk like that, she says, you aren't just talking about yourself, are you--there's something more than that.  She draws closer to him, her hands on his shoulders--"What?" she asks, her eyes glowing.  Edith! calls Gabriel, who has wheeled himself in and caught his wife intimately close to Gerard.

Comforting my wife, Mr. Stiles? asks Gabriel--was she really that upset about Father's attack?  You know I was, says Edith.  Quentin is looking for you, Gerard, says Gabriel--I suggest you go to him.  Gerard exits.  Edith looks at her husband, unafraid.  You wanted him to touch you, didn't you? he accuses--you love it!  I wanted someone to touch me! she retorts.  Anybody but me! he says.  Yes, she agrees, and starts to leave.  Don't you go, he orders--whose fault is it that I never touch you?--I know you hate me, I know that!  Don't go into it again! she cries.  He grabs her arm in an iron grip and says, "Listen to me--you understand I want you to behave yourself--and you won't do anything that will hurt what is going to happen!"  Nothing is going to happen, she says through gritted teeth, nothing happens here.  Something is going to happen, says Gabriel, it's father, he's changed his mind about Quentin.  Quentin will talk his way back! she insists bitterly.  Not this time, says Gabriel--he looked at me differently tonight, he talked to me--he listened to Trask--Quentin is involved in the black arts and the will can be changed!  She angrily pulls away from him--it certainly can be, she says--but it won't.  I will see to it that it is, he says.  Sure you will, but you'll ruin it, she says--you give in to that monumental self-pity, and Daniel will turn against you.  Not this time, insists Gabriel.Yes, it happens every time, she says, you cripple!  That's what I am, yes, he says, that's what you married, and a cripple is all you've got to depend on.  Oh no it's not, she says--I have myself!  She stalks from the drawing room.

Quentin and Daphne stand by Daniel's bedside.  The doctor says another attack could be fatal, says Quentin--I just don't understand--you've heard enough family problems for one night--you look tired.  I'm not, she assures him--I couldn't sleep--it's as if there's something suddenly evil about sleep--let me sit here with you, I'll be much happier--you go get some rest.  I couldn't sleep, either, he says, but I do appreciate it if you'd stay here until Edith gets back--there are some things I have to do.  He goes.  Daphne sits in a chair beside Daniel.

Gerard is checking out the staircase.  Quentin enters and says, "So, the cause of the trouble." Gerard turns, thinking he's referring to him, but Quentin says, "The stairs--you were with Father when the attack occurred--I just don't understand what he could have seen on those stairs, they aren't even finished yet.  Perhaps it was his imagination, suggests Gerard.  But why did he see Lorna?--I didn't kill her, says Quentin--I just wonder what made him see what he did.  We'll never know, says Gerard--perhaps it was something Trask said--it might have caused him to hallucinate in some way--anyway, you must stop thinking about it.  What time is it? asks Quentin.  12 o'clock, says Gerard.  You remember those letters I was telling you about? asks Quentin.  Yes, says Gerard--Joanna's--have you received more?  No, says Quentin, but I've established a pattern--I get a letter every three days--and I receive it one out of two times--either in the afternoon when I've just gone to visit the estate manager, or exactly half an hour after that, when I've finished my last walk around the grounds.  Someone knows your habits very well, says Gerard.  Yes, and I intend to find out who that person is--tonight--we've got to hurry.

12:20 - I'll walk you to the gate, Gerard, says Quentin clearly and loudly in Collinwood's foyer--I never can sleep without my evening stroll.  Come back to Rose Cottage and have a brandy with me, suggests Gerard.  Good idea, says Quentin, do me good to get out of this house.  The men leave.

Quentin re-enters Collinwood through the drawing room window.  He sits down in a chair, in the dark, watching the doors.  We see the kitchen door open, but not who comes out.  The front doors are opened.  "You," says Quentin in disbelief.Daphne stands there, a letter in her hand.

NOTES:  Did you guess Daphne was the mysterious letter sender?

Gerard has plans to make Daphne one of his coven--and one of his ladies--but not the only one.  He wanted her to know that, apparently, that as head of the coven, he has his pick of his female members, and she, while he might care for her in his own evil way, still regards her as one of the crowd.

Edith sure is a slut when it comes to Gerard, but then again, she seems the passionate sort, greedy in all ways (I sense she's the one who doesn't care if Daniel lives or dies, as long as she stands to gain from it), and living with Gabriel must be quite frustrating, sexually.  She can't stand having her husband touch her, but Gerard is another matter.  How did she and Gabriel ever have children, I wonder?

Daphne fights her feelings of sympathy for Quentin, but you sense it's going to be a losing battle.  What will he do now that he knows she is the one who's been gas-lighting him?

Daniel's addled mind can't seem to sort out fact from fiction, and he already has begun to mistrust his oldest son.  We know how he feels about Gabriel, so, if he decided to cut Quentin from his will, who will be next in line?

Gerard's web closes more tightly around Quentin, who still believes the Judah-possessed man is his friend.


1147 - Give me that letter, demands Quentin.  I beg your pardon, says Daphne.  I said give it to me, he repeats.  I don't understand, she says.  You were going to leave it here, weren't you? he asks.  Leave it here--why? says Daphne.  Don't act innocent with me and don't stare at me like that, he says--you don't fool me any longer.  I don't know what you're talking about, she says.  Why are you doing it? he demands--and how do you know about Joanna?  I don't understand! she insists.  Oh yes you do, he says, grabbing the letter from her hand--I'll take this.  Give me back my letter! she commands.  He reads the recipient: Desmond.  Your cousin asked me to go riding tomorrow, she angrily informs him, and I couldn't.  He apologizes.  May I have it back? she request.  He hands it over.  She thanks him sarcastically, shaking her head, and says a curt good night.  I'm truly sorry, he says.  You're a difficult man to understand, she says.  I'd like to explain, he says, but I can't.  She stalks away, upstairs.  I'm a fool, Quentin tells himself.  He finds another letter addressed to him on the desk--Joanna, he says, it can't be--how did it get in here?  He looks around, then opens it:  Remember how we used to laugh, how warm the cottage seemed with the snow outside--how I hated it when you finally had to go--but the day is coming when you will not leave, when we will be together--soon--and when we are, you must sit at the piano--you must play for me the song which has come to mean your love--do you remember it still?  Oh yes, he says, smiling, I remember.  He goes over to the piano, sots down, and begins to play.  (I HATE this song, folks, always have, always will, sappy, sappy, sappy!)  What a lovely song! applauds a sarcastic Samantha--what is it?  I don't remember, he says.  Are you going to finish it? she asks.  No, he says.  Are you in one of your moods again? she inquires.  He fixes a drink.  They always used to worry me, she says, I never knew how to deal with them, but I guess I don't have to now, do I?  You must have wanted something if you came in here, he says.  Don't pull that tone of voice with me, she warns--you insisted that I stay in this house.  I only insisted that you not take OUR son--should I repeat that?--our son! He says.  At least I tried to be civil, she says--I simply came here to tell you your father is much better, but he's very disturbed about those insane experiments of yours--you should get rid of them--and that staircase!--you really must destroy it!  Before it's finished? he asks.  Finished! she cries--a staircase through time, really, Quentin--when Daniel told me about it, I almost doubted your sanity.  Of course! he says--I think a staircase would be very good here at Collinwood--you've got to admit that one or two times you would have used it since you've come here.  Don't talk nonsense, she advises--people will think you're mad.  Do you? he asks.  About this, yes, she says, what if Mr. Trask found out?  My dear, he says, I will finish that staircase simply because of Trask, and I shall send him to another century!  You really believe it, don't you? she asks incredulously--Lamar Trask is a very dangerous enemy--of course, I don't believe his insinuations that you had anything to do with Lorna Bell's death...  Oh, thank you, dear, he says sarcastically, for your confidence in me.  Don't be sarcastic, she says, grinning, you're going to need all the friends you can get.I know that, he says, I shan't count you as one of them, though, I warned you, I tried to help, she points out--remember that.  Thank you, he says insincerely.  You can finish your song, now, she retorts before leaving.

Daphne reads from her diary:  Sometimes, I think it would be easier to make him fall in love with me--to make him know the torment, but then something happens, just like now, when I feel such hate, no, he must fall in love with me!  Who do you hate, Daphne? asks Tad--tell me?

What are you doing in here? she demands.  Who is it you hate? he persists.  What else did you see? She asks.  Only that you may fall in love with him, Tad replies.  And what else? she demands, her voice shrill.  You didn't answer my first question, he says--I was taught to answer questions--weren't you ever?  I was taught not to sneak into peoples' rooms, she says.  I didn't sneak in, he insists, I just walked in and you were too busy to see.  A diary is personal, she says, I write in it things I wouldn't tell anyone.  Our minister says hate is evil, points out Tad.  I suppose it is, she says, but sometimes, you can do nothing else.  Is it someone in this house? he asks eagerly--the one you hate?  I'm not going to discuss it with you, she says.  It's all right with me, he says, I'll find out--I'm very good at finding things out.

Playroom - A frustrated Carrie is going over her lessons--Daphne, she complains--why do I have to learn Latin?--no one ever speaks it anymore.  If you know Latin, says Daphne, it will be easier for you to learn other languages.  I'm not going to learn other languages, says Carrie.  You may at least learn French, says Daphne--you might travel when you grow up.  She thinks she's grown up now, says Tad.  Carrie shoots him an angry glance, then reads aloud the Latin conjugation of the word love.  Tad interrupts when she arrives at "She loves," finishing it, "She loves Gerard."  Annoyed, Carrie says, oh, really!  It's true, Tad tells Daphne--you should see all the notes she writes him, and never even mails them. Tad, that's enough! cries Carrie.  But it's true, points out Tad, and you shouldn't be ashamed of something that's true. I'm not ashamed! she insists, you're just too old to...  That's enough! interrupts Daphne.  Well he DOES! whines Carrie.  It was fun having you here when you first moved in, says Tad, but now...  He'll just never grow up, that's all, sighs Carrie.  Samantha enters--Miss Harridge, she demands angrily, if this is the way you encourage discipline...  It was just an argument, says Daphne.  Children are in school to learn, not argue, says Samantha--perhaps I should see you alone, Miss Harridge--children, get your coats--we'll spend the rest of the afternoon at Rose Cottage.  Oh, will we? asks Carrie happily.  I know why YOU want to go there, teases Tad.  Stop it, Tad! says Carrie, hurrying off with Tad right behind her, telling her, "Gerard isn't going to be there now."  The children have at least two more hours of work to do, insists Daphne.  Miss Harridge, if I had wanted Tad to have regular hours, says Sam, I'd have sent him to the school in the village (but that's not the Collins way).  If you'll excuse me, says Daphne, Tad needs the discipline of regular hours.  It's up to ME to decide what Tad needs, says Samantha--he's not well, as I told you before, ever since he returned from that voyage with his father, he's been very delicate.  You make my job very difficult, says Daphne--if I thought Tad were ill, I wouldn't force him to do a thing.  I know my son far better than you do, says Samantha, and I know what's best for him--I refuse to have you discipline or criticize my child anymore--is that clear?  Yes, says Daphne, your attitude it very clear--Tad is a dear boy, and I'm very fond of him--I do think I've gotten to know what he needs.  Do you? asks Samantha venomously, I wouldn't presume so much if I were you--Tad is not your whole life, he is mine.  She leave.  Daphne is furious.

Foyer - Carrie, don't get so excited, advises Tad--Gerard isn't going to be there now.  How do you know that? she asks.  Arms crossed, he replies, because Mother wouldn't be taking us there if he would be.  What are you talking about? asks Samantha, joining them.  Nothing, says Tad, and challenges Carrie to a race to the cottage.  She runs after him, Sam on their heels.

Daphne paces her room, slamming her fist into her hand, angrily muttering, "That woman!"  Quentin enters.  What's wrong? she asks.  He just looks at her.  Why have you come here? she asks--oh, it's about Tad.  No, he says, I've come to apologize.  You said you were sorry last night, she reminds him.  Then to explain, he says.  Not necessary, she assures him.  You don't want me to explain, is that it? he asks--of course not, why should you?--it's not your job--we're not exactly friends.  I think you need a friend, she says, and so do I.  So you want me to stay, he says--am I translating you correctly?  She smiles and nods.  Good, he says--this room, it's no good, you shouldn't be in here--you should have a room of light and sun--I don't know what I'm talking about, I came here to talk about myself, didn't I, not about your room.  She looks at him earnestly.  It's very difficult, he says, you've seen the strain in this house.  I've even felt some of it, she agrees.  Samantha? he asks.  Yes, she says, she loves her son.  Does he? he asks.  In the wrong way, perhaps, suggests Daphne.  Yes, agrees Quentin, her love for him comes out of her hatred for me.  She hates me, too, says Daphne--she stopped classes today.  What? he asks.  Oh, I shouldn't have told you that, says Daphne--that's my affair and I will deal with it.  He chuckles--yes, he says, getting close, you're so young and innocent--you're going to change this house, aren't you?  You keep trying, she says.  Do I? he asks. You hired me, she points out.  I see, he says, I keep forgetting things like that--I did, didn't I?--sometimes I think I'm just marking time, letting things just drift along--I need you to tell me that I'm not.  Has there always been someone who tells you that? she asks--someone who reminds you of what life really is?  She walks away--I shouldn't have asked you something so personal.  We aren't strangers, are we? he asks.  Sometimes I think we are, she says, but then.  And then last night? he asks.  Or the night at the oak tree, she adds.  At least you've seen me at my rudest--tell me, he asks gently, do you know what it is to be without love?  Love is something I know very little about, she says.  I don't believe that, he responds.  It's always frightened me, she admits.  Sometime it won't, he promises.  I don't like what it does to people, she says.  What has it done to you? he asks.  She looks at him.  Ah, so you have a secret, he says--someone you love?  She shakes her head.  So you say, but you do, he says, and so do I--but we mustn't keep secrets--they only harm us, they don't want us to forget things that are all over.  His voice seductive, he moves in close, adding, we've got to forget them, because "you and I are alive", you know--oh, Daphne is her name.  Quentin, she murmurs, smiling.  He touches her face and says, that's the first time you've ever called me that.They kiss, lustily; she returns it with equal passion.  He hugs her.  Oh, yes, he says, now I have something else to apologize for--but I won't--because I wanted to--and I think you wanted to. Yes, she agrees.  I won't ask questions, he says, questions simply ruin things--I feel very peaceful now--I came here to talk and now talking is something we can't do--I've got to walk very slowly now--because I don't want anything to happen to the way I feel--do you feel the same thing?  She replies by kissing him; they go at it with fervor. Oh, yes, he whispers, you've got to depend on me, and I've got to depend on you--and much more important--we've got to trust each other, because up until an hour ago, we didn't trust each other.  She nods, and they kiss again.  I'm leaving Collinwood in about an hour, he says.  Where are you going? she asks.  I've got to take care of something very important, he says, that concerns both of us--you'll be all right while I'm gone, won't you?--are you going to stand in here asking yourself if you've done the wrong thing, what have I done, what have I started?--am I frightened?--you're going to be here when I get back, aren't you?  He touches her chin.  She nods--I'll be here, she promises.  You'd better be, he says, and leaves her room.  She paces, clinging to the bedpost, trying to assure herself, I didn't feel as he did, I didn't!--it's part of my plan, that's all, just part of my plan.  She hugs the bedpost, denying vehemently.

Tad and Carrie enter the playroom.  She's carrying a large wooden box.  You were with Gerard all day, and Mother is furious at you, says Tad.  She likes him, too, insists Carrie.  Not anymore, she doesn't, says Tad.  He gave me something, she says--he knows so much--did you know I was psychic?  You? he asks in disbelief.  I am, she says--he gave me this (she lifts out a crystal ball)--I can see things in it.  Sure you can--prove it, scoffs Tad.  She sits down and gazes into the ball.  He shouldn't have given you that, says Tad--they won't let you have it, you know.  She stares into the crystal--it's changing, she says, the fog is drifting away.  Don't talk like that, says Tad, nervous.  The future, she cries.  If you can see the future, he says, tell me what our new governess is going to look like, because this one surely isn't going to last long.  Carrie gasps, oh, Tad!--she backs away from the crystal--I saw you, she says, and me--we were...we were...we were lying there, in this room, we were dead!  Tad is horrified.

You are crazy! accuses Tad.  No, I saw it--we were dead! insists Carrie.  If you believe these things so much, says Tad, you shouldn't look in it!  I do, she wails, I do!  We're too young to die, he says.  I'm so frightened, she says--we looked like we did now, which means it may be soon!

Daphne writes in her diary.  Samantha bursts in and holds out a note "from my husband--he came to see you this afternoon?"  Yes, admits Daphne reluctantly.  Did you cry and tell him what an ogre I was? demands Sam.  No, I did not, says Daphne.  Well, says Sam, and reads "and I will not have you upsetting Tad's school routine."  I mentioned it to him, yes, says Daphne, I felt he should know.  I run this house, insists Samantha, Quentin does not.

But you were Joanna's doctor! Quentin protests to an old man sitting across from him in an office.  I told you, says the doctor, there was little we could do for her--she lived in the past.  But when she escaped? asks Quentin.  Oh, we sent out an alarm, of course, says the doctor, we thought she would return to her home, but she didn't--then her body was found on the beach.  Did she ever have any visitors? asks Quentin.  No regular ones, replies the doctor, no, few families bother coming once a relative is to be committed here--just before Joanna disappeared, she did have one--I remember because she was quite violent after the girl left.  Do you know who the girl was? asks Quentin.  Let me see, try to remember, says the doctor.

6 PM - Collinwood - Quentin returns home and finds Daphne sitting in the drawing room.  She stands up, thrilled to see him, but he is very angry.I know who you are, he says--you're the sister of Joanna Mills!  She looks at him solemnly.

NOTES:  How's that for a revelations, folks?  Now we know why Daphne has come to kill Quentin, and why she has decided to make him fall in love with her--but there's a complication, because she's falling in love with him, too, and that was not in her plan.  Where will they go from here?

I wasn't really missing the kids in this storyline, but was wondering when they would appear, since we saw them ad nauseum just before venturing into 1840.  They are supposed to play a huge part in this storyline, and now, with Carrie seeing herself and Tad dead in her crystal ball, the current story is meshing with that we saw before.  It seemed odd that they were around so little.

There is already a clash between Samantha and Daphne; what would the bitchy redhead say if she knew about all those kisses exchanged between the governess and hubby in this ep?

I find Tad and Carrie as boring now as I did Hallie and David in 1970.  The fate of these children simply doesn't interest me, but if Tad dies, what will it mean for the Collins in present time?

When Quentin wants to be seductive, he's very good at it, isn't he?  I understand Daphne falling in love with him.  He's got sex appeal to spare!

Tad really is nervy, talking to his governess that way, insisting on knowing her personal business.  All the Henesy characters have this princely attitude that makes you want to hit them!

Another heated argument between Quentin and Samantha.  I wonder--were they as passionate lovers as they are arguers?

Love, Robin

1142 - The name of the man bearing the "gift" of the head of Judah Zachary is Charles Dawson.  I don't want it, says Gerard.  You know what this is, says Dawson (does he have a creek named for him?) you didn't really think you could get rid of it, did you?  Gerard cowers.  Look at him, Mr. Stiles, Dawson commands, setting it back down on the table where he'd originally placed it.  Who are you? demands Gerard, terrified--where did you get that?  His servant, as my great-grandfather was, says Dawson.  He removes the cover--look at Judah, he orders.  Gerard does, reluctantly, realizing, I will soon be nothing, as I was promised in a dream.  He moves closer to the glass case and staring inside it.  Judah's eyes are open, staring up at him, locking minds with him.

I have chosen you and you will become me, says Judah inside Gerard's mind--through you, I will live again--the mask--put on the mask.  Dawson brings the mask over to Gerard.  Whatever we want will be ours, promises Judah--you will know my secrets, you will have servants as faithful as this man--anyone you want will be in our power!--put on the mask--put on the mask. . .Judah Zachary!  Gerard turns to see Dawson is holding out the mask.He takes it and covers his face with it.  In the glass case, Judah's eyes close; he looks as if he's concentrating very hard.  "It is done," says Dawson, removing the mask from Gerard's face (and with so little fanfare, too).  We now see on Stiles' face the frightening scowl that was the calling card of the ghostly Gerard in 1995.  Dawson puts his hands in a praying pose of obedience and says, "My coven and I have waited so long for your return--Judah!"  Call me Gerard, he orders--take it away, keep it and guard it well--how many people are in our coven now?  Only six, says Dawson, we need to complete the 13.  Will I know their names?--will their ancestors follow me as yours did?  Some of them, Charles says.  And the others?--what happened to them, the ones who swore eternal allegiance? demands Gerard.  They were afraid, says Dawson--when the trial was over, they returned to the other faith. I can move again, exults Gerard, taking a few steps around the room--I can feel the warmth within my body--I know who my enemies are, I live amongst them.  But we must go carefully, says Dawson.  Are you giving me orders? asks Gerard threateningly.  No, says Dawson, but you must realize...  I realize everything, insists Gerard.  Do you? the man asks--you have been invincible for so long, you are not now!  Gerard chuckles--do you think I'd let anyone kill me?  Gerard Stiles' body can die, the other man reminds him.  It won't, says Gerard.  But you must be careful, says Dawson--your body is mortal, never forget that.  It has powers, says Gerard.  Yes, you have powers, says Dawson--more than I, more than anyone in our coven--that is why we will do what you tell us.  Just before I died, says Judah, that hooded executioner raised his ax, I vowed this moment would come--that I would punish all those responsible--yes, Miranda--she still lives, here in Collinwood--she is now the wife of Barnabas Collins--she calls herself Valerie--she still knows me as Gerard Stiles; it will remain that way until the golden moment--but she will not be the first--no, there were three judges at my trial, and out of all of them, only one family survives--that of Amadeus Collins!--now there will be a new witchcraft trial, with a new prisoner in the dock, with a new executioner, and this time, I will be the witness--and the man's head on the block will be that of Quentin Collins!

Collinwood drawing room - Samantha is having a hard time believing Roxanne is really dead, Quentin tells Trask, who's sitting on the sofa-I doubt if she'll be able to attend the funeral--I really think, aside from Tad, that Samantha loved Roxanne more than anyone else.  Aside from you, of course, says Trask.  I sympathize with you also, says Quentin, I know how fond you were of Roxanne.  My life had a meaning it never had before, says Trask, rising from the sofa, I cannot forget the look on her face last time I saw it--and I cannot forget her strange, curious illness--do you not think it an odd way to die in this day and age--to bleed to death?  Julia found it as mysterious as you do, says Quentin.  I must speak with utter frankness, says Trask--perhaps Julia Collins was not the right person to treat "my poor Roxanne".  She was successful with her before, Quentin reminds him.  Yes, but she does have her brother to protect, says Trask--Roxanne came to this house shortly before the bleeding started--did you know that?  No, says Quentin.  She told me herself she saw Barnabas, reveals Trask.  I'm sure she saw other people, says Quentin, beginning to bristle.  Other people are not important, insists Trask.  You're becoming ridiculous, says Quentin.  Am I? asks Trask, am I indeed?  You have such an obvious dislike for Barnabas, says Quentin--he did nothing to Roxanne.  Nothing? asks Trask--you listen to me, Quentin Collins--I don't know what Barnabas did, but I will find out, because I believe more firmly than I believe anything in my life, that Barnabas Collins caused Roxanne to die.  Quentin looks at him.

I've never heard anything more absurd in my life, says Quentin--just how did he do it?  I told you I don't know, says Trask.  Barnabas was here, Quentin reminds him--you were with Roxanne when the bleeding started!  I'm aware of that, says Trask.  And yet you refuse to be logical, says Quentin.  Logic, scoffs Trask, will not give us the answer.  You obviously mean something by that--what? asks Quentin.  There is a world, says Trask, an evil world which exists for some men--these men deal with the dark forces, learn their arts.  Incredulously, Quentin asks, are you accusing Barnabas of witchcraft?  You, of course--are defending him? accuses Trask. If you are accusing him, I certainly will, says Quentin.  Be careful with whom you ally yourself, warns Trask.  I don't believe this conversation, says Quentin--I think you are losing your mind.  You will regret saying that, warns Trask.  I won't regret anything, insists Quentin--and I don't want to hear another word about Barnabas.  You will hear more! promises Trask, much more, in due time.  And if I do, it won't be in this house! cries Quentin, furious--it will be someplace where I can walk out of, do you understand?  Indeed I do, sir, says Trask--the devil himself has friends who try to shield him, too--I tried to warn you.  He leaves.

Trask funeral chapel - Gerard looks down at Roxanne in her casket.  Trask enters and greets him:  "Come to pay your respects on this sad occasion--she looks lovely, doesn't she, if I do say so myself."  (LOL!)  There is a certain beauty in death, agrees Gerard.  What a strange thing to say, says Trask.  Serenity, says Gerard, I'm afraid you didn't quite understand what I meant.  Perhaps we don't understand each other as well as I thought, says Trask--you've brought me no information about Barnabas Collins.  I was concerned with a great many other things. explains Gerard.  Obviously, says Trask, you were incredibly short with me earlier.  I apologize for that, says Gerard--however, I don't think this is the time or place to discuss such matters--but I will help you finish what you have started.  It is the time, says Trask--and what place could be better to discuss sorcery than before the body whose death it caused?--yes, Mr. Stiles, there is sorcery abroad in this village--I can feel it as I walk in the streets--and even more strongly when I enter certain houses--it must be ferreted out--her death must be avenged!  I will help you, promises Gerard.  You said that before, says Trask.  Perhaps I've changed, suggests Gerard--perhaps I didn't realize the seriousness of it all--I will help you, with no extra cost.  A woman dressed in trashy red, sporting a boa, looking quite the tramp, enters and greets Trask, who calls her Lorna Bell.  It's been three years since my return to Collinsport, she says--I heard about Roxanne.  I was not aware you were friends, says Trask.  We went to school together, Lorna says, looking into the coffin--I always thought she would have a happy life.  Gerard smiles.  Where she is now, says Trask, she will enjoy the happiness denied her on this earth.  You should have been a minister, Lamar, says Lorna, I always thought so.  If you will view the body and sign the guest book, please, says Trask.  They leave Lorna alone in the coffin room.  The nerve of that woman, Trask fumes to Gerard--she has hoodwinked many, but never me.  I find her quite attractive, remarks Gerard.  That has been her downfall, says Trask--I've heard rumors from Boston about her behavior there--she does not move in polite society and for good reason.  Has she relatives here? asks Gerard.  No, none that will receive her, says Trask, excusing himself--more flowers have arrived.  Gerard returns to Lorna and introduces himself.  I was wondering, she says, grinning at him.  At your service, he says--and though I didn't know Roxanne as well as you, I want you to know I am very deeply affected by her death--it may seem odd to you, certainly a bit sudden, however, I feel that you would like to take part in it.  Take part in what? she asks flirtatiously--hasn't Lamar told you I haven't been a part of anything in Collinsport?  You will be a part of this, he assures her--a most important part.

However, says Gerard, I feel you might not even want to come.  I'm very bad at saying no (I bet!), says Lorna, caressing his face, even if I don't know what you're talking about.  Yes, he says, it is to be kept a secret--Lamar Trask is not to know, he wasn't invited--friends of Roxanne are giving a memorial service in her remembrance--it is to be private.  I can understand you not wanting Lamar, says Lorna. Then you will come? he asks, playing with her hair.  Of course, she says, but why should I be so important?  Perhaps because I want to take you home afterwards, he says.  That's what I thought you meant, she says.  Then of course, you will come along? he asks.  Frankly, says Lorna, I'd be more interested in that than the memorial service (what a slut).  He takes her in his arms--very good, he says--then I will send a friend to pick you up in a carriage in about an hour.  I'll be in the lobby of the Inn, she says.  All right, but remember, this is a secret, says Gerard--no one can know about it, especially Trask.  Hello, says Quentin, interrupting them.  Lorna grins at him.  Why, yes it is, says Quentin--Lorna Bell.  You're very naughty, says Lorna, going over to touch Quentin's vest, you never let me know when you're coming to Collinsport.  I certainly will the next time, he chuckles.  Gerard excuses himself.  Such a sad occasion, says Lorna, do give my condolences to Samantha.  Trask comes in bearing flowers--is poor Samantha still overcome, Quentin?  Yes, says Quentin.  She is a woman of rare virtue, says Trask--she cannot disguise her feelings.  Lorna and Quentin exchange looks; she says, "I will see YOU later."  Oh? asks Quentin.  Don't worry, she assures him, I won't say a word.  Trask overhears, puzzled.  She goes to him--I won't be at the services tomorrow, she says--I have an engagement in Boston, so I'll say goodbye.  She's about to leave when Quentin asks, just what do you mean about seeing me later?  You know, she says--the memorial services for Roxanne?  What memorial service? asks Quentin.  Don't worry, I won't say anything to Lamar, but I must sign the guest book--goodnight, she says.  Quentin, looking after her, grins.

Charles Dawson escorts Lorna into a house.  Are we the first ones here? she asks.  I believe so, he says.  Where is Mr. Stiles? she asks.  You'll see soon, he says, we're going to use this room--he throws open double doors.  It's dark, she observes.  He lights the lamp.  I've never been to a memorial service before, says Lorna--were you and Roxanne friends?  Come in, Miss Bell, he says.  She enters--it's a strange room, she comments.  You think so? he asks.  There's an altar, she notes (and candelabra with black candles).  For the ceremony, he says.  Ceremony? she asks, suddenly nervous--where is Mr. Stiles?--I don't understand this, any of it!  He will explain, promises Dawson.  Where is he? she asks.  I will go and get him, says Dawson, closing the doors, locking her in.  Let me out! she begs, banging at the door.  She spots someone standing by the windows--who is it?--what's happening?  The man, dressed in black robes, turns.  He's wearing the jeweled mask.Lorna screams and tries to escape, but Dawson blocks her path.  You should be honored to be chosen, he says--our leader returns after 150 years tonight, and this night, you will help us celebrate his return--you will be our offering.  Offering? she asks.  Yes, he says, you will be our offering to celebrate the return to our coven of Judah Zachary--the devil's son.  She screams and tries to flee, but he grabs her, assuring her, there is no one to hear you--now, come and meet Judah!  Gerard, the mask of Baal on his face, raises a knife.  No! screams Lorna, terror-stricken--oh no!

Trask hears a knock on his chapel door--Gerard.  I came as soon as he got your message, he says--what is it?  Sorcery, pronounces Trask, that's what it is--proof of the black arts--when the constable summoned me, I didn't know what to expect, when I found it was Lorna Bell, I assumed that her evil ways had brought about her downfall.  That woman I met here today--what happened to her? asks Gerard.  Murdered, says Trask.  How? asks Gerard.  No one knows, says Trask--her body was found in an empty field by a Mr. Charles Dawson as he was returning to his home--the body is unmarked except for proof that there are witches among us--devil worshippers.  What proof do you have? asks Gerard.Trask takes Gerard into a room where Lorna lies.  He draws the cover back from her face to reveal a circle with an X in the center of it drawn on her forehead.  Do you know who she left here with tonight? asks Trask--your friend, Quentin Collins, sir.

Collinwood - Trask brings the news of Lorna's death to Quentin.  Lorna Bell dead, murdered, mutters Quentin--it just doesn't make sense--such a light-hearted thing--there's so much violence in the village--there never used to be.  Indeed there is, agrees Trask--I didn't tell the constable she left with you.  That's good, because she didn't leave with me, says Quentin.  I also didn't tell the constable I overheard her say she would meet you later, says Trask.  I had no idea what she meant by that says Quentin.  I didn't tell the constable anything, says Trask, because I want to wait until I have conclusive evidence.  Evidence? demands Quentin--look here, Trask, I've had about enough.  Where did you meet her? asks Trask.  I didn't meet her anywhere, insists Quentin.  Oh no? asks Trask, I heard you arrange it!  Trask, says Quentin warningly, are you trying to say I have murdered Lorna Bell?  I shall pray for you, vows Trask. You'd better pray for yourself, advises Quentin, to get some sense into that head of yours.  I know what you're up to, I know what you're practicing, accuses Trask. Tell me, I'd be glad to hear it, says Quentin.  Lorna was found with the mark of Satan on her forehead, says Trask.  Quentin is startled.  I knew that would interest you, I thought so, says Trask.  Quentin grabs him by the collar and says, Trask, you get out of here, and stay out.  The mark of Satan, Mr. Collins, says Trask, the same mark you wear--the same mark that is on that ring!  He holds up Quentin's hand, which bears a ring that matches the symbol drawn on Lorna Bell's forehead.

NOTES:  See what happens to bad girls?  They become sacrifices in satanic rituals!  Be careful!  By the way, Marilyn Chris portrayed Lorna Bell, and Christopher Pennock eventually marries--and divorces--her in real life.

Creepy, the way Judah took over Gerard's mind--and now we perhaps understand a bit better why Gerard seemed more than just a two-bit hustler/womanizer as a ghost.  He is imbued with the devil's son!

Looks like Trask has made himself an enemy of Quentin.  I loved the way the latter defended Barnabas and essentially ordered Trask never to darken Collinwood's door again.  Family first, right?

That Lorna sure looks like the town tramp, doesn't she?  One can picture her letting all the boys do whatever they wanted, Lamar and Quentin included!  She certainly seemed familiar with both of them, and eager to be familiar with Gerard.

Looks like Gerard/Judah is already setting things up so Quentin will be accused of witchcraft.  He killed Lorna and drew that symbol on her forehead--but how is it that Quentin has a ring with the same symbol?  We'll have to wait and see.  Now that he's made an enemy of Trask, Quentin will find that he, in cahoots with Gerard, will makes his life a living hell.  Gerard wasn't Quentin's enemy, not truly, but Judah is, and now Trask, and together, they will do all they can to bring on the downfall of the Collins family.


1143 - Barnabas sits brooding by the fire at the Old House.  He answers a knock at the door, wearily rising from his chair.  It's Randall Drew, Roxanne's brother.  Barnabas invites him in.  Terrible about Roxanne, says Barnabas, extending his deepest condolences--I wasn't aware the Drew ladies had a brother.  I've been away from Collinsport for some time, reveals Randall, practicing law in New York.  And you've returned for the funeral, says Barnabas.  Yes, says Randall, who gets right to the point--what do you know of my sister's death?--Lamar Trask told me he has reason to believe Roxanne died of an act of sorcery--and that you were somehow implicated.

An act of sorcery? repeats Barnabas.  I'm not implying that I believe Trask, says Randall, although it did depress me quite a bit, but he must have some reason for believing as he does.  I have no idea what that could be, says Barn.  I can't, either, says Randall, but when Trask is pinned down, he becomes rather vague--what do you think was the cause of Roxanne's death?  No doubt you've heard about the animal attack, says Barnabas--I assume she died from the wounds she received.  I understand that happened a few weeks back, says Randall--you were one of the last people to see her the night she died--did she seem ill then?  No, says Barnabas, as a matter of fact, she was in exceptionally high spirits.  He bows his head guiltily.  Yet three hours later, she was dead, says Randall, and Trask tells me the wound on her neck mysteriously re-opened--how could that have happened?--who could have wanted to harm her?  I have no idea, says Barnabas--she was loved by everyone that knew her.  Were you in love with her? asks Randall. Yes, admits Barnabas.  Aren't you a married man? queries Randall.  Yes I am, says Barnabas, but I must confess I loved her very much--of course my own circumstances have not allowed me to think of any future with her, and I told her that.  I see, says Randall, I don't know what to make of Trask's opinions.  Perhaps you should know that Mr. Trask has been in an exceptionally disturbed state--he was engaged to Roxanne, but just before she died, she broke off her engagement.  Are you sure about that? asks Randall--she broke the engagement?  Absolutely sure, says Barnabas--perhaps Mr. Trask couldn't face the fact she broke off the engagement simply because she didn't love him, so he had to find another reason.  I believe that may be completely understandable, says Randall, and hope these questions haven't bothered you--I just wanted to clear my mind about all this.  I understand, says Barn.  Julia comes in and Barnabas introduces her to Randall.  My condolences, offers Julia.  Thank you, he says, to both Julia and Barnabas--I must be going.  Randall leaves.  What did he want? asks Julia.  It seems Trask has been filling him with stories of sorcery, reveals Barn.  Do you think Randall believed Trask? asks Julia.  No, says Barnabas, but he may believe if Roxanne becomes a vampire.  (ya think??)  The arrangements for the funeral have been completed, says Julia, it will be early tomorrow afternoon.  She will not rise until tomorrow, says Barnabas--you know what to do.  Yes, says Julia, tomorrow when everyone comes back to the house, I will go to the crypt.  Roxanne, laments Barnabas, I cannot bear to think of a stake through he heart.  It must be done, insists Julia, it's the only way she can rest in peace.  Yes, he says--peace.

Peace? says Samantha angrily to Valerie--I will be wondering as long as I live why she had to die and who was responsible for it.  Valerie turns away and says, "You are certain that someONE is responsible."  There is a monster on the loose, says Sam, and Roxanne wasn't his only victim--our governess was viciously attacked in the woods.  Isn't it possible that both of these deaths were caused by some animal? asks Valerie.  Not if what Hortense said before she died was true, says Samantha--something about a strange, bodiless head--I know it sounds absurd, but a person's dying words cannot be dismissed lightly.  Who did she say it to? queries Valerie.  Julia--she and Barnabas found Hortense's body in the woods, says Sam.  Randall enters and soberly greets his sister, who introduces Valerie to her brother.  Mrs. Barnabas Collins? he asks.  That's right, says Valerie--I'm sure you want to be alone to discuss things--I have to go back to the Old House--excuse me.  So that's his wife, remarks Randall.  Where have you been? she asks, I haven't seen you since lunchtime.  (Samantha is dressed in black, and her brother sports a black armband.)  I stopped at the Old House to meet him, he says, because of what Trask told me--what do you know about Barnabas Collins?

I'm sure Randall will speak to me at Collinwood, Barnabas, says Julia, since I was the one who declared his sister dead.  If he does, what can he find out? asks Barnabas.  Nothing, I suppose, says Julia, but I don't need lawyers' probing questions at this point.  I know, says Barnabas, by dusk tomorrow, let's hope it will all be over.  Valerie enters, pissed.  Hands on hips, she icily accuses Julia, "dear sister in law", of not listening very well--I told you that you were no longer welcome here--now are you going to leave, or do I have to force you to leave?  Barnabas gazes in consternation at Valerie.

Julia, go back to Collinwood, says Barnabas--"I want to speak with HER alone."  Wordlessly, Julia leaves.  I know exactly what you're going to say, so don't bother, orders Valerie--I warned you what would happen if you ever went near Roxanne again.  What have you gained by doing this? demands Barnabas.  Valerie smiles--I have my husband back, she says, and in time, there will be a reconciliation.  There's no chance of that ever happening and you know it! he says bitterly--do what you want--I no longer care.  There's something about you in this time, she says, you've undergone some kind of change, you're not the same man I used to know--you're even more bitter to me now than you were before--there has to be some reason why you've changed, and I know what it is--Julia.What has she to do with us? asks Barnabas.  I don't know, says Valerie, but I know as well as you do that she's not your sister, and I intend to find out who she is and why she's so important to your life.

Collinwood - Randall, says Samantha, I wish you wouldn't go back to New York--there are so many things happening here--I'm terribly frightened.  I've thought about staying, he says.  You wouldn't have any trouble starting a practice, she says, and anyway, dearest, you belong here.  I'd be better off joining an existing firm, he says, like Thorndike and Hanley.  No, she says, I don't want you working for them, they're the Collins family lawyers.  I feel no bitterness toward the Collins family, he says--and I'm sorry you do.  You above all people have a right to feel bitter about Quentin Collins, she reminds him--you introduced him to the girl you loved--he took her away from you, despite the fact he was married to me--how can you forget Joanna?--you can't even bear to hear her name, can you?It is past history and best forgotten, he says, I haven't seen her in four years, and don't plan to see her again, even though I know it's over between her and Quentin.  Julia enters the room--I'm sorry for interrupting, she says.  It's quite all right, says Randall--please do come in.  I'd like to know about the schedule tomorrow, if you feel up to talking about the funeral, says Julia.  Yes, says Sam, these things must be done.  Valerie comes in and overhears Samantha telling Julia, we will be leaving the house shortly before one o'clock--you will be in the carriage with Gabriel and Edith--the ceremony at the cemetery will begin promptly at one-thirty.  Valerie quietly goes upstairs, unseen.  It will be very brief, says Samantha, as I feel that's the way she would have wanted it--Reverend Stone will give the eulogy--Lamar Trask insisted on that honor--it gave me great pleasure to turn him down.  (She says this last with great hatred.)

Valerie enters Julia's bedroom and begins searching her closets and drawers.  She finds the clothes Julia was originally wearing when she came to 1840, and finds inside it a journal, which she begins to avidly read.

Julia sits by the fire.  Valerie, holding the journal behind her back, stands watching her.  How long have you been standing there? asks Julia.  Only a moment, says Valerie.  Did you want to say something? asks Julia.  Only that you are far more fascinating than I even imagined--tell me, who is Professor T. Eliot Stokes, Dr. Hoffman?

Come, come, dear sister in law, you're not usually at a loss for words--who is T. Eliot Stokes?  I don't know, says Julia--I've never heard that name before.  Perhaps I should mention a few more, suggests Valerie--Elizabeth Collins Stoddard, Carolyn Stoddard, Chris Jennings?  I don't know what kind of game you're playing, says Julia.  I'm not playing any kind of game, says Valerie, you know all those names well, and you know those people exist in 1970.  I haven't the faintest idea what you're talking about, says Julia.  I'm talking about this curious document I found in your room, says Valerie, whipping out the journal she found--Dr. Julia Hoffman, appointments, 1970--I had a lot of thoughts about where you came from, but I never dreamed it was the future--now why don't you stop playing games and tell me all about it?  Julia looks at the proffered book--there's nothing to tell, she insists.  Please, Julia, begs Valerie with a laugh, this is no time for modesty--that you succeeded in transcending time, that lone is a miraculous accomplishment, and as I look through this little journal of yours, I find the name mentioned most often is Barnabas Collins--that's even more fascinating--to think that Barnabas will be alive and active in 1970--so you see, there is a great deal to tell, and you might as well tell me now, because you will have to eventually.  All right, says Julia--I've come from another time--I first met Barnabas in 1967.  Knowing what he was? asks Valerie.  I didn't at first, says Julia, but I soon found out.  Why didn't he kill you? she asks.  Because I swore I would keep his secret, says Julia, and I have kept it.  I don't believe that--I know Barnabas too well, says Valerie, to think he would trust...  No, says Julia, you don't know Barnabas well enough--not now or ever.  Valerie stares at her--or ever?--you mean that I also will exist in 1970?--answer me, Julia!  I first met you in the spring of 1968, reveals Julia, you were married to Roger Collins and called yourself Cassandra.  Valerie hugs the journal to her breast--fascinating, she says, to think I will be alive, here, more than 100 years from now.  That isn't necessarily true, says Julia.  What do you mean? asks Valerie.  Julia explains--Collinwood is destined to suffer a great disaster in 1970, and Barnabas and I hope to alter certain events that will take place here and change the future--so if the future is changed, you may never get to Collinwood in 1970 (said with a great deal of satisfaction).  If history is changed, you may never get there, either, says Valerie--it's possible for both you and Barnabas to become permanent members of THIS time--and I care far more about that than I do about the future--what was your relationship with him in 1971? (should be 1970)  The best of friends, as we are now, retorts Julia.  Do you really expect me to believe that? sneers Valerie.  It's true, says Julia curtly.  I'll tell you what I believe, says Valerie--I think you have some kind of influence over his thinking, and you've decided he will never come back to me--possibly because you yourself are in love with him and you've poisoned his mind against me!  You're being completely irrational, says Julia.I trust my instincts implicitly, says Valerie, I have always known when I was in the presence of an enemy, and you are an enemy, and I will deal with you as such.  I know your powers, says Julia--why haven't you tried to destroy me before this?  It would have been too easy, says Valerie, and now that I know all about you, I'm very glad that I haven't, but I warn you, your time will come--for you, the future will change--I puh-romise you.  She leaves Julia to think that over.

Cemetery - crypt - Randall and Samantha alone stand beside Roxanne's coffin.  His hands on her shoulders, he offers, let me take you back to Collinwood with the others.  Let them wait, she insists--I want a final look at her to say goodbye--please, open the coffin for me.  He does.  She looks down upon he sister's lovely face and cries.  "I wanted so much for her--I wanted her life to be so different from ours--she had the capacity for happiness--why did this have to happen to her--why?"  Randall comforts her and closes the coffin, then leads Samantha out of the crypt.

In her bedroom, Julia opens her doctor's bag and drops in a hammer and stake.

Valerie, sitting by the fire in the Old House, holds up a clay doll--Julia, she says, you will not go now--I know what Barnabas wants you to do--but you mustn't go now, because you're tired, so very tired--you'll sleep--sleep, Julia--she rubs one of Julia's handkerchiefs (conspicuously marked with a J) over the doll's body.  Indeed, Julia drops off to sleep on her desk, head resting on her medical bag.

5:45 - Julia wakens and sees the clock.  Oh no! she cries, and hastily leaves.

Collinwood - Randall offers brandy to Samantha.  Brandy won't bring her back, says Sam sadly--we must face the fact she's gone, life must continue.  Valerie asks Samantha, who the young man was standing at the grave beside Mr. Trask?  You mean Mr. Stiles? asks Samantha bitterly.  If you don't want to talk about it...says Valerie.  No, you'll be meeting him sooner or later, says Samantha, and I had best prepare you for it--Gerard is the most devious man I've ever met--greedy, ambitious and selfish--he thinks nothing of using people for his own selfish ends, and the less either of you have to do with him, the better.  Who is Gerard Stiles? asks Randall.  He came to Collinwood six months ago, says Sam, to brink us news of Quentin being lost at sea.  And he's been here ever since? asks Randall.  Yes, says Samantha.  Why? her brother queries.  I'm afraid I'm responsible, says Sam--I thought him someone I could trust--but he turned out to be quite different from that.  Perhaps you should have that brandy after all, suggests Randall.  I can't imagine why Barnabas wasn't at the funeral, says Sam, he was so terribly fond of Roxanne.  Only Valerie spots Julia exiting the house, doctor bag in hand.  Valerie smiles smugly.

Julia enters Roxanne's crypt and opens her coffin.  Roxanne is gone, however.Hearing a sound behind her, Julia turns and sees Roxanne standing there, arms raised, fangs bared, homing in to attack her.

NOTES:  Valerie wants Julia to become Roxanne's victim, and she has made it happen, or so it appears.  Why she would want to subject Julia to such a grisly attack is just plain bitchy, but she knows it will really upset Barnabas.  She refuses to believe Barnabas and Julia don't have a romantic relationship, and damn, she isn't having that!

Roxanne does make a lovely vampire, doesn't she?

I didn't think the Gene Lindsey was a very good actor, rather wooden, in fact.  He does look like a Drew, though, I suppose.  Randall just seemed so unemotional.

Wait until Barnabas learns what Valerie did!  He's going to be so pissed!

Trask continues to try to discredit Barnabas, this time with Roxanne's brother.  Sounds like Randall at least has a steady head on his shoulders, and he's planning to stick around, too.  Interesting that Randall was in love with Joanna first, and Quentin apparently stole her away.  I can see why any woman would prefer Quentin to Randall, but still, it's pretty shabby to go after your brother-in-law's girlfriend.

Valerie found the stories about the future quite interesting, but I gather she no longer needs Julia and wants to do away with her.  Ang took childish delight in learning that she herself will be in the future, but she is determined to change Julia's, and she's already got a head start on that.  Brrrr.  Roxanne looked quite creepy as she attacked.

Love, Robin

1138 - Judah, unable to attack Gerard because of the conflagration, begins to cough.  Gerard escapes from the underground vault, leaving Zachary to burn below.

Collinwood - Barnabas, begs Julia, let me go to him!  Judah is dead, says Barnabas.  No, she protests.  Leticia told us so, says Barnabas.  No, pleads Julia, I can help him, I can save him!

As the flames surround him, Judah picks up the mask and places it over his face.

Judah is dying, Julia frantically tells Barnabas--I've got to go to him, I've got to!  She is about to leave, but suddenly shivers and cries out, "He's burning--his body is burning!"  Abruptly, she stops, calmer--it's over, she says--Barnabas, why did I help him?--why did Leticia and I do it?--"Judah's eyes, staring into his eyes", she says--"Barnabas, what have we done?"  You have managed to destroy Judah Zachary, says Barnabas, smiling.  Think how close we came to making him live--it's terrible! cries Julia--the control he had over me!  He must have had enormous power, agrees Barnabas.  You can't understand how I felt, she says--he was the most important man on earth to me--I had to do whatever he said--protect him, even from you, and I did it without remorse or guilt--he was my life and everyone and everything else was an intrusion!...it's over.  (Sounds like a similar hold to what Gerard had over Julia in 1995.)  We must find out for sure, he says, we must see for certain that Zachary has been destroyed.  If somehow he isn't? asks Julia.  I don't know what we're going to find out, he says, but we've got to go there now.  The two of them hurry out of Collinwood.

Cemetery - Smoke issues from the underground crypt.  Barnabas and Julia stand over it.  Judah must be dead, says Barn, or you would still be under his power.  She looks at him pleadingly.  "You needn't come with me," he assures her.  I want to, she insists.  They both go down into the vault.  It's a shambles, observes Barnabas.  An explosion, says Julia.  The place is littered with debris.  They find an arm sticking out from under heavy stones.  Julia takes a pulse.  Where was he when you left him? asks Barnabas.  His body was on the table, says Julia.  Then he must have been there when Leticia thought he died, says Barnabas--what could have caused the explosion?  The lightning must have done it, she says--I had a great deal of ether that just exploded--where's the mask?--it was on his face.  Probably under there now and just as well, says Barnabas.  I wonder if it ended this way before, asks Julia, or have we changed history, just by being here?  We will never know, will we? asks Barnabas.  We must tell Leticia, says Julia.  Yes, he agrees--and Desmond and Quentin, too.  Julia looks around, surveying the destroyed crypt.  The hand, covered with dirt, remains motionless.  Up above, Barnabas says, Julia, close the grave.  She pulls the ring; the cover slides over the opening.  So it is a tomb again, remarks Barnabas, Judah Zachary's tomb!  He smiles, pleased.

10:40 - Drew cottage - Roxanne reads a note from Barnabas: "My future of necessity must be with my wife, Valerie--in a way, that is fortunate for you--I can say no more--you will find other happiness, I'm positive, you have the ability to make any man happy."  Any man but you, Barnabas, says Roxanne bitterly.  She reads: "I write this with great sorrow, knowing that we will never be alone again."  Trask interrupts--I've been standing here a full moment, at least--you were so absorbed.  I was just trying to understand the male of the species, she says coldly.  I would willingly offer myself for your study, my dear, he says--how are you feeling?  I think I'd prefer to leave Collinsport, she says--I prefer the city, I could study there, become one of those new professional women.  There is one place for a woman, he says--sharing the life of the man who loves her!  (Oh, please!)  She grins--what of that woman? she asks--shouldn't she love her husband--what of the woman who cannot love?  I know this mood, says Trask, you are merely impatient with your life, angry over some small hindrance.  You're right, I AM angry, she admits.  She leans on the mantle and explains, when Samantha and I were young, we had tantrums when we didn't get what we wanted--and I haven't changed--merely grown older--but why am I confiding in you?  I am honored that you are, he says, delighted.  You mean that, don't you? she asks.  He nods, smiling.  Perhaps if Father hadn't forced us on each other, then everything would be different today, she says. Your father never forced me to want to see you, he assures her.  What if he had denied you that right? she asks--what if someone had told you that you could never see me again?--what would you do?  I would leave whomever the person was and come immediately to you, he says.  Oh would you? she asks. There is not the slightest doubt in my mind, he says--the moments I've spent with you have been the happiest in my life.  (He really doesn't seem such a bad guy here, very convincing, isn't he?)  And I always thought you were happiest in your chapel, she says.  You do not love me, I know, he says, but that could change--my mother honored my father, respected him--she said that love was a luxury few could afford. (That's a sad confession, Lamar.)  Were they happy? Roxanne asks.  They were truly devoted, all their lives, he said, they protected each other.  Would you protect me? she asks solemnly, even from myself?  If I thought that was what you needed, yes, he says.  Oh, I need it so! she says desperately.  Do you want to know the peace of a settled life? he asks.  I think I do, she says sadly, yes.  The warmth, the security of knowing you could count on me? he asks--to do anything in my power to make you happy?  But I don't love you, she reminds him. That is the romantic girl speaking, insists Trask, not the woman I see now.  She turns away.  You've changed, he says, I will not even ask why, the change only makes me more interested--you want everything to be different, I can make that happen.  Can you? she asks.  If you will marry me, he says.She looks at him.  This is the last time I will ever ask you, he says, I mean that, I am a man of my word--will you marry me?

Rose Cottage - Judah Zachary, says Gerard to himself, Julia and Leticia were making him whole again--what powers that man must have had!--why am I so sleepy?--a moment ago, I felt wide awake--here I am dependent upon the whim of a woman like Flora Collins--and yet all that was going on around me--I didn't even know it.  He falls asleep, and dreams of flames, of a voice telling him, find it, find it, find it!Gerard, standing in the fire in the crypt, asks the disembodied voice, what are you looking for--what are you doing here?  Aid!  Aid! says the voice.  For what? asks Gerard.  The voice begins to laugh at him.  Gerard awakens.  Of course! he says, and races to leave his room (which looks much like Quentin's).

Gerard returns to the underground crypt, vowing to "get it."  He pulls the ring and opens the panel.

Julia sits by the fire at Collinwood, staring into the flames.  Barnabas enters--Quentin and Desmond agree with me, Julia--it's not wise to let the police know about this now.  Because Leticia and I were involved? inquires Julia.  Zachary is dead, says Barn--there will be no more murders--I think it wise we spare the family as much unpleasantness as possible.  Trask enters-- good evening, he says--it's a cold, wintry night--Julia, is Samantha home?  She is, says Julia, upstairs.  Then I shall just warm myself for a moment by the fire, he says, looking happy--unless, of course, I'm disturbing you.  Not at all, says Julia.  I heard you use the word unpleasantness as I entered the room, says Trask, I trust there has not been anymore unfortunate incidents at Collinwood.  Nothing to concern you, says Barnabas.  I am very much concerned with everyone in this house, says Trask--I feel a growing kinship with them, yes, indeed.  Barnabas and Julia look puzzled.  And how is your beautiful wife? asks Trask, rubbing his hands together with satisfaction.  Very well, thank you, says Barnabas.  Such a surprise to us all that you had a wife, remarks Trask.  Julia looks at Barnabas.  Most men do, points out Barnabas.  Yes, says Trask, I have always regretted not having entered the holy state of matrimony, until tonight, at least--now I'm glad I waited.  Oh? asks Julia.  Well I'm sure it will be of no surprise to you--you both, of course, will be invited to the festivities--nuptials require a certain amount of levity, which has always been foreign to me (oh, he'll be a fun hubby), I've never been one for social occasions, but I shall change--we have not actually set a date for the wedding, but it will be soon, I'm positive of that.  He grins--she has accepted my dear mother's engagement ring, says Trask.  Who are you marrying? asks Barnabas.  I assumed you'd guessed, says Trask, you're both quite aware of my devotion to my Roxanne.  Barnabas gets it, and isn't happy.  Trask grins at him--aren't you going to congratulate me? he asks.When Barnabas is silent, Julia says, it does come as a surprise, but we both hope you will be very happy.  Thank you, says Trask, we intend to be--yes, it is a happy night, one I have long looked forward to--I am a fortunate man.  Yes, agrees Barnabas miserably, you are a most fortunate man.

Crypt - Gerard looks around, searching through the devastated crypt.  He finds the arm sticking out, kneels and holds the hand for a moment.  He rises and begins pushing debris out of the way.  Finally, a greedy grin on his face, he spots the mask, covered with stones and dirt.He lifts it from the face of Judah Zachary, who opens his eyes and gazes directly into Gerard's.

NOTES:  Judah Zachary isn't dead, not quite yet.  Gerard thinks he's gotten an invaluable artifact, but what is he going to have to pay for it, ultimately?  Will the same fate that befell Desmond happen to him?

Roxanne, deciding Barnabas is lost to her, makes a bad decision--to accept Trask's proposal.  He has a good job, but somehow, one senses that his sensitivity will disappear once they are wed, especially when he gets her alone in the bedroom.  I fear for her happiness if she marries him, as does Barnabas, but his hands are tied, to his dismay.  Roxanne is bitter and desperate, but to do this?  I personally could never marry a man who doesn't understand levity.


1139 - Beaming, thrilled to be rubbing it in, Trask assures Barnabas, it is true--Roxanne has agreed to marry me, of her own free will, and I can assure you the wedding will take place very soon--you will be invited of course, digs Trask--and you, too, he tells Julia--I'm heading up to break the happy news to Samantha.  Trask leaves.  I never thought Roxanne would do a thing like that, says Julia.  I'm going to see her, insists Barnabas--I can't let her go through with this, she'll be ruining her life.  You can't, says Julia, remember your agreement with Angelique.  She'll never find out, says Barnabas.  He starts to go, but Julia grabs his arm and warns, she will, and she will carry out her threat to Roxanne.  Someone's got to stop her, insists Barnabas--will you go to her?

An ecstatic Gerard, now in possession of the mask, returns to his room at Rose Cottage.  He hugs the artifact, caressing the gold.  He's brought back the head of Judah Zachary, too, which is back in the glass case.  Open your eyes, he orders the head, just like you did down in the vault--show me what powers you have.  The eyes remain closed.  Open your eyes! commands Gerard--you are in my hands now, and all your secrets will be mine!  Did I just imagine the eyes were open and staring at me? he asks himself--no, I saw him look at me, I felt the strength within him--and I'm certainly not imagining this--he picks up the mask again and places it reverently on his night table, then turns off the lamp and lies down.  Between the two of them I will be able to have all the power I ever wanted! he exults.

Julia has a heart to heart talk with Roxanne at the Drew home--are you in love with Trask? she asks the younger woman.  He always said I would learn to love him, she says, sounding defeated.  Are you doing this because you feel Barnabas has rejected you? asks Julia.  That's a curious thing that he's done, says Roxanne, sending you to face me instead of coming himself.  You must try to understand, says Julia--Barnabas and Valerie have a very unfortunate relationship--he still cares about you as he always has.  (I think that was a mistake to say, Julia).  Did he tell you to say that? asks Roxanne.  No, replies Julia, but he told me how he felt--he wants you to be happy, and you won't be happy if you marry Trask--but you know that, don't you?--promise me you'll think about the step you are about to take.  I will, promises Roxanne--thank you for coming to see me.  Roxanne sits down to think.

Collinwood - So you think you made some impression on her? asks Barnabas.  Yes, I'm sure of it, says Julia--I think she was grateful to have someone to talk to.  Good, says Barn--let's hope Mr. Trask has a major surprise in store for him.  I'm getting some tea, then going to bed, she says--is there anything you want me to do?  No, he says, I'll just stay here alone for a while.  She leaves the drawing room.  Barnabas settles by the fire.  Hearing the front door open and close, Barnabas goes to see who it is--Roxanne.  "Barnabas, I've decided," she says excitedly, "I'm not going to marry Lamar Trask!"  He quickly closes the doors--you can't stay here, he says urgently. You wouldn't come to me so I came to you, she says--I love you, Barnabas!  Roxanne, please! he begs.  And you still love me, don't you? she says, her hands on his shirtfront.  You must leave here now, he says.  If you still love me, we can conquer anything, she vows, there's nothing on earth that can keep us together or apart--please, don't you understand?--we won't have anyone stand in our way!  (She is wearing a diamond engagement ring.)  I wish this were possible, he laments.  Barnabas, she says, we'll MAKE it possible--I believe in the power of love, I believe in it very deeply--she touches his face--tell me that you love me, please, my darling, I want to hear it--tell me!  Oh, Roxanne, Roxanne, I love you, he says, and kisses her.At that moment, of course, Roxanne still in Barnabas' arms, Angelique walks into the drawing room.

Well, what have we here? asks Angelique.  It isn't what you think it is, says Barnabas hastily.  You can do better than that, says Angelique.  It's exactly what you think it is! says Roxanne proudly.  Let me settle this, suggests Barnabas softly.  Be quiet, Barnabas, I think the young lady's trying to tell me something, says Angelique.  He's never loved you--never! proclaims Roxanne--he loves me and I love him.  How deeply touching, says Angelique.  Roxanne, you must stop, warns Barnabas.  No, says Ang, go on, Roxanne, let's play out this tawdry little scene to its conclusion.  I'll do anything I can to make him happy, vows Rox, but I'll never give him up.  Leave here now, let me talk to her alone, Barnabas begs Roxanne.  All right, she agrees, but my mind is made up--and nothing can change it, she viciously informs Angelique before storming past her.  Barnabas watches her go, then steels himself as he turns to face Angelique.  Listen to me, he says, you must not think it anything more than a temporary emotional outburst--if you do, you'll be making a great mistake.  I made a great mistake when I trusted you, she says, but I've made that mistake before, haven't I?  I kept my word to you, protests Barnabas, I didn't go to her or send for her, she came to me--I promise, she will not come and see me again--you mustn't do something we'll both be sorry for.  Angelique (who is really gorgeous these days), turns away from him and closes the doors, leaving Barnabas by himself in the foyer.  Julia joins him, setting a tea tray down on the table.  You heard that? asks Barnabas.  Yes, says Julia.  I don't know what to do now, he says.  The question is, what will SHE do? wonders Julia.  Barnabas doesn't know.

Roxanne returns home.  Trask awaits her.  I've been looking all over for you, he says, where have you been?  I went for a walk, she says.  Oh, he says, please sit down, my dear, I have been giving considerable thought to our wedding plans.  She springs the bad news on him--there isn't going to be a wedding.  I beg your pardon? he asks.  I've changed my mind, says Roxanne--I can't marry you--sorry, I don't know what else to tell you.  You might tell me who persuaded you to change your mind, he says testily.  No one persuaded me, she retorts, annoyed at the implication she has no mind of her own.  I find that difficult to believe, he says, where were you just now, you obviously weren't just out for a walk.  I went to Collinwood, she says defiantly, to see Barnabas Collins!  What did you go there for? he asks.  You might as well accept the fact that I'm in love with him, Lamar, nothing can change that!  His eyes stormy, he says, you can't possibly be in love with him--I'll never believe that--he has some kind of strange hold over you!--I will find out what it is!

Angelique sits by the fire, clay Roxanne doll in her hands.  She speaks to it: "If you want Barnabas so desperately, my dear Roxanne, then you shall have him--but only on my terms."  She readies two pins, hovering them over the doll's throat.

You didn't reach this decision voluntarily, Roxanne, fumes Trask--Barnabas Collins has cast some evil spell over you!  Don't you see? asks Roxanne--I'm doing you a favor by not marrying you--I never could love you, never.  It's monstrous what he's done to you! rails Trask.  He's done nothing to me, says Roxanne.  I know,  there are dark secrets in his life, says Trask.

We see Angelique's pins moving close to the doll.

How can I make you understand? demands Roxanne, I'm not marrying you because I hate you, I've always hated you!  She suddenly grabs her neck.  What's wrong? asks Trask.  Leave me alone, she says, moaning with pain.  I demand to know what he's doing to you! says Trask.  Get out! she cries.  I'll go, he agrees, but I intend to find Barnabas Collins and get to the bottom of this--he leaves.  Roxanne, her hands covering her throat, struggles to move.

Trask bursts into Collinwood, screaming, "Barnabas Collins, where are you?"  Julia comes downstairs--what are you doing? she asks.  I demand to see your brother, where is he? demands Trask.  I don't know, says Julia--is anything wrong?  I intend to find out what he's done to Roxanne, says Trask--she's been irrational ever since she left here--and just a few moments, ago, she seemed to be suffering great pain.  Take me to her at once, insists Julia, reaching for her cloak.  Only Barnabas can undo what he's done, insists Trask--where is he?  I don't know, repeats Julia, but if you care about Roxanne, take me to her right now.  They leave together.

Roxanne lies on the sofa, blood dripping from her throat.  She weakly turns her head.

Julia and Trask enter the house.  Julia kneels to check on Roxanne, who murmurs, "Barnabas," then dies.  She's dead, says Julia.He kneels beside her and closes her eyes (which weren't open in the first place).  He leans his head down, seemingly on her bosom, and turns dark eyes to Julia.  Barnabas Collins will pay for this, he snarls, he's exerted an unnatural influence on her life--when I first met him, I instinctively knew there was something evil about him--something dark and sinister as the pits of hell!--someday, I will know his secret!

Collinwood drawing room - Roxanne, dead? Barnabas asks Julia, I had hoped that Angelique would understand, but of course I was a fool to think she would--if there was only some way to destroy that woman!  You know that's not possible, says Julia--the thing to worry about is the aftermath--after Roxanne is buried she will rise.  Yes, says Barnabas sorrowfully, and live a life of darkness.  Unless we do something to prevent that, says Julia.  We must put her to her final rest, agrees Barnabas, and spare her the misery of the living dead.  It's almost dawn, says Barnabas, there's no time to make plans now--meet me at dusk, then we'll decide what to do.  He leaves.

Rose Cottage - Gerard sleeps, the Judah-in-a-box across from him.  He awakens, musing to himself, I slept all night, yet still feel tired--I feel as though I haven't had any sleep at all.  He realizes the mask is missing form his bedside table, and finds it's been relocated next to Zachary's box.  I put it on the bedside table! he tells himself, how did it get over here?--no one could have come in my room, I locked the door.  He takes the mask in hand and tries his door, which is still locked.  He finds Zachary's journal on his desk--but that was in the cabinet downstairs!  He sits at the desk, opens the journal and finds a new entry, in HIS handwriting.  "My body has been destroyed--I know it can never be replaced, but I will live again."  The handwriting has changed, notes Gerard--it was mine, but it isn't now!  He looks back in the journal and sees it's the same handwriting, but on an earlier entry.  "I will live again with help from one who craves the power I can bestow upon him," reads Gerard.He closes the journal and goes to the Zachary's head, asking, what does the writing mean?--tell me!--tell me what is going on here!  The head is silent.

Gerard continues to entreat the head, tell me what the writing in the journal meant--how did the journal get into my room?--it's not my imagination--masks and journals don't usually move around by themselves--what is going on around here?  There's a knock at his door.  He hastily covers the head and moves a changing screen in front of it, then puts the mask and journal in the desk.  He unlocks the door.  It's Reverend Trask--who were you speaking to a moment ago? he asks.  I was having a nightmare, says Trask.  Nightmares are often the distorted reflections of a troubled conscience, says Trask, sounding very like Daddy Trask.  Yes, says Gerard, everyone has them now and again--what do you want?  I have sad news, says Trask--Roxanne Drew is dead.  I'm sorry, says Gerard, I knew you were quite fond of her.  More than that, says Lamar, she was to be my wife--I believe her death was caused by an act of sorcery.  Do you have any substantial proof about that? asks Gerard.  At the moment, I have only my unerring instincts, says Trask, but I feel the presence of an evil force--I believe Barnabas Collins caused her to die.  How? asks Gerard.  I was with her last night, explains Trask, when she was suddenly stricken--for no apparent reason the wounds on her neck re-opened and she began to bleed--something or someone caused that to happen.  And you think Barnabas Collins is responsible? asks Gerard.  Yes, says Trask--what we must do now is intensify our investigation into his background--I have seen your work, the seance at which you called forth my father's spirits was proof to me of your special abilities--it was amazing, indeed!--together, you and I can learn what his secret is, before he victimizes others--I trust I can still count on you.  Yes, says Gerard, of course.

Gerard returns to Collinwood, where Julia is having tea in the drawing room.  Have you seen Leticia around? he asks.  No, says Julia, I haven't seen her this morning--isn't she at Rose Cottage?  If she were, asks Gerard, do you think I would be here?  Are you upset? asks Julia.  I'm only upset, says Gerard, barely controlling his impatience, that I can't find Leticia, I need her.  Why? asks Julia.  Are you writing a book, too, Doctor? He asks sarcastically.  I'm terribly sorry, she says, if I see Leticia, where should I tell her you'll be?  I don't know where I'll be in the future, he says distractedly, all I know is I have enough time here for one drink--he pours some booze.  Julia rises from the sofa and watches him down the alcohol.  Angelique enters and sees Gerard--I don't believe we've met, she says.  He introduces himself to her.  How do you do? she says.   He stares at her.  Is something wrong? she asks.  Your name was Miranda, he says.Angelique's eyes widen in astonishment.

NOTES:  Who is Miranda?  Why does Angelique/Valerie seem so astounded at being referred to by that name?  Why is Gerard REALLY so perturbed?  Surely it's not Roxanne's death that has him rattled, but the odd goings-on with the head and the journal?  Is he now becoming possessed by Judah, too?

An angry Angelique, refusing to listen to reason, went all the way, killing Roxanne and putting her at risk for becoming a vampire.  Everyone can't figure out how Barnabas was Roxanne's sire if he was still in his coffin the first time around, but we can see what happened in this version of the timeline--Julia released him from the coffin, he bit Roxanne, and, with or without Angelique's interference, she became a vampire and lived all the way through 1970.  It's too bad Roxanne wasn't so reckless; if she hadn't insisted on going to Barnabas, she wouldn't have been caught in his arms.  And come to think of it, had Julia not told her Barnabas still loves her, Roxanne wouldn't have decided not to marry Lamar (whom she HATES!) and wouldn't have ended up dead.  Tragic story.  Can't really blame this one on Barnabas; he tried to send Julia to fix it, but she made the mistake.

Lamar is such a hypocrite!  The apple doesn't fall far from the tree!  To tell Gerard that Roxanne was going to be his wife when he knows she had changed her mind and, indeed, said she hated him, was really rotten, especially since the poor girl isn't there to refute his claim.

Will Barnabas and Julia do away with Roxanne, thus removing her from 1970?

Good episode here.  Angelique is just being so bitchy, it's fun to watch her manipulate, plot and destroy.  By the way, are you aware this Angelique is straight from 1795/96, never was Cassandra, never was Mrs. Rumson?  As far as she's concerned, she and Barnabas are married 44 years already!

Love, Robin

1133 - Quentin examines the letter, puzzled.  Trask enters--am I disturbing you? he asks--I hoped to find you at home but was afraid I would not--I had intended to come earlier, but poor Mrs. Wattleford had been called to the Great Beyond and my services were needed.  Impatiently, distracted, Quentin asks, do you sometimes work at Rocksbury?  Yes, says Trask proudly, my professional reputation is not limited to Collinsport.  Did you ever perform services for a woman named Joanna Mills? asks Quentin.  Trask thinks that over, repeating the name--it's not an unusual name.  It would have been within the last year, says Quentin.  Yes, says Trask, there was a Mills--Frank--he was killed in an accident near Cornith Bend--it was a most unusual accident.  I'm not interested in Frank, but Joanna, says Quentin.  No, says Trask, I think not, but actually, I did not come here to discuss the dead, but the living.  I can't give you too much time tonight, says Quentin, hurrying for the booze.  Perhaps you will change your mind when you hear what I have discovered, says Trask--as you may or may not know, I am most interested in the original Barnabas Collins.  Quentin drinks.  I am convinced he had something to do with the disappearance of my late father, adds Trask. What makes you feel he's still not alive? queries Quentin.  I've spoken with my father from beyond the grave, says Trask.  Quentin raises a skeptical eyebrow (yet he's supposedly so interested in the occult). Yes, says Trask, his death will be avenged!  What has this obsession to do with me? asks Quentin.  I'm leaving no stone unturned in finding out what happened on this estate in 1797, says Trask--I'm afraid my news may discredit some members of your family--it seems there is no record of the death of a Barnabas Collins in London in 1821, the year given me by his daughter, Julia.  Then he died somewhere else, suggests Quentin impatiently.  She specifically said London, says Trask.  She was wrong, obviously! insists Quentin.  You're a very trusting man, says Trask, too trusting, perhaps--for example, would it interest you to know there is no record of the present Barnabas Collins owning a house in Cadogan Square?  Obviously he sold it because he has no intention of going back to England, says Quentin.  You won't even admit to the possibility the man is an impostor? asks Trask.  If so, laughs Quentin, he looks amazingly like his father--as you can see from the portrait we just took out of Stokes' room and hung in the foyer.  Yes, says Trask, he looks almost too much like his father.  Mr. Trask, objects Quentin, I have absolutely no idea what you mean by that, and as fascinating as I find all this, I'm disturbed by the idea this all has something to do with the rivalry between you and Barnabas for the hand of Miss Roxanne Drew.  Whatever research I'm doing is on behalf of a great, illustrious family! insists Trask--your own--and I'm completely capable of handling my own relations with Miss Drew.  I'm very glad to find that out, says Quentin, hitting him in a friendly way on the arm, but I've got to go--and can I walk you to your carriage?  No, says Trask, I want to speak to your dear wife.  I'll let the servants know and they can tell her immediately that you're waiting, promises Quentin.  He exits through the kitchen door, first hitting his head hard (ouch) on the doorway.  Trask goes over to scowl at the portrait of Barnabas on the wall.  Angelique spots him and is astounded (and probably annoyed) by his resemblance to someone she once knew and despised.  Trask turns, sees her and asks, do we know each other?  She takes a deep breath--you certainly do look like someone I used to know, she says.  He introduces himself.  I'm Valerie Collins, she says.  Another new member of this ever-increasing family, remarks Trask--I wonder we've not met before.  You've probably met my husband, Barnabas, she says.  Trask's eyebrows nearly meet in astonishment.  You're married to Barnabas  Collins? he asks--I had no idea...  "...that he was married?" she finishes.  He nods, stunned.  No one did, it seems, she says, and turns away as if to cry.My poor girl, he says, reaching out comforting hands.  She apologizes--I shouldn't have said that--it's just difficult sometimes, she says--I hope you forgive me.  Of course, he says, I have just remembered a most urgent business appointment in the village--please tell Mrs. Samantha Collins that I'm sorry I could not wait.  Of course, she says.  You can't imagine what a great pleasure it has been for me to meet you, he says, bowing, smiling, and takes his leave, anxious, no doubt, to spill the beans to Roxanne.  Angelique shakes her head a little, probably in disbelief that here's yet another Trask to plague her.

Cemetery - Quentin finds Joanna's grave--"Born January 1, 1815, died November 12, 1839--the candle burned brightly, then died."Then it's true, he says aloud, she's dead--he holds up the letter and crumbles it--how?--how?

Drew home - Trask is angry to find Roxanne leaving just as he has arrived.  I didn't expect you, she says--I promised Samantha I'd spend the evening with her.  She ties on her cape.  At Collinwood? he asks.  Of course, she says.  Does Barnabas Collins know you'll be there? he asks.  I have no idea, she says.  You've been seeing him, he says.  He's been very kind to me, she says.  Has he indeed, asks Trask--wait until you hear how kind he has actually been.  What are you talking about? she asks.  His secret life, says Trask.  Have you invented one for him? she asks mockingly.  I did not have to go to that trouble, my dear, he says, it seems all the time he was smiling at you, he was concealing one very important fact about himself--he's married--I have just met his wife.  Roxanne is devastated.

I don't believe you, insists Roxanne--Barnabas Collins is not married.  Oh, but if you could have seen the anguish in his dear wife's eyes, says Trask--it seems he neglected to tell anyone of his status--I told you when you first met that man there is evil in his face.  I don't need a lecture on the subject, she assures him, but why don't you tell father about it?--I'm sure you want to--"Good night, Lamar!"  She heads for the door.  Trask calls to her--you're not still going there? he says.  Samantha is still expecting me, she says, and leaves.  He chases after her, insisting she can't leave, but she's gone.

Angelique sits by the fire in the Collinwood drawing room.  She hears the front door open and goes out to greet Barnabas.  You've come to call! she says cheerily. On Quentin, he says, turning away from her.  You'll have to settle for me, she says--you and I still have a great deal to discuss.  I think we said everything we can say to each other, he says.  No, says Angelique, you still haven't told me about my new sister in law, Julia.  He turns to face her.  I never knew I had such a CLOSE relation, says Ang sarcastically--I knew you had a sister--Sarah--but she's dead, remember?  You caused her death, Barnabas reminds her harshly--I will never forget it.  Perhaps, says Angelique, I will be equally kind to Julia.  Angelique! he explodes.  Valerie, she corrects in a hushed voice--you mustn't give me away--you'll give yourself away as well.  I'm quite aware of that, he says testily, walking away from her again.  So, she says, you have found yourself a sister--where did you find her, the woods?  (Bitchy, bitchy)  Make up any story that will satisfy you, advises Barn.  Nothing will satisfy me except the truth, she says--it seems she came here to meet you, saying she received some kind of note--but it was several days before you arrived and she became quite concerned--where were you hiding?--does she know what you are?  He turns to look at her.  I wouldn't trust her if I were you, continues Angelique. I do implicitly, Barnabas assures her.  Are you in love with her? demands Angelique.  She's a friend, that's all, says Barn.  Where did you get such a good friend, hm? asks Ang--where did you get such a good friend, and how long have you been out of the coffin?  I don't think it's wise to discuss these things here, says Barnabas.  Do you plan to answer me? she asks.  No, he says.  DO you think that's wise? she inquires, her face very close to his.  So you intend to threaten Julia? he asks.   Is she in your power?--do you plan to make her what you are? asks Ang.  No, says Barnabas, absolutely not!  Then you are not in love with her, says Ang triumphantly, which means she is in no danger whatsoever.  Can I have your word for that? he asks.  Of course you can, she promises--that is, if you decide to have a cup of tea with me--you're going to wait for Quentin, anyway, perhaps he'll be here by then--I'll get the tea.

Roxanne enters Collinwood.  Barnabas calls her name.  Excuse me, Mr. Collins, she says formally.  Mr. Collins? he repeats--Roxanne, what is it?  Hurt, she asks, is it true?--"Are you married?"  Yes, he admits, shame-faced, it is--I am.  Her mouth drops open, then closes.  I must go to my sister, says Roxanne.  Forgive me, begs Barnabas, there's no possible way for me to explain this.  She agrees--there's not, is there?  I've enjoyed your company so much, he says regretfully, we've had such understanding.I thought so too, she says, but I was terribly wrong.  Angelique appears with the tea tray.  Barnabas gulps and says, "Roxanne, this is my wife--Roxanne Drew, he says.  How do you do, Miss Drew? asks Angelique.  Mrs. Collins, acknowledges Roxanne, looking very depressed.  Won't you stay and have some tea with us? asks Ang.  No thank you, says Roxanne, sounding on the verge of tears, my sister is waiting for me.  She hurries upstairs.  Angelique looks after her.  Barnabas' forehead is creased with misery.  So, says Ang, SHE is the one!  Barnabas looks at her.

Don't bother trying to deny it, says Angelique--it's obvious.  She races into the drawing room.  You're imagining it, insists Barnabas.  I've seen that look in your eye before, says Ang, setting down the tray with a bang--I've seen you with Josette!  I barely know Roxanne, says Barnabas, she's only been here three or four times since I've been here.  But you have been to "visit" her, says Angelique, haven't you?--and if I pull that lace from around her neck, what will I find there--wounds?--you are so transparent, to me at least--I knew it had to be someone, it was just a matter of time until I found out who it was.  You must leave her alone, insists Barnabas, you must do nothing to her.  A loving husband has a right to give his wife orders, says Ang, and you are not a loving husband!--I don't think I care for my tea now--she runs upstairs.  She's nearly to the top when Barnabas, standing at the foot of the steps, begs, "Promise me!"  I will promise you NOTHING! she spits back, and runs to her room.  Barnabas, his face twisted with unhappiness, greets Quentin, who has arrived home.  Barnabas stands by the fireplace, his back stiff.  Is something wrong? asks Quentin.  When Barnabas doesn't reply, Quentin closes the double doors--have you had any reports of the headless man? he asks.  No, says Barnabas.  Then what is it? asks Quentin.  I came here to discuss it with you, says Barnabas, but...  Is it your wife? asks Quentin.  There's little I can do about her or this murder, says Barnabas, then points to another note addressed to Quentin that has been pushed under the door.  Quentin takes it, looks at the handwriting, exclaims, "Joanna!"  He opens the doors violently, hoping to catch whoever dropped the note, but no one is there.  Leave me, Barnabas, he orders.  What's wrong? asks Barnabas.  Please just go, says Quentin.  Barnabas exits the drawing room.  Quentin opens the note, which says "I cannot live without seeing you tonight--I will be at the oak tree--I will wait, please come to me, it has been so long since my eyes saw yours--tonight at last, my arms will hold you--Joanna."  (Tie a yellow ribbon 'round the old oak tree.)

Roxanne returns home.  Trask is there, gloating, you didn't stay very long at Collinwood.  Dejected, she closes the door--Samantha was busy with the new governess, she says.  Did you meet Mrs. Barnabas Collins?--do you believe me now? he asks.  Yes, answers Roxanne sadly--she's very beautiful.

Angelique sits by the fire in spell-casting mode.  Roxanne Drew, she intones, you wanted to be Mrs. Barnabas Collins--I could see it in your eyes--but he is MINE--and he shall remain mine.  She holds up a clay doll.  Oh, my dear Roxanne, you must pay for loving him--she sets two pins in motion toward the doll's throat.

Of course she is beautiful, my dear, says Trask, rubbing in Roxanne's hurt, what did you expect?--Barnabas Collins doesn't switch... Roxanne suddenly grabs at her throat, crying out in pain.What's wrong? cries Trask.  She collapses to the floor.

Trask kneels to check on Roxanne.  He finds the wounds in her throat have been re-opened, blood dripping thickly from them.  Roxanne! he cries.

Barnabas enters the drawing room--Quentin, he says gently, I don't know what this is all about, but if there's anything I can do to help...  I once had a mad scheme, says Quentin--at least others thought it was--that I could build a staircase--not the usual kind--but one that could, with each step I went, go further and further from the time we live in, now.  Barnabas is shocked.  A stairway, says Quentin, that could lead us to other times--the future, the past--there are theories on time as a dimension in itself--I've given it a lot of study and experimentation, and I believe a person could go back and change what has already happened--I don't know how to explain it adequately, but I feel so strongly about it--I just have the feeling everything could be so different--he chuckles sadly--the staircase is not yet built--I have to go, he says.  Where? demands Barnabas--you must let me help you!--you must tell me what the trouble is--Quentin!  But his cousin is gone.

Quentin, in the woods by "their" tree, calls, Joanna are you here?--how many times we met here--how often I waited--sometimes there would be a note.  Quentin checks a hole in the tree and finds a note--she was here, he realizes, reading it--"I don't understand why you didn't come, I waited so long--Joanna."  She's alive! he exclaims.

Collinwood - Trask reports Roxanne's collapse to Barnabas--I must get back, says Trask, Mr. Drew simply wanted me to inform Roxanne's sister.  What could have happened to her? asks Barnabas.  The doctor doesn't understand, says Trask--the wounds from that vicious animal were nearly healed, and yet they opened again and he's unable to stop the bleeding--she's very weak.  She could have died, realizes Barnabas.  Trask raises his eyes to heaven--we shall pray that that does not happen, he says.  Barnabas ushers Trask to the door--I'll send my sister over to give her a treatment right away, he tells the undertaker.  Angelique watches from the landing.  Barnabas spots her--you're responsible for the wounds re-opening in Roxanne's throat again, he accuses--where's the doll and pins?  Safely hidden, Angelique assures him.  You must get the doll and remove the pins, he insists.  So Roxanne may live? asks Angelique sarcastically.  You must, says Barnabas.  Why--because you love her? sneers Ang.  Because she has done nothing wrong! cries Barnabas.  Angelique looks at her reflection in the mirror, smoothing her hair, and asks, "Why do you want her to live?--why don't you want her to die?--then you could spend eternity together."   No more, says Barnabas.  You love her that much? asks Angelique, surprised--then her fate lies entirely in your hands.  What must I do? he asks, already knowing.  "Come and live with me," she says, "as man and wife, because that is what we are!--and because that is what I want--and if you do refuse, then she will die--from YOUR attack."  She will become as I am, he says sorrowfully.  "Yes, a vampire, she says--make up your mind, Barnabas--now!"

NOTES:  Angelique, now known as Valerie, is staking her claim, enforcing her demands, making sure Barnabas can't have Roxanne--unless it's as a vampire, which isn't what he wants.  You've got to hand this gal an award for being bitchy and going after what she wants.  I always get chills when she orders him to live with her as man and wife--because that is what they are.  I guess we can argue that, given that they both died, and "until death, yada yada yada"--but she won't brook any argument!  I just love how spiteful she is, and how she works to make Barnabas dance to her tune!

You can say anything you want, but the coupling of Angelique and Barnabas held this show together, at least IMHO.  The fireworks between these two never cease to keep me riveted.  These actors brought out the best in each other.  She gives him an ultimatum and he has no choice but to buckle.  I always thought of her as a dominatrix during much of their relationship.

Who is gaslighting Quentin?  He knows Joanna is dead, he's seen her grave, and Mrs. Purdy assured him it was so.  Who is sending him these notes, driving him crazy--and why?

So Quentin already has the staircase through time in mind!  He says he hasn't built it yet.  I gather he's going to during this storyline, right, since we know it actually exists in 1970?

Love these little domestic dramas--Quentin has a wife he doesn't love, Barnabas has a wife he doesn't love, and poor Roxanne's heart has been broken.  Reminds me of when Angelique appeared in 1897 and destroyed Rachel Drummond's hopes of a life with Barnabas in a similar manner.

Trask enjoyed bringing Roxanne the news that the man she loves is married.  He gloated over it!  If he really cared for her, he'd understand that she needs a man she can love--and Lamar isn't it!  I sense he just is lusting for her and would enjoy having such a pretty young thing in his bed.  I love Lacy's performance as Trask, but I hate that man!


1134_1135 - The body lies in the crypt as Julia prepares to join it with its head.

You can't do this to Roxanne, insists Barnabas--she has done nothing to you.  I said she would die from YOUR attack! says Valerie, not from anything I will do.  Angelique, please! he begs.  Valerie, Barnabas, she corrects--you must remember to call me Valerie--I don't want the embarrassment of being seen by the rest of the family.  She closes the double doors--what is your decision?  Listen to reason, pleads Barnabas.  I want what I know I want, she says.  Let me at least see her and talk to her, says Barn.  I've known you a long time, she reminds him, you double crossed me more than once, betrayed me.  I guarantee that I will not betray you this time, he says.  Perhaps not, she agrees, picking up and looking at a feather pen, at any rate, to avoid unpleasantness, I think you should write your dear Roxanne a letter--don't go and see her--she throws the pen on the desk.

The crypt now looks much like Julia's lab in the Old House basement once did.  She takes a notebook and fiddles with equipment.  She hears someone coming down--Leticia, bearing a bundle, who praises all the work Julia's done--and in such a short time, too!--what's the mirror for?  It reflects more light, says Julia--you've been gone a long time.  I had my job cut out for me, says Leticia, you made sure of that--I've got blisters on my feet.  Julia closes the overhead panel--was anyone in the village was suspicious?  No, I know how to handle things, Leticia assures her.  Julia sets electricity running through some wires, entrancing Leticia, who asks, how did you learn to do these things?  You wouldn't know even if I explained it to you, says Julia.  (I don't know, either.)  You're a sorceress, says Leticia, you could make a fortune in the music halls, you know that?  Julia pours something into a beaker--where are the medical instruments?  I meant to tell you about that, says Leticia--there's a very nice young man who's going to bring them to Rose Cottage.  Julia expresses concern about that.  I couldn't very well have him come here, points out Leticia--no need to worry, he won't ask any questions, I made sure of that.  How? asks Julia.  I gave him my nicest smile, says Leticia, smiling lasciviously--I said I was Dr. Collins' assistant, and if he ever got sick, I'd take good care of him, you know what I mean?  You must go immediately and get the surgical instruments, insists Julia--and hurry, because I have to get back to Collinwood before Barnabas wonders where I am.  Leticia leaves the crypt; Julia again closes the panel with a chain.

Rose Cottage - Leticia examines the instruments.  Gerard enters--where have you been? he asks--I've looked all over for you.  Round and about, she says, trying to keep my mind occupied, as it were.  I suggest you go upstairs and occupy your mind with Flora, he says--she is writing a new book in which you are to be the main character--she can't finish it without you--now get on up there!  I'm sorry, I don't have time right now, says Leticia.  What do you mean, you don't have time? he demands, grabbing her arm and swinging her around.  I mean just what I said, she says, I have something important to do.  He puts his hands on her shoulders--Flora is our last chance, he says--my plans have changed here in Collinwood, and I'm not going to do anything to get her upset.  No one wants to do that, agrees Leticia--I'll get to Flora when I have time--go up and turn on your charm, that ought to sort her out.  He follows her to the door--where are you going?  Out! she answers--we've each got our own lives to live, don't we?  He calls after her, but she's gone.

Julia sits on the sofa at Collinwood, staring straight ahead as Barnabas explains, I must do what Angelique wishes--I must--she has caused Roxanne's wounds to reopen, and when she dies, she'll become a vampire--what am I going to do?  Noticing how distracted she is, he asks, is something wrong?  No, she says, I was just trying to think of what we could do.  It's no use, says Barnabas--if we don't do something soon, she will die.  He goes to the desk and picks up the feather pen.  I have no choice, he says--I'm going to write Roxanne and tell her goodbye.  He sits down at the desk to do so.  Julia rises from the sofa--I'll be back in a few minutes, she says, I must go up to my room and get something.  She meets Angelique in the foyer, where they trade angry glances.  Angelique goes into the drawing room--I see at last you've decided to come to your senses, she says--I'll go pack my things.  Angelique, he says, what about Roxanne?  The bleeding will stop as soon as she receives that letter, she promises, smiling hugely--you don't know how much I look forward to living at the Old House again.  Resigned, Barnabas put his signature on the note.  Abruptly, he runs over to throw it into the fire, but realizes Angelique has him by the short hairs and changes his mind.

Julia finds luggage in the foyer when she returns.  Angelique exits the drawing room--are you feeling curious, Julia? she asks.  Are you going to the Old House? asks Julia.  Yes back where I belong, says Ang--I was wondering, Julia--you don't mind if I call you Julia do you?  Not at all, says Julia with a sickly smile.  Is it possible we could have met before the other evening? asks Ang.  I don't think so, replies Julia.  I had the feeling you knew who I was before Barnabas said my name, that perhaps we had met somewhere, some other time, says the blonde.  Barnabas had told me about you, says Julia.  Really? she asks--how much has he told you about me?  I don't remember, says Julia, it's been so long ago.  Yes, it's been 10 years since you've seen each other, hasn't it? asks Ang--what a marvelous story!  Julia makes a face.  Don't looked offended, dear sister in law, I simply wanted you to know that I know you are no more Barnabas' sister than I am--the intriguing question is, who are you, and what are you to him?  I am devoted to him, says Julia, you may interpret that any way you like.There's lots of time to find out about you, says Ang--for the time being, as mistress of the Old House, I feel I should warn you that you are no longer welcome there--good day, Julia.  Angelique leaves.

Julia picks up her ancient medical bag.  Barnabas comes out--are you leaving the house? he asks.  I'm afraid I must, she says.  Where are you going? he asks.  To Rose Cottage, she says, I promised Flora I'd stop by and get a copy of her new book.  With your medical bag? he asks.  I thought I'd stop and see Roxanne, on the way--perhaps I can do something, she says.  That's a good idea, he says--she should be recovered by now, but come back and tell me if she isn't--I'll go with you.  That isn't a good idea, says Julia--if Angelique saw us, she would misunderstand.  But you can't go out there at this hour, he protests.  I'll stop at the servants' quarters and get one of them to go with me, she says.  Very well, he agrees, but make sure he stays with you.  Yes, that's a good idea, I will, she says, and goes.  Barnabas sourly surveys Angelique's luggage in the foyer.

Leticia waits for Julia to return.  She sits against the stone wall, stretching, and falls asleep.  She dreams of the case, now empty of the head.  Julia has the body put together and is checking its heartbeat.  I'm sure I did nothing wrong, says Julia.  He isn't going to live? asks Leticia.  He has no pulse, no heartbeat, no vital life signs--we've failed!  There must be something we can do! cries Leticia.  I think I've done everything, says Julia.  He's going to be so angry, he's going to punish us, laments Leticia--look!  What's happening? asks Julia, something is taking shape inside the glass.  I can't look, I'm too frightened! wails Leticia.  We must look, insists Julia, he wants us to see.  What is he trying to do to us? bleats Leticia.  I don't know, says Julia, but you must look.  She does--inside the box is the jeweled mask.I don't understand, says Julia, it's only a mask!  Not an ordinary mask, says Leticia, it has powers, it's very important to us--we can't succeed without it--without it, he cannot live--he wants us to find the mask and place it upon his face--and if we don't...if we don't...!  The box is empty again.  Leticia awakens.  Julia is there.  We must find it, if we don't, says Leticia--the mask--it was a warning from him, Julia--we must find the mask, because if we don't, we shall die!

Julia and Leticia look at the head in the box.  I only saw the mask in a dream, says Leticia--it took shape right there in the case.  In your dream, you were told I must have the mask for the operation? asks Julia.  Yes, replies Leticia, but how are we ever going to find it?--I don't know where to begin to look for it.  This must be the secret place where they buried the body, says Julia, and the mask was buried with it--the mask has enormous powers.  That doesn't tell us where it is now, says Leticia.  I know, says Julia--Desmond came here and took it away.  Excited, Leticia asks, how do you knows that?  Because Desmond told Barnabas, says Julia.  Then the mask is at Rose Cottage, says Leticia.  Yes, and you must go there and bring it back to me, insists Julia--tonight.  Tonight, why? asks Leticia.  There's going to be an electrical storm tonight, later, says Julia, we must use the lightning to transmit the life force to him.  I don't understand, says Leticia.  Go to Rose Cottage and bring back that mask, orders Julia.  Leticia leaves.  Julia tends to the headless body.

Leticia returns to Rose Cottage and looks behind the curtains where the head once sat--nothing.  She begins looking through the desk, opening drawers.  She checks a cupboard and finds an ornate locked box.  She pries it open with a letter opener and inside finds the mask of Baal.  She picks up the box and runs into Gerard--you gave me a start! she exclaims.  You've been a very busy little girl this evening, haven't you? he asks.  What are you talking about? she asks.  What were you doing in that room all alone in the dark? he asks.  It was only dark for a moment, she says--I just put the light out.  You know better than to lie to me, he says, I was at the head of the stairs, saw you go into the room, you never did light the lamp.  What of it? she asks.  Why are you being so mysterious all of a sudden? he asks.  It's not your affair at all, she says.He grabs the box from her and opens it.  Well, well, he says, what do we have here?--he takes it out.  Give it to me, let me have it! she demands.  Let go, he says, holding it high in the air to admire it--where did you find this, hmm?  She gulps, not responding.

NOTES:  So, Gerard now has the mask of Baal in his hands.  Will he recognize its power?  Will Julia and Leticia end up punished, dead, because they couldn't do what Judah Zachary wants?  How did Julia get electricity into the crypt?

Valerie/Angelique has gotten what she wants, at least for now.  Why she'd want to force a man who obviously is in love with another to live with her is beyond me.  What kind of satisfaction could she get from that?  She hates Julia, and is probably going to tell Barnabas he can't see her anymore.  Julia claims she is "devoted" to Barnabas, but Ang isn't stupid, and she knows the score; she can see it in Julia's eyes.  Julia looked as if she wanted to duke it out with Ang right then and there.  We know this is going to spell but trouble for Julia down the line.

Barnabas has agreed to kowtow to his wife's demands.  He seems sad, beaten--and understandably.  Now that he's told Roxanne goodbye, will she survive Angelique being in the same town with her?  Will Rox turn to Lamar?  Stay tuned.

Love, Robin

1129 - LARA PARKER DOES THE INTRO!  Does this mean Angelique is back?

Barnabas and Julia roam the woods, hearing something heavy moving about.  Barnabas hands Julia the lantern and takes his cane in hand, holding it as a weapon.  They hear the sound retreating, and Barn figures it's only an animal.  They come across the dead body of Hortense.  Barnabas! calls Julia.

They bend down to examine the body.  Barnabas comments that it looks as if someone tried to tear her head off.  It's Hortense, says Julia, the governess at Collinwood--she's still alive, says Julia (a medical miracle), there is a faint pulse beat.  She sends him to Collinwood for her medical bag; she'll see what she can do for her in the meantime.

Quentin paces the drawing room.  Barnabas enters and tells him something terrible has happened--his governess was attacked in the woods.  Barnabas tries to go upstairs, but Quentin stops him and insists he tell him what he knows.  Barnabas says the girl is almost dead--Julia's with her, and asked for her medical bag.  This news rocks Quentin.  Julia returns and tells Barnabas to come back, she can't do anything; Hortense just died.  Quentin asks her if she has any idea how it happened.  Yes, says Julia, but I don't know whether to believe it or not.  Barnabas joins them  She became conscious for a few seconds just before she died, says Julia--she spoke to me--something about a headless man.  Quentin mutters, "No!" and runs out.  Barnabas tries to follow, saying he'll help him bring back Hortense, but Quentin calls back that he isn't going to see her.  Barnabas tries to get him to wait, but Quentin can't.  Where can he be going? wonders Julia.  He isn't concerned about the girl at all, Barnabas says, but the thing that attacked her.  A headless man? says Julia, how can there be such a thing?--she must have just been hysterical.  Barnabas isn't so sure--Quentin seemed to know and understand it.  Whatever it is, it frightened him, observes Julia--what's out there?  Barnabas says he's going to notify the police.  Julia heads back to the house to look for Samantha, who she hasn't seen this evening--she doesn't know where she is.

8:30 - Collinwood, drawing room - Julia has reported the governess' fate to Samantha.  Poor Hortense, laments Samantha, what a horrible way to die!--I knew something was wrong when she didn't meet me at Rose Cottage, that's why I came here--I don't know what I'll do without her, she was devoted to Tad--if only she hadn't gone into the woods, she would still be alive--she must have been on her way to see me, to tell me...she stops.  Julia asks, "Tell you what?"  Samantha reveals that she and Quentin have decided to get a divorce.  You're going to marry Gerard? asks a stunned Julia.  Does that surprise you? asks Samantha.  I thought because of Tad, you would stay with Quentin, says Julia.  Tad is staying with me, of course, says Samantha--and I had told Hortense to meet me at Rose Cottage to tell me when he was ready--Julia, you said that Quentin left the house when he heard the news--where did he go?  He refused to tell us, says Julia.  Samantha takes a gun from the desk and tells Julia she's taking Tad to Rose Cottage, Gerard is waiting there for them.  You're not going to take him there with whatever it is loose in the woods, protests Julia. I just came from Rose Cottage without any harm, points out Samantha.  You were fortunate, says Julia, you could have been killed.  Tad and I will be all right, Samantha insists--I have this (she clasps the gun) and I can get one of the servants to drive us in a carriage--Julia, would you speak to the housekeeper and ask her to arrange that for me, please?  Julia asks her if she's sure she doesn't want to wait until daylight.  I've known nothing but tragedy in this house and want to leave it ASAP, insists Samantha, Tad and I will be all right in the carriage--if you don't want to do it, I'll take care of it myself.  Julia assures her she'll do it, since she can't stop her, anyway.  Samantha thanks her and heads upstairs.  Quentin returns and stops her on the landing.  So you decided to take Tad yourself, he accuses.  I don't know what you're talking about, says Sam.  Quentin orders her to come down before he comes up and drags her down.  Holding she gun, she surveys him steadily, unmoving.

Samantha and Quentin stare at each other, but only when he starts heading upstairs does she come down.  He grabs the gun out of her hand as she hurries past him into the drawing room.  This gun wouldn't have done you any good, he says sharply, and there's no use denying it, I found out what you were up to this afternoon--I think it's the lowest thing you've ever done.  I can do without your sermons, she assures him.  He says if she'd been successful in getting Tad out of this house, he'd have police in every state looking for her--and just how did she think she'd get away with it?  You haven't stopped me yet, you know, she says.  I have two servants guarding his room, Quentin informs her, unlike Hortense, they are loyal to ME!  Don't you dare mention her name, commands Samantha, you're responsible for her death!  And if she'd been successful in getting Tad out of this house, says Quentin, he'd be dead now and you'd be responsible for that!  Absurd! pronounces Samantha, she would never let anything happen to him.  There's a maniac loose in those woods, says Quentin, and I don't think she could have done anything to prevent it!--if you don't have sense enough to look after your own son's safety, at least I do.  Thank you for referring to him as MY son, says Samantha.  You listen to me, says Quentin, I don't want to hear anymore about that.  You're going to have to face it sooner or later, says Sam.I said that's enough! Quentin barks.  He's not your son! cries Samantha, and he slaps her hard across the face.  Stunned, she looks at him.  He doesn't say a word, then puts the gun down on the desk.  You can do what you wish to me, she says, but you can't change the truth.  At the moment, says Quentin, I don't care if it's the truth or not, and don't you taunt me with it.  If I'm forced to stay in this house, she says, I will say what I please.  Quentin tells her angrily that no one's forcing her to stay; as far as he's concerned, she can get out and stay out!  She says not without Tad.  FOR THE LAST TIME, TAD IS STAYING HERE! shouts Quentin--you have no legal or moral right to that boy!  Since when are you the authority on morals? she asks, you with your clandestine affairs!  There was only one other woman, says Quentin, just one, and you know it.  You mean one I found out about! accuses Samantha.  You didn't find out about her, I told you about her, says Quentin.  Oh, yes, she smirks, honest Quentin, always doing the proper thing, always the perfect gentleman--I HATE YOU!  I think you'd better get upstairs, advises Quentin.  She promises him he's going to be sorry for this night, she's going to stay in this house and do everything to make his life a living hell.  She goes upstairs.  (This scene between them is very passionate and powerful; the acting is superb.)  Quentin looks very sad and defeated.  He pours himself a drink.  Barnabas enters the drawing room and says he wants to talk to him.  Not now, says Quentin.  It must be now, Barnabas tells him--the murder of that girl in the woods must be dealt with.  Let the police deal with it, insists Quentin, sipping his drink.  Barnabas asks what Hortense meant by headless creature?  Just what makes you think I know anything? asks Quentin.  Because Julia and I both saw it in your face when she told you about the girl's dying words, says Barn.  You were both imagining it, says Quentin.  Why did you leave the house so quickly, interrogates Barnabas, where did you go?--why didn't you go to the police?--is there a headless creature?  Quentin walks to the window, drinking his drink.  I don't know! he says defensively.  What DO you know? demands Barnabas.  Nothing, says Quentin.  Listen to me, says Barnabas, this may lead to a whole series of disasters at Collinwood--if what that girl said in her dying moment is true, then we are dealing with something supernatural--if you're holding something from us that we must know, you're jeopardizing the lives of everyone at Collinwood.

Quentin and Barnabas, seated now, are discussing the situation, and Quentin has apparently revealed all.  Judah Zachary, repeats Barnabas--his body is out there tonight?--what about the disembodied head?  Somewhere near is, guesses Quentin, still drinking--when Desmond found out the head was missing, we both assumed the head and body had somehow been joined together again.  Now we know that isn't true, says Barnabas.  When did Judah Zachary live? asks Barn.  1692, says Quentin, he was condemned to death as a warlock in the village of Bedford.  Why was he beheaded? asks Barnabas.  The villagers, explained Quentin, thought his evil was so great, he couldn't die like an ordinary man, so they separated the head from the body--no one knows where the body is buried, it's a well-kept secret, but the head was put on public display as a warning to all his followers--since 1692, the head has reappeared several times, and each time it reappears, murders follow in its wake--what am I going to do, Barnabas?  Prevent the return of Judah Zachary, advises Barn--find the body and head and destroy them both.  Attempts have been made to destroy the head, says Quentin, no one has ever succeeded.  Barnabas asks if anyone ever tried to destroy the body.  Quentin takes another swig of his drink.  That's what we must try to do, says Barnabas, in whatever way we can--we can begin by taking weapons and starting a search immediately.  No, says Quentin, Desmond and I have already searched and we didn't find anything.  We must try again, insists Barnabas.  Quentin agrees, and leads Barnabas to his study, where he says there are guns.

Midnight - As Barnabas and Julia enter the drawing room, he tells her he and Quentin combed the entire woods and found nothing.  You really do believe this headless creature exists? Julia asks.  Yes, says Barnabas, but I don't know where--we'll have to search again tomorrow--it will get anyone who's in it's way--I'm convinced that the girl just happened to stumble on this creature in the woods.  Julia asks Barnabas if he knows what Hortense's death means.Yes, says Barnabas--that the position of governess in this house is now open.  And from what we know in 1970, says Julia, this is the time Daphne will make her appearance as governess in this house.  If we keep Daphne from becoming governess here, says Barnabas, events will take a difference course--that way, we can prevent the destruction of Collinwood in 1970.  Yes, agrees Julia, that's true, but how can you stop her?  I don't think I can, says Barnabas, but you might be able to.  She looks at him, puzzled.

Dawn - Daphne writes in her diary, and puts it away in a box when someone knocks at her door.  Julia says it's urgent she speak to her--may she come in?  Daphne says of course, and asks how she can help her.  You can't help me, says Julia, but perhaps I can help you--you must leave Collinsport immediately.  Why? asks Daphne.  Because if you don't, says Julia, you will probably die.  Daphne looks at her, startled.

Believe me, says Julia, I'm not exaggerating, it is a matter of life and death.  Who are you? demands Daphne, why are you threatening me?  I'm not threatening you, just trying to warn you, says Julia, I know it's very difficult to accept what I'm going to tell you, but you must--you must leave Collinsport, or it will be a matter of serious danger to your life. What do you mean? asks Daphne.  Sometime soon, says Julia, you will be offered a position as governess in Collinwood.  Why would anyone do that? asks Daphne.  I promise you, says Julia, it will happen--if you accept that position, it will lead to your death.  Who are you? asks Daphne again, why are you trying to frighten me?  I'm not trying to frighten you, but to save your life, says Julia.  Daphne asks how she can know what's going to happen to her--she's never seen her before, she doesn't know her--or has she seen her before?  No of course not, says Julia, lying badly.  I don't believe you, says Daphne, you knew my name and you knew what I looked like--how is that possible if you've never seen me before?  The position of governess will be offered to you--do not accept it, says Julia firmly.  Daphne says she thinks it highly unlikely that anyone will offer her a job at Collinwood, and she has no intention of asking for one.  For your own sake, please...begs Julia, but Daphne interrupts:  Please, she says, I am not leaving.  All right, says Julia, I've done what I can, please don't tell anyone anything that we've said--if you do, I will says we've never spoken to each other--we will be seeing each other again, we will be meeting very soon.  She leaves, and a disturbed Daphne considers her words.  (I can understand Daphne's finding Julia's visit very peculiar--there had to be another way.)

Barnabas returns to Collinwood, where Julia dejectedly tells him she failed to convince Daphne to leave--what will they do now?  Barnabas tells her they will wait for the next step and try to prevent that.  Why should Quentin offer her the job as governess? asks Julia--she has no training for it (Never stopped anyone before.)  I don't know, says Barnabas, all I know is, that he will try to do it, and he will have a reason.  Julia points out that Quentin is leaving the house, and asks Barnabas when he thinks it will happen.  They look at each other.

Quentin goes to Daphne's room at the inn.  She invites him into her room.  He says he's in a hurry and will get to the point, quickly, about the reason for his visit--his cousin Desmond recommended her to him--he'd like to offer her the position as his son's governess.  Daphne is stunned.  Quentin tells her he knows this has come up all of a sudden, but he never expected such shock.  Forgive me, she says, but she doesn't know what to say.  Is there a reason you can't say yes? he asks.  She tells him she's so overwhelmed, she can't say anything just yet.  Does the position interest you? he asks.  She says yes, indeed it does.  Well, then says Quentin, if you don't mind, I'd like to have your answer, because I'm in a hurry.  She says she's grateful for his offer, and pleased to accept it.Quentin asks if she has any reservations about working at Collinwood.  Oh no, she says, believe me, it's just what I wanted--and she has a sly grin on her face.

A hooded figure carries a lantern through the cemetery.  This person goes into the Collins mausoleum and reaches for the ring in the lion's head to open the secret panel.The person sees the coffin is gone.  We see the face of the hooded person.  "He's gone!" says Angelique--"I wouldn't have thought it possible!--but I will find him--he will never get away from me!"

NOTES:  She's baaaaack!  Angelique has returned to Collinsport and we know things are going to get stirred up to the max.  She's found her hubby gone from his coffin and she's not happy.  Wheeee!

How did you like that violent argument between Quentin and Samantha, during which she smacked him across the face?  These two sure do have passion, but it's not the good kind.  Perhaps they had it once.  Given the circumstances, I probably would have back-handed Samantha, too.  There were no blood tests to determine parentage back then.  If Quentin isn't the boy's father, who is?  And where are Tad and Carrie, anyway--they are supposed to figure prominently in this storyline?

Daphne was warned not to take the job at Collinwood, yet she did so anyway.  Why?  She must have an ulterior motive, which we have yet to discover, but what would make her want to risk her own life--always assuming she believes Julia.  We know she wants to kill Quentin, and this brings her close enough to do so.  Why didn't he even question her about her educational background?

I always find it amusing that Julia, confronted with a new supernatural creature, like a headless man, deems it impossible.  She's come in contact with vampires, werewolves, ghosts, witches--what's a headless man in the mix?

The tragedy has been set in motion now; how will it all come down?


1130 - Nancy Barrett's introduction tells us that this night is the anniversary of the night, long ago, when Barnabas became a vampire.  I wonder if that is chronologically true, and I think it's incorrect.  Is it January in 1840?

Angelique calls to Laszlo, a colorfully-dressed gypsy, who joins her in the secret room.  An empty tomb, he asks?--why haven't I been allowed here before--now we made this same pilgrimage last year and the year before and I always have to wait outside--and here there's nothing to see!--what do you come here for?--you know what I think?  She curtly interrupts him, saying he's never at his best when he thinks.  Then I'll go back to my accustomed place in the cemetery, he says, giving her a mocking bow, your humble, obedient servant.  No! she says, you will remain here!  This is different than the other nights, he remarks, when we left this tomb last year, you were smiling.  Of course, she says, because I was happy.  What was in this tomb that made you happy? he asks.  She doesn't reply, and asks him why, since she never answers any of his questions, he doesn't get tired of asking them.  Laszlo says she will, sooner or later--she'd be surprised to learn how many she had already answered since they've met.  She smiles and says, dear Laszlo...  Now you want something, he guesses.  She takes his hand and says that he will get it for her as he always does--that's why she allows him to travel with her--there is an estate here named Collinwood, and a man named Daniel Collins lives there, with two sons, Quentin and Gabriel--go there and talk with one of them.  Do these men know you? he asks.  You're not to mention my name, she warns him.  How do I get in? he asks.  She says she'll leave that up to his gypsy ingenuity.  I'll talk to one of these men, says Laszlo, what will I find out?  You're to find out about a man named Barnabas Collins, she instructs--find out if he's in Collinwood, if anyone knows him.  If he's a relative, says the gypsy, of course someone is going to know him.  She gets a look in her eye and says they may not.Who is this guy? asks Laszlo, and what's his connection with this room?  "Barnabas Collins is the only man I've ever loved," says Angelique.  Laszlo laughs--except me, of course, he says.  She clasps his hands and, laughing, agrees, except you, of course--now go, and hurry--be very careful--one last thing--you must not mention Barnabas' name until it is mentioned to you first.  Why? he asks.  There are reasons that need not concern you, she says.  Barnabas Collins, says Laszlo, another of your mysteries.  Yes, she says, and the most important mystery of all--now hurry.

Barnabas knocks at Leticia's door.  She lets him in and says you're a bit of a surprise--"Ducks."  With your second sight, I'm surprised I would be, he says.  I don't use it every day, luv, she giggles, I like some things to be a surprise, it makes life more interesting.  It all depends on what the surprises are, says Barn.  She sees how serious he is, and asks if something is wrong.  You know, she says, you seem like a man who's lived a long, long time.  Do I? he asks, uncomfortable.  She says he seems to know everything.  How I wish that were true, he says--I've come here tonight because there IS something I don't know, something that Quentin and Desmond say you do know.  They're wrong, she says, if you're talking about that head--I wouldn't lie to Desmond!  Even if you thought it was for his own sake? asks Barn--you must realize it was having a terrible effect on him.  That's MY business! she snaps, and Desmond's--why did he send you here?  I came on my own, insists Barnabas.  He should have believed me, she says.  You must not blame him, says Barnabas, it's very important that we find... Well then look for it someplace it MAY be! she cries, walking away from him.  The body roams the woods, says Barnabas--the children's governess was killed tonight, on her way to this house.  Leticia looks upset.  Barnabas asks her if she has any idea where that head is--tell me the truth, he says, giving her his mesmerizing look.  She tears her glance away and says she doesn't want Desmond thinking she's lying to him--it's not trustful of him at all, and Barnabas can tell him--the head is evil and if none of you ever sees it again, it will be for the best.  Barnabas says he only hopes for her sake that she doesn't know where that body is.  And, she shouts after the departing Barnabas, you'll have to tell Desmond to apologize to me for sending you here!  She closes her door and locks it.  She opens her closet, where the head, still in its class case, sits.

Collinwood drawing room- So you can tell the future, huh, gypsy? an amused Gabriel asks Laszlo--I'm afraid there's not much of a need for that in this house--although if you could explain the present, your services would be much desired.  The present is simple, says Laszlo, one just simply uses one's eyes.  What if one's eyes see a headless man? asks Gabriel, sending Laszlo into gales of laughter.  Not a joke, Gabriel assures him, we live in a very unusual world, and people say there is a headless man roaming the woods.  This house is covered by a veil, says Laszlo, raising his hands high--a veil pierced by lightning!  Gabriel says so they are doomed, is that what you're trying to say--that the vengeful gods are against us?  Laszlo says perhaps it's just themselves they are against.  Very good, excellent, praises Gabriel, I think you just might go far in your profession--tell me, how are we against ourselves?  For a modest fee, begins Laszlo...  Oh, no, says Gabriel, I brought you out of that storm, I don't think you want to go into it again--read my palm.  Laszlo gazes into Gabriel's palm and tells him he has a long lifeline.  Some people in this house might be very upset to hear that, quips Gabriel.  Laszlo then tells him that this house looms over him, he's surrounded by many people who... ...tell me not to trust them? finishes Gabriel.  Since last year, since this exact day last year, says Laszlo, waving his hand over the palm, I see a change...  This day? asks Gabriel.  Laszlo says he can't see exactly what, but...  Barnabas enters.  Come in, says Gabriel, my future is not a private matter--this is another Collins, says Gabriel, you can read his palm after you've finished with mine--are you a believer, Barnabas?Laszlo catches the name and listens closely.  I'm afraid not, says Barnabas.  I could make you believe, says Laszlo.  That's not possible, says Barn,  Behind you, says Laszlo to Barnabas, standing behind you, very far away, waiting, but not for long.  Oh, come, gypsy, says Gabriel, you can do better than that!--are your English gypsies any better than he is, Barnabas?--go on, tell him what's waiting behind him.  GABRIEL! objects Barnabas.  Laszlo rises to his feet and says he can say no more.  Pay him, says Gabriel, let him go.  (Foisting off payment for his fortune on Barnabas, eh?)  No, you owe me nothing, Laszlo assures them.  Such a silly game, the future, remarks Gabriel, and bids Laszlo good night.  Lazslo bows.  If you happen to be going into the village, I'd advise you to be careful, says Barnabas--there are strange things happening here tonight.  Laszlo says, "I know--far better than you."

Leticia looks at the head and says to it that she has tried before and will again--"Body of Judah Zachary, she calls, "show me where you are, for I have been chosen to find you--by the powers that I possess, let me see. . .let me see--men, I see men searching for you--where are you?--where are you?--this is danger for you, I must find you before they do, for they are enemies--body of Judah Zachary, show yourself to me!"  She sees a vision of boots, of the creature lying on the ground covered in leaves.  Yes, she says, yes!  She turns to the head and says I know what I must do now, Judah Zachary.

We see flames in a fireplace.  Gabriel asks Barnabas why he didn't let the gypsy read his palm--are you concealing a deep, dark secret, too?  Barnabas explains that he didn't want to encourage him to remain--isn't it rather odd that a gypsy should walk onto the estate?  It's just the luck of the Collins that he's here, says Gabriel, we seem to attract every oddity on earth (he should only know about the vampire and witch!)--how are you coming with your headless man?  You don't believe he exists, do you? asks Barnabas.  No, says Gabriel, not on the basis of the evidence of a constantly hysterical, dying governess--she's the reason I sent my children away to school.  I do believe he exists, says Barnabas, and I'm going out to join the search before he kills someone else.  He leaves.

The headless creature lies on the ground in the woods.  Leticia finds him and pulls the leaves off him.  She turns him over and he immediately starts to attack her.

Leticia struggles with the headless creature, calling him Judah Zachary, telling him she's been sent to guide him--he'll be safe with her.  It tries again to strangle her, but she begs it to let her help him.  It releases her.  She helps it to stand tall and assures it that it will be all right.It reaches for her hand, and she takes it, urging him to follow her.  She leads it through the woods.

Angelique paces the empty secret room.  Laszlo enters.  Well? she asks.  I learned nothing at all, he tells her.  You fool! she cries.  No one was home, he says.  (He obviously loves to tease her.)  You could have talked to the servants! she insists.  He says he doesn't talk to servants.  She turns her back on him, furious.  Laszlo laughs and says, "He looks like a man you could love."  Turning back to him with hope, her face alight, Angelique says, "You saw him?"We were introduced, admits Laszlo.  Tell me, she says, does he still have that same strange, intent look in his eyes?  Laszlo says she'll think so.  And his smile, says Angelique, grinning herself, when he smiles does his face suddenly go gentle.  He didn't smile at me, says Laszlo, amused.  Is he living there? she asks.  He seemed perfectly at ease, says Laszlo--I gathered that he just recently came from London.  Oh, so that's the story, she says.  His story? pounces Laszlo--where does he come from?--this room?  You saw him yourself, she points out, he couldn't be a ghost.  Laszlo says he has something to do with this room--what?  Where Barnabas Collins came from, she says coldly, is no concern of yours!--neither is what he has to do with this room--do you understand?  I recognize the tone of voice, he says.  Good--remember it! she orders.  He says she will tell him sooner or later, or he'll find out for himself.  He starts to exit, but she assures him that if he tries, he will be punished.  Some day you'll learn that I can do some punishing of my own, too, he warns her--now what do we do now that we know he's here?  Angelique smiles.  Is it too much or too foolish to ask why we couldn't leave this foolish town?  Angelique tells him too foolish, very foolish indeed.  She's grinning.  (Theirs is an interesting relationship, isn't it?)

In the crypt where the body originally lay, Leticia leads the headless man down the stairs and assures him he will be safe here. She releases his hand and he flails around, searching for her.  It's all right, she assures him, I must go now, but I will be back.  She helps it to sit down and tells him, "You will stay here."

9:15 - Collinwood - Gabriel reads a book in the drawing room and answers the door.  It's Angelique, who bids him good evening and says, "I'm Mrs. Barnabas Collins."  Gabriel eagerly invites her in, closing the door.  So you're Mrs. Barnabas Collins? he asks, smelling gossip in the air.  Is my husband here? she asks.  Yes, but not at the moment, says Gabriel, no.  Oh, she says, I wanted to much to surprise him.  You certainly surprised me--I'm Gabriel Collins, he says, a cousin.  Very pleased to meet you, she says, I had the most ghastly trip--my trunk was stolen off the stage from Boston, and the storm has frightened me so much--when will my husband be back?  He didn't really say, Gabriel explains, actually, he's living at the Old House now.  Is it on the estate? She asks.  Yes, he says.  Then I shall go there, she says.  He says he wouldn't if he were here, there have been many attacks tonight--he's out with the men--let me give you some brandy, that should take the chill off.  A glass of brandy would be fine, she says, and looks around happily--Collinwood (did she say Hollywood?)--I never imagined I'd see it, she says.  It's a much better place to imagine than live in, he says, believe me--your husband never mentioned you, you know.  Oh? she asks.  Obviously an oversight on his part, says Gabriel.  He hands her a brandy.  Thank you, she says.  He asks her if she's from England, too?  Yes, she says, I can't wait to see the expression on his face when he sees me.  Gabriel chuckles and ponders who might still be up--Julia, his sister.  Oh, yes of course, says Angelique, hiding well her initial startlement, I've never met her--do see if she's still up.  Angelique considers this, drinking her brandy--a sister, eh?

Leticia returns to her room at Rose Cottage and closes and locks the door.  She opens the closet and covers the head.

Collinwood - Angelique sits by the fire.  Gabriel comes in and says he can't imagine where Julia is, she must be at the Old House.  Barnabas is very fond of her (Julia), says Angelique.  Yes, agrees Gabriel, and she's very fond of him--she was most upset when he wasn't here.  Oh? asks Ang.  Yes, says Gabriel, she was expecting him to be here, and he wasn't.  I wonder what could have happened? asks Ang.  I don't know, I thought perhaps you knew, says Gabriel--Barnabas did write you, didn't he?  The post is dreadful, you know, she says.Isn't it? he says, staring at her.  She asks if he minds her waiting there.  Of course not, he says, I find it most fascinating.  As do I, she says, what a happy moment it will be when I see him again--and to meet Julia at last--it's almost like the end of a dream.  (And the beginning of a nightmare for Barn and Jul.)  She smiles.

The headless creature sits where Leticia left him.  She enters bearing the case with the head inside, and tells him she's back.  She takes off the cover and says, "Now, you will be whole again."  The body moves forward, reaching for it's own head.

NOTES:  Head and body, body and head, he, it--this is hard to write.  I don't know whether to refer to it!  Hope I didn't get too confusing, but I'm confused!  Will head and body be reunited?  What will happen when they do?  Is the head as murderous as the body?  This could be bad.  And to imagine, Leticia had it all along and was keeping it a secret!  It must have her under its power, too.

Angelique is back and badder than ever.  She's already causing Barnabas trouble by calling herself his wife.  Gabriel was fascinated, and wonders why Barnabas never mentioned he had a spouse.  Wait until Barnabas sees her!  He's going to go ballistic.  And Angelique must be wondering who Julia is.  Laszlo is already a fun character, and his dialogue with Angelique sparks much interest.  They have apparently been traveling together a long time, and he thinks she "loves" him.  Does she?  Have they gone all they way, we wonder?

You sense that Gabriel is bored with his sedentary life, and good gossip like Barnabas' unmentioned wife showing up is excellent fodder for his sharp, wicked mind.  Angelique always did love making Barnabas' life hell, and are they REALLY married, considering they both died in 1796--marriage is supposed to be until death do us part.

Well, I've always loved when Angelique returns to a storyline, because she's so much fun.  Stay tuned, folks, she will stir up more trouble that you can possibly believe!

Love Robin

1127 - Desmond finds the coffin open, the body gone, the mask on the floor--and Tim's dead body lying a few feet away.  Oh, no, says Desmond, checking Tim's lifeless body, but he's more concerned about the MISSING body--he remembers the Bedford Atrocities, and, horrified, says, "He'll kill us all!"

Gabriel plays chess alone in the Collinwood drawing room.  Samantha enters.  What a surprise--back so soon? he says--how was your trip?  Have you seen Quentin? she asks.  Gabriel tells her he was just sitting here, waiting for something--you know that feeling when you just sit and expect something?--I didn't think it would be you.  Gabriel, she asks, annoyed, where is Quentin?  He says he doesn't need to keep track of Quentin--why should she be concerned, she wasn't even here?--he was willing to wager she wouldn't even come back.  She says that, as usual, he's wrong.  Perhaps this time, he says, but I have other bets on you--which husband will you choose, eh?--Quentin or Gerard?--he grins--you've come back to announce your choice, haven't you?--and all of us are dying, we can't wait to hear what it is--did you tell little Tad yet, of your curious dilemma?--I should like to have witnessed that scene--dear Tad, there is something I must tell you--you're going to have two fathers now!  I was determined, says Samantha, barely controlling her fury, that you would not get me angry--again--I don't want you to talk like that around Tad--I want you to leave him alone!  Is he in his room? asks Gabriel--since I'm his favorite uncle, perhaps I should go up and say goodnight to him.  Samantha insists she doesn't want him to upset him again.  So he is upset, says Gabriel; she turns away guiltily.  Did he influence your decision? inquires Gabriel, and she turns and says that he has not been well--I told him the facts, that is all he has to know--if you so much as mention this in front of him, I will KILL you!  Oh, how I have waited to hear you say that, exults Gabriel, you've never gone so far before--all you could do before was threaten to have me thrown from the house, but you can't do that now, can you, now that Quentin is back--and what do you think he'll say?  Nothing, she says, because he doesn't want you to talk to him either--he'll understand!  Taken aback, Gabriel says he wouldn't be too sure--he has a rather curious affect on Quentin.  Yes you do, and I know why, says Samantha, because every time he sees you sitting in that wheelchair, he remembers!  Why I'm here, yes! shouts Gabriel, eyes blazing, yes, yes!  You count on that, accuses Samantha--you make him feel responsible; it was nothing but a childhood accident, two children playing!  And one child unable to walk for the rest of his life, screams Gabriel, because of that playing?  "You wouldn't know how to live," says Samantha, "without that hold over him."  You're quite the character reader, says Gabriel--why don't you tell me how to live my life--go on, Samantha!--you've made such a success out of yours!  She leaves the room without another word, and he wheels forward, watching her put on her cape.  Off to see your lover? he asks bitterly.  She gives him a warning look, as he continues, warning her to be very careful walking in the woods tonight--there have been several attacks, and we wouldn't want anything to happen to you--would we?  She leaves, not closing the doors behind her.

Rose Cottage - Desmond, hatchet in hand, quietly approaches the head, thinking it he destroys that, the body is bound to die--he must do it before they are reunited.  I must do it! he tells himself, but when he opens the curtains, he finds the head gone.

It's gone, says Desmond, how could it be?  Samantha enters and asks if he's talking to himself.  She turns on the lamp and notices he's carrying a hatchet.  Desmond! she cries, puzzles.  He tells her he just finished splitting some firewood.  You don't seem surprised to see me, she says, did you get word I was back?  No, he says, and she asks what is wrong with him.  Nothing, he says.  Is it Gerard? she asks anxiously--is he all right?  I guess he is, says Desmond, but he doesn't know where he is--he's been out.  She asks Desmond to check Gerard's room, she needs to speak with him.  Yes, says Desmond, you stay right here--and he leaves, closing the double doors behind him.  Gerard joins him, and Desmond tells him someone is here to see him--Samantha.  This takes Gerard off-guard.  She's in the parlor, says Desmond.  Gerard nods and goes in.  Samantha looks at him with love, and as he hugs her, calls him "My darling."  She murmurs something against his shoulder about missing him, begging him to hold her, and he asks if she's made a decision.  She moves from his arms and shakes her head, saying she knows it's cruel of her, to Quentin, and to herself and Gerard.  Have you seen Quentin? asks Gerard.  She shakes her head.  Will you run into his arms as you did mine? he asks.  She dips her head, looking ashamed, and he apologizes, saying he thought the waiting would be over with.  There's so much to decide, she says--Tad.  Did he speak of me? asks Gerard.  He said how kind you were to him on the ship, and how much he liked you, says Sam.  And that doesn't make any difference to you? he asks.  She says Tad loves his father, she doesn't think she's slept since she left here, she just keeps watching Tad sleeping and imagining what their life would be like--then she thinks of Collinwood--she always saw herself as a decisive person, and it's shattering to discover how weak she is.  He assures her she isn't weak--she didn't create this situation--he did--he was the one that forced her into marrying him.  Forced me to come alive again, she corrects him--Gerard, whatever happens, whatever I decide, there's something I want you to know--I love you very much.  They kiss.

Leticia prepares to go to bed.  Desmond knocks on her door and she pats her hair and squeezes red into her cheeks, prettying herself up.  He anxiously asks her if she took something from the drawing room.  What are you talking about, Ducks? she asks.  He reminds her she told him to get rid of the head.  It's gone? she asks.  Yes, he says, and if you didn't take it...  If I didn't take it, what? she asks.  He swears that he won't blame her, he knows she did it because it frightened her, and he appreciates that, but she must tell him if she has it--please don't lie to me!Leticia assures him she'd tell him if she had it--he'd make her tell him the truth--she could never lie to a man as nice as he is.  He's very upset, and she tells him it's for the best that it's gone--it was changing him, it was evil--don't try to find it, don't ever try, she begs.

Desmond goes to Collinwood and demands Gabriel tell him where Quentin is.  It's everyone's turn to hunt Quentin tonight, mocks Gabriel.  I've got to find him, insists Desmond, about to march from the room.  Gabriel stops him--remember that riddle he helped him solve?--tell me what you found on Gallows Hill.  Nothing at all, says Desmond.  Why don't I believe you? asks Gabriel.  You've got to, says Desmond.  No I don't, insists Gabriel--I think you found something you don't want to share with me--something you want to share with Quentin--and that's why you're hunting him, isn't it?  He grabs Desmond's arms and pulls them painfully behind his back.  You're hurting me! gasps Desmond.  Gabriel promises to hurt him a great deal more until he tells him what's he's found.  Desmond struggles in Gabriel's agonizing trip.

You can't fight back! says Gabriel, you can't fight a cripple!--what did you find on Gallows Hill?  Quentin enters, angrily calling Gabriel's name, asking what he's doing.  Just a little family quarrel, says Gabriel.  Let him go, now, demands Quentin.  Gabriel does, but warns Desmond he'll tell him what he wants to know--later--won't you, Desmond?  I told you before, says Desmond, massaging his aching arms, I know nothing.  We'll see, says Gabriel, we'll see--and as he wheels himself out, he informs his "dear brother" that Samantha and Tad are back--Tad's in his room, Samantha went out--I'll leave it up to you to guess where.  And he goes.  Quentin tells Desmond he's going to see Tad, but Desmond won't let him go; he grabs his arm and says he can't go now--he must talk to him--he needs help, and right now--do you remember when you first got back and I told you I had something for you--except when we went to Rose Cottage, I didn't give it to you.  What was it? asks Quentin.  It was the head of Judah Zachary, reveals Desmond.Quentin looks at him in disbelief.

Gerard and Samantha are still smooching it up.  She tells him she must get back to Collinwood.  He takes hold of her coat lapels and says he'll take her there.  No, darling, she says.  Are you afraid Quentin will see me? he asks--doesn't he know you've chosen him already?  How can he know? she asks--I don't even know myself.  You'd be a fool not to leave, he says, but how can you spend your life with a penniless, homeless wanderer?   You're none of those things, she insists.  Take a good look at me, he suggests.  I know you better than you know yourself, she says--what you were in the past has nothing to do with it--it's what you are, and what you will be in the future.  They kiss lustily.  Excuse me, says Leticia from the doorway, you're lucky it was me, ducks--so, you're back!  Yes, says Samantha, please excuse me--and she goes.Lips compressed, Leticia bids him congratulations.  For what? he asks, annoyed.  When does the honeymoon start? she asks jealously.  She was merely kissing me goodbye, he says.  She chuckles and asks who'd believe that?  I do, he says sadly.  She reminds him he didn't used to lie to her, but things change, people change, even her--you do love her, don't you?  He just looks at her.  I can tell, she says, I can see it in your eyes--don't worry about me, luv, I got a brand-new interest--and I'm going to keep it, she giggles.

Pacing, Desmond tells Quentin, "Poor Tim Braithwaite--his body was ripped from his head" (he means the other way around, I'm sure)--I know what happened and what caused it--Quentin, the body has somehow found the head.  Quentin nods--Judah Zachary, he says.  He's alive again, says Desmond.  Quentin shakes his head, saying it's impossible--a severed head can't live--and a body buried 200 years ago must decompose.  I came to you because you have an interest in these things, says Desmond desperately, you accept the fact of unexplainable happenings--you must believe me--you do, don't you?  Yes, says Quentin.  What do we do? asks Desmond.  We've got to find Judah Zachary, says Quentin.  If we do, says Desmond, we won't be able to kill him.  There must be a way, insists Quentin, and races to get a gun from an armoire.  That won't help, says Desmond.  We don't know until we try, will we? asks Quentin, caressing the long barrel.  Quentin, you don't know the evil! protests Desmond.  Quentin tells him they won't stop him by talking about it, they must find him--come on.  The men hurriedly leave the house.

Samantha returns to Collinwood.  Gabriel wheels himself into the foyer and asks, "Back so soon?"  She bids him a curt good night, and he tells her she just missed her husband--I told him you were back.  What did he say? she asks.  Absolutely nothing, says Gabriel, basking in his cruelty--it didn't seem to stop him from going out--by the way, how's Mr. Stiles?  She doesn't reply, she just heads upstairs.  If Quentin comes back, he calls after her, shall I tell him to wake you?  That's up to him, isn't it? she retorts.  He sits back in the wheelchair, grinning.

Rose Cottage - There's one thing I don't understand, says Quentin, if the head was here, how did the body get inside the house to get it.  I don't know, says Desmond.  Are you positive you told no one? asks Quentin.  Yes, I'm positive, says Desmond.  Quentin is sure head and body aren't together--he knows it.  I hope not, for all our sakes, says Desmond.  Quentin advises him to go to bed, but Desmond says he can't sleep.  There's no point in looking for him--perhaps he'll go back to his vault--what did you do with Braithwaite's body?  I got rid of it! says Desmond hoarsely, what else could I do?  Quentin says that's good, because with Tim's reputation, he doesn't think anyone will miss him--he tells Desmond to get some rest.  I caused this to happen, says Desmond, that's what I can't forget--as a kind of joke, I brought that head for you.  Don't worry about it, says Quentin, we'll find a way out of it, believe me.  Desmond asks how.

9:30 - Gerard sits before a tea tray.  A jealous Leticia enters and presents him with a note for him, from Collinwood.  Samantha, he says, and quickly opens it.  Who else there would write you? she asks him.  He reads the note and smiles, then leaves.  Has she made up her mind, pet? Leticia calls after him, but he's gone.  She laughs.

Collinwood - Gabriel finds Quentin sitting in a chair, head bowed on both hands.  You were up late last night, weren't you? chides Gabriel--tell me, what is the matter with Desmond?  Nothing, says Quentin.  I think something is, something has happened, says Gabriel, and it's something about Gallows Hill, isn't it?  We hear the front door open.  It's Gerard, who bids them good morning.  Gabriel tells Quentin he has a note from Samantha--he's seen her, of course?  No, says Quentin, she was asleep when I came home.  And of course, you didn't wake her? says Gabriel.  No, says Quentin.  Samantha enters and faces the three men.  Ah, the all-important moment is here! announces Gabriel.  She asks him to excuse them, and he wishes the men good luck before wheeling himself out.  Samantha closes the double doors, then turns and looks at Quentin and Gerard.  She tells Quentin he looks tired.  Kind of you to notice, he says.  I notice everything about you, she says.  He rises and says, "Well--have you made up your mind."Yes, she says, I know with whom I must spend the rest of my life.  The camera pans from Quentin's face to Gerard's.

NOTES:  Who is the Chosen One?  Hard to say.  Samantha seems to feel an obligation to stay with Quentin for Tad's sake, perhaps for the comfort and money a life at Collinwood provides.  On the other hand, there's Gabriel; if I were her, I'd want away from him ASAP.  He's such a prick.  I believe her heart, passion and love lie with Gerard.  The question is, which has won out in her heart?  Staying with Quentin seems more a decision of the mind, with Gerard, the heart and loins.

We have a rampaging body that has apparently found its head.  Once united, what havoc will a "together" Judah Zachary wreak on Collinwood?  At least Desmond seems out from under the spell of the head, back to himself--and Leticia seems to have moved her romantic sights from Gerard to Desmond, even if jealous keeps popping up every time Samantha is mentioned.  Des and Leticia would make a cute couple.

Gabriel continues to be the most interesting person in 1840 so far, at least IMHO.  Being stuck in a wheelchair must be boring, and he seems to go out of his way to stir up as much trouble as he can, just for the fun of it--and takes us along for the ride.  Of course, Samantha's decision will affect him, too, and his hatred of her is strong enough to make him wish her gone with Gerard for good.  He wants money desperately, and hopes that his helping Desmond will result in his becoming rich.  He has no idea of the danger that has been unleashed as a result of his help.  Note how strong Gabriel is; he was able to subdue Desmond with one hand, wheelchair-bound or not.  All that ball-squeezing is paying off!


1128 - Samantha says she though she had herself so well-prepared for this, but now...  Now what? he asks her.  She explains that she finds she can't face the two of them together.  Speak to each of us separately, Quentin suggests.  Samantha thanks him, and says she'll speak to Gerard alone for a minute.  Quentin says he understands; he will be waiting in their bedroom upstairs.  He leaves, closing the door behind him.  Sam tells Gerard this has been the most painful and difficult decision she's ever had to make.  I'm quite aware of that fact, he says, I don't envy the choice you have to make.  She says she believes he knew from the beginning, didn't he?  Yes, he says reluctantly.  She says he knew, as she did--it was only a matter of facing up to the realities of the situation.Well it's done and you mustn't regret what you've done, he says, assuming he is not the Chosen One--we've actually know each other for such a little time.  I feel as if I've known you all my life, she says passionately.  Nevertheless, he says, I feel strongly that a woman must stay true to her first love.  Sam believes that, too--"That's why I've chosen you, Gerard!"  You've chosen me? he asks, genuinely surprised.  You thought I'd decided on Quentin, she realizes.  Yes, he admits, I did.  And you were ready to bow gracefully out of my life? she asks.  Yes, I was expecting the worst, he says.  Oh, darling, she says, hugging him, I could never have sent you away, you are my own love and my first love.  He looks sick.  You're not unhappy about this, are you? she asks.  No, he says, what gave you that idea?  She says she expected a more demonstrative reaction from him,  He's only thinking of her, he says, her family--has she made the right choice?  She caresses his shoulder, assuring him she's never been more certain about anything in her life.  She rests her head on his shoulder, saying if she'd decided the other way, she would have still gone on loving him, even if she'd been miserable for it for the rest of her life.  He takes her hand in his and kisses it, holding it pressed against his chest.  She says she'll go speak to Quentin.  He's going to Rose Cottage and wait to hear from her.  Until I see you again, she says girlishly, I'll miss you very much.  She runs back to him and hugs him, promising to make him so happy.  He hugs her back, saying he knows she will.  She gives him a longing look--but no kiss--and leaves the drawing room.  Gerard looks very upset.  Gabriel enters, finds him holding onto the mantle in despairing posture, and bursts into laughter, asking if he isn't glad he didn't make that little wager--I told you what her decision would be, and I was right--you needn't answer, Gerard, the answer is right there on your face.If you are here to gloat over me, says Gerard, you are wasting your time.  I'm just a little curious as to what you're going to do, says Gabriel, you're going to worm your way out of this--but how, Gerard?--that's the fascinating question, because Samantha is just as clever and devious as you are.  I will tell you once, warns Gerard, like I've already told you, that Samantha and I are very much in love.  I'm very deeply touched, mocks Gabriel, if that's true, why were you the picture of doom when I came in?  Gerard says it's his brother, Quentin, they're are of the best of friends--he's at a loss to imagine the suffering he must be going through.  What suffering, what loss? Asks Gabriel, as far as I'm concerned, my brother is the winner--you're the loser, my friend--and that's the beauty of it all--you and Samantha together for the rest of your lives!--it's marvelous!  And he laughs.  Gerard orders him to get out of here.  Are you forgetting where you are, Mr. Stiles, you don't live here, Gabriel reminds him--you don't own this house and never will--you're going to leave!  With pleasure, says Gerard, starting to stamp out.  Gabriel reminds him he still has that arsenic he got for him--just in case he's planning to give Samantha some wedding present.  Gerard goes.  Gabriel laughs, twirling around in his wheelchair in glee.

Samantha joins Quentin in their bedroom.  He tells her he saw Gerard leaving, looking very grim.  He's very concerned about you, she says.  About me? he asks--what is it you want to say to me?  I want my freedom, she says--I've chosen Gerard.

Quentin nods, makes a little grunt.  Please says something, begs Samantha.  He tells her he's having a little difficulty with what he's heard.  She told him as plainly and honestly as she could, she says.  He sits on the bed and says he knows--he just wasn't quite prepared for it.  Yes you were, she says, you've always taken me for granted.  I was convinced there was only one choice open to you, he says.  Then why did you leave the decision to me? she asks.  I just through it was the proper thing to do under the circumstances, he says.  She sits on the bed with him and says they both know their life hasn't been right for years.  He says he's tried to be good to her.  It isn't enough, she says.  He points out that she has everything she could ever want in this house.  Except love and happiness, she says.  He asks how many people she knows have that?  This is my chance to get it, she says, I must take it!  Have you forgotten, he says, that four years ago, I also had the chance for happiness, and you denied me that opportunity.  I haven't lost sight of what happened four years ago, she says, even though I didn't give you freedom to go with another woman, I was grateful for your honesty--I told you that then!--I don't think I understood what you were going through then, but I do now, believe me I do.  Do you love Gerard? he asks her.  Very much, she says.  Does he love you? asks Quentin.  Yes, she replies, please try to understand, don't hate me.  I don't hate you, he assures her with a small smile, I know I haven't made your life very happy--but I thought that somehow, you'd want to go on, as I do--for Tad's sake.  She rises from the bed and insists she must be with the man she loves.  All right, suppose I give you your freedom, he says, and then sometime in the future, you discover you were wrong--then what?  She assures him she knows she's right in her mind and heart.  Then there's no point in discussing it any further, is there? he asks.  No, she says, there isn't--please give me your answer.  Are you in such a hurry? he asks sarcastically.  She looks wounded.  He agrees to talk to his attorneys tomorrow.  She thanks him and says she's sorry--there's nothing more to say.  He agrees with that, and she says she'll go speak to Tad--she'll have Hortense get him ready--she's taking him with her.  You're not going to do any such thing, my dear, says Quentin, immediately incensed.  What are you saying? she demands, Tad belongs with me.  He belongs here, insists Quentin angrily, in this house, with me--he belongs at Collinwood!  She says she wouldn't leave this house without her son.  Then I guess you're not going to leave this house! he says vehemently.  Quentin! she cries, please, be reasonable!  You want to take the one person who means more to me than anyone else in this world, he says, and you're asking me to be reasonable!  What is that supposed to mean? she asks, that I don't love him--Tad has been my whole life--my whole reason for living--you try to keep him away from me by taking him away for months on end!  He's always gone away with me by choice! says Quentin.  I demand you give me my son! says Samantha--it's my right as his mother!  He's my son just as he is yours! Blares Quentin.  That's not true, says Samantha.  This shocks Quentin, who grabs her and demands to know what she means.I meant what I said, she says in clipped tones, you're not Tad's real father.  Quentin stares at her, shocked.

Quentin asks just what she's talking about.  I never meant for you to know that, she says, but you gave me no choice just now--Tad is not a Collins, he's not your son.  I never quite thought you'd stoop this low! He says.  You mean you don't believe me? she asks.  That's right, he says, furious, I don't believe it--you're so used to having everything your own way, you'd resort to anything!  You think I'd make something like this up just to have my own way? she demands--it's true, he's not your son!  If I'm not his father, who is? Quentin asks.  I have no intention of telling you, she spits.  He grabs her and throws her on the bed, then takes hold of her arm and threatens, "You're going to tell me who it is!"  No, she cries, you'll never know!  You're lying, he shouts, putting his hands on her shoulders and shaking her, he's mine!  He's not, he's not! she retorts--there was someone else you don't know about--and HE'S Tad's real father! Quentin releases her, then walks away and says all right, as far as he's concerned she can go anywhere she pleases, anytime--but Tad, for the last time is staying in this house with him--he loves Tad and Tad loves him--and I'll do anything in my power to make sure he stays here with me--and if you dare say one word of what you have just now told me, so help me God, I'll kill you.  She jumps off the bed and storms out.  Quentin sits down, looking as if all the stuffing as been let out of him, and closes his eyes in misery.

Gabriel, in the drawing room, squeezes his ball, and hears Samantha come down and mocks her--my my my, Quentin's left you in a terrible temper, hasn't he?--don't tell me the reason, Samantha, I think I know--I think you went upstairs expecting Quentin to be destroyed by your decision--but he wasn't--he reacted quite calmly, and so you are absolutely furious.  As usual, she says, you're wrong--I just told Quentin what I decided--he refused to grant what I decided--he's refused me!  Refused? Asks Gabriel, quite shocked.  Yes, he's refused to give me my freedom, she says, does that surprise you so much?  Liar! accuses Gabriel.  A woman emerges from the kitchen area with a tea tray.  What a pity, says Samantha, I've undone all your pre-conceived notions--she tells Hortense she wants to see her immediately in the drawing room, then says to Gabriel that they finally have something in common, don't they?--they're both destined to rot in this house!  She goes into the drawing room and closes the double doors, then asks Hortense where Tad is.  Upstairs in his room, reveals Hortense.  Samantha tells her she's going to be leaving Collinwood.  This shocks Hortense, who reminds her she just told Mr. Gabriel...  I told Mr. Gabriel what I wanted him to hear, says Samantha--I'm going and taking Tad with me--I want you to go and pack his clothes--do it secretly, do you understand?  You mean you're taking the boy without Mr. Quentin knowing about it? asks Hortense.  That's exactly what I mean, says Samantha, tonight, at seven o'clock, I want you to go to Tad and tell him I'll be at Rose Cottage, and I will go there sooner and wait for you to bring him to me.  Hortense objects--suppose she gets caught?  Samantha assures her she has always been very kind to her.  No one has been as good to me as you, agrees Hortense.  Then please stop worrying, says Samantha, and do as I say.  Gabriel is listening closely outside the doors as Samantha orders Hortense to bring her to her as soon as it gets dark.

Gabriel wheels himself into Quentin's bedroom, where Quentin still sits looking morose.  (How does Gabriel get upstairs, anyway?)  Gabriel tells him he's here to do him a very big favor--there is intrigue in the palace, old boy--someone is planning to abduct the crown prince.  Not in the mood for games, Quentin asks him to speak plain English.  Samantha is going to take your son away from you, says Gabriel, stealing him, at seven o'clock tonight--I overheard them talking--Hortense is getting his things--they're leaving just after dark!  Quentin rushes from the room.  Gabriel grins with pleasure.

7 PM - Hortense has placed Tad's suitcases in the foyer, and is about to go upstairs, but finds Quentin standing at the top.  She gasps and bids Quentin good evening.  He asks where she's going.  Upstairs, she says.  To do what? asks Quentin.  To look over some of Tad's school things, says Hortense--he's had so much catching up to do, you know.  Quentin comes downstairs, saying yes, he knows.  She's about to walk past him, upstairs, when he grabs her arm and slams her against the wall--I also know you're a lying little sneak! He accuses her.  She begs him to let her go, but he says she's going to tell him what he was going to do with Todd (Selby's son's name).  Hortense squeaks that she doesn't know what he's talking about.  He shakes he and says she's lying, he knows she and Samantha were planning to do something and he knows  what it is.  You're hurting my arm! She cries.  You're lucky I'm not breaking your neck! He tells her--you tell Samantha, wherever she is, that Tad is staying in this house with ME, and you tell her I'm going to do everything I can to make sure she never sets eyes on him again!  He releases her, and she cries out and leaves.  And while you're at it, says Quentin, you can pack your bags and get out of here--you're through!  He goes into the drawing room and pours a drink.

Woods - Hortense heads for Rose Cottage, but it startled to find a leaf covered, headless body in the woods.She screams when it comes to life and grabs her by the throat.

NOTES:  Looks like Hortense isn't going to be needing a job.  She's going to be headless as well as jobless.

What a soap-packed episode!  Samantha made her choice, pissing off both men and delighting Gabriel.  Did you think she'd pick Gerard?  Looks like he isn't any too happy, either--when he was marrying a rich gal, he was happy, but now, how will he support her, especially in the style to which she's become accustomed?

Is Tad really Quentin's son or not?  How did you like the violence he applied to both Samantha and Hortense?  This is more like the 1897 Quentin, with a true violent streak.  I found the scene with Samantha rather shocking, his throwing her on the bed and all.  Do we have another mystery here--who is Tad's real father, if not Quentin?

Poor Gabriel, I guess being stuck in a wheelchair, squeezing his ever-present ball, must get boring.  Watching these little dramas unfold must be his only entertainment.  At least when he realized Quentin was in danger of losing Tad, he jumped in and helped, but one wonders if it was for Quentin's sake or just to stir up the pot some more and make big trouble for Samantha, whom he hates.

Well, Desmond indirectly caused Tim Brathwaite's death at the hands of the headless creature, and Samantha did the same to poor Hortense.  How many innocents must die before the Collinses stop dragging in these hapless toadies as bullseyes?

Love, Robin

1123 - Desmond awakens from his terrifying dream with a start.  He goes over to the head, face shaking, and demands to know where the voice came from was it his, or Desmond's own?  Or did I imagine it?  I didn't imagine it, it was real!  But how did it happen, how?  What powers do you have?  Flora comes out and asks who he's talking to...oh, you have that THING uncovered again, she says, making a face...you weren't talking to IT, were you?  He smiles and says he was just having a little fun.  He quickly closes the curtains.Flora asks him to get rid of it, she can feel its presence everywhere in this house,and now she finds him talking to it.  Desmond chuckles and says if it were a bit more interesting in Collinsport, he wouldn't be reduced to talking to inanimate objects.  Rubbish! insists Flora, you and Quentin used to be inseparable, but you've hardly spent any time at Collinwood since you've been back.  Quentin and Samantha are having their problems, says Desmond, I don't want to become involved.  But you were Quentin's best friend! she chastises.  At first, he looks guilty, then his face twists into a snarl and he screams, face shuddering violently, "An outcast has no friends".  Shocked, Flora asks what he said.  He turns away, then says nothing.  Flora asks if he feels all right.  Yes, he feels fine, just fine.  Why don't you come with me to Collinwood tonight? she asks, Quentin and his father will be reunited, and I'm the one to have the honor to bring Daniel down. I will have to prepare him very carefully, you know....after all, they convinced him Quentin was dead.  I kept telling them, shouts Desmond, that death is an extension of life.  I kept telling them that!  Again shocked, Flora calls his name.  He touches his head as if it hurts and asks what?  What oddly curious things you're saying; you're not yourself at all, chides Flora...the last time you were in one of these moods, you were in love with that Carson girl.  I guess I can't fool you, says Desmond, chuckling--the fact is, I met a very lovely young lady and told her how pretty she was and that I had to see her again, but the next day, she had completely disappeared.

Daphne sits with her diary before her, reading what she's written:  I was wrong to lie to Desmond Collins...he could give me the opportunity I need...I should have tried to use him, but I was frightened by his interest in me.  I cannot afford to become romantically involved with anyone.  I wonder how I can meet him again?

Drawing room, Collinwood - A nervous Quentin complains to Desmond that his mother has been up there a long time...what's keeping them?  She's probably telling your father the plot of her last book, suggests Desmond.  Something might have happened to him when she told him about me, worries Quentin, maybe he got too excited, maybe I'd better go up there.  Desmond stops them, assuring him it's probably Flora who's holding it up....she goes to pieces over these sentimental reunions, her books are filled with them.

Flora, arm in arm, leads Daniel downstairs.  He asks her if it's really true, and she coos that of course it is...she can't imagine how he could doubt it.  When they told me Quentin was still alive, says Daniel, I thought it might be a hideous joke. Flora says she can't imagine anyone doing anything like that.  She opens the doors.  "It is true," says Daniel, awed "you're still alive, Quentin...and you've come home."  The two of them hug, a lovely moment.

It's good to be back, says Quentin, and to see you, Father.  Daniel asks to look at him; he can tell he's been through a terrible experience.  Tad and I almost didn't make it back alive, admits Quentin.  Daniel asks where Tad is...he wants to see him.  Quentin explains that he's in Boston, and was sick, but he's all right...he left him with a good friend, and Samantha went to get him.  Have you been told about her and that young man? asks Daniel nervously.  Yes, I have, says Quentin.  What are you going to do about it? asks Daniel.  The decision was left entirely to Samantha, says Quentin.  What? asks Daniel.  She is going to have to choose between Gerard and me, says Quentin.  Have you taken leave of your senses? demands Daniel...that woman is married to you, you must do as you tell her! (chauvinist)  Quentin begs him to calm down, and Flora reminds him this is supposed to be a happy moment.  He hasn't changed a bit, says Daniel, gesturing to Quentin, I haven't been in his presence five minutes, and already he's made me furious!  He turns away.  Quentin chuckles and goes to him, turning him around, saying it's just like old times, despite all of your fury, you're still secretly glad to see me.  Grumpily, Daniel says he supposes he is, but Quentin is still thoroughly impossible.  Quentin declares that he's made one decision...Daniel isn't to stay in the tower any longer...I'll go speak to the servants and tell them to prepare your old bedroom.  Daniel is surprised and happy at this decision.  Beaming, Flora volunteers to go with him, since she knows exactly how Daniel would want his room fixed.  Quentin and Flora exit.  Proudly, Daniel tells Desmond, "Now, that's the son I know!"  He notes that Desmond hasn't spoken since he came into this room...what's the matter with him?  Desmond says nothing at all.  Nonsense, says Daniel, I noticed the change in you at Ben's funeral...you seemed to be miles away.  I was just thinking how Ben died, says Desmond, it was pretty upsetting.  Yes, poor devil, agrees Daniel, and as for those police, they're nothing but a pack of fools...their theory that Ben tried to decapitate himself is rubbish....I know Ben never tried to take his own life.  You think he was murdered? asks Desmond.  Ben's death was very similar to those Bedford Atrocities, says Daniel, and the strange thing was, that Ben spoke to me that very day about the mysterious decapitated, disembodied head that played such a big part in the Bedford affair.  Desmond asks Daniel to tell him what happened in Bedford.  Daniel thinks...it was in 1803...yes, the fall of the year, I'd just turned 20...the murders occurred within a short span of time...each victim was found decapitated.  Softly, Desmond asks about the strange head he mentioned... how did it fit into the murders? My memory is hazy, says Daniel, but the newspapers at the time were full of the lurid details...take my advice, forget about the whole affair.  Newspapers, yes, mutters Desmond, of course.

Collinsport Star (in business many years) - Desmond goes to the newspaper office, but finds the door locked.  He raps at the door insistently and is stunned when Daphne opens it.  She greets him effusively, saying how nice it is to see him again.  I never expected a surprise like this, says a delighted Desmond.  She invites him in and he asks what she's doing here.  I took a job here, she says, because I had very little money and it's respectable work...what brings you here?  Staring at her, he explains that he wants to do some research, and needs to see back issues of the paper...October, 1803, he says.  She looks in some drawers and asks what research he's doing.  Desmond says he's sure it wouldn't interest her.  She finds some of the papers with the correct dates and hands them over, suggesting maybe it would, you never know....Mr. Collins.  Call me Desmond, he asks, sitting down at a table with the old papers.  He begins to look, and finds a headline, FOURTH VICTIM FOUND IN BEDFORD.  Another says THE STRANGE CASE OF THE PAGAN HEAD...Otis Green, the man of mystery, today caused a furor in the county courthouse.  Mr. Green insisted the state imprison him for dealing with the devil's son and for the adoration of a pagan head.  Desmond goes to Daphne and asks if he can borrow the papers for a few days.  She says he can, but he must sign for them.  He does, eagerly, and thanks her very much.  He slips the papers under his arm and is about to leave when she stops him, asking if this is some sort of joke.  Glancing down at his signature, she asks, Who's Judah Zachary?  Startled, he asks what she means.  It's the name you signed on the receipt, she says.  He repeats the name, then lies that he writes sometimes, and uses a pen name, he just wasn't thinking.  He re-signs the receipt book with the right name, thanking her for being so helpful.  My pleasure, she says.  I'd like to see you again, he says.  I was hoping you'd ask, she replies.  Mother is having dinner tonight and Quentin Collins is coming over, says Desmond, remember, I told you about him.  Daphne looks away, afraid of betraying herself, and she says yes, he's the man everyone thought was dead.  Yes, says Desmond, that's right.  She smiles and says she'd be delighted to come to dinner.  Fine, he says, and tells her to be there at seven.  When he leaves, she touches her chin, looking thoughtful.

Collinwood drawing room - Daniel chides Desmond for not taking his advice...he thinks he made a mistake...the Bedford Atrocity is past history and should have remained so.  Desmond asks if the name Otis Green means anything to him?  Daniel says yes, it does, it was quite a bizarre story, there were four murders altogether, and Green came forward and confessed to all four of them...he said he'd been forced to commit these crimes by a mysterious disembodied head which had somehow gotten control of him.  What happened to the head? asks Desmond.  The authorities never found it, says Daniel...Green claimed that a young handyman who worked for him had absconded with it...the young man denied the claim, of course, and left town not longer after that...it seems he shipped out on a schooner....but that wasn't the last we heard of him...about a year later, he was killed in Macao...his throat had been cut.  Like Ben Stokes? asks Desmond.  Yes, says Daniel, exactly.  What happened to Green? queries Desmond.  He got so hysterical about this tale of his, says Daniel, that he had to be committed to an asylum.  Is he still alive? asks Desmond.  Oh, yes, says Daniel they released him from the mental institution about 10 years ago, he lives a very quiet life now.  Desmond asks where he is now.  I think he lives in a farm not far from the village, says Daniel, he's in antiques, and he's old now, but not too old to have forgotten his own strange tale about that disembodied head.

Rose Cottage - Desmond speaks to the head, telling him that Otis Green is going to visit him....and he will tell him everything he wants to know.  The head's eyes remain closed.

At the door of Rose Cottage - Daphne! Flora bubbles to Daphne, it's one of my favorite names...I've named several of my heroines that....let's see, there was the flower girl in LOVE SONG FROM THE HILLS...  Desmond advises Daphne not to get Flora started on her books, but Daphne assures him she's fascinated....she's never met a novelist before.  Flora wonders what's keeping Quentin...he should have been here by now...you'll find Quentin very intriguing, she assures Daphne.  So I understand, says Daphne...Desmond told me about his near tragedy.  Oh yes, says Flora, and I'm going to write a book about it, just as soon as I can get Quentin to tell me. Quentin interrupts, telling Cousin Flora that his life won't be the subject of anyone's book.  Flora introduces Daphne to Quentin, who apologizes for being late...he had a few things to take care of.  Perfectly all right, I understand, says Flora, it's eight o'clock and dinner will be ready.  Quentin slips his arm in hers and leads her away; Desmond links arms with Daphne and they follow.

9:30 - Back in the Rose Cottage drawing room, Flora sets some Tarot cards on the table in front of her, babbling about how unbelievable Gerard's psychic powers are.  You were never so interested in the occult before, comments Desmond.  You don't know how much Gerard has taught me, says Flora, not only have I learned to read palms, but the Tarot, as well.  I'm very impressed, says Quentin.  Flora is glad, because this reading is for him.  Oh, dear! she says, putting down another card.  Bad news already? quips Quentin.  The moon, she says, not a very cheery card...the Emperor, and the Empress...inverted, both beneath the moon...oh, dear, this bodes no good.  What's the card between the Emperor and Empress? asks Quentin.  Flora turns it over and gasps, holding her heart and looking with dismay at Quentin...death...someone you love has died, Quentin...I don't understand...did someone you know die recently?No, of course not...you should know that no one close to me has died, says Quentin, but he sounds insincere, and Daphne gets a weird look on her face, too.  Daphne shoots him a weird little smile and asks Desmond to take her home.  She thanks Flora for the lovely dinner, and Flora asks her to please come again soon.  Daphne tells Quentin it was nice meeting him.  Same here, he says.  Desmond leads Daphne out.  Flora turns to Quentin, agitated...about the Tarot cards... He touches her shoulder and says he's very tired also.  Aren't you the tiniest bit concerned about what I read in the cards? She asks.  Of course not, Quentin says, I just think it's possible you haven't learned as much as you thought you had.  He kisses her forehead and leaves.  Oh, dear, she says, that never occurred to me.  We see the death card on the table.

Quentin reads the note he found on the foyer table and says it can't be...it's impossible!  He crumples up the note.

Daphne writes in her diary.Tonight I have finally met the man I am going to kill, she says, and her face looks very cruel and determined.

NOTES:  Kill?  Why does Daphne want to kill Quentin?

Was Flora's card-reading correct?  Did someone close to Quentin die that his family might not know about?  Daphne and Quentin both reacted strangely to what Flora said.

The Bedford Atrocity head is taking over Desmond, and he's been alerted about it.  Will he get rid of it before Judah Zachary possesses him completely?  What will Otis Green reveal?

That head is silly now, but it was very scary to me back then, believe me!


1124 - Desmond writes in a journal; its cover reads, JOURNAL OF JUDAH ZACHARY, a man who, according to the intro, has been dead over 200 years.

After 200 years of waiting, reads Desmond to himself, I will find the answer...the search will be over...I will know what I must, for tonight, at 10 o'clock, Otis Green will be here.  Leticia, standing beside him, cries out.  "Evil!" she proclaims, hands raised as if to ward it off...evil...oh God, the evil in this room, I can feel it...and she faints.

Desmond shoves the journal into the desk drawer, then runs over to Leticia, kneeling beside her, asking if she's all right.  She struggles when he tries to help her up, telling him to get away from her.  Madness, I see madness, death in this room, she insists, and you're helping it!  She tries to leave the room, but with a growl, he grabs her arm, holding her back, insisting that no one is helping it, she will tell no one of what she felt!  Terrified, she looks at his insane face.  Desmond, oh, Desmond! She wails.  He covers his face and looks at her, back to himself.  What happened to you, what made you like that? she demands.  He doesn't know what she's talking about.  Oh yes you do, she says, oh, Desmond, let me help you if I can!  I don't need your help, will you stop worrying about me? he asks.  I care what happens to you, she says desperately.  You're just imagining things, he says, forget it, do you understand.  She agrees, but it very upset.  I wouldn't go telling tales, he advises coldly, there's enough real trouble going on around here without inventing any...come, out of this room.  She leaves, and he closes the doors behind him.  It's 8 PM.  Leticia returns to the dark room, telling herself she still feels it   She lights a lamp and spots the Tarot deck on the table.  She picks up the top card and is horrified to see she chose the Tower of Destruction.  She feels overwhelmed by evil and is drawn to the curtains behind which the head sits.  She opens them and screams upon seeing the head.EVIL! She screams.

Collinwood drawing room - Barnabas tells Roxanne how glad he is to see her feeling better.  Not as glad as I am, she says, it was so dreadful being sick; I hate it, I shan't be again.  I hope not, he says.  She calls him Mr. Collins, but can't bring herself to speak, and admits she's embarrassed. . .she was thinking of that night they were looking for her, she came to this house and he was here...she somehow acted as though he was responsible for what had happened to her.  You still remember that? he asks hesitantly.  I shall never forget it, she says, it was so unfair...you and your sister have been so kind and thoughtful.  Barnabas steps forward and says, romantically...Roxanne,...but what he was going to say next we shall never know, because Trask enters, and he's pissed.  They told me you were here, he says.  You do know Barnabas, don't you, Mr. Trask? She asks.  Yes, says Trask, not very enthusiastically, and says good evening to him.  My prayers have been answered, says Lamar, you're well again.  She doesn't look happy.  You don't know how much time I have spent looking forward to this moment, he says.  Yes, she says, as father said, you called at the house every evening...thank you (not very thankful.).  Perhaps now, he says you will paid heed to my advice...I warned you about going out alone at night, even before this vicious animal made its appearance again.  Again? asks Barnabas...what do you mean again?  I made a most interesting discovery, says Trask, one that I hope will help the police with their capture...he asks Roxanne if she gave the police a complete description of what attacked her?  I can't seem to remember, she says.  How is that possible? he asks.  I can't explain it, she says.  You must try, insists Trask.  Barnabas harshly tells him there isn't anything to be gained by this questioning.  Trask asks him--don't you?--your attitude is remarkably like that of your late father, the original Barnabas Collins.  I didn't realize you were old enough at that time to make such an observation, says Barnabas sharply...I was not.  It is all here, in this letter, all of it, says Trask, withdrawing a letter from his breast pocket...your father's ridiculing of my father...yes, the most interesting document was written in April, 1797 in this very house, and to my dear mother...yes, it seems that at Collinwood at the time, there were these same mysterious attacks.  Roxanne insists one has nothing to do with the other.  We shall see, smiles Trask, let me read this document, perhaps it will jar your rather quixotic memory.  Put that letter away, commands Barnabas, and stop upsetting Roxanne...it has no relevance here.You are as arrogant as your father, accuses Trask, evil has many faces, I will say of you, as my father wrote of your father, that you are somehow linked with the powers of darkness--you...not this poor girl here to be in doubt to what actually happened...why, answer me that...why?

Roxanne tells Trask she has to wonder how she ever wasted five minutes on him.  Trask tells Barnabas he wants to speak to Miss Drew alone.  Barnabas looks at her and she says please, it will be easier.  Barnabas says he'll go pay his respects to Quentin, and bows to Roxanne before leaving.  Trask spits out, Barnabas, is it...I find it impossible to understand your attitude, defending that man before me, making light of what I say when you know it's the truth.  I don't know it, she says nastily.  You should, he says that man is his father's son!  She retorts that from what he's told her of his father, the same can be said about him.  (zing!)  What makes you defend him so? asks Trask.  She turns away, and he commands her to look at him...your eyes are veiled, he says, filled with secrets, they weren't that way before all this happened...why, Roxanne.  She shakes her head, insisting she doesn't know what he's talking about.  Your evasions, he accuses, over the attacks, and over that man.  One has nothing to do with the other, she says.  Taken aback, he says no one said they did; no one but YOU...what did you mean by that.  Caught, she turns away, and again he orders her to look at him.  You have admitted that you remember little, he says, that is not true...you do remember...tell me, Roxanne, speak to me...you can tell me...I will help you...I would give my life to help you.  He's staring deeply into her eyes, and she's all set to cave in, but she finally cries, "NO!"  Leticia enters, asking...Is he bothering you, ducks?...She tells Trask that she doesn't know who he is, but he's got no right upsetting her.  She asks Roxanne if she's all right.  Yes, says Roxanne in a low voice.  Leticia asks if she's seen Desmond...she's got to find him.  Roxanne says no.  Barnabas enters and tells Roxanne he's ready to bring her upstairs so his sister can examine her.  Roxanne thanks him.  Trask says he'll wait here.  Please, don't bother she says.  Barnabas takes her arm and leads her upstairs.  Trask gives Leticia a dirty look.  Don't look at me like that! she says, I got as much right to be here as you have...I'm to meet Desmond Collins here.  I am Lamar Trask, he says, and you, Miss?  My name's Leticia Faye, she says, curtseying.  Oh, yes, one of that circus at Rose Cottage, he comments.  Circus? She asks, taking offense, I never played a circus in my life...music halls, that's my style, she says proudly.  Oh, yes, dancing and singing, no doubt, he says, casting aspersions, wearing lewd costumes.  No, she says, looking into men's souls...seeing their secrets...you might learn something about yourself you wouldn't want to know.  You're a mentalist? Asks Trask.  She tells him she's appeared before all the heads of crowned Europe...I've the true gift of second sight, luv.  Only the Almighty above has that, insists Trask.  Well, he's given me a share of it, she says defiantly...you got something on your mind...you're after revenge...not for yourself, for someone else...someone very close to you...that you never even knew!  How do you know that? he demands.  I saw, she says, that's all I got to do is just look.  Can you tell me who I'm trying to revenge, he asks, what great injustice was done to him?  She says she'd have to go into a trance to do that.  Would you? he asks.  She laughs and caresses his face...you believe in it now, don't you? she asks slyly.  I believe there are many roads to the truth, he says, I don't know if yours is the right one.  She assures him she can prove it...easy...what does he want to know.  Where my father's body is, he says, so I can give him a decent burial.  Nothing to it, she says, but I would have to have something personal of his.  I have it here, he says, and hands her the yellowed document he showed Barnabas and Roxanne.

I am convinced my father was murdered, on this estate, says Trask.  Murdered? asks Leticia, I don't want to have nothin' to do with no murderer.  If you name the murderer, he says, you will rectify a great wrong...you will bring peace eternal to my father's tormented soul.  She thinks it over and asks him to give her the letter.  She holds it to her forehead and calls to spirits in the resting place. . .there is one of you who is hidden from us, here on this estate...if that is true, let that spirit show us where she is.  A vision appears of the Old House.  Leticia sees a house with pillars, a house that has been deserted.  The Old House, Trask says.  Barnabas comes downstairs and is now listening.I see someone coming, says Leticia, a man, I can't see his face, but he waits for someone to appear.  Who is that man? asks Trask.  There is another door, says Leticia, it leads to stairs.  Where is my father's body, tell me! demands Trask anxiously.  Barnabas, knowing this revelation would be big trouble, comes in and asks what's going on here.  This breaks her concentration and she moans.  Barnabas holds her shoulders, asking if she's all right.  Trask takes the letter from her hand and tells Barnabas she was in a trance.  She comes out of it and asks what happened.  I'm afraid Mr. Trask was taking advantage of your special gifts, says Barnabas icily.  You may think you arrived at the right moment, says Trask, but it just might be you interrupted too late...and he leaves.  What did you tell him? asks Barnabas.  I didn't want to tell him anything, says Leticia, holding her aching head, he kept insisting, I just came here to find Desmond, that's all...I got to find Desmond.  Barnabas grabs her by the arms and says, You will find no one until you tell me everything!  She pulls away from him.

Desmond writes in Zachary's diary that soon Otis Green will be here, and I will learn what I must...it is nearly time now...there will be a knock at the door, a man will enter, and before he leaves this room, I will know where my body is!

Barnabas discovers Trask wandering around the Old House drawing room, small candelabra in hand.  Mr. Trask, he says, inspecting the work my sister and I have done here?  You know why I'm here, says Trask...I'm sure you made Leticia tell you.  Tell me what? asks Barnabas...this house is going to be quite livable, isn't it?  Trask glares at him and responds, If one can live in the presence of evil...Barnabas says that considering he and his sister have been given this house, Trask might at least have waited for an invitation.  My father's body is in this house, I'm positive of it! says Trask.  You're more of a fool than I thought, says Barnabas, what will your respectable friends say when they here you are believing in the ravings of a music hall mentalist?  He gets in Trask's face and asks him to leave.  Trask puts back the candles and swears to return.  He leaves.

9 PM - Desmond closes Zachary's diary and puts it away.  He closes the curtains on the head.  Otis Green, an elderly man portrayed by Abe Vigoda, says he has his card here somewhere, but Desmond assures him he doesn't need his card.  Green looks around and says what a treasure house this is...he always said the Collins were fortunate people...your ancestors always bought the finest furniture they could find...how I wish I had these things in my shop.  He runs his hands over books and furniture, then points to a chair and says he could get $100 for it from a collector in Boston.  Desmond assures him he isn't interested in getting rid of that particular piece...rather, this table.  Very interesting, says Green, rubbing the surface.  Yes, and we do have some history of it, says Desmond. . .Augustin Collins bought it in Bedford after the witch trials...it originally belonged to a woman who was hanged for being a witch.  This captures Green's attention, and he walks away.  Fascinating, isn't it? says Desmond...do you know anything of that period?  Green looks scared, and doesn't answer.  While the Salem trials are more famous, scoffs Desmond, I think the local ones in Bedford are even more fascinating...you must know something about them.  My family came form Bedford, says Green.  Really? asks Desmond, and was your family involved in the trial?  Green sadly replies yes, they were...my grandfather was an executioner...some men wouldn't admit to that, there's a curse on it, and every one of the executioner's families, I know that...well I know it.  I am in luck, says Desmond, nearly snarling, I had no idea you were so involved...I have something else here from that period that will really interest you...go and open that curtain (Green hesitates)...GO AND OPEN THAT CURTAIN!  Green does so and, seeing the head, is horrified.  You do recognize it, don't you! says Desmond exultantly, sounding crazy...he's an old friend of yours, isn't he?  Green tries to back away, but Desmond won't let him, he forces him to stay there  You're not going anywhere until you tell us...insists Desmond, tightly gripping his arm.  You're under his power! Says Green.  If you know that, don't fight me! cries Desmond.  Green says he won't look at it...years it cost him, years of living in that asylum!  You will look at it! snarls Desmond...because you know where the body is buried...your grandfather buried it...where is it, Mr. Green, where is it?You don't want to know! gasps Green, the head...the head...it was cut off to stop it, so it wouldn't live again.  He's grabbing the left side of his chest, gasping for air, and his almost-final words are, "It was the only way to stop it!"  He gasps in pain...My heart!...Desmond shakes him, ordering him to reveal where the body lies, and Green gasps out, "The noose, the noose, an unmarked stone, the ring of God, the stairs..."  The man falls to the floor, Desmond still holding onto him, demanding to know where the noose is.  Top of the hill, says Green, direct line unmarked stone...and he dies.  Desmond, sounding truly crazy now, says, through clenched teeth, "It will be found!"  We see the head, whose eyes are closed.

NOTES:  Desmond is getting in very deep, writing his own name as Zachary, killing a poor old man to learn where his body is, but I guess you have to resort to desperate measures to find yourself sometimes.

I just adore the shabby way Roxanne treats Trask, and the way she disses him.  I loved that Barnabas was able to order him out of the Old House, too, but Trask is going to cause big trouble...trust me.  Roxanne already has deep feelings for Barnabas, it's as if she forgot the bad he did to her but still clings to her romantic emotions of him...as he does for her.

Leticia is great.  She's funny and protective, and all those things flying around in her mind must drive her nuts sometimes.  She gave Trask too much info, and Barnabas had better be on his toes.  I also liked the way she toyed with Trask and accused him of hypocrisy in his seeking help from someone like her.  Get him, Rox, get him, Tish!

Love, Robin